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I
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M^ MUSIC %\
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iSlu^U Xober^' Cjpdopelita
Author of
'Contemporary American Composers" "The
Love Affairs of Musicians" "Gypes'
Ring," "The Whirlwind"
Etc.
Cpclopebta
Containing a pronouncing and defining Dictionary of
Termsy Instruments, &c., including a Key to the
Pronunciation of sixteen Languages; many Charts; an
Explanation of the Construction of Music for the
Uninitiated; a pronouncing Biographical Dictionary;
the Stories of the Operas; and numerous biographical
and critical Essays by distinguished Authorities.
EDITED BY
M. A.
Must
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DOUBLEDAY, DORAN & COMPANY, INC.
FOR
U. S. SCHOOL OF MUSIC
22S FIFTH AVENUE NEW YORK CITY
ESTABUSHED 1898
Copyright, 1912, by
DOUBLEDAY, PaGE & COMPANT
ALL UOBTB KBURVBD
mmmaar, zgots, by Moanut, pbxixivs * oo^
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PUBLISHER'S PREFACE TO THE REVISED
EDITION
WHEN the "Music Lovers' Cyclopedia" was first
compiled, it was the editor's effort to make it the
most nearly complete reference work of its kind
in existence. That this effort did not fail is
proved by a comparison of the original edition with other
works since issued. A careful checking, item by item, proves
that where other musical dictionaries and cyclopedias, how-
ever voluminous, contain at most a few hundreds of bio-
graphies and definitions omitted from this work, the best
of them omit many thousands of biographies and definitions
contained in the "Music Lovers' Cyclopedia."
On account of the completeness of its contents and their
ixtremely convenient arrangement, the book at once took
ts place on the reference shelves of libraries, public and
private, large and small ; and everywhere the worn condition
of its bindings, and the testimony of its readers have proved
how invaluable it has been found.
Originally published in two volumes at six dollars, we are
now able to issue it at a great reduction, and the editor
has seized the opportunity to bring it down to date by the
addition of several thousand biographies. Great changes
have taken place in music in the nine years since the
"Music Lovers* Cyclopedia" was published in 1903. Two
widely contrasted instances will prove this: Caruso, and
"Parsifal."
Caruso swam into the ken of London and New York just
vi THE MUSICAL GUIDE
after the "Music Lovers' Cyclopedia" went to press.
"Parsifal" was, of course well known, but its libretto was
omitted from the "Stories of the Operas" for the reason
that it was then supposed to be the exclusive property of
Bayreuth. Only a few months later it was produced in New
York City, after a sensational controversy. The story of
"Parsifal," therefore, appears in this new edition of the
"Musio Lovers' Cyclopedia," along with the stories of many
other operas that have since entered the repertoire of the
leading opua houses. This means that the "Music Lovers'
Cyclbpedia " now contains the detailed plots of sixty operas.
Attention may be called again to the fact that the stories
as told here give the places and dates of original production,
and, where discoverable, the names of the creators of the
roles, the pronunciation of the names of the characters, and
a full outline of the plot as it is unfolded on the stage by exits
and entrances, with the titles of the principal musical num-
bers as they appear.
We beg to acknowledge here our indebtedness to G.
Schirmer for permission to give the plots of the following
operas whose American copyright he controls: "Louise,"
"Pelleas et Melisande," "Ariane et Barbe-Bleu," "Hansel
und Gretel," "I Pagliacci," "Le Cid," "Le Jongleur,"
*nrhais," "Manon," "I Giojelli della Madonna" and '"Lc
Donne Curiose."
The phonetic pronunciation of every proper name and
term is a further distinguishing feature.
Emphasis should also be laid on the number of special
contributions by the most eminent musical authorities in
PUBLISHER'S PREFACE vii
America and England, men of the calibre of Sir Hubert H.
Parry, Ernest Newman, James Huneker, W. J. Henderson,
Richard Aldrich, and many others of distinction.
The fault to be found with dictionaries in general is that
they are inclined to be provincial; those published in Eng-
land have been parsimonious of German, French, Italian,
and American names; and those published in these other
countries have returned the discourtesy. It has been the
ambition of the editor of the "Music Lovers' Cyclopedia"
to avoid this disproportion by collecting the greatest possible
number of important names from every country.
The compactness of the "Music Lovers* Cyclopedia"
compels a decided brevity of presentation, but this in itself
is rather a virtue than a fault, and it has been a great
source of gratification to be constantly informed by musi-
cians, both lay and professional, that the "Music Lovers'
Cyclopedia" is the book to which they refer first, and the
one in which they are least often disappointed.
The need for a book of this kind has become increasingly
evident during the past few years. People everywhere have
been awakened to a new and finer appreciation of music.
Many who were once content merely to listen to music, now
find expression for themselves in some favorite instrument.
One of the elements responsible for the great present day
interest in musical instruction is the method of teaching
perfected by the U. S. School of Music. This method has
reached out into every hamlet and village throughout the
country, planting the seed of musical appreciation. This
famous school has already provided more than half a mil-
viii PUBLISHER'S PREFACE
lion men and women with a musical training, and has
achieved an inestimable good in placing within reach of all
the chance to acquire a sound, thorough musical education.
With this greater interest in music, the need for a more
complete and authentic musical reference work has been
felt. Students of music find this one of the most essential
phases of their education. And the "Music Lovers* Cyclo-
pedia" fills just this need — clearly, simply and authentically
it gives the complete background of music.
It is a book compiled for the convenience of the lover of
music who seeks information on the simplest subjects, as
well as for the trained musician who has more abstruse
needs.
Now that it is possible to issue the work in one greatly
enlarged tome, the "Music Lovers* Cyclopedia" can be
confidently announced as a musical reference book of un-
approached completeness, a concise musical library in itself,
an invaluable addition to any musical collection, however
large.
The Publishers.
.'*
Cfte preface
MUSIC is, indeed, the universal language. It
passes current everywhere like gold. But none
the less every nation puts a different stamp on
its coinage, and each new sovereign of the realm
makes some change in the design and the legend. In
consequence a musical dictionary becomes largely a poly-
glot affair.
The object of this "book is to present in a condensed and
convenient form all the essential facts that may be required
to guide the student of music, or needed as a reference for
the professional musician.
To fit this work for the non-professional mind has been
no easy task, but it has been the chief effort, and an intro-
duction into the mysteries has been written especially for
the uninitiated, who wish to be told some necessary truths
without submitting to hard study or teaching.
The marriage of completeness with conciseness is a hard
knot to tie. The present work cannot hope to compete
with the great musical encyclopaedias in certain respects.
Yet, in other respects, it outdoes even the greatest of them.
It has more biographies and more definitions than any of
them. Each of the large encyclopaedias shows a distinct
bias toward one nation, period, or idea. The Music Lovers^
Cyclopedia has practically every (name and definition in
each of them; by its catholicity it covers man> fields quite
unnoticed by any one book, and it has many names and
definitions to be found in none of them.
The pronunciation of practically every name and term in
musical use^ forms a unique feature of the Music Lovers'
Cyclopedia. This alone makes it a desirable and important
supplement to any musical library, however large. Not
only have general rules of pronunciation for sixteen lan«
THE MUSICAL GUIDE
guages been tabulated in a novel and convenient manner,
but the pronunciation of names, terms, and frequently of
phrases has been represented as closely as possible. Even
the *^ given names" have been pronounced, for it is of
little comfort, for instance, to be saved from calling "Bat'-
hof-en," " Bee-tho'-ven," and to be left to miscall his
first name "Lud-wig" for "Loot'-vikh."
The Definitions are given as plainly as is compatible with
succinctness. Space has been greatly saved, not by sacri-
ficing ' fulness of explanation, but rather by grouping
together words of similar meaning in different languages, so
far as this could be done without undue violence to alpha-
betical arrangement. So far as possible the Music Lovers^
Cyclopedia avoids that exasperating abuse of cross-reference,
by which some of the Dictionaries bandy the reader from
one term to another in a wearisome zigzag, finally, at
times, to send him to a word that has been omitted.
In the Biographies the scheme has been to crowd the
multitude of minor personages into very narrow space in
order that a hundred or more of the greatest should find
liberal room. The major dead musicians and those still
living, minor as well as major, have been chiefly favoured.
The work is particularly rich in living musicians, and the
great masters are given biographies which, although con-
densed, are quite complete. As to the rest, the mere list
of dates, with an abbreviated indication of special activities,
must suffice, compensation being found, it !is 'hoped, in. the
great number of these names.
The Contributed Essays are in many respects the most
valuable part of the work, written as they are by notable
authorities who have reviewed certain subjects peculiarly
their own, in a brief yet luminous manner especially for the
layman. Nothing is a more valuable mental property than
a somewhat definite and decisive summing-up of the actual
THE PREFACE xi
meaning and the true proportions of the great personages,
schools, and phases of a subject; such a summing-up is
rare, largely because it is so difficult. As one contributor
wrote: "It is very hard to compress these oxen into cups
of beef-tea." That these prominent scholars have ex-
pressed themselves so definitely and with such rounded
completeness on the subjects explained here, is a matter of
greatest value in a work of this kind, and of greatest inter-
est to every one that cares for music.
The Stories of the Operas are told here in the only way in
which, surely, they should be told; and that is by telling the
story as it is unfolded on the stage, not by acts and by
scenes only, but by the entrances and exits and by the
principal songs. The pronunciations of the names of the
operas in diflFerent languages, and of the characters, have
also been given, as well as the dates and casts of the first
productions.
A few Charts of actual value have been preferred to the
mere ornaments of portraits. These latter would have to be
very numerous to be at all comprehensive, and their intro-
duction would defeat the prime purpose of the book,
which is to be informing within limited compass.
In fact, the one idea of the work has been to present as
much information as possible, as conveniently as possible
— andante quasi allegretto.
That mistakes occur is inevitable. Every dictionary the
Editor has examined has abounded in them, ranging from
what scientists call the personal equation to what they call
downright blunders. It is only to be hoped that most of
the errors of this book will be rather amusing than exas-
perating or misleading. In any case, corrections and
suggestions of any kind for future editions will be most
gratefully welcomed.
The code of pronunciation as used in the book is ex-
xii THE MUSICAL GUIDE
plained on the top line of the Table of Pronunciations.
It cannot hope to give more than approximate shades of
sound.
The Editor is indebted to Miss Annie C. Muirhead for
many valuable suggestions and a large contribution to the
accuracy of the work. The stories of the three operas,
"Louise/' "La Bohfime," and "The Cid," are from her
pen. For everything else not specially signed or credited,
the Editor must be held responsible. He wishes here to
make grateful acknowledgment to his publishers, who first
suggested the idea of preparing such a work, and to the
distinguished gentlemen who have lent to the Music
Lovers^ Cyclopedia the prestige and value of their contribu-
tions.
Cable of Contents
PART I
FAOB
Publisher's Preface v
Editor's Preface to the Original Edition . . ix
List of Charts xix
List of Contributors xxi
Phonetic Meaning of the Letters and Symbols xxiii
An Introduction to Music for the Uninitiated . i
k List of Abbreviations, Titles, Dignities, In-
stitutions, Etc 53
A Pronouncing and Defining Dictionary of
Terms 57
Essays by Special Contributors:
The National Schools of Music, E. Irenaus
Prime-Stevenson :
Italian Music 30
German Music 34
French Music 37
English Music 40
Russian Music 42
American Music. The Editor .... 45
The Great Instrumentalists. Louis C. Elson . 48
The Great Singers. Louis C. Elson .... 50
Acoustics. J. S. Shedlock 60
Altered Chords. Charles W. Pearce .... 66
Counterpoint. Homer A. Norris 104
FoLK-SoNG. H. E. Krehbiel 131
Form. John F. Runciman 133
Fugue. Homer A. Norris 140
Grace. The EDrroR 147
Modern Harmony in Practice. A. J. Goodrich . 159
...
nil
xiv THE MUSICAL GUIDE
VAOX
Harmonic Warnings for Composers. A. J. Good-
rich 164
Hymnology. H. E. Krehbiel 170
Leading-Motives. Gustave Kobbe 184
Modes, Greek and Ecclesiastic. The Editor . 199
Notation. The Editor 211
Opera. Ernest Newman 216
Oratorio. H. E. Krehbiel 220
The Orchestra and Orchestration. W. J. Hen-
derson 222
Organ. The Editor 225
Pianoforte. The Editor 235
Piano Studies. James Huneker 237
PART n
Pronouncing Dictionary of Given Names, Titles,
Epithets, Etc ili
Biographical Dictionary 309
Bach. Sir Charles Hubert H. Parry . . . . 325
Beethoven. H. E. Krehbiel 342
Berlioz. Ernest Newman . 352
Bizet. Edward E. Ziegler 3 57
Brahms. James Huneker 368
Chopin. James Huneker 390
Franz. Henry T. Finck . .439
Gluck. Ernest Newman 455
Gounod. Vernon Blackburn . . . . . . 461
Grieg. Henry T. Finck 466
Handel. John F. Runciman 475
Haydn. August Spanuth 483
Liszt. Henry T. Finck 537
Mendelssohn. Vernon Blackburn 558
Meyerbeer. E. Iren-^us Prime-Stevenson . . 562
TABLE OF CONTENTS xv
PAGE
Mozart. Vernon Blackburn 573
Palestrina. W. J. Henderson 591
PuRCELL. John F. Runciman 612
Rossini. E. Iren^us Prime-Stevenson . . . 632
Schubert. H. A. Scott 652
Schumann. Richard Aldrich 659
Strauss. James Huneker 683
Tschaikowsky. Ernest Newman 691
Verdi. W. J. Henderson 705
Wagner. Henry T. Finck 714
Supplementary Dictionary of Musicians , . . 741
Necrology 839
Stories of the Operas 847
Supplementary Stories of the Operas .... 919
Pronunciation Table of Sixteen Lang.uages . .951
fetoriesf of t|)e (©perasi:
VAOB
Beethoven. Fidelio 847
Bellini. Norma 843
^^ La Sonnambula 849
Bizet. Carmen 850
BoiTO. Mefistofele 852
Charpentier. Louise 853
Debussy. Pelleas et Melisande 938
Delibes. Lakme 855
DuKAS. Ariane et Barbe-bleue 948
Donizetti. La Favorita 856
" La Figlia del Reggimento .... 857
'^ Lucia di Lammermoor 858
Gluck. Orfeo ed Euridice 860
Gounod. Faust 860
" Romeo et Juliette 862
HUMPERDINCK. HanSEL UND GrETEL .... 863
" KONIGSKINDER 924
Leoncavallo. I Pagliacci 864
Mascagni. Gavalleria Rusticana 865
Massenet. Le Cid 866
Manon 944
Le Jongleur de Notre Dame . . . 946
Thais 919
Mei?erbeer. L'Africaine 868
" Les Huguenots 869
" Le Prophete 871
" Robert le Diable 873
Mozart. Don Giovanni 875
Le Nozze di Figaro 877
Die Zauberflote 879
XVll
xviii THE MUSICAL GUIDE
PAOX
Paderewski. Manru 88i
Puccini. La Boheme 883
" La Tosca 933
" Madama Butterfly 931
" The Girl of the Golden West . . . 935
Rossini. Il Barbiere di Siviglia 884
" GuGLiELMO Tell 886
Smetana. The Bartered Bride 920
Spinelli. a Basso Porto 887
Strauss. Salome • • . • . 921
" Elektra 923
Thomas. Mignon 888
Verdi. Aida 890
Otello 891
RiGOLETTO 893
La Traviata ^ 894
Il Trovatore 896
Wagner. Der Fliegende Hollander 1 . . . 897
" Die Meistersinger 899
" Lohengrin 902
" Tristan und Isolde 903
" Tannhauser 905
" Das Rheingold 907
" Die Walkure 909
" Siegfried 911
" gotterdammerung 9i2
" Parsifal 927
Weber. Der Freischutz 915
Wolf-Ferrari. I Giojelli della Madonna . 939
" Le Donne Curiose 942
u
£i0t of Cfiam
i«
VAOB
The Keyboard, Scales, and Intervals . . • . 4
Dance-Rhythms 108
Graces and Embellishments 148
Greek Modes 200
Ecclesiastical Modes 203
Signs and Symbols 267
Times and Rhythms 285
Absolute Pitch, and Compasses of Voices and In-
struments 949
Contributors and Subjects q/^ Special Essays
Ml Essays will be found in their jllphabetical Sequenct
m
R'CHARD Aldiuch Schuoiaiin.
Vernon Blackburn Gounod^ Mendelssohn, Mozart.
Louis C. Elson Great Instrumentalists, Great Singers.
H. T. FiNCK Franz, Grieg, Liszt, Wagner.
A. J. Goodrich Modem Harmony in Practice, Harmonic
Warnings.
W J. Henderson The Orchestra and Orchestration, Pales-
trina, Verdi.
James Huneker Piano Studies, Brahms, Chopin. Richard
Strauss.
GusTAVE KoBB^ Leading- Motivcs.
H £. Krehbiel Folk - Song, Hymnology, The Ontono^
Beethoven.
Ernest Newman The Opera, Berlioz, Gluck, Tchaikovskjr*
Homer A. Norris Counterpoint, Fugue.
Sir C. Hubert H. Parry • . The Art of Johann Sebastian Bach.
Dr. Charles W. Pearce . . . Altered Chords.
E. Irenaus Prime-Stevenson . The National Schools, Meyerbeer, RotdnL
John F. Runciman Form, Hindel, Purcell.
j. S Shedlock Acoustics.
August Spanuth Haydn.
Edward E. Ziegler Bizet.
The Editor Music for the Uninitiated, The American
School, Graces, Modes, Notation, Tbt
^)rgan. The Pianoforte.
Phonetic Meaning of the Letters and Symbolic
II5;ed in the Pronunciation of Names
d as in father ; J as in fate ; d as in
fat ; &n and dh as in French elan and
fin; see note i, vol. I, page 396.
# as in bob.
t used only in ch^ as in church. The
Scotch and German guttural as in lock
and ick is indicated by kh ; see note
3, vol. I.
d ak in deed ; dh as th in these , dj as
in adjoin.
/ as in bean ; / as in pet — at the end of
words it is almost like i7.
/as in fife.
/ as in gig.
h as in hate.
I as in fight ; f as in pin.
/ as in jug.
i as in kiik ; kkxs used here to indicate
the Get man or Scotch ch or g ; see
note 3, vol. I.
/itt in lull.
m as m mum.
n as in nun ; ii indicates the French
nasal n or m; see note i, vol. I.
d as in note ; oi as in noise ; 00 as ir
moon or foot ; ^ as in wrong ; ow as
in cow ; 6h as in Frencti bon ; see
note I, vol. I.
/ as in pop.
r as in roar.
s as in sense.
/ as in tot ; ih as in think ; the sound of
th in these is indicated by dh,
U always with the sound of you ; the
French u and the German long U are
both indicated by Us see note a«
vol. I.
V as in revive.
w as in will.
4r as in fix.
y as in yoke.
« as in zome.
.An
Sntrobttrtion
to
Mmit
For the Uninitiated
A Free Translation of its Technicalities into Untechnical
Language (especially for those who do not Read Music
and do not Care to Study it).
THERE is almost as much humbug about th^
mysteries of music as there was about the
oracles of Delphi. And the vast majority of
music-lovers have as meek and uninquiring a
dread of the inner art and science of composition as the
Ql\d pagans had of priestcraft. '
There is no deeper mystery about the tools and the trade
of music than about those of any other carpentry and
joinery. It is far easier for some people to write a melody
than to drive a nail straight. But anybody who will earn-
estly try, can learn to do the one as easily as the other.
And there are thousands of professional composers who
ought to be earning honest livings driving nails home instead
of starving to death dishonestly driving audiences home.
The one mystery of music is the one mystery of all art
and all other human intercourse — personality. Everybody
can write a novel or a play. Almost everybody does. So
everyone can write a sonata or a string-quartet. But the
number of those who possess the spark (divine, prenatal,
accidental or howsoever secured) — the spark of magnetism,
felicity, and eloquence, that number is small and is no more
THE MUSICAL GUIDE
superabundant than on the day when little Hermes found
the old tortoise-shell and made the first harp out of it.
The reason the Editor is desirous of taking the veil from,
certain of the arcana of music is not that he wishes to in-
crease the number of composers — Heaven forbid ! The
one object is to increase the number of those who will lis-
ten to music intelligently and know just what they arc
hearing, and pretty well why they like this and dislike that.
For like and dislike by pure instinct are relics of mere
animalism.
The open highway to the enjoyment of so-called classic
music is the hearing of it in large quantities. There is a
short cut for those who lack the time or the inclination for
this long training — and it is by way of learning the ele-
ments of musical form. For it is the crystallisation of
human passion into some graceful and powerful form that
gives music long life. Many wretched pedants think that
the number of forms is limited ; but this is a fallacy that is
disproved every day.
Some form, however, is as necessary in music as in sculp-
ture. And though the number and variety of forms avail-
able are as infinite and illimitable in music as in sculpture,
still some definite shape must be in the artist's mind and
must be discoverable bv an unprejudiced, attentive, and
educated audience
If you do not already know the skeleton that underlies
the shapely contours and full, fair flesh of melody and har-
mony, you can find some enlightenment in the anatomical,
lecture that follows, provided you will use your own scal-
pel, and carry out the suggestions made. It is not easy to
avoid asking the reader to master the language and sym-
bols of music, but much that is important can be learned
from the following, without this long special study, if an
occasional general truth will be allowed to stand without
ririnM^^MMrifeMHhnaAHiiiMaMMaaHii
AN INTRODUCTION TO MUSIC 3
Stating its exceptions, and if permission be granted to arrive
at certain facts in a homely and button-hole manner.
I
FIRST, turn to a piano or organ — either of these is
more convenient for illustration than a bow or
wind-instrument. The highly-organized instru-
ment before you is the result of centuries of blind groping
in the dark, of unnumbered great failures for every little
triumph. This is true not only of the mechanism of strings,
hammers, keys, shape, size and materials of wood and
metal, but of the very music the instrument is intended to
send out upon the air.
If you will simply glide your finger-nail along the white
keys you will produce a scale which in itself is the result
not only of ages of experiment but of the bitterest conflict
between scholarly musicians, — a conflict still raging. But
this cannot be discussed here. Let us for the present take
the instrument as we find it.
Opposite the next page will be found a picture of the
middle portion of the key-board, with the letter-names that
have been, for convenience' sake, given to the tones marked
on it. They are easily recognisable by the alternation of
the black keys in groups of twos and threes. For con-
venience it might be well to transfer the letter-names to the
white keys with ink, which will be easily washed oflF with a
wet cloth.
The first thing noteworthy about the diagram is that this
series of letter-names is made of only seven letters and be-
gins over again at every eighth tone. This is because the
eighth tone (or octave) is produced by a string or a col-
umn of air making just twice as many vibrations as the
original tone ; the 15th tone by 4 times as many, etc., and
because each group of seven steps plus the octave or 8th
THE MUSICAL GUIDE
Step, is built on a uniform model of ratios. The series
from one letter-name to its reappearance, as from c to dy is
subdivided into 1 2 half-steps or semitones.
This extended series of tones thus divided into octaves
is the material from which all European and American
music is made. Save for a few changes and choices made
for convenience, this scale is based on human nature and
physical law, and is not likely to be materially altered in
our generation. Other fundamental facts will be discov-
ered on studying this array of whole-steps (white keys — ex-
cept e to f and b to c) and half-steps (from a black key to
the next white — also from b to c and e to f).
You will observe that the black keys carry the same
names as the white keys they interpose between, except
that the letter-name carries the symbol If (" sharp ") for the
key next below or the symbol l^ (" flat ") for the key next
above. The same black key represents two white keys.
If you are advancing from f to g, for instance, the black
key between is a half-step above f ; it is said to "sharpen "
the note, by a half-step (or a " chromatic " degree) ; if,
however, you are moving down the scale from g to f the
black key is said to " flatten " the note g by a half-step (or
a " chromatic " degree). The same black key serves con-
veniently then both as it (f " sharp ") and gb (g " flat ") in
our system of music. Tones not thus " chromatically al-
tered " by a sharp or flat are said to be " natural." If
you have struck ^ or f J and wish to reassert the white
key, the tone is now called gtl (g " natural *') or f
natural.
The signs, Jf's, b's and tf s are called " sharps, flats and
naturals," or in general " chromatics."
Put your finger at random on any of the white keys and
move downwards on the white keys in strict succession.
You will find (if you have a normal ear) that, whatever the
Tonio. 8Bb-daiiil04HiL
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If ? n ^ M I r I
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Dooiwurt Triad (wltb t" ada*d tt bMomM tli* Donlaut StrMihX
AN INTRODUCTION TO MUSIC 5
tone you sounded first, you do not feel a willingness to
stop till you reach a certain tone or one of its octaves.
That tone will invariably be one of the notes lettered C.
If now you begin at random on any note and move up-
ward keeping to the white keys except in the case of f, for
which you substitute f Jt, you will find that the letter c no
longer gives a sense of repose, but that you unconsciously
desire and demand one of the letters marked g.
If you run a scale on all the white keys except b, and
substitute for this note the bb, you will find no resting-place
except upon one of the letters marked f.
It is a physical fact, then, that a scale with neither sharps
nor flats finds its end on the note c ; a scale with one sharp
(which is always f ) is based on the note g ; a scale with
one flat (b flat) is based on the note f. Hence one speaks
of the scale of C, or of G, or of F.
If you try the substitution of some other single sharp
or flat for the f sharp or b flat, you will get no satisfactory
point of repose at all. But by keeping b flat and adding
e flat you will find b flat a comfortable pausing-place ; by
adding a flat to the bb^ and el^, you will find a pleasant scale
ending on el^. By adding flats in the following order (and
only in the following order), b, c, a, d, g, c, you will con-
struct symmetrical scales reposing always on the next to
the last flat added.
By substituting sharps for the natural tones of the origi-
nal scale of C, you build scales satisfiictorily only by heap-
ing up sharps in the following order, f, c, g, d, a, e, which
scales are based respectively on the notes g, d, a, e, b, f,
the point of repose being in each case a half-tone above the
last sharp added.
The scales take their names from the note of repose. A
scale together with all the chords that can be built upon its
notes is called a key. The word ^^ key " is often loosely
THE MUSICAL GUIDE
used (and has been used in this essay thus far) to indicate
a finger-lever which causes a string to sound ; this is better
called a " digital." From now on the word " key " will be
used only to designate a group of harmonies and a scale
belonging to some series of progressions ending on a cer-
tain note, as the " key of C," the " key of G '* (which con-
tains f sharp), the " key of D " (which contains f sharp and
c sharp), the " key of E flat " (which contains b flat, e flat
and a flat), and the others.
Since practically every musical composition has some principal key to which
it harks back as its home, however far or often it may wander away, so yon
will find at the beginming of every new line of a composition a list of the
sharps or flats in that key which predominates, and these sharps or flats affect
every tone not otherwise marked throughout the composition. This group is
called the key-signature.
A convenient trick of deciding the key from the number of sharps or flats
is as follows : where there are flats the key b next to the last flat ; where
there are sharps the key is always the next letter-name above the last sharp!
This is true of every key except three which are easily remembered, F with
one flat, G with one sharp, C with neither flats nor sharps.
Before studying chords, it will be necessary to have an-
other look at the diagram of the key-board. We have
spoken of half-steps and whole steps. But it is possible
also (and often desirable) to desert the monotonous pro-
gression of whole and half-steps and skip several steps,
as one does in singing a tune. The space covered by a
skip is called an interval. As geography has its imaginary
equator, and as geometry has its imaginary lines without
breadth and its planes without depth, so music has one
imaginary interval which is no interval at all, but identity.
The distance from a note to the very same note is called a
prime. (This is sometimes useful when speaking, for in-
stance, of ab and a$, which are a prime apart, and are called
primes of each other.) The interval from one white digital
to the next white digital is called a second, the skip to the
AN INTRODUCTION TO MUSIC 7
next but one is called a third (the original note being always
numbered one), the skip to the third white digital is called
z fourth, and so on ; the interval of an eighth being called
an octave. Also the tones separated by an interval may be
called by the names of the interval as c and g, or d and a
are osWed fift hs ; f and d, or g and e are called sixths y etc.
It will greatly clear the belt of fog we are now going
through if you will pick out the examples on the key-board.
The skip from a white to a black digital results in an in-
terval which is either greater or less than the nearest inter-
val on the white digitals alone. The normal or greater of
two similarly named intervals as c to e is called a major
third, while c to el^ is called a lesser or minor third. C to e$
is greater even than the major and is called an augmented
third, while c to ebb ( " double flat " ) is a diminished third.
Owing to the elasticity of the letter-names of the notes,
an interval may be expressed or spelled in diflPerent ways,
thus c to eb is called a minor third, but the very same tones
may be called c to dJf, an augmented second, c-f bb a dimin^
ished fourth, Wt-djf a major third, etc. The name of the in-
terval depends upon the key we happen to have most in
mind at the time.
It is a curious fact that all scales are made up of exactly
the same intervals in exactly the same order. Try over any
of the scales you wish, and you will find that you move up-
ward by the following degrees, in the following order : ( i )
a whole step, (2) a whole step, (3) a half-step, (4) a whole
step, (5) a whole step, (6) a whole step, (7) a half-step ; this
last bringing you to the octave of the note you started
from.
As earnestly as the soul demands that in the last act of a
play we shall see the villain sent to prison and the hero and
heroine locked in each othei *s arms, so our nature demands
this arrangement of tones, and when it says half-step or
8 THE MUSICAL GUIDE
whole step we must move so, or leave the key we started in
and take up another.
This explains why there is no black digital between the
notes, b-c, and e-f: the scale of C, which has no sharps
or flats, must still have its two half-steps at these points ;
there is accordingly no sharp or flat to be put there.
II
WE have now had a bird's-eye view of the natural
arrangement of tones, one at a time. But we
grow tired of one note at a time. Four men
singing along a midnight street or a picnic group riding
home in a moonstruck mood fall to singing favourite melo-
dies and naturally avoid singing in unison. They spon-
taneously sing in chords. These chords are formed in-
dividually and succeed one another according to certain
fundamental demands of the ear just as noticeably as the
tones of the scale followed a rigid pattern.
First, let us combine various tones. Take the middle
c' and strike this tone with the right thumb while another
finger strikes another tone above, c' and dt do not sound
well together, nor yet d and d'; c' and d'Jf (or e>) is not
unpleasant, but rather sombre (it is indeed a minor har-
mony, the interval c'-e'b being a minor third) ; c' and ef
make a pure, sweet concord, however. Let us keep c' and
e' and see if we can add another tone, c'-f- e'-f- f, is very
bad ; c'-j- e'-f- fU is also rough ; c'-f- e'-f- g' is very com-
fortable. We have now a three-tone chord, which we may
call a triad; it happens to be based on the ist, 3d and 5th
degrees of the scale.
Let us see if we can build triads on other tones of the
C scale. We find by trying all the combinations on the
note d', that while the triad d'-f-a' is pleasant but sombre
111
ic
I
'IE
3
AN INTRODUCTION TO MUSIC 9
(it is minor), the only clear harmony is d'-f JUa'; but as f #
does not belong to the scale of C, we cannot include it.
On the note e' we find e'-g'-b', minor, and e'-g'jhb' pleas-
ant ; this again is outlawed by the g$. On f, however, we
can form a triad f '-a'-c', which has no foreign chromatics
and is yet satisfying. On g' we find another triad, g -b'-d",
which is native to the C scale and which impels us strongly
to substitute the e" above for the d", and c'' for the b ;
when we have done this we find we have the chord c'-e'-g'
again, only now arranged diflferently, as g'-c^'-e'^
If we rearrange the chord on g' diflFerently, as b'-d"-g",
we shall be impelled to move on to c"-e"-g", which is
again our old friend the original triad on c' in its original
form.
This hankering after the original triad on the key-note
whenever we form a triad on the fifth tone of the scale, is
one of the most noteworthy and inescapable factors of the
chord-world.
But let us proceed with our triads ; on a' we find a'-<:"-e"
to be minor ; the major chord b'-dlf"-f If" is doubly ruled
out; while b'^"-f'' is doubly minor, the fifth (b'-f ") be-
ing imperfect and the third (b'-d") being minor.
It may be well to state here a handy way of telling the majority or minor-
ity of intervals ; imagine the lower note to be the key-note ; if the upper note
would occur in a major scale on that key-note its interval is major or diatonic.
Thus on b : the key of B has 5 sharps, £, c, g, d, and a ; both d and f are
sharp, therefore b-dfi-fti has neither interval major.
Looking back over the chords of the scale of C, we find
the only major triads to be those on c', f and g\ Since
that on g' is so urgent in demanding the main triad on C,
it is called the dominant triad, and the tone g is called the
dominant of the scale of C. f being beneath it is called sub-
dominant y and its chord the subdominant chord; the note c
lo THE MUSICAL GUIDE
being the foundation note of the whole scale and key ia
called the tonic {tonus being an old name for scale).
The principal chord-material of any scale is, then, made
up of the triads on the tonic (or ist), the dominant (or
5th) and the subdominant (or 4th).
Try another Key, F for instance, which has bl^. Aftei
testing all the combinations on the key-note or tonic f '
we find only f -a' W ; on g the triad, to be in the key,
must be g'-bV-d'' (since btr is a characteristic of the key
of F), and this is a minor chord ; a -c"-e" is also minor,
but b>-d"-f" is a major triad; it is indeed a chord on the
subdominant. We should expect also to find a major triad
on the dominant (which, in the key of F, is the tone c),
and so we find c"-e"-g", which we recognise as the tonic
chord of the scale of C. But strange to say it ofiFers no
repose in its new environment with the other chords of the
key of F ; on the contrary, we have an irresistible desire to
move on from it to c"-f -a" (the same as the key-chord or
tonic chord, f-a'-c", where we feel at home). The two re-
maining tones of the scale of F offer no satisfactory chords.
Let us try a key with one sharp in it, that is to say, the
key of G. Beginning on g' we find after groping about
that the only chord endurable is g'-b'-d''. Building triads
on all the,other tones, a, b, c, d, e and fit, we find all of them
outlawed as unpleasant or at least minor, except two, which
again, are on the subdominant and the dominant tones of the
J^ey of G, and are c"-e"-g", and d''-f 'Jt-a".
Taking the sum-total of the chords of these three keys,
e, f, and g, we have the following chords : (C) c-e-g, f-a-c,
g-b-d ; (F) f-a-c, bir-d-f, c-e-g ; (G) g-b-d, c-e-g, d-f If-a.
You will see that each of the two subordinate keys has two
of the chords of the key of C. This will be found the
case with any group of three keys similarly dififering only
by one sharp or ilat^ that is to say^ having their tonics a fifth.
n
AN INTRODUCTION TO MUSIC
above or below. On this account the keys based on t
dominant and subdominant tones of the scale of any giv)
key are said to be closely related in the first degree of r
lationship.
Add another fiat and another sharp, that is, take the k<
of Bt^ and the key of D, and we find the following prind
pal chords : (Bl^) bb -d-f, dr -g-btr and f-a-c ; (D) d-f If-i
g-b-d, a-cJ-e. Each of these keys has only one of th
chords belonging to the key of C. These keys are thei
related^ but only in the second degree
If we add three flats or three sharps and study the keyi
of Eb and A we find the chords (El^) eb-g-bb, ab c-d*
bb-d-f ; (A) a-cjf-e, d-flf-a, e-gjf bb. None of thesi
chords occur in C, and these keys are said to be remote from
it. On the other hand comparing Eb with the key which had
only a flats (Bb), we find that Eb has two chords belonging
to Bb. We also find that A has two of the chords belong-;
ing to the key with one sharp less, viz., D. We may!
generalise, then, by saying that the most closely related keyd
are those that differ by one flat or one sharp ; the next near«(
est relations are those differing by two flats or sharps.
III
HILE we arc on the subject of heredity tak4
another point of view of this family-tree :
The tone f , which is four steps above c', ij
called its subdominant ; on looking below the note c, we finq
another f, but where it was four tones above, it is five tone]
below. The Key of F has added one flat to the key of CJ
Counting five more whole steps down (always counting thj
note you began on as first) we find the note Bb. Thj
scale on that tone has yet another flat, two more than CJ
The tone a full fifth below (Eb) has; three flats. So wl
/
/
/
/
■^
12 THE MUSICAL GUIDE
find that moving downward by fifths we add one flat every
step. Ai^ has 4» Dt^ has 5, and Gb has 6 flats.
Now counting upwards from our starting point on c', we
find that the key based on the fifth (g'). adds one sharp ;
a fifth above G is D, a key with two sharps ; a fifth above
is A with three sharps, a fifth further is £ with four sharps,
and, as we continue, B with five sharps and Ft with six
sharps.
But the key of Ft on our piano or orean passes over
the very same digitals as the key of Gb, is identical with it
in fact. We have therefore been personally conducted
through the grand tour of keys by way of the circle of fifths y
twelve in all.
We see therefore that all keys are related, and by careful
procedure in chords a player can move through them all in
succession with the greatest smoothness. The more mod*
ern the composition the more widely does it rove from key
to key until in some works, Wagner's for instance, it is
sometimes hard to say Just what key we are driving at.
Instead of keeping to the iron rails of one key as earlier
music aimed to do, and only leaving the main line at cer-
tain definite set switches, the art has recently left the hard
and fast railroad and taken to the pathless waters where, to
use Wagner's words, it " swims in a sea of tone.'*
Some very formal minds grow speedily sea-sick and pre-
fer the rigid grooves of the older school. Each one to his
tastes. But the broadest mind will find pleasure both in
land-travel and sea-change, insisting only that the composer
shall have a plan and know what he is about, and not send
his locomotives slashing and sinking in the buxom waves,
nor drag his yacht gratingly along the hard ground. . Liv#
and let live is the best art motto.
One more point is worth noting in this increasingly im*
portant subject of key-relationships. Reverting for a mo*
AN INTRODUCTION TO MUSIC 13
ment to the key of C with its first cousins f and g» we find'
if we take the tonic triads of. the three keys and arrange
them as follows :
tonic,
I I T I .
subdominant dominant
These tones include the complete scale of C. So it will be
found of every key-scale that it contains within itself the
tonic triads of itself, of. its subdominant and its dominant
keys.
This scale and key principle is further justified by a
study of the mathematics and physics of music. And the
Relationship of Keys is given a still greater importance in
the more recent writers on the theory of music, especially in
Riemann's beautiful theory of clang-keys (see this word in
the Dictionary of Definitions).
IV
NOW that we have laboriously picked out our triads,
they will be feund more elastic than they look.
Take the triad c'-e -g', the tonic triad of the key
of C, which is now said to be in the root or first position,
c' being the root or generator of the triad. We can place
the C uppermost and have e'-g'-c", which is in effect the
same chord, though a chord is said to be inverted when
any note except its root is in the bass. The second inver-
sion places the fifth in the bass, as g'-c"-e" or g-c'-e'-^' or
g-e'-g'-c". These 3 positions are all we have for a 3 -tone
chord or triad. They can be sounded anywhere on the
key-board, however.
Still another possibility is to repeat some of these letter-
names, as to ROUA^ ^^ triad c'-e'-g' with the right hand
/
14 THE MUSICAL GUIDE
and touch the tone c an octave below with the left hand ;
or the tones c-g with the left hand and e'-g'-c" with the
right. This process called doubling may be carried on in-
definitely. In a piano-duet, sometimes twenty notes or
more are struck, all of them repetitions of the inner kernel
or triad of three notes.
Strike the left hand note c first, then the right hand
triad c'-e-'g' twice ; then strike the note f with the left
hand and the subdominant triad c'-f-a' twice, now c and
the tonic triad again; then strike g.with the left hand and
the dominant triad b-d'-g' twice ; and return finally to C
and the tonic triad. This little plot in three instalments
constitutes the whole harmonic accompaniment of many
a modern popular song and many an old work of classic
reputation.
You can usually tell the key of a song by humming it
and picking out on the piano or organ its very last note;
nine times in ten this will be the tonic or homenote of
the composition. Suppose this to be Bt^. How shall
one find chords to accompany it ? Build a major triad on
b^; it will be bl^-d'-f; build a triad on the dominant or
fifth (f), f-a'-c'' ; build another on the subdominant or
fourth (eb), e'b -g-b>. Play these three notes (BIr, f,
eb) with the left hand, and use triads with the right, re-
arranging the three notes in any of the inversions as they
run most smoothly into one another. Your ear will help
you find the right order of the chords. This will serve as
a recipe for easy accompaniments.
More elaborate songs rove through so many keys with
so little warning that only trained ears and hands can pick
out their accompaniment ; but it will clear up a deal of the
construction of music if you will take some simple tune and
study out its accompaniment on these lines, however pain-
ful the operation may be to yourself and your neighbors-
AN INTRODUCTION TO MUSIC 15
(Familiar songs requiring only these three chords are " The
Star Spangled Banner," " God Save the Queen," " Home
Sweet Home," " Suwanee River," " Dixie," etc., and most
of the hymn-tunes.)
BUT the simple triads grow monotonous, and it is
desirable, if possible, to enrich them. Take the
all important dominant triad of the key of C
(namely, g'-b'-d") and see if we can lay another third on
top of it like a musical brick. The next major third above
d" is r$. But fa does not belong to the key of C. The
minor third f'Bdoes beautifully, however, and we have a
wrarm rich chord which more than ever goads us on to the
tonic triad; the g' holding over, the b' and the d" both
merging into c", and the f" subsiding blissfully into e".
A chord of 4 tones is called a chord of the seventh or
seventh chords because the interval between the first and last
tones is a seventh (g -f ')• This chord, g'-b'-d"-f ", is %
dominant 7th, then. If we wish, we can add another third,
a", and make a chord g-b-d-f-a, called a ninth chord. The
dominant 7th, however, is far the more useful. In fact it
is the most energetic chord in all music, and whatever key
you may be in, if you stray into the dominant seventh of a
foreign key, it drags you along eagerly and hales you into
that foreign key to which it belongs and for which it is a
most eager usher.
This seventh chord, pleasant as it is, is only a go-
between, it offers no point of repose, but requires an almost
immediate dissolution into another chord. The musical
term for one of these restless chords is dissonance ; the mu-
sical term for the necessity and process of mei^ing it into
another is called resolution. The word dissonant does not
i6 THE MUSICAL GUIDE
necessarily mean " ugly " or " harsh " in music, but merely
implies lack of stability.
This dominant 7th chord has magical powers for transi-
tion. Take the tonic triad of the key of C major in the
second inversion, that is, touch s with the left hand and
e'-g'-c" with the right. Now lift the finger off the upper
g' and place it on b1^. Instantly you find it undesirable
to go back to the c'-e'-g' triad and you are impelled to
lower that b'b to a', bring the e' up to f ', keep the c" where
it is and lower the g in the left hand to f. Now you feel
at rest ; if you will pause and look, you will find that the
h% which is characteristic of the key of F, has led you into
the triad f-a'-c", which is the tonic triad of the key of F.
If you revert to the state of affairs existing when that for-
eigner b'b entered the peaceful key of C, you will find that
the chord formed by its entrance could be arranged to read
c'-e'-g -blr. This is a 7th chord on the tone c. But
while the tone c' is tonic of the key of C, it is the fifth or
dominant of the key of F. Yet, though this 7th chord was
built on the tonic of C, as it happened to be the dominant
of F, it forced the key over into the tonality of F. This
is the case with every dominant 7th chord.
It is possible by a slight diversion to throw the resohi-
tion of the chord into other keys, but this always comes as
a surprise to the hearer. It may be justified and it may be
pleasurable, but it is a surprise, and m a sense abnormal.
Gping back to the first formation of the 7th chord, it
will be found that the 7th chord, on other tones than the
dominant, are rather murky or evMi distressing. These
are called secondary jths and must be handled in gingerly
manner.
AN INTRODUCTION TO MUSIC 17
N
VI
O W if we take our dominant 7th of the key of C,
that is, g -b'-d"-f '', and raise the e' a half-step
so that the chord reads g'jf b'-d' -f ' , it will most
naturally resolve itself into this chord, a'-c"-e", a sombre
chord which is minor because its third fi-om a-< is minor
(the major third being a-cK, as c$ would be characteristic
of the key of A). This chord, a'-c"-e", has the look of a
chord in the key of C, but it seems to offer a sense of de-
jected repose and makes no demand for progress to the
tonic chord, c'-e'-g'. We arrived at this chord by way of
a curious chord with ft] but gtt. The chord g'— b'-<i -f ''
had been a minor 7th (the interval from g' to f ' being less
than the major interval, which would be g' to fit), but this
chord, g'Jt-b'-d' -f ", is even narrower than minor. It if
hence called a diminished yth chord.
We have been led to believe that the first sharp of a
major key was f, and that c followed, then g. This is true
of a major key, but here we are under a different flag.
You can construct a scale out of these two chords, the
diminished 7th and its resolution, and gjf-b-d-f ; a-c-e
gives us a-b-c-d-e-f-glj-a as an octave scale. This scale,
which is closely related to the C miajor scale, is founded on
a', which is a minor third below c \ So it will be found
that every major key has one of these disappointed relative
keys a minor third below and differing from it, for har-
monic purposes, only in the fact that the 7th tone of this
minor scale is raised a half-step above the tone of the same
name in the major scale (in the scale of A minor, the 7th
tone, gjf, is the only tone foreign to the scale of C major,
and it is a half-tone higher than the tone g; the key of
•rfH
18 THE MUSICAL GUIDE
C minor corresponds exactly with the major key a minor
t/iird above, that is E[^, except that where b is flattened
in the key of Eb major, it is made natural in the scale of
C minor). This /s the case with every major and minor
key; the related minor key is a minor third below and
raises the 7th tone of its major scale a half-step (as g to
gS; e|r to et]). Thus far we have concerned ourselves
only with major scales, keys and intervals. But life would
be very monotonous if it were all sunshine, blue sky and
laughter. Music could not represent or stimulate human
emotion, as it does, without a large armoury of sombre
colours, bitter dissonances and, in place of a sense of cheer-
ful repose, a feeling of resigned despair. These purposes
are subserved by the minor key.
In looking at scales and intervals we find that certain of
the intervals were to be distinguished as " greater " and
" lesser." The Latin words meaning greater and lesSer are
major and minor. (And as the mediaeval Latinity of the Cath-
olic Church was the fountain-head of modern music, many
of its terms persist.) On the major scale there were indeed
four minor triads to only three major. There is abundance
of minor material then in music. Its arrangement into
scales and keys cannot be so easily explained as that of the
major mode ; indeed upon this subject scientists are mutu-
rlly discordant and commonly as " troubled " (betriibt) as
the great musical scientist Helmholtz found the minor scale
itself.
Where doctors disagree, the layman would do best to pass
by on the other side. Let us take the minor keys as we
find them and thank Heaven for their existence as mirrors
to the chillier, grayer moods of the mind. Music has in^
deed laid up something for a rainy day.
To go any further into the construction of chords would
}^ tp write a text-book pn jtjarmony.
AN INTRODUCTION TO MUSIC 19
Those who wish to pursue the subject of chord construction and progres-
sion will find fiirther information in such ardcles as Chords Harmony »
Thorough-bass, Parallel, Covered, Andcipadon, Suspension, Interval, Al-
tered, etc., in the Dicdonary of Definitions.
VII
GIVEN the scales for melody and the chords for
harmony, with an unlimited variety of progres-
sions, the subject of rhythm enters. There
was a time when the music of the scholars was all in notes
of equal length; such music was well called plain-song
{planus meaning literally " smooth "). But popular instinct
and popular music still had drum-rhythms and dances and
finally forced the music of the scholars to return to hu-
manity ; and so-called mensurable (i. e., measurable) music
began.
The definition of rhythm is so native and instinctive in
everyone that it would be impertinence to foist it on the
reader. It is to be noted, however, that in music it de-
pends on the relative accent and duration of notes follow-
ing a pattern more or less closely. The rhythm of a com-
position can be expressed by thumping it on a table with
your fingers, for rhythm is independent of height or low-
ness of the tone and the volume of sound. Strum out in
this way such tunes as " Comin* Thro' the Rye," " Yankee
Doodle," « We Won't Go Home Until Morning," or the
like, or airs of more dignity. If you mark the accents
forcefully, the regularity of the rhythmical pattern be-
comes evident, and almost as monotonous as certain styles
of wall-paper. If you tap with the left hand a regular beat
like a clock's, only faster, the rhythm of the air will assume
new vividness.
Take " Comin' Thro' the Rye " for example, the rhythm
20 THE MUSICAL GUIDE
could be expressed by underlining with the right hand a
series of numbers to be ticked off by the left hand :
If a bod-y meet a bod - y com - in* thro' the rye
1-2, 8, 4-6, 6, 7-8, 9, 10-11, 12, 18-14, 16, 16-17, 18, 19, 20, 21, 22, 28, 24.
If a bod-y kiss a bod-y need a bod-y cry— ^
25-26, 27, 28-29, 80, 81-82, 88, 84-86, 86, 87-88, M, 40-41, 42, 48,44,46,46, 47, 48
This covers two lines of the song, the rest of which fol-
lows the same model. We find 48 beats in the two lines
of verse, 24 to each line. The rhythm is almost exactly
stencilled all the way through ; it begins over again, after
every sixth count, each 7th count having a marked accent,
the 4th of each group of 6 having a lighter accent. If,
since the rhythm is the same, we simply repeat the first 6
numerals and cut off with a line every group of 6, we shall
have the song pictured in as simple a pattern as that of the
maid's own print gown.
If a body meet a body com-in* thro' the rye
/1-2, 8, 4, 6, 6/l-£, 8, 4-6, 6/1-^ 8, 4-6, 6 / 1, 2, 8, 4, 5, 6/
Call each of these groups a measure^ the slanted line a
bar^ take a certain time or ^^/^-value as the unit in place of
these numbers and you will have the musical terminology.
As the notes are short the quick eighth note (one- eighth of
a whole note) may be taken as the unit ; there are 6 of
these in each measure, and the time of the song is said to
be six-eighths or 6-8 time. This is a combination of triple
and duple rhythm, for» while each measure contains 6
counts, these counts are divided into two groups of three
each and there are two accents to each measure, conse-
quently 6—8 time is sometimes used for marches.
But the typical march time for marches (as well as for
many other moods, as " Auld lang syne," etc.) is, as you
will find, divisible into measures or 4 counts each^ with tvfo
AN INTRODUCTION TO MUSIC 21
accents to each measure. As the whole note is taken as the
whole extent of each measure, the presence of four beats to
the measure gives each beat a fourth or quarter-note value.
It is therefore called 4—4 Ume, or simply common^Hme. Very
quick marches are sometimes written in 2-4 time with one
beat to the measure. Waltzes are written with 3 beats and
only one accent to the measure. This time is called 3—4
time. Other rhythms are 3-2, a slow time (with 3 half-
notes and 3 accents to the measure) ; 3-8 time (a light
quick time with 3 eighth notes and one accent to the meas-
ure) ; 6~4 time (a slower form of 6-8 -measure, differing from
3-2 only in having two accents to the measure) ; 9-8 (with
9 eighth notes and 3 accents), &c. (v. article on Time).
VIII
NO way of submitting music to the all-devouring
decimal system has yet been brought into play.
The measure-notes are all multiples of 2 and 4 ;
whole notes, half^ quarter, 8th, i6th, 3 2d, and 64th notes.
The larger divisions of music also fail to follow the ded->
mal system. In the analysis of "Comin* Thro' the Rye"
the measures themselves can be collected into groups of 2,
4 and 8. . There is a slight pause after every other meas^-
ure, a perceptible pause at tne end of the 4th measure, a '
longer pause at the end of the 8th. The next group of 8
measures is likewise divisible into groups of 2 and 4.
This quality of divisibility into 4 and 8 measures is a
fundamental law of musical structure. Because it is such a
law many composers strive to hide its nakedness or re-shape
it :to special purposes, but these are exceptions which by
their very sense of noveltv «nd oddity prove and emphasise
the Keniciral mle^
22 THE MUSICAL GUIDE
A group of eight measures is called a period; this period
contains two phrases of four measures each ; each phrase
contains two sections^ of 2 measures ; and each section is
generally divisible into its melodic or rhythmic motive or
subject. The sone " Comin' Thro' the Rye " is especially
clean-cut in its divisions. They correspond in spirit to the
comma, semicolon, colon and period of ordinary prose,
but occur with far more regularity. Frequently the periods
themselves can be collected into latter groups or compound
periods corresponding to pan^raphs. The first accent of a
measure has a stronger accent than the second or third. So
the first accent of the first measure of a period should re-
ceive a greater stress than the first accent of the first meas*
ure of a phrase, and so on. In the proper distribution oi
accents lies the larger part of musical punctuation, or^ as it
is calledi phrasing.
IX
IN the first group of 8 measures of ** Comin* Thro* die
Rye ** there is a general upward tendency to the
melody. The second period ht^ns on a high note
(at the words *Mlka body") and has a downward ten*
dency. This desire for a contrast is at the root of all
musical form. This song is condensed even beyond the
usual popular form, partly because of the stanza-form of
its poetry. ** The Last Rose of Summer *' fulfils the typical
song-form which contsuns a iheme of one or more penods,
followed by a contrasting or subsidiary theme of one or more
periods, the song concluding with a repetition of the first
or principal theme. Practically the same idea governs the
typical dance-form though the themes are likely to be more
elaborate and the second theme is still stupidly called a irio
(fix>m the fiict that it was actually in old times g^ven to a
AN INTRODUCTION TO MUSIC 23
trio of instruments in order to contrast its simple song-like
manner with the more ornate and broken progress of the
principal theme).
It would naturally occur to composers seeking variety ,
to put this subsidiary theme into a different key, to empha*
sise the contrast. The key naturally chosen would be a
closely related key. This is usually the case, and the con*
trast of keys is a most important part of classic forms.
The elaboration or variation ot the themes in a way to
show off the composer's scholarship and clevernesSj was
also as inevitable as human pride in skill.
The word variations has, m the general mind, a thought
of " The Old Oaken Bucket " and " Nearer my God to
Thee " " with variations." " f^ariations " is an incorrect
word here; the proper term for these cheap and gaudy
works beine embellishments^ for the air is simply made a
trellis for all manner of running vines and frippery.
The true variation of a theme is its genume manipula-
tion. Take the first 1 measures of •*Comin* Thro* the
Rye" as a theme; i.e., the notes to the words **Gin a
body meet a body/' sit down again before the piano and
play this theme, picking out the notes as indicated from
their letter-names as shown in the Chart.
Suppose the notes to be placed^-
A', c', c', e V, d', c', d', eVg g a g /c'.
If with the right hand you play the theme as indicated, and
shortly after follow in with the left hand (as you would fol-
low the leading voice in singing such a round as '^ Three
Blind Mice''), you will use the frequent device called for
evident reasons imitation, as here :
Right hand/C c' c' eVd' c' d' eVg g a g/c'- - -/&c
Ldft hand / / ■■■■ /c c c c/d c d e/&c
24 THE MUSICAL GUIDE
This is imitation at the octave and at two measures' dis-'
tance ; imitation may be at a different interval and distance^
at thefifthy for instance :
Right hand / c' c' c' e / d' c' d' eV &c
Left hand /- /f f f a/&c .
Imitation need not be so strict as this; it may h^free^
the intervals being slightly changed to enrich the harmony,
for it is not every air that can be treated smoothly and strict*
ly at the same time. Here, for instance, the a in the left
hand might be reduced to a g. Imitation in the orchestra
has vast scope. The trombones may proclaim a splendid
phrase which the oboes will cackle over ludicrously, the
flutes whistle gaily, the clarinets echo gurgingly, the 'cellos
bemoan nasally, and the violins murmur deliciously.
But in piano or organ composition, imitation is more
restricted. Sometimes a composer in mathematical mood
will set an elaborate air jogging, and when it has gone a few
spaces along, will start after it its very double. The two
will race like twin snakes.
When the imitation is exact, whole step by whole step,
skip by skip, whole note by whole note, and half-note by
half*note, the composition is said to be a canon. The canon
may set more than two snakes wriggling swiftly along at
always the same distance from head to head. Fugue is
only a special form of composition in which the canon plays
a large part, the word ^^fuga " meaning " flight"
AN INTRODUCTION TO MUSIC 25
THE devices for varying a theme are infinite. It
can be played in longer notes while another theme
chosen from another part of the song ripples
about it ; or the duration of the notes can be shortened.
The new treatment of a theme by lengthening its notes
is called augmentation ; the shortening of the notes is dimi'-
nutian.
The upper of two themes can be made the lower at dif-
ferent intervals than the octave; this is called inversion.
Another form of inversion is the turning of a theme upside
down, so that whenever it went up before, it goes down
now, and vice versa ; this is imitation by contrary motion.
A theme can be picked to pieces and different frag-
ments of it tossed to and fi-o with the skill of a juggler (and
about as much importance). The first 4 notes of " Comin*
Thro' the Rye *' could be taken as a figure and repeated.
Thus:
c' c' c' e', c' e' c' g'jfc g'« g'j g'jf b', etc
This would be called a sequence. The themes could be
played in octaves, or in vaned and key-changing chords as •*
If a bod -y
c^-g-c% f-ab-c', g-bb-c% g-bb-c'
It could be ornamented as :
If a bod ^y
t'l c 9 d!^ c', b , c , d\ c', e', e', e', t\
16 THE MUSICAL GUIDE
In fact, there is no hinting here the dissection and recon*
struction of which a theme is capable. As opposed to a
melodious or lyric treatment, this method is called thematic.
Common names for this sort of treatment are " develop-
ment, elaboration, variation, working-out, free fantasy,"
&c., &c., the Germans calling it Durchfiihrung, ^' going
through."
XI
THE highest and noblest form of strictly academic
and formal composition is the sonata^ for the
symphony is only a sonata for orchestra. We
have now arrived hastily at a point where a rough explana-
tion of this form is possible.
This is the way you should set about writing a sonata,
or rather, one of the ways, for the sonata is elastic and
has some room for individual tastes.
First you select a melody, one with an elocutionary and
sententious manner, and containing many good texts to
develop. You write it out plainly and emphatically in the
key that suits it best. As a sidelight and a foil you se-
lect some more lyrical and song-like air, and for contrast
you put it in another key, naturally one of the related keys,
most naturally the nearest related key, or the dominant.
Or you might put the second melody in the relative minor.
Having stated your two subjects, you may choose to repeat
them word for word, or note for note, so that there shall be
no mistaking them ; you may then add a concluding reflec-
tion more or less elaborate. This is the first section of the
sonata.
Having stated the two texts, the principal and the subside
iary, you now propose to show their true profoundness,
and your own true skill as an orator. You employ the de^
AN INTRODUCTION TO MUSIC 27
vices of elaboration mentioned above, and you play battle-
dore and shuttlecock with the two themes in all the keys
you msh till they fly to pieces ; then you juggle the pieces;
you modulate from grave to gay; from cold to tropical,
from whisper to shriek, from insinuation to fervid appeal,
from metaphor to homely paraphrase ; in fact, you invoke
every art and artifice you can borrow from the schools
or can find in the promptings of your own emotions.
When you have exhausted all the devices propriety or your
knowledge permits, you have finished the second section of
the sonata, the so-called Working-out, or Development, or
Free Fantasy, or Elaboration.
The third section consists of a re-statement of the first
theme in the original or tonic key, followed by the second
theme, not in its related key, but now in the same key as the
first themcy in order that a definite key may be left in the
mind to give an effect of unity. A short peroration or
coda ends the sermon like a welcome benediction.
This is what is strictly called the sonata form. It is
reasonable and based on a natural and artistic arrangement
of ideas and their development.
The sonata is not complete in this one composition, ot
movement as it is called. Three or usually four contrasted
movements are strung together. They usually have some
faint suggestion of similarity of theme, but variety of mood
and key is the chief endeavor. A slow movement (called
from its slowness by one of the Italian words meaning
" slow " — ^Andante, lento, largo), marked by deep pathos
or tragedy, usually follows the passionate outburst. Then
comes a lighter mood in one or two movements in the form
of (a) an optimistic and prettily braided Rondo with one
chief theme and two attendant themes ; (b) a gallant Min-
uet ; or (c) a witty and jocose scherzo.
The sonata ends witn a Finale of stormy and brilliant
28 THE MUSICAL GUIDE
character generally built on the same scheme as the first
movement and written in the same key.
The whole group of three or four movements makes up
a sonata. The first movement of the sonata is often also
called the " sonata-form."
An overture (excepting one that is a medley of airs)
is merely the first movement of a sonata, written out for
an orchestra. A symphony is merely a whole sonata written
to take advantage of the enlarged opportunities of a great
orchestra of from 50 to 120 instruments. The sonata-
formula is also the basis of the string^quartety -quintet, etc.,
and of concertos for solo instruments with orchestra.
A symphonic poem is a symphony only in the breadth of
its orchestration and its high demands. Like many smaller
forms it forsakes the somewhat rigid arrangement of the
sonata and other classical forms and lets the moods or the
story it tells furnish the programme of musical events. A
composition which has some programme other than the
classic arrangement of keys and sections ; — z, programme for
instance representing musically a storm or the tragedy of
" Romeo and Juliet " — such a composition is said to be
programme music. In its worst form, when programme
music descends to cheap and unconvincing imitations of
natural sounds instead of contenting itself with an artistic
suggestion of them to the hearers' imagination, such music,
if music it can be called, becomes quite as hopeless trash as
that school of niusic which stoops to cheap and unconvinc*
ing imitations of classical masters and parrots devices which
only the original spontaneity of the old master himself can
keep alive. But generalisations are vain. What is poison
as one man serves it up, is meat from another's hands.
One failure or one triumph no more makes a rule than on»
bluebird brings the spring.
AN INTRODUCTION TO MUSIC 29
This hasty and incomplete sketch will have failed in its
purpose if it leads its reader to the delusion that he need
investigate no further the real mysteries of the art of
music ; if it lead to the delusion that because the art is
founded on certain physical laws of inner and outer nat-
ure, the artistic imagination is to be hobbled to them ; or if
it lead to the delusion that any one form, symmetrical or
natural soever, can suffice for all generations or all moods,
or that any school of masters can hope to embody all that
is good and solid in the art.
The classic masters were once living, breathing, passion-
ate young artists, impatient of precedent and breaking rules
for sheer pleasure as wanton boys smash windows. He
who approaches them with intelligence and sympathy will
find them still made of bone and blood, sinew and spirit.
But once he has had the inestimable delight of their ac-
quaintance, he must, above all things, avoid the belief that art
and glory died with them. He should approach every new
work, howsoever startling, with a readiness to be convinced
that the new trumpeter, standing on the outer hilltop which
we thought was the rim of the art, may, after all, be looking
into a further world and be proclaiming to us new fields and
streams, and a new horizon. And though his music may
seem strange, blatant and incoherent to us at first, per-
haps the fault is not with him, nor with us, but only with
the great new wonder-land he sees beyond.
Music, like any other^ living speech, is always growing
and must always be newly studied. If we would not have
it a dead language we must be prepared for change, and be
willing to learn. •
^f)t Rational ^tjbools:
Five Essays
h
iRENiEUS Prime-Stevenson
With an Appendix on
the American School by the Editor
Italian Music
WHATEVER currents of emorion, or of the me-
chanics of music, have varied and developed the
art in Italy, two traits have been fundamental to
distinctively Italianistic compositions — in each instance ap-
parently spontaneous vital pulsations and principles. The
first is the notion that without melody — especially sensuous,
warm, obvious melody — music has no eloquence for the
heart, no matter how admirable the harmonic structure may
be. The second trait is lyricalism — the tendency to keep
music ever in touch with the art of actual song, with the ex-
pressiveness that the human voice alone can afford.
It is true that in view of many widening phases of Italian
musical genius we cannot claim that on these two command*
ments have hung all the law and the prophets which set
Italy to creating for the rest of the world the most recently
perfected of the arts ; that gave Italy her long-time sov-
ereignty in music ; even now distinguish her in it. Still,
they are the quintessence of Italianism in all "schools"
and phases really reproductive. Let us note, along with
these two general Italian concepts of music, the tendency
to unite melodic beauty with melodic strength, a feminine.
lO
THE NATIONAL SCHOOLS 31
not a masculine, emotionality and melodiousness, and a
failure, first and last, to reach in abstract music that inter-
est and dignity which Germany, Austria, France, Scan-
dinavia, and Russia have achieved. Thus we have two
other salient Italian traits before us. The Italian " schools "
of music, not excluding even the lofty ecclesiastical com-
posers, if compared with the workers in the North, stand
tor Music as a thing of mere human heart and nerves and
artless passion as contrasted with a vaguer, more mystic
psychologic message. Only Italy could produce a Rossini
or a Verdi ; we cannot think of an Italian Bach, Bee-
thoven, or Brahms ; and vice versa the feeling holds good.
It is logical, therefore, that we find Italy to be really
shining in only two rbrms of music. Both are her own
special discoveries, or re-creation. The first is polyphonic
church-music. The second is opera. Neither of^ these
forms is of the more abstract and independent utterances
of the art. But in each instance Italy has never been sur-
passed in dealing with them, either in principles or prac-
tice, and it is not likely that she ever will be, rill music as a
science and as an emotion is revolutionised. Let us add,
in passing, that a third form — also lyric — is also Italy's di-
rect invention, the sacred oratorio. But her accents in ora-
torio, as in her early developments of almost all other kinds
of music, have been so outdone by French and German
musicians that the Italian oratorio is to-day a fact for the
student, not the auditor.
It would be as impossible to essay even a general histor-
ical sketch of Italy in music in a few pages, as to condense
the story of Italian painting into equally few paragraphs.
In Italy, the modern ideas of music, sacred or secular, all
found creation or resurrection. All the rest of the world
owes the art, as it is to-day, to one or another phase of
Italy's early intense sensibility to it. Perhaps, indeedi
I
32 THE MUSICAL GUIDE
music is the Italian art, in chief, rather than any other. Out
of the mists of the early Christian Era, out of the thunders
of mediaeval wars and sieges, come to us the harsh but noble
chants of Saint Ambrose of Milan (a.d, ^iTiZ^Z^l) ^^^ ^^
Pope Gregory the Great (540-604) ; and as we reach the
fifteenth and sixteenth centuries, we hear, clear and full,
some of the most magnificent and pure church-song ever
written, in the masses, motets, anthems, psalms and other
great polyphonic works by the Roman masters of vocal scor-
ing, Palestrina (1524 ?-i594), and Allegri (i56o-i65!2) and
their contemporaries. At the same time, sacred oratorios
began under Cavalieri (1550-15 — ) a course to which in a
course of aoo years Handel, Haydn, and Mendelssohn were
to give such dignity. But the great burst of Italian church-
music occurs after the beginning of the seventeenth century,
when Carissimi (i 604-1 674), the Venetian Marcello (1686-
I739),the Neapolitans Durante(i684-i755)and Leo(i694-
1746), Pergolesi (1710-1736), Jommelli of Naples (1714-
1744) and Scarlatti, the Sicilian (1659-1725), shone out as
suns in Italian church-music, by styles and principles not
yet weakened. Thereafter, however, Italian church*music
declined in excellence ; and save for a few special and rela-
tively recent works by Zingarelli, Rossini, and Verdi
(quite of other voice and structure), its message has finished.
In early instrumental composition Domenico Scarlatti of
Naples (i 683-1 757) is of mark.
Opera, as has been observed, presents the phase of Italian
genius in music at its most prolific, most powerful and — ap-
parently— ^most natural eloquence. As is well known, it was
in trying to revive old Greek drama, with its musical ele-
ment, that, in 168 1, a group of wealthy Italian dilettanti
originated modern lyric drama. Under Caccini and Peri,
by the broader ideas of Monteverde, Lotti, and others, the
structure of opera became firm. In Alessandro Scarlatti,
Pergolesi, Sacchini, and Piccini — ^mostly southern Italians-'^
THE NATIONAL SCHOOLS 33
an enormous Italian operatic growth occurred ; soon trans*^
formed or grafted to France, Germany and Austria. The
consummation of the classical Italian opera appears in the
Austrian Mozart, whose operatic voice is — fundamentally
— Italian. From this point we pass, in Italian opera, to the
gpreater modernists and romanticists, always Italian in their
concept of opera, whatever their actual birth or locality —
Paesiello, Cimarosa, Salieri, Zingarelli, Spontini, Rossini,
Donizetti, Bellini^ Mercadante, mostly Neapolitan or of
meridional Italy. Their works have given place, in large
measure, to the Contemporary School of Italian Opera,
strikingly eclectic and much influenced for better or worse by
Northern phases. The supremest and noblest figure here
met is the gigandc Verdi (1813-1901), beyond doubt, one
of the most astonishing and consummate emotional com-
posers in all the story of music. Verdi is elsewhere in this
book so fiilly treated, as are Rossini, Donizetti and Bellini,
as to need no long essay here on his merits and career. Of
his contemporaries, especially of what we may call the Neo-
Italian " School ** of operatic writing, the most important
are Ponchielli, Boito, Cagnoni^ Gomez, Puccini, Franchetti,
Ciita and Giordano; with less distinct merits attaching to two
other much advertised names, Mascagni and Leoncavallo.
At present, Italy is, beyond doubt, in the same plight
of musical decadence (creatively estimated and measured
by her past importance) as is almost every other land and
race in the art. Only in opera has the Italian composer
to-day a really attractive, spontaneous musical communi-
cation. For we can scarcely think that the few superior
Italian symphonists and pianoforte writers are of general
and real significance. Whether Italy can give any further
impetus, indeed, to a form of art that appears to be thought-
out and written-out is a question : but if the Italian fail to-
day in his aesthetics it is easy to forgive the failure, consid*
ering his splendidly Hellenic utterances in the past.
34 THE MUSICAL GUIDE
German Music
No other art is so indebted to distinctively Teutonic
influences, no other art has been so civilised and
dignified by the German minds and by the Ger-
man temperaments as music. A special office of the Teu-
tonic soul seems to be the bringing of intellect to bear on all
those things for which it possesses emotional receptiveness
and creative power. It is true that this very tendency some-
times ties down the wings of Pegasus, and dulls the lyre of
this or that muse. Sensuous beauty can be the less in its
being Germanized. But we can forgive the turgidness and
clumsiness that come often as if in an intellectual extreme,
when we think of Peter Fischer, of Albrecht DUrer, of the
architects who have built the Cologne Cathedral or St. Ste-
phen's, and of that sparkling galaxy of musicians whose
names are peculiarly linked to Austria — Haydn, Mozart,
Gluck, Beethoven, Schubert and Brahms ; and of the more
strictly Gorman group that shows us as central figures Bach.
Handel, Mendelssohn, Weber, Schumann, and Wagner.
Whenever we ask ourselves what constitutes distinctive-
ly the high and true German school of musical creative-
ness, we are face to face with the same concept and result :
the making of music an intellectual matter ; a psychologi-
cal thing to a degree not originative in any other country.
The passion and fire of Italy's idea of music, as well as her
lighter sensuousness in it, these are seized by the German
heart and made into something deeper and more eloquent.
The dance-forms of the South are transformed to a Cia-
conna by Bach, a Minuet in Mozart's G minor symphony,
or to the mystery of a Scherzo in Beethoven's terrific utter-
ance. The symphony in German and Austrian concert-halls
reached the supreme disclosure of music yet known to us.
The love-ditties that merrily sighed or prattled or Ian-
THE NATIONAL SCHOOLS 35
guished, alia mandolinatay in less serious lands, grew under
the hand of Schubert and Schumann to be outcries from
the world's heart, A romantic ballad could reach the
height of tragedy, when Lowe gave it German voice. As
for opera, Mozart so infused Italian principles with the
force of his dramatic instinct as to give the world three
consummate advances on all Italian models preceding, ad-
vances beyond which music in operatic conditions never
has gone and never can go. Beethoven speaks with the
soul forever in the three acts of " Fidelio." Weber and
Marschner have built up the structure of a truly German-
romantic opera to perfect effect. Wagner has brought into
an absolutely stupendous demonstration a group of theories
as to the lyric-dramatic opera — theories which, with all their
error of expression even from so great a workman, are of
Psychological power overwhelming to the mass of opera-
earers to-day (not necessarily even musical) and which
have indeed put a period for the time to any new phase of
opera as drama.
In church-music and in religious music (to use a false
term) the Germans and the German-Austrians have said
what no other schools seem to have conceived in any eccle-
siastic or devotional or spiritually reflective connection. The
suave beauty of Italian polyphony as we find it in the
church-music of Palestrina and Leo and of Marcello and
Pergolesi grows colourless when our ears contrast it with
the Mass in B minor of Bach and the D minor Mass of
Beethoven. True, a lovely and devout Italianism created
oratorio; but it was left tor Handel to write "Israel in
Egypt " and the " Messiah," and for Mendelssohn to con-
summate such a form of musical and of religious receptive-
ness as " Elijah."
In fact it is through a subtle appeal to the very core and
tssence of human nature just as it is, just as we meet it daily
36 THE MUSICAL GUIDE
about us, as we know it to be struggling or repressed in our
very selves, in our heart of hearts, that the German school
has so influenced music. Its voice is the voice of mystic
humanity in us ; and something more. Haydn, Mozart,
Gluck, Beethoven, Schumann, Schubert, and Brahms have
not degraded music in relation to our merely artistic ideal
of it. They have not laid violent hands on it as art, and
wrested it away from its earlier mysteriousness. They have
brought it near to us by a wonderful natural gift and in-
sight. But they have made music psychologically as near-
ly an articulate and organic thing as it is possible to make
it.. From Bach to the second Johann Strauss this is out
of question. There is no clear outlook at present for any
further mastery over it — mystic and ever-elusive art that
it is — none for any more articulate soul messages. The
German has entered within the holy of holies of musical
art. To him has been granted the freest foot in its vague
realm yet granted to any mortal.
Whether after such a glorious and dominant past the
German is likely to go further for us than he has already
done, we may well believe is not in the bounds of even the
most thoughtful and the most psychologic of prophets in
aesthetics to decide for us. All the future of music is at
present a strange problem. We are certainly swinging back
to the highest ideals and the truest expressions of them, in
such large measure the express embodiments of German
composers. We do so daily not only because the " Ger-
man " symphony, concert overture, concerto, string quartet,
pianoforte sonata, song, oratorio and opera are what they
are, but because with the departure from the world of the
last set of greater " German " composers a twilight seems
to be settling down over all mortal musical creativeness.
The youngest, the most suddenly and prodigally flores-
cent of all aesthetics, seems to demand a time of silence, of
THE NATIONAL SCHOOLS 37
repose, ot inaction. It seems to say, " I have done enough
for awhile, I have given you enough for awhile. Let me
sleep for a century or more." And such being music's
good pleasure, we cannot deny that the German mind and
temperament have given the most beautiful and solemn
" last word " the art has published.
French Music
iHE history and scholastic aspects of France in
music are ake the relationship of France to the .de-
velopment of the sister arts — of painting, of archi-
tecture, of sculpture, and even of literature. We do not find
the gift of high origination— -of invention — of striking out a
new ground of principles — fresh forms and phrase. Instead,
we find that the mission of the French composers from the
first fruits of their musical creativeness (often so lavish and
rich) to our own day has been to clarify, to refine, to suggest,
often to imitate with a most subtle and elegant technical
mprovement, what Germany and Italy may have invented
in one or another form, but have not carried out in the
same degree of a lucid and logical eloquence. More than
that, in several of the most dignified forms of music,, in
that music which approaches the abstract, as the symphony
and the deepest expressiveness of chamber-music approach
it, we find France has ever been singularly lacking in her
contributions ; and has not only made no advance on the
same foundation, no successful rivalry, but has distinctly
failed to take a firm place and to win universal recognition.
Between the symphonies of Mozart or Beethoven and
those of Saint-Saens or Franck; between the songs of
Schubert and Brahms and the lyrics of Godard and Mas-
senet, from the string quartets of Haydn or Smetana to
38 THE MUSICAL GUIDE
the best works of the Gallic hand, there is a long musical
distance ; and in sonata-writing for the pianoforte the
French temperament has not in any wise distinguished
itself.
The French troubadour (corresponding to the minne-
singer of Germany's early musical day), a development un-
der Italian influences in the South of France, is now a
romantic and venerable figure before us as we study the
mediaeval growth of secular music in French social life.
If we include the Franco- Flemish masters of religious
church-music in the seventh, eighth, ninth and later cen-
turies until the close of the sixteenth, France offers a series
of composers for the Church of great learning and often
lastingly instructive work. Such are de Meurs (1300?-
1370?), Dufay (1350), Ockeghem (i430?-i495?) and Gou-
dimel (i505?~i57!2). With this group, we are near to the
great Italian church-composers represented by Paiestrina
(15 14?-! 594), who was taught by Goudimel.
The element of concrete, human emotion is strong in
French temperament and art. We are therefore not sur-
prised to find the opera a vigourous phrase in France's
music-story ; but with the establishment of Italian opera in
France under Mazarin a foreign form for dramatic mu-
sic was seized on by French composers and soon made
into something their own, and unlike that which they im'-
itated ; and such it has continued even to our day. Cam-
bert (1628 ?-i 677), pioneer, and the great founder of
French opera, Lulli (i 633-1 687), and the equally gifted
Rameau (i 683-1 764), defined opera for France with grace
and force.
The noble, sincere art of Gluck (who though a German
by birth belongs to France in his purest glory) is elo-
quent to us to-day, though his "Orphee" and " Iphi-
gonie " and " Armide " date' from the last year before the
■•
THE NATIONAL SCHOOLS 39
French Revolution. Every dramatic and musical princi-
ple re-proclaimed by Wagner is contained in Gluck's best
scores. From Gluck we advance to the truly modern
epoch. The works of Lesueur (i 764-1 837) are not vital
now ; but Cherubini, " the French Beethoven," holds a
high place for his best operas and his austere Requiem, a
masterpiece of church-music. The galaxy of French opera-
writers is met herewith — Mehul (1763-18 17), Boieldieu
(1775-1834), Gretry (1741-1813), Auber (1782-1871),
Herold (1791-1833), Meyerbeer (1791-1864), the most
distinctively French composer as a stylist in opera of the
period, Halevy (1799-1862), and Berlioz (i 803-1 869).
With Berlioz (who is truly a Titanesque figure in modern
French music, either for opera or cbncert, but ever gran-
diose rather than grand) we are in quite our own epoch.
Gounod, Bizet, and Lalo are its strongest and most widely
recognized creators of serious lyric drama. " Faust " and
" Carmen " arc of universal acceptance. To these masters
has succeeded a prolific Germano-Gallic school of music,
both secular and religious, under Wagnerian or Neo-Ital-
ian or other influence. The most salient, if not always
vigorous expressions of this group, we soon find in the
scores of Massenet, Salvayre, Chabrier, Reyer, Saint-Saens,
and Franck, de Lara, Leroux and Charpentier. We must
not forget that Offenbach, the creator of satiric opera-
boufFe, not only was a figure of brilliant originality under
the second Empire, but, like Johann Strauss in Austria,
seems destined to a longer vitality than was expected a
decade ago and has created a school of imitators of wide
vogue.
It is not likely that in any form of music France will
originate more in the future than her brilliant and most
representative composers have done in the past. But it is
something — a great thing — in modern music to hold oaf
40 THE MUSICAL GUIDE
interest and admiration by the art with which a work, from
a song to a symphony, is written for us, the skill of mere
means even to an imitated purpose. In this gift it is not
likely that the French composers soon will fail us. Wc
can hear them with pleasure where their message is neither
new nor valuable in itself— a racial trait and grace.
English Music
IT is under restricted meaning that we can speak at all of
an " English " school of musical art. However flexi-
bly the word " school " be employed in defining mu-
sical utterances, after all it should stand for a distinctive indi-
vidual product ; and in case of a country and race, for an
accent in symphony, oratorio, opera, chamber-music and
song, that is national and individualised. It should not be
reckoned as merely a product of influences from outside.
In England nearly every form of music has been an impor-
tation ; and almost every expression of the art that is effec-
tively represented in the present or the past history of musical
composition in England is derived or reflects Italy, France,
or Germany. Musical composition and musical taste in
England itself in the old-time of the art lagged behind
the popular developments in Wales, Scotland, and Ireland
(where the bardic expressions of music early were enjoyed
by all classes), and creative productiveness was proportion-
ately slow. The Italian musical influences in due course
obtained, as did Italian literary influences, and later the
German and French ; and English composition to-day is a
more or less disguised and eloquent product of Continen-
tal developments of the art, and English popular taste
for music in abeyance and instructed by the Continental
product.
THE NATIONAL SCHOOLS 41
There are, however, three exceptions to this general
summary. The English Ballad — the true ballad — with its
precise, definite rhythms and clear periods has an individ-
uality at once strong in song, and admirable in sincerity
and beauty. The Scotch and Irish lyric, or instrumental
expression, is also distinct ; and both interesting and beau-
tiful. The second exception is represented by the finest
developments of music for the organ and for its churchly
usage ; and the choral English anthem, and what apper-
tains to English liturgical offices in music. Here we can
review a noble musical structure. It was gradually per-
fected from the time of Elizabeth (in particular) as a prod-
uct of English, Italian and German musical art fused to-
gether. Bright lights in it have been Dunstable, Tallis,
Bird,and the gifted Purcell ; the majestic Gibbons and Blow ;
the great organist Bull ; the English fraction of Handel's
work in oratorio and for the Protestant church service ; and
the busy group of contemporary English composers for the
offices of^the National church, who are not much under
foreign influences of one sort or another. Although Han^
del is always to be reckoned as of England, and as develop*
ins the English ^^ oratorio "' to its climax, we cannot speak
of^" the great Saxon " as uttering an " English style," so
much as a modification of German and Italian musical
forms and accents, whether in an oratorio or an opera, a
cantata, a suite or an organ-piece. Purcell, after all, was
operatically Italian. Costa said little to be reckoned
" English." Nevertheless in one field of opera to-day
England has an assured and a brilliant individuality. It has
not come in the serious opera, whatever successes have been
won by such skilled workers as Benedict, Balfe, Stanford,
and MacKenzie, Goring Thomas and others; but in the
genius of Sir Arthur Sullivan for light opera. By Sullivan
and in a lesser degree by Cellier, an English operatic mn*
42 THE MUSICAL GUIDE
sage firmly and graciously has been given forth, allowing for
all suggestions of influences from abroad. Sullivan's "Pin-
afore,'* "Mikado," "Ruddygore," and "The Yeoman of
the Guard," are masterpieces of invention and of musical
diction — not to be confused with Italian, French, or German
products.
In modern secular music for the orchestra some supe«
rior symphonic work has come from Bennet, Cowen, and
others ; and particularly contemporaneous high lights in
composition in large form for the orchestra or choral choir
are Edward Elgar and Coleridge-Taylor. Both these vig-
orous writers are, however, of the modern German school
rather than of any English style I
Altogether we must accept the fact that in England music
is not an original art-expression, compared with the products
in other and more genial lands. The English temperament
is not yet to the manner born, musical. Musical produc-
tivity is a process of kindly foreign sunshine and of enrich-
ment of a more or less England-born and England-working
musical talent. If a genius of world-wide importance is to
be expected from England and as " an English composer,"
he has been long on the way, and will now have hard work
to win any " towering pride of place." Dignified national
productivity is not national originality ; nor a national voice
and school in aesthetics.
Russian Music
THE youngest school (as a strictly national develops
ment of composition) of which the average student
of music must seriously take account at present, is
that of Russia. It has, however, reached a clear and, in large
measure, a singularly impressive unfolding for the extra-
Slavic world's notice within the c«ntury, in which distinct^
THE NATIONAL SCHOOLS 43
ively Russian musicianship has made its place good in the
concert-rooms, in the drawing-room, and in the operatic es-
tablishments of almost every corner of Aesthetic Europe and
America,
Like the Italian, and the Hungarian, and the Pole, so
is the Russian, by nature, intensely musical. Often he is
morbidly so. The peasant and the prince alike are born
to quick musical Empfindlichkeit. Th? folk-songs and
folk-melodies for the dance or more serious mood are im-
memorial, beautiful, and countless. All truly Russian mel*
odies have a peculiar voice and character of their own — scale
and rhythms are rich in melancholy, in passionate gaiety, in
dramatic accent and in varied hints of the psychologic. A
strain of Orientalism is not absent. The Russian sings or
makes instrumental music by impulse and feels music by
impulse (the balaikay a three-stringed guitar, is the original
musical instrument of Russia).
Such being the popular aspect noted, we turn to the
formal development of the art in Russia. This, as has
been mentioned, is little more than a century old in culti-
vated activity. Its chief classic is— curiously— an operatic
writer, Michel Glinka, of Smolensk (i 804-1 869), a gifted
man in many other traits than music, a pupil of Dehn along
with the two Rubinsteins. His two finest operas, " A Lite
for the C2ar " and " Ruslan and Ludmilla," are, to Russian
lyric drama, what Mozart, Gluck, and Weber are to Italian,
French and German opera. Dargomizsky (i 813-1869) is
a link between Glinka and Anton Rubinstein. Anton Ru-
binstein, however, although popularly accounted as a Rus-
sian mastet^worker and although so great an influence for
music in Russia (I am not speaking here only of his career
as a pianist), was less a Russian than a German composer
in matter and manner. His best music is superb ; his birth
and works honour Russia, but in symphony, pianoforte
44 THE MUSICAL GUIDE
music and opera, Anton Rubinstein was Germanised early
and stayed thus to the end, nolens volens.
Far more national in « school" is Borodin, a writer of
the first order, whose opera, " Prince Igor," is a classic,
though its composer has been dead only some fourteen
years. Yet a further height of national Russian utterance
in music comes with BalakireiF, a native of Nijni-Novgorod,
whose heart ever turns toward the folk-tunes of all Russia
for thematic material. The most national Russian com*
poser, however, and a veritable giant in the technical use of
Slav themes is Tschaikowski, whose masterpieces are not to
be questioned as to their being Russian music and strong
developments of composition scientifically, measured by any
school.
The contemporary Russian movement is represented
especially in Rimsky-Korsakow, a giant for modern orches-
tration and a magician in orchestral effectiveness ; in C^sar
Cui, a brilliant operatic writer ; and in Alexander Glazounow.
a pupil of Rimsky-Korsakow, and a symphonist of strong
Slavic diction, as well as a technicist of orchestration equalled
only by the most eminent writers of the day.
The actual profession of composition in music is yet a
recent — one might almost say experimental — profession in
Russia. We find one distinguished composer is a soldier^
another a lawyer, another a marine officer, another a military
official by his legal standing. Which gives us rather a curi-
ous perspective of amateurism, if of magnificent amateurism.
However, this older aspect is each year passing away, the
Russian conservatory system is widening and taking root in
the greater cities ; and while the most gifted contemporaries
are not always concentrated on their own home-material for
subjects, they have fairly impressed the world as a distinct
school. Often they have astonished and fascinated it.
THE NATIONAL SCHOOLS 45
American Music
THE youth and lack of uniformity of the United
States citizenry furnish excuses for the absence of
a strictly national art hitherto. But, after allj
there are not many countries that have preserved one form
of government so long as the Constitution has been presid-
ing over the assimilation of the world-pilgrims. Youth is
a disease for which time is an almost certain cure, and too
much uniformity of thought and character is favourable
rather to stagnation than life.
At last, however, American music has arrived. It is
only a healthy and somewhat bewildered child as yet, but
it has the beginnings of an accent quite its own. The
American composer has had a combination of advantage
and disadvantage in the thoroughly foreign nature of most
of his tuition. But so Germany and France took their start
in Italy. As they gradually learned the importance of mak-
ing their alien dexterity a medium for the expression of na-
tive and national emotions and personalities, so has Amer-
ica finally reached the stage of true introspection expressed
with outward polish of manner.
The high favour of the foreign executant as pianist, violin-
ist, 'cellist, opera and concert singer, and also as orchestral
leader and yeoman, has been an obstacle to the wide and
easy promulgation of the native composer's experiments
and achievements.
Through the fog of a thousand discouragements and dis-
tractions, however, the cause has groped until a few sturdy
figures have emerged already into prominence and even
into importance. The forms in which the earliest successes
have been found have naturally been the smaller. In
grand opera there has been absolutely nothing achieved in
a public sense, though doubtless there are enough manu*
46 THE MUSICAL GUIDE
script grand operas to bankrupt a dozen impresarios. In
the symphony there have been only a few works of large
worth, though John Knowles Paine's " Spring Sympho-
ny," Edgar S. Kelley's humourous symphony " Gulliver,"
and Henry K. Hadley's " Youth " are full of personality,
art, and genuine vitality. A number of overtures, sym-
phonic poems and prologues have shown a right to exist,
notably George W. Chadwick's " Melpomene," Arthur
Foote's " In the Mountains," Frank van der Stuck-
en's " RatclifFe," and various works by Johann H. Beck,
Harry Rowe Shelley, C. C. Converse, and Mrs. H. H. A.
Beach, while Edward MacDowell's " Indian Suite," Henr)
Schoenefeld's " Sunny South Overture " and Kelley'3
" Aladdin " have exploited fields of local colour in which
the American finds much novelty ready to hand. Various
symphonic poems and orchestral suites deserve the men-
tion space forbids them here. Of concertos there arc
many, Henry Holden Huss having written an especially
excellent work for piano.
In the field of the sonata MacDowell has written two
masterworks, the sonatas " Eroica" and " Tragica," and a
piano " Fantasy " by Arthur Whiting is a notable innova-
tion in the free manipulation of the sonata form. The
religious choral works of Dudley Buck and Horatio W.
Parker deserve serious acceptance. The marches for brass
band written by John Philip Sousa have gained world-wide
note for their military fire and novelty. In the realm of
smaller piano pieces, cantatas, and songs, there is an em-
barrassment of riches. The piano-works of MacDowell,
who gains eminence in all fields, and of Harvey Worthing-
ton Loomis are genuine creations.
In the short-song form these two men collaborate with
such sterling individualities as Kelley, Ethelbert Nevin,
Foote, Wilson G. Smith, James H. Rogers, Fred Field
THE NATIONAL SCHOOLS 47
Bullard, Margaret Ruthven Lang, Ad. M. Foerster, Ho-
mer A. Norris, Howard Brockway and others, to give
America a song literature whose importance is not sur-
passed in contemporary composition. There is also a large
body of naturalised foreigners who, while hardly justifying
the epithet American, are yet aiding to make American
musical life one of great activity, a life which has accom-
plished more than might have been fairly expected, and
gives promise most glowing.
Ctuo ©00ap0
by
Louis C. Elson
on
I. The Great Instrumentalists.
II. The Great Singers.
Great Instrumentalists
•
IF the time of Beethoven, Schubert, and Haydn was a
golden epoch in the field of musical creation, the present
has become, in even a greater degree, the era of musical
execution, for we have attained a standard of musical excel-
lence far beyond anything ever dreamed of by the classical
composers. Feats which Beethoven's critics derided as
being too difficult for the violin (the high C in the " Eg-
mont" overture for example) are now readily within the
scope of all good orchestral players, and our concert pian-
ists have now definitely shelved the cadenzas which the old
masters wrote for their concertos as being too simple to
display the modern points of technique.
Piano technique, beginning with Bach's " Well-tempered
Clavichord," advancing with Clementi and Cramer, found
its transition period in the time of Moscheles, and then
culminated in two diverse ways — the poetry of Chopin and
the brilliancy of Liszt. All of the pianists cited in these
pages will be most easily measured by four standards, viz. :
— Bach, for intellectuality ; Chopin, for emotion ; Beet-
hoven, for a combination of both in equipoise ; and Lisztj
48
GREAT INSTRUMENTALISTS 49
in such works as the '' Don Juan " Fantasie, for technique
pure and simple, or rather pure and difficult.
D*Albert achieves his chief triumphs in the Beethoven
school ; Von Biilow was pre-eminent in the last five Beet-
hoven sonatas; De Pachmann leads the Chopin band;
Paderewski is famous in Chopin as well as in the entire
modern school ; Rosenthal scintillates with all the pyro-
technics of the latest specialists. Occasionally one finds a
Liszt who is almost equally great in all the schools, or a
Rubinstein in whom mtellectuality and emotion are well
combined.
Less diverse are the schools of violin-playing, for here
the evolution has taken two rather distinct roads : pyro-
technics on the one hand, and soulful expression on the
other. While these two styles are sometimes combined,
as for example, in the Mendelssohn concerto, they are
sufficiently distinct to enable one to classify every soloist
as belonging chiefly to the one or the other school.
Paganmi, the greatest violinist that ever lived (as Liszt
might be called the greatest pianist), was distinctly de-
voted to technical display, in which he so entirely dis-
tanced all competitors that some of his cadenzas cannot
be played exactly as originally written by even the greatest
technicists of our time. He was able to produce the
twelfth harmonic with absolute clearness (his strings were
made especially thin for this effect), the most intricate
double harmonics had no terrors for him ; special ways
of tuning were studied out by him for special effects ; but
we learn from contemporary authorities, that his tone was
neither broad nor especially sympathetic. Joachim, in our
own day, has held the violin sceptre, and combined tech-
nique and expression in a marvellous degree. A host of
woman-violinists has arisen, with Lady HalM at their head,
tod as will be seen in other parts of this volume, the
so THE MUSICAL GUIDE
modern school has brought forth numerous young violinists
of both sexes, among whom it might be hard to select an
absolute monarch of- violin-playing — such as Paganini un-
doubtedly was — from the technical side.
On other instruments, too, one can find definite leaders^
as for example, Servais, on the violoncello ; Dragonetti, on
the contrabass ; Thomas Harper, in trumpet-playing, etc. ;
all illustrating in a large degree the triumph of technical
skin and the modern tendency toward specialisation of
effort in the music of the last hundred years.
II
Great Singers
IF, as may be seen in the article on " Great Instrumental-
ists ". (pages 48-50), their technique has been advancing
in modern times, almost the opposite may be said in
regard to the art of singing. The studies required of the
vocalist in the seventeenth and eighteenth centuries would
be appalling to the singers of to-day, and every operatic
manager finds more difficulty in finding an adequate quar-
tette for the " Barber of Seville " than in selecting forces
for " La Boheme,** or even such great works as " Aida "
or " Otello " ; even Wagnerian singers are becoming more
plentiful than thorough coloratura singers.
The study of vocal art is the most ancient branch of
technical musical work. Gaditanian singers were trained
for performance in imperial Rome eighteen centuries ago ;
the Phonarci, vocal teachers of Athens, preceded even
these; the early Christians made vocal conservatories of
their orphan asylums in the third century ; Julian, a little
later, endeavoured (in opposition) to found a Pagan sing-
ing-school in Alexandria ; the Copts in earliest times gave
GREAT SINGERS 51
long cadenzas upon almost every syllable of their religious
songs ; Notker, in the tenth century, trained many digni-
taries of the Church in singing ; Guido, of Arezzo, in the
eleventh century, taught sight-singing and the vocal sylla«
bles ; the list might be earned on in an almost unbroken
line down to our own times.
But the period of greatest vocal development is found in
Italy in the seventeenth century. A whole race of vocal teach-
ers culminated in Nicolo Porpora, whose pupils, Farinelli,
Senesino, Caffarelli and many more, won the highest fame.
It may be mentioned en passant that Italy has always
been prolific in natural tenors, and Spain even more so.
Russia is the land of phenomenal basses; England is
the natural home of the alto; America of the soprano.
Whether such vocal characteristics are racial, alimentary or
climatic has not yet been decided.
Yet the greatest sopranos of the world, Catalani, Mali-
bran, Patti,do not belong to America. The highest soprano
that history tells us of was Agujari, sometimes called " La
Bastardella," who really sang, not squeaked, a full octave
higher than the highest of our famous sopranos of to-day,
and we have Mozart's authority for the good quality of her
high notes.
It is not our purpose in such a very brief synopsis to
speak of many of the famous singers, the list of whom
alone would form a long article ; we desire only to speak
of those who are especially representative of some epoch
or are recognised as absolute leaders in their field.
Such a leader was Luigi Lablache, the most wonderful of
all bass singers. His ponderous voice could easily overtop
the heaviest orchestra, yet was modulated with the skill
and flexibility of a flute ; the most showy cadenzas could
be sung by him as easily as if he were a soprano leggieroy
yet he could also sing the Priest's part in "The Magic
52 THE MUSICAL GUIDE
Flute," or any rdle requiring ponderous majesty. Among
great altos one thinks first of Alboni.
The list of leading tenors would be a difficult one to
compile, yet Rubini, Mario, and the modern Jean de Reszke
are representative.
A special list of Wagnerian singers might be added,
but it may be observed that the title will soon lose its
especial meaning, for many of the Italian and French ar-
tists are entering this field and proving that the same ap-
plication of vocal technique is necessary in the singing of
Wagner's rdles that is required in Mozart or Rossini. One
may learn in Italy the vocal method to be applied ^ the
operas of Germany
e//
Of
Abbreviations, Titles, Dignities,
Institutions, Etc.
Acad., Academy.
A capp. (I.^aeappelld)^ unaccompanied.
ace, accordingOy).
accomp.. accompaniment.
aUc^., alli^eiii. ((?., aiigemeiH\ nni-
versal, general.
app., appointed,
apt., appointment,
iumo., Arabian.
Archbp., Archbishop,
arr., arrang^ed, arrangement,
asst., assistant.
D.f bofii*
bandm., bandmaster.
bar., barytone.
B. D., used of the Biographical I>i&
tionarvin this volume.
bio|^.i noqgraphy, biographicaL
C, composed.
ca, drca {L\ about
cath«, cathedral.
Car. (/., CavaUere), Chevalier.
cent., century, as iSth cent.
%JL (L.^ confer)^ compare.
ch., church, chorus, choir.
chapelle (/*.), chapel, choir.
Cher., Chevalier.
Motrin., choirmaster.
dar., clarinet.
coll.» collected, collection, collector,
college,
collab., collaborated, collaboration.
comp(s)., composition(s).
COiia.» conducted, conductor (this abbre*
viatioii is here used for the equivalents
in various languages, Kapellmeister^
maestro di cappella^ mattre de chapelU^
etc.).
Cons., Conservatory (Conservatoire,
Conservatorio, Conservatorium).
Cpt., counterpoint.
cptist., contrapuntist (used of an early
composer of highly contrapuntal
works).
ct., court ; ct.-cond., court-conductor ;
ct.-Th., court-theatre ; ct.*opera,
court-opera.
d., died.
D. D., used of the Dictionary of I>tfi«
nitions in this volume,
diet., dictionary.
dir., director.
do., ditto.
dram., dramatic.
Dr. jur. (Z., doctor Juris\ Doctor of
Law(s).
Dr. phil. (L,^ doctor pkilosofhia\XyoC'-'
tor of Philosophy, h, c, {L,^ Aonorii
causa, i. e., honorarily.)
eccl., ecclesiastical
ed., edited, editor, edition,
e. g, {L.^ exempli gratia\ for example,
eng., engaged.
Engl., England, English.
eat., estabiU, established,
et acq. (Z., et sequentes^ soquentiay
and the following.
F., Fr., French.
Feat., Festival
S9
54
THE MUSICAL GUIDE
fl., flute.
{ragm.f fraginentary ; fragment(s).
F. (K.) C. O., Fellow of the (Royal)
College of Oi^anists, London.
FrI. (G„ FrduUin), Miss.
G.y Ger.f German.
gsn.y general,
ovt.y Government*
Gr.y Greek.
g^., grand.
grossherzdglich (grds-bJ[r4sakh>Ukh,
Cr.), GranoducaL
GynUt Qymnasiiim.
haxm.| harmony.
harps., harpsichord,
h. c (Z., honoris causa), used of hon-
orary titles.
Heb.. Hebrew.
hcudcrlich ((?.), Ducal
H. M/8 Th*, Her Majesty's Theatre,
London.
Hochschule (h6kh' - shoo - I«, G.),
•* High School/* colles^e, university.
Hof (hof , G.), court ; a frequent prefix,
as in Hof'kapelU, court-chapel, or
court-orchestra ; Hof Kapellmeis"
ttr, court-conductor; Hofmusikin'>
tendant^ superintendent of the court-
music, etc.
hon.y honorary.
Hun., Hungarian.
L, It., Ital., Itatian.
lb., ibid. (Z., ifn(Um\ In the same place.
id. (Z., idem), the same.
i. e« (Z., id esi)t that is.
Imp., Imperial.
incid. music, incidental music (to a
drama).
ind., including.
inst., institute, institution.
instr(s)., instrument(s), instrumental.
introd., introduction, introduced.
inT., invented, inventor,
Jap., Japanese.
L., Latin,
libr., librarian.
lit., literally.
lyr., lyric
nL. married.
M(aestro) (/.), teacher, conductor;
m. al cembalo, the conductor, who
formerl>r sat at the harpsichord ; m,
dei putti. Master of the choir-boys.
OL de chap. (/*., mattrt dt chappelU)^
conductor,
m. di capp. (Z, maestro di capptUdj^
conductor.
M. E., Methodist Episcopal
melodr., melodrama.
Met. Op., Metropolitan Opera Hoiae,
New York.
mfr., manufaoturer.
mg^., manager,
mid., middle.
min., minor,
mod., moderately.
m.-sopr., mezzo-soprano.
M. T. (N.) A., Music Teacheis* (Ni^
tiona^ Association,
mus., music, musical, musician.
Mus. Antiq* See, Musical Antiqiia.
rian Socie^, London.
Mus. Bac (Doc), Bachelor (Doctor)
of Music Vide D.D.
n., near.
Nat. Cons., National Consenratoiy,
New York.
N. E. Cons., New England Conservn*
tory, Boston.
n. s., new style (referring to the use of
our calendar in place of the Rui^aa
or old style).
N. v., New York, U. & A.
O.j Ohio, U. S. A.
obbl., obbligato,
obs., obsolete.
op., opus, opera.
Op. com., op^ra-comlque ; or te
Opera Comique at Paris.
Opcr (Cr.), opera.
Op6ra,nsed of the GrandOp&a at Fuia
orch., orchl., orchestra, orchestraL
orgf., organ, organist,
o. s., old style, see n. s. above.
Ozon. (Z., Oxoma\ of Osfoci^
p., part
LIST OF ABBREVIATIONS S5
P. E., Protestant Episcopal.
perl, performed.
ply pianoforte'.
Pluiii.» Philharm.! Philharmonic
PoLf Polish.
pop., popular.
Port,,
Portuguese.
pres.. president.
PresD., Presbyterian.
frod., produced.
^rol, Professor (a special title of great
distinction in Germany).
psead., pseudonym.
pt.. pianist.
puD., published, publisher*
R.i Royal.
R. A. M,f Royal Academy of Music,
London.
R« C, Roman Catholic.
R. C. M.y Royal College of Music,
London,
Regins mnsicns. Royal n|asiciao«
ret., retired, retiru^, reCunicd.
fCTay revned«
Rer*, Reverend*
Riis.i Rusian.
•eh,, KfaooL
•» society*
eopc*. sopniQOii
SpL^Speniah*
St., studied, studying, student.
succ, successfully, success,
supt., superintendent.
syniph., symphonic, symphony*
t., teacher, taught.
th., theatre.
th., theorist (writer of treatises).
th.-coiid., conductor of theatre-orches*
tra.
transcr., transcribed, transcription.
transl., translated, translation, trans-
lator.
Tur.» Turkish.
Unit., Unitarian.
U* S., United Sutes.
U., Univ., university.
▼., I. (Z., tnde) see ; as t/. 6. D., see the
Biographical part of this volume, v.
D. D., see the EVefining Dictionary.
2. very, as v« succ, very successful*
Oy).
Tar(8), variation(s)*
Tla., viola*
▼In., violin,
▼t., violinist
w., with.
Wis*, Wisconsin, U. S. A*
Ztf. ((;., ZHhmg\ Gasette.
Pronouncing ^ Defining
©ittionarp .
of
Musical Terms, Instruments
A(G.&\ F, I, & Sp. la.) I. A
musical pitch (435 vibrations
per second, according to the
standard adopted in France
1879 and at Vienna 1887, and called
diapason normal). 2. Any octave of
this pitch. 3. This tone designated
in Absolute Pitch (q.v.) as a is m vari-
able on the oboe, and is accordingly
used as the tone to which the whole
orchestra is attuned. It is hence
called the normal tone. 4. The major
key with three sharps. 5. The minor
key relative to C major.
a, a or ab, Z., /., F. By, from, for, to,
at in etc'
ab (kp),' G. '* Off." Used of stops.
ab'acus harmon'icus, L. i. A table
of notes. 2. The arrangement of
the keys and pedals of an instrument.
abanera (ii-bi-na'-r2i), Sp, Vide ha-
BANKRA.
abandon (i-b&ii-don), F, Lack of all
restraint in emotion.
abbadare (ab-ba-da'-r^), /. To uke
care.
abbandonar'ai, abbandonatamen'te,
abbando'ne, abbando'no, /. With
abandon.
abbassamen'to, /. Lowering. A. di
mano, (a) down-beat ; (b) the carry-
ing of one hand below the other in
> Phrases beginning %r{th these and other
prepositions will be found under their principal
words.
piano playing. A. di Toce (vo-ch£), /.
Lowering of the voice. Diminution.
abbatimen'to, /. Down-beat.
abbellare (ab-bel-la'-re), /. To oma.
ment. abbelitura(e) (too'-ra), ^
beilimen'tcKi). Embellishment(s).
abbetont (ap'-ba-tdnt), G, With final
emphasis.
a-b-c-d-i(c)rcn (a-ba-tsa-de'r€n), G,
To sing the notes by their letter
names.
Abend (a'-bdnt), G. Evening, -glocke.
Curfew, -lied (let)^ Even song,
-musik (ndoo-zek'). Evefiing music.
abeoteuerlich (£'-b^n-toi-dr-llkh), G,
Venturesome.
abfal'len, G. To deteriorate. -|^ebro-
chen (ap'-g£-br6kh-^n). Interrupted.
Vide CADENCE. Abg^sang^ (fip'*
g^-zilngk). Refrain. It followed the
two StolUn in the songs of the Meis-.
ters&nger. -gestossen (^p'-g£-
shtos-s^n). Staccato, -jp^leiten (sip-
gli-t^n). To slide the finger from a
black key to the next white kev.
Abkiirzung^ (&p'-kiir-taoongk). Ab-
breviation, -leiten (ap'-ll-ten). To
derive from. -Ittsen (sip'-la-z£n). To
change fingers on a sustained tone,
-nehmend (iip^-na-m^nt). Diminu-
endo.
abr6g6s (^b-ra-zha), F. Trackers.
abreichen (ap'-rl-kh«n), G. On the
violin, to extend the little, or draw
back the first, finger.
Abreissung (ap'-rfs-sooogk), G, Sad«
den pause.
57
58
THE MUSICAL GUIDE
abrnp'tio, L. Aa abrupt halt.
Absatz (ilp'-zSts), G. i. Cadence.
2. A phrase.
Abschmtt (ap'-shnYt), G» Section.*
abschwellen (ap'-schvd-len), G, Di-
minuendo. *
absetzen (ap'-zj$t-z£n), G. To strike
two keys successively with the same
finger.
absolute. Used of music that is self-
derived and complete in its own form,
meaning, and beauty, as opposed to
operatic or programme music.
abstammen (iip -shtiim-men), C7. To
be derived from.
Abstand (^p'-shtint), G, Interval.
ab'stossen, G, To play staccato. Ab'-
stosszeichen (tsl-kh^n). Succato
mark(s).
Abstrak'tcn, G. Trackers.
Abatnfunsf (ap'-shtoo>foongk), G,
Shading.
abtdnen (^p'-ta-n^n), G. To err from
the key.
ab(h)ub (&'-boob). A Hebrew horn.
abun'danSy Z. Augmented.
abwecbselnd (ap'-v€khs^lnt), C, Al-
temating.
Abweichans: (ap'-vTkh-oongk), G. A
variant.
Abyssinian Ante. A beak flute.
Abztti: (ap'-tsookh). i. Lifting of a
finger or a bow. 2. The sliding
of the finger from one key to the
next.
academic spirituelle (&k-2ld-S-me
sptr-€t-w^l), F, A sacred concert.
acathis'tus, Gr, Ancient Greek Church
hymn in honor of the Virgin.
accademla (ak-k&d-&.me'-&), /. i. An
Academy. 2. A concert.
accarezzevole (ak-kfi-r^-zaVd-l^), /.
Caressing. accarezzevolmen'te.
Pleadingly.
accell., acceldo. Abbr. of accele-
rando.
accelerando (&t-cha.l^.ran'-do), /.
Accelerating (the velocity), accele-
ratemen'te. Swiftly, accelerator
(ra'-to). Swift.
accent (in F., iLk-sHA). accento (at-
ch£n'-to), /. I. Emphasis, force, on
a tone, a chord, a beat. 2. An ac-
cent mark (q.v.). The first beat of
every measure receives a primary aC'
cent. In 4-4 time, the third beat re-
ceives a lighter or secondary or j«^-
accent, 3. In 6-8 or 6-4 time the
fourth beat takes a secondary accent.
In 9-8 time the fourth beat has a
secondary a. ^miid the seventh a terti-
ary a, still lighter. The regular skel-
etonic accent of the standard measure
is called the grammatical^ metrical^
natural or regular a.; this is modi-
fied by the rkythsmcal and the tes^
thetic, emotionaly pathetic ^ poetical or
rhetarical accent.
accent-mark. One of the numerous
signs of stress ; as > sfzorzando or
A (strictly tenuto) ; 'or . used (a) to
indicate /<VM (q. v.) as c and C„ = c*
and Cfl ; (b) as an abbreviation of
foot fq. V.) as 8'= 8-foot.
accent or. Leader of a chorus.
accentuare (too-a'-r£), /. accentul(e)-
ren (ak-ts^n-too-e'-rgn), G, To ac-
cent. To accentuate, accentua'to.
With marked accent.
accentuation. The act or art of prop-
erly distributing emphasis.
accen'tns, Z. Portion(s) of the ritual
song of the Church, chanted by the
priest at the altar ; in contradistinc-
tion to the Concentus, sung by the
assistants or choir. A. eccleslas*
tici, Z. Melodic formulae used in
the Church in reciting, the collects,
etc. They correspond with the com-
ma, semicolon, interrogation, etc., of
ordinary writing, and are of seven
kinds, called immutab'ilis^ monotone ;
medius, a minor third ; grav'is^ a
fifth ; acutus^ sol mi mi sol ; modera-
tus^ rising a second and returning ;
inter rogati'vusy falling a second and
returning ; finaVis^ sol la sol fa mi
re — thus closing in the Dorian key.
Accessis'ten, G. Unpaid choristers.
accessory notes. The subordinate
notes of an ornament, accessory
tones. Overtones.
acdaccato (at-chl-iik.k&'-td), /. Vi-
olent.
^
DICTIONARY OF TERMS 59
Acciaccatnr (at-tsY-iik-ka-toor'), G,
The doubling of the 6-4 chord on
the dominant, the right hand alone
resolving it.
•cdaccatura (fit-chftk-k^too'-rS), /.
A short appoggiatura, usuallv a ^race*
note* struck at the same time with its
principal, but instantly released.
accidentals, E, accident! (fit-tshY-
d«n'.te), /. accidents (ftk-sY-dan), F,
Sharps, flats, and naturals, foreign to
the key-signature.
accolade (ik-k6-md), F, Brace.
accompagnameato (flk-kom-p&n-ya-
m^n'-to), /. Accompaniment ; figured
bass, accompagnare (ya'-r£). To
accompany, accompagnato (ya'«
to). Accompanied.
accommodare (dft'-r^), /. To tune.
accompagner (&k-k6m-pin-ya), F.
To acompany. accompagn^ (ilk-
kom-plk-ya). Accompanied. ac-
conpagnement (ftk-k6m-pln-y(&-
man). Accompaniment.
accompaniment. A part or parts
added to other principal parts, a.
ad libitum. Optional accompani-
ment. a. obbligato. Accompani-
ment essential, accompanist. One
who plays accompaniments.
accoppiato (ak.k6p-pY-a'-to), /. Tied.
accord, E (in F., ftk-k6r), i. Conso-
nance. 3. A chord; IH'ourert, on the
open strings ; natural, a fundamental
chord ; parfait, a triad ; renvers^,
inverted ; de sixte ajout^e, chord
of the added sixth. Vide altered.
accordaot (&k.k6r-daA), F. In con-
cord, accorder (&k-k6r-da). To
tune, accordeur (dtlr). i. A tuner ;
2. a set of 12 tuning forks giving the
tempered scale. 3. Monochord. ac-
cordoir (ik-kdr-dwilr). A tuning,
key, hammer, or cone.
accordamen'to, accordanza (dfln'-
tsa), /. Consonance.
accor'dance, accor'dature, E, ac-
cordatura (too'-ra), /. The system
of tuning the strings of an instrument ;
thus, the a. of a violin is g-d-a-e.
accordare (da-r^), /. To tune, ac-
cordan'do. Tuning ; in tune.
accor'deon. A free-reed instr. inv.
by Damian of Vienna, 1829. The
tone is produced by a double set of
bellows acting upon metallic tongues.
The right hand presses buttons or
keys giving an incomplete chromatic
scale ; the left hand has a few bass
tones.
accor'do, /. i. A chord. 2. An old
Italian instrument of twelve or more
strings.
accoupler (ilk-koo-pla), F, To couple,
accouplez (^k-koo-pla). ** Draw the
coupler."
accrescendo (ak-kr^s-sh^n'-do). /.
Crescen'do, accrescimento (ac-cra-
she-m£n-td). Augmentation as of a
fugal theme, punto d'a., the dot
placed after a note to prolong it. ac«
cresciuto (shoo' -to), /. Augment-
ed,
acetab'ulum, Z. An ancient instr. of
percussion. Earthen vessels beaten
as drums or clashed as cymbals.
achromatic. Lacking accidentals and
modulations.
acht (£kht), G. Eight. Achtfusston
(akht'-foos-t6n) or 8-fUssig^fUs-sYkh).
Eight-foot tone. 8-stimmig (shtYm-
mYkh). For eight voices or instru*
ments.
Achtel (akhtl), Achtelnote, G. Eighth
note ; quaver. Achtelpause, G,
Eiehth-rest.
A Cnula (2 choo'-la), Port, A dance
like the fandango.
ac'ocotl. A Mexican plant from whose
stalk an aboriginal wind-instr. of the
same name was made.
acolyth'ia, Gr, The order of service
in the Greek Church.
aeons' tics (a-kow'-stix, or a-koo'stix),
-ff.,acoustique(a-koos-tck), /^ The
science of sounds.
6o THE MUSICAL GUIDE
Acoustics.
Br J. S. Shedlock.
THE term Acoustics is derived from a Greek verb signifying to hear,
and the science of acoustics tells us about the production and prop-
agation, also the comparison, of sounds. When a pianoforte string
is strucic by a hammer or a violin string by a bow, it trembles, sways to and
fro and thus sets the surrounding air a-trembling ; the air-particles sway to
and fro producing a wave as a light breeze sets a corn-field waving; so we
speak of waving air, or waves of air. These waves strike this ear and their
motion is passed on .to the brain and becomes what is called sound; but by
what wonderful process one changes into the other does not concern us here.
^When the swaying to and fro of the pardcles of an elasnc body is steady
and sufficiently rapid, a musical sound results, otherwise, only noise. The
wore sound indeed is generally understood to mean a musical one;, hence
sound is contrasted with noise. We speak of the noise of thunder or of battle,
but of the sound of an instrument or of the human voice. Nature frequently
offers a mixture of sound and noise, as in a waterfall, in which somedmes the
one sometunes the other predominates, ^nbration is the name given to the
swaying to and fro of the pardcles of an elastic body, and of this motion the
clock pendulum gives a clear and simple idea. The pardcles only sway but
the motion is passed on. When a glass ball is pushed against one end of a
row of glass balls touching one another, the ball at the other end flies off*.
The modon of the first ball has been passed on from ball to ball until it has
reached the extreme one. Vibradons when steady and sufficiendy rapid
produce sounds which may be higher or lower, and the higher the sound the
greater the number of swayings to and fro, or vibrations, within a given time.
There are two special instruments by means of which air-vibradons can be
easily counted : one is Savart's toothed wheel, the other the Siren. When
one sound is higher than another, it is said to be of higher pitch ; when
lower, of lower pitch. The shorter a string, the higher iu pitch. If a vio-
linist, setdng one of the strings of his instrument in modon by means of the
bow, slides his finger along that string toward the bridge, the sound will be-
come condnually of higher pitch : for the string is gradually shortened, the
ever-increasing pornon behind the finger being cut off from the vibratory
movement caused by the bow. There is, therefore, a topsy-turvy connec-
tion between the number' of vibrations produced by a string, and the length
of that string. ^Vibradon can be felt if a glass jar over which a bow has
been drawn is touched lighdy with the finger. Vibration can be seen when
the string of a piano or violin is struck by a hammer or bow. Vibradon can
be shown by attaching a strip of sheet copper tapering to a point to one of the
DICTIONARY OF TERMS 61
prongs of a tuning-fork. If the latter be set in motion, and the copper point
be placed on a piece of smoked glass, it will give the exact record of the exact
swaying to and fro of the fork. ^Strings such as are used in the pianoforte
and violin when set in motion would of themselves create very faint sound-
waves. The sound has to be strengthened. In the pianoforte the motion
18 not communicated directly to the air, but first to a massive sound-board.
In a violin the little sound-post plays an important part in passing on the
vibrations from the string to the back of the instrument. The strengthening
of tone by such means is apt to be overlooked. ^Particles of air when set
in motion by a vibrafing body first move from their point of rest to a certain
distance and then back through the point of rest to a similar distance in an
oppoute direcdon ; the distance between these extreme points is the extent,
or as it b named, the amplitude of the vibration. As the vibradng body
returns to a state of rest, that distance gradually diminishes and finally vanishes^
just as it does when, the chain giving out, the clock pendulum slows dowr
and finally stops. The degree of loudness or softness of a sound depends ob
the extent or amplitude of the vibradon, the wider the one the louder the
other. Sound travels at freezing temperature at the rate of 1 090 feet per
second ; with increase of temperature there is increase of velocity, for the air
thus becomes more elastic. Sound travels faster in water than in air because the
former is more elasnc. The degree of closeness of the particles of the medium,
air, water, gases of different kinds, through which sound travels has also an
influence on velodty. ^Sound diminishes in intensity according to the dis«
tance. Throw a stone into a pond and see how the expanding waves be-
come feebler and feebler in proportion as they are distant from the spot which
generated them. So it is with sound-waves. Intensity varies inversely as
the square of the distance, i.e., if a sound is heard twenty feet away from the
instrument produdng it, at forty feet, twice the distance, it will only be a
quarter as loud : the square of 2 = 4, and the relationship of the two sounds
is as one to four, or ^. This is of course theory; in practice sound is mosdy
intensified in various ways, so that it does not lose its strength at this exact rate.
^A string set in motion, that is into a state of vibration, produces a note
higher or lower according to its length. That note, however, is not a dmple
sound, but one made up of many sounds. For in addition to itic whole
string vibrating, it divides into two, three, four, and indeed into many por
dons, all of which vibrate in themselves at the same time that the whole string
is vibrating. And these portions being shorter give out higher sounds than
that of the whole string, and they bear themselves the self-evident name of
Overtones, They are also called upper partials because they are higher
sounds produced by parts of the string. The swaying to and fro of these
parts is not so great as that of the whole string, therefore the sounds they pro*
62 THE MUSICAL GUIDE
duce are fidnter. The halves give a loader sound than the thirds, the thirds than
the quarters and so on. All these sounds mix so thoroaghljr
together ts to give the impression of one simple sound, and it is
upon their order and number, which differ in difierent instru-
ments, that quality of tone depends. Here are the first eleven
_ notes of such a compound sound— they can be heard and ana-
"^ lyzed by pressing the <Moud ' ' pedal of a pianoforte, striking the
low c indicated and listening intendy and long. Out of the overtones which
are repeated we secure easily \-m — j-^ the amplest of all chords in har-
mony. ^If the key of the lowest note 1-^' =i is pressed down on a
pianoforte without producing any sound, and so held, then if the above chord
is struck sharply, the fi|igers after the blow being instantly removed from the
keys, then that chord will continue to sound, although the strings which pro-
duced it have ceased to vibrate. Portions of the string of the lowest note have
been set swaying to and fro, for the key pressed down removing the damper
from its string left it free to vibrate. These pordons vibrate by what b called
sympathetic attraction. Repeat the experiment, but immediately after the
chord has been struck, raise the key of the lowest note, and the chord is no
longer heard. ^It has already been stated that by means of certain instru-
ments the numbers of vibradons of sounds can be counted, and they can
therefore also be compared. Of any two notes an octave apart the upper
one has twice as many vibradons as the lower. Of any two notes a perfect
fifth apart the relationship between upper and lower is as 3 to 2. Of any
two notes a major third apart as 5 to 4, and a minor third as 6 to 5. We
see then that the perfect consonances, the 8th, 5th, and 4th, fiave the am-
plest relationship, 2 to i, 3 to 2, 4 to 3. Next in order come the imperfect
consonances, the major and minor thirds, 5 to 4, and 6 to 5 ; in no case is a
higher figure than 6 required. From these reladonships the major diatonic
scale can eaoly be constructed, and then if the reladonships between each note
of the scale and the succeeding one be taken, it will be found that the inter-
vals between c and d, f and g, a and b are equal, that d to e and g to a are
slightly smaller and that e to f and b to c are alike. The former are called
tones, either major or minor, and the last two semitones.
acte de cadence (iikt-dii-kft-d&ns), F, actin'ophone. A device for producing
A progression to or toward a ca- sound by means of actinic rays,
dence. act music. Cantatas composed by the
action. The mechanism of an instru- Professor of Music at Oxford for spe-
ment. cial occasions.
DICTIONARY OF TERMS
63
«ct-tane. Music between the acts of
a play.
acuity (ftk-we-te), F, Acuteness.
acustica (a-koos'-tY-ka), L, Acustik
(a-koos-tek'), G. Acoustics, acus-
tisch (tYsh), G, Acoustical,
acuta (a-koo'-ta), /. i. Acute, shrill.
2. A shrill 2-ft. mixture-stop.
acuta dav'es, /.. The name given
by Guido to the tones from a to g.
acute. High in i:rftch, shrill.
acutus, L, Vide accentus.
ad, Z. To, for, at.
adagio (a-da'-jo), /. i. Slow, slower
than andante, not so slow as lento.
2. A slow movement or division of a
^nnphonv or sonata, adagietto (ft-
di-ja'-td). A little faster than ada-
gio. aaas^ssifflo (jYs-sY-mo). Ex*
tremely slow,
adaptation, E,, adattazione (ft-dftt-
tartsY-d'-n^), 7. An arrangement or
transcription.
adasio (ft-dft'-sY-o), /. Adagio.
added lines. Ledger lines, added
sixth. Vide sixth.
additato (ftd-dY-tl'-ta). /. Fingered.
additional keys. Those above f "
on the piano, additional accom-
paniments. Accompaniments or
parts added to a work by another
hand than that of the composer.
addolorato (ad-do-ld-ril'-ta), 7. Mel-
ancholy.
Adel (a -d^l), G. Majesty.
Adi'apbone. Vide gabblklavier.
Adi'aphonon, G. A piano of perma-
nent tune, inv. in 1820 by Schuster.
The tone was produced by metal
bars.
adiaato (a^dY-ra'-to). 7. Angry, adi-
ratamen'te. Angrily,
adjunct notes. Unaccented auxiliary
notes.
Adjavant (ftt'-yoo-fftnt), G, Assistant
to a chorister.
Adler (ftt'-l£r), G, A rarely used organ-
stop.
ado'nia. An ancient mnsical feast.
«domamen'to (pi. -i), 7. An embel-
Mshment
adoucir (ft-doo-s€r), F, To soften, to
flatten.
adquis'ta or adsuma'ta vox, Z. The
extreme low tone.
adufe (ft-dhoo'-fd), Sp. Tambourine,
adufero (fa'-r6). Player of it.
A-dur (ft-door), G, The key of A
major.
ae'rophone. A kind of harmonium.
aengstlich (^nkst-lYkh), G, Anxious-
ly.
ttorharmon'ica. A kind of seraphine.
^o'lian. I. Vide MODES. 2. The fifth
of the authentic Gregorian modfts.
3. An automatic reed instrument in
which the performer controls the time,
the stops, and the expression.
£o'lian Harp or Lyre. An instr. inv.
by Kircher in the 17th century. It is
usually a box set in a window and fit-
ted with 6 or more strings of silk or
£^t, tuned in unison, passing over
bridges about ^-inch high. The
strings are so arranged that the air
causes vibration among them. The
varying humours of the wind produce
a strangely sweet and various har-
mony, the different overtones being
audible in a shifting concord of eerie
beauty.
ASolian mute. A combination of the
pitch-pipe and mute.
AOlian pianoforte. A piano inv. by
T. Gilbert about 1650, and provided
with free reeds and a b>ellows for giv-
ing the piano a sustaining power.
aeolina. i. A small free-reed mouth
instr., inv. by Wheatstone, 1829. 2.
An organ-stop.
aolo'dicon or eolo'dioui Gr, A keyed
instr. in which the tone is produced
by steel springs, put in vibration by
bellows.
eolomelo'dicon. The same instru-
ment with brass tubes to reinforce the
springs.
asolopan'talon. An seolodicon com-
bined with a piano.
^olsharfe (r-dls-hftr'-f^), G. i£ol-
ian harp.
ASolsklaTier (a'-ols-kla-fer), G. A
keyboard wind instr., inv. 1825, by
66
THE MUSICAL GUIDE
mi'itLf Sp. An old Spanish dance,
alterata (ii'-ta), /. Scales with notes
foreign to the Church modes,
altera'tio, Z. The doubling of the
time value.
altenito (aUt^-ra-to), /., bXUt€ (al^
ti.ra), /^., altered, E, Changed
chromatically, especially applied to
cenaia inverted chords.
those interval! above
the Dominant which
are most miiceptible
^ chromatic altera-
tion.
Altered Chords.
By Charles W. Pearcb, Mus. Doc.
A CHORD originally formed by a combination of notes belonging
to the Diatonic Scale of any key can be chromatically altered by
the addition of an accidental f, b, or t]» to one or more of its in-
tervals. A chord ceases to be chromatic when it induces modulation :
being then a diatonic chord in the new key. In modem harmony ,
the combinational tendency of the Diatonic Scale is to arrange itself in
a perpendicular series of thirds above the 5 th degree
or dominant of the scale, according to this formula : Jr. ^^-g-^
^Reckoned from the lower note (or root) the intervals ^^ f ^
are : I. Major 3d ; 2, Perfect 5th ; 3. Minor 7th ; 4. p.^ i. _The small
Major (or minor) 9th ; 5. Eleventh (compound 4th) ; biack note* indicate
6. Major (or minor) 13th (compound 6th). ^Thus
the first sign of chromatic alteration is the interchange-
ability of the major and minor 3d and 6th of the scale.
The harmonic formula shown in Fig. 1 can be built
up on the dominant notes of the two adjacent keys,
(viz. : those keys having one sharp or one fiat more or less than the signa-
ture of the tonic key). And as these additional formulae can be used in
I^^jL the tonic key without modulation to either of its adjacent
zg-?^'^— T keys, their roots are conveniently called supertonic and
^ =«B tonic to show their relationship to the scale of the tonic.
^The supertonic root is dominant of the next sharp
key. ^The tonic root is dominant of the next flat key*
^In the supertonic formula the necessary major 3d of
the root ( I of the series) is an invariable chromatic
alteration. The interchangeability of the major and
minor 3d of the scale (4 of the series) is a confirma-
tion of No. 6 of the Dominant formula (Fig. 1). The
interchangeability of the major and minor 7 th of the
scale (6 of the series) is the characteristic chromatic alteration of the super*
tonic formula. ^[In the tonic formula the necessary minor 7th of the root
(3 of the series) is an invariable chromatic alteration. The interchanges-
ability of the major and minor 6th of the scale (6 of the series) is a coir
Fig. 2. — Supertonic
Formula.
Rg. 3. — Tonic For-
mula.
DICTIONARY OF TERMS
67
finnation of No. 4 of the Dominant fbtmula (Fig, i). The mterchange«
ability of the major and minor 2d of the scale (4 of the series) is the
characteristic chromatic alteration of the tonic formula. ^From the harmonic
formolae shown in Figs, i, z, 3, the chromatic scale is derived. This
chromatic scale is the same for both major and minor keys having the same
tonic ; but the difference of key signature induces changes in the number of
accidentals used. Compare Figs. 4 and 5. ^With the introduction of the
f
-ttp ftp — ^
-fl«^
3a:
'-$=1
Jaa ' Bra
Fig. 4. — Signature of C Major.
f
fi:
tfisr
1^ r^ Vs:
-^ ea .Ha-
^1
Fig. 5. — Signature of C Minor.
chromadc element into harmony, the absolute distinction of major and minor
disappears, and the key tonality becomes one. ^To facilitate the notational
convenience of the chromatic clement in harmony, the enharmonic equiva-
lents of several degrees of the chromatic scale are fjcely admitted. ^Chro-
matic alteration is chiefly observable in triads and in chords of the seventh
with their inversions. ^Fig. 6 shows the triads on the seven degrees of
the diatonic scale. I^g. 7 shows how these triads may be chromadcally
mltered in the same key without necessitadng moduladon to any other key.
Fig. 6.
Rg. 7.
^Of these Nos. i, 4, 18, 19, and 28, show an enharmonic substitution of
C sharp for D flat ; Nos, 4, 5, 1 1, 22, and 25 have G sharp instead of A
flat ; Nos. 10, 21, 25, and 34 have D sharp for E flat ; Nos. 3 and 15,
have G flat for F sharp ; and No. 30 has C flat for B. It may also be re-
marked that Nos. 30 and 1 5 are the only triads of the series which have all
68
THE MUSICAL GUIDE
three of their notes altered from the notation of the diatonic scale of C ; but
it will be observed that in No. 30 two of these altered notes (A flat and E
flat) are the notes shown in Fig. i to be those first susceptible of chromatic
alteration in the key of £ ; and in No. 1 5 two of the altered notes belong to the
supertonic formula shown in Fig. 2. A glance at Fig. 7 is sufficient to show
that ** enharmonic substitution " is only made use of in modern music in order
to throw the altered chords into an easily recognizable harmonic shape such as
triads or sevenths (or their inversions). ^Distinguishing names of a purely
fanciful character have been given to the first inversions of several of the
chords in Fig. 7 (see Fig. 8). ^[One other triad containing three altered
f
Neapolitan Si>xih.
Italian Sixths.
4^
^
xst inversion of
No. 8, Fig. 7.
xst inversion of
No. 10, Fig. 7.
Fig. 8.
I St inversion of
No. 20, Fig. 7.
I
zst inversion of
No. 36, Fig. 7.
notes remams to be shown — this can be written either as the major triad of
the flattened dominant or its enharmonic equivalent, the sharpened subdomi-
nant of the key, as in Fig. 9. ^[Figure 9 exemplifies also the ordinary
^ ^ «L ; y 1^ „i^=
I
Fig- 9-
treatment of chromatically altered triads, viz. : they are usually followed by
some form of dominant harmony. ^The chords of the seventh built on the
seven degrees of the diatonic scale (see Fig. 10) may (like the triads in Fig.
6) undergo chromatic alteration. ^[A chromatic alteration of Fig. 10, I,
i^-^-^^=^^^^^'
II III IV
Fig. 10.
VI VII
III, V, VII, has already been shown in Fig. 3 by the flattening of the lead-
ing note of the scale; and similar alterations of Pig. 10, II, and IV, have
been observed in Fig. 2 by the sharpening of the subdominant of the scale
(see Fig. 11). ^Fig. 1 1 shows that a chord of the seventh may consist o(
^^
, l»g 1>^
III
-^
VII
- a
II
IV
Fif. II.
DICTIONARY OF TERMS 69
tbe following different series of intervals from the bass : ^I, and II, Major
3d : Perfect 5th : Mmor 7th ; III, and IV, Mmor 3d : Dim. 5th :
M'mor 7th ; V, Minor 3d : Perfect 5th : Minor 7th ; VII, Major 3d :
Perfect 5th : Major 7th. ^A fUrther reference to Figs. 1, 2, and 3, shows
that the harmonic superposition of three minor 3ds one above the other — ^that
familiar combination of notes known as the chord of the Diminished 7 th — is
possible over every note of the unaltered Diatonic Scale by chromatic or
enharmonic alteration without necessitating modulation. ^Accordmgly each
Enharmonic Equivalenis,
^»^jf=^^
I II III IV V VI VII
Fig. I a.
I II IV V VI
note of the Diatonic Scale may bear the chromatic alteration of its own chord
of the 7th as shown m Fig. 1 3. ^And with the chromatic alteration (Fig. 14)
^ ^t %-^=^—^ H
Fig. 13.
of the root itself the permutations are almost endless. ^It only remains to
give the distinguishing names which have been fancifully applied to one or
two of the chromatically altered chords of the 7 th in an inverted shape.
i
French Sixth.
(I)
(a)
(3)
German Sixth.
^^
(4)
(5)
I
(6)
Fig. 14.
^Of these (i) is the second inversion of VII in Fig. 10, with the sixth of
its bass chromatically raised. (2) is the second inversion of II in Fig. 1 1
with its bass chromatically lowered. (3) is the second inversion of V in
Fig. 10, with its bass chromatically lowered. (4) is the first inversion of
II in Fig. 10 with its root chromatically raised. (5) and (6) are respect-
ively chromatic alterations of the first inversions of IV in Fig. 1 1 , and VII
in Rg. 12. ^It will be observed that th« disdnguishing feature of the
chords in Fig. 1 4 is the interval of the Augmented 6th, In the usual reso-
lution of such chords, care should be taken to lee the two notes forming the
Augmented 6th proceed outwardly, each by step of a semitone.
mm
70
THE MUSICAL GUIDE
Alterezza (al-t^-r^d'-zS), /. Haughti.
ness.
altemamcii'te, alternan'do, /. Al-
ternating.
Alttraations. Tunes for bells.
aiternativo (te'-vd), /. i. Alterna-
tive ; a choice of methods. 2. A
short trio.
Altreig;e (fllt'-gf-khe), G. The viola.
Altnoita. Vide saxhorn.
altieramente (tt-a -ra), /. Haughtily.
alti natnrali. Male altos, or counter-
tenors, as opposed to castrati.
altisoaan'te, altiio'ao. Sonorous.
altis'onous. High-sounding, used of
the highest male voice.
altis'simo, L. Vide alt.
altist, altista (al-tes'-ta). /., altiste
(£l-test), Z'. An alto singer.
Alt'klansel (alt'-klow-z^I), G. The
progression of the alto part in a ca*>
dence.
alto (ai'-to), /. I. High; originalljr
applied to the high range of the arti-
ficial or falsetto tenors {castrati^ alti
naturally tenori acuti, falsetti, coun-
ter-tenors). Thence the term has been
applied to the lower range of women's
or boys' voices, ordinarily extending
from g below the treble staff to c
(an octave above middle C). 2. Viola,
also alto viola, a. prime, /. The
higher alto. a. secotido, T, The
lower alto. a. tenore, /. The
higher tenor.
al'to-basso, /. An obs. dulcimer with
a few gut stringy, struck with a stick
in the left hand, while the performer
held a flageolet in the right hand.
alt'ottava, /. Vide alta.
AltpOiauae (alt'-pd-zow-n^), G, Alto
trombone.
ai'tra, al'tro, /. Anothet. altra
▼olta. Encore, altro modo. Al-
ternate manner.
Alts&nger (ilt'-e^ng-er), G, Alto, or
counter-tenor.
Altschlttssel (aU-shlQs'-s^l), G. Ttie
alto clef.
Altvioie, G, The viola.
al'tus, Z. Alto or counter-tenor.
alaamento (al-tsA^miSn^to), /. Aa
elevating, as of the voice, a. dt mailOk
Up-beat.
alzando (aUtsan'do), /. Raising.
amabile (a-m^'.bM£), /. Amiable.
amabi]«nen'te. Amiably, amabi*
liU (be-ll-ta). Tenderness.
amarezaa (a-ma-r^d'-za), /. Bitter-
ness, amaro (fi-m£'-r6). Bitter.
amariMimameti'te, amariasiiiMK
Very bitter(ly).
amateur (im-S-ttir'). F. A "lover"
of an art, who does not make it his
profession ; makes it rather an avoca-
tion than a vocation.
Amati. A violin made by the brothers
Amati. Vide B. D.
am'bira. An African wooden drum
with vibrating tongues of wood or
iron.
am'bituft, Z. Compass or range.
am'bo or ambon. The platform
where canons were sung in the me-
diaeval Eastern Church.
Ambro'sian, Ambrosia'nus. Intrr-
duced by Ambrose. Vide B. D. A
Hymn. The •*Te Deum" doubt-
fully credited to him,
ambubaja (am-boo-ba-ya), Z. A
strolling flute-player from Syria. Vide
ANRURA.
ambulant (£n-btt-lan), F, Vagabond
musician.
ame (aim), F, Sonndpoat.
amen (a-m^n'), Heh. *' So be it."
American fiiig;ering. That system
of fingering in which x indicates the
thumb ; in foreign fingering, the
thumb is called the first finger and
marked i.
American organ. Originally called
" Melodeon '^or " Melodie." A free-
reed instrument differing from the
older harmonium (q. v.) in that the
air is drawn through the reeds by
suction, instead of forced outward
through them ; this gives a superior
control and shading; inv. by Jere-
miah Carhart. Its superiority, recog-
nised in Europe more than at home,
is also due to the better voicing of
the reeds and the resonant alr-cham*
DICTIONARY OF TERMS 71
bers deYeloped by Mason & Hamlin.
The stops are many, and imitate va-
rious instruments.
amore (&-mo -r6), /. Love ; affection.
amoreTole (ra'-v5-ld), amorevol-
men'te, amoro'so, amorosamen-
te. LovingOy).
amphichord. Lira barberina (q. v.).
Amorschall (ii'.m6r-shill), Afflor»-
klungf G. An imperfectly valved
French horn, in v. by KOlbel, 1760.
ampho'ter, Gr, A series of tones com-
mon to two registers.
ampoUo'so, ampoUosamen'te, /. am-
poule (ah-poo-la'), /^. Pompous(ly).
amusement (a-mUz-man), /^. A light
composition.
aa (in), G, On (of an organ-stop) ;
"draw."
anab'aais, Gr, A series of ascending
tones.
anabath'mi, Gr. Certain antiphons
in the Greek Church.
anacru'sis, anaknisis, Gr, i. The
up-beat. 2. The up-take, or ac-
cented part of a measure beginning a
theme or air.
anafil (a-na-fel'), Sp. A Moorish pipe,
anafilero (fe-Ia-ro). A player of it.
aaagaza (i-nS^a -thfl), S^, A bird-
call.
anakamp'sis, anakamp'tos, Gr. A
series of descending tones.
anaka'ra, Gr. Ancient kettle-drum,
anakaris'ta, Gr. Kettle-drummer.
analisi (a-na-le'-ze), /., analyse (in-iU
lez), A AnaWsis.
anbu'ba (ja). Syrian flute.
anche (&iteh), F. A reed, libre. Free-
reed, jen d'a., or a* d'orgue« A
reed-stop.
ancia (an-che'&), /. A reed.
anco'ra, /. Once more ; yet ; still, as
aocor pift mosso. Still more quick-
ly.
Andacht (In'-d2kht), G, Devotion.
andilchtig (an-d£kh'-tYkh). Devo-
tional.
andamen'to, /. i. Rate of speed.
2. An episode as in a fugue. 3. A
/ugal theme.
andante (aa-dan'-U), /. Literally—
*' going*'; moderately slow, repose-
ful. Often much qualified by other
words, as can moto^ largo, maestoso^piU
tosto aiUgrettO'^nthxXy alUgrtito).
andantino, /. Literally, slower than
Andante ; but usually considered tr
mean slightly faster.
andare (ftn-dfi -ra), /. To move ; as a
diritto, go straight on ; a. a tempo,
keep strict time.
anemochord or anim'ocorde. An
instr. inv. by Schnell, 1789, aiming to
imitate the i^olian harp by means
of keys pressing bellows and forcing
air against strings.
anemom'eter. Wind-gauge.
ane'sis, Gr. i. Descent from a higher
to a lower tone. 2. The lowering of
the i^itch of strings. Reverse of «p-
itasis.
Anfanfl^ (Sn'-fangk), G, Beginning.
▼om A., = Da cafo. Anfiin(ger
(&n'-f^ng-£r). A beginner. Anfattc^s-
gjunde. Rudiments. AnUng^ri-
tornell. Prelude.
AnfUhrer (an'-fQ.r£r), G. Conductor,
leader.
anreben (&n'ga.b«n), G. To give.
den Ton a. to give the pitch.
Angelica (ftn-ja'-lY-ka), G. ang^lique
(iUi-zhi-lek), ang^lot (in-zha-l6), /^
I. An organ-stop. Vide vox. 2. A
17th century keyboard instr. with 17
strings.
angel'ophone* Eariy form of har-
monium.
angemes'sen, G, Appropriate.
angenehm (Jln'-kh^-nam), G. Pleas-
ing.
angkloung (ank'-loong). A Javanese
xylophone.
anglaise (&A-gUz), F,^ angHco (iin-
gle'-ko), /. I. In the *^English "
style. 2. An English country dance,
ballad or hornpipe. 3. A sprightly
French dance in 3-4 time.
ango're (£n.g5'-r«), angosda (an-
go'-shil), /. Anguish.
angoscevole (an-go-sha'-vd-lj), an-
gosciamen'tti angosciosamen'te,
angoscio'so, /. With anguish or
anxiety.
72
THE MUSICAL GUIDE
Unntlich (^ngsht' lYkh), G, Anxious-
(Ty).
anhaltend (an'-h&l>t«nt), G. Contin-
uous. a. Cadenz. A pedal point or
prolonged cadence.
Anhang; (itn'-hangk), G, Coda.
am' ma, /. Soul spirit.
animan'do, animato (a'-to), /., ani-
me' (&n-1-ma), /^ Animated, anima-
zione (il-nY-m&-tsY-d'-n£)» /. Anima-
tion.
animoUn'-Y-mo), /. Spirit, animo'so,
animosamen'te, /. Boldly.
animocorde. Vide anemochord.
An'klang, G. Harmony.
Anla^e (&n'-lS-kh«), G. Outline.
anlanten (an' -low-fen), G, To in-
crease ; to swell.
Anleitung^ (an'-ll-toongk), G, Intro-
duction ; instruction.
Anmuth (Sn'moot), G. Sweetness,
^ce. anmuthig^ (an'-moo-tTkh).
Sweetly, anmuthvoll (fdl). Full of
^^ce.
anom'alj. Deviation from exactitude
due to temperament (q. v.). anom-
alous. As a chord ; characterized by
a much tempered interval.
anonner (ft-njin-na), F, To hesitate,
blunder.
anpfeifen (Sn'-pfl-fen), G, To whistle
at ; to hiss.
An'sa. In Hindu music the note cor-
responding to our tonic.
Ansatz (Sn'-zSts), /7. i. Embouchure.
2 Attack
Anschlag (in'-shlMkh). G, i. Touch.
2. A short double appoggiatura.
anschwellen (an-'shv^l-l^n), G. To
increase ; swell.
an'sing^en, G, To greet with song.
ansio'80, ansiosamen'te, /. Anx-
iously.
anspielen (Sn'-shpe-l^n), G. To play
first.
Aasprache (ftn'-sprakh-^), G. '* Speak-
ing*' or intonation.
an'sprechen, anstimmen, G. To
speak ; sound.
Anstimmung^ (in'-shtYm-moongk), G,
Intonation.
f mawer. vide fugus.
antelu'dium, L. A prelude.
antece'dent. i. A subject a. Vid«
FUGUK.
anthem. In the Anglican Church ser-
vice, a sacred vocal work with or
without accompaniment. *' There are
five species of anthems, i. Verse
and chorus a., consisting of verse
and chorus, but beginning in chorus.
2. Verse a., containing verse (i. e.
solo) and chorus, but beginning in
verse. 3. Full a., consisting wholly
of chorus. 4. Solo a., consisting
of solos and choruses, but without
verse, and 5. Instrumental a."
\Busby\
anthe'ma, Greek dance with song.
Anthologrie (Iin-t5-l5-zhe'), Antholo'-
g^um, F. and G, The collection of
hymns, prayers, and lections of the
Greek Church.
an'thropoglossa, Gr, The vox hu-
mana ; a stop.
anticipation, anticipamento (Sn-te-
che-pi-men -to), or anticipaxione
(an-t€.che-pfi'-tsY-6'-ng), /. The sound-
ing of one or more parts of a har-
mony before the natural and ex-
pected place.
antico (kn-te'-ko), /. Ancient, all'
a. In the ancient style.
antienne (iins-ySn), /l, antifona (ia-
te'fo-na), /. Anthem , antiphon.
atifona'rio, /., atifonero (&n-tY-fd-
na'-ro), Sp* A precentor; antheok
singer.
antifonal', Sp. A book of anthems.
an'tiphon, an'tiphone, antipho'non,
antiph'ony. i. In Greek music,
accompaniments in the octave. 2.
Responsive singing by parts of a di-
vided choir, or congregation. 3. A
short scriptural sentence sung before
and after the Psalms or Canticles.
The chant or alternate singing ia
churches and cathedrals.
antiphona, Gr, An anthem.
antiphonal, antiphonaire (AAtY-fd-
n&r), F.^ antiphona'rium, L,. an'ti-
phonary. A collection of Catholic
antiphons.
antiphonel. Vide plai^chettb.
DICTIONARY OF TERMS 73
'tiphonlc. Not in uniaon ; made up
of 2 or more parts.
antifttro'fit. An ancient Spanish dance .
aatith'cftis. i. Contrast, a. Coun-
tersubject. 3. In fugues applied to
the answer.
aato'd*, Gr. Responsive singing.
Antwort (tnt'-vdrt), G, Answer.
anwachsend (tn'vddi-zjint), G^ Cres-
cendo.
aoi'dos, Gr, Singer.
aper'to, /. i. Ojpen, broad. 9. In
piano music, ' * use the damper pedal."
aptr'tna, Z. Open ; as diapason, ca-
non, pipes.
Apfelrag^ (ip'f£l.r&kh4U), G, '*Ap.
£*e-register,* an obsolete reed-stop.
'ony, apbonio (A-fd«n€), F, Dumb-
*ness. aph'onous. Without voice.
apojnnatura. Vide appoooiatura.
^MMrno, Gr. An invention combin-
ing the qualities of several instru-
ments.
apol'lo, apol'lon. A 20-stringed lute
inv. in 1678, by Prompt, of Paris.
apollo lyra. An improvement made
by Schmidt in i83a,on the Psalromelo-
dicon (q. v.).
apollo'iiicoii. A. gigantic orchestrion
exhibited in 18x7, by Flight & Robson,
and containing 5 manuals, 45 stops,
1,900 pipes, and kettle-drums. It
could be played automatically or by
five performers at once.
^Mllonion. Aninstr. inv. byVollerin
x8oo ; a piano with double key-board,
organ-pipes and automatic performer.
apos'tropoe. In singing, used to mark
a breathing-place.
apot'ome, Gr, A major semitone, in
Greek music.
appaasloitato (ip-pfts'-sY*&*nft'-t6), ap-
passionatamente, /. Passionate-
appean (&p-p5), F. Bird-like tone.
Appel (ttp-pi^r), F. & G, Drum call ;
assembly.
appenato (ap-p&-nlL'-td), /. Dis-
tressed.
applicatioii (&p-plT-k&s-ydA), F., ap-
plicatnra (ftp-pU-kii-too'-ra), /., Ap-
l»>ikatar (toor ), G, Fingering.
appogi^aiido (tp-pdd-Jin'-dO), ap*
poggiato (jii'-td), /. Leaning upon,
as a tone that slides into the next
legato.
appoggriatara (ftp-p6d-jlutoo'.rfi), jpl.
t, /. ** Leaning note." x. Tne
short or lesser a«, or grace note, is
written small with a line through its
hook, it receives the accent, but has
the minimum of duration ; the double,
or compound a., contains more than
one note and follows the same rule,
the first note taking tiie stress; the
unaccented a. (Nachsehlag) follows
its principal, is connected vath it by a
slur, and like other grace notes bor-
rows its time from the principal, but
unlike them has no accent, a. The
long a. was written small in old music
but played at its full value. It is aow
written large as an unprepared ittt-
pension. Alnsost any dissonantlal
note can be introduced unpreparMl as
an a* 3. A superior a. is one placed
above its principal ; an inferior a« one
below, vide orach.
apprestare (^>-pri.8tA'-ri>), /., ap-
preti(e)ren (ap-pr«-te'-r«n). G» To
prepare, as an instrument.
Apprttur (Ap-prit-toor'), G, The prop.
er set-up of an instrument.
&pre (fipr), /*. Harsh. &pramont (Apr.
mUn). Harshly. &pr«ti (Ap-rft-a).
Harshness.
Ar (ilr), P<frt. All.
Arabeskt (ftr-&.b«s'.k«), {?., ara-
btaqna (ir-A-bfek), F, i. An em-
bellishment, a. A light and graceful
form of music, resemhllng the rondo.
arbit'rio. Pleasure. A sm a.^ad M.
arbit'rii (trt-e). Embellishmenu im^
provised at pleasure while singing.
arc, /. The bow ; an abbr. of arco.
areata (flr-kft'-tft). Use of the bow.
arca'to. Played with the bow.
Archa (ir-kh«), G. Sounding-board.
arch-, £. & F», archl-, Z., arci^
/. A prefix, meaning *'chieif, priH'
cipal"; of instruments **the great*
est.'*
archagfiara (ftr-kCd-jA'-r*), /. Ta
aae the boar, to fiddle.
74
THE MUSICAL GUIDE
archet (&r.shi). F., archetto (ftr-ket'.
to). /. Violin bow.
archlute, archiluth (ftr-shl-lat), R,
arcilittto (ar-chel-yoo -to), /. A the-
orbo in which the bass strings were
doubled with an octave and the small
strings with a unison.
arcicembalo (&r-chl-cham'-b&-ld), /.
A harpsichord inv. by Vincentino in
the i6th century with 6 key-boards
and a diatonic, chromatic, and en-
harmonic scale. He also inv. the so-
called arci-organ.
arco (ar'-kd). /. The bow. a pun'ta
or coUa punta d*arco. With the
point of the bow. coll' arco, or
simply arco after pizzicato.
** Resume the bow." a. in g^ii (joo).
Down-bow. a* iiisu(soo). Up-bow.
contr' arco. Bowing against the rule.
arden'te, ardentemen'tte, ardentis-
•imo, /. ArdentOy).
arditeasa (ar-di-t$d'-za), /. Boldness.
ardito, arditamen'te. Bold(ly).
Aretia'tan. Concerning Guido D'Arez-
to or Aretinus, as the A. syllables.
Vide SOLMISATION (and guido in the
B. D.).
argentin (&r-zhlifi-t&A), F, Silvery.
arghool'. An Egyptian cane pipe with
reed mouthpiece.
aria (ft'-rl-ft) (pi. e), /. A song ; a me-
lodic composition for a solo voice with
instrumental accompaniment. It is
usually elaborate. The a. da capo
with two parts (the first repeated af-
ter the second) was the first important
form, though the rondo and even the
sonata idea have been used. Various
sorts of aria are a. bufia (boof'-fsi),
humorous ; cantabile, lyrical ; con-
ccrtante (c6n.ch<r-tiin'-t£) or da
concertOi for concert use, elaborately
accompanied; d'abilitH (d&-be-le-t&'),
for a display of virtuosity ; d'entra-
ta (den-trll'-tii), or sortita (sdr-te'-tji),
for the first appearance or entrance
of an operatic character ; di bravura,
hijg^hly florid ; da cbiesa, for church
with accompaniments of full orches-
tra ; fttga'ta parlan'te, declama-
tory ; tedes'ca, with closely related
accompaniment. A. d*ostinazione
(d6s-tt-ni'-tsI-6'-n«), /. An aria with
a basso ostinaio, ag^g^iuate. One
introduced into an opera, ariettina
(te'-na), ariet'ta, /. A short air or
melody.
ariette (ar-t-«t), F. Literally •* a short
aria," actually a grand aria.
arigot (4-ri-gd), F, A fife.
ario'sa (or-o), /. Melodious(ly), can-
tabile. ariose cantate (a-rY-o's^ ktln-
t&'t^), /. Airs in a style between
a song and recitative, introducing
frequent changes in time and manner.
ario'so. In the style of an air ; be-
tween an aria and a recitation. A
rather melodious declamation.
arm. Iron end-piece in an organ-
roller.
Armandine (&r-mS£i-den), F. A grand
piano with gut-strings and no key-
• board, invented by Pascal Taskin,
and named after the singer Mile.
Armand.
arma'rius, Z. Precentor.
armer la clef (ilr-ma lil kla), F, To
mark the signature on the clef.
Armg^eige (arm'-gi-kh6), G, Viola da
braccia.
armoneg^g^iare (£r-md-n£d-ja'-r£), /.
To harmonize.
armonia (^r-mo-ne'-a), /. Harmony ;
union, a. militare. Military band.
armonia'co (a'-ko), armonia'le, ar-
mottia'to, armo'nico, armonio'so,
armoniosamen'te, /. Harmonized ;
hannonious(ly).
armo'nica, /. i. Earlv form of the
accordeon. 2. Musical glasses. Vide
HARMONICA, armoaica guida (gwe-
da). Text-book in harmony.
armure (Xr-mUr), F, i. The key sig-
nature. 2. Action, mechanism.
ar'pa (pi. e), /. Harp. a. d'eolo. .^o-
lianharp. a.doppia. i. Formerly a
harp with double strings for each tone.
2. Now a double-action, arpanet'-
ta, arpinel'la. A small harp or lute.
Vide SPITZHARFE.
arp^ge (ilr-p^zh), arpfcg^ement (ir-
p£zh-m^n), F, Arpeggio, arpeg^eff
(ib--p^-zha). To aipegi]^ate.
DICTIONARY OF TERMS
75
arpe^C^ (ar-pW-je), /. PI. of Arpeg-
arpes^are (£r-p^d-jar^), /. i. To
play the harp. 2. To play chords in
haq>-inanner» i. e., waved, broken.
arpeggiamento (&r-pdd-ja*m£n'-td),
arpeggian'do (p*d-jan'-d6), arpe^-
giato (ja'-to). Played arpeggio, in
imitation of the harp.
arpeggiatura (too'-ra), /. A series
of arpegei.
Arpeggio (ar.p$d'-j5), /. i. The play,
ing of the notes of a chord quickly,
one after another, in the harp style,
ripplingly. 2. Such a chord written
out.
arpeggione (jd'-n<). A small 6-
stringed 'cello tuned like a guitar,
inv. bv Stauffer in 1823.
arpicor do, /. Harpsichord.
aipo'ne, /. A harp with horizontal
strings, inv. in the i8th century by*
Barbieri.
arrangement. The translation of a
composition to an instr. or instrs. for
which it was not originally written.
arranger (^r-r&h-zha), F, arrang^rcn
(ar-rin-zher'en), G. To arrange.
ar'sia, Gr, A raising as opposed to
thesis. In accent it means the stress ;
in metre It means the up-beat, and
therefore the unaccented part. It is
musically most common in the latter
sense.
ara musica, Z. The art of music.
Art (art), G, Species, quality, as Ton-
art kev.
articolare (slr-te-kMa'-r^), 7. articu-
ler (ar-te-kii-Ia), /*., artikuliren
(ar-te-koo-le'-rfn), G. To articulate.
arttcolato (li'to), /. ArticuUted.
arttcolaztone (la -ts1-5'-n£), /. Ex.
act and distinct pronunciation ; articu-
lation.
artific'ial. Vide harmonic.
artiglich (ar'tlkh-IIkh), G. Neat(lv).
Aa (Is), G. The note A flat. Asas,
or Ases. The note A double flat.
aacaulos or askau'los, Gr, A bag-
AsHdnr (Is-door), G, The key of A
flat major.
Ashantee trumpet. One made of
the tusk of an elephant.
aaheor (a.'sh£-6r). Hebrew instr. of
ID strings.
As-moll (as-moll), G, The key of A
flat minor.
Asper'ges me, L. ** Cleanse me."
The opening of the Catholic Mass.
aspirare (as-pl-ra -r6), /. To breathe
audibly.
aspiration, i. The dot indicating
Spiccato, 2. An obsolete grace note
having the effect of a beat in a sus*
tained tone.
asprezza (as-pr^d'-za), /. Harshness,
assai (&s-sii'-e), /. Very ; as allegro
a., very fast,
assemblage (jLs.san-bl&zh),/'. Double
tonguing ; rapid execution,
assembly. A rallying call for troops.
assez (&s>sa), F, Enough ; rather,
assoluto (loo' -to), /. Absolute ; alone ;
of a chief singer.
as' sonant, E. , assonan'te, /. Having
resemblance in sounds, concordant.
Assonanz (iis-sd-n^nts'), G., asso-
nanza (as-so-nan'-tsa), /. Conso-
nance,
assourdir (&s-soor-der), F. To muf.
fle ; to deafen, assourdissant (dis-
san). Deafening,
at'abal. A large Moorish drum.
Athem (M'tam), G. Breath. a.-los.
Breathless. A.-zug (tsookh). Res*
piration.
athmen (at'-man), G. To blow soft-
ly.
atUcca (sit-t^k'-kii), /., attaquer (It*
tft-ka ), F, To attack, attacca su-
bito, /. Attack or begin what fol.
lows immediately. attacca-Ansatz,
G. The attack-touch, a quick stroke
from near the keys.
attacco, /., attaque (iit-tlk), F, i.
A brief fugue theme. 2. A subject
for imitation in fugue.
attack. The manner or act of begin-
ning &tone, a phrase or a movement.
atten dant. Related.
atto (at'-to), /. An act. a. d! ca-
denza. Point where 9 cadence may
occur.
76
THE MUSICAL GUIDE
au (5), F. '* To the ; in the style of
the." Vide al, etc.
autuide (5-b&d), F. Morning music ;
a day-break serenade.
audace (a-oo-dat'>che), /. Audacious.
auf (owf), G. On, upon, in, at, etc.
-blassen. To blow upon, •fas-
sung. Conception ; interpretation.
-fUhntng (fa-roongk). Performance,
-gereg^ (-ge-rakht). Agitated, -ge-
weckt (-g*-vdkt). Lively, -geweck-
theil(til). Cheer.
aufbalten, G. To retard, to suspend.
Aufbaltung (owf'-hal-toongk), G.
A suspension. Vorhalt. ,
Auflage (owf'.l&.khd), G, Edition.
aufldsen (owf-la-z^n). To resolve.
Auflosung (owf-la-zoongk). i. Res-
olution. 2. The solution of a riddle
canon. 3. A natural (t)) sign.
AufiBatz (owf'-zats), G, Tube (of a
reed-pipe).
Aufschlag (owf'-shlakh), G. Up-beat.
Aufschnitt (owf-shnUt), G, Mouth
(of a pipe).
aufsteigende (owf-shtI'-kh£n^2), G,
Ascending.
Aufstrich (owf'-shtrYkh), (7. An up-
bow.
Auf takt, G. Anacrusis ; up-take.
Auf tritt, G. A scene.
Aufzug (owf.'tzookh), G. An act.
augmentant, en (&-ndg-m&n-tah), F.
Crescendo.
augmenta'tio, Z., augmenta'tion (in
F. dg-milA-t^'*ydn). Increase, i.
Of interval (q. v.) a semitone lai^er
than major, as an atigmsnted fifth.
2. Of note-values, as in counterpoint,
where a theme may appear with quar-
ter notes changed to half, etc.
augmented, E.^ augments (Og-rnHn-
ta'), F. Used of I. Intervals a
semitone greater than major. 2.
Chords containing such intervals.
Vide ALTERA CHORDS.
aul'os, Gr. Most important Greek
instrument, probably a flutc^possibly
like the oboe, aul'etes. Flute-
player.
auloso'num, Gr. The tuning-wire of
reeda
aus(ow9),^. From, out of. -arbeitong
(-ar-bl-toongk). Elaboration, nieh-
nung (-di-noongk). Development,
•druck (-drook). Expression.
-drucksToll. Full of expression.
-fUhrung(fa-roongk). Performance;
exposition. -fUllung. The middle
parts. -fabe (-ga-b«). Edition,
-gang. Exit; conclusion, -gehal-
ten. Sostenuto. -geigen (gi-kh^n).
To finish, -gelassen. Wild ; un-
governable. Aus'gelassenheit (hit).
Extravagance ; wantonness, -hal-
ten. To sustain. Aus'haltung.
Sustaining. Aushaltungsseichen
(tsl-khdn). The fermate. -Idsnng
(-l&-xoongk). The device that releases
the hammer of a piano.
ausserste Stimmen (Is'.s£r-st£ shtlm-
m^n), G, Extreme parts.
answeichen (owt-vikh n) , G. To mod-
ulate. Attsweichung (vi-khoongk),
G. Modulation ; transition.
authentic, E,^ autenttco (ft-oo-t€n'-tl-
ko), /., authentisch(ow.ten'.tY8h),(7.
That part of a scale between the tonic
and the dominant above ; the part be-
tween the tonic and the dominant be-
low being called PlagaL Vide MODXS.
a* cadence. Vide cadence, a.
melody. One whose range covers the
octave above its tonic or final.
au'toharp. A zither whose strings are
stopped by a series of dampers so ar-
ranged that pressing one down, leaves
free certain strings. When these are
swept with the plectrum a chord re-
sults.
au'tophon. A barrel-organ, whose
music is cut in heavy pasteboard.
autos sacrementale (i'-oo-tos s&k-
ra-m£n-ta'-l£), Sp, Oratorio, or pas-
sion music.
auxiliary. Said of tones one degree
above or below th« true harmonic tone,
particularly in a grace ; of scales be-
longing to auxiliary or related keys.
avanera. Vide habankra.
ave (a'-va), Z. "Hail.*' Ave Ma-
ria. ** Hail Mary," the salutation of
the angel at the Annunciatioa, which,
with the words of Elizabeth (Lukf \
DICTIONARY OF TERMS
77
43) and a concluding hymn, has
formed a favorite text for music since
the 7th century. Art maris ttella, L.
'* Hail, sUr of the sea." A Catholic
hymn.
avcc (a-vdk), F. With.
aTe'na, Z. A reed ; a pipe.
aTicinium. A bird-like oi^gan-stop.
aTOided. Prepared and then omitted,
as a cadence (q. ▼.).
aToir du retentitsement (ft-vwar-
dfl rfl.tfin-tes.miUi), F. To be re-
peated and echoed.
astone sacra (fi'-tsl-d-n^ sa'-kra).
Oratorio ; passion music.
B
Bi. A musical pitch, one whole
stVp higher than A, and its
octaves. In France and Italy
called "si." In Germany B
natural is called H (hi), and the term
B (bfi) confined to B flat. 2. The major
key having five sharps ; the minor key
relative to D major. In old works
(and modem German) square B (or B
quadratum or quaarum or durum,
in F. B6 carr6) stands both for B nat-
ural and for the natural sign (H) itself.
3 rotundum (or moUe, in F, b^
mol) stands for B flat, and for the flat
sign itself Q^), the tone B having been
the first to be chromatically lowered.
B cancellatum stands for the sharp
sign (#) first formed by crossing the flat
(b>) and originally equivalent merely to
nullifying or naturalizing the flat.
In old solmization B mit -wdsB fa;
B natural, B mi.
As abbr. B — basso; c. b.— ^^/
kasso ; C^. — Contrabasso, Mus. B.
— Bachelor of music,
baas (bits) or base dance. A dance
resembling the minuet.
baazas (ba-zfi), F. A kind of guitar.
babara (bfi-bfi'-rfi), Sp, A Spanish
country dance.
baborack'a, bab'orak. Bohemian
dances of eccentric rhythm.
baccalanrens musics, Z., bachel-
ier (bfish-ttl>y&), F. Bachelor of Mu-
sic. A degree granted to those who
have proved a certain standard of
proficiency. Inferior to Doctor of
Music.
bacchanale (n%l), F, A Bacchic revel,
bacchanalian songs. Drinking
songs.
bacchia. A Kamschatkan dance in
2-4 time.
bacciocolo (bfit-tchY-o-k6'-l5), /. A
Tuscan guitar.
bachelor. Vide baccajw^urkus.
back-block. Wrest-block.
badinage (bfi-dY-nazh), F, Banter.
baga'na. lo-stringed Abyssinian lyre.
back. The under side of'^a violin.
back-fail. i. An obsolete sizn and the
grace note it indicated. Vide graces.
a. A lever in the organ.
back-turn. Vide turn.
bagatelle (b^g-fi-t^l), F. A trifle.
bagpipe(s). An instr. of great antiq*
uity and wide favour, consisting of
a series of pipes furnished with wind
from a bag in the player's mouth oc
a bellows under his arm, or both. It
has usually one chanter or melody-
pipe with a reed, and 6 or 8 holes,
played with the fingers ; 3 iiron4
pipes sounding continuously an octave
and a fifth.
baguette (b&.g£t), F. 1. K drumstick.
2. Bow
baiie (bsl-V-l^), Sp. National Spanish
dances.
baisser (b^s^sfi), F, To lower, as the
pitch.
bal'afo. A Senegambian xylophone.
balalaika (bfi-lfi-ll'-ka). A rude Rus-
sian or Gipsy guitar with 2 to 4
strings.
balancement (bftl-aAs-m&n), F. A
tremolo (as of a violinist's finger).
balance-rail. The wooden strip 00
which piano keys are balanced.
Bal(c)ken (bal'-ken), G, i. Bass-bar.
2. The heavy lines connecting the
stems of a series of small notes.
Balg (bfilkh), G, Bellows. B.-zug.
Bellows-stop.
baUabile (bal-lfi'-bl-l^), /. In a dance
manner.
78
THE MUSICAL GUIDE
bal'lad, Ballade (b^Ul&d'), F, (baU
la-d^). G. ballata (baMa'.tS), /.
Originally a dance tune (from ballare^
to dance) ; it now means a simple
song of popular tone. In instrument-
al work, it may be as elaborate as
" Chopin's Ballades," but it still has
an idea of directness and melodious-
ness, if not narrative, balladen-
m&sstg (m^s-sYkh), G, Ballad style.
ballad of ballads. Solomon's song.
ballad opera. Light tuneful opera.
alia ballata. In ballad style, balla*
tella. blUlatetta. A short ballata.
ballet(blU.la), F., Ballett (bal-l^t), G.,
ballet'to, /. I. An elaborate dance
by professionals, often spectacular
and narrative. 2. A light glee of the
i6th cent. Vide fa-la. 3. bal-
letto was used by Bach for an alle-
gretto in common time.
bal'lo (pl-i), /. A dance, or dance tune,
as b* della stira, Styrian dance like
the waltz ; b. unraresi, a syncopated
2-4 Hungarian dance ; da ballo, in
dance st3rle.
ballonchio (bal-Idn'kl-d), /. A coun-
try dance.
band. A gn^up of instrumentalists,
usually a military band, sometimes an
orchestra ; oftener a part of the or-
chestra, as the string-band, band-
master. The leader of a band.
Band (b&nt), G, A volume.
ban'da, /. i. The brass and the
drums of a theatre-orchestra. 2. An
orchestra on the stage.
Bande (ban'-d€. G., band, F,). i. The
24 court-violins. 2. A strolling band.
bando'la, bandolon. banoalo're,
bandelo're. bando'ra, bandura
(ban-doo'ra), /. Instrs. of the lute
kind, played with a plectrum.
bando'nion. A concertina named af-
ter the Heinrich Band, invented by
Uhlig, 1830.
bandurria (ban-door'-ri-a), Sf. A wire-
strung guitar.
ban'ia, banja. African instrs. from
which the banjo may have been de-
rived.
baiyo. A long-necked stringed instru-
ment with a broad, round body, cov-
ered with a tight sidn, which gives the
five to nine strings a quaint sound.
Biinkelsan^er (b£nk'el-z£ng-er), G.
** Bench-smger(s)," vagabond musi-
• cian(s).
bar. I. A vertical line drawn across
the stave just before the major accent
of each measure ; since the bar sep-
arates the measures, the word is in-
correctly used to denote the measure
itself. In psalmody used co mark the
end of lines and phrases. 2. A gen"
eral division of the song of the Meis«
tersanger; it included 2 Stollen and
an Abgesang. 3. Vide barrer.
bar'baro, /. Barbarous(lv).
barbarism. Crudeness of progression
or combination.
barbet', bar bit on, bar'bitbs. i. An*
cient Greek lyre. 2. In i6th cent, a
violin.
barcaro'la, barcaniola (bar-ka-roo-o'-
la), barca'ta, /., barcarolle (bar-k&-
rol), F, I. An air sung by gondoliers,
or boatmen. 2. Hence, a Ivrical in-
strumental composition usually in 6<3
time (Chopin's are in 12-8).
bard. A Celtic minstrel.
bardd alan (bard-a'-l&n). A Welsh
prof, of music.
Bardlet, Bardit (bar-det'), G, Ancient
German war-song.
bardo'ne, /. Vide barytone.
bare. Open ; parallel, as bare fifths.
Barem (ba'-ram), G, Obs. soft organ-
stop.
Biirentanz (bar'-^n-tants), G, Bear-
dance.
bargaret, bargeret, barg^net. Vide
BERGERET.
bartbas'so. A deep barytone.
bariolage (bar-Y-o-iazh), F. i. A med-
ley. 2. A rapid passage showing a
distinct design, or *' waist-coat pat-
tern."
bar'itenor. The deeper tenor voice.
bariton(e). Vide barytom.
baroc'co, /., barock', G., baroque (bin
rok), F. Eccentric ; uncouth.
BiLrpfeife (bar'-pfi-f£), G. Bear-pip^
an old growling organ-stop.
DICTIONARY OF TERMS 79
barquade (b&r-k&d), F. Old form of
barcarolle.
bar'ra, /. Bar.
barra^ (bir-riizh), F, Vide barker.
barre (b&r), F, i. A bar ; also b. de
mesure ; b. de r^p^tltion,* repeti-
tion mark. 2. A bndge.
baiT6 (bftr-ra), F, Vide barrkr.
barred C. The mark for common time.
C with a bar through it ; a mark of
«/£> hreve,
barrel. The body of a bell.
barrel chime. Portion of a mechanism
ringing a chime of bells.
barrel org^an. i. An instrument, com-
monly portable, in which the bellows
are worked, the pipes blown and the
tune automatically played by a crank
turning a cylinder set with pegs, so
arranged as to open valves in melodic
and harmonic order. 2. The same
principle is used in street-pianos, the
pegs releasing hammers which strike
wires.
barrer (bftr-ri), F, To bar. Pressing
the strings of a guitar or lute with the
forefinger of the left hand to raise
their pitch ; great, or grand b., press-
ing all the strings ; small b., pressing
2 or 3 strings ; hence barr6 and bar-
Bart, G, Ear, as of an organ-pipe.
bar>ton(e), E., baryton (bftr-Y-tdft),
Barytoo (bS-il-tdn'), G„ barito'no,
/. I. The male voice, between t)ass
and tenor, with a compass between low
G and z (vide pitch). If low in qual-
ity it is basa-baiytoa, if high, tenor-
baryton. 2. A brass valved instr.
(vide sax-horn). 3. The viola di
bordone(^r bardone). An obsolete
i8th cent, instr. resembling the viola
da gramt>a ; its 6 gut-strings being re-
enforced by the sympathetic vibration
of from 8 to 27 wires. 4. An epithet
for any instr. between bass and tenor,
asb. clarinet. 5. b. tXtL The obso-
lete F clef on the 3d line.
bars(b2r2), Welsh, A Welsh bard.
bas (b&), F. Low. bas-dessus (d^
sQ). Mezzo-soprano.
base, bass, E,» Bass (bfis), (7., basse
(bfts), /*., basso (bils'-sd),/. i. The
base or lowest part of a chord, pro-
gression, chorus, etc. 2. An epithet
denoting the deepest instr. of a class,
as t)ass clarinet. The double-bass,
q. V. 3. Formerlv an instr. of 5 or 6
strings between cello and double-
bass. 4. Affixed to the name of an
oigan-pipe or stop, it restricts it to the
pedal. 5. The lowest male voice,
ranging usually from low F to mid. C ;
basse chantante (sh^-tfiAt), basso
cantan'te, a flexible *' lyric" bass
voice ; basse-contre (kdAtr), basso
profundo (pro-foon'-do), a very low
voice ; basse taille (tl-yft), a high
bass: basso bnifo, bass comedian.
6. Thorough bass, continued bass,
figured bass, Generalbass (gi-n£-
rfl'-bas), besifferte Bass, basse
chifTr^e (shYf-fra), basse continue
(k6n-t&A.o), basse figur^e (fe-gtt-
r&), basso contin'uo, Easso figura'*
to, basso numera'to— « species of
musical shorthand in which only the
bass-part is written with Arabic and
Roman numerals indicating the chords
(vide chord). 7. Fundamentalbass,
basse fonaamentale, basso fon«
damentalo, vide fundamental. 8.
Ground-bass, drone-bass, basse
contrainte (kdn-tr&nt), basso con-
strutto, basso ostinato, basso te-
nuto, a bass phrase or figure obsti-
nately repeated. 9. basse-contre,
a very deep voice; also the double-
bass ; b. de crefflo(r)ne, or, de cro-
mome or d'hautbois or de flftte
tniTersi^re, old names for the bas-
soon ; b. de comet, the serpent ;
b. d*harmonie, the ophicleide; b.
gueni^re, a bass clarinet; bass
orgue, an instr. inv. in 1812 by
Sautermuiter. 10. Bassfldte, an
obsolete bassoon ; an 8-foot ofgan-
stop on the pedal. Bassgelge,
'cello; g^osse Bassgeijge, doub-
le-t)ass. Bass-schl(lssei7 or -sei-
chen^F clef. 11. basso concer*-
tante, the principal bass in recitatives,
etc. ; also florid music for the lower
strings; basso obbligato, a neces-
8o
THE MUSICAL GUIDE
•ary baat-pArt ; b. Ottarft, ftn ocUve
lower ; b. ripleoo, vide ripieno ; b.
liiroUato, inverted baas. is. bass
cUf, the F clef. Albert! basa, vide
ALBBRTi. i^vea bata, a bass on which
harmony la to be built, supposed
basS| a bass tone not the root of the
chord, murkj basSi vide murky.
bassaoello. an obsolete instr. bass-
bar, bass-Dram, in violins, etc., a
strip of wood glued inside the belly
near the bass strine.
basset bora. An obsolete clarinet.
Bassett. bassetU, Bass'l, (7. i. Old
name for *cello. s. As a prefixes
tenor. 3. A 4*ft. flute-stop on the
pedal.
basset'to, /. I. The little bass. 8.
An obsolete instr. with 4 strings. 3.
An 8 or 16 ft. reed-stop. 4. The
lowest voice when the bass is si-
lent.
Baasklausel (bas'-klow^sel). The pro-
gression of the bass in a cadence.
Basslade (bto'.IiKl€), G. Soundboani.
basson (bJls.s6A), F. Bassoon, b.
quart (kir). One whose tones are
a fourth lower, b. quinte (k&nt).
One whose tones are a fifth higher.
bassoon. The bass voice of the wood-
wind. A9»foot conical tube doubled
on itself, with a long double-reed
mouth-piece. Its original was the
long bombardon, from which it was
derived in 1539, It is the bass of the
oboes ; its natural scale is G major ;
its music* is written in the F clef,
save for higher notes which use the
tenor clef. All keys are available by
means of cross fingering, and it is
capable of considerable brilUance. It
has three registers, the lowest being
very reedv, the highest resembling
partly a cello and partly a tenor
voice, the medium is rather colourless.
The compass B'b-c" (sometimes to
£">.
basta,bastaiite,/. * Enough 1 stop T'
bastardilla (bfis-tftr-dei'-ya), Sp. A
kind of flute.
bath'yphoa, Or. An obsolete clarinet
batil'lttS, Z. An Armenian instr. used
in the place of bells ; a board struck
¥rith a hammer.
battailt(e) (bftt-tiln(t) ), F. Beating.
b4toa de mesure (bi-toA d& mfi-sOr),
/^ I. Stick used in beating time.
2. A conductor's manner. 3. A rest
of 2 or more measures. 4* b4toii.
The thick line of a measure-rest. b«
de reprise. Repeat.
battement (b&t'-man), F. batttmen'-
to, /. Beat.
battere (bat'.t«.r«), /. The down stroke.
batterie (bit-rS), F, i. The roll of
the drum. a. Smiting the guiur
strings. 3. Broken chords on string
instrs. 4. The group of percussion
instruments.
battery. A harpsichord effect amount-
ing to a quick sharp repetition of a
chord.
battre (b&tr), F, To beat. ,
battnta (bilt-too'-tft), /. i. A beat ,
so a b., with the beat, strictly 0 (em'
po, 8. A measure. 3. A progression
from the loth on an up-beat to the
octave on the down, forbidden in old
counterpoint.
Ban (bow), (7. Construction.
b&uerisch (br-^r-Ysh), G. Rustic;
coarse.
Bauemfldte (bow'.«m-flft-t«), Baueni*
pfeife, B&uerlein, (7. i. Rustic
flute. 3. A stopped register in old
organs.
Baaemlied (bow'-£m-let), G, A rustic
ballad.
baxottcillo (b&x-dn-ther-yo), Sp, i.
Small bassoon. 2. Open diapason
stop.
bajla, bayle (bA'-e-la), Sp, A dance.
b b (ba-ba), (7. Double flat.
B-cancellatum. Vide B.
B-dur (ba-door), G. B. dumm, L,
The key of B flat major.
bearbeitet (b«-ir-bl.t«t), G. Ar-'
ranged. Bearbeitung (bi'-toongk).'
Adaptation.
beards. Small projections on the side
of, or beneath, the mouth of a pipe*
to improve the speech ; bence^
and side-baarda.
DICTIONARY OF TERMS 81
bearings. The tones and Intervals
first established by a tuner as a
basis.
beat, beating, i. The hand-motions
of a conductor. 9. That part of a
measure marked by one beat. 3.
One pulsation of a trill. 4. An old
ornament consisting: of a short prelim-
inary trill with the next note below.
Vide GRACES. 5. The throb produced
by the interference of two tones of
slightly different pitch. Vide acous-
tics.
bebisation. Vide solmisation.
Bebung (ba -boongk), G, t. A tremolo ;
on the clavichord, a tremolo made by
vibrating the finger upon the key. 2.
Also, German organ-stop.
bee (b«k), /*., bec^co, /. The mouth.
piece, as of a clarinet, becco polaC"
CO. A large bagpipe.
b^carre (ba-k&r), F. The natural
sign (to.
Beder (b^kh'^r), G. i. The cup or
bell of a wind-instr. 9. The tube of a
reed-pipe.
Becken (b^k-n), G. Cymbals.
bedeckt', G. Covered ; stopped.
bedon (bfi-ddA), F, Old name for
drum. b. de Bltcaye. A tam-
bourine.
Be (b&). G, B flat. Be-be« B dou-
ble flat.
beffroi (biif-frw«), F. x. Belfry, e.
Tocsin.
befilxen (b^-f^l'-ts^n), G. To put feh
on. Befilzung. Felt.
Begeistemng (b^gTs'-tlr-oongk), (7.
Enthusiasm.
begleiten (b^-gll'-tln), G. To accom-
pany. Begleitung. Accompani-
ment. BegTeitetimmen. The ac-
companying parts. beglei'tete
Pu'ge. A fugue with free parts.
beide (bl'-d^), G. Both, usually die
Belden.
Beispiel (bf -shpCI), G. Example.
Belsser (bis's£r), G, A mordent.
Beitdne (bf-Ul-n^), G. Accessory
tones ; harmonics.
Bei^eicben (bf-t^^kbfo), G. Acd-
beklelen (b«.kr-l«n). G. To fit with
quiUs.
beklemmt', G. Oppressed.
bel (b«l), /. Beautiful, perfect, as U
btl can^o. The perfect (art of) song.
belebend (b£-la -b^nt), G, Accelerat-
ing, belebt (b«-mpt). Lively. Be-
lebtheit (hit). Belebmig. Vivac-
ity.
beledern (b^Ul'.d£m), (7. To covtf
with leather or felt. Beledervng.
Felt.
belegt (b«-I&kht'}, G. Hoane ; veUed.
belleben (b^le'.Mn), G, Pleasure ; at
Sleasure.
_ lebig (b«.l«'.bTkh), (7. Atpleasuie.
bell. I. A hollow metallic instrument
set in vibration by a clapper, or ball,
within, or by hammers from outside,
e. The wide opening of horns, etc.
3. B. diapason. A diapason stop
with flaring pipes. b.*gamba. A stop
whose pipes are topped with a t>eil.
b.-harp. An old form of harp which
was swune when clayed. bb*metre-
nome. A met. with a belUindicator.
b.-tcale. A diapason for testing bells.
b.-piano. Vide olockenspibl.
bellessa (Mfl-l^d'sfl). /. Beauty.
bellico'eo, bellicoeamen'tei /. BetlU
cose(ly).
bello'nion. An automatic Instr. Inv. in
18 IS, consisting of 94 trumpets and e
drums.
bel' lows. A pneumatic device for tup-
plying air to various instruments.
bei'iy. A soundboard of an instr.,
violin or piano, over which strings are
stretched.
bemerk'bar, (7. Marked.
b^mol (bi-mdl), /*., bemolle (bi-mdl-
]«), /. The mark called a flat (¥). b«-
molieer (ba-m6-lY-za), /*., oemol-
lizsare (bA-mdl-lYd-si'r^), /. To
mark with a flat. b^moUs^efsl).
Flattened.
ben (bin), benr (bA'.n«). /. Well,
good * as ben tenuto, well-sustained ;
a bene placito, at the good pleasure.
Benedic'itei Omnia Opera. ' * AU m
works (of the Lord) praise Him," /•
A canticle for morning prayer.
82
THE MUSICAL GUIDE
^ Benedictttft Domine/' Blessed be
Thou, O Lord. A canticle. Bene-
dic'tufl Qni Venit, Z. *' Blessed is
He that oometh," vide mass.
be<|uadro (ba-kwa'dr5), /. The natural
sign (8)'
bercense (Mr-s&z), /*• A cradle-song ;
hence, an instrumental piece in that
spirit.
bes^gamask, ^., bersramas'ca, /.,
bergamasque (mflsk), F, A rustic
dance, imitating the clumsy peasants
of Bergamask in Italy.
bergeret (Mr-zhA-rft), F. A rustic
song or dance.
Bergkreijen, Bergreigen (b&rkh-il'*
khen), G, Mountain melodies.
berlingozsa (^^b^r-lln-gdd'zft), /. A
rustic dance.
Bes (bis), C. The note B double
flat.
besaiten (MS^-t^n), G. To string.
betchleuniprend (b^-shloi'*nl-g£nt), G.
Accelerating.
befiedera (b«.f e'-d«m), G. To quill.
bestimmt (b^^htlmt). G. Distinct.
B.-heit (hit), G. Precision.
betonendi betont (b^-tont), G. Ac-
cented. Betonunjr. Accentuation,
betrttbt (b^-trOpt'), G. Troubled.
Bet'tlerleier (IMr). G. Hurdy-gurdy ;
Bettleroper. ** Beggar's opera.*'
bewegea (M.va'.kh«n), G, To agi.
tate. bewegt (vakht). Agiuted.
B^wegnng. Motion, emotion. Be-
wegungeart. Tempo, a movement.
bMiffert (b£.tsir.f«rt), G. Figured.
Vide BASS.
Besttg (Mf-tsookh'), G, The set of
strings for an instrument*
bhat. A Hindu bard.
bianca (bY-ftn'-kft), 7. A " white ** or
half note.
bibi (be-bS), F. A pianette.
Bible-regal. A regal that folded up
into the size of a tome.
bichord, Z. An instr, (a) having two
strings, (b) Having two strings to
each note.
bicin'ium. A 2-part composition.
bien (b'yiA), F. Well.
biiara (ba'-fiUril), bif iara, bif ra, t. A
stop with paired pipes sMghtly out of
tune, so as to produce a tremolo.
biju'g^ The two-necked cither.
btna. Vide vina.
bimmolle (bTm.m61'.l£), /. B flat:
the flat mark.
bin'ary. Two-fold ; two-part. b.
form. A movement with 2 chief
themes or sections, b. measnre.
Common time with its two accents.
bind. A line, usually curved, binding
two notes into a sustained tone ; or the
brace binding staves.
Bindebogea (bln'-d£.bd-kh£n), G, A
slur.
bin'den, G, To bind ; to perform U-
gate. Bindung. A slur; hence, a
suspension or syncopation ; the legato
manner. Bindungszeichen. The
slur.
biquadro (be-kw&'-dro), /. The nat-
ural sign.
bird-organ. A small organ for teach-
ing tunes to birds.
Bim(e) (ber'n«), G. The socket of a
mouthpiece.
bie (bes), L. i. Twice, bis unca, i6tit
note. a. Used by the French in^
stead of our pseudo-French ''en^
core ! " meaning ** please repeat."
biscan'to, / A duet.
bischero (bes'-k&-ro), /. A peg or
pin.
biscroma (bes-kro'-ma), /., biscrome
(bes-kr6m), F, A i6th note.
bisdiapa'son, Z. A double octave, or
fifteenth.
biseau (be-so), F, Stopper of a pipe.
bisin'ium, L, A duet.
bisogna (be-sdn'.y&), /. '* It is neces-
sary."
bisqua'dro (kwa -dro), /. A natural
sign.
biseare (bls-s&'-r£), /., bisser (bes-sa),
F, To encore.
bis' sex, Z. A i2-stringed guitar.
bit. A small tube to supplement a
crook.
Bit'terkeit (kit), (7. Bitterness.
bizzarria (bid-zfir-re'-ii), 7. Eccentrid
ity. bfztar'ro. Curious, bizzar*
ramen'te; OddlT. t
k
DICTIONARY OF TERMS 83
blanche (blflnsh), F. A *' white" or
half note.
BUsebalff (bli'-z^.bfilkh), G. BeU
blasen (blfi'-z^n), G, To blow. Bla-
ser. A blower; an instrument for
blowingr. Blasemusik. Music for
wind instrs. Blas'lnstniment. A
wind-instrument.
Blatt (blfit). G. A leaf ; a reed.
Blechinstnitnente (bl^kh'-Tn-stroo-
mto-t£). (7. The brass instruments.
bUnd (bWnt), G. " Blind." simulated,
as a dummy pipe.
Blocldldte (blok'.fla-t£), G. i. A stop,
of lai^e-scale pipes. 2. A i6th cen-
tury flute.
b-mol (be-mol), F, The flat mark |>.
Vide BKiiOL
B-moll (bi-mol), G, The key of B
flat minor.
blocks. Supporting strips in violins,
etc.
boat-song^. Water-music, vocal or
instrumental.
bob. The changes to which a set of
bells can be rune ; 6 bells give bob
minor ; 8, b. major ; 10, b. rojal ;
12, b. maximus.
bo'bisation, bocedisation. Vide sol-
MISATION.
bocal (bo-kil), ^., boc'ca,/. Mouth-
piece ; mouth. bocca ridente.
*' Smiling mouth," believed to aid the
production of pure tone, con bocca
chinsa (kl-oo'-zii). With mouth
closed, humming, bocchino (ke'no),
/. Mouthpiece.
bocina (bd-the'-nS), Sp, A large trum-
pet.
Bockpfeife (b6k'.pft.f£), G, A bag-
pipe.
Bock8triller(b6ks'-trtl.l«r),(7. A goat,
ish bleat.
Boden (bd'-d€n), G, The back (of vio-
lins, etc.).
Boehm Fldte (bam fla-t£). An im-
proved flute in v. 1834 by Boehm, in
which a series of keys simplify the
fingering and intonation ; the system
is also fitted to oboes and clarinets.
Vide the B. D.
Bogen(bo'-kh£n), ^. i. A bow. 2. A
slur, as Haltebogen, BogenfUhning.
Bowine. Bogenstrich. A stroke o' the
bow. Sogeninstrumente. Stringed
instruments. Bogenfliigel, -ham-
merklavier, or -klavier. Piano-
violin.
bois (bwft), F, Wood, lea (la) boia.
The wood-wind.
boite (bwat). Box ; swell bo3t. ouvres
(fermez) la b. Open (close) the swell.
bolero (b5-la'-r5), Sp, A lively Span-
ish dance, in 3-4 time, with castanets.
See chart of dance-rhythms.
bom'bard, E.^ bombarde (bon-b&rd),
/*., bombar'do, /. i. A very long
obsolete shawm, the original of the
bassoon (q. v.). 2. A powerful reed-
stop of i6-ft. tone.
bombar'don, E, (in F. bon-b&r-ddA;
in G, bom-bSr-don'). i. A large,
valved bass trumpet. 2. The bass '
saxhorn. 3. A i6-ft. reed-stop.
bom'biz, Gr, Ancient Greek reed
instrument.
Bom'bart, bom'mert, G. Bombard.
bom' bo, /. A figure in repeated tones.
bon (bon), F, Good, bon temps de
la mesure, F, The accented part of
a measure.
bonang. A Javanese series of gongs.
bones. Castanets made of bone.
Bonn's bridge. A violin bridge inv. by
Bonn of London with a foot under
each string, aiming at more reso-
nance for the interior strings.
boot. The foot of a reed-pipe.
bo'ra. A tin trumpet used by the Turk-
ish.
bordone (bor-do'-n^), /., Bordun(bdr'-
doon), G, I. A covered i6-ft. or 32-
ft. stop ; the French have 4 and 8
foot bourdons. 2. The lowest string
of 'cello and double bass ; the free
string of a hurdy-g^rdy. 3. A great-
bell. 4. A drone bass. B. rldte,
G, A stop, bourdon de comemuse
(-korn-mUz), or bourdon de musette.
F. The drone of a bagpipe.
bouch^ (boo-sha), F, i. Stopped (of
horn, etc., tones). 2.. Covered (of
pipes).
84
THE MUSICAL GUIDE
bouche ferm6e (bo<>sh f£r-m&), F,
With closed mouth ; humming^.
bouffe (booOt ^- A bufifoon. opera b.
Comic opera.
boulon. A Senegambian harp.
bour'don, E, (in F., boor-ddA). Vide
BORDONE.
bourr^e (boor-r5), F, A lively old
Spanish or French dance in 4-4 or 2-4
time. The second and fourth quar-
ters of the measure divided. Used as
an alia breve movt. in old suites.
See chart of dance-rhythms.
boutade (boo-t&d), F. i. An instru-
mental spectacular fantasia. 2. An
old French dance. 3. A short ballet,
impromptu.
bow. An elastic wooden rod with horse-
hairs (in recent cases, gut-thread)
stretched from the bent head or point
to a movable nut ; the hair being
drawn over strings sets them in vibra-
tion, bowhair. Hair used in mak-
ing the bows, bowhand. The right
hand, bowinfi^ i. The art of using
the bow. 2. The sign for bowing.
The direction in which the bow is
drawn is indicated by down-bow
(marked n) from nut to point ; or up-
bow (marked V or A) from point to
nut . The back of the bow is sometimes
used, and indicated by sul or col legno^
*• with the wood." The bow may be
allowed to bounce on the strings (the
bounding or springing bow), the spic^
cato (marked by dots over the notes)
being played with a loose wrist near
the middle of the bow ; the saltato be-
ing with higher leaps, bow instru-
ments. String instruments played
with a bow. bow guitar. A violin
shaped like a guitar ; vide also piano-
violin, and BOW-ZITHER.
bojau (bwa-yo), F, Gut-strings, bo-
jaudier (bw2l-y&d-ya). A maker of
them.
bozzetto (b6d-z«t'-t6), /. Sketch.
B-quadratum, B-quadnim, L, i.
Vide B. 2. B-natural.
braban^onne (bril-b&fi-s&n). The Bel-
gian or Brabantine national hymn.
braccio (brat'-sho). /. ''Arm." A
term applied to instruments held up
to the neck, as viola da b., an arm-
cello. Vide VIOLA.
brace, i. A character used to connect
staves. 2. Leather slides on drum-
cords.
branches. Parts of a trumpet that con-
duct the air.
bran de inglaterra (briln d£ en-glsU
t£r'-ra), Sp. An old Spanish dance ;
the English Brawl.
bran(8)le (brilfi'-ia), F, A lively old
dance, 4-4 time, led in turn by
couples.
brass. General term for the instrs.
made of brass (or bras8*wind).
brass-band. A military band of only
brass instruments.
Bratsche (br&t'-sh£) (pi. -en), G, Vi-
ola.
Brautlied (browt'let), G. A wedding,
song. Brautmesse. Music before
the wedding.
Bravour ^brfl-foor'). G, Bravura. Bra-
vour-arie or -stiick, G, A florid
song or piece.
bravura (br^-voo'rft), /., bravoure
(brA-voor), F. Dexterity, dash, aria
di b. A show-piece, con b. With
brilliancy, b. messa. Medium diffi-
cultv.
brawl(e). An old dance in a circle.
break, i. The point at which one reg*
ister ends and another begins. 2.
Slips of various kinds in tone produc-
tion. 3. In a stop, the abrupt return
to an octave lower, due to insufficient
pipes. 4. In compound-stops, a point
where the relative pitch changes.
breakdown. An hilarious negro clog.
breit (brlt), G, Broad, slow.
Brettgeige (brSt'-gi-gd), G. A pock-
et fiddle.
breve (i?., brev — ^in /., bra'v€). br^ve
(br*v), F. I. Formerly the shortest
note, now the longest, equal to two
whole notes. 2. In old music— one-
half the longa. alia breve. To the
breve, i. e., a half note to each beat,
formerly four minims to the measure,
and in quick time ; it is indicated by
a common-time signature, with a vej^
DICTIONARY OF TERMS
85
tical bar through it ; also called alia
cappclUky or tempo mag^ore.
bce'viary. A book of matins, lauds,
and vespers.
Bre'vis^ L. and G, A breve.
brids^e. I. A piece of wood on which
strings rest ; itself rests on the reso-
nance box or board, to which it trans-
mits vibrations.
brieil I. A bass-viol bridge. 2. Breve.
brillant(e) (bre-yjih(t) in ^., in /. brll-
]an't«). BrUliant.
BrUlenbHsae (brllM^n-b^s-sd), G.
'* Sp^tacle basses,'* on account of
its resemblance to a pair of spectacles ;
a name for the abbreviated form of a
bass tremolo, two half notes with thick
connecting bar.
brinditi (brIn'-de-zQ, /. A drinking-
song.
brio (bre'd), /. Vigour ; fire, coii brio,
or brio'so. With spirit ; vivacity.
bris6 (bre-za), F, Broken, as chords.
cadence b. A trilling grace.
broach. An old instr. played with a
crank.
broderies (brod-re), F, Ornaments.
broken* Vide (interrupted) cadence;
of chords whose notes are not taken
simultaneously, but in arpeggio ; so
broken octaTes.
brok'kinr. Quavering.
B-rotnnotim, L, i. Flat sign, b. 2.
The note B flat.
Bmnimeisen (broom'mI-z£n), G. Jew*s
harp.
bnimmen (bioom'm^n), G, To hum, to
drum. Brummer. Drone. Brumm-
ton« Drone. Bnimmstimmen.
Humming voices.
bmscamen'te, /., brusquement
(brttsk-maA), F, Brusquely.
Bnist (broost), G. The breast or chest,
hence B.-ton or -stimme. Chest
voice. Bmat'werk. The middle
pipes of an organ.
bnca (boo''-ka), /. Sound-hple.
bnce'na, Z., buccina (boot-che'-na), /.
An ancient curved trumpet.
Bftcfase (bllkh'.s«), G. Boot (q. v.).
Bnch'ttabentonschriit, G. Alpha-
betical notation.
bucol'iCt^., buccol'ica,/., bucoliqne
(bU-k6-lek), F. Pastoral.
buffa (boof'fa), or (-0), /. Comic ; a
comic singer, buffo carica'to. Comic
character, aria buffa. Comic aria.
opera buffa. Comic opera, buf-
fo'ne. Comic singer, buffonesco^
-amente. 6urlesque(Iy).
buffet. Organ case, buffet organ.
A small organ.
bugle. I. A hunting and military horn
in 3 or more keys (Bl>, C, Et») having
7 harmonic tones. 2. The key-bugle
with 6 keys (Inv. in 18 15 by Halliday,
and named by him after the Duke of
Kent) has a chromatic compass b-c ' ' '.
3. Valve-bugle. Vide saxhorn.
bugle horn. A hunting-horn.
Bimnenweihfestsplel (bu'-n^n-vi-
fdsht-shpel), G. ** Stage-consecrat-
ing-festival-piece." Wagner's name
for his opera ** Parsifal."
Bund (boont), G. Fret, bundfrei.
Fret free. Vide clavichord.
Bunge (boong'-£), G. A kettle-drum.
bungen (boong-^n), G. To drum.
buonaccordo (boo-on-Hk-kor'-do), J.
A child's spinet.
buono(-a) (boo-6-n6(a)), /. Good, b,
nota. An accented note. b. mano.
A skilful hand.
bttras'ca, /. A comp. descriptive of
a storm.
bur'den. i. A regular refrain. 2.
The bass. 3. The drone.
burla (boor'-la), /. A quip, bttrlan'-
do, burles'co, buriescamen'te. Fa-
cetious(Iy). buries'ca, /., burlesque
(bUr-iesk), F. A travesty, buriet'-
ta, /. A light farcical work.
burre (bQr), F. A dance melody.
bur'then. Burden.
busain (bu-s^h), F., Busaun (boo-
zown'), G. A 16-ft. reed-stop on the
pedal.
bttsna (boos'na), /. A species of trum-
pet.
bussone (boos-so'-n^), /. Obs. instr.
of bassoon type.
button. I. The knob on a violin-base,
etc. 2. An accordeon-key. 3. A
leather-disk on the wire of a tracker.
86
THE MUSICAL GUIDE
bttx'ea tibial buz'us, Z. Ancient 3-
holed flute.
bys'synge songes. Early English
lullabies. •
(For German words not found here
look under K.)
C((7., C (tsa). /-.. ut; /., do.)
I. A musical pitch (mid-C or
c ' has 256 vibrations, ** philo-
sophical pitch ** ; c", 522, in-
temational pitch), c' called middle-
c from its position on the piano
key-board, is the tonic or key-note of
the normal major scale. 2. All the
octaves of this pitch. 3. The major
key having; neither flats nor sharps;
the minor key relative to £ flat major.
C reversed, an old sign indicating a
decrease of one half of the note-
values. 4. Vide TiMK and Notation.
cabalet'U,/. '* A little horse." Hence
a song (usually a rondo with varia-
tions) with an accompaniment in trip*
lets suggesting hoof-beats.
cabinet d'orgue (k&b-i-na dorg), F,
Oigan-case.'
cabinet organ. A small reed-organ.
cabinet pianoforte. An upright pi-
ano.
cabis'cola, L, Precentor.
caccia (kftt'chA), /. A hunt, alia c.
In hunting style.
cach^e (kft-sha), F. Hidden (as
fifths).
cachucha (kft-choo'-chft), Sp, A dance
like the bolero.
cacofonia (kH-kd-fd-ne'-S), /., caco-
phonie (k&k-d-fo-ne), F., cacoph-
ony, E. Discord, cacofon'ico, /.
Discordant.
ca'dence, E. (in F, kit-dftAs), ca'-
dens, Z., cadenza (k^-d^n-tssi), /.,
Kadenz (kil-d^nts'), G. i. Literally
*'a fall," hence, the subsidence of
a melody or harmony to a point of
rest ; thence any concluding strain,
rising or falling. Harmonic cadences
are of the following sorts : (a) When
Uie chord of the dominant is followed
by the chord of the tonic, with the
roots of both chords in the bass and
the root of the second chord doubled
in the highest voice, it is called a per-
fect authentic cadence ; when the
first chord has other than the root in
the bass, or when the highest voice
does not take the tonic in the last
chord (takes the third for instance),
this cadence is called an imperfect
authentic cadence. Other names
for the authentic cadence are,
whole, perfect, full or complete
cadence; cadence parfiiite (pir-
f^t), F, Toirkommene, or eigent''
liche (I.'kh«nt-11kh-d)Kadenz, (7. (b)
When the cadence is formed by a sub*
dominant chord followed with a tonic,
the cadence is called plagal (popularly
church or amen cadence) ; cadence
plagale (pU-gfll), F,; Plagal'ka-
denz, G. (c) When a subdominant
chord is followed by a dominant and a
tonic, it is called a mixed cadence, (d)
When the mediant is prominent the c.
is called a medial cadence, (e) When
the tonic or some other chord is fol-
lowed by the dominant the cadence is
called a half-cadence, semi-ca-
dence, imperfect cadence, half-
close ; c. imparfaite (flA-p&r-f^t) or c.
sur la dominant e or c. irr^guli^re
(er-rdg-Ql-yftr), F, ; unvoUkommene
or Mittel Kadenz, G. (Q When the
chord of the dominant apparently pre-
paring a close, is followed by other
than the tonic harmony the progression
is called a deceptive, avoided, bro-
ken, interrupted, irregular or sur-
prise cadence; cadence ^Tit^e
(a-vl-t§) or interrompue (&n-t€r«
rdfi-pQ), or rompue, F. ; cadenza
d'ingann'o, c. sfuggita (sfood-j6'-
ta) or fin'ta, /. / Trug'kadenz or
-schluss, or ab'gebrochene K., G.
(g) When various modulations are in-
troduced between the dominant and
its tonic, the cadence is said to be
suspended ; or sospesa (s6s-pa'.z&},
/. (h) When any dissonant harmony is
followed by a consonance the French
call this a cadence pleine (pl^i^
DICTIONARY OF TERMS 87
(i) A cadence of any kind in which the
chords have their roots in the bass is
called a radical cadence.
2. When the cadence is highly ornate
it is called fioritu'ra or fiorita (fe-d.
re'-ta). So the word cadenza has
in English and Italian, and the word
Kadenz in German, a wide use for
designating the florid passage preced-
ing the actual cadence. This may
be vocal or instrumental, may go up
as well as down, and may be written
out by the composer or some other
musician or left to the skill of the
performer. This cadenza usually fol-
lows a sustained chord in the second
inversion (a 6-4 chord) with a fermate
or hold-mark over it (in F, pdnte
d^orgut). The Germans accord-
ingly call this an auf'g^ehaltene
Kadenz, the F. call it a pointe
d'orfi:ue.
3. The French use cadence of a
brief trilling ornament as c. brillan-
te, or c. perUe ; c. pleine is a trill.
4. Cadence is used of rhythm and
velocity also as the ** cadence" of
double-time in a military sense, is 180
steps to the minute.
ca'dent. An old ornament like a short
anticipation.
c(a)e8ura, iS"., /., and Z. caeaure
(sS-zttr), F, I. A minor rhythmic pause
dividing a line or period ; hence, a.
The last accented note preceding a
caesura, ctedesca. Aio-stringed
zither.
caisse (k^s), F, A drum, c plate
(pUt). A shallow side-drum, g^osse
(grds) c. The bass-drum. c. roulan-
te (-roo-Unt). The side-drum, of
wood, caisses claires (k£s.klAr).
The drums.
cal'amus, c. pastoralts, or tibialis,
L. A reed used by shepherds.
calan'dOy /. Diminishing and retard-
ing.
calandro'ne, /. A small clarinet.
calascione (kJi-U-shi-o'-n^), /. A 2-
stringed guitar of lower Italy.
calaU (k^la'-tft), /. A lively dance In
2-4 time.
calcando (kal-kibi'-do), /. Hurrying.
Calcant (k&l'-kilnt), G, Bellows-tread-
er.
Calli'ope. x. The Greek muse of
heroic verse. 2. An instr. played by
an engine that fills its metal pipes
with steam instead of air.
calUthnmp'ian. Vide shivarvb.
calma (kal-mii), /. Calm, cafana'to.
With cakn.
calore (ka-Id'.r«), /. Warmth. Calo-
ro'so. Animated.
cambiare (k2m-bl.&'rjf), /. To change,
nota cambia'ta. Changing note.
cam' era, /. Chamber, used in dis-
tinction from a laige auditorium, as
musiea di c, sonata di r., alia e,
camminan'do, /. Andante.
campana (kftm-pft'-nfi), /. A bell.
campanella (or o), /. A little bell,
campanile (ne'-]£), /. A belfrey.
campanorpgy. The art of ringinj^
or making bells, campano'ne, I.
A great bell, campana'nim con-
certus, or modula'tio, L. Chimes,
campanarum pnlsa'tor, Z. A ring-
er of bells.
canarder (k&-nJir-da), F^ To Imitate a
duck ; to coHac,
canarie (kiUnft-rS), /*., cana'ry, ca-
na'ries, E., canario (kiUnft'-rV-d), 7.
A lively old dance in 3-8, 6-8 or 12-8
time. Named from the Canary Isl-
ands.
cancan (kS&-kflA)» A boisterous French
dance.
cancel. The natural sign, X cancel-
latum, L, Vide b.
Cancellen (kin'-tsel-lto), G, Grooves
in an organ.
can'crizans, cancrica'nns, Z., can*
crizzante (k&n'.ki1d-zin'-t€), /. Re-
trograde. Vide CANON.
canere (ka'n£-r£), Z. To sing ; to play.
cang^are (kfin-jA'-r£), /. To change ;
to alter.
can'na, /. A reed, or oipe. c. d*an«
ima. Flue-pipe, c* a lingua. Reed-
pipe.
cannon-drum. East Indian tomtom.
can'on (in /*., k&.n6ft), canone fki-
nd'-n^X ^M ^* Canon or Kanon (kl'«
88
THE MUSICAL GUIDE
ndn). The most rigid form of imi-
tation, ft subject (antecedent) beings
followed accurately by an answer
(consequent); once the playground of
musical ingenuity, all forms of com-
plication being indulge in. A ca-
non written out completely was fall
or aper'to. Often only the antece-
dent (or canon) was written out, the
consequent (now called fuga or con-
aequenza) being left to the perform-
er's skill ; this was called close or
chiuto (kY-oo'-zo). If the entrances of
the other parts were indicated by cab-
alistic signs, it was a riddle*auioii
(Riithtel-Kaiion), or enigmatical
or enipnatico. Canons were named
by the interval between answer and
antecedent and bv the general treat-
ment as in Imitation (q. v.).
canonic hours. Vide HORiC
cano'nicii Z. The Pythagoreans, who
developed musical science from the
abstract mathematics of intervals;
opposed to Aristoxenos and the har-
monici, who developed it from the
actual practice of music.
canUbile (kan-tii'.bY.l£), /. Lyrical.
cantajuolo (k£n.t&-yoo-d'-15), can-
tamban'ca, /. A street singer.
cantamen'to, /. Air ; cantilena.
cantan'do (kto-tan'-do), /. In a mek>-
dious, singing style.
can'tans, L, Singing.
cantan'te* /. A singer ; also a vocal
part. c. ariose. A form of melody
transitional between air and recita-
tive.
cantare (ta'-r^), /. To sing. c. di
maniera (m&n-ya'-ra) or maniera'-
ta. To sing with mannerism, c* a
orecchio (o-rik'-kl-o). To sing by
ear. c. a aria. To sing with impro-
vised cadenzas.
cantarina (re'-na), Sp. A woman-
singer.
canUta (kftn-tA'-tft), /., cantate (kiiA-
Ut), F„ Canute (kin-tft'-t^), G,
I. Orig^inally, something suns^, in dis-
tinction to something played {fonata),
a. Now a work for chorus and solo,
often vdth orchestral accompaniment;
a short oratorio of a narrative style ;
a short opera not meant for the the-
atre, c. amoro'sa, /. A cantata hav-
ing love for its subject, c. mdra'le
or spiritua'le. A sacred cantata de-
signed for the church, cantatiria,
cantatiUe (te'-yti), cantati'na. A
short cantata ; an air preceded by a
recitative.
canta'tori Z. A singer ; a chanter.
cantato're. Z A male singer, can-
tatrice (trS-ch£). A female singer.
c. buffa. A woman who sings in
comic opera.
cantato'riam» Z. The Roman Cath-
olic book containing the music of the
Antiphonary and Gradual.
Canterei(kftn'.t«.i1), G. i. The dwell-
ing-house of the cantor. 2. A class
of choristers.
canttrellare (kftn-t^-r^l-lft'-r^), Z To
sing softly, canterellan'do. Sing-
ing softly.
canti camascialeschi (cir-nft-shiUl«s''
kd), canti camevali(k&r.n«.va -l^),/.
Songs of the carnival week.
canticles, JS., can'tico, Z, can-
tique (k«h.tek), /^., can'ticum, Z. i.
Biblical lyrics, the Song of Songs
(canticum canticorum). 2. A sa-
cred chant with scriptural text. 3.
The cantica majora include the
Maniificat, Benedictus and Nunc
dimlttis. The cantica minora are
seven texts from the Old Testament.
can'tillate, £, To recite with occa-
sional musical tones ; hence, cantil-
lation.
cantilena (kftn-tl-li'-nS), Z The mel-
ody; air.
cantilla'tio, Z. A singing style of
declamation.
cantino (te'-n5), Z The smallest
string.
can' to, Z T. A song ; a melody ; the
voice, col canto. "With" (i.e.,
adopting the time and expression of)
the voice or melody. 2. The art of
singing, as il bel canto, the old art
of allegedly perfect production. 3.
The highest part in concert music. 4.
The soprano voice. 5. The high*
DICTIONARY OF TERMS 89
est string of an instrument, c. a
cappella. Vocal music without ac-
companiment, c. ambrosiano. Am-
brostan chant (Vide cantus). c«
armonico. A part song. c. clef.
The C clef on the first line. c. con-
certante (k6n.ch£r.tan'.t£). The
treble of the principal concerting
parts, c cromat'ico. Chromatic
melody, c fenno. i. A chant or
melody. 3. Choral unison. 3. Can-
tus firmus. c. fig^rato. A fig-
ured melody instead of figured bass
(q. v.). c. fiorit'to. A much
ornamented air. c. fune'bre. Fu-
neral song. c. grego'riano. The
Gregorian chant, c. piano. Plain
chant, c. neceMa'rio. A principal
part. c. primo. The first treble or
soprano, c. recitatiTO. Recita-
tive, c ripie'no. Vide ripieno.
c. rivolta'to. The treble inverted.
c. secondo. The second treble, c.
•implice. A simple song.
^antolla'noy Sp. Precentor.
tantor, L, Singer, c choralis. Pre*
centor. cantor! are the singers th.it
sit near the cantor, on the left side ;
opposite to decani, those on the dean's
side.
can'tns, L. i. A song ; a melody. 2.
The treble or soprano part. C. Am*
brosia'nus. The four chants intro*
duced by St. Ambrose, in the fourth
century, supposed to be derived from
Greek melodies, c. fig^ra'lis (or
fi^ratns). Mensurable music ; mel-
odv with figurate embellishment, c.
firmus. (a) The melody originally
given to the tenors, later to the so-
pranos ; (b) plain song ; (c) a theme
or air chosen for counterpoint ; this
air remains the same, i. e., ** firm," as
the different voices take it, while the
accompanying voices always change ;
in distinction to the c. i. they are
called the counterpoint (q. v.).
c coronatuBi A c. fractus when
accompanied by a fa-burden, c.
dnms. A song modulating into a
key with one or more sharps, almost
the flame as '* major key." c. eccle-
siasticttS. Church-music, particu-
larly plain song ; also the singing of
the liturgy, c. tracttts. Broken melo-
dy, c. Gregorianus. A melody in«
troduced by St. Gregory, c. planus.
Plain song. c. mensiu'abilis. Reg-
ular, or measured, melody. Vide
MENSURABLE MUSIC. C. moUlS. Song
in the minor,
ca'nun, Tur. A Turkish zither,
cansona, canzone (kAn-tsd'-nd), /.
1. A folk-song. 2. A part-song. 3.
An instrumental work, in two or three
•parts, with passages in imitation,
somewhat like the madrigal, can*
zonaccia (nfit'-cha). A low song.
canzoncina (che'-ni). A short can-
zone, or song. c. sacra. A sacred
song, canzonet, canzonnet'tat
canzonina. A short canzone. can«
zoniere (tsdn-ya'-r^). A song-book.
caoine, caoineadh (ka«en'«>e*fl), Irish,
A funeral song.
capis'col. A precentor.
capis'trum. A face bandage worn by
ancient trumpeters.
capo (kfi'-p5), /. The head or begin-
ning, da capo (return and play again),
from the beginning, capo a 'opera,
capo-laToro. Master-piece, chief
work. c. Tiolino. The first violin,
capo-dastro, c. di tasto. Vide
CAPOTASTO. c. d'instrumenti.
Leader, c. d 'orchestra. The con-
ductor.
capodastre (kilp-d-dAstr), F, Capo*
tasto.
capo'na. A Spanish dance.
capotasto (kft-p6-tfts'-to), /. i. The nut
of a fingerboard. 2. A strip fastened
across a fretted fingerboard and serv-
ing as a movable nut to raise the
pitch of all the strings at once.
cappelia, /. i. A chapel, or church.
2. A band of musicians. A c. or
alia c. (a) Without instrumental ac-
companiment, (b) Alia breve, da C
In solemn church style.
cappello Chinese (k€«n&'-z£), /. Vide
CHAPEAU.
caprice, E. and F., capricdo (kflp
pret'-ch5}, /. A whimsical work of ir«
9°
THE MUSICAL GUIDE
regular form, capriccietto (cWt'-to),
/. A short caprice, capricciosamen'-
te, capriccio'ao, /., capricieuse-
ment (kft-pres-ytiz'-man), capricieuz
(ki-pres-yti), F, Capricious(Iy).
captan'dum, ad, Z. Takingly, brill-
iantly.
caput scho'lae, Z. Precentor.
caract^res de musique (k&r-&k-tir
da mU-zek), F. Musical symbols.
caramillo (ka-ra-meryo), Sp. A flag-
eolet.
carattere (ka-rat'-ta-r£), 7. Character,
dignity.
caressant (kii-r^s-sah'), /\, carez-
zando (ka-r^d-zan'-do), carezze-
vole (za'-v5-W), /. Caressing ; ten-
der.
carica'to (ka'-to), /. Exaggerated.
carillon (ka-re-yon), F, i . A set of fixed
bells on which tunes may be played
by hand or mechanism. 2. A com-
position suggesting or using bells.
3. The simultaneous clashing of
many large bells. 4. A bell-like stop.
c. Ik claTier, F, A set of kevs and
pedals, acting on bells, carillonner
(ka-re-yo-na), F, To ring bells.
carillonneur (ndr), F, A bell-
ringer.
carita (ka-re-ta ), /. Tenderness.
Carmagnole (k&r-mln-yol), F, A fa-
mous French revolutionary song.
It derived its name from the town
Carmagnola*
carmen, Z. A song. c. natalitium.
A carol of the Nativity.
carol. I. A song of joy and devotion.
2. Ballads for Christmas and Easter.
3. An old circling dance.
caro'la, Z A circling dance, resem-
bling the Carmagnole, carolet'ta.
A little dance.
carr6e (kar-ra), F, A breve.
carrure des phrases (k&r-rQr-di friz),
F. The balance of the phrases.
cart'el, E., cartelle (kir-tei). F. 1.
The first draft of a score. 2. A sheet
of hide or varnished cloth on which
music could be sketched and erased.
cartellone (lo'-n^), Z A caulogue of
operas to be performed.
cas'sa, Z The drum. c. g^ande, c
militare. The great drum. c. ar-
monica. The tx>dy (as of a 'cello).
cassa'tio, Z., cassazione (kas-sa'-
ts!-o-nd), I. I. The final number.
2. A serenade consisting of instru-
mental pieces.
castagrnetta (kas-tiln-y£t'tll), Z, cas-
taenettes (kis-tin-ydt), F., castag^-
noTe (kas-tan-vd'-l^), castafiet*
as (k&s-tSn-va t&s), castanuelas
(k&s-t&n-yoo-a -lis), Sp.^ castanhe-
ta (k&s-tainya'-ta). Port., castanets,
E. Small, concave shells of ivory or
hard wood, carried in the hand and
rhythmically snapped by dancers in
Spain and other countries.
castrato (kas-tr&'-td), Z An artificial
male soprano or alto ; a eunuch.
catch. A round in which the singers
catch up their lines at the cue ; usu-
ally with humourous and ambiguous
effect.
catena di trill! (ki-ta'-nii), 7. A chain
of trills.
catgut. A small string for violins,
made of the intestines of sheep and
lambs, rarely of cats.
catling. A lute-string of smallest size^
cattivo (kat-te'-v6), Z "Bad." ^
tempo. The weak beat.
catzoze'rath. Hebrew trumpet.
cattda, L. The tail of a note.
caTallet'to, 7. i. A cabaletta. 2. A
small bridge. 3. The break in the
registers,
caTata (ka-va-ta), Z i. Tone-pro-
duction. 2. A recitative ; a cava-
tina.
caTatina (k&-va-te'ni), Z, caTatine
(kftv-i-ten), F, A melody of one
strain only.
c-barr6 (at-bSr-ra), F. Vide barred c
c-clef. The tenor clef ; wherever it
stands it indicates middle C.
C-dur (tsa-door), G, The key of C
major,
cebeir. A theme in common time with
variations and alternation of high and
low notes. A sort of English gavotte.
cecilium (sfi-se'-ll-dn), F, A key-board
reed instr. the size and shape of a
DICTIONARY OF TERMS
91
'cello, the left hand playing keys, the
right working bellows.
cedes (sa-da), F, Decrease !
celanmstel (sa-la-ma-st^l), F. A har-
monium with unusual imitative stops.
celere (ch&'-la^H!), /. Rapid, celeritii
(rl-ta). Rapidity.
create (sa-l^st), F, Celestial, applied
to stops of soft, sweet tone, and to a
J»iano pedal of the same effect.
estina (cha-l^te'nii), /. i. A 4-ft.
stop. 2. A tremolo stop in reed or-
gans.
cell. Vide ellis (b. d.).
'cello (ch^ri5). Abbr. and common
name of violoncello, cello'ne. A
*cello inv. by Stelzner gaining in-
creased sonority by its meth<^ of
stringing.
cembalo ^ham'bfl-ld), cembolo (cham'-
b5-ld), /., cembal (sah.b&l), F. x. A
harpsichord. 2. A cymbal, cembalis-
ta, /. A player on either, cembal d*-
amonr, F, A very large liarpsichord.
. tiitto il c, /. Loud pedal, c. onni-
cordo, /. Proteus, cembalist, E»
A player on the harpsichord.
cemDanel'la, cennamel'la, /. A
flute.
ceaty E. The hundredth part of an
equal semitone. Vide Ellis (b. d.).
cento (ch&n'-to), cento'ne, /., centon
(siA-tdn), F, i. The Gregorian an-
tiphonary. 2. A patchwork or med-
ley.
cercare (chir-k&'-Hf), /. To search, c.
la notiu A common effect in sing-
ing where a note taken by skip is
liehtly anticipated with a short grace.
cer Talet, cerrelat. An obsolete clari-
net.
Ces (tste), G, The note C flat. Ces-
es. C double flat.
ceatira, cesure. Vide C^csura.
cetera (cha'-t£-rfl), /. A cittern.
c. f. Abbr. of Cantus firmus,
cha chi (ch&-che), Chinese. A chro-
matic kin.
chacona (cha-kd'-ni), Sp,^ chaconne
(shi-kOn), F,, ciaccona (chfik-ko'-
11&), /. A slow dance probably Span-
tub in origin'; in 3-4 time with a
g^oundbass ; almost always in major,
in contrast with the passacaj^Hei ; and
generally in form of variations.
chair organ. Vide choir organ.
chalameau, E.i chalumeau (shJU-tt-
mo), /'., Chalilmau, Chalilmaus
(shal'-ft-mows), G. i. An ancient
pipe blown through a calamus, or
reed. 2. The low register of the
clarinet ; as a direction it means '*an
octave lower," being cancelled by
clar. or clarinet, 3. The chanter of
a bag-pipe.
chalil (ka-lel), Heb, Hebrew pipe or
flute.
cbalotte (sh&-16t'). A tube to receive
a reed.
chamber music. Music composed for
a small auditorium, as a string quartet
or a pianoforte trio.
chamber-organ. A cabinet organ.
cbang. A Persian harp.
change, i. A tune rung on a chime.
2. Vide MODULATION. 3. Mutation.
4. (a) changpng-note. A note for-
eign to the immediate harmony and
entering (unlike the passing-note) on
a strong beat ; when two or more ap-
pear simultaneously they make a
changing-chord. (b) In old counter-
point, a passing discord entering un-
accented and then skipping.
changeable. Used of chants that may
be sung either in the major or minor
mode.
changer de jeu (shfln-zha dA zhfl), F,
To change the stops.
chanson (shin-sdA), F. A song; a
ballad, c. bachique (bfl-shek). A
drinking-song. c. des rues (da-ra).
A street-song ; a vaudeville, chan-
sonnette (n£t). A little or short
song, chansonnier (sdn-ya). A
song-writer ; a book of songs.
chant. I. Originally a song, and still
so meant in the French word (vide be-
low), since the Gregorian time used of
vocal music marked by the recitation
of many svUables on one tone, and
employed for prose texts such as the
Canticles and Psalms. There are two
sorts of chant, the Gregorian and ihm
w
92
THE MUSICAL GUIDE
Anglican, (a) The Gregorian is a short
tttne to be repeated in successive sec-
tions of prose ; it has 8 tones and is in
four parts ; the intonaUon (or incho-
atia) or opening notes ; the Jirsi reHt-
ing note (ox dominant) ; the mediation;
the second recitinF note {or dominant) ;
the termination Ending or cadence),
(b) The Anglican omits the intonation
and differs in the rhythm and mode
but has the same monotone recitation
with modulations in the middle (me-
diation) and end (termination). The
Anglican has two parts of 3 and 4
measures, 7 in all ; this is the single
chant, there are also double^ ^pl^^
and quadruple forms of proportionate
length. In chanting, the fitting of the
unequal phrases to Sie music is called
pointings and consists of reciting them
strictly within the duration of the notes
except those of the ist and 4th meas-
ures which are enlarged to fit the
words. Words to be sung to the ca-
dence are cut off from Siose to be
sung to the reciting«note, by a verti-
cal line called the cadence-mark^ 2.
Any recitation of chant-like character.
3. A tone. 4. A cantus firmus,
5. Vide PLAIN-CHANT. 6. Vide
CHANGEABLE. 7. Free^hant« A
form in which the hemistichs consist
of only 2 measures. 8. Roman Chant-
Gregorian. 9. Phrygiui chant.
One intended to provoke wrath.
chant (shAft), F, Song; tune; vocal
part. c. amoureux. Love song. c.
d'^gliae, or rr^g^rien. Gregorian
chant, c. ^fi^al, c. en ison. Chant on
one tone, or with one interval of two
tones, c. firur6. Figured counter-
point, c. liinebre. Funeral song. c.
royal. A sacred song ; or a prayer
for the monarch ; the mode in which
such prayer was sung. c. aur le litrre,
i. e., '"on the book,'* vocal counter-
point extemporized on a printed
eantus firmus.
chanter, E. i. One who chants.
arch-c. The leader of the chants.,
a. The tenor or melodic pipe of a
hag-pipe.
chanter (shAA-ta), F, To sing, c it
livre ouTert*(A lev-roov*r). To sing
at sight, chantant(e). Lyric, basae
c. vide BASS. car€ c. (kiUfft-chfin-
tAA). A music hall. chant<(e) (shfln-
t&). Sung, chantenr (euae). A
male (female) singer, chantonner.
Canterellare.
chanterelle (shflnt-fi-r^l), F, The
highest and smallest string of an
instrument.
chanterie (shdA-tre), F, chantry, E,
A chapel endowed for daily mass.
chanterrea (sh&A-t^r), F, loth cen-
tury ballad-singers.
chan tor, E, A singer in a cathedral
choir.
chantre (shftAtr), F. Choir* leader,
gjand c. Precentor, aecond c. A
chorister.
chapeau (shiUpo), F. A *' hat ; " a tie.
c chinola (shto-wfl). A set of small
bells arranged on a frame like a Chi-
nese hat. Cf. CRESCENT.
chapel. Musicians in the retinae of a
great personage.
chapelle (sh&-pil), F, Cappella.
characteriatlc. Strongly individual
in character, or mood, used of a com-
position (as Charakteratfick, <;.). c.
note or tone. The leading-tone or
any tone peculiar to a key. c. chord.
The principal chord. Charakter-
atimme, G^ A solo-stop.
charivari (shi-rT-va'-ri), F. Vide
SHIVAREE.
chaaae (shfts), F, The hunt. ^ la c
In hunting style.
chataoteroth. A Hebrew trumpet.
che (k&), /. Than, that, which.
che chi (ka-k£). One of the eight
species of Chinese music.
chef (sh^f), F, Leader, chief, chef-
d'atUque (djlt-tftk). i. The leader,
or first violin. 2. leader of a chorus.
chef-d'oBUTre (shft-dtivr) Master-
piece. chefHd'orcheatra (sh£f-d6r>
k^str). The leader, ch. dn chant.
Leader of an opera chorus.
cheipour. A Persian trumpet.
chel idonlsingr. Singing a spring •(
swallow song."
M
DICTIONARY OF TERMS 93
chel'ys. i. Vide lyrk. 2. Old name
for viol.
ch«n|r (ch^ng). A Chinese mouth-or-
gan, a gourd with many free reeds ;
it suggested the invention of the har-
monium.
chen^ chi (ch^ng-che). One of the
eight species of Chinese music.
chenib'iciil hymn. The Prisagion.
chest of ▼iols. A group or set of
viols, two basses, two tenors, and two
trebles.
chest tone, chest Toice. The lowest
register of the voice.
chevalet (sh€v-&.la), F. Bridge.
chevUle (sh«-ve -yC), F, Peg.
chevroter (sh«v-r6-ti), /*. To bleat
tike a goat, hence, chevrotement
(sh£-vr6t-m6A). A tremor or shake
in singing.
chiarenta'na, /. An Italian country
dance.
chiarina (ke-fi-r£'nft), /. A clarion.
chiaro (ke-|['-r5), /. Clear, pure, chia-
ramen'te. Brightly, purely, chia-
ressa (rtkl'-zil). Clearness, di c.
Clearly.
chlaTe (ke.i'.v«), /. i. A clef. 2.
Key. 3. Tuning-kev. 4. A failure.
5. c. maestro. The fundamental
key or note.
chiavette (v«t'-tfi), /. pi. Transposing
clefs of the i6th century; of which
the hig^h c. indicated that its line was
to be read a third higher, the low c,
a third lower. Thus the C clef might
indicate e or eb ; or a, or alt.
chsckera (k2'.k«.ril) or chikarah. A
Hindu bow instrument.
chiesa (ke-a -zsl), /. A church, da c.
For the church, or in sacred style, as
sonata or concerto da chiesa.
chiffre (sMfr), F. A figure in thor.
oogh bass, basse chiffr^e (8hYf-fr&).
Figured bass.
chifonie (she-fo-ne'), F. Old name
for hurdy-gurdy.
chime. A set of bells tuned to a scale.
chime-barrel. Portion of the mech-
anism for ringring a chime.
chimney. A tube in the cap of %
stopped pipe
Chinese flute. Bamboo flute.
Chinese hat. Vide chapeau.
Chinese scale. Five notes without
semitones ; the music is written on
five perpendicular lines, the pitches
indicated by distinctive names.
chinnor, chinor. Vide kinnor.
chlrimia (chS.r8>me'.&), Sp. The oboe ;
clarion.
chirogym'uast. A mechanical con-
trivance for exercising the fingers.
chi'roplast (ki'rd). A device of glove$
and bars, inv. 18 14 by Logier, to
keep the hands and fingers ofpiano^
players in the right position.
chitarra (kS-tAr'-ra), /. i. A guiUr, a
clthara. c. coH' arco. A violin with
gruitar-shaped body, chitarris'ta.
One who plays on the guitar, chit-
tarrina (re'-nii). Small Neapoliuxi
guitar, chitarro'ne. A double guitar.
chltema (k^-t^r'.nl), /. Quintema.
chiuso (ke-oo'-zo), /. Closed. Vide
CANON and bocca. chittden'do.
Closing.
Chladni^s figures. Vide nodal tig^
URE8.
choeur (kfir), F, Choir, chorus, i
grand c. For full chorus.
choice note. An alternative note.
choir. I. A body of singers usually in a
church. 2. Their place in the church.
3. A subdivision of a chorus or or •
chestra. c. organ. Vide organ.
grand c. The combination of all
the reed-stops.
Chor (kdr), G. Same as Choir i, 2, 3 ;
also on the piano, or organ, a unisoUt
i. e., all the strings or pipes belonging
to one digital or pipe ; nence a piano
with 3 strings to each tone is drei-
ch6rig.
Chora' guSy chore'gus (ko). The do-
nor of a choral or dramatic work. At
Oxford the director of Church music.
cho'ral. Pertaining to a choir or cho-
rus, choral service. A service in
which the entire liturgy is intoned oi
chanted.
chorale, Choral (kd-r&l), G. i. Chor-
al psalm or hymn. a. Early German-
Protestant hvaui.
94
THE MUSICAL GUIDE
chora'leon. Vide iEOLOMELODicoN.
choraliter (ko-ral'-I-t^r), choralmiLa-
sig^ (m^s-sikh), G. In choral style.
Choramt (kor -&mt), G. Choral ser.
vice.
choraul'es. A Greek flutist.
chord. I. Astringr. 2. Vide vocal c.
3. A combination of three or more
tones, whether pleasant or discord-
ant.
The chords which are the building-ma-
terial of all our music are made up of
thirds laid brick-wise one upon an-
other. A single third is not counted
a chord, two thirds (for instance the
two intervals, g-b-d) make up a triad ;
another third (d to f) makes a chord,
called a seTenth (g-b-d-f) because the
interval (q. v.) from g to f is a sev-
enth ; adding another third gives a
chord of the ninth or a ninth
chord (g-b-d-f-a), two other additions
give the chorda of the eleventh and
thirteenth (g-b-d-f-a-c-e) (these last
are usually cacophonous, and their
existence as special chords is denied
by some theorists). To add another
third brings us back, on the tempered
scale, to g, from which the chord g^ew
and which is known as the funda-
mental or root of the chord.
Chords are distinguished in mode, as
major or minor, from the majority or
minority of their intervals, a minor
triad differing from a major in hav-
ing a minor third, the fifth being per-
fect in both cases. When the chord
has been constructed as above (g-b-
d-f) it is said to be in the first or
root or fundamental or perfect po-
sition; it may re-appear with any
of its notes as the lowest (though ^
always remains the root). When the
3d (b) is in the bass, it is said to Be
in the 2d position; when the fifth (d), it
is in its 3d position. With any of its
notes other .than the root in the bass
the chord is said to be inverted. The
names of these inversions have been
cumbrously taken from the intervals
between the lowest note and the others,
no interval being stated in terms of
over an octave, the greatest interval
being named first, and some of the in-
tervals being unmentioned, especially
those of doubled notes : thus the in-
tervals in that inversion of a seventh
chord in which the seventh is in the
bass might be, counting upward, IX
(-4), x6 (.2), 20 (-6), but it would be
called, for short, a 4-2 chord, or chord
of the second and fourth.
In the following table the names of all the inversions are given. In thorough-
bass these inversions are indicated by Arabic numerals above the bass notes.
5 8
A triad in the root or fundamental position is marked — 3 or 3 or 5.
3
A triad in the ist inversion is called a chord of the 6th and marked 6.
A triad in the 2d inversion is called a chord of the 4th and 6th or a siz-foor
6
chord and marked 4. 7
A 7th chord in the root or fundamental position is marked 7 or 5.
3
A 7th chord in the ist inversion is called a chord of the 5th and 6th or a siz-^ve
6 6
chord, and marked 5 or 5.
3
A 7th chord in the 2d inversion is called a chord of the 3d, 4th and 6th, or a
6
four-three chord and marked 4 or 4.
3
DICTIONARY OF TERMS
95
A 7th chord in the 3d inversion is called a chord of the 2d and 4th or a four-
4 6
two chord and marked 2 or 4.
2 99
A 9th chord in the root or fundamental position is marked 9 or 7 5 according as the
33
5th or 7th is omitted.
A line or dash through any Arabic nu-
meral as Z means that the note it
represents Is sharpened ; it may be
also preceded by a natural or flat.
'a sharp or flat standing over a bass
note means that the third of the
chord is to be sharpened or flattened ;
a dash or horizontal line following a
numeral continues its tone in the next
chord.
The character (but not the inversion)
of chords mav be indicated by Roman
numerals indicating the degree of the
scale on which they are founded, the
scale being noted by a large letter for
major (as C), and a small for minor
(as c). Thus IV means a triad on
the fourth degree with a major third
and perfect nfth ; iv. a triad on the
fourth degree with minor 3d and per-
fect fifth. An accent after the numeral
indicates an augmented flfth, as IV';
a small cipher indicates a diminished
fifth, as VII** ; a small 7 indicates a
<:hord of the seventh. These devices
are an heirloom from an age of little
modulation and formal counterpoint ;
they were shorthand then, but to our
music they are handcuffs. They have
only a dry text-book career, and alert
theorists are rapidly denying them
the right even to this existence.
Other kinds of chords are character-
istic, the leading chord ; chromatic,
containing a chromatic tone ; com-
mon, a triad ; accidental, produced
by anticipation or suspension ; al-
tered, having some tone chromatical-
ly changed with modulatory effect (one
of the bugaboos of the theorists), vide
altered; anomalous, vide anom-
Ai,Y\ auraented, having an aug-
mented fifth ; broken, vide broken ;
formed by inversion ; di-
atonic, a triad ; diminished, having
an imperfect 5th and diminished 7th ;
dominant, the triad or 7th chord on
the dominant ; doubtful, equivocal,
resolvable in many ways, as the di-
minished 7th ; imperfect, having an
imperfect fifth, or having some tone
omitted ; leading^, the dominant
chord; related or relative, con-
taining a tone in common ; solid,
opposed to broken ; threefold, a
triad ; transient, modulatory.
chord's, Z. A string; a note, c,
characteristics. The leading note.
c. dominant septima. The domi-
nant chord of the seventh ; no'na, the
ninth, chorda essentia'les* The
tonic, third and fifth. - chords voca'-
les. Vocal chords.
chordaulo'dian, chordomelo'dion. A
large automatic barrel organ, inv. by
Kaufmann, 1812.
Chordienst (kdr'-denst), G. Choral
service. Chordirektor. A director
who trains a chorus at the opera
house.
chordom'eter. A gauge for measuring
strings.
Ch5re (kar'£), G. plural. Choirs, cho>
ruses.
Chorist', G., choriste (ko-rest), /"..
chorister, E, i . A leader of a choir.
■ 2. A choral singer. Chorsilnger,
C.-schUler, C.-knabe (k6r'-kna-b«),
G. Choir-boy.
Chorstimme (kor-shtYm-m^), G, Cho-
rus part.
Chorton (k6r-t6n), G, ' * Choir-pitch."
I. The pitch at which choruses for*
merly sang in Germany. 2. Choral
tune.
chorus. I. A company of singers ; es*
pecially in opera, etc., the support-
mg body oi vocalistf' who do not
tm
96
THE MUSICAL GUIDE
sing solos. 3 A composition for a
chorus, usually in 4 parts — a ** dou-
ble chorus " requires 8 parts. 3. A
refrain. 4. The compound stops. 5.
The bagpipe, or drone-pipe. 7. Ma-
rinc trumpet. 8. The free-staves of
the crwth. choruamaster. The
chief singer in a chorus.
choutarah. Vide tamboura.
Chris'te eleison (ft-U'-e-son), Gr.
** Christ have mercy;" part of the
Kyrie.
Chnstmesse, Christmette (krest'-
m^t-t$), (7. Christmas matins.
lUiro'ma, Gr. i. A chromatic modifi-
cation of the Greek tetrachord. 2. A
sharp or a flat. c. duplex. A double
sharp. 3. c. diesis. A semitone.
4. (Ore. simplex.) An eighth note.
c. duplex. A 1 6th note.
Chromam'eter. A tuning-fork.
chromat'ic, chromatique (tSk), F.^
chromatisch (m&'-tYsh), C7., cro-
mat'icOy /. i. Literally^ "col-
oured" and implying a foreign or
added tinge, specincally that given to
the sober diatonic notes natural to
a key, by an unrelated sharp, flat or
natural that is not of modulatory
effect. A whole scale may be chro-
matic (i. e.. progress by semitones) ;
a chord, an interval or a progression
altered by a flat or sharp is called
chromatic, and the process of so mod-
ifying it is called c alteration ; an
instr. playing semitones is called C,
and the signs themselves that sharpen
or flatten a tone are called c. signs,
or chromatics. 2. Vide modes.
chronom'eter. Metronome, particu-
larly Godfrey Weber's.
chronom^tre (krdn.6-m£tr), F. A form
of monochord inv. 1827, by Raller, to
teach piano-tuning.
chrotta (krot'ta). Vide crowd.
church cadence. The plagal cadence.
church modes. Vide modes.
chute (shot), F. An obsolete sliding
embellishment.
ciaconne. Vide chaconne.
daramella (chfl-riUm€r-l&), /. A bag-
pipe.
cicona (che-c6n-y{l), /. Mouthpiece.
ctcu ta, Z. A Pan*s pipe.
cicutrenna (che-koo-trto'-na), /. A
pipe.
cinmto (che.fril'.to), /. Figured.
cimbalo (chem'-bS-ld), /. i. CymbaJ.
2. Tambourine. 3. Harpsichord 01
dulcimer.
cimbalon. Vide czimbalon.
Cimbel (tsYm'-bei), G, A high mlxt-
ure stop. Cimbelstem. A group
of star-shaped cymbals attached to
old organs.
cinelii (che-n^lMe), /., Cinellen (tie-
n«r.l«n), G, Cymbals.
Cink (tsYnk), (7. i. Asmallreed*stop.
2. Vide ziNK.
cinq (s&nk), F., cinque (chen'kw^), /.
Five ; the fifth voice or part in a
quintet, a c. — ^in 5 parts, cinque*
pace (s&nk-p&s). Old French danc*
m quintuple time.
cin'yra. Old name for harp.
cipherin^f. The sounding of oxgan
pipes, when the kevs are not touched,
due to leakage, cipher system. An
old notation using numerals instead of
letters.
circle of fifths. A method of modu-
lation by dominants. Vide temper-
ament and preliminary essay, intro-
duction TO MUSIC.
circular canon. A canon going
through the major keys.
circular scale. The curved row of tun-
ing-pins.
Cis (tses), G, The note C sharp. Cis*
is. C double sharp. Cia«dur. C ^
major. Cis-moU. C # minor.
cistel'la, L. A dulcimer.
cistre (sSstr), F, Cither.
cistrum, /.. Vide sistrum.
citara (ch€-ta'-ra), /. Cither.
ciUredo(thS.t&-r&'.dhd), Sp., citarisca
(che-ti-res'-t&), /. A minstrel, a player
upon the harp or cittern.
citema (che-t£r'-na), /. Quintema.
cith'ara, Z. The large lyre from which
the guitar and zither are derived, c
biju g^a. A 2.necked c. c. hlspanica.
The Spanish guitar, keyed c Thf
davicitherium. cith'aris. The thfr
DICTIONARY OF TERMS
97
orbo. citharoe'dna. A singing la-
tenist.
citli'er, cithera, cithern, cittern,
cythom. An old guitar-like instr.,
strung with wire and played with a
plectrum ; sometimes with a bow, or
^ by means of keys.
dto'le. A dulcimer.
cit'tam. Ancient English guitar.
ciretteria (che.v<t-t«-r€'-«), /. Co-
quetry.
Clair (klir), F, Clear, shrill, loud.
daircylindre (kl&r^-lftAdr), F: Vide
CLAVICYLINDKR.
dairon (klAr^A), F, i. Trumpet. 3.
Reed-stop. 3. Vide clarinet. 4.
A bugler.
cUui^. X. A belUtone. 3. In acous-
tics a fundamental tone with its group
of over and under-tones, their com-
pleteness giving the clang^colottr or
danr-tiat, Tyndairt word.
daog^key, i?., Klangschlttasel, G,
Riemann*s word for his system of
chord designation intended to supplant
thorough-bass as a better method of
describing a combination by its quali-
ties. Intervals are reckoned, not from
the bass, but from the principal tone
of each chord. He uses Arabian fig-
ures for major, Roman for minor
chords, the former indicating an inter-
val upwards from a tone, the lat-
ter an interval below, as foIloMrs:
I (I). Principal tone. 3 (II). Major
2d. 3 (III). Major 3d. 4 (TV).
Perfect 4th. 5 (V). Perfect 5th.
6 (VI). Major 6th. 7 (VII). Mi-
nor 7th. 8 (VIII). Octave. 9 (IX).
Major 9th. 10 (X). Major loth.
< indicates raising a tone by a semi-
tone. > Lowering it a semitone ;
•• tones doubly raised or lowered be-
ing inconceivable musically.'* The
major chord (or upper-clang) is ab-
breviated -4- (for 5-3-1), the minor
chord (or under-clang) is abbr. o (for
I-I II-V) — ^thus a+ or ao. Feeling that,
for instance, the tone C in the major
triad ah-c-cf^ has a different meaning
from the tone c in the minor triad
a-c-e, he has coined for this '^tttb-
stitution of clangs'' the word
Klangvertretung (kl&ng'-f«r-tri'.
toongk). clang-tuccession is a
chord-progression with regard to its
clang-meaning, that is, a tonality
which does not consider every chord
in its proper absolute key but in its
relation to some other chord to which
it plavs the part of prlndpal or re-
latea clang. Fuller particulars of
this interesting philosophy must be
sought in Riemann't Dictionary of
Music, and other of his writings.
daquebois (kl&k.bw&), F. A x]rk>-
phone.
dar. Abbr. of Clarinet,
darabel'la, L. A soft-voiced wood
organ-stop.
danbel flute, x. A flute, a. A 4>ft.
clarabella.
clar'ichord, clarico'lo, dar'igold. An
old harp, or a clavichord.
Clarin (kliUren', G. In F. klttr-IUi). i.
A clarion. 2. A 4p>ft reed-stop.
Clarinblaaen. Soft notes of the
trumpet.
clarinet, clarinette (n«t), /^., dori-
netto, /. An important wood-wind
instr. with a single beating reed, cylin-
drical tube and bell. It is in effect a
stopped pipe (q. v.) and sounds an
octave lower than other wood-wind
of its length ; it has only the odd-
numbered partials in the overtone-
scale, and requires a different fin-
gering from the oboe, etc. It has
18 holes, including 13 with keys, by
means of which it has a range of
3 octaves and a sixth, which range
is sharply divided into four distinct
qualities of tone: i. The highest,
or superacute, being (in the normal
soprano clarinet in C) d'" -c"". 2. The
high or clarinetto or clarion regis-
ter (whence the instr. took its name)
b'-c'". 3. The medium, f -bj?. 4. The
chalumeau ^shAl'-o-ma) or Schalmd
(shaUml) g-e ; the qualities being re-
spectively. I. Shrill. 3. I^iquid and
clear. 3. Veiled and feeble. 4. Rich
and sonorous like a contralto voice.
The clarinet is a transpoetng inati;
98
THE MUSICAL GUIDE
written in the C clef ; it is made in
many sizes to adapt it to different
keys ; the large soprano in C, Bb (of<
ten called simply ** clarinet in B ") and
A ; the small soprano in D, £, F,
/J7 ; the alto or barytone in F and
E[>, the bass (an octave lower than
the sopranos) in C, B b aad A. The
soprano in B )> is the most brilliant ;
the soprano in A is very tender in tone.
The small sopranos are too shrill
for use except in military bands in
which the clarinet group serves the
substantial purpose served by the
strings in the orchestra.
The darinet is an improvement (made
by Denner of NUmberg, 1700) upon
the old chalumeau or Schalmei,
whose name still persists in the low
register of the clannet. The ch. had
a single, beating reed, a cylindrical
tube and nine holes, each of which
produced a tone giving a compass of
these natural tones, f-a'. By plac-
ing a hole and a key at a nodal point
dividing the tube into 3 equal parts,
overblowing became possible in the
twelftii, i. e., the 3d partials (vide
acoustics). This new register was
called darinetto or clarion iot its
clarity of tone, and from this word
came the present name of the instr.,
all of whose gaps have been filled by
means of the BOhm key-mechanism,
etc., tfiough the fingering is still dif-
ficult and a slip gives a squawk called
the *• goose " or couac*
2. A soft 8-ft. reed-stop., clarinet
flute. A flue-stop with holes in the
cover.
dartno (kU-re'-nd), /., clarion, E.
(in F, kl&r-ydA). i. A small trum-
pet. 2. A 4-foot organ reed-stop, an
octave above the trumpet. 3. The
trumpet parts in score, c. harmon-
ique. A reed-stop.
clarionet. Obsolescent spelling of
clarinet.
clarionet-flute. A stop.
clarone (kla-rd'-n£), /. A clarinet.
cUU-seach (klar'-sakh), darseth (klftr^.
s^). The old Irish harp.
claus'ula, Z. A dance.
clavecin (kiav-sin). F, i. The harpsi-
chord. 2. The keys a bell-ringer
plays on. c. acousttque. An instr.
of the i8th cent, imitating various
instruments.
Claviatur (kla-fl-a-toor'). G, The
key-board.
claTichord. Prototype of the piano,
the strings being set in vibration not
by hammers, but by small brass
wedges (called tangents) on the ends
of the keys ; these set only one sec-
tion of the string in vibration.
claTicyrinden An instr. inv. by
Chladni, about 1800, consisting of
cylinders of glass attuned.
claTicymbalum, Z., clavicem'balo, 7.
The harpsichord.
claTicythe'rium, Z. An upright harp-
sichord of the 13th Centurv.
Clavier (cl4v.ya, /-., in G. kla-fer').
I. The key-board. 2. An old name for
the clavichord. 3. c. de r^cit. The
swell manual. 4. In French use, the
gamut included in the stave. 5. Vide
KLAVIER.
claT'is, Z. and G, i. A key. 2.
A clef. 3. A note. 4. Handle of a
bellows
cl6 (kla),'clef (kla), F. (In English
pron. '*kl«f.") A florid form of a
letter, used as a symbol with a fixed
note-meaning, from which it takes its
name, as the so-called ** c ** clef de-
noting that whichever line it grips is
middle C (c'). The most common
clefs are the ** G " (or treble c. or
clef sol, or clef descant, or vio-
lin c.) which is always seen now on
the 2d line ; the F. (or bass or c.
de fay). (These two are those used
in piano music.) The C (or clef d*ut)
is used movablv and is called the
soprano (or German soprano) or
discant c. ; or the alto ; or the tenor
(or mean or counter-tenor) clef, ac-
cording as it is placed on the firsf,
the 3d or the 4th line, in each of
which cases it marks middle C. The
C clef is found in various forms and
is still used in music for the *cello and
DICTIONARY OF TERMS
99
Other instruments and in contrapuntal
writing.
The obsolete clefs are the F on the
3d line (the barytone clef), the C on
the 2d line (the messo soprano), the
G on the ist line (the French rioiiiif
or French treble clef).
clear flute. Organ-stop.
clef d'accordeur (d&k-kor-dilr), F.
Tuning-hammer.
doc'ca, L., cloche (kl6sh), /^ A bell.
clochette. A hand-bell.
clock. To swing the clapper of a sta-
tionary bell.
clog. Iris A, A shuffling dance.
doro'ne, /. Alto clarinet.
dote (kloz). A cadence.
dose harmony or position. That in
which the chords spread over little
space ; when a chord extends beyond
an octave it is said to be in open po-
sition.
dose play. Lute-playing in which the
fingers remain on the strings.
dose score. That with more than one
voice on a stave.
C-moli (tsa.m61), G, The key of C
minor.
C o. Abbr. of choir-crgan.
coalotino (kd-&-16t-te'nd), /. Concer-
tino.
cocchina (kok-ke'-na), /. An Italian
country-dance.
coda, /. "Tail." i. An additional
termination to the body of a compo-
sition, ranging from a few chords to
a long passage. 2. The stem of a
note.
codet'ta. i. A short coda. 2. A
short passage in fugue, between the
end of the subject and the entry of
the answer.
co'don, Gr, I. A little bell. 2. The
bell of a trumpet.
coelesti'no (or-a). A name formerly
applied to various keyed instruments.
conre (k6fr), F. The frame of an
instrument.
cogli (kol'-ve), coi (ko'-e), col, coll',
coUa, collo, /. Forma of the prepo-
sition '* con/' and the definite article
meaning ** with the."
colachon (ko-l&-sh6n), F. An instr. like
a lute with longer neck.
colascione. Vide calascione.
collet (kol-la), F, The neck, as of a vio-
lin.
collinet (k61.11-na).' A flageplet, named
from a famous virtuoso on it.
colofo'nia, /., colophane (kol-o-fftn),
F.^ Coiophonium (ko-lo-fo'-nX-oom),
(7., col'ophony, E, Resin.
colorato (k6-16-ra -to), /. Florid.
coloratura (k5-ld-ra-too'r4) (pi e), /.,
Coloraturen (ko-ld-ra-too'-r^n), G.
Ornaments and ornamental passages,
in vocal or instrumental music ; brill-
iant vocalization.
coloris (ko-lo-re'). F., Colorit (r€t'),
G, The * * colour "-scheme of a work.
colour. I. Vide NOTATION. 2. Timbre.
3. Literally colour ; to some minds
each tone, or each key, has a distinc-
tive actual colour, as C is red to some,
C ^ scarlet, C ^ blood red, C\) darlrer,
etc. The Editor has even met »
painter who claimed the ability to play
any picture or paint any composition.
colpo, di, /. ** At a blow," abruptly.
combinational tones. Vide result-
ant TONES.
combination mode. The ambiguous
mode resulting from resolving a dom-
inant chord in a minor key to the
tonic major.
combination pedals. Vide compo-
sition PEDALS.
come (ko m£), /. As, like, the same as.
C prima. As before as at first, c
sopra. As above, c. sta. Exactly
as It stands.
co'mes, L. i. In fugue, the companion
or answer, to the dux (leader), or sub-
ject. 2. In canon, the consequent.
comiqnement (kd-mek-m&6), F, Com-
ically.
com'ma. i. A breathing-mark. 2. A
theoretical term indicating the minute
difference between two tones nearly
identical, (a) The comma synto*
num, or c. of Didymus, is that be-
tween a major and a minor tone 80: 81.
(b) The comma ditonicum, or c. of
PjthagoraSy is that by which six
loo
THE MUSICAL GUIDE
whole notes with the ratio 9 : 8 exceed
the octave, or 531 + : 524 •4-.
com(m)odamefi'te, coin'(m)odo, /.
With ease,
common. Vide chord and turn. c.
measure. or time.' .4*4 time.
compass. Range of a voice or instr.
compiacevole (kdm-pY&-cha'.y5-l£),
compiacevolmen'te, /. Pleasant-
(ly).
complainte (IcoA-plint), F, A religious
. ballad.
com'plement. That quantity or inter-
val which fills up an octave, as a
fourth is c to a iihh,
complementary part. In fugue, the
part added to the subject and counter-
subject.
commete. Vide cadkncs. .
completo'rium, L., com'pletory, E,
I. An Ambrosian anthem supplement-
ary to the antiphon. 3. A compline.
compUn(e), L, Vide Horar canon-
ICAK.
componis'ta, /. A composer.
compo'nnm. A machine inv. by Win-
kel to pre&ent a given theme in end-
less variety of forms.
composition, /. The act, art or sci-
ence of writing original music.
composition pedals. Pedals inv. by
J. C. Bishop, connected with a mech-
anism for bringinc; iQto use several
stops simultaneously.
composizione di tayolino (k6m-pd-ze-
ts!^'.n« de ta-vd-lc'-no), /. Table-
music.
compos'to, /. Composed, quiet.
compound. Of intervals, those ex-
ceeding the octave, c. stop. One
having more than one rank of pipes.
c« measures or times. Those which
contain more than one principal ac-
cent, as 6-4, 9-8, etc.
compressed score. Close score.
comprimaria (kom-pri-mil'-rT-fl), /.
The next in rank to a prima donna,
con (k6n), /. *• With ; ** it is often com-
bined with the article "the," vide
COGLI, etc. £0H, 9ua, vide ottava.
concave pedals. Radiating pedals.
coacealeo. Vide uiodkn.
concento (k6n.ch^n'.to), /. i. Concord.
2. Non-arpeggiation.
concen'tus, L, i. Concord, vide AC*
CENTUS.
concert (in F. k6fi.s&r'). i. A public
performance. 3. c. spirituel. Sa-
cred concert. Dntch c. An impro-
vised chorus of little regularity and
much hilarity. 3. A concerto. 4. A
set of instrs. of different size, vide
CHEST OF VIOLS.
concertante (k6n-chdr-tan'-t«), /. i.
A piece in which each part is alter-
nately principal, as a duo eotuer^
tanU, 3. A concerto for two or
more instrs., with orchestral accomp.
c. style. In brilliant concert style.
c. parts. Parts for solo instrs. in an
orchestral work.
concertato (tal'-to), /., concerted, E.
Used of music for several voices or
instruments.
concert*gjand. The largest size of
the piano.
concertina (kfin-s^r-te'nii). Chas.
Wheatstone*s improved accordeon
(q. V.) inv. 1829. It is double-action, '
producing tone on being drawn out
or compressed. Its 2 key-boards are
hexagonal, and the English treble c,
(much superior to the German) has a
range of four octaves from g below
middle C with all the chromatic tones.
The c is to be had also in alio, Unor^
havs and double-bass ranges.
concertino (kdn-chdr-te'-no), /. i. A
small concerto. 2. Principal as op-
posed to ripieno^ e. g., Tiolino C,
principal violin. 3. The first-violin
part.
concertis'ta, /. Virtuoso.
Concertmeister (kon-ts^rt-misht^r),
G, I. The leader. 2. The first of
the first-violins.
concerto (kdn-ch^r'-to), /. i. A con*
cert. 2. A composition for one-
two {double) three (tripUy-or more
solo instruments with orchestral ac-
companiment. It is usually in sonata
form with modifications to allow
of virtuosity, notably the cadenzas
played by the perfonntr of the selo
DICTIONARY OF TERMS loi
p«rt just before the concluding tutti
of the first and last movement. For-
merly the word was applied to con-
c«rtAiite. Torelli is credited with
the modem form. The c without
orchestral accompaniment (c, A. solo)
is very rare, c da camera. Cham-
ber concerto, opposed to gros so, c. da
chiesa<kl^'*zA) ore ecclealattico.
(a) In Viadana's work, merelv motets
with accomp. for organ, (b) A con-
certo for church use. c dopplo. a
C for two or more instruments, c.
g;roa'to, A composition for full or-
chestra. C spirituale. Sacred con-
cert.
concert pitch. Vide A, of which the
French standard is now generally
adopted. By this all the tones are
regulated. In England c* p. refers
to a pitch almost half a tone higher
than the international pitch.
Concertspieler (kdn-ts£rt'-shp2-l€r), (7.
A solo or concerto player. Con-
cert'stfiick (shtQk). I. A concert-
piece. 2. A concerto.
ConciUtO (k6n.chT.til'*td), /. Agi-
tated.
conclttsione (kloo-iY-6'-n£), /. Con-
clusion.
toncord. An harmonious combina-
tion, concordant, i. Harmonious.
2. In French use (pron. kon-kor-dflh),
a barytone.
con-dissonant. Used of a triad which
is consonant with each of two mutual-
ly dissonant triads.
Condncten(dook'-t<$n), G. Wind-tubes.
CondttCtor. The time-beater and direc-
tor of a chorus or orchestra.
tondnct'ns, Z. That form of discant
in the I2th century in which not only
the improvised counterpoint of the
singers was original, but the central
melody (or can/us firmui) also.
conduit (k6h-dwi), F, t. A wind-
trunk. 2. Conductus.
cone-f^amba. The bell-gamba.
confinal. Vide final.
conj^nt, or conjunct, E,y conginnto
(joon'-to), /. I. Used of notes lying
immediately neit to each other; ol
moHim or succession proceeding re^-
larly by single degrees. 2. Applied
by the Greeks to tetrachords, in which
the highest note of the lower, was also
the lowest note of the upper, tetra-
chord.
connecting^ note. One common to
successive chords.
consecutive. Following in immediate
succession. Chiefly applied to pro-
gressions of intervals such as perfect
fifths and octaves, strictly forbidden
in most cases.
consaguente (gw£n'-t^), /., con'se-
quenti E» In fugue or canon, the
imitation or answer of the subject.
conservatoire (k6h-8(fr-vft-twftr), /*.,
consenrato'rio, /., Conserrato-
rium (oom), C, conserratorj, E,
A school of music.
consolan'te, /. Consoling, consola-
tamen'te. Cheeringly.
con'sonance, E., consonansa (nftn'-
tsft), /. An accord of sounds, not
only agreeable but restful, cf. Disso-
NANCB. imperfect c. A major or
minor third or sixth, perfect c. An
octave, fifth or fourth, consonant.
Harmonious, c. chord* One with-
out a dissonant interval.
consort, t. To be in accord. 2. A set,
as of viols, cf. CHRST.
constit'uents. Partial tones.
cent. Abbr. of contano.
contadines'co, /. Rustic.
contano, /. *• They count," of instrs,
which "rest."
COntinua'to(tTn-oo-ft'-tfi), /. Sustained.
continued bass. Vide bass (6).
continuo, /. Vide bass (6).
Con'tra. Against or under. As a pre-
fix to names of instruments, or ot or-
gan-stops, it indicates a pitch an
octave lower than the standard, as
Contraposaune, contra • octave.
(Vide PITCH), contra-arco. Bowing
against the rule. contra-tempo.
Syncopation. Contrabass (k6n-trft-
bas). The double-bass, contrabom*^
barde. A 32-ft. stop in the pedal.
contraddanza (k6n-trftd-din'tsa), /
A cottntry<^nce.
102
THE MUSICAL GUIDE
contralto (kon-tral'-td), /. The deepest
female voice. The term means lower
than the alto (high), the former name
of male soprano.
contrappunto (poon'-to), /. Counter-
point, contrappuntista. One skilled
in cpt. c. alia decima. Double
counterpoint in the tenth, c. alia
mente. Improvised cpt. alia zop-
pa, or syncopata. Syncopated cpt.
c. doppio. Double cpt. c. doppio
alia QUO decima. Double cpt. in
the twelfth, c. sciolto (shot' -to).
Free cpt. c. sopra (sotto) il sogr.
ghetto (sdd-jfit'-to). Cpt. above (be-
low) the subject.
contrapunct'us, L. Counterpoint, c.
flo'ridum, Z. Florid cpt. c. in
decima g^adi. Double cpt. in
which the parts move in tenths or
thirds below the subject, c. simplex.
Simple cpt.
con'trapuntal. Relating to counter-
point, contrapunt'ist. One skilled
in counterpoint.
contrario(tr£'-rY-d), /. Contrary. Vide
MOTION, contrary bow. A re-
versed stroke.
contrasog^etto (s6d-j£t'-to), /. Coun-
ter-subject.
contratenor. Vide counter-tenor.
Contratdne (kdn'trii-ta-n^). G. The
deeper bass tones.
contraytolo'ne, /. Double-bass.
contre (k6ntr), F. Contra^ or coun-
ter, as contrebasae. Double-bass.
c. Pelisse. Lining, c. partte. A part
contrasted with another, as bass
and Soprano, contrepoint (kdntr-
pw&h). Counterpoint, contresujet.
Counter-subject, contre-tempa. Syn-
copation.
contredanse (kdn-trii-daAs), F, A
. country-dance, in which the dancers
stand in opposite ranks.
conver'sio, Z. Inversion.
coper'to, /. I. Covered (as fifths), a.
Muffled (as drums).
cop'ula, /. I. A coupler. 2. A stop
requiring a coupler.
cor. Abbr. of cornet,
cor (kdr), F, Horn, cor-alt. Alttt
bom. cor-basse. Bass-horn. c-aii«
glais. *' English horn," in reality
an alto oboe (q. v.). c. de basaet.
Basset-horn. c. de chaaae (shils).
Hunting-horn ; the French horn. c.
de poatillon. Postilion's horn. c.
de aignal. A bugle, c. de nuit.
The Cremona stop. c. de vaches.
Cow-hom. c. omnltonique. A Sax-
horn.
corale (ko-r&'l^), /. Chora.
coranto (kd-r&n'-td), /. Vide cou-
RANTE.
corda (kdr'-dM), /. A string ; una corda,
one string, i. e., the soft pedal ; due
(two) or tre (three) or tutte (all) le
corde (the strings), '* release the soft
pedal ! " In violin-playing, dut-corde^
means * * play the same note on 2 strings
simultaneously*/' ima. 2da, jta^ or
4ta corda, means that the passage is
all to be played on the string indi«
cated.
cordatura (too'-ra), /. Vide ao
CORD (3).
corde (kdrd), F, A. A string, c. ft
boyau. Catgut, c k jottr(zhoor).
c. k Tide (ved). Open string, c.
deluth. A lute-string, c. fausae
(fos). A false string. c. aourde.
(soord). A mute-string.
cordier (kord-ya), F. cordiera (k6r.
dl-a-rfi'), /. Tail-piece.
cordom^tre (kor-do-m^tr), F, String-
gauge.
corifeo (kd-r¥-fa'-o), /. Leader of a
ballet, corimagiatro (m&-jes'-tr5).
Leader of a chorus.
corista (ko-res'-t&), /. i. Chorister. 2.
Tuning-fork or pitch-pipe.
cormorne. i. A soft-toned horn. 2.
A reed-stop.
corn (korn). Welsh, Horn.
cornamosa (k6r-n&-moo'-z£),' /., cor*
nemuae (k5m-mQz), F. Bagpipe.
cor'net ^not comet'). E. (in F, kor-na),
Comett', (7. i. Loosely used of the
cornet it pistons (q. v.) 2. An obso-
lete wind instr. of the 15th cent, made
straight (diritto or muto) and Sent
{curvo or torto) ; the latter was also
. calledi comon or cometto basao
DICTIONARY OF TERMS 103
and was the orig^oal of the serpent.
3. Various reed-stops as echo c.»
mounted c», g^rand c, c. de r6cit,
C. dreifach (or 3-ranked).
cometa (k6r-na'-t&), coraet'to, /. A
i6-ft. reed-stop.
comet k bouqum (boo-k&h), F. Bugle-
horn.
comet k pistons (kdr-na IS, pes-ton),
J^. A 3-valved chromatic brass in-
strument of the trumpet family. It
has a plebeian voice of great agilitv.
It is a transposing instr. written in
the G clef. It is usually in Bj;^, and
has crooks (A, At>, G). It has a
chromatic compass, f# -c'"
cor'no, /. Horn, c alto. A horn
of high pitch, c. basso. A bass-
horn, c. di basset' to. i. The bas-
set-horn. 2. A soft-reed stop, c di
caccia (kat'-chfi). The hunting or
French horn. c. dolce (ddl'ch^).
An organ-stop. c. in B basso. A
low B horn. c. inrlese (en-gla'z£).
The English horn (vide oboe), c.
▼entile (v£n-te'-l£). Chromatic horn.
ۥ sor'do. A horn with dampers.
cornope'an. i. Comet k pistons, a.
An 8-ft. reed-stop.
co'ro, /. and Sp. Chorus, c. della
chiesa, /. Church-choir. C. primo.
The first chorus.
coro'na, /. A pause or fermate (O).
coronach (kor -o-nakh). A Gaelic
dirge.
corps (kor), F Body (as of an instru-
ment), c. de ballet (b&l-la). All
the dancers in a ballet, c d'har-
monie (d^r-mo-ne). A fundament-
al chord, c. de musique. A band.
c. de r^change. The crook of a
horn. c. de Toix. Body or range
of a voice.
^rren'te, /. Vide courante.
Coryphteus, G. i. The conductor of
the chorus. 2. At Oxford, a special
instructor in music.
coryphee (kd-il-fi), F. i. The leader
of dancers. 2. A ballet-dancer.
Cosaqne (ko-sJLk), F, The Cossack
dance.
COtUlott (k6.te-y6A). F. " Petticoat**
An elaborate ceremonial dance of
many couples, not unlike the Ger-
man.
couac (kw&k), F, Vide goose.
couched haip. Spinet.
coul^ (koo-la), F, I. Slurred. 2. A
grace note consisting of two or three
sliding notes, indicated by a dash be-
tween the notes.
coulisse (koo4es), F, i. Slide (vide
trombone). 2. Side-scene, wing (of
a theatre).
count. A beat. To cimnt time, to
measure the beats audibly or men-
Ully.
counter-. A prefix indicating contrast,
as counter-tenor (once a name for the
alto voice), is higher than the Usual
tenor ; often falsetto or artificial tenor ;
counter-bass is lower than the usual
bass ; counter-tenor clef, vide CLEF ;
counter-subject, vide fugue.
counterpoint. Originally notes were
called *' points;" the literal meaning
of' counterpoint is therefore **note
against (or in accompaniment with)
note ; " it is loosely used of the combi-
nation of independent voices as in a
quartet. It is more strictly used (a) of
the art of writing simultaneous melo-
dies or (b) of the melodic part added to
a given part called the cantusjirmus
(q. v.). The contrapuntal style dif-
fers from the harmonic in that while
the latter consists of melody accom-
panied by chords, the former is a com-
bination of melodic parts. The su-
preme contrapuntal forms are Canon
and Fugue. Of counterpoint there
are five species : I. Note against note
— a semibreve against a semibreve.
2. Two notes against one; 3. Four
notes against one. 4. Syncopation.
5. Florid counterpoint — ^a mixture of
the preceding species. Counterpoint
is also Simple and Double. In the
latter, the parts are invertible, i. e.,
may be transposed an octave, or
ninth, tenth, twelfth, etc., above or
below one another. Counterpoint is
triple (or quadruple) when 3 or 4
parts are mutually invertible.
1^4
THE MUSICAL GUIDE
m^n
Counterpoint.
By Homer A* Norris.
THE art of combining melodies is called counterpoint. When a pianist
** plays ' Old Hundred * in one liand, and * Yankee Doodle ' in the
other " he illustrates the contrapuntal idea. Wemgartner's arrange-
ment of Weber's ''Invitation to the Dance" represents most ingenioua
counterpoint. In strict (plain, simple) counterpoint, no combination of
notes representing more than three sounds is allowed ; no dissonances except
passing notes ; no chromatics. ^[Counterpoint is double when it may be
correctly used either as an upper, or a lower part ; i. e., when it admits of
double employment. Double counterpoint may be so written as to invert In
the 8th, 9th, 1 2th, or any other interval. The following is an example of
Inversion cf above example.
nh-^-3=
r zix-
fc
^
I
^^-^■\^-\
double counterpoint. ^Within the confines of strict counterpoint ecclesiastical
music reached its loftiest expression through Palestrina, in about 1 600. ^In
modem harmony chords may be built up of three, four, five, and even more
different sounds. When the contrapuntal idea is applied to modern hannooy^
DICTIONARY OF TERMS 105
the result is called />*</ counterpoint. Free counterpoint i< simply a contra-
puntal manipulanon of modern harmony, as opposed to strict counterpoint
which is limited to chords of three sounds. Bach re-esublished the counter-
point of Palestrina on the modem harmonic bass. In his fugues the coBtnk
puntal. or polyphonic, idea is found in its most perfect form. ^The very
essence of Wagner's music is counterpoint. When the melodies of <<Die
Meistersinger'* are brought together in the overture it is modem counter*
point ; not an end in itself, but as a means to direct, emotional expression.
^So from out this old counterpoint has come a new, which to>day permeates
all music. Neither Brahms nor Richard Strauss could exist but for the industry
of those early savants ^ who, piling notes upon notes, laid a foundation for
the cathedral of music which has risen majestically under Bach, Handel,
Mozart, Beethoven, Brahms, and Wagner. It is modem counterpoint,
counterpoint with a soul in it, which distinguishes all great work to-day and
stmmps it for posterity.
coonterynge ye songe (kown'.t£r-
ing the sdng) (old E.), Descant.
comitrf-dance. Whatever the ety*
mology, a country-dance is a contra-
dance (in duple or triple time) in
which partners are ranged opposite
each other.
coup (koo), F, Blow, c d'archet
(dkr-shft). A stroke of the bow. c.
de i^lotte (eldt). A snappy vocal at-
uck. double c de langiie. Double-
tonguing. c. de bmpiette (bfl-g<$t).
Beat of the drum, c de cloche
(klosh). Stroke of a bell.
couper le sujet (koo-pa Ifi soo-zhi), F,
To cut or contract the subject.
coup'ler. An organ mechanism con-
necting a manuals, or manuals with
pedals.
couplet. Two notes occupying the time
ot a triplet.
courante (koo-rflnt), F. *' Running,**
an old dance in 3-2 and 6-4 time.
Hence an instrumental piece in the
same style. Vide Suite. The sec-
ond part of the suite, usually in pas-
sage work.
conronne (koo-riin), F, A hold.
course. A group of strings sounding
in unison.
COttrtal (koor-tU), coartand (koor-to).
conrtaut (koor-t5), F. An old short
bassoon.
couvre-feu (koovr-ftt), F. Curfew.
covered, i. Hidden, used of progres-
sions (q. v.). 2. Used of pipes and
stops (q. v.). 3. Used of strings
wrapped with fine wire.
C. p. Abbr. of eoUaparU^ or tounUr*
point,
cr., cres., creac, Abbr. of crtsando,
crackle. In lute-playing, to play chords
brokenly.
cracovialt, Pol,, cracovieaae (kri-
kd'vl-«n), F, A Polish dance in
syncopated 2-4 time.
creanlnidh (kran'-loo-e). Vide n-
BROCH
Credo, Z. " I believe." Vkle mass.
crem'balum, Z. lew's harp.
Cremona (kra>m5 -nft), /. 1. A town in
Italy, hence an instr. made there by
the Stradivari, the Amati, or Guar-
nerius. 2. A corrupt form of crom-
hom. '
cremom. Vide crom*horn.
crepitac'ulum or crepua'dia, Z.
Ancient frictional castanets.
crescendo (kr«.sh«n'-dd), L ** Increas-
ing,** i. e., in loudness, c il tempo.
Increasing in speed. C-siiff, G, The
swell-box, or crescendo pent
ioi6
TH^: MUSICAL GUIDE
(Tft'ceot. A Turkish iostr. of crescent-
shaped metal plates hung on a pavil-
ion ; or small bells on an inverted cres-
cent.
Cfi«r4(e) (kre4lKd)), /^ Bawling.
a'tt>'ruqi> /^. Sound*boardf
crpche (krosh), F. An eighth note.
c. doable. Sixteenth note. c. quad-
ruple. A sixty-fourth note. c.
trtplo. 39d note.
crocoet (kro-sha), F, The hook of a
note. croche'tAi L. A quarter
note.
croisemant (kwae-m^), F, Crossing
<as of parts),
Crom* (kro'-mi) (pi. e), /. An eighth
note. " cromc, written under notes
of larger value indicates that they are
to be played as eighth notes.
cromat ica, /. Chromatic.
crom'-hom. i. A melancholy double-
reed wood-wind instr. of the i6th
cent. 2. A 4, 8 or i6-ft. reed-«t<^.
croni'mo, /. A choral dirge.
cromor'na, /., crQmorQe (kro-mdm),
F, Crom-horn.
crooach. Same as coronach,
crook. I. A curved tube inserted in
horns, etc.* altering the length of the
tube, therefore the key. 8. The
mouth-piece of a baocoop. 3. A de-
vice in old harps for raising a »tniig
a half tone.
crookMl Ibitf. An Egyptian instru-
ment.
crooked horn or trumpet. Buccina.
crope'aia, Crr, Wooden ologs worn
by the Greeks in beating time.
croqueHiote (krdk*ndt), F, An unin-
telligent virtuoso.
crpss. I. The head of a lute. a.
Vide FINGERING.
crois-beards. Vide bearpb.
cros4-fiai:erio|^, A method of play-
ing old flutes.
cross flute. A transverse flute.
Crosi-'reUtioo, Vide faU)B.
crotale (kro-til), F„ crota'lo, /.,
cro'talumi Z. An ancient small
cymbal or castanet.
Orot'shet. A quarter note, crot'-
chel rait> A quarter rest.
crowd. The crwth (q. v.).
crowie. Old English instr. of the
bassoon type.
CnicJfiz'ua, Z. ** Crucified/* part of
the Credo. Vide mass.
cruit (kru'lt). Irish, Old Irish Crwth.
crush-note. Acciaccatura.
crutch'etam. Name originally given
to the crotchet.
crwth (krooth), Welsh, An old instr.
of Welsh or Irish origin ; it was
somewhat lyre-shaped, had six
strings, and was the first European
instr. played with a bow.
c. e. Abbr. of Con sordino.
csirdis (tsar-dash), Magyar. A Hun-
garian (Magyar) dance in 2-4 or 4-4
time. Triple time is very excep-
tional, and not true to the national
character. The Csardas (from csar-
da, ** inn on the heath **) is often pre-
ceded by a moderate movement called
lassu (f lom latsan^ slow). The quick
movement is called (ria or Crtaka
(cf. the German frisch^ fresh, brisk,
lively).
C-^ckltlaaet (tsa'-shlttp-s^l), G, C
clef (vide clef).
Cto« Abbr. of C^ncerfQ.
cue. Notes from another part inserted
as a guide.
coirre (kwevr), F, lea ouYree. The
brasses, faire crnvrtr (fir kwev-ra).
To half'Stop a French horn with clan-
gourous effect.
Cum aaocto spiritui Z. '' With the
Holy Ghost." Part of the Gloria.
Vide MASS,
oupo (koo'-po), I. Dark, reserved.
Currenda'ner, Curren'de, Q. Young
carol-singers.
cushion dance. An old English round
dance in triple time, each dancer
placing before another of his or her
choice a cushion on which both kneel
and kiss.
cuato (koos'-to), Z, custoa, Z. A
direct.
cuvette (ku-v^t), F. Pedestal of a
harp,
cycle. A complete set (as of songs).
cycUciU forma ((7. cjcUeclie Fqr*
DICTIONARY OF TERMS 107
men). Those made up of a set or
cycle of movements, as the sonata,
suite or symphony.
Cyl'tiuter, C7. Ventil piston.
cym'bals, E.^ cymbales (s&n-Ml), F.
I. Circular metal plates, clashed to-
getber. 2. A steel triangfle with a
number of rings. 3. A high-pitched
mixture-stop,
cymbalnm, Z. i. Cymbal. 2. A medi-
seval series of eight drums to a scale.
csakan (tshik'-to). A Bohemian bam^
boo flute.
cxardas (tshiir'-d^). Vide csArdIs.
cximken (tsch1m'*k^n). A Polish
country^ance.
csTmlNtlom (tshYm'.b^lom). The
Hungarian dulcimer.
D
Din G. pron. da, F, r6 (ra),
/. re (ra). z. A musical pitch,
the next full step above C in
all its octaves. 2. The ma-
jor key having two sharps ; the minor '
key relative to F major. 3. Abbr. d —
dis(antus^ or dessus , in da cafo^ dal
segno ^ miith droit, mono drttto, d'
abbr. of de before a vowel.
da (da). Z. By, from, for, through, in
the style of, etc.
dabboda (dab-boo' -da), /. A psaltery.
da.papo (da ka'-po), /. '* From the
beginning." A sig^ of repetition.
Dad (dakh), G. •• Roof." The belly
of a violin, etc.
Dacliachweller (dlkh'-shv^l-ler), C,
Swell-box.
dactyl'ion, Cr, An apparatus of 10
rings hung from steel springs above
the key-bc^rd, used to strengthen the
fingers ; inv. by Herz, 1835.
dada. A term in drum music — the left
hand.
daddy-maauBy. A colloquial term
for a roll on the aide-drum.
dacH (dal-ye), dai (da-e), dal, dair,
dal' let dal'U), /. Combinations of
the prep, da with the article ** the."
dauia (da-e'-na), dainoe. A tender
Lithuanian folk-song.
daire (da-e'<ra), /. The tambourine.
dal, /. Vide dagli.
dalsimr. An Egyptian reed instru-
ment.
damenisa'tion. Vide solmisation.
damper, i. In pianos a cushion which
when raised by the touch of the key
or the use of the damper pedal (often
called the *Moud pedal") permits the
vibration of strings; when released
it silences the vibration, a. A mute
for brass instruments.
dAmpfen (d6mp'-fen), G, To muffle.
Damp'fer. A mute or damper.
DUmp'fun^. Damping mechanism.
DaokUed (dank'4et), G. A thanks-
giving song.
danse (daAs), F. A dance, or dance-
tune, contre d. (kontr). A country-
dance, a quadrille, d, de matelot
(mat-Id). A horn-pipe, danaertes
(dans-re). Dance-tunes.
danza (dan'-tsa), /. A dance or dance-
tune, danset'ta. A little dance.
daraboo'ka or darabuk' keh. A small
Arabian drum.
dar la voce (dar la v5'.ch£), /. Give
the key-note.
Darmsaite (darm'z!-tQ (pi. en), G,
Gut-string.
Darsteller (dar'-sht^l-ler), G, A per-
former. Daretellung. Performance.
dash. I. A staccato mark. 2. Vide
CHORD. 3. Vide coul6.
Da'sian-notierung, (7. Hucbald^s no-
tation, using forms of the letter F for
14 tones.
Dauer (dow-^r), G. Duration.
Daumen (dow'-mSn), G. The thumb.
D.-aufsatz. Thumb-position. D.-
klapper. Castanet.
D. C. Abbr. of da capo.
D-dur (da-door), G, D major.
de (dtt), F. Of, in, from, by. De plus
tnplus vile. More and more quickly.
dead march. Funeral march.
debile, debole (da'-bo-ia), /. Feeble.
dec'achord, decacbor'don, deca-
cor'do, Z. An ancient harp or gui-
tar with ten strings.
dec'ad. Vide ellis (B. D.).
d^'cani, Z. //. Vide cantori.
n, II.J ■ •
108 THE MUSICAL GUIDE
Chart of Dance-Rhythms.
( Spanish national dance. A pan-
Bolero. -< toinime m nonor of Cupid, ac-
( coiiipanted witii casianets.
J=88.
Theme.
or
{ French or Spanish. The peri-
BOUKKEC. -, ods commencfc on the fourth
/ and end on the third beat.
v^^- 1 I
( Moorish, Spanish, or Italian.
ChacuN(n)E. -! Begins on the second beat ;
I contains a basso ostinatx).
Moderato. or
\ Polish. Pull of syncopa
CraCOVIEItne. \ tions and unexpected ac
( cent.
AlUfrro.
Czardas.
n
' Huncrarian national dance, be-
ginning with a slow, sad / as-
san. followed bv a fiercely
rapid J^r/^Jku. The rhythm is
too varied to plot, but this
germ usually appears :
i Spanish dance with guitar
PandanGO.-; and castanets, performed be-
I tween verses.
Gavotie.
Old French. Periods l>eg:in on
the third and end upon the
second beat. It is generally
^ combined with a Musette.
or
Laendler. Slow Tyrole&e waits.
f^
I Polish national dance of state-
Mazurka, i ty cliaracier, with varied ac-
\ cents.
I I I
Z\JJ2
*" Cuban national dance. Ac-
i companiment of marked
I rhytlnn, iheme greatly va-
[ ried and syncopated,
or or
^Otd French, of stately character.
The third beat is slig-htly ao-
cented.
Moderate I _ I
Old French dance.now nsiial-
ly part of the Gavotte Its
t>ag-pipe origin gives it a
. dibne-t>ass. iaee Oavotte.
o/ttiTA J Bohemian (not Polish) rapid
roLKA. -J founjj dance.
AUegi 0.
\% ^ t I
Musette. •
Polonaise.
Moderato.
' Polish dance, formerly "^ftiry
stately. It commences with
a strong accent and closes
un the last beat, thus :
( Italian and Spanish danoe
SALTARELLO.-Jof leaping and bounding
( style.
I Q
Qap APA vi>E i Spanish or Moorish dance of
SARABANDS, -j ^^^j^ solemnity.
Andante. 1 n or
TARANTELLA.
hresto.
r 12! r I
' Old Italian danceof great
violence, said either to be
the result of, or an anti-
dote for, the tarantula
bite. Also said to, be of
. Tarentine origin.
I and
w I T^ 3 A dance of uncertain origin and
^ Ai,T». -J varie.l speed.
Vienna, <?'" 'a
Quick Waltz, t-^-
German, or Xn
Sloio WaL'z. 2-*nr~^
1 =* I I •
■i
DICTIONARY OF TERMS 109
Decern (da-ts^m), G. Vide decima (2).
deceptire. Vide cadence.
d6chant (da-shan), F. Discant.
d^cid^ (da-se-d&), d^ctdtoent (da-s£-
dl-mift), F, Dccisive(ly).
dcc'ima, Z.. n A tenth. 2. Anoi^n-
stop sounding the tenth, d. plena
de tonie. A major tenth, d. non
plena detonis. A minor tenth, d.
tertia, qaarta, quinta. Intervals
of the 13th, T4th, I5ih.
Dd'dme (da sem), F\ (di-tsem'), G. A
tenth.
dec'imole. A group of ten equal
notes.
dd'cisif (dft-se-sef), d^diiTement
(sev-mftfi), F. Dccisive(ly).
decisione (dll-che'-zY-6'n^), /. Decis-
ion, decisive (da-chl.se' vo). de-
ciso (dft.che'-£&)'. In a bold manner,
decisively.
Decke (d^k'^), G. i. Sonnd*board. 2.
Belly. 3. Cover or top for organ-
stops.
declaman'do (Ida-cld-min'-do), /. With
declamatory expression.
declamation, dedamazione (da-kliU
m2-tsI-6'-n£), /. Singing in declam-
atory style.
dddftTer (dft-klft-va), F, To change
the key.
ddcompoed (di-k6n.pd-zi), F. Dis-
connected.
d^contpter (da-kdn-ta), F, To use
the portamento.
decoration (da-ko-rtts-ydA), F, The
signature.
decorative notes. Notes of embel-
lishment.
decouples (da-koo^U), F, Uncouple.
d<consn(e)(d&.koo.stt), /^. Disjointed.
deer., decree. Abbr. of decrescen'
do.
decreacendo (d&-kr£sh-£n'-do), /. Di-
minishing in loudness.
dec'apiet. A group of ten equal
notes.
dedicate (di^l-kil'te), /., d<di6 (did-
ya), F. Dedicated.
dednct'io, L. i. Resolution. 2. In
Guido d*Arezzo*s hexachords, the as-
cending series.
deficiendo (da./e-ch^n'-dd), /. Djring
away.
deflrit (dai'-ye), dei (da-e), del, dell',
del'la, del'le, deMo, /. Of the ;
than the.
defij6 (dtt-gri)» /\., degree, E. i.
Line or space on the staff.. 2. One
of the diatonic tones of a scale.
dehnen (da-n£n), G. To extend.
Ssdehat (g£-dant). Prolonged, slow.
ehaung. Prolongation. Deb-
nnngsstricb. i. The line or dot in
vocal music holding one syllable over
several notes. 2. A long bow-stroke.
d61as8ement (da-lHs-mflh), F, A Ught
piece.
deliberate (da-Ie-b^-ra-to), deliber-
atamen'te, /. Deliberate(ly).
d^iicatesse (da-ll-ka.tfe), F., deli-
catezza (da-U-ksi-tdd'-za), /. Deli-
cacy.
deiicato (dft-ll-ka'-td), delicatamen-
te, /. Delicate(ly). delicatissima-
men'te, deltcatis'simo. Most del-
icate(ly).
d^i6 (dal-ya), F, Light, easy.
delir'io, /. Frenzy, excitement.
delizio'so or -amente, /. Delicious-
, (ly).
dem (dim), G. "To the." Dative of
•• the."
d^mancher (da-mah-sha), F. To
change or cross hands ; to shift on
the *cello or violin ; hence d^man-
ch6, d^manchement (da-mansh-
man).
demande (dfi-mand), /*. The "ques-
tion," subject of a fugue.
demi (da-me), /'. Half, d.-baton-
(bft-tdn). A semibreve ; or 2-meas-
ure rest, d.-cadence (ka-d&ns). A
half cadence. d.-croche. A i6th
note d.-jeu. With half power, mf.
d.*me8ttre. Half measure, d.-stac*
cato. Lightly staccato, d. -pause.
A half rest, d.-qaart de souptr.
A 32d rest, d.-soupir. An 8th rest.
d.-temp8. A half beat. d.-ton. A
half tone.
demi-dit'onns, Z. A minor 3d.
demi-quarer. A i6th note, or semi*
quaver.
110
THE MUSICAL GUIDE
dein'|iemiqiuiTer. A 33d note.
dem'itone. A semitone.
demoiselle rd£m-wa«2^1), F. TrAcker.
Denis d'or (diiii-e>d6r). A piano with
pedals and many qualities of sound,
fnv. 1762 by Procopius Divis.
depen'dent. Used of a chord requir-
ing resolution.
depres'sio, /. Lowering, as of the
hand in time-beating; or of a tone
chromatically.
De profun'dis, L. " From the depths/*
One of the penitential psalms.
der (d«r), G. i. The, 2. Of the.
ieriv'atiTe. i. The root of a chord.
2. An inversion.
dM^d (da-re-v&), F. i. Derivative.
2. An inversion. 3. Inverted.
der ni^re (ddm-y&r), /^ Last. d. foii.
The last time.
Des (dds), G, I. The note Dt>. 2.
From the ; of the.
ddiACCorder (da-z^k-kdr-da), F, To
untune. dd8accord6« Untuned.
des'cant. Vide discant.
descend. To pass from higher to low-
er pitch, descent. Such a pass^
ing.
descendere (da-sh^n-d^-r^), /., de-
•cendre (da-sflndr), F. To descend.
d. d*un ton. To descend a step.
descendant (dtt-sftA-diin). Descend-
ing.
deschant (dfi-shilii) F. Discant.
Desdes (disdas) or Deses (dasas), G,
D double flat.
DeSHlur (dsis'door), G, Dt> major.
desiderio (d&-9e«da'-rf«d), /. Desire,
passion.
desin^olttirato (vdl-too-ra'-to), /.,
avec ddsintrolture (d*v£k da-sUi-
v61-t0r), F, Free, easy.
Des-moll (das-mdl), G. T^ minor.
desperazione. Vide disperazione.
Dessaver Marsch (d^' sow-er marsh),
(7. One of the national march-songs
of Germany.
dessin (dus-s&fi), F. Sign.
dessus (diis-sQ), /^ i. Treble or up-
per part. 2. Old name for violin.
desto (das'-td), /. Brisk, sprightly.
desteriti (ta-r£-ta ), /. Dexterity.
destra (dis'-trft), /. Right. d« manow
Right hand. CoUa d. With the right
hand.
ddtach^ (dJk-li^ha), F, DeUched;
with separate bow movements, but
not staccato, pand d. With a
whole bow-4tR>ke to each note.
detcrniinaaiotte (da-t«r-mI*nMsl-A'-
n^), /. Detetminatiod. deteroiina*
to (na'-td). Determined) resolute.
detoni(e)ren (da>to-ne'-r£n), C7.( d^
tenner (da-tan-na), F, To sing or
play off the kev ; hence d^tonna^
tion (da-tuh-n^ -yd6).
detto (d«t'-td), /. The same ; ditto.
dent' erne. Vide modes,
deutlich (doit'4lkh), G. Distinctly.
Deutach (doitsh), G. "German.'*
deutsche F15te. The German or
tmnsvcne flute, deutscber Baaa.
An obsolete 5 or 6 stringed double-
bass, dentflche Tabnlatnr. Vide
TABLATURX. dstttsche TiUize* Old
slow waltzes.
dettx(da),/^. Two. i^detthttit(daa«
wet). In 2*% time, k d* maina.
For 2 hands, d^uatre. 9*4 tinie«
d.*tetnps. The two-step, or a fast
waltz with two measures to the beat,
also called VaUe H d, A denx foia*
twice.
deuxi^me (dtts^yem), F, Second, d*
position (po-zes-y6h). t. The sec-
ond fret. 2. The second position of
half-shift.
dc^lopmeflt. Working out ; free fan-
tasy. Vide FORM.
dero to, /. Devout, daroaicma (di^
v6-tsT-6'-n$). Devotion.
dex'tra, Z., deKtre (d^tr), /*. i.
Right; the right hand. 2. Vide tibia.
Deaem (da-tsam'), (7. Vide I>ecima.
Dezime (da'-tse-m£), G. A tenth.
di (de), /. Of, with, for, from« by, etc.
di molto. Extremely, as alUgro di
molto.
di'a, Gr. Through.
diacon'icoa, Gr, Collecu in the Qt^fk
Church.
di'adrom, Gr. Vibration.
diagonal bellows. The old form witr
slanting flap.
DICTIONARY OF TEkMS
111
diAjg:rA]ii'mA, Gr. Diagram, t. The
Greek scale. 2. The staff. 3. A
score.
dlalogo (de-a-ld'-go)^ /., dialos:iie (de-
a-16g), F, Dialogue ; a duet.
diamond-shaped ttoteft. Vide har-
monics.
diana (de-r-aa), /., Diane (dUn), F.
The reveille.
diap. Abbr. of diapason.
diapason, Gr. pron., in E. (dT-l-pS'-
sdn ; in /*., de-&t>-fil-s6h). t. An oc-
tave, d. (cum) diapente. An octave
with the fifth— a twelfth, d. COd dt-
atesaeron. An octave with the fourth
— ^an eleventh. 2. Range. 3. Abso-
lute pitch, as d. normal, internation-
al pitch, vide A fi). 4. In the organ,
the sonorous chief foundation-stops,
one of 8 and one of 16-foot pitch on
the manual, on the pedal, 1 6-foot \
the open d. has metal pipes open at
the top, the stopped d. has wooden
pipes closed at the top. In other
countries they are called principal.
tfiapen'te, Gr. A perfect fifth ; vide
DIAPASON (4). d« col dito'no. A ma-
jor 7th. d« col eemldito'ao. A mi*
nor 7th. d. cum eemito'nio. A
minor 6th. d. cum tono. A major
6th.
diapentisa're, Afediaval L. i. To
discant at the interval of a 5th. 2.
To proceed by sths. 3. To tune by
5ths. 4. In French usage, discant at
the intervals of the 2d, 3d, 6th, and
7th.
diaphonice* The science of refracted
sounds.
diaph'ony. i. In Greek music, dis-
sonance. 2. In the middle ages, the
earliest form of 2-voiced counter*
point.
diapla'sion. Vide vis-a-vis.
diaschie'ma or diaskhisma, Gr.
Vide scHisMA and bllis (B. D.).
dias'tema* Gr, An interval.
diastolic(8),6^r., DiaetoUk (lek'), G.
Art of phrasing.
diates'seroni Gr. Interval of a fourth.
diatonic, E., diato'nico, /., diaton-
iqne (dc-ft-ton-ek), /*., diatonisch
(de-4-t6n'-Ysh), G. 1. Going through,
or confined to, the tones of any one key,
with no flats, sharps, or naturals be-
longing to another key — opposed to
chromatic; hencea </. scaU is the regun
lar scale of any predominant key ; ^d.
interval, chord, or progression Is an
unaltered interval, chord, or progres-
sion containing no tones foreign to the
key ; a d. melody or harmony clings to
one scale ; ai/. instrument sounds only
the tones of the one key from which it
takes Its name ; a d. modulation goes
to the nearest related key. 2. One of
the three genera in Greek music.
Vide Modes.
dlauroe, Gr. A double flute with 2
tubes, I mouthpiece.
diaaeux'is, Gr. The separation of two
tetrachords by a tone ; the tone sep-
arating them ; hence the adjective
diazeuc'tic. Vide modes.
di'Chord. An Instrument (i) with 2
strings ; (b) with 2 strings to e^cb
note.
dieta'tion, dlct€e musicals (dSk-tft
mO-zY-k&l), F. The perfprmaifCe of
musical phrases to be written on
paper by the listener(s).
die (de), G. The.
diC| E, A steel punch for engraving
music.
diecetto (de-i-ch^t'-to), /. A compo-
sition for 10 instruments.
diesare (de-&-sit'.r«). /.. di^ser (da-ft-
z§), F. To sharpen a tone or note.
dUse or ditee (de-«z), F. Sharp (ill).
Dies i'r», Z. "Day of wrath,'' sec-
ond movement of the Requiem.
diesis (de-a'sis), Gr. and /., dUsis(dI-
a'se), F. t. The sharp (Hi). 2. The
enharmonic d. is the difference be-
tween a diatonic and a chromatic semi-
tone (ratio 128 : 125), or between 3
major thirds and one octave.^ 3„ A
quarter tone, the unit of tpne-clivTsioa
in Aristotle's system. 4. The Pytha-
gorean semitone or limma.
diexeug'menon, Gr. Disjunct. Vide
modes.
difference tones. Vide resi/ltant
tones.
LIZ
THE MUSICAL GUIDE
differen'tiale or dlstinct'io tononim,
L. Differenzen («n'.ts«n), (7. The
different cadences available for the
iaecttlorum amen of each psalm-
tone.
dificile (dlf.f€'che4i), /. (dlf-fl-sel), F.
Difficult.
dif'itai. A key to be pressed by a
nnger (as opposed to pedal ^ foot-
key)-
diritb'tium. A dumb instr. with five
keys for exercising the fingers.
diniti (den.yl-tfi), di8:iiita'de, dig-
nitate (tH'-t^), /. Dignity.
dtrreBsio'ne, /. Deviation.
diletUiit(e)(de-I«t.t&n(t)), /. An am-
ateur.
dilettotamen'te. /. Pleasantly.
dilicato (de-lT-kr-to), dilicatamen'te,
/. Delicate(ly). dilicatesza (t^d'.
ti). Delicateness. dilicatis'simo.
Most delicate.
diltganza (de-lI-j^n'-tsS), /. Diligence,
c^re.
dilu'dium, L, An interlude.
diiueado (de-loo-en'dd), /. Fading
away.
dim, aimin. Abbr. of diminuendo.
diminished. 1. Used of intervals
which are a semitone smaller than
the minor intervals; used also of
chords containing such intervals.
Fourths, fifths and octaves, however,
being called "perfect" instead of
** major/* are, when contracted a
semitone, said to be, not " minor/'
but diminished. When inverted, d,
intervals become augmented and vice
versa. A d. triad contains a minor
3d and an imperfect (or diminished)
fifth. The ehord of the d. seventh
is the 7th chord built on the leading
tone o^ a minor key. d. imitation^
subjeet or theme ^ is used when the an-
swer reappears in notes of lessened
time-value.
diminuendo (de-me-noo-^n'-do), /. Di-
minishing gradually in loudness, d.
molto. With extreme diminution of
power.
Aiminuer (dT-mS-nO-ft), F, To dimin-
tsh. diminuA (dl-men-tt-i). Di-
minished, en diminuant beaucoup.
Diminuendo molto.
dtmina'tion, E. (in F. d^-me-nQs-
y6A), diminnzione (de-mY-noo-tsl-
6'-n<?), /, In cpt., the repetition or
imitation of a theme, in notes of shorter
duration ; opposed to augmentation,
diox'ia, Gr, Diapente.
dip. The extent to which a key or
pedal may be depressed.
dipho'nium, A vocal duet.
direct', i. A mark placed at the end
of a staff (a) to indicate the position of
the note next following (m/) ; (b) —
&c. a. Vide turn. 3. To conduct.
d. motion. Similar or parallel mo-
tion.
directeur (dl-r^k-tfir), /^, diretto're,
/. Director ; conductor.
diriger (de-re-zha), F.y dirigiren
(de-re-je'-r^n), G. To conduct.
dirit'to(a), /. Direct, allad. Straight
on.
Dis (d^s), (7. The note D sharp.
disaccentato (at-ch^n-ta'-to), /. Un-
accented.
disarmo'nico, /. Discordant, dis*
armonia (ne'-ft). Discord.
dis'cant, ^., discant'ns, L. *' Diverse
song." I. The early form of cpt., the
addition, usually by improvisation, of
one or more parts to a given melody.
Contrary motion was much used and
elaborate rules made. Double^ triple^
quadruple d, refer to the number of
parts. 2. The highest part, voice or
register ; the highest of a family of in<-
strs. d. clef. The soprano clef.
discendere (d6-shan'-d£-rd), /. To de-
scend.
disciolto (d«-shdl'td), /. Skilful, dex-
terous.
discord, E., discorde (des-k6rd), F,^
discor'dia, Z., discordanza (din'-
tsa), /. I. Ugliness of sound; an
inharmonious combination of tones.
3. 1.,oosely used for dissonance (q. v.),
dtscordan'te, diicordantemen'te,
/. Discordant(ly).
discreto (dis-kra -to), /. Discreet,
discrezione (dTs-kra-tsI-d'nO* Di»
cretion.
DICTIONARY OF TERMS 113
dtadiapA'soiL In medi»yal nnisic, a
double octave, a 15 th.
Dis-dia (des^es), G. D double sharp.
Dis-dnr (d£s-door). G. D)t major.
DishAimonie (d^har-m5-ne ), G, Dis.
cord, disharmo'iiisch (nbh). Dis-
cordant.
disinTol'tOy disiiiToltvrato (vdl-too.
rJL'.to), /. Easy. ditiiiToltara
(too'-ri). Ease.
Disift (des-es), G, D doubk sharp.
dasjnnct'. Disjoined. A term applied
1:^ the Greeks to tetrachords where
the lowest sound of the upper was
one degree higher than the highest
sound of the lower. Vide modss.
disiniict aucceftslon. A succession of
skips.
Diskasit (des-kftnt'), G. Discant i.
and 3. D.-achlttaael. The soprano
clef. D.-gjai^e. The soprano of
the strings, i. e., the violin. Uiskan'-
tiat. D.^ajfcnger. Treble singer. D.<*
regiater» D.«8tiauiie. . Half -stops.
D.-aaite. The highest string.
Oia>nioil (d£s-mdl)^ G, D# minor.
dUj^ar'te, /. Aside.
diapera'to (i'-td), /. Desperate, dia-
Kraatooe (dIs-p£-riUtsI-d'-n<), /.
ispair.
diaperaed. Used of chords or har-
monies whose elements are at wide
intervals.
daapoaitioii. i. Arrangement of parts
of a score, chorus, or orchestra. 2.
Estimate as to make-up and cost of
an organ. *
diaaonance, E. (F, dYs-s5-nfiAs). Dia-
aonana (des-so-ntUits), G,, diaao-
njuiza (dXs-sd-n2n'-tsa), /. i. Loose-
ly used for' discord. 2. In acoustics
used o*. combinations producing
beats. 3. In composition used of
tones or combinations (irrespective
of their pleasantness or unpleasant-
ness of e£Fect) that do not give a
sense of rest, but demand motion and
resolution in some other tone or
chord.
dia'aonantt E, {F. dYs-so-n&h), diaa^
nan'te, /. Dissonant.
diaaonare (dls-so-nft'-rl), /., diaaonar
(dls.s6.na), F., diaaottlrta (dlSHUk
nd'-rSn), G, To form dissonance.
distance. Interval.
diataaaa (des-tta'-tsIL), /. Interval.
distance. In d« In the distance.
diatinct'io. i.VideDiFFBRKNTiALK. a.
A pause in Gregorian vocal music.
dlatin'to, diatltttaman'te, /. Dis-
tinct(ly).
diatonare.(t6.nft'.H<), /., dlatmiifaa
(d€s-td-n£'.rdn), G. To be out of
tune.
diatro'pha. In platn-song, a double
s(fuare note of lesser stress than the
tnstrophk.
dl'tal. A key raising the string ol a
lute or guitar a semitone, d. narp.
A chromatic lute with a dital to each
of its 12 to 18 strings ; inv. by Light,
1778.
diteggiatnra (de-t^d-jA-too'-rft), /.
Fingering.
dithyramb, E., dithynunbe (d€.tY-
ramb), F„ Dithyrmmbe (dS-tl-ribn'-
b«), G,, ditirambo (de.te-rim'.b6),
/. A rhapsody in honour of Bacchus ;
a wine-rapture.
dito (de'td), /. Finger, d. groaao.
The thumb.
dl'tone, £.. diton (dS-tdA), /:, dito*
no (de.t&-no), /., dita'nua, Z. A
Pythagorean major third greater by a
comma than ouf* major third.
ditty. A naive little song.
diT. Abbr. of Mvisi.
diTer'bia, Z., diyerblp, /. A mn.
sical dialogue.
diTertioien'to, /., diTartlaaamant
(dl-v«r.tes.maA), F. i. A musical di-
version ; a potpourri, a series of
songs or dances inserted in operas
and plays ; a short ballet, in one or
several movements. 2. In fugue, an
episode.
diTide. Vide division.
di^iai (de-ve'-ze), /. Divided. When
2 parts are written on one stave, to
ensure their not being played as doub-
le-stops by one instr. they .are
marked "^divm." When a siagle
note is to be played by two iastis. tho
. sign is a due^ separated.
114 THE: MUSICAL GUIDE
divisib nodi» X. A point formerly
serving^ the purpose of the present
bar.
divisioii. I. A variation. 2. A long
note divided into short notes. 3, A
series of notes sungf to one syllable.
To *' divide " or ** run a division ** is
to execute such a series, d.-viol. The
viola da gamba. division-mark. A
figuK aiui a slur binding a number of
notes of foreign rhythm, as a triplet
or quintole.
diTision (d€-v2z'.y6A), F. A double
bar^ •
diTo'to, diTotamen'te, /. Devout(ly).
diTOsione (di-v5-tsl-d'-n<^). Devo*
tion.
dizitoe (diz-yto), F, A tenth.
d. in. Abbr, of destra mano^
D-moll (da-m61), G, D minor.
do (d5), /. I. A syllable applied to
the first note of a scale in solmisation.
In the ^^Jixed do " system, the name
do is always applied to C. In the
'* nutvable do ** system, do is always
the tonic or key-note; it has dis-
placed the original syllable ut. Vide
SOLMISATION. 3. In France and
Italy, the name for C.
D«ck^e (ddk'4^), G. A wooden jack.
Doctor of Mttflic The highest mu-
sical degree, generally honorary, fre-
quently meaningless. In England
secured by examination.
dodechachor'don, Gr, i. The bissex«
a. Vide GLAREANUS in the B. D.
dodec'upla dl cro'me, /. ia-8 time.
d. di semicrome. 13-16 time.
dodec'vplat. A group of la equal
notes.
dOfl^U (dol'-vfi), /. Grief.
doB (do). Vide tonic-sol-fa.
doifft (dwi), ^. Finger. doigt6(dwS.
tl). Fingered, or fingering, doiffter
(dwS-ta). To finger ; the art of fin-
gering any instrument, doigtds
lourcnus <dwfi-tft foor-sha). Cross-
fingerings.
dol. Abbr. of dolc4,
dolce (d5l'-cM0, /. Sweet, soft, dol-
cosaa (dol-ch^d'-ti). Sweetness.
dolcemea'te. Soltly. dolds'simo.
X. With extreme sweetness, a. A
very soft flute-stop.
Dolcian (ddl-ui-£n'). C dolciaaa
(o) (dol-ch«.r.nil), dolctno (dol.
che-no), /. i. An obsolete small baa*
soon. a. A reed-stop.
dolciato (dol-chil'-td), /. Softened.
dolcisa. Abbr. of doIcitsi$mo,
dolemineiit (d6-l£m-man), F, Dole-
fully.
dolen'do, dolente, /. Sad. doleato*
men'te. Sadly.
dolent (d6-UA), F, Sorrowful, mourn,
ful.
dolore (d6-l&'riS), /. Grief, sorrow,
doloro'ao, dolorotamen'te. Sor-
rowful(ly).
Dolsflttte (d61ts'.fli.t^, G. x. An
obsolete flute, a. A flute-stop.
Dom (ddm) or Domldx^e (kSr'-kh^),
G. A cathedral. Domckor (k5r).
The eathedral choir.
dom'iiiant, £., dominaate (dte-Y-
nflnt),/:, DoiBiiiaiite(d5-mY-nin'-t«).
C7.&/. X. The fifth tone of B scaler so
called because it is the principal tone
after the tonic and Its chord or har-
mony indicates the key and demandi
resolution in the tonic; hence d.
chord, the triad or the 7th chord
built on the dominant, a. The key
whose tonic is the dominant of the
principal key; hence the expression,
*' to modulate to the dominant.** thus
the key of G is the dominant to the
key of C. In the sonata formula the
dominant key is the one usually chosen
for the contrasting second subject,
after which the tonic key is re-estab-
lished; hence the dominant seeHon,
3. Vide CHANT (i) a.
Domine, aalTiisn lac, Z. *' Lord,
make him hale,** first words of a Cath-
olic prayer for the health of the sov-
ereign.
Domin'icali Psalini, L, Psalms in the
Vespers.
Do'aa no'bia pa'cem, Z. *' Grant us
Thy peace.** Vide mass,
donna, /. Lady, priina donaa*
Leading lady in opera.
do'po, /. After.
DICTIONARY OF TERMS 115
teppti (d6p'l), G. Double, doppel-
0 or iloppel«B« (ddp'U.Ul). The
doaUe flat (b|>). D.-bktt. Double
reed. D.-chor, Doable chorus. Du*
Ciigott. Doable bassoon. D.-flttte.
I. Doable flute, a. Astop»pipewith
two mooths, D.AoM. Double
fugue. D.-flfl(^l. I. Vide vi8«A«vis.
a. Vide piano a cxAVimts rsn-
VERSES. d.-giedtc]ct* Dooble-stopped
diapason. 0.-geige« An org;an-8top.
D.«^ff. Double stop on theTiolin,
ctv. ; paired notes on other iastro-
aents. D,«kaiipa. Canon with- two
mbjecU. D.«kreus (kroic^. The
doable sharp. D.-oktk'Te. Double
ocuve. D.-pookt. Double dot after
a note. D.^qaiatpomiiMr. A large
bombard. D.-scnlas:. A double
beat, a turn. D.<«cbritt. A quick
march. D.-snofl^e. Doable tongn-
4oppelt (d6p'.plt), G. Doubled, d.
Trillerlanf. Double cadence, dop-
pcltgeatrichana Note. A i6th
nota. doppalta Notea* Doable
dop'pio (or a)i /. Double ; sometimes
used to mean *' play also the octave ** ;
with names of Instrs. It means larger
and deeper, d. monmento or d.
tanpo. Twice as fast. d. pedala.
Playing the pedals in octaves, d.
Ijrra. A doable lyre.
do-re-mi. Vide solmisation.
Dorian, Daric, S,, dociea (dA«rt41fc),
#*. Vide MODES,
doaaologia (dds-sd-lo'-jft), /. Dozol-
dot. I. A point placed after a note to
increase its duradon one half, double
dot. Two dots placed after a note to
increase Its duration three fourths. 2.
A point placed above or below a note
to indicate that it is to be played stac-
cato : if slurred, meszo-staocato. 3. A
■eries of dots above a note indicate
that it is to be divided into that num-
ber of small notes. 4. Vide repeat.
doable. As a noun, i. A repetition,
a. A variation. 3. Any 16-foot stop.
4. A cliaaga ruag on 5 bell^ As a
viri» I. To add the superior or in-
ferior octave to the written tones of
any part. 2. To give the same tones
to different instts.
As tin adjective, i. Doubled, paired,
as the 2-mouthed d. flageolet. 2.
Repeated in the octave or in other
instrs. 3. Vide pitch, concerning
doable C, double octave, d. chant,
vide CHANT I b. d. dram. One beaten
at both ends. d.reed. The combina-
tion of 2 reeds in the mouthpiece of one
instr. d. flute, (a) A flute capable of
producing two tones at once, (b) An
organ-stop. d. grand pianoforte.
An instr. inv. by James Pierson, of
New York, with a set of kevsat either
end. d« action harp. Vide hakp.
d. l]^e. A double lyre. d. demi*
aemiqnaver. A 64th note, doable
flat. A symbol of two flats (bt?) low-
ering its note two semitones, don*
ble aharp. A symbol ( x ) raising a
note two semitones, d. note. A
breve, d. time, (a) 2^ time, (b) In
the arm/ a running step or cadence of
180 to the minute, d. concerto or
aonata. A concerto or sonata for two
solo instrs., as violin and piano, d.
octave. An interval of a 15th or 2
ocUves. d. quartet. Eight singers.
d. chorua. Two choirs, d. aftcr^
note. 2 after-notes, d. beat. A Ivat
repeated. d« ahake or trill. Two
notes (3ds or 6ths) shaken together. dL
backuill. An old grace, d. reliah,
vide RBUSH. d. auspeasion. The
suspension of two notes of a chord.
d. triplet. A sextole. d. pedal.
Pedal-point on a notes, doable bar.
Two thin or thick lines vertically cleav-
ing the stave to show the end of a
major part, or of the whole composi-
tion.
•( doubled *' is used of notes repeated
in the octave or in other instruments,
as **the 'cellos are d, by the bas-
soons.*'
Concerning the doable lettera (AA,
BB, etc., or D.A, D.B. etc.), vide
FITCH. In England d. is applied to
the tones from G to F inclastve.
ii6
THE MUSICAL GUIDE
4. Deeper by an cctave. d. bassoon.
An instr. an octave lower than the
bassoon. Its compass extends from
B.|> to F. d. bourdon. A 32.ft. stop.
d. diapason. A stop an octave below
diapason, i6-ft. on the manuals, 32-ft.
on the pedals, d. dulciana. A i6.ft.
dulciana. d. hautboy. A i6-ft. stop.
5. double counterpoint and d. des-
cant refer to parts so written that
they may be inverted. Vide COUN-
TBRPOENT. d. fug^e. A fugue with
2 subjects.
6. double stoppings. The playing of
two or more notes at once on a stringed
instr. d.-stopped diapason. A doub-
le diapason with covered pipes, doub-
le tong^ing^ or d. tongrning. In flute
and trumpet playing, the production
of rapid staccato tones by striking
the upper teeth and the hard palate
alternately with the tongue, double
trouble. A quick shuflle of the feet in
The* breakdown, double tra^a'le.
The trill of a tambourine made by
drawing the wet thumb across it.
d. twelfth . A stop sounding the fi f th
above the foundation-stops. The dou-
ble-bass got its name from an ob-
solete higher instr., the bass of the
stringed instrs., and of the orchestra.
Its compass is from £. or G, to a, its
3 strings being tuned by the Italian
and French system, G,-D-A, by the
English, A,.D.G. With 4 strings it
is tuned E,-A.-D,-G. Its music is
written an octave higher than it
sounds.
double (doo-bl), F. i. Repetition with
variations, pi. doubles. Obsolete. 2.
In the minuet, a short trio with the
main harmonies of the Brst subject
retained. As an adjective. Double,
d.-barre. Double bar. D.-b6mol.
Double flat. d.-corde. (a) Double
stopping, (b) Playing the same note
on 2 strings simultaneously, d. coup
de langue (koo-dii lang). Double
tonguing. d. croche. A i6th note.
d. di^se. Double sharp, d. main.
An octave-coupler. d. octave.
Double octave, d. tonche (toosh).
In harmoniums, etc., a key-fall ad-
justable at two heights to regulate the
volume of tone. d. triple* 3-2 time.
doubU (doo-bl&), F. x. A turn. 2.
Doubled.
doublette' («t), F, i. A 2-ft. stop. 2. A
stop with 2 ranks of pipes. Vide fif-
teenth.
doublophone. A combination of
euphonium and trombone inv. by
Besson, Paris, 1891.
doubtful. Vide equivocal.
douleur <doo-l&r), A Grief, doulou-
reux (doo-loo-rtt'). Sad. doulou-
reuaement (doo»k>or«iiz-mfin). Sad-
ly.
doux (doo), douce (doos), F. Soft,
sweet. doncemeAt(doo6^mfin). Soft-
ly.
douzifeme (dooz-y£m), F. A twelfth.
downbeat, i. The fall of the hand m
time-beating, marking the major ac-
cent of the measure. 2. The accent
itself, or thesis.
downbow. Vide bow.
dOxolo'na, X., dozolo«e (dd]c.6r5-
zhe), A., doxol'ogy, £. A sacred
hymn of praise ; stHctly, the Greater
(or major or magna) D. is the g^lo-
ria in excelsis. The Lesser (or mu
nor or parva) D. is the {gloria Patri.
draff. I. A retardation. 2. In lute-
music, a portamento downward.
Drahtsaite (driU'-sI-tQ, G. Wire
string.
dramma lirlco or per omsica (moo'-
zY-ka), /. An opera or musical
drama.
drammat'ico, /. Dramatic, dram-
maticamen'te. Drataiatically.
drllnffettd (dr£ng'-£nt), G, Hurrying.
drawknob or drawstop. In the
organ a knob which when pulled ad-
mits the wind to a stop, or couples
certain stops, d. s. action. The
mechanism of stops.
Dreher (dra'^r), G. An obsolete Aus-
trian waltz like the Lfindler.
Drehor^el (dra'-6rg-«l), (7. Barrel-or-
gan.
Drehsessel (dr&'.z«s-fi£l), Drehstohf
(dra-shtool), G, A musac^ttoot
DICTIONARY OF TERMS 117
dr«i (dri). (7. Three. Dreiachtel-
tact (dri-akht'^l-tikt). 3-% time.
-hILildig (h«n-dTkh). For three hands.
-Aflffei (drl'-ilng-^l). Triangle.
-chorig(kir-Ykh). Three-choired. Ap-
plied to (a) pianos having three strings
to each note, (b) Compositions for
three choirs, -gctang (dri'ge-s&ne).
Trio. -g««tricBea. 3-lined ; vide
PITCH. -Kiang. A triad, -mal (drf-^
mil). Thrice, -spiel (drf'shpel). A
trio, -ttimmig:. Three-voiced. Drei-
▼terteltakt (dil-f8r't«l-t&kt). 3-4
time. Dreisweiteltakt (drl-tsvf.tel-
t&kt). 3*2 time.
dretst (drfsht), G. Brave, confident.
Dreistlgkeit (dils'tlkh-kit). Bold-
ness.
drein'la, Poi. A Jew's harp.
dring^ead (drfng'Snt), G, Hastening.
Dritte (drlt'.t«), G. Third.
drit'to, /. Right. iHAnod. Right
hand.
dri>ing note. A syncopated note.
droit (dwfi), droite (dwit), /*. Right.
main droite. Right hand.
Drommete (drdm-mi't^), G. A trum-
pet.
droae or drone-pipe. Vide bagpipe.
drone-bass. A form of monotonous
pedal-point suggesting a bagpipe.
vide MUSETTE.
drdnen (dra'n^n), G. To drone.
Dnicker (drook'er), G. i. A tottr<<lc*
force in performance, a. Sticker.
Dmckwerk (v^rk), G, In an organ,
an action exerted through stickers.
Druckbalff (drook-biilkh). A con-
cussion belu>ws.
drum. An instr. of percussion, of great
antiquity and variety ; it consists of
one or two membranes stretched taot
over the ends of a hollowed chamber
of wood or metal. The tightness of
this membrane regulates the pitch of
the one tone of which it is capable.
Many drums do not produce a musi-
cal tone, but are merely of rhythmic
▼alue ; besides the savaee forms, there
are (a) the small, thrill side drum
(or teaor-dnun) with two heads, the
VLppcT only being beaten with two
wooden sticks ; this is capable of a
sharp rattling roil, which may be
emphasized by drawing strings (or
snares) of gut across the lower head;
the drum is then called a snare*
drum ; (b) the tambourine ; (c) the
big deep-booming bass-druffl beaten
on both sides or on one, with padded
sticks. The musical drum is the
kettle-dnim (q. v.). drum-major.
The officer conducting a band on the*
march.
dni'ma, MsA, A drum.
drum-bass. The monotonous giving
out of the tonic and dominant in
double-bass music.
D. S. Abbr. of Dal Segno,
duc'tus, Z. Melodic progression, i.
d. rectus. Ascending. 2. d. rever-
stts or revertens. Descending ; or
3. d. circnmcnrrens. Ascending
and descending.
Dudeler (doo'dSl-er), G, A wretched
singer or player.
Du'delkasten, G, Barrel-organ.
Dudeisack (doo'd'l-z^k), Dudelkas-
tensack, G. A bagpipe.
due (doo'-^), /. Two ; in two parts.
Vide Divisi. d. corde. Vide corda.
d. cori. Two choirs or choruses.
d. pedali^ 7. Both pedals to be used,
due volti. Twice. A dut^ vide
DlVISl.
duet, Dnett (doo-et'), (7., duet'to, /.
A composition for two singers, or in-
strumentalists ; a 2-hand piece fof
two manuals of an organ, duettino
(te'no), /. A short duet.
dul^iiaa (dool-sa-e'na), Port, A beak
flute. Also do^aina.
dulcet. A stop.
dulcian. i. Vide dolcian. 3. An
or^an-stop.
dttlciana stop, dolcan, dolcin, dul-
can, or dulsain. i. An 8-ft. stop of
soft sweet quality, d. principal. A
d-ft. stop. 2. A dolcian.
dulcimer. A very ancient instr. with
a wooden frame, a sound-board with
sound-holes, two bridges, and wire
strings. It is played upon with two
padded hanuners ; compass g to d."
ii8
THE MUSICAL
The czimbalom b a very familiar
form.
dulzaina (dooI-tha-S'-aa), Sp, A small
trumpet.
dumb piano, dumb spinet* A key-
board without stringps or hammers
meant for silent practice.
dummy pipea. Ornamental organ
pipes that make no sound.
dump. An obsolete slow dance in 4-4
time.
dumpf (doompf), dumpfig; (doomp'*
fYkh), (7. Dull, muffled. Dump*
figkeit (kit). Dulness.
duo (doo' o), /. Two ; in two parts ;
a duet, especially of 2 voices or instrs.
of the same kind. d. concertante.
A duo in which each part is alternate*
ly principal.
dttodecima (doo-o-da chl-mii), /. The
twelfth ; a stop, a twelfth above the
diapasons, d. acuta, L, A twelfth
above, d. gfAvi, Z. A twelfth be-
Iqw.
duodedmole, /. A s^roup of tvrclve
equal notes,
duode'nal, duodena'rium, duodena'-
tion. See A. J. Ellis in the B. D*
duodram'nut, /. A dramatic piece for
a actors or singers.
dttoi (doo^'e), /. Two.
dnole, G, Vide couplet.
duolo (doo-o 16), /. Sorrow, grief.
duomo (doc-o'mo), /« A cathedral.
dupla (doo'-pla). Z. Double. Vide
WOTATION,
dupla time. Double time ; 3 beats to
the measure. Vide time.
duplex longa. Vide notation.
duplication. Doubling.
duplo (doo-plo), /. Double.
dur (door), G, Major, as A-dur.
dur (dtir), F. i. Hard, harsh of tone.
2. Major.
dorament'te (doo*rfi-mfo'-t€), /.
Sternly.
durchaus (doorkh-ows), G. Through-
out.
durcbdrinjg^end (doorkh'^rlng £nt), <7.
Penetrating, shrill.
Durchftihrung (ftir-oongk), G, Devel-
opment ; working out. Vide form.
Dttrcbnaf igio^, G. Passage.
Durcn'gangstoo. Passing note, ot
changing note, called regtbmdtsig^
when on a weak beat; unregeimdsiif^
on a strong beat (or sckwtrvr Durci*
durch^ehend (doorkh'giH^nt), (7. i.
Passmg, transitional 2. Complete,
d. Stimmen. Complete organ-stops.
durch'komponirt (nert), (r. **Com.
posed through,'* used of a song whose
every stansa has individual treat-
ment Through-composed.
durchacblaffeada (8hlikh-«nt-£), C.
Free (of a reed).
durchatechen (st£kh-Sn), (7. Vid«
RUN (2). D«-«taGhar. Notes made
by running.
dur^e (du-ra), F. Length, duration.
duresxA (doo-r€d'-cil), /. Hardness,
harshness.
dur-moll Tonjut (door'-m61-ton'-&tt),
G, Major-minor-mode. Vide com-
bination MODE.
dnro(a) (dooro), /• Rode, harsh.
durus, Z. I. Major, as tnmtus d^ 3.
Natural, as 3* durum,
Dutch concert. Vide concert.
Dtttchen (dttt'-kh«n), G. A small cor*
net
duten (doo'-ten), G* To toot
dux, Z. *' Leader, guide ; " the sub-
ject of a fugue (q. v.)
djT Ad. A concotd of two tones.
dynam'tci. The theory of the differ-
ent degrees of power applied to notes.*
D;jratonie (des-to-ne'), (r, and (7r. Bad
intonation*
EPron. t in (?•/ in F. and /.
called mi (m§). i« A musical
pitch, two full steps above C.
a. All its octaves. 3. The
major scale having four sharps ; the
minor scale relative to G major,
e (&), /. And ; written id before vow-
els.
tar. I. A projecting metal pUte on
either side of the modth ol Organ-
pipes. 8* A musical sense of pitd^
DICTIONARY OF TERMS 119^
interval, etc; the ca|>abiUty of dis*
tinguishiiig: between tone-qaaiities.
ebolfizione (a-bei-leutsl-d'-n^), /.
Ebullitioii, overflow of emotion.
ebollimen'to. £bulUe]it(ly).
6cart (i^kftr), F. A long stretch on the
piano.
ec bole, Gr* The sharpening of a
tone.
eoccdentc (a^ch^-ddn'-tS), /• Aag-
mented.
ecdesia («k-klA'£l.fi), L, and A
Chnrch. ecclesiastical modes.
Vide MODES, ecclesiastico, /. Ec-
clesiastic.
ecco (€k'.ko). I. Behold. 2. Echo.
dcliappement (a-ship-malA), F. Re-
lease, double 6. Repeating-mech-
anism.
eclwniare (i-k^d-jft'-x^, /. To echo.
echeion (pi. a>, Gr, i. A drum or
gong. a. A sound-screen. 3. Res-
onance-box of a lyre.
dchelette (ash-l«t), F. Xylophone.
6clielle (i-sh«l), F. The scale or
gamut.
dcheloa (ash-ldA). F* A degree.
ech'o (in F, a-ko). i . An imitation of an
echo. 3. An echo-stop. 3. A harpsi-
chord-stop, e. comet, e. dulciana.
Oigan-stops. e. organ. A set of
pipes inside a box or at a distance
giving an echo effect.
Ccn'ooMter. A device for measoring
the power of an echo*
fcliMea (ankles), F. Ribs (of a violin,
etc).
ec'logue. A pastoral.
ec' lysis, Gr» The flattening of a tone.
eco (a-ko), /. Echa
6cole (a-kdl), F, School, metliod.
^cossais (a-kos-sa), ^costaise (fi.k6s-
sa), /:, Ecoss&se (IUkds.a'££)i G.
** Scotch.*' I. A grave old daace, in
3-9 or 3-4 tnne. a. A lively country-
dance in 3-4 time.
<ai (»-kll), F. A tiiield on the face of
mandolins, etc.
ed (2d). /. And.
•del (ft'dl), (7. Noble.
E-dnr (i-door), G, E major.
Wbkf, g:, elet («f-i4). /;, «fliBl'«
to, /. Effect. £iekt<iiinflo, (7.
The effect marked ** fp " (forte piano),
effort (^f.fdr), F^ A gnttnral vocal
atuck.
dgalement (l-gai-mfiA), F* Equally,
evenly. «8^it« 4i.giM4a), F,
Equality, evenness*
«K*ora (al'yd-ga), /., ^logiie (ftg-
Idg), F, A pastoraL
egiiale (&-goo«il'U), •/. i. Eqnal, even.
s. Applied to a composition for
voices or instrs* of one kind, as female
voices only. etaiiesEa . <ldd'zi)»
egualanza (iln-tsi). - Evenness.
egualmen'te. ' Evenly, alike.
et'Amusikon. Amelogiaph.
elfrigr (if'.Tlkh), (7. Ardent.
etgentlicfa (ikh'-fot-Ukh)/ a Right,
strict, in perfect time e. Fnge^ A
strict fugue, e. Kndens. Perfect
cadence
Eigenton (I'-kh«n-t5n), (7. The tone
natural to a wind or other insti;, its
"own tone'*
eiffht or 8. The-octave. ' *€on 8s«.
with the octave below or above.
Vide OTTAVA.
eiehteentlu A donble octave plos a
fourth,
eight-foot. 8-ft. Vide foot.
eig^hth. I. An octave. 2. An eighth
note, eighth note* A quaver, of half
the value of a quarter note. elHIth
rest. A rest of an eighth-note dum-
tion.
eUen (T'Kn), (7. To hurry. eUend
(Kttt). Actelemting. etrt|^<f'-hkh).
Swift.
ein (in), eine (^n^ eins (ins), C.
One, once, eincfabrig (kt'-ktich).
Used, I. Of an iastr. which hat but
one string to each' note 2. Of a
comp. for one cfaoin eingestridien
(in-gh^-strlkh'*^). Onoe^ccented.
Vide PITCH. ' - '
einfach (In-fakh), G, Shnple, pban.
einfach'e Kontnapimkt^ ^npie
counterpoint. Eintalt. Simplicity.
Elng^ang (In '^an^, {7. Ibtfbdttdlloa.
Eingang der Mease. The IntraiL
Eingang'tdililtsel. Introductory
key*
iW
120
THE MUSICAL GUIDE
€iiig;reifeti(Tii'^-fen), G. (a) To strike
(of strings), (b), To interlace (of the
fingers in piano-playing).
Einheit (In -hit), G. Uninr. einhel-
fen. To prompt. Einhelier. Prompt-
er. einire(n) (I'n1(kh-<n). Some,
any. Einigkeit (Idt). Unity, har-
mony. EiaklAiig (In'klftng). Uni-
son. Einlage (1n-lilkh-<). . A short
interpiolltion. Einleitongr (in'll-
toongk). Introduction. Eliileit*
oaffStAts (zftts) or spiel. Overture,
E elude. eiBsnal (In-mil). Once.
inrnttthiKkeit (fn-mat'-Ykh-klt).
Unanimity. Etnsaiter (d'-ter). The
monochonl. Einsanfl^. A solo.
Eintats. (a) AtUck. (b) Entrance.
fiiniatzfttilck. Crook. Etitsats.
seidMn (1n'ziitz.tSIkh'n). i. The
sign the leader gives the performers
to commence, a. In a canon the
mark indicating the entrance of the
imitating voice, einschlagen. To
strike m. elaschlalend. Dying
away, clntchmeicl&^ind (shmlkh-
dint). Insinuating. Einschnltt
(shnlt). A phrase, einsetsen. To
enter, atuck. einaetaender Hom-
iat. A horn-plaver, whose thick lips
must surround, mstead of press the
mouthpiece, elnaingen. (a) To learn
singing b^ practice, (b) To lull to
sleep, emapielen. (a) To get an
instr. in gooa working order, (b) To
attain command of a -piece, ein-
sUauneii. To tune, einatimaiir.
For one part. Einatimmigkett.
Literally, one-voiced-ness. eintbtiig.
Monotonous. Eintracht. Accord.
eiiitrlLclitiff (tr«kh-tTkh). Concord.
ant. eintretend (tr&.t£nt). Enter-
log. EiAtritt* Entrance, entry,
banning. EitiTerstllndiiiss (fer-
shttet>nYs). Agreement.
El8 (ft'-€s), G. E sharp. Elsii. E
double sharp.
EiaenTioline (T/z«n), G. A nail-fid-
dle.
Eiateddfod (Ss'-ted-fdd), WeUk. An
assemblage of Welsh bards and mu-
sicians ; first held in 1078.'
fiklO((tt)e(&k'.16kh.d), (;. Eclogue.
^la. Name of the highest tone in the
Aretinian scale ; e".
electric organ. One having elec*
trie connections in place of trackers.
electric piano. A piano inv. 1851,
and unsuccessfully attempted often
since, till Dr. Eisenmann of Berlin in
1 891 succeeded in obtaining an instr.
capable of swelling on a sustained
tone, and securing many beautiful ef*
fects.
^l^gamment (&l-^gilm-man), /^, ele*
gantamen'te, /. Elegantly, grace-
fully. elegant€ (il-£-gan't«), /. Ele-
fant. eleganza (al.^-giln'ts&), /.,
Elegance, grace.
elegia (a-U-je'-a), /., ti6gie (i-UU
2he), /^, Elegie (^-JUje'), (?., elegy,
E, A mournful composition or dirge,
elegiaco 0^^'-^)* ^-f ^^aqnc
(a-la-zhftk), F. elegiac,
ti^ment (i-la-mftft), F, The series of
tones in a scale. 6. m^trique. A
measure-note.
eleTamen'to, eleTatezsa (Al-i-vatM'.
zA), /., elevazione (vft-tsl-o'n^). Ele«
vation. eleYato (vi'to). Elevated,
exalted, sublime.
elera'tio, Z., elevation, i. The
upbeat. 2. The rising of a melody
beyond the compass of a mode. 3. A
motet or other comp. performed dur*
ing the elevsLtion of the Host
eleventh. An octave plus a fourth.
Elfte («irt«), G. Eleventh.
EUenllLnge («ll^-l«ng-£), G. An elt
Sn pipe-measuring).
ts^a system. See A. J. Elus in
the B. D.
embellirrJlA-bSl-ler), /; To embellish.
embellissement (les-m&A), F, Em-
bellishment
embellishment. Ornament, decora,
tion. Vide grace.
embouchure (SA-boo-shOr), /*. i. The
mouthpiece of a wind instr. s. The
position the mouth assumes in play«
mg the instrument
E-moU (a-mdl), G. E minor.
emmelei'a, Gr, i. Consonance. a»
A tragic dance.
amosione (a-md-tsI-d'-nQ, /• Emotioa
DICTIONARY OF TERMS 121
emp&ter lea sons (an-pft-tn la 96h\ F,
To produce a legato, execution or
▼oix empAt^e. A blurred style.
Empfindimg^ (£mp-fYnt'-oongk), G,
Feeling, emotion. e« SToll. Full of
feeling.
Emphase (G, «m-fa'.z^, /^. fin-fftz).
Emphasis, emphasis. Stress or ac-
cent.
emphatique (&A.fS-tek), F. emphat-
iscli («m.fS'-ttsh), G, Emphatic
emphatlquement (tek-mflA), F,
Emphatically.
tmpito (dm'-pe-to), /. Impetuosity.
empituosamen'te. Impetuously.
emport^ (an-por-ta), F. Passionate,
hurried, emportement (port-mii^).
Passion, transport.
empress^ (ln.pr£s-sa), F. Hurried,
empressement (pr£s-m26), F* Zeal
ea (&n), F* In ; often used with the
participle, as en descendants descend-
ing ; en badinant^ scherzando.
enarmo'nico, /. Enharmonic.
endavure du snanche (ah-klft.vttr da
mjiftsh). Space for the insertion of
the neck (of a violin) into the belly.
encore (Sn-k6r), F, Again ; a recall.
Used by the English to demand a
repetition ; the French nsc ** Wx."
Ende (Snt'd), G^ End, conclusion.
end-man. Oneof the chief negro min-
strels who sits at either end of their
semicircle.
energ^a (^n-^r-je'S), /., ener^ie (^n-
«r-zh£), F, Energy, energico (dn-
Sr'jf-ko), energicamen'te, /. En-
ergetic(atly). energrique (Sn-^r-zhek),
F., energisch (fin.&r'zhYsh), (7. En-
ergetic. energ^iquement (zhek-m&n),
F, Energetically.
enfasi (Sn-fa'ze), /• Emphasis.
enlat'ico, en&ticamen'te, /. Em-
phatic(ally).
enfiatamente (fo.f2-ft'-tft-m«n'-tJ0» /•
Proudly.
enfler (Si^-fla), F, To swell, increase.
en^(^ngk), G^ Close, compressed ; ap-
plied, (a) to the stretto in fugue, (b)
to narrow straight organ-pipes, en^e
Harmonie (or Lage). Close har-
mony.
Engelstimme (2ng'£l-shtlm-m£), (7*
" Angel voice." Angelica ; a stop.
EngfUhrnng (teg'-fUr-oongk), G.
Stretto.
eiurlisch (^ng'lYsh), (7. Enelish. e..
Horn. English horn. e. Median* •
ik, in pianos, the English action, e.
Tans. Vide anglaisr. e. VioUet
(vc-5-l^t'). (a) An old way of tuning
the violin — e-a-e'-a'. (b) An obsolete
viola a* amor e with 14 sympathetic
strings beneath the others.
English fingfering. Same as Ameri-
can fingering.
BngUshhom. A species of oboe
(q. V.)
enguichure (afi-ge-shur), F. Emboo-
chure.
enharmonic, enharmon'icus, Z., en-
harmonique («n-&r-m6n-ek), F,^ en-
harmonisch (dn-har-mo -nlshX G, i.
Differing in name or notation, but
not in sound, as c sharp and d flat*
Mathematically and actually c ^ and
d tz differ by an appreciable inter*
val, but for convenience* sake and
in the name of temperament (q. v.)
they are the same tone on the key-
board instruments and, b^ contagion,
have become so in singmg and the
playing of stringed and wind instru-
ments. Tones that are identical in
our present artificial scale, but not in .
actuality or acoustics, are called en*
harmonic ; hence chords and inter' •
vals written differently and sound-
ing alike are called enharmonic, and •
the change of the ke^ by such chords
is called enharmonic modulation ;
the writing of the same chord in 3
notations is e. change. Instruments
have been frequently invented mak-
ing a distinction between such tones
as c sharp and d flat, and giving them
separate digitals. These instrs. are
called enharmonic. The e. scale
is, strictly, a scale with more than
the twelve semitones of our usual
scale ; the term is loosely applied to .
scales as c sharp and d flat, having
the same souncL 2. Vide modes.
3. VideDiESis«
122
THE MUSICAL GUIDE
^gmaticaL Vide canon.
in^nctr (A-aAft-sft), F. To enunciate.
^nonciation (&-n6n-s&s-ydn). Enun-
ciation.
eno'plia. (7r. Spartan war-music
ensemble (jUi-sfl^'bl), F, i. Together ;
the whole ; all the factors considered
as a unit. 2. The quality of their
oo-operation. morceau d'e* A
number requiring more than one per-
former*
entg^egeii(£nt-gi'kh{n),e.*8:esetzt, G.
Contrary, opposite*
entr'acte (afi-trSkt), F. Music olayed
between the acts, or of tudi auLrac-
ter.
entran te, entrata (^n-trit'-til), /., en-
trada («n-tr&'.dha)\ Sf., entree (Sn-
tri), F. I. Entrance ; mtroduction, or
music of such character, as in a ballet.
2. An old polonaise4ike dance in 4-4
time*
entre-^chats (OAt-rfl-shft), F. The enter-
11^ bounds of a dancer.
entremese (dn-tHf-mft'-sa), Sp, A bur-
lesque interlude.
entremets (flnt-rtt-ma), f. Slight in-
terlude*
entry (obs). An act
Entscheiannf (^nt'-shl-doongk), G.
Decision* entschieden (tot-she'-
d£n), C7* Decided.
entschlafen (dnt-shlft'fte), G, To die
away (lit. to fall asleep).
EntsohUessungf (£nt -shles-soongk),
G. Resolution.
entschlossen (ent-5hl6s's<n), G, Res-
olute* Entschlttss (^nt'-shloos), G,
Resolution*
Entwttrf («nt'-voorO» G» Sketch, out-
line.
enundato (a-noon-chY-fi'-td), /. Enun-
ciated, enunciazione (&'-tsY-6'-nQ,
/. Enunciation.
en'Toy* Postscript, or ending, of a
ballad.
Eolia (e-6'lY-a), Eolian (e-o'U-Sn), /.
Vide AOLiAN.
epic^de («p-i.s«d), /*., epicedio («p-Y-
ch&'dY-d), /., epice'dinm, Z. An
elegv, dirge, funeral-son^, or ode*
epiffo nion, C7r., epij^o'mam. JL An
ancient Greek lyre, with 40 strings,
named from Epigon.
epjle'nia, Gr» Vineyard songs.
epinic'ion, Gr, i. A triumphal song;
2. The Triumphal Sanctus in the
Greek Church.
epio'dion, Gr, A dirge.
episode, episode (i-pe-s6d), /^, epi-
so'dio, /. All incidental portions of
composition. Vide fuoub. eniso-
disch (£p-Y-zd^Ysh), G, Episodic*
epistle side. The left or south side
of the altar ; the right or north i»
the gospel side.
epis'tropne, Gr, A refrain.
epitalamio (^p-Y-tft-U'mY-o), /., epi-
th'alme (fip-Y-tiilm), F., epitlia-
lami'on, Gr.^ epithalamium, epi-
thal'amy, Z. and E. Wedding-ode.
epit'asis, Gr. Vide anesis.
epito'nion, Gr, i* A pitch-pipe. 2.
A tuning-wrench.
ep'ode, Gr, After-song. i. A refrain.
2. The conclusion of an ode. 3. A
retraction.
ep'tacorde (^p-tfi-kdrd), /s, eptacor'-
do, /. I. A heptachord. 2. A
seventh. 3. A scale of seven notes.
equabile (a-kwft'bV-U), /. Equal. aUke.
equabilmen'te* Smoothly.
equal* i. Of counterpoint, consisting
of notes of equal duration. 2. Vide
temperament. 3. Of voices, alike
(all male, for instance) ; not mixed.
e'quisonance, equisonnance (a-ke*
sttn-nahs), F Unison, as of octaves*
e'quisonant. Of like sound ; in uni-
son. In guitar music used of differ-
ent ways of stopping the same note.
equiso'no (i-kw€'so-nd), /. In the
unison or octave.
equiv'ocal. Used of cliords which
may by slight change in notation be-
long to more than one key.
Erard action. Vide harp*
erbeb, Arab. Rebec.
erfrculich (fir-froi'-lYkh). (7. Joyous.
ergrif fen, G» Stirred, affected. £-heit
(hit). Agitatioa
erhaben (dr-ha'b«n), G. Exalted, sub-
lime. Erhabenheit (hit). Sublim-
ity.
DICTIONARY OF TERMS 123
eleyate ; as the hand, in beating time.
erhShen (^-h&'ta), G. To raise. Er-
hdhniiff (^r-hl'oongk), (7. Raising,
sharpeiSng. B.--ssetchen. Shatps,
double sharps, or naturals following
flats.
ermattet (er-mflt'-tSt), G, Exhausted.
Entiedrirung (2r.n€ -diYkh-oongk), G.
Depres»on by means of a fiat or
natural. E.-sselchen, A «gn for
lowering a note.
ernst ((Fmsht), emsthaft r^st'h£ft),
G. Earnest Emstliaftirkeit
femst'hflf-tlkh.kltX Brnstlichkeit
Hkh-klt). Earnestness.
Emtelied (Cm't6-ia)» (?. Harvest-
sonz.
BrOnnntir (((r^fnoongk), G. Open-
inSf begmning. E.^sstttck. Over-
ture.
OTOico (a-rol-kO or hi), /. Heroic.
** SinhtHa troictt^ Beethoven's 3d
sympuony.
crot'icot /•• ^rotlque (A-rA-tek), /*.,
erot'ic. I. Amorous. 3. An am-
orous composition.
«rst (€rsht), (7. First. er8te MaL
First time.
ersterbeOi (?• To die away.
crtdnen (Sr-tft'-n^fn), G. To sound.
Erwe€lcii]ig (Sr-vtk'oongk), G, An-
imation.
•rweitem (|(r-vf -t^m),^. To develop,
expand, enreitert. Expanded, as
erweiterte Harmonie. Open har-
mony, erweiterter Satz. A move-
ment fully developed thematically.
BrRreiteniiu^. The widening of an
interval in a uigal theme.
BrxJLhler («r-tsri«r), G. The narra-
tor in Passion music.
Erxlafite (<!rts'-Iow.t£), (?. The arch-
hite.
Eb (lis), G. The note E flat.
eamcordo (a-sS-kdr'do), /• t. Hexa-
chord. 3. A sixth.
•Sat'to, /. Exact, strict
E»-dar (€s-door), G, £ flat mafor.
eiecuzione (lls-^-koot-st-o'ne), /. Ex-
ecution, esecuto're. Performer.
esepiire OUaft-goo-S'-r^X To esccete*
esem'pio, /. Example.
esercizio (a-s€r-ch€'tsI-5) (pi. 1), /•
An exercise.
Es-es (^s-^), (7. £ double flat
esitamento (&-s2-ta.mdn'td), esita-
zlone (a>se-tfi-tsl^'n£), /. Hesita-
tion.
Ea^moll (^m6I)» G, £ flat minor.
espace (tis-p&s), F* A space in the
stafl.
espagnol (Ss-pTn-ydl), ^., espagfltt-
olo («8-pan-yoo.6'16), /. " Spanish ;*
in Spanish style.
esperto, /. Expert.
espiran'do, /• Dying.
espr., espress. Abbr. of Esfressivo,
espressione (sY-6'n£), /• Expression,
feeling. espreasiTO (sC'vo), /• E&
pressive.
espringale (l^ptln-gfi^lQ, /• Spring,
dance.
essem'pio, /• Example.
essen'tiai. (a) Of harmonies, the three
chief harmonies in any key, v/s., thi
tonic, dominant, and subdominant.
(b) Of notes^ those that make up a
chord, in distinction from ornamen-
tal, and other foreign notes, e. seT-
enth. (a) The leading note. 0>)'^hfr
7th chord in the dominant*
estemporale (rS'l£), estemporaneo
(rS'-n5-d), /• Extemporaneous.
estinguendo (ffs-tYn-goo-€nM5>, /
Dying away.
estinto (^s-ten'.t5) (or a), /. Extin-
guished, almost inaudible.
estravaganza (^s-tri-va-gsln'tsfl), Z
Extravaganza.
astremamente (^tril-m£-men'-tQ, /•
Extremely.
estribilho (gs-trl-bel'-yd). A familiar
Portuguese air.
estrinciendo (^tren-ch&n'dS), /.
Playing incisively.
estriniendo («s-tren.yan'dd), /. Very
legato.
es'tro, /. Poetic fire.
et, L, And.
et (t). F. And.
^talon (a-tWdft), F. Vide scAtt 3.
^teinte (2L-t^t), F. Almost inaudii
Ue.
124
THE MUSICAL GUIDE
^endre (a-tandr), F. To extend,
spread, ^tendue (a-t&n-du). Com-
pass.
£t Incarna'tus, L, " And He was
born," etc. Part of the Credo.
aoff« (a-tof-fa), F. Having ** body."
as a voice.
6touffer (a-toof.fa), F, To deaden the
tone. 6touff6 (sL-toof.fi). Stifled,
muffled ; in harp-playing a deadening
of the tones by touching the strings.
^touffoir (a-toof-war). Damper.
€tre en r^p^tition (^t'raft ra-pa-tes-
yoA), F. To be in rehearsal.
Et Res'ttfrexity U '* And rose again.**
A part of the Credo.
•et'to (or it), /. Little; an Italian
suffix, as trombetta, A little trum-
pet.
et tacordOi /. Instrt with 7 strings.
<tude (a-tud), Ft A study. A corop.
outwardly intended for practice and
facility in some special difficulty of
technic ; often marked with much
art, and in the €, de concert (dfi-
k6h-silr), concert-study, intended for
public display, ^tuaier (a-tUd-ya).
To study, to practise. Vide study.
Et Vi'tam,Z. "And life everlasting."
Part of the Credo.
Otwas (^t'vas), C7. Some, somewhat.
e. lang^samer. A little slower.
eufonia (a-oo-f5-ne'ii), /. Euphony.
eufo'nico. Harmonious.
euharmon'ic (u). Producing harmony
or concordant sounds. Well-har-
monied, not tempered, e. org^an.
An instr. of American origin, inv. by
H. W. Poole, 1848, and containing
the untempered intervals. Vide en-
harmonic.
euouae. The vowels in the words
** Seculonim, Amen,'* at the end of
the " Gloria Patri ; ** (a) the trope of
the Gregorian Lesser Doxology ; (b)
any trope (q. v.)
Bupiion (yoo-fon). A elass harmonica
(compass from c to f" ) inv. by Chlad-
ni, about 1790 ; the tone produced
by rubbing with wet fingers strips of
glass, connected with metal rods;
also called eupho'nittm.
eupho'niad. An instr. of American
origin, containing thirty keys, and
tones of the organ, horn, bassoon*
clarinet, and violin.
euphonic-horn, eupho'nion«' Somme-
rophone.
eupno'nious. Harmonious.
eupho'nium. A bass brass instr. used
in military bands. It has two tubes*
played from a single mouthpiece.
Euter'pe, G. The seventh muse,
patroness of flute-music and song.
evacua'tio, JU In old noution, the
reduction by one-half of a solid note's
value by writing only its outline.
ETakuant (a-vdk-oo-ant), C7. The
exhaust-pallet ; also evacuant. E.
^▼eill^ (i-va-yi), F. Gay, sprightly.
evening, or even, song. Evening
service in the Anglican Church,
ever'sio, L, In cpt., inversion.
eyirato (a-ve-ra-to), /• A eiinuch
with a soprano or alto voice.
evolu'tio, Z. In cpt., inversion,
eTOTae. Vide euouae.
executant (^x-al-ka-t^), /^ A pe^
former.
eze'quiae, Z., Ezequien (^x-i'kwl-
dn), (7. Obsequies ; req^iiems.
exercice (^x-^r-ses), /*., Exercit'innt
(£x-dr-tse'tsY-oom), (7., exercise. A
practice piece ; a problem in compo-
sition, or technic.
exhaust pallet or TaWe. A stop
opening a valve which exhausts the
bellows of an organ.
exposi'tion. Development ; the work-
ing out of a theme. Vide form and
FUGUE.
expressif (^x-pri&s-eO, F, Expressive.
expres'sion (in F. £x-priis-y6n). The
psychological and spiritual elements
of music, its message and eloquence*
The delivery of a composition with
fidelity to its meaning. Hence an
expression-mark is any sign that
will aid in the interpretation of a
composition. In French the word e.
is also used specifically of the vibrato
effect, expression-stop. An har*
monium-stop giving the pedals clost
control of the expression.
DICTIONARY OF TERMS .125
ezpreMiTe-organ, ExpressiTors^el
(sef-dr-kh^l), C, or^e ezpressif,
F". The harmoniam.
cztempora'neoas. Without premwd-
itatioD. eztem'pore, Z. Impro^
▼ised; off-hand, extemporise. To
improvise. eztemportziog nm*
chme. A melograph for recording
extemporization.
extended, i. Dispersed, as a chord.
2. Enlarged, as a development, e.
phrase. One with three measures
instead of the usual two, etc. e. sec-
tion. One containing from 5 to 8
measures.
extension (^z-tliis-ydn), F, Stretch,
or compass on the violin ; the exten-
sion of the forefinger or little finger
of the left hand, extension pedal.
Loud pedal.
extra'neons. Foreign to the key. e.
modulation. Transition to an un-
related key.
extravaganza (£x-trS-va-gftn'tsft), /.
I. An ornament in bad taste. 2. A
musical bnrlesqne, usually spectac-
ular.
extreme, extrtoe (<x-tr£m), F, i.
The highest and lowest parts. 2.
Augmented, chord of the e. sixth.
An altered chord. (Vide altbrbd.)
E* and t7. / In F, and /• called
fit (f&). I. A musical pitch,
a perfect fourth ^bove C in
all its octaves. 2. The major
key having one flat ; the minor ke
key
relative to A flat minor. F deft
Schlftssel, G* The bass clef grip-
ping the line F. f. holes (in G, F.
Ldcher («f-i«kh-«r) ; in /*. les F. (la-
z£f). The f-shaped sound-holes in
the belly of violins, etc. f, ff, fff, etc.
Abbr. ol forte and fortissimo,
fit (fsi), /. I. The fourth of the sylla-
bles of solmisation (q. v.). 2. Name
of F. in France and Italy, fa-feint
(fin), /^., Ca fint'o, /., fa fict'um, L,
Obsolete term for any flatted note.
Ik mi. Formerly the descent of half
a tone from F to E ; now any such
descent, fab^mol, F flat, fadi^se.
F sharp, faburden. i. A counter-
point of thirds and sixths added by
ear to aL cantus Jirmus. 2. Later any
improvised accompaniment. 3. A
burden. 4. A drone-bass. 5. In-
tonation of the PsalmSb
fabliau (f&b-lY-6), F. An old narrative
poem, fablier (ll-a). A troyv^re
faces d'un accord (f&s d*fin &k-k6r),
F. The positions of a chord ; a triad
has 3, a seventh 4, etc
fach (f^h), G. (lit. -fold). Ranked ;
as dreifach. Three-ranked (of
pipes).
filcherfbrmifi^es Pedal (f€Kh'-£r.f«rw
mYkh-£s pa-d ill), G, A f an-sbaped ped-
al» board
facile (f&-Ul). F, facile (fr-chS-l^).
Light, easy, faciliti (f£-cbe-ll.t2'),
/. , facility (f A-sel-I-ta), F. 1 . Facil-
ity. 2. An easier arrangement of a
piece or passage, facilemf nt (f&-sel-
man), F.^ fadlmente (fA-chel-m^M'-
t&), /. Easily.
Fackeltanz ((ak'«l-t&nts), G. Dance
with flambeaux in a minuet form, 4-4
time.
facture (f&k-tur), F., Faktur (ffik.
toor), t7. I. Scheme or construction,
workmanship. 2. The scale of pipes.
-fkdig (fa-dYkh), G. Threaded (of
violin-strings), as Yierfildig. 4.
threaded.
fading^ (f&d'-lng), IrisA. A dance ; a
refrain.
fag. Abbr. of fagotti,
f4:'ot» F.f Fagott (f&-gdt'),^., fagot'-
tOt /• I. A bassoon. 2. A reed-stop
(also Fagottzug). fagottino(te'no),
/. A small bassoon. Fagottist
(fa-got-test'), G. CagottisU (tes'.
ta), /. A performer on the bassoon.
fagotto contrOi /. A bassoon, an
octave, a fifth, or a fourth lower.
fagotto'ne. A large obs. bassoon,
an octave lower.
fah. Fa in Tonic sol-fa.
Filhnenmarsch (fa'-n^n-m&rsh), G,
The march played when the colours
are lodged.
126
THE MUSICAL GUIDE
faible (f«b'l) F. Weak, temps C
W€ak-beftt«
fiMre {iix), F, To do, make. f. de«
fredons. A trilL fkites bien sen-
tir la m^lodie (f«t-bl.&A.s&A.tSrUl
ma-ld^S), /*• Keep the melody very
distinct
UAm., I. An old refrain. 9. A son^:
with such refrain, or a dance, falal*
eL'la, /• A nonsense song.
fklU I, A cadence, a. Vide fly.
folo'tico, /. Fantastic.
falsa (fiU'-sa) (or o), /•« false, E.,
UAwch, (faish), (7. False, wrong, out
of tune. £alse accent* Accent re*
moved from the first to the second or
fourth beat. L bordone. (a) Fa-
burden, (b) The recitlng-Dotes. L ca«
dence. An imperfect or interrupted
cadence, fl fifth. An imperfect fifth.
^ relation, (a) The appearance sim-
ultaneously or consecutively in differ-
ent voices of the same notes chromat*
icidiv altered, as C sharp and C flat,
implying a disagreement or inoom^
patibility. (b) The appearance of the
tritone (q. v.) in different voices.
• Though strictly forbidden in the text-
books, iate composers ignore the rule
altogether, f. stringy. An Ill-made
string givin? a bad tone. L triad.
The diminished triad having a false
fifth.
Falsett (fu.s£t'), G., lalset'to. /.
I. The top or artificial register of the
voice, having an unnatural or effem-
inate sound, a. One who uses this
register.
Cui'cy, I, A slight tone. 3, A fan-
tasy.
fandan'go, Sf^ A popular Spanish
dance in triple time, accompanied
with castanets (or tambourine) and
guitar, the dance being interpolated
between vocal couplets,
fanfkre, £. (pron. in F, fSA-f^r),
fianfara (fftn*fft'.ril), /• i. A trumpet-
flourish. 2. A brass-band.
fimtaisie (faA-tS>ze), M, fantasia (fSn-
tA-zC'ft), /., FanUsie (fan-tfl^ze'), G.
I. Fanta^, caprice, a composition
free in spirit and form. s. An ar*
peggiated prelude. 3, A potponnL
4. An improvisation. 5, Formerly
a work, vocal or instrumental, f uU ol
free imitation free fantasia ct
fiuitasy, same as Development.
Vide FORM. £antaaio'so» /• Fan-
tastic, fantasiren (ze'rSn), G. To
improvise.
fantas'tico, £antasticamen'te, A,
Cantastiqne (f&n-t^tek), F. , fiuttaa*
tisch (fftn-tils'-tYsh), G. Capricious.
faran'dola, /., Carandole (f&r.an-d61),
farandouie (f ir-&A»dooI), F» A cir«
cle dance in 6-8 time.
fameticamen'te, /• Deliriously,
liarsa in mnsica (moo'si^ka), /, A
burletta.
farsia (fftr'sY-ft), /, A canticle in
Italian and Latin sung at Catholic
festivals*
fascia (fH'-ahft), /, i, A tie. s. A
rib.
fasto'so, iastosamen'tei / Poo^
pousQy).
fattura (f At-too'-rS), /. VidePAcruRB.
fiaucette (f6-s£t); fansset (f5^), /!«
Falsetto.
lauz (f5) or lausse (fte), /l False,
out of tune. L accord (f5 zik-kdr)«
A dissonance, i. bourdon (fd^boor.
ddA). Vide FABURDBN. L qnlnte.
Imperfect fifth.
F clef. The bass^lef. Vide clef,
F-dur («f-door), <7. F major,
feathering. The bowing of mfiit
staccato^
Federkli|¥ier (fS.d2r.klS4eOi G.
Spinet.
feeoers. Small bellows to siq>ply
large.
Feier (fi'^r), (7, Festival, celebration,
F,«gesaiifl', Anthem. leierUclu
Festive, solemn. F,^keit> Soiemt
nity.
feigned voice. Falsetto voice.
feilen (f[.l£n), G. To polish,
fein (fin), G» Fine, renned.
feint. In drum music, a figure.
feints (fSnt), F. Old name for aeml«
tone; aocidentaL
Feld (fSlt), G. Field. F. fldte^ A
peasant flute. F. Kunstpfstfei
DICTIONARY OF TERMS 127
(koonst'pfl-f^O* A naiUtarv musician,
reldmnsik (f^lt-moo-zelcj. Military
music. Felarohr (r5r), G, A rural
pipe. F.-stftck. A cavalry call.
F. •too. The key-note of a military
wind instr. F. •trompete. Military
trumpet*
ie'rial. Non-festal, secular.
fer'nia, /. Firm* fermamen'te, /.
Firmly.
feraare U tuotto* Vide messa pi
VOCE.
^r'nutte. E. (in G. fSr-mS'-tQ. feiv
matu (f£r-m^'-tfl), /. i. A symbol ^
or "^ above or below a note, rest or
bar indicating^ a long pause upon it ;
f. ad Hbitum^ often occurring before
a cadensa. 2* A stop, on the vio-
lin.
fennato fml'-tS). L Firmly, fer-
mezsa fKr-mM -za). Firmness, fer-
mo (fftr mo). Firm. Vide cantus
FIRMUS.
fbrmement (fSrm-mSA), P. Firmly.
Ferae (fCi^nQ, G, Distance, 'wie
ana der F. (ve-ows-d^r). As if from
the distance. Fem*fldte. A covered
8-ft.stop. Fem-werk. Echo-oi^n.
feroce (fa-rd'-chQ, ferocemen'te, /.
FierceOy). ferocity (fft-r^^hY-ta).
Fierceness,
fertir (f«r-tlkh), G. Ready, nimble. F.*-
keit (kfty. Dexteri^.
ferremmeht (f &r-v2-min), K Fervent-
ly-
fenreti'te, fer'vido, /. Fervent, fer*
Tentemen'te, fenrldamea'te, Ve«
hemently.
Pes (f^s), (7. The note PV. Feses
(ffe^ds). F double flat
Pest (ffeht), (7. X. Feast, festival, s.
Firm, steady* Festigkeit (f«s.
tikh-kft). Firmness, steadiness, fest-
Jich (f£st-llkb). Festive, solemn.
Festltchkeit. Solemnitv. Fest-
lied. A festive-song. Festourer*
tflre. A brilliant overture. Fest*
zeit (tsit). Festival-time.
fintWo (f68-t£'v5), festlTamen'te, /.
GayOy). featlvitk (f«s-tc.vt.ta').
Festivity, gavety.
Ibfto'M^ /• Meny. dttsrfsl, gay*
Feuer (foi'^r), G, Fire, ardour, pas-
sion, feurig; (rVkh). Ardent, pas*
sionatCb
fif. Abb. of FarHssimo,
F holes. Vide f.
fiacco (fl-ak'k6), /. Feeble, languish-
ing.
fiasco (fY-£s'-k5), /. A failure ; not so
used in Italy.
fiato (f(-r-t6), /. Bieath; voice.
fictus(aHwm), X. ••Feigned." 1.
Vide FA. 2. musics ficta. For-
mer name for music transposed.
fiddle. Violin, iron f. An arrange-
ment of hails or rods played with a
bow, inv. by Jn. Wilde, i8th cent.
fiddler. Violinist, commonly a poor
player, fiddlestick. Violin-bow.
Fidel (fr-d«l), G. Violin.
fi'des, Z. I. A string. 2. A stringed
instr. nd'icen. One who plays a
stringed instr. fidlcina. A woman-
player.
fidlc'ula, Z. A small lute.
fiducia (fi-doo'^chjl), /. Confidence.
Fiedel (fe'dl), G. A violin. Strob-
fiedel. Xylophone. P.»bogen(b6kh'«
*n). A violin-bow. F.-brett (brSt).
A soueaky violin. Fiedler (fStM^rX
A fiddler.
fiel. An old name for violin.
field-music Martial music.
fier (fe-ar), fi^re (f!-Jlr>, F. Proud,
lofty, fierce, fi^rement (fY-Xr-ml^
Fiercely. fiM6 (fyftr-ta'). Fierce-
ness.
fiero (fe-a'-rS), fieramen'te, /. Fieive-
Oy). fieressa(H$d'.xa). Fierceness.
fife. z. A 6-holed octave cross-flute,
usually in the key of F or B|>, chiefly
used in militaiv music, differing from
the piccolo in lacking keys ; compass
d'-d . s. A 2.foot stop.
fiffaro, /. Fife.
Cfre (fefr), F. 1. A fife. 3. A flfcr.
3. An harmonium-stop.
fifteenth, i. An interval of two oc-
taves. 2. A 2-ft. stop, two octavM
above the diapasons.
fifth. I. The fifth tone of a scale, the
dominant 2. An interval contain-
ing five tones, the extremes included.
128
THE MUSICAL GUIDE
as C-G (the ratio being 2 : 3). The
tonic and the dominant of a key con-
stitute a Perfect (or less strictly, ma^
Jor) fifth. To widen the interval by
lowering the lower (or raising the up-
per) tone a half-step results in an aug*
mented (or superfluous^ extreme^
sharp w pluperfect) fifths as c-g#, or
c|>-g ; to narrow the interval a semi-
tone by raising the lower or lowering
the upper tone a half-step results
in a diminished (or imperfect^ f^lse,
flat^ minor or defective) fifth. Two
parts or voices according to the rules
may not progress by perfect fifths
either in consecutive or parallel man-
ner, whether the fifths are open or
(covered^ concealed)^ hidden^ (q. v.)«
Though this rule is the very ABC
of harmonic law, it is not justified by
science* by history, or by latest prac-
tice. Circle of fifths. Vide tem-
perament, fifthy. With the second
partial (a fifth) noticeably marked.
Pi^^r (fe-goor'), G. A figure, or num-
eral.
figura (fe-goo'-ra), Z. and 7. Vide
FIGURE, f. liga'ta. A ligature, f.
mttta (moo-ta). A rest, f. obli'qua.
In old music, an oblique symbol in-
dicating that two superimposed notes
(as g-b) were to be sung obliquely
(thus g-b-b-g).
.figural, E, (in (7. fe-goo-r&l'). Fig-
urate. F.-geaang. Cantus figura-
tus, counterpoint.
figuration, i. The use of figures or
ornamented passages in the variation
of a theme. 2. The writing or the
filling out of figured bass. 3. In
cpt. the interpolation of figures,
changing notes, etc.
fig^rato (fe-goo-ra-to), /., fig^ri (fe-
go-ra), F. figurate, or figured, i.
Ornamented with figures, hence
florid, free. 2. Provided with numer-
als, as figured bass. Vide bass 6,
and CHORD.
figure, E. (in F, pron. fY-gOr). i. A
pattern or design in grouped notes
which may be repeated variously. 2.
A ouineral C of dimioation. A
number diminishing the duration o£ a
note.
fil (fel). F. Thread (of a string).
filar il tuono or la Toce (fe-l&r el
too-o'-no or la vo ch£), /., filer on
son or la voia (fe-la riin son or 12
vwii), F, To draw the tone out to a
thread of sound.
filarmo'ttico, /. Music-loving.
filet de Toix (fe-la dd vwa), F. A
mere thread of tone.
filling-ttp. I. Of parts, those of har-
monic but not melodic use. 2. Of
stops, mutation.
fiio (fe'-lo), /. Thread, f. di voce.
Softest possible tone.
filpen (fel -p^n), G. Vide fistuliren.
fi'lnm, Z. Stem, of a note.
fin (f&n), F. The end ; fine. f. ii qni.
(f&nake). End here.
fi'naL The note of rest in church-
modes corresponding to our Tonic;
in authentic modes the F, is on the
first' degree ; in plagal, on the 4th.
These are called regular finals.
Others occur frequently and are irreg-
ular or confinals. Vide modes. L
close. A finishing cadence.
finale (fe-nii'-ie, /. / in F. fl-nM). i.
The conclusio. I, usually elaborate, as
the closing chorus of an act in opera ;
in sonatas, symphonies, an independ*
ent movement. 2. A final.
final'is, L, Vide accsntus ecclesi-
ASTICI.
fine (fe'-n£), /. The end ; it may ap-
pear sometimes before a da eapa
sign, in which case the movement is
to be played to the repeat-bar and
then repeated to the Fine, where it
ends.
Finger (In E. rtng'-g^r ; in G. fine'-
£r). Finger. F.-oildner, finger-oe-
▼eloper. A device for keeping the
last joint of the fingers up ; inv.
by Seeber. F.-brett. Finger-board.
F.-fertigkeit. Agility. F.-leiter
(llt'-er). The chiroplast. F.-sats,
F.-setzung. Fingering. Enger or
gedehnter, Fingrersa^z. Close (or
stretched) fingering. F.-wechsel
(v£khs'l). Change of fingers. fingr<
DICTIONARY OF TERMS 129
iNMrd. In a stringed instr. the neck
on which the strings are stopped.
fiofirer-cymbals. Tiny cymbals
fixed on the fingers, fing^er-holes.
The holes on wind-instrs. by which
the pitch is regulated.
finreriii^. i. The manner of using
the fingers on instrs. 2. The symbols
indicatmg a fingering. In the Ger-
man F. the thumb is marked i» the
fingers 2, 3,4, 5 ; in an older German
method the thumb was marked by a
circle O ; in the English^ ox Ameri-
can F, the thumb is marked with a
cross, the fingers, i, 2, 3, 4.
finire U tuono, /• Vide messa dx
VOCE.
fi'nite. Of a canon, not repeated, end-
ing with the finish of the theme ; not
*• infinite."
fi]itto(a) (fY-ne'-to), /. Finished.
fiao (fe'-no), /. To, as far as, till.
fiiito<a) (fen'-to), /. Feigned, cadensa
L Vide CADENCE (f). la finto. Vide
FA.
doco(a) (fl-o'-ko), 7. Hoarse, faint.
fioclietto. Rather hoarse, fiochez-
sa (fe-6-k£d'-za). Hoarseness.
fiore (fl-o'-rS), /. Flower, a t di
labbre. Lightly on the lip.
fioreffsiare (fe-o-red-ja-r^), /. To
add figures to.
fioret'to» /. A little ornament.
fioriacente (fe-d-rl-sh£n'.t^), /.. fiorito
(fe-o-re'-to). Florid, fioritessa (fe-6-
r1-tM'-zd)u Embellishment.
fioritnra (fe-6-rY-too'ra) (pi. e), /.
Florid ornament.
first. I. The highest voice-part or
string ; the lowest line or s|>ace. 2.
A unison or prime.
Fia (fcs). G. The note F#. Fis-dur
(fes-door). Y% major. Fis-fis. The
note F double sharp. Fis-moU. Fj(
minor.
Fistel (fYsh-tel), (7. Falsetto (also F.-
atioune).
Fistola (fes'.to-la), /., fistula, L.
A reed, a pipe. t. dulcis. T\it/4te
A hec. L g^ermamca. German flute.
t pania or f. iiastoralia. The Pan-
dean pipes, t, pastotica. An oaten
pipe used in Roman theatres to ex-
gress disapprobation, fistulator, Z.,
stulato're, /. A piper, fistnli-
rcn (f!s-too-lc'r<Jn), G. i. To sing fal-
setto. 2. Of organ-pipes, to over-blow.
fith'ele. Old English name for fiddle.
fixed-Do. That systein of solmisation
in which the syllables are fixed, i. e.,
do is given always to C (sharp, flat,
or natural), re to D, etc.
fixed tone or intonation. Used of
the piano and instrs. in which the
player cannot change the pitch of a
tone, as on the violin, etc.
Flachfldte (flakh'fla.t£), G. i. FUge-
olet. 2. An organ-stop.
B$kg» I. Abbr, for flageolet^ or fi(^^*^
olet tones, 2. A hook.
flageolet', E. (F, flftzh-o-la), Fla^^-
olett (fla-j«.dl£t'), G., flagioletta
(fl&.jo-l«t'ta), /. I. A small flute plaved
at the end, compass g'-b" nat.
double L An instr. with 2 differefit*'
sized flageolets meeting in one mouth-
Siece, in v. by Bainbridge, 1800. 2.
ageoiet or flageolet-tonea or
T5ne. Vide harmonics. 3. A i-
or 2-ft. stop.
flam. In drum music a g^ce note,
close f,^ as short as possible; open f.^
with a brief interval
Fla'minenorgel, G* Pyrophone.
Flasdiiiiett (flfish'I-n^t'), (7. The
flageolet.
flat. I. A symbol (h) lowering the note
before which it is placed one semi-
tone ; placed in the signature it af-
fects every note occurring on its line
or space. The double flat Wu
formerly a great Jlat, lowers the note
two semitones, flat fifth. Vide
FIFTH, flat tuning. Of a lute tuned
to the former lower French pitch. 2.
As a verb^ to lower a note a semi-
tone ; preferably to flatten.
flatter la corde (fl&t-ta 1^' k6rd), F.
To flatter or caress the string.
flatitando (fl&-oo-tiin'dd), flantato
(ta to), /. I. Drawing the bow gent-
ly across the strings near the bridge,
producing a "fluty" tone. 2. Pro'
ducing harmonics.
130
THE MUSICAL GUIDE
flatito (flfl'oo46), /. Flute. lUlttii'-
Ul. Performer on the flute, fl&u-
tino (te'-no). i. A Bmall octave-
ilute. 2. A piccolo. 3. Same as
JIautandc, U piccolo. The shrill
ocuve-flute. t a bec'co. Beak-
flute, f. Alto» A tenor-flute used in
bands, t, amabilo. An org^an-stop.
L amoroso. A 4-foot organ-stop.
t dolce. I. A beak-sflute. a. An
organs-stop, flauto'ne. A large bass-
flute, f. ttdttco, transverso, tra-
Vtroo. I.' The German or transverse
flute. 2. An organ-stop.
fltblle (fla'-bMd), fltbllmcti'tei /. Sad-
(ly), doleful(ly).
flCMlbile (fl«».se'-bMft). /. Flexible.
flessibiliU (l!-tit'). /. Flexibility.
Flick' op«ra» (7. An opera with new
words to old tunes.
fling. A Scotch Highland dance in 4-4
time.
P<>Lttchir, G. F holes. Vide r.
fiOfi-flon (fl6A-fl6ft), F, A refrain to
old vaudevilles ; hence, trash.
flor'id. Ornamental, embellished.
Fl5te (fla'tC), G. Flute, fldtcholi (fl«t'.
kh^n). A little flute. F.-batS. A
bftis-flute. fidtta. To play the
. flute. F.-apleltr. A flute-player.
F.-stimme, Fa^atig^. A flute-stop.
Fldtonwerk. A small orgdin with
only flue-pipes. F. travofoo. t.
The transverse flute. 2. An organ-
stop. Fitttitt (fl&'-t^t). A flute-
player.
flOttrlsh. r. A tmmpet^anfare. ft.
An embellishment
flttchtig (flOkh'tYkh), (7. Light(ly).
Flflctatlgkeit (kit). Fleetness.
flitc-pipt-ttop*WOrk. Vide Plt>E.
Fltt^tf (fltt'-g«l). G. •* Wing, "hence,
1 . A wing-shaped instr. ; or the
modem grand piano. 2. The ear of
a pipe. F.-harfe. A small table-
harp with upright sound-board. F.-
horn. I. A bugle. 2. A keyed
bugle or other keyed brass instru-
ment.
flata, £.s fltt'ta, Z., flAte (flat). F. t.
Now generally used of the transverte
(or crout or G€rmam)JtmUt The ^tfi-
(or direct fluti (in various sizes) is
obsolete. This latter was blown at
one end. The cross^flute is blown
through a hole in the side near the
larger endi It is a long tube (for-
merly slightly conical) with the larger
end clos^. Usually made of wood,
it is sometimes of silver or other met-
als. The principle is that of the flue-
pipe (vide pipe), and the tone is
clear, pure, and especially rich in the
lower range, which is too little used.
A very ancient instrument (appear-
ing often with two tubes and one
mouthpiece as the donbh^Jiuie^ otie
tube furnishing probably a mere
drone-bass); its modem form owes
much to the improvements of Boehm,
and controls with Its keys fourteen
orifices, with an extreme range of
b-c""l • It is made in six sl2es (in-
cluding the piccolo^ or oetave*^xiXt)
and sounds as written, is non-trans-
posing. The normal flute is the C ;
there are two others in D flat and E
flat. TYi^ piccolo is in the same keys,
but the lower octave is not used ; it
is written an ocuve lower than it
Sounds. A fourth (ot amar/) flute
sounds a fourth higher than the nor-
mal flute* 2. An otgan-stop. Unto*
work. Vide stop, harmonic t or
f. armoniqve. An organ^stop. oc-
toTO-f. The piccolo, pastoral or
■hophcrd's f. A short beak-flute.
f. & b«c (ft b«k), F., Schnabol-
flote (shna-b«l), G. Beak-flute. d
allemande (&l-miind), F. The cross-
flute, f. conique (kdn-ak), F i.
Conical flute. 2. An organ-stop.
f. d'amour (da-moor), i. An ob-
solete flute in A or in B flat 1.
A 4- or 8-ft. stop. f. d'Anglo-
terro (diA-glQ-tflr). The flageolet.
f. du Poitou( da pwa-too). The bag.
pipe. f. donee (doos). The beak-
flute, f. minor (me-nor). A 2- or
4-foot stop. f. octa^ante (6k-ti-
vY-ant). Octave-flute; an organ-
stop, t ourerte (00-vftrt). An open
stop. f. traversi^re (trA*rer-tf-ar>
The cross-flntea
DICTIONARY OF TERMS 131
flfttt, F. At a direciUn — ** use har-
monics.** flutde (ta). Fluty.
fljT. The lid covering a key-board.
FhuoU (^f-mdl). G, F minor.
fO'co, /« Fire, passion, focosamen «
tc Ardently. focMis'sisno. Very
ardent, focoao. Passionate.
fogUetto (fol-yfit'-to), /. A part which
contains all the obbligato passages,
used often by conductors instead of a
score.
Idire des enfants (fwSr-da-zan-fan), F.
'* Children's fair. '* Toy symphony.
Mm (fwS), F. Time. premUr« f.
(prilm<^ir)* The first time, deux-
i^me £ (diiz-y^m). The second time,
deux 1 (dil-fwa). Twice, derni-
^re f. The last time.
folia (fO-ir-^), Sp.y fbllia(e) di spagna
(span-y^), /., folics d'espagna
(fo-le-d&-spIn), /-'. i. A slow Span-
ish Solo-dance in 3-4 time. 2. h
species of air with variations.
folia'tedi Ornamented.
folk-masic. The body of folk-song"
dances, etc.
folk-song. A strongly racial populs
song that has become a tradition.
««
Polk-Song.
By H. £• Krehbiel.
THE bearing which Folk«-mu8ic (/.^.» Folk-song and Folk-daftce) hit
on nadonal schools of composition gives propriety to an attempt at
accurate defitiidon of the subject to which this article is devoted.
Folk-song is not jpopolar song in the sense in which the word is most fre*
quently used, but the song of tho foHt \ not only the song admired of the
people but» in a strict sense^ the song created by the people. It is a bod^r of
poetry and music which has corns into existence without the influence of
consciotiS art» as a spontaneous utterance^ filled with characteristic expression
of the feefihgs of a people. Such songs are marked by certain peculiarides of
rhythm, ferrn^ and melody which ure traceable, more or less dearly, to radal
(or ntnonal) temperament, modes of life, climadc and political conditions,
geographical enrironment and language. Some of these elements, the spirit'*
vali are elushre, but others can be determined and classified. Peoples living
in northern climates, for instance, are predisposed to the minor mode, which
hu metancholy for its most marked characterisdc. Here the influence is
generally dtmadc and geographical. But peoples living in cheerful and salu-
brious climes may also be dominate*.' by gloom if they have long suffered under
oppresshre political and social condklons. ^[^^^'^ propositions are illustrated
in the case of Russian Folk-song, which is overwhelmingly minor in spite of
the &ct that the CzarS empire extends over nearly thirty degrees of latitude
and has a mean temperature varying from thirty-two degrees Fahrenhdc at
Archangel^ to fifty-eight degrees in the Caucasus. It would seem to be t
paradox, moreover, that heavy-hearted song should be paired almost univer
saOy with singularly boisterous and energedc dances ; but the reason of this
beromes plain when it is remembered that a measured and decorous mode of
■k
132
THE MUSICAL GUIDE
popaUr amusement is the general expression of equable popular life, while
wild and desperate gayety is frequently the sign of reaction from sufienng.
There is a gayety of despair as well as of contentment and happiness.
^Intervallic peculiarities are more difficult to explain than rhythmic, and
may be said to be survivals of primitive artisdc conditions. The modern
scale was an evoludon, not an inspiration, and the study of savage music dis-
closes many rudimentary forms of it. The most idiomatic music of the Finns
is confined to the first five tones of the minor scale, which was the compass
of the ancient Finnish harp — the kantele. Old Irish and Scotch songs sharo
the pentatonic scale (/.^., the modern diatonic scale omitting the fourth and
seventh steps) with the popular music of China, Japan, and Siam. In the
songs of the negro slaves of America, I have found the same scale, a major
scale with a Hat seventh and a minor scale with a raised sixth, to be predomi-
nant. Cesar Cui mentions the prevalence in Russia of two major scales, one
without the fourth, the other without the third and seventh. Hungarian
melodies make frequent use of the interval called the augmented second^
which compasses three semitones and is common to Oriental music. There
b a hint in this of the origin of the Magyars, who are not Slavs, as is so com-
monly supposed, but Scythians ; they belong to the Finno-Ungrian stock,
and are more nearly related to the Turks than to their neighbours, the Poles
and Russians. The profusion of ornament which characterises Hungarian
music is an importation from the Orient by the Gypsies who, while the
national musicians of Hungary, are nevertheless a Hindu people, ^['^^c^
facts, gathered at random from the vast but as yet unexplored storehouse of
Folk-music indicate the possibility of using the study as an aid in the deter-
minadon of many things in ethnology and ethnography \ for Folk-song
elements have a marvellous tenacity of life. In the study of Folk-music,
however, the purpose of the student should be primarily to discover and, if
possible, account for the elements which diiferentiate the creations of one
race, people, or tribe from those of another. This done it will be possible to
txplain and describe the distinguishing characterisdcs of the national schools
«f composition based upon Folk-song idioms, such as the Scandinavian,
Russian, Polish, Bohemian, and Hungarian.
folk-tone. The folk-song manner or
spirit (cf. Volkston).
fondament&l(e), (fdn^il-man-tftl) F.,
fondamentale (t&'l«), /. Funda-
mental, son* f. Root, basse, or bas-
so, f. Vide BASS 6.
fondamen'to, /. Fundamental bass.
fonds d'orgue (ibh ddrg), F. The
ioundation-stopa
foot. I. The unit of metne, a distinct
rhythmic unit of two or more sylla-
bles. 2. Of a pipe, the part below the
mouth* 3. Old term for a refrain, or a
drone-bass. 4. A unit for the desig*
nation of the pitch of pipes and instrs«
arrived at as follows. Sound travels
1056 feet per second, the tone C,, has
33 vibrations a second ; 1056 ^33^
DICTIONARY OF TERMS 133
32 feet, the length of one sound*
wave ; a 32-foot pipe will therefore
sound C,,. The pipe giving C (two
octaves below middle C) is about 8
feet long. This is taken as the nor-
mal length, and while the pipes that
make up a so-called 8-foot stop (q. v.)
decrease in length as they ascend the
scale, they are considered as belong-
ing to the 8-foot tone and they sound
as written or played, i. e., when an
8-foot stop is on and the key of
mid. C is depressed, mid. C sounds,
etc. If this key is depressed when a
4-foot stop is on, the tone an octave
higher sounds ; when a 32-foot is on, a
tone two octaves lower sounds ; the
2-foot and i-foot stops produce tones
respectively two and three octaves
higher than the key depressed. A
stop then is named from the length
of its longest pipe and lowest tone.
From this use arises the designation
of instruments by fooUmeasure^ or
fo^t'tone ; an instr. sounding as wriU
ten (e. g., the flute) is called an 8-foot
instr., one sounding an octave higher
(e. g., the piccolo-flute) is called a
4-foot instr. Furthermore, this desig-
nation is used of octaves ; the letters
in the great octave (vide pitch) are
known as 8-foot (as 8-ft. C, D, etc.),
those in the small octave, as 4-ft. c^ d^
etc ; those in the once-accented as 2-
foot, and those in the twice-accented
as I -foot. The word /b<7/ is sometimes
abbreviated by an ( ) as 8', i6'.
The metrical system has been ap-
plied with much inaccuracy ; 8-feet
5 , 5
s ~ metre : 4-feet s= - m. ; 2-feet 9
2 ' ^ 4
5 m. ; i6-ft. = 5 m. ; 32-ft. = 10 m. ;
Quinte (10 r 5 r 2 = i ^ and -
J* ji J> jt 9
spectively.
Tierce (6 ? 3 ? I i and ^ feet) =
5i d» 5* 5
f (or a). I (or i). \^ (i). and ^ (J)
metres respectively.
foot*kej. Pedal-key.
forbidden. Contraiy to musical gram*
mar. Vide harmony.
foreign. Alien to the given key, or
tonality.
forlana (fOr-U'-nfi), /., forlnne (fdr-
l&n), F» A lively Venetian dance in
6-8 or 6-4 time.
Form.
By John F. Rdnciman.
A DEFINITION of Form would have this disadvantage : that it
woald convey absolutely nothing save to those who understood
perfectly what the meaning is ; and, further, it would occupy much
more space than is here available. So instead of trying to reach a perfect
definition, let us try what is a much better plan from the lay point of view —
let us trace the growth of the mass of principles and their methods of appli-
cation which are included in this one comprehensive term Form. ^In the
beginning, we may assume, music wa? without Form, though not always
quite void. The savage tootled his melody, caring nothing about repeating
phrases, nothing about middle sections, nothing about development. But in
the earliest traditional melodies that come down to us we find the germ of a^l
4»t is now known as Form. ^In any collection of popular song? the reader
136 THE MUSICAL GUIDE
and quite eaBily understood when heard, though anything but easy to de*
scribe. ^Now if we take a symphonic movement of Mozart we find a fim
theme of marked character ; after its delivery (and perhaps brief expansion)
all the orchestra goes to work at a cadence in a hammer-and-tongs fashiot
and lets you know unmistakably that you have reached the end of a section.
Then the second theme is announced, clearly. Then we have *' develop-
ment " in which the old tunes are turned into new ones as unlike the old a^
possible, yet obviously growing out of them. Finally we have the reprise,
and then the coda^ a few bars in the case of Haydn and Mozart stuck on to
make an effective conclusion. ^This is simple sonata form. There was an
enormous lot of waste in it : those thumping conventional series of chords at
the end of each section, for example, never mean and never did mean any«
thing. At the time they were written the tendency to formulate music, to
get conscious control of the materia] of music, was at its strongest ; one of
the most powerful desires of Mozart and Haydn was to make thdr form as
clear and distinct as possible ; and to that everything else was, in an emer-
gency, sacrificed. In fiict, composers of that time seem to have felt as keen a
pleasure in the mere regularity and balance of the various parts of movements
as in the poetic and sheer musical quality of the parts, even when the balance
was secured by the introduction of conventional padding altogether at war
with beauty and expression, quite destructive of both. ^ With Beethoven
came a change. His music must at first have been- very difficult to under-
stand, for mstead of the trumpet and drum passages marking the close of the
different sections, one section leads straight into another by means of passages
of as high musical and poetic quality as any other portions of his movements.
Further, he went in for third themes following the second (the second and
third bdng so proportioned as to balance the first), and he mightily extended
the coda. Instead of a few noisy bars to end up each movement he started
out and developed his theme in new ways, thus adding a fourth main section
to the three existing before his time — the first, in which the themes are cni.
nounced ; the second, in which they are developed ; the third, in which
they are repeated. This was an inevitable corollary of the enormous increase
he made in the size of the forms he used. After such huge themes, suck
lengthy developments, a few chords were not sufficient to wind up ; a tai^
was needed by the symphonic movement before it could be felt to be satis-
factory, just as much as a tail is needed by a kite before it will ascend.
^Let us pause for a moment to sum up. In the early days mu^c had form
as a flower or a blade of grass has form ; each piece grew more or less by
haphazard into some shape, starting from its one theme. The utmost that
could be done in that way was done by Bach in his fugues. But the fbgne
itself was the result of the tendency to formulate music, to press it into the
bonds of strict rule, to get a conscious mastery of the material. That ten-
DICTIONARY OF TERMS 137
dcDcy, together with the desire to express more complex emodons and the
natural instinct of man to build^ resulted in certain clearly defined forms, with
hard outlines, so to speak. Beethoven came and softened the outlines, hiding
the bones of music, as it wercj under a beautiful expressive veil of tone..
The form is there just the same, and can easily be grasped by anyone who
takes the trouble to listen carefully. The fact that for the sake of expression,
he prodigiously varied his themes on their repeddon, does not alter the fact
that they are repeated in a satisfying way. The reader who can follow the
form of say the first movement of the Eroica symphony (a symphony being
only an orchestral sonata) understands not only the abstract principles of
form but the manner of applying tho^e principles to the conc^te. ^The
results of these applications are various forms — the Rondo, the Minuet and
so on : all are based on one of the two plans \ in short pieces one theme is
used, set forth and finished with ; in longer pieces variety and unity are se«'
cured by two or three (or even more) themes of different character placed
in different keys. The mere setdng of themes one after another can alwayti
secure variety of a kind ; but whether there is at the same time unity depends
entirely upon whether the composer is or is not an artist. There is no rule
for that : only genius can solve the problem. So much then for pure musie.
^The application of the principles may be widened in a thousand wayi ;
ten themes may be used instead of two or three or four, the order and rela-
tion of the keys used may be altered and added to ; but the principles remain
the same. ^But when music ceases to be pure music, when words are
added to it, or it is mtended to tell a story, then these principles can no
bnger be applied — or rather, there is no longer any need to apptv them.
Instead of following the architectonical faculty, the composer must follow the
dictates of the dramadc or lyrical foculty. The number, character, mode of
development, etc., of the themes is derived from the thing to be conveyed to
the listener ; and then we get what is called Programme music. ' But just as
in a fine novel the writer reveals architectonical sense, so in a really fine piece
of Proginunme it is revealed. There is very litde difference in form, for
example — at any rate no essendal difference — between a Bach fogue and the
Valkyries' Ride of Wagner ; the themes are stated and developed in a certain
order, and all one's fiiculues are satisfied — the emotions, the sense of pure
beauty in melody and harmony, the architectonical sense, the intellectuaf*
appreciation of right handling of the material. ^Whether music is pure
mu^ or Programme music, it must satisfy all these. And though, in the
foture, we may use quarters and eighths of tones, and though we may arrive
at complexidcs unknown to-day and be able to express subtleties of feelings
is yet never felt, the principles by which our feelings are expressed in noble
and beaatifiil Form cannot but remain the same.
138
THE MUSICAL GUIDE
Ibffinarft il tnono. Vide mbssa di
VOCE.
formula. A word respectfully submit-
ted by the editor to obviate the loose
use of '* sonata-form/* which is em-
ployed both of a movement and a
group of movements — both for the
part and the whole ; by speaking of
the dual-theme movement as written
in the sonata formula and the group
of formulae, Urgo, rondo, etc., as in
the sonata-/7rj9i much ambiguity will
be avoided.
fort, G, Off (of an organ-stop).
fort (fdr), forte (fdrt), F. i. Loud,
a. Tempt 1 Strong beat.
fortbien (torb-y&h), F, A modification
of the old fortepiano, by Friederici,
1758.
forte (f6r'-t«), /. i. Loud. (Abbr. f.)
f. possibile. As loud as possible.
{>ift L Louder, poco f. Rather
oud. f. piano. (Abbr. fp.) Loud,
then immediately soft, fortamen'te.
Loudly.
fortement (f6rt-maA), F, Loudly.
forte-piano. i. Vide pianofortb.
2. Loud ! then soft !
fortexsa (fdr'-tM'-zfl). Force.
forties. Abbr. of fortissimo,
fortissimo (fdr-tes'-sl-mo), /. Very
loud, fortissis'simo. Double super-
lative oi forte, f. quanto possibile
(kwAn'-to pOs-se'-bM£). As loud as
possible.
Vortrttcken (fort'-rttk^n), G, The ad-
vance of the hand (as in ascending
figuration) with the same finger-
ing.
IFortschreltnng^ (fort'shrl-toongk), G,
Progression. F. einer Dissonanz,
Resolution. fortschreiten. To
progress.
l^ortsetsung^ (fdrt'zHt-zoongk), G,
Continuation, development.
forsa (f6r'-tsji), /. Force, power.
forsan'do, forsato (fdr-ts&'-t6).
Forced, sharply emphasized (marked
V A >). foraare (f6r-tsa'-r«). To
strengthen, f. la voce (U vd'che^).
To force the voice.
fonndation-stop. Vide stop.
fonrchette toniqne (foor-sh^t t6n-ek),
F, Tuning-fork.
foumiture (foor-nl-tUr), F, A mixture*
stop.
fonr-part. Written for four parts.
fourtn. I. The fourth tone of a scale,
the subdoroinant. 2. An interval
containing four tones, the extremes
included, as d-g, the ratio being 3 : 4.
Fourths are perfect and imperfect
rather than major or minor, Aa
au£^ented (superfluous ^ extreme^
sharp or pluperfect) fourth is one
whose upper tone has been raised a
half-step, or its lower lowered. A
diminished (imperfect^ false^ minor
or defective) fourth one whose uppe/
tone has ^en lowered half a step or it8
lower raised (cf. fifth). Chord of
the second and fourth, chord of
the 3d, 4th, and 6th, chord of
the 4th and 6th. Vide chord.
four-three, fonr-two. Vide chord.
f. flute, f. shift. Vide flute and
SHIFT.
fo. Abbr. Vide forte (2).
fran^ais (fran-s£'), fran^aise (frU*
s^z), F, r. French. 2. A country-
dance in 3-4 time.
Irancamen te, /. Franklv, boldly.
Iranchezza (fran-k£d'.z&), /., fran-
chise (fr^-shez), F, Boldness,
frankness.
franzese (frftn-ts&'zQ, /., franzdsiscb
(frftn-tsa-ztsh), G, "French;" in
French, style. Franzton (friintstonX
G. French pitch.
frappe (frtip), F, A manner of beat
ing time with force. Crapp6 (frftp*
p&). The down-beat.
frapper (fr&p-pa), F, To strike ; te
beat time,
frase (frfi'-z«) (pi. i), /. A phrase, fr.
larg^a. With broad phrasing, fira*
seggiare(friUz«d.jfir'r£). To phrase.
Frauenstimme (frow'-^n-shtYm'm£),
G, Female voice.
freddo (frM'-dd), freddamen'te, /.
Cold(ly). freddezza (fHfd-ddd'zfi).
Coldness.
fredon (frtt-don), F, A trill, or othci
ornament, fredonnemes^ (/lil-d&i-
DICTIONARY OF TERMS 139
mid). Hiunminsr, trilling^. fre*
donner (fm^an-nfi). To trill, also
to hum.
free. Unrestmined, not according to
strict rule, as /. composition^ or
style, f. fhs^e. Vide fugue, f.
reed. Vide reed. f. part. An in'
dependent part added to fill up the
harmony of canon or fugue. £, chant.
A form of reciting the Psalms or Can<-
ticles using a g^oup of two chords for
each hemistich. Vide fret-freb.
freemen't tong^. Little compositions
for three or four voices, in use about
1600.
frej|;iare (fra-jar^), /. To adorn.
fregiatiira (too' r&). An ornament.
fret (frf), G. Free. Freiheit (frf-
hlt). License, f* Schreibart (shrlp'.
irt). Free composition.
Freiich horn. Vide horn. French
sixth. Vide altered.
French treble det The G on the
lowest line of the staff.
fresco (fris'-ko), /., frescamen'te
Fresh(ly).
fret. One of the thin projecting ridges
across the neck of stringed instrs.
to divida the strings into differ-
ent lengths, thus producing different
pitches, on pressure, fretted and
fret-frve. In the early precursors of
the piano, there were fewer strings
than keys, each string serving for
several notes, through the action of
tangents acting as frets. These were
called tied or fretted or gebunden.
Later instruments were given a string
to each note, and these were called
hundfrei, or ungebunden or free or
fret'free,
fretean, fretian, frestel« fretel(fHi. .
t^l), fretUe, fretetel. A Pan's pipe,
fret'ta, /. Haste.
Frende (froi'-d«), G, Joy, rejoicing.
Frendengesangf. Song of joy.
frendi^ (froi'dYkh). Joyfully. Fren-
dii^keit (kit). Joyfulness.
fricassee (fre-kHs-sa), F. A dance with
ppntomime in the l8th cent. In the
rteh cent, a part-song, each part hav-
hig different words^
Fries (frgs), G, Purfiing.
frisch (frlsh), G, Fresh, lively.
fris'ka (frYsh'-ka). The quick move,
ment in the Czardas, and the Hun*
garian Rhapsody.
frivolo (fre'v6-lo), /. Trifling, trashy.
frdhlich (fra-llkh). G, Joyous, gay.
F.-keit (kit). Gayety. Frohgesang^
(fr5-kh£-zang). Song of joy.
Frohnamt (fron'£mt), G. High Mass.
Frontpfeife (fr6nt'-pfl-f«), G, Front
pipes of an organ.
Frosch (frosh), G, Nut (of a bow).
frottola (frot'-to-la), /. A i6th cen-
tury ballad.
Frtthlingslied (f rO'lings-let). (7. Spring,
song.
Frtihmesse (frU ra^s-sQ. Friihstack
(frtt'shtUk), G. Matins.
F-Schlttssel (ef-shlus'gl), G, The F-
clef.
fnga (foo'-ga), L, and /. "A flight.-
Vide FUGUE, f. ad quintam (octaT-
am). Fugue (also canon) at the 5th (oc.
tave). f. aequalis motus (or recta).
In similar motion, the answer conform-
ing to the ascent and descent of the
subject. L al contrario (or riverso
or roTes'cio) or fuga contraria (or
per motum contranum). One whose
answer is the subject inverted. 1
anthentica. A fugue with an as.
cending subject. £ canonlca (or
inconseguenza or perpetua or
totalis). A canon. £. compp-
sita (or inaequalis). One whose
subject moves by degrees, not by
leaps, as does f. incomposita f. del
tnono, /. A tonal fugue, opposed
to 1 reale, a real fugue, f. dop-
pia,/. A double fugue, f. homopho'«
na. One whose answer is at the
unison, f. impro'pria (or irregu-
laris or sciolta o. soluta). An ir-
regular free fugue, f. in contrario
tempo (or per ar'sin et the'sin).
One in which the accented notes of
the subject are the unaccented of the
answer, and vice versa, f. in nomine.
A fugue •• in name only," i. e., a free
fugue. U inversa. One in double
counterpoint and contrary motion.
140
THE MUSICAL GUIDE
f. libera. One with free episodes,
opposed to f. ligata (or obbligata),
whose episodes are entirely derived.
f. mixta. One whose answer is
varied by augmentation, etc. f. par-
tialis (or periodica). One without
full and perpetual canonic imitation,
the usual fugue, f. per auraenta^
tionem (or diminutionem). One
whose answer is by au^entation
(diminution), t per imitationem
intermptam. One whose answer is
broken by rests, etc. f. plagalis. One
with subjects descendmg below the
key-note. f. propria (or regularis).
One in regular form. f. reddita or
redita. One in which canonic pro*
ression occurs at the middle or end.
retrog^rada. One whose answer
is in r^/r^^tf</f progression, f. retro*
grada per motum contrarium. One
whose answer is in contrary motion as
well as retrograde progpression. f.
ricercata (ret-ch€r-ka'-t&). A fugue
of the highest development. ,
fugara (foo-ga'-ra), /. A 4- or 8-ft.
organ-stop.
fhgato (foo-g&'-to), /. X. Freely ia
the manner of fugue. 2. A passage
in such manner.
Fuge (foo'-kh«), C7. Fugue. F. gal-
ante (gfi-ldn'tg), G. A free fugue in
chamber-music style.
fnggire la cadenza (food-je-rQ, /. To
write a deceptive cadence.
fughetta (foo'g«t'.t&), /. A short
fug^c.
fisg^rt (foo-gert'), G, In fugue style ;
also used of the ranks of a mixture-
stop.
fogue (E. fiig, in F. fQg). See below,
counter f. One whose subjects move
in contrary directions, double t A
fugue on two subjects, f. reoTers^e
(raA-v<5r-sa), /^. An inverted fugue.
Strict t One in which the fugal
form and its laws are strictly observed.
perpetual f. A canon, f. iimple, /^
A fugue containing but a single sub-
ject, fugued (f&gd) or fuguliig. In
fugue form, or loosely in fuguo
manner, fuguist. A composer or
performer of fugues. Also vi'ie
FUGA.
Fugue.
By Homer A. Norms.
A FUGUE is a composition in which a theme, called the subject, is
announced by one voice and imitated by other voices. The word
comes from the Latin fuga (a flight), suggesting the thought of
one part starting alone after which the others enter in pursuit. A fugue may
be written for any number of voices, but we shall here discuss a four-voiced
fugue. ^The subject is usually short and of such marked character as to fix
itself readily on the mind, and is usually so constructed as to admit of over-
lapping ; /.r., so that a second voice may enter without musical frictioD
before the first voice has completed the phrase. This overlapping process is
called s tret to. 51 '^^^ subject may be announced by any voice. At its
completion there comes a very short passage called codetta, after which a
second voice sings the subject-matter in another key. Thb is called the
answer. ^In the majority of fugues the answer' is a transposidon of the 8ub«
ject into the key a perfect fifth above the subject, so that subject and answer
correspond to the keys of tonic and dominant. Certain sul^ects instead cf
DICTIONARY OF TERMS 141
being reproduced litertlly are changed. Subjects which are changed are
known as tonal subjects ; subjects which remain unchanged are known as real
•ubjects. ^While the second voice is singing the answer^ the first voice
accompanies it, and usually in one of the forms- of double cpunterpoint. It
b then intended for subsequent use. Such an accompanying part is called
count er-subject, ^The answer is followed by another codetta, leading bacV
to the original key, where a third voice sings the subject, but in a different
octave than that in which the first voice announced it. The other voices
continue with contrapuntal accompaniment. Another codetta follows, leading
to a fourth voice which sings the answer in the dominant. The part of the
iiigae that we have discussed is called the exposition. The exposition closes
the first of the three big divisions of the fiigue. ^The exposition is followed
by the first episode. In the episode the composer has more freedom than in
any other portion of the fugue. New material may be presented ; brief
modulations to related keys introduced, together with fi-ee imitation. ^ After
the first episode comes the middle section, ^^^txt the four voices again
present the subject-matter in somewhat the same order as in the first section
but in other keys. The principal keys are altogether avoided or only inci-
dentally touched. In this group often occur variations of the subject ; it
may be shortened or lengthened ; the answer may be presented in contrary
motion, etc. ^In the third, and (usually) final secdon a return is made
to the original keys. Here the subject and answer are generally combined
In stretto. ^A stria fugue is one in which there are either no episodes,
or in which the episodic material is drawn entirely from the subject or counter-
subject. Nearly all the fiigues in Bach's '*Das Wohltemperirte Clavier" are
strict fugues. ^In z free fugue the episodes are constructed of new material.
5[In a fugato passage one voice announces a themCi after which other voices
enter in firee imitation. ^A fughetta is to a fiigue what a sonatina is to a
sonata : /./., it is a litde fugue. ^An academic fugue b the most elaborate,
artificial, and purely intellectual expression of musical art.
Ptthrer (fa-rer), G, i. Conductor. 2.
Subject of a fugue.
Foil- (ftl), G. FtUing. F.-il«te. •• Fill-
ing flute," a 4-ft. stop. F.-pfclfe
(piffS). A dummy pipe. F.^quinte.
A shrill quint-stop useful only in com-
bination. Fi-stclle. Padding:. F.-
stimme. i. A part used to fill out
harmony. 2. A mutation-stop a 3d
Of 5th above normal pitch. 3. A
part doubling another in the octave
or oaiaon.
full. For the voices or instrs. complete.
f. anthem. Vide anthem. £ band.
A complete band or orchestra. £
cadence or cloae. Vide cadence.
f. chord. A complete chord ; in
part-music, one in which all the parts
join. f. score. Vide score, f,
stop (on the lute). A chord using all
the fingers ; full chord followed by a
pause, full choir (or g^eat or swell).
** Draw all the stops of the choir (or
great or swell) organ." full orgaa
142
THE MUSICAL GUIDE
** Draw all the stops and couplers."
f. service, i. One for the whole
choir. 2. An office using music as far
as permissible, f. orchestra. One
in which all the instrs. are employed.
fundamental, i. The root of a chord.
2. The generator of a series of par-
tials. r position. Vide position.
f. tone. I. A generator of partials.
2. One of the three principal tones,
tonic, dominant or subdominant. f.
bass. Vide base.
Fundamentalbass (foon-da-mSn-tal'-
bjls), G. Vide base. F.-ton. Fun-
damental tone.
fun^bre (fu-n£br), F., funebre (foo-na-
brC), /., funerale (foo-n^-ra'-ld), /.,
funereo (foo-na -rC-o), /. Funereal ;
mournful, marcia f. Funeral march.
fdnf (fmf), G, Five. H-fach. Five-
fold, in Bve ranks, of pipes. f.-stim-
mig. For five voices, f.-stufis^e.
Pentatonic. FUnfte (ftnf'-te). Fifth.
Fttnfzehnte (fYnf'tsan-t«). Fif-
teenth.
funzioni (foon-tsT-6'n*), /. (pi.) Masses,
and other sacred music in the R. C.
Church.
fttoco (fo-o'ko), /. Fire, energy, pas-
sion, fuoco'so. Fiery.
fiir (fUr), G.y preposition. For.
fureur(fu-riir), Z'., furia (foo'-rt-a), /.
Fury, passion. Furiant (foo'rt-ant),
(?., furie (foo-re), F. A quick Bo-
hemian dance with irregular rhythm
and accent, furibon'do, furioso. /.
Furious, mad. furieusement (fur-
yOz-man), F. , furiosamen'te, /. Fu-
riously, madly.
furlando (foor-ian'-d5), furlano (foor-
la -n5), /. Forlana.
furniture stop. Vide stop.
furore (foo-ro'-r*), /. Rage ; a great
success.
fu'sa, Z., fuse (fuz), F,, Fusel (foo-
zdl'), G. An eighth note.
fus6e (fU-za), F. A roulade or rapid
passage, a skip or slide.
fuseila, Z. A 32d note, fusel'lala.
A 64th note.
Fuss (foos), pi. Fttsse (fls-se), G.
Foot (9. v.). Fussklavier. The
pedals of an organ, fiissig(fas-sikh),
G. Foot, as Sjussig, 8-foot. Fus9-
ton (foos-ton). Foot- tone, as Acht*
f us 5 ton ^ 8-foot tone.
fut (fUt), F, Barrel (of a drum).
Fiitterung (fttt'-t«r-oongk), G,
ings.
Future, music of the. Vide
KUNFTSMUSIK.
fz. Abbr. of Forzando,
Lin-
za-
GPron. in (7. gi ; in F. and /•
sol(sttlin/'.,sdlin/.). i. A
musical pitch, a perfect fifth
above C ; all its octaves.
2. The major key having one sharp ;
the minor key relative to B flat major.
G clef. The treble clef.
g. Abbr. for main gauche^ left hand,
or grand orgue, fun, or great-organ.
Gabel (ga b#l), G. A fork. G.-ton.
The fork-tone, a' used for tuning.
G.-grif fe. Cross-fingering. Stimm-
g. Tuning-fork. G.-kiaTier (ga'-
b'1-kU-fer). A key-board instr. with
a scale of tuning-forks, and a sympa*
thetic fork an octave higher for each
tone; inv. by Fischer & Fritzsch,
Leipzig, 1882.
gag^liarda (g&l-yar'da;, /., Gag^liarde
(gal-yar'-d€), G. A galliard.
gag^liardo (gal-yar'-do), g^agliarda^
men'te, /. Gayly.
gaillarde (gl-yUrd), F, i. Merry. 2.
A galliard. galUardement (gT-y&rd-
man). Merrily.
gaio (ga'T-6), /. Gay.
gaita (ga-e-ta'), Sp. i. Bagpipe. 2.
A flageolet, gaitero (ga-e-ta'-ro).
A player on the street-oi^n.
gajo (ga'-yd), /. Gay. gajamen'te.
Gayly.
gala (ga la), /. Gala. dig. Gayly.
galamment (g&l-S-man), F„ gaian*
temente (tS-men-t^), /. Graciously.
galant(e) (ga-lan(t)), /^, galante (gi-
lan'-t^), /. Graceful, gallant, gal*
antemen'te, /. Gallantly, galaa*
tria (ea-lan-tre'-a), /. Gallantry.
galant^a-Unt). C^. Free. G.Stil/of
DICTIONARY OF TERMS 143
Schreibart). The free (as opp. to the
gebundener or strictly contrapuntftl)
style of harpsichord composition in the
1 8th century. Galanterien (ga-liln-
tare'-^n). Ornaments in old harpsi-
chord music. Galanteriestttck (g:fU
Ifln-t^-re'stflk). A piece in the orna-
mental style.
gmlliard (gkl-yard). E. An old dance
similar to the Pavan.
gml'op, E, (in F, g&i-5). galopade
(gai-6-pad), F., Galopp (ga-ldp), C7.,
pilop po, /. A hopping round-
dance in 2^ time.
gmlonb^ (gS-loo-b§), g^onbet (gfl-
loo-ba'), F, A small fife with three
holes and range of 17 notes, found in
Provence.
gamba (gam'-bi), /., g^ambe (giimb),
F,, Gambe (gam'.b«), (7. i. Leg;
hence, viol di g. Vide viola. 2. An
organ-stop ; the whole family of stops
named after stringed instrs. Gambeii*
stimine. A gamba-stop. Gamben*
iHrerk. A piano- violin. Gambabaas.
A i6-ft. stop on the pedals. G.
major. A i6-ft. stop. Gambette
(g&m-b^t'-td), G. An octave gamba-
stop. Gambist'. A player on the
G. GambTiole (gfimp.fe-6'l«), G,
Viol di gamba.
gambeta (gslm-ba'-tfi), Sp^ An ancient
dance, a caper.
gam' ma, C7r., gamme (gim), F, The
Greek G. (r). 1, The lowest note
(G) of the Aretinian scale. 2. The
name of that scale. 3. Scale gener-
ally. 4. Compass. 5. A clef for
the scale of G. g. chromatique
(descendante, montante). Chro-
matic (descending, ascending) scale.
gammes (gftm). Scale-exercises.
Gamma at or r ut. G, in the old solmi-
sation.
gmmnt. (From gamma ut.) i. The
scale of any key. 2. The staff. 3.
In oM English church-music, the key
of G. gamut G. The G on the
first line of the bass staff. Guido's
g. The scale of two octaves and a
sixth introduced by Guido of Arezzo :
the tones called by name, ut, re, mi,
fa, sol, la, and written in the first
octave r (gamma) (the lowest tone)
A, B to G, in the second %-% \ and in
the upper sixth gg-<ld.
rawiacione (gft-n&-shd'nQ, /. A lute.
S'^g (giing), G, I. Rate of movement.
2. A passage.
ganz (jp^Snts), G, Whole, all, very.
Ganzinstrnmcnte. Those brass
instrs. of such width that they speak '
the lowest sound natural to the tube,
i. e. , they reach the depth of an open
organ-pipe of equal length. Nar.
rower instrs. speak only the octave
above this natural tone and are called
Halbinstnimente. gana langsam.
Very slowly, eanac Note (giln'ts^
no't^). A whole note, gaaxer
Ton (gSn'-tser-ton). Ganaton. A
whole tone. Vide second, gaaaet
Werk. The full organ. Gaits«
schlusa. Final cadence, gaasrer-
hallend (f^r-hlQ'lent). Dymg away
entirely.
garbo (gSr'-bo), /. Grace, elegance.
garbato (b&'-to), garbatamen'tab
Graceful(ly).
garibo (giUre'-b6), /. Dance, ball.
gari^iione (ga-rel-yo n«), /. Chime.
gamir (?ir-ner), F, To string a violin. '
g^rrirc Cg&r-re ril), /. To chirp, war-
ble.
Gassenhauer (gas'-s^n-hower), <7.
Street-song, trash. Gassennatter*
lin (len). Popular songs of the i6th •
century.
Gastrollen (?ftst'r51-l^n), G, To go
•*guesting,**^i. e., "surring."
gathering note. A pause on a final
note of recitation to give time for the
chorus to gather.
g^auche (gosh), F, Left, main g.
(m&n). The left hand.
gandente (giUoo-dto'-t^), gaudio'ao,
gaudentemen'te, /. Joyful(ly).
Gaumenton (gow'-m^n-ton), G» Gut-
tural tone.
gavot', E., gavot'ta, /., gavotte
(gft-v6t), F, An old French dance
(named probably from the people of
Gap, called Gavots). It is in 4-^
time, strongly marked ; begins on the
144
THE MUSICAL GUIDE
weak half of a measure and ends on
the accented ; no notes smaller than
ei^th notes occur.
gtizeW A piece with a brief constant
refrain.
gftSMUTA(giUl>sflr'.r&), /. A fete with
music and cannon.
G clef. The treble clef.
G-dttr (g&^oor), G. G major.
GtbliUt (g^.bUL'.ze^), G. Bellows.
^S-bri'-r
ken.
gebrochen (g£-brd'-khfo), G, Bro-
g^ebttnden (g«.boon'd«n), G, i. Tied.
S« Dissoiuuis. Aprepared (and tied)
issonance* g« Spiel* Legato-play-
inff. 8^. Stih Strict, connected style.
2. Vide FBBTTED.
Geburtalied (gi-boorts'let), G, Birth-
day-isong:.
gediickt(g«-dilkt'), g:edeckt(ee^«kt'),
G, Stopped, of pipes. Gedackt-
sthimiea. Stops with covered pipes.
G.'4dte. Stopped flute, in an organ.
ged&mpft (g£-d^mpft), G, Muffled,
muted.
gedehnt (ge'diat'), G. Lengthened,
slow.
Gefiihrte (gS-fir'-tS), G. Answer (in
fugue).
Gefallen (g^.fiinfn). Pleasure, nach
G. Ad libitum.
gefkllig (g^.f&l'lYkh), G. Pleasing(ly),
agreeably.
Ge&del (g«.fe'd£l), G. Fiddling.
Gefllhl (gj^-fnr), G. Feeling, expres-
sion, mit G. or gefUhlvoU. With
feeling.
gegen (gft'^khto), G, Against, con-
trary, contrasted with. G.-bewegimg
ge-vikh'-KXMigk). Contrary motion,
.-fuge. A fugue whose answer is
«n faivcrsion of the subject. G.-ge-
sang. Antiphony. G.-hall, Ct.-
•cball^ Resonance, echo. G.*b«r*
moaie. Counter-subject in fugue.
G^genpisnkt (poonkt). Counter*
point. G.-satz. i. Contrast, s. A
movement. G.-etimme. i. Coun-
ter-tenororalto. 2. Coimter-subject.
3. Any contrapuntal part. g.*8tim-
mlg. Dissonant. G.-subjekt* Coua-
ter-4ubject, in a fugue.
gegit'tertes B. B. cancellatum, videB.
geSead (gft'.£nt), G, Andante.
Gehdrlehre (g^-har'-la-ri), G, Acous-
tics, gehorspielen. To play by ear.
Geig;e (gr-kh«) (pi. en), G. VioUn.
geigen (gf'-khen). To play on
the violin. G«*blatt. Finger-board
of a violin. G.-bogen (bo'khn).
Bow. G.-daTlcymbel or G.-kla-
▼ier. Bow-piano. G.-futter (foot'-
ter). Case for a violin. G.-hala*
The neck of a violin. G.-hara
(harts). Resin. G.-holz (h61ts), O.
Wood used in making violins. G»-
macher (makh'-^r). A violin-maker.
G.-principal. A diapason stop. G.-
•aite. Violin-string. G.-sattel, G.-
steg (stakh). Bridge of a violin. G.-
schule. A violin method. G.-strich
(stiikh). A stroke of the bow. G.-
stttck. A comp. for the violin. G*-
werk. I. Piano-violin, s. A 4-ft.
organ-stop. G.-'wirbel (ver'-bel). A
violin-peg. G.*aettel (ts«t'-t«l).
The violin-maker's label. G.*Sttg.
A violin-stop. Geiger (gl'khdr). Vio-
lin-player.
Geitt (gist), Gr. Spirit, soul, mind, ge
nius. g.*reich (rikh), g.-roll (fol).
Spiritual. Geisterhaiie. i4!:oliao
harp. geittlich. Ecclesiastical,
sacred. G.-gesilnge. Psalms, hymns.
Geklingel (gd-klYng'-dl), G, Tinkling.
gekneipt (g£-knipt ), G. Pizzicato.
gelatsen (g£-las'-sen), C7. Calm, quiet-
ly. G.-heit (hit). Tranquillity.
geUiufig (ge^-ll'flkh), G. Easy, rapid.
G.-keit (kit). Fluency, ease.
Gelilnt (gMit), G. A peal.
gelinde (gMIn'-de), G, Soft, gentle.
Gelindigkeit. Sweetness.
gelien (g^'l^n), G, To sound loudly.
G.-fldte, G. Clarinet.
Geltung (gdl'-toongk), G, Value, pro-
portion (of a note).
gem&clilich (g^-mekh'-llkh), gemach-
sam (g«.mftkh'zam), G. Quiet(ly)>
calm slow.
gemUhlig (gS-ma'Ukh), G. Gradually.
gemlUsigt (g£.m«s-8lkht), G. Mod«
erato. gemes'aen. Measured, mod-
erato.
DICTIONARY OF TERMS 145
Gemisch (g^mTsh'), G. Mixture (of
stops).
Gemshorn (gtes'-hdrn), (7. r. A pipe
made of a chamois horn. 2. A stop
with tapering pipes, 2, 4, 8-ft. on
the manuals, i6-ft. on the pedals.
G.-qniate. A quint-stop of this
class.
Gemttt(h) (ff^-rnQt), G, Mind, souL
flremiitiicn(llkh). Expressive.
genera, plural of ^nns (q. v.).
I^enerai (ga-n^-rSn, G, General. G.-
bass Oir&.n«.rai'.bsis). Thorough-
ba8S« G.-b.-schrift. Thorough-bass
notation. G. -pause (pow-ze). A
rest or pause for all the instrs. G.-
probe. A general rehearsal.
I^en'erator, E. , s^^n^rateur (zhS-n&-r2U
tftr), F, Root, fundamental.
I^enere (]&'-n^-r<f), /• i. A mode or key.
a. A genus.
genaro^ (ji-n^.r6's9), /. Noble, dig-
ni6ed.
genial'ia, Z. Cvmbals.
g^nie (zha-ne), A., Genie (s:&^n€), (7.,
gesio (j&'-nT-d), /• Genius, talent,
spirit.
genooill^re (zhlin-wY-^ili), /*. Knee*
lever.
genre (zh&Ar), F, i. Style, g. ex*
pressifl The expressive style. 2.
Genus, as g. chromattque, g. dia*
toniqne, g. enharmonlque.
gentil(le)(zhSn-te(l)), /*., gentile (jen-
t£'-ld), /. Graceful, elegant, gentl-
leaza (IM'-zil), /. Refinement of
style. gentUmen'te. Gracefully.
ge'nns, pT genera, Z. t. Greek clas-
sification of tetrachords. Vide modes.
2. A scale or mode. 3. ^Class. g. in«
flatile. Wind instrs. f. percutsl*
bile. Instrs. of percussion, g. ten-
sile. Stringed instruments.
gerade (g«-rr^£), G. Straight, reg.
alar. G,-bewegung (be-valEhoong).
Similar motion. G.-taktart or ge-
rader Takt. Common time.
German. Vide fingering, flxtfe. G.
pedals. Pedal key-board. G. scale.
A, H, C. D. E. F. G. (Vide h.)
O. sixth. Vide altered chords.
C aoprano det Vide clef.
Ges (g«s), G. The note G flat Gs«
ses (g^s'-te). G double flat
Gesang (g^zftng^), pL Gesttngt
(ze^ngiS), G. Song, melody, air. G.«
bncn (bookh). Song-biook. G*«
knnst. Art of song. G.*(*)ni^'*iS
(m£s-slkh). Adapt^ for or congenial
to the voice. G.-igmppe(groop-pe)»
Seng-group ; the second subject of a
sonata formula, which should be lyri-
cal in nature, g.-sweise (vT>se). In
the style of song. G.-TSrein (f^«
Tn). A choral society.
Geschlecht (g^-shl^kht'), G. Genus.
geschleift (g^f-shllft'), G. Slurred, Is-
gato.
Geschmack (gMhmftks), G. Taste.
g.-Totl. Tasteful
geschwilnste Noten (ge^-shvtets'tf-^
no't£n), G, Notes with taila
geschwind (g«.shvlnt'), G, Qolck,
rapid. G.-igkeit (kit). Rapidity.
Geschwindmarsch. A qulck-stepL
Ges-dnr(g8s^ioor), (7. Major. Gesss
(g^s^), G. G double flat.
Geslcbt (ge-cYkht')i G. Face,fmttt(ef
anotgan). G.-spfeifen. Front pipes.
Gesinge (g^-zYngQ, G, Badnng-
ing, sing-song.
gesponnen (g^-shp6n'-n^n),^. Spaa.
gesponnene salte. Covered stnng.
gesponneaer Ton. A tone drnim
out to a mere thread.
gesteigert (g«-8htr-kh«rt), G. Ct^
cendo.
gestossen fr^-shtds'sCn), G. Sepa*
rated, detached.
geatrichen (g£-strYkh'te), G. i. Hav.
ing hooks (as notes). 2. Having
lines or accents, as ein^, Oktave^
one-lined octave. Vide MTCH. J.
Crossed, as a numeral, raising the la-
terval a half-tone. Vide chord. 4*
Cut, as a movement or scene.
get'em, get'ron. The cittern.
get(h)ellt (g«-tllt'), (7. Divided. Vide
DivisT. g. Stimmen. Partial stop*.
Getdn (g^-tftn), G. Clamour.
getragen (gef-trfi'khfo), G, Sustained.
getrost (g«-tr6st'), G* Confident
gewlditig(ge-vtkh'-tTkh), G, Heavy.
gewidmet (g^vet'-m«t), G. Dediostad.
146
THE MUSICAL GUIDE
Gewirbel (g^-v^r'tfi), G. RoU of
drums.
gewiss isfi-ytiskX G. Firm, rare. G*-
heit (hit). Firmness.
gewortener Strich (g^vdrf-ifn^hr
stxtkh), (7. A springing bow-stroke.
Vide BOW.
gesiert (ffS.tsirt'), G, Affected, prim.
geyta'ral. Eastern guitar*
gmuter, Arab, A piece with simple
recurrent theme.
ghiribisxi (ge-ri.b£d'-zt). /• Unex-
pected intervals, fantastic passages.
ghiribixxo'to. Fantastic.
ghironda (ge-rdn'-dfi), /. Hurdy«
^rdy.
ghit'tern. Old name for cittern,
gicheroso O^-l^^-r&'-sQ), /. Merry,
gip Oe'^).yM gigtte (iheg), F.,
Gigna Qrg«), C. i. Jicr. 2. Old
form of viol, gtghardo (jc-g^-dO),
/. A jig.
gigelira 0^-S^-tl'<^)t /• Xylophone.
gmg^latnSfging'ras.orgingn'iuu A
small Phoenician flute.
gioco (]6'.k5), /. A joke, merriment
giocosQ, giocotamen'te. Jocose-
(ly). gio€heTole(j&-ka'vo-lQ. Merry.
giocolarmen'te. Merrily.
giocondo (j^kdn'-d6), giocondamen -
te, /. Chcerful(iy).
gioJA (ja'-yfi), /. Joy. giojan'te. gio-
Jo'tOv giojosamen'te. Joyful(ly).
gioTiale 0^vl-&'l^). /• Jovml. gio-
▼ialitit (Y.t&). Gayety.
giraffe (jY-r^)« An upright spinet.
giro (je -r6), /. A turn.
it (ges), G, G sharp. Gisis fg^
£s). G double sharp. Git-fflolI^G.
sharp minor,
gitana (he-t&'^fi), Sp. A gipsy.
gittana (jlt-tii'-na), /• A Spanish
dance,
git'tem, git'teron, git'troa. Cittern,
gitteth QYt't^th), Hib. An instr. of
the harp kind.
giubilazione (joo-t>Y-la^tsy-o'nQ, gin-
billo qoo-bMe'^), eiubilo (joo'bY.
15), /. Jubilation, giubbilo'so. Ju-
bilant
gincante (joo-k&n'-t^), giucheTole
. ^ioo-kft'-Y5-lQ, /• Meny.joyfuL
giullTO (joo-I^V5), gittliTamen'te, /•
Joyful(ly).
giuoco (joo-6'k6), /. I. A joke, sport.
2. A stop, giuoco' 80, finiuocan'te.
Playful.
giusto (joos'-to), /. Exact, precise,
proper, tempo g. Strict time.
alleero g. Rather fast, giusta*
men te. Strictly.
given bass. A figured bass.
glais (gl£), F, The passing-belL g.
funibre. A knelL
gliinzend (glen'-ts^nt), G. Brilliant
glapissant (^l&.pYs-s&A). F. ShrilL
Glas'harmonika, G, Vide harmonica.
glasses, musical. Goblets tuned by
gartial filling with water and played
y rubbing Sieir edges evenly with a
wet finger.
glatt (glat), ^. Smooth, even. Gl&tte
(gUt t£). Smoothness.
glee. An unaccompanied secular comp
for three or more voices ; its mood may
be grave or gay, its counterpoint is
not usually elaborate.
gleich . (gllkh), G. Equal, alike
consonant, gleicher Klang. Con*
sonance, unison, gleicher Kontra*
punkt. Equal cpt gleichschweb*
ende Temperatur (shva-b^n-d£).
Equal temperament, gleiche Stim-
men. Voices of the same sort, at
maU, gleichstimmig (shtlm-mYkh).
Harmonious.
gleiten (gll't^n). G. To glide the fi»r
gers.
gli(Ie), /. PI. The.
glicibarifona ^le-che-ba-ti-fd'-nS), /.
A wind-instr. inv. by Catterini, 1827 ;
a small expressive oigan.
glide. Portamento ; glissando.
^Ucd felet). G. Link,
glissade (glYs-sSd), /*., ^^lissan'do,
glissato (glYs-sii'to), ghssican'do,
glissicato (k&'to), /., p^lissement
^les-man), F Gliding, i. e., by slid-
ing the finger quickly along the keys
or the strings ; in piano-playing it
is done with the finger-nail usually,
glisser (glYs-sa), F., glitschen (glYt'«
sh^n), G, I. To glide. 2. An enii
bellishment executed bT gUssandi^
DICTIONARY OF TERMS 147
f:lissez lapouce (gUssa IS-poos), F.
lide the thumb.
Glocke (gldk'«), G. A beU. Clock-
engeliLute (glok£n-g5-iI-t£). The
rinpring or chiming of bells. Giock'«
enist. Bell-ringer. G.-klang. The
sound of bells. G.-spiel. i. Chimes.
2. A stop imitating bells, or causing
them to tinkle. 3. An orchestral
instr. of bells or tuned steel rods
struck with a hammer. Gidckchen
(gldk'kh^n). A little bell, giock-
eln (el£k'-«ln). To ring little bells.
Glockner (gldk'ner). Bell-ringer.
Glockleinton (gl6k'-11n-tdn). An
OTgan-stop of very small scale and
wide measure.
Glo'ria or Gloria In excersis Deo,Z.
" Glory to God in the highest," Vide
MASS and doxology.
Glo'ria Pa'tri, L, "Glory to the
Father." Vide doxology.
^lotte (gl6t), /*. The glottis, coupde
^. (koo dfi). A short snappy attack
sought by some vocal teachers, but
generally believed to be pernicious.
glottis (glat'tis). I. The upper part
of the wind-pipe, an aperture in the
larynx controlling vocal production.
2. A reed used by ancient flutists.
plfihend (gla'^nt), G, Ardent, glowing.
G-moU (gi-mol). G minor.
gnaccare (n§k-ki'-ra), /. Castanets.
gnacchera (nilk-ka rS), /. A tambou-
rine, kettle-drum.
gnomo (no'-mo). In neumatic nota-
tion, a long bar used to indicate a
sustained note.
goathorn. Vide Gemshorn.
gola (g5'm). 7. I. Throat, a. A got-
tural voice*
goU trompo. Trumpet used by Danes,
Normans, etc.
Gondellied (gdn'd^l-let), (7., gondo-
liera (g6n-ddl-ya'ra), /., go&doiier*
song. Song composed and sung by
the Venetian gondoliers ; barcarolle.
2. Music in the same style.
gon'dolin. An instr. ot the zither,
class with four octaves of strings and
one octave of piano-keys above them.
The pressure of one key submits
one tone in all its octaves to the
sweep of the plectrum. Chords can
thus be played in different post*
tions.
gocg. A Chinese Instr., a circular
plate of metal struck with a padded
stick. Also called tam-tam.
goose. A squawk accidentally occur*
ring in the tone of an oboe or other
reed instrument.
gorgheggiare (g6r-g«d-ja'r«), /. To
trill, shake, gorjrhegg^ameii'to.
Trilling ; the art of florid song, g^r-
gheggio (^^d'jo). A trill, a shake.
gorgneggi. Rapid vocalises.
gos'ba. An Arabian flute.
gospel side. Vide epistlb side.
go'to. Japanese dulcimer.
rottesdienst (g6t't£s-denst), G, IH-
vine service.
gout (goo). F, Taste, judgment
governing key. Principal key.
rrabgesang (grap'-gd-zang), G, lied
(let), G. Dirge.
Grace.
By the Editor*
ONE of the innumerable decorative details of melodic progressioii*
Grace notes are musical parasites borrowing their entire sustenance
and duration from .the note to which they are tied by a slur. They
arc consequently vitally aflfected by the rapidity of the tempo. They are
aimost invariably u'ritten small, and are frequently abbreviated, or indicated
hy some form of musical shorthand. It is to be noted in playing old music
that the flppoggiatura was written small merely as a bit of academic hypocriasf
148
THE MUSICAL GUIDE
Modern Graces.
Acciacatura, or Short Appog-
giatura, I. and B. Km zer v or-
schlaj; or Zusaminen<tt-i)la>^ G
Pince <5touff^, F. (^ometimes
struck simultaiitiuusly and in-
stantly released.)
Long Appoggiatura, Lander Vorschlag or Vorhalt.
(Wniten small but taking us full value!)
Written.
Played.
J-
^^i:^i:^ti^^igi
e4
etc.
i^r+n^Ng^
Double Appoggiatnra, or Slide, B. Anschlag, or
Schleifer, or Schneller. G.
Unaccented Appoggiatura, or
After-beat. Nachschlag:orNach-
sclileifer. (Also double N.)
Written.
Played. :
^^=^pg
Shake, or Trill, E. Trillo, I. Trille, P. Triller, G. [Old abbreviations, /, -f , (»**', {^^
»*^, eic.J (The leng^th of the trill varies with the length of the note and the tempo.)
/r
AAAA^AAA
/r
Written
1^
AAAAAAAAAA>UV%
/r
AA^^<Wl<^<>^V»AJW\A
^
i
Begun on the Begun on the With After- xsn^u « ^u^^^-«t^ -.•««
principal. auxiliary. beat. With a chromatic Bign.
Played.
Chain of Trills, B. Catena di trilli, I. Trillerkette, G.. (May be with or without tho
afterbeat, at discretion.)
Written.
i
a-.
t
Played.
a
or
mj€: m%^.-:^£:j^ .^.^Ji^.^^.^.^^-^^^
DICTIONARY OF TERMS 149
The Mordent, E.
Mordent or Beis-
Tbe PAsslnf Shake, or Inverted Mor- ser, G. Plnc6, P. The Double Mordent (dop-
dent. Frailer, Pralltriller, or Schnell- [Old signs, ♦!♦, peiieM;pinc6doub1(i). Giveu
here wiih a chromatic.
cr, G. Pinc6 renvers^, or mordant, F. or '.J
Written
m^i^mm
or ( in fast tempo.)
Played.
The Tarn
, E. Doppelschlag, G. Croupe, F. Gruppetto, I
M or 2 now used for back-turn,
(tf) With sign over the note. (A) With sign following a note.
tto, I. [Sign, Q^ or '^i formerly
e^
Written.
m
^iE^-
^d
^1^
^d
Played
■ *— * j-i4>
rf-*-
With chromatic sign.
Back turn.
2 or
Double turn.
Written.
Played.
"?s:
m
Written.
tzt
Old Graces.
\fhose used in Bach*s works from kis own explanation.)
Trillo and Double or
Trillo. Mordant. Mordant. Cadence. Doppelt Cadence.
^^^ aan|v ^ (♦♦♦
A^
1
3
played.
"-^^-^'f^f^
Doppelt Doppelt Cadence Doppelt Cadence Doppelt Cadence
Cadence.
w
Written.
and Mordant.
and Mordant.
(♦H*
m
w*
and Mordant.
-^t-
Itit.
^
Played.
150
THE MUSICAL GUIDE
Accent Accent
Bteigend fallend Accent and
(a8cenaing).(descending). Mordant.
a}v
Accent and Trlllo. Accent a&d Triho
Written i-e=:r|^ - i^---^~^^ --- -"
0-t
m
Written
From (JouperiH^s List (1713)
Pinci simple. Pincfe doubli.
X
XL.
Port de
voix simple.
A-
5=t:
Port de
voix coal6.
-I-
P..,ed. ^
■■SF*
rinr^<" ,'ps:
^mmmA
t=x
3Z=d-
:g-3».
^^^
1
Port de voix Tremblement ap-
double. puy^ et Wk. Tremblement ouvert.
Written.
^^
?=--
1 — tJ-Fj--
:*:iiff:
4 fe*-
|^~ gs -
-J-,--
Played. t-^j^-- gr
It:— B^=:
1:
I
Tremblement firmi
Written, ^n-z-— gZplii^f^ --||r fz:
Tremblement li^ sans
Hre sppuyft. Tremblement d^tach^.
:?^^Eii^
t^=x
t
Played.
■.L.P^^^!L-il^
Written
Arpigement Arpigement
Accent. en montant. en descendant. Pinc6 di^sfc. Pinc&s b^mollis^s.
^v
i^g?' M-^-B ii=ff^S - ?^
Flayed.
^
I
&-J
.»
DICTIONARY OF TERMS 15*
Pinci continu.
Tremblement eontlnu.
VTrittcn.
Flared. ir^''''TffrW£SsteU£eSs£eL
Coul^a. dont lea points marquent
que la scconde notct de chaque Tierce coutto Tierce coulee
tempe dolt 6tre plus appuy^. en montant. en descendant. Double.
Written
m=^^^^^^m
(Slurs whose dots indicate that the second note
of each beat sliould be more dwelt upon.)
Played. |
^i^^t^m
Aspiration.
^=j-
Written. :-X-^ ^ M
51-^1
UnSsson.
r'ayed.
^g^^E^J^r^^^Z-^
^ !
Suspension.
/'rom Rameau^s List.
Cadsnce.
/W
Written. :
i. - >-
C^de'^ce appuyie. Double Cadence.
Plnci.
E^
Hayed.
^mm
^m --
1
-z-jzo^ttaaA
Port de voix. Coul6s.
Son Suspen-
Pinc^ et port de volx. coupi. slon.
I
.Htun i^Lj'^^^^^^m^^^^^^^
rt.r.d. £:gE^^SE^ife^g^ppSgfffl=g^^il^^
*
152 THE MUSICAL GUIDE
Arp^ffemtnt simpte. Arp^gement figurt.
Written. E:=S " = ---=&
mi-
I
Played
Ifl^
K— ^p
S^PpilEiip^
Cadence 116e.
Pinc« 1I«.
Liaison.
Written
•^
I:
:S2):
ZZZtZTZ-
^■rrrp
t-r-^-
( ! I grt=^
Played. t-|:
fisat
j^
* ^ ■' " I 1 i I It I " — ■*#
r
m
Additional Graces {Obsolete),
Written.
Acciaccaturas. Appofglaturas. BackfiallB.
or . I ,
Played.
^g^gpS^^
Backfall.
9
Written,
'■^^
Double Backfall. Sbaked Backfall. Balancement.
9»
m
Played.
Cadtnt.
Written, b=r
Shaked Cedent.
• I-
;^f=3^ii-Eff--
__:Z^z::=Hz:t?_l±:
"5-
Chute. Chute et Pinc6.
Hayed. :
^i^i^^^p
DICTIONARY OF TERMS 153
CouM.
Written. : — a—
^
=ff
Double Burune tierce. ^^SiffjiiJrj.^^'P- PreUenderD.
Ji^:z3^iz^
pel eehleK'
tip:
m
♦»laycd L — J^
variously.
^^l^i^^fi^F^-^
Elevation.
WTritten. ^51-*^2z
Shaked Elevation.
Martellement
•imple.
#^^-g-:^-=^g^^'^EZigzg:^
p'«y«<»- ^£3?^^S^^^fe
3^^^
Triple.
V V V
Written
.^-5^
Single Relleb. Double Relish.
f ':: or fl
Played.
Slides.
or
Springer. Plain Beat.
Shaked Beat.
*ritte„.l^^:^^Pf:=-i^Zi^^:^J??=*#^g^^
Played.
-^ — m^ > *,
^.7^i?S^
-I v^^= — ^ —
Written
Passing Shake. Beat.
Trill with Trill without
Appoggiatura. After*beat.
1^
riaycd £^^**^
I ^..\-^^-^m
»54
THE MUSICAL GUIDE
to smuggle in thus an unprepared suspension. Though written small it wa«
given one-half (sometimes only a third) the value of the note it was bound
to, and two-thirds of the value if the note were dotted. ^The Chart
gives first the modern graces, as written and executed, then a series of old
graces made up from Bach's own list, and from those of Couperin and
Rameau. ^Composers who desire to escape the wide diversity of interpre-
tadon put on all grace-abbreviations are coming, more and more, to write
their ornaments out in full, a procedure for which there v every reason but
the one of laziness.
Grad (grat), G. Step, degree.
gradare (d^'re), /. To descend by de-
grees.
grada'tion. A series of diatonic chords
ascending or descending.
gradation (gr&-dfts-y6fi), A, gradazi-
one (gra-da-tsl-o'nS), /. A gradual
increase or diminution of speed or
volume.
gradevole (grS-da'-vMC), gradevole-
men'te, /. Graceful(ly). gradita-
men'te, graditis'simo* Very sweet-
ly*
gradire (gra-de'-rQ, /. To ascend by
demes.
Gradleiter (grit'-II-t^r), G, A scale.
grado (gr&'-do), /. A degree; single
stepi g. ascendente (or descen-
dente)* Ascending (or descending)
degree, di grado. Moving by step,
opposed to di salto, moving by skip.
grad'ual, £„ gradua'le, L. i. Part
of the R. C. service sung between the
Epistle and Gospel, anciently sung on
the altar-steps. 2. A book contain-'
ing the gradual and other antiphons.
The Roihan G or Graduate Koma-
num. A celebrated ancient volume
of ritual music of the i6th century.
3. gradual modulation. That m
which the principal modulating chord
is reached by others.
gradualmen'te, graduatamen'te, /.,
fraduellement (grad-a-£l-man), F,
y degrees.
graduare (gra-doo-a'r5), /. To divide
into degrees, graduazione, /. Vide
GRADAZiONE. gradwclse (grat-vl*
se), G* GraduaUy, by degrees.
gra'dus ad Pamas'sum, Z. "The
road to Parnassus.** Name applied
by Fux to his text-book in counter-
point ; by Clemend to his book of
etudes ; hence, any text-book.
graha (gra'-ha), Hindu* The open*
ing tone of a song.
grail (gral). £arfy £» The Roman
gradual
graillement (grif-yH-mfiA), /• A
hoarse sound.
grammar. Rtdes of composition.
grammatical accent. Vide accent.
gran (grin), /• Great, grand, g.cassa
or tamburo. The great, or bass-
drum, g. prova. Final rehearsal.
grand. Abbr. of Grand piano. Vide
PIANO, g. action. The action of a
grand piano, grand opera. Seri-
ous opera in which there is no spoken
dialogue, g. stave. Vide staff, g.
choir. Union of all the reed-stops.
g. comet. i6-ft. reed-stop. g. so-
nata. An extended sonata.
grand(e) (grilfi(d)), A, grande (gran'-
d«),/. Grand.great. g-barr^,/: Vide
I)arr£ g. bourdon. A 32-ft. stop
on the pedal, g. chantre (shantr).
Preceptor, g. choenr (k&r). Full
organ, all the stops, g. orgue (grah-
dorg). I. Great organ. 2. Full or-
gan, g. jeu. I. Full organ. 2. A
stop bringing all the stops of an har*
monium into play. g. messe. Higb
Mass. g. mesure a deux tempSf
Duple time, k, orchestra (graft-
ddr-k^str). FuU orchestra.
grandeur Og^r^n-dfir), F. u Grandeur*
3. Width (of intervals).
DICTIONARY OF TERMS 155
grandessa (grin-did' -zS), L Grand*
eur.
grandio'so, /. Noble, grandison-
mn'te. Sonorous.
grandsire. Changes on 5 bells. Vide
DOUBLE (4).
granulato (gra-noo-Ia'-to), /. Slightly
staccato.
grappa (grap'pa), /. Brace.
grasseyer (grfts-sii*ya), F, To pro-
nounce the r ox I thickly ; hence,
grasseyement (gris-ya-man), such
pronunciation.
Gra'tias ag'imus, Z. "We give
thanks to Thee.** Vide mass.
gratioso (gra -tsi-o'so), /. Gracious.
grave (grji'vi in /. y in F, grftv).
I. Grave, deep, slow. 3. A slow
moyement. grave harmonics.
Combinational tones, gravement
(gr&v-miiii), F. gravemente (gra-v£-
mdn'td), /. Gravely, gravezza (gra-
vW-za). /. Gravity.
gravlcembaio (grft-ve-cham'-bft-ld), /.,
gravicem'bolo, /., g^avecem bal-
mn, L. Harpsichord.
gra'vis, L, Heavy. Vide accentus
ECCLRSIASTICI.
gravisonaii'te, /. Loud-sounding.
graviU (grS-vI-ta),/., Gravitiit (grS-
fe-tat'), C7., gravity (gril-vT-ta), F.
I. Solemnity. 2. Relative depth of a
tone.
grayle (gral). Early E. The " Ro-
man gradual.*'
graxia (grits'-yS), /., grazie (grslts-
ya), G, Grace, elegance, grazids
(grsl-tsT-as), (7., grazio'so, /. Grace-
ful, graziosamen'te. Gracefully.
greater. Major (of a scale, sixth, or
third).
great octave. Vide fitch, ^reat
organ. Vide organ, great sixth,
A 6-5 chord with perfect 5th and ma-
jor 6th.
grec (griSk). F. Greek. Chorus h la
C, A chorus at the end of an act, as
in Greek tragedy.
Greek Modes and Music. Vide
MODES.
Grego'rian, gregorianisch (gr^-go-rK*
u-1slO» G,^ gr^gori'ano (gr&-gd-rX-
&'no), /., gr^gorien (gra-g6-ri-a<i). F.
Introduced or regulated by Pope
Gregory I. in the sixth century (vide
his name in the B. D.). Chiefly
used as a synonym for plain-chant.
Gevaert in his " Les origines du chant
lyrique,'* 1890, has shown how little
reason there is for continuing the tra-
ditional view of S^. Gregory as a
great innovator ; he may have been a
codifier of music. Much credit be-
longing to St. Ambrose has been
given to him ; he did not originate
the notation by letters (a*g), some-
times called the Gregorian Utters,
The so-called Gregorian chant or
song is diatonic, without definite
rhythm (the words dictating the me-
tre) and keeping to the Church modes.
Of Gregorian chanty modes ^ tones,
etc. Vide plain-chant, and modes.
greifen (grl'-f^n), G, To take, to
finger, to play; to stop (of violin-
playing) ; to stretch.
grel (gr«l), G. Shrill. G.-heit (hit).
Sharpness.
srelot (grd-lo), F. A small bell.
Grift (grlf), G, Touch, manipulation,
fingering, stretch. G.-brett. Finger-
board. G.-loch (lokh). Hole (as of
a flute). G.-saite (zl-te). A stopped,
or melody, string as opposed to a
sympathetic string.
griilig (grir-llkh), G. Capricious.
gringotter (grftn-go-ta), F. . To hum.
grisoller (gre-sd-la), F, To warble.
grob (g^op), G* Coarse, deep, broad.
As a prefix (of organ-pipes); ''of
broad scale.** G.-gedackt. A
stopped diapason of full, rough tone.
grop po, groppet'to. Vide gruppo,
GRUPPETTO.
gros (gro), y^ Great, g. tambour.
Great drum.
gros-fa (gr5-f&). The old square nota*
tion.
gross (gros), G., grosse (gros), F,
Great, major, grosse caisse (grds
k«s), /^ The great drum. Grosse-
nazard, G, A stop a fifth above the
diapasons, grosse Oktave. The
great octave. Vide pitch, grosse
156
THE MUSICAL GUIDE
Quinte, grosses Qointenbass. A
stop in the pedals, a fifth or twelfth
to the g^eat bass, gprosse Sonatc.
Grand sonata, grosses Principal.
A 32-ft. stop, grosses Terz. Ma-
jor third, grosse Tierce. Stop
producing the third or tenth above
the foundation-stops. g;rosse Trom-
mel. The great drum, grossge-
dackt (g^'diikt). Double-stopped
i6-ft. diapason.
grosso (grfts'-so), /. Full, great,
grand.
Grossvatertans (grds'fa-t^r-tSnts), G.
** Grandfather's dance " ; an old-fash-
ioned dance.
grottes'co, /. Grotesque.
ground bass. Vide base (8).
group. I. A series of short notes tied,
or sung to one syllable. 2. A divis-
ion or run. 3. A set of instruments,
as the brass. 4. The arrangement of
parts in score.
Grund (groont), G, Ground, founda-
tion. G.-akkord. An uninverted
chord. G.-bass. Fundamental bass.
G.-lage. Fundamental position. G."
ton. Root ; tonic. Fundamental of
a compound tone. G.-tonart. The
prevailing key. G.-stimme. The
Dass part.
gruppo (groop'p6), /. A group, for-
merlv a trill, shake, or turn, grup-
pet'to. t. A small group. 2. A turn.
G-Schlttssel (ga'-shlUs-s«l), G. The
G clef. Vide clef.
guaracha (gwa-ri'cha), Sp. A Span«
ish dance, with one part in triple and
one in 2-4 time, the dancer often
accompanying himself on the guitar.
guaranita (gwH-ril-ne'-ta), Sp. A small
guitar.
Guamerius. Vide the B. D.
guddok (goo-ddk), Rus. A 3-stringed
violin.
gue. An obsolete Shetland violin with
2 horsehair strings played 'cello*
fashion.
g^uerriero (goo*<fr-rl*a'*r6), /. Martial.
guet (gi?), F. A trumpet fl6urish.
guia (ge'*&), Sp, Fugue; conductor;
leader.
guida (goo-e'-di), /. (a) Guide i, 2, 3.
(b) Vide PRESA. (c) Also, a tone
through which the voice glides in
singing an interval legato.
guide. I. Subject, of fugue. 2. An-
tecedent of imitation. 3. A direct.
guide (ged), F. Guide z, 2. guide-
main (m&n). A chiroplast, inv. by
Kalkbrenner.
giidon (ge-d6n), F, A direct,
uido'nian. Relating to Guido d'Arez-
zo. (Vide B. D.) G. hand. A diagram
on an outstretched left hand of the
Aretenian syllables. Vide solmisa-
TION.
guil'tern (gTl'-tern). Cither.
guimbard, guimbarde (gftn-bftr(d)), F.
A Jew's harp.
gruion (ge'-5n), Sp, A repeat sign.
guitar, j^., guitare (g!-t&r), /:,guitar-
ra (g«-tat^r«), Sp, , Guitarre (gf-tfir'-
r£), G, A modem form of the lute,
long-necked with frets ; six-stringed ;
compass E*a" (plus an octave of
harmonics). The accordature is £-
A-d-g-b-e' (or E-B-e-g-b-e'). Its
music is written an octave higher than
it sounds, g. d 'amour. Vide arpeg-
GiONE. g. lyre. A French six-
stringed Instr. of lyre-shape.
guiterne (ge-t«m), F, Ancient guitar.
Sii'nibry. A 2-stringed guitar.
unst (goonst), G Grace, tender-
ness.
guracho (goo-ra'-cho), Sp* Vide guar-
acha.
gusla (goosh'-la)* Servian i>stringed
instr. with skin sound-board.
g^sli, gussel. A Russian zither.
gusto (goos-to), /. Taste, expression,
g^an g. The grand manner, gus-
toso (goos-to'so), gustosamente.
Tasteful(Iy).
G-ut. Vide gamma ut.
gut. Strings made of entrails of sheep.
gut (goot), G. Good, gutdiinken
(dUnk'^n). At pleasure, g^ter
Takteil. Strong beat.
gutturale (goot-too-rfl'lQ, gpittural*
men'te, /. Gutteral(ly).
gyta'rah. Nubian guitar, g. bar*
barych. The Berber guiur.
DICTIONARY OF TERMS 157
H
H(In G. pron. )ifi). German
name for B-naiural ; B be-
ing reserved for B flat,
h. Abbr. for hom^ heel^
hand.
Habanera (a-ba-na'-rS), Sp, A dance
popular in Havana ; it is in 2-4 time
with the first eighth note dotted ;
syncopation and caprice play a large
part. Vide dance-rhythms.
Haberrohr(hA'-b«r-r6r), (7. Shepherd's
flute.
Hackbrett (h&k'-bHft), G. Dulcimer.
Jialb (hfilp), (?. Half, lesser. halbeAp-
plikatur. Half-shift. Halb-bass,
-cello, or yioline. A small double-
bass, *celio or violin. H.-violon. A
small double-bass, halbg^edackt
(g<!-d2kt). Half covered (of stops).
H.-inatrumente. Vide ganzinstru-
MENTB. H.*kadefiz or -schluss.
Half-cadence. H.*niofid. Crescent.
H.-note. Half-note, or H.-taktnote.
Hand-note ; in horn-playing, a
■topped note. H.^orgel, or -werk.
An organ with no stops lower than
8-ft. pitch. H.-prinaipal. An obso-
lete 4-ft. stop. H.-rttdenhorn. Vide
HIBFHORN. h.-atark. Mezzoforte.
H.-ttimme. A half or partial stop.
H.-ton, or halber Ton. Semitone.
half-cadence or half-close. Vide
CADENCE. ^alf-note. A minim.
half-note rest. A pause equal to a
half-note, half-shift. Vide shift.
half-step. The smallest Interval
used, half-stop. Vide stop.
hal'il. Vide khalil.
Hall (hfll), (7. Sound, clang, hallen
(hsri^n). To sound, to clang. Hall-
dronimete (drdm-ma-te) or -trom-
pete. A powerful trumpet.
hallelujah (hfll-l^-loo'yfi), Heh. Al-
leluia.
hal'linr. Norwegian country-dance.
Halmpfeife (pfl'K), G, Shepherd's
pipe.
Hals (hals), G. i. Neck (of a violin,
etc.). 2. Throat. 3. Stem.
Halt (hilt), G. A pause, a hold.
Hammer (pron. in G, hiim'm^r). i . That
part of the mechanism of a piano
which strikes the strings and produces
the tone. 2. Mallet for playing the
dulcimer. 3. The striker of a bell.
tuning^ h. An instr. for tightening
the pegs of a piano or harp. Ham-'
merklayier (kUL-fer), G. The mod-
em piano.
hanacca (ha*nak'-k&), /., hanaise
(iL-n«z), ^., Hanakisch (h&-na'-klsh),
G. A rapid polonaise-like Moravian
dance in 3-4 time.
Hand, hannonic. Vide guidonian.
hand-guide. Chiroplast. h.-har'
monic. Accordeon. h.-hom. On«
without valves or pistons. h«-organ.
A portable barrel organ (q. v.). h.^
note. In horn-playing, a stopped note.
Hand (hftnt), pi. Hande (h«nt'.«). G,
Hand. H.-bassl. An obsolete instr.
between viola and 'cello. H.-bildner
(or -leiter). A chiroplast. H.-lage.
Position of the hand. H.-stttcke.
Finger*exercises. H.-trommel. Tam-
bourine.
handle-piano. Vide barrel organ 2.
Harfe (hir'-f^), G. A harp. Harfen
bass (hjir7«n-bass). A bass of
broken chords. Harlensaite. Harp-
string. Harfenspieler. Harpist.
Harfenett. Vide spitzharfe. Har-
feninstnimente. Instrs. whose
strings are plucked. H.-lailte. Vide
DITAL.
Harke (hir'-ke), G. Fork for ruling
staves.
Harmo'nla, Z. Daughter of Mars
and Venus ; music in general.
Harmonic. As an adjective. Musical,
concordant ; relating to harmony (i. e.,
to chords, etc. as opposed to melody)
and to the theory of music. n«
chord. A generator and its harmon*
ics. (Vide below.) h. curve. The
figure described by a string in vibra-
tion, h. figuration. Broken chords,
often with passing notes, h. hand.
Vide GUIDONIAN. h. mark. A
small circle over a note to be played
as an harmonic, h. note, tone,
vide the noun harmonic, h. scale.
158
THE MUSICAL GUIDE
The series of parttals(vide acoustics).
h. stop. A flute or reed stop having
Its pipes pierced midway, so that the
harmonics predominate over the fun-
damental tone, hence h. flute and
h. reed, h, triad. Major triad.
h. trumpet. The sackbut.
As a noun (frequently used in the
plural). I. One of the many partial
tones that go to make up the com-
pound vibration we call tone, this
compound being called by the name
of its generator. (Vide acoustics.)
3. A vibrating string when lightly
touched at a nodal point (as that
of a half, 3d, 4th. or 5th, etc., of
the string's length) will vibrate in
divisions (3, 3, 4, or 5, etc.), each
division sounding the same tone
respectively an octave, a 12th, 15th or
17th, etc., higher than the string.
These produce a choir-like unison of
exquisite sweetness whose flutiness
has given them the name flag^eolet-
tones. These harmonics if produced
from an open string are called nat-
ural ; from a stopped string, arti-
ficial. Harmonics are called for by
the word flageolet or its abbr.^./ or
the ^otdsflautando, flautato^ ovfl^te,
or by a small circle (o) called the
harmonic-mark over the note to
be touched, or bv writing a black
note indicating the open string, a
diaknond-headed note above it show-
ing where the string is to be touched,
and a small note above to indicate
the actual sound. GraTO Harmon-
ics. Combinational tones. '* Prop-
erly speaking, the harmonics of any
compound tone are other compound
tones of which the primes are partials
of the original compound tone of
which they are said to be harmonics.**
— A. J. Ellis.
Rarmon'ica. i. An arrangement by
Benj. Franklin of musical glasses in
a scale, on a spindle turned by a
treadle. The glasses were moistened
in a trough, and as they revolved
melodies and chords could be played.
F» called his device armonica. 3*
The ^ month-harmonica or har*
monicon is a reed mouth-instr. pro-
ducing different tones when Uie
breath is inhaled and exhaled. 3. A
delicate stop. Harmonica-ithe-
risch (a'-t£r-Ish), G. A delicate mixt-
ure-stop, harmonichord. Vide
PIANO- VIOUN.
harmonicello (chfl'-lo). A 'cello-like
instr. with 15 strings (5 of them wire)
inv. by J. K. Bischoff, NUmberg,
18th century.
harmonici. Vide canonici.
harmon'icon. i. Vide harmonica. %,
A keyed harmonica with flue-stop, inY.
by W. C. Muller. 3. An orchestrion.
harmoni-cor, F, A wind-instr. with
harmonium-like reeds in a clarinet-like
tube, inv. by Jaulin, Paris.
harmo'nicum. An improved bando-
nion ; virtually an accordeon worked
with treadles, inv. by Brendl and
Klosser, Saxony, 1893.
Harmonie (hftr-m5-ne'), G, i. Har*
mony. 2. A chord. 3. (a) The wind-
instruments collectively, or (b) music
for them. h.-ei^n, Chordal ; appro-
priate or native to the harmony ; op-
posed to h.-fremd, foreign. H.-lehre
(la-r£). Theory of music. H.-musik.
Vide harmonie 3. H.-trompete. A
trumpet employing stopped tones with
success. H«-ver8tiindiger(f£r*sht«n'-
dYkh'*r). A harmonist. harmoni«
ren (hilr-m6-ne'-r*n). To harmonise,
harmo'nisch. Harmonious.
harmonist. One versed in the laws
of music.
harmonie (Xr-mfi-nc), F, 1. Harmony,
a. Harmonics, harmonieuz (fa^
m5n-yil'). Harmonious, harmonl-
eusement (yttz-m&A). Harmoniooa*
Harmo'nika, G. x. Accordeon. s.
Concertina. H.-t5ne. VideHARUOif*
ics.
Harmo'niker, G, Harmonici.
harmon'iphon« An instr. with key»
board, inv. 1837, by Panis, of Paris, to
supply the place of oboes in orches*
tras. The sounds are produced from
reeds acted upon by currents oC air;
DICTIONARY OF TERMS 159
harmontque (ii^m5-nek), F» Hai>
monic, applied to pipes of double
length.
harmoniquement (^r-m5-n&k-mSn)» F,
Harmonically.
harmo'fiiuiiu Vide reed-organ.
har'monise. To combine two or more
parts in accordance with the laws of
music ; to add accompanying chords
to a melody.
fuurmonometer. A monochord.
harmony, chromatic (or diatonic).
That characterised by chromatic (or
diatonic) progression, close h. That
in which the 3 highest parts do not
cover more than an octave ; opposed
to open, disperaedy or extended
h. compound h. That in which
some of the tones are doubled ; op-
posed to simple h. essential h.
(a^ The fundamental chords of a key.
(b) The harmonic outline stripped of
embellishment, figured h. That in
which the chord progressions are em-
bellished variously ; opposed to plain
or natural h., the common triad.
forbidden h. A chord whos< con*
struction or approach is contrary to
the rules of Harmony, suspended h.
That in which one or more notes is
suspended, pure h. (as of a string-
quintet). Opposed to tempered h.,
as of a piano. Vide temi^era-
MENT. strict h. That which is rig.
idly obedient to the rules; opposed
to free h. Two-part (etc.) h.
That in which two (or more) parts
appear.
Modem Harmony in Practice.
By a. J. Goodrich,
rNon.— >Many of the tcrmt toached upon here will be found tietted in men detiil
tbor names. — J?</.]
IN its broader sense Harmony embraces the origin and classification of
chords, their rearrangementy inversion, and progression ; modulation^
resolution, transition^ false relation, sequence, suspension, chromatic
harmonisation and other topics too numerous to mention here. Yet the
fundamental principles of harmony may be easily explained and readily under*
stood. ^We begjn with concords because they are most euphonious and
not subject to the somewhat complex theories of resolution. A concord or
consonant triad consists of a normal (<< perfect'') 5th and a major or minor
3d from the root. When the intervals stand in this order the lowest note
is the root, or the name-note of the chord. It would thus appear to th: eye
aii ttpon lines or all upon spaces : thus G h d form the chord of G
major. G, h JUt, and d^ would form the chord of G mbor. ^Every
major key bears six concords, the imperfect triad on the leading note not be*
ing a concord. ^The reader may now sound upon a piano or organ these
six concords, each in its first or root position. A^er sounding the first chord
and before proceeding to the next, ascertain the gender, — that is, whether it
IS masculine (major), or feminine (minor). These distinctions should be
uetermined by the auricular sense, and also by the visual sense. Practice
sad theory should be thus combmed. ^From the theory of scales and keys
i6o THE MUSICAL GUIDE
and intervals [vide these terms] the reader is supposed to know whether «
given chord represents a niajor or a minor key. The ist, 3d, and 5thy of'
every major scale form a major concord : the same numbers in a minor key
yield a minor concord. But it is still more important that the ear shall be
trained to distinguish between these genders, because music appeals moet
lUrectly to the auricular Acuities. '
Concords Classified.
When all the concords have been sounded and their characteristics recog-
Bised, they should be classified. How many major ? How many minor ?
Which degrees of the scale bear major and which minor concords ? ^Tech-
nical terms may be then applied : chord of the tonic, i ; chord of the sub-
dominant, 4 ; chord of the dominant, 5 ; chord of the super-dominant (reladve
minor of the tonic), 6 ; chord of the super-tonic, 2 ; chord of the mediant, 3.
In other words we have as elemental material, the chords of the tonic, sub-
dominant, and dominant (always major In a major key) and the relative
minors [vide RELATI V£j of these. This process should be repeated in all
the major keys.
Concords Rearranged.
A chord has as many close positions as it has letters. In the first position
the root is lowest. In the second position the root is highest, while the third
is below. In the third position the root is in the middle, the 5th being
below and the 3d above. ^At first the different position^ are to be effected
by rearranging the letters thus : C, e, g, root position of the C chord.
Place the Clast (an octave higher), and the second position will result e,g, C,
Now place the e last (an octave higher), and the third position will appear.
— g, C, e. Since no new element has been introduced it is evident that the
chord still remains and that C is the root. The capital letter serves to indi-
cate to the eye whether the theoredcal root is below, in the middle, or at
the top. (A distinction is to be made between these simple rearrangements
of concords and the actual intfersion of chords. Inversion comes much later. )
Every concord in the key is to be rearranged by means of letters, as indi-
cated, and the different positions are to be numbered in regular order i, 2, 3.
^The six concords are now to be rearranged on the key -board, 4ising the
letter schemes as a preliminary guide. After the six chords have thus been
played in their three close positions the process should be continued in other
keys without the aid of letters or written notes. ^Care must be exercised
not to add any new element to the tones of a given chord while its rearrange-
ments are being played. For instance, in the second position of the F chord
pupils sometimes produce the J minor triad by playing j, C, /, instead of
DICTIONARY OF TERMS 161
a, e, F* Sound all the concords in their three close positions in every major
key. (See Ex. i.) ^Also it is desirable to play the rearrangements in this
manner descending, as well as ascending. (Interesting examples in this style
may be invented. )
Preliminary Harmonisation.
The six rearranged chords in any given key are now selected as a guide.
These inust appear in noution. Every tone in the major scale of C is to be
harmonised with as many concords as contain the note to be illustrated.
This is to be accomplished at the instrument, i. Select c" (an octave
above middle r). This is a stationary tone representing, for instance, a *>prano
part. 2. How many of the six concords in this key contain cF (Examine
the chart of rearranged chords in C, always beginning with the first chord,
and ascertain how many contain r, — whether above or below is immaterial. )
3. What is the first chord that contains a r/ What position haa c at the
iy>p? 4. Play this. 5. What is the next chord containmg r ^ 6. What
position haa c uppermost? 7. Play this, keeping the same finger (5) upon
3d space {", 8. What is the third chord containing e? In what position
is c uppermost ? 9. Play this, the c being still in the soprano part, highest.
If this much has been correctly executed the following results will appear :
The C chord will be in its second position, the f chord in its first position,
and the jf minor chord in its third position, /, ^, r. Each chord is to be
sounded simultaneously, the letters which represent notes are read from below,
upward, therefore e, g, C, indicate that the chord of C is to be struck, C
being uppermost. Repeat the process at the piano : C chord, 2. F chord, I.
5 5 5
jf minor chord, 3. The fingering should be 2 3 3. (See Ex. 2.) ^The
I 1 I
Example II.
s
-^
"sszzaozar.
a.
I
a-
I etc.
second chord of the scale is now selected, and this is to be harmonically lUtis*
trated in the same manner, i . How many concords in the key of C con-
tain JF (Do not use the imperfect triad in any of these elementary exerciaes.)
s. What is the first chord containing d P 3. What position haa 1/ at the
l62
THE MUSICAL GUIDE
top ? 4. Play this. 5. What is the other chord having ^ df (Mention the
letter-name of the chord and say whether it be masculine or feminine. ) 6.
What position of the G chord has d at the top ? 7. Play it, then repeat.
In this manner every tone in the key of C should be harmonically illustrated.
Only the six concords in this key are to be used, though each one may be
played in any of its three close positions, according to circumstances. Trans«
pose to other major keys.
Simple Theory of Strict Chord Progression.
Any tone which occurs in any two different chords is called a connecting
fcne. Every connecting tone is played by the same finger in both chords or
song by the same voice. When there are two notes in common between two
chords in progression, the connecting tones are retained, or remain stationary
— ^tied or played by the same finger. (The previous elementary progres-
sions agree with this theory.) ^Now arrange a score of four staves, the
b^ss staff below and three treble staves above. On the first treble staff write
the progression C, F, A minor, keeping the coicnectmg notes stationary.
On the second treble staff write the C chord m its ntezt position above, ^, C, e*
Then write the F chord (with c in the middle) and the A mmor chord with
A and c tied from the preceding. On the third or highest treble staff* write
the C chord in its first position and proceed to make the same progression,
I. /., C to jF, and F to A, It is to be understood that the progressions on the
two upper staves are similar to those on the lowest treble staff*, 2 and 3 being
rearrangements of i • In each instance the same principles are to be applied.
Example III.
S^fflE;^za:
^^
^m
a.
To be played.
I
iS^y/a^Tsr
-t»-
Tscrssm^
<p ^p-
ea^^^g^^^p
I
(Each measure to be considered separately.)
i
i
is:
* Write an octave lower when the pants run too high.
For instance in progressing from the C to the F the connecting note (r) will
appear alternately in the soprano, mezzo-soprano, and contralto parts. When
the first measure is completed in the three treble parts, vertically, add the
roots in the bass staff* immediately beneath the treble chords. The bass part
DICTIONARY OF TERMS 163
fundamentally^ from root to root, while the treble parts progress
melodically, that is without skipping. Do not skip the bass part up or down
more than a ^tb. ^Proceed to harmonise d with the two concords which
accompany it : then write two rearrangements above. Observe strictly the
connecting-note principle. When the second measure is completed m the
treble parts add the roots in the bass as before. Every tone in the scale is
to be treated similarly — 2, 4 and 7 having but two chords each as accom*
ptnying harmonies. (See Ex. 3.) ^ After this scheme has been worked
oat on paper » choose another key and proceed to make a similar example at
the key-board, without the aid of notes except perhaps the rearranged chords,
which may be used as a chart. Continue this process in several other major
keysj until the progressions can be played readily and correctly.
Melodic Skips of a 30.
When the melody skips up or down a 3d the accompanying harmony
remains the same. In other words the melody skip may be accompanied by
any chord in the key which contains both notes of the melodic mterval. This
has been partially illustrated in the rearrangement of concords. Therefore
r and e may be accompanied by the C chord or the A minor chord, but not
hj both chords. When the melody skips, the bass remains stationary as a con-
necting note. Consequendy there is always a connecting note either above
or below in the present examples. A skipping theme is given and this should
be harmonised at the piano and on paper. (See £x. 4.)
Example IV.
Skips of a 4TH.
These are harmonised by the same principle, though a skip of a fourth
admits but one chord as accompaniment : that chord which contains both
notes o^ the skip furnishes the solution. During the skip the bass remains,
and acts as a connecdng note. Example 5 is to be harmonised practically
and theoretically, as explamed.
Example V.
fe
SL
ll.
^=&
-^
(8-measure theme.)
I
i64 THE MUSICAL GUIDE
Harmonic Warnings for Composers.
By a. J. Goodrich.
1. Don't use any intervals in parallel movement except these :
{a) Unisons, and octaves when the latter are above or below, with no
harmony between the octaves.
(^) Major or minor thirds, ascending or descending diatonically.
(r) Minor thirds ascending or descending chromatically.
{d) Major thirds ascending or descending chromatically. (These were
formerly forbidden, but modern composers use them freely for certain pui'-^
poses. They are, however, rather harsh and incisive. )
(^) Major or minor sixths ascending or descending diatonically — like the
thirds.
(y) Major sixths up or down chromatically.
(^) Minor sixths up or down chromadcally. (These are Inversions of
the major thirds, and therefore the same remarks apply. )
{h) Augmented fourths may ascend or descend chromatically where they
form parts of diminished chords in succession. (The exigencies of notation
will require that the imperfect fifth — which is an harmonie equivalent of the
augmented fourth — shall appear occasionally in place of the latter. Thus, e
and /"sharp may be followed by h and /* natural. Practically the two inter-
vals are identical and interchangeable. )
(/') Descending augmented fourths may occur in a series of dominant
seventh chords proceeding according to the dominant reladon — up a fourth or
down a fifth.
2. Don't use tf/rj? of these intervals in parallel movement :
(if) Major or minor seconds, ascending or descending.
(/) Normal or* 'perfect" fifths, especially between bass and soprano, Oi
contralto and soprano. The imperfect may fi>now the perfect fifth. But the
reverse of this is rather rough and generally ineffecdve.
{/) [Normal fourths, when they are accompanied by diatonic thirds*
above or below, have been frequently employed. A succession of triads in
their second or third close positions necessarily involves parallel fourths, as in
the Fmale to Beethoven's op. 2, //.] Parallel fourths ought to be excluded
from strict two-part counterpoint, as they are too much inclined to vacuousness*
(^) Major pr minor sevenths are not to be used in parallel succession.
Diminished sevenths sound like major sixths. Therefore these two intervals
may succeed each other alternately.
(j) Parallel octaves have always been forbidden, and usually their effect is
twkward or confusing. Yet hundreds of instances might be quoted fix>ni the
DICTIONARY OF TERMS 16^
niasters. A simple illustration is the little Romance from Schumann usually
coupled with his "Triumerci** — the theme above is doubled by a solo
bass part below.
(/*) Cross relation or false relation is another pitfall into which the young
composer is likely to stumble. The efiect is sometimes very unpleasant and
St other times perfectly satis&ctory. ^The student should avoid at all times
all interdicted or suspicious progressions, even though the ** evil " be more
fancied than real. If he becomes a creative artist he must eventually act on
his own responsibility, free and independent of all prescription and formula.
hmrp,£,, harpe (irp), /*. A stringed
triangular instr. of great antiquity
and variety. The gut-strings which
are plucked with both hands are nec-
essarily diatonic. In the old single-
action harp (key of £ flat, compass
F'-d"") the notes could be raised a half-
tone by the use of pedals. Thanks
to the ingenuity of Sebastian Erard,
who in 1820 perfected the *' double-
action harp," all keys are obtainable
on the modem harp m fairly quick suc-
cession, by the manipulation of seven
pedals each raising a string and all its
octaves a half or a whole tone. Thus
by sharpening or flattening the proper
tones, any key may be obtained. The
natural scale is U^, and the more
sharps in the key the less the sonor-
ity ; double flats and sharps are im-
possible, and remote modulation diffi-
cult. There are 46 (or 47) strings,
compass C flat-f"" (or g"" flat).
donole h. One with a rows of dif-
ferently tuned strings, triple h.
(such as the Welsh). One with 3 rows.
^olian h., h. ^olieaae. Vide
i£ouAN. couched h. The spinet.
fMinted h. Vide spitzharfe. chro-
matic b. Inv. by Pfranger ; it has,
however, too many strings. Jew's
harp. A small instr. with metal
tongue, played upon by placing it
between the teeth, and striking with
the tongue and the finger ; the breath
determines the tone; known in the
trade as ** Irish harp." h. instru-
ments. Those whose strings are not
Vowed.
harpechorde (arp-kord), /^, harpi-
cordo (ar-pl-kor'-dd), /. The harp-
sichord.
harpeggiren (har-p^d-je'r^n), G. Vide
ARPBGGIATB.
harpe-luttt. Vide dital. harp-pedal.
The soft pedal of a piano.
barpo-lyre. A 3-neckedi 2i-stringed
guitar, inv. by Salomon, 1829.
harp'secol. Vide harpsichord.
harp'sichord, A precursor of the mod-
em piano, whose strings were set in
vibration bv jacks carrying quills or
bits of hard leather (instead of tan-
gents, as in the clavichord). Sometimes
it had more than one key-board as in
the yis-4-Tis (ve-za^ve), which had
a key-board at each end. The double
h. had 2 unison strings and an octave
for each tone ; and stops for vary-
ing the use of these. The barmen"
ica h. is an harmonica with key-
board.
harp-style. Arpeggio style.
harp-way tuning. Early English ac-
cordatures of the viol da gamba fa-
cilitating arpeggios.
harsur or hasur (h&'-zoor), J/e^, A
Hebrew instr. of 10 strings.
hart, G. Major ; hard; unprepared, h.
▼erminderter Dreiklang. A triad
with major 3d and diminished 5th.
hartklingend. Harsh-sounding.
h&te (St), F, Haste, speed.
haubois (&-bwfi), F, An oboe.
Haupt (howpt), G. Head, principal.
H.-accent. Principal accent, n.-
akkord. Fundamental triad. H.-ffe-
i 8aog» H.-melodie, Principal mel-
n
166
THE MUSICAL GUIDE
ody. H.-kadenz. Full cadence.
H.-klrche. Cathedral. H.-manual.
The great manual ; the great organ.
H.-note. I. The principal note in a
shake, turn or trill. 2. The chord-
note. 3. Accented note. 4. Melody-
note. H.-periode. Principal period.
H. -probe. The final rehearsal. H.-
satz. Principal theme, subject or
idea. H.-scnlu8S. Final cadence.
H.-septime. Dominant 7th. H.«
stimme. Principal part. H.-thema.
Principal theme. H.-ton. i. Funda-
mental or principal tone. 2. The
tonic. 3. The 5th in a minor triad.
H.-tonart. The principal key. H,-
werk. Great organ.
hausse (ds), F, Nut of a bow.
hansser (ds-s&), F, To raise the
pitch.
haut (6), haute (ote), F, Acute,
shrill, high, haute-contre (5t-
kontr). High tenor, haute-dessua
(6t-d^s-sU). High treble, soprano,
nautement (dt-m&h). Haughtily.
haute-taille (ot-ta-e). High tenor.
hautb. Abbr. of Hautboy,
hantbois (6-bw&), F., hautboy (ho'-
boy). E, I. The oboe. 2. An 8-ft.
reed-stop, h.-d 'amour. An or^an-
stop. Vide OBOE, hautboy-clanon.
Vide OCTAVE hautboy.
H.-bes (hi-b«s), G, B double flat. H.-
dur (h£l-door). B major.
head. i. The part of the note which
marks its position on the staff. 2.
Point of a bow. 3. Membrane of a
drum. 4. The part above the neck of
violins, etc., containing the pegs.
head voice. The upper or highest
register of the voice.
heel. The wooden brace fastening the
neck of violins, etc., to the body.
Heerhorn (har'-hom), G, A military
trumpet. Heerpauke (har'pow-ke),
G, Old kettle-drum, tymbal. Heer-
pauker. Kettle-drummer.
heftig (hef-ttkh), G. Boisterous, pas-
sionate. Heftigkeit (kit). Vehe-
mence.
heimlich (hlm'-lTkh), G. Secret,
stealthy, mysterious.
heiss (h!s), (7. Hot, ardent.
heiter (hi't^r), G, Serene, glad.
Heldenlied (h«l'd«n-let), G, Hero-
song. heldeiimiithig(mQ-tIkh). He-
roic. Heldentenor. Dramatic tenor.
hericon, E,, Herikon, G, i. A mil-
itary bass brass wind-instr., carried
over the shoulder ; scales. F, £ flat,
C and B flat (the lowest tone of the
bass of which is B,,). a. Ancient 9-
stringed device showing the theory of
intervals.
hell (hdl), G. Clear, bright.
helper. An octave-pipe set beside one
of 8-ft. pitch to add to its brilliance.
hem'l, G, Half, hemidemisemi-
quaver (-rest). A 64th note (or rest),
hemidiapen'te. Diminished fifth,
hemidit onos, Gr, Minor third.
hetnio'la, hemio'lia, Gr, i. The ratio
3:2. 2. Quintuple time. 3. Inters
val of a 5th. 4. A triplet. 5. Vide
NOTATION (colour).
hemiope, Gr, An ancient three-holed
flute.
hemiphrase. One bar of a phrase.
hemito'nium, Gr, A semitone in Greek
music (ratio 256 : 243).
heptachord, i. Interval of a seventh.
2. A 7-stringcd instr. 3. A Greek
series of 7 tones with half-tone step
' between the 3d and 4th.
' heptade (h^p'-tid), hep'tadechord, E.
vide ELLIS.
heptam'eris, Gr, A seventh part of a
meris.
Herabstrich (hir'-ap'strtkh), G. Down-
bow. Heraufstrich (har'-owf-strikh).
Up-bow.
heraufgrehen (har-owf'gaJn), G, To
ascend
heroic, E., heroisch (har'*o-Ysh). G.^
h^rolque (a-rd-ek), F, Bold, brave.
Vide KROtcA.
Herstrich (har-strtkh), G. Down-bow
(on 'cello and double-bass). Heron-
terstrich, G, Down-bow (on the vio-
lin, etc.).
hervorgehoben (har-for'gh^-hd'ben),
hervorhebend (ha'b^m), herror-
tretend (tra-t£nt), G, With empha-
sis.
DICTIONARY OF TERMS 167
Hcrz (h«rts), G, " Heart." Vide tas-
SEAU.
henig (h^rts-ikh), herzllch (lYkh), (7.
Tender.
Hes (h£s), G, B flat when directly
derived from B natural (or H).
Heses, B double flat.
heulen (hoi'-I£n), G. To cipher.
hezachord, (7r., hexachorde (£x-S-
kord), F. I. A scale, or system, of
six sounds. 2. A sixth. 3. A six-
stringed lyre.
hezam'eron, Gr, Group of six pieces.
hez'aphonic. Composed of six voices.
hey de guise (£-da-geze), F. A
country-dance.
hia'tus. A gap.
hidden, i. Obscured, covered, yet im-
plied ; thus in the skip, say, from
e to g^ the tone / is implied though
not struck or dwelt on ; it could be
called hidden. But the term is used
rather of intervals similarly implied,
thus in the progression, say from e-c
to g-d, the tone / is passed over,
and as / makes with c the same in-
terval as g with d^ that is, a perfect
fifth, the progression becomes a hid-
den or implied fifth, and is put
under the same ban by stricter theo-
rists, though sanctioned by free prac-
tice. Similarly a progression, as of
g-b' to c-c' contains hidden octaves.
2. h. canon. Close canon.
Htef (heO, Hiefstoss (shtdss), G,
Sound of the hunting-horn. Hief-
horn, Hifthorn (hlft), Hilfthorn
(hlft). A wooden hunt-horn with 2
or 3 notes, and in 3 pitches : H.-
zinke (tsYnk-k^). Hieh. Rttden-
hom (rQd'-n). Low. Halb-riiden*
horn. Medium.
hierophon (her'-o-f5n), Gr. Singer of
hymns.
higg^'on se'lah, Htb, A term, per-
haps calling for stringed instr. and
trumpets.
high. I. Acute in pitch. 2. Upper,
or first, as h. soprano, high bass.
A baritone, higher rhytkm. A
rhythm composed of smaller ones.
High mass. Vide mass. h. tenor.
Counter-tenor, h. treble del The
G clef on the flrst line.
hilfs-. Same as httlfs-.
Hinaufstrich (hYn-owf'strYkh), G. Up-
bow on the violin, etc. Hinstrich
(hln'-strTkh), G, Up-bow on 'cello
and double-bass.
Hintersatz, G, An old mixture-stop,
re-enforcing the open diapason.
Hirtenfldte (h!rt'-«n-fla'-t«), G. Shep-
herd's flute. Hirtengedicht (gd-
dlkht). Pastoral poem. H.-lied (let).
Pastoral song. H.-pfeife (pfi-fe).
Pastoral pipe, hirthch ( hK-Ukh).
Pastoral, rural.
His (hYs), G. Bl. hisis (hYs'Ys), G. B
double sharp.
H.-moll (h^mol), G, B minor.
Hoboe (hd-bo'-«). Hoboy (h5-bde), G.
Oboe. Hobo ist, G, Oboist.
hoch (hdkh), G, High, sharp, very.
Hochamt (hokh ftmt). High Mass.
h. feierlich (fI'.€r-Ukh). Very sol-
emn. H.-gesang, H.-lied (let).
Ode, hymn. H.-hom. Oboe. H.-
muth (moot). Elevation, pride.
Hochzeitsgedicht (tsits), Hoch-
zeitslied. Wedding-song. Hoch-
zeitsmarsch. Wedding • march.
hdchsten (hSkh'-sht^n). G, Highest.
hock'et, hocqu'etus. i. An abrupt
rest. 2. Old English part-music full
of rests and abruptness.
Hof (hoO, G. Court; hence. H.-kapelle
(Konzert). Court orchestra (concert).
H.-musikant (moo-zi-kant). Court
musician. H. -organist. Court or-
ganist.
hdflich (hdf'lYkh), G. Graceful. Hof-
lichkeit (kit). Grace.
H5he (ha'S), G. Height, acuteness;
upper register of ; as Oboen-hohe.
hoheit (ho'hit), (7. Dignity, lofti-
ness.
Hohlflate (hol'fla-te), G. ''Hollow*
toned flute." Open flue-stop of vari-
ous pitches ; in the smaller called
Hohlpfeifen. The mutation-stop in
the flfth is called Hohlquinte.
hok'et, hock'et. A ^uint-stop.
hold (holt), G. Pleasm?, sweet.
hold. The fermate. holding-note.
i68
THE MUSICAL GUIDE
A note sustained while others are in
motion.
holding. Old E, Burden.
Holzbl&tfer (holts'bla-z^r), G, Play*
er(s) on Hols'blMinstnimente, or
wood-wind instruments.
holzernes Geiachter (hdlts'-£r-n$s
gM«kh'.t«r), G, Xylophone.
Holzflttte (holts' fl{l-t«). C7. *' Wood-
flute " ; a stop.
Holz'harmonika, G, Xylophone.
horn'ophone. A letter or character de-
noting the same sound as another ;
thu» al and bit are homophones.
homophon'ic, homoph'onoutf. i.
Noncontrapuntal, lyric, marked by
one melody in predominance. Vide
POLVPHONic. 2. In unison. Vide
ANTiPHQNic. homoph'ony, E.^
homophoaie (6m*6Mn-$), F. Mu-
sic that is homophonic i or 2.
hook. The stroke added to the stem of
notes smaller than \ notes.
hop'per. In piano action, the escape-
ment-lever.
Hop'tfer, Hopt-tanz (tftnts), G, Coun-
ts-dance. Hopiwalzer (hops' val-
ts^), G, Quick waltzes.
hoq'uetus. Hocket.
hora (pi. hom«), L, Hour(s). horae
canotticae. Canonic hours, those at
which services are held : lauds.
Sunrise, prime. First hour (6 a.m.).
tierce (or terce). 3d (9 a.m.). Sext.
6th (noonV nones. 9th (3 p.m.).
▼espers. Evening, compline. Final.
Ser^ces during the night are called
noctums ; the word matins includes
l>oth noctums and lauds, horae
regulares. Chant sung at regular
hours.
hom(^. pi. H^nier) <h«m'«r), E, & G,
Oenerai name for all metal wind-in-
struments. Specifically, the French
horn, a brass conical tobe variously
curved, with a flaring bell at one
end, and a <:upped mouthpiece at the
other ; the shape of this mouthpiece,
and the ratio of the width to the
length of the tube <Setennining the
quality of the iAStr. The old fuUmral
JuTM was diatonic, producing only the
tones of its natural scale, some inter*
mediate tones being obtained by put-
ting the hand in the bell, or *'stop*
ping " the tone. The key of the horn
was changed by taking out one sec-
tion of its tube (a crook) ^ and inserting
a section longer or shorter, thus low-
ering or raising the key. The tone
series was thus incomplete, and the
stopped fonts were inaccurate. The
natural tones depend on the amount
of wind-pressure (or in F, embou-
chure, lipping) which must vary with
each note according to the natural
scale (see acoustics).
The horn of this century has gradu-
ally displaced the natural horn. It is
provided with valves (or auxiliary
tubes), which practically lengthen or
shorten the tube instantaneously.
The tone is produced by embouchure
combined with valve-manipulation
until a complete chromatic scale is
obtainable. Stopped tones are now
not necessary, tnough available for
special effects ; fhey are called for by
the sign -f, by the word •* stopped,"
or by *<son l>ouch6 " (son boo-sba),
and are weirdly tragic or romantic.
The range of the horn depends upon
its key, tlie scale of each consisting
of a fundamental tone, and the nat-
ural series of partials (vide acous-
tics), the intermediate tones between
the 3d and the i6tfa partial being ob-
tained by valves or stopping. The
horn in C thus sounds C, r, g-c'\
from g to c" being nearly complete
chromatically, the upper notes being
risky. The other horns are lower by
the interval between their key and C ;
they are B flat. A, A flat, G, F, E,
£ flat, D, C bass^, B flat kasso. The
keys Ft (G flat), C< (D flat), B and A
hasso are obtained not by changir^
crooks, but by drawing out a special
slide which lowers the key a semi-
tone. In valve-horns the F horn is by
far most common. Music for horns
is aow always written in the G clef,
the F clef being used for the low
notes, which are always written an
DICTIONARY OF TERMS 169
octave lower than they sound. For
convenience of embouchure, the notes
are written as if the horn were always
in C, and the player so plays it ; but
the crook used governs the tone, and
a C on the staff sounds as the F below
on an F horn, as A Bat on the A flat
horn, etc. Alpine h. A wooden horn
8 ft. long, baaset h. Vide basset.
hunting-h. The primitive natural
or French hern, horn-band. A
band of trumpeters. A Hussian H*
B. is one in which each hunting-horn
plays but one note, homing. Vide
SHivA&EE. Hornmusik', G, Music for
the brass. Hornquinten, G, The hid-
den fifths prevalent in music for two
horns. Homsordin\(7. A conical or
pear-shaped mute inserted in the bell.
Hornpipe. A old £. shawm with a
bell of horn ; hence, an old £. dance
of great vivacity, in 3-4 or 4-4 time.
Moaan'na, Hosian'na, /^^^. **Save,
I pray," an interjection in prayer,
hence part of the Sanctus. Vide mass.
Hose (ho'-z£), G, Boot of a pipe.
houl (howl). A Persian military drum.
Iioun. Vide hokm,
hreol (wr&'dl). A Danish peasant-dance.
H. S. Abbr. for Hauptsatz,
hnehuetl, hnehuitl (wa-wat'-'l). An
Aztec drum 3 feet hi^h with a mem-
brane that could be tightened at will,
changing the pitch and furnishing an
harmonic bass.
Hllfthom (htft-hom), G, Bugle-horn.
huipgab, Heb, i. An organ. 2. Pan*s
pipes.
hiutpied (wet-pY-a), F. Eight feet (of
stops), huitpiedtf. An organ with
no stops larger than 8 ft.
Huldigung^smarsch (hool-dV-goongks-
mirsh), G, A solemn march for re-
views.
Httlfs- (hnfs),(;. Auxiliary. HiUfsllnien
(le'-nY-^n). Ledger-lines. H.-notet
H.-ton. Auxiliary, accessory note.
H.-tftimme (shtim m«). A muution-
stop.
Hununel (hoommel). HOmmelclM^
(hlm'm£l-kh£n), (7. i. A bagpipe.
2. In organs the thorough-bass drone.
3. The Balalaika, because it had a
sympathetic or drone^tring. 4. The
drones in a hurdy-eurdy.
hummen (hoom'm^n), G. To hum.
Humor (hoo'-mor), 67. Humour, whim.
Hnmoreske (hoo'mo-r^s'ke), Q., hn-
moresque (Q-m6r-£sk), F. A humor-
ous or whimsical composition.
hunting-horn. A bugle or French
horn, hunting-sonfl^. Song in
£ raise of the chase. Eunt'a-lip. A
sisterous morning-song.
hurdy-gurdy. An old instr. with
four strings, acted on by a wheel
rubbed in resin. Two of the strings
are stopped by certain ' keys, the
others act as a drone-bass : compass
hurry. Premonitory roll of drum or
tremolo of strings in stage-music.
hurtig (hoor'tikh), G, Quick, allegro.
H.-keit (kit). Agilitv.
hydraul'icon, hydraulic organ. An
instr. older than the wind-organ, inv.
180 B.C., by Ktesibios of Alexandria,
the wind-pressure being regulated by
water.
hymn, /"., hymne (emn), /*., Hymne
(hem'n^X G, A sacred or patriotic
song. n. Tesper. A hymn sung in
the R. C. Vesper service, hynmali
hymn-book. A collection of hymns,
hymnology, hymnologie (em-uM-
o-zhd). Vide next page.
hymnut, L, A hymn. h. Ambro*
aianus. The Ambrosian chant.
170 THE MUSICAL GUIDE
Hymnology.
By H. £. Krehbiel.
YMNS, b the scom in which we appty the tenn» as an adjunct of
Chriithn wonhipj appear to have been uaed from the earUeit days
of the Church. The early Chriitiana naturally borrowed their
moikTEom their Ibreftthen in Judea, Greece, and Rome, and the Church thus
was quite lacking in any unMininity in this element of worship. Not till the
various branches of the Church in the Roman Empire were united under a
Christian Emperor, Conitantiney is there evidence of attempts to form a system.
The fint result of this wu the Ambrosian chant, and later, the Gregorian, at first
congregational, later confined exclusively to the priest. Famous Latin hymms^
like the "Te Dcum." "Magnificat," '< Benedlctus/* etc, were b use
from y^ry early days of the Church, being sung to plain^chant melodies* In
the period of the great Chureh composers-^Josquin des Pr&. Palestrina»
Orlando di lissso. and others, these hymn-tunes were often used u csnti
/irmiSar massei and motets s and Palestrina also uKd them as the basis for
a set of '< Hymns for the Entire Year." one of the most important of his
works* ^In the meantime a more popular development of hymnal muac
had been going on b the Mysteries and Mbude-playsi outride the immediate
supervision of the Church, that were so conspicuous a feature of popular life and
worship in the Middle Ages. In the Church itself the muric had been en-
tirely in the hands of the priests and the regular chofav. At th« time of the
Reformation, however. Lather introduced a great change in this respect, for
which the ground was already prepared by the popular development of hymn-
sinf^ jnit mentioned. The chief note of the Refbrmatbn was individuality
b worihip, the transfer of its chief features &om the priest to the congrega-
tion ; ano b Ibe i^tb this prindple Luther laid great stress on the rebtro-
dttctkm of congregational ringbg, which had been abandoned sbce the earlf
daya of the Churdi* Luther ptoduced a great number of hymns, the worda
•f whichhe fltted to popular melodies of the day. The first Lutheran hvrnn*
book wu published in 1524 1 it was in the vernacular and its popubnty b
Germany soon became enormous, Itading to the speedy issue of innumerable
other works of the same kbd. Luther not only used the melodies of folk-
songs for these hymns, but caused new tunes to be written, and some of
them — notably the most fiimous. ** Em' feste Burg ist unser Gott." — ^he ia
said to have composed himself. It ought to be said, however, that his au-
thorship of the music of this '< Battle Hymn of the Reformation " has been
disputed. They were all broad choral tunes simply harmonised, such as re-
mab to-day b constant use b Germany, and formed the model fiv the hymns
*»
DICTIONARY OF TERMS 171
of the whole Proteitant Church. In France the metricid psahns of Marot
god Beza were as enthusiaadcally received by the Protestants as Luther's
bymni b Germany ; they were origmally sung to popular tunes of the day
M contained in a psalter published in 1 542, by Calvinj in Geneva. There-
after Qumerous other collections were publidied, notably one by Claude Gou«
dimelf in 1565. ^In England the general cviltivation of part-singing In the
madrigals made the acceptance of popular hymnody as a part of the new
religious movement facile end speedy. Here« as in France, the first hymns
were metrical versions of the Psalms in English, and numerous collections of
ihem were published In the last half of the sixteenth century, at first for one
part only. ''The Whole Psalmes in foure parts/' harmonised in the sim-
plest manner possible,. published in 1563, was the first harmonised collection
of English hynm-tunes. Numerous collections of such tunes were issued
tbereafter« the most notaUe being Ravenscroft's, iq i62I> and Playfbrd's,
in i67l« ^With the compoiition of hymns by Wesley and his followers m
the eighteenth century came a new poetic material of which muiicians were
not slow to avail thenisdves, and which resulted in new hymn-tunes of greater
wurmtb of feeling, differing entirely from the older school of hymns in both
melody end htrmony* llieie have had a great, if not always beneficial, in-
tuence on the modem development of hymnal music. ^Hymndogy has
held a notaUe place In the history of American mnsic. llie stem piety of
the Puritan immigrants in New England developed a great acdvlty fai this
branch of musicil artt titer it hed been freed from the ghacUei that nt fiist
^nfined it, end the number of early American hymn*mne oomposers was
«rge. Among thes^ were William Billings (who in 1770 published «The
American Pselm Singer : or American Chori8ter«'* containing hymns of his
iwn composldon), Samuel Holyoke, Andrew l#w« Jacob Kimball, Oliver
Holden, and others. Iii the earlier years of the nineteenth century Thomas
Htitingit I^iweU Maaon— -whose influence in a secular way on the develop-
ment of mnric und musical tMte m America was marked--r^nd Nathaniel
Oonld were the most prominent.
w
"*»^
T^fW^i
r^^
h^lMtOt Or, The uppermost lyre*Btring
but the lowest in tone, nypaton.
LonFeet tetraobord. Vide modes.
kmatlio'idee. The lower tones in the
GfMliaeale.
hfper (hf -per), Or, Over, above, of in-
tervale, ** super,** or *' upper*' (as hy-
^•ffdiapa'soQ, the octave above ; h.-
diapea te, the 5th above ; h."dito'-
nos, the 3d above, etc.) ; of the Greek
tranaposnion aealea and ecclesiastical
I, ** a fourth higher '\the
Greek ocUve species '* a fifth higher,**
or ** a fourth lower." Vide modks for
such words aa hyper-^oliant etc.
hjpO| Or, Below, under ; of intervals,
** sub,** or ** lower." hypodiapn'aon.
The lower octave, hrdiapen'te, The
fifth below. h<^ito'ao8. The third
below. For the names of the Greek
transposition scales and eoclesiaatical
modes, as hypeseo'lian, etc., vide
MODBS
HsbU Abbr. of HolsbUUer (q. v.).
172
THE MUSICAL GUIDE
1(c) /., pi. •• The." Also the letter
is used by Kimber^er, to indicate
a major seventh, as Min place of
bit in the 7th chord on c. Tartini
used u,
las'tian, Gr, The Ionian mode.
ic'tus, Gr, Stress, accent, emphasis.
idea. A theme, subject, figure, or mo-
tive.
id6e fixe (e-da fex), F, Berlioz*s name
for a recurring theme or motive.
idyl, idillio (e-del'll-d), /., idylle
(e-dS-yO in F,, in G, e-dtl'l*). A
pastoral.
ii (el), /. The. il pii^ (el pe-00'). The
most, c. g., il pih Jorte posHbile,
As loud as possible.
llaritJL (e-U-rl-t^'), /. Hilarity.
imboccatura (Ym-b6k-kfi-too'r&). /. i.
Mouthpiece. 2. Embouchure.
Imbroffho (Im-brdl'yd), /. *' Confu-
sion/* a passage of complicated
rhythms.
Iinitando (Ym-l-tftn'do), /. Imitating.
i. la voce (vd'-ch£). Imitating the
voice.
imitation (pron. in /*. Ym-Y-tfts-yoA),
imitatio(em.Y.trtsY>5), /. The rep-
etition by a second voice (the con-
sequent or answer) of a figure, sub-
ject or theme 6rst announced by
another (the antecedent or subject).
If this repetition be exact, interval
for interval, note- value for note- value,
the imitation is strict or canonic^
vide CANON ; otherwise /r^/. i. at
the 5th, octave, etc. That in which
the answer follows the subject at the
interval of a 5th, octave, etc. t.
augmented or i. by augmenta-
tion. That in which the answer is
in notes of greater value than those
of the subject, diminished i. or i.
by diminution. A style of imitation
in which the answer is given in notes
of less value than those of the sub-
ject freely inverted i. That in
which the order of successive notes is
not strictly retained, i. in contrary
motion. That in which the rising
intervals of the subject descend in
the answer and vice versa, i. in dif«
ferent divisions. That in which
the subject is answered in a different
division of a measure ; for instance,
beginning on the accented is an-
swered on the unaccented, i. in sim«
ilar motion. That in which the
answer retains the order of notes of
the subject, retrograde i. (or i.
per recte e retro), cancrizans, or
cancrizante. That in which the
subject is taken backwards in the
answer, reversed retrog^rade i.
That in which the subject is taken
backwards and also in contrary mo-
tion in the answer, strictly invert-
ed i. That in which note-values are
precisely answered in contrary nM>-
tion. tonal i. That which does not
alter the key.
imitation pipes and draw-knobs are
dummies of more beauty than use.
imitative music. That aiming to
mimic the operations of nature, as
water-falls, thunder, etc.
imitato (Ym-Yta'td), /. Imitated, im^
itazione (tS-tsI-d'nS). Imiution.
immer (Ym'mSr), G* Always, ever,
constantly.
immutab'ilis, Z. Vide accentus
ECCLESIASTICI.
imporiait (ilfi-pftr-f^'), F, Imperfect.
impaziente (Ym-pat-sY-£n^t£), /. Im-
patient, impazientemen'te. Hur%
riedly.
imperfect. Not perfect or complete.
Vide CADENCE and INTERVAL, i. con-
cords, consonances. Thirds and
sixths, so called because they chang^e
from major to minor, still remaining
consonant i. measure. Old term
for two-fold measure. •{. time. Old
term for common time. i. triad.
The chord of the third, 6fth and
eighth, on the seventh degree ; it
consists of two minor thirds.
imperfection, i. Vide ugaturb. 2.
Vide NOTATION.
imperfet'to, J, Imperfect.
imperioso (Im-pa-rY-o'-so), /. Pom-
pous, imperiosamen'te. Imperiously.
DICTIONARY OF TERMS 173
imp«rtartMibile (Tm-p£r*toor-b&'bM£),
/. Quiet.
impeto (im'-p^-td). impetuotitJL (im-
pftHoo-6-zl-ta'), /. Impetuosity, ve-
hemence, impetuo'ao, impetuosa-
men'te. Impetuous(ly).
imponente (n^n't^), /• Imposing^ly.
implied discord. A concord con-
tained in a dissonant chord as a major
third in an augmented 5th (as f-a-<^).
implied intenral. One not specifically
indicated by its numeral but implied by
another numeral. Vide hidden.
impresario (Tm-pr£-s&'-rl-o), /. Man-
ager of opera, concerts, etc.
impromp'ta (in F. &n-pr6h-tu). An
extemporaneous comp., or one having
a spirit of informality and caprice.
tmprope'Ha, L, ** Reproaches." In
K. C. ritual, a series of antiphons
and responses for Good Friday morn-
ing. In Rome sung to old Faux
bourdons arranged by Palestrina ;
elsewhere to plain-song from the
Graduaie Romanum.
impropri'etas. Vide ligaturr.
im promise, impro(v)visare (zil'r^), /.,
improTiser (ftn-pro-ve-za), F. To
sing or play without premeditation.
improTisateur (lin-prd-ve-zft-tfir'),
tmprovisatrice (tres), ^., Impro-
visator (Im-pro-fl-za-t6r), (7., Im-
provrisato're, /. An improviser.
im'prorisatiotu Extemporaneous per-
formance. Improvtsier maschine
(Im*pr5-ft-zer^ ma-she'-n^), G, A
melograph. improTTisata (zsl'ti), /.
An extempore composition. im-
provTiso (!m-pr6v-ve'-zd), improv-
Tisamen' te, /. £xtemporane6us(Iy).
in (en), /., G. and Z. In, into, in the.
iaacntire (in-fi-koo-te'-r«), /. To
sharpen.
in'betofit, G, With medial emphasis.
Inbmiist (tn'broonst), (7. Fervour.
inbrtlnstig (In-brln'-shtVkh). Ar-
dent.
incalaando (Yn-kal-tsftn'da), /. Has-
tening.
Incama'tns, L. *' Was bom " (of the
Virgin Mary). Part of the Credo..
VideMASS.
inch (of wind). In an organ, wind-
pressure is ranged by a graduated U
tube in which water rises, the mean
pressure being 3 inches.
inchoa'tio, L, Vide chant.
incisore (Yn-chY>sd'-r£), /. Engraver
of music.
inconsola'to (la'-td), /. Mournful.
incordare (ds -r«), /. To string.
incrociameh'to (kro^chft), /. Crossing.
indeciso (fn-d^-che'-zo), /. Undecided
(implying slight changes of time, a
somewhat capricious tempo).
Indegnato (Yn-dan-yft'-to), indegna-
Umen'te, /. Wrathful(ly).
independent. Used of non-dissonant
harmony requiring no resolution.
index, i. A direct. 2. Forefinger.
indifferen'te (r«n'-t«), indifferente-
men'te, /. Indifferent(ly). indiffer-
enza (r£n'-tsa), /. Indifference.
infantile (Yn-f&n-te'l^), /. Child-like
(of the quality of upper notes of some
voices).
Infe'rior, L. Lower.
infemale (In-f^r-nft'le), /. Infernal.
infenrorato (rft'-to), /. Fervent.
infiammatamen'te, /. Ardently.
infinite, E,, infinito (Yn-fY-ne'-td), /.
Used of canon which can be contin-
ued indefinitely unless given a special
cadence.
inflatiria, L. Instrs. of inflation ; wind-
instruments.
inflection, i. Modification in the
pitch of the voice. 2. In chanting a
change from the monotone.
in'fra, Z. Beneath. Infrabass, G,
Sub*bass.
infuriante (Yn-foo-rY-iin't£), infuriato
(a'-to), /. Furious.
in^anno (Yn-g«n'-n6), /. " Decep-
tion " ; applied to a deceptive ca-
dence ; also to unexpected resolutions
or modulations, d'ing^anno. Un-
expected.
in'^mlnation. Old term for repeti-
tion of words.
ineressa. Vide introit.
Inhalt (Yn'halt), G, Contents ; idea.
inharmonic relation. Vide falsb
KELATION.
»74
THE MUSICAL GUIDE
iimen i. Used of the iilto or tebor
p&rt as distin^i^hed from the bass
and soprano, a. Used of a pedal-
point on an inner part.
innig^, innigliGh (In'-nYkh-lYkh), G^
Sincere, tender, heartfelt. Inniskeit
(kit). Deep feeling.
inno (Yn'-n5), /. A hymn, canticle,
ode.
innocente (Yn-no>ch^n't^)t innocent-
coiea'tei /. Innocent(iy), artless*
(ly). innocttiisA (In-n6-ch^n'-ts&).
Innocence.
inquieto (ln-kwY-&'-td), /. Restless*
insensible (ln-sln-9«'bM€), insensi-
bilmcn'tc, /. Imperceptibly, by
small degrees.
insisten'do, /. Urgent. insistenMi
(t^n'-tsA)* Insistence.
insUUldie: (Yn-sht€n'dlkh}, G. Ui^nt,
pressing.
instantt (Yn-stan'te), instantemen'tei
/. Vehement(ly), urgent(ly).
in'strument (in P, &n- strtt-mln). A
sonorous body constfucted for the
pifoduction of musical sounds i. JL
cordis (a-k6rd). A stringed instr*
i. H Tftrchet (a-l&r-sha). Instr. played
with a bow. it H percussion (ft pftr*.
kQs-yon)* Instr* of percussion, i. &
^ent (a viin). Wind4nstrument.
instrumental, E., instrumentale (Yn-
stroo^m^n^til'l^), /. Of music for
instrs. as opposed to vocal music.
instrumentare (t&'rd), /. To compose
instrumental music.
in'strumenta'tion (in F, ILn-strtt-m&n-
Uls'ydft), instrumentaaione (tft^tsY*
o'n^), /., Instrumenti(e)runBr (iti-
Strao»m£n-te'>toongk), (7. The art or
act of writing or arranging a compo-
sition for in&trs., particularly the or-
chestra (vide article on th£ oRches-
THA AND orchestration); sometimes
used of piano-playing that produces
the effect of other instrs. Instru-
mententnacher (makh'^r), (7« An
instr. -maker.
instrumen'to, /., An instrument, i*
d'ATco (or a corda) (dar'-ko). A
stringed instrument, i. da campft*
Bella. Glockenspiel, i. da fiato
(fl-ft'-td). Wind-instr. LdaquU'la*
A spinet,
intavolare (Yn-ti-vMi'-riO, /. To
write out or copy music. intaYola*
tura (lil-too'-r&). i. NoUtion. 2.
Figured bass. 3. TabUture.
integ^er valor (notarum), L. " The
integral value " (of botes), i. e., their
average duration at a moderate
movement. Michael Pretorius set
the L ▼. of the brevfs at about i\r of
a minute (ii e., 60 to 7I minutes).
iUtendant (iii-tftn-dlA), /;, inten-
dan'te. /. Director, conductor.
intenzionato (Yn-ten-tsY-d-n&'-td). Em-
phatic.
in terludCk i. A piece, usually short,
played between acts, movements,
stansas, or portions of service, s.
A short operetta.
intcriu'dium^ £., interm^do (ILA-t^r-
m«d), /: , iatemiedio(Yn-t«r-ma dl-d),
tntermet zo (yn*t^i^mM'-z5), /. An
interlude.
interme'diate. i« Acddenul. Bw
Transitional.
intermedietto (Yn-ter*mft'dY'^t-tD), A
A short interlude.
inttrrogati'TttSi Vide accsntus sect.
interrotto (r6t'-td)> /. Interrupted.
intermpted. Vide cadbncb.
intermtione (root*flY-o'n«), A Intet^
ruption^
intenral, Intenrall (Tn-t«M(U'), (7., io«
terrale (&A-t«r*vAl), /^., interrallo
(val'le), /., intenral'liimft Z. The
disunce, or difference in pitch, be-
tween tones, reckoned upwards (unless
specially stated). The intervals are,
the Jirsi or prime (which is identity, C
for mstante being its own prime) ; the
second {siS c-d) ; the third ox Heret (as
c-e) ; the fourth or quart (as c-Q ; the
fifth or quint (as c->g) ; the Hxth <x
text (as c-^) ; the seventh or sept fas
c-b) ; the eighth or octave (as o^-c) ;
the ninth (as c-d'), etc. Those with-
in the ocuve are oailed simpk ; those
over the octave, compound^ since a
tenth is an octave plus a third, etc.
Intervals are qualified also by their
mode ; those in the major key ol
DICTIONARY OF TERMS 175
lower tone (as am;|) being called M^/^,
those A semitone greater than major
are augmented or extrtmi^ smpft^u-
MTx, ndund^Hi or ihe^tp s thoie a
semitone less than major are mimar
(as a-c) ; those a semitone leaa than
minor are UminiskidKitJUt (as a-dk).
The first, fourth, fifth and octave are
called perfect instead of major, be-
cause they do not change their quality
as do the others on inversion ^. v.).
Other tiames for intervals are ehro^
matic^ containing a note foreign to
the key, opposed to iUtM^ts dis*
sonant^ needmg resolution ; opposed
to ^otuenantt m^rmMit (q. v.) {
karmomt when stnick slmultaneons-
ly instead of separately, hence op-
posed to meMk, FotHdden^ Con-
trary to the rales of Harmony (q. vj«
C&niHutiyH (q» Vk). A Hdhtml mter^
va} is that between two tones of a
major scale*
The ratios of the vibrations of diaton-
ic intervals are prime, t:t; second,
8 !9; third,4:S; fourth, 3:4; fifth,
2:3; sixth, 5:5; seventh, 8 : 15 ;
octave, t : i^
Itttcfftttiiiif. Intermediau (of a fugue
subject).
Ultimo (Vn'-tY-m^), /. Intimate, ex-
pressive, tntimis'simo. Most ex-
pressive.
intonare (In-to-nl'r^, /. To in-
tone.
intoiui'tieii* t. The production of
sound by voice or instr., as regards
quality and pitch. Cilte i. That
which is untrue to the key or pitch.
2. The initial phrase of the antiphon.
3. Method of singing plain-chant. 4.
Vide CHANT. ilztaU Vide rixfcD
TOME.
iatooato (fn^o-ni'-td), /. Tuned, set
to music.
ia'tMaton Mottochord.
Ifitonatttra Orn-to-nii-too'rft), ifltoila-
sione (rn-td-ni-tst'^'n«), /. Intona-
tion.
itttiliii(e)reil (ln*t0-ne'r€n), G. i. To
intone. 9. To voice, as pipes. 3.
The voicing.
latOttifftiat a (aer'4-tffa), G. A knife
used in trimming and tuning pipes.
latrade (in-tri'-dl), G, A prelude or
entranceHUttsie.
ifltrtccio (ln*tr«t'<h5), /. ** Intrigue.*'
A short dramade work.
iatr«pidns«a (ln-trt^pl^lld'*si), /. In-
trepidity, ifttfftpido (ta*tr& -p€^6),
iatfftpldamM'tt. BoldQy).
iatrodite'ttoa, iT., lalrodndnita'to
(doo-chi), IntrodttBioiit (doo*tsl»6'-
n(f), /. The preliminary measores,
or • movement preparatory for the
main subject
intro'tt (in ^. ilA-trwft), iatrotta (In-
treHf'^tO), /., Iiitra'itnt, L. ** En-
trance ** ; a hymn or antiphon sung
in R» C. service while the primt goes
to the altar ; in the Anglican Church
Communion, when the minister goes
to the uble. In the Ambroslaa rtt*
ual called Infreisa^
iatiiottarn (in<>too^nr»r<), A To In.
tone.
lavta'ttoa (in F. iA^vlAs^yftn), la-
vtasifNit (ln-v«n*tsl-^'-n«), /. A
short informal contrapuntal study
with one theme.
Inventions (horn) (Yn-v^n'tsI-Ons), F,
A Waldhom fitted with crooks by
Werner, 176a
inver'siO) £., lavtr'iioa, £, Tha
transpOBitk>o of the elements of (a),
chords, (b) Intervals, (c) themes, (d)
parts, (a) The triad is "inverted^*
from its fundamenul positkm with
the root in the bass, to the j/lrti in-
version with the 3d in the bass, and
the 4Hmd i. when the fifth Is la Iha
bass (a 6-^| chord), etc., vide CHORD.
(b) The inversion of intervals is the
lowering of the upper tone an octavt«
thus bringing the lovrer note above,
and the upper below { for example,
to invert a major 6th, e^\ wt lower
r' an octave, iecuring t^'^ a miao#
3d. ' The new product of an inver-
sion is always the difference t>etefeea
the first interval and the number 9,
e. g., a 6th inverted becomes a |d,
a 5th inverted becomes a 4thv ete.
The result of inversion is to ehaage
176
THE MUSICAL GUIDE
^?jp
major intervals to minor, and vice
versa ; and augmented to diminish,
and vice versa; but perfect remain
perfect, (c) A theme is inverted by
Deing repeated backwards, hence,
retroflrade inversion, or inversio
cancrisans, "crab-iike." (d) Two
parts are inverted when the lower is
raised by an octave (inversio in oc«
' tAvam acatank), or by a fifth, tenth,
twelfth, etc., or when the higher is
lowered by an octave (inversio in
octamm nravem, or inferiortm),
a fifth, tenth, twelfth, etc. (videcouN-
•ntR-POINT)i
ioTert, iflTerted. Vide inversion.
A pedal'Point in any part other than
the lowest is called inverted, A turn
commencing with the l^^est note is
inverted,
IttTitatorr, E,, inTitato'rio, 5/., in-
▼itato'iinnii L. i. An antiphon in
the R. C. Matins. 3. In the Anglican
Church, the versicle " Praise ye the
Lord," and the response sung at
matins. 3. In the Greek Church the
** O come let us worship '' sung thrice
before the psalms at the canonical
hours.
loTOcasione (kS-tsl-d'-nQ, /. Invoca-
tion.
lo'nian, lon'ic. Vide modes.
Ira (i'-ra), /. Anger, wrath, irato
(e-dl'-t5), iratamen'te. Passion*
ate(ly).
Irish harp. i. An ancient instr. having
more stnngs than the lyre. 2. Trade
name for ** Jew's harp.'*
irlandais (Sr-lflfi-de'), F., irlAndisch
(er'-Unt-lsh), (7. An air or dance in
the Irish style.
iron harp. A semicircular arrange-
ment of tuned Iron rods which vi-
brate sympathetically when a violin
Is played.
ironico (e-rd'-nl-k5), /., ironicamen'-
te. Ironical(ly).
Irreipilar, E,, irregolare (er-ri-g5-
iftr£), /. Not according to strict
rule or practice. Vide cadence.
irresolttto (^r-rft-zMoo'-td), /. Irres-
olute.
isdegno (€s-d2n'-yd), /. Indignation.
isochronal, Gr.^ isoch'ronous. Uni-
form in time.
i'son. In Greek Church chant, the
movable tonic.
isotonic. Used of a system of inter-
vals in which all concords are tem-
pered alike, and contain twelve equal
semitones.
istes'so, /. The same. i. tempo. The
same time (as before).
istrepito (es-tra-pe'-to), /. Noise, blus-
ter.
istrionica (es-trI-&'nY-kfl), /. Histri-
onic.
istnimentale (es-troo-mto-tfi'l€), /.
Instrumental, istrumentazione (t&-
tsY-o'ne), Instrumentation, istro*
men'to. An instrument*
Italian mordent. Shake or trUl of a
tone with the next above. Italia^
sixth. Vide altered chords.
Italian strings. Catgut stringt
largely made in Rome.
italiano (e-ta-ll-ft'-nd), /., italienisch
(e-t&-II-a'-nYsh), (7. , iUlien(ne) (e-tiU-
yah [or-y£n]), F, Italian.
i'te, mis'sa est (ecclesia), Z. "De-
part, the congregation is dismissed."
Vide MASS ; from the word missa the
word mass is derived.
JACK, /. I. An upright slip of wood
on the back end of a key-lever,
carrving a crow-quill or piece of
hard leather which projected at
right angles (in the harpsichord), or
a metal tangent (in the clavichord),
and which struck and set in motion
a string. The quill or the leather
served as a plectrum. 2. The " hop*
per."
J«8:<l(y^ht), t;. Hunt, hunting. Jag^d-
horn, Tagdsink (tsYnk). Hunting-
horn, bugle-horn. Jaffdruf (rooQ.
Sound of the horn. J-lied (let).
Hunting-song. J-sinfonie (sYn-fo«
ne'). A symphony of the hunt. J«
stuck. A hunting-piece.
DICTIONARY OF TERMS 177
JMjrerchor (ja'-khdr-kdr), G. ^horus
of hunters. JILgerhoni. Hunting-
horn.
jailta^^e (jral'-taj). The sole musical
instr. of fartary, a slender box of fir,
about 4 ft. long, over which six wire
strings are stretched. It is played
with both hands.
laleo (hS-la .6)» ^>. A Spanish dance
in 3-8 time, moderato, for one per-
son.
Jalousieschweller (y&l-oo-ze'-shv£l-
l«r). G. '' Venetian-blind " swell.
Janitacharenmasik (y^nU-sha'r^n-
moo-zek'), G, , JAn'isary music. Mil-
itary music ifor cymbals, triangles,
etc.
Jaoktf. Vide key-board.
len (zhfi) pi. jeuz (zhik), F, i. Play ;
style of playing on an instr. a. A
stop on the oigan, harmonium, etc.
3. The orean-power, as prand j.
(eran), or plain j. (pl&n). Full organ.
demi-j. Half -power, j. JL bouche (&
boosh). Flue-stop. J. celeste (sft-
l^st). Vide CFXBSTE. j. d^anche
(daAsh). Reed-stop. j. d'anres
;diAzh). Vox angelica, j. d'6cnos
ida'-ko). Echo-stop. i. de flfttes
(Hilt). Flute-stop. J. de mutation
(mtt-tlte-yon). Mutation, or a mixt-
ure-stop. j. de timbres (tftnbr).
Glockenspiel. J. de Tiolet (ve-6I).
Consort of viols. J. de voiz hu«
maine (vwi Q-m£n). Vox humana.
j. d'orgues (dorg). Register, or
row of pipes, jeuz forts (for). Loud
stops.
Jew*8 harp or jewstrump. Vide
HARP.
ii£. A light, brisk dance in 6-8 or 12-8
time. Vide suite.
jini^les. The disks of metal on a tan^*
bourine.
jobel (yo-b^l), Heb, Trumpets or
horns.
foc'alator. A jongleur.
Jodler (ydt'-l£r), G. A style of sing-
ing affected by the Tyrolese, falsetto
alternating rapidly with chest-regis-
ter, jodein (y&'ddln). To sing in
sodi style.
jongleur (zhdA-glflr), P. A birv.or
strolling musician. Vide trouba-
dour.
jota (h5'-tfl). Sp. A S^panish dance in
rapid 3-8 time.
jouer de (zhoo-&-da), F, To play
upon (as an instr.).
jour (zhoor), F. '* Day." corde i j.
Open string.
ju'ba*. Part of the breakdown dance of
the American negro.
Jubai (yoo'-b&l), G. A a or 4 ft.
stop.
Jubeifldte (yoo-Mfl-fla'-t£), G. A stof^
Jubeljresani^, Jubellied (let). Song
of jubilee. Jubelhom, Key-bugle,
jubelnd (yoo'-b^lnt), G, Rejoicing.
Jubilate, Z. '' Be joyful." The name
for the loth Psalm in the Anglican
Church,
jubila'tio, L, The cadence on the last
syllable of ** Alleluia " in R. C. music.
jabtlOBO (voo-bl-lo -so). /. Jubilant.
ju'bilns, 2. I. An elaborate passage
sung to one vowel. 2. Jubilatio.
Judenharfe (yoo'-din), G. Jew's h^rp.
ula (yoo'-la), G, An old 5 (-ft. stop,
jump* . I. A progression by a skip. 2.
Vide DUMP.
Jungfemreg^al (yoonk-fam-ra'*g&l) or
J-?etimme, G, Vox angelica.
Jupiter ^mphony. Mozart's 49tb,
in C major,
just. Used of consonant intervals,
voices, strings, pipes, etc., thatspeajc
or sound with exactness,
juste (zhUst), F, Accurate, perfect (of
intervals), justesse (zhtts-t£s'). £z«
actness of intonation.
K
\NOTE, — Many German words ar#
spelt either with •*C" or '' K^' prefer*
ably the latter.^
KABARO (kfi.bft'-r5). Asman
Egyptian drum.
Kadenz (kft-dents), G, 1.
Cadence (q. v.). 2. Cadenza,
kalamaika (k&l-ii-ma'-kS). A Ihreiy
Hungarian dance in 2-4 time.
178
THE MUSICAL GUIDE
iUtlnuitadU.k&iO, G. BellowMread-
er. K.«<f locker. St|riia|.be]| to the
blower.
JCaamer (kim'-m^r), G, Chamber
k|. v.). X.-kftiitate (kftn-tr.t£).
Chamber^antftU. K. konponltt.
Court-composer. NL koastrt. Cham-
bc»-eoncert, or concerto. K. duttt.
C. duet. R. musik, K. mjfktX (shpel).
Cluimber-muaic. K. nmslkus (moo'-
zl'lcoos). Member of a prince*s pri-
vate band. K. ailagvr (z£ng-«r).
Court-singer. K. sttl (shtel). Style of
chamber-music. X. tuiten. Cham-
bar-fuitet. Vide sumt. K. ton.
Idtemational pitch. K. vktuooe.
Court-virtuoso.
teflQMdl (kim-poor). A Malay
gonif.
kandele (kfin-d&'-ia). i. Ancient Fin-
ukh harp. 9. A dulcimer.
Xmob (kfl'.ndn). 47. «*Anile.** i. A
canon. 2. A monochord with mov-
able bridge^ sometimes it had a sec-
ond string in uniscm. kAnonik (ka-
Bft'-nSk). Canonic.
kftnooa', katiaii', Turkish instr. of
the dulcimer variety ; the canun.
KailUte (kiin-tr-t«). G, Cantau.
Kan^ot, G, Cantor.
Kancelle (kftn-ts«l'-l«). G. Groove in
a wind-chest.
Kaiweltied (let), <7. Hymn before
the sennon.
Kaasooo (kin.tsA'.n£). G. Canzone.
Xapolle (kiUp«r.l«). G, A chapel, i.
A musical establishment, a choir or
a band connected with a church or
court. 2. Any orchestra. Kapell-
kiiabe(n) (kn&'-b^n). Choir-boy(s).
Kapellmeister (k&.p«l'-m!sh-ter), G,
I. Conductor. 2. Chapel - master.
KapoUmeUter-mntik. Music full
of such strains as must sound reminis-
cent to the cot4uctor. X. Stil (kft-
rfi'-sbtel}, G, Same as A cappella^
e., unacoompanied.
Xapodaa'ter, G. Capotasto.
Karfreitag (kftrfil'tikh), (7. Good
Friday.
Kaasation (kfis-sft'-tsY-on). G. Casia-
tioo.
Xaatagnettea (kis.tto.y«t'.l«aK ^•
Castanets.
Rat'xenmusik (moo-zek), G. **CSat-
music." Charivari.
Kavattne (kIv-Me'.n«). G. Cavatluu.
kasoo'. A tube with a vibrating string
which gives the voice an amusing
quality when spoken or sung through.
keck (k«k). G, Fresh, bold. XeclB*
belt (k«k'.hft). Boldness, vigor,
keen'ers. Irish paid mourners.
Kohle (k&'.l«), G, The voice, tha
throat. X.-fertigkait (f^r-tlkh-kit).
Vocal agility. K.-kopf. Laryni.
K.-aclUaff (shUkh). Coup de glotte.
K.*iaut (u>wt). A guttural sound.
Kehrab (kar'-&p), Kenraus (ows). G.
Colloquial term, for the final dance of
a ball.
koiiiaa|[oh (k£-mSn-gah'). A Tark-
ish stringed instrument.
keaet (k^n'-^t). Abyssinian tnmipet.
Xen'nor, G, A connoisseur, **oiik
who knows **
Xent bugle* ((7., Xoathom). Vkte
BUGLE. So named in honor of the
Duke of Kent.
korana (kS-rft'-ni). A Persian bora
sounded at sunset and midnight.
ker'anim. Vide keren.
ke'raa, Gr, A horn.
Xeraolophon (kd-row'-ld-fon). G. An
8-ft. stop, a small round hole bored
in the pipe near the top promoting
the overtones; Inv. by Gray and
Davklson.
koren (k«r'-^), pi. keraaim, Heh. A
horn. keren-Jebel (ya-bel). Ju-
bilee horn.
Kern (kftm). (7. The languid (q. v.).
X. stimmea. The fundameotiil
stops.
kerrona (klr-r&'-ni). The kerana.
Kes'sel, G. Cup (of a mouthpiece).
Xoaaolpauke (pow - ke). Kettle*
drum.
ketch. Old name for catch.
Xet'tentriller, G. Chain of trilla.
ket'tledmm. A brass or copper ktfe-
tle over the top of which is attnetdM
a head of vellum, tightened by a fintf
and tuned by screws, or bv canlaa«3
DICTIONARY OF TERMS 179
biacea. Kettlednuns are usually
Slayed in pairs with sticks having
uihl« handles and soft knobs.
Each has a compass of a 6fth ; the
lower may be tuned to any note from
F to c, and the higher B flat to f.
key. I. A family of chords and a
chain of tones (i. e., a scale) finding
their centre and point of rest in a cer-
tain tone (the tonic) from which the
key takes its name. All keys con-
form to the standard for major keys,
or to that for minor, keys. The
signature in which the number of
slurps or flats of a major key is
written serves as the signature for
its related minor key; the tonic
of which is a minor third below.
The key of C hat neither sharps nor
flats, the key a fifth above (G) has
one sharp, the key a fifth below {¥)
has one flat, and so the progression con-
tinties, forming (in a tempered instru-
uient. Vide tkmpkramknt) what is
called the eircU of fifths, as Fl and G^
are enharmonic keys traversing the
same tones. The following ingenious
chart from Riemann*s Dictionary
tabulates the keys and their signatures
concisely, the flats and sharps ap-
pearing in the same order on the
tignatures as here :
Major Keys.
FlaU.
A tuning-hammer. 6. A lever con-
trolling; organ-pallets.
key-ftctlon. The entire mechanism
of a keyed instr.
key-board. The series of digitals or
?^als of a piano, organ or such instr.
he idea of having a key-board so
arranged that each digital can be
struck in 3 difTerent places seems to
have occurred first to Paul von Janko,
who in 1882 in v. the Jankd ke]r-
board, which has the look of six
contiguous key-boards on a rising
plane. The advantages are that all
scales are fingered alike and that the
reach of the hand is greatly increased,
90 that a good hand can cover 14 digi-
tals. The consequent simplification
and enrichment of piano-resources
are inestimably valuable. It may
be applied to any key-board and is
sometimes called a cnromatic key-
board.
key-bng^le. Vide bugle.
key-chord. The triad on the tonic.
keyed. Furnished with keys, as a
flute, or piano, keyed violin. Pi-
ano-violin,
key-stop violin. One having a finger-
board fitted with thirty-three keys
acting as stops perpendicularly upon
the strings.
Sharps.
76 54 32101234567
CbGbDbA^EbBbF C GDAEBFjC«G«DIAI
765, 432101234567
Flats.
Minor Keys.
Shmrps.
atteodanti or related k. Vide re-
1.ATC0. chromatic k. One vith
sharps or flats, opposed to natural
k. aztremt k. A remote, unrelated
k« parallal k. a. Related, b. Used
of a major and a minor key with the
aame tonic but different signatures.
s. Old name for clef. 3. A me-
chanical lever for controlling tone,
whether digital or foot-key. 4. One
of such keys as those on the outside
^f a flute covering certain holes. 5.
key-harp. An adjustment of tuning-
forks over cavities of sonorous metal,
with piano-key action, inv. by Diets
and Second, 18 19.
key-note, key-tone. The tonic, key-
ship. Tonality.
key-tmmpet. One with keys or
valves.
khal'il. Hebrew flute or oboe.
khasan (kh^''/(ln), Heb, Chief singer
in a synagogue.
Ricks, G. Vide goosk
i8o
THE MUSICAL GUIDE
KieiaUg^el (kel'-fla-kh^l), G. Wing-
shaped harpsichord.
kin cni (kin che). A Chinese dulcimer
Minth 5 to 25 silk strings.
Kinderscenen (klnt'-^r-z&.ndn), (7.
Childhood scenes. Kinderstttck
(shtUk). An easy piece.
kin^ chi (king che). A Chinese instr.
with sixteen pendent stones gradu-
ated and struck with a hammer.
kinnor (kin'-nor), Heb, A small harp,
or lyre.
kin'tftl. Small Indian cymbals.
Kirche (ker'-kh£), G, (m compounds
Kirchen). Church. K. kantate
(k&n-tii'-t^). A cantata for church
service. K. komponist'. Com-
poser of church music. K. dienst
(denst). Church service. K. feat
(f^sht). Church festival. K. g^esang
(gd-zang), K. lied (let). Canticle,
psalm, or hymn. K. musik (moo-
zek). Church music. K. achlnss
(shloos). Plagal cadence. K. stil
(shtel). " Church style ** ; in an ec-
clesiastical mode. K. tttne (tan'-£).
The church modes.
kis'sar. 5-stringed Nubian lyre.
kit. A small pocket violin, with 3
strings, c-g'-d .
kitra (kl-tra). A guitar-like instr. of
the Arabs.
kitha'ra, Gr, Greek lyre.
Klag^e (kU'-kh«), G, Lamentation.
K.-8:edicht (g£-dTkht), K.-lied (let).
Elegy. K.-ton (ton). Plaintive tune,
or melody. klag^end (kla'-kh£nt).
Plaintive.
Klang (klfing), pi. Klilns^e (kl«ng'-«),
G. I. Sound, ringing. 2. Vide
CLANG. K.-boden. Sound-board.
K.-far'-be. Sound-color, clang-tint.
K.-g^eschlecht (gf-shl^kht). A ge-
nus, or mode. K.-lehre (la-r^).
Acoustics. K.-foige (f61.kh«). A
chord-progression in point of ton-
ality. K.-fig^ren (fI-goo'-r£n). No-
dal figures. K.-leiter (ll-t^r). A
scale. K.-saal (zal). Concert-room.
K.-schilissel, K.-vertretun^. Vide
KLANG-KEY. klaoglos (klJLng'los),
G. SoundW
Klappe (klap'pj^), G, Valve (of a wind-
inst.). Klappenfltts^elhorn (flo'g^l),
G. Keyed bugle. Klappenhora.
Keyed horn. iClapptrompete. A
keyed trumpet.
klar (klar), G. Clear, bright. Klar«
heit (kl&r'-hlt). Clearness, plainness.
kliLrlich (kl^r-llkh), G, Clearly, dis-
tinctly.
Klarinette (kla-r!-n«t'.t£), G. Clan-
inet.
klassisch (klfis'slsh), G. Classi-
cal.
Klausel (klow'-z^l), G. A cadence.
Baasklausel. The progression of the
bass in a final cadence from dominant
to tonic.
Klaviatur (kU-fY-al-toor), G, Key-
board. K. harfe (or Klavier-harfe).
A harp inv. by Lutz, Vienna, 1893,
in which the strings are plucked by
plectra manipulated by a key-board.
The same man in the same- year inv.
the K.-zither, a small piano with
single strings, plucked by means of a
key-board.
Klavier (kl&-fer ). i. Key-board, a.
Key-board instr., especially the clav-
ichord (formerly the piano). KIati-
erauazug^ (ows-tzookh). Arrange-
ment for piano. K. -harfe. Vide
KLAviATUR-HARFK. K.-hamioniam*
An harmonium shaped like a grand
piano, inv. by Woroniecki, i8j6-
K.-hoboe. Theharmoniphon. R.*
mlLssig^ (m£s-sYkh). Suitable for, in
the style of the piano. K.-tatz.
Piano-music, or manner. K.-80nate
(kla-fer'-sd-nS-t£). Piano-sonata. K.-
tpieler (shpe'-l£r), G, Piano-player.
K.-violoncello. A 'cello in a frame
with a key-board arrangement for the
left hand, of special advantages ; inv.
by de Vlaminck, Brussels, ii93. K.*
▼tola. A viola with key-board at-
tachment.
kiein (kiln), G. Small, minor. IC*
basa (klTn-bas), K.-baasflreig^e (gi'-
kh£), G. Violoncello. Kleineg^
dacht. A flnte-stop. kleinUnt
(lowt),t/. Small or low in tone or
voice.
DICTIONARY OF TERMS i8i
gbar (klYng'-bslr), G» Resonant,
ngel (kling'-el). A bell, klingeln
(kllng-^ln). To jingle, kling^end
<kllng-«nt). Ringing. kling^ende
Stimme. Speaking (as oppqsed to
dummy) pipes. Klmrklang; (kllng-
kling). Tinkling, bad music.
Klutter (kloot'-t«r), G. A bird-call.
Knabenstimme (knil'-b£n-shtlm-m0t
G* •* Boy's voice/* counter-tenor.
knee-stop. A lever worked by the
knee, and (a) controlling the wind,
(b) opening the swell-box, (c) drawing
all the stops.
knell. The tolling of a bell.
Knie (kne, not ne). Knee. K.-g^ui-
tarre. Guitarre d'amour. K.-cug;
(tsookh). Knee-stop. K.-g^eig^e (kne-
gi'-khd), G. Viol da gamba. K.-
rohre (ro-r^), G. A mitred pipe.
Knopfreg:al (knopf-ra'-gal), G. An
obs. reed-stop.
Knote (kno -td), G, Node. K.-punkt.
Nodal point.
kobsa (kob'-sha), Hus, A crude lute-
like instrument.
iCollectivzu^ (k61-16k-tef'-tsookh), or
Kombinationspedale (kom-bl-na-
tsT-ons-p^-dft'-l£), G, Combination
pedal.
\ollo (kol'-lo), /fl/. A Japanese harp.
kol'lem, G, To sing in a thin reedy
voice.
Kolophon'. Resin.
Kombinationstdne (kom-bl-nil-tsY-
ons'-ta-n^). Resultant tones. Vide
also KOLLEKT1VZUG.
Komiker (kd'-mT-k£r), G. A writer of
burlettas ; comic performer.
komisch (ko'-mYsh), G, Comical.
Komma (k6m'-m&), G. Comma.
koinponi(e)ren (k6m-po-ne'-r£n), G,
To compose. komponi(e)rt. Com-
posed. Komponist'. A composer.
KompORition (kom-po-ze'-tsY-dn), G.
A composition. Kompositionsiehre
(li^r£). The art of composition.
Konserratorium (td'-rY-oom)» G, A
conservatory.
kon'tra, G, Contra. KontratMiss.
Double-bass. K.-fagott. Double-
bassoop K.-oktaTe. Contra-octave.
K.-punkt. Counterpoint. K. -
subjekt. Counter-subject. K.-tdne
(ta-nd). The deepest tones of a bass
voice.
Konzert (kon-ts&rt'). Concert ; con-
certo. K.-meister (mi-shtdr). First
violin ; leader. K.-oper, Concert
opera. K.-stttck (shtOk). A free
concerto in one movement, or any
short concert-solo.
koons. A Persian brass drum.
Kopfstimme (kdpf'-shtYm-m€), (7. Fal-
setto.
Koppel (kdp'-pel), G. Coupler, coup-
ling-stop. K. ab (or an), ** Coupler
off (or on)."
Kornett (k6r-n«t'), G. Cornet.
koryphae'ns, Gr. Chief, or leader of
the dances.
kos (koz), Hun. A Hungarian dance.
Kosake (ko-sa'-k£). A national dance
of the Cossacks in 2-4 time.
koto. Japanese zither with 13 silk
strings, compass 2 octaves.
Kraft (kraft), G, Power, energy. krJif-
tlg (krdf'-tlkh). Powerful, vigorous.
Krag^en (kra'-kh^n), G. Lute peg-box.
Krftusel (krY'-z6l), G. Mordent.
Krakoviak (kra-ko'-vY-flk), Krako-
▼ienne (kra-k6-vY-2n), F, The cra-
covienne.
krebsg:iLng:ig: (krips' geng-Ykh), G,
*' Crab-going " ; retrograde imitation.
Krebskanon. Canon cancrizans.
kreischend (krT'-sh*nt), G. Shrieking.
Kreisfupe (kr!s'-foo-khd), G, A canon.
Kreislenana (krls'-la-rY-a -nd), G. A
series of piano pieces by Schumann,
named after an eccentric conductor
called Kreisler, in one of Hoffman's
novels.
Kreistanz (kils'-t^nts), G. Dance in a
circle.
kreol (kra'-6l). A Danish reel.
Kreuz (kroits), G. A sharp. doiK
pelt K. A double sharp. K.-
saitig^ (zI-tYkh). Overstrung. K.-
tonart. Sharp key.
Krie^sg^esan^ (krekhs'-g<^-zSng),
Knegslied (let), G. A war-song.
K.-spieler (shpe'-ler). A military
musician.
l82
THE MUSICAL GUIDE
kri«g:erisch (kre . kh^r - Ish). Mar-
tial.
Krome (kro -m^), G, Vide chroma.
kro'tftlon, Gr. Crotalum.
knimm (kroom), G. Crooked, curved,
bent. K.-bog:ea (bo'-kh^n). A
crook. K.*hofn. Crooked horn.
I. An obs. wind'indtr. resembling a
small cornet ; it had a range of nine
notes, and was made in several sizes ;
its plaintive tone has led to its imita-
tion in (a) an organ-stop of 4 and
8 ft. pitch (and in the Krummhom-
bass, of 16 ft.). Same as crom-
horn.
krustische Instrumente (kroos'-tlsh-
fi), G, Instr. of percussion.
kuha (koon)t G. Bold^ decided.
Kuhhorn (koo-hom), G. Swiss "cow-
horn."
Kuh-kttk (koo'-kook), C. The cuckoo
used in toy symphonies.
Ktthreig^en (koo'-ri-kh^n), G, '* Cow-
round-up." Vide ranz des vaches.
kuit'-ra. Kitra.
Kunst (koonst), G. Art, skill. K.-
fuge (foo-khe), fuga ricercal^. Vide
FUGUE. Klinstler (klnst'-lr). Ar-
tist. K.-lied (let). An art (as opp.
to a folk) song. K.-pfeif«r (pfl -f^r).
Street musician. Kunstwerk der
Zukttnft (koonst'-v&rk d«r tsoo'-
koonft). *'Art work of the future."
A term given by Richard Wagner to
his theory of music.
ku'rum. Curved trumpet of the West-
em Nile.
kurz (koorts), G, Short, detached,
staccato. kttrsen. To abridge.
kurser Mordent. Short mordent.
kurze Oktave. Short-octave, kur-
str Singresatc. Cavatina. KUr-
zung (kUr -tsoongk). Abbreviation.
Kttrzung;szeichen (tsl'-khen). Sign
of abbreviation,
kuBSir (kUs-ser), F, Turkish instru-
dient.
Kyrie eleison (ke'-rY-a a-la'-£-s6n), Gr.
*• Lord, have mercy (upon us)." Vide
MASS
kyriell'c (ke-r«-«l), F, Litany,
kyr'riole. Old E. for Carol.
LAbbr. for Uft KG., Links). 1. h.,
left hand. \\ abbr. for U or
lA, "the."
la* I. Vide SOLMISATION. 2-
The note A (/^. and /.). la bemol.
or bemolle, alt ; la di^M (U dl-«2>,
F.s af.
la (U). /. and F. The.
labecedita'tion. Vide solmisatiok.
la'bial. Lipped (of flue*pipes). L«*
bialztimme (m-bl-^r-shtlm-mC), or
Sfeife (pfl'-f£), G. Flue-stops.
isa'tion. Vide solmisation.
Labiea (la -bY-^n), pK, G, Pipes.
Labium (la'-bl-oom), Z, and G* The
lip of a pipe»
lacrimando (li-kt1-man'-do)> ' lacti-
mo'to, /. Mournful.
Lacrimosa (l&-krt-md'.sli), £. **Wee|>.
ing." An occasional part of the Re-
quiem.
Lade (la -d^), G, Wind-chest of an
organ.
Lage (la.kh«), G. Position, i. Of
a chord. 2. Of the hand in violia
shifts, engr'e L» Close harmony,
opposed to weite (vT'-tl^), open.
Lag^enwechsel (v£khs-£1), G, Shift
ing.
lagnoso (lan-yd'-9&)t /, Plaintive, dole*
ful.
lagrimando (la-grY-mfin'.dd)> lagri*
mOBOy /. Weeping.
lah. Vide tonic sol-fa.
lai (!€), /'. Lay, ditty.
lament'. Old name for harp mnsfc or
songs of pathos.
lamentabale (la.m£n-tft'.bM«), lamtfr-
tabilmen'te, /. Mounifui(lv). la^
mentaa'dO) lamentevole (Ift-mfn*
ta'-vd-li&), lamento'fto. Plaintive.
Lamenta'tiona. Words from Jere-
miah sung at Vespers in PassioQ
week.
lampon (UA-p6A), F^ Drinkiiig:-MMip.
lancers, £., landerm (IfiAs-yi), F, A
set of quadrilles.
Llinderer (l«n'-d£-T«r), LHadler (Itet'*
I^r)> G. 5>low German or Austrian
waluia 3^ or 3-$ tame, the last nelea
■i
DICTIONARY OF TERMS 183
of each measure a dotted 8th and a
i6th note,
ttnderiach (l«n'^«r.lsh), C. In the
Lindler style.
ULndUch (lent'-llkh). G. Rural.
Laadlied (lint'-let), G. Rustic-aong.
landu (Ian -doo), P^rt, A Portuguese
dance in duple time.
landums (Un -dooms), iVr/. Portu-
guese music of sentimental tone.
tmStg (Iteg). G, Long.
Iflmg^am n&ng'-zSm), G. Slow(ly),
largo. langsftmer (lang'-zftm-^r|.
Slower.
ImskgvuLgt, lanj^id. In a flue-pipe a
horizontal stnp of metal or wood just
inside the mouth.
laocpie&do (tfln-gwdn'-dd), languen*
te* langttido (lan-gwc'-do), /. Lan*
guishing. languemen'te. Lan-
gaishingly.
tanpiette (lin-g«t), P. i. The tongue
oi reed-pipes. 3. Pallet. 3. Key on
a wind-instr. 4. Tongue carrying the
quill of a jack.
laa'guid. vide ijinguage,
latt'tum. A large hurdvguidy with
rotary bellows and reeds played by
buttons,
lapid'eon. A scale of flint-stones
played with hammers ; inv. by Bau-
dffy.
largkmente (lUr-ga-mSn'-tS). Broadly,
nobly. Vide largo.
largando (lar-gSn'-do), /. Broadening,
becoming largo (q. v.).
large. The longest note in ancient
music equal to four brei'cs (eight of
our whole notes). Vide «. *<TiON.
large (Wih) J^. BnaiL 0^ ^^ lacige-
ment (Urzh-man). B..^.y.
larghetto (lar.g«t'-to), /. Not quite
so slow as largo.
Iarghe22a (lir-g^d'-zfl), /. Breadth,
slowness, larghissimo (lar-gYs'-sI-
mo). Very slow.
largo (lar'-go). /. Slow, noble, broad,
osuaHy taken as slower than lento*
L assai (^s^'-e), 1. di molto (de-
mor-to). Very slow. 1. ma noa
troppo. Slow, but not too slow. L
on poco (oon po'-ko). Rather slow.
larigot (UM-go), F. i. Shepheid't
fxpe. 3. A verv shrill i^-ft. stop.
laringe (U-ren'-jd), /. Laryiuu
larmoTaot (lArm-wiUyiLA), ^. Weepi»
ing.
lar'^z. Upper part of the trachea or
wmd-pipe ; a human reed-pipe vary-
ing at will the tones of the voke.
land (UUoodh), Sp. Lute.
laud, lauda (k'-oo-dl), r. and Z., /. pi.
iandt, L. pi. htndrs. I. Hymn<s) of
praise. 3. Vide hora.
Laa'da Slon, SalTato'rein. ' * Zion,
praise the Saviour " ; a sequence sung
at the High Mass of Corpus Christi.
landia'ti, L, Psalm-singers.
Landa'mut Te^ L. "We praise Thee.*
Part of the Gloria. Vide MAsi
Lauf (lowH, G, t. Peg-box. 3. A
run, a trill. Lanftans (lowf'-Uints}.
A running dance, corante. Lillilt
Cl'*f«). Rapiddivisions. LAttferQ!'.
f dr). A run, trill, or shake.
Lauaenttttck (low'-nte-sHtQk), G. A
voluntary.
launig (low'-ntkh). Humorous.
laureate (l^ri-Ht), F. A winner off
the Grand Prix de Rome (<). v.).
laut (lowt), G^ I. Load, t; A^sooad.
Ikutlos (lowt-los). Soundless, nrate.
Laiite (towt'.«), G, The lute. Laat-
eaiftS LattteiiaclilAgor(8hU'*kh€r),
or spieler (shpe-l«r), G, Lutenist.
X^utealttttar (foot-ter). lantenkas-
ten. Lute-case. Lauteninttm-
mente. Instrs. whose strings are
plucked'. L.-geige. Viol. L.-sttg.
Lute compass. L.-iiiacher(mil'-kh«i).
Lutemaker.
l&tttea (It'-t^n). To toll, to sound.
laTol'U. Old Italian waltt.
lay. Song.
U (la), /?•., le (1»). /.. pl. The.
lead (led), x. The antrouncement bf
one part of a theme to reappear in
others. 3. A sig^ giving the cue for
the entry of the various p^rls of a*
canon, etc.
leader, i. Conductor, director. Iir
older times the first violinist was the<
actual conductor and is stni called.
**letdcr" though he has lost Uo*
i84
THE MUSICAL GUIDE
function as conductor. 2. The first
cornet (in bands). 3. The first so-
prano (in chorus).
leadins^. i. As a noun, A melodic
progression or tendency. 3. As an
adjective. Guiding, compelling, char-
acteristic, predominant l.*<hord«
The dominant. l.-tonei or note.
The 7th degree of a scale (because it
leads in and demands the tonic).
L-melody. The chief melody.
leAding-motiTe. A musical phrase of
figure (as those in Wagner*s operas),
used. as a sort of autograph or trade*
mark of a certain character, mood or
sentiment, and recurring whenever
that character or mood is to appear
or is remembered.
Leading-Motives.
By Gustave Kobbe.
OTHER composers before Wagner have used typical phrases M
express some, penona] characteristic oridea» and have repeated them
in a manner which suggests what is now termed a leading^motive.
Such is the ^* Hie fixe ^^ in Berlioz's *'Fanta8tiquc " symphony; or th%
phrase in Weber's "Euryanthe " which occasionally even is spoken of aa
the ** Tomb Motive." I> however, have always considered that Beethoven
in the use he made of the opening theme of his Fifth Symphony more nearly
approached the leading- motive than any of Wagner's predecessors. The
theme recurs with great variety of effect throughout the symphony, th«
second movement excepted. It is found as a mysterious threatening figur«
accompanying the second theme of the first movement, while in the Allegro,
the scherao of the symphony, it partakes of a joyous character, to reappeat
M a disturbing element in the finale. It has the plasticity of a leading
^^U
/T\
I
^[^^^^
J J J I r-Jt-ji
nodve, but it may be questioned whether Beethoven ititendeJ to use it for any
Mher than a purely musical effect. In fact any suggestions Wagner may
DICTIONARY OF TERMS 185
have received firom other composers were so slight that the leading-motive
in the modem sense may unhesitatingly be said to be his invention. ^It
« easier to say what a leading-motive is not, than to give it a fixed defi-
nition. The first idea to disabuse one's self of is that a leading-motive
js anything like a label. The «<Walhalla" motive in the <* Ring of the
Nibelung" is not a guide-post which reads «WalhalIa to the right — 3
miles" — nor does it even represent Walhalla as a pile of masonry. It
expresses, in its simple yet lofty measures, the rulership of IVotan, the
hegemonia of the gods. A leading-motive is a musical searchlight or X-ray
which illuminates and enables us to look deep into every character, thought,
mood, purpose, idea, and impulse in the drama. Even conscience itself
does not escape Wagner. Witness how he lays it bare with his scalpel of
leading-motives in the first meeting of Siegfried and Hagen in '< Goetterdaem-
merung " with the Curse Motive, which hints at Hagen^s fell purpose,
darkening the noble Siegfi-icd Motive. The use of the Curse in this episode
clearly foreshadows the death of the Volsung hero at HagetCs hand and lays
the gloom of impending tragedy heavily upon the hearer's soul. ^How
plastic a leading-motive may be, how closely welded to the ever-changing
phases of the drama and how clearly it expresses them, the wonderful
yariants of the motive of Siegfried the Fearless — the call Siegfried sounds on
his silver horn — will show. Joyous and buoyant in its simplest form, it
becomes when he takes leave of BrUnhilde to sally forth in quest of adven-
ture, heroically grand, and in the Death Music, that strain of triumphant
mourning which thrills every hearer and stamps the episode as the greatest
cllnux ever achieved in a musical work for the stage. Indeed, the whole
scene is a triumph for the leading-motive idea, since here, as Siegfried^ s liir-
i86
THE MUSICAL GUIDE
las body is borne up on the mouncam crest, the orchestra gives a muskml
epitome of his career by voicing successively the motives most intimately
relating to him which have been heard in the cycle of music-dramas. ^But
Wagner's use of leading-motives singly and in complex combinations ac-
cording to the trend of the drama however interesdng analytically would
wholly have failed were not the motives themselves musically valuable. They
are enunciated chiefly by the orchestra (which thus forms a constant com-
mentary upon the proceedings of the stage) and they are considered by those
who are in the van of musical opinion to have resulted in the most eloquent
and sublime — if at times the most tedious — scores ever penned. To ap-
preciate what a genius Wagner really was, it is only necessary to listen to the
works of some of his imitators.
Liszt in his Symphonic Poems has adapted the leading-motive to instru-
mental music, in which respect Richard Strauss may be regarded as follow*
ing him.
lesui'iag^ note. Appogg^iatura.
Itap. I. Skip. 2. In piano-playing a
long jump for the hand. 3. A dis-
tance composed of several interme-
diate intervals.
Leben (la'-Wn), G. Life, vivacity. Ic-
bendig (la'-b^n-dlkh), lebhaft (lap-
haft). Lively. Lebhaltiffkeit (kit).
Vivacity.
Ie90n (la-s6n), /*. Lesson, exercise.
ledger line, leger line. A short ad-
ditional line above or below the staff,
for notea too high or too low to
t>e written on the staff. 1. 1. are
counted away from the staff, the
nearest being the first, ledrer space.
The space between two 1. T.
Itere Saiten (ia-r« zl'-ten), G, Open
striaes.
legabile (le-gi'-bY-I^), legan'do, /.
Legato.
legart (le-ga-re). To bind, or tie.
leiato (l«-g4'.t6), /. "Bound." In
a smooth, connected manner, opposed
to staccato, and indicated by a slur, or
legato-mark (G., legato-bogen)
thus, ^. L. touch. A touch pro-
longing the tone, till it exactly con-
nects with the next, legatit'simo.
Exceedingly legato.
legatura (ti-gS-too'-rft), /. t. A slur.
2. Syncopation. L di voce. Vide
LIGATURE (2).
legend, l<g:ende (la-zhand), /*., Le-
^ende (Ia-g£n'-d£), G, A composi-
tion in romantic or narrative style,
im Le'gendenton, G, In the ro-
mance manner.
leger. Vide lrdger.
lerer (li-zhi), Itgkrt (la-zhSr). K
Light, nimble, legferement (man).
Lightly. ltghTtt€ (la-zh&r-ta). Agil-
ity.
legg:e&da (l^-j^n'-dft), /. A legend.
lesgeramente (l£d-j«r-i-ni<fn'-te), leg;<-
germen'te, /. Lightly, leggeran-
za (IM-jdr-an'-tsa). leggtrtxztL
(l€d-j«r.£d'.zJL). Lightness.
leggiadro (l^-j&'-dro), leg^adra-
men'te, /. Graceful(ly).
legpcre (l?d-ja'-r«), legg^iero, leg^
g^ieramen'te, leg^ermen'te, /.
Light(ty). leg:gierezza (l«d-j«-r«d'.
zIL). Delicacy.
leggiemco'lo. Rather light.
legno (Ian' -yd), /. Wood. col. L
To be played with the back or wood
of the bow.
Lehrer (U'-r£r), feminine Lehrerii^
G. Teacher, master.
DICTIONARY OF TERMS 187
Leiih (nkh), G. A lay.
LMchenmusik (ll'-kh£n-moo-zek'), 6\
Funeral-imisic. Leichenton (ton).
A lugubrious sound.
letcht (llkht), G. U%hX, eAsy. fadle.
U. bcwegt (M-TAkht), (a) delicately
swift, (b) ag^itatedly. Leicbtheit
(hn), Lilchtlgkeit (lTkh'.tlkh.kft).
Lightness, facility. Uichtftrtig
(f«MIkh}. Light(ly), carcle8s(ly).
Lcidcnschaft (IT .d^n-shaft), (7. Pas-
sion. leidenschaftlich (llkh). Pas-
sionate.
Leler (ll'-er)» G. A lyre. L.-kasten
(klst'en). A hurdygurdy. Leier-
madchen (mat'-kh€n). A ^rl who
Sys on a hurdvgurdy. Leiemuuiit
in). A male player of a hurdy-
furdy. Leierorgel (l!'-«r-drkh.«l).
land-organ. Leierspieler (shpe-
Kr). Dm who plays on a lyre.
Lttiae (tl'-nC), G, A line on the suff.
Mm (if'-c«)» G. Low, soft, gentle. 1.
wie fftc sicb (vr far zikh). Softly, as
If to one's self.
UeiUkkord (llt'-ak-kord), G, A har-
mony progressing naturally to an-
other, as the dominant. Leitmotiv
(lit'-m6-t£f). Leading-motive (q. v.).
Leitton (llt'-tdn). The leading note.
Loiter (If'-tir), G, t. Leader. 8.
'* Ladder/* the scale of any key.
leitereig^n (H-^^r-ikh'-n). Proper iinJ
peculiar to a key, <M»posed to foreign
notes which are L-frttaid (fHfmt).
lOAO* Old term for a note b«istained,
while other parts move.
leao (la'-no), /. Weak, feeble, faint.
leaexMi (la-nM'-zft). Gentleness.
lent (lah). A*. Sk>w. lantement (l&nt-
maA)» /*. Slowly, lenteur (Iftn-
tftr'). Slowness, delay.
leata&do (I^n-tan'-dd), /. Retarding.
lento (l£n'.to), /. Slow ; usually con-
sidered between andante and largo.
L esaaii 1. di molto <de mol'-to), 1.
lelito. Very slow, leatit'simo.
Extremely slow, leatamen'te, lea-
teoioa'te. Slowly, lentcsse (Un*
t«d'-xiL). Slowness.
ler. Minor, as the L third. 1.
appogpatura. Vide apfoog.
1. barbiton. The kit. 1. conuna.
The dtaschisma.
lotaOfi. A piece of two or three move-
ments for the harpsichord or piano-,
forte, often combined into a suite.
leato (Ids'-td), /. Lively, lestissimo.
Very quick. Itttczsa (Ids-tM'-zft),
/. Agility.
letterale (Uft-t«-ri'-l«), letteralmeiiV
te« /. Literal(ly). Exactly as written.
lettei^iiaine. A letter designating a
tone, key, etc., as a, b, c. Letter-no-
tation is old as the Greeks.
Itttto (li-oo'-td), /. Lute.
leva (U'-vA), /. Lift, reletw, jt* itva
il sordine, *Mift the mote"; H k^
van0 i sordini y ** release the damp-
ers."
lOT* (IO-V&'), F, Up-beat.
leret. A blast of a trumpet ; reveille.
leresza (l^-vM'-za), /. Lightness.
lerier pnenmatiqve (l^v-l-ft'-ntl-mlU
tek'), F. The pneumatic lever.
lesioaamen'te (la-tsl-^), /. Affected-
lezxioni (l^-zI-5'-ne), /., pi. Les-
sons.
Lejrer (lT'-«r), (7. Lyre.
L. H. Abbr. for ** left hand."
liaison (le-«z'-6A), A. i. A bind or
tie. 2. Vide ugature, 2. 3. 1. d'har-
monie (dftr-m6-ne). Syncopation.
L de chant (dtt^shi&A). Sostenuto
singing.
libero (le-b^-ro), Itberamen'te, /.
Frec(ly), unrestrained(ly).
libitttfli, Z. Pleasure, will, ad llbitam.
At the pleasure of the performer,
who may decide tempo, expression,
etc., or even omit tne section sr)
marked.
librement (lebr-man), F, Freely.
libretto. The text of an opera, ora
torio, etc. libret'tist. A writer of
such texts.
li'cence (in F. le-s&ns), licensa (1^-
ch£n'-tsa)| /. A deviation from the
rules, con' alcana (il-koo'-nft) U-
cenza. With some freedom.
liceo (le-chft'-6), /. Lyceum ; academy.
-Uch- (llkh), G. Suffix, equivalent to
*'.|ikc,"or"4y."
i88
THE MUSICAL GUIDE
licb'anos, Gr. Vide lyre.
Ii6 (le-a ), F. Smooth(lv), legato, li^
cottlant (koo-lafi). Slurred but flow-
ing.
Liebeslsed (le'-b^s-let). Love-sone.
Liebesfldte. A flute-stop. Lieb-
baber (lep'-hsl-b£r). Amateur.
lieblich (lep'-lTkh). Lovely, charm-
ing. Lleblichgedacht (g£-dilkht).
A stopped-diapason organ register.
Lied (let), pi. Lieder (le'-d«r). (7.
Looselv, any song ; technically, a
song {as opposed to the ballad or
Strophenlied), in which the text
predominates over merely melodic
rights, and the music interprets, rather
than disregards, the words. Such a
song in which each stanza has special
music is often called durchkompofl"
i(e)rtes (doorkh-kom-po-ner'-t^s), or
one " composed all through." Lird
(or 1.1KDER) ohne Worte {o-rA
v6r'-ti), G. Song (or songs) without
words. Lied form (f6rm). The form,
or theme of a song. Liedchen (let'-
kh£n). A short song. Liederbucb
(booich). A song or hymn-book. L.-
bund (boont). A society of singers.
L.-cjclu8 (tse'-kloos). A cycle of
songs. L.-dichter (dTkh'-t^r). A
song -writer. L.-kranz (krSnts).
Glee-club. L. -kreis (krfs). A
*' wreath " of songs. L.-sammlung
(zam'-loongk). Collection of songs.
L.-siinger (z£ng'-^r). A ballad-
• singer. L. -spiel (shpel). An oper-
etta. L.-sprache (spra -kh£). Words
adapted to songs. L.-tafel (tli'-f«l).
** Song-table *' ; a glee-club of male
voices. L.-t&fler (t«f'-l«r). Glee-
singers. L.-tans (taints). A dance
with songs.
Her (ler), Dutch, A lyre.
ligare (lT-ga'-r«), Hgato (le-ga'-to).
Vide LKGARR, LEGATO.
Ligatur (le-g&-toor'), G,^ ligatura
(le-ga-too'-r&), /., lig'ature, E. (pron.
in /'. le-gii-tttr'). i. A succession of
notes sung to one syllable or in one
breath, or played with one stroke of
the bow. 2. A tie. 3. A syncopa-
tion. 4. In old music a succession of
notes sung to one syllable. Vide
NOTATION.
ligne(len'-vu),/^. Aline, l.addition-
neile (kd-des-ytt-ndl), or ajout^
(ii-zhoo-ta'), or postiche (pos-tesh),
or suppl^mentaire (sQp-plfi-mah-
tAr). A ledger line.
lig'neum psalte'rium, L. Xylophone.
limite (le -mY.t«), L Limit.
lim'ma, Gr, An interval in Greek
music, less by a comma than a major
semitone.
linea (le'-n«-&). /. A line of the staff.
line. One of the five lines makine up
the staff (q. v.). added, or ledger
line. Vide LEDGER.
lingua (lln'-gwa), /. i. Thetongneic
a reed. 2. The reed itself.
Lingualpfeife (len-goo-Sl'-pfl-fd), G,
A reed-pipe.
lin'^ia, Z. Glottis.
Lime (le'-nc). pi. Linien, G, Line(s).
Linien^stem (le'-nl-^n-zes-tam).
The staff.
lining-out. The old practice of read-
ing out one or two lines of a hymn
before singing them.
li'ning^. The supporting strips glued
to the ribs of violins, etc.
link (lYnk), links (links). G, Left,
linke Hand (hant). The left hand
linos, Gr, i. A rustic air. 2. A
dirge.
lip, i:'., Lippe (lTp'-p«), (7. i. The
flat surface above or below the mouth
of a flue-pipe. 2. Vide embouchure.
Lippenpfeife. A flue-pipe.
lira (le'-r*), /. i. The Greek lyr«. 2.
In i6th-i8th cent, a viol, hence, 1.
barberi'na. A small viol inv. by
Doni in 17th century. 1. da braccio
(d& brat' -she). Obsolete instr. like
the tenor viol, with seven strings.
1. da gam'ba. An instr. held be-
tween the knees and having 12 to 16
strings. 1. dop'pia. Double lyre.
1. ^ande (gran'-d£). A viol with six
strings, formerly used in Germany.
1. pagana <pa-gii'-na), 1. nistica
(roos'-tl-ka), 1. tedesca (ta-d6s'-kfi).
A hurdygurdy.
lire (ler), F. To read.
DICTIONARY OF TERMS 189
liressa ae-r«s'-s&). A bad lyr^
iirico (Ic'-rt-ko), /. Lyric.
Urone (I^-^o'-ni), /. The large bass
▼iol with 24 strings.
liscio (le -sho), /. Smooth.
lispelnd (lls'-pilnt), G, Lisping.
ristetao (les-t^'-s6), 7. The same.
lltanei'a, Gr,, litania (le-ta-ne'-i),
Z. and /.. lltanie (lUft-ne), /*.,
Litanei (le-t<Unl'), G,, lit'any, E. A
solemn form of supplication, the min-
ister offering prayers, to which the
congregation add ** lA>rd have mer-
cy.** kyrie ekison is the letter 1.
lit'terae significa'tiTae, Z. Letters
of doubtful meaning, used in neu-
matic notation.
lit'nutt Z. A kind of trumpet
liuto (le-oo'-to), / A lute.
livre (levr), F. A book ; k V OUTert
(oo-vftr). At first sight.
liTfCt (Ic'-vra), F. A libretto.
lo (16), Z The.
Lobgesang^ (15p'-g5-zSng), Loblied
(lop'-let), G. A hymn of praise.
Loch (Idkh) in der Stimme, G.
" Hole in the voice/* used of that
part of a register where certain tones
are weak or wanting.
loco (lo -ko), Z •• Place." i. A word
nullifying 4^a or a// ottava, and
meaning that the notes are to be
played as written, not an octave
higher or lower as before. 2. A sign
for a violinist to return to his original
position, form or shift.
Locfian (lo'krt-iln), lokritch Qd'-
kilsch), G. Vide modes.
lo^gemn, Z. i. A stage. 2. A motet.
Logier'ian tystem. The system of in-
struction of John Bernard Logier,
including class?work, harmony, etc,
and use of the chiroplast.
lofflbar'do. A dance of Lombardy.
long, longa, Z. An obsolete note half
the length of the large, or equal to
four of our whole notes, long aouble.
An old character equal to four breves.
As adjective ^ long appoggiatura.
An accented app. of a single note
forming part of the theme, and borrow-
ing half the len^rth of the next note. L
4nim. The bass-drum of miliury
bands. 1. mordent. A mordent
of four notes. 1. roll. A drumbeat
to arms. 1. spiel. An ancient long
and narrow Icelandic bow instrument.
longue pante (16ng'-poz), F. A long
pause.
lontano (16n-tft'-no), /• Distant, re-
mote, da 1. At a distance. Ion-
tananza (lon-tii-niin'-tsa). Di«
tance.
loop. I. The vibrating part between f
nodes. 2. The chord binding the tail*
pieces of violins, etc.. to the button.
Ldtung, forttchreitende (fort-shrl-
t£n-d£-la'-zoongk), G, Resolution.
loud pedal. Vide damper.
lourde (loord), F. Heavy, lonrdement
(mftii). Heavily.
loure (loor), F. i. An old F. bagpipe,
thence ; 2. A slow dance in 6-4 time,
strongly accented.
lour^ (loo-ra'), /^ Smooth(ly), legata
louvre (loovr), F, Applied to an air,
called '*L* Amiable Vainqueur," a
favourite of Louis XIV. ; thence a
dance.
lu'dut, Z. Play, ludi moderator.
Organist, ludi tpirituali. Miracle*
plays.
lug^ore (loo-goo'-br^), Z Lugubrious,
sad.
luinig. A plaintive song of the Heb-
rides sung by the women at work.
lul'labj. A cradle-song.
lu-lu. The Chinese official laws of
music.
lundu (loon'-doo). Port, A Portuguese
dance in duple time.
lunga (loon'-ga), pi. lunghe Goon-ge).
Z Long, prolonged.
luogo (I00-6 -go), Z Same as loco.
lur (loor>, DjkH, i. A birch-bark instr.
similar to the alp-hom. 2. A pre-
historic curved and conical bronze
instr. 5 to 7 feet long, with cupped
mouthpiece, and, instead of a bell, a
circular flat plate, ornamented with
bosses and bronze tassels.
lusing. An abbr. of lusingato.
lusingando (loo-sen-giin'-do), lusia-
gan'te, lusingato (ga^-to), lutio*
e
190 THE MUSICAL GUIDE
gherolc (ga'-vo-l^), /. , lusinrhiere
or o M-&'-r£). Coaxing lutingnevol-
mcnte. Insinuatingly, persuasive-
lustig (loos'-tYkh), G, Merry, cheer-
ful.
Lust lied (loost'-Iet), G, A gay song.
lute (iut, not loot), J?., lut or luth
(lUt), F* A very ancient string instr.
now obsolete except in the small form
of the mandolin and the modiiied
form of the guitar. It was pear-
shaped, and had a neck with fretted
finger-board. The stringing was va-
rious ; the lafgest form having paired
strings tuned in unisons, and, besides,
a series of strings that did not cross
the finger-board but were played upon
as a bass. This form required a
double neck and was called a theor-
bo, arch-lute, or chitarrone. The
strings, sometimes as many as 13
pairs, were played as in the gfuitar.
Lute-music was written in tablature.
Lute -players were called lutlsts,
Inters, lutanists, lutenists, or lu-
tinists. A lute-maker was a luthier
(iQt-yft), a name also given then,
and now, to violin-makers. The
trade and its product are called lu-
therie (lUt-rdO. lutina. A small
lute, or mandolin.
luttuoso (loot-too-5'-so), luttnosa-
men'te, /. Moumful(ly).
Lyd'ian, E., lydisch fldt'-Ish), (7. Vide
MODES. Lydian cnant. A chant
of a sorrowful, melancholy st>'le.
Lyon catlins. Thick bass-strings.
lyre (llr in E, ; in F, Ifir). lyra (le'-ra),
Z., /., and G, i. A most ancient
instr. consisting of a sound-box or
board with 9 long curved arms carry-
ing a cross-bar from which descend-
ed, across a bridge, the 3 to 10
strings, struck with a plectrum. On
the 8*stringed lyre, the strings were
thus named, bc^nning nearest the
bodv: hy'pate (hl'-pfl-t$) (the low-
est in tone), parhy'pate, lich'anos,
ma'se, par'amese, trite (tre'-t£),
tiaranete, nete (na'-t£). The largest
lyre was the cithara, the treble was
the chelys. A large so-stringed
instrron which octaves were played
was the magadis, a. The modem
lyra is a rebec, and various bow-
instrs. have been called lyres, or lyre-
▼iols, since the 14th cent ; some
have a double neck or biluga like
the theorbo (Vide vutk), mcludin^
the lyra di bracdo (brfit'-cho) ot
arm-viol and archsTiole dl I., or L
doppia. The 1. di gamba is a leg-
viol. 1. barbarina. An old instr.
resembling the guitar, but played
with the bow. 1. hez'achordis, Gr
A six-stringed lyre. 1. mendtco'nun,
L' '* Beggar's lyre," a hurdygur-
dy. Lyra-siinger (zteg'.^r), or
-spieler (shp€'-l£r), G. VtnonnitT on
the lyre. 3. The modem StahlspieL
lyric, lyrical, lyrisch (llrMsh), G.
** Fitted to be sung to the lyre,**
hence used uf .subjective moods, usu-
ally brief and enthusiastic as opposed
to narrative, dramatic, or epic» lyric
drama is opera, lyric tn&Jgedy. A
tragic opera. 1. comedy. Comic
opera. 1. opera. A ballad opera,
M
MAbbr. of AfisMo, Afeirstt^me,
Afavo, Main; m. f., for
Mezzt>'/0rte ; m. p^^MeMzo*
piaf90 / m. y. , Me%%a-V9ce»
M. M. Abbr. for Maelsers Metro-
nome (q. v.).
ma (mi), /. But : as ailegr^ ma msm
troppo^ quick, but not too much so.
machalath (mft'-ka-lath), Hth. A term
employed in the Psalms, supposed by
some to mean a flute, but by others
to indicate familiar tunes,
machete (riift-sh«'-t£). Part, A small
guitar with 4 strings, tuned iT-^'-
mach-icotaM (mSsh-Y-kft-tJUh), F.^
macicota^icum, Z. Embellishment
added to the raif/ffx^nwirx of plain-
chant, customary in France in the
1 8th cent. The clergy alone sang
the embellished or machicot^e
fnii(sb-l-kd-t&) plain-song, and wers
DICTIONARY OF TERMS 191
called macliicots (mftsh-Y-kft) or ma-
cicico'nici. The choir sang: the
cantus Jirmus without embellishment
(si'ne macicota'ttco).
tchine-head. A raclc and pinion
appliance to be used in place of ordi-
nary tuningj.pegs.
machol (mi^-kol), Heb, Instr. sup-
posed to be either string or pulsatile.
Madre, alia (Al'-U m{ld'*r«). '' To the
Mother.** Used of hymns to the Vir-
gin,
madriale (mS-drf-SM^), /. Madrigal.
madrialet'to. A short madrigal.
madrigal (in F, m&d-rl-g&l ; in G. ma-
dri-hiir), madrigale (m&d-rY-g:ftl'.£),
/. I. Loosely, a short amorous or pas-
toral lyric. 2. Strictly an unaccom-
panied chorus in from 3 to 8 parts,
based on a eantus firmus^ and written
with elaborate counterpoint. Begin-
ning in Italy in the 15th cent. It
spread all over Europe, madrlgal-
es'co, /. Pertaining to the madri-
gal
ipaKtta (mfl-fts'-tii), maistade (m&-
a3-tsL'.d€), maSstate (tft'-t«). /.
Majesty, grandeur. ma^steroU
(ta-vo-l^). ma^steroltnen'te, ma-
iato'to, maittoflamcn'ta. Majes-
tic(all^), noble (nobly).
maeatna (ma-is-tre'-&), /. Mastery,
skill
maestro (ma-as'-tro), fem., maestra
(mft-as'-tri), /. Master, m. al
cemtMile. A conductor, since he
formerly sat at the harpsichord.
m. al piano. Pianist of an orches-
tra, in* del coro. Master of the
choir, m, di camera. Conduc-
tor of chamber-music. m. di
canto. A singingr-master. m. di
cappella (d£ k^p-p«l'-lfi). i. Chap-
el-master. 2. Conductor.
nar'adit, Gr, i. Vide lyre. 2.
16th cent, name for monochord.
mac^adising. A vocal performance in
octaves.
nair^aa, Gr. i. Bridge. 2. Fret. 3.
Vide MAGADIS, 2.
Magaainbalg (mjlkh-ft-tsen'-b21kh), G.
Reservoir-beilowr
maggiolata (mAd-jd-U'*t2), /. A song
in praise of May.
mag^ore (mftd^jo -re), /. ** Greater,"
major.
maggot. An Impromptu fantasy,
magistrale (mfi-jls<trft-l«), /. Vide
MARSTRALR.
Magnificat, L. A part of the Vespers
from ** Magnificat antma mea I>omi-
num," My soul magnifies the Lord.
main (mfti^), F. The hand. m. droite
(drwflt). Right hand. m. ganche
(gosh). Left hand. m. harmoni^ue
(mfl«nftr-miin<ek). Harmonic hand.
malt re (m£tr), F. A master, a director.
m. de cbappelle (sh&«p^l). Chapel-
master ; conductor ; director of a
choir, m. de muslque (da mtt-sek').
Musical director, or teacher.
maitrise (m$t«r£i), F, A music school
connected with a cathedral
majesti (mfi-yas-ta), /., majesty (mi-
sh^s-ta), F. Majesty, majettnenx
(m&«ahdst-yik'). Majestic majettii-
tisch (ma.y«s-t&'-tfeh), G, Majestic
major, E., majear (m&^ehar), F.
* * Greater,'* as opp, to minor (*' less "),
and used of intervals greater bv a
semitone than the minor (though less
by a semitone than the augmented);
hence, those major chords and major
scales and keys in which major inter*
vals predominate, m. triad. One with
a major 3d and perfect 5th. m. ca-
dence. One ending on a m. triad.
Mai (mil), G. Time, as sum eraten
M., for the first time.
malagnefia (mi-U«gwan'«ya), Sp, A
fandango.
malanconia (msUlin-kd-ne'-i), malin-
coni'a, /. Melancholy, malenco'-
nico, malincol'ico, malinco'nico,
malinconio'so, malincono'ao, ma-
linconicamen'te, /. In a melan-
choly style.
mama (mfi'-mfi), /. In drum-music the
right hand.
manca (min'-ki), /. The left.
mancando (min-kin'-do), /. Decrea»
ing and retarding.
mancbe (miAsh), F. Neck (of a vio*
lin, etc)*
192
THE MUSICAL GUIDE
siiandoliii(e)(mlln'-dd.lIn), £., mando-
litto (man-dd-le'-no), /. A small liite
with fretted neck, and paired strings
played with a plectrum. The com-
pass g-g.'" The Neapolitan (man-
dolinc napolitd no) has 4 pairs tuned
g-d'-aW' ; the Milanese {m. lorn-
bardo) has five or six pairs tuned
g-c'_a'-d"-«". or g-b-e'-a'-d"-^".
mandolinata (a -tfi). To be placed
with mandolin-like effect, mando la,
mando'ra, mando' re. A large man-
dolin.
mang^eot (mftft*zho), F, A piano h
claviers renversif,
manico (manl-kd), /. Neck (of vio-
lin, etc.).
man'ichord, E,^ manichord'ium, Z.,
manichord'on, Gr, An old term for
various string instrs. Manichor-
diendraht (drat), G, Wire for the
manichord.
maniera (m&-nY-a-r£), /., man! fere
{nAn y&r), F. Manner, style, m.
affettata (&f-f£t-til'-ta), /. Affected
delivery, m. lanffutda (lan'gwi-da),
7. A languid style.
Manier (mil-ner ), pi. Manieren (ma-
ne'-r^n), G. Grace(s), embellish-
ment(s).
manifold fug^e. One with two or
more subjects.
MUnnerchor (m^n-n£r-kor), C7. Male
chorus. Milnnergesangverein (ga-
zing'-f£r-ln). A male choral society.
M&n'nerstimmen. Male voices.
mano (ma-nd), /. The hand. m.
destra (das'-trS), m. diritta (dY-rlt'-
tS), or dritta (drit'-ta). The right
hand. m. sinistra (sl-nes'-trft)« The
left hand.
man'nalt £,, Manual (mft-noo-al'), C7.,
manuale (mfi-noo.&'-l£), /. and Z. i.
Key-board of an organ, a. A digital,
especially man'uaT-kej. manual'-
iter. Without pedals, **onthe man-
uals alone." M.-koppel, G. A coup-
ler connecting one manual with
another, m.-mente (ma-noo-tU-mdn'-
t$), I. Manually. M.-untersats
(oon-t£r-z&ts), G. A 32-ft. stop.
tianubrio (ma-noo'-brl-o), /., Man-
ubrien (m&-noo'-brY-£n), pi., G. The
handle(s) by which a stop is drawn.
M. koppel. A draw-stop collar.
marcan'do, marcato (mar-ka'-to), /.
Marked, accented, marcatis'simo.
Very strongly marked.
march. A composition to accompany
marching. There are two kinds, the
quick m, or quickstep^ and the solemn
processional, funeral or dead m.
Usually in 4-4 time, the m. may be in
2-4, 3-4 or 6-8 time. The march
usually includes a second part, or trio,
and a repetition of the first subject.
The second part is often lyrical rather
than rhythmic. The cadence for the
quick step in the American army is
120 to the minute.
marcbe (m&rsh), F, i. A march. 2.
A progression, as m« harmoniqne
(&r-mttn-ek).
marda (mar'-chii), 7. A march, m.
funfebre (foo-na-br£). Funeral-
march, marcia'le, or marsiale
(mar-tsY-a'-l£), or alia m. In march-
style, marciata (mar-ch£'-UL). A
march.
marked. Accented.
mark. A sign, cadencs-m. Vide
CHANT, luirmonic-m. Vide har-
monic, metronomic-m. Vide met-
ronome, expression-m. Vide kx-
PREssiON. tempo-m. Vide trmfo.
markiren (mar-ke -ren), G:, marquer
(m&r-ki), F, To mark, emphasize,
markirt (m&r-kert'), C7., marqu^
.(m&rka), /*. Well marked, marques
' un p u la m^lodie (mftr-ka' On pCl
la ma -16-de'), F, *' Emphasize the
melody slightly."
Marsch (marsh), pi. miirsche (m&r^-
shi), G. March(es). mUrschartig
(marsh'-ar-tikh). In the style of a
march.
Marseillaise, la (U m&r-s£.y£z), F,
The French national anthem, written
and composed by Capt. Rouget de
Lisle, April 24, 1792, and called by
him ** Chant de guerre de Tarmee du
Rhin," but first popularized by, and
always named after, the soldiers front
Marseilles.
^
DICTIONARY OF TERMS 193
marteftn rniftr>to), F. :. Hammer* in
piano-action. 2. Tuning-key.
marteU <m&r-tii-la), /:, martellato
(mar-tei-la-to), martellan do, /.
Strongly marldng tlie notes, as if
hammering,
marteilefflent (m&r.t^l-man), F. i.
Played with the acciacatura. 2. In
old music a mordent.
marxiale (mar-tsi-a -12), /. Vide mar-
CIA.
mascherata (msi-sk£-r&'-ta). Masque-
rade.
maschera (ma'-ska-ra), /. A mask.
If aschineti (ma-she'-n^n), G. Pistons.
Vide VALVK. M.-pauken. Kettle-
drums with a mechanical adjuster of
pitch.
mask, ^., masque (m&sk), /^, Mas-
kenspiel (mils'-k^n-shpel), G, A spec-
tacular entertainment usually allegor-
ical and dramatic, with music. Very
elaborately done in Elizabethan
times.
mass. In the R. C. service, that por-
tion accompanying the consecration
of the Host. Before this service,
those not permitted to take part are
dismissed with the words, '* Ite
missa est " (vide itk)— hence, by cor-
ruption, the name *' mass." The
service up to the dismissal was called
" Mass of the catechumens," that
after it. ** Mass of the faithful"
(Missa fidelum), A mass without
music is low m. ; with music high
m. The musical service is as follows :
1. The kyric, (a) Kyrie Eleison, (b)
Christe Eleison, (c) Kyrie Eleison.
2. The gloria, or ddxology, (a)
Gratias agimus, (b) Qui toUis, (c)
?aoniam, (d) Cum sancto spiritu. 3.
he credo, (a) £t incamatus, (b)
Cnicifixus, (c) Et resurrexit. 4. The
•anctiis. Benedictus and Hosanna.
5. The ag[nus dei, and Dona Nobis.
These divisions are named from the
first words of their text (which will be
found translated under the separate
heads).
The short m. is that of cne Protest
tant Church, which uses only the kyrie
€r the i^loria.
Masses have been written in all elab*
orations from simple unison to fullest
counterpoint and to choral works ift
from 8 to 32 parts with orchestral ac«
companiment. (Vide palestrina i^
the B. D.)
Mass (mas), <7. Measure, time.
nuissig (m^s-sikh), G, i. Moderato,
moderate(ly). 2. Asa suffix, *' appro-
priate to," as klaviermdssig^ etc.
massima (mas'-sl-mii), /. The ''great-
est." I. A whole note. 2. Augmented
intervals. 3. A maxim. Vide nota-
tion.
master chord. The dominant, m.
fugue. An elaborate fuga ricercata.
m. note. The leading-tone, m.-
singer. Vide meistersinger.
Masure (ma-zoo'-r$), (7., Masure(c)k
(ma-zoo'-rdk), PoL, Masurka (ma-
zoor'-ka), G, Vide mazurka.
matachin (m&-t&-chen'), Sp» A gro-
tesque Merry Andrew dance.
mat'alan. A small Indian flute.
matassins (m&-t&s-s&ii), F. i. Ma-
tachin. 2. The dancers of it.
matelotte (mlt-16t), F, Sailor's horn-
pipe.
matinare (mi-tY-ni'-rS), /. To sing
matins.
matinata (ma-tl-n^'-ta), /. Morning
serenade.
mat'ins. The first morning s^rice in
the R. C. Church. Vide MORiC
Maultrommel (mowl'-trom-m^l), (?.
A Jew's harp. M.-t.-klaTier. Me-
lodicon.
max'im(a), L. Vide notation.
Mazourk (mti-tsoork'). Maz(o)nrka
(mS-tsoor'-ka), mazur (ma-tsoor),
Mazur'ca, Mazurek (m&-tsoo'-r£k).
Mazurka (mi-tsoor'-k& ; pi. Mazur-
ke, ma-tsoor'-k£), G. mazurka, E,
(ma-zoor'-k&). A Pphsh national
dance of whimsical mood ; in triple
time with the 3d beat variousljf
treated.
m. d. Abbr. of Main Droite, right hand.
me. Vide tonic-sol-fa.
mean. Inner, as tenor, or alto fol
voices) : as the dox a strings (of a vio-
lin), mean del Tenor clef. meaS'
tone system* Vid<* tempkramsnv
19+
THE MUSICAL GUIDE
ffleABUfabU. Vide mensuhablr.
meat'ure* t. The unit of rhythm,
corresponding: to the metrical foot
And including the notes between two
bars ; each measure has one and only
one major accent. Vide riME. 2.
Loosely for tempo. 5. A stately
dance as the pafesy m*^ a cinque-pace.
mtasure^tiote, the .ypical standard
note of a measure as the 8th note in
3-8 time, tncasttrt-rett. Vide rkst.
micanitme (mA-kAn.€xm), /\ Tech-
flic.
Mechanik (m^-kft'-nek), G. i. Action.
2. Machine-head. 3. The mechan-
ism of fingering and wrist-action. 4.
Technic,
mech'atlism* t. Action, s. Finger
and wrist action.
medeiimo (m<f-da'-sT-md), tncdet'mo,
/. The same. in. tempo. The same
time, as before.
me' dial. t. Concerning the Mediant.
2. Intermediate or secondary (of ac-
Ctnt). Vide CADENCB.
me'diant, flitfdlattte (ma'-dT-Ant), /*.,
mtdiantt (ma'dt4in'-t«), G, and /.
I. The third note of the scale. 2.
One of the 3 pivotal tones of a mode,
midway between final and dominant.
mtdlatien. Vide chant.
medius. Vide accentus kccl.
fliedley. A conglomerate of unrelated
and usually familiar tunes.
Me^rtrompete (mar-trftm-pa'-t^)*
lleerhom, G, Sea-trumpet.
mehr (mar), G, More. m. chtfrig
(kA-rikh). For several choruses, ttiehf-
ach (mftr-fakh). Manifold, of an in-
tenral, a canon, or a compound stop.
mehrttifflinigr (shtlm'-mYkh). For
teveral voices. Mehrttimiiilg;keit
darch Brechuag (kU-doorkh-brCkh-
oongk). Polyphony that consists
only of broken chords.
MvifeUr (iiir.it«r)» G. Master. M.
fiig;e (foo'-ge). A ricercata fugue.
Il.*feiaiir (g<(-z2ng'). Minstrel-
long. M.-gail|^r (£€ng-<fr), or
iiilMr (2Tng-6r). A member of the
tinging guild founded at Mainz in the
t4th cent, and lasting till 1839 ^t
Utm. Wagner*5 opera describes
their strict and elaborate rules cT
Tabulatttr. (Vide Stories of the
Operas, ** Die Meistersinger.") Mels-
terstttck(shtak). Masterpiece.
melancolia (ma-lsin-kd-le'-ft), /., in6-
lancoiie (m&.lfth-kd-le'), F, Melan-
choly.
m^ian^ (ma-laAch), F, A medley.
melia'ma, Gr. t. A vocal embellish*
ment or run. 2. melismat'ic aotlg^.
That in which one syllable is sung
to many notes, opposed to sjUabic
•one.
tttlooe (ma46'*d^), or malodia (mfli«
lo-dd'-li), /. I. Melody. 2. A stop
much like the clarabella.
melo'deon. Vide American organ.
melod'ic intenral, or step. One in
which the tones are taken in succes-
sion, as opposed to harmonic, in
which they are simultaneously taken.
nelo'dlca. A tiny pipe-organ with
compass of 3^ octaves, in v. 177O1 by
Stein, of Augsburg,
melodico (mft-lo -dT-k6). Cantando.
mtlod'icon. A key-board Instr., inv.
by Riffel, in Copenhagen, the tones
produced from tuning*forks.
mtlod'ica. Theory ofmelody.
m^lodie (mft-I6-d«), F» Melody, air.
ffl. blon lentle (bi-AA sAA-te'). The
melody well accented.
m<lodiaus6 (ma-16d-ytle). Melodious,
m^lodieutement (mAn). Melodi-
ously.
Mtlodik (m(f.lO'^$k), G. Vide MbLo-
Dies.
melo'dio^aph. Melograph.
mtlo'dion. A key-board instr. with
range of 6 Octaves inv. by Diets, of
Emmerich, the tone produced by
tuned steel bars pressed by a rotating
cylinder.
mtlodio'to (m€-16-dT.5'-so), /., mtlo-
disch (m£-ld'.dYsh), G. Melodious.
malodista (mA-ld-des'-ti), /., m^lo-
diste (mA-lo-d^st), F. Melodist.
Melodiatlk (m«.lO-dfe'.tek), G. Melo-
dies.
mtlo'dium. i. American organ, %
Alexandre on;;an.
DICTIONARY OF TERMS 195
flttt'odrama, £., Melodram (mi-Id.
drim), G,, m^lodrame (mA-loldr&m),
A, m«lodrammft (ma-ld-driUii'-in&),
/• I. Originally opera. 3. Spoken
dmniA accompanied with instr. music,
hence the music accompanying action.
3. A play of sensational nature.
fll«l'ody« 1. A tune. a. A succession
of tones, rhythmically and symmetri-
cally arranged, as opposea to har-
monyt a combination of simultaneous
tones 3. The leading part. le«d-
ittf^ in. A principal melody.
me'lograph. A piano inv. 1827, which
recorded what was improvised. Many
attempts of this sort have been made,
the most successful an electric m., the
PMcmaut 9graph, by Fenby, of Eng-
land, recording after the manner of
telegraphy. This record cut into
cafdboard is run thn>ugh a key-board
attachment, the meUtrope^ to repro-
duce the music.
m^rolopic* Recitative and music
mal'^maii, Gr.^ mtlomane (mft'-lo-
ittAn), F., MeldmAniJic, E. A pas-
sionate lover of music, tnc'lomanie
(mA-lO-bUUn^) , F. , meromany. M u-
6ic mania.
malepaa (mi-la-pi'-i), /., m^iop^e
(m&^ld-pfl), F, The art of melody.
mtl'ophare. A lantern with oiled
music paper sides for use in sere-
nades.
mtropiane. A device inv. 1870 by
Caldera, of Turin, for giving the
piano power to increase the volume
of A sustained tone. A treadle works
small hammers acting rapidly on the
Mrings.
■lAl'oplliSte (m«l'.6-pl&st). Pierre Gal-
{us's simplified method of teaching the
rudiments by singing popular airs and
pointing the place of the not'M on the
staff, and by using two metronomes
for beats and measures.
flMlOpoaa (m«-ld-pe'.ft), Gr. Art of
Composition.
Iftlot (mft'-los). Melody. Used by
Wagner for the melody, also the en-
tire implied harmony, the musical
|^«. V^'de RKCITAttVB.
m^rotrope. Vide melooraph.
mdme (in£m), F, The same. ^ la m.
tempo. In the original tempo.
men (man), /. Abbr. of meilo before
a vowel, men alleg^ro. Less quick.
mcn^strel (mii-nAs-tr^r), F. Minstrel.
Vide TROUBADOUR.
m^^'trier (mtt nft-trT-a), F. A min<
strel or rustic musician. Vide trou-
badour.
meno (ma -nd), /. Less ; not so fast,
m. mOiso. Less speed.
Measur (m^n-zoor'), G, Measure, of
time, intervals, scale of pipes, and
sizes of instr. strings, etc.
mcn'ttura^ L. Measure, time.
tnen'surable, E,^ mensural (m^n-
zoo-ral'), (7. The original plain-
chant was in notes of equal duration ;
in the 12th cent, the old square
notes were modified and given a
' ' measurable " value. The first men-
surable notes were the maxima^
longa^ brtvis and semibrevis ; in
1300, the minima and semiminima
were added. In the tsth cent. White
notes displaced the black, which were
chiefly used for smaller valueSi The
music so written, or mensurable
muiiCy was governed by many com-
plicated laws. Vide notation.
mente (m£n'-t£). Mind* alia m. Im-
provised.
menuet (mil-noo-i'), A., Menuett
(m^n-oo-^t'), G,t menuetta (mA-
noo-*t'-t6), /. Minuet.
mer'ula, Z. A set of pipes in water
producing a warbling tone.
me'ris, Gr, The 6th part of an oc-
tave.
mesau'Uott, Gr. Symphony, ritor-
nello.
mescal. A Turkish instr. of twenty-
three cane pipes, each giving three
different sounds.
mestolanza (m^^s-ko-Un'-tsA), /. A
medley.
mt'at, me'sou, Gr. Vide chart of
ORERK MODES and LYRE.
me'sotonic. i. Mean-tone. Vkk tem-
perament. 2. Vide LYRE.
mes'sa. /. A mass.
196
THE MUSICAL GUIDE
messa di yoce (m^s -sa dt v5'-chd), /.
The gradual swelling and diminishing
of a tone ; to attack and swell is fof'
mare 11 tuono (f6r-ma -rS el too-6'-
no) ; to sustain loudly is fermare il
t. (f^r-mli'-r$) ; to diminish is finire
(fe-ne'-rd) il t.
messansa (mds-siln'-tsa), /: Quodii-
bet (q. v.).
mease (mfe), /*., Meise (m^s'-s£), G,
A mass.
mes'sei, /^ra^. '* Measure." The Ara-
bian method of reckoning intervals,
the lower notes receiving greater
values than the higher because the
vibrating portion of the string which
produces them is longer.
mesto (mas'-to), /. Melancholy, mea-
to'so. Sad.
mesttre (mti-zar), F, Measure, k la
m. In time. m. k deuz temps (dtt
t&h). Common time. m. k trois
temps (trw& tan). Triple time. m.
demi (d*me). Half measure.
met. Abbr. of Metronome.
metal (ma-tftl'), Sp, Strength, compass
of the voice.
metallico (md-tHl'-IY-ko), /. (Of a voice)
"metallic** in a good sense, clear,
ringing, hence meUtl'lo, *' metal."
metamor'phoses. Variations.
meter, or metre, £., mfetre (m^tr), F.
In music as in verse, the arrange-
ment of rhythmic units, or measures.
The m. of hymns is classified by the
.lumber of syllables to a line, the met-
rical foot and the number of lines to a
stanza. In Iambic m. are common
m. (C. M.), 4 lines alternately 8 and
6 syllables Ion?; common partic-
ular, or hallelujah m. (C. V. M.),
886886 ; longm. (L. M.). 4 lines of 8
syllables; long particular m. (L.
P. M.), or long m. six lines, 6
lines of 8; short m. (S. M.), 6686;
short particular m. (S P. M.,),
668668 ; stanzas of 8 lines are called
double (C. M. D. ; L. M. D. ; S. M.
■ D.). Other line-lengths are sevens
and sixes (7676), tens (four io*s),
hallelujah (666688, or 66664444).
In trochaic m. are sixes (fo?r 6*3),
sizes and fives (6€^^ seventf
(four 7*s), eights and sevens (B787).
In Dactylic m. are eights, eights,
sevens and fours, etc. ; elevens
(four ii*s), and elevens and -tens
(11, 10, IX, 10), etc. Classic and
French metres depend on quaniiiy
or length of syllables, instead of on
their stress or accentuation as with
us. Vide FOOT.
method, £., m^thode (ma-tod), F,^
metodo (ma-to-do), /. A course of
instruction ; classification ; system.
Metrik (mat'-rek), G, Metrical art.
metrisch (m€t'-rlsh). Metrical.
m^tro (ma-tro), /. and Sp. Metre.
Metrometer (m€-tro-ma -t£r), G., m^
trom^tre (ma-tro-m£tr), F.^ metro-
metro (ma-tro-ma'-tro), /. Metro-
nome.
met'ronome, E., Metronom (ma-
tro-nom), (7., metronome (ma-tro-
ntim), ^., metronomo (ma-tro-no-
mo), /. A pendulum worked by
clock-work, and weighted below ; pro-
vided with a movable slide, and so
graduated that its rate of vibration
per minute can be fixed by the slider ;
with the slider at 60 it beats 60 times
a minute, etc. It moves with an au«
dible click ; the bell-metronome has
also a bell which rings every third or
fourth, etc., beat. Perfected by Win-
kcl it was put on the market by
Maelzel (vide B. D.), and is called
Maelzel's metronome(abbr. M. M.).
It is useful as a composer's indica<
tion of the standard time of a compo-
sition ; hence the metronome-mark,
thus M. M. j-^o, means a rate for
quarter notes equal to 90 per minute,
as indicated by the slider set at 90.
It is used also to beat time for stu-
dents. It is made also in watch-
form as a pocket m.
met' rum, L. Metre.
Mette (m^t'-td), G. Matins.
metter la voce, /. Same as messa dt
voce.
mettere in musics (m£t'-t£-r^ In moo'*
zl-ka), /. To set to music.
mettez (met-ta), F. *' Draw (a stop)."
mettre d'accord (m$tr d&k-kor), /I
To tune. m. en musigue (in-mUr
DICTIONARY OF TERMS 197
cck). ^ To set to music, m. en r6-
p^tition (ra-pa-tes -yon). To put in
rehearsal.
met'zilloth, metsilltheim, Heb, Cym-
bals.
mes. Abbr. of Mezzo.
mezzo (m£d'-zd), /. Medium, half.
m. aria. Vide aria parlante. m.
bravura. Moderate difficulty, m.
forza (fof-tsa). Moderately loud.
m. manica (ma'.nMca). The half-
shift, mezzana (m^d-za -nS). Middle
string of a lute. m. orchestra. Half
Ihe string-band. m. yoce (vo -chd),
/. Half the voice, with moderate
tone. m. forte (for'-td). Moderately
!oud. m. piano (pl-si'-nd), /. Rather
soft. m. soprano* A voice lower
than soprano, higher than contralto.
mezzo soprano clef. The C clef on
the second line, in old church-music
or madrigals. The treble^ or soprano,
clef now supplies its place, m. stac-
cato. A little detached, m. teno're.
A low tenor voice, nearly barytone, m.
tuono (too-o -no), /. A semi-tone.
m. f. Abbr. of mezzo forte.
m. g^. Abbr. of main gauche (left
hand).
mi (me), /. and /*. i. The note E.
mi Mmol (ba'-mol). £ flat, mi
diise (dl-^z). The note E sharp.
2. Vide soLMiSATiON. 3. The 3d
of the scale, mi contra fa est diabo'
ius in musica, ** mi against fa is the
devil in music," was the mediaeval ob-
jurgation against the tritone (q. v.),
mi being B natural in the hard hexa-
chord, fa being F :n the natural
hexachord. mi-re-ut. Vide ocrAVK.
mi'crophone. An instr. for the mag*
nifying of sounds.
mid-c, or middle c. / (vide pitch),
because it is in the centre of the piano
and between the treble and bass
staves.
middle Toices. Tenor and alto.
mi^on (men-^6n), F, i. Favourite,
pet. 2. Delicate.
milttaire (mll-Y-tftr), /*., militare (me-
iT-ta'-r^). /., militairement (mll-I-
tiUr'-man/, /^, miUtarmen'te, 7.
liartial(ly).
Militiirmusik (me-lY-tar'-moo-zek').
Military band or music.
military band. An orchestra for out-
of-doors, substituting for stringed
instrs. additional and more powerful
clarinets, and using saxophones, cor-
nets, etc., freely.
milote (me-lo -t£), S^, An Indian
dance.
mi'modrama, E., mimodrame (me-
mo-driUn'), /. Pantomime.
minacciando (me-nat-chfin'-dd), mtn-
accieyole (cha'-v5-l^), minaccio'so,
mtnaccieVolmente, minaccio'sa-
mente. Threatening(ly).
mina^ghinim (ml-n&ngd'-gY-nYm),
/M, A table over which was stretched
an iron chain and a hempen cord
through balls of wood or brass ; strik-
ing against the table they made a
ringing sound.
minder (mYnt'-£r), G. Minor, less.
mineur (mS-ntlr'), F, Minor.
min'im. minima (me'-nY-mft), /., min-
ime (mYn-em), /*. A half-note. Vide
NOTATION.
Minnedichter (mYn'-n«-dYkh'.t«r), M.*
singer (z^ng-dr), M. -singer (zYng-
£r), G. From the I2th to the 14th
century a German troubadour of
noble birth celebrating pure love in
song (Minne-gesang). The sing-
ers wrote both words and music, sing-
ing and plaving on the arpanetta or
the viol. Their festivals of contest
arc reproduced in Wagner*s * ' Tann-
hauser." They were less formulaic
than their successor the " Meister-
singer.*' In the opera of the latter
name, Wagner (vide '* Stories of the
Operas '* in this book) shows Walter
the Minnesinger in conflict with the
dogmas of the Meistersinger.
mi'nor, £., minore (me-no-r£), I.
"Smaller," of intervals, etc., as op-
posed to major. Vide interval, ma-
jor, MODE, SCALE, m. tono. The
lesser whole tone, 10:9. m. triad.
One with minor 3d and perfect 5th.
min'strels. Singers, usually of a servile
or vagabond class, sometimes acting
as attendants on the trouv^rei and
troubadours (q. v.), and generai\y play«
198
THE MUSICAL GUIDE
ing the rebec, neero m. One who
gives an imitation (usually remote) of
the songs, dances, etc. , of the Amer-
ican negro.
minne (me-noo-ft'), S/, A minuet.
minutt (m!n-a-^t'), £., minuetto <me-
noo-^t'-to), /. A stately and delib-
erate dance (originating probably in
Poitou in the 17th centurv) in triple
time, with gallant and amorous
spirit. As one of the most important
mqsic-forms, it contains usually a
principal subject and a trio each in
contrasted sections. Appearing first
as a movement in the suite and par-
tita it became a part of the sonata and
symphony, Beethoven substituting for
it the Scherzo, and Tchallcovsky, in
one case, a Viennese waltz, minuet*
tiaa (te'ni). /. A little minuet.
miracle, miracle-play. Vide mys-
TERY.
mt-re*ut. Vide octave.
mifcal'laf Z. Mixture-stop.
mtse 4e ▼oix (mez-dQ-vwi). Vide mes-
SA Di voce.
mitorare (m^-zd-ri^r£), Z. First word
of Psalm L I. beginning miserere mei,
4omine, *' Pity me. Lord.** Hence
a setting of this Psalm sung in the
R. C. service for the dead, and dur-
ing Holy Week.
mtaericerdU (me-zi-rY-kdr'-dl-si), Z.
A miserere.
niak'in. A little bagpipe.
mis'sa, Z. and /. A mass (q. v.).
m. brevls. Short mass. m. can'on-
ica. A canonical mass. m. cantata.
Chanted mass. m. pre defunc'tis.
** Mass for the dead." Requiem.
m, solen'nia. High mass.
mia'sal, £., miasa'le, Z., Misael
(mis'-sdl), C The mass-book contain-
ing the forms of the year.
misahlLlllg^, or misshelliff (mYs-hfl'-
lYkh), G. Discordant. Mlsahallig-
keit (kU). Dissonance. Miaaklansf
(kUng). Discord. missklin^n
(mis -klYng-^n), mitalanten (low-
t^n). To be discordant. Mitslant
Oowt). Discordant sound. Miss*
lavtead (low-t€at). Dissonant, dis-
cordant, misstiramea (shtlm'-m^n).
To put out of tune.
misterio (mYs-ta'-rY-o), miftero (mls-
ta'-r5), /. Mystery. misterio'sOy
misteriosamen'te. Mysteriously).
mistichanza (mes-tY-kin'-tsii), /.
Quodlibet (q. v.).
mis'te, Gr. Mixed. Vide modes.
misnra (me-soo'-ra), Z Measure, mia-
urato (me-soo-ra'-to). /. In strict
time.
mit (mlt), C. With, by.
Mitklang (mYt'-klftng), G. Resonance,
mitkling^ende Tdne (mYt'-kimg.
<*nt-d ta'-n5). Overtones.
Mitlaut (mlt'-lowt), t7., Mitlauter
(mYt'-low-ter). Concord, consonance,
mitlauten. To sound with.
mitleidsvoll (mYt'-lits-f61), G. Compas-
sionate.
Mittel (mYt'.t^l). G. Middle, half,
mittel c. (tsA). Middle C. Mittel-
kadeaz (ki-ddnts'). A balf-cadence.
Vide CADENCE. Mittel-laut (lowt).
Middle sound. mittelmHssig. In-
different. M.-st|mme (shtlm'-mi).
Inner part.
mixed. Vide cadence, m. canon.
Vide CANON, m. chorus, etc. C>ne
with both male and female voices, m.
in organ, the mixture-stops.
mix'olydiaa. Vide modes.
mixt'ure, Zf., mixtu'ra, Z., Mixtnr
(mex-toor), G. A compound flue-
stop consisting of 2 to 6 ranks of
pipes, giving 2 to 6 harmonics of any
tone. The m. is auxiliary only,
usually sounding only the octave and
the fifth, and aiming to brighten the
foundation-stops. Ancient m.'s bad
from 8 to 24 ranks, the result doubt-
less being atrocious discord.
mobile (md'-bV-l^). /. Facile, impul-
sive, fickle.
moderate (ma-d5-ri'-t6), 7. Moderate,
in time. moderatls'simOi or m,
assai (as-s&'-e). In very moderate
time, moderamen'te. Moderately,
moderanza (ran'-ts$), modemaione
(ri-tsY-6'-n*). Moderation.
modema, alia (al'-lil m6.d<Fr'-ni), /
In the modem style.
DICTIONARY OF TERMS 199
Modes.
By the Editor.
PERHAPS the most graphic definition of modes to the modern mind
would be : — overlapping portions of the C major scale : or succes-
sive octave-stretches along the white keys of the pianoforte. Eccle-
siastical m%des were the Middle Age perversion of the Greek Modes. While
overthrown by Nineteenth Century scales and tonality, traces of their
influence persevere, and many of the old chants still in use in the Roman
Catholic and Anglican services are more or less exact specimens of the
capabilities of the modes. The Twenty-first Century will probably qualify
and develop our own system of keys out of shape and recognition. The
complete overthrow of the ideas of tonality and moduladon of the earlier part
of the Twentieth Century b indeed even now beginning. We are already
over the doorsill of the nuUitonic or omnitonic harmonies, and the multitude
of accidental sharps and flats and naturals required to notate the highly
chromatic music of our day renders bevitable some radical change in the
syitem of keys ; meanwhile, the obsolete modal systems have at least a keen
hiatorical interest and importance. There is place here for only an allusion
to a few of the salient points. Full statement of the details and the contro-
veraies on them would fill a large library. ^Though the Greeks properly
gave music a very high place in their educational system, they were too
much engrossed in theories, rules, and restrictions to build up large material.
Their musical resources were of the slenderest. While their noble tragedies
were exacdy Wagner's iitea of opera, the music to which they were let
seems to have been of the most limited range and variety ; and furthermore,
absolutely lacking in harmony even in the Middle Age sense. ^ThejGiieek
*X*5?^ diffiBrs^^m ours iiLi>fiing. all o^ > minor tendency, in having the
notes hameS'down wards, and in paying attention only to melody and not at
all to chords. The white piano keys from e' (just above middle C) to the
E an octave beloWi represent their oldest and central mode, the Dorian. By
remembering that all these steps are whole tones except the two semitones
from c' to b and F to E, and by represendng a whole step by a ( -1- ) aad a
half step by a ( — ), it will be seen that this Dorian mode descends by the
following steps, + -4 — -h H — . These make two similar groups of three
steps or four notea* which were called tetrachords. . The word chord with
them meant <' string " not << harmony," for their whole music took its rise
from their lyre, a stiff* and limited, unfretted instrument of many poedcal
associadons but stinted in pracdcal possibilities. The pattern of tetrachord
( 4- -4 — ) into which this Dorian mode divided was called the Dorian tetra-
Q.OO
THE MUSICAL GUIDE
Chart of the Greek Modes.
■^— 3-I»j
4--+- 4- — 4- 4- —
4-4 — + 4- —
4- — 4- -+- —
4- 6. Hyper-phrygian (or Locrian) «'-«.
4- 4- 7. Hypo-phrygiantorlonian)^'.^,
4- 4- J, 8. H yper-1 y dian Cr' -^).
^ Dorian (^*-^U=. Hypo- 4. -^ _ »Z« ^.
mixo-lydian). -
a. Phrygian (i/'i/). _j_ — . _j_ _j-
3. Lydian (c'-f). — 4-
4. Mixo-lydian (d-B). »J« 4-
5. (^oHan or) Hypo-dorian (a- A). -|- 4. _ ^ 4 .. 4.,
^At whole steps are indicated by -+- / the half -steps by — / the Diazeuxit
is indicated by »fa.
DICTIONARY OF TERMS 201
chord. They superimposed on the top note e' a similar tetrachord of the tones
a^ g', f, e, and added below another e, d, c, B. To these they added the
low A as a supplementary (in Greek prosiamban0mifios). The outer couples
of tetrachords overlap. Between the middle two is an imaginary line of sep-
aration (^diazeuxis). Each of these was therefore a '< disjunct " (diazf/tg"
menofi) tetrachord. The < ' complete system ' ' (^tystema Uleion) of two octaves
(a' down to A) was divided thus into four tetrachords, each of them given
the name which (with its English translation) is shown in the chart here-
with. For purposes of modulation they laid across the middle of this svstem
an overlapping or ** conjunct *' {syntmminon) tetrachord in which the b was
flattened, d', c', hfe, a (-h H — ). 5['^^® octave from t! down to E was,
as aheady stated, called the Dorian modi* Other portions of the systema
were given other names, d to D being called the Phrygianp c' to C the
Lydiany and b to B the Mixo^Lydian. ^They conceived a way of extend-
ing these octaves by duplicating one of the tetrachords below (in Greek
"Ay/«"). Thus, if the upper tetrachord (e' to a) of the Donan mode
be transferred an octave below, and fastened to the lower tetrachord, we
shall no longer have e', d', c', b, a,^, f, e, (+H h H — ) but a, g,
f, e, d, c, B, A, which also is + H h H — > with the added step -f-
{proslambanomenoi). This is called the Hypo- Dorian mode. ^Thc Phryg-
ian, Lydian, and Mizo*Lydian modes do not descend by the same whole
and half steps as the Dorian, but as fbUows : Phrygian (+ — + + -| }-)«
Lydian (^4- + ^ + + —), Mixo-Lydian (+ + + — -h + — ). It will
be found, however, that these modes are capable of the same Ajr/^-treatment,
thus making two.moire modes, Hypo^ Phrygian and Hypt^ Lydian ^ — for the
Mixo-Lydian (b to B) being too low to add a tetrachord beneath, it is
added above, giving / to /, which is identical with the Dorian, The
principal note (Jonic) of the regular modes was the top note. Each hypo-
mode kept for its chief note the chief note of the original (or its octave).
The names and ranges of these seven modes with two others added later are
shown in the chart, which shows also the names (and their translations) given
each note and each tetrachord. ^With this system as a foundation and
with the use of the conjunct tetrachord and its b flat as an entering wedge,
the Greeks gradually added several notes above and below their systema, and
inserted half steps between the full steps until they acquired a complete
chromadc scale on which they transposed their scales with much melodic
freedom. Harmony, of course, they did not have. These transposed scales
were not named like the original modes from their chief notes, but were
g^ven the name of the scale whose steps they resembled. By making use of
the 4- and — , or other signs for indicating half or whole steps, it is easy to
plot out the steps of any scale and find its prototype and its name in the
202 THE MUSICAL GUIDE
original modes. ^The Greek notation was by letters and symbols. It is
too complicated to explain here. ^A method of manipulating their scale
melodically may be mentioned. The tetrachords as described were called
diatonic, but in the Dorian e, d, c, h, if the d were omitted, the tetrachord
became e — c, b, and was called the o/Jer enharmonic A later plan was to
keep the d, but lower it by half a tone (that is, to tune the d string to <*
sharp), making the four strings e, cj(, c, b. This was the chroma tk genu^
A still later plan, called the newer enharmonic^ was to tune the d to a pure
third with the e, making the tetrachord e, c, -c, b ; the two c strings diJBfer-
ing slightly in tone (see the word comma). ^This group of three tones, c,
c, b, or (^, c, b, was the pyknon (plural pyknd). Other variations m the
treatment were called chroai (colourings). Definite melodies were given
definite names, a melody bemg a nomos (i. e., arrangement, order, or set-
ting). ^Upon this fidse, but elaborate, system, enormous ingenuity was
spent, and appalling complexity and scholarship of a kind were made possible,
to the delight of the typical theorist. In respect of melody the Greek modes
offered far more freedom than the church modes, which, however, possessed
the modem inventbn of harmony.
ECCLESIASTICAL MODU.
Music, along with all the other early Christian arts, borrowed largriy
&om the Greeks, but rejected their warmth and ornate sophistication for a
stark rigidity. ^ Early church musicians took the Greek modes as best they
could understand them, making as many mbtakes as was usual in the de-
generate classicism of those dmes. The Byzantine school perverted Greek
music and passed it along, as it had done with painting and architecture.
The range and the chromatic graces of later Greek melody were deserted for
a heavy march through one octave of one key. Furthermore, the scale was
considered now as ascending, instead of descending. ^ Jt. Ambrose is tta-
didonally credited with establishing four modes for church music. From
these St. Gregory was believed to have derived four new modes. Xh«
original four are called Authentic, i. e., ''governing," or ''chief." Th»
latter four arc called Plagal, i. e., "oblique" or "inferior." To these
were added other modes, some of them being denied a right to exist. As
with all the old Greek modes, all the church modes are to be found on the
white keys of the piano ; no chromatic was allowed except, finally, b fiat,
which was admitted to avoid the forbidden tritone and the diminished fifth.
A melody that did not stray out of its octave mode was called perfect ; one
that did not use all of its range was imperfect / one that overstepped its
octave was superfluous; one that used up both a mode and its plagal was in a
wdTtid modi. ^ Greek names were used for the church modes, but wit^
DICTIONARY OF TERMS K13
AUTHENTIC UODBS,
MODI AUTHENTICI.
PLAOAL UODBS,
Bwh anth*ntlc mods Ii .„
conuecled with ils plof-ftl ""^
bra line through the key. MODI PLAGALBS.
note or fiiialitot both.
m
204
THE MUSICAL GUIDE
many difFerences from the old nomenclature. ^An authendc mode is based
on its Final or lowest note ; the next most important note, usually a fifth or
a third above, is its dominant, A plagal mode is found a fourth below its
authendc, and the Jina/ of the authendc serves also for the plagal. The
dominant of a plagal is a third below that of its authentic (save where it fidls
on b, in which case c is used). ^Curiously enough, the two modem keys
which we think of as white keys, c major and a minor, were not aided until the
sixteenth century, and then as the Ionian and iEolian modes. ^Besidcf
many impressive hymns the church modes have been unconsciou^y allowed
to fit many popular modern tunes. It is not hard to test the mode-ship of
any air. First, if necessary, bring the melody into a range requiring no key-
signature. If it now contains any accidentals save b fiat, it is not in any of
the modes. Otherwise note the tone on which the air ends. This will be
the ^na/ of its mode. If this is the lowest, or almost the lowest note used,
and if the melody does not soar higher than an octave above it, the air is in an
authentic mode. If the final is in approximately the centre of the melodic
range, and if the range does not exceed the fifth above, or the fourth below,
it is in a plagal mode, or it may be in a mixed mode. The name of the
final indicates the mode. The airs ** God save the King" (or ** America")
and the <« Blue Bells of Scotland " are authentic melodies. The <«01d
100th" and '' Eileen Aroon" are plagal, '<Jock o' Hazeldean " is in a
mixed mode. ^Much of the music in the old church modes is as shocking
to the modem sense of tonality as our modern music would seem anarchistic
to an old master. Superb treasures were given to immortality in those stiff
and arbitrary forms. Yet, after all, the modes deserve their eternal obsolete-
ness. They were unsatisfactory and arbitrary in their own day. They arc
hopelessly inappropriate to the modem musical ideas and ideals. The ma-
jestic beauties of some of their results are but as the impressive fossils of earlier
evolution. Their fate should warn us against stolid sadsfaction with our
own musical system.
modeato (mo-das'.t5), modestamente,
Modest(ly).
mod'ification. Temperament (q. v.).
modificazioni (m5-de-fl-k&-tsl-d'-ne),
/., pi. Slight alterations.
modinha (mo-den' -a), Port, A short
song.
mod. Abbr. of Moderato.
modo (mo -do), /. and Sp. Mode, scale,
style.
moato. Abbr. of Moderato.
viodolare (md-dd-la'-r£), modulate
(mo-doo-U'-rQ, /. To modulate,
modulan'te. Modulating.
mod ulate, £., moduler (m6d-a4a), /^.
To effect a modulation.
modula'tion. i. Change of key, to-
nality, or mode (usually to a relat-
ed key by means of chords on the
dominant of the new major, or on the
leading-tone of the new minor key).
The m. may be tranaient» transi-
tory, or passing, when it leads to
still a third key or back to the first ;
DICTIONARY OF TERMS 20^
it may be final when it establishes a
new tooaiity. enharmonic m« is that
by means of enharmonic (q. v.)
changes of notation. 2. Obsolete,
Melc^ic, or rhythmic measurement,
inflection.
modula'tor. Vide tonic-sol-fa.
modulatore (mokloo'lil-ta'-r^), /. i.
Sinffer. 2. Tuner.
modiuasionc (md-doo-la-tsl-o'-n^), /.
Modulation.
moduliren (m6.doo-le'-r<^n), G, To
modulate.
ino'dns. Z. Key, mode, scale.
■aoglich (mftkh -llkh). G, Possible,
so rasch wic m. (zo-rash-ve). As
fast as possible.
mohinda (md-en'-da). A short Portu-
guese love-song.
Mohrentans (md-r£n-tants), G» Mo-
risco.
moins (mwift), F, Less.
moll (m6n. G. Minor. Mollakkord,
or liolldreiklang. Minor chord or
triad, etc.
molla (mol'-lfi), /. A key (of the flute),
etc.
mol'le, Z. Soft. I. Vide "b." 2.
Used of the hexachord f-d in which
b flat was substituted for the older
b natural. 3. Minor.
moUe (mol), F, Soft, delicate.
moUemente (m61*U-m€n'-ti), /. Softly,
gently.
mol'lts, L. Vide mollr.
liolltonart (m6r-t6n-art), C, Minor
key. MoUtonleiter (ll-t^r). Minor
scale.
moltisonante (moUt£-sd-nan'-t£), /.
Resounding, very sonorous.
Blolto (mdl'-to), /. Much, very, dl ffl.
Extremely, m. adagio. Very slow,
m. allegro. Very quick, etc.
lliomeo'tttlitm, Z. A i6th rest.
momcn'tanii Z. An 8th rest.
monau'los, Gr, An ancient beak-
flute.
monocordo (mo-nd-k6r'-d5), /., mon'-
ochord, /?., monochorde (m6n-o-
k6rd), F. i. An instr. of one string
with a movable bridge, for determin-
va% intervals and pitch. 2. Marine
trumpet. 3. A clavichord. 4. A
German i-stringed zither with fretted
flngei^board and resonance-box. 5.
a monocordo = '* on one string,"
i. e., with the soft (or monochord)
pedal down.
monferina (mdn-f^-re'-na), /. Lively
dance in 6-8 time.
monodia (mo-no-de'-a), /., Monodio
(mon-o-de), /*. and.t7. Monodv.
monod'ic* For one voice ; or witn one
voice predominant.
monodra'ma, monodrame (driUn). A
musical drama with only one actor.
mon'ody. Homophony.
monophon'ic. Homophonic.
monoph'onous. Producing but one
tone, as the drum.
mon'otone. i. Uniformity of sound.
2. Recitation on one tone.
Monotonia (md-n6-td-ne'), (7. Monot-
ony.
monot'onous. Monophonous ; lack-
ing variety.
montant (mdii-tSn), F, Ascending. .
monter (m6n-ta), F, i. To string. 8.
To tune. 3. To put an instr. to-
gether. 4. To ascend.
montre (m6htr), F. The pipes (usu-
ally the diapason) erected and
" shown " at the front of the organ.
Moor'ish drum. A tambourine.
Moralitilten (morjU-Y-ta'-t^n), G., mo-
ralit6a (mo-rfll-Y-ta), F,, moralities,
E. Allegorical moral plays of the
middle ages, a later form of the mys-
teries.
morbidasza (m6r-bl-d^d'-za), /. Lux-
urious delicacy.
morceau (m6r-s6), F, A *' piece.**
I. A short composition. 2. A phrase,
m. d 'ensemble (dan-saAbl). A piece
harmonised for voices, m. de genre
(dti zhahr). Characteristic piece.
mordant (mor-dan), /^. A trilled
grace (q. v.).
mor'dent, E, , Mordent', G, , mordente
(m6r-d€n'-t€), /. A grace (q. v.), hng^
shorty or inverted,
ffloren'do> moriente (m5-rY-£n'-t£), /.
Dying away ; diminishing in volume
and speed.
mtmm-m
206
THE MUSICAL GUIDE
moresca (m5-rte'-li9), /., moresqna
(m6-r<^k), F. Mcwrish dance with
Jingling anklets end clashing swords.
Morgeneeiani^ (mor'gen-g^-zlin?),
M.-lied (let), O, Morning song. fit.
-ttHndchen (iklit2nt'-kh£n). Mom-
in^ serenade.
monsco (m6-rC's'-k6), /• Moorish. Vide
MORESCA.
mo' risk. Morrid-dance.
mormoramen'to, /. A mormur. mor*
morando (rsln'-do), monnorevole
(ra'-v&-l«), mormoro'so. Gently
murmuring.
lorrice-dance, morris-dance, mor-
ri^ke-dance. An English country-
dance of supposedly Moorish origin
in 4-4 time, the dancers wearing
ankle-bells and grotesque costumes.
Hort (in /^ mor). A tune at *'the
death " of the game.
Uosso (mos'-so), /. •• Moved," rapid.
molto m. Very fast, meno m.
Less fast, etc.
nostra (mos'-tra), /. A direct.
mot (moy, F, A note or strain on the
bugle.
ttotet(t), E„ Motetta (m5-t£t'.tQ, G.,
motet (md-ta), /^, motet' to, /. i.
An almost always unaccompanied vo-
cal composition contrapuntally devel-
oped, and using biblical text ; a sacred
madrigal 2. Loosely, an anthem.
mote'tus, Z. i. A motet. 2. An
obscure mediaeval term.
motif (md-tef), F. Motive, subject.
motion. Progression, i. Of a single
part bv degrees (conjunct m.), or by
skip (disjunct m.). 2. Of two parts
relatively considered ; contrary or
opposite if one ascends as the other
descends; oblique, if one is sta-
tionary while the other progresses;
parallel or consecutive, if both
move in the same direction by the
same interval ; similar, if both move
in the same direction by unequal in-
tervals (the latter terms are loosely
used as synonymous); mixed, if, in
the case of several parts, two of the
above motions occur simultaneously
between different parts. 3. perptt-
ual m. Vide perpetual. 4. pulse*
motion. That in which the prevail-
ing tone-length is that of the standard
note of the measure, as i notes pre-
dominating in 3-2 time ; half-pulset
that in which the prevailing motion is
in notes of half the pulse-value, as ^
notes in 3-2 time, etc. s.eigbth-aote
motion. That in which the prevailing
entrances of tones fall uniformly on
eighth notes.
motive, £., Motiv (mo-tef), G., mo*
tivo (mo-te-vo), /. i. Theme, sub-
ject, a brief phrase or figure. 2. Vide
LEADING-MOTIVE. 3. in Form, a
measure, measure-m. One whose
accent is that of the measure.
moto (mo -to), /. i. Motion (q. v.).
2. Speed, con moto. With motion,
rather fast m. contrarlo (k6n.tra -
it-o). Contrary motion. m« mis' to.
Mixed motion, m. obliquo (db-
le'-kwo). Oblique motion, m. ret'*
to. Parallel motion, m. perpet'uo.
Vide PERPETUAL, m. precidente
(pril-chl-dto'-tQ. The same time as
the preceding movement, m. primo
(pre -mo). The same time as the first.
motteep^ando (mot-tM-jin'-do), /.
Mocking(ly), jocose(ly).
mottetto (m6t-t«t'-td), /. Motet.
mo'tus, Z. I. Motion (c]. v.). 2. Move-
ment, m. contrarius. Contrary
motion, ra. obliquus. Oblique mo-
tion.
mouth. The openinp; in the front of a
pipe. m.-*harmonica, or m. organ.
I. Vide HARMONICA. 2. Pan*s pipes.
mouth' piece. The part of a wind*
instr. applied to the lips.
mouvement (moov-man), /*., movi*
men' to, /. i. Motion. 2. Move-
ment, m. de Tarchet (dii-l&r'-shi),
K Bowing, bien mouvement^
(b*y&A moov-m&A-ta). Rhythmically
elegant ; well regulated.
movement, i. Rate of speed, a.
Style of rhythm, as walhfUL 3. A
major division of a composition, hav»
ing a certain integrity in itself, as thli
sl<^w or the ad m. of a symphonf t
DICTIONARY OF TERMS 207
p. Abbr. of Mezzo-piano.
m. s. Abbr. of Mano Sinistra (left
hand).
mnance (mO-ins), F, A change or
variation of note. Vide mutation
(2).
mue (mQ), F, See mutation.
muet (mQ-a), F, Mute.
Mund (moont), G. Mouth. M. har-
mo'niluu Mouth-harmonica. Vide
HARMONICA. M.-loch (lokh). Mouth
of a pipe. M.ttttck(shtak). Mouth-
piece.
mnlleira (moon-ya-e'-ri), S^, A mod-
erately fast Gallcian dance, in 2-4
time, beginning on the unaccented
beat, with the strong beat in casta-
net-rhythm.
muiiter(moon'-t£r), G, Lively, spright-
ly. Munterkeit (kit). Vivacity.
miinc'y. Used of a harpsichord comp.
having a bass in broken octaves
(called murky-hast).
murmein (moor'-m^In), O. To mur«
mur. mormelnd (moor'melnt). Mur-
muring.
Mas. Bac. Abbr. of Bachelor (q. v.)
of Music.
Mas. Doc Abbr. of Doctor (q. v.) of
Music.
muse (muz). I. One of the nine god-
desses of art. 2. The muzzle or tube
of a bagpipe.
musetta(moo-za'-t2), /., mosette (in
F. mu-zet', in F, mU-z^t). i. A
small, imperfect oboe. 2. A bag-
pipe with bellows. 3. Hence, a short
pastoral dance-tune (often part of the
Gavotte) in duple or triple time with
a drone-bass. 4. A reed-stop.
miuica (moo'-zY-kH), L. and /. Music.
m. da camera (d& kil'-m£-rft). Cham-
ber-music, m. da teatro (t&-&'-trd).
Dramatic music, m. di g^t'ti.
"Cat-music." Vide charivari, m.
plana. Plain-chant.
mnsicale (moo-zY-kft'-l£), musical-
men'te, /. Musical(]y).
mnsicale (mu -zl-kil). An " at home **
concert.
nusic-box. A box contaiang an au-
tomatic musical instr. Ibe Sufiss
m. b. has a steel comb of graduated
teeth set in vibration by small pegs in
a revolving cylinder.
music-drama. An opera (particulariT
of the Wagnerian school) in which
the text and the action determine
the music, and are not interrupted by
set arias, duets, etc.
musicien (mQ-z^'-y&A), F, Musician.
mustdata (moo-z!-che'-stfl), /. Musi-
cian.
musico (moo'-zY-ko), /. x. Musician.
2. A male soprano, particularly a
eunuch.
musicone (moo-zl-kd'-nif), /. A great
musician.
music-pen. t. A 5-pointed pen for
ruling the staff. 2. A broad-pointed
pen for writing music.
music-recorder. A melograph.
music-timekeeper. An English instr.
enabling a performer to keep time.
Musik (moo-zek'), G. Music. Mn-
siker(moo'-zY.k£r). Mnsikus (koos').
A musician. Musikalien (k&l'.Y-«n).
Trade name for compositions. Mn-
sikant (moo-zI-kAnt ). A vagabond
musician. M.-fest« A musical festival.
Musik'bande, or Musikanteo-
bande (ban-de). A band of strolling
musicians. Musik'dikUt (dek-tat).
Vide dictation. M.-direktor. Con-
ductor. M.'lehrer (la'-r«r). Music-
teacher. M.-meister (mY-sht«r).
Bandmaster. M.-probe (prA'-bd).
Rehearsal. M. serein (f£-i1n). A
musical society. M.-seitnnff (tsT-
toongk). A musical periodical.
musique (mO-zek'), F, Music, ill.
d'6glise (da-glez). Church-music.
musiquette (mQ-zY-k«t). i. A short
composition. 2. Light music.
muta (moo'-ta). •* Change ! " A di-
rection in scores to change the crooks
or tuning of an instr. in preparation
for a change of key.
mutation, £. (in F, ma-tfts'-v6A),
mntasione (moo-ti-tsY-d'-n^), / i.
The transformation of the male voice
at puberty (in F, mue (mQ)). 2. Vide
SOLM1SATION. 3. Shifting. 4. As
^ prefix^ used of all tierce, quint« etc.«
2o8
THE MUSICAL GUIDE
stops not producing the unison or
octave of the foundation-stop.
Btite. A device for muffling tone ; in
Btring-instrs. a- clamp of brass, wood
or ivory placed on the bridge and
deadening the resonance; in wind-
instrs. a pear-shaped leather pad, a
cylinder of perforated wood or a
pasteboard cone introduced into the
bell.
iniit(h)ig (moo'-tYkh), G* Courageous,
spirited.
muthwillig (moot'-vTl-likh), G. Mis-
chievous.
Mtttsmng (rooo'-t^-roongk), G» Mu-
tation, I.
mjstkres (mYs-t&r), /^, Mysterien
(me-sta'-iY-in), (7., mysteries, E.
Mediaeval sacred dramas dealing with
the Last Judgment and other myster-
ies, as the ffloralities dealt with alle-
gorical virtues and vices, and miracle-
plays with the miracles of Christ.
The Idea peraitts in the Passion Play
dealing with Christ*s sufferings. In
these dramas, often accompanied with
music, oratorio had its beginning.
N
NABLA (nft'-bld). ileb. The
nebel.
nacaire (na-kftr), F.^ nacara
(nfi-ka-ril}, /. An obs.
kettledrum.
naccara (nflk-ka'-ra), nacchera (nak-
k^'-ri), /. Kettledrum.
(b^-leb'n).
libitum. Nachdruck (drook). Em-
g basis, accent, nachdrttcklicn (drUk-
kh), nachdnicksYoll (drooks'fol).
Emphatic. nachgi(e)bigfer (ge'-blkh-
jr). More slow and sustained.
|ladlliaU(hfil)»Nachklanfir (kl&ng).
Resonance, echo. nacnkling^en
(kllng-to), nachlassend (liis'-s^nt).
Slackening in time. nachUlssie
(l^sosYkh). Carelessly. Nachruf
(n>of). A farewell. Nachsatz (zau).
The second part of a period, follow*
ing the Vordersats. Nachslag
(shlakh). (a) An after-note, an ap-
poggiatura following its principal note
(the opposite of Vorschlag)* (b)
An auxiliary note at the end of a
shake, also Nachschliefe (shle-fe).
Nachspiel (shpel). Postlude. nach
uad nach (oont). B^ degrees. Nach-
tanz (tants), F, Second movement
of a dance.
nachtsverwandte Tttne (n^khstf^r-
vant'-t€-ta'-n5), G, The nearest rel-
ative kevs
Nacht (nakht). Night. N.-horn, N.-
schall. An 8-ft. flue-stop. N.-hom-
bass. The same stop on the pedal.
N.-musikstilndchen, N.-stiick
(shtUk). Nocturne, serenade.
NachtschliLger (nakht'-shlakher),
Nachtigan (nakht'-Y-pl), G.
Nightingale ; an imitative mstrument.
nae'nia, (7r. A dirge.
nafie (nk'-fe). A Persian trumpet.
nafiri (na-fe'-re). An Indian trumpet.
nagarah (na-ga'-ra), nagaret'» na«
gareet'. Oriental kettledrums.
nag'uar. An Indian drum.
Nagelgeige (nakh'-£l-2f-kh£), nail-
fiddle. Vide FIDDLE (Iron).
naif (na-cQ, /'.. fem. naive (na-ev), F.
nalv (n^-ef), G. Artless, natural.
naivement (na-ev-mah). Naturally.
naivety (nfi-ev-ta). Artlessness, sim*
plicity.
naiked. Of intervals, as fourths or
fifths lacking the third or other ac-
companiment.
na'ker, nakeres. Old E. Small
metal drum(s).
nakokus (na-ko'-kils), Egypt. Two
brass plates suspended and struck.
nan'^a. Negro harp.
Nlinien (ni-nl-^n), G, Dirges.
narrante (nar-riln'-c£), 7. In narrative
style.
narra'tor. The chief performer in ao
oratorio or Passion Play.
Narrentans (nftr'-r^ntants), G Fool's
dance.
nasard (nft-z&r), /'.,Nas(8)at'(niis-z&t7»
G, , nazard' • An old name for a stof
DICTIONARY OF TERMS 209
tuned a twelfth above the diapasons.
nasar'do, /. and Sp,^ nasarde (na-
zftrd), F., nassart (nfis'-siirt), na'-sil-
lard. A 2^-foot stop. The Grosnas-
ard (s^ro-nil-z&r), F., or Grostnasat
(gros-na-zat'), (y., is a quint-stop on
manual or pedal, petit-naaard (p*t^),
or larigot, is a i >^-f t. stop.
'son. A d-ft. flute-stop.
Nationallied (na-tsl-o-nal'-let), G, Na.
tional song^.
Natur (nsi-toor'), G, Nature. N. horn.
A valveless Waldhorn. N.-scala.
Natural scale. N.-tttne. Vide nat-
ural TONS. N. trompete. Valve-
less trumpet, natttrfiche (nil-tUr'-
llkh-d). Natural. Naturalist'. A
self-taught singer, natural istisch
(Ist'-lsh). Untrained.
ttat'ural. i. The sign S nullifying a
sharp or fiat. 2. A white digital.
B. harmonics. Those on an open
itring. n. hexachord. That based
on C. n. modes. The authentic
church modes. n« modulation.'
That to a nearly related key. n. key,
or scale. That of C major, n. pitch.
That of a pipe not overblown, n.
tones. Those producible on a wind-
instr., as the horn, without altering
the length of the tube with valves,
keys, etc. , hence natural horn, etc. ,
one producing tones without valves
or kevs.
naturaie (n2-too-rS'-I£), /. Natural.
oaturaii suoni (soo-o'-ne). Sounds in
the compass of the voice, natural-
men'te. Naturally.
natnral'is, Z. Natural; Cantus n.,
music in the htxachordum N. (the
hexachord based on C).
aatureKle) (nAt-a-r£l), F, Natural.
naublum (nd'-bloom), Heb. Vide
NEREL.
nay (na). A Turkish flute.
Neapolitan sixth. Vide altered
CHORDS.
ncbel (nft-b^l), nebel nassor (na-b^l-
nSs'-fldr), Hth, Ten-stringed harp.
neben (n&'-b^n), G. Accessory. N.-
ilominant. The dominant of the
dominant. N.-dreiklang. Second-
ary triad. N.-gedanke. Subsidiary
theme, or idea. N.-klane. Acces-
sory tone. N.-note. Auxiliary note.
N.-regfister, N.-siige (tso-kh^).
Acessory stops. N.-septimssak«
korde. Secondary sevenths. N.-
stimme. Subordinate voice or part.
N.-werk. Choir-organ.
necessario (na-ch£s-si'-rY-6), /. Nec-
essary.
nechiloth (n£k'-M6t). ner(h)iaoth
(n«'-gl-n6t), Heb, A wmd-ihstru-
ment.
neck. That part of an instr. which
carries the finger-board.
ne'fer. Egyptian guitar.
negligente (nal-ve-jSn'-tS), ne^^Ugeat-
emen'te, /. Negligent(ly). negli-
g^ensa (j^n'-tsil). Carelessness.
nerli (nal -ye), nei (na'-e), /., pi. In
the.
nei (ni'-i), Tur, A flute made of cane.
nekeb (na'-k^b), Heb. A wind-instr.
formed of a single tube.
net, nella, nelle, neUo, nell', /. In
the, at the.
nenia. Vide naenia.
neo-German. Used of the program-
matic school.
nero (n&'-ro), 7. " Black.*' A quarter
note.
nete (na'-tS), Gr, Vide lyre and
MODE.
net (n^t), nette (n«t). F., aett (n£t),
G.^ net' to, /. Neat, clear, nettet^
(n«t-ta), F., Netthelt (n«t-hlt),
Nettig^keit (n«t'.tYkh-kTt), G, Neat-
ness, distinctness, nettamen'te, /.
Crisply.
neu (noi), G. New. n^-deutsche
Schule (doit-shd shool'.«). Vide nbo-
german school.
neu'ma, neume (num). i. One of the
characters iA the early notation by
points, commas, hooks, etc. Lines
were introduced later, but they v^re
always rather an aid to memory than
a notation. 2. Melisma. 3. A slur.
The neumes somewhat resembled
modem shorthand and served some-
what the same function. The earlier
forms before lines are quite indeciph*
m
210 THE MUSICAL GUIDE
enble. A single note was called
Virga, virgula^ punctus^ or punc^
turn ; a rising inflection sign, pes, or
podaius ; a falling inflection, cUms or
fiixa ; various nuances of perform-
ance and special note values were the
afUUSt hitdrga, cepkalicus^distropha
Hipkonus^ gnomo, criscus, plica
(turn), quiiisma (shake), simivocalis^
sinttosa, stropkieus^ tramea, tremula^
trivirgat etc.
aean (noin), G, Nine. Neunachtel-
takt (ftkh'.tel-tftkt), G. Nine-eighth
time. Neunte (noin'-t2). A ninth.
Neimselmte (tsan-t£). Nineteenth.
nenvi^me (nfiv-y^m'), /*. A ninth.
aex'nt, Z. A binding together.
aicht (nlkht), G, Not.
alcolo (n£'-kd-ld). A 17th cent, bom-
bardon.
aieder (ne'-d£r), G, Down. N.-tchla|r,
Down-beat, or accented part. Nl-
•trich. The down bow.
siediig ^n£'-drlkh), G, Deep, in voice.
nina (ne -nft), /. Lullaby (or, nioiia-
naima). ointiare (nln-nil'-r£). To
sing a lullaby.
nine-eighth. Vide time.
nineteenth, i. An interval of two oc-
taves and a fifth. 2. A stop tuned a
nineteenth above the diapasons.
Vide LARIGOT.
ninth. I. An interval of an octave md
a second. 2. Vide chord.
aobile(nd'.bM£).nobilmente,/., noble
(ndbl), noblement (n6-bla.mah), /^
Noble (nobly). nobiUtlt(no-be-ll-tS').
/. Nobility.
noch (ndkh), G. Still, yet ; as noch
•chneller (shn^l'-ler). Still quicker.
nocturn(e), E., nocturne (n6k-tam)
F., nottnrno (not-toor'-no), /. i.
Term first used by John Field for a
composition of dreamy, night-like
mood. 2. Vide HORiC CANONiCiC.
node, nodnlpoint, no' do, /. One of
the axis-like points or lines in a vi-
brating body, where there is no vi-
bration (cf. loop), nodal figures.
The chart of vibration produced by
sand strewn upon a flat vibrating
^iate ; discovered by ChladnL
no'dus, Z. "A knot," an enigmatical
canon.
no£l (nd-£l'), F. A Christmas caroL
Vide NOWKLL.
noeud (na), F. x. A turn. 2. A node.
no fer. Vide nefer.
noire (nw&r), F, ** Black," a quarter
note.
noise. Early E. x. Music. 2. A
band.
no'lae, L, Tintinnabulae.
nomes (ndmz), Gr, i. Airs anciently
sung to Cybele, Pan, and other divin-
ities. 2. Compositions regulated by
inviolable rules, as canon. 3. A can-
on. Vide NOMOS.
nomine, in (in no'-mY-na), Z. i. " In
the name " (of the Lord). A motet, a.
Vide FUGA,
no'mos, pi. nomoi, Gr. Law(s). Greek
songs fulfilling all the rules.
non (n5n), 7. Not, no.
nona (nd'-n&), /., None (no'-n^, G. A
ninth (interval). Nonachord'-o, /.,
No'nenakkord, G. A ninth. Vide
CHORD.
nones. Vide hor^c canonioe.
nonet(t)', E., Nonett', G,, nonet'to.
/. Music for 9 parts.
Non'nengeige (s^-kh^). "Nun's-fid-
die." Vide marine trumpet.
Nonole (no-no -1£), G. Nonuplet.
nonny hey nonny. An old E. refrain.
non'uplet. A group of nine equal
notes.
normal (in G, nor-mal'). Normal,
standard. Normalton (ton), G. The
tone A. Normaltonleiter (li-t£r),
G, The natural scale (of C).
nota (nd'-ta), /. and L. Note, tu
bianca. ** White " or half-note, etc.
n. buona (boo-d'-n£). Accented note,
n. cambiata (k&m-bY-a'-ta), or cam'-
bita, /. I. A changing note. 2.
Resolution by skip. n. caratteris'-
tica. Leading-note. n. cattiva
(kat-te'-vfi). Unaccented note, nota
contra notam. '* Note against
note." Vide counterpoint, n.
corona'ta. A note marked with a
hold. n. d*abbellimen'to. A note
of emhellishment. n. di passaggio
DICTIONARY OF TERMS 2n
(d£ pfts-s&d'-jd). A passing note. ta). Staccato, n. sensible (s£n-se'«
&. di pUcere (de.pY.il.cha'.r«). An bM$), /., sensi'bilis, /.. The lead-
optional embellishment, n. falsa. A ing-note. n. digna'ta, L, A note
changing note. n. prindpale (pren* marked with a sign. n. sostenuta
chl-pi'-l£). Principal note. n. quad- (sos-t£-noo'-ta). A sustained note.
ra'ta. A plain-song note. n. ro- notation (in F, no-t&s'-yon), notazi-
ma'na* A neume. n. scolta (shol'- one (no-t&'-tsi-o -n^), /. Notation.
Notation.
By thb Editor.
THE musical parallel of writing and prindng as the means of express-
ing tn universal and permanent symbols the ideas, emotions and
memories of the mind. ^The Greeks, having only unharmonised
melodies to record, made use of the letters of the alphabet in positions and
combinations of a most complex yet definitive variety. These letters had
reference to tetrachords and transposidons of the most subtle sort (see
modes). The business-like Romans swept away a mass of detail by giving
sach letter a definite position on the whole scale without reference to tetra-
chord relations. These letters were written on a straight line over the text
to be sung. In the Eighth Century this alphabetical notation had given way
before a system of symbols looking much like the hooks and curves of modern
shorthand. These were called neuma (q. v. ) and were of numberless sorts
and names. Thus a short single note was a punctum ; two or three of these in
a group were bipunctum or tripunctum ; the standard long note was the virga
which cotild be grouped as bivirga or trivirga. Other terms were podatut
(a low note joined to a higher), and its reverse called clivis, clinis^ ox Jlexa;
the scanJicus (three ascending notes) and its reverse, climacus ; the quilisma
(a repeated note), the gnome, ancus, distropha and many others. These
Dcumas were written over the text and were set higher or lower in a rough
fbim of melodic contour. They were only an aid to the memory and fre-
quently defy decipherment. In time, a few letters were added as abbreviations
of speed or force. ^But about the year 900 a genius (who in his way was
almost as great as the inventor of the wheel) hit upon the inspiration of ruling
above the text a thin red line and calling it '< F." Every neuma on this
line stood positively for the tone F, and those above or below the lines were
of higher or lower pitch. The genius was soon followed by a man of
talent who ruled a yellow line a little higher and called it *' C." The
ornamental letters set at the head of these lines soon took the forms known
to-day St the clefu' Not long after, the monk Hucbald erected a series of
fines and used the spaces between them to indicate definite pitches, wridng at
the beginning 7* for a whole step and ^ for a semitone. The hymn to be
■I
212 THE MUSICAL GUIDE
sung was written in these spaces, each syllable being placed on its proper
space. (This gave the verse a stepladder effect resembling the refrains of cer-
tain modern humorous poems.) Spaces were added above or below as the
melody needed them and each voice had its own set of shelves. ^This
awkward plan suggested the use of the lines instead of the spaces, for notes
instead of syllables. Each line was given a definite pitch .marked by a letter.
^Recurrence was now made to the two-line system and somebody (Guido
of Arezzo was usually credited with the scheme) added two black lines and
made a 4-line staff in which both lines and spaces had fixed pitch values. It
only needed the later addition of one more line to give the five-lined staff we
still use to-day. ^The neumse gradually exchanged their scraggly outlines
for the square black heads of the choral note (the nota quadrata or quadri^
quarto) . ^It now being possible to express the relative pitch of notes, an
effort was made to express their reladve duration, for the old Plain Song wich
its notes all of the same length could not satisfy many human musical needs.
The modern division into measures of equal length by means of bars was a
long time coming. There were two centuries of cluxnay me/tJitraSle (1. /.,
measurable) music. Notes to be sung to the same syllable were groupea
together by ligatures ; they were either set so close together as to touch,
or were if ascending, placed one above the other like a chord ; if de-
scending, they were merged in a thick black slandng line (^figura ohliqua').
When white or open notes came into use the thick line became an open
rectangle sloping in the desired direction. When the first note of the liga-
ture was a breve, it was said to be ** cum proprietate*^ ; if the first note were
a long, it was sine proprietate / if a semibreve, it was cum opposita proprie-
tate ; if the last note were a breve it was imperfecta ; it was a ligatura per^
fecta when the last note was a long. ^The method of expressing rhythm
was, as said, very cumbersome. Rhythm vtras classified under three nidos :
mode (modus) ^ time-value (tempus)^ prolation. ^[The Modus major
or '« Great Mode " concerned the division of the large into longs, being
perfections) if there were three longs to a large, and imperfect (us) if
there were two. Modus minor or the '< Lesser Mode " concerned the
division of the long into breves, with the same classes perfect or imperfect*
^The division of the breves into semibreves was the tempus and was simi-
larly called perfect{um) or imperfect (^um), a circle indicating perfect time and
a semicircle, imperfect. ^The reladon of semibreve to minims was called
prolatio(n)t being major or minor (greater or lesser) prolation as the semibreve
equalled 3 or 2 minims. The former was indicated by a dot in the time
signature. ^The position of the notes also indicated their proportion ; a long
or a breve Allowed by a note of its own value was perfect by position ; a
note accompanied by another of less value was imperfect. ^Coiour played
DICTIONARY OF TERMS 213
• ptr{ ; the red {notula rubra) or white {alba) or black (ffigra) note
among others of a different colour marked a change from perfection to imper-
fection. There was later the proportio htmiol(J)a, or 2 : 3, indicated by
g;rouped black notes among white. ^ Speed was open to slackening (^aug-
mentatio) or acceleration (^diminutie)^ the latter being marked by a bar through
the time-signature, or by the use of numerals or fractions, called signs of pro-
portion, a term referring to the rhythm of simultaneous voices. ^[The value
of a note was open to aluratio{n) by position or by use of the dot (June turn
MUgmentation'u^ alterationis^ (Jm)perfectionis or divisionis), ^Expression
marks appeared, along with many other symbols, in the Seventeenth Cen-
tury ; the bar was brought over from lute-tablature, and mensurable music
disappeared before the convenient complexities of our own era.
note. A character represepting a musi-
cal tone ; by its shape indicating the
duration, by its position on the staff,
the pitch, of the tone, connecting
note. A note common to two
chords.
note (not), F, Note. n. d'agr^ment
(d*fl>gra-man). Ornamental note. n«
de {MMsage (dtl p&s-sazh). Passing
note. n. m^si&e (dY-£-za), F. Note
marked with a sharp, notes coulees
(koo-la). Slurred notes, n. de gofit
■ (dti-goo). Note of embellishment.
n. sensible (sftn-sebl'). Leading
note. n. snrabondantes (s0r*&-b6n-
dant). Such incommensurate groups
OS triplets, quintoles, etc. n. liee
(le-i). Tied note. n« syncop^es
(sftn>kd-pa). Syncopated notes.
Noten (no'-t^n), (7., pi. Notes. No-
tenblatt (bUt). A sheet of music.
N.-bnch (bookh). Music-book. N.«
fresser. " Note-gobbler/* one who
has facility but no taste. N.-schrift
(shrYft). Musical manuscript. N.-
tystem (zes-t&m). The staff.
noter (no-ta), F, To write out a tune.
no'tograph. Melomph.
nottnmo (n6t-toor-n5), /. A noc-
turne.
no'tula, L, Note used in ligature.
nourrir le son (noor-rer la s6n), F,
To attack a note forcibly, and sus-
tain it. un son nourri (noor-re). A
sustained tone.
nourrisson (noor-res-s6n), F. Bard.
nour'singh* A straight Indian trum-
pet.
no'ya, /. A small flute.
Novelette (n6f-e-l«t'), G, From F,, a
short musical romance. Name first
given by Schumann to pieces con-
taining considerable freedom of form,
treatment, and idea.
novemole (n5-v£-m6'.l£), /. A group
of nine equal notes.
no'well. OXdE. "Good news." i.
A refrain of Christmas carols, hence
2. Carol. Cf. NOEL.
nuances (nU-ans), F„ pi. i. Lights
and shades ot expression; variety.
2. A notation.
null. I. A cipher. Vide o. 3. Vide
TASTO SOLO.
number, i. An integral portion of an
opera, symphony, or programme, etc.
2. A favourite method of designating
compositions, as Chopin's '* 5th
waltz.
numer'ical notation. A scheme in-
troduced by Rousseau, to substitute
numerals as names of tones. A simi-
lar notation in Massachusetts was
called Day*s & Beal's ** One-iine sys-
tem."
nn'merus, Z. i. Number. 2. Rhythm.
Nunc dimit'tis, Z. **Now dismiss
(us)." The text, Luke II. lo-is,
often used as a final number.
nun's-fiddle. Marine trum^t.
214
THE MUSICAL GUIDE
nuoTO (noo-d'-v5), I, New. di nuovo.
Again.
nut. I. The small bridge at the upper
end of the finger-board of violins, etc.
2. The movable fastening of the hair
of a bow. 3. The ** lowest nut,*' the
ridge between tail-piece and tail-pin.
0
OA small circle, or cipher,
means : i. An open string.
2. Harmonic. 3. Diminished
fifth (or a chord containing
one). 4. Tasto solo. 5. To be plaved
with the thumb. 6. Tempus perfec-
tum. Vide NOTATION. 7. Harmo-
nium-stops are marked with a numeral
in a circle. 8. In neume-notation,
the fourth church mode.
O (6), od (od), /. Or, as, either.
O (o), Z. Exclamation. Us O de
Noel (la-z6 dtt no-el), F, The Christ-
mas antiphons to the Magnificat, all
beginning with ** O ! "
oaten-pipe. A simple straw cut to
form a reed-pipe.
ob. Abbr. foroboe(s).
obbligato (db-blV^a'-to). /., oblige
(6b-l)[-zha), F., Obligat (6p-lt-gat^),
^. . " Indispensable, of a part which
cannot be omitted without iniuiy to
completeness; though latterly the
term has. come almost to mean '* op-
tional," as in songs **with violin
ebb." in which the violin part is fre-
quently omitted.
ob{b)liquo (6b-ble'-kw^)). /. Oblique.
Vide MOTION.
ober (6'-ber), G, Upper, higher. O.-
dominante. Dominant. O.^labi-
urn. Upper lip (of a pipe). 0.«
manual. The upper manual. O.-
ttimme. Upper part. O.-tatte
(tlls'-t«). Black kcv. O.-theil (til).
The upper part. O.-ton. Harmon-
ic, pnonischer O.-ton. The 15th
partial. O.-werk. In an organ
with 2 manuals, the choir-organ ;
with 3, the swell ; with 4, the solo.
obiiaue. obli'quus. L* Vide motion.
oblique pf. An upright pf. with di-
agonal strings.
oboe (o-bo; in G, 6-b6'-^, obo^ (5»
bo-a'), /. Plurals : oboet, E,^
Oboen, (7., oboi (6-b6'-e), /. i. A
double-reed instr. with conical wooden
tube, and o to 14 keys ; extreme com-
pass ^-f '. It is non-transposinff
(except in the case of the Bb and hS
oboes for military bands), and is
fingered somewhat like a flute. Its
tone is reedv and quaint, almost
homely ; it gives a pastoral atmos-
phere, or is capable of great melan-
choly, but rarely of much floridity.
The alto of the oboe is the so-called
cor anglais (kdr fift-gl^'), /*., corno
inf^lese (k6r.nd-en-gli'-zd), /., en*
glischet Horn (£ng -IVsh-^s not ^ng-
glTsh-ds), (7f, or English horn. An
oboe with a double long tube, and a
pitch a fifth lower, extreme compass
^-b" This is now written as an
mstr. transposing a fifth. It is even
more sombre than the treble oboe—
indeed it is the most mournful and
inconsolable of instruments. It is
a development from the old obo^ da
caccia (d& kSt'-shft), in F. or E^
written in the alto clef. The o. d'a«
more (d^-mo'-r^), o. basso, and o«.
lungo (1oon'-go) were lower by a
minor third than the modem treble
oboe, which was formerly called o.
piccolo. 2. A reed-stop of d and 8
ft. pitch, also called orchestral oboe.
obots'ta» /. Oboist.
Obw. Abbr. for Oberwerk.
ocarina (6-kJi-r€'.nfi). A terra-cotta
bird-shaped instr. of fluty tone.
occhiali (dk-kY-i'-le). i. White notes.
2. Brillenbasse.
occhetto (5k-k£t'.td), /., oche'tus, Z.
Hocket.
oct'achord. i. An 8-stringed instr. 2.
A series of 8 tones.
oct'aphonic. Eight-voiced.
octave (in F, 6k-tav. in G. 6k-ta'.
f^). t. A consecutive series of eight
diatonic tones as from f'V. 2. The
interval of an eighth. 3. A tone an
8th above (or belojr) another. 4,
DICTIONARY OF TERMS 215
large octave, once-marked or lined
o., etc. Vide pitch. 5. The diapa-
son of the Greek system. 6. The
eight days following a Church festival.
7. A stop sounding an octave higher
than the digital pressed, as octave-
flute (also used for the piccolo (q v.).
consecutive covered, oroken, etc.,
octaves, vide the adjectives, rule
of the o. A 17th century system of
harmonising the scale giving a bass
scale with the normal chords and
inversions to accompany it. short
o. The lowest octave m an organ,
where the scale is incomplete or com-
pressed, also called mi-re-ut, o.«
scale. Vide modes, o.-coupler.
Vide COUPLER, o.-staff. A notation
introduced by Adams, of New Jersejr,
three groups of lines combined m
three octaves, dispensing with the
flats and sharps, and giving each tone
its own place, octave stop. i. A
4-ft. stop. 2. The position of fingers
stopping an octave on the finger-
boaiti. 3. A mechanical stop in
reed-organs, coupling the octave
above.
octaviana (6k-ta-v1.&'-n&), octavina
(dk-ta-ve'-na), /., octavin (6k-t&.
v&A), F, I. An octave-spinet. 2.
The piccc**^. 3. A harpsichord oc-
tave-stop. 4. A 2-ft. organ-stop.
Octavin (dk-tH-fen'), G, A single reed,
conical wood-wind instr. fingered tike
the oboe ; compass C'c"\ keys Bb and
C. Inv. by O. Adier.
octa'vo attachment. Vide pedal
(octave).
octet(t)', octet'to, /. A composition
for eight parts.
octipho'nium, L. Octet.
oc'tobass, E.^ octobasse (b&s), F, A
double-bass of huge size, about 12-ft.
high. Inv. by Vuillaume. The 3
strings are stop'^ed by means of keys
and pedals.
oc'tocnord, Z. d-stringed lute.
Octole (dk-td'-l£), G. Octuplet.
oc'tnplet, A group of eight equal
notes.
octuor (dk-twdr), F. Octet
od (6d), /. Or.
ode (dd). An elaborate lyric, almost
4 cantata, odische (d'-dlsh-^) Ma«
sik, G, Music for an ode.
Odem (6'-d&m), (7. Breath.
Odeon (5-d&'-dn), O., ode'ttm, L A
public building for music.
Oder (6'-d€r), (7. Or, or else.
ode-symphonje (dd-sHA-fd-ne), F, A
symphony with chorus.
oeuvre (ttvr), F. Work, composition.
off. t, A direction to push in an organ-
stop or coupler. 2. False.
offen (df'-f^n), (7., of fenbar. i. Open.
2. Parallel. OffenflOte (fla -te). An
open flute-stop.
offertoire(df'-f«r-tw&r), F„ offerto'rio,
/. and ^., offerto'rium, Z., offer-
tory. The part of the Mass or ser-
vice, the motet or instrumental piece,
performed during the taking of the
collection.
offic'ium, L. A service, o. defiinc*
to' rum. Funeral service, o. diur'-
num. Daily s. o. matuti'num
(noctum'um) morning (evening) s.
o. vesperti'num. Vespers.
ofideida (d-fl-kli'-I-dfi), pi. e., 7. Oph-
icleide.
ohne (6'-n«), G, Without.
oioueae. The vowehi of "Woild
without end, Amen.*' Cf. kvovas.
Oktave (6k.til'-f«), G, Octave (q. v.).
oktavi(e)ren (fc'-r«n). To produce
the octave by overblowing. OktHv*
Chen (ok-taf -kh^n), Oktavfldte (fla'-
t«). or -fldtlein (lln). Piccolo. Ok-
tavengattungen (gSt-toong-€n).
Octave-scales. Oktav-foljren (fdl-
kh£n), or -parallelen, or Oktaven*
verdoppelunflren (f^Jr-ddp-p^l-oong-
2n). Parallel, or consecutive oc-
taves.
Oktavwaldhorn. A Waldhom inv. by
Etchbom & Heidrich.
Oktavin, G, Vide octavin.
ole, el («1 5'-l£), Sp, Slow 3-4 dance
with castanets.
oriphant, A horn made of a tusk.
o'lio. A miscellany.
olivettes (d-U-v^t), F, Provengsl
dance after the olives are gathered.
2i6 THE MUSICAL GUIDE
oUa podrida (61' U pd^re'-dhci). Med-
ley.
om'pl. An African harp.
om'bra, Z. Shade ; nuance.
om'nety omnia, L, All. Vide tut-
TI.
om'nitonic, omnitonique (om-nY-to.
nek), F, Having all the tones of the
chromatic scale, as a horn.
once-accented, or once-marked oc-
tave. Vide PITCH.
ondegs^iamen'to (6n-d£d-jfi-m^n'.t5).
Undulation. ondegg^an'te, /.
onduM (6n-dU-la), F, Waving, un-
dulating, trembliiu% onduliren (6n-
doo-le-r^n), (7. To make a tremu-
lous tone.
one-lined. Vide pitch.
onjrarete (6n-ga-ra'-z£), ongherese
(on-g^-r&'-z^), /. Hungarian.
onxikme (6nz-y<!m), /*. Eleventh.
op. Abbr. of Opus.
open* I. Of pipes, open at the top.
3. Of chords, not in cUse position.
3. Of strings, not. stopped. 4. Of
tone, (a) produced by an open string
or by a wind-instr. not stopped, (b)
not prod, by valve or key. 5. OC
scores, in which a stave is given to
each part or instrument.
Oper (o -p«r), C, op'era, E, (in /.
6'-p«-ra), /.. op^ra (6-pa-ra), F.
Drama set to music. o.-bouffe(booO.
or btiffon (buf-fon), F,, o.-buffa
(boof'-fa), /. Farcical, or low-comedy
opera, what we call comic opera.
op6ra comiqne (ko-mek), F, Literal-
ly " comic opera," but generally used
only to indicate that the dialogue is
spoken, not sung. The plot may be
as serious as grand opera, opera
seria (sa'-rI-&), /., opera s^neux
(sa-rl-Q), F, , in which all dialogue is
in recitative and the ensembles are
more elaix>rate. o. di camera (k&'*
m£-ra). Opera for a small audito-
rium, o. lyrijiue (le-r(k), baiiad-
opera. One in which lyricism has
the preference over dramatic action,
o.-drammat'ica, /. Romantic opera.
O.-haut (hows). Opera-house. O.-
t&nger. Operatic singer.
The Opera.
By Ernest Newman^
COMBINATIONS of poetry and music, in a more or less dramatic
form, must have been usual fi-om very ancient times ; and, as >
matter of fact, we can trace this form of art back to 1 3 50. But
the opera proper, in the modern sense of the word, sprang up in Italy abouc
the end of the sixteenth century. It was the invention of certain Florentine
amateurs, lovers of the antique, who wished to give to music something oi
the importance it was thought to have had in the Greek drama ; and the
Ditfne (1594), *"^ Euridice (1600), of Peri and Caccini, mark the begin-
nings of opera. These works were mostly in a kind of recitadve, with slight
orchestral accompaniment. The object was to imitate in music the inRectiona
of the speaking voice, the Florentine scholars imagining that the music in the
Greek drama had b^en simply an intensification of the tones of ordinary
speech. Musica parlantCy "speaking music," was the ideal they aimed at.
As the opera progressed, it inevitably became less speaking and more musical*
The orchestra became larger and more capable of colour ; recitative devel-
oped into the aria, the duet, and the concerted piece. As the opera spread
DICTIONARY OF TERMS 217
over Italy, however, it tended to degenerate. It relied too much on imita-
tion of the antique ; it had no heahhy poetical drama with which to compare
itself, and so became ever more inane in sentiment ; it was corrupted first by
the fashionable courts and then by the ignorant, pleasure-loving Italian public ;
undue prominence was given to the mere scenery and spectacle ; and the star
singers tried to subordinate everything to their own vanity. All this while
there existed, among the people, an ancient form of rural comedy — the Com-
media delP Arte — full of healthy life and sincere sentiment, and free from the
R^ectation of the pseudo-antique. From this there grew up, at a later date, the
charming and sparkling opera buff a, ^[ France had long had a form of enter-
tainment— the ballet — with many points of similarity with che opera. The
first real French opera seems to have been La pastorale ^ by Perrin and Cam-
bert (1659) ; but no great progress was made till Lully-^an Italian by birth,
but French in sympathies — became the head of the opera in Paris (1671).
In France, the verbal element always resisted the encroachment of the mu-
sica/, this being partly due to the highly developed, rather than to that of the
3owing, aria. In the course of time, Italian influences tended to cultivate
the merely musical element at the expense of the dramatic ; but the balance
was restored by Rameau, who, with a greater musical gift than Lully's, made
the vocal portion of the opera free and interesting in itself, without losing
sight of the dramatic expression. When the Italian opera huff a was intro-
duced into Paris (1752), it strengthened the already existent French comic
opera, and even taught the serious writers some lessons in naturalness and
directness. ^In Germany, opera first found favour at the Courts. Singers,
composers, librettists, conductors — all were Italian ; and, if, in an isolated
case, the recitatives were sung in German, the airs, which were held to be
the essential parts of the opera, were generally given in Italian, It was at
Hamburg that the German element had its stronghold. Keiser (1673-
1739) relied on the German L/>^ rather than the Italian aria^ and preferred
a German libretto to an Italian one. But on the whole the German passion
was for thoroughly Italian opera. ^Neither in Italy, Germany, nor France
did the opera seem, in the nuddle of the eighteenth century, to have any real
life or any chance of development. From this miserable condition it was de*
livered by Gluck, who added to a musical gift greater than that of the major-
ity of his predecessors, a strong sense of the value of a dramatic basis for the
music. iyThe history of the opera in England in the seventeenth and eigh-
teenth centuries is somewhat curious. Purcell's influences were mainly French,
derived through his master. Pel ham Humphreys, who had studied under
LuUy. Purcell's striking individuality, however, transformed this infhience
into something quite English. Later on, the English stage was ruled almost
entirely for a time by Handel, who made no alterations in the general form
2i8 THE MUSICAL GUIDE
of the opera, Vut fi'led each separate part with a wealth of musical inventive-
ness previously unlcnown. ^In the early work of Mozart, Italian influences
struggled with German. His experiences in Paris, where he heard the best
operas of all kinds, in 1 778, deepened both his technical powers and his dra-
matic sense. **The Marriage of Figaro," and «*Don Giovanni," show the
most wonderful art of character-drawing, interpenetrated with a musical spirit
of unfailing and surpassing loveliness. They seem to combine Handel's meU
odic beauty and power with Gluck's intensity of dramatic expression. Gluck
and Mozart were the two men whose influence was most felt by later operatic
writers, ^f^^^ "^*^ 8^^*^ development came with Weber and the German
Romantic movement. Between the true classical and Romantic epoch, how^-
ever, came a body of work, half ancient, half modem, both in France and
Germany. It is typified by such men as Herold, Mehul, Cherubini, Boiel*
dieu, and Spontini, and by Beethoven's solitary opera ** Fidelio," and repre-
sents the crossing of the old culture with the new, the forms of the eighteenth
century with the post- Revolution spirit. Under Weber and the Romantics
the German opera entered on a new career. Its essence was a heartfelt sin-
cerity— almost simplicity — of musical feeling, subtilised and enriched by the
warm, expansive culture of that day. Most of the sensations of the eighteenth
century opera are found in the work of Weber and his fellows, together with
tome quite novel ones ; and in every case a deeper or subtler tinge is given
them by the superior orchestral resources. In the painting of scenes of ner-
vous horror, for example, the Romantics added considerably to the ^ette o(
their predecessors. ^ While this movement was going on in Germany, Ros-
sini was galvanising the almost extinct art of Italy. His sparkling melody, hit
verve, his audacity, his superficiality, produced a new type of Italian opera,
appealing to fashionable and uncultured audiences, who asked for nothing from
the opera but amusement, and that in a forni not too subtle for them. The
really dramatic passages in his operas, as in those of Donizetti and Bellini, are
comparatively few. Their general style of work was carried on by a stronger
musician, Meyerbeer, who was weak enough to sacrifice, for the applause of
Paris, the genuine musical gifts he had brought with him from Germany.
^Concurrently with this vogue of Italian opera there ran the career of Wag-
ner, who reflected more upon his art than any opera composer except Gluck.
Dissatisfied with both the independent musical and poetical elements out of
which previous operas had been built, he modified each to suit the demands
of the other. He aimed at a form of expression in which poetry and music
should combine in one indissoluble speech. This was to be the ** means '^
of the opera; its "end " was the drama itself. Wagner's reforms wer*^ •/>
entirely the outcome of his own peculiar individuality, and depended so mucn
en his own stupendous gifts, that no one has been able to take up his work
DICTIONARY OF TERMS 219
after him. He has influenced almost all his countrymen ; but their work, as
m whole, is plainly imitative and reminiscent. ^Similarly Berlioz, who also
worked on his own lines, occasionally casting his eyes back to Gluck and
Weber, left no successor. The line on which composers like Halevy and
Auber must be strung derives from Meyerbeer and the Italians. But the
more modem French opera- writers strike a more original, more national note.
Gounod and Bizet, Reyer, Saint-Saens, and Massenet are really French, each
in his own way ; while in the very modern work of Bruneau we get the
spirit of French realistic fiction, and in that of Vincent d'lndy we have a
curious expression of the subtlety and mysticism of the Celtic revival.
The rise of serious French opera has been accompanied by a consolidation of
the lighter form — the opera bouffe. ^ In Italy, the most remarkable phe-
Doinenon has been the change of Verdi's style. Beginning as a common-
place, though somedmes dramatic, writer of Italian operas, he has developed
into a composer who, while never losing his southern grace and Htheness, has
assimilated some of the best elements of northern art. In the work of the
younger men of his school there seems to be, at present, a contest between
the old idealft and the new. In many cases, unfortunately, their musical gifts
are not on a par with their dramatic intentions. ^The first great name in
Russian music is that of Glinka, who, about t^he middle of the century, worked
out a national form of opera. Though Wagner's influence has necessarily
t'een felt here and there, the Russian opera as a whole has developed freely
on its own account ; and the two representatives of it best known to the
West — Rubinstein and Tschaikowsky — are in no way Wagnerian.
operetta, /., Operette (6p.«.r^t'.t«),
G. A small hght opera, of. sing-
SPIELB. Op'erist. An operatic singer.
Opemdichter (o p&m^Ikh-t^r), G, Li-
oretto writer.
Ofdiicleide (df-T-klTd). i. An obsoles-
cent brass instr. the bass of the key-
bogle family. The baaa. o. in C, Bb
and A^ (compass A^-a'B) the alto
o. in F and E^ (compass 2^ oc-
taves) ; the contrabaaa o. same com-
pass as the alt. o. but an octave
lower. The bass tuba (q. v.) has a
richer tone and has displaced it. 2.
A powerful 4 or 8 ft. reed-stop.
opp. Abbr. of oppure.
oppoaite. Contraiy (of motion, q. v.).
oppore (6p-poo'-re), /. Or, or els*.
opus (d'-poos), Z. Work, composition ;
as, Co. 10, the loth composition, or,
more commonly, the loth publication
of a composer, opus'culum. A lit-
tle work, opua post'humnm. A
work published after the death of
the comix>ser.
orage (6-rslzh), F, *• Storm." i. An
imitative composition. 2. A stop.
O'ra pro no'bia, L. *' Pray for us ! ** A
response to a litany in R. C. ser«
vice.
oratoire (6r-ft-twar), F., oratoYio, 7.
and E.^ orato'rium, A. (in G. d'-
ri-to'-ri-oom). A sacred work con-
structed like an opera, but performed
now without action, costume,* or
scenery. See next page.
220 THE MUSICAL GUIDE
The Oratorio.
By H. £. Krehbiel.
AN oratorio is a musical composition for chorus and solo vcices, with
orchestral accompaniment, to a poem on a religious or sacred sub'
ject, generally in narrative form, though often with dramatic epi-
sodes, but without scenery, action, or costume. The origin of the oratorb is
to be found in the so-called mysteries and miracle-plays of the thirteenth and
fourteenth centuries, which enacted an important part in the life of the com-
mon people. These were sung and acted, and though, on account of abuses
that crept into them they were frowned upon by the Church, their popularity
was never destroyed. The oratorio was brought into existence upon the
model of these religious plays by St. Philip of Neri ( 1 5 1 5-9S)» who rec-
ognised in them a means of opposing the influence of the Reformation upon
the common people. In his chapel or oratory (whence the name oratorio)
in Rome he had spiritual songs sung after sermons and other devotions, to
"allure young people to pious offices." St. Philip induced capable Italian
poets to write the words, and the best composers to furnish the music. By
degrees the spiritual songs gave place to musical settings of sacred stories
sometimes in dialogue form. The invention of dramatic recitative at the end
of the sixteenth century had a marked influence on oratorio. The first to
use it was Emilio Cavaliere, whose allegory, <• The Soul and the Body,"
performed in a Roman Church, was the first oratorio corresponding to the
modern form. It was, however, intended to be acted in costume, and only
gradually did this feature ^1 into disuse. The later Italian composers, Caris-
simi, Stradella, Cesd and Alessandro Scarlatti, first developed the new form
on the lines in which it has come down to us. Carissimi greatly improved
the recitative, giving it more character and musical expressiveness than his
predecessors had done, and ventured more boldly into the field of broad
choral wridng. Cesti and Stradella cultivated still further the natural re-
sources of the chorus at a time when the general tendency in Italy was tow-
ard the more obvious and pleasing forms of solo song. Alessandro Scarlatti,
who was one of the chief forces in this direction, also contributed to the devel-
opment of the oratorio by the increased stress he put upon the solo arias in it.
But on the whole, as Dr. Parry has remarked, the oratorio had to wait
for representatives of more strenuous nations for its ultimate development.
^That development was destined to come in Germany. While oratorio had
thus been taking shape in Italy, there was an important movement going on
in Germany by which the Passion was brought into existence. This came
about, after a long line of tentative and experimental efforts, through the
works of Heinrich Schiitz, who had received his training in Italy and earned
DICTIONARY OF TERMS 221
tm
thence to his native land some of the new ideals of music. His first Passion
was produced in 1645. The various attempts that followed this culminated
ID the settings by J. S. Bach. These works were intended for performance
in church in Passion Week, as a religious service partly narrative, partly dra-
matic and partly reflective in character. The narrative was put into the
mouth of the Evangelist, usually the principal tenor, who related the Passion
of Christ ; the personages in the story spoke for themselves. The chorus
was often treated dramatically, representing the emotions of the onlookers,
while the solo airs were of a piously reflective character. There was a plen-
tiful interspersion of chorales in which the congregation joined. In the mid-
dle there was an intermission for the sermon. The Passion music was also
an outgrowth of the mediaeval miracle-plays, but it soon fell into disuse and
displayed no vitality after the great creations of Bach, the ** Passions accord-
ing to St. Matthew*' and <* St. John," respectively, composed in the first
'quarter of the eighteenth century, German art was thenceforward turned
bito the channels of the oratorio as it was developed in Italy ; and the form
was brought to its highest perfection by George Frederick Handel. As thus
perfected it was not, like the Passions, a part of religious exercises, nor a
direct expression of devotional feeling, but epic or narrative, with certain
quasi-dramatic traits and sometimes with the use of vivid local colour ; but
always with the most impressive use of the chorus as the most important
medium of expression. Handel's first oratorio '* Esther " was written in
17ZO and performed first in England in 1732, oratorio being then quite
anknown in that country. The long line of masterpieces he produced there-
after gave the final and definite character to the oratorio form which has
remained to thij day. The greatest of them are *'The Messiah," «' Judas
Maccabaeus," " Israel in Egypt,** and «* Samson.'* Handel's strength lay
chiefly in broad choral writing, and it was natural that the oratorio should
develop mainly on this line, as aflbrding a vehicle for more descriptive and
characteristic music, thus making up for a lack of pantomime, costume, and
scenery. ^For a considerable period after Handel's death, little of impor-
tance in the field of oratorio was produced. Haydn's << Creation" and
"The Seasons,*' written in 1795 and 1801 respecdvely, sdll retain some
of their vitality and freshness. Beethoven*s *' Mount of Olives '* does not.
Oratorios by Spohr and Schneider attained a great but transient popularity,
but the next really important works in this form were Mendelssohn's '* St.
Paul,'* performed first in 1836, and *' Elijah,** in 1846. In both of thes»
the dramadc element is foremost, and the musical characterisation of th»
various persons presented is perhaps more vivid than any previous attempts in
this line. Works like Liszt's "St. Elizabeth '* and Rubinstein's " Moses"
are conceived as operas in which descripdve directions take the place Gl
icenery, costume, and incident.
222
THE MUSICAL GUIDE
orch^to^aphie (or-ka'-zd-griUfe). F,
The science and explanation of danc-
ing, orchettique (tek), F. Relau
ing to dancing. Orchestik (6r-k^
tek'), C, Art of dancing.
or'chestra, E, (in /. or-kas-tra). Or*
Chester (or-kfe'-ttr), G.^ orchestre
(dr-k$str), F, Literally ** dancing-
place," that used in front of the stage
in Greek tragedy for the chorus ; the
name was given by the first opera-
writers (vide PERI, B. D.) to the place
occupied by the musicians, thence to
the musicians themselves. The word
aow means the place and its occu-
pants, and the instrs. in general. The
modem o. may be (a) lu'^^e, full,
grand, symphony ; (b) small. Parts
of the orchestra may be designated,
as string orchestra^ etc. Orchester-
verein (fdr-Tn). An orchestral so-
ciety. 0-stimmen. Orchestral parts.
orcnestral Ante or oboe. A stop,
orchestration. The art or act of
arranging music for orchestra, or'*
chestrate, E,y orchestrare (6r-k^s-
tra'-r<$), /., orchestri(e)ren (tre -r£n),
G„ orchestrer (6r-k6s.tra), F, To
write for orchestra.
The Orchestra and Orchestration.
Bv W. J, Henderson.
THE modern orchestra dates from the early part of the seventeenth
century. Previous to that no attempts at a systematic combina-
tion of instruments can be found. The original use of the orchestra
was in the accompaniments of operas, and even here the earliest combinations
were fortuitous and without special purpose. The earliest writer who seemed
to have distinct ideas as to instrumental effects was Claudio Monteverde
(1568-1643). His orchestra was the first in which a considerable body
of strings, including two violins, figured. He invented some special instru-
mental effects, and led the way toward the establishment of the string quartet
as the foundation of the orchestra. Alessandro Scarlatti (bom 1659) wrote
for a string quartet similar to that employed in the present orchestra, and used
oboes and flutes as his principal wind-instruments. ^ Handel (1658-1759)
used all the ordinary instruments of the present orchestra except the clarinet,
but not in the same combinations as those of to-day. The orchestra of his
time contained a much larger number of oboes and bassoons than ours, be-
cause these instruments then were much less powerful. In the early part of
the eighteenth century, when the seeds of symphonic music were just begin-
ning to sprout, the orchestra consisted of the same body of strings as now
used, but the violoncello was not yet appreciated at its true value, trumpets
and tympani being added when brilliancy was needed. Clarinets had not
entered the orchestra, but flutes were common. The trombone was em-
ployed only in the opera, where alone also the harp was heard. ^ Joseph
Haydn (1732-1809) wrote his first symphony in 1759 ^^^ ^^^ and sec-
ond violins, violas and basses, two oboes and two horns. Mozart (lyjd-
91 ; introduced clarinets and Haydn learned their use from him, so that his Al
major symphony, written in I795» is scored for 2 flutes, 2 oboes^ 2 cJannetiu
DICTIONARY OF TERMS 223
2 hornsy 2 kettle-drumsy violins^ violas* 'cellos and bastes, adding in the
first movement 2 bassoons and 2 trumpets. In the ** Eroica '* he introduced
a third horn, and in the fifth symphony a piccolo, a contra-bassoon and three
trombones. Four horn^ *vere used in the Ninth symphony, and this work
contains the entire modern orchestra, except such instruments as have since
been introduced for special effects. The operatic writers in their search after
dramatic colouring led the way in such introductions, and the romantic com-
posers of symphonic music, building up their great colour schemes, were not
slow to accept every suggestion. ^ Nevertheless the orchestra as now con-
stituted is practically that of Beethoven. As ordinarily distributed it is com-
posed of a piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2
trumpets, 3 trombones, 2 kettle-drums, first and second violins, violas, 'cellos,
and basses. The wood-wind instruments are now frequently used in triplets
instead of pairs, and the whole wind choir is extended at will by the use of
the English horn, the bass clarinet, the tuba, the saxophone or other less
common instruments. The harp is also employed at times. ^ Orchestration,
the art of writing for orchestra, has developed rapidly in recent years, yet the
fundamental principles are those which guided Mozart and Beethoven. The
modem eflbrts have been n^ the direction of increased sonority and richness
of colour. These, ends are obtained by writing for a larger number of instru-
ments and by dividing the old ones into a greater number of parts. The
orchestra naturally separates itself into three groups of melodic instruments
and one of merely rhythmic ones. The first three groups are the wood- wind,
the brass, and the strings, and the other is the ** battery," as the group of
percussive instruments is called. In this last group only the kettle-drums
have musical pitch, except when bells are employed. ^The wood-wind ia
divided into flutes, which have no reed mouthpieces ; oboes and bassoons,
which have mouthpieces with two vibrating reeds ; and clarinets, which have
mouthpieces with one reed. Flutes used in triplets are capable of indepen-
dent harmony, but all of a high pitch. Bassoons are the basses of the oboe
fiimily, and hence with two oboes and two bassoons, composers can write in
full four-part harmony for this class of reed instruments, and let them play by
themselves when th^ peculiar thin, reedy quality is desired. The English
horn, the alto of the oboe, can be used as another part. Clarinets have a
compass extending through the alto and soprano ranges of the human voice^
while the bass clarinet covers the tenor and the bass. Here again the com-
poser can get a full harmony in one family of wood. Thus the wood alone
oflfers three distinct orchestral tints. But the instruments of the diflfereni
families combine to make new tints. Flutes go well with clarinets or oboes,
and clarinets combine admirably with bassoons. Furthermore, the whole
wood-band can be used at once with fine effect. The older composers
ooovendonal methoH« of writinc fo** rhcAc instruments, almost alwaya
224 THE MUSICAL GUIDE
allotting the same parts of the harmony to the same instruments. The
moderns have learned to vary this practice with excellent results. All the
virood-wind instruments can be used profitably as solo voices. ^The brass
offers three groups, horns, trumpets and trombones, each of which is capable
of independent harmony, while each may be combined with the other, or
with any part of another to make variety of effects. All are useful for solo
effects, the horn being especially good for this purpose. The brass can also
be used in many combinations with the wood-wind. Horns, clarinets, and
bassoons, for example, are frequently combined. The foundation of the or-
chestra, however, is the string quartet, as it is called, though it is really a
quintet. Violins supply the soprano and alto parts of the harmony, violas
part of the alto and all of the tenor ; 'cellos run from bass up to low soprano,
and basses give the deepest notes. The older composers made but poor use
of the viola and the 'cello, but the moderns take every advantage of their
compass and their individuality of timbre. Furthermore, the moderns subdi-
vide the strings very often, writing at times for first and second violins in as
many as six parts, for violas in two parts, and 'cellos in the same way. In
this way the harmony becomes many-voiced and extremely rich. 51*^^*
essential requirements of good orchestration are solidity, balance of tone, con-
trast and variety. Solidity is obtained by a proper distribution, among the
instruments, of the notes of each chord, so that the proper sounds are made
the more prominent. The foundation of solidity is good writing for the
itrings, the mainstay of the orchestra. Balance of tone also depends on a
proper dispersal of the harmony, so that the instruments which are providing
the harmonic support will not drown out the voices of those which are sing-
ing the melody. A perfect understanding cf the relative powers of the vari-
ous instruments is necessary to success in these two matters. Especially must
the middle voices be skilfiilly treated to obtain solidity. If they are too loud,
the effect is ** muddy"; if they are too weak, the orchestra is *'all top and
bottom," as the musicians say. ^Contrast is obtained by transferring the
melodic ideas frequently fi-om one of the three divisions of the orchestra to
another, while variety is the result of mixing the tints. A theme is never
confined to the strings, but is often handed over to the brass, or the wood-
wind. But even this would not be sufficient. Consequently the various
effects of mingling the voices of the different instruments, flutes and horns,
or clarinets and 'cellos, or oboes and violas, are employed. The composer
must, of course, know his orchestral colours thoroughly before endeavouring to
mix them. Students of orchestral music will find the simplest and most solic?
colour schemes in the scores of the classic symphonists, while in the modert.
operas and symphonic work^ of the romanticists he will hear all the resulrj ol
the most complex treatment of orchestral tinting.
DICTIONARY OF TERMS 225
orchestrina (tre'-nii), di ca'mera, /. A
t>mall free>reed key-board instr., imi-
tating some orchestral instr. In v. by
W. E. Evans, i860.
orchestrino (tre'-nd), /. A piano vio-
lin, inv. by Pouleau, 1808.
orches'trion. i. A large automatic
barrel organ with many imitative
stops. 2. A chamber-organ devised
and used on his tours by Abbe Vogler.
ordinario (dr-dY-nfi'-rY-d), /. Ordinary,
usual, common, tempo o, i. The
usual time. 2. 4-4 time.
ordre (ordr), F. A suite.
orecchio (6-r«k'-kY-6). /. Ear. orec-
chiante (o-r^k-kY-an'-te). Singing
by ear.
oreille (6-ra -ytt), F. Ear.
org^an, £*., org;ano (or-g&'-no), /., or-
g^ne (or-g&n), F, See below.
Organ.
Br THE £ditor.
THOUGH many instruments are loosely called organs (such as the
mouth-organ, hand-organ, etc.), the word is generally given to
the pipe-organ^ a microcosmic wind-instrument which contains in
its forest of resources almost all the powers and qualities of almost all other
instruments. In the course of time while its powers have grown ever
greater, their control has become always easier and more centralised.
^The History of the organ is, in any completeness, beyond the space of
this work. Its prototypes are the primeval Pan's pipes and the bagpipe.
The 2d century b.c. finds it w.ith a key-board, and pipes supplied by
bellows with air compressed by water. Ctesibius (170 b.c.) invented
this toater -organ (Organon hydraulicon) which his pupil Heron described
in Greek. There are many accounts and representadons of organs from that
"Doint on. The medixval monks used organs abundantly, the pipes being
8 to 1 5 in number and of no greater than 4 -ft. length, the range being
usually one octave from middle r' downward, the key-board consisting of
lettered plates to be pressed. In the loth century there was at Winchester,
England, an organ with 2 manuals for 2 performers, 20 digitals each, and
10 pipes to each digital, 400 in all. In the 12th century the pipes began to
be divided into registers or stops (q. v.). For two centuries the action
became so clumsy that keys were struck with fists or elbows. Pedals were
invented about 1329. Till the 15th century, reed pipes were unknown.
Since that time the resources have been vastly increased, the variety of tone
rendered almost illimitable, and the introduction of water, steam or electric
aid to work the bellows has displaced the need of a man to serve as organ*
pumper or bellows-treader. Electricity has also been called into play for
bringing remote parts of the organ into convenient control, till the performer
with his draw-knobs has almost as ^asy command as the conductor with hii
baton. ^The Construction of the organ is too complicated for detail, but
many of the terms following will be found more fully explained under their
226 THE MUSICAL GUIDE
separate heads. When looking at an organ, in a church for example, the
eye is first caught by the great array of pipes. These ornamental or display-
pipes (some of which may be only for show, dummy-pipes) conceal many
plain pipes of wood or metal, which are of various shapes and sizes, ac-
cording to the quality and pitch of the tone of the pipe (q. v. ), These pipes
are grouped together into registers or stops (q. v.), each being of uniform
quality of tone and furnishing a complete or partially complete scale (or series
of pipes of graduated lengths). Though these pipes are merely colossal flutes,
oboes, trumpets, etc. (each pipe, however, sounding only one tone), they
are too large to be blown by human lungs, and an elaborate mechanism is
used. This is concealed from the eye, which sees only the series of key-
boards for the hands and feet, and the multitude ci little drato-knobs grouped
within easy reach. ^Of these key-boards the numbers vary, those for the
hands, the manuals, b^ing from l to 5 in number and appearing in the follow-
ing order counting from below, and giving both £nglish and foreign names :
ENGLISH. GERMAN. FRENCH. ITALIAN.
Great (Gl) organ Imanua Hauptwerk( Manual I.) Grand-orRue (ler clavier) Principale.
Choir '* Unterwerk( •• II.) Positierif (ae *' ) Organo di coro.
SweU(Sw.) " Schwcllwerk( "III.) Clav, de r*dt (3* " ) •' dVspressionc
Solo " Sok>klavier( "IV.) " des bombardes (46 •• ) " d'assolo.
Echo " Echoklavier( " V.) » d'dcho (5« •« ) •• d'eco.
Each of these key-boards may be said to control a separate instrument or
partial organ ; and one often speaks of the choir-organ^ swell organ, etc.
^T\\t pedal-key-boardy Pedalklaviatur {jpk-dzV-VM-fi-l'Xoot'), G.,or clavier
^^//^^tf/^j(klav-ya-da-pa-dal') Fr,, or pedallera (pa-daMa'-ra), /.,1s worked
by the feet and is also a separate instrument with stops of its own (vide pedal).
^By means of couplers, any two of these key-boards (manuals or pedals)
may be connected ; or they may all be combined into iht full-organ. The
coupling-action is worked by draw-knobs. ^The organ as a whole, then,
is divided into three chief parts: ( i ) The action (key-boards and stops). (2)
The pipe-work, (3) The wind-supply. The action we have examined.
The pipes (vide pipe and stop) are set upright above the wind-chest, the
cover of which is called the sound- boar d ; the lower part of the pipe, passing
through an upper- board, which grips it. nose, sets its foot in iht pipe-rack ;
below this is a slider (worked by a draw-knob), a thin strip of wood with a
hole for each pipe of its particular stop, ^(4) The wind is collected from
the outer air by bellows and led by feeders into a storage-bellows, where it 15
compressed by heavy weights ; it is next led by a wooden channel or wind*
trunk into a wooden reservoir, or wind-chest, the top of which (the sound*
board) is pierced by grooves closed by valves or pallets, and separated by
bars. ^To play the organ, we first pull out a draw-knob, which drags
along a slider until its holes are beneath the feet of the pipes of its stop.
DICTIONARY OF TERMS 227
Thia stop is now said to be on (before being brought into play it was ^).
Having also pulled out a draw-knob setting the wind-supply to work (or
having signalled the person working the bellows), we next press down one of
the digitals on the key-board whose stop we have drawn. Jn pressing down
this digital lever we raise its opposite end, which lifts an upright rod (a
jtscker), this in turn raising the front end of a horizontal lever (or back-fall)
whose rear end is thus depressed and pulls down a thin upright strip of wooil
(a tracker) which in turn pulls a wire (a pull- down or pallet-wire) fastened
to a valve (or pallet) which opens and lets the air (which was waiting in
the groove from the wind-chest) rush up through the slider into the pipe to
make it sound or speak. (^Squares and roller-boards sometimes intervene
between the stickers and trackers, VfhWt pneumatic or electric actions give
still more direct connection between digital and pallet. ) This is the mech-
anism by which each tone is secured. By means of a multitude of stops
and couplers, what would be a simple tone or chord on another instrument
may become a vast group of tones of various pitches and colours. ^By
means of the swell (q. v. ) the volume of sound may be gradually increased
or diminished while it is sustained.
organ-bellows. A machine for sup-
plying wind, o.-blower. One who
works the bellows, o.-lolt. The part
of the church where the organ is
placed, o. metal. A tin and lead
mixture used in pipes. o. tabla-
tare. Vide tablature. o. point.
Vide PEDAL POINT, o. tone. A
tone sustained with uniform power.
bnffet o. Very small organ, enhar-
monic, enharmonic organ. An
American instr. giving three or four
times the usual sounds within an oc-
tave, furnishing the precise intervals
for every key, the scale of each key
being produced by pressing a pedal.
lull organ. All the power of the
origan, hand-organ or barrel-o. A
cylinder turned by hand and acting
on keys to produce set tunes, harmo-
nium o. A reed instr. voiced to im-
itate organ-stops, organet'to, /. A
small organ, organier (6r-g&n-ya),
J^, Organ-builder, org^nique (dr-
gftn-ek), F. Relating to the organ.
orgamata (6r-g&-nes'-t&), /. and Sp,
I. An organ-player. 2. Formerly a
composer.
organic. Old term for instrumental.
orga'nicen, L, Organ-player.
organis'tnim, Z. A hurdygurdy of
about Tioo A.D.
organo (Or-ga'-no), /. Organ (q. v.).
o. di campan'a. Organ with bells.
o. di legno (lin-yd). Xylophone.
o. pieno (pY-a -n6), or pleno (pla'-no).
Full organ, o. portatile (por-ta-te'-
1£). Portable organ, organi voca-
li (6r-ga'.ne.v6-ka'.l«). /.. pi. The
vocal organs.
organo, in, L. Vide organum.
orga'nochor'dinm. A combination
of pf. and pipe-organ inv. by Abbe
Voglcr.
organophon'ic. Name adopted by a
band of Polish performers imitating
various instrs. vocally.
organo^aphie (grft-fc), F. The de-
scription of an organ, organologie
(zhe). The science of building and
playing the organ.
organnm, L,, or'ganon, Gr. i. Any
instrument, thence the organ. 2.
The earliest polyphonic music, a con-
tinual progression of two parts ia
fourths or fifths (also called diapho^
228
THE MUSICAL GUIDE
ny) ; later It developed into 3 parts
(triphd nid)^ the third part called Iri-
plum, hence our term treble ; then
into 4 parts (tetrapho nia). 3. The
part added to another in 3 part orga-
num. VI orgraao. Old term for in
more than two parts, o. hydraul'-
icum. Hydraulic o. o. pneumati-
Ctttn. The ordinary wind o. o. aim*
pleZ| Z. A mediaeval term probably
meaning the uhisonal accompaniment
of a single voice.
Orgrell (6?-g«l), G, An organ. 0.-
bUlge (b«lkh.«). Organ-bellows.
O.-bank (b&nk). Organist's seat.
O.-bauer (bow-^r). Organ-builder.
O.-biihne (ba-n«), or -chor (kor), or
-puts (plats). Organ-loft. 0.- ee-
h&ttse (g£-hI'-20* Organ-case. O.-
kaiten (kas't^n). i. Cabinet organ.
2. Organ-case. O.-klang. Tone of
an organ. O.-kuast (koonst). The
art of playing, or constructing an
organ. O.-metall (mfl-tfll'). Organ-
metal. 0«-pfeife (pfl'.f^). Organ'
pipe. O.-punkt (poonkt). Pedal-
point. O.-remter (r^-ges'-t^r).
Organ - stop. O. - schule (shoo'l^).
Organ-school or method. 0.*ipiel
(shpel). Playinz the organ ; or the
piece played. O.-spieler (shpe^l^r).
Organ - player. O. - stein (shtin).
Pan's pipes. 0» - stimmen (shtYm'-
m£n). Row of organ-pipes. C-
StUcke (shtU -k«). Organ-pieces. O.-
treter (tra -t^r). Organ-treader. bel-
lows-blower. O.-virtuose (fer-too-
o -£*). Organ - virtuoso. O. - wolf
(vdlf). Ciphering. O.-sug (tsookh).
Organ-stop or row of pipes.
orcein (6r'-g£ln). To play on the or-
gan.
orfi^ue (6re), F. Organ, o. de talon
(dtl sft-lon), org^e expressif. (a)
The harmonium, (b) The swell or^
can. o. hydraulique (e-dro-tek).
Hydraulic organ, o. Ji percussion
(pdr-kUs'-y6h). A reed 0. made by
De Provins & Alexandre, Paris, o.
plein (pl&n). Full organ, o. por-
tatif (por-tti-tef). A portable organ.
Q. de barbarie (dd b&r-ba-re). A
barrel-organ, hurdygurdy. o. posi*
tif (p6-zl-tef). I. The choir-organ.
2. A small fixed organ.
org^uinette (6r-g!-ndt), F. A small
reed-organ played with a crank, the
music being perforated to admit air
to the reeds.
orificcio (6r-!-fTt'-ch6), /. Orifice (of a
pipe).
oris cus. Vide neume.
or'namenty E., ornamen'to, /., or-
nement (orn-mah), F, An embellish-
ment, as the turn grace (q. v.), etc.
ornamental note* An accessory
note.
omato (or-nsL'-to), ornatamen'te, /.
Ornate(ly).
orpha'rion,orph6or(e)on(6r-fa-o-rdn),
F. A kind of cither.
Orph^on (6r*^fa-6n)« i. A piano- violin.
2. A popular male singing society </
enormous proportions in France (in
1881 it had 60,000 members), orph^
oniste (nest). A member of such
society.
Orpheus (6rf'-yus, or 6r'-f^-{is). Fa-
bled Greek lyre-player and singer of
supernatural power. O.-harmo'nika,
G, Pan harmonikon.
orthoff'raphy. Spelling and grammar
are as necessary in music as in any other
written language. Bad spelling occurs
in music where, for instance, a chord
is written in sharps when the key-
relationship shows it to belong in the
enharmonic fiat notes. Sometimes,
however, a note is mis-written inten-
tionally for the sake of easier read-
ing.
oscillation, E., Oszillation (6s-tsTl-
ia-ts!-on'), G. Beating, vibration.
osia (o'-se-a), ossia (os'-sY-^), /. Or,
otherwise, or else. o. piil facile
(p!-oo' fa'-chl-l^). Or else this more
easy way.
osservanxa (van'-tsa), /. Observation,
strictness, osservato (v^'-to). Strict,
exact.
ostinato (os-tl-nii'-td), /. i. Obstinate,
continuous. 2. A ground-bass, some-
times basso o.
Otez (6-ta), F. •* Off ! " (of a stop).
DICTIONARY OF TERMS 229
Vttam (6t.ta *vfi), /. Ocuve, eighth.
O. alta {ii'-tH). The octave above ;
an octave higher (abbreviated Sva.) ;
o. bataa (biis'-sa). The octave be.
low (abbreviated Sva. bassa). f.
•npra (soo'-pra). The octave at>ov«.
coll' o. To be played with the oct; ve
added.
ottaviaa (ttt-tS-ve'-na), /. Vide (x.ta-
VIANA.
c»ttavifiO (6t-tS-ve'-no). /. The pic
crolo.
ottemole (6t-t^-mo -1£). A group of
eight equal notes.
Ottet'tO, /. Octet.
oo (00), K Or, or else.
Migab (oo'.gfllb), J/e^, Ancient reed-
instniment.
onie (oo-e). /*. Soundhole.
inter ▼otcts. The highest and lowest
voices.
OiiTert (oo-v&r^), F. Open. Vide
LIVRE.
oiiTttrtare(oo.vftr-tQr), ^., OuTertUre
(oo'-f5r-tQ-r«), G., oveituFa (o-v(fr-
too'-ri), /., overture (o -v£r-t&r, not
toor). An elaboiate prelude to an
opera, oratorio or play, often based
(in the concert o.) on the sonata
formula; often (in the opera o.) a
mere medley of airs : sometimes an
independent composition, o. di hal-
lo (de b&l'-lo), /. An overture intro-
ducing dance melodies.
OTerblow. i. To blow with enough
force to produce harmonics on a wind-
instr. Vide acoustics and horn.
This feat is constantly necessary in
playing many wind-instrs. 2. Of de-
fective pipes, to sound a partial in-
stead of the fundamental.
OTerchord. Vide phone.
OTerapnn. Used of covered strings.
OTerstrunc^. Of a piano in which the
strings of two or more of the lowest
octaves are stretched diagonally under
other strings, the object being to
economise space.
ovrero (6v-va -ra), /. Or.
O. W. Abbr. for Oberwerk.
aocypyc'ns. Church modes with a
pyknon high in the tetrachord.
an
PAbbr. of pedaU ; piano; pik^
as pik forte (pf.); poco^ as p. a.
p. . poco a poco ; paVu (as coUa
p.) ; pointe, F, (toe) ; and post-
tif (choir-organ).
pad. Vide pianoforte.
padic^lione (pli-del-yd'-n£), /. The
bell (of a wind-instr.).
Padovano (pa-do- va -no). Padava'net
or, Paduane (pa - doo - a' - n£), /.
"From Padua.'* An Italian dance
in ternary rhythm. Perhaps the same
as Pa van.
paean (pe'-an), (7r. Hymn of invoca-
tion, usually to Apollo.
pair of org^ans. An organ with a
complete set of pipes.
paireo notes. Thirds, sixths, etc., in
pf.-playing.
paisana (pii-X-za'-ni). Sp, A country,
dance.
palalaika. Vide balalaika.
paico (pil'-ko), /. Stage of a theatre ;
box.
PalestrinasUl (shtei), G, The style of
Palestrina (vide B. D.), i. e., a cap-
pel la.
palettes (p&l-^t), /*. The white keys.
pallet, A spring valve in the wind-
chest of an organ.
palmadilla (pll-ma-del'-ya). Sp. A
dance.
pam'be. Small Indian drum.
panathe'naBa, Gr, An Athenian festival
at which musical contests were held.
Pandean pipes, Pan's pipes. A
primitive group of reeds or tubes of
different lengths, fastened together
and tuned, named for the god Pan.
pando'ran, (7r., Pandore (pan-do -r£),
(7., pando'ra, pandonra, paodura
(pan-doo'-ra), /., pandure (pandQr),
/'. Vide BAN DORA.
Panfldte (piin'.6a'-t«). G, Pandean
pipes.
pannarmo'nicon. A kind of orches-
trion inv. by Maelzel.
panmelo'deon. A key-board instr. of
wheels impingj^ng on metal rods, inv.
1 8 10, by Leppich.
230
THE MUSICAL GUIDE
IMUiorg^e (org), F. A little reed-organ
to be attached to a pf. inv. by J.
Jaulin.
IMUi'syinpho'nikoii. An orchestrion
inv. by Peter Singer, 1839.
paataleone (pfin-t&>I£-d -n£), panta*
Ion. An instr. inv. by Pantaleon
Hebenstreit, in the i8tb century. It
was 9 ft. long, 4 ft. wide, and had 186
gut strings, played on with two small
sticks. P.-cugr, (7. A harpsichord-
stop.
Iiaiitalon (pSA-ta-16A), F, First move-
ment of the quadrille.
Papagenofldte (pa'-pa-ga-n6-fla'-t^),
G. Pan's pipes, from Mozart's Papa-
geno (vide ** Magic Flute" in *' Sto-
ries of the Operas ").
papillons (pip • e - yoA), F. '' Butter-
flies.*' A frail and flitting composition.
parallel. Of intervals, consecutive : of
keys, related. Of motion, the pro-
gression of two voices in the same
direction at a fixed interval. It re-
quires care in handling. Parallelen
(pfi-r«l-la-l«n). G. i. Slidere. 2.
Consecutives. Parallelbeweg^ng
(b£ - v&kh' - oongk)« G. Similar or
parallel motion. Parallel-tonarten
(ton-ar-t^n), G. Related keys.
pafame'se, parane'te. Vide lyre.
paraphrase. Free or florid transcrip-
tion.
parfait (pir-ffi'), F, Perfect (of inter-
vals), etc.
parlan'do, parlante (pHr-Un'-t^), /.
** Speaking,*' in a recitative manner.
parhy'pate. Vide lyre.
Pamas'sus. A mountain in Greece,
sncred to Apollo, the Muses, and in-
spiration generally. Gradus ad Par^
nas sum. Vide method.
parole(8) (pS-rol'). F, Word(s).
part, E. and G. i. The music of an
individual voice or instr. 2. A divi-
sion.
part-book. i. The music of any one
voice or instr. 2. In the I5th-i6th
cent, a book with separate parts on
facing pages.
part-songr. a song for three or more
voices.
part-writing^. Counterpoint.
parte (p&r -t«), pi. i, /. Part(s). colU
p. With the part, i. e., adopting the
tempo of the singer or soloist, p.
cantaa' te. The vocal part, the lead-
ing voice, parti di ripieno (re-pl-
a' - no). Supplementary parts, a p.
eqnale. With more than one voic#
of leading importance.
partial, i. An harmonic. Vide acous-
tics. 2. Vide STOP. 3. Vide turn.
partic'ipating. Accessory, partici-
pa'tnm syste'ma, X. Equal tem*
perament.
Partie (par-te), G, i. Variations. 3.
Vide SUITE.
partie(8) (pftr-te), F, Parts, p. de rem-
plissas^e (dd riin-pll-sazh), F, Ac-
cessory parts.
partimen to, /. i. An exercise. 2.
Figured bass.
partita (pftr-te'-tft), /. i. Variations.
2. Vide SUITE.
partitino (te -no). A small supple-
mentary score.
partition, E, (in F, pftr-tes-ydA), Par>
titur (pilr - 1! - toor). G„ partitura
(p&r-tY-too'-rii), partisione (p&r-te-
tsT-d'-n£), /. A full score for voice?
or instrs. p. cancella'ta. A set oi
staves with vertical lines for the bass.
PArtiturspiel (toor'-shpel), G, Play-
in^ from the score.
partito (par-tc'-i6). /. Scored, di*
vided.
pas (pa), F, I. Step, dance, p. ordi*
naire (pii-z6r-dl-n&r). March time,
p. de cnarg^e (dd shftrzh). Double
time. p. seul (sal). A dance for
one performer ; p. de deux (dfl dO).
For two, etc. p. redouble (pa-rQ-
doo-bla'). A quick-step. 2. Not, as
pas trop vite (p& tro vet). Not too
fast.
paspi^ (pSs'-pY-&), Sp. A kind of
dance.
pas'py. Vide passepied.
passacaglio (pfts-sa-klU'-ya), /.. paa-
sacailie (pUs-sS-ki'-yQ), ^., passft-
col'le, Sp., passagall'o, /. A
chaconne with a ground-baas in 3"^
time, always in minor.
DICTIONARY OF TERMS 231
(in F, p&s-fiiizh). i. A phrase
or section. 2. A Hgure. 3. A run.
notes de p. Grace notes, passage-
boards. Boards on which an organ-
tuner may walk.
passagi^o (piis-sad'>jd), /. i. A pas-
sage. 2. Modulation.
passameszo (pas-sJl-m£d'-zo). A slow
Italian dance, in 2-4 time, resembling
the Pavan.
passant (p&s-san), F, Slide (of a
bow).
paasepied (p&s-pY-a), F, A lively old
French dance in 3-4, 3-8, or 6-8 time ;
a quick minuet with three or more re-
prises, the first of eight bars.
^asse-rue (pAs-rQ). Passacaglio.
passing. Unessential, as a passing
modulation. A transient modulation.
passing tone, or note, a brief dis-
sonance on the weak beat, leading
from one consonant tone to another ;
it does not need to be prepared.
Passion, Passion-music. Oratorio, or
play. A dramatic or musical setting
of the "Passion *' (suffering) of Christ.
It differs from the oratorio (q. v.) in
history and form only in the facts of
its being always concerned with the
one subject, and in the introduction
usually of spiritual reflections.
passionata or -o (pas-sY-6-na'-ta), pas-
sionatamen'te, /. Passionate(ly).
passione (pas-sl-6'-n£). i. Passion,
feeling. 2. Vide passion.
Passionsmusik (pSs-sI-6ns-moo-zek'),
C. Vide PASSION.
paa'so, /. Step.
pas sy-measure. Old E. Passamezzo.
Paatete (pals-ta -tfi), G, Pasticcio.^
pasticcio (piis-te'-ch5), /., pastiche
(p&s-tesh), F, I. An opera, or other
work in which old airs are used to
new words. 2. A medley.
'toral, pastorale (pas-td-r&'-l£ in
/. ; in F, pfc-td-ril'). An opera, can-
tata, song or instrumental composi-
tion of rustic nature or subject, p.
flute. Shepherd's pipe. p. organ-
point. Vide PEDAL-POINT, pasto-
rei la, /., pastcrelle (rCl). F, A
little pastoral.
pastorita(e.ta). t. A shepherd's pipe.
2. A stop, the Nachthom.
pastourelle (p&s-too-r£l), F, i. A 6-8
movement of a quadrille. 3. A trou-
badour lyric.
patetica or -o (p2-t&'-tY-k&), /., path^
ti<iue (pii-ta-tek), /*., pathetisch (pfi-
ta-tYsh), G. Pathetic ; a piano sonata
in C minor by Beethoven is so-called ;
and a symphony by Tchaikovski.
pateticamen'te, /. Pathetically.
patimen'to, /. Grief, suffering.
patouille (pSt-oo-e'-yfl), F, Xylo-
phone.
patte (pilt), F, I. A special clarinet
key. 2. A music-pen.
Pauke(n) (pow'-k«(n)), G. Kettle-
drum(s).
pause, £., pausa (pa'-oo-za), /., pause
(poz), /*. I. A rest of variable length ;
if very protracted called lunga (or
long)j)ausa. 9. A fefmate. 3. F,
and u. A whole rest, demi-pause
(d*-rae*-p6z), F, A half-rest.
pavan', £,, pavana (pS-vil'-na), /., pa-
vane (pft-vin'), F, ix grave stately
dance in 3-4 time, generally in three
strains, each repeated ; once supposed
to be derived from pavo^ peacock,
now from Paduna (q. v.).
paventato (pii-v£n-ta'-to), pavento'so,
/. Fearful, timid.
pavilion (pa-ve'-yon), F, The bell of a
wind-instr. p. en Pair (sin l&r). ''The
bell upwards" ^irection to horn-
players), flute a p. A stop with
flaring pipes, p. cninois (shen-wS).
Chinese hat, crescent.
peal. I. A chime. 2. A change, oi
bells.
pean. A paean.
pearly (of runs, etc.). Bright, dis-
tinct.
ped. Abbr. of Pedal.
pedal, E, (in G. pa-dal), p^dale (p&.
dil), /*., pedale (pa-da-l«), /. i.
Abbr. of Pedal-point (q. v.). 2. A
foot lever of various musical uses.
The piano has usually two pedals :
(a) The damper (open, loud, or ex-
tension) pedal, which raises all the
dampei* from the strings, allowing
232
THE MUSICAL GUIDE
the tones struck to be sustained and
broadened by sympathetic (q. v.) vi-
bration. The use of the damper,
pedal is indicated by Fed., and its
cessation by the mark * or (S\. Wm.
H. Sherwood (vide B. D.) has intro-
duced a more accurate system of con-
tinuous lines r^^ to indicate just when
this pedal is to be pressed, how long
held and when released, (b) The
soft pedal (petite (pa-tet). p^dale)
in some cases merely lets a cloth fall
over the strings, but usually shifts
the action so that the hammers strike
only one of the two, or three strings
allotted each tone. Hence its use is
indicated by una corda (oo'-na k6r'-
dil, one string), or Verschiebungr
(f^r-she'-boongk), and its discontinu-
ance by •* tr« corde " (tra kor'-da, ** 3
strings "). In the upright pf . this pedal
simply moves the hammers nearer
the strings. Some pianos are fitted
with a (c) sustaining:, or prolonga-
tion pedal, A damper-pedal holdmg
the dampers from only those strings
struck at the moment, until the pedal
is released, thus permitting the sus-
tention of a chord or tone while the
hands are busy elsewhere, (d) A. B.
Chase has inv. an octave-pedal, or
octavo-attachment, sounding also
the higher octave. Both pedals (a
and b) may be pressed together ; this
is indicated by pedale doppio, or
doppelte.
The harp (q. v.) has 8 pedals, one
opening or closing a panel in the
sounding-case with loud or soft effect.
Reed-organs, etc., have double pedals
or treadles for working the bellows.
In the pipe-organ (and in the ped-
alier, q. v.) the pedals are of great
variety. There is a pedal key-board,
Pedalklaviatur (pa - dSX - kla - f! - &.
toor'). or Pcdalklavicr, (7., clavier
des p^dales (dapa-d&l'), F., peda-
liera, /., with a compass of C-f, or,
counting stops, from C„ up. This is
played by the feet (V over a note indi-
catmg the right toe ; under it, the left :
O similarly marking the heel). To this
part of the organ, called the pedal*
org^an, many stojra are often allotted ;
hence pedal - pipe, stop - sound-
board, etc. ; it is locked from sound-
ing by a pedal-check (worked by a
stop-knob), a bar running beneath it.
The pedal-stops may be made to sound
with any of the manuals by means of
mechanism, called pedal-couplers,
coupler - pedals, or reversible '
pedal.
The word pedal is also given to the
organ, to such foot-levers as the com*
bination, or composition pedals
(p^dales de combinaison), which if
single<^ctingf draw out certain new,
or push in certain old, stops ; if
double-acting produce certain com-
binations regardless of the previous
registration. The forte*pedal draws
out all the stops of its key-board ; the
mezxo-p. the chief 4-8 ft. stops;
the piano-pedal leaving only the
softest on ; the crescendo-p. draws
out the full power gradually, the di*
minnendo withdraws it ; the sfor-
zando produces a sudden fulness.
Vide also celeste.
The swell-pedal works the shutters
of the swell-box ; if it remains at rest
where left, it is called a balance
swell-pedal.
PedalflUgel (fla'-gh«l), G. Pedalier.
Pedalharfe (p^-dal'-h^rf^), G,, pedal*
harp. A double-action harp.
pedalier (pSd-fi-ler'), J?,, pedalier (pS-
d&l-ya), F., pedal'ion. A pedaU
key-board attachable to a piano and
plaving the bass-strings.
pedal-note, or tone. A tone sus^
tained by the pedal or some voice,
usually the bass, while the other parts
move independently. As the word
"point" originally meant ''note,'
pedal-point (abbr. to pedal) is syn-
onymous with pedal-note, but is now
used rather of the phrase in whick
the pedal-note occurs. It is displac-
ing the word organ-point, derived
not from organ, but from arcanum
(q. V.) and referring to the long notes
of the cantus Jirmus against wh^b
DICTIONARY OF TERMS 233
the other voices moved, these notes
being called orpanici puncii^ or or-
ganum notes. Pedal-point is then a
phrase in which one tone is sus-
tained through independent harmo-
nies. The tonic or the dominant is
usually the tone sustained. If both
are used at once it is called pastoral.
If the pedal-pt. occurs in other voices
than the bass it is inverted. It is
sometimes exterior, or interior. It
may be figurated, trilled, or florid.
pe|^. A tuning-pin ; in the violin, etc.,
it is set in the head, in a space called
the peg-box.
peg li (pai-ye), /. For the (from per
pek'tis, Gr. A Greek lute.
pel, pel'IOi /. For the (from per il,
per lo).
penil'lion. A Welsh improvisation of
verses.
pennant. Hook.
pennata (p^n-n&'-tft), /. Quilled (of
the spinet, etc.).
penorcon (pfi-ndr'-soA), F., from pe-
nor' icon, Cr. An ancient guitar.
pensieroso (pto-se-a-ro -so), pen-
•o'so, /. Pensive, thoughtful.
pentachinm, Gr. A composition in 5
parts.
^n'tachord. i. A series of 5 diatonic
tones. 2. An instr. with 5 strings.
pen'tatona, E., pen'taton, Cr,. i.
An interval of 5 whole tones, an aug-
mented sixth, pentaton'ic. Having
five whole tones, pentatonic tcale.
A five-toned scale, the same as the
usual major scale, with the fourth and
seventh tones skipped ; called also
the Scotch scale. The black keys of
the piano represent a pentatonic
scale.
per, L, and /. For, by, through, in,
from.
percns'sion, £., percnssione (p^r-
koos . s£ . 5' - n«), /. i. The actual
sounding of a tone or chord (as op-
posed to its preparation or resolution).
3. Instrs. of percussion are those in
which the tone is secured by striking,
particularly the drums, cymbals, and
triangle, also the piano, and so forth.
percussion-stop. One in which the
reed is struck just as it is blown, to
emphasise its tone. percusstTe. An
instr. of percussion.
perden'do, perden'dosi, /. Dying
awav in both speed and power.
perdu na. Bourdon.
perfect, i?.,perfet'to, /. i. Vide in-
terval, CADRNCR, CHORD. 9. An
obsolete name for triple time, per-
fection. Vide NOTATION and liga-
ture.
P^rigrourdine (p&-rY.goor-den), F.
Cheerful old French dance, in triple
time, so called from the province oi
Perieord.
period, pMode (pA-rl-dd), F,, periodo
(p&-rT-5'-d6), /. A passage contain-
ing two or more sections and some
form of cadence. Vide form. Pedo*
denbau (pi'-rl-od^n-bow), G, The
building ot periods, or composition.
perpetuM, perpetno (p^r-pi%too.d), /.
I. Vide CANON. 2. Perpetnal mo-
tion, or perpet'uum mo'oile, L. A
piece of great rapidity and no pause
till the end.
pes, L. Foot. A ground-bass to a
round.
pesante (p&-sftn'-t«), pesantemen'te,
/. Heavy(ly), impress! ve(ly), forcibly
peso, di (de pa'-sd), /. At once.
petit (pfi-te), petite (ptt-tit), F. Small
choeur p. A three-part chorus, p
flute. Piccolo, p. mesure i deux
tenij^s. 2-4 time, pettts notes (pfi
te' not). Grace notes, p. pedale
Soft pedal.
pet'to, /. The chest, voce de p«
Chest voice, di p. From the chest.
peu (pfl), F, Little, un p. A little.
p. a p. Little by little.
pesao (p^d'-zo), pi. i, /. A piece or
number, pezzi concertanti. Con-
certed numbers.
pf. Abbr. of, I. Pianoforte, s. Poco
forte.
Pfeife (pfl'-fO, G, i. A fife. s. A pipe.
as of an organ. Pfeifendeckel.
The covering of a pipe. P.^werk.
The pipe-work. Pfei fer. A fifer.
234 THE MUSICAL GUIDE
PlianUsie (ffin-ti-z6'), G, Fantasy,
or fantasia. P.-bilder, P.-stttcke.
Fanciful pieces of no strict form.
pluuitafticren (ze'-r^n). To impro-
vise. Phaotaster'-maschioe. A
melograpb. phantaM(e)rte (zcr'-t€).
Improvised.
phirharmoa'ic. Music>lovinsr.
philomble (fS-lo-m^l). Vide zither.
phoaas'cus, L., from Gr, Singing-
teacher.
phisharmoii'ica* An octagonal ao-
cordeon.
^onaut'ofifraph. i. A name given first
to a melograph, inv. by Abbe Moig-
no, a pencil fitted to a vibrating mem-
brane. 2. An electric melograph for
key-board instrs. inv. by Fenby.
pkoaai Gr. i. Voice or tone. 2.
Soand, a term appropriated by Dr.
Th. Baker, to represent Kiemann*s
term ** clang ** (q. v.), hence homo-
pkoaai nnder i^oae, contro-phone,
and tthooic*
pboftat'ict, pho'iiict. The science of
sounds.
pho'nikoii. A metal wind-instr. with
globular bell inv. by Czerveny, 1848.
phonom'tter, £., phonom^tra (f6n-
fi^m^tr). F. A device for measuring
vibration.
^lM»r'aiinx, O. An ancient lyre-like
instrument.
pbo'tiax, Gr, An ancient crooked flute.
phraM, £, (in F, fr&z, in G, frit'.z«).
I. A musical clause. Vide form. 2.
A short passage or figure, phrase*
Mark. A- long • curve covering a
phrase ; or any musical punctuation-
mark. phrasi(a)ren (ze'-r£n). G. To
phrase, phraatf (fri-zA), F,, phras-
lAg^f,, Phrasieruiic^(z{'-roongk).C7.
(a) The act or art of delivering music
with due regard to its melc^ic and
rhythmic punctuation, relation and
contrast, (b) Signs for such phrasing.
Phnrffiaa (frl'-jiin), E„ from Gr. phry-
fl^itche (fr^'-jIsh-£). G. Vide modes.
^ysharmo'nica. i. A small reed
and bellows attachment to a piano
key-board for sustaining and colour-
ing tones ; inv. by Hilckel, Viennai
18 18 ; the forerunner of the harmo-
nium. 2. A free-reed-stop.
piaccre, a (a pl-a-cha -re), a piaci-
mcn'to, /. At pleasure, piace^ole
(pY-a-cha' -vo-l^), piacavolmen' te.
Pleasant(ly). piacevoleaia (l£d'-za).
Suavity.
plafi^endo (pY-a.j«n'-d6). /. Plaintive.
piag^neyole (pl-an.y&'-vd-l£), /. Sad,
moutnful.
piaaar'tist, G. A mechanical attach-
ment for playing the piano.
pianante (pl-tL-n^n'-td), /. Gently,
softly, piaoet'to. Very soft.
pianette (n£t'). A small piano.
pianreroie (pY-an-ja-v6-l£), ptaiig««
volmea'te, /. Doleful(ly).
piaoioo (ne'-no), /. An upright piano.
pianis'simoi /. Very soft, piania-
si«'simo. Extremely softf
pianist (pY-an'-lst, not pe'-«a-Yst), £,
A piano-player.
piaoista (ne'-sta). /. i. A pianist. 2.
A mechanical piano.
pianiste (pY-an-est'), F, Pianist of
either sex.
piano (pY-fi'no). /. i. Soft, softly.
abbr. (/). hence piano-pedal, a.
The common form of the word piano-
forte (q. V.) ; this shorter form is alto-
gether used in France, and commonly
elsewhere. Many terms are used to
indicate sizes and forms of the piano,
as the concert gjand and par'loar
grand or piano k queue (a-kii').
the senii*grand or boudoir or p. k
queue ^court6e (i-koor-t&), or
baby-grand. Smaller form. The
square or carr< (cftr-ra) ; p. li ta-
▼olins ; the upright or cabinet, or
p. k secretaire (si-kra-tftr). or droit
(drwfi). oblique, or k pilastres, or
vertical, and still smaller sizes such
as the cottage, or the piccolo,
inv. by Womum, of London, 1829.
For practice there are the dumb p., or
p. muet (mu), and the Virg^il prac-
tice-clavier, etc. electric p. One
employing electro-magnets in place
of hammei^. p-qnatuor, or p. it
archet (a ir-sha). Vide piano-vio-
UN. p. ^olien. Vide amkmo
DICTIONARY OF TERMS 235
CHORD. The p. harmon'icorde. A (ma-kii-nek). A mechanical or auto-
combinatioo with an harmonium, in v. matic piano, p. org^anis6 (or-gft-
by Debain. the p. k claviers ren- nl-za). One with phys-harmonica at-
▼trs^s (a-klSv.ya ran-v£r-sa). One Uched.
with 3 key-boards, one above the pianoforte (pY-a'-n5-f6r-t£, or common-
other, the ficale of the upper ascend- \y pl-a'-no-fort), £, and /. piano-
in^r from right to left. p. m^chanique fort6 (for-ta), J*\
Pianoforte.
By the Editor.
PIANOFORTE (in G. usually restricted to the square piano). The
most used and most abused of instruments — a combination of the
strings of the harp with a key -board system derived from the organ
(in the 14th cent, there is mention of a << stringed instrument of the organ
hmSly : the Exaquir^ Sf., Escbiquier d* Angkierre^* i.e., ''English chess-
board«" F* ot EsquakUl, C). ^Its History is obscure and owes much
possibly to the monochord and elaborations from it. In the monochord,
the hurdygurdy, or organistrum> etc.« a single ^string produced various
Cones by means of a movable bridge* So the early forms of the piano
ihovr a few strings serving for many digitals. The word monochord was
iept even afler the strings were increased in number, but was finally
changed to tkvkbord (^ilavis=i\ity) or clavier; the movable bridge was
displaced by tangents which served both to divide the strings as with
fteu and to sound them. ^Simultaneously with the iretted clavichord, in
which each string served for several tones (as a guitar- string does) prospered
a development from the dulcimer, a key -board dulcimer, or c lav Uymba I (Jtom
cymbal meaning dulcimer), called in France, clavecin ; in hx*l/,clavi'cem3alo
or arpicordo ; in England, harpsichord ; in Germany, Flagel, Kielflngel,
Sttertstuck or Scbweinskopf, Small forms of this were the yirginal(^s), the
e9tt€bed harp or spinet (from ////ri^rz: quill), etc. In this variety there was a
string for each tone, and the string was sharply plucked with a quill carried
at the end of a vroodenjack* In time the clavichord was also given a string
to each tone and was now said to be " fret- free " (^bundfret) instead of
*< iretted" (geSunden). The tone was capable of a beautiful trembling
effect (^Bebung) and considerable virtuosity, but there was little possibility of
shading from loud to soft. The appearance of the elaborate dulcimer the
Pamtaleen seems to have set the clavichordists to thinking, and Cristofbri,
in 1711, invented the hammer-mechanism, which he called, from \i\ power
to sound loudly or lohVff piano forte, literally " loud-and-soft " (this name
had been used as early as i 598). In Germany, Silbermann, the organ-
builder, won Bach's approval for a Hammer- klavier of the same general
236 THE MUSICAL GUIDE
idea. This idea» with many improvements in detail, but little fundamental
change, persists to-day in i the magnificent instrument on which great gym-
nasts combine brute force with legerdemain. ^The Construction of the
piano of our dme shows the triumph of ingenuity over a total string-tension
of twelve to twenty tons. A powerful cast-iron /rtf/w^, usually cast in one piece
and braced with trusses and cross-bars^ braces the wooden sound-board below,
on which is a raised bridge of hard wood, over which are stretched the
strings. The strings are of steel wire, the bass strings being covered with a
finely-wound copper wire. The lowest octave of the bass has one string to
each tone, the next octave or more has two strings to each tone, the rest of
the instrument has three strings tuned exactly alike as unisons iox each note.
Some of the strings are generally carried back across the others to save space ;
this is called over stringing. The hammer of each tone strikes all three
strings at once, except when the soft pedal by shifting lets it strike only one
string (hence •' tre corde " and " una corda '*). ^The action of the piano
consists of a key-board of finger -levers or digitals (loosely called keys), the
white digitals forming the scale of C major, the black digitals furnishing the
necessary semitones to give the piano (by means of temperament, q. v.) a
command of all the major and minor keys — the fingering differing for each
key except with the Janko (q. v.) key-board. The pressure of a digital does
not, as in the old clavichord or harpsichord, immediately affect the string,
but reaches it by a complicated series of levers which bring the hammer into
position for a new stroke instantly, so that a tone can, in a proper acdon, be
repeated as rapidly as the fingers can strike the digital. (This b called the
repetition or double escapement — the double echappement of Erard being the
origin of the many forms of escapement.) The digital carries at the inner
end a vertical pilot which supports a nearly horizontal carrier ^ at about a
right angle to which is the rod called the hopper^ which fits against the ham-
mer by a notch or projection. As soon as the hopper has forced the hammer
against the string, it slips loose from the hammer and is brought instantly
back (by devices hard to describe briefly) into position so that the hammer
on rebounding from the strings finds the hopper ready for an immediate new
stroke. The hammer is hinged at the butt ; at the other end o( its shank is
the hammer-shaped head with a pad oifelt (or leather). The action whicn
throws the hammer against the strings, and makes it rebound instantly, lifts
away from the strings the little damper ^ which muffles the strings when not in
use ; this damper remains off the strings as long as the digital is held down.
^By means of the damper-pedal {con\moii\y c^Xtd the "loud pedal") all the
dampers may be lifted from all the strings, thus permitting sustained tones
and sympathetic vibrations while the hands play other chords. Some pianos
have also a sustaining as well as a piano, or soft pedal (vide Pedal).
«i
DICTIONARY OF TERMS 237
^Thc piano has a complete chromatic scale with a compass of about
seven octaves A^^-W', It is capable of a rapidity and clarity of utterance
of which the organ is incapable ; and no other instrument but the organ ap-
proaches its resources in chords, range, and brilliance. Except the organ,
it is the only self-supporting instrument ; it can furnish absorbing employ-
ment for the four hands of two performers. The chief lack is the inability
to swell a sustained tone, and some method of adding this final touch of
human interest will doubtless be devised in time by some of the many minds
engaged upon the problem.
^ >*
Piano Studies.
By James Huneker.
A CENTURY of experience in piano pedagogy has not been fruit-
less; skilled masters of the instrument no longer burden their
pupils with futile finger exercises, and the precious morning 'hours
instead of being devoted to mere digital tortures are now utilised for the
memorising of a repertoire and the study of especial difficulties in a composi-
tion. Since Karl Tausig, the vast and useless etude literature has been sent
to limbo ; for in the music itself may be studied the precise technical difficulty
to be overcome. ^After the independence of the fingers, the scales in single
And double notes, arpeggios and octaves have been thoroughly mastered, the
following studies are generally employed for style, for endurance and the musi-
cal development of the scholar : Cramer — edited by Von Biiiow ; Clem^nti
— edited by Tausig ; Kessler — a judicious selection ; KuUak's octave school ;
and the Chopin Etudes, opus 10 and opus 25. After these latter the studies
9f Liszt and Rubinstein, and Schumann's Symphonic Etudes may be essayed.
Of special studies, the Toccata of Czerny, the Schumann Toccata, the Ru-
binstein Staccato study in C, and Thalberg's study in A minor, opus 49,
repeated notes, are recommended. For beginners. Heller's studies in phrasing
and later Czerny 's finishing studies may be tried. But the Czerny school —
with the exception of his excellent special studies for the left hand — is obso-
lete. ^All the latter day writers of piano studies, Scharwenka, Moszkowski,
Scriabine, Godowsky, and JosefFy, build on the Chopin-Liszt technics. For
the quick grasp of the Brahms technique, study his fifty-one exercises. Isi-
dor Philipp, taking hb cue fit)m Tausig, has given us the marrow of Chopin's
technique in a volume of Daily Exercises. For pure polyphony, nothing is
better than Bach. For daily gymnastics, use Tausig' s studies, but in frugal
manner. ^For the rest, read all piano music fiom Alkan to Zaremski.
238
THE MUSICAL GUIDE
piiuio score. An arrangement of vo-
cal or orchestral music for piano.
pian'ofi^raph. A melograph, inv. by
Guenn.
pianoharp. Vide klavier harfe.
piano'la. A detachable pneumatic at-
tachment by which a piano may be
played mechanically, the performer
controlling the speed, the force, and,
in a remarkable degree, also the ex-
pression ; inv. by E. S. Votey of New
York, in 1897. It has 65 felt-cov-
ered fingers brought into play by
air-power forced through perforated
music by treadle action.
piano-org^an. Vide barrel-organ
.(2). ^ .
piano'tist. A mechanical attachment
for playing the piano.
piano quatuor (kat-U-6r), F. Piano-
violin.
piano-violin, A numerous group of
instrs. endeavouring to combine the
fulness and range of the piano with
the violin's expression and power of
increasing the volume of a sustained
tone. In 16 10 Hans Hcydn of Ntlrn"
berg inv. the Gambenwerk, in which
catgut strings were pressed by resined
parchment rollers actuated by a
wheel (other authorities say that
Heydn's instr. was called Geigen-
werk, and had wire strings ; and
that the Gambenwerk, or Klavier-
l^amba, was inv. by Reich or Gleich-
mann of Ilmenau, about 1750, and
had gut strings). In 1754 Hohlfeld
inv. the Bogenfliigel or Bogen-
klavier, with a horse-hair bow ; von
Meyer in 1794 provided each string
with a bow. In 1800 HUbner devised
the clavecin harmonique, which
Pouleau developed into the orches-
trin. Other instrs. of the same gene-
ral idea were the gambe-clavier, inv.
by Le Voirs, Paris, 1741 ; the Bo-
genklavier of Garbrecht, Kfinigs-
berg, 1710; the Xanorphika of
Rttllig, Vienna, 1797 ; the Bogen-
hammer-klavier, of Karl Greiner,
1779 ; the harmonichord of Kauf-
man, 1785 ; the piano-violinot 1837.
The most successful is the ptanOi
quatuor or piano-violin, inv. 1 865 by
M. C. Baudin, of Paris, consisting of
thick single strings to each of which
is attached at a nodal point a pro-
jecting piece of stiff catgut, which on
the pressure of the key, is brought
in contact with a linen roller turned
by pedals, the communicated vibra-
tion causing the string to sound ; the
general principle of these instrs. fe-
sembles that of the hurdygurdy.
pian piano (pT-an' pY-a'-no), /. Very
softly.
piatti (pt-at'-te), /., pi. Cymbals.
pib (peb), pibcom. A Welsh pipe.
pibroch (pe'-brokh). Scotch. A war-
like composition for the bagpipes,
consisting of three or four variations
on a theme called the urlar ; they tre
of increasing speed and close with a
quick movement called the cr«aa-
luidb.
piccanteria (pYk-kfin-t^r-e'-a), /. Pi-
quancy.
picchetta'to, or picchiettato (pYk-kf-
£t-ta -t5). /. Staccato, in violin play-
ing made with a bounding bow, and
indicated by slur over dots.
picctolo (pYt-chd'.l6), /. Small.
piccolo (pYk'-ko-lo), /. z. Small. Vide
PIANO. 3, The octave flute (q. v.).
3. A 2-ft. stop, plccolino (le -no).
Very small.
pic'co, picco pipe. A small whistle
with 3 holes ; it was named after a
blind Sardinian peasant who played
it in London (1856) with great brill-
iancy, securing a compass of 3 oc-
taves.
pick. I. A plectrum. 2. To pluck
(of strings).
Pic'kelflttte, G. The octave flute.
piece. I. A composition. 2. An in*
strument (generally used in pi.).
pi^ce (pY-<$s'), F. I. A piece ; a compo-
sition. 2. An opera, or dramatic
work, suite de pieces (swet dfl pl-
fe). A set of pieces.
pieno (pY-a'-no), /. Full. p. core, or
p. organo. Full chorus, or full or-
gan, pienamen'te. Fully.
DICTIONARY OF TERMS 239
pied (pY-ft). F. Foot, avec Ics
pieds (U pl-ft). With the feet (on an
organ).
pieti (pl-ft-tA), /. Pity, pieto'so,
pietosamen'te. Tender(ly).
pierced c^ambe. Keraulophon.
ptfara (pUfii'.rA), /. A fife.
pifferare (ra'-rfi). /. To play the fife.
pif fero. I. A fife. 3. A primitive
oboe. 3. A stop, the bifara. ptf-
fera'ro. A player on the fife.
plkieren (pl-ke'-r«n), G. Vide piquer.
pilea'ta» L, *' Capped " (of a covered
pipe).
pinc^ (pjlA-sa), or pincemeat (p&hs-
mzh),F, "Pinched." i. Plackcd(as
strings). 2. Pizzicato. 3. A mordent.
p. ^touff^. Acciaccatura. p. ren-
▼ers^. Inverted mordent. Instni-
meats k cordes pinches. Inatre. to
be plucked, as guitar, etc., hence pin-
cer (p&A-sa). To play such an in-
strument, pitied Demolish (or dilh
s<). Trill with a flattened (or sharp-
^ened) note.
pipe. A tone-producing tube of reed,
wood or metal, i. One of the ear-
liest musical-instrs., a simple straw. 2.
The tone-producing tubes of an or-
^an. (a) flue-pipe, or lip-pipe. One
m which the column of air produces
tone by being forced through a small
opening with a sharp edge. The
lip-pipe may be compared to a great
flute standing on end (the flute is in
fact a lip-pipe). The foot rests on
the pipe-rack ; the lower part of the
body is the throat ; just above it is
an opening called the mouth, with
an upper and lower lip ; the upper
lip is bevelled to an edge called the
Isuil An ear projects on each side
of the mouth ; inside the mouth is a
projection called the block (if - it is
▼ery thin it is called the laflguag^e).
The passage between lower lip and
block is the w^indway ; through this
the air is driven againt the leaf, which,
vibrating, produces a tone from the
air column that fills the upper part or
body of the pipe, flue-pipes may be
open at the top, or covereo (stopped
or plui^ged), the stopped*p. sound-
ing an octave lower than the same
pipe open, flue-pipes are tuned, or
voiced, if metal, by flaps at the top
called tuners ; if wood, by small acf'
justable boards, (b) reed«pipe. One
depending upon a reed for Us tone,
the body governing the quality of the
tone only. The lowest part of the
reed-p. is the boot ; it contains a
sheet of metal called the block, which
contains two apertures, one holding
an adjustable tnninr-wire, the other
a reed, or conical tube (called a
shallot) with an opening glvine play
to a vibrating tongue. ,3. bent-
pipe. A rectangular bent tube con-
necting the bellows with the wind-
trunk ; also a secondary channel
from the wind-chest to the ^ind-
trunk. S/'^akiug pifts may be bent
without altering their tone, to fit them
into smaller spact. pipe-metal.
That of which organ-p\pef. ar<^ made,
usually an allov of lead and tii
pipe-organ. Vide organ.
pique (^k), F, Peg of a 'cello.
piqu6 (pe-kft), F, Same as picchle>
tato. piquer (pi-kft), /*., piqnireo
(p$-ke'-rdn), G, To play in sdch fl
manner.
pirolino (p5-r6-lc'-n5), /. Button.
piston(s). Vide valve and cornkt-JI-
pisTONs. pistofl-solo, G, Sol6 for
comtt-A'pistons.
pitch. The height or depth of a tone
rflaiivffy to others, or its ahsoitiU po-
sition on the complete scale'adopted as
the standard and divided into octaves
definitely named (see the chart of
pitch). The vibration-numbei' of a
tone also gives it an absolute pitcli
according to the particular pitcn ac-
cepted as the standard. The opinion
of the civilised races, with the chief
exception of Ei\gland, has settled
on the International (low 01
French) pitch adopted in FVance
in 1859, <^nd at the Vienna Con<.
gress in 1887. This gives the tone
o' 435 vibrations a second and c" 532
vibrations An older pitch was the
240
THE MUSICAL GUIDE
classical or mean pitch, in which
a' lay between 415 and 429 vibrations
(apparently about the same as the
most ancient standards). The desire to
secure a more and more brilliant tone
led instrument-makers to raise the
pitch to outrageous heights. A con-
gress of physicists adopted in 1834
the Stuttpurt Pitch with a at 440.
The high or concert or English
pitch gives hl about 450, which is a se*
▼ere and needless strain and distortion.
For convenience of calculation a the-
oretical middle c has been given 256
vibrations, the number bein^ a high
power of 2 ; this so-called philosoph-
ical pitch gives a about 427 vibra-
tions.
The subject of Pitch-relationships
is too abstruse for explanation here —
though important in the tuning and
temperament of instruments. The
old Pythagorean theorists did not
consicler the third (as c to ^) to be a
legitimate interval ; they reached it by
four steps of a fifth (ignoring octaves^*
thus, c-g^ g-^, d-a^ a-€. This gives
it the ratio of 64 : di. But we now
accept both the third and the Hfth as
intervals, and the ratio of a third is
4 : 5, or in larger terms 64 : 80. The
note ^ may then be considered a quinl'
tone if reached by steps of a fifth ; ot A
Htree-tone if reached by a step of
a third. But 64 : 80* differs from
64 : 81 by the ratio of 80 : 81, which
is called the comma syntonum. Start-
ing from e any tone may be reached
by quint or tierce steps up or down.
Every tierce step up is If less than a
quint step and the letter name of a
tone reached by a tierce step may be
marked with a line under it for eveiy
tierce step upward, or a line over it
for every tierce step downward, re-
quired to reach it. These lines there-
fore indicate the number of commas
by which it is lower or higher than
the same tone reached by quint
steps.
Relative pitches may also be ex-
pressed in (a) fractions showing the
relative string lengths required \m
produce them ; (b) in decimals show-
ing relative vibrations ; and (c) in
logarithms showing comparatively
the interval-ratios.
pitch-fork. A tuning-fork.
pitch-pipe. Small reed-pipe of fixed
pitch.
pin (pe-00'), /. More ; as p. mosso.
More speed ; piik tosto. Rather, as
p. t. allegrro. Rather faster.
piva (pe'-v&), /. I. A bag-pipe. 2. A
composition in bag-pipe manner.
piszican'do, pizzicato (pld-zT-ka -to),
/. ** Pinched,** indicating that the
strings are not to be Ixywed, but
plucked with the fingers.
placido (plii'-che-do), placidamen'tet
/. Placid(ly).
placito (pU'-che-to), /. Pleasure. A
bene p. At pleasure, same as ad U^
bitum.
pla'gal» E., pla'c^lis, Z., plaralisch
(pTs-ga'-lTsh), G, Used of those
modes accessoij to the authentic (vide
MODRs), and formed from them by
taking the fourth below as the new
tonic. Vide also cadence.
plag^iau'los, (7r. Cross-flute.
plain-chant (in French pron. plift-
shsiri), plain-soni^. The old Gre-
gorian Church-music, so-called front
its smooth progress in notes of equal
length. It employs 8 modes (q. v.X
and is written on four-line staves, em-
ploying 3 notes, the long, the breve
und semibreve, and two clefs. It is
still employed in the R. C. cantiU
lation of priests at the altar, and is
the basis of the Episcopal Church
service,
plainte (pUnt), F. A lament, plain*
tif(pUn-tef). Plaintive.
plaisant (pl«z.fih), F. Pleasant.
plaisaoterie (pl^z-ftn-td-re), /*., pleas'*
anterie. A cheerful harpsichord
piece.
plana (pU'-nS), Z. and 7. Plain, musica
p, plain =chant.
planchette (plah-sh^t), F, i,\ mechan^
ical piano. 2. A part of its mechaOi
ism, a board fitted with pegs.
DICTIONARY OF TERMS 241
(ilAiita'tion. The manner in which
the pipes of a stop are arranged on
the sound-board.
>liuix'ty. Literally, '* lament,*' though
sometimes applied to lively melodies
used by Welsh harpers.
]llaqu€ (pU-ka), F, Played simulta-
neously (as a chord) ; opposed to
'• broken."
plec'toral, plec'tron, plec'trum. A
small bit of ivory, metal or shell for
plucking the strings of mandolins,
etc.
plec'traphone. A piano attachment
imitating the mandolin.
|»la7-honse tune. Old name for
entr*act music.
pleia-jen (plflA-zhfi), F, i. Full-organ.
2. A mixture-stop.
ple'no orga'no, Z. Full-organ.
plet'tro, /. I. Bow. 2. Plectrum.
pli'CAy Z. '* Fold.** A neume, used
as a concluding ornament, indicated
by a stroke up or down on the last
note of a ligature.
pltt'rea ex u'na, Z. '*Many from
one.*' Old name for canon.
plttfl (plQ), F. More.
pnenma (nu'-mfi), Gr. ** Breath." T.
Neume. 2. The exhausting vocali-
sation of the closing syllable of the
early Christian Alleluia. 3. A jubi-
lation.
pneumat'ic. i. Used of all wind-
instrs. 2. p. action, or lever. A
bellows attachment for lightening the
touch of an organ, inv. 1832, by Bar-
ker. 3. p. orgran. The modem wind-
organ, so called originally in distinc-
tion to the hydraulic.
pocetta (po-chet'-tH). /., poche (pfish),
pochette (p5-sh«t), F, Pocket-
fiddle.
pochessimo (po-k^s'-sY-md), /. As
little as possible, pochettino (po-
k«t-te'-no), pochette, pochino (po-
ke'-nd), /. Just a little.
poco (po'-ko), Z A little; rather;
somewhat, poco a poco. Little
by little.
posrgiato (pdd.j&'-t5X /. "Leant**
on, dwelt upon.
poi (p5'-*), /. Then, afterwards, as
piano poi forte. Soft then loud.
Soi segue, then follows ; poi a poi.
y degrees.
point. I. Old name for note. Vide
NOTATION. 2. A dot. 3. Staccato,
mark. 4. Head of a bow. 5. The
entrance of an important theme. 6.
To divide words for chanting, hence
pointing. 7. organ-point. Vide
PEDAL-POINT. 8. Vide SIGNS. (la
French pronounced pw&A.) A dot.
p. d^tach^ (dft-tji-sha). Staccato,
mark, snr t2te(silr-t<t). Dot above 01
below a note. p. d'arrdt (dftr-r£/),
or p. de repos (dfi rQ-p5). A hold.
p. d 'augmentation (d5g-mSii-tfts.
ydA). A dot of augmentation, p,
final (fl-niir). Final pause. p.
d'org^e (d6rg). i. A hold, hence
also a cadenza or flourish. 2. Pedal-
point.
pointe (pw&At), F, i. Toe, in organ-
playing. Abbr. p. or tp. Talon
potnte.
points (pwSn-tS). F, I>otted, from
pointer (pwUh-ta). To dot, or play
staccato.
poitcine (pwS-tren), F, Chest.
polacca (po-lak'-ka), /. Polonaise.
alia p. In the style of a polonaise.
polichinelle (p51 - 1 - shl - n^l), F.
*' Punch.** A clown-dance.
pol'ka. A round dance in lively 2-4
time, originated in Bohemia about
.1830., p.maxurka. A slower dance
in triple time with accent on the last
beat. p. redowa. Is faster than
the p. m., with accent on first beat.
polHce (pol'-lY-chd), /. Thumb.
polonaise (pol-o-n^z). /*.. PolonUse
(pdl-o-na'-z£), G. A Polish dance m
moderate 3-4 time ; strictly a march-
past. Its rhythm resembles that of
the bolero ; it begins with a sharply
accented 8th note followed by two
i6th notes, and four 8th notes; its
closing measure is an 8th and two
i6th notes ; a sharply accented quar-
ter note, an 8th note, and an 8th rest.
Also spelt polonoise (pdl.6n-wfiz).
Vide CHART OF DANCE RHYTHMS.
242 THE MUSICAL GUIDE
poUka (p61s'-ka), Swedish, A dance
in 3-4 time, usually in the minor.
poly-. A Greek preHx, meaning "many."
polychord. An instr. inv. by Fr.
Hillmer, of Berlin, resembling^ a
double-bass with lo gut-strings . and
movable finger-board. polymor-
pboiis. Used of counterpoint, with
a widely varied theme, polyphon-
ic, or polyph'oooufl. i. Used of
compositions in which more than one
theme at a time is given individuality ;
loosely used of compositions of many
parts, but to be sharpl^r distinguished
from a mere melody with an accom-
panying harmony, a. Used of instrs.
that can produce more than one tone
at a time (compare homophonic,
and homophonous), hence polyphony
<p6Ul.fd'-nI or pd-llf'-d-nY). The
treatment of simultaneous parts each
independently, i. e., counterpoint.
Pommar (p6m'-m{fr), G, Vide bom-
bard.
pompttt (pdm'-pas), ^7., pompo'so,
pompoMtmca'te, /. PompouB(ly).
Ma)estic(ally).
ponctttatton(pdAkt.a-2ls-y6n), F, Phras-
ing, from ponctutr (po6k-ttt-a). To
phrase,
poadero'so, /. Ponderous, heavily
marked.
ponticello(pdn-t1-ch<r-l5),/. i. Bridge.
Bill, p. A direction for bow instrs.,
** play near the bridge." (Abbr. s.
poat.) 2. The break in the voice.
pont-neuf (pon-niif), F. A bridge in
Paris, hence a street ballad.
poo'cye, Hindoo nose-flute.
popolare (pd-pd-la'-r<), /. Popular.
porrec'ttts. Gnomo. Vide neumr.
port (p6r), F, i. Portamento, a. Vide
CHUTE.
portamen'to. The passage across an
interval by means of gliding with im-
perceptible gradations through all the
intermediate tones in one continuous
sound (such an effect as is gained by
•Uding the finger along a string while
.the bow presses it). Hence a legato
style ; so a singer is said to have a
tme portamaato*
portan'dOy /. Carrying across, i. c,
producing t\^ portamento efiecl ; from
portare (p6r-ta'-r*). To carry.
portar (por-tir), /. Carry ! p. U bat-
tttta. Follow the beat. p. la voce.
Sustain the tone. PI. portate.
portata (p6r-ta'-ta), /. Suff.
poitatif, F,, portativ, C. (por-ta-tef),
por'tative. A portable organ.
portato (p6r-ta -t&), /. Susuined.
port^e (por-ta'), F. Suff.
porter (p6r-ta), F, To carry, p. la
voix. Produce the portamento.
por'tunal flute. A flue-stop with
wide-top pipes.
Portnnen (por-too'-n^n). G, Bourdon.
Pos. Abbr. for Poaaune.
poBato (p5-Ea'-to), /. Sedate.
Posaune (pd-zow'-n^), pi. -^n, G, i.
Trombone, a. A trumpet. Hence,
Poeatzaer. A trombonist. 3. A reed-
stop. Posannzng (tsookh). Sack-
but.
PoBchette (pd-sh«t'-t<), G. Pocket-
violin.
poa^'ment (p5-z&.miln), F. Sedately.
poser (p6-za), F, To poise. . p. la
▼oix. To attack a tone exactly.
poBitIf, /*., poBitiT, G. (po-ze-tef),
pos'itiTe, Stationary ofgan; in
French choir-organ.
poai'tion, E, (pron. in F. po-zes'-yon),
posiaione (p5-ze-tsl-o-n^), /. i.
Vide CHORD, a. Vide close. 3. The
place of the first finger of the left
hand on the finger-board of violins,
etc. The first position is that in
which the fore-flnger presses the first
semi-tone or tone of the open string ;
the half position that in which the
second Anger presses the first semi-
tone of the open string. By makinz
a shift, the hand reaches the Second
position, that In which the firet
nnger presses at the place occupied
by the second finger in the first posi-
tion ; in the third position the first
flnger occupies the place held by the
third finger in the first position ; and
so on.
possibile (p6s-se'-bY.l«), /. Possible,
9iS presto jp.f as fast as possible.
DICTIONARY OF TERMS 243
posthorn. i. A straight valveless
basic. 3. A piece or passage imi-
tating a postman's call.
potta, di (de pds'-tS), /. At once.
posthume (pos-tUm), F, Posthumous,
pub. after the composer's death.
postlu'dtum, L, A concluding phrase,
composition, or church voluntary.
potensa (po-t<ln'.ts&), /. i. Old name
for musical note or sign. 2. The
sound any instr. produces.
pot-pourri (p5-poor'-re), F, Medley.
poace (poos), F, Thumb. In guitar
music a direction to sweep the strings
with the thumb,
poile, la (U pool), /*. ''The hen." A
quadrille figure ; the third.
ponr (poor), F, For» in order to, as /.
Jkmr^ in order to close.
pOQBS^ (poos-«a'), F, ''Pushed.*'
The up-bow.
pp. Abbr. of pianissimo,
prftchtir (pr^kh'-tTkh), G. Pompous.
PracbtToU (prftkht'.fdl), (7. Full of
grandeur.
priicis (pra-tses'), C, Precise.
praoc^tor, L, Choir-leader.
praeam'bttlum, L. Prelude.
pra«£&'tio, L, The prayers said or sung
in the Mass before the Transubstan-
tiation.
fraefec'ttts cho'ri, L, Chorus-leader.
^ndl'triller. (7. Inverted mordent.
Vide 6RACB.
priUudiren (pra-Ioo-de'-r£n), G. To
preludise.
Prftstant (pra'-shtilnt), C, Principal
4-ft. stop.
preceat'or. Choir-director in the An-
glican Church.
pr^chaatre (pri-shantr), F. Choir-di-
rector.
prccipttare (pra-che-pY-t2'-r£), /. To
hurry precipitately, hence precipi-
tato (tft'-td). precipitan'do, preci-
plto'so. Hurried, precipitamen'-
te. Hurriedly. precipitaxione
(tiUtsT-d'-n«). Haste.
predsione (prft-che-zt-d'-n^), /. Pre-
cision, preciso (pr&-che'-s6). Exact.
prarhiera (prfi-gl-a'-ri), /. Prayer.
prouide (pr£'-lad or prCl'-ad), E., pre-
lude (pra-lud), F.y preludio (prft-
loo'-dY-o), /. I. An introductory
phrase, section, or composition.
Hence, a composition of an impro-
vised manner, and brief length. 2.
As a verb^ to improvise such an
introductory piece.
premier (prQm-yl), premiere (prdm-
yftr), F. First, as premier dessus
(dds-sU). First treble or soprano.
Sremifcre fois (fw&). First time,
premiere yue (vU). At first sight.
As a noun, premiere is used of a first
production.
prepara'tion, preparation (pra-p&-
r&s-y66^, /v., preparasione (pra-pa-
ra-tsY-o -n£), /. A musical device for
softening a discord by preparing the
mind for it through the introduction
of the dissonant note in a previous
chord in which it is consonant. Vide
HARMONV. Custom has greatly
changed from the early period in
which no unprepared dissonance was
permitted, for now in free writing
almost any dissonance can appear
without warning.
prepar'ative note. Appoggiatura.
prepared, i. Used of a note which
had preparation (q. v.). 2. Used of
a shake or trill which had two or
more introductory notes.
prfts de (pr« dfl), F, Near.
presa (pra'-sa), /. Vide lead (2).
pressant (pr£s-sSn), /*., pressante
(pr£s-sSnt), F„ pressan'do, /., pres-
sirend (prds-se'-r^nt), (7. ' * Pressing,"
accelerating.
presses (pr€s-sA), F. Accelerate.
pressure note or tone. One marked
thus P, and to be attacked softly and
suddenly increased in volume.
prestamen'te, /. Very rapidly.
prestant (prfl-stan), F* Principal, 4-
foot open stop.
prestezza (pr^s-t£d'-za), /. Rapidity.
presto (pras'-to), /. i. Fast, faster than
allegro, the fastest rate in music ex-
cept its own superlatives as prestis'-
simo and prestis'samefite. 2. A
movement in very rapid time.
244
THE MUSICAL GUIDE
prick. I. As a noun, the head of a
note, hence 2. as a verb, to write mu-
sic, prick-soag. The first written
music, in contrast with improvised
music. 3. The counterpoint written
to a cantus firmus.
prifere (prl-ir'), /^ Prayer.
prima (pre'-mfi), /. First, principal.
da p. From the beginning, p. buffa.
Leading woman in comic opera,
prima donna. ** Leading lady '* in
opera, chief soprano, p. vista. First
sight, p. volta. The first time (abbr.
ima. Volta), and used to mark
measures to be played before a repe-
tition, and to be skipped after that
repetition for the measures marked
seconda volta (2da. yolta).
pri'mary. i. Used of an accent be-
ginning a measure. 2. Of a triad or
chord which constitutes one of the
three ^ndamenta! triads of a key,
viz., those on the tonic, dominant,
and the subdominant.
prime (prim), E, (in G. and F. prem).
I. The first tone of a scale, the tonic.
3. Used of that interval which is indi-
cated by two notes on the same line
or space, but separated by a chro-
matic distinction. Used also of two
notes in unison. Vide interval. 3.
Vide HORA.
Prim^eiger (prem'-gi-g5r), G, First
viohn, leader.
primo (pre'-m5), /. First, principal.
tempo p. At the original tempo, p.
buffo. Leading man in a comic opera.
p. uomo (00-0 -mo). Old term for
first male soprano or tenor, primo
as a noun, is used of the leading part
of a duet.
Primtdne (prem'-ta-n2), G. Funda-
mental tones. Primzither. Treble
zither.
prtmice'rio (pre'-mY-cha'-rY-d), /.,
primicerius, L. Cantor.
prin'cipai, E. (pron. in G. pren-tsY-
par, in F, priin-sT-p&i'). i. In France
and Germany used of the open diapa-
son ; in England used of an open
flue-stop of 4-ft. pitch, on the manual
(8 ft. on the pedal) an octave higher
than the open diapason. 2. Old name
for fugue subject. 3. Old name for
trumpet.
As an adjective • i. Vide i^rimary. 2.
principal key. The predominant
key of the composition. 3. The p.
voices are the soprano and bass. 4.
p. close or cadence. One in the
principal key. 5. p. subject or
theme, one to which others are sub-
ordinate, principal-bass. An open
diapason stop on the pedals, princi-
pal-work. The flue-pipes of diapa-
son quality. Vide stop.
principale (pren-chY-pi'-l^), /. t. Dia-
pason-stop. 2. Principal or leading,
as an adjective. 3. Old name for the
trumpet, principalino. 8-ft. stop.
principio (prln-che'-pl-o), /. Begin-
ning.
prise, or p. du sujet (prSz dii sQ-zha),
F, Entrv of the ^ubject.
Probe (pro -b$), G, Rehearsal. Gen-
eralprobe. Final rehearsal.
proc6der (pro-sa-da), F. To progress.
procella (prd-ch^l'-la), /. Storm.
pro' em. Ancient heroic song with cith
ara accompaniment
progframme, F., program (pro-gri^m'
not pro'-griim), E,^ progfram'ma, /.,
Progrramm (pro-gram'), G, A list of
compositions to be performed, pro-
gram - music, Programm - musik
(pro-gram' moo-zek'), G, Music with
a programme, i. e., with a more or less
definite description of events or
moods. It usually aims to present a
suggestion (rarely in decent music an
imitation) of some music of nature as
a brook, bird-improvisations, forest,
sounds, or of some narrative, though
its main effort is to deploy the emo-
tions Arising from such scenes and
thoughts. Beethoven's ideal is ex*
pressed in his famous characterisation
of his Pastoral Symphony as mehr
Ausdruck als MaUrei, ** more an ex-
pression than a painting." So long as
the ** descriptive " element is a mere
suggestion, music is capable of most
felicitous hints, and programme-mn-
sic has most ancient ami venerable
DICTIONARY OF TERMS 245
authority, traceable farther back even
than Bach (who wrote a musical sug-
gestion of a postilion), to Jannequin,
and others. When programme-music
stoops to imitation direct it either
grows ludicrously incompetent or
ceases to be music and becomes noise.
prog^ammist. A devotee of pro«
gramme-music.
piogrhn (pr6-gr€), F. Progression.
progret'sion, £,, prog^essione (s1-
&'-nO« /- I* melodic progrression.
The advance of the melody from one
tone to another. 2. harmonic p.
The advance of the harmony from one
chord to another. These two pro*
cesses, particularly the latter, are
hedged round with continual difficul-
ties and restrictions, some of them
based on human nature and acous*
tics, others deriving no sustenance
from either, but depending for their
existence in the text-books entirely on
tradition, history, conservatism, fash-
ion, or a sense of hearing rendered
artificial by long pedantry. - The sci-
ence of progressions constitutes the
greater part of the Theory of Music,
and of harmony and counterpoint
(q. v.).
prog^res'sio harmo'nica, /. A mixture-
stop.
Progfressions-Bchweller (prd-|j^s1-
dns'-shv£14£r), G, A device mv. by
Abb^ Vogler, for gradually calling in
play, then gradually closmg off, the
stops of an organ, to produce a cres-
cendo, then a diminuendo.
progressive, u Of a stop hi which the
number of ranks increases with the
pitch. 2. Through-composed.
prola'tion, E., proia'tio, Z., prolazl*
one (pr5-la.tsl^'.n«), /. I. The clas-
sification of the relative value of
the notes in mensurable (q. v.) mu«
tic, almost corresponding in its four
classes to our musical metre. 2. The
measurement of the semibreve, pro*
Utio major, indicating that it is to
be divided into three minims; p.
aiinor, indicating two minims, vvde
NOTATION.
prolongement(pr5-16nzh-mftA),/'. t. A
pedal, inv. by Debain, for holding
down harmonium keys. 2. That part
of the piano action which holds the
hammer from its place of rest ; a sus-.
taining pedal.
promptement (pr6At-m2A), /*., pron*
tamen'te, /. Promptlv, quickly.
pronto, /. Prompt, quick.
pronunziato (prft-noon-tsl-a'-td), /•
Enunciated, marked.
proper-chant. Old name for the key
of C major.
propor'tio, Z., propor'tion, £, i.
The determination of time in mensar*
able music by means of fractions.
Vidcr NOTATION. 2. The second part
of 1 6th cent. dance>tunes. Vide sal-
TARELLA.
propos'ta, /. Subject of a fugue.
prosa'riiun, L. A book of prosae, the
prosa being the Sequence (q. v.),
sung between the gradual and the
Gospel in the R. C. Service.
propri'etas, Z. A ligature whose first
note is a l>reve. opposita p. One in
which the first two notes are semi-
breves, sine proprietate. Impro-
prietas. Vide notation.
Proslambanom'enos. Vide modes.
rospekt'i G, Organ front, hence P.«
pfeife(n}« Display pipe(s).
pro'teus. A kejf-board stringed insL
inv. 1650 by Nigetti.
pro'tns. Middle-age term for the first
church mode.
proVa, /. Proof, rehearsal, p. gen*
erale (jan-i-r&'-M), or p. grande.
Final rehearsal.
ProTen^ales (pro6-vftA.8iU'). Trouba*
dours from Provence.
prycke. In Merbecke*s notation of
15^0 a minim. Vide prick.
psallette (s&M«t). F. A maitrise.
psalm (in £. sfim, In G,, psal-*m),
psaume (i^m), jF, From a Greek
word meaning to pluck a string, hence
a harp-song, taken from Jewish re*
ligion by the Christian and highly de-
veloped, in various manners. Ksalm-
bucn, G. A Psalter. Psalm«
gesang, G. Psalmody. P.*Ued (1«^
246
THE MUSICAL GUIDE
Psalm. P.-slLnnr, G, Psalm-
singer, psalm' ody, E„ psalmo-
die (psai-mo-dc), F, The art or prac-
tice of psalm-singing, psalmistiu
An order of clergy.
pBalm-melo'dicon. An instr. inv. by
Weinrich, in 1828, with eight finger-
holes and 25 keys, giving it a com*
pass of 4 octaves, and the power of
producing chords of 6 tones.
psalter (sal't«r, hi G. psal'-te^r), psan-
tier (ps5t-ya), /^ A book of psalms.
Psalter (psal'-t^r), G,, psalt^rtoa
(psjll-ti'.rl-6n), /\, psalte'rium, L,,
psaltery (sal -t<-rT), E» An ancient
stringed instr. with a sound-board,
the strings being plucked with the
fingers or a plectrum.
psalte'rUe, L, Women who played
and sang during a feast.
psaume. Vide psalm.
pulcha (poor.ch&). Rus,^ pnrkAi B^^
Aemian, Polka,
pulpit'iunu u A sta{:e. a. Motet.
pnl satila* Used of mstrs. of percus*
sion.
pulsa'tor organo'runii L. Oi^n-
pUyer.
punct'us, Z. I. A note, hence pane-
tuscootrapuoctttm. ** Note against
note," I. e., counterpoint. 2. A dot.
Punkt (poonkt). (7., punto (poon'-to),
/. Dot. punktiert (tert'), (7.» pun*
tato (til'-td), /• Dotted, stacca-
to.
punta (poon'-ta) /. Point (of a bow),
p. d organo (dor-ga'-no). PedaU
point, p. per p. Note for note. p.
coronj^to. Fermate.
pupitre (ptt-petr), F, Music-desk. p.«
improyisateur (pQ-i>{t'-r&A-pr5-v£'«
za-tttr'). A melograph inv. by F. A*
E. Keller^iSss.
purfliog. The ornamental border of
violins, etc.
put'tl (poot'4C), /. Choir-boys.
pyk'iia» Gr» i. Half and quarter tone
progressions, in Greek music. 2.
Close notes (q. v.). 5. A semi-
tone.
pjram'idon. A 16 or 32 ft. stop, with
top 4 times as wide as the mouth.
py'ropbon, Cr, ** Organ of flames."
An instr. inv. by Fr. Kastner, 1875.
A key-board with electric attachment,
producing gas flames in tubes tuned to
the compass C-c".
Pyr'rhiCi Pyrrich'ius. A Greek
dance.
Pyth'ian. Games in honour of Apollo^
including musical contests.
Pythay ort'an. i. Used of the math*
ematical investigations in music mads
by Pythagoras. 2. Used of a ]yre«
said to have been inv. by bunt
a.
OThis letter Inverted In 'esBo
music indicates that tbe tbunb
is to be laid across the striogs
as a nut.
Quadrat (kvs-drfit'). (7., qnad'mle,
J?., qnadra'tonit Z. **A sqaare."
X. A natural sign (1(, in Z. B« qnnd«
ratmn. a. In mensurable music a
breve, hence Quadramusik (moo-
zek'), G* Old music in square notes.
quad'rible. Quatrible.
quadricin'ittnif L, A 4*voiced compo*
sition.
qnadrigllo (kw&^r€r«y6)« /., qvadrUlt
(in E. kwa-drll', in F. kid-re'-yik). A
square dance in M and 2-4 time, in
five different figures : le piantalon.
«* Panuloon.** P^t^ (la-ta). '*5um«
mer.** lapottle. *'The hen.'* lapns-
toarelle« or la trenist; and la
finale.
qnadripar'tite. A four-voices compo*
sition.
qnad'ro, /.• qttad'rnm, L. u K natural
sign (10. 2. Tableau.
qnad'ruple. Four-fold. i. Vide
couNTKRPOiNT. s. Used of a quavef
with four tails, a 64th note. 5. Of
rhythm^ that with four beats to the
measure.
qnad'ruplttt. A group of four eqnsl
notes.
qttad'riplnm, Z. Vide triplum.
qnan'tit J. The duration ol a note d
syllable.
««■
DICTIONARY OF TERMS h7
qpmxt (in JS. kwirt, in F, kftr), quar'-
ta, jL and /. i. The interval of
a fourth, a. A fourth, quart de
mesore. A quarter rest, quart de
soupir (soo-per ). A sixteenth rest.
quart de son, or ton. A quarter
tone, quarta modi» or tonL The
subdominant.
quart- (kvlirt)« G, A prefix indicat-
ing that an inst. is a fourth higher
(as Qnart-fldte, -geiee, etc.), or
a fourth lower (as Q.-fagortt, or
-posaune, etc.), than the nomud
instr.
Qnart8ext'akkord,'6^. A 6-4 chord.
Vide CHORD.
Qnarte (in F. kiirt, in G. krftr'.
t€). The interval of a fourth, q. de
naaard (dii niUz&r'), F. A 15th, also
a 2-ft. organ-stop, q* de toa» F,
The subdominant. Quartenfolgen,
or parallelen, C* Consecutive
fourths.
quarter, or quarter note. A crotchet,
half of a half*note. Quarter rest.
A rest of a quarter note s duration.
quarter tone. An interval less than a
semi-tone, the difference for example
between D sharp and £ flat on the
violin.
quartet', Quartett', (7., qnartet'to, /.
I. A composition for 4 voices or
lustn. 2. A 4-part composition in
sonata form, as a string-quartet.
qujur'to, /. Fourth, q. d'atpet'to.
A 16th' rest. q. dituono (too-6'-nd).
Quarter tone.
quasi (kwa'.s(), Z. and /. As if ; al.
most ; somewhat like, andante q.
lento = andante, nearly lento, q.
sonata. Almost (but not strictlf)
in sonata form.
quatre (kitr), F. Four.
quatorsitoie (k&-t6rz'-]rta), F. A
lonrteenth.
qnat'rible. In old music a progression
in parallel fourths, a quinible, being
in pamllel fifths.
quatricin'tnm. Four-part composi-
tion.
quattricro'ma, /. 64th note*
quat'troy /• Four.
quatuor (kUt-a-or), F. Quartet.
qna'Ter. An 8th note.
quer* (kvar), G. Prefix meaning cross,
or transverse, as Q.-Attte. The trans-
verse flute. Q.*pfeife. Swiss fife,
with 6 holes and with a compass of
two ocUves. Q***^iuid (shtfo^.
Cross or false relation. Q.*Btricn.
I. Ledger line. a. The single thick
tail for a group of notes.
queato or -a (kwfts'-to), /• This; or
that.
queue (kii), F. Tail. i. Of notes, t.
TaiUpiece of vlns., and 90 forth.
piano k q. Grand piano.
quick-step. A rapid march.
quieto (kwe-a'-td), quietamea'te, /.
Calm(ly), serene(ly).
quilis'ma. Vide nbumb.
quindecima (kwtn-di'-che-mi), /. A
15th. I. Interval, a. Organ-stop,
a la q., or isma. 9 1 ocUves higher
or lower.
Qutndesime (kven-dft'-tse-m^), G. A
iSth.
quin'tble. Vide quatribjlb,
quin'queg^ade. Pentatonic.
quint (in £, kwXnt; in G, kvent). i. A
5th. a. A si-ft. stop, sounding a
fifth higher than the normal. 3. The
e string of the violin, q, atride.
Progression of a fifth. Q.-abaata, or
abschluBB, G, Imperfect cadencs.
Q.-fagott, G. A bassoon pitched a
fifth higher than the normal. Q.«
gedackt or Q.-stinune, G, Same
as a. Q.-basB, G. A stop on the
pedal sounding a fifth above the
double diapason. Q.-fuge (foo'-g().
A fugue with the answer a fifth
above the subiect. Q.-aaite* A
treble string. Q*-tttne. Quint tone.
Vide PITCH. Q.-Tiola. i. Qum«
ton.- 2. A stop a fifth above the
^amba.
qum'ta, Z. and /. • A fifth ; vkle also
QUiNTus. q. decinuu Quindecima. q.
ed una or quintadena. Vide quin-
TATON. q. ialsa. The diminished
fifth formerly prohibited. «• modi or
toni. The dominant. aUa q. Al
the fifth.
248
THE MUSICAL GUIDE
QninUton (kven'.ta-t5n), G. A cov-
ered 8-, 16-, or 32-ft. flue-stop sound-
ing the 1 2th as well as the funda-
mental.
qniiite (in F, kflnt, in (7. kven'-t€).
Vide QUINT I, 2, 3. q. octaviante
(6k-t&v.Mnt), F. The 12th. Quint-
en-folgen, or -parallelen, G, Par-
allel fifths. Quinten-zirkel (tser-
k«l), G, Circle of fifths. Vide tem-
perament, qaintea-rein (rTn), C7.
'•Pure in fifths," used of bow
instrt.
quinter (k&n-ta), F* To sing in qui-
nible.
quiater'na, /., quia'terae, E, Old
Italian lute with 3 or 5 pairs of gut-
strings, sometimes also 3 single
strings covered with wire.
qtiinti(e)ren <kven-te'-r£n), G. To
overblow and sound the twelfth.
quintoier, or quintoyer (kwen-tw&-yA)^
F, I. To sing in quinible. 2. To
overblow and sound the 12th.
quintet, E., Quintet!'. G,, quin-
tette (kw^n-t^t), F,, quinta'to,/. A
five-part composition.
Quintole (in E, quYn'-tdl ; in G, kv6n.
to-l<). Quintuplet.
quinton (kwen-tdh), F, t. The 5-
stringed treble viol. 2. The tenor viol.
quintuor (kwen-ttk-dr), F, Quintet.
quintu'plum, Z. Vide triplum.
quin'tuple. Five-fold.
quin'tuplet. A group of five equal
notes.
quin'tus, Z., or quin'ta. A fifth part
in compositions; as it occasionally
wandered from one voice to another
it was called q. Tagans.
quinzifcme (k&nz-y^m), F. Plfteenth.
quire. Choir. qui'rister. Choris-
ter.
quodlibet, or quotlibet, L. *'What
(or *' as manv as *') you please." i.
A comic inedley, without connecting
links. 2. A charivari.
Qui tollis, Z. ** Who takest away (the
sins of the world)." Vide gloria.'
quitter (klt-ta). F. To leave.
Qno'niam tu 90'lus, Z. ** For Thou
only (art Holy)." Part of the Gloria.
R
RAbbr. for 1. Fight, as r. 4.,
right hand. 2. Ftsponsorium
{r.g.z=r, GraduaU) in Catlio-
lie music 3. Fipttno, 4.
Clavier de ricit (swell-manual). In
organ music.
raban', raban'na. Hindu umbourine.
rabbia (r&b-be'-a). Mad rage, fury.
rab« (ra-ba'), rabel', S(. Rebec.
raccontan'do, Z As if relating or de-
scribine.
Rackett , Rankett', (7. i. An obsolete
bombard with manv curves in its
tube, and a weak voter. Made in five
sizes, it was simplified as the R. fa-
gott by Denner. 2. A reed-stop,
obsolete.
raccourcir (r&k-koor-ser'), F, To
abridge.
racier (rft-kli), F. To saw, and
scratch, hence racleur (rft-klar). A
bad fiddler.
raddolcen'do, raddolcente (rid-ddU
chdn'-t£). Growing softer and sweet-
er, raddolcito (che'-to). Pacified.
raddoppiamen'to, Z i. Doubling, as
the notes of a chord. 2. Multiplying
copies. raddoppiato (pi-a-to).
E>oubled.
Radel (rr-d£l), G, A solo with chorus.
radiating. Used of a fan-shaped
pedal key-board.
radical. Fundamental. Vide CA«
DENCK.
Radleier (rSt'-ll-ir), G. Hurdygurdy.
Radlmaschine (ratUm&.she'-nd). Valve
mechanism.
ras^. The clog dance of the American
negro, perhaps related to the Spanish
verb raer^ to scrape. The music
has some resemblance to the Aba-
nera in spirit and syncopation, but is
in 4-4 time and of an hilarious char-
acter, hence the verb to rag, and
ragtime music in this style.
ragg^one (rad-jo -nd), Z Proportion.
rap^'ke. Small Russian horn.
rake. A s-pointed device for ruling
off staves.
rail. Abbr. of rallentando.
DICTIONARY OF TERMS 249
tallentare (t&'-r^). To become slower,
hence rallentan'do (abbr. rail). With
gradually reduced speed, rallenta-
men'to. Retardation, rallentato
(ta'-to). Reurded. rallenta'te. Re-
tard !
/ang (rftn), F, Rank.
ranee. Compass, as of a voice.
rank. A row of pipes belonging to one
stop.
rant. An old country-dance ; a reel.
rans des vaches (rslh-da-vilsh), F,
*' Calling of the cows." A Swiss tune
sune or played on long horns by
herdsmen.
rapido (ra -pe-do), rapidamen'te, /.
Rapid(ly). rapidity (rfl-pe-dl-ta).
Rapidity.
rapsodie (rflp-s6-de), F, Rhapsody.
rappel', F. A military call.
rasch (rash), G, Fast, rascher. Faster.
raaend (ra'-z£nt), G. Raging, hence
Raaegesang^, and Raselied (ril'-zd-
let). Dithyramb.
rasgado (ris-gft'-dho), Sp. ** Scrap-
ing,*' hence in guitar playing, sweep-
ing the strings with the thumb to
produce an arpeggio.
rast'ral, ras'tram. Vide rake.
Riithselkanoo (rat'-z«l-ka-ndn), G.
Vide CANON.
ra'tio. Used of the relative value of
vibration-numbers.
rattenen'do, rattenuto (noo'-to), /.
Restraining, or restrained, i.e., re-
tarded.
rattesza (rdt-t«d'-zS), /. Speed.
raaco (ral'-oo-kd), /., rauh (rttw), ^.,
ranque (rok), F, Harsh, hoarse,
rough, raucedine (rd-oo-ch£-de'-n^),
/. Harshness.
Ranacher (row'-shfr), G. The rapid
repetition of a note.
ranach' (rowsh). G* Prefix denoting a
stop of 3 ranks sounding the twelfth
and fifteenth, or fifteenth and oc-
tave twelfth ; hence Rauschfldte,
-pfeife, -quinte, -werk; and also
Ruazpipe (roos'-pe-pe).
rayanaa'tron. A primitive violin with
one or two strings, claimed by the
Ceylonese as the mvention of a king
who reigned about 5000 B.C. It is still
used by the Buddhists.
rav(v)ivare (va'-re). /. To accelerate,
hence, rayivan'do. Accelerating.
rayiyato (va'-to). Accelerated.
ray. Name for re, in the Tonic-Sol-fa.
re (rft), /., v€ (ra), F. i. Vide solmi-
SATION. 2. In France and Italy, the
note D.
rebab, Arab, Rebec.
re'bec(k), rebec'ca, re'bet, rebed, re-
bibe, re' bible. Old £. An early vio-
lin with 3 gut-strings. Its origin has
been credited to the Moors, who are
said to have brought it into Spain ;
it has been claimed that the Spanish
gave it to the Moors ; it has been
also derived from the British Chrotta,
or crwth.
re'al. Vide fugue.
recension (ra-sfths-ydn), F, An ana-
lytical editing.
rechange (rfl-shanzh). "Change."
Hence, corps (kor) or tons (tdn) de
r. Crooks.
recheat'. A hunting recall.
rccht(e) (r«kht(«)). G, Right, as r.
Hand.
r^cit (ra-se), F. i. Recitative. 2. A
solo part. 3. The chief of several
parts, clayier de r. (kUv-ya dtt).
Swell manual on the organ.
recttado (ra-the-ta -dha), Sp. Recita-
tive.
reci'tal. A musical performance given
entirely by one performer, or from
one composer's works. Said to have
been initiated by Liszt in 1840.
recitao'do, recitao'te, recttato (ri-
che-ta'-to). In recitative style.
r6citant (ra-se-tan), Recitante (ra'-
tse-t^nt), F. A man (or woman) soloist.
recitatiye (r^s-t-ta-tev). E., recttatif
(ra-se-ta-tef), F., Recitatiy (ra-tse-
tS-tef'T, 6'., recitatiye (ra-che-ta-
tc'-v6), /. Musical declamation or
recitation, as opposed to strict melo-
dy. It usually aims to be a sort of
musical colloquialism. In modem
form it began in the first operatic
works of Peri (vide B.D.). and the
others ; it was more or less a sing-
250
THE MUSICAL GUIDE
fong declamation with an accompa-
niment consisting of occasional chords
to keep the singer on the key ; it was
welUcalled "dry." or reciUtivo sec-
co, or parlantey and the accompani-
ment was indicated merely by figured
bass. This accompaniment was grad-
ually elaborated into the recitatiyo
stromentato. "Instrumented," or
«ccompas^atO| or con accompa*
gnameato or obbliy^to (in F, ac*
compass 6, or oblig;^). In later
opera, particularly Wagner's, the
whole musical structure is inclined to
be in recitative with a descriptive and
complicated orchestral background.
Recitative is usually delivered at the
singer's pleasure except when spe-
cially marked a tempo,
reciter (ra-se-ta), F, To perform a
recit, or solo.
reel' ting note. That tone of a church-
mode on which most of the chanting
is done, usually the dominant.
record. Old £. To play the rec-
ord'er. An obsolete flageolet with 9
holes, one of them covered with gold
beater's skin, compass a octaves
r-f".
recreation, r^ci:6ation (ra-kra-fts-
ydn), F. A light composition.
rec'te et re'tro, L. Forward and
backward. Vide canon.
rec'tus, L. Similar (of motion).
reddi'ta, redita (ra-de'-ta), /., redlte
(rii-det), F, A repeat.
redondilla (ra-don-del'-ya), Sp. Roun-
delav.
redouD'led. Compound (of an inter-
val).
redoublement (rii-doob-lii-man), F,
Doubling.
red'owa, redowak', redowazka (ra-
d5-vats'-ka), BoAemian, A dance in
lively 3-4 time ; in the Bohemian
form 2-4 time is also employed.
redublicato (ra .doob-U-ka'-to), /. Re-
doubled*
reduciren, reduziren (ra-doo-tse'-r^n),
C, r^duire (ra-dwer), F. To ar-
range or transcribe a comix>sition in
a smaller form. Hence, such con-
densation is called reduction, £.,
reduction (r&-dttks-y6n). F>, Re-
duktion (rMook'-tsl-dn), (7., ridu-
zione (re-doo-tsl-o'-n^), /.
redoc'tio, L. Reduction (of a mode
to its original key).
red-note. Vide notation.
reed. Originally a thin and elastic strip
of cane, now made of other fibres and
of metal. It is fixed in an opening
by one end ; its free end is set in
motion by the breath or by a current
of air, and transmits this vibration
with musical effect to the column of
air in the main tube, to which it serves
as a sort of quivering valve. The
human larynx has a membranous
reed, and the lips of horn-players
serve the same purpose, the tone
being determined by the tension of
the lips and the length of the instru-
ment. Vide EMBoucHURK. free-
reeds vibrate without striking the
edges of their sockets. Those which
strike the edges are called beatin|f
(impinging, percussion, or strik-
ing) reeds. They are used in the
organ for brass effects. Some instrs. ,
as the oboe and bassoon, have 2 reeds
which strike each other, and are called
double. Reeds are usually tuned by
a sliding wir^ by which the vibrating
portion is shortened or lengthened.
reed-instruments. A general name
for those employing the reed mechan-
ism, particularly the oboe and clarinet
groups of the orchestra.
reed-pipe, r. stop, r. work. Refer to
the pipes and stops of an organ which
employ reeds.
reed-organ. Originally, a small port-
able organ called the regal, or a pair
of regals (if it had 2 pipes for each
digital). This small instr. which
could sometimes be folded up like a
book or Bible [hence Bibel-regall
(bc'-b*l-ra-gal)], employed beating
reeds, in the pipes. In 18 10 Grenie
inv. what he called the orgue ex-
pressif, because he could swell and
diminish the tone. In 1843, Debain
developed the /farm^niumt which
DICTIONARY OF TERMS 251
possessed several stops. The air
pressure is usually applied by pedals
worked by treadles; with levers,
worked by the knees, to produce a
swell. The Ameritan Organ (q. v.)
employed a suction mechanism. The
VocalwH returns to the harmonium
^le with elaborate improvements.
There arc many other instrs. which
differ chiefly in name (rom the typical
reed-organ.
r«el. A lively dance usually in 4-4
(sometimes 6-8) time, perhaps of
Scandinavian origin, but chiefly pop-
ular in Scotland. It is danced by 2
couples. The Virgiaia reel of
America is danced by 2 long facing
lines, the men on one side, and the
women on the other.
refrain'. A burden, or stanza, repeated
at the end of each new stanza of a
song.
Re'g^ (in G. ri'-giU), regale (rft.gftl),
F, I. Vide RKED-ORGAN. 2. An
okl sniBx indicating a reed-stop. 3.
An otMotete xylophone.
Res«] (rft'.g(^l), G. Rule.
re'S^nschori, L, Choirmaster.
Retina cot'li, Z. ** Queen of Heav-
en." A hymn to the Virgin.
Register (r«jMs-t«r in E,; in G. r&.
J'is'-tifr). I. The handle or draw-
[nob which bears the name of a stop.
Hence, 2. A complete stop, or the
set of pipes controlled by a single
draw-knob. Accordingly register-
tn^ and registration are the act or
art of bringing into play and com-
bination the different stops of an
organ. Regis'ter-knopf (knopf), G,
Draw-knob. R.-stange (shtang>|B).
Stop-lever. R.-sug (tsookh). The
mechanism of the draw-stop. Speak-
ing stops (R.-stimmen, or t6nende
R«) are distinguished from mechanical
stops, stmnme (shtoom'-mS) R. 3.
A frame through which trackers run.
4. A distinct section of the tone-qual-
ity of a voice or tnstr. Vide voice.
rspstre (rft-zh^t'r), F,, registro(ril.
jes^'tro), /. I. A stop-knob. 2. Vide
MSGISTER (4).
regi8tri(e)ren (ra-jes-tre'-r^n), C7.
To register. Registri(e)ting (tre'«
roongk). Registration.
rfcgle (r«gl), F., regoia (ra-go-la), /.
Rule.
reg'ula, L, i. Register. 2. Rule.
reg'ular. x. Strict (of fugue). 2. Sim«
liar (of motion).
regiila'tion. Adjustment of touch.
Reigen (ri'-gdn), or Reihen (r1'-«n),
G, A circular dance.
rein (rfn), G, Pure, perfect (of inter*
vals), exact, hence reiog^eifea (gri.
fCn). To play accurately.
Reiselied (ri'-ze-let). C. Traveller's
or pilgrim's song.
Reitertrompete (ri'-t^r-trom-pa'-t^,
G, A clarion, obsolete straight trum*
pet 30 inches long.
reta'ted. Vide relation.
rela'tion (in F. rtt-lfts-yoA), rela'tio,
Z., relasione (ra-lats-T.d'-n«), /• The
aflinity of keys based upon the sim-
ilarity or identity of certain chords.
Upon key-relationship the whole sub*
ject of harmony and modem counter-
point is largely based, and upon this
split hair more great theorists jostle
than there were angels dancing upon
the needle-ix>int of the old monkish
dogmatists. In a liberal sense all
keys are closely related. For pur-
poses of distinction those kejrs are
said to be r elated {fltiendant^ accessory^
or auxiliary) which have one or more
chords in common. The most nearly
related (or least remote) keys to any
key are those founded on its dom-
inant and subdominant (as the keys of
G and F are most nearly related to
the key of C), also the absolute and
relative major and minor (as c minor
is the absolute minor of C major
while the relative minor to C major is
a minor, which has the same signa-
ture), false-relation, or rela'tio non
harmon'ica. Vide false.
relative key, E,, mode-relatif (mdd-
rtil-a-tef), F,, tone relative (te'-v6),
/. I. The relative key to a major i**
the minor key whose tonic is a minor
third below. The relative major of a
252
THE MUSICAL GUIDE
minor key has its tonic a minor third
above. Vide relation.
relig^io'so (ra-Ie-jT-d'-s6), /., relig^-
osamen'te. Solemn(]y), devout(ly).
relish. An old grace (q. v. ).
remote'. Unrelated. Vide relation.
remo'tu8,-a, L. Remote ; open (as
harmony).
remplissare (raA-plTs-sazh), F. i.
*' Filling, ' as the inner parts of a har-
mony. 2. Padding. 3. Cadenzas, and
bravura passages.
rentr^e (ran-tra), /*. Re-entrance (of
a part).
renyerser (raft-v^r-sa), F, To invert,
hence reayers^ (r&n-v£r-sa). In*
verted, renyersemeot (v€rs-miln).
Inversion.
renyoi (rafi-vwa), F, A repeat ; a
sign of repetition.
repeat. A sign indicating the repeti-
tion of certain measures — marked by
two or more dots in the spaces be-
tween the lines, before "(or after) the
double bar, which indicates the end
(or beginning) of the portion to be
repeated.
repeating, i. Of action in which the
hammer rebounds quickly enough to
permit a rapid reiteration of the tone.
2. Of mixed stops whose overtones do
not keep always the same height
above the pitch, but sound an octave
lower, as the pitch rises.
repercus'sa (vox)^ L. A "repeated
tone.'* I. In neumes the notes called
H-, di-^ or tri, 2. In Gregorian music,
the principal note of a mode.
repercus'sion, repercus'sio, L. i.
Repetition, of a chord or note. 2.
The reappearance of the subject of
the fugue after the exposition. 3.
The dominant of a church-mode.
repeti(e)ren (r&-pli-te'-r£n), G. i. Vide
to BREAK (3). Hence repeti(e)ren-
de Stimme. A mixture-stop with a
break. 2. To repeat.
Repeti'tion (in (7. ra-pa-te'-tsY-on). t-
The rapid repeating of a note or
tnord. 2. (In G* Kepetions'me-
cha'nik). Vide repeating (i). 3.
Vide BREAK (3).
r^p^tition (ra-pa-tes-yon), F, i. Re-
hearsal. 2. Repetition.
r^p^titeur (ra -pa -te-tttr'), F.^ repet-
itore (ra-pa-te-to -rd), /. Trainer of
an opera chorus ; the rehearser.
repetizione (ra-pa-te-tsl-d'-nd), re-
petimen'to, /. Repetition.
replica (ra'-ple-ka), /. A repeat ; rep-
etition, hence replicato (ka -to). Re-
peated ; doubled.
replicate. l*he octave of a tone.
Replik (ra-plek). Complementary in-
terval.
r^pliqne (ra-plek), F, i. The octave
of a tone. 2* The answer of a
fugue. 3. Complementary interval.
4. Cue.
replj. Answer (of a fugue).
r^pons (ri-p6n), F. Response (1).
rdponae (ra-p6ns), F^ Answer.
report. Answer.
repos (ra-po), F. Point of repose, fol-
lowing a cadence.
reprise (re-prfz), E. The reappear-
ance of the first theme of a sonata or
symphony after the development.
reprise (rd-pre^), F, i. Repetition. 2.
Vide REPRISE. 3. Reappearance of
a theme. 4. Vide break (3). 5.
Revival of a work.
reprendre (ril-prandr), F, To re-
sume.
Requiem (ra -kwl-^m), L. The first
word and title of the Mass for the
Dead (missa pro tUfunetis), Begin-
ning '* Hfguitm teUrnam dona eis^
domine^' 'West eternal, grant them.
Lord." The requiem is divided into
the introit, kyrie, gradual (with tract-
us, " Absolve y^ and sequence ** dUs
trie"). Offertory, *^ Domine Jesu
Christe '*/ Sanctus, and Benedictus ;
Agnus Dei ; and Communion ** Lux
aUrna*'*
research'. An improvisation used
as a prelude to a composition and
made up of its chief theme.
res'eryoir. The portion of a bellows
in which wind is stored.
resin (r£z'-Tn). A refined gum applied
to the hair of the bow to improve its
grip on the strings.
DICTIONARY OF TERMS 253
retolu'tion, resolution (r&.z5-las-ydA),
F., resolu'tto, L., resoluzione (r&-
sd*loo-tsT-o -nd), /. i. Firmness, de-
termination. 2. The dissolving of
dissonance into concord ; the satis-
faction of the mental demand for that
partial repose found only in conso-
nance. Dissonant tones are generally
resolved by progressing half a tone or
a whole tone down or up.
res'onance, £., Resonanz (ra-zo-
nants'). G. The sympathetic response
of a vibrating body to its own partic-
ular tone or tones, under the impul-
sion of vibrations received from
another vibrating body sounding the
same tone or tones. Thus if one
sounds the note a' on a violin, a tun-
ing fork of the same pitch will give
forth the same tone spontaneously, as
also will a piano with the damper
pedal down ; a pane of glass or a
loose plate of metal of the proper nat-
ure will also reply ; furthermore each
partial tone will be affected similarly.
This acoustic fact is ^ised for the re-
inforcing of tones ; as cavities of air
and sheets of wood have this same
property of resonance to all the tones
and partials which they themselves
contain. The violin, etc*, employ
a hollow space called the rtsonance
box, or Resonanzkasten, G. Cer-
tain old instrs. used a sympathetic
string or Resonanzsaite, G, The
piano, etc., use a resonance board,
oxsound-^ard^ Resonanz'boden, G.
respiro (ra-spe'-ro). /. ** A breath " ;
a sixteenth rest.
respond'. A psalm (or part of one)
sung between lessons at canonical
hours.
response', /:.,respon'sam,Z. , respon*
sio'ne, respon'so, /. i. The reply of
choir or congregation to a phrase read
or chanted by a priest or officiant, in
R. C. and Episcopal churches. 2.
Responsory. 3. The answer in fugue.
>iipon'sory, E,, responso'rium, L, i.
The psalm or portion of one sung be-
tween Missal lessons. 2. The gradu-
ale. 3. A respond.
responsivo (ra-spon-s^'-vo), /. Re-
six)nsive(ly).
resserrement (rfis-s^r-mfifi), F. Stret-
to.
ressort (rfis-sor'). F, Bass-bar.
rest. I. A period of rhythmic silence,
the tempo continuing to be counted
passively. 2. A symbol indicating
such rest. The rests are usually
named according to the portion of a
measure they occupy, as \tth rest ;
sometimes being called after the note
which has the same duration, as
quarter-note rest^ breve rest. They
may be augmented by dots and may
extend beyond the limits of one meas-
ure, as the four-measure rest. Vide
SIGNS AND SYMBOLS, large-rest,
long^-rest. Vide notation.
restric'tio, Z. Stretto.
result'ant. Used of secondary tones
formed by the combined vibration
of two independent tones. Vide
ACOUSTICS. When sounded together
they produce a difference tone or dif-
ferential tone whose vibration equals
the difference between theirs ; also a
summational tone whose vibration is
the sum of theirs.
Resurrez'it, Z. **And rose again.**
Part of the Credo. Vide mass.
retard', i. To diminish the velocity.
2. To suspend and then resolve up-
wards, hence retarded profjession,
• or retardation, retaraa'tio, Z. i.
A suspension resolving upwards. 2.
A decrease in velocity.
retraite (rtt-trSt), F. Retreat, tattoo.
ret'ro, Z. Backwards. Vide canon.
ret'roerade, retrop^ra'dus, Z., retro-
g^aoo (ra-tro-gra -do), 7. Vide IMI*
T ATI ON.
ret'to, Z Direct, similar. Vide mo-
tion.
r^veil (ra-v«'), F., reTeille (rfl-va'-ytt,
in E, ri-vdl'-yd. In the American
army r*v-g-le, in G, ra-fil'-l^X.
" Awakening," the first morning mili-
tary signal. In old E, reTeil', or
revel'ly.
rev'erie. A contemplative comoosi-
tion.
^54
THE MUSICAL GUIDE
Mrerstd. Contrary (of motion), re-
▼er'sloQ. Retrograde imitation.
r«TOtce. To tune an organ-pipe.
rf., rfs. Abbr. for Rinforzando.
r. h. Abbr. for right hand.
rhaptodie (rftp-s6-de'), F. and ^.,
rnap'sody, i?. " A song of patches.*'
In ancient music a fragment of an
epic poem, sung by a minstrel or
rhapsode, or rhapsodist. In modem
music a brilliant composition which
combines the idea of a medley with
the acquired idea of great joy or ec-
stasy.
rhythm, ^., rhyth'mus, Z. (in G,
ret'-moos), rhythme (redhm), F. The
** flow " and undulation of progres-
sion, marked by the rise and fall of
stress and duration. The arrange-
ment of accented and unaccented,
and of long and short sounds.
Rhythm usually follows some pattern
which is repeated with more or less
variation through an entire movement
or composition. Rhythm might be
called the melody of monotone. It is
distinct from melodic or harmonic
progression, and can be vividly shown
on such an instr. as the drum, and it
can be written on a single line with-
out reference to pitch. The rhythm
sometimes is so complicated that it is
not completed in less than a musical
period, vide form ; but it is usually
based upon a fundamental series of
pulsations that can be expressed with*
m the limits of three or four or nine
beats. These are accordingly taken
as a unit and grouped within the
limits of a measure^ and cut off
by two bars; the first bar being
placed before the strongest accent of
the group, the second after the weak-
est. Time may be expressed by the
regular swing of a balton ; rhythm em-
bellishes this biton pulsation, and
taually coincides with it in accentua-
tion, except in a syncopated rhythm.
rhTthmique (redh-mek), F,, rhjrtb-
misch (ret'-mtsh), G, Rhythmical,
ribattuta (re-b&t-too'-tii), /. ** Restrik-
ing.** The slow beginning of a trill.
ribe'ba, ribeca (r«-ba -kl), /. Rebeck,
ribbechino (ke'-no). Small Rebeck.
ribs. The sides connecting back and
belly of violins, etc.
ricerca're, ricercata (re-ch£r-ki'-ta),
/., ricercar (re-ts£r-kAr'), G,
• * Searched out, " cf . r/cherck/. Used
of compositions or passages, usually
of fugal form, and employing all the
resources and learning of the com*
poser. Vide fugue.
richiamare (re-kT-fi-m£'-rl$), /. To
imitate the Kichia'mo or bird-calL
ricordansa (re-kdr-diin'-tsi). /. Rec-
ollection.
riddo'ne, /. A roundelay.
rideTolmente (re-da -Y5l-m^n'-tQ, L
Laughingly.
ridicolosamen'te, /. Ridiculously.
rid'dle-caaon. Vide canon.
ridot'to, /. I. Reduced (cf. reduciran).
2* A reduction.
ridasione (re-doo-tsY-d'-n<), /• Ar-
rangement, reduction.
Rieaenharfe (re'*z£n-hiU--fQ« G* i£o»
lian harp.
rifiormeato (re-fl-dr-m^n'-ta). /• Or-
nament.
rigra (re'-gi), 7. Staff.
ri^abel'lo, /., rig^aberittin. Z. RegaL
rigadoon', £.^ rigaadon, ns^odoa (re-
go-don), F, A lively and humorous
dance of Proven9al origin, and con-
sisting of three or four reprises, the
third in a lower position. The ttme
is usually 4-4, with an uptake of a
quarter note.
rig:als, ri^ol(e)a. Regals.
rig^ore (re-go-r^), /. Rigour, exact-
ness of tempo, ri^ro'so. Exact.
rilaaciando (re-lfi-shsln'-do), /. Re-
taxing the speed. rilascian'te.
With reduced speed.
rikk. Egyptian tambourine.
rilch (iUsh), ril'ka. Russian lute.
rimett. Abbr. for rimettendOy /. Re-
tarding.
rinforzare (rtn-f6r-tsa'-r^, /. To re-
inforce, emphasise. rintorsamen'tOa
rinforzo (fdr'-tsd). Reinforcement,
rinforzan'do, -a'to. Suddenly rmt
phasised and accented.
I
a^m
DICTIONARY OF TERMS 255
Ring^eliMLnke (tYng'-^I-pow-k^), G, A
rattle with rings on bars.
Ringeltans (ring'-^l-tants), G. Circu-
lar dance.
ripercustio'ne, /. Repercusston.
ripetisione (re-i^-te-tsi-5'-ne), ripet*
itura (too'-rfi), /. i. Repetition. 2.
Refrain.
ripieno, pi. -i (r<-pe-a'-n5[e]), /.
'• Filling.^* I. Used of a part or an
instr. which merely strengthens and
rounds out the harmony, as opposed
to so/o or concertanU. 2, Used in
scores to indicate the entrance of the
full band. One who plays a ripieno
(in G, Ripienstimme, rg-pY-an-
shtTm>mQ is called Ripienist, or rt-
pienis'ta. 3. A mixture-stop called
ripieno di due^ tre^ quatlro or cinque^
according as it has 3, 3. 4. or 5 ranks.
ripieoino (ne'-n5). 4-ft. stop.
ripigliare (re-pel>yft'-r«), ripren'dere
(pr«n'-d5-r5), /. To resume, hence,
npig^Un'do, riprenden'do. Rcsum-
infi^. ripiglio (re-per-yo). Reprise.
ripo 80, /• Repose, hence riposa'to
(z&'-td), reposatamen'tt. Repose-
ful(ly).
ripresa (r€-pr&-2ft), /• i. Reprise.
2. Repeat 3. The repeat mark.
risentito (r«.s«n.tr-to), /. With en-
ergetic expression.
risolttzione (re-zo-loo-tst-6'-n2), /.
Resolution, i and 2. risoluto (loo'^
t5), risoltttamen'te. Decided(ly),
cnergetic(ally).
risonanza, risuonanza (re-soo-o-n&n'-
tsa), /. Resonance.
ritposta (res-spd'-sta), /. i. Conse-
qucnt. 2. Answer in fugue.
Riss, G. '* Gap," between registers.
ftttret'to, /. Stretto.
risvogUato (res-val-yS'-t5), /. Ani-
mated.
fit, ritard. Abbr. for ritardando (rS-
tir-dfin'-d6). Retarding gradually.
ritardato (d&'-to). Retarded, ri-
tar'do, -azio'ne. Retardation.
dten. Abbr. for ritenuto (re-t&-noo'-
t5). /. Immediately slower, to be
distinguished from ritardando and
lallentando as well as from riteneo-
do, and ritenen'te, which refer to
gradual retardation.
ritmo (ret'-mo), /. Rhvthm. r. di
due (tre) battate (de doo-a-bfit-too'-
tft). Rhythm in 2 (or 3) measures to
the beat, not in duple or triple time,
which means 2 (or 3) beats to the
measure. ritmicOk Rhythmic.
ritornare (re-tor-n^'-r^), /. To return.
ritoman'do. Returning, ritoma-
to (fi'-to). Reverted.
ritorner, ritornel'lo, /., ritour-
nelle (re-tobr-n^I'), ritonielle, F,
I. A burden or repeated portion, such
as the instrumental preluda, inter- and
post-lude of a song, sometimes called
the symphony. 2. The tutti parts in
a concerto. 3. A repeat. 4. A
burden, or refrain.
liTer'so, riverado (r€-yj!r^.shA), /
I. Reversed. 2. Retrograde.
riTOslimento (re-vdl-y1-mln'4d). /.
Inversion or transposition, in coun-
terpoint rivoltato (re-voUti'-to),
riyolto (re-vdl'-to). Inversion.
robuBto (rO-boos'-td), /. Robust. Vide
TENOR, robnstamen'te. Firmlv.
roccoco, rococo (r&-ko'-k6), /. C3ld-
fashioned, eccentric.
rock-harmon'icoti. A graduated series
of rock crystals played with ham-
mers.
Roger de Coverley. Vide Sir R. db
C.
Rohr (ror), pi. R5bre (ra'.r«), G, i.
Tube. 2. Reed, usually R.-blatt
reed of oboe, bassoon and clarinet.
R.-fldte. ** Reed-flute'* a half-cov-
ered 4, 8 or t6 ft flue-stop. R.-
BChelle (shdUl^). The same stop in
I or 2 ft. pitch. Doppelrohrflote.
One with double mouth. R.-qoint.
One sounding a fifth above. Rohr-
werk. The reed-stops.
roU(r61),^., rollo(rdr.l6)./. i. The
trill on drum or tambourine, produced
on the kettle-drum by rapid taps with
the two sticks ; on the side-drum with
two taps with the left stick, then two
with the right ; on the tambourine
with the knuckles. 2. long r. (a)
Battle or rally signal for trooot. (b)
?^
THE MUSICAL GUIDE
Swift arpeggio on the organ, rollan'*
do. Rolling.
Rolle (r61'-l€), G. Rapid up-and-down
passages of one figure.
roller, i. A 2-armed wooden bar on
gudgeons connecting two trackers,
one to a draw-stop, one to a valve,
usually roller-board. 2. Cylinder of
music-box or carillon.
itoman. i. Used of the school of
Rome from Goudimel and Palestrina
to the 19th century. 2. Of strings
made in Italy.
romance (in K ro-maAs), romansa
(ro-man'-tsa), /., Romanze (ro-m&n'-
ts£), C romaunt, Old E» i. A
composition of romantic character, as
r. sans paroles^ a story without words,
2. In F, a love-song.
fomanesca (rd-ma-nas'-ka), /., romaii-
esque (rd-m&n-^sk). The galliard.
SOman'tic, romantique (r5-maii.t£k),
romansesco (tsas'-ko). A term much
fought for and much evaded. In
general, it means the striving after
individuality, novelty, and personality
of musical expression as opposed to
the repetition of classic forms — ^the
reaction of the molten against the
mold. As every generation tries to
modify, assimilate and re-spin the art
of the preceding, and always meets an
opposition from the schoolmen and
• conservatives, the word really means
little more than ** modern."
Rome, prtx de (pre da rom), F. i. A
stipend granting four years' study in
Rome, annually awarded by the
i«rench government to competing
pupils of the Paris Conservatoire.
This is the erand prix (gran pre),
the second (stl-koA) being a gold
medal. 2. Stipend awarded every
other year by the Bnissels Cons.
romera (ro-ma'-rS). A Turkish dance.
Romanusbuchstaben (ro-ma'-noos-
bookh'-sht5-b«n), G. ** Letters of
Romanus." Vide LiTTKRi« signifi-
CATi€.
ro'mischer Gesang^, G.
Catholic plain-song.
ron'dat /. Round*
** Roman
«i
ronde (roAd), /*. A whole note.
rondel' lus. An early form of strict
imitation.
rondeau (ron-dd), F , ron'do(r6n'-d6),
/. and E, i. A form originally based
on a dance with alternating solos
(couplets), and chorus (rondeaux) ; the
form is characterised by a cheerful
humour. 2. In classic music a prin-
cipal subject preceding and interleav-
ing two episodes, with much variation
of key and many bridge-passages. 3.
The more modern form consists of
three themes with the first recurrent,
thus A-B-A-C-A-B and coda. Th«
second theme appears in the dominant
at first, finally in the tonic, giving
the Rondo a close relation with the
sonata formula. Vide form. A small
or easy rondo is called variously, r.
mis^non (men-yon), F,, rondilet'*
ta, rondinet'to, rondino (ron-de'-
no), rondolet'to.
rondeBa (rdn-dan'-ya), Sp, Fandango.
root. Fundamental tone of a chord.
rosalia (rd-za'-lT-£), Rosalie (rd-zS-le'),
C, I. A sequence (q. v.) advancing
a whole tone each time. 2. Music
consisting of cheap and trite sequences
and harmonies.
rose (in G. rd'-z£). rosa (r5'-za), /.,
rosette (r6-z5t'), F, The ornamental
border of the sound-hole of guitars, etc
rosin (raz'-Tn). Resin.
Rostral (ros'-trfil), G. A music-pen.
rote, £., rota, rot'ta, /., Rot'te, G,
**\Vheel.'* I. Canon, round. 2.
Rondeau 3. Hurdygurdy.
rotondo (ro-ton'-do), /. Round, full.
rot'to, /. Broken, interrupted.
ro'tula. A small round or carol.
roulade (roo-Ud). F, A florid passage,
division, a grace.
roulement (rool-min), /*. A roll.
round, i. Popular form of canon in the
unison or octave, without coda, and
with a frequent harmonic support or
pes. 2. A circle-dance, round o.
A rondo.
round'el, ronn'delay. A ballad of the
fourteenth century with a recurrent
refrain. Also a rinsr-dance.
DICTIONARY OF TERMS 257
^OTesciamento (r6-va>sha-m£n'-td) /.,
I. Reversion. 2. Inversion.
rovescio (rd-va'-sho), /. i. Retro-
frade. 2. Inverted. Hence, al r.
n inversion.
rua'iuu Hindu violin.
nibato (roo-bsl'-td). /. ** Robbed,*'
borrowed, used of a tempo whose
strict values are to be disreg^arded at
caprice, the long notes stealing time
from the short, etc. It should not de-
part so (ar from the tempo as to de-
stroy the sense of rhythm.
RUckiall (rak'-fall), G. Back-fall.
Rttck - positiv'. Vide positive.
Rttck'gmng. Return of the leading
theme.
RUckmig (rUk'-oongk), G, i. Synco-
pation. 2. Change.
Rttdenhorn (rtt'-d£n-h6rn). Vide hief-
HORN.
Riilirnilg(rtt'.roongk). G. Emotion.
Ruhepnakt (roo'-£-poonkt), G. Rest.
R. ttelle, -zeicoen. A pause, a
rest.
rnhig; (roo'-Ykh), (7. ' Calm, gentle.
R&hrtrommel (rttr'-). An old-fash-
ioned drum.
rule. I. Old name for tine. 2. In
music as in science, not an edict by
an authority, but a recorded observa-
tion by more or less qualified judges
of what has happened with some reg-
ularity before. It need not neces-
sarily happen always again. Vide
OCTAVE.
rnllan'do, rullante (rool-Un'-t^), /.
Rolling, tamburo r. Side-drum.
ran. I. A rapid flight of notes usually
in scales, used in singing on one syl-
lable. 2. Of air in an organ, to leak
from the wind-chest into a groove,
where it causes certain pipes to give
a faint sound called runnins^.
Rundgedicht (roont'-^d-dlkht). C7. i.
Rondo. 2. Solo with chorus. Also
R.-S^esang^.
rasae (rOs), F, Russian. & la r. In
Russian style.
Rnsspfeife, Ruszpfeife (roos'-pff-f^),
G.t ntispipe (rois'-pe-pd), Dutch,
Vide RAUSCHQUINTE.
Rus'sian baasoon. A deep- toned
military instrument.
Russian horn band. One in which
each horn plays but one tone.
rustico (roos'-tl-ko), /. Rural, rustic.
Rutscher (root'-sh^r), G» A galop.
ruvido (roo'-vi-do), ruyidamen'te, /.
Rough(Iy).
ry'mour. Old E* Minstrel
rythmei rythm^, f\ Same as rhythm
SAbbr. {dal ) stgno ; senta (/#^
dale) : sinistra; solo; sordino^
ipolti) subito,
sab(b)'eca. Hebrev; harp.
sabot <s&'-bd), F. i. A disk turned by
one of the pedals of a double-action
harp and carrying two studs which
engage and shorten the vibrating
portion of a string. 2. A cheap
fiddle.
saccade (s&k-k&d), F. A firm pressure
of the bow against two or more
strings.
sack'but, sag'but. i. An old instr.
resembling the trombone. 2. Trans*
lation of sabeca.
Sackpfeife (s£k'-pfl.f«), (7. A bag-
pipe.
sacque-boute (s&k-boot), F, Sackbut.
sa'cringr-bell. Small bell marking the
divisions of the Mass.
sac'rtst. Music librarian, and copyist
of a church.
sa'cred music. Religious music.
Saite (zi'-t«), pi. Saiten, G. String (s).
Sai'teninstrument. A stringed in-
strument. S.-chor. A group of
strings tuned in unison. S.*fessel,
or -halter. Tailpiece. S.«harmo'-
nika. A key-board instr. with diminu-
endo device, inv. by Stein, 1788. S.-
6rfl^el. A trichord piano with a fourth
Stnng for each note. This string is
fanned by a reed of the same pitch,
with leather head, thus obtaining a
sustained tone, capable of swell and
decrease. Treadles and bellows con-
trol this part of the instr., which may
rffl
258
THE MUSICAL GUIDE
serve as piano, or organ, or both, or
part of either. Thii instr. was inv.
by a Prussian, Karl Gttmt>el, 189a
S.-klAn|f. or -ton. The sound of a
stringy. S.-spieler. Player on a
stringed instr. taitig (zl'-tlkh).
Stringed.
taint's bell. Vide sacring*bell.
saramie. Oriental flute,
aalcional (sfll-sY.d.n&l). talicet (sA.lT-
sa). sali'cionell, salicional (sft-le'-
sY-o-n&l), F. A reed-stop of stringy
tone.
Salm (salm), C, salmo (sal'-mo), pi. i,
/. A psalm.
salmi (sal'-me), F. Quodlibet
Salon' fliig^el, G, Parlour grand piano.
Saloamntik or -stttck. Music for
the drawing-room.
aal'pinx. Ancient Greek trumpet.
aaltando (silUtaa'-dd), /. i. Proceed,
ing by skips. 2. With bounding
bow.
saltarella or (o) (sal-ta-rel'-lo), /. i. A
very quick dance, in 2-4, 6-8, or 6.4
measure with wide skips. 2. The
triple- timed, second part of a i6th
century dance in duple time (also
called Hop'ptliant (tants). Nacktant,
G. , proportion L. , tourdion^ F, 3. A
jack. 4. A (antus firmus with ac-
companiment of sextuplets.
aaltato (saUta -to), /. Springing. Vide
SALTANDO.
salteret'to, /. i. A rhythmic figure in
6-8 time, the first and fourth quavers
dotted.
salter(i)'o (sai-ta-rY-o). /.. Salteire
(zal-tr-r«), Saltirsanch (zal-ters-
Unkh), G. I. Psaltery. 8. tedetco.
Dulcimer.
salto (sal'-to), /. I. Leap, skip. 2.
Dance. 4i s, By skip.
SalVe Reiri'na, L, '' Hail Queen " ;
R. C hymn to the Virgin Mary.
saWarCe) (sill-va'-r«), /. To resolve.
salTation (sAl-vis-yon),. F, Resolu-
tion.
sambuca (s&m-boo'-ka), /., Sambat',
Sambiut (zam'-bY-oot), G, Word used
variously and ambiguously for vari-
ous medieval instrs., bagpipe, hurdy-
gurdy, etc sambucit'tria. One
who plays such an instrument.
Sammlung (zam'-loongk), G. Collec-
tion.
sampog^na (sam-pon'-ya), sampo'nia,
sampu'nia, /• i. A flageolet. 2.
Sambuca.
san'cho. A negro guitar.
Sanct'ut, L. ''Holy." i. Fourth
movement of the Mass. 2. Vide
SACKING.
sanit (zjlnft), G. Soft, mild. S.-js;e-
dackt. A soft-toned f topped pipe.
S.-heit. Softness, smoothness, gentle-
ness, sanftig^ (z^nf'-tYkh), tanfl'-
mttthig. Soft, gentle. S.-math,
S.-mttthig^keit (mU-tlkh-kit). Soft-
ness.
Sang^ (zang), G» Song.
Silng^er (z^ng .«r), G. Singer(s). S.-
bund (boont). A society or conven-
tion of singers. S.-Terein (f^r-ln).
Singers* union.
sangrrot (s£n.gld), F. '*Sob.** An
old grace in singing, an interjection.
■ans(sJiA), F. Without.
san'toral, 5^^. Choir>book.
santur'. A Turkish inst. , the psaltery.
saquebute (s&k-but), /^ Sackbut.
saraband (slr'-fl-b&nd), E,^ sarabaada
(sftr.a.biln'.d2), /., sarabande (sir-ft-
bind in F. ; in G. zl-r«-biln'-d€). A
stately Spanish dance, perhaps derived
from the Saracens, and danced with
castanets ; it is in slow 3-4 or 3-2
time, with the second note usually
prolonged through the second and
third beats of the measure.
sarrus'ophone. A double-reed instr.,
inv. by Sarrus, Paris, 1863. It is
made in 6 sizes besides a sopranino
and a contra -bass in Eb, and re-
sembles a bassoon in appearance, a
trombone in tone.
sartarella (or -o), /. A tarantella-
like dance in 6*8 time.
Sattel (zat'-t'l). G, Nut. S.-machea.
To use the thumb as a nut for pro-
ducing harmonics on the *cello. S.-
lag^e. Half -position.
Satx (zats), G* i. Theme or subject.
2. Phrase, half a period, the former
DICTIONARY OF TERMS 259
half bein^ the Vordersats, the sec-
ond, the Nachsatz. 3. Section of
a movement. 4. Movement. 5. A
composition. 6. Style, school, as
rainer S. Pure, strict style.
Mttn. Burmese harp.
■aut (s6), F, Skip, sauter (s6-ta).
To overblow, tautereau (sd-t^-ro).
Jack, san'tcrie, Old E. Psaltery.
sautilU (s6-te'.ya), F, Springing bow.
•anver (s5-vi). To resolve, saave-
ment (sov-mAfi). Resolution.
■aw'trj. Psaltery.
Sax (z2x). A prefix for the numerous in-
ventions or improvements of Adolphe
Sax, the Christopher Columbus of
metallic instruments, whose impor-
tance lies largely In the application of
a valve-mechanism to old natural
keyed instruments, saxhorn. An
improvement in various sizes on the
key-bu^le and ophicleide, used chiefly
in military bands except the tuba
(q.v.). Saxhorns are made in the
following seven principal sizes (va-
riously named), and are also made a
semitone lower than each of the fol-
lowing, the compass of each being
given in brackets :
Bugles h Pistons : i. Sopranino sax-
horn (petit saxhorn, petit bugle k pis-
tons, piccolo in Es. or eb, [range
a-b" flat]). 2. Soprano saxhorn (con-
tralto saxhorn, bugle-tenor, FlQgel-
hom in ^or B flat) [g-b" flat]. 3.
Alto saxhorn (Althom in Es.) E flat
[A-c"). 4. Tenor saxhorn (baryton
en Jib, Tenorhom in B, Bassflttgel-
hom), in B flat [E-b' flat]. Tubas or
bombardons: i. Bass saxhorn (tuba-
basse en ji'b, Basstuba, Euphonium,
Baryton, Tenorbass in B)\Vi B flat
[G ~b' flat], also made in C. 2. Low
bass saxhorn (bombardon en mi ^) in
E flat [G, flat-^' flat], also made in
F,. 3. Contrabass saxhorn (bombar-
don en XI b grave. Kontra basstuba)
in B flat (E flat— b flat], also In C.
sax'ophone. A keyed brass instr.
single-reeded and mouthed like a clar-
inet and combining in its tone that
of the *ceUo, cor anglais and clarinet.
It is a transposing instr. written in
the G clef, made in six sizes with two
keys to each, the compass being near-
ly three octaves : i. Sopranino or
piccolo or aigu in F and E^. 2. So-
prano in C and B b. 3. Contralto in
F and £b. 4. Tenor in Cand B^,
5. Barytone in F and E^, 6. Bass
in C and B^, Also saxofo'niay /.
tax'otromba. An instr. in seven *
sizes standing in tone between the
key-bugles, or saxhorns, and the
horns, sax-tuba. Vide saxhorns
( Tubas),
saynete (sa-e-na'-t£), Sp., aaynete
(s£-n<ft), F, Comedietta for two sing-
ers.
sbalso (sbal'-tso), /. Skip, sbalxato
(tsa'-to). Dashing.
■bar'ra, /. Bar. s. doppia. Double-bar.
scaenello (skSn-y^l'-lo), /. Bridge.
scala (sk&'-la), /. Scale, gamut.
scald. Scandinavian poet-musician.
scale. From the Latin /ra/a **alad.
der,** applied to the Aretinian syl-
lables, ut, re, mi, fa, sol, la. In
modern usage : I. The tones of any
key (q. v.) taken in succession up or
down according to pitch ; according
to Riemann a chord of the tonic
with passing notes, as r, d, /, f,
g, a, b, and r, those passing notes be-
ing chosen which lead most inevitably
to the next chord-note, chromatic,
diatonic, enharmonic, major,
minor, pentatonic, etc., scales, vide
the adjectives. Vide also modes. The
so-called German s. is a-h-c-d-e-f-
g ; '* b," being reserved for bb. Vide h.
natural or normals. That of the key
of C, which has no chromatics. 2, A
series of semitones in successive or*
der. 3. The series of tones belong,
ing to any instr. as a natural horn,
harmonic or natural s. The series
of over-tones (vide acoustics). 4.
A compass or range. 5 Dimensions
and proportions, as the s. of organ-
pipes, determined by the ratio of
diameter to height, a broad S. giv-
ing a broad, smooth tone, a narrow
8* giving a thin, sharp tone.
26o
THE MUSICAL GUIDE
scannet'to, scanel'la (ska>n£l'-ial). /.
Bridge.
tcemando (sh£*man'-dd), /. Diminish-
ing.
scena (sha'-na), /., sc^ne (s^n), F.^
scene (sen), E, The portion be-
tween the entrances of different actors,
hence a dramatic recitative usually fol-
lowed by an aria, often 8. d*entrata
or 4*entr6e (dah-tra). Kntry-song.
■cenic music. Dramatic music.
Schablonen (sh&p-lo -n£n), G. StenciU
patterns, hence S.*musik. Trite
and formal music. S.-haft (haft),
.n^caocmic
Sch&fer (shk'-f«r). G, Shepherd. S.-
lied (let). Pastoral song. S.-
pfeife. Shepherd's pipe. S.-taax.
Rustic dance.
schalkhaft (shilk'-haft), G. Sportive,
roguish.
Schall (sh&l), C7. Sound, ringing, res-
onance. S.-becher, S.-horn» S.-
stuck, or S.-trichter. Bell (of an
instr.). S.-becken, G. Cymbals.
S.-loch. Sound-hole, f.-hole. S.«*
Stab (sht&p). Triangle.
Schalmay, Schalinei(shar-mi), (7. i.
Shawm. 2. Chalumeau. 3. A reed-
stop.
Schansune (sh&n-tsoo'-n£), G, Chan-
son.
scharf (sharf), G, i. Sharp. 2. Acute,
of a stop.
schaurig (sho<v'-r¥kh), C7. Weird,
ghastly.
Sdiauspiel (show'-shpel). G, Dramatic
piece. Schauspieler. Actor.
Scheitholt (shit-holt), G. Marine
trumpet.
Schellen (sh^l'-M, G, Bells, jingles.
S.-baum (bowm). "Jingle-tree";
Crescent.
Scherz (shirts), pi. en, G., scherao
(skCr'-tso). pi. I, /. •• Jest." i. A
style of instrumental composition in
which humour prevails (though those
of Chopin are merely moixly and
whimsical;. Those of Beethoven,
the greatest master of this style, are
often hilariously funny and provoke
Vddible laughter. 2. A form devel-
oped from the Minuet and by Bee-
thoven and his successors generall}
substituted as the 3d (or 2d) move*
ment of the sonata (q. v.) or sym-
phony. The structure varies greatly,
but the time is usually triple, scher-
xan'do, scherzan'te, scherzevole
(tsa-vd-l$), scherzo' so, /., scherz-
h aft (shdrts haft), G, Sportive, mirth-
ful, scherzosamen'te, /. Gaily.
schietto (skY-dt'-to), schiettamea'te,
/. Simp(ly). schietezza (t«d -za),
neatness.
schisma (skiz'-ma'), Gr, A minute d«f.
ference between intervals. In ancie«t
music, equal to the half of a comnv!,
or the iSvh of a tone ; in modem
acoustics, the nth of a syntonic com-
ma (the diiTerence between the 3d
tierce of the 8th quint and the octave
of a given tone). Vide temper-
ament, QUINT, and TIERCE.
Schlachtgesang^ ( shlakht'- gd-zang ),
G» War-song.
Schlag: (shlakh), G. i. Stroke, blow.
2. Beat, impulse, schlagen. To beat.
Schiagfeder(fa'-d^r). Plectrum. S.*
instrument. Inst, of percussion.
S.-mani(e)'ren. The strokes in
down-beattne* S.«zither. The
common zither as opposed to the
bow-zither.
Schliig^el (shla -kh^l), G, Drumstic:. ;
hammer.
schlecht (shl^kht), G. Faulty, weak.
Schlechtertaktt(h)eii (shlekh-t«r.
takt-tfl), G, The unaccented part
of a measure.
schleifen (shlT'-fn), G, To slide,
slur. Schleifboffen (bd-g£n). Slur.
Schleifer (shll'-NIr). i. Slurred note.
2. Slow waltz. Schleifzeichen. Slur,
schleppen (shl£p'-p«n), G. To drag.
schleppend. Dragging.
Schlummer-lied (shloom -m£r-let), G.
Slumber-song.
Schluss (shloos\ G, i. The end. 2.
Cadence, also S.-fall, S.-kadenz (or
note). Finai cadence or note.
Schltissel (shlUs'-sSl), G. A clef. S.«
fiedel. Nail-fiddle. S. G. The note
/ occupied by the G clef. S.-sats.
DICTIONARY OF TERMS 261
A closing passag^e or movement.
S.-ttriche. Double bar. S.-zeich-
en. I. A firmate. 2. Double bar.
S.-reim (rTm). Refrain.
schmachtend (shmakh'-tent), G, Lan-
fi^uishing.
:nix
tcnmeichelnd (shml'-khSlnt), G, Coax-
ing, caressing.
schmelzend (shm^l'-ts^nt), G, Melt-
ing,
Schmerz (shm^rts), G, Grief, sorrow.
8.-shaft, s.-iich. Sorrowful.
Schnabel (shnS'-bdl), G, " Beak/'
mouthpiece. S.-fl5te. Vide flute.
8chiiarr(shn&r),(;. Rattle. S.-pfeifen,
or -werk. i. Reed-pipes, reed-work.
2. Regal. S.-tone. A series of
rough under-tones exactly paralleling
and drowning the overtones as in
a tuning-fork vibrating loosely on a
box.
Schnecke (shn«k'-«), G, '* Snail,**
scroll.
schnell (shnSl), G, Quick, rapidly.
Schnel'le, Schnelligkeit (shnei'.
iTkh-kit). Rapidity, schnel'ier, G,
I. Quicker. 2. Inverted mordent.
Schnell' walzer. Quick waltz.
Schollrohr (shol'-ror), G, Brass wind-
instrument.
Schottisch (shot'-tYsh), 6*., schot-
tische (A\ and F,, shfit'-tTsh). " Scot-
tish/' rather slow 2-4 time round
dance.
tchr&g (shrSkh), G. Oblique.
Schreibart (shrlp'-art), G. Style.
Schreiber. Music copyist.
schreiend (shri'-£nt), G. Screaming,
acute. Schreiwerk. Acute (mixt-
ure-stop).
Schrei'erpfeife. A sharp 3-rank mixt-
ure-stop in octaves.
Schrjan (shre'-a-re). G. i. An obso-
lete wind-instr. 2. Schreierpfeife.
tchrittmiis'tig (shrtt'-mSs-sYkh), G,
Andante.
■chub (shoop), G. Slide (of a bow).
Schuh (shooh), G, '' Shoe " ; bridge of
a marine tnimpet. S.-plattltana.
An Austrian clog-dance.
tchniftrommpet (shwlf- trom - p£t),
Dutch. Sackbut.
Schule (shoo'-ld), G, A school or
method, schulgerecht (ghd-r£kht).
Academic.
Schultergeige (shocl-t^r-gl'-khe), G.
Shoulder-violin.
Schutterfleck(shoos'-t£r.fl£k), 6^. Ro-
salia.
schwach (shvfikh). G, Weak,
■chwacher Taktteil. Weak beat,
schw&cher (shv£'.kh^r). Softer.
Schwiirmer (shw£r'-m£r), G, Rauscher.
Schwebung (shva -boongk), G. Wav-
ing. I. Tremulant. 2. Beat (of vi-
bration).
Schweige (shvl'-kh^). G. A rest S.-
zeichen. Rest-mark.
Schweeel (shv&'-khdl). i. A wind-instr.
2. A nue-pipe. S.-pfeife. A 4 or
8 ft. stop with tapering pipes.
Schweinskopf (shvlns'-kopf ), G, * ' Pig*s
head. " Used of the profile of a grand
piano.
Schweizera5te (shvl'-ts^r-fla-t^).
•* Swiss flute." I.Fife. 2. 8-ft metal
flue-stop. S.-basa. The i6-ft. stop
on the pedal. Schweizerpfeife. i.
4-ft. stop. 2. Old name of cross flute.
schwellea (shv«l'l£n), G. To swell,
increase. Schweller. The swell.
SchweUwerk. Swell - organ.
Schwellton. Messa di voce.
schwer (shvar), G, i. Heavy, pon-
derous. 2. Difficult. S.-niut(h)ig.
Melancholy.
Swie^el (shve'-g^l), G. Schwegel.
Schwtndend (shvln'-dSnt). Dying
away.
Schwingung (shvYng'-oongk), G. Vi-
bration.
scialumo (shal-00-md'), /. Chalu-
meau.
8ciiittUaiit(e) (s&fi-te-yiln(t) ia F. :
shen-tYl-lan'-t^ in /.). Brilliant.
scioltezza (shol - tdd'-2&), /. Ease
sciolto (shol'-to). I. Light. 2. Free
(of fugue), ■cioltamen'te. Easily.
scivolando (she'-vd-lan-dd), /. GUss-
ando.
scolia (sko -lY-li), Gr. Festive lyrics.
scordato (sk6r-da-t5), /. i. Out of
tune. 2. Tuned in an unmusical ac-
cordature.
262
THE MUSICAL GUIDE
ipcordatura (too'-rS), /., tcord'&ture,
E, The unusual tuning of an instr.
for special effects, as a violin b-d'-a'-
c" (PaganinI).
score. I. An arrangement of the parts
of a composition with bars drawn (or
** scored *) across all the parts to
connect the simultaneous measures.
full or orchestr&l S. One with a
stave to each part, voice or instr.
close, compressed, or short s. (a.)
One with more than one part on a
single stave, {b.) An abridged score
or sketch, piano 8. A compression
of score to two staves for the instru-
ments with two additional staves for
the voice, also Tocal s« The org^an s.
has a 3d stave for the pedal, sup-
plementary S. Staves pasted on
when the parts are too numerous for
the page. 2* As a verb, to arrange
for instrs., hence scoring^ is instru-
mentation ; score-reading^ or play-
injT, the mental transposition of the
different keys and clefs of a full score
into one key.
scorren'do, scorreTols (ra -vd-ld), /.
Gliding, flowing.
Scotch scale. Vide pentatonic.
Scotch catch, or snap. A rhythmic
peculiarity in tunes; as the placing
of an accented i6th note before a
dotted eighth note with a snapping
electric effect. It is a characteristic
of Scotch music and also of American
negro tunes.
scozzese (skdd-z&'-s£), /. Scotch.
alia s. In Scotch style.
ScriTa (skre'-va). Written, si s. As
written.
scroll. The curved head of violins, etc.
sdefl^o (sdan'-yo), /. Disdain, wrath.
sdegnan'te. Angry, sdegro'so.
Disdainful.
sdrucciolare (sdroot-ch5-l&'-r^), /. To
slide the fingers along the strings or
the keys of an instr., hence the noun
sdrucciolamen'to, and the adjective,
sdrucciolato (d'-td).
se (sa), /. If, as, etc. se bisojgna
fbie-sdn'-yS). If necessary, se place
(pl-a'-ch£). If it please (you).
sea-trumpet. Marine trumpet.
sec (s6k), F,, secco (sdk'-ko), /. Dry,
unomamented, cold, sharp. Vide
REciTAiivo. k table sec (a t&b7
s^k). Without accompaniment.
seccarara (sdk-ka-ra'-ra), /. Neapoli-
tan dance.
sechs (zdkhs). Six. S.-achtelUkt.
6-8 time. S.-vierteltakt. 6-^4 time.
Sechs'er, sechstaktig^er (tak.t)kh-^r),
Satz, G. A passage or period in 6
measures, sechstheilig (tl'-likh).
Six-fold, e. g., in 6 parts.
sechszehn (z^khs'-tsan), G, Sixteen.
S.-tel. i6th note. S.-telpauae
(pow-z^). i6th rest S.*rassig
(fOs-sYkh). l6-ft. pipe.
second(e) (in F, sa.kdA(d)), secon4a
or o (sfi-kdn'-dal), /., Secunde (za^
koon'-d£), (7* i. As a noun, (a) The
interval (q. v.) between a tone and
the next above or below, (b) Alto
voice or part, (c) secottdo. 2d
part or player in a duet, (d) diord
of the second (Secund'akkord).
6-4-2 chord. 2» As an adjtciive^
(a) Lower in pitch, as 2d string.
(b) Of lower rank or importance, as
2d violin, seconde dessus. sd
soprano, secon'da don'na, etc. (c)
Higher, as the sd space of a stave.
(d) Second in order, as seconde fois^
subject.etc. secondan'do. Following.
secondaire, temps (tah-sti-kon-dilrj,
/s Weak beat.
sec'ondary. Subordinate (of chords
or themes), related (of keys).
sec'tio can'onis, L, *' The section of
the canon." The mathematical di-
vision of a string, upon a monochord.
sec'tion. Portion of a composition,
variously used as (a) Half a phrase,
(b) what is often called a phrase, (c)
a group of p)eriods with a distinct
completeness. Vide form.
sec'ular music. Music that is not
sacred.
Secunde, C7. Vide second.
secun'dum ar'tem, Z. According^ to
art or rule,
sedecima (sa-da'-che-mfi), /. and Z.
Sixteenth. I. Interval. 2. Stop.
DICTIONARY OF TERMS 263
Seele (za 4£), {7. i. Soul, feeling^. 2.
Sound-post. Seelenamt (sa'-l^n-
&mt) or -met'se. Requiem.
geer. Bard or rhapsodist.
seffno (san'-yo), /. A siga :S:. al t.
(return), ** to the sign," dal t. (re-
peat) ** from the sign," to the I^'ine.
•egne (sa'-gw^), /. i. Follows, now
follows, as s, la finale, — The finale
now follows. 2. In a similar man-
ner, to that which precedes. 3. Go
on ; J. senna rit^ go on without retard-
ing.
•eruendo (s£-gw£n'-dd), seguen'te, /.
PoUowing next. sei^ensa (sa-
gw£n'-tsi). A sequence.
•epiidilla (si-gwe-del'-ya), 5/. Span-
ish dance in 3-4 time, usually slow
and in minor, with vocal and castanet
or guitar accompaniment.
Mpute (s^-gwe'-ta), /. Plural of
segue.
se^ruito (s£-gwe'-to), /. Followed,
imitated.
■cluilich (zan'-lTkh), G. Longing(ly).
Sehnsucht (zan'-zookht), G. Desire,
longing. 8.-SV0II. Full of longing.
•euisttchtig (zan'-zUkh-tlkh). Long-
ingly.
•ehr (zar), G. Very much.
sei (sa'e), /. Six.
Seitenbewegfung (zeit'-^n-b^-va.
goongk), G* ** Side -wise," i. e.,
oblique motion (q. v.). Settensatz
(cats). A ** side-piece " ; episode, or
second subject.
seizi^me (s£z-y£m), /*. Sixteenth.
Seknnde (z£-koon'-d$), (7. Second.
8ekundi(e)reii (de'-r£n). To play a
second part.
•eUih (sa -la), Heb. A term used per-
haps to mark a pause or a place for
the priests to blow the trumpets.
••in(e)iog^'raph7. Notation by signs
or notes.
aemeioinelodicoii (zi-ml'-o-m^-lod'-Y-
kdn). A device inv. by Fruh, 1820,
for aiding beginners ; it consists of a
series of note-heads which the finger
presses, producing the corresponding
tone.
(sfm'-l), L, and /. Hair. 8. bis-
croma. 32d note, semibreve rett.
Whole rest. 8. chonia. A chorus
to be sung by half of the voices.
8. cro'ma. A i6th note, aemi-
demiaemiquaTer (rest). 64.th note
(or rest), s. diapa'aon, diapen'te,
diatea'seron, di tonua (or di'tone).
Diminished or minor octave, fifth,
fourth, third, aetnidi'taa. The
diminution due to a stroke through
the time-signature. aemidi'tone^
8emi-fu8a, or semiquaTer. i6th
note, aemigraad. Small grand
piano. 8. miil'im(a). Quarter note,
aemipauaa (ptl'-oo-z&) Whole rest,
aemiaerio (sa'-r1-d). Serio-comic.
8. aaa'pirium. Quarter rest. a.
trillo. Inverted mordent.
aem'itone, i?., aemito'itium, Z., ae-
mituono (s^-mY-too-o'-nd), /. A
half-tone, smallest interval written.
semito'nium mo'di. The leading
note. 8. fic'tum (naturale). A
chromatic (diatonic) half-tone.
•emi-tonique (td-nek), F. Chro.
matic.
semplice (s£m'-pll-ch^), /. Simple,
aemplicitit (s£m-ple-chY-t£'). Sim
plicity. aemplicemen'te. Plainly,
without ornament, aempiicia'aimo*
With utmost simplicity.
sempre (s£m'-pr£), /. Always, con-
tinually, throughout.
sen' net. Old E. Repeating a note
seven times.
senstbile (s£n-se'.bY-l«), /. Sensitive,
expressive, nota a. I^eading note,
sensibilltit (be-lY-ta ). Feeling, sen"
sibilmen'te. Expressively.
sensible (in F, sAA-sebl). Leading
note, usually note s.
sen'tence. i. An interlude strain in
the Anglican Church service. 2. Short
anthem. 3. Passage, or phrase.
sentimen'to, /. Feeling, sentiment.
senza (s£n'-ts&), /. (Without, some-
times followed by the infinitive with
or without di, as s, {di) rallentare,
without retarding.
aepara'tion. i. A device for keeping
the great organ-stops from speaking.
2. A passing note in a tierce.
264
THE MUSICAL GUIDE
sept-chord. Chord of the 7th.
Septdezime (z^pt-da'-tse-m£), G, A
17th.
septet (s«p-t£t'), E., septet'to, /.,
Septett (z£p-t^t'), G, Composition
' for seven voices or instruments.
septi^me (s£t-v£m), F,, Septime (z^p -
te-mS), G, Interval of a seventh.
Sep'timenakkord. Chord of the
seventh.
teptimole (mo'-l£), septio'le, tepto'-
le, sep'tuplet, Z. and /. A group
of seven equal notes.
septuor (sdp-tQ-or) F, Septet.
sequence (in F, sa-kaAs), Sequenz (zsl-
kv£nts'), G.^ sequenza (s^.kw^n'-
tsa), /. I. The repetition at least
three times in succession of a musical
pattern, a fmloJu or harmonic design.
It may proceed chromatically or by
whole tones. VideROSALiA. 2. A R.
C. Church poem (Pro'sa) of the 9th
century adopted to the long coda (or se-
quentia) of vocalising on the vowels
of the Hallelujah. In 1568 Pope
Pius V. abolished all but these five :
Victimae paschalt laudes ; Veni
Sancte Spiritus ; Lauda sion Salva-
torem; Stabat Mater; Dies irae.
These are still in use (vide also the
separate titles).
ser'aphine (or -a). An early harmo-
nium.
serenade, £., s^r^nade (sa-ra-niid),
F, serenaU (sa-r£.nii'.td), /.
••Evening music.'* i. An open-air
concert under the window of the per-
son addressed. 2. An instrumental
piece of like character. 3. A dramatic
cantata of the i8th cent. 4. A
composition in chamber-style of sev-
eral movements.
serene (s^-ra'-no). /. Serene.
s^rieusement (sa-rY-Qz'-miiA). F. Seri-
ously.
serinette (sfir-Y-n^t'), F, A bird-
organ used for training birds to sing
tunes.
serin^tii (s^-ren'-ge), //in, Hindu
viohn.
serio (-a) (s&'-ri-d), serio'so, /. Seri-
ous, grave.
ser'pent, serpente (s£r-pj$n'-t£), ser^
pento'nOi /. i. Long curved wood-
mstr. of coarse tone and compass of
2 octaves. It is practically obsolete,
having yielded to the tuba. The
serpentcleide is wooden but much
like the ophicleide. The contra-
serpent, descended to Eb. 2. A
reed-stop.
ser'vice. The music for a complete set
of the solo and chorus numbers used
in the Anglican Church ritual for
morning and evening prayer and
communion : Venite exultemus, Tc
Deum, Benedicite, Benedictus dom-
tnus. Jubilate, Kyrie, Credo, Sanctus,
Agnus Dei, Benedictus fui venit,
Gloria magnificat, Cantate Donrino,
Nunc dimittis, Deus misereatur (vide
the separate titles).
sesqui (s£s'-kwl), L, Latin prefix '*a
whole, and a half " joined with al'te-
ra, ter'za, quar'ta, etc., it expresses
a kind of ratio, sesquialtera (sds-
kwT-ar-t«.ra). i. The ratio of a per-
fect fifth which Includes one and a
half to one (3:2). 2. A 2 to 5 rank
mixture-stop producing the 3d, 4th,
and 5th partials. sesquino'na. Les-
ser, whole tone (ratio 9 : 10). 8.-0C-
taVa. Greater whole tone (8 : 9).
s.*ter'tia. Perfect 4th (3:4). s.-
quar'ta. Major 3d (4 : 5). s,H]uin'-
ta, or s.-tone. Minor 3d (3 : 4).
sesto (sJs'-to), /. Interval of a sixth.
sestet (s«s.t«t'), £., sestet'to, /. Sex-
tet.
sestina (s^s-te'-ni), sesto'la, /. A
sextole.
sette (s^t'-t«), /. Seven.
settims (s£t'-tI-mo), /. Interval of a
seventh, settimo'la. A septimole.
Setzart (z^ts'-ftrt), G, Style of compo-
sition. Setzkimst (koonst). Art 01
composition. Setzstiick. Crook.
seul(e) (sfll), F. •* Alone," solo.
seventeenth', i. Two octaves plus a
tierce. 2. A tierce-stop.
seT'enth. Vide interval, chord.
seTeramente }s^.var-&-mgn'-t^), /.
Sirictly. seTeritIt (s^-va-rt-ta ). Ex.
actness, strictness
DICTIONARY OF TERMS 265
I. Interval of a 6th. 2. Vide
HOKAE. 3. A compound stop with 2
ranks a 6th apart.
•ez'U, L. Sixth : interval of a 6th.
Sezte (z«x'-t6), 6\ I. Sixth. 2. A
stop with two ranks.
•ezquial'tera. Vide sbsqui.
«extet'» E,, Sextett', G., seztuor
(s^x-tU-6r), F, A composition for
six voice-parts, or instrs. Usually a
composition in sonata form for six
instruments.
sezt'ole, sex'tolet, tex'tuplet, Z. A
group of six equal notes. The false
8. is a double triplet.
sex'tuple measure. Compound double
measure.
sex'tus, Z. Sixth.
s£ Abbr. of Sforzando.
sfogato (sfo-ga'-td), /. "Exhaled.'
A lightly executed note, soprano s.
A high voice.
sforxa (sfdr'.ts2), /. Force, sforzan'-
do, sforzato (a'-to). ••Forced," of
a particular chord or note to be struck
with immediate emphasis. If followed
by a softer tone, it is sfp., or fsp. sfor-
sare la voce. To overstrain the
voice, sforsatamen'te. Energet-
ically.
siii^g^to (sfood-je'-t&), 7. Avoided.
Vide CADENCE.
sfmnato (sfoo-mil'-to)» /. Exhausted
(of breath).
sgallinacciare (sgiil-lY.n&-ch&'-r£), /.
To sing like a rooster (galinaccio).
•bade. i. To place anything near
enough to the tip of a pipe to affect
its vibration. 2. To observe grada-
tions of force in executing music.
shake, i. Trill, double s. SimuU
taneous shakes as on sixths or thirds.
passing s. A short trill, prepared
a. A shake preceded by introduc-
tory notes, snaked graces. The
beat, bac'^fall, cadent, elevation, and
double Relish. Vide grace.
•halm. Shawm.
sharp. I. A character (jt) raising the
following note a half-tone ; if in the
signature, raising every note on the
fine or space it occupies. The double
s. (x) marks an elevation of two
half-steps. 2. As an adj, (a) Too
high in pitch, (b) Aujpmented or
major (of intervals), (c) with sharps
in the key-signature, (d) Shrill (of
stops), (e) A black piano*digital ;
also any white digital regarded as a
semitone above another, lo sharpen,
or sharp. To raise the pitch a sem-
itone.
shawm, i. Ancient Hebrew wind-
instr., supposed to be of the reed
class. 2. An early form of the oboe
with double reeds in a mouthpiece ;
it still persists in the chanter of the
bagpipe. 3. Vide chalumeau.
shem inith, Neh. i. A stringed instr.
2. Species of music. 3. Section.
shepherd's flute. A short flute, blown
through a lip-piece at the end.
shift. I. A change of the left hand's
position on the violin, etc. (vide po-
sition), half-shift being the 2d
position, whole '^ s. the 3d, the
double s. the 4th. 2. Anv position
except the first, hence " on the shift"
and shifting.
shiVaree. (Corruption, probably of
charivari ; a grotesque discordant
serenade with an orchestra of tin
pans, cat-calls, etc., to bridal couples
or to other objects of general rid-
icule. Philip Hale quotes from Ga-
briel Peignot's ** Histoire morale,
civile, Dolitique, et litt^rairesur Chari-
vari, clepuis son origine vers le iv*
si^cle,'* the exact make-up of such an
orchestra for a town of 15,000 or 20,-
000 inhabitants ; ** 12 copper kettles,
10 saucepans, 4 big boilers, 3 drip-
ing-pans, 12 shovels, and 12 tongs, 12
dish covers for cymbals, 6 frying-
pans and pipkins, 4 warming-pans, 8
basins, 6 watering-pots, 10 hand-
bells and mule bells, 4 strings of
bells, 2 tambourines, i gong, i or 2
empty casks, 3 comets-a-bouquins, 3
big hunting horns, 3 little trumpets,
4 clarinets (badly keyed), a oboes,
ditto, 2 whistles (these will be enough),
1 musette, 4 wretched violins to
scrape, 2 hurdygurdies, i marine-
266
THE MUSICAL GUIDE
trumpet (if you can find one), 4 rat-
ties, 10 screeching^ voices, 8 howling
voices, 3 sucking pigs, 4 dogs to be
well whipped. This is all that is
necessary. I can assure you that
when all this is vigorously set a-going
at the same time, the ear will experi-
ence all desirable joy.**
sho'far. A Heb. tnmipet.
short. Vide meter, mordent, appog-
GIATURA, SCORE, SHAKE, OCTAVE.
shttt'ter. One of the blinds of a swell-
box. Vide ORGAN.
si (se), F. and /. i. The note or key
of B. 2. Vide solmisation. 3.
One (cf. French on), almost equal to
" yott/' as si leva. One lifts, you
lift, si place. One pleases, if you
please, etc.
slb'iltts, L. A little flute.
Sicilians (se-che-lY-d'-na), or -o, /.,
Sicilienne (se-seUy£n), F, A Sicil-
ian peasant dance of slow pastoral
nature in 6-8 or 12-8 time, alia s.
In Siciliana style.
side-drum. Vide drum.
•ide-beards. Vide beard.
Sieb (zSp), G. Sound-board.
siebea (ze'-b^n), G, Seven. S.-
pfeife. Pan's pipes. S.-klang^.
Hepuchord. Siebente (ze'-b^n'-t^.
Seventh. Siebensehnte (ze'-b£n-
tsan-td), G. Seventeenth.
Sieresgesangf (zekh'-£s-g£-zang), or
STesreslied (let), G, Triumphal song.
Sieves marsch. A triumphal march.
si(e)flf6te (zef'-fla-te), G. A i or 2 ft.
stop of the Hohlflute species.
siffler (sTf.fla), F, To whistle, sifflet
(sTf-fla). I. A whistle, s. de pan.
(paA). Pan's pipes, s. diapason.
I. Pitchpipe. 2. A cat-call.
Sig^nalhom (zekh-nal'-hom), G, A
bugle. Sig^nalist (lest). Trumpeter.
sign, musical. One of the numerous
devices for expressing music visually.
Vide chart, signs and symbols.
ygrnatur (zekh'-nS-toor), pi. -en, G.,
sig'natnre, ^. i. The tabulation at
the beginning of a composition sec-
tion or stave, showing (a) the key of
tlie piAce {k€y'Signature)t with such
tones as are to be sharpened or flat-
tened unless otherwise marked, (b)
The governing time or rhythm {tim^-
jignafurt), 2. In Germany a figured
bass sign.
siene (sen'-yti), F. Sign, as s. Iicci-
aental. An accidental. s.de silence
(dase-lans). i. A rest. 2. Vide segno.
sig'net. Sennet.
sigf'num, L. Sign.
sie^uidtlla (se-gwe-del'-yS), Sp, Segui-
dilla.
Silbendehnung (zel'-b^n-da-noongk),
G, Singing a syllable to more than
one note.
silence (se-l&As), /*., silenzio (se-l^'-
tsl-o), /. A rest.
Sillet (se-ya). F. Nut. petit s. The
nut at the neck of violins, etc. g^rand
S. That at the tailpiece.
silver trumpet. Chatsoteroth. Many
instrs. and strings are made of silver.
sim'icon, Gr. 35-stringed harp.
sim'ilar. Vide motion.
simile (sem'-M^), /., simil'iter, Z. Sim*
ilarly. An indication that a certain
manner of pedalling or playing is to
be continued till othKsrwise indicated.
simp'la, low, L, Quarter note.
simple, E. (in F, sah-pl). i. Not com-
pound (of intervals). Vide counter-
point, imitation, rhythm, etc. 2.
Plain, easy. 3. Without valves, sim*
plement (san-plti-man). Simply.
sin (sYn), /. As far as. Vide si no. sin
al. As far as the.
sincopa (sTn'-kd-pa), or -e, /. Sincopa-
tton.
sinfonia (sYn-fo-ne'-a). /., Sinfonie (in
(7. zen-fo-ne' ; in F, s&n-fo-ne). r.
Symphony. 2. In early operas, over-
ture, s. pittor'ica. Descriptive
symphony, s. concertan'te, con-
certa'ta, concertate (ta -td). Con-
certo for manv instrs., a concerto
symphony, s.dacam'era. Chamber
quartet.
silken (zYng'-£n), G. To sing, to chant.
Singrakademie (a-ka-d^-m^), -an-
stalt or -Terein. Vocal society.
Singart (zYng'-iirt). Vocal art &
chor. Choir.
THE MUSICAL GUIDE
SIGNS AND SYMBOLS
(See also Graces and Notation,)
NUMERALS AND ACCENTS.
X, 2, 3, etc. See CHORD, metronome,
FINGERING, TEMPO and REST.
8, 8va. See ottava.
2', 4', 8', i6'. See foot.
®» ®» ^^^' ^^ HARMONIUM.
i» i» i» ^^^' ^® TEMPO.
or >
See TRIPLET,QUARTOLE.
etc.
a', A', b ', B ", etc.
a». b», aCC|, C„ etc. \ See pitch.
a, I, etc.
4-tette, 5-tette, etc. Quartette, Quin-
tette, etc.
i-ma, 2-da, etc. Prima (Seconda, etc.)
voita.
Man. I. The Great Organ.
Man. 2. The Choir Organ.
l/ll/ H,^.' VIP, etc. [ ^^^ CHORD.
O. I. Open string. 2.' See harmonic.
3. Taste solo. 4. The heel, in organ-
playing. See below.
DOTS, COMMAS, CURVES, LINES, ETC.
See DOT and notation.
Staccato.
"^ Slightly staccato.
'-^-^^^ Slightly staccato and marcato.
\ 1 Very staccato. Martellato.
Forte tenuto.
Placed under notes sung to one
syllable; in Tonic Sol-fa, placed
under the letters.
X Double-sharp.
• or // // or y V Breathing-place.
— Tenuto. Pesanie.
^<r^_ Mezzo legato.
Bind. Slur. Tie.
— :^
or
/SN Fermate.
> or // Abbreviation indicating a repe-
tition of the figure preceding,
or of the previous measure(s) or part
of a* measure.
*S* Sgi Prcsa.
S^ «: ^ J Segno.
^ fr k tH!= Repeat.
X or -f Thumb (pfte. -music),
f t Q Sharp, Flat, Natural*
Sign of a measure where no bar
—^— is required.
>• A V < I. Forte-piano (/f>). 2. Rin-
forzando. 3. Sforzato {sf).
A V or o ^ or ""^ V Heel and toe ; in
organ-playing placed above the notes
for the right foot ; below, for the left.
A >-' A Slide the toe to the next note.
V — A Change toes on the same note.
V V I. Up-bow. 2. Breathing place.
A Down-bow In 'cello music.
U '^l Down -bow on the violin.
I I I I I. In organ music, alter
nately heel and toe f the same foot
a. Bind.
DICTIONARY OF TERMS
I
: Notes thus connected are to be
played with the same finger or hand;
or to be sung divisi.
Pesante.
Brace.
— ' or '--- Notes so connected are to
be played with the same hand, or con-
tinue a melody or a resolution from
one staff to another.
■*''^^-«^-*^ Sign of the continuation of a
TRILl.(q.V.)orof ALL*OTTAVA (q.V.).
\ Arpeggio. A chord preceded by this
\ mark is to be played broken.
M/ '^ or V Direct.
**v Inverted Mordent.
yjy Mordent.
tr ^"^ etc. Trill.
^ Turn.
♦ -^ + Release damper-pedal.
1—-"^ or I I A recent improved sign
marking exactly the points where the
pedal is to be pressed and released.
(j) Thumb-position on the 'cello.
Crescendo.
Diminuendo.
I
NOTES. RESTS, AND SIGNATURES.
Breve.
Note, or or
Whole.
Rest. Note. Rest.
Half- Quarter-
Note. Rest. Note. Rest, or or
d=Prr_4J=r:
i^-m^t!
X
iHi^
Eighth.
Note. Rest.
Below the
4th line.
SIXTEENTH. TIIIRTV-SECOND.
Note. Rest. Note. Rest. Two.
Above or upon
the |rd line.
Turns to
the right.
Rests of more than one measure.
Thr#»e. Four. Four. Six.
4 6
El^
it
Turns to
the left.
Like tail of
the note.
Lik^ tail of
the note.
Key Signatures,— Capital letters indicate Major keys; small letters, the relative
Minor keys which use the same signatures. White notes indicate the tonics of Major
keys ; black notes, the tonics of Minor keys.
C
a
G
e
D
b
A E
f sharp c sharp
B F sharp C sharp
g sharp d sharp a sharp
F:*^?«-*ri^:^-4^E?:
tr» — D=l
ii':^^^J>£pfE^^I:y^^^--F^^^"^^^EEEi
Eflat
c
Aflat
f
Dflat
bflat
Gflat
e flat
Cflat
aflat
^^^^
DICTIONARY OF TERMS 267
ting;bar (zlng'-bSr). Singfable. sing^-
end (zlng'^nt). Cantabile. Sinat (e)-
tanz (tints). Dance-song. Sing^
iage. Vocal fugue. Sing^&rchen
(mar'-kh^n). A ballad. Sing^ma-
fii(e)ren (mi-ne'-r^n). Vocal embel-
lishment. Sing^tchauspiei (show-
shp^I). Drama with songs. Sing^
scnule (shoo-l£). Vocal school or
method. Singfspiel (shpel). i. The
original form of German opera in
the 1 8th cent. Simple tunes were
given to peasants, etc., florid songs
to the aristocracy. (Vide j. a. hiller
in the B. D.) Sinettimme. Voice,
vocal part. Singrstiick, Singweite.
Air« melody.
ssngrhiozsando (sYn-gY-6d>z£ln'>do), /.
Sobbing.
■inVle-action. Vide harp.
stngle-chaiit. A simple melody to
one verse of a psalm.
•iniestra (se-nY-as'-tril), Sfi,, sinistra
(sTn'-Ys-trfl), Z. (in /. se-ncs'-trfi). Left
(hand). coUa sinistra (mano).
With the left hand, sinis'trae, L.
Vide TIBIA.
sink'apace. A five-step dance. Cin-
^quepace.
•ino (se'n6), 7. To, as far as ; usually
sin'al,
si'ren, £. , SIrene (ze-r&'-n«), C. , sir^ne
(sc-rfn*), J^, I. A mythological be-
ing whose vocal powers captivated
the human beings on whom she
preyed ; hence, a prima donna. 2.
An instr. for counting vibrations.
Sir Rog^r de CoTerley. An imaginary
gentleman of the old school described
by Addison ; hence an English coun-
try-dance in 9-4 time.
sirrentes (s^r-vilnt), /^ Troubadour
songs of homage.
sistema (ses-ti'-ma), /. Staff.
Sister (zes-t((r), G, Old 7-stringed
guitar.
Sts'tnim, L. An ancient inst., con-
sisting of an iron frame with a num-
ber of movable rings ; when shaken
or struck it sounded.
sit'ar. Hindu guitar.
stto'le. Citole.
Sitz (zYts), (7. Position, place.
six (in F, ses). Six. Vide meter;
6-8 time, that in which there are six-
eighth notes, the accent resting on
the first and fourth, six pOur quatre
(poor kfltr). Sextuplet.
sixte (sekst), sizi^me (sez-ydm), F,
A sixth.
sixteenth note. A semiquaver ; one-
fourth of a quarter note, sixteentb
rest. A pause of equal duration.
sixth. I. An interval (q. v.). 3. A
chord, chord of the s. or s. chord.
The first inversion of a chord (a. v.),
chord of the added s. (de la s.
ajout^e). Subdominant triad, with
sixth added as f-a-c-d. Vide altered.
little sharp s. The 2d inversion
of the seventh on the second degree,
extreme s. Vide extreme and
ALTERED, six-four, six-fiTe» etc.
Vide CHORD.
sixtine (sex-ten'), F. Sextuplet.
sixty-fourth (note). A hemidemi-
semiquaver. s. rest. A pause of
equal duration.
Skalde (sk^l'-d^), G, Vide scald.
skim'mington. A shivaree described
in Hardy*s novel ** The Mayor of Cas-
terbridge."
skip. A progression exceeding a whole
step.
Skiaze (skUs'-z^), G, Sketch, a short
piece.
slancio (slSn'-cho), /. Vehemence.
slar^ando (slar-g&n'-do), slargan-
do si, /. Enlarging, gradually slow-
er.
slentan'to, /. Becoming slower.
slide. I. A movable tube in the shape
of a U, used in the slide-trumpet,
slide-horn, and the trombone (q. v.).
2. A grace of two or more notes
moving diatonically. 3. A porta-
mento. 4. A sliding lath strip which
cuts off a rank of pipes from tb * wind,
afeso slider. 5. tuning^s. / Jiding
pitch - pipe sounding thirteen semi-
tones, sliding-relish. 6. An old
grace, a slide (2).
slo'g^an. Highland war-cry or tallying
word.
268
THE MUSICAL GUIDE
slur. I. A curved line above or be-
neath two or more notes, which are,
(a) to be played legato, (b) to be
sung to one syllable, hence slurred
as opposed to syllable melody.
small octave. Vide pitch.
smaniante (smM-nY-an'-t^), smaniato
(a'-to), amanio'so, /. Frantic.
sminuendo (sme-noo-dn'-do). Dimin-
ishing, siminttito (sme-noo-e'-to).
Softer. '
smoran'do, /. Dying away.
smorfioso (sm6r-f)-d'-z6), /. Affected.
smorx. Abbr. of smorzando (smor-
tsan'-do), /. Dying away. Extin-
guished.
snap. Vid« scotch.
snare-drum. Side-drum. Vide drum.
snuff-box. I. A musical box com-
bined with a snuff-box. 2. A famous
waltz written for it.
soave (s6-a'-vd), soavemen'te, /.
Suavc(ly), sweet(ly).
Sobb. Damping (on the lute).
sock'et. The round joint which holds
the mouthpiece of a clarinet.
sog^g^etto (sod-j^t'-to), /. Subject,
theme, motive, s. inTarlato (a -to).
The invariable subject, s. Tariaio
(va-rY-a'-to), /. Variable subject's!
a counterpoint.
sop^nando (s6n-yan'-d6), /. Dreamy.
son. Tonic Sol-fa, for Sol.
sol (sol). I. Vide solmisation. 2.
The note G in France and Italy.
sola (s6'-la), /. Alone, solo.
solem'nis, L. Solemn.
solenne (s6-l^n'-nd), solennemen'te,
/. Solemn(ly). solenniU (I-ta).
Solemnity.
8olf9i (sol-fa ), /. T. Gamut ; scale. 2.
A biton. 3. Time, a bat'tere la s.|
to beat time.
solfa, E. I. Solmisation (q. v.). 2.
Solfeggio. 3. To sing in solmisa-
tion or solfeggio. 4. Vide tonic
SOL-FA.
solf^p:e (s01-f£zh), F,, solfegrgrio (s6I-
ffid -jo), /. Exercise for the voice in
solmisation or on one syllable, sol-
fcegiare (s61-fdd-ja-rd), /., solfer*
gi(e^en <;z61-f€d.je'-r«n), (7., sol-
fier (stil-fl-a), F, To sing a solfeg-
io.
soli (so-le), /. I. Plural of solo. 2. A
passage played by one performer to
each part.
sol' id. Of a chord not broken (q. v.).
so'list. Soloist, solo-player.
solito (so-le'-to), /. Usual, a! s. As
usual.
sollecito (sol-la'-che'-to). /, Careful,
exact.
solmisation. " The singing of the syl-
lables do^ re^ sol, mi, etc. A vener-
able method of teaching and singing
scales and intervals ascribed to Guido
D'Arezzo (or Aretinus). It is a con-
venient crutch for those who are not
going far ; but must soon be dis«
carded.
Greek music (Vide modks) divided the
complete scale into groups of four
consecutive degrees or telraehords.
Guido or a disciple divided it into
groups of six degrees, or hexaehords.
It happened that the initial syllables
of the six phrases of a certain fa-
miliar hymn to St. John formed the
ascending scale of one of these hexa-
ehords (the one called naturaU). The
device was hit upon (as an aid for
weak memories) of using these sylla-
bles as names of the notes ; hence
the notes of this hexachord began to
be called ut, re, mi, fa,^l, la. (The
hymn ran as follows: ** Ut queant
laxis, ^^sonare 6bris il/ira gestorum
FamyiW tuorum Soht poUuti Zabit
reatum, Sancte Johannes.'*) It was
later found convenient to use these
syllables for other hexaehords, the ut
being movable. A crude form of
modulation was developed called mu-
tation. When the modem scale
came into play early in the 17th cent,
it brought into use the heptachord
or scale of seven degrees. A new
syllable si was therefore devised
and the so-called Aretinian syllables,
used for singing in all the keys ; ut^
being always the tonic, sol, the dom-
inant, etc. The syllables have per-
sisted for primary use and for vocal
k
DICTIONARY OF TERMS 269
exercises ever since. In many coun«
tries they have been since used as the
definite names of the notes of the
scale of C, except that the syllable
do (being more easily sung) has dis-
placed ut except in France, since its
first use (perhaps by Bononcini), in
1673. 'I'^is is the only change that
has been accepted among the many
that have been advocated, such as
the bocedisaiiony or bodisation (bo, ce,
di, ga, lo, ma, ni) of Waelraut, 1550
(Pedro d'Urenna in 1620 proposing
Ai for si), and the Misaiion, or iabr-
ddati&n (la. be, ce, de, me, fe, ge)—
satirically called labisation — of Hitz-
ler in 1628. The damenisation (da,
me, ni, po, tu, la, be) of Graun, 1750,
was not for solmisation but for use in
S»lace of words in vocalising.
o (so'-lo), /. I. As adjective,
*' alone.*' 2. A passage or compo-
sition for a single voice or instr.
▼iolino solo may mean either " vio-
lin only " ; or the solo (i. e*, leading)
Tin. tolo-org^. A manual of the
organ (q. v.). solo pitch. A scor-
dature (q. v.) used by a soloist, solo
qnartet. A group of four soloists ;
a composition for such a group ; a
solo with 3-part accompaniment solo-
stop. Vide STOP. The word is used
in compounds of various languages,
as Solo-sJlng^er, G, Solo-singer, etc.
soiomante (s6-ld-mft-ne'). A Turkish
flute, without reed.
•ombrer (sdA-bra), F. To give a som-
bre, veiled tone.
•omma (s6m'-ma), /• Greatest, high-
est, extreme.
Sommer'ophoiie. A bombardon-like
instr. inv. by Sommer of Weimar, 1843
(also called ^«/A^/ui;;f, euphonic horn),
■oa (sdn), /*. , son (son), Sp, Sound.
8. harmonique (so-n&r-md-nek).
Harmonic
•onabile (sd-ni'-bY-lQ, sonante (n&n'-
t$), /. Sounding, sonorous.
■onare (s6-ni'-r£), /. To sound ; to
ring ; to play. s. alia mente. To
improvise.
fsd-n&'-Ul), /. , Sonate (in /*. s&
nftt, in G. zo-nil'-t^). Music *' sound-
ed or played " as opposed to music
sung (cantata). Originally anv in-
strumental piece, as s. da diiesa.
For church, t. da cameia. For
the salon. Later the term was applied
to a group of three to five dance-tunes
of varied rhythms. The treatment
came to be less and less lyrical and
more and more thematic (q. v.). Such
were Bach's organ and violin sonatas.
The very human Haydn added a
lyric interest as contrast in the form
both of counter-themes to the princi-
pal theme and of separate movements
of melodious character. Mozart made
no formal change but added more
human interest and warmth. The
sonata now consisted of 3 or 4 move-
ments ; first an allegro written on
what is confusedly called the sonata-
form (the editor suggests ** sonata-
formula " (q. v.) as a substitute term
for describing the structure of this one
movement, retaining the word ** sona-
ta-form** for the entire group of
movements ) ; second, a slow move-
ment ; third a minuet ; fourth, a rondo,
or finale on the same formula as the
first movement. Beethoven substi«
tuted for the minuet a light and witty
scherzo (q. v.) ; other composers have
made other substitutions. This gen-
eral group of varied movements and
moods is applied to many forms, not-
ably the symphony, the classic over-
ture, the concerto, the string quartet^
and chamber-music generally, whiclp
are hence said to I^^Mn sonata-
form.*' The sonata-formnlay soOi
ata-piece, or Sonataaatz (z&ts),
the structure of the first movement,
marks the highest period of classic
formalism. It is described under
Form (q. v.). The word is qualified
in many ways as grand^ a highly
elaborate form, doubU^ for two solo
instrs. A short easy composition with
few movements and little develop-
ment is called sonatina (s6n-ft-te'-
nsl). sonatina, /., Sonatine (zo-
nSrte'-nC), G.
270
THE MUSICAL GUIDE
toaatore (to'-r£), feminine soiuu
trice (trS'-cM), /. A man (or wom-
an) instrumentalist.
•ooevole (so-n&'-vo-l^), /. Resound-
ing.
•duetto (9&-n^t'-to), /. A composition
based on a poetic sonnet.
96ng» X. A melody for voice. 2.
Lyric piece for any tnstr.
soiig<*fonii. A structure of 3 chief
sections, (a) a first theme, (b) a con-
trasting second theme, (c) a return
of the first theme. In poems of
manv stanzas, the same air is com-
monly used for all the stanzas regard-
less of changed language and em-
phasis. This strophic treatment is
discarded by more conscientious com-
posers for a treatment in which each
stanza is individually set to music
with intelligent deference to its mean-
ing. This is the through-composed <ix
durehkomp0ni{e)rt (doorkh-kdm-p6-
n^rt*) style.
8on|^ witaottt words. A lyric instru-
mental piece*
■oimaiite (s6n-nilAt), F, A scale of
hanging steel bars struck with a ham-
mer.
sooner (sfln-nfl), /*. To sound, s. le
tamboar (Id tAn-boor). To sound
the drum, used of a jarring G string
in the *cello.
sonnerie (stin-rS), F, i. Chime.
2. Militarv call.
80110 (sQ'-n6j, /. Sound, tone.
sonomktre (sd-no-m^tr), F., sono-
me'ter. 1. A monochord in v. by
Loulis to aid piano-tuners. 2. A
sounding-board with two strings for
acoustic experiments.
sonore (s5-ndr), F., sonoro (85-n5'-
r6), /., sonoramen'te. Sonorous-
(ly). sonoridad (so-nd-rY-dftdh),
Sp.y soooritlL (so-no-rV-til'), /., son-
ority (so-n5-rT-ta), F, Sonority.
sonor'ophone. A form of bombar-
don.
sonorous (s5-n5'-rous). Capable of
musical sound ; sounding.
•o'nuSi Z. Sound, tone.
so'pra, /. Over, above, upon, before.
come s. As above, di s. Above.
s. u'na cor' da. On one string.
par'te di s. Higher part. s. do-
minant e. The dominant, s. quin-
ta. Upper dominant. 8. to'nica.
Supertonic«
soprano (so-pril'-nd), /. (pi. -i),
Sopran (zo-pr&n), G, i. The high-
est kind of human voice, differing
from the alto in lying chiefly in the
** head-register " ; this voice is typi-
cally a woman's voice, but is also
found in boys. It occurs naturally in
some men (called faluUiy alii nai-
uraliy or tenorini)^ but was obtained
artificially in others (called evirati,
eastra/i)t particularly in the last cen-
tury when the eunuch ** artificial**
sopranos achieved marvellous power
and agility. The soprano voice has
an average range from c'-a" (Vide
pitch), the tones from f up being
head -tones, l^he voice occasionally
reaches lower, and often higher than
this normal range, c"\ being not un«
usual. A voice that reaches f" or ^'*
is phenomenal (Agujari sang c'"
three octaves above mid-C). (Vide
also meszo-soprano.) Soprano
voices are divided into the more
powerful or dramatic {drammatico),
and the flexible, and light or tyric
^fggi^^o (Wd-ja'-ro) or Ugier (la-zha).
2. The part sung by the highest voice
or the highest instrument. 3. The
instr. which is the highest of its class
(sometimes an extra high instr. is
called sopranino). 4. The possessor
of a soprano voice, soprana chorda
(kor-dS). The E string of a violin,
sopran'ist. A male soprano. s<^
f>rano clef. The C clef on the first
ine of the staff ; sometimes used of
the G clef.
sordo (s6r-dd), 7. Muffled, veiled
tone, sordamen'te. Soft(ly).
sordellina (le'-nS), /. A small 4-piped
bagpipe.
sor'dine, £"., Sordino (s6r-de'-nd, pi.
-i, German pi. "en), /. i. A small
tone-softening device, damper or mute
to set against piano-strings, in tbe
DICTIONARY OF TERMS 271
mouth of a trumpet, or, on the
bridge of a violin. 2. A kit. con
s. In piano-playing *'use the soft
pedal** ; in playing violin, horn, etc.,
'* use the mute." tensa (sdn'-tsft), ■.
or 8. levato (l^-v&'-to). '* Remove
the mute or damper."
tordo'no, /., sordone (s^r-diin), F,,
Sordun (zdr-doon'), G, i. Obs. bom-
banl of 5 sizes, and la ventages. 2.
An old stop. 3. In <7. a trumpet-
mute.
rrfiUtis (z6rkh'.f£l-ttkh). G. Care.
ful(ly).
•ortita (s6r-te'-t&), /. i. Entrance aria.
a* Voluntary for close of service.
•ospentione (sI-^'-n£), /• Suspension.
sotpensiTamen'te. Doubtfully.
•ospiran'do, tospirante (ran'-t£), tot-
pireTole (ra'-vd-l^), •otpiro'ao, /.
I. Sighing, doleful, a. A sobbing
catch in the breath.
•ostenen'do, •oatenea'te, /. Sus-
tatning the tone.
lostennto (sds-t^-noo'-to), /. i. Sus.
tained, prolonged, retarded. 3. Grad-
ually retarded. 3. Andante.
MMtinen'te, /. Used of instrs. with
special device for sustaining tones.
•otto (sdt'.to), /. Under, below. •.
▼oce (vo'-ch^). In an undertone. •.
dominan'te. Sub-dominant.
•ouImlss (soo-b&s), F* Sub-bass.
souf farah. Oriental reedless wind-
instrs. in general.
soam. Burmese harp.
soafflerie (soof-fl£-re), F. The bellows
action, soufflet (soof-fla). Bellows.
aouffler (soof.fli). To blow, touf-
flenr (fliir), fem. aouffleuse (iiaz).
I. Organ-blower. 2. Prompter.
sotind. Vide acoustics.
•oond-board, aoiuidiiifl^board. i. A
thin resonant board which by sym-
pathetic vibrations enlai^es, enriches
and prolongs the tone of the strings
stretched across it (as in pianos, the
belly of violins, etc.). 2. The cover
of the wind-chest, sound-body or
box, a resonance box ; t« bow, the
rim of a bell ; 8, hole, a hole in the
resonance box to give communication
from the resonance chamber to the
air. t. post. Vide viql:n. s, re^
ister. A sound-recorder inv. m
Paris, 1858. s. warea. The alter,
nate condensation and rarefaction of
air in vibration (q. v.).
soupape (soo-pftp), /*. Valve,
soupir (soo-per), F, A quarter rest.
demi*8. 8th rest, quart de t. i6th
rest huiti^me (or demi quart) de
s. 32d rest, tetaitoe. 64th rest.
sourdeline (soor*d£.l£n), F. Sordel-
lina.
tourdement (soord-mfin), F. In a sub-
dued manner.
aourdine (soor.den), F, i. Sordino.
2. A soft harmonium-stop. 3, Ce-
leste pedal. 4. An old spmeL
scut (soo), F, Under, below, s.-
chantre (sh&ntr). Subcantor. s.-
dominante. Suo-dominant. a.*ind-
diante. Sub-mediante. s.-toaiqu«.
Leading note.
soutenir (soo-t£.ner), F, To sustain.
souvenir (soo-v^-ner), F, Reminis'
cence.
Sp. Abbr. of Spits.
space. The interval between 2 lines
of the staff, or between 2 ledger lines.
spag^uola (spftn-yoo-d'.l&), /. The
guitar.
spalla (spfil'-lfi), /. Vide viol.
apanisch (sp&n-Ish), (7., aparaolesco
(spiln-yo-l£s'-kd), /. Spanish, apan-
ischer Reiter (rT'-ter), G. Tones
made by running. spaniaches
Kreuz (kroits), C. Double sharp.
spar'ta, spartita (sp&r-te'-til), or -o, /.,
Sparte (spjir'*t£), G, Partitura.
spartire (te -rd), /. To score ; partic-
ularly to rescore an old work.
spaasapen8iero(p£n.sI-a'.r6), /. Jew*s
harp.
spasshaft (sp&ss'-h^ft), G, Sportive(ly).
S.-ti8:keit (tlkh-klt). Sportiveness.
playfulness.
spa'tium, Z., spasio (spS'-tsl-o), /.
A space.
spe'ciea. Kind. Vide countxr«
POINT.
Spemrentil, G. Vide vrntil 2.
spezzato (sp£d-za -to), /. Divided.
272
THE MUSICAL GUIDE
spianato (spl-a-n&'-t5). i. Legato.
2. Calm.
spiccato (spTk-ka -t5), /. Separated,
pointed. Vide bow.
Spiel (shpel). G, Playing ; style of
playing. S.-art. i. Style of per-
formance. 2. Touch, t.-bar. Play-
able. 8.-leute (Ioi.t«). i. The
drummer and fifers of a band. 2.
Strolling players. S.*maniereii
(mfi-ne'-rfin). Ornaments, graces.
S.-oper. Light opera. S.*tenor,
etc. Light opera tenor, etc.
Spillfldte, G, Spitzfl5te.
spina (spe-na). L, " Thorn/' Jack ;
quill of a spinet (q. v.).
Spin'delfldte, G, SpitzflOte.
spinet (spln'-«t or spY-n£t'), E., Spinett
(spl-n£t'), G., spinet' ta, /. Obso.
lete and small square form of harpsi-
chord, originally called the couched
harp, later called spinet, from its
quills, or spinae.
sptrito (spe'-rT-to). /. Spirit, energy.
spirttuo'so, spirito'so, spirttosa-
men'te. Spiritedly).
spirttuale (spe-rY-too-li'-l^), /., spirit*
nel (sptr-T-too-^r), F, Spiritual.
•pis' si grSTis'simi, Z. Hypatoides-*
the deep sounds of the Greek system.
spis'sns, Z. •* Thick;** full (of in-
tervals^.
Spitz (shpYts), G. Point (of bow) : toe
(of foot) S.-fl5te (fl&.t£). A soft
stop with pointed pipes. S.*qnint.
Its quint. S.-harfe (h&r'-f^. Pointed
harp. A small harp with strings on
each side of its sounding-board.
spondao'Hum. Greek hymn with flute.
spread. Open.
springing bow. Vide bow.
spressione (Y-o'-n£), /. Expression.
Sprung (sproongk), G, A skip. s.
weise (vl-z£). By skip.
square. Vide organ, square B. Vide
B. square piano. Vide piano.
squil'la, /. A little bell, squilian'te.
Tinkling.
srou'tis. The 22 degrees of the Hindu
scale.
sta (sta), /. •• Let it stand ; " i. e., to
be played just as it stands.
SUb'at Mater Do'loro'sa, L, *' The
grieving Mother stood,** a hymn on
the Crucifixion, written by Jacoponus,
14th cent. Vide sequence.
Stabile (stft'.bY-l£), /. Firm.
stac Abbr. of Staccato.
staccare (stak-k&'-r^), /. To play
staccato
Staccato (stak-kfi'-to), /. " Detached,"
used of short, non-legato notes or a
touch which leaves the key or string
immediately. This crispness is marked
over the notes by round dots called
staccato marks; it may be modi-
fied by a slur over the dots, or em-
phasised by small wedge-like dots.
staccatis'simo. As staccato as pos-
sible. ,
Stadt (sht&t), G, Town, city; used
of a salaried municipal musician, as
S.-musikus, -pfeifer, etc.
staff, stave. The five horizontal par-
allel lines on, between, above and be-
low which the notes are placed, th«
pitch of the note being determined by
the key-signature and the clef, frote
which the s. takes its name. The
usual arrangement is a bass s. (with
F clef) under a treble s. (with 0
clef) ; they form a continuous nota-
tion except for the middle C, which is
sometimes g^ven a line, making the
I z -line or great s. s. notation is
opp. to alphabetical notation. The
Gregorian s. had 4 lines.
Stahlharmo'nika (shtal), G, Steel
bars played (a) with a bow, inv. by
Nobe, 1796, (b) >^Mth a hammer ; more
commonly StsJhlspiel (shtal-shpel).
Stamentienpfeife (shta-m^n'-tl-^n-
pfi'-f€), G, Vide SCHWEGFX.
Stamm (shtim), G, Stem, trunk. S.«
akkord. A chord in root position,
unaltered and uninverted. S.-ton.
Natural tone. S.-tonleiter. Key of
C major.
stampita (stam-pe'-til), /. A song.
Stilndchen (sht«nt'-kh«n), G, Sere,
nade.
Standhaftigkeit (sht£nt'-haf.tYkh-kIt>
G, Firmness.
stanghetU (stan-g£t'.t£), /. A bar.
DICTIONARY OF TERMS 273
sta'ple. The tube which holds the
oboe*s reed.
Stark (shtUrk), G, Strong, loud, stilr-
ker (sht€r'-k£r). Louder,
stave. Staff.
steam-orran. Calliope.
stec'ca, 7. A choked and strained
tone-production.
Stecher (st5kh'.«r). G, Sticker. Vide
ORGAN.
Steg (stakh), G, Bridge.
Steuuns; (sht^l'-loongk), G. Position.
Item. The thin stroke attached to the
head of a note.
stentan'do, /. Retarding, stentato
(ta -to). Slow and forced.
itep. A progression to the adjoining
note or tone, hence whole-step, and
balf-step or chromatic-step; a
diatonic-step is a progression to
the next note of the key.
Sterbend (sht£r'.b€nt), G. Dying
away. Sterbelied (sht£r'-b£-let).
Death-song.
steso (sta -so), /. Extended, prolonged,
slow.
ttes'so, /. The same. s. tempo.
Same time.
sth^nocire (sta-n5-ser), F, A finger-
strengthener*
ttibbacchiato (sttb-bak-kl-a'-t5), /.
Retarded.
sticca'do, sticcato (stYk-ka'-t5), /.
Xylophone.
stick'er. Vide organ.
Stiefel (shte'.f^l), G, Boot (of a pipe).
Stiel (shtel). G. i. Stem. 2. Neck.
Stift (shttft), G. Jack (of violin).
Stil (shtel), G., stile (ste'-l^), stilo
(ste'-lo), /..sti'lus, L, Style, s.
rig^oro'so, or osservato (va-to).
Strict style. 8. rappresentativo
(tc'-vo). Vide opera.
still (shtYl), (7. Calm, quietly. S.-
^pedakt. A stopped diapason.
Stimme (shttm'-m£), pi. -en, (7. i. The
voice. 2. Part, mit der S. Colla
parte. 3. Organ -stop. 4. Sound-
oost. Stim menssatz. Vocal
attack. StimmbUnder (b^nt-«r).
Vocal cords. S.-bildung. Voice-
building. S.-bnich (brookh). Change
of voice. Vide mutation. S.-buch.
Part-book. Stimmer. Tuner ; drone,
stimmen. To tune, or voice.
Stimmfldte, or -pfeife. Pitch-pi(3e.
S.*IUhrer. Chorus-leader. S.-mit-
tel. Vocal capacity. S.-ritze (rlt-
z£). Glottis. S.-noIz (holts), or
-hdlzchen (hdlts'-kh^n), or -stock.
Sound-post ; wrestplank. S.-werk-
zeuge (v£rk'-tsoi-kh£). Vocal or-
gans. S.-fUhrung (fu-roongk)
Part-progression. S.-gabel (ga-b£l)
Tuning-fork. S.*hammer (ham-m^r).
Tuning-hammer. S.-horn. Tuning-
cone. S.-keil. Tuning-wedge. S.-
krucke. Tuning-wire. S.-zan^e.
Tuning-tongs. S.-umfang, S.-weit«
(vT-td). Compass.
Stlmmung (shttm'-moongk), G. i.
Tune. 2. Accordature. 3. Pitch.
4. Mood. S. halten. To keep the
key. S.-bild. Tone-picture.
stinguendo (stln-gwto'-do), /. Dying
away.
stiracchiato (ste-rak-kY-a -to), stirato
(ste-ra'-to). /. Retarded.
sti'va, Z. Neuma.
Stock (shtok). G, Bundle of 30 strings.
S.-fagott. Rackett. S.-fldte. i.
Bamboo flute. 2. A flute in a walk-
ing-stick. Stdckchen (sht£k'-kh£n).
Heel (of violin, etc.).
StoUen (shtdl'-ie^n), G,, pL Vide
strophe.
ttolz (shtolts), G, Proud.
stonante (nan'-t^), /. Dissonant.
stone-harmon'ica. Lapideon.
stop. I. Loosely used for (a) draw-
knob and stop-knob and draw-stop,
which only carry the label and, bv
admitting wind, bring into play the
stop proper, (b) A mechanical stop,
which does not sound or speak, but
acts as a coupler, a bell-signal, a
tremulant, etc. Strictly, the sound*
ing, or speaking stop is a complete
graduated series of organ pipes of
uniform quality. It is this quality
which gives the stop its individual
name (as duUiana^ cremona^ etc.).
Stops are divided into two chief class-
es, (a) those with flue-pipes, flue*
74
THE MUSICAL GUIDE
work, or flue-stops, and (b) those
with reed-pipes (o. v.), reed-work,
or reed-stops, nue-work is again
divided, according to the character
of the pipes, into (a) the cylin-
drical open pipes that give the diapa-
son, or typical organ-quality, also
called principal-stops, or -work ; (b)
covered, plugged, or stopped pipes
(without chimneys), g^edackt-work ;
(c) pipes too broad or too narrow of
scale to give diapason tone, 3 or 4
sided wooden pipes, and stopped
pipes with chimneys.
stops are further grouped ' according
to the length of their pipes as 2-ft.,
4-ft., 8-ft., etc., the standard being
the 8-rt., or foundation-stops, which
are the basis of the organ, and to
which the other stops are tuned (vide
foot).
stops which do not produce the uni-
son or the octave of the key-board, but
sound the third (tierce), tifth (quint)
and such of their octaves as the tenth
(double tierce), fifteenth, etc., are
called mutation-stops,
furniture, mixture, or compound
stops are composed of 2 or more
ranks of pipes and produce the oc-
tave of the key depressed and also
one or more of its other overtones.
A stop may have its pipes divided
between two draw-knobs. If it has
a pipe for every key of the key-board,
it ts compute ; otherwise it is an im-
perfect^ incomplete^ partial or half-
stop.
Some stops are given only to the
pedal ; or to only one of the manuals ;
these are said to be on the pedal, on
the swell, etc. A solo-stop is one
complete enough in itself to sound a
melody, stopped. Vide pipk.
stop* 2. A fret, or similar position
on an unfretted instr. 3. The press-
ure of the finger at a nodal point
of a string, double stop. The stop-
ping, hence sounding, of two or more
notes at once on the violin, etc. 4.
On a wind-instr. the closing with
key or fins^er of a ventage, f.. On
horns, etc., the inserting of the hand
in the bell to produce a raised tone of
muffled quality. Such a tone is said
to be stopped, as opposed to open or
natural.
stop'fen, G. To stop (of trumpet, etc.).
stopftdne (shtopf'-ta-n^. Stopped
tones.
stop-knob. Vide stop.
stor'ta, /. A serpent, stoftina (te'-
na). A small serpent.
Stosszeichen (shtos' - tsl - kh£n) C,
Staccato mark.
str. Abbr. for String(s).
Straccicalando (strat-chY-ka-lSn'-do) .
/. Prattling.
straccinato (str&-chY-niL'.td), /. Re-
tarded.
Strad., Stradivari, Stradivarius, etc.
A violin made by Stradivari (vide B.
D.), A.D. 1650.
strain. Section, motive, theme, air.
strascicando (str£-shY.kan'-dd), stras-
cinan'do, /. Dragging, playing
slowly, s. I'arco. Keejungthebow
of the violin close to the strings to slur
the notes, strasdnato (&'-td). Slow,
strascino (strfi-she'-no). A drag, a
slurring race, in slow vocal music.
strath'spey. A lively Scotch dance,
in common time, employing the Scotch
snap freely.
stravag^nte (gan'-t£), /. Extravagant,
odd. stravag^anza (gfin'-tsa). Ec-
centricity.
straw-fiddle. Xylophone, because its
bars are often laid on straw cords.
straziante (strsUtsY-an'-t£), /. Mock-
ing.
street-org^an. Hand-oi^n.
Streich (strikh), 6\ Stroke (as of
a bow), hence S.-instnimente.
Stringed instrs. S.-quartett. String
quartet. S.-orchester. The strings
of the orch. S.-zither. Bow-zither,
streichen. i. To draw the bow. 2.
To cut (as a scene), streichend.
** Strinjry " (of the violin quality of
certain stops). Strei'cher. Bow-
instr. pUtveris),
strene. A .»^revc
strenK(shtr«ng), G. Firm(ly), strict(ly).
DICTIONARY OF TERMS 275
ttrepito (stra'-pT-to), /. Noise, stre-
pito'to, ttrepitosamen'te. Bois-
terously).
Atretch. The interval covered by the
fingers of one hand.
stretta (strdt'-tai), /. A concluding
passage, or finale, in an opera, taken
in quicker time to enhance the effect.
stret to, sometimes stretta, /., strette
(stret). F. I. *' Compressed." In
fugue a closing treatment in which
subject and answer are so compressed
as to overlap. •• maiSstrale, orma-
jestrale. A strictly canonic stretto.
alia •• In stretto-style. andante s.
A slow agitato. 2. '* Hastened." A
closing movement at increased speed.
Strich (stnkh), G. Stroke, i. A dash.
2. x\ cut. Strichart. Manner of
bowing.
strict. Used of a composition follow-
ing the most rigid and severe rules.
Vide CANON, FUGUE, etc.
strident (stre-dan), /*.. striden'te,
stridevole (da'>vo-l£), /. Sharp,
shrill.
striking reed. Vide reed.
string. A sonorous cord made of va-
rious materials, the strings of violins,
etc., being of gut, or cat-gut (so-
called, although made of the entrails
of sheep). Guitar, etc., strings are
of brass, copper, or a core of steel
wire or silk, sometimes rtw^r^^ (wound
round with silver or other wire) ; pi-
ano strings are of drawn cast steel.
String are measured in thickness by
a stnng-gauge. "The strings " is
a general term for the stringed mstru-
ments of an orchestra (also string*
band, etc., or string orchestra),
s. pendulum. A Weber chronome-
ter, s. quartet, i. A group of four
instrs. of the violin species, ist and
2d violin, a viola, and 'cello. 2. All
the instrs. of these kinds in the or-
chestra. 3. A composition for these
4 instrs. s. quintet, sextet, etc., (a)
the string-quartet with addition of
some other stringed instr. (as double-
bass), or more of the same kind (as
an extra violin).
The strings of an instr. are numbered
beginning with the highest (or soprano
or chanterelle), stringy is used of
tone (such as that of an organ-stop),
which resembles a bow and string
instr.). open strings are those
which are not pressed with the finger,
or stopped, string-organ. Vide
SAITENORGEL.
stringendo (j^n'-do), /. Accelerat-
ing.
Stroh- (shtro), G, Straw. S.-bass.
The husky lower tones of a bass voice.
S.-fiedel (fe-d^l). Xylophone.
stroke, i. Vide signs. 2. The rise
and fall of a pedal.
strombazzata (strom-biid-za'-ta),
strombettata (b«t-ta -ta), /. Sound
of a trumpet, strombettare (ta'-rd).
To play on the trumpet, strombet-
tiere (t!-a'-r^). Trumpeter.
stromentato (ta'-to), /. Instrumented.
Vide RBCITATIVE.
stromen'to, strumen'to (pi. •!), /. In-
strument(s). s. da fiato (d^ fl-a -t5),
J or s. di ven'to. Wind-instr. s.
d*arco (dar'-ko). Bow-instr. s. da
cor'da. String-instr. s. da tacto.
Key-board instr. s. di legno (di
metallo). Wooden (metal) instr.
s. di rinforzo (for'-tso). An instr.
used to support or strengthen an ef-
fect.
Stuben-orgel (shtoo'-b«n-6r-g€l), G,
Chamber-organ.
Stiick (shtQk), pi. Stttcke (shtuk-^),
G. Piece. S.-cben (khCn). Little
tune.
Studie (stoo'-de), pi. -ien (I-^n). G.,
studio (stoo'-dr-d), /., stu'dium, Z..,
study, E, Vide 6tude and piano
STUDIES.
Stufe (stoo'-f^), pi. en, G. Step, de-
gree, stufenweise (vI-»^). By de-
grees.
stumm (shtoom), G, Dumb. S.-reg«
is'ter. Mechanical stop.
stUrmisch (shtar'-mtsh), G. Stormy.
StUrze (shtUr'-tsC), G, Bell (of horns,
etc.). S. in der Hohe (ha-£).
** The bell turned upwards."
Stuttgart pitch. Vide pitch.
276
THE MUSICAL GUIDE
Stuzfliigei (shtoots - flu . g^), G.
'* Baby " grand piano.
Styl (shtel), G. Style.
su (soo), /. Above, upon, arco in
su. Up-bow.
suabe-flute. A soft stop.
suave (soo-a'-vd), /., suave (swiv), F,
Suave, suavity (soo-a-vl-ta'), /.
Suavity.
sub, L. Under, below, beneath.
Subbass (soop'-bas) (7., subbour'don.
A double-stopped 16 or 32 ft. stop.
subcan'tor. Assistant cantor.
subdiapen'te. The 5th below.
subdom'inant. The fourth tone of a
scale or key.
Subflote, G, SifTlbte.
subito (soo'-bY-to), /., subttamen'te.
Sudden(ly), immediate(ly). volti s.
Turn quickly, p. subito. A soft
touch immediately after a loud.
sub'jcct, E„ Subjekt(soop'-y«kht), G,
A motive or theme for development
usually followed by an answer, or
second {secondary or subsidiary)
subject, or counter-subject. Vide
FORM.
subme'diant. The sixth tone of a
scale or key.
suboct'ave. i. The octave below. 2.
Coupler producing the octave below.
subordinate. Not principal or fun-
damental, used of chords on the 2d,
3d, 6th, and 7th degrees of a scale,
and of all 7th chords except that on
the 5th degree.
subprin'cipal. Below the pedal dia-
pason, a double open bass 32-ft. stop.
suDsemifu'sa, L. A 32d note.
subsem'itone, subsemito'nium mo^-
di, Z. Leading note.
substitu'tion. The resolution of a dis-
sonance in some other part an octave
removed.
substitution (sUb - stt - ttts - yon), F.
Change of fingers.
subton'ic. I/cading note.
succen'tor, L, i. Subcantor. 2. Bass-
singer.
aucces'sion. i. Sequence. 2. Pro-
gression.
Sufflote (soof-fla-t£), G, SifflOte.
sudden modulation. Modulation to a
remote key without intermediate har-
mony.
suffocate (soof.fd-ka'-to). /. *' Suffo-
cated,'* muffled.
sup^ii (sool-ye), sui (soo-e), /. Vide suL.
suite (swet), A, or suite de pieces
(da pt-Cs'). A set or scries of pieces.
Originally a group of dances, the s.
has followed the line deserted by the
sonata. Strictly it is a cycle series of
classic dance-forms in one key. The
number varies from three to five, often
with a prelude. The dance-forms
are chosen from the following : alle-
mande, courante, sarabande, bouree,
g'gue, gavotte, minuet, passepied,
loure, anglaise, polonaise, pavane.
The ailemande is usually first, the
gigue last ; the first dances named
were the regular constituents, the
others being called inUrmezzi. The
modern suite aims chiefly at lightness
even when extended to the orchestra,
and great liberty is now taken with
keys and forms.
suivez (swe-va), F, •* Follow " (the
soloist) ; continue similarly.
sujet (sU-zha), F, Subject.
sul (soot), suir, sulla (sool'-la), /. On
the, near the, as sui a. On the a
string, sulla tasttera. Near the
finger-board (of bowing), sul ponti*
cei'lo. Near the bridge.
suma'ra. A two-piped Turkish flute.
summational tones. Vide result-
ANT.
sumpun'jah, Hed, Sambuca.
sumsen (zoom'-z^n"), G. To hum.
suonare (soo-b-na -r€), /. To play,
sound, ring, suonata (soo-o-na -ta).
Sonata. suonatina (te'-ni). So-
natina.
suono (soo-o^-no), /. Sound, suo'ni
armonichi (iir-mo'-nY-ke). Harmo-
nics.
su'per, L, Over, above.
superano (soo-p€r-a'-n6), Sp, Soprano.
superdom'inant. The 6th tone in the
scale.
superfluous, E., superflu (sa-p^r-
flu), F» Augmented.
mt
DICTIONARY OF TERMS 277
snpe'rius, Z. Higher, i. e., the high-
est part.
tnperoc'tave. i. The octave above.
2. A stop two octaves above the dia-
pasons. 3. Coupler producing the
octave above.
snperton'ic, £., supertonique (su-
p<Jr-t6n-ek'), F, The second tone of a
scale.
snpplican'do, supplichevole (soop.
pli-ka' .v6-IO, aupplicheTolmen'te»
/. Pleading(ly), appealing(ly).
snpport'. Accompaniment, reinforce-
ment.
supposed bass. The lowest note of
an inverted chord (q. v.).
snr (soor), /.. sur (stir), A On, upon,
over, sur une corde. On one string.
suraboadantCes) (sQr-A-b6n.daA(t)), /;
Used of triplets, quintoles, etc.
surain (stlr-^-gO), F, Over- acute.
surdeliiia (soor-da-le'-nsi), /. Small
bagpipe.
surpnse. i. Vide cadence. 2. Name
of Haydn*s 6th symphony with an un-
expected crash breaking in on a long,
soft movement.
susdominante (sa-), F. Superdomi-
nant.
suspended cadence, i. Vide ca-
DRNCK. 2. Vide SUSPENSION.
suspension, i. The holding back of
one note of a chord with the result
that it causes, with the following
chord, a clash that earnestly demands
its progress to the destined note in
which it will find resolution (q. v.).
2. The note so suspended. A s. may
be unprepared^ that is, it may be the
only note of a group that is not
proper to a sudden chord, s. may
be double or triple^ by occurring in
more than one note of a group at
once.
saspir'ium« Z. i. A quarter rest. 2.
More anciently, a half-rest.
siiss (zQs), C7. Sweet(ly). Sussflote.
A soft flute-stop.
sn(s)surando (soo(s)-soo-raln'-dd),
su(8)surante (rlin'-t£), /.^ Whisper-
«pc(, murmur, sttssura'tion, E, A
soft murmur.
sustain. To hold a note during its
full time-value ; to perform in legato
manner, vide also pedal-point. Vide
PEDAL.
sveeliato (sval-ya'-to). /. Lively.
svelto (sv«r-t6), /. Light, easy.
sw, Abbr. of Swell-organ.
swell. I. Gradual increase (and de-
crease) of sound. 2. The device for
increasing and diminishing a sus-
tained tone on an orc^an, hence
swell-organ, and swell keT-board.
Part of an organ (the swell-organ),
is surrounded by a swell-box, the
front of which is filled with Venetian
swell-blinds (Jalousie, C), opened
or closed bv a lever worked by a
swell-pedal. In old organs, there
was but one shutter (nar's-head
swell) ; in harpsichords the cover
moved.
Sylbe (zel'-b*), G. Syllable.
syllabic, E., syllabisch (zel-Up-
Ysh), 6'., syllablque (sel-l&b-^k), F,
Of an air in which each syllable has
its own note.
syllable-names. Do, rt, mi, etc., as
opposed to letter-ttameSt C, d, e, etc.
Vide SOLMISATION.
sym'bal. Cymbal.
sympathet'tc. Of strings, etc., which
are made to soun4 by sympathetic
vibration (q* v.), and strengthen some
other tone by unison or by sounding
some overtone.
symphone'ta, Z. Polyphony.
sympho'nia, Gr. i. Agreement. 2.
Hurdygurdy. 3. A symphony.
symphonic, E,, symphonique (silft-
fd-nek), F., symphonisch (zem-fo-
nYsh), (7. Pertainmg to or relating to
the symphonv. symphonic poem,
po^me s. (pd-^m' sftA-fo-nek), /*.,
sympho'nische Dichtun^^ (dVkh-
toongk), G, A composition of sym-
phonic demands on orchestra and in-
telligence, but not built on the sonata
form and rather descriptive than
thematic. The name was first given
by Liszt to some of his best works.
Symphonie (sftn-fo-ne in /*., in G.
zem-fo-n§'). i. Symphony. 2. Con-
278
THE MUSICAL GUIDE
cord. 3* Instrumeatal accompani-
meat. 4. String-band. 5. Orchestra.
Symphonie-Ode (o'-d6), G, Choral
symphony.
•ympoo'nion. i. A combination of
flute-stop with piano, inv. by Kauf-
mann. 2. A music-box with inter-
changeable disk in place of a cylin-
der.
ijm'pbonist, symphoniste (siln'-f6-
nest'), /*., Sympho'niker, ayiapho-
nienseser (zem-f6'-nl-£n-za'-z£r), (7.
A composer of symphonies; in F,
also a church-composer, or member
of an orchestra.
sympho'ntout. Harmonious,
•jin phony, Symphonie (in F. s&n-fd-
n£', in CP. zem-t5-ne'). i. A sonata
for orchestra with all the elaboration
and extension permitted by the lai^er
resources. Beethoven (and follow-
ers of him) even added a chorus,
Ykttizst thoral sympkcny. Historically
founded on the overture, Haydn, the
father of the sonata (q. v.), established
the form, which has survived with
minor substitutions (as in the sonata)
till now. 2. In £. and elsewhere the
instrumental pre-, inter-, and post-
ludes, of vocal composition. 3. Old
name for hurdygurdy. etc.
tympo'lia. Convivial compositions.
•yn'copate. To 'perform syncopation.
syncopato (sin-kd-pa'-to), /., Synco-
pated.
tyn'copationi E*^ Byncopa'tio, X.,
syncope (s&n-kop in X, in G,
zen'-k5-p^). A pleasantly confusing
rhythmic ** intersection'* caused by
suppressing a natural accent or
strong-beat, or moving it from its
natural place to a weak beat, usually
by means of tie-ing over a note
on a weak beat across the time
belonging to a strong beat. The
note so prolonged is said to be syn-
CopatecL In piano-music, only one
hand usually has the syncopation.
Synkope (zen'-kd-p£), G. Syncopation.
tyakopi(e)ren (pe'-rdn). To synco-
pate.
^pttnem'enon. Vide modes.
synonyme (se-nd-nem), F, Homo-
phone.
syntonic Vide comma.
syntonolyd'ian. Hypoiydian.
sy'ren. Siren,
syrinx, (7r., syringe (se-rftnzh), F.
I. Pandean pipes. 2. A portion of a
hymn to Apollo sung by candidates
for Pythian prizes,
system (in (7. zes'-tam). i. A group or
staves. 3. In (7. a staff,
syste'ma, Gr. 1. A tetrachord, or
other interval. 2. In L, Staff. 3.
Hexachord series. Vide modes.
syst^me (ses-t£m), F. i. All musical
tones. 2. Compass,
sysyffi'a, Gr. and Z. A chord, s.
penecta, or simplex. Triad, s.
compos! ta. Triad with a tone doub-
led. s. proptn'qua {rtmoia). Close
(open) chord.
szopelka (shd-p^l'-ka). Russian oboe
with brass mouthpiece.
1"^ Abbr. of Taion, Tasto, Timpo,
Tenor^ Toe^ Trc^ Tutti.
tabal'lo, /. A kettle-drum.
Ubar (ta-bar), /., tab'arde,
tab'arte, Old E, A tabor.
tabl. Egyptian drum.
tablatura (tib-lS-too'-rfi), /.. tabla-
ture (tfl-bla-tur), ^., tablature (t4b'-
latur), E., Tabulatur (ta-boo-U-
toor), G, I. The Tonic Sol-fa
notation. 2. The rules of poetic and
musical composition established by
the Meistersinger. Vide ** stories op
THE OPERAS." 3. An early form of no-
tation from which our present system
got its vertical character, the bar and
the tails of its notes. Old tablature
had many forms. In lute-tablature
the French and English used letters,
the Italians, numerals, designating the
frets to be touched on the lute.
These were written ou a staff with as
many lines as the instr. written fcr
had strinp^ ; beneath were stems witl
tails, indicating the time-value of the
DICTIONARY OF TERMS 279
notes ; these tails represent our mod-
ern values except that our whole note
(their semibreve) had a stem like that
of our half-note ; our half-note (their
minima) had the tail of an eighth
note ; our X ^^^^ (semiminima) a
double-hooked-stem, our }4 note (fusa)
three hooks, our 1^ note (semi fusa)
the tail of a 64th note. The hooks
of consecutive notes were often run
together in thick lines as in our music.
or^an (or German) t. was used
for key-board instrs., and employed
the letter- names of the notes, the
melody being marked on a staff with
chord-accompaniment in vertical rows
of letters beneath.
table d'harmonie (tSbl dftr-m5-ne), F»
1. A table of chords, intervals, etc.
2. Sound-board.
table d 'instrument (tilbl dlln-stru-
man), F, Belly.
ta'ble - music, i. Part-songs. 2. Music
printed so that singers at opposite
sides of a table could read it.
ta'bor, taboret', £., tabourin (t&-boo-
rflfi), /I, tab'ret. A small drum ; a
tambourine without jingles.
U cet. pi. ta'cent, /.., Uce (ta ch^),
pi. tad (ta -che), taciasi (ta-chf-a-
st), /. *' Be silent ! " as odoe tacet, let
the oboe be silent.
tac'lais, Z. The stroke of the hand or
baton in conducting.
Tafel (ta -fei). G. Table. T.-fdrmigca
(f^r-mlkh-«s) klavier, or T.-kla-
vier. Square piano. T.-musik (moo-
zek'). I. Music sung at a banquet.
2. Vide TABLE-MUSIC.
tail. Stem, tail-piece. The wooden
brace which holds the strings of vio-
lins, etc., below the bridge.
taille (ti'-vfi), F. i. Tenor. 2. Viola,
also t. <j[e violin, t. de basson. Oboe
da caccia.
taktg^'to. I. Japanese dulcimer.
Takt (takt), G, i. Time. 2. Measure.
3. Beat, im T. In time, ein T.
^e vorher 2wei. Double the for-
mer time. T.-accent. Primary ac-
cent. T.-art, Species of time, as
duple or triple. T.-erstickung (er-
shtlk-oongk). Syncopation. T.-fach
(fakh). Space. T.-fest. Steady in
keeping time. T.-gHed (glet). Meas-
ure-note. T.-fUhrer (fo -rfir). Con-
ductor ; leader. T.-halten. To
keep time. takti(e)ren (tak-ter'-^n)
or t.-8chlagen. To beat time. T.-
linie (Ifn'e), T.-ttrich (strtkh).
Bar-line. t.-milssig (m£s-s!kh). In
time. T.-messer, Metronome. T.-
note. Whole note. T.-pause. Whole
rest. T.-atock. B^ton. guter T.-
teil. Strong beat, achlecbter T.-
teil. Weak beat. T.-vorzeichnnn^,
or Taktzeicben (tsl-kh£n). Signa*
ture.
talabalac'co, /. Moorish drum.
ta'lan. Hindu cymbals.
talon (t&-l6h), /; Heel. i. Of a bow.
2. Of the foot.
tambour (tan-boor), F, i. Drum. 2.
Drummer, t. de basque (dfi b&sk).
Tambourine, t. chromatique. Tim-
balarion. t. roulante (roo-lant).
Long drum. t. major (m&-zhdr).
Drum-major.
tamb(o)u'ra. An ancient instr., used
in the East, like a guitar, struck with
a plectrum.
tamoouret (tan-boo-ra), F., tambou-
rine (t&m'boo-ren), £., Tambourin
(tam-boo-ren'), (7. i. A small drum,
with little bells (called y//f/f^j) pivoted
in the rim. Notes with waved stems
indicate a roll ; notes with vertical
lines above, call for the jittgUs.
tambourineur (nCir), F, Tambou-
rine-player.
tambourin (tan-boo-r&n), F, i. A tam-
bourine without jingles. 2. A lively
dance in 2-4 time with t. accompani-
ment.
tamburaccio (tam-boo>rat'-chd), /. A
large drum, tamburel'lo, tambu-
ret'to, /. I. Tabor. 2. Drummer.
tamburino (tam-boo-re'-no), /. i.
Drummer. 2. Tambourine.
tamburo (tam-boo'-ro), /. Side-drum.
tamburone (t&m-boo-ro'-ne), /. The
great drum.
tamis (tft-me'), F. Pipe-rack.
tamtam', i. Indian dtum. 2. Gong.
28o
THE MUSICAL GUIDE
Tanbur (tan-boor'), G. Tamburo.
Ulndelnd (tdn'-d^lnt), G, Playful, tri-
fling.
tan'gent, E., Tang^eote (tan-j^n'-t^),
G. Vide CLAVICHORD. Tangen-
tenfliigel. A ** wing-shaped " clav-
ichord.
tantino (tan-te'-no), /. A little.
tanto (tan'-to), /. So much ; as much ;
but allegro non t. Not too quick.
allegro t. possibile. As fast as pos-
sible.
Tan' turn er'go, L. "So much there-
fore." A hymn sung at the Benedic-
tion in the R. C. service.
Tanz (tants). G., pi. Tanze (t«n'-ts^).
A dance. Tiinzer (t^n'-ts<^r). A
dancer. Tanzerin (t^n'-ts€-rln). A
female dancer. T^-lied (let). Dance-
song. T.-mnsik, or T.-stiick
(shtQk). Dance-tune.
tap. A single note on the drum. taps.
The last militar)' signal at night. It
is also used at the funeral of a
soldier.
tapada (ta-p&dh'-a), Sp. Stop, tap-
adillo (dhel'-yo). Baxoncillo.
ta'rabouk. Instr. used by Turks, a
parchment over the bottom of a large
earthen vessel.
tarantella (ta-ran-t^l'-la), tarentelle
(tar-an-tel'), F. Perhaps of Taren-
tine origin, but claimed to be derived
from the tarantula, two explanations
being given, one that the bite of the
spider incites a mania for dancing ; a
more probable one that the fatal ef-
fects of the poison find an antidote in
violent exercise. The dance is a wild
presto in 3-8 or 6-8 time, with increas-
ing frenzy and altematingly major and
minor.
tarau, theyau thro. Burmese violin
with 3 silk strings.
tar'do, tardato (tar-da'-to), tardan'-
do, tardamen'te, /. Slow(ly).
Tartini's tones. Resultant tones,
first observed by Tartini. (Vide B. D.).
Taschengeige (tash'-^n-gl-khd), G.
Kit.
tasseau (tis-s6), F. The mould on
which violins are built.
tastame (tas-ta -m^), /., Tastatur (tas-
ta-toor), (7., tastatura (tas-ta-too'-
ra), /., tastiera (tas-tl-a'-rsl), /. Key-
board ; finger-board, sulla tastiera.
Near the finger-board (of a vln.).
Taste (tas'-te), G, The touch, henc.
a key. Tas'tenbreit. Key-board.
Tastenst&bchen (st^p-kh^n). Fret.
Tastenschwanz (shvants). Ex-
tremity of key-board. Tastenwerk.
A keyed instrument.
tasto (tas'-to), /. I. Touch. 2. Key.
3. Fret. 4. Finger-board. sul t.
" Near the fnger-board." t. solo.
** One key alone," a note to be played
without other harmony than the oc-
taves.
tatto (tat'-to), /. Touch.
tattoo'. The drum-beat at night re-
calling soldiers to quarters for sleep.
It precedes taps (q. v.).
tche (che). A Chinese stringed instni-
ment.
tc. Tonic Sol-fa name for the 7th tone
si.
t6 (ta), F, C sharp.
technic(s) (tek'.nTk(s)), ^., Technik
(takh-nek'), C. technique (tek-nek).
F, The mechanical side of musical
f)er forma nee, including dexterity, ve-
ocity, distinctness, shading as op-
posed to the poetical or interpreta-
tive side. The means, not the end,
of a properly balanced musical ambi^
tion.
tech'nicon. A device for training the
fingers, inv. by J. Brotherhood, 1889.
tech'niphone. First name of the Vir-
gil Practice-Clavier.
technisch (t^kh'-ntsh), G. Technical,
us^^d to indicate proficiency.
tedesco (-a) (t«-d«s'-k6), /. German.
alia t. In the German style, in waltz-
rhythm, lira t. Hurdygurdy.
Te be'um Lauda'mus/Z. *'Thee.
Lord, we praise," a hymn attributed
to St. Ambrosius. Vide mass.
Teil (til), G. Vide theil.
tel'ephone-harp. An instr. for trans-
mitting music by telephone.
tell'tale. An indicator of wind-pres»
ure.
DICTIONARY OF TERMS 281
tema (ta'-mS), /. Theme ; subject ;
melody.
*-ein'perkment, E,^ temperament
(tftA-pa-ra-mslh), /\, temperamen-
to, /. A method of tuning, repre-
senting the triumph of practice over
theory ; of art over science. It is a
system of compromise, whereby, for
practical musical purposes, the octave
is divided into twelve intervals, none
of which is quite true. In the pres-
ent piano, and similar instrs. the
tones (% and </b, for example, are
identical, and are given the same
string and digital. As a matter of
acoustical fact there is a difference
between them. If they were given
different digitals and tuned exactly,
the present freedom of modulation
from one key to another would be
impossible without some elaborate
device, and the piano, organ, etc.,
would need a gres^tly increased fin-
ger-board, with 53 digitals to the oc-
tave instead of 12 as now. The
present tuning was not reached with-
out a war of the bitterest sort ; but
since the i8th century began, only
12 degrees have been given to the
octave. The earliest method was
unequal temperament, the key of
C major being tuned true, and the
other tones forced to conform. In
the twelve-semitone system, the
octave was divided into twelve equal
parts, no interval being quite true.
The mean-tone system had the ma-
jor thirds tuned true, the intermediate
space being divided 'into two equal
intervals; this system produced much
discord called the wolf, equal tem-
perament is now generally em-
ployed ; it is the practice of tuning by
fifths. A series of twelve fifths be-
ginning withe lacks only 74/ 73 of form-
ing a perfect seven octaves; by dividing
this slight discrepancy equally among
the 12 fifths, the circU of [fifths is
tempered and made perfect ; thus in
major C-G-D-A-E-I>-F#- (or Gb)-
Db-A^^-El^-£(2 F- C (B#); in minor
a-e-b-flWf-g#-<i# (or eb>-bb-f-c-g-
d-a ; and one can modulate by
means of dominant harmony (chords
on the fifths) through the whole suc>
cession of keys with almost imper-
ceptible acoustic falsehood. It is this
great convenience and simplicity of
Equal Temperament that has pre-
vented thus far the acceptance of any
of the many instruments invented
with the rival method of just intona-
tion. Nevertheless the music we
know and enjoy has no perfect inter-
vals except the octave ; the fifths are
a I2th of a comma flat ; the fourths a
1 2th of a comma sharp; the major
thirds X^^ o^ ^ comma sharp, etc.
Temperatur (tam-p^-ra-toor), G,
Temperament.
tempest o' so, tempestosamen'te.
Tempestuous(ly), furious(Iy).
tcmp^te (tah-p^t). y^ ♦•Tempest"
A boisterous quadrille in 2-4 time.
tempo, /, "Time." i. Rate of
speed, ranging from the slowest to
the fastest, thus Grave, largo, lento,
adagio, andante, moderato, allegro,
presto, prestissimo. 2. Rhythm,
measure. 3. Beat, a tempo. In exact
time (usually appearing after retarda-
tion), t. primo (or imo), or pri-
mierQ. Original speed, t. alia
breve (bra -vC). Vide brrve. t. a.
piacere, or senza t. The time at
pleasure, t. bina'rio (terna'rio).
Duple (triple) time. t. como'do.
Convenient, moderate time. t. de-
bole (da'-bd.Id). Weak beat. t. di
bal'lo. Dance-time. t. di bole'ro,
gaTOt'ta, mar'cia, etc In the time
of a bolero, gavotte, march, etc. t.
di cappel'la. In the Church-time.
Vide BREVE, t. di pri'ma par'te.
In the same time as the first part,
t. fot'te. Strong beat. t. giasto
(joos'-td). In strict time. I'istesso
(or lo stesso), t. Continue at
'*the same speed.** t. maeg^ore
(mad-j6'-r*). Vide breve, t. mi*
no' re, or t. ordina'rio. i. Common
time, 4 beats to the measure. 2.
The original time of the piece. t«
perdu'to. ** Ijcsx,*' unsteady time. t.
282
THE MUSICAL GUIDE
regfgiato (r£d-j£'-td), same as colla
parte, t. rubato. Vide rubato.
T. wic vorhcr (ve for-har), C. Same
time as before.
tempo-mark, Tempo-Bezeichnungf
(bJs-tsTkh'-noongk), G, A word or
phrase indicating the standard or unit
of time for a composition, as andante ;
or indicating some deviation from
this unit, as meno mosso,
temporiser (tftn-p6r-Y-za), F. In an
accompaniment, to follow the soloist's
time.
\kemps (taA), F. i. Time. 2. Beat,
t. faibie (fdbl), or lev6 (l&va).
Weak beat. t. fort (for), £rapp6
(frftp-pa'). Strong beat.
tem'pus. Z. Time, i. e., of the breve.
t. perfec'tum (marked O). That in
which the breve equalled 3 semi-
breves, t. im' perfect um (marked
C ). That in which it equalled 2
semibreves. t. bina'rium (or tema'-
rittm). Duple or triple time. Vide
NOTATION.
tenete (t€-n4'-t«), /. Hold.
Tea'ebrae, £. '* Shadows, Darkness '* ;
R. C. Evening Service, during Holy
Week, in commemoration of the
Crucifixion, the candles .being extin-
g^ished one by one.
tenen'do, /. Sustaining (as the melody).
tenero (ta *n£-r6), tenero'so, tenera-
men'te, A Tender(ly). tenerez-
sa (ta-n$-r5d'-zft). Tenderness.
teneur (ta-nfir), F. Can/us firmus of
a hymn.
tenor (in (7. ta-nor'), t6nor (ta.n6r), F,
tenore (ta-n6'-r6). /. i. The high-
est male voice produced *'in the
cJr^t." Vide soprano, (a) The
mure powerful tenor is almost a
barytone and is called dramatic
(Heldentenor'), teno're robus'to, or
di mezzo carrattere (de m^d'-zo ka-
rat-ta -rd), or di forza (de for'-tsa).
Compass c-b' (ft). The more light
and flexile tenor i^ called lyric,
lj[ri9cher (ler-tsh-<<r). T. tenore leaf-
giero (led-ja-ro), i^g^ier (la-zha), or di
^azia (de grats' -y a). Compass d~c" ,
Bometimes higher. 2. The part cor-
responding to the tenor voice in com-
pass. 3. The highest of a chime of
bells. 4. The viola, as tenor violin.
5. As a prefix for instrs. of tenor
range ; e. g., tenor trombone (7>«^r-
posaune)^ etc. 6. tenor C is an oc-
tave below mid-c. 7. tenor-clef,
Tenor-schliissel or -zeicben, the
C clef on the fourth line. 8. The low-
est string of the viola. 9. In Grego-
rian music, the principal melody taken
by a medium male voice, «bove which
sang the counter- or contra-tenor,
or the altus or alto, 10. In mediae-
val music, (a) fermate, (b) ambitus,
(c) tone of a mode of the evovat,
tenorino (ta-n5-re'-n6), /. Falsetto
or castrato tenor. Tenorist (t£n-
6-rest'), (7., tenorista (tan-6-res'-
ta), /., tinoriste (ta-no-rcst'). /*. A
tenor-singer.
tenoroon'. i. Old tenor oboe, compass
downward to tenor C. 2. A stop
that does not go below £.
ten'sile. Applied to stringed instru-
ments,
tenth. I. An interval of an octave
and a third. 2. A stop a tenth above
the diapasons. 3. Decima.
tenu(e) (ta-nU), y^, tenuto (ta-noo'-to),
/. "Held." I. Sustained. 2. A
sustained note or pedal-point. 3.
Legato. 4. Constantly, as forte t«
PI. tenute (note).
t^orbe (ta-6rb), F, Theorbo.
teoretico (ta-o-i-i'-tl-ko), /. Theoret-
ical.
teoria (ta-6-re'-fi), /. Theory.
tepidity (ta-pe-dl-ta'), /. Indifference,
lukewarmth. tepidamen'te. Calmly.
teponaz'tli. An Aztec drum still used
in Central America ; a log about a
yard long, hollowed from below, then
cut through till two tongues of wood
are left. These sound an interval
when struck with padded sticks.
ter (tdr), Z. Thrice, three times (of a
passage to be repeated twice), tef
un'ca. ** Three-hooked" ; i6th note,
ter sanctus. •* Thrice holy," refer-
ring to the ** Holy, holy, holy," of
the Te Deum.
DICTIONARY OF TERMS 283
terce. i. Tierce. 2. Vide hor^
CANONIC^.
tercet (t*r-sa), F, Triplet.
temaire (t^r-n&r), F.^ ternario (t^r-
na'-rt-o), /., ter'nary, E. Triple,
three-fold, ternary form. Rondo-
form, ternary measure. Triple
time.
terpo'dion. i. An instr. in v. 18 16 by
Buschmann, resembling the harmo-
nium, the tone beinj; produced from
sticks of wood. 2. An 8-ft. stop.
Terpsichore (t^rp-slk'-o-rfi). The muse
of dance and song.
ter'tia, Z.% Tersia (t«r'-tsVS), G. i.
Third, tierce, tertia modi. The
3d degree. 2. A stop sounding a
third or tenth above.
tertian Zweifach (tSr-tsT-ftn tsvl'-
fflkh), G, A stop combining tierce
and larigot.
Terz (t«rts)(pl. en), (7. . tcrzo(-a) (t«r'-
ts6), /. I. Thiiid, (a) the interval,
(b) in number. 2. Tierce, terzo
mano. Octave-coupler, terzadec-
ima, Terzde'zime. A T3th. Terz«
qnart'akkord, or Terzquartsext'-
akkord, 6-4-3 chord. (Vide chord.)
Terzqnintsext'akkord, 6-5-3
chord. (Vide chord.) Terztdne.
Tierce-tones. Terzfldte. i. Small
flute, a minor third above. 2. A
stop.
Terzdecimole (da-tst-mo'-l^). A group
of thirteen equal notes.
Terxett (t«r-ts«t'). G., terzetto (t^r-
ts«t'-t6)^ /. A trio.
terslna (t^r-tse'-nfi), /. A triplet.
tessitura (t£s-sY-too'-rfi), /., tessiture
(t&i'-sT-tur), E, "The web." The
general " lie *' of a song or phrase-
its average pitch, whether high or
low.
tes'ta, /. Head, di t. In the head
as the voice.
teato (t«s'.t6). /. "Text." i. Subject.
or theme. 2. The words of a song.
testn'do, L. " Tortoise." The lyre.
t^te (t£t not tat), F, Head, of a note ;
of a vln., etc.
tet'rachord, E.^ tetrachorde ft^t-ra-
kdrd), F,^ tetracor'do, /. i. A4-
stringed instr. 2. The interval of a
fourth. 3. The 4 diatonic tones of
a perfect fourth. (Vide modes.) tetra-
chordal system. Original form of
Tonic Sol* fa.
tetrachor'don. A small piano-like
instr. with a rubber cylinder, imping-
ing on strings.
tetrato'non, Gr,^ tet'ratone. An in-
terval of four whole tones.
tet'rad. Chord of the seventh.
tet'radiapa'son. Interval of 4 oc-
taves.
tet'raphone. Tetratone.
tetrapho'nia. Organum in 4 parts.
T(h)eil (til), G. Part. T.-ton. Partial
tone.
the'ma, Gr.^ Thema (ta'-ma), 6^.,
th^me (t^m), /\, theme, E. Loosely,
the general idea of a composition.
Strictly, the structural molecule, of
which motive or subject and answer
are the component atoms. The
theme of a " theme with variations,**
tema con variazioni, is an extended
air. Such a work as a sonata has
contrasting themes which are devel-
oped, themat'ic treatment refers
to the contrapuntal handling of a
musical design as opposed to a lyric
treatment, though the theme itself
may be lyric in nature.
Theorbe (te-6r'-b*), (7., th^orbe (ta-
6rb), F., theorbo (the-or'-bo), E,
A large bass lute with two necks,
the longer carrying a set of bass
strings.
Theoretiker (t«-6-ra'-tt-k$r). (7..
th^oricien (ta-5-res-yaA), F. A
theorist.
theoria, Gr, and Z., th^orie (ta-o-re),
Z'., theory (the-S-rt), E. The
science of music, particularly of its
composition.
the' sis, Gr, The accented downbeat.
Vide arsis.
Theur'g^c hymns. Songs performed
in Greek mysteries.
theyau. Vide tarau.
thin. Used of chords and harmonies
that lack support and fulness.
thior'bo. Theorbo.
284
THE MUSICAL GUIDE
third. I. Vide interval. 2. The medi-
ant, third-flute. Vide TERZPi.di e.
third-tones. Vide quint-tones.
thirteenth. An octave and a sixth.
thirty-second note. A demiscmi-
quaver. 32d rest. A rest of equal
duration.
thoroug^h-bass. Vide bass.
thorough-composed. Vide song.
three-eighth time. That in which
each measure contains three eighth
notes.
threefold. Used of triads.
three-lined. Vide pitch.
three-time. Triple time.
threno'dia, Z. and Gr, A song,
thren'ody. Lamentation.
thrice-marked, or lined. Vide
PITCH.
thro. Vide tar A.
through-composed. Vide song.
thumb-position. On the *celio, a high
position where the thumb quits the
neck.
thumb-string. Banjo melody-string.
Thtirmer (tUr'-mer), G. Town-mu-
sician
tibia (pi. tib'iae), Z. " Shin-bone." i.
Ancient name of all wind-instrs. with
holes, such as the flute, pipe and fife»
originally made from the human leg-
bone, tibiae pa'res, Z., pi. Two
flutesof the same length, t. impares.
Unequal flutes, one for the right hand
and the other for the left, which were
played on by the same performer;
those for the right hand, t. dextrae,
being perhaps of higher pitch than
those for the left (sinistrae). t. ob-
li'qua, or vas'ca. Cross-flute. 2.
Name of various flute-stops, as t.
major, a i6-ft. covered stop. 3. t,
utric'ularis. The bagpipe.
tib'icen (pi. tibic'ines, feminine tibi-
ci'na), Z. Flute-player, tibicin'ium.
^ Piping.
tie. A slur ; a curved line placed over
notes on the same degree which are
to be sustained as one tone. Vide
SIGNS, tied-notes. i. Those thus
^ed. 2. A series of notes (i6th notes,
«tc.) with a single tail.
tief (teQ, G, Deep, low. tiefer (te'-
f^r). Lower. 8va tiefer. Octave
below. tieftonend (tef-ta'-n^nt).
Deep-toned.
tier (ter). Rank (of pipes).
tierce (ters), E, i. A third, hence
tierce-tones, those reached by skips
of major thirds. Vide pitch. 2. The
4th in a series of harmonics. 3. A
mutation stop 2|j octaves above di-
apason. 4. Vide HOR^ CANONIC^.
tierce (tt-^rs'), F. i. A third. 2. Vide
HOR^ CANON iCi«. t. de Picardie
(drt pe-kftr-de), F, Tierce of Picardy;
a major third introduced in the last
chord of a composition in minor;
supposed to have originated in Picar-
dy. t. couUe (koo-la). A sliding
grace in thirds. Vide grace,
timbala'rion. A series of 8 drums
chromatically tuned and fitted with
pedals
timbale*(taA-b&l), /*., timbal'lo, /. A
kettle-drum, timbalier (tiin-bil-ya).
A kettle-d rummer,
timbre (tiln-br), F.^ tim'bro, I. i.
Quality and color of tone. 2. A ball
struck with a hammer, jeux de
timbres (zhtt-dd-tflnbr). A chro-
matic series of small bells or metal
^ bars. 3. The snare of a drum.
tim'brel. Hebrew tambourine.
time. A word used loosely and inter-
changeably with its Italian equiva-
.lent tempOy to indicate: I. Rate of
movement, or speed. 2. Rhythm.
Speed is indicated in various ways by
descriptive words, such as slow, an-
dante^ langsam, etc., or by the me-
tronome mark.
Rhythm is generally indicated by a
fraction, as 2-4 or 3-8 set at the be-
ginning of the composition or move-
ment. The denominator indicates the
unit of note-value ; the numerator
fixes the number of those unit-notes
in each measure. Thus 2-4 means
that the quarter-note is the standard
of value, and that each measure con-
tains two quarter notes or their equiv-
alents.
With the exception of such rare
CHART OF TIMES AND RHYTHMS
2^5
t. Duple, or Common Time, (mesnres JL deux ou quatre temps, fi:
gerader Takt, G. tempi pari, /.)
A. Simple, (binaire, F. einfacher,
G. 8empHce, /.)
Signa-
tnrea.
No. of
beats to English*
French.
Germao.
Italian.
a meas.
^«}
a
Two. two (alia
Deux-deux.
Zweizweiteltakt.
A cappella (alia breve/.
breve).
•
f
Two-four.
Deux-quatre.
Zweiviei "
Due-quarti (quarttro-due).
Tw<^eight.
Deux-huit.
Zwciach "
Due-ottavi (otto-due).
(t'i
Four-two.
Quatre-deux.
Vierzwei •'
Quattro-mezzi (due-quattro).
Four-four.
Quatre-quatre.
Viervier "
Quattro-quarti (quattro-quattic, br
(common).
nario, ordinario).
t
Four-eight.
Quatre-huit.
Viverach •*
Quattro-ottavi (otto-quattro).
iV
Four-sixteen.
Quatre- seize.
Viersechzehn **
Quattro-sedicesimi (sedict-quattro).
1
FJght-eight.
Huit-hi'il.
»
Achtach "
Otto ottavi (otto-ottc).
B. Compound, (ternaire, ^*. xusammengesetxer, ^. compo?t\, /.)
Signa-
tures.
No. of
beats to
a meas.
English.
French.
German.
Italian.
1
a
a
a -
9
4
4
4
8
Six-two.
Six-four.
Six-eight. ^
Six-sixteen.
Twelve-four.
Twelve-eight
Twelve- six-
teen.
Twenty-four-
sixteen.
Six-deux.
Six-quatre.
Six-huit.
Six-seize.
Douze-quatre.
Douze-huit.
Douze-seize.
Vingt-quatre-
seize.
Sechszweiteltakt.
Sechsvier **
Sechsach *'
Sechssechzehn'*
Zwalfvier "
Zwolfach "
Zwdlfsechzehn '
Vierundzwan*
zigsechzehn "
Sei-mezzi (due-sei).
Sei-quarti (quattro-sei).
Sei-ottavi (otto-sei).
Sei-sedicesiroi (sedici-sei).
Dodici-quarti (quattro-dodici).
Dodici-ottavi (otto-dodici).
Dodici-sedicesimi (sedici-dodici).
Ventiquattro-sedicL
f. Triple time, (mesures il trois temps, F, ungerader^ or Trioel Takt, (?•
tempi dispari, /.)
■ I . i . - ■ " I ■ ■■ ■■■■ *
A. Simple.
Signa-
tures.
3or!
{
No. of
beats to English.
3
3
3
3
Three-one.
Three-two.
Three-four.
Three-eight.
French.
Mesure
k trois -nn.
k trois-deux.
k trois-quatre.
k trcMs-huit.
German.
Dreieinteltakt.
Dreizwei **
Dreivier "
Dreiach "
leal
Uno-tre.
Tre-mezzi (due-tre).
Tre-quarti (quattro-tre).
Tre-ottavi (otto-treX
B. Compound.
Signa-
tures.
Na of
beats to
a meas.
English.
French.
k neuf-quatre.
k neuf-huit.
k neuf-seite.
k cinq-quatre.
k cinq-huit.
German.
Italian.
1
}
3
3
3
5
S
Nine-four.
Nine-eight.
Nine.sixteen.
Five-four.
Five-eight.
Neunvierteltakt.
Neunach •*
Neunsechzehn '
Funfvier •
Fiinfach *•
Nove-quarti (quattro-noveX
Nove-ottavi (otto-nove).
Nove-sedicesimi (sedici-nove).
Cinque-quarti (quattro- cinque).
Cinque-oitavi (otto-cmque).
NOTB. — Some English writers classify times also as quadruple and octuple^ and indicate compound tt
^ tlM signatures of^the coiraanoodinff umnle times with a dot addrd after the denoffV'.oaADr.
286
THE MUSICAL GUIDE
rhythms as the 5-8 time, all musical
time-patterns are divisible by 2 or 3,
and are called duple or triple. Thus
in 2-4 time there are two beats to
the measure, in 3-4 time there are
three. In more elaborate times the
beats may themselves be divided by
twos or threes. These are called
compound duple or compound triple
times.
The chart gives the various times in
various languages. (See also Accent
and Tempo.)
timido (te'-mt^o), /. Timid, timi-
dezza (te-mt-d^d'-zfi). Timidity.
timoro'so^ timorosamen'te, /. Tim*
id(ly). timore (tI-mo'-r«). Fear.
timpano (tim'-pfi-no) (PI. -i), /. Ket-
tle-drum, t. coper'to. Muffled
drum, timpanis'to. Drummer.
tin'termell. An old dance.
tintinnab'ulum, Z^., tintinnabolo, 7.
(tTn-tYn-n&'-bu-ld), tintinna'bulo
(boo-lo). I. A little bell. 2. A
small rattle of bells.
tintinnamen'to, tintinnio (nd'-o),
tintin'no, /, Tinkling.
tin' to, 7. Shading.
tiorba (te-6r'-ba), 7. Theorbo.
tipping^. Vide doublk-tonguing.
tirade (te-rid), F, A slide across an
interval.
tiran'na, Sp, A national air with
guitar.
tirant (te-ran), F, Stop-knob. t. k
coupler (a-koo-pla). t. Coupler.
2. Button. 3. Drum-cord.
tirarsi, da (da te-rar'-se), /. •* With a
slide," as tromba da t.
tirasse (tl-ras). F. i. A pedal-coup-
ler. 2. A pedal key-board acting
only on the manual pipes.
tirata (te-ra -ta), 7. A group of equal
notes, moving in joint degrees.
tirato (te-ra' -to), 7. i. Down-bow. 2.
Pedal-coupler.
tira tutto (te-ra toot'-to), 7. A pedal
mechanism controlling the full power
of an organ.
tiri (te-ra), F, Drawn, pulled ; a
down-bow. tirez (te-ra). ** Use the
down-bow."
Tischharfe (tKsh'-har-f«), G. "Dish
haip," an autoharp.
tlap'anhuehue'tl. Huehuetl.
tit'ty. Hindu bagpipe.
tirofienne. Tyrolienne.
toccata (tok-ka'-ta), 7. From toe-
care, to touch, to play. In its 1 6th
century form, a prelude made up of
runs and arpeggios. The modem
toccata develops with great thematic
hilarity and contrapuntal informality
a brilliant, swift and showy improvi-
sation, toccatina (te'-na), tocca*
tel'la. Short toccata.
toccato (tok-ka -to), 7. A fourth-trum*
pet part in place of kettle-drums.
toe' sin. An alarm-bell.
To(d)tesg^esang^ (tot' • 5s • gS • zang),
To(d)te8lied (let). (7. A dirge,
To(d)tengiockchen (gl^k'-khdn).
Funeral • bell. To(d)tenmar8cli
•(marsh). Funeral (** dead ") march.
tombeau (toA-bo), F, " Tomb." Dra-
matic elegy.
tomb'estere. Old E» A dancer with
tambourine.
tom'tom. Hindu drums.
Ton (ton), pi. Tone (ta'-n«), G. i.
Tone. T.-bestimmung^, or -mes*
sungr. Calculation of tones. Ton-
g^attung (gat'-toongk). The division
of the octave. The selection of tones.
Hence, mode. T.-rein, True in
pitch. T.-biidunp^. Tone-produc-
tion • voice - training. T.-Dtthne.
Orchestra. T.-dichter. Tone-poet,
composer (also T.-sctzer). T.*
dichtung[ (dlkh-toongk) or satz.
Composition. T.-faAe (far-be).
Tone-colour, timbre. T,-foige. Series
of tones. T.-fUhningr. Melodic
progression, modulation. T.-fuss,
T.-7all (or -schluss). Cadence.
T.-setzune| or -verhalt. Rhythm,
measure. 1 .-g^ang^. Melodv. T.*
g^ebung. Intonation. T.-Kunde
Science of music. T.-kunst (koonst).
Music; the art of music. Tonkunst«
schule. School of music. Ton*
iehre (ton'-la-rfi). Acoustics. Ton-
leiter (li-t^r). Scale. T.-loch.
Ventage. T.-malerei. " Tone-
DICTIONARY OF TERMS 287
painting/* programme music. T.*
messer. Monochord, siren, sono-
meter. TonschlUssel (shlUs'-s«l).
Key-note. T.-runge. Fugue. T.-
setzkunst. Art of composition. T.-
sprache. Music. T.-stiick or
*werk. Piece of music. T.-schrilt.
Musical notes. T.-verwandschait.
Relation of tones. T.-verziehung^.
Tempo nit>ato. T.-ver&nderungf.
Modulation. T.-werkzeug^. In-
strument (including the voice). T.-
system, or wissenschaft. Theory
of music. T.-zeichen. Note or
other musical sign.
a. Pitch, den T. angaben (hal-*
ten). To give (keep) the pitch. T.-
hdhe. Pitch. T.-la^. Register.
3. Key, octave-scale, mode, usually
Tonart (ton'«^rt). T.-anverwand-
achaft (f^r-vSnt'-shaft). Key-rela-
tionship. T.-g^eschlecht (g6-
shl^kht'). Mode (i. e. , major or minor).
Tonabstand (fip-shtSnt). Interval*
T.-achtel. Eighth note. T.-stufe.
Degree. T.-umfang. Compass.
ton (t6n), F, I. Tone. t. bouch6
(boo-sha). Stopped tone of a horn,
t. entier (ah-tT-a). Whole tone. t.
feint (f&n). Old term for flatted tone,
t. ouyert (oo-vftr). Open tone, of
a wind-instr. t. g^n^rateur (zha-
na-rfl-tdr). Fundamental. 2. Pitch.
donntr U /. Give the pitch. 3. Key,
scale, mode. t. majeur (mineur).
Major (minor) kev. t. relatif. Re-
lated key. t. ae P^glise (da la-
glcz). Church-mode. 4. Crook of a
horn. t. de r^change, or du cor.
Tuning-fork.
tonadica (to-na-de'-ka), tonadilla
(del'-ya), .S^. Cheerful song with
guitar. ,
tonae fic'ti, Z. Transposed church-
modes.
to'nal. Relating to a tone, a key,
mode, etc. Vide fugue, and imita-
tion.
Tonalitat (t5n.al-Ytat'), G., tonali-
ty (ton-ill-i-ta), A, tonality, E.
The unity in key-relationship of a
phrase or composition. It may pass
out of the predominant key, but so
long as it does not stray beyond
the limits of easy return and constant
relationship with this key, the compo-
sition has not overstepped its general
tonality.
ton'do, /. Round, full (of tone).
tone. I. A sound of musical quality
and regular vibration as opposed to
noise. 2. A sound, (a) of definite
pitch, (b) of a definite quality. 3. A
full interval of two semitones. 4. A
mode. 5. Of aliquot^ combinational ^
differential^ partial^ resultant^ sum-
tnational^ etc., tones or difference'
tones ^overtones ^^\z. Vide those words,
also ACOUSTICS. 0\ fifth-tones^ quint-
tones^ third-tones. Vide QUINT-TONES,
bridge-tone. Vide tonic sol-fa.
tone-colour. The distinctive qual-
ity or timbre of a tone, tone-paint-
ing. Description bv music, tone-*
poem. A musical expression of
sentiment, determination of t.
The investigation of vibrations, or
tone- values, tone-relationship, etc.
tone-relationship. Tones which
concur in a major or minor chord are
said to be of the first degree of rela-
tionship ; c is so related to g, f , e, ab,
a, and eb, etc.
tdnen (ta'.n£n), (7. To sound, td'nend.
Sounding.
tongue. I. Reed; or the vibrating
metal slip of a reed ; hence, tongue-
'pipes. 2, j4s a verdt to use the
tongue in playing wind-instr. ; called
tong^ing. Vide double-tonguing.
Triple-tonguing is the rapid iteration
by tongue-thrust with the consonants,
t-k-t, t-k-t, etc.
tonic, E,, tonica (to'-ne-ka), /., To-
nika, (7., tonique (td-nek), F. i.
The key-note of a key, that on which
• the scale begins and ends, the tone
from which a key takes its name,
as C. 2. The tonic-chord, the
diatonic chord built on the key-note.
t.-pedal. Pedal-point on the key*
note. t. section. One which closer
with a cadence to the tonic of the
ehief key of the movement.
288
THE MUSICAL GUIDE
Tonic Sol-fa. A system of teaching
singing, inv. by Sarah Ana Glover,
of Norwich, and improved by Rev.
John Curwen, and his son John
Spencer Curwen. It consists, first, in
analysis with constant reference to
key-relations, or "tones in key";
the second element is a notation modi*
fied from solmisation (q. v.), and con-
sisting of doh for do, ray for re, me
for mi, fah for fa, soh for sol, lah for
la, te for si. These take the place
of notes and are written on one line
by their initials, d, r, m, etc., an ac*
cent being affixed below or above the
letter to indicate an octave lower or
higher as d' i'. Sharps are sung de,
re, etc. ; flats d£, ra, etc. In modu-
lation, bridge-tones are indicated by
the new key-value of the tone large
with its old key value small as M.
In notation, rhythm is expressed by
time-spaces, the number varying ac*
cording to the beats or pulses in the
bar ; a thick bar before a letter marks
a strong accent; a colon a weak
accent; a dot and a comma mark
half and quarter beats ; a dash indi-
cates prolongation of tone ; a rest is
marked by a vacant space.
to'no, /. 1. Tone. 2. Key.
to'nos, Gr,y to'nus, L. i. A whole
tone. t. grav'is, tris'tis, mvs'ti-
ctts, harmon'icus, laet'as, deyo'*
tus, angel'icus, perfect'us, respec-
tively the ist, 2d, 3d. 4th, 5th. 6th.
7th, and 8th tones in church-music.
t. cur'reas* Reciting note. t. pe*
regfri'nus. Foreign tone. 2. Mode,
toquet (to-ka), touquet, F. Tocca-
to.
toomoui'ah. Hindu tambourine.
too'rooree'. Brahmin trumpet.
toph (t6n, ffeb, Hebrew tambourine.
torcelli (t6r-ch«r-lc), /. Otgans.
tosto (t6s'-t6). Quick, rapid, piii
tosto. Rather; sooner.
touch. I.* Act or style of pressing the
keys of a key-board instr. 2. The
response or resistance of the action.
touche (toosh), F. x. Touch. 2. A
digiuL 3. A fret. ^ A finger-board.
toucher (too-sha), F. i. As a noun^
touch. 2. As a verb ^ to touch, play,
touchette (too-shet'), F. Fret,
toujours (too-zhoor), F. Always. Vide
SKMPRE.
touquet (too-ka), F. Toccato.
tourdion (toor-dt-6n), F, Saltarella 2.
tourment^ (toor-mah-ta), F. Over-
elaborated.
toume-boute (toom-boot), F, An
instr. like a flute.
tour de force (toor dil fors), F. Bra-
vura passage, etc.
toumi({uet (toor-nl-ka), F. Plug, cap.
touta'n. Hindu bagpipe.
tout (too), pi. touts (too), or toutes
(toot), F, All. t. ensemble (too-
taft - san' . bl). All; the whole to-
gether; the general efl[ect.
toy. A trivial air or dance, toy sym-
phony. A comic work, particularly
one by Haydn employing toy cuckoo,
trumpet, etc.
tp. Abbr. of Timpani.
tr. Abbr. for trumpet or trill.
track'ers, ^., Tractur (trak-toor'), G.
Vide ORGAN.
tract, ^., trac'tus, Z. Solemn melo-
dies sung from the Psalms during
Lent in the Requiem Mass. The
words are taken from the Psalms.
tradolce (tra-ddl'-ch^), /. Very sweet.
tradotto (tra-dot'-to), /. Translated,
arranged.
Tra'gen der Stim'me, G, Portamento.
trains (tr^-na), F. i. Slurred. 2. A
slow waltz.
trait (tr«). F. i. Passage as t. de
chant. Vocal run. 2. A phrase,
progression, t. d'harmonie. Se-
quence. 3. Rule. t. d'octave.
Rate of the octave.
traits (tr«-ta), F. A treatise.'
Traktur (trak-toor'), G. Trackers.
Vide ORGAN.
tranf uillezza (trSn-kwYI-lSd'-za), tran-
quillity (tran-kwYl-lT-tr), /. Tran-
quillity. tranquirio, tranquilla*
men'te. Calm(ly).
transcription (in F. tran-skreps-y66).
A rearrangement of a composition
for a different instr. or instrs. t;
DICTIONARY OF TERMS 289
nntforme. The notation, common
in French bands, of writing all the
transposing instrs. in the G clef.
Inui'sient* Used of notes, chords and
modulations that are merely passing
and secondary, the means, not the
end.
inui'aito, JL, transit'ion (in F, trafi.
ees-yon). I. A modulation of tran-
sient value; so also in Tonic Sol*
fa.
trmn'sitos, L. A passing note (usu*
ally t. re'gularis). t. irre'gularis.
Changing note.
lrmn8poni(e)ren (pd-ne'-r^n), G* To
transpose, tranaponi'rende In'-
strumente. Transposing instrs.
timnspose, £.^ transposer (tran-sp6*
za), /^ To change the pitch of a
composition to a key higher or lower.
Thus the tonic is replaced by the
tonic of the new key, the old domi*
nant by the new, etc.
tnuisposing;. i. Used of Instruments,
which are not written as thev sound,
but always in the key of C major.
This is done so that the ptayer*s ease
and accuracy may be insured, by
keeping the fingering, etc., the same
in all keys, the key of the instr. be-
ing changed by changing the instr.
entirely or merely changing a crook.
The extent of this transposition is the
interval between the key of the instr.
and the key of C major. So an instr.
in B, sounds a half-tone lower than
written ; an instr. in £(> sounds a ma-
jor 6th below or a minor 3d above
the actual note. 2. t. piano, etc.,
one in which, by a mechanism, the
action is shifted to higher or lower
pitch, t.-scale. Vide modes.
tfanspositeur (triAs-p5-zY-tar ), /*. i.
One who transposes. 2. A single-
valve inv. by Gautrot as a substitute
for the series usually used. 3. A
feey-board instr., piano t., inv. by A.
Wolff, 1873.
tiansposition (in G. tr^ns-po-zS'-tsY*
ftn). The changing of the key of a
composition. T.-skalen. Trans-
posing Scales. Vide modes.
transyerse flute. Vide flute.
traquenard (trftk-n&r), /*. A brisk
dance.
trascinando (tra-shY-nan'-dd), /. Drag-
ging, retarding.
trascrit'to, /. Copied, transcribed.
trasportato (tra-sp6r-ta'-t6), /. " Trans-
posed, chiavi trasportati. Vide
CHIAVRTTE.
tratt. Abbr. of trattennto.
trattato (trfit-ta'-to), /. Treatise.
trattenuto (noo'-td), /. Retarded.
Trauergesang (trow'-^r-g^-zang), G,
Dirge. Trauermarscn (marsh).
Funeral-march, tranenroll. Sad.
traurig (trow'-rikh). Heavy, sad^
iravailler (tri-vi-ya), F, To work;
to lead, play solo part. travaiU6
(vi-ya). Worked up elaborately.
Travers'fldte. i. A cross-flute. 2,
A 4-ft. stop.
traversi^re (trU-v^rs-yir), /*., traver-
80 (tra-v6r'-s6). Vide ki.ute.
tre (tra), /. Three, a tre. For three
voices or instrs. tre cor'de. Loud-
pedal. Vide piano, tre volte. Three
times.
treble, i. The highest voice, soprano
(from triplum^ q. v.). 2. Highest
part of a comp. 3, Highest regis-
ter. 4. The highest of a group of
instrs. t. clef The G clef. t.
forte stop. A stop for cabinet or«
gans, increasing the treble at will,
while the bass remains soft. t. staflT.
1'he staff on which the treble clef is
placed.
Tredezime (tra-da -tse-m«), (7. Thir*
teenth,
treibend (trl'-Wfnt), G. Hurrying, ac-
celerating.
treizi^me (tr«z-y«m), F, Thirteenth.
tremblant (trah-blSn). F„ tremen'do,
/. Shaking, trembler (bla), F,
To trill. Vide tremulant, trem*
bl^ment (tran-bl-mSA), F, A trill,
shake.
tremolando (tram-o-lan'-do), tremo«
late (la'-te), tremolo (tra'-mo-lo),
tremulo (tra'-moo-l6), /. Trembling,
trilling, quivering, reiterated with
great rapidity*
^
290
THE MUSICAL GUIDE
trem'olant, trein'ulant, A stop which
gives to the tone a waving or tremb-
ling effect.
tremore (tra-mo'-rQ, tremoro'so, /.
Tremor(ous).
tremali(e)re.n (tra-moo-le'-r^n). To
trill.
trench'tnore. An old dance in triple
or compound duple time.
tf^nise (tri-nez), F, Vide qua-
drille.
trenodia (tri-no-dl-a), /. A funeral,
dirge.
tris (tr«). F. Very.
tret'ca, trescone (tr^s-k5'-nd), /. A
<Sountry-dance.
Trcter (tra'-ter). (7. Bellows trcader.
tri'ad, i?., triadc (in /; tre-ad ; in /.
trc-a^dd), A chord of three tones.
Vide CHORD, harmonic t. Major
triad.
tri'ansrle, E, (in F. trc-angl). Trian-
gel (tre'-llng-*l)j (7., triangolo (tre-
iin'-go-lo), /., triang;ulo (tre-an'-goo-
lo), Sp,^ triang^'uluSy L, A small
steel rod bent into a triangle and
tapped with a straight rod, for em
phasising rhythm. Triangular harp.
Vide HARP.
tri'as, Z. Triad, t. defic'iens. Im-
perfect chord, t. harmo'nica. Per-
fect chord.
tfi'chord. The three-stringed lyre. t.
piano. One with three strinp^s tuned
m unison for each note, trichord'-
on. 3-stringed colachon.
Trichter (trtkh'-t^r), G, i. Tube of a
reed-pipe. 2. Bell of horn» etc.
tricin'ium, Z. An unaccompanied trio.
tricorde (tre-kor'-dfi), /. 3-stringed.
tridiapa'son, (7r. A triple octave.
tri'gon, trig^o'num. A 3-stringed
lyre-like instrument.
trinemito'nium, Gr, Minor third.
trill, trille (tre -yfi), /:, Triller (irTl'-
ier).C7., rillo (trKl'-Io). 7. The rapid
alternation of a principal note with an
auxiliary, usually the major or minor
second above (a small chromatic sign
being set above the note when its
auxiliary U not to be diatonic). The
trill begins on the auxiliary note only
when the auxiliary is written as a
grace note before the principal, in
this case the trill ends on the pnn-
cipial ; normally it ends on the aux-
iliary. A tnll is long or short
(trillcttc (tre-y«t). F,, trfllct'ta, trU-
let'to, /.) according to the duration of
the principal, the short trill sometimes
amounting only to a mordent. A
series of trills on different notes it a
chain of trills (Trillerket'te). A
mere rough rattle on one note instead
of two notes crisply trilled is called
g^oat-trill, Bockstriller, cb^rrote-
ment, or trillo caprino. trillettino
(te'n5), /. A soft trill, imperfect t.
One without a turn at the close. In
Caccini*s Method, 1601, the trillo was
the reiteration of a single note, our
trill being called gruppo. trillando
(treUlSii'-do), 7. i. Trilling. 2. A
succession, or chain, of shakes on dif-
ferent notes, trillem (trll'-l^m), (7.
To tril. Vide graces and signs.
trine (uren). A triad, with 2 major
thirds.
Trinkg;esang (trYnk'-g^zang), T.-lied
(let), Cf. Drinking-song.
trino'nA. Open 8-ft. stop.
trio (tng'-o), 7. i. A composition for
three instrs. or voices, often in sonata
form, pianoforte trio. pf.,vln.,and
cello, stringy trio (vln., viola (or 2d
vln.), and cello). (The name was
formerly used for 3 instrs., accompa-
nied by a fourth playing basso con*
t'.nuo.) organ tno. A strongly con-
trasted work for 2 manuals and pedal
or for 3 manuals. 2. In the dance*
form, the contrastingly quiet or lyrical
second division. Gaining its name
from being once written in 3 parts,
the word should now be laid aside as
meaningless and confusing, and the
phrase second part, or second subject
used instead.
Triolc (trI-6'-l«), (7.. triolet (in F, tr*-
6-la). A triplet.
triomphale (tre-on-f&l), /"., trionfale
(tre-6n-fa'-ld), 7. Triumphal, triom-
phant (tre-6h-fan), /^., trionfante
(tre-6n-fan'td), 7. Triumphant.
DICTIONARY OF TERMS
tripar'tite. In three parts.
tripel (tre-p€l), G, Triple, as T.
rare, triple fugue. T.-konzert.
Triple concerto. T.-takt. Triple
time. T.-zung^e. Triple-tong^ing.
triph'ony. Three sounds heard at
once, tripho'nia. Organum in 3
parts, triphonisch (tre-fo'-nlsh), 6\
rriphonic, 3-voiced.
tripla (tre -pia). /. Triple time. t. de
min'ima. i. 3-2 time. 2. Triplet,
triple (in /^'. trep'-l). Threefold. Vide
COUNTERPOINT, TIMK, CtC. t.-CfOChe
(kvrysh). 32d note.
tripiet. A group of three equal notes.
doublet. A sextole.
trip'lum, Z. The third part in organ*
um, hence the highest ; in 4-part next
to the highest, the 4th being called
quadruplum; if there is a 5th it is
called quintuplum, etc.
tripola (tre'-pO-la), /. Tripla.
Tnsa'gion, Gr,, Trtsa'g^iuniy Z.
•• Thrice Holy," the Sanctus.
trisemito'nium, Z. Minor third.
tristesza (trl^t^d'-z&), /. Sadness.
tristro'pha, Gr, Triple square note of
the greater stress.
triton (tre-td6), F., tritone (tn'-ton),
E., tritono (tre-to-no), Z, tri'to-
nus, Z. (in C. tre-to-noos'). An aug-
mented fourth ; long a forbidden
interval in strict writing, since it was
augmented and was said to be hard
to sing, mi chord of the t. Third
inversion of the dominant seventh,
which contains the tritone. Vide mi.
tri'ton a'vis, Z. ••3-toned bird." a
West-Indian bird, capable of singing
a note, auf} its twelfth and seven*
teenth, all at the same time.
fritt (trtt), (7. Treadle, pedal. Tritt'-
schah (shoo). Place for the foot on
bellows. Tritt'harfe. Pedal-harp.
Tritt'brct or T.-holz. The board
on which the bellows-treader steps.
tri'tus, Z. Lydian Church-mode.
triumphirend (tre-oom-fe'-r*nt), (7.
Triumphant. Triumphlied (let).
Song of triumph.
trois (trwa), F. Three, mesure i
trois'deux (tn^'a-dfi). y2 time, A
trois- hut t (trwa zwet). 3-8 time,
trois-^uatre (tnvS k&tr). 3-4 time.
troll. I. Round or catch. 2. At a
verb^ to sing a catch.
tromba (trom'-ba), /. i, A trumpet.
2. 8-ft. reed-stop. t. croma'tica, /.
Valve trumpet, t.-bas'sa, or di
bas'to, or spezzata (spdd-za-ta).
The bass trumpet, t. da tirar'si.
Old slide trumpet, perhaps a soprano
trombone, t.-martna (ma-re'-na), /.
Marine trumpet, spezzata (sp^d-z&'*
ta), /. An obsolete name for the
bass trombone, t. sor'da. Muted
trumoet. trombadore (do'-rS), trom-
baceiloclyde. A Bt^ ophicleide.
trombet'ta, trombettino (te'-no),
trombettatto're- or iere (l-a'-r£).
1. Trumpet. 2. A small trumpet,
trombone (in E. tram'-bdn; in 7.
trom-bo'-n^ ; in F^ trdft-btin), /., pi.
-1. I. A trumpet*like instr. with
valves ; or more anciently, with a tube
that may be lengthened or shortened
by means of a U-shaped portion to
be pushed in or drawn out. This
slide moving by semitones has seven
positions, each of which virtually,
makes a separate instr. of it with a
distinct ke^, the partial tones of this
being obtained by variations of press-
ure (vide embouchure). The tone
of the instr., though suffering from
misuse in bad hands, is of the utmost
richness, dignity and humanity. Ber*
lioz calls it ** epic." It is a non-trans,
posing instr. in four sizes, the tenor
being most used ; the tenor aad alto
are written on the C clef ; the bass
and contrabass on the F clef ; com*
\ passes ; tenor ^ chromatic £-b'b (with
pedaHones G -B^ ^, and difficult
tones b -d") ; alto, A-e"b; bass B -f .
2. A powerful 8, 16 or 32 ft. stop.
Trommel (trom'-m^l), G, Drum.
l^roB'se T. Bass drum. Milit&r-t.i
or Wirbel-t. Side drum. Roll-t«
Tenor drum. T.-bast. A bass note
{- thumped drum-wise. T.-boden (b6'«
den). Bottom of a drum. T.-kas'«
' ten. The body of a drum. T.*
' kldpfel (kiep-f«l), or T.-schlAgel
292
THE MUSICAL GUIDE
(shla-g«l). Drumsticks. T.-tchlsl-
fer. Drummer, trom'meln. To
rum ; drumming.
Trommelstttck ( tr6m'-m£l-sht0k), G.
Tambourine, tabor.
trompe (troAp), F, i. Hunt-horn. 2.
Reed-stop. t. de B^am (da ba-lm),
or k laquait (& i&k-^'). Jew's harp.
Trompete (trom-pa .t€), G, i. Trum-
pet. 2. A reed-stop. Trompeten-
iT^iST^. Marine trumpet. Trompe-
tenzug* (tsookh). Trumpet-stop.
Trompeter (trom-pa'-t^r), tromp6-
teur (troh-pa-ttir), F. Trumpeter.
trompette (tron-p^t), /^ i. A trum*
pet. 2. Trumpeter. 3. A reed-stop,
t. H coulisse (S koo-les). Slide-
trumpet, t. H clefs (il kla). The
trumpet with keys. t. H pistons (ii
pes-ton). Valve trumpet, t. d'har*
monie (d&r-md-ne). Orchestral t.
t. hannomeuse (ir-m6n-yCiz). Trom-
bone, t. marine. Marine trum-
pet, t. harmonique (&r-m{ln-ek). A
reed-stop.
troop. I. A quick march for trooping
the colors. 2. The 2d drum-beat as
a march-signal.
trope, tro'pus. i. A Gregorian for*
mula for the close of the lesser doxoU
ogy. 2. Mode.
troppo (tr6p*-p6), /. Too, too much,
hnto ma non t» Slow, but not too
slow.
troubadour (troo-ba-door), /*., trova-
dor (trd-v&-dh6r), Sp,^ trovatore
(tro-va-to'-rfi), /. A poet musician,
usually of noble rank, skilled in sing-
ing, chiefly of love. The cult arising
in Southern France, flourished widely
from the nth Century. The t,
sometimes had hired minstrels (me-
nestrels, m^netriers, or jongleurs) in
attendance on him. trouv^res (troo-
vir), F, A cult of poet-musicians
contemporary with an'd often con-
fused with the troubadours, but more
characteristic of the north of France,
and singing songs rather of war and
epic struggle than of love.
trtib(e) (trap or trU'-b^), G, Sad.
Trug (trookh), G. Deception. T.-
fortschreitung^. Progrrsaon of 9
dissonance, not to its resolution, bur
to another dissonance. T.-kadenz,
or -schhiss. Vide cadence.
Trumbscheit (troomp'-shit), G, Ma-
rine trumpet.
trump. I. Trumpet. 2. Jew*s harp.
trump'et. i. A metal wind-instr. with
a tube half as long as that of the horn,
but bent in longer folds, and with a
smaller bell. The tube is narrow and
cylindrical till near the bell ; the
mouthpiece is hemispherical and
cupped. It is a transposing instr.
written in the G clef (almost always),
and in the key of C. Its pitch is an
octave higher than that of the horn,
and it is used in fewer keys. It is the
most commanding of all brass instrs.,
but its stopped tones are unpleasant.
It should be written for in a distinct-
ly vocal manner. It is fitted with
crooks to give it any key, the tone
being produced by embouchure (q. v.)
except in the yafye; or chromatic,
trumpet; which is displacing the older
form. Its extreme compass is d-b"|>.
In England the slide trumpet is used,
working like a trombone but with
shorter slide. Trumpets of the same
key but sounding an octave apart are
called alto (high), and ^asso (low).
2. An 8-ft. reed-stop,
marine trumpet. An old tnstr.
once used for signalling in the Eng*
lish navy, hence its name ; also used
in convents, whence it was called
•* nuns fiddle, " It was played chief-
ly in harmonics, and had one thick
gut string, sometimes an octave
string, and one or more drone-strings.
The box was long and thin with short
neck and flat belly ; one foot of the
bridge rested loosc^ producing a
powerful resonance.' harmonic t*
A sackbut. reed-t. ' A trumpet with
36 brass-reeded pipes inclosed, ar-
ranged in a circle, so that each pipe
was brought in turn between the
mouthpiece and the bell.
Tnimscneit (troom'-shit), G» Marine
trumpet.
DICTIONARY OF TERMS 293
t. 8. Abbr. of Tasto Solo.
tschengr (ch^ng). Cheng.
tschun^ (choong). Chinese gong.
toba (too'-b&), /. I. The lowest of the
saxhorns (q. v.), an enormous brass
horn with four pistons, a trombone-
like mouthpiece, and a compass of 4
octaves. 1 1 is a non-transposing instr.
(except in the case of a tenor-tuba in
Bb, and a bass- tuba in F so written
by Wagner), and is written in the G
clef. It is usually made of 3 sizes,
the bass or the euphonium, in B flat
(compass available B,i^-f'), or in K,^;
the bombardon, a Bf th lower ; and the
contrabass tuba (or bombardon)
in Bban octave lower than the Eupho-
nium. 2. The straight Roman trum-
pet, or t. communis ; the t. duc'-
tilis, being curved. 3. t. cunra. A
limited natural French trumpet of the
18th Century. 4. A powerful 8-ft.
reed-stop. t. major, t. mirab'ilis, t.
clarion. A 4-ft. stop.
tu'bicen, Z. A trumpeter.
tttck'et. A flourish of trumpets.
tniau (twe-6), /*. Tuyau.
tumultuoso (too-mool-too-o'-s5), /.
Agitated.
lun. Ancient Yucatan drum.
tune. An air or melody, usually short
and simple.
tu'ner. i. One who tunes instruments.
2. The flap or cut in the top of a
pipe by which it is tuned. 3. Tun-
m^-cone.
tn'ning^. i. The correction of the tone-
production of an instr. 2. Accorda-
ture. t.-cone or horn. A cone of
horn or metal which can be inserted
in the top of an organ-pipe ; by
•'coning out" or increasing its flare
and raising its pitch; by ** coning
in" or pressing it, point upwards,
over the top of a pipe, it decreases
the flare and lowers the pitch, t.-
crook. Vide crook, t.-fork. A
' small steel instr. with two prongs
which upon being struck sounds a
certain fixed tone, t.-hammer or
key. A hand -wrench, t. slide.
I« An English instr. for producing
thirteen semitones. 2. An adjustable
U-shaped portion of the tube of cer^
tain brass instrs. t. wire. Vide
RKED and PIPR.
tuono (too-o-no), /. i. Mode, as t.
ecclesias'tico. Church-mode. 2.
Tone.
tuorbe (tworb), F, Theorbo.
tur'ba, pi. *ae, L, *' Crowd, multi-
tude." The heathen or Jewish chorus
in Passion music.
tarbinoso (toor-bl-no'-so), /. Tempes-
tuous.
turbo (toor'-bd), Gr, A seashell trum-
pet.
turco (toor'-ko), /. Turkish, alia
turca. In the style of Turkish music.
turdion (toor'-dY-dn), Sp.^ turchesco
(toor-ka'-sko), /. An old dance.
tttrkish (tUr'-klsh), G. Turkish. Tnrk-
ischrmusik. Janizary music.
turn. An embellishment consisting of
a principal tone (struck twice) and
one higher and one lower auxiliary a
diatonic second removed, unless a
chromatic sign accompanies the sym-
bol ; if a sharp or flat is placed above
the turn-mark, it alters the higher
auxiliary ; if below, the lower. The
common, direct, or regular turn
usually begins on the upper auxiliary ;
the back or inverted t. begins with
the lower ; the rebounding or trilled
t. beeins with a passing shake ; the
' double t. affects two notes at once.
Vide GRACES.
turr. 3-stringed Burmese violin.
Tttsch (toosh), G. A triple flourish of
trumpets and drums.
Tute (too'-td), G. Comet.
tutta (toot'-ts), tutto, pi. tutte (toot'-
ta), or tutti (toot'-te), /. All ; the
entire band or chorus ; in a solo or con-
certo it means that the full orchestra
is to come in. tutte corde (kdr'-d£).
'* All the strings ** ; i. e., release the
soft pedal, tutti. Full band or
chorus — the entire force, tutto ar*-
co. With the whole bow.
tuyau (twe'-yo), F. i. Tube, as of a
horn. 2. Pipe. t. k anche. Reed-
pipe, t. k bouche. Flue-pipe.
294
THE MUSICAL GUIDE
twelfth. I. An interval of an octave
plus a Bfth. 2. A stop twelve tones
above the diapasons.
twenty-secona. A triple octave.
twice-marked, or -accented. Vide
PITCH.
two-lined. Vide pitch, two-time.
Duple time, two-step. A dance
in 6-8 time, somewhat resembling^
the waltz, but in duple accent.
cymb'estere. ViJe tombkstkrp..
tym'pan. i. Timbrel. 2. Drum. 3. Irish
instr., perhaps the crowd, tympani
(tYm'-pS-ne), /., pi. Kettle-drums.
tympanis'ta. Kettle-drummer.
tympanischi'za. Marine trumpet.
tympan'on (tem-pfl-noh), F. i. Dul-
cimer. 2. Kettle-drum.
tym'panum, L. i. Ancient drum resem-
bling the kettle-drum. 2. Kettle-
drum. 3. The water-wheel in old
hydraulic organs.
ty'pophone. A piano-like instr., with
steel wands instead of strings, com-
pass c'-c'"".
tyroHenne (te-r5l-y£n), F. i. Song, or
dance peculiar to the Tyrolese ; and
characterised by the jodel. 2. Round
dance in 3.4 time.
tseltse'lim, Heb. Cymbals.
tzet'se. Abyssinian guitar.
tzi'ti. Hindu bagpipe.
u
UBELKLANG (tt'-b^Uklang)
or -laut (lowt), G. Discord.
Uben (tt'-bfin), G, To prac-
tise,
fiber (tt'-b«r). G. Over, above. U.-
einstimmung (In-shtlm-moongk).
Harmony, ii.-gefiihrt (g^-fQrt). Di-
vided (of stops). ii.-g^retfen (gri-
fdn). (a) To cross the hands : (b) to
lift the thumb from the neck of a
'cello. U.-greifendes System (zes-
Mm). Hauptmann's plan of forming
» new key-system by adding to the
eroup of triads of one key, a triad in
Its dominant or sub-dominant key.
tft-biasen (bU-zSn). Overblowing,
to overblow. U.-grang^.. (^ing).
Transition, modulation. U.-leitung
(ll-toongk). Transition passage, ii.-
masstg(m£s-s!kh). Augmented. U.-
schla^en (shla -gdn). (a) To cross
over (the hands), (b) To overblow,
(c) To break, ii.-setzen (z^t'-z6n).
To pass a Hnger over the thumb ; or
one foot over the other. ii.-8tei|^en
(shtl'-ghSn). For a part to soar tem-
porarily higher than the part normally
,, above it. *
Ubung (U-boongk). G, (pi. -en). Ex-
ercise ; a study. Ubung^sabend. Pu-
pils' concert.
ugab (oo'-gab), Heb. An organ.
ug^ale (oo-gwil'-ld), /. Equal, like.
uS^alit& (iT-ta'). Equality, ug^al-
men'te. Equality, alike.
umana (00-ma -na), /. Human, vo-
ce u. (vo -ch5). I. The human voice.
2. A stop.
Umfang (oom'-fang), G. Compass.
umg^ekehrt (oom-gS-kirt'), G. Re-
versed, inverted.
Umkehning (oom-ki'- roongk), G, In-
version.
umore (oo-mo-rfi), /, Humour.
um (oom), G. Prefix about, around.
umschlagen (slfi'-gdn). i. To break,
to make a pronounced change of reg-
ister. 2. To overblow. 3. To make
the goose. Um'stimmung (shtTm^
moongk). (a) Change, (b) Corda-
ture, pitch or key.
un. Abbr. of Unison.
un (1IA), F., un (oon), una (oo'-n«),
uno (oo'-no), /. A, an, one.
unaccented. Vide pitch.
unaccompanied. Without instrumen-
tal accompaniment.
unacknowledged. Used of passing
or unessential notes.
un'ca, /.. ** Hooked "; quarter note,
bis unca. i6th note.
uncoupled. With coupler released.
und (oont), G. And.
un'da ma'riSi L, •* Wave of the sea. ^
A stop tuned sharp or flat and pro.
ducing an undulating effect by means
of beats ; sometimes a pii>e with two
mouths, one higher than the other.
■Pi
m%
DICTIONARY OF TERMS 295
' nndecinui (oon-dil-che'-ma), Z. and /.
An eleventh.
imdecimole(oon-da-chl-md'-l£), /. A
g^roup of eleven equal notes.
nnderchord. The minor triad.
nnderpart. That beneath, or subor-
dinate to others.
undersong. A burden.
undertone. A lower partial sometimes
produced by the simultaneous sound-
ing of two higher tones. (Vide
ACOUSTICS.)
Undezime (oon-d&'-tso-m£), G. An
eleventh. Unde'zimo'ie. Undeci-
mole.
nndula'tion, £., undulazione (oon-
doo-U-tsK-6'-n«), /. Vibrato effect on
bow instruments.
one (Qn), ^. A, an, one.
nneigentliche (oon-r-g£nt-lYkh-£). Ir-
regular (of fugue).
onendlicli(er) (oon-^nt'-lYkh-(«r) ), G.
Endless (of canon).
nneqnal. i. Vide temperament. 2.
Of voices = mixed.
onessen'tial. Used of passing and
grace notes, etc.
nnfret'ted. Vide fretted.
Iingar (oon'*gSr). ungarisch (oon-gjl'-
rlsh), G. Hungarian.
^ngebnnden (oon-g£-boont'-£n), G,
I. Vide FRETTED. 2. Unconstrained.
tngeduldig (oon-g^-dool'-dlkh), G.
Impatient.
ftt^erade Takt (oon-g£-ri'.d£ tfikt),
S. Triple time.
tingestrichen (oon-g^-strTkh'-^n). Un-
accented. Vide PITCH.
nngestttm (oon'-g^-shtQm), G, Impet-
uous.
iges^nrnngen (oon-gj(-tsvoong'-^n),
u. Easy.
imgleich (bon'-glikh). Unequal. Vide
COUNTERPOINT. ungletchschwe-
bende (shva-b^n-dc^). Unequal, of
temperament (q. v.).
nnharmo'nischer Querstand (kwar'-
shtSnt) or umstand (oom'-sht£nt).
False relation.
ci'nichord, E., uoichor'dum, Z. i.
Monochord. 2. Marine trumpet.
■■ion (&D-y6n), />'. Union, u. det
r^g^stres (da r&-xh£str). Blending
of registers.
unione (oo-nl-A'-n^), /. Coupler.
u'nison ^in G,, oo-nl-zon'), uniso'ntti^
L., umsono (oo-ne-so'-n5), /.; uiiia-
son (Q-nls-s66), /*. i. Identity of
piech. 3. Any octave of a pitch. 3.
A tone of the same or octave pitch.
4. A prime, hence augmented uni-
son. 5. A group of 2 or 3 stringsi
tuned in the piano to one note. 4UI*
unisono, k I'unisson, in unison,' or
progressing in the unison or the oc*
tavc.
unls'onant, unit'onous. In unison
or octave.
unito (oo-ne'-to), unitamen'te, /.
United(ly). uniti cancels diviti
(q. v.).
unmeasured. Without definite meas-
ure.
uno (oo'-no), una (oo'-nS), /. One ;
a, an. uno a uno. One by one ; one
after another.
unrein (oon'-rfn'), G. Impure ; out of
tune.
unruhig^ (oon-roo'-Ykh), G. Restless;
uneasv.
unschuldig: (oon-shool'-dtkh), G, In-
nocent.
unsingbar (oon-zlng'-bftr), G. Not
singable.
unstrung. Of strings (a) relaxed in
tension, (b) removed entirely.
unter (oon'-t5r), G. Under, below,
sub. U.-bass (b£s). Double boss.
U.-brechunflT (br«kh'-oongk). Inter-
ruption. u.-Dro€hen (brdkh-£n). In-
terrupted. U.-dominante (d5-mT-
nan'-t<$). Subdominant. U.«halbton
(halp-ton). Half-step below. U.*
haltungsstUck (h2Utoongs-shtOk).
Divertissement. U.-leltton (Ut-ton).
Dominant seventh. U.-mediantt
(ma-dt-ant'-fi). Submediant. U.-
satz(zats). Supporter; a32-ft. stop
on the pedal. u.-setzen (z£t'-z<n).
To pass the thumb under a finger ; or
one foot under another. U.-snmmt*
Lowest voice, or part. U.-tasten
(tas^tCn). The white keys of the
piano or organ. U,-tdne (tA-nl)
a
296
THE MUSICAL GUIDE
Untertdnreihe (ri-£). Vide under-
tones.
unveraiert (oon-f£r-tsert'}, G, Unor-
namented.
unvolkommen (oon'-f6i-k6m-m£n), G.
Incomplete.
uomo (00-0' -mo), /. A man. Vide
PRIMO.
ttp*beat. I. The raising of the hand
or baton, hence 2. An unaccented
part of a measure.
U|A>bow, Vide bow.
upright. Vide piano.
ura'nion. An instrument like the harp-
sichord or piano.
tthr-heen. Chinese violin.
upper-clang. Vide clang.
Uficir di tuono (oo'-sher de too-o-'no), /.
To get out of tune.
u'sus, L, I. The rules of music. 2.
Old synonym for neumes and the
neume system.
Bt (Ut in F.; in /. and L. oot). i. In
France the key and note C, so used
also in indicating pitch, as ut 2, 2.
Vide SOLMISATION. 3. In Latin, as,
like that, ut supra. As above, as
before.
Ut que'aat laat'is, Z* Vide solmisa-
TlON/
VAbbr. for vide = see ; vio^
/in{s) ; volti ; voce,
▼a (va), /. Go on. va cres-
cendo (kr^-shSn'-do), /. Go
on increasing the volume.
▼accilando (vat-chM&n'-do), vacci-
lante (lan'-t2), /. Wavering, irreg-
ular.
▼a'gans, L. Vague. Vide quintus.
▼ago (va'-go), /. Vague, rambling.
▼alee (vai'-chS), /. Waltz.
▼aleur (v&-iar), /^, valor, Z., valore
(vfi-l6'-r5), /. Duration (of a note),
▼alse (yils), F, Waltz; used in E,
rather of a concert-piece (v. de sa-
lOn), than of a strict dance-tune.
'▼. chant^e (shan-ta), vocal waltz.
▼. a deux temps (dQ tan). A quick
waltz, with two steps in each measure.
value. Duration of a note or rest.
valve, valvola (val'-vo-la), /. i. The
device in v. by Claggett, 1790, and
Blahmel, 1813, by which natural
brass instrs. are made chromatic. A
natural horn produces the funda-
mental tone naturally made by a col-
umn of air of its exact length ; it can
be made to produce a series of par-
tials of this tone by the method of
blowing. Vide embouchure and
ACOUSTICS. The key of the horn can
be changed by substituting for one
section o? its tube a longer or shorter
section called a crook, which alters
the length of the horn, and the col-
umn of air, and alters therefore its
fundamental key and gives it a new
series of pirtials. Until the valve-
mechanism was invented a horn could
therefore play only in one key at a
time. Valve instrs. have auxiliary
tubes fitted to the main tube ; the>
are, in fact, merely stationary' crooks.
The pressure of a certain valve acts
as an instantaneous change of crook
by shutting off the air in one crook,
and turning it into another of differ-
ent length. This device permits the
sounding of a complete chromatic
scale along the instrument's whole
range. The valves are usually three
in number, the first lowenng the
pitch a semitone, the second a tone,
the third three semitones,' thus giving
a command of all \x.y^ ^cf. harp),
(a) the piston, or platon-vadve, is
a plunger in an air-tight cylinder ; by
means of two holes the plunger at
rest carries the air through the main
tube ; when pressed it shuts off the
main tube and opens a side-tube, thus
changing the key ; a spiral spring re-
stores it after pressure to the natural
position, (b) the rotary valve is a
stop-cock with four holes which pro-
duce the same effect. 2. organ-
valves are (a) suction-valves, or
suckers, which admit the wind to
the bellows and retain it there ; (b)
joint-valves which regulate the air-
density in the wind channels, (c^
DICTIONARY OF TERMS 297
k«j-valTes or pallets, which are
worked by a draw-stop ; and (d) the
waate-pallet relieving the bellows
of surplus air.
Talzer (val-tsar), /. Waltz. ▼. a due
paasi. Two-step.
Tamp. I. To improvise an accompa-
niment or prelude. 2. Such an ac-
companiment or prelude.
▼ariamento (v&-rY-fl-m£n'-td), /. Va-
riation, difference. Tariamen'te.
Varied, freely.
Variation^ E, (in G. fa-rl-i-tsT-dn', pi.
-en ; in F, v&r-Ms-ydh), Tariasione
(v»-rt-ii-tsl.6'-n«, pi. -i)» /. The ma-
uipulation of a given theme or air.
In the old sense (called doubles),
and in cheap modem usage such as
** Home, sweet Home with varia-
tions/' the air is simply smothered in
ornaments, arpeggios, etc.; in the
better sense (cnaracter variations)
the theme is subjected to as much re-
modelling, inversion, change of note-
value, etc. , as is possible without losing
entire sight of its original meaning ;
sometimes merely the chord-relations
are preserved, variato (vfi-r1-a'-t6),
/.. vari* (va-ri-a), F. Treated with
variation.
TarsoTiana (&'-na), /., varsovietine
(vl-*n). F, *• Warsaw dance." Slow
Polish dance in 3-4 time with an up-
take of a quarter note, and an ac-
cented down-beat in every other meas-
ure.
TandeYiUe (vdd-vel), F. i. A coun-
try ballad or roundelay, usually satir-
ical. 2. Operatic or musical comedy.
vc, vceilo. Abbr. for violoncello.
veemente (va-a-m£n'.t^), /. Vehe-
ment, veemenza (mj(n'-tsa). Force.
veiled, velato (va-l£'-td), /. Marked
by a desirable softening of the metal-
lic quality of a tone ; usually acquired
by a slight escape of breath.
▼elluUto (v5l-loo-ta'-to), /. Velvety,
smooth.
▼eloce(v£-lo'-ch^, velocemen'te, /.
Swift(ly). velocis'simo. With ex-
treme rapidity, velocitji (ch^-ta).
Rapidity.
▼enesiana (v£-n&-tst-&'.nli), /. Ve*
netian.
▼ent'age. A hole in flutes, etc., to be
stopped with iinger or key.
Ventil (in G, f^n'-tTl), ventile (v«n-
te'-W), /. I. Valve, hence Ventil-
horn or -komett. 2. Organ-valve.
vepres (v^pr). F. Vespers.
▼enusto (va-noos'-to), /. Beautiful,
charming.
Ver&ndeningen (fer-^n'-d^i^oong-5n),
(/., pi. Variations.
Verbindung^ (ffr-btn'-doongk) G,
Binding, combination. V.-szeichen
(tsl-khdn), G, Tie.
verdeckt (fCr-d^kt), G. Hidden.
Terdoppelt(f^r-d6p'.p«lt), G. Doubled.
Verdop'pelung (oongk). Doubling.
Verengun^(f£r-4^ng'-oongk), G, Dimi-
nution of value or interval.
▼er^ellen (f£r.g£l'.lSn). G. To di-
minish.
Tergliedem (fCr-gle'-ddrn), G, To
articulate.
ver8:nttgt (f«r-gnttkht), G. Cheerful.
Versprdsserung; (fdr-gr£s'-s£r-oongk),
G. Augmentation.
Verh<niss (f«r*h£lt'-nYs), G, Ratto
or proportion.
▼erhallend (fSr-hiUM^nt), G, Dying
away.
▼er'ilay. Vaudeville.
Verkenning (f^r-ka'-roongk), (7. Imi-
tation in contrary motion,
Verkleinerung^ (f^r-ktl'-n^r-oongk), G,
Diminution.
Verkiirzung (fdr-kOr'-tsoongk), (7.
Diminution of value.
Veri&ngerungszeichen (f^r-l^ng'-£r-
oongs-tsi'-khdn), G, Dot of pro-
longation.
▼erloschend (f^r-l^sh'-^nt), G. Dying
away.
▼ermindert (fer-m!n'-d«rt), G, Di-
minished.
Vermittelunflrssatz (fer-mVt'-t£U
oongks-zats), G. Episode.
verrilion (v6r-e-y6n), /'. Mouth-har-
monica.
Verschiebung (f^r-she'-boongk), G.
''Shift." soft pedal. ohneV. Without
soft pedal, mit V. With soft pedaL
298
THE MUSICAL GUIDE
verschwindend ^ftfr-shvYn'-d^nt;, G.
Dying away.
Terse, i. Portion of an anthem or ser-
vice to be sung by a soloist to each
part, and not by the full chorus ;
hence Verse-ant hem, and Verse-
service for solo voices. 2. Line. 3.
Stanza.
verset' (in F, v^r-sa), versetto (vdr-
set'-to), /., Versette (Mr-s^t'-t6),
G. I. Short piece for the or-
gan. 2. Versicle. versetzen (fdr-
z5t'-s^n), G, To transpose. Ver-
set'zung^ (zoongk). Transposition.
Verset'-zungszeichen (tsi'-kh^n).
The sharp, flat, and natural.
ver'sicle, £., Versikel (f^r'-sYk-^l). G,
A short phrase or line, combining
with the response to form one sen-
tence.
▼ersila're, Z. To sing antiphonally.
▼erso (vdr'-s6), /. i. Verse. 2. Air.
Verspktungr (f^r-shpa'-toongk), G,
Retardation.
verstarkt (f^r-sht^rkt'), G. Sforzando.
verstimmt (f^r-shttrnt), t?. i. Out of
tune. 2. Depressed.
▼er'tatur, ver'te, Z. Turn over, v,
subito. Turn quickly.
▼er'tical. Of piano-strings, in one
plane ; opposed to overstrung.
vertdnen (f^r-ta'-nen), 6". To die
away.
verve (v5rv), F, Spirit, energy.
verwandt (f^r-vant ). G, Related, rel-
ative. V.-schaft (shaft). Relation-
ship.
Verwechselungf (f^r-v^kh'-sSl-oongk).
G. Change, mutation, of key, etc.
verweilend (f5r-vl'-l«nt), G. Retard-
ing.
Verwerfung (fSr-v€rf'-oongk), G.
Transposing.
verzi(e)rt (f^r-tsert'), G. Embellished.
Verzi(e)rang^ (tse'-roongk). Orna-
ment. Verzdg^erungf (f^r-tsakh'-S-
roongk), (7. Retardation.
verzweiflung^svoll (f£r-tsvT'-f!oongs-
fol), G. Full of despair.
Vesper (f^s'-p'^r). c., vespero (v^s'-
p^-ro), vespro (vds'-pro), /., ves'-
persR, C. Vespers. Vide hokas.
vesperti'ni psal'ml^ /., pL Evening
psalms.
vezzoso (v^d-zd'-so) , /. , vezzosamen'w
te, /. Graceful(ly), tender(ly).
vi. Abbr. for violini.
vibrante (ve-bran'-t^), /. Vibrating,
quivering.
vibrato (ve-bra-to), 7. i. Vibrating,
resonant. 2. A strongly tremulous
tone of distinct vibrations.
vibration (in />\ vg-bris-yon). The
regular oscillation of an elastic body,
as a string, sounding -boa Ed, etc.,
contributing rapid periodic changes in
the density of the air, which conveys
the motion in sound-waves to the ear
(without the air the vibrations are not
conveyed to the air as sound ; in a
vacuum, a bell, for example, is not
audible). The strength of the tone
varies according to the amplitude or
breadth of vibrations (travelling-dis-
tance of the elastic body back and
forth) ; the pitch of the tone varies
directly with the rapidity of the vi-
brations. The vibration-numbers of
sounds vary in inverse ratio with the
length of their sound-wave. A singls
vibration is from the point of rest to
one extreme of motion, but is often
calculated from one extreme to the
opposite. A double vibration ismeas-
ured from one extreme to the oppo-
site and back again, sympathetic
V. is that which is set up in an object
(as a string, tuning-fork or even a
plate) when the tone to which it vi-
brates naturally is sounded by some
other instrument. Thus press th«
loud pedal of a piano, to remove the
dampers, and sing or play on a violin
any note. This note will be heard at
once sounding on the piano-string.
Furthermore, its partials will be simi-
larly heard.
vic'ar-choral. Lay vicar of a cathe-
dral choir.
vicenda (ve-chSn'-dS), 7. Change,
vicendevole (da'v5-l^). Vaciilatingr.
Vic'timae pas'chali lau'aes, A.
** Praise the paschal offering." Vide
SEQUENCE.
DICTIONARY OF TERMS 299
Ti'de, ri'di, L, See J vi- is often put
at the bejrinning of a passage to be
cut, and -de at the end.
▼idc (vcd), F, *• Empty"; open, of
strings, as corde & v. opp. to corde
h. joner, a string to be stopped.
Vidcl (fe'-d«l), G. Fiddle.
▼iel (ftfl), G, Much, many, v.-chdrig
(kfl-r!kh). For several choruses. ▼.-
tkcher (fSkh-dr). Polymorphous.
▼.-stimmig (sht!m-mlkh). Poly-
phonic.
▼iWa)e (vt.«), ^.. viella (vt-ei'-U), /.
I. Hurdygurdy. 2. Old viol, viel-
Icor (v!-«l-lttr), F. Player of the viol.
Tier (fer), (7. Four. V.-achteltakt.
4-8 time, ▼.-doppelt. Quadruple.
▼.-fitch (f^r'.fakh). With four ranks
of pipes, etc. y.-flissigf (fer'-fUs-
slkh). Four-foot (of pipes). V.-
gresan^. 4-part song, v.-g^estri-
chene Note. 32d note, v.-g^ea-
trichene Oktave. Four-marked.
Vide PITCH. ▼.-hiLndig:(h«n-dTkh).
For four hands. V.-klang (fer'.
kl&ng). Chord of four tones ; a
seventh chord, v.-miissig^ (f£r-m£s-
slkh). Containing four measures.
v.-Mutir. Four-stringed, v.-stim-
VBA%, In four-parts. V.-stiick.
Quartet, vierte (fer'-t«). Fourth.
▼iertel or viertelnote. Quarter
note. Viertetpause. Quarter rest.
Viertelton. Quarter note. Vienind-
sechzigrstel (fer-oont-zdkhs'-Ykh-
shtdl). 64th note. Vienriertel-
takt rfer.fer'-t«l-t&kt). 4-4 time.
▼ierzenn(fer'-tsan). Fourteen, vier-
zehnte. Fourteenth. Vierzweitei-
tact (fer-zvl'-tei-tftkt). 4-2 time.
▼ietato (ve-a-t&'-to), /. Forbidden.
Tif (vcO. P' Brisk, quick.
▼ig^roso (ve-go-ro'-s6), vigforosap
men'te, /. Bold(ly).
Tigaela tve-goo-a'-lll), vihuela (ve-
hoo-a'-la), Sp. A primitive guitar.
vtilagreois (ve-U-zhw&), villageoise
(zhwaz), F, Rustic.
idllancico (vel-yMn'-the-ko), TiUancio
(vel-yan'-tht-o), Sp, i. A church
festival anthem. -2. A beginning
and ending with chorus.
villanella (vel-U-ndl'-l^), /., villanelle
(ve-ya-n«l), F, *' Village song," 15th
cent. Italian folk-song of rustic tone
and artless grace.
▼illanesco (nte'-k5), villareccio (vel-
la-r«t'-ch6). /. Rustic.
villot'to, /. Secular song ; cf . villa-
nella.
▼i'na. Ancient fretted 7-stringed Hin-
du instr. with body of bamboo, and
two gourds for resonance.
▼inata (ve-na'-ta), /. A vintage-song.
vinet'ta. Little vinata.
vi 'ol, viola (ve-o-la). /., viole (in F,
ve'-61 : in G. fe-6'-W). i. The viola
in modern usage is the tenor or alto
violin, a little larger in size than the
normal violin, and tuned a Hfth lower
c-g-d'-a'. It is written on the C
clef (except high notes, which are
written in the G clef). Its tone is
more sombre (very richly melancholy
and elegiac indeed), and its harmon*
ics are more limited. 2. The proto-
type of the violin. A fretted bow-
instr. with 6 strings (sometimes 5 to
8) : flat and tapering back ; belly usu-
ally flat ; sound-holes circular ; bridge
low to facilitate chords ; tuned in
fourths with one midway third. In 4
sizes trebU {aUa)^ alto (alt or tenare),
bass {bassa)f contrabass (violonf)
The bass-viol still persists in Eng.
land. V. di bardone (b^-do'-n^), /. A
barytone viol, of the size cf the 'cello,
with 6 or 7 gut strings, and a num-
ber of wire resonance strings lying
along the belly and tuned diatoni*
cally. V. bastarda (b^sriHr'-dS), /,
" Bastard viol.** Large viol dagam«
ba. V. d% braccio (dH brat'-cho).
*'Arm-viof" as opposed to v. da
g^amba, *' Leg-vioL'* v. da spalla.
** Shoulder-viol," a larger arm-viol.
viola d'amore (da-mo -rd), /., viole
d'amour (dS-mo5r'), F. i. Richiy
beautiful, but obsolete instr., larger
than the viola, furnished with frets
and more strings, some above, and
some below the finger-board. 2. A
stop. V. pic' cola or marina (mft«
re -na). An instr. resembling the V<!
300
THE MUSICAL GUIDE
mt
d'amore. v. pomposa (p6m-p6'-s&).
A larg^e viol of the compass of the
^cello, but with a fifth string. Inv.
by J. S. Bach, viol da fl^amba (da
gam'-ba),ytol di (de) grampa. ** Leg-
viol." A small obsolete violoncello,
with frets, and five or six strings.
viola alta. An enlarged viola inv.
by Hermann Ritter of Wismar, Ger-
.nany, 1877.
violento (ve-o-l£n'-to), violentemen-
te (l«n-td-men'-t«), /. Violently, vio-
lenza (l^n'-tsa). Fury.
violin', £., Violinc (fe-o-le -n«). G.,
violino (ve-o-le'-no), /., violon (ve-
6-16h). /; I. •* Small viol." A uni-
versally popular 4-stringed bow-instr.
Developed possibly from the Viol, it
has also been traced to the /ira da
braccio ; it passed through many
changes from about 1480-1530, when
it assumed a shape little varied since.
Though the name usually applies to
one size, it may also be stretched to
include the whole string quartet
(which is the harmonic basis of the
modem orchestra): the violin (or
treble), the tenor violin or viola, the
violoncello and the double bass. The
violin proper has four gut strings
with the accordature, g-d'-a'-c .
Its tone is capable of great variety,
sentiment and brilliance, its range ex-
tending from g to the highest note in
the orchestra, e"". It is rich in har-
monics, but its resources in chords
are limited and must be handled with
great care for the fingering.
Instrs. of the violin family consist
of a curved body, or resonance-box^
whose upper surface or belly is joined
to a vaulted back by ribs ; the body
is curved in at the waist^ the incurving
being accented by bouts^ whose cor-
ners are braced with triangular
blocks; the beTly (on which the bridge
rests between slits called sound-holes^
or from their shape /-Ari/Ifj) is braced
with a thin strip (under the G string)
called the bass-bar. A round prop
or soundpost beneath the treble foot
of the bridge connects the back and
the belly. The 'finger-board is on the
neck^ which terminates in a head orna-
mented with a scroll and containing- a
peg-box^ in which are four movable
pegs from each of which a string
passes across a ridge called the nut,
along the finger-board and over the
bridge to the flat tail-piece which it
fastened by a loop of gut to a button
in the lower end of the body. 2. A
2, 4, and 8 ft. stop. Viohnbo|^esi
(fe-o-len'-bo-khCn), G. A vln.-bow.
Violin-clef, ViolinschlttSMl or
-zeichen, G, The Gclef. violi-
nier (lTn-1-a), violiniate (nest), /*.,
violiniata (n£s'.t«), /., Violintopte*
ler, G, A violin-player, violino
alto, /. A small tenor viol, vio-
lino picciolo (plt'-cho-lo), pic'colOy
pochetto (k£t'-td), /. A small vln.
tuned a fifth higher, v. pompo'so,
/. A viola with an additional higher
string. violin-principaL A 4, or 8
ft. stop. Vioiinsaite. Violin-string.
Violinsteg (stakh). Violin-bridge.
Violinstimme. Violin-part. Vio-
lin*t€nor. A vln. of low tone, vio-
lon de fer (dQ f^r). Iron fiddle, vio-
linata. A piece for violin, or in
violin style, violinao'li* 8-ft. stop
on the swell.
Violon (fe-o-16n'), </. The double-bats.
violier (ve-61-ya), violitte (lest'), /I
Viola-player.
violonar(ve-d-ld-n&r'), F, Double-bats.
violonaro (nftr'-a). Octo-bass.
Violoncell (fe-6-ldn-ts«r). (7., violon-
celle (ve-5-ldn.s«l), /^, violoncello
(ve-6.l6n-ch«r-l6), /. "Little vio-
lone." Commonly abbr. *cello. L«rge
4-stringed instr. of vln.-family (vide
violin) held between the knees and
resting on a standard or peg. It is
tuned an octave below the viola, C,
G, d, a. Its music is written chieflv
in the C clef, save high notes in the 6
clef, and low in the F clef (formerly
it was all written in the G clef, an oc-
tave higher than it sounded). Chords
and harmonics are little used, except
in solos. The- 'cello is one of the
most important of orchestral iostis^
DICTIONARY OF TERMS 301
and one of the most expressive, espe-
dally of the pmver or more yearning
emotions, its gayety being rather sar-
donic.
▼iolone (v€-d-16'-nlO. Tiolono (16'-nd),
/. " Large viol." i. Double-t>ass.
2. PedaUstop.
▼iolot'ta. A large viola devised by
Stelzner, Dresden, 1895, and tuned G,
d, a, e'.
Tir'eUij. Vatideville (also from the
town of Vaux de Vire).
▼ir'gil, A A neume.
Virgil practice-clavier. A mechan-
ical piano inv. by A. K. Virgil, 1883,
for practtce«'purposes, the heaviness
of touch being adjustable in 6 grada-
tions; a click answering the depression
of a key, and another click its release.
vir'giiial(s), A small spinet-like instr.
popular in the time of Queen Eliza-
beth, and placed upon a table.
Virtues (fer-too-oz ), G.^ Tirtuoso
(ver-too-o'-sd), /., virtuose (vlr-ttt-
6z), F, A performer of marked skill.
Virtuositiit (6.^-tflt'), G, Virtuos-
ity. Remarkable execution.
vis-4^is (ve-za-ve). F, "Face to
face.** A large double piano with a
opposite key-boards.
vista (ves'-tfl), /. Sight, a prima v.
At (first) sight.
visto (ves'-to), vito (ve'-to), vi(s)ta-
men'te, /. Swift(ly).
vite (v«t), vitement (vet-m&A), F.
Quick(ly).
Vitesse (vi-t^s), F, Swiftness.
vivace (vc-vfi'-ch*), /. Lively, faster
than AlUf^ro. vivacemen'te. Brisk-
ly, quickly, vivacet'to (ch«t'-t6).
Rather lively, vivacesza (chM'-
zA), vivacity (ve-va-chY-tfl'). Vivac-
ity, vivads'simo. Very fast, vi-
vamen'te. Briskly.
vive (vcv), F. Brisk, quick.
vivendnm, ad. L. " To live " i. c., for
permanence. Written, as opposed to
improvised, counterpoint.
vivente (ve-v<n'.t«), vivido (vS'-vt-dd),
vivo (ve'-vo), /. Animated, vivessa
(ve-v€d'-z2). Liveliness.
rla. Abbr. for vk>la.
vo'cal, vocale (v6-kfiM« in /.; mF, v6-
kftl), voca'lis, L, Relating or ap.
propriate to the human voice, vocal
chords. The two membranes in tile •
larynx whose tensity is regulated at
will to produce desired pitches. Vidt
GL01TI8. rima vocalis. The open,
ing between the vocal chords.
vocalesso (vd-kii-ldd'-zd), /. A vocal
exercise. • ' •
voca'lion. Vide reed-organ.
vocalises (in F, vo-kfl-lez). Solfeg-
gio exercises for the voice.
vocaliser (vd-kftl-Y-zft), F., vocatU*
sare (vo-kfi-lld-za-ri). /., vo'callse,
E. To practise exercises for the
voice without words.
vocalisation (in F, vo-kJl.l«.zfts-y6A).
I. The practice of exercises for the
voice. 2. Display of vocal agility.
vocalisso (IXd'-zo, pi. -i), /. Vocal ex-
ercise.
voce (vo'-cWJ), /. Voice. coUa v.
• '• With the voice," i. e., adopting the
tempo of the solo part. v. an-
eelica (ftn-ja'-lY-ki). ** Angel voice. >*
Delicate reed-stop. v. di biaaca
(de bl-an'-ka), A " White voice."
Applied to pale and colourless tones,
such as the voices of young women,
children and poorly trained adults. ''
V. di camera. A small vdoe for "
the chamber, v.dig^'la. A guttural,
throaty voice, v. di pet'to. The
chest voice, v. di tes'ta; Head
voice, the falsetto, upper register, v.
granita (gril-ne-tr). A ** granite**
or massive voice. messa voce
(m<d'-z&). Half the power of the
voice ; a moderate tone. v. pasto'sa,
A soft, flexible voice, v. principals
(pren-chY-pH'-l^). Principal voice* v«
rauca (ra'-oo-kfi). A hoarse, cough
voice. V. so'la. The voice alone, v. "
spianata (spe-ft-na'-td). Drawn out ;
smooth, sustained voice, v. spiccata
(spYk-kft'-ti(). A clear, distinct voice :
well articulated, v. umana (00-rair.
nH). The human voice. Vide vox
HUMANA; voclaccia (vd-chY-at'-ohJi).
A bad, disagreeable voice, vocina
(vd-che'-4ii). Thin little voice.
302
THE MUSICAL GUIDE
▼ocet, Z., pi. of Tox. ▼. aequA'let.
Voices of the same kind.
Vomr (fd'-gSr). G. Fugara.
Vogcl (f6'-g«l). G. Bird. V.-fldte
or pfeife. A bird-whistle. V.-ge-
uiig. ** Singing of birds " ; stop in
old German organs, of small pipes
standing in water, through which the
wind passes ; a menila.
▼Of^lia (vol'-ya), /. Ardour.
▼Oice. I. The sound produced by the
larynx of human beings or animals.
2. Part (for any instr.), often Yoice-
pArt« 3. The tnning and tone of
on^an-1>ipes.
Of the human voice, these are the
following divisions : basso^ * tenor ^
coUMitr-'tenor^ contralto or alto^ mewwh'
soprano^ soprano (Vide each of these
words). Each voice is also divided
into registers (or groups of tones trf a
uniform quality) the transition from
one to another register being some-
times distinct enough to be called a
break ; there are usually two breaks
in a male, and three in the female
voice. The registers are chest, head
and falsetto (q. v.).
voicing. The adjustment of the pitch
and quality of a pipe.
¥oil«e (irwft-la), F. Veiled.
TOiz (vxvll), F. 1. Voice(s). 2. Part(s).
ir. duig41ique (vwil-zftn*ja-lek).
Vox angelica. ▼. celeste (sa-l^st),
F, "CSlestial voice;" a stop formed '
of two dulcianas, one slightly sharp,
thus giving a vibrato. ▼. de poitrine
(dtt pwi-trcn), F, Chest voice. T.
de tae (diit^t). Head voice, fal-
setto voice. ▼. glapiMAnte'<gI&-pe-
sftnt). A shrill voice. ▼. grille (vw&
gr^l). A sharp, thin voice. ▼. Iiu-
maine (Q-m^n). Vox humana.
▼okal (fo-kai), G, VocaL V.-stil
(shtel). Vocal style.
Tolante (yd-Un'-t«), /. "Flying.-
lifi^ht swift.
Tolau\vo-ir'-ta), /., Volate (vo-U'-tc).
(7.,T0latine(v6-lMen), F, " Flight,"
run, rapid series of notes, ▼olatina
(v6-la-te'-n«), /. A little volaU.
volte (v5-la). F. A volata.
Volk (folk), G, Folk ; of the common
people. V. gesang (f61k'-g£-zftng).
V. s-lied (slet), V. etttckchen (stilk'.
kh'n), V.s-weise. Folk-song or
folk-music, im Volkston' or V olk»<
weiee« In folk-tone or style. Tolka-
t(h)ttmliche8 (tum4ikh.«s). Lied.
Popular folk-song.
▼oil (f61), t7. I. Full;»fiVw//^« Werk,
Chore, Orchester, with the full organ,
chorus or orchestra, vdller (fil'-
Idr). Fuller, louder. ToUes V^erk
(folM^s v&rk). Full organ. VoUge-
sang. Chorus. ▼oilgriffig(grif-flkh).
** Full-handed," with full chords,
▼ollkom'men. Perfect, complete.
▼oUatimmijg^. Full-toned, full-voiced.
VoUstimnugkeit. Fullness of tone.
▼oUtdnend, G, Sonorous. 2. As a
suffix = full, as gedankenvoU.
Thoughtful.
volont6 (vo-16n.ta), F. Will, pleasure.
k ▼. At will.
▼olta (vol'-ta), /. I. Tune. 2. A kind
of galliard. prima ▼. (pre-ma).
First time, una ▼, One. due volte.
Twice.
voltare (v61-t&'-r€), /. To turn, to
turn over.
volte (vol'-te, /./ in F, volt), i. An ob-
solete bounding dance in 3-4 time
resembling the galliard. 2. PI. of
VOLTA.
volteggiando (vol-t£d-jan'-dd), /.
Crossing the hands, volteggiarci
To cross hands.
volti (vol'-td), /. Turnover, v. su^
bite. Turn quickly.
volubility (vo-loo-be-lt-ta'), /. Vol-
ubility, volubilmen'te. Fluently.
vol'ume. Quality of tone.
vol'untary. i. An introductory oi^n«
piece often extemporaneous. 2. An
introductory anthem. 3. A species
of toccata in two or three movements.
volvera la misma candon (v&l-var
& m mes -ma kan'-thY-dn), Sp, To
return to the same (original) air.
vom (fom), C7. = von dem. From
the. vom Anfang. From the begin-
ning. vom Blatte (blat'-tfi). **Fiooi
the page," i. e.» at first sight.
DICTIONARY OF TERMS 303
▼on (fon). G. By, of. from, on.
▼or (for), G. Before, pre-.
Vorausnahme (f6r-ows'-niL-m£), Vor-
ereifung^ (for-gri'-foon^k), Vonniff
(for'-grlf), G. Anticipation. Vor-
bcrcitunflr(f6r'-bi-ri-toongk). Prep-
aration. Vorberei'tung^sunterricnt
(oon'-tfir-rikht). Preparatory instruc-
tion.
Vor'dersAts (zats). G. First sub-
ject.
Vor'geig^er (gl-kMr), G, First violin,
leader.
Vorhalt (fAr'-hllt), G, i. Suspension.
Vorhaltsldsung (la-zoongk). Its
resolution. 2. Syncopation.
Torher (for-har), G, Before, tempo
wie Torher, G, The time as be-
fore.
▼orig (fo'-rikh), G, Former, preceding.
▼orig^es Zeitmass. In the original
tempo.
Vortang^ (for'-z&ng), G. Act of begin-
ning a song. Voraiinger (for'-zdng-
€r). Precentor.
Vorschlag (fdr'-shUkh). Accentuated,
appoggiatura.
Vorsetzzei'cheiii G, Chromatic sign.
Vorspiel (fur'-shpel), G. Prelude ; over-
ture. Vor spieler (shpe-16r). Lead-
er, principal performer. VorUln-
zer. Chief dancer. Vorsteller.
Performer.
Vortrag (for'-tr&kh), (7. Execution,
interpretation. Vortragsbezeich-
nung (b£-tsIkfa-noongk). Expression
mark. Tortragsstttck. Concert-
piece.
▼orwiLrts (for'-varts), G. •* Forward,"
i. e., faster.
Vorzeichnung (tsikh'-noongk). i. Sig-
nature. 2. Outline of a composi-
tion.
▼ox (vox), Z. Voice. ▼. acu'ta. i.
A shrill voice. 2. In ancient music,
the highest note in the bisdiapason.
▼. angelica, L. ** Angelic voice," a
4-foot stop of sweet tone, also ▼•
▼irgin'ea. " Girlish voice." v.ante-
ce'dens. The antecedent. 7, con'-
sequens. The consequent. ▼. grav'-
Is. Low voice. T. huma'na. " Human
voice," 8-foot reed-stop usually with
tremulous effect. ▼. retu'sa. 8-foot
stop. Plural To'ces. ▼. aequales.
Voices of the same kind, as male
voices. ▼. areti'niae. Aretinian syl-
lables. ▼. bergtcae. The syllables
of bocedisation.
▼. s. Abbr. of Volti subito.
▼ue (vQ), /^. Sight, k premier t.
(a prftm-ya vQ). At first sight.
▼ttleans (tibia), L, A flute-stop.
▼uide (vwed), /'. Open (of a string).
Tuoto (voo-o'-to), 7. I. Open (of |
string). 2. Empty (of a stage).
▼. ▼. Abbr. for violini.
Wi. In F> =▼•▼., I. e.,\T.
olins. 2. Vide the let-
Wachtel (vSkht'-Jfl), G.
•• (Juail.** A tov pipe.
wahnsinnig (vi>'n -zIn-nYkh), G, Fran^
tic.
waits, E, I. Hautboys. 2. Players
on the hautboys. 3. Night-watch-
men. 4. Christmas carollers.
Wald (viUt), G. Forest. Wald-
. fldte, (7., or ^feife. Forest-flute.
W.-quinte. A stop. W.-fldten-
quinte. A stop a fifth higher.
Waldborn (v<'-hom), G. '' Forest-
horn " ; a winding - horn. (Vide
HORN.)
walnika- (vfll-ne'-kli). Russian bag-
pipe.
wals (wals), Dutch, A waltz.
waltz, E., Walzer (vUl'-ts^r), G, u
A popular modem round dance in 3-4
time, perhaps of Bohemian origin.
The speed and rhythm vary, the
LUndier, or German, being slow;
the Vienna, or Schleif-waizer be-
ing quicker; the Zweitritt, denx-
temps, or two-step, iiaving but
two steps to the measure. 2. A con-
cert-piece in triple time, usually briU<t
iant.
walynka (vi-len'-kfi). Russian bagb
pipe.
3^
THE MUSICAL GUIDE
Walxe (vai'-ts«). G. ** Roller." An
undulating figuration.
wankend (Van'-k^nt), (7. Wavering,
hesitating.
war'ble. A bagpipe grace.
Warme (v«r'-m«). G, Warmth.
Washington Post.. In England a
dance (so called from J. P. Sousa*s
■'* march of that name) in which the
man dances behind the woman.
WAs'lMiil. A convivial song.
Wasserorsrel (vas'>s«r.6r.kh«l), G.
' Hydraulic organ.
waste*pallet. Vide valve.
water music. HandePs name for cer-
tain airs, performed on the water, for
^ the King.
water-org^an. Hydraulic organ.
wayffhtes. Old E, Waits.
Wever chfonom'eter.« Metronome,
inv. by Weber. A cord divided into
five inch-spaces, with a weight at the
lower end. Abbr. Web. Cnron.
Wechsel (v«kh'.s«l), G. Change. W.-
chor (kor). Alternate choir. W«*
g^sang. Antiphonal song. W.-
note (n6'-t£). Changing note.
Wehmuth (va-moot), G, Sadness.
wehmlithig (va'-mtt-tYkh). Sad, sor-
rowful.
Weiberstimme (vf -b^r-shtYm'-m^, G.
A female voice.
weicb (vikh), G, t. Soft. a. Minor.
weieht of wind. Vide inch.
WelhnachtsHed (vl'-niikhts-let), G.
Christmas hymn.
<^)veinend (vT'-n$nt)« G, Weeping.
Weise (vi'-z«), G, i. Melody. 2.
Manner; as a suffixrs -wise.
weisse Note (vTs'.dd n5'.t«), (7.
** White" note ; half or whole note.
weit (vTt), G. Dispersed, open (of har-
mony).
Welle (v«l'-W), t7. Roller of an organ.
• Wellatur (toor'). Roller-system.
Wel'lenbrett. Roller.board.
well-tempered. In equal tempera-
ment, as in BacVs •* Well-tempered
Clavichord," a series of clavichord
pieces ranging through all the
. keys. Vide tbmperamknt.
Welith-harp. Vide harp.
weltlich (v«lt'-IYkh), G, Secular
weni8r(va-nlkh), (7. Little, ein
nig. A little, rather.
Werk (T«rk), G, i. Work. 2. Move-
ment. 3. Action. Vide haupiv
WERK and OBERWBRK. 4* A stop.
5. The set of stops belonging to one
key-board.
Wert(h} (v«rt), G. Value, duration.
wesentlich (va'-z^t-llkh), G, Essen-
tial. wesentliche Dissonanz. A
dissonant chord-tone, opposed to
passing-note, 'wesentlicne Sep-
time. Dominant seventh.
Wetter-harfe (v*t'-t«r-har.f€), G.
'* Weather-harp." yfiolian harp.
Wettgesang: (v^t'-g^-ziing), G. A
singing-match.
wheel. Refrain, burden.
whiffler. A fifer.
whipping bow. A swift and violent
violm attack.
whistle. A small, shrill wind-instr,
blown at the end, like an old English
flute.
whole note, rest, shift, step, tone,
etc. Vide the nouns.
wie (ve), G, As. wie ans der Fer«
ne. As from a distance, wie oben.
Again as above, wie vorher (for-
h&r). As before.
wieder (ve'-dfir), G, Again. W.-
gabe (ea -b*). Performance. W.-
nersteilunjgszeichen (tsi'-khto).
The natural sign (IH. w.««nianfren«
To begin again. W.-holunr (ho-
loongk). Repetition. w. - hoi-'
ungszeichen. Sign of repetition.
W.-klang (klftng), W.-scball
(shal). Echo.
Wiegenlied (ve'-g^n-let), G. Cradk^
soncf.
wild (vclt), G. Wild.
wind (wTnd). To blow, as a horn.
Wind (in <7. vYnt). Air. w. band, i
A band of wind-instrs. 2. The instrs.
or the music for them, windchest.
Vide ORGAN, w. instruments. A
general name for all instrs. whose
tone is produced by the breath or by
bellows, windtmnk. A passage
conveying air from the bellows to
DICTIONARY OF TERMS 305
the wind-chesL WindmeMer (m^s-
s£r), (7., windgaug^e. Vide inch.
W.-barfe, C. ^olian harp. Wind-
lade (Ul-d^), G. Wind-chest. Vide
ORGAN. Windatock (shtok), G,
Cover of organ-pipes. Windzung^e
(tsoong-^), G, longue of a pipe.
W.-harmo'nika, G, ^olodion.
winaeligr (v1n'-z«-11kh), G, Plaintive
Winselstimme. Plaintive voice.
Wirbel (ver'-Ml). (7. i. Peg (of a
violin). Wirbelkasten. Peg-box.
3. Stopper of a pipe. 3. Drumstick.
4. Roll (on a drum). Wirbeltanz
(tints). A whirling dance.
wogend (v5'.gent), G, Waving.
wohl (vdl), G. Well. Wohlklang:
(vdi'-klftng), Wohllaut (lowt). Har-
mony, wolilklififfend. Harmonious.
woliltemperi(e)rt (v51-t£m-p£-rert'),
G. '• Well-tempered *' (q. v.).
Wolf (in G, vdlf). i. The disagree,
able snarling of two pipes not quite in
perfect tune. a. Vide tempbramknt.
3. In bow-instr. the roughness of cer-
tain tones doe to faulty workmanship.
4. Vide ORGBLWOLF. 5. The 12th
and most troublesome of the circle of
fifths. Vide temperament.
wood-wind. I. The whole group of
wooden instrs. in the orchestra. 2.
Organ-stops of wood.
worfinf-Ottt. Development. Vide
FORM.
WofftklAilff (v6rt'-kliUig), G. Accent,
tone.
wreat. A tuning-hammer, wrest-
pins. In a piano movable pins round
which one end of the string is wound ;
by turning this the instr. is tuned.
wrostplank. A plank of several
la3rers of wood in which the wrestpins
are driven,
wristnide. Vide chiroplast.
wncbtiff (vookh'-tlkh). Weighty, em-
W^hatic.
ilrde (vOr'-d«), G, Dignity, wiir-
dOToU, wttrdis: (vUr'-dlkh). Digni-
fied.
Wnt(h) (voot), G. Madness. wUthend
(va'.t<nt), wilthiff (tlkh). Furi-
ous.
X
XiENORPHIKA (ksan'.6r-fY-
ka), G. A piano-violin, with
a bow to each string, inv. by
Rdllig, 1797 ; he also inv.
the somewhat similar orphika,
xylharmo'nica or -con, Gr, Utro^s
improvement in 1810 upon his xylo-
siston, inv. 1807 ; a euphonion with
wooden, instead of glass, rods.
Xylorganon (ksel-6r'-g&-non), Gr,
Xylophone,
xylophone (zYl'-o-fon). A graduated
senes of bars of wood upon bands of
straw or cord, played with wooden
mallets, compass 2 octaves.
YABAL (yfi'-bal), Heb. Trum-
pet blast.
yang^ kin. A Chinese dulcimer
with brass strings.
yo. Indian flute.
yo'del, yod'ler. Vide jodel, jodler,
yue kin. Chinese guitar.
ZA (zfi). Formerly applied by the
French to B^ to distinguish
it from j5|j or Si,
zahlen (tslL'-l£n), G, To count,
zahle. ** Count 1" Zahlzeit (t^t).
A count.
zaleo (tha-la -5), Sp* Vide jalro.
zampogna (tsam-pdn'-yft), zampu^a
(poon -ya), /. I. Ancient bagpipe.
2. A shawm. Vide cornamusa and
chalumeau. zfimpogrnare (pon-
ya -r^). To play the pipes, zampo-
gnato're. A piper, zampognet'-
ta or -ina (pdn-yc'-n&). A small
bagpipe.
za'ner. Egyptian bassoon.
zanze. Vide amdira.
zapateado (thit-pS-tH'-fi-dho), Sp, A
dance whose rhythm is emphasised by
stamping the heel.
3o6
THE MUSICAL GUIDE
Zapfenstreich (tsa-pf^n-strlkh), G,
The tattoo.
zara1>anda (tha-ra.ban'.dha), Sp. Sa-
raband.
zaramel'la (ts&-ra-), /. Rustic double-
reed pipe with bell-mouth.
Zargen (tsar'-kh^n), C7., pi. Sides of
violin, etc.
zart (tsart). C, z&rtlich (tsart-likh).
Tender, delicate, niit zarten Stim-
men^ with delicate stops. Zartfldte.
A very soft 4-foot flute-stop.
zarzuela (thar-thoo-a -la), Sp. A 2-act
drama with music, something like the
vaudeville ; originating in the 17th
century at the royal castle Zarzuela.
Zauber (tsow'-b^r), G. Magic. Z.-
lied (let). Magic song.
zeffiro'so (ts^f), /. Zephvr-like.
zehn (tsan), G. Ten. ZTehnte (tsan'-
te). Tenth.
Zeichen (tsi'-kh^n), G. Sign(s).
Zeit (tslt), C. Time. Z.-mass (tsTt'-
mas), G, Tempo. Zeitmes'ser.
Metronome. Z.-werth. Time value.
zWe (z«l), A, zelo (tsa-lo), /. Zeal,
ardour, zelo'so, zelosamen'te.
Zealous(ly).
zeng^ (ts^ng). Persian cymbals.
Zergliederuag (ts^r-glet'-^r-oongk), (7.
Dissection, or analvsis of a subject.
zerstreut (ts^r-stroit^), G. Dispersed.
se'ze. An African guitar.
Ziehharmo'nica (tse), G. The ac-
cordion.
ziemlich (tsem'-lYkh), G. Rather ; mod-
erately.
Zierathen (tse-ra'-tfin), C, pi. Orna-
ments.
zierlich (tser-Ukh), G. Neat, graceful.
Ziflfer (tsTf:-far), G. Figure, Arabic
numeral.
zig^anka (chY-gan'-ka), Russian. Coun-
try-dance.
Zig'eunerartig^ (tse-goin'-?r-ar-ttkh), G.
In gypsy style. Z.-musik (moo-
zek'). (lipsy music.
zikrs. Dances of Egyptian dervishes.
zillo (tstl'-lo), /. Chirp, chirping.
zimbalon. Vide czimbalon.
Zimbel (tsem'-b^l), G. Cymbal. Z.-
stern. A star hung with small bells
in front of an organ and sounded by a
current of air.
zing^na (chen-ga'-na). Bohemian song.
zin^rarese (tsen-ga-ra -zd), /. Gipsy,
zing^aresca (r£s -ka). In the style of
gipsies, zingaro (tsen'-ga-ro). Gipsy.
Zinke (ts!nk'-6), pi. -en, G, Cometto,
ancient or modem. Zinkblaser
(tsYnk'-blaz^r), G, Cornet-player.
zither (in G. ts!t'-€r). i. The modem (or
Schlagzither) is a flat, shallow res-
onance-box without a neck, w^ith
about thirty-six strings of various ma-
terial— wire and gut — some.overspun.
Under some of the strings at one side
lies a fretted finger-board ; on these
the melody is stopped out with the
left hand. These strings, tuned a',
&'• d', g, c, are plucked with a plec-
tmm attached to the right thumb;
the rest of the string^s are tuned in
fourths, and plucked with the other
fingers of the right hand. It is made
usually in 3 sizes, the Treble or Prim
(prem) -z ; the concert ; and eleg^e
(£l.£-je') (or Alt or Lieder) -z, which
is tuned a fourth lower. 2. bow-
zither or Strich - zither (strYkh),
G. Was originally heart-shaped, but
the philomMe now resembles a more
pointed viola with shallow bouts (the
▼iola^zither having a still closer re-
semblance). The bow-z. has a peg
in the head, which is rested upon a
table, the body being held in the lap.
It has four metal strings, g, d, a', e '.
3. A cither. 4. An old German instr.
with a sound-box, a neck, a fretted
finger-board, and eight or more strings
tuned in unison two and two and
plucked with a quill. Z.-harfe« A
form of keyed auto-harp. Zither-
spieler (shpe'-l^r), ZitherschUig;]er
(shla-khSr), G. Guitar-player, zit-
tera (tsYt'-tC-ra), /. Zither.
zitternd (tstt'-tdrnt), G, Trembling.
zittino (tsYt-te'-no), /. Silence.
zdgemd (tsa'-g£rnt), G. Retarding.
zolfiiL (tsol-fa ), /. Vide solfa.
zoppa (ts6p'-pa), or -o, /. Lame, limp-
ing, alia z. Syncopated ; used als^
of a jerky Magyar rhythm«
DICTIONARY OF TERMS 307
xomig (ts6r'-n!kh), G. Angry.
zoulou (zoo-loo), F, "Zulu.* A pia-
nette.
zour'na. Oriental oboe.
su (tsoo), G. To, at, by, in, unto.
ZuOlliff (tsoo'.f^Mlkh), G. Accidental
(shatp, flat, or natural).
snfolo (tsoo'-fo-lo), /. Flageolet, small
bird-flute. ziifolone (15 -nd). A
large whistle.
Zun; (tsookh), pi. Zttij^e (tstl'-khd). i.
Draw-stop or register. 2. Slide.
Zugtrompete (trdm-pa'-t^), C7.
Slide-trumpet ; the trombone. Zug-
werke (v£r'-k^). Tracker-mechanism.
ZUsre^ldckchen (gl«k-kh£n), G, The
pQssmg bell ; a knell.
Zttklang (tsoo'-klang), G, Concord.
ZukunfTsmusik (tsoo-koonfts'-moo-
zck'), G. ** Music of the future." A
term applied satirically to Wagner's
work by L. F. C. BischofT, 1850 ; but
later adopted as a watchword by the
Wagnerians.
sum (tsoom), G. = zu dem. To the.
snmmA'rah. An Egyptian reed instr.
like a bassoon.
zunehmend (tsoo-na'-m^nt), G. In-
creasing.
Zunge (tsoong'-«), G. i. Tongue.
Dop'pelzung^e. Vide tonguing.
2. Z.-pfeife. Reed-pipe. Z.-blatt.
Clarinet reed. Z.-stimme. Reed-
stop. Z.-werk. The reed-stops
collectively, auf- (or durch-) schlag-
ende Z. Beating (or free) reed.
znr'iuu Turkish oboe.
znrttck (tsoo-rttk'), G. Back, z.-ge-
hend (ga'-^nt), G. Returning to the
original tempo, z.-halten. To re-
tard, z.-haltend. Retarding. Z.-
haltung (hal-toongk). Retardation.
z.-tdnen (ta-nen) or z.-treiben (tri-
b*n). To reverberate. Z.-schlag.
Vide RIBATTUTA.
ZQsammen (tsoo-zfim'-m^n), G. To-
gether, z.-gesetzt. Combined,
compound (of time). Z.-klang, Z.-
laut (lowt). Harmony. Z.-scnlag^.
Vide AcciACCATURA. z.-streichen.
To slur. Z.-streichung (stri-
Vhoongk). Slurring.
zutraulich (tsoo-trow'-llkh), G, Con-
fident(ly).
Zuversicht (tsoo'-f^r-zlkht), G. Con-
fidence.
zwanzig (tsvan'-tsTkh), G. Twenty.
Zwanzigste (tsvan' - tstkh - std).
Twentieth.
zwei (tsvl), G. Two. z.-chdrig (kha-
rtkh). Two-choired, z.-fach (fakh),
z.-filltig (f$l-t1kh). I. In two ranks
(organ-pipes). 2. Compound (of in-
tervals). 3. Double (of counterpoint).
z.-flissig. Two-foot. Vide pipe and
PITCH. Z.-gesang. A duet, z.-
gestrichen. Twice-marked. Vide
PITCH. Z.-glied (glet). Sequence
of two chords. Z.-halbertakt. 2-2
time, z.-hilndigc (hdnt'-lkh-e). For
two hands. Z.-klang. A chord of
two tones, z.-tnal (tsvi-mal). Twice.
z.-stimmig. For two parts. Z.-
spiel (shpeT). A duet. Zweite (tsvi'-
td). Second. Zweitel (-note).
Half-note. Z.-tritt. Vide waltz.
Z.-unddreissigstel (oont-dri-zYkh-
shtdl). 32d note. Z.-^iertelnote
(fer'-t«l-n6-t«). Half-note. Z.-
▼iertelpause (pow-z£). A half rest.
Z.-Tierteltakt. 2-4 time. Z.-
z&hlighertakt (tsa-lTkh-^r-takt).
Duple time. Z.-zweiteltakt (tsvl-
tsvi-t^l-takt). 2-2 time.
zwerchflote (tsvdrkh-) or pfeife, G.
Transverse flute.
zwischen (tsvlsh'-*n), G. Between.
Z.-akt. Intermezzo. Z.-gesans^,
Z.-handlung, Z.-harmonie, X,-
satz. The episode (in fugue). Z.-
raum (-rowm). Space between the
lines. Z.-spiel. Interlude. Z.-
stille (shtir-ie). Pause. Z.-stim-
me (shtTm-m<*). Middle voice. Z.-
ton. Intermediate tone.
Zwitscherharfe (tsv1tsh-£r), G. Vide
SPITZHARFE.
zwolf (tsv^flf), G. Twelve. Z.-ach-
teltakt (Skh-tdl-takt). 12-8 time.
Z.-saiter (zi-t6r). ** 12-stringed"
bissex.
zymbel (tsem'-b^l), C. Vide cymbal.
zzxjoanw (shaw). Maori, i. Drum.
2. Fife. 3. Conclusion.
Mvi^it Hobetsi' Cpclopebta
$art II
i»
jprottouiuing ©ictionarp
of
Given Names, Titles, Epithets,
etc.
abbate (ab'-ba-td), /. abb^ (dbba), F.
Abbot (often honorary).
rain6 (l«n-a), F. The elder, cadet
(k&-da), F, The younger. Usually of
brothers.
cameriingo (ka-m^r-len'-go), /. Cham-
berlain.
cantab(rtg^ensis). Of Cambridge Uni-
versity.
caTaliere (ka-val-ya'-r^), /. Knight,
sir.
chevalier (shti-vil-ya), F. Knight.
cie, F, Company ; et cie (a sc). & Co.
comte (kont), F,
conte (kon'-te), /. Count.
detto or -a (d«t'-t6). " Called."
due (dak), /'. duca (doo'-ka), /.
Duke.
Edler von (at'-ler fon). Nobleman of.
fils (fes), F, Son.
Frau (frow), G, Mrs. Fr&ulein (fri'-
lin). Miss.
Freiherr (fri'-hdr), G, Baron.
Geheimrath (g^-hlm'-rat). G. Privy
counsellor.
Gesellschaft (g^-z^l'-shaft), G, Asso-
ciation, society.
Graf (graO, G. Count. Gr&fin (gra-
ftn). Countess.
HciT (hiir), G, Mr.
Hauptkirche (howpt-ker'-kh^), (7.
Chief church.
Hofkapellmeister (mi-sht^r). Court-
conductor. Hofmusik'intendant
(moo-zek'), G. Supt. of court-music.
Ic jeune (lil zhttn), F, The younger.
Justizrath (yoos'-tets-rat), G. Coun-
sellor of justice ; often honorary.
Kammersanger (z^ngk-^r), G. Cham-
ber-singer (to the court). .
maestro (ma-as'-tro), /. Master.
il maggiore (el mad-jo'-rfi), /. The
greater.
•••
m
maistre (old French), or maitre
(mtftr), /'. Master,
marchesa (mar-ka -za), /. Marchion*
ess.
il minore (el-me-no'-r^), /. The lesser,
mus. bach(elor) and mus. doc(tor).
Vide the d. d.
oxon(ensis). Of Oxford University.
pjfere (pdr), F, Father.
Keichsfreiherr (rlkhs'-frl-h&r), G,
Baron of the empire.
Ritter (rlt'-tCr), G, Knight, chevaj.'er,
sieur (s'vflr). F, Sir, Mr.
und Sohn (oont zon), G, k Son. tind
Sdhne (oont za'-nf), G, & Sons.
Tan (van), Dutch, von (fon), G. de
(da), /'. di (de), /. and Sp* From,
of.
▼icomtesse (ve-kon-tfis). Viscountess.
le vieux (lii v'ytt). F. The elder.
y (e), Sp, ** And," used in joining two
proper names somewhat as we use a
hyphen ; the Spaniard keeping his
mother's, as well as his father's, name,
zu (tsoo), G, To.
(Others will be found in the D. D.)
Note. — In the Biographical Diction-
ary, given names are regularly abbrevi-
ated as in the following list, the same
abbreviation serving for one name in its
different forms in different languages.
Abramo (a'-bra-mo), /.
Adam (a -dam), C7.
Adalbert (a -daUb^rt), G.
Adelaide (a-da-la-e'-dd), /. and G.
(Ad.) Adolf (a'-dolf), G.
(Ad.) Adolph, G.
(Ad.) Adolphe (ftd-olf), F,
(Adr.) Adriano (a-drt-fi'-no), /
Adrien (ad'-rt-an), /^
Ag^athon (a'-ga-ton), G.
IV
THE MUSICAL GUIDE
(Ar.) A^ostino (&-g6s-te'-nd), /.
Aimable (em-ftb"l), F,
(Alb.) Albrecht (iH'-brekht), G.
(Ales.) Alessandro (2-lds-san'-drd), /.
(Alex.) Alexan'der.
(Alex.) Alexandre (ii-^x-slndr'), F.
Alexis (&l-^x-es), F,
Aloys (a -lois).
Aloysia (&.lor.^.ft). G.
Amadeo (fim-ft-dl-o), /. -deus (da •
oos), G,
Amalie (r-m&Ue), G.
Ambroise (an-bwilz), F,
Am6d6e (ftm'-a-dt). F.
Amalie (&m'-a-le), F,
Anatole (&n-&-t6i), F.
Andr« (&n-dri), F,
<And.) Andrea (an'^ra-&), /.
Ands) Andreas (an'-dra-fts), G.
(A. or Ant.) Antoine (&n'-twftn), F.
(Ant.) Anton (an'-ton), G,
(A. or Ant.) Ajnto'nio, /.
(Ap.) Apollon (&p-6l-ldn), F.
Aristide (&r-1s-ted), F.
Armin (&r' -men). G,
Amaud (ilr.no), F.
Krtigo (ar'-re-go), /.
Arstoe (&r*sdn), F,
Arthur (ftr-tor), F.
Attilio (at-te'.lt-6), /.
(Aug;.) August (ow'-goost), (7«
Augpiste (o-gQst), F.
Augpistin (ow'-goos-ten, G.) (6-gtts-
tAh» F.).
(Au^.) Augusto (fi-oo.goost'*d), /.
Baldassare (bal-das-s&'.r^), /.
(Bal.) Balthasar (b&Ut&.zir'), F.
(Bap.) Baptiste (b&-test), F,
(Bart.) Bartolommeo (b&r.td-lom-
ma'-o), /.
(Bat.) Battista (bMt.te'.sta), /.
Benedikt (br-n«-dekt), G,
Beniamino (ban-y^-me'-no), /.
(Bt.) Benvenuto (ban-v^-noo'-to), /.
iBdo.) Bernardo (bSr-nar'-do), /.
(Bd.) Bemhard (b&m'-hart), G.
Bertrand (bftr-traA), F.
Bianca (be-an'-ka), /•
Blasius (bllT-zY-oos), 6*.
Bonaventure (bon-iv-^n-tUr), F.
Bonifacio (bo-ne-fa >chd), /.
Bonafazio (bon-S-f A'-tsY-o), /.
Brig^ida (bre'.je-dS), /.
Camille (kftm-e'-ytt), F.
Carlo (kir'-lo), /.
Casimir (k&s-t-mer), F,
Catherino (kat-t£r-re'-nd), /.
Caytan (ka -e-tshi). Sp,
C6sar (sa-z4r), F,
Cesare (cha-z£i'-r^), /.
(Chas.) Charles (sh&rl), F.
Chrisostomus (kre-s6s'-t5-moos), G.
(Chr.) Christian (krest'-Y-an), G,
(Chp.) Christoph (kres'.toph) G.
Cinthie (sAn-te), F.
Claude (klod), F.
Clement (kla-man), F,
Clotilde (klo-ter.d$), G.
Colin (k6.litft), F.
Constanze (k6n-stan'.ts«), G,
Cornelius (kdr-na'-lY-oos). G,
Costanso (kd-stan'-ts5), /•
Damas9 (da-ma'-so), Sp.
(D.) David (da-vcd). F.
(D.) David (dfl'.fet). G.
Delphin (d^Uf&n), F,
Dietrich (det'-rtkh), G.
Dieudonn6 (d'ytt-dfin-na), /*•
Diog^enio (de-o-ja-ne'-d), /.
Dioma (de-o .m&), /.
(Dion.) Dionisio (de-d-nc'-sY-d), ^
Dionys (de'-o-nes), G,
(Dom.) Domenico (do-ma -nV-ko), /•
(Dom.) Dominique (ddm-Y-nek)» F.
Dufr^sne (da-fr^n), F.
(Edm.) Edmond («d.m6A), F.
(Edm.) Edmund (at'.moont), G,
(Edw.) Edward (ad-vdr), F.
Eg^dio (a-je -dY-o), /.
Eleonore (a-la-o-n6'-r£), G.
E16onore (a>la-d-n6r), F, Also a mas*
culine name.
Elias (a-Ie'-as). G,
Elig^io (a-Ie'-jo), /.
Eliodoro (a-lT-6^6'-r6), /.
Eliseo (a-le'-za-6). f.
PRONOUNCING DICTIONARY v
EUsA r&-le'-z&), /.
(Em.) kmanuel (arm&n-w^l), F.
tmil (i-mel), G,
tnilie (&'.inY-l«), F,
(Em.) Emilio (&.mer.y6), /.
(Emm.) Emmanuele (dm-mflii.oo-a* •
1«). /.
(Eng.) Engelbert («ng -«1-Mrt), {7.
Ennco (dn-rc'-kS). /.
Erasmo i&-r&s'-md), /•
Ercolc (ar'-ko-U'), /.
(Erh.) Erhard (&r'.h&rt), G.
Ernst (ftrast), G,
Erricq («r'.rt-k6). /.
(St.) Etienne (at'-y^n), F.
(Eug.) fiitgen (oi'.gan), G,
(Eng.l Biigto€ (a.zh«n'), F.
(Eur.) Engenio (a-oo-ja -ne-6), /• .
EnstAcheTtts-t&sh), F.
ETarista (fl.vfi.re'^ai)i /•
Fabio (ttb'-yo). /.
(F.) Felice (fa-lc'-ch«).
F«licien (fa-I^s-ySA), F.
(F.) F^lix (fa'-lex). F.
(F.) Felix (fa-lcx), G.
(Fd.) Ferdinand (fftr'-dY-nfint, C7.)
(far-d»-n«A, F,).
(Fdo.) Ferdinando (f^r^e-nan'-do), /•
Ferencz (ttr'-«ns), Hung,
¥€Uo\ (fa-rft-61), F,
Fernandes (f£r-n&n'.d£th), Sp.
Fernando (f€r-n&n'^o), /.
Fermccio (fer-root'-ch6), /.
Firmin (fer-mftn), F,
Florence (fl6r.fifts), F. Commonly a
masculine name.
Florian (fl6r-yto, F.) (fl6r'-t.an. G,).
(Ft.) Fortunato (f6r-too-na'-t6)» /.
^ran.) Francesco (frftn^has'-ko), /.
Francesco (frfln-thas'-ko), Sp,
Francisco (frSn-thes'.kd), Sp.
(Fran.) Francois (frilh.swa), F,
Frantisek (frdn'-tT-sh^k), Bohemian.
(F*.) Frans (frfints). G,
(Fr.) Fr6d6ric (fra-da-rek), F.
Fridolin (fre'-do-Ien). G,
(Fr.) Friedrich (frct'-rtkh). G,
Gabriele (gi-brV-iM^), <7.
(Gaet.) Gaetano (ga-a.ta'.no), /
(Gasp.) Gasparo (gits^pA'-rd). /.
Gellio (j«l'-lT-6). /.
Geminiano (jSm-en-Y-ft'-nO), L
Gennaro (g£n-nft'-ro), /.
(G.) Georg (ga-6rkh ), G.
(G.) George» E,
(G.) Georges (zhorzh), F.
(Ger.) Gerolamo (j^-ro -la-md), /.
(Geron.) Geronimo (j<{-ro'.nI-m6), /
Genrais (zhCr-vd'), F.
Gesu (ha'-zno), Sp.
Gbislein (g<5s.iah), F.
Giacinto (ja-chen'-t6), /.
Giacomo (jak'-d-m5), /•
Gialdino (jaUde'-no), /.
Gioacchino (jo-ii-ke'-no), /.
Giordano (j6r-da-n6), /•
Gioseffo (j6-sef'.f6), /.
(GioT.) Giovanne (j6-v2ln'-nQ, /•
Giuditta (joo^Yt'-ta). /•
Giulia qool'.ya), /.
Giulio (jool'-yo), /.
(Gius.) Giuseppe (joo-s^p'-pQ, /
Gjula (gu -la), Hung,
Gotifredo (g6-t£-fra'-d5). /.
(Gf.) Gottfried (g6t'-fret). G.
Gotthard (got'-hfirt), G,
(Gh.) Gotthilf (got'-hllf), G.
(Gl.) Gottlieb (g6t'-lep), G.
Gottlob (got'-lop), G.
Gregorio (gra-go -rT-6), /,
Guido (goo-e'-do), /.
(Guil.) Gttillaume (ge-yom), F»
(Gt.) Gusta^ (goes -taf), G.
(GTe.) Gusta^e (gUs-Uv), F.
Hamish (ha'-mesh), Gaelic^
Hans (bans), G,
(H.) Heinrich (hTn'-rlkh).
(H.) Henri (afi-re), F.
(H.) Henry.
(Hn.) Hermann (har'-mSn), G,
Hieronymus (he-^r-on'-e-moos), G
(Hip.) Hippolyte (ep-6-lct), F.
Hugo (hoo -go. G.) (tt-go, F.).
(Ign.) Ignace (cn-yis), F,
(Ig:^*) Ignazio (en-yat'.sY-5), /
(10 Igras (ekh'-rits), G.
Hitch (e'-lush). lius.
Ilja (cl'-ja), Rus,
Ingeborg (Yng'-fi-borkh). G,
(Ipp.) Ippolito (ep-p6-le'-t6), /•
VI
THE MUSICAL GUIDE
Isidore (c-ze-dor), F*
italo (et'.a-l6). /.
acob (yak'-6p), G,
acopo (yak'-6-p6), /.
)ac.) Jacques (zhik), F,
an (yan), Putch.
an (yan), Polish,
avier (hav-ydr), Sp,
y.) Jean (zhan), F.
Tefte (yef'-t€), /.
Jerome (zha-rom), F,
(Joa.) Joachim (y5'-a-khem), G.
Joaquin (wa-ken), Sp,
(Fn.) Johann (yo -han), (7.
(jns.) Johannes (y5-han'.n<5s), (7.
y.) John.
Jose (ho-za ), .S^.
(Jos.) Josef, or Joseph (yo'-z^f, C7.)
(zho-z5f, /*.).
^ bsquin (zhos-k&n), /^.
^ uan (hoo-an'), Sp,
' ules (zhttl). F.
' ulie (zhtt-le), F.
' ulien (zhttUyafi), F.
] uliettc (zhlll-y^t), F.
^ ulius (yoo'-lT-oos), G,
' uste (zhUst), /*.
Justin (zhUs-tan). F.
Karl (karl), G.
Karoline (ka-ro-le'-nd), G.
Kaaper (kas'>per), G.
(Kd.) Konrad (kon -rat), G.
(Konst.) Konstantin (kon-stan-ten),
G,
Ladislaw (iad'-!s-lif), Fo/.
Laure (lor), F.
Laurent (lo-ran), F.
Leberecht (la"-W-rdkht), G.
L^on (la -on), F.
Leonard (la-o-n&r), F.
L6once (la-ohs). /'.
Leone (la-o -nt5). /.
(Ld.) Leopold (la-tt-p61d), F.
(Ld.) Leopold (la -6-p61t), G.
Lopez (lo -p6th), Sp.
(Lor.) Lorenz (lo'-r^nts), G.
(L.) Louis (looe). F,
Louise (loo-ez), F.
Luca (loo'-ka). /.
Lucien (lUs-yin), F.
Lucrezia (loo-kra-tse-S), /.
(Lud.) Ludovico (loo-do-ve -ko), /.
(L.) Ludwig (loot'-vlkh). G.
(L.) Luig^ (loo-G'-je), /.
Luig^ia (loo-c'-ja), /.
Luise (loo-e'-zd), G,
Manfredo (man-fra -do), /.
Manuel (man'-oo-^l), G.
Marcello (mar-chSI'-lo), /.
Marco (mar'-ko), /.
Marguerite (m«lr-gft-ret'), F.
(M.) Maria (ma-rc -ii), G„ /. and Sp,
Commonly a masculine name.
Marie (m&-ro), F. Commonly a mas*
culine name.
Mathias (ma-to'-is), F. and G,
Mathieu (mat-yti), F.
(Mat.) Matteo (mat-ta -6), /.
Matth&us (mat-ta'-oos), G,
Mattia (mat-te'-a), /.
Maturin (mat-il-rfth), F.
Maurice (mo-res), F.
Max (max), G,
Maximilian (mftx-T-mel'-Y-Sn), G.
Melchior (m61-shT-6r), F,
Melchiorc (mdl-kK-o'-rC), /.
Michael (me'.ka.«l), /.
Michel (mc-sh^l), F.
Michele (me-ka -1^), /.
Miroslaw (me'-ro-slaf)* /Russian,
Modeste (mo-d^st), /;
Moritz (mo'-rets), G,
Muzio (moo'-tsl-o), /.
Napol6on (na-po'-la-6n), F.
Natale (na-ta'-K?), /.
Nepomuk (na'-po-mook), G.
Niccola (nek'-ko-la), /.
(N.) Nicholas, F,
(N.) Nicolas (ne-ko-lfts). F.
(N.) Nicold (ne-ko-lo ), /.
Nikolai (ne'-ko-la'), G,
(N.) Nikolaus (ne'-ko-Iows), G
Octane (ok-tiv). F
Orazio (o-ra -tsl'-o), /.
Otto (6t'-to). G.
Ottokar (6t'-t6-kar), Pol,
i
m
PRONOUNCING DICTIONARY vii
PantaUon (pan-ta-la on), K
Paolo (pii'-o-Io), /.
Pascal (pds-kiil), F.
Paaqualc (pas-kwa -l€), /.
Paul (p61). F,
Pedro (pa'-dhr6), Sp,
Peregrino (pa-ra-gre'-no), /.
(P.) Peter.
(P.) Peter (pa'-t5r), G,
Philibert (fe-lT-Mr), F.
(Ph.) Philipp (fc'-lTp). a
Pomio (p6-le'-l ,, ..
Pompeo (p6m-pa'-6), /.
Primo (pre'-mo), /.
Prosper (pros'-par), F.
Prudent (prll-dan), F.
Rafael (ra'-fa-«l), /. and Sp.
Re^rnault (rdn-yo). F.
Reichardt (rikh'-art), G»
Reinhold (rin'-hOlt), G.
R6n6 (ra-na), /'.
(R.) Robert, F. (in F. ro -bir in G
ro'-b&rt).
Roberte (rcVbitrt), F.
(R.) Roberto, /,
Romano, /.
Romualdo (rom-oo-al'-do), /.
Rose (roz), /'.
(Rud.) Rudolf (roo'-dolf), G.
Ruggfiero (rood-ja'-ro), /.
Rttprecht (roo'-pr^khi), G,
Sabine (zil-be'-n^). G.
(S.) Sal^atore (sal-va-to'-r?), /
(Sml.) Samuel (zam'-oo-^I), G,
Scipione (she-pT-6'-nd), 7.
Sebald (za'-bait), G,
(S6b.) S^bastiati (sa-blst-yan) /
(Seb.) Sebastiano (sa-b^tl' a'-no) /
and S/>.
Siegfried (zekh'-fret), G.
Siegmund (zekh'-moont), {?•
Simon (ze'-mon), G.
(Sim.) Simone (se'-md-n^), ^^
Spiro (spe'-ro).
Steffano (stef-fa'-no), 7.
Sylvain (sel-vin), F.
Teodulo (la-6-doo'-lo), /.
Teresa (ta-ra'-sa), 7.
Theobald (ta'-6-balt), G,
Theodor (ta'-6-dor), G.
(The.) Theodore (ta-iS-d6r), F.
(T.) Thomas.
Traugott (trow'-got), G,
Turlogh (toor'-lokh), G.
(Val.) Valentin (vftl-Sn-tan), F.
Venanzio (va-nSn'-tsI-o), 7.
(V.) Vincent (vaA-san), F.
(V.) Vincent (fen'-ts^nt), (7.
(V.) Vincenzo (ven-chan'-ts6), /.
Vincesleo (ven-chSs-Ia'-o), 7.
Violante (ve-o-lan'-tfi), 7.
Wendela (v«n'-d«-lS). G.
Wenzel (vdn'-ts^l). G,
Werner (var'-ndr), G,
(Wm.) Wilhelm (vel'-hdlm), G.
Wilhelmine (vel-hei-me'-nd). €
Wilibald (ve'-ll-balt), G,
Willem (wTl'-lem), Du/cA.
(Wm.) William, £,
Woldemar (v6l'-d$-mar). G.
(Wg.) Wolfgang (volf-gang). G.
Wulf (voolf), C.
(X.) Xavier (ksSv-ya), F,
(X.) Xavier (zft-fer), G.
38iograpJ)itaI Birtionarg
of
Musicians
N.B. The German modified vowels
&, d, Q, are often spelled ae, oe, ue.
For convenience they will here be ar-
ranged alphabetically as if a, o, u.
For the system on which given names
are abbreviated, and for their pronun-
ciation, see the pages devoted to them.
The word ** Gerbert," or ** Cousse-
maker** in a parenthesis means that
some of the composer's works are in
the great collections of Gerbert or Cous-
semaker (q. v.). Where not otherwise
Stated the man is a composer.
Aaron (a'-ron), (i) d. Cologne, 1052;
abbot and theorist. (2) (or Aron),
PietrOy Florence, 1480 or '90 — bet.
1545-62 ; theorist.
Abaco (ddl a .ba-k5), E. Pel. dell',
Verona, 1662 — Munich, 1726, court-
conductor and composer.
Abbli-Cornaglia (ilb-ba' kor-nill'-yS),
■ Alessandria, Piedmont, 1851 — 1894;
composed operas and church-music.
Abbadia (2b-ba-de'-a), (i) Natale,
Genoa, 1792 — Milan, ca. 1875; dram,
a.i J ch. composer. (2) Lulgia, daugh-
ter of above, b. Genoa, 182 1 ; mezzo-
soprano.
Abbatini (ftb-bfl-te'-ne), A. M., CasteU
lo, 1595? — 1677: composer.
Abb6 (&b-bi), (i) Philippe P. de St.
SeTin, lived i8th cent.: 'cellist. (2)
Pierre de St. Sevin, bro. of above ;
'cellist.
Abbey, J., Northamptonshire, 1785 —
Versailles, 1859 ; organ-builder.
Abbott, (i) Emma, Chicago, 1850—
New York, 1888 ; operatic soprano ;
toured America with great popular
success. (2) Bessie (Pickens), b.
America; soprano; pupil of Mrs.
Ashford, N. Y., and of Koenig,
Paris ; debut 1902 at the Op^ra there,
after singing in ballad concerts in
England.
Abd el Kadir (Abdolkadir) (k&'-der),
Ben Isa, lived T4th cent. ; Arabian
theorist and collector.
Abd El Mumin (or Abdolmumln).
Vide SSAFFIDDIN.
Abeille (a-bl'-l«), Jn. Chr. L., Bay-
reuth, 1761 — Stuttgart, 1838, com-
poser and court-conductor.
Abel («'-b«l), (I) Clamor H., b.
Westphalia 17th cent.; court-mus.
(2) Chr. Fd., fi^ambist at Kmhen,
1720-37. (3) Ld. Auj^., b. KOthen,
1720, son of above ; court- violinist.
(4) K. Fr., Kothen, 1725— London,
1787 ; bro. of above and the last vir-
tuoso on the gamba. (5) L., Eckarts-
berga,Thuringia, Jan. 14, 1835—Nea-
Pasing, Aug. 13, 1895 ; violinist.
Abela (it-ba'-ls), (i) Don Pladdo
(don pla-the'-d6), Syracuse, 18 14 —
Monte Cassino, 1876 ; prior. (2) K.
Gl., Borne, Saxony, 1803 — Halle,
1841 ; cantor and composer.
Abel' la, — singing-teacher; lived in New
York, 1867.
Abeir, J., London, ca. 1660— Cam-
bridge (?) ca. 1724 ; alto (musico)
and lutenist ; collector and composer.
Abenheim (&'.b«n-him), Jos., Worms,
1804 — Stuttgart, 189 1 ; conductor and
violinist.
Abert (a'-b5rt), Jn. Jos., b. Kocho-
witz, Bohemia, Sept. 21, 1832 ;
double-bass virtuoso and important
composer for the mstr. ; also com-
posed operas, etc.
Abes' ser, Edm., Matgolitz, Saxony,
1837 — Vienna, 1889 ; dram, com-
poser.
Ados (S'-bds> (or Avos, AT0s'sa)|
Gir., Malta, ca. 1700 — NapieSj
1786 (?) ; composer of operas, etc.
309
310
THE MUSICAL GUIDE
A'braham, (i) Jonn. Vide braham.
(2) (Dr.) Max. Vide peters, c. f.
A'brams, three English sisters, 1775-
84. (i) Harriet, soprano and com-
poser. (2) Theodosia, contralto.
(3) Eliza.
AbrAnyi (a-brSn'-ye), Kornel, b. Szent
Gyorgz Abranyi, 1822 ; Hungarian
nobleman ; editor and composer.
Abt (apt), (t) Franz, Eilenburg, Dec.
22, 18 19 — Wiesbaden, March 31,
1885 ; court-conductor at Bernburg,
Zurich and Brunswick ; visited Amer-
ica, 1872 ; immensely popular as a
writer in the folk-song spirit, of such
simple and pure songs as '* When the
Swallows Homeward Sly" etc. ; c.
500 works comprising over 3,000 num-
bers (the largest are 7 secular can-
tatas) and numerous choruses and
other cantatas. (2) Alfred, Bruns-
wick, 1855 — (of consumption) Ge-
neva, April 29, 1888 ; son of above ;
conductor.
Ab'yngdon, Henry, d. Wells, Eng-
land, 1497 ; composer.
Achard (&-sh&r), L6on, b. Lyons, Feb.
16, 183 1 ; tenor.
Achenbach. Vide alvary.
Ack'ermann, A. J., b. Rotterdam,
April 2. 1836 ; composer.
Ac'ton, J. B., b. Manchester (?), 1863 ;
singing-teacher and composer.
Adam (&d-ah), (i) Louis, Mutter-
sholtz, Alsatia, 1758 — Paris, -1848 ;
teacher and composer. (2) Adolphe
Charles, Paris. July 24, 1802 — May
3, 1856 ; son of above ; c. many suc-
cessful operas ; Pierre et Catherine
(1829). Le Chdlet (1834), Postilion
de Longjumeau (1836), Le Fidele
Berger^ Le Brasseur de Preston
(1838), Le Roi d'Yvetot (1842), La
Poup/e de Nuremberg^ Cagiiostro^
and Richard en Palestine (1844), the
ballets Giselle y Le Corsaire^ Fattst^
etc. ; in 1847 he founded the Thea-
tre National, but was made bank-
rupt by the revolution of 1848, and
entered the Conservatoire as prof,
of composition to succeed his
father.
Adam (at'-am), K. F., Zadel, 1806—
Leisnig, 1868 ; cantor and composer.
Adam de la Hale (or Halle) (id-an
dii la al), Arras, ca. 1240 — Naples,
1287 ; called ** Le bossu d'Arras "
(Hunchback of Arras) ; a picturesque
trouv^re of great historical impor-
tance; c. chansons, jeux (operettas) and
motets ; his works were pub. 1872.
Adam Von Fulda (at'-am fon fool'-
da), ca. 1450 — ca. 1 537. (Gerbert.)
Adamber^er (at'-am-bdrkh-^r). Valen-
tin (not Joseph), Munich, 1743 — Vi-
enna, 1804 ; dram, tenor ; assumed
name "Adamonti"; Mozart wrote
the role of Belmonte, etc., for him.
Adami da Bolsena (or da Volterra)
(a -da-me da bol-sa -na). And., Bo-
logna, 1664 — Rome, 1742 ; theorist.
Adamon'ti. Vide adambercer.
Adamowski (ad-a-mof'-shkY), (i>
Timoth^e, b. Warsaw, March 24,
1858 ; violinist and composer ; pupil
of Kontchi, Warsaw Cons, and Mas-
sart, Paris Cons. ; 1879 travelled to
America as soloist with Clara Louise
Kellogg, and later with a company
of his own 1885-86; teacher. New
Engl. Cons., Boston ; organised the
Adamowski String-quartet (1888). (2)
Joseph, bro. of above. ; 'cellist ;
member of the same quartet ; married
Szumowska.
Ad'ams, (i) Th., London, 17S5 — 1858;
organist. (2) Charles R., Charleston,
Mass., ca. 1834 — July 3, 1900 ; tenor.
(3) Stephen. Vide maybrick, m.
Ad'cock, Jas., Eton, England, 1778—
Cambridge, i860 ; choir-master and
composer.
Addison, J., London, 1765 — 1844;
double-bass player, dram, composer.
Adelboldus (a -d51-b61-doos), d. 1027 ;
Bishop of Utrecht ; theorist. (Ger-
bert.)
Adelburg (fon a-del-boorkh), Aug.,
Ritter von, Constantinople, 1830-'
(insane) Vienna, 1873 I violinist.
Adler (at'-l^r), (i) G., b. Ofen, 1806;
violinist, pianist, teacher and com-
poser. (2) Guido, b. EibenschQtz,
Moravia, Nov. i, 1855 : pupil at
DICTIONARY OF MUSICIANS 311
Academic Gym. in Vienna, and Vien-
na Cons.; ('78) Dr. jur., and ('80)
Ph. D.; 1885 prof, of mus. science
Prague Univ.; ('95) prof, of mus.
history, Univ. oT Vienna (vice Hans-
lick). (3) v., Raab, Hungary, April
3, 1826— Oeneva, Jan. 4, 1871; son
of above ; teacher and composer.
Adlgrasser (at'-'l-gas-s^r), Anton Ca-
jotan, Innzell, Bavaria, 1728 — 1777 ;
organist.
Adlungr (iit'-loongk), or A'delung, Ja-
kob, Bindersteben, near Krfurt,
1699 — 1762 ; organist, teacher and
writer
Adolfat'i (a-ddUfr-te), And., Venice,
171 1 — Genoa (?) 1760; composer.
Adras'tos, lived Philippopolis ca. 330
B.C.; pupil of Aristotle, and theorist.
Adriano di Bolog^. Vide ban-
CHIKKI.
Ad Hansen (or Hadrianus), Eman-
uel ; lived Antwerp iCth cent. ;
lutenist and collector.
Adrien (id-rt-ah) or Andrien. (t)
Martin Joseph (called la Neu-
▼ille, or rAin6), Liege, 1767—
Paris, 1832 ; bass and composer ; he
had two brothers. (2) Name un-
known, b. Liege, 1765. (3) Ferdi-
nand, chorus-master Paris Opera
(1799-1801), composer.
^eid'ius Zamoren'sis, Joannes,
Franciscan monk, Zamora, Spain,
1270: theorist.
'Sgid'ius de Muri'no, 15th cent.;
theorist. (Coussemaker.)
Ulsters (£1 -st(^rs), Georges Jacques,
Ghent, 1770^1849.
JExts (£rts), (i) E^ide, Boom, Ant-
werp, 1822 — Brussels, 1853. (2)
F^lix, St. Trond, Belgium, 1827—
Nivelles, 1888 C89?); violinist and
writer.
Affilard (mf-fe-Ur), Michel 1', 1683—
1708 ; singer to Louis XIV.
Afranio (a-fra'-nt-o), b. Pavia, end of
15th cent.; canon at Kerrara ; inv.
the bassoon.
Afzelins (af-tsa'-lY-oos), Anrid A.,
EnkOping, Sweden, 1785 — 187 1 ; col-
lector.
Agazza'ri (S-gHd-za -re), Ag,, Siena,
1578 — 1640: church-conductor.
Agela'os of Tegea, lived 559 n.c;
considered the first solo virtuoso on
the cithera.
Ag^nelli (sLn-y$l'-le), SalT., b. Paler-
mo, 1817; pupil of Naples Cons.;
lived Marseilles and c. operas, can-
tata Apoth^ose de NapoUon /.,
etc.
Agfnesi (ddn-ya'-se), (i) M. Theresia
d', Milan, 1724 — 1780 (?) ; pianist and
dram, composer. (2) Luigi (right-
ly F. L. Agniez), Erpent, Namur,
1833 — London, 1875 ; bass.
Ag^iez (an-y^z). Vide agnesi (2).
Agobar'dus, d. Saintonge, 840; arch
bishop of Lyons ; theorist.
Agostini (ag-os-te'-ne), (i) Lnd.
Ferrara, 1534 — 1590; court-conduc-
tor. (2) Paolo, Vallerano, 1593 —
Rome, 1629 ; wonderful contrapun-
tist, some of his works being in 48
parts. *(3) P. Simone, b. Rome,
ca. 1650. c. an opera, etc.
Agramonte (ag-rft-mon'-ta), Emilio,
b. Puerto Principe, Cuba, Nov. 28,
1844 ; eminent vocal teacher, lect-
urer, conductor, and friend of Amer-
ican music ; studied comp. under
Maiden in Spain, and David in
Paris ; piano in Paris ; singing under
Roger, Selva, and Dellc Sedie ; 1865
LL.D. at Univ. of Madrid; taught
singing in Barcelona, 1865, Cuba,
1866-68 ; lived since in New York ;
c. (in M.S.) a .Stabat Mater, etc.
Ag^rel (a'-grdl), J., Loth, Sweden, 1701
— NUrnberg, 1769; court-violinist and
conductor.
Agric'ola, (i) Alex., Germany (?)
ca. 1470— Valladolid, Spiaf*, 1530;
court-singer and church-composer.
(2) Martin, Sorau, Saxony, i486 —
Magdeburg, June 10, 1556 ; emi-
nent writer and theorist. (3) Jn., b.
NUrnberg ca. 1570; prof, and com-
poser. (4) Wolfgang^ Chp., Ger-
man composer (1651); (5) G. L.,
Grossfurra, 1643 — Gotha, 1676 ;
conductor. (6) Jn. Fr., Dobitschen,
1720 — Berlin, 1774; court-cond.
312 THE MUSICAL GUIDE
A^he (akh'-t«), K. Ch., (i) Hcttstadt,
1762 — Ballenstedt, 1797; composer.
(2) W. Jos. Albrecht, Ballcnstedt,
1790 — ca. 1848 ; son of above ; teach-
er. (3) Fr. W., Sangershausen,
i794--(insane) Sonnenstein, ca. X828 ;
cantor.
Ag^uado (S-gwa -dho), Dionisio, Ma-
drid, 1784—1849; performer and
composer for guitar.
A8:nilJir (a-gwe-Ur), Emattuel, b.
1824; composer.
Ag^uiari, Lucresia. Vide agujari.
Ag^uiiera de Heredia (a-gw!-la'-ra da
a-ra-dhe-a). Seb., b. Sargossa. 17th
cent ; monk and composer.
Agujari (a-goo-ha'-re), Lucrezia
(called La Bastardina, or Bastar-
della, being the natural daughter of
a nobleman), Ferrara, 1743 — Parma,
May 18, 1783; a phenomenal singer;
Mozart remarked her •* lovely voice,
flexible throat, and incredibly high
range," which reached from middle C
three octaves up ; she could shake on
V" (vide CHART OK pitch) ; she m.
Colla. 1780, and retired from the stage.
Ague (a-zhOs), H., France, 1749—
1798 ; singing-teacher and composer.
Ahle (a'.l«), (i) Jn. Rud., Mtthl-
hausen, 1625— 1673 ; theorist and
church-composer. (2) Jn. G., MuU
hausen, 1650 — 1706; son of above;
organist, poet and theorist.
Ahlstrdm (M'-shtram), (x) A. J. R.,
Stockholm, 1762— ca. 1827; organist.
(2) Johan Niklas, Wisby, Sweden,
June 5, 1805 — Stockholm, May 14,
1857 ; probably son of above ; dram,
composer.
\hna. Vide db ahna.
Aibl (I'-bl), Jo«., founded publishing
firm, Munich, 1824* later heads were
Eduard Spitrweg (1836) and his sons,
Eugen and Otto.
Aiblingcr (i'-bWng.^r), Jn. Kasper,
Wasserburg, Bavaria, 1779 — Munich,
1867 ; court-conductor, collector and
composer.
Aichinger (f-khtng-^r), Gregor, Augs-
burg (?) ca, 1561— 1628; canon and
composer.
AId€ (a-e-da), Hamilton, b. Pari%
1830, of Greek parents ; poet, com-
poser of pop. songs.
Aigner (ikh'-n^r), Engeibert, Vienna,
1798 — ca. 1852; dram, composer.
Aimo (a'-e-mo). Vide haym, n. f.
Aimon («m-6n), Pamphile Ld. Fran.,
b. Lisle, near Avignon, 1779 ; 'cel-
list, conductor, theorist.
Aireton (ar'-ttin), Edw., London,
1727 — 1807; violin-maker.
Ajolla. Vide layolle.
A Kem'pis, Florentino ; org. at Brus*
sels, 1650.
Akeroyde (&k'-«-roid), Samuel, b.
Yorkshire ca. 1650 ; song-writer.
Ala (a -la), GioT. Bat., Monza, 1580--
1612 0 ; organist and composer.
Alabieff (d-l^-bt-df), Alex., Moscow.
1802 — 1852 ; composer.
Alard (ai-ir), (i) C^sar, b. Gossc
lies, Belgium, May 4, 1837 ; 'cellist,
entered Brussels Cons, at 9, as vio-
linist ; took up the 'cello and won
prizes: travelled as soloist. (2) J.
Delphin, Bayonne. March 8, 18 1 5 —
Paris, Feb. 22, 1888 ; violinist, teach-
er and composer.
Alary (ai-£l'-re), Giulio Eugenio
Abramo, Mantua, 1814— Paris, 1891;
flutist.
Al'ayrac. Vide dalayrac.
Albanese (al-ba-na'.z«), Albano, 1729
—Paris, 1800; musico and com-
Doser
Albanesi (al-ba-n&'-ze). Carlo, b. Na-
ples, 1856 — London, 1893; piano-
prof. R. A. M.
Albani (al-ba'-n!) (stap:e name of Ma-
rie Louise Cecilta Emma La
Jeunesse), b. Chambly, near Mon-
treal, Nov. 1, 1852; operatic sopr»no;
sang in Cathedral, Albany, N. V.,
whence her name was mistakenly
supposed to have been taken ; pupil
of Duprez, and of Lamperti ; debut
at Messina in 1870.
Albani, Mathias, Bozen, 162 1— 1673 ;
famous father of more famous son of
same name and trade, violin-making ;
the younger A.'s violins (1702-Sl
rival Amati's.
i
DICTIONARY OF MUSICIANS 313
Albenis (ftl-ba'-neth), (i) Pedro, Lo.
grofto, 1795— -Madrid, 1855 ; court-or-
eaniftt. (a) Isaac^ b. Camprodon,
Spain, May 20, 186 1 ; grandnephew
of above ; lives in London as pianist ;
composed operas, etc. o) P^dro, b.
Biscav, San Sebastian, i8ai ; monk,
chnrch-cond. and composer.
Alberirati (dfiUb«r.ga'.te), (i) Pirro
Capacilli, Conte d'. Lived in Bo-
logna, 1 7th cent. ; composer. (2) Al*
dobrandini, lived in Bologna, 17th
cent.; dram, composer.
Al'bfrt, Prinz von Sachsen-Coburgf
Gotha, Schloss Rosenau, 1819 — 186 1;
consort of Queen Victoria, patron of
music and composer of an opera,
fean li Fol (Bagni^res de Bigorre,
1865), an operetta, masses, etc.
Albert (al'-b^rt). (i) H., Lobenstein,
Saxony, 1604 — K^nigsberg, 165 1 ;
poet, oiganist and composer ; called
the father of. the German Licd^ and,
as he alludes to a *' ComOdien-musik *'
(1644), he must have been, with
Scholtz, one of the founders of Ger-
man opera. (2) Max, Munich, 1833
—Berlin, 1882; zither-virtuoso and
inventor. (3) Charlei L. N. d',
Nienstetten, near Hamburg, 1809 —
London, x866; dancing master and
composer. (4) Eug^en d', rightly
Engine (Francis Charles) (dftl-
bftr, or dftl'-b^rt), b. Glasgow, April
10, 1864; son and pupil of above;
E'anist; Newcastle scholar in the
ondon Nat Training School, 1876 ;
pupil of Pauer (pf.) and Stainer,
Prottt and Sullivan (harm, and comp.);
1881, Mendelssohn scholar and pu-
pil of Richter and Liszt, who called
him "the young Tausig " ; 1881, he
played the Schumann concerto at the
Cr3rstal Palace, London ; Oct. 24,
a concerto of his own, at a Richter
concert; he performed 5 Beethoven
sonatas (op. 31, 53, 90, 109, no) at a
Gewandhaus recital, 1893 ; he mar-
ried the pianist CarreRo in 1892 (di-
vorced 1895) ; first conductor at Wei-
mar, vice Lassen, but soon resigned ;
composed a symphony, 2 overtures,
(Hyperion and Esther)^ 2 pf. -concer-
tos, libretto and music of the operas
Der Rubin (Carlsruhe, Oct. 12, 1893),
Ghismonda (Dresden, 1895), Gernot
(Mannheim, 1897), i-act mus. comedy
Die Abreise (Frankfort, 1898), etc.
Albertazzi (ai-bdr-tad'-ze), Emma
(neeHowson), London, 18 14 — 1847 ;
operatic contralto.
Albert! (al-bfir'-te),(i)Jii. Fr.,Tonning,
1642 — Merseburg, 1710; oi^anist.
(2) Giuso Matteo, Bologna, 1685--
1746; violinist and composer. (3)
Domenico, Venice, 1707 — Formio,
1740 ; sinp;er then pianist ; in his
piano music he made use of the since-
called •* Alberti bass " (vide D. D.). (4)
K. Edm. Robt., Danzig, 1801 — Ber-
lin, 1874 ; writer.
Alberti'n: (al-b^r-te'-ne), (i) Gioac-
chino, b. 175 1 — Warsaw, April,
181 1 ; conductor and dram, com-
poser. (2) Michael (called Momo-
let'to), soprano musico at Cassel,
i8th cent., where his sister (3) Gio-
▼anna (called Romanioa) was prima
donna.
Albicas'tro, Henrico (rightly, Weis-
senburgr), b. Switzerland, 17th cent. ;
court-violinist.
Albino'ni, Tommaso, Venice, 1674*-
1745 ; violinist.
Albo'ni, Marietta, Cesena« Romagna,
March 10, 1823 — ^Ville d*Avray, near
Paris, June 23, 1894 ; eminent dram,
contralto, compass g-g" (vide pitch,
D. D.) ; pupil of Rossini ; debut La
Scala, Milan, 1843; m. Count Pe-
poli, 1854.
Albrecht (ai'-br^kht). (i) Jn. Lor.,
Gormar (Thuringia), 1732 — MUhl-
hausen, 1773 ; writer. (2) Jn. Matt.,
Osterbehringen, near Gotha, 1701—
Frankfort, 1769; organist. (3) Karl,
Breslau, 1817 (?) — Moscow, 1893 ;
court-conductor. (4) Eugen Maria,
St. Petersburg, 1842 — 1894 ; son of
(3) ; violinist and conductor.
Albrecht8berger(aUbr£khts-bdrkh-«r)»
Jn. G., Klosternenburg, near Vi»
enna, Feb. 3, 1736 — ^Vienna, March
7, 1809 ; eminent composer, court*
314 THE MUSICAL GUIDE
organist, theorist and teacher (Bee-
thoven was his unappreciated pupil).
Albri'ci (al-bre'-che), V., Rome, 1631
— Prague, 1696 ; court-conductor.
Alcarrot'ti, Giov. Fran., lived in
Italy i6th cent. ; organist, 1740-91.
Arcock, (i) John, London, 17 15—
Lichfield, 1806 -, organist. (2) J., son
of above; organist.
Alday (al-d$'). French family, (i) The
father (b. Pcrpignan, 1737), a man-
dolinist. His two sons (2) A. U
vieux (b. 1763) ; violinist. (3) A,
Ujeune (b. 1764) ; violinist.
Al'den, J. Canrer, b. Boston, Mass.,
Sept. II, 1852; pupil of Carl Fael-
ten, and of Paul, Plaidy, and Pap-
peritz in Leipzig ; teacher at the N.
E. Cons., later at Wollaston, Mass. ;
c. pf.-concerto, etc.
Aldo^randini (aUdo-vran-de'-ne),
Gias. A. v., b. Bologna, 1665 ;
court-conductor and dram, composer.
Al'drich, (i) H., Westminster, 1647 —
Oxford, 1710 i theorist and composer.
(2) Richard, b. Providence, R. I.,
Ju^y 3I» 1863; graduated Harvard,
1885, where he took several scholar-
ships and honours ; studied music
under J. K. Paine ; 1885 he went on
the staff of the Providence Journal^
soon reaching an editorial position,
and being put in charge of the musi-
cal and other critical departments of
the paper; 1888 he spent in study
abroad, chiefly of music ; 1S89 to
1891, private secretary to U.S. Sena-
tor N. F. Dixon ; 189 1 joined the
staff of the New York IVibune as
associate musical critic with H. E.
Krehbiel, and as collaborator in their
'* History of the Philharmonic Soci'
ety ; " author of various magazine ar-
ticles, and editor of a series of musical
biographies to be published in New
York, the volume on Schumann being
in preparation by him.
Alembert (d&l-an-b&r), J. Le Rond
d*, Paris, 17 17 — 1783 ; theorist.
Alessan'dri, (i) Giulio, c. an orato-
rio (ca. 1690). (2) Felice, Rome,
1742— Berlin (?), 1811.
Alessan'dro Merlo (or Alless. Ro-
mano), called Delia Viola, b.
Rome (?) ca. 1530 ; monk, singer and
composer,
Alexan'der, John (or Joseph), Vellist
at Duisburg, 1801.
Alfar&bi (al-fa-ra'-be), or Alphara'-
bius, properly £1 Farabi (abbr.
Farabi) Farab (now Othrax.) 900 (?)
—Damascus, 950 ; Arabian theorist
who vainly advocated Greek theories.
Alfieri (al-fe-d'-re), Abbate Pietro.
Rome, l8oi — 1863 ; Camadulian
monk ; teacher and theorist.
Al'ford, J., lutenist at London, 1568.
Algarot'ti, Count Fran., Venice, 1712
— Pisa, 1764; writer.
Aliani (al-l-a-ne), Francesco, b. Pia-
cenza ; 'cellist, 182c ; son and pupil of
a violinist.
Alipran'di, (i) Bdo., b. Tuscany,
Bavaria, ca. 1730; his son (2) Bdo.,
Vellist at Munich, 1780.
Alizard (ftUK-zar), Ad. Jos. L., Paris,
1 8 14 — (of consumption) Marseilles,
1850 ; bass, later barytone.
Alkan (ftl-kan), (i) Chas. H. Val.
{Tain^^ Paris, Nov. 30, 18 13 — March
29, 1888; pianist, teacher, and brilliant
composer for piano. (2) Napoleon*
Morhange (mor-anzh) {le Jeune)^ b.
Paris, Feb. 2, 1826 ; brother of above ;
gianist.
acci (al-l{lt'>che), Leone (or Leo
AUatius), Chios, 1586 — Rome, 1669;
writer.
Al'lanson, 1690 — 1705 ; English or-
ganist, and church-composer.
All' chin ; conductor Oxford Music So«
ciety. 1869-S1.
Allegran'ti. Maddalena; dram, so-
prano; debut, Venice, 1771.
Allegri (al-la-gre), (i) Gregorio,
Rome, 1584 — Feb. 18, 1662 ; pupil
of Nanini ; composed a celebrated
Miserere in 9 parts, sung during
Holy Week at the Sistine Chapel ;
its publication was forbidden on pain
of excommunication ; but Mozart
after twice hearing it. wrote it out,
and it has since been frequently puo-
blished. (2) Dom.; lived 1610-29 a|
DICTIONARY OF MUSICIANS 315
ia«
Rome ; one of the first to write in-
strumental accompaniments not in
mere unison with the voices.
Al'len, (i) H. R., Cork, 180^— Lon-
don, 1876; bass. (2) G. B., Lon-
don, 1822 — Brisbane, Queensland,
1897 ; singer, organist, conductor,
manager, and composer. (3) Na-
than H., b. Manon, Mass., 1848 ;
pupil cf Haupt, Berlin ; organist and
teacher in Hartford, Conn. ; compos-
er of cantatas, etc.
AUthn (&l.len'), H. Max., b. Halle-on-
Saate, Aug. 31, 1841 ; writer on or-
gan-building.
Allison, (i) Richard, teacher at
London, 1592. (2) Robt., member
of Chapel Royal till 1609.
Al'litsen, Frances, English singer and
composer ; debut, London, 1882.
* All'woode, , English church-
composer, i6th cent.
Alma'g^o, A. Lopez, b. Murcia,
Spain, Sept. 17, 1839 ; pianist and
composer.
Almeida (dfll-ma'-e-dhS), Fernando
d', Lisbon, ca. 1618 — 1660 j monk
and church-composer.
Almenrilder (dl'-mdn-ra-d^r), Karl,
Ronsdorf, 1786 — Nassau, 1843; virtu-
oso and manufacturer of the bassoon.
Aloysins, Baini*s name for palestrina
(q. v.).
Alphara'bius. Vide alfarabi.
Alqnen (d^il-ksin or dal'-kwan), (i) P.
Jii« d', Amsberg, Westphalia, 1795
-^Mttlheim-on-Rhine, 1863 j com-
poser. (2) Fz, d', Amsberg, 18 10
— London, 1887, bro. of above ;
pianist.
Arsagrer, Thos. Massa, Cheshire,
1779 — 1846; English amateur and
patron.
Alshala'bi, Mohammedi 15th cent.;
Arabian theorist.
Alsleben (als'-la-b^n), Julius, Beriin.
1832 — 1894 ; editor and writer.
Alsted(t) (al'-shtat). Jn. H., Herbom,
Nassau, 1588 — Weissenburg, 1638 ;
writer.
Altenburgr (al'-t^n-boorkh), (i) Mi-
chael, Alach, near Erfurt, 1584 — Er-
furt, 1640 ; pastor and composer. (2)
In. Ern8t,Weissenfels, 1734 — Bitter-
held, 1796 ; trumf>et- virtuoso ; son of
(3) Jn- Kasper, do.
Alt^s (^UtSs), (i) Jos. H., Rouen, 1826
— Paris, 1895 ; flutist. (2) Ernest-
Eugene, b. Paris, March 28, 1830,
bro. of above ; pupil Paris Cons. '
violinist and conductor; 187 1 deputy
conductor of the Opera ; 1879-87,
conductor.
Altnikol (alt'-ne-kol). Jn. Chp., d.
Naumberg. 17^9: son-m-law and pu-
pil of J. S. Bach ; organist and com-
poser.
Alvary (jll-va-re). Max (rightly
Achenbach), Hamburg (?) 1858 —
Datenberg, Thurinpa, Nov. 8, 1898 1
eminent Wagnerian tenor ; debut at
Weimar.
AlTsleben, Melitta. Vide otto-alvs-
LEBEN.
Alyp'ios, lived ca. 360 B.C.' Greek
theorist.
Amad^ (ftm-ft-da), (i) Ladislaw^
Baron von, Kaschau, Hungary, 1703
— Felbar, 1 764 ; poet and composer.
(2) Thadd&us, Graf von Pressburg,
1783 — Vienna. 1845 ; pianist.
Amadei (2lm-£.da'-e), R., b* Loreto,
Italy, Nov. 29, 1840 ; succeeded his
father as organist and conductoi;
Amalia (a-ma'-il-a). the name of three
princesses wiio composed, (i) Anna
A., sister of Frederick the Great
1723—1782. (2) Anna A., mother
of the Grand Duke Ernst Aug^ust,
1739— 1807. (3) Marie A. Fried-
erike, sister of King John of Saxony,
Dresden, 1794 — 1870.
Amati (fl-m&'-te), a family of famous
violin-makers at Cremona, Italy, (i)
Andrea, 1520 (?)— 1577 (?), evolved
the violin from the viol ; his younger
bro. . '2) Niccol6, made fine bass-viols
1568-86. A.'s 2 sons, (3) Antonio^
1550 — 1635, and (4) Geronimo, d.
1638* produced violins of the same
style. The most 'amous was Gero-
nimo*s son, (5) N<ccol6, Sept. 3,
1596 — ^Aug. 12, 1684, who built the
** Grand Amatis,*' large violins of
3i6 THE MUSICAL GUIDE
powerful tone ; his label is ** Nico.
laus Amati Cremonens. Hieronimi
filius Antonii nepos. P'ecit anno
16-"; he trained Andrea Guameri
and Antonio Stradivari. (6) His son
Geronimo, the last of the family, was
inferior. (7) Giuseppe A., b. 17th
cent., Bologna, a violin-maker, may
have been of the same family.
(8) V. (called Amatus), Cimmina,
Sicily, 1629 — Palermo, 1O70; con-
ductor and composer. (9) Antonio
and (10) Ang^eio, brothers, and or»
g^an-builders at Pavia, ca. 1830
Ambragetti (iim-bra-j^t'-te), G.» 1817
— 1838, basso-buffo.
Ambros (am'*br6s), Aug. W., Mauth.
near Prague, Nov. 17, 18 16— Vienna,
June 28. 1876; eminent historian
and critic.
Ambrose (Ambro'sius)» Treves, a.d.
333 — Milan, April 4, 397 ; Bishop of
Milan; regulated (384), and deveU
oped Western church-music by intro*
dudog ritual as practised in the East-
ern Church , the adoption of the four
authentic church-modes was probably
due to him . he has been called '* The
Father of Christian Hymnology."
though his authorship of the so-called
Ambrosian Hymn is discredited, fur-
ther thas the translation of the text
into the " Te Deum " ; it is improh
able that he was acquainted with the
use of letters for notation.
Ames, John Carlowitz, t>. Bristol,
England, i860; composer of opera
TJu Last of the Incas (1898).
Ameyden (a'-mt-dSn), Christi i6th
century church-composer.
Am(m)ert>ach (am'.«r-b&kh), Elias
Nikolaus, ca. 1540— Leiprig, 1597 j
organist, theorist, and composer.
Amiot (i&m-yd). Father, b. Toulon,
1 7 18, Jesuit missionary and writer
on Chinese music
Am(m)on (fim'-mon), (i) Blasius, b. in
the Tyrol— d. Vienna, June, 1590;
court-sopranist, later Franciscan
triar; composer. (2) Jn. And9.|
Bambei^, 1763 — Ottingen, 1825 ; vir-
tuoso on the Waldbom.
Am'ner, (i) John, b. late i6th cent.
— d. 1641 ; organist. (2) His son
Ralph, bass at Windsor, 1623 — 1663.
Amphi'on, the earliest traditional
Greek musician.
Amorevoli (2-md-ra'*vo-le), Angelo,
Venice, 1716 — Dresden, 1798 ; singer,
Anacker (a'-nftk-^r), Ang. Fd«, Fret-
berg, Saxony, 1790—^1854 ; cantor
and composer.
Ancot (&A-k6), a family of pianists
and composers at Bruges, (i) Jsan
i^he). i779 — 1848. His two sons,
(2) Jean (//j), 1799 — Boulogne, 1829,
(3) Louis, 1803 — Bruges, 1836,
Ander (ftn'-d^r), Alovs, Liebitiu, Bo-
hernia. 1824 — Bad Wartenbei^,i864 ;
tenor.
An'ders, Gf. Eng., Bonn. 179$—
Paris, 1866; writer.
An'dersen, Joachim, b. Copenhagen,
April 29, 1847 ; flute-virtuoao , soloist
at 14. toured widely; 1877, oouit>
musician. Petersburg; 188 1, Berlin,
soloist court-opera ; from 1895 lived
in Copenhagen at court-conductor;
composed notable flute-pieces^ etc.
Anderson-Boker, Orleana, b. New
York,. 1835 ; pianist and composer.
An'derson, (i) Lucj, n^ Philpot|
Bath, 1790— Ix>ndon, 1878; pianist.
(2) Geo. Fr.y King*s bandmaster in
England, 1 848. (3) Angela, b.
New York; great»granddai^hter of
da Ponte ; pianist, pupil of Stojowsld
and Paderewsid ; debut, Paris 1899.
An'derton, Thos., b. Birmingham,
England, April 15, Z836, ofganlst.
critic and composer.
An'ding, Jn. Michael, near Melnlng-
en. 1810— Hildbui^hausen, 1879J
Andrade (dcin-drsl'-dhQ, Fran. d%b.
Lisbon, 1859, barjrtone^ studied
with Miraglia and RonconI ; sang
leading roles in many European
cities.
Andr6 (a6-dra), a musical family of
Offenbach, (i) Jn., 1741 — 1799; P^h-
Usher and pianist , he originated in
1783 the durekkompcftirte Baltadt
(vide D. D.), (2) Jn. Ant., 1775—
m
DICTIONARY OF MUSICIANS 317
1842; third son of above; pianist,
publisher, theorist. (3) Karl Aug,,
1806— Frankfort, 1887; publisher
and writer. (4) Julius, 1808—
Frankfort, x88o; organist. (5) Jn.
Aug.f 1817 — 1887; publisher; his 2
sons, (6) Karl (b. 1853) and (7)
Adolf (b. 1885), are the present pro*
prietors. (8) Jean Bapttste (de St.
Cilles), 1823— Frankfort, 1882 ; pian-
ist and composer.
Andreoli (iin-dra-o'-le), (i) Eranga*
lista, 1810 — 1875 ; organist at Mi*
randola ; his two sons, (2) Guglieiio
(Modena, 1835 — Nice, i860) and (3)
Carlo (b. Mirandola, 1840), were
pianists, the latter also organist and
composer, (4) Giuseppe, Milan,
1757^1832; double-bassist and harp,
ist.
Andreoszi (fln-drft-dd'-ze), Gaetano,
Naples, i763^Paris, 1826* dram,
composer.
Andreri (an-dr&'-ve), Fran,, Sana*
buya, near Lerida, 1786 — Barcelona,
185^ ; critic and writer.
Andrien. Vide adrikn.
An'dries, Jean, Ghent 1798— 1872;
teacher and writer.
Andriessen. Vide stahmer.
Anerio (l>na'-re-5), (i) Felicei Rome,
ca. X56o--<:a. 1630; successor to Pa*
lestrina* (2) GioTanni Fran.,
Rome, ca. 1569 — 1620 (?). bro. of
above; conductor and church-com-
poser.
Anet, Baptiste. Vide baptists.
Anforge (ftn'.fdrkh.«), Kd., b. Buch.
wald, near Liebau, Oct. 15, 1862;
pianist ; pupil, Leipzig Cons, and of
Liszt ; toured Europe and America ;
lives in Berlin ; composer.
Anfos'si, Pasqoale, Taggia, near
Naples, 1727 — Rome, 1797; pupil
anci rival of Piccinni ; composed 54
operas, etc.
Angrelet (ftfi'-zhtt-la), Chas. Fran.^
Ghent, 1797 — Brussels, 1832.
Angelini (fin-ja-le'-nt), Bontempi
C»«T. And., Perugia, ca. 1624—
'^705; court-singer and dram, com*
poser.
Angeloni (ftn-ja-lo'-nl), Lnigi, Frosi*
none, Papal States, 1758 — London,
i8<i2 * writer
Anglebert (dSA-gltt-bar), J. Bapt. H.
d , 1628 (?)— Paris, 1601 ; court-cla*
vicembalist to Louis XIV.
Animuccia (Hn-e-moot'-chft), (i) G1ot»,
Florence, ca. 1500 — Rome, March.
157 1 ; wrote the first Laudi spirituali
for the lecturss of Neri in the oratory
of S. Philippo, has hence been called
•' Father of Oratorio " ; he was Pa-
lestrina's predecessor as conductor at
the Vatican. (2) Paolo, d. Rome,
1563, bro. of above.
Ankerts, D'. Vide uankers, ghiss*
UN.
Anna Amalia. Vide amalia.
Annibale (iLn-nY-bfi'-l^), (i) (called II
Padova'no, or PataTi'nus, from
Padua, where he was bom in the
15th cent.) oi^anist and composer.
(2) Domenico, Italian sopranist in
London, 17^6.
Ansani (tln-sa -ne) GioTanni, b. Rome,
1 8th cent.; dram, tenor,
Anschiltx (tn'-shots), (i) Jn. And..
Coblenz, 1772— 1858; pianist. (2)
K., Coblenz, 1815 — New York, 1870;
son of above ; cond. and composer.
Anselm^ of Parma (Anselmus Parw
mensis), b. Parma, 1443 ; theorist.
Anteg^nati (An-tan-yil'.tY), Costaazo,
Brescia, ca. 1550 — ca. 1620; organ*
builder, etc.
An'tico, Andrea. Vide antiquus,
ANDREAS.
Antiqois (an'-te-kwes), Johannes (or
GioTanni) de, 1. 1574, Bari. Na-
ples ; composer.
Antiquus (fin'-te-kwoos), Andreas (or
A. de AntiouHs Venetiis, or
Andrea Antlco), b. Montana
(Istria), 15th cent.; music-printer in
Rome.
Anton (W-ton), Xonrad G., Lauban,
Prussia, 1746-— 1819; writer.
Anto'nto da Bologna (bd-lon'*yl)
1543 ; organist and composer.
Antony (an'-to-ne), (i) Joseph^ 1758
— 1836; writer and composer. (2)
Fr« Jos., Monster, Westphalia*
3i8 THE MUSICAL GUIDE
1790 — 1836 ; son of above ; organ-
ist, conductor, and composer.
Apcl (a'-p51), Jn. Aug., Leipzig. 1771
— 18 16 ; writer.
Apell (a-pei), Jn. D. von, Cassel.
1754 — 1833 ; conductor and dram,
composer.
Aporio, Greek sun-god, and god of
music.
Appel (jtp'-p51), K., b. Dessau, 1812 ;
violinist, court-leader, composed
opera Die Rauberbraut (Dessau,
1840), and humorous male quartet's.
Appun (ap-poon'), G. A. I., Hanau,
18*6 — 1885; versatile performer on
nearly every instr. ; writer on and ex.
perimenter in acoustics; made an
harmonium of 53 deg^es to the oc*
tave.
Aprile (a-]jre'-lQ, Gius, Bisceglla,
1738 — Majtins, 1814 ; celebrated con-
tralto musico and vocal teacher;
writer and composer,
Ap'thorp, W. Foster, b. Boston,
Mass., Oct. 24, 1848. Harvard, '69,
studied piano, harmony, cpt. with J.
K. Paine, and B, J. Lang ; teacher
of theory, and for many years distin-
guished critic and writer on music ;
9Mt\\orol" Hector Berlioz^ ; **Musu
cians and Music-Lovers^ and otke*
Essays'"; ** By the Way^ About Mt^-
sic and Afusicians^ {iSq^); **0^era
and Opera Sinf^ers *' (1901), etc.
Aptotn'mas, (i) John, (2) Thomas,
brothers, b. Bridgend, England, 1826.
and 1829 ; harp-players and teach*
ers.
Araja (S-rS'-yS), Fran., Naples, ca.
1700— Bologna, ca. 1770; dram,
composer; composed the first opera
written in Russian.
Aranaz (Sr-a-nSth'), Pedro, d Cuen-
ca, Spain, 1825 ; priest and composer.
Aranda d' (da-ran'-dha), Pasha, b.
Spain; contemporary court-conductor
to the sultan with rank of General de
Division.
Aranda (S-rSn'-da), Matheo de,
Portuguese prof, of mus. (1544).
Arando (dar-an'-do), del Sessa d\
Italiau composer, i6th cent.
Arauxo (Sp-rS-ooks'-o) (or Aranjo {%
ra-oo'-h5)), Francisco Correa do^
ca. 1581 — Segovia, 1663 ; bishop, the-
orist.
Arban (&r-bflh). Jos. J. Bap. Lati*
rent, Lyons. 1825 — Paris, 1889;
comet-virtuoso , teacher at Paris CoO'
servatoire.
Arbeau, Thoinot (twa-nd &r-bo).
Vide TABOUROT.
Ar'backle, Matthew, 1828— New
York, 1883 ; cometist and bandmas-
ter.
Ar'cadelt, Jacob (or Jachet Arka«
delt, Archadet, Arcadet, Harca*
delt), 1541— bet. 1570-75 ; distin-
guished Flemish composer and teach*
er; 1540, singer in Paris, 1557,
Regius tnusicus i composed masses,
etc
Arcais (dar-kfl'-es), Fran., Marcheae
d', Cagliari, Sardinia, 1830— nea"
Rome, 1890 ; writer and composer.
Archadet (&r-ch^a'). Vide akca-
DKLT.
Archambean .(d&r^-shaft-bd), J. Mi-
chel A\ b. Herv^, Belgium. March
3, 1823 ; organist and composer.
Ar'cher, Fredk., Oxford, England,
June 16, 1838— Pittsburg, Pa.. Oct
22, 1901 ; pupil of his father ; stud*
ied in London and Leipzig . or-
ganist and opera-director in Ixindon;
1 88 1, organist of Plymouth Church,
Brooklyn, later in New York; 1887,
conductor of Boston Oratorio Soc.;
1895-98, Pittsburg (Pa.) Orchestra;
composed cantata, organ-pieces, etc
Archy'tas, Tarentum, ca. 400—365,
R.C.' Greek mathematician.
Arditi (ar-de'-te), (i) Michele, Mar-
chese, Naples, 1745-— 1838 ; com-
poser. (2) Luig^i, b. Crescentino
Piedmont, J?Jy 16, 1822 ; pupil of
Milan Cons., violinist, then director
of opera, 1843, Milan, Turin, and
Havana. He visited New York with
the Havana opera company ; hat
since travelled widely. Composed
3 operas, vocal waltzes. // Bcui*
etc.; wrote *^ My Remimscenees'
(London. i8q6V
DICTIONARY OF MUSICIANS 319
Areas (&'-rSns), Fz. Xavier, b. near
the Mosel, Germany, Oct. 28, 1856 ;
came to America eany in youth ; pu«
pil of ais father, and of Rheinberger,
etc; conductor, organist; composer
of symphonic fantasia, etc.
Areosky (fi-r£n'«shkY), Anton Step«
anoYitch, b. Novgorod, Russia,
July 30, 1862 ; composer and pianist;
pupil of Johanssen and Rimsky-Kor-
sakov ; rrof. Imp. Cons. Moscow,
and conductor Imperial Court Choir ;
composed a symphony, 4 suites for
orch., i-act opera Rajaello^ string
quartets, concerto for piano, etc. , in.
eluding '* Essais sur des ryihmes ou»
bH^s^ f. pf. 4 hands.
Aretino. Vide guido d*akezzo.
Argine (d&l ftr'-je-n^), Constantino
(uUl*, Parma, 1842 — Milan, 1877;
composed pop. operas and ballets.
Aria (H^rt-S), Cesare^ Bologna, 1820-^
1894: singing-teacher.
Aribo (ft-re'-bo), Scholas'ticus, d. ca.
1078; probably from the Nether-
lands; writer. (Gerbert.)
Arien'zo (dflr.y-gn'.tso), NicoliL d*, b.
Naples, Dec 34, 1843 (or '42) ;
composed 5 operas in Neapolitan dia-
lect, Alonzu Cnado (Naples, i860),
and / Due Mariti (Naples. 1866),
the most successful, realistic and orig-
inal ; also an oratorio, a Pensiero
Sinfonico^ overtures, etc.; wrote a
treatise (18V9) advocating pure in-
tonation instead of temperament, and
a third mode (the Minor Second), be-
tides the usual major and minor.
A'rion, partly traditional Greek singer
and lyrist (7th cent., &c.^, !2ence, the
name of a vocal society.
Arios'ti, Attilioy Bologna, 1660— <:a.
1740; composed 15 operas; 1716 a
rival of Buononcini, and of Handel ;
in London in 1720, the three com-
posed the opera Mutio Scatvola,
Aristi'des Quintilia'nus, Greek teach*
ei and writer on music, ca. 160.
Ar'istotle, (i) Stag^ra, 384 B.C.—
322 B. a; Greek philosopher, whose
works include valuable information
oonceming Greek mnalc (2) Pseu-
donym of a writer on mensurable
music, 1 2th — 13th cent.
Aristoz'enos, b. Tarentum, ca. 354
B.C. ; one of the first Greek writers on
music.
Armbrust (&rm'-broost), K. F», Ham-
burg, 1849 — Hanover, 1896; teacher
and critic.
Armbmster (alrm'-broo-st^r), K,, b
Andemach-on- Rhine, Julv 13, 1846)
pupil of Hompesch ; pianist and lect«
urer; Hans Kichter*s assistant con*
ductor at the Wagner concerts, i882«»
84 ; later conducted at various Lon-
don theatres.
Amies, Philip, b. Norwich, England,
1836; Mus. Doc. Oxon, 1864; or-
gan composer.
Armingaud (&r.mftA-gd), Jules, b. Ba«
yonne. May 3, 1820 ; was refused ad-
mission to the Paris Cons, at 19 since
he was ** too far advanced *' ; leader
of a string quartet enlarged to the
SociiU Cloiiique ; said to nave intro-
duced Beethoven*s quartets into Paris.
Arnaud (Hr-nd), (i) Abb^ Fran., An-
bienan, 1 721 — Paris, 1784; writer.
(2) J. £t. Guil., Marseilles, 1807-*
Jan., 1863 ; composer.
Ame (fim), (i) Dr. Thomas Augus-
tine, London, March 12, 1710 — March
5, 1778 ; by secret nightly practice he
learned the spinet and violin, his fa-
ther wishing him to study law ; 1736,
m. Cecilia Young, a favourite singer
of Hinders ; 1738, he was composer
to the Drury I^ne Th. and set Dal-
ton*s adaptation of Milton*s Comus ;
in his masque Alfred {Xl¥^ is '* Rule
Britannia**; in Dublin (1742-44) he
produced two operas, Britannia and
Eliza, and a musical farce Thomae
and Sally; 1745, composer to Vattx«
hall Gardens, London ; set to mu-
sic the songs in ^/ You Like Jt,
•• Where the Bee Sueks^' in The
Tempest, etc; Mus. Doc. Oxon,
1759; ^c ^As ^^^ fi<^t ^o u^ female
voices in oratorio-choruses {Judi*Ji, ;
composed 2 oratorios, many masquer,
orch. overtures, vln.-sonatas, organ*
music, harpsichord-sonatas, glees
320
THE MUSICAL GUIDE
catches, canons, etc. (2) Michaeli
London, 1741 — ^Jan. 14, 1786 (not
1806) ; natural son of above ; con-
ductor and dram, composer.
Ameiro (dar-na -e-r5), Jose Aug.
Ferreira Veiga, Viscount d', b.
Macao, China, Nov. 22, 1838, of
Portuguese parents ; composed 2
operas.
Arnold (Sr'-nolt), (i) G., b. Welds-
berg, Tyrol, 17th cent.; organist.
(2) Samuel, London, 1740 — 1802 ;
organist Westminster Abbey. (3) Jn.
Gottf., near Oehringen, 1773 —
Frankfort, 1806; 'cellist, etc. (4)
Ignaz Ernst Fd.. Erfurt, 1774 —
1812 ; writer. (5) K., near Mergen-
theim, Wttrtemberg, 1794 — Christia-
nia, 1873 ; son of (3) J. G. ; pianist
and composer. (6) K., b. St. Peters-
burg, 1820 ; son of (5) ; 'cellist in
Royal Orch. ; studied Stockholm.
(7) Fr. W., near Heilbronn, 18 10 —
Elberfeld, 1864 ; collector and com-
poser. (8) Yottrij von, St. Peters-
Durg, 181 1 — Simferopol, Crimea,
1898 ; sing^ng-teacher and dram,
composer. (9) Richard, b. Eilen-
burg, Jan. 10, 1845 ; at 8 taken to U.
S.; pupil of Fd. David, 1869-76 ; ist
violinist of Theo. Thomas' orch.,
1878 ; leader New York Philh. Club,
1891 ; 1897, organised a sextet. (10)
Maurice (real name Strothotte), b.
St. Louis, Jan. 19, 1865 ; pupil of
his mother ; then at the Cincinnati
Coll., 1883 ; Vierlingand Urban, Ber-
lin ; Cologne Cons, and Max Bruch,
Breslau ; lived St. Louis, then New
York as teacher in the Nat. Cons, and
pupil of D^'orik ; composed notable
*^ Plantation Dances ^^^ a ''''Dramatic
Overture ^^ 2 comic operas, etc. Wrote
** Some Points on Modern Orchestra-
tiony (11) Hubert, talented violin-
ist ; lives in N. Y.
Ar'noldson, (i) Oscar, 1843 (?)—
Stockholm, 188 1; tenor. (2) Sig^id,
b. Stockholm, ca. 1865, daughter of
above ; operatic soprano ; pupil of
Maurice Strakosch ; debut, Moscow,
1886 ; has sung in Europe and Amer-
ica with success, particularly in Rus-
sia ; m. Alfred Fischof ; lives in Paris,
singing at the Op. Com. , 1901-2.
Amould (&r>noo), Madeleine Sophie,
Paris, 1744 — 1803 ; soprano, created
Gluck's ''IphigSnier
Ar'nulf Ton St. Gillen, 15th cent.;
theorist. (Gerbert.)
Arquier (Jtr-kt-a'), Jos., Toulon, 1763
— Bordeaux, 18 16 ; 'cellist and dram,
composer.
Arrheti (ar'-^n), V. K., Swedish song-
compo.'er ; early part of 19th' cent.
Arrias^a 7 Balzola (dar-rt-a'-g^ e bal'-
th5-l&), Juan C. J. A. d*. Bilboa,
1806 — 1825.
Arrieta (ar-rY-a'-t&), J. Emilio, Puenta
la Reina, 1823 — Madrid, 1894 ; dram,
composer.
Arri^ (ar-re'-go), Tede9C0 (Henry
the German), pseud, of Isaac, in
Italy.
Arrigoni (ar-re-go'-nS), Carlo, Flor-
ence, ca. 1705 — Tuscany (?) ca. 1743 \
lutenist and composer, rival in Lon-
don to Handel.
Arrange (l&r-ronzh), Adolf T, b.
Hamburg, March 8, 1838 ; pupil of
Genee, and at Leipzig Cons.; 1874,
theatre-manager, Breslau ; composed
comic operas, " Singspiele^*' etc.
Artaria (ar-ta>re'-a), music publishing
house in Vienna, founded by Cario
A., 1780.
Artchibousheff (art-s'he'-boo-sh^f),
Nicholas V^ssilievitch, b. Tsars-
koje-Sielo, Russia, March 7, 1858 ;
lawyer, pianist and composer ; pupil
of Soloviev and Rimsky-Korsakov.
Arteaga (ar-ta-ag'-a), Stefano, Ma-
drid (?), 1730 (?) — Paris, 1799 : Span-
ish Jesuit ; theorist.
Ar'thur, Alfred, b. near Pittsburg,
Pa., Oct. 8, 1844; studied in Boston;
1869-71, tenor; since 1878 as choir-
master, Cleveland, O. ; conductor
since 1873 Vocal Society; director
Cleveland School of Music ; com-
posed three operas, etc.
Artot (&r-td), (I) Maurice Montagr-
ney (ancestor of a line of musicians
named Montagney), Gray 41aut^
DICTIONARY OF MUSICIANS 321
Sadne), 1772 — Brussels, 1829; band-
master. (2) J. D^sir^ M., Paris, 1803
—St. Josse ten Noode. 1887 ; son of
above ; horn-player and teacher. (3)
Altst, Jos., son of Maurice, Brussels,
1815 — ^Ville-d'Avray, 1845 ; notable
violinist and composer. (4) Margue-
rite Josephine D^sir^e, b. Paris,
Juiy 21, 1835 ; daughter of (2) Jean-
Desir^ ; dram.-soprano, pupil of Viar-
dot-Garcia (1855-57) ; debut Brus-
sels, 1857 ; sang Grand Opera, Paris,
1858, etc., m. the Spanish baritone,
Padilla, in 1869.
Artschibuschew. Vide artschibous-
HEFF.
Artosi (fir-too'-ze), Gio^r. M., Bologna
ca. 1550 — 1613; canon and theo-
rist.
AsantcheTSki (Asantschewskl,
AsaantcheTski) (i-sant-sh^f'-shkl),
Michael PaTlovitch, Moscow, 1838
— 1 88 1 ; composer.
Aschenbren'ner (a'-sh£n-) Chr. H.,
Altstettin, 1654 — Jena, 1732 ; violin-
ist and court-conductor.
Ascher (Ssh'-^r), Jos., Groningen, Hol-
land, 1829 — London, 1869 ; pianist.
Ash'dowiif Edwin, London music-
publisher, succeeded (1884) Ashdown
& Parry, who succeeded (i860) Wes-
sel & Co.
Ashe, Andrew, Lisbum, Ireland, ca.
1750 — London after 1822 ; flutist and
conductor; 1799 married Miss Comer,
who, as Mrs. Ashe, was a public
^nger ; their two daughters were harp-
ist and pianist.
Ash'lej, (i) John, b. 1805 ; bassoonist
and manager ; his three sons were (2)
General, d. i$i8, violinist. (3)
Chas. Jane, 1773 — 1843, ^cellist and
manager. (4) J. Jas., 1771--1815,
organist and singing teacher. (5) J.,
"Ashley of Bath," 1780— 1830, bas-
soonist. (6) Richard, 1775— 1837,
London viola-player.
Ash'ton, Algernon Bennet Langf-
ton, b. Durham, Englan^, Dec. 9,
1859 ; pupil of Leipzig Conservatory,
pf. teacher, R. CM., London : com-
. poser.
Ash'well, Thos., i6th cent., organist
and composer in England.
Asioli (as-e-o'-le), Bonifacio, Cor-
rcggio, 1769 — 1832 ; at the age of 8
he. had composed 3 masses, 20 other
sacred works, a harpsichord-concerto,
a vln. concerto, with orch., and 2
harp-sonatas for 4 hands ; pupil of
Morigi ; successful cembalist, impro-
viser ; his first opera buffa. La Volu-
bile (1785) was successful ; his opera
Cinna, favourably received in 1793 ;
prof, of cpt. at Milan Cons.
Asola (or) Asula (a'-so-lS), GioT.
Mat., Verona ca. 1560 — Venice,
1609 ; church-composer.
Aspa (Ss'-pa), Mario, Messina, 1799
— 1868 ; composed 42 operas.
As'pull, G., 18 14 — (of consumption),
Leamington, England, 1833 ; pianist
and composer.
Assantshefifsky. Vide asantchrvski.
Assmayer (as'-mi-^r), Ignaz, Salz-
burg, 1790 — Vienna, 1862 ; conduc-
tor.
Astarit'ta, Gennaro, Naples, ca. 1749
— 1803 ; composed 20 operas.
As'ton, Hug^h, English organist and
composer in reign of Henrj' VI 11.
Astorga (das-tor'ga), Emmanuele,
Baron d*, Palermo, 168 1 — Prague,
1736 ; church-composer.
Attaignant (ftt-tin'-yan), Pierre (also
Attaingnant, Atteig^nant), i6th
cent, music-printer.
Attenhofer (at'-t«n-h6f-5r), K., b.
Wettingen, Switzerland, May 5,
1837 ; pupil of Leipzig Cons.; cond.,
organist, and teacher ; notable com-
poser of male choruses.
At'terbury, Luffmann, d. London,
1796 ; ct.-mus. and composer.
At'tey, J., d. Ross, England, ca. 1640 ;
composer.
Attnip (at'-troop), K., b. Copenhagen,
March 4, 1848 : pupil of Gade, whom
he succeeded as^ organ-teacher Copen-
hagen Cons.; composed studies for
organ and songs.
Att'wood, Thos., London, Nov. 23,
1765 — Chelsea, March 24, 1838 ; im-
portant English composer ; choristet
322 THE MUSICAL GUIDE
and court-org.inist ; pupil of Mozart ;
1796 organist St. Paul's Cathedral,
composed 19 operas, antheras, sonatas
for piano, etc.
Attber (d-b&r), Daniel Francois Es-
prit, Caen, Normandy, Jan. 29, 1782
— Paris, May 14, 1871 ; notable
opera-composer ; his father an art-
dealer in Paris, sent him to London
to learn the trade ; but in 1804 he re-
turned to Paris ; composed opera
Julie ^ produced by amateurs in 18 12
with an orch. of six stringed instrs. ;
Cherubini heard of it, recognised A.*s
talent and taught him ; 1842 dir. the
Cons, of Music, Paris, as Cherubi-
ni*s successor; 1857 imperial conduct-
or to Napoleon III. A. 's first public
productions were 2 unsuccessful
operas ; La Berghre Chatelaine (1820)
was a success ; before 1869, he com-
posed over forty operas ; his one se-
rious opera, Masaniello ou la Muettt
de Portici (1828), with Meyerbeer's
Robert le Viable and Rossini's Guil-
laume Telly established French grand
opera ; its vivid portrayal of popular
fury caused riots in Brussels ; his
comic . operas (to Scribe's librettos)
are the best of France ; his last opera
.Rkfes d^ Amour ^ was produced when
he was 87 years old. Other operas
are: La Afar guise de BrinvilUers
(183 1 with eight other composers),
Le Domino Ncir (1837), Zanetta
(1840), Les Diamants de la Couronne
(1841), La Sirine (1844), Hayd^e
(1847), VEnfant Prodigue (1850),
Zerline^ Manou I^scaut (1856).
Aubcrt (6-bar), (I) Jac. ("levieux"),
b. 1668 — Belleville, 1753 ; violinist.
(2) Louis, 1720 — after 1771 ; son of
above ; violinist, etc. (3) T. Fran,
Olivier, b. Amiens, 1763 ; 'cellist
and composer.
Aubery du BouUey (o-ba-re dii bool-
15), Prudent- L;, Verneuil, Eure,
1796 — 1870 ; teacher and composer.
Audran (o-dran), (i) Marius-P., Aix,
Provence, 18 16 — Marseilles, 1887 ; ist
tenor at the 'Paris Opera-Comique.
(2) Edmond, Lyons, April 11,
1842 — Tierce ville, n. Gisors, Aug.
17, 1901 ; son of above ; pupil of
Ecole Niedermeyer, Paris; Marseilles,
1S62. his first opera ; produced 36
others, chiefly of a light character.
Among his most pop. w^orks are, Oli^
vette^ La Mascoite (1880), given over
1700 times ; Miss Helyett^ La Poup^e^
etc.
Auer (ow'-2r), (i) Ld., b. Veszprem,
Hungary, May 28, 1845 ;vln. -virtuoso;
pupil of Khonetoi at Pesth, of Dont,
Vienna, then of Joachim ; soloist to
the Czar, who conferred on him the
order of St. Vladimir, carrying hered-
itary nobility ; violin- Prof, at the St.
Petersburg Cons. (2) Carl, vid<
FROTZLER,
Au'gener & Co., London firm of
music pub., founded by G. A., 1853. .
Auletta (a-oo-l^t'rtsl), (i) Dom.,
dram, composer, Naples, 1760. (2)
Pietro, ct.-cond., 1728-52; prod, ii
operas,
Auitn (ow'-len). Tor, b. .Stockholm,
Sept. 10, 1866 ; violinist ; pupil of
Sauret and Ph. Scharwenka ; from
1889 Konzertmeister Stockholm,
court-opera ; 1887 organised the
Aulin Quartet.
Anlnaye, de 1*. Vide de l*aui^aye.
Aurelia'nus Reomen'sis, 9th cent,
theorist. (Gerbcrt.)
Aurenhammer (ow-r^n-ham-m^r),
Josepha. 1776 — 1S14; pianist.
Atts der Che (ows'-d^r 6 -d), AdMe,
contemporary pianist ; pupil of
Kullak and Liszt ; composed 2 piano
suites, concert etude, etc. Has toured
widely with great success.
Auspitz-Kolar (ow'-shpTts-ko-lar'),
Aupiste, Prague, ca. 1843 — Vienna,
1878 ; pianist and composer.
Auteri-Manzocchi (a-oo-ta -rt mSn-
ts6k'-ke), Salv., b. Palermo, Dec. 25,
1845 ; pupil of Platania at Palermo,
and Mabellini at Florence ; com-
posed successful operas, among them
Graziella (Milan, 1894) ; lives in
Trieste.
Attverj^e (d6-v5rn). A. d', Clermon*-
Ferrand. Oct. 4, 17 13 — Lyons, Ft b
DICTIONARY OF MUSICIANS 323
13, 1797; violinist and dram, com-
poser.
ATenti'niis, Jns^ (rightly Thummay-
efi or Turmair), Abensberg (whence
Aventinus), July 4, 1477 — ^Jan. g,
1534; writer.
A'rtrjf J., d. England, 1808 ; organ-
builder.
Av'ison, Chas., Newcastle-on-Tyne,
1710— Mav 9, 1770 , organist, writer
and composer ; vide Robert Brown-
ing's •• PARLFVINGS."
Avoglto (a-v6r-y6), — - Italian so-
prano in England, 174 1.
Aylward (41' -ward), Th., ca. 1730—
1801 ; teacher and composer.
Ajrer (T'-r«r), Jakob, lived in Ger-
many 1618 ; reformed the Singspiel,
(Vide D. D.)
Ayrton (ftr'-t(kn), (i) Edm., Ripon,
Yorks, 1734 — Westminster, 1808;
composer. (2) W., London, 1777--
1S58 ; son of above , writer and ed-
itor.
Ayton (i'-tttn), Fanny, b. Maccles-
field, 1806 ; English dram, singer.
Azzopardi (ftd-zo-pfir'-dd), Frances-
co, conductor and theorist at Malta,
1786.
AjBvedo (ath-va'-dhd). Alexia Jacob,
Bordeaux, 1813 — Paris, 1875 ^ writer.
B
Baader (bfl'-d«r), K., viola-player,
lived in Vienna and Liverpool, re-
tired 1869.
Baban (b&'.bAn), Gracian, cathe«
dral conductor and composer, Valen-
cia, 1 650-65.
Ba'bell, Wm., ca. 1690— Canonbury,
England, 1723 ; organist, teacher and
composer ; son of a bassoon-player.
Babbi (bflb'-b£), Christoph (or Cris-
toforo), Cesena, 1748 — Dresden,
1814 ; violinist and composer.
Babini (bS-be'-ne), Mat., Bologna,
1754 — 1816; tenor, debut, 1780.
Bacchi'us (Senior), ca. 150 a.d., Greek
theorist.
Baccnsi (bik-koo'-se), Ippolito, monk s
composer and cathedral cond., Ve-
rona, 1590.
Bac'fart (or Bacfarre), Valentin
(rightly Graew (grav)), Transylvania,
1515 — Padua, 1576; lutenist and
writer.
Bach (bilkh), the name of a Thurin-
gian family prominent for two centu-
ries in music and furnishing so many
organists, Kapellmeisters and cantors
that town musicians were called * * the
Bachs," after them. See the chart.
(19) Bach, Jn. Sebastian, Eisenach,
March 21, 1685 — Leipzig, July 28,
1750 ; youngest son of Jn. Ambro-
siua B. and Elizabeth (nee Lam-
merhit), of Erfurt (vide chart of
BACHs) ; both parents died when he
was 10, his father having begun teach*
ing him the violin. He went to the
home of his brother Jn. Christoph,
who taught him the clavichord, but
forbade him inspection of a MS. vol. of
works by Frohberger, Buxtehude, etc.,
obtaining it secretly B. copied it by
moonlight for 6 months, though near-
sighted, with results fatal to his eyes
in later life. This desire to study
other men's work characterised his
whole career. At 15 his fine soprano
voice secured him free tuition at St.
Michael's Ch. in LOneberg (he hav-
ing already attended the Ohrdniff
Lyceum). He went on foot on holi-
days to Hamburg to hear the great
Dutch organist Reinken, and at Celle
he heard the French instr. music used
in the Royal Chapel. He studied
also the work of B^hm, organist at
Lttneberg, and practised violin, clavi-
chord and org. often all night ; 1703,
in the Weimar ct.-orch. ; 1704, or-
ganist at Arnstadt ; 1705, walked 50
miles to Lobeck to hear Buxtehude,
and stayed till a peremptory recall from
the Church at Arnstadt ; 1707, organ-
ist at MQhIhausen. On Oct. 17, he
m. Maria Barbara Bach, his cousin,
who bore him 7 children, of whom
4 died, leaving a daughter, Wm«
Friedemann, and K, P. E. (See
below.) 1708, he played before the
jm
324 THE MUSICAL GUIDE
Duke at Weimar, and was made ct.-
organist ; 1714 Konzertmeister. In
his vacations he made clavichord and
org. tours. 1 7 14, he furnished the
organ-music for a service conducted
in the Thomaskirche, Leipzig, and
produced a cantata. Dresden, 17 17,
he challenged Marchand, a French
organist of high reputation, who was
afraid to compete. 1717 Kapellmeis-
ter to Prince Leopold of Anhalt, at
Kttthen, and composed much orch.*
and chamber-music. In 17 19 he re-
visited Halle, to meet Handel, but he
had just gone to England. 1720, his
wife died. He applied for the organ of
the Jacobskirche, 1 lamburg. B. was
now famous, but a young rival offered
to pay 4,000 marks for the place and
grot it. In 172 1 he m. Anna Magda-
lene WUlken, daughter of the ct.-
trumpeter at Weissenfels. She bore
him 13 children, 9 of them sons, of
whom only 2 survived him : Jn.,
Cliristoph, Fr., and Jn. Christian.
His second wife had a Bne voice and
musical taste, and wrote out the parts
of many of his cantatas ; for her he
prepared -2 books of music. In May,
T723, cantor at the Thomasschule,
I^ipzig, vice Jn. Kuhnau ; also or-
ganist and dir. of mus. at the Thom-
askirche and the Nicolaikirche, con-
tinuing as " Kapellmeister vom Haus
aus," to Prince Leopold. He was
made, 1736, hon. cond. to the Duke
of Weissenfels, and court-composer
to the King of Poland, and Elector
of Saxony. He kept his place at
Leipzig for twenty-seven years, and
there wrote most of his sacred music.
He often visited Dresden, where he
could hear the Italian opera, cond. by
Hasse. Frederick the Creat having
asked to hear him, on May 7, 1747,
with his son Wilhelm Friedemann, B.
arrived at Potsdam He improvised
upon the various Silbermann pianos
in the palace, followed from room to
room by the king and his musicians.
The next day he tried the pMncipal
organs m Potsdam, imc revising a 6-
part fugue on a theme proposed hf
the king. He afterward wrote a 3-
part fugue on this theme, a Kicercare
in 6 parts, several canons inscribed
** Thematis regii elaborationes canon-
icae,"and a trio for flute, violin, and
bass, dedicating the ** Must ka Use A^s
Opfer " to the king. 1749, ^^^ op>er-
ations to restore his sight, weakened
by copying his own and other men*s
works and engraving his ^* Art of
Fugue^'* left him totally blind and
ruined his previous vigour. His sight
was suddenly restored, July 10, 1750;
but 10 days later he died of apoplexy.
He dictated the choral ** Vor deU
nen Thron tret* ich hiemit^ shortly
before his death.
Among his distinguished pupils were
Krebs, Homilius, Agricola, Kimber*
ger, Goldberg, Marpurg; J. Kasper
Vogler ; Altnikol, his son-in-kw, and
his sons, for whom he wrote the
'' Klavierb&chlein:'9ind the ** Kunst
der Fuge.^ He engraved on copper ;
invented the ** viola pomposa and
the ** Lauten-Clavicembalum" ; he
advocated equal temperament (vide
D. D.), tuning his own pianos and writ-
ing '^Das WohltemperirU A'lavier,'" to
further the cause. This work (known
in English as '* The well-tempered
Clavichord:" or *• The 48'Fugues •*)
is a set of 48 preludes and fugues,
two of each to each key, major and
minor. The works are very chromatic
and use the keys en harmonically.
Some of his improvements in finger-
ing still survive. Bach was little
known as a composer during his life,
and few of his works were published
then. He was not indeed established
on his present pinnacle till Mcndels*
sohn took up his cause, in 1829 ;
Franz was also an important agent in
preparing his scores for general use.
In 1850, a hundred years after bis
death, the BACH-GESEJ.LSCHAFr be-
gan to publish his complete works.
Many other Bach societies now exist.
B*8. enormous list of works includes :
Vocal, 5 sets of church Cantatas foC
DICTIONARY OF MUSICIANS 325
Sundays and feast-days, ** GotUs Zeit
ist die besU Z^it^^ etc., secular be-
trothal cantatas, 2 comic cantatas, the
*'Bauern Cantate " and ** Coffee-Can'^
tate** a protest against the excessive
use of the beverage, and Trauerode^
on the death of the Electress of Sax*
ony ; 5 Passions, inch the St, MaU
thew^ the St, John^ and the St, Luke
(doubtful) ; a Christmas Oratorio^ in
5 parts ; 4 small masses and the
Grand Mass in B min. ; motets ; 2
MagniHcats; 5 Sancius. Instru-
mental, numerous pieces for clav-
ichord : inventions in 2 and 3 parts ;
6 *• small " French suites ; 6 *' large "
English suites ; Preludes and Fugues,
incl. * ^Das Wohltemperirte /Clavier " y
pf. -sonatas with instrs., incl. 6 famous
sonatas for pf. and vln. ; solo son*
atas for vln. and *cello ; solos, trios,
etc., for various combinations of
instrs. , concertos for i to 4 pfs. , vln.
and other instrs., concertos with orch.
overtures and suites, and fantasias,
toccatas, preludes, fugues, and chor-
ale-arrangements for organ. The
best biography of B. is by Spitta
(Leipzig, 1873-80, 2 vols.; Eng.
transl., London, 1884-85).
The Art of Johann Sebastian Bach.
By Sir Charles Hubert H. Parry.
FOR more than a century before J. S. Bach came upon the scene, t
succession of exceptionally gifted and earnest composers had been hard
at work developing the methods and style of organ-music. Andrea
Gabrieli and his nephew Giovanni Gabrieli and Claudio Merulo in Venice
and Ian Pieterzoon Swelinck in Amsterdam had already done much to define
its true sphere and style before the era of pure choral-music was ended. The
early years of the seventeenth century saw Frescobaldi in the zenith of his
fame, and his pupil Froberger following worthily in his footsteps ; and through-
out the century rapid progress in the accumulation of artisdc methods and the
development of true instrumental forms was made by such famous organists u
Scheldt, Scheidemann, Pachelbel, Mu^Fat, Reinken, and Buxtehude. And .
when :t is considered that this branch of art already enjoyed an advantage
over the new secular form of art which began to be cultivated at the end of
the sixteenth century, through having its foundation securely laid in the old
style of sacred choral-music, it seems natural that by the beginning of the
eighteenth century it should appear to be the most mature of all the branches of
art then cultivated. ^These circumstances had profound and &r-reaching
influence upon J. S. Bach's musical character. In unravelling the secrets of
art he was naturally attracted by that branch which possessed methods most
fully developed for the formulation of the artistic impulses which were urging
him to utterance. But the attraction was enhanced by the fact that organ-
music had already become a kind of appanage of German composers, and
had proved the one special form of art in which the fervect religion of Teutonic
Protestants found the highest artistic expression. ^ Hence it came aboat
326
THE MUSICAL GUIDE
thtt« grett 18 his powers were as t composer of choral-music and of suites
and secular instrumental music, he was first and foremost a writer of organ -
music, and inasmuch as organ-music was the only branch of art which was
even approximately mature in his youthful and most impressionable days, the
methods and diction of organ-music permeated and served as the foundation
of hb style in all branches of art which he attempted. In his earlier years
he copied out and studied the works of great composers for the organ, and
watched with critical appreciation the performances of great organists such as
Reinken and Buxtehude. It is easy to trace in his own work the impression
made en him by the interlinked suspensions of Frescobaldi and Froberger
and by the vivacity of their fugue subjects ; by the treatment of chorale melo-
dies with elaborate figuration of accompanying counterpoint in which Pachelbel
excelled, by the copious picturesqueness of detail and the richness and emo-
tional force of the harmonisation of Buxtehude. ^ He brought all such special-
ities of earlier composers into the sphere of his own operations, and fused
them into consistency by the force of his personality, and this assimilation be-
came the foundation of his life's work. Most of his best organ-music, such
as the sonatas, preludes, fugues, fantasias, canzonas and movements founded
on chorales, and the great passacaglio in C minor, belong to comparatively
early years, and his concentration on this branch of work was only relieved
by the producdon of a few church cantatas, which showed that he had begun
to consider other forms of art, in which in later years he attained such com-
prehensive mastery. After many years spent in several organistships, came
the singular centra) epbode of his life, when the appointment as Capellmeister
to the Prince of Anhalt-Cdthen caused him to apply his mind almost exclu-
sively for some years to secular instrumental music, mainly of a domestic kind.
^He sought for his models and types of procedure in the suites and ordres
of the French composers, such as Couperin and Dieupan ; and among the
examples of the so-called French overture, which came into prominence in
Lolli'a operas, and had found such a brilliant imitator in Muffat. H«
studied also the instrumental compositions of the Italian;}, such as the co-
certos of Vivaldi, and the sonatas for stringed instruments of other Italian
composers luch as Albinoni and Legrenzi and even German imitations o*
such works Hkc Reinken' s " Hortus Mtisicuj'* ; and the outcome was a per
feet outpouring of suites and partitas for the domestic keyed instruments, sole
sonatas for violin, fkte, viole de gamba and concertos for strings and various
combinations of orchestral instruments ; and last and peirhaps most notable of
all, the collection of the twenty-four preludes and fugiies in all keys, which
be called — u a sort of manifesto of his belief in the sys tern of equal tempera-
ment, which made all keys equally available for the purposes of the com^
pooer — ** Das WMttmperirte Ciaxner,** Underlying a very large pro-
DICTIONARY OF MUSICIANS 327
poraon of the works of varioas kinds, even dance tunes or roavements for a
lolo instrument like the violin, fugue principles of procedure arc predominant.
The lightest dance tunes have a contrapuntal texture, and in t'ae more serious
and artistic examples it is so woven as to display beautiful combinations of
ornament and melodic designs, ingenious sophistications of accent and subtleties
of rhythm such as are only possible in the style of instrum'jntal counterpoint
which had sprung up in the development of the artistic requirements of organ
fugues. ^ In the famous collection of preludes and fugues, which he ultimately
increased to fbny-eight by the addition of a second collec'cion, the style of in*
strumental counterpoint which had been developed for organ-music found a
new but most congenial sphere. As the works are w?.itten for the domestic
keyed instruments such as the tender expressive clavichord, or the pict-
uresque harpsichord, they necessarily illustrated difforent artisdc intentions
from such as characterised genuine organ-music. La rge scope of design and
powerful effects of tune were obviously out of place, and more subtle treat-
ment and greater intrinsic interest of detail were inevitable. ^Thus the
fugue became much more compact than the organ -fugues, and the treatment
of melodic line and expressive harmony more intimately human. The com-
poser deals with more variety of style than in >iis organ-compositions, and
many of the fugues may be taken as studies in *human moods, such a play-
fulness and gaiety, pathos and melancholy, contemplation and fervour,
merriment, dignity, and confidence. The adaptation of known principles of
artistic procedure to a purpose, at that time so novel, was characteristic of
Bach's attitude toward art ; and this is as true of the preludes as of the
fugues. The genealogy of the preludes may in some cases be traced back as
far as the figurate preludes and little fantasias of such early types u were
produced by the Elizabethan composers of virginal music and their con-
temporaries in other countries ; though the form is enormously enhanced in
). S. Bach's hands by the skilful use of more definite and attractive figures,
and a higher balance of organisadon in each work. However, the forms of
the preludes are extremely various. Sovne seem to be almost without prec-
edent. As, for instance, the rapturous instrumental song with solo part and
accompaniment all combined for one in»trument. ^[ Among the preludes are
also a few of the rare anticipations of complete sonatas of the harmonic kind,
movements with distinct contrast of key in the first half, " working out,"
and modulation in the central part, and a recapitulation of the concrete
material of the opening portion to conclude with. These occasional excur-
sions out of what seemed to be his mcist congenial ground, are often thoroughly
successful, but all the same his vr:nture into the Italian manner uid the
Italian type of form prove rather t>iat he grasped their artistic meaning fiilly
than that he believed in their efficiency as vehicles for the Jiighest a^>iratioi»
328 THE MUSICAL GUIDE
of the compc^ser. In the latter part of his life J. S. Bach dealt more in the
grand forms which bring into play the methods and resources of many
subordinate forms of art, both instrumental and vocal — such as the noble
settings of the Passion, the masses — especially the great one in B minor — the
work known as the " Christmas Oratorio'* and the immense collection of
church cantatas written for Sundays and festivals in the churches in Leipzig.
In all of these branches of art he had precursors, and the types of various
kinds had been explored. The Italian aria-form had been more or less
transformed for Gi^rman purposes before he gave it his own exceptional
character and high artistic organisation. ^ The peculiar form of expressive
recicative, so earnest and deeply emotional, which became a characteristic
feature of German music and prefigured much in its latest dramatic mani-
festations, had found worthy exposition. The treatment of chorales with
rich harmonisation and elaborate part-writing and the development of the so-
called motet choruses aJid choral fugues and even the peculiar contrapuntal
treatment of the accompanying instruments had all found characteristic Ger-
man exponents. Moreox^er, the form of Passion music had engaged the at-
tention of composers for nearly two hundred years and had arrived at a
considerable degree oi development recently in the hands of Kuhnau, Keiser
and Handel himself. But Bach's treatment of the scheme so immeasurably
distanced all those who went before him that in later time his settings ** ac-
cording to St. Matthew *' and '* St, John " seem to stand almost alone in
their pre-eminent glory. The same is the case with his church cantatas.
^The best work even of such cqmposcrs as Buxtehude and John Christophe
Bach seems singularly bald by the side of the copious variety and the inven-
tive vigour of his work of this kind. True it is that in all such cases, and
even in such mighty phenomena as the choruses in the B minor mass, he
built upon the foundation his predecessors supplied and with methods they
had helped to make available. ^[His peculiar quality was to divine how the
resources of art which he found in being could be applied to purposes so
grand and comprehensive that it is difficult to realise that the methods were
in truth the same as had been used by his forerunners. Hb artistic powers
and insight were at such an immeasurably higher plane than those who pre-
leded him that music seems at once to have stepped out of childishness into
maturity at his bidding. ^In a sense his work is final and isolated. His
work stands alone as the summing-up of a long period of preparation ; and
the summing-up in his characteristically Teutonic direction seemed so com-
plete that nothing remained to be said in the lines which he had illustrated.
No composer followed in his footsteps. Those who understood him saw
that they could not approach him ; and the world in general wanted a more
easy-going and accommodating standard of art. So the succeeding generation
DICTIONARY OF MUSICIANS 329
of compcMcrs cultivtted the more plausible Italian manner and the easily manip-
ulated Italian form. ^It was not for a century that his style and methods be-
gan to exert influence, and they came back to regenerate the world growing
stale with the overpersbtency of harmonic forms of the sonata order. ^In-
deed it was the rise of what was called the romantic movement which
brought J. S. Bach back into the hearts of men, and made his ways of pro-
cedure suggesdve of new developments. The foremost prophets of the
Romantic movement, Schumann and Chopin, were his most ardent admirers.
^To the Classicbts the style of J. S. Bach had seemed somewhat archaic.
Bat as men began to long for human expression in art and the greater elasticity
of form which helps to closer characterisation of mood and feeling, the richness
of possibilities and the greater pliancy of the forms Bach used became more
and more apparent. At the same time the perfect adaptation of means to
ends which his perfect self-containment manifest may serve as a corrective
and a counterpoise in the turbulent times which follow the opening of the
floodgates of dramatic passion. Those who cherish a constant love of the
human art of John Sebastian Bach have still a guiding light which will not
betray them.
(35) Karl Philipp Emanuel ("the
Berlin " or " Hamburg Bach "). Wei-
mar, March (8?) 14. 1714 — Hamburg
(Sept. ?) Dec. 14, 1788. Son of above
(vide CHART OF backs). Studied phi-
losophy and law at Leipzig and
Frankfort ; cond. a singing society at
Frankfort, for -which he composed.
1737 (38?) in Berlin. Chamber-mus.
and clavecinist to Frederick the Great,
1746-57 [or 1740-67?]. 1757 Ham.
burg as Ch.mus.-dir. ; 1767 as Musik-
director of the principal church there,
vice Telemann, a position held till
death. He was one of the chief vir-
tuosos of the day. Fie was the found-
er of the modern school of piano-
playing, and a pioneer of greatest
importance in the sonata and sym-
phony-forms and orchestration, his
works having a graceful modernity
not possessed even by most of his
father*s. He wrote ** Versiich fiber
die wahre Art das Claider zu spU'
Un '* (2 parts, 1753-62), an impor-
tant work containing detailed expla-
nations concerning ornaments. His
very numerous comps. include 210
solo pieces ; 52 concertos with orch. ;
quartets, trios, duets, sonatas, son-
atinas, minuets, polonaises, solfeggi,
fugues, marches, etc., for clavier; 18
symphonies ; 34 miscellaneous pieces
for wind-instrs., trios ; flute-, 'cello-,
and oboe-concertos; soli for flute,
viola di gamba, oboe, cello, and harp,
etc., and 2 oratorios (*' Die Israditen
in tier iViiste,'' and '* Die Aufersteh-
UHg uftd Himmelfahrt Jesu^^)^ 22
Passions : cantatas, etc.
(26) Aug. Wm., Beriin, 1796 — 1869 ;
organist, teacher, and composer. (27)
(Rightly Bak), Albert Ed., b.
Gyula, Hungary, March 22, 1844 ;
teacher, critic, writer and dram, bass ;
debut, 1871. (28) (Or.) Otto, Vienna,
1833 — Unter-VValtersdorf, 1893 ; con-
ductor and composer. (29) Leon-
hard Emil, b. Posen, March 11,
1849; pianist, pupil of KuUak, Wuerst
and Kiel ; 1874, court-pianist to
Prince George of Prussia ; ca. 1890,
London. Composed opera Irmen^
gard (London, 1892) ; succ. i-act
opera, The Lady of Longford (Lon-
don, 1804) ; succ. I -act comic opera,
330
THE MUSICAL GUIDE
Des Kbnigs Garde (Cologpne, 1895),
etc.
Bache (bach)» (i) Francis Edw., Bir-
mingham, 1833 — 1858 ; violinist. (2)
Walter, Birmingham, 1842 — Lon-
don, 1888, bro. of above ; pianist and
teacher. (3) Constance, b. Birming-
ham, sister and pupil of above ; pupil
of Klindworth and Hartvigson ; since
1883 teacher, translator, and com-
poser in London.
Bachmann (b£kh'.mSn), (i) Anton,
17 16 — 1800 ; court-musician at Ber-
lin, instr. -maker ; inv. the machine-
head. His son and successor, (2)
Karl L., 1743 — 1800, court- violinist,
player, married the pianist and singer
(3) Charlotte Karoline Wilhel-
mine Stowe, Berlin. 1757 — 1817.
(4) Pater Siztus, Ketterhausen, Ba-
varia, July 18, 1754 — Marchthal, near
Vienna, 1818 ; organist and pianist of
unusual precocity, and memory ; said
to have played by heart over 200
pieces at 9 ; at 12 equalled Mozart,
then 10 years old, in organ-competi-
tion, at Biberach ; became a Premon-
strant monk, composed masses, etc.
(5) G. Chr,, Paderbom, 1804 — Brus-
sels, 1842 ; clarinet-maker, soloist and
teacher. (6) Oeorfes, ca. 1848 —
Paris, 1894. (7) Gottlob, Bomitz,
Saxony, 1763 — Zeitz, 1840, organ-
ist.
Bachofen (b&kh'-6f-^n), Jn. Kaspar,
Zurich, 1692 — 1755 ; oi^nist.
Bachrich (bSkh'-rYkh), Sigismund, b.
Zsambokreth, Hungary, Jan. 23,
1841 ; violinist, pupil and now teach-
er at Vienna Cons.; composed 4
comic operas incl. Der Fuchs^Major
(Prague, 1889), etc.
Ba(c)ker-Gr<$ndah] (bSk'-€r gron'-d£l),
Ag^athe, b. Hoimestrand, Norway,
Dec. I, 1847 ; pianist and composer ;
pupil of Kjerulf, BQlow and Liszt ;
she married 1875, Grondahl, singfing-
teacher in Christiania.
Backers, Americus. Vide broad-
wood.
Back'ofen, jn. G. H., Durlach, Baden,
1768 ^ Darmstadt, 1839; virtuoso
and manufacturer of wind-instrs. at
Darmstadt ; writer and composer.
Ba'con, Richard Mackenzie, Nor-
wich, Engl., 1776— 1844; teacher
and writer.
Badarczeyska (bfi-dftr-chSf-shk^),
Thela, Warsaw, 1838 — 1862 ; she
composed '' La prihe d'utu vierge^^
etc.
Bader <br.d«r), K. Adam, Bamberg,
1789 — Berlin, 1870 ; cathedral-organ-
ist, Bamberg (1807) ; later first tenor
Berlin court opera (1820-45).
Badia (bS-de'-g). (i) Carlo Agf., Yen.
ice, 1672 — Vienna, 1738 ; court -com-
poser at Vienna. (2) Luip, Tirano,
Naples, 1822 — Milan, 1899; com'*
posed 4 operas.
Bagge (big'-gd), Selmar, Coburig.
1823 — Basel, 1896; editor and com-
poser.
Bagnolesi (b&n-yd-la'-ze), Italian con*
tralto in London, 1732.
Bahn, Martin. Vide trautwrin.
Biihr (or B&r, or Beer) (bar), Jn., St«
Georg (Austria), 1652 — 1770; court-
conductor and writer of satirico-
musical pamphlets signed ** Ursus
murmurat** ** Ursus triumpkat^*
etc.
Bai (or Baj) (bS'-e), Tommaso, Ore'
valcuore, near Bologna, ca. 1660-—
Rome, Dec. 22, 17 14 ; tenor at the
Vatican ; conductor, 1713 ; composed
a Miserere^ sung in the Papal Chap-
el, during Holy Week, alternately
with those by Alleeri and Baini.
Baif (blO, Jm A. Je, Venice, 1532—
Paris, 1589 ; composer.
Batldon (bar-dAn), d. London, 1774,
Gentleman of the Chapel Royal, and
composer.
Bai'ley, Marie Louise, b. Nashville,
Tenn., Oct. 24, 1876 ; Leipzig, Cons.
Pupil of C. Reinecke, winning a
scholarship, and with Leschetizky;
debut, 1893, Gewandhaus, I^ipzig ;
Chamber-virtuoso to King Albert of
Saxony ; now lives in Vienna.
Bailiot (bf-yd), (i) P. M. Fran, de
Sales, Passy, Oct. i, 177 1— Paris,
Sept. 15, 1842 ; eminent violinist, pi^>il
DICTIONARY OF MUSICIANS 331
of Polidori, Sainte, Marie, and Poll-
ani ; later prof, of vln. at the Paris
Cons.; toured Europe ; 1821, leader at
the Grand Opera ; 1825, solo violinist,
Royal Orch.; wrote famous ^^ L'Art
du Violon'' (1834) and '' M^thode du
Violon;** composed 10 vln. concer-
tos, 3 string-quartets, 24 preludes in
all keys, etc. (2) R^n^ Paul, Paris,
1 81 3 — 1889 ; son of above. Prof, at
Paris Cons.
Baini (bal-e'-ne), Abbate, Gins.,
RomCi 1775 — 1844; composer and
conductor at St. Peter's ; wrote famous
life of Palestrina.
Bai (ba'-e). Vide bai.
Bajetti (ba-^£t'-te), Giotr., Brescia, ca.
1815 — Milan, 1876 ; violinist, con«
ductor and dram, composer.
Ba'ker.y (i) G., Exeter, England, 1773
— Rugeley, 1847 ; organist, violinist,
and composer. (2) Benj. Franklin,
b. Wenham, Mass., July 10, 181 1;
singer, teacher, and editor.
Balakirew (btL-lft.ke'-Wff), Mily Al-
ezejevitch, b* Nijni-Novgorod,
Russia, 1836; studied at Kasan
Univ., as a musician, self-taught ;
d^but as pianist in Stl Petersburg,
1855; founded the ** Free Music
School," 1862 ; 1866, opiera-coiiductor
Prague ; 1867*70, conductor Imp.
Music Society, St. Petersburg, re-
tired 1872 ; composed a symph.
poem *' Tamara** ; music to ^* Kinz
Lear " ; Russian, Czech and Spanish
overtures ; *ao Oriental fantasia,
** JslamH^'* for pf., etc.; pub. 1866, a
coll. of Russian Folk-songs. 1901,
Symphony in C.
Balart (ba-Ifirt'), Gabriel, Barcelona,
1824 — 1893 ; studied in Paris ; con-
ductor, later director Barcelona Cons.;
composed zarzuelas (Vide D. D.).
Balat ka, Hans, HofTnungsthal, Mo-
ravia, 1827 — Chicago, 1899; studied
at Vienna ; 1S49, America ; 1851,
founded the Milwaukee Musikverein ;
i860, conductor of Chicago Philh.
Soc. ; composed cantatas, etc.
Mb&tre or Balbastre (bftUbfitr),
Claude Louis, Dijon, 1729 — Paris,
1799 ; pupil and friend of Rameau ;
organist and composer.
Balbi (bal'-be), (i) Ludovico, com^
poser and conductor at S. Antonio,
Padua ; ca. 1606, Franciscan mon-
astery, Venice. (2) (Cav.), Melchi-
ore, Venice, 1796 — Padua, 1879/
church-conductor, theorist and com
poser.
Baldasaari (bai-das-sa'-re), Benedet*
to, Italian tenor in London, 1 721.
Bal'denecker, (i) Nikolaus, b.
Mavence, 1782 ; violinist. (2) Kon«
ran, b. 1828 ; pianist.
Baldewin (b&l-d£-ven). Vide baui.-
DEWIJN.
Balfe (b&lOt Michael Wm., Dublin,
May 15, 1808 — Rowney Abbey, Hert-
fordshire, Oct. 20, 1870; operatic
composer; pupil of O'Rourke, Ire-
land, and C. F. Horn, London ;
1824, violinist Drury Lane: also
sang in London ; went to Italy with
his patron Count Mazzara, and stud-
ied comp. with Frederici at Rome,
and singing with F. Galli at Milan ;
his ballet La Ptfrouse^ prod, there
(1826) ; pupil of Bordogni, and first
barytone at the Ital. Opera, Paris
(182S), and elsewhere till 1835 * ^^^^
posed several Italian operas; m. the
Hungarian singer Lina Rosen (1808
— London, i888) ; he ret. to England
1835, and prod. The Siege of Ro-
e he lie (Drury Lane) ; failed as man-
ager; went to Paris, returned 1843,
and prod. 7^hc Bohemian Girl, very
successful everywhere ; prod. Paris,
1856, in 5-act version as '*/.« Boh/-
mienfte.'* In 1857. his daughter
Victorie made her d^but in Italian
opera ; 1864, he retired to his country-
seat, Rowney Abbey ; he composed
31 operas in all, including 7'he Rose
of Castile (1857) ; Satanella (1858);
// Talismano (1874) ; biog. by C. L.
Kenny (London, 1878), and W. A.
Barrett (do. 1882).
Ballabene (b^l-U-ba -ne). Gregforio,
lived 1 8th cent. (?) ; composed a re-
markable Kyrie and Gloria in 48 leal
parts, performed at Rome, I77(X
332
THE MUSICAL GUIDE
BallazarinJ (bil-Ift-tssUre'-nS) (or Bal«
tag^erinij, Italian violinist; came
from Piedmont to Paris, 1577. and
was court-intendant to Catherine de
Medicis, who gave him the name '* M«
de Beaujoyeulz " ; founder of the
ballet, and indirectly of French
opera.
Ballard (bUX-W), a family of French
music-printers ; founded 1552 by
Robert B.» with a patent, from
Henri II., as *' Seul imprimeur de la
musique de la chambre, chapelle et
menus plaisirs du roy.** The patent
expired 1776 after being held by R.,
and his brother-in-law, Adrien la
Roy ; by Pierre B., 1633 , Robt,
Ed. Christophe, 1673; L Bapt,
Christophe, 1695 ; Chp. J. FraiUi
1750 i P, Robt. Chp., 1763.
Baltagrerini. Vide ballazarini.
Balthasar (called Balthasar-Flo-
rence) (b^-ti-z&r fl6-rahs), H. Mat.,
b. Arlon, Belgium, Oct. 21, 1844;
pupil of Petis , m. (1863) a daughter
of the instr.-maker Florence; com*
posed operas, etc.
Baltzar (bait'.tsar), Thos., LDbeck,
ca. 1630— London, 1663 ; eminent
court-violinist in England from 1656.
Balt'zell, Willard J., b. Philadelphia,
U.S. A., d. 1900 ; teacher Ohio Wes-
leyan University, Ohio ; composed
sonzs.
Bancnleri (ban-kl-a'-re), Adr., Bo-
logna, 1567 (?) — 1634; theorist and
organist.
Banck (b£nk), K., Magdeburg, 1809 —
Dresden, 1889; critic and vocal
teacher.
Banderali (biln-da-ra'-Ie), DaviddCi
Lodi, 1780— Paris, 1849 ; buffo tenor,
then teacher at Paris Cons.
Bandini (ban-de'-ne), (i) Primo, b.
Parma, Nov. 29, 1857 ; pupil R.
School of Music there ; composed
successful operas Eufemio di Alessi'
na (Parma, 1878), Fausta (Milan,
1886), Janko (Turin. 1897). (2)
Uberto Rieti, b. Urabria, March
28, i860; pupil of Giustiniani, Bol-
ioni, Rossi Tergiani. and Seambati ;
composed prize overture '• EUonortL^
symphony, etc.
Bandrowski (bsLn-dr6f'-shkY), Alex.
Ritter von, b. Lubackzon, Gaiicia,
April 22, i860 ; operatic tenor, stud*
ied Cracow University, then with San-
giovanni, Milan, and Salvi, Vienna:
debut Berlin ; for some years leading
tenor Cologne opera ; has sung also
in Russia, and oratorio in England ;
sang Paderewski*s Manru at \Varsaw
and in New York 1902.
Ban^s (ba-n£s), A. Anatole, b. Paris,
June 8, 1856; pupil of E. Durand :
officer of pub. instruction ; composer
of operettas ; lives in Paris.
Ban'estar, Gilbert, i6th cent.; Engr.
lish composer of Flemish influences.
Ban'ister, (i) J., London, i63o^>
1676(79 ?); court-violinist and compos*
er. (2) J. (Jr.), d. 1735 ; son of above ;
court-violinist. (3) Chas. Wm., 1768
•^1831 ; composer. (4) Hy. Joshua,
London, 1803 — 1847. (5) Hy. Chas.,
London, 1831 — 1897, son of (3)5
pianist, teacher, and writer; put>.
•• lectures on Musical Analysis^
etc
Banics, (i) Beaj., vln. -maker, Lon*
don, 1750 — 1795, succeeded by his
son (2) Benj. (Jr.). Two other sons,
(3) James, and (4) H., were also via
makers.
Bannelier (b&-n<{1-ya), Chas., Paris^
1840—1899; writerl
Banti-Giorg:! (blln'.te.j6i^.je), Bri-
gida, Crema, Lombardy, 1759 — B<>*
logna, Feb. 18, 1806 ; dram, soprano;
first a chanteuse in a Paris cafe, later
engaged at the Grand Opera ; toured
Europe with gpreat success ; her voice
was remarkable in compass and even-
ness, but she was musically illiterate {
m. the dancer Zaccaria Bantu
Ban'tock, Granville, b. London, Aug.
7, 1868 ; studied R. A. M.. took tst.
Macfarren Prize for comp.; his first
work, dram, cantata ** The Fire^ IVor*
shippers^ successfully prod., 1889;
successful i-act romantic opera CaeeU
mar (London, 1892); conductor of
Gaiety Theatre Troupe, comi
DICTIONARY OF MUSICIANS 333
other operas (text and mus.), also
symph. overture ** Sau/** ; dranu
symphony in 34 parts, ** TAe Cursf
if Kehama^^ etc.
Bap'tie, David, b. Edinburgh. Nov.
30, 1822 ; lives in Glasgow ; com-
posed anthems, etc ; compiled hymn-
books.
Baptiste (rightly Baptiste Anet)
(bftp-test-ii-na), violinist at Paris,
1700, where he introduced ^orelli*s
works.
Barbaco'la. Vide barbirrau.
Barbedette (b&rb-d^t). H.» b. 1825 i
writer and composer.
Barbaja (bar-bii -)ri), Domenico, Mi-
Ian, 1778 — Posilippo, Z841 ; impre-
sario.
Barbaiieu* Vide barrireau.
Barbarini (bftr-bS-re'-neJ, Maoiredo
Lupi ; lived i6th cent ; composed
motets under the name of ** Lupi *'
(q. v.).
Barbella, Emanuele, d. Naples,
1773; violinist and composer.
Barbereau (b^r-btt-rd), (i) Maturin-
Aug. Bal., Paris, 1799 — 1879; con-
ductor and theorist. (2) Vide bar-
birrau.
Barbier (birb-ya), (i) Fr. Et., Metz,
1829 — Paris, 1889 ; teacher and lead-
er; composed over 30 operas. (2>
Jules Paul, Paris, 1825 — Jan., 1901.
collaborator with Carre, in the lib-
retti of many operas, including Lei
Nocti de Jeannette (Masse) ; Le Par-
don de Ploirmel (Meyerbeer) ; Faust
(Gounod) ; PhiUmon et Baucis (God-
nod) ; PomAf et Juliette (Gounod);
Hamlet (Ambr. Tliomas). (3) Paul,
b. Paris, 1854, son of above, libret-
tist.
Barbieri (bSr-bY-a'.re), (i) Carlo
Emm. di, b. Genoa, 1822 — Pesth,
1867 ; conductor and dram, compos-
er. (2) Francisco Asenjo, Ma-
drid, 1823 — 1894 ; very pop. com-
poser of Zarzuelas (Vide D. D.).
Barbireau (bir-bt-ro) (or Barbiriau,
Barbarieu, Barbyria'nus, Barbe-
rau, Barbingaut (b^-b&h-go), or
Barbaco'la). d. Aug. 8, 1491 ; from
1448 choirmaster of N6tre-Dame.
notable cptlst., composed masses, etc*
Barbot (b&r-bo), Jos. Th« D^sir^,
Toulouse, 1824 — Paris, 1897 ; tenor ;
created ** Paust^*^ 1859; 1875, prof,
Paris Cons.
Bardi (bsLr'-de), Giov., conte del Vei>
nio, Florentine nobleman and patron
of the 1 6th cent., under whose influ-
ence the attempted revival of the
Greek lyric drama led to modem
opera. At his house **jDa/ne** was
performed. (Vide peri.)
Bargaglia (bar-g^'-y£), Scipione,
Neapolitan composer, said to have
first used the word ** concerto ** (l 587).
Barge (bar'.g«), Jn. H. Wm., b.
Wulfsahl, Hanover, Nov, 23, 1836 ;
self-taught flutist ; 1867-95 first flute,
Leipzig Gewandhaus Orch., retired
on pension ; teacher Leipzie Cons.}
wrote "Method for Flute ^ ; com-
posed 4 orchestral flute-studies, etc*
Bargheer (bar'-khar), (i) K. Louis, b.
Buckeburg, Dec. 31, 1833 ; violinist ;
pupil of Spohr, David, and Joachim ;
1863, court-conductor at Detmold,
made concert-tours ; 1879-89, leader
Hamburg Phil. Soc., teacher in the
Cons.; later leader in Bolow orch.
(2) A., b. Backeburg, Oct. 21, 1840,
brother of above, pupil o^ Spohr;
court-violinist Detmold; since x866«
Prof. Basel Sch. of Music.
Bargiel (bar-gel), Woldemar, Ber-
lin, Oct. 3, 1828— Feb. 23, 1897;
important composer ; pupil, Leipzig
Cons. ; later Prof, in Cologne Cons.;
1865, dir. and cond. of the Mus,
Sch., Amsterdam; 1874 Prof. R.
Hochschule, Berlin ; 1882, Pres.
** Meisterschule fUr musikalische
Komposition ** ; composed 3 overtures
** Zu einem Trauerspiil \Romeo and
Juliet) - ** Prometheus,** " Medea -/ a
S3rmphony ; 2 psalms for chorus and
orchestra; pf. -pes., etc.
Baririi, A., 1826— Naples, 1876 ; haU*
brother of Adelina Patti.
Bar'ker, Chas. Spackmann, b. Bathi,
1806— Maidstone, 1879 ; organ-build*
er ; invented the pneumatic lever*
334
THE MUSICAL GUIDE
BUmum (bar'-mftn), (t) M. Jos., Pots,
dam, 1 784-— Munich, 1847 ; cbrinet-
▼irtaoso and composer. His brother
(3) K.| 1782— 1842, was a bassoonist,
(3) K.y (St.), son of H. T. B., was a
clarinettist ; his son (4) K., (J^*)> ^*
Munich, July 9, 1839 ; pupil of Liszt
and Lachner ; teacher at Munich
Cons. I lives in Boston, Mass., as
pianist and teacher ; composed piano
pieces.
/ Bar'nard, (i) Rev. Jn., canon St.
Paul's Cathedral, London ; pub. 1641
the first coll. of cathedral-music. (2)
Mrs. Chas. (n^ Alin^on), 1830^
Dover, 1869; composed popular
•ones, etc., under name "Clarl*
fBtan'bf^ (t) Rob., York, England,
S821 — London, 1875 • alto-smger.
Chapel Royal. (2) Sir Jos., York,
.^BngL, Aug. 12, 1838— London, Jan.
a8, 1896 ; choirboy at 7 ; at 10 taught
other boys ; at 12 organist ; at 15
. music-master ; T854 entered the R. A.
M., London ; then organist various
churches and cond. ; 1875, precentor
and dir. at Eton ; 1892 Principal of
Guildhall Sch. of Mus. ; knighted,
July, 1802 ; composed, *• Rebekah^*
a sacred idyll (1870) ; Psalm 97 ; Ser*
▼ice in E, etc.
Barnes, Robt., violin-maker, London,
1760— z8oo.
/Barnetti (l) J., Bedford, England,
July I, 1802 — Cheltenham, April 17,
1890," The father of English opera ** ;
pupil of C. E. Horn, Price, and
Ries; brought out his first opera
^^ Before Breakfast,"^ 1825; ^^ The
Mountain Sylph ** (1834) ; the very
succ. •• Juiir Rosamond " (1837), and
^ FarineUi"^ (London, 1838); 1841,
tinging teacher at Cheltenham : left
2 unfinished oratorios, a symphony,
ate. (2) Jos. Alfred, London, 18 10
— {?), 1808 ; bro. of above ; compos*
^^* (3) J« Francis, b. London, Oct.
16, 1837, nephew of above ; studied
with Dr. Wylde (1849) J and at R. A.
• M«, and Leipzig Cons. ; debut as
ptonfBt, 1853 ; 1883, prof, at R. CoU
of Mus. ; composed oratorio " TJU
Raising of Lazarus ** (1 876), sympho*
ny in A min., ••Ouverture sympho*
nique •* (1868), overture to Winter $
Tale (1871), cantatas, etc.
Baron (b&'-rdn), Ernst Gl., Breslau,
1696— Berlin, 1760 ; court-lutenist
and theorbist ; writer and composer.
Barr6 (or Barra) (b&r.r& or b&r'>r&),
(i) Leonard, b. Limoges; singer in
Paf)al Chapel (1537) and special mu-
sical envoy to the Council of Trent
(1545) i composed madrigals and
motets. (2) A., printer, etc., Rome,
1555-70, later Milan,
Barret (bftr-ra), A. M. Rose, 1804—
Paris, 1879 ; oboist.
Bar'rett, (i) J., 1674— London, 1735
(8 ?) ; organist. (2) Thos., violin,
maker, London, i7io-3c\ (3) Wnu
Alex., Hackney, Middlesex, 1836—
London (?), 189 1 ; editor and writer ;
co-editor with Sir John Stainer of a
•• Diet, of Music. Terms. *•
Barrien'tos, Maria, b. Barcelona, ca.
1884 ; singing with wonderful sue*
cess in Rome at 1 1 years ; took two
medals for violin-pla3rlng.
Bar'rington, Daines, London, 1727
—1800 ; lawyer and musical essay-
ist.
Bar'ry, Chas. Ainslie, b. London,
June 10, 1830 ; pupil of Cologne
Cons, and Leipzig Cons. ; editor and
organist; composed a symphony, a
overtures, etc.
Barsanti (bslr-san'-tS), Fran., Lucca,
ca. 1690 — 1760 ; flutist, oboist, and
composer ; 1750, viola-player at Lon*
don.
Barsot'ti, Tommaso G. F., Flor-
ence, 1786— Marseilles, 1868 ; teach«
er and composer.
Bartay (bar'-tH-e), (i) Andreas,
Sz^plak, Hungary, 1798— Mayence,
1856; 1838 Dir. Nat. Th. Pesth ;
composed Hungarian operas, etc.
(2) fede, Oct. 6, 1825— Sept., 190IJ
son of above ; pupil Nat. Mus. Acad*-
emy, Pesth ; founded pension-fund fot
musicians ; composed overture, "/'rrrfi
(^j.'^etc
DICTIONARY OF MUSICIANS 335
Bartei (bar-tH'-e), Girolamo, general of
Aug^stinan monks at Rome ; pub-
Usher and composer (1607-18).
Bartel (bSr'-t^l), (i) Aug., Sonders-
hausen, 1800— 1876 ; son of (2) H.
B., trumpeter in the court-band ; and
brother to (3) Adolf, 1809 — 1878,
member of the same band. Aug.
was an excellent teacher, and trained
as Vcllists, his sons, (4) Ernst, 1824
— Remschied, x868, and (5) Gun-
ther, b. 1833 ; pupil also of Dehn ;
lives in DQsseldorf, as writer and
composer.
Bart (bart), (i) Chr. Samuel, Glau-
chen, Saxony, 1735 — Copenhagen,
1809 ; oboist. (2) F. Phil. K.
Ant., b. Cassel, ca, 1773 ; son of
above ; composer. (3) Jos. Jn. Aug.,
b. Grcsslippen, Bohemia, 178 1 ;
1810-30, tenor, Vienna. (4) Gus-
tav, Vienna, 1800— Frankfort, 1897 ;
son of (3) ; pianist and conductor.
(5) K. H., b. Pillau, Prussia, July
12, 1847 ; pianist, pupil of Von
Bulow, Bronsart, and Tausig ; 1871,
teacher at R. HochschQle fOr Musik,
conductor of the Philh. concerts at
Hambui^ (vice von BQlow). (6)
Richard, left-handed violin-virtuoso ;
Univ. Mus. Dir. Marburg, till 1894 ;
since then Dir. of Hamburg Philh.
Concerts.
Barthe, Grat-Norbert (grS-nor-b^r-
b^rt), b. Bayonne, France, June 7,
1828 ; pupil Paris Cons., 1854 : won
the Grand Prix de Rome ; wrote can-
tata ** Franctsca da Rimini " ; com-
posed operas ''''Don Carlos'''' and
•• Iji Fianc/t iVAbydos'' (1865) ; ora-
torio, '^Judithy' etc.
Barthel (bar'-tei), Jn. Chr., Plaucn,
Saxony, 1776— -Altenburg, 183 1 ;
court-organist.
Barth^lemon (b&r-ta-lti-moh) (in Kng-
lish Bar'tleman), Fran. Hip., Bor-
deaux, 1741 — London, 1808 ; violin-
ist and composer.
Bartholdy (bdr-tol-de), Jakob Salo-
mon (of Jewish parents), BerHn,
1779 — Rome, 1825 ; diplomatist and
writer.
Barthoromew, Wm., London, 1793 —
1867 ; translator.
Bart iett, (i) J., 17th century, English
composer. (2) Homer Newton, b.
Olive, N. v., Dec. 28,1846; pupil
of S. B. Mills, Max Braun, Jacob-
son, etc. From 14 organist New
York churches ; now at Madison Av.
Bapt. Ch.; published a sextet, a can-
tata •* riu Last Chieftain,'' manv
songs, etc.; opera, ''^ La Vailiirf^'
oratorio, '* Samuel^'' etc., in MS.
Bartoli (bar-to'-le), Padre Erasmo,
Gaeta, 1606 — Naples, 1656 ; church-
composer under the name ** Padre
Raimo."
Bartolini (le'-ne), V., Italian male so-
prano, in London, 1782.
Bartolo (b&r-to -lo). Padre Dattiele,
Ferrara, 1608 — Rome, 1685 ; Jesuit
theorist.
Baselt (ba -zdlt), Frits (Fr. Gv. O.),
b. Oels, Silesia, May 26, 1863 ; pupil
of K<)hler and Bussler ; music-dealer,
teacher and conductor Breslau, Essen
and NOmberg ; since 1894, director
of Philh. Verein, and **Sangcrvcr-
einigung" (ca. 1,200 voices), Frank-
fort-on-Main ; composed 9 operettas,
nearly 100 male choruses, etc.
Base VI (ba-sa'-ve), Abramo, Leghorn,
1818 — Florence, 1885 ; journalist and
composer.
Basil (Saint), The Great, Caesarea,
329— Cappadocia, 379; bishop; re-
puted introducer of congregational
(antiphonal) singing into the Eastern
Ch., preceding St. Ambrose in the
Western.
Basili (ba-ze -1$), (i) Dom. Andrea,
1720 — Loreto, 1775; conductor and
composer ; his son (2) Fran., Loreto,
1766 — Rome, 1850; prod. 11 operas,
and several dram, oratorios in Rome ;
1837, conductor at St. Peter's, Rome ;
composed also symphonies, etc.
Basiron (bil'-st-ron), Giovanni, devel-
oped the motet, ca. 1430— 1480.
Bassani (bas-sa'-ne), (i) Giov., ca.
1600 ; conductor at St. Mark's, Ven«
ice. (2) (or Bassiani), Giov. Bat.,
Padua, ca. 1657 — ^Ferrara^ 1716 ; vio^
336
THE MUSICAL GUIDE
linist, conductor and composer. (3)
Geron., b. Padua, 17th cent.; singer,
teacher and composer.
Bassano (bas-s&'-no) , ; woman
pianist ; debut, London, Philh. So-
ciety, 1842.
Basselin (b&s-Uii), Olivier, lived at
Vire, France, 15th cent.; a fuller
whose songs were said to have been
first given the name ** Vau de Vire,"
whence, vaudeville.
Bassevi (bas-sa'-ve), Giacomo. Vide
CERVETTO.
Bass'ford, Wm. Kipp, b. New York,
April 23, 1839 ; pupil of Samuel Jack-
son ; toured the U. S. as pianist ;
now organist at East Orange, N. J.;
also composer.
Bassi (bsis-se), Luig^, Pesaro, 1766^
Dresden, 1825 ; barytone and direc-
tor ; Mozart wrote the role of ** Don
Giovanni " for him.
Bassiron (bils-sY-r6n), Ph., 15th cent.;
Netherland contrapuntist ; composed
masses.
Bastardella. Vide agujart.
Bastiaans (bils'.te-&ns), (i) J. G.,
Wilp, 1812 — Haarlem, 1875 ; organist
and teacher at Amsterdam and at St.
Bavo's : his son and successor (2)
Jn., 1854^1885; teacher and com-
poser.
Baston (b&s-ton), Josquin, lived,
1556, Netherlands ; contrapuntist.
Batch'elder, J. C, b. Topsham, Vt.,
1852 ; pianist and organist ; pupil of
Haupt, Ehrlich, Loeschhom, Berlin ;
organ-teacher in Detroit (Mich.)
Cons.
Bates, (i) Joah, Halifax, 7741 —
London, 1799; conductor; promoter
and conductor of the famous ** Han-
del Commemoration" festivals in
London (1784-91). (2) His wife was
a singer. (3) Wm., 1720 — 1790 (?) ;
English opera composer.
Ba'teson, T., England, ca. 1575 —
after 161 1 ; organist and composer
of madrigals.
Bathe (bath), Wm., Dublin, 1564—
Madrid, 1614 ; writer.
Batiste (bft-test), A. Ed., Paris, 1820-
1876; organist, teacher and com*
poser.
Batistin (b^-tes-tftn). Vide struck.
J. B.
B&ton (bd-toh). (i) H., i8th cent,
musette-player. His brother (2)
Chas. (le jeune) performed on the
viellc ; also composer and writer,
1757-
Batta (bat'-ta), (i) Pierre, Maas-
tricht, Holland, 1795 — Brussels, 1876;
*cellist and teacher. His sons were
(2) Alex., b. Maastricht, July 9,
1 8 16; 'cellist and composer. (3) J-
Laurent, Maastricht, 18 17 — Nancy,
1880 ; pianist and teacher. (4) Jos.,
b. Maastricht, April 24, 1824 ; 'cellist ;
pupil of Brussels Cons., took 2d
Grand Prix for comp. in 1845 ; since
1846 player at the Opera-Comique,
Paris ; composed symphonies, etc.
Battaille (bftt-ti'-yfl), Chas. Aimable,.
Nantes, 1822 — Paris, 1872 ; dram,
bass.
Batanchon (bilt-tan-shon), F., Paris,
18 14 — 1893 ; 'cellist ; inv. (1846) a
small 'cello, the ** barytone,"
Bat'tan, Adrian, ca. 1585 — ca. 1637 ;
English organist.
Bat'tishill, Jonathan, London, 1738
— Islington, 1801 ; conductor and
dram, composer.
Battista (bat-tes'-ta), V., Naples, 1823
— 1873 ; dram, composer.
Battistini (bat-tes-te -nc), Mattia, b.
Rome (?) Nov. 27, 1857 ; dram, bary-
tone ; debut, Rome, 1878 ; sang at
Buenos Ayres and principal theatres
in Europe.
Battmann (bat'-man), Jacques L.,
Maasmtlnster, Alsatia, 18 18 — Dijon,
1886 ; organist.
Batton (bit-ton), D^sir^ Alex., Paris,
1797 — Versailles, 1855 ; teacher and
dram, composer.
Battu (b&t-tu), PantaUon, Paris,
1799 — 1870 ; violinist and composer.
Baudet (bo-da), Hubert Cyrille ; in-
vented "piano- violin," or "piano-
quatuor," 1865.
Baudiot (bod-yo), Chas. N., Nancy.
1773 — Paris, 1849 ; 'cellist.
DICTIONARY OF MUSICIANS 337
Baudoin (or Baudouyn) (bo-dw&h).
Vide BAULDEWIJN.
Bauer (bow'-^r), (i) Chrysostomus,
i8th cent, organ-builder at WUrtem-
berg. (2) Harold, b. London, 1873,
of English mother and German father;
played violin in public at 9 ; studied
with Gorski, Paris ; then the piano,
in 1892, under Paderewski ; debut
as pianist, Paris, 1893 ; has toured
Europe and, since 1900, America,
with great success.
Bauldewijn (bod-wiln) (or Baulduin,
Baldewin, Balduin, Baudoin,
Baudouyn), NoiSl (Natalis), Ant-
werp, 1 5 13 (or 1 5 18 ?)-— 1529 ; conduc-
tor at Notre Dame ; and composer.
Baumbach (bowm'-bakh), (i) Fr.
Aug., 1753— Leipzig, 1813; con-
ductor and writer. (2) Ad., Ger-
many, 1830 (?) — Chicago, 1 880 ;
teacher and composer.
Baumfelder (bowm -f£lt-«r), Fr., b.
Dresden, May 28, 1836 ; pianist ; pu-
pil of J. Otto, and I^eipzig Cons.
Baumgart (bowm'-giirt), E. Fr., Gross-
glogau, 1817 — Warmbrunn, 1871 ;
editor.
Baumgarten(bowm'-g&rt-^n), (i) Gott-
hilf von, Berlin, 1741 — Gross-Stre-
Htz, Silesia, 1813 ; composed 3 operas.
(2) K. Fr., Germany, 1754 — Lon-
don, 1824 ; violinist and dram, com-
poser.
Baumgiirtner (bowm'-g^rt-n^r), (i)
Aug., Munich, 1814 — 1862 ; writer on
** musical shorthand," etc. (2) Wm.
(Gttillaume), 1820 — Zurich, 1867 ;
composer and mus. dir. at St. Gallen.
BAumker (bTm'-k^r), Wm., b. Elber-
feid, Oct. 25, 1842 ; chaplain and
school-insjjector, Niederkrllchten ;
wrote biogs. of Palestrina, Lassus,etc.
Bausch (bowsh), (i) L. Chr. Aug.,
Naumburg, 1805 — Leipzig, 1871 ;
maker of violins and bows. His 2
sons were also vln. -makers : (2)
Ludwig(i829 — Leipzig, 1871) ; lived
New York, then in Leipzig ; and (3)
Otto, 1841 — 1874.
Bausznem (bows' -n£m), Waldemar
▼oti»b. BerUn, Nov. 29, 1866 ; studied
at Kronstadt, Pesth, Vienna and with
Bargiel and Fr. Kiel at the Berlin
Hochschule ; since 1894 lives in Dres-
den, as dir. Singakademie and Leid-
ertafel ; composed a symphony, over-
tures, a Zigeuner suite, a music-drama
*• DichUr und Welt " (Weimar, 1897).
etc.
Bayer (bl'-£r), Josef, b. Austria, ca.
1851 — 1871; 2d violinist. Court
Opera, Vienna. 1882, ballet-director,
composed operettas, etc.
Bay'ly, Kev. Anselm, 1719 — 1792;
English writer. ,
Bazin (bft-z&h), Fran. Em. Jos., Mar.
seilles, 1816 — Paris, 1878; dram,
composer.
Bazzini (bad-ze'-ne). A., Brescia,
March 11, 1818 — Milan, Feb. 10,
1897 ; violinist ; pupil of Camisani ;
at 17 conductor Church of S. Filippo,
where he prod, masses and vespers,
and 6 oratorios with full orch., and
gave successful concert-tours through
Europe. 1873, prof, of comp., 1882,
dir. of Milan Cons. In his compo-
sitions his native melodiousness gained
unusual value from a German solidity
of harmony.
Bazzino (bad-ze'-no), (i) Fr. M.,
Lovere (Bergamo), 1593 — Bergamo,
1660 ; theortx) virtuoso. (2) Natale,
d. 1639 ; composed masses.
B^, Le. Vide le be.
Beach, Mrs. H. H. A. (nee Amy
Marcy Cheney), b. Menniker, N.
IL, Sept. 5, 1867 : pianist and com-
poser; pupil of E. Perabo and K.
Baermann (pf.), and Junius W. Hill
(harmony) ; self-taught inept., comp.
and orcliestration, having transl.
Berlioz and Gevaert for her own use ;
Pres. Board of Councillors, N. E.
Cons., Boston; comp>osed ^^ Gaelic"
symphony, Mass with orch., songs,
etc.
Bcale, (i) Wm., Landrake, Cornwall,
1784 — London, 1854 ; famous glee-
composer. (2)J., London, ca. 1796 ;
pianist. (3) Thos. Willert, b. Lon-
don, 1828 ; a lawyer and pupil of
Koeckel ; one of the founders of the
338
THE MUSICAL GUIDE
New Philh. Soc. ; composed operettas ;
used pen-name ** Walter Maynard."
B6anon (ba-sUnon), Lambert de, con*
ductor at Sistine Chapel, Rome, be*
fore Josquin des Pr^«
Beard, J., England, ca, 1717 — Hamp-
ton, 1 791 ; eminent tenor for whom
Handel wrote the tenor roles in his
chief oratorios.
Beauchamps (bo-shan), P. Fran.
Godard de, Paris, ca. 1689 — 1761 ;
writer.
Beaujojeulx (bd-zhwS-ya), de« Vide
BALLAZARINI.
Beauliett (n^htlv Martin) (b5l-yti'. or
mftr-t&A), ft. b^sar^, Paris, 1791 —
Niort, 1863 ; patron, writer and com«
poser.
Beaumavielle (ba-m&v-y^l), d. Paris,
1688 ; barytone ; he sang in the first
French opera, 1671.
Beauquier (bok-yft), Chas., b. ca.
1830 ; writer of ** Philosophie de mu-
siqae " (1865), and librettist.
Beas'lej, Jas. Chas., b. Ryde, Isle
of Wight, 1850; lives there as com-
poser i pupil of R. A. M.
Beccatel H, Giov. Fran., d. Florence,
1734 : cond. at Prato aiid writer.
Becher (b«kh'.«r), (i) Alfred Julius.
Manchester, 1803— Vienna, 1848 ;
editor. (2) Joe., b. Neukirchen, Ba-
varia, Aug. I, 182X ; composed over
60 masses, etc.
Bechstein (b«kh'.shtTn), Fr. Wm. K.,
b. Gotha, June i, 1826 ; 1856, worked
in German factories ; later established
the well-known piano factory in
Berlin.
Beck, (i) David, Germany, ca. 1590 ;
organ-builder. (2) Reichardt k.«
lived in Strassburg, ca. 1650; com-
poser. (3) In. Philip, 1677 ; editor.
14) Michael, b. Ulm, 1653 : writer.
(5) GC Jos., Podiebrad, Bohemia,
l/23^Prague, 1787 ; Dominican
nkter Provmcial) friar ; organist. (6)
Chr, Fr., b. Kirchheim, ca. 1755 ;
composer. (7) Fz., Mannheim, 1730
—Bordeaux, 1809 : court-violinist.
(8) Fr. Ad., pub. at Beriin, "ZV.
M. Luther*! Gedanken Uber die
Musik,^ 1825. (9) K., 1814— VI
enna, 1879 ; tenor • created '* Lohen
grin^ (10) Jn. Nepomuk, Pesth,
i828^Vienna (?) 1893 ; dram, bary-
tone, (ii) Jos., b. June 11, 1850;
son of above ; barytone, sang in
Austria, Berlin (i876)t and Frankfort
(1S80). (12) Johann Heinrich, b.
Cleveland, Ohio, Sept. I2, 1856 ;
violinist ; pupil Leipzig Cons. ; lives
Cleveland ; founded the *' Schubert
Quartet " ; composed overtures to
Byron*s '* Z<irtf,*' to *'*' Romeo and
JulUl ;** cantata **Dfukalion " (Bay-
ard Taylor), etc,
Beck6 (b^k'-a). Jn. Baptist, b. NOm.
berg, 1743 ; court-flutist, in Munich,
1776.
Beck'el, James Cox, b. Philadelphia,
Dec. 20. 181 1 : pupil there of Tra-
jetta : later music-publisher in Phila.,
and editor of '^ Musical Clipper'* \
composed cantatas, etc
Beck'er, (i) Dietrich (1668), com«
poser at Hamburg, 1668. (2) Jn.,
Uelsa. near Cassel, i726--i8o3;
court-organist. (3) K. Fd., Leipzig,
1804— 1877; organist and writer.
(4) Konstantin Julius, Freiber^g,
Saxony, 1811— OberlOssnitz, 18591
editor. (5) VaU Ed., Worzburig,
1814— Vienna, 1890; dram, com-
poser. (6) George, b. Frankenthal,
Palatinate, June 24, 1824; pianist
and writer ; lives in Geneva ; pub.
•* La Afusique en ^w/jj^ " (1874), etc.
(7) Albert Ernst Ant., Quedlin-
'huiig, June 13. 1834 — Berlin, Jan. 10,
1899; pupil of Bonicke and Dehn;
1 88 1, teacher of comp. at Schaiw
wenka*s Cons. ; also conductor Berlin
cathedral choir; composed a not^
worthy symphony, a Grand Mass in
B^^min. (1878). and oratorio ** Selig
aus GnadeC" etc. (8) Jean, Mann-
heim, May li. 1833 — Oct. 10,1884;
violinist, leader Mannheim orch.;
after concert-tours, lived in Florence
and founded the famous " Florentine
Quartet"; toured with his children.
(9) His daughter Jeanne, b. Mann*
heim, June 9, 1859 pianist, pupil c^
DICTIONARY OF MUSICIANS 339
Reinecke and Bai^el. (10) Hans.,
b. Strassburg, May 12, i860; viola«
player, pupil of Singer. (11) Hugo,
D« Strassburg. Alsatia, Feb. 13, 1833;
noted *cellist, son and pupil of (8), pu*
pil of Kundiger, then of GrUtzmacher ;
1884, soloist at opera, Frankfort ; since
1894, Prof, at the Hoch Cons, there ;
toured, U. S. 1900-1901. (12) Rhein*
hold, b. Adorf, Saxony, 1842 ; vio.
lintst ; lives in Dresden ; composed
succ operas firauenhb (Dresden,
1892), and Katboid (Mayence, 1896),
l-act ; symph. poem Der Prinz von
Homburg^ etc. (13) K., b. Kirr-
weiler, near Trier, June 5, 1853;
teacher at Neuwied; pub. song-
books. (14) Jakoby founder (1841)
of large Russian pf.-factory ; present
head (since 1871), Paul Petersen.
Beck'mann, Jn. Fn Gl., i737-7Celle,
1792 ; organist, harpsichord-virtuoso,
and dram, composer.
Beck'withy J. Christmas, Norwich,
England, 1750-^1809; organist and
writer.
Becqui6 (b£k.y&), (i) Jean Marie (?).
Toulouse, ca. 1800— Paris, 1825 ;
flutist. His brother (2) C'De Peyre
VtUe'O* Jc^^ Marie, Toulouse,
1797— Paris, 1876 ; violinist.
Beevafovskj (b£ch'.var.sh6r.shkf).
Ant. F.y Jungbunzlau. Bohemia,
1754— Berlia. 1823 ; oi^nbt and
composer.
Bedford, Mrs. H. Vide lehmann,
LIZA.
Bedos de Celles (bfi-do' du sSl). Caux.
near B^ziires, 1706— St. Maur, 1779 J
Benedictine monk and writer.
Beechg^ard (or Beehg^ard) (bakh'-
g&rt), Julius, b. Copenhagen, Dec.
19, 1843 ; pupil I^ipzig Cons., and
of Gade ; lives at Copenhagen ; com*
posed operas ** Frode, ** Frau
Inge** (Prague, 1894), etc.
Beecke (ba'-k£). Ig^naz ▼on, ca. 1730
— Wallerstein, 1803 ; captain of dra-
goons, then •• Musikintendant ** to
Prince of Otting-Wallerstein ; harp»
sichordist ; composer of 7 operas,
«tc.
Betllaerts (bal-laru), Jean, Vide
BKLLERE.
Beer (bar), (i) Jacob Liebmano.
Vide MEYERBKKR. (2) Josef, GrQn*
wald, Bohemia, 1744— Potsdam,
1 8 1 1 ; player of the clarinet, for which
he invented the fifth key. (3) Jules,
b. ca, 1833; lives in Paris; com*
posed 5 comic operas, etc. (4) Max
Josef, b. Vienna, Aug, 95, 185 1;
pianist; pupil of Deasoff } lives in
Vienna ; composed 4 operas, incl, the
succ, ^^Der Striek tier Schmiedt^
(Augsburg, 1897), etc. (5) Anton, b.
Kohlberg, June 29, 1864; studied
with Rheinberger ; leader in Regens
burg orch.; later lived In Munich
composed an opera *' SUhtuC^ etc.
Beeth (bat), Lola, b. Cracow, 1864 1
soprano ; pupil of Dustman, Viardot*
Garcia, and D^stree Artot; debut,
1883, at Berlin Court Opera, thea
Vienna, after various tours ; sang in
New York ; engaged at Vienna, 1897,
for 5 years.
Beethoven (b&t'*hd-f £n, not ba-to'-v^n),
Ludwrsf van, b. Bonn-on-Rhine,
Dec. !»> ^baptised, Dec, 17, 1770)
(Beethoven said Dec. t6, 1772), d.
Vienna, March 26, 1837; grandson of
Ludwig van B. (a native of Maes*
tricht, bass singer, opera composer,
and conductor to the Elector Clemens
August, at Bonn), 2d child of Jn»
▼an B. (a *enor singer In the Elec*
toral choir), who had m. a widow,
Magdelena Laym (n^e Keverich), a
daughter of the chief cook at Ehren-
breitstein. B. studied at the public
schools at Bonn till 14. From hit
fourth year, his father taught him
music with g^eat severity till 1 779.
He played the vln. well at 8 ; at IX
he knew Bach*s " Wohltemperirti
ClaiHerJ^ Became pupil of Pfeiffer,
a music-dir. and oboist ; and Van der
Eeden, court-organist, who predicted
that he would be **a second Mo*
zart**; 1785, studied vln. with Frani
Ries ; 1787, took a few lessons of Mo*
zart; 1792, Haydn, passing through
Bonn, praised a cantata of his (ncn
340 THE MUSICAL GUIDE
lost). Th«^ Elector sent B. to Vienna,
where he studied cpt. with Haydn,
who seemed to neglect him, so that
he secretly studied with Schenck ;
later he went to Albrechtsberger, who
said ** he has learnt nothing, and will
never do anything in decent style *' ;
he studied the vln. with Schuppanzigh
and consulted Salieri and Aloys For-
ster; 1781, he is believed to hive
¥mtten a Funeral Cantata in memory
of the English ckargd d'affaires- at
Bonn, who had advanced money
to the family; 1781 (1782?), his first
publication, 3 pf.-sonatas; 1782,
deputy organist ; 1783, cembalist for
rehearsals of the opera-orch.. without
compensation ; 1764-92, asst. organ-
ist at an annual salary of [50 florins
(about $63) ; from 1788 also 2d vio-
la of the theatre orch. Visited Vien-
na, 1787, and made a sensation by
extemporising, Mozart exclaiming
** He will make a noise in the world
some day." In July his tender-
hearted mother died of consumption ;
his father lost his voice and became a
sot. B.*s only home was in the fam-
ily of the widow von Breuning, to
whofie daughter and son he gave les*
sons. Here he acquired his passion
for English literature. He now made
acquaintance of young Count Wald*
stein, who became his life-long pa-
tron, and in 1792 sent him to Vienna,
where he henceforward lived. The
decade 1782-92 does not show much
fertility in composition : half a dozen
songs, a rondo, a minuet, and 3 pre-
ludes for pf., 3 pf. -quartets, a pf.-
trio ; a string-trio, op. 3 ; 4 sets of
pf . variations ; a rondino for wind :
the •' Kitter Balled with orch. (pub.
•872) : '• The Bagatelles;' op. 33 ;
9 vln.-rondos, op. 51; the '* Serenade
Trio'** op. 8 , the lost cantata, a lost
trio for pf., flute, and bassoon, and
an Allegro and Minuet for 2 flutes.
1792, he was sent to Vienna by the
Elector, who paid him his salary for 2
Siars , he had growing royalties from
% comps., also 600 florins annually
from Prince Lichnowsky, his wannest
admirer. March 29, 1795, he played
his C major pf .-concerto in the Burg-
theater, his first public appearance :
1796, he played before King Fr. Wm,
II.; 1798, at Prague, he gave 2 sen*
sational concerts and met two piano-
virtuosi : Steibelt. who challenged
B. to extemporise and was sadly
worsted, and Wolffl, who became his
friend. 1800 ends what is called
(after von Lenz's book ^* B,et ses trois
styles ") his '* first period," of compo-
sition ; the •* second period," extend-
ing to 1815: the "third" to 1827.
This first period includes op. 1-18,
pf. and string-trios, string-quartets,
9 pf.-sonatas, 7 variations on ** God
Save the Queen, ^ and 5 on "* Rule
Britannia^* the aria " A A perfido^
etc. Now a severe and early vene-
real trouble aflected his liver, and be-
gan to ruin his hearing, which by
1822 was entirely gone. Though he
had always been brusque (especially
with the aristocracy, among whom he
had an extraordinarily long list of
friendships and love-afl'airs), his for-
mer generosity and geniality speedily
developed into atrocious suspicious-
ness and violence toward his best
friends. The wild life of a nephew
whom he supported, brought him
great bitterness. Until the begin,
ning of the •* third period," however,
he had large stores of joy in life,
open-air Nature, and the details of
his compositions, which were worked
up with utmost care from "sketch-
books," always carried with him, and
still extant as a unique example
of genius at work. In the arbitrary
but somewhat convenient von Lenz
classification, the 2d period includes
the symphonies III — VIII; the
opera ** Mdelio '* ; the music to ** Eg*
mont"'\ the ballet "' Promethfus^ \
the Mass in C, op. 86 ; the oratorio
''Christus am Oelderg "* (1S03) ; the
" Coriolanus " overture ; 2 pf. -con-
certos; I vln.-concerto , 3 quartets »
4 pf. -trios, and 14 pf. -sonata
DICTIONARY OF MUSICIANS 341
(amon^ them op. 27, op. 28, 31, No.
«• 53. 57. and 81); the "* LietUr*
krHs,"* etc. The "third period *•
incL the five pf. sonatas, op. ioi»
III; the ** Missa soUnnis" the
Ninth Symphony, the overture
** Huins of Athens^* \ the overtures
op. 115, 124; the grand fugue for
string-quartet, and the string-quar.
tets op. 127, 130, 131, 132. 135 (F).
'• Fidelio^^ first named " Leofiore^
was prod. Nov. 20, 1805, just a week
after the French army entered Vien-
na. It was withdrawn after three
consecutive performances ; revised
and prod. March 29, 1806, but with-
drawn by B. after two performances.
Once more revised, it was revived in
1814, very successfully; the present
overture is the result of various ver-
sions known as the Leonore overtures
I, 2, and 3. The ** Eroica^* sym-
phony (No. 3) was called ** Sinfonia
gratuie Napoleon Bonaparte " in hon-
our of his advocacy of " liberty,
equality, and fraternity." When
Napoleon proclaimed himself em-
peror, B. tore up the title-page in
wrath and changed the name to
•• Sinfonia eroica composta per fes*
teggiare it sovvenire d^un gran
uomo^* (Heroic symphony, com*
posed to celebrate the memory of a
great man). In the Ninth Sym-
phony, a choral Finale is used as
the final addition to the orchestral
climax of ecstasy (the words from
Schiller's *" J/ymn to foy''). In 1809
Jerome Bonaparte invited B. to be-
come conductor at Cassel with a
salary of 600 ducats (about $1,500) ;
but his Viennese patrons Archduke
Rudolf, and the Princes Lobkowitz
and Kinsky, settled on him an annu-
ity of 4,000 florins ($2,000). Dec,
1S26, a violent cold resulted in pneu-
monia ; dropsy followed, B. saying
to the doctors who tapped him three
times and drew out the water, ** Bet-
ter from my belly than from my pen."
Atter an illness of 3 months he took
the Roman Catholic sicraments, a
two-days* agony of semi-consc.ousness
followed and he died, just aft^ shak*
ing his clenched fist in the air, during
a terrific thunderstorm, the evening
of March 26, 1827. 20,000 persons
attended his funeral,
liis complete works comprise 138
opus-numbers, and about 70 unnum*
bered comp. The following are
those published. Instrumentau—
9 Symphonies. — No. I, op. 21, in C {
2, op. 36, in D; 3, op. 55, in £[> (the
** Eroica^^) ; 4, op. 60, in Bb; 5, op,
67, in C min.; 6, op. 68, in ¥ (•* Pas*
toral ") ; 7, op. 92, in A ; 8, op. 93, in
Y ; 9, op. 125, in I) min. (" Choral^\
•• The BattU of Vittoria'' (op. 91):
music to the ballet ^^ Prometheus
(op. 43), and to Goethe's ** EgntotU^
(op. 84), both with overtures, besides,
nine overtures — ** Coriolanus**\ " Leo*
nore** (Nos. I, 2, and 3); ''Fidelio'*\
*'A'ing Stephen'\ *' Huins of Ath*
ens^* \ *^ Namensfeier^ op, 115;
** IVeihedes Plauses'* {^p. 124). Also
for orch. : Allegretto in E|> ; March
from •• Tarpeia^ in C ; Military
il/tfrr^, inD; '* Ritler-BalUr \ 12,
Minuets ; 12, ** deutsche Tanze ** ;
12, ContretSnze ; violin - concerto, op.
61. F'ive pf.-concertos, the last
op. 73, in E C^ Emperor**); also a
{>f. -concerto arranged from the vio*
in-concerto. A triple-concerto, op.
56, for pf., vln., 'cello and orch.; a
•* Choral Fantasia** for pf., chorus
and orch.; a Rondo in B, for pf. and
orch. ; cadences to the pf.-concertos.
Two Octets for wind, both in E^.
Septet for strings and wind. Sextet
for strings and 2 horns. One sextet
for wind, F^. Two quintets for
strings ; fugue for string-quintet ;
also quintet arr. from pf.-trio in C
min. Sixteen string-quartets: Op.
18, Nos. 1-6 in F\ G, 13, C min., A and
B|> (first period) ; op. 59, Nos. 1-3 ;
op. 74, in E|>(the ** /Iarfenquartett**)i
op. 95 (second period) ; op. 127 ; op,
130 ; op. 131 ; op. 132 , op. 135. A
grand fugue for string-quartet, op. 133,
in Bp (third period). One pf .-quartet
tm
342 THE MUSICAL GUIDE
(an*, from thepf.-quintet) ; 3 juvenile
pf.-quartets ; five string-trios; eight
pf.-trios, that in £(7 being juvenile ;
an arr. of the " Eroica " symphony.
Grand trios for pf., clar, and *cello
op. 11; in Bh and in £[> (arr. from
septet, op. 20) ; trio for 2 oboes and
cor anglais^ in C op. 87,
Ten sonatas for pf. and vioh'n, Incl.
op. 47 (**AV/«/«<rr") ; rondo for pf.
and vln. ; 12 variations for do. Five
sonatas and 31 variations for pf. and
cello. Sonata for pf. and bom. So-
nata for pf., 4 hands.
38 Sonatas for piano, incl. op. 27,
Nos. r and 2 (*' Quasi Fantasia ").
op. 28 (*• Pastorale ") in D ; op. 53
C' VValdstein'' ) in C ; op. 57 (" Appas^
sitmaia *') in F min. ; op. 81 f|* Carac^
tMstique "-— ** I^s adteuXy t absence^
U retour^") in E[^. Also 6 easy so-
natas,- 3 of them composed at age of
10 ; 21 sets of variations for pf. , 3
sets of bagatelles ; 4 rondos ; fantasia
in G min. ; 3 preludes ; polonaise ;
andante in F (** Favori "); 7 minuets ;
13 Liindler. for 4 hands ; 3 marches ;
14 variations.
Vocal. — Opera " Fidelia^ In 2 acts,
op. 72. 2 Masses, in C and D
{^' Soknnis'^. , Oratorio ** Christus
am Oelberg,"^ op. 85. Cantata " Der
ghrreiche Augeiiblick^'' op, 13d
(1814) ; also arr. as Prsis aer Ton^
kunsL MeeressiiUe und GlUcklicht
Fahrt^ op. 112 (poem by Goethe).
Scena and aria for soprano, **" Ah
Ferfido^^ with orch., op. 65. Trio
for soprano, tenor and bass, " Tre^
mate, EmpU Tremate,'" 01^, 116. " Op^
ferlUd''* for soprano solo, chorus and
orch. ^^Bundeslied^* for 2 solo voices,
3-part chorus and wind. ** Elegise her
Gesang"** for 4 voice-parts and strings.
66 songs with pf .-accomp. ; one duet»
*• Gesang der Alone lie^* ; 3 voice-parts
acapp, 1 8 vocal canons. 7 books of
English, Scotch, Irish, Welsh an<l
Italian songs, with pf., vln. and *cello.
The best biography is Alex. \V«
Thayer's "A van BeeilwvetCs Le»
ben, ' 3 vols, in German, transl. from
the English MS. by H. Deiters; last
vol. in preparation. Partial collec*
tions of Beethoven's letters are pub.
and his sketch-books are discussed iri
Ignaz von Seyfried's ** Ludwig van
BeelhovetCs Studien im Generalbass^
Kontrapunkt ufid in der Komposi*
tionslehre,^ liiogs. also by Schindler,
Nohl, Crowest, etc. Wagner wrote
an estimate.
Beethoven : A Study of Influences.
Br H. B. Krehbiel,
IN one respect Beethoven stands alone in the history of music. The
influence of all his fellows, from Bach to Wagner and Brahms, can be
determined in matter as well as manner, and set down in plain terms |
his full fflgnificance is yet to be grounded. Beethoven was a gigantic reser*
voir into which a hundred proud streams poured their waters ; he is a mighty
lake out of which a thousand streams have flowed through all the territories
which the musical art has peopled, and from which torrents are still pouring
to irrigate lands that are still terrae incognitae, ^In some respects his geniua
Is an enigma. Whence came his profound^knowledge of the musical art as it
existed before him ? He was not precocious as Mozart was. He was a
diligent pupil, but not an orderly one. Except in childhood he was unraly,
tnd im^^atient of discipline. The sternness and cruelty of a dissioated ^iiA
DICTIONARY OF MUSICIANS 343
made his earliest studies a suffering and an oppression. It later years he
performed his duties toward Albrechtsberger, but refused to yielc* Llmselt to
that teacher's domination as he had already refused to bow to the authority ol
Haydn — an authority which he felt was too carelessly exercised. Yet the world
knows how conscious he was of the potency of the learned forms into which
Albrechtsberger strove to induct him, and the charm of romantic expression
exemplified in Haydn. ^[He refused to acknowledge these men as his teachers,
while they returned the compliment by refusing to own him as their pupil.
Haydn condenmed his first trios ; Albrechtsberger advised his other pupils to
have nothing to do with him because, as he said, " he had never learned
anything, and would never do anything in decent style." Yet Beethoven
was proud of his ability in the department of study for which he had gone to
this teacher of coimterpoint. In his old age he considered Cherublni the
greatest of his living contemporaries, and Handel the greatest of the great
dead. Note the significance : both were masters in the severe forms.
Taking no account of the canons, fugues, and variations which occur incident-
aHy in his symphonies^ sonatas, and quartets, we find that Beethoven left an
extraordinarily large number of compositions in these forms behind him — no
less than thirty-five canons, five independent fugues and thirty- two sets of
variations for cfifferent instruments. Could there be a more convincing dem-
onstration of his devodon to the scientific side of his art ? ^But he was no
more and no less an iconoclast in these forms than in the romantic. Proof
of another kind I found in an anecdote recorded in Mr. Thayer's note-book
as related to him by the nephew of the observer of the incident. ^In 1809
Wilhelm Rust sat in a coffee-house in Vienna with Beethoven. A French
officer happening to pass, Beethoven doubled up his fist and exclaimed : <* If )
were a general and knew as much about strategy as I know about coun«
tcrpoint, being a composer — ^I'd cut out some work for you fellows.'*
^The great difference between him and his teachers was one of conception
toaching the uses to which counterpoint and fugue should be put. To
Albrechtsberger the sciences existed for their own sake ; for Beethoven they
existed only as a medium of expression. There was nothing sacrosanct about
cfaem. As he himself said, it was a good thing to learn the rules in order
afterward to know what was contrary to them, and, he might have added,
also to know how to violate them when musical expression could thereby be
promoted. ^Yet Beethoven's greatest significance as an influence is not as a
destroyer of forms and contemner of rules, as so many would have us believe
who justify an manner of lawlessness to-day and quote Beethoven as an excuse :
but as a widener of forms and a creator of rules for the development ol
expression, which is and must ever remain the aim of musical art. He waa
Ibe prototype of Wagner's Ham Sachs^ who wished due respect paid to the
344 THE MUSICAL GUIDE
laws of the poet's craft so that poetical creation might go on within the lines
of beauty., but who also wished spontaneous creative impulse to have its rights.
Where he differed from the pedants who sought to stem the original flow of
his utterance, was in realising better than they, that art-works are the source
of rules quite as much as their outcome. He fclt» with Faust ^ that " In the
beginning was the Deed," neither the ** Word," nor the "Thought," nor
the "Power," but the ** Deed," ; from that can be deduced the other
potencies. ^ «* Beethoven was not only the embodiment of all that was
before him, but also of that which was yet to come. In his works music
returned to its original purpose with its power raised a hundred-fold." I
have said this before and elsewhere, but as I cannot say it better and want ic
said again, I say it again, and here. It is easy rhetoric to descant upon the
tremendous strides which music has made in the last half century, the trans"
formation of forms, the augmentadon of expressive potencies (rhythmic,
melodic, harmonic, instrumental), the widening of the horizon of the things
proper to musical expression and much else ; but he has not yet learned his
Beethoven who does not see all that has yet appeared to be essential in these
things distinctly foreshadowed in the music o( the master who, in a larger,
more comprehensive, more luminous sense than was dreamed of before or
since, was priest, king, hero, and seer. A priest unceasing in his offerings in
the Temple Beautiful 1 A king whose dominion is over the despotic rulers
in man's emotional nature ! A hero who knew his mission and subordinated
to it himself, his longings, his loves, his very life ! A seer, as Ruskin says
of Imagination, "in the prophedc sense, calling the things that are not as
though they were, and forever delighting to dwell on that which is not
tangibly present." ^Like Faust he ever heard the dread words ringing in his
cars : «* Entbebren soils t </*, soils t enthehren !** His art asked his all ;
he knew it and gave his all ; and then the Got the it which he was wont to
invoke, hushed the noises of the material world that he might the better hear
the whisperings of the spirit pervading it ; and raised a barrier between him
and mankind to force him to be a witness and historian of the struggle
between the human and the divine reflected in his own soul. All the mis-
anthropy which filled his later years could not shake his devotion to an ideal
which had sprung from truest artistic appreciation and been nurtured by
enforced introspection. This is the key to Beethoven's music. ^ But it
will not serve the purposes qf this study merely to generalise. If the con-
tention set forth is to be maintained, there must be some martialling of
evidence. Confining ourselves to the cyclical form, the symphony, we note
that Beethoven introduced a wider range and a freer use of keys than were
employed by his models, Haydn and Mozart ; abolished much of what
•oonds like mere remplissage in the connectmg portions between themes<»
DICTIONARY OF MUSICIANS 345
substituting therefor phrases developed out of the themes themselves ; intro-
duced original episodic matter ; extended the free fantasia and coda ; devel*
oped the old minuet into the scherzo, which could better carry on the psycho-
logical story which he wished to tell in the four chapters of his instrumental
poem ; infused unity into his works, not only by bringing the spiritual bonds
between the movements more clearly before our percipiencc, but also by
making the material bonds obvious and incontrovertible. This last achieve-
ment has its simplest as well as most eloquent illustrations in the community
of rhythms between the first, third, and last movements of the Fifth Sym-
phony J and all the movements of the Seventh ; the recurrence of themes
in different movements of the Fifth and Ninth; the family likenesses,
physiognomical resemblances, between the principal melodies of the Ninth /
finally the programmatic conceit back of the Sixth, ^] The acceptance and
continuation of the hints contained in these innovations is published in the
abolition of pauses between the movements in the "Scotch" symphony of
Mendelssohn, the adoption of the same device by Schumann, together with
community of theme in the symphony in D minor, the invention of" Pidee
fixe** by Berlioz for his ** Symphonie Fantastique** and the successive
recapitulation of material already used in the second, third, and fourth move-
ments in the symphony, *« From the New Worlds* by Dvorak. ^ It has
not been necessary to go far afield for examples ; the proofs are surely con-
vincing and come down to our own day. Moreover we find an illustration
of the same principle, coupled with an exposition of Beethoven's system of
diematic, instead of melodic, development — another form of variation, in brief
^~in all the symphonic poems of Uszt and his imitators down to Richard
Strauss. ^[Beethoven's license may have degenerated into lawlessness, but he
pointed a way that has been followed in all the particulars enumerated, and
also broke down the barriers between voices and instruments in the symphonic
forms to the delight of many successors. His revolutionary proceeding in the
Ninth symphony found imitation by Mendelssohn in his ** Hymn of Praise f**
by Berlioz in his ** Romeo and Juliet y** by Liszt in his ** Faust** and
«« Dan.te^* symphonies, by Nicod6 m ** Das Meer** and by Mahler in his
symphony with contralto solo.
Beffara (b^f-fH-ra), Louis Francois,
Nonancourt, Eurc, 175 1 — Paris,
1838; 1792- 1816, commtssaire de
police, at Paris ; musical historian.
Beffroy de Reietij (b«f-frwa dd r^n'-
ye), Louis Abel (called " Cousin
Jacques"), Laon, Nov. 6, 1757 —
Paris, Dec. 18, 181 1 ; composed very
8UCC. operettas.
Beenis (ban'-yes), (i) Gius or Wm.
cle, Lugo, Papal States, 1793 — Bath(?)
England, 1849 : buffo singer ; in 1816,
he m. (2) Stgnora Ronzi, Paris,
i8oo (?) — Italy, 1853*, comic so
prano.
Beg^ez (ba-gr^tz), Pierre Ignace«
Namur, 1783 — Brunswick, CJer. /
ZSO3, dram, tenor.
346
THE MUSICAL GUIDE
Behm (bam), Eduard, b. Settin, April
8. 1862 ; studied with Paul, Weiden-
bach, Reinecke, Hartel, Raif and
Kiel ; pianist and teacher in various
cities, then at Beriin as dir. Schwan-
tzer Cons.; composed an opera,
** Scheim von Bergen^* (Dresden,
1890), a symphony, pf.-concerto, etc.
Behnke (ban'-ke), tmil, Stettin, 1836
— Ostend, 1892 ; teacher and writer.
Bchr (bar), (i) F«., b. Lubtheen,
Mecklenburg, July 22, 1837 ; com-
posed pf. -pieces, under pseud, of
"William Cooper." *' Charles Mor-
lyr," or *• Francesco d'Orso." (2)
Therese, b. Stuttgart, Sept. 14,
1876 ; alto ; pupil of J. Stakhausen,
of Schulz Demberg and of Etelka
Gerster ; lives in Mainz.
Behrens (ba-r^ns), Konrad, 1835 —
New York, 1898 'operatic bass.
Beicr (bT'-«r), Dr. Fz., b. Berlin, April
18, 1857 — Cassel, 1889, son of a mil-
itary band-master; pupil Stern and
Kullak Cons. ; cond. at the Royal
Theatre; composed succ. opera ** JDer
Posaunist von Scherkingen " (Cassel,
1889), a parody on Nessler's well-
known ** Der Trctnpeter von Sdk"
kingen; " succ. comic operetta ** der
Gaunerkonig^^ (Cassel, 1890), etc.
Belce. Vide RKUSS-BELCR.
Belcke (b«l'-ke), *(i) Fr. Aug., Lucka,
Altenburg, 1795 — 1874; the first trom-
bone virtuoso. (2) Chr. Gl.» Lucka,
1706 — 1875 ; bro. of above ; flutist.
Eeldomati'dis (or Beldeman'dis, Bel-
deman'do)» Prosdo'cimus de, b.
Padua, 14th cent. ; prof, of philoso-
phy, ca. 1422 ;• theorist.
Behczaj (ba-lt-cha-5), Julius von,
Komorn, Hungary, 1835 — Pesth,
1893 ; violinist.
Belin (or Bellin) (bii-Un), (i) Guil.,
ca. 1547 ; tenor Chapelle Royale,
Paris. (2) Julien, b. Le Mans, ca.
1530: lutenist.
Beliso'nius, Paul, a canon said to
have inv. quills for harpsichords, i6th
century.
Bella (d'^r-la b^l'-lH), Dom. della, *cel.
list, Venice, 1704.
Bella, Jn., Ld., b. St. Nicholan, Up-
per Hungary, 1843 ; canon at Neu-
sohl ; composed church- music, etc.
Bel'lamy, (i) Richard, d. London (?)
1813 ; church-composer. (2) His son,
Thos. Ludford, Westminster, 1770
— London, 1843, bass.
Bellasio (b5l-la'-s!-o), Paolo, 1579-
95 ; pub. madrigals, etc., at Venice.
Bel'lasis, Edw., b. Jan. 28, 1852 ;
English writer and composer.
Bell'avere (or BeH'hayer) (b^l-a-va-
r^), v., Venice, 1530 (?)— 1588 (?) ;
organist and composer.
Beilazzi (b^Mald-ze), Fran. C, at
Venice, 1618-28.
BelUrc (b^l-ldr) (or Bellc'rus, rightly
Beeliaerts) (baMarts'), (i) Jean, d.
Antwerp, ca. 1595 ; publisher. His
son and successor was (2) Balthasar.
BeMermann, (i) Konstantin, Er-
furt, 1696-— Mttndcn, 1763; rector
and composer. (2) Jn, Fr., Erfurt,
1795 — Berlin, 1874; writer on Greek
music. His son (3), Jn. Gf. H., b.
Berlin, March 10, 1832 ; pupil R
Inst, for Ch. -music, 1866 ; prof, of
mus. Berlin U. (vice Marx.); theorist
and composer.
Belief ti, Giov. Bat., b. Sarzana,
1815 ; bar)'tone ; pupil of Pilotli at
Bologna ; debut, 1838, Stockholm ;
sang w^ith Jenny Lind on tour ; re-
tired, 1862.
Belleville-Oury (b^l-ve'-ytt-oo'-rc),
Emilie, Munich, 1808 — 1880; pian-
ist.
BelPhaVer, V. Vide brix'avkre.
Belli (bdl'-le), (i) Gir., pub., 1586-
94, madrigals, etc. (2) Giulio, b.
Ix)ngiano, ca. 1560; ch.-corfiposer
and cond. (3) Dom., 1616; court-
musician at Parma.
Bellin, G. Vide bklin.
Bellincioni (bdl-lTn-ch5'-nc), Gemma,
notable Italian soprano ; toured U. S.
in opera, 1809 ; lives in Florence.
Bellini (b£l-le -ne), (i) Vincenzo, Cata^
nia, .Sicily, Nov.3,1802 — Puteaux,neai
Paris, Sept. 23, 1835 ; opera compos*
er ; son and pupil of an organist ; a
nobleman sent him (18 19) to the
DICTIONARY OF MUSICIANS 347
Cons, at Naples ; studied under
Furno, Tritto, and Zingarclli, until
1827 ; privately studied with 1 iaydn
and Mozart, and chiefly Tergolesi ;
as a student composed a symphony, 2
masses, several psalms, a cantata, etc. ;
his first opera, *' Addison e Salvini^*
was performed by Cons, pupils, 1825,
whereupon the manager of l.a Scala,
Milan,, commissioned him to write an
opera ; 1826, ** Bianca e Fernando'''*
was prod, with succ, 1827, ** // /*/-
rata ; " 1829, " La SiranUr:' The
librettist of the latter 2 was Felice
Romani, who wrote the books of all
B.*s operas, except •* / Puritani^^
•* Zaira " (1829) was a Jailure ; ** /
CapuU'tie Montecchi^^ written in forty
days (1830), was a great succ. ; *^ La
Sonnamduia"sind " Norma'''* (1831),
with Malibran in the title-role, estab-
lished his fame; ^''Beatrice di Ten^
<&" (Venice, 1833) failed; *»/ Pun.
tani'' (libretto by Count Pepoli),
written to order 1834, for the Theitre
Italien, Paris, was a great success,
and his last finished work. B.'s work
is a compendium of all the virtues
and vices of Italian opera, passionate
and eminently vocal lyrics with empty
and slovenly accompaniment. He
died youngest of all prominent com-
posers— at the age of 33, from dysen-
tery due to overwork. Biog. by
Scherillo (Milan, 1885), Tougin
(Piris, 1868), etc. (2) Carmelo,
Catania, 1802 — 1884; brother of
4bove ; composed Church-music.
BjU'man, (i) Carl Mikael, Stock-
holm, 1740 — 1795 I Swedish poet who
set his own burlesques to music. (2)
K. Gf., Schellenberg, Saxony, 1760
—Dresden, 1816 ; pf.- and bassoon-
maker. (3) K. Gl., Muskau, 1772,
.*^chleswig, 1862 ; orgnnist.
Belloc (bdl-lok'), Teresa (G. Trom-
bet'ta-Belloc), San Begnino, Can.
avese, 1784 — S. Giorgio, 1855; mezzo-
soprano ; repertoire of 80 operas.
BelloH (b^l-lo -le), (i) Luigi. Castel-
franco, Bobgna, 1770 — Milan» 1817;
bom*pIay^i aud cuuposer. (2) Ag.«
b. Bologna ; first horn (1819-29) at
La Scala, Milan, and dram, composer.
Bemberg (b&A-b£rg), Hermann, b.
Paris, March 29, i86z ; pupil of
Dubois, Franck and Massenet, Paris
Cons. ; 1887 took Rossini prize ;
composed i-act opera ** Le Baiur de
Suzon *' (Paris, Op. -com., 1888), mod.
succ. ; opera Elahu (London, 1892 :
New York, 1894), and songs.
Bemetzrieder (ba -m^ts-re-d^r), T., b.
Alsatia, 1743 ; Benedictine monk ;
then composer and writer.
Ben'da, (i) Franz, Alt-Benitek, Bo-
hemia, Nov. 25, 1709 — Potsdam,
March 7, 1786 ; court-violinist to
Frederick XL, whom he accompanied
for 40 years in flute-concertos;
composed symphonies, etc. His 3
brothers (2) Jn., Alt-Benatek, 1713
— Potsdam, 17''2 ; violinist. (3) G.,
Jungbunzlau, Bu emia, 1722 — Koes-
tritz, Nov. 6, 179' ; court-cond., 1748
(Gotha) ; 1764-^, Italy ; prod, at
Gotha 10 operas in which he orig-
inated the idea of spoken words with
orchestral accompaniment, literal
•* melodrama." (4) jfos., 1724 — Berlin,
1804; violinist. His sister, (5) Anna
Frang^iska, b. 1726 — Gotha, 1780;
singer. (0) Fr. Wnu H., Potsdam,
1745^—1814; son and pupil of (i);
composed operas, etc. (7) Fr. L.,
Gotha, 1746— K5nigsberg, 1793 ; son
of (3) ; cond. and composer. (8) K.
Hermann H., Potsdam, 1748—
1836 ; son of rich father ; court.*
violinist and composer*
Ben'dall, Wilfred Ellington, b.
I^ndon, April 22, 1850 ; pupil of
Lucas, Silas and Leipzig Cons. ; com-
poser. .
Ben'del, Fz., Sch5nlinde, northern
Bohemia, March 23, 1833— Beriin,
July 3, 1874; pianist; composed
symphonies, 4 masses, songs, etc., and
piano pieces of great lusciousness of
harmony and fervour of melody.
Ben'deler, Jn. Ph., Kiethnordhausen,
near Erfurt, 1660 — Quedlinburg
1708 ; clavecinist, organist and
writer.
348
THE MUSICAL GUIDE
Ben'der, (i) Jakob, Bechtheim, 1798
— Antwerp, 1844 ; dir. Antwerp wind-
band ; clarinettist and composer. (2)
Jean Val., Bechtheim, near Worms,
1801 — Brussels, 1873 ; bro. of above ;
clarinet-virtuoso and band-master.
Ben'diXy (i) Otto, b. Copenhagen,
1850 ; pupil of Ree and (jade, Kul-
lak and Liszt ; pf. -teacher in Copenh.
Cons, and oboist in theatie-orch. ;
lives in Boston, Mass., since 1880, as
teacher and composer. (2) Victor
E., b. Copenhagen, 1851 ; pianist,
pupil and protege of Gade ; lives in
Copenh. as pf.-teacher and cond. ;
composed 3 symphonies, incl. *' Zur
JIdhr" in C (1891) (also named
** Felsensteigung'''') \ and *^ Sommer'
klHnge aus Sudrussland'^ in D.
Ben'dfCbint'-M), K., Prague, April 16,
1838 — Sept. 20, 1897 ; important
Czech composer ; pupil of Blazok and
Pitsch, at Prague; chorus-master,
Amsterdam (1864); 1866, cond.
Prague choral society, "Hlahol";
composed Czech operas incl. **DiU
Tdbora'' (Child of the Camp), 1892,
(3 acts) ; still given at Prague ; 3
masses, cantatas, an overture, a
•* Dithyramb:' ** Slavonic Rhap^
sody^' for orch., etc.
Bendler (b^nt'-l^r), Salmon, Quedlin«
burg, 1683 — 1724 ; singer.
Benedict, (.1) Sir Julius, Stuttgart,
Nov. 27, 1804 — London, June 5,
1885 ; son of a Jewish banker ; pupil of
Abeille, Hummel, and Weber, 1825 at
Naples, where his first opera was
prod. 1 8 29. without success ; his next
(Stuttgart, 1830) was not a success ;
settled in London as pf.-teacher and
concert-giver ; 1836, cond. opera
buffa ; 1837 at Drury Lane, there his
first English opera, ** The Gypsy's
IVarr.iMj^,** was prod. (1838) ; he ac-
companied Jenny Lind to America,
then cond. at Her Majesty's Th., and
Drury Lane; 1859 at Covent Garden ;
and ** Monday Popular Concerts " ;
cond. also Norwich <estivals, and
(1876-80) the Livrtpool Philhar-
monic ; knighted in 1S71 ; composed
II operas ; 2 oratorios, " 5"/. CeciHa^
(18C6), and **5/. Peter'* (1870); a
symphonies, 3 pf. -concertos, etc. ;
wrote a biog. of Weber. (2) Milo
Ellsworth, b. Cornwall, June 9,
1866; pupil of C. Petersilea (pf.), J.
K. Paine (theory); 1883-84 in Europe,
spending 3 mos. with Liszt ; lives in
Boston, as pf.-teacher and composer.
Benedic'tus Appenzelders (ap -p^n-
ts^lt-ers) (B. of Appenzell), b. Ap-
pcnzell, Switzerland ; choir-master in
Brussels (1539-55) and composer;
often confused with Benedictus
Ducis.
Benel'li, (i) Alemanno. Vide bot-
TRiGARi. . (2) A. Pereg^ino, Forli,
Komagna, 1 771 — Bomichau, Saxony,
1830 ; tenor.
Benes (ba-n^sh) (Ger. Benesch),
Josef, b. Batelov, Moravia, 1793,
conductor, violinist and composer.
Beneyoli (ba-na'-vo-le), Orazio, Rome;
1602 — 1672 ; natural son of Duke
Albert of Lorraine, but lived in pov-
erty ; cond. at the Vatican (1646) ;
remarkable contrapuntist ; in writ-
ing chorals with instrs. he was a
pioneer ; his Salzburg mass bein^
written on 54 staves.
Benfej (bdn-ft'), Theodor, Norton,
near Gttttingen, 1809 — 188 1 ; writer.
Benini (ba-ne'-ne), Stgnora, Italian
singer in London, 1787, comic opera ;
exquisite sweetness but little power.
Beninco'ri, Ang. M., Brescia, 1779^
Paris, 1821 ; dram, composer.
Ben'nat, Fz., b. Bregenz, Aug. 17,
1844; 'cellist; studied Munich Cons,
and with Servais ; since 1864 in
Munich court-orch.; since 1888 in the
Walter Quartet, chamber-mus.
Ben'net, (i) J., English composer
(15^,)- (2) Saunders, d. i8oq;
English organist and composer. (3)
Theodore. VidexH. rhter.
Ben'nett, (i) Wm., b. Teignmouth,
ca. 1767 ; organist. (2) Thos., ca.
I 1774— 1848 ; organist. (3) Alfred,
1805 — 1830; English organist. (4)
I I Sir Wm. Stemdale, Sheffield, April
' i:^ 13, 1816— lx>ndon, Feb. I, 1875 j
DICTIONARY OF MUSICIAN 8 349
son of an org^anist (who died 1819) ;
at 8 entered the choir of King's Col-
lege Chapel ; at 10 pupil of R. A. M.;
at 17 played there an original pf.-
concerto, later pub. by the Academy,
sent 1837 by the Broadwoods to Leip-
zig for one year ; friend of Schumann
and Mendelssohn ; 1844 m. Mary
Anne Wood, founded the fiach So-
ciety, 1849; cond. Philh. Society,
1856-66 ; 1856, Mus. Doc. Cam-
bridge and prof, of mus. there ; 1866,
Principal there; 1871, knightfed;
buried in Westminster Abbey ; com-
posed I symphony, an oratorio ** The
Woman of Samaria^^ music to So-
phokles' ^^Ajax^* ; 5 overtures, "r^a-
risina," " 7^Ae AaiWj," *' TAe
Wood'tiymph^* *' Paradise and the
Peri:' *' Merry Wives 0/ Windsor,"
sonatas, etc. (5) Jos., b. Berkeley,
Gloucestershire, Nov. 29, 183 1; or-
ganist of Westminster Chapel ; then
music critic for various London news-
papers ; finally The Telegraph /
wrote various libretti ; pub. *^ Letters
from Bayreuth*' (1877); ''The
Musical Year'' (1883), etc.
Bennewitz (b£n'-n£-vets), (i) Wm.,
Berlin, 1832 — 1871 ; dram, composer.
(2) Anton, b. Privat, Bohemia,
March 26, 1833 ; violinist ; 1882, dir.
of Prague Cons.
Benois (bOn-wii), Marie, b. St. Peters-
l>urg, Jan. I, 186 1 ; pianist ; pupil of
Leschetizky (1876), won gold medal
St. Petersburg Cons. ; toured with
success ; (1878) m. her cousin Wassi-
ly Benois.
Benoist (bfln-wa), Francois, Nantes,
1794 — Paris, 1878 ; organ-prof. Paris
Cons. ; composed operas, etc.
Benoit (btin-wa), Pierre Leonard
Ld., Harlebecke, Belgium, Aug. 17,
1834 — Antwerp, Mar. 4,1901; Flemish
composer and writer ; pupil Brussels
Cons., 1851-55 ; at same time prod.
m snail opera and wrote music for
Flemish melodramas; 1856, cond.
Park Th. ; 1857, ^'on the Prix de
Rome, with the cantata ** Le Meurtre
d^Aber^ i studied at Leinzig, I^res-
den, Munich, and Berlin, and wrote a
thesis for the Brussels Academy
** IJ^cole de musique flamande et son
avenifj" In 1861 his opera ^^ Le Roi
des Aulnes" was accepted by TheHtre
Lyrique, Paris, but not given ; cond.
at the Bouffes-Parisiennes ; from
1867, dir. Antwerp Cons. ; 1882,
member of the R. A., Berlin; com-
posed Messe sofennelle (1862) ; 7>
Deum (1863); Requiem (1863); 2
oratorios ^^ Lucifer ^^ and ^^ De
Schelde'' ; 2 operas '* Net Dorp int
Gebergte'' and '' Isa'\' ''Drama
Christi" a sacred drama in Flemish ;
a canuta ' * De Oorlog War " y * * Chil-
dren's Oratorio" ; a choral sym-
phony, '* De Maaiers" (The Reap-
ers) ; music to *' Charlotte Cor day"
and to " WilUm de Zwijger" (1876) ;
the ** Rubens cantata" *^* Flanderens
kunstroem "; ^'Antiverpen" for triple
male chorus (1877) ; vocal works
with orch. incl. ' foncfrou Kathc'
lijne" scena for alto (1879) I *' Afuse
der Geschiednis " (1880) ; and ** Hue-
bald," " Triomfmarsch " (1880) ;
grand cantata *' De Rhyn " (1889) \ a
mass, etc. Wrote **Z>^ vlaamsche
Alusiekschool van Antwerpen
(1873), *' Verhandelung over de na*
tionale Toonkunde" (2 vols., 1877-
79), etc.
Ben' son, Harry, b. Birmingham, Eng-
land, Dec. 14, 1848 ; pupil of Dea
kin and Browning in England antf
at N. E. Cons., Boston, where hf
was for years instructor ; since 189I
with Boston Training School of Mu*
sic ; cond. of various choral societies ,
active devotee of Tonic Sol-fa.
Benvenuti (b^n-va-noo'-te), Tomma«
so, b. Venice, 1832 ; dram, com-
|>oser.
Berardi (ba-rar'-de), Ang., b. Bologna.
168 1 ; conductor and theorist.
B6rat (ba-ra), Fr., Rouen, 1800-'
Paris, 1855 ; composer.
Berbigpiier (b£r-bYg-ya), Benoit
Tranquille, Caderousse, Vaucluse,
1782— near Blois, 1838; flute-vir
tuoso and ccmposer.
If
350
THE MUSICAL GUIDE
Berchem (or Berghem) (b^rkh'-^m),
Jachet de (also Jaquet, Jacquet,
and Giachetto di Mantova), Ber-
chem (?) near Antwerp, ca. I5(X) —
1580 ; contrapuntist and conductor.
Berens (ba-rens), (i) Hermann,
Hamburg, 1825 (?)— Stockholm,
1880 ; son and pupil of (2) K. B.
(1801 — 1857) ; court-conductor and
composer.
Beret ta, Giov. Batt, Verona, 18 19 —
Milan, 1876 ; theorist, editor, and
composer.
Berg (b^rkh), (i) Adam, 1540— 1599;
music-printer, Munich. (2) Jn. von,
1550; music-printer, Ghent, Nlirn-
berg* (3) G., German composer in
England, 1763-71. (4) Kon. Mat.,
Colmar, Alsatia, 1785 — Strassburg,
1852 ; violinist, pianist, and writer.
Berger (b^r g«r). (i) L., Berlin,
1777 — 1839; trom 1015 pf.-teacher
and composer. (2) Francesco, b.
London, June 10, 1834 ; pupil of
Ricci and Lickl (pf.), Hauptmann
and Plaidy ; pf.-prof. R. A. M., and
Guildhall Sch, of Mus.; for years
dir., now sec, Philh. ; composed an
opera, a mass (prod, in Italy), etc.;
wrote ** First Steps at the Piano-
forte.^^ (3) Wm., b. Boston, Mass.,
U. S. A,, Aug. 9, 1861 ; taken by
parents to Bremen ; pupil of Kiel,
etc. ; lives Berlin as teacher and com«
poser; 1898 won a prize of 2,000
marks, with a setting of Goethe's
** Meine Gottin " (opx, 72) ; composed
** Cesang der Geistcr iiber den Was*
sern" mixed choir and orch. in over-
ture form, a dram, fantasy, etc. (4)
Siegfried. Vide chelius. (5) Otto,
Machau, Bohemia, 1873 (?) — 1897 ;
'cellist.
Berggreen (b5rkh*-gran),Andreas P.,
Copenhagen, 1801 — 1880 ; teacher.
Berghem. Vide brrchem.
Bergmann (b^rkh'-man), K., Ebers-
bach, Saxony, 1821 — New York, Aug.
16, 1876; in America, 1850, with
**Germania"Orch., later its cond., till
1854; cond. '* Handel and Haydn"
Soc. Boston, 1852-54 ; in 1855 alter-
nate cond. Philh. Soc, New York ;
1862-76, sole cond ; also cond.
*' Arion " Society ; active in introduc-
ing Wagner, Liszt, etc., to America.
Bergner (b^rkh -ntr), Wm., b. Riga,
Nov. 4, 1837 ; organist ; founded a
Bach Society and a cathedral choir.
Bergonzi (b^r-gon'-tse), (1) Carlo,
1716-1755 ; vln. -maker at Cremona,
best pupil of Stradivari. His son (2)
Michelangelo', and his 2 nephews,
(3) Niccolo and (4) Carlo, were less
important. (5) Benedetto, Cremona,
1790 — 1840 ; horn-player and invent-
or.
Bergson (b£rkh'-zun), Michael, b.
Warsaw, May, 1820; pianist and
composer; pupil of Schneider, Run-
genhagen, and Taubert, Paris (1S40);
Italy, 1846, where his opera ** Louisa
di Mont/ort^^ was succ. (Florence,
1847) ; Paris, 1859, prod, a i-act op-
eretta ; 1863, 1st pf.-teacher and
soon dir. Geneva Cons. ; later in Lon-
don as teacher.
Bergt (berkht). Chr. Gl. Aug., b.
Oderan, Sa.xony, 1772 — Bautzen,
1837 ; organist, violinist and con-
ductor.
Beringer (ba'-rlng-^r), (i) Robert, b.
Furtwangen, June 14, 184 1 ; 1861
pianist at the Crystal Palace ; cond.
of societies, and lecturer. . (2) Oscat,
b. Fflrtwangen, July 14, 1844 ; \yro. of
above ; pupil of Plaidy, Moscheles,
Leipzig Cons., 1864-66 ; later of
Tausig, Ehrlich, and Weitzmann,
Berlin ; teacher there, 1869 ; London,
187 1 ; since 1873 pf.-prof. in R. A.
M. ; composed Technical Exercises,
etc.
B6riot (da bar-y5), (1) Chas. Auguste
de, Louvain, Feb. 20, 1802 — Brus-
sels, April 8, 1870 ; vln. -virtuoso ;
pupil of Viotti and Baillot, but chiefly
of his guardian, Tiby ; at 9 he played
a concerto; 1821, made a brilliant
debut, Paris ; chamber-violinist to
the King of France, solo-violinist to
the King of the Netherian is (1826-30);
^ 830-35 toured Europe with Mmc.
Garcia- M a libran, whom he m. in
DICTIONARY OF MUSICIANS 351
1836 ; from 1843-52, prof, at Brussels
Cons.; became blind and paralysed
in left arm ; pub. method and 7 con-
certos, etc., for vln. (2) Chas. Vil-
fride de, b. Paris, Feb. 12, 1835 ; son
of above ; pupil of Thalberg ; prof.
of pf,. Paris Cons. ; composed sym-
phonies, etc.; v/rote with his father
a **M/ihodf d*accompagnement.**
Berlija (or Beriyn) (b&r'-Ien), Anton
<or Aron Wolf(?), Amsterdam, 181 7
— 1870 ; conductor.
Berlin (b&r'-len), Jn. Daniel, Memel,
1 7 10 — Drontheim, Norway, 1737 ;
organist and writer.
Berlioz (bar-lY-6s not bai^lY-o), Hec-
tor (Louis), Cote-Saint-Andre, near
Grenoble, France, Dec. 11, 1803 —
Paris, March 9, 1869; ** Father of
modem orchestration " ; conductor,
critic, writer of verse and electric
prose ; sent to Paris to study med-
icine, he accepted disinheritance and
took up music, though he could never
play any instr. save the guitar and
flageolet; while pupil at the Cons., he
earned a bare living ; joined the chorus
of the Gymnase Dramatique ; left the
Cons, in' disgust with Reicha*s forma-
lism, and plunged with characteristic
energy — or rather fury — into the cause
of romanticism ; 1825, an orchestral
mass given at St. Roch brought the
ridicule he usually had in France
where he was little thought of as a
composer though admired as a writer*^
1828 saw the production of two over-
tures ** Waver ley''* and " Lis Francs-
Justs^'* and a Symphonie fantastique,
*'^ Episode de la vie d'un artiste";
1829, his ** Concerts des Sylphes^^
publicly produced at 26, show him
an ardent believer in programme-
music ^vide D. D.) and a marvellous
virtuoso in instrumentation. He re-
entered the Cons, undor Lesueur, in
spite of Cherubini, who fought his ad-
mission ; 1830, he took the Prix de
Rome with a cantata, *' Sardana-
pale*\' after 18 months in Italy
he returned to Paris and took up
}ou«^vpUsm with marked success. His
symphony ** Harold en Italie" (1834),
the '' Messe des Aforts ** {1S37), the
dram, symphony " Romio et Juli"
ette" with vocal soli and chorus
(1839), and the overture ** Carn/val
romain^" were well received, bilt the
2-act opera semi-seria ^^ Benvenuto
Cellini^ failed both in Paris and in
London, 1838. In 1839 he was made
Conservator of the Cons. ; librarian,
1852, but was never made professor
as he desired. Concert tours through
Germany and Russia, 1843-47, were
very successful and are described in
his book ** Voyage musical.** London
(1852) he cond. the ** New Philh.
Concerts "; prod, comic opera " B/at-
rice et BM/dict** (1862, Baden-Ba-
den) ; 1865, member of the Academie,
and decorated with cross of Legion
of Honour. He m. Henrietta Smith-
son, an Irish actress who made a sen-
sation in Paris in Shakespearian
roles, but later was hissed off, and
became a peevish invalid.. His opera,
"Z>x Troyens i Carthage** (1863)
was a failure. His son. Louis died
1867. *' Les Troyens** in two
parts ; La Prise de Troie^ 3 acts,
and Les Troyens h Carthage^ in 5
acts was given complete for the first
time, at Carlsruhe, 1897. His most
succ. work was his ** oratorio," " Za
Damnation de Faust** (1846). His
** Traits d* instrumentation ** is a clas-
sic in orchestration, though its then
sensational modernity is lost. B.
strangely despised Wagner, who, how-
ever, confessed his large indebtedness
to B. Other books are ** Soirees
d*orchestre** (1853), ''Grotesques de
la musique** (1859), * -^ tr avers
chants** (1862), and an autobiogra-
phy, ** Mhnoires** from 1803-65.
In original verse are the text to the
sacred trilogy * * LEnfance du Christ *'
{Part /., Lesonge d^H/rode ; II., La
fuite en Egypte ; III., L'Arriv/e &
Sais) ; and his operas '* Les Troy-
ens ** and " Beatrice et B/n^dict.** He
composed also a ** TV Deum** for 3
choirs, orch. and org. ; a " Gramjh
352
THE MUSICAL GUIDE
svmpkonie funibre ei triomphaU " for
mil military band, with strings and
chorus ad lib. ; overture to " £^
Corsaire''; '' U Cinq Mai,'' for
chorus and orch. (on the anniversary
of Napoleon's death), etc. .
Berlioz.
By Ernest Newman.
BERLIOZ'S early influences were as much literary as musicaK Hit
reading was mainly romantic ; his musical gods were Beethoven ,
Weber, and Gluck, whose orchestral works influenced him most.
He knew little of Beethoven's piano writings, and did not like Bach. ^ Into
the intellectual world of the Beethoven symphony and the operas of Gluck
tnd Weber he breathed the newer, more nervous life of the French Roman-
debts. Colour and sensation became as important as form and the pure idea.
^[ These mfluences and his literary instincts led him to graft the programme
iorm on the older symphony. All his music aims at something concrete.
Instead of the abstract world of the classical symphonists he gives us definite
emotions, or pamts definite scenes. Colour, passion, and veracity were the
prime needs ; form had to follow their guidance. Hence both his suc-
cesses and his failures. His virtue is truth and vivacity of expression ; his
defect the pursuit of these to the detriment of the musical interest. *f[All
modem programmists have built upon him — Liszt, Richard Strauss, and
Tschaikowsky. Wagner felt his influence, though he belittled it. ^jHis
own words, **l have taken up music where Beethoven left it," indicate his
position. He is the real beginner of that interpenetration of music and the
poetic idea which has transformed modern art.
Berlyn, Anton. Vide berlijn.
Bermudo (b^r-moo'-dha), Juan, As-
torga, ca. 1510; writer. ,
Bernabei (b^r-na-ba -e). (i) Gius. £r-
cole, Caprarola, ca. 1620 — Munich,
1687 ; 1672 cond. at the Vatican ;
1674 cond. at Munich ; composed
three operas (prod, in Munich), etc.
(2) Gius. A., Rome, 1659 — Munich,
1732 ; son of above and his successor
at Munich.
Bemacchi (b^r-nak'-ke), A., Bologna,
ca. 1690 — 1756 ; soprano-musico, en-
gaged by Handel for London, 1729,
as the greatest living dram, singer ;
1736 founded a singing-school at Bo-
Jonia.
Bernard (bJr-nar, in F.), (i) Emery, b.
Orleans, France, i6th cent.; wrote
method of singing. (2) (b*r'-nart, in
G.), Moritz, Kurland, 1794 — St.
Petersburg, 1871; pianist and teacher.
(3) Paul, Poitiers, 1827 — Paris, 1879 ;
composer and writer. (4) Daniel»
1841 — Paris, 1883 ; writer. (5)
£mile, b. Marseilles, Aug. 6, 1845 ;
organist of Nutre-Dame-des-Champa,
Paris ; important composer of vln.«
concerto ; concert-stUck for pf. with
orch,; overture *^ Beatrice ^^ ; 2 can*
tatas ; much chamber-music, etc.
Bernardel. Vide lupot.
Bemar'di, (i) Steffano, ca. 1634 1
canon at Salzburg ; theorist and
DICTIONARY OF MUSICIANS 353
•M
poser, (a) Francesco. VidesENE-
8IN0. (3) EnricOi b. Milan, 1838 —
1900; conductor and dram, com-
poser.
Bemardini (b^r-nar-de'-ne), Marcello
('* Marcello di Capua "), b. Capua,
ca. 1763 ; dram, composer.
Bemasco'nii (i) Andrea, Marseilles,
1712 — Munich, 1784 ; court-conduc-
tor, (a) P., d. Varese, May 27,
1895 ; org^an- builder.
Bcmeli'nus, lived in Paris, 1000;
probably a Benedictine monk ; theo«
rist and writer.
Bcr'ner, Fr. Wm., Breslau, 1780—
1837 ; organist.
Bernhard (b^r.n&r), (St.), Fontaines,
Buigundy, 1091 — 1153; abbot and
theorist.
Bernhard (b^m'-hart), (i) der
Deutsche (dSr doit'-sh£) ; organist,
Venice. 1445-59 1 known as ** Ber-
nado di Steffanino Murer ** ; perhaps
in v., certainly introduced, into Italy,
the organ-pedal. (2) Chr., Danzig,
161* — Dresden, 1692 ; court-con-
ductor and notable contrapuntist.
Bemicat (bdr-n!-kai), Firmin, 1841 —
Paris, 1883 ; dram, composer.
Ber'no, Aug^en'sis, d. Riechenau,
1048 ; abbot and theorist.
Bemouilli (b&r-noo-e-ye), (i) Jn.,
Basel, 1667—1747. His son (2)
Daniel, Groningen, 1700 — Basel,
1782, also was prof, and writer on
acoustics.
Bems'dorf, Eduard, Dessau, March
25, 1825 — 1901 ; Leipzig critic and
composer.
Bemuth (b&r'-noot), Julius von, b.
Rees, Rhine Province, Aug. 8, 1830 ;
studied law and music at Berlin,
1854 ; studied at Leipzig Cons, till
1857 ; founded the ** Aufschwung
Society," and 1859 ** Dilettante's Or-
chestral Society " ; also 'Cond. 3 other
societies ; later cond. at Hamburg ;
1873, dir. of a cons, there ; 1878,
•* Royal Prussian Professor."
Berr (b^r), Fr., Mannheim, 1794 —
Paris, 1838 ; bandmaster; 1831, prof.
of dar., Paris Cons.; 1836, dir. School
of Military Music ; writer and com*
poser.
Berr 6 (b^r-ra), F., b. Ganshoren, near
Brussels, Feb. 5, 1843 ; composed
operas.
Bersel'li, Matteo, Italian tenor ;
London, 1720-21.
Bertali (b^r-ta-le), Ant., Verona,
1605 — Vienna, 1669 ; court-conductor
and dram, composer.
Bertani (b^r-ta-ne), Telio, i6th cent.;
court -conductor.
Ber'telmann, Jan. G., Amsterdam,
1782 — 1854; prof, and composer.
Ber'telsmann, K. Aug^., (jutersloh,
Westphalia, 1811 — Amsterdam, 1861;
director and composer.
Berthaume (b^r-tum), Isidore, Paris,
1752 — St. Petersburg, 1802 ; violinist
and conductor.
Berthelier (b<<r-t5l-ya), H., solo-violin-
ist, Paris Opera, 1894,
Berthold (bgr'-tolt), K. Fr. Theodor,
Dresden, 1815 — 1883; court-organist,
Berti (b^r-te), M. A., Vienna, 1721—
1740; barytone-player.
Bertin (b^r'-taii), Louise Ang^^lique,
Roches, near Paris, 1805 — Paris,
1S77 ; singer, pianist and dram, com*
poser.
Bertini (b^r-te'-ne), (i) AbbateGius.,
Palermo, 1756 — 1849(?); "court-cond.
and lexicographer. (2) Benoit
Auguste, b. Lyons, 1780; writer.
(3) H. Jerome, London, 1798—
Meylau, near Grenoble, 1876 ; bro.
and pupil of above ; pianist and
composer ; at 12, toured the Nether-
lands and Germany ; retired, 1859 ;
wrote technical studies. (4) Dom.,
Lucca, 1829 — Florence, 1890; teach-
er, critic, theorist and director.
Bertinot'ti, Teresa, Piedmont, 1776—
Bologna, 1854; operatic soprano; m.
Felix Radicati, a violinist and
composer.
Bertolli (tol'-lY), Fran., Italian singer
in Ilandels operas, London, 1729-'
37-
Berton (b^r-toh), (i) P. Montan,
Paris, 1727—1780; conductor grand
opera and dram, composer. (2) H*
354
THE MUSICAL GUIDE
Montan, Paris, 1767 — 1844 ; son of
above ; composer. (3) Francois,
Paris, 1784 — 1832 ; natural son of
(2) ; pupil, later prof, of singing, at
Cons. ; composed operas and songs.
Berto'ni, Fdo. Giu., Venice, 1725 —
Desenzano, 1813 ; organist and dram,
composer.
Bertram (Mr -tram), Th., b. Stutt-
gart, Feb. 12, 1869 ; barytone ;
studied with his father ; sang in various
German cities lately with his wife,
Fanny Moran Olden.
Bertrand (bdr-tran), J. Gv., Vaugi'
rard, near Paris, 1834 — Paris, 1880;
writer and critic.
Berwald (bfir'-vSlt), (i) Jn. Fr., Stock,
holm, 1788 — 1 861 ; precocious violin-
ist, etc. ; pupil of Abb^ Vogler ; com-
posed a symphony at 9. (2) Fz.,
Stockholm, 1796 — 1868 ; nephew of
above ; dram, composer.
Berwillibald (b£r-viMI-baIt). G. G.»
German singer in London, 17 16.
Berwin (b^r'*ven), Adolf, Schwersenz,
near Posen, 1847 — Rome, 1900 ; dir.
Cecilia Academy, Rome ; writer.
Besard (ba-zilr), Jn. Bap., b. Besan-
9on, ca. 1576; writer.
Beschnitt (b£-shnYt'), Jns., Bockau,
Silesia, 1825 — Stettin, 1880; con-
ductor.
Besekirsky (ba-z^.ker'.shkY), Vasil
Vasilevitch, b. Moscow, 1836 ; con-
cert violinist and composer.
Besler (basM^r), (i) Samuel, Brieg,
Silesia, 1 5 74 — Breslau, 1625 ; rector
and composer. (2) Simon, cantor
at Breslau, and composer, 1615-28.
Besozzi (ba-s6d'-ze), the name of 4
brothers, all oboists except (3). (i)
Ales., Parma, 1700 — Turin, 1775.
(2) Antonio, Parma, 1707— Turin,
17S1 ; (3) Hieronimo, Parma, 171 3
— Turin (?), bassoonist. (4) Gaeta-
no, b. Parma, 1727. (5) Carlo, b.
Dresden, 1745 ; oboist, son of (2).
(6) Hieronimo, d. 1785 ; son of (3) ;
oboist. His son (7) Henri was a
flutist, and father of (8) Louis D6-
sir^, Versailles, 1814— Paris, 1879;
teacher and compos«ur.
Bessems (b^s'-sams). A., Antwerp
1809 — 1868 ; violinist and composer.
Besson (btis-s6n), Gv. Aug^., Paris,
1820 — 1875 ; improver of valves in
wind-instruments.
Best, Wm. T., Carlisle, Engl., Au^r.
13, 1826 — Liverpool, May 10, 1897 ;
org. -virtuoso ; pupil of Young ; or-
ganist at various ch.,and the Phillu
Society ; in i83o, declined knight-
hood, but accepted Civil- List pen-
sion of ;£'ioo per annum ; 1894,
retired; 1890 went to Sydney, Aus-
tralia, to inaugurate the organ in the
new Town Hall ; composed overtures,
sonatas, preludes, etc, for organ,
also 2 overtures and march for orch« ;
and pf. -pes. ; wrote** The Art of Ot"
gan-playing^^ etc.
Betts, J. & Edward, London ; vln—
makers ; pupils and successors of K«
Duke, 1760-80.
Betz (b£ts), Fz., Mayence, March 19,
1835 — Berlin, Aug. 12, 1900 ; bary-
tone ; created *' Wotan, ** and **Han«
Sachs."
Beuer (boi'-£r), Elise, b. Carlsbad;
soprano, studied in 1892 at Vienna ;
City-Theatre, Leipzig; 1899, Ham-
burg City Theatre.
Beunter (boin'-t$r), Benj., Mahl-
hausen, 1792 — 1837; ot^nist and
composer.
Bey'an, Fr. Chas., b. I^ndon, July 3.
1856 ; pupil of Willing and Hoyte ;
organist various churches ; then stud-
ied singing with Schira, Deacon and
Walker ; 1877 Gentleman of the
Chapel Royal ; composed pop. sod£^.
Bevig^ani (ba-ven-yH'-ne), Cavaliete
Enrico, b. Naples, Sept. 29, 1841 ;
pupil of Albanese, Lillo, etc., ist
opera, ** Cater ina Bloom ^ succ. ;
Czar made him Knight of the Order
of St. Stanislas, which gives nobility
and a life-pension ; chiefly noted as
cond. in London, Moscow and New
York.
Bey' in, Elway, Wales, i56o(-7o?)
— 1640 (?) ; Gentleman of the Chapd
Royal ; organist, writer and com*
posf^r.
DICTIONARY OF MUSICIANS 355
Bez'field, Wm. Rd., Norwich, 1824
^London, 1853 ; organist and com-
poser.
Beyer (bT'-£r), (i) Jn. Samuel,
Gotha, i66o---Carlsbad, 1744; direo
tor. (2) Rudolf, Wilther. 1828—
Dresden, 1853 ; composer. (3) Fd.,
Querf urt, 1805 — Mayence, 1863 ;
composer.
Biagrgi (be*£d'-je), Gir. Ales., Milan,
18 15 — Florence, 1897; prof., dram,
composer, writer under pseudonym
"Ippolitod'Albano."
Bial(be'.al),(i}Rudolf,Habelschwerdt,
Silesia, 1834 — New York, 1881 ; vi-
olinist, writer and cond. (2) K.,
Habelschwerdt, 1833 — Steglitz, near
Berlin, 1892 ; bro. of above ; pianist.
Bianchi (be-fin'-ke), (1) Fran., Cre-
mona, 1752 — Bologna, 181 1 ; organist;
composed 47 operas. (2) Valentine,
Wilna, 1839— Candau, Kurland,
1884 ; dram, soprano ; debut, 1855.
(3) Bianca (rightly Schwarz), b. in
a village on the Neckar, June 27,
1858; dram. -soprano; pupil of WiU
czek and Viardot-Garcia ; PoUini
paid her tuition and then engaged
her for 10 years; debut Carlsruhe,
1B73. (4) Eliodoro, composed
operas ; ** Cara d* A more " (Ban,
1873) ; " Sarah " / " AhfiaHwrr
^ianchini (be-Sn-ke'-ne), P., b. Ven-
ice, Oct., 18, 1828 ; violinist, cond.,
1878-87, teacher at Trieste, then dir.
School of the Padri Armeni, Venice ,
composer.
Biber (bc'-b^r), (i) H. Jn. Fz. von,
Wartenberg, Bohemia, 1644 — Salz-
burg, May 3, 1704 ; violinist, and
one of the founders of the German
school of vln.-playin? ; Leopold I.
ennobled him. (2) iUoys, Ellingen,
1804 — Munich, 1858 ; piano-maker.
Btbl (beb'.'I), (I) Andreas, Vienna,
1797 \ organist and composer, as was
his son (2) Rudolph, b. 1832.
Bledermann (be'-d^r-man), (i) ,
about 1 786 tax-receiver at Beichlingen,
Thuringia ; a real virtuoso on, and
improver of, the hurdygurdy. (2)
Eaw* JnliuSi b. Milwauk«:e, Wis.,
Nov. 8, 1849 (son and pupil of (3)
A. Jttlittfi); studied in Germany;
since 1888 organist St. Mary's R. C.
Church, New York.
Biehl (bel), Albert, b. Rudolstadt,
Germany, Aug. 16, 1833 ; writer of
valuable works on finger technic ; and
composer.
Bierey (ber'-T), Gl. Benedikt, Dres-
den, 1772 — Breslau, 1840; conductor
and dram, composer.
Biese (be'-z^), Wm., b. Rathenow,
1822 ; piano-maker, Berlin.
Bigasflia (be-gal'-ya). Padre Dio-
genio, 1725 ; Benedictine monk and
composer.
Bignami (ben-ya-me), (i) Carlo, Cre-
mona, Dec. 6, 1808 — Voghcra, Aug.
2, 1848; cond., violinist and dir.,
Cremona ; Paganini called him ** the
first violinist of Italy.** (2) Enrico,
1842 (?) — Genoa, 1894; violinist^
dram, composer.
Big;nio (ben -yd), Louis von, b. Pesth,
1839; lyric barytone ; Vienna Court-
Opera ; pensioned, 1883.
Bigot (be-go), M. (nee Kiene), Col-
mar. Upper Alsatia, 1786 — Paris,
1820; pianist.
Bilhon (or Billon) (be.y6n), J. de,
i6th cent. ; composer and singer in
the Papal Chapel.
Billema (beMa -ma), (i) Cario (b.
Naples, ca. 1822) and (2) Raffaele
(Naples, 1820 — Saintcs, Dec. 25,
1874), brothers ; pianists, and com-
posers.
Billcrt (bel'-l^rt), K. Fr. Aug., Alt-
stettin, 1821 — Berlin, 1875 ; painter
and writer.
Billet (be-ya), Alex. Ph., b. St.
Petersburg, March 14, 1817 ; pianist
and composer.
Billeter (be-yii-tn), Agathon, Manne
dorf. Lake of Zurich, Nov. 21, 1834;
organist, conductor and composer of
pop. part-songs.
Biriing;s, Wm., Boston, Mass.,
Oct. 7, 1749 — Sept. 29, 1800; com-
posed hymns ; introduced the pitch-
pipe and the 'cello into American
church-choirs, and is said to havt
356
THE MUSICAL GUIDE
given the first concert in New Eng-
land.
Bil'ling^on, (i) Th., pianist, harp-
ist and composer, latter part of i8th
cent. (2) Elizabeth (nee Weichsel),
London, ca. 1768 — near Venice, Aug,
23, 18 18 ; pupil of her father, a clar-
inettist ; then of J. Chr. Bach ; hand-
some operatic soprano, had a compass
of 3 octaves, a-a (Vide pitch, d. d.),
1784, Dublin ; 1786, Covent Garden;
retired, 18 18.
Biilrot(h) (bel'-rot), (i) Jn. Gv. Fr.,
Halle, near LUbeck, 1808 — Halle,
1836 ; composer and writer. (2)
Theodor, Bergen, Isle of RUgen,
1829 — Abbazia, 1894 ; surgeon and
writer.
Bilse (bcl'-s^), Benj., b. Liegnitz, Aug.
17,1816; " Stadtmusikus " at Lieg-
nitz, and trained a remarkable or-
chestra ; retired 1894 as " Hofmusi-
kus."
Binchois (Gilles de Binche, called
Binchois) (b^nsh-wa), Binche, in
Belgian Hainault, ca. 1400 — Lille,
1460 ; one of the early Netherland
composers ; 3-part chanson, ron-
deaux, etc. , of his are extant.
Binder (btnt'-«r), (r) K. Wm. Fd.,
b. Dresden, 1764 ; han>-maker at
Weimar, ca. 1797. (2) K., Vienna,
1816 — 1860 ; conductor and dram,
composer.
Bini (bc'-nc), Pasqualino, b. Pesaro,
ca. 1720 ; violinist. •
Bioni (be-o'-ne), A., b. Venice, 1698 ;
composed 26 operas.
Biotdi (be-6r'-de), Giov., Commis-
sioned by Pope Benedict XI 1 1, to
supplement Palestrina's ser\'ice ; this
was used till 173 1.
Birch, (i) C. Anne, b. ca. 1815 ; pop.
singer ; retired 1856. (2) Eliza, ca.
1830 — 1857 ; sister of above ; sopra-
no.
Birch'all, Robt., d. 18 19; music-pub-
lisher, London.
Birckenstock (b^r'-k^n-shtok), Als-
feld, 1687 — Eisenach, 1733 ; con-
ductor.
Bird, (i) Wm. Vide byrd. (2) Arthur,
b. Cambridge, Mass., July 23, 1856;
pupil of Haupt, L<)schhom, and
Rohde, Berlin, 1875-77 \ organist and
teacher at Halifax, N. S.; founded
. the first male chorus in N. S,, r88i ;
studied comp. and orchestration with
Urban, Berlin ; 1885-86 with Liszt at
Weimar ; 1886, gave a successful
concert, and has lived since, in Berlin,
GrUnewald ; composed symphony and
3 suites for orch. ; various pieces for
piano ; comic opera *' Dapkne " (New
York, 1897) ; and a ballet, ** RUbe*
Birkler (ber'-kl^r), G; Wm., 1820—
1877 ; composer and writer.
Bimbach (bem'-bakh),. (i) K. Jos.,
Kopernick, Silesia, 1751 — Warsaw,
1805 ; conductor. (2) Jos. Benj.
H., Breslau, 1795 — Berlin, 1879,
pianist and composer ; son and pupil
of above.
Bisaccia (be-saLt'-cha), Giov., 1815-^
Naples, 1897 ; singer, conductor and
dram, composer.
Biscacdanti (bes-kat-chan'-te), Eli-
za (nee Ostinelli), Boston, Mass.,
1824 (7?)— 1896; sang in America
and Euro|3C, in opera and concert ;
teacher in Rome and elsewhere ; m.
Marquis B.
BischofF (besh'-oO, (i) G. Fr., Ellrich,
Harz Mts., 1780— Hildesheim, 1841 ;
conductor ; founded the German mus.
festivals. (2) L. Fr. Ch., Dessau,
1794 — Cologne. 1867 ; translator ;
son of (3) K. B., court-mus., Dres-
den. (4) Kasper Jakob, Ansbach.
1823 — Munich, 1893 ; teacher and
composer. (5) Hans, Berlin, 185a —
Niederschftnhausen, n«ar Berlin, 1889;
pf.-teacher, conductor and editor.
Bishop, (i) Sir H. Rowley, London,
Nov. 18, 1786— April 30, 1855 ; noted
Engl, composer ; pupil of Bianca ; his
first opera, ** The Circassian Bride ^^*
was prod. Drury Lane, when he was
20; 1810-11 comp. and cond. at Co-
vent Garden ; 1813 alternate cond.
Philh. Soc.; 1825 cond. at Drarv
Lane ; 1830 musical dir. at Vauxhall;
1841-43, prof, music, Edinburgh %
DICTIONARY OF MUSICIANS 357
knighted, 1842 ; 1848 prof, of music
at Oxford ; 1853, Mus. Doc. (Oxon);
prod, over 80 operas, farces, ballets,
an oratorio, cantata, etc. (2) J.,
b. Cheltenham, 18 14 ; organist, editor
and composer.
Bispham (brsp'-ham), David, b. Phil,
adelphia, ca. 1800 ; dram, barytone ;
sang in church and oratorio ; 1885-87
pupil of Vannuccini and Wm. Shakes-
peare ; from 1891 in opera at Covent
Garden, and America, with much
success and versatility; and also in re-
citals, in both of which fields his high
dramatic intelligence plays an unusual
part ; is brilliant in comic or tragic
situations ; knows more than 40 roles.
Bit'ter, K. Hermann, Schwedt-on-
Oder, 1813— Berlin, 1855 ; Prussian
Minister of Finance, and writer.
Bitto'ni, Bdo., Fabriano, 1755 — 1829 ;
organist.
Bizet (be-za). G. (Alex. C^sar Leo-
pold), Paris, Oct. 25, 1838— Bougi-
val, June 3, 1875 ; brilliant pianist
and distinguished composer. At 9,
pupil at Paris Cons, of Marmontcl
(pf.), Benoist (ore.), Zimmerman
(harm.), and Halevy (whose opera
"AW" he finished, and whose
daughter Genevieve he m.) ; 1857,
took Offenbach ist prize for an opera
buff a, ** Z,^ Docteur Miracle^^ prod,
at Bouffes Parisiens, 1863 ; also won
the Grand Prix de Rome. In place of
the Mass prescribed he sent ircin
Rome a 2-act lul. opera buff a ^^ Don
Procopio " / 2 movements of a sym-
phony, ** La Chasse D Ossian^^ an
overture; and **/,« Gutta de VE*
mir^^ ^. comic opera. 1836, his grand
opera '' Les Picheurs de J'eries,'*
was prod. Paris (Th. Lyrique) ; it
failed, as did ** La Jolie rille de
Perth " (1867), and the i-act ** Dja-
mileh " (1872). In all his music B.
revealed a strong leaning toward
Wagner, then so unpopular in
France ; but 1872, his overture **^tf-
iriey* the 2 symphonic movements,
and incidental music to Daudet's
VArUsienne, brought him success ;
and ** Carmen " (Opera-Com., March
3, 1875) brought him a fame, which
he hardly knew, as he died three
months later of heart disease ; he com-
posed also 2 operas, '* Numa '* (1871)
and *'/van U Terrible ** ; 150 pf.-pcs.,
songs, etc.; collaborated with De-
libes, Jonah and Legouix in opera
** Malbrough^ sen va-Uen^guerreC*
Biog. by Pigot, 1886.
Bizet.
Br Edward E, Ziegler.
AS Bizet's last work was his best, it is logical to argue that his un«
timely death has cheated us of compositions more valuable than
'* Carmen ;^* but beyond mere conjecture such an estimate can
have no value and his rank among opera-composers must be determined bjr
Carmen. That the stage was his real field, is proven clearly by the per-
astency with which he composed for it, and a study of his different effi>rts
proves Jie wisdom of his choice, for there are no masterpieces among his
songs, or among his piano-compositions, and even his most successful orches-
tral number is the " First Suite '* compiled for his incidental m\i%xg to
Daudet's ** V ArlesienneJ** ^W" early letters confess his musical creed :
Mozart and Beethoven, Rossini and Meyerbeer ; this is catholic, to say
the least, but later he acknowledged his preference for the Germans in gen«
358
THE MUSICAL GUIDE
en! tnd Beethoven as the master of all. But Bizet was a stranger to the
larger forms in music — for two years he toiled intermittingly at a symphony
and produced only the '' Roman Suite " as a result — and his work shows
more tendency to follow Gounod's teaching than that of his high ideals.
He was bitterly accused of being a follower of Wagner ; Paris, knowing so
lamentably little of Wagner's music, then condemned that of Bizet's, which
it did not like or could not understand, by labelling it " Wagnerian," and
thus put it hopelessly beyond the possibility of discussion. As a matter of
fact there is no trace of Wagner to be found in Bizet's music, and the only
resemblance between the two is that both were innovators who presented
their theories about dramatic art in practical forms, proving them by their
operas* ^ Bizet realised the sorry state of the French operatic stage, but
contented himself with an effort at reforming the minor stage of the Opera-
Comique, and it is doubtless due in a great measure to the precedent of
** Carmen^* that to-day the Opera- Comique is on a higher artistic plane
than the Opera. ^A direct musical influence it would be difficult to trace
to Bizet. As an orchestral colourist he had been outdone and outdared by
even his contemporaries ; nor did he bequeath to us a new art- form. But
because he demanded a more sincere libretto than any of those with wluch
that maker of marionette opera-books. Scribe, had conjured all Paris, and
because in his music he did not fear contact with throbbing life, he com-
mands our respect. His work shows a musical sincerity foreign to French
composers generally, and he deserved a better fate than a sequence of failures
ending with an early death.
Blaes (bias), (i) Arnold Jos., Brus-
sels, 1814 — 1892 ; clarinettist. (2)
M. Elisa, Antwerp, 1820, wife of
above ; teacher.
Bla'groYe, (i) H. Gamble, Netting-
ham, 1811 — London, 1872 ; violinist.
(2) Richard Manning^, Notting-
ham, 1827 — London, 1895 ; bro. of
above ; viola prof. R. A. M.
Blahas: (bl&'.hakh) (or Blahak), Jo-
sef, Raggcndorf, Hungary, 1779 —
Vienna, 1846 ; tenor, conductor, and
composer.
Blahet'ka (or Plahet'ka), Marie-
L^opoldinei Guntramsdorf, near
Vienna, i8n— Boulogne, 1887; pi-
anist and dram, composer.
Blainville (bUn-ve'-yti), Chas. H.,
near Tours, 171 1 — Paris, 1769; 'cel-
list, writer and composer.
Blake, (i) Rev. Ed., b. Salisbury, d.
1765. (2) Chas. Dupee, b. Waloole,^
Mass., Sept. 13, 1847; pupil of J. C.
D. Parker, J. K. Paine, etc.; organist
Union Ch., Boston, and composer.
Blamont (bU-mon), Fran. Colin de,
Versailles, 1690— 1760; supt. of the
King*s music and composer.
Blanc (blan), Adolphe, b. Manosque,
Basses- Alpes, June 24, 1828 ; pupil
Paris Cons, and of Halevy; com-
posed 3 operas.
Blanchard (bUn-shSr), H. L., Bor.
deaux, 1778— Paris, 1858 ; violinist
and critic.
Blanckenburgh (bIank'-£n-boorkh>,
Gerbrandt van, organist at Gouda,
17th century. Vide blankenburqh*
Blancks, E(lw., English composer^
z6th cent.
DICTIONARY OF MUSICIANS 359
Bland (bUnt), (i) Maria Theresa
(n^ Romanzini), 1769 — 1838 ; pop.
Italian singer in England ; married
an actorT Bland, and had two sons.
(2) Chas., tenor. (3) James, 1798—
1861, bass.
Bljuigini (bl&n-je'-ne), Giu. Marco,
M. Felice, Turin, 1781 — Paris,
1 841 ; organist.
Blankenburg (bUnk-£n-boorkh), (i)
Quirin yan, Gouda, Holland, 1654
— The Hague, 1749 J probably son .
of Gerbrandt van Blancken-
BURGH (q. V.) ; organist and writer. (2)
Chr. Fr. von, Kolberg, Pomerania,
1744 — Leipzig, 1796; Prussian offi-
cer and composer.
Btarambergr (bla -rslm-b^rkh), Paul I.,
b. Orenburg. Russia, Sept. 26, 1841 ;
pupil of Balakirew ; lawyer, then ed*
i*or ; composed succ. operas, ^^ Maria
Tudor'* (St. Petersburg, 1882); ** The
First Russian Comedian*' ; '* Tusch^
insky '• (Moscow, 1895).
Bl&s. Vide blaks.
Blasius (blaz'.ytts), Mathieu Fr.,
I^uterburg, Alsatia, 1758 — Ver-
sailles, 1829 ; cond. Op. Comique,
Paris ; composer.
Blassmann (bliis'-man). Ad. Jos. M.,
Dresden, 1823 — Bautzen, 1891 ; pi-
anist, court-conductor and writer.
Blatt (bISt), Fz. Thaddkus, Prague,
1793 — (?) ; clarinettist and writer.
Blanwa^rt (blow'-vart), Emil, St.
Nicholas, Belgium, 1845 — Brussels,
T891 ; barytone.
Blauvelt (blou -f^lt). Lillian, b. Brook-
lyn, N. Y., i87o(?) ; soprano ; studied
Nat. Cons., N. Y., and in Paris; af-
ter years of success at home, toured
Europe since 1900 ; decorated in Italy
with the order of St, Cecilia ; m. Royal
Smith (1898 divorced) ; m. again 1901.
Blaze (blflz), (i) (Called Castil-Blaze)
Fran. H. Jos., Cavaillon Vaucluse,
1784— Paris, 1857 ; *• The father of
modem French musical criticism '* ;
son and pupil of Henri Sebastian B. ;
wrote scathing '* VOpA^a en France "
(1820) ; was made cntic on ** Journal
its D^bais^ where his articles wrre
signed ''XXX**; transl. libretti ol
German and Italian operas ; com«
posed 3 operas, several ** pastiches,'*
etc. (2) H., Baron de Bury, Avig-
non, 1813 — Paris, 1888 ; son of irfiove ;
writer.
Bletzacher (blat'-tsSkh-^r). Jos.,
Schwoirh, Tyrol, 1835 — Hanover,
1895 ; bass.
Bleuer (bloi'-«r). L., Buda-Pesth, 1863
— BeHin, 1897 ; violinist ; 1883-93,
leader of Philh. orch., Berlin; 1894,
of EHilh. Club, Detroit (Michigan).
Blew'itt, (i) Jonathan, London,
1782 — 1853 : organist and director ;
son and pupil of (2) Jonas, organist
aAd writer.
Blied (blet), Jacob, BrOhl-on-Rhine,
1844 — 1884 ; teacher and composerr
Blitheman, Wm., d. 1591; organl«»L
etc., at Oxford.
Bloch (bl6kh), G., b. Breslau, Nov.
1847 ; pupil of Hainsch, J. Schubet^
Taubert, and F. Geyer; teacher in
Breslaur's Cons., Berlin ; founded
Opera Society, 1879; composer,
Blockx (bldx), J an. I b. Antwerp, Jan.
25, 185 1 ; pianist and composer; pu-
pil, Flemish Mus. School ; from 1886,
teacher of harm, there ; 1901 suc-
ceeded Benoit, at Antwerp cons. ;
composed succ. operas, incl. ** Mattrt
Martin** etc.
Blodek (bl6d.«k), (i) P. K^%. L., Paris,
1784 — 1856; viola-player and dram,
composer. (2) Wm., Prague, 1834—
1874 ; prof, and dram, composer.
Bloom'field-Zeisler (tsls'-lSr), Fannj»
b. Bielitz, Austrian Silesia, July 16,
1866; pianist; at 2 was brought to
Chicago, where she still lives ; played
in public at 10 ; was pupil of Ziehn
and Karl Wolfsohn, and 1876-81 of
Leschetizky ; from 1883 has toured
America with distincrion ; from 1893,
Germany, Austria, England and
France with great success.
Blow, John (Mus. Doc. Oxon.), Col-
lingham, Nottinghamshire, 1648—
Westminster (London), Oct. i. 1708 ;
organist Westminster Abbey, 1680;
was superseded by Purcell. whom he
36o
THE MUSICAL GUIDE
in turn succeeded ; he is buried in
the Abbey ; 1674, organist and (1699)
composer to the Cluipel Royal ; be-
ginning to compose as a boy, he
achieved a vast amount, of church-
music.
Blum (bloom), K. L., Berlin, 1786—
July a, 1844 ; actor, singer, poet, or-
ganist, 'cellist, cond., and composer;
chamber-musician to the Prussian
Ct., 1822 ; stage mgr. ; prod, nearly
30 operas, ballets, songs, etc.; also
vaudevilles, which he introduced to
the German stage.
Blumenfeld (bloo'-m^n-f^lt), F., b.
Kovalevska, Russia, April 7, 1863 ;
pianist, pupil of Th. Stein ; took gold
medal at St. Petersburg Cons. ; com-
posed ^* Allegro de Concert^^ with or-
chestra, etc.
Blumenthal (btoo'-m^n-t&l), (i) Jos.
▼on, Brussels, 1782 — Vienna, 1850;
violinist and dram, composer. (2)
Jacob (Jacques), b. Hamburg, Oct.
4, 1826; pupil of Gnind, Bocklet,
and Sechter (Vienna), and 1846 of
Hen and Hal^vy ; after 1848 in Lon-
don ; pianist to the Queen, and com-
poser. (3) Paul, b. Steinau-on-
Oder, Silesia, Aug. 13, 1843; pupil
of R. A., Berlin, 1870; organist.
Frankfort-on-Oder ; from 1870, " R.
mus. dir. " ; composed masses, mo-
tets, etc.
Blttfliner (bloom'-n£r), (Dr.) Mkrtin,
FQrstenberg, Mecklenburg, Nov.
21, 1827 — Berlin, Nov. 6, 1901 ; pupil
of S. W. Dehn ; 1876, cond. of Berlin
Singakademie ; titles ** R. Musik-dir.'*
and ** Prof." ; composed 2 oratorios,
'^^ Abraham'' (i860), and '' Der Fall
Jerusalems " (1881) ; cantata Column
^j<j(i853)j Te Deum. etc.
Blttthner (blut'.n«r), Julius Fd., b.
Falkenhain, near Merseburg, March
II, 1824; piano-maker, Leipzig,
from 1853.
BoccatMidati (bok-ka-ba-da'-te), Lui-
gia, Parma — Turin, 1850 ; soprano.
Boccherini (bok-k^-re'-ne), Luigi,
Lucca, Italy, Feb. 19, 1743 — Madrid,
May 28. 1805: 'cellist; toured with suc-
cess; 1797, made chamber-composef
to Friedrich Wilhelm IL, of Prussia,
in return for a dedication ; after the
king's death B.'s fortune left him, and
he died in dire poverty. His prolific
and often fascinatingly graceful com-
positions include 20 symphonies, an
opera, an orchestral suite, a 'cello-
concerto, 2 octets, 16 sextets, 125
string-quintets, 12 pf. -quintets, 18
quintets for strings and f1ut« (or oboe),
91 string-quartets, 54 string-trios, 4a
trios, sonatas and duets for vin., etc.;
biog. by Picquot (Paris, 185 1), and
Schlettemd (l^ipzig).
Boch (bokh), Fz. de, b. Potenstein,
Bohemia, Feb. 14, 1808 ; 'cellist.
Bochkolta-Falco'ni (b6kh'-k61ts), Ait-
na (rightly Bockholtz), Frankfort*
1820 — Paris, 1870; singer and coni«
poser.
Bochsa (b6kh'-sA), (i) K., Bohemia^-
J'aris, 1821 ; oboist ; music-seller.
(2) Rob. Nic. Chas., Montmedy,
Meuse, Aug. 9, 1789 — Sydney, Aus^
tralia, Jan. 6, 1856 ; son and pupil of
above ; composed a symphony at 9,
an opera at 16 ; pupil of Fr. Beck ;
harpist to Napoleon and to Louis
XVIII.; he eloped with Sir Henry
Bishop's wife, made tours in Europe
and America, and finally to Australia ;
composed 9 French operas, prod, in
Lyons (1804), and in Paris (1813-16) ;
4 ballets ; an oratorio, etc. ; wrote a
standard method for harp.
Bockeler (b$k'.^-l«r), H., b. Cologne.
July II, 1836 — 1862 ; cond. at Aix-
le-Chapelle ; editor and composer.
Bockh (bSkh), Aug., Carlsruhe, 1785
— Berlin, 1867 ; writer,
Bocklet (bok'-l^t), K. M. yon, Prague,
1801 — Vienna, 188 1 ; violinist.
BockmUhl (bok'-mol), Robt. Emil,
Frankfort, 1820 — 1881 ; 'cellist.
Bockshorn (boks'-hom) ("Capricor*
nus"), Samuel, Germany, 1629-^
Stuttgart, 1669 (?) : composer and
conductor.
Bocquillon-Wilhem (bok'-e-yfin-ve^'
ah), G. L. Vide wilhrm.
Bode (bd'-d6), Jn. Jos. Chp., Banim^
DICTIONARY OF MUSICIANS 361
Brunswick, 1730— Weimar, 1793 j
oboist, publisher and composer.
Bodenscnatx (bo'nl'n-shfits), Erhard,
Lichtenberg, Saxony, 1570 — Gross-
Osterhausen, near Querfurt, 1638 ;
publisher.
Boedecker (ba -d£k-£r), Louis, Ham-
burg, 1845 — 1899; teacher, critic,
and composer.
Boehm, Boehme. Vide bohm (e).
Boekelnuui (bi'-k£l-man), Bemar-
dns, b. Utrecht, Holland, 1838 ; pii.
pil and son of A. J. B. ; director,
studied with Moscheles, Richter and
Hauptmann, at Leipzig Cons. ; von
BUlow, Kiel, and Weitzmann, at
Berlin ; from 1866, lives in New
York : founded and cond. (till 1888)
the N. Y. Trio Club ; 1883-97, mus.
dir. Miss Porter's School, Farming*
ton, Conn. ; later pianist and teacher
in New York; composed orch.-pcs.,
etc. ; ed. an analytical edition of
Bach's •* WelUtempertd Clavichord;'
in colours, etc
BoSUnuum (bwa'-mfin), L6on, Knsi.
sheim, Alsatia, 1862 — Paris, 1897;
composer and teacher.
Bo«lj (bw£r.£), Alex. P. Fran.,
Versailles, I785'-Paris, 1858 ; pian-
ist and com]x>ser.
Boers (boors), Jos. Karel, Nymwe«
gen, Holland, 1812— Delft, 1896;
cond. and writer*
Boetset (bw6s-sa), (i) A., Sieur de
Villedieu, ca. 1585— 1673 ; intendant
of music to Louis XIII. (2) J. B., 1612
—1685 ; son and successor of above ;
and in turn succeeded by his son. (3)
C. J. B., b. ca. 1636.
Boe'tttts (or Boethius). Ani'cius
Man'Hus Torqua'tus Severi'nus,
Rome ca. 475 — executed 524 (?) ; em-
inent poet and writer on music.
Bohlmann (bdl'-min), Th. H. Fr., b.
Osterwieck am Ilarz, Germany, June
33, 1865 ; pianist ; pupil of Dr.
Stade, Barth, Klindworth, Tiersch,
d* Albert, and Moszkowski ; debut
Berlin, 1890 ; toured Germany ; since
1890 pf. • prof. Cincinnati Cons.
U S. A.
Bohm (bom), K., b. Berlin, Sept. 11,
1844 ; pupil of Lbschhorn. Reiss
mann and Geyer ; pianist and com*
poser in Berlin.
Bdhm (bam), (i) G., Goldbach,
Thuringia, 1661 — LUneburg, 1734 ;
organist and clavichord ist ; composed
important organ preludes and suites.
(2) Elizabeth Rsg^a, 1756 — 1797 ;
soprano, m. the actor B. (3) Theo-
bald, Munich, April 9, 1794 — Nov.
15, 1881 ; inv. the ** Bfthm flute"
(vide 1). D.) ; flutist and composer for
flute; *• Hofmusikus," and player in
royal orch. (4) Jos., Pesth, 1795—
Vienna, 1876 ; son and pupil of above ;
violinist and prof. (5) Heinrich, b.
Blassia, Bohemia, 1836 ; composed
35 operas in Bohemian. (6) Jos.,
Kuhnitz, Moravia, 1841 — Vienna,
1893 ; organist, cond. and director.
Bdhme (ba -m*), (i) Jn. Augf., 1794 ;
founder of pub. house at Hamburg.
His son, (2) Justus Eduard, suc-
ceeded him in 1839 ; and his grand-
son, (3) August nduard, in i88<;.
(4) Aug;. Julius Fd., Ganderheim.
Brunswick, 1815 — 1883; conductor.
(5) Fz. Magnus, Wellcrstedt, near
Weimar, 1827 — Dresden, 1898 ;
teacher, Dresden, later prof. ; com-
poser, writer and collector.
Bohmer (ba>m$r), K. (Hermann
Ehrfrsed), The Hague, 1799 — Ber-
lin, 1884 ; dram, composer.
Bohn (bon), Emii, b. Bielau, near
Neisse, Jan. 14, 1839 ; organist, 1884,
founded the Bohn Choral Society,
giving historical concerts ; lecturer,
writer, critic and composer ; R. Prof,
of Music.
Bohner (ba'-ngr), Jn. L., Tottclstedt,
Gotha, 1787 — near Gotha, i860;
composer ; led a roving life of drunk-
enness and talent ; said to be the
original of Hofmann*s ** Kreisler "
[vide SCHUMANN]; composed opera,
etc.
Bohrer (b6'-r?r), (i) Anion, Munich.
1783 — Hanover, 1852 ; violinist :
composer for vln. ; a co-member of
the Bavarian Court-orch. and concert*
362
THE MUSICAL GUIDE
giver with his brother, (2) Max,
MQnich, 1785— Stuttgart, 1867 ; 'cel-
list.
Boie (boi'-6), (i) John, b. Altona,
March 8, 1822 ; violinist. (2) H.,
Altona, Sept. 16, 1825 ; bro. of
above ; violinist and dram, composer.
Boieldieu (bo-eid-yfi'). (i) Fran.
Adrien, Rouen, Dec. 16 (not 15),
1775 — Jarcy, near Grosbois, Oct. 8,
1834 ; son of secretary of Archp.
Larochefoucauld and a milliner ; ap-
prenticed to the intemperate, brutal
cathedral organist Broche, he ran
away, at 12, and walked to Paris,
but was brought back. He is not
known to have had other teaching.
At 18, he prod. succ. ** La filU
coupabU " (Rouen, 1793) ; 1795, *' Ro-
salie et Myrza,*^ text of both by his
father. Discouraged in a planned
Cons, at Rouen, he again walked to
Paris, and subsisted as teacher and
piano- tuner to Erard. The tenor
Garat sang his still pop. songs, in
public, and won him a publisher.
1796, *^ La Dot de Suzette,*^ in one
act, was prod, with succ. (Opera-
Com.) ; 1797, *' La famille Suisse"
(ran 30 nights at the Th. Feydeau) ;
1798, he pub. sonatas, and a pf. -con-
certo, etc. ; 1800, prof, of piano, Paris
Cons. *' Zoraime et Zulnare" (1798),
'' Benioiuski:' and '' Le Calif e de
Bagdad'*^ (1800) were succ. and
ended his first period, one of light
gracefulness. He now studied cpt.
seriously, probably with Cherubini,
who had criticised him. After 3
years' silence, he reappeared with en-
larged powers, succ. in " Ala Tante
Aurore" (Th. Feydeau, 1803). In
1802 he m. Clotilde Mafleuroy, a
ballet-dancer ; 1803, he went to St.
Petersburg, partially perhaps (but not
surely) because of domestic unhappi-
ness, and became cond. of the Im-
perial Opera, writing by contract
3 operas annually, and a number of
marches. He returned to Paris,
181 1 ; had immense succ, particularly
with ** Jean de Paris,'' 1812 ; 1817
prof, of comp. at the Cons, and
member of Institut ; 182 1, Ch^alier
of the Legion of Honour ; 1818, *' Z^
Petit Chaperon rouge'^ was succ, fol-
lowed, after 7 years** silence, by ** La
Dame Blanche^'' his masterpiece. His
last opera, **Z/j Deux Nuits"
(1829), failed. H is wife d. 1825, and
1827 he m. Mile. Phillis, a sing-
er, who was a devoted wife. The
poverty of their last ^ears was re-
lieved by Thiers, minister of Louis
Philippe, who made him an annuity
of 6.000 francs. He died at his
country-home, of pulmonary trouble.
B.'s work has great vivacity and
vitality combined with musical sweet-
ness, and rhythm without jingle. His
large gifts in the construction of
ensembles are seen in the septet and
chorus at the end of the 2d act of
^^ La Dame Blanc he ,' which up to
1875 had been performed 1340 times
at the same theatre ; its libretto is a
combination of 2 of Scott's novels
•* The Monastery " and '* Guy Man-
nering." He collaborated with Che-
rubini in *'Zfl Prisonni^re*' (1799) ;
with Mehul, Kreutzer, and others,
in *' Z/ Baiseretla Quittance " (1802);
with Cherubini, Catel, and Niccol6
Isouard, in ^* Bayard h MAsi^res" /
with Kreutzer in ** Henri IV. en
Voyage " (1814) ; with Mme. Gail,
in Angela (18 14) ; with Harold in
*^ Charles de France"; with Cheru-
bini, Berton, and others, in ** La
Cour des P/es " (1821) and " Phara-
mond" ; with Auber, in *' Les Trois
Genres " / with Berton, and others,
in *' Ztf Marquise de Brinxrilliers"
Biog. by A. Pougin, 1875. (2) Adri-
en L. v., b. Paris, 1816— near Paris,
1883 ; son and pupil of above ; dram,
composer.
Boisdeffre (bwa-d£fr), Chas. H. R6n6
de, b. Vesoul (Haute-Savoie), 1838 ;
Chev. of Legion of Honour; com-
poser of religious and chamber music,
the latter taking Chartier prize, 1883 ;
lives in Paris.
Boise(bois), Otis Bard well, b.Oberltn
DICTIONARY OF MUSICIANS 363
Ohio, Ang. 13, 1845 > organist ; 1861
pupil of Hauptmann, Richter, Mos-
cheles, etc., Leipzig ; 1864, of Kullak,
at Berlin ; 1864-70 organist and
teacher in Cleveland ; 1870-76, in
New York; 1876-78. spent in Eu-
rope ; for some years prominent in
Berlin as a teacher ; 1901, settled in
Baltimore ; composed symphonies,
overtures, pf. -concertos, etc., wrote
** Music and Its Masters " (1902), etc.
Boisselot (bwfis-lo), (i) J. Louis,
Montpellier, 1785 — Marseilles, 1847 I
piano-maker at Marseilles ; his eldest
son, (2) Louis (1809 — 1850), was
the manager. His grandson, (3)
Francois, is the present proprietor.
(4) Xftyier, Montpellier, 18 11 — Mar-
seilles, 1893 ; second son of above ;
composer.
Boito (bo-e'-to), Anig^, b. Padua,
Feb. 24, 1842 ; poet, soldier, novel-
ist, editor, essayist, librettist, and
composer; son of an Italian painter
and a Polish woman. Pupil, 1853-
62, of Milan Cons., almost dismissed
for mus. incompetence (cf. vkrdi) ;
composed 2 cantatas, ** //^ di dug'
no*' (i860), and '' Le Sorelle d'/ta-
/ia"(i862), in coltab. with Faccio ;
they met with such g^eat succ. that
the Govt, gave F. and B. funds for 2
years in Paris and Germany. B.had
already taken up Goethe's ^* Faust "
long before Gounod, at the suggestion
of his bro. Camillo, an eminent ar-
chitect. B. brought back from Ger-
many a passion for Beethoven,- then
little heeded in Italy. 1867 at Paris,
as journalist ; then Poland, where he
sketched out text and music of ^^Mef"
istofeUs^^ which was prod, at Milan,
1868 {La Scala)^ after 52 rehearsals,
and with great hopes ; but it was
then in a rather shapeless state, and
Gounod's ** Faust** having mean-
while been prod, at Milan with succ,
B.'s work was hissed by some, and
having provoked riots and duels was
withdrawn by order of the police. It
was remodelled with more attention
to stage requirements and prod, with
great succ. at Bologna, Oct. 4, 1875.
An earlier opera, ** Ero e Leandro^
was never prod., B. lending his own
libretto to Bottesini, and later to
Mancinelli. Other libretti of his are,
Ponchielli's ** Gioconda,** Verdi's
''Otello** and '' Falstaff;* Faccio's
'' AmUto** and Coronaro's ''Un Tra"
monto.** Two operas diligently pre-
pared but still refused to the public
are ** Nerone** and " OresHader He
has translated 2 of Wagner's libretti
into Italian, and writes often under
the pseud. *' Tobios Gorria." The
King made him ** Cavaltcre," and
** Commendatore " ; 1892, Inspector-
Gen, of Technical Instruction in the
Italian Cons, and Lyceums ; 1895
Chevalier of the Legion of Honour.
He lives in Milan.
Bolck (bolk), Oskar, Hohenstein,
1837 — Bremen, 1888; dram, com-
poser.
Bol'la, , Italian prima buffa so-
prano ; last of 1 8th century.
Bolsetti (bol-sa'-tc), 1789; buffo;
with his wife played principal roles in
comic operas, London.
Bolte (bSl'-tS), Jns., contemporary
German writer.
Botntempo (bom-tam' p6), Jo&o Do-
mingos, Lisbon, 1775 — '842 ; pian-
ist, director and writer.
Bona (bo -nS), Giov., Mondovi, 1609—
Rome, 1674 ; cardinal and composer.
Bonawitz (bo'-na-vets) (or Bonewitz),
Jn. H., b. Durkheim-on-Rhine, Dec.
4, 1839; pupil Liige Cons, till 1852,
then brought to America ; 1872-73
cond. '* Popular Symphony Concerts,"
New York; 1873, toured U. S.; prod. 2
operas in Philadelphia ; 1876, ret. to
Europe ; lives in Vienna and London.
Bond, Hugh, d. England, 1792 ; or-
ganist.
Bonicke (ba'-nT-k^), Hermann, En-
dorf, 1821 — Hermannstadt, Transyl-
vania, 1879; conductor, composer
and writer.
Boniyenti (bo-nt-v^n'-te) (or Bone-
▼enti), Gius, b. Venice, ca. 1660 ;
conductor and dram, composer.
3^4
THE MUSICAL GUIDE
Bonnet (bttn-n^), (i) Jacques, Paris,
1644 — 1724 ; writer. (2) J. Bap.,
b. Montauban, 1763 ; org^anist and
composer.
Bonuo (bon'-no) (or Bono), Jos., Vi-
enna, 1710 — 1788; court-cond. and
dram, composer.
Bonomet'ti, Giov. Bat., Italian com-
poser ; pub. motets, Venice, 1615.
Vide BUONAMENTE.
Bononcini (bo-non-che'-ne), (i) GioY.
M., Modena, 1640 — Nov. 19, 1678 ;
conductor, composer and writer of Bo-
logna. (2) Who usually wrote it Buo-
noncini (boo-o-udn-che'-ne), Giov.
Bat., Modena, 1660 — Venice (?),
1750 0) 't son and pupil of above ;
studied with Colonna and Buoni
('cello), at Bologna ; 1685-91, pub. 7
vols, masses and instr. mus. ; in
1690, court 'cellist of Vienna; 1694,
Rome, prod. 2 op)eras ** Tul/^ Osti"
tto" and '* Sfrsg" ; 1699-1701 prod.
2 operas at Vienna; 1703-5, at Ber-
lin as court-composer ; prod. '* Po/i'
feme*' (1703) J ret. to Vienna, where
6 new operas were prod. In 17 16,
invited to London as cond. and com-
poser for the new King's Theatre,
and to rival Handel ; this provoked a
famous and bitter war with some suc-
cess forB., who prod. 8 operas, 1702-
27; but in 1731 he was caught in a
plagiarism from A. Lotti (a crime of
which Handel was by no means guilt-
less himselQ ; 1733 an alchemist
swindled him from affluence to bank-
ruptcy. Later he app>eared in Paris
and prod, a motet for the *' Chapelle
royale," playing the 'cello-accomp.
before the King ; 1737 his opera
** Alessandro in Sidone^' and an ora-
torio, ** Ezichia^* were prod, in Vien-
na ; 1748, he was called to Vienna to
write peace-festival music and later
went to Venice as theatre-composer,
a post retained at least till he was 90.
(3) Marco An., Modena, 1675 (?) —
1726 ; bro. of above ; court-cond.
there ; prod. 1 1 operas highly rated
by Padre Martini ; also composed an
oratorio.
Bonporti (b6n-p6r'-te), F. A., Trient,
ca. 1660; Imperial Counsellor and
composer.
Bontempi (b6n-t£m'-pe) (surnamed
Ang^elini). Giov. Andrea, Perugiat
ca. 1624 — Bruso, near Perugia, 1705 ;
dram, composer and writer.
Bonvin (boh-vih). L., b. Sidere, Switz-
erland, Feb. 17, 1850; mainly self-
taught ; studied medicine, Vienna ;
entered Jesuit novitiate in Holland ;
became organist and choirmaster ;
from 1887, mus. dir. Canisius College,
Buffalo, N. Y.; pub. 3 masses, etc.
Boom (bom), (i) Jan. E. G. van
(Senior), b. Rotterdam, April 17,
1783 ; flutist and composer for flute.
(2) Jan. (Jns.) van, Utrecht, 1807 —
Stockholm, 1872 ; son of above ; pian-
ist, professor and dram, composer. (3)
Hermann M. van, Utrecht, 1809 —
1883 ; son and pupil of (i) ; flutist.
Boorn (born), Eanard Tan deii« 1S31
— Li^e, 1898 ; pianist and critic.
Boo'sey, Thos. (1825), founded the
London pub. house of Boosey & Co.
Boott, Francis, b. Boston, Mass.,
June 21, 1813 ; pupil of L. Picchi-
anti, in Florence ; lived in Cam-
bridge, Mass. ; composed under pseud.
"Telford."
Bord(b6r), Antoine, Toulouse, 1814 —
Paris, 1888 ; pf. maker and inventor.
Bordese (b6r-da.z<^), Luig^, Naples/
181 5 — Paris, 1886; singing teacher
and dram, composer.
Bordier (b6rd-ya),(i) L. Chas., Pari&,
1700 — 1764; abM, conductor, com-
poser and writer. (2) Jules, 1846 (?)
— Paris, 1896 ; dram, composer.
Bordog^ni (b6r-ddn'>ye), Giulio Mar-
co, Gazzaniga, Bergamo, 1788
Paris, July 31, 1856 ; distinguished
tenor and singing teacher ; prof.
Paris Cons. ; pub. standard "^^ Vocal"
ises."
Bordo'ni, Faustina. Vide hassb, fah«
STINA.
Borg^hi (bor'-ge), Luig^, Italian violin*
ist, came to London, ca. 1780 ; pulx
symphonies, excellent music for t]a«
etc.
DICTIONARY OF MUSICIANS 365
Borg^hi-Mamo (iii{i'-ino),(i) Adelaide,
BologBa, 1829 — 1 901; mezzo-soprano;
d^but, 1846, at Urbino, where she
was engag^ed ; then in Vienna and
Paris ; later lived in Florence ; her
daughter (2) Erminia^ soprano ; de-
but 1875, Bologna; sang in Italy and
Paris.
Boijon (b6r-zh6n).C. E., 1633— Paris,
169 1 ; musette-virtuoso and compos*
er.
Borodin (bo^ro-den), Alex. Porphyr-
jeyitch, St. Petersburg, Nov. 12,
1834 — Feb. 27 (28 ?), 1887 ; composer
of the neo- Russian school ; Prof, at
the St. P. medico-surg. Institute;
Counsellor of State ; Knight ; pres.
of Mus. Soc. of Amateurs ; at Balaki-
rev's suggestion studied music ; com-
posed opera, ** Prince Igor " (fin-
ished after his death by Rimsky-
Korsakov, and prod. succ. 1891) ;
3 symphonies ; symphonic poem ;
scherzo for orch., 2 string-quartets,
pf. pes., etc.; biog. by A. Habets,
in English, London, i8uj.
Boroni (bd-rd'-nc) (or Buroni), A.,
Rome, 1738 — 1797 ; court-conductor.
Bortniaiiski (bort-nyan'-shkT) (or
BartOansky), Dlmitry Stefano-
Titcb, Gluchov, Ukraine, 1752 — St.
Petersburg, Sept. 28 (Oct. 9), 1825 ;
choir dir. and dram, composer, called
** the Russian Palestrina ; '* pupil of
Gaiuppi, under patronage of Empress
Catherine ; 1779-96 dir. of her choir;
then of her orchestra.
Bor'wick, Leonard, b. Walthamstow,
Essex, Engl., 1868; London pian-
ist ; pupil II. R. Bird, and Clara
Schumann, B. Scholtz, and Ivan
Knorr at Frankfort Cons. ; debut, at
London Philh. Concert, 1890 ; toured
Germany, 1895-96.
Bos (bos), Coenraad V., b. Leiden,
Dec. 7, 1875 ; studied Amsterdam
Cons.; played in Berlin, a member
of the " Dutch Trio" with J. M. van
Veen and T. van Licr.
Boschi (bds -ke), (i) Gius, celebrated
basso, i8th cent.; his wife was (2)
Franceska Vanini, contralto.
Bdsendorfer (ba'-zdn-ddrf-«r), firm of
Vienna pf. -makers founded by (i)
Ig^naz B., Vienna, 1795—18^9 ; later
managed by his son (2) Luowig^i b.
Vienna, 1835.
Bosio (bd'-zT-6), Ang^oltna, Tiirin,
1830 — St. Petersburg, 1859; mezzo-
soprano.
Bos'st (b6s'.se). (i) Pletro B., Mor«
begno, 1834 — 1896; organist. (2)
Marco Enrico, b. Salo, Brescia,
Italy, April 25, 1861 ; son and pupil
of above ; 1 881-91, conductor and
organist at Como Cath.; then till
1895, prof, of org. and harm. Naples ;
since 1896, dir. and prof. Liceo Ben-
edetto Marcello, Venice ; member of
the permanent govt, commission for
musical art ; Chevalier of the Italian
Crown and of the Sps^nish order of
Isabella la Catolica , composed 2
i-act Operas, *^ Paquita** and "//
V^ggif^^t " ; 4-act melodrama ^^VAn^
gelo Delia NoUe '* (Como) ; symph.
poem *• // Cieco" (1897), with tenor
solo, and chorus; ** IVesimins/er
Abbey" Inno di Gloria^ for chorus
and oi]gan ; Requiem Masses, etc.;
wrote important ^^ Meiodo di Studio
per tOrgano moderno" with G. Te-
baldini (Milan, 1893).
Bote and Bock (bd'-tS ooot bdk),
firm of mus. pubs., Berlin, est. 1838
by Eduard Bote and Gustav Bock.
(2) Hugo Bock, present head.
Bdtel (ba-tei), H., b. Hamburg, May,
1858 ; tenor ; as cab-driver was ** dis-
covered " by PoUini ; now leading
lyric tenor, Hamburg City Thea-
tre.
Botgorschek (bot-gdr'-sh^k), Fz.,
Vienna, 1812 — The Hague, 1882;
teacher, flutist, and composer.
Bott (b6t), Jean Jos., Cassel, March
9, 1826— New York, April 30, 1895 ;
violinist ; son and pupil of a court-
musician ; 1852, coiAt-conductor ;
1878 pensioned ; 1885 came to New
York ; composed 2 operas, etc.
Bottle, de Toulmon (da toomofi bdt^
ti), Aug., Paris, 1797—1850; •ocl«
list and writer.
366
THE MUSICAL GUIDE
Bottesini (b6t-t«-se'-ne), GioT., Cre-
ma, Lombardy, 1823 — Parma, 1889 ;
double-bass virtuoso ; conductor and
dram, composer.
Bot'tomlejr, Jos., b. Halifax, York-
shire, 1786 ; organist, violinist and
writer.
Bottrigari (bot-trS-gft'-re), Ercole,
Bologna, Aug. 1531 — S. Alberto,
Sept. 30, 1612 ; wrote 3 learned theo-
retical treatises, each called by the
name of a friend (a) Patrizio (b^ Pe-
siderio, and (c) Melone.
Boucher (boo-sha), Alex J., Parit
April II, 1778— Dec. 29, 1861 ; vln.-
virtuoso ; a charlatan but amazing in
technic ; played before the court at 6;
composed vln. -concertos ; his wife
was a clever harpist, also eccentric,
plavin^ duets with one hand on harp
and one on a piano. ^
Bouich^rt fbwe-shir). Entile, i860
(?) — Paris, Sept. 4, 1895 ; pupil of G.
Lef^vre's Aead. ; est. a vocal acad.
1893 ; composed valnable sacred and
chamber music.
Bonlangrer (boc-lHA-zhi), (i) Marie
Jnlie (n^ Hallirer), 1786— 1850;
dram, singer. (2)Tf enri Alex. An-
dr€ Ernest, b. Paris, Dec. 16, 1815.
Son of above. Pupil of Lesueur and
Halevy at the Cons., taking Grand
Prix de Rome, 1835 ; prof, there
1871. Composed many operettas for
Opera Comique. Legion of Honour,
1868.
Bonrgault-Ducoudrar (boor-go-dtt-
koo-drj$), Louis- Albert, b. Nantes,
Feb. 2, 1840. Pupil of Thomas at
Paris Cons., taking Grand Prix de
Rome, 1862 ; prof, of mus. hist, at
the Cons. 1878 ; wounded as volun-
teer at siege of Paris ; later visited
Greece and wrote on Oriental music.
Bourgeois (boor'-zhwfi), (i) Loys
(Louis), Paris, ca. 15 10 — ?; disciple
of Calvin ; 1545-57, Geneva ; one of
the first to harmonise the French
melodies ; wrote ** Z^ droict chemin
de musique^'' proposing the naming
the tones after solmisation-syllables,
A system since prevalent in France.
(2) Louis Thomas, Fontaine r£*
v^ue, 1676— Paris, 1750; tenor and
composer ; d. in poverty.
Bourges (boorzh), (i) CUmentine de,
d. Ij6i ; notable woman-composer.
(2) J. Maurice, Bordeaux, i8ia —
Paris, 1881 ; critic and dram, compos-
er.
Bousqu6 (boos-ka), G., P«rpignan«
1818— St. Cloud, 1854; conductor at
the Paris Opera (1847) ; critic and
dram, composer.
Bov^ry (bo-va-re), Jules (rightly
Bovy (bo ve), A. Nic. Jos.), Li^e,
*«o8— Paris, 1868 ; self-taught violin-
ibf conductor and dram, composer.
BoTicelli (bd-vY-ch«l'-le), GioY. Bat.,
b. Assisr ; writer at Milan, 1594.
BoTy (bo'-ve), (i) Chas. Sml. (known
under pseud Lysberg^), Lysberg,
near Geneva. 182 1 — Geneva, 1873;
composer. (2) Vide boverv.
Bow' ley, R. K., London, 18 ^-j — 1870
conductor and composer.
Bow' man, Ed. Morris, b. Barnard
Vt., July 18, 1848 ; pupil Wm. M#
son, and J. P. Morgan, at New York
1866 ; 1867-70, organist St. Louis
Mo. ; studied in Berlin and Paris,
1873; 1874, St. L«uis; 1881 studied
under Bridge, Macfarren, Turpin, and
Guilmant ; was the first American to
pass the examination of the London
R. Coll. for Organists ; 1884, one of
the founders of Amer. Coll. of Mu-
sicians ; organist, Brooklyn, N. Y. ;
1891-95, prof, of music Vassar Coll. ;
1895 founded the ** Temple Choir,"
Brooklyn (200 voices) ; cond. also the
Newark Harmonic Soc. and the Ce*
cilian Choir.
Boyce (bois), Wm., London, 1710^
Kensington, 1779 ; organist and com-
fK)ser.
Borer (bwa-ya) (L. Jos. Victor),
Georges, b. Paris, July 21, 1850;
won Prix Ro=sini, with libretto of
**/^/ri><^" (vide chaumet), wrote
libretti for '* Le Portrait de Manon "
(Massenet), etc.
Brad bury, Wm. Batchelder, York,
Me.. 1816— Montclair, N. J., 1868]
a
DICTIONARY OF MUSICIANS 367
teacher, conductor, piano-maker, and
editor.
Brade (brr.d«), Wm., b. England,
lived and died at Frankfort, 1647 ;
player of the viol., etc.
Bradsky (brat'-shke). Wenzel Th.»
Rakovnik, Bohemia, 1833 — 1881 ;
dram, composer.
Braga (br^'-gS), Gaetano, b. Giulia-
nova, Abruzzi, June 9, 1829 ; 'cellist,
pupil of C. Oaetano (1841-52) ; lived
at Florence, Vienna, Paris, and Lon-
don and toured Europe ; dram, com-
poser; also wrote ** Afetodo di Vio-
hncellor
Brahara (rightly Abraham), J., b.
London, 1774 — F'eb. 17, 1856 ; noted
tenor ; compass 3 octaves ; composed
pop. ballads.
Br&hmig: (bra'-mlkh), Tulius Bd.,
Ilirschfeld (Merseburg), 1882 — Det-
mold, 1872 ; teacher and writer.
Brahms (brams), Jns.« Hamburg,
May 7, 1833 — Vienna, April 3, 1897;
son and pupil of a double-bass
player in the Hamburg City Theatre,
later studied with Marxsen of Altona ;
debut Hamburg, at 14, playing his
own variations on a folk-song ; 1853,
toured with Remenyi. Joachim heard
him and sent him to Schumann, at
DOsseldorf. Schumann, with charac-
teristic openness of mind and enthusi-
asm, pub. an article in the Neue
Ztitschrift fiirAfusik, greeting B.as
the new Messiah of music, a welcome
that was a mixture of blessing and
bane,embarrassiRg the young Brahms
with a mission that was a white ele-
phant on his hands ; for he forsook
the romanticism which Schumann,
and later Liszt expected of him, and
took up a determined classicism in the
matter of form, in which, however,
he made many modifications to suit
his enormous intellectuality and tech-
nical resource. This carlv welcome
also gave him over to be bandied be-
tween believers like Hanslick who
were frantic to find an opponent to
the progress of Wagner, and sceptics
who would not have him praised for
any quality. Schumann*s advocacy did
not save o.'s publication and concert
performance of his 3 pf. -sonatas and
3 books of songs from failure. After
serving for a time as cond. to the
Prince of Lippe-Detmold, he retired
for study to Hamburg, 1858-62. 1862
Vienna ; 1863-64 cond. of the Sing*
akadttnie there ; 1864-69 Hamburg,
Zurich, Baden-Baden, etc., and
made tours with Stockhausen ; 1869,
Vienna, which was afterward his
head-quarters. In 1871-74, cond.
** Gesellschaft der Musikfreunde."
In 1877 Cambridge University offered
him the degree of Mus. Doc., which
offer he ignored, accepting, 1881, Dr,
phil. from Breslau and writing in
acknowledgment the ** Akademische
FestouvertUre ; " 1886, a knijjht of the
Prussian Ordre pour le Merite, with
voting privilege, and a member of
the Berlin Acad, of Arts. 1889 pre-
sented with the freedom of Hamburg.
His '• German Requiem^** op* 45 (the
first 3 choruses given in Vienna, 1867),
was given complete in the Bremen
cathedral, April, 18^:8, and estab-
lished him on a peak where he has
since remained while the storms of
debate rage below him. He wrote in
almost every form but opera (he had
considered that at one time) but ad«
mitted he *'knew nothing about the
theatre." He valued Wagner's
scores, and owned several Wagner
autographs ; Wagner, however, said
** Brahms is a composer whose im-
portance lies in not wishing to create
any striking effect." His first sym-
phony, on which he had spent 10
years, made a sensation when prod.
1876. His vln. -concerto when first
shown to Joachim was so impossible
to the vln. that J. laughed at it till
tears poured down his cheeks ; he is
said to have materially assisted in its
revision. Brahms was a brilliant pian-
ist in his youth ; in his 20th year, at a
concert with R'^menyi, the piano was
discovered to be a semitone below
concert-pitch; B., playing without
368
THE MUSICAL GUIDE
notes, transposed the accompaniment
to Bectlioven's** Kreutzer" sonata^ a
semitone higher throughout. [Beet*
hoven similarly transposed his own
concerto in C to CI at a rehearsal.]
Biog. by H. Deiters (Leipzig,
1880, Part II., 1898, in Engl., Ix)n-
don, i888); B. Vogel (Leipzig);
Widmann (Berlin, 1898) ; A. Dietrich
(Leipzig, 1898).
Compositions (exclusive of Songs for
one voice with pf.). For orch.
Symphonies, Op. 68, in C minor. Op.
73, D, op. 90, F, op. 98, E minpr ;
overtures, op. 80, Aka^emiiche FesU
overture ; op. 81, Pragische Ouver*
t&re ; op. 11 — 16, serenades ; op. 56,
variations on a theme of Haydn's.
Chamber Music. Op. 8, trio for
pf., vln., 'cello; 18, 36, sextet for
strings ; 40, trios, pf., vln., horn ; 114,
pf., clar. and 'cello; 51, two string*
quartets; 67, string-quartet ; 88, ill,
string-quintet ; 115, quintet for clar.
and strings.
For Piano, op. I, 2 and 5, sonatas , 4,
scherzo ; 9, variations on a theme by
Schumann ; 10, four ballads ; 15, 83,
concertos; 21, 35, variations; 24,
variations and fugue on theme by
Handel ; op. 76, 8 pes.; 79, 2 Rhap-
sodies ; 116, Fantasien ; 117, 3 Inter-
mezzi ; 118, 6 ClavierstUcke (3 Inter-
mezzi, Ballades, Romanze) ; 119, 4
ClavierstUcke (3 Intermezzi, Rhapso-
dic ; — unnumbered — Gluck's gavotte,
and 2 studies). For piano, 4 hands, op.
23, variations on a theme by Schu*
nuinn ; 34, sonata arr. from op. 34 ;
39, 16 waltzes ; op. 25, 26, 60, pf.-
quartets ; 34, pf.-quintet ; 87, loi, pf.«
trios. For piano and 'cello, op. 38*
and 99; sonatas; for vln., 77, con-
certo ; 78, 100—108, sonatas pf.
and vln ; for vln. and 'cello, op.
102, concerto ; for clarinet (or
viola) and pf., op. 120, 2 sonatas ; for
organ. Prelude and fugue, and fugue
(unnumbered). For voices, op. 50,
^' Rinaldo" cantata (Goethe): 63,
Rhapsodic (from Goethe's '^ Harzm
reise "), for alto solo, male chor. and
orch.; 54, ** Sc hie ksals lied" (Song of
Destiny), for chcr. and orch.; 55,
** Triumphlied" (Revelations, chap.
XIX.), for 8-part chor. and orch.; 82,
*'Ndme" (Schiller), for chor. and
orch.; 89, *' Gesang der Farter "
(Goethe), for 6-i>art chor. and orch.^-
op. 12, ^*^ Ave Afaria" female chor.
with orch. (or org.) ; 13. funeral
hymn, 109, Deutsche Fest-nnd Ge«
denkspruche, for double chorus, also
numerous works for choruses of all
sorts accompanied or a cappelia.
Brahms' songs are generally ad«
mired even by those opposed to him ;
they are very numerous and are pub*
in sets, op. 121 being his last pub-
lished work.
Johannes Brahms.
By James Huneker.
SCHUMANN, in his much-discussed article ''New Paths," called
Brahms the true successor to Beethoven. His prediction was veri*
fied. To-day Johannes Brahms stands for the ultra-classic in sym-
phonic music, though singularly enough he is really a hardy romanticist^
who has widened and deepened the symphonic form. The career of
Brahms compared to Wagner's was a quiet, scholarly, uneventful one. A
severe student and self-critic, he made his way slowly, for the Wagner
furor was at hand, and the modest writer 01 chamber-music, of songs and
tympanies, was completely eclipsed by the glory of his so-called riva' . ^)«
DICTIONARY OF MUSICIANS 369
was Von Billow's audacious epigram, *' The three B's, — Bach, Beethoven^
and Brahms," that drew down upon the head of the innocent composer the
ire of the Wagner camp. As a matter of record Brahms never posed as an
opponent, much less as a rival of the Bayreinh hero ; indeed he was an ad-
mirer, and knew his scores as only he could know a score — absolutely.
But he was not in the least affected by Wagner — how could he be, working
as he did in such a totally different genre f This genre ^ however, was not the
out-worked vein it was so contemptuously christened by the new men.
To-day Brahms is a modem among the modems — indeed his has also been
called the music of the future. ^To old forms like the symphony, to the
smaller forms, he has brought an abounding invention, a vitality in execu*
tion, and a musical intellect the most profound since Beethoven's. To
the complex symphonic structure of Beethoven he had superadded a poly*
phony almost Bachian in its mastery of intricate voicing and the weaving of a
marvellous contrapuntal web. The dignity of his themes, the depth and
sweetness of his cantilena^ the massiveness of his musical architecture — ^he b
in music the bom builder — combined with a fecund fantasy, a grim but
elastic humour, and no little susceptibility, mark Brahms as one of the elect,
a master among masters. His control of the orchestra is absolute in its elo*
quence, though he is no painter, no seeker after the unique word, the only
colour. ^He has been reproached for a colour monotone by those critics
who are easily moved by brilliant and showy externals. But that reproach
&]]s to earth when the adaptability of the garb to the musical idea is dis*
covered. Brahms never erred in this matter ; his taste was impeccable.
5[He had a message and he delivered it in tones that befitted its weight, its
importance. He is a symphonist primarily ; his themes as if carven from
granite are symphonic and not dramatic themes, and in his development of
them he is second only to Beethoven. A philosopher, he views his subject
from every possible side, and the result is an edifice of tone comparable to a
Gothic Cathedral. In his songs he is the sweet-voiced, the tender German
lyrist, deep in feeling, capricious, noble and moving as Schumann or Schu*
bcrt. He will rank with these song writers. In chamber-music, in the
amiable conjuncdon of piano and strings, trios, quartettes, quintettes, horn-trio
and two clarinet-quintettes, Brahms is supreme. He has written a sterling
violin-concerto dedicated to Joachim and played first by him. His two pitno-
concertos in D minor and B flat major, introduced here by Rafael Joseffy,
are masterpieces ; though pianists complain of the dearth of display passages,
they are sincere in feoling and perfect concertos in the balance of the solo
instrument with the orchestra, ^l*^^^ Brahms solo piano-music is a new and
independent literatnre. He wrote three sonatas ; of these the last is the most
popufair ; its andante and scherzo are beautiful specimens of piano-writing
370
THE MUSICAL GUIDE
The solo scherzo in E flat minor, opus 4, was a great favourite with Liszti
who saw in it trace of Chopin. The little pieces written during the clos-
ing years of the composer's life are exquisite and poetic gems, conceived
by a poet, executed with all the dainty cunning of a lapidary. These
miniatures are Brahms in his most genial mood. The forger of thunderbolts
was now resting and plotting lovely little gardens of fragrant flowers. ^[His
extraordinary technical invention is nowhere better ' evidenced than in his
Paganini variations tor the piano, the Ultima Thule of pianists. These
variations are paralleled in his St. Anthony variations for orchestra, a noble
disapproval of the assertion that Brahms had no intimate feeling for the
orchestra. His German Requiem written in 1868 is tremendous in its
scope and elemental power. It is the apotheosis of a nation's grief. ^He
was not uniformly successful — ^little wonder, for his published works number
130. But if this Titian stumbled, was intermittent in his inspiration, the
main body of his work stands out marmoreal, of overwhelming grandeur,
truly German, and vmhal, sounding the big note as no one has sounded it
in music since Beethoven,
Brah-Miiller (bra-mQl'-l^r) (rightly
MUller), K. Fr. Gv., Kritschen.
Silesia, 1839— Berlin, 1878 ; 1867,
dramatic composer.
Brambach (bram'-bakh), (i) Kas-
par Jos., b. Bonn, July 14, 1833 ;
pupil in Comp. of A. zur Nieden,
then of Cologne Cons.; won Mozart
scholarship, and studied under Fd.
Hiller, Frankfort; 1858-61, teacher
Cologne Cons.; 1861-69, dir. at Bonn,
where he composed important secular
cantatas ; also an opera ^'^ Ariadne" ;
concert - overture *^ Tasso" ; pf.-
concerto, etc. (2) Wm., b. Bonn,
Dec. 17, 1 84 1 ; since i872t librarian
Carlsruhe ; writer.
Brambilla (brJlm-bel'-U), (i) Paolo,
Milan, 1786— (?); dram, composer.
(2) Marietta, Cassano D'Adda,
1807 — Milan, 1875 ; singer, teacher,
and composer ; contralto and eldest
of five singers. (3) Teresa, Cassano
d'Adda, 1813 — Milan, i8q5 ; sister of
above, soprano; she created ** Gil-
da" in '' Ri^oletto:* 1851.
Branca (bran'-ka), Guglielmo, b. Bo-
logna, April 13, 1849; pupil of A.
Busi, Bologna Cons.; composed succ.
operas '* La Catalana " (Florence,
1876) ; *• Hermosa " (Florence, 1883);
and **Ztf Figlia di Jorio " (Cremona,
1897).
Brancaccio (bran-kat -chd), A., Na*
pies, 1813 — 1846 ; dram, composer.
Brandeis (bran'-dls), Fr., Vienna,
1835 — New York, 1899; toured the
U. S., then lived in N. Y., later
Brooklyn, as organist and prolific
composer.
Brandenburg (bran'-ddn-boorkh), Fd.,
b. Erfurt — d. Rudolstadt, 1850;
violinist and dram, composer.
Brandes (br£n'-d^s), Emma, b. near
Schwerin, Jan. 20, 1854; pianist,
pupil of Aloys Schmitt and Golter-
mann ; m. Prof. Engelmann, Utrecht.
Brand! (brant'-'l), (i) Jn., Kloster,
Rohr, near Ratisbon, 1700— Carls-
ruhe, 1837 ; dir. and dram, composer.
(2) Jn., composer of operettas, living
in Vienna ; has prod. 15 or 20 pop.
works since 1869.
Brandstetter. Vide garbrecht.
Brandt (brant), Marianne (rightly
Marie Bischoif), b. Vienna, Sept. 12,
1842 ; dram, contralto ; pupil Fra«
Marschner and of Viardot-Garcia
DICTIONARY OF MUSICIANS 371
1868-86 at Berlin Ct. Opera ; created
•• Kundry " in Parsifal at Bayreuth,
1882 ; 1886 sangf in New York.
Brandt-Buys (briLiit-bois), (i) Corne-
lius Alex., b. Zalt-Bommel, April 3,
1812 ; from 1840 lived in Deventer as
organist and cond. His sons are (2)
Marius Adrianus (b. 1840) ; (3) L.
F. (1847), organist and conductor at
Rotterdam : (4) H. (185 1), conduc-
tor at Amsterdam and dram, com-
poser.
Brand us, Dufour et Cie, Paris 6rm
of mus.-pubs. fou.'^ded 1834, by M.
ScblesiQger, and bought in 1840 by
the brothers Louis (d. i^i?) and
Gemmy B. (d. 1873).
Brant (brant), Jobst (r*- Jedocus)
▼cm, Junior, i6th cent, captain
and ^v. of Liebenstein ; cptist.
Brassin (br^s-siih), (i) Louis, Abc-
la-ChapcIIe, 1840 — St. Petersburg,
1884; pianist. (2) Ld., Strassburg,
1843 — Constantinople, 1890 ; bro.
and pupil of above; pianist. (3)
Gerhard, b. Aix-la-Chapelle, June
10, 1844 ; leader ; teacher at Stem
Cons., Berlin ; 1875-80, cond. of
TonkUnstUrverein in Breslau ; since
then, St. Petersburg.
Bratsch (bratsh), Jn. G., Zell, 1817—
Aschaffenbuig, 1887 ; director. «
Braner(brow'-£r), Max, b. Mannheim,
May 9, 1855 ; pupil of V. Lachner,
Hiller, Jensen and De Lange ; from
1880-88, dir. Kaiserslautern ; since
1888, dir. court-church at Carlsruhe ;
prod. ** Dtr Loise^^ succ. l-act opera,
Carlsruhe, 1885.
Brebos, Gilles. Vide gilles.
Bree (bra) (Jn. Bernardus), J. Ber-
nard van, Amsterdam, 1801 — 1857 ;
violinist ; 1840, founded the ** Ce-
cilia."
fireidenstein (brf-dSn-shtTn), H.
K., Steinau, Hesse, 1796 — Bonn,
1876 ; dir., composer and writer.
Breitkopf nnd H&rtel (brit'.k6pf
oont h^rt'M), mus. -publishers, found-
ed (as a printing-office) 17 19 by B.
C. Breitkopf; Klausthal, Harz,
i6qS— »r77. His son, J. G. Im-
c aiuel Breitkopf (17 19— 1794). suc-
c eded and revived Petrucci's inven«
tiiT of movable types and took up
malic printing. 1795, Gottfr. Chr.
Hartel (Schneeberg, 1763— 1827),
added a piano-factory, founded the
*• Allg. musikalische Zeitung ** (1798) ;
bter heads were Florenz Hllrtel
(1827-35), Dr. Kermann Hartel (d.
1882), and his bro. Reiniund (d.
1888) ; two nephews, Wm. Volkraann
(1837 — 1893?) and Dr. Oskar von ,
Hase (b. 1846).
Hreitncr (brlt'-ngr), Ludovic, b.
Triest, March 22, 1855; pianist and
composer ; studied Milan Cons., and
with Rubinstein and Liszt ; toured,
Germany; Chev. of the Legion of
Honour, officer of Public Instruction,
etc., composed music to " WiUulm
Meister^^ song cycles, etc.
Brema (bra' -ma), M^rie, b. of German
parents, in England ; notable dra-
matic soprano in pop. concerts Lon*
don ; debut in opera, Shaftesbury
Theatre, 1891 ; sang in New York
in frequent seasons; 1897 at Bay*
reuth.
Brem'ner, Robt., Scotland, 1720—
Kensingfton, 1789; teacher.
Brendel (br^nt'-'l), K. Fz., Stolberg,
18 1 1 — Leipzig, 1868; critic, prof,
and writer.
Brenet (brfl-na), Michel, b. France,
1882 ; wrote ** Histoire de la sym»
phonie h orchestre depuis ses orig--
ines " (prize-essay), etc.
Brenner (br«n'-ndr), L., Ritter von,
Leipzig, 1833— 1902; pupil of the
Cons. ; toured the Continent ; 15 years
member of the Imp. orch. ; 1872-76,
cond. Berlin Symphony Orch.; 1897,
cond. Meyder's Concert Orch., Bres-
lau ; composed 4 grand masses ; sym-
phonic poems.
Brent, Charlotte, d. 1802, Engl. ;
soprano ; m. Pinto, a violinist, 1766.
Breslaur (bras'-lowr), Emil, b. Kott-
bus, May 20, 1836 ; pupil Stem
Cons., Berlin ; 1868-79, teacher Kul-
lak's Acad. ; since 1883 choirm., Re-
formed Synagogue ; founder and dir.
372
THE MUSICAL GUIDE
Piano • Teachers* Seminary ; ed.
•* Klavierlehrer " ; wrote technical
works, etc.
Brethol. Vide pikrson-brethol.
Breuer (broi'-$r), Hans, b. Cologrne,
1869 ; tenor ; studied at the Cons, at
Stolzenbergf. San^ **Mime** and
** David " at Bayrcuth.
Breutiing (broi'-ning), Fd., Brotterode,
Thuringia, 1830 — Aix-la-Chapelle,
1883 ; pf; prof., Cologne Cons. ;
1865, director.
Br^vaJ (bra-vai)» (i) J. Bap., Dept.
of TAisne, France, 1765 — Chamouille,
1825 ; 'cellist and teacher. (2) Lu-
cienne, b. France. 1870 (?) ; notable
dramatic soprano at Grand Opera,
Paris, for years ; debut there in LAf»
ricaints 1892 , created Brttnnhilde
in French \ has sung at Covent Gar-
den, and 1900 in New York.
Brew'er, (i) Thos., 1609 — 1676 ; viol.-
player, '* father of the glee.*' (2) J.
Hyatt, b. Brooklyn, N. Y., 1856 ; for
7 years boy-soprano; studied with
Dudley Buck and others; since 1871
organist various churches, since 188 1
at the Lafayette Av. Presby. Ch. ;
cond. various vocal societies; com-
posed cantatas, etc.
Briccialdi (bret-chfirKle), Giulio,
Temi, Papal SUtes, 18 18— Florence,
188 1 ; flutist.
Bridg^e, (i) Sir J. Fr., b. Oldbury,
Worcestershire, Engl., Dec. 5, 1844;
Bon and pupil of J. Bridge, lay-
clerk ; pupil later of J. Hopkins and Sir
J. Goss ; organist 1869 Manchester
cathedral ; 1882 of Westminster Ab-
bey ; 1868 Mus. Bac. (Oxford), with
the oratorio ^^ Mount Moriah** ;
now prof, of harm, and cpt. R. A.
M.; cond. Western and the Madrigal
Societies ; 1897, knighted ; composed
cantatas, overtures, etc. (2) Jos.
Cox, b. Rochester, Engl., 1853;
pupil and bro. of above ; since 1S77
organist of Chester cathedral ; Mus.
Bac. Oxon., 1876 ; Mus. Doc., 18S4 ;
composed oratorios, etc.
firidge'tower, G. A. P., Poland. 1779
1845 ; son of an African jfathec
and European mother ; brilliant vioi
linisc.
Brieffei (bre'-g^l), Wg:. K., Ger.
many, 1626— Darmstadt, 1712 ; con«
ductor and composer.
Brifi^henti (or Brigrhetti) (brS-ga'-te),
Mana (nee Giorg^), b. Bologna,
1792; soprano; created '^Rosina**
in " Bar Here di Siviglia,^*
Brind, Richard, d. 17 18 ; oiiganist St.
Paul's Cathedral from 1707.
Brink, Jules Ten (tan brenk), Am«
sterdam, 1838 — Paris, 1889; director
and dram, composer.
Brins'mead, (i) J., b. North Devon,
Oct. 13, 1814; 1835, founded piano*
factory, London ; inv, *' Perfect
Check Repeater Action": In 1863
his sons (2) Thomas and (3} Edgar
were taken in partnership.
Brissler (bresMdr), Fr. Fd., Inster*
burg, 18 18 — Berlint 1893; pianist
and dram, composer.
Brisson (brls'-soA), Fr., b. Angou*
leme, Charente, 1821 — Orl^ns, 1900;
teacher and dram, composer.
Bris tow, (I) W. R., England, 1803
— N. Y., 1867 ; cond. in New York,
(2) G. Fr.,. Brooklyn, N. Y., Dec
19, 1825 — New York, Dec. 13, 1898;
son of above ; violinist N. Y. Philh,
Soc.; cond. of the Harmonic Soc.,
later of the Mendelssohn Union ; or*
ganist various churches; composed
operas, oratorios, etc.
Brito (br€'-td), Est^ban de, ca. 1625.
Portuguese director and composer.
Brit'ton, Thos., 1651 — 1714; called
** Musical Small-coal Man," because
he earned his living by hawking coal ;
gave concerts in a room over his shop,
which were patronised by the aristoc-
racy ; Hftndel and Pepusch were per«
formers at these concerts.
Brixi (brex'-e), Fz. Xaver, Prague,
1732 — 1 77 1 ; conductor and con^
poser.
Broad' wood & Sons, firm of London
pf. -makers; est. ijy by the Swiai
harpsichord-maker B urkhard TschiH
di (or Shudi), succeeded by his son*
in-law J. Broadwood (1732 — i8i2)b
DICTIONARY OF MUSICIANS 373
later by Tames and Thos. Shudi ;
they by H. Fowler Broadwood (d,
London, 1893).
Brock'wav, Howard A., b. Brooklyn,
N. Y., Nov. 22, 1870; studied pf.
with Kortheuer; 1890--95, Berlin;
pupil of Barth (pf.) and O. B. Boise
(comp.) ; since 1895, I. N. Y. teach-
ing and touring ; his symphony in D
succ, prod. Berlin; composed also
cantata, ' Ballade and Scherzo for
orch., etc
Brod (bro), H., Paris, 1801— 1839;
oboist and conductor.
Bro^c (bro -dd), Max, b. Berlin, Feb.
95, 1850 ; studied with Paul Mendels-
sohn and nt .^'.tem Cons., J.cipzic^
Cons, and Lcrlin Hochschu'^ ; de-
but Frank fort-on-Main ; prof, and
teacher at KOnigsberg.
Bro'der-y, (i) Wm., England. 1683—
1726; organist, etc.. Wells Cathe-
dral. (2) J., d. 1770; son of above
organist ; (3) Robt., d. 1808 ; bro. of
above ; writer and composer.
B:t>d8k7 (brod'-shkl), Adolf, b. Ta.
ganrog, Russia, March 21, 1851 ; vio-
finist ; pupil of J. Hellmesberger and
Vienna Cons.; member llcllmes*
berger Quartet ; 1868-70 Imp. Opera*
Kch.; pupil of Laub, Moscow, later
prof, at the Cons.; 1879, cond. sym«
phony concerts at Kiev ; toured, 188 1 ;
1883, vin.-prof. at Leipzig Cons.;
1891-94, N. Y.; 1894 in Berlin;
1895, prof, of vln., later dir. R. C.
M«, Manchester, England.
Broekhoven (brak'-ho-f^n), J. A., b.
Holland, 1852 ; prof, of harm, and
comp. Cincinnati Coll. of Mus.; com«
posed grand overture * * Columbia , " etc.
Brar (brar), Ernst, Silesia, 1809^
Tarnopol, 1886 ; 'cellist, organist, and
singing teacher.
Bronsart (bron'-zSrt), (i) yon Schel-
lendorf, Hans (Hans von Bron-
sart), b. Berlin, 1830 ; pupil, Dehn,
Kullak, Liszt ; concerts in Paris ;
1867, intendant R. Th. at Hanover;
1687 *• llofmusikintendant," Berlin;
composed opera, cantata, symphony
' In dtn Aipen^**eXc, (2) IngeDorgi
Ton (n<^ Starck), b. St. Petersburig
1840; wife (since 1863) of above;
pupil of Liszt; composed 3 operas,
etc.
Brooks, Walter M., b. Birmingham,
March 19, 1861 * pupil of Kinpf Edw.
School, later of Prout ; lives in Lon«
don as writer and teacher ; composed
Allegro for orch. (prize at Belfast*
1891), etc.
Bros (brds), Juan, Tortosa, Spain,
1776— -Oviedo, March 12, 1852 ; con-
ductor ; composed important masses,
etc.
Brosig (bro -zTkh), Moritx, Fuchs.
winkel. Upper Silesia, 18 15 — Bres*
lau, 1887 ; organist and theorist.
Brossard (tifi br6s>sAr), (i) S^bastien
de, i66o--Meux, France, 1730; con-
ductor, lexicographer, and composer.
(2) No«l Matthieu, Chalon-suri
Saone, Dec. 25, 1789 — after 1853;
magistrate and theorist.
Brouck (brook), Jakob de (or d^
Prnrg;), collector, Antwerp, 1579.
Broustet (broo-stft), Ed., b. Toulouse,
April 29, 1836; pupil of Stamaty,
Litolff and Ravina ; pianist and com-
poser; toured Russia, etc.; lives in
Toulouse.
Brown, (i) Dr. J., Northumberland,
17 15 — 1766; writer. (2) Obadiah
Bruen, b. Washington, D. C, July
2, 1829; pupil of Zerrahn, Parker,
Kreissmann, Hause and D. Paine,
and of Lobe and Plaidy, Leipzig,
1869 ; teacher and organist ; pub.
school-songs, etc.
Browne, Lennox, Dr., b. London,
1841; prominent throat-specialist and
writer on the voice ; lives m London.
Brown'smith, J. Leman, Westmln*
ster, 1809 — 1866; organist.
Brozer, Philip, b. in Russia * tenor ;
studied at R. A. M., London ; debut
1896 at Covent Garden in / Pagliac*
ci ; 1 901 in New York.
Bruch (brookh). Max, b. Cologne,
Jan. 6, 1838 ; Jewish pianist and
composer; at first, pupil of his moth-
er (nee Almenrader), a singer ; later
with Breidenstein, Bonn.; 1833 bs
374
THE MUSICAL GUIDE
gained the four-year scholarship of
the Mozart Foundation at Frankfort,
and studied with Hilier, Reinecke,
and Breuning ; at 14, prod, a sym-
phony, Cologne ; 1858, his first dram,
work, Goethe's Singspiel^ ^^Sch^rz
List und Roche " (op. i) ; 1864, prod,
opera ** Loreley" etc. ; male chorus
''Fnthjo/"\ 1865-67, at Coblenz,
composed his first pop. vhi. -concerto
(G minor) ; 1867-70, court-cond. at
Sondershausen ; in 1878 cond. Stern
Choral Union, Berlin ; in 1880,
cond. Liverpool Philh. Soc.; 1883,
dir. Breslau Orchestral Soc.; 1881,
m. Frl, Tuczek, of Berlin, a
singer; lived in Breslau till 1890;
1892, with K. Hochschule in Berlin ,
prod. 1872, opera ** Hermione^* based
on *• Winter's TaW'; 1873-78,
prod, the chorals ** Arminius** and
^* Zied von der Glocke*' and the 2d
vln. -concerto; 1883, came to U. S.
%nd prod, his ''* Arminius" Itoston.
The epic cantata is his special field ;
among his works of this sort, are
** Odysseus^ A r mini us ^ Lied von der
Glocke^ and Achilleus**; for male
chorus, " Frithjof^ Salami s^ Nor^
mannemug and Leonidas** (op.
66). He arranged the old Hebrew
melody Kol Nidre^ and composed
a cantata *^ Das FeuerAreuz** (op.
52, 1888); three symphonies; ora-
torio, ''Moses" (1895); 3 vln.-
concertos.
Bruck (brook) (or Brouck), Arnold
yon (a German Swiss (?)), d. 1545;
conductor and composer.
Brackler (brUk'-l^r), Hug^o, Dresden,
1845 — 187 1 ; composer.
Bruckner (brook'-n^r), Anton, Aus-
felden. Uppcr_/\.jistria, Sept. 4, 1S24
— Vienna, Oct. il, 1896; mainly self-
taught as organist ; 1S67, court-or-
ganist at Vienna ; prof, of org., harm,
and cpt. at Vienna Cons.; 1S75,
" Lektor " of music at Vienna Univ.;
1 89 1, Dr. hon. causa; one of the
chief conlempi>rar)* organ-Nnrtuosi, and
a disciple of Wagner ; he conaposed
y^ symphonies, the 4th calleci **A*o-
mflntic" Biog. by Fz. Brunnet
(Linz-on-Danube, 1895).
Brackner (brUk'-n^r), Oscar, b. Br«
furt, Jan. 2, 1857 ; 'cellist ; pupil of
GrUtzmacher and Draeseke ; toured
Germany, Russia, etc. ; Ducal cham-
ber-virtuoso at .Strelitz ; since i88g
teacher in the Wiesbaden Cons., and
composer,
Bruhns (broons), Nikelaus, Schwab-
stadt, Schleswig, 1665 — Husuna.
1697 ; organist and violinist.
Briiil (brll), Ig^az, b. Moravia, Nov, 7,
1846 ; pianist ; pupil of Epstein, Ru-
finatscha and Des.soflf ; 1872-78, pf.-
prof. Horak Institute, Vienna; his
first opera **/>«> Betiler von Sam-
mar hand" (1864) was not succ, but
''Das Goldene Kreuz" (BerUn),
1875) .was very pop. ; followed by 6
other operas and the succ. comiQ
opera ** Der Ilusar" (Vienna, MarcK
2, 1S98) ; composed also huntfng
overture '* Im Walde" etc.
Brumei (broo'-mfil), Anton, ca. 1480—
ca. 1520; Flemish cptist.
Bruneau (brtl-no) (Louis Chas,
Bonaventure), Alfred, b. Paris,
March 3, 1857 ; pupil of Franchomme
* at the Cons. ; took first 'cello prize,
1876 ; studied with Savart and Mas-
senet; 1881, took first prize with can-
tata '^ Sainte Genevieve" \ composed
operas "Kerim** (Opera-Populaire,
1887), ** Le Rhfe'' (Paris, 1892), and
the very succ. draroe lyrique *^ L*Al*
taque du Moulin " (Opera-Comique^
Paris, 1893) ; unsucc. drame lyrique
** Messidor" (Paris, Gr. Opera, Feb.
19, 1897) ; the last three are on texts
from Zola, some of the music bein^
set to plain prose, as also in the songs
set to Catulle Mend^' " Lieds en
prose" \ 1S93-95, critic of ** C/^
Bias," 1895 of " U Figaro" Chev
of Legion of Honour ; composed alsa
Heroic overture ; legende ** Pen*
tht'siUe^ Rejne des Amazones^
etc.
Brunelli (broo-nt^I'-le), A., 17th cent.,
conductor to Duke of Florenos ,
writer and composdr.
DICTIONARY OF MUSICIANS 375
Bnmetti(broo-ndt'-te), Gaetano, Tisa,
1753 — Madrid, 1808 ; composer.
Bmni (broo'-ne), A. Bart., Coni, Pied-
mont, 1759 — 1823 ; violinist, cond.
and dram, composer.
Branner (broon-ndr), Chr. Trau-
gott, Brttnlos, 1792 — Chemnitz,
1874 ; organist and conductor.
Bruyck (broik), K. Bebroid van, b.
Brann, March 14, 1828 ; studied law,
Vienna, 1850 ; and theory with Rufi-
natscha : writer on Bach, etc.
Biy'cison Bros., London; organ-
builders.
Bryen'nius, Manuel, lived ca. 1320 ;
last Greek theorist.
Bryne, Albert us, ca. 1621 — after 1677;
organist St. Paul's and Westminster
Abbey, London.
Buchholz (bookh'-holts), (i) Jn. Si-
meon, Schlosswippach, i758^Berlin,
1825 ; founded firm of organ-builders ;
succeeded by his son (2) K. Aug.
(1796—1884), whose *on (3) K. Fr.,
* d. Feb. 17, 1885.
Bachner (bakh'-ndr), Emil, b. Oster-
Held, near Naumburg, Dec. 25, 1826 ;
pupil of Leipzig Cons. ; 1865, court*
conductor ; composed 2 operas, etc.
Buck, (i) Zechariah, Norwich, Eng-
land, 1798 — Newport, Essex, 1879 ;
organist Norwich Cathedral ; teacher
and composer. (2) Dudley, .b. Hart-
ford, Conn., March 10, 1839; pupil
W. J. Babcock (pf.), then of Plaidy
find Moscheles (pf.) ; Ilauptmann
(comp.) and J. Reitz (instrumenta-
tion), Leipzig Cons. ; later Dresden,
under Keitz and Johann Schneider
(organ); and 1861-62 in Paris; 1862,
organist of the Park Ch., Hartford,
U. S. A.; St. James, Chicago, 1872,
St. Paul's and of the Music Hall As-
sociation, Boston ; 1875, organist
Cincinnati May Festival ; then, asst.
cond. to Th. Thomas, New York ; '
since organist of Holy Trinity Ch.,
Brooklyn ; director Apollo Club ;
composed comic opera ** Deseret**
Jprod. 1880) ; symphonic overture
Marmion " (1880), many cantatas ;
the 46tb Psalm ; *' The Christian
Year** a series of 5 cantatas ; wrote
2 books of Pedal-phrasing Studies,
and ** Illustrations on Cfwir'accompa*
niment^ with Hints on Registration **;
pub. ''The Organises Repertoire"*
(with A. P. Warren) ; " The Influ-
ence ofth4 Organ in History** (1882) ;
and a ** Dictionary of Musical
Terms:*
Bahler (bn'-ldr), Fz. P. Greg^orius,
Schneidheim, 1760 — Augsburg, 1824 ;
Benedictine monk, 1794; conductor
at Botzen ; dram, composer and theo-
rist.
Bull, John, Dr., Somersetsl^ire, Eng-
land, 1563 — Antwerp, March 12,
1628; 1582, organist; 1592, Mua
Doc. Oxon.; 1596, Prof, of music at
Gresham Coll. on Queen Elizabeth's
recommendation ; resigned on his
marriage, i()07 ; 16 17, organist Notre
Dame, Antwerp ; an early English
composer whom Oscar IMe credits
with remarkable originality in the
midst of over-ornamentation.
Bull (bool), Ole (Bomemann), Ber-
gen, Norway, Feb. 5, 1810— Lysoen,
Aug. 17, 1S80 ; enormously popular
and brilliant violin-virtuoso, a whit
charlatanic ; pupil of Paulsen ; then
self-taught, using a bridge almost
level and a flat fingerboard ; studied
theolog}', but failed in examinations ;
1828, dir. Philh. and Dram. Soc.,
Bergen; 1829, studied with Spohr
briefly ; 1832, debut, Paris, after liv-
ing there a year observing Paganini*s
methods ; toured Europe frequently,
and North America 5 times (1843-
79) : he died at his country-seat. He
played his own comps. almost alto-
gether ; wrote 2 concertos, and charac-
teristic solos ; biog. by Sara C. Bull,
his second wife» Boston, 1883, and by
Vlik (Bergen, 1890).
Bul'lard, r red. F., b. Boston, Mass
Sept. 21, 1864. 1888-92, studied
comp. under Rheinberger, Munich;
teacher of comp., critic and composer,
Boston ; has pub. many successful baU
lads and four-part songs for male
voices, Also sacred music.
376
THE MUSICAL GUIDE
Billow (fon ba'-lo), Hans Guido von,
Dresden, Jan. 8, 1830 — Cairo, Eg:ypt,
Feb. 13, 1894 ; versatile and influen-
tial musician ; pianist and conductor
of remarkable accuracy and memory,
popularising the custom of conducting
without score ; often called the best
interpreter of Beethoven, but rather
cold as a pianist ; at 9, studied pf.
with Fr. Wieck ; harmony with Ebe-
wein ; 1848, entered Leipzig Univ.
as law-student, but studied cpt. with
Hauptmann; 1849, Wafer's **/?/>
Kunst und die Revolution^* stirred
him deeply, and having heard
** Lohengrin** at Weimar under
Liszt's direction, he joined Wagner,
then exiled at Zurich, 1850-51 ; stud-
ied conducting with him, and acted as
cond. in theatres at Zurich and St.
Gallen, and later with Liszt ; 1853
and 1855 toured Germany and Aus-
tria, with success ; 1855-64, first pf.-
teacher Stem Cons., Berlin. 1857,
m. Cosima, Liszt's natural daughter,
whom he later surrendered to his
friend Wagner (q. v.); 1858, court-
pianist ; 1863, Dr. Phil. hon. causa,
Univ. of Jena ; 1864, court-pianist,
. Munich ; 1867-69, court-conductor
and dir. School of Music ; 1869-72,
teacher and pianist in Florence ;
1875-76, gave 139 concerts in Amer-
ica ; 1878-80, court-conductor at
Hanover; then till 1885, Ilofmusik-
intendant, Saxe-Meiningen ; 1882,
m. Marie Schanzer; 1885-88, teach-
er Raff Cons., Frankfort, Klindworth
Cons., Berlfn, and dir. Berlin Philh.
Concerts ; in 1888, founded the succ.
** Subscription Concerts." Composed
music to ''*' Julius Cicsar** (op. 10) ; a
Ballade for brch., ** Des Sdn^ers
Fluch** (op. 16); '' Nirwana;* a
S)miphonic Stimraungsbild (op. 20) ;
4 CharakterstUcke for orch. (op. 23) ;
a few pf.-pcs. and songs ; also many
piano arrangements. His critical ed.
of Beethoven's sonatas, and Cramer's
Etudes, are standard ; biog. by his
2d wife (Leipzig, 1895).
Bulss (bools), Paul, Birkholz Man-
or, Priegnitz, Dec. 19, 1847 — Terac»»
var, Hungary, March 20, 1902; pupil
of G. Engcl ; barytone at Dresden
(1876-89), later at Berlin court opera.
Bulthaupt (boolt'-howpt), H., b.
Bremen, Oct. 26, 1849 ; wrote a valu-
able ** Drainaturgie der Oper " (Leip-
zig, T887).
Bungert (boong'-^rt), Aug^ust, b.
Mahlheim-on-Kuhr, March 14, 1846 ;
pupil of Kufferath (pf.)i later at Co-
logne Cons. ; for 4 years at Paris
Cons. ; then (1869) with Mathias ;
lived (1873-81) at Berlin, and stud-
ied cpt. with Kiel ; since lives near
Genoa. His life-work has been
** Das Homerische Welt;* in 2 Ho-
meric 'opera-cycles, occupying 6
"evenings'* {Abende), each with a
" Vorspiel ; ** The Iliad (" Die Ilias ")
is unfinished : (a) Achilles ; (b) /Ciy^
temnestra. The Odyssey i^^ Die
Odyssee") consists of Circe; Nau-^
sikaa ; Odysseus' /^ww^^Ar (Berlin,
March 31, i8g8 ; succ), and Odys'
seus* Tod (Dresden, IQ02). Othef
comp. are (comic opera) "/?/> 5/«-
denten von Salamanca" (Leipzig^,
1884): symph. poem, ^'^Aufder IVari-^
burg"; ''Hohes Lied der Lube:^
with orch.; overture, ^*'Tasso" pf.
quartet, op. 18 ; Florentine quartet
(prizc^ 1878); ^^ Italienishe Reise^
bilder" etc., for pf.; songs to Car-
men Sylva's ^^ Lieder einer Konigin^
etc.
Bun'nett, Edw., b. Norfolk, England,
1834 ; articled to Dr. Buck, 1849 ; or-
ganist various churches, Mus. Doc.
Oxon, 1869 ; 1871-92, cond. Nor-
wich Mus. Union ; since 1872 organ-
ist of the Norwich Festivals ; com-
posed cantata, etc.
Bun'ning, Herbert, b. Ix^ndon, May
2, 1863 ; pupil of V. Ferroni ; c.
• Italian scena, ^'' Ludovico il Moro^
(prod, with succ, 1892), also 2 sym-
phonic poems, opera ** The Lasl
Days of Pompeii " (MS.), etc.
Bun'ting, Edw., Armagh, Feb., 1773
—Belfast, 1843; historian and cok
lector of Irish music.
DICTIONARY OF MUSICIANS 377
Bttonamente (boo-o-nft-m^n'-t^), Gtoy.
Bat., cond. Franciscan monastery at
Assisi ; early and important composer
for violin, also cometti (1623-36) ;
confused by Fetis with Bonometti.
Buonamici (boo-o-nfi-me'-che), Giu.,
b. Florence, 1846 ; pianist ; pupil of
his uncle Ceccherini. and of Bttlow
and Rhetnberger at Munich ; 1873,
cond. Florentine Choral Society
** Cherubini " ; founded the Flor.
" Trio Society " ; pub. etudes, etc.
Bvononcini. Vide bononcini.
Bnrbure de Wesembeck (bur-bur da
yi.zM-b«k), L^onPh. M., Chevalier
dCiTermonde, 1812 — Antwerp, 1889;
Flemish nobleman ; writer and com-
poser.
Bttrde-Ney (bor'-d^-nl), Jenny,
Grax, 1826 — Dresden, 1886; so-
prano; 1855, m. the actor B.
Bttrde.
Burette (btt-r«t). P. J., Paris, 1665—
1747 ; Prof, of Medicine, Paris Univ. ;
writer on Greek music.
Bttrgel (bor'-g^l), Konstantin, b.
Silesia, June 24, 1837 ; pupil of Bro-
si^and Kiel; 1 869-70 pf. teacher in
KuUak's Acad., now private teacher ;
composer.
Bttrger (bor'-g^r), Siraund, b. Vien-
na, 1856; pupil of Popper; 'cel-
list ; since 1887 soloist at R. Opera,
Pesth, and teacher in the Cons.
Burfirk (boorkh'), Joachim MoUer (or
MttUer), called loachim A. Burg^k
(or Burg, or fiarck), Bur^r, near
Magdeburg; ca. 1541 — Malhausen,
Thuringia, May 24, 1610; organist
and eminent composer of Protestant
music.
Bnrg^ein, J., pen-name of **Giulio
Ricordi."
BargmttUer (boorkh'.m(\M£r). (i) Jn.
Fr. F«., Ratisbon, 1806 — Beaulieu,
1874 ; composer. (2) Norbert, DUs- '
seldorf, 1810— Aix-la-Chapelle, 1836 ;
pianist and composer.
Bnrgetaller (boorkh' -shtal-t^r). Alois,
b. Holzkivchen, Sept. 27, 1871 ;
tenor; studied with Bellurth and
Kniese ; sang small r61es at Bayreuth
from 1894, *• Siegfried" (1897);
** Siegmund " (1899).
Burke, Jos., Ireland, 1818— New
York, Jan. 19, 1902 ; came to Amer-
ica at 12 as prodigy violinist ; pupil
of de Beriot ; retired about 1855.
Burkhard (boorkh'-hfirt), Jn. Andreas
Chrn., Pastor, Leipheim, Swabia;
theorist and editor.
Burmeister (boor'-mT-shtdr), (i) Rich-
ard, b. Hamburg, Dec. 7, i860; pian-
ist; pupil of Liszt, accompanying him
as he travelled ; teacher Hamburg
Cons.; for 12 years head of pf. dept.,
Peabody Inst., Baltimore; 1898, dir.
N. V. Scharwenka Cons.; c. pf.-con-
certo (op. i), " The Chase after Fort-
ufte'' {''Diejagd nach dem CHick*\'
a symphonic fantasy in 3 movements ;
rescored Chopin's F minor concerto,
and wrote orch. accomp. for LisKt's-
^" Pathetic** concerto. (2) Dory
(nee Peterson), b. Oldenburg, i860 ;
pianist ; wife of above.
Burmester (boor'-ma-sht^r), Willy, b.
Hamburg, 1869 ; violin-virtuoso ;
studied with his father and Joachim ;
toured with his sister, a concert-pian-
ist. Von Bnlow aided him and brought
public attention to his abilities ; has
toured Kurope, and 1899, America.
Bur'ney, Chas., Shrewsbury, Eng-
land, 1726 — Chelsea, 1814 ; toured
Kurope; Mus. Doc. Oxon, 1769;
pub. very interesting and gossipy
** 7^he Present State of Music in
France and Italy'* etc. (1771) ;
** do. in Germany^ the Netherlands**
etc. (1773) ; ** General History of
Music** (4 vols., 1776-89), etc.
Burr, Wiliard, b. Ohio, Jan. 17, 1852;
graduated Oberlin Cons. ; pupil of
Haupt, Berlin ; lives in Boston, Mass.;
composed grand sonata for pf. and
vln., etc.
Bur'rowes, J. Freckleton, London,
1787 — 1852 ; organist, pianist and
writer.
Bnr'ton, (t) Avery, composer in reign
of Henry VIII. (2) J. Yorkshire,
1730 — 1785 ; harpsichord. (3) Fred-
erick R., graduated at Harvard ; L
jtm
378
THE MUSICAL GUIDE
Yonkers, N. Y.; founded there, 1896,
a choral society ; c. pop. cantata
''Hiawatha,'' etc.
Bur'tius (or Burci (boor'-che)) or Bur-
zio (boor'-tsl-6), Nicolaus, Parma,
1450 — ca. 1520; wrote the earliest
specimen of printed mensural music.
Busby, Thos., Westminster, Eng-
land, 1755 — London, 1838 ; Mus.
Doc. ; composer and writer.
Bus! (boo'-ze), (i) Giu., Bologna, 1808
— 187 1 ; Prof. (2) Aiessandro, Bo-
logna, 1833 — 1895 ; son of above ;
'cellist and conductor.
Busnois (bttn-wa), A. (rightly de
Busne (dil bttn)), d. 1481 ; Nether,
land contrapuntist.
Busoni (boo-so'-ne), Ferruccio Ben-
▼enuto, b. Em[X)li, near Florence,
April I, 1866 ; pianist ; pupil of his
father (Fdo.), clarinettist, and his
mother (»/<:' Weiss), a pianist ; at 8,
debut at Vienna ; then studied with
W. A. Remy; 1 881, toured Italy; at
15, elected a member of the Reale
Accademia Filarmonica, Bologna ;
1886, Leipzig, where he c. a fantastic
)pera, a string-quartet (D min.), sym-
phonic suite, etc. ; 1888-89, Prof-
Uelsingfors Cons. ; 1890, won Rubin-
stein prizes for comp. and pf. -play-
ing, with a ConcertstUck for pf. and
orch., op. 31a ; sonata for pf. and
vln.; pf. arr. of Bach's El^ Organ
Prelude^ and Fugue ; and other pf.
pes. incl. 2 Cadenzas to Beethoven's
Concerto in G ; 1890, IVof. in the
Moscow Imp. Cons.; 1891-93 at New
England Cons., Boston, U. S. A.;
1895, toured ; now lives in Berlin ;
edited Bach's ** Well-tempered Clavi-
chord'' with etudes; other comps.,
** Lustspiel Ouvertiire''; 4 choruses
with orch. ; 2 suites for orch. ; a
'' Symphonisches Tongedicht" for
orch., etc.
Bttsser (bus-sa), H. Paul, b. Tou-
louse, 1872 ; pupil of GuiravJ and
Gounod ; took first Grand Prix de
Rome, with cantata ** Antigone "/
since 1892, organist at St. Cloud ; c.
succ. I -act pastorale '' Daphnis et
Chloe" (Paris, Op. Com.), 1897 ; can-
tata *' Amadis de Gaule" 1892 (tak-«
ing 2d Grand Prix de Rome); orches-
tral suite *' A la Villa Afedicis*'; a
lyric drama '* Colomba,^* and opera,
''Le MiracU des Perles."
Busshop (bus-shop), Aug. Gull.,
Paris, 1 8 10 — Bruges, 1896; self-
taught; c. prize-caatata, '' Le Drct^
peau Beige," 1834, etc.
Bussler (boos'-ldr), L., Berlin, Nov.
26, 1838 — ^Jan. 18, iqoo; theorist;
son of the painter-author, Hpbert
Bussler ; pupil of von Hertzberg,
Dehn, Grell, and Wieprecht ; 1865,
te«icher of theory, Ganz School of
Music ; from 1879, *^ the Stern Cons.,
Berlin ; critic and writer of various
treatises.
Bussmeyer (boos'-mi-£r), (i) Hug^o, b.
Brunswick, 1842 ; pianist ; pupil of
K. Richter, Litolff (pf.), and Meth-
fessel (comp.) ; i860, toured in South
America ; i860, N. Y. ; composer
and writer. (2) Hans, b. Brunswick,
1853 : bro. of above ; pianist ; pupil
of Royal School of Music at Munich,
and teacher there since 1874; ^^^o
studied with Liszt ; toured S. Amer-
ica, 1872-74 ; 1879, founded Munich
Choral Society.
Bustini (boos-tc'-ne), Aless. ; young
Italian composer, prod. succ. opera
" Maria DulciSy' Rome, 1902 ; li-
bretto by Luigi Ilica.
Buths (boots), Julius, b. Wiesbaden,
May 7, 1851; pianist; pupil of his
father (an oboist), also of Gemshei'n,
Hiller and Kiel ; 1871-72, cond. the
'* Cecilia," at Wiesbaden ; 1873, woa
Meyerbeer Scholarship, and lived in
Milan and Paris ; 1875-79, cond. in
Breslau ; in Elberfeld, 1879-90; since
cond. Mus. Soc. at Elbierfeld ; c.
concerto, etc., for pf.
Butt, Clara, Eng. contralto ; won a
scholarship at London R. C. M.; de-
but, London, 1892 ; toured America,
1899 ; m. Kennerly Rumford, bary-
tone, 1900. Her great success has
been emphasised by her imposing
beauty (she is 6 ft. 2t inches tall).
m
DICTIONARY OF MUSICIANS 379
Bttttstedt (boot'-sht^t), Jn. H., Bin-
dersleben, 1666 — Erfurt, 1727 ; writer
of a famous defence of soUmi-sa-tion ;
also orgranist and composer.
Bttus (boos), Jachet (Jacques) de,
b. Bruges (?), 1510 ; Flemish cptist ;
1 54 1, asst. organist, San Marco.
Buxtehude (boox'-t£-hoo-d£), Die-
trtch, IlelsingOr (Elsinore), Den-
mark, 1639—1 abeck, 1707; organist;
1673, he established the "Abend-
musiken," which J. S. Bach walked
50 miles to hear ; great composer of
fugues and suites.
Bttzzola (bood-zo'-la), A., Adria« 18 15
— Venice. 187 1; conductor at San
Marco and dram, composer.
Byrd (Byrde, Bird, or Byrcd). Wm. ;
according to his will, discovered in
1897, he was bom London, 1543, or
1543 (not 1538 or 1546, as stated) ; d.
July 4, 1623 ; organist and notable
English composer, in whose work there
is much modernity; 1554, organist;
1563, choirmaster and organist Lin-
coln Cathedral ; 1575, procured with
Tallis, his former teacher, an exclu-
sive patent for the privilege of print-
ing music and selling music-paper.
Caballero (kS-b^l-la-ro), Manuel
Fernandez, b. Murcia, March 14,
1835 > pupil of Fuertes (harm.) and
Eslava (comp.), Madrid Cons. ; c.
pop. Zarzueias (v. D.D.) and church-
music.
Cabel (kfi-bai). rightly Cabu, (i) Ed.,
singer Op. Com.. Paris. (2) Marie
Josepbe (nee Dreulette), Liege,
1827 — 1885 ; sister-in-law, or perhaps
mother, of above ; soprano.
Cabo (ka -bo), Francisco Javier, b.
Naguera, near Valencia, 1832 ; or*
ganist, conductor and composer.
Caccini (kat-che'-ne), Giulio (called
Romano), Rome, ca. 1546 — Flor-
ence, ca. 1615 : a Revolutionary com-
poser well called * * The father of a new
style of music " ; studied singing and
flute-piaying with Scipione della Pal-
la. Wrote and sang '^Afusica in S/ile
liapprtsentaiivo,'' sund c. '' II Rapti-
mento di Cefalo " (Oct. 9, 1600), the
first opera ever publicly prod. ; he
had also set to music other works bv
Bardi (q. v.), and collaborated with
Peri (q. V.) in *'Z>tf/w," the first
opera ever composed. He c. also
a novel set of madrigals justly called
*'Z^ nuove music he ^^ and other
works of notable originality and im-
portance to progress.
Cadaux (k&-d6), Justin, Albi, France,
1813 — Paris, 1874; dram, composer.
Cadiac (k&d-y&k), P., choirmaster at
Auch, France, and composer (1543^
58). •
Cadore (kS-dd'-r£), Arturo, youn^
Italian composer, prod, comic operik
*' / Vespri '* (Milan, 1898 ?) and succ.
t-act " // NataW' (Milan, 1902).
Caesar, Julius, M.D., b. Rochester,
England ; amateur composer, 17th
cent.
Caiaro (k&-fa'-rd), Pasq. (called Caf-
fariel'lo), San Pietro, Galatina, Italy,
1706 — Naples, 1797 ; noted Composer;
c. operas, oratorios, a notable '* Stabat
mater ^^^ etc.
Caffarelli (rightly Gaetano Majora-
no) (kaf-fa-rdl-U), Bari, April 16,
1703 — Santo- Dora to, near Naples,
Nov. 30, 1783 ; famous male so-
prano ; discovered as a peasant boy,
by CafTaro. a musician, he took the
name Caffarelli out of gratitude ; he
studied 5 years with Porpora ; was a
skilful sight-reader and harpsichord-
ist, a mar\'ellous singer of florid mu-
sic, and also gifted with pathos ; had
most successful debut, Rome, 1724,
in a female role, and sang with enor-
mous success everywhere except Lon-
don ; made money enough to buy a
dukedom.
Caffl (kaf-fe), Fran,, Venice, 1786—
Padua, 1874 ; writer.
Caffiaux (kilf-fY-o), pom. Phillippe
Jos., Valenciennes, 17 12 — Pans,
1777 ^ abbe and writer.
Cagniar de la Tour (kin -y&r du Ifl
toor'), Baron, Chas ^ Paris, i777—
38o
THE MUSICAL GUIDE
1859 ; improved the ** Syren " (v.
D. D.).
Cagnoni (kan-yo-nY), A., Godiasco,
1828 — Bergamo, 1896; conductor and
dram, composer.
Cahen (ka-ah), (i) Ernest, Paris,
1828 — 1893 ; pianist and dram, com-
poser. (2) Albert, b. Paris (?), Jan.
8, 1846 ; pianist ; pupil of Mme.
Szarvady and Cesar Franck ; c.
**Jfan U Pr/curseur,^'* biblical p)oem
(1874) : com. opera '' J^ Bois'' (1880,
Op. Com.) ; fairy opera ** La BelU au
Bois Dormant^" (Geneva, 1886); 4-
act opera '*Z/ V/nih'en*" (Rouen,
1890) ; unsucc. opera *' La Femme de
C/audif*' iVixns, Op. Com.,* 18961);
lives in Paris.
Caillot (ki-yo), Jos., Paris, 1732—
1816 ; tenor-barytone.
Cain (kiln), Henri, b. Paris, 1859;
painter ; and librettist to Massenet,
etc.
Caimo (kiL'-e-md), Joseffo, b. Milan,
ca. 1540; composer.
Car ah, J., 1758 — 1798, English organ-
ist.
Caldara (k£I-d&'.ra). A., Venice, 1678
— Vienna, Dec. 28, 1763 ; court-con-
ductor and noted composer, Vienna ;
c. operas, 70 sacred dramas, etc.
Cal'dicott, Alfred Jas., Worcester,
England, 1842 — near Gloucester, Oct.
24, 1897 : organist of St. Stephen's
Church, Worcester, and Corporation
organist; 1883, prof, at R. C. M.,
London ; from 1885, cond. at the
Albert Palace ; c. cantatas, 13 oper-
ettas etc.
Caleg:ari (kal-SL-g^t'-re), (i) (or Calle-
g^ari) Fran. A., d. Padua, 1742;
a Franciscan monk, 1702-24 ; con-
ductor and writer at Venice, then
Padua. (2) A., Padua, 1758— 182S;
dram, composer and writer.
Cal'kin, J. Bapt., b. London, March
16, 1827 ; pianist, organist and com-
poser; prof. Guildhall School of
Mus. ; pub. services, etc.
Call, Leonard de, 1779— Vienna,
1S15 ; guitar virtuoso and compos-
er.
Callaerts (kdl'-larts), Jos., b. AnU
^*erp, Aug. 22, 1838; pupil at Brus-
sels Cons, of Lemmens ; organist at
Antwerp Cathedral, and teacher at
the Music School from 1867 ; c. a
prize symphony and pf. trio, comic
opera ; ** Z^ Retour ImprAfu " (Ant*
werp, 1889), etc.
Call'cott, (I) J. Wall, Kensington,
Nov. 20, 1766— -May 15, 182 1 ; main-
ly self-taught ; organist ; 1789 he
won all the prizes offered by the
" Catch Club; " 1790, pupil of Haydn ;
1800, Mus. Doc. (Oxon); 1806, lect-
ured at the Royal Institute ; over-
work on an unfinished musical
dictionary destroyed his reason ; his
** Grammar of Music** (1806) is
standard. (2) wm. Hutchina, Kens-
ington, 1807 — I^ndon, i88a; son of
atx)ve ; organist and pianist
Calliope (k&Ml'-o.pC or kfll-le'-O-pa).
the Greek muse of heroic verse.
Calo'ri, Angiola, Milan, 1732—1790 ;
soprano.
Calsabifi:! (kal-sS-be'-je), Ranieroda,
Livomo, 17 1 5 — Naples, 1795 ;
Gluck's librettist and aide in opera-
reformation.
Calv^ (k&l-vfi), Emma (de Roquer),
b. Madrid, 1864; eminent operatic
actress and soprano ; pupil of Mar-
ches! and Pugets; 1882, debut ia
Massenet^s ** H^rodiatU:* Th. de la
Monnaie, Brussels ; 1884, Paris Th.
Italien ; 1885, Op. Com. ; has sungr
constantly in New York, London, etc. ;
she is an Officier d*Academie,and lives
in Paris.
CaMs'ius, SethttS (rightly Seth
Kallwitz(kftr-vets)),Feb. 21, 1556 —
l^ipzig, Nov. 24, 161 5 ; son of a
peasant ; singer for alms, then as a
teacher obtained funds to study;
(1581) mus. dir. ; writer of important
treatises and composer.
Calvdr (k&l'.f&r), Katpar, HildeSheino,
1650— Clausthal, 1725; theorist.
Cambert (kMA-bir), Rob., Paris, ca.
1628— London, 1677 ; first composer
of French operas; organist at St.
^ Honore ; 1659, ** La Fastorali "
DICTIONARY OF MUSICIANS 381
Slice, prod, at the Chateau d'Issy ;
and followed by others on the texts of
Perrin. who received letters patent for
establishing the ** Acad^mie royale de
rousique " (new the Gr. Opera) ; with
Perrin he also wrote the first genu-
ine opera, ^'' Pomone^' prod. 1671,
before LuUy, who later took the pat-
ent for himself ; he went to England
where he died as Master of the Music
to Charles II.
Cambini (kam-be'-ne), Giov. Giu.,
Leghorn, 1746 — Bicetre, 1825 (?);
cond. at Paris, and prolific but cheap
composer of over 60 symphonies, 144
string-quarttts, several operas, etc. ;
he died in the almshouse.
Camerana (kam-a-rM'-na), Luigii b. in
Piedmont, 1846; theatre - cond. in
Savona ; dram, composer.
Cam'ids^e, (i) J., ca. 1735 — York,
Engl., 1803 ; organist York cath., 47
years; composer. (2) Mat., York,
1758 — 1844; son and successor of
above. (3) J., York, 1790 — 1859;
son and successor of (2).
Campagnoli (kilm-p&n-yd'-le), Bart.,
Cento, 1751 — Neustrelitz, 1827; vio-
linist and court-conductor.
Cfunpana (kam-pa'-nsL), Fabio, Leg-
horn, 1 8 19 — London, 1882 ; singing-
teacher and dram, composer.
Campanari (kam-pd-nd'-re), (i) Lean-
dro, b. Ro\igo, Italy, Oct. 20, 1857 ;
pupil at Milan Cons. ; toured Europe
2 years ; America, 1879 * lived in
Boston ; organised '' C. String-quar-
tet " ; 1883 ist prof, of vln. in N.
£. Cons. ; 1890. ist prof, of vln.
and head of orch. dept. Cincinnati
Cons. ; since 1897 conductor at
Milan ; writer and composer. (2)
Giuseppe, eminent dram, barytone,
bro. of above, sings at Met. Op., N.Y.
Campanini (kslm-p^-ne'-ne), Italo,
Parma, 1845 — Vigatto, near Parma,
Nov. 22, 1896; operatic tenor, a
blacksmith when discovered ; debut,
1869, at Odessa, without much suc-
cess; then studied with Lamperti,
and reappeared, Florence, 1871, as
Lohengrin,*' with great succ. ;
«(
toured Europe and U. S. with Nils-
son, Patti, etc.
Camp'beli, Alex., organist, editor,
and publisher, i8th century.
Campenhout -(kSm'-p^n-oot), Fran-
cois van, Brussels, 1779 — 1848 ; vio-
linist, then tenor, then dram, com-
poser.
Campio'li A. Giialandi, called Cam-
piole, b. Germany, of Sp. parents;
male contralto ; debut Berlin, 1708.
Cam'pion, (t) Thos., d. London, Feb.
1619 ; English physician, poet, dram-
atist and noteworthy writer and
composer ; pub. two books of Ayres,
etc. (1610); 2 more (1612). (2) Fran.,
1703-19, theorbist, Paris Gr. Opera.
Campio'ni, Carlo A., Leghorn, ca.
1720 — Florence, 1793; court-conduc-
tor.
Camporese (k£m.po-ra'-z£), Violante,
b. Rome, 1785 ; operatic sopr. o!
Napoleon's private music ; debut,
London, 1817^; retired. 1829.
Campos (kam'-pos), Joao Ribeiro de
Almeida de, b. Vizen, Portugal, ca.
1770; cond., and professor.
Campra (kan-prfi), (i) Andr^, Dec. 4,
1660 — ^Versailles, July 29, 1744 ; cond.
at Ndtre Dame ; prod. 2 succ. operas
under his bro's name and gave up
church-mus. ; cond. Royal Orch. and
c. 18 operas. (2) Jos., bro. of above ;
double-bass player.
Camps 7 Soler (kdmps e so'-lar), Os-
car, b. Alexandria, Egypt, Nov. 21,
1837; Spanish pianist ; pupil of D6hler
and Mercadante ; played in public at
13; lives in Madrid ; writer and theo-
rist.
Candeille (kaA-dS'-yd), (i) P. Jos.,
Estaires, 1744 — Chantilly,^ 1827;
dram, composer. (2) (Simons-
CandetUe) Am^lie Julie, Paris,
1767 — 1834 ; operatic sopr., actress,
and composer ; daughter of above ;
lived in Paris as teacher ; she wrote
libretto and music of the succ. oper-
etta '' U Belle Fermihe" (1^2) \
she played the leading rdle and sang
to her own accomp. on piano and
harp.
«
3
382
THE MUSICAL GUIDE
Cange (da k^zh), Chas.-Dufr^sne»
sieur du, Amiens, 1610 — Paris, 1688 ;
lawyer and lexicographer.
Canuabich (kSn'-niL-blkh), (i) Chr.,
Mannheim, 173 1 — Frankfort, 1798 ;
noteworthy violinist and conductor,
a pioneer m orchestral diminuendo ;
son of (2) Mathias, a flutist in the
Electoral Orch. at Mannheim of
which Chr. C. became leader in 1765,
and cond. 1775. (3) K., Mannheim,
1769 — Munich, 1805 ; son of (i) ;
court-conductor. (4) Rose, b. about
1762 according to Mozart, whose pu-
pil she was ; daughter of (i) ; notable
pianist.
Canniciari (ksin-ne-cha-r£), Don
Pompeo, Rome, 1670 — 1744; con-
ductor and composer.
Canthal (kan'-tal), Aug., b. Labeck (?);
flutist 1832 Hamburg Th.; 1847, succ.
concerts, Copenhagen ; 1848, band-
master, Leipzig ; composer.
Can'tor, Otto, Engl, song-writer, lives
in London.
Campelia Martianus Minucius
(Mmeus), Felix, 5th cent., Latin
scholar at Carthage ; writer.
"Capel'li," pen-name of Jo. D. von
Apell.
Capocci (kal-p6t'-che), (i) Gaetano,
Rome. Oct. 16, 1811 — Jan. 11, 1898 ;
notable teacher ; pub. much sacred
music. (2) Filippo, b. Rome. May
II, 1840 ; son of above ; Italian or-
ganist, perhaps the best living ; since
1875 organist of San Giovanni in
Laterano ; c. for organ.
Caporale (ka-pd-ra-1^), Andrea, d.
London, ca. 1756 ; 'cellist.
Capoul (ka-pool) (Jos. Am€d6e), Vic*
tor, b. Toulouse, Feb. 27, 1839 ;
tenor ; pupil of Revial and Mocker,
Paris Cons. ; 1861-72 at the Op.
Com. ; 1892 prof, of operatic singing
in Nat. Cons., New York; asst. dir.
Gr. Opera, Paris, 1899; '9^2 (?) di-
rector Op. Com., Paris.
Caracdo (ka-rat'-cho) (or Caravac-
cio), Giov., Bergamo, ca. 1550 —
Rome, 1626 ; conductor,
Caraccioli (ka-rat-cho'-le), Luigi,
Adria (Bari), 1849 — London, 1887 ;
dram, composer.
Carado'ri- Allan, Maria C. R. (nee
de Munck), Milan, 1800 — London,
1865 ; soprano.
Carafa de Colobrano (kS-ra'-fa dUi
ko-lo-bra'-nd), Michele Enrico,
Naples, Nov. 17, 1787 — Paris, July
26, 1872 ; son of Prince Colobrano ;
while very young c. an opera, 2 can-
tatas, etc., with much success ; 1837,
member of the Academy ; 1840, prof,
of comp. at Cons. ; c. also ballets,
cantatas, and good church-music.
Caramuel' de Lob'kowitx (vets),
Juan, Madrid, 1606 — Vigevano, Italy,
1682 ; bishop and writer.
Cardon (k&r-ddn). (i) Louis, Paris,
1747 — Russia, 1805 ; harpist. (2)
P., b. Paris, 1751 ; *cellist and singer.
Cardo'so, Manuel, Fronteira, 1569 ;
Spanish priest and composer.
Caresana (kar-a-sa'-nH), Cristoforo,
b. Tarentum, 1655 ; lives in Naples
as composer.
Carestini (ka-ras-te'-ne), GioT. (stage
name Cusanino), Mente Filatrano
(Ancona), ca. 1705 — 1760; male so-
prano (musico).
Ca'rey, Henry, 1685 (?) — London. Oct
4, 1743 ; a reputed natural son of
Marquis of Halifax, and disputed
composer of ** GoJ save the ICing" ;
c. the song ** Saify in our AUey" ;
ballad operas, etc.
Cario (ka -1I-0), Jn. H., Eckemforde,
Holstein, 1736 — after 1800 ; trum-
peter.
Carissimi (ka-rYs'-se-me), Giacomo,
Marino, near Rome, ca. 1604 — Rome,
Jan. 12, 1674; ca. 1624, church*
conductor at Rome ; important ch.-
composer and writer; many of hit
MSS. are lost ; 5 oratorios and other
pieces remain.
Carl, Wm. Crane, b. Bloomfield, N.
J., March 2, 1865 ; pupil of S. P.
warren (org. and theory), Mad.
Schiller (pf.) and Guilmant, Paris;
since 1892, organist First Presby.
Ch., N. Y. ; cond. of N. Y. ** Gami^
Club " ; tours as concert-oi^nist.
DICTIONARY OF MUSICIANS 383
Car'michaelt Mary Grant, h, Birk«n-
bead, EngK ; pupil of O. Beriager,
W. Bache» and F. Hartivigson (pf.)
and £. Prout (comp.) ; accompaotst ;
c. operetta, *' TA^f Sn4fw Qu<rn'\'
a p{.-saite ; and many pop. songs.
Car'naby, Wm., London^ 1372 — 1839 ;
oigan composer.
Carnicer (k^'-ne-thar), Ramon, Tar-
egge, Catalonia, Oct. 24, 1789—
Madrid, March 17, 1855 ; coikI.
Royal Opera» Madrid, 1830-54, prof,
of comp. Madrid Cons.; one of
the creators of the Zarzuela (v.
D. D.).
Caron (ka-rofi), (i) Firming i^th cent.»
cptist. of Netherlands ? (2) Rose,
noted soprano Gr. Opera» Paris.
Carpani (kar-pa'-ne), Giu. A«, b. Vil-
atbese (Como), 175a— Vienna, 1825 ;
writer.
Carpentras (II Carpentras'ao).
Vide ELRAZER GENET.
Carr, Frank Osmond, b. Yorkshire,
ca. 1857 ; 18S2 Mus. Bac. Oxon ;
1S91, Mus. Doc. ; c. farces, bur-
lesques, and comic operas ; ^* Joan of
Arc'' (1891), ''Blue-Eyed Susan'*
(London, 1892), " In Town " (1892),
•• //is Excellency" (1894, libretto by
W. Gilbert), etc.
Carr£ (k^r-ra), (i) Louis, Ck>fontaine
Brie, 1663 — Paris, 1711 ; writer. (2)
Albert, b. Strassburg, June 22, 1852;
1898, dir. Op.-Com., Paris; lib-
rettist.
Carrelio (k&r-ran'-yd), Teresa, b. Ca-
racas, Venezuela, Dec. 22, 1853 ;
pupil of L. M. Gottschalk, and G.
Mathias ; notable pianist ; played in
public at 12 ; at 22 toured the U. S. ;
1889-90 toured Germany with much
success ; for some years wife of £.
Sauret ; then of Giov. Tagliapietra ;
1892-95, wife of Eugen d'Albert ;
1902, m. Arturo Tagliapietra, bro. of
Giov. T. ; c. a string-quartet and pf.
salon pieces. Her daughter Teresita
Tagliapietra is a pianist.
*!arradus, J. Tiplady, Keighley
(Yorkshire), 1836 — London, 1895 ;
violinist.
Cai'ter, (i) Tlioa., IieUind» ca. 1735 —
London, 1804; coQ^x>ser. (2) Jr.,
b. I^ondon, March 6» 1837 ; organ-
ist ; pupU of Haupt (org.\ Paucc ^J^,,
Kiel and Hiller (comp.) ; at 9^ church
organist; later at Quebec^ Boston,^
etc.; i$8o, prof, in Coll. ot Music,
Cincinnati ; 1883 organist Brooklyn^
later N. Y. ; cooipofier.
Cartier (k&rt-ya), J. Ba]pu» Avignon,
1765 — Paris, 1841; violinist and dram,
composer.
CaruUi (k^rool'-leK (i) F4o.. Naples,
1770 — Paris, 1841 ; seH-taugbt gui-
tar-virtuoso and teacher ; c. 400
concertos. (2) GlifttATOi, Leghorn,
1880 — Boulogne, 1877: son of abave;
teacher and dram, composer.
CariMo (kji-roo'-z6>» Luigi. Na|d«St
1754 — Perugia, i8ai ; conductor, c.
69 operas.
Carvalho (ki&r.v&l'-o) (rightly Cm"^
▼ailleX, (i) L6oiL» in a French coUny,
I&2S— Paris, 1897 ; from ia7j dir.
Op. Com. (2) Canralh^Miolan
(me-o-l&n), CaroUae M.-F«lix»
Marseilles, 1827 — Puys, near Diepfie,
1895 ; soprano ; wife of above ; d^
but 1849,
Ca'ry, Annie Louise, b. Wayne (Ken-
nebec County, Me.), Oct. ff, 1849 ,
distingiiished operatic aiKt concert
contralto ; studied in Boston and
Milan, and with Viardot-Garcia, etc.;
debut 1868, at Hamburg; later
Stockholm* Copenhagen, Bnisseb,
London, New York (1870), St. Pet-
ersburg (1875) ; 1882, m. C M, Ray-
mond, Cincinnati.
Casali (k&sSMe), Gioy. Bat.»d. 1792;
conductor and dram, composer,
Caaamorata (ka-aa-mo-ra'-U), hmg\
Fdo., Wurzburg, 1807 — Florence,
1881 ; editor, writer, and compos-
er.
Casarini (or -a) (ka-sa-re'-ne), Italian
soprano in Handel's optraSt Londoni
1748.
Casel'la, P., Pieve (Umbria), i765>—
Naples, 1843 ; dram, comooser.
Caser'ta* Philippe de, Neapolitan
theorist, 15th centuiy.
384
THE MUSICAL GUIDE
Casini (kft-se'-ne). G. M., b. 1675 (?) ;
Florentine priest ; he tried to revive
Greek modes.
Cassell', Guillaume, Lyons, 1794*^
Brussels, 1836 ; singer and teacher.
Casaiodo'rus Magnus Aurelius, b.
Syilaceum (Lucania), ca. 470 ; writer.
Caatel (k&s.t£l), Louis Bertrand,
Montpellier. 1688— Paris, 1757 ; a
Jesuit writer who attempted without
success to construct a ** Clavecin
oculaire," to prod, colour harmonies.
Castellan (kfts-teI4fiA), Jeanne A., b.
Beaujeu, Oct. 26, 1819; retired,
1859; singer.
Castel'li, (i) Ipias Fs., Vienna, 1781
— 1862; editor. (2) , so-
prano in London, 1825-28.
Caatelmary (kAs-t^l-mH-re) (stage
name of Comte Armand de Caia-
tan), Toulouse, Aug. 16, 1834 —
New York, Feb. 9, 1897 ; barytone ;
died on the stage of the Met. Op.,
N. Y., just after the first act of
Cas'tro, Jean de, played Lyons, 1570;
composer and lutist.
Castih>Blaze. Vide blazk, f. h. j.
Castrucci (kiis-troot'-che), P., Rome,
1689 — London, 1769 ; violinist ; lead-
er of li&ndel's opera-orch. ; inv. and
played the violetta marina. His
bro. (2) Prospero (d. London, 1769);
violinist and composer.
Catalan! (k&t-a-l&'-ne). Angrelica,
Sinigaglia, Oct., 1779 — Paris, June
Z2, 1849; famous operatic soprano of
great beauty ; her voice was notably
flexible and reached to g'" (v. chart
OF PITCH) ; in 1806, at London, she
earned over j£'i6,ooo ($80,000) in one
year ; 1814-17, she took up manage-
ment of the Th. Italien, Paris, without
8UCC. After final appearance, York
festival, in 1828, she retired to her
country-seat, near Florence.
Catalini (k£-t&-le'-ne), Alfredo, Luc
ca, July 19, 1854 — Milan, Aug. 7,
1S93 ; pupil of his father a musician
at Milan ; gained admission without
exam, to Paris Cons. ; 1886 prof, of
comp., Milan Cons. ; c. 6 operas, of
which the most succ. were, ^* Dria*
Hire:' *• LoreUy:' and ** La VValty^
Catel (k&-t«l), Chas. Simon, L'Aigle,
Ome, 1773 — Paris, 1830; dram,
composer and writer.
Catelani (k&t-a-U'-ne), An^lo, Guas*
talla, 181 1 — S. Martino di Mugnano^
1866 ; dram, composer and writer.
Catenhausen (ksi'-tSn-how'-z^X
Ernst, b. Katzeburg, 1841 ; conduo
tor and composer.
Cat'ley, Anne, London, 1745 — 1789
soprano, d<fbut, 1762 ; m. Gen. Las-
celles.
Catnifo (kfl-troo'-fo). Gin., Naples
1771 — London, 185 1 ; dram. coiii»
poser.
Caurrojr (kdr-wA), Fran. Euttachc
du, sieur de St«-Fremin, Gerberoy,
1549 — Paris, 1609; singer and con-
ductor.
Cans'ton, Thos., d. Oct. 28, 1569 ; of
the Chapel Royal ; English cooa*
poser.
Cavaccio (kS-vSt'-cho), Giovanni,
Bergamo, ca. 1556— Rome, 1626;
conductor.
Cavaill«-Coll. (kft-vl'-yi-kdl') (Dom
Hyacinthe), Aristide, Montpellier,
18 1 1 — Paris, 1899; son of famouji
org. -builder ; 1771 — 1862, org. -build*
er and inv. of separate wind-chests
with different pressures, etc.
Cavalieri (dJ^I kft-vfil-ya'-re). (i) Emilio
del, Rome, ca. 1550 — Florence (?X
1599 (^) J ** Inspector-Gen. of Art and
Artists " to the Tuscan court ; ad-
vocated non-polyphonic music ; his
** Rappresentauone di Anima e 4&
Corpo " (Rome, 1600) is the first ora-
torio. (2) Katherina, Vienna, 1761
— 1801 ; singer, whom Mozart wrote
for and praised. (3) Lina, b. Rome,
Dec. 24, 1874, daughter of a laun-
dress ; won notoriety as beauty and
singer in cafes chantants ; then
studied with Mme. Mariani-Marsi ;
succ. debut in **^ Pagliacci:^ Lisbon,
1900 ; sang Naples, Warsaw, and
1902, engaged at Dal Verme Tb.,
Milan.
Caval'lii Fnui., Crema, ca. i6oo-«
m
DICTIONARY OF MUSICIANS 385
Venice, Jan. 14, 1676 (rightly Pier
Francesco, Caletti-Bnini), son of
GiamtMitt. Caletti, called Bruni,
Maestro at Crema. A Venetian
nobleman, Federigo Cavalli, had him
taught and he took his name. He sang
at S. Marco, 1665 ; first organist
there ; 1668, conductor ; he was a pu-
pil of Monttverde and developed M.'s
principles, composing 41 operas, the
most succ. being '* Ciasone' (Venice,
1649); '' Strse'* (1654); ''ErcoU
AmanU** (Paris, 1662) ; he c. also a
notable requiem, and other church-
music.
CaTaUiiii(le'-ne), Ernesto,Milan,i8o7
— 1873 ; clarinettist and composer.
CaTAl'lo, Peter, Munich, i8i9->Paris,
1802 ; oivanist.
Cavendisi, Michael, English com-
poser, 1509.
Cavoa (k& -vSs), Catterino, Venice,
1775 — St. Petersburg, 1840; 1799,
court-conductor; c. 13 Russian operas;
also others.
Cajrlns (k«'-lQs), Anne Claude Phi-
lippe de Tubiirea, comte de, Paris,
1692—^1765 ; writer.
Cazzati (kUd-zsi'-te), Maarizio, Man-
tua, 1625 — 1677 ; composer and con-
ductor.
Cecil' ia (Saint), d. Rome, a.d. 230, in
Christian martyrdom ; her feast-day
is Nov. 22d ; legendary inventor of the
organ, and patron saint of Christian
music.
Celettino (cha-lds-te'^o), Eli£:io,
Rome, 1739 — Ludwigslust, 1812;
violinist and conductor.
Celler, LndoTic. Vide leclerq.
Cellier (s«l'.y«r), Alfred, Hackney,
London, Dec. i, 1844 — Dec. 28,
1891 ; conductor in London, etc. ; c.
15 operettas, incl. the very succ.
*' Dorothy'* (1886) ; ** 7V// Mounte^
y banks " (London, 1892), etc.
Cemohortky (or Czernohorsky),
(ch(^r-n6>h6r'-shk1), Bohuslav, Nim-
burg, Bohemia, 17th cent. — Italy,
1740: a Minorite monk; conductor;
Ids comps. are still sung in Bohemian
cfaorcbeaN
Cerone (ch&-ro'-nc), Dom. P., b. Ber-
gamo, ca. 1566 ; theorist.
Cerreto (ch^r-ra'-td), Scipione, Na-
ples, 155 i—ca. 1632 ; lutist and the-
orist.
Certon (s^r-t6n), P., i6th cent., con-
trapuntist ; choirm. Sainte Chapelle,
Paris.
Cerik (chS-roo'). Dom. Ag., b. Lucca,
^ Aug. 28, 1817 ; engineer and writer.
Ccrveny (chftr'-vi-ne), V. F. (Wen-
zel Fz.), Dubec, Bohemia, 1819—
KOniggratz, Jan. 19, 1896; maker
and improver of brass instrs. and inv.
of the important ** roller" cylinder
mechanism, also of the contrabass
(1845), metal contrafagotto ('56), alt"
horn obbligato ('59), primhorn (*73),
and the complete waldhom quartet
(primhorn, ED alto, waldhom in F,
tenor in Bb, basso, 11 in DiK), sub-
contrabass and suba>ntrafagotto ; im-
proved the family of comets, the eu-
phonion, the screwdmm, and the
church-kettledrum, etc.
Cervcra (th6r-va'-ra). Fran., b. Val
encia, i6th cent. ; theorist.
Cenretti. Vide gelinek.
Cervetto (ch^r-vdt'-to), (i) Giacomo
(rightly Bassevi), July, ca. 1682 —
London, Jan. 14, 1783 ; 'cellist. (2)
Giacomo, d. Feb. 5, 1837 ; son of
above ; 'cellist and composer.
Cesbron (s£'-br6n), Suzanne Cathe-
rine, b. Paris, May 29, 1879, soprano;
pupil of the Cons., taking prizes 1899,
1900, 1901 ; debut, 1901, Opera Co-
mique as Griseldis in Massenet's op-
era.
Ceai (chi'-ze), Beniamino, b. Naples,
Nov. 6, 1845 ; pupil of Naples Cons,
under Mercadante and PappaUrdo,
pf. -pupil of Thalberg ; since, 1866,
prof. Naples Cons. ; c. an opera,
** Viitor Pliant " (not prod.), etc.
Cesti (chas'-te). Marc A., Arezzo,
1620 — Venice, 1669 ; Franciscan
monk ; conductor and tenor singer ;
first opera, ** Orontfa,^* succ. at Ven-
ice, 1649 ; wrote 10 other operas
mainly succ; all lost now except **Za
Dori'* (Venice, i66j}; his cantatas
386 THE MUSICAL GUIDE
are better preserved ; he wrote them
for the stage.
Cevallos (th^-vai'-los), Fr»n,, 1535-^
1573 ; Spanish composer.
«^habrier (sh^b-rl-a), Alexis Emm.,
Auvergae, Jan. 18, 184a — Paris, Sept.
13, 1894 ; studied law in Paris, then
music; 1 881, choirm. under Lamou-
reux ; c. operettas, a rhapsodie " ES"
pan I " for orch., etc.
Cbad'wick, C. Whitfield, b. Lowell,
Mass., Nov. 13, 1854 ; studied organ,
etc., under Eugene Thayer at Boston;
1876 head of mus. dept. of Olivet
Coll., Mich.; 1877-78 studied Leipzig
Cons. (Reinecke, Jadassohn), his
graduation piece being an overture to
''Rip Van mnkU ;'' studied at
Munich with Rheinberger ; 1880, or-
ganist Boston. and teacher of barm.,
comp. and instrumentation at the N.
E. Cons., of which he is dir. ; cond.
the Worcester Mus. Festivals, re-
signed, 1903 ; c. 3 symphonies ; 4
overtures. *'^i> Van fVinkW' ('79),
•* Thalia " ('83), " Melpomenr C^%
" The Miiier^s Daughter'' ('88); 3
symphonic sketches for orch. ; comic
opera ''Tabasco'' (New York. '94);
many choral work9 ; " The Colum-
bian Ode " (Chicago, '93), etc. ; wrote
a text-book on *' Harmony " (Boston,
1898).
CbftUicr (shal'-lt-er), Ernst, b, Berlin,
tujy 9, 1843; music-publisher, Berlin.
Cnam'berlain, Houston Stewart, b.
Portsmouth, England, Sept. 9, 1855 ;
son of a British Admiral, took doc-
tor's degree in Germany, and lived at
Vienna because of his health ; pub.
famous book " Richard Wagner "
(Leipzig, 1893), followed by others
Chambonni^res (shaA-bun-y&r),
Jacques Champion (called " Cham-
pion de Chamb."), d. ca. 1670; first
chamber cembalist to Louis XIV.
Chaminade (sh&m'-I-n&d), C6cile
(Louise Stephanie), b. Paris, Aug.
8, 1861 ; pianist and composer of
unusual spirit and originality ; pupil
of Lecouppey, Savard, Marsick and
Godard ; she lives in Paris ; c. the
succ. * * ballet-symphonie " * * CalHrM "
(Marseilles, 1888) ; the " symphonie
lyrique" "^ Les Amawnes" (Anvers,
1888) ; 2 suites for orch. ; '* Concert-
stUck " for pf . with orch. and many
pop. songs and pf. -pieces; opera in
MS., book by A. Silvester,
Champein (shan-p&n), Staaislas,
Mareeilles, 1753 — Paris, 1830; dram,
composer.
Champion (shanp-yon). Jacques.
Vide CHAMBONNiBK.ES.
Cliamp'ington» J., English organ-
builder; 1597-
Chanoay (shan-n£). Jean de» x6th
cent, music-printer, Avignon.
Chanot (shiUno), rran,, Mirecourt,
1787— Brest, 1823 ; retii^as a naval
engineer ; designed a violin which
the Academy pronounced equal to
Stradivari's ; his bro., a Paris luth-
ifir, manufactured it, but found it ini-
practicable.
Caap'maa, Wm, Rogers, b. Hano-
ver, Mass., Aug. 4, 1855; lives in
New Yotk as chorus-leader, conduo-
tor and composer.
Chap'pel & Co.» music-publishers.
London ; founded i8j2 by (i) Sam-
uel Cm the pianist, Cramer, and F.
T. Latour (1809— 1888). (a) Wm.
C* became the head of the Arm ; in
1840 he founded the " Antiquarian
Society," and pub. colls, of Old Engl,
music. His brothers, (3) Tbonuis,
founded, and (4) Arthur, conducted,
the Monday and Saturday Pop. Con-
certs.
Chap'ple, Samuel, Crediton (Devon),
1775 — ^Ashburton, 1833 ; organist and
pianist, blind from infancy ; compos-
er.
Chapuis (shap-we), Aug. Paul J.
Bap., b. Dampierre - sur - Salon,
France, April ao, i86a ; pupil of
Dubois, Massenet, and Cesar Franck,
Paris Cons., took first prize in harm.,
1st prize for org,, and the Rossini
prize ; organist at Saint Roch. ; from
1894, prof, of harm, at the Cons. ;
since 189S, inspector-gen. of music
instruction in Paris schooU \ % im«
DICTIONARY OF MUSICIANS ^^87
succ. lyric drama, *'^ Enguerrandt**
(Op. Com., 1892) ; lyric drama
•• Tancred'' (Op. Com., 1898?); an
«>ratorio ; a pf. -suite *' on the oriental
scale," etc.; pub. a treatise on harm.
Char (khar), Fr. Ernst (** Frits "), b.
Cleve-on-Rhein, May 5, 1865 ; pupil
of C. Kistler, Wttllner and Neitzei ;
cond. opera at Zwichau, Stettin, and
St. Gallen ; now at Ulm ; wrote book
and music of succ* opera **^ Dtr
Schelm von Bergen " (Zwickau, 1895);
c. cantata ' Spielmann," etc.
Chord, G. W., ca. 1765— May 23,
1849 > English organist and compos-
er.
Charpentier (sh&r-plint-ya), (i) Marc
A., Paris, 1634 — March, 1702 ; con-
ductor to the Dauphin ; c. 16 operas
for the staffe and many ** tragedies
spirituelles ' for the Jesuits, masses,
etc. (2) Guitave, b» Dieuze, Ixjr-
raine, June 25, i860 ; pupil of Mas-
sart, Pessard, and Massenet, Paris
Cons. ; 1887, took grand prix de
Rome; c. orch. suite '^Impressions
d'ltalie'*; sc6ne lyriquc '' Didon'';
symphonic drama (or concert opera)
\U Vie du Pokie " (Grand Opera.
1892). and "" Italien'' (Hambui^g,
1902); symph. poem ^' NapoH"
(1891) : book and music of succ. op-
era Louise (Op. Com., 1900) ; also c.
^'Aiarier '' Orph^e^ and ^'TiU
Rouge ^'' unprod. ; and songs, ** Les
FUurs du Afal" ** Quinze pohmes*'
some of them with chorus and orches-
tra.
Chat'terton, J. B., Norwich, 1810—
Ixindon. 1S71; court-harpist and com-
£oser.
aulittu (shol-yil), Chas., Paris,
1788 — London, 1849 ; pianist, teacher
and composer.
Chaumet (shd-ma), J. B. Wm., b.
Bordeaux, April 26, 1842 ; won the
Prix Cressent, with the comic opera
•* Batkyk*' (prod. 1877), also the Prix
Rossini ; c. comic operas ; lyric drama
Alauprat (MS.), etc.
Chanyet (shd-vi). Chas. Alexitt
Maracft, June 7, 1837— Aigenun,
Jan. 28, 1871; organist; c. noteworthy
org. -music.
CbaTanne (shA-v&n'-n^), Ir^ne von,
b. Gratz, ca. 1867 ; contralto ; pupil,
Vienna Cons., 1882-85 ; since 1885 at
the Dresden court-Opera.
CheesCi G. J., organist, London,
1771 ; writer.
Chelard (shti-lftr), Hippolyte Andr«
J. Bap., Paris, Feb. i, 1789— Wei-
mar, Feb. t2, 1861 ; 1815, prod, his
first opera, '^ La Casa a Veftdere^"
Naples; entered the Paris Operatic
orch. as violinist ; in 1827 ^is op-
era *' Macbeth'' (text by Roiiget de
Lisle), was prod., but failed ; he
went to Munich, and 1828 prod, a
revised version of '* Macbeth'' with
such succ. that *he was made court-
conductor; he returned to Paris,
1829, and failed with 3 other operas ;
conducted the German Opera in Lon-
don, which failed ; returned to Mu-
nich, and prod, his best work, "/>i>
Hermannssch heht, " 1 83 5 ; 1 836,
court-conductor at Weimar, where he
prod. 2 comic operas.
Chelleri (k«l'.l«-re), Fortunato (right-
ly Keller), Parma, 1686— Cassel,
1757 ; court-conductor and dram,
composer.
Ch^ri (shft-re), Victor (rightly Cisos),
Auxerre, 1830— suicide, Paris, 1882 ;
cond. and dram, composer.
Chenibini (ka-roo-be'-ne) (M.) Lui^
(Carlo Zenobio Salvatore), Flor-
ence, Sept. 14, 1760 — Paris, March
15, 1842 ; one of the greatest masters
of counterpoint ; pupil of his father,
(cembalist, at the Pergola Th.), then
of B. and A. Felici, IMzarri and Cas-
truccl ; 1779 sent (under patronage of
the future Emperor Leopold II L) to
Milan, to study cpt. with Sarti ; at 13,
had c. a mass and an intermezzo for a
society theatre; at 15, another inter-
mezzo; 1780, '* Qui ft to Fa Ho" was
prod, without succ. though with better
results in a revised version (1783) ; he
had succ. with 6 other operas, an«
was in 1784 invited to London, where
he prod, an opera buffa, with eom^
388
THE MUSICAL GUIDE
success, and another with none ; he
was court composer for one year ;
1788 he prod. " JJigenia in Auiidt'*
at Turin ; and then lived in Paris,
where his French opera " DMophon "
(Grand Opera, 1788) failed ; he then
cond. at a small opera house, until
1792. His opera '' Lodoiska'* 1791.
showed a new style of emotional
strength, powerful ensemble, and
novel orchestral colour that founded
a school of imitators, 7 other op-
eras and a ballet followed, incl. his
masterpiece (1800), ** Les deux jaur-
tubes'' (in Germany called '^ D<r
IVasser/rdger " ; in England, '^The
Water-carrier"). 1795 he had been
made one of the inspectors of the new
Cons., Paris, but tvas not liked by
Napoleon, whose musical opinion he
had not flattered. On invitation he
wrote for Vienna ** Faniska^'* a great
succ. (1806) ; an invitation to write
a mass for the Prince of Chimay, re-
sulted in the famous 3-part mass in
F. He wrote 4 more operas, but
found church-music more satisfactory.
1815, visited London ; wrote a sym-
phony, an overture, and a Hymn to
Spring, for the Philh. Soc. After
many vicissitudes he became in 18 16
prof, of comp. at the Cons., Paris,
and 1821-41 dir. His enormous list
of works includes 15 Italian and 14
French operas, 17 cantatas, 1 1 sol-
emn masses, 2 requiems, I oratorio ;
I symphony, i overture ; 6 string
quartets ; 6 pf. -sonatas, and a mass
of smaller works, mus. for pf., etc.
The best biog. is by Bellasis (Lon-
don, 1874).
Chev^ (shd-va), Emile Jos. Maurice,
Douarnenez, Finistere, 1804 — 1864 ;
a physician ; wrote pamphlets attack-
. ing the methods at the Paris Cons. His
wife (nee Manine, Paris) collaborat-
ed with him.
CheWllard (shii-ve-yilr), Camille, b.
Paris, Oct., 1859; pupil of G. Ma-
thias ; took 2d pf. prize at Cons.; till
1897, asst.-cond. of the Lamoureux
Concerts ; then cond. ; c a symph.
ballade, ** Le chine et le roseau " / a
symph. poem, a symph. fantasie, etc
Chiabran (sha-bran) (or Cbabran of
Chiabrano), Fran., b. Piedmont,
ca. 1723 ; violinist and composer.
Chiaromonte (ke-ir-d-mdn -t£), b.
Castrogfovanni, Sicily, 1809 — Bnis*
sels, Ib86 ; tenor ; prof, of singing
and dram, composer.
Chic (sbek), L^on, b. April 28, 18x9 ;
son and pupil of army musician, di-
rector of marine and military bands ;
c. various pieces.
Chick' ering^ & Sons, American firm of
pf. -makers, est. 1823, by (i) Jonas
Chickering^ (New Ipswich, N. H.,
1798 — Boston, 1853); his son (2)
Col. Thos. £. C. (Boston, 1824—
187 1), was named Chev. of the Le-
gion of Honour, and took first pf.-
prize at the Paris Exposition, 1867 ;
he was in turn succeeded by his sods«
the present firm.
Chilcot (chU'-kot), Thoa., organist,
Bath, 1733, till end of century.
Child, Wm., Bristol, 1606— Windsor,
1697 ; organist.
Chilesotti (ke-la-sot'-te), Oscare, b.
Bassano, Italy, July 12, 1848 ; law
S^raduate Padua Univ. ; flutist and
Vellist ; self-taught in harm.; lives in
Milan ; wrote important historical
works.
Chimenti (ke-m£n'-te), Margarita
(called la Dra^^herina), sang in
London, 1737.
Chipp, Edm. Thos. (Mus. Doc.),
London, 1823 — Nice, 1886 ; organist.
Chladni (khlat'-ne), Ernst Fiorens
Fr., Wittenberg, Nov. 30. 1756—
Breslau, April 3, 1827 ; prof, of law
and investigator in physics and acous*
tics; discovered the sound-figures
which sand assumes on a vibrating
plate, and which bear his name ; iny«
the euphonium and clavicylinder (v.
D.D.).
Chollet (shdl-Ia), T. B. M., b. Paris,
May, 1798 ; violinist and singer 19
opera.
Chopin (sho-pftA) (Francois) Frdd^
riCy Zelazowa Wola (Jeliasovaya Vc
DICTIONARY OF MUSICIANS 389
m»
lia), near Warsaw, March i, 1809
(Natalie Janotha declares it to be
Feb. 22, 18 10) — Paris, Oct. 17, 1849;
eminent composer for the piano ; son
of Nicholas C. (a native of Nancy,
France, who was at first bookkeeper
in a cigar factory, then teacher in the
Warsaw Gymnasium), and a Polish
woman (nee Justine Kry^zanowska).
C.studied at his father's private school,
among young Polish noblemen ; Al-
bert Zwyny taught him pf. and Jo-
seph Eisner, harm., etc. At 9 he
played in public a pf. -concerto and
improvisations ; c. polonaises, ma-
xurkas, and waltzes ; in 1825, pub.
as op. t a rondo ; op. 2 a fantasie
with orch. He played in German
cities and had at 19 an individual
style of comp,, having written his 2
pf.-concertos, mazurkas, nocturnes,
rondos, etc He started for London,
and played in Vienna, 1829, with such
success that a critic called him " one
of the most remarkable meteors blaz-
ing on the musical horizon " : and at
Paris he had such succ. in his first
concert, 1831, that he settled there
for life as a teacher of the pf. and
occasional giver of concerts. His
pupils were of the most aristocratic,
and his friends included Liszt, Ber-
lioz, Mej'erbeer, Bellini, Balzac, and
Heine. Schumann with t>'pical spon-
taneity (cf. BKAHMs) was moved in
1831 by Chopin's op. 2, to say," Hats
off, gentlemen : — a genius ** ; and in
1839, in reviewing certain of his prel-
udes, mazurkas, and valses, to say
** He is and remains the keenest and
staunchest poet-soul of the time.*'
C.'s liaison with Mmc. Dudevant
(** George Sand "), begun in 1836 and
ended in 1844, has caused endless
controversy. In 1838 an attack of
bronchitis drove him to Majorca,
where she seems to have been a de-
voted nurse, but the peevishness and
weakness due to his developing con-
sumption caused bitter quarrels, and
she is believed to have caricntured
him as Prince Karol in her novel
• * Lucrezia FlorianV^ Concert touiB
and social life in England and Scot-
land in 184 1 - 49 destroyed his
strength. A collection of his letters
was pub. (Dresden, 1877). His many
biographers include Liszt, M. Kara-
sowski (Dresden, 1877), M. A. Aud-
ley, Fr. Niecks (Leipzig, 1889). The
latest, in many ways the best balanced,
estimate of C. and his ^orks, is
Tames Huneker*s ** Chopin '* (New
York, 1900). His comps. include,
beside those mentioned (74, with opus^
number 12 lacking) : ** Don Ciovan*
ni^'* fantasia, op. 2 ; ** Krakoviak"
rondo, op. 14 ; ^ Polonaise, op. 22 ;
and a fantasia on Polish airs for pf .
with orch ; dno concertant on tiiemes
from *' /Robert U DiabU "y an introd.
et Polonaise, op. 3, and a sonata, op.
65. for pf. and cello; pf. trio, op. 8;
and a rondo for 2 pfs. op. 73. for
PF. SOLO: Allegro de concert; 4
ballades ; barcarolle, op. 60 ; ber-
ceuse, op. 57 ; bolero, op. 19 ; 3 ecos-
saises, op. 72 ; 12 grandes ^udes, op.
10 ; 12 etudes, op. 25 ; 3 etudes ; 4
fantasies ; 3 impromptus ; naarche
funebre, op. 72 ; 52 mazurkas.
*' Aforceau de concert sur la Afarcht
des Puritains de Bellini " ; 10 noc-
turnes, II polonaises; 24 preludes,
opi 28 ; prelude, op. 45 ; 3 rondos ;
4 scherzos ; 3 sonatas ; tarantelle,
op- 43 ; 13 valses ; variations on **y/
vends des scapulaires,** op. 12 ;
" Variation dans rjlexamiron'" ; 16
Polish songs op. 74.
390 THE MUSICAL GUIDE
Fnfderic Francois Chopin.
By James Huneker.
CHOPIN'S liome education doubtless preserved in him a certain iemi«
nine delicacy which never deserted hinu ^ At the age <^ nine
he fkyed a Gyrowetz concerto in public and improvisedy but
aeemed more solicitous about the impression his new cellar made on the
BfKlieiice, than for the success of his music. ^ As a composer of nineteen he
wfts remorkdsle and far in advance of his critics and audiences. The dis-
turbed fwKlical atmosphere of Poland coupled with an unsuccesstiil love
It- — be vaialy adored the singer Constantia Gladowska — decided him on a
in Vienna. There his playing did not create any enthusiasm, and
in the ^ <^ the year lie went to Stuttgart fM rtute for Paris. It was in Che
Gei«uiii city that he heard 'of the downfall of Warsaw and o{ his patriotic
iMpes ; for Chopin was a fierce^ patriot, but because of his slender physique, a
non-ccnnbatant. He journeyed at once to Paris and settled there. ^ His
intimacy witli the famous novelist George Sand lasted ten years, and her
iilAiie0ce» hictfiil aocording to some, and valuj^>le according to others, was
mMt potent and enduring. His sensitive nature was snbgect to many rude
shodcs during his companionship with the coarser- fibred and more intellectudt
wMnan. Yet it cannot be denied that from his most ardent pai\gs, he»
amst-like, conttired >io wring some of his sweetest and most subtle music.
The thock of the separation, a separation that was inevitable, shattered
Chopin's braised spirit, and two years later he died» if not of a broken heart,
partially of diBa(]|x>intment, chagrin, and spleen. His hmgs, always weak,
became hopelessly 4iisea8ed, and after a profitless tour in England and Scotland,
wliere 4ie was really too weak to play, he died of consumption and was
buried in Pere-Lachaise, near the graves of Cherubini and Bellini. His
fiittenl, an imposing one, called oat the representative artisric spiriu of the
cicy. Seldom has genius been so accompanied to its last resting-place.
^ During hiis lifetime Chopin was the centre of a circle of wit, talent, and
fashion. Balzac, Delacroix, Liszt, Meyerbeer, Heine, Bellini, Berlioz,
Mendelssohn, were a few among his intimate associates. His spiritual and
original piano-playing admitted him into the inner circle of aristocracy, and
he was sought for persistently until his life was sapped by sorrow and constant
social duties. ^Chopin played but seldom in public, for he was unfitted by
nature to cope with the audiences of the larger concert halls. That task he
gratefully resigned to Liszt. But in the twilight of the salon among the
fiivoured choice souls, his playing took on almost unearthly qualities. His
touch, light in weight, was exquisite in timbre ; his toiT ranged from /hrfe to
a fs9L\hcry fianijiimo, while his style was absolutely unique. Tender, martiaU
DICTIONARY OF MUSICIANS 391
Ironical, ctpiicious, gay, and sad, this young Pole Held in bondage the entire
emotional gamut. Never had the piano sounded so be&re« sounded so
aerial^ so witty^ so passionate ; and it may be doubted if it has sounded thus
fince ; for, while Liszt, Rubinstein, Tauaig, Joaeflfy, Heyman, DePadtfnanp»
Essipoff, Rosenthal, and Paderewski were, and are, remarkable interpreters,
yet those who heard Chopin the pianist despair in their efforts to describe his
spiritual performances. His light, finely ardculated hand explaina some of
the characteristics of his technics ; the wide- spread harmonies, the changeful
ohy of inner voices ; the novel figuration ; and the lovely melodic lift.
^ Chopin is the poet of his instrument, the musical poet of Poland, He
caught up and treasured the folk-songs of hia country, and gave them to the
world in an idealised form. His mazurkas are tiny poems full of caprice*
wounded pride, ecstatic moments ; his four ballads are epical in scope, con-
taining noble melodies* the form absolutely original ; the four acherzoa are
evidences of Chopm's creadve powers, for here the fenn is again novel ; tbe
content startling. Bitterness, frantic and cruel, followed by rapturoua out-
bursts of melody arouse in the listener the most \\ynd emotions. It is Chopin
at the apex of his power. The polonaises are passionate and patriotic* or
elae fantastic and graceful, but always wonder-breeding. His waltzea are for
the salon, and for the soul — ^like the mazurkas. , Of the three sonatas, thle
one in B flat minor is the most satisfactory. Without organic unity it never-
theless astonishes by its originality and depth. Its slow movement is the
funeral maixrh, now a banal concert number. In his four Impromptus Chopin
is full of charm, while in the Barcarolle and in the Fantaisie, Opus ^g he
almost achieves perfection. The nocturnes and Cradle Soag, now for the
most part war-worn from repedtion, contain much beautiful music« The
S/uJies, opas 10 and 25 with the Preludes^ opus 28 are Chopin in all his
dazzling invendon, his never-failing &ncy, poetry, daring harmonic innova-
tions and moving melodic richness. ^He changed the modem map of
music by his subde and profound experimendngs with the poflsibilttiea of
chromatic harmonies, and for this ranks among the great composers. Within
his range he is the most perfect lyrist that ever sang, and the ethereal sono-
rities of his style, his discreet and original use of the tempo rutato^ make him
a forerunner of all that is free, individual and exotic in latter-day music.
^Chopin was not happiest in writing for ochestra or for piano in cGb)ancdon
with violin or violoncello. His two concertos contain charming episodes* but
do not cohere, do not make the eloquent appeal of the snudlest of hk
mazurkas. He was not fashioned for the epic, this master of intimate moods.
He wrote variations, fantasies, a 'cello-sonata, a piano-trio and bolero* a tar*
antelle and songs, ^[We have forgotten them ; but never so long as the piano
remains the piano, will Chopin be forgotten. I{e is* as Rnbinirein iaid,.lM
IDUL
392
THE MUSICAL GUIDE
Chor'ley, H. Fotherg^ill, BUckley
Hurst, Lancashire, 1808-— London,
1872 ; critic and widely travelled
writer. -
Choron (shd-roft), Alex. Et., Caen,
Oct. 21, 1772— Paris, June 29, 1834;
an ardent student of musical theory
an4 practice, historian and benefactor
who devoted his fortune to the ad«
vance of the art.
Choudens (shoo-d£ns), A., b. Paris,
1849 ; son of a music publisher ; c.
2 operas, '* GrazUlla " (Paris, 1877) ;
and '* La Jeunesse de Don Juan^
etc.
Chouquet (shoo-ka), Ad. Gv., Havre,
18 19 — Paris, 1886 ; teacher and writer
of historical works.
Christiani (kres-tl-fl'-ne), (i) Ad. Fr.,
Cassel, 1836— Elizabeth, N. J[., 1885 ;
pianist and writer; liv^d in Lon-
don, then America. (2) Elisei Paris,
1827 — ^Tobolsk, 1853 ; remarkable
'cellist ; d^but, Paris. 1845.
Christ'manny (i) Jn. Fr., Ludwigs.
burgr, WUrtemberg, 1752 — Heuting.
sheim, 18 17; composer and writer.
(2) Fz. X., Austrian oiig^an-builder,
d. Rottenmann, Styria, 1875.
Chrysander (kre'.z&nt-£r), Fr., Lab-
theen, Mecklenburg, July 8, 1826—
1902 ; editor and writer of the stand*
ard bioeraphy of Hfindel, etc.
Chrysaa^hos of Madyton; writer
19th century ; teacher of church sing*
ing, Constantinople, later Archbishop
of Durazzo in Albania.
Cbttrch, J., Windsor, 1675— Jan. 5,
1 741 ; composer.
Chwatal (khw&'-tsl), (i) F2. Xaver,
Rumburg, Bohemia, 1808 — Elmen
(Soolbad), 1879; teacher and com-
poser* (2) Jo«.» b. Rumburg, Jan.
12, 181 1, bro. of above; org.-builder
in Merseburg; in v. minor improve-
ments.
Ciaja (chft'-yil), Asxolino Bdo. della»
b. Siena, 167 1 ; organist, amateur
org.-builder, and composer.
Ciampi (ch&m'-pe). Leg^rensio V.i
b. Piacenza, 1719; dram, composer.
Cianchettiiii (chi(n-k£t-t£' •ne),(z) Vei^
onica (nee Dussek), Czaslau, Bohe*
mia, 1779; composer and teacher.
(2) Pic, London, 1799 — 1^49; son of
above; composer and pianist; first
appearance at 5 years; at 10 per*
formed an original concerto in public.
Gibber (sTb'-b^r), Susanna M. (nee
Arne), 1714 — 1766; great English
actress and notable singer, sister of
Dr. Arne.
Cieutat (s'yfi-ta), H. Maurice, b.
Paris, July 15, 1861 ; pupil of S,
Rousseau ; c. vaudevilles and com.
ops. from 1885.
Cifra (che'-fra). A., Rome, ca. 1575*—
Loreto, ca. 1636 ; important com*
poser of the Roman School ; pupil
of Palestrina and B. Nanini; court-
conductor.
Cimador (che'-ma-dor), Giambattia-
ta, Venice, 1761 — London, ca. i8of •
violinist, 'cellist, pianist and com*
poser.
Cimarosa (che-m&-r5'*sll), DomenicOi
Aversa, near Naples, Dec. 17, 1749—
Venice, Jan. 11, 1801 ; the orphan of
a poor mason ; studied at Minorite
charity-school, his first teacher being
Polcano, monastery organist ; when 12
years old was given a scholarship in
the Cons, di S. Maria di Loreto,
where he studied singing with Manna
and Sacchini, cpi. with Fenaroli, and
comp. with Piccinni. 1770 his ora*
torio *^Giuditta " was prod, in Rome ;
1772, his first opera, "Zr Strava*
game del Conie^^ at Naples, without
succ., which was won. however, next
year by **Za Finta PariginaJ" Of
phenomenal facility, he c. 76 operas in
29 years. He lived alternately in
Rome and Naples. 178 1, he prod,
two operas in Naples, one in Rome,
and two in Turin ; invited 1789 to be
court-composer at St, Petersbui^
(vice Paesicllo), he spent 5 months of
triumphal progress thither, being
lionised at various courts ^ he stayed
there 3 years, prod. 3 operas and wrote
500 pieces of music for the court;
but he could not tolerate the climate,
and was reluctantly released, bein^
DICTIONARY OF MUSICIANS 393
engaged as cond. to Emperor Leo-
poid at Vienna, with a salary of 12,-
000 florins. He prod. 3 operas incl.
his masterpiece **// Matritnonio St-
greto** (i787)« which won an all-
effacing success. I793« he returned to
Naples. 1799, he took part in the
Neapolitan revolutionary demonstra-
tion on the entrance of the French
army, and was condemned to death
by King Ferdinand, but banished in-
stead ; he died suddenly at Venice.
It being everywhere claimed that he
had been poisoned by order of Queen
Caroline of Naples, the Pope's phy-
sician made an examination, and
swore that he died of a gangrenous
abdominal tumour. Particularly in
comic, but at times also in serious
opera, C. almost challenges compari-
son with Mozart for fluency of melo-
dy and orchestral richness. His best
operas are **Zfl Finta" (Naples, 1773),
**L*Italiatun inLondrtC* (Rome, 1774),
**// Fanaticoper gli Antic hi Romani "
(Naples, 1777), m which were intro-
duced dramatically vocal-trios and
quartets, *'Za BaUerina Amanie^^
(Naples, 1782). **Z^ Trame Deluse^
(Naples, 1786), ^^L Impresario in A n^
gustie*^ (Naples, 1786), *' Giannina e
Bfrnadone ** (Saples, 1788), *'Layer^
gine del Sole " (St. Petersburg. 1791),
"// Matritnonio Segreio" (Vienna,
1792), **Z^ Astuzie Femminile^^ (Na-
pies, 1794). He also prod. 2 orato-
rios, 7 symphonies, several cantatas ;
masses, etc.
CipoUini (che-pol-le'-ne), Gaetano, b.
Tropea, Italy, Feb. 8, 1857; pupil of
Francesco Coppa ; now lives at Mi-
lan as dram, composer.
Cipollone (che-p6Uld'-n£), Alfonso, b.
Fara S. Martino (Chieti), Nov. 25,
1843 ; pupil of M. Rute ; lives at
Terano as teacher and composer.
Cigrandi (che-pdln'-de), Ercole, ca.
1738 — ^after 1790 ; tenor.
Claassen (klas'-sin), Arthur, b. Star-
gard, Prussia, Feb. 19, 1859 ; grad-
uated from Danzig Gym. ; 1875,
studied under M tiller- Hartung, Gott-
schalk and Suize, Weimar Music
School ; 1880-84, cond. GOttingea
and Magdeburg ; 1884, cond. *' Ari»
on ** and other societies of Brooklyn,
N. V. ; est. the *' Claassen Mus.
Inst."; c. choruses, incl. **/?^r Kant'
erad ** (prize) ; and symph. poem
*' Hohenfriedherg;' etc.
Clag^'gett Chaa., Ix)ndon, 1755—
1820 ; violinist and inventor.
Ciapisson (kU-pYs-son), Antoine L.,
Naples, 1808 — Paris, 1866 ; violinist,
professor and dram, composer.
Clari (kla -re), Giov. M., Pisa, 1669—
Pistoia, ca. 1745 \ conductor and
composer.
Clar'ibel. Vide mrs. chas. barnard.
Clark(e), (i) Jeremiah, London, 1670
•—(?), ca. 1707 ; organist and dram,
composer; a suicide for love. (2)
Richard, Datchet (Bucks), 1780-^
London, 1856 ; composer and writer.
(3) Vide scoTsoN clark.
Clarke, (i) Jaa. Pejrton, Scotland,
1808 — Toronto, Canada, 1877 ; or-
ganist and professor. (2) Hug^h
Archibald, b. near Toronto, Can-
ada, Aug. 15, 1839; son and pupil of
above ; organist in Philadelphia
churches ; 1875, prof, of music in the
Univ. of Pennsylv.; made Mus. Doc.
(1886) by the Univ. when his music
to Aristophanes' ** Acharnians " was
prod. ; also c. an oratorio, ^*Jeru»
salem'' (Phila., 1891), etc. (3)
J. (Whitfield-Clarke), Gloucester.
England, 1770— Holmer, 1836; or-
ganist, professor and editor. (4)
James Hamilton Smee, b. Bir-
mingham, England, Jan. 25, 1840; at
12 organist; 1866 at Queen's College,
Oxford; Mus. Bac, 1867; cond.
various theatres ; 1893, cond. Carl
Rosa Opera Co.; c. operettas, 2 sym-
phonies, etc. (5) Wm. HoratiOy b.
Newton, Mass., March 8, 1840; 1878-
87, organist at Tremont Temple,
Boston, then retired to Reading,
Mass., where he has an estate and a
chapel of music, Clarigold Hall, con-
taining a large 4-manual oigan with
100 stops ; wrote 15 ipstru/*tive works
394
THE MUSICAL GUIDE
•• OutHne of the Structure of the
Pipe-Organ'* (1877), etc. (6) Ma-
ria Victoria (Cowdeo-Clarke).
Vide NOVELLO.
Clams (kir-roos), Max., b. Mnhl-
berg-on-Elbe, March 31,1852; pu-
pil of his father, the municipal mus.
dir. there, and of Haupt, Schneider,
and LOschorn, Berlin ; cond. in va-
rious German, Austrian and Hunga-
rian theatres ; i8qo, mus. dir. Bruns-
wick court ; from 1884 cond. the
"Orpheus," and from iSgothe *'Chor-
gcsangrverein"; c. ** Patriotic spectac-
ular" opera, "ZVj Grossen Kdnigs
Rekrut^ (Brunswick, 1889); succ.
romantic opera ''''list'' (Brunswick,
1895) ; ballets, etc.
Claaingr (kl&'-zlng), Jn. H., Hamburg,
1779-^1829 ; teacher and dram, com-
tx)ser.
Claudin (klo-diA), (i). Vide sermisy.
(2) Le Jei^ne. Vide lbjeune.
Claudius (klow'-dl^oos). Otto, Ka-
menz. Saxony, 1793 — Naumburg,
1877 ; cantor and dram, composer.
Claussen (klows'-s^n), Wm., Schwe-
rin, 1843 — 1869; composer.
Claus2-SzarTady(klows'-shar-vS'-de),
Wilhelmine, Prague, 1834— Paris,
1882 ; pianist.
Clay, Fr. (of English parents), Paris,
Z540 — Great Marlow, near London,
1889 ; dram, composer.
Cleaver, Mrs. Eleanor (nee Beebe),
b. Detroit, Mich. ; alto ; sang two
years as soprano in New York ; after
short stage career, studied with Delle
Sedie, and Berlin (acting), Paris ;
concert d^but, London, 1900 ; has
sung there frequently with much suc-
cess ; 1902, sang in New York.
Cleeman (kla'-man), Fr. Jos. Chp.,
Kriwitz, Mecklenburg, 1771 — Par-
chim, 1827 ; writer.
Clegg, J., Ireland (probably), 17 14 —
Nisane, 1742 ; remarkable violinist
and composer.
Clem' ens, Jacob (called "CI. Non
Papa " ) (i. e., ** not the Pope" Clem-
ent VII.); d. ca. 1557 (?) ; played
several instrs. and composed.
Clement (kla'-mSnt), Fs., Vienna,
1784 — 1842 ; violinist and dram. Gom«
poser.
CUment (kla-nOh), (i) Chas. Fran.,
b. in Provence, ca. 1720; lived in
Paris as pf .-teacher, writer and dram,
composer. (2) F61ix, Paris, 1822 —
1885 ; organist.
Clement! (kla-m£n'-te), Muzio, Rome.
1752 — near Evesham, England,
March 10, 1832 ; son of a goldsmith
and musical amateur who had him
taught by A. Buroni, then by the
organist Condicelii. At 9 he was
chosen as an organist in competition
with older players ; until 14, studied
under G. Carpani (comp.) and Sar-
tartelli (voice); 1766, an Englishman
named Beckf ord secured permission to
educate him in England, and till 1770
he lived and studi^ in Dorsetshire ;
then made a sensation as pianist in
London. 1773, pub. pf.-sonatas ded-
icated to Haydn, and highly praised
by Emmanuel Bach; 1777--80, cem-
balist at the Italian Opera; 1781
toured the continent, meeting Mozart
in ** friendly " rivalry, without victory
for either; lived in London, 1782-
1802 ; he amassed a fortune as a
teacher, pianist and composer in spif
of losses from the failure of Long-
man and Broderip, instr.-makers ; he
estab. a succ. piano-factory and pub.
house (now Collard*s). 1802, he
made a brilliant tour with his pupil
Field ; he taught other famous pupils,
incl. Moscheles, Kalkbrenner, Meyer-
beer. His com(>s. incl. symphonies
and overtures; 106 pf. -sonatas (46,
with vln., *cello, or flute); fugues,
preludes and exercises in canon form,
toccatas, etc. His book of etuiies,
the ** Gradus ad Pamassum^* 18 17,
is a standard ; biog. by Giov. Frojo
(Milan, 1878) ; O. Chilesotti (Milan,
1882). and Clement (Paris, 1878).
Clement y Caredo (kli'-m^nt e ka.
va-dh5), b. Gandia, Spain, Jan. t«
1 8 10; organist at Valencia; 1840
52, at Gueret, France ; lived in Mad
rid as composer.
DICTIONARY OF MUSICIANS 39?
Clarice (kla-res), Justifi, b. Buenos
AyreSf Oct« 16, 1863 ; 1882, pupil of
Delibea and Pessard, Paris Cons. ;
lives in Paris ; prod. 4 comic opems,
etc.
Clicquot (kle-ko), Fran. H., Paris,
1728 — 1 791; organ-builder.
Clifford, Rev. Jas., Oxford, 1622^
lA>ndon, 1698; composer.
Clifton, J. Chas., London, 1781 —
Hammersmith, 184I ; teacher, con-
ductor and dram, composer ; inv. the
Eidomusicon (v. D. D.).
CUye» Catherine (n^e Raftor) (called
*• Kitty Clive"), London, 171 1— Dec.
6f 1785 ; famous actress, also singer.
Cltt'er, J., d. London, 1729, English
publisher, reputed inventor of engrav-
ing on tin plates.
CobD, Gerard Francis, b. Nettle-
stead, Kent, Oct. 15, 1838; Fellow
Trinity Coll., Cambridge, 1863;
studied music, Dresden; 1877-92^
chairman Board of Music Studies,
Cambridge ; c. Psalm 62, with orch.,
etc.
Cocchi (kok^ke), Gioacchino, Padua,
1720— Venice, 1804; dram, composer.
Coccia (kot'-cha). Carlo, Naples,
178a — Novara, 1873; cond. and dram,
composer.
Coccius (k6k'-tsY-oos), Th., Knaut-
hain, near Leipzig, 1824 — Leipzig,
1897 ; pf. -teacher.
CoGCOn (kok-kdn), Nicol6, b. Venice,
Aug. 10, 1826 ; pupil of E. Fabto ;
1S56 organist, 1873 conductor at San
Marco ; c. over 450 numbers, an
oratorio, ** Sau/;" 8 requiem masses,
30 '* messe da gloria,** 2 operas,
etc.
Cochlaus (k6kh'4£-oos), Jns. (rightly
Jns. Dobnek, i)seud. ^'Wendei-
•tein'^,1479 — Bresiau, 1552 ; writer;
opponent of Luther.
Cocks, Robt., & Co., firm of London
mus. publishers, founded, 1827, by
(i) Robt. C.f succeeded by his sons,
(2) Arthur Lincoln C, and (3)
Stroud Lincoln C. d^ 1868 ; (4)
Robt. Madarlane C* is now in
charge.
Coclico (kd'.kl$.ko) (Co'clictts), Ad-
rian Petit, b. in the Hennegau
(Hainaut), ca. 1500 ; singer and com-
poser,
Coenen (koo'-n£n), (i) Jns. Meinar-
dus, b. The Flague, Jan. 28, 1824 ;
bassoonist, pupil of LQbeck Cons.
1864, cond. at Amsterdam ; later
municipal mus. dir.; c. ballet-mus., 2
symphonies, cantatas, etc. (2) F«.,
b. Rotterdam, Dec 26, 1826; violin*
ist; pupil of Vieuxtempsand Molique;
lived in Amsterdam, 1895, dir. of the
Cons, and prof, of vln. and comp. ;
solo violinist to the Queen ; leader of
a quartet ; and composer of a notable
symphony, cantatas, etc. (3) Wil-
lem, b. Rotterdam, Nov. 17, 1837 ;
bro. of above ; pianist, toured S.
America, and W. Indies ; since 1862,
concert-giver in Ix>ndon ; c. oratorio,
•* LaMrus " (1878), etc. (4) Corne-
lina, b. The Hague, 1838 ; violinist ;
1859, cond. at Amsterdam ; i860
bandm. Garde Nationale, Utrecht ; c.
overtures, etc.
Coemc (k«r'.n<<), Louis Adolphe, b.
Newark, N. J., 1870; 1876-80
studied at Stuttgart and Paris, then
entered Harvard College and studied
with Paine and Kneisel. Boston, U.
S. A.; 1890 studied with Rhetnberger
and Ilieber, Munich; 1893 organist
at Boston, also at the Columbian
Exposition ; 1893-96 dir. Licdertafel,
Buffalo ; c. an opera ** The Maid o)
MarbUhead,*^ symph. poem ** /^/a-
tuatha^*' etc.
Co'gan, Phillip, b. Cork, I750; or-
ganist, teacher and composer.
Cohen (kow'-«n or ko -«n), (i) H.,
Amsterdam, 1808 — Brie-sur-Mame,
1880; writer. (2) Ltfonce, b. Paris,
Feb. 12, 1829 ; violinist and dram,
composer ; pupil Lebome Cons.;
1851 Gfand prix de Rome. (3)
Jules Smile Uavid, b. Marseilles,
Nov. 2, 1835 ; pupil of Zimmerman,
Marmontcl, Benoist, and Hal^vy,
Paris Cons.; won first prize for pf.,
organ, cpt. and fugue ; 1870, teacher of
ensemble singing at the Cons. ; smoe
396
THE MUSICAL GUIDE
1877 Chef tie Chanty and chorus-
master Gr. Opera ; prod. 4 operas ;
c. 3 cantatas, several symphonies,
masses, oratorios, etc. (4) K. Hu-
berti b. Lauren^kirg (near Aix), Oct.
id, 185 1 ; a priest, studied at Aix
and Raliston, i879r-S7 cond. Bam-
berg ; now at Cologne Cath. ; c.
masses, etc. (5) Isidore. Vide
LARA, DE.
Colasse (ko-liis), Pascal, Rheims (or
Paris), 1639 (?) — Versailles, 1709;
cond. and dram, composer.
Col'bran, (i) Gianni, court-musician
to King of Spain, 18th century. (2)
Isabella A., Madrid, 1785 — Bou-
logne, 1845, daughter of above; singer
and composer.
Cole, Blanche, d. London, 1888. con-
cert-singer ; i868, m. Sidney Naylor.
Coleridge-Taylor, Samuel, b. Lon-
don, Aug. 15, 1875 (of African de-
scent ; his father a native of Sierra
Leone, his mother, English) ; one of
the leading living English composers;
pupil (vln.) of the R. A. M., 1890;
won composition-scholarship in 1893;
until 1896 pupil of V. Stanford ; 1892
pub. an anthem ; c. a nonet for pf. ,
strings, and wind (1894) ; a sympho-
ny (1896) ; a quintet for clar. and
strings (1897), a string-quartet, and a
Morning and Evening Service ; pub.
a ballade for viola andorch., operetta
*' Dream Lovers ^''^ 4 waltzes for orch. ;
succ. cantata '^ Iliawatha^** etc
Colin (kd-lln). P. Gilbert (Colinus,
Colinaus, Chamault), sihger and
notable composer, Paris, 1532.
Colins (ko-l&ns), Jean Bapt., b.
Brussels, Nov. 25, 1834 ; pupil of
Wery; from 1863 teacher at the Cons.,
from 1 888 also at Antwerp school of
music.
Col' la, — cond. at Parma, 1780, when
he m. Agujari, who preferred his
compositions to all others.
Collard (k61-lS,r'), a London family of
pf. -makers, (i) Fr. W. Collard
(1772 — 1860), in partnership with
Clementi, bought out Longman &
Broderip, 1798, then C. bought out
Clementi ; he inv. various devices ;
the Hrm name now Collard & Collard,
(2) Chas. Lukey C. being the head.
Col'lins, (i) Isaac, 1797 — London,
187 1 ; violinist, gave concerts with
his 5 children, (2) Viotti (violin-
ist) and (3) G. ('cellist, d. 1869)
being the best known.
Col'man, (i) Chas.,d. in Fetter Lane,
London, in 1664 \ teacher and com-
poser. (2) Edward, d. Aug. 19,
1669, son of above ; teacher, com-
poser and singer.
Colombani (ko-ldm-bfi'-ne), Oraxio,
monk, conductor, and cptist. at Vero-
na, 1576-92.
Colom'bi, Vincenzo, Italian ot^gan-
builder, Rome, I549«
Colonna (ko-lon'-na), Giov. Paolo,
Bologna (or Brescia), ca. 1640— Bo-
logna, 1695 ; organist, conductor,
and dram, composer.
Colonne (ko-i&n'), Bdouard (rightly
Judas), b. Bordeaux, July 23, 1838 ;
pupil of Girard and Sauzay (vln.),
Elwart, and A. Thomas (comp.),
Paris Cons. ; 1874, founded the fa-
mous '* Concerts duChatelet"; 1878,
cond. official Exposition concerts ;
1892 cond. at the Gr. Opera ; cond.
often in London, and 1902, Vienna.
Coltellini (le'-ne ), C^este, b. Leg-
horn, 1764 — ^retired, 1795 ; celebrated
mezzo-sopr. ; m. Melicofre.
Combs, Gilbert Raynolds, b. Phila-
delphia, Jan. 5, 1863, son and pupil
of a pianist, organist and composer ;
organist and conductor in Philadel-
phia ; 1885 founded the Broad St.
Cons, of Mus.
Comes (ko-mas). Juan Baptista, Va-
lencia, ca. 1560 ; conductor and com-
poser.
Comettant (kom-^t-tah), (J. P.) Os-
car, Bordeaux, Gironde, 1&19 —
Montvilliers, 1898 ; writer and com-
poser.
Commer (kom'-m^r), Fz., Cologne,
1813 — Berlin, 1887 ; editor and com.
poser.
Compedius (kdm-pa'-nl-oos), (i) H.,
b. Nordhausen, 1540; organ-buildei^
DICTIONARY OF MUSICIANS 397
etc. His bro (?). (2) Eaajaa, orgSLn-
builder, inv. ihe " DuiflOte" pipe.
Compare (kdfi-pdr), Louis (diminutive,
Loyset), Flanders, 15th cent. — St.
Quentin, Aug. 16, 15 18; famous con-
trapuntist.
Co'nacker & Co., organ-butiders,
Hudders5eld, since 1854.
Concone (k6n-kd'-n£), Giu., Turin, ca.
18 10 — ^June, 1861 ; organist, famous
singing-teacher in Paris, 1832-48,
later court-organist Turin; c. 2 operas
and famous vocal exercises.
Con'dell, H., d. June, 1824 ; English
violinist and composer.
Conforti (kon-for'-te), Giar*, b. near
Mileto, 1560; singer.
Confririe de St. Julien, a musical
society, Paris, 1330-1761.
Coninck, (i) Jacques F^lix de, Ant-
werp, 1791 — Schaerbeck-les-Brux-
elles, 1866; conductor at Berlin, and
composer. (2) Fran, de, b. Leb-
beke, Belgium, Feb. 20, 1810; pian-
ist ; pupil of Pixis and Kalkbrenner,
Paris; teacher and composer, at
Brussels. (3) Jos. Bernard de» b.
Ostend, March 10, 1827 ; dram, com-
poser ; son of (i) ; pupil of de Leun,
Antwerp, and Lebome, Paris Cons. ;
lived in Paris.
Conradi (kon-ra'-de), (i) Jn. G., 17th
cent. ; conductor ; one of the first
composers of German opera, his
works prod, at Hamburg. (2) Jo-
han G., Norway, ca. 1820— Christi-
ania, 1896 ; composer. (3) Aug^.,
Berlin, 1 821 — 1873 I organist and
dram, composer. (4) Jules, b. Li^e,
Jan. 27, 1834 ; pupil of Decharneux
and of Daussoigne-Mehul at Li^ge
Cons, (comp.) ; he won second grand
prix de Rome at Brussels ; 1864, prof,
of solfeggio at the Cons. ; c. 5 i-act
comic operas, etc.
Constantin (kon-stan-tUn), Titus
Chas., b. Marseilles, Jan. 7, 1835 ;
pupil of Thomas, Paris Cons., i860;
cond. of the ** Fantasies Parisi-
ennes"; 1875, Op. Com.; c. a
comic - opera, ■* Dafis la For it ^^
(1872), etc.
Conti (kdn'-te), (i) Fran. Bart., Flor-
encc, 1681 — 1732; court - theorbist
and dram, composer. (2) (" Conti-
ni ") Ignazio, Florence, 1699 —
Vienna, 1759 ; son and successor of
above ; composer. (3) Gioacchino
(named Giaaiello, after his teacher
Dom. Gizzi), Arpino, Naples, 1714 —
Rome, 1761 ; famous male soprano;
I739f 11^ London with H&ndel; re-
tired to Arpino in 1753. (4) CarlOi
Arpino, Naples, 1797 — Naples, t868 ;
prof, and dram, composer. (5) Gia-
cinto, Brescia, 181 5 — 1895; violin-
ist and composer ; son and pupil of
(6) Defeadente, theatre- dir. at
Brescia.
Continuo (kdn-te^noo-o), Gior., d.
Mantua, 1556 ; conductor and con-
trapuntist.
Con'verse. Chas. Crosat (pen-names,
K. Reaan, C. Nevers, etc.), b.
Warren, Mass., Oct. 7, 1832 ; pupil
of Richter, Plaidy, Leipzig Cons. ;
lawyer, Erie, Pa. ; pub. Amer. Con-
cert-overture, *' Hail Columbia*^ for
orch. (Paris, 1869) ; Fest-Ouveriiir$
(1870) ; cantata (on the 126th Psalm)
for soli, chorus and orch. (1888),
*'* Jesus y lever of my sour* (very
pop.) ; in MS. 2 symphonies, 2 ora-
torios, etc.
Cooke, (i) H., d. July 13, 1672 ; buried
Westminster Abbev; court-composer
and teacher. (2) Nathaniel, b.
Bosham, 1773; organist. (3) Benj.,
London, 1734 — 1793: conductor and
composer. (4) 1 hos. Simpson,
Dublin, 1782 — London, 1848; con-
ductor, later tenor, then prof, at the
R. A. M.; prod, nearly 20 operas at
Drury Lane. (5) H. Angelo Mi-
chael (called Grattan), son of above;
oboist and bandmaster.
Coombe, Wm. Francis, b. Plymouth,
1786 ; son of a singing teacher ; com-
poser.
Coombs, (i) Jas. Morrison, Salis-
bury, 176^—1820 ; organist and com-
poser. (2) Chas. Whitney, b.
Bucksport, Maine, Dec. 25, 1859;
pupil of Speidei (pf.) and Max Sd*
398
THE MUSICAL GUIDE
Mz^ Dfaeseke (coinp.)t Hermann
John, P. Janssen, and Lamperti ;
1887-91, organist Amer. Ch, in
Dresden; returned as organist Church
of the Holy Communion, New York,
idU there ; pub. ** Tke Pulsion of Si.
Jpkth'* cantata with orch. and org.,
songs, etc.
CoQ'per, (i) H. Christopher, Bath,
Engl., 1819— Glasgow, 1881, con-
ductor. (2) G.9 Lambeth, London,
i8ao — London, 1876 ; organist and
composer.
Coote, Chat., England, 1809 — Lon-
don, 1880 ; bandmaster, etc
Copenurio (kd.p«r.a'.rt.d) (rightly J.
Cooper), famous English lutenist
a'ud viola-da-nimbist, i6th century.
Cop'poUt (i) Gia., singer in London,
1777. (2) P. A. (Piermntonio),
Castrogiovamii, Sicily, t793-~Canta-
nia, 1877 ; dram, composer and con-
ductor.
Coquard (ko-k^), Arthur, b. Paris,
1846 ; pupil of Cesar Franck ; mus.
prof. Nat. Inst, of the Young Blind ;
critic for ** Z^ Monde " / c. operas
'' LEp^t du Roi'' (Angers, 1884);
''U Mari d'un Jour'' (Paris,
1886) ; lyric dramas, *'L'oiseau bleu'*
(Paris, 1894) ; ^^LaJacqturW (Monte
Carlo and Paris, 1895), etc.
Corbet (kdi^ba), Fraacisque, Pavia,
ca. 1630 — Paris, 1700; guitar virtu-
oso and composer.
Cor'bett, Wm., 1669 (?)— London
(?), 1748 ; Engl, violinist and com-
. poser.
Cordans (kdr-dins), Bart., Venice,
1700 — Udine, 1757; Franciscan monk,
then conductor and dram, composer.
Cordelia, Giacomo, Naples, 1786 —
1846 ; dram, composer.
Cor'der, Fr., b. Hackney, London,
Jan. 26, 1852 ; pupil of R. A. M. ;
1875, won the Mendelssohn Scholar-
ship ; 1875-78, pupil of Ferd. Hiller ;
1880, cond. of Aquarium Concerts
at Brighton where he lives as a transl.
and critic, and composer of operas,
cantatas, etc.; wrote '* The Orchestra
and how to write for it,'* etc.
Cordter (k6rd-ya), Jacques, Lorraine,
ca. 1580 — Paris, ca. 1629 ; violia-
tst.
Corel' li, Arcang^elo, Fusignano, near
Imola, Italy, Feb. i, 1653— Rome,
Jan. 13, 1713 ; pupil of Bessani and
Simonelli ; toured Germany, then
lived under patronage of Cardinal
OUobone ; one of the founders o£
vln. -style, systematiser of bowing and
shifting, introducer of chord-playing ;
a composer for the vln. whose works
still hold favour. On invitation from
the King of Naples he gave a succ.
court-concert, but at a second made
various blunders and returned to
Rome, in chagrin, increased with
fatal results on finding or imagining
himself supplanted there by a poor
violinist named Valentini. His mas-
terpieces **Coneerti ^rossi" were pub.
just before his death. Many spuri-
ous comps. were bsued under his
name.
Corfe, (i) Joa., Salisbury, 1740—1820*,
organist and composer. (2) Arthur
T., Salisbury, 1773 — l^^S » «>"* of
above ; pianist, organist and writer.
(3) Chas. W., son of above ; orgam-
ist Christ Church, Oxford.
Cornelius (kor-na'-lT-oos), Peter, Ma-
yence, Dec. 24, 1824 — Oct. 26, 1874,
unsucc. actor ; then studied cpt. with
Dehn at Berlin, and joined the Wag-
nerian coterie at Weimar. His opera
** jDer Barrier von Bagdad" was a
failure through oiiganised opposition
which led Liszt to leave the town,
but in 1886-87 it succeeded. C.
wrote his own libretti and transl.
others. 1886-87, at Dresden, and
other cities; 1859, with Wagner aK
Vienna, and Munich, where be be-
came reader to King Ludwig, and
prof. ; prod, the opera " Der Cid"
Wdmar, 1865; he left '' Gunlod"
unfinished ; Lassen completed it, and
it was prod., Straasburg, 1892; he
pub. many songs. Biog. by Sand-
berger (Leipzig, 1887).
Cornell', J. H., New Yoric, 1828—
1894 ; organist, composer anid writei;
DICTIONARY OF MUSICIANS 399
Cor'ayshe, '1) Wm., d. berore 1526 ;
English teacher and composer. (2)
Wm., son of above ; composer.
Cornet (kor-nat), (i) Julias, S. Can-
dido, Tvrol, 1792 — Berlin, i860 ;
tenor and dir. His wife, (2) Fran:>
iska (1806 — 1870) was also a singer.
Coronaro (ko-ro-na'-ro), (i) Gaetano,
b. Vincenza, Italy, Dec. 18, 1852; vio-
linist ; till 1873, pupi^ Milan Cons.,
then in Germany ; prod, the succ.
opera **i/« Tramonia'^* (Milan Cons.
Th., 1873); 3-act ''Iji Creoia^
(Bologna, 1878); '' II Afalacarpu**
(Brescia, 1894) ; for several years
prof, of harm., and since 1894,
prof.^ of comp., Milan Cons. (2)
uellio Bv., b. Italy, ca. 186^ ; pian«
fit (protege of Sonzogno) ; debut at 8 ;
at 9, organist in Vincenza ; at 13, th.
cond., Marosteca ; at 15, chorusm. ;
at 16, pupil Bologna Cons., graduat-
ing with first prizes ; c. a symphony ;
opcTz, **/olauJa'' (1889?); unsucc.
"CAxWw" (Milan, 1895).
Corri (kor'-re), Dom., Rome, 1744 —
London, 1825 ; dram, composer and
writer.
Cor' si, Jacopo, b. ca. 1560 ; Florentine
nobleman, in whose* house and in
Bardi's, Peri, Caccini, Emilio del
Cavaliere, Galilei, Rinuccini, and
others met and inaugurated modern
opera (v. pkri) ; C. was a skilful gra-
vicembalist.
Corteccia (kor-t^'-cha), Fran. Bdo.
di, Arezzo, iCth cent., Florence,
1571 ; organist, conductor and com-
poser.
Coss'mann, B., b. Dessau, May 17,
1822 ; 'cellist ; pupil of Espenhahn,
Drechsler, Theo. MOtler and Rum-
mer ; 1840, member of Gr. Opera
Orct ., Paris ; 1847-48, solo 'cellist at
Gewandhaus, Leipzig ; then studied
comp. under Hauptmann ; 1850^ at
Weimar, with Liszt ; idC6, prof. Mos-
cow Cons.; 1870-78 at Baden-Baden ;
since prof, of 'cello, Frankfort Cons.;
composer.
Costa, (i) Sir Michael (rightly
Mlchele), Naples, Feb. 4, x8io
(1807 ?)— Brighton, England, April
29, 1884 ; son and pupil of (2) Pas*
quale C. (composer ch.'mus.) ; pupil
also of Tritto, Zingarelli (oomp.),
and Crescentini (singing) at the
Naples Cons.; prcxL 4 succ. operas
at Naples, was sent to Binninefham,
England, to cond. a psalm of Zin-
garelli's, but through a misunder*
standing, had to sing the tenor part ;
he thereafter lived in England as dir.
and cond. of King's 1*K., London,
where he prod, thive ballets ; 1846,
cond. of the Philh. and the new Ital.
Opera ; 1848, Sacred Harmonic So*
ciety ; from 1849, cond. Birmingham
festivals; from 1857, the Handel festi-
vals; knighted in 1869; 187 1 dir* of
the music and cond. at H. M.'s
Opera ; c. 3 oratorios, 6 opereSi 3
symphonies, etc. (3) Afidrea, b.
Brescia, settled London, 1825 ; com-
poser and teacher. (4) Carlo, Kapto
1826— 1888; teacher Nafjet CSyns.
(5) P. Mario, >» Tf^nto, July 36,
ids8, nephew oC above ; c cham-
ber-music and pop. songs in Neapoli-
tan dialect ; also 2 pantomimes, " Li
Mod>U Rive:' and the succ. " Z'//ij-
toire d'un Pierrot " (Paris^ 1894 ?).
Costantini (tc'-ne), Fabio, b. Rome,
ca. 1570; composer and teacher.
Costanzi (ko-stiln'-tsl), Juaa (or Glo-
annino), Rome, 1754 — 1778 ; con-
ductor.
Coste (kost), Gaspard, composer at
Avignon, 1530.
Cost'elej, Win., Scotland, i53l-*Bi>
reux, 1606; organist and writer.
Cotta (kot'-ta), Jn., Rahla, Thuringia»
1794 — Willerstet, near Weimar, 1868;
pastor and composer.
Cot'to (Cotto'nius), Jns., nth to
12th cent. ; writer.
Cottrau (kot-tro, or k6t-trft'-oo), (i)
Guillaume (Gug^lielmo), Paris, 1797
—Naples, 1847; composer. His
sons (2) Teodoro (pen-narae Euta*
Undo Martelli) (Naples, 1827*-
1879) and (3) Gialio (Jales), alto
song-composers; the latter c. 2
operas.
400
THE MUSICAL GUIDE
Cotum&cci (ko-too-mat'-che), Carlo,
Naples, i698-*'i775 ; organist and
composer.
Cottcy (dd koo-s^X Reg^nault, Chate-
lain, de, d. Palestine, 1192 ; trouba*
dour to Richard Coeur de Lion ; a
poem of ca. 1228 tells that he begged
that his heart be sent to his love,
whose husband intercepted it, and
had it roasted and served up to his
wife, who died broken-hearted on be-
ing told of her menu ; his songs are in
MSS. in the Paris Library, and have
been re-published.
Couperin (koo-pii-r&A), a family of
French musicians, famous for two
centuries. The first known were
three brothers: (i) Louis, 1630-^
1665 ; oiiganist of St. Gervais and
composer. (2) Fran. (Sieur de
Crouilly), 163 1 — 1701 ; organist and
composer. (3) Chas., 1638 — 1669;
organist ; his son, (4) Fran, (called
Le Grand), Paris, 1668— 1733 ; the
first g^eat composer to write exclusive-
ly for the harpsichord (or clavecin);
gupil of Thomelin, and successor of
is uncle Fran9ois, at St. G., 1698 ;
1701, clavecinist and organist to the
King ; c. brilliant and fascinating mu-
sic pub. at Paris, and wrote ** UArt
de toucher du Clavecin'* (171 1). (5)
His son Nicholas, Paris, 1680 —
1748, was organist. (6) Armand
Louis, Paris, 172 1 — 1789, son of (5),
a remarkable org.-virtuoso. His wife
(7) Elisabeth Antoinette (nee
Blanchet), b. 172 1, was an organist
and clavecinist, and played in public
at 81. They had 2 sons (8) P. Louis
(d. 1789), his father*s asst. organist,
and (9) Genrais Fran., his father's
successor.
Courtois (koor-tw£), Jean, i6th cent.,
French contrapuntist ; conductor and
composer.
Courtville (koort'-vYl), (i) Raphael,
d. 1675 ; of the Chapel Royal. (2)
d. ca. 1735 ; organ-composer, son of
above. (3) Raphael, d. 1771, son
of (2) ; organist and writer.
Courroisier (koor-vwas-ya, or koor'-
foi-ser), K., b. Basel, Nov. 12, 1846;
violinist : pupil of David, R5ntgea
and Joachim ; 187 1, a member of the
Thalia Th., orch., Frankfort; then,
till 1875, cond. of singing with Gus-
tav Barth ; *76, cond. Dttsseidorf
Th., orch., and choral societies;
since 1885 singing-teacher at Liver-
pool ; c a symphony, 2 concert-over-
tures, a«^ln. -concerto (MS.), etc. ;
wrote "Z?t> Violintcchnik'* (transl
by H. E. Krehbiel; N. Y., 1896);
an ""AcoU de la velocity' and a ''Mi-
/^i^'* (London, 1892). ■
Coussemaker (koos-mft-kftr*), Chas.
Ed. H., Bailleul, Nord, April 19,
1805 — Bourbourg, Jan. 10, 1876; a
remarkable sight-reader, studied cpt.
with V. Lefebvre ; while serving as a
judge he made musical research his
avocation, and pub. important works
on Hucbald and mediaeval instru-
ments, theory and composers, incl. his
•• Scrip tores de musiea tnedii evi^
nova series^ (1864-76, 4 vols.), a
gfreat collection intended as supple-
ment to Gerbert.
Cousser. Vide kusser.
Corerley (ktiy'-^r-lt), Robert, b.
Oporto, Portugal, Sept. 6, 1863, of
Scotch father and aristocratic Portu-
guese mother; studied cpt., orch. and
vln. with Hill, Ludwig, and Jacqui-
not, in London ; lived in New York
many years, since 1898 in London ;
pub. many graceful and succ. songs,
orch. and pf .-pieces ; c. the immense-
ly succ. march " The Passing Regi-
ment ** and a comic opera (MS.).
Cow'ard, (i) Jas., London, 1824—
18S0 ; organist, conductor and com-
poser. (2) H., b. Liverpool, Nov.
26, 1849; grad. Tonic-sol-fa Coll.
1889 Mus. Bac; 1894 Mus. Doc.
Oxon ; singing-teacher and cond. at
Sheffield,
Cow' en, Frederic Hymen, b. Kings-
ton, Jamaica, Jan. 29, 1852 ; at a
brought to London to study, pupil 01
Benedict and Goss, then of Haupt*
mann, Moscheles, Reinecke, Richcer,
and Piaidy, Leipzig ; and Kiel, Ber
DICTIONARY OF MUSICIANS ,401
Un; 1882, din Edinbni^h Acad, of
Music ; 1887, cond. London Philh. ;
1888-9, mus.-dir. Melbourne Centen-
nial Exhibition ; 1896, cond. Liver-
pool Phil., and the Manchester
Concerts ; prod, four operas ; two
oratorios, TAe Deluge (1878), and
Ruth (1887) ; 7 cantatas ; 6 sympho-
nies (No. 3 " Scandinavian ** (1880),
4 •• WeUh,"* 6 •• JdyllU ^ ; four or-
chestral suites, ** irhe Language of
Fkwers:' ''In the Olden Time;*
'• In Fairyland;^ Suite de Ballet ;
Sinfonietta in A for orch. ; 2 over-
tures; pf .-concerto ; pf.-trio; pf.-
quartet ; pf.-pcs.; over 250 songs.
Cramer (krfi'-mjfr or krft'-m^^r), (i)
Wm.y Mannheim, 1745 (1743?)—
London, 1799 (1800 ?) ; violinist and
conductor. (2) iC* Fr., Quediinburg,
1752 — Paris, Dec. 1807; professor. (3)
Jn. Bap.y Mannheim, Feb. 24, 1771
-—London, April 16, 1858 ; eldest son
and pupil of (i). Brought to London
when a year old; pupil of Benser,
Schroeter, then of Clementi; in comp.,
chiefly self-taught ; toured as concert-
pianist at 17 ; in 1828 est. a mus.*
pub. firm (now Cramer & Co.) in
partnership with Addison ; managed
it till 1842 ; 1832-45, lived in Paris ,
pub. " a Method for pf. (** Crosse
prakiisch£ Pfte,'Sehule'\ in 5
parts," the last containing the cele-
brated •• 84 Studies " (op. 50), still a
standard; c. 7 concertos, 105 sonatas,
quartet, quintet, and many pf.-pcs.
u) Fs., b. Munich, 1786 ; nephew of
(i), first flute in the Munich orch.,
and composer. (5) Josef Hubert,
b. Wageningen, Holland, Feb. 29,
1844 ; violinist ; studied with Graven-
stein and van Bree, Leonard and
David ; at 12 played in public at
Amsterdam where he now lives as
teacher in the Cons., and com-
poser.
Crane, Helen, American composer;
pupil of Ph. Scharwenlca, Berhn, for
3 years; c. symphonic poem ** The
Last Tournament," suite and sere*
gkade for orch.» etc
Crang & Hancock, organ-builders in
Tendon during i8th cent.
Cranz (krSnts), August, Ilamburs:,
mus.-pub. firm, founded 18 13 by A.
H. Cranz (178^1870). His son Al-
win (b. 1834), IS now the head.
Craywmckel (krl'.vlnk-€l), Fd. Ma-
nuel Martin Louis Barth^lemj
de, b. Madrid, Aug. 24, 1820 ; pupil
of Bellon ; cond. St. Bruno, at Bor-
deaux, where he lived from 1825 ; c.
excellent masses and other church-
mus.
Cre(c)quiUon (kr^k-we-yoft), Thos.,
n. Ghent, (?) — Bethune, 1557 ; ca.
1544-47 conductor and comp>06-
er.
Creacentini (kra-sh£n-te'-ne), Giro-
lamo, Urbania, near Urbino, Feb. 2,
1766 — Naples, April 24, 1846; fa-
mous male soprano and composer.
Crespel (kr^s-p^i), Guillaume, Bel-
gian composer 15th cent.
Cressent (kr^s-saA), Anatole, Argen-
teuil, 1824 — Paris, 1870; lawyer and
founder of the triennial prize **prix
Cressent," endowed with 120,000
francs, to be equally divided between
the librettist, and the composer of the
best opera; first awarded to Chaumet,
1875.
Creyg^hton (kra'-tttn). Rev. Robt., b.
ca. 1639 ; English composer.
Cristofo'ri, Bart, (wrongly Cristo-
fall and Crsstofani), Padua, Ma^ 4,
1653 — Florence, March 17, 173 1; mv.
the first practical hammer-action to
which he gave the name '** piano-
forte" (v, D. D.) ; in 171 1 he substi-
tuted for the plucking quills ** a row
of little hammers striking the strings
from below," the principle adopted by
Broadwood, and called the " English
action."
Crivel'li, (i) Arcangelo, Bergamo, (?)
— 16 10; tenor and composer. (2)GioT,
Bat., Scandiano, Modena (?) — Mo-
dena, 1682 ; organist and conductor.
(3) Gaetano, Bergamo, I774*-Bres
cia, 1836 ; famous tenor. (4) Dom.,
b. Brescia, 1794 son of above, dram,
composer.
m»
402 THE MUSICAL GUIDE
Croce (kro'^h^), GiOY. dalla (called
** II Chiozzotto"), Chiojfgfia, ca. 1560
— ^Venice, i6og ; conductor and com-
poser.
Croea (kroos), H. Jaa. de, Antwerp,
1705 — Brussels, 1786 ; violinist and
conductor.
Croft(8), Wm., Nethcr-Eatington,
Warwickshire^ Engl., 1678— Bath,
1727 (buried Westm. Abbey) ; 1704,
joint organist, 1707, sole organist
Westm. Abbey; pub. ** Musica
sacra" (the first English church-music
engraved in score on plates).
Crog^ert (kro'-gart), J« Ed., b. Ant-
werp ; pupil of Benoft ; 1882 cond.
at Antweip, since 1882 lives in Paris;
writer of treatises.
Croiaes (krwft-sa), Alex., b. Paris (?),
1816 ; composer and writer.
Cros'dill) J., London, 175 1 — ^Escrick,
Yorkshire, 1825 ; 'cellist.
Cross, Michael Hnrleyi Philadelphia^
1833 — 1897 ; composer and director.
Cross'ley, Ada, Australian soprano;
d^but, Melbourne as a girl ; has sung
with succ. in Ix>ndon for many years,
also In Paris, etc.
Crotch, Wm., Norwich, Engl., July 5,
1775 — ^Taunton, Dec. 29, 1847; at
the age of 2\ he played on a small
organ, built by his father, a master-
carpenter ; at 10 played in public at
London ; at the age of 11 asst. or-
ganist of Trinity and King's Colleges
Cambridge; at 14 c. an oratorio,
''Thf CapHvity c/ /udaJk'' {peri.
1789), became organist of Christ Ch.,
Oxford; 1797, prof, of mus. Oxford ;
179Q, Mus. Doc. there; 1823 principal
of tne new R.A.M., c. 2 oratorios.
Crouch, (1) Mrs. Anna M. (nee Phil-
lips), 1763 — Brighton, 1805 ; Enel.
operatic singer. (2) Fr. Nicholis,
London, July 31, 1808 — Portland,
Me., Aug. 18, 1896; basso, 'cellist
and singing-teacher ; c. 2 op)eras, and
songs, incl. ** Kathleen Mavourneeny
Crow, Bd. J., b. Sittingboume, Engl.,
Sept II, 1841 ; organist Leicester,
1861-75 ; since, at Ripon Cath. ; 1882,
Hus. Doc. Cantab. ; c. oratorio.
•(
HarvesUime'' ; Psalm CXLVI,
for orch. and chorus, etc.
Cro'west, Fr. F., b. lx>ndon, 1850 ;
organist Christ's Church, Kilbum;
writer and composer.
Cro'ziar, Wm., b. Upper Norwood,
Dec. 20, 1870 ; celebrated Engl,
oboist.
Crilg^r (krtt'-g#r), Jns., Gross-Breesen,
near Guben, 1598— Berlin, i66a ;
organist.
Cmssel (kroos'-s^l), Bemhard, Fin-
land, 1775 — 1838; composer.
CntTel'li (rightlv Crttwcll) (krQ'-v?I),
(I) Friederike M., Bielefeld, West-
phalia, 1824 — 1868 ; contralto in Lon-
don, but lost her voice and died of a
broken heart. (2) Jne. Sophie Char-
lotte, b. Bielefeld, Mar. 12, i8-?6,
sister of above; also contralto, a.xl
ill-trained, but had enormous succesJ
Paris Gr. Opera, 1854, at a salary of
100,000 francs ; in 1S56 m. Comte
Vigier, and left the stage.
Cudlnore, Richard, Chichester, 1787
— Manchester, 1840 ; organist, vio-
linist and conductor.
Cui (kwe), C^sar Antondritch, b.
Vilna, Russia, Jan. 6, 1835 \ one of
the most important of Russian com-
posers ; pupil of Moniuszko and Ba-
lakirev ; a military engineer ; Prof,
of fortification at the St. Petersburg
Engineering Acad. ; from 1864-8,
critic of the St. P. '^Gazette'';
1878-9, pub. articles in Paris, on
'* La musique en Russie'* ; c. 5 op-
eras, " IViiiiam RatcHffe'' (St. P.,
1869) ; •* The Prisoner in the Cau-
casus'* (1873); *'Angeh" (1876);
" The Mandarin's Son" {1S7S}: ly-
ric comedy, *' Le FilibusHer" (Pans,
1894) ; the very succ. **Sarann " (St.
P., 1899) ; symphonies, etc., 2 scher-
zos and a tarantella for orch. ; suite
for pf. and vln. ; pf.-pcs. ; 50 songs.
" Esquisse critique" on Cui and his
works by the domtesse dc Merey-
Argenteau.
Cum mings, Wm. Hayman, b. Sad«
bury, Devon, Eng., Aug, 22, 1831 1
organist Waltham Abbey \ prof, of
DICTIONARY OF MUSICIANS 403
singing^ R. Coll. for the Blind, Nor-
wood ; 1896, principal of Guildhall
Sch. of Mus. ; founded the Purcell
Society, edits its pubs. ; wrote biog.
of Purcell (London, 1882) ; has also
pub. a music '* Primer ^'^ 1877 ; and
a *^ Biog, Dictionary of Musicians^*
(1892); c. a cantata, ^' The Fairy
/fing-" etc,
Cnrci (koor'-che), Giu., Barletta, 1808
— 1877 ; singing teacher and dram,
composer.
Curioni (koo-r1f-5'-ne), (i) ( ), so-
prano in London, 1754, perhaps the
mother of (2) Alberico, b. ca. 1790,
Italian tenor.
Curschmann (koorsh'-mAn), K. Fn,
Berlin, 1805 — Langfuhr, near Dan-
zig, 1841 ; singer, dram, composer
and pop. song'writer.
Cnrti (koor'-t£), Fz. (or Francesco),
Cassel, 1854 — Dresden, 1898 ; dram,
composer.
Curtis, Dr. H. Holbrook, b. New
York, Dec 15, 1856; grad. Yale,
1877; 1880, M.D, ; vice-pres. Am.
Social Science Assn., prominent throat
specialist and writer on the voice,
?ab. "Voice Building and Tone
lacing,** 1898.
Cur'wen, (i) Kev. J., Heckmondwike,
Yorkshire, Engl., 18 16 — near Man-
chester, 1880 ; 1862, resigned hispas-
wrate, and founded a college, also a
pub. -house, to exploit Tonic-sol-fa. (2)
J. Spencer, b. Plaistow, 1847 ; son
and pupil of above ; pupil also of G.
Oakeyand R.A.M.; writer, and since
1880 pres. Tonic-sol-fa Cpll.
Cttsani no. Vide carestini.
Cusins (ktl/-Yns), Sir Wm. C, London,
1833 — Remouchamps (Ardennes),
1893 ; pf.-prof. R.A.M. : knighted
1892 ; conductor and composer.
Cutell', Richard, English writer of
15th century.
Cutier, Wm. H., b. I^ndon, 1792 ;
organist and sineer.
Cuyillon (kO-ve-yon), J. Bapt. Phil 6-
mon de, b. Dunkirk, T809 ; pupil,
later prof. Paris, Cons.; notable vio-
Ibiist and teacher.
CiUBSOtti (kood-zd'-n£), Fran., Parma,
1700— Bologna, 1770 ; d^but 1719 ;
m. the pianist Sandoni ; very success-
ful contralto till her latter days, when
It is said she earned a pittance ttf
covering silk buttons.
Czartoryska (chSr.t5-re'-shkii), Mar-
celline (n^ Princess Radaiwill),
b. Vienna, 1826 ; pianist ; lives since
1848 in Paris ; pupil of Czemy.
Czarwenka (chAr-vin'-kft), Jos., Be-
madek, Bohemia, 1759— Vienna,
1835 ; obo\tt and professor.
Csamy (Cemy) (char^oi). Karl, Vi-
enna, Feb. 21, 1791— July 15. 1B57 ;
pupil of his father WenMl C, later
of Beethoven ; and had advice from
Clementl and Hummel ; made an
early reputation as pianist and was an
eminent teacher from his i6tb year ;
Liszt, Dohler, and Thalberg were
among his pupils; pub. over 1,000
works, his pf. -studies, stlli standard,
incl. many such works as " Die Schule
der Geldufigkeir (School of Velocity)
(op. 299) ; c. also masses, sympho-
nies, overtures, etc.
Czersky (chftr'-shkl). Vide tschiech.
Czibnlka (che-bool'-kd), Alphons,
Szepes-V&rallya, Hungary, May 14,
1842— Vienna, Oct. 37, 1894 ; pianist
and conductor ; c. 5 operettas, incl.
'^ Der Bajafo" (Vienna, 1893),
waltzes, etc.
D
Daase (dft'.z«), Rndolf, b. Berlin,
Feb. 21, 1822 : pupil of A. W. Bach,
Marx and Wilsing ; lives in Berlin as
conductor and teacher ; c, orcb. and
choral-pieces, etc.
Dachs (d&khs), Jos., Ratisbon, 1825
— Vienna, 1896; teacher and pianist.
Dachstein (dakh'-shtln), Woll|:ang:,
ex-priest and composer at btrass-
burg, 1554.
Dalayrac (or D'Alayrac) (diiU-rilk).
Nicolas, Muret, Haute-Garonne,
June 13, 1753 — Paris, Nov. 27, 1809 ;
prod, about 60 operas.
404
THE MUSICAL GUIDE
Dalberg: (cUr-b&rkh), Jn. Fr. Hag:o,
Reichsfreiherr Ton, Ascbaffenburg,
I7<2 — 1812 ; writer and composer.
D' Albert, Bugen. Vide albert, d*.
Dall (dJLl), Roderick, lived at Athol,
1740 ; the last of the Scotch **wan«
dering harpists.**
Dal'Um, Engl, family of organ-build-
ers 17th cent, (also spelled Dallans,
Dallutn, D&lham).
D&riery, organ-builders i8th cent, at
Amiens.
Dall*. Argine (d&I-ar'.zhe-na), Const.,
Parma, 1842 — Milan» 1877; dram,
composer.
Dalvimare (d&l.v£-m£'.r«) or d'AM-
mare (d&l-vl.m&r), Martin P.,
Dreux, £ure-et-Loire, 1772— Paris,
1839; composer.
Damascene (dH-m^-shi'-n^), Alex.,
Italian, b. in France ; d. Jul^ 14,
1719 ; alto singer and song-wnter in
England.
Damcke (d&n'-k^, Berthold, Han.
over, x8i3*» Paris, 1875; conduc-
tor.
Damm (d&m), (i) Fr., b. Dresden,
March 7, 1831 ; pianist and compos*
er; pupil of Krfigen, J. Otto, and
Reichel; lived in North Germany,
then in the U. S.» then in Dresden.
(2) G., V. STEINGRABER.
Damoreau (d&m-5-ro), Laure-Cinthie
(nee Montalant, Brst known as
••Mile. Cinti"). Paris, iSoi—Chan-
tilly, 1863 ; soprano, later prof, of
s-Inging, Paris Cons. ; wrote M/thodt
Damrosch (dflm'.rdsh). (i) Dr. Leo*
pold, Posen, Prussia, Oct. 23, 1832
—New York, Feb. 15, 1885 ; 1854,
M.D. ; look up music as solo-violin-
ist ; then as cond. at minor theatres ;
1855, soto violinist Grand Ducal
Orch., at Weimar ; here he m. HeU
ene von Heimburg, a singer ; 1859-
60 cond. Breslau Phil. Soc., etc.;
1871, invited to New York to con-
duct the Arion Society, made his
first appearance as conductor and
composer and violinist ; 1873, found-
ed the Oratorio Society ^ 1878 the
Symphony Society ; 1880 Mus. Doc.
Columbia' Coll. ; 1884, cond. German
opera ■ at Met. Op. ; c. 7 cantatas ;
symphony; music to Schiller's ^* Joan
of Arc ^^ etc. (2) Frank, b. Breslau,
June 22, 1859 ; ^n ^nd pupil of
above ; pupil of Pruckner, Jean Vogt,
and von Inten (pf.), Moszkowski
(comp.); 1882-85, cond. Denver
(Col.) Chorus Club; 1884-85, super-
visor of music in public schools, also
organist in various churches ; 1885-
91, chonism. Met. Op.; till 1887
cond. the Newark Harmonic Society;
1892 organized the People's Singing
Classes ; 1897, supervisor of music,
N. Y. City public schools ; now cond.
the *' Musuiigia,** Oratorio Society,
and Mus. Art Soc. (N. Y.), Oratorio
Soc., Bridgeport (Conn.) "Orpheus"
and '• Eurydice** Phila., etc.; pub. a
few songs and choruses, and a meth«
od of sight - singing. (3) Walter
(Johannis), b. Breslau, Silesia, Jan.
30, 1862 ; son and pupil of (i) ; pu*
pil of Rischbieter and Draeseke
(harm.), von Inten, Boekelman, and
Max Pinner, (pf.)i von BOlow (con-
ducting) ; 1885-99 cond. N. Y. Ora-
torio and Symphony Societies ; 1892
founded the N. Y. Symphony Orch. ;
1894, organized and cond. the Dam-
rosch Opera Co. ; 1899, cond. at
Philadelphia ; 1902, cond. N. Y.
Philh. (vice Paur): prod, opera,
•* The Scarlef £^/tfr^ (Boston, 1896),
text by Geo. Parsons Lathrop ; c
MS. opera *' Cyrano de Bergerac,"
text by W, J, Henderson ; ** Afanila
Te Deum ** ; ** Danny Dfever^* etc.
Da'na, (i) Chas« Henshaw, West
Newton, Mass., 1846 — Worcester,
1883 ; pianist, organist and compos-
er. (2) Wm. H., b. Warren, O.,
Tune 10, 1846 ; pupil of Haupt, and
Kullak's Cons., also R.A.M., I/On-
don ; dir. Dana's Mus. InsL, Warren,
Ohio ; wrote text-books ; c. " De
Profundi s " for ch. and orch,
Danb^ (dan-ba), Jules, b. Caen,
France, Nov. 15, 1840; violinist;
pupil of Paris Cons.; till 1892 2nd
*igm
DICTIONARY OF MUSICIANS 405
dir. of the Cons. Concerts ; 1895*
cond. Op. Com., Paris ; composer.
Dan'by, J., 1757 — London, May i6»
1798 ; £nglish organist and compos?
er.
Dance, Wm., 1755 — 1840, musician;
one of the founders of the Phil
Soc'., London.
Dftn'do, Job. H* B., b. Somers Town,
London, 1806 ; violinist.
Dancla (dah-kla), (i) J. Bap. Chas.,
b. Bagn^res-de-Bigorre, Dec. 19,
1818 ; 1828 pupil of Baillot, Hal^vy,
and Berton, Paris Cons.; 1834, 2nd
solo vin. Op.-Com.; 1857, prof, of vln.
at the Cons., giving famous quartet
soirees ; c. four symphonies, over 130
works for vln., etc.; wrote 5 techni-
cal books, '* Les compositeurs chefs
d^orchestre^ etc. (2) Amaud, Bag-
nires-de-Bigorre, 1820— 1862, bro. of
above ; 'cellist and writer. (3) L60-
?old, Bagn^res-de*Bigorre, 1823-—
aris, 1895, bro. of above ; compos-
er.
Danel (da-n^l), L. A. J., Lille, 1787
—1875; a printer who inv. a nota*
tion.
DanhaQser (dan-how'-z£r or daA-o-
za'), Ad. Ld., Paris, 1835 — 1896;
prof, of solfeggio at Cons, and dram,
composer.
Danican. V. philidor.
Daniel, (i) Hn. Adalbert, b. Cttthen,
1812; Uieologian and writer. (2)
SalTador, for a few days dir. Paris
Cons., under the Commune; killed
in battle. May 23, 187 1 ; writer.
Danjon (dan'-zhoo). J. L. F., Paris,
1812 — Montpellier, 1866 ; 1840, or-
ganist and erudite historian.
Dan'kers (or Danckerts), Ghiselin,
b. Tholen, Zealand \ chorister in Pa-
pal chapel, 1538-65; composer and
writer.
Danks, Hart Pease, b. New Haven,
Conn., April 6, 1834 ; bass and mus.
dir. in various churches ; pupil G. E.
Whiting; c. over 1200 hymns and
songs, and operetta ** PauHne^
(1872).
Danneley (d&n'-ll), John Felthanii
Oakingham, Berkshire, England, 1786
— London, 1836; organist and pub-
lisher.
Dannreuther (dSn'.roi-ter), (i) Ed-
ward, b. Strassburg, Nov. 4, 1844 ;
at 5 taken to Cincinnati, where he
studied with F. L. Ritter ; later, pupil
of Richter. Moscheles, Hauptmann,
Leipzig Cons.; 1863, London, as
pianist; 1872 founded and cond.
London "Wagner Society ; wrote
^^ Hie hard IVagner^ Jlis Tendencies
and Theories *' (London, 1873) ; also
composer. (2) Gustav, b. Cincin-
nati, July 21, 1853; pupil of de
Ahna and Joachim (vln.) and Heitel
(theory), Berlin ; lived in London till
^877; joined Mendelssohn Quintet
Club of Boston, where in 1880 he
settled as a member of the newly
formed Symphony Orch. ; 1882-84
dir. Philh. Soc. BuflFalo. N. Y. ;
founded the •* Beethoven String-
Quartet" of N. Y. (called "Dannr.
Q.** from 1894) ; for 3 years leader
Symphony and Oratorio Societies,
N. Y. 5 wrote ^^ Chord and Scale
Studies for Young Players,**
Danzi (d&n'-tse), (i) Fx., Mannheim,
May 15, 1763 — Carlsruhe, April 13,
1826 ; dram, composer ; son and pu-
pil of (2) Innocenx D., 'cellist to the
Elector. (3) Franzlska. Vide lb.
BR UN.
Da Ponte (dfl p6n'-t£), Lorenzo, Cen-
eda, near Venice, March 10. 1749—
New York, Aug. 17, 1838 ; of Jew*
ish race ; poet-laureate to Joseph II.
at Vienna, until 1792 ; wrote text of
Mozart's ** Don Giovanni " and ** Cost
Fan Tutte"; London, 1803, teacher
of Italian and poet to the Italian
Opera ; made a failure of different
pursuits in the U. S. A., and was
Bnally teacher of Italian at Columbia
College, N. Y. ; pub. '* Memorie''
(Memoirs). There is a sketch of his
life in Krehbiel's *' Music and Man-*
ners** (S. Y., 1899).
Daquin (d^-kfth), L. Claude, Paris,
1694 — 1772; notable organist ao4
composer.
^o6
THE MUSICAL GUIDE
Darcours (d&r-koor), Charles. Vide
RETY. ^
Darffomyzskjr (dar-go-mesh'-shke),
Alex. Sers^evitch, Toula, Feb. 2,
1813 — St. Petersburg, Jan. 29,1869;
pianist and composer ; pupil of Scho-
berlechner; his opera ^^ Esmeralda'**
(c. 1839) was prod. 1847 with succ;
his best opera ** Hussalka*'' followed
in 1856 ; in 1867, at Moscow, an
opera-ballet," The Triumph of Bac-
cnus" (written 1847), was instrument-
ed ; left an unfinished opera, *' Kam^
mennoi Cost*' ("The Marble
Guest **) (finished by Rimsky-Korsa-
kov). *^/fordatta,**SL fantasy-opera,
was only sketched ; it follows the
latest operatic creeds ; c. also pop.
orch. works.
Da(8)ser (d£'-s£r), (Dasserns) Lud-
wigf until 1562 conductor and com-
poser at Munich, predecessor of Las-
sus.
Danbe (dow'-b^, Fr., Cassel (Augs-
hurg ?), 1730— Vienna, 1797 ; com-
poser and writer.
Daublaine et Callinet, Paris firm of
org. -builders, founded 1838.
Daucresme (dd-kr^m), Lncien, El-
bcuf, Normandy, 1826 — Paris, 1892 ;
dram, composer.
Dau'ney, \Vm., Aberdeen, 1800 —
Demerara, 1843; writer.
Dauprat (do-prS). L. Fr., Paris, 1 781
—July 16, 1868 ; notable horn-player
and composer.
^aus80tene-M6hul (dos'-sw&n-ma'-
01). L. J08., Givet, Ardennes, 1790 —
Liige, 1875 ; dram, composer.
Dauverg^e (do-v^rn), Ant, C, Fer-
rand, 1713 — Lyons, 1797 ; violinist
and dram, composer.
DaTenport, Francis W., b. Wilders-
lowe, near Derby, England, 1847 ;
pupil of Macfarren, whose daughter
he m. ; 1879, prof. R. A. M., and
1882 Guildhall Sch. of Music ; c. two
symphonies (the ist winning ist prize
at Alexandra Palace, 1876), and
other comps. ; wrote text-books.
David (da'.fet), (r) Fd., Hamburg, Jan.
19, 18 10 — near Klosters, Switzerland,
July 18, 1873 ; pupil of Spohr and
Hauptmann ; at 15 played in the Ge-
wandhaus, Leipzig ; 1827, ii^ KOnig-
stadt Th. orch., Berlin; at 19, ist
vln. in the private quartet of the
wealthy Baron von Liphardt, at Dor-
pat, whose daughter he m. ; gave
concerts till 1835 in Russia ; at 26
leader of the Gewandhaus Orch. at
Mendelssohn's invitation ; his rigor-
ous precision of drill is still a terrify-
ing tradition. In the composition of
Mendelssohn's vln. -concerto he was
almost a collaborator (cf. Joachim and
Brahms). The Cons, ^tls estab. in
1843, and D.*s unsurpassed gifts as
a teacher had a lai^gc influence in
making its reputation, among his pu-
pils being Wilhelmj and Joachim ; as
a leader he had a wonderful faculty
of inspiring the players with his own
enthusiasm. His student editions of
classical works embrace nearly all
compositions of standard vln. litera-
ture ; edited many classics, including
the ''//oh£ Sehule des Vioiimfnels.
His comp. include an opera, ** ffans
IVacht'* (Leipzig, 1852) ; 2 sympho-
nies; 5 vln. -concertos, etc.; wrote a
standard meth. for vln. (2) Peter
Paul, b. Leipzig, Aug. i, 1840, son
of above ; violinist ; 1862-^5, leader
Carlsruhe orch.; then teacher at Up-
pingham, England.
David (dd-ved), (3) F^licien C^sar,
Cadenet, Vaucluse, April 13, 18 lo-^
St. Germain-en- 1 ^ye, Aug. 29, 1876 ;
at 7 a pupil and chorister in the mat-
trise of Saint-Sauveur at Aix; c.
hymns, motets, etc.; 1825-28 studied
in the Jesuit college, but ran away to
continue his music, and became asst.-
cond. in the theatre at Aix, and at
T9 cond. at Saint-Sauveur; 1830
Paris Cons., under Benoist (org.),
Reber and Millot, (harm,), Fetis (cpt.
and fugue). 1831, his rich uncle with-
drew his allowance of 50 francs a
month, and he took up Saint> Simon-
ism, composing hymns for this social-
istic sect, which coming under ban of
the law in 1833, he went with othef
DICTIONARY OF MUSICIANS 407
members on a tour through Turkey,
Eg^T^ *tc.; he returned in 1835 with
a fund' of Oriental musical impres-
sions, resulting in an unsucc. volume
of ''MtflodUs Orientalesr He re-
tired to the country home of a friend
and c. 2 symphonies, 24 string-quin-
tets, etc. 1838 his first symphony
was prod. ; and 1844, his ode-sym-
phonie '' Le Denser r had a " deliri-
ous succ*'; the oratorio, **Afoise au
Sittai,'* 1846 ; a second symphonic-
ode *^ ChHstophe Coi^fmbe"^ and
*• VEden" a *' mystery " in 2 parts
(Grand Opera, 1848) had no succ;
his opera ** La Perle du Brhir (Th.
Lyrique, 185 1), is still popular; the
opera '*Z^i Fin du Monde*'' was re-
jected by the Or. Opera, and put in
rehearsal, but not produced, by the
Th. Lyrique, and in 1859 produced
at the Gr. Op^ra as " ffercuhneum"
the great state prize of 20,000 francs
being awarded it in 1867; *^ Lalia
Keokh'* {i%(i2) was a decided succ,
but **Ztf Saphir" (1865) also at the
Op. Com., failed, and he now aban-
doned dram, comp., withdrawing ** Za
CapHve*"* 1869, Academician and li-
brarian of the Cons. Biog. by Aze-
vedo (Paris, 1863). (4) Samuel,
Paris, 1838---1895 ; professor, direc-
tor and dram, composer. (5) Ad.
Isaac, Nantes, 1842— Paris, 1897 ;
dram, composer. (6) Erost, Nancy,
1844 — Paris, 1886 ; writer.
Da^ide (da-ve'-d£),(i) Giacomo (called
le pere), rPresezzo, near Bergamo,
1750 — Bergamo, 1830 ; famous tenor.
(2) Giovanni) 1789, St. Petersbui^,
ca. 185 1 ; son of above ; tenor of
remarkable range B^-b".
Davidoff (da -vY^of), Karl, Goldingen,
Kurland, 1838 — Moscow, 1889; solo
'cellist to the Czar ; 1876-87, dir. St.
Petersburg Cons. ; c. -ymph. poem,
" Thi Gifts ofPerek:' etc.
Davies (da -vYs), (i) Ben, b. Ponadawz,
near Swansea. Wales, Jan. 6, 1858 ;
operatic and concert tenor ; 1880-3
pupil of Kandegger at K. A. M. ;
woo bronze» tilver, and gold medals,
and the Evill prize for declamatory
Engl, singing ; 3 years with Carl
Rosa Opera-troupe ; most prominent
in oratorio; since 1803 has often sung
in U. S. (2) Davia Ffranrcon, b.
Bethesda, Carnarvonshire, Dec. 11,
i860 ; barytone ; M. A. Oxford ; pu-
pil of Shakespeare ; debut Manches-
ter, 1890 ; sang with Carl Rosa Op-
era Co., then oratorio ; toured U. S.
(3) Fannj, b. Guernsey, June 17,
1861 ; pianist ; pupil of Reinecke.
Paul and Jadassohn, Leipzig Cons. ;
later of Frau Schumann and Dr.
Scholz ; debut Crystal Palace, Ix»n-
don, 1885 ; has toured m England,
Germany and Italy. (4) HenryWal'^
ford, b. Oswestry, Engl., Sept. 6,
1869 ; pupil and asst. of Sir Walter
Parratt ; 1898 organist of the Temple
Church ; 1898, Mus. Doc., Cantab. ;
1895 prof, of cpt. R. C. M.; c. Sjrm-
phony in D, cantata ** ///rt^/^/^/,'*
etc.
Da'vison, (x) Arabella. Vide god-
DARD. (2) J. W., London, 1815 —
Margate, 1885 ; pianist, critic and
composer.
Da'vy, (i) Richard. Engl., comp. i6th
century. (2) Jonny Upton- Helion,
Exeter, 1765 — London, 1824; violin,
ist.
Day, Dr. Alfred, London, 18 10 — 1849;
physician and theorist.
Dayas (dl'-ds), W. Hnmphries, b.
New York, Sept. 12, 1864 ; pupil of S.
Jackson, Warren, S. B. Mills and
JosefTy ; organist of various churches ;
then studied with Kullak, Haupt,
Erlich, Urban, and Liszt ; made
concert-tour 1888 ; 1890 pf. -teacher
Helsingfors Cons. ; in DUsseldorf
(1894), Wiesbaden Cons., and Co-
logne Cons. ; c. organ and piano
sonatas, etc.
De Ahna (da-fi'-nS), (i) H. K. Her-
mann, Vienna. 1835 — Berlin, T892 ;
violinist, teacher and composer. His
sister (2) Eleonore, Vienna, 1838-'
Berlin, 1865 ; mezzo-soprano.
De Angelis (da an'-ja-les), Girolama
b. Civita Vecchia, Jan. i, 1858 ; pupv
4o8 THE MUSICAL GUIDE
of Bazzini, Milan Cons. ; 1881, prof,
there of vln. and via. ; 1879-97, solo
violinist at La Scala ; 1897 teacher
Royal Irish Acad, of Music, Dublin ;
c. (text and music) ''^ Vlnnocente'*
(Novi Ligure, 1896).
Deane, Thos., English organCst, vio-
linist and composer, 17th cent.
Debain (da-biA), Alex. Fran.,
Paris, 1809 — Dec. 3, 1877; 1834
made pianos and organs in Paris;
in v. the harmonium 1840, also **anti-
phonel" and *' harmonichorde '* ; im-
proved the accordion.
Debillemont (dii-be'-ytt-mofi), J.
Jacques, Dijon, 1824 — Paris, 1879 ;
dram, composer.
Debois (dA-bwi), F., BrOnn, 1834—
1893 ; cond. and composer.
Debussy (dd-bus-se), Achille Claude,
b. Paris (?), 1863, French composer of
much individuality; prod. " Pell/as et
M^iisandey** libretto based on Maeter-
linck's play, Op. Comique. Paris,
Apr. 30, 1902, with sensational ef-
fect ; he was a pupil of Guiraud, Paris
Cons., took grand 'Prix de Rome,
1884, with cantata *' L' Enfant pro-
digue"; began '' PelUas et Mr in
1893 ; c. also orch. prelude " VAprh^
midi d*un Faune ; " pf. suite for 4
hands; ^^ Chansons de Bilitisr
*• Proses lyriques^'* etc.
Dechert (ddkh'-«rt), Hug:o, b. Pots-
chappel near Dresden, Sept. 16, i860 ;
'cellist ; studied with his father, then
with H. Tiets, and at the Berlin
Hochschule ; toured ; since 1894 solo-
ist court-chapel, Berlin.
Decker, Konst., Fttrstenau, Bran-
denburg, 18 10 — ^Stolp, Pomerania,
1878 ; pianist and dram, composer.
Dedekind (da -di-kYnt), (i) Henningr,
abt. 1590 cantor, theorist and com-
poser at Langensalza, Thuringia. (2)
Konst. Chr., Reinsdorf, Anhalt-
KOthen, i628--ca. 1697 comp.
Dedler (dat'-lSr), Rochus, Oberam-
mergau, Jan. 15, 1779 — ^Vienna, Oct.
15, 1822 ; c. music still used in the
Passion-Pla3r.
De(e)r inf , Richardi b. Kent, d. Lon-
don (?), 1630 ; studied in Italy ; court-
organist; pub. the oldest extant
comp. with basso continuo, etc.
Defesch (da-ffeh), Wm., d. ca. 1758 ;
Flemish organist and violinist.
De£f^8 (diif.f^s), L. P., b. Toulouse,
July 25, 18 19 ; pupil of Halevy and
Barbereau, Paris Cons., took Grand
prix de Rome for cantata ^* L*'Ange
et Tobie"; his i-act com. -op. ** FAn-
neau d* argent" was prod. Paris,
1855 ; 14 others since, the last very
succ, ^* Jessica" (Toulouse, 1898);
now dir. of the Toulouse branch of
the Cons. ; c. also masses, etc.
Degele (da-g^-l^), Eugen, Munich,
1834 — Dresden, 1866; barytone and
composer.
De Giosa (da jo -sfi), Nicola, Ban,
1820 — 1885 : cond. and composer.
De Haan, (i) Willem, b. Rotterdam,
Sept. 34, 1849; pupil of Nicolai, de
I^nge, and Bargiel, also at Leipzig
Cons. ; 1873 dir. at Bingen ; cond.
•' Mozartverein " at Darmstadt,
1876 ; 1895 court-conductor there ;
c. 3 operas ** Die Kaiser stockter " and
the succ. ^^ Die Inkasdhne" (Darm-
stadt, 1895) ; 3 cantatas. (2) Mani«
farces, A. Pauline, b. Rotterdam,
April 4, 1872 ; concert and oratorio
alto, pupil of Julius Stockhausen.
Dehn (dan), Siegfried Wm., Altona,
Feb. 25, 1796 — Berlin, April 12, 1858,
noteworthy theorist and teacher;
among his pupils Rubinstein, Kul-
lak, Glinka, Kiel, Hofmann, etc
Deiters (di'-t£rs), Hermann, b. Bonn,
June 27, 1833 ; 1858, Dr. jur., and
Dr. phil.,at Bonn; dir. of gymnasia
at Bonn, 1858, and other cities ; 1885
of the *' Provincial Schulrath " at
Coblentz ; writer and translator.
De KoVen (Henry Louis) Reginald,
b. Middletown, Conn., April 3, 1859;
educated in Europe, took degfree at
Oxford, Engl., 1879; pupil of W.
Speidel (pf.) at Stuttgart, Lebert
(pf.), and Pruckner (harm.). Dr.
Hauflf (comp.), Vanuccini (singling),
Genee (operatic comp.) ; 1902 organ-
ised and cond. Philbarmoaic Orch. at
DICTIONARY OF MUSICIANS 409
Washington, D. C, where he has
lived since 1900 ; c. many succ.
comic operas, incl. ** Robin Hood"
(Chicago, 1890) ; " The Fencing
-Vaj/irr "(Boston, 1892) ; ** The High-
wayman " (New Haven, 1897) ;
^*' Maid Marian'''' (1901) ; also many
songs ; an orch. suite, and a pf .-
sonata in M8.
pelaborde (dti-lli.b6rd), (i) J. Benj.,
Paris, 1734 — guillotined, 1794; dram,
composer and writer. (2) Elie Mi-
riam, b. Chaillot, France, Feb. 8,
1839 ; pupil of Alkan, Liszt, and Mo-
scheles ; pf.-prof. at Paris Cons, and
dram, composer.
Del&cour (da-lil-koor'), Vincent Con-
rad F^lix, Paris, 1808 — 1840 ; harp-
ist and composer.
Del&tre (da-Ut'r), (i) Olmer, Belgian
music-pub. Antwerp, (1539-55). (2)
Claude Petit Jan., conductor and
composer at Liege, 1555.
De Lattre (dtt-Utr), Roland. Vide
LASSO, DI.
De rAulnaye (dfi-lol-na), Fran.
Stanislas, Madrid, July 7, 1739 —
Chaillot, 1830 ; writer and theor-
ist.
DeldeTez (diil-dd-v^s), Ed. Ernest,
Paris, 18 17 — 1897 ; 1859, asst.-cond.
Gr. Opera and Paris Cons. ; dram,
composer and writer.
Deledicque (dei-dek), Ld., b. La
Haye, Feb. 7, 1821 ; violinist and
teacher ; pupil Paris Cons. ; founder
and cond. "Soc. des Symphonistes,"
1861-83 ; c. vln. pieces, etc.
De Leva (da-la-va), Enrico, b.
Naples, Jan. 19, 1867 ; pupil of Pan-
nani and Rossomandi (pf.) ; Puzzoni
and d*Arienzo (hann.) ; his Canzo-
netta Napoletana '* £ Spingole Fran-
gese," was very succ, as are many of
his songs ; c. opera *' La Carmargo "
(not prod.).
Delezenne (dfi-lii-zen), Chas. Ed.
Jos., Lille, 1776 — 1866 ; writer.
Delhasse (d«l-&s). F^lix, b. Spaa,
Jan. 8, 1809 ; lives in Brussels ;
writei,
Delibes (dtt-leb'), CMmeat Philibert
L^o, St. Germain-du-Val, Sarthe,
Feb. 21, 1836 — Paris, Jan. 16, 1891 ;
a composer of fascinating grace and
polish ; entered the Paris Cons, in
1848, Le Couppey, Bazin, Adam, and
Benoist being his chief teachers ; 1853
organist at the Ch. of St.-Jean et St.-
Francois; his first operetta '^ Deux
Sacs de Charbon^" was followed by 12
more; 1865, 2nd chorus-master Gr.
Opera; his first ballet ''La Source '"^
was prod, here 1866, later in Vienna r
as ** A^tfiVa 'V the second, " Coppe-"^
lia (ur. up^ra, 1870), is still popu-
lar. as b '' Syhia'' (1876); 1881,
prof, of comp. at the Cons. ; c
also the succ. opera '' Lakm^" (v.
STORIES OF OPKKAS), and Others.
Delicati (da-U-ka'-te), Mar^herita,
Italian soprano in London with her
hushand, 1789.
Delioux (De Savig^nac) (dfil-yoo dd
s^v-en-yilk), Chas., b. Lorient, Mor-
bihan, April, 1830; self-taught as
pianist; studied harmony with Barbe-
reau, and comp. with Halevy ; 1846
took Grand Prix for cpt.; prod, i-act
comic opera ** Yvonne ei Loie"(ijym'
nase, 1854); c. pf .-pes and wrote tech*
nical works.
Delia Maria (ddl'-la ma-re'-a), Do-
minique, Marseilles, 1768— Paris,
March 9, 1800 ; son of an Italian
mandolinist ; played mandolin and
*cello ; at 18 prod, a grand opera ;
studied comp. in Italy, and c. 7 operas,
incL the very succ. '* Le Prisonnier "
(1798).
Delle Sedie (d«l.l« sad'-y^), Enrico,
b. Leghorn, June 17. 1826 ; pupil of
Galem, Persanola, and Domeniconi ;
1848, imprisoned as a Revolutionist ;
then studied singing; debut, Flor-
ence, 185 1 ; later prof, of singing
Paris Cons. ; has lived in Paris since
as singing teacher.
Dellinser (dgl'.lTng.«r), Rudolf, b.
Graslitz, Bohemia, July 8, 1857;
1883, conductor at Hamburg ; 1893,
Dresden Ct. Opera ; c. operettas, incl.
succ. '' Capitdn Fracasse" (Hamburg,
X889), zsA^'Die C^manetU " (Dres
410
THE MUSICAL GUIDE
den, 1894); Prague, 1895, ''Die Sdng-
tTtH
Dell' breace (del o-ra.fe'.ch«), Giu.,
Fara, Abruzzio, Chietino, 1848 —
Naples, 1889 ; cond. and dram, com-
poser.
Del Mela (del mft'.la), Don Domeni-
co, an Italian priest; 1750, inv. the
** upright " piano.
Delmotte (dei-mdt), Henri Florent,
Mons, Belgium, £709 — 1836; writer.
Delprat (dai-prft), Chae., 1803— Pau,
Pyrenees, 1888 \ singing-teacher and
writer there.
DeUarte (dtil-silrt), Fran. Alex.
Nicholas Ch6ri, Solesme, Nord,
181 1 — Paris, 1871; tenor; teacher of
a well-known physical culture; 1855
inv. the Guide-Accord, or Sonotype,
to facilitate piano-tuning*
Del Valle de Paz (del vftl'-la da pfttz),
EdgardOi b. Alexandria, Egypt,
Oct. t8, 1861 ; pf. -pupil at Naples
Cons., of Cesi (pf.), and Serrao
(comp.) ; at 16 toured in Italy and
Egypt, now prof, in Florence Cons. ;
pub. pf. -method, etc.; c. orchestral
suites, etc.
Demantiiis (dft-man'-tsY-oos), Chr.,
Reichenberg, 1567 — Freiburg, Sax-
ony, 1643 ; prolific composer of
church-music and songs; wrote a
vocal method.
Demelius (dft-mi'-ll-oos), Chr., Schlet-
tau. Saxony, 1643 — « Nordhausen,
1711 ; composer.
Demeur (dd-mttr'), (i) Anne Arsttie
(nee Charton), Sanjon, Charente,
1827 — Paris (?), 1892 ; soprano ; m.
(2) J, A. Demeur, flutist and com-
poser.
Demol (da-m6l), (i) Pierre, Brussels,
i825^Alost, Belgium, 1899; dir.
and composer. (2) Pran. M., Brus-
sels, 1844 — Ostend, i88>; nephew of
above ; cond., prof., and dram, com-
poser.
Demunck', (i) Francois, Brussels,
1815 — 1854; 'cellist and prof. (2)
Ernest, b. Brussels, Dec. 21, 1840 ;
son and pupil of above ; pupil of
Servais ; hved in London, th«Q Paris ;
1870, 'cellist Weimar Court orch.;
1879 ^' Carlotta Patti ; 1893, prof.
R.A.M., London.
Demuth (di-moot), Ld., b. Brfinn,
Nov. 2, 1861 ; barytone ; studied
Vienna Cons., with Gansbachers,
sang at Halle, etc., later Hamburg
and Vienna.
Denefve (dd-nilf), Jules, b. Chimay,
1814 ; 'cellist and dram, composer
Denn^e (den-na), Chas., b. Oswego,
N. Y., Sept. I, 1863 : studied with
Emery, Boston ; lives there as teacher
and composer oif comic operas, etc
Dengfremont (daA-gril-mon), Maurice,
b. of French parents, Rio de Janeiro,
1866— Buenos Ayres, 1893 ; violinist;
at II played with succ. in Europw.
Den'ner, Jn. Chp., Leipzig, 1655 —
NOrnberg, 1707 ; maker of wind-
insts.; inv. 1690 or 1700 the clarinet,
perhaps also the Stockfagott and the
Rackettenfagott.
Denza (dSn'-tsi), Lnigi, b. Castellam-
mare di Stabbia, Feb. 24, 1846 ; pu-
pil of Naples Cons.; c. opera ** IVal^
UnsUin " (Naples, 1876), many pop.
songs (some in Neapolitan dialect),
incl. ** Funiculi- Funicula."
Deppe(dep''pe), Ludwig, Alverdissen,
Lippc, 1828— Pyrmont. Sept. 5-6,
1890; notable pf. -teacher and con-
ductor.
Depr^s (or Despr6s) (dil-pr^' or dt-
pra), ^0886 (known as. Josquln),
Conde (?) in Hainault, Burgundy, ca.
1450 — Cond<f,Aug. 27,1521. [Hisepi-
taph reads '* Joss6 Despres **\ otlier
spellings are Despres, De(s)pre2,
Depret, De(s)pret(s), Dupre, and by
the Italians, l)el Prato, Latinized as
a Prato, a Pratis, Pratensis, etc. ;
JOSquin appears as Josse, Jossien,
usquin, Ciiosquin, Josquinus, Jaco-
bo, Jodocus, Jodoculus, etc.] One
of the most eminent of musicians and
the chief contrapuntist of his day ;
pupil of Okeghem ; 1471-84 a singer
in the Sistine Chapel, and about
1488 in Ferrara ; he was already now
accepted as **princeps musicorum,'*
and had intematioaal vogue. He was
DICTIONARY OF MUSICIANS 411
kta
■^••■OT^
received with honour by various
?ri(ices, and was court-musician to
,ouis XII., Riany amusing anecdotes
of his musical humour being told. He
finally returned to Conde as , Provost
of the Cathedral Chapter. Bumey
called him '* the father of modern
harmony." The florid and restless
cpt. of nis church- works and the sec-
ular c^ntus Jirmus (v. d.d.) that was
the basis of most of them, brought
his school into disfavour and disuse
when the revolutionary Palestrina ap-
peared. But he was at least the culmi-
nation of his style, and his erudition
was moulded mto suave and emo-
tional effects, so that Ambros says
that he was the '* first musician who
impresses us as being a genius." His
period coinciding with the use of
movable types for music, his works
are preserved in large quantities in
volumes and in the collections of Pe-
trucci and Peutinger. His French
chansons were pub. by T. Susato,
1545* P- Attaignant, I549i and Du
Chemin, 1553; excerpts in modem
notation are in the ** Biblioihek fUr
Kirchtnmusiky* 1844 ; in Commer's
'"ColUcHo" Rochlitz' '' Sammlung
vorzUgtichfT GesangstUcke** 1838,
Choron's ** Collection^* and in the
histories of Ambros, Bumey, Haw-
kins, etc,
Deprpsse (d^-pros'-sS), Anton, Mu-
nich, 1838 — Berlin, 1878 ; dram, com-
poser,
De Reszk^ (dii rfeh'-ka), (i) Jean, b.
Warsaw, Jan. 14, 1852 ; perhaps the
chief tenor of his generation, great in
opera of all schools ; pupil of Ciaf-
fei, Cotogni, etc, ; 1874, debut as
barytone at Venice, as Alfonso in
** La Favorita^* under the name ** Dc
Reschi " ; after singing in Italy and
Paris and studying with Sbriglia, he
made his debut as tenor in *'*^ Jiobtrt
U DMU " (Madrid, 1879) ; 1884, Th.
des Nations ; 1885 at the Gr. Oi>era,
Paris, creating Massenet's '* Le Cid'^i
since '87 has sung constantly in Lon-
don, and since '95 in New York. (2)
3X
£doaiird, b. Warsaw, Dec. 23, 1855,
bro. of above ; pupil of his broth-
er, of Ciaffei, Steiler, and Colettl;
debut, Paris, April 22, 1876, as the
King in '' Aida'' (Th. des Italiens),
sang there two seasons, then at Tu-
rin and Milan ; 1880-84 at the lulkn
Opera, London ; since then, Paris,
Ix>ndon, America ; a magniAoent
basso of enormous repertory and
astonishing versatility as an actor ^
a master in tragic comic, or bufTa
opera. His sister, (3) Joseplrinet
was a soprano of greatest promise,
but left the stage on her marriage.
Dering, v. dekring.
D« Sanctis (d& s$nk'-tes), Cesara, b.
Allbano, Rome, 1830: 1876, prof, ot
harm, in the Liceo; c. overture,
Requiem Mass, ** 100 fugues," a cap-
pella in strict style ; pub. treatises.
D^sau^iers (da-sd-zht). Marc Ant.,
Frejus, 1742 — Paris, 1793 ; prod, nu-
merous succ, short <MDeras.
Deshayes (diiz*(^), Prosper Didier,
prod., 1780, oratorio ** Les Macha-
b^es " ; c. operettas and ballets, etc.
Desmarets (di-mK^ra), H., Paris, i66a
— Luneville, 1741 ; dram, composer.
Desormes (da-z6rm), L. C, Algiers,
1845 — Paris, 1898 ; composer and
conductor.
Dessau (d^'-sow), Bd., b. Hamburg,
March i, z86i ; violinist; pupil of
Schradieck, Joachim, and Wieni-
awski ; leader at various theatres ;
1898 Konzertmeister at the conrt-
opera, Berlin, and teacher Stem 00ns.
Dessauer (d$s'-sow-£r), Jon., Prague,
May 28, 1798 — MOdling, near Vien-
na, July 6, 1876; c. 5 operas and
manypop. songs.
DessofT (d&i'-sof), Felix Otto, Uip.
wgt 1835 — Frankfort, 1892 ; coqrt-
cond. at Carlsruhe.
Destinn (da'-shtYn), Eminy, b. Prague,
Feb. 26, 1878 ; soprano ; studied
with Loewc-Destina ; 1898 court
opera, Berlin.
Destouches (da-toosh), (i) Afi4r6
Cardinal, Paris, 1672-^1749; dom^
composer. (2) Frana
412
THE MUSICAL GUIDE
b. Munich, 1772 — 1844; dram, com-
poser.
Desvignes (da-ven'-yii), Frai., Trier,
1805 — Metz, 1853 ; violinist ; founded
conservatory at Metz ; dram, com-
poser.
Deswert (da-vir), (i) Gaspard Isi*
dorei Louvain, 1830 — Schaerbeck,
near Brussels, 1896 ; 'cellist ; prof.
Brussels Cons. (2) Jules, Louvain,
1843 — Ostend, 1891, brother of above;
conductor and dram, composer.
Dessczydski (dSsh-chen'-shkr), Jos.,
b. Wilno, 1781 ; Polish composer.
Dett'mer, Wm., b. Breinum, near
Hildesheim, 1808 ; operatic bass ;
son of a peasant ; joined a troupe of
players ; sang minor r61es at Han-
over ; 1842 engaged for leading r61es
Dresden ; retired 1874.
Dents (doits). Vide magnus.
Devienne (dttv-ySn), Fran., Joinville,
Haute - Mame, Jan. 31, 1759 —
(insane), Charenton, Sept. 5, 1803 ;
flutist and bassoonist ; important in
improving wind instr. ; prof., com-
poser and writer.
Dew'ey, Ferdinand, Montpelier, Vt.,
U. S. A., 1851— Beverley, U. S. A.,
1900 ; pianist, composer, and teacher.
Dez^de (or Dezaides) (d&.z^d),
Lyons (?) 1740 — Paris, 1792 ; prod.
15 pop. operas and operettas.
Diabelli (de-^-bei'-le), Antonio,
Mattsee, near Salzburg, Sept. 6,
1781— Vienna, April 8, 1858 : pf.-and
guitar-teacher ; partner of Cappi, the
music-publisher ; c. opera and pop.
sonatinas, etc.
Diamandy. Vide nuovina.
Diaz (de la PeAa) (de'-ilth dfl-la-pan'-
y'l), Eugene limile, Paris, Feb. 27,
1837-^Oct., 1901 ; son of the painter;
pupil of Paris Cons. (Halevy, Keber);
prod, the com. opera *^ Lf Rot Can^
dauW' (1865, Th. Lyrique): 1867
won the prize for opera, *' La Coupe
du Rot de Thule " (Grand Opera) ;
1890 prod, lyric drama ** Bem'enuto *'
(Op. -Com.) , pub. many songs.
Dib'din, (i) Chas., Dibdin, near
Southampton, 1745 — London, 1814 ;
composer, singer, accompanist, actor.
manager and writer. (2) Henry Ed*
ward, Sadlers Weils, 1813— 1866 ;
harpist, organist, violinist and com-
poser ; youngest son of above.
Dick, Chas. Geo. Cotsford, b.
London, Sept. i, 1846; law-student
at Worcester Coll., Oxford; later
musician ; produced succ. operettas,
and 2 comic operas, a ''children*?
opera," etc-
Dic'kona, Mrs. (n^ Poole), London,
ca. 1770 — May 4, 1833 I soprano.
Did'ymus, b. Alexandria, Egypt, 63
B.C. ; wrote 4,000 works in ail, incl.
a treatise on harmonv. Vide tetra*
CHORDS and comma (d. d.).
Diehl (del), Louis, b. Mannheim, 1838
1863, m. Alice Mangold ; composer
Diem (dem), Jos., Kellmunz, neaf
Memmingen, 1 836-— Constance, 1894;
'cellist.
Dimmer (d*ya-m&), Louis, b. Paris,
Feb. 14, 1843; pianist; pupil at Cons,
of Marmontel ; took ist pf.-prize at
13, later 1st harm., 2nd org. and ist
cpt. -prizes ; pupil Ambr. Thomas
and Bazin ; 1887 pf.-prof. at the
Cons, (vice Marmontel) ; besides
brilliant concerts of modem music,
he has organised most delightful con*
certs of ancient music played on an-
cient instrs. ; c. pf. -concerto, cham-
ber-music, etc., ed. collections.
Dienel (de -ndl). Otto, b. Tiefenfurth,
Silesia, Jan. 11, 1839; pupil Gorlitz
Gym., bunzlau Seminarv, K. Inst,
for church music, Berll/i, and R.
Academy , organist Marienkirche,
Beriin; 188 1 *' Royal Musikdirec-
tor."
Diener (de'-n*r), Fs., Dessau, 1849 —
1879 ; tenor.
Dierich (de'.rlkh), Carl, b. Heinrich-
au, March 31, 1852; tenor in con-
cert, opera and oratorio ; studied with
Graben-HoiTman.
Dies (de .«s). Albert K., Hanover.
1755 — Vienna, 1832 ; writer.
Diet (de-a), Edmond M., b. Paris,
Sept 25, 1854 \ P^P^^ ^^ Cesar Franck,
and Guiraud ; omder of the Aoademj;
DICTIONARY OF MUSICIANS 413
prod. 3 operas, incl. ** S/ratonice**
(1887), many ballets and pantomimes,
etc.
Diet(t)er (de'-t^r), Chr. L., Ludwigs.
bvLTg, 1757 — Stuttgart, 1822 ; dram
composer.
Dietrich (de'-trikh) (or Dieterich), (i)
Siztus, Augsburg (?) 1490 (95)— St.
Gallen, Swiuerland, 1548 ; composer.
(2) Albert Hn., b. Golk, near Meis-
sen, Aug. 28, 1829 ; important com-
poser ; pupil of J. Otto, Moscheles,
Reitz and Schumann ; 1855-61, con-
cert-cond., 1859, principal mus.-
dir. at Bonn ; 186 1, court-cond. at
Oldenburg ; 1894 Leipzig ; c. succ.
opera '' Hobin Hood'' (Frankfort,
1879) ; a notable symphony ; over-
ture, ** Normannen/ahrt" ; cantatas
with orch., 'cello- and vln. -concertos,
etc. (3) Marie, b. Weinsberg;
studied Stuttgart and with Viardot-
Garcia ; colorature soprano at Stutt-
gart court-opera ; then at Berlin.
Dietsch (detsh), Pierre L. Ph., Di-
jon, 1808 — 1865 ; composer and con-
ductor.
Diets (dets), (i) Jn. Chr., Darmstadt,
1788 — in Holland, 1845 ; instr. -mak-
er ; inv. melodeon (1805), etc. ; his
son and assistant (2) Chr., a famous
pf.-maker. inv. the Polyplectron.
Dieupart (d'yfl-p&r), Chas., iSthcent.,
violinist and harftsichordist.
Dies (dcts), Sophie (nee Hartmann),
Munich, 1820^1887 ; soprano.
Dij^'num, Chas., Rotherhithe, 1765—
1837 ; Engl, singer and composer.
Dil'liger, Jn., Eisfeld, 1590— Coburg,
1647 , cantor and composer.
Dincrelstedt (dYng'.£l-sht£t), Jfenny
(nSj Lutzer), Prague, 18 16 — Vienna,
1877 ; a colorature singer ; m. the poet
Fz. D.
Dippel (dTp'-p£l), Andreas, b. Cassel,
Nov. 30, 1866 ; notable tenor ; stud-
ied with Hey, Leoni and Rau ; 1887-
92, Bremen opera, then in New York
for several seasons, also in Breslau,
Vienna; 1889 at Bayreuth, from 1897,
at Covent Garden.
Oimta (de-roo'-ta), (i) Gir., b. Perugia,
ca. 1560; organist; pub. technical
books on org., cpt., etc. (2) Ag^., b.
Perugia, 1622; Augustine monk;
composer.
Dis'tin, (i) John, 1793— 1863 ; Engl,
trumpeter, mv. key-bugle. (2) Theo-
dore, Brighton, England, 1823 — Ix>n-
don, 1893 ; son of above ; barytone ;
later bass singer and composer.
Dit'son, (i) Oliver, iSii— 1888 ;
founder of the music-pub. firm O.
Ditson Co., at Boston, Mass.; 1867,
his eldest son, (2) Chas., took charge
of N. Y. branch (C. H. Ditson &
Co.). Since 1875 (3) J. Edward
Ditson has cond. Philadelphia branch
(J. £. D. & Co.). A branch for the
importation of instrs., etc., was est. at
Boston in i860 as John C. Haynes &
Co. ; and since 1864 a Chicago
branch, Lyon & Healy.
Ditters (dlt'-t^rs) (von Dittersdorf)*
Karl, Vienna, Nov. 2, 1739 — Neu-
haus, Bohemia, Oct. 24, 1799; note-
worthy as forerunner of Mozart, and
earlv writer of programme-music (v.
D. b.) ; pupil of KOnig and Ziegler,
of Trani (vln.), and Bono (comp.); he
played in the orch. of his patron
Prince Joseph of Hildburghausen,
1759, and then in the ct.-Th. at Vienna
(1761) ; toured Italy with Gluck, and
made great succ. as violinist ; 1764-
69 conductor to the Bishop of Gross-
Wardein, Hungary. Prod, his first
opera, ** Amove in Musica** 1767;
followed by various oratorios, and
much orchestral and chamber«>rousic.
Later conductor to the Prince-Bishop
of Breslau ; built a small theatre and
prod, several pieces. 1770 the Pope
bestowed on him the Order of the
Golden Spur ; 1773 the Emperor en-
nobled him as "von Dittersdorf."
Prod. 28 operas ; *' Doctor und Apt
thekrr" (Vienna, 1786), still pop. ,
several oratorios and cantatas, la
symphonies on Ovid's ^^ Metamor^
phoses'' (Vienna, 1785) (noteworthy
as early attempts at programme-mu-
sic) ; 41 other symphonies ; a ** Con*
certo grosso" for 11 concerted instrs.
414
THE MUSICAL GUIDE
with orch.; 12 vin. -concertos, etc.
Autobiography (Leipzig, 1801).
DsTitis (de'-vl-tes), Antonius (rightly
Antoine Le Riche), French contra-
puntist and singer, i6th century.
Dui(de.ze), Fran. J., Namur, France,
Jan. 14, 1780— Paris, Nov., 1847;
composer and harpist.
Dlabacz (diii'*bach). GottC J., B«h-
misch-Brod, Bohemia, 1758— Prague,
1890 ; Dub. a biog. diet., etc.
Djemil, Bey (j£m'.ei ba), b. Constan.
tinople ca, 1858 ; courU'cellist to the
Sultan.
Pobmynski (dS-brtt-tsen'-shkY), Igna-
cy F£li3C, Romanoff, Volhynia, Feb.
85, 1807— Oct. 9, 1867 ; pupil of
Eisner ; pianist and dram, composer.
Poebber (ddp'-b^r), Js., b. Berlin,
March 28, 1866 ; pupil of Radecke,
Bussler and Agghazy, Stem Cons.;
taught the ist pf. -class in Kullak's
Cons. ; then conductor at KroU's
Tb.; at Darmstadt ct.-Th.; since 1895
oond. at the ct.-Th. in Coburg-Gotha,
and tutor to Princess Beatrice; c.
succ. operas, ^^ Die Sirassensiinge-
rj«"(Gotha, 1890); '' Der Schmied
von Gretna'Green" (Berlin, 1893);
burlesque-opera " Dolcetia " (Bran-
denburg, 1894) ; *' Die Rose von Getu
9an4f'* (Gotha. 1895) ; '' Die Grille'*
(Leipzig, 1897), etc.
Ddbler &a'-16r), Th„ Naples, 1814—
Florence, 1856 ; pianist and dram,
composer.
Dohaaoyi (dd-nlin'-ye), Ernst Ton, b.
Pressburg, Hungary, July 27, 1877 ;
aotable pianist and promising com-
poser ; first lessons from his father,
an amateur 'cellist ; later studied with
Foerstner, Kessler, Thoraan, and
Eugen D* Albert ; d<^but, Vienna ;
1898, won prize there with his pf.-
concerto. 1900 and 1901 toured in
America with great succ. ; began com-
posing early and was favorably no-
ticed by Brahms ; c. also symphony,
pf.-quintet, pf.-pcs., etc.
Dolea (do-l«s). J. Fr., Steinbach,
Saxe- Meiningen, 171 5 — Leipzig, 1 797;
<tir^tor and composer.
Domioiceti (d6-me-n£-cha'-te}, €•-
sare, Desenzano, Lago di Garda.
1821 — Sesto di Monza, 1888; prof,
of comp. at Milan Cons., and dram,
composer.
Dom'mer, Arrey ▼on, b. Danzig, Feb.
o, 1828 ; pnpil of Richter and Lcbc
{comp.), and Schallenburg (org. ) ;
1863 Hamburg as a lecturer, critic,
and (1873-79) sec. to the Town Li-
brary; 1892, Dr. phil. hon. causa
(Marburg Univ.); writer and com-
poser.
Dooati (do-nft'-te), (i) Ig^aaio, CasaU
maggriore, near Cremona, 16th cent.,
composer and conductor. (2) Bal«
dassaro, d. Venice, 1603 ; cond. and
comf>oser.
Done (don), Wm,, Worcester, 181 5 —
18^5 ; Engl, organist and conductor.
Doni (dd'-ne), (i) A. Fran.^ Florence,
i5i9-*-MonseIice, near Padua, 1574 ;
pub. a *'^ Dialogue on Afusie" (2)
GioT. Bat., 1593 — 1647 ; Florentine
nobleman of great learning and re<-
search in ancient music; iiv. the
Lyra Barberina or AmphichorJ.
Donisetti (do-ng-ts^t'-te), (i) Gaetft-
no, Bergamo, Nov. 25, 1797 — ^April 8,
1848 ; son of a weaver ; pupil of Sa-
lari (voice), Gonzales (pf. and ac-
comp.), and Mayr (h&rm.); Piloctl
and Padre Mattel (cpt.) ; his fath^^
opposing his making mns. a profes-
sion, he entered the army, was posted
at Venice, where he c. and prod, with
succ. " Enrico di Borgogna " (1819) ;
'* // Falegnamt di Livonia " (Venice,
1820), first given as ^^ Pietro il
Grande^* also succeeded ; ''*' Le Notze
in Villa'* (Mantua, 1820) faUed ;
^' Zoraide di Granata** (1822) sue-
ceeded and he left the army ; 1823 he
m. Virginie Vasselli (d. 1837) ; 1822-
29 he c 23 operas* none of them ol
great originality or importance. With
**Anna Bolena" (Milan, 1830), he
began a better period, incl. the
great successes " VEUsir d^Am^re "
(Milan, 1832), ** Lucrezia Borgia**
{Ija. Scala, Milan, 1833), *'^ LuHa di
Lammertnaor " ^apl^ 1835)* iSjg
DICTIONARY OF MUSICIANS 41?
At Paris he prod. " Marino Faliero,**
1837 dir. Naples Cons. The censor
forbade his ** Poliuto " (it was prod,
at Naples after his death, 1848), and
in wrath he left for Paris, where he
prod, with much succ. " La Filk du
R^imenC* (Op.-Com., 1840), ** Let
Martyrs *' (a new version of PoHuto)
(Op<fra. 1840)? and ''La Favorita**
(Op^ra, 1840). Returned to Italy,
and succ. prod. ** AdeUuia ** (Rome,
1841), and « MaHa Paditta " (Milan,
1841). At Vienna, 1842, c. and prod,
with great succ. " Linda di Chamott^
nix." The Emperor made him Court
Composer and Master of the Imperial
Chapel ; c. a Miserere and an Ave
Maria in strict style. **Don Fas^
ouale^ was prod, in Paris, 1843.
Violent headaches and mental depres-
sion now assailed him, but he contin-
ued to write and prod. " Caterino
Carnaro" (Naples, 1844), his last
work; he was found stricken with
paralysis, never recovered, and died
in 1848 at Bergamo. Besides 67
operas, all of them produced, he c. 6
masses, a requiem; cantatas; la
string-quartets ; pf.-pcs. and songs.
Biog. by Cicconetri (Rome, 1864).
^) Alfredo, b. Smjrma, Sept. 2,
1867 ; pupil of Ponchielli and Doml-
nicett, Milan Cons., graduating with
a noteworthy " Stabat Mater with
orch. ; lives at Milan as cond. and
teacher of cpt. ; c. i-act operas
"A^fliitf" (Milan, 1889), And •* Dopa
VAve Maria** (Milan, 1897), very
tT)cc., "Za Locandiera** {fx/oitidiy in
3 acts), a symphony, etc.
Dont (dont), (i) Jos. Val., Georgen-
thal, Bohemia, 1776— Vienna, 1833;
•cellist. (2) fakob, Vienna, 18 15—
1888; son of above; ^olinist and com-
poser.
Doagelli (ddn-|«r-le), Dom., Berga-
mo* i790--Bologna, 1873 ; tenor.
Door (d5r), Anton, b. Vienna, June
20, 1833 ; pupil of Czemy and Sech-
ter ; court pianist at Stockholm ; 1859
taacher at the Imp. Inst, Moscow;
IM4 prof, at the Cons. ; 1869 lat
prof. Vienna Con& , resigned 1901 ,
has edited classical and instructive
works.
Dopp'ler, (i) Albert Fr., Lemberg,
182 1 — Baden, near Vienna, 1883 ;
flutist, conductor, professor, and
dram, composer. (2) Karl, b. Lem-
berg, 1826 ; bro. of above ; flutist,
and conductor; c. operas, incl. ** Er^
ubeth *' in collab. with bis bro. and
E*^kel. (3) Arpad, b. .Pesth, June
5» 1857 ; son and pupil of (2) ; pupil
of Stuttgart Cons., later pf. -teacher ;
1880-83 New York ; returned to
Stuttgart Cons., also since 1889
chorusm. at the ct.-Th. ; c. opera
•• Viet L&rm urn Nichts'* (Leipzig,
1896) ; suite, Festouvertare^ etc.
DOrffel (d£rr.f«I), Alfred, b. Walden-
burg. Saxony, Jan. 24, 182 1 ; pupil
at Leipzig of Fmk, Muller, Mendels-
sohn, etc. ; mus.-libr. Leipzig City
Library ; critic and editor ; 1885 Dr.
phil. h. c, Leipzig U.
Do'ria, Clara, (i) v. mrs. c. k.
ROGERS. (2) V. KLOUS, A.
Dttring: (d&'-rYng), (i) G., Pomeren-
dorf, near Elbtng, 1801 — 1869 ; f*an-
tor ; pub. choral books and historical
essavs. (2) Karl, b. Dresden, July
4, 1834 ; pupil Leipzig Cons. ; 1^58,
Dresden Cons. ; 1875, prof. ; c. suites
for strin?-orch.. Grand Mass, etc.
Dom, (i) H. (L. Edm.), KOnigsberg,
Nov. 14, 1804 — Berlin, Jan. 10, 1892;
pupil of Berger, Zelter, and Klein,
Berlin ; ct.-cond. at Kt^nigsberg ;
cond. Cologne ; founded the " Rhein-
ische Musikschule,'* which, 1850, be-
came the Cologne Cons.; cond. Royal
Opera, Berlin ; teacher and critic ;
notable composer of 13 operas, sym->
phonies, etc. (2) Julius Paul, b.
Riga, June 8, 1833 ! ^oi^ *i)d P^F^^ ^'
above ; pianist ; teacher in Poland «
Cairo, and Alexandria ; 1865-68
cond. the Crefeld " Liedertafel" ;
since pf. -teacher at the R. Hoch-
schiile. Beriin, with title '* Royal
Prof." ; c. over 400 works, incl. 3
masses with orch. (3) Otto, b. Co>
iogne, Sept. 7, 1848 ; so* <9nd pof^
4i6
THE MUSICAL GUIDE
of (i) ; studied at Stem Cons., took
the Meyerbeer scholarship (ist prize),
1873 ; lives in Wiesbaden ; c. succ,
opera *^ Afraja" (Gotha, 1891);
symphony, ^*' Prometheus** ; over-
tures, Hermanns sch lac hit** and
''Sappho" etc. (4) Edward,
Pen-name x)f J. L. Rockel.
Dorner (d^r'-nSr), Armin W., b.
Marietta, Ohio, June 22, 1852;
studied in Berlin, Stuttgart and Paris ;
pf.-prof. Cincinnati Coll. of Music ;
pub. ** Technical Exercises,**
Dornheckter (dorn'-h^k-t^r), Robert,
Franzburg, Pomerania, 1839— StraU
sund, 1890 ; conductor, organist and
composer.
Dorus - Gras (d6 - rU - grSs), Julie
Aiin6e Jos^phe (rightly) Van
Steenkiste (Dorus, stage-name) ;
Valenciennes, 1805 — Paris, 1896 ;
operatic soprano ; created important
roles.
Doss (d6s), Adolf von, Pfarrkirchen,
Lower Bavaria, 1825 — Rome, 1886 ;
Jesuit priest and dram. comix>ser.
Datssch (detsh), Aug., 1858— Wies-
baden, 1882 ; *cellist.
Dotzauer (d6t'-tsow-£r), (i) Justus J.
Fr., Hasselrieth, near IIildburghau«
sen, 1783 — Dresden, i860 ; 'cellist,
and dram, composer. (2) Justus B.
Fr., Leipzig, 1808 — Hamburg, 1874;
son of above ; teacher. (3) K. L.
(" Louis "), b. Dresden, Dec. 7,
1811 ; son and pupil of (i); 'cel-
list.
Douay (doo-£'), Georg^es, Paris, Jan.
7, 1840 ; pupil of Duprato ; amateur
composer of operettas, etc.
Dourlen (door-l&A), Victor Chas.
Paul, Dunkirk, 1780 — Batig^olles,
near Paris, 1864 ; prof, and dram,
composer.
Dcw'land, (i) John, Westminster,
London, 1562 — London, April, 1626 ;
lutenist and composer to Christian
IV. of Denmark. (2) Robert, 1641 ;
son of above ; lutenist and editor.
Draeseke (dra'-z^-k£), Felix Aug.
Bhd., b. Coburg, Oct. 7, 1835 ; im-
|iortant composer; pupil of Rietz,
Leipzig Cons., and of Lisat at Wei«
mar; 1864-74 Lausanne Cons., ex-
cept 1868-69, in the K. M. S. at Mu-
nich ; 1875 Geneva, then Dresden as
teacher ; 1884 prof, of comp. at the
Cons.; c. 4 operas; ''Sigurd^**
" Gudrun" (Hanover, 1884), " if^r-
irand de Born " (book and music),
and the succ. '^ Her rat** (Dresden.
1892) ; 3 symphonies (op. 40*' Trag-
ica** in C) ; Grand Mass with orch. ;
** Akademische FestouztertUre *'y sym-
phonic preludes to Calderon*s ''Life
a Dream:* Kleist's " Pent hesi lea*'
(both MS.), etc.; wrote treatises and
a '* Harmony ** in verse.
Dragfhi (dra'-ge), (i) Antonio, Ferrara,
1635 — Vienna, 1700 ; c. 87 operas,
87 festival pkiys, etc. (2) Gio. Bat.,
1667 — 1706, harpsioji^rdist, organist
and composer, London.
Drag^onnet'ti, Dom., Venice, April
7» 1763 — London, April 16, 1846 ;
called * ' the Paganini of the contra-
basso ** ; composed, played and
taught.
Drath (drat), Th., b. Winzig, Silesia,
June 13, 1828 ; pupil of Marx ; can-
tor at Bunzlau Seminary : Royal
'* Musikdirector " ; composer and the*
orist.
Draud (drowt) (Drau'dius), Georg^^
Davernheim, Hesse, 1573 — Butzbach,
1635 ; pub. ** Bibliotheca Classical
and other musical works of great in*
forma tional value.
Drechsler (drdkhs'-l^r). (1) Jos., Wall-
isch-Birken (Vlachovo Brezi), Bohe-
mia, 1782 — Vienna, 1852 ; organist,
conductor and dram, composer. (2)
Karl, Kamenz, 1800 — Dresden.
1873 ; *cellist teacher.
Dregert (dra'-g5rt), Alfred, Frank-
fort-on-Oder, i836^Elberfeld, 1893,
conductor, dir. and composer.
Dresel (dra-z^l). Otto, Andernach,
1826— Beverly, Mass., 1890; com-
poser.
Dress'ler, (i) Louis Raphael, b. New
York, 1861 ; son and pupil of (2)
Wm. (a conductor at N. V.) ; U
there as pianist and composer.
DICTIONARY OF MUSICIANS 417
Dresser (dr^sh'*^r), Anastasius W.,
b. Kaiisch, Poland, April 28» 1845 ; a
brilliant pianist at 12 ; studied with
Doring, Krebs, and Frtth, Dresden
Cons.; lived in Leipzig ; 1868, Halle ;
founded a music>school of which he is
ftiU dir. ; c. 2 symphonies, opera
*• Valmoda'* etc.
Dreyschock (dri'.sh6k), (i) Alex.^
Zack, Bohemia, Oct. 15, 1818 — Ven-
ice, April I, 1869 ; one of the most
dextrous of pf.-virtuosi ; c. an opera,
etc. (2) Raimund, Zack, 1824 —
Leipzig, 1869, br. of above ; leader.
His wife (3) Elisabeth (nee Nose),
Cologne, 1832, a contralto. (4) FeliXi
Leipzig, Dec* 27, i860; son of (i) ;
pianist ; student under Grabau, Ehr-
lich, Taubert, and Kiel at the Ber-
lin Royal Hochschule ; prof. Stern
Cons., Berlin ; c. a vln.'-sonata (op.
t6), etc.
Orieberg (drS'-WJrkh), Fr. J. von,
Charlottenburg, 1760— 1856; writer
on Greek music ; dram, composer.
Drobisch (dro'-blsh), (i) Moritz W.,
b. Leipzig, Aug. 16, 1802; from 1842
prof, of phil., Leipzig Univ. ; pub.
important treatises on the mathemat-
ical determination of relative pitches.
(2) Karl L., Leipzig, 1803 — Augs-
burg, 1854 ; bro. of above ; c. 3 ora-
torios.
Drobs (dr(^ps), J. And., near Erfurt,
1784 — Leipzig, 1825 ; organist.
Drouet (droo-&), L. Fran^. Ph., Am-
sterdam, 1792— Bern, Sept. 30, 1873;
flutist and composer.
Dubois <du-bwil) (i) (CUment Fran.)
Th., b. Kosnay, Mame, Aug. 24,
1837 ; studied at Kheims, then under
MarmonteU Benoist, 3azin, and
Thomas (fugue and cpt.) at Paris
Cons. ; took Grand prix de Rome
with the cantata ^* Atala''; also first
prizes in all departments ; sent from
Rome a Solemn Mass (perf. at the
Madeleine in 1870), a dram, work,
" La Prova d'un Opera Seria,'' and
% overtures; returned to Paris as a
teacher ; cond. at Saint-Clotilde ;
since organist at the Madeleine \
187 1 prof, of harm, at the Cons. ;
1891 prof, of comp. ; 1894, elected to
Acad. ; 1896, dir. of the Cons., and
ofEcier of the Legion of Honour ; c.
4 operas ; oratorios : '* I^s Septs Pa'
roles du Christ (1867), •' I.e Para-
dis Perdu'' (1878) (city of Paris
prize), and ** N dire Dame de la Mer*'
(1897) ; cantatas ; masses, etc. ; 3
overtures, incl. *^ Pritliioff,'* (2)
L6on,b. Brussels, Jan. 9, 18^9 ; pupil
of the Cons., took Grand prix de
Rome. Since 1890 second cond.,
Th. de la Monnaie, Brussels ; c. 3
operas, ballet, symphonic poem,
"W/fl//i,"etc.
Duburg', Matthew, London, 1703 —
1767 ; violinist and conductor.
Ducange. Vide cance, w.
Duels (da-sc), Benoit (Benedictus
Duels), b. Bruges, 1480; important
composer; not to be confused with
Benedictus of Appenzell.
Dufay (dU-f€'), Guill., ca. 1400— Cam-
brai, Nov. 27, 1474 ; a canon ; said
to have inv. white (open) notes.
Dug;a2on (dn-gl(-z6n), Louise-Rosa-
lie (nee LeTfcvre), Berlin, 1753 —
Paris, 182 1 ; untrained singer in light
opera, so charming in both young
and old r61es as to give rise to the
descriptive terms *'Jeuncs Duga-
zon," and " M^tcs Dugazon."
Dug'fi^an, Jos. Francis, b. Dublin,
July 10, 18 17 ; opera -conductor and
teacher in various cities in America,
also Paris and London ; c. succ.
operas, '* Pierre " and ** L/onie,*'
and 3 not produced ; 2 symphonies,
etc.
Dui£fopnig^ar (rightly Tieffenbriick-
er) (dwef -fo-proog'-gar or tef'-fCn-
brnk-£r), (i) Caspar, Freising, Ba-
varia, 1514 — Lyons, 1572; long con-
sidered the first vln. -maker ; went to
Lyons in 1553, naturalised in 1559,
and made violas da gamba and lutes.
Other instr. -makers of the same sur-
name were (2) Wendclin, (3) Leon-
hard, (4) Leopold, (5) Ulrich, and
(6) Magnus. I'he latest made lutes
at Venice, 1607.
4i8 THE MUSICAL GUIDE
Dulcken (dool'-k^n), (i) Louise (nee
David), Hamburg, i8ij — I^ndon,
1850, a sister of Fd. David ; pianist.
(2) Fd. Quentin, London, June i,
1837 — Astoria, N. Y., 1902 ; son of
above ; pupil of Mendelssohn, Mo-
scheles, Gade, Hauptmann, Becker
and F. Hiller ; prof. Warsaw
Cons. ; toured in Europe ; lived for
years in New York ; c. an opera,
** IViesiav'' ; a n^ss, etc.
Dulon (doo'-lon), Fr. L,, Oranienburg,
near Potsdam, 1769 — Wllrzburg,
1826 ; a blind flutist and composer.
Dulong (doo'-ldngk), (i) Fz. Henri
▼on, b. Hamm, Westphalia, Feb. 26,
1 861 ; tenor, studied with Vannucini
in Florence ; toured as concert-singer.
(2) Mag^da Ton (nee John), b. Halle,
Feb. 29, 1872 ; wife of above ; con-
cert-alto; studied with Hromada,
Frau Joachim, and Gerster ; first
sang as Mag^da Lossen.
Dun, Finlay, Aberdeen, 1795— 1853 ;
viola-player, singing-teacher, editor
and composer.
Dun'ham, H. Morton, b. Brockton,
Mass., July 27, 1853 : pupil N. E.
Cons., and Boston Univ. Coll. of
Mus. ; has taught in both places
since; pub. ^* Organ School**; 2 or-
gan-sonatas, etc.
Duni (doo'-ne), Eg^dio Rpmualdo,
Matera, near Otranto, Feb. 9, 1709
— Paris, June 11, 1775 ; pupil of Du-
rante ; his first opera, ** Nerone**
prod. Rome, 1735, with great succ,
triumphing over Pergolesi's last ope-
ra ** OHmpiado^* which the generous
Duni said was too good for the pub-
lic, declaring himself ** frenetico
contre il pubblico Romano " ; he c.
French op>erettas with such succ. that
he settled in Paris, where he is con-
sidered the founder of French opera-
bouffe ; c. 13 Italian operas and 20
French.
Dunk'ley, Fd. (Louis), b. London,
England, July 16, 1869 ; pupil of G.
A. lliggs, Bainbridge, J. Higgs(cpt.),
and E. H. Turpin (comp.); and at
R. A. M. (Scholarship), under Parry,
Bridge, Martin, Gladstone, Sharpe
and Uarnet ; 1893, dir. at St. Agnes*
School, Albany, N. Y. ; also oi^an*
ist since 1897 at Trinity M. E. Ch. ;
pub. ** The Wreck of the Hesperus,'*
ballade for soli, chor., and orch.,
etc. ; 1889 took prize of 50 guineas
with orch. suite.
Dunoyer (dan-wfl-ya'). Vide gauc-
QUIKR.
Dun'stable (Dunstaple), John, Dun-
stable, Bedfordshire, England, 1400
(?) — Walbrook, Dec. 24, 1453 ; called
by Tinctor one of the *' fathers" of
counterpoint.
Dupont (da-p66), (i) Pierre, Roche-
taillee, near Lyons, April 23, i82i~->
Saint-^tienne, July 25, 1870 ; c. the
words and tunes of popular and
political songs which Reyer wrote
out ; provoked such riots that Napo-
leon banished him, 185 1. (2) Jo-
seph (aine), Li^e, 182 1 — 1861 ; vk>-
linist ; prof, and dram, composer
(3) J. rran., Rotterdam, 1822-
NOmberg, 1875 ; violinist and dram.
composer. (4) Aug^., Ensival, near
Li^e, 1828 — Brussels, 1890; com-
poser. (5) Alex., Li^e, 1833 — 1888 ;
bro. of above; pub. a *^ Jf^erioire
dramatique Beige.'* (6) fos. (le
jeune), b. Ensival, near Lijge, Jan.
3, 1838 ; bro. of (3), pupil at Li^e
and Brussels Cons., took Grand prix
de Rome at Brussels ; 1867 oond. at
Warsaw; 1871, in Moscow; 1872,
prof, of harm., Brussels Cons. ; cond.
Th. de la Monnate, the Society of
Musicians, and the Popular Concerts.
(7) Jos. D., d. The Hague, June 26,
1867 ; bro. of above ; dir. German
Op. at Amsterdam.
Duport (dQ-p6r), (i) J. P., Paris, 1741
—Berlin, 1818 ; 'cellist. (2) I. L.,
Paris, 1749 — 1819; more Umous
bro. of above ; also 'cellist ; composer
and writer.
Duprato (da-prfi'-t5), Jules Laurent.
Nimes, 1827 — Paris, 1892 ; prof, of
harm, and dram, composer.
Duprez (dn-pra'), L.Gilbert, Paris
1806 — i8g6 ; tenor and composer.
DICTIONARY OF MUSICIANS 419
Dupiiis (du-pwe), (i) Jos^ (Joseph
Lambert), Li^e, 1833 — Nogent-
sur-Marne, 1900; opera-bouffe singer.
(2) Sylvain, Li^, Nov. 9, 1856 ;
pupil Li^eCons., 1881 Prix de Rome;
now teacher of cpt. and cond. of a
singing-society ; c. 3 operas, incl.
the succ. com. opera ** VidylU" 3
cantatas, symphonic poem, *^ Mac»
beth,'* etc.
Dupuy (dQ-pwe). Vide futeanus.
Durand (rightly Dtiranowski) (dft-
riift or doo-rftn-6r-shicY), (i) Ai^piste
Fr€d£ric» b. Warsaw, 1770 ; violin,
iflt and cond., son of a court-mus. (2)
smile, b. St. -Brieue, Cotes du Nord,
Feb. 16, 1830 ; while still a pupil at
the Paris Cons, he was appointed
teacher of an elementary singing-
class; 1871 prof, of harm; dram,
composer and writer. (3) Marie
Auguste, Paris, July 18, 1830; pu-
pil of Benoist, 1849-74 organist at
various churches ; 1870 est. mus.-pub.
business of ** Durand et Sch5ne-
werk," later ** Durand et Fils"; a
critic and composer.
Dnrante (doo-ran'-t«), Fran., Fratta
Maggiore, Naples, March 15. 1684 —
Naples, Aug. 13, 1755 ; director and
conductor, with salary of less than
$100 per annum ; he is an important
teacher and composer of the ** Nea-
'politan School " ; c. 13 masses, etc.
Dnrastanti (doo-ra-stan'.tc), Mar-
garita, ca. 1695 Italian prima don-
na, of wonderful popularity in I^n-
don.
D'Ur'fey, Thos., Exeter, ca. 1649—
Feb. 26, 1723; operatic composer
and editor.
Dttrrner (dYr'-n^r), Ruprecht Jns.
JiilittS, Ansbach, Bavaria, 18 10 — £d-
mburgh, 1859 ; composer, writer, ed-
itor.
Durutte (dQ-rUt), Fran. Camille
Ant., Ypres, East Flanders, 1803—
Paris, 1881 ; wrote a new but errone-
ous system of harm.; c. operas, etc.
Du(8)8ek (DuSek, Duschek) (doos'-
s£k or better doo'-sh«k), (i) Fz.,Chot-
iborz, Bohemia, 1736 — Prague, 1799 \
composer, pianist and teacher. (2}
Josephine, b. Prague, 1756 ; pianist,
composer, singer. (3) J. Ladislaus,
Caslav (Tschaslau), Bohemia, Feb.
9, 1 76 1 — Saint - Germain - en • Laye,
March 20, .1812; a boy-soprano at
Iglau, pupil of Father Spenar at the
Jesuit College ; organist Jesuit
Church, Kuttenburg, for 2 years;
studied theology at Prague Univ.,
also music ; became organist of Saint-
Rimbaut*s, Mechlin ; lived Bergen-
op-Zoom ; Amsterdam ; The Hague,
1^83 ; studied with C. P. E. Bach,
Hamburg ; became famous pianist
and performer on HessePs " Hai^
monica,'* Berlin and St. Petersburg;
lived in Lithuania a year at Prince
Radziwill's Court ; lived ItaUr,
Paris, London ; 1792 m. (4) Sofia
Corri (b. Edinburgh, 1775; a singer,
harpist and composer). He entered
a mus.-business with his father-in-
law, 1800, failed and fled to Ham-
burg to escape creditors. He was in
the service of various Princes, and
(1808) of Prince Talleyrand in Paris.
A pioneer among Bohemian and Po-
lish virtuosi and composers he dis-
puted with Clementi the invention of
the " singing-touch.** Prod. 2 English
operas in London with success, and
pub. a Mass (comp. at the age of 13),
oratorios and church - music ; pub.
nearly 100 works for pf., incl. 12 con-
certos, 80 sonatas with vln. ; 53 so-
natas for pf.-solo, etc. ; pub. a
''Methodr
Dustmann (doost'-miln), Marie Luise
(n^e Meyer), Aix-la-Chapelle, 183 1
— 1899; soprano.
Dutch (dlUsh), b. Denmark— d. Frank-
furt-on-Main, 1863 ; prominent Rus-
sian composer.
Duval (da.v&l), Edmond, b. Enghien,
Hainault, Aug. 22, 1809 ; pupil Paris
Cons., 1828-32, when he was dis-
missed for irregular attendance ; at
Mechlin became interested in Jans-
sen's studies of Gregorian music;
was commissioned by the Bishop to
revise the church-ritual, and visited
420
THE MUSICAL GUIDE
Rome; he pub. "revised version,"
etc., of ecclesiastical song, which Fc-
tis declares altogether wrong.
Duvernoy (or Duvernois) (dO-vem-
wa), (i) Fr., Montbeliard, 1765 —
Paris, 1838 ; prof, at the Cens.; com-
poser. (2) Charles, Montbeliard,
1766 — Paris, 1845 ; bro. of above ;
clarinettist ; prof, and composer. (3)
Chas. Fran., Paris, 1796 — 1872 ;
singer. (4) H. L. Chas., b. Paris,
Nov. 16, 1820 ; son of (3) ; pupil
of Halevy and Zimmermann, Paris
Cons.; 1839, assist. -prof.; 1848, prof,
there of solfeggio; composer. (5)
Victor Alphonse, Paris, Aug. 31,
1842 ; pupil of Bazin and Marmontel
Paris Cons. ; took first pf . prize ; now
teacher of piano at the Cons. ; a
Chev. of the Legfion of Honour, and
ofiicier of public instruction ; 1892
prod, the succ. opera ** SardanapaU^*
(Lyons), also opera **' IfeiU" (Gr.
Opera, 1896) ; hissymph. poem, **Z<i
Tempiie*''^OTi the City of Paris prize.
(6) J. Bapt., composer and pf.<-
teacher, Paris, 1825.
Duysen (doi'-s£n), Jes Lewe, b. Flens-
burg, Aug. I, 1820; i860 founded a
pf . factory at Berlin.
Dvo?&k(dvAr'-sh£lk),Antoiiin,b.MQhl.
hausen, Bohemia, Sept. 8, 1841 ;
chief oif Bohemian composers ; son of
an inn-keeper, who wished him to be
a butcher, but he learned the vln.
from the schoolmaster, and at 16 en-
tered the Prague Org.-Sch. under
Pitzsch, eaniing a livelihood as vio-
linist in a small orchestra ; graduated
in 1862, became via. -player at the
Nat. Theatre. He was 33 before an
important comp. was prod., a hymn for
male chorus and orch., which attract-
ed such attention that 1875 he re-
ceived a government stipend and de-
voted himself to composition. 1891
Mus. Doc. Cambridge Univ.; 1892-
95 dir. Nat. Cons., New York ; since
has lived at Prague ; 1901, director
of the Prague Cons ; 1902, prod, opera
•* Armida:' Pilscn Nat. Th. He is a
strong believer in nationalism in mu-
sic, and provoked much controversy by
advising American composers to fouad
their school on the harmonic and mel-
odic elements of plantation-music.
In his 5th symphony, op. 95, ** From
the New IVorld" he made some use
of such a manner. His other comp.
are : Bohemian operas ** TAe ICing
and the Charcaat-Burtter ** {Pmguc,
1874); ''IVanda'' {1876); '' Selma
Sedldk'' (1878); *' Turde PaUce'*
(1881); ** Dimitrije'' {1882); ''The
Jacobins*' (1889) ; *' Rusalka, the
IVater Nixie'* (Nat. Th. Prague,
190T); oratorio ** 5/. Ludmiia"
(Leeds Mus. Fest., 1886); Requietn
MasSy op. 89, with orch. (Birming-
ham Fest., 1 891); cantatas ^^ The
Spectre's Bride** op. 69, with orch.
(Birmingham Fest,, 1885), and *' The
American Flag** (N. Y.. 1895) ;
Hymn of the Bohemian Peasants^
for mixed ch. ; hymn for mixed ch.
and orch.; '' Stabat Mater ^ with
orch. (London, 1883) ; Psalm 149
with orch. ; 5 symphonies ; 3 or-
chestral ballades, ** Der IVasser^
mann** ** Die Afittagshexe** and
** Das golden£ Spinnrad" ; 2 sets of
symphonic variations for orch. ; over-
tures,'^il/rtif Heim;' '' Husitska;*
''In der Natur,** ''Othello** " Car-
nevaV* ; concertos for *celIo, pf., vln.;
*' Slavische l^dnze** and ** Slavische
Rhapsodien **; scherzo cappriccioso
for orch. ; string-sextet ; 2 string*
quintets ; pf. -quintet ; 6 string-quar-
tets ; 2 pf. -quartets ; a string-trio ; 2
pf. -trios ; mazurek for vln« with
orch. ; serenade for wind with 'cello
and double-bass ; nottumo for
string-orch. ; pf. music, '^Legenden"
•* Dumka •• (Elegy). *' Furiante **
(Boh. natl. dances) ; '* Kldnge aus
Afahren" and ** Silhouetten " for pf.
4-hands ; violin-sonata, op. 57 ;
songs, etc.
Dwigfht, J. SulliTan, Boston, Mass.,
18 13 — 1893 ; editor and critic ; one
of the founders of the Harvard Musi-
cal Association ; was a member of
the Brook Farm d^mmunity ; i8s^
DICTIONARY OF MUSICIANS 421
81, edited '' Dwighfs Journal of
Music"
Dykes (Rev.), J. Bacchus, Kingston-
upon-HulI, Kng,, 1823 — St. Leon-
ard's, 1876 ; conductor.
Dyne, John, suicide, Oct. 30, 1788;
English alto singer and composer.
E
Baj^r, John, b. Norwich, 1783 ; violin-
ist and teacher.
Eames (imz), Emma, b. (of American
parents) at Shanghai, Aug. 13, 1867 ;
at 5 went with her mother, her first
teacher, to Bath, Maine; pupil of
Miss Munger at Boston ; 1886-88 at
Paris, of Madame Marchesi (voice),
and Pluque (acting, etc.) ; 1888, en-
gaged at th^^ Op. -Com. , but made de-
but with succ. at the Or. Opera,
March 13, 1889, as Juliette in Gou-
nod's •* Rom/o et Juliette" a role pre-
viously sacred to Patti ; sang at the
Opera for a years, creating "Co-
lorabe" in St.-Saens' ** Asmnia" and
as "Zaire" in De La Nux's opera;
189T, Covent Garden in *' Faust ;" m.
the painter Julian Story the same year,
and in Oct. appeared in New York ;
since then she has sung regularly in
N. Y. and London, except 1892-93,
at Madrid, and 1895-96, during ill-
health ; her ** Sieglinde " is perhaps
her best rftle.
East'cott, Richard, Exeter, 1740 —
Livery Dale, Devonshire, 1828 ; writ-
er and composer.
Eb'den, Thos., Durham, 1738— 181 1;
organist and composer.
Ebelingr (a'-b«-l!ng), (i) J. G., Lttne-
burg, ca. 1620 — Stettin, 1676 ; prof,
and composer. (2) Chp. Daniel,
Garmissen, near Hildeshcim, 1741
— Hamburg, 181 7 ; prof, and writer.
Ebell (a'-bei), H. K., Neuruppin,
1775 — Oppeln, 1824 ; conductor and
dram, composer.
Eberhard (i) von Freisinren (a -b^r-
hSrt fon fri'-ztng-^n), Eberhar'dus
Friseng^en'sis, Benedictine monk,
xith cent. ; wrote on the scale of
pipes, and bell-founding. (2) J.
Aug., Ilalberstadt, 1739 — llAlle,
1809 ; professor.
Eberl (a -b^rl), Anton, Vienna, June
13, i766^March 11, 1807; famous
pianist, conductor and dram, com-
poser.
Eberlin (a .b«r-len), (i) Daniel, Num.
berg, ca. 1630 — Cassel, 1691 ; con-
trapuntist and violinist ; famous as a
composer in his day. (2) (or Eber*
le) J. Erast, Jettenbacht, Swabia,
1702 — Salzburg, 1762 ; conductor'and
composer.
Ebers (a -b^rs), K. Fr., Cassel. 1770
— Berlin, 1836 ; conductor and dram,
composer.
Eberwein (a -b^r-vln), (i) Traugott
Maximilian, Weimar, 1775 — Kudol-
stadt, 1831 ; dram, composer. (2)
Karl, Weirfiar, 1786— 1868, bro. of
above ; dram, composer.
Eccard (dk'-k&rt), J., Mtthlhaiisen,
Thuringia, 1553 — Berlin, 161 1 ; im-
portant composer of church-music.
Eccles («k'-k£ls), (i) John, London (?),
1668 — Kingston, Surrey, 1735 ; son
and pupil of the violinist, (2) Solo-
mon E. C. His brother (3) Henry,
was violinist and composer. (4)
Solomon Thomas, bro. of above,
also violinist.
Eck (€k), (i) J. Fr., Mannheim, 1766—
Bamberg (?), 1809 (1810?); violinist
and composer. (2) Fz., Mannheim,
1774 — insane, Strassburg, 1804 ; bro.
and pupil of above ; violinist.
Eckelt (€k'-«lt), J. Val., Wemings-
hausen, near Erfurt, 1680 — Sonders-
hausen, 1734 ; writer.
Ecker («k'-#r), (i) K., Freiburg, Bad-
en, 18 13 — 1879; composer. (2)
Wenzel, pen-name of w. Gericke.
Eckert (^k-^rt), K. Ant. Florian,
Potsdam, 1820— Berlin, 1879; at 10
c. an opera, at 13 an oratorio ; doaft-
conductor and dram, composer.
Ed'dy, Clarence H., b. Greenfield,
Mass., June 23, 185 1 ; pupil of J; G..
Wilson and Dudley Buck ; 1871 of-
Haupt and L5schhorn (pf.) ; toured
in Germany, Austria, SwitxerlaDd,
422 THE MUSICAL GUIDE
and Holland ; 1874, organist, Chica-
fo; 1876, dir. Hershey School of
f usical Art ; later m. its founder
Mrs. S. B. H. ; toured America and
Enrope, 1879 Z^^^ ^^^ recitals at
Chicago without repeating a number;
for some years cond. Chicago Philh.
Vocal Soc. ; c. organ and church
music, etc.; pub. '* 7'^/ Church and
Concert Organist,'^ ** The Organ in
Church " (1887), and transl. Haupt*s
" Cpt. and Fugue " (1876).
Ed'son, Lewis, Bridge water, Mass.,
1748— Woodstock, N. Y., 1820 ; pub.
a coll. of hymns, etc.
Ed'wardt, Ittlian, b. Manchester,
England, 1855 ; pupil Sir H. Oakley,
Edinburg, then of Macfarren, Lon-
don ; 1875, pianist to Carl Rosa Opera
Co.; 1877, cond. Royal Eng. Opera
Co. and prod. ** Victorian Covent
Garden. 1880, prod. '* Corinne" at
St Tames*s Hall, London ; cond.
Engl. Opera at Covent Garden, and
prod. 2 operas, ** Corinne " and
''Victorian'^ at Sheffield, 1883;
came to the U. S., 1889, and prod,
with success various comic operas,
incl. •* Madeleine or the Magic Kiss *'
(Boston, 1894), and " Brian Boru "
(N. Y.. 1896); ''The Wedding
Day:' " The Jolly Musketeer:*
''Princess Chie" (iSgg), ''Dolly Var^
den'* (N. Y., 1902), and "When
Johnny Comes Marching Home*';
prod, also romantic opera "King
J^/ne^s Daughter"; c. gr. opera "Elfi^
nella" (MS.), symphonies, overtures,
etc.
Eeden (a'-d£n), Jean Baptiste ▼an
den, b. Ghent, Dec. 26, 1842 ; pupil of
Ghent and Brussels Cons. ; ist prize
for comp. (1869) with the canta-
U "Faust's Laaste Nacht" ; 1878
dir. of Cons, at Mons.; c. opera, *'A^«-
mance" (Antwerp, 1897), 4 orato-
rios and the trilogy "Judith:' 2 can-
tatas with orch.,a symph. poem, "La
Lutteau XVI. Si^cle:' etc.
E'g^an, Eug^ene, Irishman, less than
four feet tall ; 1740 built organ in
Lisbon CatbedraL
Erenolff (or Eg^enolph) (a'-g£n-61f),
Chr., ca. 1485 ; a slovenly and pirat-
ical German mus.-printer.
EMelin^ (Hg' -g^Axng), (Eduard.
Brunswick, 18 13 — Harzbui^, 1885 ;
pf.-teacher, writer and composer.
Egehard (£g -hUrt), Julius (pen-name
of Count Hardegen), Vienna, 1834 —
1867 ; composer.
Eg:li (&I'.ye or &'.gle), Johann Hein-
lich, Seegraben, canton Zurich, 174a
— 18 10 ; c. ** Oden" etc.
Ehlert (a'-lSrt), Louis, Kdnigsberg,
1825 — Wiesbaden, 1884 ; teacher and
critic ; conductor and composer.
Ehmant (a-mant), Anselm, 1832 —
Paris, 1895 ; conductor, teacher and
writer.
Ehnn-Sand (an'-zant). Bertha, b.
Pesth, 1848 ('45 ?) ; dramatic soprano,
pupil of Frau Andriessen.
Ehrfich (ar'-lTkh), (i) Chr. Fr., Mag-
deburg, 1 8 10 — 1887 ; conductor, sing-
ing-teacher, and dram, composer. (2)
Alfred H., b. Vienna, Oct. 5, 1822 ;
pupil of Henselt, Bocklet, Thalberg
(pf.), and Sechter (comp.) ; court-
pianist to King George V.; 1864-73
pf. -teacher Stem Cons., and 1866-98
critic in Berlin ; composer and editor.
EibenschUts (I'-bSn-shttts), (i) Albert,
b. Berlin, April 15, 1857 ; pianist ; pu-
pil of Reinecke and Paul, Leipzig
Cons., won the Diploma of Honour.
1876-80, prof, in CharkoiT (Russia) ;
1880-84 at Leipzig Cons., then Co-
logne Cons.; 1893, dir. Cologne Lie-
derkranz ; 1896, ist pf.-prof. Stem
Cons., Berlin ; c. pf. -sonatas, etc.
(2) Ilona, Pesth, May 18, 1872 :
cousin of above ; pianist ; at 5 she
played in a concert with Liszt : 187S-
85; pupil of Hans Schmitt ; 1885-89,
studied with Frau Schumann ; lives
in Vienna and makes tours thence.
Eichberg (Ikh'-berkh or ich'-bfirg), (i)
Julius, b. DUsseldorf, June 13, 1824 —
Boston, Mass., Jan. 18, 1S93 ; violin-
ist and notable teacher ; c. 4 operet-
tas, etc. (2) Oskar, Berlin, 1845—
1898 ; singing-teacher, conductor
critic, editor, and composer.
DICTIONARY OF MUSICIANS 423
Eachborn (Ikh'-born), H. L., b. Bres-
lau, Oct. 30, 1847 ; studied pf., flute,
trumpet, horn, etc., at an early age ;
at 14 pupil of the trumpeter Ad.
Scholz ; studied theory with Dr. E.
Bohn ; became a Waldhom virtuoso;
1882 inv. the Oktav (or soprano)
Waldhom ; wrote musical essays,
etc. ; cond. at Cries, near Bozen ;
editor, writer and composer.
Eichhorn (ikh'-hdm), <i) J. P&nl E.,
1787 — i8a3 ; court-musician, Coburg;
bis sons (2), J. G. Ernst* 1822-44,
»nd (3) J. K. Ed., 1823-97. per-
formed on the vln. respectively at 6
and 7.
Eilers (I'-lSrs), Albert, 1831— Darm-
stadt, 1896 ; basso cantante.
Eisfeld (is'-f^lt), Th., Wolfenbattel,
April II, 181 6 — Wiesbaden, Sept.
16 (?), 1882 ; important figure in New
York music ; 1848-66 previously con-
ductor at Wiesbaden ; then of *' Con-
certs Viviennes,** Paris.
Eissler (Is'.l«r), (i) Marianne, b.
Brtlnn, Nov. 18, 1865 ; violinist, pu-
pil of Hessler ; her sister, (2) Emma,
is a pianist.
Eitner (it'-n£r), Rob., b. Breslau, Oct.
22, 1832 ; pupil of Brosig ; 1853,
teacher at Berlin ; est. a pf.-sch.,
1863 ; important for work in musical
literature, and research in i6th and
17th centuries, Dutch music, etc. ; c.
•* Biblical opera," ''Judith"; over-
ture to •* Der Cid*' ; etc.
Elandi (a-Un'-de), Rita, b. Cincinnati,
O. ; soprano ; pupil of Marches!,
Paris ; sang in Italy, Spain, and Ger-
many; created *'Santuzza*' in **/
Fagliacci " in Enp^Iish with Carl Rosa
Opera Co.; 1900, m N. Y. with Amer-
ican Opera Co.
El'dering^, Bram, b. Groningen,
Holland, July 8, 1865; violinist;
studied with Poortmann, Hubay, and
Joachim ; Konzertmeister Berlin
Philh. ; then do. in Meiningen ct.-
chapel.
Elers (a -l£rs) (called El'ems), Fz.,
Uelzen, ca. I5cx>— 1590, Hamburg ;
teacher, director, and composer.
Elewyck (van a -la-vek), Xavier Vic-
tor (Chevalier) van, Ixelles les Brux.
elles, Belgium, 1825 — in an insane
asylum, Zickemont, 1888 ; writer.
Ergar, Edw. Wm., b. Broadheath,
Worcester, Engl., June 2, 1857; im-
portant English composer, violinist,
and organist ; cond. Worcester In«
strumental Soc., 1882-89; 1885-89,
organist at St. George's ; 1891, lived
in Malvern ; c oratorio, ** 7'ie Light
of Life " (1896) ; ** The Dream of
Gerontius" (1900); 2 ca-ntatas; a
choral suite ; concert - overtures,
•*/>-<w>jtfr/,"and ^'Cockaigne'' (iQDl);
6 Scenes from the Bavarian High-
lands, for chorus and orch. (1896) ;
Spanish serenade for ch. and orch. ;
romance for vln. and orch. ; church-
music ; pes. for vln. and pf. ; organ-
sonata ; songs, etc.
Eliaa (a -lY-Os), Salomonis, monk at
Saint-Astire, Perigord, wrote in 1274
the oldest extant book of rules for im-
Srovised counterpoint.
si (&-le'-ze), Filippo, lulian tenor
in London, 1 765.
El'la, John, Thirsk, Yorkshire, i8oa—
London, 1888 ; violinist, lecturer and
writer.
El'ler, Louis, Graz, 1819 — Pau, 1862;
vln.-virtuoso; c. ** Vahe DiaboUquty^
a '' Rhapsodie Hongroist^* etc., for
vln.
El'lerton, J. Lodges, Chester, 1807^
London, 1873 ; dram, composer.
Elliott, Jas. Wm., Warwick. Engl.,
Feb. 13, 1833 ; pupil of Macfarren ;
organist various churches; since 1874
at St. Mark's, London ; c. 2 operet-
tas, etc.
El'lis, Aleac. J., London, 1814 — Ken-
sington, 1890; writer on musical
science.
Elmblad («lm'-blftt), Jns., b. Stock-
holm, Aug. 22, 1853 ; bass ; studied
with Stockhausen and Garcia ; 1876,
Wagner chose him for ** Donner **
(Rheingold). but his father, a prof, of
theology, objected; 1880, he went into
opera and sang in various cities, as
well as in London and America!
■i
424 THE MUSICAL GUIDE
1896, sang **Fafner** at Bayreuth ;
since 1897 at ct.-Th., Stockholm.
Elmenreich (gl'-m^n-rikh), Albert,
1856, actor in the Court Th. at
Schwerin.
ElseiUieimer (^l'-zen-hl-m£r), Nicho-
las J.» b. Wiesbaden, 1866 ; pupil of
his Kither and of Jakobsthal, Strass-
burnf, LL.D., Heidelberg; 1890,
America ; 1891, prof, at Coll. of Mu-
sic, Cincinnati ; c. C4intata ** VaU'
rian" with orch. ^'^ Behhazsar^ ' etc.
Eisner (£ls'-n£r), Jos. Xaver, Grott-
kau, Silesia, 1769 — Warsaw, 1854;
writer and composer of 19 operas.
Erson, Louis dhas., b. Boston, April
17, 1848 ; writer and teacher ; pupil of
Kreissmann (singing), Boston, and
Gloggner-Castelli (theory), Leipzig;
edited the Vox Humana; then on
the Music Herald ; for years critic
of the Boston Couri^r^ now of the
Advertiser ; since 188 1 prof, of theo-
ry and lecturer on the orch. and musi-
cal history at N. E. Cons. ; has lect-
ured on music with much success ;
pub. •* Curiosities of Music;' " The
History of German Song^* ** The
Theory 0/ Music;' " The Realm of
Music;* *' German Songs and Son^^
writers;* ** European RemimS"
cmces;* *• Syllabus of Musical His-
tory;* and ^'^ Great Composers and
Their Work '' (1899), ** The National
Music of America (1900), ** Home
and School Songs'*; c. operettas,
songs, and instr.-works ; transl. and
arranged over 2,000 songs, operas,
etc.
El'terlein, Ernst von. Vide gott-
SCHALD.
ElVey, (i) Stephen, Canterbury, 1805
— Oxford, i860 ; organist. (2) ' Sir
6eorg;e (Job), Canterbury, 18 16 —
Windlesham, Surrey, 1893 ; bro. of
ab<yve ; c. oratorios.
Elwart (^r-v&rt), Antoine Aimable
Elie, Paris, 1808 — 1877 ; violinist
« and dram, composer.
Eoi!erson, Luther Orlando, b Par-
;, 90Bs6eld, Mass., Aug. 3, 1820 ; cond.
.asd composer.
Em'ery, Stephen Albert, Paris,
Maine, Oct. 4, 1841 — Boston, April
15, 1891 ; prof, of harm, and cpt. ;
asst.-ed. Musical Herald ; graceful
composer and pop. theorist.
Emmerich (£m'-mdr-lkh), Robt.^
Hanau, 1836-— Stuttgart, 1891 ; com-
poser.
Encke (^nk'.£), H., Neustadt, Bava-
ria, 18 r I — Leipzig, 1859 ; pianist
and composer.
Enckhausen (£nk'-how-z£n). H. Fr.,
Celle, 1799 — Hanover, 1885 ; court-
organist, pianist and director.
Engel i£ng'-«l), (i) Jn. Jakob, Far-
chim, Mecklenburg, 1741 — 1802 ; dir.
and composer. (2) David Hn*,
Neuruppin, 1816 — Merseburg, 1877 ;
organist, writer and dram, composer.
(3) K., Thiedenweise, near Hanover,
18 18 — suicide, London, 1882 ; organ-
ist and writer. (4) Gt. Ed., K5-
nigsberg, 1823 — Berlin. 1895 ; sing-
ing-teacher, composer and theorist.
(5) Pierre Emile, b. Paris, Feb. 15,
1847 ; tenor ; studied with Duprez ;
debut, Th. Italien, 1869 ; then sang
in New Orleans, Brussels, and since
1889 at Paris.
En'na, Ang^., b. Nakskov, Denmark,
May 13, i860; grandson of an Italian
soldier in Napoleon's army ; son of a
shoemaker ; self-taught in pf . and in-
strumentation, and had almost no
teaching in vln. or theory ; went \^nth
a small orch. to Finland (1880);
played various insts., ev«n a drum be-
fore a circus-tent; returned to Copen-
hagen ; prod, the operetta ** A Vil-
lage Tale " (i88o) in provincial the-
atres ; played at dancing-lessons, and
g^ve pf. -lessons at 12 cents an hour ;
1883, cond. for a small provincial
troupe, for which he wrote act-tunes,
and 10 overtures ; pub. songs, pf.-
pcs., an orchl. suite, and a symphony;
this gained him, through Gade's in-
terest, the Ancker scholarship, enab-
ling him to study in Germany ii888^
89). After producing an operetta
*' Areta;* he prod, with unequalled
succ. for a Dane, the ooera *' Tki
DICTIONARY OF MUSICIANS 425
IVitch" 1892, at the R. Opera House,
Copenhagen. The opera " CUopa^
tra " (Copenhagen, 1894) failed, but
1895, with new cast, was succ. as
also *' Aucasstn and Nuolette'* (Co-
penhagen, 1896 ; Hamburg, 1897).
Opera '' Aglaia^* in MS. Pub. a
vln. -concerto, etc.
fi'ttoch & Co., London music-pub.
, firm, est. 1869.
Epine (d£-Ia-pc'-n^), Francesca Mar-
rerita de 1*., extremely popular
Italian singer and harpsichordist in
London, from ca. 1698 — 1718, when
she m. Dr. Pepusch ; her sister sang
in London from 1 703-1 748 as Maria
Gallia.
Epstein (£p-shtTn), (i) Julius, b.
Agram, Aug. 14, 1833 ; pupil of
Lichtenegger, Halm (pf.), and RuB-
natscha (comp.) ; from 1867 prof, of
pf. Vienna Cons. His two daugh-
ters, (2) Rudolfine ('cellist), and (3)
Eugenie (violinist), toured Austria
and Germany, 1876-77.
£rard (a'-rir), (i) S^bastien, Strass-
burg, April 5, 175a — near Paris, Aug.
5, 1 831 ; notable piano-maker and in-
ventor; inv. a *' Clavecin Mecan-
ique '* ; the ** Piano organise," fin-
ally the double-action mechanism,
whigh made a new instr. of the harp
(v. D. D.) ; perfected in 1811 his
greatest achievement, the repetition
action of the piano (v. D. D.). His
successor as a piano-maker was
his nephew, (2) Pierre (1796— 1855),
succeeded by Pierre Schaffer (d. 1878);
the present head is the Count de
Franqueville.
Eratosthenes, Cyrcne, 276 — Alex-
andria, Egypt, 195 B.C. ; writer.
Erb (£rp), M. Jos., b^ Strassburg,
Oct. 23, i860 ; pupil of St.-SaSns.
Gigout, and Loret, Paris ; now lives
in Strassburg as teacher and or-
ganist at the Johanniskirche and
the Synagogue ; c. a symphony ;
a symphonic suite ; sonatas and
••dram, episode" " Der UtzU Ruf'
(Strassburg, 1895), with some succ.
etc
Er'ba, Don Dionig^i, nobleman and
composer at Milan, 1694; H&ndel
appropriated some of his best works.
Erbach (^r'-biikh), Chr., Algesheim,
Palatinate, ca. 156a — Augsburg,
1628 ; composer and organist.
Er'ben, Robert ; 1894, conductor at
Frankfort-on-M.; 1896, at Mann-
heim ; prod, the succ. i-act opera
^* Enoch Arden" (Frankfort-on-M.,
1895), and a "fairy come#," ''Die
Heinzt'hn&nnchen^* (Mayence, 1896).
Erdmannsddrffer (^rt'-mans-ddrf-f^r),
(i) Max, b. Niirnberg, June 14,
1848 ; pupil Leipzig Cons., and in
Dresden of Rietz ; 1871-80, ct.-cond.,
Sondershausen ; 1882, dir. Imp.
Mus. Soc. at Moscow, and prof, at
the Cons. ; 1885, founded a students*
orch. society ; returned to Germany,
cond. the Bremen Philh. Concerts till
1895 ; 1896, cond. Symphony Con-
certs St. Petersburg ; i8q6, cond. at
the ct.-Th., Munich ; c. ** Prinzessin
Jlse^' **a forest-legend"; and other
works for soli, chor. and orch.; over-
ture to Brachvogel's *' Narciss^^* etc.;
1874 he m. (2) Pauline Fichtner
Oprawik, b. Vienna, June 28, 1847
(185 1 ?) ; pupil of Pirkherf and Liszt ;
court-pianist.
Erhard (^r'-hiirt) (called Erhar'di),
Laurentius, b. at Hagenau, Alsatia,
1598 ; cantor at Frankfort-on-Main,
1640, etc.
Erk (^rk), (i) Adam Wm., Ilerpf,
Saxe-Meiningen, 1779 — Darmstadt,
1820; organist and composer. (2)
Ludwig; (Chr.), Wetzlar, 1807 — Ber-
lin, 1883; son of above; conductor.
(3) Fr. Albrecht, Wetzlar, 1809—
DUsseldorf, 1879 ; bro. of above ;
pub. the *' Lehrer Commersbuch^^
etc.
Erkel (dr'-k^l), (i) Franz (or Ferencz),
Gyula, Hungary. Nov. 7, i8io —
Pesth, June 15, 1893 ; the father of
Hungarian opera; conductor and
prof., composer of operas incl.
'' Ilunyddy LdzW and ''Bank
Bdn,*' (2) Alexander (or Alexius),
Pesth, 1846 — 1900, son of above;
426
THE MUSICAL GUIDE
dir. of Philh. Cone, Pesth, 1875-93;
1896, dir. Royal Opera, Festh ; prod,
opera •• 7W/*/</"w" (Pesth, 1883).
(3) Gyula, son of (i), prof, at Acad,
of Mus., Pesth; conductor for many
years at R. Opera.
Erlang^er (£r-iaii-zha), (i) Camille, b.
Paris, May 35, 1863 ; pupil of Delibes,
Paris Cons. ; 1888 took Grand prix
de Rome with cantata ** l^elUda"^ ; c.
symphonic piece, **Zfl Chasse Fan*
tastique"; dram, legend, ** Saint
Julifn r //aspitaitW (P2ins, iSqfi);
the succ. lyric drama ** /Termaria"
(Paris, Op. -Com.. 1897), etc. (2)
Baron Fr^d6ric d' (pen-names Fr.
Regnal or Federico Ringel), son
of a banker; prod. succ. opera *V'
Aan de Saintr/^'* Hamburg (1894),
and mod. succ. opera ^^'^ Inez Mendo^*
(London, 1897).
Erier, (i) Hermann, b. Radeberg,
near Dresden, June 3, 1844; 1873
est. a mus.-pub. business (now Ries
and Erier) ; editor and critic. (2)
Ernst II., Duke of Saxe-Coburg-
Gotha, Coburg, 18 18 — Keinhards-
brunn, 1893 ; dram, composer. (3)
Fz. Anton, Georgenthal, Bohe-
mia, 1745^— Gotha, 1805; violinist
and orch. -leader. (4) H. Wm.,
Brunn, 18 14 — Nice, 1865 ; vln.-vir-
tuoso ; toured, then lived in London ;
composer. (5) Heinrich, b. Dresden,
Sept. 19, 1846 ; nephew of above ;
pupil of Pesth Cons., 1872; barytone
Leipzig Th., then studied with Reb-
ling and became tenor; 1875, Royal
Opera, Berlin. (6) Alfred, ca. 1855
— Paris, i8q8 ; writer.
Errani (er-ra -ne), Achille, Italy, 1823
— New York, 1897 ; operatic tenor
and notable singing-teacher in N. Y.
Errera (6r-ra'-ra), Ug:o, b. Venice, Oct.
25, 1843 ! composer.
Ert'mann, Baroness, ca. 1778 — Vien-
na, 1848 ; pianist ; intimate friend of
Beethoven.
Eschmann (6sh'-man), Jn. K., Win-
terthur, Switzerland, 1826 — Zurich,
1882 ; pianist, teacher and composer
, at Leipzig.
Escudier (<^s-kQd-ya), two brothers,
of Castelnaudary, Aude, (i) Marie,
18 19 — 1880, and (2) L^on, 1821 —
Paris, 188 1 ; journalists.
Eslava (6s.l&'.\'&). Don Mig^iel Hi-
lario, Banlada, Navarra, 1807 — Ma-
drid, 1878 ; court-conductor, editor
and theorist.
Espag^e (ds-pSkh'-n^), Fs., Munster,
Westphalia, 1828— Berlin, 1878 ; di-
rector and editor.
Es'ser, H., Mannheim, 1818 — Salz-
burg, 1872 ; court-conductor.
Es'sipoff (or Essipova) ($s>sT-p6f'.a),
Annette, b. St. Petersburg, Feb. i,
185 1 ; pianist ; pupil of Wielhorski
and Leschetizky, whom she m. 1880 ;
debut, 1874, St. Petersburg; toured
Europe with great succ. ; toured
America (1876) ; 1885, pianist to the
Russian Court; 1893, pf.-prof. St.
PetcrsburgCons.
Este (or Est, East, Easte), (i)
Thomas, London music-printer»
ca. 1550— 1625. (2) Michael, son
of above ; 17th cent, composer.
Esterhiay (esh'-t^r-hft-ze). Count
Nicholas, 1839— Castle Totis. Hun-
gary, 1897 ; generous patron of mu-
sic.
Est' wick, Rev. Sampson, D.D.,
1657 — 1739; English composer.
Ett (£t), Kaspar, Erringen, Bavaria,
1788 — Munich, 1847; court-organist
and composer.
Ettlenburgr (tsoo oi'-l^n-boorkh). Ph.,
Graf su, b. KOnigsberg, Feb. 12,
1847 ; Royal Prussian Ambassadcv,
Stuttgart; c. songs (words and music)*
Eulenstein (oi'-l£n-shtin), Chac
b. Heilbronn, Wnrtembei^, 1802 :
virtuoso on the Jew*s harp and guitar.
Euler (oi'-l«r), Leonhardt, Basel.
1707 — St. Petersburg, 1783 ; acousti-
cian.
Euter'pe, patroness of flute-players,
the Muse of Music.
Ev'ans, Chas. S., 1778 — 1849 ; Eng-
lish alto and composer.
Everard (^v.fl>rilr), Camille Fraa.^
b. Dinant, Belgium, Nov. 15, 1825 ;
basso ; pupil of Li^ge Cons., Paris
DICTIONARY OF MUSICIANS 427
Cons. (Ponchard), and of Rossi and
Manzini, Naples ; sang Naples, 1847-
50 ; studied with I^amperti ; sang in
various cities ; 1870-90, prof, of sing-
ing St. P. Cons. ; 1893, Kiev Conser-
vatoire.
BTers (sl'-v^rs), K., Hamburg, 1819*^
Vienna, 1875 ; pianist and composer.
BYesham (evz'-&m), Monlc of. Vide
ODINGTON.
Ew'er & Co., London mus. -publish-
ers; founded 1820 by J, J. Ewer,
succeeded by £. Buxton ; i860, W.
Witt; 1867, became Novello, Ewer
&Co.
Bweyck (i'.vTk), Arthur Tan, b. Mil-
waukee, U. S. A., May 27, 1866 ;
studied with Felix Schmidt, Berlin,
where he lives as concert and oratorio
barytone.
Bximenio (£x.T-msl'-nY-5), Ant., BaU
bastro, Aragon, 1732 — Rome, 1798 ;
Jesuit priest ; had historical contro*
versy with Padre Martini.
Eybler (I'-bWr), Tos. (later, in 1834,
Edler ▼on Eybler), Schwechat, near
Vienna, 1765 — SchOnbrunn, 1846 ;
conductor and composer.
Eyken (T'-k«n), (i) Simon Tan (or
Eycken ; dn Cnesne). Vide quer-
cu. (2) (Eijken), Jan Albert Tan,
Amersfoort, Holland, 1822— Elber-
feld, 1868 ; organist and composer ;
c. valuable chorals, etc. (3) Gerard
Isaac van, bro. of above ; organist
and teacher at Utrecht from 1855.
Eymieu (£m'-yil), Henri, b. Saillans
Dr6me, France, May 7, i860 ; a law-
yer, but studied with E. Gazier
(theory) and Widor (comp.) ; now
lives in Paris aS writer and critic for
**Z/ MAtestrel" etc. ; c. a stage-
piece, *' C/n Mariage sous N&on**
(Paris, 1898), and an oratorio, '* Afar*
the it Marie "{Asnxhrts^ 1898), etc.
Paber (fft'-b^r), (i) Nikolaus (Nicol),
pnest at Halberstadt, 1359-61, built
there what is considered the first
organ made in Germany. (9) Niko*
laus (II.)i a native of Botzen, Tyrol ;
pub. ''*' jRudimenta musiau,'* Augs-
burg, 1516. (3) Heinrich, ** Magis.
ter, d. Lichtenfels, Oelsnitz, Saxony,
1552 ; rector of a school, whence he
was expelled for satirical songs
against the Pope ; then rector of
Brunswick ; pub. a pop. book of ru-
diments. (4) Benedikt, Hildburg*
hausen, 1602 — Coburg, 163 1 ; com-
' poser.
Fabozzi (f&-b6d'-ze), (renaro, b.
Italy ; blind pianist ; court-pt. to
Dowager Queen, prof, at Inst, for
Blind, Naples.
Fabio. Vide ursillo.
Fabri (fr.bre), (i) Stefano {it mag^
giore)^ b. Rome, ca. 1550; 1599—
1601, conductor. (2) Stefano (»7
minore)^ Rome, 1606—1658 ; conduc-
tor and composer. (3) Aimibale Pio
(called Bahno), Bologna, 1697 — Lis-
bon, 1760; tenor, etc.
Fabncius(f&-bre'-tsT.oos), (i) Werner*
Itzehoe, 1633 — Leipzig, 1679 ; com-
poser. (2) J. Albert, Leipzig, 1668—'
Hamburg, 1736, son of above ; pro-
fessor.
Faccio (fat'-cho), Franco, Verona,
March 8, 1841 — Monza, July 23,
1891 ; an important composer; criti-
cised as Wagnerite ; notable cond. ;
prof, at Milan Cons, (harmony, later
cpt.) Vide BOiTO.
Faelten (fei'-teSn). K., b. Ilmenau,
Thuringia, Dec. 21, 1846 ; studied as
a school-boy with Montag ; for 6
years orchestra-violinist ; 1867 studied
with J. Schoch, Frankfort, and was
for 10 years friend of Raff; i868-8a
Frankfort ; 1878 Hoch Cons. ; 1882-
85 Peabody Institute, Baltimore,
U. S. A. ; 1885-97 N. E. Cons.,
Boston ; dir. 1890-97 ; 1897 founded
the Faelten Pf.-School (Teachers'
Seminary), at Boston ; pub. text-
books.
Fago (fV-eo), Nicola (called " II Ta*
rentino'^), Tarento, 1674 — 1730 (?) 1
c. oratorio, masses; prod. sevMt
very succ. ODeraa.
428 THE MUSICAL GUIDE
Fahrbach (far'-bakh), (i) Jos., Vienna.
1804 — 1883 ; flutist, conductor, and
composer. (2) Ph. (Sr.), Vienna,
18 1 5 — 1885 I conductor and dram,
composer. (3) Wm., Vienna, 1838
— 1866 ; conductor and composer.
(4) Ph. (Jr.), Vienna, 1843— 1^94 »
son of (2) ; conductor.
Faignient (fin-yan), No£, b. Antwerp,
ca. 1570, Flemish contrapuntist.
Fair' lamb, J. Remingrton, b. Phil-
adclphia, Jan. 23, 1837 ; studied in
Paris and Florence ; 4 years in Zurich
as consul ; org^anist Phila., etc., and
from 1884 New York, St. Ignatius ;
c. grand opera " VaUrie *^ (MS.),
etc.
Faiszt (fist), Immanuel G. Fr., Es*
sligen, WUrtemberg, 1823 -^Stutt-
gart, 1894 ; organist.
Falcke (filk), Henri, Paris, 1866—
May, 1901; pupil of Saint-Saens,
Massenet, Dubois, and Mathias« Paris
Cons. ; won ist prizes in pf. and
harm. ; studied in Germany ; pub. a
useful text-book on arpeggios.
Falcon (f&I-kon), M. Com61ie, Paris,
1812—1897 ; soprano singer.
Faliero (fal-t-l'-ro), Nina, b. Naples,
April 10, 1878 ; studied with Mrae.
Kraus; toured widely in concert;
lives at Cxcneva
Falk Mehiifir (faik ma'-Ukh), Anna, b.
Stuttgart, June 11, 1846; studied at
the Cons., also with Liszt ; toured as
concert pianist throughout Germany,
England, and America ; court-pianist
to the king of WOrtemberg.
Faltin (fal'-ten), R. Fr., b. Danzig,
Jan. 5, 1835 ; pupil of Markell,
Schneider, and Leipzig Cons. Since
1869 lives at Helsingfors, Finland, as
cond.; pub. *^* Finnish Folk- Songs*'
and a ** Finnish Song-Book.*'
Faminzin (fS-men'-tsen), Alex. Ser*
rievitch, Kaluga, Russia, 1841—
Ligovo, near St. Petersburg, 1896;
critic and dram, composer.
Fan'ing, Eaton, b. Helston, Cornwall,
May 20, 1850 ; pupil of the R. A. M.,
. took Mendelssohn Scholarship in
i87A and the Lucas Medal ia X876 ;
1894 Mus. Bac, Cantab.; since 1885
dir. music at Harrow School ; c. 3
operettas, cantata for female voices,
svmphony in C minor, overture, *• The
Holiday/* etc.
Farabi. Vide alfarabi.
Fargas y Soler (f«r^g& £ sbMkr\
Antonio, Spanish writer, pub. ** Bi-^
ografias di los Musicos** etc. (issued
since 1866, in parts), etc
Farinel'li, (i) Carlo Broscht (brds'*
ke). Naples, June 24, 1705 — Bologna,
July 15, 1782 ; famous male soprano ;
debut 1722 at Rome ; he sang with
the utmost brilliancy and success, be-
ing only once overcome by a rival
(Bemacchi) from whom he immedi-
ately took lessons ; he joined the op-
position to Handel in London, and
Hiindel went into bankruptcy' and
took to oratorio. He amas^ great
wealth and became the chief adviser
of Philip V. of Spain; biog. by
Sacchi (Venice, 1784). (2) Gin.,
Este, 1769 — Trieste, 1836 ; org. ; c.
60 operas.
Farkas (far'-kSsh), Edmund (Hungr.,
Oddn), b. Puszta-Monostor (Heves),
Hungary, 1852 ; important figure in
national Hungarian music ; of noble
family, intended to be a civil engi-
neer ; but studied 3 years at the R.
Mus. Acad., Pesth ; next year be-
came dir. at the Cons, at Klausen-
burg, Transylvania ; wras for a thne
op. cond. and wrote mus. articles ;
1876, while still studying engineering^,
he prod, a i-act opera *^£ayad/r**
(Pesth) ; won the Haynald prize of
300 florins with a mass ; c. also
mixed choruses, and the orch. works
"Z?ii7«w" (Virrada/), ** Fpfn^mg"
(Eslidal), " Iwilighr {Alktmy^^
and ** Dies ira** ; a pop. symphony
and 5 string-quartets ; a prize ** Fest^
ouvertilre^^ ; and the operas '* Fairy
fountain " ( TUnderhorrds)^ i-act,
(Klausenburg, 1892); ^^The Pent*
tent*\Vesekldk) (Pesth. 1893); '' Bo*
lassa Balint** comic (Pesth, 1896) x
a^td ** The Blood^deal** (Tttemfw
hivds) (not prod.}.
DICTIONARY OF MUSICIANS 429
Par'mer, (i) H., Nottingham, England,
1819 — Z891 ; violinist and organist.
(2) J., Nottingham, Aug. 16, 1836 —
July, 1901; nephew of above; pupil of
Leipzig Cons, and of Spath; teach-
er in Zurich for some years ; 1862-85
nius.-master at Harrow School, then
organist at Balliol Coll., Oxford,
where he founded a mus. society;
edited song-books, etc.; c. an orato-
rio; a fairy opera; comic cantata; a
r6qulem, etc.
Far'naby, Giles, English composer,
1580-98.
Far 'rant, (i) John, English organist,
ca. 1600. (2) John, English organist,
Salisbury cath., ca. 1600. (3) Richr
ardt d. Nov. 30, 1580 ; English or-
ganist and notable composer of
church-music.
Farrenc (f&r-rank), Jacq. Hipp,
Aristide, Marseilles, 1 794 — Paris,
1865 ; teacher and composer. (2)
Jeanne Louise (nee Dumont),
raris, 1804 — 1875 i w*^^ o^ above,
pf.-professor.
Far'well, Arthur, American composer;
pupil of H. A. Nonis, Boston, and of
Humperdinck ; founded at Newton
Center, Mass., 1901, the ** Wawan
Press " for the artistic pub. of supe*
rior comps. by Americans ; c. ballade
for vln. and pf., and songs, etc.
Pasch (fash), (i) Jn. Fr., Buttlestadt,
near Weimar, i688 — ^2^rbst, 1758 (?);
court-conductor, composer. (2) K.
Fr, Chr., Zerbst, 1736 — Berlin,
1800 ; cembalist ; son of above ; con-
ductor.
Fauchey (fo-she), Paul, former '* chef
du cluant," Op. Com. Paris ; prod,
comic opera, 1897.
Paugues, Vincent (or FaoqueSt Fa'-
Cpis, La Fage) (f5g, fok, la fazh),
15th cent, contrapuntist.
Faure (f5r), J. Bapt., b. Moulins,
Allier, Jan. 15, 1830 ; 1841, Paris
Cons.; choir-boy at the Madeleine,
and studied with Trevaux ; took ist
prize for comk: opera ; 1852-76, at
the Op. Com. as leading barytone
with great succ; 1857, teacher in the
Cons.; since 1876 sang in concert;
pub. '' V Art du Chant:'
Faur^ (fo-ra), Gabriel Urbain, b. Pa-
miers, Ari^e, May 13, 1845 ; pupil
of Niedermayer, Dietsch, and Saint-"
Saens; 1866, organist at Hennes,
then at St.-Sulpice and St.-Honore ;
1885 took Prix Chartier for chamber-
music ; 1896 organist at the Made-
leine, and prof, of comp., cpt., and
fugue at the Con^ (vice Massenet) ;
c. i-act opera *^ VOrganiste'* (1887);
** La Naissance de Venus:' for wli,
chorus, and orch.; '* Chaur de
Djinns " / requiem; symphony ; vln.-
concerto ; ^orchestral suite ; 2 p£.«
quartets ; El/gie^ for 'cello ; Berceuse
and Romance^ for vln. and rch., a
vln. -sonata (1878), etc.
Faust (fowst), K., Neisse, Silesia,
1825 — Bad Cudowa, 1892 ; bandm.
and composer.
Faustina. Vide hassb, Faustina.
Fayarger (f&-vilr-zha), R£n^, Park,
18 1 5 — i^tretat, 1868; composer.
Favre (fSvr), Jules. Vide v. m. wat-
SON.
Faw'cett, (i) J.,Kendal, England, 1789
— Bolton, Lancashire, 1867 ; teacher
and oomposer. (2) ' J. (jr.)i Bolton,
1824 — Manchester, i887,son of above;
organist and composer.
Fay, Amy, b. Sa]^u Goula, Miss., May
21, 1844 ; pianist and teacher, Chica-
go ; pupil of Tausig, Kullak, Liszt ;
wrote the popular ** Music- Study in
Germanv^' (Chicago, 1881).
Fayolle(fl-y61), Fran. Jos. M., Paris,
1774 — 1852 ; mus. ^ographer and
lexicographer.
Fayr'faz, Robt., Mus. Doc., Cantab
and Oxon, 1 504-11; organist and
composer.
Fechner (f£kh'-n£r), Gt. Th., Gross-
Sarchen, Niederlausitz, 1801 — Leip-
zig, 1887 ; writer.
Fedele ^fa-da -1^). Vide trbu.
Federici (fa-da-re'-che), V., Pesaia,
1764 — Milan, 1827; went to London,
where he became cembalist ; returned
to Italy in 1803 and prod, many succ.
operas-
430
THE MUSICAL GUIDE
Federletn (fa'-d«r-lln), G. (H.), b.
Neustadt-an-dcr-Aisch, near NQra-
berg:, Nov. 5. 1835 ; pupil of Munich
Cons.: Itves in New York; singing-
teacher, composer and writer.
Felstein (f^lUhtln) (called Felsti*
nen'sis), Sebastian ▼on, ca. 1530;
church-conductor and composer, Cra*
cow.
Feltre (dfi f^l'tr), Alphonse Clarke,
Comte de, Paris, i8o6 — 1850 ; dram,
composer, etc.
Fenaroli (fa-nft-ro'-le), Fedele, Lan.
ciano, Abruzzi, 1730— Naples, 1818;
teacher and composer*
Fen^ton, Lavinia, d. Greenwich, 1760 ;
singer and actress at London.
Feo (fa'-d), Francesco, b. Naples, ca.
16S5 ; composer and teacher.
Ferien'dis ^ b. Rome, ca. 1778 ;
operatic contralto.
Fer(r)abo8C0 (f«r.rft.b6sMcd), (i) Al-
fonso, Italy, 1515 ; c. madrigals. (2)
Dom. M., Rome, i6th cent., mem-
ber Papal Choir; composer. (3)
Cos^.antino, court-musician and
composer at Vienna, 1591. (4) Al-
fonso, Greenwich, England, ca. 1580
—1652 ; probably son of (i) ; com-
poser. (5) Jofain, d. 1682, son of
(4) ; oi^nist Ely Cathedral.
Ferrari, (i) Benedetto (called del-
la Tiorba "the theorbist") (f^r-
ril'-ri d€l-la te-6r'-ba), Reggio d' Emi-
lia, 1597 — Modena, 168 1 ; court-con*
ductor and dram, composer. (2)
Domenico, Piacenza, (?) — Paris,
1780; violinist, conductor and com-
poser. (3) Carlo, Piacenza, ca.
1730 — Parma, 1789, bro. of above ;
*cellist. (4) Giacomo Gotifredo,
Roveredo, Tyrol, 1759 — I-ondon,
1842 : cembalist, writer, teacher, and
composer. (5) Franclsca, Chris-
tiania, ca. 1800— Gross-Salzbrunn,
Silesia, 1828; harpist. (6) Sera-
fino Amadeo de*, Genoa, 1824—
1885 ; pianist and dram, composer.
(7) Carlotta, b. Lodi, Italy, Jan. 27,
1837 ; pupil of Strepponi and Panzi-
ni (1844-50) of Mazzucato at Milan
Cons.; wrote text and music of succ
iras **C/go" (Milan, 1857); " .Sv
•• (Lodi, 1866); '^EUafwra </*.
Arborta*^ (Cagliari, 1871) ; also
masses ; a Requiem for Turin^ 1868,
etc.
Ferreira (f«r-ra'-e.r&),Da Costa, Rod-
rig^, d. 1834(37?); Portuguese writer.
Fer(r)et'ti, Giov., b. Venice, ca. 1540 ;
composer.
Ferri (f«r'-re), (i) Baldassare, Peru-
gia, i6io~-Sept. 8, 1680 ; one of the
most gifted and successful of singers ;
through' a boyhood accident became
a male soprano ; possessed extraor-
dinary endurance of breath, flexibil*
ity of voice, and depth of emotion ;
at 65 returned to Perugia ; on his
death left 600,000 crowns for a pious
foundation. (2) NicoUt, Mola di
Bari, Italy, 1831 — London, 1886;
Naples, singing teacher and dram,
composer.
Ferrier (f£r.rT.&), Paul Raonl Mi-
chel M., b. Montpelier, March 28.
1843 ; c. light operas for Paris.
Ferron (fCr'-ron), Ad., 1892, conduc-
tor Th. Unter den Linden, Berlin ;
K897 at Cari Th., Vienna ; prod, at
Berlin the burlesque *^ Adam und
Eva ** (1891), and other operettas.
Ferro'ni, V. Emidio Carmine, b.
Tramutola, Italy, Feb. 17, 1858 ; pupil
Paris Cons.; ist prize in harm, and
comp., 1880-8'^ ; 188 1, asst.-prof. of
harm, at the Cons. ; since 1888 prof,
of comp. at Milan Cons., and mus.
dir. of the *' Famiglia Artistica."
1897, Chevalier of the Ital. Crown ;
c. operas *' Rudelio*' (Milan, 1892) ;
and (text and mus. oO ** Ettore Fie*
ramosca** (Como, 1896).
Fes'ca, (i) Fr. Ernst, Magdeburg,
I789--Carlsruhe« 1826: vioKnist and
composer. (2) Alex. Ernst, Carls-
ruhe. May 22, 1820 — Brunswick, Feb.
22, 1859 ; son of above ; brilliant pi-
anist and dram, composer.
Fes'ta, (i) Costanzo, Rome, ca. 1490
^ April 10, IS45 ; singer and contra*
puntist, (2) Gin. M., Tnuii, 1771—
Naples, 1839; Tiolinist, conductor
and composer. (3) Francescat
DICTIONARY OF MUSICIANS 431
Naples, 1778 — St. Petersburg, 1836 ;
operatic singer ; m. MafTei.
Feat'ingf, Michael Christian, Lon-
don (?) 1680— 1752 J son of a flutist,
of same name ; conductor, violinist,
and composer.
Fessler (f£sh'-l«r), Eduard, b. Neu.
berg, Bavaria, Oct. 5, 1841 ; oper*
atic barvtone ; studied with Fz.
Hauscr, Munich.
F^tis (fa-tes), (i) Francois Joseph,
Mons, Belgium, March 25, 1784 —
Brussels, March 26, 187 1 ; indefatig-
able scholar and historian ; he worked
16-18 hours a day ; his father, organ-
ist and conductor at the Cathedral,
was his first teacher ; he learned the
vln., and c. at 9 a concerto for vln.
and orch. ; the same year became or-
ganist to the Noble Chapter of Saint
Waudra ; 1800-03 '^^ '^c Paris Cons.;
1803, Vienna, for study of fugue, and
master-work of German music ; here
began an investigation of Guido
d*Arezzo*s system and the history of
notation. 1804 he started a short-lived
mus. periodical. 1806 he began the
30 years' task (still unpub.J of revis-
ing the plain-song and entire ritual of
the Roman Church. He m. a wealthy
woman, and was enabled to pursue
his studies comfortably till 1811,
when her fortune was lost. He re-
turned to the Ardennes and made re-
searches into harmony, which led to
his formulating the modern theor)* of
tonality. 18 13, organist and teacher
at Douai ; wrote *' /m Science de
rOrganist** and ^* Aftfthode /Utnen-
iaire d'^harnumie et d^accompagne"
ment** 18 18, Paris, where he prod.
Tarious operas with succ. 182 1,
prof, of comp. at the Cons., later li-
brarian. 1827-35 founded and edit-
ed **Zrt Revue' Afusicaie," In 1832
began historical lectures and concerts.
1833, cond. to King Leopold I.,
Brussels, and for 39 years dir. of the
Cons. Cond., and 1845 member of,
the Belgian Academy. On his wed»
ding-jubilee a Mass of his was sung,
and his bust was unveiled. In 1806,
he began collecting and preparing for
his great ** Biographic uuiferselU des
musiciens et bibliographic gMtfrak dc
la musique " in 8 volumes ( 1837-1844).
This invaluable monument is, like
everything else of its kind, bristling
inevitably with error, bias, and excess ;
yet is a standard of highest repute.
Pub. many treatises and c. 6 operas
(182C-32); 2 symphonies, an overture
for orch.; masses, a requiem, motets,
etc. Biog. in his Dictionary by L.
Alvin (Brussels, 1874) : and Gollmick
(Leipzig, 1852). (2) Ed. L. Fran.,
b. Bouvig^es, near Dinant, May 16,
18 12; son of above; editor; for
years libr., Brussels Library; pub.
•• /.es musiciens Beiges " (1848). (3)
Adolphe L. Eugene, Paris, 1820—
1873 ; son and pupil of (1) ; pianist,
teacher and dram, composer.
F enrich (foi'-rikh), Julius, Leipzig,
1 82 1 — 1900; founded pf. factory,
1851.
Feyin (fu-vfiA),' Ant. (Antonius) de,
ca. 1490 (?) — 15 15 (?) ; Netherlandish
(?) contrapuntist ; contemporary with
Josquin Despr^s, and rated second
only to him. (2) Robert ( Robert US),
Cambrai, 15th cent.; c. masses.
Fiala (fe'-&-la), Lobkowitz, Bohemia,
1749 — Donauschingen, 1816; oboist,
*cellist, composer, and conductor.
Fibich (fc'blkh). Zdenko, Seborschitz,
Bohemia, Dec. 21, 1850 — Prague,
Oct. 1900 ; pupil at Prague, Leipzig
Cons. (1865), and of I^chner; 1876
asst. cond. at the National Th.,
Prague ; 1878. dir. Russian Church
Choir; notable Czech dram, com-
poser. Prod, at Prague 6 operas incl.
** Sarha** (1898); c. the symphonic
poems •• Othello :' ** Zaboj and Sla.
voj" ** Toman and the Nymph"
and ** Vesna
I.ustspiel OuveT"
tare,** etc. ''A Night on Kaarl
stein" and other overtures.
Fiby (fc'-bc), Heinrich, b. Vienna, Ma|
15, 1834; pupil of the Cons.; from
1857 city mus. dir., Znaim ; founded
a music-school and a society; c. 5
operettas ; pop. male choruses, etc
432
THE MUSICAL GUIDE
Ficher (fekh'-^r), Fd., Leipzig, 182 1
^New York, 1865 ; pianist and com«
poser.
Fiedler (f et -l^r), Aug:iist Max, b. Ziu
tau, Dec. 3, 1859 ; piano pupil of his
father, and studied organ and theory
with G. Albrecht ; 1877-80 Leipzig
Cons. ; won the Holstein Scholarship ;
since 1882 teacher, Hamburg Cons.;
c. a symphony, etc.
Field, (i) John, Dublin. July 16, 1782—
Moscow, Jan. 11, 1837; a great though
gentle revolutionist of music, to whom
much of Chopin's glory belongs, for
Field developed the more lyric manner
of pf.-playing and carried it into his
composition, in which he gave the
?iiano-song or poem its first escape
rom the old stiff forms. He created
the Nocturne, and many of his comps.
in this form have practically every
quality and mannerism characteristic
of those of Chopin, who excelled him
in passion, resource, and harmonic
breadth. He was the son of a violinist,
and g^ndson and pupil of an organ*
ist, who compelled him to practise
so hard that he ran away, but was
brought back and later was appren-
ticed to Clementi as a salesman. He
also had lessons from C, and went
with him to Paris in 1802, making a
great stir with his interpretation of
Bach's and Handel's fugues ; he was
kept at his salesman's tasks till 1804,
when he settled at St. Petersbuiig as
a teacher and pianist of g^eat vogue.
After touring Russia, in London, 1832,
he played a concerto of his own at
the Philh.; then to Paris; 1833 Bel-
gium, Switzerland, Italy, where he
was not a succ. Intemperance and
fistula kept him nine months in a Na-
ples hospital; whence he was rescued
by a Russian family Raemanow and
taken to Moscow, playing in Vienna
with greatest succ. ; but his health
was lost and he died a few years later
and was buried in Moscow. Besides
20 nocturnes (of which only 12 were
so named by Field) he c. 7 concertos
(N(X 4 in £ flat the most popular) *
russe" ; **Air
4 sonatas; *MtV
russf vari/" (4 hands); ^^ Chanson
russe varU^** in D min. ; polonaise ,
•* Reviens^ reviens " Komanza and
Cavatina in £ ; 4 romances ; 7 ron-
deaux ; rondeau with 2 vlns., viola,
and bass ;• variation in C; 2 diver-
tissements with 2 vlns., vio^i tLnd
bass; 2 fantasias; and pf. -exercise*
in aU veyj:. (2) Henry, •* Fieia ot
Bath '' Dec, 5, * 79 7— May 19, 1848 ;
pianist and teacher.
Fielitx (fon fe'-ltts), Alexander von,
b. Leipzig, Dec. 28, i860; pupil lo
Dresden of J. Schulhoff(pf.)and Kret-
schmer (comp.) ; he became opera*
cond. in Ztlrich, Lttbeck, and I>eipzig
(City Th.) ; a nervous disorder com-
pelled his retirement ; lives in Italy
as a composer of sacrod choruses,
orch. pes., songs, etc. His songs
have attained much solid popularity.
Filippi (fe-lYp'.pT) (i) Giu. de, Milan,
1825 — Neuilly, near Paris, 18S7 ;
writer. (2) Filippo, Vicenza, 1830
—Milan, 1887 ; critic, writer, and
composer.
Fill' more, J. Comfort, Franklin,
Conn., 1843 — 1S98 ; studied at Ober-
lin (O.) Coll., and Leipzig Cons.;
1884-95 founder and dir. of Sch. of
Mus. in Milwaukee ; then mus. dir.
Pomona Coll., Claremont, Cal.; pub.
** A Study of Omaha Indian Music "
(with Miss Fletcher and F. I^
Flesche ; Peabody Museum, 1893);
etc. ■
Filtsch (feltsh), Karl, Hermannstadt,
Transylvania, 1831 — Vienna, 1845 ;
pianist ; pupil of Chopin and Liszt ;
died at 15.
Finck (ftnk), (i) Heinricb, 1482, con-
ductor to John Albert I., Cracow;
eminent contrapuntist. (2) Hermann,
Pirna, Saxony, 1537 — Wittenburg,
1558, grand-nephew of above ; com-
poser and writer. (3) Henry The*
ophilus, b. Bethel, Missouri, Sept.
22, 1854 ; prominent American critic
and essayist ; influential advocate of
Wagner; lived in Oregon, then (1876)
graduate of Harvard, having studied
• m
DICTIONARY OF MUSICIANS 433
ev^
theory and hist, of mus. with J. K.
Paine ; 1876, attended the first Bay*
reuth festival, and studied at Munich;
pub. the valuable ** IVagner andJIis
Works'^ (N. Y., 1893, 2 vols.,^Germ.
transl., Breslau, 1897) ; 1877-78,
studied anthropology at Harvard ; re-
ceived a Fellowship and spent 3 years
at Berlin, Heidelberg, and Vienna,
studying comparative psychology and
sending mus. letters to N, Y. Nation;
has since been mus.-ed. of the N. Y.
Evening Post ; pub. ** Chopin^ and
other Mus, Essays^* ''*' Paderewski
and his Art" ** Songs and Song"
Writers " (1901) ; 3 books of travel :
''Pacific Coast Scenic Tour*' '' Lo^
tos-time in Japan^^ '* Spain and Mo*
rocco " / and 3 important books on
the psychology of love, ''Romantic
Love and Personal Beauty^' having
reached 4 editions ; ** Primitive Love
and Love Stories " (1900).
Fincke (Hnk'-e). Frit*, b. Wismar,
May I, 1846; pupil Leipzig Cons.;
theorist and violinist, Frankfort, then
organist at Wismar ; 1879, teacher of
singing, Peabody Inst., Baltimore;
writer and composer.
Findeisen (fYnt -i-z^n), Otto, 1890,
conductor Wilhelm-Th., Magdeburg,
prod, succ operetta '* Der Alte Des*
sauer" (Magdebui^, 1890); and the
succ. folk -opera " Henings von
Treffen/eld'' Cih. 189 1).
Finger (ftng'-er), Gf., b. OlmQtz, Ba-
varia ; in England, 1 685-1 701 ; then
chamber-mus. to Queen of Prussia,
till 1717.
Fink, Gf. Wm., Suiza, Thuringia,
1783 — Halle, 1846 ; editor, writer,
and composer. (2) Chr., b. Detting-
en, WUrterabei^, Aug. 9, 183 1; pupil
Esslingen Seminary ; Leipzig Cons.,
and Schneider, Dresden ; till i860
lived as organist and teacher, Leip-
zig ; then teacher and organist, Ess-
lingen, and prof, in 1862 ; composer.
Fink enstein (shtln), Jettka, b. Seni,
Russia, March 22, 1865 ; alto ; stud-
ied at Berlin Hochschule, and with
Viardot Garcia ; ist. alto at Darm-
stadt ct.-theatre till 1891, then
toured ; lives in Breslau.
Fioravanti (fe-6r-a-van'-te), (i) Valen-
tino, Rome, 1764 — Capua, June 16,
1837 ; opera-cond. and composer.
(2) Vincenzo, Rome, 1799 — Naples,
1877, son of above ; conductor and
dram, composer.
Fiorillo (fe-6.rir.lo), (i) Is^nazio,
Naples, 1715 — Fritzlar, near Cassel,
1787 ; court-conductor and composer,
(a) Federigo, b. Brunswick, 1753 (?):
son and pupil of above ; viola player
and composer.
Fiqu^ (fe-ka), Karl, b. Bremen, 1861 ;
pupil of Leipzig Cons. ; lives in Brook-
lyn, N. Y. : pianist and composer.
Fiachel (fYsh'-«l), Adolf, b. KUnigs-
bcrg, 1810; pupil 'of Spohr; cigar-
dealer in Berlin ; violinist and com-
poser.
Fischer (flsh'-^r), (i) Chr. Fr., Lfl-
beck, 1698 — Kiel, 175a ; cantor and
writer. (2) Jn. Chr., Freiburg, Ba-
den, 1733 — London, 1800 ; oboist and
composer. (3) Chr. Wm., Konrads-
dorf, near Freiburg, I789--Drc9dcn,
1859; basso buffo. (4) Ludwig,
Mayence, 1745 — Berlin, 1825 ; oper-
atic bass, of great range (D - a'). (5)
Michael Gotthard, Alach, near
Erfurt, 1773— Erfurt, 1829; cond.
and comp)oser. (6) Anton, Ried,
Swabia, 1777 — ^Vienna, 1808 ; com-
poser. (7) Ernst Gf.« Hoheneiche,
near Saalfeld, 1754— Berlin, 1831 ;
prof, and acoustician.. (8) Gf. Emily
Berlin, 1791 — 1841, son of above;
singing-teacher and writer. (9) K.
L., Kaiserslautem, Bavaria, i8i6—
Hanover, 1877 ; court-conductor and
composer. (10) Ad., Uckermunde,
Pomerania, 1827 — Breslau, 1893 ; vi-
ganist and composer. (11) K. Aug.,
Ebersdorf, Saxony, 1828 — Dresden,
1896 ; organist. (12) F2., b.- Munich,
July 29, 1849 ; 'cellist, pupil of H.
Mttller; 1870 soloist National Th.,
Pcsth, under Hans Richter ; later &t
Munich and Bayreuth with Wagner ;
1877-79, court-conductor at Mann*
heim, then Munich. (13) PanU
434
THE MUSICAL GUIDE
Zwickau, 1834 — Zittau. 1894 ; cantor
and writer. (14) Ad., Brussels, 1847
— insane in Brussels, 1891 ; 'cellist.
(15) Ignaz, 1828 ^Vienna, 1877;
conductor ct.-opera, Vienna. (16)
Josef, 1828— Stuttgart, 1885 ; com-
poser. (17) Emil, b. Germany, ca.
1835; notable German basso in Wag-
nerian roles ; debut 1849 > ^sl^Z s^t
Met. Op. N. Y. many years ; 1899 m.
Camille Seygard ; divorced 1902.
Fischhof (fYsh'.6f), Jos., Butschowitz,
Moravia, 1804— Vienna, 1857; prof.,
composer and writer.
Fish, Wm., Norwich, 1775— ca. 1863;
violinist and oboist.
Fish'er, ^i) John A., b. Dunstable,
1774, pf.-and organ-virtuoso ; violin-
ist and composer. (2) Wm. Arms,
b. San Francisco, April 27, 1861 ; pu-
?il of J. P. Morgan (org. and pf.),
I. W. Parker, and Dvofak, New
York ; also studied singing in Lon-
don ; lives in Boston as teacher,
composer of sonc;s, and editor.
Fissot (fYs-so) Alexis Henri, Air-
aines (Somme), 1843 — Paris, 1896 ;
pf. and organ-virtuoso and com-
Doser.
Fuzenhagren (fYts'-«n.hSkh-«n), Wm.
K. Fr., Seesen, Brunswick, 1848—
Moscow, 1800 ; 'cellist.
Fitzwilliam, Edward F., 1824— Jan.
30, 1857 ; English composer.
Fladt (flat), Anton, b. Mannheim,
1775; oboist and composer.
Flag'ler, Isaac van Vleck, b. Albany,
N. v.. May 15, 1844 ; pupil of Beale
at Albany, Batiste in Paris, etc. ;
organist various churches, then (1899)
a publisher and concert-organist ;
Chautauqua-lecturer for 13 years ;
teacher at Syracuse and Cornell Uni-
versities and Utica Cons. ; composer.
Flaxland (fl&x-lan), Gve. Alexandre,
Strassburg, 1821 — Paris, ,1895 ; pub.,
Paris.
Fl^g^er (fla-zha), Ange, b. Marseilles,
Feb. 25, 1846 ; pupil of Marseilles
Cons, and Paris Cons. 1870; returned
to Marseilles ; c. i-act comic opera,
••/tfA'jMa" ^Mars. 1875), " Ossian,"
and ** Fran^oise de Rimini^^ cantata,
with orch., etc
Fleischer (fll'-sh^r), (i) Rexnhold, b.
Dansau, Silesia, April 12, 1842 ;
pupil' of the R. Inst, for Church-
music, and R. Akademie, at Berlin *
' 1870, organist at GOrlitz and dir.
Singakademie ; 1885, Royal Mus.
Dir. ; c. a cantata, ^* ffolda^** eXc. (2)
Oskar, b. Zdrbig, Nov. i, 1856;
studied in Italy on govt, stipend ;
pupil and, since 1896, successor of
Spitta as Prof. Extraordinary, at the
Berlin Univ., also custodian of the
Royal Coll. of Mus. Instrs., and
teacher of history at the Hochschul^
fUr Musik ; pub. a study of neumes,
1895, etc. (3) Fleischer-Edel (a'-d£l),
Katharina, b. Mulheim, Sept. 27,
1873 ; soprano ; studied with Iffert ;
sings at court-opera, Dresden.
Flem'ming, Fr. Fd., Neuhausen,
Saxony, 1778 — Berlin, 18 13; c. pop.
'* Integer vittg^^^ etc.
Floersheim (flars'-hTm), Otto, b. Aix-
la-Chapelle, March 2, 1853 ; pupil of
Fd. Hiller, Cologne; 1875, New
York ; 1880, edited The Musical
Courier ^ since 1894 manager of its
Berlin Branch ; c. ** Prelude and
Fugue ^* ^* Scherzo" for orch., etc.
Floridia (flo-red'-yH), (Napolino) Pie-
tro, b. Modica, Sicily, March 5, i860;
pianist, pupil of S. Pietro a Majelio,
Naples ; while there he pub. succ.
pf.-pcs. ; prod. succ. comic opera
** Carlotta CUpier " (Naples, 1882),
later burned the score, retired for
3 years to Sicily ; toured 1885-86 ;
1888-90. prof, of pf. Palermo Cons. ;
1889, his grand symphony won ist
prize of the Soc. del Quartetto, Mil-
an ; w. text and music of succ. opera
** Maruzza " (Venice, 1894) ; lives in
Milan ; c. (with I.uigrl Illica) " La Cth-
Ionia Libera *'/ also **" FestouvertUre *'
Serena fa y etc.
Florimo (flo'-rY-mo), Fran., San Gior-
gio Morgeto, Calabria, 1800 — Naples,
1888 ; writer, teacher, and composer.
Flo'rio, Caryl, pen-name of Wm. JaiL
Robjohn.
i£
*
DICTIONARY OF MUSICIANS 435
Flor'ixel. Vide reuter.
FlDtow (flo'-to), Friedrich, Freiherr
von, TeuteixJorf, Mecklenburg, April
27, 18 12 — Darmstadt, Jan. 24, 1883 ;
composer of 2 extremely popular and
melodious, also extremely light, op-
eras ; son of a landed nobleman ;
studied composition with Reicha,
Paris ; he fled from the July Revolu-
tion to Mecklenburg, where he c. 2
operettas ; returning to Paris, he
prod. '' S/raphine," 1836. ''Rob
Koy" and the succ. ** Le Naufrage
' de ia M/dust" 1839, (given Ham-
burg, 1845, as •* Die Matroten "), in
which he collaborated with Paloti and
Grisai ; 3 later works failed, incl. the
ballet ''Lady Harriet" (Op<5ra,
1843) ; afterwards rewritten with
great succ. bs'' Martha" (Vienna,
1847). '' AUssandro Stradella\li^m'
burg, 1844 ; rewritten from a ** pi^ce
lyrique, '' Stradella," Paris, 1837).
made his name in Germany. He fled
from the March Revolution (1848),
and prod. ** Die Gross-far stin " (Ber-
lin, 1853). and '' Indra" (Berlin Op.
«ra, 1850) ; 3 later works failed.
1856-63, he was intendant of court-
music, Schwerin, and c. a ** Torch-
Dance " and excellent music to Shake-
speare's *• Winter* s Tale "; 1863-68,
he prod. 2 operettas, 2 operas, and 2
ballets, without succ. ; 1868, he re-
tired to one of his estates, near Vien-
na, made visits to Vienna, Paris, It-
aly ; 1870, ''L' Ombre" (Paris, Op.
Com., 1870 ; prod, in London, 1878,
as the '^Phantom") was very succ;
" Natda" (Milan, 1873) and " //
Fior d' Harlem " (Turin, 1876) were
revisions, and he rewrote *"' Indra " as
"V Enckanteresse'^ (Paris and London,
1878): lia\Y,''Almatlncancairice";
Germany *' Die Hexe**; after his
death '' Rose liana :\ '' Der Graf
Saint-M/grin " (Cologne, 1884), and
'' Die Musikanten" (Hanover, 1887)
were produced.
Plow'ers, Geo. French, Boston, Eng-
land, 181 1 — 1872, organist, teacher,
composer, and writer.
Flttgel (flQ'-g^l), (1) Gu8taT,Nienburg.
on-Saale, July 2, 18 12 — Stettin, 1900;
cantor, organist, writer, and compos-
er. (2) Ernest Paul, b. Stettin, Aug.
31, 1844; son and pupil of above {
studied at the R. Inst, for Churcb«
music, and the Akademie, Berlin;
private pupil of von Billow; 1867,
organist and teacher at the Prenzlau
Gymnasium; in 1879, cantor, Bres-
lau, and founded the '' FlUgelverein " ^
writer and composer.
Fo'dor, (i) Jos., Vanlos, 1752 — 1828 ^
violinist and composer. (2) Jo-
sephine, b. Paris, 1793; soprano;
retired, 1833 ; daughter of above ;
m. the actor Mainvielle.
Foerster (fer'-sht^r). Ad. Martin, b.
Pittsburg, Pa., Feb. 2, 1854; impor«
tant American composer ; pupil of his
mother and of Leipzig Cons.; 1875-
76, teacher at Ft. Wayne (Ind.),
Cons., then Pittsburg, Pa., where he
still lives as a teacher of singing and
pf.; c. "Faust" overture; march-
fantasia ; festival music, 2 suites (No.
I, ** The Falconer")^ festival march
(May festival, 1891, under Seidl) ;
** Symphonic Ode to Byron" and
•• Dedication March " (Carnegie Hall,
Pittsburg) ; *• Thusnelda" etc.
Foggia (fdd'.ja), Fran., Rome, 1604^
1688, composer and conductor.
Fogliani (fol-ya-ne), Ludovici, Moi
dena, 15th cent. — ca. 1540; theorist
and composer.
Fois^net (fwan'-ya), (i) Chas. Gabriel,
Lyons, ca. 1750 — Paris, 1823; teach-
er. (2) Fran., Paris, ca. 1780—
Strassburg, 1845; tenor, la;^r bary^
tone and dram, composer.
Fdldesy (fttl'-d^-she), . b. Uun.
gary ; young 'cellist, succ. in Ix %i'on,
1902 ; son of a military bandm m at
Budapest ; pupil of Becker.
Fo ley C' Signer Foli "), Allan \ \^^
Cahir, Tipperary, Ireland, 184 1-^
Southport, England, Oct. 20, \%\^\
concert and operatic bass. ^
Folville (f61-ve'-y&), (Eag6nie Ena 1
lie) Juliette, b. Liige, Jan. 5, 1870
brilliant pianist, vj'olinfst, teachei^
m
436
THE MUSICAL GUIDE
conductor and composer; pupil of
her father, a disting^uished lawyer;
studied vln. with Malherbes, Musin,
and Cesar Thomson ; in 1879, debut
at Li^ge as concert-violinist ; fre-
quently directs her own orchestral
works; annually conducts at Li^ge
Cons, a concert of ancient music, and
gives clavecin-recitals; prod. 1893,
very succ. opera ** Atala** (Lille,
1892 ; Rouen, 1893) ; 1898, pf. prof,
at Lilge Cons.; c. 3 orchestral suites ;
•* Seines (a) champHres^ (b) de la
mer^ (c) (Thiver*^ etc.
Fon'da, (Mrs.) G. A., 1837 — Louis-
ville, 1897; wrote **/:j[/> of Goit^
schalk^^ etc., under pseud., •' Octavia
Hense!.**
Fontaine (fon'-t^n), (i) Mortier de,
V. MORTIER. (2) Hendrik, b. Ant-
werp, April 5, 1857 ; concert-bass ;
pupil of the Cons, and singing-teach-
er, 1883.
Fontana (f6n-t£'.na), Gioy. Bat., d.
Brescia, 1630 ; composer.
Foote, Arthur Wm., b. Salem, Mass.,
March 5, 1853 ; prominent American
composer ; pupil of B. J. Lang (pf.),
S. A. Emery, and J. K. Paine (comp.)
1875, A. M. Harvard (for mus.) ;
since 1878, organist of the first Uni-
tarian Ch. , Boston ; pub. overture,
•• In the Mountains^* symphonic pro-
logue, *• Francesca da Rimini** 'cel-
lo concerto ; orch. suite and choral
works, " Farewell of Hiawatha**
•• The Wreck 0/ the Hesperus** and
^^ The Skeleton in Armour** ; pL-
quintet, quartet in C ; pf.-trio in C
min.; sonata for pf. and vln.; 2
string-quartets; pes. for vln. and
'cello, and pi.- pes.; 2 suites, and
songs.
Forberg: (for'-bgrkh), Robt., Lutzen,
1833 — Leipzig, 1880; mus. pub. at
Leipzig.
Forbes, H., 1804 — 1859 ; Engl, organ-
ist, pianist, and dram, composer.
F orchhammer (f6rkh'-ham-m$r), Th.,
b. Schiers, Gray Cantons, July 29,
X847 ; pupil of Stuttgart Cons.; 1885.
organist at Magdeburg Cath. ; 1888
Royal Mus. Dir.; writer and com'
poser.
Ford, (i) Thos., England, ca. 1580--
1648 ; composer and writer. (2)
Ernest A. C, b. London, Feb. 17,
1858 ; pupil of Sullivan and Lalo ;
cond. Empire Th., London; prod. 2
operas ; comic-opera, '\/ane Annie**;
a cantata; motet ^* Domine Deus^
(for 250th anniv. of Harvard Univ.),
etc.
For'kel, Jn. Nikolaus, Meeder, near
Coburg, 1749 '-*» Gtittingen, 1818 ;
historian, organist, harpist, and
teacher.
For'mes, K. Jos., MQlheim-on-Rhine,
1 8 16 — San Francisco, 1889 ; opera-
bass. His wife (2) a notable con-
tralto in N. Y. (3) Theodor, MQl-
heim, 1826 — Endenich, near Bonn,
1874 ; tenor, bro. of above.
Formschneider (fonn'-shni'-d^r). Vide
GRAFHAUS.
Fornari (fdr-n&'-re), V., b. Naples,
May II, 1848; pupil of Sira (pf.)
and Battista (comp.) ; c. operas,
^' Maria di r^rr^" (Naples, 1872)
" Salammbo,** ** Zuma ** (Naples,
188 1), and i-act opera-seria ** Un
Dramma in Vendemmia ** (Florence,
1896), succ.
Fomasari (fdr-nS-sfi'-re), Luciano/
Italian bass; debut ca. 1828; toured
widely and retired 1846.
Fdmer (tdr'-n^r), Chr., Wettin, 1610
— 1678 ; organ-builder ; ca. 1675, inv.
the "wind-gauge."
Forqueray (fork-r«), fils, contempo-
rary French composer.
Forster (fdr'-shtfir), G., (i) Amberg (?)
— NOmberg, 1568 ; editor and coll,
(2) G.. (II), d. Dresden, 1587;
double-bass ; conductor. (3) Niko*
laus (called Fortius), 1499 — '535 \
contrapuntist. (4) (or F5rster) Cas-
par, Danzig, 16 17 — 1673 ; composer,
theorist and conductor. (5) Wm.
(Sr.), Brampton, Cumberland, 1739 —
London, 1808 ; vln. -maker ; his son
and successor was (6), Wm.^ Lon-
don, 1764 — 1824.
Fdr'ster (f«r'-sht5r), (i) v. forstek
DICTIONARY OF MUSICIANS 437
(4). (2) Chr., Bebra, Thuringia,
1^3 — Rudolstadt, 1745 ; organist,
conductor and composer. (3) Eman-
uel Aloys, Neurath, Austrian Sile«
sia, 1748 — ^Vienna, 1823; theorist
and composer. (4) Jos., b. Osojnitz,
Bohemia, Feb. 22, 1833 ; Prague
School of Organists; organist in various
churches; since 1887, Prague Cath. ;
prof .of theory, Prague Cons. ; c. masses
and requiems, org. -pes ; wrote a trea-
tise on harmony. (5) Vide forrstkr.
(6) Alban, b. Reichenbach, Saxony,
Oct. 23, 1849 ; violinist ; pupil R.
Blume, later of Dresden Cons. ; lead-
er at Carlsbad, Breslau, Stettin; 187 1,
court mus., and cond. Neustrelitz,
188 1, teacher in Dresden Cons.,
cond. of the Liedertafel ; since 1882,
oourt-cond. at Neustrelitz, 1875 ; c.
comic operas, ballet pantomime, orch.
and chamber music, etc.
Portyth', Bros., mus. publishers,
LfOndon and Manchester.
Porti (for'-te), Anton, Vienna, 1790—
X859 ; barytone.
Portlag^e (f6rt'-la-g5), K., Osnabruck,
1806— Jena, 1881; writer.
Pdrtsch (f^rtsh), Jn. Ph., Wertheim,
Franconia, 1652 — Eutin, 1732 ; con-
ductor, singer, and dram, composer.
Pos'ter, (i) Stephen Collins, Law-
renceville (Pittsburg), Pa., July 4,
1826 — New York, Jan. 13, 1864 ;
chiefly self-taught as flageolet-play-
er and composer ; a writer of words
and music of genuine American folk-
song ; he enjoyed enormous vogue,
receiving $500 for the privilege of
singing "Old Folks at Home" (or
•• Suwanee River") before its publi-
cation ; c. i6o songs, incl. *' My Old
Kentucky Home," ** Nellie was a
Lady," and many war-songs ; his
melody, though simple, was rarely
banal and has elements of immortal-
itv. (2) (Myles) Birket, b. London,
Nov. 29, 1851 ; organist and com-
poser ; pupil of Hamilton Clarke, and
at R. A. M. of Sullivan, Prout, and
Westlake ; 1873-74, organist at Ha-
weis' Church ; 1880-92, at the Found-
ling Hospital; then mus.-ed. for
Boosey & Co.; c. 2 Evening Ser-
vices ; symphony, ** I$U of Arran " j
overtures, etc.
Pouqn^ (foo-ka), P. Octave, Pau, Bas-
ses-Pyrenees, 1844— 1883; libr., Paris
Cons. ; critic and writer.
Foumeaux (fooi^no), NapoUon,
Leard, 1808 — Aubanton, 1846; im-
prover of the reed instalments.
Foumier (foom-ya), (i) P. Simon,
Paris, 1 7 12 — 1768 ; introducer of
round-headed notes, and writer on
history of music-types. (2) fimile
Eugene Alex., Paris, 1864 — ^Toin-
ville-le-Pont, 1897; pupil of Delibes
and Dubois at Cons.; 1891 took 2d
Grand prix de Rome, and 1892 Prix
Cressent, for i-act opera ^^Stratonice **
(Gr. Opera, Paris, 1892); c, opera
** Carhman** etc.
Fox, Geo., b. 1854, Eng. (?); bary-
tone, with various opera troupes in
London and the provinces and c. pop.
operettas, ^^ Robtrt Mtuaire" 1887;
" The Corsican Brothers," 1888, and
•• NyJia,'* 1892 — all prod, at the Crys-
tal Palace ; c. cantatas, songs, etc.
Fradel (frS'-ddl), Chas. (Karl), b.
Vienna, 182 1 ; music-teacher New
York, then London ; composer.
Framery (frilm-re), Nicolas Et., 1745
— Paris, i8io; writer.
Francesco. Vide landing.
Prancesina (is fr&n-cha-se'.n&), La
(rightly Elizabeth Duparc), French
singer in Italy, and, 1738-45, London,
where she created Handelian roles.
Pranchetti (frin-kSt'-te), (i) Alberto
(Baron) ; b. Turin. Sept. 18, 1850 ;
pupil of N. Coccon and F. Magi;
then of Draeseke, and at the Munich
Cons.; prod, "dram. legend"
**Asraeie^* (Brescia, 1888); opera,
Cristoforo Colombo " (Genoa, 1892),
Fior (TAlpe'' (Milan, 1894), " //
Signor di Pourceaugnac" (Milan,
1807), all succ; c. a svmphony, etc.
(2) Valerio, b. Italy; violinist;
nephew of above ; opposed by his
family he made succ. as ** OHveira " ;
played with succ. Berlin, 1892.
!•
I«
438
THE MUSICAL GUIDE
Franchinus (fran-ke'-noos). Vide
GAFORI.
Franchi - Veraey (f ran'-ke-v5r'-na),
Giu. Ip.yConte della Valetta ; b. Tu-
rin, Feb. 17, 1848 ; 1874 gave up law for
music ; 1875-77 under the pen-name
•' Ippolito Valetta " contributed to
various papers ; 1893 (?), m. Teresina
Tua ; c. succ. lyric sketch ** // VaU
dese " (Turin, 1885), and succ. ballet,
*'/lAfu/af/o" {Nsiples, 1896).
Franchomme (fr^n-sham), Auguste,
Lille, April 10, 1808 — Paris, Jan.
21, 1884 ; *cellist ; teacher at the
Cons, and composer.
Franck (frtok), (i) Melchior, Zittau,
ca. 1580— Coburg, June i, 1639 ;
from 1603 court-cond. at Coburg ; a
prolific and important c. of secular
and church- music, a pioneer in im-
proving instrumental accompaniment;
two of his chorales ^^Jerusaltm^ das
hochgebauie Stadi,"' and ** Wenn ich
Todesndthen bin" are still sung ; he
is said to have written the text for
many hymns. (2) Jn. W., Hamburg,
1641 — Spain, 1688 (or later) ; opera-
cond.; c. 14 operas. (3) (fran), C£-
sar Aug^ste, Liege, Dec. 10, 1822
—Paris, Nov. 8, 1890 ; imp)ortant
and influential French composer ;
pupil Liege Cons., then of Paris
Cons., where he took ist prize for
piano, and 2d for comp., also suc-
ceeding his organ-teacher, Benoist, as
prof, there in 1872, and as organist
at Ste. Clothilde; c. a notable symph.
poem with dxovMs ^^ Les b^faiitudes**
symph. poem ** Le chasseur maudit*'*
a symphony in D minor, a succ. com.
opera *' Hulda " (Monte Carlo, 1894),
3 oratorios, an unfinished opera
^^Ghisella^* a sonata for pf. and
vln.; pf.-pcs.; chamber-music, songs,
etc. ; biog. by Derepas (Paris, '97),
and by Destranges. (4) Eduard,
Brcslau, 18 17 — Berlin, 1893 ; pro-
fessor and composer. . (5) Jos., b.
Liige, ca. 1820 ; bro. of (3) ; organ-
ist and teacher, Paris ; pub. Ode to
St. Cecilia (with orch.) ; cantatas,
Francke (frank'.£), Augf. Hn., 1865,
founded Leipzig pf. -factory.
Fran'co, a name honoured in mensural
music and probably belonging to two,
perhaps three, men : (i) F. of Paris
(the elder)^ cond. at Notre-Dame,
Paris, ca. iioo (?) a.d.; and (2) F.
of Cologne, Dortmund and prior of
the Benedictine Abbey at Cologne in
1 190, author of 2 treatises.
Francoeur (frSh-kfir), (i) Francois,
Paris, 1698^1787 ; violinist and
dram, composer. (2) Louis Jos.,
Paris, 1738— -1804 ; nephew of above;
violinist, conductor and dram, com-
poser.
Frank (i) Melchtor. Vide franck.
(2) Ernst, Munich, 1847 — (insane),
Oberdobling, near Vienna, 1889 ;
court-organist and dram, composer.
Franke (frank'-5), Fr. W., b. Bar-
men, June 21, 1862 ; studied Berlin
Hochschule ; organist at Stralsund,
later at Cologne, also teacher in the
Cons.
Frankenberg^er (frank'-6n-b«rkh-5r),
H.y WUmbach, SchwarzbuTg-Sonder&
hausen, 1824 — Sondershausen, 1885 ;
conductor, violinist, and dram, com-
poser.
Frank'lin, Benj., Boston, Mass.,
1706 — Philadelphia, 1790; the emi-
nent philosopher ; inv. the harmonica
(v. D. D.), and wTote wittily on
Scotch and contemporary music, etc
Franz (frants), (i) K., Langenbielau,
Silesia, 1738 — Munich, 1802 ; virtu-
oso on the waldhorn, and the bary-
ton. (2) J. H., pen-name of Count
B. von Hochberg. (3) Robt., Halle,
June 28, 1815— <)ct. 24, 1892 ; 1847,
changed his family-name Knauth,
by royal permission ; long opposed
by his parents, he finished his musi-
cal studies 1835-37, under Fr. Schnei-
der, Dessau ; returned to Halle, and
spent six Years studying Bach, etc. ;
1843, l^^s "i^t album of 12 songs ap-
peared, and was cordially rec*d by
Liszt and Mendelssohn, and by Schu-
mann, who wrote about him in his
periodical. He became organist at
DICTIONARY OF MUSICIANS 439
r
the Ulrichskirche, and later cond. of
the Sinj^kademie, and mus. dir. at
Halle Univ., which made him Mus.
Doc., 1861. In 1868, deafness at-
tacked him, and nervous disorders
prevented his writings further. His
distress was relieved by the receipt of
t25,cxx>, from a series of concerts or-
ganised 1872, in Germany, by Ilelene
Magpius, Joachim, Liszt, and in
America, by Dresel, Schlesinger, and
B. J. I^ngr. His wife (4) Marie (nee
Hinrichs, 1828-91), pub. many ex-
cellent songs. His supplementing of
the old musical shorthand of Bach
and Handel, by full scores with mod-
ern instrumentation has been of in*
valuable service. He also pub. es-
says and **open letters" to Hanslick
on Bach and Hftndel. He pub. 257
songs; the 117th Psalm, for double
chorus a cappella ; Kyrie for soli and
4-part chorus, a capp/lia, a liturgy for
6 chorals, 6 part-songs for mixed
chorus, and 6 do. for male chorus.
Biog. sketches, by Ambros, Liszt,
Dr. W. Waldmann (Leipzig, 1895),
etc.
IM
Robert Franz.
By Henry T. Finck.
NEXT to Schubert, Robert Franz is undoubtedly the most original ot
German song-wnters. Unlike Schubert, he was a specialist, con-
fining himself almost entirely to the field of art-songs, of which he
wrote 279. These short songs represent, however, multtrm in parvo. As
he himself once remarked, they are '* like a mirror reflecting the development
of music from a to z." By their simple atrophic structure they remind one
of the early folk-song. Many of them are as stately and majestic as the Prot-
estant chorals of the time from Luther to Bach. ^Like Bach's music, the
pianoforte parts of Franz's songs are polyphonic ; that is, the melody is not
confined to the voice, but each part of the instrumental accompaniment is a
melody, too, and these diverse melodies are interwoven with magic art. At
the same time his harmonies and tone-colours are as modem as Chopin's, espe-
cially in the use of chords widely extended with the aid of the pedal. ^ Franz
admitted he could never have become what he was, had it not been for Scha*
mann and Schubert ; yet his style is entirely different fi-om theirs. He wa&
also more critical than any of his predecessors, retaining in his desks all songs
that did not please him ; hence the proportion of good ones is greater in his
case than in any other. His songs are a happy blending of the romantic
spirit and the classical style, of the modem declamatory style and a genuine
bel canto.
Frilnzl (fronts'!), (i) I^naz, Mann-
heim, 1734 — 1803 ; violinist, conduc-
tor and composer. (2) Fd., Schwet-
zingen. Palatinate, 1770 — Mannheim,
1833 ; son and pupil of above ; con-
ductor and dram, composer.
Frauenlob (frow'-$n-l6p). Vide voit
MP.ISSEN.
Frauscher (frow'-sh^r), Moritx, b.
Mattighafen, Austria, 1861; studied
with Jn. Ress, sang Pogner V^ Msi>
440 THE MUSICAL GUIDE
iersinger*% Bayreuth, 1892; since
1899, Vienna, ct.-opcra.
Frasi (fra'-ze), Giulia, Italian singer in
England, 1743-58 in Handel's works.
Frederick II. (the Great), of Prussia ;
Berlin, 1712 — Potsdam, 1786; flute-
player and composer of remarkable
skill — for a king.
Fr£d6rix (fra-da-rex), Gt., Li^ge,
1834 — Brussels, 1894; critic.
Frege (fra'-g^), Livia (nee Gerhard),
Gera, b. June 13, 1818 ; singer; pu-
pil of Pohlenz ; debut at 15 with
Clara Wieck, who was then 13, at the
Gewandhaus, Leipzig.
Freiberg (frl'-b^rkh), Otto, Naum-
burg, April 26, 1846 ; studied, Leip-
zig Cons.; from 1865, violinist in
court-orch., Carlsruhe ; studied with
V. Lachner; became mus. dir. Mar-
burg Univ.; 1887, mus. dir. and prof.
Gttttingen.
i^r^ne (fr^n), Eug^ae H., Strassburg,
1 860 (?) — Paris, 1896 ; conductor.
Fr^re (fr&r), Marguerite Jeanne
(called Hatto), b. Lyons, Jan. 30,
1879; soprano; pupil of the Cons.,
took 2 opera prizes, 1899 • debut Ope-
ra, 1899 ; created ** Floria " in Saint-
Saens' ^^ Les Bar bares** ; sang at
Monte Carlo, etc.
Preschi (frfe'-ke), Giov. Dom., Vi-
cenza, 1640 — 1690; conductor and
dram, composer.
Frescobaldi (fr^s-ko-bal'-de), Girola-
mo, Ferrara, 1583 — (buried) Rome,
March 2, 1644 ; the greatest organist
of his time, a revolutionist in harmo-
ny and important developer of fugue
and notation ; he was so famous
that 30,000 people attended his first
performance as organist of St. Peter's,
Rome (16 10, or -14) ; pupil of Luz-
zacchi ; organist at Mechlin probably
1607; c. org.-pcs., fugues, double-
choir church-music, etc.; biog. by
Haberl.
Freudenberg (froi'-d^n-b^rkh), Wm.,
b. Raubacher HQtte, Prussia, March
II, 1838; studied in Leipzig; th.-
cond. in various places ; 1865, cond.
of the Cecilia Singing Society, and the
Synagogenverein, Wiesbaden ; i879.
founded a Cons., and till 1886, cond.
the Singakademie ; later opera-cond.
at Augsburg and (1889) Ratisbon ;
c. many operas, chiefly comic ; symph.
poem, etc.
Freund (froint), Robt., b. Buda-Pesth,
April 7, 1852 ; pianist; studied with
Moscheles, Tausig, and Liszt ; lives
in Zurich.
Frey (fri), M., d. Aug. 10, 1832 ; vio«
linist, court-cond. at Mannheim, and
dram, composer.
Freystatter (fn'-sht^t-tdr), Wm.*
1836 — Munich, 1892, critic.
Frezzolini (fr^d-zo-le'-ne), Erminia,
b. Orvieto, 1818 ; soprano ; debut,
1838.
Friberth (fri'-b€rt), K., Wullersdorf,
Lower Austria, 1736 — Vienna, 18 16 ;
tenor ; conductor.
Frick (or Frike) (frYk, or fre'-kd).
Ph. Jos., near Wflrzburg, 1740—
London, 1798 ; organist and com-
poser.
Fricke (frTk'-^), Aug. Gf., Brunswick,
1829 — Berlin, 1894 ; bass.
Frickenhaus (frtk'-^n-hows), Fanny
(nee Evans), b. Cheltenham, Eng-
land, June 7, 1849 ; pianist ; pupil
of G. Mount, Aug. Dupont (Brussels
Cons.), and Wm. Bohrer ; 1869, d^
but, London.
Friedheim (fret'-hlm), Arthur, b. St.
Petersburg, Oct. 26, 1859 ; pianist
and conductor; pupil of Rubinstein
one year, and of Liszt, 8 years ; c.
concerto, etc.
Friedlander (fret'-l^nt-«r). Max., b.
Brieg, Silesia, Oct. 12, 1852 ; concert-
bass and editor; pupil of Manud
Garcia and Stockhausen ; d^but,
1880, London; 1881-83, Frankfort :
since in Berlin ; 1882, Dr. PhiL h.
c. (Breslau).
Friedrich IL Vide frkderick.
Fries (fres), Wulf (Chr. Julius),
Garbeck, Holstein, Ger. Jan. 10,
1825 — Roxbury. Mass., April 29,
1902 ; self-taught 'cellist ; at 17 io
the Bergen Th. orch. and Ole BulPs
concerts ; 1847, Boston, Mass., oim
DICTIONARY OF MUSICIANS 441
of the founders of the* Mendelssohn
Quintet Club ; later a member of the
Beethoven Q. Club.
Frike. Vide frick.
Frimmel (frlm'-m^l), Th., b. Amstet«
ten, Lower Austria, Dec. 15, 1853 ;
M. D. (Vienna): writer.
Fritze (fnt'-zd), Wm., Bremen, 1842
—Stuttgart, 1881 ; conductor, writer,
and composer.
Fritzsch (fiirtsh), Ernst Wm., b.
LOtzen, Aug. 24, 1840 ; pupil Leip-
zig Cons. ; acquired the music-pub.
business of Bomnitz in I^ipzig ;
since 1870, ed. the radical ** Musi'
kalisches IVochenbiatt" and 1875
started the '''' Musikalische HausbldU
ter " / is a member of the Gewand-
haus Orch. ; pub. the works of Wag-
ner, Grieg, etc., and aided progress,
Froberger (fro'-bSrkh-Cr), Jn. Jakob,
1605 (?) — H^ricourt, France, May
7, 1667 ; chief German organist of
the 17th cent. ; son of a cantor at
Haile ; studied in Rome with Fresco-
baldi ; court organist at Vienna ; trav«
elled, and in England, being robbed,
became a bellows-treader ; he over-
blew during Chas. II's marriage and
was beaten by the organist Gibbons ;
he fell to improvising shortly after,
and was recognised by a pupil who
presented him to the king.
^ro(h)lich (fra-ltkh), (i) Jos., WUrz-
burg, 1780-— 1862 ; musical director ;
writer and dram, composer. (2) The
name of three sisters b. Vienna, (a)
Nanette (Anna), 1793 — ? pianist,
teacher, and singer, (b) Batbara,
1697 — ?, contralto and painter, m. F.
Bogner. (c) Josephine, 1803 — 1878,
notable singer and teacher.
Fromm (from), Emil, b. Spremberg,
Niederlausitz, Jan. 29, 1835 ; pupil
of R, Inst, for Church-music, Berlin ;
1866, Royal Mus. Dir. ; 1869, organ*
ist and conductor at Flensburg ; c. 2
Passion cantata, an oratorio, etc.
Frontint (fron-ie -ne), F. Paolo, b.
Catania, Aug. 6, i860; pupil of P.
Platania, and Lauro Rossi ; now
dir. Catania Mus. Inst. ; c. sucp
opera ** Malia^ (Bologna, 1893)2
oratorio '• Sansone** (1882), etc.
Froschauer (fr6sh'-ow-6r), Jn., printer
at Augsburg; said to have printed
the first music with movable type in
1498.
Frost, (i) Chas. Jos., b. Westbury.
on-Tyne, Engl., June 20, 1848 ; son
and pupil of an organist at Tewkes«
bury, also pupil of Cooper, Goss, and
Steggall ; organist various churches ;
1882, Mus, Doc. Cantab. ; 1880 prof.
of organ Guildhall Sch. of Mus. ;
c. oratorio, ** NathatCs Parable "
(1878) ; a symphony, etc. (2) H. Fr.,
London, March 15, 1S48 — ^June,i90i ;
studied organ with Seb. Hart. ; 1865-
91, organist of the Chapel Royal,
Savoy; i88o-88, pf.-prof. Guildhall
Sch. of Mus. ; from 1877 critic of
•• Th€ Academy;* later oi ''TheAihe*
naum^ and ^''The Standard**; pub.
biog. of Schubert, and the " Savoy
Hymn-tunes and Chants^
Frotz'ler (frots'-ldr), Carl (" Auer *\
b. Stockerau, Lower Austria, April
10. 1873 ; pupil of his father ; at 15,
had c. a grand mass, an offertory,
etc. ; then entered Vienna Cons,
studying under Krenn ; 1887-93, or«
ganist at the Pfarrkirche, Stockerau,
and chamt)er-pianist to Prince Hein*
rich Reuss IV ; 1893-97, cond. to
Count Esterhazy at Totis, Hungary ;
since, cond. City Th., Linz-on- Dan-
ube; c, operas ** Arnelda" (Totis,
1894 ; took Philh. Ger.-Amer. Opera
Society's prize) ; ** Der Liebesring " /
•• Mathias Corvinus " (Pesth, Royal
Opera, 1896) ; 3 masses ; asymphony^
etc.
Fnigatta (froo-gat'-ta), Giu., b. Ber-
gamo, May 26, i860 ; pianist ; pupil
of Bazzini (comp.) and Andreoli (pf.)
at Milan Cons. ; became prof, there ;
also at the ** Collegio reale delle Fan-
ciulle " ; composer.
Frilh (frQ), Armin Lebrecht, Mtihl-
hausen, Thuringia, Sept. 15, 1820— •
Nordhausen. Jan. 8, 1894 ; dram*
composer ; inv. 1887, of the * Semeio*
melodicon " (vide D. D.).
442
THE MUSICAL GUIDE
Fruytiers (froi'-t5rs), Jan., Flemish
composer at Antwerp i6th century.
Fry, Wm. H., Philadelphia, 1813—
Santa Cruz, 1864 ; dram, composer ;
critic N. Y. Tribune,
^uchs (fookhs), (i) G. Fr., Mayence,
1752 — Paris, 1821 ; clarinettist and
bandm. (2) Aloys, Raase, Austrian
Silesia, 1799 — Vienna, 1853 J col-
lector and writer. (3) K. Dorius,
Jn., b. Potsdam, Oct. 22, 1838 ; pupil
of his father and v. BQlow, W^itz*
mannand Kiel ; Dr. phil., Greifswald;
1871-75, concert pianist, teacher and
critic, Berlin ; 1875-79, Hirschberg ;
1879, Danzig ; since *86, organist at
the Petrikirche, there . Pub. numerous
valuable musical treatises. (4) Jn.
Nepomuk, Frauenthal, Styria, May
5, 1842— Vienna, Oct. 5, 1899; from
X893, dir. of Vienna Cons. ; dir. and
dram, composer. (5) Robt., b. Frau-
enthal, Feb. 15, 1847 ; bro. of above ;
pupil, since 1875 prof., at Vienna
Cons. ; pub. a symphony, 3 valuable
serenades, etc.; prod. 2 operas : succ.
•*Spielopcr" •*/>!> Teufelsglocke"*
(Leipzig, 1893) and the succ. com.
opera ** Die fConigsbraut" (Vienna,
1889). (6) Albert, b. Basel, Aug. 6,
X858 ; pupil of Leipzig Cons. ; 1880,
mus. dir. at Trier ; 1889, owner and
manager Wiesbaden Cons. ; composer.
(7) Anton, b. Munich, Jan. 29, 1849 \
barytone ; studied with iley and
Milner ; sang at the court-opera ;
since 1882 at Bayreuth, first as singer
then as manager.
FUchs (fuks), Fd. K., Vienna, 18 11—
1848 ; dram, composer.
Fuentes (foo-an'-t<$s), (i) Don Pas-
quale, b. Albayda, Valencia, d. there
1768 ; conductor and composer. (2)
Francisco De Santa Maria de,
Franciscan monk and writer at Ma-
drid, 1778.
Fuertea, M. S. Vide soriano.
Fllhrer(fa'-r«r), Robt., Prague, 1807—
Vienna, Nov., 1861 ; organ-com-
poser.
Fnhrmann (foor'-m&n), (i) G. Ld.,
wrote work on the lute, NQmbeig,
1615. (2) Martin H., ca. 1670— ca
1736 ; theorist and writer.
Fulda, Adam yon. Vide ad am.
Fulsztjnski (fooish-ten'-shkl), Se*
bastian, Polish theorist, i6th c
FumagfalU (foo-mil-gal'-le), name of
four bros. b. at Inzago, Italy : (i)
Disma, 1826 — Milan, 1893 : profes«
sor and composer. (2) Adoifo, 1828
— Florence, May 3, 1856 ; pianist.
(3) PoHbio, b. Oct. 26, 1830 ; pia-
nist and composer. (4) Luca, b.
May 29, 1837 t pupil Milan Cons. ;
concert-pianist; prod, opera ** Luigi
A'/ " (Florence. 1875).
Fumagal'lo, Mario L^on, b. Milan,
Sept. 4, 1864 ; studied with Ceina ;
barytone of wide travel.
Fumi (foo'-me), Vinceslao, Monte-
pulciano, Tuscany, 1823 — Florence,
1880 ; conductor, violinist, dram,
composer and collector.
Fur'ker, one of the best vln. -makers,
London, 1780— 1840.
Furlanetto (foor-la-n^t'-to). Bona*
Ventura (called Musin), Venice*
1738 — 1817 ; singing-teacher, con-
ductor and composer.
Furno(foor'-n6), Gioy., Capua, 1748 —
Naples, 1837; professor and dram,
composer.
Furscn-Madi (foorsh'-ma-de), Emmyy
Bayonne, France, 1847 — Warrenville.
N. J., Sept. 20, 1894 ; pupil of Paria
Cons., debut Paris; came to America,
1874, with the New Orleans French
Opera Company ; 1879-81, Covcnt
Garden, London ; her final appear-
ance was as •* Ortrud," N. V., 1894.
Ftirstenau (fUrsht'-^-now), (i) Kaa»
par, MUnster, Westphalia, 1772 — Ol-
denbuiig, 18 19; fl ute- virtuoso ; com-
poser. (2) Anton B.,MUnster, 1792
— Dresden, 1852 ; son and pupil of
above ; flutist and composer. (3)
Moritz, Dresden, 1824 — 11889 ; son
and pupil of (2) ; flutist and writer.
FUrstner (fOrsht'-n^r), Ad., b. Berlin,
Jan. 2, 1835 * founded (1868) a mus.*
pub. house, Berlin.
Fax (foox), Jn. Jos., Hirtenfel^
Upper Styria, 1660— Vienna, Fe&
DICTIONARY OF MUSICIANS 443
14, 1 741 ; eminent theorist, organist,
and court-conductor and writer; c.
405 works (few pub.), incl. 18 operas,
10 oratorios, 50 masses, incl. ttiissa
gaftonica. He wrote the famous
treatise on cpt. *' Gradus ad Parnas^
sum " in dialogue form ; it is based
on the church-modes. Biogr. by
KOchel (Vienna, 1872).
G.
Gabler (giip'-I£r), Jn., d. ca. 1784 ; or-
gan builder at Ulm.
Gabriel (i) (ga'.brl-61), Mary Ann
Virginia, Banstead, Surrey, Engl.,
1825 — London, 1877 ; c. cantatas,
operas, etc. (2) (gk'-brl-^l), Maz»
1890, cond. Residenz Th., Hanover;
prod, the succ. 3-act operettas,
*' SUffen Langer ** (Magdeburg,
1889); ** D^ Freiwerher " (Hanover,
1890); ""' Der GardfUhlan^' (Bres-
lau, 1892; Berlin, 1893, as ^'' Der
Gar-de-Husar''),
Gabrieli (gft-brY-a-le), (i) Andrea,
Venice, ca. 15 10— 1586 ; eminent or-
ganist and teacher and composer of
the first ** real" fugues (v. d.d.). (2)
Giov., Venice, 1558 — Aug. 12, 1613
(ace. to his monument) ; nephew and
pupil of above, and equally famous ;
an extraordinary contrapuntist, his
** symphoniae sacrae *' employing 3
simultaneous choirs independently
bandied ; he has been called *' the
father of the chromatic style" be-
cause of his bold modulations. (3)
Dom. (called '* Menghino del violon-
cello"), Bologna, ca. 1640 — ca. 1690;'
*cellist, conductor, and composer.
Gabrielli (gfi-brl-^r-le), (i) Catterina,
Rome, Nov. 12, 1 730— April, 1796 ;
daughter of Prince (}.'s cook (and
hence called "La Cochetta/' or
" Cochettina ") ; one of the most
beautiful and brilliant of singers ; her
extraordinarily flexible voice had a
"thrilling quality*' (Burney) ; her
caprices and her high>handcd treat-
ment of the nobility and royalty ena-
moured of her make her a most pict-
uresque figure ; she sang with great-
est succ. all over Europe and retired
wealthy. Her sistet (2) Francesca
(called *< La Gabriellina," or <' La
Ferrarcse"), Ferrara, 1755— Ven-
ice, 1795, was a celebrated prima
donna buffa. (3) Conte Nicolo,
Naples, 18 14 — 1891 ; prod. 22 operas
and 60 ballets.
Gabriels'ki, (i) Jn. Wm.« Beriin, 179c
— -1846; flutist and composer. (2)
Julius, Beriin, 1806^1878 ; bro. and
pupil of above ; flutist. (3) Ad., ist
flutist, Berlin Royal orch., son of (2).
GabrilowiUch (g^-bre-lo'-vltsh), Os*
sip, b. St. Petersburg, Jan. 26, 1878;
studied at the Cons, with Tolstofl
and Rubinstein ; at 16 took the Ru-
binstein prize; studied with Les
chetizky at Vienna, 1894-96; 1896
began touring with success ; 1900-oa
America ; c. pf. -pieces*
Gabussi ^d-bdos -se), V., Bologna,
1800— London, 1846; teacher and
composer.
Gade (gft'-dQ, Niels Wm., Copen-
hagen, Feb. 22, 18 17 — Dec. 21, 1890;
son of an instr. -maker ; at 15 refused
to learn his father's trade, and be-
came pupil of Wexschall (vln.) Berg-
^en (theory) ; at 16 a concert-violin-
ist His overture, " Na(hkliit^(i
von Ossian^ took first prize at the
Copenhagen Mus. Soc. competition
(i84i)and won for him a royal stipend.
In 1842 the C min. symphony, and
1846 the cantata ** Comaia ^wtxt prod,
by Mendelssohn at the Gewand-
haus. He travelled in Italy; then,
1844, lived in Leipzig as sub-cond. to
Mendelssohn* and regular cond. at
his death (1847) ; 1848, he returned
to Copenhagen as cond. of the Mus.
Soc. and as organist ; 1 861, court-
cond., made Prof, by the King, and
Dr. Phil. h. e. by the Univ. ; 1886,
Commander in the Order of Dane*
brog; 1876 the govt, voted him t
life-pension. Autobiog. ^^ Aufteich*
nungen und Briefs " (Basel, 1893).
Pub. 7 symphonies (D minor. No. )
with pf.); 5 overtures, ^^ Nach
444
THE MUSICAL GUIDE
klange von Ossian,*' *' fm Hoch^
lande:' " Hamlet,'* ** Michelangelo;*
octet, sextet, and quartet for strings ;
8 cantatas, '* iS/z/^x>W«^",(Erl-King's
daughter). ** FrUhlingsbotschaft,'*
''Die Heilige Nacht:* '' Zion^'
''JCalanus," ''Die Kreuz/ahrer,"
"Psyche" etc.; 2 vln. -concertos ; pf.
sonata and pes., songs, etc.
Gads'by, H. Robt.»b. Hackney, Lon-
don, Dec. 15, 1842 ; pupil of Wm.
Bayley, but mainly self-taught ; or-
ganist at St. Peter's, Brockley ; 1884,
prof, of harm. Queen's Coll. London;
also at Guildhall Sch. of Mus. ; c.
* Festival Service " ; 3 symphonies ;
3 overtures, ""^ Andromeda, "The
Golden Legend," and " The Witches*
FroHc,** etc.
Gad'sky, Johanna, b. Anclam, Prus>
sia, June 15, 1871 ; soprano, edu-
cated at Stettin ; 1892, m. H. Pausch-
er ; sang in U. S. A. for many years,
1899 Covent Garden and as *' Eva "
(Afeister singer), at Bayreuth.
Gaforio (gS-fd'-rt-o) (or Gafori, Gaiu-
fi, Gafiurio), Franchino (Latinized
** Franchinus Gafurius,** or ** Fran-
chinus"), Lodi, Jan. 14, 145 1—
Milan, June 24, 1522 ; priest, emi-
nent theorist, choirmaster and singer.
Garllano (gilUya-n5), (i) Marco di
Zanobi da, b. PMorence; d. there,
Feb. 24, 1642 : conductor and com-
poser. (2) A family of Naples vln.-
makers, (a) Alessandro, pupil of
Stradivari, worked ca. 1695— 1725.
His sons, (b) Nicold (1700-40), and
(c) Gennaro (1710-50), and his
grandson, (d) Ferdinando (1736-81)
succeeded him ; later descendants est.
factory of strings, still famous.
Giihrich (ga -rVkh), Wenzel, Zercho-
witz, Bohemia, 1794 — Berlin, 1864 ;
violinist, ballet-master^ and dram,
composer.
Gail (gS-el), £dm6e Sophia (n<^e
Garre), Paris, Aug. 28, 1775 — ^July
24, 1819; singer and dram, com-
poser.
Galeazzi (g^-la-ad'-ze), Fran., Turin,
1758 — Rome, 1819; violmist.
Galerat'ti, Catterina, Italian contral-
to, in London 17 14-21.
Galilei (ga-lt-la'-e), V., Florence, ca.
1533^-ca. 1600 ; lutenist, violinist
and theorist ; father of the astrono*
mer.
Galin (git-l&n), P., Samatan Gers,
France, I786---Paris (?), 1821 ; wrote
pop. method '* Meloplaste " (v. D. D.).
Galitzin (^ii-le'-tshen), (i) Nicolas
Borissbvitch, d. Kurski, 1866; a
Russian prince, to whom Beethoven
dedicated an overture, and 3 quartets;
he advanced Beethoven liberal sums
for his dedications ; a skilful *cellist.
(2) G. (Prince), St. Petersburg, 1823
-—1872 ; son of above ; composer
and cond. ; maintained in Mos-
cow (1842) a choir of 70 boys ; later
an orchestra.
Galiay (g&l-l^), (i) Jacques Fran.,
Perpignan, 1795 — Paris, 1864; horn*
virtuoso and composer. (2) Jules,
Saint-Quentin, 1822 — Paris, 1897 ;
amateur 'cellist of wealth ; made re-
searches and pub. valuable treatiseSL
Gallenberg (gal'.l£a-b«rkh), Wenzel
Robt.y Graf von, Vienna, 1783—
Rome, 1839 ; c. ballets.
Galle'tius, Fran, (rightly Francois
Gallet (gll-la)), b. Mons, Hainault,
i6th cent.; contrapuntist.
Gal'li, (i) Filippo, Rome, 1783— Paris,
June 3, 1853 ; first most successful
as a tenor ; illness changed bis voice,
and he achieved great success as a
bass. (2) , d. 1804 ; Italian
mezzo-soprano in London from 1743.
Gal'iia. Vide epine.
Galliard (gal'-lY-art), Jn. Ernst, Celle,
Hanover, 1687 — London, 1749; oboist
and organist.
Gal'lico, Paolo, b. Trieste, May 13,
1868 ; at 15 gave a pf. -recital at
Trieste; then studied Vienna Cons,
with Julius Eppstein ; at 18 graduat-
ing with first prize and ** GeselU
schaf ts *' medal ; toured Europe ;
since 1892 pianist and teacher, New
York.
Gallic'ulus, Jns., contrapuntist at
Leipzig, 1520-48.
K*r'
DICTIONARY OF MUSICIANS 445
Galli-Mari6 (e&l-U mSr-ya), Cei6a-
tlne (nee Marie de Tlsle), b.
Paris, Nov., 1840 ; mezzo-soprano ;
daughter of an opera-singer; d^but
Strassburg, i^Sg; sang Toulouse,
i860, Lisbon, 1861, Rouen, 1862;
i86a-78, and 1883-85, Paris Op^a
Comique ; she created ** Mignon **
(1866), " Carmen " (1875), etc.
Gal'lus, (i) Jacobus (rightly Jacob
Hiiadl, Handl or Hiihnel) ; Camio.
la, ca. 1550— Prague, 1591 ; compos-
er and conductor. (2) Jns. (lean le
Cocqi Maitre Jean, or Mestre
Jhaii}9 d. before 1543 ; a Dutch con-
trapuntist, conductor and composer.
(i) Vide MttUKRITSCH, JN.
Galappi (ea-Ioop'-pY), Baldassare
(called II Buranel lo), Island of Bu-
rano, near Venice, Oct. 18, 1706—
Venice, Jan. 3, 1784; harpsichord
virtuoso ; organist 1765-6S ; conduc-
tor ; c. 54 comic operas.
Gambale (g&m-bfi'-l£), Emm., music-
teacher, Milan; pub. ** La ri forma
musuaie" (1840), etc, advocating a
scale of 12 semitones.
Gambini (gSm-be'-ne), Carlo Andrea,
Genoa, 18 19 — 1865 ; c. operas, etc.
Gam'ble, John, English violinist and
composer, 17th century.
Gamttcci (gS-moot'-che), Baldassare,
Florence, 1823 — 1892 ; pianist and
writer.
Ganasai (ga-nas'-se), Silvestro, b.
Fontego, near Venice, ca. 1500
(called '* del Fonteg^ ") ; editor and
writer on graces.
Gand (g&n), Ch. Nicolas Eus^^ne,
ca. 1826 — Boulogne-sur-Seine, 1892 ;
vln. -maker. V. lui'OT.
Gandillot (g^n-de-yo), L6on, b. Paris,
Jan. 25, 1862 ; writer of comedies
and composer of Parisian vaudevilles.
Gandini (gan-de'-ne), (i) A., Modena,
1786— Formigine, 1842 ; conductor
and dram, composer. (2) Alessan-
dro, Modena, ca. 1807 — 1871 ; son,
pupil (1842) and successor of above ;
dram, composer and writer.
Ganne (gin), L. GAston, b. Buxi^res-
les-Mines, AUier, April 5, 1862; pupil
of Dubois and Franck, Paris Cons. ;
c, comic opera '* Rabelais " (1892),
vaudeville operetta, ballets, etc.
GiUsbacher (g£ns'-b^h-«r), Tn.,
Sterzing, Tyrol, 1778 — Vienna, 1844;
conductor and composer.
Gan'tenberc: (-b^rkh), H., b. Beriin.
Nov. 29, 1823 ; flutist ; studied with
Gabrielskv; from i860 chamber-mus.,
pensionecf 1893 ; from 1872 teacher
at the Hochschule.
GantTOort (gant'-vdrt), Arnold J.,
b. Amsterdam, Dec. 6, 1857 ; 1876,
in America as teacher in various col-
leges; 1894, Coll. of Mus., Cincin-
nati ; pub. school music-readers.
Ganz (gants), (i) Ad., Maycnce, 1796
—London, 1870 ; violinist and cond. ;
his 2 brothers were, (2) Moritz,
Mayence, 1806 — Berlin, 1868 ; *cel.
list ; (3) Ld., Mayence, 1810— Ber-
lin, 1869; violinist and composer;
Adolfs 2 sons were, (4) Eduard,
Mayence, 1827 — 1869; pianist. (5)
Wilhelm, b. Mayence, Nov. 6, 1833;
pianist, professor, conductor.
Garat (^fi-F&), P. J., Usuritz, Basses-
Pvrc'nees, April 25, 1764 — Paris,
March i, 1823 ; most remarkable
French singer of his time, a barytone
of great compass and amazing mem-
ory and mimicry ; professor and com-
poser.
Garattd6 (g&r-5-da), Alexis de, Nan-
cy, 1779 — raris, 1852 ; professor,
composer and writer.
Garbini (gar-be' -ne), Edoardo, b.
Panna; stable-boy there, when dis-
covered ; now pop. tenor in opera.
Garbrecht (gfir -brfikht), Fr. F. W.
(d. 1875), founded at Leipzig (1862)
a music engraving establishment,
owned since 1880 by Os. Brandstetter.
Garcia (giir^the'-a), a notable familv of
Spanish vocal teachers, (i) Don
r ran. Saverio (Padre Garcia, called
•Mo Spagnoletto "), Nalda. Spain,
1731— Saragossa, 1809 ; conductor
and composer. (2) Manuel del Po-
polo Vicente, Sevilla, Jan. 22, 1775
— Paris, June 2, 1832 ; eminent as
tenor, teacher, and progenitor of aiAg>
446
THE MUSICAL GUIDE
ers ; successful as manager, cond.
and composer; took his family, his
wife, son (3), and daughter (5) and
others to America for a v. succ. opera
season, 1825-261. Produced 43 ope-
ras and c. others. (3) Manuel, b.
Madrid, March 17, 1805 ; son of
above ; bass (in Paris) ; he was a scien-
tific investigator, and inv. the laryn-
goscope, receiving Dr. Phil, h, c.
KOnigsberg Univ.; 1847, prof, at the
Cons., 1850, London, R.A.M. Jenny
Lind was one of his pupils; pub.
" Trait/ compUt de Vart du chanty'*
1847. (4) Eus^^nie (n^e Mayer),
Paris, 18 18— 1880; wife and pupil of
^) ; soprano and teacher. (5) M.
F<licit6, V. MALiBRAN. (6) Pauline,
V. viARDOT GARCIA. (7) MaHano,
b. Aoiz, Navarra, July 26, 1809 ; not
related to the others ; dir. of the
Fampeluna School of Music; com*
poser of church-music.
Garcin (g&r-s&ft), Jules Ang. Salo-
mon, Bourges, 1830— ^Paris, 1896 ;
violinist, conductor and professor.
Qardano (gflr.da -no), (i) A. (till 1557
called himself Gardane), ca. 1500 —
Venice, 1571 (?) ; early Italian mus.-
printer, succeeded by sons, (3) Ales-
sandro and (3) An^elo.
var'den, Mary, b. Aberdeen, Feb.
20, 1877 ; soprano ; as a child
brought to America ; pupil of Mrs.
Duff ; (1896), Paris with Trabadello
and Fugire ; debut, 1900, Paris Op.
Com. ; luis created various rdles there,
including ** M^lisande" in Debussy's
•* PelUas et MHisande^^ 1902 ; sang
at Covent Garden, 190a.
Gardo'ni, Italo, b. Parma, 182 1 ; re-
tired, 1874 ; operatic singer.
Gargiulo (gir-joo'-Io), (i) Chevalier
Enrico, b. Ban, Italy, March 31,
1865 ; mandolinist ; son and pupil of
a dram, barytone (2) Eug^enio.
Garibol'di, Giu., b. Maccerato, Italy,
March 17, 1833 ; flutist and compos-
er of operettas.
Garlan'aia, Johannes de, ca. 12 10-
32 ; French theorist.
Gamier (g&rn-ya). Fran. Jos.. Lauris,
Vaucluse, 1759 — ca. 1825 ; obcritkand
composer.
Gar'rett, Geo. Muriell, Winchester,
England, 1834 — Cambridge, 1897 ;
pianist, conductor, composer and lect*
urer.
G&rtner (g«rt'-nSr), Jos., Tachau,
Bohemia, 1796— Prague, 1863 ; org.-
builder and writer, Prague.
Gas'par van Weerbeke (var -b^-lcQ,
b. Oudenarde, Flanders, ca. 1440;
eminent contrapuntist and teacher.
Gaspari (gas-psl'-re), Gaetano, Bo-
logna, 1807 — 1881; librarian, pro*
fessor and composer.
Gasparini (or Guasparini) (gSs.p&-re'.
ne), (i) Fran., Camaiore, near Lucca,
1668-— Rome, 1737 ; director, con-
ductor and theorist. (2) Michelan-
gelo, Lucca, 1685 — Venice, 1732;
male contralto and dram, composer.
(3) Don Quirino, 'cellist at Turin ;
1749-70 ; conductor and composer.
Gasparo da Salo (gSs-pfl'-ro d& sa'-l&)
(family name Bertolot'tl), Salo,
Brescia, Italy, ca. 1542 — Brescia (?),
1600 ; famous maker ofviols.
Gassier (g&s-ya), L. sd., France,
1822 — Havana, 187 1 ; barytone.
Gassmann (gSs'-m&n), Florian L.,
Brux, Bohemia, 1723 — Vienna, 1774;
court-conductor and dram, composer.
Gass'ner, F. Simon, Vienna, 179S —
Carlsruhe, 1851 ; violinist, teacher,
editor and composer.
Gast, Peter. Vide kosrutx.
Gastaldon (gSs-tfil'-ddn), Stanislas,
b. Turin, April 7, 1861 ; at 17 pub.
nocturnes, ballabiUy songs, etc., some
of them V. pop.; c. succ. i-act opera-
seria, *' IlPaUr'' (Milan, 1894), etc.
Gastinel (gSs-tY-nSl), L6on G. Cyp-
rien, b. Villers, near Auxonne, Aue;
15, 1823; pupil of Hal^vy, Pans
Cons. ; took first Gr. prix de Rome
with cantata ** Velasquet'* \ prod,
comic operas; ballet **Z^' Rhte"^
(Gr. Opera, 1890), etc.
Gastoldi (g^tol'-^e), Giov. Giaco-
mo, Caravaggio ca. 1556— Milan (?),
1622 ; conductor, contrapuntist and
CCtuposer.
r «
DICTIONARY OF MUSICIANS 447
Gfttayes (gitiiz'), (i) GuiU. P. A.,
Paris, 1774 — 1846; guitar-player and
composer. (2) Jos. L6oti, Paris,
1805 — 1877; son of above; harpist,
critic and composer. (3) F61ix, b.
Paris, 1809 ; bro. of above ; pianist,
chiefly 8elf-taug:ht ; for 30 years
toured Europe, America and Austra-
lia ; c. excellent symphonies and over*
tures ; military music, etc.
Gathy (gft-te), Auc;., Li^e, 1800**
Paris, 1858 ; editor, teacher and com-
poser.
Gat'ty, Alfred Scott, b. Ecclesfield,
Yorks., April 25, 1847; 1880 Poui>
floivant of Arms, Heralds' Coll. Lon-
don ; c. 2 operettas, many pop. songs,
particularly in imitation of Ameilcan
Plantation songs, pf.-pieces.
Gaucquier (gok-yi), Alard (rightly
Dunoyer, Latinized Nuceui), called
da Gaucquier and Insulanui from
Lille-risle, court-bandm. to Maxi«
milian II. ; famous i6th cent, contra-
puntist.
Gauden'tios, a Greek writei*, 165a.
Ganl (gdl), Alfred Robt., b. Norwich,
England, April 30, 1837 ; at 9 a
cath. chorister articled to Dr. Buck ;
1863, Mus. Bac. Cantab.; 1887, cond.
Walsall Philh.; later teacher and
cond. at the Birmingham and Mid?
land Inst., etc.; c. oratorio '* //fx^-.
kiah " (1861); cantatas, incl. '* Ruth *'
and '• The H0ly City;' etc.
Gau(l)tter (got-ya), (i) Jacques (G.
d AngUierre^ or VancUti)^ Lyons, ca.
1600-^Paris, ca. 1670; lutenist. (2)
Denis (U jeum, or rHiustr/), Mar-
seilles, i6oo(-io?) — d. Paris; cousin
of above, and bis partner in a lutenist
school ; famous lutenist and collector
of lute-music. (3) Pierre, b. Orleans ;
c. suites for lute (1638). (4) Enne-
mend, Vienne, Dauphine, 1635 — be-
fore 1680 ; son of (i) ; lutenist. (5)
Pierre, Cioutat, Provence. 1642-^
drowned, Cette, 1697 ; dram, com-
poser. (6) Aloysius Bd. Ca-
aiille, (Abb^) Italy, ca. 1755— Paris,
1818; wrote a method for teach-
ing.
Gannt'lett, H. J., Wellington, Shrop.
shire, 1805 — London, 1876; organ-
ist and composer.
Gauthier (got-ya), Gabriel, b. {a
Soane-et- Loire, France, 1808; be-
came t>lind when 11 months old ; was
pupil and (1827-40) teacher Parii
Inst, for the Blind, then organist of
St* £tienne-du-Mont, Pans; pub.
treatises,
Gautier (g5t-y&), (i) v. gaultibr. (»\
J. Fran. Eug.. Vaugirard n. Paris,
1822 — Paris, 1878; conductor aad
dram, composer.
Gaveauz (giUvo), P., B^»ers, H£
rault, Aug., I76i--in6ane, Paris, 1825 '
tenor; c. operas, incl. ^^ L€on9r4^
(1788), the same subject afterward^
used in Beethoven's •* FidtUor
Gaviai^s (^&-ven.y^). P., Bordeaux,
1726 — Paris, 1800; violinist, ptO«
fessor and dram, composer.
Gaatambide (gilth-tl[m.be'-4h«), (i)
ioaquin, Tudela, Navarra, 1822-^
(adrid, 1870; composer, teacher
and conductor. (2) 3tayier, a young
relative, also c. zarzuelas (see D. D.).
Gazzaniga (gfid-z&n-e'-ga), Gitt.,
Verona, 1743 — Crema, 1819; con*-
ductor and dram, composer.
Gear (ger), Geo. Fr., b. London, May
21, 1857; pianist; pupil of Dr. Wylde
and J. F, Barnett ; 1872 scholarship
London Acad, of Mus., now prot^
there; 1876-92 mus.-dir. German-
Reed Company ; composed scena for
sopr. solo and orch., etc
Gebauer (zhd>bo-a), (i) Michel Jot.,
La Fire, Aisne, 1763 — 1812, on the
retreat from Moscow ; oboist, violin-
ist and viol-player; also extraordi*
nary virtuoso on the'jew's harp. He
had 3 brothers, (2) r raocois Rta6,
Versailles, 1773 — Paris, 1845; ^>*
soonist, prof., writer, and composer,
(3) P. Paul, b. VersaUles, 1775 ; due4
young ; pub. 20 horn-duets. (4) Et,
tran«» Versailles, 1777— Paris, 1823;
flutist and composer. (5) (g£-bow'«
£r), Fz. X., Eckersdorf, near Glafa^
1784— Vienna, 1822 ; 'cellist,
ductor, teacher and composer.
448
THE MUSICAL GUIDE
Gebel (ga'-Ml), (i) Georc: (Sr.). Bres.
lau, 1685— 1750 ; organist ; inv.
clavichord with quarter tones and
clavicymbalum with pedal-keyboard ;
composer ; he had 2 sons, (2) Georg;
(Jr.), Brieg, Silesia, 1709 — RudoU
stadt, 1753 ; son of above ; conduc-
tor, organist and composer. (3)
Georgr Sigismund, d. 1775; organ-
ist and composer. (4) Fs. X., FQr-
stenau, near Breslau, 1787 — Moscow,
1843 ; conductor, pf.-teacher, and
composer.
Oebhard (g£p'-h&rt), Martin Anton,
b. Bavaria, 1770 ; Benedictine monk,
then, 1831, a priest at Steinsdorf ;
theorist.
^bhar'di, Ludwlg Erast^Nottleben,
Thuringia, 1787 — Erfurt, 1862; or-
ganist, composer and teacher.
G6dalflre (zh&-dalzh), Andr6, b. Paris,
Dec. 27, 1856; pupil of Guiraudatthe
Cons.; took 2nd Grand prix de Rome,
1885 wrote lyric drama " H^Une ** /
c. pantomime ** Le Petit Savoyard**
(Paris, 1891) ; a succ. i-act opera-
bouffe '' Pris au PUge'* (Paris,
1S95) » 3 symphonies, etc.
Gehring (ga'-rlng), F., 1838 — Pen-
zing, near Vienna, 1884; writer.
Geijer (gf-^r), Erik Gustaf, Ran-
setter, Wermeland, 1783 — Upsala,
1847 ; coll. of Swedish folk-songs.
Geisler (gfsM^r), (i) Jn. G., d. Zittau,
1827 ; writer. (2) Paul, b. Stolp,
Pomerania, Aug. 10, 1856; grandson
and pupil of a mus.-dir. at Mecklen-
burg ; studied also with K. Decker ;
X881-S2 chorusm. Leipzig City Th.,
then with Neumann's Wagner Co. ;
1883-85 at Bremen (under Seidl) ;
then lived in Leipzig; prod. 5 ope-
ras ; c. 12 symphonic poems, incl.
**Dfr Rattenfdnger von Hameln**
(1880), " Till EuUnspitgei:' etc.
Geistingrer ^is'-tYng-^r). Maria
(" Marie ") Charlotte C&cilia, b.
Graz, Styria, July 26, 183C ; soprano,
etc.
(ga'-lT-nek), (i) Hn. Anton
(called Cenretti), Horzeniowecs,
Bohemia, 1709 — Milan, 1779; *^
priest, violinist and composer. (2)
Joseph, Abb^ ; Selcz, Bohemia,
1758 — ^Vienna, 1825 ; teacher and
composer.
GcUer-Wolter (g«r-ier-v61-t«r). Ln-
ise, b. Cassel, March 27, 1863 ; op-
era and concert alto ; studied with
Frau Zottmayer and Mme. Marchesi.
Geminiani (j^m-e-nY-a-oe), Fran.,
Lucca, i68o^Dublin, Dec. 17, 1762;
brilliant and eccentric violinist of
great importance in English progress,
and the author of the first vln. method
pub. (1740).
Gemttnder (g^-mQnt'-^r), Ingelfingen,
WUrtemberg, March 22, 18 14 — New
York. Sept. 7, 1895 ; a maker whose
vlns. were of the very highest per*
fection ; his sons succeed him.
Genast ^^-nUst'), Ed., Weimar, 1797
— ^Wiesbaden, 1866 ; barytone and
composer.
Gen6e (zhtt-na), Franz Priedrich
Richard, Danzig, Feb. 7, 1823—
Baden, near Vienna, June 15, 1895 ;
pupil of Stalleknacht, Berlin; theatrOi
conductor various cities ; a student,
then conductor and operatic composer;
1868-78 at Th. an der Wien, Vienna;
wrote libretti for many of his own
works and for Strauss and others ;
c. light operas with succ., incl. ** Der
Geiger aus Tirol,** ^'Nanon** etc.
General! (ia-n^-ril'-le), Pietrti (rightly
Mercandet'ti), Masserano, Pied-
mont, 1783 — Novara, 1832; conduc*
tor and dram, composer.
Genet (zhii-na), Eleazar (called il
Carpentras'so, or Carpentras (k&r.
pfth-trls)), Carpentras Vaucluse, ca«
1745 — ^Avignon (?), ca. 1532 ; sing^er,
then cond., then bishop; his ad-
mired masses, etc., were the first
printed in round notes without liga«
ture.
Geng^enbach (gSng'-^n-bSkh), Niko-
laus, b. Kolditz, Saxony ; cantor at
Zeitz, and writer, 1626.
Genss (g^ns), Hermann, b. Tilsit,
Jan. 6, 1856 ; pianist ; pupil of the
Royal Hochsch. far Mus., Berlin;
teacher in various cities; 1S93.
DICTIONARY OF MUSICIANS 449
dir. Scharwenka-Klindworth Cons.,
Berlin ; c. orch. works, etc.
Georgia (zhorzh), Alex., b. Arras,
France, Feb. 35, 1850; pupil, now
frof. of harm:, Niedermeyer Sch.,
'aris; c operas **Z^ PrinUmps^^
(1888) and ^' Pohmes it Amour"*
(1892) ; •• Charlotte Corday** (1901) ;
a oratorios, a mystery ** /^ Passion "
(1902) ; symph. poem, etc.
Gerard (zha-rar), H. P., Li^, 1763—
Versailles, 1848 ; teacher and writer.
G6rardy (zha-rilr-d6), Jean, b. Ltit-
tich, Dec. 6, 1870 ; notable 'cellist;
studied with Bellmann; a pupil of
GrQtzmacher; plaved as a child in
England ; at 13 in Dresden ; 1899,
etc., toured America ; lives at Spa.
Ger'ber, (i) H. Nikolaus, Wenigen.
Ehrich, near Sondershausen, 1702—
Sondershausen, 1775 ; organist and
composer. (2) Ernst L., Bonders-
hausen, 1746 — 18 19; son, pupil and
successor (1775) ^^ above ; cellist,
organist, lexlcogprapher and compos*
er,
Gerbert (gSr'-bdrt), (von Homau)
Martin, Hor-bon-Neckar, Aug. 12,
1720— St. Blaise, May 13, 1793 ; col-
lector of the invaluable ** Scrip tores
ecelesiastici de musiea sacra potissi*
mum** noteworthy treatises of the
Middle Ages, reproduced exactly (the
compilation was continued by Cousse-
maker). The work is briefly referred to
in this book as *' Gerbert." He be-
came in 1736 cond. at St. Blaise;
when he died, the peasants erecting a
statue to him ; pub. also other very
important works, and c. offertories,
etc
Gericke (ga'-rY-kQ, Wilhelm, b. Graz,
Styria, April 18, 1845 ; pupil of Des-
soff, Vienna, Cons., then cond. at
Linz ; 1874, 2d. cond. Vienna ct.«
opera (with Hans Richter) ; 1880,
cond. of the ** Gesellschaftsconcerte "
(vice Brahms) ; also cond. the Sing*
erverein ; 1884-89, cond. Boston
(Mass) Symphony Orch., resuming
the post 1898 (vice Emit Paur) after
being dir. '* Gesellschaftsconcerte " at
Vienna until 1895 ; pub. several cho.
ruses, pf.-pcs. and songs; also c.
operetU " Schdn H&nnchen " (Linz,
1865) ; a Requiem ; a concert-over-
ture, etc.
Gerlach (g^rMakh), (i) Dietrich, d.
Ndrnberg, 1574 ; music - printer,
1 566-1 57 1. (2) Theodor, b. Dres-
den, June 25, 1861 ; pupil of WttU-
ner ; at 22 prod, a notable cantata,
•• Luther's Ub der Musiea;' 1884 ;
Italy, 1885 ; cond. Sondershausen
Th. , then of German Opera in Posen ;
his ** Epic Symphony'*'* caused his ap-
pointment as ct.-cond. in Coburg,
X891; 1894, cond. at Cassel; c. succ.
opera (book and music) ** Matteo Fal-
cone" (Hanover, '98, Berlin, 1902).
orch. pieces, etc.
Gerle (g^r'-l^), (i) Konrad, d. Nam-
berg, 152 1 ; lute-maker. (2) Hans,
d. NQmberg, 1570; probably son of
above ; violinist and vln. -maker.
Ger'man, J. Edw., b. Whitchurch,
Shropshire, England, Feb. 17, 1862;
violin pupil of R. A. M. ; 1889, dir.
Globe Th., Ix)ndon ; 1901 completed
Arthur Suliivan*s unfinished opera
••The Emerald Isle,'* prod, with
succ. London, 1901 ; c. operetta ; 2
symphonies ; various suites, including
the *• Gipsy" suite, chamber-music,
songs, etc. His incidental music to
Shakespeare's plays is especially no-
table.
Germer (g^r^-m^r), H., b. Sommers-
dorf. Province of Saxony, Dec. 30,
1837 ; pupil Berlin Akademie ; teach-
er, pianist and writer.
Gem, August, organ-builder, London.
Gemsheim (g^ms-hlm), Fr., b.
Worms, July 17, 1839, of Hebrew
parents ; pupil of Rosenhain and
Hauflf, Frankfort, and Leipzig Cons.;
1865, teacher of comp. and pf. Co«
logne Cons.; 1872, Prof.; 1874, dir.
of the Cons, at Rotterdam and cond.
•'Winter Concerts"; since i8go at
Stern Cons., Berlin ; c. 4 symphonies,
overtures, etc.
Gero (ga -ro), Jhan (Johann) (called
Maister Jan or Jekian, or Joannes
450
THE MUSICAL GUIDE
Galltts), conductor and compostr at
Orvieto Cath., i6th cent.
Gersbach (g^rs'-bakh), (i) Joseph,
Sickingen, Baden, 1787— Carisruhe,
1830; teacher and composer. (2)
Anton, Sfickingen, 1801— <^arlsruhe,
1848 ; bro., pupil and successor of
above.
Gerson (g^r-soft), J. Charlier de,
Gerson, near Rethel, 1363 — Lyons,
1429 ; writer.
Gerster (g£r'-sht^), Etelka, b. Ka.
schau, Hungary, June 16, 1857 ; one
of the most remarkable coloratura-
sopranos of her time ; 1874-75, a
pupil of Marches!, Vienna Cons. ; v.
succ. debut Venice, Jan* 8, 1876 ; m.
her impresario Dr. Carlo Gardini and
toured Europe and America ; lost
her voice suddenly and opened (1896)
a singing-school, in Berlin.
Genrasoni (j^r-va-so'-ne), Carlo, Mt-
Ian, 1 762-1 8 19; writer and theor«
ist.
Geryinns (g£r-ve'-noos), Georgr Gf.,
Darmstadt, 1805— Heidelberg, 1871 ;
professor and writer.
Geselschap (g^-z^l'-shSp), Marie, b.
Batavia, Java, 1874 (?) ; pianist ; pu-
pil of X. Scharwenka, Berlin ; played
m America, etc.; 1895 in London.
Gesius (rightly G5ss) (ga'-sl-oos;
g£s), Bartholom&us, Milncheberg,
ca. 1555 — Frankfort-on-Oder, 1613;
cantor and composer.
Gesualdo (ja.zoo-al'.d5), Don Carlo,
Prince of Venosa, d. 1614; one of
the most intellectual and progressive
mus. of his time ; wishing to revive
the chromatic and enharmonic genera
of the Greeks, he strayed out of the
old church-modes and, becoming one
of the ** chromaticista," wrote almost
in modem style.
Gevaert (zhil-vdrt'), Francois Au«
g^ste, b. Huysse, near Oudenarde,
July 31, 1828 ; pupil of Somm^re (pf.)
and Mengal (comp.) at Ghent Cons. ,
taking Gr. prix de Rome for comp. ;
1843, organist at the Jesuit church ; he
prod. 2 operas ; lived in Paris (1849*
50) ; then went to Spain and c
** Fantasia sohre moHvp$ tspanoles^
still pop. there, for which he was
given the order of Isabella la Catolica ;
he sent back reports on Spanish mu*
sic (pub. by the Academy, 1851); he
returned to Ghent 1852, prod. 9 ope-
ras, 2 of them, •* Georgette" and "Z/
billet de Marguerite" with much suc-
cess; In 1857 his festival cantata
**Z>^ Nationale Verjaerdag" brought
him the Order of Leopold ; 1867-70
chef de chant Gr. Opera, Paris ; 1871,
dir. Brussels Cons, (vice Fetis) ; pub.
colls, of Italian music, also the valu-
able fruits of much research in old
plain-song. His ** Traitid^ instrument
tation" (1863) revised as ** Nauveau
trait/** etc. (1885), threatens to sup-
plant Berlioz' great work ; he pnxL
also 3 cantatas, ^^ Missa pro Defunc*
tis" and ^^ Super Flumina Baby*
hnis** for male chorus and orcb.;
overture ** Flandre au Lion" etc.
Geyer (gi'.£r), Flodoard, Berlin, 18 11
—1872 ; prof., critic, theorist and
dram, composer.
Gheyn (g^n). Matthias van den, Tirle*
mont, Brabant, 1721— Louvain. 1785 ;
one of a Flemish family of bell found-
ers ; organist. Of his 17 children hi»
son Joss^ Thos. (b. 1752) was his
successor as organist.
Ghiselin(e) (gi-ze-iang) (or Ghise*
linus), Jean, Netherlandish ; contra*
puntist 1 5- 1 6th cent.
Ghislanzoni (ges-lan-tso'-ne). A., Lec-
co, 1824 — Caprino-Beigamasco, 1893;
barytone and writer.
Ghizeg^heoL Vide hgyke.
Ghizsolo (ged'-zd-l5), Gio., b. Bres-
cia, 1560 (?) ; monk and composer.
Ghymers (ge'-m£rs), Jules £u8:^n«»
b. Li^ge, May 16, 1835; pupil of
Li^e Cons.; pianist and critic.
Gjs (ges), Joseph, Ghent, 1801— St.
Petersburg, 1848; violinist, teacher
and composer.
Giacche (j^k'-kS). Vide berchem.
Giacchet'to. Vide buus.
Giacomelli (jllk-5.m£r-Ie), Geminiano^
Parma, i686--Naples, 1743; dram*
composer.
DICTIONARY OF MUSICIANS 451
Gialdini (j^l-de'-ne). Gialdino, b. Pes-
cia, Nov. 10, X843 ; pupil of MabeU
lini, Florence ; his first opera, ** Hos^
munda^ won prize offered by the Per-
gola Th., Florence, but was unsuc;
1868, prod, a **opore buffe" in
collaboration, then devoted himself to
cond. with great succ.; prod, opera
•*/ Due Soci" (Bologna, 1892) and
••Zfl Pupilla" (Trieste, 1896) with
success.
Gianelli 0'S-n«lMe), Pietro, (Abbate)
Friuli, luly, ca. 1770— Venice, iSaa
(?); lexicographer.
Gianettini (j^-nSt-tS'-ni) (or Zanet-
tini), A., Venice, 1649— Modena,
1721 ; dram, composer.
Gianotti (ja-n6t'-te), P., Lucca—*
Paris, 1765 ; double-bassist, composer
and writer.
Giardini (jir-dg'-ne), Felice de, Tu-
rin, 1 7 16 — Moscow, 1796; violinist
and dram, composer.
Gib'bons, (i) Rev. Edw., ca. 1570^
ca. 1650; organist. (2)EUisG.,d.ca.
1650 ; bro. of above ; organist Salis-
bury cath. (3) Orlando, Cambridge,
England, 1583— Canterbury, June 5,
1635 ; bro. of above ; one of the
foremost of Engl, organists and com-
posers ; Mas. Doc. Oxon ; 1604, or-
ganist Chapel Royal ; 1623, organist
Westminster Abbey. (4) Chria-
topher, Ix)ndon, i6i5--Oct. 20,
1676 ; son of (3), organist and com-
T)oser
Gibel (ge'-b«I) (or Gibe'lius), Otto,
Island of Fehmarn (Baltic), 161 a —
Minden, 1683 ; composer.
Gibellini (je-b«Ule'-ne), Eliseo, b. Osi-
mo, Ancona, ca. 15^0; until 158X
composer and conductor.
Gibert (zhe-b&r). Paul C^sar, Ver.
sallies, 17 1 7 — Paris, 1787; dram,
composer.
Gibert (he'-Mfrt) (or Gisbert, Giapert),
Francisco Xavier, Granadella,
Spain — Madrid, 1848 ; priest, cond.
and composer.
Gibso'ne, Guillaume Ig^ace, b. Lon-
don, ca. 1826; pianist; pupil of
Moscheles ; also dram, composer*
Gide (zhed), Casimir, Paris, 1804—
1868 ; composer.
Gigout (zhe-goo), Eugene, b. Nancy,
France, March 23, 1844; organ-virt-
uoso, critic, etc.; pupil in the maU
trise of Nancy cath.; at 13 entered
Niedermeyer Sch., Paris, and was
later teacher there for over 20 years ;
studied also with Saint-Saens ; 1863,
organist at the Ch. of St. Augustin ;
succ. concert organist throughout
Europe ; 1885, founded an organ-
sch. subsidized by the govt.; com-
mander of the order of Isabella la
Catolica ; 1885, officier of pub. In-
struction ; 1895, Chev, of the I^egion
of Honour ; pub. over 300 Gregorian
and plain-song compositions.
Gil (hel), Francisco Assis, b. Cadiz,
1829 ; pupil of Fetfs ; prof, of har-
mony, Madrid ; writer, theorist and
dram, composer.
Gil 7 Llagostera (hel e Ift-gds-ta'-rli),
Caytan, b. Barcelona, Jan. 6, 1807 ;
first fiute at the theatre and cath.,
Barcelona ; c. symphonies, etc.
Gilchrist, W. Wallace, b. Jersey
City, N. J., Jan. 8, 1846; pupil of
H. A. Clarke at the U. ot Penn.;
from 1877 organist and choirm. Christ
Ch., Germantowa; from 1882 teach-
er Phila. Mus. Acad.; cond. of vari-
ous choral societies ; c. prize Psalm
xlvi, for soli, chorus, orch. and org.
(Cincinnati Festival, 1882), ** Song of
Thanksgiving '* for chorus and orch.;
a cantau ** TAe /fose" (1887), etc.
Giles (jUz), Nathaniel, near Wor-
cester, Engl., ca. 1550 — Windsor,
Jan. 24, 1633 ; organist ; Mus. Doc.
Oxon ; writer and composer.
Gille (gel'-li), Karl, 1897 conductor
at Hamburg City Th.; previously con-
ductor at the Ct.-Th., Schwerin.
Gilles (rightly, G. Brebos) (zhel brii-
bo), called Maitre G., or ** Mase-
gfiles," d. 1584; oigan builder al
Louvain and Antwerp.
Gillet (zhe-ya), Ernest, b. Paris,
Sept. 13, 1856; pupil Niedermeyer
Cons.; solo 'cellist Gr. Op^ra; then
•lived in London; c. **Z9in du bal**!
452 THE MUSICAL GUIDE
and other pop. and graceful pf.-
pieces.
GtUmeister (gYl'-ml-sht^r), Carl, b.
Sch5nebeck, Dec. 25, 1856 ; bass ;
studied at the Hochschule, Berlin ;
d^but at Augsburg ; 1888 al Bay-
reuth, 1900 at Hanover.
Gil more, Patrick Sarsfield, near
Dublin, Dec. 25, l82o^St. I^ouis,
Mo., Sep. 24, 1892 ; an immensely
popular conductor, some of whose
influence went to the popularising of
good music ; on occasions he cond.
an orch. of 1,000 and a chorus of
10,000, also an orch. of 2,000 and a
chorus of 20,000, reinforced with can-
non fired by electricity, an organ, an-
vils, chimes, etc. (cf. Sarti) ; he c.
pop. military and dance music.
Gilson (zhel-son), Paul, b. Brussels,
1869 ; self-taught ; his cantata *' Si-
nai " won the Grand prix de Rome,
1892; 1896 prod, opera *' A/var"
Brussels ; completed Ragghianti*s
opera ^^yean-Afarie" ; c. symph.
sketches ** La Mer^^* etc.
Ging^en6 (zhifi-gfl-na), P. L., Rennes,
1748— Paris, 181O; writer.
Giordani (j6r-da'-ne), name of a family,
father, 3 sisters and 2 brothers, all
singers in comic opera at Naples, till
1762 when they came to London (ex-
cept Giuseppe) ; one of the brothers
wrote the still pop. song '* Caro mio
ben.'' (i) Tommasa (rightly Car-
mine), Naples, ca. 1740 — Dublin
after 1816 ; dram, composer. (2)
Giuseppe (called Giordanel'lo),
Naples, 1744 — Kermo, 1798 ; bro. of
above ; conductor ; c. 30 operas.
Giordano 0'di'-<^^'-no), Umoerto, b.
Foggia, Aug. 27, 1867 ; studied
with Paolo Cerraos at the Naples
Cons. ; notable neo-Italian, living at
Milan ; c operas ; very succ. ** An-
drea Ch/nier " (La Scala, Milan,
1896 ; also in Berlin, 1898, and U. S.);
also *' Marino" unsucc, *^ ^eifina
Diaz " (Naples, 1894) ; and succ. 3-
act melodrama *\%/ala Vita*' (Rome,
1892, prod, as ** // Voto:' Milan,
1807) ; ** Fedora " and " Siberia."
Giorgi (jor'-jc). Vide banti.
Giornovichi. Vide jarnovic.
Giorza (jor'-tsil), Paolo, b. Milan,
1838 ; son and pupil of an organist
and dram, singer ; studied opt. with
La Croix ; lived New York some
years, later London ; prod, unsucc
opera " Carrado " (Milan, 1869), and
many very succ. ballets at La Scala.
Giosa, Nicola de. Vide de giosa.
GiovaneUi (jd-v^-n^l'-lc), Rus^giero,
Velletn, ca, 1560 — Rome, ca. 1620 ;
1599 successor of Palestrina as con-
ductor at St. Peter's, Rome ; an im-
portant composer.
Giraldoni (zhe-r&l-do'-ne), Leone,
Paris, 1824 — Moscow, 1897 ; bary-
tone.
Girard (zhe-r^r), Narcisse, Nantes,
France, 1797 — Paris, i860; conduc-
tor and violin professor.
Girardeau (z'he-r&r-dd), Isabella,
called la Isabella, Italian singer in
London, ca. 1700.
Girelli-Ag^uilar, , Italian singer
in Vienna and London, ca. 1771.
Gismonde (zhes-m6nd). Celeste, d.
1735 ; mezzo-soprano.
Giuglini (jooUye'-ne), Antonio, d. in-
sane, Pesaro, 1865 ; Italian tenor.
Gizziello (gYd-zI-dl'-lo), Gioacchino.
Vide coNTi.
Glad' stone, Francis Edw., b. Sum-
mertown, near Oxford, May 2, 1845 ;
pupil of S. Wesley; one of chief Engl,
contemporary organists; organist vari-
ous churches, then became a Catholic
and was until 1894 choir-dir. St. Mary
of the Angels, Bayswater; 1879 Mus.
Doc, Cantab; 1881, prof, of cpt.
Trinity Coll., London; prof, of
harm, and cpt. R.C.M.; c. an over-
ture, chamber-music, etc.
Glarea'nus, Henricus (rightly Hein-
rich Lo'ris, Latinised, Lori'tus),
Glarus, 1488 — Freiburg, Baden,
March 28, 1563; poet and impor-
tant theorist.
Glasenapp (gla!-z£-n&p), Karl Fr.,
b. Riga, October 3, 1847 ; studied
philosophy at Dorpat; since 1875
head-master at Riga ; wrote on Wa^
DICTIONARY OF MUSICIANS 453
ner, a biography in 3 vols., a lexi-
con, and a Wajrner Encyclopaedia,
etc
Qlaner (gl&'-ser), (i) K. G., Weissen-
fels, 1784 — Barmen, 1829 ; mus. dir.
and later dealer, composer and
writer. (2) Fz., Obergeotgenthal,
Bohemia, 1798 — Copenhagen, 1861 ;
conductor, violinist, and dram, com-
poser.
Giaz(o)anow (gla-tsoo-n6f), Alex.,
b. St. Petersburg, Aug. 10, 1865 ;
studied till 1883 at Polytechnic Inst.,
then took up music ; studied with
Rimsicy - Korsakov ; 188 1 his first
symphonv was produced, repeated
under Liszt in 1884 at Weimar ; he
cond. his second symphony in Paris,
18S9 ; his fourth symphony, London
Phil., 1896-97, with Rimskv-Korsa-
kov and Liadov, cond. Russian Sym*
phony Concerts at St. P. ; c. 5 sym-
phonies, 2 overtures on Greek themes ;
overture " Carnava/"/ Eleglc '*A la
m/moire tTun h^ros **; symphonic
poem ** Stenka Hasitu"; symphonic
picture *' The Forest'*; '' CkopinU
ana " orch. suite ; and other orchl.
pes., string-quartets, pf.-pcs., suite
on S. A. C. H. A. (his nickname) for
pf., etc
Gleason (gle'-sfin), Fr. Grant, b.
Middletown, Conn., Dec. 17, 1848 ;
pupil of Dudley Buck and at Leip-
zig Cona. ; later at Berlin, of Loesch-
orn, Weitzmann and Haupt ; later
with Beringer (pf.) in London ; 1875
organist Hartford ; 1877, teacher
Hershey Sch. of Music, Chicago ;
critic for years of Chicago Tribune ;
c. (text and music) grand operas
*'Otho Viscontr and ''Montezuma'*;
cantata *' The Culprit Fay," with
orch.; "Praise-song to Harmony,"
symphonic cantata ; " Auditorium
Festival Ode," symph. cantata with
orch.; op. 21, '' Edris^'* symphonic
poem (after the prologue to ** Ar^
dath " by Marie Corelli), etc.
Cleich (glTkh), Ed., Erfurt, 1816—
LangebrUck, near Dresden, 1898 ;
critic and writer ; c. symphonies.
Gleichmann (gllkh'-m£n), Jn. G.f
Steltzen, near Eisfeld, 1685 — Ilme-
oau, 1770 ; organist.
Gieissner (glls-n«r), Fz., Nettstadt-
on-the-Waldnab, 1760 — Munich, after
1815 ; printed songs of his own by
lithographic process, the first music
so printed.
Gleits (glTts), K., b. Hetzerode, near
Cassel, Sept. 13, 1862 ; studied Leip-
zig Cons, and Munich Music School,
and in Berlin ; c symph. -poem ** Fa-'
ta Morgana" (played by Nikisch at
the Berlin Philh. concerts, 1898):
'* Ahasuerus" *' Venus and Belhna,^
etc. , for orch. ; * * Ha/bur and SigniU,^
for chorus ; *' /nlichter" a pf.-fanta^
sy with orch.; vln. -sonata, etc.
Glinka (glTnk'-S), Michail iTan-
OTltch, NovospaskoY, near Smolensk,
Russia, June i (new style), 1804—
Berlin, Feb. 15, 1857; piano-virtuoso
and composer, father of the new na«
tionalistic Russian Musical School ;
of noble birth ; pupil of Bohm
(vln.), Mayer (theoiy and pf.), John
Field (pf .). Of very weak health, he
studied vocal composition in Italy;
1834 with Dehn in Berlin ; prod, at
St. Petersburg, 1836, the first Russian
national opera "^ Life for the Czar *'
(Zarskaja Skisu or Ivan 'Sussanina),
with succ. still lasting; the next
opera ** /Russian and Ludmilla " (St.
P., 1842) was also succ. (book by
Pushkin); 1844 in Paris he gave orch.
concerts strongly praised by Berlioz ;
1845-47, Madrid and Seville, where
he c. Jota Aragonese" a ** Caprieeio
briUante" for orch., and " Souvenir
d'une nuit d'/t/ ^ Madrid," for
orch.; 1851, Paris; 1854-55, near
St. Petersburg writing his autobiog*
raphy, planning a never-attempted
opera ; he visited Dehn at Berlin in
1856, and died there suddenly ; Glin-
ka's other comp. incl. 2 unfinished
symphonies ; 2 polonaises for orch. ; a
fantasia, ^^ La Kamarinskaja" ; 'u
septet ; 2 string-quartets ; trio for
pf., clar. and oboe ; dramatic scenes/
vocal-quartets, songs and pf.-pca
454
THE MUSICAL GUIDE
Cl>ti felig'-gl), (I) Fz. X., Llnr.
on-Danube, 1764 — after 1833; con-
ductor, mus. dir.; writer. (2) Fz.,
Linz, 1797— Vienna, 1872 ; son of
above ; est. music business, 1843 ;
writer and mus« director.
Glorer (gltiv'^r), (i) Sarah Ann, Nor.
wich, Engl., 1785 — Malvern, 1867;
inv. the Tonic Sol-fa system of nota*
tion and wrote about it. (2) Chas.
W., Feb., 1806— London, 1863;
violinist, etc. (3) Stephen, Lon-
don, iSi2— Dec 7, 1870; teacher
and composer. (4) W. Howard,
London, 18 ig — New York, 1875;
violinist amd critic ; sang in opera.
(5) William, b. London, 1832 ; or-
ganist, etc.
Gluck (glook), Chriitoph Wilit>ald
(Ritter Ton), Weidenwang, near Neu-
markt, Upper Palatinate, July 2,
17 14 — Vienna, Nov. 35, 1787; son of
head-gamekeeper to Prince Lobko-
witz; at twelve sent to the Jesuit
Coll. at Komotau (1726-32), where he
learnt the violin, clavecin, and or-
gan, and was chorister in the Ch. of
St. Ignaz ; at eighteen he went to
Prague, earning a living by playing
at rural dances, giving concerts and
singing and playing in various
churches; under the tuition of Fa-
ther Czemohorsky he mastered sing-
ing and the 'cello, his favourite instr. ;
1736 entered the service of Prince
Melzi, Vienna, who took him to Mi-
lan and had him study harm, and cpt.
with Sammartini. After four years*
study he prod. ""^ Artaserse* (La
Scala, 1741) with great succ. and was
commissioned to c. for other thea-
tres; prod. 8 operas 1742-45. On in-
vitation he went to London 174$ as
composer for the Hay market, in op-
position to Handel. "Z<2 Caduca
dei Giganti ** was given on the defeat
of the Pretender, i746,*'^r/rt///^'/»^,"
followed by '* Pirattw € Tube,'' a
pasticcio of his best arias had no succ.
and led Handei to sav that the music
was detestable, and that Gluck knew
no more counterpoint than bis cook.
The operas G. had written up to this
time were thoroughly Italian. The in-
fluence of 1 landel and Rameau's works
heard at Paris awakened him, and
led him to that gradual reform which
made him immortal, though it
brought on him the most ferocious
opposition. ** La Semiramide Rico*
nosciuta " (Vienna, 1748) began the
change to more serious power. 1750-
63 he prod. " TeUmaco " (Rome,
1750), ''La CUmenza di Tito'' (Na-
pies, 175 1), and 4 others. 1754-64
he was dir. court-opera Vienna and
prod. 6 more works. He made great
succ. in spite of opposition with
''Orfeo ed Euridice" (1762). '' AU
cesU" (1767), '' Paride ed EUna''
(1769), libretti by Calzabigi. 2 other
inferior works were performed by
members of the royal family (1765). In
the dedicatory prefaces to *' Alceste "
and '' Paride ed Elena" G. ex-
pressed his protest against the Italian
school, and deciarec/ Iq' dramatic con-
sistency unhampered by rigid formu-
lae for arias, duets, etc., and inter-
polated cadenzas. lie had such
•harsh criticism at home and such en-
couragement from du Rollet of the
French Embassy at Vienna in 1772
that he went to Paris. But here also he
met such opposition, that all his diplo-
macy and all the power of his former
pupil. Queen Marie Antoinette hard-
ly availed to bring about the presenta-
tion of '^ IphigMe en Aulide" (1774);
its great succ. was repeated in ** Or-^
phe/s " (Aug.. 1774). '"AicesU" (1776),
and Arm tie (tyTj). Piccinni wa&
brought to Paris as a rival, and prod.
*' Kolattd" while Gluck was preparing
the same subject. Gluck burned his
score and published a letter which
precipitated an unimaginably fierce
war of pamphlets. Both men now
set to composing ' ' Iphig^nie en Taw-
ride "/ here Gluck forestalled his rival
by two years (1779), and Picctnni's
work on appearing was not a succ.,
while Gluck's succeeded enormously.
His last opera, '' Ec)w ei Nareisst^
DICTIONARY OF MUSICIANS 455
i^knwa
wasnotsucc. (Sept. ai, 1779); 1780, he an incomplete cantata, ^* Das JUngtte
retiredto Vienna and lived on his well* Gericht'' finished by Salieri, and 7
earned wealth, till apoplexy carried odes for solo voice and pf. Biog. by
him off. He wrote a De profundis A. Schmidt (1854); Marx (1863);
for chorus and orch., 6 overtures and Deinoiresterres (1872).
*■■ ■ ■■ I ■■ I 11
Gluck.
By Ernest Newman,
TAKEN up in his twenty-second year by an amateur of Italian musicy
and put under Sammartini at Milan, Gluck' s earliest models were
Italian. Though his first works showed slight, unconscious traces of
Northern origin, he probably thought, for twenty years, of little more than
producing opera after opera in the Italian style. The intellectual changes
that led to the reform of the opera with Orfeo were perhaps due in part to
the influence of Rameau and Hflndel. The French light opera, also, and
his own attempts in it, seem to have taught him something of direct, con-
temporary expression, as distinguished from the conventional operatic mouth-
ing of antique sentiments. Apart from these musical influences, he was
strongly swayed by the general aesthetics of the eighteenth century, whose
ideal of art was the veracious imitation of Nature. He had probably read
Algarotti's book on the Opera (1763), which advocates many of the reforms
he afterwards carried out. ^ Three rich currents intercrossed in him when
he came to consciousness of himself. His Italian practice had given him ease
and grace of style ; his Northern nature and training made him at home in the
world of grave and dignified passion ; fi'om the French opera he had learned
to seek in musical tones the natural correlatives to the verbal idea. To these
three musical qualities he added the power of penetrating reflection upon the
essence of his art. ^ The opera, when he took it up, was the laughing-stock
of Europe. It left his hands a serious form of art, carefully thought out in
all its details, with a new method and unity of purpose. The overture was
made to throw light on the coming drama ; the libretto was kept on as high
a level as the taste and subjects of those days would permit ; the old distinc-
tion of aria and recitative was undermined, the aria becoming more dramadc
while not ceasing to be lyrical when required, and the recitative being raised
from its previous conventional lines into a living, organic musical speech ; the
orchestra no longer merely accompanied the singer, but helped in the expres-
sion of the emotions of the actor ; the senseless vocal ornaments of the Italian
opera were discarded, and the singers taught to exist for the opera instead of
the opera existing for them ; in a word, brains and a purpose occupied the
field hitherto filled only by vanity and imbecility. ^ Had Europe not under-
gone such startling changes at the end of the last century^ Gluck's influence
456^ THE MUSICAL GUIDE
would have borne great fruit. But the new social and intellectual life brought
in a new world, for which a new music had to be found ; while elsewhere hia
influence was lost sight of in the dazzling artificiality of the later Italian opera.
Sdll, all the serious dramatists — Beethoven, Wagner, Weber, Berlioz — ^had
their way made easier by the labour of Gluck. ^ Like Wagner and Bach,
he stands in a category of his own, seeming almost to be without ancestors
and without descendants. His place is among the masters of dramadc grip
and veracious poetic expression. Even yet, indeed, some of his work is
incomparable in these respects.
Gmeiner (g'ml'-n^r), Lnla, b. Kron-
stadt, Aug. i6, 1876 ; alto ; studied
vln. with Olga Grigorourcz ; then
studied voice with Gr. Walter and
Emilie Herzog ; lives in Berlin.
Gnecco (n'y£k'-k5), Francesco..
Genoa, I769r-Milan, 18 10 ; dram,
composer.
Gobbaerts (gtlb'-b&rts), Jean Louis,
Antwerp, Vis$ — Saint Gilles, near
Brussels, 1886; pianist and com-
poser.
Gobbi (gob'-be), (i) Henn, b. Pesth,
June 7, 1842 ; pupil of R. Volkmann,
and Liszt ; music-teacher and critic,
Pesth ; c. a festival cantata celebrat-
ing Liszt's public career, etc. (2)
Aloys, b. Pesth, Dec. 30, 1844; bro.
of above ; violinist and teacher.
Gdbei (ga'-b«l). K. H., Berlin. 1815—
Bromberg, 1879; pianist, conductor,
and dram, composer.
Gockel (g6k'-^l), Aug^., Willibadessen,
Westphalia, 183 1 — 1861 ; pianist and
composer.
Godard O^d-d&r), Benjamin (Louis
Paul) I Paris, Augr. 18, 1849 — Cannes,
Jan. II, 1895; studied vln. with
Hammer and played in public at 9 ;
then studied with Reber (comp.) and
Vieuxtemps (vln.), Paris Cons.; 1865
pub. a vln.-sonata, later other cham-
ber - compositions ; rec*d the Prix
Chartier from the Institut de France
for merit in the department of cham-
ber-music ; prod. 5 operas, incl. **J0'
Cffyn'* (Brussels, 1888), and the very
succ. posthumous ** La Vivandihre '
(Paris Op. -Com., 1895), the last 2
acts orchestrated by Paul Vidal ; 2
op>eras not prod.; he c. also incid,
mus. and 6 symphonies; *' Le Tasse**
(Tasso), dram, symphony with soli
and chorus took the city of Paris
prize in 1878 ; concerto for vln. ; a
pf. -concerto, song^ and pf.-pcs.
God'dard (Davison), Arabella, b. St.
Servan, near Saint Malo, Brittany,
Jan. 12, 1838 ; at 4 played in public,
at 6 studied with Kalkbrenner at
Paris, at 8 played to Queen Victoria;
pub. 6 waltzes and studied with Mrs.
Anderson and Thalber^; at 12
played at the Grand National Con-
certs ; 1850-53 pupil of J. W. Davi-
son, whom she m. (i860) ; toured
Germany and at 17 played at Leip-
z\g Gewandhaus 1855; 1873-76
toured the world ; retired 1880 and
' lived in Tunbridge Wells.
Godebrye. Vide jacotin.
Godefroid (god-fwa), (i) Jules Jo-
seph, Namur, Belgium, 1811 — Paris,
1840 ; harpist and dram, composer.
(2) Dieudonn^ Jos. Gull. F^liz,
Namur, 18 18 — Villers-sur-mer, 1897 ;
bro. of above ; harpist and dram,
composer.
God'frey, (i) Chas., Kingston, Surrey,
1790 — 1863 ; bassoonist and con-
ductor. (2) Daniel, b. Westminster,
Engl., Sept. 4, 1831 ; son of above ;
pupil R.A.M., later Fellow and Prof,
of Military Mus.; 1856 bandra. of
the Grenadier Guards ; 1872 and
1898 toured the U. S. with his band ,
composer. (3) Adolphus Fred.,
b. 1S37, son of (i) : conductor. (4}
DICTIONARY OF MUSICIANS 457
Charlei, b. 1839, son of (i) ; con-
ductor.
Godowski (gd-dof'-shke), Leopold,
b. Wilna (Vilno), Russian Poland,
Feb. 13, 1870 ; pianist ; debut and
tours at 9; pupil of Wilna, and 1881-
84 R. Hochschule, Berlin ; at 14
toured America ; 1887-90 studied
with Saint-Saens ; 1890--91 toured
America again; 1894 dir. pf.-dept..
Broad St. Cons., Phila.; 1895-99
head of pf.-dept., Chicago Cons.;
then toured Europe ; since 1902 Uvea
in Berlin ; began first comp. at 7 ;
pub. Moto PerfettiOy Polonaise in C;
elaborations ot Chopin, etc.
Goepfart (gdp'-fart), (i) Chr. H.. Wei-
mar, 1835 — Baltimore, Md., 1890;
organist and composer. (2) Karl
Eauard, b. Weimar, March 8, 1859;
son of above ; since 1891 cond.
Baden-Baden Mus. Union ; c. ** ^-
rastro** 9^ sequel to Mozart's *' Magic
FluU'' etc (3) Otto Ernst, b.
Weimar, July 31, 1864 ; bro. of
above ; since 1888 Weimar town can-
tor and composer.
Goering (ga'-r!ng), Th., b. Frankfort-
on-Main, Oct. 2, 1844 ; critic, iSSo-
83 Paris, then Munich ; now music
correspondent Cologne Zeitung,
Goes (go'-^s), Damiao de, Alemquer,
Portugal, 1 50 1 — Lisbon, 1573 ; am-
bassador, theorist and composer.
Goethe (ga -t«), Walther Wg. von,
Weimar, 18 18-— Leipzig, 1885; grand-
son of the poet • c. 3 operettas, etc.
Goetschius (g6t -sht-oos), Percy, b.
Paterson, N. J., Aug. 30, 1853; pupil
Stuttgart Cons. ; 1876 teacher there;
1885 Royal Prof.; critic for various
German music papers ; 1890-92 prof.
Syracuse (N. Y.) Univ. and Mus.
Doc. ; 1892-96, taught comp. and
lectured on mus. hist., etc., N. K.
Cons., Boston ; since 1896 private
teacher Boston, and essayist ; since
1897 organist First Parish Ch. , Brook-
line ; pub. important and original
treatises ; c. 2 Concert- P'ugues, etc.
Goetz (g^s), Hn., K5nigsberg, Prus-
sia, 1840 — Ilottingen, near Zurich,
1876 ; 1863, organist and conductor ;
c. operas, songs, etc.
Gogavi'nus, Ant. Hn., Dutch phy-
sician at Venice 1552 ; wiiter.
Goldbeck (g61t'-b£k), Robert, b.
Potsdam, April 19, 1839 ; pupil of
Kohler and H. Litolff ; gave v. succ.
concerts in London and prod, oper-
etta ; 1857-67 in New York as teach-
er; 1868 founded a Cons, at Chicago;
dir. till 1873 ; cond. the Harmonic
Society, and co-dir. Beethoven Cons.,
St. Louis ; New York, 1885 ; c. 3
op>eras; cantata, Burger's '^^ Ltotwre"
etc
Goldberg: (golt'-berkh), (i) Jn. G.
(Theophilus), K5nigsberg. ca. 1730
— Dresden (?), 1760 (?) ; organ and
clavichord player. (2) Jos. Pas-
quale, Vienna, 1825 — 1890; vln. -pupil
of Mayseder and Sey fried, then oper-
atic bass and teacher. His 2 sisters,
(3) Fanny G.-Marini and (4) Cath-
erine G.-Strossi, are singers.
Golde (gol'-dd). (i) Ad., Erfurt, 1830—
1880 ; son and (1872) successor of (2)
Joseph G., dir. SoUer Singing-So-
ciety, Erfurt.
Goldmark (golt'-milrk), (i) Karl, b.
Keszthely, Hungary, May 18, 1830
(not 1S32, as usually stated); violinist
and pianist, pupil of Jansa (vln.),
later of Bohm (theory) at the Vienna
Cons., then mainly self-taught; de-
but 1858, Vienna, with his own pf.-
concerto ; the popular overture ••^-
kuntala " (op. 13); and a Scherzo,
Andante, and Finale for Orch. (op.
19) won him success strengthened by
his opera ** Die Konigin von Saba '
(Vienna, 1875); c. also operas *' Afcr-
lin " (Vienna, 1886) v. succ. ; '* Das
Heimchen am Herd^'' based on Dick-
ens* *' Cricket on the Hearth" (Vi-
enna, 1896) ; ** Die Kriegsgefangene^^
(Vienna Ct. -opera, 1899); "*' Der
Fremdling " (not prod.) and ** Gotz
von Berlichingen ; * c. also 2 sympho-
nies, iricl. ^'' Ldndliche Nockzeit" ;
overtures," Im FrUhling^'' " Promt'
thius Bound"' and ** Sappho,'' etc.
(2) Rubin, b. New York City, 1871.'
458
THE MUSICAL GUIDE
composer ; nephew of above ; at 7
began to study with A. M. Livonius,
with whom he went to Vienna, 1889 ;
studied there also with Door and
Fuchs ; later in New York with Jo-
seffy and Dvorak ; since 1892 lives
in Colorado Springs, Colorado ;
founder and dir. of a Coll. of Mus.
there. At 19 c. ** Thenu and Varia^
tions'^ for orch. (performed by Seidl,
1895) ; c. a pf.-trio, cantata with
orch. *• Pilgrimage to AVt'/titfr," over-
ture *' Hia^vatha " (played by Boston
Symph. Orch.), vln. -sonata, etc.
Goldner (golt'-n^r), Wm., b. Ham-
burg, June 30, 1839 1 pupil Leipzig
Cons. ; lives in Pans as a pianist and
composer.
Goldschmidt (gdlt-shmU), (i) Sigis-
mund, Prague, 18 15-— Vienna, 1877,
pianist and composer. (2) Otto, b.
Hamburg, Aug. 21, 1829 ; pianist ;
pupil of Jakob Schmitt and F. W.
Grund, Mendelssohn, and Chopin ;
1849 Ix)ndon with Jenny Lind, whom
he accomjxinied on her American
tour and m. (Boston, 1852) ; 1852-55
Dresden; 1858-87 London; 1863
vice-principal of the R.A.M., 1875
founded Bach Choir, also cond. mus.
festivals at DUsseldorf (1863) and
Hamburg (1866); c. oratorio ** Ruth "
(Hereford, 1867) ; pf.-concerto and
trio, etc. (3) Adalbert von, b.
Vienna, 1853; pupil Vienna Cons.;
amateur composer ; prod, with great
suoc. cantata *'/?/> Sieben Tod'
sUnden'^ (Berlin, 1875), and succ.
opera ** Heliantkus'* (Leipzig, 1884);
prod, trilogy '* Gaea " 1889. (4)
HugfOf b. Breslau, Sept. 19, 1859 ;
1884 Dr. jur.; studied singing with
Stock hausen (1887-90) ; 1893 co-dir.
Scharwenka-Klindworth Cons., Ber-
lin ; writer.
Gold' win, John, d. Nov., 1719 ; Engl,
organist and composer.
Golinel'li, Stefano, b. Bologna, Oct.
26, 18 18 ; pianist ; pupil oZ B. Do-
nelli and N. Vaccai ; pf.-prof. Liceo
Musicale till 1870 ; c. 5 pf. -sonatas,
etc.
Gollmick (gftl'-mtk), (i) Fr. K., Ber-
lin, 1774 — Frankfort-on-Main, 1852;
tenor. (2) Karl, Dessau, 1796—
Frankfort-on-Main, 1866 ; son of
above ; theorist and writer. (3)
Adolf, Frankfort-on-M., 1825 — Lon-
don, 1883 ; pianist ; son and pupil of
(2) ; studied also with Riefstahl,
1S44 ; c. comic operas, etc.
Goltermann (gol -tdr-man), (i) G.
Ed., Hanover, 1824 — Frankfort-on-
M., 1898 ; 'cellist and composer. (2)
Jn. Aug. Julius, Hamburg, 1825 —
Stuttgart, 1876 ; 'cellist, (3) Aug.,
i826---Schwerin, 1890 ; court pianist.
Gombert (gom'-b^rt), Nicolas, Bru-
ges, ca. 1495 — after 1570; a most im-
portant 1 6th cent, composer, one of
the first to take up secular music
seriously ; a lover of Nature and a
writer of descriptive and pastoral
songs of much beauty ; his motet
** Faster Noster " was prod, at Paris
by Fetis with impressive effect.
Gomes (or Gomez) (go' -mas), Anto-
nio Carlos, Campinas, Brazil, July
II, 1839 — Para, Sept. 16, 1896; pu-
pil of Rossi, Milan Cons. ; Dir. of
Para Cons.; c. succ. operas ** Salva^
tor Rosa;* '' U Schiavo," '* A/aria
Tudor;* etc.
Good' ban, (i) Thos., Canterbury,
1780 — 1863; writer and cond. His
3 sons were (2) Chks., (3) Henry
Wm., 'cellist, and (4) Thos., violin-
ist. (5) Jas. F., nephew of (i), violin-
ist and organist.
Good'gjoome, (i) John, b. ca. 1630 ;
composer. (2) John, probably son of
abov« ; organist, 1735. (3) Theo-
dore, Pepys' teacher ; probably bro.
of (I).
Goodrich, (i) Alfred John, b. Chile,
Ohio, May 8, 1847; eminent theorist ;
except for a year's instruction from
his father, wholly self-taught ; teacher
theory Grand Cons., N. Y., 1876;
voice, pf. and theory Fort Wayne
Cons. , Ind. ; dir. vocal-dept. Beethoven
Cons., St. Louis; 2 years at Martha
Washingrton Coll., Va.; lived in Chi-
cago, now in New York as teachei ;
DICTIONARY OF MUSICIANS 459
«fl
pub. theoretical essays and books of
radical and scholarly nature, the im-
portant products of research and in-
dividuality, incl. '* Compute Musical
Anafysis^' (iSSg), '' Analytical Har-
many** (1894), ** Theory of Inter,
pr elation*' (1898), ''Counterpoint:*
(2) John Wallace, b. Boston,
1870 (?) ; notable organist ; studied
Boston, Munich and with Widor,
Paris ; teacher N. E. Cons., Boston ;
tours in concert ; 1902 chorusmaster
Worcester Festival.
Good'son, (i) Richard, d. 1718 ; or-
ganist and professor at Oxford. (2)
Richard, d. 1741; son and successor
of above ; organist.
Goodwin, Amina Beatrice, b. Man-
Chester, Engl.; pupil of her father;
at 6 played in public, then studied
with Reinecke, Jadassohn. Delabord,
Liszt and Frau Schumann ; 1895
founded a pf.-coU. for Ladies, Lon-
don ; m. an American, W. Ingram-
Adams ; pub. a work on technic and
c. pf. -pieces.
Goovaerts (go'-v&rts), Alphonse, J.
M. Andr6, b. Antwerp, May 25,
184.7 ; 1866, assist, librarian, Ant-
werp ; founded an amateur cathedral
choir to cultivate Palcstrina and the
Netherland cptists ; 1887 royal ar-
chivist, Brussels; writer and composer.
Gdpfert (g«p'-f5rt), (i) K. And., Rim-
par, near Wttrzburg, 1768 — Meining-
en, 1818 ; clarinetist and dram, com-
poser. (2) K. G., Weesenstein, near
Dresden, 1733 — Weimar, 1798; vln.
virtuoso ; conductor and composer.
Gordiigiani (gor-ded-j&'-ne), (i) Giov.
Bat., Mantua, 1795 — Prague, 1871;
\(yci of a musician ; dram, composer.
t2) Antonio, a singer. (3) Luig^,
Modena, 1806 — Florence, i860; bro.
•^f (i); dram, composer.
Gor'don, (i) John, Ludgate, iTot —
''739; Prof. (2) W., Swiss flutist
of Engl, descent ; 1826 began im-
provements on the flute, which later
«5hm carried to success, though W.
G. went insane 1836 from discourage*
sent.
34.
Goria (g6-re'-«), Alex. £d., Paris,
1823 — 1860; teacher and composer.
Gomo (gor'-no), Albino, b. Cassalmo-
rano (Cremona), Italy; pupil Milan
Cons. , gniduating with 3 gold medals ;
pianist and accompanist to Adelina
Patti on Amer. tour 1881-1882 ; then
pf.-prof. Cincinnati Coll. of Music;
c. opera, cantata ** Garibaldi** etc.
G5roldt (ga'-rolt), Jn. H., Stempeda,
near Stolberg (Harz), 1773 — after
1835 ; mus. dir., writer and com-
poser.
Gorria, Tobio. Vide boito, arri(;o.
Gorter (gor'-t^r), Albert, b. NUmbcrg.
Nov. 23, 1862 ; studied medicine ;
then music at R. Mus. Sch., Mfi-
nich ; took 3 prizes for composition ;
studied a year in Italy ; assist, cond.
Bayreuth F'estivals ; cond. Breslau,
etc.; 1894-99 assist, cond. Carlsnihe
Ct.-Th., then cond. Leipzig CityTh.;
c. (text and mus.) opera " //«r^/</"
and comic opera ''lyer Schatz des
Rhampsinnit * (Mannheim, 1894); 2
symphonic poems, etc.
G08S, (i) John Jeremiah, Salisbury,
1770— 1817; alto. (2) Sir John,
Fareham, Hants, England; 1800 —
London, 1880 ; organist ; knighted,
1872 ; composer and writer.
Gossec (gos'-sdk) (rightly Goss^, Gos-
set or Gosses) (g6s-s&), Francois
Joseph, Vergniers, Belgium, Jan.
17. 1734— l*a-ssy, near Paris, F"eb. 16,
1829; 1741-49 chorister Antwerp
cath.; for 2 years he then studied vln.
and comp.; 175 1 Paris, cond. private
orch. of I^ Popelini^re ; then fer»
mier~s^M/ral ^' 1754 he pub. his first
symphonies (5 years before Haydn's);
1759 his first string-quartets which
became pop.; 1769 his '* Afesse des
Morts** made a sensation (the ''Tuba
mirum^* being written for 2 orch.,
one for\nnd. instrs., concealed, a new
effect he repeated in his first oratorio);
1762 cond. of Prince Conti's 01 ih.
at Chantilly; from 1764 prod. 3-act
operas " Le Faux Lord,** etc., ind.
succ. " Les Pecheurs** (Comtfdie It.,
1766) ; 1770 founded Concerts def
46o THE MUSICAL GUIDE
Amateurs ; 1773 reorganised and
cond. the Concerts Spirituels till
1777 ; 1780-S2 assist, cond. Acade-
mic de Musique (later Gr. Opera) ;
1784 founded and dir. Ecolc Royale
de Chant, the beginning of the Cons,
of which (1795) he was an inspector
and prof, of comp, ; c. 26 symphonies,
3 symphonies for wind, " Symphonie
cancer tante'* for 11 insts., overtures,
3 oratorios, etc.; masses with orch.;
string-quartets, etc.
Gost'hngf Rev. John, d. 1733 ; bass,
famous for his range ; Purcell wrote
for him a song ranging from D-e' (v,
PITCH, D. D.).
Gottschald (got'-shalt), Erast, b. £1-
terlein, Saxony, Oct. 19, 1826 ; a ju-
rist and writer under pen-name
"vonElterlein."
Gottschalg (got'-shalkh). Alex. W.,
b. Mechelrode, near Weimar, Feb.
14, 1827; pupil Teachers' Seminary,
Weimar ; succeeding Gopfer there
later ; court organist, teacher, editor
and writer.
Gottschalk (gots-cholk), (i) Louis
MoreaUf New Orleans, La., May 8,
1829 — Rio de Janeiro, Dec. 18, 1869;
brilliant and original pianist and com-
poser ; studied in Paris ; began c. at
10 ; c. operas, etc., and 90 pf.-pcs. of
distinct and tropical charm. (2)
Gaston, bro. of above, singer and
for years teacher in Chicago.
Gbtze (get'-z^), (i) Jn. Nik. K., Wei-
mar, 1 79 1 — 1 86 1 ; violinist and dram,
composer. (2) Fz., Neustadt-on-
Orla, 1814 — Leipzig, 1888 ; tenor,
teacher and composer. (3) Karl,
Weimar, 1836 — Magdeburg, 1887 ;
pianist and dram, composer. (4) H.,
b. Wartha, Silesia, April 7, 1836 ;
studied singing with (2) ; lost his
voice ; teacher in Russia and Bres-
lau ; 18S5 Ziegenhals, Silesia ; 1889
Royal Mus. Dir.; wrote 2 technical
books ; c. a mass with orch., etc.
(5) Auguste, b. Weimar, Feb. 24,
1840 ; daughter of (2) ; teacher Cons.,
Dresden ; founded a school there ;
1891 taught at Leipzig Cons. ; wrote
under name **Aug;uste Weimar.'*
(6) Emil, b. Leipzig, July 19, 1856;
pupil of Scharfe, Dresden ; 1878-81,
tenor Dresden Ct.-Th., then at Co-
logne Th., then toured as ** star/*
1900 lived in Berlin as court-singer.
(7) Otto, 1886, conductor at Essen-on-
Ruhr ; prod. succ. opera *' A'iuaito**
(Sondcrshausen, i8g6). (8) Fz., 1892,
prod. Volksoper '* Utopia'"' (Stettin,
1892) and i-act opera *' Die Rose von
Thiessoiv'* (Glogau, 1895). (9)
Marie, b. Berlin, Nov. 2, 1865 ;
alto, studied Stern Cons, and with
Jenny Meyer and I>evysohn ; sang
Berlin opera, then at Hamburg City
Th. ; 2 years in America; 1892 Berlin
ct. -opera.
Goudimel (goo-dY-m^l), Claude, Vai-
son, near Avignon, ca. 1505 — killed in
St. Bartholomew massacre, Lyons,
Aug. 24, 1572 ; pupil perhaps of Jos-
quin Despr^ ; est. a school and
formed Palestrina and other pupils,
winning name ; ** Father of the Ro-
man School " ; a music printer for a
time; his important comp. incl. ** The
Psalms 0/ jDaviii^'* complete.
Gould, Nathaniel Duren, Chelms-
ford, Mass., 1781 — Boston, 1864;
conductor and writer.
Gounod (goo- no), Charles Fran-
cois, Paris, June 17, 1818 — Oct 17,
1893 ; son of a talented painter and
engraver ; his mother taught him the
pf. and he entered the Lycee Saint-
Louis ; 1836 studied at the Paris
Cons, with Reicha (harm.), Halevy
(cpt. and fugue). Lesueur and Paer
(comp.) ; took 2nd Prix de Rome
with cantata " Afarie Stuart et A*i«-
zio^* in 1837; his cantata ** Fernan^
da " won the Grand Prix de Rome in
1839, and he studied church music at
Rome ; 1841 his orch. mass was per-
formed ; in 1842 he cond. his Rf
quiem at Vienna with great eucc. ;
returned to Paris as precentor and oi^
ganist of the Missions Etrang^res ;
studied theology 2 years, intended to
take orders and was called l*AbM
Gounod by a publisher in 1846* after
DICTIONARY OF MUSICIANS 461
5 years of seclusion, parts of his
Messe SoUnntlle were played with
profound succ. in London ; he prod,
a symphony, but his opera ** Sappho"
failed (Gr. Opera, 185 1) ; revised
1884, it failed again ; a gr. opera,
** La Nonne Sanglante" (1%%^)^ and
a comic opera, ** Lf M^decin Malgr/
Lui'' (played in 1x>ndon as ''The
Mock Doctor") (1858), both failed;
1852-60 cond. the *' Orpheon," Paris,
and c. choruses and 2 masses. The
ODera '''Faust** (Th. Lyrique, i85())
was and still is a great succ. '* PhiU-
mcn et Baucis " (i860); " LaReinede
Saba " (in London as •* Irene ") (1862);
•'i)/ir«7i^" (1864), **Za Colombo'*
(1866), were not great works, but
'* Romeo et Juliette " (1867) still holds
the stage ; 1866 member of the Insti-
tut de France and commander of the
Legion of Honour. In 1870, during
the war he lived in London ; founded
Gounod's Choir. In 187 1 he prod.
** Gallia,'' a cantata based on " I.am<
entations " ; 1875 returned to Paris,
prod. * • Cinq Mars " (Opera Comique,
\^ni):"PolyeucU " (Gr. Opera, 1878),
and *• Z/ Tribut de Zamora " (188 1),
none succ. The sacred trilogy ** La
Redemption " (Birmingham, 1882)
(music and French words), and **Mors
et Vita'' (Birmingham, 1885) (Latin
text arranged by Gounod) are stand-
ard. He also c. *' Messe Solennelle h
Ste. 0«/? "/ masses; *^ Angeli custo
des " (188?) ; ''Jeanne d'Arc '" (1887) ;
a Stabat Mater with orch. ; the orato-
rios " Tobie;' *• Les Sept ParoUs de
J^sus:' ''J^sus sur U Lac de Tib/-
riade" ; the cantatas *' A la Frot^
tikre" (1870. Gr. Opera), "/> Vin
des GauloiSy'* and "Z^i Danse de
VEp^e,'' the French and Engliijh
songs, etc. He left 2 operas, "'Mat-
tre Pierre'' (incomplete) and
*' Georges Dandin " (said to be the
first comic opera set to prose text,
cf. Bruneau). He wrote '' Mithode
de cor h pistons," essays, etc. Biog.
by Jules Claretie (Paris, 1875); Mme.
Weldon (London, 1875) ; Paul Voss
(Leipzig, 1895) ; '' MMoires** (Paris,
T895).
Gounod.
By Vernon Blackburn.
GOUNOD'S music belongs entirely to a world of its own. In t
word, he made that world, and then he set his music in it. You
would not say that it was first-rate by any means^ and you would not
have the heart to say that it was second-rate. But, just as the old writers con-
ceived a condition after death in which man received neither reward nor pun-
ishment, a sort of midway house where the dross of the flesh had not been
expunged and where the fire of the spirit had not entirely departed, so Gounod
is a kind of mingled spirit in music. He is the idol of gold with the feet of
clay. ^Vet he had one note, one separate characteristic in his music which
does certainly divide him from every other musician in the world. No&c
has sounded as he has sounded the peculiar note of eroticism which is absolutely
sexual. Instance it by one example (the song of Marguirite at the end of
the second act of** Faust ^^^ when she throws open the window to give ex-
pression to her emotion) as a creation of sexualness which no other song in
the world has probably possessed. I have heard it said that the performance
462
THE MUSICAL GUIDE
of Gounod' e masses in Paris used to be regarded by ladies of fashion and
quality as something in the light of an orgy. For this was Gounod's dom-
inant note, his dominant quality. ^He was not a master of melody^ but he
wrote quite beaudful melodies. He was not a master — ^and in each case I
am usmg the word " master " in the superlative sense — of technique, but he
had a mystic-second-rate mysdc, but, all the same, mysdc, quality in his
work. He was not really dramatic ; ^* Philemon et Baucis f^* ^*Faust^^^ and
Romeo y^ are there to prove so much ; but he was charming in just not the
great way. As a song- writer, though, he often achieved something like
greatness. The much -hackneyed " Quand tu cbantes^^* ** Nazareth ^^^ but,
above all, *^Le Juif Errant^^^ prove that in little flights of emotion, separate
swingings into the sky, as it were, Gounod could do as well as anybody.
But he was not a great master ; he was a great contem]>orary, as I have said
elsewhere, and his death was mourned by contemporaries. Whether future
generations will rank him any higher than Emanuel Bach, dme alone can
prove. ^Gounod's personality can scarcely be said to have made any im-
pression upon the world, and his influence died like a bright " exhaladon of
the evening." You can prove it to-day only in mediocre song- writers.
Oottvjr (goo-ve), Louis Theodore,
Gofiontaine, Rhenish Prussia, 1819 —
Leipzig, 1898 ! pianist and composer.
Gow, (r) Nici, Strathband, 1727—
Inver, Scotland, 1807 ; violinist and
comooser. (2) Nathaniel, 1766 -*
183 1 ; son of above, also violinist and
composer. (3) Donald, brother of (i),
was a 'celUst. And (4) Niel, Jr.,
1795 — 1823, son of (2)^ was violinist
and composer. (5) George Cole-
man, b. Ayer Junction, Mass., Nov.
37, i860; studied with Blodgett,
Pittsfield, and Story (Worcester) ;
graduate Brown Univ., 18S4, and
rfewton Theol. Seminar)', 1889 ; then
teacher of harm, and pf . Smith Col-
lege ; studied with Btlssler in Berlin ;
1895 prof, of music Vassar Coll.;
composer and writer.
GraAO (grftn), Jean de, Amsterdam,
1852— The Hague, 1874; violinist.
■ Graben-H ofifmann (gra' -b^n hof '«
man), Gustav (rightly Gustav Hoff-
mann), Bnin, near Posen, March 7,
T8ao— Potsdam, May 21, 1900; sing*
\^ teacher, writer and composer.
Grabert (gra'.b£rt), Martin, b. Ams-
walde. May 15, 186S ; studied with
Bargiel and Bellerman, Berlin, R. I.,
for church-music, 1891 winning Mey-
erbeer-stipend, 1894 Mendelssohn
prize; lived in Berlin as organist, chor-
dir. and composer of choruses, etc.
Grabu(t) (gri-bQ), Louis (or Lewis),
French operatic composer at the Eng-
lish court, 1666-90.
Gradencr (gra'-dS-n^r), (i) K. G. P.,
Rostock, 1812 — Hamburg, 1883 ;
dir., conductor, writer, and dram,
composer. (2) Hermann (Th. Otto)^
b. Kiel, May 8, 1844 ; son and pupil
of above; later studied Vienna Cons.;
1873 teacher harmony Horak*s Pf.
Sch., later Vienna Cons.; from 1890
lecturer on harm, and cpt. Vienna
Univ.; cond. Singakademie ; c. Ca«
priccietta and Sinfonietta for orch.
(op. 14), etc.
Graew (grav). Vide bacfart.
Graffigna (graf-fen'-ya), Achille, San
Martino Dal I'Argine Italy, 1816^
Padua, 1896 ; conductor^ teachec
and dram, composer.
DICTIONARY OF MUSICIANS 463
Ora'ham, Geo. F., Edinburgh, 1790
— 1867 ; composer and writer.
Grammana (gram'-man), Karl, LQ-
beck, 1844 — Dresden, 1897 ; dram,
composer and writer.
Grand! (gran'-de). Ales, de, Venice (?)
— Bergamo, 1630 ; singer and com-
poser.
Grandval (gran-v&I), Mme. Marie
F^licie CUmence de Reiset,
Vicomtcsse de, b. Saint-Remy-des-
Monts (Sarthe), France, Jan. 20,
1830 ; pupil of Fiotow and Saint-
Saens (comp.) ; prod, the operas
*' Piccolini " (Op.-Com., 1868). " Us
Fiances des Kosa'' (Th.-Lyr., 1863),
*'Aiala" (Paris, 1888), ''Afa»ep/>a"
(Bordeaux, 18^2) and others ; won
the Prix Rossini with oratorio ** La
Fille de Jaire,'^ *'drame sjicre,"
^^ Sainte-Agnh^* m MS.; has prod,
symph. works and songs ; sometimes
wrote under pen-names ** Tesier,
Val^rand, Jasper, Bang^er,'* etc.
Graninger, Chas. Alb., b. Cincin-
natl, Jan. 2, 1S61 ; pupil Coll. of
Mus.; dir. several mus. societies;
prof, in the College for Music.
Granjon (gran-zhon), Robert, music-
printer, Paris, Lyons and Rome, 1582.
Gran'om, Louis C. A., English com-
poser, 1 75 1.
Graph&us (gra'-f£-oos), Hieronymus,
d. May 7, 1556; music-printer NUrn-
berg from 1533.
Grassini (gras-sc'-nc), Joscphina,
Varese, Lombardy, 1773 — Milan,
1S50 ; Italian soprano of remarkable
talent and beauty.
Gras (doru-gras), Mme. Julia Aim^e
Dorus, Valenciennes, 1807 — retired,
1850 ; operatic singer Paris and I^n-
don.
Grasse (grits), Edwin, b. New York
City, 1874 (?) ; blind violinist ; pupil
of (iarl Ilauser, N. Y.; at 13, of
Cesar Thomson, Brussels, then at
the Cons., taking ist prize ; T901
took ** Prix de Capacite " : debut
Berlin, Feb. 22, 1902, with great
succ.
Grasset (gr&s-sa), J. Jacques, Paris,
ca. 1767 — 1839 ; vioUnist, conductor,
professor, etc.
Gratiani. Vide graziani.
Graumann (grow'-man), Mathilde.
Vide MAKCHKSI.
Graun (grown), (i) Auff. Fr., 1727-
71, tenor, cantor. (2) Jn. Gl., 1698
— Berlin, 1771 ; bro. of above ; vio-
linist ; pupil of Pisendel and Tartini;
in service of Fredk. the Great and
cond. of Royal band ; c. 40 sympho-
nies, etc. (3) K. H., WahrenbrUck,
Prussian Saxony, May 7, 1701 — Ber-
lin, Aug. 8, 1759 ; bro. of above ; or-
ganist, singer, court-conductor, and
composer.
Graupner (growp'-ndr), Chp., Kirch-
berg, Saxony, 1683 — Darmstadt,
1760 ; dram, composer.
Graziani (gra-tse-a'-ne), (i) (Padre)
Tommaso, b. Bagnacavailo, Papal
States ; conductor and composer of
i6th cent. (2) (or Gratiani) Boni-
£ace, Marino, Papal States, ca. 1606
— Rome, 1664 ; cond. and composer.
(3) Ludovico, Fermo, Italy, 1823 —
1885 ; tenor. (4) Francesco, Fer-
mo, April 16, 1829 — Fermo, June 30,
1901, bro. of above ; bar)'tone, sang
in Italy, Paris, New York.
Grazzini (grfid-ze'-ne), Reg^naldo,
b. Florence, Oct. 15, 1848 ; studied
R. Cons, with T. Mabellini ; op.-
cond. in Florence, later prof, of mus.
theory and artistic dir. Liceo Bene-
detto Marcello, Venice ; c. sympho-
nies ; a mass with orch., etc.
Great ores, Thos., North Wingfield,
Derby, Fngl., 1758 — Hampton, near
London, 1831 ; organist, teacher, and
composer (1789-93) ; then conductor.
Greco (gra'-ko) (or Grec'co), Gaetano,
b. Naples, ca. 1680 (?) ; composer
and teacher.
Greef (graf), (i) Wm., Kettwig-on-
Ruhr, 1809 — Mors, 1875 ; organist
and singing teacher. (2) Greei-An*
driessen. Vide stahmer, a.
Green, Samuel, London, 1730— Isle*
worth, I7t>6; organ-builder.
Greene, (i) Maurice, London, 1696
(1695 ?) — 1755 ; teacher and compos-
464
THE MUSICAL GUIDE
er. (2) (Harry) Plunket, b. Old
Connaught House, Co. Wicklow,
Ireland, June 24, 1865 ; basso ; stud*
led with Hromada and Goetschius,
Stuttgart, 1883-86, and 6 months
with Vannuccini of Florence ; later
with J. B. Welch and Alf. Blume,
London; debut, Jan. 21, 1888, in
**if/i'jj/tfA"y debut in opera at Cov-
ent Garden, 1S90 ; excels in recitals ;
has sung frequently in America.
Greeting, Thos., teacher of flageo-
let, London, latter half 17th cent. ;
taught Pepys.
Grefinrer (or Gr&iinger) (gra'-ftng-?r),
Jn. vV., Vienna, i6th cent, com-
poser.
Gregfh (gr£g), Louis, Paris music-pub-
lisher; 1894 prod, pantomime ; vaude-
ville operettas, etc.
Gre^ir (grAg-w&r), (i) Jacques Ma-
thieu Joseph, Antwerp, 18 1 7 — Brus-
sels, 1876 ; teacher and dram, com-
poser. (2) fed., Turnhout, near
Antwerp, Nov. 7, 1822 — Wyncghem,
June 28, 1890 ; bro. and pupil of
above ; pianist, dram, composer and
writer,
Greg^oroVitch, Charles, b. St. Pet-
ersburg, Oct. 25, 1867 ; violinist ;
pupil of Wieniawski, Dont and Joa-
chim ; 1896-97 toured Europe and
America.
Greg'ory L (** The Great "), Rome,
540-604 ; Pope from 590 ; reformer
and reviser of Roman Catholic ritual,
v. GRKOOkiAN and modes (O.I).).
Grell, Ed. Auy., Berlin, iSoo— Steg-
litz. near Berim, 1886 ; organist, con-
ductor, prof, and composer.
Greni6 (grttn-ya), Gabriel Jos., Bor-
deaux, 1757 — Paris, 1837 ; inv. of
the orgu€ expressif (v. harmonium,
D. D.), which Erard improved.
Gresnich (grin-tsh), Ant. Fr6d6ric,
Li^, 1755 — Paris, 1799 ; conductor
and dram, composer.
Gr^ta (gra'-t&), Jeanne (n^ Greta
Hughes), b. Lancaster, Mo. ; colora-
tura soprano ; studied with Gott-
»rhalk, Chicago, Agramonte, New
H )/k, Mme. La Grange, Critikos.
and Dubulle, Paris ; debut St. James*
Hall, London, 1897 ; toured England
and Scotland with great success, when
at a concert before the Princess of
Teck she caught a severe cold, neces-
sitating a long retirement ; now sing-
ing again in New York ; 1899, ''^«
Herbert Witherspoon.
Gr^try (gra-trwe), (i) Andr6 Ernest
Modeste, Li6gc, Feb. 9, 174.1 —
Montmorency, near Paris, Sept. 24,
1813 ; dram, composer ; son of a vio-
linist. Chorister at 6, but dismissed
for incapacity at ii, then pupil of
Leclerc and Renekin. R. failing to
keep him to the strict course of cpt.
Moreau later tried with equal failure;
1758 he prod. 6 symphonies at Li6ge;
1759 ^ mass for which the Canon du
llarlez sent him to study in Rome,
to which he walked ; he studied cpt.
and comp. with Casali and Martini
for 5 years, but was again dismissed
as impossible ; a dramatic intermezzo,
*• Le Vendemmiatrice** was succ.
1765, but reading Monsigny's ** Rose
et Colas ^^ he decided that his restless
dramatic longings were best adapted
for French opera comique. He was a
long time finding a fit librettist (Vol-
taire declining his invitation). He
reached Paris slowly via Geneva,
where he taught singing a year and
prod, the succ. i-act ** JsabelU el
Gertrude,** In Paris after 2 years*
hardships his ** Les Mariages Sam*
nites " was rehearsed, and though not
prod., won him a patron in Count
Creutz, the Swedish Minister, who
secured him as libretto Marmontel's
comedy ** Le Huron,''* This was
prod. (Op. -com., 1768) with a gjeat
succ, enjoyed also in extraordinary
degree by an astounding series of
works, mostly comic and mostly suc-
cessful, the best of which are '* Z«-
ciU:* " Le TabUau Parlant" (1769).
*'Les Deux Avares" *' Z^mire et
Azor" (1771), ** /^ Magntfyue"
(1773); ''La Rosihe de SaUncy'*
(1774) : ** La Fausse Magie " (I775>t
••Z^ Jugement de Midas** (inwhlUl
DICTIONARY OF MUSICIANS 465
he satirised the old French music
and its rendition at the Academic),
and '* VAmani Jahux" (1778);
the strand opera ** Afufroma^ue"
(1780) (in which the chief role' is ac-
companied by, 3 flutes throughout) ;
" La DoubU Epreuve'' (or " Colinet^
tehla cour ") (1782) ; /* Theodore et
Pauline'' (or ''VEpreuve villa-'
geoise''); and *''' Richard Cceur de
Lion " (his best work, still played in
Paris); the gr. opera "Z<i Caravane
du Caire'* (1785, performed 506 times;
(libretto by the Comte de Provence,
later Louis XVIII.); ''La Rosi}re
Republicaine'' (1793); ''La Fite de
la Raison'' (prod. 1794 during the
Revolution) ; ** Lisbelh " y ** Anaere^
on chez PolycraU " (1797) ; c 50
operas in all, remarkable for sponta-
neity, erace and fervour of melody,
dramatic effect and general charm,
but open to serious criticism as
works of formal art. Me was called
**the Moli^re of music." Mozart and
Beethoven wrote Variations on themes
of his. Once launched, his progress
was a triumph of honour of all kinds;
in 1802 Napoleon made him Chev-
alier of the Legion of Honour with
a pension of 4,000 francs. He bought
Rousseau's former residence at Mont-
morency and retired there ; wrote
Memoirs^ etc. He had several chil-
dren, including the gifted Lucille (v.
infra), all of whom he outlived. He
left 6 unprod. operas and c. also 6
symphonies ; 6 pf. -sonatas, 6 string-
quartets, church-mus., etc. Biog* by
his nephew, A. J. G. (1815) ; Gregoir
(1883) ; Brunet (1884), etc. (2) Lu-
cille, Paris. 1773-93 ; daughter of
above, who instrumented her opera
*' Le Mariage d' Antonio'' written
and prod, at the^ Op.-Com., with
succ. when she was only 13 ; the next
year her opera *' Toinettt et Louis"
was not a success ; she married un-
happily and died at 20.
Greufich (groi'-likh), (i) K. W.,
Kunzendorf, Silesia, 1796 — 1837 ;
teacher and composer. (2) Ad.^
Posen, 18 19 — Moscow, 1868 ; teach-
er and composer. (3) Ad., Schmiede-
berg, Silesia, 1836 — Bresiau, 1890;
conductor, bass., organist and com-
poser.
Grier (greg), Eduard Hagenip,
b. Bergen, June 15, 1843 ; pupil of
his mother, a pianist ; at 15 entered
Leipzig Cons., pupil of Hauptmann
and Kichter (harm, and cpt.) ; Rietz
and Reinecke (comp.) ; Wenzel and
Moschelcs (pf.) ; then with (Jade,
Copenhagen. With the young Nor-
wegian composer Rikard Nordraak,
he conspired, as he said, "Against
the effeminate Mendelssohnian-Gade
Scandinavianism, turning with enthu-
siasm into the new, well-defined path
along which the Northern School is
now travelling." 1867 Grieg founded
a Musical Union in Christiania and
was cond. till 1880 ; 1865 visited
Italy, again in 1870, meeting Liszt in
Rome. 1879 lie performed his pf.«
concerto at the Gewandhaus, Leipzig.
Since 1880 lives chiefly in Bergen ;
lately cond. the Christiania Phil.;
1888 played his concerto and cond.
his 2 melodies for string-orch. at Lon-
don Phil. 1894 Mus. Doc. Cantab.
C. concert-overture *' In Autumn " /
op. 20, ** Vor der Klosterpforte''iox
solo, female voices and orch.;
'' Lander kennung" for male chorus
with orch.; '* Der Einsame" for bary-
tone, string orch. and 2 horns ; op.
35, *' Norwegische Tanze," for orch.;
op. 40, '^ Aus Holzberg's Zeit'' suite
for string orch.; *" Bergiiot," melo-
drama with orch.; 'Peer Gynty*
suites I and 2 for orch.; op. 50,
*^Olav Trygvason'* for solo, chorus,
and orch.; ** Sigurd Jorsalfar" for
orch., etc.; op. 22, 2 songs for male
voices and orch.; various pes. for
string orch., string-quartet in G min.;
pf.-concerto ; pf.-sonatas, 3 vln.-so-
natas, a 'cello-sonata, also for pf.-
•' Poetische Tonbilder" Romanzen
and Balladen ; several sets of *'Z/-
rische Stticke" " Symphonischi
SiOcke" (4 ham^), '* NorwegiscJU
4.66 THE MUSICAL GUIDE
Volkslieder und T&nu,"' ** Bilder incl. song-cycle to Garborg's •• Hau^
ails <Um VclksUben" Peer Gynt %yi\X!t tussa." Biog. by Ernest Closaon
No. I (4 hands), and many songs, (Fischbacher, Paris, 1892),
Eduard Grieg.
By Henry T. Finck.
WHEN Hans von Bulow called Grieg the Norwegian Chopin he
doubtless had in mind the melodic fertility, the harmonic origi-
nality and boldness, the eloquence of style, and the almost exclu-
sive devotion to the shorter forms of composition, which these two masters
have in common. There is another point of resemblance. For a long time
musicians believed that the striking peculiarities of Chopin's music were due
to the influence on him of the Polish folk-music, whereas, in truth, they are
only the product of his own genius. The same must be said of Grieg with
reference to the Norwegian folk-songs, which are generally supposed to have
been the sources of his inspiration. It is only necessary to study these folk songs
of Norway to see how utterly erroneous this idea :s. He caught their spirit —
half melancholy, half wild — but his melodies and harmonies are his own, and
they are more beautiful than any folk-music, ^f As a youth he came under
the influence of Schubert, Schumann, Chopin, and Wagner, but in his songs
(beginning with the third Grieg Album in the Peters edition) he is all Grieg,
and the same is true of his pianoforte and other instrumental pieces. Apart
from a concerto for the pianoforte, three sonatas for piano and violin, one for
piano and * cello, a few choruses, an overture and a few orchestral suites
Tamong which the two Peer Gynt are best known), he has written only songs
(120 up to date), and a large number oi short pianoforte pieces. Half a
dozen of his songs have been arranged with pianoforte accompaniments. ^
As a harmonist Grieg is even bolder than Wagner and Liszt ; he has spoken
the last word in modulation. His best productions are still hv too little
known. His music has influenced nearly all the younger Scandinavian com-
posers, and not a few others, who sometimes help themselves to his ideas, in
the innocent belief that they are simply copying Norwegian folk-melodies.
A kindred spirit to Grieg is the most original of American composers, Edwtfd
MacDowell.
Griepenkerl (gre -p^nk-^rl), (i) F. Windsor, 1798 — London, 1875 ; som
K., Peine, Brunswick, 1782 — Bruns- of the 'cellist. (2) J. C. G., pianist,
wick, 1849 ; Prof. (2) W. Rob., 'cellist, dir. and writer.
Holwyl, 1810— Brunswick, 1S68 ; son Griesinger (gre'.zTnjj-(^r), G. Aug., »!•
of above ; teacher and writer. Leipzig, 182S ; writer.
Griesbach (gres'-btlkh). (i)John Hj.y Griffin, (i) Thos., English organ.
DICTIONARY OF MUSICIANS 467
builder i8th cent. (2) George Eu-
gene, 1781— I^ndon, 1863; Engl,
pianist and composer.
Grill, (i) F., d. Odenburg, Hungary,
ca. 1795 ; composer, etc. (2) Leo,
b. Pesth, Feb. 24, 1846 ; pupil of F.
Lachner; since 187 1 teacher of cho-
ral singing and theory Leipzig Cons. ;
c. overture ** Hilarodia" 1892.
Grillet (gre-ya), Laurent, b. Sancoins,
Cher, France, May 22, 185 1 ; pupil of
A. Martin ('cello), K. Mangin (harm.),
and Ratez (cpt. and fugue); cond.
various theatres ; 1886 Nouveau-
Cirque, Paris ; writer ; c. comic opera
** Graciosa " (Paris 1892), ballets, etc.
Grimm, (i) Fr. Melchior, Baron von,
Ratisbon, 1723 — Gotha, 1807; one
of the advocates and controversial-
ists for the Ital. opera huff a. (2)
Karl, Hildburghausen, 18 19 — Frei-
burg, Silesia, 1888 ; *cclHst and com-
poser. (3) K. Konst., lived in Ber-
lin, 1820— 1882: harpist. (4) Ju-
lius Otto, b. Pemau, Livonia, March
6, 1S27 ; pianist ; pupil of Leipzig
Cons. ; founded vocal society at
Gottingen, then R. Mus. Dir. Mun-
ster Academy and cond.; c a sym-
phony, 2 suites in canon-form, etc.
Grim'mer, Chr. Fr., Mulda, Saxony,
1800—1850; composer.
Grisar (gre-zSr), Albert, Antwerp,
Dec. 26, 1808 — Asnidres, near Paris,
June 15, 1869; prolific dram, com-
poser ; biog. by Pougin, Paris.
Grisart (gre-z&r), Chas. J. Bapt.,
prod, light operas in minor theatres,
the last **/> PfHt B(ns" (1893) and
" Voilhk Ror (1894).
Grisi (grc'-ze), (i) Giuditta, Milan,
July 28, 1805 — near Cremona, May i,
1840 ; famous mezzo-soprano ; pupil
of Milan Cons. ; m. Count Barni,
1834. (2) Qiulia, Milan, July 2S,
181 1 — Berlin, Nov. 29, 1869 ; sister
and pupil of above ; famous dra-
matic soprano; pupil of (liacomelli.
Pasta and Marliani ; m. Count Mcl-
cv, later m. Mario.
Gntzinger (grlts'-tng-^r), L^on, b.
Boian, Austria, Sept. 20, 1856 ;
tenor; studied in Vienna and sang
10 years at the opera house there ;
then in various cities, 1900 Bruns-
wick court^theatre.
Groninger (gr6'-n!ng-«r), S. Tan, b.
Deventer, Holland, June 23, 185 1 ;
pupil of Raif and Kiel, Berlin ; pian-
ist ; teacher in Zwolle, The Hague ;
now at Leyden ; composer.
Grosheim (gros'-hlm), G. Chr., Cassel,
1764 — 1847 ; dram, composer.
Grosjean (gro-zhift), (i) J. Romary,
Rochesson, Vosgea, F^rance, 18 15 —
St. Die, 1888 ; org. composer and
writer. (2) Ernest, b. Vagney, Dec.
18,1844; nephew of above ; organist
at Verdun.
Gross (gr6s), Jn. BenJ., Elbing, West
Prussia, 1809 — St. Petersburg, 1848 ;
'cellist and composer.
Gros'si (grfis'-se), (i) G. F. Vide si-
FACK. (2) Carlotta (rightly Char-
lotte Grossmuck), b. Vienna, Dec.
23, 1849 : coloratura singer ; studied
in the Cons, there; 1869-78 at the
Berlin Opera.
Gross' man, Louis, b. Kalisz, Po-
land, 1835; c. overtures **X«ir "
and ** Marie C* and succ. operas
•• Fisherman of Palermo " (Warsaw,
i866> and ** Woyewodd's Ghaf
(1872).
Grove, Sir Georg^e, Clapham, Surrey,
Aug. 13, 1820 — London, May 28,
T900 ; civil engineer ; Sec. to the So-
ciety of Arts ; 1852, Sec, and 1873 a
member of the Board of Directors,
Crystal Palace; edited MacmillatCs
Magazine ; later dir. of the Royal
Coll. of Mus.; 1883, knighted; 1875
D.C.L. Univ. of Durham; 1885
LL.D., Glasgow; wrote important
book *^ Beethoven and His Nine
Symphonies" (1896), etc., and wa»
the editor-in-chief 1879-89 of the mo*
sical dictionary known by his name.
Grua (groo'-&), (i) C. L. P., court
conductor at Mannheim and com<.
poser, 1700 — 1755. (2) Paul, Mann,
heim, 1754 — Munich, 1833 ; son ot
abo\'e ; conductor and dram, oom
poser.
468
THE MUSICAL GUIDE
Gfober (groo'^b^), In. Sigismnnd,
Nttmb^f^ l759~~lio5; lawyer and
writer,
Gfutnbtfg (grVai'-hMh), Eofi^ene, h.
Lemberg;, Galida, Oct. 30, 1854;
viotinist; pupil at Vienna Cons.; for
10 years member Leipzig Gewand-
haus Orch.; then (till 1898) Boston
Symph. Orch. ; for 3 years vln. -teach-
er at the Boston Cons.; later at the
N. Engl. Cons.; pub. ** Theory of Vio-
Kn Playing" ; studies, essays, etc; c.
a symphony (performed at the Ge-
wandhaos), etc.
Grttn(grQn),Friederike,b. Mannheim,
June 14, 1836; soprano, at first in
the opera-chorus, ^hen sang solo parts
at Frankfort, later (1863) at Cassei
and 1866-69 Berlin ; 1869 m. Russian
Baron ron Sadler ; studied with Lam-
perti at Milan and continued to sing
with success.
Griinberg (gran -b^rkh), (i) Paul Emil
Blax, b. Berlin, Dec. 5, 1852 ; vio-
linist ; leader at Sondershausen, later
at Prague ; now teacher in Berlin.
(2) Vide GRUENBERG.
Griinberger (grQn'-b^rkh-^r)» Lud-
wig, Prague, 1839 — 1896 ; pianist
and composer.
Grand (groont), Fr. Wnu, Hamburg,
179X — 1874; conductor and dram,
composer.
Griinfeld (gran'-fSlt), (i) Alfred, b.
Prague, July 4, 1852 ; pianist and
composer ; pupil of Hoger and Krej-
ci, later at KuUak's Academy, Berlin ;
1873, chamber-virtuoso, Vienna ;
toured Europe and the U. S. (2)
Heituich, b. Prague, April 21, 1855 ;
bro. of above ; 'cellist ; pupil of
Prague Cons.; 1876, teacher in KuU
lak*s Academy ; 1886 'cellist to the
Emperor.
Grttning (grti'-nKngk). Wilhelm, b.
Berlin, Nov. 2, 1858 ; tenor, studied
Stem Cons.; sang in various thea-
tres ; toured Amevica ; then 1889-97
at Bayreuth as Parsifal, Siegfried,
etc. ; 1900 Berlin court-opera.
Gru8 (grUs), L6on, 1835 — Paris, July,
1902. Publisher ; also c. unJer name
•• EUaa."
Grfitzmacher (grats-mikh-^r), (i)
Fr. Wm. L., b. Dessau, March i,
1832 ; eminent 'cellist ; son and pu«
pti of a chamber-musician at Dessau ;
later studied with Drechsler ('cello)
and Schneider (theory) ; at 16 joined
a small Leipzig orch.; was *' discov-
ered " by David, and at 17 made ist
'cello, Gewandhaus orch. and teach-
er at the Cons.; 1869 Dresden, later
Cologne ; 1902 Philadelphia ; c. con-
certo for 'cello, orch.- and chamber-
music, pf.-pcs., songs, etc (2) Ld.,
b. Dessau, Sept. 4, 1835 ; bro. and
pupil of above ; studied with Drechs-
ler ('cello) and Schneider (theory) ;
played in the Gewandhaus orch.,
Leipzig; then ist *cello Schwerin
court-orch. ; 1876 chamber virtu-
oso at Weimar. (3) Friedrichy
son and pupil of (2) ; ist 'cello
Sondershausen court-orch. , then Pesth
(1890) ; 1892-94 prof, at the Cons.,
Pesth ; 1894 in the GOrzenich Orch.
and teacher at the Cons., Col^rne.
Guadag^ (goo-&-dan'-ye), (i) Gaeta-
no, Lodi, 1725 (?)— 1785 (97 ?) ; male
contralto (later a soprano) of i8th
cent.; Gluck wrote " TeUmaco^* for
him. (2) ; sister of above; sang in
London ; m. F. Alessandri.
Guadagnini (goo-H-dlin-ye'-ne), family
of vln.-makers of the Cremona school,
(i) Lorenzo and (2) John Baptiate,
worked 1690-1740. (3) J. 0., the
younger (son of Lorenzo), also made
excellent violins.
Guarducci (goo-ar-doot'-che), Monte-
fiascone, ca. 1720 (?); Italian singer
in London, 1766-71.
Guarneri (goo-&r-na'-re) (LatinisecaC
Guarne'rius), family of famous vln.-
makers at Cremona, (i) Pietro An«
drea, b. ca. 1630 ; worked 1650-95 ;
pupil of N. Amati; his labeMn^rcax
Guarnerius Cremotue sub titolo San-
ta Theresite 16—. (2) Giuseppe, b.
1660; son rf above; worked 1690-
1730; his laAitX Joseph Guarnerius
Jilius Andreas fecit Cremona sub ti*
iolo St, rheresife 16—. (3) P., b. ca.
1670 ; son of (i) ; worked J690-170CX
m
DICTIONARY OF MUSICIANS 469
(4) P., son of (2); worked 1725-40.
^) Giuseppe Antonio (known as
Guameri del Gesik, i.e., **the Je-
sus/' from the '' 1 H S " on his labels),
June 8, 1683— ca. 1745 ; the best of
the family, nephew of (i) ; his label,
Joseph Guarntrius Andrea Nepos
Cremona 17 — , I H S.
Gudehua (goo'-d£-hoos), H., b. Alten-
hagen, Hanover, March 30, 1845 ; tenor,
son of a village schoolmaster ; pupil
of Frau Schnorr von Karolsfeld at
Brunswick ; 1870-73 engaged for the
C3urt opera, Berlin ; 1872, studied
with Ix>uise Kess, Dresden ; reap-
peared 1875 ; 1880-90 at Dresden
ct.-opera, creating ** Parsifal " at Bay-
reuth, 1882; in New York 1890-91,
later at Berlin ct.> opera.
Gutoin (ga-ndfi), Marie Alex., Mau-
beuge (Nord), France, 1744 — Paris,
18 19 ; violinist and composer.
Gnercia (goo-ar-che'-H), Alphonao, b.
Naples, Nov. 13, 1831; pupil of Mer-
tadante ; dram, barytone for a time ;
since 1859 vocal teacher, Naples;
c. succ. opera **Rita^ (Naples, 1875),
etc.
Gu6rin (ga.r&n), Enunanuel, b. Ver-
sailles, 1779; 'cellist.
Guerrero (g^r-ra'-ro), Francisco, Se-
villa, Spain, 1528--1599; conductor,
singer and composer.
Guest, (i) Ralpn, Basely, Shrop<'hire,
1742 — 1830 ; organist a^id composer.
(2) Georgfe, Bury St. Edmunds,
177 1 — Wisbeach, 1831 ; organist and
composer.
Gneymard (eS'.m&r), (i) Louis, Chap-
ponay (Isere), France, 1822 — Cor-
beil, near Paris, 1880; tenor, 1848-
68 at the Gr. Opera. (2) Pauline
(nee Lanters), b. Brussels, Dec. i,
1834 ; wife of above ; mezzo-soprano ;
?upil of the Cons.; debut 1855, Th,
iyrique, Paris ; later at Gr. Opera.
Gnglielmi (gool-y^l'-me), (i) Pietro,
cond. to Duke of Modena. His son
(2) P., Massa di Carrara, Italy, 1727
(1720 ?) — Rome, Nov. 19, 1804 ; con-
ductor, teacher and composer of over
1100 opeias. (Perhaps the (3) Signora
G. who sang in London 1770-72 was
the wife he treated so shamefully.)
Rival of Passiello and Cimarosa;
1793 cond. at the Vatican, composed
only church-music. (4) Pietro Car^
lo (called Gus^iielmini), Naples, ca«
1763 — Massa di Carrara, 1827 ; son
of above ; dram, composer, teachef
and conductor.
Guicciardi (^oo-et-ch&r'-de), Giullet-
ta (or Julie), Countess (or Gr&fin),
Nov. 24, 1784 — March 22, 1855 ; pi-
anist ; pupil of Beethoven and his
enamoured inamorata; a Viennese
woman* m. Count Gallenberg, 1803.
Gui de Ch&lis (ge da shal-es) (Gui-
do), end of the 12th cent.; writer.
Guidetti (goo-e-d^t'-te), Giov., Bo-
logna, 1532 — Rome, 1592 ; pupil and
assistant of Palestrioa ; conductoi
and composer.
Guido d'Arezzo (^oo-e'-dd dftr-rM'*
zo) (latinised Aretl'nua), Arezzo, Ita-
ly, ca. 995 — Avellano (?), May 17 (?),
1050 (?) ; eminent revolutionist in
music ; a Benedictine monk at
Pomposo, near Ferrara, later per-
haps at Arezzo ; his abilities as
a singing- teacher and musician led
Pope John XIX. to summon him
to Rome; he was later probably
a Prior at Avellano ; though he
is being stripped of many of his
early honours, it seems true that he
introd. the 4-line staff, and ledger-
lines and Solmisation (v. arktinian ;
GAMUT and SOLMISATION, D. D.).
Guido de Chalia. Vide gui db
CHALIS.
Guig^on (gen-yon), J. P., Turin, 1702
— Versailles, 1775; violinist- and
composer.
Guiimant (geUm&fi), (i) Alex. F6iiX»
b. Boulogne, March 12, 1837 ; son
and pupil of the org. (2) Jean Bap-
tiste G. (Boulogne, 1793 — 1800);
later pupil of Lemmens and G. Carul-
li (harm.) ; at 12 substituted for his
father at the church of St. Nicolas ;
at 16 organist at St. Joseph ; at 18
prod, a solemn mass ; at 20 choirm.
at St. Nicholas, teacher in Boulotsne
470 THE MUSICAL GUIDE
Cons, and cond. of a mus. soc; 187 1
organist of Ste. Trinit^ ; 1893 chev.
of Legion of Honour ; 1896 org.-
prof., Paris Cons.; 1893, 1897-98
toured Europe and U. S. with much
SMCc; 1901 resigned from Ste. Tri-
nity ; c. symphony for organ and
orch.; *' lyric scene " ** Belsazar " for
soli, chorus and orch.; *' Christus
y incite'' hymn for chorus, orch.,
harps and org.; 4 org. sonatas, etc.
Guindani (goo-en-da-nc), Ed., Cre-
mona, 1854 — 1897 ; dram, composer.
Gniraud (ge-r&), (i) Ernest, New
Orleans, June 23. 1837 — }*aris, May
6« 1892 ; son of (2) Jean Baptiste
G. (Prixde Rome, Paris Cons., 1827),
at la in Paris; at 15 prod, opera
•* Le roi David" at New Orleans ;
studied Paris Cons., and took Grand
prix de Rome ; later prof, of accom-
paniment Pari« Cons, and dram, com-
poser.
Gulbranson (gool'-bran-zon), Ellen,
b. Stockholm ; notable soprano ;
studied with Marchesi, sang in con-
Cert : 1889 entered opera, singing
BrUnhilde, 1899 Kundry at Bayreuth
and other roles in other cities ; lives
on her estate near Christiania.
Gumbert (goom'-b^rt), Fd., Berlin,
1818 — 1896; tenor and barj'tone ;
also critic and dram, composer.
Gvmpeltzhaimer(goom'.p£lts-hT-m^r),
Adam, Trostberg, Bavaria, 1559^
Augsburg, 1625 ; composer and theo-
rist.
Gumpert (goom'-p^rt), Fr. Ad., b.
Lichtenau, Thuringia, April 27,
1841; pupil of Hammann ; from 1864
ist horn C>ewandhaus Orch., Leipzig;
writer and composer.
Gumprecht (goom'-pr^kht), Otto, b.
Krfurt, April 4, 1823 ; studied law,
Dr. jur. ; 1849 critic and writer.
Gungl (or Gunr'l) (goong'-I), (i) Jo^
seph, Zsambek, Hungary, Dec. i,
1810 — Weimar, Jan. 31, 1889; oboist,
bandmaster and composer of pop.
dance-music. (2) Virg^inia, daughter
of above; opera-singer; di^but ct.-of>e-
ra, Berlin, 1871 ; later at Frankfort.
(3) Jn** Zsambek, 1828 — Pecs, Hun-
gary, 1883 ; nephew of (i) ; com^
poser.
Gunn, (i) Barnabas, d. 1743 ; EngL
organist. (2) Barnaby, 1730-53,
organist. (3) John, Edinburgh (?),
17^5 (?) — ca. 1824; Chelsea Hos-
pital, 1730-53; •cello-teacher and
writer.
Gtinther (gnn'-t^r), (i) Hermann^
Leipzig, 1834-71; a physician; c.
opera under name *' K, llesther." (2)
Otto, Leiprig, 1822 — 1897; bro. of
above ; dir. (3) GUnther-Bach-
mann, Karoline, Dusseldorf, 1816
— Leipzig, 1874 ; singer.
Gunz (goonts), G., (iaunersdorf. Low-
er Austria, 1831 — Frankfort, 1894;
tenor.
Gura (goo'-ra), (i) Eugen, b. Prcssem,
n. Saatz, Bohemia, Nov. 8, 1842 ;
barytone ; pupil of Polytechnic and
the Akademie, Vienna ; then Munich
Cons., debut 1865, Munich, 1867-70
Breslau ; 1870-76 Leipzig with great
succ; 1876-83 Hamburg, Munich,
1883-95. His son (2) Hermaan is a
bar)'tone.
Gurlitt (goor'-lTt), Cornelius, Alto-
na, near Hamburg, Feb. 10, 1820 —
Berlin, 1901 ; pupil of the elder Rei-
necke and Weyse ; army mus. dir. in
the Schleswig-Holstein campaign;
prof. Hamburg Cons.; 1874 Roval
Mus. Dir.; c. 3 operas, incl. **2>/>
rdmische Afauer" (Altona, 1860)^
etc.
GUrrlich (gUr'-lTkh), Jos. Augustin,
Munsterberg, Silesia, 1761 — Berlin,
181 7; organist, bass, court -conduct-
or and dram, composer.
Gusikow (goo'-zT-koQ, Michael Jos.^
Sklow, in Poland, Sept. 1806 — Aix-la-
Chapelle, Oct., 1837; remarkable virt-
uoso on the xylophone.
Gutmann (goot'-man), Ad., Heidel-
berg, 18 1 9 — Spezia, 1882 ; composer.
Gyrowetz (ge -ro-vets), Adalbert,
Budweis, Bohemia, Feb. 19, 1763 —
Vienna, March 19, 1850 ; son and
pupil of a choirm.; c. symphoniei^
operettas, etc.; couit-conductcir«
DICTIONARY OF MUSICIANS 471
H
Habeneck (ab'-£-n£k), Francois
Ant., Mezieres (Ardennes), France,
June I (Jan. 25?), 1781 — Paris, Feb.
8, 1849 ; son and pupil of a German
musician ; studied Paris Cons.; later
cond. of its concerts and vln.-prof.;
introd. Beethoven*s symphonies to the
French public ; composer.
Haberbier (ha-bdr-ber), Ernst, Ktt-
nigsberg, Oct. 5, 18 13 — Berj^en, Nor-
way, March 12, 1869 ; son and pupil
of an org^anist ; court-pianist at St.
Petersburg ; later toured with great
success ; compwser.
Haberl (ht'-b^rl), Fz. X., b. Oberel-
lenbach. Lower BaTaria, April 12,
1840 ; took orders 1862 ; 1862-67
cath. cond. and mus. dir. Passau
Seminary ; 1867-70 organist, Rome ;
1871-82' cath. -cond. at Katisbon ;
1875 founded famous sch. for church-
music; edited Palestrina's works, etc.;
1889, Dr. Theol. A.c, Univ. of Wttrz-
burg ; 1883, Pope Leo XIII. in-
trusted him with the cataloguing of
the invaluable archives of the Sistine
Ciiapel, of which he published a no-
table bibliography and thematic cata-
logue ; his pub. works are of the
greatest importance in the history of
church-music.
Habermann (ha-b^r-m£n), Fz. Jn.,
K5nigswarth, Bohemia, 1706 — Eger,
1783 ; conductor, teacher and com-
poser.
Habert (ha -b^rt), Jns. Evang^elista,
Oberplan, Bohemia. 1833 — Gmunden,
1896 ; editor and collector.
Hackel (ha'-kei), Anton, Vienna, 1779
— 1846 ; composer.
Hackh (hak). Otto (Chp.), b. Stutt-
gart, Sept. 30, 1852 ; pupil of Stutt-
gart Cons, and of A. de Kontski (pf.),
at New York ; 1872-75 teacher at
the Cons.; 1877-78 toured; 1878
teacher in London ; in 1880-89 ^'^'
Cons. , New York ; later private
teacher and composer.
Had ley, Henry K., b. Somerville,
Mass., U. S. A., 1872 ; notable com-
poser, son and pupil of a music-
teacher ; also studied with Chadwick,
Heindl and Allen, Boston ; 1894-96
at Vienna with Mandyczcwski ; 1896
in charge of music St. Paul's school.
Garden City, N. Y.; c. 2 symphonies
•• loutA attd Life" (prod', by Seidl,
1897), and ** The Seasons,"' a ballet,
suite, cantata ; 2 comic operas, etc.
Had'ow, Wm. H., b. Kbrington,
Gloucestershire, Dec. 27, 1859; com-
poser, lecturer and writer of ** Studies
in Modem A/usic,** etc.
Hadria'nus. Vide adkiansen.
Haflfner (hef-nfir), Jn. Chr. Fr., Ober-
sch5nau, near Suhl, i759^Upsala,
Sweden, 1833 ; organist, court -con-
ductor, dram, composer and collec-
tor.
Hag^emann (ha'-gd-mSn), (i) Fran-
cois Wil^em, b. Zutphen, Holland,
Sept. 10, 182'/ ; 1846 royal organist
Appeldoom; 1848 cond. at Nijkerk ;
studied 1852 Brussels Cons.; organist
and composer at Batavia. (2) Mau-
rits Leonard, b. Zutphen, Sept. 23,
1829 ; bro. of above ; violinist and
pianist ; pupil of Brussels Cons.;
^865-75 dir. Cons., Batavia; 1875
founder and dir. of a Cons., Leu-
warden ; c. oratorio ** Daniel," etc.
Hagen (ha-gdn), (i) Fr. H. von
der, Schmicdcberg, Ukraine, 1780—
Berlin, 1856 ; prof, and writer. (2)
Tn. Bapt., Mayence, 1818 — Wies-
baden, 1870 ; conductor and com-
poser. (3) Ad., b. Bremen, Sept.
4, 1851; son of above; violinist;
1879-82 cond. Hamburg Th.; 1883,
court cond. Dresden, and 1884 man-
ager of the Cons.; c. comic cp-
era ** Zwei Kompenisten,'" Hamburg,
1882, etc. (4) Theodor, Hambuig,
1823 — New York, 1871 ; teacher,
critic and composer.
Hager, Jns. Vide hassi.inckr-has-
SINGEN.
Hague (hag), (i) Chas., Tadcaster,
1769— Cambridge, 1821 ; prof, and
composer. (2) Harriet, 1793 — 1816 ;
daughter of above ; pianis* »nd com-
poser.
472 THE MUSICAL GUIDE
Hahn (han), (i) Bd., Leubus, Silesia,
1780 — Breslau, 1852 ; cath. -conduct-
or and writer. (2) Albert, Thorn,
West Prussia. 1828 — Lindenau» near
Leipzig, 1830 ; teacher. (3) Rcy-
naldot b. Caracas, Venezuela, Aug.
9, 1874 ; pupil of Massenet, Paris
Cons.; lives in Paris ; c. 3-act *' idylle
polynesienne •• '^ L lU du Reve*'
(Paris, Op.-com., 1898); opera, *' La
Carmelite " (MS.) ; songs of remark-
able beauty and originality, etc.
H&hnel (ha'-nCl). Vide gallus, j.
Haig^h, Thos., b. 1769 ; Engl, violin-
ist, pianist and composer.
Haines, Napoleon J., London, 1824
— New York, 1900 ; founder of
Haines Bros. Piano Mfrs., N. Y.
Haini (&nl), Georges Francois, Is-
soire, Puy-de-D6me, 1807 — Paris,
1873 ; *cellist ; conductor, writer and
composer.
Haizinger (hl'-tstng-gr), Anton, Wilf-
ersdorf, Lichtenstein, 1796 — Vienna,
1869 ; tenor.
Hale (i), Philip, b. Norwich, Vt..
March 5, 1854 ; notable American
critic and essayist ; as a boy, organ-
ist Unit. Ch., Northampton, Mass.;
1876 grad. Yale Univ.; 1880 ad-
mitted to the Albany bar ; pupil of
D. Buck, 1876 ; 1882-87 studied or-
gan and comp. with Ilaupt, Faiszt,
Rheinberger and Guilmant, Urban,
Bargiel, Raif and Scholz ; 1879-82
organist St. Peter's, Albany ; 1887-
89 St. John's, Troy ; since 1889 of
First Religious Soc., Roxbury, Mass. ;
1887-89 also cond. of Schubert Club
at Albany; 1889-91 critic successively
of the Boston Home Journal^ Post ;
1891, Journal ; 1897-1901 edited
Mus, Record ; 1901, Ed. Musical
World ; lecturer on mus. subjects ;
1884 m. at Berlin (2) Irene Baum-
gjas, b. Syracuse, N. Y., U. S. A. ;
pupil Cincinnati Coll. of Mus.; tak-
ing gold medal 1881 ; then studied
with Moszkowski and Raif, Berlin ;
ruined her health by overwork ; lives
in Boston ; c. son^s and pf.-pcs.
under pen-name '* Victor Ren6."
H&le (or Halle). Vide adam de la
HAI.K.
HaMvy (Wa-ve), Jac. Fran^. Fro-
mental filie, Paris, May 27, 1799—
of consumption, Nice, March 17,
1862 ; of Jewish parentage ; pupil of
Cazot, Lambert (pf.), and Berton
(harm.), Cherubini (cpt.); Paris Cons,
winning 2nd harmony prize ; 18 16
and 1817, 2nd Prix dc Rome; 1819
won Prix de Rome ; 1827 prof, of
harmony and accomp. at the Cons. ;
1833 prof, of cpt. and fugue ; 1829
prod. 2 succ. operas ; 1830 succ. bal-
let *' Manon Lescaut " / 1 830-46 ^-A^/
de chant at the Opera ; 1832 he com-
pleted lierold's *^ Ludovic" with
succ; 1835 he wrote and prod. 2 great
successes, his master - piece *'*La
Juiv^ " (Gr. Opera) and a comic opera
'' V Eclair '' ; Chevalier of the Le-
gion of Honour ; 1836 member of the
Academic ; 1854, secretary for life.
In 1836 Meyerbeer appeared, and in
efforts to rival his prestige H, wrote
too much with inferior librettos,
among his works being (1841) ** Za
Rcine de Chypre,''' He collaborated
with Adam, Auber and Carafe in 4
operas ; he left 2 unfinished operas,
*' Vanina i/'C?r«<i//<? " (completed by
Bizet) and '' Le DiHu^er Biogr. by
his brother Leon (1862), etc.
Halir (ha-ler), (i) Karl, b. Hohen-
elbe, Bohemia, Feb. i, 1859; violin-
ist ; pupil of Bcnnewitz, Prague Cons,
and Joachim in Berlin ; 1884 leader
of the ct.-orch., Weimar; 1896
toured the U. S. His wife (2) The-
resa (nee Zerbst), b. Berlin, Nov.
6, 1859, and m. in 1S88; soprano;
pupil of Otto Eichberg.
Hall, (i) Henry, Windsor, ca. 1655—
1707 ; organist and composer. (2)
Henry, Jr., d. 1763 ; son of above ;
organist and composer. (3) Wm.,
i7th cent, violinist and composer.
(4) Chas. King, London, 1845 (?)—
Sept. I, 1895 ; organist, dram, com-
poser. (5) Glen, b. Chicago (?), 1876;
tenor ; pupil of llenschel, etc.
Halle (^1). Vide ad/iM de la u.
DICTIONARY OF MUSICIANS 473
Halle (hsir.l^)» Jn. Samuel» Barten-
stein, Prussia, 1730 — 1810; prof,
and writer.
Hall6 (&Mi), Sir Charles (rightly
Karl Halle), Hagen, Westphalia,
April ii» 18 19 — Manchester, Octi 25,
1895 ; pianist and conductor, Paris,
1836-48 ; later pop. cond. at Man-
chester and dir. of ** Gentlemen*s
Concerts " there ; also closely con-
nected with London Popular Con-
certs; 1888 m. Mme. Neruda (q.
v.).
Hallen (hal'-l^n), Anders, b. Goten-
burg, Dec. 22, 1846 ; pupil of Kei-
necke, Rheinberger, and Rietz ; cond.
of the Mus. Union, Gotenburg ; 1892
cond. Royal Opera, Stockholm ; c. 3
operas, ""^ liar aid der Viking*^ (Leip-
zig, 188 1 ; Stockholm, 1883); v. succ.
'' HexfalUn'' {'' Def Jlexenfang'')
(Stockholm, 1896); '' Waldemar''
(Stockholm, 1899) ; 2 Swedish Rhap-
sodies ; ballad cycles with orch. ; sym-
phonic poem ** Ein Sommermdr»
cAfn** ; romance for vln. with orch.;
German and Swedish songs, etc
jailer (halMfir), Michael, b. Neusaat
(Upper Palatinate), Jan. 13, 1840;
1 .764 took orders ; studied with
Schrems ; 1866 cond. '* Realinsti-
tut ** ; teacher of vocal comp. and
cpt. at the Sch. of Church-music ;
writer and composer ; completed the
lost 3rd>choir parts of six 12-part
comps. of Palcstrina's.
Hallstrdm (hal'-stram), Ivar, Stock-
holm, June 5, 1826 — 1901 ; dram,
composer; librarian to the Crown
Prince, now King of Sweden ; 186 1
dir. of Sch. of Music. His first opera
failed — having 20 numbers in minor
keys ; his 2d also ; but others were
succ, incl. " Nyaga " (1885 \ ^><x^k
by •' Carmen Sylva ").
Halm (h&lm), Anton, Altenmarkt,
Styria, 1789 — ^Vienna, 1872 ; pianist
and composer.
Hamboure (hiim'-boorg), Mark, b.
Gogutscnar-Noronez, Russia, June
I, 1879 > notable piano-virtuoso ;
studied with his father (now a teacher
in London), and with Leschetizky ;
has toured widely with brilliant suc-
cess; 1900, America; lives in Lon-
don.
Ham' boys. Vide hanboys.
Hamel (a.m«l), (i) M. P., Auneuil
(Oise), France, 1786 — Beauvais, after
1870 ; amateur expert in organ-build-
ing ; writer. (2) Eduard, b. Ham-
burg, 1811; violinist and pianist;
Grand Opera orch., Paris ; from 1846
at Hamburg as teacher and com-
poser. (3) Mai^arethe. Vide
SCHICK.
Ham'erik, Asger, b. Copenhagen,
April 8, 1843 ; pupil of Gade, Mat-
thison-Hansen and Haberbier; i86a
uf von Billow ; c two operas ; 1870 at
Milan prod, an Ital. opera **Z<7 Ven*
detta'*; 187 1 dir. of the Cons, of the
Peabody Institute and of the Pea-
body symphony concerts, Baltimore,
Md.; 1890 knighted by the King of
Denmark ; c 1866 a festival cantata
to commemorate the new Swedish
constitution, ** Der IVartderer"
(1872); 1883 ''Opfr ohne WorU"" ;
a choral work ** Chris tliche Trih*
gie" (a pendant to a ** Trilogie ju^
daique " brought out in Paris) ; 5
symphonies, etc.
Ham'erton, Wm. H., b. Nottingham,
1795 ; singing-teacher and composer.
Hamilton, Jas. Alex., London, 1785
— 1845 ; writer.
Hamma (ham'-ma), (i) Benj., b.
Friedingen, WUrtemberg, Oct. 10,
1831 ; studied with Lindpaintner
(comp.) at Stuttgart ; then at Paris
and Rome ; till 1870 cond. and teach-
er at Kenigsberg ; now dir. sch. of
mus. at Stuttgart ; dram, composer.
(2) Fz. X., b. Wehingen, WUrtem-
berg, Dec 3, 1835 ; bro. of al)ove ;
organist at Basel ; then at Obersta-
dion ; now teacher at Metz ; com-
poser.
Hammerschmidt (ham'-m«r-shmYt),
Ands., Brttx, Bohemia, 16 11 — Zit-
tau, Oct. 29, 1675 ; organist, 1639,
at Zittau ; c important and original
concertos, motets, madrigals, etc.
474 THE MUSICAL GUIDE
Hampel (him'-pj^l), Hans, Prague,
1822 — 1884 ; organist and composer.
Han'boys (or Hamboys), John, Eng.
lish theorist ca. 1470.
Hand (hant), F. G., b. Plauen, Sax-
ony, 1786 — ^Jena, 185 1 ; writer.
Handel (or H&ndel, Handl). (i) Vide
CALLUS. (2) Vide HANDEL.
H&ndel (h^nt'-I) (Hendel, Hendeler,
Handeler or Hendtler), Gtorg
Friedrich (at first spelt Hendel in
England ; later he anglicised it to
George Frederic Handel (h&n'-
dfil, the form now used in Englind),
Halle, Feb. 23, 1685 — London, April
14, 1759 ; son of a barber (afterwards
surgeon and valet to the Prince of
Saxe- Magdeburg) and his second wife
Dorothea Taust. Intended for a
lawyer ; in spite of bitter opposition
he secretly learned to play a dumb
spinet. At 7 on a visit to his elder
step-brother, valet at the court of
Saxc-Weissenfels, Handel while play-
ing the chapel-organ, was heard by
the Duke, who persuaded the father
to give the boy lessons. Zachau, or-
ganist of Halle, taught him cpt., ca-
non and fugue, and he practised the
oboe, spinet, harpsichord and organ ;
he soon c. sonatas for 2 oboes and
bass, became assist, organist, and for
3 years wrote a motet for every Sun-
day. In 1696 his skill on organ and
harpsichord won him at Berlin the
friendship of Ariosti, and the jealousy
of Bononcini. The Elector offered to
send him to Italy ; but his father
took him back to Halle ; the next
year his father died, and he went to
Halle Univ. (1702-03) to study law,
at the same time serving as organist
at the cathedral at a salary of $50 a
year. 1703 he went to Hamburg as
violino di ripieno. He fought a duel
with Mattheson, later his friend and
biographer, and was saved by a but-
ton. When Keiser the dir. fled from
debt, H. was engaged as clavecinist.
He c. a " Passion " and prod. 2 op-
eras, *^ Almira*' (succ.) and ''Nero"*
(1705) ; he was also commissioned to
write ^^Florindo und Daphne " (1708),
an opera filling two evenings. In
1706, with 200 ducats earned by
teaching, he went to Italy and made
success and powerful acquaintances,
incl. the Scarlattis. In Florence
(1707) he prod, with succ. "^^Rodrigo^
(Venice, 1708), and ** Agrippina^*
with great succ. In Rome he prod.
2 oratorios, and in Naples a serenata,
•*y4t7, Galatea - Poli/emo^*' in which
is a bass solo with a compass of 2 oc-
taves and a fifth. 1709, in Germany
as cond. to the Elector of Hanover ;
1 7 10 visited England on leave of ab-
sence. In 2 weeks he c. the opera
'*iV/«rt/</<>," a pasticcio of his older
songs. It was prod, at the Hay market
Th. with great succ; 1712 he returned
to London on leave ; but stayed.
His first two operas were not succ. ;
but an ode for the Queen's birthday^
and a Te Deum and Jubilate in cele-
bration of the Peace of Utrecht won
him royal favour and an annuity cf
£200 ; 1 7 14 his Hanover patron
became George I. of England, and
only the good offices of Baron KiU
manseck and the production of the 25
pieces called the *' IVater'Afusic^^* at
a royal aquatic fete, restored him to
favour. 17 16-18 he went to Hanover
with the King. He there c. his only
German oratorio, the ^* Passion";
171 8 cond. to the Duke of Chandos
and c. the English oratorio ^^Estfur^*
the secular oratono '* An s and Ga/a^
fea" and the Chandos Te Deums and
Anthems. He taught the Prince cf
Wales' daughters, and c. for Princess
Anne '* Suites de Pieces" for harpsi-
chord (7'/te Lessons) including ** TA^
Harmonious Blacksmith"
He was dir. of new R. A. of M,
1720 prod, the succ. opera " Rada-
misto" {prod. 1721 in Hamburg as
'* Zenodia"). Now Bononcini and
Ariosti appeared as rivals and a fa«
mous and lusting feud arose round the
three after they had prod, one opera.
•• Afuzio Scaevola" in which each
wrote an act. B. had rather the bet*
DICTIONARY OF MUSICIANS 475
ter of it, when he was caught in
a plagiarism (a crime not unknown
in Ilanders works (v. Lorri). B.
left England without reply (1731).
Up to this time H. had prod. 12
operas.
1726 he was naturalised. 1729-31
he was in partnership with Heideggfer,
proprietor of the King's Th., where
he prod. " Loiario,'' followed by 4
more operas. 1732 he prod, his two
oratorios revised ; 1733 the oratorios
'' Deborah*' SiniSi ''Athaiiah** at Ox-
ford, when he was made Mus. Doc. h.e,
1733 he began a stormy management
of opera, quarrelled with the popular
singer Senesino, and drove many of
his subscribers to forming a rival
troupe ** The Opera of the Nobility,"
with Porpora and afterwards Hasse
as composer and conductor; 1737 the
companies failed, H, having prod. 5
operas; the ode ** AUxandePs Feast'*
(Dryden), and the revised *' Trionfo
del Tempo e delta Verita** Over-ex-
ertion brought on a stroke of paraly-
sis in one of his hands and he went
to Aix-la-Chapelle, returning to Lon-
don with improved health. He now
prod., under Heidegger, 5 operas,
incl. '' Faramondo:' " A-rjr " (1738),
and ** Deidamia" (1741).
Now he abandoned the stage and
turned to oratorio, producing*' &i//,"
and '* Israel in E^ypt'' (1739) ; the
** Ode for St, Cecilia's Da)\'' and in
1740 " VAllegr» and II Penseroso'*
(Milton), and a supplement ** // Afo-
derato^'' written by Chas. Jennens, who
also wrote the text of the Messiah.
1 74 1 he visited Dublin and'^ prod.
there his masterpiece the " Messiah^*'
April 13, 1742. This re-established
him in English favour and raised him
from bankruptcy. It was followed by
'• Samson,'' the '' Dettingen Te De^
urn:' '' Semele," ''Joseph" (1743).
* * Belshazzar, " and • * Heracles "
(1744). His rivals worked against
him still, and in 1745 he was again
bankrupt, writing little for a year and
a half, when he prod, with renewed
success and fortune his '* Occasional
Oratorio^" and ** Judas Maccabaeus"
(1746); ''Joshua" (1747), '' Solo^
man " (1748) ; " Susannah " (1748) ;
•* Theodora " (1749) ; ** ^'>i^ Cf^<^^^
0/ Hercules" AilSo)\ and '* Jeph-
thah *' (1752), his last. During the
comp. of " Jephthak" he underwent
three unsuccessful operations for cat-
aract. He was practically blind the
rest of his life, but continued to play
org. -concertos and accompany his ora-
torios on the organ up to 1759. He
was buried in Westminster Abbey.
His other comp. incl. the "Forest
Musick" (Dublin, 1742), etc., for
harps.; the " Firevtorks Musick"
(1749) for strings: 6 organ-concertos;
concertos for trumpets and horns ;
and for horns and side drums (MS.) ;
sonatas for vln., viola and oboe, etc.
A complete edition of his works in
100 vols, was undertaken in 1856 for
the German Handel Soc. by Dr.
Chrysander as editor. Biog. bv Mat-
theson (1740) ; Mainwaring (1760) ;
Forstemann ( 1 844) ; SchOlcher (1857);
Rockstro (1883).
Handel.
By John F. Runciman.
IF Handel cannot be called the greatest of the musicians, he \s withotat
doubt the greatest man who ever wrote music. The resource and
energy of the man and the splendour of his personality altogether threw
mto the shade the magnificence of his music. The man eclipses the music as
(he sun eclipses the moon ; the music indeed •eenu merely to reflect a smaU
476
THE MUSICAL GUIDE
part of the light issuing from that miraculous sun, the man. Had he devottd
the whole of his life to music, his music would have been a wonderfnl
achievement ; had he devoted his whole lite to his business enterprisot
and to fighting the aristocracy, it would still seem a life wonderfully and
greatly lived ; and when one remembers that he wrote most of the glorious
music the same time that he was fighting aristocracy and trying to run opera
in England, he does indeed appear' as one of the most astounding phenomena
the world has produced and stared at. ^ Born in Germany towards the end
of the seventeenth century (1685), he promptly entered upon an infantile
struggle on the question of whether or not he should become a musician.
His father, a doctor, thought it a more honourable — ^it was everywhere
thought a more respectable — proceeding to earn a livelihood by sending
people slowly or swiftly to the next world than by making them miserable in
this, through playing on instruments tuned according to the old '* natural **
temperament. The fact that the child Handel found a means of carrying his
point, is characteristic of the man. He was apprenticed after the old-world
German fashion to an old-world German organist, Zachau, and learned to
play the organ and a few other instruments, studied all the music in use at
his master's church or known to his master, and was taught to ymte anthems
at a moment's notice. When he considered the time ripe he set out on his
travels to learn all that could be learned elsewhere. He was for a time
attached to an opera-house ; he visited Italy, and finally came to England.
He returned to Germany for a short time after his first English trip, but
returned and made England his permanent home. ^ He acquired the con*
trol of opera, at first having the aristocracy at his back. The aristocracy
quarrelled with him and tried to crush him. They started a rival opera-
house ; and the result was that the two enterprises failed for want of sufficient
support. Handel became bankrupt and lost his health. He took a trip
abroad and returned to try his luck with opera once more. His aristocratic
rivals never tried again. They were wise. Even Handel, without com*
petitors, was not able to succeed. ** Tb^ Beggar's Oprra** was all the
rage. All the world rushed night after night to hear it. Italian opera (old«
fashioned Italian opera, of course) was in pretty much the same condition in
London, as Middle- Victorian Italian opera is in to-day in London and
America. People were sick of its inanities and went to something not, per«
haps, much more reasonable, but at any rate more iatercsting and intelligible.
•* The Beggar's Opera " was not a very stimularing concoction ; but com-
pare the libretto with the perfectly idiotic drivel that Handel had to set-^
drivel of which the bulk of his audiences understood nothing save that it was
drivel — and one can easily see why all the world gave it the preference.
So Handel, beaten, not by the aristocracy, but by the changing taste of the
DICTIONARY OF MUSICIANS 477
6me, reluctantly relinquished opera, and, going m fi>r oratorio, immediately
became once again a popular &vourite and made a fortune. H[ It b necet*
sary to consider these roughly selected details of his life. As has been
indicated, no esdmate of Handel can afford to leave out the man. Moreovei
his purely artisdc development is very hard to understand if we forget the
life led by the man as apart from the life led by the composer. In his youth
he acquired the German technique of his day. The same technique as John
Sebasdan Bach acquired. That is the foundation of all his art. But whereas
Bach remained in Germany, an obscure and all but unknown schoolmaster
Q'id organist, and evolved his perfected mode of expression out of the German
technique, Handel immediately went to Italy and learned something that
could be added to it. He learned, that is, the value of Italian song ; and
the lesson immediately bore splendid fruit. ^ No one ever wrote more
magnificendy for the voice than Bach ; but Handel learned to write beauti*
fully, simply, plausibly. His first Italian operas are full of wonderful tunes.
Italian melodic outlines grafted on German harmony, and shaped so as to
become infinitely more dignified and expressive than any Italian music save
Palestrina's had ever been. Then he came to London, where Purcell'a
music was all the vogue, and it was from Purcell that he learned the art of
handling the chorus and of writing picturesque music for chorus or solo voice
or orchestra. ^[ Had he never come to England, had he never known Pur-
cell's music, his name might indeed have lived as the author of a few divinely
inspired songs, but it is safe to say that Handel, the gigantic chorus writer,
would never have been heard of. ^ There is scarcely a thing in the later
Handel, in the Handel all England knows and adores, that does not derive
from Purcell. His method of painting musical pictures, as used throughout
such portions of <* Israel in Egypt '* as are his own, as used in such ** Mes-
stab** choruses as ** Ail we like sheep have gone astray,*^ is simply a more
elaborate development of Purcell' s plan of writing a chorus. His trick,
always certain of its effect, of hurling enormous tone- masses at his hearers had
also been extensively used by Purcell. ^ His music may be said to be made
up of the old German technique or trickery in writing flowing parts, of Italian
singable melody, of Purcell, and of Handel. Not that — apart from his
undeniable thefts — he can be called a thief. These thefts — after all, only so-
called — need not detain us more than a moment. ^ All his life, as has been
pointed out, Handel was gready occupied by other matters than the writing
of music ; he had again and again to throw together an oratorio at a few days*
notice ; he did it and probably never thought ot ** immortality " or any of
Viz piiees d^ occasion being regarded a centut^ lacer as masterpieces. If in hig
hurry he put in a few choruses by this, that, or the other German or Italian
fcrgotcen no- or li:t?e- body, he did it quite openly. Of course, as Handel
478
THE MUSICAL GUIDE
has turned out to be so much vaster a genius than he himself suspected, it ia
well that we should know precisely how much of his music really is his ; and
now chat Dr. Chrysander has finally settled the whole question it might be
dropped. ^ Handel never stole. What he learned from Italy he assimi-
lated and made his own ; he assimilated and made his own Purcell's methods ;
and what he brought into music was a very notable thing. It was a splendid
radiant spiritual robustness, a magnificent sense of the sublime, and a tender-
ness that is not surpassed even by the tenderness of Mozart, Beethoven, or
Wagner. There is also a quality of electric speed in many of his choruses,
and a power of heaping climax on climax until one's very nerves yield to the
strain put on them. Two very familiar choruses, " For unto us a child is
iorn** and ** Worthy is the Larnb,^^ exemplify this power in an astounding
way. His tenderness, his sheer strength, his sublimity, may all be found in
the well-known oratorio. ^[ But one cannot but believe that in the long run
Handel will be better known by his songs than by anything else. It was in
the writing of these songs — of strings of them called Italian operas — ^that he
found his most congenial occupation, and he only gave it up when he was
fiiirly driven out of it. Great as his choruses are, they are not greater than
his songs. There are hundreds of them only waiting to be sung once again
to be appreciated. Beyond what may be called the strictly personal qualitiet
that Handel brought to music, Handel added nothing. Consequently he
left no field unworked for any successors. Consequently, also, English
musicians ever since have gone on imitating his successes without any success
whatever. He killed for many generations any chance there ever was of an
Englishman becoming an original composer. Nevertheless, he was a great
man and even an Englishman may forgive him.
Hand'lo, Robert de> Engl, theorist of
14th century.
Handrock, Julius, Naumburg, 1830
— Halle, 1894 ; teacher and compos-
er.
Hanel von Cronenthal (h&'-n^l f^n
kro -n^n-tal), Julia, b. Graz, 1839 ;
wife of the Marquis d'Hericourt de
Valincourt ; studied in Paris ; c. 4
symphonies, 22 pf.-sonatas, etc.
flanfstangel (hanf'-sht^ng^-d!), Marie
(nee Scbrdder), b. Breslau, April
30, 1848 ; soprano ; pupil of Viardot-
Garcia ; debut, 1867, Paris ; studied
1878 with Vannucini ; 1SS2-97 Stadt-
theatre, Frankfort.
Hanisch (ha'-nTsh), Jos., Ratisbon,
1 8 12 — 1892; organist, teacher and
composer.
Hanke (hank'.«), K., Rosswalde.
Schleswig, 1754— Hamburg, 1835;
conductor and composer.
Hans'com, E. W.,b. Durham, Maine,
U. S. A., Dec. 28, 1848 ; studied
there and in I^ndon, Berlin, and
Vienna; organist and composer a|
Auburn, Maine.
Hanslick (hclns'-lYk), Eduard, b.
Prague, Sept. 1 1, 1825 ; eminent
critic and writer; Dr. Jur., 184^
studied piano under Tomaschek &^
Prajjue 1 848-49 ; critic for the IVien-
er Zeitttng ; among his many bookj
his firsi is most famous. ** Vom Mu
■E.
DICTIONARY OF MUSICIANS 479
siJkalisck'ScAdngn" (Leipzig^ 1854); a
somewhat biassed, yet impressive plea
for absolute music as opposed to pro-
gramme (v. D. D.) or fallaciously
sentimental music ; he has been a
bitter opponent of all Wagnerianism
and an ardent Brahmsite ; 1855-64
mus. editor Presse ; since, of the Neue
freit Presse ; lecturer on mus. hist,
and aesthetics Vienna Univ.; 1861
prof, extraordinary, 1870 full prof.;
1895 retired.
Hanssens (hans'-s^ns), (t) Chas. L*
Jos. (aine), Ghent, 1777 — Brussels,
1852 ; conductor and composer. (2)
Chas. L. (cadet), Ghent, 1802 —
Brussels, 1871 ; conductor, professor,
'cellist and composer.
d'Hardelct (ge-d&rd'-lo), Guy (Mrs.
Rhodes), b. Chateau d'Hardelot,
near Boulogne, France ; lives in Lon-
don ; c. operetta *' £iU et Lui '* and
many pop. songs.
Har'iiigton, Henry, Kelston, Eng-
land, 1727— 1816; composer.
Hark'nes. Vide senkrah.
Uarms'ton, J. Wm., London, 1823 —
Lubeck, 188 1 ; teacher and compos-
er.
larp'er, (i) Thos., Worcester, 1787—
London, 1853 ; trumpet virtuoso.
His 3 sons were (2) Thomas, his
successor. (3) Charles, horn<player.
(4) Edward, pianist.
Har'raden, Samuel, Cambridge,
Engl., 1821 (?) — Hampstead, Lon-
don, 1897; org. -professor.
Horriers-Wippem (har'-rf-irs vtp'-
p^rn), Louise (nee Wippem), Hil-
desheim, 1837 — Grobersdorf, Silesia,
1878 ; soprano.
Har'ris, (i) Jos. M., London, 1799 —
Manchester, 1869 ; organist and com-
poser. (2) Augustus (Sir), Paris,
1852 — Folkestone, Engl., June 92,
1896 ; an actor, debut as Macbeth in
Manchester, 1873 ; then stage man-
ager ; 1879 leased Drury Lane Th.
for spectacle ; 1887 he took up
Dpera and controlled successively H.
M 's Th., the Olympia, etc., finally
::oirent Garden. (3) (Wm.) Victor.
b. New York, April 27, 1869 ; pupil
of Charles Blum (pf.), Wm. Court-
ney (voice), Fredk. Schilling (harm,
and comp.), Anton Seidl (cond.) ;
1889-95 org. various churches; 1892-
95 r/pMteur and coach at Met.
Op.; 1893-^ cond. Utica Choral
Union ; 1895-96 asst.-cond. to Seidl,
Brighton Beach Concerts ; now lives
as vocal teacher and accompanist,
N. Y.; c. a pf.-sutte, a cantata, an
operetta *'J///^. Mai et M, de Sent'
bre'^ songs, etc. (4) Chas. Albert
Edw., b. London, Dec. 15, 1862 ;
(son and pupil of (5) Edwin H., or-
ganist) ; Ouseley scholar St. Michael's
Coll., Tenbury, 1875 ; 1881 private
organist to the Earl of Powis ; since
1883 he lives with his father at Mon-
treal, Canada, as organist ; c. an op-
era, a cantata, etc.
Har'rison, (i) Wm., London, 1813 —
London, 1868 ; tenor. (2) Annie
Fortescue (wife of Lord Arthur
Wm. Hill), contemporary English
composer ; c. operetta (London,
1884), a cantata, songs, etc.
Hart, (i) James, d. 1718 ; Engl, bast
and composer. (2) Philip, d. ca.
1749; Gentleman of Chapel Royal;
son of above (?) ; organist and com-
poser ; wrote music for ** The Afom»
ing Hymn " from Book V. of Milton's
''Paradise Lostr (3) J. Thos.,
1805 — London, 1874; vln. maker.
(4) George, London, 1839 — '^9^ \
son of above ; writer.
HUrtel (h6r'-tai), (i) Vide breitkopp
UND HARTKL. (2) G. Ad., Leipzig,
1836— Homburg, 1876 ;. violinist,
conductor and dram, composer. (3)
Benno, b. Jauer, Silesia, May i,
1846 ; pupil of Hoppe (pfOi Jappsen
(vln.), Kiel (comp.) ; 1870 teacher of
theory, Beriin Royal Hij^b Sch. for
Music ; c. an opera, over 300 canons,
etc. (4) Luise (nee Hauffe), Daben,
1837 — Leipzig, 1882 ; pianist ; wife
of (5) Hermann H. Vide breit«
KOPF.
Hart'mann, (i) Johan Pedcr Emill«
ttSt Copenhagen, May 14, 1809-*
48o THE MUSICAL GUIDE
Copenhagea, March lo, 1900; or-
ganist and dram, composer; grand-
son of a German court-cond. (d.
1763) ; son of an organist at Copen-
hagen, (a) ElPil (jr.) Copenhagen,
1836 —1898 ; son and pupil of above,
and court-organist; composer. (3)
Lud«7ig> b. Neuss-on-Rhine, 1836;
pianist, composer and critic (son and
pupil of (4) Friedrich, song-com-
poser, b. 1805) ; also studied at Leip-
zig Cons, and with Liszt ; lives in
Dresden ; prominent Wagnerian
champion ; c. an opera, etc. (5)
Arthur, b. Philadelphia, July 23,
1882; violinist. (6) Ferdinand,
clarinettist ; lives in Munich as court-
musician. (7) Peter, Franciscan
monk of Hochbrunn-on-the-Lahn,
prod. succ. oratorio " Sankt Fraiu
tiskus " (Munich, 1902).
Har'tog, (i) Edouard de, b. Amster-
dam, Aug, 15, 1S26 ; pupil of Hoch,
Bartelmann, LitolfT, etc. ; 1852 in Paris
as teacher of pf., comp., and harm. ;
decorated with the orders of Leopold
and the Oaken Crown ; c, operas, the
43rd psalm with orch., etc. (3)
Jacques, b. Zalt-Bommel, Holland,
Oct. 24, 1837 ; pupil of Wilhelm and
Fd. HiUer ; prof. Amsterdam Sch.
of Music.
Hartvigson (hart'-v!kh-z6n), (i) Frits,
b. Grenaa, Jutland, May 31, 1841 ;
pianist; pupil of Gade, Gebauer,
Kee, and von BQlow ; since 1864,
London ; 1873 pianist to the Princess
of Wales ; 1875 prof, at the Norwood
Coll. for the Blind ; 1887 pf.-prof.
Crystal Palace. (2) Anton, b. Aar-
hus, Oct. 16, 1845 ; bro. of above ;
pianist ; pupil of Tausig and Neu-
pert ; lives in London.
Har'wood, Edw., Hoddleson, 1707—
Liverpool, 1787 ; composer.
Hase (Dr.), Oskar von. Vide breit.
KOPF UND HARTSL.
Baser (ha -zer), (i) Aug. Fd., Leip-
^8^1 '779 — Weimar, 1844; theorist,
conductor, writer and composer. (2)
Charlotte Henriette, b. Leipzig,
1784 ; sister of above ; singer ; m. a
lawyer Vera. (3) Heinrich, b. Rome,
Oct. 15, 181 1 ; bro. of above ; prof,
of med. at Jena ; writer.
Hasert (ha-z«rt), Rudolf, b. Greifs-
waid, Feb. 4, 1826 ; studied with KuU
lack vpf>)i ^^^ Dehn (comp.) ; i860
Berlin as teacher; 1873 pastor at
Gristow.
Has(s)ler (hasM^r), (i) Hans Le«
von, NOrnberg, 1564 — Frankfort,
June 5, 1612 ; the eldest of 3 sons of
((2) Isaac H., town-mus., NUrnberg) ;
pupil of his father ; organist and com-
po^v. (3) Jakob, NUrnberg, 1566
— Hechingen (?), i6qi ; bro. of (i),
conductor, ora^an virtuoso and com-
poser. (4) Kaspar, Nurnberg, 1570
— 1618 ; bro. of above; organist.
Haslinger (hfts'-Ung-iSr), (i) Tobias,
Zell, Upper Austria, 1787 — Vienna,
1842 ; conductor and publisher. (2)
Karl, Vienna, 1816— 1868 ; son and
successor of above ; pianist ; c.
opera '* Wanda" etc.
Hasse (h^'-s^), (i) Nikolaus, ca.
1650 ; organist and writer at Ras«
tock. (2) In. Ad., Bergedorf, near
Hamburg, March 25, 1699— Venice,
Dec. 16, 1783 ; famous tenor and v.
succ. operatic cond. ; rival of Porpora ;
c. over 100 operas, etc. (3) Faustinr
(n& Bordoni), Venice, 1693 (1700)—
1783 ; of noble birth ; one of the
most cultivated mezzo -sopr. ; m.
the above 1730, a happy union, she
collaborating in his success. (4)
Gustav, b. Peitz, Brandenburg, Sept.
4* 1834 ; studied Leipzig Cons., after«
ward with Kiel and F. Kroll ;
settled in Berlin as teacher and com«
poser.
Has'selbeck, Rosa« Vide sucker.
Hasselt-Barth (has'-s^lt-bin), Anna
Maria Wilhelmine (nee ^ran Has*
selt), b. Amsterdam, July 15, 1813 i
soprano ; d^but Trieste (183 1).
HAssler (h^s'.l^r), (i) Jn. Wm., Er«
furt, March 29, 1747 — Moscow,
March 25 (29?), 1822 ; organist and
composer; important link between
Bach and Beethoven. (2) Sophie^
wife of above ; singer.
«■
DICTIONARY OF MUSICIANS 48
ttassUne^er-Hassingen (hasMln^-^r
has'-slng-6n), Jos., ** Hofrath" Frei-
hcrr von Vienna, 1822— 1898 ; dram,
composer. Used pen-name "Jos.
Hager."
Hast mgs, Thos., Washington.
Conn., 1787 — New York, 1872 ;
editor and composer.
HMtreiter (hast'-ri-t£r), Helene, b.
Louisville, Ky., Nov. 14, 1858 ; op-
eratic contralto, popular in Italy ;
pupil of Lamperti, Milan ; m. Dr.
Burgunzio ; lives in Genoa.
Hatto. Vide fr^rk.
Hat'ton, J, Liphot, Liverpool, Oct.
20, i8o9--Margate, Sept. 20, 1886;
cond* and dram, composer.
Hattstadt (hat'.sht£t), L J., b. Mon.
roe, Mich., Dec. 29, 1051; studied in
Germany; pf.*teacher and writer^in
Detroit, St. Louis, and for 11 years,
Chicago Coll. of Mus.; 1886, dir.
Amer. Cons., Chicago.
Hatt(c)k (howk), Minnie, b. New
York, Nov. 16, 1852 (53?); notable
soprano ; pupil of Errani and Moritz
Strakosch; d^but 1869, N. Y., as
' * Norma " ; 1 868-7 2 Vienna ct-opera ;
1875, Berlin ; has sung with great
succ. in Europe and America. She
is court-singer in Prussia, Officier
d' Academic. Paris, and member of
the Roman Mus. Academy.
Hauer (how'.«r), K. H. Ernst, HaU
berstadt, 1828 — Berlin, 1892 ; organ-
ist and composer.
Hauff (bowO, Jn. Chr., Frankfort,
i8f I — 1891 ; founder and prof.,
Frankfort School of Music ; writer
and composer.
Hauife (howf'-f^), Lulse. Vide har-
TEL, LUISK.
Haupt (howpt), K. Aug.f b. Kunem,
Silesia, Aug. 25, 1810 — Berlin, Tuly
4, 1891; pupil of A. W. Bach, Klein,
and Dehn ; famous as organist and
teacher at Berlin ; composer.
Hauptmann (howpt'-man), Moritz,
Dresden, Oct. 13, 1792 — Leipzig,
Jan. 3, 1 868 ; violinist ; pupil of
Spohr : famous as theorist and teach-
er; ixom 1842 prof, of cpt. and
comp. Leipzig Cons., and dir. Tho»
masschule. Ilis canon was "unity
of idea and perfection of form,
exemplified in his comps., enforced
upon his many eminent pupils
and exploited in many essays and
sundard works, incl. **Z>i> Natur
der Uarmonik und iW>/rrVir'* (1833) ;
the posthumous, ** Die Lehrc von der
Hartnonik^^ 1868, etc.; c, opera,
'' Mathilde'' (Cassel, 1826); quar-
tets, masses, etc.
Hauptner (howpt'-n^r), Thuiskon,
Berlin, 1825 — 1889; conductor and
composer.
Hauschka (howsh'.k£),Vincenz, Mies,
Bohemia, 1766 — Vienna, 1840; 'cel-
list and barytone player ; composer.
Hause (how -z^), Wenzel, b. Bohe-
mia, ca. 1796 ; prof, of double-bass,
Prague Cons.; writer.
Hausegger (hows'-^g-g^r), (i) Fr. von.
b. Vienna, April 26, 1837 ; pupil ck
Salzmann and Dessoff; barrister at
Graz ; 1872 teacher of history and
theory, Univ. of Graz ; writer. (2)
Siegrnund von, German composer of
notable symphony ** Barbarossa^*
(Munich, 1900) ; 2d cond. Munich
Kaim orch.; 1902, cond. Frankfort
Museum (vice Kogel) ; 1903, ist
cond. Munich Kaim orch.
Hauser (how'-zdr), (i) Fz., b. Craso-
witz, near Prague, 1794 — Freiburg,
Baden, 1870 ; bass-barytone ; teach-
er. (2) Miska (Michael), Press-
burg, Hungary, 1822 — Vienna, 1887;
vln.-virtuoso ; composer.
H&user (hl'-z^r), Jn. Ernst, b. Dit-
tchenroda, near Quedlinburg, 1803 ;
teacher, Q. Gymnasium ; writer.
Hausmann (hows'-man), Valentin,
the name of five generations, (i) V.
I., b. Ntlmberg, 1484; a friend of
Luther ; composer and conductor.
His son (2) V. XL, organist and
composer His son (3) V. IIL, or-
ganist at LobejUn, expert in org.-
building. His son (4) V. IV., or-
ganist and court-conductor at K6th-
en ; writer. His son (5) V. V. Vide
barthoijOMAUS ; LoSejQn, 1678— »
482
THE MUSICAL GUIDE
Lauchstadt, after 1740 ; cath. orgran-
ist and theorist. (6) Robt., b. Hot-
tleberode, Harz Mts., Aug. 13, 1852 ;
'cellist; pupil of Th. MttUer, and
Piatti in London ; teacher, Berlin
Royal ** Hochschule"; since 1879,
member Joachim quartet.
Hau(l)tin (6-tah), P., La Rochelle,
ca. 1500 — Paris, 1580; first French
founder of musical types.
Hav'erg^al, Rev. Wm. H., Bucking-
hamshire, 1793 — 1870; composer.
Haweis (hoj.). Rev. H. R., Egham,
Surrey, 1838 — London, Jan. 30, 1901;
amateur violinist and popular writer
on music.
Hawes (h6z), Wm.» Engl., London,
1785 — 1846; conductor and com-
poser.
Haw'kins (Sir), J., London, March
30, 17 19 — Spa, May 14, 1789 ; an at-
torney ; eminent historian of music ;
knififhted, 1772.
Haw lejfChas. B., b. Brookfield, Con-
necticut, U. S. A., Feb. 14, 1858;
organist at 13 there ; studied with G.
J. Webb, Revarde, Dudley Buck,
Mosenthal, etc., N. Y.; bass singer,
organist and composer of excellent
sones, New York.
Hay'dea, Geo., Engl., organist and
composer, 1723.
Haydn (hid'-'n). (2)(Fz.) Josef, Roh-
rau-on-Leitha, Lower Austria, March
31, 1732 — Vienna, May 31, 1809 ; sec-
ond son of a wheelwright who was the
sexton and organist of the village
church, and a fine tenor, and whose
wife, Maria Koler, had served as
cook for Count I larrach. She sang
in the choir. At 5, H. was taken to
the home of a paternal cousin, Frankh,
who taught him Latin, singing, the
vln. and other instrs. He was en-
gaged as a chorister for St. Stephen's,
and taught by Reutter the cond., who
gave him no encouragement and dis-
missed him in 1748. At 8, he went
to Vienna, and studied singing, vln.
and cla\ner, with Finsterbusch and
Gegenbauer. He studied harmony
chiefly from Fux' * ' Gradus adParnas^
sum** and Mattheson's *' Volkomme'
tier KappellnieisUr** At 13 he c. a
mr.ss. He obtained a few pupils,
and a Viennese tradesman lent him
150 fiorins, with which he rented an
attic-room and an old haipsichord. He
practised C. P. Bach's first 6 sonatas
and the vln.; Metastasio taught him
Italian, and recommended him to a
Spanish family as teacher for their
daughter, who was studying with
Porpora. From Porpora, in leturn
for menial attentions, H. received
some instruction in comp. and a rec-
ommendation to the Venetian ambas-
sador for a stipend of 50 francs a
month. At 20, he had c. 6 trios,
sonatas, his first mass, and a comic
opera *'Z>^r neue krumme TeufeV*
« (Stadttheater, 1752), a satire on the
lame baron Aflligi the ct. -opera dir.;
this work was suppressed but revived
afterwards, and he received 24 ducats
for it. He began to make powerful
friends, and became Musikdit'ektor
and Kammercompositeur to Count
Fd. Maximilian Morzin. 1759 Prince
Paul Anton Esterhazy heard his Tst
symph. and 1760 took him into his
service as 2d (later ist) conductor ; the
same year H. m. Maria Anna, the
elder sister of the prl whom he loved
and who had entered a convent.
This marriage was as unhappy as
one would expect. Prince Nikolaus
Esterhazy, who succeeded his bro. in
1762, retained H. as conductor and
in his service H. c. 30 symphonies
40 quartets, a concerto for French
horn, 12 minuets, most of his operas,
etc. He was soon very pop. through
Europe, and royalty sent him gifts.
1785 commissioned to write a mass,
•* The Seven Words on the Cross ^
for the Cath. of Cadiz; in 1790
Prince Nikolaus was succeeded by his
son Anton, who kept H. as cond.
and increased his stipend of 1,000 flo-
rins to 1,400. In 1 79 1 on a pressing
invitation brought by Salomon, he
went to England and was for 18
months the lion of the season. Oj^
DICTIONARY OF MUSICIANS 483
ford made him Mus. Doc.; and he c.
the so-called ** Salomon Symphonies ^^
for his concerts. On his way home,
he visited his native place to witness
the unveiling of a monument erected
in his honour by Count Ilarrach. In
this year Beethoven became his pu
pil. 1794, he revisited London, with
renewed triumph, the King urging
him to stay, but, at the invitation of
a new Prince Esterhazy, he returned.
1797, he c. the Austrian national
Anthem. At 65, he prod, his great
oratorio ^* The Creation'' {*' Die
Schopfung'') ; in 1801 " The Sea-
sons'^ {''Die Jahresznten "). His
health failing he went into retire-
ment, appearing in public only once
in r8o8, when he was carried in a
chair to hear a special perfonnance
of the ** Creation,'' His agitation
was so great that he had to be taken
away after the first half ; the throng
giving him a sad farewell, and Beet-
hoven bending to kiss his hands and
forehead. In 1809, his death was
hastened by the shock of the bom-
bardment of Vienna by the French.
His astounding list of works in-
cludes besides those mentioned, 125
symphonies and overtures, Incl. the
•* Farnvell " (** Abschiedssymphonier
1772), the ''Fire S." (* Fueisymph.,
1774). the ''Toy S." (" Aim/er-
symph,)^ ^' La Chasse** (1870), the
•* Oxford (1788), the ** Surprise,"
(** S, mit dcm Paukenschlag" 1 791) ;
•'.S. with the drum-roll" {'' S, mit
dem Paukenwirbel," 1795); 51 con-
certos for harpsichord, vln., 'cello,
lyre, barytone, double-bass, flute and
horn; 77 string-quartets; 175 num-
bers for barytone ; 4 vln. -sonatas ;
38 pf. -trios; 53 sonatas and di\erti<-
menti ; an oratorio *'// Eitorno di
lobia *V 14 masses ; 4 operas ; 4
Italian comedies; 14 Ital. opere
bufTe. and 5 marionette-operas ; mu-
sic to plays ; 22 arias ; cantatas, incl.
**Ariafta a Aaxos" '* Deutschlands
Klage auf den Tod liiidrichs des
Crossen," ** 7'he 10 Commandments'*
in canon-form ; 36 German songs ;
collections of Scotch and Welsh folk-
songs, etc. Biog. by S. Mayr, 1809;
K. K. Pohl (Leipzig, 1875, 1882;
completed by E. von Mandyczewski).
Haydn's diary is quoted from ex-
tensively in Krehbiel's '* A/usie and
Manners" (New York, 1898).
Joseph Haydn.
By August Spanuth,
WHILE the relative station in musical history of Bach, Handel,
Gluck, Mozart, and Beethoven is universally and definitely agreed
upon, various opinions may still be entertained of the merits and
subsequent influence of Joseph Haydn's work as a composer. ^ This is all
the more remarkable as he never met with much opposition. Only at one time
during his life, a few rather inferior critics earnestly tried to belittle him; how-
tvcr, these were insignificant attempts, wholly unworthy of the closer attention
of the historian. Nowhere has the musical public been slow in acknowledg-
ing Haydn's genius. £ven at the time when he was Kapellmeister in the remote
little town of Eiscnstadt, his fame spread all over Europe, and his compositions
were loved, played, and sung in all the big and small cities. Nor has there even
been a violent partisanship pro and contra Haydn. All of which is easy enough to
comprehend^ inasmuch as he did not offend anybody's taste^ even where he wai
484 THE MUSICAL GUIDE
most progressive in his compositions, and remained with his feet on the groand
when his ideals were ever so lofty. ^The source of his musical inventions was
the song and the dance of the people^ yes, one might say^ the children's song,
and his artistic development was as slow as it was steady, thus allowing his
admirers time to grow with him. Even where he reaches the very summit of
his art, his melodic invention bears the ear-mark of childlike naivete. . ^ And
yet it seems impossible to have any two musicians determine the value of
Joseph Haydn for the development of music, both entirely alike. Was he a
reformer? The one will answer, *' Yes," and point out that there was no
real symphony before Haydn ; that the old Italian symphony was nothing
else but an introduction to, or an interlude during, the opera ; that what there
was of instrumental music before Haydn, was either in the way of fugues, and
in the style of the concerto, or purely descriptive music. He will, fiuther.
more, assert that Haydn created a thoroughly novel oratorio, doing away
almost endrely with the old Italian style, and holding up his individuality in
spite of the tremendous influence of the Handel oratorio. ^ The other one
will deny him the exalted title of a reformer, and, while he may readily
admit that Haydn has added the Menuetto to the symphony, and fortunately
got rid of the clavicembalo, that he, moreover, succeeded in giving the solo-
sonata and the string- quartette a concise and plastic shape, he will probably
insist that Haydn has done only very little that was essentially new, and that,
in musical history, he can only rank as the man who paved the way for the
giant Beethoven. ^ But no matter how opinions may differ on this point,
one must own of Haydn, that he was the first great musician to introduce an
element of subjectiveness into instrumental music. And in so fiu* one cannot
deny him the instinct of a reformer, though he hardly was conscious of it.
He never abandoned traditions just because he had decided to create a new
musical language ; he simply followed the inner voice of his genius. ^ And
he could do so all rhe more freely, since he had never enjoyed a thorough and
severe musical educadon. He learned from here and there, he had models
like Philipp Emanuel Bach, or Porpora, and Hindel, etc., but he followed
none of them so closely as to restrict his own individuality in the least. On
the other hand, there was no trace of the spirit of revolt in his system. His
very life is a strong proof for his peaceful and benevolent nature. When his
sweetheart took the veil, he allowed himself to be persuaded to marry her
older sister, who was three years his senior, and a Xantippe. This, and the
fact that he lived with her for more than forty years, stamps the man u of an
almost angelic character.
Haydn (h!d'-'n), (2) Jn. Michael, Roh- chorister, with compass of 3 octaves,
rau, Sept. 14, 1737— Salzburg, Aug. at St. Stephen's, Vienna, repladnchi*
xo, t8o6 ; bro. of above; soprano brother Josef. Studied vln. andot*-
DICTIONARY OF MUSICIANS 485
gan, and became asst • organist ;
1757, cond. at Grosswardein ; 1763,
dir. to Archbishop Sigismund, Salr^
burg; 1777, organist of the Cath«
and St. Paul's Ch. He m. Maria
Magdalena Lipp, an excellent sopra*
no ; 1880 he lost his property, by the
French occupation, but was aided by
his bro. and 2 others, and the Em-
press Maria Theresa rewarded him
tor a mass c. at her command, in
which she sang the soprano solos. He
- founded a school of composition, and
had many pupils, incl. Reicha and
Weber. Prince Esterhazy twice
offered to make him vice-cond.; but
H. refused, hoping to reorganise the
Salzburg Chapel. His best works
were sacred music, which his brother
esteemed above his own. He declined
publicatioiv however ; c. 360 church-
comps., incl. oratorios, masses, etc.,
30 symphonies ; operas, etc. Biog.
by Schinn and Otter (Salzburg, 1808).
Hayes (hSlz), (i) Wm., Hanbury, Wor-
cestershire, Dec., 1706 — Oxford, July
27. 1777 ; oijranist, conductor and
writer. (2) Philip, Oxford. April, 1738
— London, March 19, 1797 ; son and
pupil of above, and his successor as
Univ. Prof, of Mus. at Oxford ; also
organist there; c. oratorio ; a masque;
6 concertos, etc. (3) Catherine,
Ireland, 1 82 5 (or 6) — Sydenham, 1861;
singer.
Rayn (him), (i) (or Hennius), Gilles,
Belgian composer i6th cent. (2)
Italian composer, Aimo (&'-e-md), (3)
Niccold Franc, Rome, ca, 1679 —
London, 1729 ; 'cellist and librettist.
Haynes, waiter B., b. Kempsey,
Engl., 1859; studied Leipzig Cons. ;
organist various churches ; prof,
of harm, and comp., R. A. M«
Ra^s, Wm. Shakespeare, b. Louis-
ville, Ky., July 19, 1837; pub. nearly
300 pop. songs.
Heap, Chas. Swinnerton, Birming-
ham, Engl., April 10, 1847 — June 1 1,
1900 ; won the Mendelssohn scholar-
ship and studied at Leipzig Cons. ; also
^TfpLn with Best ; Mus. Doc* Cam-
bridge, 1872 ; cond. Birmingham
PhiL (1870-86), and other societies ;
c. an oratorio *' TA^ Captitniy "y can-
tatas, etc.
Hebenstreit (hab'-'n-shtilt), Pantale-
on, Eislebcn, 1660 (9 ?)-— Dresden,
1750; conductor; improved the dul-
cimer as the ** Pantalon " (v. D. D.).
Hecht (h«kht), Ed., Durkheim, Rhine
Palatinate, 1832 — Didsbury, near
Manchester, 1887 ; pianist ; prof,
and composer.
Heckel (h^k'-^l). Wolf, lutenist at
Strassburg, i6thcent.
Heckmann (h«k'.m&n), (i) G. Julius
Robt., Mannheim, 1848-^Glasgow,
1801 ; violinist. His wife (2) Boarie
(nee Hartwig:), Greiz, 1843 — Co-
l(^ne, 1800 ; pianist.
Hedge'land, wm., organ • builder,
London, 185 1.
H6douin (sld-wftn), P., Boulogne,
i789-;-Paris, 1868 ; lawyer, writer,
librettist and comp>oser.
Heermann (hilr'-m&n), Hu|^o, b. HeiU
bronn, March 3, 1844; violinist;
studied with J. Meerts Brussels Cons*
since 1865 ; lives in Frankfort as so-
loist and teacher at the Hoch Cons.
Heeringen (ha'-rVng-^n), Ernst von,
Grossmehlza, near Sondershausen,
1 8 10 — Washington, U. S. A., 1855 ;
unsuccessful innovator in notation
and scoring.
Hegar (ha-gar), (i) Fr,, b. Basel,
Oct. II, T841; studied Leipzig Cons.,
1861 ; from 1863 cond* Subscription
Concerts, and of the Choral Soc.,
Zurich ; 1875 founded Cons, at
Zurich ; c. vln.-concerto in D ; succ.,
dram, poem, *' Manasse^^ for soli,
chorus and orch.; ** Festotivertiire**
etc. (2) Emil, b. Basel, Jan. 3, 1843;
bro. of above ; pupil, later 'cello-
teacher at Leipzig Cons., and 1st
*cello Gewandhaus Orch. ; then stud«
led singing, now vocal-teacher Basel
Sch. of Mus. (3) Julius, bro. of
above ; Vellist at ZQrich.
Hegedils (h«g-^>d(ish), Ferencx, b.
Hungary, 1872 (?); violinist; ssiCd^
d^but, London, 1901.
ai
486
THE MUSICAL GUIDE
Hegner (h&kh'-n«r), (i) Anton, b.
Copenhagen, March 2, 1861 ; 'cellist;
studied Copenh. Cons. ; at 14 played
with great succ; now teacher N. Y.;
c. 4 quartets ; 2 concertos for 'cello,
etc. (2) Otto, b. Basel, Nov. 18,
1876 ; pianist ; pupil of Fricker, Hu-
ber, and Glaus; made debut very
early at Basel (1888), England and
America, at the Gewandhaus, Leip-
zig, 1890 ; c. pf.-pcs.
Heide, ^on der. Vide von dbr h.
Heidinstfeld (hl'-dlngs-fdlt), L., b.
Jauer, Prussia, March 24, 1854 ; pu-
pil, later teacher Stem Cons., Berlin;
composer.
Height'tngton, Musg^ave, i6do —
Dundee, 177^ ; organist and com*
poser.
Heinefetter (hf-nj^-f^t-t^r), (i) Sa-
bine, Mayence, 1805 (i8og?) — (in-
sane) lUenau, 1872 ; noted soprano ;
m. Marquet; her five sisters also sang
with succ. : (2) Clara (Mme. Stdck-
el), Mayence, 18 i6-^insane), Vienna,
1857. (3) Kathinka, 1820— 1858.
(4) Fatima, m. a nobleman, Miklo-
witz. (5) Eva, and (6) Nan-
ette.
Heinemeyer (hl'-nd-mi-«r), (i) Chr.
H., 1796 — 1872; flutist at Hanover;
composer. (2) Ernst Wm., Han-
over, 1827 — Vienna, 1869; son of
above ; flutist and composer.
Heinichen (hl'-nYkh-«n). Jn. D., Kr6s.
suln, near Weisscnfels, 1683 — Dres-
den, 1729; dram, composer and
writer.
Heinrich (hln'-rlkh), (i) Jn. G.,
Steinsdorf (Silesia), 1807 — Sorau,
1882 ; organist, writer and composer.
(2) Heinrich XXIV., Prince Reuss
j. L., b. Dec. 8, 1855 ; pianist ; c. a
symphony, a pf. -sonata, etc.
Heinrichs (hln'-rlkhs), (i) Jn. Chr.,
b. Hamburg, 1760; lives in St. Pet-
ersburg; writer on Russian music.
(2) Anton Ph., SchOnbQchcl, Bohe-
mia, 1 78 1 — New York, 1861 ; known
as " Father H." ; composer.
Heinroth (hln'-r5t), (i) Chp. Gl., for
62 years orgamst at Nordhauaen. (2)
Jn. Aug. Gttnther, Nordhausen,
1780 — GOttingen, 1846 ; son of
above ; director and composer.
Heintz (hints), Albert, b. Eberswalde,
Prussia, March 21, 1882 ; organist
*' Petrikirche," Berlin ; writer on
Wagner; composer.
Heinze (hints' -«), (i) Wm. H. H., b.
1790 ; clarinettist in the Gewandhaus
Orch. (2) Gv. Ad., b. Leipzig, Oct.
I, 1820 ; son and pupil of above ; at
15 clarinettist in the Gewandhaus;
1844, 2d cond. Breslau Th., and
prod. 2 operas (of which his wife
wrote the libretti) ; 1S50, Amsterdam
as cond. ; c. 5 oratorios, 3 masses, 3
overtures, etc. (3) Sarah (nee Mag«
nu8), b. Stockholm, 1839 ; pianist ;
pupil of Kullak, Al. Dreyschock, and
Liszt ; lives in Dresden.
Heise (hi'-z^), Peder Arnold, Copen«
hagen, 1830 — 1879 » teacher an4
dram, composer.
Heiser (hl'-z«r), Wm., Berlin, 1816—
Friedenau, 1897; singer, bandmaster,
and composer.
Hek'king, Anton, *cello virtuoso and
teacher at the Stern Cons.
Heller, Stephen, Pesth, May 15,
1815 — Paris, Jan. 14, 1888; notable
composer who, like Chopin, confined
his abilities to the pf . Lacking the
breadth, passion and colour of Cho-
pin's, his music has a candour and
vivacity and a fascinating quaintness
that g^ve it peculiar charm ; his
Etudes, simpler than Chopin*s, are as
well imbued with art and personal-
ity. Studied piano with F. Brauer ;
at 9 played in pub. with succ. ; then
studied with Czemy and Halm; at
12, gave concerts in Vienna, and
toured ; at Pesth studied a little
harmony with Czibulka ; at Augs*
burg, fell ill, and was adopted by a
wealthy family, who aided his studies;
1838, Paris. Schumann praised his
first comp. highly. 1849. London,
he played with succ though infre*
quently because of nervousness:
thereafter lived in Paris. C. several
hundred pf.-pcs., ind. 4 sonaus and
DICTIONARY OF MUSICIANS 487
the famous Etudes. Btogr. by H.
Barbadette (1876)
Hellmesberger (h£l'-m^b^rkh-£r),
(i) G. (Sr.), Vienna, 'iSoo—Neuwal-
^^iS* '^73 't violinist, conductor and
composer. (2) G. (Jr.), Vienna,
1830 — Hanover, 1852 ; son and pupil
of above ; violinist and dram, com-
poser. (3) Rosa, daughter of (2),
was a singer, debut 1883, ct. -opera,
Vienna. (4) Jos. (Sr.), Vienna, 1829
■ — 1893 ; ton of (i) ; conductor, vio-
linist and professor. (5) Jos. (Jr.),
b. Vienna, April 9, 1855 ; son of (4);
violinist and composer of operettas,
ballets, etc. 1902, cond. Vienna
Philh. Orch. (6) Fd., b. Vienna,
Tan. 24, 1863 , bro. of above ; *cellist
in ct.-orch. from 1879; from 1883 with
his father^s quartet ; 1885 teacher at
the Cons. ; 1886, solo 'cellist, ct. -opera.
Hellwifi: (h^l'.vlkh), K. Fr. L., Ku.
nersdbrf, 1733 — Berlin, 1838 ; con-
ductor and dram, composer.
Helm, Tbeodor, b. Vienna, April 9.
1843 ; studied law, entered govt,
service ; since 1867 critic for various
journals, and writer; 1874, teacher of
mus. hist, and aesthetics, Horak*s
School of Music.
lelmholtz (h£Im'-h61ts), Hermann L.
Fd., Potsdam, Aug. 31, 1821 —
Chariot tenburg, Sept. 8, 1894 ; emi-
nent scientist ; pub. famous treatises
such as ** Sensations of Tone as a
Fhysioiogical Basis for (he Theory of
Music " (Lehre von den Tommpfin^
dungen als physiohgische Grundlage
far die Theorie der Musik) (Bruns-
wick, 1863 ; English trans, by Ellis,
1875) ; this work, the result of much
experiment, is the very foundation of
modem acoustics, though Rtemann,
who was in some opposition to H.,
says his conclusions are not infallible,
and attacks are increasing oix>n him.
H. inv. also a double harmonium
with 24 vibrators to the octave ; this
lacks the dissonant 3rds and 6ths of
equal temperament (v. D. D.) and
permits the same modulation into all
neys.
Hermore, Rev. Thos., b. Kidder-
minster, May 7, 181 1 ; composer.
Henderson, wm. Jas., b. New-
ark, N. J., Dec. 4, 1855 ; prom-
inent American critic and writer ;
graduated Princeton Univ., 1876;
mainly self taught in music ; 1883 re-
porter, from 1887 critic, N, Y. Times;
lecturer on mus. hist. N. V. Coll. of
Mus.; c. various light operas, songs,
etc.; pub. a " SUny of Music C' ''PreU
udes and Studies:' ** What is Good
Music r (1898). '^ How Music De^
veloped" (New York, 1899). ** Tki
Orchestra and Orchestral Music**
(1899). " Wagner " (1902).
Henkel (h«nk'.«l), (i) Michael.
Fulda, 1780— 1 85 1 ; composer. (2)
G. Andreas, Fulda, 1805^1871 ;
organist and coipposer. (3) H,, b.
Fulda, Feb. 14, 1822 ; son and pupil
of (i), also studied with Aloys
Schmitt, and theory with Kessler and
Anton Andre ; 1849, teacher, etc.,
Frankfort. (4) K., son of (3) ; stud-
ied in Berlin Hochschule; lives in
London, as violinist.
Hen'iej, Rev. Phodon, Wooten Ab-
bots, 1728 — 1764; English composer.
Henneberg^(h£n'-n£-b5rkh), Jn.Bapt.,
Vienna, 1768 — 1822 ; oi^nist, con-
ductor and composer.
Hen'nen,(i) Arnold, b. Heerlen, Hol-
land, 1820 ; pianist ; 1845 took first
{>f.-prize, I^i^e Cons.; lives at Heer-
en ; composer. (2) Fr., b. Heerlen,
Jan. 2C, 1830 ; bro. of above ; 1846
took first vln.-prize Li^e Cons.;
1847, medal 1850-71, soloist in va-
rious London orchestras; then re-
tired to Strythagen, near Heerlen ;
composer. (3) Chas., b. Dec. 3,
1 861 ; son of (2) ; violinist at Ant-
werp. (4) Mathias, b. Heerlen,
1828 ; bro. of (i) ; 1852, first pf.-
prize Li^e Cons.; since i860 teacher
at Antwerp, and prof, at the Cons. ;
composer, etc.
Hennes (h<n'-n£s), (i) Alo js, b. Aiz*
la - Chapelle, 1827 — Berlin, 1889 ;
pf. -teacher at various places ; com*
poser. (2) Therese^ his daughter, K
488
THE MUSICAL GUIDE
Dec. 21, 1861 ; pianist ; stadied with
Kullak.
Hetinigr (h^n'-nYkh), (r)K., Berlin, 18 19
— 1873 ; ora^anist, dir. and composer.
(3) K. Rafiiel, b. Jan. 4, 1845 ; son
of above ; pupil of Kichter and Kiel;
1869-75, organist Posen ; 1873,
founder of '* Hennig" Vocal Soc.;
1883, I^oyai Mus. Dir. ; 1892, K.
Prof. ; composer and writer.
Hea'nius. Vide haym, gillrs.
Henschel (h^n'-sh^t), (i) (Isidor)
George, b. Breslau, Feb. i3, 1850;
prominent barytone, pianist, and
teacher ; pupil of * Wandelt and
SchaefTer, Breslau ; of Leipzig Cons,
also Kiel and Ad. Schulze (singing);
Berlin ; 1877-80, lived in London ;
1881-84, cond. Boston (U. S. A.)
Symph. Orch.; since 1885, London;
founded the *"* London Symphony
Concerts *' ; 1886-88, prof, of singing
R. C Mys.; c. operas, ^^Friedrich der
Schone" and ''Nubia"; operetta, *'A
Sea Change^ or Love*s Castaway'*^ ;
an oratorio, etc. (2) Lillian (nee
Bailey), Columbus, Ohio, Jan., i860
— London, Nov. 4, 1901 ; pupil and
188 1 wife of above ; also studied
with C. Hayden and Viardot-Garcia ,
concert-soprano ; she and her hus-
band gave recitals with great art and
success. (3) Helen ; daughter of
above, soprano ; sang_N. Y. 1902.
Hensel (h«n'.z«l), (i) pannj Ciicilia
(n^ Mendelssohn), Hamburg, Nov.
14, 1805 — Berlin, May 14, 1847 ;
eldest sister of fblix m., whose de-
voted companion she was, and who
died six months after her sudden
death. He said she was a better
pianist than he, and six of her songs
are pub. under his name : viz. , his op.
8 (Nos. 2, 3, 12). and op. 9 (7, 10,
12) ; she pub. under her own name
*' Gartenliedor" part-songs and
songs ; c. also pf . -trios and pes. (2)
Octavia. Vide fonda.
Henselt (h£n'-z£lt). Ad. von, Schwa-
Dach, Bavaria, May 12, 18 14 — Warm-
brunn, Silesia, Oct. 10, 1889 ; eminent
ptaoist who played with remarkable
sonority and emotion ; to obtain his
remarkable reach he c. and prac-
tised incessantly very difficult studies ;
he c. a famous pf.-concerto, etudes*
etc.
Hentschel (hent'-sh^l), (i) Ernst Ju-
lius, Langenwaldau, 1804— Weissen«
fels, 1875. (2) Fz., Berlin, 1814— •
1889; teacher and dram, composer.
(3) Theodor, Schirgiswalde, Uppet
Lusatia, 1830 — Hamburg, 1892 ;
conductor, pianist and dram, com*
poser.
Herbart (h^r'-biirt), Jn. Fr., Olden-
burg, 1776— G6ttingen, 1841; writer.
Herbeck (h£r'.b«k), Jn. Fa. von, Vi«
enna, Dec. 25, 183 1 — Oct. 28, 1877 ;
important cond., mainly self-taught;
dir. 1866, ct.-cond* at Vienna and
prof, at the Cons.
Her'bert, Victor, b. Dublin, Ireland,
Feb. I, 1859 ; a grandson of Samuel
Lover, the novelist; at 7, sent to
Germany to study music; ist *cello
ct.-orch. Stuttgart, and elsewhere;
1886 solo 'cellist. Metropolitan Orch.
New York ; later Theodore Thomas'
and Seidl's orchs. (also associate*
cond.) ; 1894, bandm. 22d Regt., vice
Gilmore ; 1898, cond. of Pittsburg,
(Pa.) Orch. (70 performers); c. spirited
pes. for orch. and 'cello ; a 'cello-
concerto ; an oratorio, ** Tlu Cap'
tive " (Worcester Festival) ; and nu-
merous comic operas, incl. ** Prince
Ananias,'' a failure, " The Wizard
of the NiUr V. succ, " The Sere-
nade:* " The JdoVs Ever ** The
Fortune Teller^ and ''The Singing
Girl" all v. succ, in which the un-
usual combination of Irish musical
humour and German scholariiness
justifies their great success.
Herins: (ha'-rYng), (i) K. Gl., Schan-
dau. Saxony, 1765 — Zittau, 1853 ;
teacher, editor and composer. (2)
K. E., b. Oschatz, Saxony, i8oqr—
Bautzen, 1879 ; son and pupil of
above and successor as editor; also
dram, composer. (3) K. Fr. Aa|^.|
Berlin, 18 19 — Burg, near Magdebury
1889 ; violinist and composer.
DICTIONARY OF MUSICIANS 489
Herioa (hi'-rV-on), Abraham Adam,
Schonau, Odenwald, 1807 — Dresden,
1S93; pf.-teacher.
Heritte - Viardot (flr-et-v'yar-do),
Louise Pauline Marie» b. Paris,
Pec. 14, 1841 ; daughter of Viardot-
Garcia ; vocal-teacher St. Petersburg
Cons.; later at Frankfort, and Ber-
lin ; m. Consul-General Heritte ; c.
opera '* Lindora** (Weimar, 1879),
and cantatas.
Hermann (h^r'-man), (i) Matthias,
called VerrecoiensiSy or Verreco-
rensia, from his supposed birthplace,
Warkenz or Warkoing, Holland ;
Netherland cptist. i6th cent. (2)
Jn. D.» Germany, ca. i76c>^Paris,
1846 ; pianist and composer. (3)
Jn. Gf. Jakob, Leipzig, 1772 — 1848 ;
writer. (4) Fr., b. Frankfort, Feb.
I, 1828 ; pupil of Leipzig Cons. ;
1846-75, viola-player, Gewandhaus
and theatre orchs. ; 1848, vln.-teacher
at the Cons.; 1883 Royal Saxon Prof.;
c. symphony, etc. : editor and collec-
tor. (5) Rheinhold L.^ b. Prenz-
lau, Brandenburg, Sept 21, 1849;
pupil of Stem Cons., Berlin ; 1878-81
dir. of it; 1871-78 singing-teacher
and cond. New York ; 1884, cond.
N. Y. "Liederkranz"; 1887, prof,
of sacred history at the Theol. Semi-
nary ; 1898, cond. Handel and Haydn
Soc., Boston ; 1900 returned to Ber-
lin; c. 4 operas incl. ** Vineta "
(Breslau. 1895), and *» Wul/rin " (Co-
iogne, 1896) ; 5 cantatas, overtures,
etc. (6) Robt., b. Bern. Switzer-
land, April 29, 1869 ; studied Frank-
fort Cons. ; previously self-taught in
zither, pf., comp. and had c. works
of much originality in whi(!h Grieg
encouraged him ; 1893, studied with
Humpei^inck, then went to Leipzig
and Berlin, where (1895) his sym-
phony, and a concert-overture were
prod, at the Philh., provoking much
critical controver^; now lives in
Leipzig; c. also Petites variations
four rirt^* for pf. and vln.; etc.
(7) Hans, b. Leipzig, Aug. 17, 1870;
c«jiitrabassist and composer ; left an
orphan, he had a struggle with pov-
erty ; studied with Rust, Kretz, Scho-
ner and von Herzogenberg ; lives in
Berlin, and c. string-quartets, pf.«
pes., etc., and many notable songs.
(8) J. Z. Vide zennek. (9) Vide
HERRMANN.
Herman'nus (called Contrac'tua o*
**der Lahme/' for his lameness),
Graf von Vehrihgen, Sulgau, Swabia,
July 18, 1013 — Alleshausen, near Bi-
berach, Sept. 24, 1054; important
writer and theorist.
Hermes (h£r'-m£s), Ed.t b. Memel,
May 15 (?)« 1818 ; merchant, and com-
poser in K6nigsberg, Prussia.
Hermesdorff (h$r'-m£s-d6rf), Michael,
Tiler (Treves), 1833— 1885 ; organ-
ist, composer and editor.
Hermsteat (h£rm'.sht£t), Jn. Simon,
Langensalza, near Dresden, 1778'^
Sondershausen, 1846 ; composer.
Hernandez (£r-nftn'-d€th). Pablo, b.
Saragossa, Jan. 25, 1834 ; pupil of
Madrid Cons.; organist and (1863)
auxiliary prof, there; c. zanuelas ;
a mass, symphony, etc.
Hernando '(£r-nan -d5), Rafael Jos6
M., b. Madrid, May 31, 1822 ; pu-
pil of R. Camicer, Madrid Cons.;
1848-53, he prod, several succ tar-
%uelas^ some in collab.; later dir.
and composer to Th. des Varietes ;
1852, secretary, later prpf. of harm.,
Madrid Cons.; founded a Mutual
Aid Mus. Soc.
Harold (a-rol), (i) Louis Jos. Fd.,
Paris, Jan. 28, 1791— (of consumption)
Themes, near Paris, Jan. 19, 1833 ;
son of (2) Fran. Jos. H, (d. 1802 ;
?f. -teacher and composer, pupil of
'. E. Bach), who opposed his study-
ing music, though Fetis tanght him
solf^ge and L. Adam, pf. After his
father's death (1802), he studied piano
with Louis Adam, Paris Cons, (first
prize, 18 10): harmony with Catel
and (from 181 1) comp. with M^hul;
1812 won the Prix de Rome, with
cantata '^ AT lie. de la Vallih-e'' *
studied at Rome and Naples, where
be was pianist to Queen Carolinfl^
490
THE MUSICAL GUIDE
and prod, opera *^ La Gioventh di
Enrico Quinio^ (1815) ; Paris, 18 15,
finished Boieldieu's ** Char Us de
France^* (prod, with succ. 18 16, Op.
Com.); **/>j Rosi^res'' and **Ztf
CiochetU" followed 1817, both v.
succ. ; others followed; the last (1820)
failing^, he imitated Rossini in several
operas, but recovered himself in the
succ. **i1/iiriV"(i826); 1824, pianist,
later chorusm. at the Ital. Opera,
but soon relinquished. 1827 Chef du
Chant, at the Gr. Op^ra, for which
he wrote several succ. ballets, incl.
*' La Somnambule" which gave a
suggestion to Bellini ; 1S28, Legion of
Honour. **Ze7/;f/a** (1831) gave him
European rank and is considered his
best work by all except the French*
who prefer his last work " Le Pre
aux CUrcs** (1832); he prod, also
''VAuberge </'^f>0'" (1830) (with
Carafa), **Za Marquise de Brinvil-
liers** (1831), with Auber, Boieldieu,
Cherubini, and 5 others; and **Z<i
M/dicine sans Af/decin " (1832) ; he
left **Lud0vie** unfinished, to be com*
pleted by Halevy with succ. ; c. also
much pf.-mus. Biog^. by Jouvin
(Paris. 1868).
Herrmaim (h^r'-mfin), (1) Gf., Bonders*
hausen, 1808 — LUbeck, 1878; violin*
ist, pianist, or^nist and dram, com*
poser. (2) K., d. Stuttgart, 1894;
'cellist. (3) Kiara, daughter of (2) ;
pupil of Leipzig Cons.; pianist ; lives
in LUbeck.
Herschel (h«r-sh«l), Fr. Wm. (Angli*
cised, Sir William Herschel, K.C.
H. , D.C. L.), Hanover, 1738 — .Slough,
near Windsor, 1822 ; oboist ; organ*
ist at Bath ; astronomy, in which he
won such fame, was till 178 1 only his
diversion.
Hertel (h«r'-t'l), (i) Jn. Chr., Oetting*
en, Swabia, iCgQ—Strelitz, 1754 ; sing*
er, viola da gambist, violinist and
composer. (2) Jn. Wm., Eisenach,
1727 — Schwerin, 1789 ; son and pu-
pil of above ; violinist, conductor
and composer. (3) K., 17S4-1868;
^olinist. (4) Peter L.| Berlin,
1817 — 1899; son of above; com«
poser.
Herther (h^r'-t£r), F., pen-name of
H. Gunther.
Hertz (hdrtz), Alfred, b.Frankfort-on-
Main, July 15, 1872; studied Raff
Cons.; from 1895 2d-cond. various
cities; 1899 cond. city theatre Breslau;
1899 London ; 1902 Met. Op., N. Y.
HertsberfiT (h^rts'-b^rkh), Rudolph
▼on, Berlin, 1818 — 1893; conductor
and editor.
Herr^ (rightljr Florimond Rongret
(£r-v& or rofw-zha), Houdain, near
Arras, June 30, 1825 — Paris, Nov. 4,
1892 ; singer, then organist, con-
ductor; in Paris acting as librettist,
composer and actor, and producing
flippant but ingenious little works in
which French operetta finds a real
origin ; c. over 50 operettas, also
heroic symphony ** TAe Ashantet
IVar" and ballets. (2) Gardel, son
of above, prod. 187 1 operetta **A')i\
«i, ^estfiniJ'^
Herrey (h^r'-vT). Arthur, b. of Irish
parents, Paris, ^an. 26, 1855 ; pupil
of B. Tours (harm.) and Ed. Marlois
(instr.) ; intended for the diplomatic
service, till 1880 ; critic of ** f^aniiv
Fair" ; from 1892, London " Post*^;
c. a i-act opera, a dram, overture
'' Love and Fate** tXQ,
Hers (hdrts or £rs), (i) Jacques Simon,
Frankfort, Dec. 31, 1794 — Nice,
Jan. 27, 1880 ; of Jewish parentage ;
studied at Paris Cons, with Pradher ;
pianist and teacher in Paris ; then
London ; 1857, acting-prof. Paris
Cons.; c vln.-sonatas, etc. (2)
Henri, Vienna, Jan. 6, 1806— Paris,
Jan. 5, 1888 ; ist prize pf. -pupil
Paris Cons. ; very popular as touring
pianist ; succ. as mfr. of pianos ; ob-
tained extravagant prices for his
comps. ; prof, at the Cons. ; writer.
Herzbergr (h«rts'.b«rkh), Anton, b.
Tamow, Galicia, June 4, 1825 ; pia»
nist; pupil of Bocklet and Preyer.
Vienna ; toured Europe, and received
many decorations ; 1866, pf.-teacfaef
Moscow ; composer.
DICTIONARY OF MUSICIANS 491
Herzbg: (h^r'-tsokh), (i) JiL G., b.
li-chmolz, Bavaria, Sept. 6, 1822 ;
pupil of Bodenschatz, and at Altdorf
Seminary ; 1842, organist at Munich ;
1848, cantor ; 1850, oi^n - prof,
at the Cons.; 1854, mus. dir. Er-
langen Univ.; i86iS, Dr. Phil. ,
later prof. ; retired 1888 ; lives in
Munich ; composer. (2) Emilie, b.
Diessenhofcn, Thurgau, ca. i860 ;
flDubrette coloratura - singer ; pupil
Zurich Sch. of Mus., then of Glogg-
ner, and Ad. Schimon, Munich ; de-
but, MQnich (1879?}; 1889, Berlin
ct. -opera.
Herzorenberg^ (h^r'-tsokh-JSn-b^rkh),
(i) H. von, Graz, Styria, June 10,
1843 — Wiesbaden, 1900 ; prof, at
Berlin, etc; director, professor and
composer. (2) Elizabeth (nee von
Stockhausen) (?) 1848— San Remo,
1892 ; pianist, wife of above.
Hes'eltine, Jas., d. 1763; English or-
ganist and composer.
Hess, (i) Joachim, organist, writer and
carillonneur, Gouda, Holland, from
1766—1810. (2) A. H., organ-builder
at Gouda ; bro. of above. (3) Willy,
b. Mannheim, July 14, 1859 ; violin-
ist, pupil of his father and Joachim ;
at 19 Konzertmeister at Frankfort,
1886 at Rotterdam, then England ;
1895 1st vln.-prof. Co'ogne Cons,,
and 1st vln. GUrzenich Quartet.
Hesse (h£s'.s£), (i) Ernst Chr.,
Grossen-Gottem, Thuringia, 1676—
Darmstadt, 1762 ; viola-da-gambist,
conductor. (2) Ad. (Fr.)» Breslau,
1809 — 1863 ; org.-virtuoso and com-
poser. (3) Julius, Hamburg, 1823 —
Berlin, 1881 ; introduced the present
measurement for pf.-keys ; and pub.
a method. (4) Max, b. Bonders-
hausen, Feb. 18, 1858 ; 1880 founded
mus. pub. house in Leipzig ; in 1883,
founded H. und Becker.
Hetsch (h^tsh), K. Fr. L., Stuttgart,
1806 — Mannheim, 1872 ; pianist,
violinist and dram, composer.
Heuberg^er (hoi'-b^rkh.£r), Richard
Fz. Jos., b. Graz, Styria, June 18,
1850 ; a civil engineer ; in 1876 took
up music, which he had previously
studied; chorusm., Vienna academi-
cat Gesangverein; 1878 #ond. Sing-
akademie ; c. operas * Abenteuer
einer Neujakrsnacht " (Leipzig
1886); ^'Manuel Venegas*' (^o,, 1889).
remodelled as " Mirjam " (Vienna,
'94) ; 2 operettas ; overture to Byron's
•* Cain." etc.
Heubner (hoip'-n£r), Konrad, b.
Dresden, i860 ; pupil of the ** Kreuz-
schule" there; 1878-79, at Leipzig
Cons, and writer ; with Riemann, lat-
er Nottebtthm, Vienna ; Wullner,
Nicode and Blassmann, Dresden ;
1882, cond. Leipzig Sisigakademie ;
1684, asst. cond. Berlin Singakade-
mie ; 1890, dir. Coblenz Cons, and
Mus. Soc.; c. a symphony, overtures,
etc.
Heug^el (d-zhdl), Jacques Ld., La
Rochelle, 1815 — Paris, 1883; editor
and publisher.
Heumann (hoi'-mHn), Hans, b. Leip*
zig, Aug. 17, 1870; at 18, double-
bass in orch. at Cassel ; studied with
W. Rust, at Leipzig Cons, and
Kretschmcr at Dresden ; later with
von Herzogenbei^ at Berlin ; lives in
Berlin ; pub. a suite in sonata-form
for vln. and pf.; over 100 songs of
all kinds, etc.
Hewitt, J. H., b. New York, 1801;
from 1845 lived in Baltimore ; c.
oratorios, incl. *^Jephtha,** operas,
etc.
Hey (hi), Julius, b. Irmelshause,
Lower Franconia, April 29, 1832 ;
studied with Lachner (harm, and
cpt.), and F. Schmitt (singing) ; later
with von BUlow at the Munich Sch.
of Mus. (estab. by King Ludwig
II. on Wagner's plans); attempted a
reform in the cultivation of singing,
but resigned at Wagner's death
(18S3), and pub. unportant vocal
method, ^^ Deutscher Gesangsunter*
ric/tt" (4 parts, 1886), exploiting
\Vagner's views. Wagner called him
•*the chief of all singing-teachers.**
1887, Berlin; later Munich; com^
poser.
492 THE MUSICAL GUIDE
tteyberg^er (hl'-Wrkh-«r), Jos., Hett-
stadt, Alsa^ia, 1831 — Paris, 1892 ;
organist, composer and conductor.
Heydea (hT'-d'n), (i) Sebald, Nam.
b«rg, 1498 (1494?) — 1561; cantor,
writer. (2) Hans, Nttrnberg, 1540^
1613 ; son of above ; organist ; inr.
the ** Geigenclavicimbal.*
Heydrich (hl'^tlkh), Bruno, b. Leu«
ben, near Lommatzsch, Saxony, 1865;
pupil of Dresden Cons.; 1879-82,
took prizes as double-baiss player,
pianist and composer ; for a year in
von Bttlow*s Weimar orch.; 4 years
Dresden ct.-orch.; also studied sing-
ing with Scharfe, Hey and v. Milde ;
succ. debut as tenor at Sonders-
hausen theatre ; prod. v. succ. i^ct
opera-drama, with pantomimic pro-
logue, *'w4 «<•»,*' Cologne, 1895; c.
songs,
Heymann (hi'-man), (i) Karl, pianist,
b. Filehna, Posen, Oct. 6, 1854. Son
of (2) Isaac H. (cantor) ; pupil of
Hiller, Gernsheim, Breunung and
Cologne Cons, and of Kiel ; ill-health
ended his promising career as virtu-
oso ; till 1 3 22, mus. dir. at Bingen ;
court-pianist Xo the Landgrave of
Hesse, 1877-80, Hoch Cons., Frank-
fort; c. concerto ^^ ElfenspieV*
* * Mum mensehanxC* * * Phantasie*
stilcke^'' etc., for piano.
Heymanii-Rheineck (hl'-man-rl'-n^k)
(K» Au^. Heymann), b. Burg-Rhei-
neck on Rhine, Nov. 24, 1S52 ; pian-
ist; pupil Cologne Cons., and R.
Hochsc'iule, Berlin; since 1875,
teacher there ; composer.
Heyne Van Ghizeg^nem (also Hayne,
or Ayne, *' Henry*'); Netherland
contrapuntist and court-singer, ca.
1468.
Hiebsch (hepsh), Josef, Tyssa, Bohe-
mia, 1854. — Carisbad, 1897; teacher
and writer in Vienna.
Hiedler (het'-ler), Ida, b. Vienna,
Aug. 25. 1867; soprano; studied with
Ress ; debut, Berlin ct.-opera, 1887.
Hientzsch (hentsh), Jn. Gf., Mo-
krehna, near Torgau, 1787 — Berlin,
1856 ; teacher, composer and writer.
Hieron'ymus de Ifonria, ca. k26o,
Dominican friar, Paris ; writer.
Hi^nard (en-y&r) (J. L.), ArisUde,
Nantes, 1822 — Vernon, 1898 ; the
preface to his ** IlamUt" written
1868, not prod, till Nantes, 1888,
shows him to have attempted a new
and serious manner, but he found
production only for comic operas
which were usually succ.
Hildach (hU'-dakh). (i) Eufiren, b. Wit-
tenberg-on-the-Elbe, Nov. 26, 1849;
barytone; pupil of Frau Prof. kX.
Dreyschock. (2) Anna (nee Schu-
bert, b. K5nigsberg, Prussia, Oct. 5,
1852 ; wife of above ; mezzo-soprano;
teacher Dresden Cons., 1880-S6.
Hildebrand (h^l'-d^-brflnt), (i) Z«-
charias, Saxony, 1680— 1743 : org.-
builder. His son, (2) Jn. Gi., was
equally eminent.
Hiies (iiilz), (i) J., Shrewsbury, 1810
— London, 1882 ; ora;anist, writer
and composer. (2) H., b. Shrews-
bury, Dec. 31, 1826 ; bro. and pupil
of above ; organist various churches ;
1867, Mus. Doc. Oxon ; 1876, lect-
urer; later, prof. R. Manchester
Coll. of Music; 1885, editor and
writer ; c. 3 oratorios, 3 cantatas, an
historic opera, etc.
Hilf (helf), (i) Arao, b. Bad Elster,
Saxony, March 14, 1858 ; vln.-virtu-
oso ; son and pupil of (2) Wm. Chr.
H. ; from 1872 he also studied with
David. R5ntgen, and Schradieck,
Leipzig Cons.; second conoertm.,
1878, and teacher at Moscow Coos.,
(1888) Sondershausen ; 1878, leader
Gewandhaus orch., Leipzig ; 1st vln.
prof, at the Conservatorium.
Hill, (i) Wm., London, 1800— 1870;
org.-builder. (2) Wm. Ebsworth,
London, 1817— Hanley, 1895 ; vln.-
maker. (3) Thos. H. Weist, Lon-
don, 1828 — 1891; violinist, conduc-
tor and composer. (4) Urcli C,
New York, 1802 (?) — 1875 ; violinist.
(5) Wm., b. Fulda, March 28, 1838 ;
pianist; pupil of H. Henkel and
Hauff ; since 1854 lives in Frankfort;
c. prize-opera ^ Alona^^ vln.-aooa>
DICTIONARY OF MUSICIANS 493
tas, etc. (6) Junius Welch, b.
Hingham» Mass., Nov. 18, 1840 ; pu-
^1 of J. C. D. Parker, Boston, and
of Leipr^ Cons.; organist various
churches ; till 1897, prof, of Mus.
at Wellesley ColL ; now teacher and
editor. (7) K., Idstein, Nassau,
1840— insane asylum, Sachsenberg,
Mecklenburg, 1893 ; l»rytone ; cre-
ated " Alberich " at Bayrcuth.
HUle (hvr-l«), (i) Ed., Wahlhausen,
Hanover, 1822 — Gttttinjen, 1891 ;
cond. and teacher, {z} &▼., b. Jeri-
chow-on-Elbe, near Berlin, May 31,
185 1 ; violinist; pupil of R. WQerst
(theory), Kullak*s Acad., 186^74 w.
Joachim (vln.) ; lives in Berlin, as a
sok>- player; 1879, invited to the
Mendelssohn Quintet Club, Boston,
Mass.; toured ; then teacher at Mus.
Acad., Phila.; c. 5 vln. -concertos
with orch., etc.
Hilleamacher (hYl'-lJn-makh-er, or SI*
an-mii>sha), two brothers, (i) Paul
)\09. Wm., b. Paris. Nov. 25, 1852.
2) Lucien Jos. Ed., b. Paris, June
10, i860; both studied at the Cons.,
and took the first Grand Prix de
Rome, (i) in 1876; (2) In 1880.
They write all their scores in collab-
oration. C. symph. legend *'/^r^-
/y* (1882, City of Paris prize) ; succ.
opera ** St. Megrin '* (Brussels,
1886), etc.; *^ Orsola** (Gr. Op^ra,
Paris, I902)«
ttiller (Httller) (hTl'-l^r), (i) Jn.
Adam, Wendisch-Ossig, near dbr-
litz, Dec. 25, 1728 — Leipzig, June
16, 1804; pupil of Hornilius (Kreuz-
schule) and U. of Leipzig ; flutist in
concerts, and teacher; 1754 tutor to
the son of Count BrQhl ; 1758, ac-
companied him to Leipzig, where he
livcJ thereafter ; 1763, revived, at
his own expense, the subscription
concerts, which developed into the
famous "Gewandhaus" concerts, of
which he was cond.; 177T, founded a
singing-school ; 1780-1801, cantor
and dir. Thomasschate. He founded
the *• Singspiel^ from which German
" comedy-opera " developed, contem-
poraneously with opera buffa and
opifra comique. In nis dram, worb
the aristocratic personages sing arias,
while the peasants, etc., sine simple
ballads, etc. His Singsptele^ all
prod, at Leipzig, had immense vogue,
some of the songs being still sung ;
1766-70, he wrote, edited collections,
etc. ; c. also a Passion cantata, funev
al music (in honour of Hasse), sym-
phonies and partitas, the looth
Psalm, etc. Biog. by Carl Peiser
(Leipzig, 1895). (2) Fr. Adam,
Leipzig, I768--K0nigsberg, Nov. 23,
1812 ; violinist and tenor; son and
pupil of above ; mus. dir. of Schwe-
rin Th.; 1803, cond. of Kttnigsberg
Th.; c. 4 operettas, etc. (3) Fd.
▼on, Frankfort, Oct. 24, 181 1— Co-
logne, May 12, 1885 ; of wealthy Jew-
ish parentage ; a pupil of Hofmann
(vln.), Aloys Schmitt (pf.) and VolU
weiler (harm, and cpt.) ; at 10 played
a Mozart concerto in public, at 12
began comp.; from 1825 pupil of
Hummel ; at 16 his string-quartet
was pub. Vienna ; at 15, he saw Beet-
hoven on his death-bed; 1828-351
taught Choron*s School, Paris ; then
independently giving occasional con-
certs; 1836, he returned to Frank-
fort, and cond. the Cficilien-Verein ;
1839, prod. succ. opera " Romilda^
at Milan; oratorio, **/>«> Zerstdr^
ung Jerusaltms^ (Gewandhaas,
1840); 1 841, studied church-mfisic
with Baini, Rome ; 1843-44 he cond.
the Gewandhaus ; prod, at Dresden,
2 operas; 1847, munidpal cond. at
DQsseldorf ; 1850 at Cologne, where
he organised the Cons.; cond. Gttrze-
nich Concerts, and the Lower Rhine
Festivals ; 1852-53, cond. Opera Ita^
lien, Paris; 1868. Dr. Philh. h* c.
Bonn Univ. ; 1884 he retired. He
was a classicist in iaeal of the Men-
delssohn type and his comp. are of
precise form and great clant^. Ha
was also a lecturer and wnter on
music. Hec. 3 other operas, 2 orato-
rios, 6 cantatas, 3 overtures, 3 sym-
phonies, a ballad ^^ Richard LSwtm
494 THE MUSICAL GUIDE
hert*' with orch. (1883). etc. (4)
Paul, b. Seifcrsdorf, near Liegnitz,
Nov., 1830; 4870, asst.-organist,
and since 1881 organist St. Maria-
Magdalena, Breslau ; composer. (5)
Bmmai b. Ulm; studied with Sit-
tard and llromada ; court-singer at
Wttrtembeig.
Utirmer, (i) Fr., Berlin, ca. 1762 —
1847 ; viola-player ; a son of his (2)
was a singing-teacher in Berlin.
Hil'pert, W. Kasimir, Fr.. Nam-
berg, 1841 — Munich, 1896 ; cellist.
Hil'toOi J., d. 1657 ; English organist
anc* composer.
Hin'mel, Fr. H., Treuenbrietzen,
brandenbufg, 1765 — Berlin, 1814;
court-cond. and dram, composer.
Hiad'le, J., Westminster, 1761 — 1796;
composer.
Hine» Wm.t Oxfordshire, 1687 — 1730;
composer and organist.
Hinsrs'toa, J., d. 1683 ; Engl, oigan-
*st to Chas. I. ; and composer.
Hinke (hYnk'-£), (i) Gv. Ad., Dresden,
1844 — Leipzig, 1893 ; oboist. Son of
(2) Gf. H., d. 1851.
Hinricht (hin -nkhs), Fz., Halle-on-
the-Saale, ca. i8ao — Berlin, 1802 ;
composer and writer on music. His
sister (3) Maria. Vide franz.
Hip'kins, Alfred Jas., b. West.
minster, June 17, 1826 ; writer ; an
authority on ancient instrs., etc. ;
was for a time in business with
Bfoadwood ; wrote many articles for
the '• EncydoMdia Britannica,''* and
*• Gr&ve's Dictionary of Afusic" also
books on old instr. and pitch.
Him (hem), Gt. Ad., Logelbach, near
Colmar(Alsatia), i8i5^-Colmarii89o;
writer.
Hirtch (hSrsh), (i) Dr., Rudolf, Napa-
gedl, Moravia, 18 16--- Vienna, 1872;
critic, poet and composer. (2) Karl,
b* Wemding, Bavaria, March 17,
1858; studied in Munich; 1885-87,
church mus.-dir., Munich; 1887-92,
Mannheim ; then Cologne ; since
1893, dir. various societies, etc. ; c
numerous pop. a cappella choruses,
mnU^aj: '* Werinker;* a dram.
poem with orchestration (op. 119),
etc.
Hirschbach (hersh'-bakh), H., Beriin,
i8i2— Gohiis, 1888 ; editor and com-
poser.
Hirschfeid (hersh'-fSlt), Robt., b. Mo-
ravia, 1S58 ; studied Vienna Cons. ;
later lecturer there ; 1884 teacher of
musical aesthetics ; took Dr. Phil,
with dissertation on ^* Johantus di
Afuris "; he wrote a pamphlet against
Hanslick in defence of ancient a cap"
pdla music, and founded the '* Re-
naissance-Abende ** to cultivate it.
Hitz'ier, Daniel, Haidenheim, Wttr-
tenl)erg, 1756— -Stuttgart, 1635; writer.
Hobrecht fhd'-br^kht) (or Obrecht,
Obreht, Ober'tus, Hober'tus), ]wl^
kob, Utrecht, ca. 1430 — ^Antwerp
ca. 1506 ; church composer of grear
historical importance.
Hobbs, J. Wm.| Henley, 1799— Croy-»
don, 1877 ; tenor and composer.
Hochberg (hokh'-berkh), Bolko, Graf
▼on (pseud. J. H. Franz), b. FQrsten-
stein Castle, Silesia, Jan. 23, 1843 ;
maintained the H. quartet at Dresden;
1876 founded the Silesian music festi-
vals; 1886, general intendant Prus-
sian Ct. Th.; prod. 2 operas; c
symphonies, etc.
Hod'ges,(i)£dw., Bristol, Engl., 1796
— Clifton, 1867 ; organist and writer.
(2) Faustina Hasse, daughter of
above, d. New York, Feb., 1896 ;
organist and composer. (3) Rev. J,
Seb. Bach, D.D., son of above;
rector St. Paul's Ch., Baltimore; or-
ganist.
Hoffmann (hdf-mfin), (i) Encharioa,
b. Heldburg, Franconia, cantor at
Stralsund ; writer and composer,
1577-84. (2) Ernst Th. (Am**
deus) Wm. (he added Amadeus from
love of Mozart), KOnigsberg, 1776—
Berlin, 1822; gifted poet, caricaturist,
and dram, composer. (3) H. Au^«
(called H. von Fallersleben), Fai-
lersleben, Hanover, 1798 — Castle
Korvei, 1874 ; writer. (4) Richard,
b. Manchester, Engl., May 24, 1831;
pianist and teacher ; pupil of his
DICTIONARY OF MUSICIANS 495
father, and de Meyer, IMeycl, Mosch-
eles Rubinstein, Udhler, Thalberg,
and Liszt; since 1847, New York ;
solo pianist with Jenny Lind on
tours, etc.; also with von Bulow,
in N. Y. (1875) ; c. anthems, pf.-
pcs., etc. (5) Karl, b. Prague, Dec.
12, 1872; violinist; studied Prague
4^ons.; founder and 1st vln. the fa-
Aious " Bohemian String-quartet.*'
(6) Baptist, b. Garitz, July 9, 1864 ;
barytone; studied with Tiplca and
Stockhausen ; 1888-94 at Cologne ;
1897 ct. -opera, Berlin.
Hoffmeister (h6f'.mT-sht£r), Fz. An-
ton, Rotenburg-on-Neckar, 1754 —
Vienna, 18 12 ; conductor and dram,
composer, etc.
Hof haimer (hof'-hT-m^r) (Hoflfheimer,
Hoffhaimer, Hoff haymer), Paulus
▼on, Radstadt, Salzburg, 1459 — Salz-
burg, 1537 ; eminent organist ; luten-
ist, composer and teacher.
Hofmann (hof'-man), (i) Chr., ca.
1668 ; cantor at Krossen ; writer.
(2) H. (K. Jn.), Berlin, Jan. 13,
1842 — July 19, 1902; pupil of Wttrst,
KuUak's Academy; famous pf. -vir-
tuoso and teacher ; prod. succ. op-
eras ''Cartouche'' (Berlin, 1869)
and *' Donna Diana^* and 4 others ;
and succ. orch. works, ' * Hungarian
SuiU " ( 1 873) and ' ' Frithjof symph.
(1874) ; is a Prof., and a member of
the Berlin R. Acad, of Arts ; c. 6
other operas, ** secular oratorio "
''Prometheus'' (i8<;6) ; cantatas;
*' Schauspiel" overture; *' Trauer^
marsch^' etc., for orch.; a vln.-so-
nata, etc. (3) Richard, b. Delitzsch,
Prussian Saxony, April 30, 1844 ; son
of municipal mus.-dir.; pupil of
Dreyschock and Jadassohn ; lives in
Leipzig as teacher ; pub. a valu-
able " Praktische Instrumentations^
schule^' (Leipzig, 1893), a catechism
of instrs., etc. (4) Casimir (rightly
Wyszkowski) (wesh-kof'-shkl). b.
Crac:>w, 1842 ; pianist ; prof, of
harm, and comp. at Cons., and cond.
of opera, Warsaw. (5) Josef, b.
Cracow, Jan. 20, 1877. Son and
(till 1892) pupil of (4) ; at 6 played in
public ; at 9 toured Europe ; at 10
gave 52 concerts in America ; then
studied 2 years with Rubinstein and
made new debut in Dresden, 1894, and
has toured Europe since and (1899)
America ; from being a sensational
prodigy, he has developed into a solid
artist of great power, virtuosity and
charm ; lives in Berlin ; c. concerto,
etc.
Ho£meister (hof'-mT-shtCr), (i) Fr.,
1781 — 1864 ; publisher ; his son and
successor (2) Ad. H., ca. 18 18 — Leip-
zig, 1870 ; was succeeded by Albert
R5thing^, b. Leipzig, Jan. 4, 1845.
Ho'g^arth, G., Carfrae Mill, near Ox-
ton, Berwickshire, 1783 — I^ondon.
1870 ; 'cellist and composer ; hi
daughter m. Charles Dickens.
Hohifeld (hol'.fglt). Otto, Zeulenroda,
Voigtland, 1854 — Darmstadt, 1895 ;
vln. -virtuoso and composer.
Hohnstock (hun'-shtuk), Carl, Bruns-
wick, 1828 — 1889; teacher, violinist,
pianist and composer.
Hoi, Richard, b. Amsterdam, July 23,
1S25 ; pupil Martens (org.) and o(
Bertelman (harm, and cpt.) ; teachei
at Amsterdam ; 1862, city mus.-dir.g
Utrecht ; 1869, cath. -organist ; 1875,
dir. Sch. of Mus.; also cond. " Dili-
gcntia " Concerts at The Hague, (Clas-
sical Concerts at Amsterdam ; 1878,
oHicer of the French Academy ; c.
oratorio "David" (op. 81) ; 2 operas;
2 symphonies, etc.
Hoi' Dome, Antony and Wm., Eng-
lish composers, I597-
Hol'combe, (i) H., Salisbury, ca.
1690 — ca. 1750 ; singer, teacher and
composer. (2) Josephine, soprano,
N. Y., and (3) Philip G., harp-
maker, London, both descendants
of (I).
Hol'den, Oliver, Charlestown, Mass.;
before 1792, publisher ; composer,
his comp. incl. the hymn-tune ** Cor*
onation. "
Holder, (i) Rev. Wm., Nottingham-
shire, ca. 1614 — Amen Corner, 1697 ,
write) , editor and composer, (a)
496 THE MUSICAL GUIDE
Jos. Wm., St. John's Clerkenwell,
1764 — 1823 ; organist and composer.
Hold'rich, Geo. M., English org.-
builder, 1838.
Hollander (hdl'-lint^r), (i) Tans (de
HoUandere), or Jean de Holland,
Netherland contrapuntist (1543-58)*
(2) Chr. Janssoiie, Dordrecht (?),
Holland, ca. 1520— Munich, ca.
1570; son of above; conductor and
composer.
Holttttder (h6r.l£nt.«r), (i) Alexis,
b. Ratibor, Silesia, Feb. 25, 1840;
pianist ; pupil of Schnabel and Hesse
at Breslau ; cond. of the Gymnasium
Singing Society; 1858-61, studied
with Grell and A. W. Bach, and K.
Bohmer, Berlin, R. Akad.; 1861,
teacher at Kullak's Acad.; 1864,
cond.; 1870, cond. the '*Cftcilien-
verein"; 1888, professor; c. 6 pf.
Intermezzi for left hand, etc. (2)
Gt., b. Leobschatz, Upper Silesia,
(Feb. 15, 1855 ; played in public very
arly; pupil of David, of Joachim
(vln.), and Kiel (theorv) ; 1874, prin-
cipal teacher Kutlaks. Acad, and
royal chamber-mus. ; toured Austria
with CarlotU Patti ; 1881, teacher at
the Cons., Cologne ; 1884, leader at
the Sudttheater; 1894, dir. Stem
Cons., Berlin; 1896, concertmeister
of a new ofch., Hamburg; c. vln.
and pf.-pcs. (3) Victor, b. Leob-
schQtz, April 30^ 1866 ; pupil of KuU
lak ; c. the suoc i-act comic operas
* • Cat mosinella '* (Frankf . - on - M. ,
1888); •' The Bey of Morocco'' (Lon-
don, 1894) and piano-pieces.
HoUanpie. Vide monton.
HoUmann (hol'-man), Josef, b. Maes-
tricht, Holland, Oct. 16, 1852 ; not-
able 'cellist ; studied with Gervais ;
toured Europe, England and Amer-
ica; court-mus., Holland, and wears
many decorations.
Hol'ly, Fz. Andrs., Luba, Bohemia,
1747 — Breslau, May 4, 1783; dir.
and writer at various theatres ; com-
poser.
Holmes (h5mz), (i) Edw., near Lon-
don, 1797 — U. S., 1859 ; pf.-teacher,
editor and critic. (2) Wnx. H.f
Sudbury, Derbyshire, 1812 — London,
1885 ; pianist and professor. (3)
Alfred, London, 1837 — Paris, 1876:
son of above ; dram, composer. (4)
Hy., b. London, Nov. 7, 1830 ; bro.
of above ; vln.-prof. R. C. M.; c. 4
symphonies, etc.
Holm^ (ol'-m^s) (rightly Holmes),
Angrusta Mary Amie, b. (of Irish
parents) Paris, Dec. 16, 1847 ; at
first a pianist; studied comp. with
Lambert, Klosij and C^r Franck ;
1873, prod, a psalm, ** In Exitu "y
1874, a i-act symphony ^* H^o et
Leandre*' (Chatelet); the sympho-
nies ** Luteee*' and ** Les Argo^
nauUs,'' 1883 ; symph. " Irlande,**
1885 ; unsucc. drama ** La Montagtu
Noire " (Gr. Opera), 1895 ; symphonic
poems, ''Roland;' *' Pologne,*^ '' Au
Pays Bleu" ; 2 operas, etc.; she
sometimes uses pseud. *^ Hermann
Zentar
Hoist (hoist), Edvard, Copenhagen,
1843— -N. Y., 1899; lived in N. Y.,
was an actor, stage-dancer, dancing-
master and playwright; also com-
poser of pop. song and pf.-pcs., over
2,000 works in all.
Holstein (hdl'-shtTn), Fz. (Fr.) too,
Brunswick, i826~Leipzig, 1878 ;
dram, composer.
Holten (hdr-t^n), K. too, b. Ham-
burg, July 26, 1836; pianist; pupil
of J. Schmitt, Ave-Lallemant and
Grftdener, and at Leipzig Cons.;
since 1874, teacher Hamburg Cons.;
c. a Kinder symthonie^ etc
Holy (5'-Ie), Alfred, b. Oporto, Aug.
5, 1866 ; harp- virtuoso ; son and pu-
pil of a cond. and teacher from
Prague ; studied at Prague Cons.,
and lived there till 1896, when he
went to the Berlin ct.-opera.
Holyoke (hol'-ydk), Samuel, Box-
ford, Mass., i77i-*-Concord, N. H.,
1816 : teacher.
Hols (hdlts), K., Vienna, 1798— 1858 ;
violinist and composer.
Holzbauer (holts'-bow-^r), Ig^nas, Vl*
enna, 171 1 — Mannheim, 1783; court'
DICTIONARY OF MUSICIANS 497
conductor and dram, composer ; high-
ly praised by Mozart.
Hdlzel (h«l'.ts«l), (i) K., Linz^n-
Donau, 1808 — Pesth, 1883; composer,
(a) Gustav, Pesth, 18 13 — Vienna,
1883 ; bass and composer.
H61xl (h^r-tsM), Fz. Sererin, Malacz.
ka, Hungary, 1808 — Funikirchen,
1884 ; conductor and composer.
Hoinejer (h6'-ml-dr)« name of a mu-
sical family. The most prom, of
them is (i) Paul Joseph M., b. Os-
terode, Harz, Oct. 26, 1853 ; famous
organist at the Gewandhaus, and
teacher Leipzig Cons. (2) Jn. Tust.
Adaiii, editor. His son (3) n. H.
(1832 — 1891), was organist at Lam-
springe ; sU Leipzig Cons. ; and also
with his uncle (4) J. M. H. (d. Oct 5,
1894), organist at Duderstadt.
Homilius (hd-me'-l!-oos), Gf. AvLg,^
Rosenthal, Saxony, 17 14 — Dresden,
1785; eminent organist and com-
poser.
Hood, Helen, b. Chelsea, Mass., June
28, 1863 ; pupil of B. J. Lang (pf.)
and Chadwick (comp.), Boston ; and
Moszkowski (pf.) ; lives in Boston ;
composer.
H<M>k, Jas«, Norwich, 1746 — Boulogne,
1827 ; onranist and composer.
H<M>p'er, Edmond, Hatberton, De-
von, ca. 1553 — 1621 ; composer.
Hope'kirk, Helen, b. near Edinburgh;
studied with Lichtenstein and A. C.
Mackenzie ; for 2 years at I^ipzig,
later with I^reschetizky ; debut as
pianist at Gewandhaus, Leipzig,
1878 ; gave concerts in Great Britain
and (1883-84) U. S.; 1897-igoi,
teacher N. E. Cons.; now private
teacher, Boston, Mass.; c. Concert-
stOck for pf. and orch.; 1894, orch,
pes.; a pf. -concerto ; sonata for pf.
and vin., and songs.
Hopffer (h6p'-f«r). L. Bd., Bcriin, 1840
— Niederwald, near Rudesheim, x8':^7;
dram, composer.
Hopkins, (i) Edw, J., Westminster,
June 30, 18 18 — London, Feb. 4,
190T ; self-taught organist at various
shorches : 1843-1898, to the Temple
Ch., London; wrote ** Tk^ Organ/
its History and Construction ** (Rim-
bault) ; contributed to Grove*s Diet,
of Mus. ; c. 3 prize anthems, hymn-
tunes, chants and church - ser\'ices.
(2) Edw. Jerome, Burlington, Vt.,
1836— Athenia, N. J., 1898; self-
taught in harmony ; began composing
at 4 ; organist, editor and lecturer.
(3) Harry Patterson, b. Baltimore ;
graduated Peabody Inst., 18^;
^udied with Dvorak in Bohemia ;
lives in New York ; c. a sjrmphony,
songs, etc.
Hoplit. Vide fohl, r. ^
Hor4k (ho'-rak), (i) Wenxel (Vidav)
Emanttel, Mscheno-Lobes, Bohe-
mia, 1800— Prague, 1S71 ; •organist,
teacher and composer. (2) Ed., Ho-
litz, Bohemia, 1839— Riva, Lake of
Garda, 1892 ; teacher and writer. (3)
Ad., b. Jankovic, Bohemia, Feb.
15, 1850; bro. of abo^e and co
founder. "Horik" Pf.-School, Vi-
enna ; writer.
Horn, (i) K. Fr., Nordhausen, Saxony,
1762 — Windsor, Engl., 1830; organ-
ist, writer and theorist. (2) Cnas.
Edw., London. 1786 — Boston,
Mass., 1849 ; son of above ; singer,
teacher, cond., and composer. (3)
Aug^., Freiberg, Saxony, 1825 —
l^ipzig, 1893 ; dram, composer.
Homeman (h6r'-n«-man), (i) Johail
OleEmil, Copenhagen, 1809 — 1870;
composer. (2) Chr. F. £mil, b.
Copenhagren, Dec. 17, 1841 ; son and
pupil of above; studied at I^ipzig
Cons. ; dir, of sch. of mus. in Copen-
hagen ; c. overtures ** Aladdin" and
'' Held^Uben*' tX.z,
Hornstein (h6rn'-shtTn), Robt. von,
Stuttgart. 1833 — Munich, 18905
dram, composer.
Hors'iey, (i) Wm., London, 1774—
1858 ; organist, theorist and com-
poser. (2) Chas. Edw., London
1822 — New York, 1876 ; son and pik
pil of above; organist, writer and
composer.
Horwhz (hdr'-vYts), Benno, b. Beriin,
March I7f 1855 ; violinist and con'
498
THE MUSICAL GUIDE
poser ; pupil of the Rl. Ilochschule,
and of Kiel and Albert Becker ; c.
symph. poem " Dionysos^*' etc.
Hostinsky (ho-shten'-shkl), Ottokar,
b. Martinoves, Bohemia, Jan. 2,
1847; Dr. Phil., Prague; writer.
Hoth'bv (or HothoDus, Ottebj, Fra
Ottobi), John (or Johannes), a.
London, >fov. , 1487; English Carmel-
ite monk ; famous for science.
Hotteterre (6t'>t&r), (i) Henri, d.
16S3 ; instr.-maker, musette pla^^r,
ct. -musician. (2) Louia (called ** Le
Romain/' having lived in Rome) ;
son of above ; notable flutist and
writer. (3) Nicolas, d. 1695 ; noted
bassoonist and oboist ; bro. of (2).
Ho'ven, .J., pen - name of V. von
Putt-Linren.
Howard, (i) Samuel, 1710— 1782;
English organist and composer. (2)
G. H., b. Norton, Mass., Nov. 12,
1843 ; pupil of J. Tufts (theory), and
B. F. Baker (singing), also at Leip-
zig Cons.; teacher in Boston; 1891,
founder and dir. School for Teach-
ers ; composer.
How'ell, (i) Jas., b. Plymouth, Eng-
land, d. 1879 ; singer and double-bass
player. His 2 sons : (2) Arthur, d.
1885 ; double-bass player and bass
singer. (3) Edw., 'cellist.
Howg^U, Wm., Engl, organist and
composer, 1794.
Hoy'land, (i) J., Sheffield, 1783—1827 ;
organist and composer. (2) Wm., d.
1857 ; son of above ; organist.
Hrimaly (hVlm'-Q-le), Adalbert, b.
Pilsen, Bohemia, July 30, 1842 ; vio-
linist ; pupil of Mildner, Prague
Cons., 1861; cond. Gothenburg orch.,
1868 ; National Th., Prague ; at the
German Th., there in 1873, and
at Czemowitz, Bukowina, in 1875 ;
his succ. opera *^ Der Verzauberte
Print"' (1871) is still played at
Prague.
Hromada (h'r&'-mtt-dd). A., Kladno,
Bohemia, Dec. 23, 1841 — 1901 ; not-
able bass-barytone ; pupil of Pivoda,
Stockhausen and Fra Lamperti; debut.
ct.-opera, Stuttgart, 1S66; has sung
there since ; has also toured and is
heavily decorated.
Hubay (hoo'-ba-e) (or Huber), (i)
K., Varjas, Hungary, 1828 — Pcsth,
1885; vln.-prof., Pesth Cons.; con-
ductor and dram, composer. (2)
Jend (known as Eug^en Huber in
Germany), b. Budapesth, Sept. 15,
1858 ; violinist ; son and pupil of
above, and 1886 his successor as
prof. ; also studied with Joachim ;
gave succ. concerts in Hungary
and at Paris; 1882 principal vln.-
prof., Brussels Cons.; 1894, m.
Countess Rosa Cebrian ; c. succ.
opera ** Der Geigenmacher von Crt"
»ie^«rf "( Pesth, 1893); opera ""* Alie-
nor*' (Pesth, 1892); succ. Hungarian
opera ** A Falu Rossza " (The Town-
loafer) (Budapesth, 1896) ; a sym-
phony, etc.
Huber (hoo'-b^r), (i) F., d. Berne,
Feb. 23, 18 10; poet and song-com-
poser. (2) Fd., 1791 — St. Gallen,
1863 ; Swiss song-writer. (3) K.
Vide HUBAY. (4) Jos., Sigmaringen,
1837 — Stuttgart, 1886 ; violinist and
dram, composer. (5) Hans, b.
SchOnewerd, Switzerland, June 28,
1852; pupil Leipzig Cons.; teacher
at Wesserling for 2 years, then at
Thann (Alsatia), later Basel Music
School ; 1892, Dr. Phil. h. c.^ Basel
Univ. ; 1896, dir. of the Mus. Sch. ;
c. succ. operas '* WeltfrUkHng"*
(Basel, 1894); and *' Gudrun'*
(Basel, 1896) ; cantatas, sonatas,
concerlos, overtures *'' Lustspiel^*
symph. " 7>//," etc. (6) Eug^en.
Vide HUBAY, JKNO.
Hu'bermann, Bronislaw, Polish vio-
linist ; succ. debut as prodigy ; re-
tired for five years* study-; reap*
peared, Bucharest, 1902.
Hubert (hoo'-b^rt), Nikolai Alberto-
▼itch, 1840 — 1888 ; prof, and writer,
at Nfoscow
Huberti (U-Wr'-te), L6on Gve., b.
Brussels, April 14, 1843 \ pupil Brus-
sels Cons. ; 1865, won Prix de Rome;
1874-78, dir. of Mons. Cons. ; 1880-
89, Antwerp ; since prof, at Brussels
DICTIONARY OF MUSICIANS 499
Cons., and dir. of the M us. -School of
St. Josse - ten - Noode - Schaerbeek ;
189 1, member of the Belg^ian Aca-
demy ; 1893, chevalier of the
Legion of Honour. C. 3 oratorios,
the dram, poem ** Veriichting^*
(** Fiat lux "), with orch.; symphonic
poem *' /Cinder lust en Leedy' chorus
and orch., etc.; symphonie fun^bre,
festival marches, etc.
Hucbald (hook'-biilt, or Qk-bil) (Hug^-
bal'dus, Ubai'dut, Uchubal'dus)
de S. Atiuuid(o), ca. 840~-St. Amand,
near Toumay, June 25 (or Oct. 21),
930 (or June 20, 932). He is perhaps
credited with some works belonging
to a monk of the same name living a
century later, pupil of his uncle,
Milo, a mus.-dir., whose jealousy
drove him to Nevers, where he taught
singing ; 872 he succeeded his uncle ;
ca. 893, the Archbishop of Rheims
invited him to reform the music of
the diocese. His works (Gerbert)
contain the first known notation
showing difference of pitch on lines.
Hudson, (i) Robt., 1731 — Eton,
1815 ; singer, organist and composer.
(2) Mary, daughter of above ; organ-
ist and composer, 1801.
Hue (U), Georg^es Ad., b. Versailles,
May 6, 1858; pupil of Paris Cons.,
took I St Grand prix de Rome ; later
Prix Cressent ; 1. Paris as teacher ;
c. op. com. ^* Les Paniifis" (Op.-
Com„ 1881) ; '^RUbezahl'* symphonic
legend in 3 p»arts (** Concerts Co-
lonne," 1886); succ. ** Feerie drama-
tique " ''La Belle au Bois Dormant
(Paris, 1894); ** ^isode sacre '*
^*Ressurrection** ; a symphony, a
symphonic overture ; 2 operas ** Va-
zanta'' and ** /> Roi di Paris " (not
prod.), etc.
Hneffer (hur.fgr), Francis, MUnster,
1843 — I.ondon, Jan. 19, 1899 ; 1869,
lived in London ; from 1878, critic of
The Times ; librettist and writer.
Hugo Ton Reutlingen (hoo'.g6 Ton
roit'-lTng-«n) (called ** Spechzhart"),
1285 (1286?)— 1359 (1360?) ; writer.
Huguenet (Ug-na). Vide girard.
Hnhn (boon), Charlotte, b. Laneburg,
Sept. 15, 1868; alto; studied with
Hoppe, Hey, and Marianne Brandt ;
sang 2 years at the New York Opera,
then at Cologne; 1895 Dresden; 1900
• Vienna ct.-opera.
Hul'lah, John Pyke, Worcester, June
27, 1812 — London, Feb. 21, 1884 ;
professor, conductor,, writer and
dram, composer.
HiUler, J. A. Vide uiller.
HttUmandel (hlLmaut-'l), (i) Nicho-
las Jos., Strassbnrg, 175 1 — Lon-
don, 1823 ; pianist and harmonica-
player. (2) Rodol|>he, famous horn-
virtuoso and composer , uncle of
above
Hullweck (htl'.v«k), (i) Fd., Dessau^
1824 — Blasewltz, 1887 ; concert-vio-
linist and composer. (2) K., b. Dres-
den, April 15, 1852 ; son of above
pupil of Fr. Grtttzmacher ('cello)
Reichel and Merkel (harm, and cpt.)
1877-82 'cellist Dresden ct.-orch.
'cello-teacher, Drei^den Cons. ; com-
poser.
Hiilskamp (hvls'-kfimp), Henry (or
Gv. Heinrich), b. Westphalia ; 1850
established a factory at Troy, N. V.;
1866, N. V.
Hume, Lobias, Engl, viol da gambist,
etc., 17th cent.
Hum'frey (Humphrey, Humphrys),
Pelham, London, 1647 — Windsor,
July 14, 1674: important English
composer. Charles II. sent him to
Paris to study with Lully ; 1672
master Chapel Royal children and
with Purcell ct. -composer.
Hummel (hoom'-m£l), (i) Jos., music*
master Wartberg Military Acad. ;
1786, conductor at Vienna. (2) Jn.
Nepomnk, Pressburg, Nov. 14, 1778
— Weimar, Oct. 17, 1837; son of above;
a famous pianist and improviser, and
a composer of once popular pieces in
which ornament outweighs matter ;
and form, interest ; protege of Mo-
zart ; debut 1787 ; toured Europe fre-
quently; 1793 studied with Albrechta-
berger ; asst.-cond. to Haydn, 1804*
II ; 1830 and 1833 cond. German
500
THE MUSICAL GUIDE
opera in London ; c. operas, canta-
tas, ballets, 3 masses, sonatas; he pub.
a notable pf. -method ; c. dram, pes.,
concertos, sonatas, septet in D minor,
etc. (3) Elisabeth (nee Rdckl),
1783 — Weimar, 1883 ; wife of above^
opera-singer. (4) Jos. Fr., b. Inns-
brOck. Aug. 14, 1841 ; pupil Munich
Cons., i86i~8o ; th.-cond. Vienna,
since iSSo dir. Mozarteum at Salz-
burg, and cond. LiederiafeL (5)
Pd., b. Berlin, Sept. 6, 1855 \ son
and pupil of a musician ; at 7 a harp
virtuoso; 1864-67 toured Europe,
and received a royal grant for study
at Kullak's Akademie, Berlin ; 187 1-
75, studied R. High Sch. of Mus.,
then at Akademie; c. succ. operas,
''Mara*' (Berlin. 1893); '' Ein
Treuer ScMm" (Prague. 1894);
** ^jxtfr^f " (Gotha, 1898); a sym-
phony, sonatas, etc.
Humperdinck (hoom'-p^r-dtnk). En-
l^elbert, b. Siegburg, near Bonn,
Sept. I. 1854 ; studi^ * architecture,
Cologne, then mus. at the Cons. ;
won Mozart scholarship at Frank-
fort ; studied 2 years with Franz
Lachner. Munich, also with Rhein-
berger and Barmann at the Cons. ;
pub. Humoreske for orch. and *' DU
IVallfahrt nach Kevtlaar " for cho-
rus ; 1878 won the Mendelssohn
prize (3,000 marks). 1880 the Meyer-
beer prize (7.600 marks) ; 1885-86,
prof. Barcelona Cons.; 1881-82, a
special prot^^ of R. Wagner in Bay-
reuth ; made pf. -scores, and aided in
the preparation of ** Parsifal.^'' Re-
turned to Cologne, 1887, went to
Mayence in the employ of Schott &
Co. ; 1890 teacher Hoch Cons.,
Frankfort. Critic on the Frankfort
Z*itung^ since lives at Boppard-on-
Rhine. His first international succ.
was the graceful 2-act fairy-opera
'' Hdnsel und GreUi;' Munich.
1893 (prod, at Milan. 1897, as Nino
€ Rita); c. also '* Dornrdschen'* ;
'' Die ICoHifrskinder** {i^)\ ''Saints
Cyr;'' *' Dif 7 Geieslein " ('* March-
ipiel fur die Kleinen ") ; symph.
incid. mus., '* Moorish RhapsoUt^
for orch. , etc.
Huiieker(hu'-n«k-«r), Jas. (Gibbons),
b. Philadelphia, Jan. 31. i860;
prominent critic and writer ; at first
intended for the priesthood ; pupil of
Michael Cross (pf.) at Philadelphia,
. 1878, with Th. Ritter and Ld. Dou-
treleau, Paris; since 1888 lives ia
New York as pf. -teacher at the Nat*
Cons. ; for some time mus. and dram,
critic of the Commercial Advertisei^
and Tke Recorder; 1901 of the N. Y.
Sun ; has for many years written the
brilliant " Raconteur" department of
the Mus, Courier » Many of his es-
says were reprinted with great succ.
9iS '^ Mezzotints iV Modern Music"
(New York, 1899) ; his biogr. and
critical '^ Chopin, the Man and his
Music" (N. Y., 1900) is an impor-
tant book; and his '' Melomaniacs*'
(190T), studies of musical personalities
and moods in the form of short sto-
ries, is a work of unique insight and
ingenuity. He is preparing a life of
Liszt.
Hiing^ar (hoong'-ftr) Ernst, b. SchAn-
bach. Aug. 5, 1854 ; barytone ; pupil
of Stockhausen ; teacher at Dresden
and Cologne Cons.; sang at Schwerin
ct. -opera ; lives in Leipzig.
Hunke (hoon'-ke). Jos., Josephstadt»
Bohemia. 1801 — St. Petersburg. 1883;
choirm. Russian ct.-chapel ; com-
poser.
Httnten (hYn'-t^n). (i) Fz., Coblenz,
1793 — 1878; c. pop. pf.-pcsw. etc.
His brothers, (2) Wm., pf. -teacher,
Coblenz. and (3) Peter Ernst, at
Duisburg. also c. pop. pieces.
Hurel de Lamare (Q-r^l-dii-lfi-miU-),
Jacques Michel, Paris. 1772 — Caen,
1823 ; 'cellist and composer ; his
friend Auber pub. some comp. under
H.'s name.
Huss (hoos), (i) G. J., b. Roth, near
Namberg, Sept. 25, 1828 ; son and
pupil of (2) Jn. Michael (pianist),
also studied org. with Lambrecht ;
1848, America as organist various
churches. / 1856, New York, oiy. pL*
DICTIONARY OF MUSICIANS 501
teacher and composer. (3) H. Hold-
en, b. Newark, N. J., June 21, 1862 ;
concert-pianist and teacher ; son and
pupil of (i) ; studied with O. B.
boise (cpt. and comp.), also at Mu-
nich Cons.; lives in N. Y. as teacher
of pf., comp. and instr.; pub. pf.-
concerto, ballade *^ liaiJenrdsUin"
etc.; he has also works in MS., but
performed with succ: rhapsody for
pf. and orch., *^ Festival Sancius**
for chorus and org^n, with orch.; a
vln. -concerto ; romanze and polonaise
for vln. with orch.; a pf.-tno, **CleO'
patrols Death,'* etc.
Siatch'inaon, (i) J.» organist and com-
poser Durham cath., 17th cent. (2)
Francis, English composer under
pseudonym ** Francis Ireland"
1771.
•iutachenniljter (hoot -sh£n-roi-t£r),
(i) Willcm, Rotterdam, 1796— 1878 ;
liom- and trumpet-virtuoso ; profess-
or, - conductor, director and dram,
composer. (2) Willem, b. March
22, 1828 ; son of above ; horn-virtu-
oso.
HUttenbrenner (hYt' - tSn - br«n - n«r),
Anselm, Graz, Styria, 1794— Ober-
Andritz, 1868; pianist, conductor
and dram, composer.
Hykaert (or Ycaert) (e-kiirt), Bd.,
cantor in Belgium, ca. 1480 ; theorist
and composer.
Hyllested (hai'-l^-st&dh), huz., b. (of
Danish parents) Stockholm, Tune 17,
1858 ; violinist ; at 5 played in pub-
lic ; studied with Holger Dahl till
1869, and then made succ. tour
through Scandinavia ; entered the
Royal Cons, at Copenhagen ; 1876,
organist of the Cath., and dir. of a
mu9. soc.; 1879, studied with Kullak,
Kiel, and later Liszt ; 1885, toured U.
S.; 1886-91, asst.-dir. Chicago Mus.
Coll.; 1891-94., Gottschalk Lyric
Sch.; 1894^97, toured Europe ; prod,
in [x>ndon, symph. poem ** AliKa-
6etA,'* with double chorus; 1897,
Chicago; c. romantic play '* Die
FAeinnixe,*' orch. "suite roman-
tique," etc.
Ibach (e'-b&kh), (i) Jus. Ad., 1766--
1848 ; pf. and organ-builder. His son
(2) C. Rndolf (d. 1862). and (5)
Richard, joined the firm ; a third
son (4) Gustav J^ founded another
business 1869. (5) Rudolf (d. Herren«
alb, Black Forest, July, 1892), son of
(2), continued the pf. -factory, and
Richard, the organ-factory.
Iliffc (I'-llf), Fr., b. Smeeton-Westerby,
Leicester, Engl., Feb. 21, 1847; since
1883, orgranist and choirm. St. John's
Coll., Oxford ; cond. of Queen's
Coll. Mus. Soc. 1873, Mus. Bac.
Oxon.; wrote ** Critical Analysis of
Bach's Clavichord'' (London, 1896;
4 parts) ; c. oratorio, ** The Visions
of St. John the Divine''; cantata
with orch. **" Lara'' etc.
Ilinski (e-Kn'-shkY), Count Jan Stanis-
law, b. Castle Romanov, 1795;
composer.
Im'mjns, (i) J., 1700 (?) — London,
1764 ; lutenist. (2) J., d. 1794 ; son
of above ; organist.
Inc'ledon, Chas., Bery St. Kevem,
Cornwall, 1763 — 1826 ; tenor, called
*' The Wandering Melodtste."
Indy (dftA-de), Panl M. Th. V. d',
b. Paris, March 27, 185 1 ; pupil of
C<^r Franck (comp.) and at the
Cons., 1875, chorusm. with Co-
lonne ; played drum-parts for 3 years
to learn instrumentation ; he is pres.
of various concert-societies; mus.«
inspector of Paris schools ; chev. of
the Legion of Honour; c. a 3-part
symph. poem ^* WalUnstein" (Part
II., *•/ Piccolomini," prod. 1874 by
Pasdeloup) ; symphonies (i) "On a
French mountaineer-song'' and (2)
**Jean Hunyadi'' symphonic legend
*'Ztf for it enchant^e" ; overture to
** Antony and Cleopatra"; ** La Che-
vauchJe du Cid' for orch. ; sym-
phonic pf. -concerto ; prod, i-act com-
ic opera, " Attendez-moi sous TOrme"
(Op.-com., T882): c. text and mus.;
succ. mus. drama, ** Fervaal " (Brus-
sels, 1897); "VEtranger" (do. igo'*^
502
THE MUSICAL GUIDE
Ing^egrneri (en-gaii>ya'-re), Marco A,,
'Venice (or Cremona)' ca. 1540 — Fer-
rara (?), 1603 ; conductor, composer
and publisher.
Ing^'lotty Wm., 1544 — 1621 ; Eng.
organist.
Insanguine (en-s&n-gwe'-na)« Giaco-
mo (called Monopoli), Monopilo,
1744 — Naples, 1795 I teacher and
dram, composer.
Ireland, Francis. Pen name of Hutch-
inson (2).
Irgang(er'-gang),Fr. Wm., b. Hirsch-
berg, Schleswig, Feb. 23, 1836 ; pu-
pil of Grell and A. W. Bach, R.
Acad., Berlin, 1856-59; then teacher
in Proksch's Sch., Prague ; 1863,
founded sch. at G()rlitz ; also organ
composer.
Isaak (e'-zak)« H. (or Isaac, Izak,
Yzac, Ysack ; in Italy Arrig^o Te-
desco. Henry the German ; Low;
Lat. Arrighus), ca. 1450 — ca. 15 17
famous contrapuntist doubtless of
Netherlandish birth; conductor and
organist.
'sham, J., d. London, 1726; organist
and composer.
Isido'rus (Hispalen'sis), Saint, Car-
tagena.ca. 570 — 636; writer ((ierbert).
Vsnardi (es-nar'-de), Paolo, b. Ferrara,
ca. 1525 ; conductor and composer.
isouard (e-zoo-&r), Niccold (called
Niccolo de Malte), ^falta, 1775 —
Paris, March 23, 1818 ; pupil of
Amendola, Sala, and Guglelmi ; or-
ganist, conductor and prolific dram,
composer.
Israel (es'-rS-^l), K., Ileiligenrode,
Electoral Hesse, 184I — Frankfort-
on-M., 188 1; critic and bibliographer.
I'van(h)off, Nicholas, b. 1809 ; Rus-
sian tenor.
Ives, Simon, d. London, 1662 ; Engl,
singer and composer.
Ivry (dev-re), Paul Xavier D6sir6,
Marquis Richard d*, b. Keaune,
C6te D'Or, Feb. 4, 1829 ; pupil of
A. Hignard and Leborne ; since 1854
lives in Paris as amateur ; c. operas,
•• Fatma'" " Quentin Afetzys " (1854),
•• La Maison du DocUur ** (Dijon^
1855), *• Omphale et P/n/lop/;* ''Les
Amants de Verone** (1867), under
the pen-name *' Richard Irvid ; "
revised as *^ Hom/o tt Juliette^**
1 878 ; * * Pers/vtfrance D"^ Amour "
(MS.) ; concert-overture, songs, etc.
Izac. Vide isaak.
Iachet. Vide berchem.
achmann-Wagrner (yakh'-m&n). Vide
VVAGNKR, JOHANNA.
Jack'son, (i) Wm., Exeter, 1730^
1803 ; organist, writer, and dranu
composer. (2) Wm., Masham,
Yorks, Engl., 1815 — Bradford, 1866;
organist, conductor, writer and com-
poser. ' (3) Samuel P., Manchester,
Engl., 1818— Brooklyn, N. Y., 1885;
composer ; son of (4) James J., or-
gan-builder. .(5) Edwin W., Eng-
lish justice of the peace, pub. in
German (Leipzig, 1866) a valuable
manual of finger-gymnastics. (6) J.
P., English writer ; pub. books and
transl. of Wagoner's operas.
Ja'cob, (i) Benj., London, 1778 — 1829;
organist, conductor and composer.
(2) F. A. L. , Vide jakob.
Jacobs (zhil-ko), £douard,b. Hal, BeU
gium, 1851 ; pupil of Servais, Brus*
sels Cons.; 'cellist Weimar ct. orch,,
for some years; 1885 prof. Brussels
Cons.
Jacobsohn (y&k'-6p-zon), Simon E.,
b. Mitau, Kurland, Dec. 24, 1S39;
violinist ; pupil Leipzig Cons. ; i860
leader Bremen orch.; 1872, of Theo-
dore Thomas's orch., N. Y.; teacher
Cincinnati Cons., then Chicago.
Jacobsthal (yak'-6ps-tal), Gv., b. Py-
ritz, Pomerania, March 14, 1845 ;
1872, lecturer on music Strassburg
Univ.; 1875 professor extraordinary;
writer.
Jacotin (rightly Jacques Godebrye),
(zhak-6-tdn) (or god-bre), ca. 1445—"
March 24, 1529; famous Flemish
cptist.; singer and composer at Ant*
werp.
DICTIONARY OF MUSICIANS 503
Jacquard (zhflk-k&r)» L^on J., Paris,
1826 — 1886 ; 'cellist ; composer.
Jadassohn (ya'-das-zOn), Salomon,
Breslau, Aug. 13, 1831 — I^pzig, Feb.
I, 1901 ; eminent theorist ; pupil of
Hesse (pf.), LUstner (vln.) and Rro-
sig (harm.) ; later Leipzig Cons., then
with Liszt, and Hauptmann (comp.);
from 1852 lived in Leipzig ; 1866
cond. ** Balterion" choral soc.; 1867-
69 cond.** Euterpe"; from 187 1, prof,
of pf., harm., cpt., comp. and instru-
mentation at the Cons. 1877, Dr.
Phil., A, c; 1893 Royal Prof. He m.
a singing-teacher. Wrote occasion-
ally under name ** LUbenau '* (lu'-
W-now). Pub. very succ. text-books
all trans, in Knglish. " Harmonies
Uhre" (I^ipzig, 1883); '' Kontra-
punkr (1SS4) ; '* Kanon und Fttj^e"
(1884) ; ** Die Fortnen in den Werk-
en der Tonkunst" (1889); '' Lehr^
btuh der Itutrumentaiion " (1889) ;
'' AUgemeine Musiklehre" (1895).
His comps. are notable for form, par-
ticularly his many works in canon
incl. serenade for orch: (op. 35), and
ballet-mus. ; which have won him the
name *' Musical Krupp " ; c. also
4 symphonies ; 2 overtures ; a pf .-
concerto ; The looth Psalm, for
double chorus with orchestration,
etc.
Jadin (zhii-d.ln), (i) Louis Emman-
uel, Versailles, 1768 — Paris, 1853 ;
prof., conductor and dram, compos-
er. Son and pupil of (2) Jean J.,
violinist (3) Hyacinthe, Versailles,
1769 — Paris, 1802 ; prof, and com-
poser ; bro and teacher of (i).
Jaell (yal), (i) Alfred, Trieste, March
5, 1832 — Paris, Feb. 27, 1882 ; noted
touring pianist and composer, son of
(2) Eauard J. (d. Vienna. 1849). (3)
Jaell-Trautmann, Marie, b. Stein-
seltz, Alsatia, 1846; wife of (i);
pianist, composer and writer.
JafP4 (>'ilf'-fa), Moritz, b. Posen, Jan.
3, 1835; violinist; pupil of Ries Hoh-
mer (harm.), of Maurinand Massard,
Laub, Wuerst and Bussler ; c. ope-
ras, etc.
Jahn (y^n), (i) Otto, Kiel, June 16.
1813 — G5ttingen, Sept. '9, 1869;
prof, of archaeology, Bonn Univ. ;
wrote a model biog. of Mozart (1856-
59, 4 vols.), etc., also composed. (2)
Wm., Ilof, Moravia, Nov. 24,1835 —
Vienna, April 21, 1900 ; 1854 con-»
ductor ; dir. ct.-*opera, Vienna, etc.
Jahns (yans), Fr. Wm., Beriin, 1S09
— 1888 ; singer, composer and writer.
Jakob (ya-kop), Fr. Au£r. Lebe-
recht, Kroitzsch, 1803 — Liegnitz,
1884 ; collector.
Jakubowski (yak-oo-bof'-shkl), Sam-
son, b. Kowno, 180 1 ; Polish com-
poser; inv. and played the xylophone.
James, (i) J., d. 1745 ; Engl, organ-
ist and composer. (2) W. N., £ng.
flutist and writer, 1824.
Janiewiecz (yan'-c-vcch), Felix, Wil-
na, 1 762 — Edinburgh, 1848 ; violinist
and composer.
Jan (yan), (i) Maistre. Vide cal-
lus, J. (2) K. von, b. Schweinfurt,
1836 ; Dr. phil., Berlin, 1859 ; writer.
Jankd (yang -ko), Paul von, b. Totis,
Hungary, June 2, 1856; pupil Poly-
technic, Vienna, and at the Cons,
with llans Schmitt, Krenn, and
Bruckner ; 18-: 1-82, mathematics at
Berlin Univ., pf. with Ehrlich ; inv.
in 1882 the admirable keyboard
known by his name (v. D. D.) ;
taught in Leipzig Cons., etc.
Jan(n)akoni (yan-na-ko'-ne), Gius.,
Rome, 1741 — March 16, 1816; emi-
nent church-composer ; conductor at
St. Peter's; pupil of Rinaldini and
Carpani.
Jannequin (or Tanequin, Jennckin)
(zh&n-k&n), Chfiment, a French (or
Belgian) contrapuntist of the i6th
cent. ; nothing is known of him ex-
cept that he lived to be old and poor ;
c. genuine '* programme" music.
Janotha (ya-no'-ta), Nathalie, b.
Warsaw ; pupil of Joachim and Ru-
dorff, Clara Schumann, Brahms, and
Princess Czartoryska, F. Weber
(harm.) and Bargiel ; debut at the
Gewandhaus, Leigzig, 1874 ; 1885,
ct.- pianist to the German Emperor,
504
THE MUSICAL GUIDE
and decorated with many orders;
pub. a trans, with additions of Klec-
zynski's " Chopin "; c. " ^ w Maria **
(dedicated to Pope Leo), *' Afcun-
tain Scenes" (to Frau Schumann),
gavottes, etc., f ^r piano.
Janowka (yfi-ndf -ka), Thos. Baltha-
sar, b. Kuttenberg, Bohemia ; or*
ganist and writer at Prague ca. 1660.
Jansa (yftn'-si), Ld., Wildenschwert,
Bohemia, 1794 — ^Vienna, 1875; vio-
linist, teacher and composer.
Jaoten (yan'-z*n), F. Gt., b. Jever,
Hanover, Dec. 15, 183 1; pupil of
Coccius and Riccius; teacher at
Gdttingen ; 1855, organist Verden
Cath.; 1861, Royal Mus. Dir.; com-
poser and writer.
Janssen (yans'-z£n), (i) N. A., Car-
thusian monk ; organist and writer at
Louvain, 1845. (2) Julius, b. Ven-
I0, Holland, June 4, 1852 ; studied
Cologne Cons.; 1876, cond. Mus.
Soc., Minden; later cond. at Dort-
mund ; 1890, city mus. dir. ; cond.
the 1st and 2d Westphalian Mus.
Festivals; pub. songs.
Jaaiaens (yans'-z^ns), Jean Fran.
Jos., Antwerp, 1801 — insane, 1835 ;
dranL composer.
Januschowsky (ySn-oo-shof'-shkl),
(Frau) Georgrine ▼otti b. Austria, ca.
1859; 1875, soprano in operetta at
Sigmaringen ; 1877, soubrette, Th.
an der Wien, Vienna ; 1879-80, Leip-
zig ; 1880, Germania Th., New York ;
1^2, at Mannheim and Wiesbaden ;
I893--95, prima donna. Imp. Opera,
Vienna ; sang Wagner, etc., as well
as leading soubrette-r61es in over 60
comic operas and operettas ; m. Ad.
Neuendorff.
)apha (yft'-f&). (i) G. Jos., KOnigs-
berg, i835---Cologne, 1892 ; violin-
ist. (2) Loniss, b. Hamburg, Feb.
2, 1826 ; pianist and composer ; pu-
pil of Warendorf (pf.)» Gross and
Grund (comp.) and Robt. and Clara
Schumann; 1858, she m. W. Lang-
hans, with whom she gave v. succ.
concerts; since» 1874, Wiesbadea;
c aa opera, etc
JUraefelt, b. Finland, 1869 ; stud-
ied with Massenet, Paris ; composer.
Jaquet (zh&-ka). Vide buus.
arecki (yft.rets'-k£), Henri, b. War*
saw, 1846 ; dir. at Lemberg ; c.
operas, incL ** Wanda*' etc.
Jamowic (or Giomovi(c)chi) (yfir'-nd-
vek, or jdr-no-ve'-ke), GiOT. M., Pa-
lermo, 1745 — St. Petersburg, Nov.
21, 1804; violinist and composer;
pupil of Sully whose intolerable ec-
centricities and immorality, as well as
virtuosity, he adopted with disastrous
results; J. B. Cramer challenged him,
but he would not fight.
Jar Vis, (i) Stephen, 1834 ?•— London,
1880; composer. (2) Chas. H.,
Philadelphia, 1837 — 1895 ; pianist
and conductor.
Jay, J., Essex, 1770 — London, 1849;
viohnUt.
Jean le Coq, or Jehan. Vide gallus,
JOHANNES.
Jedlicxka (yat-lech'-ka), Ernest, b.
Poltawa, Russia, June 5, 1855 ; pia-
nist ; pupil of Moscow Cons. ; teacher
there till 1888, then teacher Berlin,
Stein Cons.
Jefferies, (i) G., organist to Chas.
I., 1643. Had a son (2) Chris-
topher, organist and composer. (3)
Stephen, 1660 — 17 12 ; EngL oigan-
ist and composer.
J«hin (zhi.ftA), L6on, b. Sp, Bel<
gium, July 17, 1853 ; violinist ; pu-
pil of Leonard, Brussels Cons. ; cond.
at Antwerp and Vauxhall, Brussels ;
1879-89, asst.-prof. of theory, Brus-
sels Cons.; since cond. at Monaco;
composer.
J^hin (J6hin-Pnime) (zha-ftA-prllm),
Fx. H., Spa, Belgium, April 18,
1839 — Montreal, May 29, 1899 ; one
of the most eminent violinists of Bel-
gian sch.; comp>oser.
Jeiensperg^er (yi' - l^n . shp^rkh - £r),
Daniel, near MQhlhausen, Alsatia,
1797 — 1 831; writer.
Jclinek (ve'-lY-n^k), Fz. X., b. Kau«
rins, Bohemia, 181 8— Salzburg, 1880;
oboist and composer.
Jenk'ins, (i) J., Maidstone, 1592-*
DICTIONARY OF MUSICIANS 505
m^
Kimbtrley, Norfolk, 1678; court-lu-
tist and lyra-violist to Chas. I. and
II.; composed. **/^ Sonatas for 3
Vlns, and a Base^ with a Thorough
Base for the Organ or Theorbo^* the
first Enffi. comp. of the sort; the
pop. •* The Lady /Catherine Audiey's
Bells^ or The Five Bell Consort,'*
etc. (2) DftTid, b. Trecastell, Bre-
con, Jan. I, 1849 ; pupil of Dr. Jos.
Parry; 1878, Mus. Bac. Cantab.;
1885, cond. America ; now prof. Univ.
Coll. of Wales ; c. operetta, s ora-
torios, 3 cantatas, A Psalm of Life,
etc.
Jennekin (zh^n-k&ili). Vide janne-
QUIN.
Jensen (y£n'-s£n), (i) Ad., Kdnigs-
bery, Jan. 12, 1837— of consumption,
Baden-Baden, Jan. 23, 1879 ; one of
the most original and poetical of com-
posers for piano and voice ; his pf .-
pes. have an unexcelled lyricism, al-
most an elocution. Self-taught, but
advised by L. Ehlert and Fr. Mar.
burg ; before 20 had c. overtures, a
string-quartet, sonatas and songs.
1856, teacher in Russia ; then studied
with Schumann ; 1857, cond. Posen
City Th.; 1858-60, studied with
Gade; i860, returned to Kftnigs-
berg; 1866-68, teacher at Tausig's
Sch. in Beriin; compelled by ill-
health to retire to Dresden, 1870 to
Graz,' finally to Baden-Baden. C.
opera ** Turandot" (finished by
Kienzl); *^ Nonnengesang^** and
** Brautiied** for solo and chorus with
2 horns, harp and a piano, ^*^Jephtha's
Tochter'' and '' Adorns- Feier^'
*^ Donald Caird ist wieder da,''
pnd other vocal works with orch.;
concert-overture ; " Geistliehes Ton*
stUch''; '' HoehMeitsmusik,'' ''Abends
musih," •• LebensbiUer," 6 **Silhouet^
ten," and '' Ldndliche Festmusih,"
for pf. (4 hands); and '* Innere Stinu
men" ** IVanderbilder,** a sonata ; 6
German Suites, ^WdylUn** ^* Eroti-
koH " (7 pes.), a scherzo, " Wald*
Idylle" op. 47, ** Scenes carnatM"
igsques^^ for pf.-solo; and 160 solo
songs. Biog. by Niggli. (2) Gns*
tav, Kdnigsberg, 1843 — Cologne,
1895 ; pupil of Dehn (comp.) and
Laub and Joachim (vln.) ; violinist
KOnigsberg Th.; 1872-75, prof, of
cpt., Cologne Cons.; c. symphony,
etc.
Jew'itt, R., d. 1675 : Engl, organist
and composer.
Jixnmerthal (|Tm'.m^r-tftl), Hn.. LfU
beck, 1809 — 1886 ; organist, org.-
builder and writer.
Joachim (yo'-ii khem), (i) Jos., b.
Kittsee, near Pressburg, June 28,
1831 ; eminent violinist ; studied at
5 with Szervacinski, Pesth, with
whom he appeared in public at 7;
from 184 T, at Vienna Cons, with
B6hm ; at 12, played in I^pzig, and
soon after at the Gewandhaus, with
much succ. ; frequently leader of the
Gewandhaus Orchestra ; 1844, made
his first of many appearances in Lon-
don ; 1849, Concertmeister of the
Weimar orch.; 1854, cond. and solo-
violinist to the King of Hanover;
1863 m. Amalie Weiss (v. infra); 1868
head of the new *' Hochschuie fttr
ausQbende Tonkunst,'* Berlin; later
artistic dir.; 1895, dir.; 1877, Mus.
Doc. h. c,, Cambridge Univ.; has
had many degrees from German Uni-
versities, and various orders of
knighthood; holds undisputed pre-
eminence as a classicist and solo-per-
former; his famous J. Quartet includes
De Ahna, Wirth and Hausmann. He
c. the notable ' ' Hungarian " concerto,
and 2 others, and famous variations
with orch., also overture to ** Ham^
let"; 4 overtures inch *' Dem Anden*
ken Kleistt**; Hebrew Melodies, for
via. and pf.; Op. 14, ** Ssene^ der
Marfa " (from Schiller's Demetrius)^
for contralto solo with orch.; thrcs
cadenzas to Beethoven*s vln.-concer«
to. etc. (2) Amalie (nee Weiss,
rightly, Schneeweiss), Marburg,
Styria, May 10, 1839 — Berlin, Feb.
3, 1899; eminent concert and oper-
atic soprano ; then contralto and
teacher ; wife of above.
JH
506
THE MUSICAL GUIDE
JoAO IV. (zhowfi), King of Portugal,
Villa- Vicosa, 1604 — Lisbon, 1656 ;
theorist and composer.
Jocher (y«kh'-er), Chr. Gl., Leipzig,
1694 — 1758 ; professor and writer.
Joban'aes, (i) Cotto. Vide cotto
(2) Damascenus (rightly Jns. Chry-
sorrho'os), of Damascus, ca. 700 —
ca. 760; composer, editor and writer.
(3) De Garlan'dia. Vide garlan-
DiA. U) De Mu'risf Vide muris.
(5) Gailus. Vide gallus.
Johns, Clayton, b. New Castle, Del.,
Nov. 24, 1857 ; pupil of J. K. Paine,
and W. H. Sherwood, Boston ; later
with Kiel, Grabow, Raif, and Rum-
mel (pf.) in Berlin ; since lives in
Boston, Mass., as a concert-pianist
and teacher; c. a Berceuse and
Scherzino for string-orch. (played by
Boston Symph. orch.) ; many pop.
songs, etc.
John' son, (i) Edw., English composer,
1594. (2) Robert, Engl. i6th cent,
ecclesiastic and church composer.
(3) Robert, lutenist and prominent
composer, 1573 — 1625.
Jommelli (yom-m^l'-ll), Niccold,
Aversa, near Naples, Sept. 11, 17 14
^—Naples, Aug. 28, 1774; eminent
operatic and church-composer ; pupil
of Canon Mozzillo, Durante, Feo,
Leo, Prato and Mancini. C. ballets
and songs, then dram, cantatas ; at
23 prod, opera *' L* Errors Amoroso'*
(Naples, 1737), under the name
** Valentino '* ; its succ. relieved his
anxiety and removed his anonymity
and he followed it with other succ.
works in various cities under various
patronage. He was made Dir. of
the Cons, del Ospedaletto, Venice ;
1748-54 asst. Afaestro at St. Peter's,
Rome, until 1754 ; cond. to the Duke
of Wurtemberg. Lived in Germany
15 years and made great succ. He
profited artistically by German influ-
ence, but when the Stuttgart opera
was disbanded and he retired to Italy
his style was too serious and perhaps
his best works ** Armitia Abbandc'
nata " (1770), *' Demofodntc " (1770),
^nA*^ Ifigenia in Tauride** {I'jTt)^
were failures when prod, at Naples.
The humiliation after such long tri-
umph brought on apoplexy (1773),
from which he recovered only long
enough to write a cantata on the
birth of a prince, and his masterpiece,
a *' Miscrerer The King of Portu-
gal commissioned him to write 2
operas and a cantata ; but he did not
live to finish them ; he c. over 50
known operas and divertissements,
and equally fine sacred mus., incl. 4
oratorios, a magnificat with echo, etc.
Jon4s (zho-nfts), (1) Emile, b. Paris,
March 5, 1827 ; pupil of Carafa at
the Cons. ; from 1847 teacher there
also mus. -dir. Portuguese synagogue.
(2) (ho'-nis), Alberto, b. Madrid,
June 8, 1868; pf. pupil of Olave and
Mendizabal ; also at the Cons.; at 18
with Gevaert, Brussels Cons.; won
1st prize for pf., and later 2 fin!
prizes in harm. ; debut, Brussels,
1880 ; 1890, studied St. Petersburg
Cons, under Rubinstein's tuition ;
since toured Europe and America ;
1894 head of the pf.-dep. Univ. cf
Michigan ; composer and writer.
Jonci^res (zhoh-sMrs), F. Ludger
Victorin de, b. Paris, April 12, 1839;
studied painting, then mus. with eL
wart at the Cons. ; an ardent Wagne-
rian, he left the Cons, because of EU
wart's adverse opinion ; he is pres.
*• Soc. des Compositeurs de mu-
sique," Chev. of the Legion of Hon-
our, and officer of public instruction;
since 187 1 critic of La Libert/^ etc. ;
prod. 4 operas, incl. **/> Chevalier
Jean** (Op.-com., 1885), a .symph.
ode, ** La Afer " ; a " Sympkonie ro^
manHque** ; ''Li Tsin,** a Chinese
theme for soli and orch, etc.
Jones, (i) Robt., Engl, lutenist and
composer, 1601-16; one of his songs,
''Farewell deere love** is alluded to
in '* Twelfth Nif^htr (2) Wnu
(** of Nayland *\ Lowick, Northamp-
tonshire, 1726 — Nayland, Suffolk,
1800 ; writer and composer. (3) J,,
1728 — London, 1796 ; organist and
DICTIONARY OF MUSICIANS 507
composer. (4) (Sir) Win., London,
1740 — Calcutta, 1794; writer. (5)
Edw. (** Brady Brenin"), Llander-
fel, Merionethshire, April 18, 1752 —
London, April 18, 1824 ; Welsh
harpist, writer and composer. (6)
Gnffith Rhys (or Ctawdog), b.
Trecynon, Wales, Dec. 21, 1834;
Welsh conductor ; as a vouth cond.
the choir ** CorCaradogr, * whence his
sobriquet; 1872-73, cond. the succ.
choir in the Crystal Palace competi-
tions. (7) Griffith, British writer,
pub. " ji History of the Origin and
Progress oj Theoretical and Fracti^
cal Music;' 1819. (8) Arthur Bar-
clay, b. London, Dec. 16, 1869; pupil
of Windham and Banister; and at
Guildhall Sch. of Mus., won a schol-
arship ; 1889, Associate ; 1892, prof,
of pf.; c. symphony, concert-over-
ture, etc. (9) Sidney, Engl, compos-
er of the succ. operetta ** The Gaiety
Girl* (London, 1893); '' An Artistes
Moder (Daly's Th., l^ndon, 1895);
*' The Geisha'' (ibid., 1896), etc.
Jor'dan, Jules, b. Willimantic, Conn.,
Nov. 10, 1S50 ; studied singing with
Osgood, Boston, Shakespeare, Lon-
don, and Sbriglia, Paris ; for 13
years choirm. of Grace Ch., Provi-
dence ; since 1880 cond. Arion
Club; c. comedy-opera "^^ Rip Van
Winkle'* (pub. 1898); cantaU with
orch. ; songs, etc.
Joseffy (yo-z^f'.fY), Rafael, b. Mis-
kolcz, Hungary, July 3, 1853 ; emi-
nent pianist ; pupil of Moscheles,
Leipzig Cons., and Tausig; toured
Europe with succ. ; lived in Vienna ;
for many years at New York; since,
teacher' Nat. Cons.; c. pf.-pcs.
Josquin. Vide desprks.
Qurct (zhoo-ra), (i) Th., Ath, Belgi-
um, 1821 — Kissingen, 1887; critic and
dram, composer. (2) L^on, b. Ath,
Oct. 17, 1828 ; bro. of above ; pupil
Brussel Cons, and since 1874 vocal
teacher there ; c. 2 operas, cantatas,
etc.
Joumet (zhoor'-na). Marcel, b. Paris,
1869; bass; pupil of the Cons. ; debut
3T
Th. de la Monnaie, Brussels ; has
sung often at Covent Garden; and
since 1900 at Met. Op., N. Y.
Jousse (zhoos), J., Orleans, France.
1760 — 1837 ; teacher and writer.
J udenkunig^ (yoo' - den - koo - nYkh),
Hans, b. Schwabisch-GmQnd ; luten-
ist, violist and composer at Vienna,
1523.
Jue (zhu), Edouard, b. Paris, 1794
(?) ; violinist and writer.
Jul(l)ieii (zhuUyan), (i) Marcel Bd.,
Paris. 1708 — 1 88 1 ; writer. (2) Jean
Lucien Ad., b. Paris, June i, 1845 ;
son of above; prominent critic and
writer. (3) Louis Ant., Sistcron,
Basses-Alpes, April 23. 1812— insane,
Paris, March 14, i860; pop. con«
ductor and composer of dance music,
etc. (4) Paul, Brest, France, Feb
12, 1 841 — at sea, 1866 ; violinist ;
pupil Paris Cons., took ist prize ;
toured America, 1853-66.
Jumilhac (zhU-mel-y&k), Dom P. Be*
noit de, near Limoges, 161 1 — St.-
Germain-des-Pres, 1682 ; writer.
Junck (yoonk), Benedetto, b. Turin.
Aug. 24, 1852 ; pupil of Bazzini and
Mazzucato ; lives in Milan ; c. string-
quartet, etc.
Juns^mann (yoong'-mSn), (i) Albert,
Langensalza, Prussia, 1824 — Pan-
dorf, near Vienna, 1892 ; professor
and composer. (2) Ludwis^ (or
Louis), Weimar, 1832 — 1892; teacher
and composer.
Jilns^st (ylnkst), Hugo, b. Dresden,
Feb. 26, 1853 ; studied at Cons, there;
founded the Julius Otto Soc.; and
cond. Male Choral Soc. ; 1898 made
prof, by . King of Saxony ; c. male
choruses. •
Junker (yoonk'-^r), K. L., Ohringen,
ca. 1740 — Kirchbcrg, 1797 ; writer
and composer.
Jupin (zhQ-plA), Chas. Fran., Cham-
bery, 1805 — Paris, 1839; violinist,
professor, conductor, and dram, com-
poser.
JUrgfenson (yllr'-g^n-zdn), Peter, b.
Reval, 1836 ; founded mus.-puU
house, Moscow. 1861.
s
5
08
THE MUSICAL GUIDE
Kaan (kin) («<Alb6st.JCakn '^^ JL
▼on, b. Tamopol, Galicia, May 29,
1853 ; pianist ; pupil of Blodek and
Skuhersky, Pragu^ ; since 1S90, prof,
at the Cons, there ; c. ballets, sym-
phonic poem *' Sakuntala '* / etc.
Kade (k^-dd), Otto, Dresden, 1825—
Schwerin, 1900; ct.-conductor, writer
and composer.
Kaff'ka (or Kawka) (kaf-kli). Jn.
Chr., b. Ratisbon, 1759 t dram, com-
poser.
Kalka (k&r-kft), Jn. Nepomuk, Neu.
stadt, Bohemia, 1819— Vienna, 1886;
composer.
Kahl (kftl), H.» Munich, 1840— Ber-
lin, 1892 ; conductor.
Kahlart {k&'4«rt), K. Aujr. Timo-
theut, Breslau, 1807 — 1864; writer
and comptoser.
Kaha (k&n), Robt., b. Mannheim,
July 21, 1865 ; pianist ; pupil of
£mst Frank and V. Lachner, Kiel,
and Jos. Rheinbergfer (Munich, 1885);
1891 founded Ladies' Choral Uaion,
Leipzig; ; 1893 teacher of pf. Berlin
Hochschule f Qr Musik ; c. serenade
for orch., etc.
Kahnt (kint)» Chr. Fr., 1823— Leip.
zigf, 1897 ; mus. -publisher.
Kaiser (kl'-z«r), (i) K., Leipa, Bohe-
mia, 1837— Vienna, 1890 ; founded
sch. continued by his son (2) Rudolf.
(3) Fr. Emil, b. Coburgf, Feb. 7,
1850 ; regimental bandm. Prag^ue :
prod. 5 operas, incl. ** Dtr Trompeter
von Sakkingen ** (OlmQtz, 1882).
Kajanas (ka-yi'-noos), Robt., con-
temporary cond. Philh. Orch. of lieU
singfors, Finland.
Kal'beck, Max, b. Breslau, Jan. 4,
1850 ; studied Munich Sch. of Mus. ;
1875, writer, critic at Breslau ; now
on the Wiener Moniags- Revue ^ and
the Irenes TageMatt,
Kalisch (k2'-I1sh), Paul, b. Berlin,
Nov. 6, 1855 ; tenor ; studied with
Leoni • san^ Berlin ct. -opera ; m.
LUli Lehmann ; sang at Cologne and
6 times in America.
Kalischer (kft'-hsh^r), Alfred, b.
Thorn, March 4. 1843; Dr. Phil.,
I^'ipzig U. ; studied with BUrgel and
Bohnicr ; lives in Berlin, as a writer
and teachci ; editor Neue Berliner
Musikuitung ; pub. ^^ LesHng ale
MusikastheHker'' J " Hfusik und
Moral *^ etc.
Kalkbrentter(killk'-br«D.n«r),(i) Chr..
Mindsn, Hanover, 1755 — Paris, 1806;
writer and dram, composer. (2) Fr.
Wm. Michaeli b. on a journey from
Cassel to Berlin, 1 788 — d. of cholera
Enghien-les-Bains, near Paris, June
10, 1849 t son and pupil of above ;
very succ. pianist and teacher ; de«
veloped modern octave-playing, left-
hand technique and pedalling ; wrote
valuable etudes and other comps.;
also studied Paris Cons, and with
Clementi and Albrechtsbei^er. (3)
Arthur, d. near Paris, 1869 ; son of
(2); composer.
Kaliiwoda (klU'.lY.vd.d&), (i) Jn.
Wenzel, Prague, i8oi^Carlsrube,
1866; pianist, conductor and dram,
composer. (2) Win., Doaaoeschin.
gen, 1827 — Carlsruhe, 1893 ; son and
pupil of above; dir., ct -conductor,
pianist and composer.
Kallwitx, or Kalwitx. Vide calvu
SIUS.
Kal'tenbom, Fz., violinist, conductor;
member Seidl's and other orchestras
at New York; asst.-cond. of Seidl
Soc., Brooklyn, N. Y.; 1894 founded
Kaltenbom quartet; 1899 founded
the succ. K. orchestra, which gives
summer concerts in N. Y.
Kamienski (k&m-1.«n'4hkl). Mathias,
Odenburg, Hungary, 1734 — Warsaw,
182 1 ; teacher and composer of the
firet Polish Opera ** The Wretched
Afade Happy^ (1778), etc.
Kammerlander(kflm'.m£r.lAnt-^r), IC.»
Weissenhom, Swabia, 1828 — Augs-
bure, 1892; conductor and composer.
Kandler (k2nt'.l«r). Fa. Sales, Klos-
terneuberg. Lower Austria, 179a—
Baden, 1831 ; writer.
Kaps (k£ps), Ernst, Dobeln. Saxony
s8a6 -— Dresden, 1887} est. ptooi
DICTIONARY OF MUSICIANS 509
factory, Dresden, 1859; succeeded
by his sons.
Kapsberfirer (kiips' - b«rkh . er), Jn.
Hieronymus von, b. of noble Ger«
. man familyi d. Kome, ca. 1650 ,
virtuoso on theorbo, chitarrone, lute,
and trumpet ; notable composer.
KArajan (ka'-dUyin), Th. G. ▼on,
Vienna, i8io — 1873 ; writer.
Karasowski (ka^ra-shof'^hkl), Mo-
fits, Warsaw, 1823— Dresden, 1892;
*ceUist, wsiter and composer.
Karg^anoff {Ur-gan-yoC), Gcnari,
Kashetin, Caucasus, 1858 — Rostroff-
on-Doii, 1890 ; pianist and composer.
Karl» Tom, b. Dublin, Jan. 19, 1846;
tenor; studied with H. Phillips, San-
giovanni and Trlvulzi ; sang in Ital-
ian opera for years, went to America
with Parepa- Rosa, then with •*The
Bostonians" in comic opera many
years ; retired X896 ; now vocal
teacher, N. Y.
Karow (kil'-rof), Karl, Alt-Stettin,
1790— Bunzlau, Silesia, 1863 ; teach*
er and composer.
Kaskel (kis^k^l), Freiherr K. ▼on,
b. Dresden, Oct. 10, 1866; studied
law at Leipzig, also mus. in the Cons,
with Reinecke and Jadassohn (1886*
87), and later with WQllner and Ten*
sen, Cologne ; now lives in Dresden ;
c. succ. i-act opera *^ //acAgeihmor-
gen** (Hamburg, 1893); v. succ,
opera ** Sjuta " (Cologne, 1895), etc.
KHssmejer (kfs'.muer), Moritz, Vi.
enna, 1831 — 1885; violinist; c. 5
string-quartets, some of them hu-
morous.
Kastner (kilst'.n^r), (i) Tn. G., Strass.
burg, March 9, 18 10 — ^Paris, Dec. 19,
1867; pupil of Maurer and Romer;
at 10, organist; at 20, bandm.; at
25 had prod. 4 operas, and was sent
by the town council to Paris, to study
with Berton and Reicha ; 1857,
pub. treatise •* On Instrumentation "
among others ; also methods adopted
at the Paris Cons. ; lived there*
after at Paris as teacher ; wrote
learned essays and an '* Encychp/die
4t h musiqut/* C. 3 later operas,
incl. *• Le dernier roi de Jnda^* his
masterpiece, also 3 symphonies, 5
overtures, lo serenades for wind;
** Livres-partiiions " (symphony-r4m-
tatas, prefaced by brilliant historical
essays, incl. **i>x dances des marts*'\
a vol. of 310 pages; ^* La harpe
<f/<»^"(i856); '^ Lesvoixde Paris, "*
followed by ^^ Let cris de Paris, *^
grande symphonie humoristique voc.
et instr. (1857); '' Les Sirhtes,*'
etc. Btogr. by Jan (Leipzig, 1886).
(2) G. Fr. Eu^en, Strassburg, 1852
— Bonn, 1882 ; son of above ; in v.
the pyrophone (v. D. D.), and pub.
work on it. (3) Emmerich, b. Vi-
enna, March 29, 1847; editor and
writer.
Kate (k&'-te), AadU Ten, Amster-
dam, I796---Haarlem, 1858 ; 'cellist
and dram, composer.
Katamayr (k&ts'-mTr), Marie, b. Vi-
enna, March 6, 1869 ; colorature so«
prano; pupil Frau Niklass-Kempner ;
sang in Holland, then at Berlin, etc.
Kauders (kow'^^rs), Albert, critic in
Vienna, and composer of comic opera.
Kauer (kow'-^r), Fd., Kleio-Thaya,
Moravia, Jan. 8, 1751 — Vienna,
April 13, 1 831; prolific c. of Sing'
spiele ; organist, conductor, 'cellist ;
c. 2,000 operas and operettas.
Kauffmann (kowf-mftn), (i) Ernst
Fr., Ludwigsburg, 1803 — Stuttgart,
1856; pianist and composer. (2) Emil,
b. Ludwigsburg, Nov. 23, 1836; violin-
ist ; son of above ; pupil of Stuttgart
Cons.; since musical dir. Tubingen
Univ.; Dr. phil.. 1885. (3) Frita,b.
Berlin, June 17, 1855; a druggist,
Ixipzig and Hamburg ; took up mu-
sic, 1878, entered the Akademische
Hochschule at Berlin, won Mendels-
sohn prize for comp. 1881; rill 1889,
lived m Berlin as a teacher and cond.
of the ** Gesellschaitsconcerte ** at
Magdeburg; 1893, Royal Musik-Di-
rector ; c. comic opera, **/>!> Her%m
krankheit**; symphony, etc.
Kaufmann (kowf-miln), (i) G. Fr.»
Ostramondra. Thuringia, 1679— Mer-
sebuig, 1735; organist, director.
ac
510
THE MUSICAL GUIDE
writer and composer. (2) Jn. Gf.»
Siegmar, Saxony, 1 751— Frankfort,
1818 ; maker of musical clocks. (3)
Fr., Dresden, 1785— 1866; son of
above ; in v. the ** Belloneon/' etc.
His son (4) Fr. Theodor, Dresden,
1823— 1872, developed the ** Orches-
trion.'* (5) Robert, b. Basel, and
later there studied with Rossi, Du-
prezand Stockhausen ; oratorio tenor ;
has sung in many capitals.
Kayser (kl'-z5r), (i) Ph. Chr., Frank-
fort, .1755— Zurich, 1823 ; pianist.
(2) H. Ernst, Altona, 181 5 — Ham-
burg, 1888, violinist and teacher- (3)
Fr. Emil. Vide kaisrr.
Kazynski (k^zen'-shki), Victor, b.
Wilna, Lithuania, Dec. 18, 1812 ; pu-
pil of Eisner, Warsaw ; prod. 3 op-
eras ; 1843, cond. Imp, Th. St. Peters-
burg.
Keams (kttmz), Wm. H., Dublin,
1794 — Kennington, 1846 ; violinist
and composer.
Keck von Gieng^en (k<k fon geng'-£n),
{n., Benedictine monk at Tegernsee,
rpper Bavaria, ca, X450 ; writer.
(Gerbert.)
Kee'ble, J., Chichester, 171 1— 1786 ;
organist, teacher and composer.
Kee'ley, Mrs. M. A.»b. Ipswich, 1805;
English soprano.
Keinspec (or Keinsbeck, Kiin-
speck, and wronglv Reinspeck)
(k!n'-shp£k), Bdichael, of NQrnberg ;
pub. one of the first theoretical works
printed at Basel, 1496.
Keiser (kT'-z£r), Reinhard, Teuchem,
near Weissenfels, Jan. 9, 1674—
Hamburg, Sept. 12, 1739; ^^^ father
of German opera, the Brst to employ
popular subjects and to leave the
Italian and French pattern ; also note-
worthy for his instrumentation and
dramatic force ; pupil of his father ; c.
116 operas at Hamburg from 1694;
mgr. the opera there, ct. cond. and
later canon and cantor ; c. also orato-
rios, masses, etc.
Keler Bela (rightly Albert Ton Ke-
ler) (ka-l^r ba'-la), Bartfeld, Hun-
gary, Feb. 13, 182a— Wiesbaden,
Nov. 20, 1882; violinist* conductot
and composer.
Keller, (i) Gottfried (called God*
frey), b. in Germany ; teacher and
writer in L^ondon, 1707. (2) Max,
Trostberg, Bavaria, 1770— Alt5tting,
1855 ; organist and composer. (3)
K., Dessau, 1784 — SchafThausen,
1855 ; ct.-flutist, conductor and com-
poser. (4) F. A. E., in v., 1835, the
unsucc. "pupltre-improvisateur " (v.
D D.), and pub. a method.
Kel'lermann, (i) Berthold, b. Norn-
berg, March 5, 1853 ; pianist ; pupil
of his parents and of Liszt , i878-%i
Wagner's secretary ; 1882, teacher
Munich R. Mus. Sch. ; conductor and
ct.-pianist. (2) Chr., Randers, lut-
land, 18 1 5— Copenhagen, 1866; cel-
list and composer.
Kel'ley, Ed|rar StiUman, b. Sparta,
Wis., Apru, 14, 1857 ; one of the
most original and brilliant of Amer-
ican composers; pupil of F. W.
Merriam, Clarence Eddy, and ...
Ledochowski (Chicago), and 1876-80
of Seifriz (comp.). iCrnger and Spei-
del (pf.) and Fr. Finck (org.), at
Stuttgart; organist at Oakland and
San Francisco, Cal.; cond. comic
opera, 1890-91 ; teacher pf., org.,
and comp. in various schools; lately
N. Y. Coll. of Mus.; critic for the
Examiner ^ San Francisco, 1893-95 ;
and essayist for various periodicals ;
since 1896 lecturer on music for the
Univ. of New York; 1901-02 at
Yale University; c. '' Gultiver;*
humorous symph.; Chinese suite,
** Aladdin^*^ for orch.; comic opera,
*' Puritania*^ (Boston, 1892); succ.
incid. music to Macbeth and to Ben
Hur^ both for chorus and orch.;
string-quartet, op. i (MS.) ; *' Wed'
dinjB^-Ode,** for tenor solo, male chorus
and orch. (MS.) ; 6 songs, ** Phases
of lufve" \ notable songs, ** EkUh'
rado " and ** Israfel" and others.
Kel'lie, Lawrence, b. London, April
3, 1862 ; tenor and composer ; stud-
ied at R. A. M. and with Randeggei]
d^but Covent Garden. 1886.
DICTIONARY OF MUSICIANS 511
KeH'ner, (i) David, dir. German ch.
and Th. at Stoclcholin, 1732. (2)
Jn. Peter, Grafenroda, Thuringia,
1705 — 1788 ; organist and composer.
(3) Jn. Chp., Grafenroda, 1735 —
Cassel, 1803; son of above; ct -or-
ganist and dram, composer. (4) G.
Chr., d. Sept., 1808; teacher and
writer at Mannheim. (5) Ernst
Aug;., Windsor, England, 1792—
London, 1839 ; probably a grandson
of (3); barytone, pianist and organist.
Kel'los^g;, Clara Louise, b. Sumter-
ville, S, C, July, 1842 ; noted so-
prano; 1856-61, studied in New
York; debut Acad, of Mus. (1861);
debut, London, at H. M's. Th.
(1867), as Margherita, with great
succ; sang in many capitals.
Kelly, Michael, Dublin, 1762— Mar-
gate, 1826 ; tenor and dram, compos-
er ; friend of Mozart ; wrote musical
** Reminiscences."
Kel'way, (i) Thos., d. 1749; ^nffl.
organist and composer. (2) Josepn,
d. 1782 ; bro. of above ; organist,
harpsichordist, and composer.
Keml>le, Adelaide, b. 18 14; retired
1843 ; daughter of the actor Chas.
Kemble ; operatic singer.
Kemp, (i) Jos., Exeter, 1778— Lon-
don, 1824 organist and composer.
(2) Robert (called '* Father Kemp "),
Wellfleet, Mass., 1820 — Boston,
1S97 ; organised and cond. pop.
"Old Folks' Concerts" ; wrote auto-
biography.
Kemp'is, Nicholas A., organist and
composer at Brussels, 1644-50.
Kempter, (i) K., Limbach, Bavaria,
1819 — Augsburg, 1871 ; conductor.
(2) Lothar, b. I^uingen, Bavaria,
Feb. 5, 1844; cond., professor, and
dram, composer; son and pupil of
(3) Fr. K. (music-teacher) ; studied
Munich Univ., then with Rhein-
berger; chorus-dir.; since 1886 prof,
of mus. theory, Zurich Mus. Sch.
Ken'dall, J., organist and composer,
London, 1780.
Kenn, P., German horn-virtuoso and
oooaposer ; 1782 at Paris.
Ken'nedy, David, Perth, i825«— 1886;
singer.
Kent, Jas., Winchester, Engl., 1700-^
1776; oivanist and compoeer.
Kepler (kaf-plir), Jns.p Weil, WQrtem.
^1*^1 1 57 1 — Ratisbon, 1630 ; astron^
omer ; writer.
Kerle (k£rl), Jacques de, b. Yprea
Flanders, i6th cent. ; conductor and
composer.
Kerl(l) (Kherl, Cherl), Jn. Caspar,
Gaimersheim, near Ingolstadt, 162 1
— Munich, Feb. 13, 1^3; organist,
ct. -conductor, teacher, and notable
composer of the *' Missa nigra " (all
in black notes), etc.
Kes (kas), Willem, b. Dordrecht;
Holland, Feb. 16, 1856; violinist;
pupil of Bohm, etc., then of David,
and, under royal patronage, of Wien
iawski, and Joachim ; 1876, lead^
Park Orch. and Felix Meritis Sec.,
Amsterdam; then cond. '* Society"
concerts, Dordrecht ; 1883-95 cond.
at Amsterdam ; 1895 Glasgow orch.;
1898 cond. Philh. and dir. Moscow
Cons.
Kes'sel, Fz., th.-cond., 1889, at Frei-
burg-in-the-Breisgau; c. a symph.
and succ. opera, ** Die SchwtsUrn^
(Trier, 1895).
Kess'ler, (i) Fr., preacher and writer.
(2) Fd., Frankfort-on-Main, 1793—
1856 ; violinist and composer. (3)
(rightly Kdtsler) (kits'-ldr), Jos.
Chp., Augsburg, 1800 — Vienna,
1872 ; teacher, organist and compos-
er.
Ket'ten, H., Baja, Hungary, 1848 —
Paris, 1883 ; pianist and composer.
Kettenus (kdt-ta'-noos) (or k£t-nQs),
Aloys, Verviers, 1823 — London,
1896 ; violinist and dram, composer.
Ketterer (k£t-ta-r&), Eug^^ne, Rouen,
1831 — Paris, 1870 ; pianist and com-
poser.
Keunrels (kfir'-v^ls), Edw. H. J., b.
Antwerp, 1853 ; pupil of Benott ;
till 1882, chorusm. Royal Th.; since
cond. Nat. Flemish Th., Antwerp,
c. operas, cantatas, etc.
Kewitsch (Kiewics) (ka'-vltsh ctf
s&
512 THE MUSICAL GUIDE
k€'-vech). (Karl) Theodor, b. Po-
silge, W. Prussia, Feb. 3, 1834 ; son
and pupil of an organist; studied
with Maslon ; oboist, then teacher
and organist in different towns ; pen-
sioned 1887, then editor, etc.
Kiel (Icel), Fr., Puderbach, near Sie-
gcn (Rh. Prussia), Oct. 7, 1821—
Berlin, Sept. 14, 1885; nouble
teacher and composer of classic sch. ;
self-taught as pianist and composer ;
vin.-pupil of Prince Karl von Wittgen-
stein and later, on stipend from Fr.
Wm. IV., studied with Dehn ; lives
in Berlin ; 1868 •' Royal Prof." ; c.
oratorios, etc.
Kiene (ke'-n£). Vide bigot.
Kienle (ken'-li), Ambrosius, b. Sieg-
maringen, May 8, 1852 ; Benedictine
monk and writer.
Kienzl (kents'-'l), Wm., b. Waizen.
kirchen. Upper Austria, Jan. 17,
1857: pupil of Buwa, Uhl, Remy,
Mortier de Fontain, Jos. Krejci, and
later, Liszt; 1879 Dr. Phil, at Vienna;
1880 lectured at Munich; 1881-82
toured as pianist; 1883-84 chief cond.
of German Opera, Amsterdam ; 1886
m. the concert-singer Lili Hoke ;
1886-90 dir. Styrian Musikveretn at
Graz and cond.; 1890-92, ist cond.
Hamburg Opera ; 1892-93, at Mu-
nich ; 1S99-1901 at Graz as com-
poser. His first opera ** Urvasi*'
(Dresden, 1886) was succ, as was
'' Heilmar, der Narr" (Munich,
1892), and still more so ** Dcr Evan-
gelimann **; c. also *' Heiltnann the
Fool;' ''Don Quichote," a "musical
tragi-comedy *' ; he finished Jensen's
'* Turandot^* and c. also 90 songs,
etc
Kietiewetter (ke'-z£-v«t-t«r). Rapha-
el G. (Edler von Wiesenbrunn), Hoi-
leschau, Moravia, 1773 — Baden, near
Vienna, 1850; important coll. of
mus. MSS. and historian of many ob-
scure periods, etc. : later ennobled.
Kiewics. Vide kkwitsch.
Kim'ball, Josiah, Topsfield, Mass.,
1 761 — 1826 ; teacher and composer
of psalm-tunes, etc.
Kind (kVnt), J. F., Leipzig, 176S—
Dresden, 1843; librettist of ** Def
FreischUtZt'* afterwards composer.
Kiadermann (klnt'-£r-iuan), (i) Tiu
Erasmns, b. Numberg, 1616 — after
1652 ; organist and composer. (2)
Augf., Potsdam, i8 J 7--Munich, 1891;
barytone. (3) Hedwig^, daughter of
above. Vide rricher, k.
King^, (i) Wm., 1624— 1680; Engl,
organist and composer. (2) Robt.,
d. after 171 1; Engl, composer. (3)
Chat., Bury St. Edmunds, 1687 —
London, 1748 ; composer. (4) Mat-
thew Peter, London, 1773— 1823 ;
theorist and dram, composer. (5)
Oliver A., b. London, 1855; pianists-
pupil of W. H. Holmes, and Rei-
necke, Leipzig Cons. ; pianist to the
Princess Louise, 1879; toured Can-
ada and New York; 1899 pf.-prof. at
R. A. M.; c. cantatas, 147th Psalm*
with orch. (Chester Festival, 1888),
a symphony, '^ Night." (6) Julie,
Vide RIVE-KING.
Kink'el, Johanna (n^ Mockel, di-
vorced Matthieux), Bonn, 18 10 ;
London, 1858 ; writer and dram,
composer.
Kipke (kTp'-kS). K., b. Breslau, Nov.
20, 1850; editor.
Kip'per, Hn., b. Coblenz, Aug. 27,
1826 ; pupil of AnschQtz and H.
Dom ; teacher and critic ^ Cologne;
c. operettas.
Kircher (kerkh'-£r), Athanasius,
Geisa (Buchow?), near Fulda, 1602 —
Rome, 1680 ; Jesuit archaeologist and
colL of airs, some of them supposed
to have curative effects.
Kirchl (kerkh'-'i). Ad., b. Vienna,
'June 16, 1858 ; choirm. ** Schubert-
biind,'* Vienna ; c. male choruses,
etc.
Kirchner (kcrkh'-n«r), (i) Fz., b. Pots-
dam, Nov. 3, 1840 ; pianist ; pupil
KuUak's Acad., where he taught
[864-89, then in the Msldchenheim
sch., Berlin ; c. pf.-pcs., etc. (2)
Hn., b. Wolfis, Thuringia, Jan. 23,
1S61 ; concert-tenor, and composer at
Beriin. (3) Theodor, b. Neukirchen*
DICTIONARY OF MUSICIANS 513
near Chemnitz, Saxony, Dec. 10,
1824 ; pupil of T. Knorr (pf.)» K. F.
Becker (org.), Jn. Schneider, and at
Leipzig Cons.; 1843-62, organist
Winterthur ; 1862-72, teacher Zurich
Mus. Sch., and cond.; 1873-75, dir.
WUrzburg Cons., Leipzig ; 1883,
Dresden ; 1890, Hamburg ; c. 90 p(.-
pes., etc.
Kirk'mann, (i) Jacob (rightly Kirch-
manii), d. London, 1778 ; founder
(before 1740) of the firm of harpsi-
chord-makers, K. & Son, the /' son **
being his nephew, (2) Abraham K.
(3) Jan., b. Holland, d. Norwich,
1799; organist and composer, L<^-
don, 1782.
Kimberg^er (kern'-b^rkh-£r), Jn. Ph.,
Saalfeld, Thuringia,* 172 1 — Berlin,
1783 ; eminent theorist, conductor
and composer.
Kist (kest), Florent Corneille (Flo-
reas Cornelius), Amheim, 1796^
Utrecht, 1863 : horn-player and flut-
ist ; editor, conductor and composer.
Kist'ner, (i) Fr., Leipzig, 1797 — 1844;
pub. His son (2) Julius succeeded
him. (3) Cyrill, b. Grossaitingen,
near Aug^sburg, March 12, 1848 ;
school-teacher; studied with Wull-
ner, Rheinberger, and Fr. Lachner ;
1883 teacher Sondershausen Cons.;
since 1885 lives in Bad Kissingen as
principal of a sch. , pub. of text-books,
incl. ** A Harmony t based on Wag^
f$<r," etc.; c. 2 operas; a succ.
*' musical comedy " ** EuUnspieger*
(Worzburg, 1893) ; etc.
Kitch'iner, Wm., London, 1775 —
1827 ; a wealthy physician ; writer
and dram, composer.
Kittei (k!t'-t«l), Jn. Chr., Erfurt, Feb.
12, 1732 — May 9, 1809; T. S. Bach's
last pupil; organist in Ernirt; famous
but ill-paid virtuoso and teacher.
Kittl (kTt'-'l), Jn. Fr., b. Schloss, Wor-
lik, Bohemia, 1806 — Lissa, 1868 ;
conductor and dram, composer.
Kitzler (klts'-l^r). Otto, b. Dresden,
March 16, 1834 ; pupil of Schneider,
Otto, and Kummer ('cello), later of
Servais and Fetis, Brussels Cons. ;
'cellist in opera -orchs. at Strassburg
and Lyons; cond. at various theatres;
1 868 dir. Brunn Mus. Soc. and Mus.
Sch., also cond. of the Mannerge-
sang\'erein; pub. orch.-mus., pf.-
DCS etc
Kjcruif (kVa'-roolO. Halfdan, Sept.
17, 1818 — Christiania, Aug. 11, 1868;
teacher and composer ; gave up the-
ology for music ; studied at Leipzig ;
settled in Christiania ; c. songs and
{)f.-p>cs,
afsky (Lohse-Klafsky) (klaf.
shkY), Katharina, St. Johann, Hun-
gary, 1855 — Hamburg, 1896; sopr.;
pupil of Mme. Marchesi ; sang in
comic opera chorus, later leading
Wagnerian roles in Europe and Amer-
ica ; m. Otto Lohse.
Klauser (klow'-z^r), (i) K., b. of
Swiss parents, St. Petersburg, Aug.
24, 1823 ; chiefly self-taught ; 1850,
New York ; 1856, Mus.-Dir. Far-
mington Cons.; editor. (2) Julius,
b. New York, July 5, 1854 ; pupil of
Wenzel, Leipzig Cons. ; mus.-teacher,
Milwaukee ; pub. ** The Septonate
and the Centralization 0/ the Tonal
System'* (1890).
Klauwell (klow'-v^l), (i) Ad., Langen-
salza, Thuringia, 18 18 — Leipzig,
1879 ; teacher, writer, etc. (2) Otto,
b. Langchsalza, April 7, 1851 ;
nephew of above ; pupil of Schulp-
forta, and at Leipzig Cons. ; Dr.
Phil. ; 1875 prof. Cologne Cons. ;
since 1885, dir. Teachers' Seminary;
writer and dram, composer.
Klee (kla), L., b. Schwerin, April 13,
1846 ; pupil of Th. Kullak, and until
1875, teacher Kullak's Acad., then dir.
of his own sch.; '* Musik-Direktor,"
writer and editor.
Kleeberg^ (kla-b&r), Clotilde, b. Paris,
June 27, 1866; pianist; pupil of
Mmes. Retz and Massart at the Cons.,
won 1st prize ; debut, at 12, with
Pasdeloup orch. ; toured Europe with
fi^reatsucc; 1894, Oflficier de I'Acad-
emie.
Kleemann (kla-mSn), K., b. RudoU
stadt, Sept. 9, 1842 ; pupil of MuUer;
514 THE MUSICAL GUIDE
1878, studied in Italy ; then 2nd
opera cond. and ct. mus.-dir. Des-
sau ; c. 2 symphonies, etc.
Kleffel (kief -fei), Arno, b. Possneck,
Thuringia, Sept. 4, 1840; studied
Leipzig^ Cons., and with Hauptmann ;
1863-67, dir. Riga Mus. Soc; then
th. cond. in Cologne ; later teacher of
theory. Stern's Cons. , Berlin ; 1895,
professor ; c. opera, Christmas le-
gend, overtures, etc.
Klein (klin), (i) Jn. Jos., Arnstad^
I74(>— Kahla, near Jena, 1823 ; writ-
er. {2) Bd., Cologne, 1793 — Ber-
lin, 1832 ; teacher and composer.
(3) Joseph, 1802 — 62, bro. of above ;
lived as composer in Berlin and Co-
logne. (4) Bruno Oscar, b. Osna-
brUck, Hanover, June 6, 1858 ; son
and pupil of (5) Carl K. (organist
OsnabrQck Cath.); (4) studied at Mun-
ich Cons.; 1878, gave concerts in
America; 1883, New York; 1884, chief
pf. -teacher Convent of the Sacred
Heart ; also, 1884-94, organist St.
Francis Xavier, and 1887-92, prof,
of cpt. and comp, Nat. Cons.; 1894-
95, gave concerts in Germany ; prod,
succ. gr. opera, *" Kenihvorth"
(Hamburg, 1895), vln.-sonata, etc.
(6) Hermann, b. Norwich, Eng. ;
critic and teacher : studied law ; 1874
singing with Manuel Garcia ; 188 1-
190 1, critic London Sunday Times ;
1887, prof, of singing at Guildhall ;
1896, dir. opera -class (vice Weist
Hill) ; 1902, New York.
Kleinmichel (klln'-mlkh-*!). (i) Her-
mann; (?) 18 16 — Hamburg, 1894;
bandmaster. (2) Richard, Posen,
Dec. 31, 1846 — Sept., 1901; son and
pupil of above ; studied also at Ham.
burg and at Leipzig Cons. ; teacher,
Hamburg ; 1876, Leipzig; 1882, mus.
dir. City Th. ; c. 2 operas ; 2 sym-
phonies ; chamber-music, valuable
etudes, etc. ; m. a dramatic soprano,
(3) Clara Monhaupt.
Klengrel (kl^ng'-d), (i) Aug. Alex.
(•* Kanon-Klengel "), Dresden, 1784
— 1852 ; organist and cr»mposer of an
attempt to rival Bach's "Well-tem-
pered Clavichord," etc. (2) Paul, b.
Leipzig, May 13, 1854 ; pianist and
violinist; Dr. phil., Leipzig; 188 1-
86, cond., Leipzig, "Euterpe" con-
certs; 1888-93, 2nd ct.-cond., Stutt-
gart ; cond. *' Arion," Leipzig ; 1898,
New York. (3) Julius, b. Leipzig,
Sept. 24, 1859 ; bro. of above ; 'cel-
list, pupil of Emil Hegar ('cello) and
Jadassohn (comp.); ist 'cello in Ge-
wandhaus Orch., and teacher at the
Cons.; composer.
Kliebfrt (kle'-b^rt), K., b. Prague,
Dec. 13, 1840 ; pupil of Rheinberger
and Wnllner, Munich; 1876, dir. R.
Sch, of Mus., Wilrzburg.
Klinck'erfuss (-foos), Johanna, b.
Hamburg, March 22, 1856 ; pupil of
Beer and Liszt; notable ct.-pian-
ist.
Klindworth (kltnt'-vfirt), K., b. Han-
over, Sept. 25, 1830; pianist, emi-
nent teacher and editor; self-taught
pianist ; at 6 played in public ; at 17,
cond. of an opera-troupe ; 1849,
teacher at Hanover ; 1852, a Jewish
woman adv^anced him money to study
with Liszt ; 1854, music-d^but, Lon-
don ; Wagner admired him, and they
became friends. 1854-68, he gave
concerts and lessons, London ; then
pf.-prof. Imp. Cons. Moscow ; while
here he completed two monument-
al works, his pf.-scores of Wagner's
**-^/W ties Nibelungen^^ and a rev.
ed. of Chopin. 1882-92, cond. at
Berlin the Wagnerverein and (with
Joachim and Wttllner) the Philharm.
Concerts. Est. a ** Klavicrschulc **
(Sch. of Pf. -playing), later united
with the Scharwenka Cons., 1893,
when he retired to Potsdam ; com-
posed piano-pieces.
Kling, H., b. Paris, Feb. 17, 1842 ;
prof. Geneva Cons, and teacher in
city schools ; writer and dram, com-
tX)ser
Klingrenbcrg: (kllng-^n-Wfrkh), Fr.
Wm., b. Sulau, Silesia, June 6, 1809 ;
1840-85, cantor, Pcterskirche, Gor-
litz : c. a symphony, etc.
Klitzsch (klitsh), K. Enuurne^
DICTIONARY OF MUSICIANS 513
Schonhatde, Saxony, 1812 — Zwickau,
1889 ; writer and composer.
Klo«< (kl6-za), Hyacinthe El^onore,
Isle of Corfu, 1808 — Paris, 1880;
clarinettist and prof., Paris Cons.;
composer.
KlouB (kloos), Aug^usta (staj^e-name
Doria); b. Boston, U. S. A. ; con-
tralto ; pupil of Hey, Berlin, 1895,
Vannuccini, Florence, and Bax,
Paris ; debut, Monte Carlo, 1899,
taking name " Doria " ; has sung at
Brussels and Rouen.
Klotz (klots), family of Bavarian vio-
lin-makers at Mittenwald. The first
(i) JEgidiuB, sen., the best; his son
(2) Matthias (ca. i66qp— 96). Mat-
thias's sons were (3) Sebastian and
(4) Joseph, and their sons (5) Georr,
(6) Karl, (7) Michael, and (8) JEgi-
dius, Jr.
Klujg^hardt (klookh'-hart), Aug. (Fr.
Bfartin), b. Kmhen, Nov. 30, 1847 ;
pupil of Blassmann and Reichel,
Dresden ; ct.-cond. at Neustrelitz and
later at Dessau ; prod. 4 operas, the
notable symphonic poem, ^^Leonore";
3 symph. (i. ** fVald7Vfdfn"), over-
tures **/w Frahling"; ^' Sopkonis-
bf" '* Sifi^fsouvertare,'" and *'/Vj/-
ouvertUrty^ etc.
Xnabe (k'na .b<?), (i) Wm., Kreuz-
burg, Prussia, 1803 — Baltimore, 1864;
founder of pf.-factory at Baltimore,
Md.; succeeded by his sons (2) Will-
iam (1841 — 89) and (3) Ernest, and
thev by (4) Ernest J. (b. July 5, 1869)
and (5) Wm. (b. March 23, 1872).
Knauth (knowt). Vide franz, robt.
Knecht (knfkht), Justin H., Biberach,
WUrtemberg, Sept. 30, 1752 — Dec. i,
181 7; rival of Vogler as organist, and
important theorist, conductor and
composer.
Kneisel (knl'-z^l), Fz., b. of German
parents in Roumania, 1865 ; violin-
ist ; pupil of Grtin and Hcllmesberg-
er, Vienna ; Konzertmeisier^ Hofburg
Th.-Orch.; then of Bilse*sOrch., Ber-
lin ; since 1885, leader and soloist, Bos-
ton Symphony Orch. ; 1887, founded
the ** Kneisel Quartet," which has
played with greatest succ. in Amer*
ica and Europe ; 1902, cond. Worces.
ter (Massachusetts) Festival.
Kniese (kne'-zd), Julius, b. Roda, near
Jena, Dec. 21, 1848 ; pianist and or-
ganist ; pupil of Stade, at Altenburg,
Brendcl and C. Riedel, Leipzig ;
1884-89, mus.-dir. at Aix ; 1882,
chorusm. at Bayreuth, where he lived ;
1889, dir. Preparatory Sch. for Stage-
Singers ; c. opera, ** K5nig Witti-
chis"; symphonic poem, ** Friths
or*** etc.
fnig^ht (nit), Jos. Philip, Bradford-
on-Avon, 18 12 — Great Yarmouth,
1887 ; organist and composer of
songs incl. ^^ Rocked in the Cradle of
the Deep:'
Knorr (knor), (i) Julius, Leipzig, 1805
— 1861 ; pf. -teacher and deviser of
standard rudimentary exercises ; pub.
** Met hods :* etc. (2) Ivan, b. Mewe,
West Prussia, Jan. 3, 1853 ; studied
Leipzig Cons, with Richter, Rein-
ecke ; 1883, prof, of theor)', lioch
Cons. Frankfort-on-Main ; c. 2 suites,
etc.
Kny'vett, (i) Chas., England, 1752 —
London, 1822 ; tenor and organist.
(2) Chas., 1773 — 1852 ; son of above ;
organist and teacher. (3) Wm.,
1779 — Ryde, 1856 ; bro. of above ;
composer and conductor.
Kobb6 (kob-ba), Gustav, b. New
York, March 4, 1857; studied pf.
and comp. with Adolf Hagen, Wies-
baden ; later with Jos. Mosenthal,
New York ; 1877, graduated Colum-
bia Coll.; 1879, Sch. of Law ; lives
in Morristown, N. J.; pub. essays in
leading magazines and newspapers ;
also " Warner's Life and trorhs"
(N. Y., 18^), " The Ring 0/ the A^^i-
belung'' (1889), '' Piays for Ama-
teurs*' (1892), '* My Rosary and
other Poems'' (1896), *' New York
and its Environs" (1891) ; teacher ;
pub. a few songs.
Kobelius (ko-ba -lY-oos), Jn. Aueus-
tin, Wfthlitz, near Halle, 1674— Wei-
senfcls, 1731; ct.-cond. and dram,
composer.
«
5i6 THE MUSICAL GUIDE
Koch (kokh), (i) H. Chp., Rudolstadt,
1749 — ^8i6 ; violinist ; writer and
composer. (2) Eduard Emil,
Schloss Solitude, near Stuttgart, 1809
— Stuttgart, 1871; writer. (3) Em-
ma, b. Mayence ; pianist ; pupil of
Li^zt, Moslcowski, etc.; since 1898,
teacher Stern Cons. (4) Fr., b. Ber-
lin, 1862; pupil of the Hochschule ;
• conductor, 'cellist and c. of 2 operas,
''Die Halliger'' and •*/<r<j" (Co-
logne, 1896), etc.
Kochel (kdkh'.'l), L. Ritter von,
Stein-on-Danube, Lower Austria,
i8oo — Vienna, 1877 ; writer.
Kocher (kokh'-^r), Conrad, Ditzingen,
near Stuttgart, 1786— -Stuttgart, 1872 ;
mus.-dir. and dram, composer.
Kocian (ko'-tst-iln). Jaroslav, b.
Wildenschwert, Bohemia, Feb. 22,
1884; violinist, son and pupil of a
school-teacher ; studied violin at 3i
years ; at 12, Pragiie Cons, under
Sevcik (vin.), and Dvorik (comp.) ;
debut, 1901 ; has toured Europe with
much succ; 1902, America.
Koczalski (ko-ch^r-shkl), Raoul (Ar-
mand G.)t b. Warsaw, Jan. 3, 1885 ;
studied pf. with his mother ; then
with Godowski at Warsaw ; at 4
played in public with great succ. ; at
7, played at Vienna, St. Petersburg,
etc., 600 concerts up to 1892 ; ct.-
pianist to the Shah of Persia, with
annuity of 3,000 francs ; c. l-act op-
eras, ** //tf^tfr," ''Rymond"' etc.
Koemmenich (k^m'-md-nlkh), Louis,
b. Elberfeld, Germany, Oct. 4, 1866 ;
pupil of Anton Krause, Barmen and
at Kullak's Acad. 1890, New York,
as conductor and teacher ; since 1894,
cond. Brooklyn Sangerbund ; 1898,
organised an Oratorio Soc. ; c. a can-
tata, male choruses, etc.
Koenen (ka'-nSn), Fr., Rheinbach,
near Bonn, 1829 — Cologne, 1887;
conductor and composer.
iCoflcr (kof'-lfir), Leo, b. Brixen, Aus-
trian Tyrol, March 13, 1837; from
1877, organist and choirm. of St.
Paul's Chapel, New York ; writer
and composer.
Kog^el (kd'-g£l), Gv., b. Leipzig, Jan.
16, 1849; pupil of the Cons.; th.*
cond. various cities; 1S91-1902, cond*
Museum Concerts, Frankfort ; editor
and composer.
Kdhler(ka-ldr), (i) Ernst, Langenbie*
lau, Silesia, 1799 — Breslau, 1847 ;
organist and composer. (2) (Chr.)
Louis (H.), Brunswick, 1820 —
KOnigsberg, 1886 ; pianist, teacher
and dramatic composer, also notable
critic.
Kohut (ko-hoot'), Ad., b. Mindszent,
Hungary, Nov. 10, 1847 ; lives in
Berlin ; writer.
Kohout (ko-hoot'), Fz., b. Hostin,
Bohemia, ^ay 5, 1858 ; pupil of Sku-
hersky, Prague Org.-Sch.; now con-
ductor ** Deutsches Th." at Prague,
and organist Weinberger synagogue ;
c. V. succ. i-act (German) opera
*• Stella'* (Prague, 1896), etc.
Kolbe (kdl'-b^), Oskar, Beriin, 1836^
1^*78 ; composer and writer.
Kolff (kolO, J- Van Santen, Rotter^
dam, 1848 — Berlin, 1896 ; writer.
KoUing (k61'.llng). K. W. P„ b.
Hamburg, Feb. 28, 1831; teacher,
and composer of v. succ. operetta,
*' Schtnetterlinge" (1891, Hamburg).
Kolimann (kdl -miln), Aug:. Fr. K.,
Engelbostel, Hanover, 1756 — Lon-
don, 1824; organist, theorist and
composer.
K5mpel (k^m'-p^l), Aug^., BrQckenau,
1831 — Weimar, 1891; violinist.
Kdni^sldw (k&'-nikhs-lav), (i)Jn. Wm.
Cornelius von, Hamburg, 1745"
1833; organist and composer. (2)
Otto Fr. von, b. Hamburg, Nov. 13,
1824; pupil of Fr. Pacius and K.
Hafner, and at Leipzig Cons.; toured
for 12 years ; 1858-81, leader Gurze-
nich Orch., Cologne; vice-dir. and
vln.-prof. at the Cons.; Royal Prof.;
retired to Bonn.
Koning(ko'-nYng), David, Rotterdam,
i8?o — Amsterdam, 1876 ; pianist,
conductor and composer.
Konradin (kon'-rat-en), K. Fd., St
Helenenthal, near Baden, 1833 — VI
enna, 1884; dram, composer.
DICTIONARY OF MUSICIANS 517
Kontski (k6nt'-shke), (i) Antoine de,
b. Cracow, Oct. 27, 1817 ; pianist ;
pupil of Markendorf and Field ;
made v. succ. tours ; teacher, Lon-
don; lived in Buffalo, N. Y.; at 80
toured round the world ; c. an opera,
an oratorio ; symph. ; very florid and
pop. pf.-pcs., incl. ** Le R/veil du
Lion,'" etc. (2) Chas., 18 15— Paris,
1867 ; violinist. (3) Apollinaire de,
Warsaw, 1825 — 1879 ; violinist ; bro.
and pupil of (2). (4) Stanislas,
b. Cracow, Oct. 8, 1820; bro. of
above ; vln.-teacher and composer,
Paris.
Kopeckf (kd-p«t'-ske), Ottokar, b.
Chotebor, Bohemia, April 29, 1S50;
violinist ; pupil of Pragiie Cons. ;
leader Philh. Orch., cond. ** Shacfler "
Orch., and teacher in the Cons.,
Hamburg ; now ct.-cond. to King of
Greece.
Kopylow (k5'-pe.l6f), Alex, b. St.,
Petersburg, 1854; studied in the Imp.
Chapel, where he is now vocal teach-
er ; c. orch.- and pf.-pcs., etc.
Korbay (kdr'-ba-e), r rands Alex,
b. Pesth, Hungary, May 8, 1846;
tenor ; pupil of Roger, and pf.-pu*
ptl of Liszt ; 1865-68, Hungarian
Opera, Pesth ; toured as pianist ;
since 187 1 New York as teacher of
voice and pf . ; composer,
Korn, Mrs. Clara A., teacher and
composer ; lives Orange, New Jersey,
U. S. A.
Kdrner (k«r'-n«r), (i) Chr. Gf., Leip-
zig* 1756 — Berlin, 1831 ; composer.
(2) Gotthilf Wm., Teicha, near
Halle, 1809 — Erfurt, 1865 ; pub-
lisher.
Koschat (k6'-shat), Thoa., b. Vik-
tring, near Klagenfurt, Aug. 8, 1845;
studied science at Vienna ; joined the
ct. -opera chorus, soon became leader;
1874, joined cath. -choir ; 1878, the
Hofkapelle. 1871, he began the pub.
of original poems in Carinthian dia-
lect, which he set to music for male
quartets ; these have had great pop-
ularity. 1875, founded the famous
Kamthner Quintett " ; prod. 4-act
»t
•• VolksstUck mit Gesang," "/>«> Ro*
senthaUr Nachtigall^' and succ.
** Singspiel ** Der BurgermeisUr von
St, Anna *' (Prague, 1893), etc.
Kdselits (ka'-z^-llts), H.,b. Annaberg,
Saxony, 1854 ; pupil of Richter,
Leipzig Ccns. and Nietzsche, Basel,
lived m Italy; under the name
"Peter Oast" prod, opera, ''Die
HeimUche Eke " (Danzig, 1891).
Kosleck (kosM^k), Julius, b. Neu-
gard, Pomerania, Dec. 3, 1835 ;
trumpet- and comet-virtuoso ; mem«
ber of the royal band, Berlin; teacher.
Kossak (kds'-s&k), Ernst, Marien-
werder, 1814 — Berlin, 1880; writer.
Kossmalj (k6s'-m&-le), Karl, (?) i8xa
— Stettin, 1893 ; teacher, conductor
and writer.
Kdstlin (kgst'.l$n), (i) K. Rhelnhold,
Urach, Wttrtcmbcn?, 1819 — 1894;
prof, and writer. (3) H. Ad., b.
Tubingen, Oct. 4, 1846 ; preacher ;
1875 he united the choirs of three
towns, which became in 1877 the
WQrtemberg Evangelical " Kirchen-
gesangverein," and which he cond.;
1 89 1, Darmstadt ; writer.
Kotek (ko-t«k), Jos., Kamenez-Po-
dolsk. Govt, of Moscow, 1855—
Davos, Switz., 1885 ; violinist, teach-
er and composer ; c. vln.-pcs.
Kothe (ko'-t^). (i) Bd., GrObnig, Sile-
sia, 1 82 1 — Breslau, 1897 ; teacher
and composer. (2) Alojs, b. Gr6b-
ntg, 1828 — Breslau, 1868 ; bro. of
alx)ve; teacher and composer. (3)
Wm., b. Grttbnig, Tan. 8, 1831; bro.
of above; pupil of R. Orgel-Inst.,
Berlin, since 1871 ; teacher, writer
and composer, Habelschwerdt, Sile-
sia.
Kotthoff (kdt'-hoO, Lawrence, b.
Eversberg, Dec. 11, 1862; pupil of
Breslaur, Grunike, and Buchholz,
Berlin ; 1886, St. Louis, U. S. A. ;
critic and teacher.
Kdttlitz (k«t'-ltts), (i) Ad., Trier,
1820— Siberia, i860; dir. and com-
poser. His wife (2) Clothilde (n^
EUendt), 1822-67, was an excellent
singing-teacher.
5i8 THE MUSICAL GUIDE
Ko(t)ze'luch (k6t'-z^4ookh or kd'-zh«.
lookh), (i) Jn. A. (rightly Jan An-
tonin), Well warn, Bohemia, 1738—
Prague, 18 14; mus.-dir.; conductor
and dram, composer. (2) Ld. An-
ton, Wellwam, 1752 — ^Vienna, 1811;
pupil and cousin of above ; conduct-
or, teacher and composer.
Kotsolt (k6t'-ts6lt), H., Schnellewalde,
Upper Silesia, 18 14 — Berlin, 1881 ;
conductor and composer.
Kotzschmar (k5tsh'-miir), Hn., b.
Finsterwalde, Germany, July 4, 1829;
his father taught him various instrs. ;
studied also with his uncle Hayne
and Jul. Otto, Dresden; in the opera-
orch.; 1848, America, with Saxonia
Band ; since 1849 lives Portland,
Me.; cond. ** Haydn Assoc," etc.
Kotzwara (kots-vil'.rii), Fz., b.
Prague — suicide, Ireland, 1 791; tenor-
player and composer of *^ BattU of
Prague ^^ etc
Kowalski (k5-val'-shkt), H., b. Paris,
1841 ; pianist and composer ; pupil
of Marmontel (pf.) and Reber
(comp.) ; composer.
Kraft (krilft), (i) Anton, Rokitzan, 1752
—Vienna, 1820 ; 'cellist and compos-
er. (2) Nicolaus, Esterha?, Hun-
gary, 1778 — ^Stuttgart, 1853 ; 'cellist
and composer; son and pupil of
above ; became a member of the
famous '* Schuppanzigh Quartett."
(3) Fr., b. Feb. 12, 1807; son of
above; for years 'cellist Stuttgart
ct.-orch.
Kr&l (krMl), Jn. Nepomuk, (?) 1826—
Tulln, near Vienna, 1895 (?) ; band-
master.
Krantz (krants), Eugen, Dresden,
1844 — 1898 ; pianist and critic,
teacher and composer.
Krause (krow'-z^), (i) Chr. Gf., Win-
zi|f, 1710 — Berlin, 1770; writer. (2)
Karl Chr. Fr., Eisenberg, Alten-
berg, 1 78 1 — Munich, 1832 ; writer.
(j) Theodor, b. Halle, May i, 1833;
rector at Berlin ; cond. Seififert Soc. ;
R. Mus.-Dir., 1887 ; composer. (4)
Anton, b. Geitham, Saxony, Nov. 9,
1834 : at 6 pupil of cantor Dietrich «
then of Fr. Wieck, Reissiger, and
Spindler, Dresden, later Leipzig
Cons., debut, as pianist, Geitham,
1846 ; 1853-59, teacher and cond.
Leipzig Liedertafel : 1859-97, dir.
Sit^verein and the ConctrtgeselU
schaft (retired) ; 1877 Royal Mus.
Dir.; prof.; c. ^* Frinuessin J he J**
•' Rttbezahl Legend." (5) (Prof. Dr.)
Eduard, Swinemunde, 1837 — Berlin,
1892 ; pianist, teacher and composer.
(6) (Dr.) Emil, Schassburg in Tran-
sylvania, 1840 — Hamburg, 1889;
b'lrytone. (7) Emil, b. Hamburg, *
faly 30, 1840; pupil of Leipzig
Cons.; since i860, teacher of pf. and
theory at Hamburg; since 1885 at
the Cons.; c. an Ave Maria at 6,
etc. (8) Martin, b. Lobstedt, near
Leipzig, June 17, 1853 ; pianist and
teacher ; son and pupil of a cantor,
then studied with Fuchs Borna Teach-
ers' Sem., and at Leipzig Cons. ; toured
Holland and Germany, then had
nervous prostration 2 years ; had the
friendship and advice of Liszt for
years ; 1885, with Siloti and others,
founded the Leipzig ** Lisztvcrein ;'*
1892, professor ; 1901, Munich Cons.
Kraushaar (krows'-har). Otto, Cassel,
i8i2 — 1866 ; writer and composer.
Krauss (krows), (i) Dr. Felix, b.
Vienna, Oct. 3, 1870 ; bass ; pupil of
Stockhausen ; sang Hagen and Gur-'
nemant at Bayreuth, 1899. (2) C*** ^
brielle Marie, b. Vienna, March 24,
1842 ; soprano; pupil of Vienna Cons,
and Marches!; 1860-67, Vienna ct.
opera ; 1867 Th. des Italtens, Paris ;
1875-86, Gr. Op^ra, Paris; since then
a teacher at Paris and officier d' Aca-
demic.
Krebs (kraps), (i) Jn. L., Buttelstadt,
Thuringia, 1713 — Altenburg, 1780;
oi^nist and conijposer. (2) Karl
Aug. (rightly, Miedcke, changed
after adoption by his teacher the
opera-singer J. B, Kreba), NUm-
berg, 1804 — Dresden, 1880; c. ope-
ras. (3) Marie (Frau Brenning^X
Dresden, Dec. 5, 185 1— June 28,
1900; daughter of above, pianist
DICTIONARY OF MUSICIANS 519
and teacher. (4) K.i b. near Hanse-
berg, WUrtemberg, Feb. 5, 1857 ;
studied K. Hochschule, Berlin ; lives
in Berlin as critic and writer.
Krecman. Vide krktschmann.
Krehbiel (kra-bel), H. Edw., b. Ann
Arbor, Mich., March 10, 1854; prom-
inent American critic ; studied law at
Cincinnati, but entered journalism ;
1874-78, mus.*critic Cincinnati Ca-
utU ; later editor New York Mus,
Jitvitw^ and since then critic of the
Tribune; pub. many succ. books, incl.
" Studies in the Wairnerian Dramay*
(1891); *^ How to Listen to Music"*
(i8g6) ; " Annotated Bibliography
of Fine Art;* with R. Sturgis {1897);
*' Music and Manners in the iSth
century " (1898), etc.
Krehl (kral), Stephen, b. Leipzig, July
5, 1864 ; studied Leipzig Cons, and
Dresden Cons., 1889; teacher of pf.
and theory, Carlsruhe Cons. ; c. Char-
akterstUcke, sonata, etc., for piano.
Kreipl (krl'-pl), Jos., 1805 — Vienna,
1866 ; tenor.
Kreiiler (krls'-lfir), (i) Jns. Vide e.
T. A. HOFFMANN. (2) FfltZ, b.
Vienna, Feb. 2, 1875 ; violinist; pupil
of Massart and Delibes ; debut
Paris; toured Europe and U. S.;
lives in Vienna.
Kreittle von Hellborn (krls'-ie fon
h«r-b6m), H., Vienna, 1803— 1869 ;
writer; wrote *''' Biog, of Schubert,**
Krejdi (kr&'-che), Josei; Milostin,
Bohemia, 1822 — Prague, 188 1 ; or-
ganist and composer.
Krempelset2er (krem'.p'Uz^ts-£r), G.,
Vilsbiburg, Bavaria, 1827 — 1871 ;
cond. and dram, composer.
Kremser (kr£m'-z^r), Eduard, b. Vi-
enna, April 19, 1838 ; from 1869,
chorusm. the Vienna ** Mftnnerge-
sangverein'* ; c. operettas, a cantata,
with orch., famous *^ Aitniederldn-
disc he Volksiieder;' and other part-
songs, etc.
Krenn (kr^n), F2., Dross, Lower
Aiistria, 1816 — St. Andra vorm Ha-
genthal, 1897 ; organist, composer
and conductor.
Kretschmann (or KreCntan) (krdtch'-
mftn), Theobald, b. Vinos, near
Prague, 1850 ; solo 'cellist, Vienna
ct. -opera.
Kretschmer (kr«tsh'-m«r), (i) Ed«
mund, b. Ostritz, Saxony, Aug. 31,
1830; pupil of Otto and Schneider,
Dresden ; ct. -organist ; founder and
till 1897 cond. the Cftcilia Singing-
Soc., etc.; teacher in the R. *' Ka-
pellknaben-Institut," where his son
(2) Fz. succeeded him; E. K. c. text
and music of 2 important operas,
''Die Folhunger'* (Dresden, 1874)
and " Heinrieh der Lowe** (Leipzig,
1877): operetta, ''Der FlUehthng**
(Ulm, 1881); a romantic opera
•* Sch^n Rohtraut** (Dresden, 1887);
'* Geisterschiacht" (prize, Dresden,
id^S) : 3-P&rt mass for male chorus
(Brussels Acad, prize, 1868) ; an orch.
suite " Hochzeitsmusik" etc.
Kretxachmar (kr^tsh'-mftr) (Aug^.
Ed.)> Hermann, b. Olberhau, Sax-
ony, Jan. 19, 1848 ; organist and
conductor; pupil of Otto at the
Kreuzschule, Dresden, and at Leip-
zig Cons.; 187 1 Dr. Phil, at Leipzig,
with a thesis on notation prior to
puido d* Arezzo; then teacher of org.
and harm, at the Cons, and cond.
several societies ; 1887, mus.- dir. of
Leipzig Univ. and cond. ** Paulus.'*
1888-97, cond. of the ** Riedel-Ver-
ein," retired because of ill-health;
1S90, prof., critic, lecturer and
writer ; c. org. -pes. and part-sonffs.
Kreub6 (krii-b&), Chas. Frederic,
Luneville. 1777 — at his villa, near St.
Denis, 184.6; cond. at Paris Op.
com.; c. 10 comic operas.
Kreu(t)zer (kroi'-tsdr), (i) Conradin,
Mosskirch, Baden, Nov. 2a, ^^%f^^
Riga, Dec. 14, 1849 ; P^pil of Kie«
gard, Weibrauch and Albrechtsber*
ger ; toured as pianist; ct.-cond. ; c.
30 operas, inch" Das Nachtlage von
Granada** (1834) and "Jerry und
Batefy;* still played,etc. His daughter
(2) Ciicilie was an operatic singer.
(3) (pron. in France, krdt-zflr), Ko«
dolpne, VenaiUes, Nov. 16, 1766;
m
520
THE MUSICAL GUIDE
— Geneva, Tan. 6, 1831 ; famous vio-
linist to whom Beethoven dedicated
the ** JCreutBfr Sonata"/ son and
pupil of a German violinist and of
Stawitz; prof, at the Cons.; ct. -vio-
linist to Napoleon and to Louis
XVIIL, 1802-26; prod, at Paris
over 40 operas, incl. ** Lodoiska**
also colUborated with Rode and Bail-
lot in a standard method and c.
famous vln.-etudes, etc. (4) Aug^.,
Versailles, 1781 — Paris, Aug. 31,
1832 ; bro. of above, and 1826. his
successor as vln.-prof. at the Cons. ;
composer. (5) L6on (Chas. Fran.),
Paris, 1817— Vichy, 1868. Son of
(3) ; writer and composer.
Krieg:er (kre'-g€r), (i) Adam, Drie-
sen, Neumark, 1634 — 1666 ; ct. -or-
ganist and composer. (2) (Jn.) Phil-
up, Nambeiig, 1649 — Weissenfels,
1725 ; ct. -organist, ct.-cond., and
dram, composer. (3) In., Nttrnberg,
Jan. I, 1652— Zittau, July 18, 1736 ;
famous contrapuntist ; bro. and pupil
of above, and his succ. as ct.-cond.
(4) Pd., b. Waldershof, Franconia,
Jan. 8, 1843; studied Eichstatt Teach-
ers Seminary and Munich Cons.; from
1867, teacher Normal Sch. at Ratis-
bon ; writer and composer.
iCriesstein (kres'*3htln), Melchior,
printer at Augsburg (1545).
Krig^ar (kre'-gar), (Julius) H., Berlin,
1819 — 1880 ; pianist, conductor and
composer.
Krisper (kre'-shp^r), Dr. Anton L., b.
Graz, 1882 ; writer.
Krizkowsky (kresh-kof'-shkY), Paul,
1820— Brunn, 1885 ; Czech composer.
Kroeeer (kra'-g^r), Ernest R., b.
St. Louis, U. S. A., Aug. 10, 1862 ;
at 5 studied pf. and vin. ; lives St.
Louis as teacher ; c. a symph., 5
overtures, a fugue, etc.
KroU (krol). Px., Bromberg, 1820—
Berlin, 1877 \ pianist and composer.
Krolop (kr6'-16p), P2., Troja, Bohe-
mia, 1839 — Berlin, 1897 ; bdss.
Krommer (kr6m'-m£r), Pz., Kame-
nitz, Moravia, 1760 — Vienna, 1831 ;
violinist, organist and conductor.
Kronach. Vide kxitzsch.
Kronke (krdnk'-«), Emil, b. Danzig,
Nov. 29, 1865 ; pianist ; pupil of
Reinecke and Paul, Nicode and Th.
Kirchner, Dresden ; 1886 won pf.-
prize, Dresden Cons.; 1887, diploma
of honour ; editor of an edition of
. Liszt's complete works ; also com-
poser.
KrU(c)kl (krak'.n), P2., Edispitz, Mo.
ravia, Nov. 10, 1841 — Strassburg,
Jan. 13, 1899 ; barytone, teacher and
composer.
Krug (krookh), (i) Pr„ Cassel, 1812 —
Carlsruhe, 1892 ; op. barytone and
dram, composer. (2) Dietrich, Ham-
burg, 1821 — 1880; pianist and com-
poser. (3) Arnold, b. Hamburg,
Oct. 16, 1849 ; son and pupil of
above ; studied also with Gurlitt and
Reinecke ; won Mozart scholarship,
1869 ; studied with Kiel and £d.
Franck, Berlin ; 1872-77, pf.-teach«
er, Stem Cons. ; won Meyerbeer schol-
arship, and studied in France and
Italy ; 1885, ct.-cond. at the Ham-
burg Cons. ; pub. a symph. , symph.
prologue ** Otelloy^ and orch. suite ;
choral works, etc. (4) (Wenzel)
Jos. (called Krug-Waldsee), b.
Waldsee, Upper Swabia, Nov. 8,
1858 ; chiefly self-taught until 1872,
then studied vln., pf., singing and
comp. with Faiszt, at Stuttgart
Cons.; 1882-89, cond. at Stuttgart;
1889, chorusm., mus.-dir. Municipal
Th., Hamburg; 1892, th.-cond. vari-
ous cities ; 1889, Munich ; 1900,
NUmberg ; 1901, Magdeburg; .c.
important concert-cantatas, " i?<7r»-
roscken," " HochzeitsUedr " Ceiger
zu Gmund** and ^* Seebilder^*; succ.
opera '' Astorre'* (Stuttgart, 1896);
*' secular oratorio" ^'Konig Rotker^
etc.
Krttgcr (krtt'-g«r), (i) Eduard, LUne-
burg, 1807 — Gftttingen, 1885 ; prof,
and writer. (2) Wm., Stuttgart,
1820 — 1883 ; pianist, teacher and
editor. (3) GU, Stuttgart, 1824—
i8<)5 ; bro. of above ; karpfst.
Kruis (kris), M. H. van, b. Oude>
DICTIONARY OF MUSICIANS 521
water, Holland, March 8, 1861; pu-
pil of Kikolai at The Hague ; 1884,
organist, teacher and writer, Rotter-
dam ; 1886, founded monthly " Het
Orgel" ; c. an opera '* DeBloem Van
hland^^ 3 symph., 8 overtures, etc.
Krumpholtz (kroomp -holts), (i) Jn.
Bap., Zlonitz, near Prague, ca. 1745
— Feb. iq, 1790; harpist and com-
poser ; he m. his 16-year old pupil,
Frl. Meyer, a brilliant harpist ; they
gave concerts together, until her elope-
jDent, when he drowned himself in
the Seine. (2) Wenzel, 1750— Vi-
enna, 1817 ; bro. of above ; violinist
and Ciittposer.
Kruse Ocro«'-z^), Jn. S., b. Mel-
bourne, Australia, March 31, 1859;
violinist ; pupil of Joachim ; leader
of the Philh. Orch., Berlin; 1893,
leader, Bremen orchestra.
Kubelik (koo'-b^-llk), Johann, b.
Michle, near Prague, July 5, 1880 ;
prominent violinist ; son and pupil of
a Bohemian gardener ; pupil for 6
years of Sevcik, Prague Cons. ; studied
later at Vienna ; debut there 1898 ;
then toured Europe, played at Milan.
London, 1900, and 1901 America
with great success ; 1902, London
Philh. Society awarded him its Bee-
thoven medal.
Kucharii (koo'»charzh), Jn. Bap.,
Chotecz, Bohemia, 1751 — Prague^
1829 ; organist and conductor.
Kttcken (kik'-'n), Fr. Wm., Bleck.
ede, Hanover, 1810— Schwerin, 1882 ;
composer of operas and pop. songs ;
• for some time cond. at Stuttgart.
Kucxyntki (koo-chen'-shkl), Paul,
b. 1846 ; Polish composer *, pupil of
von Bulow ; c. succ. cantata ^* ArU
adney
Kudelski (koo-d^l'-shkY). K. Mat.,
Berlin, 1805 — Baden-Baden, 1877 ;
violinist, composer and conductor.
Ku£Ferath (koof'-ffir-fit), (i) Jn. Hn.,
Mtthlheim-on-the-Ruhr, 1797 — Wies-
baden, 1864; conductor. (2) Louis,
Muhlheim, 181 1 — near Brussels, 1882;
pianist, teacher and composer. (3)
Hubert Fd., Muhlheim, June 11,
18 1 8 — Brussels, June 23, 1896 ; noted
pianist ; bro. and pupil of above ;
writer and composer. (4) Maurice, b.
Brussels, Jan. 8, 1852. Son and pu-
pil of (3) ; studied with Servais (p^re
and fils) 'cello ; 1873, editor *' Guide
musicaU^'^ later, proprietor ; writer
and translator under the name
'* Maurice Reymont.*'
KUffner (ktf'-n^r), Jos., Wttrzburg,
1776 — 1856 ; dram, composer.
Kttgelmann (koo'.g£l-m£n), Hans, d.
KOnigsberg, 1542; trumpeter and
composer.
Kuhe (koo'-if), Wm.f b. Prague, Dec.
10, 1823 ; pianist ; pupil of Proksch,
Tomaschek and Thalberg; 1845,
London ; from 1886 prof, the R. A.
M.; composer.
Kuhlau (koo'-low), Fr., Clzen, Han-
over, Sept. II, li786---Copenhagen,
March 13, (18?), 1832; ct.-flutist,
dram, composer, teacher and com-
poser of important- technical pf.-pcs.,
et"
ftahmstedt (kttm'-sht^t), Fr., Oldis-
leben, Saxe-Weimar, 1809 — Eise-
nach, 1858 ; theorist, composer, writ-
er and teacher.
Kuhnau (koo'-now), Jn., Gey sing,
Saxony, April, 1667 (?) — Leipzig,
June 5, 1722 : pupil of Henry, Al-
brici and Kdelmann ; organist at the
Thomaskirche, Leipzig, and 1700
cantor, before Bach ; pub. the first
sonata for harpsichord, of which he
was a noted player ; also famous Bib-
lical sonatas ; composer and writer.
Ktthner (ka'-nSr), Konrad, b. Markt-
streufdorf, Meiningen, March 2,
185 1 ; pupil Stuttgart Cons. ; lives in
Brunswick as teacher, writer and
composer.
Kulenkampf (koo'.rn-kSmpf), Gus., b.
Bremen, Aug. il, 1849, concer^t
pianist and teacher ; pupil of Rein-
thaler, Barth and Bargiel, Berlin
Hochschule , organised the succ.
** Kulenkampscher Frauenchor" ; dir.
Schwantzer Cons, at Berlin for a few
years ; c. succ. comic operas ** Der
Page"' (Bremen, 1890) and '*Z?^/
■«•
522
THE MUSICAL GUIDE
Mohrenfarst"* (Magdeburg:, 1892);
** Die Braut von Cypern " (Schwerin,
1807) ; male choruses, etc.
Kullak (kool'-lak), (i) Thcodor, Kro-
toschin, Posen, Sept. 12, 1818— Ber-
lin, March i, 1882 ; eminent teacher ;
Prince Radziwill had him taught by
the pianist Agthe ; at 11 he played at
a ct. -concert; studied with Dehn,
Czemy, Sechter and Nicolai ; then
teacher to the royal family ; 1846, ct.-
pianist, Berlin ; 1850, founded (with
Julius Stem and Bern. Marx) the
Berlin (later Stern) Cons.; 1855, re-
signed, established his famous *VNeue
Akademie der Tonkunst ; " 1861, royal
prof. ; wrote standard works, '* Sch,
of Octave'playingy* ** Seven Studier
in Octave-playing" etc. ; c. a concerto,
sonata and other brilliant pf.-pcs.,
etc., incl. "• Kinder leben,'* (2) Ad.,
Mescritz, 1823 — Berlin, 1862 ; bro.
of above ; writer and composer. (3)
Fz*, Berlin, April I2, 1842 ; son and
pupil of (i) ; studied with Wiepredit
and Liszt ; 1867, pf. -teacher and dir.
orch. -class in Acad, of his father, on
whose death he became dir. in 1890 ;
writer ; c. an opera ^' Ines de Castro "
(Berlin, 1877). etc.
Kummer (koom'-mV), (i) Kaspar,
Erlau, 1795— Coburg, 1870 ; flute-
virtuoso. (2) Fr. Aug^., Meiningen,
Aug. 5, 1797 — Dresden, May 22,
1879 ; notable 'cellist and composer
for 'cello ; wrote method. (3) Alex.,
b. Dresden, July 10, 1850; son of
above ; pupil of I^ipzig Cons., vln.-
virtuoso ; lives in England.
KUmmerle (kYm'-m^r-l^\ Salomon,
Malmsheim, near Stuttgart, 1838 —
Samaden, 1896; prof, and compos-
er.
Kttndinger (ktn'-dtng-^r), (i) G.
Wm., b. K5nigshofen, Bavaria,
Nov. 28, i8<X) ; 1831 Stadtcantor at
Nordlingen ; 1838, Nttrnberg ; com-
poser of church music. His 3 sons,
(2) Alex, b. Kitzingen, Feb. 13,
1827 ; ct. -violinist and composer, St.
Petersburg. (3) Kanut, b. Kitzingen,
Nov. II, 1830; 'cellist, since 1849 in
Munich ct.-orch.; and (4) Rudolf, b.
Nordlingen, May 2, 1832 ; pianist ;
pupil of his father and BlumrOder;
since 1850 lives in St. Petersburg;
teacher at the court and to the Em-
press ; 1879 prof, at the Cons. ; com-
poser.
Kunkel (koonk'-'l). (i) Fx. Jos., Drie-
burg, Hesse, 1804 — Frankfort-on-
Mam, 1880; theorist and composer.
(2) K. Bros., music publishers, St.
Louis, Mo.
Kuntze (koon'-ts^), K., Trier. 1817—
Delitzsch, Saxony, 1883 ; teacher and
composer.
Kunz (koonts), Konrad M'tfk, Schwan-
dorf, Bav. Palatinate, 1812 — Munich,
1875 ; conductor and composer.
Kunzen (koonts'-'n),(i) Jn. Paul, Leis-
. nig, Saxony, 1696^ — LQbcck, 1770;
organist and composer. (2) Ad. K.,
Wittenberg, 1720— Lubeck, 1 781; or-
ganist, pianist and composer. (3)
Fr. L. Emilias, Lubeck, 1761 —
Copenhagen, 181 7; ct. -conductor and
composer.
Kupfer-Bers^er (koop'-fr-b«rkh-'r).
Ludmilla, b. Vienna, 1850 ; pupil of
the Cons.; debut Linz-on-Danube,
1868, then at the Berlin Ct. -opera ;
m. the Berlin merchant Kupfer ; later
at Vienna, ct. -opera as alternate with
Matema.
Kurpinski (koor-pTn'-shkt), Karl (Ka-
simir), Luschwitz, Posen, 1785 —
Warsaw, 1857 ; conductor and dram,
composer.
Kurth (koort), (Martin Alex.) Otto,
b. Triebel, Brandenburg, Pnissi*,
Nov. IP, 1846; pupil of Haupt.
Loschhorn, and Jul. Schneider, Ber-
lin ; 8,mce 1871, teacher Teachers'
Seminary, Lttneburg ; 1885. R. Mus.-
Dir.; c. 3 operas, oratorio, advent
cantata, with orch., symph., etc.
Kus'ser (or Cous'ser), Jn. Sief«
mund, Pressburg, ca. 1657 — Dublin,
1727 ; conductor and dram, composer.
Kttstcr (kts'-tCr), Hn., Templin,
Brandenburg, 1817 — Herford, West-
phalia, 1878 ; ct.-organist, theorist
and composer
DICTIONARY OF MUSICIANS 523
Kwast (kwast), Jas., b. Nijkerk, Hoi.
land, Nov. 23, 1852 ; pianist ; pupil
of his father and Fd. Bohme ; Rei-
necke and Richter, Kullak and
Wuerst, Brassin and Gevaert, Brus-
sels; 1874 teacher Cologne Cons.;
1883, Iloch Cons., Frankfort; com-
poser.
Labarre (la-bitr). Th., Paris, 1805—
1870 ; harpist and dram« composer.
Labatt (la-bat), Leonard, Stockholm,
1838 — 1897 ; tenor.
Labitzk7(la-bu'.shkY), (i) Jos., Schan-
feld, near Eger, i8c2 — Carlsbad,
188 1 ; violinist. Two sons (2) Aug^.,
b. Petschau, Saxony, Oct. 22, 1832 ;
pupil of Prague Cons. , of David and
Hauptmann, Leipzig ; 1853, cond.
and composer at Carlsbad. (3) Wm.,
violinist ; lives in Toronto, Canada.
Lablache (la-bl&sh), Luig^, son of
French father and Irish mother,
Naples, Dec. 6, 1794 — Jan. 23, 1858;
eminent bass, with powerful and flex-
ible voice with compass (El' -e') ; pu-
pil of Valesi, pupil Cons, della Pieti ;
debut Naples as buffo ; later in heroic
roles throughout Europe ; wrote
** Methode de chant."
Labor (la -bor). Josef, b. Horowitz,
Bohemia, June 29, 1842 ; a blind
pianist and organist ; pupil of Sechter
and Pirkjer, Vienna Cons.; chamber-
pianist and teacher of the princess of
Hanover; c. a Paternoster with orch.;
an Ave Maria in canon-form for
female voices, etc.
Laborde. Vide delaborde.
Lachaume (la-shom), Aim6, b. Paris ;
pianist and composer ; came to New
York, 1890 (?) ; lives there as teacher,
accompanist, cond. and composer of
pantomimes, incid. mus., etc.
Lachmund (lakh'-moont). Carl V., b.
Booneville, Mo., U. S. A., 1854; at
13 studied in Cologne with Heller,
Jensen and Seiss ; then Berlin, also 4 '
years with Liszt at Weimar ; c. trio ,
(played by Berlin Philh. orcisL), .
38
C4
^Japanese'''* overture (perf. by
Thomas and Seidl), et'C.; lives in
New York as. teacher, conductor and
composer.
Lachner (lakh'-ndr), (i) Theodor, b.
1798; son of a poor organist at Rain,
Upper Bavaria ; organist at Munich.
(2) Thekla, b. 1803; sister of above,
orgranist at Augsburg. (3) Christi-
ane, b. 1805 ; sister of above ; or-
ganist at Rain. (4) Fz., Rain, April,
2, 1804 — Munich, Jan. 20, 1890;
half-brother of above ; studied witk
Eisenhofer (comp.), and with Ett ;
1882, organist Protestant Church,
Vienna, and studied with Stadler,
Sechter, and Weigl ; a friend of
Schubert and Beethoven; 1826, cond.
Karthnerthor Th. ; 1834, Mannheim;
1836, the production of his D minor
symph. at Munich won him the ap-
pointment of ct.-cond.; from 1852,
was gen. mus. dir.; 1868 retired with
pension in protest against the growing
\Vagnerianism at court ; his eight
orch. suites are his best work, show-
ing his contrapuntal gifts at their
best ; he prod. 4 operas, 2 oratorios,
8 symphs., incl. the *^ Appassiottata"
chamber-music, etc. (5) Ig^atz,
Rain, Sept. 11, 1807 — Hanover, Feb.
24, 1895. Bro. of (4) and his successor
as organist, 1825. 2d cond. of court-
opera, later ct.-mus.-dir., Stuttgart ;
1858, ct.-cond., Stockholm; c. ope-
ras, pop. Singspieie, etc. (6) Vin-
cenz. Rain, July 19, i8ii — Carls-
ruhe, Jan. 22, 1893 ; bro. of above ;
his successor as organist and later
successor of Fz., as ct.-cond.; teach-
er and composer.
Lacknith (lak'-nlt), L. Wenzel, b.
Prague, 1746 ; hom*player, and de-
rangcr of famous works.
Lack (lak), Th6odore, b. Quimper,
F'rance, Sept. 3, 1846 ; pupil of Mar-
montel (pf.) and Bazin (harm.) Paris
Cons.; teacher at Paris ; 188 1 ofiicier
of the Acadcmie; officier of public in-
struction ; c. much light and grace-
ful pf.-music.
Lackowitz (lak'-o-vUs), Wql, Treb-
524 THE MUSICAL GUIDE
bin, near Berlin, Jan. 13, 1837; pupil
of Erk, Kullak, and Dehn ; editor.
Lacombe (la-kohb), * (i) Louis
(Brouiilon - Lacombe), Bourges,
France, Nov. 26, 1818— St. Vaast-la-
Hougue, Sept. 30, 1884; pianist; pupil
of Paris Cons. ; writer and dram, com-
poser. (2) Paul, b. Carcassonne,
Oude, France, July 11, 1837; studied
with Teysseyre, but mainly self-
taught ; 1880 won the Prix Chartier,
for chamber-mus., in which field he is
most famous ; c. also 3 symphs. , a
symph, overture, etc.
Lacome (la-kiim), Paul (P. J. Jac.
Lacome de L'Estaleux), b. Hou-
ga, Gcrs, France, March 4, 1838 ;
lives since i860, Paris ; essayist and
composer of maay light operas, incl.
''^ Jeanne^ feannetU et Jeanne ton^^
(1876); orchestral suites ; songs, incl.
** L'Estudiantina," etc. •
La'cy, (i) J., bass, at London, i8t8.
His wife (2), Mrs. Bianchi Lacy, was
a soprano. (3) Michael Rophino,
Bilbao, 1795 — Pentonville, 1867 ;
English violinist and composer.
Ladegast (la -d^-gast), Fr., b* Hoch-
hermsdorf, near Leipzig, Aug. 30,
1818 ; org. -builder.
Ladurner (la-door -n^r), Ignaz Ant.
Fr., Aldein, Tyrol, 1766— Villain
(Massy), 1839; pianist and compos-
er.
Lafag^e (la-f&zh). Juste Adrien Le-
noir de, Paris, 1 80 1— Cha ten ton In-
sane Asylum, 1862 ; singing- teacher,
conductor, coniposcr and writer.
Lafont (la-fon), Chas. Philippe, Paris,
1781 — near Tarbes, 1839; violinist
and composer.
\a Grange (U granzh), Mme. Anna
(Caroline) de, b. Paris. July 24,
1825 ; colorature soprano of remark-
able range and flexibility ; pupil of
Bordogni and Lampcrti ; debut 1842,
at Varese ; m. the wealtiiy Russian
Stankowich, has since lived in Paris as
teacher.
La Harpe (la-irp), J, Fran, de, Paris,
1739 — 1803 ; critic.
Lahee', H.^ b. Chelsea, England, April
II, 1826; pupil of Bennett, Potter
and J. Goss (comp.) ; concert-pian-
ist ; lives in Croyclon as teacher ; c.
5 cantatas, etc.
Lahire (la-er). Ph. de, Paris, 1640—
1710 ; writer.
Laid'law, Anna Robena (Mrs.
Thomson), Bretton, Yorkshire, April
30, 1819 — May, 1901; successful con-
cert-pianist until her marriage, 1852.
Lais. Vide lays.
Laiarte (la-zh&rt). Th. £d. Dufaure
de, Bordeaux, 1826 — Paris, 1890;
writer and dram, composer.
Lajeunesse, M. Vide albani.
Lalande (la-lahd), (i) Michel Rich-
ard de, Paris, 1657 — 1726 ; organ-
ist, conductor and composer. (2)
(M^ric-Lalande) Henriette Cld-
mentine, Dunkirk, 1798 — Paris,
1867 ; brilliant soprano.
Lalo (Ia-16), Ed. (V.), Lille, Jan. 27,
1823 — Paris, April 22, 1892 ; violinist
and viola. -virtuoso ; c. 2 vln. -concer-
tos ; ^^Symph4fnie espa^nole^' ; rhap-
sody for orch. , opera " Z^ Roi d^ K/,"
chamber-music, etc.
Lamb, Benj., Engl, organist i8th
cent.
La Mara. Vide lipsius, marie.
Lambert (laA-b^r), (i) Michel, Vi-
vonne, Poitou, 1610 — Paris, 1696 ;
conductor and composer. (2) Lu-
cien, b. Paris, Jan., 1861 ; pupil of
Paris Cons.; 1883, took Prix Rossini
w. cantata ** Promethie Enchaind*'* ;
c. lyric dram. •*Z^ SpahV* (Op.-
com., 1897), overture, etc.
Lambert (lam'-bdrt), (i) Jn. H:, Mtlhl-
hausen, Alsatia, 1728 — Berlin, 1778 ;
writer. (2) Geo., b. Beverley, 1795 ;
organist there, succeeded by his son
(3) Geo. Jackson in 1818 ; retired,
1874. (4) Alex., b. Warsaw, Po-
land, Nov. I, 1862 ; son and pupil of
(5) Henry L. ; (4) studied at Vienna
Cons. ; graduated at 16 ; studied with
Urban, Berlin ; toured Germany and
Russia : studied some months at W^-
mar with Liszt ; 1884, America ;
, since 1888, dir. N. Y. Coll. of Mu».j
composer.
DICTIONARY OF MUSICIANS 525
Lambert! (Um-b^r'-te), Gius., Cuneo,
Italy, 1820 (?) — Turin, i8g4 ; dram,
composer.
Lam'beth, H. A.i b. Hardway, near
Gosport, 1822 ; organist.
LambiUotte (Isln-bl-yot), Fire Louis,
Charleroi, Hainault, 1797 — Vaugi-
rard, 1855 ; organist, conductor and
composer.
Lammers (Um'-m£rs), Julius, Leip-
zig, 1829 — 1888 ; composer and teach-
er.
Lamottd', (i) Fr. A., b. Glasgow, Jan.
28, 1868 ; concert-pianist (pupil of
his bro. (2) David) ; 1882 at Raff
Cons., Frankfort ; later with von
Bulow and Liszt ; debut, Berlin,
1885 ; toured Europe; 1902, America;
c. symph., overture **j4iAf dent schoU
tischen ffochlande" etc.
Lamothe (liUmot), G., France, 1837 —
Courbevoie, 1894; composer.
Lamoureux (Um-oo-rti'), Chas., Bor-
deaux, Sept. 28, 1834 — Paris, 1900;
eminent conductor ; pupil of Girard,
Paris Cons.; later with Tolbecque,
Lebome and Chauvet ; co-founder of
a soc. for chamber-mus. ; 1872, or-
ganist ** Societe de musique sacree ; "
1876, assist.-cond. Paris Opera ;
1878, first cond.; 1872-78, also
assist.-cond. the Cons. Concerts ; re-
signed from the Opera, 188 1, and est.
the celebrated ** Concerts Lamou-
reux " (Nouveaux Concerts).
Lampada'rius, (i) Jns., chapel-singer,
St. Sophia, Constantinople, 14th
cent.; writer. (2) Petrus, b. Tripo-
litza, Morea, ca. 1730 ; composer.
Lampadius (lUm-p&'-dY-oos), Wm*
Ad., 1812— Leipzig, 1892 ; writer.
Lampe (lilm'-pd), J. F., Saxony, 1703
— Edinburg, 175 1; bassoonist and
operatic composer.
Lamperen (lah'-pS-rSn), Michel
▼an, b. Brussels, Dec. 6, 1826 ; 1859,
libr. Brussels Cons.; composer.
Lampert (lam'-pdrt), Ernst, Gotha,
1818 — 1879; pianist, violinist, ct.-
conductor and dram, composer.
Lamperti (lam-p€r'-te), Fran., Sa-
vona, Italy, March 11, 1813— Como,
May I, 1892 ; eminent singing-teach*
er ; pupil of Milan Cons, and teacher
there, 1850-76 ; pub, treatises.
Lampug^nani (I&m-poon-yft'-ne), GIot.
Bat., Milan, 1706 — ca. 1780; dram«
composer.
Land (Iftnt), Dr. Jan Pieter Nico-
laas, Delft, 1834 — Amhem, 1897;
professor ; pub. important resolts of
research in Arabian and Javanese
mus., etc.
Landgraf Gant'-grftO, J. Fr. Bd.,
Dielsdorf, Weimar, 18 16 — Leipzig,
i88j ; clarinettist.
Landi (liin'-de), Stefiuio, Rome, ca.
1590— ca. 1655 \ conductor, com-
poser and singer.
Landino (l&n-de'-nd), Fran, (called
Francesco Cieco '*the blind,*' or
Degli Org^ani), Florence, ca. 1325-^
1390 ; notable organist and composer.
Landolfi (ian-doMe) (or Landul'-
phus), (i) Carlo Fdo., 1. Milan,
1750-60 ; maker of 'cellos, etc. (2)
Pietro, instr. -maker at Milan ca.
1760, probably son or bro. of above.
Lang (Ung), (i) (Lang^Kdstlin), Jo-
sephine, Munich, i8i5--Tabingen.
1880 ; composer. (2) BenJ. John*
son, b. Salem, Mass., Dec. 28, 1837-
prominent pf. -teacher and conductor,
pupil of his father and of F. G. IliU
at Boston, Taell and Batter, later in
Berlin, and with Liszt ; since 1852,
organist various churches, Boston;
for over 25 years organist Handel and
Haydn Soc. and cond. since 1895 ;
also cond. the Apollo Club and the
Cecilia, etc. ; c. an oratorio ^^ David *'/
symphs., etc. (3) Marg^et Ruth*
▼en, b. Boston, Nov. 27, 1867 ;
daughter and pupil of above ; studied
ftlso with Schmidt of Boston, Drechs-
ler and Abel (vln.) and Gluth (comp.)
in Munich ; pub. manv original and
important songs and pf.-pcs. (4)
Karl, b. Waiblingen, June 24, i860;
tenor at Schwerin ; pupil of Dr.
Gunz.
Langbecker 0^ng'«b<k-^r), Emanuel
Chr. Gl., Berlin. 1792— 1843 ; writ*
er.
526
THE MUSICAL GUIDE
Lan^doQy Richard, Kxeter, Engl.,
ca. 1739 — 1803 ; oiganist and com-
poser.
L&lis:e (Ung'-d), (i) Otto, Graudenz,
1815 — Cassel, 1879 ; editor and writ-
er. (2) Gustav, Schwerstedt, near
Erfurt, 1830 — Wernigerodc, 1889 ;
pianist and composer. (3) Samuel
de, Rotterdam, Feb. as, 1840; son
a»d pupil of the organist, (4) Sam-
uel de L. (181 1 — 1884); later stud-
ied with Winterberger, Vienna, and
Damcke and MikuTi, Leraberg; 1863
organist and teacher Rotterdam
Mus. Sch., often touring Europe;
1876 teacher Cologne Cons., also
cond.; 1885-93, cond. at The Hague,
later teacher and vice-dir. Stuttgart
Cons., and since 1895, cond. ; c.
oratorio "iJ/w^fj" (The Hague,
2889), a symph., etc. (s) Daniel
dti b. Rotterdam, July 11, 1841 ;
bro. of above ; studied with Ganz
and Servais ('cello), Verhulst and
Damcke (comp.), at Lemberg Cons.
1860-63, then studied pf. with Mme.
Dubois at Paris ; chiefly self-taught
as organist ; 1895, ^^^' Amsterdam
Cons., and cond.; also critic; c.
opera **/?< Vai Van KuiUnburg'' ;
two syrophs. ; overture, '* WiUtm van
HelhHd," etc. (6) Aloysia. Vide
WKBER (4).
Laugher (l&ng'-«r), (i) Hn., Hocken-
dorf, near Tharandt, Saxony, 1819—
Dresden, 1889; organist, conductor
and teacher. (3) Fd., b. Leimen,
near Heidelberg, Jan. ai, 1839; '««!•
list at Mannheim ct.-Th., and later
and Qond. ; prod, there 5 succ. operas.
(3) Victor, b. Pesth, Oct. 14, 184a ;
pupil R. Volkmann, and Leipzig
Cons.; lives in Pesth as teacher, th.«-
cond. and editor ; pub. under the
name of '* Aladar Tisaa " very pop.
songs, etc.
Laogert (lang'-«rt), (1) (Jn,) Aug.
(Ad.), b. Coburg, Nov, 26, 1836;
dram, composer; th.-cond. Coburg;
1872, teacher of comp. Geneva Cons.;
1873, ct.-cond., Gotha, reappointed
1893 ; prod. 7 operas.
Laiig:hao9 (l&ng'.hans), (Fr.) Wm.,
Hamburg, 1832 — Berlin, 1893; writer.
Langl^ (laiV-Ia), Honors Fran. M.^
Monaco, 1741— Villiers-le-Bel, near
Paris, 1807; mus.-dir., theorist and
composer.
Langshaw, (i) J., d. 1798; Engl, or-
ganist. (2) J., London, 1763 ; or-
ganist ; son and successor of above.
Lani^re (Lanier or Lanieri) (l&n-v&r,
l&n-er', or lan-I-a -re), (i) Nicholas,
Italy (?), ca. 1588 — London, 1665
(1668?); son of (2) Jo8„ and nephew
of (3) Nicholas, (a) and (3) came to
England, were mus. to Queen Eliza-
beth, (i) was ct. -musician to Charles
L ; a prolific composer and singer
who introduced the recitative style
into England.
Lanner (lSn'-n6r), (1) Jos. (F«. K.),
Oberdobllng, near Vienna, 1801-^
1843 ; violinist, composer and con-
ductor. (2) Aug. (Jos,), 1834— 1855;
son of above ; violinist, conductor
and dance-compQser of prominence.
Lans (Michael), J. A., b. Haarlem,
July 18, 1845 ; a R. C. priest, from
1869 teacher in Voorhout Seminary ;
from 1887, pastor at Schiedam ; 1876
founded church-mus. periodical, and
1878, the Gregorian Soc. ; c. a mass^
etc.
Lapicida (la-pY-che'>da), Erasmus*
i6th cent, composer.
Laporte (la-port), Jos. de, Befort,
1713 — Paris, 1779 I Jesuit abbe ;
writer
Lara (ik'-ra), Isidore de (rightly Co-
hen), b. in Ireland, 1862, of English
father and Portuguese mother; studied
at Milan Cons.; took 1st prize for
comp. at age of 17; has written songs
and the following operas: ''La Luce
delt Asia** founded on Sir Edwin
Arnold's poem (London, 1892);
'' Amy Jicbsarr (1893); ** Moina'*
(1897); '"Afessaline,'* Monte Carlo
(1899), very successful.
Laroche (la-rosh), (i) Jas. (called
" Jemmy **), ca. 1680 — singer, Lon-
don. (2) Hermann Aug^stovitch,
b. St. Petersburg, 1845 *, studied is
DICTIONARY OF MUSICIANS 527
•toi
the l!ons.; since 1866 teacher of
theory and history at Moscow Cons.;
writer and composer.
La Rue (la-rU), Pierre de (Latinised
Petrus Platensis; also called
Perisone, Pierchon, Pierson,
Pierzon, or Pierazon de la Ruel-
lien), eminent i6th cent. Netherland
contrapuntist and composer ; fellow-
pupil (with Desprds) of Okeghem ;
ct. -singer and favourite of Margaret of
Austria.
Laruette (la-rn-fit), J. L., Toulouse,
1731 — 1792 ; composer.
La Salette (la-s&-l£t'), Joubert de,
Grenoble, 1762 — 1832 ; writer.
Lasner (Ids'-ndr), (i) Ig^az, Brosau,
Bohemia, 1815 — Vienna, 1883: 'cellist.
(2) K., b. Vienna, Sept. 11, 1865 ; son
of above ; 'cellist Laibach Philh.Orch.
Lastalle (Us-s&l), Jean, b. of French
parents, London, 1847 ; studied
Paris Cons.; notable barj'tone ; d^but,
Brussels, 187 1 ; sang at Paris op^ra,
in America, etc.
Lassen (las'-s^n), Eduard, b. Copen-
hagen, April 13, 1830 ; at 2 was
taken to Brussels and at 12 studied in
the Cons, there ; won first pf.-prixe,
1844 ; harm, prize, 1847 ; 2nd prize
in comp. and 185 1 Prix de Rome ;
travelled in Germany and Italy and
made a long stay in Rome; 1858, ct.-
mus.-dir. at Weimar; Liszt procured
the prod, of his op>era ^^ Laridt^raf
Ludwiifs Braui/ahrt" (Weimar,
1857) ; 1861-95, Liszt's successor as
ct.-cond. at Weimar; then pensioned;
c. operas ^'^ Fraiuniob" (Weimar,
l86o) ; ** Le Captif' (Brussels, 1865;
in German, W^eimar, 1868) ; 11 char-
acteristic orch.-pcs. ; Bible-scenes with
orch. ; cantatas, 2 symphs., pop. songs,
etc.
Lasserre (Ids-s&r), Jules, b. Tarbes,
July 29, 1838 ; pupil Paris Cons. ;
took 1st and 2nd prize as 'cellist ;
1869 Engl, composer.
Lasso (las -so), (i) Orlando di (rightly
Roland de Lattre, Lat. Orlan'dus
Las'sus), Mons (llainault), 1520^
Munich, June 14, 1594; most emi-
nent of Netherland, and (except Pai-
estrina) of i6th cent., composers and
conductors. C. 2,500 compositions,
many of which are still beautiful to
modem ears, as his melodic suavity
was not smothered by the erudition
which gave him even among contem-
poraries the name '* Prince of Music."
Befriended by various noblemen and
given much Italian travel, he became
T 541-48 cond. at S. Giovanni in La-
terano at Rome ; then visited Mons
and ca. 1554, England, settling in
Antwerp the same year ; 1557 joined
on invitation the ct.-chapel of Albert
v., Duke of Bavaria ; from 1562 he
was cond. there, full of honours. His
complete works (in course of pub. by
Breitkopf & H artel) include his fa-
mous " Psalnii Davidis pcenitentu
ales" masses, psalms, and secular
compositions of occasionally humor-
ous vein. Biogr. by Dehn (1837),
Baumkehr (1878), and Sandberger.
(2) Fd. di, d. Munich, Aug. 27, 1609,
eldest son of above ; ct.-cond. (3)
Rudolf di, d. Munich, 1625; second
son of (i) ; organist and composer.
(4) Fd. di, d. 1636 ; son of (2) ; con-
ductor and composer.
Latilla (Hi-tH'-m), Gaetano, Ban,
Naples, 17 13 — Naples, 1789; con-
ductor, teacher and composer.
Latrobe, (i) Rev. Chr. I., Fulnes,
Leeds, 1758 — Fairfield, near Liver-
pool, 1836 ; composer. (2) J. Antes^
London, 1792 — Gloucester, 1787; son
of above ; organist and composer.
Lattre, de. Vide lasso.
Laub (lowp), Fd., Prague, 1832 —
Gries, Tyrol, 1875 ; vln. -virtuoso ;
teacher and composer.
Laubner (lowp'-n£r), Julius, 1896,
cond. Municipal Th., Stettin, prod,
there succ. i-act opera *' Gunare,^^
Laurencin (low'-r^n-sen), Graf Fd.
P., Kremsier, Moravia, 18 19 — Vien-
na, 1890; writer.
Laurens (*io-r^ns), Edmond, b. Berge-
rac, France, Sept. 2, 185 1 ; pupil of
E. (luiraud, Paris Cons. ; c. operas;
a suite japonaise, etc.
528
THE MUSICAL GUIDE
Laurent de Rille (lo-ran dil re'-y&),
Fran. Anatole, b. Orleans, France,
1828; pupil of Comoghio and Elwart;
inspector of vocal instruction, Paris
pub. schools, etc. ; wrote a mus. nov-
el ^^ Olivier rorph/onisU'' ; prod,
about 25 operettas, male choruses
(choeurs orpheoniques), etc.
Laurent! (la-oo-rdn'-te), (i) Bart.
Gir., Bologna, 1644 — 1726 ; violin-
ist and composer. (2) Gir. NicoI6,
b. Bologna, Dec. 26, 1752 ; son of
above ; violinist and composer.
Lauska (la-oos'-ka), Fz. (Seraphinus
Ig^natius), BrQnn, Moravia, 1764
— Berlin, 1825 ; teacher and com-
poser.
Lauterbach (low'-t^r-b&kh), Jn. Chr.,
b. Culmbach, Bavaria, July 24, 1832;
pupil WUrzburg Mus. Sch., and of
Fetis and de Beriot at Brussels (1850),
won gold medal for vln. -playing,
1851; 1853 Munich Cons.; 1860-77
Dresden Cons. ; 1889, pensioned ;
comDoser
Lavauie (la-vai-la), Calixa, Ver-
ch^res, Canada, 1842 — Boston,
Mass., 1891 ; concert-pianist ; toured
U. S., singling, giving frequent con-
certs of American composers' works,
1886-87 ; c. 2 operas, an oratorio, a
symph., etc.
Lavenuy Louis H., London, i8t8 —
Sydney, 1859 \ 'cellist and dram,
composer.
Lavis^na (la-ven'-ya), V., Naples,
1777 — Milan, ca. 1837 ; teacher and
dram, composer.
Lavig^nac (U-ven-y&k), Albert, prof, of
harmony, Paris Cons. ; writer ; pub.
a ** Cours compUt thdorique et pra-
tique de dict^e musiiu^le^^* 1882, which
led to the general adoption in mus.
Gchs. of courses in mus. dictation ;
also " Z<z musique et les musiciens**
(Paris, 1895, Kngl. ed., 1899).^
Lavigne (la-vcn), (t) Jacques Emile,
Pau, 1782 — 1855 ; tenor. (2) A.
Jos., b. Besan9on, France, March
23, 1816 ; oboist ; pupil Paris Cons.;
from 184 1 in Drurj' Lane Promenade
Concerts, later in Halle's Manchester
orch.; he partially adapted B5lim*s
system to the oboe.
Lavoix (U-vwfl), H. M. Fran.,
Paris, 1846 — 1897; writer and com-
poser.
Law, Andrew, Cheshire, Conn., 1748
— 1821 ; singing-teacher, writer and
composer of hymn-tunes, etc.
Lawes (loz), (i) Wm., Salisbury, Wilt-
shire, 1582 — killed at the siege of
Chester, 1645 ; composer. (2) H.,
Dinton, near Salisbury', Dec. 1595 —
London, Oct. 2i, 1662 ; bro. of
above ; one of the most original and
important of song-writers, forestalling
in his principles those of Franz, etc.,
in that he made his music respect the
poetry he was setting ; Milton, Her-
rick and others accordingly praised
him. Pupil of Coperario. 1625,
Epistler and Gentleman, Chapel
Royal ; on Charles I.'s execution he
lost his places but re-found them in
the Restoration in 1660; buried in
Cloisters of Westminster Abbey ; c.
the music to Milton's ** Comus^*' etc.
Lawrowskaja (or LaTrovskaja (laf-
r6f-shk&'-ya)), Elizabeth Andre-
jevna (Princess Zeretelev), b. Kashin,
Russia, Oct. 12, 1845 ; sopr.; pupil of
Fenzi and of Mme. Nissen-Saloman,
St. Petersburg Cons.; d^but as Or-
pheus, 1867.
La^ol(l)e (or dell'Aiole, AjoUa) (IT-
yol', or a-yo-lC), Fran., Florentine
composer i6th cent.
Lays (rightly Lay) (lg(s)), Fran.,
Gascony, 1758 — Angers, 1831 ; noted
singer and teacher.
Lazare (l^-z&r), Martin, Brussels,
1829 — 1897 ; pianist.
Laz'arus, H., London, 1815 — 1895;
clarinettist.
Lazzari (lad-za'-re), (1) Sylvio, b.
Bozen, 1858 ; studied with Cesar
Franck, Paris Cons.; lived in Paris
as a teacher; c. opera ''^ Armor ^*
pantomimic ballets, etc. (2) Raf-
- faele, c. succ. opera ** La ConUssa
d*Egmont'' (Trieste, 1902).
Lazzarini (Ud-za-re'-ne), Gustavo^
b. Padua, or Verona, 1765 ; singer.
DICTIONARY OF MUSICIANS 529
Leachy Jaa.» Yorkshire, 1762 — 1797 ;
tenor and cornposer.
Le B€ (la-ba), Gull., i6thcent. French
type-founder.
Le Beau (li1-bd), Louise Adolpha,
b. Rastatt, Baden, April 25, 1850;
concert-pianist ; pupil of Kalliwoda,
Frau Schumann, Sachs, Rheinberger
and Fr. Lachner ; lives since 1890 in
Berlin; c. choral works ** //adu-
moth " (i8<>4). etc.
Lebeau (la-bo), Fran., b. Li^ge. Aug.
4, 1827 ; pupil of Michelot (pf.) and
Rosselet (harm.) ;- Sec. administra-
tion commission Brussels Cons. ; c.
optXK ** Esmeralda,*' text by Victor
Hugo (Liege, 1856).
Lebtg^ue (Id-b^g), Nicolas A.» Laon,
1630— Paris, 1702 ; ct.-organist and
composer.
Leber! (la -b«rt) (rightly Levy), Sieg:-
mund, Ludwigsburg, near Stuttgart,
1822 — Stuttgart, 1884; teacher,
writer and composer ; co-founder of
Stuttgart Cons. (1856-57).
Lebeuf (la-bttf). Abbe Jean, Auxerrc,
1687 — 1760; writer.
Leblanc (Itl-bl^), Georgette, b.
Rouen; pupil of Bax ; debut Op. Com.
Paris, 1893. in '' VAttaquf de Mou-
Un^'^ 1895, Th. de la Monnaie, Brus-
sels ; then gave song recitals in cos-
tume with much effect.
Leborne (Itt-bom), (i) Aim^ Am-
broise Simon, Brussels, 1797 — Paris,
1866 ; teacher and writer. (2) (or Le
Borne), Fd., b. Paris, March 10,
1862 ; pupil of Massenet, Saint -Saens,
and Franck, Paris Cons.; lives in Paris
as critic; c. pastoral dramas, '''' Hed-
da"9i svmph. legende; symphs., etc.
Lebouc (Iti-book), Chas. Jos., Besan-
9on, 1822 — Hy^res, 1893 ; 'cello- virt-
uoso.
Lebrun (l^-broon), (i) L. Aug^.,
Mannheim, 1746 — Berlin, 1790 ;
greatest oboist of the iSthcent.; com-
poser. (2) (nee Danzi), Franciska,
Mannheim, 1756 — Berlin, 1791 ; wife
of above ; soprano. Their two
daughters, (3) Sophie and (4) Ro-
•inei were distinguished singers.
Lebran(ld-brtin),(i) Jean, Lyons, 1759
— suicide, Paris, 1809; horn- virtuoso.
(2) Louis S€bastien, Paris, 1764 —
1829; tenor and teacher. (3) Paul
H. Jos., b. Ghent, April 21, 1861 ;
pupil of the Cons, there; 1891 won the
Prix de Rome for composition and the
Belgian Academie ist prize for a
symphony.
Le Carpentier (la k&r-pSnt-ya), Ad.
Clair, Paris, 1809 — 1869 ; pianist
and composer.
Lecbner (ldkh'-n«r), Ld., b. The
Etschthal, Switzerland (?) — Stuttgart,
1604 ; ct.-cond. and composer.
L^clair (la-kl&r), J. M., Lyons, 1697
— assassinated, Paris, 1764 ; violin-
ist ; c. operas, 48 notable vln.-sona-
tas, etc.; his wife, a singer, engraved
his compositions.
Leclerq (IQ-kl&r), L., b. Paris, 1828 ;
wrote under pen name " L. Celler."
Lecocq (Id-kok), (Alex.) Chas., b.
Paris, June 3, 1832 ; studied at the
Cons., won ist prize for harm., and
2d prize for fugue ; his first work,
*' Le Doctenr Miracle ^^ in conjunc-
tion with Bizet (prod., 1857), won a
prize offered by Offenbach for opera
buffa ; smaller succ. culminated in
•• Fleur de Thr (1868) ; followed
bv the sensational succ. *' La Fille de
Mme, Angot^'' (Brussels, 1872 ; Paris,
1873), which ran uninterruptedly
over a year ; its succ. was equalled
by '' GiroJl^^GiroJla" (1874), 1894.
chev. of the Legion of Honour;
prod, over 40 operas-bou fifes, comic
op>eras and operettas, written with
scholarship and brilliant instrumenta-
tion ; sacred and other songs, etc.
Le Couppey (Itl koop'-p£'), F€lix,
Paris, April 14, 1814 — July 5, 1887 ;
prof., pf. -teacher and composer.
Ledebur (la'-d^-boor), K. Freiherr
von, b. Schildesche, near Bielefeld,
April 20, 1806 ; Prussian cavalry offi-
cer and lexicographer
Ledent (Iti-dah), F. Et., Liige. 18 16
—1886 ; pianist and composer.
Lederer (la -d^-r^r), Geor^, b. Marien-
burg, May 2, 1843; notable tenor;
530
THE MUSICAL GUIDE
pupil of Mantius and Louise Ress ;
sang in various cities ; 1891-99, Zu-
rich, then at Riga.
Leduc (la-duk), Alphonse, Nantes,
1804 — Paris, 1868 ; pianist, bassoon-
ist and composer.
Lee (la), (i) G. Alex., 1802— 1851;
tenor and composer. (2) Sebastian,
Hamburg, 1805 — 1887 ; 'cellist and
composer. (3) Loais, b. Hamburg,
Oct. 19, 1819; bro. of above; 'cell-
ist ; pupil of J. N. Prell ; at 12 gave
concerts ; 'cellist in the Hamburg
Th.; lived several years in Paris; or-
ganist, chamber-mus. soirees, Ham-
burg ; until 1884, teacher in the Cons,
and 1st 'cello ; c symphonies, over-
tures, etc. (4) Mauricei Hamburg,
1821 — London, 1895 ; bro. of above ;
pf. -teacher, and composer. (5) (le)
Geo. Alex., d. 185 1, English mgr.,
tenor and composer.
Leeves, Rev. wm., 1748 — Wrighton,
1828; probable composer of ''*' Auld
Robin Grey*'' etc.
Lef^bure (Ifl-fa-bttr), L. Fran. H.,
Paris. 1754 — 1840; composer and
writer.
Lef€bure-W^ly (Itt-fa-bUr-va-le), L.
Jas. Alfred, Paris, 18 17 — 1869;
noted organist; c. opera, masses,
etc.
Lef^bTrre (Itt-f^v'-r) (i) (Le Febvre),
Jacques (called Jacobus Faber),
also Stapulensis, from his birth-
place, Ktaples, near Amiens (?)—
Nerac, JSVI (47?); writer. (2)
Chas. £douard, b. Paris, June 19,
1843 ; pupil of Ambr. Thomas, Paris
Cons.; 1870, Grand prix de Rome;
1873, after touring the Orient settled
in Paris; c. succ. opera, **Z^V/f//a"
(1894); '^-Zrti/'/" (1887), etc.
Leftvre (lii-fSv'-r), J. X., Lausanne,
1763 — Paris, 1829 '• clarinettist, com-
poser and professor.
LefiTler, Adam, 1808— 1857 ; Engl,
bass.
Lefort (Iti-for), Jules, 182 1 — Paris.
1898 ; tenor-barytone. ,
Leg^ouix (hVgwex), Isidore Ed., b.
Paris, A^ I, 1834 \ pupil of Reber
and Thomas at the Cons. ; prod. 4 op-
eras, etc.
Legjenzi (la-gr^n'-tse), GioT., Cla«
sone, near Bergamo, ca. 1625 — Ve-
nice, 1690; organist, conductor and
dram, composer.
Lehmann (li'-man), (i) T. Marie,
(I.) prima donna at Cassel under
Spohr ; (2) Lilli, b. Wtlrzburg, May
15, 1848 ; daughter and pupil of
above ; eminent soprano ; debut at
Prague as " First Boy " in " Die Zau-
berjffote"; 1868, at Danzig, and Leij>-
zig, 1870 ; in the same year obtained
a life-engagement at the Royal Opera,
Berlin, with the title (1876) of Imp.
Chamber-singer ; she sang ** Wog-
linde," ** Helmwige " and the '* Bird/'
at their Brst performance. 1876;
1885, broke her contract, and sang in
the U. S., etc. (3) Geo., New York,
July 31, 1865; violinist; pupil of
Leipzig Cons, and of Joachim ; won
the Helbig- prize at the Gewand-
haus, 1883 ; i886-8g, leader of the
Cleveland Symph. Orch.; lives in
New York as soloist and teacher;
pub. ** True Principles of the Art of
Violin^P laying*' (New York, 1899).
(4) Marie (if.), b. Hamburg, May
15, 185 1, daughter and pupil of (i);
at 16 sang in Leipzig City Th.; for
many years, till 1897, Vienna ct. -op-
era ; lives in Berlin. (5) Liza (Mrs.
Herbert Bedford), b. in London;
concert-soprano ; pupil of Randegger
and Raunkilde at Rome (voice) and
of Freudenberg (Wiesbaden), and
Hamish MacCunn (comp.) ; debut.
Nov. 23, 1885, at a Monday Pop.
Concert ; 1887, sang at the Norwich
Festival ; 18^, m. and retired ; c
many songs incl. the very pop. song*
cycle from Omar Khayyam, ** /n d
Persian Garden*' also *' In Mema»
riam" etc.
Leibrock (llp'-r6k), Jos. Ad., Bnins>
wick, 1808— -Berlin, 1886 ; writer and
composer.
Leidesdorf (li'-d^s-dorf). Max. Jos.»
d. Florence, 1840; 1804-27 member
of the mus.-pub. firm of Sauer A?
DICTIONARY OF MUSICIANS 531
L., which published Schubert's
works
Leis^hton (U'-tfin), Sir Wm., Engl,
composer, 1641.
Leisinger (Il'-ziiig-^r), Elisabeth, b.
Stuttgart, May 17, 1864 ; sopr. ;
Studied at the Cons., and later with
Viardot-Garcia, Paris; 1884, Berlin
ct. -opera.
Leite (ii't^), Antonio da Silva,
1787 — 1826 ; cond. Oporto Cath.,
and composer.
Lcitert'(il -t^rt), Jn. G., Dresden, Sept.
29, 1852 — 1901 ; pianist ; pupil of
Kragen and Keichel (pf.) and Kisch-
bieter (harm.) ; dc^but Dresden, 1865;
studied with Liszt ; 1879-81 teacher
Horak Mus. Sch., Vienna; composer.
Leiteeb. Vide leutgeb.
Le jeune (lii-zhtin), Claudin, Valen-
ciennes, ca. 1530 — 1598 or 1603 ;
French contrapuntist and composer.
Lekeu (Id-ktt), Guillaume, Belgium,
1869— 1884 ; composer whose early
death cut short a promising career;
c. adagio in C minor for orch. etc.
Lemaire (or Le Maire) (la-mftr), (i)
, French musician, i6th-i7th
cent.; believed to have advocated the
adoption of a seventh syllable of sol-
misation (v. D. D.). (2; Th^ophile,
b. Essigny-le-Cirand, Aisne, March
22, 1820; pupil of Paris Cons.; sing-
ing-teacher and writer.
Le Maistre (Iti-m£tr) (or Le Maitre),
Mattheus, d. 1577; Netherland
contrapuntist ; ct.-conductor and
composer.
Lemi^re de Corvey (Ifim-y&r dii k6r-
v«'), J. Fr. Aug., Rennes. 1770 —
Paris, 1832; French officer and dram,
composer.
Lemmens (l^m'-m^ns), Jacques Nic-
olas, Zoerle-Parwys, Belgpum, 1823
■ — Castle Linterport, near Malines,
188 1 ; organist, professor and com-
poser.
Lemoine (Iflm-wiln), (i) Ant. Marcel,
Paris, 1763 — 18 1 7 ; publisher, ct.-
conductor and writer. (2) H., Paris,
1786 — 1854 ; son of above and his suc-
cessor in business ; writer. (3) Aini6,
b. 1795 (?) ; pub. '* M^tbode du
Melopikste " ; teacher.
Lemoyne (lam-w&n) (rightly Moyne)
(mwan), J. Bap., Eymet. lerigord,
1 75 1 — Paris, 1796 ; conductor and
dram, composer.
Lenaerts (Id-n&rtsX Constant, b.
Antwerp, March 9, 1852 ; pupil of
BenoSt ; at 18 dir. Flemish National
Th., now teacher Antwerp Cons.
Lenepveu (IQ-nfip'-vd), Chas. Fd., b.
Rouen, Nov. 4, 1840; studied with
Servais, in 1861 won ist prize at
Caen ; studied with Thomas at the
Cons., 1865 took Grand prix de Rome,
rt. from Rome * won a prize with opera
**/> Floreniih" (Op.-com., 1874);
prod. gr. opera ** Velleda** (Covent
Garden, 1882) ; 1891 harm. -prof, in
the Cons, and 1893 prof, of comp. ;
1896, Academic des Beaux- Arts ; is
Chev. of the Legion of Honour, and
officer of pub. instruction ; c. lyric
drama *'*' Jeanne d^Arc^* (Rouen
Cath., 1886); '' Hymne funibre et
iriomphaV* (V. Hugo) (Rouen, 1889),
etc.
Len'ton, J., d. after 171 1; band-mu-
sician and composer, London.
Lenz (l^nts), Wm. von, Russia, 1804
— St. Petersburg, Jan. 31, 1883; pian-
ist : wrote genial and enthusiastic
studies of musicians, ** Beethoven et
ses troisjtyies " (1852), etc., being the
first so to divide 6.*s art.
Leo (la'-o), Leonardo, Brindisi, 1694
—Naples, 1746 ; eminent pioneer in
the Neapolitan Sch. and noted teach-
er, conductor and organist ; pupil of
Aless. Scarlatti, Fago. and Pitoni ;
ct. -organist ; c. 60 operas, also re-
ligious mus., incl. a noble 8-part
*' Miserere" a cappella.
Leonard (la-5-n&r), Hubert, Bellaire,
near Li^e, April 7, 18 19 — Paris,
May 6, 1890 ; eminent violinist; pub.
technical studies.
Leoncavallo (la-on-kS-val'-lo), Rug-
giero, b. Naples, March 8, 1858 ;
studied Naples Cons., and at 16
made a tour as pianist ; his first
opera ** Tommaso Chatter ton" failed
^-32 THE MUSICAL GUIDE
at first but was succ. revived at Rome,
1896 ; a disciple whom Wagner per-
sonally encouraged, he spent 6 years
in researches, resulting in an** his-
toric" trilogy '' Crepusculum"
(** Twilight"), I. Midici, II. Giro^
lamo Savonarola^ III. Cezare Bor^
gia ; toured as pianist through Egypt,
Greece, Turkey, etc.; lived in Paris
some years and had an opera " Songe
d*une Nuit d*AtJ,** privately per-
formed, and many songs published ;
he prod. 2-act opera seria '* / Pagli^
accr (Milan Dal Verme Th., 1892,
in Germany 1893, as *^Der Bajazzo ")
of which he wrote the masterfully
constructed libretto as well as the
strenuous music that made it a uni-
versal succ. The first |>art of the
trilogy, the 4-act **/ Medici** was not
succ. (La Scala, Milan, 1893); the 4-
act opera ** La Bohhme " (Venice)
was a succ. (cf. puccini); and he c.
also a symph. poem, ** Serafitus-^
Serafita^* ; c. operas **Za Tcsea^
and ** Trilby**; '' Zaza** (Antwerp,
1902) succ; in preparation, opera
''Roland,** libretto by Emperor Wil-
helm II. of Germany.
Leonhard (la-on-hart), Julius Emil,
Lauban, 18 10— Dresden, 1883 ; pro-
fessor and composer.
Leoni (la-o'-ne), (i) Leone, cond. Vi-
cenza Cath., 1588 — 1623. and com-
poser. (2) Carlo, Italian composer ;
prod. 3-act operetta *' Per un
Bacio** (Siena, 1894.), and text and
music of succ. comic opera " Urba-
ne " (Pienza, 1896). (3) Franco, prod,
cantata '^ Sardanapalus** (London,
1896) and romantic opera ** Pip P" t/i
mnkU " (London, 1897).
Leonowa (or Leonova) (la-d-n5'-va),
Dapya Mikailovna, Russia, 1825—
St. Petersburg, 1896 ; contralto.
Leroux (Id-roo), X. H. NapoUon, b.
Velletri, Papal States, Oct. 11, 1863;
pupil of Paris Cons. , took Grand Prix
de Rome, 1885; c. opera ** CUopatre "
(1890), lyric drama ** Evangeline** a
dramatic overture ** Harold** and
operas '* WiUicm naiilijf'' and
••
VEpayo " (not prod.) • ** Astari/^
(Gr. Opera, 190 1), ** La Peine Piam*
ette *' (1902), a mass, etc.
Le Roi (Iflr-wi), Adrien, 17th cent. |
partner of Ballard (q. v.).
Leaag^e de Richie (ia-s&zh-d&-re«
sha), Philipp Fz. ; lutenist and
composer
Letchetizky (l^sh^-tYt'-shkY), Thee
dor, b. Langert, Austrian Poland,
1830; eminent pfs. teacher; son and
pupil of a prominent teacher in Vi-
enna ; studied with Czemy (pf.)
and Sechter (comp.) ; at 15 b^an
teaching; 1842 made succ. tours;
1852 teacher in the St. Petersbui^
Cons.; 1878 toured; 1880 m. his
former pupil Annette Essipoff, and
settled as a teacher in Vienna; c. succ
opera, •* Die Erste Palte " (Prague,
1867), etc.
Les'lie, (i) H. David, London, 1822
— Wales, 1896 ; 'cellist, cond. and
composer. (2) Ernest, pen-name of
Browiii O. B.
Les'sel, Fz., Warsaw, ca. 1780—
Petrikow, 1839 ; composer.
Less'man (W. J.), Otto» b. Ruders-
dorf, near Beriin, Jan. 30, 1S44 ;
critic and composer; teacher at
Stem's Cons. ; then at Tausig's Acad,
until 1871 ; organised a piano-sch. of
his own ; since 1882 proprietor and
ed. Allgm. Musik^Zeitung,
Le Sueur (l&-sar) (or Letueur), J.-
Fran., Drucat-Plessiel, near Abbe-
ville, France, Jan. 15, 1764 — Paris,
Oct. 6» 1837 ; chiefly self-taught ;
1786 cond. at Notre Dame, Paris,
where he drew crowds and criticism
by his progammatic mus.: he pub.
pamphlets defending '* dramatic and
descriptive '* church-mus. ; the oppo-
sition prevailed, however, and he re-
tired to the country for 4 years ; 1793
he prod. succ. opera ** lui Caverne^
followed by others; 1804 Napoleon
raised him from distress to the post
of ci.-cond.
Leuckart (loik'-Srt), F. Ernst Chp^
founded mus. business at Breslai^
1782, bought 1856 by C. Sanders.
DICTIONARY OF MUSICIANS 533
Leutgreb (Leitgeb) (llt'-g:ap), Josef,
d. Vienna, [811 ; horn-player; friend
of Mozart.
Levasseur (Id-v&s-sdr), (i) P. Fran.,
b. Abbeville, France, 1753 ; 'cellist,
Paris Grand Opera; composer. (2)
I. H., Paris, 1765— (?); a 'cellist.
(3) Rosalie, soprano, Paris Op^ra,
1766-85. (4) Nicholas Prosper, b.
in Picardy, March 9, 1781 ; dram.-
bass and professor.
L evens (Itt-vans), — -, church-cond.
and mathematician and theorist at
Bordeaux (1743}.
Lev'eridge, Richard, 1670 — 1758 ;
Engl, bass singer.
Levey, Wm. Chas., Dublin, 1837--
London, 1894 ; dram, composer.
Levi (la'-ve), (i) Hermann, b. Gies-
sen, Nov. 7, 1839 ; eminent conduc-
tor; pupil of V. Lachner and of
Leipzig Cons. ; 1859-61, mus.-dir.,
Saarbrucken ; 1861-64, cond. Ger-
man Opera at Rotterdam ; 1864-72,
ct.-cond. at Carlsruhe ; from 1872,
ct.-cond. at Munich ; 1894, Gen. mus.
dir. Munich ; 1896, pensioned. (2)
Levi (or Levy, Lewy). Vide lb-
BERT.
Lewandowski (la-viLn-ddf-shkY),
Louis, Wreschen, Posen, 1823—
Berlin, 1894; singing-teacher and com*
poser.
Lew' is, Thos, C, org. -builder, Lon«
don, 1861.
Lewy (la'-ve),(i) Eduard Constantin,
Saint-Avoid, Moselle, 1796 — Vienna,
1846 ; horn-virtuoso and prof. (2)
Jos. Rodolphe, Nancy, 1804 — Ober-
lissnitz, near Dresden, 188 1; bro. and
pupil of above ; horn-virtuoso. (3)
Chas., Lausanne, 1823 — Vienna,
1883 ; son of (i) ; pianist and com-
poser. (4) Richard Levy, Vienna,
1827 — 1883 ; son of (i) ; horn-player,,
singine-teacher. (5) Vide lebert.
Leybacn (iT'-bSkh), Igfnace, Gambs-
heim, Alsatia, 1817 — Toulouse,
1891: pianist, teacher and composer.
L^adoff (or Liadow) (le'-ii-dof), Ana-
tole, b. St. Petersburg, April 29,
1855; pupil Johansen (cpt, and
fugue) and Rimsky-Korsakov (form
and instr.)at St. P. Cons.; since 1878,
?rof . of harmony there ; also at the
mp. Chapel ; since 1894, cond.
Mus. Soc; c. brilliant and original
pf.-pcs., etc.
Liapunov (or Liapounow) (le-i'-p(w«
nof), Serge Micnailovitch, b. Jai^.
slavi, Russia, Nov. 18, 1859 ; pupU
Klindworth and Pabst (pf.) and Hu-
bert (comp.) Moscow Cons.; sub-dir.
Imp. Choir. St. Petersburg, and a
member of the Imp. Geographical
Soc., which 1893 commissioned him
to collect the folk-songs of Vologda,
Viatna and Kostroma, which he pub.
1897 ; since 1894, mus.-master to the
Grand Duke; pub. concerto, a
symph., etc.
Libe'lius, incorrect form of Sibelius,
Lich'fild, H., Engl, composer, 16 14.
Lichner (llkh'-n^r), H., Harpersdorf«
Silesia, 1829 — Breslau, 1898; oi^n*
ist and conductor.
Lichtenberg (llkh'-t^n-b^rkh), b. San
Francisco, Cal., Nov. 22, 1861 ; vln,»
virtuoso ; pupil of Beaujardin ; at 8
played in public ; at 12 pupil of Wie-
niawski, and his aide on a U. S.
tour ; studied 6 months with Lambert
in Paris, then studied again with
Wieniawski 3 years ; won first prize of
honour at the ** National concourse ";
toured America and Europe ; mem«
ber of Boston Symph. Orch.; 1899,
vln. prof. Nat. Cons., New York.
Lichtenstein (ilkh'-t'n-shtln), K.
Aug;., Freiherr von, Lahm, Franco-
nia, 1767 — Berlin, 1845 ; c. operas.
Lichtenthal (llkh'.t'n-tiil), Peter,
Pressburg, 1780 — Milan, 1853; dram*
composer and writer on mus.
Lie (le), Erica (Mme. Nissen), b.
Kongsvinger, near Christiania, Jan.
17, 1845: pianist, pupil of Kjerulf, and
of Th. Kullak ; teacher at the KuU
laks' Acad., toured Germany, etc.;
member R. Acad., Stockholm.
Liebau (le'-bow). (i) Julius, b. Lun«
denburg, Feb. 19, 1857; tenor-buffo j
studied with Gansbacher ; won Wafi»
ner's praise as "Mime '; 1882, ct*«
534
THE MUSICAL GUIDE
opera, Berlin. (2) Liebau-Globig,
Helene, b. Berlin, March 31, 1866;
soprano ; sang^ ** Yum-Yum ** in ^*'Der
Mikado*^ Berlin, 1889 ; since 1898 at
ct.-opera.
Liebe (le'-b^), Ed. L., Magdeburg^,
. Nov. I9, 1819 — Coire, Switz., 1900;
pianist, organist and dram, com-
poser.
Liebich (le'-bYkh), Erast (Jn. Gott-
lob), Breslau, 1830 — 1884; eminent
vln. -maker.
Liebig: (le-btkh), (i) K., Schwedt,
1808 — Berlin, 1872; stafT oboist in a
Regt.; 1843, est. Berlin *'Sympho-
niekapcUe ** ; i860, R. Mus. l)ir.
(2) Julius, 1838 — 1885, son of
above ; cond. at Ems.
L'^eblin^ (lep'-lYng), (i) Emil,b. Pless,
Silesia, April 12, 18 Ji ; concert-pian-
ist; pf. -pupil of Khrlich and Th.
Kullak, Berlin ; Dachs, Vienna, Liszt
and Dom , since 1867, America, and
since 1S72, Chicago, as reviewer and
concert-pianist, teacher and writer.
Co-ed. in a *• hictionary of Terms "/
pub. pf.-pcs. and songs. (2) G.» b.
Berlin. Jan. 22. 1865 ; pupil of Th.,
and Fr. Kullak, and Liszt (pf.), H.
Urban and H. Dorn (comp.) ; 1880-
85, teacher in Kullak's Acad.; i88r-
89 toured Germany and Austria, with
suctess; 1890, ct. -pianist to Duke of
Coburg. (3) Leonard I pianist ; stud-
ied in ( Jermany ; also writer and hu-
morist on musical topics.
l.ienau (le'-now), Robt., b. Neustadt,
Holstein, Dec. 28, 1838 ; mus.-pub.,
Berlin.
Liliencron (leMT-^n-kron), Rochus,
Frciherr von, b. Plon, Holstein, Dec.
8, 1820; prof.; commissioned by the
Historical Commission of Munich to
collect the mediaeval German folk-
songs, and pub. them.
Lillo (Itl'-lo), Gius., Galatina, Lecce,
Italy, 18 14— Naples, 1863 ; teacher
and dram* composer.
Limnan'der de Nieuwenhove fna •
▼^n-h&-v^), Armand Marie Ghis«
lain, Ghent, 1814— Moignanville
X8g2: d{am« composer.
Lim'pus, Ricbard, 1824 — 1875 ; Engl
organist and composer.
Lincke (ilnk'-^), Jos., Trachenbeiig,
Silesia, 1783 — Vienna, 1837; 'cellist*
Linc'oln, H. C, 1739 — 1S64; or^g.-
builder, London.
Lind (lint), Jenny, Stockholm, Oct. 6,
1820— at her villa, Wynds Point,
Malvern Wells, Nov. 2, 1887 ; " The
Swedish Nightingale/* one of the
most eminent and pop. of sopranos ;
had a remarkably sympathetic voice
of g^eat compass (d -e'", v. Chart
OF pitch), remarkable purity,
breath, endurance and flexibility $
studied with Berg and Lindblad, at
the court where she made her very
succ. debut, 1838, in *^ Der Fret*
schatz'*; 1841, studied with Manuel
Garcia, in Paris, for nine months;
1842, sang at the Opera, but was not
engaged ; 1844, studied German at
Berlin, and sang with greatest succ.
in C^ermany and Sweden ; 1847, made
a furore in London ; 1S49, she left
the operatic stage, and created even
greater sensations in concert ; 1850-
52, under the management of P. T.
Barnum, she toured the U. S., earn-
ing $120,000 ; 1852, she m. Otto Gold-
Schmidt in Boston ; lived in Dresden ;
1856, London, appearing especially
with the Bach Choir which her hus-
band cond. Her last pub. appear*
ance was in his oratorio ••A'wM,*
Dttsseldorf, 1870. Her private life
was unusually serene, impeccable,
and generous. Her bust is in West«
minster Abbey. Biogr. by A. J,
Becher (1S47).
Lindblad (llnt'-blat) Ad. Fr., Lof-
vingsborg, near Stockholm, z8oi—
1873 ; teacher of Jenny Lind; c. ex-
cellent Swedish songs and an opera.
Linden (ITnt'-'n), K. van der, b. Tor
drecht, April 24, 1839; prominent
Dutch cond.; pupil of Kwast (pf.)
and F. Bfthme (theory) ; i860 cond.
Dordrecht : later bandm. the Nat.
Guard (1875); cond. Netherlan<!
Musicians* Assoc, c. cantatas wftfe
orch., 2 operas, etc.
DICTIONARY OF MUSICIANS 535
Under (Itn'-d«r), Gf., b. Ehingen, July
22, 1842; pupil Stuttg^art Cons.;
from 1868 teacher there ; 1879 pro-
fessor; c. 2 ojjeras ; overture ^* Aus
nor disc her Ileldenzeit^'* etc.
Lind'ley, (i) Robert, Rotherhara,
Yorkshire, 1777 — London, 1855 J
'cellist. (2) Wm,, 1802 — Manchester,
1869 ; son of above ; 'cellist.
Lindner (Itnt'-ngr), (i) Fr., Liegnitz,
ca. 1540 — Nttrnberg ; composer. (2)
— — -, Lobenstein, 1808 — Leipzig,
1867; horn-player. (3) Ernst Otto
Timotheus, Breslau, 1820 — Berlin,
1867 ; conductor and writer. (4)
Aug;., Dessau, 1820 — Hanover, 1878;
'cellist and composer.
Lindpaintner (Unt'-pTnt-n^r), Peter
Jos. von, Coblenz, Dec. 8, 1791 —
Nonnenhorn, Aug. 21, 1856 ; emi-
nent conductor, ct. -conductor and
dram, composer.
Lind'say, M. (now Mrs. J. W. Bliss),
English coniposer of pop. songs.
Lin'ley, (i) Thos., Sr., Bath, 1725—
Ix)ndon, 1795 ; conductor and dram,
composer ; owner with Sheridan of
Drury I^ne Th,, 1776 ; he had 3
daughters and 3 sons. (2) Tbos.,
Jr., Bath, 1756— -drowned at Grims-
thorpe, Lincolnshire, 1778 ; violinist
and composer. (3) Eliza Ann,
1754 — Bristol, 1792 ; brilliant sopra-
no. (4) Mary, d. 1787 ; singer.
(5) Maria, d. Bath, 1784 ; singer.
(6) Ozias, 1765 — 1 83 1 ; organist and
composer. (7) Wm., ca. 1767 — 1835;
composer and editor, (8) Francis,
Dont'aster, 1774 — 1800 ; organist and
composer. (9) G., Leeds, 1798—
London, 1865 ; writer and dnim.
composer.
Linnarz (Itn'-nHrts), Robt., b. Pots-
dam, Sept. 29, 1851; pupil of Haupt,
Berlin ; teacher in Bederkesa semi-
nary ; do. at Alfeld ; wrote methods,
etc.; c. a festival cantata *^ All*
Deuischland^^ etc.
Lintermans (IYn'.tJ^r>mans), Fran.
Jos., Brussels, 1808 — Ixelles, 1895 ;
singing-teacher and composer.
L^ski (U-pln'-shkl), K. Jos., Rad-
tyn, Poland, Nov. 4 (Oct. 30 ?), 1790
— Urlow, near Lemberg, Dec. 16,
1861 ; noted violinist and composer;
pupil of Paganini ; lived in Dresden,
1839-59.
Lipsius (lYp'-sY-oos), Marie, b. Leip-
zig, Dec. 30, 1837 ; wrote under pen-
name " La Mara."
Lirou (le-roo), J. Fran. Espic,
Chev. de, Paris, 1740— 1806 ; writer
and composer; pub. a ^^"^ Harmony**
(1785), the first French book to de-
sert Rameau for the modem laws of
tonality.
Lischin (lesh'-Yn), Grigory Andree-
▼itch, 1853 — St. Petersburg, June
27, 1888 ; c. operas, incl. ** Don C/-
sar de Bazan"
Lissmann (les'-mftn), (i) H. Fritz,
Berlin, 1847 — Hamburg, 1894 ; bary-
tone ; m. the sopr. (2) Anna
Marie Gutzschbach.
Listemann (lYs'.td-man), (i) Fritz, b.
Schlotheim, Thuringia, March 25,
1839; violinist; pupil of his uncle
Ullrich, and of David, Leipzig Cons.,
1858, chamber-virtuoso to the Princ*
of Rudolstadt ; 1867 lived in New
York ; 1871, ist vln. Thomas Orch.;
from 1878, 1st vln. Philh. Orch. ;
1881-85 Symph. Orch. ; since
taught and toured with " Liste-
mann Concert Co." ; c. a vln. -con-
certos, etc. (2) Bernhard, b. Schlot-
heim, Aug. 28, 184 1 ; bro. of above;
pupil of Ullrich, and David, Vieux-
temps and Joachim. 1859-67, ist.
vln. in Rudolstadt ct.-orch.; came to
America with his bro., lived in Bos-
ton ; 1871-74, leader Thomas Orch.;
1874 founded the " Philharm, Club,"
and toured the country: 1878 founded
Boston Philh. -Orch.; cond. till 1881,
then 4 yrs. leader of the New
•*Symph.-Orch."; founded "Liste-
mann Quartet " ; 1883 - 93, dir.
of the ** Listemann Concert Co.";
from 1893, prof. Chicago Coll. of
Mus.; pub. a ''Method:' (3) Paul,
b. Boston, Oct. 24, 1871 ; son and
pupil of (2); studied also with (i)
and was a member of the Quar*
536 THE MUSICAL GUIDE
tet and Concert Co., 1890-93,
studied with Brodsky and Hilf, Leip-
zig, and with Joachim, at Berlin;
leader of the Pittsburg (Pa.) Orch.;
1896,06 the "American Orch./' N.
Y.; since soloist of the ** Redpath
Concert Co." (4) F«., b. New York,
Dec. 17, 1873 : bro. of above ; 'cel-
list ; pupil of Fries and Giese at Bos-
ton, of Julius Klengel, Leipzig; and
Hausmann, Berlin; ist *cello Pitts-
burg Orch. for a year, since lives in N,
F. as teacher and concert-performer.
Lisst (I'st). Franz (originally Per-
encz). Raiding, near Odenburgh,
Hungary, Oct. 22, 18 1 1 — Bayreuth,
July 31, 1886; in many ways the
most brilliant of all pianists, and a
composer whose poorest works are
too popular, while he is not granted
the credit due his more solid achieve-
ments ; as great a patron of art, also,
as he was creator. Son and pupil of
an amateur ; at nine played in public,
at Oedenburg, Ries* Ef} concerto. A
group of Hungarian counts sub-
scribed a 6 years annuity of 600 flor-
ins, and the family moved to Vienna,
where L. studied with Czemy (pf.),
and Salieri (theory) for 18 months.
Beethoven hearing .lim play his trio
op. 97, embraced him. At 12 he gave
V. succ. concerts in Vienna and his
father took him to Paris, where he
was refused as a foreigner because
of Cherubini's objections to ** infant
phenomena ; " hereafter L. was his
own teacher, except in comp. which
he studied with Paer and Reicha. At
14, his i-act operetta, ** Don San^
cho " had 5 performances at the Acad,
royale de musique. On his father's
death in 1827 he supported his
mother by teaching, soon becoming
the salon-idol he alwa3rs remained.
He was strongly influenced by Cho-
pin, von Weber, Paganini and Ber-
lioz. He had a brilliant series of
heart-affairs, beginning with the lit-
erary Countess d'Agoult (** Daniel
Stern '*), with whom he lived in
Geneva (1835-39). She bore him a
son and three daughters ; Cosima,
the youngest, became the wife of
von Bttlow, later of Wagner. 18399
he successfully undertook to earn hj
concerts money enough for the com-
pletion of the Beethoven monument
at Bonn. 1849, ct.-cond. at Weimar,
with royal encouragement to aid mus.
progress. He made himself the
greatest patron among creative artists,
aiding Wagner materiallv by pro*
ductions of his works at Weimar and
by pf . • transcriptions, aiding also
Raff, Schumann, and Berlioz, Anally
resigning before the opposition to,
and failure of, an oi>era by Cornelius
(q. v.). 1859-70, he lived chiefly at
Rome, where in 1866 the Pope, Pius
IX., made him an abb^. 1870 he
was reconciled with the Weimar
Court. 1875 pres. of the new Acad«
of Mus. at Pesth ; he spent his
last years at Weimar, Pesth, and
Rome, followed by a large retinue of
disciples and pupils whom he taught
free of charge. He died during a
Bayreuth Festival. C. 2 symphs.:
•' Dante *' (after the •* Dlvina Corn-
media '* with female chorus) ; *^ Eine
FaustsvmphonW* ("Faust,** "Gret-
chen, •' Mephistopheles," with male
chorus) ; Svmph. Poems: " Ce qtion
intend sur la montagne* (Victor
Hugo) ; ** Tasso^ lamento e trionfo "/
•• Les PrHudes " / " Orpheus " /
** Prometheus'*; ''Afazeppa''; ''FesU
kldnge " / •• H^roide funibre^' ;
^* Ilun^aria'*; '' MamUt'\' '' Hun-
nenschUuhf' : ''Die IdeaW* (Schil-
ler) ; and ** Von der Wiege bis zum
Grabe** (Michael Zichy) ; also for
ORCH. •* Zwei Episoden aus Lenaus
Eaust" {Der nachtliche Zug, 2 Me-
phisto-wfilzer), etc. For Piano.
2 concertos ; " Danse macabre** with
orch.; ''Concerto path/tique** ; 15
"Rhapsodies hongroises"; " Rhap*
sodie espagnole "y " Sonata in B,
Min"; " Fantasia and FugUe on
B-A-C-H**; variations on a theme
from Baches B-min, mass • lO '^ffar*
monies foitiques et rdli^ieuses^i
«
ftM
DICTIONARY OF MUSICIANS 537
** Ann/es de p/lerinage**; 3 ** Ap-
paritions,'* 2 ballades; 6 " Consoia-
dons"/ 2 el^es; 2 legendes {Si.
Francois U Assise and St. J^rauftds
de Paul) ; ^'' Liebestraunie*" (Not-
turaos); *' Etudes d'^x^cution tran-
scendante "y ^^ Ab irato^ /tude de per^
fectionnement "/ concert-etudes,
** Waldesrauschen " and ** Gnomen"
reigen"; *' Teckniseke Studten" (12
jx>oks), etc., and many transcriptions
of symphs., overtures, 50 songs by
Schubert, etc. Vocal comps. : 4
masses, incl. Missa solennis (the
" Graner " Festival Mass) ; requiem ;
3 oratorios, ''Die Legende von der
Heiligen Elisabeth;' ''Stanislaus;*
and ** CAristus"; Psalms 13th, i8th,
etc., with orch, and other church-
music; 3 cantatas with orch.; male
choruses, 60 songs, etc. Wrote life
of Chopin, of Franz, etc. Complete
ed. of his writings in 6 vols. Biogr.
by L. Ramann, 1880.
Franz Liszt.
By Henry T. Finck.
THERE are two great paradoxes in the career of Liszt. The first is
that just as Rossini, the most popular opera composer of his day,
ceased writing operas thirty-nine years before his death, so Dszt,
the greatest and most adored pianist of all times, ceased playing in public (ex-
cept for an occasional charitable purpose) about the same number of years
before his end came. He had, with his inimitable art, familiarised concert-
goers with nearly all the best compositions for the piano, created by other
masters. He had transcribed for the same instrument a large number of^ songs,
operatic melodies and orchestral works (the number of these transcriptions at his
death was 371), thereby vastly increasing their vogue. He also wrote al-
together 1 60 original compositions for the pianoforte, many of them as new
in form as in substance ; unique among them being the fifteen Hungarian
rhapsodies — collections of Magyar melodies with gypsy- ornaments, moulded
by him into works of art, after the manner of epic poets. But — and here
lies the second paradox — Liszt, the greatest of all pianists, was not satisfied
with the piano. In many of his pieces for it, he endeavours to impart to it
orchestral power and variety . of tonal effect ; and finally, when he became
conductor at Weimar (1849), ^^ transferred his attention chiefly to the or-
chestra. ^ Of his thirty -four orchestral works, the most important arc f he
** Faust** and ** Dante** symphonies, and thirteen symphonic poems, in
which he deviated from the old symphonic form in a spirit similar to Wag-
ner's operatic reforms — abolishing the mosaic of unconneaed movements and
allowing the underlying poetic idea (programme) to shape the form of the
music. Of great importance and beauty also are his sixty songs, which rep-
resent the climax of the tendency to mirror in the music, not only the general
spirit of the poem, but every line and word. The last period of his life wai
hryXy viven up to the writing of sacred compositions. Among these^ tbir
s
538
THE MUSICAL GUIDE
most ori^nal in substance is the ** Legend of St, Elizabeth ^^^ the most original
in form **Cbristus,''* in which the last remnants of the opera (the aria and
recitative) are eliminated from the oratorio, and little remains besides choruses
and instrumental numbers. Liszt's genius in early life was shaped largely by
Schubert, Chopin, Berlioz, and Wagner, His own influence on the pianists
and orchestral writers of Germany, France, and Russia, can hardly be over-
estimated.
Litolff (le-toIO, H, Chas., London,
Feb. 6, 18 18 — Paris, Aug*. 5, 1891;
prominent pianist, conductor, pub*
lisher and composer.
Litta (llt'-ta), Duca Giulo, Visconte
Arese, Milan, 1822 — Vedano, near
Monza, 1891; dram, composer. .
Litvinne (let'-vTn), Felia, b. Russia ;
soprano ; pupil of Nf me. Barth-Ban-
deroli and Maurel ; debut Th. des
Italiens, Paris ; later sang Wagner
at Met. Op., N. Y.; then in St. Peters-
burg ; sister-in-law of Ed. de Reszke.
Litzau (let'-tsow), Jns. Barend, Rot-
terdam, 1822 — 1893 ; pianist, organ*
ist and composer.
Literati (le-v5-ra'-te), Giov., Bologna,
1772 — after 18 17; noted tenor, con-
ductor and dram, composer.
Lloyd (loid), (i) Edw., b. London,
Marph 7. 1845 ; noted concert tenor;
choir-boy, Westminster Abbey, with
Jas. Turle, till i860; from 1874,
first tenor, Leeds Festival ; sang at
Cincinnati Festival 18S8, and has
toured the U. S.; gave farewell con-
cert, London, 1900. (2) Chas.
Harford, b. TKornbury, Gloucester-
shire, Engl., Oct. 16, 1849; 1891,
Mus. Doc. Oxford ; 1876, organist
Gloucester Cath.; 1892 precentor and
mus. -teacher Eton Coll.; founded
Oxford Univ. Mus.-Club; 1877-80,
cond. Gloucester Festivals ; now Ox-
ford Symph. Concerts ; c. 7 cantatas,
mus. to -^/r^j//V (Oxford, 1887); full
cath. service, etc.
Lobe (lo'-bfi), Jn. Chr., Weimar, May
30, 1797— Leipzig. July 27, 1881 ;
• flutist, via. -player, and dram, com-
poser ; wrote important treatises.
Lobkowitz. Vide caramuel de l.
Lo'bo (or Lopez) (lo -p^s) (or Lupus),
Duarte, Portuguese composer at
Lisbon, 1600.
LocateMi, Pietro, Bergamo, 1693—
Amsterdam, 1764 ; vln. -virtuoso, re-
garded as marvellous for his double-
stopping and effects procured by
changed accordaturc (v. d. d.) ia
which Paganini imitated him.
Locke, Matthew, Exeter, England*
1632 (33 ?) — London, 1677 ; com-
poser.
Lock'ey, Chas., succ. Engl, tenor;
retired, 1859.
Lo'der, (i) J. Fawcett, 1812 — 1853;
violinist and conductor. (2) Edw.
Jas., Bath, 1813 — London, 1865 ;
dram, composer. (3) J., violinist,
d. ca, i860 (?). (4) Wm., 'cellist ;
d. ca. i860; bro. of above. (5)
Emily Woodyat, wife of above.
Loeb (lap), Jules, b. Strassburg, 1857;
pupil of Chcvillard, Paris Cons., won
1st prize ; solo 'cellist at the Opera,
and the Cons. Concerts ; member of
the Marsick Quartet, and the ** So-
ci^le pour instrs. k vent et k cor.
des."
Loeffler(l«r-I^r), Chas. Martin Tor-
nov, b. MUhlhausen, Alsatia, 1861;
violinist and notable composer ; pupi)
of M assart, Leonarti, Joachim and
Guiraud (comp.) ; played in Pasde*
loup's orch.; later in Prince Dervier'i
orch.; now 2d leader and soloist Bos,
ton (U. S. A.) Symph. Orch.; c.
symph. poem **Ztf mort de Tinta*
giUs " (after Maeterlinck), with viole
d'amore obbligato ; suite " Les Veil*
Ues de t Ukraine'' (after Gogol) foc
■■
DICTIONARY OF MUSICIANS 539
vin. and orch.; concerto in I move-
ment for orch.; divertimento for vln.
nvith orch. ; string quartet ; songs
with viola obbl.. etc.
Loeillet (Iwa-ya), J. Bap., Ghent-
London, 1728 ; noted virtuoso on
flute and harp^ composer.
Loewe. Vide lSwk.
Logrier (Id'-jer), Jn. Bd., Cassel,
1777 — Dublin, 1846 ; flutist, writer
and composer ; invented the *' chiro-
plast."
Lofi^roscino (16>gr6-she'-no), Nicola,
Naples, ca. 1700 — 1763; professor of
cpt.; comix)ser; pupil of Durante;
1747, prof, of cpt. at Palermo, then
lived in Naples and prod, some 20
light operas ; he was brilliantly suc-
cessful, and was the first to close acts
with an ensemble.
XK>hmaQa (Id'-man), Peter, b.
Schwelm, Westphalia, April 24, 1833 ;
since 1856, lives in Leipzig ; 1858-^1,
'vriter for Neue Zeitsckrifl fiir Mu"
ik ; he believes that the drama
should be of universal appeal without
localism, patriotism or other alleged-
ly narrowing influence ; wrote trea-
tises and several di^mas set to music
bv Huber, Goebel, etc.
Lonr (lor), Jd., b. Eger, May 8, 1828 ;
org. -virtuoso and teacher ; pupil of
his father, and of Pitsch ; 1858, or-
ganist, Szegedin, Hungary; lives in
Pesth ; played with succ. in London,
1871.
Lohr (lar), (i) G. Augustus, Norwich,
Engl., 1821 — Leicester, 1897 ; or-
fanist and conductor. (2) Richard
[., Leicester, Engl., June 13, 1856 ;
studied R. A. M. won two medals;
organist, London ; since 1882, con-
cert-pianist ; c. oratorios ; wrote
•* Primer of Music ^* etc.
Lohse (15' -z^), Otto, for years cond. .
Hamburg City Th., 1895-96, Dam- I
rosch Op. Co., in which the primp
donna was his wife Klafsky (q. v. '
cond. Covent Garden, 1901 ; nf^
cond. City Th., Strassburg ; pro
9UCC. opera ** Der Prinz Widi-r
WUlen " (Cologne. 1898).
LoUi (lol'-lY), Ant., Bergamo, ca. 1730
(*40 ?)— Palermo, 1802 ; violinist and
leader ; composer and writer.
Lomagne, B. de. Vide soukies.
Long'Eurst, (i) Wm. H., b. Lam.
bcth, Engl., Oct. 6, 1819; chorister
in Canterbury Cath.; later asst.K)r«
ganist, master of the choristers and
lay-clerk ; 1873, organist ; 1875,
Mus. Doc. and mus. -lecturer ; c. ora*
torios, cath. service, etc. (2) J.
Alex., 1809 — 1855 ; operatic and
concert-singer ; bro. of above.
Loo'mis, Harvey Worthington, b.
Br(X)klyn, U. S. A., Feb. 5, 1865;
notable composer; pupil of Dvorik
at the National Cons., New York,
1893, winning a 3-years* scholarship ;
lives in New York ; c. several excel-
lent pantomimes and notable pro-
gramme music in the form of ''mu-
sical backgrounds ** to poems ; original
pf.-pcs. and songs.
Loose'more, (i) H., d. 1667 ; organist
at Cambridge, and composer. (2)
G., son of above; organist. (3)j.»
d. 168 1 : son of (i), org.-builder.
Lopes. Vide lobo.
Lorens (lo -rCnts), (i) F«,, Stein, Lower
Austria, 180J — Vienna, 1883 ; writer,
(2) Karl Ad., b. Koslin, Pomerania,
Aug. 13, 1837 ; c. quartets, etc., as a
sch.-boy; studied with Dehn, Kiel
and Gehrig, Berlin, and at Berlin
Univ.; 1861, Dr. Phil.; 1866, Munic-
ipal Dir., Stettin, cond. symph.
Concerts, etc.; teacher in two gym-
nasiums; founded the '* Stettin Mu«
sikverein" (for oratorio); 1885, pro-
fessor ; c. 2 succ. operas, overtures*
€tc. (3) Julius, b. Hanover, Oct*
I, 1862 ; from 1884, cond. Singaka-
demie, Glogau ; 1895, of the "Anon,*
New York; c. an opera *'/>i/ ^#*
kruten" and overtures.
Lo'ris, Lori'tus. Vide glareanus.
JLortsing (lort'-tslng) (Gv.), Albert,
Beriin, Oct. 23, 1803— Jan. 21, 1851;
an actor, son of actors, and m. an
actress, 1823. Had a few lessons
with Rungenhagen ; chiefly self-
taught; i826» actor at Detmoldl
39
--. 35
540
THE MUSICAL GUIDE
prod. 2 vaudevilles with succ; 1833-
44, tenor at Leipzig th. ; prod. succ.
''Die beiden SchUHen''; 1837 and
1839, '* Czar und Zimmerman "y 4
others followed, then '' Der Wild-
schUtz^* 1842 ; cond. at Leipzig^ Op.,
then travelled, producing 6 more op-
eras, incl. ''Undine^' (1845); '' Der
Waffenschmied" (1846) ; his melo-
dious unction keeps those works men-
tioned still popular, and his '' Regina "
was posthumously prod. Berlin, 1899,
with succ; he lived in poverty in
spite of his succ. , and a benefit was
needed for his family after his death ;
c. also an oratorio, etc.; biogr. by
Dttringer (Leipzig, 185 1).
Lttschhom (l^sh'-hom), Albert, b.
Berlin, June 27, 1819; pupil of L.
Berger, KoUitschgy, Grell and A. W.
Bach at the R. Inst, for Church-mu-
sic; 185 1, as pf. -teacher there ; 1859,
professor ; noted teacher also ; writer
and composer.
Los' sen, Magda. Vide dulong.
Los'sius, Lucas, d. Laneberg, 1852 ;
writer and composer.
Lett, Edwin M., b. St. Helier, Jersey,
Tan. 31, 1836 ; at 10 yrs. organist ;
later various London churches ; c.
sacred mus.
Lotti (I6t'-te), Ant., Hanover (?), ca.
1667 — Venice, Jan. 5, 1740; son of
the ct.-cond. at Hanover ; pupil of
Legrenzi ; at 16 prod, an opera at
Venice ; 1697 organist there ; prod.
20 operas with general succ. ; was
/ noted as an organist, and more
famed as a composer of church-music.
Lotto (lot' -to), Isidor, b. Warsaw,
Dec. 2, 1840 ; pupil of Massart (vln.)
and Reber (comp.), Paris Cons. ;
1862, solo> violinist, Weimar ; 1872,
teacher Strassburg Cons., later at
Warsaw Conservatorium.
Lotze (lot'-tsd), Rudolf Hn., Bautzen,
18 17 — Berlin, 188 1 ; professor and
writer.
Louis (loo'-es), Fd., Friedrichsfelde,
near Berlin, 1772 — Saalfeld, 1806 ;
Prince of Russia, nephew of Frede-
rick II. ; composer.
Louli^ (loo-ya), Et., 17th cent. ; inv.
the ^'chronom^tre " (forerunner ot
the metronome) and a ** sonometre.*'
Lovattini (-te'-ne), Giov., Ital. tenor
in London, 1767.
Lov'er, Samuel, Dublin, 1797 — Jer*
sey, 1868 ; famous novelist ; also
composer.
L6w (lav), Tos., Prague, Jan. 23, 1834
— Oct., 1886 ; pianist and composei
of light pf.-pcs.
Lowe (15), fedw., Salisbury, En^L,
1610 (-15?) — Oxford, 1682 ; organist,
professor and composer.
L5we (la'-vg) (Jn.) Karl (Gf.), Lobe.
jUn, near Halle, Nov. 30. 1796—
Kiel, April 20, 1869 ; son and pupil
of a cantor ; studied with TQrk on a
royal stipend ; 1821-66 town mus.-
dir. at Stettin ; toured Europe sing-
ing his own fine ** ballades" or dra-
matic solos ; also c. 5 operas, 17
oratorios, etc., wrote a ** Selbst-bi<K
graphie (1870)."
Low thian, Caroline (Mrs. Cyril A.
Prescott), English composer.
Lttbeck (Itl'-b^k), (i) Vincentius, Pad-
dingbQttel, near Bremen, 1654 — Ham-
burg;, Feb. 9, 1740 ; famous organist.
(2) Jn. H., Alphen, Holland, 1799 —
The Hague, 1865; violinist and ct.-
conductor. (3) Ernst, The Hague,
1829 — Paris, 1876 ; son of above ;
pianist. (4) Louis, b. The Hague,
1838 ; bro. of above ; pupil of Jac-
quard ; 1863-70, 'cello- teacher, Leip-
zig Cons. ; then in Frankfort.
Lii oenau, L. Vide Jadassohn, s.
Lubrich (loo'-brlkh), Fritx, b. Bftrs-
dorf, July 29, 1862 ; 1890 cantor at
Peilau, Silesia ; editor and com-
poser.
Lucantoni (loo-klin-to'-ne), Giov., b.
Rieti, luly, Jan. 18, 1825 ; pupil of
Milan Cons.; 1857 lived in Paris,
then London as vocal teacher ; c. an
opera, a symph., etc.
Luxas, (i) Cnaa., Salisbury, 1808 —
London, 1869; 'cellist and composer.
(2) Stanley, since 1861 secreury to
the R. Soc. of Mus.; and 1866-80 ok
the Philh. Soc. (3) Clarence^ b. Caiu
DICTIONARY OF MUSICIANS 541
ada. 1866; studied Paris Cons.; c.
opera, '* Anne Hathaway ^^* etc.
l«ucca (look'-ka), Pauline, b. Vienna,
April 25, 184 1 ; soprano; studied
with Uschmann and Lewy ; in chorus
Vienna Op.; 1859 won attention as
First Bridesmaid in *' Der Frd-
scAau" engaged at Olmtttz, for
leading roles ; Meyerbeer chose her
to create ** Selika " in " VAfricaine*'
It Berlin, where she was engaged as
ct. -singer for life ; sang in I^ndon
annually, and broke her Berlin en-
gagement to sing in the United
States for two years ; 1869 m. Baron
voa Rhaden (divorced, 1872) ; m. von
Walihofen in America ; lives in Vi-
enna.
{.ucchesma (look-kas'-mft), Maria A.
M., Ital. mezzo-soprano, London,
1737.
Lttck (lYk), Stephan, Linz-on-Rhine,
1806 — Trier, 1883 ; reformer in Cath-
olic church-music.
Ludwig: (loot'-vYkh), Otto, Eisfeld,
Thuringia, 1813 — Dresden, 1865;
dram, composer.
Luhrsz (loorsh), K., Schwerin, 1834—
Berlin, 1882 ; composer.
Lully (rightly Lulli) (Ittl-le, or loolMl),
(1) J. Bap. de, Florence, 1633 —
Paris, March 22, 1687. A Franciscan
monk taught him the violin and gui-
tar. His parents were noble but
poor; the Chev. de Guise took the
boy in 1646 to France to entertain
Mile, de Montpensier, but he was
set to work in the scullery, where
Count de Nogent heard him play
the vln. and placed him in the
private band. L., however, set to
music a satirical poem on Mile, de
M. and she dismissed him. He stud-
ied the harps, and comp. with Metri,
Roberdet, and Gigault, and became
a member of the King's private or-
chestra ; 1652, he became head of the
" 24 violins " ; he organised a second
group, ** les petits violons," of 16
mstrs. and made it the best orchestra
in France. 1653, ct. -composer and
prod, masques and ballets in which
Louis XIV. took part and Lully as
** M. Baptiste," danced and acted.
1672, the king held him in such favour
that he gave him letters patent tor
an *' Acad^mie royale de musique "
(now the Or. Opera) ; a rival theatre,
was closed by the police (v. campra).
With this opportunity (cf. Wagner's
Bayreuth, Theatre) the transplanted
Italian proceeded to found French
opera — ^idiomatic mus. to texts in the
vernacular, and free of the super-
ornamentation of the Italian Sch. He
held the vogue till Gluck put him in
eclipse. L. was dir., stage-manager,
conductor, and even at times machin-
ist, as well as composer. He was
fortunate in his librettist, Quinault.
He developed the overture, and intra*
duced the brass into the orch. He
was famous for his temper and once
while cond. furiously struck his own
foot with the baton, producing a
fatal abscess. His works, mainly on
classical subjects, include "i>j rites
de r Amour et de Bacchus^*; a pas-
toral pasticcio (1672) ; ** Cadmus et
Hermione 'V '' Alceste'' ; " ThMe'' ;
*'Le Carnaval^^* opera-ballet ; ^^Atys^
Isis, Psyche "/ '' BelUrophon'' ; ''Pro-
strpim" ; '* Le Triomphe de
VAm§ur''; ''Pers/e''; ** Phaeton*';
*' Amadis de GauW' ; ''Roland'' ;
" Armide et Renaud"; "Acts et
Galat^e" historic pastoral (1686),
etc., also symphs., a mass, etc. (2)
Louis de, Paris. 1664 — ^after 17 13;
son of above ; dramatic com-
poser.
Lum'bye, Hans Chr., Copenhagen,
1810 — 1874; conductor and compos-
er of pop. dance-mus. His son and
successor (2) G., c. opera " The
Witch's Flute."
Lum'ley, Benj., 18 12 — 1875 ; London
operatic manager.
Lupi. Vide lupus.
Lupi (loo'-pe), Italianised form o|
" Wolf "; frequent i6th cent, sumamt
worn by Lupus Lupi, Didier, Jok
hannes (Jean), and Manfred Lnpi|
of whom nothing remains except theit
^^
542
THE MUSICAL GUIDE
works (detached motets for the
greater part). Also^^see lobo.
Luporinj (loo-po-re'-ne), Gaetano, b.
Lucca, Italy; pupil of Primo QuiUci,
graduating trom the Pacini Mus.
. Inst,; c. opera ** Afarcelia^'* succ.
lyric comedy, ^^ I Dispetti Amorosi'*
(Turin, 1894); V. succ. opera "Z<i Col"
Ifina di Pasqtta " (Naples, 1896), etc.
Lupot (lu-po), (i) Nicolas, Stuttgart,
1758 — Paris, 1824 ; chief of a French
family of vin-makers, incl. his great
grandfather (2) Jean; his grandfather
(3) Laurent (b. 1696), his father
(4) Francois, his bro. (5) Francois
(d. 1837), and his son-in-law, Cnas.
Fr. Gand of Gand & Bernardel,
Paris.
Lupus (loo'-poos) (Christian name fre-
quently occurring among i6th cent,
composers). Among those who wore
it are, (i) L, Hellinck, (2) L. Lupi.
Lusci'nius (Latin form of Nachtgall
or Nachtigall (n{lkht'-(I)-g^l),
•• Nightingale "), Ottomar, Strass-
burg, 1487 — ca. 1536; organist, theo-
rist and composer.
Lussan (da lUs-san), Z6lie de, b. New
York, 1863 ; pupil of her mother ; de-
but in concert and stage, 1886 ; 1889
Carl Rosa Co., London; from 1894,
Met. Op. N. Y., also in Spain, etc.
Lussy (loos'-se), Mathis, b. Stans,
Switz., April 8, 1828; pupil of Bu-
singer and Nfigeli; pf. -teacher, Paris,
and writer.
Liistner (Ust'-n'r), (i) Ig^naz P.,
Poischwitz, near Jauer, 1792 — Bres-
lau, 1873 ; violin teacher. His five
sons were (2) K., b. Breslau, Nov.
10, 1834 ; pianist and 'cellist ; since
1872 teacher in Wiesbaden. (3) Otto,
Breslau, 1839 — Barmen, 1889 ; town
mus.-dir. at Barmen. (4) Louis, b.
Breslau, June 30, 1840 ; violinist,
and since 1874 cond. at Wiesbaden.
(5) G., b. Berlin, 1887 ; 'cellist; ct..
cond. at Berlin. (6) Richard, b.
Breslau, Sept. 2, 1854; harpist and
violinist.
Luther (loo'-t«r), Martin, Eisieben.
Nov. 10^ 1483 — Feb. 18, 1546; the
great reformer concerned himself also
with church-mus., issuing ''^ Formuia
missae'^ (1523), and a new order
for the German mass. He wrote the
words of at least 36 chorals, and is
generally believed to have c. 13 cho-
ral-tunes (incl. the famous *' EinfesU
Burg ist ufiser GoU" and '* Jesaia
den Propheten das gescha "), his meth-
od being to play them on the flute
(which he played well) while his
friends and assistants, the cond. Kon-
rad Rupff and cantor Jn. Walthcr,
wrote them out.
Ltttschgr (iitshkh), Waldemar, b. St.
Petersburg, May 16, 1877; pianist;
pupil of his father a prof, at the Cons.
. there ; after his father's death he
toured Cjermany ; lives in Berlin.
Luts (loots), Wm. Meyer, b. Maiw
nerstadt, 1829 ; pianist and dram,
composer; from 1848, conductor at
London.
LUtzel (liit'-tsdl). Jn. H., Iggleheim,
near Speyer, 1823 — Zweibrucken,
1899 ; writer and composer.
Lutzer, Jenny. Vide dingklstedt.
Lux (looks), Fr., Ruhla, Thuringia,
1820 — Mayence, 1895 ; conductor,
organist, pianist and dram, composer.
Luzzi (lood'-ze), Luigi, Olevano di
Lomellina, 1828 — Stradella, 1876 ;
dram, composer.
Lvoff (or Lwoff) (I'vof), Alex, von,
Reval, 1799— on his estate. Govt, of
Kovno, 1870; violinist and conduc-
tor ; c. the Russian national hymn and
4 operas.
Lwowezyk (IVo-v^-zek). Martin
(Leopolitas), d. 1589, Polish com-
poser.
Lynes (llnz), Frank, b. Cambridge,
Mass., May 16, 1858 ; pupil N. E.
Cons, and Leipzig Cons.; lives in
Boscon as organist, conductor and
composer.
Lyra (le'-ra), Justus W., OsnabrOck,
1822— Gherden, 1882 ; composer.
Lysberg (les-b^rkh) (rightly Bovy),
Chas. Samuel, Lysbeig, near Ge«
neva, 182 1 — Geneva, 1873; pianist
and dram, composer.
DICTIONARY OF MUSICIANS 543
M
Haas (mas), (i) Jos., Dartford, 1847—
1886; tenor (2) Louis (Ph. O.),
Wiesbaden, 1852 — Boston, 1889 ;
pianist, conductor and composer.
Mabellini (ma-b£l-le'-ne), Teodulo,
Pistoia, Italy, 1817 — Florence, 1897 ;
ct.-conductor and dram, composer.
Mabillon (m&-be-y6A), Jean^ St.
Pierremont, 1632 — St. Germain-des-
Pr&. 1707 ; writer and editor.
Macbeth', Allan, b. Greenock, Scot*
land, March 13, 1856 ' pupil of Leip-
zig Gons.; organist m Glasgow;
since 1890, principal sch. of mus.,
Glasgow Athenaeum ; c. an operetta,
a cantatas, chamber-mus., etc.
Maccheritii rm&k-k£-re'-ne), Bologna,
1745 — 1825, itoprano, wife of An-
sani.
MacCunn', Hamish, b. Greenock,
Scotland, March 22, 1868 ; notable
British composer ; pupil of Parry, R.
A. M., having won a scholarship for
comp.; at 19, several of his orch.-
pcs. were prod, by Manns; at 20
commissioned to c. a cantata for the
Glasgow Choral Union ; gave con-
certs at the studio of John Pettie,
whose daughter he m., 1889; i888«'
f4, prof, of harm. R. A. M.; 1898,
:ond. Carl Rosa Op. Co.; c. operas,
** Jeanig Deans" (Edinburgh, 1894),
•• Diarniid and GhrinS'' (Covent
Garden, 1897); 5 cantatas incl. ^*'Th€
Death of Parry Reed " (male chorus
and orch.), overtures ** Cior Mhor^*
** The Land of the Mountain a fid the
Flood** ballad overture, ** The Dowie
Deni o* Yarrow''; ballade, ^' The
Ship 0* the Fiend:' with orch.; 8th
Psalm with orch., etc.
lAacDow'ell, Edw. Alex., New York,
Dec. 18, ]86i; eminent American
composer and one of the most orig-
inal and virile of contemporary cre-
ators, taaving given the sonata a
new enlargement and spontaneity,
and written programme-mus. of espe-
cial dignity ; pupil of J. Buitrago, P.
Desvemine and Teresa Carreflo, N.
Y.; 1876, Paris Cons.; 1879, with
Heymann (pf.) and Raff (oomg.)
Frankfort ; 1881-82, chief pf
teacher at Darmstadt Ck>ns. ; at 2< «
Raff (who was deeply interested
in his progress) and Lisz( pro
cured the performance of his worku
at the annual festival of the '* AUge-
meiner deutscher Musikverein * ; lived
in Wiesbaden ; 1888, Boston ; 1896,
prof, of mus. in Columbia Univ.,
New York ; Mus. Doc. >l. r., Prince-
ton Univ. and 1902, Penn. U,
also ; he gives frequent pf .-recitals,
and has played his concertos with
the Boston Symph. and other
orchs. Orchestral Compositions :
2 poems *' Hamlet" and " OfheUa'*;
symph. poems, ** Lancelot and
Elaine/' ''Lamia'* and ''Roland,''
op* 35* romance for *cello with orcb.;
3 orch. suites incl. ** In October " a^d
"Indian Suite" For piano. 4
sonatas '" Tragica" *' Froica **
("Flos regum Arthurus*% " Scan-
dinavian" and "Celtic"^ pretud«
and fugue, modem suite; forest
idyls, 3 poems, " Moon-fictures:^' 6
poems after Heine, 4 "Little Poems";
technical exercises (3 book^, and 12
virtuoso-studies, etc., and many songt
of great charm and individuality.
Mace,Thos., 1613 — after 1675; Engl
lutenist, inventor and writer.
Macfar'ren, (i) Sir G. Alex., Lon-
don. March 2, 1813 — Oct. 31^ 1887 ;
notable English composer and schol*
ar ; son and pupil of the playwright
G. Macfarren ; also studied with Ch*
Lucas and Q. Potter, R. A. M.;
1834, prof, there, even after blindness
overtook him ; from 1875 prof, at
Cambridge Univ., Mus. Doc. there
1876; from 1876, also principal of
the R. A. M.; 1883, knighted; c. 13
operas, 9 of them prod.; 4 oratorios,
6 cantatas, 8 symphonies, 7 over-
tures, incl. "Chevy Chase,^ "Don
Carlos," " I/amUt '^ and ** FesHval,**
concertos, sonatas, etc.; wrote text-
books, articles; ed. old texts, etc.;
hkoau bv Banister (London* '91). (fl)
544
THE MUSICAL GUIDE
Natalia, b. LQbeck, wife of above ;
contralto, translator and writer. {3)
Walter Cecil, b. London, Aug. 38,
1826 : bro. and pupil (in comp.) of
(i) ; studied with furle, Holmes (p{.)
and Potter (comp.); from 1846, pf.-
prof. at the R. A. M., of which he Is
1 Fellow ; 1873-80, cond. Acad. Con-
certs; dir. and treasurer Vhilharm.
Soc. ; pianist, lecturer, editor, and
composer of a symph., 7 overtures, a
cantata *• TAe Son^ of the Sunheam^
services, etc.
Machault (or Maehau, Machaud,
Machut) (mfl-sh5), GuiUaume
(Gullelmus) de Mascandio, Ma-
chau in the Champagne (?) ca. 1384-7
1370 • troubadour ; composer.
MiLchtiff (mSkh'-tYkh), K., Breslau,
1836— *i88i; oi^nist and composer.
Macirone (mfl-che-rd'-n^), Clara An-
g^ela, b. London, Jan. 20, 1831; pi-
anist ; pupil of R. A« M.; later teach-
er there and elsewhere; e. •• Te
Deum^^ and ^* Jubilate*' anthem
•• By the WaUrs of Babvhn,'* etc,
Macken'sie, Sir Alex. Campbell, b.
Edinburgh, Aug. 22, 1847 ; notable
British composer; pupil of Ulrich
(pf.) and Stem (comp.),Sondershausen
Cons.; at 14 a violinist in the Ducal
Orch.; 1862, won the King's schol-
arr.hip, R* A. NL, and studied with
Sainton, Jewson, and Lucas ; from
1865 teacher and cond. Edinburgh;
1888 of Cambridge; 1896 of Edin.
burgh U.; 1894 knighted; since 1888,
principal R. A. M. (vice Macfarren);
1892 cond. Phllh. Soc.; c. operas,
*' Colomha •• (Drury Lane. 1883),
•• The Troubadour " Obid. 1886), and
•• Hii Majesty^ or the Court of Vin^
p>Ha '* (1897 ; comic), •• Crichet on
the //earth'' (MS.); oratorios, " The
Rose of Sharon " (Norwich Festival,
1884), and •• Bethlehem '* (1894);
cantatas, Jason (Bristol Festival,
1882), *• The Bride:' '• The Story of
Sayid" (Leeds Festival. '86), " The
I^eio Covenant" ** The Dream of fu-
hal,'' " The Cotter's Saturday ATr'/ht:'
and •• Feni, Creator ^iritus^'i a
Scottish rhapsodies, a ballad, with
orch., **/.tf belle dame sans merei**j
overtures *' Cervantes ^^ ** To a com^
edy/ •• Tempo di ballo,'' " Twelfth
^ii^^y^ *^ Britannia" ; a vln.-con-
certo, a •' Pibroch " for vln. and
orch.; ** Scottish Concertos" for pf.,
etc.
Mackintosh (i) J,, 1767 — 1840 (?);
bassoonist. f2) Alpnonso, son of
above ; violinist.
McGuck'in, Barton, b. Dublin, Tu!y
28, 1852 ; pupil of Turle and Tre-
vulsi ; pop. oratorio and operatic
tenor.
McLean, Alick, b. Eton, Eigl., July
20, 1872 ; c. opera '* Quent.'n Dur*
ward {London^ 1895) ; i-act opera
•• Petruccio " (Covcnt Garden, 1895 t
Moody Manners prize of ;^ioo), etc,
McMur'die, Jos., London, 1792—
Merton, Surrey, 1878 ; composer and
director.
Mader (m&'-d^r), Raoul (M.), b. Press-
burg, Hungary, June 25, 1856 ; stud-
ied Vienna Cons.; took ist prize for
pf. and comp., and the great silve*
medal and the Liszt prize as best
pianist in the Cons. ; i882-<)5, 1st
" coach •• for solo singers, Vienna
ct.-opera, also asst. -cond. From 1895
cond. Royal Opera, Pesth; c, 2 comic
operas, 4 ballets. Inch '• LHe Sirenen^
insel," and " She " (after Rider Hag-
gard), parody on Mascagni's CavaU
Teria kusticana (Th. an der Wjen,
1892), choruses, songs, etc
Map(sr)inl (mSd-jS'-ne) (or Maglno),
GTov. Paolo, Botticino - Marino,
Italy, T580— Brescia, ca. 1631 ; vln.-
maker, rivalling Stradivari and Guar*
neri ; his double-basses particularly
good ; label, ** Gio. Paolo Maggini,
Brescia."
Mag'nus, D^sir^ (rightly Ma^ua
Deuts), Brussels, 1828 — Paris,
1 88 J ; teacher, composer and critic.
Mahillon (ma-$-y6nl, Chas. Victor,
b. Brussels, March 10, 1841 ; since
1877 custodian of mus. instrs., Brus*
fwls Cons.; editor and writer : man
ager wind-lnst. factory of his father.
DICTIONARY OF MUSICIANS 54?
Mahler (mr-lSr). Gus.. b. Kalischt.
Bohemia, July 7, x86o ; studied with
Bruckner at Vienna Cons,; cond. at
Cassel, 1885-86, Leipzig, 1888-91 ;
dir. Royal Opera, Pcsth, 1891-97,
cond. HaroLurg City Th.; 1897, ct.-
cond« Vienna Ct.«Opera, later dir.; c.
opera •*/>!> drH Pinlos** (after
SVcber's slcetches^ (Leipzig. 1888) ;
cantata ** Dat kiagende luJ,*' tairy
play, 3 notable symphonies, etc.
Mahu (ma'»oo), Stepnan, b. Gennany,
ct.-singer and composer. 1538.
Maier {mr-€r), (i) Toa. Fr. Bd. Gas-
par, cantor at Scbw&bish Hall 1718-
41. (2) Julius Jos., Freiburg,
Haden, x82i-*Munich, (889 ; teacher
and writer,
Matlhac (mir^), Pauline, b. Vienna,
May 4, 1853 ; pupil of Uffmann. so-
prano at Carlsruhe many years.
Maillart (ml • y&r), Louis (called
Aim^), Montpellier, Herault, France,
1817— Moulins, AUier, 187 1 ; dram,
composer,
Mailly (mt-ye), Alphonse J. Ernest,
b. Brussels, Nov. 27. 1833 ; pianist,
and oi^n virtuoso , pupil of Girsch-
ner, Brussels Cons.; iSoi pf.-tcacher
there ^ 1868 oigan«teacher ; com*
poser.
Main»er(raln'-ts$r). Abb^ Jos., Trier.
1807 — Manchester, 1851; smging-
teacher, writer and dram, composer.
Maitland (matMilnd) (J. Alex.}, Ful-
ler* b, London, April 7. 1856 ; 1882,
M.A, Trinity ^ Coll., Cambridge ;
lecturer and critic for various papers,
now of London Times j ed. the Ap-
pendix to Grove's Diet.; pianist at
the Bach choir concerts: wrote
•• AfasUrs ^f German Music ^ (1894).
and many authoritative works.
Majo (m^ .yo), Fran, dl (called Clc-
CIO di Majo), Naples, 1745 (?)—
Rome, 1770; organist and noted
composer of operas and church-mus.
Majorano. Vide cafkarf.lli.
Marcolm, Alex., British writer, 1721.
Haider (msU'.d£r). Pierre van, Brus-
sels, 1724 — X768 ; violinist and com-
poser.
Mallierbe (milU^b). Cbas. Th^o«
dore, b. Paris, April 21, 1863 ; at
6rst a lawyer, then studied with Dan<-
hauser, Wormser. and Massenet:
also pub. some original comps., ana
transcriptions ; Danhauser*B sec. ;
1896, asst -archivist, Gr. Op^ra ;
Officer of the Acad, and of Pub. In-
struction ; Chev. of various orders,
Ed., Le Minestrel^ and is prolific
writer on Wagner, etc.; owns what is
probably the l^st private coll. of mus.«
autographs in the world; ed, Ka*
mean's complete works.
Malibran (mia.t-bran), (i) M. Fell-
citii (n(<e Garcia), Paris, March 34,
1808 — Manchester. Sept. 23, 1836
(from singing too soon after being
thrown and dragged by a horse). In
som« respects the greatest of all
women vocalists ; she had a contralto
voice with an additional soprano reg-
ister and several well - concealed
" head tones ** between ; she Impro-
vised frequently on the stage, and
also c, , at 5 she played a chi|d*s
part and one evening broke out sing-
ing the chief role to the amusement
of the audience ; at 7 studied with
Pauseron, at 15 studied with her
father (v. garcia) ; d^but, London,
1825 ; she had a personality that
compelled extraordinary homage.
She ni. Malibran , when he became
bankrupt she divorced him, and 1836
m. de Beriot, ct. -violinist with whom
she had lived since X830. (2) Alex.«
Paris, 1823 — 1867; violinist and com-
poser.
MalUngrer (mSl'-ltng-Sr), Mathilda
(nde Lichtenegg^er), b. Agram,
Feb. 17, 1847: soprano; pupil of
Giordigiani and Vogl, Prague Cons.,
and Lewy. Vienna ; debut, Munich,
1866 , l858. created ** Eva •* in the
Meister singer ; m. Baron von Schim-
melpfennig. since 1890 singing-teacb-
er. Prague Cons.
Malten (mal'-tgn), Therese, b. In*
sterburg, Kast Prussia. June 21, 1855:
soprano : pupil of Kngel (voice), una
Kahle (actk>a}, Berlin , at 18 d^itf.
546
THli MUSICAL GUIDE
Dresden as Pamina. and engaged
there for life ; created " Kundry **
{Parsifal) at Bayreuth, 1882 ; 1898,
ct. -chamber singer.
MjUzeKm^l -tsei) Jn. Nepomuk, Kat-
isbon, 1772— on a voyage, July 31,
1838. mus-teacher ; inv. '*panhat-
monion '* (a sort of orchestrion) an
automaton-trumpeter, and an auto-
matic chess-player, while exrcnmcnt-
ing with his ** chronometer/' a sort of
metronome (v. d.d.). he saw Wink-
el's invention, adopted its chief feat-
ures and patented the result as Mael*
zel's metronome (v. D.D.).
Mancinelli (mSn-chY-n^l -lY). Luigi.
^. Orvieto. Papa! States, Feb. 5,
I48 ; intended for commerce, self-
aught on the pf., and ran away from
bome ; was brought back, but per-
mitted to study at 14 with Sbolci
(Florence, cello) ; at 15, 3rd 'cellist
Pergola Th., earning his living the
next 8 years ; studied with Mabellini
(comp.) ; 1870 in the oschestra of the
opera at Rome ; 1874, 2nd cond. ;
1875, cond. ; 1881, dir. Bologna
Cons., which he made one of the best
in Italy ; 1 880-88. cond. at Drury
Lane, London ; 1888-95, Royal Th.
Madrid ; since at Covent Garden,
London, and Met. Op., New York ;
in Italy called *' il Wagnerista " for
his advocacy ; c. opera *' Jsora di
Provenza *' (Bologna, 1884) , succ.
'* Ero e Leandro'' (Madrid. 1897,
New York, 1899) : an oratorio, etc. ;
overture and entr'acte-mus. to Cos-
sa's Cleopatra.
Mancini (man-che'-nc), (i) Fran.,
Naples. 1674 — 1739 ; cond. and dram,
composer (2) Giambattista, As-
coli, 1716— Vienna, 1800; writer.
Mancio (man -cho). Felice, Turin,
1840 — Vienna 1897, singer and
publisher.
Mangeot (man-zhd). Ed. Jos., Nantes.
France, 1834 — Paris, 18^8 ; pf.-
maker and editor ; inv. piano '* \.
double clavier ren verse."
Mangold (man -golt). (i) G. M., 1776
— I8a5 , violinist. (2) (jn,) Wnu*
Darmstadt. 1706^1875; ooaductoi
and dram, composer. (3) K, (Lt
Amand), Darmstadt, 1813 — Obe^s^
dorf. Algau. 1889. bro. of above;
dir.. conductor and composer. (4)
K. G., 1812 — London. 1887, pianist,
composer and teacher.
Mann, u) Arthur Henry, b. Nor-
wich. Engl., May 16. 1850 . chorister
at the cath. with Dr. Buck ; oi^nist
various churches . since 1876, King's
Coll.. Cambridge ; 1871. F. C. O.,
1882. Mus. Doc. Oxford Handel
scholar; with Prout discovered the
original wind-parts of the Messiah j
ed. the Fitzwilliam Catalogue wit'i
Maitland, etc.; c. ** Ecce Jiomo^
with orch.; " Te Veum,'* *' Evening
Servicer io^ orch.. etc. (2) In. GE
Hendrik, b. The Hague, July 15,
1858 ; pupil R Sch. of Mus. there ;
bandm., Leyden ; comp'^er.
Man'ney, Chas. Fonti^ ^ b. Brook*
lyn, 1872 , studied with Wm. Arms
Fi^er and J. Wallace Goodrich.
Boston ; composed a cantata, songs
etc
Manns (mSns), Aug;. (Fn), b. Stolzen
berg, near Stettin. March 21. 1825 ,
noted conductor; son of a glass-
blower, who with his sons formed a
quintet (vlns.. 'cello, horn, and flute);
at 15 apprenticed to Urban, of £1*
bing ; later ist clar. of a regimental
band. Dantzig , 1848, at Posen.
Wieprecht got him a place as 1st vln.
in GungPs orch. at Berlin, 1849-5 1«
cond. Kroll's Garden ; regimental
bandm. Ktinigsberg and Cologne
(1854) . joined Crystal Palace band,
London as asst.-cond. to Schallen,
who pub. as his own M.*s arrange^
ment of certain quadrilles; where'
upon M. resigned, publicly stating;
the reason ; 1859 he succeeded S. ,
he later made the band a full orch.,
giving famous and very popular Sat-
urdav Concerts till 1900, when the
public ceased to support it , he
has also cond. 7 Triennial HSndel
Festivals, concerts of the Glasgow
Choral Union, 1879-^3, etc
DICTIONARY OF MUSICIANS 547
Mannsfeldt (m&ns'-f^lt), Hn., Erfurt.
1833 — Ems, 1892 ; conductor.
Mannstadt (m&n'-shta), (i) Fz., b.
Hagen, Westphalia, July 8, 1852 ;
pupil Stern Cons., Berlin; 1874,
cond. at Mayence ; 1876, Berlin
Symph. Orch.; 1879, pf-t. Stem
Cons.; 1893-97, cond. Berlin Philh.;
then returned to Wiesbaden, where
he had been as conductor and teacher
1883-97. (?) (2) Wm., b. Bielefeld,
May 20, 1837 ; bro. of above ; con-
ductor and stage manager, Berlin
Th. ; editor ; c. (text and music)
farces and operettas.
Mansfeldt, E. Vide piekson, h. h.
Mantius (man'-tsl-oos), Ed., Schwe-
rin, 1806-— Bad Ilmenau, 1874 ; tenor.
Mantovano, Al. Vide ripa.
Manzuoli (man-tsoo-o-Ie), Giov., b.
Florence, ca. 1725 ; famous soprano-
« musico.
Vla'pleson, Col. Jas. H.| London,
May 4, 1830 — Nov. 14, 1901 ; fa-
mous impresario ; studied R. A. M.,
London ; a singer, and via. -player
in an orch.; 1861, managed Italian
Opera at the Lyceum ; 1862-^8, was
at H. M.'sTh.; 1869, Drury Lane;
1877, reopened H. M.'s Th. ; gave
opera at Acad, of Mus., New York,
with varying succ. in different seasons.
Mara (ma'-ra), Gertnid Elisabeth,
(nee Schmeling^), Cassel, Feb. 23,
1749 — Reval, Jan. 20, 1833 ; phe-
nomenal soprano, with compass,
g-t'" (v. PITCH, D.D.), who reached a
high pinnacle of art over difBcultics
(ranging from rickets to the Moscow
fire) not surpassed in the wildest fic-
tion ; she m. in 1773, the *cellist
Mara, divorced him 1799 ; teacher.
Mara, La. Vide lipsius. marik.
Marais (m^-r£'), (i) Marin, Paris,
March 31. 1656 — Aug. 15, 1728; the
greatest viola-da-gambist of his time ;
c. symphonies, etc. (2) Roland,
son of above ; solo gambist ; pub.
pes. for gamba.
Mar' beck, J. (or Merbecke), 1523 —
ca. 1 581; Engl, organist and com-
poficr.
Marceau (mir-so). Jas. Herbert, b,
Napierville, Canada, Oct. 31, 1859;
studied singing with Willard, N.Y.,
and with de Tadiila and Ch. Doual-
Her, Paris ; teacher Mansion Sch.,
Wollaston, Mass.
Marcello (mar-chdl'-lo), Benedetto,
Venice, Aug. i, 1686 — Brescia, July
24« 1739 1 noted composer, pupil of
Gasparini and Ix)tti ; held gDv't po-
sitions; pub. satires, and c. 50 psalms,
etc.
Marchand (m2ir-shan), Louis, Lyons,
1669 — in poverty, Paris, 1732 ; an
org. -virtuoso whose lame wilted be-
fore his failure to meet J. S. Bach in
a duel of virtuosity.
Mar' chant, Arthur Wm.,b. London,
Oct. 18, 1850; organist in several
English churches; 1880-82, St.
John's Cath., Denver, Col.; since
1895, organist, Dumfries, Scotland ;
wrote text-books ; c. Psalm 48, with
orch.; ** A Morning Service'^ and an
^* Evening Service t ' etc.
Marches! (mar-ka-ze), (:) Lulgi
(** Marchesi'ni "), Milan, 1755 — In-
zago, Dec. 14, 1829 ; soprano mu-
sico. (2) Salvatore, Cavalicre De
Castrone (dakas-tro'-n^) (Mar-
chese Delia Rajata), b. Paler-
mo, Jan. 15, 1822; studied mus.
with Raimondi, Lam|)erti and Fon-
tana ; exiled after the Revolution of
1848, and debut as barytone, N. V.;
then studied with Garcia, London ;
a succ. concert-singer ; 1852 m. Ma-
thilde Graumann (v. in/ra)^ and
they sang together in opera, later
taught together at Vienna Cons.,
1865-69, Cologne Cons.; 1869-81,
Vienna, since then in Paris ; pub. a
vocal method, translations, etc.; c.
songs. (3) Mathilde (nee Grau«
mann), b. Frankfort-on-M., March
26, 1826 : famous singing-teacher ;
pupil of Nicolai, Vienna, and Garcia,
Paris ; sang in concert ; wife of above
(q. V.) ; pub. a vocal method, vocal-
ises, and autobiog. ** Marehesi and
Afusic," enlarged from ''^Ausmeinem
Leben " (Dusseldorf , X887 ?).
548
THE MUSICAL GUIDE
Marchetti (mMr-ket'-tt), Filippo, Bo.
log^nola, Italy, Feb. 26, 1835 — Rome,
Jan. 18, 1902; pupil of Lillo and
Conti, Royal Cons., Naples; at 21
prod. succ. opera, *' Gentile da Vara*
no" (Turin), ** La Demenie'* (1857) ;
singing-teacher, Rome ; went to Mi-
lan and prod. succ. ** Giulietta e
Romeo'' (1865), and *' A'uy-Blas"
(La Scala, iS6g). From 188 1, dir.
R. Accad. di Santa Cecilia, Rome ;
prod. 3 other operas, symphonies,
and church-music.
Marchet'tus of Padua (Marchetto
da Padova), lived in Cesena, ca.
1270 — ca. 1320; learned theorist.
(Gerbcrt.)
Marchi (mar'-ke), Emilio de» Cheva-
licr (rightly Peano), b. Voghera,
Piedmont, 1866 ; prominent tenor ;
son of Italian general ; entered army
and served with distinction in Africa
as lieutenant, then studied voice with
Landi, Florence ; debut, Milan,
1866, as Alfredo in " La Traviata "/
sang with great success throughout
Europe ; 1896-97 and 1901-02 in the
U. S. 1900 created **Cavardossi"
in Puccini's **Ztf Tosca"
Marcolini (-Ic'-ne), Marietta ; Italian
soprano, 1805-18 ; created Rossini
roles.
Mar^chai (m^r-a-shtll), H. Chas., b.
Paris, Jan. 22, 1842 ; pupil of Cons.,
1870, won Grand prix de Rome ;
prod, r-act op.'com. ** Les Amour eux
dt Catherine ' (Op. -Com., 1876); also
3-act op. -com. "Za Traverne des
Trabaus'' (ibid., '81); '* D/idamie"
(Gr. Opera, ^93) ; '^Calendar (Rouen,
*94); c. sacred drama **Z^ Miracle
de Nairn " ('91), etc.
Marek\ Louis, Galicia, 1837 — Lem-
bcrg (?); pianist, pupil of Liszt.
Marenco (mS-rdn'-ko), Romualdo, b.
Novi Ligure, Italy, March i, 1841;
violinist ; then 2d bassoon, Doria Th.,
Genoa, where he prod, a ballet ;
studied cpt. with Fenaroli and Mat-
tci ; 1873, dir. ol" ballet at La Scala,
Milan ; has prod. 4 operas, and over
20 ballets.
Marensio (ma.r^n'-tsT-6), Lnca, Coc-
caglio, near Brescia, ca. 1550— (*'o£
love disprized '*) Rome, Aug. aa,
1599 ; famous composer of madrigals,
also of motets, etc.
MareS (m&'-rdsh), John A., Chotebor,
Bohemia, 1719 — St. Petersburg, 1794;
invented the Russian ** hunting-horn
mus.,*' each horn sounding one tone.
Maretzek (mft-r«t'-sh«k), Max,
Brunn, Moravia, June a8, 182 1—
Pleasant Plains, Staten Island, N. Y.,
May 14, 1897; well-known Impresa^
rio ; also dram, composer and teacher.
Mariani (ma-rY-il'-ne), An^elo, Raven-
na, Oct. II, 1822— Genoa, June 13,
1873 ; famous conductor.
Marimon (mfl-re-moA), Marie, b.
Liege, 1839; pupil of Duprez ; d^-
but, 1857; soprano.
Marin fm&.r&n), M. Martin Mat^
cellc ac, b. Bayonne, France, Sept.
8, 1769 ; harpist and composer.
Marini (m&-re'-ne), (i) Biagio, Bres-
cia— Padua, ca. 1660; violinist and
composer. (2) Carlo A., b. Berga-
mo ; violinist and composer, 1696.
Mario (mft'-rl-o), Giuseppe, Conte di
Candia, (^agliari, Sardinia, Oct. 17,
i8io — Rome, Dec. It, 1883; emi-
nent tenor ; pupil of Bordogni and
Poncharde ; d^but, Paris Op^ra,
1838 ; toured Europe and America
with greatest success ; m. Giulia Grisi.
Ma'rius, clavecin-maker, Paris, 17th
cent.
Mark, Paula, b. ca. 1870; soprano;
pupil Vienna Cons., d^but, Leip-
zig, 1890 ; in 1897 m. the physician,
Neusser (who had cured her of a
throat trouble), and retired from the
stage.
Markull (mar-kool'), Fr.Wm., Reich-
enbach, near Elbing, 18 16 — Danzig^
1887 ; pianist, critic and dram, com-
poser. *
Markwort (mark'-vdrt), Jfl. Clir.«
Riesling, near Brunswick, 1778—
Bessungen, 1866 ; tenor and writer.
Marmontel (mllr-m6n-t£l), Aflt»
Fran., Clermont-Ferrand, Puy-dei
Dome, July 18, 18 16- -Paris, Jaa tab
DICTIONARY OF MUSICIANS 549
1898; pupil Pads Cons., 1848; pf.-
teacher there, noted for famous pu-
pils; writer of historic and didactic
treatises ; composer.
Mar'ny, Elsa ; contralto ; pupil of
Marches! ; av 8 sang in concert, later
in opera ; 1900 in New York.
Marpurg (m&r'-poorkh), (i) Fr. Wm.,
Seehausen, Altmark, Oct. i, 1718—
Berlin, May 22, 1795 ; important
theorist : wrote treatises of great his-
toric and theoretic value, much trans-
lated. (2) Fr., Paderbom, 1825—
Wiesbaden* 1S84 ; great-grandson of
above ; violinist, pianist, cond. and
dram, composer.
Marschner (marsh'-n«r), (i) H. (Au-
gust), Zittau, Saxony, Aug. 16, 1795
(not 1796)— Hanover, Dec. 14, 1861;
eminent opera-composer of Weber's
school but great modernity, and re-
markable brilliance of instrumenta-
tion ; studied piano from age of 6 ;
sang as a boy, then pupil of Bergt
(org ); studied law Leipzig U. 1813,
then turned to mus. entirely ; pupil
of Schicht ; the Graf von Amad& be-
came his patron, and he went to Vi-
enna ; later taught at Pressburg ; c. 3
operas, the last prod. 1820 at Dres-
den by C. M. von Weber ; 1823, he
became co.-dir. of opera there with
von W. and Morlacchi ; 1826, cond.
Leipzig Th. and prod* ^^ Der Vam-
^K/-^' (1828) and ^' Der Tenipkr und
diejadin /** both widely succ. and still
heard , 1831-59, ct.-cond. Hanover,
irhen he was pensioned ; while ct.-
:ond. he prod. ^^Hans Her ling " (Ber-
dn,i833),alsovery succ. and still alive;
he prod. 8 other operas ; c. incidental
music, choruses, etc. (2) Fx., b.
Leitmeritz, Bohemia, March 26, 1855;
pupil Prague Cons., and Bruckner,
Vienna; since 1886, teacher Female
Teachers* Seminary, Vienna ; pub. a
treatise on pi^no-touch.
Marsh, J., Dorking, 1750—1828; com-
poser and violinist.
Mar' shall, Wm., Oxford, 1806 —
Handsworth, 187 5 ; organist, writer
aad editor.
Marsick (m&r-sTk), Martin P. Jos., b.
JupiUe, near Li^e, Belgium, March
9i 1848 ; prominent vionnist ; pupil
of Desire Haynberg, Li^ge Cons. ; at
12 organist ot the cath., and a vocal-
ist; pupil of Leonard, Brussels
Cons., later of Massenet at Paris
Cons, (taking ist vln. prize) ; and of
Joachim at Berlin ; debut, Paris,
1873 ; toured Europe and (1895-96)
U. S.; 1892, vln.-prof., Paris Cons.;
c. 3 vln. -concertos, etc.
Mar'ston, George W., Sandwich,
Mass., U. S. A., i840'-Feb., 1901 ;
studied with Tufts at Portland ; 1.
Boston as teacher and composer of
pop. songs and pf.-pcs.
Marteau (mdr-td), H., b. Rheims;
excellent violinist ; pupil Paris Cons.;
1892, took I St prize ; toured U. S.»
1893, 1898 ; Russia, 1899 ; then
compelled to spend a year in the
French armv; founded '* Marteau
Prize for vln. -sonata C. by a na-
tive-born American " ; tgoo toured
America.
Martelli, E. Vide cottrau. t.
Martin (m&r-t&ii), (i) Jn« Blais6,
Paris, 1769 — 1837; barytone. (2)
P. Alex, d. Paris, Dec., 1879; oi^g.-
builder, and inv. of the '^percusaiOfl"
action in the harmonium. (3) (mAr'*
tin), Jonathan, 17 15 — London, 1737;
organist and composer. (4) G* Wm.,
1828 — Wandsworth, 188 1 ; Engl,
composer, editor and publisher. (5)
Sir Georg^e Clement, b« Lambourne,
Berks, Sept. 11, 1844; organist vari-
ous churches ; tea<;her in R. Coll. of
Mus. ; c. anthems ; knighted, Easter,
18S9.
Martin y Solar (mftr-tSn'.S-so-llir'),
Vicente, Valencia, Spain, 1754 — St.
Petersburg, May, 1810; organist at
Alicante ; prod, operas in Italy in
succ. rivalry with Cimarosa and Pai-
siello and in Vienna with Mozart; his
best work was ** La Coia Rara^**
1785 ; 1788-1801, dir. lulifln Op. at
St. Petersburg ; then teacher ; c« 10
operas, ballets, etc.
?50
THE MUSICAL GUIDE
Martinis (mSr-te'-n^s) (or Martines)
(mar-te'-n^th), Marianne di, Vienna,
1744—^1812; singer, pianist and com-
poser.
Martini (m&r-te'-ne), (i) Giambat-
tista (or Giov. Bat.) (known as
Padre M.), Bologna, April 25, 1 706
— Aug. 3, 1784; son and pupil of a
violinist ((2) Antonio Mana M.)i he
studied with Predieri and Riccieri
Zanotti and Perti ; took orders. 1729;
cond. from 1725 at church of San
Francisco, Bologna ; as a composer
of church-mus. , a theorist and teacher
he won European fame ; he also pub.
a history of ancient mus., and trea-
tises. ^3) (rightly Schwarzendorf)
(shvarts -^n-dorf), Jean Paul Eg^ide,
Freistadt, Palatinate, 1741 — Paris,
T816 ; dram, composer.
Martucci (mar-toot'-che), Gius., b.
Capua, Jan. 6, 1856 ; son and pupil
of a trumpet-player ; debut as pianist
Naples, 1867; studied at the Cons.;
1874, prof, there ; cond. the orch.
and concerts estab. by Prince d*Ar-
dore, and dir. of the Society del Quar-
tetto ; from 1875, toured with succ.
as pianist ; 1886-1902, dir. Bologna
Cons.; 1902, Naples; c. symph., pf.-
concerto, etc.
Marty (m&r-te), G. Eugene, b. Paris,
May 16, i860 ; studied at the Cons.
1882 ; won the Grand Prix de Rome
with cantata ** i?</fM"/ since 1894,
prof, for ensemble singing there ;
1895-96, chorusm. and cond. of the
Concerts dc TOp^ra ; 190 1, dir. con-
certs of the Cons. ; c. several suites
for orch., pantomime, ** Le Due <U
Ferrare" 3-act opera (1896), etc.
Marx (m&rx), Ad. Bd., Halle. May
I5« 1799 — Berlin, May 17, 1866 •
eminent theorist ; founded wii^
Schiesin^rer, *' Berliner allgemtim
tnuiikahsche Zeitung " ; editor, prof,
and mus. -dir., 1832 ; c. opera ;
wrote V. succ. and important treatises.
Mancsen (m&rx'-z^n), Eduard, Nien*
stadten, near Altona, 1806 — Altona,
1887 (8 ?) ; organist and teacher.
Marziala r'mar tsl-^ls'), Theodor, b.
Brussels, Dec. 21, 1850 ; pupil of jw
L. Lawson, London ; studied lattv
in Paris and Milan ; since 1870, supc,
mus.-dept. British Museum; batj
tone and composer of pop. songs.
Marzo (mar'-ts6). Ed., b. Naples ; pu
pil of Nacciarone, Miceli and Pappa
lardo ; 1867, New York, as boy
pianist ; became opera and concert
cond., and accompanist to Carlotta
Patti, Sarasate, etc.; organist at St.
Agnes' Church, N. Y.; later at All
Saints ; 1884, knighted by the King
of Italy : 1892, member of the R.
Acad, of S. Cecilia ; 1. N. Y. ai)d
teaches singing ; pub. 6 masses (3
with orch.), etc.
Mascagni (mils-kan'-ye), Pietro, b.
Leghorn, Dec. 7, 1863. Son of a
baker who wished him to study law ;
he secretly studied the piano, later at
SofTredini's Mus.-Sch.; studied pf.,
harm., cpt., and corop.; his father,
finding him out, locked him in the
house, whence he was rescued at
14 by an uncle ; upon the uncle's
death he was befriended by Count
Florestan, while studying with Pon-
chielli and Saladino, at Milan Cons.
He was cond. of various small troupes,
finally cond. of the mus.-soc. at Cerig-
nola ; he won the prize offered by the
mus. -pub. Sonzogno, for a i-act
opera, with '* CavalUria Rusttcana^^
which had a sensational succ. (Co&>
tanzi Th., Rome^ 1890) and has been
universally performed ; while fiercely
assailed by the critics it has produced
a school of short operas showing a
tendency to excessive realism and
strenuousness, yet offering a much-
needed relief from the eternal classic,
mythologic or costume-play plots and
bringing serious opera as close home
to real life as comic opera; 1895,
dir. of the Rossini Cons, at Pe-
saro. M.'s later operas have not
fared so well as his " CavalUria Rus^
ticana^*; they include*. ""^ LA mice
Fritz*' (Rome and Beriin, 1891),
*'/Ranl»au" (Florence. 1892). fairlj
succ ; ** Guglielmo RatcUf (Milan,
DICTIONARY OF MUSICIANS 5^
La Scala, 1895), '' Sihano'* (ibid.,
1895); i-act **bozzetto" *' Zarutto**
(Pesaro, 1896) ; and the fairly succ.
^*Jris'* (Rome, 1898; revised I^
Scala. Milan, 1899); " ^ Afaschere^*
simultaneously prod, without succ.
in 6 cities in Italy, Jan., 1901, thus
killing six opportunities with one
stone ; . he c. also (previously to Cav,
/^ ust.) 2'Q.ct opera •*// Filanda**
and Schiller's ** Hymn to Joy **/ also
a •* Hymn in Honor 0} Admiral
Dewey, U, S, y" (July. 1899), etc.
1902, toured America with bis own
opera-troupe.
Iflaschek (m£-shak'), (i) Vincenz,
Zwikovecz, Bohemia, 1755 — Prague,
183 1 ; pf. and harmonica-virtuoso ;
organist and dram, composer. (2)
Paul, 1761 — Vienna, 1826 ; bro. of
above ; pianist.
Masetti (ma-s^t'-te). Umberto, b.
Bologna, Feb. 18, 1869 ; studied at
the Cons., and since 1895 prof, of
singing there ; member of the R.
i*hil. Acad.; c. the succ. ** Vindice**
(Bologna, 1S91) ; a requiem with
orch., etc.
Masini (mii-se'-ne), Fran., Florence,
1804 — in extreme poverty, Paris,
T863 ; 0. songs.
Mason, (i) Rev. Wm., Hull, Engl.,
1725 — ^Aston, 1797 ; writer and com-
poser. (2) Lowell, Boston, Mass.,
Jan. 24, 1792 — Orange, N. J., Aug.
IX, 1872 ; pioneer in American comp.
and teaching ; c. v. succ. and remu-
nerative colls., principally of sacred
music. (3) Wm., Boston, Mass., Jan.
34, 1829; prominent American teacher
and technician; son of above; studie<^
with Henry Schmidt (pf.) in Boston;
at 17, debut as pianist there ; 1849
studied with Moscheles, Hauptm&r»A
and Richter, at Leipzig ; with j/r^y-
schock at Prague; and Liszt, &* Wei*
mar ; he played in Weimar league,
and Frankfort. London, ar»l 1854-55
in Am^ican cities; since 1355 lives
in New York as teacher ; .872, Mus.
Doc. h, £-., Yale ; pub. tl i important
and inauential '* 7'cv ^ t^nd Teck.
Method for Artistic Piano-
••/ " A Metkod for the Pf*-
Syu
»•
mr, a
playin^^
with E. S. Hoadley (1867U
tem for Beginners^ (1871) ; "iVtf-
sons P/.^Technics"* (1878): an^
•• Memoirs ** (New York, 190X); c 1
serenata for *cello and many pf.-r>Cii.
in classical form. (4) L uther Wait
ing, Turner, Maine, 1828 — Buckfield
Maine, i8q6 ; devised che v. succ.
*' Natianal System *' of rous.-€hartt
and books; wrote ^^ Die neue Ge*
sangsehute,**
Massa (m&s'-sii), Nicold, Calice, Li*
gure, Italy, i854^Genoa, X894; c
operas.
Massaini (m£s-sfl-«'.ne), Tibnrzio, b.
Cremona, i6th cent. ; Augustine
monk ; cond. and composer.
Massart (mfts-sflr'), (i) Lambert Jos.|
Li^ge, July 19, i8ii — Paris, Feb. 13.
1892 ; violinist and prof. Paris Cons.
(2) Louise AglsB (n^e Masson),
Paris, 1827—1887; wife of above;
pianist and* 1875, teacher at tb*
Cons.
Mass6 (miis-sa). Felix M. (called
Victor), Lorient, Mar. 7, 182?— Paris,
July .5, 1884 ; pupil Paris Cons. ; won
Grand prix de Rome, prof, of opt.
there 1872 ; c. 18 operas, 13 prod.,
*ncl. the still succ. '* Les npces d0
Jeannetts '* (Op Com. 1853). ^
Si^assefiet (m&s-n&), Jules (finiile
Fr.), b. Montreaux, near St. Etienne,
France, May 12, 1842 ; eminent
French opera - composer ; pupil of
La&.enc (pf.), Reber (harm.), Savard
i.id Ambr. Thomas (comp.) at the
Com. * took first prizes for piano and
fague ; X863, the Grand prix de Rome
with cantata *• David RtMio "/ 1878-
96 prof, of comp. at the Cons. ;
1878, member of the Acad^mie, Com*
mander of the Legion of Honour. C.
operas, almost all of them succ. and
constantly in the repertory of the
Paris Op^ra and Op. Com.« i-act
comic opera *^ La Grand Tanta**
(1867) ; the operas, '* Don Char di
Baton •• (1872) ; " Le Roi de Lahore "
(1877); ''Hdroiadi'' (.384); *'M^
THE MUSICAL GUIDE
not$ Les€aut** (one of the greatest
saccesses in the history of the Op.«
Com.). *• L€ ad** (1885) ; fairy-opera
(1889) *• Eselarmondi "/ " Le Mag/**
(1891); ** IVtrtJUr** (1892); lyric
comedy, ** Thais** (1894); i-actcom.*
op. ** L* Portrait de Manon " (1894):
lyric episode, ** La Navarrcuse**
(London, 1894 ; Paris, 1895) ; ** Sa-
pko** (Op.-Com., 1897); **Cen4riU
km** (Op.-Com., 1899); also 4-act
drama *^ Marie'Magdeleine ** (Od^on
Th., 1873); ^* Eve** a mystery, 1875;
oratorio, ** Zn Vi^rgt^* 1880; conte
lyrique " Griseldis** (Op. - Com.,
1901) ; opera, '* Le Jongleur de
NStre'Dame"* (Monte CarlOy 1902) ;
orch. suites; overtures incL ** Ph^"
dre'* ; pf.-pcs., sonrs, dtc.
Iflassol (mfts-sdl), J. Etienne A,
Lod^TOi Herault, i8o2«-Pari8, 1887;
tenor.
Mas'son, Elizabetli, 1806 — 1865;
English mezzo-soprano ; teacher, and
. composer,
Mastttto (mft-soot'-t5), (i) GioT., Tre-
viso, 1830— Venice, 1894 ; critic, and
writer. (2) Renxo, b. Treviso, April
25, 1858 ; son of above ; banam.
37th Italian Infantry regiment ; con-
cert-pianist, violinist and dram. com«
poser.
MaszkowtkT (m^h-kof'-shlct). Ra-
phael) b. Lemberg, 1838 ; pupil of
the Vienna and Leipzig Cons. ; 1885,
oond. at Schaffhausen ; 1889, mus.»
dir. Coblenz ; 1890 cond. of Orch.
Soc. Breslau.
Materna (mif-t^r^-nft), Amalie, b. St.
Geoi^en, Styria, July xo, 1847; noted
soprano ; daughter of a teh.-naster \
sang in church and concert sit Graz ;
d^but 1865 in opera as soubrette ; m.
an actor, K. Friedrich, and sang with
him in operetta at the Carl Th. , Vien-
na; 1869-^ prima donna, Vienna,
ct.>opera ; toured America later ; she
created ** Brttnnhiide," at Bayreuth,
1876. and "Kundry" in '' Parsi^
fai;* 1882.
Ilath'er, (i) Wm , 1756^1808 : or-
a»nist St. Paul's. London. (2) Sam-
uel, 1783^1824; organist and coxdi
poser.
Math'ews, Wm. Smyth Babcock,
b. New London, N-H., May 8, 1837;
prominent teacher and writer ; studied
at New London ; later at Lowell and
Boston ; 1860-63, pf. -teacher Macon,
Ga.; 1867-93, organist Chicago: 1868-
72, ed. ^^ Musical Ifidefiendent;**
1878-86. critic of Chicago »* Tiwus^
* • Morning News, " and * * Tribmn ; '
1 89 1, founded and since ed. the mag-
azine ** Music ; " pub. many books of
educational value.
Mathias (m£-te'-as), Georges (Amd-
d^e St. Clair), b. Paris, Oct. 14,
1826 ; pupil oif Kalkbrenner and
Chopin (pf.) and of Paris Cons.; 186a,
pianist and prof, there, c. symph.,
overtures, etc.
Mathieu (m&t-yii), (i) Adolphe Chas.
Ghislain, b. Mons, Belgium, June
22, 1840; custodian of MSS. Brus-
sels Library ; writer. (2) fimile
(Louis v.), b. of Belgian parents,
Lille, France, Oct. 18, 1844 ; studied
Louvaln Mus. Sch. and Brussels
Cons.; won ist harm, prize, and ist
pf. prize, 1869, and 1871, won 2nd
Grand prix de Rome ; 1867-73, P'^^*
pf. and harm., Louvain Mus. Sch.;
1881-98, dir. Louvain Mus.-Sch.;
since 1898, dir. R. Cons, at Ghent ;
c. 7 operas, mostly comic, a ballet, 4
cantatas and 2 children's cantatas, 3
(text and music) ** Poimes lyriques el
symphoniques** 3 symph. poems, etc.
Mattel (mftt-ta'-S). (i) Abbate Stan-
islao, Bologna, 1750^-1825 ; profes-
sor, conductor and writer. (2) Tito,
b. Campobasso, near Naples, May
24, 1841; pianist to the King of Italy;
pupil at II and later ** Professore,'*
Accad. di Santa Cecilia, Rome; re«
ceived a gold medal from Pius IX. ;
toured Europe ; 1865, cond. at H.
M.*s Th., London ; c. 3 operas incl.
''Maria, di Gand'* (H. M's
Th., 1880) , ballet, pop. songs, etc,
Matteis (mat-ta'.es), (i) Nicola, Ital-
ian violinist, 1672, London. (9) Nii
coU, d. 1749, son of above; teadict
DICTIONARY OF MUSICIANS 553
IfattlUU (mit^tA'.8), H. Aus:., Dres-
den, 1 78 1 — Leipzig. 1835; violinist
and composer.
MAt(t)heson (mat'.tS-zdn), Jn.» Ham-
burg, Sept. a8, 1681— Apnl 17, 1764;
an admirable Crichton " of music ;
a singer, composer and player on the
org. and harps.; operatic tenor; im-
portant in the development of the
church cantata afterward advanced
by Bach ; the first to introduce women
into church-service; pub. valuable
and controversial and progressive
treatises.
If Atthias (or Mattheus), Le Mai-
ire. Vide lk maistrk.
llattbteuZf Ina. Vide kinkel.
Matthison-Hansen (m^t'-tY-zdn-hin-
z£a), (i) Hans, Flensburg, Den-
mark, 1807— Roeskilde, 1890; organ-
ist and composer. (2) Godfredy b.
Roeskilde, Nov. 30, 1832; son of
above ; 1859, organist German Frie-
drichskirche, Copenhagen , 1862,
won the Ancker scholarship, and
studied at Leipzig ; 1867, organist at
St. John's and organ-teacher Copen-
hagen Cons.; from 1877, asst.^rgan.
ist to his father; later organist of
Trinity Ch.; c. vln. sonata, 'cello
sonata, etc.
If attiolo (m£t-tY.d'-ld), Lino, b. Par-
ma, Ital^, 1853 ; graduated from the
Cons, wtth high honours ; *cellist and
singing-teacher at Cincinnati. U, S.
A.; c. songs.
Maurel (md-r21), Victor, b. Mar-
seilles, June 17, 184S ; eminent bary-
tone; studied Marseilles and with
Vauthrot at the Paris Cons., gainin&f
ist prizes in singing and opera ; de-
but, X869 (?), at the Gr. Opera as ** de
Nevers" in **Z/J' Huguenots** ; 1870,
sang at La Scala, Milan, then in
New York, Egypt, Russia with l*atti,
London, etc.; 1883, co-director Th.
Italten, Paris, without succ. ; has sung
in all the capitals as the supreme dra-
matic artist of his operatic generation;
his splendid impersonation and vocal
art carrying conviction after his voire
^n«t its vouth; he created '*Iago^
in Verdi's " Otelh;^ 1887, and has
stamped *' Don Giovanni '* and other
roles with his own personality as a
criterion.
Maurer (mow'-r^r), L. Wm., Pots-
dam, Feb. 8, 1789 — St. Petersburg,
Oct. 25, 1878 ; distinguished violinist
and dram, composer.
Maurin (mo-riA), Jean Pierre, Avi-
gnon, i822-«Pans, 1894; violinist
and teacher.
May, (i) Edw. Collett, Greenwich,
1806 — London, 1887; vocal teacher
and writer. (2) Florence, pianist,
London ; daughter of above.
Mav'brick, Michael (pseud. Ste«
phen Adams), b. Liverpool, 1844;
opera and concert barytone ; pupil of
Best (org.) and of Leipzig Cons.;
vocal pupil of Nava, Milan; 1884,
toured the U. S. and Canada ; c.
popular songs, including *^ Nancjt
Mayer (mf -^r), (i) Chas., KOnigsberg.
1799 — Dresden, 1862 ; pianist and
composer. (2) Emilie, b. Fried-
land, Mecklenburg, May 14, 1821;
pupil of L5we, Marx and Wieprecht;
lives in Berlin ; c. 7 symphonies, X2
overtures, an operetta, ^^ Die Fisch'-
erin^ etc. (3) Wm. (pseud. W,
A. Remy), Prague, 1831— Graz,
189S ; excellent teacher of cpt. and
comp.; composer. (4) Vide maver.
(5) ICarl, b. Sondershausen, March
22, 1852 ; concert barytone ; pupil of
G5tze ; lives in Schwerin.
Mayerhoff (ml'.£r.h60, Fs., b. Chem-
n:tz, Jan. 17, 1864; pupil Leipzig
Cons.; theatre-cond. various cities;
from 1885, Chemnitz ; 1888, cantor
Petrikirche, and cond. Mus. Soc; c
sacred choruses, etc.
Mayerl (or Maierl) (mT'-erl), Anton
von, Botzen (?>— Innsbruck, 1839;
pupil of Ladumer and Ett ; c. a Sta-
bat Mater, etc.
Maylath (mi'-iat), H., b. Vienna, Dec,
4, 1833; pupil of his father (pf.)j
toured, 1865; lived in Russia till
1867 ; then New York ; teacher and
composer.
554
THE MUSICAL GUIDE
Maynard, Walter. Vide beale,
TH. W.
Mayr (or Mayer) (raT^, (Jn.) Simon,
Mandorf, Bavaria, June 14, 1763—
blind, Bergamo, Dec. 2, 1845 ; fa-
mous teacher and dram, composer;
pupil of Lenzi and Bertoni ; lived in
Venice as church-composer; 1794
prod. V. succ. opera ^^Saffo^*^ followed
by 70 more ; 1802, cond. Santa Maria
Maggiore, Bergamo, and 1805, dir.
Mus. Inst.; wrote a life of Haydn,
treatises and verse ; he is said to have
been the Brst to use the orchestral
crescendo in Italy ; biogr. by Albor-
ghetti and Galli (Bergamo, 1875).
Mayrberger (mlr-b^rkh-fir), K., Vien-
na, 1828 — Fressburg, 1881 ; conduct-
or md dram, composer.
Mayseder (ml'-za-d^r), Jos., Vienna,
Oct. 26, 1789 — Nov. 21, 1863; emi-
nent violinist, teacher and composer ;
2nd vln. of famous ** Schuppanzigh
Quartet."
Mazas (mil-ziis), Jacques F^r^ol,
Beziers, France, 1782 — 1849 I violin-
ist, writer and dram, composer.
Mazzinghi (mSd-zen'-gT), Jos,, of
noble Corsican family, London, 1765
— Bath, 1844 ; organist, teacher and
dram, composer.
Mazzocchi (m&d-z6k'-k!), Dom.,
Civiri Castellana, Rome, ca. 1590—
ca. 1650 ; composer.
Mazzucato (mad-zoo-k&t'-to), Alber-
to, Udine, 1813 — Milan, 1877; vio-
linist, teacher, editor and composer.
Mead, Olive, b. Cambridge, Mass.,
Nov. 22, 1874 ; concert-violinist ;
pupil of J. Eichberg and Fr. Knei-
sel.
Mear(e)s, Richard, d. London, ca.
1743 ; son and successor of instru-
ment-maker and publisher.
Mederitsch (ma -dd-rltsh), Jn. (called
Gallus)« b. Nimburg, Bohemia, ca.
1705 — after 1830, Lemberg ; pianist
and composer.
Meerens (ma-riin?\ Chas., b. Bruges,
Dec. 16, 1S31 ; 'cellist and acousti-
cian.
Meerts (marts), Lambert (Jos.), Brus-
sels, 1800—1863 9 violinist, profeasoi
and composer.
Mees (maz), Arthur, b. Columbus,
Ohio, Feb. 13, 1850 ; pupil of Th
Kullak (pf .), Weitzmann (theory), and
H. Dom (cond.), Berlin; cond. Cin-
cinnati May Festival Chorus ; asst.-
cond. various societies in New York
Albany^ etc.; 1896, asst.-cond. Thorn
as Orch., Chicago ; since igoi, cond
Mendelssohn Cilee Club, New York ,
writes analytical prog^mmes, and c
pf. -studies ; pub. ** Chairs and Cko.
ral Music ^* 1901.
Mehlig: (ma'-llkh), Anna, b. Stuttgart,
June II, 1843 ; pianist, pupil of Le«
bert and Liszt; m. Antwerp mer-
chant Falk.
Mehrkens (mar'-k^ns), Fr. Ad., b.
Neuenkirchen, near Ottemdorf-on<
Elbe, April 22, 1840 ; pupil, Leipzig
Cons.; lives in Hamburg as pianist,
teacher and conductor ; from 1 871,
cond. of the Bach-Gesellschaft ; c. a
symph., a Te Deum, etc.
Mehul (ma-al), fitienne Nicolas,
(Henri\ Givet, Ardennes, June 22,
1763 — of consumption, Paris, Oct.
18, 18 17; one of the great masters of
French opera, a student of orch.
effects, and a special master of the
overture ; son of a cook ; pupil of an
old blind organist ; at 10, studied
with Wm. Hauser ; at 14, his asst. ;
1778, taught in Paris and studied
with Edelmann (pf* and comp.) ;
Cluck's advice and assistance turned
him to dram, comp., after a succ.
cantata with orch. (1782). He c. 3
operas, never prod., and now lost, a
4th was accepted but not performed
until after the succ. of the op. -com.
•* Euphrosyne et Coraain " (Th. Ita«
lien, 1790) ; 15 other operas followed
with general succ. incl. ^^ Stratonice^
(1792)," Le Congrh des Hois " (1793)
with II collaborators; 1705, inspect-
or of the new Cons., and a member
of the Academic ; 179?, *' Le Jeun^
Henri^* was hissed off as irreverent
toward Henri IV., though the 6ne
overture had beien demanded three
DICTIONARY OF MUSICIANS 55S
times ; the opera bufTa ** Virato^ ou
Vemporti!^^ (i8oi) made gfreat succ.
and lightened the quality of later op-
eras ; his best work was ^"Joseph "
(1807) ; for four years he wrote only
ballets ; he left 6 unprod. operas incl.
Valentine dc Milan^^* completed by
Daussoigne-Mehul, and prod. 1822;
he c. also inferior symphs. and pf—
sonatas, and very j)op. choruses
''Chant tin depart '^ **C de victoire,''
*' Chant di rctour" etc. Biogr. by
Vieillard, 1S59, and A. Pougin,
1889.
Meibooi (ml'-bom) (or Meibo'mius),
Mircus, Trtnning, Schleswig, 1626
(?) — Utrecht, 1711; theorist and col-
lector ; his great work is a valuable
historical coll. of old composes.
Meifred (m^-fra). Jos. J. P. £mile,
Colmars, Basses- Alps, 1791 — Paris,
1867 ; horn-virtuoso, professor and
writer.
fileiland (mi'-Unt), Jakob, Senften-
berg, Upper Lusatia, 1542 — Celle,
1577 ; important contrapuntist.
Meinardus (ml-nar'-doos), I,. Sieg-
fried, Hooksiel, Oldenburg, 1827 —
Bielefeld, 1896 ; writer and dram,
composer.
Meiners (ml'-ndrs), Giov. Bat., Milan,
1826 — Cortenova, Como, 1897 ; con-
ductor and dram, composer.
Meissen (mls'-sdn), H. von (called
Frauenlob, '* woman-praise"); 14th
cent. German singer, poet, and re-
puted founder of the Meistersinger
(v. D. D.) at Mainz, 131 1.
Meister (ml'-shtdr), K. Severin, K5.
nigstein (Taunus), 18 18 — Montabaur,
(Wcsterwald), 188 1 ; teacher and
mus. director.
Mel (m^l), Ritialdo del, Flemish
musician, i6th cent.
Mela (mi'-la). (i) del M. Vide dkl
MFXA. (2) Vincenzo, Verona, 1821
— Cologna, Vaneta, 1897 ; dram,
composer.
Melaiii(ma-la-ne), Amelia, b. Pistoia,
1876 ; soprano ; pupil of Galetti ;
debut, Florence, 1896 (?); has sung
eisewhere with success.
4P
Melba (m^l'-ba), Nellie (rightly Mit-
chell, " Melba" being a stage-name
from her birthplace), b. Melbourne,
Australia, 1865 ; one of the chief
coloraturc -sopranos of her time, with
a voice of great range, purity and
flexibility ; pupil of Mme. Marchesi ;
debut Th. de la Monnaie, Brussels,
18S7, as /^Gilda" in '' RigoUtto'' ;
has sung in Europe and America with
greatest succ. in both opera and con-
cert.
Melcer (mdl'-ts^r), H. von, b. Warsaw,
Ort. 25, 1S69; pianist and composer ;
1895 won Rubinstein prize with Con-
certs! Qck for pf. and orch.
Melchior (mt^l-kT-or), Edw. A., b.
Rotterdam* Nov. 6, i860 ; teacher
and lexicographer.
Melchiori (m£l-kT-u'-re), Ant., Parma,
1827 — Milan, 1897 ; violinist and
composer.
Melgunow (m^r-goo-noO.Julius yon,
b. Kostroma, Russia, 1646 ; pupil o;
Henseit and the Rubinsteins ; also
of Moscow Cons, and R. Westphal,
whose system he adapted to Bach's ;
pub. a coll. of folk-songs.
Mell, Davis, English violinist and
composer, 1657.
Melone. Vide bottrigari.
Meluzzi (ma-Iood'-zc), Saivatore,
Rome, July 22, 1813 — April 17, 1897;
eminent o:'ganist, composer £.nd con-
ductor.
Membr^e (man-bra), Edmond, Valen-
ciennes, 1820 — Chdteau Damont, near
Paris, 1882 ; dram, composer.
Mendel (m^n'-dfl), Hn., Hatte, 1834
— Berlin, 1876 ; writer and lexicogra-
pher.
Mendelssohn, (i) (Jakob Ludwig)
Felix (rightly Mendelssohn-Bar*
tholdy) (men'-d'l-zon-bar-tol'-dt)
Hamburg, Feb. 3, 1809 — Leipzig,
Nov. 4, 1847 ; eminent composer of
remarkably early maturity. Great-
grandson of a Jewish sch. -master,
Mendel, who adopted Christianity
and had his children reared in the
Christian faith ; grandson of the
prominent philosopher Moses : 40a of
55^
THE MUSICAL GUIDE
the banker Abraham M. Pf. -pupil
of his mother, Lea Salomon-Har-
iholdy, as was also his elder sister
Fanny (v. hknsel). The family-life
of the Mendelssohns is almost unique
in history for its happiness and mutual
devotion. M. studied also with L.
Berger, Zelter (theory), Hennings
(vln.) and Mme. Bigot (pf.)- At lo
he entered the Singakademie, as an
alto ; the same year his setting of the
19th Psalm w^as performed by the
Akademie. Every Sunday a small
orch. performed at his father's house,
and his comps. w-ere heard here early
and often ; he usually cond. these
concerts even as a child. 1825 his
father took him to Paris to consult
Cherubini, who offered to teach him,
but the father preferred to have him
at home. At 12 he began the series
of 44 vols., in which he kept copies of
his comps. This year he c. bet. 50
and 60 pes., incl. a cantata, a mus.
comedy, a pf.-trio, 2 pf. -sonatas, a
vln. -sonata, songs, etc. At 9 he had
played the pf. in public ; at 12 he
was a notable improviser (while play-
ing a Bach- fugue at (ioethe's request
he extemporised the Development
which he had suddenly forgotten).
At 17 he c. the remarkably original,
beautiful and (in advance) Wagnerian
overture to *^ A Afidsummcr Night* s
Dream** and the superb octet for
strings (op. 20). This same year he
matriculated at Berlin Univ. with a
trans'.ation of Terence, said to be
the first German attempt to render
Terence in his own metres. He
also painted, and was proficient in
gymnastics and billiards. At 18
he prod, the succ. opera *' Die Hock-
zeit des Camacho** at the Berlin
Opera, in which he used the leit-
motif (v. D. D.)« At 20 he com-
pelled and conducted the first per-
formance since the composer's death
of the Bach ^^ Passion according to St.
Matthew " at the Singakademie. This
was the first step in the great crusade
Its waged, taking Bach out of obso-
lescence into the pre-eminence he
now keeps. 1830, M. declined the
chair of mus. at the Berlin Univ
The year before he had made the
first of nine voyages to England,
where he has stood next to Hftndel in
popularity and influence. He cond.
his symph. in C minor, at the Ix>ndon
Philh., which gave him his first offi-
cial recognition as a composer. The
same year he was invited (in vain) to
c. a festival hymn for the anniversary
of the emancipation of the natives of
Ceylon, and in his letters (in which his
sunny nature finds free play) he re*
f erred to himself as ** Composer to
the Island of Ceylon,*' He appeared
also with brilliant succ. as pianist and
organist He now travelled in Scot-
land, Switzerland, and elsewhere, anc
returning to London, conducted the
^'^ Hebrides^* overture, played hi^.
G min. concerto and B min. Capric*
cio brillant, and pub. his first 6
** Songs without Words" (c. in Ven-
ice, 1830). His race and his amazing
energy and succ. made him much op-
position at Berlin, and he was re-
fused the conductorship of the Sing-
akademie in 1833, although he had
arranged a series of concerts for the
benefit of the Orch. Pension Fund.
1833, he cond. the Lower Rhine
Mus. Festival at Dflsseldorf, and be-
came Town Mus. Dir. of the ch.-
mus., the opera, and two singing-so-
cieties, for a salary of 600 Thaler
(about $450). 1835, he became cond.
of the Gewandhaus Orch., Letpsig,
which (with Fd. David as leader) he
raised to the highest efficiency ; the
Univ. made him, in 1836, Dr. Phil.,
h. c, ; 1836, he cond. his oratorio
*'Pau/us,** the lx)wer Rhine Festival,
Dttsseldorf, in 1837 also at the Bir-
mingham Festival. 1837, he m.
Cccile Charlotte Sophie Jeanrenaud
of Frankfort, daughter of a French
Protestant clergyman. She bore him
five children, Karl. Marie, Paul, Fe-
lix, and " Lili" (Elisabeth). In 1841
Friedrich Wilhelm IV. invited him to
mt
DICTIONARY OF MUSICIANS 557
take charge of the grand orch. and
choral concerts at Berlin. The hostil*
ity to him was however so general
that he wished to resign, but at the
King's request organised the cath.
mus., later famous as the ** Dom*
chor"(cath. choir). He was made
R. Gen. Mus. )ir. With Schumann,
Hauptmann» David, Becker, and
Pohlenz, in the faculty, he organised
the since famous Conservator! um of
Mus. at Leipzig (since 1876 the " R»
Cons."); he again cond. the Gewand-
haus Concerts. 1845 he cond. " i?/«-
j'aA " at Birmingham. He resigned the
Gewandhaus conductorship to Ciade,
and the ^plano-dept. to Moscheles,
whom he invited from London, l/pon
hearing the news of the sudden death
of his idolised sister, Fanny Heiisel,
he fell insensible and lived only 6
fh nr'is.
M. wa; k'^pr from o'^'»ra bv in;iSil-
tty to lin 1 a satisfactory libn:tto.
Besides ** Die //acquit dts CatHacko^
he left an unfinished opera ** Lc^' lei,**
an operetta ** Son and Stra> . r* "
and 5 small unpub. operas, i i e c.
3 oratorios, "/'flu/wj" (St. Paul),
•'i5:/*a J "(Elijah), and ''Okrisfus"
(unfinished), the symph. can tata
•* Lobgesang^^ op. 52 ; the balkide,
with orch. ^^ Die erste IVaipurpS'^
nackt*" op. 60; 2 ^"^ Festgesd%\e^
^^ An die KUnstler " (for male cho rus
and brass), and ^^ Zur Secular fc^ier
der Buchdruckerkunst^ i^*^ Gutenb erg
Cantata"), with orch.; mus. to the
plays '^Aniigofu'* (op, 55), '* y<//lfl-
lie '' (op. '74), " (Zdipus in Colono s "
(oj). 93). and **A Midsummtr
Night^s Dream' (op. 61) ; c. also
vocal works with orch., hymn, *• U^u
es Z'^/rwj," psalms 1I4, 115, and^iSt
prayer** Pterin A* uns Frieden, *' AMd
sopr. cone«'*-aria **/«///*«" (op.
94).
4 Symphonies, In C min.; A
min. (or *' Sco/eA"); A (or *'/&•>
ian"); D ^or '' JRe/ormation*').
Overtures, **Sommernachi 'j.
iraum** (" -^ MWsummer Night :•
Dream ")f op- 21; ^^ Hebrides^
''Die Fingalshdhte** (or ** Flngari
Cave"), op. 26; *^ AfeerstiUe und
gUickUche /tf>ftf/"(**Calm Sea and
Prosperous Voyage"), ^^ Die ScAffm
Melusine*" (** The lovely Melusine")
(op. 32), •*^«y Bias** (op. 95).
*' 7>«/wjO^/"overture» and an over-
ture for wind-band (op. 24) ; c also
andante, scherzo, capriccio, Ahd
fugue, for string-orch. (op. 81), ftmer-
al march (op. 103), and march (op.
loS) ; 2 pf.-concertos, in G min. and
D min.; capriccio brillant; rondo
brillant, and serenade and allegro
giojoso, for pf . with orch.; vln.-con-
certo in £ min. (op. 64) ; a string
octet, quartets, 2 quintets, a pf.-sex*.
tet, 7 string-quartets, 3 pf. -quartets,
2 pf. -trios, 2 trios for clar., basset
horn, and pf.s 2 'cello-softatasv a 90^
tiata foi vin., vaitations concertanfes
(op. 17) aiid *' Lfci oht-^i It^oru *
(op. jiX)), tor 'cell J iviih pf., fcli^
ious and secular choruses, 13 vocal
ducts, and 83 songs. For piano— 9
HOnitas; capriccio ; CharakterstOckei
rondo capriccioso ; 4 fantasias, incj.
•• Th^ Last R&se of Summer^f
•• Lieder ohne Worte **^{" Songs with*
out Words ") in 8 books ; ** SofuUi
/cossaise,*' 6 preludes and fugues^
•• Variatiotis sSrieuses^ etc.; 6 Kin-
derstacke, 3 preludes and % studies,
op. 104; '^ AlhtmblaiU'* *^ Perpetu^
um mobile" etc 4-hand variations }
4-hand allegro brillant; duo con-
certant (with Moscheles), for 2 pfs.
on the march -theme In Weber's
'• Preciosa.** FoR GROAN, 3 preiudea
and fugues ; 6 sonatas, op. 65 ; prel-
udes in C min.
Biogr. by his eldest son Katl
(1871) ; by Hiller (1874) ; S. Hensd
(1870) ; Eckardt (1888) ; an extended
article by Grove (in his Dictionary)*
etc. Numerous editions of his letten
are published. See also next page.
(2) Araoid, b. Ratibor, Dec. 26^
1S55 t gr^nd-nephew of above ; stud'
M with Haupt, Kiel, GrelL Taa>
bert ; organist and teacher in tli#
>?8
THE MUSICAL GUIDE
Univ. at Bonn; then teacher at Co- City Th., 1894), and ** Der Bdr^n-
logne Cons.; then at Darmstadt pro- kduter** '* Der HagistoU "foi chorui
fessor. C. operas ** ElsV* (Cologne and orch.
Mendelssohn.
Br Vernon Blackburn.
FEUX MENDELSSOHN BARTHOLDY almost rivalled Mozart
in the precocity of his genius. Music came to him, as it were,
straight out 01' the skies. He played with it from boyhood, and at
the age of nineteen wrote his greatest work. I refer, of course, to the over-
ture to **J Midsummer Night's Dream.** It would be difficult to sajr
exactly whence Mendelssohn derived the leading motives of his musical ten-
dency. Mozart, of course, did much £ot him, but he was a brilliant, though,
i should imagine, a superficial, student of the great John Sebastian and of the
train of German and Austrian composers, including Haydn, which succeeded
the period of that great master, Beethoven, with whom, of course, he was
Intimate from hU childhood. Otic remembers the story of his playing one
of the symphonies to Goethe ; but I doubt if Beethoven had a very serious
influence over this gay, companionable, b*rilliant musician to whom music
was not so much a spiritual as a pantheistic influence. ^[The external world
to him flred his brain, and his delicate genius responded to the influence.
His personality was neither commonplace nor profoundly interesting. There
b a certain class of German youth which makes a point of exuberance, of
high spirits and somewhat boisterous assertiveness of the bright side of life.
Such a temperament is usually accompanied by a certain shallowness of spirit,
and by a certain naif outlook which is ju.3t a trifle irritating to the serious
man. ^His place in the art of music has not, I should imagine, been quite
definitely settled even at this day. Whil e Sir George Grove would place
him among the archangels of musical creati on, there are others who prefer to
rank him as quite in the firont rank of the :)econd class. On the whole, my
judgment ranges with the latter, although t:here are times, of course, when he
strayed into the really great things of his a rt, as for example in the " JVatch-
man^** from the " Hymn of Praise** or " Hozo Lovely are the Messengers t*
from **St, Paul** There will be none, however, I imagine, not even Sir
George Grove himself, to rank Mendcls john with Mozart, John Sebastian
Bach, and Handel, and that alone may be taken as a test as to whether be
really may be placed among the great god s. ^If I were asked to assign \\%
position, in the flash of a phrase, I should call him the Ganymede, the cup-
bearer of Jupiter' 8 table. He was in the • company of the gods, and he served
them, he pleased them well ; and his dwelling-place wa& in the palace ol
DICTIONARY OF MUSICIANS 559
{ove ; but he was not of royal rank, though he wore the livery of the great
ings of art. And his influence has been confined chiefly to the more elegant
song- writers of the time, to the composers of graceful and forgotten oratorios,
and to the brilliant comic opera record of Sir Arthur SulHvan. And this,
though Mendelssohn, after arriving at man*s estate, never wrote a note that
Indicates him as possessing one flash of genuine humour. The disciple has
Here indeed outstripped the master.
Mendfca (man-des), Catulle, b. Kor-
dcaux, May 22, 1841. Poet; libret-
tist of pop. poems and operettas.
Meng^al (man-^&l), Martin Jos.,
Ghent, 1784 — 1851 ; horn- virtuoso
and dram, composer.
Meng^elbergf (meng'-^l-berkh), Wm.
Jos., b. Utrecht, May 28, 1870;
pupil of Umland, Hoi, Wurff, and
Petre at Amsterdam, then at C^olog^ne
Cons., rSgT. dir. at lAicerne, 1895,
.\msterdam ; at 8 begfan to compose.
Meagewein (meng'-^-vln), K., b.
Zaunroda, Thuringia, Sept. 9, 1852 ;
from i88r-86, teacher at Freuden-
bcrg's Cons. Wiesbaden ; co-founder
of a Cons, at Berlin, 1886; c. orato-
rio, festival cantata, operetta, over-
ture '• Dornroschfn^*'* etc.
Mengozzi (m^n-g^od'-ze), Bdc, Flor-
ence, 1758 — Paris, March, 1800;
tenor, writer and composer of 13 op-
eras.
MentBf (m^n'-tCr), (i) Jos., Deuten-
kofen, Bavaria, 1808 — Munich, 1856:
"cellist. (2) (Mcntcr-Poppcr) So-
phie, b. Munich, July 29, 1848;
daughter of above; eminent pianist;
pupil of SchOnchen, Lebertand Niest;
debut, 1863; in 1867, studied with
Tausig ; 1869, with I^iszt ; 1872, m.
the 'cellist Popper (divorced 1886) ;
ct. -pianist to the Kmperor of Austria;
1878-87, prof. St. Petersburjj Cons. ;
lives at her country-seat, Castle Itter,
in the Tyrol.
Merbecke, J. Vide marbeck.
Mercadante (m6r-ka-dan'-t^), Fran.
Saverio, Altamura, Sept. 17. 1795 —
Naples, Dec. 17, 1S70 ; pupil of Zin-
garelli and in 1S40 his successor as
dir. of Naples Cons.; in 1819 prod,
an opera with great succ. and fol-
lowed it with 60 others, incl. ** FAisa
e CUiudio " (Naples, 1866), " // Giu^
rrtw<'«/o" (Milan, 1837); he lived in
various cities ; 1833 cond. at Novara
Cath.; 1862 he went blind ; he c. also
2 symphonies, 4 funeral symphonies,
20 masses, etc.
Mercadier (m^r-k&d-ya), J. Bap., Bel-
esta, Aricge, France, April 18, 1750
— Foix, Jan. 14, 1815; theorist.
Merck, Louis, Landau, 1832 — Brus-
sels, April 15, 1900; horn-virtuoso.
Mercy (or Merci), Louis, Engl, virt-
uoso on the beak-flute, 1735 ; com-
poser.
M6reaux (ma-ro), (t) J. Nicolas
Am6d6e Lefroid de, Paris, 1745—
1797 ; organist and dram, composer.
(2) Jos. N. L. de, b. Paris, 1767;
son of above ; organist, and pianist.
^3) J« A. L. de, Paris, 1803 — Kouen,
1874 ; son of above ; pianist, com-
poser and writer.
Merian (ma'-rl-an), Hans, d. Leipzig,
T902 ; writer.
M^ric (ma-rrk). Vide lalande.
M6riel (ma-rt-^l), Paul, Mondoubleau,
18 18 — Toulouse, 1897 ; violinist,
cond. and dram, composer ; dir. Tou-
louse Cons.
Merighi (ma-re'-ge), Antonia, Italian
contralto profondo in Handel's op-
eras, London, 1729-38.
Merk (m&rk), Jos., Vienna, 1795—
Ober-DObling, 1852 ; violinist and
composer.
Merkel (mar'-k«l), (i) Gustav (Ad.),
Obcroderwitz, Saxony, Nov. 12, 1827
— Dresden. Oct 30, 1885 ; org. and
c6o
THE MUSICAL GUIDE
composer. (2) K. L.» wrote treatises
on throat, etc.
Merklin (mftr'-kten), jos., b. Oberhau-
sen, Baden, Jan. 17, i8i<) ; org.-
builder at Brussels ; son of an org.-
buiider ; took his brother - in - law,
F. SchUtze, into partnership, as
•' Merklin-SchUtze," 1858 ; in 1855,
est. a branch in Paris.
Mersenne (m^r-s^n'), Marie, Oize
(Maine), France, Sept. 8, 1588 —
Paris, Sept. i, 1648 ; writer of mus.
treatises.
Mertens (m^r'-t^ns), Jos., Antwerp,
Feb. 17, 1834 — Brussels, July, Ujoi;
ist vin. at the opera there and teach-
er at the Cons.: 1878-79, cond.
Flemish Opera, Brussels ; later, dir.
at Royal Th., The Hague; prod,
succ. Flemish and French operettas
and operas, incl. ** De Zwarte KapU
tein " (The Hague, 1877).
Mertke (m«rt'.k«), Ed., Riga, 1833—
Cologne, 1895 ; pianist, violinist,
composer and collector.
Mertx (m&rts). Jot. K., Pressburg,
Hungary, 1806— -Vienna, 1856 ; gui-
tar-virtuoso.
MerulA (mft-roo'-lii), Tarquinio, b.
Bergamo ; violinist and composer,
1 63 wo.
Menilo (ma-roo'-lo) (rightly Merlotti),
Claudio (called " Da Coreg^grio"),
Coreggio, April 8, 1533 — Parma,
May 4, 1604 : eminent organist,
dram, composer and famous teacher ;
pupil of Menon and G. Donati ; he
was a leader of the Venetian sch. and
bordered on the new tonality.
Men (mftrts), K., Bensheim, near
Frankfort-on-Main, 1836 — Wooster,
Ohio, 1890 ; teacher and writer.
Messager(m£s-sft.zha), Andr6(Cha8.
Prosper), b. Montiucon, Allier,
France, Dec. 30, 1853 \ P"pii of Nie-
dermeyer School and of Saint-Saens ;
1874, organist of the choir, St. Sul-
pice; cond. at Brussels; organist at St.
raul-Saint-Louis ; Paris, cond. at
Sainte Marie des Batignolles ; 1898,
cond. Op. Com. ; Chev. of the Legion
of Honour ; 1901, mus. -dir. Covent
Garden, London ; completed Beml«
cat's unfinished score, *^* Francois Us
Bas Bietts " (Folies - Dramatiques,
1883), following it with about 20
other comic operettas, and operas,
incl. the succ. '* Le Chevalier cTl/ar^
mentaV (Op.-Com., 1896); "/a
Basoche** (Op.-Com., 1890, Bremen,
1892, as ZwH Kdnige) ; m. Hope
Temple (q. v.).
Messerschmidt - Griinner (m^s'-s^r-
shm!t-grtn'-ner) (Frau), Vienna, ca.
1847 — 1895 ; founded at Vienna the
first •* Ladies* Orchestra."
Mestrino (mas-tre'-no), Mccold. Mil«
an, 1748 — Paris, 1790; violinist, con-
ductor, and composer.
Metastasio (ma-tiL«u.t&'-zV-d) (rightly
Trapassi, but changed to M., a
pun. on T. to please his patron Gravi-
na), P. Ant. Dom. Bonaventura,
Rome, Jan. 3, 1698 — Vienna, Aprif
12, 1782 ; poet and dramatist ; wrote
librettos set to mus. by Gluck and
Mozart.
Methfessel (mat'-f^s^I), (i) Albert
Gl., Sudtilm, Thuringia, 1785—
Heckenbeck, 1869 ; dram, composer.
(2) Fr., Stadtilm, 1771 — 1807 ; bro.
of above ; comfxiser. (3) Ernst,
Mnlhausen, 1802 — Berne, 1878, rel-
ative of. above ; conductor. (4)
Ernst M., 18 11 — 1886, conductor.
M6tra (ma-tra). (Jules Louis) OlWier,
Rheims, 1830 — Paris, 1889 ; violinist
and double-bass player, conductor
and dram, composer.
Mettenleiter (mdt'-t^n-lT.t^r), (i) Jn.
G., studied Ulrich, near Ulm, 1812-—
Ratisbon, 1858; organist and compos*
er. (2) Dominicus, Tannenhausen,
VVttrtembcrg, 1822— Ratisbon, .^868 ^
brother of above; writer and compos*
er. (3) Bernhard, cousin of above ;
composer at Kempten, Bavaria.
Metsdorff (m^ts'-dorf;, Riciuurd, b.
Danzig, June 28, 1844 ; pupil of Fl.
Geyer, Dehn, and Kiel, Berlin ; condL
at various cities ; c. opera ^* Ros^
munde " (Weimar, 1875); succ." /fitj*
bart und Signe " (Weimar, 1893) ; c.
also 3 symph. incl. " Tra^it* j ovss
DICTIONARY OF MUSICIANS 561
tiire •* King Lear " / " Frau Alice ^
ballade, with orch., etc.
Mttxier (m«ts'-l«r), (i) & Co., Lon.
don« mus.*pubs., founded by Valen-
tine M.| 1790. (2) MeUler-Ldwy
(m«ts'-Mh-.ia'-vc), Pauline, b. The-
resienstadt, 1850 (?) ; contralto; 1875-
87, Leipzig; City Th.; 188 1, m. the
pf.-teacner, (3) Fd M, •
Menra. de. Vide muris, pE.
Uleitraius (miir'-sl-oos), Jns., Lobz-
duinen, near The Hague, 1579-^
Denmark, 1639 i pro^ • and writer.
Meusel (moi'-z£l), Jn. G., Eyrichshol.
1743 — Erlangen, 1820; writer and
editor.
Meyer (ml'-er), (i) Joachim, Perle-
berg, Brandenburg, 1C61 — Gcittingen,
1733 ; prof, and writer. (2) Ld. von
(called ** De Meyer*')» Baden, near
Vienna, 18 16— Dresden, 1883 ; pia-
nist and composer. (3) Julius bd.,
Altenburg, Germany, 1822— Brook-
lyn, U. S. A., 1899; vocal-teacher,
from 1852, at Brooklyn. (4) Jenney,
Berlin, 1834— 1894; concert-singer ;
1865 teacher, 1 888 proprietress Stern
Cons. Berlin. (5) Felix, b. Berlin,
Feb. 5, 1850; son of (6) Bernard
(mus. -director) ; pupil of David ; vio-
linist in ct. cha|»el, Beriin. (7) WaI-
demar, b. Berlin, Feb. 4, 1853 ; vio-
linist, pupil of Joachim; 1873-81,
member of the Berlin ct. orch. (8)
GustAV, b. K5nigsberg, Prussia,
June 14, 1859; pupil of Leipzig
Cons. ; cond. various cities ; 1895,
Leipzig City Th.; c. 4-act farce, bal-
let-pantomime, etc
Meyerbeer (mT'-£r-bar), Giacomo
(rightly Jakob Liebmann Beer;
by adding the name •* Meyer'* he se-
cured a large inheritance from a
wealthy relative ; he then Italianised
•Jacob " as **Giacomo"), Beriin, Sept.
5, 1701 (94?)— Paris, May 2, 1864;
son of a Jewish banker : a precocious
and remarkable pianist-, pupil of
Lauska and Clementi ; at 7 played in
public ; studied with Zelter, Anselm.
Weber; 18 10, was invited by Abbe
Vogler to live in his house as a -on
and pupil ; did so for 2 years, one of
his fellow-pupils being his devoted
friend C. M. von Weber. Here he
c. an oratorio and 2 operas **y^^A-
ikas Gelabdt** (Ct.-Op., Munich,
1813) and ''Abimilfk*' (Munich,
18 1 3), the first a failure, the lattef
accepted for Vienna, whither he went
and made a great succ. as pianist
though his opera was not a succ. In
his discouragement Salieri told him
he needed only to understand the
voice, and adxnsed an Italian jour-
ney. He went to Venice in 181 5
and, carried away with Rossini's
vogue, c. 6 Italian operas which bad
succ, especially *' JlCrociaio in EgiU
to*' (Venice, 1824). While writing
this last he went to Berlin hoping to
prod. 3-act German opera, ^^Das
Brandenburger Thor^; though he
found no hearing, Weber begged him
not to give himself up to Italian in-
fluences. In the 6 years of silence
that followed, occurred his marriage,
his father's death, and the death of
his two children. In 1826, he went to
Paris to live, and made a profound
and exhaustive study of French op-
era from Lully down, forming his
third style, in which aco. to Mendel
•• he united to the flowing melody of
the Italian^ and the solid harmony of
the Germans the pathetic declama*
tion and the varied, piquant rhythm
of the French.*' He made a coali-
tion with the sophisticated librettist,
Scribe, and his first French opera,
^'Robert U DiabU** (Gr. Opera,
1 831), was an enormous succ, finan-
cially establishing the Opera itself,
though M* had had to pay the man-
ager Veron a large sum to secure its
production. Less pop. succ. at first,
but more critical favour attended
**Z^j lluguetwts** {i%2>^)\ its prod,
at Berlin, 1842, led KingFr. Wm. IV.
to call him there as Gen. Mus.-Dir.
His opera *'Z?<m Feidlager in SchU*
sien** (1843), had only mod. succ.
until Jenny Lind sang it in ^844
1847, he visited Vienna and Lotidan
562 THE MUSICAL GUIDE
returning; to Berlin he prod. Wagner's
new work ^'Hiettzi^*; later he ob-
tained " TA€ Flying Dutchman^
performance, after its rejection else-
where. The extent to which he be-
friended Wagner is mutter of bitter
controversy, some claiming that he
gave only formal assistance while
Wagner was obscure, and fought him
with underhanded methods and a
'* press-bureau," when Wagner at-
tained power. At any rate Wagner
despised and publicly assailed the
music of MeverbecT. Yet, wheth-
er or no Wagner borrowed money
from M., he certainly borrowed num-
berless points of artistic construction
from him. In 1849, **' Le Proph^U"
(fmished 1843) was prod, at the Paris
Or. Opera (1849) followed by the
successes ** L&toile du A'ord^" (Op.-
Com., 1854), some of it taken from his
** Das Fi'Uilager in SchUsien ** / and
^* Dittorah^ ou le Pardon de Ploer*
fuel" (Op. Com., 1859). '" VAfri-
cain€ " (worked on with constant and
characteristic changes from 1838) was
prod, at the Paris Or. CWra, 1865, a
year after his death. M. left by will
10,000 thaler ($7,500) for the founda-
tion of a Meyerbeer Sehoktrship^ for
which only Germans under 28, and
pupils of the Berlin '* Ifochschule,"
the Stern Cons., and the Cologne
Cons., are eligible. Competitors
must submit a vocal fugue a 8 (for
double chorus), an overture for full
orch., and a dram, cantata 4} j, with
orch. (text of cantata, and text and
theme of fugue being given). The
fund gives six months in Italy, six in
Paris, and six more in Vienna, Mu-
nich and Dresden together. M. c.
also incid. music to *' Struensee^^ (the
tragedy by his brother, Michael Beer;
Berlin, 1846), choruses to ylischylus'
^\ Eumenides''^ ; festival -play ^^ Das
iloffest von Ferrara "/ monodrama
*' Thevelindens Liehe^*^ for sopr. solo,
chorus with clar. obbligato (Vienna.
1 81 3); cantatas, *' Gutenberg** and
*^ A/ aria und ihr Genius** ((or tht
silver wedding of Prince and Princess
Carl of Prussia); **' Der Genius der
A/usik am Grabe Beethoven **; serC'
nade ^""Brautgeleite a us der Ifeimath *
(for the wedding of Princess Ix>uise oi
Prussia) ; ode to Ranch (the sculptor),
with orch.; 7 sacred odes a eappella ;
Festhymnus (for the King of Prus-
sia's silver wedding) ; 3 ** Fackel-
tanze," for wind-band, also scored
for orch. (for the weddings of the
King of Bavaria, and the Princesses
Charlotte and Anna of Prussia);
grand march for the Schiller Centen-
ary (1859) ; overture in march-form
(for opening of London Exhibition,
1S62) ; coronation march for King
Wilhelm I. (1863); church-music;
pf.-pcs., etc. Biog. by A. de La-
salle (1864); II. Blaze de Bury
(1865); Ella (1S68); II. Mendel
(1868), and J. Schucht, 1869.
Meyerbeer.
By Irenaeus Prime-Stevenson.
WITHIN a decade or so, especially since the Wagnerian measuring-
rule was applied right and left, up and down, to almost all the
lyric drama, more in enthusiasm than in good judgment, and
also since opera-making has come to be talked of as a sort of exact
•cience — Meyerbeer has been ungraciously handled by a certain school ot
criticism. This school is rich in Podsnaps. If we can believe these ariri-
tnd observers. Meyerbeer was a feeble charlatan in French opera^ or in
DICTIONARY OF MUSICIANS 563
any kind of opera, a vulgar and bawdy melodist and a commonplace orches*
trator. Moreover* we must, by such critics, believe that the public as well
as the critics have so thoroughly *' found him out," that the popular interest in
his worlts is over ; that ** The Huguenots ^^'* ** U Africainef** and «« Le Pro*
fhete** are works that bore everybody of true musical intelligence — ** the souls
of them fumed forth, the hearts of them torn out." ^Unfortunately for
these undiscerning prophets, their premises are obviously wrong, and their
results are short-sighted. Meyerbeer is a composer lull of feults. His
inconsistencies are a continual irritation. His shortcomings are plain to
the ear. His superficial, emotional side, too, b indisputable. He was
never sure of himself, or rarely so ; and that is fatal often to artisdc strength.
But when all is counted against him, Meyerbeer is still a great composer, an
operanc master to be reckoned with for a long operatic time to come ; and
as for the world in general it is far from setting him aside when his best
scores are the question. ^[His splendid subtler mastery of true dramatic effect
b, after all, as emphatic as his cheaper method of making a point. He does
nor, alas ! sustain his melodies. He does not work out good themes as
they deserve, over and over. He eives-out, he resorts to noise and clap-
trap. His favourite rhythm ^^^ 1 is tedious. ^But notwithstanding all,
he is a genius in dramatic, pathetic melody. He is constantly able to
move us legitimately by his beautiful art as an orchestral colourist. He
writes for the operatic actor as a singer, perfectly and consistently, as well
as for the operadc ardst as a declaimer. He is a king at great musical
phrases, words and music so linked that we cannot think of them as not
together. And as a merely French composer Meyerbeer is of the first
rank. A sincere and learned musician himself, especially influenced by
the greatest and even severest German and Italian musicians, he is distinctly
a descendant in artistic speech of no less than Gluck. One often findt
a Gluck-like nobility of phrase in Meyerbeer's dialogue, a Gluck-like out*
start of melody, to atone for all that is savoury of Offenbach or worse. ^At
for Meyerbeer's influence on not only the French opera but in far wider range,
that is undeniable. French oper^ since his day has never set his monidonf
aside, from Halevy to Reyer : and Wagner (heredcal as it sounds to say so)
never quite drew away from the French, principles in dramatic opera that he
often most repudiated — exacdy as he repudiates his eternal practical debts to
Meyerbeer for no vague kindness. ^Meyerbeer is the Scott, the Jokai, of
oj"<Ta, forever. Just as we forgive technical error or error of sentiment in both
here and there, so must we forgive Meyerbeer : and in admiring his best
scenes much indeed is to be forgot ! ^Personally, he was a large-souled and a
good man as weJ as a man of finest cultivadon and polish. His charitiefl
were nuipberless and his large bequests have continued them. Taif bim
5^4
THE MUSICAL GUIDE
tn in all, he IS a creator and an Influencer of, we may fay, pennaneBl
dignity and honour in the general gallery of the really great, not merely dl#
pseudo-great, operatic sovereigns.
Me^er-Helmund (mi'-^r-h€l-moont),
£rik, b. St. Petersburg, April 13
(25 new style), 1S61; pupil of his father
and of Kiel and Stockhausen ; prod.
3 comic operas, incl. the succ. ^*' Der
Liebeskampf*'* (Dresden, 1892) ; succ«
ballet '' kiibezahr {ox '' Dev fierg.
geist*^ (Leipzig, 1893) ; i-act bur-
lesque *• Tischka *' (Riga, 1894) ; and
pop. songs,
Meyer-Lutz (mf-^r-loots). Wm., b,
Mllnnerstadt, near Kissingen, 18291
pupil of Eisenhofer and Keller,
vVorzburg ; 1848, in England, organ*
ist at Birmingham, then Leeds, later
St. George's R. C. Ch. , London ;
1869. cond. at Gaiety Th.; c. 8 op-
eras, masses, etc.
Meyer-Olbersleben (mr-Sr-oI'-b^rs-
la-b£n), Max, b. Olbersleben, near
Weimar, April 5, 1850, pupil of his
father, of Muller»Hartung and Liszt,
on whose recommendation he was
given a stipend by the Duke, and
studied with Rheinberger and WoU-
ner; 1877, teacher of cpt., and comp.
R. Cons, of Mus., Warzburg; 1879,
cond. the "^ LitdertafeV" ; 1885,
" Royal Prof." ; 1896, dir. ''Deutsche
er SUngerbund^ and co-dir. the Fifth
National SHngerfest^ Stuttgart ; c.
succ. roipantic opera ** Cldre Dettin "
(Wttrzburg, 1896), and a comic op«
era " Der Ilauben JCrigg** (Munich
Opera); overtures, ** Feierkldnge^
and •* FestouveriUre^; fine choruses ;
chamber-mus., etc.
M^zeray (maz-rd'), L. Chas. Lazare
Costard de, Brunswick, 18 10 — As-
ni^res, near Paris, April, 1887; bary-
tone and dram, composer.
Mlceli (me-cha'-le), Giorgio, Reg-
gio di Calabria, 1836— Naples, 1895 ;
c. 6 operas, 2 biblical operas, etc.
Michaelia (me-khii'.a.les),(i) Chr. Fr.,
Leipzig, 1770 — 1834; writer. (2)
Gustav, Ballenstedt, X828 — Berlin«
1887 ; cond. and composer. (3)
Theodor, Ballenstedt, 1831— Ham*
burg, 1887 ; bro. of above; oigaaist.
Micheli (me-ka'-le), Romano, Kome,
ca. i575^a. 1660 ; conductor, writer
and composer of notable canons, etc.
Mickwitz (mlk'-vlts), Harald von, b.
Heisingfors, May 22, 1859; pianist;
pupil of Brassin and Rimsky.Korsa*
kov, St. Petersburg Cons., and of
Leschetizky, Vienna ; 1886, pf.-prof.
Carlsruhe Cons. ; 1893, Wiesbaden
Cons. ; composer,
Mieriwinski (mUzh-vTn'-«hkI), La-
dialas, b. Warsaw, Oct. 21, 1850;
untrained tenor of short-lived fame.
Mihalovich (me-ha'-ld-vYch), Edmimd
▼00, b. Fericsancze, Slavonia, Sept.
13, 1842; pupil of Hauptmann and
von Bttlow ; dir. R. Acad, of Mus.,
Peath; c romantic opera ^^ Hagbarth
und Signe" (Dresden, 1882); succ.
opera ** Toldr (Pesth, 1893); bal-
lads for full orch. {*^ Das Geister^
sckiff.*" •• Hero und Leander;" •• La
ronde du saltbat;* ** IHe Nixi\ a
symph., etc.
Miksch (meksh), Jn. Aloya, Geoi^-
enthal, Bohemia, 1765 — Dresden,
1845 ; barytone and celebrated
teacher.
Mikuli (me'-koo-le), Karl, Czemowitz,
Bukowina, 1821 — Lemberg, 1897;
ipupil of Chopin and ed. of standard
edition of his works ^ composer.
MilanoUo (mMan-ol'.ld), (i) Teresat
b. Savigliano, near Turin, Aug. 28,
1827 ; at 4 hearing a vln. at church
she became so frantic for one that
she was given lessons) studied with
Ferrero, Gebbaro, and Mora, at Tu-
rin, and played in public at 6 ; after*
wards touring with great succ. till in
1857 she m. military engineer. Par-
mentier; lived in Toulouse. Haf
DICTIONARY OF MUSICIANS ^65
companion on her tours was her sis<
ter (2) Maria, 1832 — (of consump-
tion) Paris, 1848. Also a violin*
ist.
Milchmeyer (mllkh'.ml.dr), Ph. Ja*
kob, Frankfort - on - Main, 1750—
Strassburg, 1813, pf.-teacher ; inv. a
? -manual pf . ; composer,
Ide (mel'^^). (1) Han8 Peodor
▼oa, b. Petroneki near Vicuna, April
13, 1891 ; pupil of Hauser and Man-
uel Garcia ; created ** Telramund " in
Lohengrin^ Weimar, 1850 ; Itfe'mem-
ber of the Weimar ct. -opera. (2)
Rosa (n^ Agthe), b. Weimar,
June 25, 1827 ; wife of above ; cre-
ated •* Elsa." sang at Weimur till
1876. {3) F4. von, b. Weimar.
March 4, 1S55 ; son and pupil of (i)
and (2) ; barytone, since 1878 at Han-
over ci . -th. (4) Rudolf von, b. Wei-
mar, Nov. 29, 1859 ; son and pupil
of (t) and (2) ; barytone ; d^but 1883
at the ct.-th. and sang there till i886,
then in the New York Opera till 1888 ;
teacher Stem Cons, till 1894, then
sang at Dessau ct.-opera ; 1897 sang
•* Gunther " at Bayreuth.
Milder-Hauptmann (mel'-d^r-howpt'-
mfin), Pauline Anna, Constantino-
Sle, 1785 — Berlin, 1838, soprano;
leethoven wrote the role of ** Fide-
lio " for her.
Mildner (melt'-n£r), Moritz, Tumitz,
Bohemia, i8i2-*Prague, 1865 * vln.«
teacher.
Mililotti (m€.le.l6t'.ti), (i) Leopoldo»
b. Ravenna, Aug. 6, 1835 ; studied
at Rome and lives there as singing-
teacher ; pub. songs and writes. His
brother (2) Giuseppe, 1833— 1883,
prod. 2 operettas.
Millard', Harrison, b. Boston, Mass.,
Nov. 27, 1830; studied in Italy;
tenor concert-singer; toured Great
Britain ; lived in New York from 1856,
as singer and teacher ; c. an opera,
grand mass; and many pop. songs,
incl. *• Woitingr
BCil'ler, Ed^., Norwich, 1735— Don-
caster. 1&07 ; organist, composer, and
writei«
MillevUle (mYUM-vYlM^), (i) Fran., b.
Ferrara, ca. 1565 ; conductor and
composer ; son and pupil of (2) Alea-
sandro M., organist, and composer
to the Ducal Court.
Mil'lico, Giuseppe, b. Modena, 1739;
male soprano, and dram, composer.
Millttcker (mYl'-iek-^r), K., b. Vienna,
March 89, 1842; pupil of the Cons.;
1864, th.-cond. at Graz ; 1866, Har-
monie-Th., in Vienna ; from 1869,
Th. an der Wien ; c. many graceful
and succ. operettas, and comic op-
eras, incl. 2 prod, at 23, *^ Der
iodte Cast " and '* Die beiden Binder "
(Festh, 1865); •♦/>ai verwUmchene
Schloss^* (1878)1 with songs in Upper
Austrian dialect; the widely pop.
''Der BetUlstudenr (Dec. 6, 1881 ;
in Italian as ** // Guitarrera" in
English ** The Beggar Student *'} ;
'*Die sieben Schwaben** (1887, in
Engl. •*The 7 Swabians**); *' Der
arme Jonathan^* (1890, in Engl.
•*Poor Jonathan"); ''Das Sann^
tagskind" (1892) ; •* Nordlicht "
(1897) ; c. also pf.-pcs.
Mills, (i) Sebastian Bach, Ctrences^
ter, England, March i, 1838 — Wies*
baden, Dec. 21, 1898 ; onnnist ; pf.«
teacher. New York. (2) Watkin, b.
Painswich, Engl,, ca. 186 1 ; oratorio
and concert basso cantante, range
I^-/' (v. PITCH, D.D.); pupil of £d-
vnn Holland at the R. A. Nf., and of
F. Blasco, Milan; of Sir J. Bamby,
Randegger, and Blume ; debut, Crys-
tHl Palace, 1884 ; in America, 1894-
Milon (me-16n). Vide trial.
Milton, J., d. 1646(7 ?) ; father of the
English poet ; a scrivener in London,
and an excellent musician and com-
poser.
Mingotti (men-got'-tl), Regina (n^
Valentini); b, Naples, 1728; so-
prano.
Blinoja (mS-n5'-ya), Ambroslo, Ospe-
daletto, i75»^Milan, 1825 ; singing«
teacher and composer.
Mirande (me-r&Ad), Hippolyte, b.
Lyons, May 4, 1862 * pupil of Doi
566 THE MUSICAL GUIDE
bois and Guiraud, Paris Cons.; id86-
90, prof. Geneva Cons.; 1890, Sec-
Gen. Gr. Th., Lyons, and prof, of
mus. history, Lyons Cons.; critic ;
organist at the synagogue ; c. v. succ.
ballet, •* Une FHe Direcioire*' (Ly-
ons, 1895) ; overtures, '* Rodogune^*
''Frithjof:' ''Macbeth:' '' Promi^
thee:' and '* La mort de Roland" etc.
Minis (me'-roos), b. Klagenfurt, 1856;
studied in Italy ; barytone and com-
poser ; since 1801, lives in Vienna.
Miry (me'-re), Karel, Ghent, 1823 —
1889 ; professor and dram, composer.
Missa (mts - sa), Edmond Jeaa
Louis, b. Kheims, June 12, 1861 ;
pupil of Massenet, Paris Cons. ; won
Prix Cressent ; lives in Paris, as
kCacher ; c. an op. com., ** fuge et
Partie " (Op.'Com, , 1886), followed
by others, also pantomimes, revieus,
Ninon deLenclos ly ic episode (1895),
etc.
Mitterwurser (cntt -t^r-voor-ts^r),
Anton, Sterzing, Tyrol. 18 18 — Dob-
ling, near Vienna, 1872 ; barytone.
Mizler (mlts'-ldr), Lorenz Cnp. (en-
nobled as M. von Kolof), Heiden-
heim, WUrtemberg, 171 1 — Warsaw,
1778 ; writer, editor and composer.
Illynarski (m'le-nar'-shkT), Emil, b.
Poland, 1850; violinist; dir. opera,
Warsaw.
lodernus (md-der'-noos), Jacobus
(rightly Jacque Moderne ; called
Grana Jacques, or J. M. de Pin-
g^ento, because of his stoutness) ;
cond. at Notre Dame, Lyons; pub.
and composer, 1732-58,
Moffat, Alfred E., b. Edinburgh,
Dec. 4, 1866 ; pupil of L. Bussler,
Berlin ; c. cantatas.
Mohr (raor), Hn., Nieustadt, 1830 —
Philadelphia, 1896 ; composer.
Mdhring (ma -ring), Fd., Alt-Ruppin,
18 16 — Wiesbaden, 1887 ; organist,
teacher, and dram, composer.
Moir, Frank Lewis, b. Market liar-
borough, Engl., April 22, 1852 ;
studied painting at S. Kensington,
also mus.: won scholarship Nat.
Training Sch. (1876); c. a comic
opera, church - services, madrigal
** Wh^n at Chioe's Eyes J Gate**
(Madr. Soc. prize, 18S1), many pop.
songjs, etc.
Mol, de. Vide demol.
MoUque (mol-ek ), Wm. Bd., Nttm-
berg, Oct. 7, 1802 — Cannstadt, May
10, 1869 ; eminent violinist ; son and
pupil of a town-musician ; studied
with Rovelli on royal stipend ; 1820,
successor of K. as leader of Munich
orch.; studied with Spohr ; 1826,
" Musik-direktor" at Stuttgart; 1S49-
66, I^ndon ; also toured with great
succ; c. an oratorio, 6 famous vln.-
concertos, etc.
MoUenhauer (mol'-l^n-how-^r), three
brothers, b. at Erfurt, (i) Fr., 18 18 —
1 901 ; violinist and composer. (2) H.*
1825 ; 'cellist. (3) £d., April 12
1827, violinist; pupil of Ernst, and of
Spohr; 1853, New York, founded a
vln.-sch.; one of the originators of
the ** Conservatory System ** in
America ; c. 2 operas ; 3 symphonies,
incl. the ** Passion" string-quartets,
vln.-pcs., etc. (4) Emil, b. Brook-
lyn, U. S. A., 1855 ; son of (i) ; vio-
linist at 9, then with Ik»ston Symph.
Orch., now cond. Boslon Ilandei
and Haydn Societies.
Moller (or MoUer) (molM^r, or m£U
ler), Joachim. Vide burgk.
MoUoy', Jas. Lyman, b. Comolore,
Ireland, 1837 ; c. operettas ; pub.
Irish melodies with new accompani-
ments and c. pop. songs.
Momi^y (mo-men'.ye), Jerome Jos.
de, Philippeville, 1762 — ? ; organist,
theorist and dram, composer.
Momolet'to. Vide albkrtini, m.
Monasterio (mo-nas-ta-rl-d), Gesft,
b. Potes, Spain, March 21, 1836;
violinist ; debut at 9, then pupil of
De Beriot, Brussels Cons.; made v.
succ. tours; 1861 founded Quartet
Soc, Madrid; ct.-violinist, prof., and
(1894) dir. Madrid Cons.; c. pop,
vln.-jx:s.
Monbeili (mon-bt-l'-lc), Marie, b.
Cadiz. Feb. 13, 1843 i soprano ; pn
pil of Mme. Garcia, Paris.
»«iH
DICTIONARY OF MUSICIANS 567
MondonviUe (in6n-doh-ve'-y(i)« J.
Jos. Cassanea de (de M. being his
vvife's maiden name)« Narbonne,
17 n — Belleville, near Paris, 1772;
violinist, conductor and dram, com-
poser.
MoniuBsko (md-nt-oosh'-ko), Stanis*
law, Ubiel, Lithuania, May 5, 1813
— Warsaw, June 4, 1872 ; pupil of
Freyer and Rungenhagen ; 1. Berlin,
then at Wilna ; c 15 notable Polish
operas, also masses, songs, etc.; or-
ganist, director, professor. Biogr. by
A. Walicki (Warsiiw, 1873).
Monk, (i) Edwin G., b. Frome,
Engl., December 13, 1819; pupil of
G. A. Macfarren ; Mus. Doc. Oxon,
1856, 1859-83, organist York Minster;
ed. choral books, etc.; c. 2 odes,
unison service, etc. (2) Wm. H,,
I^ndon. 1823 — Stoke Newington,
London. 1889 ; organist, professor of
vocal mus.; editor.
Monpou (m6h-poo) (Fran. L.) Hip.,
Paris. 1804 — Orleans, 1841 ; c. of
light operas and songs.
Monro', H., b. Lincoln, 1774 ; Engl,
organist and composer.
Monsi^y (moh-scn-ye), P. Alex.,
Fauquembergue, near St.-Omer, Oct.
17. 1729— Paris, Jan. 14, 1817 ; ill-
trained but melodious French comic
opera writer of noble birth but left
poor on his father's death ; became a
clerk, later steward to the Duke of
Orleans ; he had studied the vln. as
a child and now studied harm, for 5
months with Oianotti ; at 30 prod,
a succ. i*act op., followed by 12
others, the last, *' F^lix^ ou V enfant
trouv/'' (1777)1 the greatest succ. of
all : immediately m., ceased to write;
his stewardship and his royalties had
brought him riches, which the Revo*
lution swept away ; he was given a
pension of 2,400 francs ($480) a
year by the Op. Cora.; 1800-02, in-
spector at the Cons. ; 18 13, member
of the Acad.; 18 16, Legion of Hon*
our. Biog^. by Alexandre (18 19),
and Hedouia, iSao.
Montaubry (ro6fi-td-bre), Achille F.,
Niorte, Nov.12, i8i6 — Angers, 1898
tenor.
Monte (mon'-tg), Filippo (01 Philip*
pu8 de) (Philippe de Mons) (dd*
mohs), probably at Mons (or Ma-
lines), 1521 — Vienna, July 4. 1603;
conductor and celebrated composer.
Mont Eclair (moh-to^kl&r), Michel
Pignoiet de, Chaumont, 166&—
Saint- Denis, n. Paris, Sept., 1737 ;
double-bass player; dram, composer
and writer of methods.
Monteverde (m6n-ta-v£r'^^) (he
signed his name, Monteverdi),Clau*
dio (Giov. A.), Cremona (bapt..
May 15), 1567 — Venice, Nov. 29,
1643 ; eminent composer ; when
young, via. -player in the orch of Duke
Gonzaga, Mantua, and studied cpt.
with Ingegneri. At 17 and at 20
pub. Canzonette & 3, and madrigals,
in which appeared (among many un-
intentional or unbeautiful effects) the
harmonic innovations for which he is
famous and which led Rockstro to
call him ** not only the greatest mu-
sician of his own age, but the in*
ventor of a system of harmony which
has remained in uninterrupted use to
the present day.'' His progressions
include the unprepared entrance of
dissonances, the dominant seventh
and the ninth (v. D. D., chord, pro-
GRKSSION, SUSPENSION, PREPARA-
TION, etc.). He was bitterly assailed
in pamphlets, particularly by Artuso,
and he replied in kind. The outcome
was his complete triumph and the es-
tablishment of the new school of
song and accompaniment. His vic-
tory, while salutary for art in general
and dramatic song in particular, was
too complete ; for the bigoted defend-
ers of polyphonic music dragged
down with them in their ruin the
splendid edifice of church-mus. built
to perfection by Palestrina and
others. 1603, M. became his teach*
er's successor as Maestro to the
Duke and c. for the wedding of the
Duke's son to Margherita c3 Savogf
568 THE MUSICAL GUIDE
lh« opera *' ArianHe^ in which Ari*
ftdne*s ffrief moved the audience to
tears. In 1608 he prod, his opera
•• Orfeo " with the unheard-of orches-
tra of 36 pieces (Riemann states that
*' Ananne** was the 2d work and
Orfeo the first). Or/eo was published
in 1609 and In 161 5, and the score
shows great modernity, Rockstro
comparing its preludes with one bass-
note sustained throughout to the In-
troduction to " Das Rkeingold^ and
its continual recitative also to that of
Wagner.
In 1608 appeared his mythological
spectacle ^' Ballo eUile Ingrate,^
Vespers and motets (pub. 1610) gave
him such fame that he was in 16 13
made Maestro di Cappella at San
Marco, Venice, at the unprecedented
salary of 300 ducats (the usual salary
had been 200), but it was raised to
500 in 1616, and a house and travel-
ling expenses given him. i62t, his
very romantic Requiem was given with
effect. ' In 16241 he introduced the
Ihen startling novelty of an instru-
mental tremclo (which the musicians
at first refused to play) into his
Dramatic Interlude; "// Combat-
iimento di Tancredi i Chrinda**;
1627 he c. 5 dramatic episodes incl.
•' Bradamante ** and " Dtdtft*' for the
court at Parma { 1630, opera ** Pro-
terpine Rapita "/ in 1637 in the first
opera-house opened at Venice, the
Teatro di S. Cassiano, operas having
hitherto been performed at the pal-
aces of the nobility (v. peri), M.
prod, the operas ^^ A done** (Venice,
1639) ; *• // Notae di Eneta con La-
vima " (164I), " // Ritorno di Ulisse
in Patria '* (1641), and " LIncorona-
tione di Poppia *' (1642). He earned
the title of ** the lather of the art of
instrumentation ** , was the most pop-
ular and influential composer of his
time.
In 1663 he Joined the prieschood
and is heard of no more. C. masses,
psalms, hymns, magnificats, motets,
ttAdrigali, etc
Montlcelll (m6n.tT-ch£l'-l«). Angel#
Maria, Milan, 1710 — Dresden, 1764,
soprano musico.
Montigny-R^maury (m6fi.ten-ye.ra>
mo-re), Caroline) b. Pamiers, Jan.2f ,
1843 ; sister and pupil of Mme. Am-
' broise Thomas ; studied at the Cons,
and took 3 prizes : one of the best
French pianists of her time ; x866, m.
Leon M., a journalist.
MoorC) (t) Tnos., Dublin, i779---near
Devizes, 1852 ; famous poet ; pianist
and singer. (2) Homer, b. America ;
teacher at St« Louis, Mo.; prod,
there 1902, opera ** The Puritans C*
Mooreheady J., b. Ireland — d. 1804 ;
composer.
Mooser (md'-z^r), Aloys. Fribourg,
1770 — 1829; Swiss org.-builder.
Morales (mo-ril'-as) (Cristofero),
Cristofano, b. Sevilla; entered the
Papal chapel ca. 1540; emment
Spanish contrapuntist and composer.
Moralt (mo'-r<), the name of four
brothers famous at Munich as a quar«
tet. (i) Jos., Schwetzinffen, neai
Mannheim, 1775 — Munich, 1828 ;
tst violinist. (2) Jn. Bpt., Mann-
heim, 1777 — Munich, l82j: 2d vio-
linist ; composer. (3) Phllipp, Mu-
nich, 1780—1829; 'cellist. (4) G.,
Munich, 1781 — 1818; via. -player.
Moran'-Olden (rightly F. Tappen-
horn) (m6'-rfin-dT-d«n), Fanny, b.
Oldenburg, Sept. 28. 1855 ; pupil of
Haas and Gmze ; debut as ** Fanny
Olden" at the Gewandhaus, 1877;
1878, leading sopr., Frankfort ; 188&-
80, New York ; m. in 1879 the tenor
K. Moran; 1897, m. Bertram, ct.*
singer at Munich.
Morel (mo-rdl), Auguste Fran., Mar-
seilles, i8o9--Paris, 188 1; dir. of the
Marseilles Cons, and dram, compos-
er.
Morelli (mu-r«r.lS), (i) Giacomo,
Venice, 1745 — 1819; librarian, San
Marco. (2) Giov., Italian bass, in
London, 1787.
Morelot (m6r-16), Stephen, b. Dijon«
Jan. 12, 1820; from 1845, co-ed ^
'* Revue de la Musiqut "y 1847* seni,
»•"
Mb
DICTIONARY OF MUSICIANS 569
by the Ministry of Pub. Instruction
to study church- mu3. in Italy ; wrote
ft work on plain-chant, an attempt to
revive ancient harmonisation, etc.
Morret'tii Giov.» Naples. i8o7--Ceg.
Ue» near Napie8» 1884 ; cond. and
dram, composer.
Mor'gjUl^ (i) G. Washbourae, Glou-
cester, Engl. I 1822— Tacoma, U. S.
A«, i8g3 ; organist and conductor.
^) J. Paul, ODerlin, Ohio, 1841—
OaUandi Cal., 1879; organist and
composers
Mori (md'-rS), (i) Nicolas, London,
1793 — 1839; violinist. (2) Frank,
d. Aug., 1873; son of above; com-
poser.
Morianl (md-rl-ft'-ne), Napoleon,
Florence, 1806—1878; tenor.
MorichelU (md-rT-kcr le), Anna Bo-
sello, Reggio, 1760; violinist; after
1704, opera-singer.
Morja, pen-name of Moria Jaffe
(q. v.).
Morlacchi (mdr-I&k'-ke}, Fran., Peru-
gia, June 14, 1784— Innsbruck, Oct.
a8, 1841; pupil of Zingarelli, Padre
Martini, etc., from 18 10 cond. of Ital-
ian opera, Dresden ; c. many succ.
operas, also church-music, incl. Tuba
Mirum, inspired by Michelangelo's
•* Last Judgment "y biog. by Count
Rosst-Scotti (1870).
Mor'ley, (i) Thos., 1557 — 1604; pu-
pil of Byrd; 1588, Mus. Bac*, Ox-
lord ; 1592, Gentleman of the Chapel
Royal ; also Epistler and Gospeller ;
c. the only contemporary Shakespear-
ean song extant, // IVas a Lover
tmdHis Lass"* from *Mj You Like
li^ pub. 1600 in one of his very
numerous colls.; he wrote the first
English treatise on mus. (1597) still
valuable, and ed. (1599) a curious
treatise on ensemble playing ; some of
his madrigals and melodious ballets
are still heard. (2) Wm., d. 1731 ;
Mus. Bac. Oxford, 1713 ; 1715. Gent.
of the Chapel Royal ; c. one of the ear-
liest known doublo-chantSt songs, etc.
Mom'ing^on. Garret Coiley Welles-
leji Earl ot ; Dangan, Ireland, 1733
—1 781; father of the Duke of Wel-
lington ; prof, of music at Dublin U.
and composer.
Morse, Cnas. H.| b. Bradford, Mass.,
ian. 5, 1853 ; 1873, graduate New
In?!. Cons.; studied with Perabo,
and Baermann, 1879; 1873, teacher N.
E. Cons.; 1875-84, Mus. Dir. WeU
lesley Coll.; from 1891, organist
Plymouth Church, Brooklyn ; pub.
collections of organ-pieces and com-
posed.
Mortier de Fontaine (m6rt-yft dtt
fofi-tdn), H. Louis Stanislas, Wis-
niewiec, Russia, 181&— London*
T883 ; pianist.
Mor'timer, Peter, Putenham, Surrey^
1750— Dresden, 1828 ; a Moravian
brother: writer,
Mosca (mos'-ka), (i) Giuseppe, Na-
ples, 1772— Messina, 1839 ; conduc-
tor and dram, composer. (2) Lui^i,
Naples. 1775 — 1824 ; bro. of above ;
prof, of singing.
Moscheles (m6'-sh£-l£s), IffnaSi
Prague, May 30. 1794— Leipzig,
March 10, 1870; son of a Jewish mer-
chant ; at 10 pupil of Dionys Weber,
Prague Cons.; at 14 played publicly
a concerto of his own ; studied with
Albrechtsberger and Salieri while
earning his living as a pianist and
teacher ; at 20 was chosen to prepare
the pf. -score of ^^ Pidtlio** under
Beethoven's supervision ; as a pianist
a succ. rival of Hummel and Meyer-
beer; he could not comprehena 07
play Chopin or Liszt, but had iargv
influence on subsequent technic;
after tours, he lived in London i82i-«
46, when Mendelssohn, who had
been his pupil, persuaded him to join
the newly founded Leipzig Cons., of
which he became one of the pillars ;
c. 8 pf. -concertos, Incl. **/dHtas^
tique, *^ path^tique** and ** pastor*
al"; ^^ Sonata" and ** Sunatf sym*
phoniqne^* for pf. 4 hands, and
** Sonat€ caractfristtquf^* ** Sonati
tfi/lancoliquf" and many standard
studies; biog. (1872) by his unfa
Charlotte (nee Embden).
570
THE MUSICAL GUIDE
Mosel (mo'-zdl), I^az Fz., Edler
▼on, Vienna, 1772 — 1844; conduc-
tor, writer and dram, composer.
Mosenthal (mo -zdn-tal), Jos., Cassel,
Nov. 30, 1834 — New York, Jan. 6,
1896; from 1867, cond. Mendelssohn
Glee Club, New York, also violinist,
organist and composer.
Moser (mo -z^r), (i) K., Berlin, 1774 —
185 1 ; violinist and conductor. (2)
Au^., Berlin, 1825 — (while touring
America) 1859 ; son of above ; com-
poser and violinist.
Mosemus (mo-za -vt-oos), Jn. Th.,
Konigsberg, 1783 — SchafThausen,
1858 ; opera-singer and writer.
Mosoa'yi (rightly Michael Brandt),
BoUog-Aszony, Hungary, 1814 —
Pesth, 1870 ; pf.-teacher and com-
poser.
Mos'sel, Jan., b. Rotterdam, April 22,
1870 ; 'cellist ; pupil of Ktthler and
Eberle ; i836 toured ; since 1888 lives
in Amsterdam as soloist and teacher
in the Cons.
Aloszkwa (moshk'-va), Prince de la
(Jos. Napoleon Ney), Paris, 1803
— St. Germain-en- Laye, 1S57 ; eldest
son of Marshal Ney ; a senator, Brig-
adier Gen. under Napoleon III., also
a finished musician ; cond. and dram,
composer.
Moszk -^ski (mosh-kof'-shkt), (i)
Morit^. \ Breslau, Aug. 23, 1854;
son of a wealthy Polish gentleman;
pupil of Dresden Cons., Stern and
Kullak Cons. ; teacher Stern Cons, for
years ; later debut with succ. as pi-
anist, Berlin, 1873 * until 1897 Ber-
lin then Paris, as a composer, prod,
succ, opera, ** Boabdil der Mauren-
konig^'' (Berlin, 1882); symph. poem
^'Jeanne <CArc " / '* Phantasiischer
Zug''' for orch. ; 2 orchestral suites and
a vln.-concerto ; c. many pop. pf.-
pcs., incl. ** Aus, alien Herren Ldn-
</^r," and '' Spanische Tan%er (2)
Alex., b. Pilica, Poland, Jan. 15,
1851 ; bro. of above ; critic, editor
and writer at Berlin.
Motti (mot'-'l), (I) Felix, b. Unter-St.
Veit, near Vienna, Aug. 24, 1856 ;
prominent conductor ; as a boy-so-
prano, entered LSwenberg *' Kon-
vikt," then studied at the Vienna
Cons., graduating with high honours ;
cond. the Academical Wagnerverein
for some time ; 1880, ct.-cond. at
Carlsruhe, also, until 1892, cond.
Philh. Concerts ; 1893 the Grand
Duke app. him Gen. Mus. Dir.; 1886,
cond. -in-chief, Bayreuth ; invited to
be ct.-cond. but he decHned ; 1898
declined a similar call to Munich ;
gives succ. concerts London and
Paris ; 1892, he m. (2) Henriette
Standhartner (b. Vienna, Dec 6,
1866, now ct. opera singer at Weimar
and Carlsruhe). He c. succ. operas,
*' Agnes Bernauer " (Weimar, 1880);
- and the i-act '' Furst und Sanger"*
(Carlsruhe, 1893), prod, also a *' Fest-
spiel," ^^ Eberstein^** songs, etc.
Moun'sey, (i) Ann Shephard, b.
London, i8ii r composer, teacher,
and organist. (2) Elizabeth, b. Lon-
don, 1819 ; organist, pianist, guitar-
player and conijx>ser.
Mount-Edg^'cumbe, Richard, Earl
of, 1764 — Richmond, Surrey, 1839;
wrote ^*' Reminiscences of an Am^
atenr'** ; c. opera ** Zenobta,**
Mouret (moo-ra), J. Jos., Avignon,
1682 — insane asylum, Charenton,
1738 ; conductor and composer.
Moussorg^sky. Vide mussor(;ski.
Mouton (moo-ton) (Jean de Hollic-
gue (6i:.ldng) (called ** Mouton ")\
Holling('), near Metz — St. Wuentin,
Oct. 30, 1522 ; important contrapun-
tist.
Mouzin (moo-z&ri), P. Nicolas (called
Edouard), b. Metz, July 13, 1822 ;
studied at Metz branch of the Paris
Cons. ; 1842, teacher there, 1854,
dir.; 1871, teacher at the Paris Cons.;
writer ; c. 2 operas, symphs. , etc.
Mozart (mo'-ts£rt) (originally Mot-
zert), (i) (Jn. G.) Ld., .^iigsbui^,
1719 — Salzburg, 1787 ; father of W.
A. M.; dram composer. (2) (Maria)
Anna (called " Nannerl "), Salz-
burg, 1751 — 1829; daughter and pu-
pil of above ; pianist ; c. org. pc&
DICTIONARY OF MUSICIANS 571
(3) Wolfgang Amadeus (bap-
tised ^ns. ChrysostomuB Wolf-
gangus Theophilus), Salzburg,
Jan. 27, 1756 — Vienna, Dec. 5, I7gi ;
son of (i), and bro. of (2) ; one of
the major divinities of music. Of un-
rivalled precocity in performance,
composition, and acoustic sensitive-
ness ; at 3 his talent and his discov-
ery of thirds (v. d.d.), led his father
to teach him. He bej^an at once to
compose little minuets which his fath-
er and later he himself noted down.
He and his sister made a joint debut
at Munich, when he was barely 6,
though he had appeared as a per-
former 4 months before in a comedy
at the Univ. at Salzburg. He ap-
peared the same year in Vienna, fas-
cinating the court. He now learned
the vln. aMd org. without instruction.
At 7 he was in Paris, where his first
works were pub., *' // SotutUs pour U
clavecin y The next year he was in
London, delighting royalty, winning
the honest praise of musicians and
coming victoriously out of remark-
able tests of his ability as sight-read-
er and improviser. During his fath-
er's illness, while silence was required,
he c. his first symph. Here his 6
sonatas for vln. and harps, were
pub. and his first symph. performed
frequently. He won the friendship
of J . Chr. Bach, and was given sing-
ing lessons by Manzuoli. Before
leaving England he wrote a motet to
English words in commemoration of
a visit to the British Museum. The
family stopped at various cities on
the way home, the children playing
at courts with constant succ, a con-
cert being g^ven at Amsterdam in
1766, at which all the instrumental
music was M.'s. At Biberuch he
comp)eted as organist without result
against a boy 2 years older, Sixtus
Bachmann. Returning to Salzburg,
in 1766, M. was set to studying Fux,
etc. 1767 he c. an oratorio, 1768, an
opera, ** La Finta Semplice^ at the
Emperor's request. Its production
MX
was postponed by the now jealous
musicians till 1769. Meanwhile a
German opera *^ Bastien und BasH^
enne " had been performed, and M.
made his debut as cond. in 1768 (gged
12), with his solemn mass. The Arch-
bishop made him Konzertmeister,
with salary, but his father wished him
to enjoy study in Italy. His concerts
were sensations, the Pope gave him
the order of the Golden Spur (also
given to Gluck), and at his father's
behest he signed a few compositions
by his new title Signor Cavaliere
Amadeo, but soon dropped this.
After tests he was elected a member
of the Accademia Filarmonica of Bo-
logna. At 14 he gave a concert at
Mantua in which according to the
programme he promises to play * ' a
Symphony of his own composition ;
a Clavichord-concerto, which will be
handed to him, and which he will im-
mediately^ play at sight ; a Sonata
handed him in like mani^ which he
will provide with variations, ..nd after-
wards repeat in another key ; an
Aria, the words for which will be
handed to him, and which he will im-
mediately set to music and sing him-
self, accompanying himself on the
clavichord ; a Sonata for clavi-
chord on a subject g^iyen him by the
leader of the violins ; a Strict Fugue
on a theme to be selected, which he
will improvise on the clavichord ; a
trio, in which he will execute a violin-
part air improi visa j and finally, the
latest Symphony composed by him-
self." In Rome, after twice hearing
Allcgri's famous ^^ Miserere'^ long
kept secret, he correctly wrote out the
entire score from memory. At Milan
he prod. 3-act opera seria '* Afitridate^
re di Poftto " (1770), which had 20 con-
secutive performances under his di-
rection. 1 77 1, he brought out a
dramatic serenade, ^^ Ascanio in
Alba^ for the wedding of Archduke
Ferdinand. 1772 his friendly protec-
tor, the Archbishop of Salzburg, died :
his su'^'^'^^sor, Hieron}inous, Count 01
572
THE MUSICAL GUIDE
CoUoredo, treated M* with the great-
est inappreciation, compelling him to
sit with the sen'ants (though M. was
frequently entertained at the houses
of the nobility with great distinction);
and when M. demanded his discharge
in 1781, he had him kicked out by a
servant. It was for his installation
that M. had c. the dramatic *V/
Sogno di Siipiom*' (1775), *'' Lucio
Silia " (1772). and ** La Finta Uiar^
diniira** prod, at Milan, under his
own direction. 1775 ; later '* // AV
Past4>re " at Salzburg during Arch-
duke Maximilian's visit. 1778 he went
with his mother to I*aris, where he
won little attention in the struggle
between ( f luck and Piccini. At length
after his mother^s death he returned
to Salzburg as Konzertmeister, and
ct.-organist ; but settled in Vienna,
after prod, the opera ** Jdometuo**
(Munich, Jan., 1781). On commis-
sion for the Emperor he wrote {^^Bel'
montf und Constance^ oder) Die Ent-
fUhrung aui dem Serail*^ prod, with
great succ, despite the machinations
of the theatrical clique, 1782 ; a
month later he m. Constance Weber
(the sister of Aloysia, whom he had
loved in Mannheim). She bore him
six children, four sons and two daugh-
ters. The small receipts for compo-
sitions and concerts were quickly
spent on luxuries beyond their means,
and as neither was a good manager
of resources, many hardships fol-
lowed. After two unfinished operas
he prod, a mus. comedy, ** Der
SehauspieUiirector " (SchGnbrunn,
1786). May I, in Vienna, his opera
buffa " Le ko%%e di Figaro " (" Mar-
riage of Figaro") was rescued from
intrigues into a very great succ. The
then famous librettist Da Ponte next
wrote the book for *' Don Giovanni^^
(Don Juan), which made a very great
succ. at Prague (1787), and led the
£mperor|4o appoint M. *' chamber
composer,*' at 800 gulden ($400) a year
(Gluck, just deceased, had 2,000 guld-
en). 1 7S9 he accompanied Prince Karl
Lichnowski to Beiiia, pUytng for th*
Dresden court, and at the Thomas-
kirche, Leipzig. King Fr. Wm. II.»
hearing him at Potsdam, offered htm
the post of ist Royal cond. with
3,000 thaler ($3,250) a year, but
M. would not abandon fajs **good
Kaiser;" still Fr. Wm. II. ordered
three quartets, for which he paid welL
Hearing this, the Emperor ordered
the opera buffa "^^ Casl fan Tulte**
(Vienna, 1790). Soon after its produo
tion the Emperor died ; his successor
Ld. II. cared little for M., leaviogr
him in greatest hardship. His de-
voted friend Jos. Haydn now went to
London. M. made a tour, pawning
his plate to pay the expenses. For
the coronation of Leopold II., as
King of Bohemia, at Prague, he was
invited to write the festival opera
** La CUmenna di Tito" performed
1 791. He returned to Vienna and c.
'' Dii ZauberJUu** (••Magic Flute."
Vienna, Sept. 30, 1 791), a work in
which are exploited tbe allegories of
the Masonry of which M. was a mem-
ber. It made a decided succ. He
was, however, growing weaker and
suffering from fainting fits, claiming
that he had been poisoned. A mys-
terious stranger had commissioned
him to write a requiem, and IC. be*
gan it with a superstitious dread that
the messenger had come from the
other world to announce his death.
It has since been learned that he wa&
Leurgeb, the steward of Count von
Walsegg, who gave the work out as
his own, not, however, destroying the
MS. The work was not quite com-
pleted by Mozart, who had his pupil
SUssmayer iill out the incomplete
portions. Mozart died of malignant
typhus. A violent rain-storm coming
up in the midst of the funeral, the party
turned back .leaving the Ixxly to be
interred in some spot, never alter dis«
covered, in the ground allotted to
paupers in the St. Mary cemetery.
The profits of a Mus. Festival given
by the Frankfort ** Liederknins,**
DICTIONARY OF MUSICIANS 573
Tunc 25, 1838. were devoted to found-
ing a Mozart Scholarship, the interest
amounting in 1896 to 1500 marks,
applied quadrennially to the aid of
talented young composers of limited
means. At Salzburg the Moiarteum^
a municipal musical institute founded
in his memory, consists of an orch. soc.
pledged to perform his church-music
in the 14 churches of the town, to
give 12 concerts yearly, and to sus-
tain a mus.-sch. in which the musicians
of the orch. give instruction.
A complete ed. of M.*S works pub.
by Breitkopf & llartel (1S76-86), con-
tains much church-mus. inc. 15 masses,
cantatas ^^ DaviJde penitente" (ma-
sonic), ** Maurfrfreudg** tLTidi *^Klnne
J^reimaurrercantaU" etc. ; stage-
works, besides those mentioned, ** Du
Schuldigkeit des ersien Cebots " (only
partially his own), *' A folio et Hyaciti'
ihus*^ (Latin comeay with mus.)*
•• Zaid^f " (unfinished) ; *' Tkamos,
Konig in Atgyptai" (choruses and
entr'actes; Berlin, 1786); *'//(?-
tnencOy re di Creta^ ossia Ilia ed Ida^
mante." Orch. Works: 4fsymph.:
a symph. movements; 31 diverti-
menti, serenades, and cassations ; 9
marches ; 25 dances, " Masonic Pu^
neral' Music " / 'M Musical J est " for
string-orcb. and a horns; a sonata
for bassoon and 'cello ; phantasie for
Glockenspiel ; andante for barrel-or-
gan, etc.; 6 vln. -concertos, bassoon-
concerto, a concerto for flute and
harp, a flute-concertos, born-concer-
tofr, a clartnet-concerto, 25 pf.-con-
certos, a double concerto for a pfs., a
triple cctficert for 3 pfs. Chambkr-
Music: 7 string-quintets; 26 string-
quartets ; ** Nackimusik " for string-
quintet ; 42 vln. -sonatas, etc. Pf,-
Music : for 4 hands ; 5 sonatas, and
an ' andante with variations ; for 2
pfs., a fugue, and a sonata ; 17 solo
sonatas ; • a fantasle and fugue ; 3
fantasias ; 36 cadenzas to pf. -con-
certos ; rondos, etc.; 17 organ sona-
tas, etc. Vocal Music: 27 arias, and
I rondo for sopr. with orch.; German
war-song ; a comic duet ; 34 songs ;
a song with chorus and org. ; a 3-part
chorus with org. ; a comic terzet with
pf.; 20 canons.
The best of many biographies
is by Otto Jahn (1856-59, 4 vol-
umes in English, London, 1882),
etc.
His letters have also been published
and translated in two volumes. One
of his two overtures was found at the
Paris Cons. 1901. Six unpublished
sonatas were found in Buckingham
Palace, 1902.
Mozart.
By Vernon Blackburn,
JOHN CHRYSOSTOM WOLFGANG AMADEUS MOZART,
the ton of a tolerably good musician, by name Leopold, fiY>m his etr-
liest years displayed the most extraordinary sense of musical precocity.
At the age of three years he was able to pick out harmonies on the
harpsichord ; by the time he was seven, he had already burdened his young
soul with the responsibility of various compositions which are more interesting
than such compositions might be expected to be. The darling of courts in his
childhood (for his father took him early on his travels for purposes of exhibi-
Qon as a musical prodigy), the intensely industrious youth, the creator of a
dramatic art in music^ separate and by itself in rhe world, the greatest master
574 THE MUSICAL GUIDE
of melody that this earth has ever seen, the writer of innumerable symphonies,
innumerable songs, innumerable sonatas, the possessor of a musical memory
fuch as had never been conferred nn the ron of man before, he was the brill*
iant artist of high spirits, the man who lived life to the very last drop of the
glass. ^In a word, a genius, in art and in living, of the highest flower. He
went down to his grave before he was forty years of age, buried no man
knows where, deserted of friends, deserted even in his last journey to the
Vienna cemetery by his wife ; abjectly poor, with not a soul to weep for
him, not a soul to care what became of these sacred relics. Here was, in*
deed, a combination of glory and the darkest tragedy which can scarcely be
found outside the Attic drama. ^ Yet, from the critical point of view, it can
scarcely be said that Mo^rt was in any sense a revolutionary ; he was the
glorious link which combined the music of the la^t century with the music of
this. The strictest formalist, the impeccable master of counterpoint, the
respecter in every way of traditions, you can see him, as it were, on the
tiptoe of the future, bearing on his brilliant soul, and bearing it lightly, all the
burdens of the past. ^But it is as a writer of opera that his fame is like to last
longest, for it is here that he brought the brilliant qualities of the consummate
musician to comLine with the scarcely less brilliant qualities of the dramatist
Many men who might have written music equally noteworthy could not have
touched the dramatic significance of it. **Don Giovanni^** that glory ot our
blood and state, **Le Nozze di Figaro^* **Cosi Fan Tutte,*^ ^^DieZaubtr"
fiotey these remain as noble a testimony of his great genius in the musico*
dramatic world as the centuries are likely to bring forth. Then consider the
G minor symphony — so different m quality from the quality of Beethoven at
his best, and therefore not comparable to the great nine, but m its way the
very flower o^ musical genius. Then again, such work as he brought into
the Requiem declares him to be, as a master of the emotions, of supernatural
terror, unsurpassed ; I wor d almost say unsurpassable. In a word, here
was the golden child of music, adding to the simplicity of his childishness the
complex wisdom of the serpent. ^[Poor Mozart ! Yet, who is ordinary mail
that he should say "poor" of such an immortal creature? Poor a^ it seems
to us, yet it is not likely that he would have given up one golden moment ot
his glorious inspiration in exchange for the comforts of a Sultan. Hw was an
artist, every inch of him.
(4) Wolfgang: Amadeus, Vien- Muck (mock), K., b. Darmstadt. Oct
na, July 26, 1791 — Carlsbad, July 22,1859; Dr. Philh., Leipzij^: pupilof
30, 1844; son of above; pianist, Leipzig Cons.,cond. at various cities;
teacher and composer of pf.-conc^.r- S)nce 1802, ct.-cond. Koval Oo.. Bcih
t06, sonatas, etc,
9
DICTIONARY OF MUSICIANS S75
Mu'die, Tho8. Molleson, Chelsea,
1809 — London, 1876; teacher, or-
ganist and composer.
Muffat (moof'-fat), (i) G., b. Passau,
1704; organist, conductor and com-
poser. (2) Aug. GI., 1683 — Vienna,
1770 ; son of above ; organist and
composer.
MUhldorfer Cmal'-d5rf-^r), (i) Wm.,
1803 — Mannheim, 1897 ; ct. -inspector
of theatres, Mannheim. (2) Wm. K.,
b. Graz, Styria, March 6, 1837 '» son
of above ; studied at Linz-on-Dan-
ube and Mannheim ; actor ; 1855, ih.-
cond., Ulm ; 1S67-81, 2d cond. at
Cologne ; c. 4 operas, incl. success-
ful '^ lolanthe'' (Cologne, 1890). over-
tures, etc.
Mtthlfeld (mul'-fglt), Richard, b.
Salzungen, Feb. 28, 1856 ; clarinet-
tist for whom Brahms c. a trio and
sonata ; studied with BUchner at
Meiningen, where he lived since 1873,
also 1875-96, ist clarinet at Bay-
reuth.
Miihling^ (mQ'-lYng), Aug^., Raguhne,
1786 — Magdeburg, 1847; organist
and composer.
MUhlberg^er-Leisinger (ll'-zYng-£r),
Elizabeth, b. Stuttgart, May 17,
• 1863 ; coiorature-soprano ; studied
with Viardot-Garcia : debut, R. op-
era, Berlin ; sang in Paris, 1887.
MUller (mul'-lgr), (i) Chr., org.-builder
at Amsterdam, ca. 1720-70. (2)
Wm. Chr., Wassungen, Meiningen,
1752 — Bremen, 1831; mus. director
and writer. (3) Aug. Eberhard,
Nordheim, Hanover, 1767 — Weimar,
18x7; son and pupil of an organist ;
organist, ct.-cor.ductor and dram,
composer. (4) Wenzel, Tymau,
Moravia, 1767 — Baden, near Vienna,
1835 ; conductor and composer of
200 operas. (5) Fr., Orlamunde;,
1786 — Rudolstadt. 1871; clarinettist,
conductor and composer. (6) Ivan
(Iwan), Reval, 1786 — BUckeburg,
1854 ; inv. of the clarinet with 13
keys, and altclarinet ; finally ct.-mus.
(7) Pct^r, Kesselstadt ; Hanau, 1791
— Langen, 1877; c. operas, and »•
mous ^* Jugendlieder^ etc. (8) Two
famous German quartet parties, (a)
The bros. K. Fr. (1797 — 1873),
Th. H. Gus. (1799— 1855), Augc
Th. (i8o2 — 1875), and Fz. Fd-
G. (1808—1855), sons of (9) Aegi
dius Chp. M. (d. 184 1, Hofmus.
to Duke of Brunswick), all b. Bruns-
wick, and in the orch. there — K.
as Konzertmeister, Th. ist *cello,
Gv. symph. -director, and G« con-
ductor, (b) The four sons of the
Karl Fr. above, who organised 1855
a ct.-quartet. Hugo, 2d vln. (1832
—1886); Bd., b. Feb. 24, 1825,
viola ; Wm., b. June i, 1834, *ceUo;
Karl, jr., b. April 14, 1829, ist vln.
Since 1823 this last lives in Stutt-
gart and Hamburg ; m. Elvina Beig-
haus and took name Mttller-Berg-
haus, under which he has c. a symph..
etc. (10) (Rightly Schmidt) . Ad«
Sr., Tolna, Hungary, 180 1 — Vienna,
1886; singer, conductor and dram,
composer. (11) Ad., Jr., Vienna
1839 — 1901, son of above; 1875,
cond. German opera at Rotterdam;
prod. 4 operas and 5 operettas, incl.
the succ. '* Der BlondxMvon Namur^*
(Vienna, 1898). (12) Jns., Coblenz,
1801— Berlin, 1858; writer. (13)
Fz. K. Fr., Weimar, 1806—1876;
one of the first to recognise Wagner ;
pub. treatises on his work. (14)
Au£^., 1810— 1867; eminent double-
bass. (15) K., Weissensee, near
Erfurt, 18 18 — Frankfort, 1894 ; con-
ductor and composer. (16) Bd.y
Sonneberg, 1824— Meiningen, 1883 ;
cantor. (17) K. Chr., b. Saxe-
Meiningen, July 3, 1831; pupil of
F. W. and H. Pfeiffer (pf. and org.),
Andreas Zollner (comp.) 1854, New
York ; since 1879, prof, of harm. N.
V. Coll. of Mus.; translator, etc.
(18) Richard^ b. Leipzig, Feb. 25,
1830 ; pupil of Zollner, Hauptmann
and Reitz; until 1893, cond.
"Arion," then the ** Hellas," and the
•* Liedertafel ; " teacher singing, Ni-
kolai Gymnasium ; c. motets, etc*
(19) Jos., 1839— Berlin, 1880 ; writci;
576
THE MUSICAL GUIDE
(30) ?
1945 ; ,
b. Har
t thecl
Feb. 4,
., Berlin.
,_.,.. , Cologne, 1854 — Berlin,
1897; prof, and writer, (ai) Go»-
tST. Vide BHAU-M(JLLEK.
MUleiwHuiniig, K. (Wm.), b. Sul-
B, May 19, 1334; pupil of Kuhm-
stedt, Eisenach ; mus.-dir. and teach-
er at the Seminal^ : 1864. prof.;
1869, opera-cond. Weimnr; 1872,
founder and dir. Gr Ducal "Or-
chesler-und-Musikschule ;" wrote a
system ot music theory (vol. I. " Har-
itUlthre " appeared in 1879) ; com-
U^l
railer-Reuter (roi-tfr), Theodor,
b. Dresden, Sept. 1,1858; pupil of
Fr. and Aiwin Wieck (pf.); J. Otto
and Meinardus (comp.) ; and the
Hoch Cons., Frankfort; 1879-87,
teacher Stras^burg' Cons.; 1SS7,
cond. at Dresden ; 1892. teachei in
the Cons.; c. 3 operas. Paternoster,
withorch; "Hacktibertitd's Funeral"
for chorus and orchestra (1901),
HUller Ton der Werra (rightly Fr,
Koorad M (liter), Ummersudl,
Meiningen, 18S3 — Leipiig, l83l ;
popular poet and ed., founded
" Deutscher Sllngerbund."
MUncbhoff (minsh'-hof), MUT, b.
Omaha, U.S.A.; coloralure soprano ;
studied in Germany 1S97 ; sang in
Austria, etc; 190Z, U.S.A.
Hunck, de. Vide demunck.
Huaclnger (moonts'-lng-lt), Edptr,
b. Olien, .Switz., Aug. 3, [S47; stud-
ans. and with Kiel and
1, where he ts pf.-teach-
18 dir. Eickelberg Cons. ;
lies: No. I "In dir
3 " I/ero," an opera, 9
•^)^ ]o: de (or de
altts), eminent theorist ;
'■ SpccHlum Musical"
1335) (Coussemaker),
(moorsh'-how-afir), Fl.
abem, near Strasabui^,
inich, 1734; conductor
HnrskA (moor'.shka), lima di, Croa-
tia, 1836— Munich. Jan. 16, 1889;
famous dramatic soprano, with re-
markable compassof nearly 3octave5.
Huaard (mU-zar), (1) Philippe, Paris,
1793 — 1859 : c. pop. dances. (l)
Alired, 1823— 18S1; orch.-coDd.,
and composer; son of atiove.
Muain (moo-zcn), Bonaventura.
Vide Fum-ANE-rio.
Muflia (ma-ilA), Ovide, b. Nandrin,
n. Li^ge, Sept, 22, 1854; violinist ;
pupil of Liege Cons.; at II took ist
vin. -prize; studied then at Paris
Cons.; at 14 won the gold medal for
solo and quartet playing ; taught a
year at the Cons, then toured Europe
with great succ; later organised a
concert-troupe and toured America,
then the world; 1897, returned to
Li^e as vln.-teacher at the Cons.;
189S, vln. -professor.
Mnaiol (moo'-zi-ol), Robt. Paul Jo.,
b. Breslau, Jan. 14, 1846; from 1873-
91 teacher and cantor at ROhrsdorf,
Posen ; pub. mus. lexicons ; c. part-
Musaorgflki (moos-surg'-shkl), Mo-
de>t Petrovitch, Toropetz, Russia,
March 18, (839 — St. Petersburg,
March aS, 1881 ; army officer, then'
pupil of Balakirev; c. operas. " Beris
C«/«»o^"([mp. Opera. St. P., 1S74),
" Chmamlchina " (1893) ; c. p(.-
Mustel (mus-t?l). Victor, b. Havre.
1815 : mfr. and improver of the har-
Muzlo (moo'-tsi-6), Emanuele, b.
Zibcllo, near Parma, Aug. 25, iSas ;
pupil of Provesi and Verdi, and (for
pf.) of Verdi's first wife. Mar^herita
Barezzi; 1852, cond. It. Opera,
Brussels: later, [.ondon. New York
(Acad. o[ Mus.) ; 1875 noted singing
teacher, Paris ; c. 4 operas, etc.
Ujrzwinski (mersh-vtn -shklf), ;
tenor in Paris.
Ujsltweczek (rae-slc'-vs-chfk), Jos.
(called " II Boemo,'' or " Venatori-
ni ''). near Prague. March (p, 1737 — ■
Kome, Feb. 4, 17E1 ; prod, atwut JQ
DICTIONARY OF MUSICIANS 577
pop. operas in Italy; c. symphs., pf.-
sonatas praised by Mozart, etc.
N
Naaff (nftf), Anton E. Aug., b. Wei.
tentrebelitzsch, Bohemia, Nov. 28,
T850 ; mus. editor and poet at Vi-
cnna.
Nachbaur (nakh'-bowr), Fz., Schloss
Giessen, near Friedrichshafen, March
25, 1835 — Munich, March 21, 1902;
pupil of Pischek ; sang at theatres in
Prague and other cities; 1866-90,
*• Kammersfinger," Munich.
Niches (na-ch^) (Tivadar (Theo-
dor) Naschlts (na'-shlts)). b. Pesth,
May I, 1859 : vln. -virtuoso ; pupil of
Sabatil, Joachim and Leonard ;
toured the continent ; lived in Paris
and (1889) London; c. 2 concertos for
vln., 2 Hungarian Rhapsodies, requi-
em mass, with orch., etc.
Nadaud (n&-d5), Gv., Roubaix, France,
Feb. 20, 1820— Paris, 1893 ; cele-
brated poet, composer of chansons ;
also c 3 operettas.
Nadermann (na-dSr-man), Francois
J08., Paris, 1773— 1835; harpist,
teacher and composer. (2) H., b.
1780; bro. of above and his asst.-
harpist in the King's music, and asst.-
professor.
Nas:el (nft'-g^l), (i) Julius, Gotha,
1837 — St. Petersburg, 1892 ; 'cellist,
teacher and composer. (2) Dr. Wil*
libald, German writer; pub. *' Ge^
schichie dtr Musik in England**
(1897).
N&ffeli (nr.g«I-e). Jn. Hans G.,
Wetzikon, near Ziirich, 1773 — 1836;
mus. -publisher, writer and composer.
Nag^iller (nS'.gYl • l«r), Matthilus,
Monster, Tyrol, 18 15 — InnsbrOck,
1874; conductor and dram, composer.
Naldi (nSr-de), (i) Giuseppe, Bologna,
1770 — Paris, ca. 1820 ; actor, singer,
pianist, 'cellist and composer. (2)
daughter of above singer ;
debut, 1819 ; retired, 1824 ; m. Conte
4i Sparre.
Nal'son, Rev. Valentint, d. 1722;
Engl, composer.
Nanini (na-ne'-ne) (incorrectly Nani-
no), (i) Giov. M., Vallerano, Italy,
ca. 1540— Rome, March li, 1607;
noted Italian composer ; pupil of
Goudimel ; cond. at Vallerano,
1571-751 at Santa Maria Maggiore,
Rome (vice Palestrina); 1575 founded
a pub. mus.-sch. in which Palestrina
was one of the teachers ; 1577. papal
singer ; 1604 cond. Sistine Chapel ;
his 6-part motet * ' Hodie nobis ctelo^
rum rex " is still sung there every
Christmas morning. (2) Giov. Ber-
nardino, Vallerano, ca. 1560— Rome,
1624; younger bro. (Riemann says
nephew) and pupil of above ; con-
ductor and notable composer.
Nantier • Didi^e (nant-ya ded-ya),
Constance Betsy R., He de la Re-
union, 183 1 — Madrid, 1867 ; v. succ.
mezzo«soprano.
Napo'16on, Arthur, b. Oporto, March
6, 1843; pianist and cond.; at 9
made a sensation at the courts of
Lisbon, London (1852), and Herlin
1854), then studied with Halle, at
Manchester ; toured Europe, and N.
and S. America. 1868 (187 1 ?) settled
in Rio de Janeiro as mus.-seller, etc.
Ndpravnik (Niprawnlk), (nfi^praf-
nek) Eduard, b. Bejst, near KOnig-
gratz, Aug. 24, 1839 ; pupil Prague
Org.-Sch.; from 1856 teacher Maydl
Inst, for Mus., Prague; 1861, cond.
to Prince Vussupoff at St. Peters-
burg ; then organist and 2nd cond.
Russian Opera ; from 1869 ist cond.;
1870-82, cond. the Mus. Soc; c. 4
operas, incl. the succ. '* DubroffskyT
(St. P., 1895); symph. poem " Tht
Demon** overtures, incl. ** Vlasta *
(1861), etc.
Nardini (nar-de'-ne), Pietro, Fibiana,
Tuscany, 1722 — Florence, May 7,
1793 ; noted violinist ; pupil of Tar-
tini ; ct. -musician at Stuttgart and
Florence ; composer.
Nares (narz), Jas., Stanwell, Middle-
sex, 1715 — London, Feb. 10, 178;'^;
organist and composer.
578
THE MUSICAL GUIDE
Naret-Koning' (na-r^t-k5-ntng), Jn.
Jos. D., b. Amsterdam, Feb. 25,
1838 ; violinist ; pupil of David,
Leipzig: from 1878 leader City Th.,
Frankfort ; pub. songs, etc.
Nasolini (na-so-le-nc), Sebastiano,
Piacenza, ca. 1768— -(?); prod. 30
operas in Italy.
Natale (na.ta'-l£), Pompeo, choir,
singer and composer at S. Maria
Maggiore, Rome, 1662.
Nathan, Isaac, Canterbury, 1792 —
Sydney, Australia, 1864 ; writer.
Natorp (nii'-torp), Bd. Chr. L.,
Werden-onRuhr, Nov. 12, 1774 —
Munster, Feb. 8, 1846; reformer of
church and sch.-mus.; writer.
Nau (na'-oo), Mana Dolores Bene-
dicta Josefina, b. of Spanish par-
ents. New York, March 18, 1818;
soprano ; pupil of Mme. Damoreau-
Cinti, Paris Cons., taking ist prize in
1834 ; debut at the Opera, 1836 ;
sang minor roles there 6 years, etc. ;
1844-48 and 1851-53, leading roles,
singing in other cities; retired, 1856.
Naubert (now'-bert), Fr. Aug^.»
Schkeuditz, Saxony, 1839 — Neubran-
denburg, 1897 ; organist and singing-
teacher.
Naudin (na-oo-den), Emilio, b. Par-
ma, Oct. 23, 1823 ; tenor ; pupil of
Panizza, Milan ; debut, Cremona.
Meyerbeer in his will requested him
to create the role of "Vasco" in
•* i:Afncaine'' (1865), which he did.
Naue (novv'-g). Jn. Fr., Halle, 1787 —
1868 ; organist and composer.
Naaenburg (now'-^n-boorkh), Gt., b.
Halle, May 20, 1803 ; barytone and
singing-teacher ; writer and com-
poser.
Naumana (now'-man), (i) Jn. Gl.
(Italianised as Giov. Amadeo),
Blasewitz, near Dresden, April 17,
174 1 — Dresden, Oct. 23, i8or; pupil
of Tartini and Padre Martini ; 1764,
ct.-cond., Dresden; 1776, cond.;
prod. 23 operas and excellent church-
music. (2) Emil, Berlin, Sept. 8,
1827 — Dresden, June 23, 1888 ;
grandson of above ; court churc];
mus.-dir., Berlin; r. an opera, a fa-
mous oratorio ** Chrtstus der Frie^
densboU^^ ; pub. many valuable trea-
tises. (3) K. Ernst, b. Freiberg,
Saxony, Aug. 15, 1832 ; grandson of
(i), studied with Hauptmann,Richter,
Wenzel and Langer, Leipzig (1850),
Dr. Philh. at the Univ., 1858; stud-
ied with Joh. Schneider (org.) in
Dresden ; mus.-dir. and organist,
Jena; prof., 1877; pub. many valu-
able revisions of classical works, for
the Bach-Gesellschaft ; c. the first so-
nata^or via., much chamber-mus.,etc.
Nava (nii'-va). (i) Ant. Maria, luly,
1775 — ^^26 ; teacher and composer
for guitar. (2) Gaetano, Milan,
1802 — 1875 ; son and pupil of above ;
prof, at the Cons, and composer.
Nav41 (na-val), Fz., b. Laibach, Aus-
tria, Oct. 20, 1865 ; tenor at Vienna ;
pupil of Gansbacher.
Nawratil (na-vra -tel), K., b. Vienna,
Oct. 7, 1836; pupil of Nottebohm
(cpt.) ; excellent teacher ; pub. Psalm
XXX with orch., an overture, cham-
ber mus. , etc.
Nay'lor, (i) J., b. Stanningly, near
Leeds, 1838 — at sea, 1897 ; organist
and composer. (2) Sidney, Lon-
don, 1841 — 1893 ; organist.
Neate (net), Chas., London, 1784 —
Brighton, 1877 ; pianist, 'cellist and
composer.
Nebe (na'-b^), Karl, bass; pupil of
Jahn at Wiesbaden ; 1890, at Carls-
ruhe ; sang "Albcrich" and '* Beck-
messer *' at Bay rent h and l^ndon ;
1900, Berlin.
Ned'bal, Oscar, b. Tabor, Bohemia,
March 25, 1874; vla.-player in the
** Bohemian " string-quartet ; studied
Prague Cons. (comp. with DvoHk) ;
c. a scherzo-caprice for orch., etc.
Neeb (nap), H., Lich, Upper Hesse,
1807 — Frankfort, 187S ; conductor
and dram, composer.
Needier, H., London, 1685 — 1760;
pianist, violinist and composer.
Neefe (na.f«), Chr. GL, Chemnitz,
1748 — Dessau, 1798; mus.-directoT
^nd conductor.
DICTIONARY OF MUSICIANS 579
Nef (n&f), (Dr.) K., Swiss writer; pub.
a treatise on the amateur musical' as-
sociations of the 17th and iSth cen-
turies.
Neff| Fritz, notable composer, lives at
Munich; c. "Chorus of the Dead"
with orch. (1902), etc.
Nchrlich (nar -Itkh), Chr. Gf., Ruh-
iand, Upper Lusatia, 1802 — Berlin,
1868 ; teacher and writer.
Neidhardt (nit-hart), Jn. G., d. K5-
niesberg, 1739 I writer.
Ncidlinger (nit'-llng-er), Wm. Ha-
rold, b. Brooklyn, N. Y., July 20,
1863 ; pupil of Dudley Buck and
MUller ; teacher of singing in Paris,
then Chicago; c. a mass, etc., pop.
songs and valuable books of mus.
for children.
Neithardt (nit'-hart), Aug. H.,
Schleiz, 1793 — Berlin, 1861; oboist,
teacher of singing, conductor and
dram, composer.
Neitzel (nit -tsdl). Otto, b. Falken-
burg, Pomerania, July 6, 1852 ; pu-
pil of Kullak's Acad., Berlin; l)r.
Philh., 1875, at the Univ.; toured as
pianist; 1879-81, teacher Moscow
Cons.; then Cologne Cons.; since
1887, also critic ; prod. 3 operas :
*' Angela " (Halle, 1887), text and mu-
sic of, ''Dido'* (Weimar, 1888) and
^' Der Alte Dessautr"' (Wiesbaden,
• 1889).
Nerii, Romilda, b. Italy, i882(?);
colorature and operatic soprano ; pu-
pil of Galletti.
Nen'na, Pomponio, b. Bari, Naples ;
pub. madrigals, 1585 — 163 1.
Neri (na -re), Filippo, Florence, July
21, 1515— Rome, May 26, 1595;
preacher in the oratory (It. oratorio)
of San Girolamo. From the music c.
for illustrations by Animuccia and
Palestrina arose the term *' oratorio."
ileruda (na-roo'-da), (t) Jakob, d.
1732 ; violinist. (2) Jn. Chrysos-
tom, Rossiez, 1705 — 1763; violinist;
son of above. (3) Jn. Baptist G.,
Dresden, 1707 — 1780; composer, son
of Jakob. (4) (Noimann-Neruda)
(or Lady HalU) Wilma Maria
Fran., b. Brttnn, March 29, 1839;
noted violinist (daughter of (5) Tosef^
an organist) ; she studied with Jansa;
at 7 played in public at Vienna with
her sister (6) Amalie (a pianist) ,
then toured Germany with her
father, sister and bro. (7) Fz, (a 'cel-
list) ; 1864, in Paris, she m. L. Nor-
mann ; since 1869 has played annu-
ally in London ; she m. Halle (q.v.),
1888, and toured Australia with him,
1890-91; 1899, America.
Ness'ler, Victor E., Baldenheim, Al-
satia, Jan. 28, 1841 — Strassburg. May
28, 1890 ; studied with Th. Stern at
Strassburg; 1864, prod. succ. opera,
"' I''lt'uri'tu'\' studied in Leipzig, be-
came cond. of the * * Sangerkreis "
and chorusm. City Th., where he
prod, with general succ. 4 operettas
and 4 operas, incl. two still pop. ''Der
Rattenfdnger von Hameln" (1879),
'' Der Trompeier von Sakkingen'*
(1884) ; c. also ** Der Blumen Raehe'"
ballade, with orch.; pop. and comic
songs, etc.
Nesvad'ba, Jos., Vyske?, Bohemia,
1824 — Darmstadt, 1876 ; conductor
and dram, composer.
Ne&vera (n^sh-va'-rii), Jos., b. Pros-
koles, Bohemia, Oct. 24, 1842 ; now
cond. OlmlUz Cath.; c. succ. opera
'" Perdiia' (Prague, 1897); masses,
De Profundis, with orch., etc.
Netzer (nft'-ts^r), Jos., Imst. Tyrol,
1808 — Graz, 1864 ; teacher, con-
ductor and dram, composer.
Neubauer (na'-oo-bow-€r), Fz. Chr.,
Horzin, Bohemia, 1760-— BUckeburg,
1795 ; violinist, conductor and com-
poser.
NeuendorfiT (noi'-^n-dorf), Ad., Ham
burg, June 13, 1843 — New York
Dec. 4, 1897 ; at 12 taken to Ameri
ca ; pianist, concert-violinist, promi^
nent conductor and composer of comic
operas.
Neukomm (noi'-kom), Sigismund.
Ritter von, Salzburg, 1778 — P^ms^
1858 ; organist, conductor and con.,
poser.
Neumann (noi'-man), Angelo, b- V.*-
^80
THE MUSICAL GUIDE
enna, Aug. i8, 1838 ; studied sing-
ing with Stilke-Sessi, debut as lync
tenor, 1859; 1862-76, Vienna ct.-
opera ; 1876-82, Leipzig opera ; as
manager of a travelling coro^iany
prod. Wagner operas ; 1882-85, nian-
ager Bremen opera ; then German
opera, Prague.
N'tumark (noi'-mark), G.» Langensalza,
1621 — Weimar, 1681: composer.
Neusiedler (noi'-zet-l^r) (or Newsid-
ler), (i) Hans, b. Pressburg, Nttm-
berg, 1563 ; lute-maker. {2) (or
Neysidler) Melchior, d. Ndmberg,
1590 ; lutenist and composer at Augs-
burg ; 2 books of lute mus. (Venice,
1566), etc.
Nevada (n6va'-da) (rightly Wixon),
Emma, b. Austen, Nevada, U. S.A.,
1862 ; eminent colorature-soprano ;
pupil of Marches! in Vienna ; debut
London, 1880; sang in various Italian
cities ; 1883 and 1898 Paris, Op.-
Com. ; 1885 sang Opera Festival
Chicago, and again in 1889 ; 1898,
Op.-Com., Paris; 1885 m. Dr. Ray-
mond Palmer ; sang ** Mignon " a
whole year in Paris; 1900 America.
Ncvin (n« v'-Yn), (r) Eth«lbert (Wood-
bridg^e), Edgeworth, Penn., Nov.
2$, 1862 — New Haven, Conn., Feb.
17, 1901 ; prominent American com-
poser ; pupil of von der Heide and
E. GUnther (pf.) at Pittsburg; of
von BOhme (voice), at Dresden, 1877-
78 ; of Pearce (N. Y.), B. J. Lang
and Stephen A. Emery (Boston) ;
von BUlow, Klindworth, and K. Bial,
Berlin ; lived in Florence, Venice,
Paris, and New York as teacher and
composer ; after 1900 at Sewickley,
near Pittsburg, Pa.; c. a pf. -suite ;
song-cycles ** In Arcady, and a
posthumous ** The Quest of Heart's
Desire " ; highly artistic piano pieces
and many song albums of well-de-
served popularity. His songs are
genuinely lyrical, with an exuberance
of musical passion, and accompani-
ments full of colour, individualitv and
novelty. (2) Arttiur, b. be wick ley,
Pa., 137 1 ; bro. ^ Ahova . f-om 189X
studied Boston, then at Berlin with
Boise and Klindworth ; lives in New
York ; c. songs, etc.
New'man, Ernest, b. Liverpool, Not.
30, 1868 ; prominent critic ; studied
for the Indian Civil Service, but his
health broke down from over-study ,
engaged in business in Liverpoo!
where he has since lived ; in i883
wrote •• Gluck and the Opera^ " which
was published in 1895 ; *' A Study of
WctfTfter " i899. Has contributed nu-
merous scholarly essays on musical
and other topics to various magazines.
Newsidler, Neysidler. Vide nev*
SIEOLER.
Ney. Vide moszkva.
Niccol6 de Malta. Vide isquard.
Nichelmatm (nlkh'-^l-man), Chp.,
Treuenbrietzen, BrandenlMirg, 17 17
— Berlin, 1762 ; cembalist and writer.
Nicholl (nlk'-6l), Horace Wjulham,
b. Tipton, near Birmingham, £ngl.,
March 17, 1848; notable contempo-
rary contrapuntist ; son and pupil of
a musician John N.; studied with
Samuel Prince; 1867-70 organist at
Dudley; 1871 organist at Pittsburgh
Pa., U. S. A.; 1878 editor New York.
1888-95 prof, at Farmington, Conn.;
contributed to various periodicals;
pub. a book on harmony; his most
notable compositions are his 12 sym-
phonic preludes and fugues for organ,
displaying his remarkable contrapun*
tal ability (i in quadruple cpt., I in
triple, 4 in double); he c. also a
suite for full orch. (op. 3) , a cycle of
4 oratorios w^ith orch.; symph. poem
** Tartarus "/ 2 symphonies ; a psy-
chic sketch ** Hamlet^ etc.
Nich'olson, Chas., Liverpool, 1795—
Ix)ndon, 1837 ; flutist and composer.
Nick'lass-Kempt'ner, Selma, b.
Breslau, April 2, 1849 ; noted colora-
ture soprano and teacher , studied at
Stem Cons.; debut, 1867; sang n'l
Rotterdam 10 yrs. ; then teacher
Vienna Cons.; 1893, Berlin ** Profts*
Nicod^ (ne'-ko-da), Jean Loais, U
jercziki near Posea, Aug. 12 iSi;) '
DICTIONARY OF MUSICIANS j8i
pupil of his father and the organist
Hartlas, and at Kuiiaic's Acad.; lives
in Berlin as a pianist and teachei.;
1878-85 pf. -teacher Dresden Cons.;
1897, cond. Ixipzig ** Riedel Verein";
c. symph. poem ''^ Maria Stuart**;
^^ Faschingsbilder** " Sinfonische
Variationen** op. 27; *' Das Meer^
symph. ode, for full orch.; ** £rbar«
men." hymn for alto with orch., etc.
Nicolai (ne'-kd-ll). (i) Otto» KOnigs.
berg, June 9, 18 10— of apoplexy,
Brriin, May 11, 1849 ; son and pupil
of a singing- teacher ; studied with
Zelter and Klein, later with Baini at
Rome, where he was organist at the
embassy chapel ; 1837 - 38 theatre-
cond. at Vienna ; again in Rome ;
1841-47 ct.-cond. at Vienna and
founded the Phil., 1842 ; 1847 cond.
of the opera and cath. -choir, Berlin;
prod. 5 V. succ. operas, incl. ** //
7V////ibrw" (Turin, 1840; known in
Germany as **Z?rr Tempter** based
on Scott's *^ Ivanhoe**) ; and the unct-
uous and still popular opera ** Die
lustigen Weiber von Windsor ^^ based
on and known in English as ** The
Merry Wives of Windsor " (Berlin,
T849); he c. also a symph., etc.; biog.
by Mendel (Berlin, 1868); his diary
(•*Tagebacher") was pub. Leipzig,
1893. (2) Wm. Fr. Gerard, Ley-
den, Nov. 20, 1829 — The Hague,
April 25, 1896; professor; notable
conductor and composer.
Niccolini (nek-kd-le •ne), (i) Giusep-
pe, Piacenza, Jan. 29, 1762 — Dec.
18, 1842 ; conductor and operatic
composer. (2) (Rightly nmest
Nicnolas) Tours, France, Feb. 23,
1834 — Pau, Jan. 19. 1898 , tenor ;
1886 m. Adelina Patti.
Nic'olson, Richard, d. 1639; Engl,
organist.
Niecks (neks), Frederick (Friede-
rich), b. DQsseldorf, March 3, 1845 ;
lecturer, critic, etc.; pupil of Lang-
hans, GrQnewald, and Auer (vln.) ;
d^but at 12 ; 1868, organist, Dum-
fries, Scotland, and viola^player in a
quartet with A. C. Mackenzie ; stud-
ied in Leipzig Univ. (1877), &nd
travelled Italy ; critic, London; 1891,
Ried Prof, of Mus., Edinburgh Univ.;
pub. notable biog. of ** Frederic
Chopin hs a 'Man and a Musician "
(1888) ; a •• Diet, of Mus. Terms,"*
etc
Nieden, Ziur. Vide zur nibdbn.
Niedermeyer (ne'-d£r-mT-£r), Louis,
NyoUf Switzerland, 1802 — > Paris,
1861 ; dramatic composer and theo-
rist.
Niedt (net), Fr. Erhardti d. Copen-
hagen, 17 17: writer.
Niemann (ne -mAn), (i) Albert, b.
Erxleben, near Magdeburg, Jan. 15,
183 1 ; 1849, without study sang in
minor roles at Dessau ; then studied
with F. Schneider, and the bar.
Nusch ; sang at Hanover, then stud-
ied with Duprez, Paris; 1860-66,
dram, tenor, Hanover, since at the
ct. -opera, Berlin ; Wagner chose liim
to create "Tannhfluser" (Paris,
i86i)«and "Siegmund'* (Bayreuth,
1876); retired 1889. (2) Rudolf
(Fr.), Wesselburen, Holstein, 1838—
Wiesbaden, 1898 ; pianist and com-
poser.
Nietzsche (net'-sh(0. Fr., ROcken,
near Lutzen, Oct. 15, 1844 — (insane)
Aug., 1900 ; prof, at Basel Univ. :
notable, if eccentric, philosopher ; as
a partisan of Wagner he pub. ** Die
Geburt der Tragodie aus dem Ceiste
der Musik;* ** Richard Wagner in
Bayreuth**; while ''Der FaU Wag.
ner*" and '* Nietzsche contra Wag*
nir^ attack Wagner as violently as
he once praised him ; his philosophi-
cal work ** Also sprach Zarathustra **
provides the title of R. Strauss*
symph. poem.
Nig^n (nlg'-gle), Arnold, b. Aarburg,
Switzerland, Dec. 20, 1843; since
1875 sec. to the Aarau town council;
writer.
Nikisch (nYk'-Ysh), Arthur, b. Szent,
Miklos, Hungary, Oct. 12, 1855 ;
eminent conductor ; son of the
head-bookkeeper to Prince Lichten-
. stein; pupil of Dessoif (comp.) and
582
THE MUSICAL GUIDE
Hellmesbei^er (vln.), Vienna Cons.,
graduating at 19 with prizes for vln.,
and for a string-sextet ; violinist in
the ct.-orch.; then 2nd cond. Leipzig
Th.; 1882-89, ist. cond.f 1889-93,
cond. Symph. Orch., Boston (U. S.
A.) ; 1893-95, dir. Royal Opera,
Pesth, and cond. Philh. Concerts ;
since 1895 cond. Gewandhaus Con-
certs, Leipzig (vice Reinecke), also
Phil, concerts, Berlin ; he conducts
usually without score ; 1902, dir.
Leipzig Cons.
Nikita (nl-ke'-tft) (stage-name of
Louisa Marg^aret Nicholson), b.
Philadelphia, Aug. 18, 1872 ; colora-
ture-soprano ; pupil of M. Le Roy,
Washington ; sang in various cities,
with an opera-troupe, then studied
with Maurice Strakosch, Paris ; sang
in concerts with much succ: 1894,
prima donna soprano, Paris Op^ra.
Nikom'achtts (called Gerasenns), b.
Gerasa, Syria ; Greek writer on mus.,
2nd century, A.D.
Nilsson (nels'-son), Christine^ b. on
the estate Sjoabel, near Wexio,
Sweden, Aug. 20, 1843 ; eminent so-
prano, comfKiss 2i octaves (g-d") ;
pupil of Baroness Leuhausen and
F. Berwald, Stockholm ; later, in
Paris, of Wartel ; debut, 1864, Th.-
Lyrique, Paris, engaged for 3 years
there ; 1868-70, Opera ; toured
America and Europe ; 1872, she m.
Auguste Rouzaud (d. 1882); 1887,
m. Count Casa di Miranda.
Ninl (ne'-ne), Ales., Fano, Romagna,
1805 — Bergamo, 1880 ; cond. and
dram, composer.
Nisard (ne-z&r), Theodore (pen-name
of Abbe Th^odttle Eleazar X.
Norman), b. Quaregnon, near Mons,
Jan. 27, 1812 ; chorister at Cambrat ;
studied in Douay ; 1839, dir. £n-
ghien Gymnasium, and 1842, 2d chef
de chant and organist St. -Germain,
Paris; then confined himself to writ-
ing valuable treatises on plain*chant,
etc.
Nissen (nYs'-s^n), '(i) G. Nicolaus
von, Hardebsleben, Denmark, 1761
— Salzburg, March 24, 1826 ; coun-
cillor of State ; m. the widow of Mo-
zart, 1809, and aided her in preparing
his biog. (1828). (2) (Nissen-Salo-
man) Henriette, Gothenburg, Swe-
den, March 12, 1819 — Harzburg.
Aug. 27, 1879; great singer and
teacher ; pupil of Chopin and Ma-
nuel Garcia ; debut Paris, 1843;
1850, m. Siegfried Saloman, from
1859 teacher St. Petersburg Cons.
(3) Erica. Vide lie.
Nivers (ne-v&rs), Guillaume Gabriel,
Melun, 16 1 7 — after 1701; organist,
singer and composer.
Nix' on, (i) H. G., Winchester, 1796—
1849 ; organist and composer. (2)
Jas. Cassana, 1823 — 1842 ; violin-
ist ; son of above. (3) H. Cotter,
b. London, 1842 ; organist and com-
poser at St. Leonard's.
Nob (nap), Victorine. Vide stoltz.
Nohl (n5l), (K. Fr.) L., Iserlohn,
183 1 — Heidelberg, 1885 ; 1880, pro-
fessor and writer; wrote biogs. of
Beethoven, Mozart, etc., and piib-
lished many colls, of the letters of
composers.
Nohr (nor), Chr. Fr., Langensalza,
Thuringia, 1800 — Meingen, 1875 ;
violinist and dram, composer.
Norblin (nor-bl&n), (i) Louis Pierre
Martin, Warsaw, 1781 — Chateau
Conantre, Marn^, 1S54 ; 'cellist and
professor. (2) Emile, 1821 — 1880;
son of above ; 'cellist.
Nor'dica, Lillian (stage-name of
Mrs. Lillian Norton (Gower)
Doeme), b. Farmington, Me., 1859;
pupil of John O'Neill and of N. E.
Cons., Boston ; concert-debut, Bos-
ton, 1876 ; 1878, toured Europe with
Gilmore's Band ; studied opera with
San Giovanni, Milan; debut ac
Brescia, 1880 ; 1881, Gr. Opera,
Paris ; 1882, m. Frederick A. Gower ;
1885, he made a balloon ascension
and never returned ; she retired till
1887, then sang Covent Garden, Lon-
don, 1893 : since then has sung reg-
ularly in U. S., England, etc.; 1894
chosen to sing " Elsa" at Bayreuth;
DICTIONARY OF MUSICIANS 583
1896, m. Zoltan F. Doeme, Hunga-
rian singer.
Norman. Vide nisard.
Nor'man(n), L., Stockholm, 183 1—
1884 ; conductor, professor and com-
poser. Vide NKRUDA.
Nor'ris, (i) Wm., d. ca. 1710; Eng-
lish composer. (2) Thos., ca. 1745-
1790 ; English male soprano, organist
and composer. (3) Homer A., b.
Wayne, Maine, 0. S. A.; notable
theorist ; studied with Marston, Hale,
Chadwi^k and Emery, Boston ; lives
there as teacher ; also studied 4
years in Paris with Dubois, Godard,
Gigout and Gnilmant ; c. overture
*'' Zoroaster^*' cantata **Nain'* and
song^ ; pub. ** Harmony" and
** Counterpoint " on French basis.
North, (i) Francis, Lord Guilford,
Rougham. Norfolk, ca. 1640 — 1685 ;
amateur musician and writer. (2)
Hon. Rog^er, Rougham Lane, 1650
— 1733: bro. of above; writer.
Noszkowski (n6sh-k6f'-shk1), Sigis-
mund (Zyg^smunt von), b. Warsaw,
May 2, 1846 : pupil of Warsaw Mus.
Inst.; inv. a mus.-notation for the
blind, and was sent by the Mus. Soc.
to study w^ith Kiel and Raif, Berlin ;
1876 cond.; 1881, dir. of the Mus.
Soc., Warsaw, and (1888) prof, at the
Cons.; prod. succ. opera ''Livia'*
(Lemberg, 1898) ; c. symph., over-
ture ** Das Meerauge^^^ etc
Noszler (nosh'-l£r), K. Eduard, b.
Reichenbach, Saxony, March 26,
1S63 ; pupil of Leipzig Cons.; 1888-
93, organist Frauenkirche, Bremen ;
since 1887. cond. Male Choral Union;
also (since 1893) organist Bremen
Cath., and since 1896, cond. Neue
Singakademie ; c. symph., *'Lust-
spiel-OuvertUre," etc.
Notker (n6t'-k«r) (called Balbulus,
**the stammerer"), 840— 912, monk
at St. Gallen ; important writer and
composer of sequences* (V. D. D.)
Notot (nii-t5), Jos., b. Arras, Fas de
Calais. 1755 ; d. in England ; pupil
of Leclerc, Paris, noteworthy organ-
ist there and at Arras ; c. important
symphonies, pf.-concertos, sonatas,
etc.
Nottebohm (n6t'-t«.b6m), Martin
Gv., Ludenscheid, Westphalia, 18 17
— Graz, 1882 ; teacher and writer
chiefly of valuable Beethoven works
and discoveries ; also composer.
Nourrit (noor-re), (i) Louis, Mont-
pellier, 1780 — Brunoy, 183 1 ; leading
tenor Gr. Opera, Paris. (2) Ad.,
Paris, 1802 — suicide, Naples, 1839;
eminent tenor ; son and successor
(1825) of above ; pupil of Garcia and
teacher at the Cons. ; also composer.
Novello (no-v^l'-lo), (i) Vincent, Lon-
don, Sept. 6, 1781 — Nice, Oct. 9,
1861 ; son of Italian father and Eng-
lish mother ; founded, 181 1, the pub.
firm Novello & Co. (now Novel-
lo, Ewer & Co., London); no-
table organist, pianist and com-
poser. (2) Mary Sibilla, London,
1809 — Genoa, 1898; daughter of
above ; m. Cowden Clarke ; transl.
treatises into English ; wrote Shake-
speare Concordance, etc. (3) Jos.
Alfred, London, 18 10 — Genoa, Jul)*
17, 1896; son of (i); bass singer
and organist. (4) Clara AnastSr
sia, b. London, June 19, 18 18 ; 4th
daughter of (i) ; pupil Paris Cons.,
succ. operatic debut Padua, 1841,
but made her best succ. in oratorio ;
1843, m. Count Gigliucci ; retirei^
i860.
Noverre (no-vir), J. G., Paris. April
29, 1727 — St. Germain, Nov. 19,
1810 ; solo-dancer at Berlin ; ballet-
master at the Op. -Com., Paris ; inv.
the dramatic ballet.
Nowakowski (no-va-kof'-shkl), Jo^ef^
Mniszck, 1805 — Warsaw, 1865 ; pf.-
teacher, professor and composer.
Nowowiejski (no-vd-ve -shk!), Felix,
b. Poland ; 1902, won Berlin Meyer*
beer prize with oratorio ** Die RUck-
kehr des verlorenen Sohnes,"
Nuceus. Vide gaucquier.
Nux (nux), Paul V6ronge de la, b.
Fontainebleau, June 29, 1853 ; pupil
of F. Bazin, Paris Cons.; took 2d
Grand prix, 1876; prod. succ. 3-act
584 THE MUSICAL GUIDE
grand opera •• Zafre"* (OpAa, 1889 ;
Stuttgart, 1895); c. music-drama
'' Labdacides:' etc.
0
Oakeley (5k'4Y), Sir Herbert Staa-
ley, b. Ealing, Middlesex, July 22,
1830 ; while at Oxford, studied with
Elvey (harm.), later at Leipzig Cons.,
with Schneider, Dresden, and Brei-
denstein, Bonn.; 1865-91, Ried
Prof, of Mus., Edinburgh Univ.,
developing the annual Ried Concerts
into a 3-days' Festival ; his org. -reci-
tals had a large influence ; knighted
1876; Mus. Doc., Cantab., 1871;
Oxon., Dublin, 1887; 1892, Emeritus
Professor ; composer to the Queen in
Scotland, and since 1887, Pres.,
Cheltenham Mus. Festival ; pub. a
cantata ''JubiUe Lyric,*' *' SuiU in
the Olden StyU^ '' Pastor aU^' Festi-
val March, and a Funeral March (op.
23) for orch.; pf. -sonata, etc.
ObcrthUr (o'-WSr-tUr), K., Munich.
18 19 — London, 1895 ; harpist, teach-
er and dramatic composer.
Obin (o-b&A), Louts H., Ascq., near
Lille, 1820 — Paris, 1895 ; basso can-
tante.
O'Car'olan, Turloug^h, Newton,
Meath, 1670 — Roscommon, 1738 ;
Irish harpist.
Ochs (okhs), (i) Traug^ott, b. Alten-
feld, Schwerin-Sondershausen, Oct.
19, 1854 ; pupil of Stade, Erdmanns-
dorfer, Kiel, and the R. Inst, for
Church-mus. ; 1899, artistic dir. Mus.-
Union and the Mus.-Sch., BrQnn ; c.
** Deutsches Aufgebof** for male cho-
rus and orch. ; requiem, etc. (2)
Siegfried, b. Frankfort-on-Main,
April 19, 1858 ; studied R. Hoch-
schule fQr Musik, Berlin, later with
Kiel and Urban, and von BQlow,
who brought into publicity a small
choral union, the ** Philharmonischer
Chor," of which he was cond., and
which is now the largest singing-so-
ciety in Berlin ; he is also a singing-
teacher and writer, 1901, Munich ; c.
succ. comic opera (text and music|
**/w Namen des Gesetzes " (Hamburg,
1888) ; 2 operettas ; etc.
Ochsenkuhn (okh'-zan-koon), Sebas*
tian, d. Heidelberg, Aug. 2, 1574;
lutenist and composer.
Ockenheim. Vide okeghem.
Odenwald (o-d^n-vfilt), Robt. Th.,
b. Frankenthal, near Gera, May 3,
1838 ; since 1882 teacher Hamburg
and cond. a succ. church-choir; c.
Psalms and part-songs.
0'ding:ton, Walter de (**Monk of
Evesham "), b. Odington, Gloucester
shire ; d. ca. 1316 ; important theorist.
(Coussemaker.)
O'do de Clug^ny (dii klQn'-ye) (Saint).
became in 927 abbot of Clugny, where
be d« 943 ; writer. (Gerbert.)
Oeglin (lOch'-len), Erhard, i6th cent
German printer of Augsburg, the firsl
to print Bgured mus. with types.
Oelschl&grel (al'-shia-g«l), Alfred, b.
Anscha, Bohemia, Feb. 25, 1847 ,
Prague Org. -Sch.; th.-cond. at Ham-
burg, etc., and Karltheater, Vienna ;
later bandm. Klagenfurt; c. operet«
tas **PrinB und Afaurer** (Klagen-
furt, 1884); succ. *'Z>fV Raubritter**
(Vienna, 1888) ; succ. D^ Land^
str ticker (Magdebui^, 1893).
Oelsner (eis'-ndr), (Fr.) Bruno, b.
Neudorf, near Annaberg^ Saxony,
July 29, 1861; pupil of Leipzig Cons. I
solo-vLa., ct.-orch. Darmstadt; stud-
ied with de Haan (comp.) ; since
1882, vln.-teacher Darmstadt Cons.,
with title Grand Ducal Chamber-
mus.; prod, at Darmstadt i-act op-
eras, incl. succ. ** Der Brautgang"
(1894); also a cantata with orch., etc.
Oesten (a'-sht£n), Theodor, Berlin.
1813 — 1870; pianist and composer.
Oesterle (as-t«r' -le), Otto, St. Louis,
Mo., 1861 — Darien, Conn., 1894;
1st flute Thomas Orch., the Philh. of
New York and Brooklyn, and Seidl
Orch.; teacher the Nat. Cons., N. Y.
Osterlein (a'-sht^r-lin), Nikolaus,
1840 — Vienna, 1898 ; maker of the
coll. known as the ** fVagner Afw
seum"
DICTIONARY OF MUSICIANS 585
Oettingen (£t'-tYng.£n), Arthur Joa-
chim ▼on, b. Dorpat, March 28,
1836 ; 1866, prof, of physics in ordi-
nary there ; pres. of the Dorpat Mus.
Soc., and cond. an amateur orch'.;
theorist.
Offenbach (6f'-fgn.b&kh), Jacques,
Cologne, June 3i, 18 19 — Paris, Oct.
5, 1880; eminent writer of light op-
era ; studied 'cello at the Cons. , then
joined Op. -Com. orch., Paris; c.
chansonnettes (parodying La Fon-
taine), played the *ceIlo in concerts,
and c. cello-pcs.; 1849, cond. Th.-
Fran9ais, prod, unsucc. i-act oper-
etta **Pepito'' (Op.-Com., 1853);
others followed till 1855-66 he had a
theatre for his own work ; 1872-76,
manager Th de la Gait^ ; 1877,
toured America with little succ. de-
scribed in his ** Notes ifun musicien
en voyage" (1877); his 102 stage-
works include the ballet-pantomime
**Z/ Papilhn** and the v. succ,
operas, ''Orph/e aux Enfers" 1858 ;
*'La Belle H/l^ne,*' 1864; '* Barbe-
Bleu'' and ''La Vie PaHsienne:'
1866 ; " Zn Grande Duehesse de G^
rolsUin^' 1867; ''Madame Pavart,''
1879.
Os^nski (o-gen'-shkY)f (i) Prince Mi-
chael CI Jophas, Guron, near War-
saw, 1765 — Florence, 1833; com-
poser. (2) Michael Casimir, War-
saw, 1731 — 1803; uncle of above;
said to have inv. the pedals of the
harp.
O'keehem (or Okekem, Okeng^hem,
Ockegheim, Ock'enheim), Jean de
(or Joannes), probably Termonde,
East Flanders, ca. 1430 — Tours (?),
1495 — 1513; eminent contrapuntist ;
the founder of the Second (or New)
Netherland Sch. Chorister, Antwerp
cathedral ; studied with Dufay ; 1454,
ct.-cond. and composer to Charles
VII. at Paris ; 1467, royal cond. to
Louis XL; toured Spain and P^land-
ers on stipend; c masses, motets,
canons, etc.
O'Leary (6-la-r!), (i) Arthur, b. n.
Killvmey, Ireland, 1834 ; pianist and
composer. (2) Rosetta, wife of
above ; composer.
Olib'rio, Flavio Anicio. Vide j. p.
AGRICOLA.
Ol'iphant, Thos., Condie, Perthshire,
1799 — London, 1873 ; theorist and
collector.
Olitz ka, Rosa, b. Berlin, Sept. 6,
1873 '• contralto ; studied with Artot
and Uey ; sang at BrUnn, Hamburg,
then Covent Garden and New York
opera ; then in Russia, etc.
Ol'iver, H. Kemble, Beverley, Mass.,
1800 — Boston, 1885 ; boy soprano ;
organist, mus. dir. and composer.
Olsen (di'-z£n), Ole, b. Hammerfest,
Norway, July 4, 185 1 ; c. symph.
poem " Asgaardsreien^* 1891, etc.
Ondriczek (6n'-drl.ch£k), Fz., b.
Prague, April 29, 1859 1 violinist ;
pupil of his father, and at 14 member
of his small orch. for dance mus.;
then studied Prague Cons, and with
Massart, Paris Cons., took first prize
for vln. -playing ; toured Europe and
America ; lives in Boston.
Ons'low, G., Clermont - Ferrand,
France, 1784 — 1852 ; grandson of the
first lA)rd Onslow; amateur 'cellist
and pianist ; prod. 4 succ. comic op-
eras ; 34 string-quintets ; 36 quar-
tets ; and other chamber-music.
Opclt (o'-p51t), Fr. Wm., Rochlitz,
Saxony, 1794 — Dresden, 1863; writer.
Ordenstein (or'-d^n-shtln), H., b.
Worms, Jan. 7, 1856 ; pianist ; pupil
of Leipzig Cons., also in Paris ; 1879-
81, teacher at Carlsruhe; 1S81-82, at
KuUak's Acad., Berlin ; 1884, founded
Carlsruhe Cons.; made prof, by
Grand Duke of Baden.
Orefice, dcU*. Vide dkll* orefice.
Orgeni (6r-ga'-ne) (Orgenyi) (6r-gan'-
ye), Anna Maria Aglaia, b. Tis-
menice, Galicia, Dec. 17, 1843 !
colorature soprano ; pupil of Mme.
Viardot-Garcia ; debut, 1865, Berlin
Opera ; 1886, teacher Dresden Cons.
Orlando, or Orlandus. Vide lasso.
Orlow (or'-lof), Count Gregor Vladi*
miff 1777 — St. Petersburg, 182&,
writer.
586
THE MUSICAL GUIDE
Ornithopar'cus (Greek form of Vogel-
sang) (fo'-g£l-zang), Andreas, b.
Meiningen ; early i6th cent, theorist.
Orpheus (orf'-yoos), mythical Greek
singer; son of Apollo, and best of
singers to the lyre, 1350 B. c.
Or'ridge, Ellen Amelia, London,
1856 — Guernsey, 1883 ; contralto.
Ortig^e (or-teg), Jos. Louis de, Ca-
villon Vaucluse, 1802 — Paris, 1866;
writer.
Orto (6r'-t6), GioT. de (Italian form of
Jean Dujardin) (dU.2fh^r'-dan): I^t.
inised as de Hor'to (called ** Mar-
briano ") ; contrapuntist and com-
poser 15th and i6th centuries.
Os'borne, (i) G. Alex., Limerick,
Ireland, 1806— -London, 1893 ; com-
poser. (2) (rightly Eisbein (is -bin)),
Adrienne, b. Buffalo, N. Y.; pupil
of Auguste GOtze and Max Stage-
mann in Leipzig; dram, soprano;
now at Leipzig City Th. ; has sung
at the Gewandhaus.
Osgood, Geo. Laurie, b. Chelsea,
Mass., April 3, 1844; graduated
Harvard, 1886 ; dir. of the Glee Club,
and the orch. there ; studied singing
with Sieber and Haupt, and German
song and chorals with R. Franz ;
studied with the elder Lamperti in
Italy 3 years ; made a succ. tour of
Germany ; then, under Thomas, of
America ; since 1872, lived Boston as
vocal-teacher and conductor ; pub.
*' Guii/t! in the Art of Singing^^ {^
editions); c. anthems, etc.
Osiander (6'-ze-ant-^r), Lucas, NUm-
berg, 1534 — Stuttgart, 1604 ; writer
and composer.
Othmayer (ot'-mi-^r), Kaspar, Am-
berg, 15 15 — Nttrnberg, 1553 ; com-
poser.
Otho. Vide ODO.
Ott(o) (or Ottl), Hans, ca. 1533 —
1550; pub. in NUrnberg.
Ottani (ot-ta-ne), Abbate Bernardi-
no, Bologna, 1735 — Turin, 1827 ;
dram, composer.
Otto (ot'-to), (i) Vide ott. (a)
(Ernst) Julius, Kftnigstein, Saxony,
Sept. I, 1804 — Dresden, March 5,
1877 ; notable composer of cycles fof
male chorus, songs, operas, etc. (3)
Fz,, Kftnigstein, Saxony, i8ogr —
. Mayence, 1841; c. pop. songs. (4)
Rudolph K. Julius, b. Berlin, April
27, 1829 ; solo boy-soprano at the
Domchor, Berlin ; from 1848, tenor
there ; 1852, teacher singing Stem
Cons.; 1873 at R. Hochschule fttr
Musik.
Otto-Alvsleben (ot'-to-aif'-sla-b^n).
Melitta (nee AWsleben), Dresden,
1842 — 1893 ; soprano ; married, 1866.
Oudin (oo-d&fi), Eugene (Esp^
ranee), New York, 1858 — London.
1894; barytone, pianist and com*
poser.
Oudrid jr Segura (00-dredh' e sa-goo •
rfi), Cristobal, Badajoz, 1829 — Mad-
rid, March 15, 1877; conductor and
dram, composer.
Oulibichef. Vide ulibishev.
Oury. Vide belleville-oury.
Ouse'ley, Sir Fr. Arthur Gore, Lon-
don, Aug. 12, 1825 — Hereford, April
6, 1889; notable theorist and com-
poser; pianist and organist remark-
able for fugal improvisation ; wrote
important treatises, etc. ; c. an opera
at 8 ; M. A. Oxford, 1840, Mus. Doc.
there, 1854 ; also from Durham and
Cambridge, 1862 ; from 1855 Prof, of
Music at Oxford, vice Sir H. R.
Bishop; c. 2 oratorios incl. **//«-
gar.
Overend, Marmaduke, d. 1790;
Engl, organist and composer of ser-
vices, 70 anthems, 18 or^n preludes
and fugues, etc.; biog. by Joyce
(London, 1896J.
Owst, Wilbertoss G., b. London,
June 13, 1861; pupil of Eaton Fan-
ing and H. Gadsby, and of Stuttgart
Cons., 1893-95; organist, Baltimore,
U. S. A.; pub. Communion Service,
anthems, etc.
Pabst (papst), (i) Aug., Elberfeld,
May 30, 181 1 — Riga, July 21, 1885 j
director and composer of opera$
DICTIONARY OF MUSICIANS 587
(3) Louis, b. KOnigsberg, July 18,
1846 ; son of above ; pianist and
composer. From 1899, head pf.-
teacher Moscow Philh. Sch. (3)
Paul, K6nigsberg, 1854 — Moscow,
1897; son of (1); pf.-prof.; direc-
tor.
.Pacchiarotti (pUk-kt-a-rot'-te). Gas-
paro, Fabriano, Ancona, 1744 — Pad-
ua, Oct. 28, 1821; one of the great-
est and most succ. of i8th cent, sing-
ers ; soprano-musico.
Pachclbcl (pakh'-dl-b€l), (i) J., NUm-
berg, Sept. i, 1653 — March 3, 1706;
ore.-virtuoso and composer. (2)
Wm. Hieronymus, b. Erfurt, 1685 ;
son of above ; organist and com-
poser.
Pacher (^akh'-^r), Jos. Adalbert,
Daubrawitz, Moravia, 18 16 — Gmun-
den, 187 1 ; composer.
Pachmana (piikh -man), Vladimir de,
b. Odessa, July 27, 1848; notable
pianist especially devoted to Chopin's
mus. ; son and pupil of a prof, at Vi-
enna Univ.; a gocd violinist ; studied
also with Dachs. Vienna Cons.; 1869
toured Russia with a great succ. that
has followed him throughout Europe
and America ; in Denmark he re-
ceived the Order of the Danebrog
from the King ; since 1S96, lives in
Berlin.
Pachulski (pa-khooI'-shkY), Henry, b.
Poland, Oct. 4, 1859 ; pupil Warsaw
Cons., now prof. Moscow Cons.; c.
pf.-pcs., etc.
Pac(c)ini (p^-che'-ne), (i) Andrea, b.
Italy, ca. 1700; male contralto. (2)
A. Fran. Gaetano Saverio, Na-
ples, 1778 — Paris, 1866 ; singing-
teacher, conductor and composer of
comic operas. (3) Giov., Catania,
Feb. 17, 1796 — Pescia, Dec. 6, 1867;
son of a tenor ; pupil of Marches!,
Padre Mattel and Furlanetto ; 18 13-
35, prod. 40 operas, the last failing,
he established a sch. at Viareggio,
later Lucca, wrote treatises, etc.;
1840, the succ. of •• Saffo'*'* set him to
work again, and he turned out 40
more operas, also oratorios, a symsh.
43
*' Dante,** etc, (4) Emilio, 1810—
Neuilly, near Paris, Dec. a, 1898 ;
bro. of above ; librettist of ** // 7r^
vatore, " etc.
Pacius (pa-tst-oos), Fr., Hamburg,
March 19, 1809 — Ilelsingfors, Jan. 9,
1891; violinist; c. the Finnish Na-
tional Hymn, operas, etc.
Paderewski (p^d-^-r^f'-shkY), Ignace
Jan, b. Pcdolia, Poland, Nov. 6,
1859; eminent pianist and composer ;
pupil of Raguski (harm, and cpt.)
Warsaw Cons., of Urban and Wuerst,
Berlin ; of Leschetitzky, Vienna.
1878-83, pf.-teacher, Warsaw Cons.;
has toured Europe and America with
unprecedented succ. financially and
with high artistic triumph. His first
wife, who died young, bore him a
son. 1899, m. Mme. Gorski. 1896
he set aside $10,000 as the Paderew«
ski fund, the interest to be devoted to
triennial prizes ** to composers of
American birth without distinction as
to age or religion ; " i. $500 for best
orchestral work in symph. form ; 2.
$300 for best comp. for solo instr
withorch.; 3, $200 for best chamber
music work. IJves in Paris and Switz«
erland ; c. succ. opera ** Manru " (Ct.-
Th., Dresden, 1901); PoMsh fantasia
forpf. with orch. op. 19, ^*L/gen<ie No,
2** for pf. op. 20, and many original
and brilliant pf.-pcs. incl. ** Chants du
voyageur** a vln. sonata ; vars and
fugue on original theme ; op. 14,
^* Ilumoresques de concert for pf**
(Book I ; Menuet, Sarabande, Co*
price; Book 2, Burlesque, Intcrm
mezzo polacco, Cracovienne fantas-m
tique) ; ^^ Dans Ic d/sert, toccata**;
v. pop. Minuet (op. i); songs, etc.
Padilla y Ramos (pa-del'-ya e rfi'-
m5s), b. Murcia, Spain, 1842 ; pupil
of Mabel lini, Florence ; barytone at
Messina, Turin, etc., St. Petersburg,
Vienna and Berlin ; 1869, m. D^iree
Artot.
Pa<Sr (pa'-ir), Ferdinando, Parma,
June I, 1771 — Paris, May 3, 1839.
1807, ct.-cond. to Napoleon and
cond. Op. -Com; 18 12, cond. Th»«
588 THE MUSICAL GUIDE
Italien (vice Spontini); violinist and
c. 43 operas.
Paesiello. Vide paisiello.
Paganini (pag-a-ne'-ne), Niccol6,
Genoa, Oct. 27, 1782 — ^Nice, May 27,
1840; the pre-eminent violin-virtu-
oso. Studied with G. Servetto and
G. Dosta ; at 8 he c. a vln. -sonata ;
at t) he played in public with greatest
succ. ; from 1795 he studied with Ghi-
retti and Aless. Rolla (though P,
denied this), at Parma. 1798, he ran
away from his severe father after a
concert at Lucca, and played at Pisa
and other places. At 15 he was a
passionate gambler, and very dissi-
pated. Fits of gambling alternated
with periods when he practised 10
hours a day, the result being' a ruined
constitution. He pawned his violin
to pay a gambling debt, but a M.
Levron presented him with a Joseph
Guamerius, which P. willed to Ge-
noa. In 1804 he went home, and
practised till 1805, when he had ex-
traordinary succ. making a sensation
by brilliant performances on the G
string alone ; soon ct. - soloist at
Lucca ; then to 1827 he toured Italy,
crushing all rivalry with an extraordi-
nary technic ; 1827, Pope Leo Xll.
conferred on him the Order of the
Golden Spur; he played at Vienna,
receiving from the municipality the
great gold medal of St. Salvator;
from the Emperor the honorary title
of ct.- virtuoso. 1829, Berlin ; 1831,
Paris; 1831, London. 1833-34,
Paris ; then retired to his villa at Par-
ma. He lost 50,000 francs on a
scheme to establish a gambling house
with concert-annex at Paris, the gam-
bling-license being refused. Though
his earnings were enormous, he was
not generous except spasmodically ;
he gave Berlioz $4,000 as a compli-
ment for his '* Svmphottie FantaS"
HqiM^ (B. had writtten ** HaroU in
Italy*' for P.*s Stradivari viola). He
m. the singer Antonia Bianchi, and
fte left his son Achille $400,000 (ji'80,-
000). He died of phtnisis of the lar-
ynx. His technic was never equalled,
and it provoked superstitious dread
among his auditors, his ghoulish ap-
pearance aiding the impression. lie
was sometimes the charlatan and
some of his effects were due to spe-
cial tunings (scordatures), but .lia
virtuosity has never been rivalled.
C. 24 caprices for violin-solo ; o£
which pf. -transcriptions were made
by Schumann and Liszt ; 12 sonatas
for violin and guitar (op. 2) ; do (op.
3) J 3 gran quartetti ; concerto in fb
(solo ]>art in D, for a vln. tuned a
semitone high); concerto in B min.;
•* La Campanclla" with Rondo k la
clochette (op. 7) ; variations on many
themes, ^"^ Le Streghe,*' ** God save the
King,'' ** The Carnival of Venice,"*
etc; concert Allegro *^ Afoio per*
petuo'* (op. 12); a sonata with ac-
comp. of vln., *cellc or pf., and studies,
etc. Biog.byFetis(Paris, 1851; EngL
London, 1852) ; A. Niggli (188^ ;
O. Bruni (Florence, 1873).
Page, (i) J., England, ca. 1750— Lon-
don, 1812; tenor. (2) Nathan Clif*
ford, b. San Francisco, Oct. 26,
1866; pupil of E. S. Kelley; at 21
c. an opera (prod, at San Francisco),
incid. mus. for ** Moonlight Blossom "
(London, 1898), using Japanese
themes ; c. also an opera '* VilUers^^
a " Caprice " developing one 8-mea9»
ure theme through 5 movements of
an orch. suite; a *^ Village State'*
for orch., etc.
Paine (pan), J. Knowles, b. Portland,
Me., Jan. 9, 1839; ^^^ ^^^ Amer-
ican composer of importance ; pupil
of Kotzschmar, at Portland, Haupt
(cpt.), Fischer (singing), and Wie*
precht (instr.), Berlin ; gave org.*
concerts in Berlin and American
cities, then lived in Boston as oi^n-
ist West Church ; 1862, teacher of
0mus. Harvard Univ., and organist at
Appleton Chapel, Cambridge ; since
1876, prof, of mus. and organist at
Harvard ; c. an opera (text and mus.)
**j4zara*'; oratorio "5/. Piters
"^Centennial Hymn^ with oidL KXm
DICTIONARY OF MUSICIANS 589
open the Philadelphia Exposition,
1876) ; ** Columbus March and
Hymn " (to open the Columbian Ex-
position, Chicago, 1893) ; mus. to
Sophokles' ''(Edipus Tyrannus" for
male voices and orch. (prod, at Har-
vard, 1 88 1) ; 3 cantatas with orch.
•' The Realm of Fancy,'' ** The Na^
tivityy' *' Song of Promise^'' 2 symphs,
op. 23, in C min., and op. 34 in A
(" Spring symph'') ; 2symph. poems,
" The Tempest and. ''An Island
Fantasy" \ overture to ''As You
Like ft "; Domine Salvum with orch. ;
mass, with orch.; chamber-mus., vln.«
sonata, etc.
Paisiello (pa-e-st-dl'-ld) (or Paesiello)
(pa-d-sf-ei'-lo), Taranto, Italy, May
9, 1 741 — Naples, June 3, 1816. At
5 studied at Jesuit sch. in Taranto
with a priest Resta; later studied
with Durante, Cotumacci and Abos,
Cons, di S. Onofrio, at Naples;
teacher there, 1759-61. He c.
masses, etc., till a comic intermezzo
(Cons. Theatre, 1763) won him a
commission to c. an opera for the
Marsigli Th., at Bologna, where his
comic opera " /ui Pupilla^ ossio il
Mondo alia Rovescia'' was prod.
1764. (Grove calls this work 2 op-
eras.) In 12 years he prod. 50 operas
mainly succ, though in rivalry with
Piccinni and Cimarosa ; these include
" Il Marchese di Tulipano" (Rome,
1766); "VIdolo Cinese" (Naples,
1767) and "La Serva Padrona'*
(Naples, 1769). He was notable also
for his jealousy and devotion to in-
trigue. 1776-84, St. Petersburg, with
a splendid salary and on invitation
from Empress Catherine. Here he
prod. 1776 *' // Barbiere di Sivig"
lia,*' gaining such succ. that the later
and better opera by Rossini was re-
ceived as a sacrilege with great hos-
tility at first; on his return from
Russia he prod, at Vienna one of his
best works, " II Re Teodoro," and 12
symph. for Joseph II. 1784-99,
cond. to Ferdinand IV. of Naples ;
and prod, various works incL
"rOlimpiade" (1786) and ^' Mna,
o la Pazta per Amore^' (1789), '^ La
Molinara " and ** Izingariin Fiera,^
During the revolution 1799-1801, he
won the favour of the Republican
govt., also regained the favour of
royalty at the Restoration, till Napo-
leon who had always admired him
called him to Paris, 1802-03, ^^ cond.
Here P. lived in magnificence, lord«
ing it over Cherubini and M^hul.
1803-15, he was in Naples again as
ct.-cond. In 18 15, on the return of
Ferdinand IV., he was reduced to a
small salary ; soon his wife died, and
he shortly after. A composer of great
prolificity, melodic grace and sim-
plicity, his works are rarely heard
now. He c 100 operas, a 'Passion
oratorio (Warsaw, 1784); 3 solemn
masses, Te Deum for double chorus
and 2 orch.; requiem with orch.
(performed at his own funeral); 30
masses with orch., 40 motets, 12
symphs., and 9ther things in pro-
portion. Biog. by Lc Seuer (18 16),
Quatrem^re de Quincy (18 17), Schiz-
zi (Milan, 1833), Villarosa (Naples,
1840).
Paix (pa'-ex), Jacob, Augsburg, 1550
— after 1590; organist andcomposer.
Paladilhe (p^Ua-del), Emile, b.
June 3, 1844; studied with Mar-
montel (pf.), Bcnott (org.) and Hal^-
vy (cpt.), Paris Cons.; won ist prize
for pf. and org., 1857; i860, Grand
prix de Rome, with the cantata '* Le
Ctar Ivan IV" (Opera, i860); from
Rome, he sent an Italian opera buffa,
an overture and a symph. ; 1872, prod,
the i-act comic opera "Le Passant^
(Op.-Com.) followed by 5 operas incl.
the srill pop. ** Patrie^' (Opera, 1886;
1889, Hamburg, as *' Vaterland" ;
1895, Milan, as "Palrta"); and c.
also 2 masses, a symph., etc.
Palestrina (pA-l^s-tre'-njl) (rightly
Giovanni Pierluigi Sante, called
da Palestrina, from his birthplace),
Palestrina, near Rome, probably 15 14
or 15 1 5 (some say 1528 or 9) — Rome,
Feb. 2, 1594. One of the most revered
THE MUSICAL GUIDE
oames in music; he was b. of poor par-
ents, little is known of his early life ;
be is said to have earned his living
first as a church-singer ; probably
studied in Goudimers sch., 1540, and
was, 1544-51, organist at Palestrina,
then magister puerorum (master of
the boys), in the Cappella Giula, with
title ** maestro della cappella della Ba-
silica Vaticana." He dedicated a book
of masses to Pope Julius III., who,
Jan., 1554, admitted him to the Pon-
tifical Chapel as a singer, against the
rules, P. having a wife and no voice.
Tilly 30, 1555, Paul IV. dismissed
him with a pension of 6 scudi per
month* This blow affected him so
deeply (he had 4 children to support)
that he suffered nervous prostration.
On Oct. I, however, the Pope ap-
pointed him cond. at the Lateran.
1560, he prod, his famous ** Impro-
peria " (v. D. D.) for Holy Week,
with such succ., that the rope se-
cured them for the Sistine Chapel,
where they have been performed on
every Good Friday since. 1561, he
took the better-salaried post of cond.
9t: Santa Maria Maggiore. The
Pope was determined to rid church-
mus. of its astonishing secular quali-
ties : first, the use of street-ballads,
even when indecent, as canti fer^
mi^ many of the choir actually sing-
ing the words ; and second, the riot-
ous counterpoint with which the
sacred texts and the secular tunes
were overrun. The Council of Trent
and a committee of 8 cardinals, con-
sidering the matter seriously, decided
not to revolutionise church-music en-
tirely, and in 1564 commissioned Pal-
estrina, by this time famous, to write
a mass which should reform, without
uprooting, ecclesiastical polyphony.
He wrote three, all noble, the third,
the ** Alissa papa Marcelli,** win-
ning the most profound praise. He
was called "the saviour of music,"
and appointed composer to the Pon-
tifical Chapel. 1 571, he became and
remained till death maestro of St.
Peter's. He also composed for the
*'Congregazione del Oratorio" (v.
NERi) ; taught in Nanini's sch., and
was from 1581 maestro concertatore
to Prince Buoncompagni. Pope Six-
tus V. wished to appoint him maestro
of the Sistine Chapel, but the singers
refused t^ serve under a layman. He
was, however, commissioned to re-
vise the Roman Gradual and Anti-
phonal, by Pope Gregory XIII.; he
pub. the '*Directoriumchori"(i582),
the offices of Holy Week (1587), and
the Prafationes (1588), but on the
death of his pupil and assist. Giudetti,
he was compelled to leave the work
unfinished. A complete ed. of his
works is pub. by Breitkopf and H ar-
tel : Vols, i.-vii. contam 262 mo-
tets; Vol. viii., 45 hymns; Vol. ix.,
68 offertories; Vols, x.-xxiv., 92
Masses; Vol. xxv., 9 Lamentations
each in various arrangements in 3, 4,
5, 6, or 8 parts; Vol. xxvi., 17 Lita-
nies, Motets and Psalms in 3-12
parts; Vol. xxvii., 35 Magnificats;
Vol. xxviii., about 90 Italian (secu«
lar) Madrigals ; Vol. xxix., 56 Church*
Madrigals (Latin); Vol. xxx. (from
colls, of 1 6th- 1 7th cent.), 12 Can-
tiones sacrse, 12 Cant, profans, and
14 Cant, sacrse ; Vol. xxxi. (from
archives of the Pontifical Chapel,
etc.), 56 miscellaneous numbers, many
doubtful, incl. 11, *' Esercizi sopra la
scala " ; Vol. xxxii., 60 miscellaneous
comp. incl. 8 Ricercari, Responses,
Antiphones, etc.; Vol. xxxiii.. Docu-
ments, Index, Bibliography, etc.
Among his best masses are "^ Sterna
Christi munera" ** Dies satutifica'^
tusy** " O sacrum convivium^* in 8
parts ; ** Assumpta est Maria in coe^
lum , " * * DiUxi quoniam , " * * Ecce ego
Joannes ^''^ ^^ Papce MarcellV* in 6
parts; ** Tu es Fetrus^' in 6 parts;
these, the Motet *^ Exaudi Domint^
3 Lamentations, also selected Ma-
drigals, Canzonets, etc., are pub. sep-
arately. Biog. by Baini (Rome, 1828) ;
A. Bartolini (Rome, 1870); Baum«
ker (1877) ; Cametti (Milan, 1895).
DICTIONARY OF MUSICIANS 591
Palestrina.
By W. J. Henderson
PALESTRINA'S work in musical history was bringing order out of
chaos in church-music, and setting the model for the loftiest purity
of style. The music of the Church had become too complex
through the extreme development of rigidly canonic writing. Palestrina,
following the lead of some of his predecessors, who had begun to write in
free counter-point, showed how this new style could be made to yield the
finest possible results in the composition of music for the mass, and other
parts of the Roman ritual. By adhering to the ecclesiastical scale and
avoiding chromatic progressions, by clinging to purely religious thought
and excluding any thing like passion, Palestrina produced works which
have remained to this day the perfect model of church-music. ^ The
contrapuntal skill in his writing is masterly, but it never parades itself.
Its most beautiful effects are produced with apparent spontaneity, and
frequent chord harmonies of enchanting loveliness seem to be accidental.
The Roman school of church-composers was founded by Palestrina, and
his influence is even yet perceptible in the music of the Holy City. He has
universally been accorded the position of the greatest of all church-composers.
Palf fy, Count Fd. von Erddd, Vien-
na, 1774-1840 ; amateur musician
and operatic manager.
Pallavidnl vp^^-Ia-ve-che -nc), (i) (or
Pallavicino) Benedetto, Cremona
— Mantua (?), after 16 16; conductor
and composer. (2) Carlo, Hrescia,
1630 — Dresden, 1688 ; conductor and
dram, composer.
Pallo'ni, Gaetano, b. Camerino, Italy,
Aug. 4, 1 831; pupil of Cellini, Fer-
mo ; organist there, 1854 ; studied
with Mabeliini, Florence, where he
lived as a singing-teacher and com-
poser.
Palme (pal'-me), Rudolph, b. Barby-
on-Elbe, Oct. 23, 1834 ; pupil of A.
G. Ritter ; organist ; R. Mus. Dir,
and organist at Magdeburg ; c. con-
cert-fantasias with male chorus, so-
natas, etc. , for org.
Palmer, Horatio Richmond, b. Sher-
burne, N. Y., April 26, 1834; pupil
^ of his father and sister, and studied in
New York, Berlin and Florence ; at
18, began composing ; at 20 choms-
cond.; 1857, teacher at Rushford
Acad.; after the Civil War, Chicago;
cd. ** Concordia**/ cond. various so-
cieties from 1873, cond. New Church
Choral Union, giving concerts, some-
times with 4,000 singers ; since 1877,
Dean of the Chautauqua Sch. of Mus.;
Mus. Doc. (Chicago Univ. and Alfred
Univ.); pub. colls, and treatises.
Paloschi (pa-16s'-ke), Giov., 1824—
1892, member of the Milan firm of
Ricordi.
Palot'ta, Matteo, Palermo, 1680 —
Vienna, 1758 ; ct. -composer and
writer.
Paminger (pS'-mtng-^r) (or Pamm)-
gerus, Panni'genis), Leonharct.^
Aschau, Upper Alsatia, 1484 — Pas-
sau, 1567; composer.
Pan, one of the Greek gods ; said to bt
inventor of the pipe.
Pan'ny, Jos.. Kolmitzberg, Lowei
T9'^
THE MUSICAL GUIDE
Austria, 1794 — Mayence, 1838; vio-
linist, teacher and composer.
Panofka, H., Breslau. 1807— Flo-
rence, 1887 » violinist, writer and
composer.
Fanseron (pan-s(&-r6n), Aug« Ma-
thieu, Paris, 1796— 1859; writer of
vocal methods, etudes, etc.; com-
poser.
Paolucci (pH-o-loot'-che), Gia.» Siena,
1727 — 1777; conductor, theorist and
composer,
Panth^s (p&n-t^s'), Marie, b. of
French parents, at Odessa ; pupil of
Fissot, Paris Cons., taking ist prize
at 14.
Panzner (pants'-n?r), K., b. Teplitz,
Bohemia, March 2, 1866 ; pupil of
Nicod^ and Draeseke ; cond. at Son-
dershausen th.; 2 years later at £1-
berfeld ; 1893 ; ist cond. Leipzig
city th.; 1899, cond. Phllh. concerts,
Bremen.
Pape (p£'-p^), Jn. H., Sarstedt, near
Hanover, July i, 1789 — Paris, Feb.
2, 1875 ; distinguished maker and
improver of the piano; he inv. a
transposing piano, introd. padded
hammers, etc.
Papier (pa-per), (i) Louis, Leipzig,
1829 — 1878 ; organist, singing-teach-
er and composer. (2) Rosa, b.
Baden, near Vienna, 1858 ; mezzo-
soprano; Imp. Op., Vienna; 1881,
m. Dr. Hans Paumgartner.
Papillon de la Fert^ (p&-pe-y6n dtl
la f«r-ta). (i) guillotined, Paris.
1793' I777t Intendant of the ** M^nus
plaisirs," of Louis XVI.; Inspector
£cole royale de chant"; dir. of
Opera. (2) His son was, 1814, Mus.
Intendant-in-chief«
Papini (pa-p€'-n^), Gaido» b. Cama-
giore, n«ar Florence, Aug. i, 1847;
violinist; pupil of Giorgetti; d^but at
13; tourea Europe; composer.
Papperitz (pSp -pKl^-rcts), Benj. Robt.,
b. Pirna, Saxony, Dec. 4, 1826 ; pu-
pil of Hauptmann, Richter and Mo-
teheles, Leipzig Cons., 185 1; teach-
er of harm, and cpt. there ; from
X86S-69, also organist of Nikolai-
kirche there; 1S82, R. Prof.; com*
poser.
Paque (p&k). Gull., Brussels, 1825— •
London, 1876 ; *cella-virtuoso and
teacher.
Paradies (or Paradisi) (pa-ra-de'-^s,
or de'-se), P. Dom., Naples, 17 10—
Venice, 1792; pupil of Porpora;
harps. -player and teacher, also dram,
composer.
Paradia (pa-ra-des'), Maria There-
sia von, Vienna, May 15, 1759—
Feb. I, 1824 ; a skilful blind organ*
ist and pianist for whom Mozart
wrote a concerto ; daughter of an
Imperial Councillor; teacher of pf.
and voice ; c. an opera.
Parent (p&-ran), Charlotte Frances
Hortense, b. London, March 22,
1837 ; pianist ; pupil of Mme. Far«
renc, Paris Cons.; founded ** £cole
pr^paratoire au professorat," Paris ;
wrote a pf.-method (1872), etc.
Parepa-Rosa (pa-ra'-pa-ro-za) (nee
Parepade Boyescu), Euphrosyne^
Edinburgh, May 7, 1836 — London,
Jan. 21, 1874 ; daughter and pupil
of Elizabeth Seguin, a singer ; emi-
nent soprano in opera and oratorio ;
her strong and sympathetic voice had
a compass of 2^ octaves reaching to
d'" (v. PITCH, D.D.) ; debut at 16,
Malta ; 1865 m. Carl Rosa ; toured
Europe and America.
Parish-Al'vars, Elias, Teignmouth,
Engl., Feb. 28, 1810 — Vienna, Jan.
25, 1849 ; of Jewish descent ; noted
harp-virtuoso and composer.
Parisini (pa-rl-se'-ne), r ederico, Bo-
logna, 1825 — Jan. 4, 1891 ; theorist
and dram, composer.
Parke, (i) J., 1745 — 1829; En^. obo-
ist and composer. (2) Wm. Thos.,
Ix)ndon, 1762 — 1847 ; bro. of above;
oboist, composer and writer. (3)
Maria Hester, 1775 — 1822 ; daugh-
ter of (i), singer, composer and writer.
Park'er, (i) Jas. Cutler Dunn, b.
Boston, Mass., June 2, 1828; studied
Leipzig Cons.; lives in Boston and
Brookline ; 1862, organist ** Parker
Club," vocal soc.: 1864-91, organist
DICTIONARY OF MUSICIANS 593
Trinity Ch.,'and for years or^nist
Hfttidel and Haydn Soc.; prof. Bos-
ton Univ. Coll. of Mus., and Exam-
iner N. E. Cons. ; writer and transl. ;
c ** Redemption Hymn '* (1877) ; can-
tata ''The Blind King'' (1886);
** St. John^' with orch. ; oratorio,
'• The Life of Man"*; church-ser-
vices, etc. (2) H., b. Ix>ndon, Au^.
4, 1845 ; pupil of Leipzig Cons., and
of Lefort« Paris ; singing-teacher and
cond. Ix>ndon ; wrote treatise ** The
Voice "/ c. comic opera ** Migno^
nette'* (London, 1889); ^^ Jerusa-
lem C* for bass-solo and chorus (Albert
Hall, 1884); gavottes, etc., for orch.;
pf.-pcs. (3) Horatio Wm., b. Au-
Durndale, Mass., Sept. 15, 1863;
prominent American composer ; pupil
of his mother, later of Emery (theo-
ry), J. Orth (pf.)f and Chadwick
(comp.), Boston ; organist Dedham
and Boston; studied 1882-85 with
Rheinberger (org. and comp.) and L.
Abel (cond.), Munich ; organist and
prof, of mus. St. Paul's Sch., Gar-
den City, New York ; 1886, organist
St. Andrew's. Harlem; 1888, Ch.
of the Holy Trinity, N. Y.; since
1894, prof, of mus., Yale Univ.;
1899, cond. his notable oratorio
•• Hora Novissima " at Worcester
(Engl.) Festival with great succ.
(first given at Worcester (U. S. A.)
Festival, 1893). Pub. coll. of org.-
pcs.; c. oratorios, "Hora Noxnssi-
«fl"(i893), and" 5"/. Christopher'*
(1896) ; cantatas ** King Trojan "
(Munich, 1885), *' The Holy Child,*^
*• The Kobold'' and ** Harold Har-
fager'' prize-cantata, *' Dream
King*' (1893); symph. in C; con-
cert-overture; heroic-overture "Reg*
ulus "; overture to ** Count Robert of
Paris;' •* Cohal Afahr,' for bar.-
solo and orch. (1893) ; '* Commence"
ment Ode,'' Yale Univ. (1895) ; Mc-
Cagg prize chorus a cappella (1898) ;
••y< Northern Ballad'* for orch.
(iSop), etc.
Park mson, Elizabeth, b. Missouri ;
Duoil of Mrs. Lawton, Kansas City,
and Miolan Carvalho and de la Nux,
Paris; debut as ** Dinorah," 1896;
engaged at Op^ra Comique, 1887;
has sung there since and elsewhere.
Par'ratt, Sir Walter, b. Huddersfield,
Feb. 10, 1841 ; at 7 sang in church ;
at 10 knew Bach's ** ^Veil-tempered
Clavichord'* by heait ; at 11, organ-
ist Armitage Bridge; 1872 Magdalen
Coll., Oxford; 1882, St. George's
Chapel, Windsor Mus. Bac. Oxon.,
1873 ; 1883, organ-prof. R. C. M. ;
knighted 1892; 1893, Master of Mus.
in Ordinary to the Queen ; wrote ar«
ttcles ; c. mus. to "Agamemnon**
and " Orestes y** "Elegy to Patro^
clus** (1883), anthems, org.-and pf.«
pes., etc.
Parry, (i) J., Ruabon, N. Wales—
Wynnstay, Oct. 7. 1782; Welsh bard,
harper, and composer. (2) J. (called
•• Bardd Alaw," i. e., master of song),
Denbigh, Feb. 18, 1776 — London,
April 8, 185 1 ; clarinettist; cond. of
the Eisteddfod for years; critic, teach-
er and composer in London ; pub.
colls., etc. (3) J. Orlando, London,
1810— E. Molesey, 1879; son of
above ; pianist, harpist, singer and
composer. (4) Jos., b. Merthyr
Tydvil, Wales, May 21, 1841 ; the
son of a labourer ; at 10 worked in a
puddling-fumace ; 1854 emigrated to
America with his family, but returned
to Britain, won Eisteddfod prizes for
songs, x868 studied R. A. M. on a
fund especially raised by Brinley
Richards; 1871, Mus. Bac. Cambr. ;
prof, of music, Univ. Col., Aberyst-
with; 1878, Mus. Doc.; 1888, Nius.
Lecturer at Cardiff ; also Fellow R.
A. M. C. 4 operas^ cantatas ** The
Prodigal Son, "Nebuchadnezzar,'*
and •• Cambn'a **; " Druids' Chorus";
an orchestral ballade, overtures, etc.
(5) Sir Chas. Hubert Hastings, b.
IBoumemouth, England, Feb. 27,
1848; eminent English composer:
from 1 86 1, while at Eton, pupil of
G. Elvy (comp.), was pianist, organ-
ist, singer, and composer at the con-
certs of the Musical Soc. At i^
tm
594 THE MUSICAL GUIDE
while slill at Eton, he took '* Mus.
Bac. ** at Oxford, wrote a cantata,
'* O Lord^ Thou hast cast us out**;
1867, Exeter Coll., Oxford; founded
•• Univ. Mus. Club" ; 1874, M. A. ;
studied with Bennett and Macfarren,
and Dannreuther (pf.), and Pierson,
Stuttgart. At 26 prod. ** Intermezzo
religiosoy'* for strings (Gloucester
Festival) : 1883, Choragus of Ox-
ford and Mus. Doc. Cantab.; do.
Oxon, 1884, do. Dublin, 1891 ; 1894
dir. R. C. M.; 1898, knighted; 1902
made a baronet ; active as lecturer
and writer of essays and books incl.
the notable ^^ Evolution of the Art
of Music**{^%Qfi). C. also 4 symphs. ;
symph vars. : overtures, ** 7> an
Unwritten Tragedy''* and '* Guillem
de Cahestanh "/ oratorios ^'Judith**
''Job;* ''King Saul**: mus. to
Aristophanes' ''Birds** (1883), and
" Frogs** (1892) ; and to ** Hypatia *'
(1893) ; the following were prod, at
prominent festivals : scenes from
Shelley's ** Prometheus Unbound y*
with orch. (Gloucester festival, 1880);
*• The Glories of our Blood and
State**; ** Suite moderne** ** Ode on
St. Cecilia* s Day,** '' V Allegro ed 11
Penseroso" '' De profundis** with 3
choirs and orch. ; chamber-mus. ; vln—
and pf. -sonatas, songs, etc. ; ** Invoca-
tion to Music **; Magnificat, in Latin.
par' sons, (i) Robt., Exeter, 1563 —
drowned Newark, 1569 (-70?); com-
poser. (2) J., d. 1623 ; probably son
of above; organist and composer.
(3) Sir Wm., 1746— 1 817 ; master of
King's Band and teacher. (4) Albert
Ross, b. Sandusky, O., Sept. 16,
1847 ; noteworthy American teacher;
pupil of F. K. Ritter, N. Y., and at
Leipzig Cons.; later of Tausig, Kul-
lak, Weitzmann and WUrst, Berlin ;
1871, New York ; organist since
18S5, Fifth Av. Presb. Ch.; translat-
or, editor, and writer of various
works ; c. vocal quartets, songs, etc.
(5) E. A., pianist ; from 1894 organ-
ist, Ch. of the Divine Paternity, N,
v.; c. pf.-concerta etc.
Pasch (piish), Oskar, Ix Frankfort-on
Oder, March 28, 1844 ; pupil of R.
Inst, for Church-mus. and the Acad,
for Comp., Berlin ; 1874, won the
Michael Beer prize; wrote Psalm 130
with orch.; 1884, Royal Mus. Dir.,
organist and singing-teacher at Ber-
lin ; c. a symph., oratorios, etc.
Pascucci (pas-koot'-che), Giov. Ce-
sare, b. Rome, P'eb. 28, 1841; c.
comic operas and operettas in Roman
dialect, 2 oratorios, etc.
Pasdeloup (pa-da-loop), Jules
£tienne, Paris, Sept. 15, 1819 — Fon-
tainebleau, Aug. 13, 1887; eminent
cond.; pianist; pupil Paris Cons.,
1847-50; pf.-teacher, and 1855-68,
teacher of ensemble there ; 1851,
cond. famous concerts (known from
1861 as "concerts populaires "); v.
succ. till 1884, when they fell before
the popularity of Colonne and La-
moureux ; a benefit festival brought
him 100,000 francs ($20,000).
Pash'aloff, Victor Nikandrovitch,
Saratoflf, Russia, 1841 — Kasan, 1885;
composer.
Pas'more, H. Bickford, b. Jackson,
Wis., June 27, 1857; pupil of J. P.
Morgan (org. and harm.), of Jadas*
sohn, Reinecke (pf.), Frau Unger-
Ilaupt (voice), Leipzig and of W.
Shakespeare and R. H. Cummings,
London ; lives in San Francisco as
organist and prof, of singing; c,
*' Conclave " march, overture for orch.
•* Miles Standi sh^** masses, etc.
Pasquali (pas-kwa-le), Nicold, b.
Italy — Edinburgh, 1757; writer and
composer.
Pasqu^ (pds-ka), Ernst, Cologne,
182 1 — Alsbach, 1892; barytone; di-
rector and writer.
PasquinI (pas-kwe'-ne), Bdo., Massa
di Valdinevole, Tuscany, Dec. 8,
1637 — Rome, Nov. 22, 1710; noted
organist at San Maria Magg^ore ; pu-
pil of Vittori and Cesti ; teacher and
composer of 2 operas, an oratorio.
Pasta (pas'-ta) (nee Negri), (i) Gin*
ditta, Como, April 9, 1798 — villa on
m
DICTIONARY OF MUSICIANS 59?
I^ke ComOf April i, 1865 ; a noted
Jewish singer ; pupil of AsioH ; de-
but, 18 1 5, but had no succ; studied
with Scappa, and reappeared with
greatest succ. Her powerful voice
(range a-d'", v. pitch, I). D.) had
always some irregularities, but her
dramatic power was great and she
invented embellishments with much
. skill ; m. the tenor (2) Pasta, be-
fore 1 8 16; she created *' La Son-
nanibula " and '* Norma" and earned
a fortune.
Pastou (piis-too), Etienne J. Bapt.,
Vigan, France, 17S4 — Temes, near
Paris, 185 1 ; singing-prof, and writer.
Pa'tevy Janet Monach (nee Why-
tock), London, 1842 — Sheftield»i894;
alto.
Pa'ton, Mary Ann (Mrs. Wood),
Edinburgh, 1802 — l?uclifife Hall, near
Wakefield, 1864 ; prominent soprano ;
m. tenor Jos. Wood, 1831.
Patti (pat'-te), (i) Carlotta, Florence,
1840 — Paris, June 27, 1889 ; eminent
concert coloraiure-soprano ; pupil of
her father. (2) Salvatore P., a tenor,
and her mother, (3) Caterxna (nee
Chiesa), a soprano. (4) Adelina
(Adela Juana Maria), b. Madrid,
Feb. 10, 1843 : one of the most emi-
nent colorature-singers in history ;
sister of (i), and like her a pupil of
her parents : sang in public as a mere
child ; then studied with Max Stra-
kosch (husband of her sister Amelia);
debut, at 16, New York, Nov. 24,
1859, as ** Lucia" (under the stage,
name '*the little Florinda"); 1861,
London, Covent (iarden ; 1862,
Paris Th. Italien ; 1868, m. the Mar-
quis de Caux. After making the
world her own, she now sings only in-
frequently in concerts, and lived till
recently at her villa Craig y Nos, in
Wales. t886, m. and toured with
the tenor Nicolini (d. 1898); 1899,
m. a Swedish nobleman, Baron Ce-
derstrftm. (3) Carlo, Madrid, 1843
—St. Louis, Mo., March, 1873; bro,
3f above ; violinist.
Pat'tison, J. Nelson, b. Niagara
Falls, N. Y., Oct. 22, 1845 ; pianist;
pupil of Liszt, Thalberg, Henselt
and von BQlow (pf.), and Haupt
(harm. ) ; toured U . S. as pianist with
Parepa Rosa, etc.; c. symph. for
orch. and military band ^* Niagara** j
concert overture, etc.
Patzold (pat'-tsolt), Hn., Neudorf,
Silesia, 1822 — K5nlgsberg, 1861 ;
conductor and composer.
Pauer (pow'-£r), (i) kmst, b. Vienna,
Dec. 21, 1826; noted pianist; son of
a prominent Lutheran clergyman ;
pupil of Th. Dir7a, W. A. Mozart,
Jr. (pf.), and Sechter (comp.), later
of Fr. Lachner, Munich; 1847-51,
dir. mus. societies at Mayence ; 185 1,
London ; 1859, prof, at the R. A.
M.; in 1861, gave historical perform*
ances of clavecin and pf.-mus.;
1866, pianist to Austrian Court;
1867, prof, at the Nat. Training Sch.;
• 1883, R. C. M.; since 1870, lecturer;
toured U. S.; ed. the classics; pub.
mus. primers, colls, of old clavier*
works, and many didactic works ; c.
a qui ate t, vln. arrangements oi
symphs., etc. (2) Max., b. Lon*
don, Oct. 31, 1866 ; son and pupil of
above ; then studied with Lachner,
Carlsruhe; 1887, pf.-prof. Cologne
Cons.; 1893, chamber-virtuoso to the
Grand Duke of Hesse; since 1897,
prof. Stuttgart Cons.; 1898, made
prof, by the King of WUrtemberg;
pub. pf. -pieces.
Paul (powl), Oscar, FVeiwaldau, 1836
— Leipzig, 1898 ; professor and theo«
rist.
Paumann (pow'-mSn), Konrad, b.
(blind) NUrnberg, ca. 1410 — Munich,
Jan. 25, 1473 ; c. the oldest extant
book of org. -pes.
Paumgartner (powm'-gartnir). Dr.
Hans, 1844 — Vienna, May 23, 1893 j
pianist ; critic and composer.
Paur (powr), (i) Emil, b. Czemowitz,
Hukovina, Aug. 29, 185$; noted con*
ductor ; pupil of his father ; at 8 hs
played vln. and pf. in pu1)lic; stud*
ied with Dessoff (comp.) and Hell»
596
THE MUSICAL GUIDE
mesbcrg;er (vln.) Vienna Cons, (fel-
low pupil with Nikisch and Mottl) ;
graduated with Hrst prizes ; 1870,
tirst vln. and assist. -soloist in ct.-op-
era orch.; 1876, cond. at Cassel ;
later KOni^berg; 1880, istct.-cond.
Mannheim; 1 891, cond. Leipzig City
Th.; 1893-98, cond. Boston (U. S.
A.) symph. Orch. (vice Nikisch);
1898. New York Philh. Concerts
(vice Seidl); 1899, dir. of the Nat.
Cons., N. Y. (vice Dv0?4k); 1900.
cond. German opera of the Met. Op. ;
c a vln. -concerto, string-quartet, vln.-
sonata, pf.-pcs., songs. (2) Maria
(nee Burgher), Gengenbach, Black
Forest, 1862 — New York, 1899; wife
of above ; pianist ; pupil Stuttgart
Cons., Leschetizky and EssipofT, Vi-
enna.
Pauwels (pow'-v£ls), Jean Engelbert,
Brussels, 1768 — 1804; violinist, con-
ductor and dram, composer.
Pavesi (pa-va'-se), Stefano, Crema;»
1779 — 1850; dramt composer.
Pax' ton, Stephen, d. 1787; EngL
composer.
Payer (pl-£r), Hieronymus, Meidling,
near Vienna, I787--Wiedburg, near
Vienna, 1845 » conductor and dram,
composer.
Peace, Albert Lister, b. Hudders-
field, £ngl.» Jan. 26, 1844; promi-
nent organist ; pupil of Horn and
Parratt; 1875, Mus. Doc. Oxon;
1873, organist Glasgow cath.; 1897,
of St. George's Hall, Liverpool (vice
Best); c. Psalm 138 with orch., org.«
music.
Pearce, (i) Stephen Austen, Lon-
don, Nov. 7, 1836 — April 9, 1900;
pupil of J. L.Hopkins; Mus. Doc.
Oxford, 1864, same year U.* S. and
Canada; then organist 2 London
churches; 1872, vocal-teacher, Co-
lumbia Coll., N. Y.. and lecturer
Peabody Inst, and Johns Hopkins
Univ., Baltimore; 1879-85, organist
Collegiate Church, N. Y.; writer and
composer of a 3-act opera, a children's
opera, an oratorio and a church-can-
tata in strict f ugal style (prod, at Ox*
ford), overture, etc. (2) Chas. WnUi
b. Salisbury, England, Dec. 5, 1856;
pupil of Ayluard, Hoyte, Read and
Pront ; 1881, Mus. Bac, 1884 Mus.
Doc, Cambridge. From 187 1 or.
ganist various London churches. 1882
Prof, of Trinity College ; co-editor,
oi^anist and choir-master ; wrote
various text-books, and c. an orato-
rio.
Pear'aall, Robt. Lucas De, Clifton,
Engl., 1795 » Schloss Wartensee,
Lake of Constance, 1856 ; writer and
composer.
Pearson. Vide pierson.
Pease (pez), Alfred Humphries,
Cleveland^ U. S. A., 1838 — St. Louis,
1882 ; pianist and composer.
Pedrell (pa-dhrdl), Felipe, b. Spain,
ca. 1835 ; lives in Madrid ; 1894,
prof, of Mus. History, and .4Csthetics,
Royal Cons., Madrid ; editor, critic,
lexicographer and writer; c. 2 ope-
ras, symphonic ** Scene" a mass, etc.
Pedrotti (pa-dr6t'-te). Carlo, Verona,
Nov. 12, 1817 — suicide, Oct. 16,
1893 ; conductor and composer of 16
operas, etc.
Pellegrini (pc^l-la-gre'-ne), (i) Felice,
Turin, 1774 — Paris, 1832; basso*
buffo and composer. (2) Giulio,
Milan, 1806 — Munich, 1858 ; basso-
serio.
Peiletan (p^l-tiln), Fanny, Paris ( ?),
1830 — 1876 ; singer and writer.
Pembaur (pam'-bowr), Jos., b. Inns-
bruck, May 23, 1848 : studied Vi-
enna Cons., later at Munich R. Sch.
of Mus.; since 1875 d*r. and head*
master, Innsbruck Mus. Sch.; prod.
V. succ. opera ** ZigeuturUben "
(1898), choral works with orch.;
symph. ** Im Tyrol^^ etc.
Pelia 7 Goni (pan'-y& e go'-ne). Anto«
nio, San Sebastian, Spain, 1846-*
Madrid, 1896 ; critic and composer.
Pen'field, Smith Newell, b. Oberiin
Ohio, April 4, 1837 ; pupil of Jas.
Flint, New York, and of Leipzig
Cons. ; also studied in Paris; founded
Savannah (Ga.) Cons., and Mozart
Club; also "Arion** Cons., Brook
DICTIONARY OF MUSICIANS 3'97
lyn, N. Y.; since 1882, lives in New
York ; organist Broadway Taber-
nacle ; 1884, Mus. Doc. Univ. of the
City of N. Y.; 1885, pres. of the
M. T. N. A.; 0. psalm 18, with
orch.; overture, etc.
Pen'na, Lorenzo, Bologna, 1613— >
Imola, 1693 ; conductor and compos-
er.
Pentenrieder (p6n'-t^n-re-d<Jr), Fx.
X., Kaufbeuren, Bavaria, 1813—
Munich, 1867 ; organist and dram,
composer.
Pepusch (pa-poosh), John Chr. (Jn.
Chp.), Berlin, 1667 — London, July
20, 1752 ; violinist, composer and
writer ; pupil of Klingenberg and
Grosse ; held a position at the Prus-
sian Court, but 1697 seeing the king
kill an officer without trial he went
to London. 17 10 founded the fa-
mous ** Academy of Antient Music ;**
17 1 2 organist and composer to Duke
of Chandos (succeeded by Handel),
dir. Lincoln Inn's Theatre, for which
he c. 4 masques, the music to the
enormously pop. " Beggar* s Opera ^*
etc.; X730 m. de I'^pire, the singer.
Perabo (pa'-ra-b6), (Jn.) Ernst, b.
Wiesbaden, Ciermany, Nov. 14,
1845 ; at 7 brought to New York ;
pupil of his father ; then of Mosche-
les and VVenzel (pf.), Papperitz,
Kichter, and Hauptmann (harm.),
and Keinecke (comp.), Leipzig Cons. ;
returned to America, 1865; succ. con-
cert-pianist ; lives in Boston as teach-
er and pianist ; c. arrangements, etc.
Per'cy, J., d. 1797 ; Engl, composer
of ballads, incl. ''IVappinq Old
S/airs,"
Pereira (pa-ra'-e ra), (i) Marcos
Soares» Ciminha, Portugal — Lisbon,
Jan. 7, 1655 ; c. a mass, etc. (2) Do-
fjingos Nufies, Lisbon — Camarate,
near Lisbon, 1729 ; cond. and com-
poser.
Perepelitzin (pa-rtl-p^-let'-shen), Po-
lycarp de, Odessa, Dec. 14, 181 8 ;
Russian colonel ; pupil of Lipinski
(vln.) ; writer and composer.
Perez (pa'-r£tn), Daviae, of Spanish
parents, Naples, 171 1 — Lisbon, 1778;
cond. at Palermo Cath.; 1752, ct.-
cond. , Lisbon ; rival of Jomelli as c.
of operas, incl. ^^ DemofoanU**; ^
also notable church-mus.
Perfall (p^r'-fal). K., Freihcrr ant, J).
Munich, Jan. 29, 1824; studied mus.
with Hauptmann, Leipzig ; I854--64
founded and cond. tne still succ.
•* Oratorio Soc." ; in 1864, Intendant
ct.-mus. ; 1867-1893, Intendant Ct.-
Th.; writer and composer of 4 op-
eras, 3 fairy cantatas, etc.
Pergcr (p«r'-g«r), Richard von, b. Vi-
enna, Jan. 10, 1854; pupil of Brahms ;
1890-95, dir. and cond. Rotterdam
Cons.; 1895, cond. ** Gesellschafts-
concerte," Vienna ; prod, (text and
mus.) succ. comic opera ^* Der
Richier von Granada (Cologne,
1889), a vaudeville, vln.-concerto,etc.
Pergolesi (p^r-go-la'-se), Giov. Bat,
Jesi, Papal States, Jan. 4, 17 10— (of
consumption) Pozzuoli, near Naples,
March 16, 1736 ; eminent composer.
At 16 entered the Cons, dei Poveri
di Gesii Cristo, Naples, and studied
with de Matteis (vln.), Greco (cpt.).
Durante, and Feo (cpt.). He speed-
ily won attention by novel harmonies
and threw off contrapuntal shackles
early. His last student-work, the
biblical drama '* San Guglielm^
D* Aquitania '* (prod, with comic
intermezzi at the convent of S. Ag-
rello Maggiore, Naples, 1731) shows
the beginnings of vivid and original
fancy. He prod, at Naples in 1731,
the excellent and novel opera ** SaU
lustia^* and the intermezzo ** Amor
Fa T Uomo Cieco,** which had no
succ. , while the opera seria * * Rid-
mero** was a distinct failure. But he
found a patron in the Prince of Stig-
liano, for whom he wrote 30 terzets
for vln. with bass ; he was commis-
sioned to compose a solemn mass for
Naples, which was performed after
the earthquake of 1 731, as a votive
offering to the patron saint cf the
city. It brought him immediate
fame. After four stage-works, prod.
598
THE MUSICAL GUIDE
in 1732 the intermezzo **Z/7 Ser7>a
Padrona" (Naples, 1733); won him
note as a dramatic composer and has
served as a model of comic operas
since ; it has only 2 characters and
the accompaniment is a string-quar-
tet with occasional support of horns.
His subsequent 6 operas were re-
ceived without interest (except for
the intermezzo to ^^ Adriano^* first
given as ** Livietta e Tracollo " and
later as ** A<? Contadina Astuta,y
though after his death they were re-
vived with immense enthusiasm, and
their harmonic novelty, sweetness,
delicacy and melodic charm were
recognised, '* Z<j Serva Padrona**
and " // Maes fro di Afusica " be-
coming standards in France. Of the
failure of ** L'OUmpiadt'^'^ v. duni.
Irregnlar habits due to regular dis-
appointments undermined Pergolesi's
constitution, and he died of con-
sumption at the baths of Pozzuoli,
finishing five days before his deat.r
his masterpiece, the r'»,lebrated " Sta-
bat Mater'* for soprano and alto
with string orch. and org. He c.
also 3 masses with orch. ; Dixit for
double chorus and orch.; a Kyrie
cum gloria; a Miserere, and a Lau-
dato with orch., etc.; an oratorio,
'• La Nativith;' a cantata *' Orfeo'*
for solo voice and orch.; a cantata,
** Giasom**\ 6 cantatas with string-
accomp. ; 30 trios, etc. Biog, by Bla-
sis (1817) ; Villarosa (1831).
Peri (pa-re), (i) Jacopo (called " II
Zazzerino,*' i.e., the long-haired),
Florence, ca. 1560— ca. 1630; of
noble birth ; pupil of Malvezzi ;
court-cond. at 3 successive courts ;
an enthusiast in everj-thing classic,
he haunted the salons of Count Bar-
di and Corsi, where he joined the at-
tempt at revival of CJreek musical rec-
itative, with Caccini and Corsi ; he
set to mus. Rinuccini'stextof ** Da/-
ne '*/ this was doubtless the first op-
era ever written ; its effort at repro-
ducing the supposed manner of
/£schylos. SophoVles, etc. , was called
t<
stile rappresentativo " ; the opera
was given only once, and privately at
Bardi's hou.se, but it won Peri a com-
mission to set Rinuccini's text '*£«-
ridice " for the wedding of Maria de'
Medici and Henry IV. of France
(1600) ; an ed. of his works was pub.
1603, incl. madrigals, etc. (2)
Achille, Reggio d'Emilia, Italy,
1812 — i88c3; conductor and dram,
composer.
Perisine. Vide la rue.
Perkins, (i) Wm. Oscar, Stock-
bridge, Vt., May 23, 1831 — Boston,
1902 ; pupil of Wetherbce, Boston,
and of G. Perini, Milan ; 1879, Mus*
Doc., Hamilton Coll.; lives in Boston
as teacher and composer. (2) H.
South wick, b. Stockbridge, Vt.,
March 20, 1833; bro. of above;
graduate, 186 1, Bos*on Mus. Sch.;
1S90, founded Chicago Nat. Coll. of
Mus.; cor.rl. many festivals and con-
-^ntions ; 1875, studied with Wartel
at Paris and Vannuccini, Florence ;
ed. colls, and composed. (3) Julius
Edson, Stockbridge, 1845 — Man-
chester, Engl., 1875 ; bro. of above;
bass ; 1874, m. Marie Roze (later
Mrs. Mapleson).
Perne (pirn), Fran. L., Paris. 1772 —
May 26, 1832 ; pupil of Abbe d'Hau-
dimont (harm, and cpt.); 1792, cho-
rus-singer at the Oi>dra; 1799, doub-
le-bass player in the orchl; 1801,
prod, a grand festival mass ; the next
year he c. a triple fugue to be sung
backwards on reversing the page;
181 1, prof. harm, at the Cons.; 1816,
Inspector Gen.; 1819, libr., 1822,
retired to an estate near Laon ; he
returned to Paris a few weeks before
he died ; he was indefatigable in re-
search, and an authority on Greek
notation, the troubadours, etc.; writer
and composer.
Pcrosi (pa-ro'-se), Don Lorenzo, b.
Tortona, Italy, Dec. 23, 1872 ; a
young priest and organist who has
attracted much attention by his sa-
cred mus., though critics are divided
as to its value ; it aims to use mod-
DICTIONARY OF MUSICIANS 599
ern resources and ancient principles ;
pupil of Saladino, Milan Cons. ; 1894,
of Haberl's Domchorsciiule, Ratis-
bon ; 1895, cond. at Imola ; from
1897, at San Marco, Venice ; his sa-
cred trilog^y ' ' La Passione di Crista "
(a. " Zfl Cena del Signore"' ; b,
'' LOraziofte al Monte"'; c, ''La
Mortedel Redentore'), Milan, 1897, at
the Ital. Congress for Sacred Mus.,
created a sensation, and has been
widely performed ; 1898, Pope Leo
XIII. made himjionorary maestro of
the Papal Choir; c. also 15 masses ;
c. also oratorios, "/^ Trans/tgu-
razione del Nostra Signore Gesh
Crista** (1898), ''La Risurrezione di
Lazaro** (Venice, July 27, 1898, in
I^ FeniceTh., by special permission),
*'// iXatale del Rcdentore" (Como,
1899) ; *' Afos^ " (Rome, 1902).
Peroti'nus, Magnus, Magister ; 12th
cent, composer ; conductor at Notre-
Dame, Paris. (Coussemaker.)
Perotti (pa-rot'-tc), Giov. A^., Ver-
celli, 1760 — Venice, 1855 ; writer and
composer.
Perrin (p^r-ritn), Pierre (called tabb/,
though never ordained), Lyons, ca.
1620 — Paris, a675 ; librettist of the
first French operas.
Vcrron (p^r'-ron), Karl, b. Franken-
thal, June 3, 1858; barytone; stud-
ied with I ley and Ilassclbcck and
Stockhausen ; concert-debut, 1880;
1884-91, Leipzig City th.; then at
Dresden ct. -opera.
Per'ry, (i) G., Norwich, 1793 — Lon-
don, 1862 ; director and composer.
(2) Edw. Baxter, b. Haverhill,
Mass., Feb. 14, 1S55 ; pianist ; blind
from an early age ; pupil of J. W.
Ilill, Boston ; later of Kullak, Clara
Schumann, IVuckner and Liszt ,
played before the German Flmperor ;
in 10 years he gave i,2(X) concerts in
America; originated the *' lecture-re-
cital" ; c. fantasia " Loreley,** " The
Ij>st Island** etc., for piano.
Persiani (p^r-si-a -ne), (i) (nee Tac-
chinardi) (tak-ki-nar'-de), Fanny,
Rome, Oct. 4, iSi2 — l*assy, near
Paris, May 3, 1867; daughter and pu-
pil of the tenor-singer Nicolii T.;
one of the most noted and succ. colo-
rature-sopranos of the century ; lack
ing in appearance and possessed of a
faulty voice, she compelled homage
by her perfect technic ; in 1830 she m.
(2) Giuseppe Persiani (1804 — 1869),
a com|X)ser of operas.
Persuis (pdr-swes), Louis Luc Loi-
seau de, Metz, 1769 — Paris, 1819;
violinist, conductor, prof, and comp.
Perti (pgr'-te), Jacopo A., Bologna,
June 6, 166 1 — April 10, 1756 ; one of
the chief 17th cent, composers of op-
eras ; pupil of Padre Franceschini ;
at 19 prod, a mass; church-conductor
and composer of oratorios, etc., also
21 operas.
Pescetti (pa-sh«t'-te), Giov. Bat., Ve-
nice, 1704 — (probably) 1766; organ-
ist and dram, composer.
Peschka-Leutner (p£sh'.k£i.loit'-n«r),
Minna, Vienna, 1839 — Wiesbaden,
1890 ; soprano.
Pessard (p^s-sdr), Emile Louis For-
tune, b. Montmatre, Seine, May
28, 1843; pupil of Paris C-ons.; won
1st harm, prize ; 1866, Grand Prix de
Rome, with cantota *' Dalila* (Opera,
1867) ; 1878-80, inspector of singing,
Paris schools; 188 1, prof, of harm,
at the Cons.; dir. of mus. instruction
in the Legion of Honour ; since
1895, critic; prod. 10 comic operas
and operettas, incl. ** Le Capttaine
Fracasse** (Th. Lyr., 1878); c. also
masses, etc.
Pes'ter-Pros'ky, (i) Bertha, b. Frank-
fort-on-Main, March, 1866 ; soprano
there, then Berlin in operetta; studied
with Frau Dreyschock and reappeared
as dramatic soprano ; 1894 m. the
harpist (2) Reinhold Pester and
toured with him ; 1899 at Cologne
City Theatre.
Peters (pa'-ters). (1) Carl Fr., Leipzig
pub. firm, founded 18 14 by C. F.
Peters ; 1893, a large library was
opened to the public as the ** Biblio>
thek Peters." (2) Max Abraham, is,
«'nce 1863, sole proprietor
6oo
THE MUSICAL GUIDE
Petersen (pa'-t^r-zfin), (i) Peter
Nikolaus, Bederkesa, 1761 — Ham-
burg, 1830 ; player on, improver of,
and composer for, the nute. (2)
Mar^axete, b. Amager, near Copen-
hagen, Oct. I, 1869 ; alto ; pupil of
Geistingers and Schytte ; toured and
lives in Copenhagen.
Petersilea (pa'-t^r-se'-la-a), Carlyle,
b. Boston, Mass., Jan. 18, 1844;
pianist and teacher; pupil of his
father, and at Leipzig Cons., winning
the Helbig prize for pf. -playing ;
toured Germany with succ. , lives in
Boston , est. 1871 " The Petersilea
Acad, of Mus." ; 1886, teacher New
Engl. Cons.; 1884 studied with Liszt
at Weimar, and gave a concert at the
Singakademie, Berlin ; pub. pf.-
studies.
Petit, Adrien. Vide coclicus.
Petrejus (pa-tra'-yoos), Jns., Langen-
dorf , Franconia — N Qmberg, 1 5 50 ;
mus. -printer.
Petrella (pa-tr^l'-lsl), Errico, Paler-
mo, Dec. 10, 1813 — in poverty,
Genoa, April 7, 1877 ; v. succ.
Italian composer of operas, rivalling
Verdi's popularity, " Marco Visconti**
and**Ztf Contessa cTAmalfi^'' most
succ; pupil of Saverio del Giudice
(vin.) and Naples Conservatorium.
Petri (pa -tre), (i) Jn. Samuel, Sorau,
1738 — Bautzen, 1808; cantor and
writer. (2) H.y b. Zeyst, near
Utrecht, April 5. 1856 ; violinist ;
pupil of David ; 1882 - 89 leader
Gewandhaus Orch. with Brodsky,
then leader Dresden Ct.-orch. ; com-
poser.
Petrini (pa-tre'-ne), F«., Berlin, 1744
— Paris, 1819 ; harpist and theorist.
Petrucci (pa-troot'-che), Ottaviano
del, Fossombrone, June 18, 1466
— May 7, 1539, ^^'^' o^ mus. -print-
ing with movable types ; in 1498
received from the Council of the Re-
public of Venice a 20 years* monopoly
of mus.-printing by his method ;
15 1 1-23 at Fossombrone with a 15
vears* privilege for the Papal States ;
his method, which required 2 impres-
sions, one of the lines, one of the
notes, was beautifully managed and
specimens are valuable ; he pubL
many of the most important comps.
of his time and of previous compos-
ers.
Petms de Cruse (Pierre de la
Croix) (pa-troos dCi krQz or pl-&r dfl
la krwa), of Amiens ; a 13th cent,
writer. (Coussemaker.)
Pe'trus Platen' sis. Vide la rue.
Petschke (p£tsh'.k«). Dr. Hn. Theo-
bald, Bautzen, 1806 — Leipzig, 1888;
director and composer.
Petsch'niko£f, Alex., b. Jeletz, Rus-
sia, Feb. 8, 1873 ; violinist ; pupil
Moscow Cons.; at 10 entered Mos-
cow Cons, and took prize ; toured
Europe with great succ, 1895-96;
America, 1899 ; lives in Berlin.
Pet'tit, Walter, b. London, March
14, 1836; pupil R. A.M.; *cellist,
Philh. orch. and in the court band.
Petzmayer (p«tsh'-ml-«r), Jn., b. Vi-
enna, 1803 ; zither virtuoso.
Petzold (p«t'-ts6lt), (1) Chr., Kftnig-
stein, 1677 — Dresden, 1733 ; ct.-or-
ganist and composer. (2) (or Petz«
Sold), Wm. Leberecht, b. Licht-
enhain. Saxony, 1784; piano-maker.
(3) Eugen K., Ronneburg, Alten-
burg. 1813 — Zofingen, Switz., 1889 ;
director and organist.
Pevemage (pa-v^r-ndzh), Andr^ (or
Andreas), Courtray, Belgium, 1543
— Antwerp, 1591 ; choirm. Notre-
Dame and composer.
Pezel (pa'-ts^l) (Peze'llus Jn.), town-
musician at Bautzen and Leipzig;
writer and composer 1674.
Pezze (p^d'-z^). Ales., b. Milan,
1835 ; 'cellist ; in London from 1857;
pupil Merighi.
Pfciffer (pf!f'-fcr), K., 1833 (?)— Vi-
enna, 1897 ; dram, composer. (2)
(pf5f-fa), Jean Georges, b. Ver-
sailles, Dec. 12, 1835 ; pianist ; pupil
of Maleden and Damcke ; 1862 de-
but ; won Prix Chartier for chamber-
mus. ; critic ; member of the firm of
Pleyel, Wolff et Cie., Paris ; c. a
symph., a syn;iph. poem, Jcomm^
DICTIONARY OF MUSICIANS 601
tTArc^; pf. concertos, 3 operettas^
oratorio *^ Hafrart* t\jc.
Pfeil (pfil), H., b. Leipzig, Dec. 18,
1835 ; since 1862, ed. ** Sdt^erhalW*
(the organ of the Ssingerbund) ; c.
male choruses.
Pfitxner (pf1ts'-n£r), Hans Ehrich, b.
Moscow, May 5, 1869 ; pupil of
Hoch Cons.,* Frankfort; 1892-93,
teacher of pf. and theory, Coblenz
Cons.; 1894-95, asst.-cond. City
Th., Mayence; and prod, his succ.
mus. drama *' Der arme Ileinrich^*
(Mayence, 1895) ; also incid. mus. to
Ibsen's *' Festival on Solhaug*'*;
1897-98, teacher in Stern Cons., Ber-
lin ; c. scherzo for orch.; ballad
''I/err Oluff" for bar. rfnd orch.
(Crefeld, 1902) ; pf.-trio, etc.
Pflughaupt (pflookh'-howpt), (i)
Robt.y Berlin, 1833— Aix-la-Cha-
pelle, 1871 ; pianist and composer.
(2) Sophie (nee Stschepin), DUn-
aburg, Russia, 1837 — Aix-la-Chapelle,
1867 ; pianist. *
Pfohl (pfol), Fd., b. Elbogen, Bohe-
mia, Oct. 12, 1863 ; critic ; studied
mus. at Leipzig (1885) ; c. an orch.
suite, etc.
Pfundt (pfoont), Ernst Gotthold
Benj., Dommitzsch, near Torgau,
i8o6--Leipzig, 1871 ; tympanist ;
inv. the ** machine-head ; " wrote
method for kettle-drum.
Phal^se (fft-l^z), P. (Petrus Phale -
sius), b. Ix>uvain, ca. 15 10 ; 15451 est.
a mus. -publishing business ; 1579 re-
moved to Antwerp, as ** Pierre Phal-
fee et Jean Bell^re."
Phelps, Ellsworth C, b. Middle-
town. Conn., Aug. 11, 1827; self-
taught ; at 19 organist ; from 1857,
Brooklyn ; teacher in pub. schools
for 30 years ; c. 2 comic operas ;
symphs. '** Ilia^uaiha" and *'' Eman-
cipation ; " 4 symphonic poems ;
Psalm 145, with orch., etc.
Philidor (rightly Danican) (fe-lt-ddr
or d&-nY-k&h). A famous French
family called usually' Danican-Phil-
idor, the name Philidor being taken
from a remark of the King comparing
Jean D. with his favourite oboist
Philidor. There seem to have been
two named Michel, (i) the first,
b. Dauphine—d. Paris, ca. 1650, the
oboist whom the King praised ; the
other (2) Michel, d. 1659, ct.-mus.
(3) Jean, d. Paris, Sept 8, 1679. in
the King's military band. (4) An-
dr< D.-P. (I'alne), b. Aug. 11,1730;
cromome-plaver, and composer. He
had 16 children. (5) Jacques (le
cadet), Paris, 1657 — Versailles, 1708 ;
bro. of (4), oboist, etc., favourite of
Louis XIV.; c. military music, etc.;
he had 12 children, four of whom
were musicians, the best known being
(6) Pierre, 1681— 173 1;. flutist; c.
suites, etc., for flutes. (7) Anne,
Paris, 168 1 — 1728 ; eldest son of
(4) ; flute-player, and conductor ; be-
fore he was 20, prod, operas at court.
(8) Michel, b. Versailles, 1683, 2nd
son of (4); a /drummer. (9) Fran.,
Versailles, 1689 — 1717(18 ?), 3rd son
of (4); oboist and bass-violist ; c. flute-
pcs. (10) Fran. Andr^, Dreux,
Sept. 7, 1726 — London, Aug. 31,
1795 ; last and greatest of the family,
the youngest son of («i) ; remarkable
chess-player of European fame ; mu-
sical pupil of Campra. At 30 he sud-
denly began to prod, operas with
great succ, his best works being the
following (among 25 notable for orch.
and harm, brilliance): **Z^ DiabU it
ijuatre'' (Op.-Com., 1756) ; ** Z^
Mar/chai** (1761), performed over
200 times; " Z> Sorcier" and " Tom
Jones** (only 8 weeks apart, in 1704 ;
the latter containing the then novelty
of an unaccompanied quartet); the
grand op>era, his best work, * Erne-
linde** Y'ji^'j (revised, 1769, as '* Sando'
mir**), Biog. by Allen (Philadelphia,
1863). He had four sons all ct. mus. :
(11) Pierre, Paris. 1681 — i74o(?) ;
oboist, flutist and violist ; c. suites and
prod, a pastorale at court. (12)
Jacques, 1686— 1725, oboist. (13)
Francois, 1695 — 1726, oboist. (14)
Nicolas, 1699 — 1769; played the
serpent, etc.
6o2 THE MUSICAL GUIDE
Fhil'ipp, Isidor (Edmond), b. Pesth,
Sept. 2, 1863 ; pianist ; a naturalised
French citizen ; came to Paris as a
child ; at 16 pupil of Georges Ma-
thias, at the Cons. ; won ist. pf .-prize,
in 1883 ; studied with Saint-Saens,
Stephen • Heller, and Hitter ; played
with succ. in European cities ; est.
concerts (with Loeb and Berthelier),
producing modem French chamber-
comps.; reorganised the *' Soci^te des
instr. k vent *' ; cofounder and pres.
of the ** Soc. d* Art " ; pub. a '' SuiU
fantastique^^* a ** River ie m/lanco^
liquet'* a ** S/r/ftade humoristique^*
for orch., etc.
Philippe, (j) de Caserte. Vide ca-
SBRTA. (2) de Mons. Vide monte.
(3) de Vitry. Vide vitry.
Philipps, (I) Peters (or Petrus
Philip'pus, Pietro Filip'po), Eng-
land, ca. 1560 — ^April, 1625 ; organist
?.nd composer. (2) Arthur, b. 1605,
organist at Oxford, prof., and com-
poser. (3) Henry, Bristol, 1801 —
Dalston, 1876 ; bass-barytone. (4)
Wm. Lovell, Bristol, 1816 — 1860;
'cellist and composer. (5) Adelaide,
Stratford-on-Avon, 1833 — Carlsbad,
1882 ; noted contralto, taken to
America as a child ; pupil of Garcia ;
d^but, Milan, 1854.
Philomath' es, Wenzeslaus (called.
** de Novadomo," because born at
Neuhaus, Bohemia), pub., 15 12,
a treatise.
Philp (flip), Elizabeth, Falmouth,
1827 — London, Nov. 26, 1885 ; sing-
er and writer.
Phil'pot, Stephen Rowland, living
Engl, composer ; pupil of Macfarren.
R. A. M., c. operas (not prod.), etc.
Piatti (pe-at'-te), (i) Carlo Alfredo,
Bergamo, Jan. 8, 1822 — Bergamo,
July 19, igoi ; 'cello-virtuoso (son
of a violinist, (2) Antonio P., d.
Feb. 27, 1878) ; pupil of his grand-
uncle, Zanetti, and of Merighi, Milan
Cons.; dibut, Milan, 1838; at 7 had
played in an orch., 1849, ist 'cello
It. opera, London ; from 1859 at
Monday and Saturday Pop. Concerts
of chamber-mus. ; pub. a method for
'cello, 2 'cello-concertos, vocal mus,
with 'cello obbligato, etc.
Piccinni (or Piccini or Picinni) (pU-
chln'-ne), (i) Nicolk, Bari, Jan. 16,
1728 — Passy, near Paris, May 7,
iSoo ; operatic * composer, famous
as a rival of Gluck. Son of a mu-
sician who opposed his tastes. The
Bishop of Bari recognising his talent
and irrepressible passion for music
overcame opposition, and at 14 he
entered the Cons, di San Onofrio,
Naples, remaining for 12 years, as
favourite pupil of Leo and Durante.
He entered into competition with the
popular Logroscino, and prod, the
V. succ, opera- buff a ** Le Donne Dis-
pettose*' (1754), followed by (1755)
** Gelosia per Gelosia " and * V/ Curl-
050 del suo proprio Danno " y which
had the unprecedented run of four
years, *'^ Alessandro nelle Indie"*
(Rome, 1758), and ** Cecckina Zitel-
la^ 0 La Buona Figliuola " (Rome,
1760), the mo^t success, work of its
kind in Europe, though written in 3
weeks, were hailed as masterworks.
His new dramatic fervour and his ex-
tended duets and varied finales gave
him such prestige that he is said to
have c. 133 dramatic works, incl. ** //
AV Pasfore "(17O0) ; ** VOlimpiade "
(1761) previously though less sncc.
set by Pergolesi, Galuppi and Jomcl-
li; revised 177 1 ; *' Berenice '^i^bAtY,
*' Le Cecckina Maretata" (1765);
•* Didone abbandonata "(1767) ; " ^w-
tigotu'* (177 1). I773» the Roman
public favoured his pupil Anfossi, and
hissed one of P.*s operas, which pros-
trated him with grief ; on recovering
he regained favour with * / Via^i^
atori, " In response to flattering in-
vitations in 1776 he removed with his
family to Paris, spent a whole year
learning the tongue and writing his
first French opera, **" JRoland** (Opera,
1778), which had a succ. said to be
due largely to the necessity the anti-
Gluck faction was under to find a ri>
val. The war betwea the**GludE«
DICTIONARY OF MUSICIANS 603
ists *' and ' ' Piccinists " was violent
and incessant, though P. regretted
his position and made a vain effort
after Gluck's death, to raise a fund
for annual concerts in his memory.
He had succ. with the following
French operas, ** Le fat mJprise"
(1779K ''Atys'* (1780). ^^Didonr
*' Le dormeur /vvilii'" and " Z^ faux
Lord"" (all 3 in 17S3). In 1778, as
dir. It. Oj>era, whose j)erforniances
alternated with the Krcnch company
at the Opera, he produced his best
Italian works with succ. The man-
agement simultaneously commissioned
both Gluck and P. to set the opera
'' Jphi^Mie en Tauride'' ; P. had
his libretto rewritten by Ginguen^,
and his version was delayed till
after Gluck hud made a triumph
and left Paris. P.*9 opera, though
usually called a failure, ran 17 nights
in spite of having an intoxicated
prima donna on the first night to start
the joke ** Iphig/nie en Champagne*\
Half a dozen others failed or were
never performed. A new rival, Sac-
chini, now appeared. When this sec-
ond succ. rival died, the large-hearted
Piccinni delivered a glowing funeral-
eulogy over him. 1784, he was Mai-
tre de chant at the new " Ecole roy-
ale de musique et declamation." His
last operatic attempts in French were
unsiicc. At the outbreak of the Rev-
olution he lost his positions, and re-
tired to Naples, on a pension. But
his daughter m. a young French rad-
ical 1, and P.^ suspected of republican-
ism, was kept a prisoner in his own
house for four years, in extreme pov-
erty. 1798, he returned to France,
was feted at the Cons., presented
with 5,000 francs and small irregular
pension. He was prostrated for some
months by paralysis ; a sixth inspec-
torship was created at the Cons, for
him, but he soon fell ill and died.
(2) Luig^i, Naples, 1766 — Passy,
July 31, 1827 ; son and pupil of above;
ct.-cond. at Stockholm ami dr. com-
poser. (3) Louis Alsx., Paris ^779
(I
— 1850 ; grandson and pupil of (i) ;
conductor and dram. -composer.
Piccolomini (pik-kc-lo'-me-ne), Ma-
ria, b. Siena, 1836 ; mezzo-soprano
of ' ' hardly one octave and a half-
compass " (Chorley), but so excellent
an actress, that she became a great
rage ; pupil of Mazzarelli and Rai-
mondi, Florence ; debut there 1852,
with great succ, sang in Italy, I>on-
don, Paris and New York' (1858) ;
1863, m. the Marquis Gaetani, and
retired from the stage.
Pichel (or Pichl) (pesh'.*l), Wensel,
Bechin, Bohemia, 1741 — Vienna,
1805 : violinist ; c. 700 works.
Picinni Vide piccinni.
Piel (pel), Peter, b. Kessenich, near
Bonn, Aug. 12, 1835 ; from x868,
teacher ]k>ppard-on- Rhine ; 1887,
R. Mus.-Dir.; wrote a harm.; c. 8
Magnificats (in the church-modes),
etc.
Pieragon, or Pierchon. Vide la
KUR.
Piem^ (p'y^r-na) (H. Constant) Ga«
briel, b. Metz, Aug. 16, 1863 ; pu-
pil of Marmontel, Cesar Franck and
Massenet, Paris Cons.; won ist prize
(1879), do. for opt. and fugue (t88i),
do. for organ (1882) and Grand prix
de Rome (1882); 1890, organist Ste.
Clothilde (vice Cesar Franck); 1893,
prod, spectacle ** Bouton d*or"^ op-
era, **/«///" (1804) ; succ. ''Vendic'*
(Lyons, 1897); a hymn to the Russian
visitors, ''La FraterntiU*' 1893,
etc.
Pierre (pY-&r'), Constant, b. Passy,
Aug. 24, 1855; pupil of Paris Cons.;
bassoon-player; assist, sec. at the
Cons.; ed. **/> Monde musical";
wrote a history of the Opera orches-
tra (for which the '* Soc. des compos-
iteurs" awarded a prize, 1889), etc.
Pier' son, (i) or Pler'zon. Vide la
RUfi. (2) (rightly Pearson), Henry
Hugo (early pen-name "Edg^ar
: Mansfeldt"), Oxford, 1815— Leip-
I zig, 1873; prof, of mus.; prod, m
Germany 4 operas. (3) Pierson-
Brethol (bra'.tol),Bertha, b. Vienna.
6o4
THE MUSICAL GUIDE
July 15, 1 861; soprano; studied with
Laufer, Varesi and Lamperti , debut,
Graz ; toured U. S. 1882-84 ; 1884-
88 in Italy singing Wagner, etc.;
then Berlin 1882 ; retired 1897 ; wife
of (4) Henry, 1851 ?— Berlin, Feb.
17. 1(^2 ; opera-director; from 1889,
court-dir. at Berlin.
Pieterez (pe'-t^-ras), Adrian, b.
Bruges, early 15th cent.; first known
org. -builder in Belgium.
Piston (pt-a-ton), Loyset, French
contrapuntist, 1531.
Pig'gott, (i) Francis, d. 1704 ; Engl,
organist at Oxford ; composer. (2)
Francis, Jr., d. 1736 ; son and succ.
of above.
Pilk'ington, Francis, Engl, lutenist
and composer, 1595-16 14.
Pilotti (pe-lot'-te), Giuseppe, Bo-
logna, 1784 — 1838; son and succ. of
an org. -builder ; professor, writer and
dram, composer.
Pinel'li, Ettore, b. Rome, Oct. 18,
1843 ; violinist ; pupil of Ramaciotti
and Joachim ; 1866, founded (with
Sgambati) soc. for classical chamber-
mus.; 1874, the " SocietA Orchestrale
Romana," which he cond. ; since
1877, in the Liceo Musicaie ; also
cond. ct. -concerts alternately with
Sgambati; c. overture *^^ Rapfodia
italiana^* etc.
Pinner, Max, New York, 185 1 — Da-
vos, Switzerland, 1887; pupil Leip-
zig Cons, and of Tausig ; pianist and
teacher.
Pinsuti (ptn-soo'-te), Ciro, Sinalunga,
Florence, 1829 — Florence, 1888 ; fa-
mous vocal teacher at the R. A. M.,
London, from 1856; composer of op-
eras and very popular songs.
Pintt, (i) Thos., b. Engl., d. Ireland,
1773 ; remarkable pianist. (2) G.
Fred., Lambeth, 1786— Little Chel-
sea, 1806 ; grandson of above ; vio-
linist, pianist, singer and composer.
Piozzi (pe-6d'-ze), Gabriel, b. Florence;
d. Engl., 1809; teacher and composer ;
immortal chiefly for having married
Dr. Samuel Johnson's Mrs. Thrale,
1784.
Pipegjop (pe'-p5-gr6p) (called Bafy-
phonus), H., Wemigerode, 1581—
Quedlinburg, 1655 ; town-cantor and
theorist.
Pipelare (pe-p£-U'-r£), Matthaens,
i6th cent. Belgian composer.
Plrani (pe-ra'-ne), Eugenio, b. Bo-
logna, Sept. 8, 1852 ; pianist ; pupil
of Golonelli, Bologna Liceo Musicaie,
and of Th. Kullak (pf.) and Kiel
(comp.); 1870-80 in KuUak's Acad.;
lived in Heidelberg till 1895, then
Berlin ; wrote essays ; c. symph.
poem, ''*' Heidelberg** etc.
Pisa (pe'-za), Agostino, wrote earliest
known treatise on conducting, etc.
(2d ed., Rome, 161 1).
Pisari (pe-slL'-rd), Pasquale, Rome,
1725 — 1778 ; bass-singer and com-
poser, whom Padre Martini called
the •* Palestrina of the i8th cent."
Pisaroni (pe-sa-rd'-ne), Benedetta
Rosamonda, Piacenza, 1793 — 1872;
high soprano ; after an illness became
a contralto.
Pischek (pe'.sh£k), Jn. Bap.,
Mscheno, Bohemia, 18 14 — Sigma-
ringen, 1873 ; barytone.
Pisendel (pc -z^nt-dl), Jn. G., Karls-
burg, 1687 — Dresden, 1755 ; violinist
and composer.
Pistocchi (pes-tok'-ke), Fran. Ant.,
Palermo, 1659 — Bologna, after 1717;
founder of famous Sch. of Singing at
Bologna ; c. operas.
Pitoni (pe-td'-ne), Gius. Ottavio, Ri-
eti, Italy, March 18, 1657 — Rome,
Feb. I, 1743 ; an eminent teacher
and composer ; pupil of Natale and
Froggia ; from 1677 cond. Coll. of
San Marco, Rome ; c a Dixit in 16
parts for 4 choirs, etc.
Pitt'man, Josiah, 1816; organist,
composer, writer and lecturer.
Pittrich (ptt'-trYkh), G. Washing^ton,
b. Dresden, Feb. 22, 1870; studied
Dresden Cons., graduating with high
honours ; from 1890, chorusm. Dres-
!ri ct.-opera, also cond. operas, bai-
ts, etc., and taught chorus-singing
HI the Cons.; 1898, cond. Hamburg
opera ; 1899, ist cond. Cologne op-
kMHM
DICTIONARY OF MUSICIANS 605
era ; c. i-act opera " Marga " (Dres-
den, Feb. 8, 1894); incid. mus., a
clarinet-concerto, etc.
Piutti (pe-oot'-te), (i) K., Elgersburg,
Thuringia, April 30, 1846 — Leipzig,
June 17, 1902; notable organist ; pu-
pil, and from 1S75, teacher Leipzig
Cons.; 1880, also organist Thomas-
kirche ; wrote a harm.; c. 6 fugal
fantasias, 8 preludes, *' Wedding So^
nata^^ etc., for organ. (2) Max.,
Luisenhall, near Krfurt, 1852 — Jack-
son, Mich., 1885; brother of above;
writer, teacher and composer.
Pixis (pex'-es), (i) Fr. Wm., Mann-
heim, 1786 — Prague, 1842 ; violinist
and conductor. (2) Jn. Peter,
Mannheim, 1788 — Baden - Baden,
1874 »' l^ro. of above ; pianist, teach-
er and dram, composer.
Pizzi (ptd'-ze), Emilio, b. Verona,
Feb. 2, 1862 ; pupil of Ponchielli and
Bazzini, Milan Cons., graduating
18S4 ; took ist prize Milan, 1885, for
i-act opera ^^Lina^*; ist and 2d
prize, Florence, for 2 string quartets ;
prize of 5,000 francs, Bologna, 1889,
for succ. grand opera "'^Guglielmo
RiUclif (Bologna, 1889) ; 1897, dir.
of mus.-sch. at Bergamo and at church
of S. Maria Maggiore ; c. also 2
I-act operas ^^GabrUih" and ^^Ro-
salba" (written for Adelina Patti,
1893-96), etc.
Plaidy (plT'-de), Louis, Huberts-
burg. Saxony, Nov. 28, 18 10 — Grim-
ma, March 3, 1874 ; eminent pf.-
tcacher ; pupil of Agthe and Haase ;
at first a violinist ; 1843, invited by
Mendelssohn to teach at the then new
Leipzig Cons., and did so till* 1865 ;
wrote text-books.
Plank (plank), Fritz, b. Vienna, Nov.
7, 1848: studied with Fr. Schmitt
and Gansbacher ; sang at Carlsruhe
and lives there ; sang at Bayreuth
since 1884, " Hans Sachs,'* etc.
Planquette(pl£ln-kdt), (Jean) Robert,
b. Paris, July 31, 1850; studied
comp. with Duprato, Paris Cons., c.
chansons and ^^Saynhes" for "ca-
fe»-concerts " ; prod. succ. i-act op-
eretta " Pailie d'Avoim*' (1874? fol-
lowed by others incl. the still pop.
comic opera, **Z« Cloches de Corner
vilU " (Folies - Dramatiques, 1877),
given over 400 times, consecutively,
and widely p>opulir elsewhere (known
in Engl, as * 'Chimes of Normandy");
later works incl. ** Mam'zeile Quaf
sous'** (Gait^, 1897) and for London
*' The Old Guard" (1887). and
''Paul Jones" (1889).
Plantade (plan-tild), (i) Chas. H.,
Pontoise, 1764 — Paris, 1839 ; prof, of
singing at Paris Cons. ; ct.-conductor
and dram, composer. (2) Chas.
Fran., Paris, 1787 — 1870; son of
above ; composer.
Plants (plfifi-ta), Fran., b. Orthez,
Basses Pyrenees, March 2, 1839 ; pi-
anist ; pupil of Marmontel at Paris
Cons. ; won ist prize after 7 months'
tuition ; pupil of Bazin (harm.) then
self-taught for 10 years ; reappeared
with succ. ; c. transcriptions.
Plantania (plan-ta -nY-a), Pietro, b.
Catania, April 5, 1828 ; pupil of P.
Raimondi, at the Cons, there ; 1863,
dir. Palermo Cons.; later cond. Mi-
lan (1888). dir. R. Coll. of Mus. at
Naples; wrote a treatise on canon
and fugue : c. 5 operas ; a symph.
'' I) Italia" ; funeral symphony in
memory of Pacini, festival symph.
with choruses to welcome King Hum-
bert in 1878, etc.
Platel (plii-t£l). Nicolas Jos., Ver-
sailles, 1777 — Brussels, 1835 ; 'cellist;
prof, and composer.
Pla'to, eminent Greek philosopher, 429
— ^347 B.C.; formulated in his'*7V-
tnaeus" a system of harm., interpret-
ed in Th. H, Martin's '' £iudes sur
les Timie de Plaion" etc.
Play'ford, (i) John, 1623 — 1693 ;
London mus. -publisher. .(2) Henry,
his son and successor, 1657 — 1710.
Ples'ants, Thos., 1648— 1689; or-
ganist at Norwich.
Pleyel (pli'-«l, or pl«'-y61), (i) Ignas
Jos., Ruppertshal, near Vienna,
June 1, 1757 — at his estate near Paris,
Nov. 14, 183 1 ; pianist, ct. cond.;
6o6
THE MUSICAL GUIDE
founded, 1 797, at Paris a piano factory
still known as Pleyel, Wolff & Co.; c.
29 symphs., sonatas, etc. (2) C»-
mille, Strassburg, 1788 — Paris, 1855;
son, pupil and successor of above ; a
pianist and composer ; his successor
in business was August Wolff. (3)
Marie F^licit^ Denise, Paris,
18 1 1 — St.-Josse-tcn-Noode, 1875 ;
wife of (2) ; pianist and teacher.
PlUddemann (plat'-d^-miin), Martin,
Kolberg, 1854— Berlin. 1897 ; con-
ductor and singing teacher, writer
and composer.
Plutarch (Plutar'chos) (ploo'-tark),
Chaeronea, Boeotia, ca. so-a.d. —
120 (131 ?) ; the Greek biographer ;
wrote treatises **j9^ musicoy* con-
taining important data.
Poenitz (pa -nttsh), Fz., b. Bischofs-
werda, Aug. 17, 1850; harpist;
studied with Weitzmann, Berlin ;
since 16 at the ct. opera ; composer.
Pohl (pol), (i) K. Fd., Darmstadt,
1819 — Vienna, 1887 ; writer. (2)
Richard, Leipzig, 1826 — Baden-
Baden, 1896 ; ed. and writer (pen-
name " Hant •*). (3) Bd. Vide
POLLINI.
Pohlenz (po-l^nts), Chr. Aug., Saal-
gast, Niederlausitz, 1799 — Leipzig,
1843 ; organist, conductor and com-
poser.
Poise (pwilz), Jn. Alex. Fd., Nfmes,
1828 — Paris, 1892 ; dram, composer.
Poisot (pwfi-z6), Chas. Emile, b.
Dijon, France, July 8, 1822; pianist;
pupil of Paris Cons.; co.-founder
*• Soc. des Compositeurs"; founder
and dir. Dijon Cons., also from 1872
cond. Soc. for Sacred and Classical
Mus. ; dram, composer and writer.
Poiszl (poish'-'l), Jn. Nepomuk,
Freiherr von, Haukenzell, Bavaria,
1783 — Munich, 1865; dram, com-
poser.
Pdlchau (p^l'-khow), G., Cremon,
Livonia, 1773 — Berlin, 1836; libra-
nan and collector.
Pole, Wm., b. Birmingham, Engl.,
April 22, 1 8 14 ; Mus. Doc. Oxon.,
1864 ; 1876-90, examiner in Mus.
London Univ.; writer; c. Psalm 100
in cantata-form, etc.
Polidoro (p6-li-d6'-r6), (i) Giuseppe,
d. Naples. 1873; singing - teacher,
Naples Cons. (2) rederico, b.
Naples, Oct. 20, 1845 ; son and pu-
pil of, above; studied with Lillo,
Conti and d'Arienzo, essayist and
historian under pen-name ** Acuti."
Polko (p61'-ko) (nee Vogrel), £lise,
Wackerbarthsruhe, near I )resden,
1826 — Munich, i8<)9; mezzo-soprano
and writer of romantic musical es-
says.
Pollarolo (p61-la-r6'-16), (i). Carlo
Fran., Brescia, 1653 — Venice, 1722 ;
orgs^nist and dram, composer. (2)
Ant., Venice, 1680—1750; son and
successor of above, and dram, com-
poser.
Polledro (pol-la-dro). Giov. Bat.,
Piovi, n. Turin, 1781 — 1853 J violin-
ist, cond. and composer.
Pollini (pol-le'-ne), (i) Fran., Laibach,
Camiola, 1763 — Milan, Sept. 17,
1846 ; pianist and pf.-prof., 1809, Mi-
lan Cons.; perhaps the first to write
pf .-music on 3 staves. (2) Ed. (rightly
Pohl), Cologne, Dec. 18, 1838—
Hamburg, Nov. 27, 1897 ; tenor,
later barytone ; but more famous as
manager; his second wife was Bianca
Bianchi. (3) Cesare, Cavaliere de,
b. Padua, July 13, 1858; studied
with Bazzini, Milan ; 1883-85 dir. of
a Cons, at Padua ; resigned to write
and compmse.
Pollitzer (p61'-llts-gr), Ad., b. Pesth,
1832 ; violinist ; pupil of BOhm (vln.)
and Preyer (comp.), Vienna; toured
Kurop>e, then studied with Alard at
Paris; 1851 leader II. M.'s Th.,
London ; later New Philh. Soc. ;
prof, of vln., London Acad, of Mus.;
since 1890, director.
Polonini (p6-lo-nc'-nY), (i) Entimio,
Italian bass ; debut, London, 1847.
(2) Aless., d. 1880 ; son of above ;
barytone.
Ponchard (poh-shllr), (i) L. Ant.
^l^onore, Paris, 1787 — 1866; tenor
and prof, at the s.'ons. (2) Chas.,
DICTIONARY OF MUSICIANS 607
Paris, 1824 — i8qi ; son of above ;
teacher at the Cons.
Ponchielli (pdn-kt-^r.le), Amilcare,
Paderno Fasolaro, Cremona, Aug.
31, 1834 — Milan, Jan, 16, 1886; op-
era composer ; pupil Milan Cons. ;
organist, then bandmaster, 188 i;cond.
Piacenza Cath. from 1856; c. 10 op-
eras, incl. *' La Giaconda^*' widely
popular : 1902 his son discovered a
MS. opera *V Mori di Valenta'*
(composed. 1878-79).
Poniatowski (p6-nt-a-t6f'-shkT), Jozcf
(Michal Xawery Franciszek
Jan), Prince of Monte Kotondo,
Rome. 1816 — Chiselhurst, Engl.,
1873 ; tenor and dram, composer.
Pttnitz (pa'-ntts), F«., b. Hischofs-
werda, W. Prussia, Aug. 17, 1850 ;
pupil of L. Grimm ; from 1866,
harpist Berlin royal orch.; 1891
'* chamber-virtuoso ;"c. opera ** Cle-
opatra** etc.
If ons (pons)^ Jo8^, Gerona, Catalonia,
1768— Valentia, 1818; composer.
Ponte, Lorenzo da. Vide da ponte.
Pont^coulant (p6n>ta-koo-Un), L.
Ad. le Doulcet, Marquis de, Paris,
1794 — Bois Colombe, near Paris»
1882 ; writer.
^ontoglio (p6n-tdr-y5), Cipriano,
Gnimello - del - Piano, Italy, 1831 —
Milan, 1892 ; dir. ; c. operas.
i^oole, Elizabeth, b. London, April
5, 1820; mezzo-soprano and violin-
ist.
Popper (pop'-p^r), David, b. Prague,
June 18, 1845 ; prominent 'cellist ;
pupil of Goltermann, Prague Cons.;
a member of Prinre von Hechingen's
orch., at Lftwenburg ; since 1863 has
toured Europe with greatest succ. ;
1868-73, 1st cello, Vienna ct.-orch.;
1872 m. Sophie Menter (divorced,
1886) : c. excellent and pop. 'cello-
pcs., a concerto, etc.
Porges (p6r'-g?s), H„ b. Prague,
Nov. 25. 1837 ; pupil of MttUer (pf.),
Rummel (harm.) and Zwonar (cpt.) ;
1863 co.-ed. *' Neue Zeitschrift fur
Musik "/ friend and champion of
Wagner ; lived in Vienna; 1867 was
called to Munich by King Ludwig
II.; pf.-teacher R. Sch. of Mus. ana
since 1871 R. Musikdirector ; writer
and comooser.
Por'pora, Niccol6 A. (wrote his name
** Niccold," printed it as here),
Naples, Aug. 19. 1686 — 1766 (or 67);
eminent vocal teacher at London,
1729-36 ; ct.-conductor ; as dram,
composer, rival of Hfindel« c. about
50 operas.
Perporino (-re'-n6). Vide uberti.
PbrtJEi (p6r'-t&), (k) Padre Costanzo,
Cremona, ca. 1530— Padua,- i6oi ;
writer and composer. (2) Fraiu
della, Milan, ca. 1590— 1666 ; com-
poser. (3) Gioy., Venice, ca. 1690—
Munich, 1755 ; ct.-cond. and dram,
composer.
Por'tcr, (i) Walter, d. London, 1659;
tenor and composer, (s) Samuel,
Norwich, 1733 — 1810 ; organist and
composer. (3) Frank Addisom
b. Dixmont, Maine, Sept. 3, 1859;
graduate, N. E. Cons., Boston, later
piano prof, there ; studied later at
Leipzig; since 1892 also supt. Nor-
mal Course for pf.; pub. a pi'.-meth-
od, etc. ; c. prelude and fugve; etc.
Portraann, (i) Richard, organist
Westminster Abbey, 1633, etc. (2)
Jn. Gl., Oberlichtenau, Saxony, 1739
— I>armstadc, Sept. 27, 1798 ; singer
and theorist.
Portugal (Portcmllo) (p6r-tii-gfir or
por-to-gfil'-lo), i.e., "The Portu-
guese"), Marcos A. (ace. to Vascon-
cellos, rightly "Portugal da Fon-
seca," not M. A. Sim&o as in Fetis).
Lisbon, March 24, 1762 — of apoplexy,
Rio de Janeiro, Feb. 7, 11*30; the
most emment of Portuguese compos-
ers ; studied Italy and prod. 3 operas
there; 1790 ct.-cond. Lisbonv also
theatre cond. and produced 20 operas ;
18 10 followed the court to 'Rio and
prod, operas ; 1 8 13 dir. of a Cons,
at \'era Cruz.
Pcthier (p5t-ya), Dom Jos., b. Boua^e-
mount, near Saint-Die, Dec. 7, 1835 ;
1866, prof, of theology Solesmes
monastery ; writer and theorist.
6o8
THE MUSICAL GUIDE
Pott» August, b. Nordheim, Hanover,
Nov. 7, ido6 ; violiaist and composer,
pupil of Spohr.
Potter, Philip Cipriani Hambiy,
London, Oct. 2, 1793 — Sept. 26,
187 1 ; pianist, writer and composer.
Pouffin, Fran. Aug, Arthur (Pa-
roisse), b. Chateauroux, Indre,
France, Aug. 6, 1834 ; pupil Paris
Cons.; 1856-59, asst.-cond. Folies-
Nouvelles ; till 1863, violinist at Op.-
Com., then important critic, essayist
and biographer ; ed. the supplement
to *'/y/ix"(i878).
Po«7'ell, Walter, (i) Oxford, 1697^
1744 . counter-tenor. (2) Maud, b.
Illinois, 1868 ; first notable American
wof^an violinist ; pupil of Lewis,
later in Paris and of Schradieck,
Leipzig, and of Joachim : has toured
widely with success Europe and
America.
Pradher (rightly Prad^re) (pr&d-a, or
prii-d&r'), Louis Barth61em7, Paris,
1 78 1 — Gray, Haute-Saone, 1843;
noted teacher at the Cons, and the
court ; pianist, and dram, composer.
PrAirer (pra-gdr), (i) H. Aloys P.,
Amsterdam, 1783 — Magdeburg, 18J4;
violinist and conductor. (2) rd.
Chr. Wm., Leipzig, Jan, 22, 18 15 —
London, Sept. I, 1891 ; son and pu-
pil of above; 'cellist, later pianist
and writer ; c. symph. poem ** Li/e
and Lo7*e^ Battle and Victory^* o^tX"
iurc'' AMtino,** etc,
Priitorius (prii - to' - r Y- oos) (Latin-
ised form of Schuiz(e)), (i) Gott-
BChalk, Salzwedel, 1528 — Witten«
hcrg, 1573; writer. (2) Chp., b.
Silesia(?) ; pub. a funeral song on
Melanchthon (1560). (3) Hieron-
ymus, Hamburg, 1560-— 1629 ; son
of an organist ; organist ; c. church-
mus., etc., with his son (4) Jakob,
d. 165 1 ; organist. (5) Barthoio-
miius, compKiser, Herlin, 161 ^>. (6)
(or Praetorius), Michael, Krcuz-
bcrg. Thuringia, Feb. 15. 1571(72) —
'l^'olfenbttttel, Feb. 15. 1621 ; conduc-
tor and ct. -organist. Eminent as a
composer pf church- and dance-mus.;
wrote valuable historical ** Syntagma
musicum."
Pratt, (i) J.^ Cambridge, Engl.. 1772—
1855 ; organist and composer. (2)
Chas. E., Hartford, Conn., 1841-^
New York, 1902 ; pianist, cond. and
composer. (3) Silas Gamaliel, b.
Addison, Vt.. Aug. 4, 1846; Promi-
nent American composer for orch. ;
at 12 thrown on his own resources,
became a clerk in mus. -houses ; stud-
ied with Bendel, and KuUak (pf.),
Wuerst and Kiel(comp.); 1871 or«
ganised Apollo Club, Chicago ; 1875,
returned to Berlin, and studied with
li. Horn ; prod. ** Aunivirrsary
Overture^* there 1876; 1877, Chica-
go ; gave symph. concerts, 1S78, and
prod, his opera *^ Zenohia** 1882;
1885, gave concerts of his own
comp. Crystal Palace, London ; since
1890, pf.-prof. N. Y. Metropolitan
Cons.;c. lyric opera ** Lucille * (Chi«
cago, 1887) ; *• TAe Last Jtua^ can.
tata with orch. which rin for three
weeks ; 2 symphs. (No. 2 the notable
'' Prodii^al Son''), *' Magdalenat
Lament ** (based on Murillo*s picture)
for orch.; an excellent symph. suite.
The Tempest** ; a grotesque suite
The Brownies**; cantaU ** O
lumbus** etc.
Prat'ten, (i) Robt. Sidney, Bristol,
1824-^ Kamsgate, 18C8 ; flutist and
composer. (2) Fr. S., d. 1873; bro.
of above ; contrabassist.
Predieri ^ra-dY-i'-re), (i) Giacomo
Cesare, d. after 1711 ; from 1696
cond. at Bologna Cath. ; c. orato*
rios, motets, etc. (2) Luca Ant., Bo-
logna, 16S8 — 1769; ct.-cond. and
dram, composer.
Preindl (print' M), Jos., Marbach. \/am*
er Austria, 1756 — Vienna, 1823;
conductor, writer and collector.
Preitz (prits), Fz., b. Zerbst, Aug.
12, 1856 ; concert-organist ; pupil of
Leipzig Cons., singing>teacher, ^erbiC
Gymnasium, and cantor at the ct.«
church ; pub. a requiem, etc.
Prell (pr£l), (1) Jn. Nicolaua, Haf»
taig, 1773 — 1849^ 'cellist and teadMIi
i<
i(
DICTIONARY OF MUSICIANS 609
(2) Attgf. Chr., b. Hamburg, Aug. i,
1805 ; son and pupil of above ; from
1822, 2nd *ceUo at Meiningen ; from
1825 1st *ceilo, Hamburg ; pensioned
1869.
Prelleur (pr^r-lfir), Peter, d. before
1758 ; Engl organist, writer and
composer.
Prentice, Thos. Ridley, Paslow
Hall, Ongar, Essex, 1842 — Hamp-
stead, 1895 ; teacher, pianist and
writer.
Pres'sel, Gt Ad., Tubingen, 1827 —
Berlin, i8qo; dram, composer.
Prea'aer, Theodore, b. Pittsburg,
Pa., July 3, 1848 ; Philadelphia pub-
lisher ; 1883, founded and has since
ed. •* The Etudt** transl. text-books,
etc.; c. instructive pf.-pcs., etc.
Pr^TOSt (pra-vo), Eugene Prosper,
Paris, Aug. 23, 1809 — New Orleans,
Aug. 30, 1872 ; conductor and sing-
ing'teacher; prod, operas in Paris
and New Orleans.
Prerosti (prft-vds'-te), Franches-
china, b. ilivomo, 1865 ; her mother
was English ; she studied with Ron.
coni at Milan and d<$but at I^ Scala ;
toured widely ; from 1890 in Germany
winning especial succ. in " Za Tra^
viatar
Preyer (pil'-2r), (i) Gf., Hausbrunn,
Lower Austria, May 15, 18(39— Vien-
na, 1901 ; organist ; pupil of Sechter ;
1838, prof, of harm, and cpt. at the
Cons.: 1844-48, dir.; 1844, also
▼Ice ct.-cond. ; 1846, ct. -organist ;
1853, con. at St. Stephen's; 1876,
pensioned as ** Vice-Hofkapellmeis-
ter"; prod. 3 operas, masses, etc. (3>
Wm. Thierry, b. Manchester, Engl.
July 2. 1841 ; studied Bonn Univ. ;
1869-94 prof, of physiology. Jena ;
acoustician.
Prillpp (pre'-lfp), Camille, mus. sell-
er at Paris, c. 400 pf.-pcs., some
very pop. under pen-name C. ** Schu-
bert.
Prill (prtl), K., b. Berlin, Oct. 22,
1864 , son and pupil of a mus.-
dir., and pupil of^ Helmich, Wirth,
md Joachim (at the Hocbschum^
violinist; 1883-85 leader Bilse's
orch.j 1885 at Magdeburg; from
1891, of the Gewandhaus Oich.,
Leipzig; later at Ntlrnberg; 1901,
at Schwerin (vice Zunipe).
Prime-Stevenson (originally Steven-
son), Edw. Irenaeus, b. Madison,
N. J.; prominent writer and critic ;
grad. Freehold Inst., N. J., 1881
book reviewer and critic N. Y. " /«-
dependent*'; also from 1895 of
*'*' Harper's Weekly''^; 1899, because
of an inheritance added ** Prime *' to
his name and lives abroad, chiefly at
Vienna; writer of mus. novels, *" A
Matter of Tevtperament** '* Sylvester
Sand"; Also " ir/iite Coeiades "etc.,
and a coll. of sketches, *^ Stmie Men
and Women^ and Music. ''^
Pring, (i) Jacob C, Lewisham, Eng.,
1771 — 1799 ; organist and composer.
His 2 brothers were (2) J 08., Ken-
sington, i776^Bangor, 1842; organ-
ist, writer and composer. (3) Isaac,
Kensington, 1777 — Oct. 18, 1799 ;
organist.
Printz (prints), W. Caspar, Wald-
thurn. Upper Palatinate, 164 1 — So-
rau, 1717 ; cantor and theorist.
Proch (prokh), H., Bohmisch-Leipa,
June 22, 1809 — Vienna, Dec. 18,
1878 ; noted vocal teacher and con-
ductor ; c. comic opera and famous
vocal variations.
Prochaska (pro-khSs'-kfi), Ludwig,
Prague, 1835 (?>— July 18, 1888;
singing teacher and composer of pop.
Bohemian dances and songs.
Prolcsch (proksh), (i) Josef, Reichen-
berg, Bohemia, 1794 — Prague, 1864;
pianist, writer and composer; founded
• pf.-schooi ; his children and suc-
cessors were (2) Theodor, 1843—
187^ ; and (3) Marie.
Prony (pro-ne), Gaspard Claire
Fran M. Riche, Baron de, Chame-
lot. France, 1755 — Paris, 1839;
harpist anH writer.
Proske (prosh'-J*?). K., Grttbnig, Up-
per Silesia. 1794— Ratisbon, 1861 \
canon, conductor, publisher, editoi
and composttf •
6io
THE MUSICAL GUIDE
^rout (prowt), (i) Ebenezer, b.
Oundle, Northamptonshire, March
I* 1^35 't prominent theorist and com-
poser. Save for a few piano lessons
as a boy, and with Chas. Salaman,
wholly self - taught. B.A. London
Univ., 1854, 1859 took up music;
1861-73, organist Union Chapel, Is-
lington ; 1861-85, pf.-prof. at the
Crystal Palace Sch. of Art ; from
1876 prof, of harm, and comp. at the
Nat. Training Sch.; 1879, ^^ ^'^^ ^*
A. M. (vice A. Sullivan), also cond.
1876-90. the Hackney Choral Assoc;
1874 Critic on the *'* Acad." ; 1879,
on the '* Athenaeum." Contributed
53 articles to Grove's ** Dictionary, ^^
1894, prof, of mus., Dublin Univ.;
1895, Mus. Doc. k, c, Dublin and
Edinburg Univ. lias pub. many
valuable and original treatises, incl.
*^ Harmony" (1889, 10 editions);
^* Counterpoint^ Strict and Free"
(1890); ^'Double Counterpoint and
Canon " (1891) ; " Fugue " (1891) ;
** Fu^al Analysis" (1892) ; " Musi-
cal Form " (1893); " Applied Forms "
(1895); ''The Orchestra" (1898-
1900) ; c. 4 symphs., 2 overtures,
•* T^oelfth Night'^ and '' Rokeby\"
suite de ballet for orch. ; suite in D ;
cantatas ; a Magnificat, Evening
Service, Psalm 126 (St. Paul's, 1891) ;
Psalm 100 ** The Song of Judith "
(Norwich. 1867), '' Freedom"^* (1885),
all with orch., 2 organ-concertos, 2
Srize pf.-quartets, etc. (2) Louis
ketlioven, b. London, Sept. 14,
1864 ; son of above ; from 1 888,
prof, of harm. Crystal Palace Sch. of
Art ; pub treatises ; c. Psalm 93.
Pruckaer (prook'-n^r), (i) Dionys,
Munich, May 12, 1834— Heidelberg,
Dec. I, 1896; pianist and teacher.
(2) Caroline, b. Vienna. Nov. 4,
1832 ; succ. operatic soprano ; 1855,
suddenly lost her voice , 1870 opened
a Sch. of Opera; pub. a vocal treatise
I1872) for which she W2S made Prof.
■Vgdcnt (pru-dah) (Beunie-Pnident),
Hmile, Angouleme, 18 17 — i*aris,
1863 ; pianist and composer.
Prume (prfim), (i) Fran. Hubert,
Stavelot, near Liege, 1816 — 1840 ;
ct.-prof. and composer. (2) Fz. H.,
nephew of the above. Vide jehin-
PRUMB.
Prumier (prttra-yi), (i) Ant., Paris,
1794 — 1868 ; harpist ; prof, at the
Cons., and composer. (2) Ang^e
Conrad, 1821 (?) — Paris, 1884 ; son,
pupil and successor of above.
Pselios (psai'-los), Michael, theorist
at Constantinople, ca. 1050.
Ptolemy (t^l'-a-me), Claudius, the
celebrated astronomer in the 2nd
century ; wrote treatise on mus.
Puccini (poot-che'-ne). (i) Giacomo,
b. Italy, 1712; pupil of Padre Mar*
tin! ; organist ; c. church-music. (2)
Antonio, b. 1747 ; son of above ; c.
church-music and (ace. to F^tis) ope-
ras ; m. di capp. to Republic of San
Lucca ; his son and successor (3) Do-
menico, 1771 — 1815 ; c. church-music
and many comic operas ; his son (4)
Michele, 18 12 — 1864 ; pupil of Mer-
cadante ; lived at San Lucca as
church and ojiera-composer ; his son
(5) Giacomo, b. Lucca, Italy, 1858 ;
pupil of Angeloni at Lucca ; then of
A. Ponchielli, Milan Cons., graduat-
ing with a '* Capriccio sin/onico ***
1893, prof, of comp. there; prod, i-act
opera 'Le Villi" (Milan 1884); ex-
tended later to 2-acts and prod, at
La Scala ; succ. ** Edgar " (La Scala,
Milan, 1889) ; succ. lyric drama
'' Manon Lescaut" (Turin, 1863);
widely popular opera seria **Ztf Bo^
heme " (Turin, 1896) ; succ. ** La
Tosca" (London, Covent Garden.
1900) ; " Madame Butterfly"
Pucitta (poo-chtt'-ta), V., Civitavec-
chia, 1778 — Milan, i86t : cembalist
and dram, composer.
Puchat (poo'*khat). Max, b Breslau.
1859 ; pianist, pupil of Kiel, at Ber-
lin ; 1884, Mendelssohn prize ; c
symph. poems *"*" Euphorion " (1888).
and •* Tragodie eines KUns tiers*"
(1894) ; overture ; a pf. -concerto, etc
Puchtler (pookh'-tl^r), Wm. M.,
liolzkirchen. Franconia, 1848 — Nio%
DICTIONARY OF MUSICIANS 611
1881 ; teacher, conductor and com-
poser.
Pudor (poo'-d6r), (i) }n. Fr., Dc-
litzsch, Saxony, 1835 — Dresden,
1887 ; from 1850 proprietor Dresden
Cons. (3) Dr. n., b. ca. i860 ; son
and successor of above in the Cons.,
which he sold 1890 to £. Krantz;
wrote many essays,
pQente (poo-^n'-tC), Giuseppe del,
Naples, April, 1845 — Philadelphia,
U. S. A., May 25, 1900; operatic
barytone and teacher.
Pufi^et (pQ-zha), Paul Chas. M., b.
Nantes, June 25, 1848 ; pupil of
Paris Cons., took Grand Prix de
Rome ; prod, comic opera **/> Si^-
fuiI" (Op. Com.. 1880) ; mod. succ.
opera ** Beaucoup de Bruit Pour
Jiien"{'' Much Ado about Nothing'')
(ibid., 1899) ; incid. mus. to " Loren-
taccioy" etc.
Pugnani (poon-y&'-ne), Gaetano, Tu-
rin, Nov. 27, 1731— July 15,1798;
famous violinist, dram, composer
and conductor.
Pttgni (poon'.ye), Cesare, Milan,
1805 — St. Petersburg, 1870; dram.
composer.
Pug^no (pQn-yo), Raoul, b. Montrouge,
Seine, France, June 23, 1852 ; prom-
inent pianist; st. Paris Cons.; 1866
took tst pf. -prize, 1867, ist. harm.-
prize ; 1869, 1st org.-pri/e ; organist
and cond. Paris ; from 1896, prof, of
piano at the Cons. 1897-98, toured
U. S. with succ. ; Officer of the Aca-
demic ; prod, an oratorio, " La Re^
turrection de Lazare " (1879) ; comic
opera ^* Ninetta^' (1882), 2 operas
bouffes ; 3 i-act vaude v. -operettas
** La Petite Poucette'" (1891 ; Beriin,
1893, as ** Der Talisman ") ; pan-
tomime, etc.; 1902 toured U. S.
a^in with increased success.
Pttliti (poo-le'-te), Leto, Florence,
1818 — 1875 ; composer.
Punto, G. Vide STicM.
Puppo (poop'.po), Giu8., Lucca, June
12, 1749 — in poverty, Florence, April
i^, 1827 ; an eccentric violinist, con-
ductor 9nd composer
Purcell (ptir'-s^l), (i) H., d. London,
1664 ; gentleman of the Chapel
Royal, and Master of the Choristers
at Westminster Abbey. (2) Henry
(called '*the younger*'), London,
1658 — of consumption. Dean's Yard,
Westminster, Nov. 21, 1695 ; son of
above. Most eminent of strictly Eng-
lish composers. Chorister Chapel
Royal, and studied with Cooke, Hum-
frey, and Dr. Blow ; at 18 c. mus.
for Dryden's tvsigedy,** A urungzet/e,**
and Shad well's comedy ^^ Epsom
Wells "y pub. a song ; at 19 an over-
ture, etc., to Aphra Behn's tragedy,
•* Abdelazor** and an elegy on Mat-
thew Locke ; at 20 c. music to Shad-
well's version of '* Timon of Athens'* ;
1680, mcid. mus., and a short opera
•* Dido and ^neas " written to order
for Josias Priest for his ** boarding
sch. for young gentlewomen ** ; c.
also the ** Ode or Welcome Song for
his Royal Highness " Duke of York,
and ** A song to Welcome home His
Majesty from Wittdsor** From
1680 organist Westminster Abbey,
where he is buried. 1682, organ-
ist Chapel Royal ; 1683, composer-in-
ordinary to the King. His Brst pub.
chamber-mus. is dated the year 1683.
He c. ''Odes*' to King Charles
1684, and to King James in 1685, 28
in ail. He c. mus. for 35 dram,
works of the time. 1695 he pub. his
first real opera, '' Dioclesian,** The
Purcell Society (organised, 1876)
has issued many of his works and
given frequent performances of them
in London. The Mus. Antiq. Soc.
has pub. others ; his widow pub. in
1697 "A Collection of Ay res Com'
• posed for the Theatre and upon other
Occasions "; also songs for 1-3 voices,
from his theatrical works and odes ;
and the ** Orpheus Brittanicus** in 2
parts (Part i, 1698, Part ii, 1702).
Playford's * Theatre of Musick**
(1687), and other colls, contain many
of his works, *' PurcelVs Sacred
Music*' is pub. in 6 vols. (Noveiio).
li) Edw., i68g — 1740; son of aoovej
6i2 THE MUSICAL GUIDE
organist and composer. (4) Daniel, his bro. as dram, composer ; c. indd.
London, 1660— Dec. 12, 1718; bro. mus. to ten dramas; odes, incL fa-
of above; 168S, oi^anist; 1695, succ. neral ode for his brother, etc.
Purcell.
By John F. Runciman.
MODERN English musicians scarce count, and by their achievements
up to the present can scarce hope to count, in the history of the
world's music. When, however, the world was younger and
the English race was fresher, things went differently. Before the rest ot
Europe had produced anything worth long consideration to-day, the Enghsh
had brought forth a strong race of musicians ; and while the rest of Europe
was striving hard to catch up with the English, the English school was reach-
ing a magnificent culmination in Purcell. Many influences went to the shap-
ing of him. Behind was the contrapuntal English school, of which Tallis and
Byrde were exemplars ; more immediately behind was Pel ham Humphries,
who brought to England all that France knew ; and it is as good as certain
that he knew what the Italians, with Correlli at their head, had accomplished.
That is to say, he must have learned how to handle many parts in a chorus
or orchestral movement ; learned how to write recitative and expressive song ;
learned what could be done in the way of chamber-music ; and such orches-
tral colouring as was possible at that day. ^ To these acquired fnaateries he
brought a native ear for miraculous colour in music — as witness his Tempest
music, written for the worst libretto that the world has not listened to ; a
glorious invention of expressive or picturesque melody, though chiefly pictu-
resque ; a fine instinct ^r the dramadc, and for expressing it in music ; and
the most noble sense of the splendid effects to be gained by throwing aboat
masses of vocal tone in the manner afterwards appropriated and made entirely
his own by Handel. ^ Those who have studied Purcell* s scores will be as-
tonished by the extent to which Handel took his themes and modes of using
them. In that lies his sole contribution to what must be called the "prog-
ress" of music. Later English composers, to their shame, and certainly to
their utter confusion, copied HandelJnstead of developing on Purcell' s lines.
They profited nothing ; and Purcell remains as the last of the tribe of the
genuinely creative English musicians. He was determined to excel in every-
thing he touched ; and he excelled in everything. His forms are at once
broad and flexible; his harmonies are as daring as Sebastian Bach's; hit
themes have a great dignity and vigour ; and on everything he wrote there rests
an early morning freshness. No music has preserv- d its freshness better ; the
dew is still on it. ^ Born just before the Restoration^ he felt to^ thit fiiU
DICTIONARY OF MUSICIANS 613
the anti- Puritan reaction ; he shared in the revival of the sheer joy of being
alive ; and his music is filled with a cheerful health such as one finds in no
music written since his day. But he experienced the deeper emotions ; and
one may find in his works profound utterances of grief and sorrow, of the
mystery and terror of all life. He was entirely pagan, and wrote no real re-
ligious music — religious as we use the word when we speak of Sweelinck,
Palestrina, or Byrde. But power is there, and delicacy, and marvellous
beauty ; and above all that external freshness and picturesque quality
which give his music the character that stamps and marks it off as his
own.
Putea'nus, Ericius (Latinised form of
H. Van de Putte) (poot'-td) (Galli-
cised to Dupuy), Venloo, Holland,
1574 — Louvain, 1646 ; professor and
writer.
Pyc, Keliow J,, Exeter, Feb, 9, 18 12
— Exmouth, Sept. 22, 1901; pianist
and composer.
Pync(pin), (i)Gco., 1790—1877, Engl,
male alto. (2) Jas. Kendrick, d.
1857; Engl, tenor. (3) Louisa
Fanny, b. England, 1832 ; soprano,
daughter of (2) ; pupil of Sir G.
Smart ; debut, Boulojjne, 1849; '868,
m. Frank Bodda, a barytone.
Pythag^'oras, Samos, Greece, ca. 582,
B, c. — Mctapontum, ca. 500 b. c;
famous philosopher and mathemati-
cian ; developed an elaborate sys-
tem of musical ratios.
Qnadri (kwsl'-dre), Dom«, Vicenza,
1801 — Milan, 1843 ; teacher and
theorist.
Qnadfio (kw&'-drY-o), Fran. Saverio,
I Ponte, Valtellina, 1695 — Milan, 1756;
' theorist.
Quag^iiati (kwal-ya'-te), Paolo, d.
Rome, ca. 1660; cembalist ; c. one
of the earliest mus. dramas (1611).
Quandt (kvant), Chr. Fr., Herrnhut,
' Saxony, I766---Niesky, near GOrlltz,
[an. 30, 1806; writer.
Quantz (kvant^, Jn. Joachim, Ober-
scheden, Hanover, 1697 — Potsdam,
1773 ; noted flutist ; inv. the second
key and sliding top for tuning the
flute ; taught Frederick the Great ; c.
500 flute pes.
Quaranta (kwa-ran'-tK), Fran., Na-
ples, 1848— Milan, 1897 ; singing-
teacher and dram, composer.
Quarenghi (kwa-ran'-gc), Guglielmo,
Casalmaggiore, 1826 — Milan, 1882 ;
'cellist, professor, conductor and
dram, composer.
Quarles (kwarls), Chas., d. 1727; or^
ganist at York Minster and com-
poser.
Quatrem^re de Quincey (kftt-rti-m&r'-
dtikiln-se'). Ant. Chrysostome,
Paris, 1755 — ^849 ; writer.
Quef (k^f), Ch., French organist ; 1900,
choir-org. at La Trinite', Paris ; 1902,
organist (vice Guilmant).
Queisser (kvTs'-sdr), Carl T., D5ben,
n. Leipsic, 1800 — 1846 ; noted trom-
bonist.
Quercu (kv^r'-koo), Simon de (Latin-
ised from Van Eycken or Du
Chesne), b. in Brabant ; theorist and
ct. -chapel-singer, Milan, ca. 1500.
Quidant (ke-dan), Alfred (rightly Jos.),
Lyons, France, 1815— Paris, 1893;
pianist.
Quinault (ke-no), (1) Philippe, Paris,
1635— 1688 ; Lully's librettist. (2)
J. Bap. Maurice, d. Gien, 1,744;
singer, actor and composer of ballets,
etc.
6i4 THE MUSICAL GUIDE
R
Ra(a)ff (raO, Holzcm, 17 14— Munich,
1797; tenor.
Rachmaninoff (rakh-ma'-ne-nof), Ser-
gei Vassilieyitch, b. Novgorod,
Russia, 1873 ; pianist and composer ;
pupil of Siloti (pf.) and Arensky
(theory), Moscow Cons.; 1891, took
great gold medal ; c. succ. i-act op-
era **A^ka*' (Moscow, 1893), pf.-
conccrto ; a popular ** Prelude ^^ and
other notable pf.-pieces.
Radecke (Hi'.d«k.«), (i) Rudolf, Ditt.
mannsdorf, Silesia, 1829 — Berlin,
1893 ; conductor, teacher and com-
poser. (2) (Albert Martin), Rob-
ert, b. Dittmannsdorf, Oct. 31, 1830;
bro. of above ; pupil of Leipzig Cons. ;
1st vln. in Gewanahaus ; then pianist
and organist, Berlin ; later mus.-dir.
ct.-th.; 1871-84, ct.-cond.; 1883-88,
artistic dir. Stem Cons.; 1892, dir.
R. Inst, for Church-mus. , Berlin ; c.
l-act '' LiederspieW ''Die Monk-
giiter" (Berlin, 1874); a symph., 2
overtures, etc. (3) Ernst, b. Ber-
lin, Dec. 8, 1866 ; son of above ; Dr.
Phil, at Berlin U., 1891; 1893, town
mus.-director and teacher, Winterthur,
Switzerland. (4) Luise, b. Celle,
Hanover, June 27, 1847; soprano ;
pupil of Marchesi ; debut, 1867, Co-
logne ; 1876, m. Baron von Brum-
mer.
Radouz (rH-doo), Jean Theodore,
b. Li^e, Nov. 9, 1835 ; pupil at the
Cons.; 1856, teacher of bassoon
there ; 1859, won Prix de Rome with
cantata *'" Le Juif Errant''^ ; studied
with Halevy, Paris ; 1872, dir. Li^ge
Cons.; pub. biog. of Vieuxtemps
(1891); prod. 2 comic operas, orato-
rio "Ctfi«" (1877), cantata ''La
Fille dejepht/** with orch., 2 symph.
tone-pictures, symph. overture, Te
Deum, etc.
Radziwill (rat'-tse-vYl), Prince Anton
H.,Wilna, 1775 — Berlin, 1833; sing-
er and composer; patron of Beet-
hoven and Chopin.
Raff (rap, (0 Vide raaf. (2) Jot.
Joachim, Lachen, Lake of Zurich,
May 27, 1822 — Frankfort-on-Main.
June 25, 1882 ; eminent composer,
particularly in the field of program-
matic romanticism. Son of an organ-
ist ; too poor to attend a Univ. he
became a sch. -teacher ; was self-
taught in comp. and vln.; 1843 he
sent some comps. to Mendelssohn,
who recommended them to a publish-
er. R. accompanied Liszt on a con-
cert-tour as far as Cologne (1846).
where he lived for a time, writing re
views ; later von Bulow played his
'' Concertstiick'' ; his opera " Kdnig
Alfred^* was accepted at the ct-th.,
but forestalled by the Revolution of
1848 ; it was prod, in revised form at
Weimar by Liszt. He pub. (1854)
a pamphlet ''Die Wagnerfrage^*
1854, m. the actress Doris Genast,
and obtained vogue at Wiesbaden at
a pf. -teacher. 1863, his first symph.,
"An das Vaterlaiid" won the prist
of the Viennese * Gesellschaft dor
Musikfreunde ; " 1870, his comic op*
era ** Dame Kobold^* was prod. a(
Weimar. 1877, dir. Hoch Cons, af
Frankfort. He was a very prolific
and uneven composer. The Raff
Memorial Soc. pub. at Frankfort
(1886), a complete list of his works
which incl. ii svmphs.: No. i, "Am
das Vaterland^^ ; famous No. 3, in
F, "Im Walde'* (1869); No. 5.0?.
177 in E. the noted "Lenore"; No. 6,
op. 189 in D min., ** GeUbU gestrebU
gelitten^ gestritten-gestorbetiy umwer'
ben''; No. 7, op. 201 in Bb, " In den
Alpen"\; No. 8, op, 205, A, " Fruk^
lingskUinge'' : No. 9, op. 208, E
min., **/« Sommer'''; No. 11, opt
214, A min., " Der Winter*^ (post-
humous); a sinfonietta ; 4 suites.
No. 2, "In ungariscker Weise**;
No. 3, *' rtalienisch'\- No. 4. "TkiU
ringer'**; 9 overtures, the "Jubel-
Fest'* and " Concert -ouver Hire** ;
"Festouverture^' for wind; " Ein
feste Burg,'* "Romeo and Juiiei*
" Othello f "Macbeth;* and " TH
DICTIONARY OF MUSICIANS 61^
Tempest ; " festival cantata * * Deutsch-
lands Auferstehung**; De profundis
in 8 parts, op. 141; **/w JCahn"
and *'Der Tan*"; for mixed chorus
'' Morgenlied" and '' Einer EnU
schla/enen^' ; "*' Die Tageszeiten" ;
•' Die Jdgerbraut und die Hirtin" 2
scenes for solo voice ; all with orch ;
the oratorio '' Weltende, Cericht,
Ncue Weir (Revelations) (Leeds.
1882); ''Die Sterne" and '' Darn^
rdschen" (MS.); 4 unperformed op-
eras, *'Z>iV Ei/ersiiehtigen " (text and
music); ''Die Parole^' ''Benedetto
Marcello " and ' * Samson "; mus. to
Genast's "Bernard von Weimar"
(1858) ; " Ode aufrintemps " for pf .
and orch. ; "La fite d* Amour " suite
for vin. with orch. ; 2 'cello-concertos *
much chamber-mus. , incl. op. 192 (3
nos., "Suite ftltercr Form/* ** Die
sch^ne MflUerin," " Suite in canon-
form*'); 5 vln. sonatas; *celIo-sona-
ta ; 2 pf. -sonatas, suites, sonatinas ;
* 'Homage a u n/o-romantisme^ " * 'Mes-
sagers du printemps" "Chant d'On^
dine" (arpeggfio tremolo etude), Un-
garische Khapsodie, Spanische Rhap-
sodic, 2 etudes melodique, op. 130
C^Cavatina," and the famous ** La
Fileuse "), many paraphrases ; many
songs, incl. 2 cycles, " Maria Stuart *
and **Blondel de Nesle"; 30 mate
quartets, etc.
Raggrhianti (r&g-gY-fin'-te), Ippolito,
Viareggio, near Pisa, 1866 — 1894 ;
violinist.
Raif (rif), Oscar, The Hague, 1847—
Berlin, 1899; pianist, teacher and
composer.
Raillard (rly&r). Abb« F., b. Mon-
tormentier, France, 1804 ; teacher of
science.
Raimondi (rsi-e-mon'-de), (i) I^^nazio,
Naples, 1733 — 1802 ; violinist and
composer. (2) P., Rome, Dec. 20,
1786— Oct. 30, 1853 ; extraordinary
contrapuntist, rivalling the ancient
masters in ingenuity ; prof, of cpt.,
and cond. at St. Peter's; prod. 54
operatic works and 21 ballets, 4
masses w. orch. and 5 oratorios, be-
sides the monumental trilogy ** Giu"
seppe " (Joseph) consisting of 3 ora-
torios (* * Potifar, " • * Giuseppe ''
. " Giacodde"), performed Pt Rome,
1852 separately, then all at once by
400 musicians, producing such frantic
excitement that the composer fainted
away ; he c. also an opera buffa and
an opera seria performable together;
4 four-voiced fugues which could be
combined into one fugue ^ /6, etc.,
incl. a fugue for 64 parts in 16 choirs;
he wrote essays explaining his meth-
ods.
Rain'forth, Elisabeth, 1814— Red-
land, Bristol, 1877, Engl, soprano.
Ramann (rft'-mfln), Lina, b. Main-
stockheim, near Kitzingen, June 24,
1833 ; piipil of Franz and Frau Bren-
r*-!, Leipzig ; 1858, founded a mus.-
semln|i*7' for female teachers, 1865, a
mus.-sch. af yombenr ; pub. trea-
tises and composed.
Rameau (rii-m5), (i) J. Philippe, Di»
jon, Sept. 25, 1683 — of typhoid. PaHf
Sept. 12, 1764 ; eminent as theorist,
composer and organist. At 7 he
could play at sight on the clavecin
any music given him ; from 10 to 14
he attended the Jesuit Coll. at Dijon;
but taking no interest in anything but
music was dismissed and left to study
music by himself. He was sent to
Italy, 1 701, to break off a love affair,
but did not care to study there, and
joined a travelling French opera-
troupe as violinist. Later he became
organist at two churches in Paris,
17 17. He studied org. with Louis
Marchand, who found his pupil a
rival, and in a competition favoured
his competitor, Daquin, as organist
of St. Paul's ; R. went as organist to
Lille, later to Clermont (where lived
his brother (2) Claude, a clever or-
ganist, and his father (3) Jean Fraii«»
a gifted but dissipated organist and
poet). After 4 years he returned
to Paris, and pub. a treatise on harm,
which attracted some attention. He
became organist Sainte-Croix-de-la-
Bretonnerie ; and c. songs ard
6i6
THE MUSICAL GUIDE
dances for pieces by Piron, at the
Op.-Com.; 1726, he pub. his epoch-
TOAinng *^ J^o uvea u systhne tie mu'
sique th^orique^^ based on his own
studies of the monochord (v. D. D.) ;
in this work amongf many things in-
consistent, involved and arbitrary
(and later modified or discarded) was
much of remarkable even sensational,
novelty, such as the discovery of the
Uw of chord-inversion. He founded
his system on ([) chord-building by
thirds ; (2) the classification of chords
and their inversions to one head each»
thus reducing the consonant and dis-
sonant combinations to a fixed num-
ber of root-chords ; (3) a fundamental
bass (" basse fondamental^," not our
thorough-bass), an imaginary series
of root-tones forming the real bases
of all the chord - progressions of a
composition. His theories provoked
much criticism, but soon won him pu-
pils from far and wide and the pre-
eminence as theorist that he enjoyed
as organist. He followed his nrst
theoretic treatises with 5 other trea-
tises. He now obtained the libretto
*• Samson " from Voltaire (whom he
strikingly resembled in appearance)
but the work was rejected on account
of its biblical subject. ** Hippolyteet
Aricie** libretto by Abb^ Pelegrin,
was prod, at the Op^ra, 1733, with so
little succ. that he was about to re-
nounce the stage, but his friends pre-
vailed and he prod., 1735, the succ.
ballet-opera **i>j' Indes Galantes^*
and at the age of 54 his masterpiece
•* Castor et FoUux^^ a great succ. as
were most of his later works for 23
▼cars. '' Les Fites (fH/b^" (1739).
■Dardanus " (1739), ** Za Prince sse
de Navarre,^' *' Les Fttes de Polhym-
mersin^ **/> Temple de la Gloire'*
' (1745). ** ^f P^t^s de r Hymen et de
f Amour ^ ou les Dieux d'Egypte**
•'.1747). "^"w" (1748). '' Pytmali.
bn" (1748), *' Plat/e ou Junon ja-
louse,'* " Neis " and ** Zoroastre " (the
••* Samson ** music with another li-
bretto) (1749), ** Acanthe et C/phise"
"Ztf Guir landed* and '* La A^ais^
sance d'Osiris*' (1751). '' Dapknii
et &gU;' " Lycis et D/lie " and " Le
Retour dAstr/e** (1753), '* Anacr/^
on" ** Les Surprises de I* Amour,**
and ''Les Sybarites'* {17 $7), " Lei
Paladins " (1760). He c. also others
not prod. His mus. is full of rich'
ness, novelty and truth, though he
wrote only fairly for the voice. He
said himself that were he younger he
would revolutionise his style along
the lines of Pergolesi. 1745 the King
made him chamber-composer. His
patent of nobility was registered, just
before his death. He c. also many
books of mus. for clavecin, etc.; of
these a complete ed. is pub. by Stein-
grftber. Biog. by du Charger (1761),
Nisard (1867). Griquc (1876).
Ramm (rftm), Fr., b. Mannheim, 1744;
eminent oboist.
Ram'sey, Robt., organist and com-
poser at Cambridge, 1628-44.
Randall, (i) J., 1715—1799; singer,
professor at Cambridge and compos-
er. (2) Richard, 1736 — 1828 ; tenor
in Handel's oratorios.
Randegrgrer (rtn'-d£d-j«r), Alberto, b.
Trieste, April 13, 1832 ; pupil of La-
font (pf.), and Kicci (comp.) ; at 20
prod. 2 ballets and an opera, ''II
Ijatzarone'* in collab. with 3 others,
at Trieste ; then th.-cond. at Fiume,
Zara, Sinigagli, Brescia and Venice,
where he prod, grand opera " Bianca
Capello** (1854); ca, 1854, I^ndon,
as a singing-teacher; t868 prof, of
singing, K. A. M. ; later dir. and a
member of the Committee of \fanage-
ment ; also prof, of singing R. CM.;
1857 cond. It. Opera, St. James's Th.;
1879-85, Carl Rosa company ; and
from 1 88 1, the Norwich Triennial
Festival. Wrote '* Primer on sing-
ing,** C. comic opera ** The Rival
Beauties ** (Ix)ndon, 1864) ; the 150th
Psalm with orch. and org. (Boston
Jubilee, 1872) : dram, cantata " Fri*
dolin " (1873, Birmingham) ; 2 dram
scenes " Medea " (Leipzig, 1869) and
" Saffo** (London, 1875)* canUJi,
DICTIONARY OF MUSICIANS 617
• • Werihcrs Shadow " (Norwich,
190a), etc.
Randhartinirer (rant-hiirt'-Yng-^r),
Benedikti Ruprechtshofen, Lower
Austria, 1802 — Vienna, 1894 ; at 10
soprano ; conductor and composer
of over 600 works.
Rans'ford, Edwin, Gloucestershire,
1805 — London, 1876 ; barytone.
Raoul de Coucy. Vide coucy.
Rappoldi (r&p-p6r.de), (i) Eduard,
b. Vienna, Feb. 21, 1839 ; pupil at the
Cons.; 1854-61, violinist ct. -opera ;
then leader at Rotterdam, then teach-
.er Hochschule, Berlin ; then leader
opera-orch., Dresden, and since 1893
head vln. -teacher at the Cons.; c.
chamber-mus., etc. (2) Laura Rap-
poldi-Kahrer (ka-r£r), b. Mistel-
Dach, near Vienna, Jan. 14., 1853 ;
wife of above ; pianist ; pupil of
Vieniia Cons, and of Liszt.
Rastrelli (rfts-trCl'-le), (i) Jos., Dres-
den, 1799 — 1843 ; ct. -conductor and
draitu composer ; son and pupil of
(2) VyicenzOj 1760— 1839.
Riui(o)umovaki (r&-zoo-m6f'-shk1),
Count (from 1815 Prince) Andrei
Kjrilloyitch, Nov, 2, 1752 — Sept.
23, 1836 ; Russian ambassador at
Vienna, 1 793-1 809; to whom Bee-
thoven dedicated the 3 quartets, op.
59-
tftates (rfl-tte), Emile P., b.Besan9on,
Nov. 5, 1851 ; pupil of Bazin and
Massenet at Paris Cons.; via.- play-
er, Op.-Com.; chorusm. under Colon-
ne ; 1891, dir. the Lille branch of the
Paris Cons.; prod. 2 operas *'^i<.r^
<fAmoMr " (Besan9on, 1886), and
succ. " Z^<//r*V " (Lille, 1895); c. a
symph. poem with soli and chorus,
*' Seines h/raioues^^* etc.
Rathi^eber (rat -ga-b^r), Vaientin,ca.
i6go — after 1744, Benedictine monk
at Banz, Franconia ; composer.
Rtttsenberger (rjlt'-s«n-b«rkh-«r), Th.,
Grossbreitenbach. Thuringia, 1840 —
Wiesbaden, 1879 ; teacher and comjp.
Ranchenecker (row'-kh^-ndk-er), G.
Wm., b. Munich, March 8, 1844;
popU of Th. Lachner, Baumgartncr
and Jos. Walter (vln.) ; dir. Avignon
Cons.; then 1873, mus.<^ir. at Win-
terthur ; 1874, prod, prize cantata,
** Niklaus von der Fliie " (Zurich
Music Festival) ; for one year cond.
Berlin Philh. Concerts ; 1889, mus.
dir. at Elberfeld, where he prod.
3 succ, operas, **/>!> Utzten Tage
von ThuU'' (1889), *'^«f*'" (1893),
and **S<7nna" (i-act, 1893); c. also
*' Lf J'lorentin" (not prod.); a
symph., etc.
Ranscher (row'-sh^r). Max, b. Wett-
stetten, Bavaria, Jan. 20, i860;
1884, took holy orders ; from 1885,
cond. Ratisbon Cath.
Rauzzini (rii-ood-ze'-ne), (i) Venan-
zio, Rome, 1747 — Bath, Engl., 1810;
tenor and dram, composer. (2) Mat-
teo, d. 1791; bro. of above; dram,
composer.
Ra'venscroft, (i) Thos., 1582 (?)—
London, 1635 (?) ; prominent early
English composer and writer. (2)
John, d. 1740 ; violinist, London.
Ravera (rii-va -ra), Niccol6 Teresio,
b. Alessandria, Italy, Feb. 24, 185 1;
pupil Milan Cons.; won first prizes
for pf . , organ and comp. ; now cond.
Th.-Lyrique de la Galerie-Vivienne,
Paris ; c. 4 operas.
Ravina (ra-ve -na), J. H., b. Bordeaux,
May 20, 1818 ; pianist ; pupil of
Zimmermann (pf.) and Laurent
(theory) at Paris Cons., won first
pf. -prize, 1834 ; 1st harm. -prize,
1836 ; asst. -teacher there till 1837,
and also studied with Reicha and Le-
bome; made tours; 1861, chev. of
the Legion of Honour ; c, a concerto,
etc.
Raw'ling^s, (i) Thos,, 1703— 1767;
Engl, organist. (2) Robt., 1742 —
1 8 14; son of above; violinist. (3)
Thos. A., 1775 ; violinist, teacher
and composer. Son of (2).
Raymond (rd'>m6n), G. M., Cham-
bery, 1769 — 1839; acoustician.
Rea (ra), Wm., b. London, March 25,
1827; articled pupil of Josiah Pitt-
mann ; at 16, organist ; studied yin^k
Sterndale Bennett (pf., comp. anu
6i8
THE MUSICAL GUIDE
Instr.), then at Leipzig and Prague ;
returned to London, and gave cham-
ber-concerts ; 1856, founded the Poly-
hymnian Choir ; organist at various
churches; since 1878, at St. Hilda's,
South Shields ; c. anthems, etc.
Read, Daniel, Rehoboth, Mass.,
1757 — New Haven, Conn., 1836;
mus. -teacher and composer.
Reading^ (r^d'-lng), (i) John, 1645 —
Winchester, Engl., 1692; organist and
composer of " Uulce domum," etc.
(2) John, 1677— London, Sept. 2,
1764 ; son of above ; organist and
composer; the ' Portuguese Hymn**
^* Adeste Fideles** is credited to him.
(3) John, 1674 — 1720 ; organist.
(4) , singer at Drury Lane,
1695. (5) Rev. John, Prebendary of
Canterbury Cath.; pub. "v4 Sermon^
concerning Church Musick " (1663).
Reay (ra), Samuel, b. Hexham, Engl.,
March 17, 1822 ; a pupil of Hen-
shaw and Stimpson ; 1841, organist
St. Andrew's, Newcastle ; since song-
schoolmaster, Newark Parish Ch.
and cond. Philh. Soc. ; c. Psalm 102,
with string-orch.; Communion Ser-
vice etc.
Rebel (rci-bSl), (i) J. Ferry, Paris,
1669 — 1747; conductor and com-
poser. (2) Fran., Paris. 1701 —
1755 J violinist and dram, composer.
Rebello (ra-b^l'-lo), JoZo Louren^o
(JoSo Soares), ('aminha, 1609^
San Amaro, Nov. 16, 1661, eminent
Portuguese composer.
Reber (ra-ba), Napoleon H., Muhl-
hausen, Alsatia, Oct. 21, 1807 — Paris,
Nov. 24, 18S0; 1851, prof, of comp.,
Paris Cons.; pub. one of the best
French harm, treatises (1862); c.
comic operas, etc.
Rebicek (ra'-bl-ts^k), Josef, b.
Prague, Feb. 7, 1844 ; violinist ; pu-
pil Prague Cons.; 1861, Weimar ct.-
orch.; 1863, leader royal th., Wies-
baden; 1875, I^. Mus.-L)ir,; 1882,
leader and op.-dir. Imp. Th. War-
saw; 1S91, cond. Nat. Th.. Pesth;
1893, at Wiesbaden ; 1 897, cond.,
Berlin Philh. Orch.
Rebling: (r&p'-lYng), Gv., b. Barby.
Magdeburg. July 10, 1821; pupil of
Fr. Schneider at Dessau ; 1S56, R.
Mus. Dir.; 1858, organist Johannis-
hirche ; 1846, founded and cond. a
church choral soc.; 2897, c. Psalms,
'* a cappeila" 'cello-sonata, etc. (2)
Fr, b. Barby, Aug. 14, 1835 ; pupil
of Leipzig Cons, and of Gotz (sing-
ing); 1865-78, tenor at various thea-
tres ; from 1S77, singing-teacher Leip-
zig Cons.
Reckendorf (r^k'-^n-dorO. Alois, b.
Trebitsch, Moravia, June 10, 1841;
studied Leipzig Cons.; since 1877,
teacher of pf. and theory there;
composer.
Redan, K. Vide c. converse.
Redeker (ra -d^k-^r), Louise Dorette
Aug^ste, b. Duingen, Hanover,
Tan. 19, 1853 ; contralto ; studied
Leipzis; Cons. ; debut, Bremen, 1873.
Red'tord, J., organist and composer
St. Paul Cath., 1491-1547.
Red'head, Richard, Harrow, Engl.»
1820 — May, 1901 ; studied at Mag-
dalen Coll., Oxford; organist of St.
Mary Magdalene's Ch., London ;
ed. colls.; c. masses, etc.
Ree (ra), Anton, Aarhus, Jutland,
1820 — Copenhagen, 1886 ; pianist,
teacher and writer.
Reed, (i) Thos. German, Bristol, 1817
— Upper East Sheen, Surrey, 1888 ;
pianist and singer. In 1844 he m. (2)
Priscilla Horton (1818—1895), a
fme actress and contralto. Their
entertainments were continued by
their son (3) Alfred German (d.
London, March 10, 1895). (4)Robt.
Hopk^, and (5) Wm., bros. of (i) ;
'cellists.
Reeve, Wm., London, 1757— 18 15 *
c. operettas.
Reeves, (i) (John) Sims, Woolwich,
Sept. 26, '.818 (ace. to Grove,
Shooters Hill, Oct. 21, 1822)— Lon-
don, Oct. 25, 1900; noted tenor; at
14 organist of North Cray Ch.;
learned the vln., 'cello, oboe and bas-
soon ; and studied with J. B. Cramer
^f.) and W. H. Callcott (harm.):
DICTIONARY OF MUSICIANS 619
debut as barytone, 1839. studied
with Ilobbs and Cooke, and sang
minor tenor parts at Drury Lane;
then studied with Bordogni, Taris,
and Mazzucato, Milan, sang at L^
Scala, 1846, Drury Lane, 1847, with
great succ.; debut in Italian opera,
1848, at H. M.*s Th., also in orato-
rio at the Worcester and Norwich
Festivals, the same year ; retired in
1 89 1, but on account of reverses, re-
appeared in 1893; and 189 made
succ. tour of South Africa; pub.**/.*y>
and Recollections** (London, 1 888) ;
he m., 1850, (2) Emma Lucombe,
opera and concert soprano. (3)
Herbert, his son and pupil studied
at Milan; concert-debut, i83o.
Regaa, Anna. Vide schimon-rkgan.
Regfer (ra'-g£r). Max, b. Brand, Ba-
varia, March 19, 1873 ; pupil of
Lindner and H. Riemann ; c. *cello-
sonata etc
Repbo Va'-zhe-bo). Abel B. M., b.
Renaix, Belgium, April 6, 1835 ; or-
ganist, pianist, and composer.
Regino (ra-je -no) (Prumiensis), d.
915 ; Abbot of Prum monastery, near
Trier, 802 ; writer. (Gerbert.)
R6gis (ra -zhes), Tns., Belgian cptist.;
contemporary of Okeghem.
Regnal, r'r. Vide fr. d*erlangkr.
Regnart (or Regnard) (r^kh'-nart), (r)
Jacob, Netherlands, 1540 — Prague,
ca. 1600 ; imp. vice-cond. ; popular
composer. His brothers (2) r«., (3)
K., and (4) Pasca8ius,nlso c. songs.
Regondi (ra-gon'-de), GiuHOj Geneva,
1822 — Engl., 1872 ; guitar, and con-
cei tina-virtuoso ; composer.
Rehbaum (ra-bowm), Theobald, b.
Berlin, Aug. 7, 1835; pupil of H.
Ries (vln.) and Kiel (comp.), 1. Wies-
baden ; c. 7 operas incl. ** Imuran"
dtit'" (Berlin, 1888), etc.
Rebberg (ra-b^rkh). (i) Willy, b.
Morges, Switz,, Sept. 2, 1863 ; pian-
ist ; son and pupil of (2) Fr. K. (a
mus. -teacher) ; later studied at Zurich
iMus.-Sch and Leipzig Cons.; pf.-
teacher there till 1890 ; 1888-90,
tond. at Altonburg since 1890, head
44
pf -teachei Geneva Cons.; since 1892,
also cond. Geneva Municipal Orcb.'
c. vln. -sonata, pf. -sonata, etc
Rehfeld (ra'.fdlt), Fabian, b. Tuchel,
W. Prussia, Jan. 23, 1842 ; vioUnift ;
pupil of Zimmermann and GrUnwald,
Berhn , 1868, royal chamber-mus.;
1873, leader ct.-orch.
Reicha (ri'-kha), (i) (rightly Rejcha,
ra-kh&), Jos., Prague, 1746 — Bonn,
1795; cellis. vi linist, and cond. at
Bonn. ( ) Anton (Jos.), Prague,
Feb. 27, 1770— Paris, May 28. 1836 ;
nephew and pupil of above ; flutist
vla.-p layer, and teacher. Notable in
his day as a theorist and an ingenious
and original contrapuntist ; c. an op-
era etc.
Reichardt (rl'-khart), (i) Jn. Fr.,
Kftnigsberg, Nov. 25, 1752 — Giebich-
enstein near Malle, June 27, 1814 ;
cond., editor and dram, composer;
pupil of Richter and Veichtner, 1775,
ct.-cond. to Frederick the Great,
later to Fr. Wm. II. and III., then
to Jerome Bonaparte ; he prod, many
German and Italian operas and influ*
ential Singspiele ; also c. 7 symphs., a
£assion, etc., and notable songs. (2)
.tttse, Berlin, 1788 — Hamburg,
1826; daughter of above; singing-
teacher. (3) Gv., Schmarsow, near
Demmin, 1797 — Berlin, 1884 ; con-
ductor ; c. pop. songs. (4) Alex.,
Packs, Hungary, 1825 — Boulogne-
sur-Mer, 1885 ; tenor.
Reichel (ri'-khdl), (i) Ad. H. Jn., b.
Tursznitz, W. Prussia, 1816; pupil of
Dehn and I^. Berger ; Berlin ; pf.-
teacher, Paris ; 1857-67, taught comp.
at Dresden Cons.; 1867, municipal
mus.-dir. Berne, Switz. ; c. pf.-con-
certos, etc. (2) Fr., Oberoderwitz,
Lusatia, 1833 — Dresden, 1889 ; can
tor and orgf. -composer.
Reicher-Kindermann (ri'-kh^r-kTn'>
d^r-man), (i) Hedwig, Munich, 1853
— Trieste, 1883 ; soprano ; daughter
of the bar>'tone, A. Kindermann ; m.
(2) Reicher, an opera singer.
Reichert (ri'-kh^rt), Mathieu Andr6,
b. Maestricbt, 1830; flute-virtuoso j
6^0
THE MUSICAL GUIDE
pupil IJrussels Cons., took ist prize
in 1^47; toured Europe and Ameri-
ca ; composer.
Reichmaim (rlkh'-man), Th., b. Ros-
tock, March i8, 1849; barytone;
pupil of Mantius, Elsler, Ress and
Laraperti : 1882-89, ct. -opera Vi-
enna ; 1882. created * Amforta«" in
"Parsifal** Bayreuth ; 1889-90,
N ew York ; then Vienna.
Reid (red), General John, Straloch,
Perthshire, I72i(?) — London, 1807 ; a
musical amateur, founded a chair of
mus. Edinburgh Univ.
R^ijavaan (or Reynwaen) (rgn'-vSn),
Jean Verschuere, LL.D.; Middle-
burg, Holland, 1743 — B'lushing, May
12, 1809 ; organist and composer.
Reimann (rl'-man), (i) Mathieit
(Matthias Reymannus), L5wen-
berg, 1544— 1597 ; composer. (2)
Ig^az, Albendorf, Silesia, 1820^
Rengersdorf, 1885 ; composer. (3)
H., b. Rengensdorf, March 14, 1850 ;
son and pupil of (2) ; since 1887
asst.-libr., R. Library, Berlin ; or-
ganist to the Philh. Soc. ; teacher of
organ and theory, Scharwenka-Klind-
worth Cons., and (since 1895) organ-
ist at the Gnadenkirche ; prominent
critic and writer; c. sonatas and
studies for organ.
Reinagle (rf-na-g^l), (i) Jos., b. Lon-
don ; son of a German mus. , horn-
player and composer, 1785. (2) Hug^h,
d. young at Lisbon : bro. of above ;
'cellist. (3) Alex. R,, Brighton, 1799
— Kidlington, near Oxford, 1877; or-
ganist and composer ; son of (i).
Reinecke (ri'-n^k-^), (i) Ld. K.,
Dessau, 1774 — GUsten, 1820 ; leader
and dram, composer. (2) K. (H.
Carsten), b. Altona, June 23, 1824;
noteworthy pianist and teacher ; son
and pupil of a music-teacher; at ii,
played in public ; at 19 toured Den-
mark and Sweden ; at Leipzig ad-
vised by Mendelssohn and Schu-
mann ; ct.-pianist at Copenhagen ;
1851 teacher Cologne Cons.; 1854-
59 mus.-dir. Barmen ; r859^X) mus.-
dir. and cond. Singakademie, Bres»
lau ; 1S60-95 cond. Gewandhaoa
Concerts, Leipzig; also prof, of pf -
playing and free comp., Leipzig
Cons. ; 1897 *' Studiendirektor •* there;
Dr. Phil, h, c, Leipzig Univ.; Royal
Professor; toured almost annually
with great succ; c. 2 masses, 3
symphs., 5 overtures ^* Dame Ko-
bold:* '' Aladinr '' FriedensfHerr
" FestouvertUre ** •* /« memoriam "
(of David), '' Zfnobia:* mirod. and
fugue with chorus and orch ; funeral
march for Emperor William L; con-
certos for vln., cello and harp.; prod,
grand opera "^ Konig Manfred"*
(Wiesbaden, 1867) ; 3 comic operas ;
fairy opera **/)/> Teufflchen auf
der Himmelswiese ** (Gianis, 1899) ;
mus. to Schiller's ** Tell**; oratorio
** Belsasuir**; 2 cantatas ^"^ Hakon
Jari;* and ''Die Flucht nach
^.gypten^* with orch.; 5 fairy canta-
tas, 4 concertos, many sonatas ; *^Aus
der fugendzeit" op. 106 ; '* Neues
Notenbuck fur Kleine Ltute^* op.
107 ; concert-arias, 20 canons for 3
female voices, and excellent songs
for children.
Reiner (ri'-niJr), (i) Jacob, Altdorf,
WUrtemberg, ca. 1560—1606; com-
poser. (2) Ambrosius, Altdorf-Wein-
garten, 1604 — 1762 ; ct.-conductor ;
son of above.
Reinhard (rfn'-hart), B. Fran., Strass-
burg, mus. -printer, 1800 ; the first to
stereotype music plates.
Reinhold (rin'-holt), (i) Thos,, Dres-
den, 1690 — Soho, 175 1 ; singer. (3)
Chas. Fred., 1737— Somers Town.
1815 ; Engl, bass and organist. (3)
Hugo, b. Vienna, March 3, 1854;
composer. ,
Reinhoidt (rin'-holt). Th. Christ-
lieb, d. Dresden, March 24, 1755 ;
cantor, teacher and composer.
Reinke(n) (rln'-k^n) (or Reinicke),
Jti. Adam, Deventer, Holland, April
27, 1623 — Hamburg. Nov. 24, 1722 J
noted organist and composer.
Reinsdorf (rTns'-dorO, Otto, K(>selit^
1848 — Berlin, i8go ; editor.
Reinthaler (rfn'-tftl-eir). K« (MartiiU
DICTIONARY OF MUSICIANS 621
Erfurt, T832— Bremen, 1896; sing-
ing-teacher, organist, conductor and
dram, composer.
Reisenauer (n'-z^-now-Sr), Alfred, b.
K6ntgsberg, Nov. I, 1863; pianist;
pupil of L. KOhler and Liszt ; debut,
188 1, Rome, vrith Liszt; toured;
composer.
Reiser (rf-zSr). Aug, Fr.| b. Gammer-
tingen, WUrtemberg, Jan. 19, 1840 ,
1880-86. cd Cologne ^^ Neue Mu*
sikzeitunf^*\ c 2 symphs., choruses,
incl. *^ Barbarossa*' for double ch.,
etc.
Reiset. Vide de grandval.
Reiss (rTs).(i) K. H. Ad., b Frankfort-
on-Main, April 24, 1829; pupil of
Hauptmann. Leipzig, chorus-master
and cond. various theatres; 1854,
1st cond. Mayence ; 1856^ 2d., later
I St cond. at Cassel (vice Spohr).
ii»8i-86 ct.-lh., Wie«bad<*n : prod,
opet I, **0//i» tif*" Schi'ttz''* (. .Uay».'n«,e.
ib5C}. (2) Albert, b. Berlin; Wag-
nerian tenor ; studied law, then be-
came an actor, discovered by Pnllini;
pupil of Liebau and Stolzenbcr^ ;
debut in opera at Konigsberg, later
at Posen and Wiesbaden ; famous as
•*Mime "and " David." 1902-3, N. Y.
Reissiger (ils'-sYkh-^r), (i) Chr. Gl.»
c. 1790: compw (2) K. Gi., Belzig, near
Wittenberg, Jan. 31, 1798 — Dresden,
Nov. 7, 1859; son of above; pupil
<)f Schtcht and Winter; singer, pi-
anist and teacher ; 1826, on invita-
tion, organised at The Hague the still
succ. Cons.; ct.-cond. Dresden (vice
Weber); c. 8 operas, 10 masses. (3)
Fr. Augf., Belzig, 1809 — Frederiks-
hald, 1883 ; bro. of above ; military
bandm.; composer.
Reissmanu (rTs'-mfin), Aug^., b.
Frankenstein, Silesia, Nov. 14, 1825;
studied there and at Breslau ; 1863-
80, lectured at Stem Cons., Berlin ;
then lived in Leipzig (Dr. Phil.,
1875), Wiesbaden and Berlin ; writer
of important historical works, and
lexicographer , c. 3 operas, 2 dram,
scenes, an oratorio, etc.
Reiter (fl'-t^r), Enist» Wertheim,
Baden, 18 14 — Basel, 1875 ; vln— prof.
and dram, conoposer.
Relfe (r^lO, (i) Luptou, d. 1803; for
50 years organist Greenwich Hospi*
tal. (2) Joniiy Greenwich, 1763^-
London, ca. 1837; son of above;
noted teacher ; theorist.
Rellstab (r^'-shtfip), (i) Jn. K. Fr.,
Berlin. 1759-^1813; son and suc-
cessor of owner of a printing-estab-
lishment ; critic, teacher, and com-
poser. (2) (H. Fr.) L., Berlin, 1799
—i860; the noted novelist, son of
above ; wrote biog., libretti and criti-
cisms which got hira twice impris-
oned ; c. part-scngs. (3) Karouiie,
b. 1793 (or '94); sister of above;
singer of unusual compiass.
Remeayi (rfim' - &n - ye), Eduard,
Heves, Hungary, i830---on the stage,
of apoplexy, San Francisco, Cal.,
May 15, 1898: noted viollni<it; pu-
pil oJ lidh n. Vienna Cons.; bfinished
for his pirt in Ilun$;ariaQ Ue volu-
tion : toured America ; 1854, solo
violinist to Queen Victoria; i860,
pardoned by Austrian Emperor and
made ct. -violinist ; toured widely,
.1866 round the world ; c. a vln-con-
certo, transcriptions, etc.
Remi d'Auxerre (ra-me dd-sftr) (Re-
migitts AltisioaorensiB), monk at
Rheims. 893 ; writer.
Remmers (r^m'-m^rs), Jn,, Jever,
1805 — The Hague, Jan. a8, 1847;
violinist.
Rem'mert, Martha, b. Gross-Schwe-
rin, near Glogau, Sept. 13, i8S4 ; pi-
anist; pupil of Kuflak, Tausig and
Liszt ; lives in Berlin.
R^musat (R^muzat) (rft-mQ-zfi), (i)
Jean, Bordeaux, 1815— Shanghai,
1880; flute-virtuoso; writer and com-
poser. (2) Bd. Martin, b. Bor-
deaux, 1822 ; bro. of above ; flutist.
Remy, W. A. Vide mayer, wm.
R^nard (rfl-n&r), Marie, b. (iraz, Jan-
18,1864 ; soprano ; d^but, Graz, i88a^
1885-88, Beriin ct.-opera ; then Vi.
enna ct.-opera.
Renaud (ri&-n6), (i) Albert, b. Parte,
1855 ; pupil of Fianck and Dtfiibwi
622 THE MUSICAL GUIDE
organist St. Frangois-Xavier ; critic,
''La Patrie^'f c. 4-act *'feeric/'
** Aladin*' (1891); opera comique
"^ ia Houzarde^* f 91) ; operetta
'•/> Sokil de Minuir (1898) ; bal-
lets, etc. (2) Maurice, b. Bordeaux,
1862; notable bass; pupil of Paris
Cons.; 1883-90, at K. Opera, Brus-
sels; 1890-91, Op.-Com., Paris; from
1891-X902, Gr. Opera; equally fine in
comic and serious works ; has a rep-
ertory of 50 operas.
Readano (r^n^&'.nd), Alfonso, Caro-
lei, Calabria, April 5, i8s3 ; pianist ;
pupil of Naples Cons., Thalberg «nd
Leipzig Cons. (1871); toured ; c.
piano-pc**«
Ren'ner, Josef, Schmatzhausen. Ba-
varia, 1832 — Ratisbon, 1895 ; editor.
P'jszk^. Vide db reszk^.
R^ty (ra-te), Chas., ca. i826~Paris,
1895 ; under the pseud. ** Chas. Dar-
cours," critic for twenty-five years.
Reubke (roip'-k«),(i) Ad., Halberstadt,
1805 — 1875 ; org. -builder at Hausen-
dorf. near Quedlinburg. (2) Emit,
Hausneindorf, 1836 — 1885 ; son and
successor of above. (3) Julius R.,
Hausneindorf, 1834— Pillnitz, 1858 ;
bra of above ; pianist and composer.
(4) Otto R., b. Nov. 2, 1842 ; bro.
of above ; pupil of von Billow and
Marx; mus. -teacher and conductor,
Halle; 1892, mus.-dir. at the Uni-
versity.
Reulingr (roi'-lYng), (L.) Wm., Darm-
stadt, 1802^-Munich, 1879; con-
ductor and dram, composer.
Reuas (rois), (i) Eduara, b. New York,
Sept. 16, 1 851; pupil of Ed. KrOger
and of Liszt ; 1880, teacher at Carls-
ruhe. His wife, (2) Reuss-Belce
(-b£r-ts£) Louise, b. Vienna ; sopra-
no ; pupil of Gftnsbacher ; debut as
"Elsa,^ Carlsruhe, 1884; later at
Wiesbaden, and Bayreuth as one of
the "Noms"and **Walkare" for
years ; 1900 sang Wagner in Spain,
looi, Met. Op., N. Y. (3) H.
XXIV., Prince of Reuss-K6stritz ;
b. Trebschen, Brandenburg, Dec. 8,
^855 ; pupil of Herzogenbeig and
Rust, Leipzig ; c. 2 symphs., a mas^
etc.
Reuter (roi'-t^r), Fiorusel (known as
" Florizel ") ; b. 1890 (?) ; boy vio-
linist ; pupil of Bendix, Chicago, and
of Marteau, in Europe ; has toured
America with popular success.
Reutter (roit'-tdr), (i) G. (Senior),
Vienna, 1656 — Aug., 1738 ; theorb-
ist, ct.-organist and conductor. (2)
(Jn. Adam), G. (Junior), Vienna,
1708 — 1772 ; son and (1738) succes-
sor of above as ct.-conductor ; c
opera, etc.
Rey (r£), (i) J. Bap., Lauzerte, 1734
— Paris, 1810; conductor, professor
of harm, and dram, composer. (2)
L. Chas. Jos., bro. of above ; for
40 years 'cellist, Gr. Op^ra. (3) J.
Bap. (IL), b. Tarascon, ca. 1760;
from 1795 till 1822, Vellist, Gr
Opera, and theorist. (4) V. F. S., b.
Lyons, ca. 1762 ; theorist (5; Vide
REYER. ^
Reyer (r«-ya) (rightly Rey), L. Eti-
enne Eraest, b. Marseilles, Dec i,
1823 ; prominent French composer ;
studied as a child in the free munic-
ipal sch. of mus. ; while in the Govt,
financial bureau at Algiers, c. a sol-
emn mass and pub songs ; the Revo-
lution of 1848 deprived him of his
position and he retired to Paris
where he studied with his aunt, Mme.
Farrenc; librarian at Opera (vice
Berlioz) ; 1876, Academic ; critic
*' Journal des Beats'' ; 1862, Chcv.
of the Legion of Honour; 1886.
Officier. Prod, a svmph. ode with
choruses "Z^ S/lam** (Th. Ital:eu
1850) ; i-act comedy-opera " Afai'
tre Wolfram " (Th.-Lyrique, 1854) ,
a ballet-pantomime '* Sacounlalc "*
(Op<ba, 1858) ; comedy-opera ** La
Statue'' (Th.-Lyr., 1861, revived at
the Opera 1878 without succ.); unsucc.
opera ** Erostrate*' (Baden-Baden.
1862); the still pop opera ** Sigurd'*
(Brussels, 1884), and '' SalammbS"*
(Brussels, 1890). C. a cantata ** Vic*
tcire" (1859); a hymn. '* V Union
des Arts" (1862), a dram. sceneL
DICTIONARY OF MUSICIANS 623
'• La Madeleine au Dese, "* (1874) ;
male choruses ; also some hurch-
raus. Pub. a volume of csiiays, S75.
Rezaicek (r^z'-nl-ts^k), Emil Nico-
laus, Freiherr von, b. Vienna, May
4, 1861 ; studied Leipzig Cons.; th.-
conductor various cities ; 1896, ist
cond. ct.-th. , Mannheim ; prod, at
Prague op>eras ** Die Juni^frau von
Orleans " (1887)," Satanella " (1888),
*' Emerieh fortunaC* (1889). comic
opera (text and music), ""^ Donna
Diana** (1894), all very succ; Volks-
oper. " Till Eulcnspteger (Herlin,
1903). C. also a requiem (1894), a
symph. suire, etc
Rhaw(Rhau)';row), G., Eisfeld, Fran-
conia, 1488 — Wittenberg, 1548; mus.-
printer and composer.
Rneinberfer (rTn'-bdrkh-5r), Jos.
(Gabriel), Vaduz, Lichtenstein,
March 17, 1837— (of nerve and lung
troubles) Munich, Nov. 25, 1902;
eminent teacher and composer. At
5 played the piano ; at 7 a good or-
ganist ; studied K. Sch. of Mus.,
Munich ; 1859, teacher of theory
there ; also organist at the ct.*
church of St. Michael, and cond.
Oratorio Soc. 1865-67, " Repetitor **
ct. -opera ; Royal Prof, an J Inspector
of theSch.of Mus.; from 1877 ct. -cond.
Royal Chapel-Choir ; m. Franziska
von Hoflfnas, a poetess (1822 — 1892);
prod, romantic opera ** Die 7 Raben '*
(Munich, 1869) ; comic opera ** Dei
Tkiirmers Tochterlein " (Munich,
1873) ; ** Christophorus" a mass for
double choir (dedicated to Leo XIII.);
mass, with orch.; requiem for soldiers
of the Franco- Prussian war ; 2 Sta-
bat Maters; 4 cantatas with orch.:
2 choral ballades , " Florentine
symph.; symph. tone-picture ** IVat--
lenstetn *'/ a symphonic fantasia ; 3
overtures '* Demetrius,** ** The Tam^
ing of the Shrew** '* Triumph^; 2
organ - concertos ; pf . - concertos ,
chamber-music ; vln. -sonatas ; pf .-
sonatas (*' symphonique"; op. 47;
"romantic." op. 184), etc., notably
18 important org -sonatas ; left un*
finished mass in A minor (finished by
his pupil L. A. Coerne).
Riccati (rYk-k^-te), Count Giorda-
no, b. Castelfranco, 1709 — Trcviso,
1790; theorist.
Ricci (rlt'-che), (i) Luigi, Naples,
1805 — insane, in asylum, Prague,
1859 ; conductor and dram, com-
poser , m. (2) Lidia Stoltz, who
bore him t'.vo children, of whom (3)
Adelaide sang at Th. des It., Paris,
1867, and died soon after. (4) Fed*
eripo, Naples, 1809 — Comegliano,
1877 ; bro. of (i) and collaborator in
4 of his operas ; also c. others.
Riccius (rek'-tsY-oos), (i) Aug. Fd.,
Bernstadt, Saxony, 18 19— Carlsbad,
1886; conductor, critic, singing-teach-
er and composer. (2) IC. Aug.,
Bernstadt, July 26, 1830 — Dresden,
July 8, 1893; nephew of above ; con-
ductor, violinist and composer of
comic operas, etc.
Rice, Fenelon B., Green, Ohio. Jan.
2, 1841 — Oberhn, Ohio, Oct. 26, 1901;
studied Boston, Mass., later Leipzig ;
for 3 years organist, Boston; from
1871, dir. Oberiin (Ohio) Cons, of
Mus.; Mus. Doc. Hillsdale (Mich.)
Coll.
Rich'ards« (H.) Brinley, Carmarthen,
Wales, Nov. 13, 1817 — London,
May I, 1885 ; pop. composer and
pianist.
Rich'ardson, (i) Vaughan, d. 1729 ;
organist and composer, Tx>ndon. (2)
Jos., 1 8 14 — 1862 ; flutist and com-
poser, London.
Richault (re-sh5), (i) Chas. Simon,
Chartres, 1780— Paris, 1866; mus.«
publisher, succeeded by his sons (2)
Guillaume Simon (1806 — 1877)
and (3) L6on(i83q — 1895).
Riche, A. Le. Vide Divnis.
Richter (rTkh'-tfir), (i) Fz. X., Hole-
schau, Moravia, 1709 — 1789 ; cond.,
writer and composer. (2) Jn. Chr.
Chp., Neustadt-am-Kulm, 1727 — •
Schwarzenbach - on - Saale, 1779 •
Father of Jean Paul R.; organist.
(3) Ernst H. Ld., Thiergarten,
Prussian Silesia, 1805 — Steinau-on«
624
THE MUSICAL GUIDE
•^^
Odei, 1876; notable teacher; c. an
opera, etc. (4) Enut Fr. (Edu*
ar4)| Gross Sch5nau, Saxony, Oct.
24, 1808— Leipzig, April 9, 1879;
eminent theorist; pupil of Weinlig,
and self-taught ; 1843 teacher at
Leipzig Cons, newly founded ; 1843-
47, conductor Singakademie ( or*
ganist various churches; X863 mus.*
dir. Nikolaikirche ; 1868 mus-dir.
and cantor Thomaskirche ; Prof.;
wrote a standard * ''Lehrbuch der f/ar*
mcnie** (1853), and ^* Lehrbuch der
Fuge**: c. an oratorio, masses, ef
(5) Alfred, b. Leipzig, April i, 18-' ,
son of above ; teacher at the CofiS.,
1872-83 ; then lived in London ; 1897,
Leipzig ; pub. supplement to his
father's ** Harmonie^ ' and ** Kontra*
punkt "/ also " Das Klavierspiel fUr
Mtuikstudierettde*' {Leipzig, 1898).
(6) Hans, b. ^ ^b, Hungary, April
4, 1843; c'^'"' •«it conductor; son of the
oond.of Mt local cath.; his mother was
a prominent sopr. and later a distin*
guished teacher ; choirboy in the ct.«
chapel, Vienna ; studied with Sech-
ter (piano-playing), and Kleinecke
(the V rench horn), at the Cons. ; horn-
player in Kfirnethor Th. orch.; then
with Wagner, 1866-67 in Lucerne,
making a fair copy of the ^^ Meister^
singer * score. On W.*s recommen-
dation, 1867, chorusm., Munich
Opera. 1868-^ ct.-cond. under von
Bulow. Cond. nrst performance of
•• Lohengrin " (Brussels, 1870); again
at Lucerne with Wagner, making fair
copy of the score of the ** Nibelungen
^"V"/ 1871-75* cond., Pesth Na-
tional Th.; then cond. of the Imp.
Opera, Vienna ; 1803, ist cond. ;
since 1875 also cond. ** Gesellschaft
der MusthfrtMnde *• excepting 1882-
83. Selected bv Wagner to cond.
the *• Ring des \\-iebetungen *• (Bay.
reuth, 1876), and alternate cond.
with Wagner at the Wagner Concerts,
Albert Hall, London. 1877 ; chief-
GOnd. Bayreuth Festivals, and since
1879, annually cond. Philh. concerts at
Loindoa. Cond. several Lower Rhe-
nish Festivals and (since 1885) tht
Birmingham Festivals. In 1885,
Mus. Doc. h, e., Oxford Univ. In
1898 the freedom of the city of Vi-
enna was given him.
Ricieri (re-cha -r^), Giov. A., Venice,
1679 — Bologna, 1746; male soprano
and composer.
Ricordi (re-kor'-de), (i) Giov., Milan,
1785 — 1853 ; founder of the mus.-
publishing firm in Milan; violinist
and conductor ; succeeded by his son
(2) Tito (181 1— 1888); the present
head is (3) Giulio (b. Milan, Dec. 19^
1840); also ed. of the **Gazef/a Mu-
sicale,^
Riechers (re'-kh^rs), Aug., Hanover,
1836— Berlin, 1893 ; maker and re-
pairer of vins. ; writer.
Ricdcl (re'-d'l) (i) Karl, Kronenberg.
Oct. 6, 1827 — Leipzig, June 3, 1888 ;
pupil Leipzig Cons.; 1854, founded
the noted social society RiedeK'e-
rein ; pres. Wagnerverein, etc. ;
pub. colls. (2) Hn., b. Burg, near
Magdebuig, Jan, 2, 1847; pupil Vi-
enna Cons.; ct.-cond. Brunswick ;
composer. (3) Furchtegott Ernst
Au^., b. Chemnitz, May 22. 1855 ;
pupil Leipzig Cons.; from 1890,
town cantor, Plauen, Saxony, also
cond.; c. cantatas, etc.
Riedt (ret), Fr. Wm., Berlin, 1712—
1784; flute- virtuoso ; writer and com-
noser
Riehl (rel), Wm. H. von, Biebrich,
1823 — Munich, 1897; director, writer
and composer.
Riem (rem), Fr. Wm., Kolleda, Tho*
ringia, 1779 — Bremen, 1857; organ-
ist, conductor and composer.
Riemann (re'-man), (i) Jakob, at Cas-
sel 18th cent.; ct.-composer. (2)
Ancr., Blankenham, Thuringia, 177a
—Weimar, 1826; ist violinist ct.-
orch. (3) Hugo, b. Grossmehlra.
near Sondershausen, July 18. 1849,
notable theorist. Son of a farmer
who taught him the rudiments of
mus., and who had prod, an opera
and choral pes. at Sondershausen«
but opposed his son's mns. ambi*
DICTIONARY OF MUSICIANS 625
tiont ; the youth, however, studied
theory with Frankenberger, and piano
with Barthel and Ratzenberger, at
Sondershausen. Studied law, then
philosophy and history, at Berlin and
Tubingen ; after serving in the cam-
paign of 1 870 <— 71, entered Leipzig
Cons.; 1873. I^r. Phil. Gttttingen;
wrote dissertation *^ Musikalische
Logik^^; until 1878, a cond. and
teacher at Bielefeld, then lecturer
Leipzig Univ.; .1880-81, teacher of
mus. at Brombeig; then till i8go,
Hamburg Cons. , then the Wiesbaden
Cons. ; 1895, lecturer at I..eipzig
Univ. ; m. in 1876. Notable at times
under pseud. '* Hugibert Ries '*
as an essayist, writer of theoretical
treatises of much originality, also an
important historian and lexicographer;
mus.-ed. of Meyer's ^^ /Conversations^
iexihm*' and ed. a valuable ** Mu-
tik'Lexikon'' (1882; Engl. ed. 1893);
c. chamber«mus., vln. -sonata, etc.
Rienientchneider (re'-m^n-shnl^^r),
G., b. Straltund, April i, 1848 ; pu-
pil of Haupt and Kiel ; th.-cond. LQ-
Dock (1875) <^nd Danzig ; later cond.
Breslau concert-orch. ; c. operas
^^ Afondeszauber'^ (Danzig, 1887),
and **/>!> Eisjungfrau " (symphonic
picture), *^JuUmKhi" etc.
Riepel (rS'.pi(t), Jos., Horschlag, Up-
per Austria, 1708— Ratisbon, 1782;
chamber-musician, theorist and com-
poser.
Ries (r^), (i) Ja., Benzheim, 1723—
1786(7): ct. -trumpeter and violinist
to the Elector of Bonn; also con-
ductor (2) Anae Maria, daughter
of above ; ct. -soprano, Bonn, 1764-
1794 ; m. a violinist Fd. Drewer.
(5) Fas. (der alter), Bonn, 1755—
Bremen, 1846 ; bro. of above ; lead-
er, later ct.-mu5. dir., Bonn. (4)
Fd., Bonn, Nov. 29, 1784 — Frank-
fort-on-Maio, Jan. 13, T838 ; noted
pianist ; pupil of Beethoven (of whom
he wrote a valuable sketch) and Al-
brechtsberger ; toured, 1813-24,
London ; m. an English woman ;
from 1830, 1. Frankfort as cond*; q. 8
operas, 6 symphs., etc. (5) Peter
Jos., 1790— London, 1882 ; bro. of
above ; Royal Prussian Prof. (6)
Hubert, Bonn, April i, 1802 — Ber-
lin, Sept. 14, 1886 ; bro. of above ;
violinist, teacher and composer of
valuable method, studies, etc., for vln.
(7) Louis, b. Berlin, Jan. 30, 1830;
son of (6), vln. -teacher, London. (8)
Ad., b. Berlin, Dec. 20, ^837; bro.
of above ; pf. -teacher, London ; com-
poser. (9) Fz., b. Berlin, April 7,
1846 ; son and pupil of (6); studied
with Massart at Paris Cons, and with
Kiel (comp.) ; concert-violinist till
1S75 when he retired because of ner-
vousness, and entered mus. -publishing
(Ries & Krler, Berlin) , c. excellent
orch. and chamber-mus., etc. (10)
Hugibert. Vide huuo rikmann.
Rieter-Biedermann (re'-t^r-be'-d^r«
man), J. Melchior, 18 11 — Winter,
thur, Switz., 1876 ; founded pub.«
house, 1849; 1862, branch at Leipzig,
Rietz (rets), (i) Jn. Fr. R., d. Beriin,
1828 ; vla.*player, royal chamber-
mus. (2) Eduard, Berlin, 1802-*
1832 ; son of above ; violinist and
tenor; founded the Berlin Philh.
Soc., 1826; was its cond. till death.
(3) Julius, Berlin, Dec. 28, i8i2—
Dresden, Sept. 12, 1877; son of (i) ;
'cellist and cond. ; pupil of Schmidt,
Romberg and Ganz ; 1834, asst.-
cond. to Mendelssohn, DUsseldorf op-
era ; 1835, his successor; 1847, cond.
Singakademie, Leipzig, later also
cond. Gcwandhaus and prof, of comp.
at the Cons.; i860, ct.-cond. at Dres-
den ; later dir. of the Cons. ; editor
of scores ; c. 4 operas, 3 symphs.,
various overtures, masses, etc.
Riga (re'-gsl), Frantz (Fran9oi8),
Liege, 183 1 — Schaerbeek, near Brus-
sels, 1892 ; conductor and composer
of male choruses, etc.
Rig'by, Geo. Vernon, b. Birming-
ham (?), Jan. 21, 1840; notable oper*
atic and concert tenor ^ toured Engl.,
(«er. and Italv.
Righini (rS-ge -ne), V., Bologna. Jan.
'22, 1756-— Aug. 19, 1812: tenor
626 THE MUSICAL GUIDE
singing-teacher and court-cond. at
Mayence, later Berlin ; c. 20 operas,
etc., incl. vocalises.
Rille. Vide laurent de rille.
Rimbault (rfm'-bolt), (i) Stephen
Francis, organist and composer,
1773 — 1837. (2) Edw. Fran., Lon-
don, June 13, 1816 — Sept. 26, 1876;
son and pupil of above ; organist and
noted lecturer, editor, essayist and
writer of numerous valuable historical
works based on research.
Rimsky-Korsakov (rtm'-shkT-kor'-sa-
kof), Nikolas Andrejeyitch, b.
Tikhvin, Novgorod, May 21 (new
style), 1844; notable Russian com-
poser; studied at the Naval Inst.,
Petersburg ; also took pf.-lcssons ;
1 86 1, took up mus. as a profession
after study with Balakirev; at 21 prod,
his first symph,; 1871, prof, of comp.
and instr. at Petersb. Cons., also
1873-84 inspector of Marine Bands;
1874-87, dir. Free Sch. of Mus., and
until 1881, cond. there ; 188"^, asst.
cond. (to Balakirev) of the Imp.
Orch.; from 1886, cond. Russian
Symph. Concerts ; i88g, cond. 2
Russian concerts at the Trocadero,
Paris. He orchestrated the posthu-
mous operas : Dargomyzsky's *'6<;w-
modorf" Mussorgsky's ** Khavanst-
chyna " and Borodin's * "" Prince
Jgor^^ ; pub. coll. of Russian songs
and a harmony. C. operas ^'^ Psko-
vitjanka*' ('*The Girl from Pskov '*>
(St. Petersburg, Imp. Th. 1873) ; ''A
MayNighr(do. 1880); '' Snegorotch-
Jka" ("The Snowy Princess") (do.
1882); ** Mosart und Salieri " (Mos-
cow); opera ballet ** Allada " (Peters-
burg, 1892); opera "^ Christmas Eve**
(1895); 3 symphs. incl. **Antar**
(1881), sinfonietta; " Russian " over-
ture ; Servian fantasia , mus. tableau
** Sadko** (1876) : pf. concerto, etc. ;
opera ** Zarskaja Newjesta " (igoi).
Rinaldi (re-n&l'-de), Gioy., Reggiolo,
Italy, 1840 — Genoa, 1895 ; pianist.
Rinck (r!nk), Jn. Chr. H., Elgersburg,
Thuringia, Feb. 18, 1770- Darm-
stadt, Aug. 7, 1846 famous orjrah-
ist, writer and composer ; pupil of
Kittel, etc.; town organist Giesen,
then, 1805, at Darmstadt, where he
also taught in the seminary; 1813
ct. -organist there ; autobiog. (Bres-
lau, 1833).
Ringel, Federico. Vide f. d*erlan-
GER.
Ringler (rYng'-ler), Eduard, b. NQm-
berg, Jan. 8, 1838; pupil of Hoh-
mann; but did not adopt mus. till 30,
then studied with Grobe, and Dupont
at Nttrnberg ; conil. the '* Sing^'er-
ein " ; from 1883 choir-dir. in the
synagogue, and from 1890, cond. the
excellent **Verein fllr klassischen
Chorgesang " ; singing-teacher and
critic; c. succ. **Volksoper" **.^-
pelein von Gailigen " (Nttrnberg, 1896),
grand opera *' Fritkjof*'' songs, etc.
Rinuccim (re-noot-che -ne), OttaviOy
Florence, 1562 — 1621; the librettist
of the first opera ever p>erformed.
Peri (q. v.) and Caccini*s ** Dafnt "
(1594). also of VerVs *' Euridiee"
(1600), and Monteverde*s ** Arianna
a Nasso*' (1608).
Riottc (rt-ot), Phillip J., St. Mendel,
Treves, Aug., 1776 — 1856; conduct-
or and dram, composer.
Ripa (re'-pa), Alberto de (calied Al-
berto Mantoyano), b. Mantua — d.
ca. 1580 ; lutist and composer.
Rischbieter (rlsh'-be-tdr), Wm. Al-
bert, b. Brunswick, 1834 ; pupil of
Mauptmann, theory ; violinist in
Leipzig and other cities ; from 1862
teacher harm, and cpt., Dresden
Cons., pub. treatises, etc.; c. symph.,
overtures, etc.
Risler (res'-l£r), Edouard, b. Baden.
Baden, Feb. 23, 1873 ; notable pia.
nist ; pupil of Diemer and d* Albert^
Stavenhagen, etc.; lives in Paris.
Ristori (res-to'-re), Gioy. Alberto,
Bologna. 1692 — Dresden. Feb. 7,
1753 ; organist and conductor ; c. a
of the earliest comic operas, also
church-music.
Rit'ter, (r) G. Wenzel, MannheioL
April 7, T748 — Berlin, June 16, 1808,
bassoonist. Berlin ct.-orcb.; comppa
•■
DICTIONARY OF MUSICIANS 627
er. (2) Aug. Gf., Eifurt, Aug. 25,
1811 — Magdeburg, Aug. 26, 1885;
organ-virtuoso, editor and composer.
(3) Alex, Narva (or Reval), Russia.
June 27 (new style), 1833 — Munich.
April 12, 1896 ; violinist ; c. succ.
operettas, etc. (4) Fr6d6ric Louis,
Strassburg, June 22, 1834 — Antwerp,
July 22, 1891 ; prof, of mus. and
conductor at Loraine ; 1856, Cincin-
nati (U. S. A.), organist Philh. orch.
and Cecilia Soc; 1861 New York,
cond. the Arion ; 1867 prof. Vassar
Col.; wrote ^^ Music in England^**
and " Music in America " (both N.
Y., 1883) ; and other historical
works ; c. 5 symphs., etc. (5) (Ray-
mond-Ritter), Fanny, b. Philadel.
phia, 1840 ; wife of above ; writer
and translator. (6) (rightly Bennet)
Theodore, near Paris, 1841 — Paris.
1 886 ; pianist and composer. (7)
Hermann, b. Wismar, Sept. 16,
'849 ; violinist ; studied Berlin with
Joachim, etc. ; invented and played a
viola alta ; for 20 yrs. teacher at
WUrzburg. (8) Josef, b, Salzburg,
Oct. 3, 1859; barytone at Vienna. (9)
Ritter-Gdtze (g^t-'ts^), Marie, b.
Berlin. Nov. 2, 1865; mezzo-sopr.;
pupil of Jenny Meyer and Levysohn ;
MhwX. R. Opera, Berlin ; later Ham-
uurg for 4 years ; sang at Met. Op.
and in concert U. S. A. 1890-02 ;
then Berlin R. Opera.
Riy6-Kingf (re'-va-ktng), Julie, b.
Cincinnati, Ohio, Oct. 31, 1857 ;
noteworthy pianist ; toured the world
with great succ. ; c. pop. pf .-pes.
Riviere (rev-yftr), Jules, 1809 — Paris,
I>ec. 26, 1900 ; conductor.
Rob'inson, (r) J., 1682 — 1762 ; Eng-
lish organist and composer. (2) Ann
{n^ Turner), d. 1741 ; singer; wife
of above. (3) Anastasia, 1750; Engl,
singer ; m. Earl of Peterborough.
(4) Margaret, sister of (i) , singer
in Handel's oratonos. (5) Francis,
professor at Dublin, 1810. His four
sons were (6) Francis, tenor ; (7)
Wm., bass ; (8) J., tenor and organ-
^t • (9) Jo^M ^* ^^S't ^8^^ » famous
cond. and composer ; his wife, (10)
Fanny Arthur, 183 1 — 1879, ^^^ ^
singer and composer.
Roberts, J. Varley, b. Stanningly,
near Leeds, Sept. 25, T841 ; organist
and composer; from 1868 at Halifax;
1876 Mus. Doc. Oxford ; c. cantata
'\/onah;* etc.
Robjohn, Wm. Jos., b. Tavistock,
Devon, Nov. 3, 1843 ; self-taught
mus.; at 14 went to America; has
been organist various churches ; c
various operettas, etc.; wrote under
pen-name Caryl Florio.
Robyn (ro -bin), (i) Alfred G., b. St.
Louis, Mo., April 29, i860; son of
(2) Wm. R. (who organised the first
symph. orch. west of Pittsburgh) ; at
10 A. succeeded his father as organist
at St. John's Church ; at t6 solo-pianist
with Emma Abbott's Co. : prod, comic
opera **y<jrf«/a" (1894); c. pf.-con-
certo, etc., also very pop. songs (incL
** Answer "), etc.
Rochlit* (rokh'-lUs), Jn. Fr., Leipzig,
Feb. 12, 1769 — Dec. 16, 1842 ; com-
poser, editor and prominent writer of
essays, biog. and librettos.
Rock, Michael, d. March, 1809 ;
English organist and composer.
Rdckel (rek'-€l), (i) Jos. Aug.,
Neumburg-vorm-Wald, Upper Pala-
tine, 1783 — Anhalt-C6then, 1870 ;
singer, prof, and operatic dir. at Aix;
1829-32, of a German co. at Paris ;
1832, London. (2) Aug. Gratz,
1814 — Buda-Pesth, 1876; joint-con-
ductor at Dresden opera (with Wag-
ner) ; 1848, abandoned mus. for pcli*
tics. (3) Edw., b. Treves, Nov. 20^
1816 ; pupil of his uncle, J. N. Hum-
mel ; toured as pianist ; from 1848
lived Bath, Eng.; c. pf.-pcs. (4^
Jos. (Ld.), b. London, April 11,
1838 ; bro. of above ; pupil of Eisen
hofer, G()tze, and of his father an^
bro. Eduard (pf.) ; lives in Bristol, as
teacher and pianist ; c. cantatas,
pf.-pcs,, pop. songs, etc.
Rock stro (rightly Rackstraw), Wm
Smyth, North Cheam, Surrey, Jan«
5, 1823 — London. July 2, i8o5 ; no
628
THE MUSICAL GUIDE
table historian; pupil Leipzijr Cons. ;
pianist and teacher, London; 1891,
lecturer R. A. M. and R. C. M.;
wrote treatises, bio^j. and * ' dfural
History of Music'' (1886); c. over-
ture, cantata ** 7'he Good Shepherd,'*
etc.
Roda (ro -da), Fd. von, Rudolstadt.
1815 — ^near Kriwitz, 1876; mus.^dir.
and composer.
Rode (r6d), (Jacques) P. (Jos.), Bor-
deaux, Feb. 16, 1774 — Chateau-
Bourbon, i.«ear Damazon, Nov. 25,
1830 ; notable violinist ; pupil of Fau-
vel and Viotti ; de'but, Paris, 1790 ;
toured ; prof, at the Cuns.; 1800, so-
loist to Napoleon, later to the Czar ;
c. 13 concertos, famous Etudes, etc.;
wiote a method (with Baillot & Kreut-
zer).
Rode (r6'-d«), (i) Jn. Gf., Kirch-
scheidungfen, Feb. 25, 1797 — Pots-
dam, Jan., 1857; honi-virtuoso ; c.
tone-pictures, etc. (2) Th., Pots-
dam, 182 1 — Berlin, 1883 ; son of
above ; sing^ing-teacher and writer.
R6der (ra'-ddr). (i) Jn. Michael, d.
ca. 1740; Berlin org.-builder. (2)
Fructuo'sus, Simmershausen, March
5, 1747 — Naples, 1789 ; notable or-
fanist. (3) G. v., Rammungen,
ranconia, 1780— AltOtting, Bavaria,
1848 ; ct.-cond. and composer. (4)
Carl Gl., Sttttteritz, near I^ipzig,
1812— (lohlis, 1883; 1846, founded
the largest mus. and engraving estab-
lishment in the world ; in 1872, his
sons-in-law, C. L. H. Wolf and C. E.
M. Rentsch, became partners. (5)
Martin, Berlin, April 7, 185 1 — B<»s-
ton, Mass., June 7, 1895 ; pupil R.
Hochschule ; conductor and teacher
of singing in various cities, incl. Dub-
lin and Boston ; critic and writer un-
der pseud. '* Raro Miedtner " ;
wrote essays, librettos, etc. ; c. 3 op-
eras, a symph., 2 symph. poems, etc.
Kodio (ro -d?-o), Rocco, b. Calabria,
ca. 1530; famous Neapolitan con-
trapuntist and theorist.
Rodolphe (ro-dolf) (or Rudolph),
Jean Jos.. Strassburg, Oct. 14, 1730
— Paris, Aug. 18, iSii;; horn-yirtui
oso and violinist; pub. treatises)
prod, operas.
Ros:el (rd'.h«i), Jos6, b. Oribuela. Ali.
cante, Dec. 24, 1829 ; conductor and
composer of 61 zarzuelas, etc.
Roger (ro-zha), Gre. Hip., La Cha-
pelle St. -Denis, near Paris, Dec. 17,
1815— -Paris, Sept. I2« 1879; noted
tenor; created **Z^/'r<^;fc>//"y 1868,
prof, of singing at the Cons. (2)
Victor, b. Montpellicr, France, July
21, 1854; pupil Ecole Niedermejer;
critic of "/.a France**; prod, about
20 operettas, etc., incl. ** La P<iitt
7'dch/* (1898); succ ''PouU Blantki^
11899); and succ. ^* Mile, Georges'*
X900).
RcMrers (rr-jtoX (0 B«i4.t Wlodnr,
1614 — Oxford, 1698; oi^nlst at
Dublin; later at Windsor; c. the
hymn sung annually at 5 A. M., May
I, on the top of Magdalen tower.
Oxford. (2) John, d. Alder^te,
ca. 1663 ; lutenist to Chas. II. (3)
Sir John Leman, 1780 — 1847: com*
poser; pres. Madrieal Soc. (4)
Clara Kathleen (nee Baraett), b.
Cheltenham, Engl., Jan. 14, 1844;
daughter and pupil of John Bamett ;
pupil of Leipzig Cons.; studied also
singing with GOtze and Sangiovanni,
at Milan ; d^but Turin, 1863 (under
name ''Clara Doria"); sang in
Italy, then in London concerts,
1871, America with Parepa^Roaa Co.;
1872-73, also with Maretxck Co.;
since then lived in Boston as singer
and teacher ; 1878, m. a Boston law-
yer, Henry M. R.; pub. " The PH^
losophy of Singing** (New York,
1893) \ c. songs, sonata for pf. and
vln., etc. (5) Roland, b. West
Bromwich, Staffordshire, Nov. 17,
1847; at II, organist at St. Peter's
there; 1871-91, organist a Bangor
Cath. and cond. of the Penrhyn and
Arvonic Choirs; teacher in Wales:
1875, Mus. Doc. Oxford ; c. caota.
tas ' ''Prayer and Praise ** (with orcfa.),
** The Garden ** (prize, Llandudno^
1896); and '* Florabel**; Psalm 130^
m
DICTIONARY OF MUSICIANS 629
{or soli, chorus and strings ; a symph.i
etc. (6) James H., b. Fair Haven,
Conn., U. S. A., 1857; at 18 studied
in Berlin with LOschom, Haupt, Ehr-
lich and Rohde, and at Paris with
Firsot, Guilmant and Wider ; lives in
Cleveland, Ohio, as organist, pianist
and composer of notable songs. (7)
Delia, b. Denver, Colorado, ca.
1869; soprano; pupil of Mme. de la
Grange and Leon Jancey (French
diction) ; d^but, St. Petersburg ; has
sung at La Scala, Milan, in Rouma-
nia, Turkey, etc.
Rog^one (r6n-yd'.n£), (i) Riccardo,
a Milanese violinist. His son (2)
Fran., pub. a vln. method, 1614,
etc.
Rohde (rd'-d£), Eduard, Halle-on-
Saale, 1828— Berlin, March 25, 1883 ;
writer of pf.-method ; singing teacher
and composer.
Rohleder (ro -l&-d£r), (i) Jn., pastor at
Friedland, Pomerania ; pub. a trea-
tise, 1792. (2) Fr. Traugott, Pas-
tor at Lahn, Silesia ; pub. articles on
church-mus. (1829-33).
Rokitatisky (rd-kl-tto'-shkl), Victor,
Kretherr von, Vienna, 1836 — 1896 ;
pub. treatises on singing.
Rolandt (ro'-Unt), Hedwigf (stage-
name of Hedwigf Wachutta), b.
Graz, Sept. 2, 1858 ; soprano ; pu-
pil of Frau Weinlich-Tipka, Graz;
d^but, Wiesbaden, 1877; 1883, ra.
the merchant Karl Schaaf.
Rol'la, Ales., Pavia, April 22, 1757
— Milan, Sept. 15, 1841 ; violinist
and teacher; prof, of vln. and via.:
Paganini was his pupil.
Rolle (r6r.ie), Jn. H., Quedlinburg,
Dec. 23, I7i8---Magdeburg, Dec. 29,
1785 ; son and successor of the town
nius.-dir. of Magdeburg ; 1741-46,
vla.-player, Berlin ct.-orch.; c. 4
Passions, 20 oratorios, etc.
Honig (riylllkh), K. Ld., Vienna,
1 76 1 — March 4, 1804 ; harmonica-
player ; inv. of the ** Orphika " and
*• Xanorphika" (v. D. D.) ; wrote
treatises on them ; c. comic opera.
Romaniello (rd-mftn-l-^l'-lo), (i) Lui-
|Pi b. Naples, Dec. 29, i860 ; pian-
ist; pupil of his father, his broth-
er (2) Vincenzo, and at Naples
Cons. ; graduating with highest hon-
ours; dir. of the pf.-dept. there,
later member of the Soc. del Quar-
tetto, also pianist Femi Quartet ; in-
structor in the R. ** Educandato di
San Marsellino " and critic ; Chev. of
the Italian Crown ; has made tours
and pub. a pf.-method (prize at Na-
ples, 1886) ; c. 3 operas, symphonic
poems " Corsair " and " Manfred;'
2 symphs., etc.
Romanina. Vide albbrtini, o«
Romanini (ro-mfl-n£'.ne), Romano, b.
Parma, 1864; pupil of Mandovani
(vln.) and Dacci (comp.) at the Cons. ;
1st vln. Teatro Regio ; then cond.
concert and theatre-orch. at Savigli-
ano ; 1890, prof, of vln.; since 1897,
director ** Instituto Venturi,** Bre-
scia; c. succ. opera **w4/ Campo**
(Brescia, 1895), symph., etc
Romano, (i) Alessandro (q. v.). (2)
Giulio. Vide caccini.
Romberg: (r6m'-b£rkh), (i) Anton (a)
and (2) H., two brothers, lived in
Beriin, 1792. (3) Anton (b), West-
phalia, 1745 — 1812 (1742 — 1814,
ace. to Riemann) ; bassoonist. (4)
Gerhard H., b. 1748; clarinettist
and mus.-dir. at Mttnster. (5) Bd.,
Dincklage, near Monster, Nov. 11,
1767— Hamburg, Aug. 13, 1841; the
head of the German sch. of 'cellists ;
prof.; ct.-cond., 1815-19 ; c. many
operas, incid. mus.; 9 excellent con-
certos. (6) Andreas (Jakob),
VechU, near Mttnster, 1767 — Gotha,
182 1 ; vln. -virtuoso ; son of (7) Ger-
hard H., b. 1748 ; dir. and clarinet-
tist. (8) Cyprian. Hamburg, 1807
—1865 ; son of (6) and pupil of (5),
*cellist and composer. (9) Anton (c),
b. 1777; bassoonist ; son of (3). (10)
Thftrese, b. 1781; pianist; sister of
(6).
Ro'mer, Emma, 1814 — Margate, 1868;
Engl soprano.
Ronchetti - Monteviti (rdn-k«t'.t6
mdn-ta-ve'-te), Stefano, Asti, 18x4-^
630
THE MUSICAL GUIDE
Casale Monferrato, 1882 ; pupil of
B. Neri, Milan ; 1850, prof, of comp.
at the Cons. ; 1877, dir. ; c. an opera,
a motet, etc.
Ronconi (ron-ko'-ne), (i) Dom., Len-
dinara, Rovigo, July 11, 1772 — Mi-
lan, April 13, 1839 ! singer and fa-
mous vocal-teacher ; tenor ; 1809,
dir. of the ct.-opera, Vienna ; 18 ig-
29 ; singing-master to the princess,
Munich ; 1829, founded a singing-
sch. at Milan ; pub. vocal exercises.
(2) Giorg^io, Milan, 1810— 1890;
son of above ; barytone ; 1863, teach-
er at Cordova, Spain ; from 1867,
New York ; composer. (3) Felice,
Venice, 181 1 — St. Petersburg, 1875 ;
singing-teacher and writer. (4) Se-
bastiano, b. Venice, 1814; barytone,
violinist and teacher, Milan.
ftong (rdng), Wm. Fd., d. Berlin ;
said to have been living in 1821,
aged 100 ; chamber-musician of Prus-
sia ; mus.-teacher, writer and com-
poser.
Idnisch (ra'-ntsh), K., Goldberg, Sile-
sia, 1814 — Blasewitz, 1894; piano-
manufacturer iat Dresden.
.^ontgen (r^nt'-g^n), (i) Engelbert,
Deventer. Holland, 1829 — Leipzig.
1897 ; violinist. (2) Julius, b. Leip-
zig, May 9, 1855 ; pianist ; son of
above ; pupil of Hauptmann and £. F.
Richter, Plaidy, Reinecke and Fr.
Lachner ; at 10 began to c; at 17
pub. a vln. -sonata ; debut as pianist,
1878; teacher mus.-sch., Amster-
dam ; 1886-98, cond. to the Soc. for
the Promotion of Mus., also ?'elix
Meritis Soc; co-founder (1885) of
the Cons. ; c. * ' Toskanische Rispetti^^*
an operetta for voices ana pf . ; a pf .-
concerto, etc.
Rooke, Wm. M., Dublin, 1794 — Lon-
don, 1847 ; teacher, pianist, violinist
and dram, composer.
Root, (i) G. Ed. Fr., Sheffield, Mass.,
Aug. 30, 1820 — Barley's Island, Aug.
6. 1895 ; teacher of singing and con-
ductor ; pupil of Webb, lioston ;
studied Paris, 1850 ; c. "' BattU-cry
iij Freedom^' *' Tramps Tramps
Tramp;' ''Just before the Battle,
Mother,'' etc. (2) Fr. Woodman,
b. Boston, Mass., June 13, 1846;
son and pupil of above ; pupil of
Blodgett and Mason. New York ; or-
ganist ; 1 869-70. studied in Europe ;
later lecturer, writer and teacher of
large vocal classes.
Rooy, van. Vide van rooy.
Roquet (ro-ka), Ant. Ernst, Nantes,
1827 — Paris, 1894; amateur, who un-
der pen-name ** Ernest Thoinan **
(twa-nan) pub. valuable historical
works based on research.
Rore (rd'-r$), Cipriano de, Mechlin.
I5i6--Parma, 1565; eminent com-
poser of Venetian sch. ; pupil of Wil-
laert, 1550, and his successor, 1563 ;
ct. -conductor.
Rorich (r6'-r!kh), Carl, b. NUmberg.
Feb. 27, 1869 ; pupil of R. Sch. of
Mus., WUrzburg ; from 1892, teacher
Gr. Ducal Sch. of Mus., Weimar; c.
an overture '' Marc hen,'* a suite
•' Waldleben;' etc.
Ro'sa, (i) Salyato're, Aranella, Na-
pies, 1615 — Rome, 1673; famous
painter and poet ; wrote a satire on
mus., etc.; composer. (2) Carl
(rightly Carl Rose), Hamburg, 1842
— Paris, 1889 ; violinist ; 1867, m.
Parepa-Rosa, and with her organised
an English opera-company ; toured
with great frequency, especially at
head of an Engl, opera syndicate.
Ros^ (ro'-za), Arnold Josef, b. Jassy,
Oct. 24, 1863 ; pupil of Heissier, Vi-
enna Cons.; 1st vln. Rose Quartet;
since 1881, soloist, Vienna ct.-orch.,
and since 1888, leader Bayreuth Fes-
tivals.
Roseing^ave (r6z'-Tn-grav), Thos.,
Dublin — London, 1750 ; 12 years
organist at St. George's, Hanovet
Stjuare ; composer and writer.
Rosel (ro'-z^l), Rudolf Arthur, b.
Mllnchenbernsdorf, Gera, Aug. 23,
1^59 : pupil of Weimar Mus.-Scb.,
later of Thomson ; 1877-79, ^^^ ^^^
various cities ; from 1888 in the Wei-
mar ct.-orch.; also teacher at Mus.-
Sch.; c. fairly succ. "lync stag»
DICTIONARY OF MUSICIANS 631
play" '' I/alimah'' {WtxitiTiV, 1895),
symph. poem *' FrUhlingsstUrme^* a
notturno for horn with orch., a not-
turno for oboe with orch., etc.
Rosellen (ro-zdl-iafi), H., Paris, 1811
— 1876 ; pf.-teacher, writer and com-
poser.
Rosenhain (ro -z^n-hln), (i) Jacob
(Jacques), Mannheim, 181 1 — Baden-
Baden, 1894 ; pianist and dram, com-
poser. (2) Eduard, Mannheim,
1818 — Frankfort, 1861; bro. ofabove;
pianist, teacher and composer.
Rosenmiiller (ro-z5n-mll-lt5r), Jn.,
1615— Wolfenbattel, 1682 ; mus.-di-
'•ector and composer.
Rosenthal (r6'-z£n-tal), Moriz, b.
Lemberg, 1862 ; brilliant pianist ; at
8 his ability enlisted the aid of Miku-
li; at 10, pupil of R. Joseffy ; at 14,
gave a concert Vienna ; Royal Pian-
ist; 1876-86, pupil of Liszt; from
1887, loured America and Europe ;
1896-97, tour of U. S. interrupted
by illness ; pub. (with L. Schytte)
*' Technical Studies for the Highest
Degree of Development^'^
Roses (ro -z^s), Jose, Barcelona, 1791
— 1856: oiganist, composer and
teacher.
Rosetti (rcVsdt'-te), Fran. Ant.
(Fz. Anton Rdssler, rds.l£r), Leit-
meritz. Bohemia, 1750 — Ludwigslust,
T702 . ct. -conductor and composer.
Rosier (ras'-ldr) Gv., 1S19 — L)resden,
18S2 ; teacher and d^am. composer ;
prod. succ. opera v Dessau)
Ross. J., b. Newcastlc-on-Tyne 1764,
organist and composer.
Rossaro (ros-sa'-ro), Carlo, Crescen-
tino, Vercelli. 1828 — Turin, 1878 ,
pianist and dram, composer.
Ros setor, Phillip, Engl, lutcnist and
composer, 16 16.
Rossi (ros' se) (i) GioT. Bat., Gen-
oese monk . theorist, ca. 161 8. (2)
Abbste Fran., b. Bari. Italy, ca.
1645 , canon and dram, composer,
(3) GaetanOv Verona 1780— 1855 ;
librettist. (4) Luigi Felice, Bran-
dizzo. Piedmont 1S04 — Turin, 1863,
essayist and translator, (5; Laui0|
Macerata, 1812 — Cremona, 1885;
wrote a harmony and c. operas. (6)
Giov. Gaetano, Borgo, S. Donino,
Parma, 1828 — Genoa, i886; c. 4
operas.
Rossini (rAs-sS'.n§), Gloacchino A.,
Pesaro, Feb. 29, 1792 — Ruelle, near
Paris, Nov. 13, 1868; eminent Italian
opera-composer. His father was in-
spector of slaughter-houses and also
horn - player in strolling troupes 10
which the mother (a baker's daugh
ter) yfSiS prima dontia buffa. Left in
charge of a pork-butcher, R. picked
up some knowledge of the harpsichord
from a teacher, Prinetti ; 1802 stud-
ied with Angelo Tesci ; this beg^n
his tuition ; he made rapid progress,
and sang in church, and afterwards
joined his parents as a singer, horn-
player and accompanist in the theatre.
At 14 he studied comp. with Padre
Mattei, and 'cello with Cavedagni at
the Bologna Liceo. At 15 he prod,
a cantata ** // Pianto d* Armonia per
la Morte d'Or/eo,*^ which won a
prize. Mattei soon told him that,
though he had not enough cpt. to
write church-mus., he knew enough
to write operas, and he ceased to
study. At 17 he prod, a succ. i-act
opera bufTa * La Cambiale di Matri-
w<>/iw" (Venice, 1810); next year, a
succ. 2-act opera buffa *^ VEquivoeo
Stravagante^ ' Bologna. He received
various commissions, writing 5 operas
during 1812. 1813, his '^Tancredt''
(Fenice Th., Venice) was an im-
mense succ. and ^' Vita liana in AU
geri,'* an opera buffa (San Benedetto
Th.), was also succ. Two failures
followed with disheartening effect,
but '' Klisabetta'" (its libretto curi-
ously anticipating Scott's ** KeniU
worth^') was a succ. (Naples, 1813),
and in it he dropped recitative secco.
A failure followed and on the 6rst
night of the next work the public re-
sentment at his daring to set to mus.
the text of one of Paisiello's operas
led to its being hissed. This work
'*Almaviva" (Rome, 1816) was
632 THE MUSICAL GUIDE
better received the second night and
gradually est. itself in its subsequent
fame under the title ** J I Bar bier e dt
Seviglia''; 1815-23 he was under
contract to write two operas yearly
for Barbaja, manager of La Scala at
Milan, the Italian opera, Vienna, and
Neapolitan theatres. His salary was
12,000 lire (about $2,400). During
these 8 years he 0. 20 operas, travel-
ling from town to town and working
under highest pressure. 182 1 he m.
Isabella Colbran (d. 1845), who had
sung in his operas. The ill-succ. of
his most carefully written " Semiram^
ide^^ (Venice, 1823) and an offer
from Benelli, amgr., led him to Lon-
don where, he was lionised and in 5
months earned ;£'7,ooo. For 18
months he was mgr. of the Th. Ital-
ien at Paris, and prod, several operas
with artistic, but not financial succ.
He was howevcF " Premier composi-
teur du roi" and '* Inspector-general
du chant en France," sinecures with
a salary of 20,000 francs ($4,000).
He lost these in the Revolution of
1830, but afterwards on going to law
received a pension of 6,000 francs.
At the Gr. Opera he prod, with succ.
revisions in French, of earlier lulian
succs. 1829 he gave there his greatly
succ. masterpiece " GugUdmo TfU.*^
At the age of 37, having prod, under
his direction Meyerbeer's first opera
and having heard *' Les Hugutnots**
R. foreswore opera and never i»TOte
again anything more dramatic than his
famous '* 5'/<I^a/i»/a/^•r•' (1832), not
performed entire till 1842; ^^ PetiU
messe soUtwelU^* with orch.; a can-
tata for the Exposition of 1867 ; and
pf.-pcs. with burlesque names. He
retired to Bologna and Florence, re-
tuniing to Paris in 1855. 1847 he m.
Olympe Pelissier. He c. 35 operas,
16 cantatas, canzonets and arias,
* ' Corgheggi e solfeggi per soprano per
rendeti la voce agile" ^* Chant des
Titans " for 4 basses with orch. ;
** Tantum ergo*^ for 3 male voices
with orch.; ** Qvottiam '* for solo basb
with orch.; ** O salutaris" for solo
quartet, etc. Biog. by Stendhal
(1823), Azvedo (1865), H. S, Ed-
wards (London, 1869), Zanolini
(1875), Struth (Leipzig), Dr. A. Ko-
hut (Leipzig, 1892).
Rossini.
By Irenaeus Prime-Stevenson.
IT is like a page of goldenest sunshine in the volume of musical personalia
to review the brief, brilliant, artistic story of Rossini's activity or to
glance at his long and happy life. Almost from the first came to him
fame, fortune, and opportunity for that amazing fecundity of mind which was
80 curiously sorted with his indolence of body. Few men of genius have
lived and worked and rivalled and succeeded, of whom so litdc is current
that is ungracious or discreditable. ^As to Rossini's place in art, albeit a
huge fraction of his operas are empty to our ears, and bore us with their
flowery ornamentation and feeble dramatic substructure, we have no right to
predict that thorough neglect will soon deliver to darkness and dust such
scores as ** U Italiana in Algeri,*^ ** II Barbiere di Seviglia,^* ** GitgH-
ilmo Tell,^* — and possibly ** Semiramide^* ; for the worid will have loir
loo completely a natural irresistible feeling for melody, for restrained eleeano*
DICTIONARY OF MUSICIANS 633
of orchestral diction , and above all for the perfect expression of true comedy
in music. Only in one other master, Mozart, to whom Rossini felt that he
owed so much, and to whom he declared himself so far inferior, do we meet
equal sincerity, taste, and eloquence as prolifically put into operatic song and
orchestration. ^ And as to '* TV//," with that noble and serious work, a
striking variant from the old Italianistic Rossini, a work by a mature and
serious-minded composer of the first order, all the great and the little musical
world will long have to reckon. ^ The great influences on Rossini were
two : Mozart, whose greatest successor in Italian operatic comedy Rossini
certainly is ; and a mixture of French form and French dramatic spirit with
German importance in every detail of the orchestra. ^ It cannot be said
that Rossini founded a school. He " said it all himself/' as the phrase goes ;
and his imitators either gave over copying (often with most happy and sig-
nificant advantages to great individualities for themselves, as in the instances
of Meyerbeer and Donizetti and Verdi), or else they were not of substance
in their efforts to eclipse the dazzling master of Pesaro. His effect upon the
whole operadc public of Europe was for a time almost demoralising, paralys-
ing to all other music. ^Immediately after the striking renunciadon of his
career, at only thirty-seven years of age, came the Wagner movement, which
is showing not unwelcome signs of sluggishness and eventual disappearance.
Rdssler, F. A. Vide ro-setti, f. a.
Rost (rost), (i) Nicolas, pastor at
Kosmenz, AUenbure ; composer,
1583-1614. (2) Fr. Wm. Ehren-
Ined, Bautzen, 1768 — Leipzig, 1835;
writer.
Roth (rot), (i) Ph., Tamowitz, Sile-
sia, T853— Berlin, 1898 ; 'cellist. (2)
BertrAnd, b. Degersheim, St. Gal-
len, Feb. 12, 1835 ; pianist ; pupil of
Leipzig Cons, and Liszt ; teacher
Hoch Cons., Frankfort, co-founder.
Raff Cons., 1882 ; 1885-90, Dresden
Cons.; then opened a private mus.-
sch. there.
Rothmilhl (rot'-mnl), Nikolaus, b.
Warsaw, March 24, 1857: tenor; pu-
pil of GSnsbacher; d^but, Dresden
ct.-theatre, then Berlin, etc.; toured
widely, incl. America ; then at Stutt-
gart ct. -opera.
Roth-Ronay (rot-rd'-na-e), Kalman,
b. Vcszprein, Hungary, July 20, 1869;
notable violinist ; pupil Grnn, Vien-
na Cons. , took 1st prize gold medal
for vln.; studied comp. at Leipzig
Cons., then with Joachim, Berlin.
1893-94, leader Covcnt Garden ;
toured Europe ; decorated by King
of Hungary, King of Servia, Prince
of Bulgaria and the Sultan ; pub. a
few songs ; c. also sonatas for vln.
and piano, etc, *
Rotoli (ro-to'-le), Aug^sto, b. Rome,
Jan. 7, 1847; pupil of Lucchesi ;
founded and cond. "Society corale
de' concerti sagri," 1876, singing-
master to Princess Margherita ; 1878,
maestro, Capella reale del Sudario ;
18S5, invited to Boston, Mass., as
teacher in the N. E. Cons.; Chev, of
the Ital. Crown, etc. C. mass for the
funeral of Victor Emmanuel. 1878 ;
" Sa/mo eUgiaco,'' with orch. (1878),
etc.
Rot'tenberg^(.b«rkh).Dr. Ludwig, b.
Czernowicz, Oct. 11, 1864; studied
vln. and piano with Fuchs, and theo-
ry with Mandyczewski : debut aa
pianist; 1888^ director; 1891, cond*
634
THE MUSICAL GUIDE
at Brunn, then ist opera cond. at
Frankfort.
Rotter (r6t'-t«r), L., Vienna, 1810—
1895 ; pianist, conductor, theorist and
composer.
Rottmaniier (rot'-man-n^r), Ed., Mu-
nich, 1809 — Speyer, 1843 ; organist.
Rougret de I'Isle (roo-zha dii-lel),
Claude J08., Lons-le-Saulnier, Jura,
May 10, 1760 — Choisy-le-Roy, June
27, 1836 ; composer of the ** Mar-
seillaise^** military engineer, poet, li-
brettist, violinist and singer ; wrote
**Ztf Marseillaise^^* picking out the
air on his vln.; he called it ^' Chant
de Guerre,*' but it grew popular first
in Marseilles, and was brought to
Paris by Marseillaise volunteers in
I7g2 ; R. was imprisoned for refus-
ing to take an oath against the crown,
but was released, and lived in Paris
in great poverty.
Rousseau (roos-s5), (i) Jean Jacques,
Geneva, June 28, 17 12 — Ermenon-
ville, near Paris, July 3, 1778. The
great writer; mamly self-taught in
mus , but aiming to reform nota-
tion by the substitution of numerals
for letters and note*heads, read before
the Academie, 1742, a " Dissertation
sur la musique moderne** (1743) ;
his opera, *'*^Les Muses Galantes,**Yi2id
one private representation (1745); his
revision of the intermezzo *' Iai Reine
de Navarre " (by Voltaire and Ra-
meau) was a failure ; but his opera
••Z^ Devin du P'illage** (Gr. Opera,
1752) was succ. for 60 years. He
wrote mus. articles for the ^'Encycb^
ptdie" which were roughly handled
by Rameau and others, but revised
and re-pub. as " Dictionnaire de mu-
sique** (1768). In 1752 he partici-
pated in the ** Guerre des Houffons,"
between the partisans of French and
Italian opera, R. siding with the
Italianists and declaring that a
French national music was impossible
and undesirable ; for which the mem-
bers of the opera burned him in
effigy. ** Pxf^fftalion" {lyy^) was v.
succ. being a novelty — a melodrama,
all the dialogue spoken, the orch.
furnishing interludes and background.
Six new arias for *' Le Devin du yil-
lage** and a coll. of 100 romances
and duets '* I^s consolatiotis des mi-
sh'es de ma vie** (178 1), and frag-
ments of an opera, *' Daf^hnis ei
C//^/," were pub. (1780). (2) Jean,
violinist in Paris ; pub. valuable text-
books (1678-87) ; comp>oser. (3)
Samuel Alex., b. Neuvemaison,
Aisne, June 11, 1853; pupil of Paris
Cons., 1S78, won the Prix Cressent,
and 2d Grand Prix de Rome ; prod.
I -act comedy-opera ^* Dianorah**
(Op. -Com., 1S79) ; 1891, won the
Prize of the City of Paris, with op>era
*'' Merowig** ; 1892, ist cond. Th.
Lyrique ; 1898, prod, fairly succ.
lyric drama "Z/i Cloche du Rhin** ;
c. also a solemn mass, etc.
Roussier (roos-s! a),^ Abbe P. Jos.,
M.irseilles, 17 16 — Ecouis, Normandy,
ca. 1790 ; canon and theorist.
Roverii, (i) Giu., Bergamo, 1753 —
Parma, 1806; 'cellist. (2) P., Ber-
gamo, 1793 — 1838 ; nephew of above;
violinist and composer.
Royet'ta, Giov., d. Venice, it68 ; pu-
pil of Monteverde, and his successor
(1644) at San Marco ; c. operas, etc.
Row botham, John F., b. Edinburgh,
April 18, 1854 ; studied Oxford,
Berlin, Paris, Vienna, Dresden;
wrote numerous histories of mus.,
bicgs,, etc.
Roze (roz), Abbe Nicolas, Bourg-
Neuf, near ChsLlons, 1745 — St. -Mau-
de, near Paris, 1819 ; composer and
writer.
RozkoSny (roz'-kosh-ne), Josef Ridi-
ard, b. Prague, Sept. 21, 1833;
pianist ; pupil of Jiranek, Tomaschek
and KittI ; toured, then lived in
Prague ; prod, there 9 Bohemian op-
eras : c. also overtures. 2 masses, etc.
Rubini (roo-be'ne), Giov. Bat., Ro-
mano, Bergamo, April 7, 1795 — at
his castle, near Romano. March 2,
1S54 ; famous tenor, said to have
been the first to use the vibrato ;ind
the sob, both since abused ; hisrangt
DICTIONARY OF MUSICIANS 63
was from E-b' (with a falsetto regis-
ter to f '. V. PITCH, D.D.); Bellini
wrote many operas for him ; toured
with Liszt, earning by one concert
over $10,000 ; had one of the largest
fortunes ever amassed by a singer.
Rubinstein (roo'-bTn-shtln), (i) Anton
Gregorovitch, of Jewish parents,
Wechwotynecz, Bessarabia, Nov. 30,
1830 — Peterhof, near St. Petersburg,
Nov. 20, 1S94 ; one of the greatest
of the world's pianists. Early taken
to Moscow, where his father est. a
pencil factory, he was at tirst a pupil
of his mother ; at 7. of Alex. Vil-
loing, who was his only pf. -teacher.
At 9 he made a tour with Villoing as
far as Paris, where, in 1840, he played
before Chopin and Liszt, who ad-
vised him to study in Germany. He
toured further and returned to Mos-
cow in 1843. His brother, Nikolai
(v. below), was also musical, and
in 1844 both were taken to Berlin,
where Anton studied comp. with
Dehn. Returning to Russia after a
tour through Hungary, with the flut-
ist Heindl, he lived in Petersburg
under the patronage of the Grand
Duchess Helen; he prod. 2 Russian
operas ; 1854-58, with the assistance
of Count Wielhorski and the Grand
Duchess, he made a wide tour, finding
himself now well known as composer
and pianist ; 1858, ct. -pianist and
cond. of ct. - concerts, Petersburg ;
1859, dir. Russian Mus. Soc; 1862,
founded the Imp. Cons, at Peters-
burg, and was its dir. until 1867 ;
1865, he m. Vera TchekuanofT.
1867-70, he toured Europe, with
greatest imaginable succ; 1872-73,
he gave in America 215 concerts, from
which he earned $40,000 (;f 8,000) ;
but he could never be induced to
cross the ocean again, though offered
$125,000 (^£"25,000) for fifty con-
certs. 1887-91, again dir. Petersburg
Cons,, then lived in Berlin; 1891, in
Dresden. The Czar bestowed on
him the Order of Vladimir, carrying
with it nobility, and the title ot Imp.
45
Russian State Councillor ; he was an
ofHcer of the Legion of Honour, a
Knight of the Prussian Ordre pour le
merite, etc. He instituted the Rukin^
sUin prizes of 5."ooo francs each for
pf.-playing and composition open
every 5 years to men between 20 and
20 of any nationality.
He wrote his ^'^ Memoirs** also
^^ Die Musik und ihre Meister**
(1892), *' Gedankenkorr (1892).
As a pianist R. is second only to
Liszt, whom he perhaps excelled in
fire and leonine breadth. He was,
however, frequently inaccurate in his
performance. He chiefly wished to
be remembered as a composer and
placed great hope in the creation of
what he called '* Sacred Opera " (ora-
torio to be enacted with costume and
scenery). In this '* new form " he c.
** The Toioer of BabeC " Paradise
LosC ''Moses:* '' Christusr Be-
sides the noteworthy operas * * N^ero "
(Hambuig,i879)/ ' The Demon** (Rus-
sian, P., 1875), and ''Die Mak^
kabder " (German, Berlin, 1875). hec.
1 1 other operas, a ballet " Iai Vigne **
{Die A*ebe)f and 2 cantatas with orch.
C. also 6 symphs. (incl. the famous
*' Oeean,** op. 42, in C, in 7 move-
ments); op 95, in D min. {''Dra-
matic ) ; op. 107. in G min. (in
memory of Gr. Duch. Helen).
*' Character • pictures ** " Faust :*
"Ivan IV,;* 2XiA"Don Quixote**;
3 concert-overtures, incl. op. 43
(•' Triomphale**\ and op. 116 {;' An-
thony and Cleopatra '*) ; a Suite in 6
movements, op. 119 (his last work) ;
symph poem ** La Russie** ; 5 pf.-
concertos ; fantasia eroica with orch.;
vln. -concerto ; romance and caprice
for vln. with orch. ; 2 'cello-concertos;
vln.-sonatas; vln. -sonata (arr. for
vln. by David), etc. For piano
SOLO : suite ; 4 sonatas, 6 preludes,
6 etudes, 5 barcarolles; " Aamenoi"
Ostrow*' {" Isle of Kamenoi** in th«
Neva, a series of 24 ** pictures") ;
'• Soirees de St. P.;*" Miscellanies,**
" Le Bai;* 10 pes. op. 14; \' Album
tf
636
THE MUSICAL GUIDE
de Peter hof^* etc. For pf. 4 hands.
sonata. '' Bal Cosium/,'* 6 Charakt-
erbilder, fantasia for 2 pfs. ; over 100
songs, 18 duets, choruses, etc.
Autobiog. '' Afemoirs** (St. P.
1889 ; Leipzig, 1893). Biogr. by
MacArthur (London, 1889).
(2) Nikolai, Moscow. June 2.
1835 — (of consumption), Paris, March
23, 188 1 ; bro. of above, who declared
N. to be the bet^ei pianist of the two;
founder Moscow Mus, Soc.; dir.
Moscow Cons, from its foundation.
1864; c. pf.-pcs. etc. (3) Jos,, Staro-
Constantinow, Russia, Feb. 8, 1847 —
(suicide) Lucerne, Sept. 15, 1884;
pianist for rehearsals at Bayreuth ;
com{x>ser. (4) Jacques, Russia,
1874 — Paris, 1902 ; son of (i).
Rttbner (roop'-ndr), Cornelius, b. Co-
penhagen. Oct. 26, 1853; pianist;
pupil of Gade and Reinecke ; 1892,
cond. Carlsruhe Philh. Soc,; c. a
symph. poem ; ** FesiouvertUre*^ etc.
Ruckers (rook'-^rs), family of clavecin-
makers at Antwerp, superior to alt
others, (i) Hans (Senior), d. ca.
1640 ; father of (2) F«., b. 1776. (3)
Hans (Junior), b. 1578. (4) An-
dries (senior), b. 1579. (s) Anton,
b. 1581 ; the last mfr. was (6) An*
dries (Junior), 1607-67.
Rucsicska. Vide ri'zicka.
Rudersdorff (roo'-dCrs-dorf). Her-
mine, Ivanowsky, Ukraine, Dec.
12, 1822 — Boston, Mass., Feb. 26,
1882 ; noted soprano and teacher.
Rudolph, Jn. J. R., Arch-duke of
Austria, Florence, 1788 — Baden,
Vienna, 183 1 ; pianist and composer;
pupil and intimate friend of Bee-
thoven.
RudorfiF (roo'-dorO, Ernst Fr. K., b.
Berlin. Jan. 18, 1840; pupil of Bar-
giel (pf.), and Leipzig Cons.; pri-
vate pupil of Hauptmann and Rei-
necke ; 1865, pf. -teacher. Cologne
Cons.; 1867 founded the Bach-verein,
• 1869 head pf. -teacher Berlin Hoch-
schule ; 1880-90 cond. Stem Gesang-
vercin; c. 2 symphs.. 2 overtures,
etc.
Ruerecr (rQg'-g«r), Elsa, b. Lu-
cerne. Dec. 6, 188 1 ; 'cellist ; studied
with Jacobs and Anna Campow^ki at
the Cons, there, taking ist prize at
15 ; began touring widely Amerka
and Europe.
Riifer (ra'-fir), (i) Ph. (Barthti«-
my), b. Li^e, June 7. 1844 ; son of
a German organist. (2) PhiUjip R.,
pupil of Li^ge Cons.; 1869-71. musw-
dir. at Essen ; pf. -teacher Stern's
Cons.. KuUak's Cons., and from
1881 Scharwenka's, Berlin, c. ope-
ras ''Merlin*' (Berlin. 1887); succ.
*' /ftgo** (Berlin. 1896); symph. in
V. ; 3 overtures, etc.
Ruffo (roof'-fo), v., b. Verona; maes-
tro of the Cath.; composer (1550-
88).
Rufinatscha (roo'-fY-nflt-shl). Jn.,
Tyrol, 1812— Vienna, May 25, 1893;
composer.
Ruggcri (Ruggieri) (rood-ji'-re). a
Cremonian family of vln. -makers, (1)
Fran., flourished. 1668 — 1730. (2)
GioT. Bat, (1700 — 1725), and (3)
P, (1700 — 1720). probably his sons.
(4) Guido and (5) V., both of Cre-
mona in 1 8th cent. R. violins re-
semble Amatis. (6) GloT. M.. Ve.
netian composer ; prod, operas there
1696— 1712.
Rttggri (rood'-jc). Fran., Naples. 1767
— 1845 ; conductor, professor and
dram, composer.
Riihlmann (rQI'-miln), (Ad.) Jnlitts,
Dresden, 1817 (i6?)---i877 ; court-
trombonist ; professor, writer and
composer.
Rum'tord, R. Kennerly, b. London,
Sept. 2, 187 1 ; concert barytone;
studied in Frankfort, Berlin and
Paris ; m. Clara Butt, I900. *
Rummel (room'-mdl). (i) Chr. (Fa. L.
Fr. Alex.), Brichsenstadt, Bavaris^
1787 — Wiesbaden, 1849 ; clarinettist,
and composer. (2) Josephine, Man-
yares, Spain, i8ia — Wiesbaden. 1877;
daughter of above; ct.-pianist. (3)
J08., Wiesbaden, 1818 — London,
1880 ; son and pupil of (i) ; ct.-pian*
ist and composer. (4) Franaiska,
^.■>
MH
9*
ar
DICTIONARY OF MUSICIANS 637
Wiesbaden, 182 1 — Brussels, 1873; ct.-
singer; sister of above; m. Peter
Schott, the pub. (5) Angf., Wies-
baden, 1824-^London, 1886; pian*
ist. (6) Fz., London, Jan. ii, 1853
•^May, 1901 ; pianist ; son of (3) ;
pupil of Brassiu, Brussels Cons., win-
ning 1st prize, 1872 ; 1877-78, toured
Holland with Ole Bull; toured Amer-
ica 3 times; teacher Stem's Cons.,
then Kullak's, Berlin; 1897 " Profess-
or*' from the Duke of Anhalt.
iRun'ciman, John F., b. England,
1866 ; prominent critic. Educated
at the science school (now Rutherford
College), Newcastle-on-Tyne ; or-
ganist from childhood; 1887, took
position in London ; from 1S94 musi-
cal critic •* Satuniay Review "/ later,
until 1898 also acting editor and man-
aging director ; also editor of the quar-
terly •' The Chord;' ^xi^oi the ^' Mu^
siciavCs Library** ; for some vears
correspondent Boston ** Musical ReC"
ord**; lyoi, of New York *' Musical
Courier** i some of his essays were
published as *' Old Scores and New
Readings** (1899) ; has also written a
biographical study of Purcell.
Rung (roongk), Henrik, Copenhagen,
1807^*1871 ; conductor and dram,
composer.
Rung^nhag^n (roong' • £n - hH • g^n),
K. Fr., Berlin, 1778—1851; Profess-
or, conductor and dramatic compos-
er.
Rupff. Vide LUTHER, M.
Russell, (i) Wm., London, 1777—
1813 : pianist. (2) Henry, Sheer*
ness, 1813 — London, Dec. 6, 1900;
y. pop. Engl, song-composer. (3)
Louis Arthur, b. Newark, N. J.,
Feb. 24, 1854 ; pupil of S. P. War-
ren, G. F. Bristow, and C C. MuU
ler, New York; also studied, London,
1878-95; organist and choirm., New-
ark; since 1879, cond. Schubert
Vocal Soc; since 1885, Easton (Pa.)
Luoral Soc.; 1885, founded the New-
irk Coll. of Mus., of which he is dir*
and teacher; 1893, organised Newark
iiymph. Orch.; wrote various books {
c. cantata with orch., ** A Pastoral
Rhapsody ;* etc.
Rust (roost), (i) Fr. Wm., WOrlita,
near Dessau» July 6, 1739— Dessau,
Feb. 28, 1796; violinist; bro. and pupil
of an amateur violinist in J. S. Bach's
orch. at Leipzig ; ct.-mus. director ;
c. stage pieces, etc. (2) V^m, K..
1787^^x855 ; son of above ; pupil of
TQrk; organist and composer. (3)
Wm., Dessau, Aug. 15, 1822—
Leipzig, May 2, 1892, nephew of
above ; composer ; notable organist
and teacher; cond. Berlin Bacb-
Verein and editor of Bach's text.
Ruta (roo'-tS), Michele, Caserta, 1827
«— Naples, Jan. 24« Z896; theorist
and dram, composer*
Ruthardt (root'-hfirt). (i) Fr.» z8oo—
1862 ; oboist and composer. (2)
Julius, b. Stuttgart, Dec. 13, 1841 ;
son of above; violinist, th.-conductor
since 1885 at Bremen 4 c. incid. mus*
songs. (3) Ad., b. Stuttgart, Feb*
9, 1849 i bro. of above ; pupil of the
Cons.; 1868^5, teacher in*^ Geneva,
then Leipzig Cons.; writer and com-
poser.
Ruzicka (Rucsicska, Rutschitsch*
ka, etc.) (root-shetsh'-ka), Wenzel,
Jaumentz, Moravia, 1758 — Vienna,
1823 ; bandm. and dram, composer
and ct.-organist ; Schubert was his
pupil*
Ry'an, (i) Michael Desmond, Kil-
kenny, x8i6 — London, 1868 ; from
1836 critic and librettist in London.
(2) Thos., b. Ireland, 1827, at 17
went to the U. S.; studied Boston,
1849 ; co-founder ** Mendelssohn
Quintet Club,*" with which he toured
America ; clarinet and vla.-virtuoso {
c. quintets, quartets, songs, etc.;
wrote '• Recollections of an old Mu»
sician " (New York, 1890).
Ryba (re'-ba), Jakob Jan., Przestiti,
Bohemia, 1765^-Roczmittal, X815 ; c«
6 comic operas, etc.
Ry'der, Thos. Philander, b. Cohas*
set, Mass., June 29, 1836 ; pupil of
Gv. Satter; organist TremonI
Temple, Boston ; c* pf .-plecflSK
638
THE MUSICAL GUIDE
Saar (zar), (Louis) Victor Fz., b.
Rotterdam, Dec. lo, i86d ; studied
with Kheinberger and Abel, Munich
Cons.; then with Brahms; 1891 took
the Mendelssohn comiX)sition prize
for a pf. -suite and songs ; 1892-95,
opera-accompanist, New Vork ; 1896-
98, teacher, cump. and cpt., National
Cons., N. v.; 1898, Coll. of Mus.;
critic and composer for piano.
Sabbatini (sab-ba-te'-ne), (i) Gale-
azzo, b. I'esaro ; ct. -maestro and
composer (1627-39). (2) Luigi A.,
Albano Liziale, Rome, 1739 — I'adua,
1809 ; maestro, writer and composer.
Sacchi (sak'-ke), Don Gioyenale, Har-
fio, Como, 1726 — Milan, 1789; writer.
Sacchini (sak-ke -ne), A. M. Gaspa-
ro, Pozzuoli, near Naples, June 23,
1734— Paris, Oct. 8, 1786; eminent
Neapolitan opera composer, son of a
poor fisher. Discovered and taught by
Durante and others; 1756, prod. succ.
intermezzo ** Fra Donaiay^ followed
by others in Neapolitan dialect ; 1762-
66, at Home in a keen rivalry with
Piccini ; 1772-82, London, succ. as
composer but not as financier. Fled
from creditors to Paris where he had
succ. and prod, many works, incl.
** Uuiipe h Coitme,'' his best work.
He c. over 60 operas, 6 oratorios, etc.
Sachs (ziikhs). (i) Hans, N Urn berg,
Nov. 5, 1494— Jan. 19, 1576; a
cobbler; chief of the M eistersinger
(v. D.D.) and hero of Wagner's (>|x:ra
of that name ; he wrote over 4,cxx)
poems, 1. 700 tales and 200 dramatic
poems ; also c. melodies. (2) Julius,
Waldhof, Meiningen, 1830 — Krank-
fort-on-Main 1888 ; pianist. (3)
Melchior Ernst, b. Mittelsinn,
Lower Franconia, Feb. 28, 1843 ;
pupil Munich Cons, and of Rhein-
berger; 1868-72, cond. ** Lieder-
kranz " ; 187 1 , teacher of harm. Sch.
of Mus.; founded and still cond.
** TonkUnstlerverein " concerts ; c
opera, ballade with orch., etc.
Sachse-Hofmeister <zakhs - £ - hof-
ml-shter), Anna, b. Gumpolds^
kirchen, near Vienna, July 26. 1852 ■
soprano.
Saffieddin', Abdolmumin, Ben Fa-
chir el Ormeve el Bagdad i, chief
Arabic and Persian theorist of the
13th and 14th cents., author of the
standard work ** Shereffig,"'
Safonoff, W., b. Istchory. Caucasus,
Feb. 6 (new style), 1852 ; pupil of
Leschetizki and Zaremba ; then of
Brassin, Petersburg Cons., taking
gold medal, i88i-{«5, teacher there;
1885, Moscow; 1S89, dir. of the Cons,
there, and since 1890 conductor.
SAgh (sakh). Jos., b. Pesih. March 13,
1852; Hungarian lexicographer; 1885,
founder and editor of mus. papet
'' Ztmlafr
Sagitta nus. Vide schutz.
Sahla (za'-la), Richard, b. Graz, Sept.
17. 1&55 ; violinist ; pupil of I)avid,
Leipzig Cons.; dtfbut, Gewandhaus,
1873 ; i8b8, ct.-cond. Bttckeburg;
founded an oratorio-soc. there ; c. a
Roumanian Rhapsody, etc.
Saint-Amans (s&n-ta-man), L. Jos.,
Marseilles, 1749 — Paris, 1820; con-
ductor at Brussels and dram, com-
poser.
Saint Aubin (s&n-to-b&n), (i) Jeanne
Charlotte (nee Schroeder), Paris,
1764 — 1850; notable operatic singer.
Her three children : (2; Jean Denis,
Lyons, 1783 — Paris, 1810; violinist
and composer. (3) C^cile, b. Lyons,
1785 ; retired, 1820; singer. (4)
Alexandrine, b. Paris, 1793; re-
tired, 1812; sister of above; singer
of great promise.
Saint-Georges (sah-zhorzh), (1) ,
Chev. de, Guadeloupe, 1745 — Paris,
1799 (or 1 801) ; mulatto violinist and
composer. (2) Jules H. Vemoy,
Marquis de, Paris, 1801 — 1875 ; li-
brettist of many works, especially in
collaboration with Halevy.
Saint-Huberty (san-tu-b^r-te), Antoi-
nette C^cile Clayel (called St.-Hn-
berty, rightly Clavel),Toul, ca. 1756,
— London, 1812. noted soprano, (ir.
Opera, Paris. J7'77-8g, 1790, ro. th«
DICTIONARY OF MUSICIANS 639
Count d'Entraigu^s ; they were assas-
sinated at their country seat, near
London, 18 12 (probably from political
motives).
Saint-Lambert (s&ii-ian-b&r), Michel
de, Parisian harpsichord - teacher ;
wrote methods (1680-1700).
Saint-Lubin (s&n-lu-b&A), L6on de,
Turin, 1805 — Berlin, 1S50; violinist
and dram, composer.
Sainton (sdn-tdA), (i) Prosper (Ph.
Catherine), Toulouse. 18 13 — Lon-
don, iSqo ; violinist and composer.
(2) Sainton-Dolbjr, Charlotte He*
len (n^e Dolby), London, 1821—
1885 * contralto-singer.
Saint-Sacins fs&fi-s^), Chas. Ca-
mille, b. Paris. Oct. 9, 1835 ; emi-
nent French composer, i^gan to
study the piano before 3 ; at 5 played
a G retry opera from the score ; at 7
entered the Cons., pupil of Stamaty
(pf.), Maleden and Halevy (comp.),
and Benoist (org.); ist org.-prize,
185 1 ; at 16, prod, a symph.; 1853,
organist Saint^Mery; 1858, the Ma-
deleine ; also till 1870 pf.- teacher
Niedermeyer Sch.; made frequent
tours. He is a writer of unusual gifts.
1894, Commander of the Le^oa of
Honour. C. operas: i-act ^"^ La Prin-
cesse Jaune'* {Op.'Com,^ 1872); **Z^
Timbre d'Argmt,'^ 4-acts (Th.-Lyr.,
1877) ; the very succ. ** Samson et
Dalila" (Weimar, 1877, often sung
as an oratorio) ; ** Proserpine " (Op.-
Com., 1887); '^Ascanw" (Opera,
1890) ; comic ** PAryne'* (Op.-Com.,
1S93) ; '* Parisatis " (Be2.iers, 1902) ;
wrote the last 2 acts of Guiraud's un-
finished **/>'/</*^<>«^" (Opera, 1895).
C. ballets, music to ^^ Antigone'' (Com-
mie-Fran9aise) ; and Gallet's *' D^ja-
nire" (Beziers, 1898, with orch. of
250, chorus of 200, and ballet of 60
in open air). C. also a Christmas
oratorio ; the '* Biblical opera " ** Le
Deluge '\' 2 masses ; ode "Z<i Lyre
et la liarpe''' (Birmingham Fe«.,
1879); '* Za jota aragonese** for
orch.; 5 pf. -concertos ; 3 vln.-con-
oartos ; *cello-concerto ; cantata *^Les
Noces de Prom^tk/e'^ (1867); Psalm
19, with orch. (London, 1885); 5
symphs., 4 symphonic poems, **Ztf
rouet d'OmphaU,'' '' Phaeton;*
*'£>anse macabre t** ** La jeuneui
d Hereule "/ 2 orch. suites, the fir*
** Algdrienney'* etc.
Sala (sa'-la), Nicola, near Benevent^ %
Italy, 1701 — Naples, 1800; Maestrc.
theorist and dram, composer.
Sal'aman, Chas. Kenslngtoa, Lon-
don, March 3, 1814 — July, I901 ;
pianist ; pupil of Rtmbault and Chas.
Neate ; debut 1828, then studied with
H. Herz, Paris; 1831, teacher in
London ; 1840, founded a choral soc.;
1858, foundeid the Mus. Soc. of Lon«
don; also the Mus. Assoc., 1874;
critic and essayist : c. orch. pes., etc
Sal'blingrer (Salmin(rer) (z&l'-mlng-
^r), Sisiamuad, monk, at Augsbui||r*
composer, 1545.
Saldoni (s&l-dd -ne), Don Baltasar,
Barcelona, 1807 — 1890; organist,
singing-teacher, writer and drun.
composer.
Sale (sill), (i) Fran., Belgian ct..
tenor and composer, 1589. (3) (sil),
John, London, 1758 — 1827; boss,
conductor and composer. (3) John
B., Windsor, 1779---1856 ; organist,
bass, teacher and composer; son of
above. (4) Geo. Chaa., Windiior,
1796 — 1809 ; organist ; son of (2).
Sal6za (s&l-a-z&), Albert, b. Bruges,
Bdam, 1867; notable tenor; pupil
Paris Cons.; ist prize in singing, 2d.
in opera; d^but Op.-Com., i838 ;
188^-91, at Nice; from 1892, en-
gaged at the Op^ra, Paris; 1898,
Slet. Op., New York.
Salieri (siU-Y-a'-re), (i) Ant., Legn^go,
Verona. Aug. 19, 1750 — ^Vienna, Miiy
7 (12?), 1825; noted operatic com-
poser and organist ; pupil of hia
brother (2) Franceaco (violinist) and
of Simoni, Pascetti and Pacini;
taken to Vienna by Gassman ; his suc-
cessor as ct. -composer and cond. of
Italian opera ; he prod, many operas
there, then one at Paris under Gluck'a
name, G. kindly confessing the
640
THE MUSICAL GUIDE
when the opera was a succ. ; 1 788, ct. -
cond. Vienna ; was a rival of Mozart
and unjustly accused of poisoning
him ; c. 40 operas, 12 oratorios, etc.
Salimbeni (sal-Im-ba'-ne), Felice,
Milan, ca. 1712 — Laibach, 175 1; so-
prano-musica
Salinat (si-le'-nfts), Fran., Bui^gros,
Spain, ca. 15 12 — 1590; professor.
S&lUntin (s&l-I&A-t&fi), A., Paris, 1754
— after 18 13; oboe-virtuoso, teacher
and composer.
Salminger. Vide salbunger.
Salmon (silm'-dn), Eliza, Oxford,
1787 — Chelsea, 1849; soprano.
Said, Gasparo da. Vide gasparo.
Saloman (z&'.lo-miln), Siegrfried,
Tondem, Schleswig, 1818 — Stock-
holm, 1899; violinist, lecturer and
dram, composer.
8alom6 (s&l-d-ma), Th. C^sar, Paris,
1834 — St.-Germain, 1896; composer
and organist.
Salomon (z£'.ld-m5n), (i) Jn. Peter,
Bonn, Jan., 1745 — London, Nov.
28, 181 5 ; vln.- virtuoso ; from 1781,
London ; 1786, organised famous
Salomon concerts for which Havdn,
whom he brought over, c. special
works. (2) Moritz, mus.-dir. at
Wemigerode, Harz ; pub. a treatise
against Natorp, 1820, and mus.
novels. (3) M., Besan9on, 1786—
183 1 ; guitar-player; composer, in v.
the ** harpolyre." (4) Hector, b.
Strassburg, May 29, 1838 ; pupil of
Jonas and Marmontel (pf.)« Bazin
(harm.) and Halevy (compj; in 1870,
Sd chorusm., later chef de chanty Or.
Op^ ; c opeias, etc.
Salter (sAl'-t£r), Sumner, b. Burlington,
Iowa, June 24, 1856; studied at Am-
herst Coll. and music in Boston ; organ-
ist and mus. dir., N. Y. ; ed. ' ' The Piafh
ist andOrganist" N.Y. ; c church-mut.
Sahrayre (s&l-v&r) (Gervaia Bd.),
Gaston, b. Toulouse, June 24, 1847;
studied at the cath.-maftrise, then at
Toulouse Cons.; later Paris Cons.,
taking the Grand prix de Rome,
1872, with cantata ** Calypso*'; 1877,
chorusm. at the Op<Sra-Populaire ,
1894 in Servia ; later critic of " Gil
Bias*"*; Chev. of the Legion ol
Honour; c. operas **Z^ Bravo^
(1877); ''Richard III.'' (Petei*.
burg, 1883), ''Egmont** (Op.-Com.,
1886), **Za Danu de Afontsoreau*'
(Opera, 1888), etc.; c. also Biblical
symph., ''La Resurrection^*' Ii3tb
Psalm with orch., etc.
Samara (sa-mft'-ra), Spiro, b. Corfb,
1861; pupil of Enrico Stancampiano
in Athens ; later of Delibes, Paris
Cons.; prod. v. succ. opera, "Flora
jl/iraHlis " {Milain, 1886): "Medge'*
(Rome, 1888); '^ Uonella" (Milan,
1891); "U Martire" (Naples,
1894 ; Paris, 1898) ; ** La Furia Do-
mala" (Milan, 1895); " Hisloirt
d'amour " (Paris, 1902).
Sammartini (siim-mar-te'-ne), (i)
Pietro, ct.-mus. at Florence, etc.
(1635-44). (2) Giov. Bat., Milan,
ca. 1705— ca. 1775 ; organist, con-
ductor and composer. (3) Gin., d.
London, 1740 ; oboist ; bro. of above.
Samnel (s£m-w£l). Ad., Liege, 1824—
Ghent, 1898 ; theorist and dram,
composer.
Sanctis, de. Vide dr Sanctis.
Sandbergrer (zant'-b«rkh-«r), Ad., b.
WUrzburg, Dec. 19, 1864 ; studied at
the R. Sch. of Mus. there, and at
Munich, also with Spitta ; 1887, Dr.
Phil.; mus. libr., Munich Library,
and lecturer at the Univ.; 1898 prof,
of mus. at Prague Univ.; cd. Orlando
di Lasso's complete works ; wiote
biog., hist., essays, etc.; c. v. succ.
opera ** Ludwig der Springer** (Co-
burg, 1895), overture, etc.
Sanders, C. Vide lkuckart.
San'derson, (i) Jas., Workin^on,
Durham, 1769 — ca. 1841 ; violmist,
teacher and composer. (2) Lillian,
b. Sheboygan, Wis., U. S. A., Oct.
13, 1867; concert mezzo-soprano;
pupil of Stockhausen, Frankfort-on--
Main ; debut Berlin, 1890 ; toured
Europe; m. Fz. Rummel; lives in
Berlin. (3) Sibyl, b. Sacramento,
Cal., 1865 : soprano, opera-singer ;
pupil of de la Grange and Ma8««!Qet ,*
DICTIONARY OF MUSICIANS 641
succ. debut, Op.-Com., i88g; sangf
there for years ; 1898 in New York
Met. Op., and variously in Europe.
Sandoai. Vide cuzzoni.
Sandow (z&n'-dd), (t) Eug^n» b. Ber-
Un, Sept. II, 1856; violinist; pupil
Rohne, W. MOller, and K. Hoch.
schule ; from 1870 court chamber-
mus. His wifb (2) Adelina (nee
Hertns), b. Friesack, Oct. 14, 1862 ;
sineer and teacher.
Sandt (z&nt), Max van de» Rotter*
dam, Oct. 18, 1863 ; pianist ; pupil
of his father and Liszt ; toured
Europe; 1889, pf.-teacher Stern
Cons., Berlin.
Sandys (s&nds), Wm., 1793 — 1874;
English writer on music.
Silneer-Sethe (z^g'-^r-za-tS), Irma,
b. Brussels, April 28, 1876; notable
violinist ; daughter of Dutch father
and German mother ; began violin at
^ ; pupil of her mother, of Joachim,
vVilhelmj, and Ysaye, took ist prize
at the Cfons.; debut London, 1895;
toured Europe with great success ; m.
Dr. Singer. 1897, and lives in Berlin.
Sang;iovanni (sto-j5-vto'-ne). A.,
Bergamo, 1831 — Milan, 1892; prof,
of singing.
Santini (sSn-t^'-nS), Abbate Fortu-
nato, Rome, 1778 — ?; coll. a no-
table mus. -library.
Sant'ley, (i) Chas., b. Liverpool,
Feb. 28, 1834; noted operatic and
concert barytone; pupil Nava, Mi-
lan , Garcia, London ; debut, 1857 ;
won pre-eminence in England at
festivals, etc. ; operatic debut, Co-
vent Garden, 1859; ^875 with Carl
Rosa Co. ; 1871 and 1891, America ;
retired 1900; also a painter; c. a
mass with orch.; a berceuse for orch.
(1890) ; songs (pub. under the pseud.
" Ralph Betterton '*)» etc. His wife,
(2) Gertrude Kemble (Charles
Kemble's granddaughter) (d. 1882),
was a soprano ; their daughter (3)
Edith was a successful soprano, till
her marriage in 1884 with the Hon.
R. H. Lyttieton.
Santncci (san-toot'-che), Marco,
Camajore, 1762 — Lucca, 1843 ; con-
ductor and compcser.
Sapeirnikoff, Wassily, b. Odessa,
Oct. 21, 1868; pianist; pupil of Fz.
Kessler, and then (with a stipend from
the city of Odessa) of L. Brassin and
Sophie Menter, Petersburg Cons.;
1888, d^ut Hamburg ; toured.
Saran (za -ran), Aug^. (Fr.), b. Alten-
plathow. Province of Saxony, P'eb.
28, 1836; pupil of Fr. Ehrlich and
of R. Franz ; teacher, army-cha^
lain (1873) f 1885 cond. of a church-
choral soc. &t Bromberg ; writer and
composer.
Sarasate (sfl-rft-sfi'-t^), Pablo (Mar-
tin Meliton Sarasate y Nayas-
cuez) dCt b. Pamplona, Spain,
March ic, 1844 : eminent violinist ;
at 10 played before the Queen, who
presented him with a Stradivari ;
after succ. concerts in Spain he stud-
ied with Alard (vln.) and Reber
(comp.), Paris Cons., taking ist vln.-
prize 1857, and a premier accessit^
1859, in harm.; he has made very
wide and very succ. tours ; 1889,
America. For him Lalo c. his ist
vln. -concerto and the ** Symph. es-
pagnole " ; Bruch, his 2nd concerto
and the Scotch Fantasia ; A. C.
Mackenzie, the " Pibroch " Suite. S«
has pub. ** Zigeunerweisin ** for vln.
and orch.; '' Spanische Tdnze" ioT
vln. and pf., fantasias, etc.
Sarmiento (s&r-mY-^n'-to), Salvatore,
Palermo, 18 17 — Naples, 1869 ; con-
ductor and dram, composer.
Saro (sa'-ro), J. H., Jessem, Saxony,
1S27 — Berlin, 1891 ; bandmaster and
writer.
Sarrette (siir-r^t), Bd., Bordeaux,
1765 — Paris, 1858 ; founder and di-
rector till 1814 of the Paris Cons,
which he gradually developed from
a sch. started by the band of the
Paris National Guard.
Sard (sar'-re), Dom., Trani, Naples,
1678 — after 1741 ; conductor and
dram, composer.
Sarti (sar'-te), Giuseppe (called U
Domenichino) (el d5-m£ii-Y-k«'-«i6X
s
642
THE MUSICAL GUIDE
mm
Faenza, Dec. i, 1729 — (of gout) Ber-
lin, July 28, 1802 ; pupil of either Val-
lotti or Padre Martini; 1748-50 organ-
ist Faenza Cath. ; 1751 he prod, at
Faenza, succ. opera * * Pompeo in A rme-
nia;' followed by " // Re Pastor e''
(Venice, 1753) and others so succ.
that at 24 he was called to Copen-
hagen as dir. Italian opera and court-
cond.; he was summarily dismissed
for political reasons; 1775-99, dir.
Cons, deir Ospedaietto, Venice ; in
competition (with Paisiello and others)
he won the position of cond. at Milan
Cath.; he prod, from 1776-84, 15
operas , he also prod, grand canta-
tas and several masses, etc. Cathe-
rine II. invited him to Petersburg.
As he passed Vienna, he was received
by the Emperor, and met Mozart,
complaining, however, of the ** bar-
barisms" in M.'s quartets and find-
ing 19 mortal errors in 36 bars. Lived
at Petersburg 18 years, excepting
a brief period of disgrace, due to
ToJi, during which exile he founded
a fine sch. at Ukraine. 1793 be was
restored to the Empress' favour, and
placed at the head of a Cons. He
raised the Italian opera to high effi-
ciency, inv. a very accurate machine
for counting vibrations and was en-
nobled in 1795. In a Te Deum (on
the taking of Otchakow by Potemkin)
the music was reinforced by fire-
works and cannon. He set the li-
bretto ** Hega " by the Empress. He
c. 40 operas, masses, some still per-
formed, etc.
Sartorio (sar-to'-rl-o), A., Venice, ca.
1620 — ca. 168 1 ; conductor and dram,
composer.
Sass (s^s) (at first sang under the name
Sax), Marie Constance, b. Ghent,
Ian. 26, 1838 ; a chansonette-singer
m a Paris cafe, found and taught by
Mme. Ugalde ; debut Th.-Lyrique,
1850, as soprano, 1860-71, at the
Opera, then in Italy ; 1864, m.
Castelmary, divorced 1867.
8atter (zat'-t^r), Gustav, b. Vienna,
Feb. 19. 1S32; pianist, studied Vi-
enna and Paris ; 1854-^ toured tht
U. S. and Brazil ; returned to Paris,
where Berlioz warmly praised his
compositions ; lived in various cities^;
c. opera '* Olantke** overtures ** Lort^
Uiy WuHus Cesar,'' ''An die
Freuae, ' 2 symphs., a symph. tone-
picture ** Washington^* etc.
Sattler (zSt'-t^r), H., Quedlinburg.
181 1 — Brunswick, 1891 ; writer and
composer.
Sauer (zow^^r), (i) Wm., b. Fried-
land, Mecklenburg, 1831 ; org.-
builder from 1857 at Frankfort-on-
Qder. (2) Vide leidesuorf. (3)
Emil, b. Hamburg, Oct. 8, 1862 ;
notable pianist ; pupil of his mother;
of N. Rubinstein at Moscow, 1881,
and of Liszt at Weimar ; from 1882
toured Europe and 1898-99 U.S. with
great succ. ; 1901, head of pf.-dept.
Vienna Cons.; c. suite modeme, ''Aus
lichten Tagen" 2 piano concertos,
concert-^tude, etc.
Saurei (s&'-oo-r^l), Emma, b. Paler,
mo, 1850 ; opera - singer ; debut,
Pisa ; has toured widely.
Sauret (sd-ra). Emile, b. Dun-le-R<ri,
Cher, France, May 22, 1852; notable
violinist ; pupil of Paris Cons, and of
de Beriot, Brussels Cons.; at 8 began
succ. European tours ; America 1872,
and frequently since; 1880-81, t.
Kuliak's AcacU, Berlin ; lived in
Berlin till 1890, then prof. R. A. M.,
London ; wrote ** Gradus ad Parnas*
sum du violoniste " (Leipzig, 1894) ;
c. 2 vln. -concertos, etc.
Sauter (zow'-tft), Severin S., Ger-
many, 1822 — St. I^uis, Mo., March
24, 1901 ; cond. ; came to America as
refugee, 1848.
Sauveur (sd-vtlr'), Jos,, La Fliche,
1653 — Paris, 17 16 ; a deaf-mute, wha
learned to speak at 7, and became a
notable investigator in acoustics
(which word in fact he invented) ; he
was the first to calculate absolute vi.
bration- numbers, and to explain over,
tones; pub. many treatises (i 700-13)
Sauzay (so-z£'J, Chaa.) Eagto^
Paris, July 14, 1809— 1901 ; violinist *
DICTIONARY OF MUSICIANS 643
pupil of Vidal; later of Baillot at the
Cons.; won istand 2nd vln. -prize, and
prize for fugue ; 2nd vln. and after-
wards via. in Baillot's quartet, and m.
B. *s daughter (a pianist) ; 1840 solo vio-
linist to Louis Philippe ; later leader
of 2nd vlns. Napoleon III. s orch.;
i860 vin.-prof. at the Con?.; pub. a
treatise; c. a string-trio, ** etudes
harmoniques^'' etc.
Savard (s&-vir), M. Gabriel Aug.,
Paris 1814 — 188 1 ; prof, of harm,
and thorough-bass at the Cons. ; pub.
treatises.
Savart (sit-vdr), F., Mezi^res, 1791 —
Paris, 1841 ; acoustician.
Saviie (sdv'-tl), Jeremy, English com-
poser, 1653.
Sax (sdx), (i) Chas. Jos., Dinant-sur-
Meuse, Belgium, 1791 — Paris, '1865 ;
studied flute and clarinet, Brussels
Cons.; from 18 15 managed an instr.-
factory at Brussels, making a spe-
ac''^*' of brass instrs.; he made many
improvements ; 1853 he joined his
son Ad. in Paris. (2) (Ant. Jos).
Adolphe, Dinant, Nov. 6, 18 14—
Paris, Feb. 9, 1894 ; son of above ;
eminent maker and inv. of instrs.; he
inv. the family of instrs. called the
saxophone (v. d. d.) ; in Paris he con-
tinued to make improvements invent-
ing the saxhorns, saxotromba, etc.;
1857 teacher of the saxophone, Paris
Cons, and pub. a saxophone method;
he had much litigation over the prior* •
ity of his inventions, but always won.
(3) Aiphonse, bro. and co-worker of
above. (4) marie. Vide sass.
Sbolci (s'boi'-che), Jefte, Florence,
1833 — 1895 ; 'cellist and teacher.
Scacchi (skilk'-ke), Marco, b. Rome ;
ct. -conductor 1618-48 ; writer and
composer.
Scalchi (skal'-ke), Sofia, b. Turin,
Nov. 29, 1850 ; alto or mezzo-sopra-
no of unusual range f-b" (v. pitch
D, D.) ; pupil of Boccabadati ; debut
Mantua (1866); she has sung through-
out Europe, often in North and South
America with much succ; 1875 m.
Signor Lolli.
Scaletta (ska-l^t'-ta), Orazio, Crema
—Padua, 1630 ; conductor and com*
poser.
Scandel'ii, Ant., Brescia, 1517 — Dres-
den, 1580 ; conductor and composer.
Scaria (ska'-rY-a), Emil, Graz, 1840 —
Blasewitz, 1886 ; bass ; Seated
•'Wotan" at Bayreuth, 1876 and
" Gurnemanz'' {Parsi/al)^ 1882.
Scarlatti (^k^r-lat'-te), (i) Alessan-
dro, Trapani, Sicily, 1659 — Naples,
1725 ; founder of the ** Neapolitan
Sch."; noted teacher and an impor-
tant innovator in opera (he prod, over
115) ; in 1680 he is first heard of as
conducting his own opera ; he intro-
duced the innovation of the orchestral
ritornello, and a partial recitativio
obbligato (v. D.D.); 1684 court-cond.^
1703, 2nd cond. S. Maria Maggiore,
Rome; 1707-09, ist. cond.; teach-
er at 3 conservatories, San Onofrio ;
de' Poveri di Ges{i Christ! , and the
Loreto. (2) Domenico (Girolamo),
Naples, 1683 (5 ?} — 1757 ; son and
pupil of above ; studied also with
Gasparini ; eminent virtuoso and
composer for harpsichord ; founded
modern pf.-technic ; devised many
now familiar feats ; the first to com-
pose in free style without contra-
puntal elaboration and mass ; in a
competition with Handel he proved
himself equal as a harpsichordist, but
confessed himself hopelessly defeated
as an organist ; he was thereafter a
good friend, almost an idolater, cross-
mg himself when he mentioned Han-
del ; 171 5-19 he was maestro at St.
Peter's, 1720 at London ; 1720 court-
cembalist Lisbon ; his gambling left
his family destitute ; from 1 7 to he prod.
op>eras, incl. the first setting of ** Am*
Uto"' (1715). (3) Giuseppe, Naples,
1712 — Vienna, 1777; grandson of (i);
dram, composer. (4) Fran., c. a
melodrama in MS. at Rome. (5)
Pietro, c. opera *' Cliiarro" with
intermezzi bv Hasse.
Schaab (shMp), Robt., Rotha, near
Leipzig, 18 17 — 1887 ; organist and
composer.
644
THE MUSICAL GUIDE
Schachner rshakh'-nSr), Rudolf Jos.,
Munich, 1821 — Reichenhall, 1896;
pianist, teacher and composer.
Schacht (shakht), Matthias H., Vi-
borg, Jutland, 1660— Kierteminde,
1700 ; lexicographer.
Schack (Cziak) (shak or chak), Ben-
edikt, Mirowitz, Bohemia, 1758 —
Munich, 1826 ; tenor and dram, com-
poser.
Schad (shat), Jos., b. Steinach, Bava-
ria, 1812 — Bordeaux, 1879.; pianist
and composer.
Schade (sh§-d^), (i) (Schadaus)
Abraham, pub. a valuable coll. of
384 motets (1611-16). (2) Carl,
singing-teacher and writer (1828-31).
Schaffer (shef-fdr), (i) Aug., Rhein-
berg, 1814 — Berlin, 1879; dram,
composer. (2) Julius, b. Crcvese,
Altmark, Sept. 28, 1823 ; studied
with Dehn, Berlin ; 1855 mus. dir. to
the Grand Duke at Schwerin ; found-
ed and conducted the ** Schlosskirch-
enchor ; " i860 mus.-dir. at the
Univ. and cond. Singakademte, Bres-
lau; 1871, *• R. Mus.-I)ir."; 1878
prof.; Dr. Phil, h, c. (Breslau), 1872 ;
wrote defence of his friend Franz*
accompaniments to Bach and Han-
del ; composer.
Schafhauti (shaf'-hi-tl), K. F2. Emil
von, Ingolstadt,i8o3 — Munich, 1890;
professor and theorist.
Schalk (shark), Josef, b. Vienna and
studied at the Cons. ; notable cond.,
first at Grazy then ist cond. at the
Prague Opera and Philh. concerts ;
since 1899 ist cond. ct. -opera, Ber-
lin; 1898 at Covent Garden, 1899
gave the complete Wagner Ring-
cycle in New York.
Scharfe (shar'-f(*), , Grimma, Sax-
ony, 1835 — Dresden, 1892; barytone,
teacher and composer.
Scharfenberg (shar'-fen-b^rkh), Wm.,
Cassel, Germany, 18 19 — Quogue,
N. Y., 1895; pianist, teacher and
editor.
Schamack (shar'-nak), Luise, b.
Oldenburg, ca. 18G0 ; mezzo-soprano :
pupil of von Bemuth, Hambur^g
Cons.; debut, Weimar.
Scharwenka (shar-v£n'-kal), (i) (L.;
Philipp, b. Samter, Posen, Feb. 16,
1S47; pupil of Wtlrst and KuUsJl's
Acad., Berlin, also of H. Dum ;
1870, teacher of theory and comp. at
the Acad.; 1880 founded (with his
bro. Xaver) the ** Scharwenka Cons.";
1 89 1, accompanied his bro. to New
York ; returned, 1892, as co-dir. of
the Cons., later, 1893, merged in the
Klindworth Cons. ; he is also a carica*
turist and illustrated a satire by Alex.
Moskowski (Berlin, 188 1) ; 1902,
R. Professor; c. **//<rr3j//>*Vr" and
** Sakuntala" for soli, chorus and
orch., 2 sym^ths. ^^^Arkadiscke Suite**
and ^* Serenade^* for orch., festival
overture. Trio in G, op. 112, etc. (2)
(Fz.) Xayer, b. Samter, Jan. 6,
1850 ; bro. of above ; distinguished
pianist and composer; pupil of Kul-
lak and WUrst, Kullak*s Acad.; 1868,
teacher there ; at 19 gave public con-
cert at the Singakademie, with succ.;
for 10 years he gave annually 3 cham-
ber-concerts there (with Sauret and
II. GrUnfeld) ; cond. of subscription
concerts ; 1874, toured Europe and
America ; 1880, co-founder the ** Ber-
lin Scharw. Cons.," dir. till 1891,
then founded a Cons, in New York ;
1898, Berlin, as dir. Klindworth-
Scharwenka Cons.; ct. -pianist to the
Emperor of Austria, " Prof." from
the King of Prussia ; c. succ. opera
^' Mataswintha " (Weimar, 1896) ;
symph., 3 pf. -concertos, etc.
Scbauensee (show'-^n-za), (Fx. Jos.
Leonti) Meyer Ton, Lucerne, 1720
— after 1790; organist and dram,
composer.
Schebek (sha'-b«k), Edmund, Peters-
dorf, Moravia, 18 19 — Prague, 1895;
amateur authority on vln.-construc-
tion, etc.
Schebest (sha'-bSst), Apies, Vienna,
1 8 1 3 — Stuttgart , 1 869 ; mezzo-so-
prano.
Schechner - Waaeen (sh£k'-nj{r-yi'«
g€nj, Nanette, Munich, 1806—1860;
DICTIONARY OF MUSICIANS 64?
noted soprano; 1832, m. Waag^en, a
painter
Scheibe (shi'-bt^), (i) Jn., d. Leipzig,
1748 ; celebrated org. -builder. (2)
Jn. Ad., Ixipzig, 1708 — Copen-
hagen, 1776; son of above; organ*
ist, editor and composer.
Scheibler (shl'-bldr), Jn. H.» Montioie,
near Aix-la-Chapelle, 1777— Crefcld,
1838 ; acoustician and inventor.
Scheidemann (shi'-d£-man), (i) Hein-
rich, Hamburg, ca. 1596 — 1663; or-
ganist ; pupil and successor of his
father (2) Hans S., organist Kathe-
rinenkirche.
Scheidemantel (shl -d£-man-t^I), K.,
b. Weimar, Jan. 21, 1859 ; pupil of
Bodo Borchers; sang at the ct.-th.,
1878-86 ; pupil of Stockhausen ;
1885, " Kammersanger " ; since
1886, Dresden ct. -opera ; 1886, sang
•* Amfortas " in •' ParsifaV at Bay-
reuth.
Scbeidt (shit), Samuel, Halle-on-
Saale, 1587 — 1654 ; famous organist
and comp)Oser ; pupil of Sweelinck ;
organist of Moritzkirche and ct. -con-
ductor ; c. notable chorals, etc.
Schein (shin), Jn. Hermann, Grtln-
hain, Saxony, 1586 — Leipzig, 1630;
soprano; ct. -conductor and com-
poser.
Schelble (sh^l'-bld). In. Nepomuk,
Hu6ngen, Black Forest, 1789 —
Frankfort-on-Main, 1837 ; notable
cond. and singing-teacher ; tenor ; c.
operas, etc.
Schelle (shdl'-l^), (i) Jn., Geisingen,
Saxony, 1648 — Leipzig, 1701; can-
tor Thomaskirche. (2) K. Ed.,
Biesenthal. near Berlin, 18 16 — Vien-
na, 1882 ; critic, lecturer and writer.
Scheller (sh^l-l^r), Jacob, b. Schettal,
Bohemia, 1759 ; vln. -virtuoso.
Schelper (sh^l'-p«r). Otto, b. Rostock,
April 10, 1844 ; an actor, later bary-
tone in opera, at Bremen ; 1872-76,
Cologne, then sang leading roles,
Leipzig City Theatre.
Schenck (sh^nk), (i) Jean (Johann),
gamba-player and dram, composer,
1688-93, Amsterdam. (2) Jn.,
Wiener-Neustadt, rx>wer Austria,
1761 (1753?) — Vienna, 1836; c. op-
erettas. (3) Hug^o, 1852 (?) — Vien-
na, 1896 ; conductor and composer.
Scherer (sha -r^r), Sebastian Anton,
organist at Ulm Minster and com-
poser, 1664.
Scherzer (sh£r'-ts£r), Orto, Ansbach,
1821— Stuttgart, 1886; violinist and
organist.
Schetky (sh^t'-ke), Chp., Darmstadt,
1 740^ Edinburgh, 1773 ; 'cellist and
composer.
Schicnt (shYkht), Jn. Gf., Reichenau,
Saxony, 1753 — Leipzig, 1823; pupil
of an uncle (org. and pf.) ; pianist,
conductor and writer ; c. 4 oratorios,
chorals, etc.
Schick (shlk) (nee Hamel), Marn-
rete Luise, Mayence, 1773 — Berlin,
1809 ; soprano ; pupil of Steffani and
Righini ; debut, Mayence, 1791; from
1794, Royal Opera, Berlin.
Schiedermayer (she'.d£r-mt-£r), Jos.
Bd., d. Linz-on-Danube, Jan. 8^
1840 ; cath. -organist ; wrote a text-
book on chorals and a vln. -method ,
c. symphs., sacred mus., org. -pes., etc.
Schiedmayer (shet'-ml-^r) & Sdhne,
Stuttgart firm of piano-makers,
founded in Erlangen, 1781. (i) Jn,
D., removed to Stuttgart 1806. The
present head is (2) Ad. (b. 1847),
a ^reat-grandson of (i).
Schikaneder (she'-ka-na-d^r), Eman«
uei Jn., Ratisbon, 1751 — Vienna,
1812, the librettist of Mozart's ^'Zau-
berfldte'** in which he created ** Papa-
geno"; a manager, actor and singer.
Schildt (shTIt), Melchior, Hanover (?),
1592 — 1667; organist.
Schiller (shll'-lir), Madeline, b. Lon-
don, Engl.; pianist and teacher; a
pupil of Isaacs, Benedict and Halle,
but mainly self-taught ; debut, Ge-
wandhaiis, with great succ. , repeated
in London ; toured Australia ; m. M.
£. Bennett of Boston, Mass., where
she lived severcu years making many
tpurs, incl. Australia and Europe;
later lived in New York.
Schilling (shll-ting), Gv., Schwiegei»
646
THE MUSICAL GUIDE
hausen, near Hanover, 1803 — Ne-
braska, U. S. A., 1881; wrote text-
books and treatises, etc.
Schil'ling:*, Max, b. DOren, April 19,
1 868 ; notable composer ; studied
with Brambach and von Kdnig^Ow ;
1892, stage-manag^er at Bayreuth ;
1890 while studying law, at Munich,
c. the opera ** IngufUU*^ (prod, by
Mottl, Carlsruhe, 1894) ; played in
many other cities ; c. also opera
••Z>^-/*/ri>r/tf^"(Schwerin, 1901); 2
symph. fantasias "iV^/T^rK/x," 1895,
and ** Setmcrgen^^ etc
Schimon (she-mon), Ad., Vienna,
i630-^Leip«g, 1887 ; singing-teach-
er, accompanist and dram, com-
poser, etc.; 1872, m. the soprano (2)
AniiA Regan, Bohemia, 1842 — Mu-
nich, 1902 ; pupil of Manuel Garcia
and Stockhausen ; sang in Italy and
Germany ; court-singer in Russia ;
1874, teacher of singing Leipzig
Cons. ; 1877-86, R. Sch. of Mus.,
Munich; again at Leipzig Cons.;
also after death of her husband,
singing-teacher at Munich.
Schindelmeiaser (shIn'-d£l-mTs-sdr),
L., KOnigsberg, 181 1 — Darmstadt,
1864 ; ct. -conductor and dram, com-
poser.
Schindler (shYnt'-l«r), Anton, Medl,
Moravia, 1796 — Bockenheim, near
Frankfort, 1864 ; violinist and con-
ductor ; friend and biographer of
Beethoven.
Shintldcker (shYnt'.l«k.«r), (i) Phil-
ipp, Mons, Hainault, 175^ — Vienna,
1827; 'cellist. (2) Woltjgang, b.
Vienna, 1789 ; 'cellist and composer ;
nephew and pupil of above.
Schira (sh€'-ril), Fran., Malu, 1809
— London, 1883: professor, conduct-
or and dram, composer.
Schirmacher (sher'-mSkh-^r), Dora,
b. Liverpool, Sept. i, 1862 ; pianist ;
pupil of Wenzel and Reinecke, Leip-
zig Cons., winning Mendelssohn
prize ; d^but Gewandhaus, 1877 ; c
a suite, sonata, etc.
Schirmer (sher'-m£r), (i) Gustav,
KOnigsee, Saxony, 1829 — Einsbach,
Thuringia, 1893 ; son and grandson
of court piano-makers at Sonders-
hausen ; 1837 came to New York ;
founded pub. firm, Beer & Schirmer ,
1866 S. obtained the entire business
since known as G. Schirmer; since
1893 incorporated under management
of (2) Rudolf £. and (3) Gustav.
sons of above.
Schladebach (shla-d^-bilkh), Julius,
d. Kiel, 1872 ; wrote treatise on the
voice.
Schl&ger (shli'-g^r), Hans, Fits
kirchen. Upper Austria, 1830— Salz-
burg, 1885 ; conductor and dram,
composer.
Schlecht (shl«kht), Raimund, Eich-
stadt, 18 II — 1891 ; priest and writer.
Schleinitz (shlT'-nlts), H. Conrad,
Zechanitz, Saxony, 1807 — Leipzig,
1881 ; dir. Leipzig Cons, (vice Men-
delssohn).
Schlesinger (shla -zYng-dr), two mus.-
pub. firms, (a) at Berlin, founded
1 8 10 by (i) Ad. Martin, from 1858
managed by his son (2) Heinrich
(d. 1879) ; since 1864 under R. Lie-
nau. (b) at Paris, founded 1834 by
(3) Moritz Ad., son of (i) : under
Louis Brandus in 1846. (4) Sebas-
tian Benson, b. Hamburg, Sept
24, 1837 ; at 13 went to U. S.; stud-
ied at Boston with Otto Dresel ; for
17 years Imp. German Consul at
Boston ; now lives in Paris ; pub.
many pop. songs and piano-pieces.
Schletterer (shl«t'-t«r-dr), Hans
Michel, Ansbach, 1824 — Augsburg,
1893; mus. -dir., writer and composer.
Schlick (shl)k), (i) Arnold, ct.-organ-
ist to the Elector Palatine, and com-
poser. 1 51 1. (2) Jn. Konrad, Mon-
ster (?), Westphalia, 1759 — Gotha,
1825 ; 'cellist and composer.
Schlimbach (shllm'-bfikh), G. Chr
Fr., b. Ohrdrof, Thuringia, 1760;
organist, writer on org.-building, etc.
Schlbsser (shl«s'-s«r), (1) Louis,
Darmstadt 1800—1886 ; ct. -conduct-
or and dram, composer. (2) (K.
Wm.) Ad., b. Darmstadt, Feb. i,
1830; son and pupil of above; pianist;
DICTIONARY OF MUSICIANS 647
4^but Frankfort* 1847 ; toured; from
1854, teacher in London ; c. pf.-
quartet and trio, etc«
Scnlottnuuiti (shiot'-mfin). Louis, b.
Berlin, Nov. I2, 1826 ; concert-
gtanist, pupil of Taubert and Dehn ;
ved in Berlin as teacher ; 1875, R.
Mus.-Dir.; c. overture to ^^ Romeo
and Juliet,'' ** Trautrmarsch"' for
orch., etc.
Schmedes (shma -d£s), Erik, b. Co-
penhagen, 186S ; pianist ; then stud-/
ied sinjrinfif with KothmUhl ; sang^ as
barytone in various theatres ; studied
with Iffert and« 1898, sang tenor roles
at Vienna: 1899 " Siegfried '* and
" Parsifal " at Bayreuth.
Schmeil (shmll), , teacher at
Magdeburg, inv. "notograph."
Schmelzer(shm£r- ts^r), Jn. H. » Prague,
1655 — d. after 1695 at Vienna ; ct.-
cond. and composer.
Schmid(t) (shmTt), (i) Bd., organist at
Strassburg. 1560. He was succeeded
by (2) Bd. Schmid, the younger.
(3) Anton, Pihl, Bohemia, 1787 —
1857 ; mus. libr. Vienna Library ;
writer.
Schmidt (shmYt), (i) Jn. Phil. Samuel,
K5nigsberg, 1779 — Berlin, 1853 ;
Govt, official, critic, writer and dram,
composer. (2) Jos., BQckeburg, 1795
— 1865 ; violinist, ct. -conductor and
composer. (3) Hermann, Beriin,
1810— 1845 » ballet-conductor and
ct. -composer ; c. operetta. (4) Gns-
tav, Weimar, 18 r6 — Darmstadt,
1882 ; ct. -conductor and dram, com-
poser. (5) Arthur P., b. Altona,
Ger., April i, 1846; est. mus. -pub.
business, Boston and Leipzig, 1876.
Schmitt (shmtt), (i) Jos., 1764—
Frankfort-on-Main, 1818 ; writer,
violinist and composer. (2) Niko-
laus, b. Germany ; bassoonist and
composer; from 1779, chef de mu-
sique of the French Guards at Paris.
(3) Aloys, Erienbach, Bavaria, 1788
— Frankfort-on-Mai 1, 1866 ; eminent
teacher, pianist, writer and dram,
composer. (4) Jacob (Jacques),
Obemburg. Bavaria, 1803— Ham-
burg, 1853 ; bro. and pupil of above ;
wrote a method and c. (5) (G.)
Aloys, Hanover, Feb. 2, 1827 — Dres*
den, Oct., 1902; pianist and cond.)
son and pupil of (3); pupil Volh
weiler (theory), Heidelberg ; toured ;
then th.-cond. at Aix-la-Chapelle,
etc. ; 1857-92, ct.-cond. at Schwerin ;
from 1893, dir. ** Dreyssig'sche Sfaig«
akademie," Dresden. He c. 3 op^
eras, incl. '* Trilby'* (Frankfort.
1845) ; incid. music ; overtures, etc.
He arranged the fragments of Mo-
zart's C mmor mass into a complete
work ; died of an apoplectic stroke
while conducting his own **/if Mem"
oriam" (6) Hans, b. Koben, Bo-
hemia, Jan. 14, 1835 ; piano-teach-
er and oboist ; pf. -pupil of Dachs,
Vienna Cons., taking the silver medal;
later, teacher there ; wrote a vocal
method ; c. important instructive
pes., etc*
Schmttlzer (shm£r-ts«r), Jakob Ed.,
Graz, 1812 — 1886 ;- teacher and com-
poser.
Schnabel (shnA'-b«l), (i) Tos. Iffnaz,
Naumburg, Silesia, 1767 — Bretlau,
1831 ; conductor and composer. (2)
Michael, Naumburg, 1775 — Breslau,
1842; bro. of above; founded at
Breslau (18 14) a piano factory, car-
ried on by his son (3) K. (1809—
188 1) ; pianist and composer.
Schnecker (shn«k'-«r), Peter Ang^.,
b. in Hessen- Darmstadt, 1850 ; pupil
of Oscar Paul, Leipzig ; came to
America ; lives in New York as
teacher and organist ; pub. collec-
tions; c. pf.-pcs. and much pop.
church-mus.
Schneegass (shna'-gfis) (Sneg^s^
sius), Cyriate, Buschleben, near Go.
tha, 1546— T597 ; theorist and com*
poser.
Schneevoigt (shnft'-foikht), George,
b. Wiborg, Nov. 8, 1872 ; Finnish
'cellist ; studied with Schroder,
Klengel and Jacobs; lives in Hel-
singfors as teacher in the Cons., etc.
Schneider (shnl'-d^r), (i) Jn., Lauder,
near Coburg, 1702 — Leipzig, ca.
648
THE MUSICAL GUIDE
Z775 * famous improviser and organ-
ist. (2) G. AbrahAm, Darmstadt,
1770 — Berlin, 1839 ; horn-virtuoso ;
conductor, composer of masses, etc.
(3) Louis, Berlin, 1805 — Potsdam,
1878 ; son of (2): writer. (4) (Jn. G.)
Wm., Rathenow, Prussia, 1781 —
Berlin, 181 1 ; pianist, teacher, com-
poser and writer. (5) WnL, Neu-
dorf, Saxony, 1783 — Merseburg,
1843 ; organist and writer. (6) Jn.
Gottlob, 1753 — Gemsdorf, 1840;
organist. (7) (Jn. Chr.) Fr., Alt-
Waltersdorf, Saxony, Jan. 3, 1786 —
Dessau, Nov. 23, 1853 ; son and pu-
pil of (6) ; at 10 c. a symphony ; 1821
ct. -conductor at Dessau ; wrote text-
books and c. 15 oratorios, incl. fa-
mous ^' Das Weltgericht**; biog. by
F. Kempe. (8) Jn. (Gottlob), Alt-
Gersdort, Oct, 28, 1789 — Dresden,
April 13, 1864 ; bro. of above ; emi-
nent organist and teacher. As a boy
a soprano of remarkable range (to f
ace. to Riemann, v. pitch, D.D.);
later, tenor ; 1825 ct. -organist, Dres-
den, also conductor ; made tours ; c.
fugues, etc. , for organ. (9) Jn. Gott-
lieb, Alt-Gersdorf, 1797 — Hirsch-
berg, 1856 ; bro. of above ; organ-
ist. (10) Theodor, b. Dessau, Ma^
14, 1827 ; son and pupil of (7) ; pupil
of Drechsler (*cello) ; 1845, 'cellist,
Dessau ct.-orch.; 1854 cantor and
chotr-dir. court and city churches;
186C-96 cantor and mus.-dir. Takobi-
kirche, Chemnitz; also cond. (11)
(Jn.) Julius, Beriin, 1805 — 1M5;
pianist, organist and mus. -director ;
and c. operas;. son of (12) Jn. S.,
pf.-mfr. at Berlin. (13) K., Streh-
len, 1822 — Cologne, 1882 ; tenor.
(14) K. Ernst, Aschersleben, 1819 —
Dresden. 1893 ; writer.
Schnitg^er (shnYt'.g£r), (i) Arp.,Gods.
warden, Oldenbui^g, 1648 — Neuen-
felde, ca. 1720; org.-builder. His
son, (2) Fz. Caspar (d. 1729), and
an elder bro., worked at Zwolle, Hol-
land.
Schnorr yon Karolsfeld (shndr f5n
kii'-rdU-f(llt), (i) L., Munich, 1836—
Dresden, 1865 ; noted tenor ; created
Wagner's ** Tristan"; c. opera at
Munich (1865), his wife, (2) Malvri-
na (n^ Garrigues), creating ** Isol-
de*'; she took a fatal chill on this
occasion.
Schnyder yon Wartensee (shne -ddr
fon var'-t£n-z&), X., Lucerne, 1786—
Krankfort-on-Main, 1868 ; teacher,
writer and composer.
Schoberlechner (shd'-b£r-l£kh -n^r),
F«., Vienna, 1797 — Beriin, 1843 ;
pianist, conductor and dram, com
poser.
Sch6berlein (sha -b^r-lln), L., Kolm*
berg, Bavaria, 18 13 — Gdttingen,i88i;
writer.
Schobert. Vide schubart (3).
Schoenefeld (sh&-'n«.f«lt), H., b. Mil-
waukee. Wis., Oct. 4, 1857; son and
pupil of a musician ; later studied
Leipzig Cons. ; winning a prize for a
chorus with orch. performed at the
Gewandhaus ; then studied with £.
Lassen (co'mp.), Weimar ; toured
Germany as a pianist ; from 1879.
Chicago, as piantst and teacher, also
cond. the ** Germania M&nnerchor."
C. " The Three Indians " ode with
orch.; 2 symphs. (" Rural^^"^^ Spring-
time ") ,• 2 overtures, ** In the Sunny
South " (a notable work based on
Ethiopian themes) and ** JIu Amer-
ican Flag**; vln.-sonata (Henri Mar-
teau prize, 1899), pf.-pcs., etc.
Schdffer (sh«r-f«r), Peter (the young-
er), mus. -printer at Mayence and
Strassburg, 1530-39.
Schoelcher (sh«l-shar), Victor, Paris,
1804 — 1893 ; writer, statesman and
biographer of H&ndel.
Scholtz (shdlts), Hn., b. Breslau,
June 9, 1845 t pianist and teacher ;
pupil of Brosig, of C Kiedel and
Plaidy at Leipzig, and v. RQlow, and
Rheinberger, R. Sch. of Mus., Mu«
nich ; 1870-75, teacher there ; then
in Dresden ; 1880 ** R. Saxon cham-
ber-virtuoso " ; ed. Chopin's works ;
c. pf. -concerto, sonata, etc.
Scholz (sholts), (i) P., important com-
poser of Russian music, taught comp
DICTIONARY OF MUSICIANS 649
Moscow, 1830. (3) Bd. E., b. May-
ence, March 30, 1835 ; pupil of Ernst
Pauer, Mayence, and of Dehn, Ber-
Hn; 1856 teacher R. Sch. of Mus.,
Munich; 1859-65, ct. -conductor Han-
over Th.; 1871-78, cond. Breslau
Orch. Soc.; 1883, dir. of the Hoch
Cons., Frankfort (vice Raff) ; Dr.
Phil. h. c, (Breslau Univ.). *' Royal
Prussian Professor," etc.; pub. es-
says ** Wohin treiben wir}" (Frank-
fort, 1897) : prod. 5 operas inch succ.
•* //f^tf" (Frankfort, 1898). C. ''Das
Siegdsfest** and ''Das Lied von der
Chcke* ioT soli, chorus and orch.;
symph. poem "Malintonia "/ symph.
overtures " Iphigenia** and '* Im
Freien" etc,
Schfin (shan), Moritz, Kronau, Mo-
ravia, 1808 — Breslau, 1885 ; violin-
ist, conductor and writer.
Sch^uberg^er (shan'-b£rkh-^r), Beano,
b. Vienna, Sept. 12, 1863 ; pianist ;
pupil of Vienna Cons., studied also
with Liszt ; toured ; 1885 teacher,
Vienna ; later in Sweden (1886), then
London ; 1894 toured America; c. 3
pf. -sonatas, 3 rhapsodies, etc.
Schondorf (shon'-dorf), Jns., b. RO-
bel, Mecklenburg, 1833 ; pupil of
Stem-KuUak Cons., Berlin ; sii^ce
1864 organist Pfarrkirche, Gtlstrow ;
singing-teacher Cath. Sch., and con-
ductor ; c. ** Vaterldndisehe Gc"
sdnge^** " Kaiser hymne^'' etc.
Schdnfeld (shan'-f£lt), Hermann, b.
Breslau. Jan. 31, 1829; cantor and
R. Mus. -Dir. there ; c. cantatas, a
symph.; 3 overtures, etc.
Scndrg (sh^rkh), Fz.,b. Munich, Nov.
15, 1871 ; violinist ; pupil of Ysaye ;
toured ; lives in Brussels.
Schott (shot), (r) Bd., d. 1817; found-
ed (Mayence, 1773) the mus.-pub.
firm of B. Schott, carried on by his
sons (2) Andreas (1781 — 1840) and
(3) Jn. Jos. (1782— 1855), under the
firm-name of ** B. Schott's S5hne ;
the present manager at Mayence and
the London branch are Fz. von Land-
wehr and Dr. L. Strecker. (4) An*
ton, b. Schloss Staufeneck, Swabian
Alp, June 25, 1846; tenor; 1865-71
an artillery officer in the French cam-
paign ; then studied with Frau Sche*
best-Strauss; 1871, Munich opera;
1872-75 Berlin opera ; leading tenor
at Schwerin and Hanover, made
concert-tours ; 18S2 in Italy with
Neumann's Wagner troupe.
Schradi(e)ck (shr&'-dek), Henry, b.
Hamburg, April 29, 1846 ; noted
violinist ; pupil of his father and of
Leonard, Brussels Cons., David,
Leipzig; 1864-68 teacher Moscow
Cons., then leader Philh. Concerts,
Hamburg ; 1874-82, co-leader, Ge-
wandhaus Orch. and theatre-orch. ,
Leipzig, also teacher for a time at the
Cons. 1883-89, prof, of vln., Cin-
cinnati Cons., U. S. A.; returned to
Germany as leader of the Hamburg
Philh. Soc.; afterward head vln.-
Srof. Nat. Cons., N. Y., and later
iroad St. Cons. , Philadelphia ; pub.
excellent technical studies for vln.
Schramm (shram), Melchior, German
organist and contrapuntist, 1595.
Schreck (shr^k), Gustav, b. Zeulen-
roda, Sept. 8, 1849 ; pupil of Leipzig
Cons.; 1885 teacher of theory and
comp., Leipzig Cons.; 1892, mus.-
dir. and cantor, and cond. of the
*' Thomanerchor" ; prod, concert-
cantatas, oratorio, ** Christus der
A ufersiatidene " (Gewandhaus, 1 892),
church-music, etc.
Schrems (shrams), Jos., Warmen-
steinach, Upper Palatinate, 1815—
Ratisbon, 1872 ; conductor, editor
and teacher.
Schrdder (shra'-dSr), (i) Hermann, b.
Quedlinburg, July 28, 1843 ; violin-
ist, writer and composer ; pupil of A.
Ritter, Magdeburg; from 1885,
teacher R. Inst, for Church-mus.,
Berlin, and at a mus.-sch. of his
own. (2) Karl, b. Quedlinburg.
Dec. 18, 1848; bro. of above; 'cel-
list and composer ; pupil of Drechs-
ler, Dessau and Kiel, Berlin ; at 14,
1st 'cello ct.-orch. at Sonde rshausen,
and teacher in the Cons.; 1873, *cc^
lo, Brunswick ct.-orch.; 1874, solo
650 THE MUSICAL GUIDE
*cellist Gewandhaus Orch., and th.-
orch., Leipzig, also teacher at the
Cons., and made tours ; 1881, ct.-
cond., Sondershausen ; cond. German
Opera at Amsterdam ; until 1888,
Berlin ct. -opera ; till 1890, the Ham-
burg Opera ; returned to Sonders-
hausen as ct.-cond. and dir. *^ Fttrst-
liches Conservatorium ; " wrote 'cello-
method, catechism on conducting and
the 'cello. C. succ. opera **Aspasia**
(Sondershausen, 1892} ; a succ. i-act
opera ** D^ Asket " (Leipzig, 1893) ;
succ. operetta '* J/ii/n/V* " (Bunzlau,
1887) ; 1871, founded the "Schrttder
Ouartett," with his brothers (i)
Hermann (3) Fz. and (4) Alwin,
b. Neuhaldensleben (Magdeburg),
June 15, 1855; pupil of his fa-
ther and brother Hermann, also of
Andre (pf.), and De Ahna (vln.), W.
Tappert (theory) ; self-taught as a
'cellist, as whtch he has won his
fame; 1875, ist *cello in Li^big^s
**Concert-Orchcstcr," later under
Fliege and Laube (Hamburg) ; 1880,
Leipzig, as asst. of (i), whom he suc-
ceeded, 188 1, in the Gewandhaus,
theatre and Cons.; 1886, Boston, as
first 'cellist Symph. Orch.; member
of the ** Kneisel Quartet." (5) Kon-
rad (Gv. Fd.)i b. Marienwerder, W.
Prussia, July 7, 1850; pupil of Kul-
lak's Acad., Berlin, also of O. Kolbe
(comp.); teacher in the Acad.;
pf. - teacher, Berlin. C. the first
** Low German " opera (after Fritz
Reuter), the v. succ. i-act comic op-
era ** Du dro^gst de Pann weg "
(Schirenn, 1897); pub. 50 songs. (6)
Fr,, d. 1818 ; baiytone, the first to
sing Mozart's "^^ Don Giovanni** in
German.
Schrttder - Devrient (shra - d^r - da'-
frWnt), Wilheiminc, Hamburg, 1804
— Coburg, i860 ; eminent soprano ;
daughter of (6) above, and of a cele-
brated actress, Antoinette Sophie
Burger Devrient (divorced 1828, af-
ter bearing him 4 children; married
twice afterward) ; pupil of Mazatti ;
debut, Vienna, 182 1 ; m. the actor
Karl D. ; she created the role of ''Adri-
ano Colonna" in the **J^ienzi" of
Wagner, whose style she deeply af-
fected.
Schrdder-HanfsUngrl. Vide hanf-
STANGL.
Schr5ter (shra'-tir). (i) Leonhard,
Torgau, ca. 1540-^Magdeburg, after
i^So ; eminent contrapuntist. (2)
Chp. Gl., Hohenstein, Saxony, i699r —
Nordhausen, 1782 ; noted organist ;
claimed in a pamphlet (1763) to have
invented, 17 17, the pianoforte, but
was forestalled by Cristofori ; com-
poser. (3) Corona (Elisabeth Wil-*
nelmine), Guben, 1751 — Ilmenau,
1802 ; celebrated soprano ; pupil of
her father, (4) Joh. Fr. S., cham-
ber-singer. (5) Joh. Samuel, War-
saw, 1750 — London, 1788, son of
(4) ; pianist. (6) Joh. H. (b. War-
saw, 1762), son of (4) ; violinist.
Schubart (shoo'-b&rt), (i) (Chr. Fr.)
Daniel, Sontheim; Swabia, 1739 —
Stuttgart, 1 791 ; poet ; organist and
composer. (2) L., son of above ;
editor of his father's ** /dren km finer
jEstheHk der TonkunsV (1806).
(3) (also Schobert, or Chobert
(sho'-b€rt) ( \ first name un-
known), Strassburg, 1720 — Paris,
1768 ; a relative of above ; organist
at Versailles ; 1760, chamber-mus. to
Prince de Conti; very pop. pianist
and composer.
Schubert (shoo'-b^rt), (i) J08., W^ams-
dorf, Bohemia, 1757 — Dresden, 18 12 ;
violinist, and dram, composer. (2)
Jn. Fr., Rudolstadt, 1770 — Cologne,
181 r; violinist, writer and composer.
(3) Fd., Lichtcnthal, near Vienna,
1794 — Vienna, 1859; elder bro. of
the great composer (4) and passion-
ately devoted to him ; dir. Normal
Sch., Vienna; c. church-mus., a re-
quiem for his brother, etc.
(4) Franz (Peter), Lichtenthal.
near Vienna, Jan. 31, 1797 — of ty-
phus, Vienna, Nov. 19, 1828 ; one of
the most eminent of the world's com-
posers. One of the 14 children of a
schoolmaster at Lichtenthal, vho
■tai
DICTIONARY OF MUSICIANS 651
taught him the vln. ; also studied with
Holzer there ; at 10, first soprano in
the church-choir, and c. songs and
little instrumental pes. 1808, a sing-
er in the Vienna count choir, and also
in the '* Convict" (the training-sch.
for the court singers). He played in
the sch. -orchestra, iinailv as first
vln. , and studied theory with Rucziz-
ka and Salieri. His earliest extant
composition is a 4-hand fantasia of
12 movements written when he was
13. He had a frenzy for writing, and
a fellow-pupil, Spaun, generously fur-
nished him with mus.-paper, a luxury
beyond the means of Schubert. At
15 he had written much, inch an
overture ; at 16 he c. his first svmph.;
1 8 13, his voice broke and he left the
"Convict," where the unrestrained
license allowed him in his composi-
tions accounts for the crudeness of
some of his early works and the faults
of form that always characterised
him, as well as for his immediate and
profound individuality ; at 17 he c.
his first mass. In order to escape
military conscription he studied a few
months at the Normal Sch. and took
the post of elementary teacher in his
father's sch. He taught there until
1816, spending his leisure in studying
with Salieri, and in comp. particularly
of songs, of which he wrote as many
as 8 in one day — 144 in his i8th year
(1815), including '' Dtr Erlkdnig'' ;
18 14-16, he also c. 2 operettas, 3
Singspiele and 3 incomplete stage-
pieces, 4 masses. 18 16, he applied,
without succ. , for the directorship of
the new State mus.-sch. at Laybach
(salary $100 (;f2o) a year). From
1817 he lived in Vienna, except two
summers (1818 and 1824), spent at
Zelesz, Hungary, as teacher in Count
Esterhazy's uimily. How S. existed
is a matter of mystery, except for the
help of such friends as Fz. von Scho-
ber, who aided him with the utmost
generosity. The famous tenor Mi-
chael VogI, popularised his songs.
By his 2 1st year (18 18) S. bad c six
46
of his symphs. and a great mass of
work. His mus, farce '* Die ZwiU
lingsbrUder " was prod. (Kamthner*
thor Th., 1820, but ran only six
nights). 182 1, after he had written
over 600 compositions, Yixs^^Erlko-
nig^^ was sung at a public concert of
the •' Musikverein '* and elsewhere,
with a wide sale that attended most
of his subsequent publication of songs
and pf.-pcs.; though he was sadly
underpaid by his publishers, some
times receivmg only a gulden (2<
cents, less than a stalling) for them.
In 1822 he declined the post of organ-
ist at the court chapel ; but could
never obtain a salaried position,
though many efforts were made. At
31 he gave his first concert, of his own
works, with good succ. (1828). In
1822, he had finished a g^nd opera
'' Alfonso und Estrella,'* the libretto
bad, the scoring too difficult for the
musicians at Graz, where it was put
in rehearsal ; it was withdrawn, not
to be prod, till 1854 under Liszt and
in 1 88 1 when Jn. Fuchs rewrote the
libretto and prod, it at Carlsruhe
with great succ. In 1825 a work,
•' Rosamunde" was prod, at the Th.
an-der-Wien, with applause for the
music, but it was withdrawn after a
second performance. Other works of
his had not even productions, his
stubborn refusal to alter a note pre-
venting the profitable performance of
dram, scenes, etc. His health finally
broke under the strain of composi-
tion all day on a little food and rev-
elry till late at night. He died of
typhus and was buried, at his own
request, in the "Ostfriedhof " at
Wahring, near Beethoven.
A complete critical edition of his
works is pub. by Breitkopf & H artel.
These inch, besides those mentioned,
an opera *'i4</rflj/" (unfinished), ^
act operettas *''' Der Teufels Lutt^
schlcss"' and "/?<r Spie^lritUr** ;
Singspiele: * Der Vierj&hrige
Posten," ''Fernando"; '' Claudini
von Viilabella'' (unfinished); '' DU.
>
9
652
THE MUSICAL GUIDE
Freuttde von SalanMttca** and ** Der
Minnesditger"; all written 18 14 —
18 16; none performed; 3-act melo-
drama, ** Die Zauberharfe** (Aug.
19, 1820); 3-act opera, ^ Sakontala'^
(not finished or performed) ; i-act op-
eretta, **/?!> V^crschworenen^ oder
der hii us lie he Krieg'"" (Vienna, 1861);
3-act opera, ^^ Fierabras'^ (Vienna,
1861) ; ** Die Burgschaft^^ 3-act op-
era (c. 1816; prod, by Fz. Lachner,
Pesth, 1827) ; unprod. operas ** Der
Graf von Gleichen "(1827) and *'/?!>
Saizdergwerke*'; 6 masses; ^* Deutsche
Messe*'; unfinished oratorio *'^ Laza^
rusy* 2 " Tantufnergo" (with orch.);
2 *' Stabat Mater, etc. Choral
Works with Orch., or Instrs.:
Miriams Siegesgesang "; prayer,
For der Schlacht'* ; hymn, '' Herr
unser Gott" *^ Hymne an den ffeili-
gen Geist,** *^ Morgengesang im
IVa/de," '' Nachtgesaug im IValde"
and '' NachthelU;* '' Schlachtlied,''
*^Glaube, Hoffnung und Liebe,^* sev-
eral cantatas and part-songs. Orch.
AND Chamber-Mus, : 10 symphs..
No. 8 the " unfinished " in B min., 7
overtures (Nos. 2 and 5 " in the Ital-
ian style ") ; vln. -concerto ; rondo for
vln. with orch.; octet; pf. -quintet
( ' * Forellenquintety " with double-bass) ;
string-quintet with 2 *celli ; 20 string-
quartets ; 2 pf. -trios ; 2 string-trios ;
K
tt
rondo brilliant, phantasie in C, sona«
ta, 3 sonatinas, nocturne for 'cella
and pf.; introd. and vars. for flute
and pf.; 17 pf.-sonatis (incl. op. 78,
fantasia), 3 grand sonatas, posthu^
mous ; 8 impromptus, 6 moments
musicals; many variations, many
waltzes, incl. ^''Valses sentimentaUs,
** Homage aux belles Viennoises^*
* • Raises nnbUs:' 12* ' Grdtzer Wdlzer,"
" IVanderer-Fantasie" ; For pf., 4
hands : 2 sonatas, ** Divertissement k
Vhongroisey' *' Grand rondo,"' ^^ Notre
amiti^,** rondo in D, ** LebensstUrme^
fugue, polonaises, variations, waltzes,
4 l^ilndler ; marches, incl. '* Trauer-
marsch " and ** heroique."
Songs with piano : '* Erlkonig**
op. I ; •* Gretchen am Spinnrade**
op. 2; *^ Heidenroslein,*' op. 3;
''Der Wanderer " and ** Der du von
dem Himmel bist^* op. 4 ; Suleika
songs, Mignon's songs, 2 song cycles
by Wilhelm MuUcr, ''Die Schdne
Milllerin'* and " Die Winterreise^'
containing 20 and 24 numbers; 7
songs from ** Frdulein vom See**
(Scott's "Lady of the Lake "), 9 songs
from "Ossian"/ 6 songs by Heine in
the ** Sch7oanengesang" etc.
Biog. by von Hellbom (Vienna^
1861, 1865); Reissman (Berlin, 1873);
A. Niggli (1880) ; Barbedettc (Paris,
1866) ; Max Friedlander.
Schubert.
By H. a. Scott.
FRANZ SCHUBERT was very nearly the greatest of all composers.
If he had lived longer, been more carefully trained when young,
and received greater appreciation in his lifetime — three very reason-
able ** might-have-beens " — who shall set limits to the heights which he
might have won ? He died at thirty-one. If others of the masters had been
cut off at this age what treasures the world would have lost ! — ^in the case,
say of Handel, every one of his oratorios ; in that of Beethoven, his seven
greatest symphonies ; in that of Wagner, all his operas after ** Tannbauser'^
9iid ** Lohengrin*' \ tn that of Brahms, the ** German Requiem** and aT
DICTIONARY OF MUSICIANS 653
/lis symphonies. ^ It does not follow that Schubert would necessarily have
developed in any like manner. But, at least, there are reasons for thinking
that he might have done so. We know that in the last year of his life he
contemplated taking lessons in counterpoint, that on his death-bed he spoke
of ''entirely new harmonies and rhythms'' running through his head, and
that he had the loftiest of ambitions. As it was, and taking his works as
they stand, certain weaknesses distinguish them which there is no overlooking.
That fabulous fertility which could beget six of the " Wint err else '* songs at
a single sitting, three of the pianoforte sonatas in as many weeks, and eight
operas in a year, was not counterbalanced by a like faculty in the matter of
self-criticism and concentration. Too many of his bigger works lack fbnn
and proportion. He did not trouble sufficiently to work out and make the
most of the inspired thoughu which came to him in such unparalleled abun-
dance. He was a stupendous genius, it might almost be said, with an infi-
nite capacity for not taking pains — whose ** profuse strains of unpremeditated
art '' were at once too profuse and too unpremeditated. ^ But even so only
one or two of the very greatest n&mes can stand before his in music's history.
He occupies a position only one degree short of the very highest. In the
actual quality of his inspiration indeed perhaps there is not one who could be
ranked before him. No composer in the whole history of music was more
wondrously endowed by nature, whether one considers either the surpassing
beauty of his ideas or the profusion of their supply. ^ In Schubert's music
at its best there is a haunting and tmutterable loveliness, an exquisite blending
of tenderness, sweetness, and purity, with strength, nobility, and grandeur^
to which, for the true Schubertian, there is perhaps no equivalent in the works
of all the other masters put together. And this appUes, it should be said,
not less to his instrumental pieces than to his songs. ^ The notion that
Schubert b great only in his songs is one of those stock judgments which, once
accepted, it seems almost impossible to eradicate. In point of &ct nothing could
be wider of the mark than this belief. Schubert left imperishable works in
nearly every branch of music. His songs comprise no doubt his most char*
acteristic and distinctive achievements, inasmuch as nothing like them had
ever been so much as attempted before. But, so far as concerns the specific
quality of their music, they were equalled, if not surpassed, by such works
as the symphonies, his chamber compositions, and those exquisite one-move-
nient pieces for the pianoforte, the " Impromptus^ ^ and '* Moments Musicals^**
which in their way, be it said, were only a degree less epoch-making than
the songs. ^ What then is the distinctive place in music of this divinely-
gifted tone-poet? His disdnction is twofold : he created the song as w«
know it. and more than any other composer he influenced the development
of the lomantic movement. As the greatest of all song-writers, Schubett's
654 THE MUSICAL GUIDE
position it assured. It seems safe to say that his noblest achievements unda
this head will never be surpassed. The Schubert song, of which the text
throughout is mirrored in the accompaniment, in which every bar of the
music is condidoned by the words, thoughts, and dramatic or emotional
content of the poem illustrated, was a distinctive creation in its way not one
whit less wonderful than, say, the Beethoven symphony or the Wagnerian
music-drama. Such songs as «' Der Erlkonigf* ** Die junge Nptme,"
«' Dir Tad und das Madchen^'' «* Der Atlas,'' " Der Doppelganger,^* or
«* Gruppe aus dem Tartarus,'' to name but half-a-dozen almost at random from
his more descriptive examples, were a totally new thing in music, the influ-
ence fili which upon all succeeding composers, not only of songs but of every
kind of dramatic or illustrative music, not excluding opera, it would be
hard to over-esteem. ^ And more remarkable still perhaps is the ftct that
this superb emotional and dramatic expressiveness was attained without the
smallest sacrifice of qualities specifically musical — nay, took shape in music
of the greatest beauty, richness, variety and charm, as music alone and with-
out reference to the text. Schubert's creation oi the song in truth panakes
aJmost of the mbaculous, for he not only invented an absolutely new kind of
long, but developed its utmost possibilities, one might almost say, at a blow
-—in a word did this new thing at the first time of asking and did it supremely
well. ^ Schubert's influence as song- writer it would be hardly possible to
exaggerate. It was truly not a reform which he introduced but a revolution.
As to his influence on the composers of the romantic school one has only to
consider in general the whole character of his music with its all-pervading
poetry, and emotional expressiveness, and in particular such works as those
idready named, his ** Impramptus" and " Moments Musicals" to wit, to
realise the character of the connection. Here also, in these last-named
works, he did that which no one before him had attempted, inventing new
forms for the expression of moods too delicate, too intimate, and too personal
for treatment in the larger movements of established type, and once again left
behind him creations of an entirely novel kind, which later composers have
striven in vain to improve upon. ^Perhaps in the whole range of pianoforte
music there are no passages more ravishingly beautiful — more enchanting to
the ear, regarded fix>m the purely sensuous standpoint — than some to be found
in these inspired works. Had Schubert left nothing furtner than this slender
volume of ** Impromptus" and •* Moment: Musicals" for the pianotone .4i
name wotdd live forever in the records of the art. ^| If Schubert's essays m
the larger forms — the symphony and the sonata — are to a certain extent
impaired by the qualities alluded to, this is by no means xo deny their enor*
mous significance and importance. Schubert in these larger works may havt
bten diffuse at times, may not aiways have developed to the full the 'itoa
DICTIONARY OF MUSICIANS 655
drous ideas which came to him in such abundance, his works may somedmes
lack proportion ; but what qualities are theirs by way of comparison ! — what
wealth of melody 1 what intoxicating harmonies ! what irresistible rhythms !
what magical modulations ! Recall such creadons as the C major and the
B minor symphonies, the quintet in C major, the D minor, A minor, and G
major quartets, and the sonatas in A minor, 6 flat, and G among his larger
piano works, and of what account seem the dry-as-dusts* and analysts' strict-
ures in the face of such imperishable coraposirions as these ? Nor should it
be overlooked that in these larger works also, Schubert's methods, if he kept
within the recognised fonns, were all his own, and as such were foil of
influence upon his successors. Apart from such technical matters as his
harmonies, modulations, instrumentation, and the like, under all of which
heads he made striking advances, he breathed into these established forms also
a spirit of romance, a yearning, wistful, personal note of lyric tendemesa
and fervour, whereby they are distinguished from all earlier composidons
of then* kind. ^Well might it be said by Grove of Schubert that ** there
never has been one like him and there never will be another*' ; by liszt
that he was ** le musicien le plus poete que jamais " ; and by the inscription
on his tomb that " Die Tonkunst begrub hier einen reichen Besitz aber noch
vicl schonere Hoffnungen."
(5) Fx. Anton» 1768 — 1824 ; vio-
Knist ; R. Konzertmeister. (6) F«.,
Dresden, 1808 — 1878 ; son and pupil
of (5) ; violinist, Konzertmeister R.
orch. and composer. (7) Maschin-
ka, wife of (6) and daughter of G.
A. Schneider, 1815 — Dresden, 1882 ;
soprano. (8) Georgine, Dresden,
1840 — Potsdam, 1878 ; daughter and
pupil of (7) ; pupil also of Jenny Lind
and Garcia ; sane in many European
cities. (9) Louis, Dessau, 1828 —
Dresden, 1884 ; violinist ; singing-
teacher and composer. (10) Oskar,
b. Berlin, Oct. 11, 1849; clarinettist;
in America 2 years ; since at Berlin,
(ii) Camille, pen-name of Camille
Prilipp.
Schuberth (shoo'-b^rt), (i) Gottlob,
Karsdorf, 1778 — Hamburg, 1846 ;
oboist and clarinettist. (2) Julins
(Fd. G.), Magdeburg, 1804 — Leip-
zig, 1875 i son of above; founded firm
of " J. Schuberth & Co.," Hamburg,
1826 ; L'itp'^ig branch. 1832 ; New
York, 1850. His brother (3) Fr.
Wm. (b. 18 17), took the Hamburg
house, 1853 (under firm-name " Fritz
Schuberth"); 1872, at Weimar
founded the mus.-library ** Liszt -
Schuberth Stiftung " ; 1891 succeeded
by Felix Siegel ; New York branch
now owned by J. H. F. Meyer. (4)
L.f Magdeburg, 1806 — St. Petersburg,
1850 ; son and pupil of (i) and von
Weber ; at 16 dir. Stadt Th. at Mag-
deburg ; conductor Oldenburg, 1845;
cond. German opera, St. Petersburg;
c. operas, symphs., etc. (5) iC.p
Magdeburg, 181 1 — Zurich, 1863 ;
bro. of above ; noted 'cellist ; pupil
of Hesse and Dotzauer ; toured
widely ; soloist to the Czar; ct.-cond.,
dir. at the U.; c. 2 'cello-concertos.
Schubiger (shoo'-bYkh-^r), Anselm,
Uznach, Canton of St. Gallen, 18 15
— 1888 ; important writer.
Schuch (shookh), (i) Ernst Ton, b.
Graz, Styria, Nov. 23, 1847 ; pupil of
£. Stoltz and O. Dessoff ; 1872, cond.
656
THE MUSICAL GUIDE
Pollinrs It. Op.; from 1873 ct.-cond.
Dresden, then R. Ct.-Councinor and
Gen. . Mus. - Dir. (2) Clementine
Proska^ b. Vienna, Feb. 12, 1853;
wife of above ; 1873, colorature-sopr.,
Dresden ct -theatre.
Schucht (shookht), Jean F., Holz-
thalleben, Thuringia, 1832 — Leipzig,
1894 ; critic and composer.
Schttcker (shlk'-^r), Edmund, b. Vi.
enna, ca. 1856 ; harpist ; pupil of
Zamara, Vienna Cons.; 1884, teacher
Leipzig Cons., and harpist Gewand-
haus Orch. ; 1890, ct. -harpist to Duke
of Saxe-Aitenburg ; 1891, Chicago
Orchestra.
Schulhoff (shool'-hoQ, Julius, Prague,
1825 — Berlin, 1898 ; notable pianist ;
pupil of Kisch, Tedesco and Toma-
schek ; debut, Dresden, 1842 ; lived in
Paris as teacher, then Dresden and
Berlin ; c. pf.-pcs., etc
Schultesius (shool-ta'-zY-oos), Jn.
Paul, Fechheim, Saxe-Coburg, 1748
— Leghorn, 18 16 ; theorist and com-
poser.
Schultheiss (shoolt'-hls), Benedict,
d. 1693 ; organist and composer,
Nttmberg.
Scbultz (shoolts), Edwin, b. Danzig,
April 30, 1827 ; barytone ; pupil of
Brandstatter, Berlin ; singing-teacher
there ; also cond. the ** Monstre Con-
certe" given 1864 — 71, for the ben-
efit of wounded soldiers ; in 1S80
the Prussian Ministry of War com-
missioned him to compile songs ; c.
7 prize male choruses, etc.
Schultze (shoolt'-ts£), (i) Jn., organ-
ist and composer, Dannenberg,
Brunswick, 161 2. (2) Chp., cantor,
etc., Delitzsch, Saxony (1647 — 1668).
(3) Dr. Wm. H., Celle, llanover,
1827 — Syracuse, N. V., 1888 ; violin-
ist and professor. (4) Ad., b. Schwe-
rin, Nov. 3, 1853 ; pianist ; pupil of
Kullak*s Acad., Berlin; teacher
there; 1886-90 ct.-cond., Sonders-
hausen and dir. of the Cons. ; later in
Berlin ; c. a pf. -concerto, etc.
Schulz (shoolts), (i). Vide tratori-
us. (2) Jn. Abraham Peter« LQne-
burg, March 30(31 ?),I747— Schwedt,
June 10, iSoo; important predeces*
sor of Schubert as a song-writer;
pupil of Kirnberger, Berlin; teacher
there. 1 780, ct.-cond. at Rheinsberg ;
* 787-94, ct.-cond. Copenhagen ; and
theorist ; c. operas, oratorios, etc.
(3) Jn. Ph. Chr., Langensalza, Thu-
ringia, 1773 — Leipzig, 1827 ; cond.
and composer, (4) K., Subrector at
Fflrstenwalde ; wrote pop. text-
books, 1 8 12 and 18 16. (5) Otto K.
Fr, Wm., b. Gortz, Brandenburg,
March 25, 1805 ; pupil of Klein and
Zelter, Berlin ; organist at Prenz-
iau; R. Mus.-Dir.; pub. methods
and c sacred music, etc. (6) Ad.,
Berlin, 1817— 1884; violinist and
composer. (7) Fd., Kossar, 1821 —
Berlin, 1897 ; 1856 conductor, mus..
dir., singing-teacher and composer.
(8) August, b. Brunswick, June 15,
1837 ; violinist ; pupil of Zinkeisen,
Leibrock, and Joachim ; leader of
the Ducal Orch. there ; c. pop. male
quartets.
Schulz-Beuthen (shoolts-boi'-t«n), H.,
b. Beuthen, Upper Silesia, June
19, 1838; pupil of Leipzig Cons.,
and of Riedcl ; since 1881, pf. -teach-
er, Dresden Cons.; c. 3 operas, 6
symphonies, ** Haydn ^^ ** FrUkUngs-
feier," £^, '' Schon Elizabeth;*
Reformation's" (with organ) ;
Konig Lear^" and a ^*' Kinder^ Sin-
/<?«!> 'V symph. poem, ^*^ Die TodUn-
insel 'V 3 overtures, incl. * ' Indian^
ischer Kriegsianz"; cantatas with
orch., ^* Befreiungsgesang der Ver^
hannten Israels,*^ and ** Harald" re-
quiem and Psalms 42, 43, and 125
with orch. Psalm 13 a cappella male
choruses, etc.
Schulz-Schwerin (shoolts-shva'-ren),
K., Schwerin, Jan. 3, 1845 ; pianist ;
pupil of Stern Cons., Berlin ; ct.-
pianist to Grand Duke of Mecklen-
burg ; since 1885 lived in Beriin ;
c. a symph., overtures ** Torquat$
Tasso^* '* Die Braut von MesdfiOj^
and " TriomphaU*\' Sanctus, Ben»
dictus^ etc., with orch., etc.
ti
ti
DICTIONARY OF MUSICIANS 657
Schulze (shoolts'-«), (i) Jn. Fr.. Mil-
bitz, Thuringia, 1793 — Paulinzelle,
1858 ; org. -builder with his sons at
MUhlhausen. (2) Ad., b. Mannhagen,
near Molln, April 13, 1835 ; concert-
bass ; pupil of Carl Voigt, Hamburg,
and Garcia, London ; head-prof, of
singing R. Hochschule, Berlin.
Schumacher (shoo'-makh-^r), (Peter)
Paul (H.)i Mayence, 1848 — 1891 ;
conductor, critic, teacher and com-
poser.
Schumann (shoo'-mHn), (i) Robert
(Alex.)> Zwickau, Saxony, June 8,
18 to— insane, Endenich, near Bonn,
Julv 29, 1856 ; one of the most in-
dividual and eminent of composers.
Youngest son of a book-seller (of lit-
erary taste and author of a biog.
fallery to which R. contributed at 14).
'upii of a local organist, Kuntzsch
(pf.), who prophesied immortality for
him ; at 6 he began to compose, at
II, untaught, he c for chorus and
orch. At 17 he set poems of his own
to mus. 1820-28, attended Zwickau
Gymnasium; then matriculated at
Leipzig Univ. to study law and phi-
losophy. 1829 Heidelberg, where he
also studied mus., practising the piano
7 hours a day ; played once in public
with great succ. 1830, Leipzig,
where he lived with Friedrich Wieck,
with whom he studied the piano ; he
also studied comp. with H. Dorn.
In tijing to acquire independence of
the nngers by suspending the fourth
finger of the right hand in a sling
while practising with the others he
crippled this finger and foiled his am-
bition to be the chief virtuoso of his
time. He now made comp. his first
ambition. In 1833, his first symph.
was performed with little succ, the
first movement having been played in
public by Wieck's 13-year old daugh-
ter, Clara, with whom S. fell in love.
The father liked S. as a son, but not
as a son-in-law, and ' put every ob-
stacle in his way, until in 1840, after a
year's law-suit, the father was forced
to consent and the two lovers, both
now distinguished, were united in one
of the happiest marriages known in
art ; she giving his work publicity in
her very popular concerts ; he de-
voted to her and dedicating much of
his best work to her. 1834 he found-
ed the " Neue Zeitschrift fttr Musik,**
and was its editor till 1844. His
essays and criticisms (signed Flores-
TAN, EUSEBIUS, MeISTKR RaKO, 3,
12, 22, ETC., JEANQUIRIT, etc.) are
among the noblest works in the his-
tory of criticism, particularly in the
matter of recognising new genius and
heralding it fearlessly and fervently.
(Chopin, Berlioz, and Brahms, profit-
ed by this quality. Of Wagner he
did not altogether approve.) In his
writings he constructed an imaginary
band of ardent young Davids attack-
ing the Goliath of Philistinism. He
called this gjoup the ** DavidsbQnd-
ler." His pen-name " Eusebius."
represents the vehement side of his
nature, ** Florestan," the gentle
and poetic side. His pa{>er had
some succ, which was not bettered
by a removal to Vienna, 1838-39, and
'a return to Leipzig. 1840, Dr. Phil.,
Jena. 1840 was mainly devoted to
his important song-composition; 1841
to symph. work ; 1842 to chamber-
mus., incU his pf.-quintet (op. 44)
which gave him European fame.
1843 was choral, ** Das Paradies und
Peri " (from Moore*s " Lalla Rookh"),
having a great succ. ; he also began
his choric mus. for ** Faust J** The
same year, on the invitation of his
warm personal friend Mendelssohn,
he became teacher of pf. and comp.9
and of playing from score at the
newly founded Leipzig Cons.; 1844,
after going with his wife on a con-
cert-tour to Russia, he removed to
Dresden and resigned the editorship
of the ''Nfue Zeitschrift; lived at
Dresden until 1850 teaching and com-
posing such works as the great C"
major symph, 1846, and the opera
•* Genov'eva " (1848 ; prod. 1850
without succ; its exclusion of recita«
658
THE MUSICAL GUIDE
tive displeasing the public). 1847
cond. of the " Liedertafel" ; 1848
organised the ** Chorgcsangverein."
1850, DOsseldorf as town mus.-dir.
(vice Fd. Miller). 1853, signs of in-
sanity, iirst noted in 1833 and more
in 1845, compelled him to retire. 1854
he threw himself into the Rhine,
whence he was rescued by some
boatmen ; he was then taken to an
asylum at Endenich near Bonn, where
he remained in acute melancholia,
varied by intervals of complete lucid-
ity, when he composed as before. A
complete ed. of his comps. is edited
by Clara Schumann and publ. by
Breitkopf & Hartel. It includes, be-
sides the works mentioned, mus. to
Byron's ** Manfred:' Goethe's
•• /Vii/j^," cantaUs. '' Der Rose FiU
gerfahrt^^ with orch.; ** Adventlied:*
for sopr., chorus and orch.; **^^-
seMiedslied" chorus with wood-wind
or pf.; requiem for *"*" Afigtwn" ;
** Nachilied^ * for chorus and orch.;
ballades '* Der Konigssohn" '^ Des
Sanger's Fluch " (op. 139), •' Vom
Vagen und der KdnigstoehUr:* ^*Das
GlUck von Edenhali:* and " AV«-
jahrslied'*; Missa sacra, and requiem
mass, with orch.; 4 symphs. (No. 3,
op. 97t i** Ek the ** Rheinische^ or
** Cologne:^ symph.^ ; " OuveriHre,
Scherno und FinaU^* op. 52 ; 4 con-
cert overtures *' Die Braut von Mes
iina^' " FestouvertUre^ ^^ Julius
G*jar**and ^^ Hermann una Doro*
tkea "/ pf .-concerto ; ConcertstOck,
and concert-allegro, 'cello-concerto ;
fantasia for vin. with orch., etc.
Much remarkable chamber music ;
incl. pf. -quintet in £b op. 44 ; 3 pf.*
trios, etc. ; 6 org. -studies in canon-
form, •*5'ytiW«/«r<^« Pedal-flUger\
6 org. -fugues on B-A-C-H, op. 60.
For pf. : Op. x. Variations on
A-B-E-G-G (the name of a young
woman) ; op. 2 ** Papillons " ; op. 3,
** Studies after PaganinVs Caprices*'';
op. 5, **" Impromptus on theme by CI,
IVieck'*; op. 6. '' DavidshilndUr^
tUnze*': op. 9, •* Carnaval**; op. 10,
** Studies on PaganinVs Caprices** ;
op. 1$, thirteen *' Kinder scenen** ; op.
16, ^^^ICreisleriana**; op. 2 1, **AVvr/-
letten '* (4 books), 3 sonatas (No.
3 •* Concert sans orchestre"), and
3 sonatas for the young ; op. 23
•* Naektst&cke '*; op. 26 ** Faschings*
schwank aus fVien**; op. 68, **' Al*
bum fur die Jugend" a canon on
** An A/exis.** for pf. 4 hands: Op.
66, •• Bilder aus Osteny* after Rack-
ert, 12 *• Clavier stiickefiir kUine und
grosse Kinder'^; op. 109, ^*' Ball-
scenen,** Many choruses a cappella ;
many songs and duets, incl. ten Spa-
nische Liebeslieder^ with 4-hand ac-
comp., op. 138 ; Liederkreis (Heine),
song-cycle, op. 24, and Liederkreis
(12 poems by Eichendorff), op. 39 ;
•* Afyrthen^' op. 2$ ; Lieder und Glc-
sange, 5 sets; 12 poems (K5mer),
op* 35 » 6 poems (KOckert), in collab-
oration with his wife, op. 37 ;
Frauenliebe und Leben^* op. 42 ;
^ Dichterliebe:* op. 48; '' LiederaU
bum fiir die Jugend:' op. 79 ; 6
songs from Byron's *' Hebre%v Afelo*
dies,** op. 95 (with pf. or harp) ; nine
Lieder und Gesange from *' IVilhelm
Meister,** op. 98a, etc.
His writings are pub. in 4 vols.,
1854 ; 4 vols, in English, I^ndon,
1875 ; and his letters ed. by his wife
(1885) and ^1880) bv Jansen.
Biogr. by von Wasielewski (1858),
Reissmann (1865), Ambros (i860),
L. Mesnard (Paris, 1876), H. Rci-
mann (1887), H. Erier (1887). S.
Bagge (1879), Waldersee (1880), aoij
by Ph. Spitta (1882).
DICTIONARY OF MUSICIANS 659
Schumann.
By Richard Aldrich.
SCHUMANN'S music faUs into three groups or periods as easily as
Beethoven's. There is first, the product of his early, exuberant
style, those wonderful series of short piano pieces, slight in form, but
•oaring into imaginative power; saying little, but vaguely hinting at much. The
' second period is one of more self-centred activity, of greater poise, of more
conservative methods ; his ideal had expanded, and was leading him to com*
pose in a larger mould, with a broader sweep of imagination, and with a
greater regard for form as itself an element of beauty. And, in his last period,
we must group those of his works that show the Ailing powers, the exhausted
imagination of an intellect already overshadowed by its approaching doom.
^ Schumann's beginnings in music were as nearly the spontaneous outpour*
ings of himself as can well be thought of. It is difficult to derive the sources
of even his first attempts from the music of his predecessors. He studied
•ome of Hummer s works, and greatly admired Moscheles, and, the critics
•ay, that the ** ^^egg** variations. Opus i, are in the Hummel- Moscheles
style. He was devoted to Schubert from his early years, and played his little
piano pieces, especially the dances, with great love; perhaps the traces of this
may be found in the Papillons, Opus 2. But even here, the influence, if there
be any, related more to the concise and sententious form, the poetic content,
than to the fibre of the music itself. It is not the kind of resemblance that
you will find to Mozart and Haydn all through the earliest works of Beetho-
yen. Bach, too, formed a part of young Schumann's musical daily bread |
we may perhaps discern that influence in the insdnctive feeling for contra*
puntal movement — though of a very free, and, as it were, untechnical sort-^
in those earliest piano pieces ; but here again comparison of the specifically
mur*cal style reveals nothing. ^There is one influence, however, that cannot be
overlooked in compudng the fii)rces bearing on Schumann's formadve period ;
that is Jean Paul Richter. All readers of Schumann's letters know how steeped
he was in the spirit of this singular German fantastic, this overwrought romantic
symbolist, a story-teller, philosopher, and poet in one. He was all in all to
Schumann ; not only the young man's literary style — he was already a copi-
ous writer — but his very ideals in music, were moulded on Jean Paul's, and
thickly overlaid with his mannerisms. For, in these early years of Schumann's
life, music and poetry seem to meet on common ground, and to take their
impuise from one and the same srarting-pomt. In jean Paul, all that charm-
ing crew of *« Davidites.** with *^Florestan^* anc' ^^Emebius** as their fbrr»
66o THE MUSICAL GUIDE
front, have their prototypes ; and their appearance in the early Zeitschr^
articles is no more characteristic of this influence than their appearance in the
**CarnevaP* and the **Davidsbundiertanze.** ^ With his attainment of
his heart's desire in his marriage with Clara Wieck, in 1840, there seems to
have come a mellowing, a ripening force in Schumann's musical inspiration —
if you will, a conservative force that led him to see the significance and valoe
of those musical forms to which he had at first been indifferent. Some of hu
ardent companions in the revolutionary parties of the earlier years saw in thii
a bacicsliding &om his professions. But the fact that he parted company with
** Florestan*^ and «* EusebitUf^ and erased their names from the reissues of
musical works once signed by them, can be for us naught but an indication oi
intellectual growth. We enjoy those romantic and engaging figures^ but we
see greater things than they were concerned with in the symphonies, the
piano-quintette, the string-quartettes, the piano -concerto, the third part of
*' Faust ^^^ and *• Paradise and the Peru** ^ The contributions of Schu*
mann to the development of the art are important and permanent. What be
did to develop the expressive power of the pianoforte is all his own. He
wrote for the instrument in a new way, calling for new and elaborate advances
in technique — ^not the brilliant finger-dexterity of Chopin and Liszt, but a
deeper underlying potency of expression through interlacing parts, skilfully
disposed harmonies, the inner voices of chords, and through new demands as
!o variety of tone quality, contrasts of colour and the enrichment of the whole
through pedal effects. It has been called a crabbed style, but it is no less
idiomatic of the piano than the more open and brilliant manner that was
developed at the same period by the virtuoso-school of pianoforte-playing and
composidon. ^[^^^^'^^^"'^ ^^^ of short pieces, in connected series, as an ex-
position of what is really a single poedc idea running through them all, is his
own creation, and one that succeeding composers have made the most of.
So is his idealised form of programme^music — music, that is, expressing some
definite, concrete, external idea. But his wise judgment on music of this
kind must always be kept in mind, that it must always be beautiful and intel-
ligible as music without the need of explanation through titles, in which he saw
only an aid or stimulus to the hearer's imagination. Space is lacking to dis-
cuss his later experiments in modifying or developing the classical or sonata
form to increase its unity and its emotional potency, such as are to be found
in the D-minor and C-major symphonies, and the piano-quintette. Schu-
mann added something peculiarly his own to the Lied, in his enhancement of
the accompaniment's significance, increasing its power of expression in co-
operation, sometimes almost on equal terms with the voice, and, in many
instances, giving its ritoumelles or' instrumental postludes an independent elab-
oration and meaning of their own. ^ Schumann came of a well-to-do
DICTIONARY OF MUSICIANS 661
family^ and his early genera^ education and sociai surroundings had been far
beyond those of most musicians. The fact that he was not only well read,
but a writer himself of peculiar charm and individuality, a critic of quickening
insight and generous discernment, reacted, as it needs must, on his music.
Though he was. early in his youth, of a lively character, he was always dis-
posed toward moodiness ; and by the time he reached manhood he had fallen
into a state of remarkable taciturnity and introspection. Wrapped in his own
thoughts, he would, when in the company of friends or fellow-musicians, sit
silent hour after hour, with his head leaning on his hand, often with an incip-
ient smile upon his face, and with his lips pursed, as though to whistle.
His letters show him to have been of a sweet and affectionate nature toward
his family and intimates ; kindly and generous in his estimate and treatment
of others, yet roused to anger by a wrong, and capable of deep and glowing
resentment. ^[ Schumann's place in modern music was slowly won, botl^
in his native land and elsewhere, but there is little sign yet, of its being shaken.
His symphonies suffer unduly, through their unskilHil orche^tradon, in the
estimadon of a generation to whom fine feeling for orchestral colour is essential,
but the magnificent elegance of the two great overtures (to ** Manfred** and
** Genoveva**^ is little discounted in this way ; the string-quartettes and the
piano- quintette and quartette seem to lose none of their beauty as they recede in
historical perspective ; the piano concertos, and a great number of the songs are
heard repeatedly, every year, with unremitted joy. His solo piano-pieces
appeal less and less to the taste of the latter-day piano-virtuoso who cannot utilbe
music calling so little for nimbleness of finger and brilliancy of effect ; but it
b impossible to deny that these pieces are still competent, as few others are,
to serve deep and sincere music lovers **fbr the enjoyment of god at home.**
Schumann will always have a commanding hold, a commanding place in the
nineteenth century, the century of evolution, the century that struck off the
academic bonds from art. In the noble band of romantic adventurers into
new and unexplored realms of music, Schumann was a leader, but he never
&iled in his bold and chivalrous championship of the rectitude of his art.
(2) Clara (Josephine), nee Wieck,
Leipzig, Sept. 13, 18 19 — Frankfort-
on-Main, May 20, 1896 ; eminent
pianist ; wife of above (q. v.). She
played in public at 9 ; at 1 1 at the
Gewandhaus ; toured from 1832 ;
Vienna (1836) received the title of
Imp. Chamber-virtuoso. On Sept. 12,
J840. m, Schumann (q. v.). After he
died she went with her children to
Berlin ; 1863 to Wiesbaden, resum-
ing her public career as a concert-
pianist ; 1878-92 pf. -teacher Hoch
Cons., Frankfort. Besides editing
Schumann's works, his early letters
and finger-exercises from Czemy,
she c. pf.-concerto, preludes and
fugues, pf.-trio, Vars. on a themo
by Schumann, many songs, inch 3
in Schumann's op. 37 (Nos. 2, 4,
and 11). Biog. by Litzmann, 1902.
(3) Georg (Alfred), b. KOnigstein,
662 THE MUSICAL GUIDE
Saxony, Oct. 25, 1866 , pianist , son
and pupil of the city mus.-dir., pupil
of his grandfather, a cantor, and of
K. A. Fischer, B. Rolifuss, and Fr.
Baumfelder Dresden, then of Leip-
zig Cons., where he c. 2 symphs., a
serenade for orch., a pf. -quintet, a
vln. -sonata, etc., taking the Bee-
thoven prize, 1887 ; lived 2 years in
Berlin; 1892-96, cond. at Danzig, since
then Bremen Philh. Orch. and cho-
rus; c. also choral work, *' Amor und
Psycht " (Leipzig, 1888), orch.-suite
** Zur Karnevalszeit,** etc.
Schumann- Heink (shoo'-mSn - hTnk),
Ernestine (n^ Rdssler), b. Lieben,
near Prague, June 15, 186 1 ; contral-
to ; pupil of Marietta von Leclair,
Graz ; debut Dresden, 1878. in ** //
Trovatore /'^ sang there 4 years ; 1883
Hamburg City Th.; 1896, sang
•* Erda," *' Waltraute," and the First
Norn at Bayreuth ; m. Herr Heink,
1883; m. Paul Schumann, 1893 ; from
1898, ifi America with Met. Op.
troupe.
Schund (shoont), Joachim, 01^. -build-
er, Leipzig, 1356.
Schunke (shoonk'-O, (i) K., Magde-
burg, 1 801 — suicide, Paris, 1839 ;
pianist ; son and pupil of a horn-virt-
uoso. (2) Michael o., composer. (3)
L., Cassel, i8io — Leipzig, 1834 ;
pianist and composer ; pupil of his
father, the horn-virtuoso. (4) Gott-
fried S.
Schuppanzich (shoop'-p&n-tsYkh), Ig-
naz, Vienna, 1776 — 1830; violinist,
conductor and teacher.
Schiirer (shu'-r^r), Jn. G., Raudnitz,
Bohemia, ca. 1732 — Dresden, 1786 ;
dram, composer.
Schurig (shoo'-rikh), (Volkmar) Ju-
lius (Wra.), Aue, Saxony, 1802 —
Dresden, 1899 ; composer and teach-
er.
Schuster (shoo'-sht^r), Jos., Dresden,
1748 — 1812; ct. -conductor i c. pop.
operas, symphs., etc.
SchUtt (shot), Eduard, b. Peters-
burg, Oct. 22, 1856 ; pianist ; pupil
o( Petersen and Stein, Petersb. Cons. :
studied at Leipzig Cons.; now cond.
Akademischer Wagnerverein, Vienna;
c. fairly succ. comic opera ** Signer
Formica " (Vienna, 1892) ; c. pf.-
concerto, etc.
Schtttz (shQts), (Sa^tta'rius) H.,
*' The father of German music,"
KOstritz, Saxony, Oct. 8, 1585 — Dres-
den, Nov. 6, 1672 ; in 1607 entered
Marburg Univ. to study law, but,
1609, was sent to Venice by Land-
grave Moritz of Hesse-Cassel to study
with Giov. Gabrieli; 16 12 returned to
Cassel as ct. -organist ; 16 15 cond. to
the Elector of Saxony at Dresden ;
he frequently revisited Italy, whence
he brought much to modify and en-
large German mus. ; also made long
visits to Copenhagen as ct.-cond.
1627, on royal invitation for the wed-
ding of Princess Sophie of Saxony,he
c. the first German opera, the libretto
being a transl. from the **Z)a/«^"
of Peri (q. V.) ; this work is lost, as is
also the ballet, * ' Orpheus und Eury-
dice^^* 1638, for the wedding of Jn.
Georg II. of Saxony. Carl Riedel
revived interest in S. by pub. and
producing ** Die 7 IVorte CkrisH am
Kreuzy* and a ** Passion." A com-
plete ed. of S's works is pub. by
Breitkopf and H artel in 16 vols.; they
include sacred and secular mus. of
great historical importance as the
predecessor whom Handel and Bach
rather developed than discarded ; he
was born just a hundred years be-
fore them and shows great dramatic
force and truth in his choral work,
combining with the old polyphonic
structure a modern fire that makes
many of his works still beautiful.
Biog. by Ph. Spitta, and Fr. Spitta
(1886).
Schwab (shv£lp), Fran. M. L., Strass-
burg, 1829 — 1882 ; conductor and
dram, composer.
Schwalm (shvalm), (i) Robt., b. Er-
furt, Dec. 6, 1845 ; pupil of Pfiug-
haupt and Leipzig Cons.; cond. at
KOnigsberg ; c. opera, male choruses
with orch. , oratorio, etc (2)
te «
DICTIONARY OF MUSICIANS 663
Erfurt, Sept. 11, 1856; pupil of Leip-
zig: Cons.; 1886-88, proprietor of
Kahn's pub.-house in Leipzig ; also
critic for the '* Tageblatt^* etc.; c. an
overture; pf.-pcs., etc.
Schuyler, Wm., b. St. Louis. U. S.
A., May 4, 1855 ; lives there as ama-
teur composer, largely self-taught ; c.
excellent songs, notably to Stephen
Crane's ''Black Rider s^
Schwanberg (shvan'-b^rkh), Jn. Gf.,
Wolfenbtittcl, 1740 — Brunswick*
1804 ; ct. -conductor and dram, com-
poser.
Schwantzer (shvan'-ts^r), Hugo,
Obcrlogpiu, 1829 — Berlin, 1886; or-
ganist, teacher and composer.
Scbwarbrook (shv&r'-brook), Tfaios.,
Ger. org.-builder in England, 1733-
1752.
Schwarz (shvSrts), (i) Ands. Gl.,
Leipzig, 1743 — Berlin, 1804; bassoon-
ist in London. (2) Chp. Gl., b.
1768 ; son of above ; bassoonist. (3)
Wm., Stuttgart, 1825— Berlin, 1878;
singer and teacher. (4) Max, b.
Hanover, Dec. i, 1856; son of above;
pupil of Bendel, BUlow, and Liszt ;
pianist ; 1880-83, teacher Hoch
Cons., Frankfort ; then co-founder,
nfter Raff's death, of the Raff
Cons.; since 1885 its dir. (5) Bi-
anca. Vide bianchi. (6) Wenzel,
b. Brunnersdorf, Feb. 3, 1S30 ; pu-
nil Prague Cons. ; from 1864 lived in
Vienna, proprietor of a mus.-insti-
tute * writer.
Schwedler (shvat'-l£r), (Otto) Maxi-
milian, b. Hirschberg, Silesia, March
31, 1853 > flutist; pupil of Fr. Meinel,
Dresden ; in Leipzig municipal and
Gewandhaus Orch.; since 1895, ist
flute ; inv. the *' Schwedler flute " ;
wrote a pamphlet on it and c. tran-
scriptions, etc.
Schweitzer (shvlt'-ts^r), , Coburg,
1737 — Gotha, 1787 ; conductor and
composer.
Schweizer (shvit'-ts^r), Otto, b. ZO-
rich, May 26, 1846 ; pianist ; pupil
of Moscheles and Wenzel, Leipzig
Cons. ; since 1870 Edinburgh, also
pf. -teacher at Athenaeum Sch., Glas-
gow ; c. 2 pf. -suites, etc.
Schwencke (shv«nk'-d), (i) Jn. Gl.,
1744 — 1823 ; bassoonist. (2) Clir.
Fr. Gl., Wachenhausen, Harz, 1767
— Hamburg, 1822 ; son of above ;
cantor and mus.-dir. (3) Jn. Fr.,
Hamburg, 1792 — 1852 ; son and pu«
pil of (2) ; composer. (4) K., Ham-
buiig, 1707 — ?; pianist; son of (2).
(5) Fr. Gl., Hamburg, 1823 — 1896 ;
virtuoso on the pf. and organ ; com-
poser.
Schytte (shet'-te). L. (Th.), b. Aar-
hus, Jutland, April 28, 1850 ; drug-
gist, then studied with Ree, Neupert,
Gebauer, Gade, Taubert, and Liszt
(comp.); 1887-88 teacher Hor4k*s
Institute, Vienna ; lived in Vienna as
concert-pianist and teacher ; c. 2
comic operas ; pf. -concerto ; panto-
mimes for 4 hands, sonata, etc.
Scontrino (sk6n-tr€'-no), A., b. Tra-
paui, 185 1 ; pupil of Plantania, Pa-
lermo ; lived in Milan as teacher ;
since 1897 prof, of cpt. at Florence
Cons.; c. 5 operas, incl. succ. i-act
''GHngoire'* (1890), and *' Za Cor^
tigiana '* (Milan, 1896); c. ^^Sinfoma
marinaresea " (Naples, 1897).
Scot'son Clark, the Rev., London,
Nov. 16, 1840-— 1883 ; pupil of his
mother (a pupil of Chopm) ; then
at Paris ; at 14 organist ; studied
with J. Hopkins and at R. A. M.; after
serving as organist various places, he
studied at Leipzig and Stuttgart ;
1873, returned to London as teacher,
organist and composer of many pop.
works.
Scott, John, England, ca. 1776**
Jamaica, 1815.
Scotto (skot'-to), (i) Ottaviano, and
his son (2) Girolamo, mus.-priDters
at Venice, 1536-39, and 1539-73, re-
spectively ; the latter was also a com^
poser.
Scriabine (skre'-2-be-n^), Alex, b.
Moscow, Jan. 6 (new style), 1872;
brilliant pianist ; pupil of Safonoff
(pf.) and Tanejev (comp.) at the
Cons. ; toured Europe from 1895 ; c
664
THE MUSICAL GUIDE
sonata, prelude and nocturne for left
hand alone ; pf.-impromptuS| pre-
ludes, etc.
Scribe (skreb), Eufc^ne, Paris, 1791—
186 1 ; most prolific of French drama-
tists, and wrote over 100 librettos,
incl. ** Fra Diavolo** " Prophkte;^
'^LAfricainer
Scuden (skoo-da'-re), Salvatore, b.
Terranova, Italy, Jan, 3, 1845 ; c.
pop. songs.
Scudo (skoo'-do), Paolo, Venice, 1806
— insane, Blois, 1864 ; writer.
Sebald (za'-bftlt), (i) Frau Ton (nee
Schwadke) ; contralto, Berlin,
1 791 ; her daughters (2) Amalie,
soprano ; for some time the object of
Beethoven's affections; (3) Augustei
sister of above ; also soprano.
Sebastiani (sa-bas-tl-a'-ne), Jn., b.
Weimar, 1622 ; conductor and com-
V poser.
Sebor (sha .b6r), K. (Karel), b. Bran-
deis, Bohemia, July 18 . (Aug. 13 ?),
1843 » pupil Prague Cons, and of
Kittl; 1864-67, cond. Nat. Opera ;
from 1871 military bandm., Vienna ;
prod, at Prague 5 Czech operas ; c.
symphs., overtures, etc.
Sechter (z$kh'-t£r), Simon, Friedberg.
Bohemia, Oct. 11, 1788 — Vienna,
Sept. 10, 1867; eminent contrapunt-
ist and teacher, ct. -organist, prof, of
harm.; wrote valuable treatises; c.
burlesque opera ** Ali Hitch-Haschy
Sedlniair (zat'1-mTr), Sofia Offeney,
b. Hanover, Jan. 25, 1863 ; soprano
in various cities. ^
Seeling (zli'-ltng), Hans (Hanus),
Prague 1828 — 1862; piano-virtuoso
and composer. y
Seger(t) (za'-g^rt), Jos., Repin, Bo-
hemia, I7i6---Prague, 1782 ; organist
and composer.
Seghers (sfl-g&rs'), Fran. J. Bap.,
Brussels, ifioi — Margency, near
Paris, 188 1 ; violinist and conductor.
Segond (sii-g6n), L. A., a physician
at Paris ; studied singing with Man-
uel Garcia, and wrote ** Hygihne du
ehanUur " (1846), etc.
Segouro'la, Andres Perello de, b.
Spain ; studied law Madrid Univ.;
practised a year at Barcelona ; then
took up singing with success.
Sepiin (s^g'-win), (i) Albert Edw.
S., London, 1809 — New York, 1852;
bass (2) Elizabeth, his sister,
mother of Parepa Rosa. (3) Ann
Childe, wife of (i) ; operatic sing-
er; debut, 1828; retired and liv»i
New York, 1880. (4) Wm. H., 1814
— 1850 ; bro. of (1) ; bass.
Seibert (zf-b^rt), Louis, b. Cleeberg,
near Wiesbaden, May 22, 1833 ; pf.-
teacher Wiesbaden Cons.; c. cham-
ber-mus., etc.
Seidel (zi'-dei), (i) Fr. L., Treuen-
brietzen, Brandenburg. 1765 — Char-
lottenburg, 183 1 ; organist and dram,
composer. (2) Jn. Julius, Breslau,
1 8 ID— 1856 ; organist and writer.
Seidl (zIt'.M), (i) Anton, Pesth, May
7, 1850— New York, March 28, 1898;
eminent cond., particularly of Wag-
nerian mus.; pupil Leipzig Cons.;
1870 chorusm. Vienna opera : 1872*
79, assisted Wagner in score of ** A7-
bflufigen Ring^* ; 1879-83 cond. foi
Neumann's Wagner-troupe ; 1883-85
cond. Bremen opera (m. there the
soprano (2) B>1. Krauss); 18S5-91
Met. Op., N. Y., also from 1895-97
cond. N. Y. Philh. Orch.; 1886 and
1897 cond. at Bayreuth ; 1897 cond.
Covent Garden, London. (3) Ar-
thur, b. Munich, June 8, 1863; pupil
R. Sch. of Mus. at Ratisbon and of
Paul, Stade, Spitta, and Bellermann;
Dr. Phil., I^ipzig, 1887 ; lives in
Dresden ; writer.
Seifert (zi'-f^rt), Uso, b. Romhild,
Thuringia, Feb. 9, 1852 ; pupil of
Dresden Cons,; teacher there and or-
ganist ; wrote pf.-method, pf.-pcs.,
etc.
Seifriz (zl'-frYts), Max, Rottwea
WQrtemberg, 1827 — Stuttgart, 1885;
violinist, ct.-cond^ and composer.
Seiler (zi'-l^r), Jos., LOgde, near Pyr.
mont, 1823 — 1877 \ organist, write!
and composer.
Seiss (zls), Isidor (Wm.), b. Dresden,
Dec. 23, 1840;^ pianist; pupil ol
DICTIONARY OF MUSICIANS 665
Leipzig Cons.; since 187 1 pf. -teacher
Cologne Cons.; 1878 Prof.; con*
ductor M usikaiische Gesellschaft ; c.
studies in bravura, etc.
Beits (zits), (i) Robt.» Leipzig, 1837—
1889 ; mus.-publisher and editor. (2)
Fr, (Frits), b. GQnthersleben, Go-
tha, June 12, 1848; violinist; pupil
of Uhlrich ; since 1884 leader Dessau
ct.-orch.
S^Jan (sa-zh&n), Nicolas, Paris, 1745
— 1819 ; famous org;anist ; 1772,
Ndtre Dame; 1783, St. Sulpice ; 1783,
royal chapel ; teacher and composer.
Sekels (z& -k£ls), Bd., pupil, now t. of
comp. Hoch Cons., Frankfort; c.
songs.
Bel'by, Bertram Luard, b. Kent,
£n^l., Feb. 12, 1853 ; organist,
Salisbury Cath.; then of St. Barna-
bas, London ; c. 2 operas ; a i-act
operetta (** duoloeue "), successful
•* WeathfT or No^' (I^ndon, 1896),
Berlin as " Z?flj Wetter hduscJun,^^
1896; org-sonatas, etc.
rslipnann (za'-lfkh-man), Hippolyte
Prosper, Paris, 18 17 — Monte Carlo,
1882 ; 'cellist and composer.
Celle (z^r.ld), Thos., Zorbig, Saxony,
1599 — Hamburg, 1663 ; cantor and
composer.
Sellner (zdl'-ndr), Jos., landau, Ba-
varia, 1787 — Vienna, 1843 ; oboe-
virtuoso, teacher, writer and compos-
er.
Sembrich (z^m'-brYkh), Marcella
(rightly Prazede Marcelline Ko-
chanska, Sembrich being her moth-
er*s maiden name), b. Wisnewszyk,
Galicia, Feb. 15, 1858 ; eminent col-
orature soprano; pupil (later the
wife) of Wm. Stengel (piano), Lem-
berg Cons.; studied with Epstein at
Vienna, and singing with Victor Ro-
kitansky. and with G. B. I^mperti,
Jr., at Milan; debut, May, 1877, ^t
Athens; studied German opera at
Berlin with Lewy; sang for 18 months
Dresden ct.-th.; from June, 1880,
London, and, 1883-84, toured Eu-
rope and America ; 1884, studied
with Francesco Lamperti, Sr.; from
1898 has sung at Met. Op. and in
concert in America with greatest
succ.; 1900, managed her own opera
CO. in Germany.
Semet (sti-ma), Th^ophile (Aim4
Emile), Lille, 1824 — Corbeil, near
Paris, 1888 ; drummer and dram,
composer.
Semler (zdmMer). Fs. X., 177^—1859;
via. -soloist in Berlin.
Senesino (san-^-se'-no), Bernard!
Fraiice8Co(caUed the Sienese), Siena,
1680 — ca. 1750; male contralto or
mezzo-sopr. ; sang in Handel's operas
till 1729, where he quarrelled with
H. and went over to Bononcini; made
a fortune and returned to Siena.
Setiff(z£nO> Bartholf, Friedrichshall,
near Coburg, 1818 — Leipzig, 1895 ;
founder Ixipzig mus.-pub. house
(1850)^ also editor.
Sen(i)fl (z^nf'l) (or Senfel), L., Basel-
Augst, 1492— Munich, ca. 1555:
eminent contrapuntist, ct.-cond. and
composer.
Seiikrah(zan'-kra)(rightlyHark'ness),
Arma Leorette, New York, 1864
— suicide, Weimar, Aug. 4, 1900; vio-
linist ; pupil of Amo Hilf, Leipzig;
Wieniawski, and Massart, Paris
Cons. ; toured with succ.
Serafino (s^-r^-fe'-no), (i ) Santo, vln.-
maker at Venice, 1730-45 ; his label
is ** Sanctus Seraphin Utinensis fecit
Venetiis, Anno, 17 — **. (2) Greeo-
rio, his nephew, also was a vm.-
maker, label ** Georgius Seraphin
Sancti nepos fecit Venetiis, 17 — .
Serassi (sa-rfis'-se), Italian family of
org.-builders at Bergamo. The foun*
der (i) Giuseppe (i7 vecchio)^ Gor*
dano, 1694 — Crema, 1760. His son
(2) Andrea Luig^i, 1725— 1799. (3)
Giuseppe (i7 giovane)^ Bergamo,
1750— 1817; succeeded by his sons (4)
Carlo and (5) Giuseppe.
Sering (za'-rKng), Fr. Wm., Fttrsten-
walde, near Frank fort- on-Oder, Nov.
26, 1823 — 1901; from 1871 teacherat
Strassburg, where he organised a Ge«
sangverein ; pub. treatises, also ao
oratorio, male choruses, etc;
666
THE MUSICAL GUIDE
Sermisy (s£r-me-se), Claude de
(called Claudin, not Claudia Le-
jeuiie), ca. 1530*60 ; French ct.-cond.
and composer.
Serov (or Sieroff, Syeroff (s'ya-r6f));
Alex. Nikolajevitch, Petersburg,
May 11, 1830— Feb. I (new style),
1871 ; important Russian composer
and critic ; a lawyer, studied cello
with Karl Schuberth ; 1863 prod,
grand opera (text and mus.) '^y^-
dithf* and the Czar granted him a
pension ; he was a lecturer on mus.
at Moscow and Petersb. Universities
and wrote his own librettos ; 1865
prod. **" Rogneda** with succ; laid
aside 3 unfinished operas to finish
" fVrazyiasula" but died before it
was done. Soloviev finished it and
it was prod, with succ.
Serpette (s^r-p^t), (H. Chas. A.)
Gaston, b. Nantes, Nov. 4, 1846 ;
pupil of Thomas, Paris Cons.; 187 1,
taking ist Grand prix de Rome,
wrote cantata ** Jeanne d*Arc"; 1874,
prod. opera-boufTe ^* La Bramhe
Cass/e^^ (Bouffes-Parisiens), followed
by 30 other light works.
6errao (s£r.r&'^), Paolo, b. Filadelfia,
Catanzaro, in 1830 ; pupil of Naples
Cons.; political troubles prevented
the prod, of his opera *''L*Impos*
tore In 1853, and another in 1857,
but he prod. '* PergoiesV* and *^ La
Dtuhessa di Guisa^ {i^tS), and "//
Figliuol prodigo** (1868) ; c. also an
oratorio, a requiem, a funeral symph.
(for Mercadante), etc.
Seirais (s£r-v$), (i) Adrlen Fran.,
Hal, near Brussels, 1807 — 1866 ; emi-
nent *cellist and teacher ; pupil of his
father and of Platel , debut Paris,
1834 ; 1848, Prof. Brussels Cons, and
soloist to the King ; toured widely ;
c. 3 concertos for *cello, etc. (2)
Jos., Hal, 1850— 1885 ; son and pu-
pil of above ; 'cellist and prof. Bru$
sels Cons.
Sestini (sSs-te'-ne), Glovanna, prima
buffa in London, 1783.
Sevcik (s«v'-tsYk), Pan; noteble Bo-
hemian violin teacher.
Sev'em, Thos. H., London, 1801—
Wandsworth, 188 1; conductor, pub-
lisher and dram, composer.
Sew'ard, Theodore Frelins^huyseiit
d. New York, Oct. 30, 1902 ; teach-
er, ed. and composer of slave songs
and ** spirituals."
Seydelmann (zl'-d^l-man), Fz., Dres-
den, 1748 — 1806; cembalist, con-
ductor and dram, composer.
SeyfTarth (zif'-f&rt), Ernst Hn.» b.
Crefeld, 1859; pupil of Cologne
Cons, and of Kiel ; from 1892, con-
ductor Neuer Singverein, Stuttgart ;
c. dram, scene •* Thusnelda** **Jrau.
erfeier beim Tode eimr Jungfrau^*
symph., sonatas, MS. opera ** 7 he
Belis of Plurs,'' tic,
Seyfried (zi'-fret), Ignaz X. Rttter
▼on, Vienna, 1776— 1841; conductor,
writer and dram, composer.
Seygard (sa'-gard), Camille, b. Eng-
land ; went early to Russia ; pupil of
her father and of Marchesi ; debut,
1888, Covcnt Garden as **Zcr!ina'\
sang at Opera Comique, later in Am.
sterdam ; has sung in concert and
opera in Europe, and since 1896 in
America.
Sgambati (sgam-ba'-te), Giovanni, b.
Rome, May 18, 1843 ; important im«
anist and conductor ; pupil of Alde-
ga, Barbieri and Natalucci, later of
Liszt ; at 6 played in public, sang in
Church and cond. small orchestras ;
later he toured Italy and Germany ;
1877, head-teacher Accad. di S. Ce-
cilia, Rome ; 1896, founded '* Nuova
Society Musicale Romana " ; admirer
and friend of Wagner ; c. requiem
with orch. (1896), 3 symphs., over-
tures, pf. -concerto, an octet, 2 pf.-
quintets, a string-quartet (op. 17) and
piano pes. , etc.
Shakespeare, Wm., b. Croydon,
Engl., June 16, 1849; choir-boy; at
13 organist ; pupil of Molique (comp.),
1866, won King*s scholanhip R. A
M., and studied there with Bennett,
187 1, took Mendelssohn Scholarship
for pf. -playing and comp.; studied
with Reinecke, Leipzig ; 1873, singing
DICTIONARY OF MUSICIANS 667
at Milan; from 1875, concert and ora-
torio-singer ; 1878, prof, of singing,
R. A. M.; in 1880, 1886, cond. of
the concerts tliere; resigned; has
won high reputation as a singing-
teacher ; c. overtures, a symph., pf.«
concerto, etc.
Sharpe, Herbert Francis, b. Hali-
fax, Yorkshire, March i, 1861 ;
Queen's Scholar, Nat. Training Sch.,
]x>ndon ; gave pf.-concerts ; 1884,
prof. R. C. M.; 1S90, examiner;
wrote ^^ Pianoforte Sch.** (with Stan-
ley L«ucas) ; c. comic opera, etc.
Shaw, (i) Oliver, b. Middleboro',
Mass., d. 1848; a blind singing-
teacher and public singer. (2)
Mary, London, 1814 — Suffolk, 1876,
contralto and teacher.
Shed'lock, John South, b. Reading,
En^l., 1843; graduate, London,
Univ., 1864; pupil of E. Lobeck
(pf.) and Lalo (comp.), Paris ; teach-
er and concert-pianist, London, 1879;
critic for the ^^Athenaum "/ also lect-
ured at the R. A. M.; pub. articles,
•* The Pianoforte Sonata^ Its Origin
and Development^* (I^ndon, 1895);
editor and translator ; c. string-quar-
tet, etc.
Shelley, Harry Rowe, b. New
Haven, Conn., June 8, 1858 ; pupil
of Stoeckel at Yale, Dudley Buck,
Vogrich and DvoHk (New York) ;
organist various churches, also teach-
er of theory and comp. Metropolitan
College, N. Y.; c. ** The Inheritance
Divifu^** sacred cantata, 2 symphs.
(the first E|7, performed, N. Y., 1897),
vln.-concerto (1891), cantata ** Vexil*
la Regis'* (N. Y., 1894), and suite
*^ Baden-Baden^*^ etc., for orch.;
church-mus., pf. and org.-pcs. and
sonffs, many very pop.
Sheplu-d, (i) Thos. Griffin, b. Madi-
son, Conn., April 23, 1848 ; pupil of
G. W. and J. P. Morgan ; organist
various churches in New Haven ; in-
structor, Yale Glee Club and cond.
Oratorio Soc, also din Apollo Club
(male voices) ; teacher and critic ; c.
comic opera, Christmas cantata, etc.
*7
(2) Frank Hartson, b. Bethel,
Conn., Sept. 20, 1863; pupil of
Thayer, Boston; oi^nist various
towns ; 1886-90, studied Leipzig
1888, organist English Chapel there
1891, est. a sch. at Orange, N. J.
organist there; writer of text-books
and treatises.
Sherrington, Jose., b. Rotterdam,
Oct. 27, 1850 ; sister of Mme. Lem-
mens - Sherrington ; concert • soprano
with remarkable range (a-e'").
Sherwood, (i) Edgar Harmon, b.
Lyons, N.Y., Jan. 29, 1845 ; pianist ;
served in the Union Army 1862-^5,
and then took up mus. ; lives in Roch-
ester, N. Y., as pianist, teacher and
composer. (2) wm. Hall, b. Lyons,
N. Y., Jan. 31, 1854; noteworthy
pianist and teacher, bro. of (i) ; son
and pupil of Rev. L.-H. Sherwood,
founder of Lyons Mus. Acad.; pupil
also of Heimberger, Pychowski and
Wm. Mason ; studied 5 years un-
der Th. KuUak, Weitzmann, Wuerst
and Deppe (Berlin), Richter (Leip*
sig), K. I>oppler and Scotson Clark
; (Stuttgart) and Liszt (Weimar); de-
but with succ., Berlin ; returned 1876
to the U.S., and has toured with great
succ; teacher N. £. Cons., Boston,
later, New York ; 1889, Chicago, as
head of the pf. -section of the Cons.;
1897, founded "Sherwood Piano
Sch.*'; 1887 he m. his pupil, £s«
tella F. Adams, also pianist ; pub.
pf.-pcs. (3) Percy, b. of English
parents, Dresden, May 23, 1866 ; pu-
pil of Hermann Scholtz (pf .) ; later
of Dresden Cons. ; concert-pianist and
teacher, Dresden Cons.; c. pf.-pcs.
Shield, Wm., Whickham, Durham,
1748 — London, 1829 ; violinist, writer
and composer.
Shin'ner, Emily, Cheltenham, July 7,
1862-^Aug., 1901; concert violinist,
England. 1889, m. Capt. Liddellj
founded S. Quartet (female).
Shore, (i) Matthias^ d. 1700, Eng*
lish ct. -trumpeter; reputed inventor
of the tuning-fork. (2) Wm., d.
1707. son and succesior of abovt^
668
THE MUSICAL GUIDE
(3) Catherine, ca. 1668 — ca. 1730;
sister of above ; stage-singer, 1693,
m. CoUey Cibber. (4) John, 1660 —
1 750 ; bro. and successor of (2).
Shudi. Vide broadwood.
Shut'tleworth, Obadiah, d. ca. 1735;
English organist and violinist.
Sibeuus (se-ba'-ll-oos), Jean, b. Ta.
vastehus, Finland, Dec. 8, 1865 ;
studied Mus. Inst. Helsingfors; and
with Becker and Goidmark ; since
1893, teacher theory, Mus. Inst, and
the Orch. Sch., Helsingfors ; c. The
first Finnish opera ** Tornissa Olija
Impi " (Helsingfors, 1896) ; also for
orch. •* The Swan of Tuenela " and
•* Lemmin Kainen,*
Siboni (se-bo'-ne), (i) Gin., Forli,
i78o^Copcnhagen, 1839; tenor. (2)
Erik (Anton Waldemar), Copen-
hagen, 1828 — 1892; pianist, organ-*
ist, teacher and dram, composer. (3)
Johanna Frederika (n^e Cnill), b.
Rostock, Jan. 30, 1839 ; pianist ;
pupil of Moscheles ; 1866 m. above.
Sicard (se-k&r), Michel de, b. of
French parents, Odessa, 1868 ; vio-
linist, pupil of Cons, at Kiev ; debut
at 9; 1884, pupil Paris Cons.; 1886,
1st. vln-prize, then pupil of Joachim
(vln.), and Bargiel (comp.) ; has
toured Europe.
Sieber (zc'-ber), Fd., Vienna, 1822—
Berlin, 1895; famous singing-teacher.
Siegel (ze -gel), (i) E. F. W., d.
1869 ; founded, 1846, mus.-pub. firm
at Leipzig, now owned by R. Linne-
mann. (2) F, Vide schubkrth, j.
Siehr (zer), Gv., 1847 — Munich, 1896;
bass ; created ** Hagen," Bayreuth,
1876.
Sieyeking^ (ze'-vS-kYng), Martinus, b.
Amsterdam, March 24, 1867; notable
pianist ; pupil of his father, of J.
ROntgen, Leipzig Cons., and Coenen
(harm.) ; 1890 played in London ;
made v. succ. tours; 1895 Boston:
1896-97 American tour; c. a suite
(played by Lamoureux, Paris), etc.
6itace (se-fa-chS) (rightly Grossi)
Gioir. Fran., robbed and mur
dered in Northern Italy, ca* 1699^
soprano-musico ; ca. 1675 membei
Papal Chapel.
Sighicelli (se-gl-ch«l'.le), family of
violinists, (i) Filippo, San Cesario,
Modena, 1686 — Modena, 1773 •
violinist. (2) Gin., Modena, 1737-*
1826 ; son of above ; violinist. (3)
Carlo, Modena, 1772 — 1806 ; son of
(2), also attached to court. (4) A.»
Modena, 1802 — 1883 ; son of (3) ;
eminent violinist and conductor. (5)
v., b. Cento, July 30, 1830 ; son and
pupil of (4); pupil of Hellmesbei^ger,
Mayseder, and 1849 solo-violinist and
2nd ct.-cond. Modena ; since 1855,
teacher Paris ; c. vin.-fantastas, etc.
Sis:i8mondi (se-jls-m6n'-de). Gin.,
Naples, 1739^1826 ; singing-teachei
and dram, composer.
Silas (se'-liLs), Eduard, b. Amsterdam,
Aug. 22, 1827 ; pianist ; d^but Am.
stenlam, 1837; pupil of Neher, Kalk-
brenner, etc.; later of Benoist and
Hal^vy, Paris Cons.; winning ist
prize for org. playing, 1849, in com-
petition with Saint-Saens and Cohen;
since 1890 lives in England as or-
ganist ; 1866 Assemblee gen^rale des
Catholiques en Belgique awarded him
1st prize (gold medal and 1,000
francs) for a mass; later prof, of
harm. Guildhall Sch. and the London
Acad, of Mus.; c. oratorio ^Woash"
(Norwich Fest., 1863), Kyric Eleison
with orch,, 3 symphs., 3 overtures
etc.
Silbermann (zel'-b^r-mfln), (i) Andre-
as, Klein- Bobritzsch, Saxony, 1678
— Strassburg, 1734; org.-buildcr at
Strassburg. (2) Gf., Klein-Bo-
britzsch, 1683 — Dresden, 1753; bro. of
above and his apprentice; the first Ger-
man to manufacture pianofortes, but
preceded by Cristofori ; inv. cembal
d* amour (v. D. D.). (3) Jn. Andrew
as, Strassburg, 17 12 — 1783 ; son of
(r); org. -builder. (4) Jn. Daniel,
/ r7 — Leipzig, 1766 ; son of (i), sue-
^sor of (2). (5) Jn. H.| Strassburg,
,27 — 1799 ; son of (i) ; pf. -maker.
<o) Jn. Fr., 1762 — 1817; son of (5),
org.'builder, organist and oompoier*
DICTIONARY OF MUSICIANS 669
Silcher (zll'-kh^r), Fr., Schnaith,
WOrtcmberg, 1789— Tttbingen, i860;
noted song-composer ; pupil of his
father and of Auberlen ; teacher at
Stuttgart, 1817; mus.-dir. at Tubin-
gen Univ. ; pub. a text-book and
collected and c. chorals, etc.
Siloa (se'-l(Va), Giulio, pupil of Acad,
of St. Cecilia, Rome; c. ** Carptrn
Seculare " for soli, chorus and orch.
(1902).
Siloti (se -16-te), Alex., b. Charkov,
Russia, Oct. 10, 1863 ; pianist ; pupil
of Zwcreff and of N. Rubinstein and
Tchaikovsky, Moscow Cons. ; win-
ning a gold medal ; d^but, Moscow,
1880 ; studied with Liszt 3 years ;
1887-90, prof. Moscow Cons.; since
in Paris ; has made v. succ. tours
1898-90, America ; c. pf. -pieces.
Silva (zel'-va), (i) Andreas de, i6th
cent, contrapuntist ; c. motets, etc.
(2) Dayid Poll de, St. Esprit, near
Bayonne, 1834 — Clermont, Oise,
1875 ; blind ; pupil of his mother
who c. operas, oratorios, etc. ; wrote
out hi:» comp. bv dictation.
Silver (seUvar) Chas., Paris, April 16,
1 868 ; pupil of Dubois and Massenet
at the Cons.; won (irand prix de
Rome with cantata ** L'/nterdit**; c.
operetta, elegiac poem ** /^ais'* ; 4-
act fairy opera *' Aa BelU au Bois
Dormant*^ (Paris, 1895), oratorio
** Tobie:' etc.
Simandl (zc'-mant'l), Fz., ist double-
bass Vienna court orch.; since 1869
teacher at the Cons.; pub. method
for contra-bass.
Simflo. Vide portuoal.
Simon (ze'-mdn). (i) Jn. Kaspar, Can-
tor and organist at Nordlingen, 1750-
54 ; composer. (2) Chr., Schem-
berg, 1809 — Sondershausen, 1872 ;
double-bass.
Simon (se'-m6A), (i) Jean Henri, Ant-
werp, 1783 — 1861 ; violinist. (2)
Simon - Girard, Julie Josephine
Caroline (nee Girard), b. Paris,
1859; pupil of Cons.; d^but 1877,
creating Offenbach's "Colinette,"
1878, ** Mme. Favart/ and many
other roles ; m. Simon ; later m.
Ilugenette.
Simons-Candeille. Vide candeillk.
Simp'aon (or Sympaoa), (i) Chp.,
d. London, ca. 1677 ; player on the
viola da gamba ; pub. text-books.
(2) Thos., b. England ; from ca.
161 5, violinist in Germany; composer.
Sim'rock, (i) Nicolaus, b. Bonn,
1755 ; founded there 1790 mus.-pub.
hou&i; 1805 Berlin branch founded
by his son (2) Peter Jos.; since 1B70
in Berlin under (3), Fritz, 1841 —
I^usanne, Sept., 1901.
Sina (se-nil), Louis, 1778 — Boulogne,
1859; violinist.
Sinclair (slnk'-lj^r), J., near Edin-
burgh, 1790— Margate, 1857 ; tenor.
Sinding^ (zIntMng), Chr., b. Kong-
bery, Norway, Jan. 11, 1856; notable
composer ; pupil of Reinecke, Leip-
zig Cons. , later with Royal Scholar-
ship, studied at Dresden, Munich,
and Berlin ; 1. Christiania as organist
and teacher; c. symph., 2 vln. -sona-
tas, chamber-mus., a pf. -concerto, pf.-
pcs., and soors.
Sing^el^e (sftAxn-l&), J. Bap., Biussels,
1812 — Ostend, 1875; violinist and
composer. •
Singer (zYng'-«r), (i) Peter, Ilafelgehr
(Lechthal), 1810 — Salzburg, 1882;
monk ; in v. (1839) ^^^ ** Pansym-
phonikon " (v. i). d.) ; composer. (2)
Edmund, b. I'otis, Hungary, Oct.
14, 183 1 ; violinist: pupil of Ellinger,
at Pesth, then of Kohne; toured, then
studied with Jos. BAhm, Vienna, and
at Paris Cons.; i853-i5i leader at
Weimar; then leader at Stuttgart,
and prof, at the Cons. (3) Otto,
Sora, Saxony, 1833 — New York,i894;
pianist, conductor, teacher and com-
poser. (4) Otto, Jr., b. Dresden,
Sept. 14, 1863 ; violinist ; studied in
Paris, in Berlin under Kiel, and in
Munich under Rheinberger; 1890
teacher in Cologne Cons., and con-
ductor; since 1892 lives in Leipdg)
c. vln.- ConcertstQck, etc.
Sinn (zYn), Chp. Albert, wrote
tise on '* Temperamtnt*^ 1717.
670 THE MUSICAL GUIDE
Sir' men (Syrmen), (i) Luigi, violin-
ist and cond. at Berg^amo ; his wife,
(a) Maddalena Lombardini de, b.
Venice, 1735 — d. towards end of
cent. ; prominent violinist ; pupil of
Tartini ; later sineer and composer.
Sistemuinns (zYst -^r-maos), Anton,
b. Herzogenbusch, Holland, Aug. 5,
1867; bass ; pupil of Stockhausen ;
1899, sangr '* Pogner " at Bayreuth ;
lives in P'rankfort.
Sitt (zYt), Hanft, b. Prague, Sept. 21,
1850; violinist ; studied Prague Cons.;
1867, leader theatre*orch., Breslau ;
1869, cond. there, later in Prague,
etc.; J883, teacher of vln. Leipzig
Cons, and via. -player Brodsky Quartet ;
cond. of various societies ; c. 3 vln.-
concertos, a via. -concerto, a 'cello-
concerto, etc.
Stttard (slt-t&r), Josef, b. Aix-la-Cha-
pelle, June 4, 1846 ; pupil, Stuttgart
Cons., later teacher of singing and
pf. there; lecturer on mus.; since
1885, critic ; 1891, prof. ; writer and
composer.
Sivon (se-vo -re), Ernesto Camillo,
b. Genoa, 1815 — 1894; famous vio-
linist and composer ; d^but at 6 ; pu-
pil of Costa and Paganini ; toured
widely.
Sjttgren (shakh'.r«n), (Jn. Gv.) Emil,
b. Stockholm, 1853 ; pupil of the
Cons, there ; later of Kiel (cpt.) and
Haupt (org. at Berlin) ; since 1890,
organist Johankirke» Stockholm ; c.
sonatas, etc.
Skrottp (or Skraup) (shkroop or
shkra-oop), (i) Fs. (I^antiiek),
Vosic, Bohemia, 1801 — Rotterdam,
1862 ; conductor and dram, compos-
er. (2) Jan Nepomuk^ Vosic, 181 1
— Prague, 1892 ; bro. of above ; con-
ductor, singing-teacher, writer and
dram, composer.
Skuherskf (skoo'-h£r-shke), Fz.
(Frantiiek) Sdenko, Opocno, Bo-
hernia, 1830 — Budweis, 1892; or-
ganist, conductor, theorist and com-
poser.
8i4tinn (sir -tin), Ilja Hitch, b. Bel-
gorod, Russia, July 7. 1845. PHP^l
St. Petersburg Cons, and of Th. KoJ*
lak and Wuerst, Berlin ; dir. Char-
kow section, Imp. Russian Mua
Soc.
Slaughter (sl6t'-£r). A. Walter, cho-
rister at St. Andrew's, Wells St.,
London ; pupil of A. Cellier and
{acobi ; cond. Drury Lane and St.
ames*s Th.; prod, comic operas
(1890), and a succ. mus. -comedy
*• The French Maid'' (1897). etc.
Slavik (sla-vek), Jos., Jince, Bohc-
mia, 1806 — Pesth, 1833 ; violinist
Slivinski (slY-ven'-shkl), Jos. von, b.
Warsaw, Dec. 15, 1865; pianist;
pupil of Strobl, Leschetizky and An-
ton Rubinstein ; debut, 1890; Aroer.
ica, 1893 ; toured with Leipzig Philh.
orch. ; lives Paris.
Slo'per(Edw. Hugh), Lindsay, Lon-
don, 1826 — 1887 ; pianist, teacher*
writer and composer.
Small'wood, Wm., b. Kendal. Engl,
1831 — 1897; organist; writer and
composer.
Smareglia (sma-ral'-yS), A., b. Pola,
Istria, May 5, 1854 ; studied Vienna
and at the Milan Cons., g^raduating
with a symph. work ^* EUanora** ;
prod. 6 operas, incl. ** Prniasa**
(Milan, 1879), '' Biatua da Orvia'*
(MiUn, La Scala, 1882), **// Vassal-
lo di Stigtth " (Vienna. 1889, as '^Dft
Vasall von Stigeth^** New York,
1890), and ••Ztf FaUna" (Venice.
1897.
Smart, (i) Sir G. (Thos.), London,
17 76-— 1867; noted conductor; pupil
of Dupuis and Arnold ; knighted,
1811 ; cond. PhiL Soc., 1813-44..
(2) Henry, Dublin, 1778— 1823;
bro. of above ; Wolinist ; leader Dru-
ry Lane, 18 12-21 ; piano-manufac-
turer. (3) Henryt London. Oct. 26,
18 1 3 — (blind) July 6, 1879 , son and
pupil of (2) ; studied with Keams;
organist in London from 1836 ; c. an
opera '* Bertha'" (i855)i manycanta-
tas, etc.
Smetana (sma -t^-na), Fr. (Bedrich)»
Leitomischl, Bohemia, 1824 — insane,
Prague, 1884, noted composer and
DICTIONARY OF MUSICIANS 671
pianist ; pupil of Proksch and Liszt ;
1848, organised a sch. at Prague;
1866-74, cond. Nat. Theatre Prague.
Deafness caused his resignation and
the eternal ringing of one note in his
head brought on insanity. He made
this note the motif of a prophetic
composition. C. a string-quartet, 7
operas, incl. ^^Prodand neveita**
(** 7Vkir Bartered Bridi\ 1866; 9
symph. poems, incl. a cycle of 6
'^Md Vlasr {'' \fy Country*),
symph. of ** Triumph" etc. •
Smetn'ergell, Wm., pianist, organist,
writer and composer, London, 17^.
Smith, (i) Bd. (Bd. Schmidt) (called
•'Father Smith"), Germany, ca.
1630— London, 1708 ; ct org. -build-
er. (2) Robt., Cambridge, 1689 —
176S; acoustician. (3) J; C^*^^*"
topher (Johann Chr. Schmidt),
Ansbach, 17 12 — Bath, 1795 ; dram.
joiTf a;er. (4) Johann Stafford,
r«>ace8ter, Engl., ca. 1750— Lon-
don, 1836 ; oraranist and composer.
(5) Edw. woodley, 1775 — 1849,
lay-vicar at Windsor. (6) Geo.
Townshend, Windsor, 18 13 — Here-
ford, 1877; son of above ; composer.
(7) Montern, bro. of above ; smger.
(8) Samuel, b. Eton, 1821; bro. of
above; organist. (9) John, Cam-
bridge, 1795 — 1861; composer and
prof. (10) Robt. Archibald, Read-
ing, 1780^-1829; composer and vio-
linist, (i i) Alice Mary ( Mrs. Mead-
ows White), London, 1839 — 1884;
composer. (12) Sydney, Dorchest-
er, Engl., 1839 — London, 1887 ; pi-
anist, teacher, writer, etc. (13) Wil-
son G., b. Elyria, Ohio, Aug. ^9,
1855; notable composer; pupil f
Otto Singer, at Cincinnati ; at Bet-
lin, 18S0-82, of Kiel, the Scharwen-
kas, Neumann, Moszkowski and
Raif ; since 1882, lives in Cleveland
as teacher of pf., voice and comp.;
pub. numerous graceful pf.-pcs. and
songs, also ** Octave Studies** and
other valuable technical works. (14)
Gerrit, b. Hagerstown, Maryland
Ttc IX, 1859; graduate (M. A. and
Mus. Doc.) Hobart College, Geneva,
N. Y.; puLil of Stuttgart Cons.; then
of S. P. Warren, New York ; organ-
ist, Buffalo ; also studied with Eu-
gene Thayer (org.), and W. H.
Sherwood (pf.), and one year in Ber-
lin with Haupt and Rohde ; then
organist, Albany ; since 1885, at the
South Ch., N. Y.; music-prof.; prof.
Union Theol. Seminary ; c. cantata
^^ King David.** choruses, graceful
pf.-pcs. and songs.
Smolian (shmd'-n-ftn), Arthur, b.
Riga, Dec. 3, 1856 ; pupil of Mtinich
Cons.; cond. at various theatres;
teacher, Wiesbaden ; 1800, teacher
Carlsruhe Cons.; and critic ; compos-
er.
Smyth, Ethel, b. England ; c. text
and music of opera ** Tkj Forest**
(Der IVald), prod. Berlin, 190a, and
London, IQ02.
Snel (sn<(l), Jos. Fran., Brussels, 1793
— Koekelb!erg, near Brussels, 1861;
violinist, conductor and dram, com-
poser.
Snetzler (shnets'-l^r), John, Passau,
1 7 10 — London, end of i8th cent.;
org.4>uilder, England.
Snow, (i) Moses, d. 1702 ; member
of the Chapel Royal. (2) Valen-
tine, d. 1772 : English trumpeter in
(landers works.
Soares, Joao. Vide RKBEUxn
So'binof; — — . favourite Runlan
tenor at Petersburg.
Sobolevsky (s6.b6.l«f'.shkl).
prof, at St. P«;tersburg ; ed. Rnssiar
folk-songs (1895;.
Sddermann (sa'-d£r-m&n), August
Johan, Stockholm, 1839 — 1876 ;
theatre-conductor there ; pupil of
Hauptmann and Richter ; c. Swedish
opeaetta, a notable mass with orch.,
etc.
Soffredini (sof-fr^-de'-ne), Alfredo,
from 1896, ed.-in-chief, Milan ^^Ga»*
tetta Musicaie**: prod, (teat and
mus.) 2-act children s opera ** // Pu*
coh Haydn ** (Pavia, 1893), etc.
Sokoloy (so'-kd.ldf), Nicholas, b.
Petersburg, 1858 ; pupil at the Cons,;
^£
672
THE MUSICAL GUIDE
taught harm, in the Imp. Chapel ; c.
an elegy (op. 4), and intermezzo for
orch., etc.
Soldat (z^r^iit), Marie (Frau Soldat-
Roarer), (b. Graz, MarcVi 25, 1864;
violinist ; pupil of Pleiner and Pott,
and of Joachim, 1889 ; m. lierr
Roger (Vienna).
Soli« (sdl-ya) (rightly Soulier), (i) J.
P., Ntmes, 1755 — Paris, 1812 ; bary-
tone ; c. comic operas, many pop.
(2) Chas., son of above ; conductor ;
prod, a comic opera (Nice, 1877).
SoUe (zdl'.l«), Fr., Zeulenroda, Thu-
ringia, 1806 — 1884; cantor and
writer.
SoloTiev (or Solowiew) (s6'-l6-vef),
Nicolai Feopometovitch, b. Petro.
savodsk, Russia, April 27 (May 9),
1846 ; pupil of N. J. Zaremba (theo-
ry), Imp. Cons, at Petersburg;
smce 1874 prof, there ; also critic,
editor and Councillor of State ; c.
comic opera ** Vakula, The Smith"
(Petersb., 1875), and grand opera
^^Cordtlia" (Petersb., 1883, in Ger-
man, Prague, 1890) ; finished Seroff's
opera *' The Demands Power**; c.
symph. picture, *' Russia and the
Mongols (Moscow, 1882); prize
chorus ** Prayer for Russia " (Imp.
Ruas. Mus. Soc., 1876), cantata
" The Death of Samson " (1870).
Som'erset, Lorcf H. (Richard Chas.),
b. £>ec. 7, 1849 ; amateur composer.
Som'ervell, Arthur* b. Windermere,
Engl.; pupil Berlin Hochschule and
of Stanford and Parry, R.C.M.; c.
mass, with orch. (Bach Choir, 1891),
''A Song of Praise" (iSgi), ** The
Forsaken Merman** (Leeds Fest.,
1895), *• The Power of Sound*'
(1895), elegry for alto with orch.,
suite for small orch. ''* In A ready"
song cycle on Tennyson*s ^* Afaude"
etc.
Somis (sd'-mes), Gioy. Bat., Pied-
mont, i676-»'Turin, 1763 ; violinist,
teacher and conductor.
6ommer (z6m'-m£r), (i) Dr. Hans
(rightly Hans Fr. Augr. Zincke)
(tslnk'-^), b. Bruaswick, July 20, 1837;
pupil of Meves and J. O. Grimm ;
graduate, later prof, at GOttingen
Univ.; from 1888 lived in Weimar;
c. succ. opera ^^ Lorelei** (Brunswick,
1891), i-act '* BUhnenspiei;* " Saint
Foix** (Munich, 1894), i-act **/><rr
Meerman** (Weimar, 1806), '' Rube-
zahl** (1902). (2) Karl, singer af
ct. -opera, Vienna.
Sonnleitner (z6n'.llt-n^), (i) Chp, S.,
Szegedin, i734'-~Vienna, 1786; dean
of jurisprudence, Vienna ; composer.
(2) Jos., Vienna, 1765 — 1835 ; son of
above ; 1827, discovered the famous
9th cent. Antiphonary of St. Gallen
in neume-notation. (3) Ld. von,
Vienna, 1797 — 1873; nephew of
above ; devoted friend of Schubert.
Sontag (z6n'.takh), Henriette (Ger-
trude Vralpurgis), Coblenz, Jan.
3, 1804 — of cholera, Mexico, Junt
17, 1854 ; famous colorature-sopra«
no, her voice taking e'" easily; daugh-
ter of two actors; operatic singer;
1823 created von Weber*s ** i?*r|^
ant he.**
Sontheim (z6n'-tfm), H., b. Beben<
hausen, Feb. 3, 1820 ; notable tenor,
d^but Carlsruhe, 1839 ; 1872, pen«
sioned.
Sor (rightly Sors) (sor), Fdo., Barce*
lona, 1778— Paris, 1839; guitar-virt«
uoso and dram, composer.
Sorgre (zdr'.g£), G. Ands., Mellen.
bach, Schwarzburg, 1703 — Loben-
stein, 1778; famous organist and
theorist ; ct. -organist and composer.
Soriano, (i) Fran. Vide suriano. (2)
Soriano - Fuertes (sd-rl-fi'.no-foo-
£r'-t^), Don Mariano, Murcia, 18 17
— Madrid, 1880 ; son and pupil of the
dir. royal chamber-mus. (1841) ; prod,
several zarzuelas, aiming to estab.
national opera : conductor and writer
of historical works.
Sormann (zdr'-m&n), Alfred (Richard
Gotthilf ), b. Danzig, May 16, 1861,
pianist ; pupil of R. Hochschule,
Berlin, and of Liszt; debut 1886;
1889, ct.-pianist to Grand Duke of
Mecklenburg-Streliti ; c.
etc.
DICTIONARY OF MUSICIANS 673
Soabies (soo-bY-^s), Albert, b. Paris,
May 10, 1846; mus. -historiographer
and critic ; a lawyer, then pupil of Sa-
vard and Bazin (harm, and comp.) at
the Cons.; 1874 he revived the fa-
mous ^* Almanack des spectacles^
Aim. Duckestu*'; for this the Aca-
d^mie, 1893, awarded him the Prix
Voirac; 1876, critic for**/> ii^iV,"
under name ** B, de I^mtagne**;
officer of public instruction, and Le-
gion of Honour, also of the Russian
order Stanislas; writer of valuable
historical works, etc.
Soobre (soobr), Etienne Jos., Li6ge,
18 13 — 187 1 ; director and dram. comp.
SouhiUtty (soo-^t-te), J. Jac, Fran-
ciscan monk at Paris, the first to use
6gures for popular notation, 1665-78.
Soulier (soo-ya). Vide solik.
SouM (soo'-sa), John Philip, b.
Washington. D. C, Nov. 6, 1856;
«on of a Spanish trombonist in the
U. S. Marine Corps band. Pupil of
John Esputa and G. F. Benkert
(harm, and comp.) ; at 17 cond. of
travelling theatrical troupes ; 1877,
violinist in Oflfenbach's orch. in Amer-
ica ; dir. '* Philadelphia Church-choir
Pinafore Co."; 1880-92, bandm.
U. S. Marine Corps; resigned and
organised the military band bearing
his own name, which has toured
America and Europe with greatest
succ. ; (iqoo), Paris, Exposition.
Compiled, by Govt, order, ** Nation*^.
Patriotic and Typical Airs ofallCoun
tries**; wrote instruction-books for
trumpet and drum, and for vin •'' . 7
comic operas incl. v. succ. ** A ( -pi
tan" succ. (text and music; '/i
Bride Elect,** ** The Ch»itlat.,t u.iJ
'* Chris and the Wondtrful f'^wpr
a symph. poem ' The Chariot Racf '"
(from ''Ben Hur') ; 3 suites. * y'A/-
LastDaysof I'-.mpeii** ''Three Quo-
tations;* arJ Sheridan s A*ide " ;
and manv '^.mensely succ. marches
popula tn u^bout the world.
''JVfl ...1/^'/./.. /'...'," '^iV/y// School
Cadets," \ * , and Stripes For-
ever " " .iv.^.>ta. Edxitard^'* etc.
Sovinsky (so-vYn'-skY), Albert (Czyll
Wojech), Ladyzyn, Ukraine, 1803
(1805 ?)— Paris, March 5, 1880; pian-
ist, teacher and dram, composer.
Soyer (sw&-ya), Berthe, b. Chalon-
sur-Saone, May 12, 1877; contralto ;
pupil of Paris Cons., took ist prize
Paris Cons., 1899; debut same year
at Opera as *' Amneris."
Spang^enberg^ (spang'-£n-b^rkh), (i)
Jn., Hardeisen, near Gtittingen, 1484
— Eisleben, 1550; theorist and com-
poser. (2) Cyriak, Nordhausen,
1528 — Strassburg, 1604 ; son of
above ; writer.
Spark, Dr. Wm., Exeter, Engl., Oct.
28, 1823 — Leeds, June 16, 1897;
noted organist and editor ; wrote au-
tobiography and memoirs; composer.
Spataro (spa-ta-ro) (or Spat anis,
Spada'ro, Spada'riut), Giov., Bo-
logna, ca. 1460 — 1541 ; conductor
and theorist.
Spazier ^.shp&-tser'), Jn. Gl. K., Ber-
lin, 1761 — Leipzig, 1805 ; theorist
and comjxtser.
Speer (shpar), Daniei, cantor at Wai-
blingen, 1692 ; composer.
Speidel (shpi'-d^l), (i) Konrad, d.
Dim, Jan. 29, 18S0 ; singer and con-
ductor. (2) Wm., Ulm, 1826 —
Stuttgart, 1899; son of above; pianist,
L' 'iductor and composer. (3) Ma-
r i. h. Stuttgart, Oct. 13, 1872 ;
d: t; :hter of abK)ve ; singer ; pupil of
r'.»ii'iii and Nicklass-Kempner.
Spcn?el (shpdng'-€l), Julius H., b.
ilumburg, June 12, 1853 ; pupil of
Cologne Cons, and Berlin Iloch-
schule, taught in Hamburg, and
studied with Gradenerand Armbrust;
1878, cond. Caciiienverein ; singing-
teacher and organist , c. symph.,
'cello-sonata, etc.
Spen'ser, Willard, b. Cooperstown,
N. Y., July 7, 1856; sclf-Uught;
prod. V. succ. operettas, text and
music, " The Little Tycoon** {^hxXaidtU
phia, 18S6), and "Prineess Bonnie.**
Spcycr (Speier) (shpl'-gr), Wilhclm,
Frankfort, 1790— 1878; violinist and
composer.
674
THE MUSICAL GUIDE
fipicker (shpTk'-^r), Max, b. K5nigs. '
berg. Prussia, Aug. i6, 1858 ; pupil
of l^uis K5hler, then of Leipzig
Cons.; theatre conductor various
cities; 1882-88, cond. "Beethoven
Mannerchor," New York; 1888-95
Dir. Brooklyn Cons.: since teacher
Nat Cons., New York ; c. orch.
suite, cantata with orch., etc.
Spierin^ (shpe'-ring), Theodor, b.
Sl Louis, Missouri, 1871 ; violinist ;
pupil of H. Schradieck, Cincinnati ;
then of Joachim, Berlin; founder and
1st vln. *' Spiering Quartet," Chi-
cago.
Spies (shpes), Hermine, Lohnberger
Foundry, near Weilburg, 1857 —
Wiesbaden, 1893 ; concert-contralta
Spiess (shpes), (i) Jn. Martin, organ-
ist and composer (1745-61). (2)
Meinard, Honsolgen, Swabia, 1683
— Yrsce Monastery, 1761 ; prior,
theorist and composer. •
Spindler (shp!nt'-l*r). Fritz, b. Wttrz-
bach, near Lobenstein, Nov. 24,
181 7; pianist; studied mus. with
Fr. Schneider at Dessau ; from 1841,
lived in Dresden as teacher ; c. 3
symphs., pf. -concerto, v. pop. salon-
pcs., etc.
Spinelli (spT-nei'-ll), NicoliL, b. Tu-
rin, 1865 ; notable neo-Italian; pupil
of Naples Cons.; 1890 took 2nd Son-
zogno prize with i-act opera **CV^-
billa^^ Mascagni winning 1st prize ;
prod. v. succ. 3-act lyric drama ** A
Basso Porto'' (1894, New York,
1899), vi^c ** Stories of the Operas."
Spinney, English family of musicians,
(i) Tnos. Edw., b. June 24, 1824;
pupil of Sir Henry Bishop; organ-
ist St. Edmund's, Salisbury, and cond.
Orpheus Soc. ; c. cantata, church-
mus., etc. (2) Mattie (Mrs. I^es-
ley). daughter of above ; pianist ;
pupil of Benedict, Bennett, and von
Bulow ; debut, London, 1875; or-
ganist, at Banbury. Her four broth-
ers, (3) Eug^ene, 1845 — 1867 ; 1862,
organist, Banbury. (4) Frank, 1850
— 1888 ; organist, conductor and
composer. (5) Walter, 1852 — 1894;
organist various cities; c. oi^g.-pcs.,
etc. (6) Rev. T. Her1>ert, b. Jan.
I3> 1^57 ; pupil of Arnold and
Bridge ; won harm.-prize, Trinity
Coll., London, 1876; at 16 organ-
ist, Salisbury, later at Exeter Coll.,
Oxford; F.R.C.O.; 1882. ordained
priest; 1885, vicar, Burton-on-Trent ;
composer.
Spiridio (spe-re'-dY-o), Berthold,
monk, organist and composer, Bam-
berg, 1665-91.
Spirid'ion. Vide xyndas.
Spitta (shpYt'-ti), (1) (Julius An^.)
Philipp, Wechold, near Hoya, Han-
over, Dec. 27, 1841 — Berlin, April 13,
1894; teacher and prof, musical his*
tory ; wrote many essays and a not-
able life of J. S. Bach (2 vols., 1873-
80), etc. (2) Fr., b. Wittingen, Han-
over, Jan. 10, 1852 ; bro. of above ;
prof, of theology, Strassburg Univ.;
ed. works of SchOtz and pub. valu-
able treatises.
Spof forth, (i) Reginald, Nottingham,
Southwell, 1769 — Kensington, 1827 ;
c. glees, etc. (2) Samuel, 1780--
1864 ; bro. of above ; oi^nist and
composer.
Spohr (shpor), Ludwi|^ (in his auto-
biography he calls himself Louis),
Brunswick, April 5, 1784 — Cassel
Nov. 22, 1859 ; eminent violinist and
conductor ; notable composer and
teacher. Son of a physician who re-
moved to Seesen, 1786 ; pupil of his
mother, and at 5 studied with Rie-
menschneider (vln.) and Dufour ;
then with Kunisch, Hartung and
Maucourt, Brunswick; at 14 he
played a concerto of his own at court.
He became a member of the Ducal
Orch.; 1802 pupil of Fz. Eek, whom
he accompanied to St. Petersburg;
1803, returned to the Ducal Orch. ;
1804 toured with great succ. ; 1805,
leader Duke of Gotha*s orch.; m.
Dorette Scheidler (d. 1834), the harp-
player and toured with her, 1807 and
1809. 1S36 he m. the pianist Mari-
anne PfeifTer (d. 1892); 1812, after
brilliant concerts at Vienna, leader at
/
DICTIONARY OF MUSICIANS 675
the Th. an der Wien ; 1815. toured
Italy (playing a concertante of hit
own with Paganini at Rome) ; 1817-
19, opera-cond. at Frankfort ; prod,
here succ. opera " Fatui**; 1820,
visited England with his wife, played
at Philharm. Concerts, and prod,
there two symphs., introducing into
England the habit of conducting with
a b^ton. Gave concerts at Paris
with little succ. From 1822 ct.-cond.
at Cassel. 18579 retired for political
reasons on a reduced pension Dur-
ing bis period as a cond. he prod.
Wagner^s '' FUegende Hollander''
(1842). and •' TannMuser"" (1853).
but could not overcome the oppo-
sition to a production of *' Lohett"
g^in.** He soon recognised Wagner
as the greatest living dramatic com-
poser but did not care for Beethoven
or Weber, lie is among the first of
the second-best composers, his high-
est attainments being the opcvA*' /es*
jonda ** (Cassel, 1823), the oratorio
• Die Letzten Dinge ** (Cassel. 1826 ;
in England as " TAe Last Judg-
ment'*); the grand symph. **/>«>
H^^tAe der Tofti*" {' The Consecra-
Hon of Tone*' r832) and the clas-
sic vln. concertos. lib *' Violin^
School** (1831 in 3 parts), is a stand-
ard. He c. 1 1 operas in all , dram,
cantata. Das Befreiie Deutsche
land*', a mass etc. with orch.. 9
symphs.' No 4 op. 86 in F(' IVeiAf
der Tone^, No 6op 116 GC His-
torUaV , dedicated to the London
?hilh Soc ) 7 op. 121 CC Irdtsth-
es und Goithsekes im Mensclien--
Uhen**\ fof a orchs., 8 op. «37. G
m'n. (ded to the London Philharm ) ;
9 op. 143, B min. ( ' Die /ahresteiU
en'), 8 overtures, and 15 vln. con-
certos . No 8 <op. 47. m A min.,
** in mode duna tcena tantante '*)
'* quartet-concerto" for 3 vlns.. via.,
and 'cello with orch. ; 2 concertantes
for 2 vlns with orch.; g^nde polo-
naise for vlns with orch.. 2 clar.-
concertos . much chamber • mus.
AutoblQgt ICassel, i860, 61. a vols.);
Biogr. by Malibran (Frankfort, i860);
by H M. Schletterer (1881).
Spontini (sp6n-te -ne). Gasparo
(Luigi Pacifico), Majolati. Ancone,
Nov. 14. 1774— Jan. 24. 185 1; note-
worthy cond. and dram, composer.
Son of poor peasants, who intended
him for the church, he ran away, and
an uncle, at San Vito, provided him
with teaching At 17 entered the
Cons, dclla Piet^ de Turchini at Na*
pies. 1796. commissioned to write
an opera for the Teatro Argentina at
Rome, its director having heard some
of his church-mus. in Naples, he left
the Cons, without permission and
prod succ. opera. **/ Puntigli delli
Donne**: Piccinni secured his rein-
statement and gave him valuable ad-
vice. He prod, operas with succ. in
various cities and in Palermo, where
he was cond. to the Neapolitan court
which had fled l)efore the French.
After having produced 16 tight Ital-
ian operas, he went to Paris (1803),
where three successive failures and
a study of Mozart's works led him
to change his style. After support-
ing himself as a singing-teacher he
won succ. with his substantial i-act
opera ' Milton " (Th. Feydeau Nov.
27. &804), the Empress Josephine, to
whom he had dedicated the score, ap-
pointed him "chamber-composer."
He c. a cantata Leccelsa Gara^
celebrating the victory of Austerlitz.
The Empress's power secured a hear«
ing for his opera "Z^ {^/i/isi^," which
after three year^ of delay and polish*
mg was prod, with greatest succ. 1807;
by a unanimous verdict of the judged,
Mehul Gossec and Gr^try. Napo*
leon s prize tor the best dram worb
of the decade was awarded to it. ft
was followed with equal succ by the
grand opera ' Fentand Coriez.'*
L809. 1810, dit It. opera, dis-
missed lot finanaai irregularity ;
1814 Louis XV 111 appointed him
ct. -composer He c. 2 stage-piecei
in glorification of the Restoration*
The opera " Olympu ' waa pcod
676
THE MUSICAL GUIDE
18x9 without succ, though when re-
vised and prod. 1826 it prospered.
1820, he became ct,*composer and
ren. mu&*dir. at Berlin ; he prod,
his old operas with succ, and c. the
festival play 'Lalla Rukh'' (1821).
remodelled as "' Nurmahal** (1822);
^^Alcidor'* (182$) and '' Agnis von
Hohenstaufen** (1829), none of
which were widely succ. A period of
violent jealousies and quarrels with
the Intendant BrQhi. and virulent in-
trigues, culminated after a score of
stormy years in his being royally rep-
rimanded, and finally driven out of
the theatre by a hostile audience.
He retired in 1841 on full pay. He
went to Paris, then to Italy. 1844
Che Pop^ gave him the rank and title
of **Conte di Sant* Andrea*'; he
was a knight of the Prussian " Ordre
Eour le merite." member of the Ber-
n Akademie (1839), and Paris Aca-
demie. and Dr. Phil.. Halle Univ.
Biog. by L. de Lom^nie (1841);
Montanari (1851); Kaoul-Rochette
(1882).
Spor'le (rightly Burnett), Nathan J.^
1812—1853 ; English tenor and com-
poser.
uire, Wm. Henry^ b, Ross. Here-
fordshire. Aug. 8, 1871 » 'cellist, son
and pupU of an amateur violinist;
d^but at 7 ; won scholarship at the
R. C. M., and studied with Powell
And Parry: second ddbut. i8qi; c.
*cello-ccncerto.
eubile (sta bd-lS), Annlbale, d.
Rome. ca. 1595 ; conductor and
composer.
BUde (shtrd^X (i) H. Bd., Ettisch-
leben. 1816— Amstadt, 1882 , organ-
ist and composer. (2) Fr. Wm., b.
Halle, Aug. 25, 18 17, organist, pu-
pil of Fr. Schneider. Dessau . mus.-
dir. and Dr. Phil. h. r. Jena Univ.;
1860*1891, ct. -organist and cond. at
Altenburg . c. 2 symphs. , P'estouver*
tttre, musicto**0/vj/«'j'*; cantatas, with
orch.; choral works, vln. -sonata;
'• Kinder so nate " (4 hands), etc, (3)
Dr. Fritz \JLy Rudolf), U bonders-
hausen. Jan. 8. 1844 ; pupil of Rledl
and Richter, Leipzig, and teachef
there ; pub. an answer to Hanslick'f
•* Vom Mmikalisch-ScMHen^ etc
Staden (shtil'-ddn], (i) Jn., NQmberg,
ca. 1579—1634: oi^ganist and com*
poser. (2) Sig^smund GI.9 son and
successor of above; c. ** Seelewir^
the earliest extant German opera (cf,
H. SCHUTZ' opera '^Dafm*^
SUdler (shtiltMer). MAzimiliaOt
Mclk, Lower Austria, 1748— Vienna,
1833 : composer and writer.
Stadlmayer (sht&t'*'l-mT-«r), Jn.» Frei.
sing, Bavaria, 1560— Innsbruck, after
1646 . conductor and composer.
Stadtfeldt (sht&t -felt). Alez.^ Wies*
baden. 1826— Brussels, 1853, dram,
composer.
Stagemann (shtS'-g^mftn), Max, K
Freienwalde-on-Oder, May 10. 1843 ;
pupil of Dresden Cons.; bar}'tone
and ** chamber-singer** at Hanover {
1877, dir. of KOnigsbere Th.; later,
manager Leipzig City Tn.
Stag'g^na, Nicholas, d. 1705 ; Eng*
lish composer and professor*
Stagno (stfln'-y5), Alberto, Palermo,
1836— Genoa, 1897 ; tenor.
Stahlknecht (shtftl-k'nekht), two bioth*
ers. (i) Ad.. Warsaw, 1813— Beriin,
1887; violinist and dram, composer*
(2) Julius, Posen, 1817— Bcriin,
1892 , 'cellist royal orchestra.
Stahmer^Andrieasen (shta .m<fr-An'«
dr^s-sfo), Pelagie (now Greef-AJb.
Vienna, June 20, 1862 ; pupil of tlw
Cons., and of Frau Dreyscbock; so*
prano in Neumann's troupe ; 1884-90^
Leipzig town-theatre ; I090, m. arch*
itcct Ende ; later m. Greef.
Stainer (or Steiner) (shtT-n^r), Jakob,
Absam. Tyrol 1621—1683 ; inventor
and manufacturer of Instrs. (2)
Markus, his brother, also vln.> and
vla.-maker.
Stainer (st&'-n^r). Sir John, London,
|une 6. 1840— Verona, April, 1901 \
chorister at St. Paul's : studied witi
Bayley (harm.) and Steggal (cpt)b
and later Cooper (oi^g.) ; 1854-60. or
ganist various places, then Univ. of
«Mi
DICTIONARY OF MUSICIANS 677
ganist at Oxford i (1859) Bac, Mus.,
and (1865) Mus. Doc.; x866, £xam«
iner for mus. degrees ; x872<-88, or-
ganist of St. Paul's, resigning on
account of his eyesight ; 1876, prof.
of or?, and harm. Nat. Training
Sch. Tor Mus. ; 1881, principal in
R. C. M.; 1883, again at Oxford;
1882, Govt. Inspector of Mus. in
the Training-Sch.; 1878, Chev. of
the Legion of Honour ; knighted,
1888 ; 1889, prof, of mus. at Oxford
Univ.; pub. treatises and (with Bar-
ret) a *• l>ici, of Mus. Terms^'* 187s;
c. oratorio '* Gideim^ cantatas " The
Daughur cf JiUrus'* (Wore. Fest.,
1878), ".». Mary MagdaUne'^
(Gloucester, 1883), and " The Crucu
fixion '* (London, X887X 4 services,
etc.
Stair, Martha Greene (" Patty "),
b. Cleveland, O.; pianist; pupil of
F. Bassett, there ; lives there as con-
cert pianist, or^fanist and composer.
Stamaty (stii-ml-te), Camille M.,
Rome, i8ii-~Paris, 1870; pianist
and composer.
Stamits (sht&'-mYts). (i> Jiu K.»
Deutsch • Brod., Bohemia, 1717 —
Mannheim, 1761 : notable violinist
and composer. (3) Anton Thad*
dilUBy Deutsch-Brod.« 1721— Altbunr*
!ang, 1768; bro. of above; qmon;
'ceUist, Mannheim. (3) K.^ Mann-
heim, 1746— Jena, 1801 ; violinist
and viole d*amour- performer, con-
ductor .and composer. (4) Anton,
Mannheim, 1753— Pari8,bro.of above;
violinist and composer.
Stanford, Chat. Villiera, b. Dublin.
Sept. 30, 1852 ; pianist and notable
composer ; pupil of Sir Robe. Stew^
art and Arthur O'Leary (comp.), and
Ernst Pauer (pf .), London ; 1870 won
organ scholarship at Queen's Coll.,
Cambridge: 1873-92, organist of
Trinity Coll., Cambridge, also cond.
Univ. Mus. Soc. (till 1893); 1875-
76, studied comp. with Reinecke at
Leipzig, and Kiel, Berlin M.A.,
Cantab., 1878; Mus. Doc., Oxford,
X883, Cambridge, x88S; «883, prof.
of comp. and cond., R.C.M.: iSSs-
cond. Bach Choir ; 1887, [vof, of
Mus. at Cambridge; X897, cond.
Leeds Philh. Soc. C operas,** Thi
Veiled Prophet of JCAorassaH^{ll9ik'
over, 1881); ** SavOfUtrola*^ (Ham-
burg, 1884); '^Tke Canterbury PiU
grims"^ (London, Covent Gardetu
1884) ; v. succ. *' Shamus O'Brien^*
(London, 1896) ; ** Much Ado abot^i
Nothing** (Covent Garden, 19019
Leipzig, I902); inctd* mus.; oratb-
rio, *' The Resurrection *' (1875) |
•• The Three Holy Children^ (Bir-
mingham, 1885) ; Psalm 96 (1877) ;
'*EUgiae Ode** (Norwich, 1884);
'*The Revenge^ (Leeds, x886) ;
'*JubiUe Ode'^ (1887), etc. ** The
Bard'' (Cardiff, 1895); '' Phaudrig
Crochoore " (Norwich, 1896) ; re-
quiem, 3 Morning and Evening
Services; a Communion Service, etc. ;
5 symphs. " Elegiac^ in D min.
(No. 3) ''Irishr (No. 4) '* Thrd
Youth to Strife^ Thro' Death to
Life**; and No. 5 ^' L* allegro od il
penseroso**£ 2 overtures, a pf.^con-
certo ; " Irish Rhafsody ** (1902), etc
Stange (sht&ng'.«), Hermann, b. Kiel,
Dec 19. 1835; pupil of Leipzig Cnns.;
organist at Rossal College, EogL;
since 1878, mus.-dir., and since 1887
prof. Kiel Univ.
Stanhope, Chas., Thtrd Eart of.
1753 — London, 1816; writer.
Stan'ley, (i) (Chas.) John, London,
1713 — 1786 ; organist and conduct-
or. (2) Albert Augustus, b. Man-
ville, Rhode Island. May 25, 185 1 {
studied in Providence, and at IjA^
zig ; organist. Providence ; xi88,
prof, of mus. Univ. of Michigan. (^
^'The City of Freedom,** ode, with
orch. (Boston, 1883); Psalm 21 (Prov-
idence, X892), and Commemoratioa
Ode •• Chorus triumphalis^" with
orch ; symph. ** The Uwahening of
the Soul**; symph. poem **Mti9%
etc
Stans'burg, Geo. F., Bristol, x8oo^
1845 ; pianist, violinist, fliitist, singsi
and composer.
678
THE MUSICAL GUIDE
Starck, Ingreborg* Vide bronsart.
Stark (sht&rk), L., Munich, 183 1-<-
Stuttgart, 1884 : teacher, editor and
composer.
Starke (shtftrk'*£). Fr., Elsterwerda*
i774"-6ttbling, near Vienna, 1835 ;
bandoL, writer and composer.
Stastty Cshtls'-ne), (i) L.» Prague,
1823 ^- Frankfort, 1883 ; conductor
and dram, composer. (2) Vide sti •
ASTNY.
Btaudis:! (shtow'-dekh.*!). (i) Josef,
WttUersdorf, Lower Austria, 1807—
(insane), Michaelbeuerngnind, near
Vienna, 1861 : bass and ct.-oonduct-
or. {1) Joftef, b. Vienna* March 18.
1850 ; son of above , barytone, pupil
of Kokitanskyat the Cons,; chamber-
singer to the Grand Duke at Carls*
ruhe and a membei of the ct.-opera.
His wife (3) Gisela, singer ; pupil
of Marches!, 1899 Wiesbaden ct.-
opera.
StaTeahagen (sht&'-f£n-hft-g£n), (t)
Bd.f b. Griezy Reuss, Nov. 24, I862;
pianist ; pupU of Kiel, at the Mei-
sterKhule, and of Rudorfl. at the.
Hochschule, Berlin , 1880, won the
: Mendelssohn prize for pf.; pupil of
Liszty 1885 ; toured Europe with
succ. and the U« S. (1894-95) ; K8qo.
ct.«pianist and ct.-conductor at Wei-
mar; Knight of the White Falcon
order i from 1 898 ct*-cond. at Mu-
nich ; c. pf.-pcs. (2) S. Denis Ag>*
net, b. Winsen, Sept. 3, 1862 ; so-
prano ; pupil of Frau Prof. Schultzen
and Frau Jachmann- Wagner ; cham-
bef-singer.
8tcherbatcheff(stch«r'-biit^h^), Nic-
olas de, b. Russia, Aug. 24, X853 ;
prominent figure in the neo-Russian
sch.; c* *' Deux idyOes pour arches*
tre^f * Fienes tt pantomimes^
'* M0saiqu€^ album pittoresqtu^ etc.,
for pf. ;. songs **^M ioir tombani^**
etc.
Stacker (sht^k'-^), K.» b. Kosmanos,
Bohemia, Jan. 22. 1861 : pupil of
Prague Org. -Sch.;. 1885-80, teacher
of org. there; then prof, of cpt., and
Oistoiy at the Cons.; from Xd88 also
lecturer at the Univ.; pulx treatises |
Ce a Missa solemnis, etc
St effani (st^ffa'-ne). Abbate /^osti-
no, Castelfranco, Venetia, 165 s—*
Frankfort-on-Main, 1730 ; eminent
composer of daring originality and
great power both in instrumentation
and general construction ; ct.- and
chamber-musician and ct. -organist ;
prod. 20 operas.
Steffens (sht^f -f^ns), Julius, Stargard,
Pomerania, 1831^ Wiesbaden, 1882;
'cellist and composer.
Steffkins, (z) Theodore, prof. lute
and viol, in London, 1672; his broth-
er (2) Dietrich was in the ct.-band,
Ji^»4i ; (3) Ff'i 2ind (4) Chr», sons of
(I) : violinists.
Steg'ffall, (i) Chas., London, June 3,
1820; pupil of Bennett, R. A. M.,
1851; prof, of org. and harm, there;
Mus. Bac. and Mus. Doc. , Cambridge;
from 1864, organist Lincoln's Inn
Chapel ; wrote method for org. ; ed.
colls., and c Psalms 105, and 33
with orch. ; services, etc* (2) Regi-
nald, b. London, April 7, 1867 ; son
and asst— organist of above ; pupil,
R.A.M.; from 1895, prof* of org.
there ; c. mass with orch. and organ^
•• Festival Evening Service *' witJ
orch., a symph., 3 overtures, etc.
Steg^mann (stakh'-mfin), K* David^
Dresden. 1751 — Bonn, 1826; tenor,
cond. and dram, composer.
Stefpnayer {shtakh'-mi-«r). Fd., Vien
na, 1803 — 1863 ; conductor, singling,
teacher and composer.
Stehle (shta'-l£), Gv. Ed., b. Stein*
hausen, Wttrtcmberg, Feb. 17, 1839;
cond. at St. (^allen Cath.; c. symph.
tone-picture " .Saw/,'" for org.
Steibelt (shtl'.beit) Daniel, Berlin,
1765-^t. Petersburg. 1823 ; a most
un virtuous virtuoso. Under patron-
age of the Crown PriRce, a pupil ol
Kimberger, early debut; 1790, fa*
▼ourite pianist, teacher and com*
poser at Paris , prod. v. suoc. opera
^* RoffUo et fuiiette** (1793). H«
seems to have suffered from kleptoi
mania and general dishonesty, which
DICTIONARY OF MUSICIANS 679
with his insolence, snobbery, and his
debts, forced him to leave Paris in
1797, for London, where he was
equally succ; the *^ Storm Rondo^*
(or the finale of his 3rd concerto
**L*Orage^ pr/c/d/ eCun rondeau pas^
forai*'), rivalling the notorious * Bat-
tie of Pragttey* by Koczwara. 1799,
he toured Germany, challenging
Beethoven at Vienna with disastrous
results. Me carried Haydn's *'Crea-
tion*' back to Paris and prod, it,
1800, with great succ, with himself as
cembalist ; but had to leave Paris
again, remaining in London, until
1805, when he revisited Paris for 3
years ; 1808 toured and settled in
Petersburg; 18 ro. Imp. ct. - cond.
and cond. of French Opera ; here
prod. 2 new operas, as well as earlier
ones. In spite of his odious personal-
ity, his virtuosity was remarkable,
and his compositions show much orig-
inality in modulation and scoring.
He wrote a pop. pf.-method ; c. 6
operas, 5 ballets, and much piano-
mus., including 50 etudes, many
programme - pes. of extraordinary
vogue.
Stein (shtin), (i) Jn. Andreas, Heide-
sheim. Palatinate, 1728 — Augsburg,
1792; inv. ** German (Viennese) pf.-
action*'; organist and famous pf.-
maker. Succeeded by son (2) Mat-
th&us Andreas (Augsburg, 1776 —
Vienna, 1842), who 1802 set up for
himself in Vienna. (3) Maria Anna
(or Nanette Streicher), Augsburg,
1769 — Vienna, 1835 ; daughter of (i);
a devoted friend of Beethoven ; also
a manager of the pf. -factory. Her
son (4) Jn. Bapt. (b. Vienna, 1795),
was her successor. (5) Fr., Augs-
burg, 1 78 1 — (of consumption) Vienna,
1808 ; bro. of above ; prominent pi-
anist. (6) Karoline (nee Haar),
pianist and teacher. (7) K. An-
dreas, Vienna, T797 — 1863; son and
successor of (2) ; pupil of F5rster,
ct.-pf. -maker and composer. (8)
Eduard, Kleinschirma, Saxony, 18 18
— Sondershausen, 1864 ; ct. - con-
ductor and composer. (9) Theodofi
b. Aitona, 18 19; pianist; d^but at
12 ; since 1872, pf.-prof. Petersburg
Cons, (xo) Gertrude May, b. Al-
bany, U. S. A. ; pupil C. A. White ;
189 1, toured with the Juch Opera
Co. ; prominent American contralto ;
1901 m. L. A. Bailey.
Steinbach (shtln'-bjlkh), (i) Emil, b.
Lengenrieden, Baden, Nov. 14. 1849;
pupil Leipzig Cons.; 1877, cond.
Mayence town-orch ; c orch. and
chamber-mus. , etc. (2) Fritz, b.
Gransfeld, Baden, June 17, 1855;
bro. and pupil of above ; also pupil
Leipzig Cons. ; won Mozart Scholar-
ship; 1880-86, 2nd cond. at Ma-
yence ; since 1886 ct.-cond. Meintng-
en ; pub. a septet, 'cello-sonata,
songs.
Steindel (sht!n'-d«l), (i) Bruno, b.
Zwickau, Saxony, ca. 1864 ; ist *cel-
lo, Berlin Philh.; later in the Chicago
Orch. (2) Bruno, b. MQnchen-
Gladbach, Germany, 1890; pianist;
son and pupil of mus.-dir. m that
town ; played in public at 6 ; has
played since in Germany and Lon-
don.
Sterner. Vide stainkr.
Steing^&ber (shtln'.grftp.«r), Theo-
dor, b. Neustadt-on-^he-Orla, Jan.
25, 1830 ; founder of Hanover mus.-
pub. firm ; since 1890 in Leipzig ;
wrote a pf.-method under the pseud.
*' GustaT Damm."
Stein' way & Sons, firm of pf .-makers,
New York and Hamburg ; founded
by (i) H. Enrelhard Steinweg^
(shtTn'-vSkh), Wolfshagen, Han,
1797 — New York, 187 1 ; journeyman
org.*builder, Seesen, ca. 1820; he
worked at night on his first piano,
which combined the good points of
Old English and recent German
instrs.; it made inunediatesucc; after
the Revolution of 1848, he emigrated
to New York in 1850 with four sons,
(2) Chas., Seesen, 1829 — 1865. (3)
H., Seesen, 1829 — New York, 1865.
(4) Vrm., Seesen, 1836— New York,
1896; (5) Albert, Seesen, 1840-'
68o
THE MUSICAL GUIDE
New York. 1877 ; leaving the busi-
ness in charg^e of (6) Theodor (See-
sen, 1825 — Brunswick, 1889). Fa-
ther and sons worked in different
factories till 1853, when they com-
bined as Stein way & Sons. In 1865
Theodor, who had moved to Bruns-
wick, sold the business to the 6rm
Grotrian, Helferich & Schulz, Theo-
dor Steinwegs Nachfolger (i. e. ** suc-
cessors") (v. STEINWEG). and be-
came a partner in the N. Y. firm,
now the largest of its kind in the
world.
^tcinweg;, Original form of ''Stein-
way " (q. V. No. 6).
Stelzner (sht«lts'-n«r), Dr. Alfred* b.
Wiesbaden ; lives in Dresden ; inv.
the violotta and cellone, etc. (v.
D.D.) ; they were used in theorch. of
his fairy opera *' HUbeftakl'' (Dres-
den, 1902). '*He was diflfident as a
performer, but his compositions for
the 'cello must render his name im-
mortal, for though the list of his
works only amount to 13, the origi-
nality and purity of them entitle him
to rank among the very first writers.
He is often called the Beethoven of the
violoncello, nor can that be consid-
ered too high praise" (George Her-
bert).
Ste'phens, (i) Dr. John, d. 1780; or-
ganist Salisbury Cath.; composer.
(2) Catherine, London, 1 791 (94 ?)
— 1882 ; opera and concert-soprano.
(3) Chas. Edw., London, 1821 —
1892 ; nephew of above ; pianist ;
teacher, oi^anist and composer.
Sterkel (sht^r'-k«l). Abbe Jn. Fz. X.,
Wflrsburg, 1750 — Mayence, 1817 ;
conductor, organist and composer.
Steriingr, (i) Antoinette, b. Ster-
lingville, N. Y., Jan. 23, 1850; con-
cert and oratorio contralto, range
e fiat—/' (v. PITCH, D. D.) ; pupil
of Mme. Marchesi, Viardot-Garcia
and Manuel Garcia ; sang for a time
in Henry Ward Beecher's Ch., at
Brooklyn ; from 1873, London ; 1875,
m. John MacKinlay. (2) Win-
throp S., b. Cincinnati. 1859; pupil
of Coll. of Mus. and Leipzig Cons.,
also under R. Hoffman (comp.) and
Frau Unger^aupt (voice), later in
London under Turpin, Bebnke and
Shakespeare ; organist West London
Tabernacle ; from 1887, prof. Cin-
cinnati Coli. of Mus.
Stern (sht^m), (i) G. Fr. Th6ophile,
Strassburg, 1803 — 1886; organist
and composer. (2) Julius, Breslau,
1820 — Berlin, 1883; cond., teacher
and composer. (3) Marg^arethe
(n<fe Herr), b. Dresden, Nov, 25.
1857 ; pianist ; pupil of Karl Kragen,
Liszt and Frau Schumann ; 1881, she
m. the poet Dr. Adolph Stern, Dres«
den. (4) Leo, b. Brighton, Engl.,
1870 ; 'cellist ; pupil of Piatti and of
Klengel and Davidoff, Leipzig ; first
tour, 1888 (with Piatti); made succ.
tours in France ; 1897, America ; c.
'cello pieces, etc.
Sternberg^ (st<^m'-b£rkh), Constant in
(IvanoTitch), Edler von, b. St.
Petersburg, July 9, 1852; pianist;
pupil of Leipzig Cons., iWriin Aka-
demie, and of Liszt ; conductor va-
rious churches ; from 1877, toured
widely ; 1880, United States ; from
1890, dir. ** Sternberg Sch. of Mus.,"
Philadelphia; c. 2 pf. -trios, *''' Danses
cosaques'* for vln., *cello-fantasia,
etc.
Ste'vens, (i) Richard J. Samoel,
lx>ndon, 1757 — 1837; oi^anist, com-
poser and prof. (2) iCitty. Vide
STEPHENS (2).
SteVenson, (i) Sir J. Andrew, Dub-
lin, ca. 1762 — 1833; Mus. I>oc.; c.
Irish operas ; son of (2) John (vio-
linist in the State-Band at Dublin).
(3) £. Irenaeus. Vide frimk-sitv.
KNSON.
Stew'art, Sir Robt. Prescott, Dub-
lin, 1825 — 1894; organist, professor,
conductoryand composer.
Stiastny (Stastn^) (sht>ast'-ne). (i)
Bd. wenzel, Prague, 1760 — 1835 ;
*cellist, professor and composer. (2)
Fz. Jn., Prague, 1764 — Mannheim,
ca. 1820 ; bro. and pupil of above
'cello-virtuoso and composr.r.
DICTIONARY OF MUSICIANS 681
Stich (stxkh), Jan VidaT (or Jn.
Wetisel) (Italianised as ** Giovan-
ni PuntO "), Zchuzicz, Bohemia, 1748
— Prague, 1803 ; eminent horn-virtu-
oso, writer and composer.
Stiebl (shtel). (i) H. (Fs. Daniel),
LObeck, 1829 — Reval, 1886 ; organ-
ist, conductor and dram, composer.
(3) K. Jn. Chp., b. LUbeck, 1826 ;
bro. of above ; organist and compos-
er ; from 1878, conductor and critic
LUt>eck ; and mus. -custodian in the
library ; pub. historical works on
Liibeck
Stiehle (shtc-U), L. Maximilian
Ad.| b. Frankfort, Aug. 19, 1850;
violinist ; pupil of Vieux temps, Pier-
mann and Joachim ; lives at Basel.
Stigelli (rightly G. Stiegele) (stl-gdl'-
If, or shti'-g£-ld), Giorgio, Ingsteu
ten, 18 1 9 — at his villa n. Monza,
Italy, 1868 ; tenor and composer.
Stimp'aoQ, Jas., b, Lincoln, 1820;
organist various churches in EngL;
prof, of mus. Blind Inst.; editor, or-
ganist and composer.
Sttrling, Elisabeth, Greenwich, 1819
— -London, 1895 ; oiganist and com-
poser.
Stobiiu8 (shto'-ba-oos), Jn., Gniudenz,
W. Prus8ia» 1580— KOnigsberg, 1646;
bass, conductor and composer.
Stockhausen (sht6k'-how-z£n), (i)
Fs., 1793— 1868; harpist and com*
poser. His wife (2) Margfarethe
(n^e Schmnck), Gebweiler, 1803 —
Colmar, 1877; pupil of Cartruflfo,
Paris ; concert-soprano ; toured with
her husband. (3) Jnliu8| b. Paris,
July aa, 1826; barytone and eminent
teacher; son of above; pupil of
Paris Cons, and of Manuel Garcia ;
8UCC. concert-singer; 1862-67, cond.
Philh. Concerts and Singakademie,
at Hamburg; 1869-70, chamber-
singer at Stuttgart; 1878-79 and
1882-98, teacher of singing, Hoch
Cons. , Frankfort ; since private
teacher ; pub. a Method. (4) Fz.,
b. Gebweiler, Jan. 30. 1839 '. pup»* of
Alkan and of Leipzig Cons.; 1868-
79, QOOxL at Strassburg; from 187 1,
teacher Strassburg Cons.; 1892, R.
Prof.
$tojow8ki (sto-yof'-shkY), Sigfismund,
b. Strelce, Poland, May 2, 1870; pi
anist ; pupil of L. Zelenski at Cra«
cow, and at Paris Cons., winning ist*
prizes for pf. and comp.; studied
with Paderewslci ; lives in Paris, as
teacher ; comp. pf. -concerto, suite
and variations for orch., songs, pf.-
pes., etc.
Stokes, Chas., b. 1784, Engl.; or-
ganist, pianist, teacher, composer and
theorist.
Stolts, (i) Rosine (rightly Victorine
Nob) (shtolts or nap), Paris, Feb. 13,
1815 — (?) ; pupil of Choron's Sch.;
mezzo-soprano ; 1837-47, Gr. Opera,
Paris ; other stage-names " Mme.
Temauz," <* Mile. H^loise,"
" Rose Niva " ; m. successively a
baron and 2 princes ; c. 6 songs. (2)
Therese, Trieste, 1838 ?— Milan.
1902 ; soprano ; d^but. La Scala,
1865: created **^iV/rt"in Italy; in-
timate friend of Verdi ; married after
1875 ^^^ retired.
Stoltzer (shtolts'-^r), Thos., Silesia,
ca. 1490— -Ofen, 1526; ct. -conductor
and composer.
Stttlz(e)l (sht£lts'.«l), Gf. H., GrQn.
siftdtl. Saxony, 1690— Gotha, 1749 ;
ct. -conductor and dram, composer.
Stolsenberg (shtol'-ts^n-b^rkh), Ben-
no, b. KOnigsberg, Feb. 25, 1829;
tenor; pupil of Mantius and H.
Dom ; debut, Kttnigsberg, 1852 ;
dir. Danzig City Th.; teacher, Ber-
lin; 1885, Cologne Cons.; from [896,
dir. of a vocal sch. at Berlin.
Stdpel (shta'-p«l), Fs. (David Chp.),
Oberheldrungen, Saxony, 1794 —
Paris, 1836 . theorist.
Sto'nard, Wm., d. 1630; organist
and composer at Oxford.
Stdr (shtar), K., Stolberg, Harz, 1814
— Weimar, 1889; violinist, cond.
and dram, composer.
Sto'race, (i) Stephen, Ix)ndon, 1763
— (of gout) 1796, prod. 18 stages
works, son and pupil of (2) Stefane
S«, an Italian double-bass-player.
682
THE MUSICAL GUIDE
(3) Anna Selina (1766— 1817), fa-
mous colorature-sopranc ; daughter
and pupil of (2) ; sang in public at 8;
then debut, Florence, 1780; created
*' Susanna*" in Mozart's *' Figaro,'*
Storch (storkh), M. Anton, Vienna,
1813 — 1888 ; conductor and com-
poser.
Stowe (shta'-v^). Gv., Potsdam, 1835—
1891; dir. and composer.
Stradella (stra-d^l'-ia), Alessandro,
probably Naples or Venice, ca. 1645
— <ienoa, after 168 1 (the date of his
last cantata) ; important Italian com-
poser, of whom little is actually
known, though he is the hero of an
extraordinarily melodramatic legend
of jealous nobility, paid assassins,
and love pursued. In a work by
Bonnet-Bourdelot (17 15), it is said
that his name was Stradel and being
engaged to write an opera for Venice,
he eloped with the mistress of a
nobleman who sent paid bravi to as-
sassinate him in Rome. These men
were overcome by the beauty of an
oratorio of his and warned him of his
danger, He fled to Turin with the
woman who passed for his wife, and
after being followed here and there,
and recovering from numerous
wounds, was finally slain in Genoa.
Flotow made an opera of this story,
in which there is much that is in-
credible. S. was also credited with
being a singer and poet, af^d a wonder-
ful harpist. In any case, .148 of his
works exist in MS. in the Modena
Library, and others elsewhere, incl.
8 oratorios, many cantatas, madri-
gals, duets, etc. The church-ana
'' Pieta^ Signore'* Siud the arias *' O
del mio doUe ardor*' and ** 5^ i miH
sospiri,'* are probably wrongly at-
tributed to him. Monographs by P.
Richard, "A, Stradella" (1866), and
Stradivari (Stradivarius) (str&d-Y-va'.
re, or va'-rT-oos), (i) Antonio, Cre-
mona, 1649 (1650?) — Dec. 17 (i8?)t
J737 ; maker of vlns., vlas., 'cellos,
etc., who established a type and pro-
portion never improved ; his tone 19
also supreme among vlns. (with 'th«
possible exception of those of jos.
Guameri) ; he probably worked' foi
Niccol6 Amati, 1667-79; 1680, he
purchased the house in which hi)
workshop thereafter was situated;
1700-25, is his best period, but he
worked to 1736; his label reads ** An«>
tonius Stradivarius Cremonensis.
Fecit Anno , . . (A f S)." Of
his eleven children, 2 sons, (2) Fran.
(167 1 — 1743) and (3) Omobono (1679
— 1742), were his assistants. Mono-
graphs, by Lombardini (1872), Fetis
(1856); Wasielewski, and Riech-
ers.
Straeten, Tan der. Vide vander-
STRAETKN.
Strakosch (shtr&'-kosh), (i) Moritz,
Lemberg, Galicia, 1825 (1S30?) —
Paris, Oct. 9, 1887 ; pianist and im-
presario ; c. operas ; teacher of Ade-
lina, and husband of Carlotta, Patti.
(2) Max, d. New York, 1892 ; bro.
of above and equally famous as im-
presario. (3) Phoebe ; soprano ;
niece of above ; debut in opera,
Trieste, 1896 ; has sung at Covent
Garden, Met. Op., etc.
Stratton, Geo. W., Swanzey, N. H.,
U. S. A. — Berlin, 1901 ; lived Boston
as composer.
Straube (strow'-be), C. ; pupil of Rie-
mann, Rufer, and A. Becker; 1902
organist Thomaskirche (vice C.
Piatti).
Strauss (shtrows), (i) Jos., BrQnn,
1793 — Carlsruhe, Dec. I (2?), 1866;
violinist, mus. -director, ct. -conduct-
or ; c. operas. (2) Jn. (Sr.), Vienna,
March 14, 1804 — {oi scarlet fever)
Sept. 25, 1849. **Thc Father of the
Waltz " ; son of proprietor of a beer
and dance-hall ; conductor and com-
poser of 152 waltzes all more or less
famous. (3) Jn, (Jr.), Vienna, Oct
25, 1825 -"June 3, 1899; **Thc
Waltz- King"; son of above, whoop-
posed the mus. tastes of the three
sons, for whom the mother secured
secret instruction. In i844oondocU
WW
DICTIONARY OF MUSICIANS 683
««ai
or of court - balls and very succ.
orch. concerts. He had c. a waltz
at 6, and his later comps. eclipsed
the success of those of his father,
after whose death he united the two
orchestras. 1862, he m. the sing^er
Henriette TrefTz (d. 1878), and later
the sinj^er Angelica Dittrich ; c. 400
pes. of dance-music ; his waltzes
** The beautiful blue Danube^'
•• KUnstUrUben:' *' Wiener Blut,"
" The ioor Nights:' '* Wine, Wom-
en ami Songy'' etc., are dance-rhap.
sodics whose verve and colour have
deserved and won the his^hest praise
of severe musicians. His Tight operas
rival his waltzes in charm and succ.
and incl. the v. succ. ** Die Fleder-
maus'* ('74). (4) Jos., Vienna, April
25, 1827— July 22, 1870; bro. of
above, during whose illness in 1853
he served as cond.; later formed an
orch. of his own and learned the vln.;
on a tour to Warsaw he was mal-
treated by Russian ofiicers for whom
he h3ui refused to play, and died in
the arms of his wife (whom he had
m. in 1857) ; he c. 283 dances. (5)
Eduard, b. Vienna, Feb. 14, 1835 ;
bro. and succ. of Johann as cond. of
the ct. -balls and orch.; took his orch.
to America 1892 and iqoo ; c. dance-
mus. (6) Lud^i^, b. Pressburg,
March 28, 1835 — Cambridge, Engl.,
1899; violinist. (7) Victor von,
Royal opera conductor, Berlin, 1902.
(8) Ricnard, b. Munich, June 11,
1864. ; composer ; daring and brilliant
musical adventurer; son of (8) Fz.
S. (chamber-mus. and horn-player) ;
studied also with W. Meyer. At 4
he c. a polka. He took a regular
Gymnasium course 1874-82, and spent
two years at the univ. At 17 his
first symph. was prod, by Levi ; his
** Serenmie*' for 13 wind-instrs. had
much succ. with the Meiningen orch.
under von BQlow, to whom S. be-
came asst., and (1885) successor as
ct.-mus. dir. at Meiningen ; 1866,
3rd cond. at Munich ; 1889, ct.-cond.
at Weimar under Lassen; 1894, cond.
at the ct. -opera, Munich, also 1S94,
cond. Berlin Philh., and from 1898,
cond. at Berlin Royal Opera. He
m. the soprano, Pauline de Ahna,
who created " Freihilde " in his opera
** Guntram " (Weimar, 1894, Munich,
*95). His I -act opera ** Feuers-
noth*' ("Fire-Famine"), libretto by
Wolzogens, was prod. Dresden, Nov.
21, 1901, with much success. He has
also cond. with great succ. in various
cities. C. symph. op. 12 ; svmphonic
fantasic *^Aus Italien^* '* l^anderers
Sturmlied''* (Goethe), for 6-part cho-
rus, and full orch.; tone • poems,
''Don Juan" op. 20; '' Macbeth^*
op. 23; " Tod und Verkldrung" op.
24, the symph. poems ''Also sprach
Ziiraihustra " (after Nietzsche), *'^m
Neldenleben " (op. 40), and ** Don
Quixote "/ op. 28, Orchester-Rondo
" Till Eulenspieget s lustige Streiche' ;
chamber-mus. ; vln. -concerto ; 5
** Stimmungsbilder" for pf.; concer-
to for Wildhorn ; ** Enoch Ardent'
melodrama for pf. and recitation,
and sopgs. 1 6-part a cappella chorus
" Der Abend'* (igo2). ballad for
chorus and orch. ** Taillefer" (1902).
Biog. bv Dr. Arthur Seidl (Prague).
Richard Strauss.
By James Huneker
f ■ ^HAT Richara Strauss was the son of the *amous horn -player, may
I explain his predilection for the beautiful instrument. ^ At Meiningen
M, he met Alexander Ritter, a pupil of Wagner, and this friendship,
with Von Billow's daily coaching, decided Richard ^tr^uss's tendency in
48
684
THE MUSICAL GUIDE
art. He became a composer of the future, a man of the new school. He
travelled nuch — he went to Greece, Italy, and Egypt for incipient lung-
trouble — and on "guesting" tours, on which he was received with en-
thusiasm, for he is a modern conductor in all the implications of the phrase.
A man of good physique, Scandinavian in appearance, Strauss is widely
cultured and well read in classical and modern literature. ^In music he is a
true descendant of Berlioz, Liszt, and Wagner, though earlj' in his career he
showed marked traces of a devotion to Brahms. This is more noticeable in
his piano and orchestra Burleske in D minor, in the solo sonata and in the
«• Wanderer* s Sturmliedy** opus 14, for six-voiced chorus and orchestra
But the Richard Strauss we know to-day stands for all that is revoludonary
in the art. ^He has in his symphonic forms pushed to the verge of the
sublime— or the ridiculous, — or both — the poetic programme (Vide D. D.,
"program music"). His " Z>(7/r Juan,^* **Macbetby** ** Death and Trans-
fgurationy'' '*Tili EulenspiegeVs Merry Pranks,^* ''Thus Spake Zaratbus-
tra^''^ "Don Quixote,** and ** Ein Heldenleben** are tokens of labours
almost Balzacian in their intensity. An emotional strenuousncss, a marvel-
lous mastery of the orchestral apparatus, an abnormal colour and rhythmic
sense, combined with poedc feeling, bizarre, even grotesque methods of ut-
terance, an utter defiance of formalism either classic or romantic, and a
thematic invendon not commensurate with his other gifts — ^all these qotli-
ties jumbled in amazing juxtaposidon and flavoured by a powerflil individu-
ality, easily made Richard Strauss the leader of the New German School and
a formidable figure in the musical arena. ^[^^'^^^ ^^ flaming utterances in
" Don Quixote** and " A Hero*s Career ** the faith of some of his most
ardent disciples has been rudely shaken. " Either retreat or madness '* is
the critical cry, and Strauss is not a man to be moved, by prayer or assault.
So we find his two new solos for barytone and orchestra, sung at the Lower
Rhine Festival, June, 1900, in Aix-la-chapelle, more eccentric than ever.
^A brilliant composer, a strikingly intellectual man, Richard Strauss to-day
may be fairly called the leader of the musical Decadence. As a song-writer
his various collections have met with the greatest success, for he has a happy
method of welding music and poem into a perfect, if somewhat startling,
whole. Form he abandons utterly, striving to capture the idea as he per-
ceives it, in its full bloom. Opera 10, ij, 17, 127, 29, 32, are favourites ;
the newer songs are very difficult and almost cryptic in sendment and execu-
tion. Richard Strauss is the greatest living master of the orchestra.
Streabbog;. Vide ciobijaerts. of Bizet and Damcke, Paris ; critic
Street (shtrat). G. Ernest, b. of there; since 1898. of "Z*ifr/«V'V
French parents, Vienna. 1854 ; pupil c operettas, i-act mimodramft
DICTIONARY OF MUSICIANS 685
** Fides*' (Op.-Cora., 1894), 3-act
opera ^* Mtgnonette^ parody of
Thomas's ••ATiVntt^if " (1896), ballet,
" 5irara//f<»Mr^r withMessager,i89i,
etc.
Streicher (shtil'-kh^r), (i) Jn. Andre-
as, Stuttgart, 1 761— Vienna, X833;
piano-maker and professor ; 1793 inv.
the pf. -action which drops the ham*
mer from above ; succeeaed 1832 by
his son (2) Jn. Bapt., 17^4 — 1871,
who was succeeded by his son (3)
Emil.
Strelezkl (strM^t'-shkY), Anton (pen-
name of a Mr. Bumand (?)), b.
Croydon, Engl,, Dec. 5, 1859; pupil
of Leipzig Cons., and of Frau Schu-
mann; c popular songs, and pf*«
pes.
Strepponl. Vide verdi*
Strigrs^io (strYd'-jo), Ales., b« Mantua,
c.i. t<>3^' lutenist, composer and
con«lu\:tnr.
Strinaaacchi (stro-nS-sUk'-kc), Regi-
na, Ostiglia, near Mantua, 1764-*
1823 ; violinist.
Stro'g^ers, Nicholas, English ui^mik
ist and composer, 1685.
Strohmeyer (shtr6'-mT-€r), d. Weimar,
1845 ; bass.
Strong, G. Templeton, b. New
York, ca, 1855 : pupil of Leipzig
Cons«, and lives In Berlin ; c. symph.
"/» den Bergen**; symph. po«ni
*' Undine'' (op. 14); '^ Gestreht^
Gewonnen-^Gesekeitert*' j'{, orch. with
vin.-obbligato ; choral works with
orch.; pf.-pcs., etc.
Strond, Chas., 1705—1726; EngL
organist and composer.
Stro22i (strdd'-ze), (1) Pietro, b. Flor-
ence, i6th cent.; co-founder of the
stile ratpresentativo (v. PERi); set
to music Caccini*s " /<i Ma^carada
degli Accecati^ 1595. (2) Abbate
Gregorio, apostolic protonotary at
Naples, composer, 1653.
Btmbe (shtioo'.b^, Gustav, b. Ballen-
stedt, Harz, March 3, 1867 ; violin-
ist ; pupil of his father ; at 10 in
Ballenstedt orch.; at t6 pupil of Leip*
g]g Cons.; played la the Gewand-
haus Orch.; later prof, at Mannheim
Cons.; 1889, Boston, Mas?., in
Symph. Orch.; c. symph., etc.
Struck (shtrook), Jn. Bapt. (called
Batistm), Florence, ca. 1680— Paris,
1755 ; 1st 'cellist that ever played in
Paris Op^ra orch.; c. operas.
Stmngk (or Strunck) (shtroonk), Ni-
kolaus Adam, Celle, Hanover, 1640
—Leipzig, 1 7 10; violinist, organist
and dram, composer.
Struss (shtroos), Fz., b. Hamburg,
Nov. 28, 1847; violinist; pupil of
Unruh, Auer, and Joachim; 1870,
member Berlin ct. • orch.; tSSg,
" chamber-virtuoso ** ; 1887, ct.-Con-
rertmeister; also teacher Klindworth-
Scharwenka Conservatorium.
StnmpflQ (shtoompf), (i) Jn. Chr.y
bassonist at Paris, ca. 1785 ; com*
poser. (2) K.| b. Wiesentheid, Lower
Francoaia Apil 2t. 1848? lives in
Munch; theorist.
Stuntz ^sUtoontb), Jos. Hartmani,
Arlesheim, near Basel, 1793— Munich,
TP59 ; dram, composer.
Stfirmer (shtYr'-m^r), Helnrlch, 18 11
—Leipzig, 1902 ; operatic bass.
Sncco (zook'.k5), Retnhold, Gttrlitz,
1837 «— Breslau, 1897; organist,
teacher and composer.
Such (zookh), Percy, b. June 27,1^78;
'cellist; studied with Robt. Hias-
manns : toured ; lived in Berlin.
Sncher (zoo'-khSr), (i) Josef, b. Dor*
bor, Hungary, Nor. 23, 1844; emi-
nent cond.; studied singing and the
vln., Vienna; pupfl of Sechter
(comp.) ; vice-cond. of the acad. Ge«
sangverein; coach for solo singers
at the ct -opera ; 1876, cond. Leipzig
City Th. ; 1877, m, the distinguished
Wagnerian soprano, (2) Rosa
Hasselbeck (b. Velburg, Upper
Palatinate); 1878-88 they were en-
gaged by Pollinl at Hamburg ; later
as cond. of the Royal Opera at Bei^
lin (retired. 1899), and prima donna
(retired 1898^.^ Frau S. was daueh.
ter of a musician and sang small roles
at Munich and elsewhere at .^ jst f
later prominent in Wagniir 'op4nh
686
THE MUSICAL GUIDE
which she sang at Bayreuth and in
America.
Sudds, Win., b. London, Engl.,
March 5, 1843; at 7 moved with
his parents to a farm in Gouvemeur,
N. Y.; self-taug^ht; a bandm. dur-
ing the Civil War, and later pupil of
Eugcxf. Thayer (org.), and J. Eich-
berg ^vln. and comp.), Boston Cons,
of Music; lives m Gouvemeur as
teacher and pub. of various methods ;
c. 4 overtures, many dances, marches,
church mus., etc., for pf., incl. can-
taU " The Star of Bethlehem:*
6ak (sook), Joset, b. K?e6ovic, Bo-
hemia, Jan. 4, 1874 ; violinist ; pupil
and son-in-law of Dv6rdk at Prague
Cons., 1896, and vin. "Bohemian
String-Quartet *' ; c. a dramatic over-
ture •* IVinUr's Tale^'* symphony in
E ; suite for orch. op. 10 *' Ein
Mdrchen ** (1898), etc.
BariiTAO, Sir Artntir Seymour, Lon-
don, May 14, 1842 — Nov. 22, igoo ;
eminent composer of national Eng-
lish comic opera ; v. succ. in church-
mus. also; at 12 a chorister under
Helmore, Chapel Royal ; at 13 pub.
a song ; 1856, the first Mendelssohn
Scholar at the R. A. M.; studied also
at Leipzig Cons., etc. At 18 cond.
Ms overture ** La/la Rookh "/ at 20
prod, his mus. to " The Tempest*'
(Crystal Palace) ; at 22 his notable
cantata *' Kenilworth ** (Birmingham
festival) ; cond. of the London Phil-
harm. (1885-87); and from 1880,
the Leed*s Festivals. 1876-81, prin-
cipal, and prof, of comp. at the
Nat. Training Sch. for Mus. ; Mus.
Doc. h,e.^ Cambridge (1876}, and
Oxford (1879) ; Chev. of the Legion
of Honour, 1878 ; grand organist to
the Freemasons, 1887 ; knighted,
1883. C. symphonv (played at the
Gewandhaus, Leipzig, etc.) overtures
" In Afem4friam Ton his father's
death), " Marmion!^ ''Di ballot* and
'• Sapphire Necklace "; oratorios and
cantatas, incl. **The Golden Legend**
(1886); "^ Festival Te Deum"
(l87a)b Ode " / lyisJk to Tune my
Quivering Lyre J* with orch., a^d
succ. incid. mus. to 8 of Shake-
speare's plays and others ; c. mur^ •-.
succ. church-mus. of all kinds. Ilis
operas include the grand oper^
**Ivanhoe" (1891), the romaatic
opera, "Rose of Persic" (190c),
neither a succ.
His chiet contribution to music,
was his brilliant series of truly Eng-
lish comic operas, with the equally
brilliant Hbrettos of W. S. Gilbert.
Some of these had a world-wide
succ, and '^/Vr/f^yr^-^*' was a satire
of equal effectiveness with Moli^re*s
•* Les Pr/cieuses /Ridicules.** Among
16 comic operas were the following
great successes : *' Cox and Box
(1867). ''Trial hy Jury*' (1875),
•' H. M, S. Pinafor$^* (1878), " The
Pirates of Penzance** (1880), " Pcf
tience'* (1881), ''lolanthe** (1882),
" The Mikado ** (1885), ^'Ruddigore **
(1887), •' The Yeomen of the Guard**
(i888), •• The Gondoliers,** " Utopia
(Limited)** (1S93); *' Contrabatidis^
ta'* (1867, revised 1894 as "The
Chieftain**), " The Emerald Isle**
(1901), finished by Edw. German;
libretto by Basil Hood.
Sttlser (zool'-ts^r), (i) Jn. G., Winter-
thur, 1719 — Berlin, 1779; writer and
professor. (2) Salomon, of Jewish
parents, Hohenems, Vorarlberg, 1804
— Vienna, 1890 ; prof, of singing and
composer. (3) JuliuSi Vienna, 1834
— 1891 ; son of above ; violinist and
conductor, and c. operas. His sisters
(4) Marie and (5) Henriette ;are
sineers.
Sun'derland, Mrs. , b. Bright-
house, Yorkshire, 18 19; soprano; re-
tired, 1864.
Supp6, Fa. Ton (fon-zoop'-pa), Spala*
to, Dalmatia, 1820^ Vienna, May
22, 1895 ; very popular operetta com-
poser ; pupil 'of Padua, Cigala, and
Ferrari ; at first unpaid cond. at the
Josephstddter Th.; then at Pressburg
and Baden and at Vienna ; he c. 2
grand operas, a symph., a Missa Dal-
matica, a requiem, " Vestremo giudir
DICTIONARY OF MUSICIANS 687
e/<7," overtures (incl. the immensely
pop.*' Dichter und Bauer" pub. for
59 combinations). Of his Singspiele,
comediettas, etc., some (like ** Tan-
^.-nhauser** and ^* Dinorah^*) are
parodies, of the others the most succ.
«*re ** Fatinitza** (Vienna, 1076), and
•* Die Afrikareise " (I88J^
Surette (su-r^t), Thos. Whitney, b.
Concord, Massachusetts, Sept. 7,
1862 ; graduated Harvard, 1691 ;
pupil there of Arthar Foote (pf.), and
J. K. Paine ; organist, Baltimore ;
then University Extension lecturer
(Phila., Pa.); wrote treatises, etc.;
pub. 2 - act operetta ^^ Priscilla**
(given over 500 times), etc.
Suriano (or Soriano) (soo'. (or so')
rT-a-no), Fran., Rome, 1549— Jan.,
1620 ; conductor and notable com-
poser; pupil of Naninland Palestri-
na ; cond. S. Maria Maggiore, and
1603, at St. Peter's, Rome.
Sur'man, Jos., 1803 — 1871; English
tenor, conductor and composer.
Susato. Vide tylman susato.
SUssmayer (ztts'-mT-^r), Fz. X.,
Steyr, Upper Austria, 1766 — Vienna,
1803 ; conductor and dram, com-
poser.
Svendsen(svent'-z^n), (i) 01uf,Christi.
ania, 1832 — London, 1888 , flutist.
(2) Johan (Severin), b. Christiania,
Sept. 30, 1840; important, though
eclectic composer ; son of a bandm.;
at TIC. vln.-pcs.; at 15 enlisted in
the army and was soon bandm., and
played flute, clarinet, and vln.; with
a stipend from Charles XV., he
studied vln.; at 23 he became pupil
of David and Hauptmann, Richter,
and Reinecke, Leipzig Cons.; toured
1868-69. in Musard's orch. ; and at
the Odeon, Paris; 1S69, Leipzig;
1871, m. an American in New York ;
1872-77, and 1880-83. cond. Christi-
ania Mus. Assoc; 1883, ct.-cond. at
Copenhagen ; from 1896, cond.
Royal Th. there. C. 2 symphonies,
overture to Bjflrnson's ** Sij^urd
Slembe**; " Romeo ami Juliet^"* fune-
lal march for Charles XV., corona-
tion march (for Oscar II.), wedding*
cantata, etc., with orch.; op. 16,
** Carnaval des artistes norv^giens**
humorous march ; 4 ** Norwegian
/Rhapsodies** for orch.; vln. and
'cello concertos, chamber-music and
songs, etc.
Swan, Timothy, Worcester, Mass.,
1758 — Northfield, 1842 ; teacher and
composer.
Sweelinck (or Swelinck, the best 2
of the 7 spellings) (svi'-Itnk), (i)
Jan Pieter (called Jan Pieters-
zoon), Amsterdam, 1562 — Oct. 16,
162 1 : chief of Dutch organists. Son
and (1577-81) successor, probably also
pupil, of (2) Pieter (d. 1573), who
had won pre-eminence as the org.-
virtuoso and teacher of his own time
(i) was the first to employ the pedal
in a real fugal part, and originated
the org.-fugue.
Sweet'hand, W., org. -builder, Bath,
Engl., 19th cent.
Swert, Jules de. Vide deswert.
Swieten (sve'-t£n), Gf., Baron von,
1734 — Vienna, 1803; eminent patron,
but unimportant composer, of music;
c. 6 symphs.
Swinnerton, Heap. Vide heap.
Swoboda (svd-bo-da), August, d.
1901 ; teacher in Vienna ; pUb. text*
books (1826-32).
Sylva (sel'-va), Eloi, b. Geeraerds-
bergen, Belgium, Nov. 29, 1847 ;
noted tenor ; studied Brussels Cons.,
and with Duprez ; debut, Nantes ;
sang 7 years Paris Opera, then in
Russia, England and America ; 1889
Berlin.
Sympson. Vide simpson.
Szalit (sha -let), Paula ; b. 1886 (?) :
pianist ; pupil of Leschetizki.
Szaryady. Vide clausz-szakvady.
Sz6kely (sha'-k£-le), Imre (Emeric),
b. Malyfalva, Hungarv, May 8,
1823 ; pianist ; studied in Pesth ;
toured 1846 ; from 1852 teacher
Pesth ; c. Hungarian fantasias on
national airs ; pf.-concertos, etc.
Szumowska (shoo-mof'-shk^), Antol*
nette, b. Lublin, Poland, Feb. 22*
teft^
688
THE MUSICAL GUIDE
1868 ; pianist ; pupil of Strobel and
Michaiowskt at Warsaw* and of
Paderewski at Paris; has played
with g^eat succ. at London, Paris,
New York, Boston, etc.; m. Joseph
Adamowski ; lives in Boston.
Szymanowska (she-m&-n6f'-shkft),
Maria (nee Wolowska), Poland,
1790— <of cholera), Petersburg^, 1831 ;
pianist ; pupil of Field at Mos*
cow; ct.-pianist at Petersburg;
Goethe was infatuated with her
and she with him ; c. 24 mazurkas,
etc.
Tabourot (tl-boo-ro), Jean, Dijon,
1519— Langres, 1595 (?) ; a priest and
writer under the pseud. ** Thoinot
Arbeau.*'
Tacchinardi (t&k.kY.nar'.de), (i) Nico«
la, Florence, 1773 — 1859 ; at 17 a vio-
linist ; later a tenor of greatest Euro-
pean popularity, even singing ** Don
Giovanni" (transposed) with succ.,
though he was hideous and a hunch-
back. His daug[hter (2) Fanny Tac*
chinardi-Persiani (v. pbrsiani).
His daughter (3) EUsa was a
pianist.
Tadolini (tftKl&4e'.ne), (i) GioT., Bo-
logna, 1793 — 1872 ; dram, composer;
m. (2) Eugenia Savorini (b. Forli,
1809), a singer.
Taffenel (t&f •f&.n£l), Claude Paul,
b. Bordeaux, Sept. 16, 1844; flutist,
pupil of Doms (flute) and Reber
(comp.); 3rd cond. Grand Opera,
Paris; 1892, dir. Paris Cons, con-
certs— resigned, 190 1 ; 1893, prof, of
flute there.
Tag (takh), Chr. Gotthilf, Bayerfeld,
Saxony, 1735 — Niederzwonitz, 1811;
composer.
Tagliafico (taUyi-fe'.ko), (i) Jos.
Dieudonn6, b. Toulon, Jan. i, 1821;
operatic singer and stage-manager in
Lx>ndon ; married (2) — ~-— Cottis,
a singer.
Tagliana (tiU-yft'-nil), Emilia, b. Mi-
laoi 1854 ; pupil of the Cons, there.
also of Lamperti ; cok>rature-sopnm<i
in various cities ; 1873-77, • Vienna ;
pupil of Hans Richter; 1881-^2,
chamber-singer, Berlin.
Ttelichsbeck (takh' - Ilkbs . b«k),
Thos., Ansbach, 1799 — Baden- Ba«
den, 1867; violinist, conductor and
dram, composer.
Taglioni (tsU-yd'-ne), Fdo., b. Naples,
Sept. 14, 18 10; son of the famous
ballet-master Salyatore T. (1790 —
1868). 1842-49; cond. at Laziano;
till 1852, leader San Carlo Th., Na-
ples ; editor and conductor ; founded
a sch. for choral singing; pub«
pamphlets and sacred songs.
Talexy (t&-l£x-e). Adrien, Paris, 1820
—1 881; pf. -teacher and composer.
Tal(l)ys (or Tallis), Thos., ca.
(1520-29)-— London, Nov. 23, 1585;
an eariy English composer whose re-
markable contrapuntal ability and
harmonic richness place him close to
Palestrina. H is training is not known;
1540, he ceased to be oiganist at Wal-
tham Abbey and joined the Chapel
Royal ; he was co-oiganist with Byrd
and shared his monopoly of mus.-
paper and printing; he c. notable
church mus. for both Catholic and
English services, also a song in 40
parts, etc.
Tamagno (ta-m&n'-yo), Fran.» b. Tu-
rin, 185 1 ; robust tenor; debuj, Paler-
mo ; sang with great succ at Lol
Scala, M ilan, i8do. Has sung through-
out Europe and in both Americas.
' 1887, he created Verdi's " Otelio."
Tamaro (tii-mfi'-r5), Jotef, Barcelona,
1824 — New York, March 3, 1902 ;
noted tenor; pupil of Lamperti;
from 1876 teacher in America.
Tam'berlik, Enrico, Rome, 1820—
Paris, 1889 ; famous tenor ; pupil of
Borgna and Guglielmi ; debut, Na-
pleSf 1841; he had a powerful high
''♦
Tamburini (tam-boo-re'-ne). A., Faen-
za, March 28, 1800— Nice, Nov. 9,
1876. Next to Lablache, perhaps
the most succ. of male singers; a
lyric bass with compass of 2 octaveii
DICTIONARY OF MUSICIANS 689
the son and pupil of a bandm. A
horn-player first, then pupil of Boni
and Asioli ; d^but, Centi, 1818.
Taaaka (tl-na -ka). Shoh^, Japanese
theorist ; pupil of Spitta ; in v. the
enharmonium with just intonation.
Tanejelf (ti('-na.y«f), Semi, b. Rus.
sia, Nov. 13, 1856 ; pupil of N. Ru-
binstein and Tchaikowski ; prof, of
theory and comp. Moscow Cons.;
prod. 3-act opera ** OrestHa " (St.
Petersbursf, 1895).
Taosur (t&n'-stir), Win., Dunchurch
or Barnes? ca. 1700— St. Neots,
1783 ; or^nist, teacher, writer and
composer.
Tappjert (tap'-p«rt). Wm.p b. Obcr-
Thomaswaldau, Silesia, Feb. 19,
1830 ; important theorist ; a school-
master, then 1856, studied with Dehn
theory; Kullak^s Acad.; lived in
Berlin from 1866 as a writer, editor
and composer.
Tarchl (tSr'-ke), Aag^elo, Naples,
1760— Paris, 18 14; dramatic com-
poser.
Tarditi (tar-de'-te), Orasio, d. after
1670; from 1648, maestro Faenza
Oath.; composer.
Tartini (tftr-te'-ne), Giuseppe, Pirano,
Istria, Aprils, 169a — Padua. Feb. 16,
1770; eminent vtoiinist, composer and
scientist ; at Brst he studied for the
priesthood at his father's wish ; then
law, finally mus.; apparently self-
taught as a violinist. A charg^e of
abduction, due to his secret marriage
with a niece of Cardinal Comaro, led
him to take refuge in the Franciscan
monastery at Assist, where for two
years he practiced the vln. and stud-
ied comp. After a reconciliation he
returned to Padua. Later he heard
the violinist Veracini at Venice, and
sending his wife to relations, retired
to Ancona for further study. 17 14.
he discovered the combinational tones
(v. D. D.. ** resultant") and util-
ised them in perfecting intonation;
1721, solo-violinist and cond at St.
Antonio, Padua ; 1723-25, chamber-
mus. to Count Kinsky, Prague; x^^zS,
founded a vln. -school at Padua ;
pub. treatises on harm, and acoustics;
c. over 200 vln. -concertos, 50 sona*
tas with bass, etc., inci. the famous,
posthumous **// Trilh tUl Diavolo"
an effort to reproduce a sonata played
to him by the devil in a dream. Biog.
Fanzago (Padua, 1770) ; J. A. Hiller
(1784), Fayolle (1810).
Tasca (t£s'-ka), P. Ant., neo-Italian ;
c. opera ^* A Santa Lucia^^ succ. in
Germany, ig02.
Taakin (tfts-k&n), (i) Pascal, Theux
(Li^ge), 1723— Paris, 1795 ; cele-
brated instr. -maker in Paris ; introd.
the piano-pedal worked by the foot
instead of the knee ; inv. leather tan-
gents for clavichord, the armandine,
etc. (2) Jos. Pascal, 1750 — 1829;
nephew of above ; keeper of the
King's Instruments. (3) H. Jos.,
Versailles, 1779 — PariSj^ 1852 ; son of
above ; organist. (4) (£mtle) Alex.,
Paris, 1853 — 1897; grandson of (3);
barytone.
Taubert (tow'-WJrt), (i) (K. Gf.) Wm.,
Berlin, 181 1 — 1891 ; noted pianist
and composer of operas, incid. mus
to Shakespeare, etc. ; pupil of Neidt*
hardt, larger and Klein; ct.-cond. at
Berlin. (2) Otto, b. Naumburg<on-
Saale, June 26, 1833; pupil of O.
Claudius and •* prefect" of the cath.-
choir; 1863, prof., cantor and cond.
at Torgau ; pub. treatises ; com-
poser. (3) Ernst Eduard, b. Re-
genwalde, Pomerania, Sept. 25, 1838;
studied at the Stem Cons., Beriin ;
Prof., 1898 ; pub. chamber-mus.,
etc.
Taudou (t5-doo), A. (Antonin Bar-
th^l6my),b. Perpignan, France, Aug.
24, 1846 ; violinist ; pupil of Paris
Cons. , \yinning Grand prix de Rome,
1889; member of the Opera-orch.;
from 1883, prof, of harm, at the
Cons.; c. vln. -concerto, etc.
Tausch (towsh), (i) Fz., Heidelberg,
1762 — Berlin, 1817; clarinettist and
composer. (2) Julius, Dessau, 1827—
Bonn, 1895 ; pianist, conductor, com-
poser and writer.
690
THE MUSICAL GUIDE
Tausig: (tow'-zikh), (i) Aloys, 1820—
1885 ; pianist and composer, pupil
of Thalberg. (2) Karl, Warsaw, Nov.
4, 1 84 1 — (of typhoid fever), Leipzig,
July, 1871 ; remarkable piano-virtu-
oso ; son and pupil of above; and of
Liszt; debut, Berlin, 1858; lived Dres-
den and Vienna as notable cond.;
1865 founded a sch. at Berlin ; c.
brilliant exercises, transcriptions, etc.
Tauwitz (tow'-vTts), Eduard, Glatz,
Silesia, 1812 — Prague, 1894; con-
ductor ; c. more, than 1,000 comps.
incl. 3 operas.
Tavecchia (ta-vdk'-kY-a), Luigi; no-
table buffo ; debut in concert Milan ;
in opera at La Scala ; has sung in
Europe and America.
Tav'erncr, (i) John, d. Boston, Eng-
land; organist and composer at Ox-
ford, 1530. (2) Rev. J,, d. Stoke
Newington, 1638; organist and com-
poser.
Tayber. Vide teybkr.
Tay'lor, (i) Edw., Norwich, Engl.,
1784 — Brentwood, 1863 ; bass, con-
ductor, critic, lecturer and writer. (2)
Franklin, b. Birmingham, Engl.,
Feb. 5, i0^^3 ; pianist and teacher ;
pupil of C. Flavell (pf.) andT. Reds-
more (01^.) ; also of Leipzig Cons.;
1876-82, prof. Nat. Training Sch.,
and from 1883, at the R. C. M.;
Pres. of Acad, for the Higher Devel-
opment of pf. -playing ; writer and
translator.
Tchaikovsky (or Tschaikowski,
etc.) (tsha-e-kof'-shkT), Peter II-
jitch, Wotinsk, in the Government
of Wiatka, Dec. 25, 1840— (of chole-
ra) Petersburg, Nov. 6, i8g3 ; emi-
nent Russian composer. Studied
law, and entered the government
civil service ; did not take up mus.
seriously till 22 ; then entered the
newly founded Petersburg Cons.,
under Zaremba and A. Rubinstein,
1865, winning a prize medal for
Schiller's ode *' Am die Frtude^
(also used in Beethoven's 9th symph.);
1866-77, instructor of harm, there ;
then lived Petersburg, Italy, Switz-
erland, as composer, lie visited Eng-
land and appeared at Phil. Concerts,
1888 and '8g ; visited New York for
the dedication of the new Carnegie
Music Hall, and cond. his own com-
positions. 1893, Mus. Doc. h,c.^
Cambridge. Writer, and translator of
harm, text-books. C. 11 Russian op-
eras, incl.*' The Voyevode^'' (Moscow,
1 869), * * Opritchnnyk'' ( Petersb. , I S74).
*• Vakula, the Smith'' (Petersb.,
1876); '"Jevgenjie Onegin**; 1879.
** Eugene Onegin'' in German
(Hamburg, 1892), and posthumous
'''' Pique Dame *' (Vienna ct,-th., 1902);
3 ballets, " Le Lac des Cygfies " (op.
20), *'Zfl Belle au Bois Dormant^
(1890), and ''Le Casse- Noisette "(op.
7 1); a coronation cantata with orch. ; 2
masses : 6 symphs., incl. No. 6 in B
minor, the famous ** Path/tique** ; 7
symph. poems, ** The Tempest^'"
'* Francesca da /Rimini" *' A/an-
/red," ''Romeo and Juliet'' (a fanU-
sy-overture) ; " HamUt'' " Fa turn,"
and " I^ Voyevode" (symph. bal-
lad) ; 4 orch. suites incl. " Mozar-
tiana ;" 3 overtures ** 1812" (op.. 49),
" Triomphale" on the Danish natl.
hymn; '^L'Orage"; *• Marche slave,"
coronation march ; 3 pf .-concertos ; a
pf. -fantasia with orch.; vln. -concerto;
capriccio for 'cello with orch.; string-
sextet ** Souvenir de Florence^" 3
string-quartets, a pf.-trio, pieces for
vln. and *cello; and pf.-pcs., incl.
** Souvenir de IJapsal*' sonata ** The
Seasons^" 12 characteristic pes.,
** Kinder Album " ; 6 duets, Russian
songs, etc. Also pub. a harmony ; his
** Erinnerungen " and translation* of
Gevaert, etc.
DICTIONARY OF MUSICIANS 691
Tschaikowsky.
By Ernest Newman.
HALF French in his ancestry, Tschaikowsky' s prenatal influences
were a blend of East and West. While Westerns regard him as
typically Russian, his compatriots think him less << native" than
'Other Kussian composers. Like most Slavs, he drew sustenance more from
France than Germany. Brahms he thought dull ; Wagner he never really
understood. He loved music, he said, that came from the heart, that ex-
pressed '< a deep humanity," like Grieg's. To the delicate brain and nerves
of the modern man he added the long-accumulated eruptive passions of his
race. He takes the language made by the great Germans, and uses it to
express the complex pessimism of another culture. The colour of life in his
music ranges from pale grey to intense black, with here and there a note of
angry scarlet tearing through the mass of cloud. Almost all his work, like
TourgeniefTs, lies within the one scale of emotions ; but from relatively few
elements he evokes an infinite variety and complexity. In his songs, for ex-
ample, though jnelancholy is the dominant note of nine out of ten, each
paints a different shade of the generic mood. •[JMore interested in personal,
dramatic emotion than in music of abstract beauty, he worked his way
through and beyond the ordinary symphonic form, to the symphony with a
human significance or the symphonic poem Dure and simple. His phrases,
scoring his general conceptions, are vital, emotional, intimate. Music, he
held, must always interest in the first place ; and so he avoids the cold dis-
plays of technical artifice which Brahms, for example, so often gives us,
preiferring rather to repeat the old matter with variations of ornamentation.
^His real contribution to the history of music, apart from the general beauty
and expressiveness of his work, is the modification of the symphonic form in
obedience to a poetic idea. He takes up the suggestions bequeathed by
Berlioz and Liszt, and turns them into accomplished realities.
Tebaidini (ti-bUl-de'-ne), Giovanni,
b. Brescia, 1864 (?) ; pupil of Paolo
Chimeri ; at 15 organist of Brescia
Cath., and chorusm. Guillaume Th.;
later studied at Milan Cons.; ex-
l>eUed 1 8 86 for criticising a mass
written by a prof. ; after wandering
as organist and journalist, studied at
Ratisbon ; maestro, ** Schola Canto-
rum," San Marco, Venice ; 1894,
maestro, Padua Cath.; 1897, dir.
P^rma Cons. ; wrote org.-roetbod (v.
Bossi) ; c. opera ** Fantasia Araba^^
•* Afessa funHrf *' with Bossi, etc.
Tedesca (ta-dds'-ka), Fernanda, near
Baltimore, U. S. A., i86o — August,
1885 : violinist.
Tedesco (ta'-d^s'-kd), Ig^az (Ama-
deus), Prague, 18 17 — O-^-ssa, Nov.
13, 1882; brilliant pianist C*the
Hannibal of octaves*') ; composer.
Telemann (ta -l^-man), (i) G. Philippi
Magdeburg, March 14, 168 r — Ham«
burg, July 23, 1767; mainly self
692
THE MUSICAL GUIDE
taught; conductor; 1709, ct.-cond.;
he overshadowed J. S. Bach in con-
temporary esteem and was one of the
most prolific and facile composers
ever known ; c. opera ; autobiogf. ,
1731. (2) G. Michael, Plon, Hol-
stein, 1748 — Riga, 1831 ; grandson
of above ; cantor, theorist and comp.
Telle (t61'-l«), K., 1826— Klostemeu-
burg, 1895 ; ballet-composer.
Tel'ford. Vide francis boott.
Teliefsen, Thos. Dyke Acland,
Trondheim, Norway, 1823 — « Paris,
1S74 ; pianist and composer.
Temple, Hope, b. 19th cent, of Eng-
lish parents, Dublin ; pupil of J. F.
Barnett, and £. Silas, London, and
of A. Messager, whom she m. ; c.
operetta " The Wooden Spoon^*' and
numerous pop. songs.
Tem'pleton, J., Riccarton, Scotland,
1802 — New Hampton, near London,
1886; tenor.
Tenajrlia (ta-n&r.yS), Anton Fran.,
b. P lorence ; conductor at Rome ; c.
the first known opera using an aria
da capo, ** Clearco" 166 1.
Ten Brink. Vide brink, ten.
Tenducci (ten-doot'-che), Giusto F.,
b. Sienna, 1836 ; famous male opera-
tic soprano.
Ten Kate. Vide katb ten.
Termna (t&r-ne'-nft), Milka, b. Be.
gi^, Croatia, Dec. 19. 1864; no*
table dramatic soprano ; studied with
GSnsbacher ; d^but Leipzig, 1 883 ;
then sang Graz and Bremen ; 1890
Munich, named "court-singer"; sang
in Bayreuth and in America from
1899.
Teroan der, b. Antissa, Lesbos, 7th
cent. B.C.; caUed the ** Father of
Creek music.'*
Terradellas (Terradegltas) (t^r-ra-
d^r-l&s or dal'-yas), Domtng^o (Do-
menico), Barcelona, Spain (bap*
tised, Feb. 13, 1711V— Rome, 1751 ;
dram, composer.
ferschak (t^i^-shak), ikd., Prague,
April 21, 1832 — 1 901 : flutist ; pu-
pil of Zierer, Vienna Cons. ; toured :
C flute-pcs.
Terziani (t^r-tsY-t'-ne), Eugenio^
Rome, 1825 — 1889; prof,, conduct-
or and dram, composer.
Teschner (tdsh'-n«r), Gt. Wm..
Magdeburg, 1800— Dresden, 1883 ;
teacher, composer and editor.
Tesi-Tramontini (tii'.ze-triUm6n.te'«
ne), Vittoria, Florence, ca. 1695—
Vienna, 1775 ; famous contralto.
Tessarin (t^s'-sft-rin), Fran,, b. Ven-
ice, Dec. 3, 1 820 ; pianist and teach-
er; pupil of A. Fanno and G. B.
Ferrari ; c. opera •* VUlHm0 Abtn*
eerragio " (Venice, 1858) ; a cantata,
etc.
Tessarinl (t^s-sI-rS'-ne), Carlo, b.
Rimini, 1690; famous violinist,
writer and composer.
Testori (t^-to-ri), (i) Carlo Gin.,
vln.-maker at Milan, ca. 1687 — 1734,
with his sons (2) Carlo A. and (3)
Paolo A.
Teyber (or Tayber) (tl'-W?r), (i) An-
ton, Vienna, 1754 — 182a; conductor,
cembalist and composer. (2) Fa.,
Vienna, 1756 — 1810; bro. of above;
organist and dram, composer.
Thadewaldt (t&'-^«.vlllt), Hermaan,
b. Bodenhagen, Pomerania, April 8,
1827; 1850-51, bandm. at UUBsel.
dorf; 1893-95, cond. at Dieppe;
1857 at Berlin,
Thalbers: (t«l'.b«rkh), Siffitmnnd,
Geneva, Jan. 7, i8i2^Naples, April
27, 1871 ; famous piano- virtuoso and
composer. " Being the son of Prince
Dietrichstein, who had many wives
without being married, T. had several
brothers of different family names'*
(Grove). His mother was the Baron-
ess von Wetzlar. Both of the parentf
took the greatest interest in his edu-
cation. He was intended for a dip-
lomatic career, but after his succ. as a
pianist at 14, gave himself up to
mus. He had some tuition from
Hummel (pf.) and Sechter (comp.),
but chiefly from Mittag. a bassoon-
ist. At 16 three florid compositions
appeared; at 18 a pf. -concerto. The
same year he toured Germany witli
much 8U0C. 1834, ct«-planiM at Vie»
DICTIONARY OF MUSICIANS 693
na ; 1835, he conquered Paris, and
later the rest of Europe. 1843, he
m. Mme. Boucher, daughter of La-
blache ; 185 1, his first opera '' Fh-
rida^^^ failed in London, and 1855,
** CrisHna di Svttia " failed in Vi-
enna. He then toured Brazil (1855),
and 1856, United States ; retiring in
1858 to his villa at Posilippo, near
Naples. 1862, Paris and London ;
1863, second Brazilian tour ; 1 864,
retired again. He was remarkable
for his legato effects and for the sing-
ing-tone» Liszt saying ** Thalberg is
the only artist who can play the vio-
lin on the keyboard.'* He originated
the subsequ'^ntl/ abused scheme of
dividing a central melody between
the two thumbs, and enveloping it in
arpeggiated ornament. His comps.
include many florid transcriptions of
opera-tu.ies, also a grand concerto,
6 nocturnes, ** La Cadence" and
** Marc he funibre vari/Cy* etc.
Thal'lon, Robt., b. Liverpool, March
18, 1853 ; taken to New York at 2 ;
studied in Stuttgart, Leipzig, Paris,
and Florence ; lives in Brooklyn, N.
Y., as organist and mus. 'teacher.
Thayer (tha-«r), (i) Alex. Whee-
lock, South Natick, Mass., Oct. 22,
1817 — Trieste, July 15, 1897 ; grad-
uated Harvard* 1843 ; was librarian
there for some years; 1849 went to
Europe and began materials for life
of Beethoven ; 1862, America as
journalist ; 1854 returned to Germany
and frequently afterwards as his means
permitted; 1S62, U. S. consular ag^ent
at Vienna ; later, till death, consul at
Trieste ; besides many articles he
wrote a great but unfinished life of
Beethoven ; though written in Eng-
lish it has been pub. only in a German
trans, by H. Deiters, in 3 vols. (Ber-
lin, 1 866- 1 8 79). Though incomplete,
his biog. of Beethoven is his monu-
ment. (2) (Whitney) Eugrene, Men-
don, Mass., 1838 — Burlington, Ver-
mont, 1889; organist, editor, lecturer
and composer. (3) Arthur Wilder,
b. Dedham, Mass., Aug. 26, 1857 ;
pupil of Guilmette and Adams (sing-
ing), Chadwick and Zerrahn; cond.
choral societies in Lowell, Worcester,
etc.; 1882 at Dedham, 1885 at Mil-
ton; then mus.-dir. Eliot Ch«, New-
ton ; c. part-songs, etc.
Thetle (tr-l«), Jn., Naumburg, 164&--
1724 ; conductor and composer.
Theo'deri'ctts, Sixtus. Vide die-
TR1CH
Them (tftm), (i) Karl (Karoly), Igto,
Upper Hungary, 1817 — Vienna, 1886;
conductor, professor and dram, com-
poser. His sons and pf. -pupils (also
pupils of Moscheles and Reinecke),
(2) WtUt (b. Ofen, June 22, 1847),
and (3) Louis (b. Pesth, Dec. 18,
1848), were teachers.
Thibaud (te'-bd). (i) Jos., b. Bor-
deaux, Jan. 25, 1875 ; pianist ; pupil
of L. Diemer, Paris Cons., taking
1st prize for pf. -playing, 1892; 1895-
96, accompanied Marstck to America.
(2) Jacques, b. 1880; French pian-
ist.
Thibaut IV. (te-bd-kiitr), King of
Navarre ; Troyes, 1201 — Pamplona,
1253 ; composer.
Thibaut (te'-bowt), Anton Fr. Jus^
tus, Hameln, 1774 — Heidelberg,
1840 ; professor and writer.
Thiele (te'.16), (i) Ed., b. Dessau,
Nov. 21, 1812; mus.-dir. at Kothen,
organist and prof, at the Sieminary ;
1855, Dessau; i860, Hofkapell*
meister; c. a mass, etc. (2) K. L.,
Harzgerode, near Bemburg, 1816—
Berlin, 1848 ; organist and composer.
Thieme (called Thi^m^) (t^'-mS, or
t'ya'-ma), Fr,, (^ermany (?) — Bonn,
1802 ; publisher of text •books, and
comDoser
Thierf^er (ter'.f«lt.£r). Dr. Albert
(Wm.), b. Mahlhausen, April 30,
1846; pupil of Leipzig Univ. and Dr. ^
Phil.; studied with Hauptmann,
Richter and Paul ; cond. various
cities ; from 1887 mus.-dir. and prof.
Rostock Univ.; writer of important
treatises ; prod. 5 operas, incl. succ.
' ' Der lleirathsiein " (text and music>
(Rostock, 1898), '' ZlaUn'9g" an^
694
THE MUSICAL GUIDE
** Frau Holde^* for soli, chorus, and
orch., and 2 symphs. , etc.
Tfateriot (te'-rl-ot), (i) Paul Etnil,
Leipzig, 1780 — Wiesbaden, 1831 ;
violinist. (2) Fd., b. Hamburg,
April 7, 1838 ; pupil of E. Marxsen,
and Kheinberger; mus.-dir. at Ham-
burg, Leipzig, and Glogau; lives in
Hamburg; c. symph. fantasy ''Lock
Lamotid^^ vin. -concerto, etc.
Thillon (te-yon), Anna (nee Hunt),
b. Lx)ndon, 1819; verysucc. soprano;
pupil of Hordogni, Tadolini, and
Thillon, marrying the last named at
15 ; debut, Paris, 1S38 ; 1844, Au-
ber's ' * Crown Diamonds " was writ-
ten for her; 1850-54, in America, the
first to produce opera in San Fran-
cisco ; retired 1867 to Torquay.
Thimus (te'-moos), Albert, Freiherr
von, Cologne, 1806 — 1846 ; writer.
Thirl'wall, (i) J. Wade, Shilbottle,
Northumbria, 1809 — 1875 ; critic,
conductor and composer. (2) Annie,
daughter of above ; soprano.
Thoinan, E. Vide roqukt.
rhoma (to'-mil), Rudolf, b. Lehse-
witz, near Steinau-on-Oder, Feb. 22,
1829; pupil of R. Inst, for Church-
mus., Berlin; 1857, cantor, Hirsch-
berg, then Breslau, 1870, ** R. Music
L)ir." ; founder of a singing-soc, dir.
of a sch.; c. 2 operas, 2 oratorios,
etc.
Thomas (to'-mas), Chr. Gf., Wehrs-
dorf near Bautzen, ^748 — Leipzig,
1806 ; writer.
Thomas (to-mds) (Chas. Louis),
Ambroise, Metz, Aug. 5, 18 11 —
Paris, Feb. 12, 1896; pupil of Paris
Cons.; winning ist pf. -prize, 1829;
harm.", 1830 ; Grand prix de Rome
(1832), with cantata '* Hermann et
Ketty.^* After 3 years in Italy, re-
turned to Paris, and up to 1843, prod,
nine stage-pcs., at the Opera and
Op. -Com. with fair succ. The fail-
ure of the last was retrieved after a
silence of 5 vears by **Z^ C'lV/ "(1849),
'' Le Son/e d' Une Nuit d'f:tr
(1850, both at the Op.-Con^). 1851
elected to the Acadernie. Tne next 6
operas were only moderately succ, ;
but '' Mignon'^ (Op.-Com., 1866)
made a world-wide succ. and ''Ham'
^/" (Opera, 1868) a lasting succ. in
Paris, where it is still sung. ** GilU ii
Gilloiin" (1874), '' Franfoise de Ri.
mini "{iS%2), and the ballet, '* Ztf
Tempi W (Opera, 1889), were his last
dram, works ; 187 1, dir. of the Cons.;
1845. Chev. ; 1858. OflScier ; 1868^
Commander of the Legion of Hon.
our. C. also cantatas; messe solea
nelle (Notre-Dame, 1865) ; mani
excellent ** choeurs orpheoniques^
(3-part male choruses), etc.
Thomas (tam'-Us), (i) J., b. Brigend
Glamorganshire, March i, 1826,
1861 made " Pencerdd Gwalia," i>.,
Chief Bard of Wales ; pupil at the
R. A. M.; 185 1, harpist, R. It- Op-
era ; toured Europe, 1852-62 played
at the (lewandhaus, etc. 1862, co'nd.
of the first annual concert of Welsh
mus., with a chorus of 400, and 20
harps; 1871, harpist to the Queen;
leader in the Eisteddfodau, and harp-
prof. R. C. M. C. dram, cantata
*'Z/«cW^«"(i8<)3); a W^elsh scene
" The Bride of Neath ValUy " (1866);
patriotic songs, with harp ; 2 harp-
concertos, etc. (2) Lewis Wm.,
Bath, April, 1826— London, 1896 ;
concert-bass, editor and critic. His
sons are : (3) W. Henry (b. Bath,
May 8, 1848), prof, of singing, Guild-
hall and R. A. ^L; and (4) Frank
L., conductor and organist at
Bromley. (5) Harold, b. Chelten-
ham, July 8, 1834 ; pianist ; pupil of
Stemdale Bennet. C. Potter, and
Blagrove ; debut 1850 ; pf.-prof.
R. A. M. and Guildhall Sch., Lon-
don ; c. overtures, etc. (6) Theo-
dor(e), b. Esens, Fast Friesland,
Oct. n, 1835 ; eminent cond., edu-
cator and stimulator of mus. taste in
America; son and pupil of a violinist,
at 6 played in public ; at 10 was
brought to New York, where he soon
entered an orch.; 185 1, toured as
soloist, later with Jenny Lind, Grisi
etc.; 1S55, began the Mason an(i
DICTIONARY OF MUSICIANS 695
Thomas Soirees (with Dr. \Vm. Ma-
son) ; 1864-69 cond. ** Syraph. Soi-
rees " ; 1869 made concert-tour with
an orch. of 54 ; 1876 at Philadelphia
Centennial with ill-succ leading to
disbandment ; 1878-80, pres. Cin-
cinnati Coll. of Mus.; 1880, cond.
New York, Philh. Orch.; from 1888,
dir. Chicago Cons., also cond. Chi-
cago Orch. (7) Arthur Goring,
Ralton Park, near Eastbourne, Sus-
sex, Nov. 21, 1850 — London, March
20, 1892 ; took up music at 24 and
studied with £mile Durand, later with
Sullivan and Prout R. A. M., Lon-
don, winning Lucas Prize, 1879; lived
in London. C. 2 operas, v. succ.
^^ Esmeralda^* (I)rury I^ne, 1883,
New York, 1900); '' JVadeshda**
(188O: ** 7^he GolUn Web'' (score
finislied by Waddmgton, Liverpool,
1893) ; a choral ode, ** The Sun
Worshippers'* (Norwich, i88r), v.
succ. cantata, " The Swan and the
Skylark" (Birmingham, i8()4, instru-
mented by C. V. Stanford) ; psalm
with orchestra (1878) ; 3 vocal
scenes, ^* J/ero and Leanier " (1880),
etc.
Thomas Aqui'nas (Saint Thomas of
Aquino), Rocca Sicca, near Aquino,
Italy, 1225 (27?) — Kossa Nuova,
near Terracina, 1274 ; famed theolo-
gian and philosopher ; he c. a no-
table communion service.
Thom6 (to-ma), Francis (rightly
Francois Luc. Jos.), b. Port I>ouis,
Mauritius, Oct. 18, 1850 ; pupil of
Marmontel (pf.), and Duprato (theo-
ry), Paris Cons.; lives in Paris as
teacher and critic ; c. * * Rom^o et Ju"
Hette" {i^(p)\ a mystery, ''L' Enfant
//j//j'* (1891) ; symph. ode ^^Ilymnt
h la Nuit" and many pop, songs
and pf.-pcs.
Thomson (t^m'-siin). (i) Geo., Lime,
kilns, Fife, 1757 — Leith. 185 1 ; not-
able coll. and pub. of Scotch, Welsh
and Irish melodies, to which he had
special instrumental accompaniments
written by Beethoven, Pleyel, etc.
^2) J,, Spfoutson, Roxburgh, 1805—
Edinburgh, 1841; conductor and
dram, composer.
Thomson (ton-son), C6sar, b. Li^e,
March 17, 1857; notable iolinist ;
from 7 pupil of I«icge Cons.; at ii,
winning the gold medal ; then pupil
of Vieuxtemps, Leonard, Wieniaws-
ki and Massart ; 1873-83, chamber-
mus. to Baron von Derwies at Luga*
no, and a member of Bilse's orch.,
Berlin ; 1883-97, teacher at Li^ge
Cons.; 1898, vln.-prof. Brussels Cons,
(vice Isaye) ; has toured widely ; 1894,
United States.
Thorndike, Herbert Elliot, b. Liver-
pool, April 7, 185/; concert-bass;
d^but, Cambridge, 1878 ; 1887, Dru-
ry Lane.
Thome (thorn), (i) Edw. H.,b. Cran-
borne, Dorset, May 9, 1834 ; pirnist
and org. ; chorister under Elvey ; or-
ganist various churches ; from 1891,
at St. Anne's, Soho, London ; cond.
St. Anne's Choral and Orch'l Soc.
C. Psalm 57, with orch. (1884); Mag-
nificat and Nunc dimittis with orch,
and organ ; an overture ; ** Sonata
elegia " for pf . (2) Thos. Pearsaliy
American composer of comic operas,
'' Leandro" (New York, 1898),
etc.
Thuille (too-eM£), L. (Wm. Andt.
M.)i b. Bozen, Tyrol, Nov. 30, 1861;
pupil of Jos. Pembaur (pf., cpt.), at
Innsbruck; Baermann (pf.) and
Rheinb3rger (comp.) Munich Mus.*
Sch.; from 1883, teacher of pf. and
theory there; also cond. ^^ Lieder^
hort : 1 89 1, R. Prof, of Mus.; c.
succ. opera ** Theuerdank" (Munich,
1897, Luitpold Prize), opera ^^ Lobe»
tanz'* (Carlsruhe and Berlin, 1898);
** Romantic" overture, sextet fot
piano and wind, sonatas, etc.
Thun'der, H. G., near Dublin, 1832—
New York, 1891 ; pianist, organist
and composer.
Thiirling^a (tOr'-llngks), Ad., since
1877, prof, of Old-Catholic theology
at Bonn; Dr. Phil., Munich, witl
disseitation, '* Die beiden Tonge-
schlechter undditneucr^ mus, Thio
696
THE MUSICAL GUIDE
'ki*
riV" {1877) (advooati:ii- harmonic
dualism).
Thru'nAm, Ed., War\vicK,i325— 188-;
organist and composer.
Thumer (toor'-n^r), Fr. Eug^cn.
Montbeliard, 1785 — Amsterdam^
1827; oboe-virtuoso ; composer.
Thumtnayer. Vide aventinls.
Thurs'by, Emma, b. Brooklyn, N. Y.,
Nov. 17, 1857; famous concert-so-
prano; pupil of Meyer (Brooklyn),
Errani (New York) and Mme. Ru-
dersdorif (Boston), then of Lamperti
and San Giovanni, Milan ; concert-
debut, America, Plymouth Church,
Brooklyn, 1875 » san^ in concert and
oratorio, and with Gilmore (1875) ;
frequently toured Europe and Amer-
ica with great succ. ; compass c'-e'"
(v. PITCH, D. D.). "^
TichAtschek (tekh'-ftt-sh^k), Jos.
Aloys, CJber-Weckelsdorf, Bohenp'a,
1807 — Dresden, 1886; tenor; cre-
ated Wagner's **^iV/f« " and ** Tann»
kduser,"
Tieffenbriicker. Vide duiffoprug-
GAR.
Tiehsen (te'-z^n), Otto, Danzig, 1817
— Berlin, 1849 ; c. comic opera.
Tiersch (tei^h), Otto, Kalbsrieth,
Thuringia, 1838 — Berlin, 1892 ; sing-
ing-teacher and theorist.
Tiersot (tY-lfr'-sd), (J. Bapt. Eli-
s^e) Julien, b. Bourg, Bresse,
France; pupil of Fmnck, Paris Cons.;
from 1883, asst. libr. there; pub.
essays, incl. ** Histmre de la chan^
son populaire en france^^ Bordun
Prize, 1885 ; c. ** Hellas'* for soli,
chorus and orch.; rhapsodies on pop-
ular airs, etc.
Tietjens (rightly Titicns) (tet'-yens),
Therese Johanne Alex., of Hun*
garian parents, Flamburg, July 17,
1831— London, Oct. 3, 1877; famous
soprano ; teachers unknown ; debut,
Hamburg, 1849; from 1858, chiefly
in London in g^tand and comic opera.
(ii'bor^hs, Jos., b. Nieuwmoer, Sept.
28, 1830; theorist ; pupil of Lemmens
(org.) and F^tis (comp ), Brussels
Cons,; from t882« prof, of oc^..
Ghent Cons.; and of cpt. Antwerp
Mus.-Sch.; comp. ofgan-pteces and
motets.
Tiiman (tel'-miln), Alfred, Brasseis,
1848 — 1805 ; composer and pianist
Tllmant (ter-mftn), (1) Th6ophile
Alex., Valenciennes, 1799 — ^Asniercs,
1878; conductor. His brother (2)
Alex., r8c8 — Paris, 1880 ; 'cellist.
Tiitutnoff (te'-man-6f). Vera, b. Ufa,
Russia, Feb. 18, 1855 ; pianist ; pu-
pil of L. Nowitzky, A. Rubinstein,
Tausig and Liszt ; lived in Peters-
burg, Prague (187 1) aild Vienna
(1872).
Timm (tYm), Henry Christian, Ham-
burg, Germany, 181 1 — New York,
1892 ; pianist and org. -composer.
Timm'ner, Christian, b. i860 ; Dutch
\'iolimst ; pupil of Wirth ; toured ;
then retired 1894 for eight years*
practice ; reappeared in Berlin, 1902.
Tinc'toris, Jonannes (called John
Tinctor ; or Giov. Del Tintore ;
rightly Jean de Vaerwere (vSr'-wa-
r*)), Poperinghe, 1434 (or 35, some say
1450) — Nivelles, 1511 ; canon ; wrctc,
1477, the earliest known diet, of mus.
(ca. 1475), <^-c.; composer.
Tinel (tS-n^l), Edgar, b. Sinay, BeU
gium, March 27, 1854; pianist and
composer ; son and pupil of a poor
school-teacher and organist ; pupil
also of Brussels Cons. ; ist pf .-prize,
1873, and pub. op. i, 4 nocturnes
for solo-voice with pf.; 1877, won
Grand prix de Roiile w. cantata
^' Klokke Roeland'' (op. 17); 1881,
dir. Inst, for Sacred Mus. at Ma-
lines ; 1888, prod, very succ. oratorio,
*^ Franciscus''* (op. 36); 1889. in-
spector State mus. schs.; 1896, prof,
of cpt. and fugue, Brussels Cons.;
pub. a treatise on Gregorian chant,
and prod, a ^* Grand Mass of the
Holy Virgin of Lourdes** for 5 parts
(op. 4t), Te Deum, Alleluia, motets
and sacred songs, incid. mus., pf.*
pes., etc.
Tiraboschi (t^rii-b6s'-ke), Girolama
Bergamo, 1731 — Modena. 1797
writer.
DICTIONARY OF MUSICIANS 697
TirindeUi (t^iln-djl'-le). P. Adolfo,
b. Conef^liano, Italy, 1858 ; violinist;
pupil Milan Cons.., then of Boniforti;
cond. at Gorisia 3 years, then stud«
led with GrQn and Massart; 1887,
vln.-prof. Liceo Benedetto Marceilo,
Venice ; 1893, dir., also cond. '* Ver-
di Orchestra *'; made Cavaliere, 1894;
played with the Boston Symph.
Orch. in 1895 ; c» i-act opera
*'VAUnaide'' (Venice, 1892). etc.,
now prof. Cincinnati Cons.
Titl (tet'.M), Anton Emil, Pemstein,
Moravia, 1809— Vienna, 1882; con-
dnctor and dram, composer.
Titoff (te'-toO, Nicolai Alexeije-
▼itch, St. Petersburg, 1801 — 1876 ;
c« songs.
Ti(c)tac (tct'-ts«), L,, 1797— 1850;
tenor at Vienna*
Todi (to ^e), LnizA Roha (n^ de
A^iar), Setubal, Portugal, Jan.
9» i753-^Li8bon, Oct. I, 1833; fa-
mous mezso-soprano ; an actress at
15, then pupil of Perez ; sang Lon-
don, 1712 ; 1777 V. succ. at Madiid ;
1783 provoked a famous rivalry with
Mara ; 1780 ct.-singer, Berlin. When
she died she left her 2d husband and
her 8 children $80,000 and much
jewelry.
Todini (to-de'-ne), Michele, b. Salu/-
zo, ca. 1625 ; musette-player and
instr.*maker, at Rome.
Toedt (tat). Theodore J., b. New
York, Feb. 4, 1853 ; choir-boy, Trin-
ity Parish, 1861-71 ; pupil of Mrs.
Ho'.*n * Rust ; singer in oratorio,
church, and concert ; lives in New
York as a vocal teacher ; blind from
1895.
Toeschi (to-as'-ke) (in German t&'-
she), (i) Carlo Giu. (rightly Toesca
della Cattella*Monte), Komagna,
1724 — Munich, 1788, ct.-mus. , direc-
tor and composer. (2) Jn. Bapt.,
Mannheim, ca. 1745 — Munich, May,
1800; son and successor of above;
noted violinist ; c. 18 symphs., etc.
Tofts, Mrs. Katherine, first English-
woman to succeed in Italian opera ;
most successful soprano; accumu-
lated a fortune, lost her reason 1709,
and d. after 1735 ; m, Jos. Smith.
Tolbecque (tol'-b^k), four Belgian
brothers, (i) Isidore Jos., Han.
zinne, 1794 — Vichy, 187 1 ; conductor
and composer. (2) Jean. Bapt.
Jos., 1787 — Paris. 1869 ; violinist
and conductor. (3) Aug^. Jos., 1801
•^Paris, 1869 ; violinist. (4) Chas.
Jos., Paris, 1806— 1835; violinist
and conductor. (5) Aug., b. Paris,
March 30, 1830 ; 'cellist ; pupil of
the Cons., and 1849 ^^^^ ^^ P"^ •
1865-71, teacher Marseilles Cons. ;
later 'cellist in the Paris Cons. con«
certs; pub. **/.« Gymnastiqut du
Violonceiie*' (op. 14) ; prod. succ. i-
act comic opera **w4/r^j la Valse**
(Niort, 1895). His son (6) Jean, b.
Niort, Oct. 7, 1857 ; 'cellist ; pupil
Paris Cons. ; 1873, took ist 'cello-
prize.
Tol'let, Thos., English pub. and com-
poser, 1604.
Tomaschek, Jn. Wenzel (rightly
Jan VAclav Tomiftek) (tam'-a-
sh£k), Skutsch, Bohemia, April 17,
1774 — Prague, April 3, 1850; notable
pianist, organist; also c. operas and
pf.-pcs.
Tomasini (td-mfi-se-ne), (i) Luigi
(Aloysius), Pesaro, 1741— Esterhaz,
1808 ; \noUnist and director ; he had
two daughters who sane in opera at
Eisenstadt and 2 sons, (2) Luigt, Es.
terhaz, 1779 — after 1814; violinist*
(3) Anton, Eisenstadt, 1775 — *S34t
viola-player and leader.
Tombelle (toh.b^i), Fd. de la, b.
Paris. Aug. 3, 1854 ; pupil of Guil-
mant and Dul)ois, Paris Cons. ; his
quartet and symph. won ist prize of
the ** Societe des compositeurs" ; Of-
ficer of Pub. Instruction, Paris ; c.
orch. -suites, etc.
Tomeoni (t5-ma-o-ne), (i) Florido,
Lucca, 1757 — Paris, 1820; teacher
and theorist. (2) Pellemno, b.
Lucca, ca. 1729; bro. of above;
teacher and writer in Florence.
Tom' kins, (i) Rev. Thos., Engl, com-
Doscr, Gloucester, 1600. His ion
698
THE MUSICAL GUIDE
(2) J., d. 1638 ; organist and com-
poser. (3) Tho8., d. 1656 ; organ-
ist at Worcester caih. ; composer ;
son of (i). (3) Giles, d. 1668 ; bro.
andsucc. of above. (4) Robt., son of
(2); 1641 one of the King's musicians.
Tom'lins, Wm. Lawrence, b. Lon-
don, Feb. 4, 1844 ; pupil of Macfar-
ren, and Silas ; 1869, America, from
1875 singing-t. and cond. Apollo Glee
Club, Chicago ; pub. ** Children's
Songs^ and How to Sing Them "
(1885?).
Tommasi (tdm-msls'-se), Giu. M.»
Cardinal, Alicante, Sicily, 1O49 —
Rome, 1713 ; writer.
T6pfer(tep'-f€r), Jn. Gl., Niederrossla.
Ihuringia, 1791 — Weimar, 1870; or-
ganist, writer and composer.
Torch! (tor'-ke), Luigi, b. Mordano,
Bologna, Nov. 7, 1853 \ graduate,
Bologna Cons., 1876, then studied
with Serrao (comp.) at Naples Cons,
and at I^ipzig Cons, where he c. a
symph., an overture, a string quartet;
1885-91, prof, of mus. history, Liceo
Rossini, Pesaro; then at Bologna
Cons., since 1895 also prof, of comp.;
has begun a great 34-vol. coll. of tiie
chief Italian works of the 15-18 cen-
turies, •• Varie musicaU in Italia,**
Torelli (to-r^l'-le), Giu., Verona, ca.
1660 — Ansbach, 1708; violinist and
composer; originator of the ** con-
certo grosso."
Tor'rance, Rev. G. Wm., b. Rath-
mines, near Dublin, 1835 ; chorister,
Dublin ; organist at St. Andrew's,
and St. Anne's ; studied at Leipzig,
1856; 1866, priest; 1869, Melbourne,
'Australia; since 1895. incumbent at
St. John's there ; Mus. Doc, h, c,
Dublin, 1879 ; c. succ. oratorios,
'* Abraham** (Dublin, 1855), ** r^<r
Captivity " (1864), and '* The Reve^
&A>m"' (Melbourne, 1882), services,
an opera, etc.
Torri (tdr'-re), Pietro, ca. 1665— Mu-
nich, 1737; court • conductor and
dram, composer.
Torrinrton, Fr. Herbert, b. Dud-
ley, LngL, Oct 20^ 1837; pianist
and conductor ; articled pupil of Jas.
Fitzgerald ; at 16 organist at Bcwd-
ley ; 1856-68, organist. Great St.
James's Church, Montreal, Canada;
also solo-violinist, cond. and band-
master; his orch. represented Canada
at the Boston Peace Jubilee, 1869:
then teacher New Kngl. Cons.; isl
vln. Handel and Haydn, and othei
socs. ; from 1873, organist Metro-
politan Ch., Toronto, Canada, and
cond. Toronto Philh. Soc. ; 1886, 01 -
ganised the first Toronto mus. festi-
val ; 1888, founded Toronto Coll. of
Mus.; c. services, etc.
Tosel'li, Enrico, b. Florence, 1877 ;
pianist ; pupil of Sf^mbati and Mar-
tucci ; debut Monte Carlo, i80;
played in London and America, 1901.
Tosi (to'-zey. Pier Fran., Bologna,
1647 — London, 1727 ; celebrated
contralto musico and singing-teachei
Tosti (tos'-te), Fran. Paolo, b. Orto.
na, Abnizzi, April 9, 1846 ; pupil of
the R. C. di S. Pietro a Majella,
Naples; sub-teacher there till 1869 ;
then ct. -singing-teacher at Rome ;
1875 sang with great succ. London,
and has since lived there as a teacher ;
1880, singing-master to the Roya^
family; 1894, prof. R. A. M.; puh
a coll. of ** Canti popolari ahrutzisi
(Milan), and c. pop. songs.
Tottmann (tot'-man), Carl Albert, b.
Zittau, July 31, 1837; studied Dres
den, and with Hauptmann, at Leip
zig Cons.; violinist in the Gewand-
haus Orch.; teacher of theory and
history at Leipzig, also lecturer ;
1873, Prof., for his valuable compen-
dium of vln. -literature ; pub. also
essays, etc.; c. a melodrama ** Darn-
rdschen** Ave Maria, etc.
Toulmouche (tool-moosh), Fr., fa-
Nantes, Aug. 3, 1850 ; pupil of Vic
tor Masse ; 1894, dir. theatre ** Me-
nus-Plaisirs"; since 1882, prod. man>
operettas.
Tourj^e (toor-zha). Dr. Eben, War-
wick, Rhode Island, 1834 — Boston,
1890 ; organist, teacher and foundef
of N. E. Cons.
DICTIONARY OF MUSICIANS 699
Tours (toors), Berthold, Rotterdam,
Dec, 17, 1838 — London, March 11,
1897; vioiinist, com}x>ser and editor;
pupil Brussels and Leipzig Conserva-
tory.
Tourte (toort), Fran., Paris, 1747 —
1835; famous maker of vln.-bows;
est. the standard since followed.
Towers, J., b. Salford, Feb. 18, 1836 ;
pupil of R. A. M. and of Marxi Ber-
lin ; conductor and organist, Man-
chester, England.
Tracy, Minnie, b. New York ; so-
prano; sang with Ilinrich's Opera
Co., Philadelphia; later at Geneva
and elsewhere ; 1900 with Am. Op.
Co.. Met. Op.. N. Y.
TraetU (tr«-dt'-ta) (not TrajctU), (1)
Tommaso (Michele Fran. Save-
rio), Bitonto, Naples, March 30, 1727
— Venice. April 6, 1779; pupil of
Durante ; 1758, maestro to Duke of
Parma ; 17O5, given a life-pension by
the Spanish King; 1768, ct -com-
poser at Petersburg ; he prod. 37 op-
eras, manv of them v. succ. ; c. also
an oratorio, masses, etc. (2) Filip-
po, Venice, 1777— Philadelphia, 1854;
son of above ; from 1799 in America
as an exile ; wrote a vocal method ;
c. opera, oratorios, etc.
Trasantino (tra-soon-te'-no), Vito,
harps.-maker and inv., Rome, 1555 —
i6()6.
Trautmann, Marie. Vide jakl, ai.-
KRKD.
Trautwein (trowt'-vln), Traugott,
founded (1S20) mus.-pub. business,
at Berlin, transferred in IVS40 to J.
Guttentag, and by him to Martin
Bahn (1858). ,
Travenol (tra-vfi-nol), Louis, d. 1783 ;
vln. -maker and writer, Paris.
Trav'ers, J., d. 1758 ; English organ-
ist and composer.
Trcbelli (tra-b«l'-le), Zella (rightly
Goillcbert), Paris, 1838— Etretat.
Aug. 18, 1892 ; noted mezzo-soprano;
pupil of VVartel ; debut, Madrid,
1859; 1863, m. Bellini; sang in
Europe and (1884) U. S. with great
succ.
Tree, Anna M., London, 1802 — 1802.
mezzo-suprano.
Trciber (tri'-b«r), Wm., Graz, 1838—
Cassel, 1899 ; pianist.
Tren'to, Vittono, b. Venice, 1761 (or
1765) ; d. after 1826 ; mus.-dir. and
dram, composer.
Treu (Italianised Fedele) (troi, or fft-
da.l€), Daniel Gl., b. Stuttgart,
1695 ; violinist, conductor and dram,
composer.
Tr^Tille (tra-vc-ytt). YTonne de
(rightly Le Gi^rce), b. Texas, of
French father and American mother ;
notable soprano; pupil of Marchesi ;
debut. New York, in ''La Falote;*
later for years with Castle Square
Opera Co.; r890 went abroad for
rest and study ; T901 sang in Spain ;
June, 1902, at Paris Opera Comique.
Trial (trMl), (i) Jean Claude, hy'^-
non, 1732 — Pans, 177 1 ; dir. Pans
Opera and dram, composer. (2) An-
toine, 1736— suicide, 1795 ; bro, of
above ; tenor ; his wife (3) Marie
Jeanne (n<^e Milon) was a colora-
ture-sopr. Their son (4) Armand
Emmanuel, Paris, 1771 — 1803 ;
dram, composer.
Tri^bert (trt'-a-bdr'), (i) Chas. L.,
Paris, 1 8 10 — July 1867; oboist and
professor and manufacturer of instrs.
(2) Fr6d6ric, 18 13 — 1878 ; bro. and
partner of above, and maker of bas-
soons. (3) Fr6d6ric, son of (2) ;
oboist.
Trito'nius, Petrus, German com-
poser, Augsburg, 1507-
Trit'to, Giacomo, Altamura, Naptesi,
1735 — Naples, 1824; professor of cpt.
and dram, composer.
Tromboncino (trom-bdn-che'-no),
Bartholomaeus, c. at Verona, 1504-
10.
Tromlitz (trom'-ltts), Jn. G., Gera,
1726 — Leipzig, 1805 ; flute-player,
maker and teacher.
Trotter (Trotfere)(tr6-tftr'), Henry, b,
London, Dec. 24, 1855 ; c. pop. songs.
Trout'beck, Rev. J., Blencowc, Cum.
berland, 1832 — lx>ndon, 1899; pub
psalters and transl. libretti.
700
THE MUSICAL GUIDE
Troyers (troi'-^rs), Fd., Count von,
amateur clarinettist and patron, Vi-
enna, 1821-47.
Troytc (troit). Arthur H. D., Devon,
181 1 — 1857; composer.
Truhn (troon), Fr. Hieronymus, Elb.
ing, 181 1 — Berlin, 1886; conductor,
writer and composer.
Tschaikowsky. Vide Tchaikovsky.
Tschirch (tshcrkh), six brothers, (i)
Hermann, Lichtenau, Silesia, 1808 —
Schmiedeberg, 1829 ; organist. (2)
K. Ad., lichtenau, 1815 — Guben,
Silesia, 1875 ; writer. (3) Fr. Wm.,
Lichtenau, 1818 — Gera, 1892 ; ct.-
conductor and dram, composer. (4)
Ernst Lebrecht, Lichtenau. 18 19 —
Berlin, 1854; conductor and dram,
composer. (5) H. Julius, Lichte-
nau, 1820 — Hirschberg. Silesia, 1867;
R. Mus.-Dir. and composer. (6)
Rudolf, Lichtenau, 1825 — Berlin,
1872 ; mus.-dir. and composer.
Tschudi. Vide broadwood.
Tua (too'-a), Teresina, b. Turin, May
22, 1867; violinist; pupil of Massart,
Paris Cons., took ist prize i8do ;
toured Europe, and, 1887, America,
with great succ. 1891 (?), m. Count
Franchi-Verney della Valetta.
Tubbs, (i) Frank Herbert, b.
Brighton, Mass., Nov. 16, 1853 ; pu-
pil of Leavitt, Petersilea and W, F.
Apthorp, Boston ; and (in singing) of
Davis and Wheeler, Boston, Manuel
Garcia, E. Behnke, and Shakespeare,
Ix)ndon, San (liovanni and I^mperti
in Italy ; choirm. various churches ;
founded N. Y. Vocal Inst. ; writer of
essays and books on the voice. (2)
Jas., head of a family of vln. bow-
makers in London, 1890.
Tucher (too'-khdr), (i) Gl., Freiherr
von, Namberg, 1798 — 1877; writer.
(2) Rev. Wm., d. 1675 ; Engl, com-
poser.
Tuck'erman, Samuel Parkman,
Boston, Mass., 18 19 — Newport, 1890;
organist, editor and composer.
Tuczek (toots'-z5k), Fz., Prague, ca.
1755 — Pesth, 1S20; tenor; conductor
and dram, composer.
Tttd'way, Thos., England, ca. 1660
— London, 1730 ; organist and pro-
fessor, Cambridge, 1704-26 ; Mus.
Doc. there, 1705 ; made a coU. of
contemporary services, also c. ser-
vices, etc.
Tnlott (tu-loo), J. L., Paris, Sept.,
i786-~Nantes, 1865 ; chief lluttsi of
his time ; at 14 at the Opera ; 1826-
56, flute-prof, at the Cons.; compos-
er.
Tuma (too'-ma). Fa., Kostelecz, Bo-
hemia, 1704 — Vienna, 1 774; gambs-
virtuoso and composer.
Tunder (toon'-d£r). Fa., 1614 — Lq.
beck, 1667 ; organist Marienkircbe,
as predecessor of Buxtehude.
Tunsted(e) (tQn'-stdd) (or Dimatede),
Simon, b. Norwich, Bniisyard, Suf-
folk, 1369; writer. (Coussemaker.)
Turini (too-re'-ne), (i) Grcg^oriOy
Brescia, ca. 1560 — Prague, ca. 1600;
singer, comet-player and composer.
(2) Fran. » Brescia, ca. 1590 — 1656;
son of above ; omnist and comp.
Tttrk (tnrk), Daofel CI., Claussnhz,
Saxony, Aug. 10, ]736-~HaI!e, Ang.
26, 18 13 ; eminent organist and teach-
er, theorist and composer.
Turle (tiiri), (i) Jaa., Soroerton, Engl.,
1802 — London, 1882 ; organist, con-
ductor, editor and composer. (2;
Robt., 1804 — 1877 ; bro. of above,
organist. (3) Wm. Taunton, b. 1795;
cousin of above ; organist.
Turley (toor'-lT), Jn. Tobias, Treuen
brietzen, Brandenburg, 1773 — 1829 ;
org. -builder.
Turner, (i) Wm., 1651 — 1740; Eng»
lish Mus. Doc. Cambridge; com-
poser. (2) Austin T., b. Bristol,
1823, cond. and composer; from
1854 in Australia. (3) Alfred Diid«
ley, St. Albans. Maine, 1854— 188S ;
pianist, teacher and composer.
Turnhout (tYm'-hoot), (i) Gerard d«
(rightly Gheert Jacques), Turn-
hout, Belgium, ca. 1520 — Madrid,
1580; cond. at Antwerp Cath. and
I to the Court at Spain 1572 ; corn-
el poser. (2) Jean, son of above ; ct.
conductor and composer, ca. 1595.
■*4j
DICTIONARY OF MUSICIANS 701
Tur'pin, Edmund Hart, b. Netting,
ham. May 4, 1835 ; concert-organist;
lecturer, editor and writer ; pupil of
riullah and Fauer, Ix)hdon; organist
various London churches; from 1888
at St. Bride's; in 1889 Mus. Doc.;
then c. masses, 2 oratorios, cantatas,
symph.** TAr Monastery ^^ overtures,
etc
Turtthaoinoff ftoort-sha -nt-n6f>, Pe-
ter Ivanovitcn, St. Petersburg, 1779
— 1856'; composer.
Tye (ti), Christopher, d. Westminster,
1572 ; 1554-61, organist Ely cathe-
dral and composer.
Tylmaa, Susato (also Tilman, Tiel-
maii, Thieleman) (tel'-man), mus..
printer at Antwerp from 1543 ; com-
poser,
Tyn'dall, J., Leighlin Bridge, Ireland,
1820 — Haslemere, Engl., 1893 ; fa-
mous scientist and acoustician.
u
Ulmldua. Vide hucbald.
Uber (oo'-b^r), (i) Chr. Benj., Bres.
lau, 1746 — 181 2 ; dram, composer.
(2) Fr. Chr. Hermann, Breslau,
1781 — Dresden, 1822 ; son of above;
opera-conductor and composer. (3)
Alex., Breslau, 1783 — Carolath, Si-
lesia, 1824; bro. of (a); 'cellist, con-
ductor and composer.
Uberti (oo-b«r -te) (Hubert) A., Ve-
rona, 1697 (?) — Berlin, 1783; brilliant
9oprano-musico and teacher of Mali-
bran. Grisi, etc.
Uccellini (oo-ch«Me'.ne), Don Mar-
co, conductor and composer at Flor-
ence, 1673.
Usbaldtts, Uchubaldua. Vide huc-
bald.
Usralde (a-g&ld), Delphlne (n<k;
Beauce), b. Paris, I>ec. 3, 1829;
soprano at Op.-Com., etc.; 1866, also
managed the Bouffes-Parisiens; twice
m.; c. an opera.
Ug^olini (oo-go-le-ne), V., Perugia, ca.
1570^1638 ; teacher and important
composer ; pupil of Nanini ; 1630-26
mae.'tro at St. Peter*s.
Uf^olino (oo-go-le'-nd), Biagio, monk
m Venice: pub. treatise, 1744.
Uhl (ool), ttdmuttd, b. Prague, Oct
25t 1853 ; pupil of Leipzig Cons,
winning Helbig pf.-prize, 1878; sincv
teacher at the rreud^nberg Cons.,
Wiesbaden ; organist at the Syna-
gogue ; and critic ; c. Romance for
vln. with orch., etc.
Uhlig (oo'-Ukh), Th,, Wurzcn, Sax-
ony, 182a — Dresden, 1853; violinist,
theorist and composer.
Ulibiabeff (in French OulibischeflT)
(oo-le'-bt-sh€f), Alex, d', Dresden,
1795 — Nishnij Novgorod, 1858 ;
diplomat and writer of biographies.
Ulnch (ool'-rikh), Hugo (Otto), Op-
peln, Silesia, 1827 — Beriin, 1873 ;
teacher and dram, composer.
Umbreit (oom'-brit), K.Gi., Rehstedt,
near (>otha, 1763 — 1829; org.-virtu-
oso and composer.
Umlauf (oom'-lowf), (i) Ignaz, Vien>
na, 1756 — Meidling, 1790 ; music di-
rector ; asst. -conductor to Salieri.
(2) Michael, Vienna, 17S1 — 1842;
son of above ; conductor and dram,
composer.
Umlauft (oom'-lowft), Paul, b. Meis-
sen, Oct. 37, 1853; pupil Leipzig
Cons., with Mozart scholarship 1S79-
83 ; c. suoc. i-act opera " EvanthitC*
(Gotha, 1893) (won Duke of Coburg-
Gotha's prize) ; dram, poem ^^ Agan^
dtccd;' ynxih orch. (1893); '* MUteU
hochdeutsches Liedersptely* etc.
Unyer (oong'-«r), (i) Ja. Fr., Bruns-
wick, 17 16— -1 781 ; inventor. (2) (in
ItaU Ungher) Caroline. Stuhlweit-
senburg, Hungary, 1803 — at her
villa, near Florence, 1877 ; soprano ;
1840, m. Sabatier. (3) G., Leipzig,
1837 — 1887 ; tenor.
Up' ton, G. Putnam, b. Boston, Mass.,
Oct. 25, 1835 ; graduate Brown
Univ., 1854 ; 1861-85, on the edito-
rial staff, Chicago *' Trihuiu "y found-
er (1872) and first pres. Apollo Club;
translator and writer of valuable
essays, {ncL ** Sianda'^d Oftras^
702
THE MUSICAL GUIDE
(1890); '' Standard Oratorios*" (1891);
** Standard .S>////^j."(l8g2), etc.
Urban voor'-bjin), (1) Chr., b. Elbing.
1778 ; nius.-director, theorist and
composer. (2) H., Berlin, Aug. 27,
1837 — Nov. 24, 1901; pupil of Ries,
Laub« Helman, etc. ; violinist and the-
orist; 1 88 1 , teacher at KuUak's Acad. ;
c symph. ** FrUkling** overtures to
•* Fusco •' (Schiller), '' Scheherazade,"
and ** Zu einem Fastnachtsspiel^* tXz.
{3) Fr- Julius, b. Berlin, Dec. 23,
1838 ; bro. of above ; solo boy-so-
prano in the Domchor ; pupil of H.
Ries, and Helmann (vln.), Grell (theo-
ry), Eisner and Mantius (singing) ;
singing-teacher, Berlin ; wrote vocal
methods and songs.
Urbani. Vide valentini.
Urfey (dQr'-ft). Thos. d*, Exeter,
ca. 1649 — Ix>ndon, 17^3 ; pop. play-
Wright, whose plays were set by Pur-
cell ; also a singer and composer.
Urban (ur-an), Chr6tien, Montjoie,
1790 — Paris, 1845 : eccentric and
gifted player on stringed instrs., an-
cient and modern ; organist and com-
poser.
Urich (oo'-rtkh), I., b. Alsace ; pupil
of Gounod; prod, operas ^"^ Der
Ij>otse" •* Ifermann und Dorothea"
and 2-act **// Carillon" (Beriin,
1902).
Urio (oo'-rT-o), Fran. A., b. Milan,
1660 ; writer and comp>oser,
Urquhart (ttr'-kirt), Th08., vln.-mak-
er. London, 1675.
Ursillo (oor-sTl'-lo), Fabio (or simply
Fabio), i8th cent, archlute virtuoso
and composer at Rome.
Urso (oor'-s6), (i) Camilla, Nantes,
France, 1842 — New York, Jan. 20,
1902 ; vln. -virtuoso (daughter of (2)
Salvator, organist and flutist); pupil
of Massart ; she played in America
with great succ. at 10 ; toured the
world; m. Fr. Lucres.
Urspruch (oor'-sprookh), Anton, b.
Frankfort-on-Main, Feb. 17, 1850;
pupil of Ignaz Lachner and M. Wal-
lenstein, RafT and Liszt ; pf.-teacher
Hoch Cons.; from 1887 at Raflf
Cons.; c. opera ^^ Der Sturm*
(based on Shakespeare's " Tempest.*'
Frankfort, 1888), comic opera (text
and music) ** Das Unmoglichste voh
A Hem " (Carlsruhe, 1897), a symph.,
pf. -concerto, etc.
Ursus. Vide bahr.
Ucu)tendal (or Utenthal, Uaten*
dal) (Q'.t^n-dal), Alex., d. Inns-
bruck. May 8, 1581 ; Flemish con-
ductor and composer.
Vaccai (vSk-ka'-c), Niccold, Toltn-
tino. Papal States, 1790 — Pesaro,
1848 ; noted singing-teacher ; prof.
of comp. Milan Cons.; wrote vocal
method ; c. an opera, funeral can-
tata, etc.
Vaet (vat), Jacques, d. Vienna. 1567;
Flemish conductor and composer.
Valentini (va-ldn-te'-nc), (i) Giov.,
ca. 161 5 ; organist and composer.
(2) Giov., Naples, 1779 — *788i dram.
composer. (3) P. Fran., Rome. ca.
1570 — 1654; eminent contrapuntist,
f>upil of Nanini. (4) (Rightly Va-
entino Urbani) (oor-bsi'-nd), cele-
brated contralto-musico ; later a ten-
or; London, 1707. (5) Giu., b.
Florence, ca. 1690; violinist and
composer.
Valentino (vftl-Sh-te'-no), Henri Jus-
tin Armand Jos., Lille, 1785— Ver-
sailles, i86(;; conductor Paris Opera.
1820-31, then at Op. Com. till 1837.
Valet'ta, Ippoliio. Vide fr.\nciii-
VKRNEY.
Valle'ria, Alwina (rightly A. V. Loh-
mann), b. Baltimore, U. S. A., 1848;
soprano ; pupil R. A. M., London,
and of Arditi ; debut, 1871 ; from
1882 in oratorio, England ; toured
Europe and America (range d flat —
d'", v. PITCH. D. D.).
Vallotti (val-lot -te), Fran. A., Ver-
celli, June 11, 16)7 — Padua, Jan 16,
1780; noted organist, theorist and
composer
Van Bree (van bra). Jn. B., Amstep
t«
DICTIONARY OF MUSICIANS 703
dam, 1 801 — 1857 I violiniiti conduct-
or and composer.
Va& Cleve, J. Smith, b. Maysvilie,
Ky., Oct. 30, 185 1 ; pianist and
teacher, pupil of Nothnagel (Colum-
bus, 0.), Lan^and Apthorp (Boston),
and W. Steinbrecher (Cincinnati) ;
1879-97 as teacher, critic, writer and
lecturer Cincinnati Cons, and the
Coll. of Mus. ; then Chicago ; later
returned to Cincinnati ; composer.
Van den Eeden(&'.den), (z) Giiles, d.
1792 ; first teacher of Beethoven; son
or nephew of (a) Heinrich ; ct.-mus.
to the Elector of Cologne.
Van der Hciden (hi'-diSn), d. Besan.
9on, 1902 ; noted Belgian 'cellist.
Vandedinden (v&n'^lr-len-ddn), C,
b. D««drecht, 1839 ; pupil of Bohme
(harm, and cptjand Kwast (pf.) ;
conductor Dordrecht Philh. Soc.,
National Guard band, and societies ;
c. 2 operas, overtures, etc.
Van der Straeten (strft'-ten), Ed-
mond, Oudenaarden, Belgium, 1826
— 1895; writer of valuable treatises
based on research and c. an opera, etc.
Van der Stucken (vftn'-d^r-shtook'.
In)» Frank (Valentin), b. Frede*
ricksburg, Gillespie Ca, Texas,
Oct 15, 1858, of Belgian father and
Germaq mother; notable composer and
conductor ; at 8 taken by his parents
to Antwerp, studied with Benoit. later
with Reinecke, Singer and Grieg;
1881-82, cond. at Breslau City Th. ;
1883. in Rudolsudt with Grieg, and
in Weimar with Liszt ; prod, opera
*' F/asJa" (Paris, 1883); 1884,
called to be mus.-dir. of the '* Arion,"
New York; from 1895 dir. Cincin*
nati Cons., and 1st cond. Cincinnati
Symph. Orch.; c. symph. prologue
*' m/liam Ratcliff'' (Cincinnati,
1899) ; orch. episode, '* Pagina d'a*
more" with choruses and songs;
'' FtsHval March:* for orch., ''Pax
Triumphant " (Antwerp, Z902), etc.
Van Duyse (viin doi'.z«), Florimond,
b. Ghent, Aug. 4, 1853 ; lawyer and
amateur ; pupil of Ghent Cons. , win*
•lag Grand pris de Rome, 1873,
with cantata ^'Torguata Tats9*s
Dood "; prod. 7 operas, Antwerp and
Ghent ; c. also ode-symphonie *' Die
Nachtr , /
Van Dyck (vSn dik), Ernest (Maiie
Hubert), b. Antwerp, April 2» i86f ;
noted tenor; studied law, was then a
journalist at Paris; studied singing
with St. Yves ; debut Paris, 1887, as
•• Lohengrin "; 1892 sang ** Parsifal "
at Bayreuth; 1888 engaged for the
Vienna ct. -opera ; has sung in the
chief capitala, London, and 1899,
New York.
Van Hal, Vide wanhal.
Vanneo (vftn-na'-6), Steikno, b. Re-
canati, Ancona, 1493; monk and
writer.
Van Oe (vfin os), Albert, earliest known
org. -builder caUed '*A. the Great,**
at Utrecht, 1120.
Van Rooy (vftn rd'-i)* Anton, b.
Rotterdam, Jan. 12, 1870; notable
barytone ; pupil of Stockhauaen at'
Frankfort ; sang in oratorio and con-
certs ; later at Bayreuth, 1897 ; then
at Berlin ct. -opera ; sang with succ.
London (1898). from 1898 in Neiv
York annually ; his greatest r61e ia
" Wotan."
Van Westerhout (w£s'-t£r-howt), Nic-
colo (of Dutch parents), Mol|i di Bad,
1862 — Naples, 1898 ; dram, oompoa*
er.
Vamey (v&r-ne), (i) P. Joa. Alphonse,
Paris, 181 1— 1879; conductor and
composer of operettas. (2) Louis,
b. Paris (?) ; son and pupil of above 7
lives in Paris, and has since 1876
prod, over 30 operettas, comic operas,
*' revues," etc. ,-
Vasconpellos (vfts-kdn-s^l'-los), Joa<*
quim de, contemporary Portuguese
lexicographer and historian. .
Vasaeur (v^si&r). L^on (P^lix Aug^
Job.), b. Bapaurae, Pas-de-Calais,
May 28, 1844; studied £cole Nieder*.
meyer ; from 1870 oiganist Versailles
Cath. ; cond. Folies-Berg^rea and the
Concerts de Paris (1882) ; since 1870
prod, over 30 light operas; c. aHQ
masses, etc.
704 THE MUSICAL GUIDE
Vaucorbeil (v5-k6r.M'), Ang. Eman-
ttcl| Rouen, 182 1 — Paris, 1884; i88o,
dir. the Opera ; c. comic-opera, etc.
Vaoffhan (vdn), Thos.| Norwich, 178a
— Birmingham, 1843 ; tenon
VaTrinecs (v&'-vre-n€ts). Mauritlos,
b. Czegled, Hungary, July 18, 1858 ;
studied Pesth Cons., and with R.
Volkmann; cath. cond. at Pesth ; c.
4-act opera **/faUiiJ^* (Prague, 1895),
succ. i-act opera *^ Jdosamunda **
(Franlcfort-on-Main, 1895), oratorio,
5 masses, a symph., etc.
VecchKi) (v£k'^^Q). (i) Onusio,
Modena, 155 1 (?)— Feb. 19, 1605;
noted composer; from 1596 maestro
Modena cath.; his ** mus.-comedy **
**Am/ifarnass0,** in which the chorus
krined m all the mus., even the mono-
logues, appeared the same year as
PERi*s (q. ▼.) **Da/m"/ c. also
madrigals, etc. (2) OrfeOi Milan, ca.
1540— 161 3; maestro, and composer.
Velt <vlt),yWeiisel H. (V4claT Jin-
dKch), Repnic, near Leitmeritz, Bo-
hemia, 1806 — Leitmeritz, 1864 ; com-
poser.
Velloti (vSMoo'.te), Gior. Bat., Mon.
terone, Ancona, 1781 — ^San Burson,
z86i ; the last of the great male so-
prani.
Venatorini. Vide mysliweczek.
Venosa, Prince of. Vide gesualdo.
Ven'to, (1) Ito de, b. Spain ; ct -or.
ganist at Munich and composer (156 1-
91). (2) Mattia, Naples, 1739—
London, 1777 ; c. operas.
VenturcUi (Tdn-too-ril'-le), V.» Man.
tua, i85i---<suicide) 1895; essajrist
and dram, composer.
Venxano (vto-ts&'-nd), Loigi, Genoa,
ca. 18 14 — 1878 ; 'cellist and teacher ;
c. opera, pop. songs, etc.
Ver%cini (va-rfi-ch?-ne), (i) A., vio-
Ki^st at Florence (1696). (2) Fran,
llaria, Florence, ca. 1685 — near
Pisa. ca. 1750 ; nephew and pupil of
above * notable violinist, the greatest
of his time ; composer.
Yerdelot (v&rd-lo) (Italianised, Verde-
lot'to), Philippe, d. before 1567 ;
lamoui Flemish madrigal-composer
and singer at San Marco, Venice ;
between 1530-40 in Florence.
Verdi (v€r .de), (Fortunio) Giuseppe
(Fran.), Le Roncole, near Busseto,
Duchy of Parma, Oct. 9, i8i3-«—
Milan, Jan. 27, 1901 ; eminent Ital-
ian opera composer. Son of an inn*
keeper and grocer; pupil, and at
10 successor of the village organist,
Baistrocchi, for three years pupil of
Provesi at Busseto ; 183 1 with the
aid of his father's friend, Barezzt,
he went to Milan, where he was re.
fused admission to the Cons, by Ba-
sili, who thought him lacking in
mus. talent. He became a pU|Ml of
Lavigna, cembalist, at La Scala ;
1833, cond. Philh. Soc, and oigan-
ist at Busseto ; 1836 m. Barezzi*s
daughter Margherita. 1839, his op-
era ** C^A/ril?" was prod, with fair
suca at La Scala, Milan. He was
commissioned by Merelli, the man-
ager, to write three operas, one every
eight months, at 4,000 lire {|8oo or
£160) apiece, and half the copy,
right. The first was a comic opera
'' l/n Giarnc di RegM,"* which failed
(1840), doubtless in part because hii
two children and wife had died with-
in three months. V.*s combined dis-
tress drove him to rescind his agree,
ment and renounce composition for
over a year, when he was persuaded
by Merelli to set the opera ** Nabuc*
CO "('* Nebuchadrezzar"), prod, at La
Scala, 1842, with great applause, the
chief role being tsdcen by Giuseppina
Strepponi (1815-97), whom he m. in
1844. '^-^ Lombardi alia prima
Crociata " (La Scala, 1843) was still
more succ. and is still played in Italy
(in Paris as ''J/rusaltm''), '' Er^
nam** (Venice, 1844) was prod, on
i'5 different sUees in 9 months. 8
unsucc. works followed, incl. '* /^m/
Foscari" (Rom^, t%44). ** Afac^tk'*
(Florence, 1847; revised Paris. 1865),
and •• IMasnadieH * (after Schiller'i
*' Robbers'* London, H. M. Th.,
1847). **Luisa Miller'' (Napl«^
1840) v<^^ ^^1' received and is stiV
im
DICTIONARY OF MUSICIANS 705
sung in luly. •* SajTeiio " (Trieste,
1850); later as ^* Guglielmo IVeHng*
rode "/ also with another libretto as
*^ Artufldo** (1857), was three times a
failure. ** RigoUtto*^ c. in 40 days
(Venice) (also given as *^ ViscardeU
to **), began a three years* period of
universsu succ, it was followed
by the world-wide successes **//
Trovatore'* (Rome, 1853) and ^* La
Traviata*' (Venice Th., 1853; also
given as *' FiW</Ai"), a fiasco at
first because of a poor cast ; ** Les
Vipres SicilUnnes^* (Paris Opera,
1855 ; in Italian " / VesfH SuilU
am"; also given 9^% ^^ Gtovanna di
Guzman **) was fairly succ. ; " Simon
Boccantgra " (Venice, 1857 ; succ.
revised, Milan, 1881), ** Uh Ballo in
Masehera ** (Rome, 1859), '* ^ P^-
%a del Destino '* (Petersburg, 1862),
and ''Don Carlos*' (Paris, Opera,
1867), made no deep impression,
though they served as a schooling and
marked a gradual broadening from
mere Italian lyricism to a substantial
harmony and orchestration. ** AUla**
(written for the Khedive of Egypt)
was prod. Cairo, 187 1, at La Scala,
Milan, 1872, and has had everywhere
agreat succ. The Khedive gave him
;ft,ooo for it. His " Manzoni Re-
quiem" (1874) niade a sensation in
luly ; " Otelh'' (Milan, 1887) was a
worlc worthy of its composer, and in
his !ast opera ** Falstaff,'* written at
the age of eighty, he showed not
only an unimpaired but a progressive
and novel style. lie also c. 2 symphs.,
6 pf. -concertos, ''Inno delle Nazi"
ont" for the London Exhibition
(1862), songs, etc.
In 1893 he was riven the title '* Mar-
chese di Busseto. He lived at his
villa Sant* Agata, near Busseto. His
funeral brought 100,000 witnesses,
though his will ordered that it should
be simple and quiet. He left the
bulk of his fortune to the home for
aged and outworn musicians.
Biog. by Gino Monaldi (only in
German, transl. by L. Holthof. Leip-
zig, 1898) ; Checchi, 1887 ; Blanche
Roosevelt (London, 1887).
Giuseppe Verdi.
By W. J. HSNDBRSON.
VERDI has been the representative Italian opera composer of his time
and his personal development in art is that of his country, which has
followed his dominating influence. He began to write in the prev-
ftlent style of the old Italian school, but even in his early works, which had
striking resemblances to those of Donizetti and Bellini, he showed a rude
vigour not possessed by either of them. ^ This vigour came conspicuously
into notice in his **Ernani,** though the most familiar example of his style
in this period of his development is * * Rigoletto. ' ' The early works show fecun-
dity of melodic invention, but a close adherence to the elementary dancf
rhythms used by the Neapolitan school. The dramaric element and the virile
power of the man, however, continually pressed toward the front till in
**Aida** in which the Egyptian subject lured him away from conventiontt
into originality of colour, he entered upon a new field and established himself
«s a new individuality in music. He idealised the old aria, employed all the
Resources of modem instrumentation in the orchestral part, and tought Ibr
7o6
THE MUSICAL GUIDE
truthful dramatic expression as none of his predecessors had. **Aida^* has
been the model of the younger Italian school and its influence can be traced
through the works o^ such writers as Mascagni^ Leoncavallo, and Puccini.
^ In **OteUo** Verdi left the old lulian patterns still further behind him, ytt
without ceasing to be Italian in style or individual in ideas. The voice parts
are dominant and essentially melodious at all times, but the determination of
the composer to be faithful to the spirit o£ the text is more manifest than ever
before. The work is a monument of genius. In his **f4ilstaff** Verdi
produced a comic opera which stands next to Mozart's **N47:%e di Figaro *^
and Wagner's **Die Meistersingery The freshness and spontaneity of the
score, the marvellous eloquence of the orchestral details and the infinite sig-
nificance of the recitative make this work one of the masterpieces of nnodem
times. The advance of Verdi from the "drum and trumpet '^ operas of his
youth to the highly organised, subtly significant and opulent scores of^ his old
age, is the feature of his artistic career, and where he has led, Italy has fol-
lowed. 1-10 was the master and the moulder of Italian musical thought lor
half a centuy.
Verdonck', Conielina,Tumhout, BeU
gium, 1564 — Antwerp, 1635; com-
poser.
Vere-Sapio (v^r-sA'-pY-d), Clemen-
tine (Due hene) de, b. Paris ; sopra-
no; daughter of a Belgian nobleman,
and an Knglish-woman ; pupil of
Mme. Albcrtini-Baucarde, Florence ;
debut there at 16, sang at leading
theatres, Europe, later in concert,
also in the United States ; 1896, she
returned to opera; 1899, toured U. S,
with an opera troupe of which her
husband, Signor Saplo, was mgr.;
1900-1901 at Metropolitan, N. Y.,
and Covent Garden
Verhulst (v£r-hoolst'), Jns. (Joscphus
Hernum), The Hague, 1816 — 1891 ;
cond. ; famous composer ; pupil of
Volcke at the Cons, there, later R.
mus.-dir.; cond. many societies, etc.;
intimate friend of Schumann ; c.
symphony, 3 overtures, etc.
Yernier (v$m-y2), Jean Alm^, b.
Paris, 1769(7); harpist and com-
poser.
Ter'non, Jos., d. South Lambeth,
1782; male soprano; then tenor;
rcnposer.
V^ron (va-roA), DMr^, Paris, 1798—
1867; critiCf writer and manager of
the Opera.
VeroTio (va-ro-vY-5), Simoae, the
first copper-plate mus.-printer, Rome,
ca. I586r— 1004.
VertoT'iki, c. the first Russian opera
^'AskoUTs Grave** (Askoldova Miy-
^lAi), baaed on folksongs.
Veaaue von Pilttlingen (v£sk f5n
pTt -llng-^n), Jns Opole, Polaad,
1803— Vienna, 1883 ; pianist of Bel-
gian parentaee ; c. 6 operas ; used
pen-name " J, Hoven."
Ves'trio, Luda E., London, 1797^
Fulham, 1856 ; opera-singer.
Viadana (ve-fi-di'-na}, Lndoyico (da)
(rightly L. Grossi), Viadana, near
Mantua, 1564 — Gualtieri, 1645;
noted church-composer ; maestro at
Mantua cath.; important early figure
in the development of basso continuo
(v. D. D.).
Vian'na da Mot'U, Jos<. b. Isle of
St. Thomas, Africa, April 22, 1868 ;
Portuguese pianist; st Lisbon and
Scharwenka Cons., Berlin; later ^Ui
SchSffer, Liszt and von Btllow
toured £urope; lives Parik.
DICTIONARY OF MUSICIANS 707
VUnesi (ve-i-nft'-ze), Ansniste ChM.
Leonard Francois, d. Leghorn,
Nov. a« 1837; studied in Paris 1859,
cond. Drury Lane, London ; then at
New York, Moscow and Peters-
burg ; 13 years cond. at Covent Gar-
den ; also in other cities ; 1887, ist
cond. Gr. Opera, Paris; cond. New
York, 1891-93.
Viard-Loois (vY.&r-loo-e), Jenny, b.
Carcassonne, Sept. 29, 1831; con-
cert-pianist and teacher, London.
Viardot-Garcia (vY-ftr'-do-gar-the'-S),
(1) (Michdle Fde.) Paoline, b.
Paris, Julv 18, 1831; famous mezzo-so-
prano and teacher; daughter of Man-
uel Garcia (q.v.), studied pf. with Vega
- at Mexico Cath., then with Meysen-
berg and Liszt, and Reicha (harm.) ;
and singing with her father and
mother; concert debut, Brussels,
1837; opera debut, London, 1839,
engaged by Viardot, dir. Th. Italien,
Paris, and sang there until 1841,
when she ro. him and made Europe-
an tours with him. In 1849 she cre-
ated "Fides" in '' U ProphUer
Paris, **Sapho" (Gounod's opera),
185 1 ; 1863, retired to Baden-Baden;
from 1871 lived in Paris as teacher.
Her voice had the remarkable com-
pass of more than 3 octaves from bass
c-f". Wrote a vocal method and c.
3 operas, 60 songs, and also 6 pes.
for pf. and vln. Biogr. by I a Mara.
(2) Mme. Louise H6ritte Viardot,
b. Paris, Dec. 14, 1841; daughter of
above ; singing-teacher Hocn Cons.,
Frankfort (till 1886) ; then est. a
sch. at' Berlin ; c. 3 comic operas, a
pf.-quartet, etc. (3) Mme. Chame-
rot, and (4) Marianne V., daughters
• of (i) were concert-singers. (5) Paul,
b. Counavent, Tuly 20, 1857; violin-
ist , son of (t). pupil of Leonard;
1893, temporary cond. Paris Op^ra.
Vicentino (ve-ch^n-te'-no), Nicola,
Vtcenza, 1511 — Milan, ca. 1576;
conductor, theorist and composer;
inv. **archiorgano."
Victorio. Vide vittoria.
Vidal (ve-dU), (i) B., d. Paris, x8do ;
guitar-virtuoso, teacher and com*
poser. (3) Jean Jos., Sor^ze, 1789
—Paris, 1867 ; violinist. (3) Louis
A., b. Rouen, July 10, 1820 ; ^cellist
and writer; pupil of Franchomme;
pub. im]K>rtant historical works. (4)
Francois, b. Aix, July 14, 1832;
poet and writer. (5) raulAntonin,
b. Toulouse, June 16, 1863 : pupil of
Paris Cons., winning first Grand
prix de Rome, 1881; 1894, taught
solf^ge there; from 1896, cond. at
the Op^ra ; prod. 3-act lyric fantasy
" Eros " (1892), a ballet '' La Mala-
delta** (1893), 2 I -act operettas;
lyric drama •* Guernica** (Op. Com.,
1895); orch. suite, "Zrj mys tires
(VEleusis^* etc.
Vterdank (fer'-dilnk), Jn., organist
and composer at Stralsund 1641.
Vierling: (fer'-lTng), (i) Jn. Gf., Metz.
els, near Me'ningcn, 1750 — Schmalk-
den, i8ip; organist and composer*
(2) JacoD v., 1796— 1867, organist.
(3) veorg, Frankenthal, Palatinate,
Sept. 5, 1820 — Wiesbaden, June,
1901 ; son and pupil of above, also
of Rinck (oi|^.), Marx (comp.); 1847.
organist at Frankfort-on-Oder ; 1852-
53, cond. Liedertafel, Mayence;
then lived in Berlin, founder and lor
j'ears cond. Bach-verein ; prof, and
R. Mus.-Dir. ; c. notable secular
oratoriJDS, ** Der Raub tier Sabine"
rinnen** (op. ^o\ ^^Ahricks Tod**
and *^ K0nslantin**\ Psalm 137, with
orch. ; and other choral works ; a
symph.; 5 overtures, Incl. '•/«
PrUhling"; capnccio for pf. witb
orch. etc.
Vieuxtemps (v*ytt-tan),(i) Henri, Ver-
viers, Belgium, Feb. 20, 1820— Mus-
tapha, Algiers, Tune 6, 1881 ; emi-
nent violinist and composer ; son and
pupil of a piano- tuner and instr.-
maker, then pupil of Lecloux, with
whom he toured at 8 ; then pupil of
de Beriot (vln.). Sechter (harm.),
Reicha (comp.) ; he toured Europe
with great succ, and three times
America (1844, 1857 and 1870) ; 1845,
m. Josephine Eder, a Vienna pianist |
708
THE MUSICAL GUIDE
1846-52, solo- violinist to the Czar
and prof, at the Petersburg^ Qons.;
1871-73, prof, at the Brussels Cons.;
then paralysis of his left side stopped
his playing^. lie c. 6 concertos, sev-
eral concertinos, an overture on the
Beig;ian national hymn (op. 41), fantai-
sie-caprice, with orch. ; fantaisies on
Slavic themes, * *^ Homage ^ Paganini^*
caprice, sonata, vars. on ** Yankee
Doodle" 2 'cello-concertos, a grand
solo duo for vln. and 'cello (with Ser-
vais), etc. Biog. bv Randoux (1891).
(2) Jules Jos. Ernest, Brussels,
March 18, 1832— Belfast, March 20,
1896 ; bro. of above ; solo-'ceUist It.
Opera, London ; also in Halle's orch.
at Manchester.
Viranb (ve-gii-no), Sahrstore,'
Naples, 1769— -Milan, 1821 ; ballet-
dancer and succ. composer of bal-
lets.
Vilbac(k)(vel-b&k),(Alphonse Chas.)
Rcnaud de, Montpellier, 1829 —
Paris, 1884 ; pianist and organist; c.
comic operas.
Villanis (vel-m'-nes), Lnip^i Alberto,
b. San Mauro, near Tunn, June 20,
1863; LL.D. Turin Univ., 1887,
then pupil of Thermignon, and Cra-
vero (comp.); 1890 prof, of mus.
aesthetics and history, Turin Univ.;
critic and writer.
Villarosa (veMA-ro -sa), Carlantonio
de Rosa, Marchese di» Naples, 1763
— 1847; Royal Historiographer, 1823,
and writer on music.
Villars (ve-y&rs), Fran, de, He Bour-
bon, 1825 — Paris, 1879 ; critic and
historian.
Villebois (ve-yii-bwil), Constantin
PetroTitch, Warsaw, 1817 — 1882 ;
composer.
Vilioingr, Alex, b. Petersburg, d. there
1878 ; pf .-teacher ; wrote method
and c. pf.-pcs.
Villoteau (ve'-yo-td), Gnillaume An-
dr<, Belleme, 1759— Tours, 1839;
tenor and writer.
Vincent (v&n-sUn), (1) Alex. Jos. Hy-
dulphe, Hesdin, Pas - de > Calais,
Z'/97 — Paris, 1868; pub. treatises
. claiming that the Greeks used harm^
etc
(fYn'.ts«nt), (2) H. Jos., Theilheira,
near WQrzbuiig, Fe*>» 23.1819 — 1901;
gave up theology and law and became
a tenor in theatres at Vienna (1849),
Halle and Wttrxbuig; from 1872,
singing-teacher and conductor ; lived
at Czemowitz, Bukowina and later in
Vienna; pub. treatises advocating
the " Chroma " (v. D.D.) Theory; c.
operas, operettas, and pop. songs.
(vln'-s^nt), (3) Chas. John, b.
Iloughton-le-Spring, Durham, Engl.,
Sept. 19, 1852 (son and pupil of (4)
Cnas. J.y organist at St. Michael's);
studied Leipzig Cons.; Mus. Doc.
Oxon, 1885; 1883-91, organist Christ
Ch., London; ed., writer; c. over-
ture '* TAe Siorm "/ oratorio ^'Rmtky**
3 cantatas with orch.; choral fugue
in 8 parts, etc. (5) G. Fr., b. March
37t 1855 ; bro. of above ; pupil of
Leipzig Cons. ; from 1882, organist at
St. Thomas's, Sunderland, also cond.
societies there; c. operettas, a can-
tata with orch, ** Sir Humphrey GiU
bert,^ etc.
Vinci (ven'-che), (i) Pietro, b. Nicosia,
Sicily, 1540; maestro and composer.
(2) Leonardo, Strongoli, Calabria,
1690 —* Naples, 1732; maestro and
dram, composer.
Vi'ning^, Helen Sherwood, b. Brook-
lyn, N. v., July 4, 1855 ; wrote text-
books, etc.
Vin'nin^, Lonisa, Newton (?), Devon?
harpist and singer in London ; m. J •
S* C. Heywood, 1865.
Viola (ve.o -U), (i) Alfonso della, ct.-
composer at Ferrara, 1541-63 to
Ercole II. (2) Fran., pupil of Wil-
laert ; maestro at Ferrara, and com-
poser, 1558-73.
Viole (fe'-o-l£), Rudolf, Schochwitt,
Mansfeld, 181 5 — Berlin, 1867; pia«
nist and composer.
Viotta (fe-6t'-ta), Henri, b. Amster-
dam, Julv 16, 1848 ; studied Cologne
Cons. ; also a lawyer, 1883 ; founder
and cond., Amsterdam Wagner Soc*
etc.; 1889, ed. *^ Maandblad
DICTIONARY OF MUSICIANS 709
Muz*th '; 1896, dir. Cons, at The
Hai^^e ; pubi. a *' Lexicon der Toon^
hmui " (1889).
Vi«»cti (ve-6t'-te), GiOT. Bat, Fonta-
neto da P6, Vercelli, Italy, May 23,
1753 — LocKion, March 10 (?), 1834;
son of a blacksmith ; at first self-
taught, then, under patronage of Prince
della Cistema, studied with Pugnani
at Turin ; soon entered the ct. -orches-
tra ; 1780 toured with Pu^ani, was
invited to become ct.-Tiolinist to
Catherine II., but went to Paris, then
London, playing with greatest succ. ;
1783 an inferior violinist drew a larger
audience, and in disgust he retired
from concerts and became a teacher
and accompanist to Marie Antoinette
and cond. to the Prince de Soubise.
Failing to be dir. of the Opera, 1787,
he joined Lionard^ the Qaeen*s hair^
dresser, and est. It. Op^ra, 1789;
prospering till the Revolution. He
went to London as a violinist and
played with great succ. 1795* mgr.
It. Opera and dir. Opera Concerts
there ; failing he went into the wine-
trade. Later returned to Paris, and
became dir. of the Op^ra, 1819-23,
then pensioned with 6,000 francs.
He pub. 29 vln.-concertos (the first
written in the modem sonata^form,
and supported with broadened or-
chestration). C. also 2 Concertantes
for 2 vlns., 21 string-quartets, 51 vln.*
duos, 18 sonatas, etc. Biogr. by
Fayolle (Paris, 1810); Baillot (1825),
etc.
Virdung: (fir'-doongk), Sebattian,
priest and organist at Basel, 151 1 ;
writer and composer.
Visetti (ve.s«t'-te), Alberto Ant., b.
Spalato, Dalmatia, May 13, 1846;
pupil of Mazzucato, Milan Cons.,
concert-pianist at Nice ; then Paris,
cond. to the Empress Eugenie ; on
the fall of the Empire, vocal teacher
in the R CM., Ix>ndon ; pub. a
'• History of the Art of Singing^
and translations.
Vitali (ve-t&Me), (i) Filippo, b. Flor*
cace , singer and composer, 163 1. (2)
GioT* Bat., Cremona, ca. 1644^
Modena, OcL 12, 1692; 2d ct-cond.
and composer of important sonatas,
ballets, etc. (3) Tomaso, b. Bo-
logna, middle of 17th cent. ; leader
there, and c. a chaconne.
Vitry (v£.tr£), Philippe De (Philip-
pus.di Vitria'co), b. Vitry, Pas-de-
Calais ; d. 13 16, as Bishop of Meauz;
theorist.
Vittori (vU-td'-re), Loreto» Spoleto,
ca. i<88 — Rome, 1670 ; composer.
Vittoria (vYt-to'-rl-ft), Tomaso Ludo*
▼ico da (rightly Tomaa Lois De
Victoria), AviU(?), Spain, ca. 1540—
Madrid, (?) ca* 1608; went to Rome
early; 1573 maestro Collegium Ger-
manicum ; 1575, of S. Apollinaris ,*
friend and disciple of Palestrina;
1 589-1602 vice ct. -conductor, Ma-
drid ; c notable works inch a re-
quiem for the Empress Maria, 1605.
Vivaldi (ve.v&l'.d€), Abbate Ant., Ven-
ice, ca. 1675 — 1743; celebrated vto-
linist; from 17 13 dir. Cons, della
Pieti ; c. notable vin. -concertos and
sonatas.
Vivier (vev-yi). (i) Albert Jot., b.
Hu^, Belgium, Dec 15, 1816 ; pupil of
F^is ; c. opera and wrote a har-
mony. (2) Engine Ldon, b. Ajac-
cio, 182 1 ; remarkable horn-virtuo-
so ; he always refused to tell how he
produced three or four notes at once,
making it possible to play the parts
for three horns on one ; pupil of Gal-
lay, then joined orch. at Paris Op^ ;
made many tours, was a favourite of
Napoleon III., then retired to Nice ;
a great wit and a composer of excel-
lent songs. (3) Albert Jo«.| b. Huy,
Belgium, Dec. 3, 1816; theorist and
composer.
Vleeshonwer (flSs'-hoo-v&X Albert
de, b. Antwerp, June 8, 1863 ; pupil
of Jan Blockx; prod. 2 operas,
*'V£coie de$ Ph-es'' (1892) and
**Zrjmi** (Antwetp, 189s), Sjftnpho*
nic poem, "De witdijdgtr^ etc.
Vockerodt (fdk'.«-r5t), Gf., MQlhaif
sen, 1665 — Gotha, 1727; theorist.
Vogei (fo gil), (I) Jii. Chr., Nttm^
710
THE MUSICAL GUIDE
berg, i756-*Paris, 1788 ; dram, com-
Kier. (2) L,» flutist and composer,
ris, 1702 — 1798. (3) Fr. Wm.
Pd., b. HaTelbetz, Prussia. Sept.
9, 1807; pupil of Bimboch, Berlin ;
toured as ocganist ; from 1852, at
Btfgen, Norway; pub. a concertino
for org. with trombones; symph.,
overture, 2 operettas, etc. (4) (Chas.
Lonis) Ad., Lille, i8o8~Paris,
1892 ; vioHoist and dram, composer.
(5) (Wn.; Merits, b. Sori^u, near
Freiburg, Silesia, July 9, 1846: plan*
tst; pupil of Leipzig Cons.; teacher,
critic and conductor of choral socs.,
Leipzig ; pub. pf . method, c. rondos,
etc (6) (A4.) Bd«, Plauen. Saxony.
1847 — Leipzig, 1898 ; journalist,
writer and composer. (7) Emil, b.
Wriezen-on-Oder, Jan. 21. 1859 ; Dr.
Phil., Berlin, 1887; 1883, sent to
Italy by the govt, as Haberl's asst.
in studying Palestrina's works ; from
1893, lib. Peters Mus. Library, Leip-
zig ; pub. monographs, etc
Vogigetthttber (fdg'-g«ii-hoo.Mr). Vil-
mA Ton (Frau V. Krolop), Pesth,
' i84S<-*6erlin J 888 ; dram, soprano
at Berlin ct.-opera 1868-88.
Vogl (fdkh'.l), (I) Jn. Michael, Steyr.
1768— Vienna, 1840; tenor and con-
ductor (v. Fz. SCHUBERT). (2) Heiii-
rich, Au, Munich. Jan. is, 1845 —
on the stage, Munich, April 21, 1900;
famous -tenor ; debut Munich ct.-op-
era, 1865 ; sang there thereafter ;
emioent in Wagnerian roles at Bay-
reuth ; prod, an opera ** Der Fremd-
Uttg" (Munich, 1899). (3) The-
rcM (n^e Thoma), Tutzing, Lake of
Stamberg, Nov. 12, 1845 ; from
1868, wife of above, and tike him,
* eminent in Wagner opera ; dram.
soprano ; pupil of Hauser and Merg-
er, Munich Cons.; 1864, Carlsnihe;
1865-92, Munich, then retired.
Vocler (fdjch'-l«r), Gtorgjos. (*'Abb<
Voffler '0> Wttrzbuig, June 15, 1749
— Darmstadt, May 6,1814; famous
Ofganist ; theorist and composer; pupil
of Padre Martini and Vallotti ; took
orders at KpuMi 1786-99, court-con-
ductor Stockholm ; 1807, ct.-cond. at
Darmstadt ; he was eminent as a
teacher of radical methods ; toured
widely as a conceit organist with hts
** orchestrion "; he wrote many trea-
tises ; c. 10 operas, a symphony, etc.
VMrrich (fd'.grtkh). Max (Wn.
Ckri), b. Szeben (HermannsUdt),
Transylvania, Jan. 24, 1852 ; pianist ;
at 7 he played in public, then pupil
of Leipzig Cons.; 1870-78, toured
Europe, Mexico and Sooth America ;
then U. S. with Wilhelmj ; 1882-86.
in Australia, where he m.; since
1886. lives in New York ; c 3 grand
operas (text and music) incl. * * IVanda'*
(Florence, 1875) : c. also an oratorio
•• The CapHvity " (1884 ; Met. Op.
1891); 2 cantatas, Missa Solemnis;
2 symphs., vln. -concerto, etc.
Vogt (fokht), (i) GosUye, Strass-
burg, I78i*-Paris, 1879; oboist,
professor and composer. (2) Jn.
(Jean), Gipss-Tinz, near Leignttz,
1823 — Eberswalde, 1888; pianist and
composer.
Voigt (foikht). (i) Jn. G. Hermann,
Osterwieck, Saxony, 1769 — 181 1; or-
ganist and composer. (2) K., Ham-
burg, 1808 — 1870; conductor. (3)
Henriette (nee Kunae), 1809— Oct.
I5f 1839 ; distinguished amateur mu-
sician at Leipzig ; intimate friend of
Schumann.
Volckmar (folk'-mar), Wm. (Valen-
tin), Ilersfeld. Cassel, t8i2— Hom-
berg, near Cassel, 1887; mua.-teach*
er, organist, writer and composer.
Volkert (fol'-k^rt), Fs., Heimersdorf,
Bohemia, 1767 — ^Vienna. 1845 ; or-
ganist and conductor ; c. over 100
comic operas, Singspiele, etc.
Volkland (folk'-Unt), Alfred, b.
Brunswick, April 10, 1841; pupil
Leipzig Cons. ; ct. -pianist at Sonders-
hausen ; from 1867, ct.-cond. there*
1869-75, cond. Leipzig Euterpe, also
co-founder the Bach-Verein ; since
187s, cond. at Basel; 1889, Dr.
Phil. h. c. (Basel Univ.).
Volkfflann (f61k'.mSn), (Fr.) Robt«
Lommatzsch, Saxony, April 6, x8is
DICTIONARY OF MUSICIANS 711
— Pesth, Oct 30, 1883 : Double
composer ; son and pupil of a cantor ;
studied with Friebel (vln. and 'cello),
Anacker (comp.) and K. F. Becker,
at Leipzig ; 1830^42, taught mus. at
Prague ; thereafter lived in Pesth,
excepting 1854-58, Vienna ; for years
prof, of harm, and cpt. at the Kat.
Acad, of Mus. , Prague ; c. 2 symphs. ;
3 serenades for strings ; 2 overtures,
inch ''*' Richard in** ; concerto for
'cello, ConcertstQck for pf. and
orch.; 2 masses with orch.; Christmas
Carol of the 12th cent.; old German
hymns for double male chorus ; 6
duets on old German poems ; 2 wed-
ding-songs; alto solo with orch.,
**^« die Nacht**; dram. -scene for
soprano with orch., ** Sappho*'*; pf.-
pcs. and songs. Biog. by Vogel
(LeipzifiT, 1875).
VollhariU (fdV-hart), Emil Rein-
hardt, b. Selfersdorf, Saxony, Oct.
16, 1858 ; pupil of Leipzig Cons.;
cantor Marienkirche and cond. at
Zwickau ; c. motets and songs.
Vollweiler (fdl'-vMdr), K., Offenbach,
1813 — Heidelberg, 1846; piano-
teacher and composer.
Volumier (vo-lQm-ya), J. Bapt., Spain,
1677 — Dresden, 1720 ; ct. -violinist
and ball-cond., Berlin and Dresden.
Vonderheide (f6n'-d€r-hl'.d«), J, Fr.,
b. Cincinnati, Feb. 28, 1857; public
singer and violiniM- at 10; at 17 he
knew nearly all instrs. of the orch.;
taught 3 years in Pittsburg; studied
Vc»ice-culture and piano in Cincinnati
and Europe ; 1882-84, dir. Buffalo
Sch. of Mus.; 1885-91, N, Y. Con-
servatory.
VopelittB (fd-p&'-lf-oos), Gf., Herwigs-
dorf, n. Zittau, 1645 — Leipzig, 17 15;
cantor and composer.
Voretzsch (vd'-r«tsh), Jns. Felix, b.
Altkirchen, July 17, 1835 ; pianist
and conductor.
Voss^ (1) (Vos'tiuB) Gerhard In.,
Heidelberg, 1577 — Amsterdam, 1649;
writer on mus. (2) Isaak, Leaden,
1618 — Windsor, Engl., 1689; son of
above ; canon and writer. (3) Chas^i
Schmarsow, Pomerahia, 18 15— Vero-
na, 1882 ; pianist and composer.
Vowlet (v61z), W. G., succ. J. SmHh,
org. -builder, est. Bristol, 1814.
Vredemaiin (fra'-d«-miin), (i) Jakob,
teacher and composer, Leuwarden,
ca. 1600 — 1640. (2) liichael,
teacher and theorist, Amheim, i6r2.
Vroye (vrw«), Th. loa. De, Villers-la-
Ville, Belgium, 1804-^Liigc, 1873 ;
canon and theorist.
Vnillaume (vwe-ydm), family of French
vln.-makers. (i) Claude (1771 —
1834); had 4 sons who followed hlth,
the most famous (2) Jean Baj&tUte,
Mirecourt, Dept. of vosges, France,
Oct. 7, 1798*— Paris, March 19, 1879;
1821-25, in partnership with Lete ;
he was v. succ. and a* remarkable
imitator of Stradivari; inv. 185 1,
**octobassc" (v. D. D.); 1855, a larger
viola " contre-alto" ; in 1867 a mute,
the '* pedale sourdine " ; also a ma-
chine for manufacturing gut-strings
of unvaried thickness, etc. His
brothers were : (3) Nicolat 08ot>—
1871), (4) Nicolas FrAn. (1802—
1876), and(5) Claude Pimsi.(b. 1807),
also an org. -builder. (6) Sebattlan
(1835 — 1875), vln.-maker.
Vulpius (fool'-pY-oos), Melchior, Wa-
sungen, ca. 1560 — Weimar, 1^16;
cantor and composer.
w
Wach (vftkh), K. Gf. Wm., Lobau,
1755 — Leipzig, 1833 ; double-bass
player.
Wacbs (wilsh), Paul, b. Paris, Sept
19, 185 1 ; pianist, pnpil of Paris
Cons.; won ist prize for organ, 1872;
c. pf.-pieces.
Wachsmann (vfikhs'-mfo), Jn. Ja-
cob, early 19th cent, mus.-^lirectoi^
Magdeburg Cath.; composer, writer
of methods, etc.
Wachtel (vfikh'.t«l), (i) Theodot
Hamburg, 1823 — Frankfort-on-Main,
1893 ; noted tenor ; son and successot
of a liveiy-stable keeper, then "dis-
covered **i studied with Frl, Grandt
712 THE MUSICAL GUIDE
jean. His son (2) Th. (d. Dessau,
1875) was for a time a tenor.
Wachtef (vfikh'.t«r), Erast, b. Mahl-
hausen, May 19, 1872 ; bass; studied
with his father and Goldbeiigr ; 1894,
DrMden opera; from 1896 Bayreuth,
as '* Fasolt,** etc.
Wade, Jot. Aug^uttine, b. Dublin—
d. London, 1845; violinist, conduct-
or and composer*
Waelput (vd'-poot), Hendrik, Ghent,
1845— 1885; cond., professor and
dram, composer.
Waelimnt (wal'.r&nt), Hubert, Ton-
gerloo, Brabant, ca. 15 17 — Antwerp,
159s ; a mus.-pub. and teacher ; in-
troduced •* Bocedisation " (v. D.D.) ;
c. motets, etc.
WamumU (vii'*g{n.zil), (i) Jn.
Cop., NOmbeiK, i6rj — Altdorf,
1708 ; writer. (2) G. Chp., Vienna,
1715-— 1777 ; teacher and composer.
Wagner (Wikh'-nir),(i) Gotthard, Er.
dinj^, 1697 — Benedictine monastery,
Tes^emsee, 1739; composer. (2)
G. Gf., Mahlbergr, Saxony, 1698—
Plauen, 1760; cantor and composer.
(3) In. Joachim, i8th cent, org.-
builder at Berlin. (4) Bros. Jd. and
(5) Midiael, oig. -builders at Schmie-
defeld, i8thcent. (6) Two bros. Chr.
Salomon and (7) Jn. Gl., harpsU
chord-makers Dresden, 1774. (8)
K. Jakob, Darmsudt, 1772 — 1822 ;
horn-virtuoso, concert-conductor ; c.
operas. (9) Ernst David, Dram-
burg, Pomemnia, 1806 — Berlin, 1883;
cantor, organist, mus.-director and
composer ; pub. essays.
(10) (Wm.) Richard, Leipzig,
May 22, 18 1 3— -(of eyrsipelas) Venice,
Feb. 13, 1883 ; eminent opera com-
poser; son of a cleric in the city
police-court, who died when W. was
six months old; the, mother m. an
actor and playwright, Ludwig Geyer
of Dresden. W. attended the Dres-
den Kreuzschule until 1827 ; he
transL 12 books of the Odyssey, and
at 14 wrote a bombastic and bloody
Shakespearean tragedy ; 1827, he
Studied at the Nikolai Gymnasium,
Leipzig, where the family lived while
his sister Rosalie was engaged at the
City Theatre there. Wagoner was
impelled music-ward by hearing a
Beethoven symph. and took up
Logir*s *' Thoroughbass." He then
studied theory with the oiganist Gott-
lieb Mailer and c. a string-quartet, a
sonata and an aria. 1830, after ma-
triculation at Leipzig Univ., he
studied six months with Th. Weinlig
(comp.) and c. a pf.-sonata, and a 4-
hand polonaise. He studied Beetho-
ven's symphs. very thoroughly. At
19 he c. a symph. in 4 movements,
prod, at the Gewandhaus, Leipzig,
1833. He wrote the libretto for an
opera, ** Die Hochzeii" an intro-
duction, septet, and a chorus 1832,
but his sister Rosalie thought it im«
moral and he gave it up ; 1833 hia
brother Albert, stage-manager and
singer at the WQrzburg Theatre in-
vited him to be chorusm. there. He
c. a romantic opera in 3 acts " DU
Feen^* to his own libretto (after •• La
Donna serpenU,** by Gozzi) ; it was
accepted but never performed, by the
Leipzig th.-dir. Ringelhardt (given at
Munich, 1888). 1834, he became
cond. at the Magdeburg Th. Here
he c. (text and music) ** Das Uebes^
verbot (after Shakespeare^s ''''Measure
for Measure "), performed by a bank-
rupt troupe, 1836. Th.-cond. at
KOnigsberg, and m. (1836) an ac-
tress Wilhelmine Planer, who d. 1866,
after they had separated in 1861.
He c. an overture ** Rule Britan»
ma,** 1837 cond. Riga opera. Moved
by Meyerbeer's triumphs at the Gr.
Opera at Paris, W. went there, July,
1839, by sea. The voyage lasted 3^
weeks and was very stormy ; the ex*
perience suggested to him the opera
** Flying Dutchman** Meyerbeer
gave him letters to musicians and
pubs, in Paris ; here he suffered pov-
erty and supported himself by song-
writing, arranging dances for piano
and comet, preparing the pf .-score
of Halevy's '' Reine de Chypre^ zxA
DICTIONARY OF MUSICIANS 713
writing articles. His operas were
scornfully rejected and he could get
no hearing till the v. succ. ** Rien%i "
was prod., Dresden, 1842, and *^ Der
FHigeHde Holldnder*^ Jan. 2, 1843.
The novelties in this work provoked
a furious opposition that never ceased.
1843-49 he was cond. of Dresden
Opera, also cond. Dresden Lieder-
tafel, for which he wrote a biblical
scene,** />flj Ltebesmahl der Apostel^*
for 3 choirs, a cappella, later with full
orch. ** TannhHuser" was prod.,
Dresden, 1845, with succ. in spite of
bitter opposition. In i^^Z *^ Lohen-
grin ** was finished ; but the mg^. of
the Opera did not care to risk the
work. He now wrote out a little
sketch '*DU Nihelungen, Weltge-
schichte aus dir Sage **/ a prose studv
on ** Der Niehelungen-Mylhus als
Entwurf %u einem 7)rama" (1848),
and a 3-act drama with Prologue,
written in alliterative verse, '* Sieg-
fried' s Tod** preparations for the
great work to follow. A rashly ex*
pressed sf mpathy with the revolution-
ary cause (1849) made flight neces-
sary ; he went to Weimar with Liszt,
but had to go on to Paris to escape the
order for his arrest. 1849 he pro-
ceeded to Zurich, were he wrote a
series of remarkable essays : '* Die
Kunst und die Revolution " (1849),
** Das Kunstwerk der Zukunft**
•* Kunst und Klima,'* ** Das Juden-
thum in der Musik" (1850), ** Oper
und Drama^* *^ £rin$urungen an
Spontini** a prose drama ** Wieland
der Schmiedt," and the 3 poems of the
Niebelungen trilogy (privately printed
1853). The music of **Z>Ar Rhein-
gold ' was finished 1854, '* Dit Wal*
kUre" 1856. He cond. orch. concerts
with much succ, lectured on the
mus. drama, prod. *' TannhSuser*'
(Zurich, 1855) ; 1855 he cond. 8 con-
certs of the London Philh. Soc. 1857
he left •*5i>^ri></" unfinished and c.
•* Tristan und Isolde,^* i860 he gave
concerts of his own works, winning
many enthusiastic enemies and some
valuable friends. The French Empe-
ror ordered ** Tannhduser" to be
prod, at the Gr. Opera, March 13,
1 861. It provoked such an elaborate
and violent opposition (for omitting
the ballet) that it was withdrawn after
the third performance.
W, was now permitted to return
to Germany ; •* Tristan " was accept-
ed at the V ienna ct. -opera, but after
57 rehearsals the singers declared it
impossible to learn. In 1863, he
pub. text of the ^^Nibelung Ring'*
despairing of ever completing the
mus. When his financial state was
most desperate. King Ludwig II. of
Bavaria (1864) invited him to Mu-
nich and summoned von BQlow as
cond. to prod. ** Tristan und Isolde**
(June 10, 1865) ; but opposition was
so bitter that W. settled at Trieb-
schen. Lucerne, and completed the
scores of **Z?j> Meister singer " (prod.
Munich, 1868) and '* Der Ring dts
Nibelungen:* ''Siegfried** (1869) and
**Gdtterdilmmerung " (1874).
1870 he m. Cosima, the divorced
wife of von BQlow and natural
daughter of Liszt. Since his death
she has had charge of the Bayreuth
Festivals. Though King Ludwig*s
scheme for a special Wagner Thea-
tre in Munich was given up, there
were by this enough Wagner-lovers
and societies throughout the world,
to subscribe funds for a theatre at
Bayreuth, where the comer-stone was
laid in 1872, on his 60th birthday.
In August, 1876, complete perform-
ances of *'Der Ringdes Nibelungen **
were given there under most splendid
auspices, but with a deficit $37,500,
paid off by a partially succ. festival
m London, 1877, and by the setting
aside of the royalties from perform*
ances at Munich. He now set to
work on the '' BUhnenweikfestspiel**
(Stage - consecrating - festival - play).
"^ Parsifal** finished, and prod, in
1882. The same year ill-health sent
him to Venice, where he d. suddenly.
His writings (extravagantly praised
t*
7H
THE MUSICAL GUIDE
and condemned) are pub. in various
eds. There is an English transla-
tion in 8 volumes, hy Wm. Ashton
Ellis. Besides his operas and the
other works mentioned he c. a symph.
(1832); 6 overtures, incl. **AV««rr/-
ouvertUre xiemlich fu^irt** ** Polo-
nia," ''Columbus:' '' RuU Britan-
nia**;'' New Year s Cantata* ; incid.
!aus. to Gleich's farce '""Der Berg-
trnst** (Magdeburg. 1836); '' HuU
digungsmarsch** (1864, finished by
Raflf); •* Siegfried Idyll*' (1870, for
his son then a year old), ** Kaiser-
marsch ** (1870). ** Festival March **
(for the Centennial Exposition. Phil-
adelphia, 1876), '' GelegenheitS'Can-
iata * (for unveiling a statue of King
Friedrich, August, 1843), ** Gruss an
den Konig" (1843, pf.). ''An IVeber's
Grabe** (Funeral March for wind-
instrs. on motives from Weber's ^' Eu-
ryantke^* and double quartet for
voices, 1844). For Pp.: sonata ; po-
lonaise, for four hands ; fantaisie/'^A
bumsonate^ fUr Frau Matkilde /fV-
sendonck ** (1853) ; ^*Ankunft bei den
Schwarzen Schwan^n^ (\^b\)\ *'^Ein
Albumblait far FSrstin MeHemich "
(1861), '*AlbumblaH far Frau BeUy
SchoU** (1875). Songs: '* Carna-
valslied** from "Das Liebesverbol*'
(1835-36); *'£>0rs, mon en/ant,'*
''Mignonm;* '"Attente" (1839-40),
*'Les deux Grenadiers " (1839); "-^^
Tannenbaum'* (1840) ; " KraffUed-
eken" (1871), **Fen/ GedichU ;** i,
'' Der Engel**; 2. "SUke sHir; 3.
••/w Trabhaus*'; i^^'Schmerzen**,
5, " Trdume** {1^62).
Biog. by C. F. Glasenapp (1876) ;
F. Hueflfer (1881) ; R. Pohl (1883) ;
W. Tappert (1883) ; H. v. VVoUogeii
(1883) ; Ad. Jullien (1886) ; H. T.
Finck (1893); H. S. Chamberlala
(1897); E. Dannreuther, F. Pragcr
08^3) ; G. Kobb^ ; Glasenapp and
Ellis (1900). There are many trea-
tises on his works. His letters have
also been published in various forms.
Wagner.
By Henry T. Finck,
WHEN Richard Wagner was living as a political remgee in Switzcr^
land, at the age of thirty-six, he elaborated his theory of the "art-
work of the future'* in a long essay. Reduced to one sentence,
this theory was, that music, poetry, painting, sculpture, and architecture had
run their course as separate arts, and that the art-work of the future was to
be a combination of them. At a later period he tried to make Beethoven re«
sponsible for this theory, so ^ at least as the union of poetry and music u
concerned. Beethoven, he argued, wrote his first eight symphonies for in-
struments alone, but when he composed the Ninth, the greatest of them all.
he reached a point in the last movement, where the orchestra no longer suf-
ficed for his purposes, so he called in the aid of the human voice and poetry
— Schiller's «< Ode to Joy,** This symphony thus became «*the gospel of
the art- work of the future"; and beyond it, Wagner maintained, progress
Was possible only in the direction of the genuine music-drama; ** the key to
which was thus forged by Beethoven." And when the comer-scone for the
Bayreuth Theatre— in which the "art- work of the future" waa to be pi»-
DICTIONARY OF MUSICIANS 715
•ented to the world — vm laid, Wagner significantly made it the occasion for
the performance o( this epoch-making Ninth Symphony, ^ Undoubtedly it
was a strolce ^ genius on the part of Wagner thus to turn the tables on his
enemies — who had decried him as a heretic and a foe to music — hy claim-
ing their very idol as the sire of his new doctrine. In truth, however, it is
not at all probable that Beethoven had in mind any such purpose as Wagner
imputes to him. There is no reference to anything of the kind among the
biographic documents, whereas, it is known, on the other hand, that Bee-
thoven had been intending nearly all his life to set to music Schiller's " Ode
to Joy*** According to Czemy, he subsequently even pronounced this ex-
periment o( incorporating the Ode in his symphony a mistake (^Missgriff).
The voice, in truth, was never congenial to him. ** Songs I do not like to
write," he said to Rochlitz, in 1822, the very time when he was at work
on the ** Ninth Symphony,^* In both this work and the " Miss a Solennis,**
of the same period, Beethoven, moreover, uses the human voice like an in-
atrument, and it » probable that in each case his object in employing it was
not so much to secure an alliance with poetry as to increase the power of his
musical forces, and to enlarge the variety of tone-colours by adding to the
orchestra the human voice, alone, concerted, and in massive choral combina-
tion. 5F Wagner's musical pedigree must therefore be sought elsewhere.
His ancestry might be traced back as fiir as Peri and the other originators of
Italian opera who (strange as it may seem to us who know only the later
Italian opera which Wagner reviled) represented a protest in fovor of poetry
against the tyranny of music in the marriage of these arts. Wagner's whole
art was such a protest, and his more immediate progenitor in this respect was
Gluck, who found that Italian opera had gradually become ridiculous through
the •' vanity of singers and the unwise compliance of composers ; " and who,
therefore, endeavoured to reduce operadc music to its proper function ; that of
seconding the poetry and deepening the feeling it arouses. Gluck' s idea that
the relation of poetry to music was much the same as that of a sketch to the
colour, << which animates their figures without altering their outlines " was cor-
<ia]ly endorsed and adopted by Wagner. ^ The next step in the evolution
of Wagnerism is represented by Weber, his indebtedness to whom Wagner
6«nkly acknowledged in several places. He declared that the last scenes in
Weber's ^'Enryanthe^' realised the ideal of musico-dramatic art, as here the
orchestra ** interpenetrates the recitatives as the blood does the veins of the
body." What Weber himself wrote about this opera : '* *Enryantbe* is a
purely dramatic work, which depends for its success solely on the co-opera-
rion of the sister arts, and is certain to lose its effect if deprived of their as-
sistance," shows that his ideal was the same as Wagner's. Had he lived
lonpier, and had he possessed WAgner's pugnacity and iron will, he might
50
7i6 THE Ml^SICAL GUIDE
have been the man to annihilate the old-ftshioned opera and tfiumphantljr ei
tablish the modem music-drama. He even made use of leading motives [vide
D. D.]. His early opera **Abu Hassan '* has a melody which u afterwards
repeated in a reminiscent way. The **Freyscba'tx^* has eleven recurring
melodies^ and '' Eurjanthe ** hal eight. ^ While the germs and main
principles of Wagnerism may thus be found in Peri, Monteverde, Gluck, and
Weber, it remained for Wagner's genius to develop and spply them. Gluck's
operas were still far from being perfect works of art. To cite Wagner's
own words : <'In Gluck's operas we find the aria> the recitative, the ballet
still placed side by side without any connection ; ' ' while opera in general
remained after him, as before, a mere variety show, with here a pretty tune,
there a graceful skip of a dancer or a brilliant feat of vocalisation, here a daz-
zling scenic effect, there a volcanic outburst of the orchestra, and the whole
without artisdc coherence. If a painter put on a canvas a number of human
figures and diverse objects totally unrelated to each other, no one would call
it a work of art, however well done each figure might be in itself. The
opera before Wagner was suck a canvas. He was the first who made a gen-
uine picture of it — an art-work organically united in all its parts. He did
this by means of the leading modves — the typical melodies and charac-
terisdc harmonies which accompany each of the dramatis persona throughout
the score, just as their social and moral character accompames them, with
such modifications as the situadon calls for. Weber had used leading motives
as we have seen, but only in an elementary way. It remained for Wagner
to make them the very framework of the music-drama. He thus taught
music to speak a definite language, so that we can almost tell by listening to
the orchestra alone what is going on on the stage. ^ His whole aim and
desire was to make the drama impressive and intelligible. For this reason he
discarded the tuneful style of vocalism in vogue in Italian opera and developed
a new vocal style — a sort of melodious declamadon or <* speech-song."
This led to the ridiculous accusadon that there was *'no melody" in his
operas, whereas the orchestral score usually bubbles over with melodies — often
two or more at a time. After the singers had begun to master the new vocal
style, it was found, moreover, that an artist like Lilli Lehmann or Jean de
Reszke can make this speech-song sound smooth, and melodious, too-— as smooth
and melodious as the bel canto of Rossini and Mozart. And after the Angers
had learned how to act, and to enunciate disdnctly, opera-goers learned that
Wagner had written stage- works which were quite as impressive poedcally as
they were musically. He had an immense advantage over all other com-
posers in being able to write his own poems. His best ten operas — ** Tbi
Flying Dutchman,'* ** Tannbduser,** *^ Lobtngrin,^* ** Rbeing$id^**
•^Walkart,'* ^ Siegfried^' ^ ** Getter d&mmerung^'' **TrisUn!* *• Meistif
DICTIONARY OF MUSICIANS 717
simgir,^* and *• Parsifal** — apart from the miuic^ rank among the best plajrt
ever written in Germany ; though to be sure they must not be judged apart
from the music any more than the music must be judged apart from the poems.
The ludicrous opinions on these works formerly expressed by so many pro-
fessional musicians and critics were due chiefly to the Act that they did not
bear this in mind, though Wagner protested on every possible occauon that
he must not be judged from the stand-point of the separate arts, but of the
combined arts. The greatest defects in the present-day performances of his
operas is owing to this» that few stage-managers have yet learned that he
expects them to be artistic, too, familiar with every detail of the work, so that
they can show how every incident on the stage is mirrored and emphasised
in the orchestral score. There is much delightful pantomimic music in these
operas, the meaning of which is lost if the stage-manager is a bungler, and the
singers poor actors. ^With all these reforms and innovations, Wagner
never could have become the most commanding figure in the modem music-
world had he not been endowed at the same dme with the faculty for creat-
ing an extraordinary abundance of ideas, melodic and harmonic. Wilhelm
Tappert has truly observed that there is more melody in Wagner's ** Meis"
tersinger** than in all the operas of the melodious Mozart. In the field of
harmony and modulation Wagner was an innovator of impreccidented origi-
nality. There can be no tragic expression without discord, aiid he was the
greatest of all masters of discord — the musical tragedian par excellence. In
orchestradon, too-— the art of clothing his ideas in beaudful garbs of various
colours — ^he was without a rival. ^ As Schubert influenced all song- writers
after him, Chopin all the pianoforte-composers, and Beethovtn all the sym-
phonists, so Wagner has cast his spell on every writer for the stage. ** Wag-
ner is the oxygen, the atmosphere which modem opera brtallMai;'' write!
Ferdinand Pfbhl ; and he hardly exaggerates when he adds that ** modem
opera, apart from Wagner's art is an empty word, a phantom. It does not
exist." The minor composers of all countries have been indulging for nearly
half a century in a very bacchanal of plagiarism at his expense, while even the
greatest of living masters — Dvorak, Grieg, Saint-Saens, Richard Strauss-—
have honesdy profited by his example in various branches of music, Rubins
atein committed suicide by trying to swim against the current. The German
school of opera, the French, and even the Italian have followed Wagner in
abandoning colorature song and elaborate arias, in giving greater coherence
to their scores, and in showing a decent regard for their texts. In these
respecu even Verdi, greatest of the Italians, has b his last period, pud homaga
to Wagner's getuui.
7i8 THE MUSICAL GUIDE
(ii) Siegfried, b. Triebschcn,
Lucerne, June 6, 1869; only sou
of above ; attended a polytechnic
8ch., but took up mus. as pupil of
Knieae and Humperdinck ; since
'893, a Goncert-cood. in Germany,
Austria, Ital^ and England ; he con-
ducts with his left hand; lives at Bay.
reuth ; cond. at the Festivals ; c. a
' symph. poem " Sih$uucht ** (Schiller),
text and music of mod. succ. comic-
romantic opera ** Der BdrenhduUr**
(Munich Ct. Th., 1899), unsucc.,
''Herwg fVildfang'' (1901). (12)
(jAcbmaiui - Wapicr), Johaiisia»
near Hanover, Oct. 13, 1838 — WUrz-
burg, Oct. 16, 1894 ; niece of (10) ;
dram, soprano; created ** Elizabeth,'*
1845 ; m. a judge Jachmann. (13)
Paul Emilt b. Neise, June 28; teach-
er at Paderbom ; c. operettas, orch.-
Wxrs., etc.
Ain'wrighty (i) J., d. 1768 ; organ-
ist, Manchester. (3) Robt*, 1748-*-
1782; son of above; organist and
composer, Liverpool. (3) Richard,
1758 — 1825 ; bro. and succ. of above.
(4) Wm., d.1797; double-bass vir«
taoio and singer ; btxk of above.
WaiMel (vfs'-sil), (Waiaae'lios)
Matthiaa, b. Bartenstein. Prussia;
lutenist and composer at Frankfort,
«573.
Walcker (vil'.k«r), (i) Eberhard Fr.,
CAnostad t, 1 794 — Lud wigsburg, 1872;
. son of a skilled org. -builder ; himself
a noted org. -builder ; succeeded by
his five sons, (2) H. (b. Oct. 10,
1838), (3) Fr. (b. Sept. 17, 1829), (4)
K. (b. March 6, 1845), (5) Paul (b.
May 31, 1846), and '|6) Eberhard (b.
April 8. 1850).
WaJderace (val'-d«r.si), Panl, Count
Ton, b. Potsdam, Sept. 3, 183 1; a
Prussian officer from 1 848-7 1, then
took up mus. : co-editor of Beethoven
and Mozart.
W«'l€7, Simoiif London, 1827--1875 ;
W»ianist and composer.
alkeley (w6k'.h), Antony, 1672—
1717(18) ; Engl. org. and composer.
iValker (wdk'-«r), (i) Jos. Cooper,
Dublin, 1760— St..Val^, Fiaace,
1810 ; writer. (2) Jos. and SoiiS»
org. - builders, London. (3) Fr.
Edw.i b. Marylebone, London, Ji
17* 183s ; tenor ; chorister ChkpcS
Royal; prof, of singing, R. A. M.;
1883, oond. Brixton Fhilh. Soc. (4)
Edith, b. New York ; contralto ;
studied Dresden Cons, with Orgeni ;
engaged at the Vienna opera for 4
years as ist alto ; sings also in con-
cert.
Wallace, Wm. Vincent, Waterford,
Ireland, June I, 1814— -Ch&teau de
Bages, Haute Garonne, Oct. I3,
1865 ; violinist ; wandered over the
world ; c. very pop. pf.-pcs. and c. 6
operas includ. the very succ. *'*Afari-
ikvmt " (London, 1845); and ^* Lur^
iine^ido. i860).
Wallaschek (vilMi-shak), Richard,
lecturer at Lembur^ Univ.; pub.
1886, valuable treatise ^^^stketik
der Tonkunst:*
WaUenstein (val^l^n-shtfn). Martin,
Frankfort-on-Main, 1843 — ^^9^ t pi*
anist ; d comic opera.
Wallerstein (vitr-l^r-shtin), Anton,
Dresden, 1813 — C^neva, 1892 ; vio-
linist and composer.
Wall'is, J., Ashford, Kent, 1616—
London, 1703 ; acoustician.
Walliser (vftlMV-z^r), Chp. Thos.,
Strassburg, 1568 — 1648 ; mus.-dir.,
theorist and composer.
Wallner (val'.n«r), Leopold, b. Kiev,
Russia, Nov. 27, 1847 ; writer and
mus.-teacher in Brussels.
WaUndfer (vftl'.na-fer). Ad., b. Vien.
na, April 26, 1854; pupil of Wald-
mailer, Krenn and Dessoff (comp.),
Rokitansky (singing); barytone at
Vienna ; 1882, with Neumann's
troupe ; 1897-98, N. Y.; c. succ
op. ••i?<iijjKj/5(rw" (Prague, 188^, etc.
Walmisley (wSmz'-lY), (i) Thos.
Forbes, London, 1783—1866; or-
finanist and composer. (2) Thoa.
Attinrood, London, 1814 — Hastings,
1856 ; son of above ; professor and
composer.
Wa'lond, (i) Wm., organist and conr
DICTIONARY OF MUSICIANS 719
poser, Oxford, 1759. (2) Wm., d.
1836; aon of above; oixanist, Chi-
chester, 1775.
Walsh, John, d. London, 1736 ; mus.-
W)uMisher.
alter (viir.t^r), (i) Ign&z, Rado^
witz, Bohemia, 1759 — Katisbon, ca.
1830 ; tenor and composer. (2) Ju-
liane (nee Roberts), wife of above ;
a singer. (3) G. Anton, b. Ger-
many ; pupil, R. Kreutzer ; 1792,
opera conductor at Rouen ; compos-
er. (4) Albert, b. Coblentz ; Irom
1795« clarinettist and composer in
Paris. (5) Aug., Stuttgart, 1821—
Basel, Jan. 22, 1896; mus. -director
and composer. (6) Jos., Neubei^-
ou-Danubc, 1833 — Munich, 1875;
vln. -teacher. (7}Gustav, b, Bilin,
Bohemia, Feb. 11, 1836; tenor;
Supii of Prague Cons. ; d^but hi
>runn, 1856-87, principal lyric tenor
at Vienna ct.-opera. (8) Benno, Mu-
nich, June 17, 1847 — Oct. 23, 1901 ;
bro. and successor of above ; violin-
ist ; pupil of Munich Cons. ; from
1863 member of the ct.-orch. (9)
(wol'-ter), Wm. H., b. Newark, N.
J., July I, 1825 ; organist as a boy ;
from 1856, organist Columbia Coll.,
N.-Y.; Mus. Doc., 1864; c. 2 masses.
(10) Geo, Wm., New York, b. Dec.
16, 185 1 ; son and pupil of (9). also
pupil of T. K. Paine (Boston), S. P.
Warren (New York) ; I. Washing-
ton since 1869. (11) K., b. Crans-
berg, Taunus, Oct. 27, 1862 ; pupil
of Meister and Schmetz ; later Ratis-
bon Sch. for Church-mus. ; then
teacher and organist at Biebrich-on-
Rhine ; from 1893, mus.-teacher at
Montsbaur Seminary : wrote essays ;
c. motets, a prize triple fugue, etc.
(12) Fr. Wm., b. Mannheim, Sept.
3, 1870; Dr. Phil., Heidelberg,
1892 ; lives in Mannheim as writer
and critic.
Walther von der Vogelweide (v&l'-
ter fon d«r f6'-g«l-vT-d«), in the Ty-
rol (?), ca. 1 160 — WOrzburg, after
1227; the chief Minnesinger and
lyric poet of medieval Germany.
Walther (viU'-t«r). (i) Jn., Thanngia.
1496—- Torgau, 1570; singer and
comix>scr; ct. -conductor. (V. mar-
tin LUTHER.) (2) Jn. Jakobv b.
Wittcrda, near Erfurt, 1650; ct.-
musician, publisher and composer*
(3) Jn. Ct, Erfurt. 1684— Weimar,
1748 ; organist, writer and composer.
(4) Jn. Chp,, Weimar, 1715-^71;
organist and composer.
WaUel (v«l'.ts«l), Camillo, Magde-
burg, 1829 — ^Vienna, 1895 ; librettist,
(pseud. F. Zell). ^
Wambach (vam'-bakh), Emile (X.),
b. Arlon, Luxembourg, Nov. 26, 1854;
pupil of Antwerp Cons.: c. S3rmph.
poem, "A an Ue boortUn van de
ScheUU^^ orch. i fantasias, Flemish
drama ** Nathan* 5 ParabeV* ; 2 ora-
torios f a hymn for chorus and orch.,
etc.
Wangemaan (vang-^-mio). Otto, b.
Loitz-on-the-Peene, Jan. 9, 1848 ;
pupil of G. FlUgel, Stettin and Fr.
Kiel at Berlin ; since 1878, organist
and singing-teacher Demmin Gym-
nasium ; wrote org. treatise.
Wanhal (Van Hal) (v&n'-hal), Jn.
Bapt., Neu-Nechanitz, Bohemia,
1739 — Vienna, 18 13; composer.
Waneki (vHn'-shkl), (i) Jn. Nepo-
muk, b. ca. 1800 (?); son of (a) Jan
(a pop. Polish song-composer) ; vio-
linist ; pupil of Baiilot ; toured wide-
ly, then lived at Aix ; wrote a vln.
method and c. etudes, etc.
Ward, (i) J., d. before 1641 ; EngUsh
composer. (2) J. Chaa., b. Upper
Clapton, London, March 27, i$35 ;
1846, soloist on the concertina ; since
1852, organist at several linden
churches : c. a motet, and a Sanctus
for double-choir; cantata ** Tki
W0od'\* ''A Psaim of Life,' with
orch.; orch. fugue on ^^Tke Saihr's
Hornpipe,'" etc.
Warlamoff (vilr'-U-rndQ, Alex. Je^fO-
rovitch, Moscow, 1810^1849 ; sing-
ing-teacher and composer
Warnot8 (vftr-no), (i) Jean Amoldf
(1801— i86i). (2) Henri, Erusacls,
1832 — 1893; opera-tenor i son and
720 THE MUSICAL GUIDE
pupil of above; c. operetta. Hia
da^gfater and pupil (3) Elly, b.
Lt^e, i$62; sopiano; debut, Brus-
sels, 1879 1 ^''fiT there, then at Flor«
encc, Paris Op. -Com., etc.
War'ren, (i) Jos., London, 1804 —
Kent) t88i; oi^anist, pianist, violin-
ist, composer and writer, (a) G.
Wm., Albany, N. Y., Aug. 17,
1828 — New York, 1902; self-taught
organist; from 1870, organist St.
Thomas's Ch., New York; prof.
Columbia Univ.; c. church-mus. (3)
Samuel Prowse, b. Montreal, Can-
ada, Feb. t8, 184 1 ; organist; pupil
of Haupt, Gv. Schumann (pf.) and
Wieprecht (instr.) ; 1865-67, oigan-
ist of All Souls' Cb., New York;
later at Trinity Ch. ; c. church-mus.,
org.-pcs., etc. Richard Henry, Al-
bany, N. Y., Sept. 17, 1859; son and
pupil of (2), also studied abroad;
from 1886 org. at St Bartholomew's,
N. Y.; founder and cond. of church
choral soc., which gave many im-
portant works their first hearing;
Farker's " Hora Novissima " was
written for this society. C. anthems,
services, a comic opera, songs, etc.
Wartel (v&r-t^l), (i) Pierre Fran.,
Versailles, 1806 — Paris, 1862; tenor.
<2) Atala TMrise (n& Adrien), b.
Paris, July 2, 18 14 ; wife of above ;
1831-38, prof, at Paris Cons.; c. pf.-
studies, etc (3) Emit, son of above ;
sang for years Th. Lyrique, then
founded a sch.
Wasielewski (va-ze-l^f-shki). Jos.
W. Ton^ Gross • Leeson, Danzig,
1822— Sondershausen, 1896; violin-
ist, conductor, critic, composer, and
important historical writer.
WasBermann (vSs'-s^r-mfin). H. Jos.,
Schwarzbach, near Fulda, 1791 —
Richen, n. Basel, 1838 ; violinist and
composer.
Wassomnn (vSs'.mSn). K., vln.-
teacher, Carlsruhe Cons.; pub. tech-
nical works.
Wat' son, (i) Thos., Knc^. composer,
1590. (2) Wm. Michael, New-
€Mtie-on-Tyne, 1840 — E. Dulwich,
London, 1889; teacher and compos-
er under pen-name Jules FaTre. (3!
John Jay, Gloucester, Mass., Sept,
23, 1530 — Boston, Atig. 5, 1902;
very succ. vt. and cond.
WebD, (i) Daniel, Taunton, 1735—
Bath, X815; writer. (2) G. Jas.»
Rushmore Lodge, near Salisbury.
Engl., 1803 — Orange, N. T., 1887;
organist and editor. (3) Frank
Rush, b. Covinfi;ton, Indiana, Oct.
8, 185 1; pupil of N. E. Cons., Bos-
ton; organist; since 1883, teacher
at Staunton, Va.; c. 200 pes. for
military bands, etc.
Webbe (w«b), (i) Samael, Sr., Min.
orca, 1740^ London, 1816 ; ed. colls.,
etc. (2) Samuel, Jr., London, 1770
•^1843 ; son of above ; writer and
composer.
Weber (vi'-Mfr), (i) Fridolin (b.
Zelll, 1753 — d. 1764), and his bro.
(2) F«. Anton (b. 1734 ?), were vio.
linists in the orch. of the Elector K.
Theodor Fz. became cond. of
Eutin town orch. His four daughters
were (3) Josepha (d. 1820), soprano ;
m. the violinist Hofer, 1789, later m.
a bass, Meyer. For her Mozart c.
"The Queen of the Night" in
the ''Magic Fluter (4) Aioysia,
1750— Salzburg, 1839. Mozart's first
love ; she m. an actor, Lange, 1780,
and toured as a singer. (5) Con-
stance, Zell, 1 763 --Salzburg, 1842,
Mozart's wife (1782); 1809, m.
Nissen. (6) Sophie, 1764 — Salz-
burg, 1843 ; m. the tenor IlaibL (7)
Fr, Aug., Heilbronn, 1753 — 1806;
physician and c. (8) Bd. Anselm,
Mannheim, April 18, 1766— Berlin,
March 23,1821; pianist, conductorand
dram, composer. (9) (Fr.) Dionys,
Wclchau, Bohemia, Oct, 9, 1766—
Prague, Dec. 25, 1842 ; dir. Prague
Cons. ; c. operas, etc. (10) Gf.,
theorist and composer, Freinsheim,
near Mannheim, 1779 — Kreuznach,
Sept. 21, 1839 ; amateur pianist, flut*
fst and 'cellist, also cond.; wrote es*
says and valuable treatises ; c 3
masses, a requiem and a Te Deom
DICTIONARY OF MUSICIANS 721
with orch. and pf. -sonata, (xi) Fri*
dolin (Il.)f b. 1761; ton of (2), and
•tep-broth. of (x2) ; pupil of Haydn ;
singer and mus. -director.
(13) K. Maria (Pr. Ernst), Frei.
herr ▼on, Eutin, Oldenbuii^, Dec.
x8, i786iF--{of consumption) London,
June 5, 1826 ; son of the second wife
of (2) and cousin, by marriage, of
Mosart; the founder of German
national opera (Wagner shows his in-
fluence deeply), and of the Romantic
Sch.; perhaps the most widely influ-
ential German composer of the cent.
More important, in cold fact, as a
path-finder, and an influence, than
as an artistic individuality; he was
also a notable pianist (he could
stretch a 12th), and a pioneer in
modern pianistic composition. At
first a pupil of his step-bro. (11).
His mother, Genoveva (d. 1798, of
consumption^ was a dram, singer,
and the family led a wandering life.
At 10 he ^became pf. -pupil of J. P.
Heuschkel. As a chorister in the
cathedral at Salzburg, 1797, he had
gratuitous lessons in comp. from Mi-
chael Haydn, to whom he dedicated
his first published comps., six fughet-
tas (1708). 17^1800, at Munich,
he studied singing with Valesi, and
oomp. with KaTcher. At 12 he c* an
opera (the MS. lost or burned). He
also appeared as concert-pianist. He
met Aloys Senefelder, the inv. of
litl|ograpny, and engraved his own
op. 2, 1800, and made improvements
In the process. At 13 he c. and prod,
with succ. the opera *^ Das Wald-
mddchen*^ (Freiberg, also played at
Chemnitz, Prague, Vienna and St.
Petersburg). In 1801, he c. a third
opera " Peter Sch moll und seine
A^flM^arw** (Augsburg, 1803?); 1803,
in Vienna, he became a pupil of Abb^
Vogler. 1804, cond. Breslau City
Th.; resigned 1806; supported him-
self by lessons, then mus.-intendant
to Duke Eugen of Wttrtemberg;
X807, private secretary to Duke Lud-
wjg at Stuttgart, and mus.-master to
his children. In a turmoil of Intrigue
and dissipation he forgot his art, until
he became involved in a quarrel lead-
ing to his banishment in 18 10. This
sobered him and awoke his better
self. Going to Mannheim, he prod*
his first symph.; then rejoined Abb^
Vogler, at Darmstadt. His opera
**5ir/v<iMa** was prod. (Frankfort-on-
Main, 1810), and **Abu Hassan^* a
comic Singspiel (Munich, i8il). He
made a concert-tour to various cities.
1813, cond. of the Landstftndisches
Th. at Prague, where he reorganised
the opera, and won such note that in
1816 the King of Saxony called him
to Dresden to reorganise the Royal
Opera. At 20 he beean " Der Frei''
schutn^ but gave it \m> till later
(the incid. mus. to WolfTs ** Precio-
M**took 3 weeks). In 18 1 7, he m.
the singer Karoline Brandt, a mem-
ber of his company to whom he
bad long been engaged. They
toured together as pianist and singer.
** Der FreischUt* was prod, with
tremendous succ, Berlin, i8si ; its
strong nationalism provoking a frenzy
of admiration. But ^* Euryanthe'*
(Vienna, 1823) had much less succ.
1824, he was commissioned to write
**OieroH^** for Covent Garden, Lon-
don, but consumption delayed its
completion; it was prod. (London,
1826) with much succ. He lived
only eight weeks longer; his body
was taken to the family vault at Dres-
den. [See also pages 785 and 786.]
Dramatic Works: Besides the
operas already mentioned he c. *' PiU
bezahl^ (befi^n 1804, not completed);
•' Die Dret Pintos " (completed yj
G. Mahler, written aivd prod. Leip-
zig, 1888). Incid. mus. to Schiller's
••r«rfl«<i>/,- Manner's *'K9nirYn*
gurd," Gehe's '' Hnnrich IV7* uxi<^
Houwald's ^*Der Leuckttkurm.^ C.
also cantatas, incl. *' Der erste Ton *
(1808) ; and " Kampf und Sieg"^ (on
the battle of Waterloo), with ort^
(1815); '^Natur und Liebe,'' \%\%i
bynm, *'/« ui$ur Ordnung uhaff
722 THE MUSICAL GUIDE
dtr fftrr^^* with orch.; (1812), 2
masses and 2 offertories, with orch. ;
some very pop. songs, four scenes
and arias for soprano with orch. ; 2
scenes and arias for tenor, chorus
and orch. ; lo part-songs, some very
rp. ; and children's songs ; 6 canons
3-4 ; duets (op. 31) ; 2 symphs.
(both in C) ; Jubel-OuvertOre ; 2
clarinet-concertos ; bassoon-concerto;
adagio and rondo ungarese for bas-
soon with orch. ; variations for many
instrs.; chamber-mus. ; 2 pf. -concer-
tos, ConcertstOck with orch., 10 so-
natas, a 4-hand sonata, the famous
waltz ^*AufforeUrung turn Tanze**
(** Invitation to the Dance**), op. 65 ;
12 AUemandes; 6 Ecossaises; 18
•' Valses favorites de t impdratrice de
France "y several sets of Variations,
etc. The so-called ** Weber* s Last
Waltz** (Thought or Farewell) was
written by Reissiger; a MS. copy
of it being found in W.'s papers.
Biog. by Barbedette (Paris, 1862,
Leipzig, 1864-68)' Jahns (Leipzig,
1873) ; Cari v. Weber (W.'s grand-
son) pub. his beautiful letters to his
wife (1886); Th. Hell (1828). An
almost ideal biog. is that of W/s son
the Baron Max Maria von W. (in 3
vols., 1866-68).
(13) Edmund von, Hildesheim,
1786— Wurzburg, 1828 ; mus.-direc-
tor and composer. (14) Ernst H.,
Wittenburg, June 24, 1795 — Leipzig,
Jan., 1878, with his brother (15)
Wm. Ed. (1804— 1891;, prof, at
G^ttingen ; writer on acoustics, etc.
(16) Fz., Cologne, 1805 — 1876 ; or-
fanist, conductor and composer. (17)
^duard W., town-musician, Frank-
enberg. (18) K. H., b. Franken-
berg, Aug. 9, 1834 ; son of above ;
^upil of Leipzig Cons., 1866^70;
from 1877, dir. Imp. Russian Mus.
Soc. at Saratov ; pub. a pf.-method.
(19) G. Victor, b. Ober-Erienbach,
Tipper Hesse, Feb. 25, 1838 ; pupil
pf Schrems, Ratisbon ; took orders ;
Mnce 1866, cond. at Mayence Cath.,
cj-pe«t and writer on org. -building;
composer. (20) Gustav, MOnchea-
buchsee, Switzerland, 1845— Zurich.
1887; organist, conductor and com-
poser. (21) Mlroslaw, b. Prague,
Nov. 9, 1854 ; violinist ; pupil of his
father ; at 10 played before the Aus-
trian Kmperor, and toui'ed; pupil of
Blazek, Prague ; also of the Cons. ;
Konzertmeister, royal orch. at "Wics*
baden, and 2nd cond. at the opera
(resigned, 1893) ; 1889, R. Mus.-
Dir. C. incid. mus. to ballet **/>i>
Rheinnixe** (Wiesbaden, 1884), 2
string quartets (the 2nd taking prize
at Petersburg, 1891), etc. (22) Con-
stantine Otto, Germany, 1847 (?)—
New Orleans, La., Nov, 13, 1901;
pupil Leipzig Cons.; from i860 in
New Orleans as org., dir., teacher
and composer.
Webster, Jos. Philbrick, Manches-
ter, N. H., 1819— Elkhom, Wis.,
1875 ; composer.
Weckerlin (v€k-«r-l&n), Jean Bapt
Th., b. Gebweiller, Alsatia, Nov. 9.
1 821; entered his father*s business of
cotton-dyeing ; in 1844, studied sing-
ing with Ponchard and comp. with Ha-
l^vy at the Paris Cons., prod, heroic
choral symph. ^^ Roland,** 1847; g**^
mus.-lessons ; 1853, prod. succ. i-act
opera, * *Z' Organiste dans tembarras*
(100 performances, Th.-Lyrique),
followed by several privately per*
formed operettas, 2 comic operas ib
Alsatian dialect, i-act opyera *^Aprh
Fontenot** (Th.-Lyrique, 1877);
1869, asst.-libr. Paris Cons.; 1876,
iibr.; wrote bibliogr. and other ar-
ticles and treatises, and ed. valuable
colls. C. ** Symphonie de la forit^
an oratorio **^£^Jugement DernUr^
2 cantatas, incT. **Paix, Chariti^
Grandeur '* (Opera, 1866) ; the ode-
symphonie **/.« Pohmes de la Aier^
etc.
Weelkes (weks), Thos,, oiganisr
Chichester Cathedral ; c notable
madrigals, etc., 1597.
Wegeler (va'-g«-l«r), Fz. Gerhard.
Bonn, 1765 — Koblenz, 1848; phjsi
cian and biographer of Beethoven.
DICTIONARY OF MUSICIANS 723
Wedekiad (v&'-d^.kTnt), Erica, b.
Hanover, Nov. 13, 1872 ; soprano ;
pupil of Dresden Cons, and Fr. Or-
^ni ; debut Dresden ct. -opera, 1894,
sang^ there 5 years, then toured widely
in concert and opera ; 1898, m. Herr
OschwaVd.
WegeliuB (vfi-gfa'-H-oos), Martin, b.
Helsingfors, Nov. 10, 1846 ; pupil of
Bibl, Vienna, and Richter and Paul,
Leipzig : 1678, opera cond. and dir.
of the Cons, at Helsingfors; pub.
text-books ; c. overture ** Daniel
Hjorr; a ballade with orch; ** Afig^
non " for sopr. with orch. , etc.
Wahte (va'-l«), K., Prague, 1825—
Paris, 1883 ; pianist and composer.
Weichler (vlkhM^r), Maximilian,
flutist, Gewandhaus orch., Leipzig;
W>ub. a flute text-book (1897).
eidenbach (vi'-dJ^n-bAkb), Jns., b.
Dresden, Nov. 29, 1847 ; pupil of
Leipzig Cons. ; since 1873 pf .-teacher
there.
Wcidt (vTt), K., b. Bern, March 7,
T857; 1889 cond. at Klagenfurt; lives
in Heidelberg ; c. male choruses.
Weigl (vTkh'-*l). (1) Job., Eisenstadt.
Hungary, 1766— Vienna, 1846; ct.-
conductor and dram, composer. (2)
Taddiius, Vienna, 1774 (?)— 1844;
bro. of above ; c. operettas.
Weinberger (vrn'-bfirkh-^r). (i) K.
Fr., b. Wallerstein, 1883 ; teacher
and cath. cond. at WOrzburg. (2)
Karl, b. Vienna, April 3, 1861; lives
there ; c. 9 succ. operettas, incl.
••/>»V Ulanen'' (Vienna, 1891),
'* Laehendt Erhen^ (1*92), " /?»>
BiumifH-Afary** (\b.t iSgj), ^^ Adam
tmd Eva*' (ib., 1898).
Weingrartner (vTn'-gfirt-n£r) (Paul)
Feiiz, b. Zara, Dalmatia, June 2,
1863 ; notable conductor ; pupil of
W. A. Remy; later of Leipzig Cons.,
winning Mozart prize ; friend of
Liszt at Weimar, where his opera
'* Sakuntala " was prod. 1884 ; until
1889, theatre cond. at KOnigsberg,
Danzig, and Hamburg, Mannheim ;
1891-^7, 2nd cond. Berlin ct. -opera,
ftiso cond. symph concerts at the
Royal orch.; from 1898 fives in Mu-
nich as cond. Kaim concerts as well
as the R. Orch. Berlin ; wrote
treatises '* Ul»n' das DirigitretC^ (Ber-
lin, 1896), etc. C. operas *' Sakun*
tal " (1884), *• Malawika - (Munich,
1886), ''Genenus** (Berlin, 1893),
withdrawn by the author because of
press attacks and revived with 9uoc.
at Mannheim and elsewhere ; " Ores^
Us*^ (Berlin, Tune 15, 1902); c. a
symph. ; symph. poems " K9nir
Lear;* " Das GefiUe der SeUgen?'
etc.
Weinliff (or Weinlich) (vln'-lYkh), (i)
Chr. fihregott, Dresden, 1743 —
1813 ; organist and composer. (2)
(Chr.) Th., Dresden, i78o^Leipzig,
1842 ; nephew and pupil of above ;
cantor, theorist and composer,
Weinwnrm (vTn'-voorm), Rudolf, b.
Schaidldorf .on - the * Tha ja. Lower
Austria, April 3, 1835 ; chorister, ct.-
chapei, Vienna ; 1858, studied law
and founded the Univ. Gesangverein;
mus.-<lir. ; 1880 mus.-dir. of the Univ. ;
pub. tn^tises and composer.
Weinzierl (v;n'-ts«rl), Maz/ Ritter
von, Beigstadl, Bohemia, 1841 —
MOdling, near Vienna, 1898 ; con-
ductor and dram, composer.
Weis (vis), Karl, notable contempo*
rary composer ; prod, with succ. 2-
act opera.** The PoHskJew" (Berlin,
ig02) ; comic opera *^The Twins ^
(Frankfort, 1903 ?>.
Weisheimer (vis -hl-m^r), Wende-^
lin, b. Osthofen, Alsatia, 1836; pupil
of Leipzig Cons.; 1666, theatre-cond.
at Wurzburg, later Mayence; teacher
at Strassburg ; wrote essays ; c.
grand opera *' Tkeador K^mer**
(Munich, 1872), and " MeisUr Mar-
tin und seint GeselUn " (Carlsruhe.
1879).
Wei88 (vis), (i) K., Mtthlhausen, ca.
1738 — London, 1795 ; composer. (2)
K., b. 1777, son and pupil of above ;
writer and composer. (3) K., bro
of above ; prod, the opera '* Twelftk
Nighr* (Prague, 1892). (4) Fa.^
Silesia, 1778 — ^Vienna, 1830; tiolai
724
THE MUSICAL GUIDE
virtuoso and composer. (5) Julius*
b. Berlin, July iq, 1814 ; violinist ;
pupil of Henning; teacher, writer
and critic ; pub. instructive works
for vln. (6) Amalie. Vide amalie
JOACHIM. (7) Josef, b. Kaschau,
Hungary, Nov. 5, 1864; pf.-virtu-
oso ; c. a concerto, etc.
V^eissbeck (vis'-b^k). Jn. Michael,
Unterlairabach, Swabia, 1756-5-1808;
cantor and organist ; writer of satiri-
cal pamphlets ; composer.
Weist-Hill, H., b. London, 1830 ;
violinist; pupil R. A. M.; cond. va«
nous concerts with much hospitality
to novelties ; 1880 principal Guild-
, hall Sch.
Weitamann (vlts'-mJLn), K. Fr., Ber.
lin, 1808— 1880 ; eminent theorist; c.
operas, etc.; wrote valuable treatises.
Welch, J. Bacon, b. Northampton ,
1839 ; prominent Engl, singing-teach-
er.
Welcker von Gontershausen (v^l*
kSr fon gdn'-t£rs-how-zJn), H., Gont-
ershausen, Hesse, 18 11 — Darmstadt,
1873 ; ct.-pf.-maker and writer.
Wel'don, (r) J., Chichester. Engl.,
1676 — London, 1736 ; oi^anist and
composer. (2) Georglna, b. Clap-
ham, May 24, 1837 ; singer and
composer.
Wels (v£ls), Chas., b. Prague, Aug.
24, 1825, pupil of Tom^schek; 1847,
ct. -pianist; 1849, ^^^ York as con-
cert-pianist and teacher ; c. concert-
overture and suite for orch.; a pf.-
concerto, etc.
Welsh (i) Thomas, Wells, Somerset,
1770— Brighton, 1848; bass and sing-
ing-teacher. (2) Mary Anne (nee
Wilson), 1802—1867 ; wife and pu-
pil of above ; v. succ. soprano, earn-
ing 0^10,000 ($50,000) tne first year
of her short career.
Wenck (v«nk), Au^r. H., violinist;
pupil of G. Benda; lived in Paris
(1786), and Amsterdam (i3o6) ; inv.
a metronome ; c. pf. -sonatas, etc.
Wenckel (v«nk'-ei), Jn. Fr. Wm.,
Niedergebra, 1734 — Ulzen, 1792 ;
organist and composer.
WendUng (v^nt'-Ung), (t) Jn.
from 1754 - 1800 flutist in Maniw
heim ; band composer. His wife (2)
Dorothea (nee Spumi), Stuttgart,
1737 — Munich, 1809, was a singer.
(3) K., d. 1794 ; violinist in Mann-
heim band. His wife (4) Aii|piste
Elizabeths, was a singer. (5) K^
b. Frankenthal, Rhine Palatinate,
Nov. 14, 1857 ; pianist ; pupil Leip.
zig Cons. ; performer on Janko key*
board; teacher of it from 1887 at
Leipzig Cons.; ct. -pianist to Prince
of VValdeck.
Wendt (v«nt). (i) Jn. GL (Amadeas),
Leipzig, 1783 — GOttingen, 1836. (a)
Ernst Ad., Schwiebus, Prussia,
1806 — Neuwied, 1850 ; composer. (3)
Ed., Beriin, 1807 -—Magdeburg, 1890;
violinist and composer.
Wennerberg(v£n'-n£r-Mh'kh),Giiiiaar|
LinkOping, Sweden, 18 17 — (?);
poet, critic, statesman, and composer;
c. an oratorio and pop. psalms and
songs.
Wensel (v^n'-ts^l), (i) Ernst Fd.,
Walddorf, near Lobau, 1808 — Bad
K(isen, 1880; pf. -teacher and writer.
(2) Leopold, b. Naples, Jan. 23,
1847 ; pupil of the Cons. S. Pietro a
Majella ; at 13 toured as violinist;
1866 joined Metra's orch. at Mar-
seilles ; 1871, conductor ; later cond.
of the Alcazar, Paris ; 1883, London;
from 1889 cond. at the Empire Th. ;
W>rod. operettas, many ballets, etc.
erbecke, Gaspar van. Vide gas-
PAR.
Werckmeister ( vilrk '- mT - sht^r ),
Ands., Beneckenstein, 1645 — Halb-
erstadt, 1706; organist, important
theorist and composer.
Werkenthin (v&r'-k^n-ten), Albert,
b. Berlin, March 6, 184a ; pianist ;
pupil of von BQlow, Weitzmann, Ul-
rich and Stem; pub. a method; c.
pf.-pcs. and songs.
Wermann (v&r'-man), Fr. Oskar, h.
Neichen, near Trebsen, Saxony,
April 30, 1840 ; pianist and organist;
Supil of Leipzig Cons.; 1868, teacher
L. Seminary. Dresden ; 1876, mas.
DICTIONARY OF MUSICIANS 725
dir. 3 churches and cantor at the
Kreuzschule there ; c. ** Re far ma-
tions-Cantate^* mass in 8 parts, etc.
Werneburg (v&r'-n6-boorkh). In. Fr.
Chr., Gymnasium teacher at Weimar;
theorist and composer, 1796.
Wenier (v&r'-nir), (i) Georg^ius Jos.,
l6<)5 — Eisenstadt, 1766 ; conductor
and composer. (2) Jn. Gottlob,
Hoyer, Saxony, 1777 — Merscburg,
1S22; organist, mus. -director, teacher
and composer. (3) H., near Erfurt,
1800 — Brunswick, 1833 ; composer.
(4) K., Bresiau, 1822 — 1884: organ-
ist. (5) K. Ludwig;, b. Mannheim,
Sept. 8, 1862 ; pupil of Hanlein and
Fischer ; organist at Baden-Baden.
(6) Josef, b. Wttrzburg, June 25,
1837 ; 'cellist ; pupil of the Cons,
there; teacher Munich School of
Music; pub. a method ; c. pes. for
'cello, etc.
Werstovski (v^r-shtof'-shkY), Alexei
Nikolsjevitch, Moscow, 1799—
1862 ; dram, composer.
Wert (vart), JacoD van, b. Nether-
lands, 1536 — Mantua, 1596 ; con-
ductor and composer.
W^ry (va-re), Nicolas Lambert,
Huy, near Li^e, 1789 — Bande,
Luxembourg, 1867 ; solo-violinist,
teacher and composer.
Wesembeck. Vide rurbure de w.
Wesley, (i) Chas., Bristol, Engl.,
Dec. II. 1757 — London, May 23,
1834; nephew of the evangelist John
W. ; teacher, organist and composer.
(2) Samuel, Bristol, Engl., 1766^-
London, 1837; bro. and pupil of
above ; ommist and composer. (3)
Samuel Sebastian, London, Aug.
24, 1810 — Gloucester, April 19,1876;
son of above ; or^nist.
Wessel (vj^'-s«l), Chr. R., Bremesia,
1797 — Eastbourne. 1885; mus. -pub-
lisher, London.
Wesselack (v^s'-sS-lSk), Jn. G., Sat-
telpeilestein, Upper Palatinate, 1828
— Ratisbon, x866 ; editor and com-
poser.
wessely (vfe'-s«-le), (i) Jn., Frauen-
Srarg, Bohemia, 1762 — Ballenstedt,
1 8 14; violinist; c. comic operas. (2)
(K.) Bd., Berlin, 1768—Potsdam,
1826 ; dram, composer.
West, J. Ebeneser, b. South Hack-
ney, London, Dec. 7, 1863 ; concert*
organist and pianist ; pupil of Bridge
and Prout, R. A. M.; since 1891, or-
ganist S. Hackney Parish Ch.; c. 3
cantatas ; Psalm 130 ; setvices, etc.
West'brook, Wm. Jos., Londoi\
1831 — Sydenham, 1894 ; organist,
conductor and composer.
West'lake, Fr., Komsey, Hampshire,
1840 — London, 1898 ; composer.
Westmeyer (vfeht'-ml-«r), Wm.,
I burg, near OsnsbrQck, 183a — Bonn,
1880; c. operas.
Westmore'land, J. Fane, Earl of,
London, 1784 — Apthorpe House,
1859; dram, composer.
Westphal (vCsht'-ffil), Rudolf (G.
Hn.), Oberkirchen, Lippe-Schaum-
burg, 1826 — Stadthagen, 1892 ;
writer.
West'rop, H. J., Lawenham. Suflfolk,
1 8 12 — 1879 : pianist, violinist, singer,
organist and composer .
Wetsler (vCts'-l^r), Hennaim Hans,
b. Frankfort-on*Main, Sept. 8, 1870 ;
pupil of Frau Schumann (pf.), B.
Scholz (comp.), Ivan Knorr (cpt.),
H. Heennan (vln.), and Humper-
dinck (orchestration); 1893, JMew
York, as pianist and teacher; asst.-
org. Trinity Ch.; from 1902 cond.
his own symphony orch.
Wezschall (v^x'-shfil), Fr. Forkild-
son, Copenhagen, 1798 — 1845 ; pu-
pil of Spohr, teacher and solo-violin-
ist in royal band.
Weyraoch (vl'-rowkh). Aufi:. H. voUt
composer of whom nothing is known
except that he c. and pub. 1824 the
song ^^ Adieu** wrongly attributed to
Schubert from 1840.
Weyse (vT'-z«), Chp. Ernst Fr., Al-
tona, 1774 — Copenhagen, 1842;
dram, composer.
Wheat'stone, Chas., inv. the con-
certina, 1829.
Whelp'ley, Benj. Lincoln, b. East
port, Maine, U.S. A., Oct. 23, 1865}
726
THE MUSICAL GUIDE
studied with B. J. Lang, etc., at
Boston, 1890 in Paris ; lives in Bos-
ton as teacher and composer.
Wbistliag (wistr'-ling), K. Fr., book-
seller and lexicographer in l^ipzig.
Whit'aker, J., 1776 — 1847 ; org^anist
and composer, London.
White, (i) Robt., d. Westminster,
Not. 7 (II ?), 1574; organist at Ely
Cath. (i56a--67) ; noted in his day as
orig[anist and composer. Often con-
fused with (2) Wm. (c fantasias or
** fancies" for org., etc.) and (3) Rev.
MattheWf Mus. Doc. i6se9; c. an-
thems and catches. (4) Alice Maty,
ICeadows (n^ Smith), 1839—1884;
pupil of Bennett, and Macfarren, Lon-
don; c 8ymphs.t cantatas, etc. (5) J«,
W. Sprineneld, Mass., March 12,
1855 — Bad Neuheim, Germany, July
18, 190a ; pupil of Dudley Buck ; then
of iiaupt (org. and cpt.). kheinberger ;
gave 01^. -concerts in various German
cities ; 1887-96, organist, New York ;
from 1897 lived in Munich ; pub. Missa
Solemnit ; O salutaris ; c. an oratorio
'' A/fha andOmega^*" etc. (6) Maude
' Valme^ b. of English parents,
Dieppe, June 23, 1855 ; pupil of O.
May and W. S. Rockstro, and of R.
A« M., Mendelssohn Scholar, 1879,
also studied in Vienna ; now lives in
London ; c. mass (1888) ; 14 pf.-pcs.;
^* Pie turn from Abroad" and pop.
songs, etc.
Whitfi'hili, Clareace, b. America;
bass'; debut in '^ Romio ei JuHetU,''
Brussels, 1899 ; engaged for Paris Op.
Com.; 1900 at Met. Op., N. Y.
Whi ting:, (I) G. Elbrid8:e, b. HolHs-
ton, Mass., .Sept. 14, 1842 ; organist at
Worcester when 13 ; later at Hart-
ford, Conn, (where he founded the
Beethoven Soc.); later organist in vari-
ous Boston churches : studied with G.
W. Morgan, New York, and Best,
Liverpool ; Haupt and Radecke, Ber-
lin ; till 1879, teacher at the N. E.
Cons., Boston ; then tilt 1882, at the
Cincinnati Coll. of Mus.; since at
the N. E. Cons.; c. masses with
orch. and organ (1872), canutas,
ballade with orch., '*^ir»ry of Na»
varre^* pf. -concerto, etc. (2) Afthaf
Batteile, b. Cambridge, NIass., June
20,1861; nephew of above ;pf. ^tt-
Sil of W. H. Sherwood ; debut at 19,
loston ; studied with Chadwick and
T. C. D. Parker ; then with Rhein-
berger, in Munich ; lived in Boston,
now New York, as teacher of pf. and
comp.; c. fantasy with orch., con-
cert-overture, concert-etude, church-
service, concerto, song cycles, etc.
Whit' more, Chae. S., Colchester,
1805 — 1877 ; amateur Engl, com-
poser.
Whitney, Samuel Brenton, b. Wood-
stock, Vermont, June 4, 1842 ; or-
ganist ; pupil of Chas. Wells and J.
K. Paine; since 1871, organist, Ch.
of the Advent, Boston ; conductor of
church-choir festivals ; org.-prof.
and lecturer, Boston U. and N. E.
Cons.; c. anthems, org. -sonatas, etc.
Whythome (or Whitehorne),Thos.,.
b. 1528 ; Engl, composer.
Wiborg (ve'-borkh), Elisa, b. Kra
gerO, Norway ; soprano ; studied
with Natalie Hanisch and Frau Har-
lacher; engaged at Schwerin, then
other cities; sang ** Elisabeth** at
Bayreuth; 1900 at Stuttgart ct.-
theatre.
Wichmann (vTkh'-min), Kermaan, b.
Berlin, Oct 24, 1824 ; studied at R.
Akademie ; also with Taubert, Men-
delssohn and Spohr ; then lived in
Berlin ; c. symphs., sonatas, etc.
Wichtl (vlkht'-'l), G., Trostberg, Ba-
varia, 1805— Bunzlau, Silesia, 1877;
violinist, conductor and dram, com-
ickede (vlk'.«-d€). Fr. von, b. Do-
mitz-on-Elbe, July 28, 1834; army
officer, then post-ofHce official ; pu«
pil of J. Vieth ; lived in Munich ; c
opera "* Ingo,'* overture ** Per aspera
ad astro " (1875), songs, etc.
Widmann (vet'-min), (i) Eraamus,
poet-laureate, organist and conductor
at Weikersheim ; publisher and com-
poser (1607). (2) Benedikt, b.
Brauutlingen, March 5, 1820: rertoi
DICTIONARY OF MUSICIANS 727
at Frankfort : theorist and composer.
(3) Jos, Victor, b. Nennowitz, Mo-
ravia, Feb. 20, 1842 ; at 3 taken to
Switzerland ; ^wrotc librettos and
biog. of Brahms.
Widor (ve-dor), Cha«. (M.), b. Lyons,
Feb. 23, 1845 ; distinguished organ-
ist ; son of an Alsatian of Hungarian
descent (organist at Lyons) ; studied
with I^mmens (org.) and Fetis
(corap.), Brussels ; at 15 organist
at St. Fran9ois, Lyons, and since
1869, organist at St. Sulpice, Paris;
1899, teacher at the Paris Cons.;
from 1896 prof, of cpt., fugue and
oomp.; critic (under pen-name ** All-
lites ") and dir. of the soc. **La Con-
cordia,** c. V. succ. ballet *'La Korru
gapu'* (Op^ra, 1880); music to
''ConU (TAvril" (Od^on, 1885);
** Les Jacobites " (Odcon, 1885) ; un
succ. lyric drama *'*' Mattre Ambros"*
(Op. -Cora., May 6, 1896); 3 panto-
mimes ; a mass for 2 choirs and 2 orgs. ;
Psalm 113, with orch. and org.; **Z<i
nuit dt Walpurgis" for chorus and
orch.; 2 symphs.; 10 org. symphs.
incL ^*Gotiquf^** a concerto for via.,
'cello, and pf., org. -sonatas, etc.
Wieck (vek), (i) rr., Pretzsch, near
Torgau, 1785 — Loschwitz, near Dres-
den, 1873 ; est. a pf. -factory and li-
brary at Leipzig ; eminent pf .-teach-
er ; also singing-teacher and compos-
er; teacher also of his daughter (3)
Cl&nu (Vide Schumann.) (3) Al-
win, Leipzig, 1821 — 1885 ; son of
(i) ; pupil of David ; violinist at St.
Petersburg ; later pf.-teacher at Dres-
den. (4) Marie, b. I^ipzig, Jan.
I7» 1835; pianist; daughter of (i) ;
played in public at 8 ; 1858, ct.-pian-
ist to the Prince of IlohenzoUem ;
toured ; est. a sch. in Dresden.
Wiedemann (ve'-d^-m^n), Ernst Jn.,
Hohengiersdorf, Silesia, 1797 — Pots-
dam, 1873; organist, teacher and
composer.
Wiederkehr (ve -d^r-kar), Jacob Chr.
Michael, Strassburg, 1739— Paris,
1823 ; 'cellist, bassoonist, tambourin-
Ist and composer.
Wiegand (ve'-gflnt), Jotef Anton H««
Frankisch-Crumbach in the Oden-
wald, 1843 — Frankfort, 1899; bass.
Wielhorski. Vide wilhorski.
Wiener (vi'-n«r), Wm., Prague, 1838;
violinist and leader,
Wieniawski (Y>ft-ne.£f'-shkl), (t) H.,
Lublin, Poland, July 10, id35<^Mos-
cow, March 31, 1880; eminent violin-
ist and composer ; d<(but, at Peterft^
burg, at 13 ; studied with Clavel and
Massart, and Colet (harmony) Paris
Cons.; won 1st vln. -prize, 1846; i860,
solo-violinist to Czar, and 1869-67,
teacher at the Petersburg Cons.;
1875-77, vln.-prof. Brussels Cons,
(vice Vieuxterops) ; toured widely,'
1873 U. S. with Rubinstein; c. 2
concertos, etc. (2) Joe., b. Lublin,
May 23, 1837; famous pianist ; at 10
pupil of Paris Cons.; at 13 toured
with his brother, then studied with
Marx at Berlin ; 1866, teacher at the
Moscow Cons. ; est. a pf .-sch. of his
own ; later teacher in Brussels Cons. ;
c. 2 overtures, suite romantique for
orch., pf.*concerto, etc.
Wieprecht (ve'.pr«kht), Fr. Wm.,
Aschersleben, 1802 — Berlin, 1872 ;
famous trombonist and violinist ; inv.
the bass tuba (183$)*
Wi^troretz (ve.a'.tr5*v«tsh), Ga-
briele, b. Laibach, Jan. 13, 1869 ;
violinist ; pupil of Joachim and Wirth.
Toured and lives m Berlin. y
Wihan (ve'-han), Hana (Haans), b.
Politz, near Braunao, June 5, 1S55 ;
'cellist ; pnpii of Prague Cons.; 1873,
prof, of cello, Mozarteum, SaUbnrg ;
1877-80, chamber-virtuoso to Prince
Sch warzburg - Sondershausen ; 1880,
1st solo«'ceilist Munich ct.«orch.;
1888, prof, at Prague Cons., a mem-
ber ♦• Bohemian String Quartet."
Wihtoi (vc'-t61), Jos., b. Wohnar,
Livonia. 1863 ; studied at Mitan ;
then with Johansen (harm.) and
Rimsky*Korsakov (comp. and instru-
mentation) Pjetersburg Cons.; since
1886, prof, of harm, there; c. **Zr
ffu Ligho^* symph. picture, **Draf/9
atic " overture, etc
^T
&
728 THE MUSICAL GUIDE
Wilbjre (wYl'-b1), J.;lutenistandteach.
er, London, 1598 ; most brilliant com-
poser of nudrigals.
Wild (velt), Fs., Niederhollabrunn,
Lower Austria, 1792 — OberdOblin^,
near Vienna, i860 ; tenor.
Wilder (v61-d&r), Jerome Albert Vic-
tor Tan, Wettem, near Ghent, 1835
— Paris, 1892 : writer and translator.
Wilhelm (vel'-h^lm), K.» SchmalkaU
den, 18 1 5 — 1873; ** R. Prussian Mus.
Dir/'; c. ''Die IVacht am Rkein,"
etc.
Wilhelm Ton HirtftU (fon her'-zow),
d. Tune 4, 1091; abbott and theorist
at Hirsau, Schwarz-wald.
Wtlhelmj (vel-h«l'-m€), (i) Aug.
(Bmil Daniel Fd.)» b. Usingen,
Nassau, Sept. 2i, 1845 ; eminent vio-
linist ; pupil of. Fischer at Wies-
baden ; played in public at 8 ; at 16
recommended to David by Liszt as a
young Pa^fanin! ; he studied 1861-64,
with David (vln.), Hauptmann and
Richter, Leipzig Cons.; 1862, the
Gewandhaus; 1864, studied with
Rafif at Frankfort ; from 1865, toured
the world ; 1876, leader of Bayreuth
orch. ; lived for years at Biebrich-on-
Rhine, where he est. (with R. Nie-
mann) a ** Hochschule*' for vln.;
1886, lived at Blasewitz, near Dres-
den ; 1894, head-prof. Guildhall Sch. ,
London ; 1895, he m. the pianist
Miss Mausch ; c. '' ffochzeits-Can-
/a/^" with,orch«, vln. -pes., etc. His
son (2) Anton, 1898, vln. -prof, at
Belfast Cons. (3) Maria (nee Gas-
tell), b. Mayence, July 27, 1856;
sister-in-law of (t) ; concert-soprano,
pupil of Viardot-Garcia.
Wilhem (rijgrhtly Bocquillon) (veL&n
or b6k-e-y6h), Guitlattme Louis,
Paris, 1771— 1842; dir.-gen. ot all
Paris schools ; founder of the great
SjTStem of popular singing societies or
'•OrphA>nistes" (v. D. D.); pub.
many treatises on his method of
'* mutual instruction ". and a lo-vol.
coll. of comps.
Wi(e)lh6rtki (vel-hor'-shkY), (i) Count
MatTii JtiijeTitch, Voihynia, 1787
— Petersburg (?), 1863; •cellist.
His brother (2) Count Michail Jdr-
jeritch, Vblhynia, 1788 — Moscow,
1856; composer.
Wilke (vel'-kd). Chr. Fr. Gl., Span-
dai, 1769 — Treuenbrietzen, 1848 ;
organist and govt, expert on org.-
building.
Wiltaert (wTl'-lftrt) (Wiprliar'dns,
Viffliar, Vuig^liart), Adrian (called
Adriano), Flanders, ca. 1480 —
Venice, 1562 ; eminent composer and
teacher; called the founder of the
Venetian Sch.; a very prolific com-
poser ; pupil of Mouton and Jo»-
quin Despr^s; 15 16 at Rome, later
at Ferrara ; then mus. to the King
of Bohemia; Dec. 12, 1527, maestro
at San Marco, Venice, where he or-
ganised a famous sch.; c. 5 masses,
many motets, psalms, madrigals, etc ;
the first to write for two choirs.
Willent-Bordog^i (ve-y&n - b6r-ddn-
ye), Jean Bapt. Jos., Douai, i8og —
Paris, 1852 ; bassoon- virtuoso, teach-
er, writer and dram, composer. 1834
m. the daughter of Bordogni.
Wiriiams, (i) G. E., 1784—1819 ,
organist and composer. (2) Anna,
b. London ; d^but, 1872 ; soprano.
Also two sisters b. at Bitterley,
England. (3) Anne (b. 18 18), so*
prano and (4) Martha, b. 1853, con-
tralto.
WiUing (vYlMlng), (i) Jn. L., Ktlhn.
dorf, 1755 — Nordhausen, 1805 ; or-
ganist and composer. (2) (wlV-lhig)
Chr. Edwin, b. London, Feb. 28,
1830; oi^nist various London
churches, conductor and teacher.
Wiriis, (i) H., b. England, April 27,
1821; prominent org. -builder and im-
prover. (2) Richard Storrs, Bos-
ton, Mass., Feb. 10, 18 19 — ^Detroit,
May 7, 1900 ; bro. of N. P. Willis
the poet ; critic and editor in N. Y.»
later Detroit ; composer.
Wiirman, (i) Thos. Lindsay, d.
Engl., 1840 ; famous clarinettist. (2)
(vYl -min), Maximilian, b. Forcht-
enberg, near Warzbuig, 1812 ; 'cel-
list. (3) , oldest daughter ol
DICTIONARY OF MUSICIANS 729
Ml
above ; pianUt (4) Mag^elena, d.
1801 ; famous soprano ; her brother,
(5) K.» violinist. (6) Mme. Tribolet
2nd wife of (i), d. 1812; opera-singer.
(7) Caroline, debut, iⅈ daughter
of (6) ; pianist and singer.
WUlmers (vlLm^rs), H. Rudolf,
Berlin, 1821 — Vienna, 1878 ; pianist
and composer.
Wiriy, J. L., London, 1812-— 1885 ;
violinist.
Wilm (vYlm), Nicol&l Ton, b. Riga,
March 4, 1834: pianist; studied
Leipzig Cons.; 1857, 2nd cond. Riga
City Th. ; then Petersburg, i860 ;
teacher of pf. and theory Imp. Nico-
lai Inst.; 1875, Dresden; 1878,
Wiesbaden; c. pop. spring-sextet,
'cello and vln.-sonatas^ male-cho-
ruses etc.
Wilms (vl'lms)» Jan Willem, Witz.
helden, Schwarzburg-Sondershausen,
1772 — Amsterdam, 1847; teacher and
org. -composer.
WiltinfiT (vU'-zYng), Daniel Fr. Bd.»
b. Horde, near Dortmund, Oct. 21,
1809; 1829-34, organist in Wesel,
then Berlin; c. oratorio *\fesus
Chris tus" in 2 parts (Bonn, 1889) ;
a De profundis ^ 16 (gold medal for
Art, Berlin) ; pf. -sonata, etc.
Wil'son, (i) J., Faversham, Kent,
1594 — London, 1673 ; famous luten-
ist and composer. (2) J., Edin-
burgh, 1800 — (of cholera) Quebec,
1849 ; tenor. (3) Mary Ann, 1802 ;
Wmpil of Thos. Welsh (q. v.).
inderttein (vlu'-d^r-shtln), Hans
(Wm. Gv.), b. Laneburg, Oct. 2^,
1S56 ; violinist ; pupil of Leipzig
Cons.; also playing in Gewandhaus
Orch.; i88(HS4, leader in Baron von
Derwies' orch. at Nice; till 1887,
vln. -teacher at Winterthur (Switzer-
land) Cons., then cond. at Nttmberg;
1893-96, dir. Philh. Orch., at Mu-
nich, and at the Kaim Concerts;
1896, oiganised and conducted the
•' Winderstein Orch."; 1898, cond.
Leipzig Singakademie ; c. Trauer-
marsch, Valse-Caprice and St&ndchen
for orch.; oich« suite, etc
Winding (vYn'-dYng), Attg. (Henrik)
b. Taaro (Laaland), Denmark, March
24, 1825 ; pianist ; pupil of Reinecke,
Ree, l>reyschock and Gade ; dir.
and prof. Copenhagen Cons.; c. vln.-
concerto, sonatas, etc.
Wing'ham, Thoa., London, 1846—
1 893 ; organist and composer.
Winkel (vYnk'-«l), Dietrich Nlko-
laut, Amsterdam, ca. 1780^x826;
a mechanician ; inv. the ' ' compo-
nium" and "metronome," which
later Malzel (q. v.) appropriated.
Winkelmann (vYnk'-^l-m&n), Hei^
mann, b. Brunswick, 1845 ; tenor ;
pupil of Koch at Hanover; d^but
Scndershausen, 1875 ; sang at Alten-
burg, Darmstadt and Hamburg;
then at ct.-opera, Vienna; 1882,
created ** Parsifal" at Bayreuth.
Winn, (1) Wm., Bramham, Yorkshire,
May 8, 1828 ; bass and teacher. (2)
Florence, 1857, daughter of above :
contralto.
Winner, Septimus, Philadelphia,
1826 — Nov. 23, 1902; writer of pop.
songs and methods ; said to have
written 200 technical books on instru-
ments and to have c. and arranged
over 2,000 pes. for vln. and piano ;
also wrote for Graham's Mag., when
Poe was editor. His songs include
" Listen Uf the Mocking Bird," and
" Give us Back our old Commander'* \
founder of Musical Fund Soc.
Winogjadsky (ve - no - gr^t' - shkY),
Alex., b. Kiev, Russia, Aug. 3 (new
style), 1854; noted cond.; pupil of
Soloviev, Petersb. Cons. ; 1884-86, dir.
Imp. Sch. of Mus. at Saratov ; since
1888, of Imp. Soc. of Mus. at Kiev;
in Paris, 1894, he cond. Russian pro-
grammes at the concerts **d'Har-
court" and ** Colonne," 1896.
Winter (vVn'-t^r), Peter Ton, Mann-
heim, I75d — Munich, 1825 ; studied
with Abbe Vogler, but mainly self-
taught ; violinist and ct. -conductor ;
composer of v. succ. operas, 38 in
all ; c. 9symphs. incl. ^^ Uie SchUuhV*
and much church-mus.
Winterberger (vln' - \lx - b«rkh - ^r).
730
THE MUSICAL GUIDE
Alex.* b. Weimar, Au^. 14, 1834;
pianist; pupil of Leipzig Cons, and
of Liszt. t86i, pf.-prof. at Peters-
burg; Cons.; 1872, lived in Leipzig;;
c. pf .-pes. and songs.
Winterfeld (vYn'-t^r-f^lt), K. G. Aug.
Vlrigent tos, Berlin, 1784— 1852 ;
libr. and writer of valuable historical
works.
Wipperti (vtp'.p^m), Louise (Har-
mrt-Wippern), Hildeshiem (or
BOckeburg), 18^5(7) — Gorhersdorf,
Silesia, 1878 ; operatic singer.
Wirth (vert), Emanuel, b. Luditz,
Bohemia, Oct. 18, 1842 ; violinist ;
pupil of Prague Cons., 1864-77;
teacher at Rotterdam Cons., and
orch. -leader ; then via. -player in the
Joachim Quartet, Berlin, and vln.-
prof . at the Hochschule ; Royal Prof.
Wise,. Michael, England, 1648?^
in a street brawl, Salisbury, 1687 ;
tenor and notable early con^ser of
anthems, etc.
Wit (vet), Paul de, b. Maesticht,
Jan. 4, 1852 ; 'cellist and viola da
gambist ; coil, of ancient instrs.
WtUtek (ve'-ta-sh«k), Jn. Nepomuk
Attg.y Horzin, Bohemia, 1771 —
Prague, 1839 ; conductor, director
and pianist.
Witek (ve'-t£k), Anton; concert-
master and soloist, Berlin Philh. orch.,
iqos.
With'erspoon, Herbert, b. New
Haven, Conn. ; notable basso can-
tante ; graduated Yale Univ pupil of
J. W. Hall, N. Y., and Dubulle,
Paris ; sang in opera. Castle Square
Co., N< Y., and with Boston Symph.
and other orchs. throughout U. S.;
▼. succ. d^but in recital, N. Y., 1902.
Witt (vU), (I) Fr., Halten-Bergstetten,
1771— WQrzburg, 1837; violinist,
conductor and dram, composer. (2)
Julius, b. K5nigsburg, Jan. 14,
1819 ; singing-teacher there, and c.
pop. male choruses. (3) Theodor
de, Wesel, 1823 — (of consumption)
Rome, 1855 ; organist and composer.
(4) Wm., Hamburg, 1826 — London,
S900; violinist and publisher. (5)
Fz., Walderbach, Bavaria, 1834-^
Schatzhofen, 1888; editor and writer.
(6) Joii. ▼on, Prague, 1843— Berlin,
1887 ; tenor.
Wittc (vtt'.t«), (i) Chr. Gi. Fr., d.
1873 ; ore. -builder. (2) G. H., b.
Utrecht, Nov. 16, 1843; son of above;
pupil of R. Mus. Sch. at The Hague,
then of Leipzig Cons.; teacher in
Leipzig till 1867, then in Alsatia, 1871;
cond. at Essen, 1882; R. Mus. Dir.;
c. pf. -quartet (prize at Florence),
grand Elegy for vln. and orch., etc
Wittekopf (vtt'-t*-k6p0, Rudoll, b.
Berlin, Dec. 11, 1863; studied Stem
Cons.; d^but, Aix,i888; sang Leipzig,
1889-96; later in other cities, incl.
London in the ** Nibelwigen RingJ"
Wittich (vU^tYkh), Marie, b. Giessen.
May 27, 1868 ; soprano ; studied
with Fran Ottb-Ubridy; sung various
cities ; 1901 Dresden ct. -opera.
Wohlfahrt (vol'-fart), (i) H., KOss-
nitz, near Apolda, 1797 — Conncwitz,
1883; noted teacher, writer and com-
poser. His sons (2) Fx., Frauen-
priesnitz, 1833 — Gohlis, 1884. (3)
Robt., b. Weimar, Dec. 31, 1826;
violinist, teacher and writer of text-
books.
Woikii (voi'-koo), PetresotI, b. Rou-
mania, 1885 (?) ; violinist ; pupil of
Barmas, Stern Cons., Berlin, for 5
W rears,
oldemar (v61-dii-m&r) (rightly Mi*
chel), Orieans, 1750 — Clermont-Fer-
rand, 18 16; conductor and composer;
wrote methods; inv. a mus.-stenogrn-
phy ** TabUau milotachigrapkiquer
and mus. -correspondence ** AVAj^rr^
Wolf (vdlO, (i) Ernst Wm., Gross-
heringen, 1735 — Weimar, 1792 ; ct.-
conductor; c. 42 pf.-sonatas. (2) G.
Fr., Hainrode, 1762 — Wemlgerode,
18 14; conductor, theorist and com-
poser. (3) Fd., Vienna, 1796 — 1866 ;
writer. (4) L., Frankfort-on-Main,
1804 — Vienna, 1859 ; pianist, rioHn-
ist and composer. (5) Max, Mora-
via, 1840— Vienna, 1886 ; c. operet-
tas. (6) Wm,, b. Breslau, April 2>
DICTIONARY OF MUSICIANS 73»
1838; pupii of Kullak, teacher of
mus. -history, Berlin, also writer and
composer. (7) Hu^o, Vienna, March
13, 1860—1^2 ; oomposet ; already
there is in Berlin a H. W.-versin ; at
5 studied v)n. and piano with his
father; at 8 studied at Vienna Cons. ;
prod. succ. comic opera '* Dtr Cdr^
ngidar " (Mannheim, 1896) ; c. cho-
ric works with orch. **/>«> Christ-
nachi" and '* Der FeuerreiUr'" ;
male choruses and about 500 songs,
many of them importantly original.
Wolff(v6lf), (I). Vide WOLF (4). (2)
Edouard, Warsaw, 1816 — Paris,i88o;
pianist and composer. (3) AugttSte
I>6air6 Bd., Paris, 1821—1887; pia-
nist, pf. -teacher and maker ; head of
firm " Pleyei- Wolff." (4) UermaaA,
Cologne, 1845 — Feb. 3, 1902 ; pupil
of Fz. Kroll and WUrst ; editor, con-
cert-agent and mgr. at Berlin ; c, pf .*
WNS. and songs,
dlf (f )1 (vSlf -*l)(Woelfel, Woelfle),
Jot., Saltbmig, 1772 — London, 1812;
composer; his enormous hands and
great contrapuntal skill made him a
pf.'virtuoso whose rivalry with Bee-
thoven divided Vienna into factions ;
but the rivals had mutual respect and
W. dedicated his op. 6 to B. ; c. light
operas (1795-^8).
Wolfram (v6l'-fram), (i) Jn. Chr.,
d. 1835; organist and writer at Gold-
bach, near Gotha. (2) Jos. Maria,
Dobrzan, Bohemia, 1789 — Teplitz,
1839; conductor and dram, composer.
Wolfrum (vol'-froom). PhiUpp, b.
Schwarzenbach-am -Wald. Bavaria,
Dec. 17. 1855; pu'>il Munich Sch. of
Mus.; mus.-dir. Heidelberg Univ.;
Dr. Phil. h. c. (Leipzig, 1891); c.
•* Grosses Mallrluja^*' and other cho-
ruses, pf.-pcs., etc.
Wollaack (vAl'.lfink), Fr.,Bcriin,i782
— 183 1 ; amateur composer of an opera.
WoUenbaupt (vol'^l^n-howpt), H.
Ad., Schkeuditz, near I^ipzig, 1S27
— New York, 1863; pianist, teacher
and composer; from 1845 in New
York.
Wollick (vol-lTk) iVolli'cias, Bolli-
cios), NicoUa, b. Bar-le-Duc;
teacher and writer at Metz, 1501^12.
WoUof^en (und Neuhaus) (v6r-ts5-
gdn oont.noi-hows), (i) K« Ang.
Alfred, Freihcrr Ton, Frankfort,
1833 — San Remoi 1883; writer. (2)
Hans (PauI), Freiherr voa^ b. Pot^
dam, 1848; son of above; lived as
writer at Potsdam till 1877* Wagfter
made him editor of the '*£aireMiAer
Blatter r
Wonnei^er (or VuonneKgor (v6n'-n£-
gf r) ), Jn. L., friend of Glarean ;
pub. an epitome of G.'s ^^ Dodtka-
chifrdon'* (1557).
Wood, (i) Mrs. Mary Ann. Vide
PATON. (2) Henry J., b. London,
1869; prominent cond.; pupil of his
father ; at 10 an organist ; 1883-S5,
gave org. -recitals ; then st. at R.
A. M. with Prout and others; then
cond. societies ; 1891-92, Carl Rosa
Op. Co.; 1894, Mfirie.Hoze Ca;
1 895- 1902, Queens Hall Prom. Con-
certs, London. C. oratorio ^'Dm-o*
thea'* (1889), operettas, masses,
songs, etc ; wrote treatise on singings;
1900, cond. a concert in Paris. His
wife, (3) a Russian, is a singer, debut
Ix>ndon, 1900. (4) Mary Knight,
b. Easthampton, Mass., April 7i
1857: pianist; pupil of B. J. Lang,
A. R. Parsons, J. H. Cornell, and
H. H. Huss ; lived in New York; pub.
about 30 songs, many veiy popular.
Wood'man, Raymond Huntington,
b. Brooklyn, N. Y., Jan. 18, 1861 ;
pf. -pupil of his father, of Dudley
Buck, and Cesar Franck; 187S-79,
asst.-organist to his father, at Flush-
ing, L. I.; 1894-97, mus.-editor
**iV. Y. Evangelist"; since 1880,
organist First Presb. Ch., Brooklyn ;
since 1889. head of org.-dept. Mttr.
Coll. of Mus., N. Y., etc. ; c. pf.«
and org. -pes., etc.
Woolf, Benj. Edw«, London, Feb.,
1836 — Boston, Feb., 1901 ; at 3
taken to America by his father
who taught him various instrt.;
studied with G. R. Bristow (org.):
cond. theatre-orchs. in various cities i
732
THE MUSICAL GUIDE
critic Boston " Globe,** later " Sat
Evening Gazette**; prod, operatic
comedietta, comic operas " Pounce
6» a?." (Boston, 1%%^), \* IVestward
Ho I** (Boston, 1894), overture to
•* Comedy of Errors " (i887>, etc.
Wormser (vdrm-z&r), Aadr6 (Al«
phonse Toussaint), b. Paris, Nov.
1, 185 1 ; pupil of Marmontel (pf.) and
Bazin, Paris Cons, taking ist pf.-
prize, 1872 ; Grand prix de Rome,
1875 ; lives in Paris ; c. the op^ras-
comique ** Ad^le de Fonthieu ** (Aix-
les-Bains, 1877), '' Rivoli** (Paris,
1896); v. succ. pantomime *^ VEn^
fant Prodigue** (Paris, 1890, Lon-
don, 1891, New York, 1893); panto-
mime ''VIdiaV* (London, 1896);
ballet, ''Vitoile** (Paris, 1897), etc.
Wor^aa, (i) Ja»., d. 1753; Engl, or-
ganist. (2) J., d. 1794; bro. and
succ. of above; also composer.
Work, H. Clay, Middletown, Conn.,
1832— Hartford, 1884; c. ** Grand*
father's Clock:* " Marching through
Georgia^* and other pop. songs.
Wot'toa, (i) Wm., org.-builder, 15th
cent, Engl. (2) Wm. B., Torquay,
Sept. 6,1832; bassoonist, saxophonist,
' oboist.
Wouters (voo'-t&rs), (Fraa.) Adolphe,
b. Brussels, May 28, 184 1 ; pupil, and
since 1871, pf.-prof. at the Cons.;
1886, organist Notre- Dame de Finis-
t^, and cond. at Saint-Nicolas ; c. 3
masses solennelles * (under pseud.
••Don Adolfo"), a grand Te
Deum, overture, etc.
Woycke (voi'-k£), Eugen (Adalbert),
b. Danzig, June 19, 1843 ; pianist ;
pupil Leipzig Cons.; lived in Edin-
burgh as teacher ; pub. 7 pf. -sonatas.
He married in 1 871, (2) Emilj
Drechaler (nee Hamihon), concert-
▼iolinist, playing in public since 11.
(3) Victor, b. Edinburgh, 1872 ; son
and pupil of above ; debut as violin-
ist, 1889 ; 1892. teacher at the Nat.
Cons., New York.
Woyrach (voirsh), Felix Ton, b.Trop-
pau, Austrian Silesia, Oct. 8, i860;
studied ¥rith A. Chevallier, Ham-
buig, but mainly self-taught; siooi
1895, organist and conductor at Al*
tona ; c. 4 comic operas incl. succ
'' IVikingerfahrt** {HiXmh^r^, 1896).
4 choral works with orch.; symph.;
symph. prologue to **Divina Comme-
dia,** etc,
Wranitzky (frS-net'-shkl), (i) Paiil»
Neureusch, Moravia, 1756 — Vienna
1808; violinist, conductor and dram,
composer. (2) Antony Neureusch,
1761 — Vienna, 1819 ; violinist ; bro.
and pupil of above; conductor and
composer.
Wrede (vra'-d£), Hanover, 1828 —
Frankfort-on-the-Oder, 1899; pian-
ist, conductor, singing-teacher and
composer.
Wright'oo^ W. T., 1816— Tunbridge
Wells, 1880; English song^-com-
poser.
Wtterst (vQ'-«rst), Richard (Fd.),
Berlin, 1824 — 1881; teacher, c^tic
and dram, composer.
WttUaer (vYl'-n^r), (i) Px., Man-
ster, Jan. 28, 1832 — Cologne, Sept.
8, 1902 ; noted conductor ; studied
MQnster, later at Beriin, Brussels, Co-
logne, Bremen, Hanover and Leip-
zig, and gave concerts as pian-
ist ; 1854, pf. -teacher Munich Cons.;
1858, town mus.-dir. at Aiz-la-
ChapcUc; 1861, "R. Mus.-l>ir."
1864, 1882, x886 and 1890 he
conducted the Lower Rhine Mus.
Fest. ; cond. the ct. -chapel, Mn-
nich; 1867, dir. choral classes in
the Sch. of Mus.; in 1869, oond.
ct.-opera and the Acad. Concerts
(vice von BOlow), giving Wagner's
'' Rheingold** and '' IValktire** their
first hearing. 1870, ist ct.-cond.,
R. Prof. 1875; in 1877, ct.-cond.
at Dresden, and artistic dir. of
the Cons.; 1883-84, oond. Berlia
Philh.; 1884, dir. Cologne Cons.;
was Dr. Phil. Leipzig U.; c. pantata
fleinrich der Ftnkler:* with orch.
St prize, Aix-la-Chapelle **Lieder-
;ifel 1864); new arrangement
^with added recitatives) of yoa We-
, ber*B **OieroH**; Ptalm zss«
DICTIONARY OF MUSICIANS 733
orch.; Miserere and Stabat Mater,
for double chorus, masses, chamber-
mus., etc. (2) Ludwif^, b. MUn-
ster, Aug. 19, 1858 ; son of above ;
Dr. phil., then studied Cologne Cons.;
1888, dir. a church choir; became
an actor in spite of a vocal impedi*
ment, then a tenor singer in concert,
also in opera (as ** Tannh&user/*
etc.).
Wuaderlich (voon'-d^r-Ukh), Jn. G.,
Hayreuth, 1755 — Paris, 1819; flute-
virtuoso and prof. Paris Cons. ; also
composer.
Wttrfel (vQr'-f£l), Wm., Planian, Bo-
hemia, 1 791 — Vienna, 1852 ; pianist,
W)rof., conductor and dram, composer,
urm (voorm), (i) Wm., b. Bruns-
wick, 1826 ; virtuoso on the comet-&-
pistons; from 1847, liy^<^ in Pe-
tersburg, from 1862 teacher at tike
Cons., and from 1869 bandm. •in-
chief of the Russian Guards ; c. cor-
net-pcs. (2) Marie, b. Southamp-
ton, Engl., May 18, i860; pianist;
pupil of Pruckner and Stark, Anna
Mehlig, Mary Krebs, Jos. Wieniaws*
ki. Raff and Frau Schumann; 1884,
won the Mendelssohn Scholarship;
studied with Stanford, Sullivan,
Bridge and Reinecke; played with
succ. Leipzig, Berlin, etc.j c. an
overture ; a pf. -concerto ; sonatas,
etc.
WTlde (wild). H., Bushy, Hertford-
shire, 1822 — London, 1890; pianist,
oreanist and teacher.
Wy man, Addiaon P., Coniish, N. H.
(U. S. A.), 1832 — Washington,
Penn. 1872 ; teacher of vln. and com-
W>oser.
ynne (wTn), Sarah E., b. Holy-
well, Huntingdon, March zi, 1842:
singer, held Westmoreland scholar-
ship R. A. M. ; d^but, Ix>ndon, 1862 ;
m. Aviet Agabeg, 1875, and since
then teacher.
Wyns (vens), Charlotte F^licte, b.
of Flemish parents, Paris, Jan. II,
1868, mezzo-sopr.; pupil Paris Cons.,
takmg in 1892 3 first prizes, singing,
opera and op6n, comique; engagd
at the op^ra, but debuted Op. Com
as ''Mtg9u>n'' ; later at Th. de la
Monnaie, Brussels, returning to Op.
Com. in 1899 ; m. £d. de Bruija.
Vide HOFif AN. c.
Xanrof (ksiA-r60 (rightly L^on Fonr^
neau), b. Paris, Dec. 9, 1867 ; lawyer,
, critic and amateur composer of songs
for Yvette Guilbert, also of light
stage-pcs.
Xjlander (rightly Holtxmanii) (ksc'-
lant-^r or holts'-mftn), Wm** Augs-
burg, 1532 — Heidelberg, 1576 ;
wnter
Xyndaa (ksen'-dfis), Spiridion, Corfii,
18 12 — (in poverty) Athens, 1896;
Greek composer of succ. ballad-op-
eras.
Yong^ (yilng). Vide young.
Yost (yost), Michel, Paris, 1754^
1786; celebrated clarinettist and
composer.
Young:, (i) (or Yonge), Nicholas, b.
Lewes, Sussex ; d. 1019; pub. **if/M-
sica Transalpina^ '* colls, of Italian
madrigals, 1597. (2) Rev. Mat-
thew, Roscommon, 1750 — 1800 ;
acoustician. (3) Thot.| Canter-
bury, 1809 — Walmouth, 1872; the
last prominent male altoist. (4) J.
Matthew Wilton, Durham, EngL, .
1822 — W. Norwood, 1897 ; organist
and composer.
Yradier (e-r&dh'-I-ar), SetMUitlan, b.
Vittoria, 1865 ; Spanish song-com-
poser.
Yriarte (e.iY-&r'.t«), Don Tomas de,
Teneriffe, ca. 1750 — Santa Maria,
near Cadiz. 1791; writer.
Ysaye (e-sl-yfl), Eug^^ne, b. Li^,
July 16, 1858; prominent violinist,
son and pupil of a cond. and violin-
ist, then pupil of Li^: Cons.* and ot
734
THE MUSICAL GUIDE
Wieniawski and Vieuxtemps; later
with £oVt. -stipend studied in Paris;
till 1 88 1, leader in Bilse's orch., Ber-
lin, since has made v. succ. tours
throughout Europe and N. America ;
from 1886. head prof, of vln. Brus-
sels Cons., and leader *' Ysaye Quar-
tet"; 1893, Chev. of the Legion of
Honour ; his quartet played in Lon-
don 1900-01; c. 6 vln.-concertos ;
variations on a theme by Pa^anini ;
Po^me ^legfiaque for vln. with orch.
(or pf.). etc,
YuMupoff (yoos'-8oo-p6f), Prince Ni-
colai, b. Petersburg, 1827 ; vio-
linist ; pupil of Vieuxtemps ; writer
of treatises, and c a programme-
symph. '^^Gontaha de Cordova ^^^ with
vln. obbligato ; ''''Concerto sympho-
Hiqui\* for vln., etc.
Ysac (e'-z&k). Vide ISAAC.
Zftbalsa y Olaso (tha-bsr-thfi S G-lfi'.
so), Don DamaaOy Irurita, Navarre.
1833 — Madrid, 1894; pianist and
teacher; prof. Madrid Cons.; c.
studies.
Zabel (ts&'-b^n, Karl, Berlin, 1822—
• Brunswick, Aug.. 19, 1883 ; cond.
and composer.
Zacconi (ts&k-k5'-ne), LudoTico, b.
Pesaro, 1540 — ca. 1600; monk and
important theorist.
Zacnariji (tsak-£l-re'-a), Eduard, b.
Holzappeler-HQtte, Nassau, June 2,
1828; pastor at Mazsayn; in v.
" Kunstpedal" (v. D.D.).
Zachau (tsSkh'-ow), (i) Peter, town-
musician, Lubeck, composer for viola
da gamba, 1693. (2) Fr. Wm.,
Leipzig, 1663 — Halle, 1712; Han-
deVs teacher ; organist and composer.
Zajij* (za-yech), Florian, b. Un-
hoscht, Bohemia, May 4, 1853; vio-
linist ; son of poor parents; on a
stipend studied at Prague Cons.;
member theatre-orch. , Augsburg;
1 88 1, leader at Mannhein^ and Strass-
burg; 1889, at Hamb)t;g; 1891,
teacher Stern Cons., Berlin; later at
Klindworth-Scharwenka Cons. ; has
toured widely and was made cham-
ber-virtuoso 1885 and given Russian
order of Stanislas.
Zammlner (tsim'-mS-n^r), Fr., Darm-
stadt, 18 18 (?)«— Giessen, 1856; acous-
tician.
Zanardini (tssl-nfir-de'-ne), Angelo,
Venice, 1820 — Milan, 1893; c. opeia,
also writer and translator of libretti.
Zatidt Tan (f^n-tsflnt), Marie, b.
New York, Oct. 8, 1861 (daughter
of (2) Jeanie van Z., singer formerly
in Royal and Carl Rosa Compa*
nies); pupil of Lamperti, Milan; de-
but, Turin, 1879 ; sang in I»ndon,
then from 1880 at Op. -Com., Paris,
with great succ; 1884, temporari
loss of voice due to prostratkK^
brought on her such violent criticism
that she took a leave of absence and
sang with succ. at St. Petersburg.
etc.; on her return, 1885, she met the
same opposition and sang thereafter
in England, etc. ; compass a-/'".
Zanettini. Vide GiANftn*iNi.
Zangr (tsUng), Jn. H., Zella St. Blaiii.
1733— Mainstockheira, 181 1; cantor;
pianist.
Zang^e (tsSng -«) (Zang^'itts), Nico-
laus, d. Berlin, before 1020; con-
ductor and composer.
Zani de Ferranti (dsa -nc da ff r-riUi'-
te), Marco Aurello, Bologna, iSoo
— Pisa, 1878; guitar-virtuoso.
Zanobi. Vide gaoliano.
Zarate (th&-ra'-t«), Eleodofo Ortis
d«, b. Valparaiso, Dec 29, 1865;
pupil of Collegio di San Luis there ;
18S5 won 1st govt, prize, and studied
Milan Cons, with Saladino; won pnee
1 8 86, for opera ** Gwvaitma la Pas-
za "y studied in Italy; 1895, prod,
the first Chilian opera, the succ. **La
Fioraia de Lugano " (Santiago, Chili.
Nov. 10).
Zaremba (tsfi-ram'*b£), Nficolai I^afi-
oWtch ae, 1824 — Petersburg, 1S79;
teacher.
Zarembaki (tsa^r^mp'-shkl), JiilM de,
Shitomir, Russian Poland, t854-«
■«
DICTIONARY OF MUSICIANS ns
1885; pianist, pf.-prof. and com-
poser.
Zarlino (dsar-le'-n5), Gioseffo (called
Zarlinus Clodiensis), Chioggia,
March 22, 15 17 — Venice, Feb. 14,
1590; eminent theorist, conductor
and composer ; a Franciscan monk ;
pupil of Willaert at Venice; from
1565 cond. at San Marco, also chap-
lain at San Severo ; his comps. are
almost all lost; he was commissioned
by the Republic to write mus. in cel-
ebration of Lepanto, a mass for the
plague of 1577 and in welcome of
Henri III., 1574, on which occasion
he also c. a dram, work ** Or/eo "y
his theoretical ability is shown by the
great work ** /nstituzioni harmo^
niche'' {iss^):
Zarzycki (zar-zek'-e), Alex, Lem-
berg, Austrian Poland. 1831 — War-
saw, 1895; pianist, conductor and
dram, composer.
Zav(e)rtftl (tsa-v^r-tal), Bohemian
family, (i) Josef R., b. Folep, Nov.
5, i8ip; horn-player and leader. (2)
Wenceslas H., Polep, Aug. 31,
182 1 ; clarinettist and composer. (3)
Ladislas, b. Milan, Sept. 29, 1849 ;
son of above; conductor; 1871 t. at
Glasgow, 1 88 1 at Woolwich; prod,
operas " Una notte a Firenze^' and
** Myrrha," both at Prague. 1886.
Zaytz (dsa'-ets), Giovanni Ton, b.
Fiume, 1834; pupil of Lauro Rossi,
Milan Cons.; since 1870 theatre-con-
ductor and singing-teacher at the
Cons, at Agram; c. the first Croa-
tian opera ^* Nicola Subic Zrinjski"
(1876), also 20 German Singspiele,
masses, etc.
Zeckwer (ts£k'-var), Richard, b.
Stendal, Prussia, April 30, 1850; pian-
ist; pupil Leipzig Cons.; from 1870
organist at Philadelphia, U. S. A. ;
1870 teacher Phila. mus. acad.; since
1876 director, composer.
Zeelandia (tsa-Iftn -dl-a), Henricus
de, Netherland theorist and composer
ca. 1400.
Zeldenmnt (ts^l'-dSn-roost), Eduard,
b. Amsterdam, Tune 5, 1865; pianiit:
pupil of Robert Collin ; at 13 entered
Cologne Cons, under Fd. von Heller
for 5 yrs. ; then studied with Kwast
and Gemsheim in Rotterdam ; later
with Marmontel, Paris Cons.; toured
Europe and America.
Zelenka (z«-l«n'-k&), Jan Ditmaa,
Lannowicz, Bohemia, 1679 — Dres-
den, 1745; conductor and composer.
Zelenaki (zh«-l«n-shkx), Ladislas, b.
on the family estate Gradkowice, Ga
licia, July 6, 1837; pupil of Mireckk
at Cracow, Krej£i at Prague, and
Damcke at Paris; prof, of cpmp.,
later din, Warsaw Cons.; c. a syinph.,
2 cantatas, etc. for orch. ; succ. opera
" Goplana " (Cracow, 1896), etc.
Zell, F. Vide walzel.
Zellner (ts^l'-n^r), (i; Ld. Alex.,
Agram, 1823 — ^Viennc, 1894; son and
pupil of an organist ; editor, profe»«
sor, writer and composer. (2) Julius,
Vienna, 1832 — WUrzzuschlag, Styria,
1900 ; c. 2 symphs., etc.
Zeiter (ts£l'-t«r), Karl Fr., Berlin,
Dec. II, 1758 — May 15, 1832; son of
a mason; studied with Kirnberger and
Fasch, to whom he was assistant and
1800 successor as cond. of the Sing-
akademie; 1809 he founded the
*' Liedertafel" from which grew the
great ** Deutscher Sangerbund" of
50,000 members, for which he c.
famous male choruses; X819, founder
and dir. R. Inst, for •church-mus. ;
friend of Goethe, whose songs he set;
c. also oratorios, etc.
Zemlinsky (z£m-lYn'-shkI), Alex., b.
of Polish parents, Vienna, 1877; pu-
pil of Fuchs, Vienna Cons.; took
** Gesellschaft der Musikfreunde*'
prize with a syroph. 1897; his opera
** Sarcma" took a 2nd prize, 1894,
and was prod, with succ., Munich,
1897.
Zeng^er (ts2ng'.^r), Max, b. Munich,
Feb. 2, 1837 ; pupil of Stark, and
Leipzig Cons.; 1800, cond. at Ratis-
bon; 1869 mus. -dir. Munich ct. -op-
era; 1878-85, Munich Oratorio Soc.,
etc.; Dr. Phil. A, c„ 1807; c. 3 op-
eras: succ. oratorio ** JCain " (aftef
736
THE MUSICAL GUIDE
Byron, Munich, 1867), cantatas with
orch., "tragic " symph., etc.
Zenta. Vide augusta holmbs.
ZereteleT. Vide lawrowskaja.
Zerr (ts€r), Anna, Bad'sn-Baden, 1822
— on here^ate, near Oberkirch, 1881;
singer.
Zerrahn (ts^r-ran'), K., b. Malchow,
Mecklenburg, July 28, 1826; distin-
guished conductor; studied with Fr.
Weber and at Hanover and Berlin ;
1848, America, as a member of Ger-
mania Orch.; 1854-95, cond. Handel
and Haydn Soc., Boston; also cond.
• Harvard Symph. Concerts, and prof,
of harm., instr. and singing, N. E.
Cons.
Zeng^eer (tsoikh'-har), Jakob (known
as J. Z. Hermann), Zurich, 1805 —
Liverpool, 1865 ; violinist and con-
ductor.
Zeuner (tsoi'-n^r), K. Traug^tt,
Dresden, 1775 — Paris, 1841; pianist,
teacher and composer.
Ziani (dse-i'-ne), (i) P. Andrea, Ven-
ice, ca. 1630— Vienna, 171 1 ; organ-
ist and dram, composer. (2) Marco
A., Venice, 1653 — Vienna, 17 15;
nephew of above; ct. conductor and
dram, composer.
Zichj (tse'-she), Count G^za, b. Sztd-
va, Hungary, July 22, 1849: noted
ief t-handed piano-virtuoso ; having
at 17 lost his right arm; pupil of
Mayrberger, Volkmann and Liszt;
holding high legal positions; also
made tours for charity. 1890-94, In-
tendant Nat. Th. and Opera, Pesth.
C. succ. operas, ^*AUr" (Pesth,
1896); ''Affister Roland^* (Pesth,
1899, Magdeburg, 1902), cantata,
etc.; pf.-pcs., foi; the left-hand and
studies (with preface by Liszt), etc.
Zimmer (tsYm-m£r), (i) Fr. Augf.,
Hcrrengosserstadt, Thuringia, i82&^
Zehlendorf, 1899 ; mus. -director and
writer. (2) Otto, Priskorsine, Sile-
sia, 1827 — Breslau, 1896 ; organist
and editor. (3) Robt., Berlin, 1828
— 1857 ; writer and teacher.
Zinunermann (tsYm'-m^r-miln), (i) An«
loo, Pressburg, 1741 — 1781: con-
ductor, composer and organist. (2)
Pierre Jos. Guillaume, Paris,
March 19, 1785 — ^Oct. 29, 1853; ^*-
mous pf.-teacher ; pupil, later, 181^
48, prof., at Paris Cons., c. comic
opera and many pf.-pcs. (3) A^ea,
b. Cologne, July 5, 1847; pianist;
at 9 pupil of London -R. A. M., win-
ning King's Scholarship twice, and
also silver medal ; debut, Crystal Pal'
ace, 1863; toured with great succ.;
has ed. scores and c. a pf.-trio, etc.
Zing:areUi (tsYn-gS-refl'-le), Nicola A.,
Naples, April 4, 1752 — Torre de(
Greco, near Naples, May 5, 1837:
violinist, teacher and eminent com-
p>oser; the succ. of his operas and
the greater succ. of his grand op-
eras throughout Europe was almos:
equalled by his noble and de-
vout sacred mus.; pupil of Fenarolo
and Speranza; his first opera was
prod, at 16, and followed by another
at 21, but he had no succ. till **^A
sinda^ ** written in 7 days (La Scala,
Milan, 1785); he followed this with
many others, incl. his best, *'*GiulUtia
i Romeo** (ibid., 1796); 1792, cond.
at Milan Cath.; 1794,' at Loreto;
X804 at St. Peter*s, Rome ; 181 1, im-
prisoned for refusal to conduct a ser-
vice in honour of the King of Rome,
the son of Napoleon, who took him to
Paris, released him, and paid him well
for a mass; 1813, dir. Naples Cons.;
1816, cond. at tiie cath.; he was a
notable teacher ; c« 31 operas, masses
of all kinds in a series ^""Annuale £
Loreto ** for every day in the year, 80
magnificats, etc.
Zinkeisen (tsYnk'-T-z^n), Konrad L.
Dietrich, Hanover, 1779 — Bruns-
wick, 1838 ; violinist, conductor and
composer.
Zipoli (dse'-po-le), Dom., organist,
Jesuit Church, Rome ; pub. important
clavier-sonatas, treatises, etc. (1726).
Zoeller (ts^lM^r), Carl, Berlin. 1849
— London, 1889 ; writer and notable
composer.
Zoiio (dsd'-e-l5), Annibale, condnctoi
at Laterano, Rome. ic6x-7o. WIX^
DICTIONARY OF MUSICIANS 737
singer^ Pftpal Chapel ; c. madris^ls,
etc.
ZOUner (ts«!'-n«r), (i) K. H., Oels,
Silesia, 1792 — Wandsbcck, near
Hambui^g^, 1836 ; org. -virtuoso, writer
and dram, composer. (2) K. Fr.,
Mittelhausen, Thuringia, March 17,
1800 — Leipzig. Sept 2?, i860; fa-
mous composer of male choruses;
pupil of Schicht, Thomasschule. Leip-
zig; vocal-teacher there, founded a
Liedertafein •* ZOilner-verein," other
socs. of similar nature, organised 1859
to form a " Z-band." (3) n., b. Leip-
zig, July 4, 1854 ; son of above ; pu-
?iT Leipzig Cons.; 1 8 78, mus.-dir.
)orpat Univ.; 1885, Cologne Cons,
and conductor various vocal socs.;
1889, toured Italy with a male cho-
rus; from 1840, cond. New York
"Deutscher Liederkranz "; 1898,
mus.-dir. Leipzig University and
cond. ** Paulinerchor"; c. 4 operas,
3 choral works with orch., cantata
^^Dieneue JVeii** (yf on international
prize, Cleveland, Ohio, 1892), a
symph., oratorio, male choruses, etc.
(4) Andreas, Amstadt, 1804 — Mein-
ingen« 1862 ; mus.-dir. and comp.
Zopff (ts6p0. Hermann, Glogau, 1826
^Leipzig, 1883; editor, writer and
dram, composer.
Ztchieache (tshS'-shQ, Aug., Berlin,
1800 — 1876 : dram. bass.
Zachocher (tshdkh'-«r), Jn., Leipzig,
1821— 1897; pianist.
Zuccalmaflio (dsook • kSl - m&l' - y5),
Anton wm. Florentin Ton, Wal-
drol, 1803 — Nachrodt, Westphalia,
1869 ; contributor to Schumann's
periodicals.
Zumpe (tsoom'-p^, Hermann, b.
Taubenheim, Upper Lusatia, April
9. 1850 ; grad. Seminary at Bautzen ;
taught a year at Weigsdorf: from
187 1 at Leipz^; also studied with
Tottmann ; 1873^/6, at Bayreuth. as
copyist and asst. to Wagner ; there-
after th. cond. various cities; 1891,
ct.-cond. at Stuttgart ; 1895, ct.
cond. Munich; later at Schwenn
I901, Meiningen , c. 2 operas . v
succ. operettas ^'Faritteili* (Vienna
1886), ''JCarin'' (Hamburg, 1888)
and ^'Polnische Wirtkschaft " (Ber-
lin, 1 891) ; overture '* WalUnstein^
Tod;' etc.
Zumsteejg (tsoom'-shtakh), (i) Jn.
RudolfTiSachsenflur, Odenwald) 1760
— Stuttgart, 1802; 'cellist and ct..
conductor; c. operas and important
** durch-komponirten " ballads, before
LOwe (q. v.). His daughter (2)
Emilie, Stuttgart, 1797 — 1857, was
a pop. song-composer.
Zur Mtthlen (tsoor-moM^n), Rai-
mund Ton, b, on his father's estate,
Livonia, Nov. 10, 1854; concert-
tenor; studied at Hochschule, Bep
lin, with Stockhausen at Frankfort,
and Bussine at Paris.
Znr Nieden(tsoor ne'-d«n), Albrecht,
Emmerich - oa - Rhine, 1 8 19 — Duis-
butg, 1872 ; mus.-director, conductor
and composer.
Z^onaJF (tsvo'-nSrzh), Jos. Ld., Kub-
lov, near Prague, 1824 — Prague,
1865; teacher, theorist and dram,
composer.
Zweers (tsvirs). Benhard, b. Amster.
dam, and lived there as composer of
4 symphs. , sonatas, etc.; studied with
Jadassohn.
Zwintscher (tsvYnt'-sh^r), (i) Bruno,
b. Ziegenhain« Saxony, May 15, 1838 :
pianist ; pupil of Julius Otto, then of
Leipzig Cons. ; 1875-98, teacher there;
writer. (2) Rudolf^ pianist in London,
of Mnsitisxis
I^upplemmtarp Buttonarp
of inu0maniB{
Abaco, correct dates Verona, Jtdy
12, 1675 — Munich, July la, 1742.
Abb6 (&b-b£), Josepn Barnabe de
St. Sevin, Agen, France, June 11,
1727 — Charenton, 1787; violinist
and c; son of Philippe Abb6.
Abendroth (tt'-b«nt-r6t), Irene, b.
Lemberg, July 14, 1872; soprano
Royal Opera, Dresden, 1899-1908;
m. T. Thaller.
Abert (tt'-bSrt), Hermann, b. Stutt-
fart, March 25, 1871; son of J. J«
f., historian.
A'bram, John, b. Margate, Aug. j,
1840, English organist; c. oratorio
The Widow of Nain, cantata Jeru-
saltntf etc.
Abriinyi, (i) Kornel, d. Budapest,
Dec. 20, 1903. His son (2) Emit, b.
Budapest, 1880 (?) ; c. operas Monna
Vanna (Budapest, 1907), Faoh and
Francesca (do. 191 2), etc.
Achscharumov (ash-tshfi'-roo-m^O,
Demetrius Vladimirovitsch, b.
Odessa, Sept. 20, 1864; violinist and
c; pupil of Auer.
Ackt6 (&k'-t£), Aino, b. Helsingfors,
Finland; soprano; sang at Paris
Op6ra, 1904-S, sang Met. Op., New
York.
Adalidv Qurr^a ( ft - dhft'- ledh - e-
goo-r&-&), Marcel del., Coruna,
Aug. 26, 1826 — Longara, Dec. 16,
1881; pianist; pupil of Moscheles
and Chopin; c. opera, etc.
Adam, K. F., correct date of birth,
Constappel, Saxony, Dec. 22, 1806.
Afanassiev (tt-f&-n&s'-sT-«v), Nikolai
Jakovlevich, Tobolsk, 1821 — St.
Petersburg, June 3, 1898; violinist
and c.
Affer'ni, Ugo, b. Florence, Jan i,
187 1 ; pianist and cond.; studied at
Frankiort si:d ^«ipzig; m. the vio*
linist Mary Brammer, 1872; c. an
opera, etc.
Agincourt (di-shU'-koor), Fran-
cois d', Rouen, 17 14 — Paris, June
18, 1758; court organist and c.
Agrenev (ft-grft'-nev), Demetrius A,
1838 — Rustchuk, Bulgaria, July,
1908; organized a choir under the
name Slavjanski, with which he
toured Europe and America, pre-
senting folk*songs.
Aruilar (i'-gS-Ur), Emanuel Abra-
nam, London, Aug. 23, 1824 —
London, Feb. 18, 1904; pianist of
Spanish origin; c. 2 operas, « symph.
Ahlstr0m,Olof (not A. J. R.), correct
dates Aug. ia, 1756 — Aug. 11, 1835.
A Kem'pis, (i) Nicholas, organist
and c, at Brussels, ca. 1628. (2)
Jean Florent, org. at Brussels,
ca. 1657; c. requiem (pub. Antwerp,
1650) etc.
Alabiev, A. A., correct dates, Mos-
cowj Aug. 16, 1787 — March 6, 1851.
Albanesi (Kl-bi-n£'-z€), Luigi, b.
Rome, March 3, 182 1 — Naples, Dec.
4, 1897; pianist and composer.
Albert, £ugen d*, add that he c
further operas Kain and Dor Improvi-
salor (both Berlin, 1900), Tic/land
(Prague, 1903), Fhido solo (Prague,
igo5)fTra§aidabas (Hamburg, 1907),
DU Versckenkie Frau or The Bar-
ter td Wife ( 19 1 2 , Munich) . His opera
Tie/land (based on Guimera's play.
Marta of the Lowlands) has had
immense success; in Berlin alone
(prod. 1907) it reached its 400th per-
formance in Feb., 191 2; it was sung at
the Met. Op., N. Y., and throughout
Europe. He married Hermine Finch.,
the singer, in 1895. His edition of
Bach's **WeU Tempered Clavier** was
pub. 1907.
Alfy6n (ftlf'-vin), Hugo, b. Stock-
holm, May I, 1872; violinist; studied
742
THE MUSICAL GUIDE
at the Cons, and with C^aar Thom-
son; 1900 received Jenny Lind scholar-
ship for 3 years foreign study; from
1904 prof, of comp. Stockholm Uni-
veraity: from 1910 mus. dlr. Upsala
Univ. in 191 2 conducting a concert of
Upsala students m Berlin; c. 3 sym-
phonies; symph. poem **Aus dm
Sc*ffr«i": cantaU " The BeUs," " The
Lord*s Prayer," for chorus; scene
with orch., male choruses^ etc.
Al'len, Hush Percy, b. Reading,
Dec. 23, 1869; organist at 11, ^887 —
1892 org. Chichester Cathedral; since
1901 at Oxford, where he was made
Mus. Doc. 1898, and University
Choregus since 1909; since 1Q08, mus.
dir. Reading University College.
AHison, Morton Claridse, b. Lon-
don, July 25, 1846; pianist; pupil
R. A. M. and Leipzig Cons.; Mus.
Doc. (Dublin), c. piano and organ
music and songs.
Alois (ttM6-te), Ladislaus, b. Prague,
x86o; 'cellist; pupil Paris Cons.;
soloist Royal orch., St. Petersburg;
c concertos, etc.
Alph^raky (&l-f&-rtt'-ke), Ach. N.,
D. Charkov, Russia, 1846; c. piano
pieces, including **SSrSnade Uvanline";
and songs.
Alt'mann, Wilhelm, b. Adelnau,
April 4, 1862; editor and historian.
Alvarez (ftl-vft'-rCthJ, (i) Fermin
Maria, b. Saragossa; d. Barcelona,
1898; c. popular songs, etc. (2)
(&l-v&-r&), stage name of Albert
Raymond Qourron ; b. Bordeaux;
tenor; pupil of A. de Martini; d6but
at Ghent, later at Paris Op^ra as
leading tenor for many years; 1898,
Met. Op. House of New York.
Arwood, Richard, flourished ca.
1550; English priest; c. mass and
organ pieces.
Amato (£-m&'-to), Pasquale, bary-
tone; d£but Naples, 1900; sang at
Milan, then after a period of financial
distress sang at Trieste, etc., 1909,
Manhattan (%)era; fromi9ii Met. Op.
Anil>rosch, Joseph Karl, Kruman,
Bohemia, 1759 — Berlin, Sept. 8, 1823;
(^)eratic tenor; c. songs.
Ames, Philip, 1837 — Duiham, Feb.
zo, 1908; orgemist Durham Cathedral
1861-1906; prof, of music, Durham,
from 1897.
Amft, Qeors., b. Oberhannsdorf,
Silesia, Jan. 25, 1873; music teacher;
pupil at Royal Inst, for church mus^
Berlin; teacher in Habelschuerdt;
editor and composer.
Amicis, De, vide De Am ids.
Amps, William, d. Cambridge, May
20, 1909; Engli^ organist and conxL
Andersen (i) Joachim, Copen-
hagen, April 29, 1847 — May 7, 1909.
Soloist at 13. Toured widely; court
musician, Copenhagen, Petersbuiig
and Berlin; for 8 years solo flutist and
assistant conductor of Berlin PhiL
Orch., of which he was one of the
foimders; 1895-1909, the ruling musi-
cal force In Copenhagen, as conductor
of the Palace concerts, the TiwcJi
Orchestra, the Municipal Summer
concerts, his orchestral school, and
Inspector (with rank of Captain) o^
all the military music of Denmail^
Made Knight of Dannebrog Order
by King Charles DC; received the
"Pahns" of the Acad, from the Pres.
of France, and was made "Prof." by
King Frederik of Denmark. (2)
Vigo, Copenhagen, April 21, 1852 —
Chicago, Jan. 29, 1895; solo flutist
with Thomas orch.; brother of (i)
Anderson, Thomas, Birmingham,
England, April 15^ 1836 — SepL 18,
1903; critic, orgamst and c.
Andrieu (dfin-drl-dO, Jean Fr. d'
Paris, 1684 — Jan. i6, 1740; org.
and comp.; 1724 royal cond.at Parn.
Angell (d&n-j&Ms), Andrea d', b.
Padua, Nov. 9, 1868; historian; c
opera " VInnocenU" (Bologna), etc
An^gerer, Gottfried, Waldsee, Feb.
3, 1851 — Ziirich, Aug. 19, 1909, c
inale choruses.
And rot (&n-drd), Albert Augusta,
Paris, 1 781 — Aug. 9, 1804; c. open,
requiem, etc.
I
m
1
Mfe
DICTIONARY OF MUSICIANS 743
Angrisani (fin-gr^s&'-nS), Carlo, b.
Reggio, ca. 1760; bass; sang in Italy
and Vienna; 181 7 at London: c. songs.
Ansorge (ftn-sAr'-ge), (i) Max, b.
Striegau, Silesia, Oct. i, 1863; organ-
ist; son of a cantor; studied at Berlin;
c songs, motets, etc. (2) Konrad
(Eduard Reinhold), b. Buchwald.
Silesia, Oct. 15, 1862; pianist; pupil
Leipzig Cons, and of Liszt; toured
America; c. for orchestra, and piano.
Antino'ri, Luigi,b. Bologna, ca. 1697;
tenor; sang in London, 17 25-1 726.
An'tipov, Constantin, b. Russia,
Jan. 18, 1859; c. symph. allegro for
arch., and piano pieces.
Antoniot'to, Giorgio, lived at MUan,
1740; theorist and c. of 'cello-sonatas.
Arb6s (fir'-vte), E. Fernandez,
b. Madrid, Dec. 25, 1863; violinist;
his grandfather and father were band-
masters in the army; pupil Madrid
Cons.; took prizes at 12; then studied
with Vieuxtemps, Geva&rt and Joach-
im; cond. Berlin Phil. Society; taught
at Hamburg, Madrid, and Royal
College, London; c. comic opera,
El Cientro de la Tierra, Madrid, 1895;
also for violin and ordi.
Archangerski, Alexander A., b.
Pcnsa, Russia, Oct. 23, 1846; organ-
ist 9nd cond. smce 16; c. 2 masses,
a requiem.
Arensky, A. S., b. July 31, 1861; d.
Tariolu, Finland, Feb. 25, 1906.
Ar^gent; W. I., d. May 18, 1908;
organist and cond.; c masses, etc.
Ark, Karl Van, 1842 — St. Peters-
burg, 1902: pianist and teacher.
^ri'berg, Qeorg Ephraim, P.,
Letsand, Sweden, 1830 — Christiania
Feb. 21, 1896; barytone.
Arms'heimer, Ivan Ivanovltch,
b. St. Petersburg, March 19, i860;
pupil at the cons.; c. i-act opera
Sous lafeuillie (French text); 2-act
opera Der Oberhofer (German text);
3-act opera Jaegerliv (Danish text);
cantatas, songs, etc.
Arnaud (ftr-nd), Qermaine, b. Bor-
deaux, Dec 20, 1891; pianist; pupil
of Paris Cons., winning second piano
prize, 1904; fiist prize, 1905; touredas
virtuoso, 1908, with Boston Symph.
Arres'ti, Qiulio Cesare, ca. 1630 —
ca. 1695; organist and c. at Bologna.
Ars,(or Volkov), Nikolai, b. Moscow,
1S57; composer; cond., studied at
Geneva and Milan Cons.; c. oper-
ettas, symph. poem, etc.
Ath'erton Percy Lee, b. Roxbury,
Mass., Sept. 25, 1871; composer;
graduated Harvard, 1893, studying
music under Paine; studied two yean
in Munich with Rheinbeiger and
Thuille, then a year in Berlin with
O. B. Boise; 1900 studied with
Sgambati and Widor; lives at Boston;
c. symph., tone poem for orch., Noon
in the Forest, opera-oonoique The
Maharaja, comic opera, and many
songs of great importance.
At'kins, Ivor Algernon, b. Cardiff,
Nov. 29, 1869; organist and cond.;
son and pui)il of an organist: later
ptupil and assistant of C. L. Wifliams;
since 1897, org. Worcester Cath.
A tt 'water, J. P., d. April 10, 1009,
age 46. org. and cond. in England.
Aubry (6-br€), Pierre, b. Paris, Feb.
14, 1874; historian of liturgical music
Auguez (6-g&), Numa, Saleux (Som-
me), 1847 — Paris, Jan. 27, 1901;
prof, at the Cons.; barytone.
Aus'tin, (i) Frederic, b. London,
Mar. 30, 1872; barytone; organist at
Liverpool for some years; then teadier
at the College of Music, there tfll
1906; then studied voice with Lunn:
dibut, 1902, favorite in oratorio and
in Wagner operas; c. overture
Richard II (Liverpool, 1900): rhap-
sody Spring (Queens Hall, 1907),
symph. poem Isabella, etc. His
brother (2) Ernest, b. Londoti,
Dec. 31, 1874; on the Board of Trade
till 33 years old, then studied comp.
with J. Davenport; c symph., idyU,
march; Love Songs from Don Qmxoie,
for voices and ordi.; piano sonata, etc
Auxcousteaux (do-koo-to), Arthur
d% b. Beauvaig, FrviP^i d* z6^$;
744
THE MUSICAL GUIDE
cond. Ste. Cbapelle, Paris; c. sacred
music
Avena'riuSy Thos., org. and c. at
Hildesheim, 1 614-1640.
Ayres, Frederic, b. Bingfaamton, N.
Y., March 7, 1876; composer; sfpent
a year at Cornell U., 1892; music
pupil of E. S. KeQey and Arthur
Foote; 1901 went to New Mexico on
account of health, since 1903 at
Coloiado Springs, Col., c. songs and
pf. pieces.
B
Bache* (bitch) Constance; correct
dates, Edgbaston, March 11, 1846 —
Montreuz, June 28, 1903.
Bac(k)haus (bftk'-hows), Wilheim,
b. Leipzig, March 26, 1884; pianist;
CipQ of Reckendorf and at the Cons.,
ter of d'Albert; irom 1900 toured;
1005, piano teacher R. C. M., Man-
chester, but won the Rubinstein
prise and toured again; 191 1 the U.
S.; from 1907 has taught master-
courses at Sondershausen Cons.
Badiali (birdl-ftMe), Cesare, Imola,
1810 — Nov. 17, 1865; basso; d^but,
Trieste, 1897; sang throughout Italy;
1859 ui London; said to have been
able to sing a scale while drinking
a gjass of claret.
Baltxell, Wiliard J., b. Shiremans-
town, Penn., Dec. 18, 1864; gradu-
ated Lebanon Valley Cdlege; at
24 took up music, studied with
Emery and Thayer; later in London
with Bridge and Parker, later with
H. A. Clarke, Philadelphia, as edi-
tor; taught musical history and
theory at Ohio Wesleyan University
one year, flien returned to Philadel-
phia. The previous statement of
his death is an exaggeration; he is an
editor in Boston and has edited a
"Dictionary of Musicians" (1911).
Bantock, QranTille, add that 1898
he founded the New Brighton Choral
Society; 1900 Principal Birmingham
and Midland Inst. School of Music
and cond. various societies; 1908
succeeded Elgar in Peyton Chair
of Music at Birmingham Univ.;
1898 he married Helena vim Sdi-
weitzer. He c. Omar Khayyam for
voices and orch. Part I (Birming-
ham Fest, X906) Part II (Cardiff
Fest., 1907), Part III (Birmingjiam
Fest., 1909);^ 7 tone-poems for orch.;
2 symphonic overtures, comedy
overture, The Pierrot of the Minute,
1908; overture to Oedipos at Kdo-
nos (Worcester Fest. 191 1); mass for
male voices, 1903; chamber musk etc
Bar'bi, Alice, b. Bologna, ca i860; 1
mezzo-sopr.; pufMl of ^imboni, Bust,
and Vannucceni; d^but, Milan, 1882-
toured Europe in concert; also »
violinist and poet.
Barcewicz (bir'-ts^vlts), Stanis-
laus, b. Warsaw, April 16, 1858;
violinist; ptqul of Moscow Cons.; opera
cond. at Warsaw; since 1885 vk>lin
prof, at the (}ons.; c violin pieces.
Bar'nekov, Christian9b.St.Sauvcur,
France, July 28, 1837; ocgaoist;
of Dani& parentage; pianist and
oiganist; pupQ of Hdhtedt, Capen-
hagen; c. women's dioruses with
ordi.; chamber music and songs.
Bart'muss, Richard, b. Bitterfeki,
Dec. 23, 1859; organist; papSl of
Grell, Haupt, Laschom; 1896 royal
music director: 1902, professor; c
oratorio Der Tag des Pfingsten; 4
organ sonatas and much sacied music
Bartz, Johannes, b. Staigard, Jan.
6, 1848; organist; pupil Leipag Cons.;
since 1872 org. at Church of Sts.
Peter and Paul, Moscow; c opera,
Eoangdisches Requiem; oratorio, Dm
EimmetshoUy etc.
Bary (bll'-r€), Alfred F. von, b.
Malta, Jan. 8, 187^; tenor; studied
and practised medicme at first; 1902,
appeared Dresden Royal Opom; sang
Parsifal, Tristan, etc., at Bayreuth.
Bath, Hubert, b. BamsUple, Eng-
land, Nov. 6, 1883; 1901 pupil of
Beringer and Corder at R. A. M,
London; 1904, won Goring Thomai
DICTIONARY OF MUSICIANS 745
scholarship; c. i-act opera, "The
Spanish SUtdetU"; symph. poems;
cantata The Wedding of Shon Mac-
lean; variations for orch. (1904), and
many songs.
Bat'ka, Richard, b. Prague, Dec. 14,
1868; critic, historian and librettist.
Bax, Arnold E. Treyor, b. London.
Nov. 8, 1883; pupil of Matthay ana
Corder at die R. A. M.; c. a sym-
phony, symph. pictures, Riri; string
quintel. Celtic Sang Cycle, etc.
Bayer (bl'-«r), (i) Aloys, Sulz-
iMich, July 3, 1802 — Grabenst&dt,
July 7, 1863; tenor; (2) Josef, b.
Vienna, Mar. 6, 1852; composer of
ballets and operettas; studied at
Vienna Cons.; cond. at Court Opera.
Bayiey, John Clowes, d. Oct.
10, 1909, age 75. English composer
of anthems and part songs.
Ucach, John, b. Gloversville, N.
v., Oct. II, 1877; composer; grad-
uated at New England Cons., 1898;
studied further with Clayton Johns,
and in Paris with Harold Bauer.
Taught piano and theoxy, Univ. of
Minnesota, two years; in New Orleans
three years; then in Boston. Since
1910 in Paris studying mth G6dalge,
:. operettas, Gipsy Trail for bar. and
orch., songs, etc.
3eauvarlet - Charpentier (bo-v&r-
lfirshftr-pftfit-y&), (i) Jean Jacques,
AbbeyviUe, 1730 — Paris, 1794; or-
eanist and comp. (2) Jacques
Marie, Lyons, July 3, 1776 — Paris,
Nov. 1834; organist and comp., son
of (i).
Beck'er, Hugo, b. Strassburg, Feb.
13, 1864; 'cellist; son of Jean B.;
pupil of his father, Griitzmacher,
Piatti, etc.; 'cellist at the Opera
Frankfort, 1884-86 and 1890-1906;
1896, Royal Prof.; succeeded Piatti
as 'cellist at London Monday concerts.
Beck'mann, Wm. Qv., b. Bochum,
Jan. 16, 1865; pupil Royal Inst, for
church mus., Berlin; organist, critic,
and teacher at Berlin.
Beck'with, John Charles, 1778—
Oct. II, 1819; son and successor of
J. Christmas B. as organist, Nor-
wich Cathedral.
Beechgard shoxild be Bechgaard,
on p. 409.
Beethoven, Ludwig van, add that
a sjrmphony supposed to be a youth-
ful work of his was discovered
191 1 in the library of the Universi-
ty of Jena, by Prof. Fritz Stein, was
performed there Jan 17, 1910, and
published 191 1; performed in Leip-
zig, Nov. i9ii,ana by Boston Symph.,
191 2. It is not generally accepted
as Beethoven's but is found weak and
uninteresting, of Haydnlike simplic-
ity, with echoes of Mozart.
Behaim (b£-him'), Michel, Sulz-
bach, 1416 — murdered there, 1474;
soldier and minnesinger.
Belch'er, William Thomas, d.
Birmingham, May 6, 1905, age 78.
mus. d.; organist.
Bell, William Henry, b. St. Albans,
Aug. 20, 1873; pupil at the R. A. M.;
won G0S8 scholarship, 1889; since
1903, prof, of harmony, there c.
symphonies Wall Whitman (1900),
and The Open Road, 3 symph. poems
to the Canterbury Tales; symph.
poems, Line Anumg the Ruins (i9(^};
The Shepherd (1908), etc.
Bellaigue, (ba-li^),(;amille,b. Paris,
May 24, 1858; critic and essayist;
pupil of Paladilhe and Marmontd.
Bellincioni, Qemma, add that she
was b. Como, Italy, Aug. 18, 1866;
widow of the tenor, Stagno.
Bendix (1) Otto, correct birth date,
July 26, 1845. (2) Victor, correct
birth date. May 17, 1851. (3) Fritz,
b. Copenhagen. Tan. 12, 1847; brother
of (i) and (2); 'cellist; pupil of
GrQtzmacher; playi in Royal Orch.
at Copenhagen.
Benoit (bOn-wft), Camille, pupil
of C^sar Franck; 1888-1895, assist-
ant conservator at the Louvre; since
1895 conservator; c. overture, 1880;
text and music of opera CUopaire, etc.
author of Souvenirsj 1884, and
746
THE MUSICAL GUIDE
MusicienSy poetes el pkilosophes, 1887;
also translator.
Ber'ber, Felix, b. Jena, March 11,
187 1 ; violinist; pupil of Dresden Cons,
and Leipzig Cons.; concertmaster in
various cities; 1 904-1907 prof. Royal
Acad., Munich; 1907 at Frankfort-on-
Main; since 1908 at Geneva Cons.;
toured widelv; 1910, America.
Bern'eker, Constanz, Darkehmen,
E. Prussia, Oct. 31, 1841 — K5nigs-
berg, June 6, 1906; conductor and
comp.
Bernhardt, August, b. St. Peters-
burg, Jan. 15, 1852; pupil at the
Cons, and since 1898, director.
Berteau, (Berteaud or Berthau),
(b&'-tO), (i) Martin, Valenciennes,
(?) — Paris, 1756; the first important
'cellist; c. violin sonatas. (2) Ga-
briel, c. 'cello concerto about 1800.
BestMndig (b^st&i'-dlkh), Otto, b.
Striegau, Silesia, Feb. 21, 1835;
cond. and comp.; pupil of Mettner,
etc. in Breslau; founded a conserva-
tory in Breslau; c. oratorio Der
Tod Baldurs and Victoria Crucis, etc.
Betts, Thomas Percival Mil-
bourne, d. Aug. 27, 1904, age 53.
English critic.
Beyschlag (b!'-shlakh), Adolf, b.
Frankfort-on-Main, March 22, 1845;
cend. pupil of V. Lachner; conductor
at Frankfort, later at Belfast, Man-
chester, Leeds; since 1902 at Berlin;
1907 made Royal Prof.; author and
comp.
Biaggi, correct birth date is 181 9.
Bibl (beb-'l), (i) Andreas, Vienna,
1 797-1878 organist and composer.
His son and pupil (2) Rudolf,
Vienna, Jan. 6, 1832 — Aug. 2, 1902;
pupil of Lechter; organist and com-
poser of organ sonata, etc.
Bidez (be-d£s), L. Alovs, b. Brussels,
Aug. 19, 1847; teacner and com-
poser of operetta The Stratagem; piano
concerto, etc.; lived in the U. S.,
1876-1 901; then returned to Brussels.
Bie (b€), Oskar, b. Breslau, Feb. 9,
1864; critic; pupil of Ph. Scharwenka;
1886, Dr. Phil.; 1890, Privat Docent
at Technical High School, Berlin;
author of books; also comp.
Biehr (ber), Oskar, b. Dr^en, 1851;
violinist; pupil of David; for twenty-
five years member of Munich court
orchestra.
Biernacki (b&-Sr-n&t'-ske), Michael
Marfan, b. Lublin, Sept. 9, 1855;
comp.; pupil of Warsaw Cons.; cfi-
rector there; comp. 2 masses, Prolopie
for orch., etc.
' Bin'der, Fritz, b. Baltunore, 1873;
pianist; at 7 toured Europe in con-
cert; studied with Leschetizky and
at Cologne Cons.; from 1901, dir. of
the Danzig Singakademie.
Bird, Henry Richard, b. Nov. 14,
1842; organist; son of Qeorge B.,
an organist; at 9, became oiig.; pupil
of Turle; since 1872 org. at St. Mary
Abbots, London; conducted concerts,
and won prominence as accompanist.
Bishop, Ann, or Anna, London,
1814 — New York, March 18, 1884;
soprano; daughter of Jules Rivite;
married Sir Henry Bishop, 1831,
deserted him for the harpist Bochsa,
with whom she toured the world in
concert; after his death, in 1856, she
married a Mr. Schulz.
Bishop, John, 1665 — Winchester,
Dec. 19, 1737; organist and composer.
Bispham, David, correct birth date
is Philadelphia, Jan. 5, 1857.
Bitt'ner, Julius, composer of operas.
Die Rote Grot (Vienna, 1907), and Der
Musikant (Dec. 2,1011, Leipzig Opera)
Black, Andrew, b. Glasgow, Jan.
15, 1859; barytone; at first an organ-
ist; then pupil of Randegger and
Scafati; sang at the Crystal Palace,
1887; tourd America; famous as
''Elijah''; 1893, Prof, of singing
R. C. M., Manchester.
Black'burn, Vernon, d. Padding-
ton, London, Feb. 14, 1907, age 4a
Prominent English critic; for many
years on the ** Westminster Gasette"
London; author of "The Fringe of am
Art,"
DICTIONARY OF MUSICIANS 747
Blanc (bl&A), Claudius (rightly
Claude), Lyons, March 20, 1854 —
June 13, 1900; pupil of Paris Cons.,
winning first harmony prize, 1875,
2nd Prix de Rome, 1877; Dir. Mus.
school Marseilles, 1887-9, ^^^^ <^o~
rus master, Paris Op.;c. "5te. G«»*«-
vi^ de Paris** for orch. and songs.
Blaser'na, Pietfo, b. FiumicelLo,
Feb. 29, 1836; teacher and theorist.
Blauvelt, Lillian Evans, correct
birth date is Brooklyn, N. Y., March
16, 1873; she made her d6but in
opera in "Fausi" at Covent Garden,
1903, with success.
Blavet, (bU-v&), Michel, Besangon,
Mar. 13, 1700 — Paris, Dec. 28, 1768;
composer of comic operas, etc.
Bleecti, (blukh) Leo, b. Aachen, April
22, 1871; conductor; pupil of Berlin
Hochschule; 1893-1896, cond. at
Municipal Theatre, Aachen, and pupil
of Humperdinck; 189^1906, cond.
German Laudestheatre at Prague;
1906, Royal Opera, Berlin; 1908,
cond. first East-Prussian Festival at
Kdnigsberg; c. 3 symph. poems,
very successful i-act opera, Das
War Ich, (Dresden, 1902); 3-act
opera Aschenbr'ddd (Prague, 1905);
Versicgell (Hamburg, 1908; New
York, 191 2), etc.
Bleichmann (bllkh'-man), Julius
Ivanovitch, b. St. Petersburg, Dec.
5, i868;* conductor; pupil at the
Cons., and of Reinecke and Jadas-
sohn; cond. various orchs. at St.
Petersburg; c. 2 operas, chamber
music, etc.
Bleyle (bll'-U), Karl, b. Feldkirch,
May 7, 1880; pupil of Wehrle and de
Lange; later at Stuttgart Cons, and of
Thiulle; gave up violin on account of
nervous affliction of the arm; lives in
Munich; c. symph., An den Mistral
(from Nietzsche), for mixed chorus
and orch., Lernl lachen (from Nietz-
sche's "Zarathustra'*)f do.; symph.
poem FlageUatUenzngf Berlin; Mun-
ich, 1908; Berlin, 1911, etc.
"Blind Tom," vide Wiggins.
Blon (bl6n), Franz Von, b. Berlin,
July 16, 186 1 ; cond.; pupil of Stem's
Cons.; 1898, c. operettas Sub rosa
(LUbeck, 1887); Die Atna^one (Mag-
deberg, 1903), etc.
Blondeau (bl6n-d5), Pierre Au-
guste Louis, Paris, Aug. 15, 1784-
1865; viola-player at the Op6ra;
pupil of the Cons., taking the Pnz de
Rome, 1808; c. opera, ballet, etc.
Blu 'men berg, Franz, b. Remagen,
Feb. 28, 1869; organist at Cologne;
c. songs, male choruses, etc.
Blumenfeld, (i), Felix M., correct
birth date to April 19; since 1898
cond. Imperial Opera, St. Petersberg.
His brothers are (2), Stanislaus,
Kiev, 1850-1897, pianist and teadier;
(3) Sigismund, b. Odessa, Dec
27, 1852; song-composer, living in St.
Petersburg.
Biumenschein (bloo'-m£n-shin),
William Leonard, b. Brensbach,
Dec. 16, 1849; pupil of Leipzig
Cons.; since 1879 organist, teadier
and cond. at Dayton, Ohio; 1891-96,
chorus master at the Cincinnati May
Festivals; c anthems, piano pieces,
etc.
Blumenthal, Jacoues, correct birth
date is 1829, d. Chelsea, Mav 17, 1908.
Blumer, (bloo'-mfir), Fritz, b.
Claris, Aug. 31, i860. Swiss pianist;
pupil of Geneva and Leipzig Cons,
and of Liszt; since 1886 teacher at,
Strassburg Cons.
Bodenstein (b5'-d&i-shtin), Her-
mann, Gandersheim, March 27, 1823
— Braunschweig, April 12, 1902;
organist.
Bodm, (bo-d&n), Francois Etienne,
Paris, March 16, 1793 — ^Aug. 13, 1862;
teacher of theory at Paris Cons.;
author of a treatise.
Bodi'nus, Sebastian, flourished
1725-1756; bom in duchy of Alten-
burg; violinist and composer.
Bdheim, (b&'-him), Joseph Mi-
chael, Prague, 1748 — Berlin, July
4. 181 1 ; actor and singer.
Boismortier (bw&-m6rt-y&), Josef
748
THE MUSICAL GUIDE
Bodin De, Perpignan, ca. 1691 —
Paris, ca. 1765; c ballet operas,
cantatas, etc
Bdlsche (ba'-shQ, Franz, b. Wegen-
stedt, near Magdeburg, Aug. 30,
1869; theorist; pupil Berlin Royal
Hochschule; 1896, teacher Cologne
Cons.; c. overture JudUk, etc
Bond (b^n'cfae), Alessandro, b.
Cesena, n. Bologna, 1870J famous
lyric tenor; at 7 sang m choir,
studied singing with Coen at Pesaio
Lyceum for 5 years; then member
of choir at Loreto; operatic d^ut in
"Falstaff"; sang with great success
at Covent Garden, 1900, and in 1908;
sang at Metropolitan Opera House;
toured U. S., 191 1-191 2 ; smgs in Italy.
Bo^n if orti, {Carlo, Arona, Sq>t. 25,
1 818 — Trezzo d'Adda, Dec 10, 1879;
oiganist and comp.
Bonini (bo-ne'-ne), Severo, b. Flor-
ence, 17th century; BcsiedicUne
monk, one of the first writers in mono-
die style; c madiigals, etc, 1607-
161}.
Booth, Robert, b. St. Andrews,
Dec. 29. 1862; English oiganist; c for
orch.; church music, etc
Bopp, Wilhelm, b. Mannheim,
Nov. 4, 1863; pupil of Leipzig Cons.,
and of Emil Paur; 1884, dir. in FVch
burg; 1886, assistant to Mottl at
Bayreuth; 1889, teacher at Mann-
'heim Cons.; 1900, opened a High
School of Music; 1907 dir. Royal
Cons., Vienna; cond. His wife, bom
Q laser, is a court opera singer at
Stuttgart.
Borchers (bAr'-kh&s), (i) Bodo,
183s — Leipzig, Jime 6, 1898; opera
singer and teacher in Leipzig. (2),
QustAV, b. Braunschweig, Aug. 18,
1865; pupil Leipzig Cons.; cantor and
teacher of song; since 1898, directed
a singing-school at Leipzig.
Bordes (b6id), Charles, Vouvray-
sur-Loire, May 12, 1863; — Toulon,
Nov. 8, 1909; composer; important
figure in the revival of French church
music; pupil of C^sar Franck; 1887,
cliurdi-oooductor at Nogent-sur-
Mame; 1880 oommissioned by the
govt, to collect Basque folk music;
from 1890 chapel-master at St. Gcr-
vais, Paris; founder of the "Assada-
turn of the Singers of St. Genais" and
of the "Schola CatOorum de St. C,"
1898 with d'Indy and Guilmant; 1905
reUied to Montpellier and founded a
Schola there; 1909 went to Nice to
give a concert and died on his way
home. He resuscitated many for-
gotten master works, and wrote many
articles on them; c Fkantasie and
Rapsodie Basque for orch.; open Les
irois Vagues, religfous music, choruses,
and 9on^ and piano pieces.
BoVek, Christoph, d. 1557; Polish
composer and oonductcM'.
Bo'ri (ri^tly Borfia), Lucrezia,
soprano; studied at Milan; 191 1-12
at La Scala. In 1910 singing in Fans
with the Met. Op. Co. of N. Y. She
was engaged for New York 19x2-13.
Bom'hardt, Johann, Braunschwdig,
March 19, 1774 — April 19, 1840; c
Singspielen, etc
Borosini (b6r-&-s€-ne), (i), Fran-
cesco, b. B<^ogna, ca. 1695; oper-
atic tenor in 1723 at tli^ Grand
Opera, Prague, and 1724-1725 in
London, with his wife (2), Leonora
d' Ambreville, a contralto of
French birth.
Bosch, Pieter Joseph,* Hobc^en,
Holland, 1736 — Antwerp, Feb. 19,
1803; organist at Antwerp Cathedral;
c sonatas.
BoschettI (bte-k£t'-te), Viktor, b.
Frankfort-on-Main, Aug. 13, 187 1;
pupil of Prague Cons.; from 1896,
organist at Vienna and Dir. Court
Opera, 1900-3; c 5 operas, church
music, etc
Botelho (bo-tfl'-yo), Manuel Joa-
qulm Pedro, LidxHi, 1795 — April
9, 1873; flutist and teacher of theory.
Bottini, (b6t-te'-n6), Marianna
Andreozzl, the Miarcfaesa, Lucca,
Nov. 7, 1802 — Jan. 24, 1858; ^e
composed masses, overtures, etc
DICTIONARY OF MUSICIANS 749
Boucheron (boosh-r6h),Raimondo,
Turin, Mar. 15, 1800 — Milan, Feb.
28, 1876; cond., theorist and composer.
Bouhy (boo'-e), Jacques, b. Pepin-
ster, Belgium, 1848; barytone; pupil
at Li^e Cons., then Paris Cons.;
1871, the Op^ra Parisj after 1872 at
Op6ra Comioue, crcatmg the Torea-
dor r6le in "Carmen," etc.; 1885-89,
director of New York Conservatory;
returned to Paris Op^i^; later a
famous teacher; c. songs.
Bouman (boo'-m&n), Martin T.,
b. Herzogenbusch, Holland, Dec. 2q,
1858; pupil of Brte and Holl; city
director at Gouda; c. operas, masses,
etc.
Bouval (boo-v&l), Jules Henri,
b. Toulouse, June 9, 1867; pupil of
Paris Cons., taking first harmony
prize 1889; org. St. Pierre de ChaiUot;
c. i-act operas, ballets "La Chaine
d* Amour" for voice and orch., songs,
etc.
Bo' wen, Yorlc, b. London, Feb. 22,
1884; composer and pianist; 1898-
1905, pupil of the R. A. M.; c. 5 con-
certos; S3rmph. fantasia for orch.
brought out by Richter; concerto
and sonata for the viola, etc
Boyle, Qeo. Frdk, b. Australia;
teacher at Peabody Cons., Baltimore;
c. piano concerto, which he cond. with
success Feb. 191 2 at New York Phil.
Boyvin (bwfl-v&n), Jacques, d.
Rouen, ca, 1706; organist there in
1674; c. organ music.
Brad 'ford, Jar.ob, b. Ix>ndon, June
3, 1842; organist; pupil of Goss and
Steggal; Mus. Doc. Oxford, 1878;
since 1892 organist at St. Mary's,
Newington; c. oratorio "Judith*^;
Sinfonia Ecdesiastica with double
chorus; overtures, etc.
Brady, Sir Francis, d. Co. Tyrone,
Ireland, 1900; well-known amateur
musidan ana one of the founders
of the Royal Irish Academy of Music;
c. several songs, etc.
Brandl, Johann, b. Kirchenbirk,
Bohemia, Aug. 30, 1835; c- operettas.
Brandram, Rosina (Mrs. But-
cher), d. Southend-on-Sea, Feb.
28, 1907, age 61. Noted contralto in
Gilbert and Sullivan operas.
Brandt, Herman, Hamburg, 1852
— New York, Dec. 27, 1910; pupil
Leipzig Cons.; settled in San Fran-
cisco; later cond. the Philh. orch.
there; then taught in N. Y.; at one
time was concertmaster Theodore
Thomas Orch.
Bran'dukov, Anatol Andreje-
vitch, b. Moscow, Jan. 6, 1859; 'cel-
list; pupil Moscow Cons.; spent many
years m Paris; founded a quartet
there with Marsick; 1890 returned
to Moscow; c. for 'cello and orch., etc.
Brassart, Johannes, priest, com-
poser and singer; in rap^l Choir
m 1431 ; probably same as Johannes
de Ludo; c. sacred music.
Braun, (i) Anton, Cassd, Feb. 6,
1729-1790; violinist and c; perhape
the son of (2) Braun, whose flute
compositions were pub. in Paris 1729^
1740. Hb brother (3) Johann,
Cassel, 1753 — Berlin, 1795, vio-
linist and comp. (4) Johann Pr.,
Cassel, 1759 — Lud^gslust, 1824;
oboist and comp.; father of (5) Karl
A. P., b. Ludwigshist, 1788; oboist;
and of (6) Wilhelm, b. Ludwigs-
lust, 1 701; oboist^ whose wife was his
cousin (7) Kathinka B., a singer.
Bredal (brft'-dsl), (i) Niels Krog,
Drontheim, 1733 — Copenhagen.
Jan. 26, 1778; theatre-director ana
comp. of cantatas. (2) Ivar Fred-
erick, Copenhagen, June 17, i8oo~
March 25, 1864; viola player; c. <^
erettas; cantata "Judas Iscariot, " etc.
Breithaupt, (brit-howpt) Rudolf*
Maria, b. Braimschweig, Aug. 11,
1873; critic and teacher; pupil Ldpcig
Cons., 1897; c. songs.
Brend'ier, Erich, b. 1800 — Stock-
holm, 1 831; c. opera "Ryno" with
Prince Oskar of Sweden (prod.
Stockholm. 1834). etc.
Brescianelio(brr-shii-n(3M6), Giu-
seppe Antonio, Mus. Director at
750
THE MUSICAL GUIDE
Stuttgart, 1717-1757; published vio-
uii oooccrtoSy etc*
Bressler-Qianoli (}t-n&-\i) Mme.
b. Geneva. i87o(?J; d. there after
operation tor appendidtis, May 12,
191 3. Operatic mezzo-sopr; studied
Paris Cons., d£but Geneva, at 19;
1900, Paris Qp. Com., 1903 with New
Orleans Op. Co., from 1007 sang with
success at Manhattan Opera, N. Y.;
X910 with Metropolitan Opera, N. Y.;
her "Carmen" was famous.
Breton v Herndndez (brt-tdn
e Cr-n&n'-dfth), Tomas, b. Salam-
anca, Dec 33, 1850; leading Spanish
composer of zarzuelas, an oratorio
Apocalypsia (1882), for orch. "An^
dalusiam scenes**; funeral march for
Alfonso Xn, etc.
Br^val, Lucienne, Add that her cor-
rect name b Berthe A. L. Schill-
ingfCorrect birth date, Berlin, Nov.
4, 1869; pupil of Warot at Paris Cons.;
d£but, Op6ra, 1892; sang there till
1900, then at 0^. Com.; 1902 re-
turned to the Opdra.
Br^ville (brfirvd), Pierre Onfroy
de» b. Bar-ie-Duc, France, Feb. 21,
1861; composer and critic, diplo-
matic career; then studied at Paris
Cons, and with C^sar Franck;
teacher at the Schola Cantorum; c
masses, sacred chorus with orch.,
Sakite Rose de Lima; symph. poem,
NuU de dicembre; overture, Pnncesse
Maleinej music for Les sept Princesses^
and SakunUUaf etc, orch. fantasie
"Portraits des Musiciens"; songs, etc.
Bridge, (i) Sir John Frederick;
' 1902, xnaide member of the Vic-
torian Order; 1903, King Edward
Prot. of Music, London University;
(2) Frank, b. Brighton, Feb. 26,
1879; viola plaver; pupil of R. A. M.,
gaining a scholarship m composition;
c prize quartet in £. Minor (Bologna
competition); string quartet "Three
IdyUs"; rhapsody for orch. and symp.
poem, "Isabella** (1907).
Briesemelster, (brr-zS-ml-stgr),
Otto, Am8walde,May 18, 1866 —
Berlin, June 17, 1910; tenor; at first a
doctor, then a pupil of Wiedemann;
d£but, 1893, Detmold.
Bright, Dora Estella, b. Sheffieki,
Aug. 16, 1863; pianist; pupil R. A. M.,
London; 1892 married Cs^t. Knatch-
bull; c 2 piano concertos ; variaticms
with orch., etc
Bron'ner, Qeorg, Hdstein, 1666 —
Hamburg; 1724; organist ; c for the
Hamburg Opera "Echo and Nar-
cissus,** " Venus f*' etc
Brons, Simon, b. Rotterdam, April
19, 1838; composer; teacher and
writer; author of theoretical works;
lives at The Hague.
Broschi, Carlo; real name of the
great male soprano called FarineUi,
perhaps after his uncle who was a
composer.
Brounoff (broo'-n6f), Platon, b. Eli-
zabethgrad, Russia, 1869; composer;
pupil of Rubinstein and Rimsky-
Korsakov, St. Petersburg Cons.;
cantata "The Angel" prod, at court;
lives in New York as oond. of Russian
choral society, etc; c piano suites
and songs.
Bruch, Max. Add that he received
in 1908 the Prussian order for merit
in art and learning, and many
honors from England, France, etc
His further compositions inclu'^le the
secular oratorio, Gustav Adolf ^1898),
Nal und Damajanl (1903); Die MacJU
des Gesanges, for baiytone, mixed
chor. and orch. (191 2.}
Bru'dien, Juan, Spanish priest;
cond, at Cathedral of Urgd, 1585;
later at Barcelona; c madrigals, etc
Bruneau, Alfred. Note that Octave
Ser6, in his Musiciens Jranqqis d'au-
joufd*hui (Paris, 191 1)* gives the
date of Bruneau's birth as March ist.
not 3rd. Add to his compositions the
operas, all to Zola's texts: VOuragan
(Op. Com. 1901); lyric comedy in
3 acts, VEnjant Roi (Op. Com. 1905);
i-act lyric drama Laeare (1005);
indd. music to I^ Faute delAM
Mouret (Odfon, 1907); lyric drami
DICTIONARY OF MUSICIANS 751
Nais Utcaulin (Monte Carlo, 1007);
Les Qjftre JourtUes (accepted at
the C^.' Com.); also songs, etc.
Bruns» (bioons) (Molar) Paul, b.
Werden, June 13, 1867; tenor, bary-
tone, and teacher; studied in Leipzig
and Italy; gave historic song-redtals;
since 1902 teacher of singing in Berlin;
author of a vocal method, etc.
Buchmayer (bookh'-ml-Cr), Rich-
ard, b. Zittau, April 19, 1857; pupil
Dresden Cons.; later piano teacher
there; 1907 Royal Saxon Prof.; gave
many concerts of ancient clavier
music and then devoted himself to
musical history.
Buchner (bookh'-n£r), (i) Hans,
Ravensburg, Dec. 26, 1 483-1 540;
organist and comp. (2) Philipp Pr.,
Wertheim, 1614 — Wttrzburg, 1669;
cond. and comp.
Bilchner (bUkh'-n£r), b. Pyrmont,
1825; flutist and composer; from
1856, soloist at St. Petersburg Royal
Opera, and Prof, at the Cons.
Buck, (x) Dudlev; retired from
church work 190^; a. Brooklyn, N. Y.
. Oct. 6, 1909. (2) Percy Carter,
b. West Ham., March 25, 1871; pupil
at R. A. M., London; won scholarship
1 891-4, organist at Oxford; 1893,
Mus. Doc.; 1896-9, organist Wells
Cathedral, 1899-1901, Bristol Cathe-
dral; 1910, prof, of music Dublin
University, vice-Prcs.; c. overture
**Co€ur de Lion**; chamber music, etc.
Bilhl (bol), Joseph David, b. Am-
boise, 1 781; famous trumpet-player
at Paris; author of trumpet-method.
Bullerian (bool-l&'-rl-ftn), Rudolf,
b. Berlin, Jan. 13, 1858; director;
pupil Stem Cons.; played in orches-
tras from his i6th year; 1884,
municipal director at Gdttingen; 1890
in Russia, settling at Moscow, con-
ducting in other cities; since 1902 in
America.
Bamler (bImM&), Qeorg Heln-
rich, Bemeck , Oct. 10, 1669 —
Ansboch, Aug. a6, 1745; cond. and
comp. of church music.
Buonamici, Carlo, b. Florence.
June 20, 1875; pianist; son and pupil
of Giuseppe (q. v.), later studied at
. Wtlrzbunr Royal Musicsch., with
Van Zeyl, takmg first prize; after
year in the army, settled in Boston,
1896, as teacher and pianbt with
Boston Sjnnph. Orch., etc.; 1908
toured Europe.
Buonglorno (boo-5n-j6r'-nd), Cres-
cenzo, Bonito, 1864 — Dresden
Nov. 7, 1903; c. operas.
Busoni, P., add that in 1907 he suc-
ceeded Sauer as teacher of the master
class at Vienna Cons.; 191 1 toured
America, c. symph. tone-poem
**Pojohla*s Tochier/' festival over-
ture, 1897; music to ** Berceuse Ai-
giaqtte,** for orch.; Schiller's **Turan-
doi ; transcribed Bach's organ works
for piano; wrote "Entwurf einer neuen
Aesthetik der T<mkunst. ** His opera,
"Der Brauhvahlf" was prtxi. Ham-
burg, April 13, 191 2, based on Hoff-
man's "Serapeons* Briider,"
Butler, Thomas Hamly, London,
1762 — Edinburgh, 1823; oomp.
Cabezon (k&'-bft-th6n), (i) (Pelix),
Antonio De, Santander, March
30,1510 — May 26, 1566; composer;
cembalist and organist to Philip 11:
called "The Spanish Bach"; blind
from birth; c. harp and flute pieces,
published in 1578 by his son (2)
Hernando, who succeeded him.
Cad'man, Charles Wakefield, b.
Johnstown, Pa., 1881; at 13 began
piano studies, at 19 composed a
comic opera, prod, at Pittsburg, but
did not study composition tfil 20;
pupil of W. K. Steiner (organ), Luigi
von Kunits (orchestration), with
critical advice from Emil Paur; took
up Indian music, 1906 published
"Four Indian Songs"; i^ spent
stunmer among the Omaha Indians,
taking phonograph records ana
transcribing them; gives lecture-
752
THE MUSICAL GUIDE
redtak on Indian music, c. Thre$
Moods for symph, orch.; chamber
music; cantata for male voices The
Vision of Sir Laumfal, Japanese
romance for two voices, Sayonara;
three Songs to Odysseus; Indian songs,
etc*
Cahier (ka-h&O, Mme. Charles
(n^ Walker,), contralto; b. Ten-
nessee; sang in concert as Mrs. Mor-
ris Black, then studied with Jean de
Reszk6; d^but in opera as "Orfeo"
(Nice, 1904); sang in other cities and
from 1909 at Vienna Royal Opera.
1Q12 at Met. Op., N. Y.
Caland (k&'-Unt), Elizabeth, b.
Rotterdam, Jan. 30, 1862; teacher
and author of piano methods.
Camar'go, (i) Felix Antonio, b.
Guadalajara* i6th cent.; cathedral
cond. at Valladolid; c. remarkable
hymn to St. lago, etc. (2) see Cupls
Camerloher (kiim'-^r-ld-fir), (i)
Placidus Von, Mumau, 1710 —
Freising, 1776; c operas, etc.; his
brother (2) Anton, d. Mimich,
1743; c. opera.
Calve, Emma, b. D6cazeville/France
— not at Madrid, 1863 (1866?); mar-
ried the tenor Mario Gaspary, 191 2.
Camet'ti, Alberto, b. Rome, May
5, 1871; organist; pupil at Acad-
emy of St. Cecilia; organist of the
French church of St. Louis at Rome;
historian of music and camp.
Campanini (kJUn-pft-ne'-ne), Cleo-
fonte, conductor; pupU Milan
Cons., later teacher there; cond. at
La Soda, Covent Garden, and 1906-
II at Manhattan Opera House, New
York, 191 2 at London; married Eva
Tetrazzini, operatic soprano (sister
and teacher of Luisa).
Campbell - Tipton, Louis, b.
Chicago, Nov. 21, 1877; studied in
Chicago, Boston and Leipzig; lives in
Paris ;hB important compositions have
been much played abrosui, notably his
"Heroic" sonata for piano, piano
suites, "The Four Seasons," "SuiU
PasicraUf" for piano and violin.
Canal (kr-nil), Abbate. . Pletro,
Crespano, April 13, 1807 i a{>ec. 15,
1883; historian and oomp. '^^
Canaie (or Canali) (kl-nji'-le),
Fiorlano, ofganist at BiCKia,
1 585-1603; c. church music.
Canob'bio, Carlo, violinist at Im-
perial Theatre, &t. Petersburg, 1779-
1800; c 2 operas, ballets, etc.
Cantor, Otto, b. Creuznadb, Rhen-
ish Prussia, 1857.
Capel'len, Qeorg, b. Salzufleo,
I^ppe, April i, 1869J theorist and
comp.; took up music m 1901 ; autbor
of important works on modem har-
monic analysis.
Caplet, (k&i>4ft), Andr£, b. Havre,
1^79; pupil of WoUett; violinist at
Havr6 Theatre, 1896; pupil d
Lerouz at Paris Cons., winning fiisi
harmony prize, i8p8, and Prix de
Rome, 1901; lived m Rome, then in
Germany; acted as assistant tc
Colonne, 1808; 1000, was the first
to cond. Debussy^ Martyre de Son
SebasHen; 1911-12 cond. at Bostoo
Op.; c. prize quintet for wind instis.
etc
Capri* (kt-prC). Julius, b. MarseiUes
1837; pianist and teacher in St. Pe-
teraburg after 1853; pupil MarsetUes
Cons.; c. opera Leonare, etc.
Capuzzi (k&-pood'-ze), Qiuseppa
Antonio, Brescia, 1753-1818; c.
5 operas, etc.
Cara (kfl'-rft), Marco, called Mar-
chetto, court composer at Mantua,
1405-1525.
Carlez (k&r4&), Jules Alexis, b.
Caen, Feb. 10, 1836; organist, his-
torian and comp.
Car'nall, Arthur, Peterd>orough,
May 7, 1852 — Penge, June 30, 1904;
from 1873 organist at St. John's,
Penge; c. overture, 2 quintets, etc
Caro (k&'rO), Paul, b. Breslau, Dec
35 f 1S59; pupil of Schiffer and
Scholz, and Vienna Cons.; c. 2 operas,
4 symph., 30 string-quartets, etc.
Caron (k&-r6&), (i) Firmen, should
be Philippe; (2) Rose Lucile (nfe
DICTIONARY OF MUSICIANS 753
Meuniez), b. Monerville, Fnmce,
Nov. 17, 1857; soprano; after her
marria^ entered Paris Cons., 1880,
as pupil of Tharset, later of Marie
Sasae; d6but Brusseb, 1883; 1885-8,
Paris Op6ra; 1888-^, Brussels; from
1890, Op6ra Paris) also at the Op.
Com., from 1902 prof, at the Cons.
She created many of the chief r61es
in modem French Opto and in
French versions of Wagner. She
sang Salammb6 at the O^p^a, 1908.
Car'penCer» John A. b. Park Ridge,
111., 1876; pupil of his mother (a
pupil of Marches! iind Shakespeare),
Amy Fay, Seeboeck; then graduated
at Harvard, 1897. studying music
under Paine and taking highest
musical honours, submitting a piano
sonata; 1907; studied with Elgar in
Rome, and thereafter in Chicago with
Bemhard Ziehn; c. violin and piano
sonata (191 2) and many songs.
Carse, A. Von Ahn, b. Newcastle-
on-lVne, May 19, 1878; pupil R. A.
M., with the Madarren scholarship;
made an associate there in 1902; c.
symph. in C minor (prod. 1906);
symph. in G minor (1908), revised
and prod. 1909, symph. poem, "In a
Bakany" (1905); concert overture
(1904), etc.
Carter, Thomas, Dublin, May,
1769 — Nov. 8, 1800; mus. director
at Calcutta; c. songs.
Caruso (ka-roo'-sO), Enrico, b.
Naples, Feb. 25, 1873; famous Italian
tenor; pupil of Vergine; d6but, 1895,
winning gradual success in Italy
(Naples, 1898; 1899 ^ Scala), and
creating the tenor rdles in Giordano's
** Fedora," Cilea's" Licouvreuf," and
Franchetti's "Germania"; 1899-1903
sang in St. Petersburg, and Buenot
Ayres; 1902, appeared with Melba
at Monte Carlo, began his tre-
mendous vogue; 1902 at Covent
Garden; 1903, Met. Op. House, N.
Y. Since then he has sung at
both operas almost ever^ year with
tinrivalied favor; 1908, his voice was
threatened, but an operation restored
it. He created the tenor r61e in Puc-
cini's''GJr/0/ /Ae Golden West," and
has sung throughout Europe always
with sensationafeflfect and unequalled
prices. He is an ingenious caricatu*
rist, and has composed songs, one of
them being sung in the farce " The
Million " (New York, 191 2) , by a char-
acter called " The Bowery Caruso. "
Casals', Pablo, b. BeudrcU, Spain,
Dec. 30, 1876; 'cellist; pupil of Jose
Garcia, Rosereda and Breton; since
1897, prof, at Barcelona Cons.; tourei
widely; c. La Visicn de Fray Martin,
for chorus and orch.; 'cello pieces, etc.
Casati (kil-sfi'-te), Qasparo, d.
Novara, 1643; cond. at Novara Cathe-
dral; c. church music.
Case, George Edward, d. Nov.
29, 1909, age 54. Writer and Drof. of
trombone at R. C. M., London.
Casimiro (k&-se-me'-r6), da Silva
Joaquim, Lisbon, May 30, 1808 —
Dec. 28, 1862; Portuguese comp. of
church music.
Castillon (kis-te-v6n), Alexis de,
Vicomte de Saint Victor, Char-
tres, Dec. 13, 1838 — Paris, March
5, 1873; composer ; pupil of Mau6
and C^ar Franck; c. symphony;
overture, Tor^uaio Tasso, Psalm 84
with orch.; piano concerto and im-
portant chamber music.
Cas'tro, Ricardo, Durango, 1866-
1908; dir. Nat. Cons, of Mexico.
Catalan! [(kftt-ft-l&'-ne), Alfredo,
Lucca, June 19, 1854 — Milan, Aug.
6f 1893; pupil of his father, an organ-
ist; at 14, c. a mass sung at the cathe-
dral; pupil of Magi, and of Paris Cons,
and Milan Cons.; c. operas " La Fake"
(Milan, 1875); "Eida" (Turin, 1880;
revised as "Loreley," 1890); "La
WaUy" (La Scala, 1892); c. symph.
poem "Ero e Leandro," etc.
Catoir (k&t-w&r), Qeorg L., b.
Moscow, April 27, 1 861; pupil of
Klindworth, Willborg, and Liadov;
c. symphony; symph. poem. Mnyri;
cantata, Russalka, etc.
754
THE MUSICAL GUIDE
CaudeFia, (i) Franz, d. Jassy,
Roumania, xS68; 'cellist and dir. of
the Jassy Cons.; his son (2) Eduard,
b. Jassy, June 3, 1841; violinist; pupil
of his father, and of Alard, Massart,
and Vieuztemps; 1894-1901, dir. of
education at Jassy; c. opera^ etc.
Chabran (sh&-br&n), or Ciabrano
(cha-br&'-nd), Francesco, b. Pied-
mont, 1733; violinist and comp.;
1 75 1, toured Europe with success.
Chabrier, A. E., add that after his
death in 1894 his unfinished opera
"BrisHs,** was given at the C^>6ra
Paris, 1899; his opera *'Gwendohne"
(text by Catulle Mendte), at the Op.
Com., 191 1.
Chad'tield, Edward, Derby, Aug.
1, 1827 — Hastings, March 31, 1908;
organist at Derby; pupil of Smart,
RoseUen and Korbacn.
Chadwick, Q. W., add that the fol-
lowing compositions were played in
the Boston Symph. Orch., overtures
'*Adonais," (1900); *' Euterpe'*
(1904); "Cleopatra** (1906); sym-
phonic sketches (1908); theme varia-
tions and fugue for oigan and orch.
(1909); Sinf(mieUa (1910); Suite
Symphonique for orch. winning $700
prize of Nat. Federation of Clubs
(1910); c. also **Noel** (1909);
"Lochinvar," ballad for barytone and
orch., 1909. "Judith*' l^ic drama,
Worcester Feast 1900 mcid. music
to **EDerywotnan** (191 1); symph.
poem ** Aphrodite** (Norfolk. 1912),
In 1905 a concert of his comps. was
was given by the Leipzig Concordia
Verein.
Chafne (sh&i), Eugene, b. Charl6-
ville, Dec. i, 1819; pupil and after
1875 teacher at Paris Cons.; c 2
sjrmph., and important violin pieces.
Chaliapine (shiU-yft'-p€n), Fedor
Ivanovich, b. Kazan, Feb. 11,
1873. Russian bass; pupil of Oussa-
tov, in Tiflis; sang in various cities,
finaJly at Moscow, and with immense
success in European capitals; 1908,
New York.
Champs (dti-sh&&), Ettore de, b.
Florence, Aug. 8, 1835 ; pianist and
c. of operas, masses, etc
Chapi (y Lorente) (ch&-p€'el6-
r&i'-te) Ruperto, Villena, March
27, 1851 — Madrid, March 25, 1909;
pupil Madrid* Cons.; c. operas
and 78 zazzuelas; also a syn^>h.;
oratorio, etc.
Charlier (shftrl-y&), Thfo., b.
Seraing, Belgium, July 17. r868;
trumpet-virtuoso and teacner; c
opera, ballets, etc.
Chausson (sh06-s6n), Ernest, F^iris,
June 21, 185s — (killed in bicycle acci-
dent), Limay n. Nantes, June lor
1899; pupil of Massenet and C^sa,
Franck; c. symph.; symph. poems
Viviane and Lbs caprices de Marianne;
opera H Sidney Le roi Arthus (Brussds,
1903; text by the composer); songs
and piano pieces.
Chemin - Petit ( shO-m&A-pa-te' ),
(i) Maurice, c. opera, ** Alfred
the Great,** (Halle, 1858). (2) Hans
c. operas, including **Der Liebe
Augustin** (Brandenburg, 1906).
Chesh'ire, John, d. New York,
Sept. 21, 1910, age 73. English
harpist; pupil and later teacher in
Royal Academy of Music; prolific
composer for harp.
Chessin ( chSs'-sSn ), Alexander
Borissovich, b. St. Petersburg Oct.
19, 1869; conductor; pupil of the
Cons., and of Nikisch at Leip2ag; since
1901, cond. at St. Petersburg and
since 1903 of Philhannonic concerts
at Moscow; c. cantata, etc.
Chevillard, Camilfe, add that in
1898 he acted as substitute cond.
for Lamoureux, cdled abroad; on the
death of L. Dec. 21, 1899; he became
cond. of the Association des Concerts-
Lamoureux, Add to his comps. indd.
mus. to La Roussalha (1903); allegro
for horn and piano, 1905; piano pieces
and songs.
Chop (khdp). Max, b. Gre^vszen.
Thuringia, May 17, 1862; Mtis. wnter;
critic in Berlin, under the nane
DICTIONARY OF MUSICIANS 755
''Monsieur Charles;" c. piano con-
certo, etc.
Chopin, Fr. , The controversy as to the
date of his birth has been recently
ended by the dkcovery of the certifi-
cate, establishing it as Feb. 23, 1810.
Chretien ( kr&t - ySft ), Hed wige
Louise Marie, b. Compile,
July 5, 1859; pupil Paris Cons., talung
first harmony prize, 188 1; first
counterpoint and fugue, 1887; teacher
there, 1 890-2; c. orch. pieces, cho-
ruses, songs, etc.
Christ (krCst), Wilhelm, Geisen-
heim, Au^. 2, 1831 — Munich, Feb.
8, 1906; historian and theorist.
Chueca ( chw&'- kft ), Federlco, 1846
— Madrid, June 20, 1908; composer
of zafzuelas.
Chva'la (shvfiMil), Emanuel, b.
Prague, Jan. i, 18^1; pupil of F6rster
and Fibich; historian and c. of cham-
ber music, etc.
Chybihslci (khe-b6n'-ye^shkY), Ad-
olf, b. Cracow, March 29, 1880; his-
torian of Polish miisic.
Clconia (chl-k0n'-y&), Johannes,
canon at Padua about 1400; theorist
and comp.
Cilea (che'-ie-il), Francesco, b.
Palmi, July 29, 1866; leading Italian
opera comp.; at 9 hade. a nottumo
and a mazurka; at 15 entered the
Naples Cons.; while yet a student he
had success with a suite for orch., and
a 3-act opera Gifw, (1889); 1896-
1904, professor at Royed Institute,
Florence; c. operas La TUda^ (1892);
LAfksiana (Milan, 1896); Adrianna
Ucauvreur (Milan, 1902, Covent
Garden, 1904); Gloria, (La Scala,
Milan, 1907).
Cirri (chSr'-re), (i) Ignazio, organ-
ist and comp.; his son (2) Qiovanni
Baptista, b. Forli, ca. 1740; *ceUist;
spent many years in London, then
returned to Italy; c. important
'cello music.
I^lauss'nitzer, Paul, b. Nieder-
sch6na, near Freiberg, Dec. 9, 1867;
teacher and comp.
Clavd (kl&-v&'), Jos6 Anselmo,
Barcelona, April 21, 1824 — Feb.,
1874; founder of male choral societies
in Spain; c. very popular songs and
choruses.
Claviio Del Castillo (kl&ve'-ho
da kfis-tel'-yO), Bernardo, d. Ma-
drid, Feb. 1626; Spanish organist
and comp.
Clay'ton, Thomas, ca, 1670 — ca.
1730. English manager and comp.
Clem'ens, Charles Edwin, b.
Plymouth, England, March 12, 1856;
organist; 1889-1895, organist at the
English church, and to Empress
Fr^erick in Berlin, and teacher at
Scharwenka Cons.; then moved to
Cleveland, Ohio; author of organ-
methods.
Clement (or Clemens or dem-
enti), Johann Qeorg, b. Bres-
lau ca. 1 7 10; cond. at Breslau, 1735,
till after 1785; c. masses etc.; left two
sons — one at Vienna, the other a
violinist and cond. at Carlsruhe, 1793,
taking the name Clementi.
Clemm, (i) John (Johann Gott-
lieb Klemm), Dresden, 1690 —
Bethlehem, Pa., 1762; organ bmlder,
came to America, 1736; built first or-
gan for Trinity Church, N. Y., 1741,
of which his son (2) John was the
first organist.
Cl^rambault (kl&-r&n-bo), Louis
Nicolas, Paris, 1749; organist and
comp.
Cleve (kUv), (i) Johannes De,
Cleve (?) 1529 — Augsburg, 1582;
court tenor at Vienna and Prague; c.
church music; (2) Half dan, b.Kongs-
berg, Norway, Oct, 5, 1879; pianist:
pupil of his father and of Raif ana
the two Scharwenkas at Berlin; c.
piano-concertos, etc.
Cliffe (kl!0, Frederick, b. Lowmoor,
May 2, 1857; organist; pupil of
Sullivan, Stainer, and at R. C.
M.; toiured Europe with success;
c. 2 symph.; symph poem "CUntds
and Sunshine"; alto solo with orch.,
" The Triumph of Alcestis," etc.
^
756
THE MUSICAL GUIDE
Clough-Uiter (klOf-lT-Ur) (i)
Henry, b, Washington, D. C.;
1874; composer and musical editor;
pupil of his mother, £dw. Kimball,
H. Xandet, and Dr. J. H. Anger;
org. at Washington and various
churches at Providence, R. I. c.
Lasca for tenor * and orch.; 4
cantatas, A Day of Beauty ^ for
string quintet; 300 songs of unusual
color and sweep,, etc. His wife,
(2) Orace Cotton Marshall, b.
Nineveh, Ind., Aug. 30, 1885;
pupil of her mother; 1903 — 5 com-
pleted seven-year course at Met.
School of Music, Indianapolis, grad-
uating with highest honors; studied
then in Boston with Carlo Buonamici
and H. C. L., whom she married.
She has published many piano pieces
and songs under the name Q. Mar-
schal-Loepke.
Coates, Jonn, b. Girlington, June
39, 1865; tenor; sang in his father's
choir at 5 ; pupil of Burton and Bridge
Later of Shakespeare; sang in light
opera, London and America, as
barytone, 189^-1899; decided he was
a tenor; studied and made d6but,
1900, at Covent Garden; favourite
festival tenor; also in opera in Ger-
many and 1910 chief tenor at Beech-
am's season.
Cob'bold, William, St. Andrew,
Norwich, Jan. $, 1559-^ — Becdes,
Nov. 7, 1639; o^* <^^ comp. '
Coccia (k6t'-ch&), Maria Rosa,
Rome, Jan. 4, 1759 — after 1783;
woman composer of great impor-
tance in her 01m day; c. Magnificat,
etc.
Coignet (kwUn-yft), Horace, Lyons,
1736 — Paris, Aug. 39, 1 831; comp.
Col borne, Langdon, London, Sept.
i5» 1837 — Hereford, Sept. 16, 1899;
organist at Hereford Cathedral, 1877-
1^; c. oratorio "Samuelf" etc.
Cole, (i) Belle, d. London, Jan. 6,
1905, age 60. American contralto. (3)
Rossetter, Q., b. near Clyde,
Mich. Feb. 5, 1866; composer; 1888,
graduated from Michifan Univ..
taking musical counes also; at his
graduation the Univ. Mus. Soc
performed his cantata with orch.
^' The Passing of Summer"; 1888— j)o,
he taught English and Latin in high
schools; 1890-— 93 in Berlin, winning
competitive scholarship at Royal
Master-school, and studying with
Max Bruch; 1893 — ^4, prof, of music
Ripon College; 1894 — 190X, Iowa
College; from 1903 in Chicago as
teacher, and from 1908 also in diaxi|e
of summer music classes of Columbia
Univ., N. Y. c. *'King Robert ei
SicUy," and ** Hiawatha's Wooing,"
as musical backgrounds for recita-
tion, ballade for 'cello and orch;
sonata for violin soius, etc
Coleridge -Taylor, Samuel, add
that he was made cond. Handel
Society, 1904; his ** Hiawatha'* was
developed as a trilogy, ** Hiawatha's
Wedding Feast," (R. C. M., London,
1898), ^*The Death of Minmehaha"
(North Staffordshire Fest., 1899;
'* Hiawatha's Departure" (London,
1000), the overture the same year; c
also for voices and orch., " The BUmi
Girl of Casid^uiM, (Leeds Fcrt.,
1901), ''Ueg Blane," (Sheflteld Fcst.
1903), ''The Atonement," (Herefoid
Fest, 1903), **Kubla Khan," (Han-
del Society. 1906); indd. music to
Stephen Phi%s's pUys, '*Herod,"
'* Ulysses," ''Nero," and "Faust,"
(1908); concert march, "Etkiefia
SaluUng the Colors"; 5 ballads bv
Longfellow, with orch., (Norwi<i
Fest., 190S); "A Tale of Old Jafan,"
voices and orch. (London, 1912), etc.
He died Sept. i, 1913, in Londton.
Colomnbi,<jiu8eppe,Modena, 1635-
1694; conductor and comp.
Colombini (ko-ldm-b€'-n€), Ugo,
b. Milan, 1878; tenor; sang at Muan
Royal Theatre, Madrid, and Imp.
Operas in Russia; loio-xi, Montreid.
Colyns (ko-l&ito), Jean Baptistet
Brussels, Nov. 3j, 1834 — Oct 31,
1903; violinist ana comp.
DICTIONARY OF MUSICIANS 7^7
Com'forty Ambrose H., d. April
26, 1905 at Cape Town, age 42.
Pianist and teacher.
Conried (kttn'-red), Heinrich, Bie-
litz, Silesia, Sept. 13, 1855 — ^Meran,
April 27, 1909; impresario; in 1873
an actor at the Vienna Burgtheater.
came to New York 1878; foimdea
German company from 1887 <^t Irv-
ing Place Theatre; 1901, succeeded
Grau as manager of the Metro-
politan Opera House, where in
1903 he made the first production
outside Bayreuth of "Parsifal**;
1905, Franz Leopold decorated him
' and gave him the privilege of the
prefix "von"; ill health K>rced his
retirement in 1908.
Conseil (k6&-s&), Jean De, d.
Paris, 1535; composer, and 1526
singer in P^al chapel.
Con'solOy Frederigo, Ancona, 1841
— Florence, Dec. 14, 1906 ; violinist
and comp.
Co'nus (or Conius or Konius), (i)
Qeorge Edwardovlch, a)mp06er;
b. Moscow, Dec. i, 1862 ; theorist;
pupil of the Cons. ; 1891-^ teacher
of theory there; since 1902 prof, at
the Opera School; c. symph. poem
"Prom the Realm of Illusions/' orch.
suite, "Child-Lifcy" canUU, etc.
Hisl>rother, (2) Julius, b. Moscow,
1869; gold medallist at the Cons, and
later teacher of violin there; c. violin
concerto, etc. (3) Leo, pianist;
pupQ at the Cons.; later founded a
school of his own.
Converse, Frederick Shepherd,
b. Newton, Mass., Jan. 5, 1871;
composer; graduated at Harvard Uni-
versity and studied music with
Bfthrmann and G. W. Qiadwick;
1896-8 with Rheinberger, then
taught theory and oomp. at the New
England Cons.; c. operas "The Pipe
of Desire** (in concert form, Boston,
1906, as an opera. Met. Op., N. Y.
1910, Boston Op., 1911); symph.
(1907); overtures, "Youth" and
"Euphrosyne**; ordi. romance, "The
Festival of Pan**; orch. fantasie,
"The Mystic Trumpeter**; symph.
poem "Ormazdy** (Boston Symph.
Orch., 191 2); violin concerto and
sonata, etc.
Converts!, Qirolamo, b. Correg-
gio, i6th cent.; c. madrigals, etc.
Coquard, Arthur, add that his
birth date is May 26th; c. operas
"Jahel** (Lyons, 1900), "La troupe
Jalicoeur** (1902), etc.
Cornette (k6r-net), Victor, Amiens,
1795 — Paris after 1850; Mus. Di-
rector; pupil Paris Cons.; cond. and
comp. for wind instruments; author of
many methods.
Coronaro (i) Antonio, b. Vincenza,
i860; brother of Qaetano C, and
comp. of operas; his son was (2)
Arrigo, Vincenza, 1880 — October,
1906; c. opera Turiddu (Turin, 1905).
Corri-Paltoni, Frances, b. Edin-
burgh, 1801; mezzo-soprano; niece of
Domenico R. Corri; toured Europe
till after 1830.
Cortellini (k6r-t^-le'-ne), Camillo,
called " 11 vioUno" from his skill;
at Bologna, 1583, as municipal musi-
cian and comp.
Cortesi (k6r-t&'-ze), Francesco,
Florence, 1830 — Jan. 3, 1904; con-
ductor, composer of operas, and
teacher of voice;
Cossoul (kds'-sool), Quilherme An-
tonio, Lisbon, April 22, 1828 —
May 26, 1880; 'cellist and comp.
Cotes (kd'-ti£s), Ambrosio De,
d. Seville, Sept. 9, 1603; Spanish
composer and cond.
Cre'ser, William, b. York, Sept.
9, 1844; organist and composer;
pupil of Maciarren; 1880, Mus. Doc.
Oxford; 1881, org. at the Parish
church, Leeds; conducted perform-
ances of Bach; 1891-1902, org. Chapel
Royal; St. James, and comp. to
Chapel Royal: married Amelia Clarke
a prominent mezzo-soprano; c. orato-
rio, {"Micaiah**; canUtas "Eudora**
(Leeds, 1SS2) ;" The Sacrifice of Preia*'
(Leeds, 1889), etc.
758
THE MUSICAL GUIDE
Creveiiif Domenico, Brescia June 7,
1703 — London, Feb. 11, 1857; comp.
Cro mer, (i) Jos^ Antonio,, Lis-
bon, March 11, 1826 — Sept. 28,
1888; flutist; his brother, (2) Raph-
ael Jos^, Lisbon, March 26, 1828 —
Cascaes, Sept. 22, 1884; clarinettist
and oboist.
Curbert<on, Sasha, b. 1893; vio-
linist ; pupU of Suchorukoff; at 9
entered Cons, at Rostoff; in 1905
pupil of Sevdk, Prague; d£but, Vienna
1908; toured Europe and America.
Culp (koolp), Julia, b. Amsterdam;
mezzo-soprano; well known Lieder-
singer; pupil of Amsterdam Cons,
and of Etelka Gerster; has toured
Europe with great success; engaged,
1 91 2, to tour America.
Cufwick (kfll'-Uk), James, C, West
Bromwidi, April 28, 1845 — Dublin,
Oct. 5, 1907; organist, theorist and
comp. Prof. Alexandria College, Dub-
lin; cond. Dublin Philharmonic Soc.,
etc. 1903, Mus. Doc. Univ. of
Dublin.
Cupis (ku-pe), (i) (Frangois de
Camarso), Brussels, 17 19 — Paris,
1764; violinist and comp. His son,
(2) Jean Baptiste, Paris ca.
Z741 — ca. 1794; 'cellist and comp.
Cur'ry, Arthur Mansfield, b.
Chelsea, Mass., Jan. 27, 1866; violin
pupil of Franz Kneisel, and of Mac-
Donald in harmony; teacher and
cond. in Boston; c. overture *^Blomi^
don** (Worcester, Mass., Fest.
1902); symph. poem "Atala** (Boston
Symph., 191 1); **The Winning of
Amarac**; Keltic legend for a reader,
chorus and orch.
Cursch - BU hren (koorsh-ba'-r&i),
Franz Theodor, Troppau, Jan.
10, 1859 — Leipzig, March 11,1908;
cond., editor and comp. of Sing-
spiele, including ^^ Ermol-Asj*- a satire
on R. Strauss's *'SalonU**
Cut'ter, Benjamin, Wobum, Mass.,
Sept. 6, 1857 — ^Jamaica Plains, Mass.,
May 10, 19 10; composer; violin pupil
of Eichberg in Boston, 1877; 1881 of
Singer in Stuttgart, studied, hannoay
with Emery, Goetschius and Seifriz;
member of Boston Symph.Orch many
years, c in^rtant mass m D; trio
for piano, violin and 'cello, etc
Czapek (chu'-pac), (i) Joseph, U
Prague, March 9, 1825; organist and
director; pupil of the Cons.; c sym-
phonies, masses, etc. (2) pen-name
under which J. L. Hatton c many
songs.
Czemohorsky ( chfir-nG-hdr'-shkl ),
Bohuslav, Nimbuig, Bohemia,
Feb. 26, 1684 — Graz, July 2, 1740.
Franciscan monk, organist and comp.
D
DafTner, Hugo, b. Munich, May
2, 1882; author and comp.; pupfl of
Thuille, Schmid-Lindner and Max
Reger; 1904, Ph.D.; c symi^^
sonatas, etc
Dahl (dal), Balduin, b. Copen-
hagen, Dee. 6, 1834; dlr. of Tivoli
concerts at Copenhj^en, and comp. of
dance-music
Dalcroze (dftl-krdz), EmileJaques,
b. Vienna, July 6, 1865, of Swiss
parentage; important Swiss com-
poser; pupil of Fuchs, Bnichner
and D^libes; teacher, lecturer and
critic at Geneva Cons.; c lyric come-
dies "Janie" (Geneva, 1395), and
Sancho Pama {iSgj); Po^meAlpeOn
for voices and onii. (1896, London,
1897); a violin concerto of great ori^-
imdlty played by Marteau on h]«
tours, and Swiss songs of great popu-
larity and national feeling.
Dale, Benjamin James, b. Crouch
Hill, London, July 17, 1885; organ-
bt; pupil of R. A. M.; c symph^
2 overtures, successful piano sonata
in D Minor, etc
Dalmords, (diU-md'-r&), Charles,
b. Nancy, France, Jan. i, 1872;
tenor; pupil Paris and Lyons Cods.;
sang in France; 1896, at Manhattan
Opera, N. Y.; since then at Metro-
politan, N. Y.
DICTIONARY OF MUSICIANS 759
Daemon (or Daman), Wiiliam,
ca. 1540 — ca. 159a; musician to
Queen Elizabeth; c. pealm tunes, etc.
Oa Mot'ta, Jos^ Vianna, b. Isle
St. Thomas, Africa, 1868; Portuguese
pianist; studied at Lisbon; d^but there
1881, then studied Scharwenka Cons.,
with Lisxt and Von Biilow; toured
widdv; c. symph. "An das Vaier-
land/* 5 Portuguese rhapsodies on
native melodies, etc.; also critk and
author.
Damse (d&n'-s£), Joseph, Soko-
lov, Galida, Jan. 23, 178S — Rudno,
near Warsaw, Dec. 15, 1853; clari-
nettist; c. operas, masses, and popu-
lar Polish songs and dances.
d'Andrieu or Dandrieu, vide An-
drieu*
Dannstrttm (d&n'-strfim), Isidor,
Stockholm, Dec. 15, 1812 — Oct. 17.
1897; barytone in opera, teacher ana
comp.
Davaux (dftrvo), Jean Baptiste,
C6te-St-Andr6, 1737 — Paris, Feb.
32, 1833; c. noany symphonies, cham-
ber music, etc.
Da'vey, Henry, b. Briffhton, Nov.
29f 1^53; historian and writer on
musical topics.
Dautresme (d6-tr&n), Lucien, El-
beuf, Normandy, Mky 31, 1836 —
Paris, Feb., 1893; senator; c. 3 operas,
etc.
Da'vis, John David, b. Edgbaston,
Oct. 33, 1869; pupil Raff Cons., and
Brussels Cons.; since 1889, teacher at
Birmingham; c. opera " The Cossacks *'
(Antwerp, 1003), also symph. varia-
tions, (Lonaon, 1905), symph. bal-
lade **The Cenci"; symph. poem
'*The Maid of AstokU"; chamber
music; prize "Coronation March**
(1-903), etc
Daw'son, Frederick H., b. Leeds,
July 16, 1868; pianist r pupil of his
father, a pianist, and oi Hall6.
Day, (i) John,, March 7^x830 — Pim-
lico, Nov. 4, 190^; orgaiiist -vid for 53
years violinist m Queen Victoria's
private band. (2) Charles Ru8«
sell, Horstead, Norfolk, 1860—'
killed Feb. x8, ^900|in the battle of
Paardeberg; major in British army
and writer of books on musical instru-
ments.
Dayas, W* H., correct birth date,
1863; d. Manchester, England, May
3, 1903.
DeAmicis (dft tt-mC'-ches), (i) Anna
Lucia, b. Naples, c. 1740 — d.
after 1789; sang in London, 1763-
1771; in 1773 created the r61e of
Giunia in Mozart's Lucio SiUa; m.
Buonsollazzi, secretary of King of
Naples; (2) Domenico, brother or
husband of (i), sang with her in Lon-
don in 1763.
Debefve (dii-bfivO, Jules, b. Lidge
Jan. 16, i86v, pianist; pupil and later
teacher at tne Cons.; c. opera, rhap^
sody for orch., etc.
DeBoeck (dfi-book), Auguste, b
Merckem, Belgium, May 9, 1865.
organist, son of an organist; pupil o{
Brussels Cons., later a teacher there;
c. symph., Rhapsodie Dahomienne for
orch., organ music, etc.
Debussy, A« C, add that the correct
birth date is St. Germain, Paris, Aug.
33, 1863; he re-wrote his cantata
" VEnfani Prodigue** for the Sheffield
Fest., 1008; his opera "PeUias et
MUisanac** has been widely played,
1907, Berlin, 1909, New York, etc.; c.
also incid. mus. to "Dumysos**
(Orange, 1904); operas "ChimSne,*'
"Tristan and Isolde,** "As You Like
Jty** 3 nocturnes for women's voices
and orch., "Nuages, FHes, Sirines**;
a series of three "Images** for orch.,
I, "Gig^e triste** (NS), II, "Ronde des
PrinUmps** (Paris, 1910, N. Y. Phil,
1910, Boston Symph., 1910), III,
"Iberia** (Paris Colonne orch., 1910,
N. Y., Phil., 191 1, Boston Symph.,
191 1), etc.
Deck'er - Schenk, Johann, b.
Vienna, 1836; singer, guitar-virtuoso,
and director of operas in St. Peters-
burg; c. for guitar, balalaika, etc.
Degner (dekh'-nfir), Erich Wolf
760
THE MUSICAL GUIDE
near Chemnitz, April 8, 1858 —
Weimar, Nov. 18, 1908; organbt,
theorist and teacher; c. symph., choral
wo^ ''Marika and the Mother'*;
overture, etc
DeetarcT, (dOh'-ti-rSv), Stepoan
Ankiewitsch, 1766-1813; Rus-
sian director in St. Petersburg and
Italy; c 60 ooncertos, and church
choral music.
Deichmann (dlkh'-mlbi), Carl, d.
July 5, 1908^ age 81. For 60 years
weU luwwn violinist in England.
Derius, Frederick, b. Bradfoid,
England, 1863, of Gennan parentage;
important composer, laigdy sdf-
taught; from 1883 on an orange
plantation in Florida; later studied
at Leipzig Cons, with Jadassohn and
Reinecke; from 1890 lives in France;
1897 his incid music to Norwegian
plan ^^Polkeraadet" with buriesque
of national anthem led a spectator to
fire several shots at the composer; c.
operas "Koangdj^* based on G. W.
Cables "The Graitdissimes** (Elber-
feld 1904); "Romeo uitd Julia auf
dem Dorfe'* (Berlin 1907; London
Covent Garden 1910) ; i^cL '^^Margot
la Rouged'; 5 symph. poems "Life's
Dance" (1898), "Pflrw''^(i899), "^P-
palachia** (1903, London 1907),
^'Brigg Pair" (Undon 1908) *^ln a
Summer Garden" (London 1908); for
soli, chor and ^rch. "A Mass of Life"
(London 1909), '^Sea Drift" baised on
Walt Whitman, foi barytone, chor.
and orch. (1904), *M>ngs, etc.
Derier, Florian, Wttrttemberg. ca.
1730 — Munich, 1774; court comp.
of ballets, etc.
Del mas (d€l-mSs), Jean Fr., b.
Lyons, France, April 14, 1861; bass;
pupil Paris Cons.; 1886, joined the
Opin. where he created many r61es
with great success.
Detune (da-liin), Louis, b. Char-
leroi, March 15, 1876; Belgian cond.
and pupil at Brussels Cons., winning
prize, 1900, and Prix de Rome, 1003;
c. sonatas and songs-
Demar (d&'-mir), Josef Seb^
Gauafschach, Bavaria, June 99,
1763 — Orleans, 1832 ; org. and
coinp.
Dercks, Emil, b. Donnenui, Sleaa,
Oct. 17, 1849; oiganist and comp.
Derevne, (d6-rteO, F6iy, b. Mar-
seilles, May 12, 1883; pupil ci Blasini;
d^ut, Marseilles, 1903, sang then at
Nice, Vichy, etc; 1907 sang at Bos-
ton Opera; 1908-9, Covent Garden,
also at Met. Op., N. Y., has sung at
Lisbon, Buenos Ayres, and 191 1
again in Boston.
Deruyts (d€-n>itsO, Jean Jacques,
Li^f 1790 — ^April II, 1871 ; teacher
of Cisax Franck; c church music
Deslandres (de-U&n'-drtl), Adoiphc
Eduard Mariet, b. Paris, Jan.
22, 1840 ; oiganist ; pupQ Paris
Cons.; oiganist at St. ^£unt at Bat-
ignolles, where his father was direc-
tor; c. operettas and church music
Dessoir (d€»-swir), Susanne (n£e
Triepel), b. Grilnberg, SOesia, July
23, 1869; pianist «it first, then pufMl of
Amalie Joachim; singer of Lieder;
married, 1899, Dr. Max Dessoir
(b. Berlin, Feb. 8, 1867), antiior of
works on musical aesthetics.
Destinn, Emmy, add that her ral
name was Kittl — she cboae "Des-
tinn" in honour of her teacher; ^
sang at Bayreuth, 1891; from 1908
she has had great success at the Met
Op., N. Y., also at Covent Garden
and Berlin Royal Op., she created the
r61e of "Minme" m Pucdni's ''Fam-
duUaidWtst."
Dib'bern, Karl, b. Altona, June 17,
1855; conductor, later regisseor at
the Amsterdam Opeia; c librettos
and music of opeias and operettas.
Dieckmann (ddc'-mXn), Ernst,
b. Stade, July 17, 1861; Qrnpanist;
pupil of Haupt and Lfiscbom; since
1900 cathedral onanist in Vevden;
c. choral woiks ana songs.
Diepenbrock, (de'-pte-biCk), A.
J. M., b. Amsterdam, Sept. 2,1863;
teacher and comp. of church muaiQ
DICTIONARY OF MUSICIANS 761
Dima (de'-mH), Qeorge, b. Cron-
sUdt, Oct. 10, 1847; teacher and cond.
of Roumanian societies there; c.
songs, etc
Dip'pel* Andreas, after many yours
of success as tenor, became im-
presario; associated with Gatti-
Casazza in management of Metro-
politan Opera House, New York,
1908; since then directed opera sea-
sons in Chicago and Philadelphia.
Dixon, Qeorse, Norwich, June
5, 1820 — Finchley, June 8, 1887;
organist, c. of church music.
Dohm (d&m), Qeorg, b. Bahren-
dorf , near Magdeburg, May 23, 1867:
cond.; at first lawyer, then pupil
Cologne Cons., since 1901 at Breslau
as cond. and director of the Sing-
akademie.
Domanievski ( dd - mftn - yfif'- shkl ),
Boleslaus, b. Gron6wek, Poland,
1859; famous Polish piano - teacher;
pupil of Jos. Wieniawdd and Rubin-
stem; 1890-1900, prof, at Cracow
Cons., since, director Warsaw Music
School; author of piano methods.
Domnich (d6m'-nXkh), (i) Hein-
rich, Wiirzburg, May 13, 1767 —
Paris, June 19, 1844; horn virtuoso;
first teacher of the horn at Paris Cons. ,
1795; author of methods. His brothers
also played the horn. (2) Jakob, b.
1758, went to America. (3) Arnold,
WOrzbiirg, 1771 — Neiningen, 1834.
Donaudy (d6-nii'-oo-dC), Stefano,
b. Palermo, Feb. 21, 1879; c* operas
Fokketio (Palermo, 1892); Theodor
Klfmer (Hamburg, 1902), and Sper-
duU nel Bute (Palermo, 1907).
Doret (d6-rft), Qustave, b. Aigle.
France, 1866; studied violin with
Joachim and Marsick, and composi-
tion at Paris Cons.; lives at Pans as
cond.; c. operas lis Armaiiles ((>p.
Com., Z906), and Le nain de Hasslif
(Geneva, 1908), oratorio, etc
Drago'ni, Qiovanni Andrea, Men-
dola, ca. 1540 — Rome, 1598; com-,
poser; pupil of Palestrina; cond. at
theLateran.
Drese, (drft'-z€), Adam, Thttringen,
Dec. 1620 — .Ajnstadt, Feb. 15, 1701;
director and comp.
Dreyer (drl'-dr), Alexis De, b. Rus-
sia, 1857; c. piano pieces.
Drozdovski (dr6sh-d6f'-shkY), Jan,
b. Cracow, Feb. 9, 1858; piano teacher,
pupil Vienna Cons.; since 1889, prof,
at Cfblcow Cons.; author of methods.
Druffel (droof-fti), Peter, b.
Wiedenbrttck, Oct. 8, 1848; composer
of old German Liederspiel "Der
Erlifsery" etc.
Drys'daie, F. Learmont, Edin-
burgh, 1866 — June x8, 1909; pupil
of R. A. M., won Lucas prize,
1890; c. prize overture, **Tam V
Shanier"; "The Plague,^' a mystic
play (1896, Edinburgh); ''The Red
Spider " (Dundee, 1898), and light
operas.
Ducasse (da-kSs), Roger, pupil
Paris Cons., with Gabriel Faur6,
winning Prix de Rome, 1902; from
1909 inspector in elementary schools;
c. suiU fran^ise for orch. (Colonne
concerts, 1909, twice. Boston Symph.,
1910); *'Vafi(Uums plaisanies sur un
/A^»ii«|fa9i" for harp and orch. (Col-
onne concerts, 1909), piano pieces,
etc.
Dukas (dti-kSs), Paul, b. Paris, Oct.
I, 1865; one of the most original of
French composers; pupil at the Cons,
of Dubois, Mathias and Guiiaud; won
prize in coimterpoint, 1888, second
Prix de Rome with canUta " Vdleda";
spent a year in Rome, then a year of
military service; his overture ''Poly-
eucte" was played by Lamoureux m
1892; his symphony, 1896, and else-
where; 1897 "VApprenU Sorder'*;
1900, piano sonata; 1906, ViUandle
for horn and piano; 1907, his opera
"Ariane et Barbe Bleue" nmde a great
stir and was played in Vienna, 1908,
Met Op., N. Y., 191 2, etc. He is
prof, of instrumentation at the Cons,
and a critic; has edited texts of Ram-
eau, and c. for piano "VariaUons,
InUrlude M Pinal," on a theme of
762
THE MUSICAL GUIDE
Rameau's 1902; Prdt^e Higiaque on
the name of Haydn, 1909; also a
ballet La PHi dance-poem in one act
(Paris 191 1).
DuHchius (dO-lXkh'-I-oos) also
(Deulich or Deilich) Philip,
Chemnitz (christened Dec. 19), 1562
— March 25, 1631 ; teacher and comp.
Dumont (dtt-m6A), Henri* Villers,
near Lidge, i6io — Paris, May 8,
1684; organist and comp.
Dunc'an, William Edmond-
stoune, b. Sale, Cheshire, 1866;
oiganist; at 16 an associate of the
Royal College of Oiganists; 1883,
obtained scholarship at R. C. M.,
pupil of Parry, Stanford and Mac-
farren; critic for some years, then
prof, at Oldham College; c. successful
odes with orch., notably "F0 Mar-
iners of England*' (1890), etc.
Dun'ham, Henry Morton, b.
Brockton, Mass., July 27, 1853;
graduated New England Cons., as
pupil of G. £. Whiting, (organ), J.
C. D. Parker (Piano), Emery and
Paine (theory); held various church
positions till 191 1, and gave organ
recitals on the Great Organ at
Boston, at St. Louis Exposition, etc.;
prof, of organ at N. E. Cons.; author
of an organ method; c. symph., poem
^* Easter Morning'' a book of organ
studies, Meditation for organ, harp
and violin; 3 organ sonatas, etc.
Dunkl (doonk'-'l), Joh. Nepomuk,
b. Budapest, 1832; pianist; pupil of
Liszt and Rubinstein.
Dunkler (doonk'-lSr), Francois,
Namur, 1816 — Hi^e, 1878; mili-
tary director.
Duparc (da-p&r), (Fouques Du-
parc), Henri, b. Paris, Jan. 21,
1848; pupil of C^sar Franck; soldier
in war of 1870-71; ill health led to a
life of seclusion to C6sar Franck's
great regret; c. symph. poem Lenore,
an orch. suite rehearsed in 1873, l^ut
found impossible; other pieces de-
stroyed and many songs of the high-
est importance.
Dupuis (da-pwe), (i) Thomas
Sanders, London, Nov. 5, 1733 —
July 17, 1796; comp. and organist of
Chapel Roysil London; of French
parenta^, but lived in London, and is
buried m Westminster Abbey. (2)
Albert, b. Verviers, France, 1875;
prod, opera Vldylkf (Verviers,
1896); BtliHs (Verviers, 1899); woo
Prix de Rome at Brussels with open
Hans Mickd, 1903; c. cantata, etc
E
Eaton, Louis H., b. Taunton, Mass.
May 9, x86i; organist; pupil of Guil-
mant; from 1901, org. at San Fran-
cisco.
Ebert (fi'-b&t), Ludwig, b. Kla-
drau, Bohemia, April 13, 1834; 'cel-
list; pupil Prague Cons.; 1854-74,
first xellist at Oldenburg; 1875-88,
teacher* at Cologne Cons.; 1889,
founded Cons, at Koblenz; c. 'cello
pieces.
Ebner (&p'-n&), Wolfgang, Augs-
burg, ca. 1610 — Vienna, Feb., 1665;
organist and comp.
Eck^ardt Johann Qottfried, Augs-
burg, 1735 — Paris, Aug., 1809; oomp.
Edelmann (fi'-dSl-m&n) Joh. Fr.,
Strassburg, May 6, 1749 — Paris,
July 17, 1794; c. opera, ballets, etc
Edwards, (i) Henry Sutherland,
b. London, Sept. 5, 1829; writer;
historian and critic for many yean
of the St. James GaseUe; (2)
Frederick Qeorge, London, Nov.
II, 1853 — Nov. 28, 1909; organist;
ed. "Musical Times." (3) Henry
John, b. Barnstaple, Feb. 24, 1854;
son and pupil of an organist, then
pupil of Bennett, Macfarren; 1885,
Mus. Doc. Oxford; c. oratorios, etc
Egidi (fi'-khe-de), Arthur, b. Beriin,
Aug. 9, 1859; organist; pupil of Kid
and Taubert; teacher at the Hoch
Cons., Frankfort-on-Main; siiKe
then org. at Apostel Paulus Church,
Berlin, and Royal Prof.; c. overture
etc.
DICTIONARY OF MUSICIANS 763
Eichner (Ikh'-nfr), Ernest, Mann-
heim, 1740 — Potsdam, 1777; c.
important symphonies, concertos, etc.
Eijken (f-kfin) (or Eylceii), van ( i )
Jan Albert, Amersfoort, HoUand,
April 25, 1822 — Elberfdd, Sept. 24,
x868; onanist and comp. ; his oroth-
er, (2) Qerhard Isaak, b. May
5, 1832; organist and teacher in
Utrecht; (3) Heinrich, Elberfdd,
July 19, 1861 — Berlin, Aug. 28,
1908; son of Jan.; pupil of Leipzig
Q>ns.; teacher of theory; c songs
withorch.
Eijkens (f-kens), Daniel Simon
Antwerp, Oct. 13, 1812 — Oct. 9,
1 891; composer.
Eisler vide Eysler.
El'gar, Sir Edward, add that as
part of his early training he was
ramdmaster 1879-1884 at the Coim-
ty Lunatic Asylum with attendants
as musicians; ht retired to Malvern in
1 891 discouraged with his prospects
in London; lived as teacher and oc-
casionally cond. His "King Olaf"
(1896) brought his first real success,
which his orch. variations, (1899),
increased and the "Dream of Geron-
Uus,** (1900) established; Cambridge
made hun Mus. Doc. that year;
Strauss cond. "GerofUius** in Ger-
many, 1902; 1904 an Elgar Festival
was given for 3 days at Covent
Garden, and the same year he was
Imighted. He c. Imperial March,
2 mUitaiy marches, called "Pomp and
Circumstance," "Sea Pictures," con-
tralto and orch.; Coronation Ode
(1902), "The AposOes" (Birmmg-
ham Fast., 1903); Symphony No. 2
in E flat "To the Memory of Edward
VII " (London Mus. Fest., 191 1,
and the same year by Cincinnati
Symph., N. Y. Phil., Boston Symph.,
etc.).
Ellenson, Hans, b. Stuttgart; tenor;
a chimney sweep in Stuttgart be-
friended by Karl Muck; pupil of
Ldlli Lehnuum, Vogel and Schwarz;
d6but 1906 at Erfiut; engaged as
leading tenor at ^enna Royal Opera;
renewed for 1911-16.
El'licott, Rosalind Frances, b.
Cambridge, Nov. 14, 1857; daugh-
ter of the Bishop of Gloucester and
Bristol; studied at R. A. M., and with
T. Wingham; c. "DramaUc Overture,'*
(Gloucester Fest., 1886), concert
overture (London, 1886); cantata
** Elysium " (Gloucester Fest, 1889);
also chamber music and songs.
El'man, Mischa, b. Stalnoje, Rus-
sia, Tan. 20, 1892 (some say Jan. 21,
1891); violinist; played at 5 in public;
studied 16 months at Odessa wiUi
Fidehnann, 1903 invited by Auer to
become his pupQ; d^ut at St. Pe-
tersburg, 1904, and greeted as a
great artist though only 22; totoed
widdy; 1908, America; X91X-X2 toured
America for third time, playing 12
times with Boston Sympk Orch.; c
songs, etc,
El'wes, Qervase Cary, b. North-
ampton, Nov. 15, 1866; tenor; studinl
Vienna, Paris, etc.; at first in diplo-
matic Ufe; professional d^but, 1903;
has sung in Europe and Amenca;
excels in Brahms songs.
Endler («ntM«r). Wm. Gottfried,
(also Endele (in) ), Bayzeuth, May sz,
1722-1793; composer.
Enesco (ft - n£s' - koo ), Georges,
b. Cordaremi, Roumania, Aug. 7.
1881; violinist; at 4 played ana
composed, at 7 was admitted to
Vienna Cons., by Hellmesberger, in
whose family he lived; at 11, took
first prizes for violin and harmony;
1896, studied in Paris Cons, with
Maxsick and Faure; in X897, he took
second accessit for counterpoint and
fugue, and a concert of his woriu was
given in Paris, including a violin
sonata, a piano suite, quintet, 'cello
pieces and songs; 18^, Cokmne prod,
nis "Pohne Roumam" for orch.; 1899,
he took first violin prize at the Cons.;
toured and became court violinist to
the Roumanian Queen; c. symph.
(Colonne orch.,1906; N. Y. Phil.,x9zx)
764
THE MUSICAL GUIDE
2nd fjnnph. in E flat, op. 13 (Berlin
19 1 2; Pastoral fantaitif for oirch. (Col-
oone orch., 1899); Diztuor, or sym-
fihaay for wind instx8.,do. for 'ceHo
and oidi. (Lamouimz orch., 1909);
for suite ordi. (Boston Symph., 191 1);
3 RhapioHifs Roumaines, (191 1)> etc.
EngeUberf, E. $., (pen-name of
Dr. Ed. SchOn), Engdsberg, SQcsia,
Jan. 33, 1825 — Mji£m, May 27,
1879; councilor of the ministry, Dr.
Scbdn pnblished many humorous
male quartets under the pen-name;
he was a pupil in theory of Storch;
he c. also orchestral works.
Erlebach (fr'-U-bfikh), Ph. H.,
Essen, July 25, 1657 — Rudolstadt,
April 17, 1814; court<ond.; c. over-
tures, etc.
Ernst* Henry Wilhelm, Brflnn,
Moravia, May 6, 1814 — Nice, Oct.
8, 1867; violimst; pupil Vienna Cons,
and with Bohm and Mayseder; fol-
lowed Paganini about to learn his
methods; 1832-38 lived at Paris;
1838-44 toured Europe with greatest
success; c. violin-concerto^ etc.
Er'tel, Jean Paul* b. Posen, Jan.
22, 1865; critic and composer; pupil
of Tauwitz, Brassin and Liszt; sdf-
taught in instrumentation; teacher
at Brandenburg Cota.; 1897-1905, ed-
ited the '' Deutsche Musike r Zeilung ";
c. symphony "Harold "; symph.
poems "Mana Stuart," "Der
Mensck," "Belsatar," "Hero und
Lsander'* (1909); a double fugue for
orchestra and orpan, etc.
Espo'sito, Micnele, b. Castellam-
mare, near Naples, Sept. 29, 1855;
pianist; pupil of Naples Ons., under
Cesi; 1878-82, at Paris; from 1882,
piano-prof., Royal Irish Acad, of
Music, Dublin; 18^ or«uiized and
cond. an orchestra m Dublin; c. can-
tata "Deirdri*' winning Feis Ceoil
prize (1897); operetta, "The Post-
baf," "IHsh*' symph. (Feis CcoU
prize, 1902). etc.
Eulambio, (a-ocr-lftrn'-bl-o) Michele
A.; young Italian composer, pupil
T^fipzig Cons, wliuc he c. a
concerto; his i-act open Nf
Ltmdas was piod. with wccrw at
Yjopog Qty Opera, April 37, 19x2.
Expert (€z-pir), Hearl, b. Bordeaux,
May 12, 1863; pupil ofCteirFnnci
and Gigout; authority on x5-i6th
century nnisic and ec&or of maigr
important texts; from 1909 libraiian
Pans Cons., soooeedmg Weckcfhn.
Eysler (fs'-lfr), or Eisler, Edmund,
b. Vienna, Mar. 12, 1874; c operettas
**The Peasl of Luemttus" (Vienna
1901), and "Brother Siravbmgtr**
(1903), **V€ra ViaUUa," 1907* etc
Flhrmann (fir'-fflXn) Ernst Hans,
b. Beicha, Dec 17, i860; orgaaist;
1892, teacher at Dresden Cofia.;c
organ sonatas, etc
Falchi (fil'-ke), Stanislaus, b.
Temi, 1855; composer of operas; **//
iriUodd diopolo''^ (Roau^, 1899), etc
Falkenberg (fti-ki&-bir), Qeorges,
b. Paris, SepL 20, 1854 ; composer;
teacher of piano.
Fall, Leo, composer of li^t operss;
"Irrlichl*' (Mannheun, 1905), "Der
RebeU" (Vienna, 1905), "Der fidde
Bauer" (Mannheim, 1907), "Die
Dollar Princessin" (Vienna, 1907,
London and America as 'TAs AiAsr
Princess"), etc
Fal'ler, Nikola Von, b. Iwano-
wetz, Croatia, April 22, 1862; pupil
of Bruckner in Vienna, Massenet and
D^libes in Paris; since 1887 at Agiam
as teacher in the Cons.; opera direc-
tor and comp.
Fanerii — b. 1861 ; studied P^ms
Cons. ; violinist ; played in cftl6s,
dance halls, acted as music copyist and
to obtain such work in 191 2 ^owed his
symphony " Taileau;*, SymphomqueSf "
written in 1863; had its first prod.
March 16, 191 2, by the Colonne onh.,
received with greatest approval. It
is based on Th. Gautier's "Romanu
of a Mummy,"
«.
DICTIONARY OF MUSICIANS 765
Farina (fft-rC'-nil), Carlo, b. Man-
tua; one of the earliest of violin
virtuosos; 1625 court chamber musi-
cian at Vienna; c violin pieces.
Far'jeon, Harry, b. Hohokus, N. J.,
May 6, 1878; composer; of English
parentage, and taken to England in
infancy; pupil of Landon Ronald,
Storer, and 1895-1901, R. A. M.;
prod, operetta ^^PloreUa," 1899; from
1903, prof, of theory at the R. A. M.;
c. piano concerto, orch. suite "Hans
Andersen**; symph. poems, "Mow-
tli," and "Summer Vision**; cham-
ber music, songs, etc.
Farmer, (i) John, important En-
glish composer of madr^als; author
of a treatise pub. 1591, and nmdrigals,
1599-1602. (2) Thomas, d. 1694 (?);
composer; graduated at Cambridge,
1684; published songs, stage music,
etc., 1675-169S ; Purccll wrote an elegy
to Nahum Tate's words, on his death.
Farrar', Qeraldine, b. Mebrose,
Mass., Feb. 28, 1882; soprano; at 12,
pupil of J. H. Long, Boston; later of
TrabadeUo and LiUi Lehmann; 1901,
d^but Berlin Royal Opera; with great
success has sung there since, and in
the chief fiuropean capitals; regularly
engaged also at the C^. Com., Paris,
and since 1906, at the Met. Op.
House in N. Y., creating the r6le
of the Goosegirl in Humperdinck's
" Konigskinder.**
Far' well, Arthur, correct birth date
is St. Paul, Minn., April 25, 1872. He
conducted the important Wa-Wan
press publications till 191 2, bringing
to light much otherwise hidden
American genius. He has done
valuable work in New York and
elsewhere in developing municipal
music, free concerts in [>arks, piers,
etc. His comps. include for orch.
"Dawn,'* "The Domain of Eurakan,**
"Navajo War-Dance** (all in Indian
themes). "Cornell** overture, and
"Lo96 Song**; for piano many pieces
of Indian theme ' and numerous fine
songs.
Faur6, Qabriel U., add that 1905
he became Director of the Paris
Cons.; c. music to "Promithie**
(B6ziers, 1900), "Julius Ciesar**
(,igos)/*PeUias el M ilisandey** iSg^;
arranged as an orch. suite, 1901 ; also
much chamber music, axid religious
choruses, pbmo pfeces and many
highly important songs.
Felix (f&-l{ks). Dr. Hugo, b. Vienna,
Nov. 19, 1866; c. operettas "Husaren-
Uut,** Vienna, 1894; "Rkodope/*
Berlin, 1900 ;"i(f me. 5A«rry" (Berlin,
1902, since with great success in
America, 1910).
Ferton, Rev* Wm., Cambridge, 17 13
— Dec. 6, 1769 ; vicar, harpsi-
chordist and comp.
Feneir (or Ffinell), d. Dublin,
Sept. 20, 1709; Irish composer; organ-
bt at St. Patrick's Cathedral, 1689-
1694, and buried there.
Ferling (ffr'-llhk), (i) Franz Wm.
Halberstadt, Sept. 20, 1796 — Braun-
chweig, Dec. 18, 1874; oboist; his sons
(2) Qustav, b. Braunschweig, July
8, 1835; oboist at Stuttgart, and
teacher at the Cons. ; (3) Robert,
Braunschweig, July 4, 1843 — St.
Petersburg, Mar. 24, 1881 ; royal
chamber musician at St. Petersburg.
Ferra'ri, Qabrielle, b. Paris; pupil
of Ketten, Duprato, later of Gounod
and Lebome; at 12 d^but as pian-
ist, Naples ; c. opera " Le Colzar**
given at Monte Carlo in one act, en-
uuged to two (Paris Op6ra, 191 2);
also orch. suites and many populai
songs.
Fet'terode, L. Adrian van, b.
Amsterdam, July 25, 1858; pupil of
Coenen and Heinze; teacher at
Amsterdam; c. piano suite, fautasie
for 2 pianos, etc.
Fiebach (fc'-bftkh). Otto b. Ohlau
Silesia, Feb. 9, 185 1; director of an
institution at Kdnigsberg; royal con-
ductor; c. operas, and an oratorio;
author of "Die Physiologie def
Tonkunst" (1891).
Fiedler, Max; In 1903, became direc
766
THE MUSICAL GUIDE
torof theHambuig Cons.; 1904 oond.
the Philhannonic concerts; 1908-12,
cond. Boston Symphony Orchestra
with great success during the leave
of absence of Karl Muck (q. v.)i c.
'cello sonata (Boston, 1909)) chsun-
her music etc*
Firby, Wm. Chas.^b. London, 1836;
organist; studied in Paris; since 1884
organist at St. Paul's; c. masses, etc.
Firke* Max, b. Staubendorf-Leob-
schUtz, Silesia, Oct. 5, 1855; organist
and singing teacher; pupil of Brosig
and Leipzig Cons.; since 1891, cathe-
dral cond. at Breslau, teacher at the
Priest's Seminary, and since 1893 at
the Royal Inst, for Church music;
1899, Royal Music director; c. works
of great importance in modem Catho-
lic music, several masses with orch.; '
Solve Regina, op. 102; choruses, etc.
Fillunger, Marie, b. Vienna, Jan.
37, 1850; soprano; pupil at Vienna
Cons, and of Marches!, and after
1874 at the Berlin Hochschule ;
sang in oratorio and concert with
great success in Europe, and from
1889 in London, where she afterward
settled; toured Australia, 1891; South
Africa, 1895; from 1904 teacher at
R. C. M., Manchester.
Filtz (Fieltz, Fils, Filsl or Filz),
Anton, b. probably in Bohemia,
ca. 1725 ; d. 1760 at Mannheim,
where he was court 'cellist ; c. many
important symphonies, 2 masses, etc.
Finch, Edward, 1664 — Feb. 14, 1738;
composer of church music; son of Earl
of Nottingham, and prebendary of
York.
Fioc'co, (i) Domenico, early com-
poser of a mass ; dates unknown. (2)
Pietro, Antonio, d. Brussels, Nov.
3, 1704; composer of masses, etc.,
came from Venice; court musician at
Brussels, 1696; from 1706 cond.; his
two sons (3) Jean Josef, succeeded
Pietro as cond., in 17 14, and was
succeeded by his brother Qioseffo
Hector, prominent as harpsichord-
ist and composer; died after 1737.
Fiore (fI-0'-r«) Stefano Andrea,
Milan, 1675 — Turin, 1739; composer
of operas.
Fisch'er, Johann Kaspar Ferdi-
nand, ca. 1650 — ca. 1738; impor-
tant composer for organ and davier;
cond. to Markgraf Ludwig in Bo-
hemia, 1688; his works were published
1695 — 1715; ^ ** Ariadne Musica,
Neo-Organcidumper XX Fugas^ eU.,^*
1702, includes preludes and fugues in
all modem keys ezcq>t five, resem-
bling and preceding Bach's " Wdi-
tempered Clavichord," which was not
begun till after 1723, and not pub-
lished till 1810.
Fitelbers ( fe'-t^-bfirkh ), Qeors,
b. DUnaburg, Oct. 18, 1879; impor-
tant Polish composer; pupil Warsaw
Cons., taking Paderewski prize with
a violin sonata, 1896, and 1901 the
Zamoyski prize with a piano tiio;
concertmaster, and 1908 conductor
Warsaw Philharmonic; 191 2, engaged
for 6 years to cond. Vienna Royal
Opera; c. 2 symphonies, including E
Minor (1905}; symph. poems "The
Sang of Falken'* (1006), and "Prates-
Has and Leodamia, etc,
Flecha (fl«'-chil), Juan, music
teacher; Catalonia, 1483-1553; Car-
melite monk and teacher; his nephew
(2) Fray Matheo,, 1520 — FA.
20, 1604, was an abbot and cond.
to Charles V at Prague; both woe
composers.
Flescn, Karl, b. Moson, Hungary,
Oct. 9, 1873; violinist; pupil of Grfino
at Vienna, and Marsick at Paris Cons.;
com. 1 897-1 902 prof, at Bucharest
Cons.; and chamber musician to the
Roumanian Queen; 1903^, teacher at
Amsterdam Cons.; since at Berlin.
Flin'tof, Rev. Luke, Worcester,
(?) — London, Nov. 3, 1727; 1715
Gentleman of the Chapel Royal:
buried in Westminster Abbey; said
to have invented the double diant of
which his is the first known ^xampl^
Flo'derer, Wilhelm, b. Brtinn, May
10, 1843; composer of opens.
DICTIONARY OF MUSICIANS 767
Flmi'dort Theodor Joh. Von., d.
Berlin, June 24, 1908; Roumanian
composer of operas.
Florence, Evangeline, b. Cam-
bridge, Mass., D^. 12, 1873; stage
name of Miss Houghton, soprano of
remarkable compass, g-c '"'; married
Alex. Crerar, 1894.
Florldla, Pietro, add that his real
name is Baron Napolino di San
Sflesto. He came to America in 1904,
was for a year piano-prof, at Cin-
cinnati Cons., and was commissioned
to write the opera ^^PaoleUa,** for the
Exposition of 1910; the opera had
great success. His symphony, con-
sidered the representative symphony
el Italy, has been much played by
the Cincinnati Symph. Orch., 1910,
etc; c. also opera " The Scoflet Utter y"
a splendid *^ Madrigal*' for barytone
and orch., songs, etc.; lives in New
York; his opera "Marusza" has had
3,000 performances in Italy.
Flow'er, Eliza, Harlow, Essex, April
10, 1803 — Dec 12, 1846; composer
of hymns.
Pogliani (or Fogliano or Folia-
nus), (2) Qiacomo, Modena.
1473 — April 4, 1548; brother of
Ludovlci F., organist and comp.
FohlstrOm (f5l'-stram), Alma, b.
Helsingfors, Jan. 2, 1861; concert
soprano, pupil ' of Mme. Nissen-
Suoman in St. Petersburg.
Foote, Arthur, add that he gave
up the organ of the First Unitarian
Church in 19 10 after 32 years; still
teaching piano in Boston; lectured
during summer of 191 1 at University
of Califomia. Later comps. include
orch. suite in D minor (played in
Boston, London, N. Y., etc.) Suite
for strings (do.); 4 character pieces
for orch. (Thomas Orch., Boston
Symph, 191 2, etc.) " Bedouin Song, "
D&ale chorus sung very widely; organ
suite in D (placed by Guilmant on
American tour); two piano suites, 5
poems from Omar Khayyim for
piano, songs, etc.
Fornia, Rita (P. Newman), b.
* San Francisco, July 1 7, 1879; soprano;
pupil of Jean de Rcszk6 and Frau
Kempner; d6but, 190Z, Hamburg
Stadttheater; sings at Covent Gar-
den and Met. Op., N. Y.
Fos'ter, Muriel, b. Sunderland, Nov.
22, 1877; contralto of remarkable
range, g to b " flat ; pupil of Anna Wil-
liams at the R. A. M., winning a
scholarship, x8()7; d^but 1896 in
oratorio; sang with her sister nllda
in 1890; and at frequent festivals
sincej nas sung also in Germany,
Russia and America.
Fowles, Margaret F., Ryde, Isle
of Wight, 1846 — Detroit, Midugan,
August 6, 1907; pianist; organist;
cond.
Fragerolle (fr&-zh6-riil), Georges '
Auf uste, b. Paris, March 11, 1855;
pupil of Guiraud; c. patriotic songs,
operettas, pantomimes, etc.
Franchettl, Alberto, his opera
"Germania" (prod. Milan, 1902),
has been performed widely at Covent
Garden 1907 and 191 1 at the Meto-
politan Opera House, N. Y. •'^
Frank'o, (i) Sam, b. New Orieans,
Jan. 20, 1857; violinist, pianist, ^
and cond. ; pupU of Wilhelmj, Toachim
and Vieuxtemps; toured witn Patti;
cond. concerts of ancient mu»c in
New York, 191 2, Berlin; his brother,
(2) Nahan, b. New Orleans, July
23, 1861; violinist and cond.; at 8,
toured the world with Patti; later
studied with Rappoldi, De Ahna.
Wilhelmj, and Joachim; member of
Met. Op. orchestra, N. Y.; from 18S3
concertmaster; 1905-7 conductor;
since has cond. his own orchestra.
Fraschini (frSs-ke'-ne), Qaetano,
Pavia, 1815 — Naples, May 24, 1887;
tenor in Italy and England.
Fremstad (frem'-shut), Olive (An-
na Olivia), b. Stockholm; dra-
matic soprano ; at 9, a pianist;
brought to America by her parents,
at 12; 1890, soloist at St. Patrick's
Catiiedral, N. Y.; 1893-94, pupi^ «»
768
THE MUSICAL GUIDE
LilU Lehmann at Berlin; 1895, d6but;
1896 sang at Bayreuth; 1 897-1900
Vienna Royal Opera; later at Munich,
Covent Garden and since 1903 at
Met. (^. House, N. Y.; officer of the
French Academy, and 1907 of Public
Instruction.
Freudinan,.Ignatz, vide friedman.
Friderici (or Friederlch) Daniel,
Eisleben(?) before 160a— after 1654-,
cantor at Rostock ; c. madrigals, etc.
pried (frCt), Oskar, b. Berlin, Aug.
10, 1871; pupil of Humperdinck; since
Z904 director Stem Cesangyerein and
the Gesellschaft der Musikfreunde;
c choral works with orch., double
f«igue for strings; a work for 13 wind
Instruments and 2 harps, etc.
Priedenthal (fre'-dfo-tfil), Albert,
b. Bromberg, Sept. 25, 1863; pi-
anist; pupil of Fr. and W. Stein-
brunn, andof Kullak; has toured the
world.
Priedheim, Arthur, add that he
spent many years in America as
teacher and pianist; later prof, at
R. C. M., Manchester, England, till
2004; c opem' *'IHe Tdmerin**
(Cologne, Z905); toured America,
1911-1913.
Friedman, (fret'-mfta), Ignaz, b.
Podgorze, near Cracow, Feb. 14, 1882,
pianist; pupil of his father and of
Lescheti^; toured Europe with suc-
cess; c. piano pieces and songs.
FriedlMnder (fretM&i-d£r), Tiielda,
soprano; pupil of Hiller and
Scimeider; d6but, Leipzig, Dec. 11,
X873; popular in England, 1875-1886.
Frisciien, (frish'-Sn), Josef, b.
GarsweQer, July 6, 1863; singing
teacher; pupU Cologne Cons.; 1888,
dty musical director at Lucerne;
1892, dir. Musikakademie, Hanover;
teacher and Royal Director at
Braunschweig; c. choral works, etc.
Fris'kin, James, b. Glasgow, Mar.
3, 1886; pianist; pupil of London R.
C. M., winning scholarship in 1900
and composition scholarship 1905; c«
successful piano quintet in C minor
(1907), 'cello sonata, etc
Fritz (or Friz), Qaspard, Geneva
1 7 16-1782; violinist; c. 6 symphonies,
etc.
Fuenllana (fw£n-ll-8n'-n£), Mig-
uel ^e, flourished 1554 in Spain;
lute-virtuoso and court composer;
blind from birth.
Fugere (ftt-zh&r), Lucien, b. Paris,
March 3, 1848; barytone; pupil of
Raguenau; d6but, 1870.
Qabriel (g&'-brl-a), Richard, b
Zackenzin, Pomerania, Sept. 3, 1874^
organist; pupil Royal Inst, for church
music and Humperdinck*s Master-
school; since 1902 org. at Sagan; c
spring overture, choral work with
orch., ''Nach WalhaU,'' etc.
Qabrilowitscii, Ossip, add that
in 191 2 he cond. the Konzertveran
orch., Munich.
Qailhard (gf-y&r), Pierre, b. Tou-
louse, Aug. I, 1848; bass; pupil
Paris Cons.; d^but 1867, Op. Codl,
Paris; later at the Op6ra, of which he
was director 1 899-1907.
Qal'eotti, (i) Stefano (or Salva-
tore), c. 'cello sonatas pub. in Lon-
don, Paris and Amsterdam, 1750-
-60; (2) Cesare« b. Pietraflanta,
June 5, 1872; c. opera ^'AfU&H"
(La Scala, Milan, 1900).
Qal'kin, Nikolai Vladimirovich,
St. Petersbiu:g, Dec. 18, 1856 —
May 21, 1906; violinist and oom-
poser for violin; pupil of Kamin-
sky, Auer, Joachim, Sauret and
Wieniawski; toured Europe and after
1877 was cond. in St. Petersburg and
from 1880 teacher at the Cons.; from
1802, prof.
Qali, Jan, b. Warsaw, Aug. 18, 1856;
pupil of Krenn and lUieinbeigier
1886, teacher of song at Cracow Ccms.
then pupil of Mme. Lamperti, later
director of the Lemberg "JEdb"
society; conq>ofier of some 400 vocil
numbers.
DICTIONARY OF MUSICIANS 769
Qallet'ti - Qianoli ( jfiriiGMe), Isa-
bella, Bologna, Nov. ii, 1835 —
Milan, Aug. 31, 1901; operatic so-
prano; later contralto.
Qansbacher (g€ns-bSkli-&), Josef,
1829 — Vienna, June 5, 191 1; famous
singing teacher:
Qanz (g&nts), Rudolph, b. Zurich,
1877; d^but at 10 as 'cellist, at
12 as pianist; then pupil of his
unde, Eschmann-Dumur, and later of
Busoni; d6but as pianist and composer
Berlin, 18^9; 1901-5 succeeded
Friedheim m Chicago; has toured
widely; c. "Lake" cycle of songs
(1906), etc.
Qar^diner, H. Balfour, b. Lon-
don, Nov. 7, 1877; pupil of Knorr at
Frankfort; c. symph. (Queens Hall
1904 and 1908); "Fantasy " (1908);
overture, chamber music, etc.
Qates, Bernard, ca. 1685 — ^North
Acton, Nov. 15, 1773; English anger
and comp.
Qatti-Casazza (g2Lt'*tI kft-sftt'-sft),
Qiulio, b. Ferrara, Feb. 5, 1869; at
first a naval engineer; 1894-8 dir.
Municipal Theatre at Ferrara; 1898-
1909, dir. La Scala, Milan, making it
a home of modem opera; 1909 co-
director with A. Dippel of the Metro-
politan Opera House, N. Y.; since
1910 in full charge; he has prod, three
native American operas, and given
the first prods, anywhere of Humper-
dinck's Kdnigskinder, " and Puccmi's
"GM of the Golden West.'*
Qat'ty, Nicholas Comyn, b. Brad-
field, Sept. 13, 1874; composer; critic,
organist and comp., pupil R. C. M.,
where he produced orch.-variations
on "Old King Cole"; from 1907
critic on "Pall MaU Gazette"; assist-
ant at Covent Garden; c. i-act operas
"Greysted" (Sheffield, 1906), and
" Duke or DevU " (Manchester, 1909);
Mflton's "Ode on Time" for chorus
w. orch., (Sheffield Festival, 1905).
Qavron'skI, Woitech, b. Seimony
near Wilna, June 27, 1868; pupil War-
saw Mus. Inst.; toured Rtissia, taught
in Orel and Warsaw; c. symph.; a
operas and a string qiuutet, (Paderew-
ski prize, Leipzig, 1898).
Qayarr6 (ge-y2r-ra')> Julian, Roncal
(?), Jan. 9, 1844 — Madrid, Jan. 2,
1890; operatic tenor, son of a black-
smith.
Qebhard (gSp'-h&rt), Heinrich,
b. Sobemheim,. near Bingen, July 25,
1878; pianist; taken to America at
10; pupil of Cla3rton Johns, d^but,
1896, Boston; playing nis violin and
piano sonata, then studied with
Leschetizky and Heuberger; 1899
reappeared Boston with symph. orch.
1900-4, pianist of Longy Qub; c.
quartet, piano pieces, etc.
Qehrmann (g&r'-mftn), Hermann,
b. Wemigerode, Dec. 22, 1861; his-
torian and theorist; pupil Stem Cons.,
Berlin; 1908, Royal Prof.; c. string-
quartet and songs.
Oep'pert, Liberatus, b. Jauering
(Austrian Silesia) Feb. 15, 181 5 —
Feb. 7, 1881; c. 40 masses, 10 re-
quiems, etc.
Qer'hardt, Paul, b. Leipzig, Nov.
10, 1867; organ-virtuoso; pupil at the
Cons.; since 1898 org. at Zwickau;
c. organ works, etc.
Qerhftuser (gir'-hl-z^'), tenor; d6-
but Munich; sang there and at
Carlsruhe; 1902, Met. Op., N. Y.;
gave up singing, became stage-direc-
tor, Stuttgart Royal Op.
Qiacobbi (jfik-k6b'-bs), Qirolamo,
Bologna, ca. 1575 — Nov. 30, 1630;
churdi cond. and one of the first com-
posers of opera; "Andromeda," (16 ip)
also church music.
Qiarda Qftr'-dfi), Luigi Stefano,
b. Cassolnovo, Pavia, March 19, 1868;
'cellist; pupil Milan Cons.; teadier at
Padua, 189^-7; after, at Royal Cons.,
Naples; c. opera "RejeUo " (Naples,
1898), ^cello-music and method.
Qib'son, Qeorge Alfred, b. Not-
tingham, Oct. 27, 1849; violinist;
pupil of his father ana of Henry
Farmer; soloist at 12; from 1871 at
Covent Garden; 1893, leader of the
770
THE MUSICAL GUIDE
Queen's private band; prof, at R. A.
M., and Guildhall.
Qigault (zhe-g6), Nicolas, b. Brie,
ca. 1645; organist at Paris and
€x>mposer.
Gilbert (i) Alfred, Salisbury. Oct.
21, 1828 — London, Feb. 6, IQ02;
organist and composer; his brother,
(2) Ernest Thos. Bennett, Salis-
bury, Oct. 22, 1833 — London, May
II, 1885; organist, teacher and com-
poser. (3) Walter Bond, b. Exe-
ter, April 21, 1829; organist; pupil
of Wesley and Bishop; 1886, Mus.
Doc. Oxford; 1889, came to New York;
c. oratorios, etc. (4) Henry Frank-
lin Belknap, b. SomervUle, Mass.,
Sept. 26, 1868; violin pupil of MoUen-
hauer; studied harmony with G.
H. Howard and for 3 years with Mac-
Dowell; 1892-1901 in business, then
took up coni position. His work is
full of originality, and character; c.
Comedy Overture on negro themes
(Boston Symph., 191 1); Amcrican-
tsquCj Two Episodes, I, Legend; 11,
Negro Episode, Boston (1896, and
often elsewhere); "Salammbo^s Inoo-
cation to Tanith" for soprano and
orch. (1906); "American Dances in
Rag-Time" for orch. ; fantastic symph.
poem, *^The Dance in Place Congo**;
for piano "Indian Scenes,*' "Negro
Episode", etc., many beautiful songs,
including the well-known "Pirate
Song,"
uille (gllMe), Karl, b. Eldagsen, Han-
over , Sept. 30, 1861 ; pupil of J. Fischer,
Bott and Metadorf; theatre-cond. in
various cities; 189 1-7 court cond.,
Schwerin; 1897 succeeded Mahler at
Hamburg Stadttheater; 1906, first
cond. Vienna Volksoper, and during
the sunmier of 1908-9, at the Gura-
Opera, Berlin. •
Qirman, Lawrence, b. Flushing, N.
Y. July s, 1878; critic for "Harper's
Wukly"; biographer of MacDowell
(1905), author of nxmierous books
showing an enthusiasm for modernity
which appears also in his own compo-
sitions, such as the musical back-
^und to Yeats' poem " The Curlew. "
Qil'son, Paul, correct birth date
Brusseb, June 15, 1865; since 1904
teacher of harmony Antwerp Cons.,
and critic of the "Soir"; has become
one of the most important Belgian
composers, with' his operas, "Gens
de mer," (based on \^ctor Hugo's
novel, Brussels, 1902; Antwerp, 1004)
and "Prinses Zonnenschijn,** (An-
twerp, 1903); ballet, "La Captive,**
BrusBels, 1902; symph. "La Mer,^
1892; orch. fantasy on Canadian folk-
songs, symph. poems, etc
Qinera (h^nr-rft), Salvador,
Valencia, Jan. 17, 1832 — Nov. 3,
191 1 ; pupil of Gascons; dir. Valencia
0)ns.; c. a symph. "Tht Four Sea-
sons. ** operas, etc.
Qioraano, Umberto, prod, open
"Pidora** (Milan, 1898), Siberia,
(do, 1903, Leipzig, 1907), and Mar-
ceUa, (Milan, 1907).
Qiorgetti (j6r-j«t-t6), Ferdinando,
Florence, 1796-1867; violinist, teadhet
and comp.
Qlaz(o)unow, Alex. Constanti-
novich, add that from 1899 he
was prof, of instrumentation, St.
Petersburg Cons.; from 1909-12
director, fdso dir. the Imperial Musi-
cal Society. He has c. 7 symphs.
4 overtures, a symph. poem, "Stenka
Rctsin,** a symphonic fantasy,
" Through Night to Light, ** and a great
number of other orch. works, chamber
music in large quantity and hi^
quality, cantatas, the "Memoriai,"
(Leeds, Fest., 1901), ballets, violin
concerto (1904), etc.
Qlickh (gllkh), Rudolf, b. Vienna,
Feb. 28, 1864; 'cellist; c. operas,
etc.
Qli^re (gle-Ar), Rein hold Moritz-
ovich, composer; b. Kiev, Dec
30, 1874 (O. S.), or Jan. 11, 1875,
(N. S.); pupil of Moscow Cons., win-
ning gold medal; c. 2 popular sym-
phonies, chamber music, etc. His
latest symphony "Ilia Mouromeb^*
x
DICTIONARY OF MUSICIANS 771
was prod, at Moscow, April 1912,
with great success.
Glover, J* Wm., Dublin June 19, 1815
— Jan. 15, 1900; violinist and choir-
master at the Cathedral from i860;
c. opera "The Deserted ViUage"
(London. 1880), etc.
Qluck (glook), Alma (nte Reba
Pierson), b. Bucharest, Rouma-
nia, May 11, 1866; taken to New
York at 6; pupil of Bouzzi-Pecda,
d^but New Theatre, N. Y., 1909, the
same year at the Met. Op.; has sung
there since, and in concert.
Qluth (gloot), Victor, b. Pilsen,
May 6, 1852; pupil Royal Akademie
der Tonkunst, Munidi; c. operas
" Zlatorog" and "Horand und HUde, "
Qodowsky, Leopold, add that he
has achieved a place as one of the
world's most bnlliant pianists and
teachers; succeeded Busoni in 1910,
as head of the Master-School of the
Vienna Imperial Academy; 1904, he
married Frieda Saxe; gives frequent
recitals in Europe; c. symphonic
Dance-pictures from Strauss ^^Fled-
ermaus"; sonata £ minor, for piano;
left-hand transcriptions of Chopin
Etudes, 50 6tudeson Chopin's Etudes,
and many brilliant piano works.
OOhler (gftMSr), Karl Qeors, b.
Zwickau, June 29, 1874; author and
comp.; pupil of Vollhaxdt and Leip-
zig Cons.; 1896, Ph.D.; from 1898
director of the Riedelverein, also from
1903 court cond. at Altenburg; 1907-
9 at Carlsruhe; c. 2 symphs.; orch.
suite "Indian Sangs,^*
Qomiz (gd'-mfith) Jose Melchior,
Valencia, Jan. 6, 1791 — Paris, July
26, 1836; militajy bandmaster and
singing teacher at Paris; c. operas and
patriotic songs.
Qoin61ka (g&-moor-k&), Nikolaus,
Cracow, (?) 1539 — Jazlowiec, March
5, 1609. Polu^ composer and court
musician;
Qom'pertz, Richard, b. Cologne,
April 27, 1859; violinist; pupfl at the
^^ns., and of Joachim; towed, then
invited to teach at Cambridge Uni-
versity; from 1883, teacher at R. C.
M., 1895, prof.; from 1899 at Dres-
den; c. violin sonatas, etc.
Qood'son, Katharine, b. Watford,
England,' June 18, 1872; pianist;
at 12 pupal at the R. A. M., till
1892, then four years with Leschet-
izky — d6but, 1896, London Pop.
Concerts; has toured widelv; 1903,
married Arthur Hinton (q.v.;.
Qoossens (g6s'-s€ns), Eugene, Bel-
gium, i845(?) — I Liverpool, Dec. 31,
1906; choirmaster; cond.; studied at
Bruges; prize winner Brussels Cons.;
prof, music, Liverpool.
Oorczycki (g6r-chet'-skt), Qregor
Qabriel, before 1650 — Cracow, 1734;
mus. dir. at the Cathedral; c. churdi
music.
QOrner (gUx'-n^), (i) Jno. Gott-
lieb, Penig, 1697 — Leipzi|, 1778;
organist; his brother, (2) J. N. Val*
entin, b. Penig, 1702, cond. at
Hamburg Cathedral; c. songs.
Qolfhui-d, (i) Jn. Peter, b.
Drahanovitz, Moravia, Jan. 19, 1839;
cond. at Vienna; c. operas; with his
brother (2) Franz PAzdlrek, pub-
lished a musical hand book.
Qourron vide alvar£z(2).
Qrabov'sky (or Qraboffsky), (i)
Countess Clementine, Posen,
1 7 71 — Paris, 1831; anist; pianist
and comp. (2) Stanislaus, d.
Vienna, 1852; piano-prof. and. c.
popular polonaises, etc. (3) Adolph,
b. Hamburg, Oct. 14, 1867, violinist
and teacher at Sondershausen Cons.
Qraf (gr&0> (i) Fr. Hartman,
Rudolfstadt, 1727 — Augsbiug, 1795;
flutist and comp.
Qrahl (grUl), Heinrlch, b. Stralsund,
Nov. 30^ i860; concert tenor in Ber-
lin; pupil of Frl. Schmidt.
Orainger (gran'-jgr), Percy, b.
Brighton, Australia, July 8, 1882;
pianist; pupil of Louis Pabst; at ix
gave reatals and earned money for
European study with Kwast and
Busoni, settling in London, 1900^
772
THE MUSICAL GUIDE
playing at important concerts; chosen
by Grieg to introduce his piano con-
certo; toured Australia and South
Africa; made piano arrangements of
folk-songs, etc.
Qranados y Campina (gr&-n&'-
dhos e k£Un-pe'-n&), Enrique, b.
Lerida, July 27, 1867; pianist; c.
operas and songs.
Grand jean (gr&n-zhan), Axel, b.
Copenhagen, March 9, 1847; pupil of
the Cons, there; 1869, d6but in opera,
retired after one season; c. operas, etc.
Qrau(grow), Maurice, Brunn,
Austria, 1848 — Paris, March 13, 1907;
impresario of Met. Op. House, N. Y.
Qray, Alan, b. York, Dec. 23, 1855;
organist; studied law, then music
under Dr. E. G. Monk; 1883-92,
musical dir. Wellington College; then
org. Trinity College, Cambridge, and
cond. of the University Musical
Society; c. cantatas "Ardhusa**
(Leeds Festival, 1892), and"il Song
of Redemption" (do., 1898), etc.
Oreatheed, Rev. Samuel Ste-
phenson, b. Weston-super-Mare,
Feb. 22, 1813; pupil of W. C. Ball;
1838 ordained; then spent some
months studying music with Schwarz
at Berlin; 1844 took up counterpoint;
c. oratorio "Enoch*s Prophecy, " (1856)
organ fugue in the Dorianmode, etc.
Qrechaninoff (grS-cha'-ne-n6f),
Alex. Tikhonovich, b. Moscow,
Oct. 26, 1864; composer; pupil of
Safonoff at the Cons.; later at St.
Petersburg Cons., under Rachman-
inoff; c. prize string quartet (1894);
symph.; succ. opera "Dobringa Nik-
itick " (Moscow, 1903); incidental
music to Tolstoi's "Feodor,*^ and
**/wi«," and to Ostroski's *^ Snow-
Maiden" songs, etc.
Greenwood, John, d. Preston, April
I, 1909; organist, pianist, composer,
member of the finn of John G. & Son,
Preston.
Oreith (grit), Karl, Aarau, Feb. 21,
1828 — Munich, Nov. 17, 1887; org.
gan. and oomp. of church music
Qretschaninow, vide gsegsaki-
NOFF.
Oriesbacher (grSs'-bakh-fir), Peter*
b. Egglham, March 25, 1864; priest
and teacher at Regensborg; c 40
masses, and other church music,
also cantatas, etc
Griffith, Frederick, b. Swansea,
Nov. 12, 1867; at 14 won prize at a
Welsh nationid £isteddfod; pupQ at R.
A. M.; 1889-91 with Svendsen, later
with Jaffanel, Paris; toured widely;
flutist at Covent Garden, and prof,
at R. A. M.
Qrigny (gr£n'-y«), Nicolas de,
Reims, 1671-1703; organist and
comp.
Orill^parzer, Fz., Vienna, Jan.
i5» 1791 — Jan. 21, 1871; friend of
Beethoven and Schubert. Comp.
Orisart, J. B., b. 1848; d. Compiigne
France, Mar. 1904.
Qris'wold, Gertrude, d. London,
July 14, 191 2. American soprano,
pupil of Agramonte, N. Y., and of
Paris Cons., where she was the first
American to win the first grand
opera prize; d^but as "Ophdia,"
Paris O^ra, sang there a year, later
in oratorio and concert, and with
Patti at the Met. Op. N. Y. c; songs.
Qrodz'ki, Boleslas, b. St. Peters-
burg, Oct. 25, 1865; studied law at
first, then pupil of Sokolov; c. violin
and piano works and songs.
OrOnland (grtln'-land), Petersen.
Schleswig, 1760 — Altona, 1834; or-
ganist and comp.
Qrunewald (groo'-nft-vflt), (i) Gott-
fried, d. Dannstadt, ca. 1730; singer
and comp. (2) Gottfried, b. Quer<
stadt, near Eisleben, 1859; c. operas.
Grttters (gre'-t£rs), (i) August,
d. XJrdingen, Dec. 7, 1841; Mus. Di-
rector; pupil of his father, of Cc4ogne
Cons., and of Ambroise Thomas;
1878, Royal director at Frankfort-
on-Main; 1908, retired. His brother
(2) Hugo, b. Urdingen, Oct. 8, 1851;
* pupil Cologne Cons.; conductor in
various dtirs.
MAMB
tm
DICTIONARY OF MUSICIANS 773
Quido d*Arezzo, bom near Paris
and later joining the monastery; later
investigations identify him with a
Benedictine monk in the Monastery
of St. Maur des Fosses; his probable
birth date would be ca. 990. He thus
becomes a Frenchman who went to
Italy, not an Italian.
Quillemain (g£'-yii-mftn), Gab-
riel, Paris, Nov. 15, 1705 — (sui-
cide) Oct. 1, 1770; c. violin pieces.
Qurbins, Max, b. Kammetschen,
July 18^ 1862; organist and comp. of
choral works.
Qulbranson* Ellen, correct birth
date, Stockholm, March 3, 1863.
Quill (goor-le), Luigi, b. Sdlla,
June 17, 1859; pianist; pupil Royal
College of Music, Naples, under Cesi:
teacher at Rome, where he founded
the GuUi Quintet Society, which has
toured with much success.
Qunke (goonk'-6), Joseph, Joseph-
stadt, Bohemia, 1801 — St. Peters-
burg, Dec. 17, 1883; violinist, theorist
and organist; c. oratorio, mass, etc.
Out heil-Schoder (goof- hd - sh6'-
dfr), Marie, b. Weimar, Feb. 10,
1874; mezzo-soprano; pupil of Vir-
S'nia Gungl, and Weimar Music
:hool; 1891-1900 at Weimar court
opera; frequently at Vienna court
opera; her husband Gustav Gutheil
is conductor at Vienna Volksoper.
Quzman, (gooth'-mftn), Juan Bau-
tista, b. Alday, Valencia, Jan. 19,
1846; pupil of Ubeda; organist; joined
the Benedictine order; c. songs, etc.
H
Haack(hfik), Karl, Potsdam, Feb.
18, 1751 — Sept. 28, 1819; violinist
and teacher; court cond. to Fr.
Wilhehn II at Potsdam; c. violin
pieces.
Haas (hSs), Alma HollMnder,
b. Ratibor, Silesia, Jan. 31, 1847;
pianist; pupil of Wandelt and Kul-
lak; 1872. m. Ernest Haas, prof, of
Sanskrit (d. 1882); from 1886 teacher
at King's CoU^e.
Hack'!, N. La Jos b. »..».«.«»»
Jime II, 1868; pupil of KOsaler; teach-
er at Pest Cons.; c. songs, etc
Had'dock, (i) Thomas, Leeds,
18x2 — Liverpool, Sept. 22. 1893;
'ceUist; his orother (2) ueorge,
Killin^psbeck, near Leeds, July 34,
1824 — ^Leeds, Sept. 12, 1907; violinist,
author of metnod; founded Leeds
College of Music with his sons (3)
Ed^ar A., b. Leeds, Nov. 23, 1850;
viohnist; (4) Qeorf;e Percy, b.
Leeds, Oct. 10, i860; pianist, organist,
'cellist and comp.
Hadley, Henry K., add that he spent
some years abroad, as cond. in
various cities, including the Mayence
Opera, where his opera "Safii" was
prod, in 1909. In that year he be-
came cond. of Seattle symph. orcfa.;
191 1, San Francisco orch.; add to his
comps. two symphs. His 2nd symph.
took two prizes simultaneously in
1 901, the Paderewski and the New
England Cons. His fourth symph.
'*North, East, South and West'' he
cond. himself with the London
Philh. Boston Symph., and other
orch. ; c. overtures " tieci4fr and Andro*
mache" (Boston, 1901); ^* In Bohemia**
(1903), "Herod,*' symph. fantasie
"Saiome" (Boston Symph., 1907,
Monte Cario, 1907; Warsaw, 1908,
Cassel, 1908); lyric drama "if er/m
and Vivien,'* piano quintet, (1907),
etc. poetic rhapsody, "The CulprU
Fay " (N. Y., 1912); a music drama,
" The Atonement of Pan,** (San Fran-
cisco, 191 2), etc.
Haesche, vide hasche.
Hagel (hr-gd), Karl, b. Voigts-
tedt, Thuringia, Dec. 12, 1847; con-
ductor; 1874-77 military cond. at
Munich; 1878-1905, municipal cond.
and director of the Music School
at Bamberg, then pensioned; c 4
sym^., etc. His son and pupil
(2) Richard, b. Erfurt, July 7,
1872; cond. and teacher in various
cities; 1902 cond. at Leipzig Stadt*
theater.
774
THE MUSICAL GUIDE
HSgg (hfig), (i) Jacob Adolf,
b. Gotland, Sweden, 1850; Swedish
composer; pupil of Van Booms, Gade.
and Kiel; c. Norse symphony, ana
'* Norse Songs WUhoiU Words " suites
in andent style; sonatas, etc. (2)
Qustaf, b. 1868; studied abroad
with municipal stipend; later organ-
prof, at Stockholm Cons.; organist
and comp. of orch. and organ works.
Hahn, (i) Reynaldo, add that his
opera **La CarmSliie" was prod, at
the Op£ra Comique, Paris, 1903;
incidental music to C. Mend6s'
**Scarron," Racine's "Esther,'* and
V. HuKo's "Angdo," (all in 1905);
2-act ballet "La f»e cha ThSrese,
(Qp6nt, 1910). (3) William, Ba-
varia 1837 — Philadelphia, 1903;
teacher.
HXhnel (hft'-n^), Amalie, Gross-
htlbd, Bohemia, 1807 — May 2,
1849; favourite contralto at Berlin
Royal Opera.
Hall, Marie (Mary Paulina), b.
Newcastle-on-Tyne, April 8, 1884;
violinist; as a child played in Bristol
streets; pupil of her father and Hilde-
garde Werner; later of J. Kruse; at
1 5 won an exhibition at Uie R. A. M. ;
from 1901, pupil of Sev£ik; toiu^d
widelv.
Hallwachs (hal'-vSkhs), Karl, b.
Darmstadt, Sept. 15, 1870; Mus. Di-
rector; pupil at Royal Music-School;
Munich ; 1895 - 7 directed Acad-
. cmy Singing Society; 1899 -1900
cond. at Aachen Stadttheater; 1900-
02 at Saarbriichen; after 1902 in
Kassel as director of Oratorio Society
and Liedertafd; c. opera" Nainaka,"
songs, etc.
Halm, August, obscure composer
of important symphony in D minor
for string orch.; performed Stutt-
gart, 7907; Boston Symph., 1910;
studied theology at Tubingen, then
music; a teacher at Hanbinda, later
at Wickersdorf , Thuringia; c. comedy
overture; piano-concerto in style of
Bach, chamber music, etc.
Hambourg, Mark, correct birth
date is May 31, 1879. ^^ has con-
tinued to tour and has maintained his
high position as a virtuoso.
Ham'ilton, Sir Edward Waiter,
d. Brighton, Sept. 2, 1908 ; oom-
poser ; Badidor of Music, CbL-
ford, 1867.
Ham'mericli, Marie, b. Copea-
hagen, Nov. 25, 1848: 'cellist; pupil ol
Riidinger and Neruda; 1896 prof, of
musical science Copenhagen Uni-
versitv; brother of Asger Hamerik
(q. v.).
Ham'merstein, Oscar, b.^ Berlin,
1847; composer and impresario; came
to America at 16; made a fortune by
the invention of a dgar-making
machine; wrote a comic opera in 24
hours on a wager, and produced it at
his own theatre; built five theatres in
N. Y. and the Manhattan Open
House; where he gave opposition to
the Metropolitan, 1906-8; built alto
an opera house in Philadelphia; stM
out his interests to the Metropolitan
Co., and built opera house in London;
opened, 191 2.
Hanff, J. Nicolaus, Wechmar.
1 630 — Schleswig, 1 706; cathedFU
organist at Schleswig and important
predecessor of Bach in choral-writing.
Han'sel, Peter, Ldpa, Nov. 2^, 1770
— Vienna, Sept. 18, i88z; vicdiiiist
and comp.
Harcourt (d&r-koor), Eugene d%
b. Paris, ca. 1855; composer; pupil
Paris Cons., and of Schulze and
Bargiel, in Berlin; 1890 gave cxm-
certs in his own Salle Hai court; 1900
gave oratorios at St. Eustadbe; c
mass (Brussels, 1876); opera "Tass^"
(Monte Carlo, 1903): 3 symph., etc
Hard'ing, Henry Alfred, b. Salis-
bury, July 25, 1855 ; organist ; pupil
of Corfe; 1882 Mus. Doc,, Cix-
ford; cond. and org. at Bedfo(rd;c.
church music.
Harris, Clement Hugh Qilbert,
Wimbledon, July 8. 1871 — in the
battle of Pentepigadia, Greece, Apci
DICTIONARY OF MUSICIANS 775
i$t 1^7? pianist pupil
Cokis., and of Mme. dchuo
Frankfort
Lumann; being
in Greece at the outbreak of the
Turkish war he joined the Greek
arm^, and was killed in battle; c.
brilliant symph. poem "Paradise
Lost" (prod. Birmingham, 1905);
concert studies for piano; songs, etc.
Harrison, Samuel, Bdper, Derby-
shire, Sept. 8, 1760 — London, June
25, 1812; tenor.
Har'rold, OrviUe, tenor; discovered
singing in vaudeville, by Oscar Ham-
merstein, N. Y., taught by Oscar
Saenger, 1909-10; d6but Manhattan
Op., N. Y., 1910; sang with Mme.
Trentini in comic opera; 191 1 at
Hanunerstein's London Opera.
Hart'inger, Martin, Ingolstadt,
Feb. 6, 1815 — Munich, Sept. 6, 1896;
tenor and teacher at Royal Music-
School, Munich.
Hartmann, Arthur, b. Mat£
Szalka, Hungary, Jidy 23, 1881;
taken to Philadelphia at the age of
two months; violinist; all his school-
ing in America; has toured Europe
and America with great success.
19Z1, solobt with Colonne orch.,
Fws; c. orch. works, violin pieces, etc.
Marty, Hamilton, b. HiUsborough,
Co. Down, Ireland, Dec. 4, 1879;
organist; pupil of his father; at 12,
organist, later in Belfast and Dublin;
in London from 1900 as an accom-
panist; c. "Irish" symph., "Comedy
Overture," "Ode to a Nightingale" for
soprano and orch. (Cardiff Festival,
ipoy), his wife, Mme. Agnes NichoUs,
singing the solo; c. also important
violin concerto (1909), chamber music
and songs.
Har'wood, Basil, b. Woodhouse,
Gloucestershire, April 11, 1859; pian*
ist; pupil of Roeckel, Rlsley, Corfe, and
at Leipzig Cons.; 1880, Mus. Bac.,
Oxford; 1896 Mus. Doc.; organist
various churches; from 1892 at Christ
Church, Oxford; 1 896-1 900 cond.
Oxford Orch. Association; 1900 chora^
(us; c. psalm "Inclina, Domine,"
voices and orch. (Gloucester Fest.,
1898), church music, etc.
Hftsche (hfeh'-«), William Ed-
win, b. New Haven, April 11, 1867:
pupil of Listemann, Perabo, and
Parker; dir. New Haven Symph,
Orch.; since 1903 teacher of instru-
mentation at Yale cond. N. H. Choral
Union (250 voices); c. symph., symph.
poems, '^WaldidyUe," "Fridjof and
Ingeborg"; cantata "The Haunted
Oak," etc.
HMssler (hessMfr), (i) Jn. Wm.,
Erfurt, March 29, 1747 — Moscow,
March 29, 1882; organist and famous
teacher; toured widely; 1892-4 royal
cond. St. Petersburg; then teacher
at Moscow; c. important piano and
organ pieces; his wife, (2) Sophie,
was a singer who travelled with him.
Hath'erly, Stephen Qeorgeson,
b. Bristol, Feb. 14, 1827; Gredc
priest; oiganist of various churches;
1857 at the Greek Church, Liverpool;
187 1 at Constantinople^ author of
works on Byzantine music.
Hausegger (hows'-^-gSr), Sieg-
mund Von,, b. Graz, Aug. 16, 1872:
pupil of his uither, of Dq^ners ana
Pohlig; 1896 cond. at Graz; 1899 of
the Kaim concerts at Munich; 1903-6
the Museum Concerts at Frankfort-
on-Main; c. mass, an opera "Hd-
frid" (Graz, 1893) ; " Zinnober" (Mun-
ich, iSqS); " Dtonysian Fantasie" for
orch., (Munich, 1899); symph. poems,
" Barbarossa," {1^2), "Wieland der
Schmied," 1904.
Hauss'man, Valentin, oiganist and
composer at Geri>stadt, Saxony,
1588 to 1611.
Haw'don, Matthias; d. Newcastle
1787, where he had been oiganist
from 1776; coxnposer.
Hay, Walter C., 1828 — Claremont
Bank, Oct. i, 1905; pupil R. A.
M.; bandmaster Twelfth Lanceis;
many years Prof. Music Shrewsbury;
organist, 1861-1883.
Hay'ter, Arthur Upjohn, Brook'*
b^i 1^33 — JuA® i9» 1909: organist.
776
THE MUSICAL GUIDE
Hesyesi (h^g'-yft-zC), Louis, Arpad,
HuDgary, 1853 — Cologne, Feb. 1894;
'cellist.
Hein (hin), Karl, b. Rendsburg,
1864; 'celUst; pupil Hamburg Cons.;
1885-^ 'cellist Hamburg Philhar-
monic Orch. ; 1890 teacher in NewYork
at German Cons.; 1903, joined with a
fellow-pupil from the Hambiurg Cons.,
August Francke, in its direction.
Hein'rich, Max, b. Chemnitz, Sax-
ony, Jime 14, 1853; barytone, pupil
of Khtzsch and at Dr^en Cons.;
1873, xx^oved to Philadelphia; 1876-82
to Marion, Ala. became very pop-
idar on concert tours ; 1888-93 prof,
at London R. A. M.; then CUcago,
where he gave a farewell recital,
iQO^; c. songs.
Heiiinck, Joannes Lupus (often
called Lupus or Lupi), d. 1541;
Flemish choir master at Cambrai,
and Bruges; c. many masses, influen-
cing Palestrina; important motets,
hvmns and songs.
Hersted, (i) Eduard,, Copoi-
hagen, Dec. 8, 1816-1903; violinist
at the Royal Chapel; from 1869,
teacher at the Cons.; c. ballets, etc.;
his brother (2) Karl Adolf, b.
Copenhagen, Tan. 4, 1818; flutist,
teacher at the Cons. ; c. 2 symph., etc. ;
his son (3) Qustav, b. Copenhagen,
Jan. 30, 1857; pupil of Gade, etc.; c.
symph. orch. suite, etc.
Hemj>el, Frieda, b. Leipzig, 1884
(daughter of a janitor); soprano;
studied the piano at Leipzig Cons.,
1903-5; then voice with Frau Lemp-
ner; d6but in Stettin; xoo6, at Bay-
reuth; 1907 Covent Garden; has sung
in Paris Op^ra, Brusseb, Viennu, etc.;
&om 1908 Berlin Royal Opera; en-
gaged for Met. Op. N. Y. 191 2.
Hemp'son (or Hampson), Denis,
Craigmore, 1695 — Magilligan, 1807
(at the age of 11 2); one of the great-
est and latest of the Irish bards; a
harper, blind from his third year; wan-
dermg afar; 1745 played for the Pre-
tender at Edinbui^
Henrion (ftA-rl-dn), Paul, Paris,
July 29, 1819 — Oct. 26, 1901; c
operettas and over a thousand popu-
lar songs.
Henriques (h£n-re'-k&), Fini Bal-
demar, b. Copenhagen, Dec. ao,
1867 ; violinist ; pupil of Tofte,
Svendsen, and Joachim; member of
court orch. at Copenhagen; c md-
dentai mus. to '' Wteland dcr Sckmied"
(1898), piano pieces, etc.
Hen'sel, Heinrich, b. Neustadt,
1880 (?); tenor; pupil of Walter,
in Vienna, and Emerich in Milan;
d6but Freibuiig, 1897, sang there for
three years; from 1900 at Fiankfort-
on-Main; 1906, Royal Opera, Wies-
baden; sang *^ Parsifaly^* etc.,atBay-
reuth, 1910; X911 at Covent Garden.
Hep'worth, (i) Qeorge, b. Al-
mondbury, England, 1825; orgamst;
at 22 went to Gennany; since 1864
cathedral organist and court-dir. at
Schwerin; c. organ music, etc.; his son
(2) William, b. Hambtrc, 1846;
organist and writer at Chemnitz;
1908, church-dir.; c. string quartet,
etc.
Herbert, Victor. Add that he
conducted the Pittsburg orch. till
1904, then founded and oond. Uie
Victor Herbert Orch., with which he
toured widely. Later comic operas
included the following great .suc-
cesses: ^* Babes in Toyland" 1903,
"The Red MiU," 1905, ''Naughty
MarieUa," 1910. "The Enchantress,"
191 1. He c. also the grand opera
"Natoma," libretto by Jos. D. Red-
ding, which was prod, by the Phfla-
ddphia Opera Co., 191 1 in Phila-
delphia and at the Met. Op., K. Y.,
the same year.
Herbst, Andreas, Nuremberg, 1588
— Frankfort, 1666; theorist and
comp.
Herites (he-re'-tSs), Marie, b.
Wodnian, South Bohemia, 1884 (?):
violinist; pupil of Sevdk at Prague
Cons.; toured Europe.
Herms, Adeline, b. Ftiesack, Oct
DICTIONARY OF MUSICIANS 777
14, 1862; mezzo-soprano; pupil of Frau
Breidenhoff, and O. Eichberg; married
the cellist, Eugen Sandow, 1895.
Her'ner, Karl, Rendsburg, Jan. 23,
1836 — Hanover, July 16, 1906;
violinist and comp.
Herzfeld (h&ts'-ffilt), Victor von,
b. Pressburg, Oct. 8, 1856; violin-
ist; pupil Vienna Cons., talung prizes
for comp. and violin ; pupil later
of Grell, Berlin; 1886, prof, at Pest; c.
chamber music, etc.
Hess, (i> Willy, add that he was
made Royal Prof., 1900; 1903-4 he
was violin prof. R. A. M., London;
resigned and became concertmaster
Boston Symph. Orch., and leader of
the Quartet; 1908 co-founded the
Hess-Schroeder Quartet. (2) Lud-
wig, b. Marburg, March 23, 1877;
pupil Berlin Royal Hochsch. and
Vidal in Milan; toured as concert
singer; from 1907 succeeded Felix
Mottl as dir. Munich Konzertgesell-
schaft; c. symphony "Hans Mem"
ling" an epic "AriadnCy" and other
works for voices and orch.; songs, etc.;
X912 engaged to tour America.
Heuser (hoi'-z&r), Ernst, b. Elber-
feld, April 9, 1863; pianist; teacher at
Cologxie Cons.; c. opera, etc.
Heyse (hl'-z6), Karl, b. St. Peters-
burg, May 10, 1879; organist; pupil of
Homeyer and H. Seifert; 1907, org.
at Frankfort-on-Main, and teacher
at the Hoch Cons.
Hin'ton, Arthur, b. Beckenham,
Nov. 20, 1869; violinist; pupil R. A.
M., later wiUi Rheinberger at Mu-
nich Cons., where his first symph. was
played; his second symph. was played
in London, 1903; c. also opera " Tarn-
ara"; operettas for children , and piano
pieces played by his wife, Katherine
Goodson, whom he married in 1903.
Hill, (i) Henry, London, July 2, 1808
— June II, 1856; viola player of
great ability (2) Edwin Burl-
ingame, b. Cambridge, Mass., Sept.
9, 1872; graduated at Harvard, 1894,
with highest honors in music, pupil
of B. J. Lang (piano), F. F. Bullard
(theory), Arthur Whiting (piano),
later with Widor (comp.), in Paris, and
G. W. Chadwick (instrumentation);
1887-1902 taught piano and harmony
in Boston, then took up writing for
magazines; 1908-12, musical instruc-
tor at Harvard ;c. fantastic pantomime
for orch. "Jack Frost in Midsummer"
(Chicago Orch. 1907, N. Y. Symph.
1908); women *s chorus with orch.
"Nuns of the Perpetual Adoration"
(Musical Art Society, 1907, Birm-
ingham, England, Orch.. etc.); dra-
matic lyric for tenor and orch., 3
piano sonatas, songs, etc.
Hilton, (i) John, d. before 161 2;
organist at Cambridge, 1594; per-
haps the father of (2) John, 1599 —
1656-7; organist at Westminster; c.
anthems, madrigab, etc.
Hirsch'mann, Henri, b. St.Maud6,
1872; composer, under pen-name of
V. H. Herblay, of operas, "V
Amour d la Bastille^** (Paris, 11897),
"Lovelace" (do., 1898), "Hernani"
(do., 1900); operettas "Das Schwal-
benrest" (Berlin, 1904, in Paris, 1907,
as Les kirondeUes); "La petite Bo-
hhne" (Paris, 1905; in Berlin 1905,
as "Musette"), etc.
Hit'zelberger, (i) Sabina, Rander-
sacker, Nov. 12, 1755 — i^ter 1807;
soprano of 3-octaves range; wife
of the 'cellist H., her maiden name
unknown. Her daughters (2) Ku-
nigunde, soprano ; (3) Johanna,
alto ; wife of violinist Bamberger ;
(4) Regina, 1789 — Munich, May
10, 1827; married Lang, and bore a
daughter, Josephine Lang-Kost»-
lin, who composed songs.
HIawatsch, (hla'-vftch), Woizech
Ivanovitch, b. Leditsch, Bo-
hemia, 1849; organist; pupU Paris
Organists' School; cond. in various
Bohemian cities; from 187 1 in St.
Petersburg, as cond. of students or-
ganizations; 1900, organist of the
court orch.;c. comic opera "0&/a»c,"
C^oumanian rhapsody for orch., etc.
778
THE MUSICAL GUIDE
Horbrooke, Josef (or Joseph) »
b. Croyden, July 6, 1878; English
coQiposer; pupil of the R. A. M.,
till 1808 ; c. ^rmph. poems "The
Raven'^ (Crystal Palace, 1900); **Ode
to Victory, ""The Skeleton in Armor, "
"Uhlume" (London Symph., 1904),
"Queen Mob" (Leeds Fest., 1904),
" The Masque of the Red Death, " over-
ture, "The New Renaissance," etc.
His opera "The Children of Don"
(libretto by Lord Howard de Walden),
was prod, at the London Op., June
15 191 2 with Nikisch conducting
without success.
Hollander (hM'-lfin-dfr), Benno,
b. Amsterdam, June 8, 1853; vio-
linist; played as child, then studied
with Massart and Saint-Sa&is at
Paris Cons., winning first violin prize,
1873; ^^^^ 1^76 toured, then settled
in London as viola player; 1882,
cond. German Opera season; 1887
violin prof, at the Guildhall; cond.
London Symph. Concerts; 1903, or-
ganized the Benno H. Orchestral Soci-
ety; c. symph. "Roland"; violin con-
certos, pastoral fanta.sia played by
Ysaye, 1900, etc
Horiingshead , Frederick Ed ward *
d. July 5, 1907; organist at Bath;
Fellow Royal College of Org.
Horiins, Alfred, b. Hull, Sept. zi,
1865; pianist, and org.; blind from
birth; pupil of Hartvigson; played
Beethoven concerto as a boy; at 16
played for the Queen; pupil of
Billow, later at Raff Cons.; played
for crowned heads, and toured Amer-
ica; 1884, org. at Redhill; 1888 at
People's Palace; 1897 at Edinburgh,
Free St. George's Church; c 2
overtiues, organ music, etc.
Hoist, Oustav Von, b. Chelten-
ham, Sept. 21, 1874; dir. Morley Col-
lege; pupil R. C. M.; c. operas "Sita"
axid"Savitri"; scene w. orch. "The
Mystic Trumpeter," "Ave Maria" for
women's voices, etc.
Ho'mer, (i) Sidney, b. Boston,
Mass., Dec 9, 1864; prominent
American sang-con^XMer; piffiil of
G. W. Chadwick, then of Rhein-
berger, O. Hieter and Abd in Ger-
many; 1888-96 teacher of theory in
Boston; c. many important songs.
In 1895 he married (2) Louise
(Dil worth Beatty), b. Pitts-
burgh, Pa.; famous operatic contralto
pupil of Miss Whinnery and Miss
Goflf. W. L. Whitney, and of her hus-
band in theory; then studied in Paris
with Fidtie Koenig; d^ut, 1898 at
Vichy; from 1899 at Covent Garden,
and regularly at the Metropolitan
Opera House as leading contralto
with especial success in Wagnerian
r6les, also as "Orfeo," eic.\ 191 2 cre-
ated title-r61e in ^*Mona."
Hop'kinson, Francis, composer;
i737'9i;one of the earliest American
composers; inventor of the "BdUar*
montca"
HorvAth (h6r'-vat), Q^za, b. Kom-
&ron, Hungary, May 27, 1868; pupQ
of L. Schytte, etc.; teacher in Vienna.;
c. popular piano-pieces.
HSsel (h&'-zfl), Kurt, b. Dresden,
Jan. 20, 1862; Mus. Director and
composer; pupil of the Cons.; cond.
Wagner Concerts there from 1895 and
founded the Philh. diorus; c. male
and mixed choruses, etc.
Hoy'a, Amadeo Von Der, b. New
York, March 13, 1874; violinist; pupfl
of Joachim, Halir, etc, in Berlin; con-
certmaster, N. Y. Symph. Orch.;
1894-6 cond. court opera at Bay-
reuUi; from 1901 concertmaster at
Linz; author of a method.
HuS, Qeorges Adolphe, add that
his opera ''X« roide Paris" was prod.
1901, "Titania" 1903.
Huhn, Bruno (Siegfried), b. Lon«
don, 187 1 ; org. and pianist; pupil of
Sophie Taunton, later in New York
of S. B. Mills and L. Alberti; has
toured Europe as pianist; prominent
accompanist in New York; c. "Te
Denm" with orch., and many sonn.
Hull, Alexander, b. Columbus, o!,
Sept. 15, 1887; pupil of his mother
DICTIONARY OF MUSICIANS 779
and (by corNspondence, later in
person) of Dr. Hugh A. Clarke;
studied 'cello with Michael Brandt,
Cincinnati, voice with H. A. Preston
and H. B. Tuipin, Columbus; took
music bachelor degree Univ. of
Penna; teacher in Pacific College,
Oregon; c. orch. suites, 'cdlo pieces,
songs, etc.
Hulsteyn (htil'-shm), Joal'n C.
Van, b. Amsterdam, 1869; violinist
pupil at Lidge Cons, of C&ar Thom-
son; won first prize J played in La-
moureuz orch., Pans; prof, at Pea-
body Inst., Baltimore.
Humbert (&n-bar), Qeorges, b.
St. Croix, Switzerland, Aug. 10, 1870;
oiganist; pupil Leipzig and Brussels
Cons., ana of Baxgiel; teacher of mus.
history at Geneva Cons, and org. at
N6tre Dame; from 1893 at Lausanne.
Humperdinck, Engelbert, add
that in 1900 he became dir. of
Master-School of the Beriin Royal
Acad, of Arts. His " Kifnitskifider"
(written in 1896 and played in
excerpt at concerts), was prod, at
Met. Op., N. Y., 1910 with greatest
success, later in Europe. **Dom'
rdsch€n** was prod. Frankfort-on-
Main (1902), com. op. "Die Heirat
wider Willen" (Berlin, 1905), indd.
music to Aristophanes' " Lysistraia,**
(do., 1908); Shakespeare's ''Winter's
Tale,'' and "Tempest," (do. 1906).
Hur'ka, Friedrich Franz, Merk-
lin, Bohemia, Feb. 23, 1762 — Ber-
lin, Oct. 10, 1805; tenor and comp.
of songs.
Hur'lebusch, (i) Harris Lorenzo,
b. Hanover, July 8, 1666; organist;
his son (2) konrad Fr., Braun-
schweig, 1696 — Amsterdam, Dec.
16, 1765; organist; and cond.: c.
72 odes, etc.
Hurl'stone, Wm. Yeates, Lon-
don, Jan. 7, 1876 — May 30, 1906;
composer; at 9 pub. 5 waltzes; at
18 held scholarship at R. A. M.; later
Prof, there of harmony and counter-
point; c piano concerto, etr
Huss, Henr^ Holden, add that he
and his wife, the soprano, Hllde-
gard Hoffman, have given joint
recitals throughout America, and 191P
in London. His piano concerto in
B major has been played with the
composer as soloist by the N. Y.
Philh., Boston Symph., Pittsburgh
and Cincinnati Symph, orch's. and
by the Monte Carlo Symph., with
Pugno as soloist; his violm sonata
has been plaved by Kneisel, Spiexing.
etc.; his " The Recessional" for mix^
chorus, organ, and orch. (Worcester,
Mass. Festival, 191 1); string quartet
in £ minor (Kneisel Quartet); 'cdlo
sonata much played; songs, etc.
Huszla (hoosh'-lft), Victor, St.
Petersburg, Oct. 16, 1857 — Lisbon,
Nov. 14, 1899; violinist; pupil of
Schradieck and C6sar lliomson;
1887 cond. Royal Academy of Music
Lovers, Lisbon; c. 3 Portuguese
rhapsodies, Portuguese suite, etc.
Hutch'eson, (i) Francis, b. Glas-
gow, 1720; physician and comp. of
glees, etc., under pen-name Francis
Ireland. (2) E r n e s t , b. Mel-
bourne, Australia, July 20, 1871;
pupil of Leipzig Cons., 1886-1892,
winning Mozart prize with a trio;
toured Australia; studied with Staven-
hagen; 1898 married Baroness von
Pifiach; from 1900 teacher Peabody
Cons., Baltimore; c. symph. poem
"M^Un and Vivien" (Berlin, 1899);
orch. suite (do.), piano concerto
(1899).
Huygens (hI'-gens),Constantin,The
Hague, Sept. 4, 1596 — March 28,
1687; poet and military secretary to
William II and William HI; also
skilful performer; c. over 700 airs for
lute, theorbo, etc.; his son (2) Chris-
tian, The Hague, April 14, 1629 —
June 8, 1695; mathematician and
musician.
Hy'att, Nathaniel Irving, b. Lan-
singburgh, N. Y., April 23, 1865;
pupil of White and Jefferey at Troy;
irom 1887 at Leipzig Cons.; 189a
78o
THE MUSICAL GUIDE
settled in Trqy as teacher; 1895-9
prof, of piano and theory, S>Tacuse
University; then head teacher at St.
Agnes School, Albany, N. Y. ; c. symph.
overture *^ Enoch Arden^" chamber
music, songs, etc.
If'fert, August, b. Biaunschweig,
Ma^ 31, 1859; singer and teacher ux
vanous cities; author of a vocal
method.
Igumnoff (6-goom'-noff), Kon-
stantin Nikolajavich, b. Leb-
edjana, Tambouv, May i, 1873;
Russian pianist; pupil of Sverefi,
Siloti and Pabst; 1898, teacher in
Tiflis; 1900 Prof, at Moscow Cons.
Iljinski (al-ygn'-shkl), Alexander
Alexandrovich, b. Tsarkoe Selo,
Jan. 24i 1859; composer; pupil of
KuUak and Bargiel; 1885 Prof,
of theory at the Philharmonic
Music School in Moscow; c. opera
'*The Fountain of BaskhiSarai" ;
symph.; symphonic scherzo; mdden-
tal music to Sophokles' "Oedipos " and
'^PhilokUtes;" overture to Tolstoi's
^*Czar Feodor," etc.
Imbart de la Tour (&n-b&r da lH
toor), Qeorges, b. Paris, May so,
1865; operatic tenor; pupil of the
Cons.; a6but i8pi, Geneva; sang at
the Op6ra Comique, Paris, and Th.
de la Monnaie, Brussels; 1901 sang
in the U. S.
India, Sigismondo d*, flourished
1608-162 1 ; bom of a noble family in
Palermo; court mus. director in
various Italian cities; c. madrigals,
etc.
Indy, Vincent d*, add that while
185 1 is the birth year in the Paris
Cons, records, the composer gave
Philip Hale the year 1852 as correct;
1896 he became prof, of Composition
at Paris Cons.; 1896 with Boxdes and
Guilmant founded the Schola Can-
iorumf and became director; c. "L«
chant de la cloche,*^ dramatic legend
in seven pictures, with his own text,
for soli, double chorus and oicfa.
Festival cantata "Pour rinaugur<^
lion d^une Statue" for baiytone,
chorus and orch.,^'0^ d Valence, " do.
symph. in B flat 1902; Jour d*itS d
lamontagfiey 1905; Souvenirs fororch.
1906; songs, piano pieces and
choruses, auUior of a Cours de Com-
position MusicaUf 1902, and a life of
C^rFranck, 1906.
Ippolitov-lvanov(€p-p5MM6f-£'-v&-
n6f), Mikhail Mikhailovitch, b.
Gatchina, Nov. 19, 1859; added his
mother's name, to Ivanoff. to dis-
tinguish him from Ivanofl (2); pupfl
of Rimsky-Korsakov; at St. Peters-
burg Cons.; 1882 dir. of the Music
School and cond. in Tiflis; 1884
cond. at the Imperial Theatre; from
1893 prof . of theory at Moscow Cons,
from 1899 cond. the Private Qpera; c
operas "i?«/A," (Tiflis, iSS7),"Asja,"
(Moscow, I poo); and '' Sabaoa
Futjalischnaf (St. Petersburg, 1901);
overtures "Jar Chmel," "Spring,"
and "Medea"; orch. suite, "Caucasian
Sketches "; violin-sonata (rearranged
as a Sinfonietta); character-pictures
for chorus and orch.; cantatas "In
Memory of Pushkin" of Gogol and
Shukovski, and "Uiend of the WhiU
Swan of Novgorod," etc.; author di
a book on Georgian folk-songs.
I'rons, H. S., Canterbury, 1838 —
Nottingham, June 29, 1905. Oigan-
ist and prolific comp. of church music.
rvanov, (i) Nicholas Kusmichv
Poltava, Oct. 22, 1810 — Bologna,
July 7, 1880; tenor; popular in Lon-
don, 1834-^7; acciunulated a fortune
in Italy and Paris and retired in 1845;
(2) Michael Mikhailovich» b.
Moscow, Sept. 23, 1849; pupil of
Tchaikovsky and Dubuque at the
Cons.; critic and comp.; 1870-76 at
Rome; then critic for the Nocoe
Vremya; c. symph. "A Night in May**;
.symph. prologue "Savonarola"; four
Operas including "Potemkin*s Feast'*
(1888), and "Sabava PutjoHsckna**
DICTIONARY OF MUSICIANS 781
(Moscow, 1899); incidental music to
'* Medea," etc. His opera ** Treach-
ery" (Moscow, Feb. 191 1), made great
success.
Jachimecki (y^Lkh-I-mCt'-skl), Lad-
islav, b. Lemberg, July 7, 1882;
pupil of SchSnberg and Gr&dener;
author and composer in Cracow.
laco'bi, Georges, Berlin, Feb. 13,
1840 — London, Sept. 16, 1906;
violinist; pupil of De B^ot, Massart,
etc., at Paris Cons.; 1861, violinist
at the Opera when "Tannhauser" was
first performed; cond. light op6ra and
ballets, first in Paris, an^ for 26 years
('72-'95) at the Alhambra, London; c.
operas and a hundred ballets and
divertissements, many of them per-
formed in America, Brussels, Berlin,
Mimich, Rome, Paris.
Jacques 0'&'-<luez)i Edgar P., Lon-
don, March 27, 1850 — Brighton,
Dec. 30, 1906; organist and critic.
Jafr6 (yftf'-ffi), Sophia,b. Odessa, Feb.
26, 1872; violinist; pupil of Auer; later
at Paris Cons, where she won first
Erize; toured Germany with success
ut inheriting a fortune, left the
concert stage.
Jflger (yft'-gfir), Fd., Hanan, Dec. 25,
1838 — Vienna, June 15, 1902; tenor
at Vienna and Bayreuth; notable as
Siegfried and Parsifal.
Jftrnefelt (yam'-fi-felt), Armas, b.
Wiboig, Finland, 1869; pupil of
Helsin^ors Cons., later of Becker in
Berlin, and Massenet in Paris; cond.
of court opera in Stockholm; 1906 dir.
of Helsingfors Cons.; c. symph. poem
** Korsholm"; fantasie "Heimat
Klang" for orch.; important piano
pieces, etc.
Jarno (yftr'-no), Qeorg, b. Pesth,
June 3, 1868; composer; cond. at Bres-
lau city theatre, c. operas **Die
Sckwafze Kaschka" (Brc»lau, 1895),
"Der Rickter von Zalamea," (do.,
1899), "Der Zerhrochene Krug,"
(Hamburg, 1900). ''Der Goldfisck"
(Breslau, 1907), and "Die FOrster-
Chistel" (Vienna, 1907).
Jaspar (^fis-pftr), Maurice, b.
Lidge, June 20, 1870; pianist; pupfl
and later teacher at the Cons.; c
piano pieces and songs.
Jenner (y&i'-nSr), Qustav, b. Keit-
um, Island of Sylt, Dec. 3, 1865;
pupil of Stange and G&ilge in EJel,
of Brahms and Mandyczewski in
Vienna; from 1895 director in Mar-
burg; c. songs and quartets for
women's voices.
Jentsch (y&itsh). Max, b. 2Sesar,
Saxony, Aug. 5, 1855; pianist and
teacher; pupil of Stem Cons.; toured
the Orient; 1884-89 in Constant!-
nople; later in Berlin; from 1894 in
Vienna; c. symphony, "Elysium" for
chorus and orch., 2 operas, etc.
Jirfinek (ye'-r&-n€k), (i) Anton
ca. 1712 — Dresden, Jan. 16, 1761;
studied at Prague; later joined the
royal chapel at Warsaw. (2) Josef,
b. Ledec, Bohemia, March 24, 1855;
pianist; pupil of Smetana, and of the
organ scnool at Prague; studied the
harp with Stanek, the violin with
Hrimaly, and was a harpist at first;
1877-91 piano teacher at Charkov;
thereafter prof, at Prague Cons.;
c. "Ballade^' and "Scherzo faTUasti-
que" for orch., piano pieces; author of
methods. His brother (3) Aloys^
b. Ledec, Sept. 3, 1858; pupil of
Prague Organ School, and in compo-
sition of Fibidi; from 1*881, piano
teacher at Charkov; c opera Dag'
mar," etc.
Johnson, (i) John,d. 1504-5; musi-
cian to Queen Elizabetn; c. lute-
music; (2} William Lyman, b.
Boston; studied there, graduated
from Harvard, 1897; c. Persian sere-
nade for tenor, chorus and orch.;ls
• preludes for ordi., etc. (3) Wil-
liam Spencer, b. Athol, Mass..
Dec. 7. 1883; pupn of Perabo, aai
Goetschius, Boston; 1901-7 of Rein-
ecke and H. Riemann, Leipzig; from
1910, teacher at Quincy, HI.; c songs.
782
THE MUSICAL GUIDE
Jomelli (y0-mfl'4€), Jeanne, b. Am-
sterdam, May 18, 1879; soprano;
pupil of Mescfaaert, Stockhausen
and Massenet; d6but Amsterdam
Opera, 1897; toured in concert;
1905 (?), Met. Op., N. Y.; 1907-8
Manhattan Op., N. Y.
Josephson (yd -zSf-z(Sn), Jacob Axel,
Stockholm, March 27, t8i8— Upsala.
March 29, 1880; Swedish cond. and
composer.
Juon (zhw6n), Paul, b. Moscow.
March 8, 1872; violinist; pupil of
Hrimaly, Taneiev and Arensky, later
of Bargid in Berlin, where he won
the Mendelssohn Scholarship; 1896
taught theory at Baku; 1897 settled
in Berlin; from 1906 teacher of compo-
sition at the Roval High School for
music; c. 2 symph., the second prod,
with much interest at Meiningen,
1903, and in London, 1004 and 1905;
fuitasie fororch., "WUcfUmifeise," on
Danish folk-themes, orch. suite,
"Aus tneinem Tagebuch"; chamber
music, "Satyrs and Nymphs," and
other piano pieces.
Juul (yool), Asger, b. Copenhagen,
May 9, 1874; pupil of Hansen,
Rosenhoff and Riemann in Leipzig;
from 1906 teacher and critic at Co-
penhagen; c piano pieces and songs.
Kad'letz, Andreas, b. Dobrisch,
Bohemia, Feb. 18, 1859; violinist;
concertmaster at Impenal Russian
Opera, St. Petersburg, and teacher;
pupil Prague and St. Petersburg
Cons.; c. opera, ballets, and violin
pieces.
Kahl (kfil), Oscar W., Thuringia,
,1862 — Baltimore, Dec. 29, 1910;
teacher in Peabody Cons., Baltimore.
Kajanus (k£-ja'-noos), Robert, b.
Helsingfors, Dec. 2, 1856; Finnish
composer; pupil Leipzig Cons.:
returned to Helsingfors, foimded
an orchestra school, and developed
the Phil, orch.; 1897 mus. director
of the University; c. 2 Finnish rhap-
sodies, symph. poems **Aino" and
"KuUervo"; orcL suite ** Summer
Memories," cantata, etc.
Kalafati (kSrl&'-f&-t€), B., b. Et»-
patoria, Crimea, 1869; Russian <?Qiii-
poser of songs and piano sonatas, etc
Kam'mel, Anton, Hanna, Bohania,
1740 — London, before 1788; violiiiist
and composer; pupil of Taitini; c
masses, violin duets, etc
Kaempfert (k&np'-fCrt), Max, b.
Berlin, Jan. 3, 187 1; studied in
Paris and Munich; 1899 cond. at
Pahn Garden, Frankfort-on-Main; c
opera, 3 rhapsodies for orch., etc
Kaiin'nikoy, Vassili Sergeievich,
Voina, Jan. 13, 1866 — Jalta, Crimea,
Jan. II, 1901; pupil of njinski and
Blarambeig at Moscow; 1893 as-
sistant cond. at the Italian Open
there; compelled to retire mm
pulmonary trouble and go south; c
2 symph., the first in G. minor, much
played; 2 symph. poems, "The
Nymphs" and ** Cedar and Palm":
music to Tolstoi's "Csor Boris,
(Little Theatre, Moscow, 1899);
'*Russalka," ballade with orch., can-
tata, "5/. John of Damascus," etc
Kap'pey, Jacob Adam, Bingen,
1826 — Chatham (?) Dec 6, 1907;
went to England 1848; 1857 buid-
master Royal Marines; c opera and
cantata. Author of a histozy of
wind instrumental bands, (1804).
Karg-Elert (kSrkh-ft'-l&t), Sigfrid,
b. Obemdorf, Nov. 21, 1879; pupil
Leipzig Cons.; teacher and composer,
especially for the harmonium.
Karlovicz (kfirr-y5-vlch), Mieczy-
Slav, Wisznievo, Lithuania, Dec. xz,
1876 — (in an avalanche), Zakopane,
Galida, Feb. 10, 1909; composer;
studiea in Warsaw and Berlin; c
symph., symphonic-trilogy " Three
Anctent Songs" (1907), "Liihuaniam
Rhapsody" (1908), also published
Chopin letters and documents (War-
saw and Paris, 1905).
5,190
,nIc<
Kasachen'ko. Nicolai Ivanoviclu
^
DICTIONARY OF MUSICIANS 783
b. Russia, May 3, 1858; cond.; pupil
St Petersburg Cons.; 1883 cnonis
master at the Imperial Qpera; cond.
"Russian Concerts" in Faris, 1898,
c symph., 2 oriental suites, 2
operas, "Prince Serebrianni" (St.
Petersburg, 1892), and " Pan Sotkin,^'
(do., 1902).
Kasan'li, Nicolai Ivanovich, b.
Tiraspol, Dec. 17, 1869; Russian
composer; pupil Odessa Music school
and St. Petersbiug Cons.; has cond.
Russian symph. concerts in Germany,
Bohemia, etc.; c. symph., sinfonietta,
cantata Russalka" (Munich, 1897),
and "Leonare" (do.).
Kasch'in, Daniel Nikitich, Mos-
cow, 1 773-1844; composer of Polish
folk and patriotic songs; also three
operas.
Kaschinski (k&-shlh'-ski), Viktor,
Wilna, Dec. 30, 181 2-1870; pupil of
Eisner in Warsaw; cond. at St.
Petersburg; c. operas.
Kash'perov, Vladimir Nlkitich»
Simbirsk, 1827 — Romanzevo, July
8, 1894; Russian composer: pupil
of Voigt and Henselt; and comp.
an opera in 1850, then went to Berhn
to study with Dehn; thence w^
Glinka to Italy, where he produced
various operas. "Maria Tudor"
(Milan, 1859), "Rienzi" (Florence,
1863), "Consuelo," (Venice); 1866-72
he was singing teacher at Moscow
Cons., and organized public chorus-
classes; c. also operas "The Weather"
(St. Petersburg, 1867), and "Taras
Bulba" (Moscow, 1893).
Kat'zer, Karl August, Berge, near
Bautzen, Dec. 3, 1822 — May 19,
composer; 1904; composer of Wendina
songs and dances.
Kaulich (kow'-likh), Josef, Floris-
dorf, near Vienna, Nov. 27, 1827-
1900; composer of 7 masses, ako
military music.
Kaun (kown). Huso, b. Berlin,
March 21, 1863; pupu at Royal High
school xmder Grabau and Fr. Schulz;
aWo with K. and O. Raif, and Fr.
Kiel; 1887 took up re^dence in Mil-
waukee, Wis., as teacher and cond.:
1900 returned to Berlin; 191 2, elected
to Berlin Royal Academy; c. symph.
"An Mein Vaterland" symph. prolog
"Marie Magdalene"; symph. poems;
festival march "The Star Spangled
Banner f" chamber music with orch.,
"NormannenAbschied"; i-act opera
'I Der Pietist" or "Oliver Brown," aad
important songs and piano pieces.
Kelly, Thomas Alex., Sixth Earl
of Erskine, Sept. i, 1732 — Brus'
sels, Oct. 9, 1 781; pupil of Stamitz;
c. popular overture "The Maid of
the Mill," minuets, etc.
Keussler (kois'-ler), Qerhard von,
b. Schwanenburg, Livonia, July 6,
1874; pupil Leipzig Cons.; cond. 2
singing societies in Prague; c. symph.
poems, etc.
Kiairmark (i) Qeorge, Kings,
Lynn, Feb. 1781 — Islington, March
1835; violinist; and comp. His son
(2) Ueorge Frdk., Ishngton, 1804
— ^ London, 1887, was a pianist.
Kiefer (kS'-fSr), Heinrich, b. Nur-
emberg, Feb. 16, 1867; 'cdHst; pupil
of Royal Cons., 1883 at Munidi,
1884, Stuttgart, 1887-90, Frankfort-
on-Main with Cossmann; 1896;
soloist of Leipzig, Phil.; 1898 do. of
Berlin Phil.; 1900, teacher at Stem
Cons.; from 1902, co-fo\mder of the
Munich string quartet; tours widely.
Kienzl, Wm., his opera, " Kuhrei-
gen" (Vienna Volicsoper, Nov. 25,
191 1) has been a great sue. in Europe.
Kin'der, Ralph, b. Stalybridge, Lan-
cashire, Jan. 27, 1876; organist in
Bristol R. I.; 1888-1897 studied in
London with Dr. Pearce, Dr. Turpin,
and £. H. Lemare; from 1899 in Phil-
adelphia, Holy Tnnity; toured U. S.;
c. church music, etc
Kirbye (k&'-bl), George, d. Bury St.
Edmunds, Oct. 1634; popular English
composer of madrigals 1592-1634.
Kit'ziger, Frederick E., Saxony.
1850 — New Orleans, Feb. 3, 1903;
teacher.
784
THE MUSICAL GUIDE
Kleefeld (kl&'-fm), Dr. Wilhelm,
b. Mayence, April 2, 1868; author and
comp.; pupil of Radecke, Hfirtd and
Spitta; 1 89 1 cond. in Mayence, etc.;
1897 Ph. D., i89&-*oi teacher at the
Klindworth-Scharwenka Cons.; c.
opera "Anarella" (Kdnigsbeig, 1896)
string suite, etc.
Klenov'ski, Nicholas Semeno-
vich, b. Odessa, 1857; pupil Mos-
cow Cons.; leader of private concerts
there 1883-93; when he became cond.
at the Imperial Theatre, then a
teacher at Tiflis till 1902, then as-
sistant cond. of the Imperial Chapel
at St. Petersburg; c. ballets, "Has-
heesh" Moscow, 188^; "Salanga**
(St. Petersburg, 1900); orch. suite
"Fata Morgana," cantatas, etc.
Kliifka ndltch'-kft), Josef, b. Klat-
tau, Bohemia, Dec.15, 1855; organist;
pupil Prague Cons, and later Prof,
there; c. an opera, organ music, etc.
Klose (klO'-zQ, Friedrich, b. Earls-
ruhe, Nov. 29, 1862 ; composer ;
pupil of Lachner, Ruthardt and
Bruckner; 1907 teacher of comp. at
the Akademie der Tonkunst, Munich;
c. dramatic symph. "IlsebiU," or "The
Fisher and his Wife" (Karlsruhe,
1903); mass with orch.; symph. poem
in three parts "Das Leben ein Traum "
with organ and women's chorus,
(Karlsruhe, 1890), etc.
Knap'ton, Philip, York. 1788-1833;
assistant cond. of York FestivsJs
and comp.
KnUpfer (k'nTp'-f&), Sebastian,
Asch, Saxony, 1633 — Leipzig, 1676;
editor and comp.
Kochetov (kQ^-chM6f), Nicholas
Razoumnikovich, b. Oranien-
baimi, July 8, 1864; mainly self-
taught; critic and comp. of a symph.
(1895) 2^ opera and piano pieces.
KOckert (kek'-M), Adolph, b.
Magdeburg, Oct. 27, 1828; violinist;
pupil Prague Cons.; 1857-1881 in
business, then retiuned to composi-
tion; c. oratorios, etc.
Koenen, (koo'-nCn), Tilly, b. Java,
of Dutch p€u:ents, her father a cavalzy
general and Governor of the Province:
pupil of the Amsterdam Cons, and
with Comelie van Zanten; iSgp,
sang In London, Berlin, etc.; 1909 n
the U. S.
Koessler,(ki(sM«r) Hans,b. Waldeck,
Jan. X, 1853; organist; pupil Munich
Cons. 1877 teacher at Dresden Cons.^
and. cond. of the Liedertafd; 1882
teacher at Budapest; c. Psalm for z6
voices, winning a prize at Vienna; a
symph., an opera Der MUnzenfrans"
(Strasburg, 1902). etc.
Kolachev'ski, Michail Nicolaiev-
ich, b. Oct. 2, 185 1 ; pupil Leip-
zig Cons. ; c. " Uhranian syn^uL
and church music.
Kolakov'ski, Alexei Antonovich^
b. Podolia, 1856; violinist; pupil St.
Petersbuiig Cons., 'winning goki
medal ; and government funds for
foreign study ; teacher at Moscow
Cons., and solo violinist at the Im-
perial Theatre: 1897 teacher in Kiev.
Kolb (k61p) Karlmann, Kostlam,
Bavaria, 1703 — ^Munich, 1765; Bene-
dictine monk; organist at the Abbey
of Aschbach, later tutor in Munich;
c. church music.
K»ler (kft'ier), David, Zwickau,
Saxony (2) — July, 1565; composer;
1563 cond. at Gustrpv in Mecklen-
burg; then cantor at Zwickau till his
early death; c. in^xirtant work "Ten
Psalms" (Leipzig, 1554).
Komorovski (k6m-a-r6f'-sld), Ignaz
Marzel, Warsaw, 1824 — Oct. 14,
1858; composer; Polish song conmoser.
KSnigsperger (kft'-nYkhs-pfrkn-fr),
Marian us, Roding, Bavaria, Dec 4,
1708 — Ratisbon, Ort. 9, 1769. Bene-
dictine monk who devoted the proceeds
of his very successful works to the
Abbey; c. church music, also operas.
Konius, vide conus.
KSnnemann (k£n'-n«^miln), Ar*
thur, b. Baden>Baden, March 12,
185 1 ; composer; pupil of his father (a
cond. of the Kur-orchestra), Kra»-
selts and Deec^es; theatre-cond is
DICTIONARY OF MUSICIANS 785
vtfknis dties: from 1887 to Mflhrisch-
Ostrau as director of a oonaervatory
and cond. c the Luitpold-prize opera
'*Dcr telle Eberstein" (Munich. 1898);
symph. suite "Indien'* etc
Koptjajev (k6pt'-y&-ye0, Alexan-
der Petrovicliy, b. St. Petersburg,
Oct. 12, z868; author and com-
poser of **OnefUal Dances'* and
*'£^fi«,"fororch.,etc
KoreJTtchenko ( k6r-&ht-ch&i'-k0),
Arseni Nicliolaievicfi, b. Moscow,
Dec. 18, 1870: pupil of the Cons.,
winning a gold medal in 1891: later
teacher there and m the School of
the Synod ; c. i-act opera ** Bd-
shauar's Feast" (Moscow, i892),a-act
''The Angel of Death" *The Ice
Palace" (Moscow 1892}; two "Sym-
fhonic Pictures," ,'*Symphome tyr»
tque" (op. 23), chamber music, etc.
Kor'ganovy uennari Ossipovich,
Kwarelia, May 12, 1858 — Rofr-
tov, April 12, 1890; pianist and
composer; pupU of Leipzig and St.
Petersburg Cons.; c. piano pieces, etc.
Korn'gold, Erich Wolfgang, b.
Vienna, May 29, 1897; remarkable
boy composer and pianist; at a con*
cert in Berlin, Mardh 1911, his trio in
D Major, op. I., composed at the age
of 13, was played; also portions of two
piano sonatas, and a series of "Fairy
Pictures "; he c a ballet given at the
Royal Opera and elsewhere; trio
(R086 (Quartet, Berlin); serenade and
pantomime, **The anauman" (Lon-
don. 191 2).
Kotsnetov, vide kochetov.
Kovai^ovic (k5-vfir'-zh6-vlts); Karl»
b. Prague, Dec. 9, 1862; pupil of the
Cons., and of Fibich; from 1899
oond. at the Bohemian Landestheater
in Prague; where many of his operas
have been given from 1884 to FrO'
quita" (1902); c. ballet "Hasheesh,"
piano concerto, etc
Kozlovski (k6s-ry6f-ski), Joseph
Antonovich, Warsaw, 1757 — St.
Petersburg, Feb. 11, 1831; teacher
kk the household of Prince Oginski;
went to the Turkish war. attracting
the notice of Prince Potemkin, who
took him to St Ptetemburg, where he
became director of the court balls,
and c a war song which was for a
long time the Russian national
anthem: c also requiem to the PoUsh
King Stanislas, and the Czar Alex-
ander L etc
Kramm« Qeorg, b. Eassel, Dec. ir,
1856; violimst of couit orch. at Kas-
sd, from 1880 in DUsseldorf, where
his opera "Leonore" was prod. 1903.
Kraus (krows), (x) Joseph Martin,
Miltenberg. 1756 — Stoddiolm^ 1792;
pupil ot Abt Vogler; 1778 director
and oond. at Stockholm opera;
c operas, synmbs., etc. (2) Ernst,
b. Eriangen. Bavaria, June 8. 1863;
tenor; pupil of Camera ana Frau
Schlmann-Kegan; 1893 ^^^^ &^
Mannheim; from 1806, Beriin Royal
Opera; (3) Felix von, (not
Krauss as given), b. Vienna, Oct.
%, 1870; bass; pupU of Stockhausen
for two months, but largely self-
taught; sang Hagen and Gumemanz
at Bayreuth; from 1908 teacher at
Royal Akad. der Tonkunst, Munich.
His wife (4) Adrlenne* (Os*
borne) b. Buftalo, N. Y., 1837;
pupn of Marie GOtze.
Kreider (kri'-der). Noble Wick-
ham, b. Goshen, Lid.; composer;
pupil from 15th year of Clarence
Forsyth, Indianapous; visited Europe:
lives at Goshen; c orch. works, ana
important piano pieces, ballads, con-
sert studies, etc.
Krem'berg, JakobyWaisaw, ca. 1650
— London (?) after 17x8; composer;
cotirt poet and comp. at Halle. Stock-
holm, Hamburg, Warsaw and London;
c. songs of unusual melodiousness.
Kreuz (krolts), Emll. b. Elberfeld
May .25, 1867; viola player; pupil of
Japha at Cologne; 1883, won an open
scholarship at the R« A* M., London;
studied there till 1888, when he made
d6but as vioU-soloist in Berlioz'
"Harold in Italy"; member of the
786
THE MUSICAL GUIDE
Queen's Bamd 1900-3, tlien asastant
at Covent Garden; c viola concerto,
prize quintet^tc
Kroegeft E. K. add that his orch.
suite "Lalla Rookk" has been played
by the Thomas, Herbert, Damrc»ch
and other orch's. His comps., in-
clude a piano sonata op. 33, concert
studies tor the piano, violin and
piano sonata; and many other piano
pieces, songs, etc.
Krogulski (krO-goor-ski), Joseph,
Tamov, 1815 — Warsaw, Jan. 9,
1S43; composer; pupU of Eisner:
c 10 masses, an oratorio, etc.
Krohn QrxQd), Ilmari Henrik
Rheinhold, b. Helsingfors, Nov. 8,
1867; Finnish author and con^). of
sacred songs, piano sonatas, etc
Kroy^er* Tneodor» b. Munich, Sept.
9, 1873; author, critic and comp.
studieid theolc^, then music at the
Akadamie der Tonkunst; 1897, Ph. D.
Munich University; c. 2 symphonies
with ^orus and soH, chamber music,
etc.
Kruse (luoo'-zQ, Qeorg Richard»
b. Greiffenborg, Jan. 16, 1856;
studied in Leipzig; opera cond. ^ in
Germany and America; 1891-4 critic
of the Herold^ Milwaukee; then
conducted tour of " H tinsel und Grd-
d*' till 1896, when he was cond. in
Switzerland; 1901 settled in Berlin as
biographer; c. indd. mus. to "As
You Like n,*' etc. (2) Johann
Secundus, add that from 1897 he
cond. Sunday and Monday concerts
in London.
Kunwald (koon'-valt), Ernst, b.
Vienna, April 14, x868; studied law
there, then muac at Leipzig Cons.;
became correpetitor at the dty
theatre; 1895, cond. operetta at
Rostock, 1901-2 at Teatro Real,
Madrid, where he gave Wagner's Ring
cyde complete and was decorated by
the Queen of Spain; 1902, cond. at
opera Frankfort. 1906 cond. at Nm**
emberg dtv theatre; conducting two
cxmcertA nf the New York PhiL at
guest, Feb.1906; X907 director of the
Berlin PhiL orch.; 1Q12 engaged to
conduct the Cincinnati Svm^. Qrcfa.
Kupsch (koopsh), Karl QustJiv,
Berlin (?) — Naumberg, July 50,
1846; cond. and teacher in Leq>zig,
Dresden; 1838-45 Rotterdam, dir.
Singakademie; then director of theatre
in Naumbei*^. Robert Schumann
was his pupil m oompositioii.
Labe^ (lXrbeO» Marcel, b. DeiiL
Besmet, France, 1875; studied law in
Paris, then with d']6idy at the Sckoh
CatUorum; c symph. (1903), fantasJB
for orch., sonatas, etc
Laborde (l&'-b6rd) (rightly Bediez),
Rosine* Paris, May 30, 1824 —
Ch65y-sur-Mame, Sept. x, 1907;
soprano; sang as Rosalie Viikutme
till 1843 when she married the tenOL
Laborde (rightly Dur); pupil Paris
Cons.; d^ut Op. Com., ify>; x848^,
die and her husband sang in America;
1850-7, Paris Opera; from z866
teacher.
Ladmiraulty (Uld-me-rO), Paul
^mile* b. Nantes, Dec. 8, 1877;
began to study at the Cons, piano,
violin, organ, and harmony at 7, and
to compose at 8; at 15 his s-9LCt Qpea,
GiUes de Rets, was ^ven at Naxites
(1893); the next year he refused to
allow its repetition; he took first
harmony prize at the Nantes Coos.
and 1895 entered Paris Cons, under
Taudou, winning first harmony prize
1899. After a year of military ser-
vice, he entered the classes oi Faux€
and Giklalge; failing three times ti
win the Prix de Rjome, he left the
Cons. His comps., indude Le Chaetir
des dmes de la ForH (1903), SuiU
Brekmne for orch. (1904), a Tatihas
Ergo (1907) crowned by the Sod^te
des Compositeurs de Musique; pr^
lude symphonique, Broc&iande au
Matin (1909); this is a portion of a
dramatic woric Myrikm not y^
DICTIONARY OF MUSICIANS 787
produced; a symphony in c. major,
1910; songs, piano pieces, and pieces
for military band.
Laduchin (lad'-oo-chCn), Nikolai
Mikailovich, b. St. Petersbiirg,
Oct. 3, x86o; violinist and pianist;
pupil of Taneiev at Moscow Cons.;
c. symphonic variations; 100 chil-
dren's songs, ^^ Liturgy of Johann
Slatousl" for chorus, etc
Lm Force, Frank, d. Rockford, 111.,
Oct. 22, 1877; pupil of hb sister-
in-law, Mrs. Ruth La Forge, then of
Harrison M. Wild of Chicago, 1900
-04, Leschetizky, Vienna, and Josef
Labor (theory); since accompanist to
Gadski and Sembrich on their tours:
c. piano pieces and many successful
songs.
Lahele (or Helle) (da 1& £1), Qeorge
de, Antwerp after 1550 — Madrid,
1589; chorister in Royal Chapel,
Madrid; 1576 won a silver lute
and a silver harp in a compe-
tition in Normandy in which in 1^75
Orlando di Lasso had won a prize;
1578 cathedral choirmasteratToumai;
from 1580 dir. Ro3ral Chapel, Ma-
drid; c voliune of 8 remarkable
masses (Ocio Missae, Antwerp, 1578)
on themes by other composers.
Lalande (1&-1&M), D^ir6, Paris,
1867 — London, Nov. 8, 1904; solo-
oboist of the Queen's Hall and
other orchestras.
Lalevicz O^-l&'-vIch), Qeorg von,
b. St. Petersburg, Aus. 21, 1876;
piano teacher; pupil ca the Cons.;
1900, won the Rubinstein competi-
tion in Vienna; 1902-5 prof* in
Odessa Cons., after diat at Cracow.
Lambrino G&m-bre'-n6}, T^l^ma-
que, b. Odessa. Oct. 27, 1878
^f Gr^ parents); pianist; studied
there at the Royal Akad. der Ton-
kunst, Munich, and with Teresa
Caxrefto; from 1900 lived in Leipzig,
from 1908 teacher at the Cons.
Lamoureux, Chas., the correct date
of his death is Dec. 21, 1899.
fuimper'tit Giovanni Battiste*
d. Berlin, March 18, loxo. Famous
singing master: lived in Dresden and
wrote "The Tecknic cf Bd CatUo,**
1905.
Lamping Qfim'-plnk), W., b. Lingen,
'Hanover, i86z; pupil of Kullak'a
Academy; from 1886, director of the
"Arion^' and org. at Belief eld; edited
Bach works; 1907 Royal Prof.
Lancia 0^'-<^ft)> Florence, (Lad-
brake Clarke), 1840 — Tunbiidge
Wells, May 24, 1905; operatic and
concert vocalist.
Lan'di, Camilla, b. Geneva 1866;
mezzo-soprano, daxighter and pupil
of singers; d^but 1884 Florence;
1886-92 in Paris, then in London
where her mother taught; toured
widely and retiuned to Geneva.
Landormy G&&-d6r-me), Paul
Charles Ren6t b. Issy^ near Paris,
Jan. ^, 1869; studied smging with
Sbrigha and Plangon; published
philosophical works; 1902 took up
composition and musical biography
Lange QSng'-e), (Langlus,) (i)
Hieronymus Oregor, Havel-
berg, Brandenburg — Breslau, 1587;
in 1574 cantor at Frankfort-am-
Oder; paralysis sent him to the
Breslau Alxns House, but did not
prevent his composition of Latin
motets and songs. (2) Hans, b.
Constantinople, Feb. 14, 1884; pupil
there of Brassin and Wondra; then of
Prague Cons.; d£but Berlin, 1903.
Lange-Mailer (Ifing'- £-mXl-lfr),
Peter Erasmus, b. Frederiksberg,
Dec. z, 1850; Danish composer;
pupil of Copoihagen Cons.; c. operas
^'Tove" (to his own libretto 1878);
''The Spanish Students," (1883);
"Frau Jeanna'' (1891) and " Vikinge'
blod*^ (Copenhagen and Stockholm,
1900); symph. "Autumn"; indd.
music to "Fulvia" and "Es war ein-
mat"; orch. suite "Alhambra** and
songs of decidedly national feeling.
Langey QSng'-i), Otto, b. Leich-
holz, Oct. 20, 1851; 'cellist; pupil of
Spedit« Cabisius, etc.; 1877 went to
788
THK MUSICAL GUIDE
London, pla3nng in the orchestras ol
HaII^ and Richter; i88q, went to New
York; published many methods.
Lanzetti O^-tsdt'-te), Salvatore,
Naples, ca. 1 710 — Turin, ca. 1780;
one of the earliest 'cello virtuosi;
c. 'cello sonatas and a method.
Laroche 0&-rdah), Hermann, St
Petersburg, May 25* 1845 — Oct. 18,
1904; critic djui oomp.; pupO of the
C!ons. and (A Tchsukovski, whose
biend and IkkKraphet he was; prot.
at Moscow, later at St. Petersburg
Cons.;c. overture, etc
Lasso, Orlando di, Haberl's claim
that he was bom in 1532, seems
to be accqyted as oonclua ve, in spite oi
Vinchant 8 contemporary statement
that 1520 was the date, and Quichel-
beig'i contemporary statement that
1530 was the date. His family seems
to have used the name Lassus for
some time before lum; he si^ed hh
own name variously.
Las'son, (x) Bredo, b. Feb. 24.
1838; Norwegian composer of piano
pieces, songs, etc I£s Isiother (2)
Per, April 18, 1850 — June 6. 1883.
Lafzelsberger, Josef, b. Ailharts-
berg, Austria, Jan. 11, 1849; pupil
of Vienna 0>ns. ; choizmaster and
comp. of church muac
Lavig;nac Q&-vCn-Y&k) (Alex. Jean),
Albert, b. Pkms, Jan. 21, 1846;
pupQ of the Cons., and from 1882
prof, there ; author of inany im-
portant works QD Warner, etc
Lazzari Ofid-z&'-re), Silvio, Italian
composer of operas **La Lspreuse"
(Op. (}om., Paris, 1012), " Moderns y**
etc.; c lyric drama ^ Armor" (prelude
at La^noureuz concerts, i8qs *— prod
at opera Lyons 1903, revived X912);
c also symphonic pieces, trio, etc.
Lee, Cordelia, b. America of Nor-
wegian parents; pupil ot Auer in St.
Petersburg; played m Germany 19 10,
and with the BlUthner Orch., Berlin,
191 2.
Lenflr O^bftrO; Franz, b. Komom.
Hungary, April 30, 1870: composer 01
the worid sweeping operetta "DU
Lustige Witwe" (Vieima, 1905, in
New York and London as *'The
Merry Widow*')\ lives in Vienna
as cond. of the Tonkiinstlers orch.;
c. also operas "Kukuska," Lopog,
1896, revised as "Tatjana,** Brtknn,
1905; operettas ** Wiener Prauen"
(Vieima, 1902; revised as "Der
SchHssel turn Paradiese," Leipag,
X906); **MUislav" (Vienna, 1907);
**Eddweiss utid Rosenstock" (1907):
**Peier and Paid reisen ins SMar^
a^enland** (^enna, 1906): ^Der
Mann mil den drei Prauen" (1908).
Lehmann-Osten, Oft'-m&n-6s-t&i)
Paul, b. Dresden, April 16, 1865;
pupO of Spindler, Scfaoltz and Sdiuht-
Beuthen: from 1892 6k, Ehiiich
Cons at Dresden; c. piano pieces, etc
Leichner (Ukh'-nfir), Ludwig, 1836
— Berlin, April X912 ; singer in
Wagnerian r6les at Stuttgart, etc;
left the stage, beoime a manufac-
turer, and acimiulated a great
fortune.
Leichtentritt Oikh'-ten>trft). Hugo,
b. Pfleschen, Posen, Ian. i, 1874;
at x^ taken to America, where he
studied with ). K. Paine, Boston,
then at the Royal Hochscfaule, Ber-
lin; X901. Ph J).; wrote theoretical and
historical works and c chamber
mudc and songs.
Le Jeune (Itt-zdhn), Qeorge P.,
d. New York, April xx, 1904. zt^ 62.
Organist and oomp. of churcn music
Lekeu, OuiHaume. The correa
date of his birth is Jan. 20, 187c. and
of his death Jan. 2 1 . 1804. His aeath
at 24 left many unnnished works, but
enoii^ were complete to assure his
fame, among them 3 itudes sym-
phoniques (1889, 1890): adagio for
Quatuor and orch. (1891). epitkalame,
for string quintet, organ and 3 tiam-
bones; introduction and adagio for
orch. with tuba solo; fantaisie sym-
phonique sur deux airs po^uiaires
anginnSf 1892; 2 lyric comedies,
Barberine AndronUde (and Prix dc
DICTIONARY OF MUSICIANS 789
Rome at Brussels, 1891); chamber
music, including sonata for piano
and 'cello, finished by V. d'Indy, 19 10,
and a quatuor finished by the same;
sonata for piano and violin (ded. to
and played by Ysaye), etc.
Lemaire (lO-mfir), Jean Eugene
Qaston, b. Ch&teau d'Amblamvil-
liers (Seine-et-Oise) Sept. 9, 1854;
pupil Niedermeyer School; critic; c.
symph. poem **Jeffick," orch. works,
ballets, songs, etc.
Lemare O^-m&rO, Edwin Henry,
b. Ventnor, Isle of Wight, Sept. 9,
T865; organist; pupil R. A. M. Lon-
don, with Goss Scholarship, then
maae an associate, later a fellow;
18S4 fellow Royal College of Organ-
ists; occupied various church posi-
tions, and gave recitals; 1902-04,
organist at Carnegie Hall, Pittsburg,
Pa.; 1905, again in London; c. symph.,
a pastorale and much organ music.
Lem'mens-Sher'rington, Helen,
Preston, Oct. 4, 1834 — Brussels,
May 9, 1906; operatic ^nger 1850-
1891; prof. Brussels Cons., later
R. A. M., London and R. C. M.,
Manchester.
Leoncavallo, Ruggiero, add that
his opera **Zasa'* was prod. Milan,
1000 with some success and was
played in various European capi-
tals ; the libretto of "Roland" was
by Leoncavallo, not by the Kaiser,
though he commissioned the work
^hich was not a success when prod,
at the Royal Opera Berlin. 1904.
L. wrote the libretto for ** Mario
Wetter" by the Portuguese composer
Machado. His opera "Maja" CBer-
Un Royal Op., 1911} was a faUure.
*'RegneUa delta Rosa" (Florence July
15,1912); **The Gypsies" (London,
Sept. 16, 191 2); "La Foresta Mormo-
ra" not prod.
Leoni'nus, M agister,, 12th Cen-
tury Mus. Director in Paris, at the
church of the B. M. Virginis; before
Notre Dame was built: one of the
earliest roa.stera of the Paris sdiooL
Leono'va, Darla Mikhailovna, in
the Russian Govt, of Twer, 1825 —
St. Petersburg, Feb. 9, 1896: alto;
d6but at 18 in Glinka's "Life for the
Czar"; sang for many years at the
National Opera, and toured around
the world.
Leopo'llta (or Lvovczyk) (lV6f'-
chck), Martin, Lemburg, 1540 —
Craoon, 1589; from 1560 Polish court
composer: c. masses, chorales, etc.
Ler'ner, Tina, b. Russia 1891 (?);
pianist; toured Europe; from 1908,
toured America; played with London
Phil. orch. three successive seasons;
191 1, with Moscow Phil.
Leva (de la'-vft), Enrico de, b.
Naples, Jan. 18, 1867; singing teacher
pupil of Puzone and Ariengo; c. open.
"La Camargo," (Naples, 1898); sere-
nade "A CapomonU" and popular
Neapolitan canzonets.
Levad6 Oii-v&-d&0, Charles Qas-
ton, b. Paris, Jan. 3, 1869; pupil of
Massenet at the Cons.; c. opera
"Les Hiretiques" (Bfeiers, 1905),
operetta " V Amour d*Hiliodora "
(Paris, 1903), pantomime, suites, etc.
Lewalter Qfi-v^'-t£r), Johann, b.
Cassel, Tan. 24, 1862; pupil Leipzig.
Cons.; from 1886 music teacher ana
essayist; c. fugues, sonss, etc.
Lewlnger Oft'-vfag-fir), Max, Sulkov,
near Cracow, March 17, 1870 — Dres-
den, Aug. 31, 1908 ; violinist ; pupil
of Cracow and Lembeig Cons.; and
with Grilns Scholarship, at the
Vienna Cons.; from 1892 toured;
teacher at Bucharest Cons.; thence
to Helsingfors as concertmaster;
1897, do. at the Gewandhaus Orch.,
Leipzig; 1898 Royal Court concert
master in Dresden.
L'H^ritier 0&-rIt-yfi), (i) Jean,
flourished 1519-1588; French pupil
of De^r^; c. masses and songs. (2}
Antoine, court musician to Charles
V. at Toledo, 15 20-1 531; (3) Isaac,
probably the same as Jean.
Lh£vinne (la'-vSn), Joseph, b.
Moscow, Dec. 3, 1874; pianist; pupil
790
THE MUSICAL GUIDE
of his father (first comet soloist in
Moscow Royal Orch.), and of Chry-
sander: d6but at 8; pupil of Safonofi
at the Cons.; 1885, winning highest
honours; 1895 won Rubinstein prize;
1902-6 teacher at the Cons., and
toured Europe; 1905, the U.S.; again,
Z912.
Liadoff (or LJadow), add that cor-
rect pronunciation is "TyS'-dAf."
His birthdate is May 12th, new style,
as given old style; add that in 1908 he
resigned on account of the expulsion
of Rimsky-Korsakov (q.v.) and was
later reinstated in the Cons.; c.
scherzo for orch. " The Inn Mazurka"
scene for orch. polonaise in* memory
of Pushkin; "Baba-Yaga'' tone-
picture (1905, Boston Symph., 1910),
8 folk-songs for orch.; suite "To
Maeterlinck" for orch., choruses with
orch.; "The Music Box" and other
piano pieces and soxigs.
Libon Ge'-ban), Felipe, Cadiz,
Aug. 17, 1775 — Paris, Feb. 5, 1838;
violinist and comp. for violin.
Lichey (lekh'-I), Rheinhold, b. Neu-
mark, near Breslau, March ,26, 1879;
organist; pupil of ^aumert and
Rudnick^ later at the Royal High
School m Berlin; from 1907 org.
Eonigsberg; c. organ pieces, choruses,
etc.
Lick'l, (i) Johann Qeorg, Kom-
nenburg, April 11, 1769 — May 12,
1843; ^urcn dir.; c. Singspielen for
Schlkaneder's theatre. His sons (2)
Karl Qeorg, b. Vienna, Oct. 28,
1801, performer on the Physhar-
monica and composer for it; (3)
Agidius Fd. K., b. Vienna, Sept. i,
1803; guitarrist; c. oratorio.
Lidon (le'-th5n), Jos6, Be jar, Salam*
anca, 1752 — Madrid, Feb. 11, 1827;
organist; 1808, royal chapel organist
and royal cond. at Madrid; c operas,
church music, etc.
Lie (ry4)> Sigurd, May 23, 1871 —
Sept. 30, 1904; important Norwegian
conductor and composer; pupil Leipzig
Cons.; 1894 cond. in Bergen, studied
again in Berlin; cond. of vocal sodety
in Christiania; c. symph., Mazche
S3nnphonique; orch. suite, "Oriental-'
iskf " cantatas, chorals and songs.
Liebling, Leonard, add that he
was b. Feb. 7, 1874. He writes **I
died in 18^9; that is when I beaune a
critic." Since that time he has writ-
ten the column of tae N . Y. Musical
Courier formerly written by James
Himeker; c. sonata, barcarolle, ro-
manza and vaJse petite for piano,
trio for piano, violin, 'cello, etc
Lier (v&n ISr), Jacques Van, b. The
Hague, April 24,1875; pupil of Hartof
Giese and Eberle; i8i9i first 'cellist
Amsterdam Palace Orch.; 1897
Berlin Phil. Orch.; teacher at Klind-
worth-Scharwenka Cons.; 'cellist of
the Dutch Trio and the Dutch Sizing
Quartet; author of methods.
Liguori (le-goo-d'-re), Alfonso di,
1696 — 1787; Neapolitan comp.
Lim'bert, Frank L., b. New Yoik,
Nov. 15, 1866; at 8 taken to Ger-
many; pupil of Hoch Cons, and of
Rheinberger; 1894 Ph.D. Berlin;
1901 cond. of the Dtlsseldorf Singing
Sodety, and teacher at the Cods,
1906, at Hanau; c choral works with
orch., etc
Lind'egren, Johan, Ullared, Sweden,
Jan. 7, 1842 — Stockholm, June 8,
1908J teacher of theory and contra-
puntist; from 1884 cantor at the
Stockholm Storkyrka; c. and edited
chiupch music
Lin'demann, (i) Die Andreas,
Surandalen, Nor?ray, 1769 — Dron-
theim, 1859; organist; teacher and
comp. His sons (2) Fr. Christian,
1804 — Drontheim 1867, oiganist, (3)
Jacob Andreas, i8o6--j;-Sogncpraest
1846, organist at Christiania; (4)
Matthias, 181 3 — Christiania, May
23, 1887; collector of Norwegian fo&-
music; c. songs; (5) Just, b. 1822;
from i858cathedral org. atDrontheim.
Lissenko (or Lysenko), Nikolai
Vitalievich, b. Grinjki, March 22,
1842; popular Little Russian ooin{>.:
DICTIONARY OF MUSICIANS 791
pupil of Panochiny, Dimitriev and
WoEek; then of Leipag Cons.: 1868,
teacher at Kiev; c. 6 operas; children's
opera, and popular songs.
LJadow, vide uADorF.
Lo'der, Kate Fanny (Lady
Thompson) Bath, Aug. 21, 1886 —
London, Aug. 30, 1904; pianist, cousin
of £. J. Loder (q. v.); pupil of the R.
A. M., London, winning the King's
scholarship, 1839 and 1841: from 1844
Prof, of harmony there; played with
great success at Phil, concerts and
elsewhere; 1851 married the surgeon
Henry Thompson, afterward knight-
ed; c. an opera, overture, violin
sonata, etc.
Loeffler, C. M. T., add that he was
bom Jan. 30, 1861; resigned from the
Boston Symph. Qrch., 1903, to give his
time entirely to composition; c. also
fantastic concerto for 'cello and
orch. (1894); divertimento for violin
andorch. (1897}; his symph. poem
for 3 viole d'amore La Mart des Tin-
iagiks was prod, by the Boston
Symph. 1897; he revised it for one
viola d'amore and it was prod. 1901,
with the composer as the soloist; his
Diveriissement Espagnol for saxo-
phone, and orch. was prod. 1901 ; his 2
symph. poems. "Avant que tu ne Ven
aiUes** (after Verlaine's **La bonne
chanson,'') and " ViUaneOe du diabW*
(after Roliinat) were prod. 1902; his
"Pagan Poem" for orch. piano, 3
trumpets and Engl, horn 1907; c. also
choral works and important songs.
LObmann, (Iftp'-mftn), Hugo, b.
Schirgiswdlde, Dec. 19, 1864; Catho-
he music teadier; oiganist at Trinity
Church, Leipzig; c. songs.
LOhlein (1ft -lib), Qeorg Simon,
Neustadt, 1727 — Danzig, 1782.
pianist and teacher;
Lo'makin, Gabriel Joakimovich,
St. Petersburg April 6, 181 2 — Gats-
china, May 21, 1885; teacher in
St. Petersburg; where he founded the
Free School of Music, with Balak-
irev; c xo " CMembimscke" songs, etc
Lonsy (16n-zhe), Qustave Georges
Lipoid, b. Abbeville, Aug. 29.
1868, pupil Paris Cons, taking second
oboe pnze 1885, first prize 1886;
oboist with Lamoureux and at
Op. Com.; from 1898 first oboist
Boston Symph., founding 1900 the
Longy CluD, (flute, oboe, clarinet,
horn, bassoon, piano), and giving im^
portant concerts.
Loquin (l6-kftn), Anatole, b. Origins,
Feb. 22, 1834; composer and theorist
at Bordeaux.
Loren'te, Andres, Anchuetos, April
15, 1624 — Alcala, Dec. 22, 1703;
Spanish organist and writer.
Lorraine, (16r-r£n0, Alys, AmericaCi
soprano, gave recital in London;
coached bv Massenet; d6but, The
Hague as ''Marguerite," engag^ for
Paris Opte; d^but there 1912; has
sung also at Monte Cario and Marien-
bad, 1909.
LossiuSt Lucas, Vacha, Hesse-
Cassel, Oct. 18, 1508; — LOnebeig
1^82; rector, theorist and com*
piler.
Louis Qoo'-€), Rudolf, b. Schwet-
* zingen, Jan. 30, 1870; pupil at Geneva
and Vienna, where he was made
Ph.D., studied conducting with
Mottl; theatre-cond. at Landshut and
LUbeck; c. symph. fantasie "Proteus'*
(Basel, 1903).
Loewengard (IftVen-gftrt), Max Ju-
lius, b. Frankfort-on-Main, Oct. 2,
i860; writer and composer; pupil of
Raff, then teacher at Wiesbaden
Cons.; 1904 critic in Hamburg and
1908 teacher at the Cons.; author of
text books in theory; c. comic opera
"Diet4Nothelfer."
LSwenstern (la -T£n-shtgm) (or Leu-
enstern or Leonastro), Mat-
thaeus Apelles von, Neustadt,
1594 — Bemstadt, 1648: poet and
composer; son of a saddler named
L5we; became a privy councillor
and was ennobled oy Ferdinand H,
taking the name of von Loewcn-
stem; c words and music of "Frith'
792
THE MUSICAL GUIDE
Ung;s-Morgen" (30 sacred songs) »
oratorio '^Juditk*' (1646), etc.
Lowe (l5), Thoims, English, popu-
lar tenor; d6but, 1740, at Drury
Lane; d. London, March i, 1783.
Lucchesi (look-k&'-ze),Andrea, Mot-
ta, May 28, 1741 — Italy, ca. 1800;
organist and cond.; 1771 theatre dir.
of an Italian troupe in Bonn; 1774-^
royal cond. there; c symphonies,
etc.
Lucia (dS-loo-che'-&), Fernando de,
b. Naples, about i860; dramatic
tenor; said to have been a trombone-
player, largely self-taught; d6but
Lisbon; 1887 London Opera at Drur^
Lane, with little success, but on his
reappearance, 1893, at Covent Gar-
den, as the first to sing "/ Pagliacci**
in London, he made a sensation with
his fervor; later became a favourite at
the Met. Op., New York, rather as
an actor than a dnger; 1905, in Lon-
don again.
Ludwig, (i) August, b. Waldheim,
Saxony, Jan 15, 1865; critic and comp.
pupil of Cologne and Munich Cons.;
attracted attention by risking the
completion of Schubert's Unfinished
symph., with a "FkUosophic scherzo, "
and a ** March of Fate \ c. also an
overture "iliiil^^fa," etc. (2) Joseph
b. Bonn, April 6, 1844; violinist;
pupil Cologne Cons., and of Joachim:
from 1870 in London as teacher and
naturalized subject; plays in a quar-
tet; c. 2 symph., etc.. His son (3)
Paul, b. Bonn, Aug. 11, 1872; 'cel-
list; pupil of R. A. M., London and of
Piatti; soloist and quartet player; (4)
Frederich, b. Potsdam, May 8,
1872; historian of music; docent at
Strassburg Universty; (5) William
(rightly Wm. Ledwidge,), b. Dub-
lin, ca. 1850; Irish barytone; from
1877, with Carl Rosa Co., especially
successful in " The Flying EHOchman";
1896 sang Hans Sachs; a fine Elijah.
Luft Gooft), Heinricii, Magdeburg,
1813-1868; oboist and comp.
Lugert Ooo'-g&t), Josef, b. Frohnau,
Bohemia, Oct. 30, 1841; teacher;
pupil of Prague Organ School, and
violinist in German Landestheater
there; later piano teacher at Prague
Cons.; IQ05 Royal Alusic Inspector;
organizea orchestra schools, and woa
fame as a teacher; c. symph., sere-
nades for orch., **In Memoriam" for
full orch. with English horn solo;
also wrote technical books.
Luigini Owe-zhe'-ne), Alexandre
(Cl^inent L. Jos.) Lyons, March
9, 1830 — Paris, July 29, 1906; pupil
and prize-winner at the Cons.; 1869
leader in Grand Thd&tre, Lyons, and
founder of the Cons, concerts and
Prof.; 1897 cond. at Op. Comique,
Paris; c. comic operas, Les caprices
de Margot (Lyons, 1877), FauUas
(1881), ballets, etc.
Lunn, (i) Henry Charles, Lon-
don, 181 7 — Jan. 23, 1894; editor
and author; pupil Royal Musik
Akademie, hiter teacher; 186^-87,
edited The Musical Times, London.
(2) John Robert, Geeve Prior,
1831 — Morton, Yorkshire, April,
1899; vicar there from 1867; c ora-
torio "St. Faulinius of York,^' etc
His brother (3) Jan, Birmingham,
1838^-1906; ^nger, teacher and author
of books on the voice. (4) (Louisa)
Kirkby,b. Manchester, Nov. 8, 1873;
mezzo-soprano; pupil of J. H. Green-
wood, then of Visetti, R. A. M., LoiK
don, gaining a scholarship in 1894.
Appeared in a student performance of
Soiumann's Genaoewi, 1893, with such
success that she was engaged by Sr
Augustus Harris; 1897-9 conUalto
of Carl Rosa Company; then mairied
W. J. K. Pearsen; sang in concert;
1901 began an uninterrupted engage-
ment at Covent Garden; sang miKfa
at festivals; 1902 at Met. Op. House,
New York and with Boston Symph.
and other orchs., 1907 created Ktm-
dry in first English performance of
"Parsifal" by the Henry W. Savage
Company.
Lustig (loos'-tlkh), Jacob Win*«
DICTIONARY OF MUSICIANS 793
Hamburg, Sept. 21, 1706-1796;
organist and theorist.
Luython (or Luiton) (ll-tdn), Carl,
Antwerp (?) — Prague, 1620; im-
portant composer of madrigals,
masses, fugues, etc.; 1576 court or-
ganist to Maximilian 11 and to
Rudolf 11.
Luzzaschi Qood-zSs'-kS), Luzza-
sco, d. Ferrara, 1607; coiurt organ-
ist; pupil of Ciprian de Rore, and
teacher of Frescooaldi; c. Madrigab,
etc.
Lyne, Felice, b. Kansas City, Mo.;
1892 (?); soprano; 1906-11 pupil of
Marchesi, de Reszke and d'Aubigny,
Paris; 1910 engaged by Hammerstein
to sing "Hans the Flute-Player";
191 1 appeared at the London Opera
in RigoUUo and other operas.
Lyase nko, vide lissenko.
M
Maccar'thy, Maud, b. Qonmel,
Ire., July 4, 18S4; violinist; pupil of
Arbos, d6but London, 1894; toured
America.
M'Cor'mack, John, b. Athlone,
1884; tenor; pupil of Sabatini, Milan;
debut Covent Garden, 1907, with
great success; 1910 sang with Phila-
delphia Opera Co.; 191 1 Chicago
Opera Co., and at Met. Op. N. Y.;
toured Australia, 19 12, with the
Melba Opera Co. and sang in concert
with immense success.
Macdon'ald, (i) Peter, Sutherland,
Scotland, 1 7 29 — Kilmore, 1 824:
violinist and collector of Highland
melodies; minister. His brother (2)
Joseph, 1739 — India, 1762; was
also a musician.
MacDowell, E. A., add that in
Jan. 1904, he resigned his professor-
ship at Coltmibia University from
dissatisfaction with the faculty's
attitude toward music as a high art.
He was succeeded by Cornelius
RUbnsr (q. v.). He had cond. the
Altodelssohn Glee Club for two
years. In 1905 he fell a prey to cere-
bral trouble that ended his beautiful
career. Faithfully tended by his
wife, he lingered under increasing
clouds, till his death, Jan. 23, 1908.
at New York. So great was his hold
upon the American public that a
MacDowell Club with many branches
was formed to carry on his ideals of ait
and to aid the struggling musician;
a choral branch under the leadership
of Kurt Schindler has attained a very
hi^ standard; taking the title of
"Schola Cantorum" in 191 2; a biog-
raphy of MacDowell was written by
Lawrence Oilman, 1905.
Marschal-Loepke, vide clough-
LEITES (2).
M'Ew'en, John Blackwood, b.
Hawick, April 13, 1868; Scots com-
poser and pupil R. A. M., Glasgow,
later Prof, there; c. symph., 2 over-
tures, ** Hellas" for women's voices
and orch. "The Last Chofiiey,"
chorus and ordi. Milton's " Nativ-
Uy" do.; also Highland dances for
strings, violin, etc.
Macfarlane, W. Chas., b. London,
Oct. 2, 1870; organist; brought to
New York at 4; pupil of his father
and of S. P. Warren; c. anthems, etc.
M'Oib'bon, Wiiliam, d. Edinbureh,
Oct. 3, 1756; studied violin under
Corbett, London; cond. ** Gentlemen's
Concerts" in Edinburgh; collected
Scots melodies and c. sonatas.
Mackay, Angus, drowned near
Dumfries, March 21, 18^9; Highland
Piper to Queen Victoria; collected
pipe tunes.
Mack'intosh, (i) John, Ix>ndon
1767 — Mardi 23, 1844; bassoonist.
(2) Robert, d. London, 1807;
Scots violinist and teacher; composer
of strathspeys, and cond. at Edin-
burgh. His son (2) Abraham, Edin-
burgh, 175Q — Newcastle after 1807.
M*Uod (mak-lowdO, Peter, West
Calder, 1797 — Bonnington, 1859;
Scots composer and violinist; col«
lected Scottish melodies.
794
THE MUSICAL GUIDE
Macmilieiit PranciSf b. Mari-
etta, Ohio^Oct. 14, 18^5; violinist;
pupu of Listemann, Chicago; at 10,
pupil of Markees, Beriin; at 15 of
C&ar Thomson at Brussels Cons.:
sharing first violin prize 1902 and
taking Van Hal pnze; olayed in
Brussels, etc; 1903 London; 1906
toured U. S.
Macpher'son, (i) Charles Stew-
art, composer; b. Liverpool, March
29, 1865; pupil of R. A. M., Lon-
don, with a scholarship; gained also
the Balfe scholarship and medals;
1887 prof, there; 1892 a fellow; 1903
prof. Royal Normal College for the
Blind; c. symph., 2 overtures, a fine
mass with orch. (1898); "Concerto
alia fantasia" for violin, etc.; wrote
theoretical text books, (2) Charles,
b. Edinburgh, May 10, 1870; 1890
pupil R. A. M., winning Lucas prize
2892; later teacher of counterpoint
there; 1895, sub-organist at St.
Paul's, London; c overture "Cridhe
an Ghaidkil" (London, 1895); orch.
suites, '* Highland" and ** Hallow
^en"; Psalm 187 for choir and orch.,
etc.
McWhood, Leonard B., b. New
York, Dec 5, 1870^ graduated from
Columbia University 1893: after
various posts, 1904 prof. 01 music
there; conductor, lecturer; c impub-
lished works.
Macque (mSk), Jean de, Flemish
choumaster in Rome 1576-82; 16 10
at Royal Chapel Naples; c madrigals
and motets.
Madin (m&-d&A) (rightly Madden),
Henri, Verdun, 1698 — Versailles,
1748; dergyman of Irish parentage;
oond. at the cathedral of Tours; from
1737 in the Chapel of the King; c.
motets.
Magnard (min-y&r), Lucien D.
Q« A., b. Paris, Time 9, 1865; com-
poser: pupil of the Cons, (winning
first haxmony prize 1888), then of
d'Indy; c. 3 symph., overture, suite in
ancient style; hyxnns to "Justice"
and to "Venus," i-act opera "¥0-
lande" (Brussels, 1892); 3-act "Guer-
ccfur"; important rhambrr music,
etc.
Mahler, Qustav, add that he was
dir. of the Court Opera Vienna till
1907, when he resimrd; and oond.
Met. Op., N. Y., nxr two seasons;
1909 was elected to cond. Philh. Orch.,
N. Y., with the highest salary ever
paid a cond. ($30,000 a year); a
nervous breakdown in 191 1 ended his
work,and he sailed for Europe in April,
dying in Vienna May 18, 191 1. Ws
comps, include 8 synq>h., the last five
written, 1901, 1904, 1906, 190S, 1910.
His eighth was prod, in Munich, 19 11,
and Leipzig, 191 2, requiring a dionis
and orch. of i ,000 members. A ninth
S3nnph. is said to have been fijiished.
His " Das Lied vender Erdef"B. symph
in six parts, for tenor and alto anc
orch. (text from Hans Bath^e's
Chinese flute) was given at Mumdb,
Nov. 20, 191 1.
Malchelbeck, (mlkh'-a-b&), Franz
Anton, Reidienau, 1802 — Freibuig.
1750; c. important sonatas, etc, foi
diavier.
Maillard (ml-y&r), Jean, i6th cen-
tury French composer; pupil of
Deprte; c important motets and
masses, from one of whidi Palestrina
took themes for a mass of his own.
Maikapar (m&'-ksl-p&r), Samuel,
b. Chersson, Russia, Dec. x8, 1867;
pianist; pupil of the Cons., and ii
Leschetizky; settled in Moscow; c
piano pieces.
Mair, Franz, Weikersdorf Maishfeki,
1821 — Vienna, 1893* composer and
foimder of the Schubertbund.
Major (m&'-ydr), Julius J., b.
Kaschau, Hungary, Dec. 13, 1859;
pupil of the Landea-Musik Akad. at
Pest; founded a music scfaocd and
singing societies there; c a. symph.,
operas, "Lisbdh" and "Erysika'*
(Pest, 1901), Szecki Maria (Klausen-
burg, 1906). etc
Maksylevich (mRk-se'-lS-vIch), \U
DICTIONARY OF MUSICIANS 795
centf 1685 — CncoWy 1745; church
cond. at Ciacow; c. church music
Malash'kin, Leonid Dimitrie-
vitch, 1842 — Moscow, Feb. 11,
1902; Russian composer of an opera,
a symph., sones, etc.
Marling, (i) JSrgen, Copenhagen,
1836 — July 14, 1907; miportant
Danish composer and teacher; from
1875 1° Vienna. His brother (2)
Otto (Vlademar), b. Copenhagen,
'*me I, 1848; pupil of Gade and
Hartmann at the Q>ns., later teacher
there; organist and founder of concert
association; c. symph.; vioUn fantasie
with orch., overture, chamber music,
and valuable organ pieces.
Malm'qvist (mfllm'-kwbt), Julius,
b. Copenhagen, June 16, 1819—-
Ifirscholm, Aug. 4, 1859; Danish
composer of male quartets, operettas,
etc.
Malvezzi (miQ-vti'-z^ Christo-
fano, Lucca, 1547 — Florence, 1597:
canon in Florence; and chapel
master to the Grand Dukes of Tus-
any; collected and composed dra-
matic intermezad. 1591, etc.
Mancinelli, Luigi, add that his
V, cantata "Sainl Agnes*^ was prod, at
Norwich Festival 1005; his opera
**P<udo e Francesca" (Bologna, 1907).
Manci'nus, Thomas, Schwerin,
1550 — Wolfenbtittel ca. 1620; Dutch
composer of Passions according to
St. Matthew and St. John; cond. to
Duke of Brunswick.
Mandl (mtot'-1), Richard, b. Ross-
itz, Moravia, 1862; pianist; pupil
Vienna Cons., later of Delibes, Paris,
where he settled 1886; c. i-act. opera
*' Rencontre Imprimie" (Rouen, 1889);
Chanson Provenqal for voice and
orch., orch. scherzo (Lamoureux con-
certs, 1894); important symph. poem,
with organ, mezzo-sopr. and female
chorus; " Griselidis " (Vienna, 1906?) ;
overture **Toa Gascon Knight drama*'
(Wiesbaden, 1910), piano pieces, etc.
Mandyczevski (miln-d&<Jifif'-skI),
Eusebius, b. Czemovitz, Aug. 18,
1857; pupil of Fuchs and Notte-
bohm; from 1897 teacher Vienna
Cons.; writer and editor of Schubert's
works, for which he was made Ph. D.,
Leipzig.
Man6n (m&'-nfin) Joan De, b.
Barcelona, March 14, 188^; Spanish
composer; tiavelledas prodigy pianist,
then took up violin; pupil of Alard;
c. operas ** Giovanni di NafoU" (Bar-
celona, 1903), "il*«" (do.); ''Der
FacheltanM " (Frankfort- o n - M a i n
1909) ; symph. poem ^*Nucva Catalo*
nia" violin concert, etc
Manfredini (mftn-fre-de'ne), (i)
Francesco, b. Pistoja, 1688; vblin-
ist; 171 1 cond. at Monaco; c. ora-
torios, concertos, etc, His son (2)
Vincenzo, Pistoja, 1737 — St. Pe-
tersburg, 1799, as court cond., c.
sonatas, etc.
Mangin (mfin-zh&n), Edouard, Paris.
1837 — May 24, 1907; founded
Cons, at Lyons, 1870; also the
Popular Concerts; from 1893 cond.
the Op6ra, Paris.
Mann, Fredrick A., Norwich,
Mardi 23, 1844 — April 11, 1903;
violinist; cathedral organist and dir.;
brother of Arthur Henry M. (q. v.).
Man'ners, (i) Charles (rightly
Southcote Mansergh),b. London,
Dec 27, 1857; bass; pupil Dublin
Academy and R. A. M., London,
and of Shakespeare; d6but 1882;
1890 Covent Garden; 1893 toured
America; 1896 South Africa; 1897,
organized Moody-Manneis Ch)era Co.
touring the provinces wim three
companies, two seasons at Covent
Garden. In 1890 he married (2)
Fanny Moody, b. Redruth, Nov.
23, 1866; soprano; pupil of Mme.
Sainton Dolby; d^ut 1887 with Cari
Rosa Co., since 1890 has sung witJi
her husband.
Maquarre (m&-k&r), Andr6, b.
Molenbeck, St. Jean, Belgium, Jan.
i3> 1S75; PupU Paris Cons., took
first flute prize 1893; played in Co-
lonne and Lamouieuz orchs.; from
796
THE MUSICAL GUIDE
1898 first flute Boston Symph.; c.
opera ** Dolores f" two comic operas,
*^ Indian suite" for orch., overture
"On the Sea Cliffs " (Boston Symph.,
1900), etc.
Marcnesi, Mathilde, add that
in 191 2, at the age of 90, she sold her
school and moved to London, to join
her daughter Blanche.
Marchisio (milr-ke'sT-d), Barbara,
b. Turin, 1834 ; opera singer in
Paris and London; sang usually
with her sister. (2) Carlotta,
Turin, 1836 — Turin, 1872.
MarliK, Dr. Jas. Chr., Armagh,
May 4, 1835 — Grand Spa, Clifton,
July 17, 1903; organist and conductor.
Mar'schalk,. Max, b. Berlin, April
7, 1863; composer of 2-act opera
** In Flammen" (Gotha, 1896); musi-
cal piece "Aucassin und Nicolette"
(Stuttgart, 1907); indd. music to
''Und Pippa lanzt*' (Berlin, 1906),
and to Maeterlinck's "Sister BeO'
trice** (Berlin, 1904).
Marsh, (i) Alphonso, West-
minster, 1627-1681; gentleman of
Chapel Royal and composer. His
son (2) Alphonso, d. Westminster,
1692; gentleman of the Chapel Royal
from 1676; c. songs. (3) William,
Fochabers, 1748 — Dandaleith, 1833;
Scots violinist; c. strathspeys, etc.
Marshall, John Patton, b. Rock-
fort, Mass., Jan. 9, 1877 ; pupil
of B. J. Lang, MacDowell, Chadwick,
and Norris; 1903 Prof, of Music,
Boston University, also org. at St.
John's; c. songs and piano pieces.
Marteau, Henri, add that he was
bom at Rheims, March 31, 1874 ;
from 1900 teacher at Geneva Cons.;
1908 successor to Joachim at the
Royal Hochschule fiir Musik, Berlin.
Martinel'li, Qiovanni, tenor; at
first an instrumentalist in Milan;
d^but 191 2, Covent Garden in "La
Tosca" with great success.
Mascagni, Pietro, add that he
was dir. of Pesaro Cons. 1 895-1903,
when he toured the U. S. with an
opera co., and was supplanted at
the Cons.; 1909, cond. at Teatxc .
Costanzi, Rome; c also "Amdca"
(Monte Carlo, 1905, Cologne, 1907);
1910 he c. opera "Isabeau** for the
U. S. but not completing it on time
became involved in a lawsuit. The
opera was prod, at Venice and Mflan
simultaneously, 191 2, with much suc-
cess and has been widely sung since.
His next work is announced as
''Parisina" with libretto by d'An-
nunzoo.
Mascheroni (mSs-kfi-rs'-ng), Edo-
ardo, b. Milan, Sept. 4, 1857;
cond. and composer; pupil of Bouch-
eron; 1883 theatre cond. at Leghorn,
later at Teatro Apollo, Rome; 1893
chosen to cond. Verdi's "Faistaff^" at
La Scala; c. im]x>rtant Requiem, for
King Victor Emanuel, also by Royal
conmiand another Requiem for the
royal chapel; c. operas "Lorensa"
(Rome,i90i) , very successful through-
out Europe and South America; "La
Perugina," etc
Mason, Daniel Gregory, b. Brook-
line, Mass., Nov. 20, 1873; pi^
. of Clayton Johns, E. Nevin, A.
Whiting, J. K. Paine, G. W. Chad-
wick and Percy Goetschius; grad-
uated Harvard, 1895; author of
articles and books on musical topics;
c. violin and piano sonata (191 1),
piano variations on ''Yankee
Doodle"; quartet in A major; pas-
torale for violin, clarinet and piano;
elegy for piano (played by Gabrilo-
witsch in Berlin, London and
America), songs, etc.
Massart, (m&s-s&r) Nestor, H. J.
tenor opera singer; Ciney, Belgium,
1849 — Ostende, 1899 ; operatic
favourite in Europe and Amenca.
Massenet, add that his "Jongleur
de Ndtre Dame, " (Monte Carlo, 1902,)
1ms been sung widely; Covent Gar-
den, 1906, New York Manhattan
Opera, 19 10; "Cherubin" (Op. Com.
Paris, 1905); "Ariane" (1906);
"Thirise" (Monte Carlo, l'-^•»^•
DICTIONARY OF MUSICIANS 797
''Dan QuichoUe'' (Paris, igii); "Ro-
ma" (Paris, Op^ra, 191 2); oratorios
"La Terre Fromise** (Paris, 1900);
piano concerto (1903): ballets, "La
cigale** (Paris, 1903), "Espada**
(Monte Carlo, 1008), etc., after suf-
fering for years from cancer, he died
suddenly at his home, Paris, Aug.
13, 1912.
Maszynski (mft-shlh'-shkl), Peter,
b. Warsaw, 1855: pianist and com-
poser; pupil of Mikhalovski, Roguski
and Noskovski; his "Ckor znhiarzy"
won a prize at Cracow; teacher at the '
Musical Institute; cond.; c. violin
sonatfi, incid. music, a cantata in
honor of the jubilee of Sienkiewicz,
etc.
Matthay', Tobias Augustus, b.
London, Feb. 19, 1858; pianist;
pi^il R. A. M., teacher there; c.
"Nero and Leanaer,** for chorus and
orch., etc.
Mauduit (m6^we), Jacques, Paris,
Sept. 16, 1557 — Aug. 21, 1627;
lute player and composer of chan-
sons and a requiem for the poet
Ronsard.
Mauke (mow'-kS), Wilhelm, b.
Hamburg, Feb. 25, 1867; pupil of
LOw and Huber; then at Munich
Akad. der Tonkunst, acted as critic;
c. symph. poem "JEtMjami^" (after
Stuck and Nietzsche), opera, etc.
Mauricio ( m&-oo-r6'-sT-d ), Jos6,
Coimbra, 1752 — Figueira, 18155 Por-
tuguese composer of church music.
Mazzolani (mftd-zO-U'-ne), An-
tonio, Ruina, Ferrara, Dec. 26,
1819 — Ferrara, Jan. 25, 1900:
composer of successful operas and
choruses.
Meisel (ml'-s£l), I Carl, (krmany,
1829 — Boston, Dec. 27, 1908; came to
America in 1852; violinist in Boston
Symph. Orch. at its foundation.
Melartln, Erik, b. 1875 ; Finnish
composer of excellent songs; pupil
ofWegelius.
Melchiss6dec ( mfl - shb - sft • dCk ),
L^n« b. May 7, 1843; barytone;
pupil Paris Cons, and from 1894
tes[cher there; 1866-1891 sang at
Op€TSL Comique, Paris.
Mel'lon, Alfred, London, April
17, 1821 — March 27, 1867; cond. at
Covent Garden, and Liveipool Phil.;
c. operas.
Meltz'er, Charles Henry, b.
London, Jiine 7, 1853 of Russian
parentage; critic; pupU of the Sor-
bonne, Paris, later journalist on
various New York papers; author and
translator of plays and librettos; press
representative Met. Op. House, 1911,
cntic New York American,
M6nll (dtt-mft-nd), F£Hcien de,
b. Boulogne-sur-Mer, July i6, i860;
historian and comp.: after much
foreign travel, settled m Paris, 1899,
as teacher of musical history at the
Niedermeyer Church Music School;
c. opera "La Janeliire** (C^. Com.,
Pans, 1894) ; operetta " Gosses " (1901)
and ballets.
Mergner (mCrkh'-n^r), Adam Fr.
Chr., Regensburg, Oct. 19, i8id
— near Ansbach, Jan. 7. 1891; priest
and church composer.
Merikant'o, Oscar, b. Finland, 1868;
organist and composer of opera, etc.
Meschaert (m&'-shart), Johannes,
b. Hoom, Holland, Aug. 22, 1857;
barytone; pupil of Schneider, Stock-
hausen and Wtdlner; teacher and
cond. in Amsterdam; tours widely.
Messager, Andr^, add that he re-
mained as cond. of the Op. Com.
tiU 1^903. and as director of Covent
Garden from 1901 to 1907, in which
year he became director of the Opera
at Paris, and from 1908 cond. of the
concerts of the Cons. Add to his
operettas; "Mtrette" (Savoy, Lon-
don, 1894); Les P'tites Michu (Paris,
1894) enormous success; Vinmique
(1890); Foriunio (Op. Com. 1907);
also baUets and songs.
Mess'ner, Qeorg, b. Berlin, Sept.
22, 1 871; pupil of H. van Eijken;
artillery officer at Breslau; c. songs
and male choruses.
798
THE MUSICAL GUIDE
Mest'dagh (mCst'-d&kh), Karel, b.
Bruges, Oct. 22, 1850; pupil of
Waelput, Gheluwe and Gevacrt;-
c. overture "Z« noces d^AUUa"
choruses with orch., etc.
Michael (me'-kha-d), (i) Simon, .
musician to Emperor Ferdinand I. .
His son (2) Rogier, d. Dresden,
ca. 16 19; tenor and cond. to the
Elector; c. motets. His son (3)
Tobias, b. Dresden, 1592; churdi
cond. Leipzig; c. church music, etc.
Middelschulte (mid'-dei-shooUe),
Wilhelm, b. Werwe, Westphalia,
April 3, 1863 ; organist ; pupil of
the Berlin Inst, for church music;
from 1888 oiganist there; in 1891
settled in Chicago; from 1894 org. of
the Thomas ordh. and of St. James;
c. canons and fugue on "Our Father
in Heaven"; organ concerts on a
theme of Bach's; canonic fantasie on
Bach, etc.
Mielck (melk), Ernst, Wiborg,
Oct. 24, 1877 — Locarno, Oct. 22,
1899; Finnish composer, who, in spite
of his pitifully brief life of 22 years,
gained a place of national importance;
pupil of Tietse, Radecke and Bruch;
c. Finnish symph.; overture "Mac-
beth "; Finnish fantasie for chorus and
orch.; Finnish orch. suite, etc.
Miersch (mSrsh), (i) Carl Alex.
Johannes, b. Dresden, 1865 ;
violinist; pupil of the Cons, and of
Massait; 1888-90 teacher in Aber-
deen, then for a year with the Boston
Symph. Orch.; 1894-8 artistic dir. of
the Athens Cons, and court violinist;
1902, returned to the U. S.; from
1910 at Cincinnati CoU. of Music. His
brother (2) Paul Fr., b. Dresden,
Jan. 18, 1868; 'cellist, pupil of Royal
Akad., Munich; from 1892 in New
York, for five years soloist N. Y.
Symph. Orch., 1898, soloist Met.
C^ra; c. Indian rhapsody, for orch.,
'cello and violin concertos, etc.
Mienard (m&i-y&r), Alexander
Konstantinovich (rightly
Scheltobrjuchov), b. Warsaw
Aug. 13, 1852; pupil of the Cons, and
of Saint Sai^ns at the Paris Cons.; law-
yer and statesman at Warsaw; c
operas, overtures, 2 symph., etc.
Mil'denberg, Albert, b. Brook-
lyn, Jan. 13, 1873; pupil of Joseffy,
Bruno Oskar Klein and C. C. M Oiler;
c. orch. suites, etc.
MlJIet (mel'-yCt), Luis, b. Barce-
lona, April 18, 1867; pupil of Vidiella
and Pedrell; founded and cond. tlM
Orf6o Catal& society; c. choruses and
orch. fantasies on folk-themes.
.Miriigen, Simon Van, b. Rotter-
dam, Dec. 14, 1849; organist; pupil of
Nicolai, Bargiel, etc.; ioc many years
mimicipal dir. of Gouda, later in
Amsterdam as critic and teacher; c
operas "Bnnio" and "Darikula"
(The Hague, 1898), etc.
Minc'us, Ludwis, b. Vienna, 1827;
violinist and cond. in St. Petersburg;
1872, ballet composer at the Impeiisl
Opera; then retired to Vienna; c
ballets, including "La Source" i&
collaboration with Delibes.
Mirecki (me-rets'-ke), Franz, Cra-
cow, April I, 1 791 — May 29,
1862; pupil of Hummel and Cheru-
bini; after 1838 director of school of
opera singing in Cracow; c. opens,
ballets, etc.
Mit'terer, Ignaz Martin, b. St. Jus-
tina, Tyrol, Feb. 2, 1850; composer
and d&ector; pupil of his unde
Anton M., (a choirmaster), and of
Father Huber; 1874 became a priest;
studied at Regensburg under Jakob,
Haberl and Haller; 1880 chaplain in
Rome; 1882-5, cathedral cond. at
Regensburg, later at Brixen as dir. in
the cathedral; his con^K)sitions show
the influence of Palestrina; c. masses
with orch., ofiFertories and a great
amount of church music.
Mlynarski (m'ie-n&r'-shkl), Emil,
b. Kibarty, Suvalki, July 30, 1870;
pupil St. Petersburg Cons.; 1893 cond
and teacher at Warsaw; 1894 at
Odessa; from 1899 cond. at Opera
House, Warsaw; also cond. PhiL
DICTIONARY OF MUSICIANS
799
orch.; 1904--7 director of the Cons.;
then in London; c. violin concerto
(Padetewski prize at Leipzig, 1898),
operas, etc.
Mocquereau ( m6k - ro ), Andr^»
b. La Tessouale, France, June 6, 1840;
writer; 'cello pupil of Dancia; from
1875 Benedictine monk, teacher of
choral singing at the Aboey of Soles-
mes, later prior: founder and editor of
the " PaUograpkiemusitale "; in 1903
on the exile of the order^ moved to the
Isle of Wight, continumg the publi-
cation of his great work; authority on
Gregorian chant, on which he wrote
^'Rythmiqtie Grigorienne" (vol. I,
X908), etc.
Mojsisovics ( m5-se'-s5-vlch). Rod-
erich von, b. Graz, Mav 10, 1877;
pupil of Degner, and of the Cologne
Cons., and Munich Akad.; 1903 cond.
in various cities; c. symph. "In the
Alps," symph. poem "Siella,** "Chorus
Mysikus" from Faust for soli, double
chorus, organ and orch., etc.
Moick, Heinrich, Grosz-Himstedt,
1825 — Hanover, 1889 ; composer
and organist.
Mol'ter, Johann Melchior, mus.
director in Durlach, 1733; amazingly
prolific writer; c. 169 symph., 14
overtures, etc.
Mon'day, Joseph, 1851 — January
19, 1909; English organist and con-
ductor.
Monhaupt (m6n'-howi>t). Franz, b.
Jftckelstnal, near Friedland, Aug.
25, 1854; director of the Prague
Almshouse for some years,then school
director in Bohemian Leipa; c. opera,
orch. suite, piano auintet, etc.
Monn, Qeorg Matthias, Lower
Austria, 171 7 — Vienna, Oct. 3, 1750;
organist and comp. of highly impor-
tant instnmiental works, symphom'es,
etc., marking a transition to the
modem style.
Monnet (miin-nfi), Jean, b. Con-
drieuz, 1700 — Paris, 1785; 1743 and
1752-8 cond. Op6ra Comique, Paris.
Monod (m(i-n«), Edmond, b.
Lyons, Feb. 4, 187 1; author and
teacher; pupil of Roth, Stepanov and
Leschetizky; 1899-1906 teacher in
Berlin; 1907 Prof, at Geneva Cons.;
c. songs.
Montanari (m6n-tflrnJl'-re), Fran-
cesco, Padua (?) — Rome, 1730;
violinist at St. Peter's, Rome; c 12
violin sonatas.
Montefiore (mdn-t6-f¥-0'-r€), Tom*
maso Mos6, composer; b. tivomo,
1855; pupil of Mabellini; critic under
the pen-name of "Puckf** editor:
c. operas "Un hado a fifrtalorc"
TFlorence, 1884), and ^*Cecilia'*
(Ravenna, 1905).
Moody, Fanny, vide icamkbbs
(2).
Moor (mflr), (i) Karl, Bohemian
comp. of i-act opera " Vij'* (Prague,
1903), and "Hjdrdis" (do., 1905).
(2) Emanuel, c. symph. concertos
and operas "IXe Pompadour*' (Co-
logne, 1902), and "Andreas Hafer**
(do. 1902); " HochaeUsglockm** (Cas-
sel, 1908).
Morals (m5-rft^), Jollo da Silva,
Lisbon, Dec. 27, 1689 — ca. 1747:
important Portuguese composer of
church music; cond. at the CathedraL
Morena (m6-r&'-n&), Berta,b. Wiir^
burg, Jan. 27, 1878; pupil of Frau
R5hr-6rajnin and Mme. de Sales;
d6but at Munich Coiu:t Theatre; has
sung there since, and from 1908 with
Met. Op., N. Y.; also in concert with
Boston Symph., 1909, etc.
Maricke (m&'-rXk-e), Oscar, b. Co-
burg, Aug. 10. 1839; bassoon player
there in the Opera orch., 1856-66;
1878-82 teacher in Munidi, tnen in
Berlin; c. 2 symphs., etc.
Morigi (mO-re'-je), An^elo, Rimini.
1752 — Parma, 1788; violinist; pupil
of Tartini and Valotti; court cona.;
c. violin sonatas, etc.
Mor'nington, Earl of (Qarrett C.
Wesley or Wellesley,) Dangan,
Ireland. July ip, 1735 — May 2a,
1 781; founded Acadony of Musicj
1757; 17^ Mus. Doc. (Dublin) and
8oo
THE MUSICAL GUIDE
Prof.; 1760; created M. Viscount
Well^ey and Earl of M.; c. well-
known chant in E flat, and prize
glees and madrigals; one of his sons
was the Duke of Wellington.
Mor'telmans, Lodevljk,b. Antwerp,
1868; pupil of the Cons, and Brussels
Cons.; csymph. "Gcrwawa/'symph.
poem "Wilde Jagd/' etc
Mo'sel Qiovanni Felice, b. Rorebce,
1754; violinist; pupil of Nardini and
his successor as court cond., 1793; c.
^nolin music, etc.
Mo'ser, Marie, 1848 — Vienna, May
17, 191 1 ; singer in Wagner rdles; wife
of General von Steinitz.
Motta, J086 Da, vide Da Motta.
Mottl, Felix, add that he resigned
at Carlsruhe, 1903, and cond. in
New York at the Met. Op., direct-
ing the first performances of ** Parsi-
fal" outside Bayreuth; 1904 he be-
came co-director of the Royal
Academy of Music, Munich; he was
cond. the United Ro3ral Operas there,
when he fell ill of arteriosclerosis ana
died in July, 1911. Shortly before
his death he was divorced from his
first wife and married Sdenka Fass-
bender, of the Munich Opera.
Muck, Karl, add that in 1899 he
cond. German Opera in London;
1903-5 alternated with Motti as cond.
of the Vienna Phil.; 1906-8 on leave
of absence he cond. Boston S3rmph.
during the winters; appearing also at
Paris, Madrid, etc.; 1901, 2, 4, 6, and
8 cond. " Parsifal " at Bayreuth. By
arrangement with the Boston Symph.
he continued his contract, sending
Max Fiedler to conduct in his place
1909-12; and returning 191 2.
Muffat, (i) Qeorg, SchlettsUdt,
correct birthplace, ca. 1645; ^'
Passau, Feb. 23, 1704. (2) Aug.
Qottlieb, Passau, April, 1690 —
Vienna, Dec. 10, 1770.
Mugellini (moo-gei-le'-n€), Bruno,
b. Potenza, Dec. 24, 187 1; pianist;
pupil of Tofano, Busi and Martucd;
1898 teacher at the Bologna Lyceum;
c. prize symph. poem ^*AUe fofUe id
Cliiumno"; 'cello sonata, etc.; edited
Bach, Czemy and Clementi.
Mulert (moo'-lfirt), Fr. von, b.
Mitau, 1859; 'cellist; pupil of St.
Petersburg Cons.; prof, at Kiev; c
orch. suites, and piano pieces.
Mun'dy, (i) William, d. i59i(?);
gentleman of the Chapel Royal, i<63;
c. anthems, (tc. His son (2) John,
d. Windsor, 1630; where he had been
organist from 1585; c. madrigals and
a feintasia describing the weather.
Mfinnich (mIn'-nXkh), (i) Rudolf,
b. Friedenau, Berlin, June 18, 1836;
song-composer. His son and pupfl
(2) Richard, pianist; author and
singing teacher in Berlin.
Munzinger, (moon'-tsIng-Sr) Karl,
Balsthal, Sept. 23, 1842 — Berne,
Switzerland, Aug .17, 191 1; pupil oi
Leipzig cons.; dir. music school at
Berne till retirement in 1909; c. prize
cantota '' Murtenschlacht."
Mustafll, (moos-t&'-fft), Donienica«
Montefalco (?) — 19:2; singer at the
Vatican and composer of church
music; succeeded by Perosi, 1808.
Mfithel (ms'-tei), Johann Uott-
fried, Mdlln, 1720 — Riga, after
1790; organist; c. sonatas ana songs.
N
Navrfltil (n&-vr&'-tei), Carl, b. Prague,
April 24, 1867; violim'st; Bohemian
composer; pupil of Adler and Ond-
ricek; c £^mph.; symph. poems,
*'Jan Bus/* ^*Zalco," etc.; opera
'^Salammbd," lyric drama, "Her-
mann"; violin concerto, etc.; wrote
biog. of Smetana.
Nay'lor, Edward Woodall, b.
Scarborough, Feb. 9, 1867; composer;
pupil of his father, Dr. John N. (q.
v.); and at the R. C. M., London;
organist at various churdies; 1897
made Mus. Doc. by Cambridge Uni-
versity, where he had taken the
degrees of B. A., M. A., andMus. B.;
organbt from 1897 at Cambridge
DICTIONARY OF MUSICIANS 801
(Emanuel College); lecturer there
from X902; c. Ricordi prize opera
**The Angelus" (Covent Garden,
1909); cantata *^ Arthur the King"
(HaiTogate, 1002), chiu:ch music, etc.
Nebelons; (n&'-bS-ldng), Johan
Hendrik, b. Copenhagen, Nov. 9.
1847; pupil of Holin, Thielemann and
Barth; from 1881 organist at Copen-
hagen, founder of organist pension
fund; c. patriotic songs, etc
Ned'bal, Oscar, add that he was
dir. Bohemian Phil.. Prague 1896-
1906; thereafter cona. Vienna Volk-
soper, also the Tonktlnstler orch.;
c. ballet "-Dff fauUHans" (Vienna,
z^^), scherzo caprice for orch.,
violin sonata, etc.
Nelle, Wilhelm, b. Schwdbber, near
Hameln, May 9, 1849; preacher,
organist and historian of church
music; pupil of Robert Franz.
Nerson, Sydney, London, Jan. i.
1800 — April 7, 1862; publisher and
composer of baUads, etc.
Neru'da, Franz, b. Brttnn; Dec. 3,
1S43; 'cellist, son of Josef N.,
and brother of Nermann N., (q- v.)
pupil of Royal Chapel at Copen-
hagen; from 1892 successor of Gade
as dir. of the Copenhagen Music
Society; also dir. of Stockholm
Music Society; 1894, Prof., c. "Slo-
vak" march, orch. suite "Prom the
Bohemian Forest" 'cello pieces, etc.
Nest'ler, August Julius, b. Grum-
bach, Dec. 3, 1851; teacher, founder
of a musical institute in Leipzig,
1878 (assisted by his son Amadeus) ;
1880 teacher at the Royal Gynma-
slum; 1892 Royal Musical director; c.
hymn with orch., etc.
Neupert (noi'-p£rt), Edmund, Chris-
tiania, April i, 1842 — New York,
June 22, 1888; pianist; pupil of
Kullak's Academy and teacher ^t
Stem Cons.; 1861 at Copenhagen
cons.; 1888 at Moscow Cons.; from
1883 at New York; c. piano studies,
etc.
Neuvllle (nfl-ve'-yg), Valentin, b.
Rexpoede, French Flanders, 1863,
organist; pupil of Brussels Cons.;
org. at Lyons; c. 2 symph., an ora-
torio "Notre Dame de Fourviires,"
6 operas, including "Les Avegules"
(1901). and "Les WiUis" (1902).
Neve (dS n£'-v£), Paul de, b.
Steglitz, Berlin, Jan. 24, 1881 ; pupil
of Ph. Scharwenka, Berger and Gold-
schmidt; from 1893 cond. at Wies-
baden Court Theatre, then in Aschers-
leben; c. opera, chamber music, etc.
Nevin, Arthur. ^ Add that his cor-
rect birthplace is Vine Acre, Edge-
worth, Pa., April 17, 1871. Add
to the list of his teachers, Humper«
dinck in Berlin, and Goetschius,
Boston. He spent the summers of
1903 and 1904 among the Blackfeet
Indians in Montana, collecting ma-
terial for his Indian opera "Poia"
libretto by Randolph Hartley (prod,
in concert form by the Pittsburg
Orch. and as an opera at the Royu
Opera, Berlin); c. also i-act opera
"Twilight" (accepted by Met. Op.
N. Y. but not produced); orch,
suites "Loma Doone" (prod, by
Karl Muck in Berlin), and "Love
Dreams" (Pittsburg O^ch.); c. also
sonfiTs.
Nlbefle (n«-ba), Adolphe Andr^,
Glen, 1825 — Paris, 1895; pupil Paris
Cons.; lawyer and composer of
operettas, etc.
Nich'olls, Agnes, b. Cheltenham,
July 14, 1877; soprano; pupil of
Visetti at the R. C. M., London, with
a scholarship; d6but 1895 in a revival
of Purcell's "Dido and Aeneas";
studied also with John Acton; 1901,
and 1904-6 sang at Covent Garden;
has sung much in concert and ora-
torios, and at the Cincinnati Festival,
1904; in which year she married
Hamilton Harty (q. v.).
Nich'ols, Marie, b. Chicago, Oct. 16,
1879; violinist: pupil of £. Mollen-
hauer (Boston), Halir and Debroux;
d^but 1899; has toured Europe and
America.
802
THE MUSICAL GUIDE
Nich'olson, Henry, 1825 — ^Leicester.
Sept. 14) 1907; age 82; celebrated
flutist; from 1877 with Birmingham
Festival Orch.
Nicolau (ne'-k6-l&-oo), Antonio, b.
Barcelona, June 8, 1858; pupil of
Pujol and Balart; cond. of Cata-
Ionian Concert Society in Paris, then
dir. mimidpal music school at Bar-
celona; c. opera, choral works, etc.
Nicolini (nS-kd-U'-ne), Nicolino
Qrimaldi detto, Naples, ca. 1673
— Venice, (?) after 1726; tenor,
whom Addison called "perhaps the
greatest performer in dramatic music
that ever appeared upon a stage'';
he was a contralto in Italy as early as
1694 and was decorated with the
Order of St. Mark; from 1708-17 16
in England rousing a furore; created
''Rinsddo" m Handel's opera, 171 1;
returned to sing in Italy.
Nidecki (nS-det'-skl), Thomas,
Warsaw, 1800-1852; pupil of die
Cons., and on government funds at
Vienna; 1841 director Warsaw Opera;
c. 3 masses, burlesques, etc.
Nielsen (ner-sSn), (i) Carl, b. Ndne-
Lyndelae, Fttnen Island, June 9,
186 J ; important Danish composer;
Eupil of Gade, member of the Copen-
agen court orch., and from 1904
assistant cond. succeeding Svendsen;
c. 2 S3nnph., No. 2 "The Four
Seasons," overture, "Helios," opera
"Saul and David" (Copenhagen,
1902); chorus with orci., "Hymnus
amoris"; chamber music, etc. (2)
Ludolf, b. Norre-Tolde, Zealand.
Jan. 29, 1876; pupil Copenhagen ana
Leipzig Cons.; viola player in
Andersen's orch.; c. opera "Masco-
rode" (Copenhagen 1906).
Nieviadomski (n'y&v-y&-d6m'shkp,
Stanislav, b. Soposzyn, Galicia,
Nov. 4, 1859; pupil of Mikuli,
Krenns, and Jadassohn; teacher at
Lemberg Cons.; critic; c. songs, etc.
Nikisch, Arthur, add that he was
dir. Leipzig Cons, till 1907; 1905-6
dir. the Stadttheater, has toured
widely with the Berlin Phil., and
acted as guest cond. in many capitals;
April, 1912, he toured the U. S. as
cond. of the London Phil, with
immense success. He c. a symph., a
cantata " Chfistnacht" orch. fan-
tasie " Der Trompeter " ; etc. His wife
Am^lie (n6e Heuser), b. in Brussds;
was a soubrette in Cassel and Leipzig
operas, and has composed music.
No ack, Sylvain, b. Rotterdam, Aug.
21, 1 881; at first a pianist, then violin
pupil of Andr6 Spoor, Amsterdam;
at 17 entered the Cons., as a pupil of
Elderling, winning first prize, 1903,
and becoming a teacher there; 1905
settled in Rotterdam, and toured
widely; 1906 concertm. at Aiz-la-
ChapeUe; from 1908 second concert-
master Boston Symph.
No'ble, Thomas Tertius, b. Bath,
May 5, 1867; composer; pupfl of
the R. C M., London, winnmg a
scholarship, and later teaching there;
org. at Cambridge, Ely Cathedral, and
from 1898 at York Minster, founding
the York Symphony Orch.; c. church
music with orch., cantata "Gloria
Domini," music to Aristophanes*
"Wasps," etc.
No'dermann, Presben, b. Hjorring,
Denmark, Jan. 11, 1867; teacher;
studied at Helsingborg; oxganist and
189^*. Ph.D., University of Lund.
Sweden, in which city he has been
since 1903, cathedral org.; c. opera
"Kimig Magnus" (Hamburg, 1899);
operetta "Prins InkognUo" (Copen-
hagen, loop), etc. •
No'lopp, Werner, Stendal, June 5,
1835 — Magdeburg, Aug. 12, 1903;
teadier and composer of male chor-
uses.
Nolthenius (ndl-tfi'-nl-oos), Hugo,
b. Amsterdam, Dec. 20, 1848; pupil
of Viotta and Auerkamp; cond. musi-
cal societies; 1888-91 at Utrecht;
editor and author.
Nordqvist (nbrt'-kwYst), Johan
Conrad, b. Venersborg, April 11
1840; Swedish composer; pupfl Stock-
DICTIONARY OF MUSICIANS 803
holm Musikakademie; 1864 military
bandmaster, then with state funds
studied in Dresden and Paris; from
1875 organist and teacher at Stock-
holm; 1 88 1 teacher of harmony at the
Musikakad.; 1885 court cond.; c.
orch. works, etc.
Nordraak (n6r'-dr&k), Rikard,
Christiania, June 12, 1842 — Berlin,
March 20, 1876; composer whose early
death enaed a promising career; pupil
of Kiel and Kullak; c. incid. music
to Bjdmson's ''Maria Stuart" and
"Sigurd Slembef" piano pieces, etc.
No^'ren, Heinrich Gottlieb, b.
Graz, Jan. 6, 1861; violinist; pupil of
Massart; concertmaster in various
countries; from 1896-1902 in Crefeld,
where he founded a Cons.; teacher at
Stem Cons., in Berlin; later in Dres-
den; c. orch variations "Kaleido-
skop" (Dresden, 1907), serenade for
orch., etc.
Noronha (nd-r5n'-y£l), Francisco
De Sfl, Vianna do Castello, Feb.
24, 1820 — Rio de Janeiro, Jan. 23,
1 881; Portuguese violinist, and self-
taught composer of operettas and
violin pieces.
Notz, Franz, b. Cannstadt, 1867;
pupil of Stuttgart Cons.; from 1901
teacher in Insterberg; c. choral
*' Liedlegendey" etc.
Nougues (noo-g&), Jean, b. 1874;
composer of operas '*Yannha (Bar-
celona, 1897); **Thamyris" (Bor-
deaux, 1904}; "Quo Vadis** (Paris
Gait6, 1910, Berlin Royal Op., 1912);
"Chiquito," "VEclaircie," "La
Danseuse de Pompeii" (Rouen).
Novfl^ek (n5'-v&-chek), Ottokar,
Feh^rtemplom, Hungary, May 13,
1866 — New York, Feb. 3, 1900;
violinist; pupil of his father, of Dont,
and at Leipzig Cons., where he won
the Mendelssohn prize, 1889; '^'
member Boston Symph. Ordi.; 1892
-3 Damrosch Orch., N. Y.; heart-
trouble forced his retirement; c.
chamber music, Bulgarian dances
and other violin pieces.
No'vflk, Vft^zslav, b. Kamenitz,
Bohemia, Dec. 5, 1870; important
Bohemian composer^ pupil of Prague
Cons, under Dv6rak, later teadber
at Prague; from 1909 teacher of
composition at the Cons.; c. overture
"Maryscha" symph. poems "On
the High Tatra," and "Eternal Long-
ing"; "Slovak" suite, four Moravian
ballads with orch., chamber music,
piano sonata "Eroica," etc.
Novot'ny, Wenzel, b. Pocaterl, Bohe-
mia, Sept. 17, 1849; music editor,
translator of Wagner; pupil Prague
Organ School; c. songs, violin pieces,
etc.
Nowowiejski, Felix, add that he
was b. Wartenburg, 1875; pupil of
Stem Cons., and Regensburg Church
Mus. Sch., etc.; c. 2 symph.; opera
"Quo Vadis" (1907); oratorio "Die
Auffindung des Kreuzes" (Lemberg,
1906). "Quo Vadis" was given as
an oratorio New York, 191 2.
Nunn, J. H., Bury St. £dmunds,Nov.
10, 1827 — Penzance, Oct. 17, 1005;
pupil R. A. M., London, later Fellow;
org. and cond.
Nu'no, Jaime, Spain (?) — Bayside.
L. I., July 19, 1908; composer of
Mexican National Anthem; educated
in Spain, went to Cuba as military
bandmaster, invited to Mexico, 185 1,
by President Santa Anna; fled from
revolution and settled in Buffalo,
N. Y.,as teacher for 52 years; 1901
invited to Mexico and received with
great honours, gold crown, and a
purse; returned to Buffalo, where he
IS buried. .
Nunczy (noon'-che), Louis, d. Buda-
pest, April 18, 1910. Hungarian
violinist.
o
Cberhoffer, (i) Heinrich, Pfalzeln,
Dec. 9, 1824 — Luxembourg, May
30, 1885; organist at Luxembourg,
c. church music. (2) Emil, b.
Munich, Aug. 10, 1867; pupil of
Kistler, and I. Philipp; settled in
8o4
THE MUSICAL GUIDE
Minneapolis, Minn.; cond. Phil.
Club, and from 1903 Minn. Symph.
Orch., with which he toured the U.
S., 191 2; c. church music, songs, etc.
Obermeyer (o'-b&-mI-6r), Joseph*
Nezabudicz, Bohemia, 1749 — Prague
after 181 6; violinist to Count Wald-
stein; pupU of Kamel and Tartini.
Obrecht, vide Hobrecht.
O'brist, Aloys, b. San Remo, March
30, 1867; pupil of Mllller Hartung at
Weimar; cond. in various cities; from
1900 at Weimar; mus. director and
coll. of mus. instruments.
Oldberg, Ame. b. Youngstown, Ohio,
July 12, 1874; began piano studies
with his father at 5; at 6 was playing
Haydn symphonies in duet form;
pupil of Aug. Hyllested, Chicago;
1893-5 of Leschetizky, Vienna; from
1895 in Chicago with Middelschulte
(counterpoint); Ad. Koelling (in-
strumentation) and F. G. Gleason;
1898 with J. Rheinberger, Munich;
from 1899 teacher at Northwestern
Univ., Ill,; c. 2 symphs. (F minor,
winning National Federation prize
191 1); overture **Paola and Fran-
cesca" (played 3 times by Thomas
Orch.); Festival Overture, 12 orch.
variations, born concerto, chamber
music, piano sonata, etc.
Ollone (d61-Iun), Max d\ b. Bes-
angon, June 13, 1875; pupil Paris
Cons., taking the Prix de Rome,
1897; c. c&ntaitA " FMigondej** lyric
scene ^'Jeanne d'Arc d Domrimy, " etc.
dischlegel (Sl'-shla-gei), Alfred,
b. Anscba, Bohemia, Feb. 25, 1847;
pupil Prague Organ School; cond.
various theatres, finally at Franzens-
bad; c. operettas, and opera "Ky-
nasi" (Altenburg, 1898).
Olth'off, Statius, Osnabruch, 1555
— Rostock, 1629; composer; cantor
and con-rector; set Buchanan's Latin
version of the Psalms (1585).
O'Mara, Joseph, b. Limerick, July
16, 1866; tenor; pupil of Perini and
Moretti, and Holland; d6but 1891
Royal English Opera House; 1894 at
Drury Lane and Covent Garden;
1896 created the r61e of *^Mike
Murpky" in "Shamus O'Brien'' in
England and America; toured with
Moody-Manners Co.
O'Neill, (i) Norman, b. Ken^ng-
ton, March 14, 1875; cond., pupil of
Somervell and Hoch Cons, at Frank-
fort; c. indd. music to "Hamlei"
(1904), ''King Lear'' (1908), ''The
Blue Bird*' (1909); overture "/«
Autumn,'' "In Springtime'*; fantasy
for voices and orch. "Woldemar";
Scotch rhapsody; ballade with orch.
"La belle dame sans merci" (London,
1910), etc.; 1899, he married (2)
Adine RUckert, pianist; pupil ol
Clara Schumann and Mme. Clause-
Szavardy.
Opienski (6p-y&i'-shkl), Heinrichy
D. Cracow^ June 13, 1870; pupil
of Zel^nski there, of d'Indy and
Urban; critic in Warsaw, then pupil
of Riemann in history, and of Nik-
isch in conducting; from 1907 teacher
of history at the Warsaw Music
School, and from 1908 cond. of the
Opera; c. prize cantata in honour of
Mickiewicz; opera "Marian" symph.
poem "Lilla Weneda" (1908), etc.
Orlan'di, Fernando, Parma, 1777
— Jan. 5, 1848; 1809-28 singing
teacher at Milan Cons.; then at
Munich Music School; c. 26 operas.
Orlandini (6r-l&[i-de'-n6), Giuseppe
Maria, Bologna, 1685 — Florenoe,
ca. 1750; opera composer, c. 44 ope-
ras, 3 oratorios, etc.
Orologio (6r-5-l6'-jX-6), (i) and (2),
Alessandro, two contemporary
madrigal composers of the same name,
one of them in 1603 became vice-
chapelmaster to Emperor Rudolph
at Prague; the other vice-chapd-
master to the Electoral Court at
Dresden the same year.
Orth (6rt), (i) John, b. near An-
v.^iler, Bavaria; teacher; brought to
America at the age of one; pupil of Ins
father; at 16 taught and earned funds
for study abroad; from 1875 teacher
DICTIONARY OF MUSICIANS 805
in Boston; c. piano pieces, etc. In
1883 he mamed (2) Lizette E.
Blood t composer of children's op-
erettas, songs, etc., under name
"L. E.Orth."
Ortiz (dr-ti&th), Diego, b. Toledo,
ca. 1530; from 1558 chapelmaster to
Duke of Alva; c. important book of
sacred music (pub. Venice, 1565).
Osborn-Hannahy Jane, soprano,
after concert career, became pupil of
Rosa Sucher in 1903; 1904 engaged
for Leipzig Opera by Nikisch; sang
for 3 years there, appearing also as
soloist at the Gewandhaus concerts;
has sung in other German cities, at
Covent Garden, London; 1909, Met.
Op. N. Y.; from 19 10 with Cfajcago-
Philadelphia Opera Co. in Wag-
nerian r6les.
O'Suliivan, Denis, San Francisco,
April 25, 1868 — Columbus, Ohio,
Feb. X, 1908; barytone of Irish de-
scent; pupil of Talbo and Formes:
later of Vannudni, Santley and
Shakespeare; d6but 1895 in concert;
also in opera with Carl Rosa Co. ; 1896
created the title r6le in Stanford's
'^Shatnus CyBrien" and sang it in
England and America; created other
r61es in light and serious opera; in
1907 sang in America in '* Peggy
Mackree" of which his wife wrote the
ibretto; su£Fering with appendicitis
he persisted in struggling through
performances and died on tour in a
hotel.
Os'wald, James, d. Knebworth
Jan. 1769; Scots composer of
popular tunes, to whom Kldson
credits the composition of "God
Save the King**; dancing-master at
Dumferline, 1734; later in Edinburgh;
from 1 74 1 in London; c. songs.
Othegraven (5'-t£-gr&-v&i), August
von, b. Cologne, June 2, 1864; music
professor; pupil of the Cons, and
from 1889 teacher there; c. fairy
play ''The Sleeping Beauty** (Co-
logne, 1907), songs, etc.
Ot'ter, Franz Joseph, Nadlstadt,
Bavaria, 1760(1764?) — ^Vienna, Sept.
I, 18^6; violinst; pupil of Nardini;
violinist with his brother Ludwig at
Salzburg Cathedral; 1803-7, then
pensioned; taught and conducted in
Vienna.
Otterstroem (dt'-t&-strfim), Thor-
vald, b. Copenhagen, July 17, 1868;
composer; piano pupil of Sophie
Menter, St. Petersbuig; from 1892 in
Chicago; c. 24 preludes and fugues
for piano, chamber music, etc.
Ot'to, (i) Qeorg, b. Torgau, ca. 1544;
from 1 588-1 619 at Cassel as cond.
to the Li^ndgrave; c. sacred music;
(2) Valentin, cantor at Leipzig,
1564-94. (3) Valerius, organist at
Prague, 1607; c. church music. (4)
Stephan, b. Freiburg, Saxony, ca.
1594; cantor there and at Schandau;
c. church music.
PacchionI (piLk-kI-0'-n6), Antonio
Maria, Modena, 1654-1738, priest,
court chaplain; c. oratorios, etc.
Paceili (p&-chei'-le), Asprilio, Vaid-
ano, ca. 1570 — Warsaw, May 3,
1623; Italian choirmaster; 1604.
called to Warsaw as chapelmaster to
the King; c. motets, etc.
Pache (p&kh'-e), (i) Johannes, b.
Bischofswerda, Dec. 9, 1857 — Lim-
bach, Dec. i, 1897; organist and com-
poser of male choruses, etc. (2)
Joseph, b. Friedland, Silesia, June
I, 1861; pupil Rovai Akad., Munich,
and of Scharwenka Cons., and Max
Bruch; settled in New York and
founded 1903 an oratorio society;
from 1904 dir. oratorio society in
Baltimore.
Pachler-Koschalc (pSkhM&-kO'-
sh^), Marie Leopoldine, Graz,
Oct. 2, 1792 — April 10, 1855; pianist
and composer; friend of Beethoven,
Paderewsici, 1. J., add that he
settled at Morges, Switzerland, con-
tinuing to tour the world; 191 2, in
South Africa; 1909 director Warsaw
8o6
THE MUSICAL GUIDE
Cons.; c. opera ** Sakuniala*' (text
by C. Mendds), a symphony in
memory of the revolution of 1864,
(1908; Boston Symph., 1909; Richter,
London, 1909); a second symph., an
hour and twenty minutes long
(191 2); piano sonata, variations, and
fugue for piano (1907), etc.
Pagin (p&-zh&&), Andr6 Noel, Paris,
1 721-1770; composer and violinist.
Palmer (pftm'-er), Bessie (Eliz-
abeth Annie), b. London, Aug. 9,
1831; contralto; pupil R. A. M., and
of Garda; d^but, 1854; sang in ora-
torio and concert; from 1870 in opera;
from 1877-1886 teacher.
Panor'mo, (i) Vincenzo Trusaino,
Monreale, 1734 — ^London, 1813; violin
maker, as were his two sons, (2)
Joseph, London, 1773 — ca. 1825,
and (3) Qeorge Lewis, London,
1774 — ca. 1842.
Pancera (pfin-ch&'-rll), Ella, b.
Vienna, Aug. 15, 187^ (of Italian
parents); pianist; pupil of Epstein
and Vockner; d^but at 13; toured
widelv
Panizza (pft-nld'-zft), Ettore, b.
Buenos Ayres, Aug. 12, 1875; c* <'pera
"// fidanteto dd mcu^e" (Buenos
Ayres, 1897); the triloj^ '* Medioevo
latino" (Greneva, 1900) "Aurora,"
(Buenos Ayres, 1908).
Paolucci (pft-d-loo'-che), Giuseppe,
Siena, May 25, 1726 — Assisi,
April 26, 1776; Franciscan monk; c.
church music.
Paravicini (pft-r&-vft-che'-n6), Sig-
nora, Turin, 1769 — after 1830; vio-
linist; pupil of Viotti; 1797, befriended
by Empress Josephine, and made
great success in Paris and other cities.
Pardew^ John, 1855 — Plymouth,
April 13, 1910, organist, conductor
and teacher.
Par'ker, Horatio W., add that
in May, 191 1, his opera "Mona,"
libretto by Brian Hooker (b. N. Y.
Nov. 2, i88c, a graduate of Yale,
1902, and instructor there 1905-10),
won the $10,000 i>rize offered by the
Met. Op. Co. for the best grand
in English l^y an American. It
prod, with success.
Pariow, Kathleen, b. Caljcaiy,
Canada, 1890; violinist; talLcn to
California at 5, and studied there with
Conrad and Holmes; d^but there at
6; at 15 gave a recital in London and
appeaiedf with the London Symph.
Orch.; then studied with Auer; 1907
began to tour.
Parry, Sir C. Hubert H.. add
that in 1908 his health forced his
resignation of the Oxford Professor-
ship; c. also Processional Music for
the coronation of Edward VII (1903);
a simfonia sacra for soli, chorus ajod
orch. (Gloucester Festival, 1904);
music to Aristophanes' ** Clouds**
(Oxford, 1905); Browning's "Pud
Piper" with orch. (Norwich Fest,
1905); symph. poem "The Vision oj
Life" (Carciiff Fest., 1007); cantata
(Worcester Fest., 1908); revision of
4th symph., (Philharmonic, 1910);
wrote important work on Badi;
"The Music of the lytk Century,"
for the Oxford History of Musir
(1002), etc.
Parry^ Joseph Haydn, Pennsyl-
vania, 1864 — London, March 39,
1894; composer; son and pupil of Dr.
Jos. Parry; 1890 prof. Guildhall
School; c. operas, "Cigarette," 1892,
"Miami" (London, 1893), etc.
PashAlov (p&-sh[l'-l6f), Victor Nik-
androvich, Saratov, 1847 — Kasan,
1885; Russian; composer of songs.
Pashkevlch (pksh'-kfi-vlch), Vassili,
violinist; chamber musician; a>uit
cond. to Catherine II; 1789, dir. court
balls; c. operas, etc., one of them
"Oleg" to Catherine II's text.
Pasterwitz (p&s'-tSr-vYtz), Qeorg,
Passau, 1730 — KremsmQnster, 1823;
priest, and cond.; c. fugues, etc.
Pa'tey, John Qeorge, Stonehouse,
Devonshire, 1835 — Falmouth, Dec.
4, 1901 ; bass at Covent Garden; hus-
band of Janet Monach P. (q. v.)
Pauer, Max, add that he became
DICTIONARY OF MUSICIANS 807
dir. of Stuttgart Cons. 1908: gives
annual recitals in European capitals.
Paul, William, England, 1868 (?) —
St. Louis, Feb. 5, ioo3} teacher.
Paulli (pow'-le), Simon Holger,
Copenhagen, Feb. 22, 1810 — Dec.
2T, 1891; violinist and court cond.;
c. overture, operettas, etc.
Paur, Emit, add that he returned to
Europe, 1903; cond. concerts in
Madrid; 1904, returned to the U. S.
as cond. Pittsburgh Symph. Orch.
His symph. was published in 1909.
Pechatschek (pekh'-&-chfik), (i)
Francois, conductor in Vienna; c.
popular dance music, ballets and
operas. His son (2) Francois,
Vienna, July 4, 1793 — Carlsruhe,
Sept. 15, 1840; violin- virtuoso, court
dir. at Boden; c. violin concerto, etc.
Pedrell, Felipe, add that he was
bom in Tortosa, Spain, Feb. 19, 1841,
and c. opens, mduding" Quasimodo**
(Barcelona, 1875), a trilogv "Los
Pinneos" (Barcelona, 1902), "La
VelesUna*' (1904), "La Matinada**
(1905), a Gloria mass with orch.;
also wrote and edited important
historical works.
i^eAalosa (p£n-y&-l5'-sll), Francisco,
Spanish composer, 1470-1535; cond.
to Ferdinand the Catholic, then singer
in Papa! Chapel.
P§navaire (pfi-nft-v&r), Jean Qr6-
goire, Lesparre, Sept. 15, 1840 —
Paris, Sept. 1906; composer; theatre-
cond. at Nantes; covertures " Tasso, "
" Cervantes**'^ symph. poem with
chorus, "La vision des CrotsieSf**
comic opera and ballets.
Perez (p&'Cth), Juan Qinez, Orihu-
ela, Murcia, Oct. 17, 1548 — Valencia
after 1601; royal chaplain and comp.
of church music.
Perosi, Don Lorenzo, add the
later compositions; oratorios "/^o
the Great^* (1902), "// Giudizio
Universale*' (The Last Judgment),
Rome, 1904; and "In Pairis Memo-
nam** (1910); orch. variations (1904),
cantatas "Ani/ma** (1908}, and "Dies
Iste**;sL series o( zo sjrmphonies each
devoted to an Italian city; requiem
for Leo XIH (1909), etc.
Per'singer, Louis, b. Rochester, IlL,
1887; violinist^ at 12 taken to Lopdg
and studied with Hans Becker; later
pupil of Ysaye, Thibaud and at Leip-
zig Cons.; concertm. BlUthnerOrch.,
Berlin; played in concerts abroad,
engaged for American tour, 191 2.
Peterson-Berger Qj&'-t&r-son-ba-kh-
£r), Wilhelm, b. Ingermanland,
1867; composer; studied in Dres-
den and in Stockholm where he has
been since 1894 critic and regisseur at
the opera; c. dramatic works "Ran**
(Stockholm, 1903), etc.
Petrle, Qeorge, Dublin, 1789 — Jan.
17, 1866; collectdr of Irish airs.
Petrov (p&'-tr6f), Ossip Afanass-
Jevich, b. Elisavetgrad, Nov. 15,
1807 — St. Petersburg, Mar. 14, 1878;
famous Russian barytone-bass, with
remarkable compass of nearly four
octaves (B-g^O; discovered on the
stage of a country fair, by Lebedev;
created Sussanin in "Life for the
Czar**; Glmka wrote" Ruslan*' for
him, and he created r61es in many of
the chief Russian opeias, singing up
to four days before his death in his
seventy-first year.
Petsch'nikov, Alexander, b. Teiets.
Feb. 8, 1873; violinist; pupil of
Moscow Cons.; lives in Berlm.
Petz'et, Walter, b. Breslau, Oct. 10,
1866; pupil of Kleffel, Rhdnber-
ger and von Bfilow; 1887-^ piano
teacher in America, then at H^ung-
fors Cons., and 1898 at Karlsruhe
Cons.; c. an opera, piano meces, etc.
Peurl (Bttwerl, Btturl, or Beurlin),
Paul, organist at Steyer; important
composer of suites, etc., (z6ii'2o).
Pfannstiehl (pflln'-shtel), Bern-
hard, b. Schmalkalden, Thuringia.
Dec. 18, 1861; blind organist; piq>il
Leipzig Cons., winning the Men-
delssohn prize three times; from 1903
org. at Cnenmitz.
Phip'son, Thomas Lamb. b. Bir-
8o8
THE MUSICAL GUIDE
mingham, May 5, 1833; violinist and
author.
Piern6, Qabriel, add that from 1910
he cond. the Colonne concerts
Paris; he c. very successful choral
work, ** Croisad€ des EnfatUs" (1905),
"La coupe enckanUe" (Paris, 1895;
Stutt^^rt, 1907); opera *'LafiUe de
Tabarin'* (0^). Com., 1901); oratorio
"Les enfafUs de BeihUhem" (1907);
"Les FioreUi de St. Francis d' Assise"
(Paris, 191 2), etc.
Pilati (pe-lft'-te), Auguste (rightly
Pilate), Bouchain, Sept. 29, 1810
— Paris, Aug. I, 1877; c. operettas
under name of A. P. Juliano.
Pinelio de Qherardi (gft-rSr^-de),
Qiov. Bat., Genoa, ca. 1540 —
Prague, 1587; court cond. and com-
poser.
Pir'ro, Andr6, b. St. Dizier, Feb. 12,
1859; organist and historian; from
1896, teacher at the Schola cantorum,
P»ris.
Pique (pSk), Louis Francois,
Roret, 1758 — Charenton-St. Mau-
rice, 1822; violin maker at Paris.
Pisna (plsh'-n&), Johann, Bohemia,
June 15, 1826 — Prague, 1896; teach-
er at Moscow and Prague; c. piano
exercises.
Pitsch (pltsh), Karl Franz, b.
Senftenberg^ Bohemia, 1789 — Prague,
1858; orgamst; c. organ pieces.
Pitt, Percy, b. London, Jan, 4, 1870;
organist and prominent English com-
poser; pupil of Reinecke, Jadassohn
and Rheinberger; 1896 oiganist
Queen's Hall; 1902 adviser and cond.
Covent Garden; c. sinfonietta, (Bir-
mingham Fest., 1906); symphonic
prelude "Le sang des cripusctUes,"
(1900); ballade for violin and orch.;
orch. suites, etc.
Planson (p]&A-s6&), Pol Henri, b.
Fumay, Ardennes, June 12, 1854;
famous barytone; pupil of Duprez
and Sbriglia; d6but, 1877, ^t Lyons;
1883-93, *^ the Paris O^ra; 1891-
1904, Covent Garden annually, and
^893-1906, at Met. Op. House, N. Y.
Platz'becker, Heinricli Aui^st,
* b. Merzenhausen, Sept. 13, i860;
editor at Dresden; c. operettas, etc
Pochhammer (p6kh'-hSm-m&-),
Theodor, b. Rheine, Nov. 16, 1S46;
pupil of Hamburg Cons., teadier at
Wiesbaden Cons.; studied sin^^ng
from 1902; teacher in Aachen; csongs.
Podbert'sky, Theodor, b. Mu-
nich, Nov. 16, 1846; cond. Munidi
M&nnei^esangverein; from 1887, in
Fiirstenfeldbriick; c. opera "Der
Liedes Ende^ " and male choruses.
Poglietti (pol-yfit'-t€), Alessandro,
from 1661 court oiganist; murdered
by the Turks in the siege of ^enna,
1683; c. clavier pieces.
Pohlig (po'-irkh), Karl, b. TepUtz,
Feb. 10, 1864; pupil of Liszt; cond.
Graz Hambuig, Covent Garden, etc.;
1907 — 19 1 2, Philadelphia Symph.
Otch; c. orch. pieces and songs.
Poir6e (pwa'-rft), Elie Emile Ga-
briel, b. Villeneuve, St. Geoiiges, Oct-
9, 1850; librarian, author; c. string
quartet, etc.
Polac'co Qiorgio, b. Venice, 1878;
pupil Milan Cons.; cond. in London,
Italy, Spain, South America; 1907,
Royal Op., Weisbaden; 1908, Bo-Un
Royal Op.; 1911-12, cond. H. W.
Savage's prod, of *'Girl of the Goldm
West"; 191 2, engaged for Met. Op.,
N. Y.; c. 2 operas, '' Rakab" (Buda-
pest), and " FortumUus."
Polaro'li (or PoUarolo, (i) Carlo
Francesco, Bresda, ca. 1653 —
Vienna, 1722; composer; orgamst and
assistant-cond. at St. Mark's; c. 3
oratorios. 68 operas, etc. His son and
pupil (2) Antonio, Venice, 1689
— Venice, 1746; 1723, cond. at St
Mark's; c. operas.
Poldini (pdl-de'-ne), Eduard, b. Pest,
June 13, 1869; composer of c^ra
'* Vagabond and Princess," (Pest,
1903), and children's operas.
Polleri (p6l-l&'-r€), Qiov. Bat.,
b. Genoa, 1855; oiganist; from 1887
teacher in the U. S.; 1894, in Genoa-*
DICTIONARY OF MUSICIANS 809
from 1898 dir. of the Cons.; c. organ
pieces, etc.
Pomasan'ski, Ivan Alexandro-
vichf b. near Kiev, April 11, 1848;
harpist and composer; pupil St.
Petersburg Cons.; from 1868 harpist
and chorus — master at the Imperial
Opera; c. cantata *'The Death of
Samson"; Russian overture and songs.
Poole, vide bacon.
Pop'ov, Ivan Gegorovich, b. £ka-
terinodar, 1859; pupil Moscow Phil.
School, from 1900, director of society
in Stavropol, Caucasus; c. symph.,
Armenian rhapsody; symph. poem
^* Freedom," overture, *' Ivan the Ter-
Hbley " etc.
Por'ro, Pierre, Bdziers, 1750 —
Montmorency, 1831; guitar- virtuoso
and teacher at Paris; c. pieces for the
instrument, etc.
Porsile (pAr-sSMfi), Giuseppe, b.
Naples, 1672 — Vienna, 1750; court
cond.; c. 6 operas, etc.
Pottgiesser (p6t'-g£s'ser), Karl, b.
Dortmund, Aug. 8, 1861; pupil of H.
Riemann: c. opera *' Heimkehr,'*
(Cologne, 1903), a Festspiel, choruses,
etc. ; chapter i of St. PauVs First Epis-
tUf for voices, organ and orch.; orato-
rio "Gott ist der Liehe"; choruses, etc.
Poueigh, (poo- a) (Marie Octave
Q^raud) Jean, b. Toulouse, Feb. 24,
1876; studied with the Jesuit fathers
at Toulouse; at 19 took up harmony
with Hugounenc of the Cons., which
he entered in 1897, receiving the
second harmony prize 1898; he then
studied in Paris with Caussade,
Lenepveu and Faur6, receiving
criticisms from dTndy. His com^s.
include sonata for piano and viohn
(performed by Enesco and Aubert
1906); orch. suite FUnn (1906 and
1908 at Lamoureux concerts), poem
with orch. ''SenteUUre de Rhe"
(1907); dramatic poem for solos, choir
and orch. Les Lointains (1903); 5-
act lyric drama, Le Meneur de Louves,
not prod. Le Soir rdde (song with
orch. 1910), etc
Poznan'ski, Barrett Isaac, Charles-
ton, Va., Dec. 11, 1840 — London,
June 24, 1896; violinist and composer;
pupil of Vieuxtemps; c. violin
pieces, etc.
Powell, Maud, add that her birth
place was Peru, 111.; played piano
and violin in public at 9; d^but
Berlin Phil., 1885; the same year in
America with Theo. Thomas orch.
married H. Godfrey Turner.
Pren'dergast, A. H., Dalrymple,
June 28, 1833 — Kensington, July 13,
1910; choral cond. and composer.
Pres'cott, Oliveria Luisa, b. Lon-
don, Sept. 3, 1842; pupil of Macfarren*,
singing teacher; c. string quartets, etc.
Pressen'da, Johannes Franciscu^,
Laquio-Berria Jan. 6, 1777— Turin,
Sept. zi, 1854; violin maker.
Pribik (pre'-bXk), Joseph, b. Bo-
hemia, 1853; poptl Prague Cons.;
director of opera in various cities;
from 1894 of Odessa Symph. Och.
c. orch. suites, etc.
Primavera (prC'-mfi-vft'-rS), Gio-
vanni Leonardo, b. Barletta;
from 1573 concertmaster at Milan; c.
madrigals, etc.
Pri'oris, Johannes, organist at St.
Peter's, Rome, 1490; 1507, cond. to
Louis XII of France; c. motets, etc.
ProchAzka (pr5-khS2'-k&), (i) Lud-
wig, correct birth date, Klattau,
Aug. 14, 1837; (2) Rudolf, Freiherr
von, Prague, Feb. 23, 1864; com-
poser; pupU of Fibich and Griinberger;
magistrate in Prague; author of biog-
raphies; c. dramatic tone story.
''DasGliick" (Vienna, 1898); sacred
melody **ChristuSy" etc.
Pro'fe, (or Profius) Ambrosius,
Breslav, Feb. 12, 1859 — Breslau,
Dec 27, 1661; organist; c. church
music.
Puccini, Giacomo, add that his
correct birth date is Lucca, June 22,
1858; *' Madame Butterfly," ^Scalsi,
Milan, 1904), was a dire failure and
withdrawn after one performance;
revised and brought out at Brescia
Sio
THE MUSICAL GUIDE
the same year with a success that has-
spread all over the world, being sung
throughout America in English by
the Henry W. Savage Company. It
was based on a play by John Luther
Long and David Belasco. His next
opera was also based on a play of
Belasco's, *'The Girl of the Golden
WesW' {''La FanciuUa del West'*),
and first prod. New York Met.
Op., 1910, with much success and
later in Italy, England, etc. He is
said to be working on an opera with
Franz Hals as hero, and an Anda-
lusian story by Quinteros, **Anima
AUegra.'*
PuchaUki (poo^chSl'-shkY), Vladi-
mir v., b. Minsk, April 2, 1848;
pupil at St. Petersburg Cons.; pianist;
from 1876 director Imperial Music
School in Kiev; c. Little-Russian
fantasie for orch., an opera, etc., etc.
Puget (pU-zh&), Loisa, b. Paris, ca.
1810; composer; pupil of A. Adam;
c. popular songs and operetta "Le
mauvais ceil** (Paris Op. Com., 1836),
and "LaVeilUuse";mfiTned Lemoine.
Pujol (poo'-fa61), Juan Bautista,
Barcelona, 1836 — ^Dec, 1898; pianist,
author of a method; c. piano pieces.
Pur'day, Charles Henry, Folk-
stone, Jan. II, 1799 — London, April
23, 1885; composer, lecturer and
writer; c. **Lead, Kindly Light" etc.
Pychovski (pe-khdv'-skY),Jan Nepo-
mucene, Grazen, Bohemia, April
8, 1818— Hoboken, N. J., March 18.
1900; pianist and teacher; pupil
Prague Cons, and of Tomaschek;
1850 moved to New York; from 1855
in Hoboken; c. violin sonata, etc.
Quadflieg (kv&t'-flekh), Gerhard
Jakob, b. Breberen, Aug. 27, 1854;
Cupil Church Music School, Regens-
urg; from 1881, teacher; from 1898.
rector at Elberfeld; also cond. and
organist; c. 7 masses, many motets,
etc.
Quirter, Roger, b Brighton, Nov.
I, 1877; composer; pupil of Knorr
Frankfort; c. serenade for orch.
(London, 1907), part songs, etc.
R
Raabe (ra'-b^), Peter, b. Frankfort-
am-Oder, Nov. 27, 1872; pupil of
Bargiel; cond. at various theatres;
1899 at the Opera, Amsterdam; 1903,
dir. Kaim orch., Munich ;-from 1907
court cond. Weimar; c. song and
piano pieces.
Rachmaninoff, S. V., add correct
birth date, April 2 (N. S.), 1873;
in 1899 appeared in London as
conductor and pianist; from 1903
piano prof. Maryinski Inst, for Girls,
Moscow; 191 2, appointed chief cond.
of the Opera St. Petersburg; c. symph.
(1895); cantata- "5^mf," fantasia
for orch., ''The Rock,** Gipsy ca-
priccio; 2 piano concertos; chamber
music, ind. Elegiac trio in memory of
Tchaikovsky; 'cello sonata, etc.
Radeglia (r&-dfil'-y&), Vittorio, b.
Constantinople, 1863; composer; c.
operas "Colombo** (Milan, 1887),
*^Amore occulta** (Constantinople,
1904), etc.
Radicati (r£-dl-k&'-te), Felice da
Maurizio di, Turin, 1778— Vienna,
April 14, 1823; violinist, court com-
poser and 181 5 cond. at Bologna;
c. operas and important chamber
music.
Ralda (n'-dft), Karl Alex., b. Paris,
Oct. 4, 1852; pupil Stuttgart and
Dresden Cons.; theatre-cond. in vari-
ous dties; 1 878-9 2, in Berlin; from
1895, Munich; c. operettas, ballets,
etc.
Rand'les, Elizabeth,Wrexham, Aug.
I, 1800 — Liverpool, 1829; pianist;
prodigy, playing in public before the
age of two; daughter of a blind harp-
ist; pupil of John Parry; later a
teacher in Liverpool.
Randolph, Harold, b. Richmond,
Va., Oct. 31, 1861; pupil of Mrs.
Auerbach and Carl Faelten, at Pea-
body Cons., Baltimore; from 1898 its
DICTIONARY OF MUSICIANS 811
Mi
director; pianist, has pla3red with
Boston Symph., etc.
Rap'pold, Marie (n^ Winteroth),
b. Brooklyn, N. Y.; sang in London
at 10; m. Dr. Julius Rappold of Brook-
lyn; studied with Oscar Saengerand
sang in concert; from 1905 Met. Op.
Rase'lius, Andreas, Hahnbach,
upper Palatinadte, 1562-64 — Heidel-
berg, Jan. 6, 1602; court cond. and
comp.
Raver, Maurice, b. Cibouze, March
7, 1875; pupil of Faur6, Pessard and
De B^riot at Paris Cons.; important
French composer; he won the 2nd
Piix de Rome 1901 with cantata
**Myrrha"; c. overture ''Shihirazade,"
(1898), Spanish Rhapsodie for orch..
etc.; operetta "Vheure espagnoU^*
(Op. Com. 191 1); opera "La cloche
englotUie " (after Hauptmann's
"Sunken Bell''), string quartet,
strikingly individual songs such as
"Eisloires naturdles*^ (1906), and
piano pieces including the 5 pieces
called M*rw«" (1905).
Raway (r&'-vl), Erasme, b. Li^e.
June 2, 1850; priest, teacher and
cathedral cond. at Li^e; c. church
works, Hindu scenes, a dramatic
dialog. "Freya,'* 1908, etc.
Rebikov (reb-r-k6f), Vladimir
Ivanovich, b. Krasnojarsk, Siberia,
June I (N. S.), 1866; pupil Moscow
Cons., and in Berlin; 1897-1902 cond.
in Kishinev; later in Berlin and
Vienna; theorist and composer of
daring originality, as in his famous
piece "Satan's Diversions , " his " Melo-
mimiky" lyric scenes in pantomime,
i-act fairy opera, " Der Ckristbaum*'
etc.
Reger, Max, add that he has come
to be recognized as one of the most
important of living composers, es-
pecially in chamber music and sacred
music; , 1891-96 he was teacher at
Wiesbaden Cons., then took his year
of military service. After a severe
illness he settled in Munich, 1901,
and manied there; 1905 he tauisht
counterpoint at the Royal Academy;
1907-8 tauf(ht composition at Munich
Cons., and was University music dir.;
1908 was named Royal Prof, and Dr.
Phil, by Jena; 19 10 Mus. D. Berlin U.
in Z91 1 , he became General Music Dir.
at Meiningen, cond. Meiningen orch.,
continuing to teach one day a week at
I^ipzig Cons. He toured with the
orch., 191 2. His compositions are
exceedingly numerous, and include a
sinfonietta, op. 90, sym»h. prologue to
a tragedy, op. 108, "Lustpiel** over-
ture (191 1). violin concerto; a vast
amount of cnamber music, sonatas for
piano, organ, violin, clarinet, 'ceUo,
variations, fugues, canons in all keys,
left hand studies, and transcriptions
for piano; much organ music; " Gesang
der Verkldrten" for choir and orch..
"An die Hofnung" for contralto ana
orch. (191 2); three orch. pieces "NoC"
tume," " Elfensfnik,'' jBind "Helios''
(19 1 2); organ fantasie and fugue,
B-A-C-H; violin suite op. 103, sonata
op. 42, for violin alone; tone-forms
for pianos, "Aus meinem Tagebuch";
cantatas, male and mixed choruses,
and many beautiful sacred ana
secular songs.
Resslo (red'-j5), Pietro, Genoa —
London, July 23, 1685; private luten-
ist to Christina of Sweden; from
1677 at Oxford; c. songs, etc.
Reich wein (rddi'-vlzi), Leopold,
director and composer; b. Breslau,
May 16, 1878; cond. 1909 of the
Court Opera at Carlsruhe; c. operas
" Vasantasenay'* (Breslau, 1903),
"Die Liebenden von Kandahar"
(1907), and music for "Faust"
(Mannheim, 1909).
Rein'liardt, Heinrich, b. Pressburg,
April 13, 1865; c. operettas for Vienna
"Das siisse Mddd" (1901); "Ein
Madchenfar AUes" (Munich, 1908).
Reiter (n -t^r), Josef, b. Braunau,
Jan. 19, 1862; composer; Viennese
composer of operas, including "Der
Totentanz" (Dessau, 1908), symph.,
cantatas, male choruses, etc.
8l2
THE MUSICAL GUIDE
Rembt, (r&npt), Johann Ernst,
Suhl, 1 749-1810; organist and com-
poser.
Rheineck (rf-niOc), Christoph.
Memmingen, Nov. i, 1748 — July
29, 1797; c. operas.
Rice, Elihu S., Genesee Co., N.
Y., 1827 — Logansport, Ind., May
1 91 2; merchant; lived Logansport
from 1838; c. pop. hymns, "ShdU we
Meet Beyond the River,'* etc.
Richafort (resh-ft-fdr), Jean,
important Flemish composer of
masses, motets and songsj pupil of
Deprds: 1543, choirmaster m Bruges.
RiJl'dell, (i) John, Ayr, 1718-
i795> blind Scots, composer of dance
music, (2) Robert, d. Friar's Carse,
1794; captain, friend of Bums; c.
dances and songs.
Rider-Kelsey, Corinne, b. Le Roy.
N. Y., Feb. 24, 1880; soprano; studied
with L. A. Torrens, Chicago, Mr. and
Mrs.Toedt, N. Y. ; sang widdy in con-
cert and oratorio; 1908, d^but in
opera at Covent Garden; returned to
concert work.
Rietsch (rCtsh), Heinrich, b. Falk-
enau, Sept. 22, i860; professor and
composer; pupil of Krenn, Mandycze-
vski, and Fuchs; from 1892 teacher
in Vienna; from 1900 prof, at the
German Univ., Prague; author, and
historian; c opera, chamber music,
etc.
Rimsky-Kosaskov, N. A., add that
he died at St. Petersburg, June 21,
1908; in 190T he ceased to cond.
Russian symph.; 1905 he wrote a
letter protesting against the use of
armed force in the Cons, to repress
students' political expression, and he
was dismissed; Glazounoff, Liadov,
and others at once resigned, public
feeling was aroused, and his opera
*'Kotschei" was prod, at the Theatre
du Passage, 1905, with great acclahn;
later he was reinstated and Glaz-
ounoff chosen director. His opera
"KHesck** was prod, the same year,
Mid '*Zolotoi Pietouchok" (1909); his
symphonic suite, '*Sckik^azad€,"
(Boston Symph., 1897), was used for
the Russian ballets in Paris, 191 1,
with immense success.
Rinardo di Capua, ca. 1700 (?) —
Rome, after 1771; important Italian
composer of 30 or more light operas,
popular in Italy, France,and En^and.
Rip'fel, Karl, Mannheim, 1799 —
Frankfort-on-Main, March 8, 1876;
'cellist and composer.
Rip'pon, John, Tiverton, 1751 —
London, 1836; clergyman; c. oratorio
'* The Crucifixion,"
Riseley (rizMX), Qeorge, b. Bristol,
Aug. 28, 1845; organist; pupfl oi
Corfe, later his successor at the
Cathedral; cond. orch. societies;
pensioned, 1898, then cond. London;
c. Jubilee Ode, 1887, etc.
Rivarde (re-vftr'-dfi), Serge Achille,
b. New York, Oct. 31, 1865 (of
Spanish father, American mother);
violinist; at 11 taken to Europe,
pupil of Danda, Paris Cons. ; divklmg
first prize, 1879, ^^ Ondri&k; 1885-
90, solo violinist Lamoureux orch.,
from 1899, prof. R. C. M., London.
Rob'erts, John, Wales, 1822 —
Aberdare, 1877; composer of church
music; founder of festivals.
R(5ckel, Jane Jackson, d. Clifton.
August 27, 1907, age 73; wife Jos.
Leopold R. (a. v.); pupil Pauer,
Hall6, Mme. Schumann; pianist and
teacher; c. piano pieces with pen-
name "Jules de Sivrei." Inventor of
" Pamphonia, " appliance for leazninif
staves and defs.
Rod'well, Qeorge Herbert Bona-
parte, London, (?), 1800-1852; pupil
of Novello and Bishop; from 1828
prof, of harmony R. C. M.; c
numeious operettas, farces, etc.
Roguski (rd-goo'-ski), Qustav, b.
Warsaw, 1S39; pupil there and of
Marx, Kiel, and Berlioz; from 1865
prof, of composition at the Warsaw
Cons.; c. symph., 2 masses, chamber
music, etc.
R5hr, (r&r), Hugo, b. Dresden, Fdi
DICTIONARY OF MUSICIANS 813
13, 1866; pupil of the Cons.; cond. in
various cities; from 1896 royal court
cond. at Munich Court Opera; c.
oratorio "Ekkehard,** opera **Valcr
unser** (Munich, 1904), etc.
Rolland (rCd-lan), Romain, b.
Ciamecy, Jan. 29, 1868; teacher of
history at the Ecole normale supdr-
ieure, at Paris; 1900 organized an
international congress of music; his-
torian at Paris; author of many his-
torical and critical works, dramatic
poems, and the mysical romance
"JeanChrisUfpke" (1905-1908).
R6man, Johann Helmich, Stock-
holm. 1694 — near Calmar, 17 10,
called the father of Swedish music;
pupil of Handel in London with a
municipal stipend; 1727, court cond.
at Stockholm; c. funeral march for
King Fredrik (1751). coronation
march for King Adolph Fredrik;
2 symphonies, etc.
Roo'tham,(i) Daniel Wilberforce,
b. Cambridge, Aug. 15, 1837; pupil
of Walmesley and Schira; 1865-
77, cathedral org., Bristol; cond.
Bristol madrigal society. His son
(2) Cyril Bradley, b. Bristol, Oct.
S, 187s; Mus. B. at Cambridge,
1900; mm 1901, organist there, St.
John's College; pupil also at R. C. M.,
London; c. overture "The Spirit of
Cofnedy," (1909), and vocal works
yriih OTch. ** Albert Graeme* s Song"
(1904); "Andromeda" (Biistol Festi-
val, 1908), "Coronach" etc.
Ropartz (r6-p&rs), J. Quy, b.
Quingamp, France, June 15, 1864;
fupil of Dubois, Massenet, and C^sar
ranck; from 1894, dir. Nancy Cons.,
and cond. symph. concerts; c. symph.
on a Breton chorale, 1895; incid.
music to Loti's "Picheur d'Islande"
(Paris, 1893); suite "Dimanche bre-
ton" (1898); Psalm- ix6 for organ
and orch. (Nancy, 1898). etc.
R5sch (r&h). Fried rich, b. Mem-
mingen, Dec. 12, 1862; author and
conductor of male choruses, etc.; pu-
pil of Wohlmuth and Rheinbeiger;
lived in various cities; from 1898 in
Berlin.
Ros6 (rO-z&), Marie, singer and
teacher in Paris; from 191 2 also in
London. Her son (2) Raymond,
191 1, cond. London Op. House; cond.
His Majesty^s Theatre, and c. incid.
music for Beerbohm Tree's prods, of
Shakespeare "Macbeth" etc., c. text
and music of operas "Joan of Arc"
(in concert form Queen's Hall, 191 1);
"Antony and Cleopatra"; a symph.
poem on the same subject (Queen's
Hall, 191 1); songs, etc.
Ro'semgrave, (i) Daniel, d. Dublin,
1727; English composer of anthems;
pupil of Blow and Purcell; 1679-98
org. at various cathedrals; 1698 at
St. Patrick's, Dublin; father of (2)
Thomas (q. v.), and of (3) Ralph,
Salisbury, ca. 1695 — Dublin, 1746;
pupil of his father and his successor
as organist at St. Patrick's, Dublin;
c. anthems.
Ro'senfeld, Leopold, Copenhagen,
July 21, 1850 — July 19, 1909; studied
in Germany; critic and teacher in
Copenhagen; c. vocal works with
" orci., "HenHk og Else," "Liden Het-
ga" "Naar Solen daler," songs, etc.
Ro'senhoff, Orla, b. Copenhagen,
Oct. 1, 1845; pupil of Lund and Gade;
from 1880 teacner of theory at the
Cons.; c. chamber music, etc.
Rosenzweig, (rc'-z&its-vlkh) Max,
b. Roumania, 1900; violinist; brought
to America at 7; son of a barber; he
studied at the Music Settlement
under David Mannes, then with
Sinsheimer; d^but at MacDowell
Club banquet March 10, 191 2, with
such success that subscription was
taken up to send him abroad to study.
Ro'ser, (von Reiter) Franz de
Paula, Naam, 1779 — Pest, 1830;
cond. in theatres; c. 100 operettas,
ballets, etc
Ros'si (i) Carlo, b. Lemberg, April 4,
1839; pupil of Menzel; from 1851 in
Venice; c. symph., etc. (2) Cesare, b.
Mantua, 1864; c. operas "Ifugitivi'*
8i4
THE MUSICAL GUIDE
(Trient. 1896), and ''Nadeya''
(Prague, 1903); (3) Arcaneelo,
suicide, San Francisco 1905 (?); Duffo
iMuytone; pupil Milan Cons.; sang
at Covent Garden and Met. Op.
House, N. Y.; toured with the latter
troupe and was injured at San Fran-
cisco in the earthquake; lost his voice
and his mind.
R0m1 (r&sM), Damian von, b. Belts,
Russia, July 13, 1852; pianist; pupil of
Liszt; from 1882 teacher in Oclessa.
RSthig (r&'-tlkh), Bruno, b. Ebers-
bach, Oct. 7, 1859; pupil of Riedd
Papperitz and G. Weiss; 1889, can-
tor in Leipzig; 1908 royal cond.;
founder and cond. "Solo Quartet
for Church Songs," with which he
nas toured widely; c. songs.
Roth'well, Walter Henry, b. Lon-
don, Sept. 22, 1872; conducted the
first English performance of "Par-
sifal** in America; pupil Vienna Royal
Acad.; cond. in various cities, and
at Amsterdam Royal Opera; 1903,
America to conduct English pro-
ductions of "Parsifal, ** and "Madame
Butterfly"; 1908 cond. Minneapolis
' symph. orch.
Roussel, (roos'-s£l) Albert, b.
Tourcoing, April 5, 1869; composer;
at first attracted to the navy and a
naval student, he made a voyage to
China as an ensign; but resigned in
1894 and took up music, studying
harmony with Gigout; 1898 entered
the Schola Cantorum and studied
under d'Indy till 1907; since 1900
he has been prof, of counterpoint at
the Schola Cantorum. His comps.
include symph. prelude, Risurrection
(after Tolstoi's novel); symph,
sketch. Vendanges; symphony, Le
poime de la ForH (1904-6); symph.
sketches Evocations (1910-11), poem
for orch. La Menace (1907), etc.
R6zycki (Too-zhet'-skI), (i) Jacet,
Polish court cond. and composer to
John Sobieski at Warsaw, 17th cen-
tury. (2) Ludomirvon, b. Warsaw,
1883; pupil of the Cons, and of
Humperdinck; from 1908 teadier at
the Cons, in Lemberg and cond. at
the Opera; c. opera "BoUslas der
Kilhne" (Lembei^, 1909); symph.
poem " Siancsyk" eXjc.
Ru'bensohn, Albert, Stockholm,
Dec. 20, 1826--1901; violinist; pupQ of
David; 1872 dir. of the StocUiohn
Cons.; c. symph., incid. music to
Biamson's "HaUe Hulda," etc.
Rubert (roo'-bfirt), Johann Mar*
tin, Nuremberg, 16 14 — Stralsund,
1680; organist and comp.
Rublnerfi, Giovanni Battista,
Brescia,-ca. 1753-1829; Italian opera
singer; d^but at 18, Stuttgart.
Rubinstein, Anton, the corxect
birth date is Nov. (16) 28, 1829,
Rubinstein having been in error
himself until 1889.
RUbner, (i) Cornelius, add that
he succeeded MacDowell as prof, of
music Columbia University, N. Y.,
1905; c. 3-act dance legend "Print
Ador" (Carlsruhe, 1903), etc; has
given piano recitals, often with his
daughter (2) Dagmar, pianist,
d6but Carlsruhe, playing the Schu-
mann concerto under Mottl; toured
theU. S.; c. songs.
RUckauf (rik'-owf), Anton, Schloss
Alt-Erier, Prague, March 13, 1855 —
Sept. 19, 1903; composer of im-
portant songs; pupil of Proksdi,
and teacher at nis institute, then
pupil of Nottebohm and Navratil,
at Vienna: c. opera "Die Rosen-
thalerin" (Dresden, 1897), etc.
Rudnick (root'-nik), Wilhelm, b.
Dammerkow, Pomerania, Dec. 30,
1850; pupil of Kullak's acad., and of
Dienel; org. at Li^nitz; c. <^>era
"OUo der Schittz" (1887); oratorio
"Judas Ischariot" "Der Verlarene
Sohn" etc,
Ru'dolph, Fd., d. Wiesbaden, May
23, 191 1 ; barytone at the opera,
1872-1904; famous as "Beckmesser."
RufTo, (roof'-fo) TitU, b. Tuscany;
eminent bar3rtone; pupil of St. Cecilia
Cons., Rome; after two veaxs dis-
■v
DICTIONARY OF MUSICIANS 815
missed and advised to give up sing-
ing; then Cassini oi Milan taught him
sratis; he won his first success at Rio
Janeiro and throughout South Amer-
ica, then triumphed in Italy, later in
Vienna; 1912 a sensation in Paris and
engaged for Chi.-Phil. Opera Co.,
appearing Philadelphia Nov. 4, 191 2.
Runge, (roong'-e) Paul b. Heinrichs-
feld, Posen, Jan. 2, 1848; pupil of
chiurch music Institute, Berlin, and J.
Schneider; from 1873 at Colmar as
historian and comp.
RUnger, (rlng'-fo), Julius, b. Holies,
Hungary, July 26, 1874; barytone;
first studied organ and conducting
at Prague, then voice with Giannini
and Vogl; sang in various cities;
toured the world; c. songs, etc.
RUter (re'-tgr), Hugo, b. Hamburg,
Sept. 7, 1859; pupil of the Cons.; from
1897 singing teacher and cond. at
Wandsbeck; c. symph.; 2 operas, etc.
Rutin! (roo-t6'-ne), Qiovanni
Marco, Florence, ca. 1730 — ca,
1797; c. operas and clavier sonatas.
Rybakov (rr-b&-k6f), Sergei Qav-
rilovich, b. 1867; pupil of. St.
Petersburg Cons.; author; c. songs.
Ryder, Arthur H. b. Plymouth,
Mass., April 30, 1875; pupil of his
mother, F. H. Rowse, Loraine Hol-
loway, and at Harvard, of J. K.
Paine and W. R. Spalding; from
1894, org. and dir. at various
churches in Boston and Providence,
R. I.; editor of musical texts; c. organ
and piano pieces, etc.
Ryelandt (rC'-iant), Joseph, b.
Bruges, April 7, 1870; composer; pupil
of Tinel; c. choral works with orch.,
"St. Cicile,'' and " Purgatonum,''
chamber music, etc
Saar, Louis Victor, add that he
has been principal of the dept. of
theory at Cincinnati College of
Music from 1906; 1903 he won Kaiser
prize for composition, Baltimore; c.
piano quintet (Chicago 191 2), **nymn
to Venus'^ (Cincinnati 1912), etc.
Sachsenhauser (zflkh'-zCn-how-zgr),
Theodor,July 27, 1866 — Munich,
Feb. 25, 1904; comp.
Sack (z&k), J. Ph., Harzerode, Anhalt,
1722 — Berlin, 1763; organist at Ber-
lin Cathedral; important composer of
songs and clavier pieces.
Sacks, (i) Woldemar, b. Riga, 1868;
teacher and critic in Leipzig; c. songs.
His wife and pupil (2) ElTy Schel-
lenberg-S., b. Nannhof, near
Leipzig, 1879; concert soprano; pupil
Leipzig Cons.
Sacrati (sft-knl-tS), Francesco, d.
Modena, May 20, 1650; court cond.
and important early composer of
opera.
Safonoff, Wassily llich, add that
in 1906 he visited London and cond.
■ the Phil. orch. once; 1906-9 he
cond. the Philh. orch., New York
City, with great success, then re-
turned to Russia. He conducts
without a b&ton.
Sahlender (s&l'-£n-dgr), Emil, b.
Ibenhain, Thuringia, March 12, 1864;
cond. at Heidelberg; pupil Leipzig
Cons.; c. operas, choruses, etc.
Saint-Leon (s&n-lft-dn), Ch. V. A.,
Paris, 1 821-1870; ballet dancer and
violinist; c. concertos.
Salazar (s&l-&-th&r), Don Juan
Qarcia, d. 17 10 at Zamora, where
he was cond. at the Cathedral; c.
motets.
Saint-SaSns, Chas. Camille, add
that he c. operas **Lolay" (1901),
"Les Barbares" (1901), ^'Andro-
fnaque'' (1903), "mUne" (Monte
Carlo, igo4)y'* VAficitre" (do., 1906),
"Dejanire" (loii); cantata **La feu
cileste" (1900); fantaisie for violin
and harp (1507); "La Muse et le
Poite" for violin and orch. 1909;
"Overture de Fite," op. 133, 1909*
songs, piano pieces, etc.
Salter, (i) Sumner, add that smce
1905 he has been mus. dir. at
Williams College. (2) Mrs. Mary
8i6
THE MUSICAL GUIDE
n6e Turner^ b. Peoria, HI., March
15, 1856; studied singing with Alfred
Arthur, Burlington, la., where she
sang in church; then pupil of Max
Schilling, John O'Neill, and Mme.
Rudersdorf, Boston; 1877 succeeded
Emma Thursby as soprano of Broad-
way Tabernacle, N. Y.; 1879, soprano
Trinity Church, New Haven, teach-
ing also at Wellesle>r College. 1881,
married Sumner Salter, who was her
teacher in composition; 1893 retired
from church and concert woric, de-
voting her time to teaching and
composition of songs.
Samar'off (n6e Hickenlooper),
Olga, b. San Antonio, Texas, Aug. 8,
1880 (of German-Russian parents);
Eianist; at 9 pupil of Von Sternberg,
iter of Marmontel, Widor, and the
Paris Cons.; studied again with
Ernest Hutcheson and with Jedlicka;
d6but, N. Y., 1905; 1906, London;
has toured widely; 191 1 married
L. Stokovski.
Samazeuilh (s&m-a-zfi'-e), Qustave,
b. Bordeaux, June 2, 1877; Paris*
ian critic and composer; pupil of
Chausson and dlndy; c. "Poime**
for violin and orch., **La barque*', for
voice and orch., songs, etc.
Sammar'co, Mario, b. Palermo,
1873; barytone; pupil of Cantelli;
d^but Milan; from 1904 at Covent
Garden; from 1907 also at New
York Manhattan 0|>era House, and
later at Metropolitan; has sung also
in Russia, South America, etc.
Sances (san'-chfis), Q 10 van ni Felice,
Rome, 1600 — Vienna, Nov. 24, 1679;
tenor and court cond. at Vienna; one
of the first to write "cantatas"; c.
operas, oratorios, etc.
San'den, Aline, dramatic soprano,
member of the Leipzig Opera since
1909; has sung as guest at Berlin,
191 2, Dresden and Braunschweig
court operas with sensational success
as ''Salome," ''Elektra," under
Strauss' direction, ** Carmen," etc,
San'ford, Samuel Simonsy Bridge-
port, Conn., March 15, 1849 — New
Haven, Conn., Jan. 6, 1910. Piofesaor
of applied music Yale University.
Sank^ey, Ira David, Edinbuig, Pa^
1840 — Brooklyn, Aug. 14, 1909;
world-famous singer of gospd hymns
as the singing colleague of the late
D. L. Moody at their mission services,
ed. a coll. of mission hymns "Sacred
Songs and Solos " which had an en-
ormous circulation.
Sauer, Emil, add that he resigned
his professorship at the Master School
of Vienna Cons., 1907, and moved to
Dresden.
Savage, (i) William, 1720 — Loo-
don, 1789; singer in Chapel Roval;
c. church music. (2} Henry W.,
b. Boston, Mass.; impresario; gradu-
ate of Harvard; as a builder and
real estate owner in 1895 ^oc^ over
the Castle Square Theatre, Boe^oo,
and organized a stock co. which gave
light and serious c^xras for many
years in Boston, New York, etc;
produced many new American ope>
rettas as well as plays; made the
immensely successful productions of
"ParHfal" and '* Madame BuUerfy.''
Savard (s&-v&r), M. A., b. Paiia,
May 15, 1861; pupil of the Cons.,
taking the Prix de Rome, 1886; fraoi
1902 dir. Lyons Cons.
Saw'yer, F. H., Brighton, June 19,
1857 — April 29, 1908. Bachelor a
music, Oxford, 1877; Mus. Doc, 18S4,
Fellow R. C. of oi^ganists; organist for
over 30 years; prof, of singing; c. ora-
torio, "Mary, the Virgin" (1884),
recast as "Star of the East" (1889);
cantatas, etc.
Sbriglia (sbrd'-yfi), Giovanni, h
Naples, 1840; tenor and famous
teacher; pupil of De Roxas; d^t
Naples, 185 1 ; sang throughout Italy
and toured America with Patti aw)
others; became a very successful
teacher in Paris, numbering the De
Reszkes, Plangon, Nordica, Sand-
erson, etc., among his pupils.
SchlLfer (sh&'-fSr). Alex. Nikolaje-
DICTIONARY OF MUSICIANS 817
vich, b. St. Petersburg, Sept. 11.
1866; pupil of the Cons., teacher and
cond., c. operas, 2 symph., etc.
Schaffrath (sh&f'-r&t), Christoph.,
Hohenstein, 1709 — ^Berlin, 1763; court
composer.
Schall (sh&l), Klaus, Copenhagen,
April 28, 1757 — Aug. 10, 1835;
violinist; c. 30 ballets, etc.
Schaub (showp), Hans F., b. Frank-
fort, Sept. 22, 1880; pupil of Knorr,
Humperdinck, and A. Mendelssohn;
teacher and editor; c. symph. pro-
logue **Monna Vannay*^ etc
Schetnpflus (shln'-pflookh), Paul,
b. Loschwitz, Dresden, Sept. 10, 1875;
pupil of the Cons.; from 1909 cond.
at KSnigsberg; c. **Frilhlings symph, "
(1907), chamber music, etc.; overture
to a comedy of Shakespeare (based on
English melody of i6th century),
Boston S3anph.0rch., 1909; tone-poem
for orch. (Bremen, 1908), songs, etc.
Scheliing, Ernest (Henry), b.
Belvedere, N. J., July 26, 1876;
pianist; played in public before he
was five; pupil of Mathias, Mosz-
kowski, Leschetizky, and for four
years of Paderewski; toured widely;
c. symphonic legend, orch. suite,
violin sonata, etc.
Schenk (shCnk), Peter Petrovich,
b. St Petersburg, Feb. 23, 1870;
pupil of the Cons., and of Saloviev;
librarian and critic; c. operas, 3
symph., etc.
Schering (sh&'-rink), Arnold, b.
Breslau, April 7, 1870; violinist and
historian, pupil of Joachim and Succo.
Schiefferdecker ( shef'-fer-dek-€r ),
Jn. Chrn., d. Ltibeck, 1732; organ-
ist; c. operas, etc.
Schiever (she'-vfir), Ernst, b. Han-
over, March 23, 1844; violinist; pupil
of Joachim, later member of his
quartet; from^ 1878 in Liverpool as
cond. of the Richter orch. and the
Schiever quartet.
Schjelderup (shdt'-er-oop), Ger-
hard, b. Christiansand, Norway,
Nov. 17, 1859; 'cellist; pupil 01
Franchomme, Savard and Massenet;
c. operas ** Norwegische HochzeU**
(Prague, 1900), and **Friihlings
Nac&f ** a symph. and orch. worl^,
**Eine Sommemachi auf dem Fjord,"
etc.
Schlemliller ( shift' -mU-lSr), (i)
Qustav, Kdnigsberg, Nov. 7, 1841
— ^Leipzig, May22, 1900; teacher and
critic. His son (2) Hugo, b. K5nigs-
berg, Oct.2, 1872; 'cellist and teacher
in Leipzig; pupU of Schroder, Klen-
gel and Becker; teacher; c. 'cello music.
Schl^sel ( shift' -g€l), Xavier, b.
Brillonville, Belgium, 1854 — Ciney,
1889; pupil Li^ge Cons.; c. mass with
orch., chamber music, etc.
Schmeidler (schmlt'-l^r), Karl, b.
Kattowitz, Silesia, Aug. 21, 1859;
teacher in Berlin; c. piano pieces, etc.
Schmitt, (shmet) Florent. b. Blft-
mont, France, Sept. 28, 1870: studied
at Nancy; 1889, entered Paris
Cons, winning second Prix de Rome
1897; first 1900, with cantata Simi-
ramis. He sent from Rome a symph.
poem Combat des Raksasas et Diltv-
ranee de SUa, a symph. itude based
on Poe's **Le Palais hatue" and the
46ih Psalm, which was later played
with success, 1906, increasing to
furore (1910 and Colonne Concerts,
191 2); his piano quintet (1909) has
won great fame; his Tragidie de
SalonU was danced by Loie Fuller
1907; his symph. poem SHamlik
(1904), much chamber music, piano
pieces, and songs have given him a
high place in France.
Schmittbauer (schmlt'-bow-^),
Joseph Alois, Bamberg, 1718
— Carlsruhe, 1809; cond. and com-
poser.
Schneider, Edward Faber. b. Oma<
ha, Neb., Oct. 3, 1872; pupil of
X. Scharwenka in N. Y., and O.
B. Boise, Berlin; from 1900 in San
Francisco. Dean of mus. dept. of
Mills College; c. music-drama *' Tri-
umph of Bohemia" text by George
Sterling, (Bohemian Club, 1907);
8i8
THE MUSICAL GUIDE
symph. "The Autumn Time" (San
Francisco Orch. 191a), songs, etc.
Schttnbers (shftn'-bSrkh), Arnold,
b. Vienna, Sept. 13, 1874; composer
of startling originality; pupU of
Zemlinsky; c. svmph. poem **Pelleas
und Melisande, etc. His music is
written without bars and has aroused
great hostility and great enthusiasm.
His string quartet in D minor, op.
7, played in Berlin, 191 2, was actually
liissea as well as applauded; in Lon-
don, 191 3, 5 orch. pieces provoked a
storm; also wrote treatise on har^
mony.
Scholtz (sh61ts), (i) Adolf, 1823
— Breslau, 1834; trumpet virtuoso.
(2) Hermann, b. Breslau, June 9,
1845; pianist; pupil of Brosig, Liszt,
von Billow and Rheinberger; teacher
in Dresden, 1880 chamber virtuoso;
c. concerto; edited Chopin's text.
Sch5n, Ed., vide engelsberg.
Schop (shdp), Johann, d. Hamburg,
ca. 1665; court violinist in Den-
mark, 1615-19; from 1621 cond. at
Hamburg; c. instrumental works.
Schttpf (sh^pf), Franz, b. Girlau,
1836; organist at Bozen; c. an opera
and church nmsic.
Schor (sh6r), David, b. Simferopol,
1867; pianist; pupil of Amenda and
SafonofiP; at St. Petersburg; member
of the Moscow Trio at Moscow.
Schos'takovskiyPeterAdamovich,
b* 1^53} pianist; pupil St. Petersburg
Cons., and of Kullak and Liszt; prof,
at Moscow Cons.; 1894-98 dir. Italian
opera at Moscow.
Bcnroeder, Alwin, add that in
1903 he resigned from the Boston
Symph. Orch., and joined the Rneisel
Quartet; 1905-7, teacher at New
York Institute of Musical Art; 1907,
.first 'cello teacher at Hoch Cons.,
Frankfort-on-Main; 1908, returned
to Boston as co-founder of Hess-
Schroeder Quartet; 1910, first 'cellist
of Boston Symph; resigned 191 2 for
concert tours.
SchultT-Adaievski (shoolts-ft.da-
vef-ski), Ella von, b. St. Pefeers-
buig, Feb. 10, 1846; pupil of Hensclt
and the St. Petersburg, Cons, j pianist;
toured and from 1882 lived at
Venice; c. opera "Die MargemrSieder
FreiheiV (1881); "SonaU e^ecqtie"
for clarinet and piano, etc
Schumann-Heink, Ernestine,
add that 1899-1904 she sang at Ber-
lin Royal OJptTdL as well as at McL
Op., N. Y. ; 1904 she starred in a ooniic
opera, "Lane's Lottery"; 1909 she
created "Clytemnesira" in Strauss's
"Elektra" at Dresden; Paul Schu-
mann, d. 1904; she m. William Rapp,
Jr., 1905; cuvorced him, 191 2; she has
sung in concert with enormous suc-
cess in America and in opera abroad;
became naturalized American, 1908.
Schuppan (shoop'-p&n), Adolf, b.
Berlm, June 5, 1863; pupil of B.
Hartel; c. chamber music.
Schwindel (shvlnt'-l), Fr., d. Caris-
ruhe, 1786; violinist; c operettas^
symphonies, etc.
Scott, (i) Lady John Douglas
(n^e Alicia Ann Spottiswoode); Spot-
tiswoode, 1810 — March 12, 1900;
composer of "Annie Laurie," and
other songs, (2) Cyril Meir, b.
Ozton, Sept. 27, 1879; pupil of Hoch
Cons.; c. a symph., 3 overtmcs,
vocal works with orch., songs, etc.
Scot'ti, Antonio, b. Naples, 1869;
barytone; d6but Malta, i8i89; sang in
various cities; from 1899 at Covent
Garden and Met. Op. House, N. Y.,
regularly; famous as "Don Giovanm. **
Scriabine (or Skrjabin ), Alex.,
add that ac^coiding to Rosa New-
march he was bom Jan. 10, not 6;
he was piano prof, at Moscow Cons.
1 898-1 903, then devoted himself to
composition; played in New York,
1906, his own concerto; 3 S3miph., the
first with choral finale "Risene^md
" Pohne de VExiase" for orch., 3 piano
sonatas, etc. He gave recitals of his
own works, Berlin, 191 z. His wife
Vera, is also a pianist.
Sebald (z&'-bftlt), Alex.,b. P^t, Apr:;
DICTIONARY OF MUSICIANS 8iQ
3p, 1869; violinist; pupil of Saphir and
C Thomson; member of Gewand-
haus orch., Leipzig, and toured with
Gewandhaus Quartet; toured widely
from 1903; was concertm. Berlin Royal
Orch.; 1906 taught in Chicago; 1907
opened a school in Berlin; wrote a
method and c. violin pieces, etc.
Seck'endorff, Karl Siegmund,
Freiherr von, Erlangen, Nov. 26,
1744 — Ansbach, May 6, 1809; c. a
monodrama and songs to Goethe's
texts.
Seeg(e)r (sft'-g&r) (or Sesert or
Zeckert), Joseph Norbert,
Rzepin, Bohemia, March 21, 17 16 —
Prague, April 22, 1872: composer;
famous organist and teacner; c. tocca-
tas, masses, etc.
Segni (s&n'-ye), Qiulio, (called Giulio
da Modena), Modena, 1498 — Rome,
1 561; organist.
Seiffert (zlf'-f£rt), Max, b. Beeskow,
Feb. 9, x868; historian and com-
poser; pupil of Spitta; from 1891 at
Berlin as author and 1907 Royal
Prof.
Seixas (sft'-shfts), Jos6 Ant. Carlos
de, organist and composer; Coimbra,
June II, 1704 — Aug. 25, 1742,
organist and church composer.
Sekles (zSk'-Ifo), Bernhard, b.
Frankfort-on-Main, June 20, 1872;
pupil of Hoch Cons., later theory
teacher there; c. symph. poem ^*Dte
Garten der Semiramis" songs, etc.
Sel(e)neccer (sftM«-nek-k£r), Niko-
laus, Hersbruch, n. Nuremberg,
1528 — after 1587; organist and com-
poser of hynms.
Sel'igmann, Julius, Hamburg, 1817
— Glasgow, May 4, 1903; teacher and
conductor; founder of Glasgow Soc.
of Musicians, and for 14 years its
president.
Sel'mer, Johann*, Christiania, Jan.
20, 1844 — Venice, July 21, 1910;
Norwegian composer; cond. and
author; pupil of A. Thomas, Paris,
Richter and Paul, Leipzig; 1883-6
oond. Phil, orch., Christiania; driven
south by pulmonary txx)uble; c. Nor-
wegian Festival March, " Seine Juni-
bre,'* Finnish Festival Bells, "In the
Mountains f*^ ' Carnival in Flanders y**
etc., for orch., choral works with
orch., songs, etc.
Senaill6 (sOn-I-ya), Jean Baptiste,
Paris, Nov. 23, 1687 — April 29,
T730; famous violinist; at court of
Louis XV; c. violin sonatas, etc.
Senger-Bettaque (z£ng'-k£r-bet-t^-
vfi), Katharina, b. Berlin, Aug. 2,
1862; soprano; a ballet dancer at
the Imperial Opera, Berlin, then
studied with Dom, and 1870 ap-
peared on the same stage in soubrette
r61es; sang in various cities, 1888 in
Bayreuth as "Eva"; 1895 married
the actor Alex. Senger.
Serato (sft-ra'-tO), Amigo, b. Bo-
logna, Feb. 7, 1877; violinist, son and
pupil of a violinist and prof, at the
cons.; later pupil of Sarti; has played
with success in Germany and else-
where.
Serran'o (or Serrao), Emilio, b.
Vitoria, 1850; court pianist at Mad-
rid; prof, at the Cons., and dir. of
Royal Opera; c. operas.
Servais (s5r-v«'), Franz or Frangois,
(Matthieu), 1844 — Asniires, Jan.
14, 1901; cond. at Brussels; c. opera
"L'Appohnide" or "Ion" (Carlsruhe
1899). Son of Adrien Fr. (g. v.)
Sevcik (shfif'-chlk), Otokar, b.
Horazdowitz, Bohemia, March 22.
1852; famous violin teacher; pupil ot
Prague Cons.; from 1870 concert-
master various cities; 1875 prof, at
Kiev; 1892 at Prague Cons.; teacher
of Kubelik, Kodan, etc.; author of
methods; c. Bohemian dances, varia-
tions, etc.
S^v6rac (sft-vSrr&k), D6odat de, b.
Saint FeKx, July 20, 1874; writer
and composer; pupil Toulouse Cons.,
and the Schola cantorum, Paris; a
concert of his works was given in
1905 with success; c. 2-act lyric
drama "Le Coeur de Moulin" (Op.
Com. Paris, 1909); lyric traffedy
820
THE MUSICAL GUIDE
"Hiliogabale** (Arines de Beziers,
1910); "MugueUo'' (191 1); ''HiUne
de Sparie" (Paris 191a); symph.
poems, **Nymphes au Cripuscule " and
**Didon et Enie^^; a piano sonata, etc.
Sevdel, Irma« b. Boston (?) 1896
(?); violinist; pupil of her father,
Theodore S. (contrabass of Boston
Symph.) Strube, C. M. Loeffler, and
Maquarre; d6but at Cologne 1910;
played with Boston Symph. 191 2.
Seyfert (zi'-f5rt), Johann, b. Prague,
1837; 'cellist; pupil Prague Cons.;
from 1859, teadier at St. Petersbuig
Cons.
Shaliapin, vide chaliapine.
Sharpe, Ethel, b. Dublin, Nov. 28,
1872; pianist; pupil R. Irish Acad.,
and of R. C. M., London; d6but Lon-
don 1 891; 1895 married Alfred Hob-
day, viola-virtuoso.
Shepherd, Arthur, b. Paris, Idaho,
Feb. 19, 1880; 1692, pupil at N.
£. Cons. Boston, of Dennee and
Faelten (piano), Benj. Cutter (har-
mony); Goetschius and Chadwick
(comp.); graduated 1897, and settled
in Salt Lake City as teacher; cond.
Salt Lake Symph. Orch.; from 1909,
teacher of piano, harmony and cpt.
at N. £. Cons.; 1902, won Paderewski
prize with "Ouverture Joyeuse";
1909 won two Nat. Fed. prizes with
piano sonata, and song, **The Lost
Child**; c. also barytone solo with
chor. and orch., songs and piano
pieces.
Snir'reff, Jane, 1811 — Kensington,
Dec. 23, 1883; singer at Covent
Garden; 1838 toured America.
Sibelius, Jean, add that he became
the principal of the Helsingfors Cons,
and has increased his fame as a com-
poser of remarkable national-
ism, though he denies that he uses
folk -music. Add to his composi-
tions 2 symphs., overture and suites,
"Karelui" tone-poems for orch.
"£n 5aga," and '^Finlandia**; orch.
suite, "Pelleas and Melisande,**
symphonic fantasias, "Pohgolas*
Daughter,^' *' Belshaszar's Feasir
indd. music to "Kwdema,** etc
Sichra (slkh'-r&), Andreas Ossipo-
vich, Wilna, 1772 — St. Petersburg,
1861 ; guitarist and composer.
Sick (sdc), Theodor Bernhardt b.
Copenhagen, Nov. 7, 1827; artilleiy
officer and composer of chamber
music.
Siefert (ze'-f£rt), Paul, Danzig,
1586-1666; organist and composer.
Simon (s^m6^, Anton Yulievich,
b. France, 185 1; composer; pupil
of Paris Cons.; 1871 theatre cond. in
Moscow; 1891 prof, at Phil. Society
School; c. 6 operas, symph. poems, etc.
Simonet'ti, Achille, b. Turin, June
12, 1859; violinist; pupil of Sivcni,
Danda, and Massenet; member oi
the "London Trio"; c. violin sonatas,
etc
Sinclair (sInk'-lSr), George Roberta
son, b. Croyden, Oct. 28, 1863;
organist; pupil Ouseley, Stewart, and
Lloyd; at 17 was organist of Truro
Cadiedral; from 1889 ^^ Hereford
Cath., cond. the H. Festivals, 1891-
1^06; 1809 Mus. Doc. from Artfa-
bishop of Canterbury; 1904 fellow
of R. Coll. of Organists.
Sinding, Christian, add that he c.
2 symph.; the first was plia.yed by
the Boston Symph., 1899 and 1906,
"Episodes chevaieresques" for orch.
(based on a poem by Holsar Dracfa-
mann), "Rondo infinilo for ordi.
(1898, Theo. Thomas, Chicago, 1900);
piano concerto, 2 violin concertos;
chamber music, piano pieces, a song-
cycle, "Heimfahrt" etc.
Sin'ico, (i) Francesco, Trieste,
1810-1865; conductor and composer.
His son (2) Giuseppe, Trieste, Feb.
10, 1836, — Dec. 31. 1907, c. operas.
Sinigaglia (sS-nl-g&l -yfi), Leone, b.
Turin, Aug. 14, 1868; pupil of the
Cons, and of Mandyczewski; c. violin
concerto, rhapsody " Piemoniese,"
for violin and orch., string quartet,
concert 6tude for quartet, overture
"Le baruffe chiozzotte," etc.
DICTIONARY OF MUSICIANS 821
SlAdek (sl&'-d«k), Wendelln, d.
Prague, July i, 1901; contrabassist;
composer and teacher at Prague Cons.
Smieton, (i) John More, Dun-
dee, 1857 — Broughty Ferry, July
13, 1904. Before the age of 10, c.
songs, piano pieces and produced
cantata "Peace. " Pupil of Sir Her-
bert Oakeley. In coUaooration with
his brother, (2) James, prod, several
choral works
Smith, David Stanley, b. Toledo,
Ohio, July 6, 1877; pupil of Hora-
tio W. Parker, at Yale, where he
graduated 1900 with a '* Commence-
ment Ode" for bjirytone (Herbert
Witherspoon), chorus and orch.;
studied then with Thuille and Widor
abroad; 1903 Mus. Bac. Yale; from
1904 teadier, later asst. prof, at
Yale; c. symph., symph. poem
"Darkness and Daivn," overture
"Joyeuse" (Boston Symph. Orch.,
1904): 1909, won PaderewskI Prize
with ^'The Fallen Star," for chorus
and orch.
Smolen'skI, Stephan V., Kasan,
1848 — St. Petersburg, Aug. 6, 1909;
prof, of history of Russian churdi
music at Moscow Cons.; 1901 cond.
court chapel at St. Petersburg; author
of important historical works.
Smul'ders, Karl Anton, b. Maest-
richt, May 8, 1863; pupil of Li^
Cons.; c. piano pieces, etc.
Smyth, Ethel Mary, add that she
was bom London, April 23, 1858;
daughter of Artillery general; pupil
of Leipzig Cons, and of Herzogenbcrg.
Her string quintet was played there
1884; her violin sonata 1887; corch.
serenade (London, 1890). overture
"Antony and Cleopatra'^ (ao.); Mass
in D (London, 1893 under Bamby),
and operas, "Fankuio" (her own lib-
retto, Weimar 1898, Carlsruhe, 1901);
i-act "Der Wald" (her own German
libretto, Dresden, 1901, Covent Gar-
den, 190a and 1903, Met. C^., N. Y.,
1903); 3 -act "Les Naufrageurs"
(book by Leforestier), given at Leip-
zig, 1906, as " Slrandrechl^' (Prague,
do.); c. also songs with orch.
Snoer (snoor), Johannes, b. Amster-
dam, June 28, 1868; harpist at Leipzig
and Bayreuth; pupil of SchuScker;
c. harp pieces.
Sokal'ski, (i) Peter Petrovich,
Charkov, Sept. 26, 1832 — Odessa,
April IT, 1887; author and composer
of operas and piano pieces. His
nephew and pupil (2) Vladimir
Ivanovich, b. Heidelbeig, April 6,
1863; lawyer and composer of a
symph. (1894), a children's opera,
"The Turnip," a dramatic fantasie
for orch., etc.
Sokolov, Nikolai Alexandrovich,
add correct birth date, St. Petersburg,
March 26, 1858; from 18^6 teacher at
the Cons.; c. indd. music to Shake-
speare's "Winter's Tale," ballet,
" The Wild Swans, " 3 string quartets,
songs, etc.
SoI'dene, Emily, IsUngton, 1844 —
London, April 8, 191 2; at first a
music hall singer; 1871 appeared in
"Geneviive de Brabant," 1873 "La
FiUe de Mme. Angoi," touring Amer*
lea and Australia; she wrote a novel
and contributed to journals.
Sol'nitz, Anton Wilhelm, 1722 —
Amsterdam, 1758; c. symphonies, etc.
Soltys (sAl'-t6s), Mieczyslaw, b.
LembeiTg, Feb. 7, 1863; pupil of Krenn
and Gigout; director and teacher
Lemberg Cons.; c. operas, symph.,
oratorio, etc.
Som'born, Theodor Karl, b. Bar^
men, Nov. 16, 1851; pupil of Rhein-
berger and WiiUner; from 1882
teacher, Strassburg Cons.; c. operas
"PkUenor" (Strassburg, 1903), "Die
Flamme" (1908), etc.
Son'neck, Oskar Qeo. Th., b.
Jersey City, N. J., Oct. 6, 1873;
author; at 20 studied at Heidelberg,
Munich and Italy; 1899 returned to
America as music librarian at the
Library of Congress.
Spagnoletti (span-y6-let'-tc), Paolo
(rightly P, Diana), Ciemona,
822
THE MUSICAL GUIDE
1768 — London, 1834; violinist and
cond.; pupil Naples Cohs.; from 1802
in London in the Ring's theatre ordi.;
1 81 2 cond. Italian C^ra, 181 7 cond.
King's theatre orch.; gained immense
popularity in London.
Spanuth (sp&n'-oot), August, b.
Brinkum, Hanover, March 15, 1857;
pianist and critic; pupil of Hoch
Cons.,Frankfort-on-Main; 1886-1893
Chicago as pianist and teacher; then
in New York as critic; 1906 returned
to Berlin as editor.
Speer, (i) Charlton T., b. Chelten-
ham, Nov. 21^ 1859; pwpil R- A. M.
London, winmng a scholarship; from
1885 prof, of piano there, also organist
at various churches; c. 2 operas,
''The Battle of Lake RegiUus,'' for
chorus and orch.; symph. poem,
"King Arthur," etc. His cousin
(2) Wiliiam Henry, b. London,
i8i63; organist; pupil of Lloyd and
the R. C. M.; 1906 Mus. Doc. Cam-
bridge; c. symph., overture, orch.,
rhapsody, ballad, "The Jackdaw of
RheimSf" etc.
Spielter (shpti'-tSr), Hermann, b.
Bremen, April 26, i860; pupil Leip-
zig Cons.; from 1894 in New York as
composer and teacher.
Sporck, Qeorges, b. Paris, April
9, 1870; pupil of the Cons, and of d'
Indy; c. S3nnph. poems, symphonie
"Vivaraise," "Esquisses symphoni-
queSf" etc.
Spring'er, Max, b. Schwendi, Dec.
19,^1877; pupil of Schachleiter and
Rlicka; joined the Benedictine abbey
of Saint Emaus at Prague; organist
and composer there.
Sq uarcl af u pi ( skw&r-chfi-loo'-pe ) ,
Antonio, famous 15th century
organist and composer of the
Florentine Sciiool.
Squire, William Barclay, b.
London, Oct. 16. 1855; historian and
author, educatea at Cambridge, 1879,
B. A.; 1902, M. A.; critic, librettist
and antiquarian.
Stamm, (shtam), Thomas Oswald,
b. Uthleben, April 17, 1868; pupil of
Jadassohn and Radecke; teacher
and cond. at Weissenfeb; c. sym-
phony, etc.
SUnford, Sir Chas. Villiers, add
that he was knighted, 1901, and
made cond. of the Leeds Festival,
resigning the Bach Chair, 1904; ocxa-
posed motet with orch., "The Lord
of Might" (1903); symphony No. 6,
'V« Memoriam G. F. WaUs," yth
symphony (London Phil., Feb.,
1912), "Stabat Mater," with orch.
(Leeds Fest., 1907); "WeUingUm,"
for voices and orch., indd. mus. to
"Attila" (1907), overture **Av€
atque Vale" (Haydn Centenary,
1000) etc.
SuVi/orth, T. W., Sheffield, June
7, 1845 — March 25, 1909; pianist,
oiganist and composer.
StarczewskI (st&r-ch£f'-skl), Felix,
b. Warsaw, 1868; critic and author;
pupO of the Music Institute and of
Humperdinck, Fleischer, and dindy;
c. ordiestral pieces, etc.
Starzer (sbtftr'-tsftr), Josef, Vien-
na, 1726 — April 22, 1787; from 1760
court conductor at St. Petersburg; c
ballets, c <atorio, etc
Statkov's.d, Roman von, b. near
Kalisch, Dec. 24, 1859; pu^ of Zekn-
ski, and of St. Petersburg Cons.;
teacher of instrumentation and his-
tory at Warsaw Cons. His opera
"PhUaenis" took an international
prize in London and was prod., War-
saw, 1904; c. also opera "Matrix
(W'arsaw, 1906); fantasie andpokMH
aise for orch.. piano pieces, etc
Stefan i (st&'-ta-n«), (i) Jan. Prague,
1746 — Warsaw, Feb. 24, 1829;
Mus. Director; director at War-
saw Cathedral; c. opera "Die Krako-
witer und die BergpAker," 1794, and
others, also masses and polonaises.
His son (2) Josef, Warsaw, April
16, 1800 — (?); pupil of Eisner; c
ballets, operettas, abo 10 masses, etc
Stef'fan, Joseph Anton* Copi-
dino, Bohemia, March 14. 1726 —
^mmm
DICTIONARY OF MUSICIANS 823
Vienna, 1800; court piano teacher at
Vienna, numbering among his pupils
Marie Antoinette and Queen Caroline
of Naples; c. piano pieces and songs.
Steigleder (stikh-lft-der), Johann
Ulrich, Lindau, 1580 — Stuttgart,
1635; from 1605 court organbt and
comix>ser at Stuttgart.
Stein (shtin), Fritz, b. Heidelberg,
Dec. 17, 1879; theologian at first, then
studied music; organist and cond. at
Heidelberg, igo6; musical dir.of Jena
University, cond. academic concerts.
Stelnhauer ( shtln'-how-Sr ) Karl,
b. Dttsseldorf, May 29, 1852; pupil of
Leipzig Cons.; singing teacher and
cond. at DQsseldorf; from 1901 at
Oberhauser; c. male choruses with
orch.. etc.
Stendhal (st&A-d&I), pen-name of
Marie Henri Beyle (b£l), Grenoble,
Jan. 23, 1783 — Paris, March 23,
1842; French consul at Civitavecchia,
1831-42, and author of numerous
books in music.
Sten'hammar, (i)Fredrika, Wisby,
1836 — Stockholm, 1880; operatic so-
prano; bom Andr6e. (2) Ulrik, Stock-
holm, 1829-1875; composer of oratorio
"Saul," etc. His son (3) Wilheim,
b. Stockholm, Feb. 7, 187 1; pianist;
pupil of the Cons., and of H. Barth;
from 1898 cond. Phil. Society in
Stockholm; from 1900 assistant cond.
at the Royal Theatre; c. symph.,
*'Prinsessan och Svennen" for voices
and orch., music, dramas "Tlrfing"
(Stockhohn, 1898), and "Das Fesi aiif
Solhaug" (Stuttgart, 1899), overture
"Excelsior," and many important
songs.
Stephani (sta'-f&-ne), Hermann,
b. Grinuna, June 23, 1877; from 1906
director and organist at Eisleben;
pupil Leipzig Cons.; c. Fest. overture,
etc.
Stierlin (shtSr'-Un), Joh. Qottfr.
Adolf., b. Adenau, Oct. 14, 1859;
bass; pupil of F. Schmidt; 1897
founded a Cons, in Milnster; c operas
ballets, etc.
Stock, Fr. Wm. Aug«, b. Dttlich,
Nov. II, 1 87 2; composer; son and pupil
of a military bandniaster; then studied
with Humperdinck, Z5llner, Jensen
and WOllner, at the Cologne Cons.;
1891-S violinist in the City Orch.;
then joined the Thomas Orch. in
Chicago; 1899 became assistant cond.
to Theodore Thomas, on whose death
in 1905 he was chosen as conductor;
c. symphonic poems, symph., varia-
tions, chamber music, songs, etc.
Stojowski, Sigismund, add that
he has lived in New York since 1906
as piano prof. Musical Art Inst.,
giving frequent redtals. Add to his
comps. symph. (Leipsiz, 1898); ro-
mance for violin and orch.; chor.
with orch. "Spring"; Polish Rhap-
sodie for piano and orch.; viohn
concerto (1908); violin and piano
sonata op. 37 (New York, 1912).
StokowskI, (std-kdf'-sk!) Leopold.
b. London, of Polish parentage;
graduated at Oxford; studied at
Paris Cons., acted as cond. there
1005-8 mus. dir. St. Bartholomew's.
N. Y.; 1908, cond. in London; 1909-
12, cond. Cincinnati Symph. Otai\
191 2, cond. Philadelphia Orch., vice
Carl Pohlig; 19 11, married the pianist
Olga Samaroff.
Stolze (shtdr-ts£), (i) Q. Chr.,
Erfurt, 1 762-1830; oiganist. His son
(2) H. Wm., Erfurt, 1801— Cdle,
1868; organist; c. oratorio, canta-
tas, etc.
Stradal (str&'-dfil), August, b.
Teplitz, i860; pupil of Door, Bruck-
ner, and Liszt; pianist and composer.
Stran'sky Josef, b. Bohemia, 1873,
of German parents; studied medicine
at first; and then music while at the
Universities of Vienna, Leipssig and
Prague; d^but as cond. at Prague
Opera, succeeding Muck, later suc-
ceeded Mahler at Hambuig; cond.
BIttthner orch., Berlin; 191 1, suc-
ceeded Mahler as cond. N. Y. Phil.
Straus (shtrows), Oskar, b. Vienna,
txxnX 6, 1870; pupil of Gr&dener and
824
THE MUSICAL GUIDE
Max Bnich; cond. theatres in various
cities; c. overture "Der Traum ein
Leben," chamber music and many
operas, some of them extremely suc-
cessful, especially "£tn Watzer-
traum" (Vienna, 1906; London and
America as "The WaUz Dream");
''Dertapfere Soldat" (Vienna, 1908),
'* Little May" (Paris, 1909), etc.
Strauss, Richard, Add that a
Strauss Festival was given in London,
1903. with S. conducting the Amster-
dam Orch. ; 1904 he was made general
musical director of the Berlin Royal
Opera; c. 2 symphonies, F moll. op.
12 and Sinfonia Damcstica (1904);
operas "SalomS" (i act after Oscar
Wilde, Dresden, 1905, and through-
out Europe; prod, at Met. Op., N. Y.;
it was withdrawn by the subscribers*
request after one performance);
"JS/eA^ra" (Dresden, 1009, and in
many other capitals); Der Rosen-
kavalier" (Dresden, June 26, 191 1,
and throughout Europe); "Circe"
"Ariadne auf Naxos." (Stuttgart,
Oct. 25, 1912).
Strube, Qustave, add that the
Boston S>Tnph. Orch. of which he is
still a member, has played composi-
tions of his as follows; symphony m
C minor (1896), in B minor (1909
and 191 2); overtures "The Maid of
Orleans" (1895); "Fantastic" (1904);
"Puck" (1910); symph. poems
"Longing" (1905 and 1908); "Fan-
tastic Dance" (1908); concertos, vio-
lin (1897, 1905, IQ06); *cello (1909),
etc.; 1909 he became a cond. of the
Worcester Festivals.
Strungk, Delphin, 1611 — Bruns-
wick, 1694; organist and composer;
father of Nikolaus S. (q. v.).
St(s)cherbatschev ( sht - chSr' - b&t-
sh£f), (i) Nikolai Vladimirovich,
b. Aug. 24, 1853; Russian composer of
songs & piano pieces; calso Serenade
op. 33 and 2 Idylls ifor orch., (2) An-
drew, v., b. P'ultava, Tan. 29, 1860;
pupii St. Petersburg Cons.; c. orcL
march, piano sonata, songs, etc.
Sucli, Henry, b. London, March 31,
1872; violinist in public at eight:
pupil of the Hochschule, Berlin.
1885-92; then toured, studied furthei
with Wilhehnj; 1898 prof, at Guild-
hall School.
Suter (zoo'-tSr), Hermann, b.
Raiserstuhl, Switzerland, April 28,
1870; pupil of his father, an organist,
and of the Stuttgart and Leipzig
Cons.; from 1892, ozganist and cond.
in Zurich, from 1902 in Basel as cond;
c. quartets and choruses.
Sutor (zoo'-tdr), Wilhelm, Edd-
stetten, 1774 — Linden, Sept. 7, 1828;
court cond. at Hanover; c. operas, etc.
Swoboda (svo'-bo-da), (i) August,
Bohemia, 1787 — Prague, May 17,
1856; teacher of theory, at Vienna.
His son (2) Adalbert Viktor,
Prague, Jan. 26, 1828 — Munich,
May 19, 1902; historian and editor.
Szamotulski, vide wenzel.
Tanejew (or Taneiev), (i) Sergei
Ivanovlch, add that he coniposed
SLcamtaita." John of Damascus f" 1884;
four symphonies. No. i pub. 1902,
a Russian overture, seven string
quartets. His unde (2) Alexander
Sergei vich,b. St. Petersburg, Jan. 5,
1850; statesman and high chanceUcH*;
was a pupil of Reichel and lattf of
Rimsky-Rorsakov and Petrov; c. two
symphs.; s)Tnph. poem "Alecha Popo-
vich"; i-act opera, etc.
Taubmann ( towp' - mSn ), Otto,
b. Hamburg, March 8, 1859; mus.
director; pupil Dresden Cons.; 1886-9
dir. Wiesbaden Cons. 1891 theatre
cond. in St. Petersburg; from 1895 ^
Berlin as critic; c. mass with orch.
(1898), choral drama " Sdngerwetke**
(Elberfeld, 1904), "Psahn 13" with
orch., etc.
Taund (shti-townt), Eugen von
Schyll, b. Pressburg, July 17, 1856;
opera composer; c. operettas prod,
at Vienna .
Tchaikovsky, The correct birth
DICTIONARY OF MUSICIANS 825
date b May 7 (new style), April 25
(old style). 1840.
Tebaldini (t&-bfil-de'-ne), Giovanni,
b. Brescia, Sept. 1864; historian;
pupil Milan Cons., and in musical
history of Amelli, Haberl and Haller;
1889 cond. at St. Mark's, Venice; 1894
at Saji Antonio, Padua; from 1897,
dir. Parma Cons., wrote historical
works, and c. Arabian fantasie for
orch., also church music.
TeidimQller (tlkh'-mH-l^r), Robert,
b. Braunschweig, May 4, 1863; piano
teacher; pupil of his father and of
Leipzig Cons.; later teacher there;
iQoiB Royal Prof.
Tempia (t£m'-p€-&), Stefano, Rac-
conizi, Dec. 5, 1832 — Turin, Nov.
25, 1878; violin teacher at Turin
Cons, and composer of masses, etc.
Terrabugio (t6r-ra-boo'-j5), Giu-
seppe, b. Primiera, May 13, 1842;
writer ; pupil of Rheinberger, etc. ; from
1883 editor of "Musica Sacra" at
Milan, and active in the reform
of church music; author of organ
methods; c. overtures, 12 masses, and
much church music.
Ter'ry, Richard Runciman, b.
Ellington 1865; organist; 1890 — 2 at
Elston School, then in Antigua,
West Indies, at St. John's Cathedral;
1896-1901 Downside Abbey; from
1901 at Westminster Cathedral; active
in reviving early English Catholic
music.
Tetrazzini (tSt-ra-tsS'-ne), Luisa,
b. Florence; pupil of Ceccherini, and
her sister Eva, wife of Cleofonte
Campaiiini; d^but 1895 as Inez
in *^VAfricaine," Teatro Pagliano,
Florence; later at Rome and else-
where, touring widely in Russia
and South America; a favourite in
San Francisco, her fame had not
reached eastward till after a season of
great success at Covent Garden, 1907,
she made a sensation at the Manhat-
tan Opera, N. Y. She has since held
a foremost position among the world's
sopranos in opera and concert Her
voice is one of extraordinary grace
and flexibility in coloratura r61es.
Theindl (tint'-'l), J. N., d. Pest,
Dec. 30, 1902; pianist.
Thiard-Laforest (tS-2lr-l&-fdr-&),
Josef, PUspdki, March 16, 1841 —
Pressburg, March 2, 1897; from 1881
cond. at Pressburg Cathedral.
Thibaud (te-bo), Jacques, b. Bor-
deaux, Sept. 27, 1880; violinist; pupil
of Marsick at Paris Cons., winning
first prize at 16; played at the Cafi
Rouge and was engaged for Colonne's
orch., became soloist 1898; has toured
widely in Europe and America.
Thi^baut (t'yft'-b6), Henri, b.
Schaerbeck, near Brussels, Feb. 4,
1865; teacher and critic in Brussels;
founded, 1896, a music-school devel*
oped 1907 into the "Institut des
hautes Etudes musicales et dramati-
ques"; c. orch. works, songs, etc.
Tfiiele, (i) K. L., should be Jo-
hann Fr. Ludwig. His son (2)
Eugen Felix Ricliard, Berlin, Oct.
29, 1847 — April 25, 1903; organist
at English church; composed panto-
mimes, etc. (3) Ed yard, d. Dessau,
Jan. 10, 1895.
Thirlon (te-rMii), Louis, b. Bac-
carat, 1879; piano teacher at Nancy
Cons.; c. symph. ; played by Colonne's
orch., under Piem6, 191 1 ,with success.
Tliomelin (tilm-12ln), Jacques,
famous organist in Paris; ca. 1667
chapel organist to Louis XIV; c«
organ works, etc.
Thompson, Lady, vide loder.
Tfioost (tost), Willem Frans,
Amsterdam, Jiily 10, 1829 — Rotter-
dam, Aug. 27, 1900; pupil of Dupont,
Hauptmann and Richter; founded
the German opera at Rotterdam,
i860; c. choral prize symphony,
''Karl V" (i86i); 3 other symphs.,
an opera, etc.
Thoriey Handel, d. Manchester,
Jan. 20, loio, ase 87; bass singer,
chorister; double bass in Halle orch.
over 40 years.
Thorne John of York, d. York
ifli
826
THE MUSICAL GUIDE
I^cc. 7, 1573; important English
musician; c. motet, eto.
Thouret (too-rft), Qeorg, b. Berlin,
Aug. 25, 1855; historian, espedally
of German military music.
Thrane (tr£-n6), Waldemar, Ctirls-
tiania, 1 790-1828; violinist; c. over-
tures, etc.
Tierie (te'-rS), Anton H., b.
Wagenin^en, April 4, 1870; organist,
teacher m Amsterdam Cons.; cond.
oratorio society.
Till'metz, Rudolf, b. Munich, April
I, 1847; fludst; pupil of Bohm; 1864
soloist in court orch.; 1883 teacher
in Royal Musichsch., and cond. to
Prince Ludwig Fd.; c. flute works.
Tim'mermans, Armand, b. Ant-
werp, i860; pupil of the Cons., and
teacher in Antwerp; c. prize winning
choral works.
Tischer (tifsh'-^r), Johann Niko-
laus, 1731-66 organist at Schmal-
kalden; pupil of J. S. Bach; c.
clavier-pieces, orch. works, etc. (2)
Gerhard, b. Lttbnitz, Nov. 10,
1877; historian, Ph.D., Berlin, 1903;
from 1904 teacher of musical history
in Cologne.
Titelouze (tet-looz), Jean, St.
Omer, 1563 — Rouen, Oct. 25, 1633;
organist; called the "founder of
French organ music"; 1585 org. at
St. Jean Rouen, from 1588 at the
cathedral there; c. mass, and organ
^i^orks
Titov orTitoff (tfi'-tdO, (i) Vasslll,
17th century church composer. (2)
Alexei Nikolaievich; 1769 — St.
Petersburg, Nov. 20, 1827; Russian
cavalry general: c. 13 operas. His
brother (3) Sergei N^ b. 1J70; c.
operas and ballets. (4) Nikolai
Alexei vich, St. Petersburg, May
10, 1800 — Dec. 22, 1875; son of (2)
called the '* grandfather of Russian
song"; a lieutenant-general, whose
mnGTs were the first to obtain foreign
vogue; c. also popular dances and
marches.
Ttv'endell, Frederick, b. Eng-
land, 1825; organist at Liveipod;
1843 pupil of Spobr and L^pzig
Cons.; popular as accompanist to
Spohr, Jenny Lind, etc.
Tod (t6t), Eduard Adolf, Nen-
Hansen, 1839 — Stuttgart, 1872; or-
ganist and composer.
Todt (tdt), Job. Aug. Wilhelm,
h. DUsterort, July 29, 1833 — Stettin,
Oct. 26, 1900; organist, cantor aad
composer.
Tofano (t5-f&'-n0), Qustavo,
Naples, Dec. 22, 1844 — J«d« 30»
^ 1890; pupil at the Bologna Cons, and
prof, there; pianist and composer.
Tofft, Alfred, b. Copenhagen, Jan.
2, 1865; pupil of Nebelong and Bohl-
mann; c. opera *' Vifandaka** (Copa^
hagen, 1898), songs etc.
Tofte (tfif^-te), Lars Waldemar,
Copenhagen, Oct. 21, 1832 — June,
1907; court violinist and teacher at
the Cons.
Torn us, Jan. b. Amersfort, 1550—
Copenhagen, 1603 (?); church-cond.
in Italian cities; 1601 court-cond. at
Copenhagen ; c. motets, madrigals, etc.
Tolstoi (t6l'-st5-e), Count Theo-
phil Matveievich, 1809 — St. Pe-
tersburg, March 4, 1881; critic under
pen-name " Rostislav " and composer;
studied singing with Rubini, onnp.
with Fuchs, Miller, Raimondi aini
Hebel; 1832 prod, opera "Biridnno
di Parigi" Naples; 1835 at Sl
Petersburg, its failure led Nichdas
I to forbid the Italian singers to ap-
pear in Russian works. He c also
songs.
Tolstoy (tdl'-stAO, Victor Paulo-
vich, b. St. Petersburg, Dec. 5, 1843,
pianist; pupil of Leschetizky; from
1878 teacher at St. Petersbuig Cons.;
1889 prof, there.
Tonassi (to-nas'-s€), Pietro, Venice,
Sept. i8oi — Nov. 4, 1877; composer
of church music, etc.
Tonel'li, Antonio, Carpi, Italy,
Aug. 19, 1686 — Dec. 25, 1765;
important early 'cellist; pupil of bk
mother and of Pace: after a wander-
DICTIONARY OF MUSICIANS 827
ing life induding (perhaps) three
years in Denmark, he was made cond.
at the Cathedral in Carpi; c. opera
**Lmcu} Veto" (Alassio, 1740). After
some years the Wanderlust carried
him off to and from Carpi, where he
died; c. oratorio, cantatas, etc.
Tttpler (tCp'-lftr), Michael, Ul-
lersdorf, Jan. 15, 1804 — Brtihl, Nov.
12, 1874; teacher and composer of
church music.
Torrance, Canon Qeo. Wm., add
that he returned to Ireland, 1897,
and 1900 became canon at Kilkenny,
where he died Aug. 20, 1907. His
madrigal "Dry he that iear^*^ won
Molyneux prize and London Madri-
gal Society medal, 1903.
Toscaninl (tdsrk&-ne'-ne), Arturo,
b. Italy; pupil Milan Cons.; won
eminence as conductor at La Scala,
and since 1908 has cond. with greatest
success at the Met. Op. House, N. Y.,
not only Italian operas, but Wag-
nerian and French.
Toschi (t£sh'-€), Carlo Giuseppe,
Romagna, 1724 — Munich, Apnl 12,
1788; court dir. and composer. His
son and successor (2) Johann Bap-
tist, Mannheim, ca. 2745 — Mun-
ich May I, 1800; c. 18 symphs., etc.
Tournemire (toom-m€r), Charles
Arnould, b. Bordeaux, Jan. 22,
1870; organist and successor of C^sar
Franck at Ste. Clothilde; pupil of
the Paris Cons, (winning first organ
prize 1891) ; thenof dlndy. TheCityof
Paris prize was awarded to his "Le
Sang de la Sirhte^ ' for voices and orch .
1904, and it has been given in various
cities; c. symph., lyric tragedy "iV*/-
tdis" chamber music, etc.
To'vey, Donald Francis, b. Eton,
July 17, 187^; pianist; pupil of
Sophie Weisse ^)iano), Parratt, Higgs
and Parry (comp.); giuduated at Ox-
ford, 1898; began to compxise at 8; at
19 gave a concert at Windsor with
Joachim; from 1900 played in Lon-
don and on die continent; 1903 and
1006 performed his own piano con-
certo imder Wood and Richter; c.
military band music, chamber musip,
sonata for clarinet and piano, etc.
Trautner (trowt'-n€r), Fr. Wm.
Lorenz, b. Buch-am-Forst, May 19,
1855; cantor and organist at Nfirdlin-
gen; c. Reformation cantata, ''Jfar-
Hn Luther,'' "SUngers Geba'* for
voices and orch., etc.
Traver'sa, Qioachlmo, prominent
1 8th centurv violinist to I^ince Car-
ignan; pupil of Pugnani.
Trem'bath, Henry Qough, d.
Heme Bay, July 31 1908, age 6$;
pupil R. A. M., organist and com-
poser.
Tricklir (trek-ler), Jean Balthasar,
Dijon, 1745 — Dresden, 1813; 'cellist;
from 1783 in Dresden court chapel;
c. 'cello works.
Trnecek (ttt-rtt-nS'-chek), Hans,
b. Prague, May 16, 1848; harpist;
pupil of the Cons.; from 1882-8
narpist at Schwerin Court Theatre,
then prof, of piano and haip at
Prague Cons.; virtuoso on the Jank5
Keyboard; c. piano and harp music
and operas " Der Geiger von Cremona "
( Schwerin, 1896 ), "Amara$Uk'*
(Prague i^), and "Andrea Crini"
(Prague, 1900).
Trunk, (troonk) Richard, b. Baden-
Baden, 1879; composer and con-
ductor; stucued at the gynmasium
there; 1896-1901, at Royal Music
Academy, Mimich, \mder Jos. Rhdn-
berger, winning gold medal; founded
the Gemischter Volkscor Union; dir.
also of the Munich Buigers Saenger-
Zunft; 191 2 elected director Aiion
Singing Society of New York.
Tscherepnin (ch£r-£p'-n€n), Nikolai
Nikolaievich, b. 1873; composer;
studied law at first, then at St.
Petersburg Cons, under Rimsky-
Korsakov; c. valuable male and
mixed choruses, overture "La Prin^
cesse lointainej" "Sappho's Sang" for
soprano and orch., lyric poem for
violin and orch., choruses with orck.
etc.
828
THE MUSICAL GUIDE
Tscheschichin (chSsh-e'-chen),
Vsevolod levgrafovich, b. Riga,
Feb. i8, 1865; critic and author at
Riga.
Tura (too'-ra), Qennaro de, tenor,
sang at Milan and in Europe; d^but
May, 191 2, with great success at
Hammerstein's London Op.
Tur'ban,CharlesPaul, b.Strasburg,
Oct. 3, 1845 — Paris, May 11, 1905;
clarinet soloist at the Op€T3.; pupil
and frequent prize winner at the
Cons.; from io<x> prof, there.
Tutkov'ski, Nikolai ApoUono-
vich, b. Lipovetz, Feb. 17, 1857;
pianist; pupil of Puchalski; from
1881-90 teacher of history at St.
Petersburg Cons.; from 1893 dir. of
Cons, in Kiev; c. symph. "PensSe
ilSgiaaue** and ^*Bachanale bohim-
ienne for orch., etc.
U
Cberlte (ii'-b?T-l&), Adelbert, Berlin,
June 27, 1837 — Chariot tenberg,
March 15, 1897; organist and royal
director; c. opera, oratorio, etc.
Udbye (oot'-b6), Martin Andreas,
b. Drontheim, 1820; pupil of Haupt-
mann and Becker; organist at Dron-
theim; c. operas, cantatas, songs,
etc.
Ujj (oo'-yl), Beta von, b. Vienna.
1875; Hungarian composer, blind
from his 7th year; c. opera "Der
Bauemfeind" (Baden, near Vienna,
1897); operettas ^*Der Herr Profes-
sor" (Vienna, 1903), "Kaisermand-
ver" (do.. 1907), and "Der MUUer
und sein Kind" (Graz, 1907).
Urbach (oor'-b&kh). Otto, b.
Eisenach, Feb. 6, 1871; composer;
pupil of Maller-Harting, Staven-
hagen, Scholz, Knorr and Humper-
dinck; won the Liszt stipend, 1890,
and the Mozart stipend 1896, and
studied with Draeseke and Klind-
worth; from 1898 piano teacher at the
Dresden Cons.; c, opera **Der MiiUer
iton Sanssoud" (Frankfort, 1896):
overture "Bergfakrif" string quartet
*'Haliba " etc
Urbanek (oor'-ba'-nfik), Jan, b.
Slanin, Bohemia, Jan. 31, 1809; vio-
linist; pupil Pra^e cons.; concert-
master in Berlin.
Urlus (oor'-loos), Jacques, tenor;
sang many years at Leipzig Stadt-
theater; 191 2 Boston Op.; engaged to
sing at Met. Op., 191 2-13.
Usiglio (oo-sel'-yd), Emillo, Parma,
Jan. 8, 1841 — Milan, 1910; operatic
composer.
y
Note: For names not foimd under V,
consult W.
Vaccari (v&k-kfi'-re), Francis,
Modena, 1775 — Portugal, after 1823;
violin-virtuoso of astonishing powers;
pupil of Nardini; toured Europe with
great success; acted as court musidaii
in Spain; c. medleys, etc.
Vacher (or Levacher) Qa-vft-sh2),
Pierre Jean, Paris, 1 772-1819;
violinist at Paris Opera; c trios, etc.
Vac Hon (v&-shdn), Pierre, Arks,
1 73 1 — Berlin, 1802; violinist and
composer of sonatas, chamber music,
etc.; toured widely; 1784-98 court
cond. to the Emperor in Gennany.
Vacqueras (v&-k&'-rfis), Beltrame,
1481 singer at St. Peter's, Rome;
1483-7 papal chapel singer; c. motets,
etc.
Val or Duval (da-v&l), Fran<fois
Du, d. Paris, 1738; violinbt to Louis
XrV; the first Frenchman to write
violin sonatas in the Italian style^
with basso catiHnuo,
Valente (v&-ien'-t«), Antonio
il cteco)f blind organist and composer
at Naples, 1580. (2) Vincenzo, b.
Corigliano, near Cosenza, 1855; c.
op«ras and songs.
Van Den Eeden (vftn d6n ft'-dSn),
Jean Baptiste, b. Ghent, Dec
26, 1842; pupil of the Cons., and
of Brussels Cons., where he won a
prize with a cantata, "Fausts laasU
NaclU": from 1878 dir. music schoc*
DICTIONARY OF MUSICIANS 829
at Mods.; c. symph. poem *^La luUe
au XVI siich" cantatas, a 3-part
work "Judith" or *'Le sUge de
Bilkulie" etc.
Van der Stucken, Frank, add
that he was dean of the Cincinnati
College of Music 1897-1901; cond.
Cincinnati Symph. 1895-1907, when
he returned to Gera:iany, retaining
the conductorship of the Cincinnati
May Festivals.
Van'nius, vide wannenmacher.
Var^lamov (or Warlamoff), Alex-
ander Igorovich, Moscow, Nov.
IS (27), 1801 — St. Petersburg, Oct.
1848; singer in the court chapel as
youth, later director of it; then
teacher in Moscow; c. the famous
melody "The Red Sarafan," and
many other songs.
Vasquez y Qomez (vfts'-kfith 5 g6'-
mSth), Marino, Granada, Feb.
3, 1 83 1 — Madrid, June 1894; con-
certmaster at Madrid Royal Theatre;
c. zarzuelas, etc.
Vassilen'ko, Sergei Nikiforovich,
b. Moscow, 1872; writer; pupil of the
Cons., winning gold medal, 1901; c.
cantata "The Legend of the Sunken
City of Kilesch" (given as an opera,
Moscow, 1903); "Epic Poem" for
orch., choral works "Nebuchadneszar"
a.nd"Daphnis," etc.
Vatielli ( vfi-tl-ei'-l6 ), Francesco,
b. Pesaro, Jan. i, 1877; pupil of
Liceo Rossmi; 1905 librarian at
Bologna, teacher and writer on his-
tory; c. intermezzi, etc.
Vau'tor, Thomas, English song com-
poser of early 17th century; probably
a musician to Sir George Villicrs;
1 6 16 Mus. Bac. Oxford; published
songs in 161Q.
Vecsey (vfit -ch5-€), Franz von, b.
Budapest, March 23, 1893; violinist;
at 8, pupU of Hubay; at 10 accepted
by Joachim as a great musician, and
toured Germany, England and Amer-
ica with inmiense success; toured
South America, 191 1; reappeared in
■.ondon. 1012-
Venth (v&it), Karl, b. Cologne, Feb.
10, i860; pupil of the Cons, and of
Wieniawski; from 1880 in New York
as concertmaster at Met. Op. House;
founded 1888 a cons, in Brooklyn; c.
Schiller's "BeUs" for chorus and
orch., etc.
Venturini (v€n-too-r6'-ne), Fran-
cesco, d. Dresden (?) April 18,
1745; from 1698 in the Hanoverian
court chapel as cond.; c. concertos,
etc.
Venzl (ffints'-'l), Josef, b. Munich,
March 26, 1842; pupil of the Royal
Music Sch.; c. violin pieces and
method.
Ver'rinder, CO., d. Ealing, June
27, 1904; organist; Bachelor of Music
Oxford; 1873 Doctor of Music by
Archbishop of Canterbury; c. cantata
"Israel," Hebrew services and
Psalter; Anglican church music, etc.
Verstovsky (or Werstowski), Ale-
xei Nikolaievich, Tambov, Feb.
18 (March i), 1799 — Moscow, Nov.
5 (17), 1862; composer; while
studying civil engineering at the
Institute in St. Petersburg, he was
also a pupil of John Field and Stci^
belt (piano), B5hm (violin), Tar-
quini (voice), Brandt and Tseiner
(theory); c. a vaudeville at 19, and
soon acquired a vogue; at 25 was
inspector of the Imp. Opera, Moscow;
at 29, c. a succ. opera, "Pan Tvardoih
skif " followed by five others, includ-
ing'MjJtoW'j Tomb" (183s), which
had enormous success and was revived
in 1897; was accepted as a beginning
of national opera and had undoubted
influence on its development. He c.
also cantatas and 29 popular songs.
Vetter (f€t-t€r), (i) Nikolaus, K6nig-
see, 1666 — Rudolfstadt, 1710; court
organist and important choral com-
poser; (2) Hermann b. Gross-
drebnitz. Saxony, July 9, 1859; pupil
Dresden Cons.; from 1883 teacher
there; 1907 Royal Prof.; c. technical
studies, etc.
Verhey (v€r'-hl). F. H. H„ b.
830
THE MUSICAL GUIDE
Rotterdam, 1848; pupil of the
Royal Music Sch., at The Hague and
of Bargiel; teacher at Rotterdam; c.
operas, a mass, chamber music, etc.
Vieuxtemps, Jean Joseph Lu-
cien, Verviers, July 5, 1828 — Brus-
sels, Jan. looi; pianist and composer;
pianist, teacher, and c. of piano
pieces, brother of Henri and Jules
V. (q.v.).
Vigna (v6n'-ya), Arturo cond. Met.
Op. House, N. Y., 1903-7; pupil
Milan Cons.
Vilain (vC-l&n), L^andre, b. Tra-
zegnies, Belgium, 1866; pupil of
Lemmens, and von Mailly ; from 1890
organist at Ostend; from 1902
teacher at the Ghent Cons.
Vilano'va, Ramon, Barcelona, Jan.
21, 1801 — May, 1870; cathedral
cond.; c. churcli music.
Vilar (v€'-iar), Joseph Teodor,
Barcelona, Aug. 10, 1836 — Oct. 21,
1005; pupil of Vilanova and in Paris
of Herz, Bazin and Hal^vy; later
cond. at Teatro Principal; c. zarzue-
las, etc.
Vilda, vide wilt.
Villafiorita (vn-la-f€-«-re'-ta), Giu-
seppe Burgio di, Palermo, March
22, 1845 — Milan, Nov. 1902; com-
i)oser of operas.
Vi'ner,Winiam Utton (or Litton),
Bath, 1790 — Westfield, Mass., 1867;
organist; from 1859 in America; c.
popular hymn tunes.
Vizentini (vft-zfin-te'-nC), Louis Al-
bert, Paris, Nov. 9, 1841 — Oct.
1906; violinist; pupU of the Paris
and Brussels Cons.; critic on the
Figaro; cond. in theatres in various
cities; c. operettas, ballets, etc.
Vock'ner, Josef, Ebensee, March
18, 1842 — Vienna, Sept. ii, 1906;
organ teacher at the Cons.; c. ora-
torio, organ fugues, etc.
Volbach (fdl'-bakh), Fritz, b.
Wipperfllrth, Dec. 17, i86i; organ-
virtuoso; pupil of Cologne Cons, for
a year; studied philosophy, then took
up music again at the Royal Inst, for
church mus., Berlin; from 1887 teadi-
er there; 1892 cond. at Mainz; 1907
at Tubingen; has written biogs. and
edited musical texts; c symph,
symph. poems, '*Ostem** (Easter),
for organ and orch. (Sheffield FesL,
1902) ; " Es waren turn K^rngskinder, "
"AU Heidelberg f du Peine, " a series of
vocal works with orch. which he
cond. in London, 1904, etc.
Volkov, vide wolkow.
Vos (vfts), (i) Eduard de, b. Ghent,
Jan. 19, 1833; director and teacher
at the Cons.; c. songs. (2) Isidore,
Ghent, 1851 — March 31, 1876; dying
just after he won the Prix de Rome
wiUi his cantata "De Meermm'*;^c
also piano pieces, etc. His brother
(3) Franz, is teacher at the Cons.
Vreuls (vrtQs), Victor, b. Verviers,
Feb. 4, 1876; pupil Li^e Cons,
and of dlndy, at whose Schola can-
torum he became teacher of harmony;
1903 won the Picard prize of the
Belgian Free Academy: c. symphonic
poems, **Tfipiyque" tor voice and
orch., chamber music and songs.
W
Note: For names not found under W.
consult V.
Waack (vftk), Karl, b. Labeck^
March 6, 1861; pupil of Grand-ducal
School, Weimar,; cond. in Finland
and at Riga; 1890 studied with H.
Riemann, returned to Riga as editor,
cond. and author.
Wad'dington, Sidney Peine, b.
Lincoln, July 23, 1869; composer;
pupil R. C. M., London; later teacher
there and pianist to Covent Garden;
c. "John Gilpin^* for chorus and
orch. (i8q4); "Ode to Music,** do.;
violin and 'cello sonatas, etc.
Waef elghem, ( v&' - f £1 - kh&n or
vft-fei-gftA), Louis Van, Bruges.
Jan. 13, 1840 — Paris, June 19, 1908;
violinist and virtuoso on the vtoIc d*
amour; pupil Brussels Cons.; soloist
at Budapest Opera; 1888 violaist at
^
DICTIONARY OF MUSICIANS 831
Paris' <X)£ra, and in Lamoureux's
orch.; after 1803 soloist on the vide
d'amoiir, for which he composes.
Wagenaer (vlLkh'-6>nftr), Johann,
b. Utrecht, Nov. z, 1862; organist at
the Cathedral; c. "Friljofs Meer-
fakrl" and ''Saul and David" for
orch., overture " Cyrano de Bergerac, "
etc.
Wasner, Siegfried, add that from
' 1898 he was teacher in Vienna; 1901
cond. AgbuL Singing Society, and
Tonkanstler Orch.; 191 2, oond.
special concert of the London Sym-
c^orch. c. 8 operas "Der KobM**
Olamburg. 1904), **Bruder LusHg'*
(do., iocs), '^DasStemmgebot" (do.,
1908), '* BanadieHch" (Elberfeld,
1910) and "SckwaTzsckwanenreich^*
(Black-swan Ountiy), c. also male
and female choruses, etc.
Wakefield, Augusta Mary, b.
Sedgwick, Aug. 19, 1853; contralto;
pupil of Randegger, Alari and
Sg^bati; 1885 organized the so-
called Wakefield Competition Festi-
vals, said to be "the most vital
movement in the musical life of
England to-day;" from 1890 she
lectured; c. songs, etc.
Waldauer (v&l'-dow-&), August,
1825 — St. Lotus, I>ec. 26, 1900;
founder and dir. Beethoven C!ons.
Waldmann (v<'-mttn), Madame,
b. Vienna; contralto; made sensation
in London, 1875.
Waldteufel (viUt'-toi-fei), Emil, b.
Strasbu^, Dec. 9, 1837; pupil Paris
Cons.; pianist to Empress Eugenie;
c. immensely succ. waltzes.
Walk'er, Ernest, b. Bombay, July 15,
1870; composer; Mus. Bac Ox-
ford, 1893; ^us. Doc. 1898; from
1900, dir. at Balliol C>>llege; mainly
self-taught as composer of **Stab<U
MaUr," "Hymn to Dionysus/* and
"Ode to Nighingale** for voices and
orch.; overture, chamber music, songs
etc.
Wall'ace, WilHam, b. Greenock, July
3, i860; at first a surgeon; in 1889
took up music and studied at
the R. A. M., London, till 1890;
c. ^nnph. "The Creation" (New
Brixton, 1892); choral ^ympk.
"Kohdetk"; 6 symph. poems, "JAe
Passing of Beatrice" (Crystal Falace,
1892), " Amboss oder Hammer" (do.,
1896), "Sister Helen" (do. 1899),
"Greeting to the New Century" (Lon-
don Phil., 1891), "Sir\WiUiamWal-
lace" ((Queen's Hall, 1905), "Pranfois
Villon (New Symph., 1909; also bv
New York Phil., 1910, 191 2}«
overtiures, suites, song cycles, i-act
lyric tragedy "BrassAis" etc He
is author of poetry and a critical
work, "The Threshold of Music,"
Wall'worth,Thos. Adlingtoii,x834
— Brixton, Jan. 7, 1904, age 70;
pupil, later singing prof. R. A. M.,
London; pupil of Crevelli; sang with
Pyne & Harrison Opera C>>.
Waipurgis (v&l-poor-gCs), Antonia,
1 7 24-1 780; Saxon Crown Princess;
c. an overture " Talestria Regfna ddP
AmoMone," revived at a concert of
women's compositions by ths (jerman
Lyceum Club, Berlin, 1912, cond. by
Elizabeth Knyper.
Warthew, Richard H., b. London,
Nov. 4, 1872; pupil of the Guild*
hall and with scnolarship at R. C. M.
under Parry; 1907 prof, at (^een's
College, and cond. opera class at the
GuOdhall; 1909 cond. at Finsbury.
c. "Pied Piper" for chorus and orch;
(1^3); piano concerto (1894), two
operettas, etc.
Wannenmacher (viin'-nen-miLkh-^r)
(or Vannius), Johannes, d. Inter-
laken, ca. 1551; unportant Swiss
church composer; and canon, re-
nounced Catholicism, was tortured,
and banished.
Ware, Harriet, b. Waupun, Wis.;
graduated at Pillsbury Cons, Owa-
tonna, Minn., 1895; P^P^ ot Wm.
Mason, N. Y. for 2 vears, then of
Stojoiraki (piano and comp.) and
Juliana, Paris, later of Hugo Kaun,
Berlin; c. "The Fay Song," zqoi;
\H
832
THE MUSICAL GUIDE
cantata ''Sir 01^'* (New York
Symph. 1910), jHano pieces and many
successful songs.
Warnke (vttm'-k«), Heinrich, b.
Wessdbdren, Aug. ^o, 1871; 'cdlist;
son and pupil of his father, a
violinist; later at Hamburg Cons.:
d6but there, then studied with Klengel
at Leip2dg; member of various orchs.»
finally with the Kaim orch., Munich,
for 10 years; from 1905 with Boston
Symph. Oich.
Warot (vft-ro), (i) Charles, Dunkirk,
Nov. Z4, 1804 — Brussels, July 39,
1836; violinist and theatre-cond.:
pupil of Fridzci; c. operas, 3 grand
masses, etc Ifis brother (2) Victor,
Ghent, z8o8-*Bois Cdombes, 1877;
cond. and teacher; c. operettas, a
mass, etc (3) Constant N6S1
Adolphe, Antwerp, 181 2 — Brussels,
1875; 'cello-teacher, Brussels Cons.;
c. 'celk>-pieces, etc (4) Victor Alex.
Jos., Venders, 1834 — Paris, 1906;
son of Victor (2); opera tenor, later
teacher at Paris Cons.
War'rum Helen, b. Washington,
D. C. (?); soprano; pupil of Oscar
Saenger; engaged for Clucago Opera,
191 2.
Warwick (wSr'-lk), (i) (or Warrock),
Thomas, organist Hereford Ca-
thedral, 1586-9; 1625 org. at Chapel
Royal; c. anthems, etc (2) Qiula,
d. Jime 13, 1904; pianist and opera
singer, then prof, of singing Guilohall
Scbx>l of Music, later founded vocal
academy.
Web'ber, Amherst, b. Cannes, Oct.
25, 1867; studied music at Oxford,
then at Dresden with Nicod6 ana
at Paris Cons.; pianist to Covent
Garden and Met. Op., N. Y.; c.
symph. (Warsaw Phil., 1904, Bos-
ton aymph., 1905) ; i-act opera **Fior-'
etta" (London, 1905), songs, etc
Web'er, Frederick, WOrtemberg,
Nov. s, 1819 — London, Feb. x6,
1909; otganist and author of works on
the pianoforte.
Wecker (vtiL'-Cr), Qeorg Kaspar,
Nuremberg, 1632-1695; orgsaJst,
teacher and oonaposer.
Weckmann (vw-m&n), Matthias,
Oppecahauaen, 2621 — ^Hambuig, 1674;
organ-virtuoso and comp.
Wedekind (v&'-d^-kint), Erika, b.
Hanover, Nov. 13, 1869; colon-
tura soprano; pupil of Oigeni at
Dresden Cons.; 1894-1909 at court
opera Dresden, then at Berlin Coiaic
C^ra.
Weeber (v&'-ber), Johann Chr.,
b. Warmbronn, z8o8 — Ndrtingcn,
2877; court mus. director and com-
poser.
V/eedt Marion, b. Rochester, N.
Y., soprano; 1903-4 Met. Op., N. Y.
Wehrle (vftr'-le), Hugo, b. Don-
aueschingen, Jidy 19, 1847; violinirt;
papil of Leipzig Cons, and ParisCoos. ;
toured and played in Singer's Quar-
tet till nervous trouble Umed Us
hand; 1898 retired to Freiburg; c
violin pieces.
Weidig (vI'HlIkh), Adolf, b. Ham-
buig, Nov. 28,1867; pupil of the Cons.
and winning Mozart stipend, pupil of
Rheinberger; from 1892, teacher in
Chica^ and co-director of the
American Cons.; c orch. and cham-
ber music
Weingartner, Felix, add that 1908
he succeeded Mahler as dir. >^enna
Royal Opera; Jan. 4, 1911, he signed
contract for 3 years with Berlin Phil.
Orch., resigning directorship of Royil
Opera; he married Marie JuiUnat;
in 1903 he married Baroness Feodora
von Dreifus; author of "Uber das
Dirigieren (1895, 3rd edition 1905),
"Die Sympkame nock Beakowen"
(1897, also in En^ish), a drama
"Gdgotka'' (1908), etc.; c 3 symfh.,
" FrMingsnOrckenspid" (Weimar,
1908), music to*' FaMj<" (do., 1908);
his 3rd symph. was played by New
York Phil., Dec 28, 1911.
Weismann (vis'-m&n), Julius, b.
Freiburg, Dec 26, 1879; pvqnl of
Royal Musicschool, Munich, thai
with Hersogenbeig ioA Thuille; fram
•tm
DICTIONARY OF MUSICIANS 833
1905 in Fretbuig as composer of
choral works, a symph., etc.
Weissheimer (vis'-hl-mer), Wen-
deliiiv b. Osthofen, Feb. 26, 1838:
mus. director and composer; pupil
Leipa^ Cons., teacher and theatre-
cond. m various cities; c. 2 operas,
''Tkeodor K9m^" (Munich, 1872),
and **M&ister Martin und seine
Geseilen" (Carlsruhe, 1897), bass
solo with orch., "Das Grab in
Busento," etc.
Weirings, (Joseph) Milton, b.
Handsworth, n. Birmingham, Eng..
Dec. 4, 1850; c. popular songs ana
"The Dancing Master" (London,
1894).
Wendel (vCn'-dfl), Ernst, b. Bres-
lau, 1876; vidinist and director:
Sipil of Wirth, Joachim, Lucco ana
argiel; 1896 jomed Thomas Orch.,
Chicago; 1898 cond. K6nigsberg
Musikverein; 1909 cond. Bremen
Phil.; c. choruses with orch., etc.
Wenzel von Qamter (or Szamo-
tulski) (shU-mO-tool'-skY), Gamter,
1525 — Cracow, 1572; Polish com-
poser of church music,
Werschbllovlch (vCrsh-br-l^-vIch),
Alex. Valerianovich, b. Tan. 8.
1850; 'cellist; pupil of Daviaov ana
his successor at tne Italian Opera in
St. Petersburg; from 1885 prof, at the
Cons.
Wessely (ves'-si^le)^ Hans, b. Vienna,
Dec. 23, 1862; violmist; pupil of the
Cons.; toured with success; from 1889
prof. R. A. M., London, leader cl
the W. (Quartet.
Wetzel (va'-tsSl), Hermann, b.
Kyritz, Pomerania, March zi, 1879;
t^tcher at Riemann Cons. 1905-7;
then in Potsdam as teacher and a
author; c. songs, etc.
Weweler (vft^-v£-l<$r), August, b.'
Recke, Westphalia, Oct. 20, z868;
oomposer: pupil Leipzig Cons. : c. fainr
operas "DamrSschen" (Kassel, 1903).
comic opera "Der grobe MSrker
rDetmola, 1908), etc.
Weymarn (vf'-mAm,) Paul Pla-
tonovich, b. St. Petersburg, 1857;
son of a lieut.-general and himself an
officer; gfive up the army for music;
writes biographies, criticisms, 'cello-
pieces, etc.
White, (i) John, York, 1779 —
Leeds, 1831; organist and assist. -
cond. of Leeds Festivab. (2). Caro-
lina, b. Dorchester, Mass., Dec.
23, 1883; pupil of Weldon Hunt:
concert d6but, 1905; 1907 studied
with Sebastian at Naples; d6but
at San Carlo Theatre, 1908; sang
in Italy, and from 1910 with
Chicago Op. Co.; 191 z with Boston
0^.; married, zpzo, Paul Longone,
dir. San Carlo Theatre.
Whitehouse, William Edward, b.
London, Mav 20, 1859; 'cellist; pupil
of Pettit and R. A. M., winning prize,
Z878; and from 1882 teacher uiere;
laterjpTof ., member of Ludwig Quartet
and London Trio.
Whit'ney, (i) Myron William,
Ashby, Mass., Sept. 5, i8j5 — Z9Z0:
bass; pupil of Frost, Randfegger, ana
Vannadni; d6but Boston, Z858; sanff
with greatest success in concert and
oratorio and for a time in opera with
the Boston Ideals, and the American
Opera Co.; retired Z900; his son (2)
Myron, Jr., is a popular bass.
Wichern (vekh'-Cm), Karoline,
Horn, near Hamburg, Sept. Z3, Z836
— March Z9, 1906; soprano; led
choruses at Uie houses of collection
for 20 years, then for Z5 yeais taught
in Manchester, returning Z896 to her
previous task; zooo cond. at Ham-
burg a concert of her own orchestral
works; c. vocal works of many sorts,
etc.
Wickenhausser (vlk'-^n-hows'-sCr),
Richard, b. BrOnn, Feb. 7, Z867;
pupil of Leipziff COns.; Z804 was
nven a stipend on the advice of
Brahms and Hansllcj; Z895 leader of
% singing society in BrOnn; 1902 in
Graz; 1907 dir. Vienna SmgaJcademie,
c choral works in great numbers, also
2 piano sonatas, a violin sonata, etc.
834
THE MUSICAL GUIDE
Wiedermann (vg'-dSr-m&n), K. Fr.t
b. GSrisseiffen, Dec. 25, 1856; organ-
ist and Royal Dir., in Berlin; c. over-
ture, songs, etc.
Wiehmayer (ve'-ml-gr), Theodor»
b. Marienfeld, Westphalia, Jan. 7,
1870; pianist; pupil Leipzig Cons,
and of Krause; d6but Leipzig, 1890;
teacher there; 1902-^ at the Cons.;
from 1908 at Stuttgart Cons., 1909
Wprof.; c. piano pieces and songs.
letnann (ve'-m&n), Robert* b.
Frankenhausen, Nov. 4, 1870; pupil
Leipzig Cons.; cond. various theatre
orchs. and singing societies; from
1899 in OsnabrUck; c. orch. works,
" Erden waUen, " " Kassandraj " etc.;
choral works with oxch., etc.
Wietrowetz (v6'-tr6-vfitz), Qa-
brielle, b. Laibach, Carmola, Jan.
13, 1866; violinist; pupil of Joachim,
winning Mendelssohn prize at Berlin
Hochsch.; d6but 1885 at Mttnster;
toured and from 1904, teacher at the
Berlin Hochsch., the first woman
so employed.
Wiggins, Thomas ("Blind Tom")*
Columbus, Ga., May 24, 1849 —
Hoboken, N. J., June 13, 1908;
phenomenal pianist; a negro slave
imbecile in all except music; son
of slaves and exploited by the for-
mer owners of his parents; played in
public for forty years, with enormous
financial success, and revealed extra-
ordinary gifts for musical mimicry
and repetition of pieces performed in
his hearing, though of course his
powers were greatly exaggerated.
Wilhelmj, Adolf (not Anton), cor-
rect birth date is March 31, 1872.
Williams, (i) Charles Lee, b.
Winchester, May i, 1853; organist;
pupil of Arnold; 1882-08 org. at
Gloucester Cathedral; cond. of five
festivals; c. cantatas, church music,
etc. (2) Charles Francis Abdy,
b. Dawlish, July 16, 1855; took music
degrees at both Cambridge and Ox-
ford; later pupil Leipzig Cons.; organ-
bt at various posts; authority on
Greek music and Plain sons: t • church
music, choruses for *'A icvstls '' *' A tUi-
gone, * aLnd**Agatnemnon.'' (3) Ralph
Vaughan, b. Down Amprcy, Oct. 12,
1872; studied music at Cumbridge
and the R. C. M.; later at Berlin with
Max Bruch and with Ravel in Paris;
organist at South Lambeth, 1896-9;
c. "A Sea Symphony" (Walt Whit-
man) for voices and orch.; s>'mphonic
impression "/» the Fen Country"
(London. 1909), three Norfolk Rhap-
sodies (1906-7), cantata "Williw
Wood" (Liverpool, 1909), "Tow<ird
the Unknovm Region" (Walt Whit-
man), chorus and orch. (Leeds Fest,
1907), etc.
Wifle (vll'-lg), Qeorg, b. Grciz,
Sept. 20, 1869; 'cellist; from 1899
court-concertmaster at Royal Chapd
in Dresden and teacher in the Cons.;
pupil of Leipzig Cons.
Wirson,QrenvilleDean, Plymouth,
Conn., Jan. 26, 1833 — Nyack, N. Y.,
Sept. 20, 1897; teacher and song
composer.
Wilt (vnt), Marie (nfe Liel>en-
thaler), Vienna, Jan. 30, 1883—-
(suicide) Sept. 24, 1891; famous
operatic soprano; d6but 1865 ^t
Graz; sajig throughout Europe, also
popular in concerts. In 1866-7 she
sang at Covent Garden under the
name"Vilda," again in 1874-75.
Wiltber^er (vnt'-b€rkh-fir), (i)
Heinrich, b. Sobemheim, Aug. 17,
1841; son of an organist; 1872-1906
teacher in Alsace; co-founder of
the Cecilia society and composer of
church music, and favourite Alsatian
composer of male-choruses. His
brother (2) August, b. Sobemheim,
April 17, 1850; teacher in various
■ towns; 1884 at BrUhl; author of an
organ method, a theory, and c. ora-
torios "Cecilia" and Bonijacius"
cantatas, etc.
Winkelmann (i) Hermann, tenor,
correct birth date is Braunschweig,
March 8, 1849; (2) Hermann a.
Frankfort - on - Main, Mardi lU
DICTIONARY OF MUSICIANS 835
1899; oigaoiat and teacher at Raff
Cons.
Winkler (vlnkMfir), (i) Theodor, <L
Weimar. Dec. 2z, 1905; flutist at the
court chapel: c. concerto, etc. (2)
Alex. Adolf ovich, b. Charkov,
March 3, 1865; pianist; studied at
Charkov and at Vienna under
Leschetizky and Naviitil; teacher
at Charkov; from 1896 at St.
Petersburg Cons.; c. prize- winning
string quartet, op. 7, piano pieces,
etc.
Wi n neberger ( vin'- nH - bSrkh - Sr ) ,
Paul, d. Hamburg, Feb. 8, i8ai;
'cellist and composer.
Winter-Hjeltn ( vin'- 1&- lyfilm ),
Otto, b. Christiania, Oct. 8. 1837;
organist at Christiania; pupil Leip-
zig Cons, and of Kullak and Wtierst;
dir. Phil, concerts; c. 2 symph., 50
Psalms, 46 Norwegian "Fjeld mdo-
dier** or mountain songs, etc.
Wirtz (verts), Charles Louis, b.
The Hague, Sept. i, 1841; pupil of
the Cons.; later piano teacher there;,
c. church music.
Wis'ke, Mortimer, b. Troy, N. Y.,
Jan. 12, 1853; from 1872 organist and
dir. Brooklyn; c. church and organ
music.
Witek (ve'-tSk), Anton, b. Saaz,
Bohemia, 1872; violinist; pupil of
Bennewitz; concertmaster of Berlin
Phil.; also toured; later became
concertm. Boston Symph.; married
(2) Witek, Vita (nee Qer-
hardt), b. Copenhagen; at first a
violinist; pupil of Gade and Joachim;
decided to be a pianist, studied with
Leschetizky and Carrefio.
Witherspoon, Herbert, add that
his correct birthplace is Buffalo,
N. Y., July 21, 1873; in 1908
he coached with Lamperti in Berlin;
in 1908 he joined tne Met. Op.,
N. Y., and has sung there with in-
creasing success, making especially
deep impression in the r6les of
GurnemanZj King Mark, etc. Gave
recitals in London with great success,
1910, and has continued his concert
and oratorio appearances.
Witkowsky (vlt-k6f'-skl), Q. M.,
lieutenant in French Armyj pupil of
d'Indy; c. symph., (Pans 1901)
quintet, etc
Wittkowska (vtt-kdf'-skft), Marta,
b. Poland; contralto; brought to
America as a child; studied at Syra-
cuse, N.Y., University with a scholar-
ship; pupil of Emma Thursby, then of
Colonogi; d^but at Perugia; sang
in various Italian cities, then at
Covent Garden; 191 1 Chicago Opera
Co.
Witting (vlt'-tink), Karl, JttUch,
Sept. 8, 1823 — Dresden. Jime 28,
1907; tenor singer; pupil 01 Reichel in
Paris; teacher in various cities; c.
'oello sonata, etc.
Woikowski-Biedau (voi-k6r-5kI.be'-
dow), Victor Von, b. Nieder-Ams-
dorf, Sept. 2, 1866; pupil of B. Wolff
and W. Berger; c. operas "Helga"
(Wiesbaden, 1904). and "Der lange
KerV* (Berlin, 1905).
Wolf, Hugo, correct birthplace is
Windischgraz, Styria, March 13,
i86o;correct death date isVienna,Feb.
22, 1903; add that he was expelled
from the Vienna Cons, as incomgible,
and suffered constantly from poverty
and hunger, giving occasional piano
and violin lessons; 1886-90 he was
critic to the Salmblatt; 1S88-89 he
c. 200 songs, then wrote no more for
3 years; his opera "Der Cmregidor^^
though praised was never repeated;
he was at work on another ^* Manuel
Venegas" when his mind failed; after
some months in an asylum, he was
released only to be taken back as a
violent maniac in 1898; paralysis
followed, but he lived for five years.
His songs continue to deepen their
impression and Jie seems to be safely
established among the greatest com«
posers of lyrics.
Wolf-Ferrari (v6lf'-f€r-ra'-re), Er-
manno, b. Venice, Jan. 12, 1876;
important and versatile CQn^x»er;
836
THE MUSICAL GUIDE
son of a painter: largely self-taught;
later pupa of Rneinberger, Munich;
1902 dir. Liceo Benedetta Mar-
ceUo, Venice; resigned 1909 and
settled in Germany; c operas **La
Sulamita" (Venice, 1889), ^'Cenerm-
tola" (Venice, 1900 as *' AsckenbrSdl,"
Bremen, 1002), comic opera based
on Goldoni, "Le Donne Curiose"
^ven at Munich as **Die neuperigen
Frauenf" Munich, 1903) alw) with
great success Chicago and Met. Op.,
N. Y., 1913 and throughout Europe;
'*Die vier Grobiane** (Munich, 1906),
the very successful ' / GiojeUi deUa
Madonna" or *'I>er Sckmuck der
Madonna" (Berlin Royal Op., 191 1,
Chicago and Met. Op., N. Y., 1912),
** The Secret of Susanne" (do., 191 2),
c. also the important oratorio **La
Vita Nuova" (text from Dante), 1903
a symphony da camera, violin sonata,
W piano quartet, etc.
oikenstein, (v6r-ken-shtln), Os-
wald von, Tyrol, ca. 1377 — Aug.
2, 1445; a knight, ambassador, and
wanderer, "the last of the Minne-
singer," c. poems and melodies.
Wolkow (v6r-k6v), Feodor Qri-
gorievich, Kostroma, 1729 — St.
Petersburg, 1763; "founder of the
Russian theatre, 1756, and the first
Russian opera composer", according
to Riemann; he wrote the first
original Russian libretto " The CharU-
able Titus" for Araja, 1751; and c.
an opera "Tanjuscha" (St. Peters-
burg, Dec. 9, 1756).
Wone(v6r-I£) John Frederick,
b. Bethlehem, Pa., April 4, 1863;
founder of a choir of Moravians
among the Bethlehem steel-workers
with which from 1900 he gave re-
markable productions of the works of
Bach; in 1901 at a three-day festival
the Christmas oratorio. Passion AC"
cording to St. Matthew, and Mass in
C. minor were given entire; 1904, a
nine-dav festival of Bach's works was
given; from 1905 prof. University of
California and cond. ^ymph. con-
certs at the Open Air Greek Theatve
at Berkeley, CaL
Wol'stenholme, William, b. Bkck-
burn, Feb. 24, 1865; oiganist, Uind
from birth; pupil of Dr. Dooe,
Mus. B. Oxford, 1887, from 1888
organist in London; toured the U. S.
1908; c organ music of all kinds,
piano sonata, choral ballad, "Sir
Humphrey Gilbert," etc
Wood, (i) Charles b. Armagh, June
15, 1866; pupil of T. O. Muks, and
at R. C. M., London, winning the
Moriey scholarship, later teacher
there, and cond. Cambridge U. Musi-
cal Society; Mus. Doc. Cambridge,
1894; L L. D. Leeds, 1904; c. "Ode to
the West Wind,'* voices and orch.,
(1890); indd. music to Greek ^ays;
"Dirge for Two Veterans'' (Leeds
Fest., 1901), "BaUad of Dwndee,''
(do., 1904); symphonic variations 00
"Patrick Sarsjuld" (London, 1907),
songs, etc. (2) Henry J.« correct
birth date is London, March 3, 1870;
he was appointed cond. of the Shef-
field Festivals in 1902 and of the
Norwich Festivals in 1908.
Woodward, Richard, Dublin, 1744
— Nov. 22, 1777; composer of churdi
music; org. at St. Patrick's Cath,,
1765; vicar-choral from 1772.
Woorridge, H. Ellis, b. Winchester,
March 28, 1845; writer; historian; at
first a painter and 1895 Slade Prof.
of Fine Arts at Oxford; took up
musical history and has written ei-
tensively on medieval music.
Worobldewicz (v6r-^p-k'-yt'-vTch),
Isidor, Czemowitz, 1836 — Sept.
18, 1903; priest in the Greek churdi,
and pupil on stipend at Vienna Cons.;
later teacher of church music at
Czemowitz and author; c. 8 Rou-
manian songs, etc.
Wot'quenne, Alfred, b. Lobbes.
Hennegau, Jan. 25, 1867; pupil
Brussels Cons.; from 1894 librarian.
Wright (nt), Thomas, Stoc^toc-
on-Tees, 1 763-1829; organist, com-
poser and inventor.
riMMiftiBiWUi
^iWABa^B
mm
DICTIONARY OF MUSICIANS 837
Wydow (or Wedow, Widow, Wy-
dewe) (wId'-O), Robert, called
"Grammaticus"; Thaxted, Essex (?)
— Buckland Newton, Oct. 4, 1^05;
music master to Edward IV of
Eng^d; first Mus. Bac. of Oxford;
rector and vicar.
Wyssotzki (ves-s6t'-ske), Michael
Th., i7po — Moscow, Dec. a8, 1837;
guitar-virtuoso, teacher and com-
poser.
Y
Yaw, Ellen Beach, b. Boston, Sept.
18, 1 868, concert soprano of remark-
able range (to c'"'); has toured
Europe and America; pupil of delle
Sedie, Paris concert d6but St Paul,
1894; operatic d6but Rome 1897.
Zabel, (tsil'-bei) Albert, Beilin, 1835
— St. Petersburg, 1910; harpist; pupil
Berlin Royal Inst, for church mus.;
soloist Beilin Opera from 1851 at
Royal Ballet orch. St. Petersburg;
irom 1862 prof, at the Cons.; c harp
concertos, etc.
Zach (tsakh), Johann Czelakowicz,
1699 — Irrenhause, 1773; director at
Mayence and composer of church
music.
Zacherevich ( tsft - chg - rft'- vtch ),
Michael, b. OstrofiF, Russia, Aug. 26,
1879; violinist; d^but Odessa at 15,
under auspices of Tchaikovski, who
secured funds for his study with
Sevcik at Prague, also with Ysaye;
has toured widely.
Zahn (tsftn), Johannes, Espenbach,
Franconia, Aug. i, 181 7 — Neudet-
telsau, Feb. 17, 1895; historian of
church music, and compiler of hynm
books etc.
Zajicelc (za'-I-ts^k), Julius, b. Vien-
na, Nov. 2, 1877; composer of opera
'* Helmbrecfa*' (Graz, 1906).
Samara (tsa-m&'-rft), (i) Antonio,
Milan, June 13, 1829 — Hietzing,
Bear Vienna, Nov. 11, 1901; haip-
virtuoso, pupil of Sechters; teacher at
Vienna Cons. : c. for haip, flute, etc.
(2) Alfred Maria, b. Vienna, April
28, 1863; c. operettas.
Zandonal (tsiln-do-nft'-e), Rlccardo,
b. Sacco (Trentino) 1883; pupil of
Gianferrai at Trento; from 1899 at
Rossini Cons., Pesaro, in 1902 win-
ning comp. prize with symph. poem
for voices and orch. ; c also Serenaia
Medifgpale" for cello, 2 harps, and
strings; "Ave Maria** for female
voices, harp, and strings; "0 Padr$
Nostra " (from Dante's Purgatorio),
for chorus, orch., and organ; operas,
"GriUo dd Focalare** (Cricket on the
Hearth) (Turin, 1908), and with
great success elsewhere, and the
highly succ "Conchita" (based on
Pierre Lovy's " Femme ei le PanUn "
(Milan. 191 1, Covent Garden, 1912,
etc.): "Melanis" (Milan, 1912;.
Zanella (tsil-nSl'-lil), Amilcare, b.
Monticelli d'Ongina. Sept. 26, 1873;
pupil of Pahna Cons, and from
1903 director, after years as operatic
cond. in South America, etc.; c. a
symph. fantasie and fugue for piano
and orch., 2 operas, etc.
Zan'ten, Cornelie Van, b. Dor-
drecht, Aug. 2, 1855 ; operatic soprano,
pupil of GeuJ, Schneider, and Fr;
Lamperti; d6but in Turin, sang
throughout Europe, and with the
"National Opera ' in America; then
sang at Amsterdam and taudit in
the Cons. ; from 1903 teacher in Berlin.
Zerier (tsS'-lSr), Dr. Karl, St. Peter-
in-der-Au, Lower Austria, July 19,
1842 — Baden, near Vienna, Aug. 17,
1898; c. operettas.
Zenatello (tsen-SL-tei'<l5), Qiovannl,
b. Verona; very popular operatic
tenor, appearing first at Covent Gar-
den 1905, and singing there annually;
from 1907 in America each year, 1909
at Manhattan Op., N. Y.
Zepler(ts^-ier), Bogumil, b. Bre»-
Ua, May 6« 2858; composer; a
phyifciaji at first then pupil oi
Uifaaa* in Beriin: c parody on
838
THE MUSICAL GUIDE
"Cavalleria Rusticana*' as "Car.
Berolina" 1891, c. various operettas
and ballets.
Ziehn, (tsCn), Bernhard, Erfurt,
Jan. 20, 1845 — ChicagOj Sept. 8,
191 2; theorist; came to Chicago 1868;
teacher and organist; author of im-
portant works: ** Harmomeund Mod-
ulatums lehre " (Berlin, 1888), '' Five
and Six Part Harmonies '' (Milwau-
kee, 191 1), etc.
Ziehrer (ts€'-r£r), Carl Michael,
b. Vienna, May 2, 1843; military
bandmaster; toured; c. 600 dances
and an operetU "Ein toUes Model"
(Nurembe^, 1008).
Zilcher (tsUkh -^r), Hermann, b.
Frankfort-on-Main, Aug. 18^ 188 1;
pupil of the Hoch Cons.; hves in
Berlin; c. concerto for 2 violins with
orch., violin concerto, etc.
Zimbalist (tslm'-b&-llst), Efrem,
b. Rostov, Russia, May 7, 1889; vio-
linist; pupil of his father, a conduc
tor; 1901-7 at St. Petersburg Cons,
under Auer, winning gold medal and
scholarship; toured Europe and 191 1
America; c. 3 Slavish dances, "Old
Polks at Home," etc., for violin.
£inck (tsink), Harnack Otto Kon-
rad, Husum, 1746 — Copenhagen,
1832; singer, teacher and composer.
Zingel (Ulng'-ei), Rudolf Ewakl,
b. Liegnitz, Sq>t. 5, 1876; pupfl
Berlin Royal Hochscii.; from 1899
dir. Singakad. at Frankfort-on-Odcr;
from Z907 at Greifewald; c operas
''ifar^a/"(Frankfort-<»i-Main, 1902},
''Liebestauber" (Strabund, 1908),
"Persepolis" (Rostock. 1909).
ZoboU (ts5-bd'-le), Qiovanni, b.
Naples, July 22, 1821; pupil of the
Cons.; t«u:her; c. qperas and chuicfa
music.
Zocca (ts6k'-k&), Oaetano, Fer-
rara, 1784 — Sept. 14, 1834; vkilinist
and cond.
Zois-Edelstein (tsd'-es'-&'-del^tin),
Hans Preiherr von, b. Graz, Nov.
14, 1861; c. popular songs and ope-
rettas.
Zuschneid (tsoo-shnitO, Karl, b.
Oberglogau, Silesia, May 29, 1856;
pupil Stuttgart Cons.; director of
societies in various towns; from 1907
dir. Mannheim Hochschule; c oiale
choruses with orch., etc.
Zwyssig (tsves'-s&h), P. Alberich,
(rightlyJo8eph),b. Bauen, Nov. 17,
1 80S; Cistercian abbey Mehrerui;
entered the Cistercian order 1826; c.
the famous "Sudss Psalm** (1841)1
etc.
j^crologp
(Note. This list contains the names
of those who are included in the Bi-
ogr^>hical Dictionary and have died
since the original publication.)
Allitsen, Frances, d. London, Oct. i,
1912.
Altte, E. E., d. St. Dye, July 8, 1899.
Anderton, lliomas, d. Edgbiuston, Sept.
18, 1TO3.
Appel, K., d. Dessau, Dec. 9, 1895.
Araiti, Luigi, d. Brighton, Eng., May i,
1903.
Armingaud, J., d. Paris, Feb., 1900.
Artot, Desiri6e, d. Vienna, Apr. 3, 1907.
Attrup, Karl, d. Copenhagen, Aug. 5,
1892.
Bach, L. E., d. London, Feb. 15, looa.
Bacon, Mrs. Elizabeth (nte Poole), d.
Jan. 15, 1906.
Balakirew, M. A., d. St. Petersburg,
May 30, ipzo. (Bom Dec 21, 1836.)
Baptie, David, d. Mar. 26, 1906.
Bargheer, Adolf, d. Basel, Mar. 10, 1901.
Ba^eer, K. Louis, d. Hamburg, May
19, 1902.
Bartay, Ede, d. Pest, Aug. 31, 1901.
Bassford, W. K., d. New York, Dec.
22. 1902.
Batta, d. Versailles, Oct. 8, 1902.
Bechstein, Fr. W. K., d. Berlin, Mar.
6, 1900.
Becker, Jeanne, d. Mannheim, Apr. 6,
1893.
Beer, Max J., d. \nenna, Nov. 25, 1908.
Behr, Franz, d. Dresden, Feb. 15, 1898.
Bellennann, J. G., d. Potsdam, Apr.
10, 190J.
Berger, Wilhelm, d. Meiningen, Jan.
16, 1911.
Bezgson, M., d. London, Mar. 9, 1898.
Bernard, Emile, d. Paris, Sept. 11, 1902.
Bemsdorf, E.,d. Leipzig, Tune 27, 1901.
Bemuth, J. von, d. Hamburg, Dec. 24,
190a.
Berwin, Adolf, d. Rome, Aug. 29, 190c.
Betz, Franz, d. Berlin, Aug. 11, 1900.
Bevignani, Enrico, d. Naples, Aug. 29,
1903.
Biese, W.. d. Berlin, Nov. 14, 1902.
Bibl, Ruaolf, d. Vienna, Aug 2, 1902.
Bilse, B., d. Berlin, July 13, 1902.
Blanc, Adolphe, d. Paris, May, 1885.
Blockx, Jan, d. Antwerp, May 22, 191 2.
Boott, Francis, d. Cambridge, Mass.,
Mar., Z904.
Boulanger, H. A. A. £., d. Paris, Apr.
14, 1900.
Bouigault-Ducoudray, L. A., d. Ver-
nouiUet (Seine-et-Oise), June 4, 1910.
Braga, Gaetano, d. Milan, Nov. 2z,
1907.
Brambach, Joseph, d. Bonn, June 19,
1902.
Brinsmead, Edgar, d. Nov. 28, 1907.
Brooks, Walter M., d. Mar. 14, 1907.
Bruch, Max, d. Vienna, Sept. 17, 1907.
Brull, Ignaz, d. Vienna, Sept. 17, 1907.
Bruyck, Karl Debrois van, d. Waid-
hofen, Aug. i, 1902.
Bttchner, Emil, d. Erfurt, June 9, 1908.
Buck, Dudley, d. Brooklyn, N. Y., Oct.
6, 1909.
Bullard, F. F., d. Boston, June 24, 1904.
Btlrgel, Konstantin, d. Bzeslau, July i,
1909.
Busoni, Anna Weiss, d. Trieste, Oct. 3,
1909.
Cahen, Albert, d. Cap d' Ail, Mar. 1903.
Callaerts, J., d. Antwerp, Mar. 3, 1901.
Calkin, J. B., d. London, May 15, 1905.
Chaumet, William, d. Gajac, Gironde,
Oct. 1903.
Choudens, A., d. Paris, 1902.
Chrysander, Fr., d. Bergedorf, Sept. 3,
1901.
Clauss-Szarvady, Wilhelmme, d. Puis,
Sept. 2, 1907.
Cobb, G. F., d. Cambridge, Mar. $u
1904.
MO
840
THE MUSICAL GUIDE
Coccon, Nicolo, d. Venice, Aug. 4, 1903.
Coenen, (i) J. M. d. Amsterdam, Jan. 9,
1899. (2) Franz, d. Leyden, Jan. 24,
1904-
Cohen, Jules, d. Paris, Jan. 14, 1901.
Coleridge-Tayior, S., d. London, Sept.
z, 1912.
Colonne. Ed., d. Paris, Mar. 38, 19 10.
Coquara, Arthur, d. 1910.
Courvoisier, Carl, d. 1908.
Cossmann, B., d. Frankfurt, May 7,
1910.
Czartoryska, Marcelline, d. Cracow,
June 8, 1894.
Danda, J. B. C, d. Tunis, Nov. 8, or 9,
1907.
Danks, H. P., d. Philadelphia, Nov. 20,
1903.
Dannreuther, Edward Geozge, d. Pirn-
lico, Feb. 12, 1905.
Deffte, L. P., d. Toulouse, June zo,
Z900.
DeiterSy D. H., d. Coblenz, May iz,
Z007.
Ddle Sedie, Enrico, d. Paris, Nov. 28,
Dickl Charies G. C.^ d. Z895.
Dienel, Otto, d. Berlm, Mar. zo, Z905.
Dietrich, A. H., d. Berlin, Nov. 20, Z908
Dq;>pler, Karl, d. Stuttgart, Mar. zo,
Z900.
Ddrffell, A., d. Leipzig, Jan. 32, Z905.
Dom, Alexander, Jmius Paul, d. Berlin,
Nov. 27, Z90Z.
Drobisch, M. W., d. Leipzig, Sept. 30,
Z896.
Dupont, Joseph, d. Brussels, Dec. 3Z,
Z899.
Durand, Auguste, d. Paris, May 3Z,
1909. .
Durand, Emile, d. Neuilly, May 6, Z903.
Diivemoy, V. A., d. Paris, March 7,
Z9p7.
Dvorftky AntoniB, d. Prague, May z,
1904.
Edwards, Julian, d. zozo.
Ehriich, A. H., d. Berlin, Dec 30, Z899.
Sitnv, Robert^ d. Teinplin, Jan. 22,
*»5.
ErdmannsdOrfer, Max von, d. Munich,
Feb. Z4, Z905.
Erkel, Gyula (or Julius), d. Pest, Mar.
22, Z909.
Fernandez, Caballeio, Manuel (ftr-
nAn-deth kiv'-U-lft'-rO), d. Madrid,
Feb. 20, Z906. See CabaUero.
F^tis £., d. Brussels, Jan. 3Z, Z909.
Fleischer, Reinhold, d. Gdrlitz, Feb. z,
Z904.
Fomari, V., d. Naples, Aug. Z900.
Fritzsch, £. W., d. Leipzig, Aug. 14,
Z902.
Fuchs, Albert, d. zqzo.
Fumagalli, P., d. Milan, June 21, ZQoa
Gadsby, Henry R., d. Putney, Nov. zz,
Z907.
Garcia, Manuel, d. Cricklewood, Lon-
don, July z, zj^.
Geistinger, Mane, d. Rastenfdd, Sept
29, Z903. •
Gevaert, Fr. A., d. Brusieb, Feb. 24,
Z908.
Gleason, F. G., d. Chicago, Dec. 6, Z903.
Godfrey, Daniel, d. Beeston, June 30^
1903.
Goldschmidt, Otto, d. South Kensing-
ton, Feb. 24, Z907.
Goldschmidt, Adalbert von, d. Vienna,
Dec. 2z, 1906.
Giitze, Emil, d. Chariottenburg, Sept
28, Z901.
Grieg, Edvard, d. Bezgen, Norway,
d. Sept. 4, 1907.
Grimm. J. O., d. Mttnster, Westphalia,
Dec. 7, Z903.
Grossi, Carlotta, d. May 28, Z900.
Grtttzmacher, Fr., d. Dresden, Feb. 23,
Gudehus, H., d. Dresden, Oct. 9, Z909b
Guercia, Alfonso, d. Z890.
Gumprecht, Otto, d. Meran, Feb. 7,
Z900.
Gura, Eugen, d. Aufkirchen, Bavaria
Aug. 26, Z006.
Gurlitt, C, d. Altona, June Z7, Z90Z.
Haberl, F. X., d. Regensbuig, Sept. 7
ZQZOu
NECROLOGY
841
Halir, Karl, d. Berlin, Dec. az, 1909.
Hansiick, Eduard, d. Baden near
Vienna, August 6, 1904*
HArtel, Benno, d. Berlin, Aug. 4, 1909.
Hartmann, Ludwig^d. 1910.
»aer,
Z871.
Hftaer, Charlotte
ig, d. i^
H., d.
Rome, Majy
Hasse, Gustav, d. Berlin, Dec. 31, 1889.
Hatton, Jno. d. Leptrot, Sept. 20,
1886.
Hausegger, Fr. von., d. Graz, Feb. 23,
1899.
Hausmann, Robert, d. Vienna, Jan.
19, 1909.
Hegner, Otto, d. Hamburg, Feb. 27,
1907.
Heilf, Amo, d. Bad Elster, Aug. 2, 1909.
Heinze, G. Ad., d. Muiderberg, near
Amsterdam, Feb. 20, 1904.
Heinze, Sarah, d. Dresden, Oct. 7, 1901.
Held, Leo, d. Vienna, May 16, 1903.
Henkel, H., d. Frankfort-am-Main,
Apr. 10, 1899.
Hey, Julius, d. Munich, Apr. 23, 1909.
Hill, Wilhelm, d. Homburg, May 6,
1902.
Hillemacher, Lucien, d. Paris, June 2,
1909.
Hipkins, A. T., d. London, June 3, 1903.
Hoi, Richard, d. Utrecht, May 14, 1904.
Holmes, Augusta, d. Paris, Jan. 28,
1903.
Holmis, Heniy, d. San Frandsco, Dec
9* 1905-
Homcyer, Paul, d. Leipzig, 1908.
HfMrwitz, Benno, d. Berlin, June 3, 1904.
Ivry, Marquis Richard, d', d. Hy^es,
Dec. z8, 1903.
Jackson. John P., d. Paris, Dec. z, Z897.
acobsoim, Simon K., d. Chicago, 0)ct.
3, Z902.
Jacques-Dalcroze, vide Dalcroze, Z865.
adassohn, Salomon, d. Leipzig, Feb.
z, Z902 (not 190Z).
Jansen, Gustav F., d. Hanover, May
3, i9«>-
Japha, Louise, d. Wiesbaden, Oct. 13,
zozo.
Jeduczka, Dr. Ernst, d. Berlin, Aug.
4. 1704.
Joachim, Joseph, d. Berlin, Aug. Z5,
Z907.
Jonddres, Felix-Ludger, d. Paris, Oct.
25i 1903-
JtUgensen, P., d. Moscow, Jan. 6, Z904.
Kauffmann, Emil, d. Lubingen, June
18, Z909.
Kirchner, Fritz, d. Potsdam, May Z4,
1904.
Kirchner, The., d. Hamburg, Sept. z8,
1903-
Kistler,Cyrill, d. Kessingler, Jan. z, Z907
Klein, Bruno Oscar, d. New York, June
22, i^ii.
Kldnmichel, Richazd, d. Chariotten-
burg, Aug. z8, looi.
Klingenberg, Fr. w., d. Sirian, Sflesia.
Apr. 2. z888.
Klugharat, A. F. M., d. Dessau, Aug.
3, 1902.
Kontski, A, de., d. Ivanitshi, near Aku-<
lovka, Dec. 2, Z899.
Kretschmer, Edmund, d. Dresden, Sept.
Z3, Z908.
Krauss, Gabrielle, d. Paris, Jan. 6, Z906.
Krug, Arnold, d. Hamburg, Aug. 4,
Z904.
Kuczinski, Paul, d. Beriin, Oct. 2Z, Z897.
Kuhe, Wm., d. Kensington, Oct., Z912.
Labitzky, August, d. Rdchenhall, Aug.
29, Z903.
Lamoureuz, Charles, d. Paris, Sept.
2z, 1899.
Lang, B. J., d. Boston, Apr. 4, Z909.
Langer, Victor, d. Pest, Mar. 19, Z902.
Lassalle, Jean, d. Paris, Sept. 7, 1909.
Lassen, Eduard, d. Wdmar, Jan. 1$^
Z904.
Lasserre, Jules, d. Tarbes, Feb. Z9,
Z906.
Lavigne. A. J., d. (in the almshouse),
Mancnester, Eng., Aug. z, z886.
Lenepven, Chas. Fa. d. Z910.
Levasseur, J. H., d. Paris, Z823.
Levi, Hermann, d. Munich, May Z3,
1900.
Lie, Erica, d. Christiania, Oct, 27, Z903.
Longhurst, H., d. Harbledown, Canter-
bury, June Z7, Z904.
842
THE MUSICAL GUIDE
L5schhom, Albert, d. Berlin, June 4,
1905.
Lfibeck Louis, d. Berlin, Mar. 8, 1904.
Lucas, Stanley, d. So. Hampstead, July
24, 1903, aged 60.
Lucca, Pauline, d. Vienna, Feb. 28,
1908.
Lussy, Mathias, d. 19 10.
Lutz, W. M., d. W. Kensington, Jan.
31, 1903-
Macbeth, Allan, d. Glasgow, 1910.
MacDowell, Edward, d. New York,
Jan. 24, 1908.
Macfarren, Walter Cecil, d. London,
Sept. 2, 1905.
Mahler, Gustav, d. Vienna, May 18,
1911.
Mann, J. G. H., d. Amsterdam, Feb.
1904.
Manns, Sir August, d. Norwood, Mar.
I, 1907.
Martucd, G., d. Naples, June 3, 1909.
Marty, G. £., d. Paris, Nov. 11, 1908.
Mason, William, d. New York, July
Massenet, Jules, d. Paris, Aug. 13, 191 2.
14, 1908.
Maszkowsky, Raphael, d. Breslau, Mar.
14, 1901.
Mathias, Georges, d. Pontoise, 1910.
Mathews, W. S. B., d. Denver, Col.,
Apr. 8, 191 2.
Maylath, H.,d. New York, Dec. 31, 1883.
Mehrkens, Fr. Ad., d. Hamburg, May
31, 1899.
Merklin, Jos., d. Nancy, July 10, 1905.
Meyer-Lutz, William, d. London, Jan.
31, 1003.
Milanollo,Teresa, d. Paris,Oct. 25,1904.
Milde, Hans F. von, d. Weimar, Dec.
10, 1899.
Millocker, Karl, d. Baden, Dec. 31,
1899.
Moir, Frank Lewis, d. Deal, England,
July 14, 1904.
Monasterio, Gesii,d. Santander, Sept..
28, 1903.
Molloy, J. L., d. Wooleys, Bucks, Feb.
4, 1909.
Monk, E. G., d. Radley, England, Jan.
.^, 1000.
Mottl, Felix, d. Munich, July (?) 191 1.
Mounsey, Elizabeth, d. Ix>ndon, Oct.
3, 1905-
MQhlfeld, Richard, d. Meiningen, June
I, 1907.
Mtkller, Richard, d. Leipzig, Oct., 1904.
Musiol, R. P. J., d. Fraustadt, Poscn,
Oct. 18, 1903.
Neumann, Angelo, d. Prague, Dec. 20,
1910.
Nixon, H. C, d. Bromley, Dec 25,
1907. .
Norman-Neruda, (Lady Hall6), d.
Berlin (?) Apr. 15, 191 1.
Noszkowski, Sigismund, d. Waisaw,
July 24, 1909.
Novello, Clara, d. Rome, Mar. 12,
1908.
Novello, Mary SabiUa, d. Genoa, Jan.
8, 1904.
Oakelcy, Sir Herbert Stanley, d. East-
bourne, Oct. 26, 1003.
Odenwald, R. T., d. Hamburg, Apr.
22, 1899.
O'Leary, Mis. Arthur, d. June 17, 1909-
Paine, J. K., Cambridge, Mass., Apr.
25, 1906.
Papperitz, Robert, d. Leipzig, Sept.
29, 1903.
Parratt, H. L., d. Huddersfidd, Feb. 15*
1904.
Parry, Joseph, d. Penarth, Feb. 17,
1903.
Pauer, Ernst, d. Jugenheim, Darmstadt,
May 9, 1905.
Petersilea, Carlyle, d. Tropico, near Los
Angeles, Cal., June 11, 1903.
Pfeiffer, Jean Georges, d. Paris, Feb. 14,
1908.
PfeU, Heinrich, d. Leipzig, Apr. 17,
1899.
Piccolomini, Maria, d. near Florence,
Dec. 1899.
Planquette, Robert Jean, d. Paris, Jan.
28, 1903.
Plants, Francois, d. Prigueux, July,
1898.
Poisot, Charles (Emile), d. Dijon, Mar.*
1Q04.
NECROLOGY
843
Pole, William, d. London, Dec. 30, 1900.
Polidoro, Federigo, d. S. Giorgia a
Cremano, near Naples, Aug. 14, 1903.
PoUitzer, Adolf, d. London, Nov. 14,
1900.
Porges, H., d. Munich, Nov. 17, 1900.
Preyer, G. von, d. Vienna, May o, 1901,
Prout, Ebenezer, d. Hackney, Dec. 5,
1909.
Pyne, Louisa F., d. London, Mar. 30,
1904.
Randegger, Alberto, d. London, Dec.
191Z.
Rappoldi, Eduard, d. Dresden, May
16, 1903.
Rauscher, Max, d. Planing, Mar. 14,
1895.
Rea, William, d. Newcastle-on-Tyne,
Mar. 8, 190^.
Reay, Samuel, d. Newark-on-Trenk,
July 21, 1905.
Rebicek, Josef, d. Berlin, Mar. 24, 1904.
Rebling, Friedrich, d. Leipzig, Oct. 15,
1900.
Rebling, Gustav, d. Madgebuig, Jan.
9, 1902.
Reichd, A. H. J., d. Berne, Mar. 4,
1806.
Reicnmann, Theodor, d. Marbach,
Switzerland, May 22, 1903.
Reinecke, Carl, d. Leipzig, Mar. 10,
1910.
Reisenauer, Alfred, d. Libau, Silesia,
Oct. 3, 1907.
Reissmann, August, d. Berlin, Dec. i,
1903.
Reuss, Edward, d. Dresden, 1911.
Reyer, Emsc, d. Le Lavandon, near
Toulon, Jan. 15, 1909.
Rheinberger, Joseph, d. Munich. Nov.
25, 1901.
Ricordi, Giulio, T., d. Milan, June 6,
1912.
Rimsky-Korsakov, Nicholas Andneie-
vitch, d. St. Petersburg, June, ai,
1908.
Ritter, Josef, d. Salzburg, Austna,
June 21, 191 1.
R5ckel, Edw., d. Bath, Nov. 2, 1899.
Roger, Victor, d. Paris, Dec. 2, 100.^.
Rotoli, A., d. Boston, Nov. 26, 1904.
Rosseau, Samuel, d. Paris, Ok:t. 1^
1904.
Ryan, Thomas, d. New Bedford, Mass.,
Mar. 25, 1903.
Salaman, C. K., d. London, June 23,
1901.
Sanderson, Sibyl, d. Paris, May 16
1903.
Sarasate, Pablo, d. Biarritz, Sept. 20,
1908.
Sauzay, Eugtoe, d. Paris, Jan. 27, 1901.
Sch&ffer, Julius, d.Breslau,Feb. 10, 1902.
Schitler, Madeline, d. New York, July
3, 19"-
Schimon-Regan, Anna, d. Munich,
Apr. 18, 1902.
Schnecker, P. A., d. New York, Oct.
3i i?03-
Schneider, Theodor, d. Zittau, June 15,
1909.
Schneider, Theodor, d. Zettan, June 15,
1909.
Schnorr von Karokfeld, Malwina, d.
Karlsruhe, Feb. 8, 1904. (aged 72).
Schytte, Ludwig, d. Berlin, Nov. 10,
1909.
Seibert, Louis, d. Eisenberg, near Wetz-
lar, July 29, itto».
Sdss, Isidor, d. Cologne, Sept. 25,
^ 1905.
Serpette, Gaston, d. Paris, Nov. 3, 1904.
Sherwood, William H., d. Chicago, Jan.
7, 1911.
Silas, Eduard, d. West Kensington,
Feb. 8, 1909.
Singer, Edmimd, d. Stuttgah, Jan. 23,
191 2.
Sittard, Josef, d. Hamburg, Nov. 23,
1903.
Slaughter, W., d. London, Mar. 2, 1908.
Smith; Grerrit, d. Greenwich, Conn.,
July 21, 1912,
Smolian. Arthur, d. Leipzig, Nov. 5.
1911.
Sontheim, Heinrich, d. Stuttgart, Aug.
2, 191 2, aged 92.
Spicker, M., d. New York, Oct. 16, 191 2.
Spindler, Fritz, d. Lossnitz, near Diea*
den, Dec. 26, 1905.
844
THE MUSICAL GUIDE
Spindli, Nicolo, d. Rome, 1909.
Stade, F. W., d. Altenburg, Mar. 25,
1902.
Stainer, Sir John, d. Verona, Mar. 31,
1901.
Steggall, Charles, d. London, June 7,
1905.
Steingr&ber, Theodor, d. Lepzig, Apr.
5, 1904.
Stehle, G. Ed., d. St. Gallen, Apr. 11,
1896.
Sterlmg, Antomette, d. Hampstead,
Jan. 10, 1904.
Stem, Leo, d. London, Sept. 3, i904«
Stem, Maigarethe, d. Dresden, Oct. 4,
1899.
Stiehle, L. M. A., d. MulhaOsen,
Alsatia, July 6, 1896.
Stoltz, Rosine, d. Paris, July ^i, 1903.
Stockhausen, Julius, d. Frankfort-on-
Main, Sept. 22, 1906.
Sucher, Josef, d. Berlin, Apr. 4, 1908.
Sunderland, Mrs. Susan Sykes, d.
Brighthouse, May 7, 1906.
Svendsen, J. S., d. Copenhagen, June
13, 1911.
Sz£kely, Imre, d. Pest, Apr., 1887.
Taffand, Paul, d. Paris, Nov. 22, 1908.
Tamagno, Francesco, d. Varese, Aug.
31, 1905.
Tappert, Wilhelm, d. Berlin, Ck:t. 27,
1907.
Taubert, Otlo, d. Toigau, Aug. i, 1903.
Thallon, Robert, d. 1910.
Thiele, Eduard, d. Dessau, Jan. zo,
1895. f
Thomas, Theodore, d. Chicago, Jan. 4,
1905.
Tkom6, Francois, d. Paris, Nov. z6,
1909.
Thuille, Ludwig, d. Munich, Feb. $•
1907.
Tlot^re, Heniy, d. London, April lo^
1912.
Tinel, Edgar, d. Brussels, Ckrt. 28,
1912.
Turpin, Dr. E. H., d. London, Oct, 25,
1907.
Ugalde, Mme. D., d. Paris, July 18,
1910.
Verdi, Giu8eq>pina, d. Busetto, Nov.
14, 1897.
Vianesi, Auguste, d. New Yoric, Nov.
II, 1908.
Viard-Louis, J. Jenny, d Auteuil, Faiist
Jan. 27, 1904.
Viardot-Garda, Mme. MicheDe, d.
Paris, May 18, 1910.
Vidal, L. A., d. Paris, Jan. 7, xpoi.
Vincent, H. Jos. d. Vienna, May 30^
1901.
Walter, Gustav, d. Vienna, Feb., 191a
Weber, Miroslaw, d. Munich, Jan. 2,
1906.
Weckerlin, J. B., d. TTottbeig (Alsace),
May 20, 1910.
Willing, Chris. Edwin, d. St. Alhans,
Dec. I, 1904.
WiUis, Henry, d. London, Feb. ix, 1901.
Winkehnann, Hermann, d. Vienna,
Jan. 19, 191 2.
Wood, Mrs. Henry J. (nte Olga Narish-
kin), d. London, Dec. 20, 1909.
Wurm, Wilhehn, d. St. Petcnbuig^
June 20, 1904.
Zerrahn, Karl, d. Milton, Mass., Dec:
29, 1909.
Zumpe, Hermann, d. Municht Sqpt. 4,
1903.
Motiesi of tfie operas:
The
torita
of the
Operas
told by Acts, Entrances and Songs; with
the Casts of the Original Creators
BEETHOFSN^ LUDfTIG VON. Liohow (ia.d.n6'-r«),
Fidelio, Oder die eheHche Ueht (f«- ^»own as Fwelio, wife
dar-T6. 6'.d«r de i'^-Ilkh^ Ic -W). ""^ Fhrestan Fri. Milder.
Fidelio, or Conjugal Love. Maezellini (mfir-tsdl -l€'-n«).
Two-act opera. Book by Joseph Rocco'sdaugkUr Frl. Mailer.
Sonnleithner and Treitschke after Bou- .^ c /--^j^t.
ill/8 romance '•Ignore, ou TAmour ^^^ ^''^^^^ Courtyard of the
Conjueal " rnson. Marzelline ironing, worried
Producied in three acts. Vienna. Nov. f°l beset by jaquino. who makes love
flo. 1805. without success. Revised by J^ ^f; ^"^ interruptions of stmeone
Breaning and produced as -Lei knocking. Rocco calls him and ht goes.
nore^nj 2 acts without success. Re- jealously mentioning Fidelio who has
Tised by Treitschke and pfX)duced as entered Roccos service and whom Mar-
- Fidelio." Vienna, May 23. 1814, with f ","'^^''''''!l thinking her to be a man.
success. For this work Beethoven com- ^j^ ,?^^"5„'^*^ girl rejoices m hope that
posed four overtures. That called * * No. £?^5!><» wil marry her (in an ana "Die
I." was composed third, in 1807. The HoflTnung ). Jaqumo enters with Roc
•• Leonore," or " No. 3 " was composed f^» mqmnng for Fidelio, who enters
second to 1806; the "No. s'^^was »n mans garb, laden with provisions
written first, in 1805 ; the •' No. 4 " or *"f. * t* of letters. Rocoo and Mar.
•• Fidelio " in 18 14. aelline hint of marriage, and Fidelio se-
* cretly expresses her uneasiness. In a
CHARACTERS AND THBIR CREATORS. famous quartet ("Mir ist so wunder-
r^ -Q * bar " — in canon-form) their varying feel-
lioN riKNAN DO, «ri i. ir u >ngs find vent. Rocco tells of the
MtntsUr Weinkoff, bar. importance of money to wedded bliss.
DoH PisAMso (d6n jpe-tsar'-r6), Fidelio asks to be allowed to help him in
Governor of a State his prison duties, and he consents that
Prison Meier, bar. she shall have admittance to all but
FLosttTAN (fl6r'*£s*tfln), the dungeon, where a ceruin wretch
/I /r»V^iftfr........*Demmer, tenor. has lain two years. The two women
1^0^^ depart on the announcement that Pizar-
CJuif jailer Rothe. ™^* coming. He enters with a guard.
4 ^ / VI -' -\ *nd Rocco gives him the letters. One
JAftumo (yik-we -no). ^^ them is a secret warning that Don
/ urnkey Cache. Fernando is going to make an unan-
Gaptaim of the Guaao Meister. nounced inspection of the prison, having
847
■■
■I
848
THE MUSICAL GUIDE
heard that there are several prisoners
unjustly held. Pizarro plans to pot his
old rival, Florestan. out of the way. He
sends an officer to watch from a tower
for Fernando's approach ; then orders
Rocco to kill Florestan. Rocco refuses,
and is ordered by Pizarro to dig the
doomed man's g^rave, while Pizarro
himself commits the murder. When
they have gone, Fideiio enters ; she has
overheard the plot, and pours out her
horror (in the great aria ** AbscheuHch-
er ! "). Her rage changes to grief, then
to hope in God. When she has gone,
Marzellin^ and Jaquino enter, quarrel-
ling. Rocco appears, rebukes Jaquino
for hoping to marry his daughter, and
orders him to release the minor prisoners
for their breath of air. The prisoners
rejoice in the sun, and Rocco tells Fi*
delio that she may come and help him
dig the grrave of the mysterious pnsoner
whom Pizarro is going to kill. Fideiio
is overcome with horror at having to dig
her husband's grave. Marzelline and
Jaquino hurry in, saying that Pizarro is
coming in a rage. After them enters
Pizarro, storming at Rocco's letting the
prisoners out. They are ordered back
to their cells.
Act 11.— Scene i. The dungeon. Flor-
estan, chained, bemoans his fate; he
sees his wife in a vision, but sinks down
exhausted and oblivious of the entrance
of Rocco and Fideiio. She cannot see
the prisoner's face, but believes it is her
husband, and vows to save him in any
case. She gives feeble aid to Rocco in
digSfing the grave, and when Florestan,
waking, calls for drink, she lifts a pitch-
er of wine to his lips and gives him a
crust of bread. Pizarro enters and or-
ders Fideiio away. She does not obey,
but when Pizarro starts to stab Flores-
tan she protects him and declares herself
his wife. She draws a pistol and threat-
ens Pizarro. A trumpet is heard. Ja-
quino enters, annbuncmg the coming of
Don Fernando. Pizarro hurries away,
and Rocco follows him, after pressing
the hands of the reunited lovers, who
ioin in a rapturous duet ('* O Namen-
lose Freude **). Rocco returns, saying
that all the prisoners are to have a heav-
ing, and leads them out. Scene 2. Tbe
square before the castle. The Minister
frees the rejoicing prisoners. Rocco
leads in Florestan and Fideiio, for whom
he pleads. Pizarro is sent away in dis-
grace, and all join in praise of the wife's
fideli^.
BELLINI, yiNCBNZO.
Nor'ma.
Two-act Ivric tragedy. Book by R6
mani. Produced in Klilan, 1832.
CHARACTERS AND THEIR CRKATOKSb
Poluo'ni,
A Roman Prc-Catuul^ DooseUi. tenor.
Flavio (fla'-vl-6).
His friend
Oaovito (dr-o-v£'-so),
Druid Chief,
Noa'MA,
His daughter^ a Druidiss. . • • ,
Adaloiia (a-4iU-ge'-z&),
A young priestess
Clotildb (k^6.t£r-de9«
Normals confidanU ,
Two children of Norau and PoOkMe.
Act I.— Scene i. Night in the Sacred
Druid Forest in Gaul ; in the centre the
Oak of Irminsu). The Drukls enter in
religious procession. Oroveso bids them
strike the bell thrice when the noon ap-
pears. They wait for Norau to cot the
sacred branch, and give die signal for
the defeat of the Roman invadois.
When they have passed on PoUione and
Flavio steill In. Pollione confesses that«
though he has loved Norma, who has
broken all her vows and borne him two
children, he has tired of her, and loves
Adalgisa, a priestess vowed to fiigiuily.
He tells of a dream ('* Meeo all* altar
di Venere*')in which Norma bUjB^ his
vision of ioy with Adalgisa. Tbe sa-
cred shield resounds, calling the Dniidi
back, and the two Romans slip awaj,
Pollione vpwing to wipe out their reft*
gion. The Dniids welcome N<
STORIES OF THE OPERAS 849
who enters with a retinue of priestesses,
but in place of callings them to fight the
impious Romans, she rebukes their
wrath and bids them keep peace (*' Se-
diziose voci **), saying that Rome will
perish from its own vices. She cuts
the sacred mistletoe, and, kneeling, calls
on the moon's * ' chaste goddess*' (* *Casta
diva ") to shed peace upon them. They
demand PoUione's life, and she prom-
ises them revenge, but aside confesses
her love for him (** Ah bello a me ri-
tomo"). When the Druids have left.
Adalgisa appears, dreaming of her love
for Pollione (** Sgombra h la sacra sel-
vm"). In contrition she kneels before
the altar she has forgotten. Pollione,
appearing, reproaches her for praying to
the god (•* Va, crudele "), and begs her
to go to Rome with him (**£k>ve h
amor**), and she consents. Scene 2.
Norma's dwelling. Norma and Clo-
tilie speak of the two children of her
ae :ret and forbidden love. Hearing
so^neone approach, she has Clotilde
conceal the children. Adalgisa appears
and, prostrating herself, confesses her
unholy love. Norma grants her forgive-
ness and then asks her lover's name.
Adalgisa points to Pollione, who ap-
pears. Norma, in her rage, has no blame
v>r Adalgisa, but covers Pollione with
reproaches, and. hearing the temple bell,
leaves hinu Adalgisa also repulses him.
Act II. — Scene i. Norma s dwelling.
Her children are asleep on a couch.
She enters with a dagger to kill her
children in revenge on Pollione. But a
revulsion of motherly feeling leads her
to embrace them. She sends Clotilde
to bring Adalgisa, who enters and is
asked to take the children to Pollione
(•• Deh, con te li prendi **) and become
bis wife, while Norma kills herself.
Adalgisa pleads with Norma to seek her
own happiness ('* Mira, O Norma**).
Adalgisa and Norma pledge friendship.
Scene 2. A solitary place where the Gauls
chant of war. Oroveso says that Pol-
lione is to return to Rome and be re-
placed by a still more cruel pro-consul ;
le counsels delay, however, before they
take up arms. Scene 3. Temple and
altar of Irminsul. Norma is hopefully
waiting Adalgisa 's mission begging Pol-
lione to return to the mother of his chil-
dren. Clotilde comes to say Pollione
has refused, and even vows to take
Adalgisa by force from the temple.
Norma, in high frenzy, strikes the shield
of Irminsul three times, and the Druids
and Gallic warriors assemble excitedly.
Norma cries for immediate war on the
Romans (**Guerra, gfuerra!**). Clo-
tilde runs in to say that a Roman warrior
has been caught in the temple. Pollione
is brought in, and Norma is g^ven the
sword to kill him for his impiety. Her
hand trembles, and she begs all to with-
draw while she questions the culprit.
Alone with Pollione, she tells him his
life is in her power (** In mia mano al-
lino tu sei "). She says Adalgisa will be
burned for breaking her vows. He
kneels and prays that she be spared.
Norma summons the Druids back and
says that one of the priestesses has
broken her vows and must be burned
alive. The Druids demand her name.
Pollione implores mercy, and is dumb-
founded when Norma announces herself
as the guilty one. In a sudden recni*
descence of his old passion he climbs
the funeral pyre with her ("Qual cor
tradisti **). Her last prayer is that het
father protect her children (" Deh, non
volerli **). The Druids throw over her
the black veil, and she and Pollione
look forward to bliss beyond this life.
BELLINI, VWCENZO.
La SonnambuU (Ifi-sdn-nim'-boo-U).
The Somnambulist.
Two-act opera. Book by Felice
Romani, after a vaudeville by Scribe.
Milan, March 6, 1831.
CHARACTERS AND THEIR CREATORS.
£Lviiio (£l.ve'-no)9
A rich farmer Rubint, tenor.
Roool'fo,
Ayotmg lord ifuognito^
Mariano* bar.
850
THE MUSICAL GUIDE
A peasant^ in hvt loith Lisa . . .bass.
Amina (fi-me'-na),
An orphan^ Teresa's ward^
Mme. Pasta, sopr.
Lisa Oe'-zS),
An innkeeper, . .Mme. Toccani, sopr.
Tbkbsa (ta-ra'-sS),
The miller* s wife, m.-sopr.
Act I. — Scene. In front of a mountain
inn. The peasants gather, singing a
welcome to the bride Amina. Lisa, who
loves Elvino, the bridegroom, alone is
jealous amidst the joy ('* Tutto h. gio-
ja *'). Her lover, Alessio, cannot quiet
her envy, though he speaks of his own
approaching marriage with her* After
a song of Switzerland (** In Klvezia non
v'ha rosa **), Amina enters, grateful for
the welcome and her serene future
(** Come per me sereno" and ** Sovra il
sen la man mi posa *'). She embraces
her foster-mother and the grudging Lisa.
The notary comes, and then Elvino,
who had stopped to implore the Virgin
to send his wife perfect virtue. He
gives her the ring (** Prendi, Tannel ti
dono **) and violets. He invites every-
body to be present at the wedding at
dawn the next morning. The noise of
post-horses is heard, and Rodolfo en-
ters to ask the way to the castle. He
recalls the familiar scenes (** Vi ravviso
o luoghi ameni **), but he is not recog*
nised by the others. He flatters the
bride*s bright eyes (**Tu non sai con
quei begli occhi **), and Elvino feels a
pang of jealousy. The sunset makes it
dangerous to proceed up the mountain
to the castle, and Rodolfo is warned of
the phantom that appears at night (** A
fosco cielo'*). He decides to stop at
Lisa*s inn. When he has gone, Elvino
jealously rebukes Amina. She tries to
calm his jealousy (** Son geloso del ze-
firo amante**), and they are tenderly
reconciled (** Mai piii dubbi").
Act ii.~--Scene i. A bedroom in the
inn. Lisa comes to welcome the Count,
whom she has recognised. She slips into
% cabinet on hearing someone approach.
but leaves her shawl behind her. Amina
enters in a nightdress, walking in her
sleep. Rodolfo realises her condition,
but Lisa, seeing her, hurries away scan*
dalised. Amina lies down and sleeps
on Rodolfo's bed, while he leaves by
the window. The villagers come tip-
toeing in to welcome the Count, who has
been away so many years. Lisa leads
in Elvino and Teresa, who see Amina
and believe her guilty. She wak^ and
is repulsed by Elvino. Teresa alone
believes her innocence. Scene 2. A
shaded valley. Peasants pass on their
way to the castle to plead with the Count
to clear Amina's good name. Amina
and Teresa enter, and, later, Elvino,
who again covers her with scorn, though
he longs for the time of his old trust
(** Ah, perch^ non posso odiarti '^.
Act III. — Scene. The village g^reen ; f
mill in the distance. Alessio is pleading
with Lisa not to love Elvino, but she
scorns him. Villagers enter to say that
Lisa is chosen as bride to Elvino; he
comes himself to tell her. Rodolfo ap-
pears and explains Amina*s presence in
his room, but Elvino refuses to hear him.
Teresa comes, saying that the distraught
Amina has at last fallen asleep. She
brings Lisa's shawl, and accuses her of
visiting the Count. The Count will not
speak of her guilt, but persists in de-
fending Amina, who is seen coming out
of the mill. She is again walking in her
sleep, and passes across a plank ovei
the very mill-wheeL AU watch her in
suspense, but she crosses in safety
dreaming of Elvino*s cruelty. He gives
her back the ring he took from her, and
she wakes in his arms. She gives voice
to her rapture (** Ah non giunge umaa
pensiero * ), and all rejoice with her.
BIZET^ GEORGBS.
Carmen (kar-man).
Four-act opera. Book by Henri
Meilhac and Ludovic Halevy (after
Prosper Merimee's romance).
Pixxluced, Paris Opera Comique,
March 3, 1875, with Mme. Galli-Maiie
STORIES OF THE OPERAS 851
IS '• Carmen,*' Mile. Chapuy as ** Mi-
chaela."
CHARACTKKS.
Von lost (don zh5-za ; in Spanish
no-za'),
A Moodier tenor.
ZuNiGA (tsO-ne'-ga),
Ah officer bass.
MoKALBs (m6-ra'-l£s),
A brigadier bass.
EacAMiLLo (&s-ka-mer-y6),
A toreador, . • bar.
Il Dancaiio (cl-dan-kf to). It
RiMBiiDAOo (el ra-mto-d&'-dho).
Smugglers tenor, bar.
LiLLAt pASTiA (lel'-yas p&s-te'-a).
Innkeeper •
Caimsn,
A cigarette girl m.-sopr.
MicHAiLA (me-kfi-a-U'),
A peasant girL sopr.
FtAiQviTA (frft-ske'*tftX ^u*
CBDu (mSr*tha -d^),
Cigarette girls m.-sopr.
Act I. — Scene. A crowded square
in Seville, In front of a cigarette factory
near a bridge. Michaela enters, looking
for Don Jose ; she is advised by Mo-
rales to wait inside the guard-house.
The ^ard is relieved (*' Noi con la
guardia **), under command of Zuniga
and Jos^. An officer chaffs Jose about
Michaela, and Jos^ says none of the
cigarette girls can compare with her.
The bell rings for the noon-hour and
the girls enter smoking and singing of
life as all one vanity of smoke (** Seguir
Tocchio in aria **). Carmen saunters in,
gay and impudent, teasing her loving
admirers with an old Spanish Habanera
(composed by Pradier and called *' £1
Aveglito") ("Amor, misterioso Ange-
lo **). The bell rings and as the cigarette
girls return to work, she tosses a flower
at the bewildered Jose. Michaela ap>-
pears and timidly tells that his mother
has sent him by her a letter, some
money, and also — a kis? (" La madre
tua con me **). Jose is moved by mem-
ories of his mother (*' Mia madre io la
rivedo"), and feels that her letter has
saved him from the tempter Carmen.
He gives Michaela loving messages
and the girl goes. A riot is heard in
the factory; thither all rush in panic,
discussing a fight between Manuelita
and Carmen, who is brought out by
officers. She mocks their questions and
finally strikes one of them. They de*
cide to tie her hands with a rope and
leave Jose to guard her. On him she
practises all her wiles, and asks him to
meet her at Lillas Pastia*s inn near the
bastion (a seguidilla, " Pressa il bastion
di Siviglia "). I le at length unties her
hands, but she pretends, when the of-
ficer returns, that they are still tied.
When Jose starts to lead her across the
bridge, however, she pushes him down
and escapes.
Act II. — Scene. Lillas Pastia*s inn,
two months later. Cigarette girls, gyp-
sies and others including Zuniga, are
making merry and Carmen sings and
dances with the rest (** Vezzi e anella
scintillar '*). Frasquita brings word that
the inn must close ; Zuniga invites Caf-
men to go, but seeing her sad, tells her
that Don Jose, who has suffered impris-
onment and reduction to the ranks for
conniving at her escape, is now free. A
procession in honour of the toreador Es-
camillo passes and the famous bull*
fighter is invited in. He sings of the
delights of the arena (** Toreador, at-
tento"). He flirts with Carmen, she
banters him, and Lillas Pastia clears
the inn of all except the gypsies and
Carmen and closes it up. The two smug-
glers appear and confess the usefulness
of women in their profession (a quintet
** Abbiam in vista"). CZarmen declines
to join them, and they blame it to love.
Jose is heard singing (** Dragon d'Alca-
14 ") and they decide that he would
make a good smuggler. Carmen con-
sents to try to win him over, and the
others withdraw. Jose enters and she
levels all her witchery on him, dancing
and singing ('* Voglio danzar per tu«
852
THE MUSICAL GUIDE
piacer"). He hears the "retreat"
sounded at the distant barracks, but her
pouting coquetry restrains him; he shows
her the flower she gave him at their first
meeting (** II fior che avevi ") and she
pleads with him to give up the army
and lead a gypsy life with her. He re-
coils at the thought of being a deserter,
and is rushing away when Zuniga re-
turns. He reproaches Carmen for prefer-
ring a private such as Jose to himself,
an officer ; and orders Jose back to the
barracks. Jose, infuriated, defies him
and draws his sword ; the gypsies enter,
cover Zuniga with their pistols and lead
him away. Jose has no resource but to
join the smugglers.
Act III. — &ene. The smugglers* lair
In the mountains. They are rejoicing at
their luck, but Jose is restless and thinks
of his mother. Carmen tells him he would
better go back home. He threatens her
with his knife. She turns her back on
him and the gypsies fall to telling fort-
unes with cards {** Mischiam ; alziam ").
Carmen flnds always Death in her cards;
she takes the omen jauntily. The
smugglers move oflf followed by Jos^.
Michaela enters in great fear C^* lo dico
no"). She hides when a gun-shot is
heard and Escamillo enters with a bullet
hole through his hat. Jose appears and
challenges the toreador, who says he
comes to find his sweetheart Carmen
who is tired of her dragoon lover. The
rivals prepare to fight with knives, but
Carmen saves Escamillo in the nick of
time and he is sent away. Michaela
tells Jose that his mother is dying with
grief for him ('* lo ti vengo a cercar"),
and Carmen advises him to go. He
jealously refuses at first to leave Car-
men, but finally goes, glaring threaten-
ingly at the fickle siren, who hears
with joy the distant song of the bull-
fighter.
Act IV. Scene. A square in Seville
outside the arena. A great crowd seethes
about the place. Dancers whirl (* * Dan-
ziam. danziam I"). The procession of
bull*fighters of all classes passes into
the arena with ceremony, and Carmen
accompanies the idolised Escamillo.
Frasquita and Mercedes warn Carmeo
that Jose is looking for her, but sb«
pluckily waits for him after the crowd
has entered the arena. He begs her to
go away with him and threatens her
when she refuses ruthlessly. As sbe
taunts him with her weariness of bis
love, the noise of the spectators roars
out from the arena. She wishes to enter
but he blocks the way, and when she
throws at him the ring he gave her, be
stabs her and she dies wit^ut a wonL
The crowd pouring out of the arena
find him kneeling lovingly at her side.
BOITO, ARRIGO,
Mefi8tofele(ma-fe'-sto-ai-lQ. Mephis-
topheles.
Grand opera in prolog, four acts and
epilog. Book and music by Boito. La
Sicala, Milan, 1868.
CHARACTERS.
Mbpistofele bass.
Faust, later Henbico (fowst. in-re'-ko),
tenor.
Wagner (vSkh'-n^r) tenor.
Nekeo (na'-ra-6) tenor.
Makgnbbita sopr.
Mabta, her mother contr.
Elena, Helen of Troy sopr.
Pan'taus contr.
In the attempt to cover the scope of
Goethe's whole poem " Faust," the op-
era exchanges continuity for picturesque
episodes. It opens with a ** Prologue 10
the Heavens,** a cloud-scene in which
Satan interrupts the songs of the invisi-
ble angel-choirs, and parleys with the
unseen Jehovah for the soul of Faust,
which he boasts he can win.
Act i.^-Scenc i. Holiday street-scene
in Frankfort. The Elector passes with
retinue. Faust and his friend Wagner
stroll about, followed by Mefistofele,
disguised as a gray friar, whom Faust
dreads, but Wagner ridicules. Scene 2.
STORIES OF THE OPERAS 853
Faust's laboratory. The mv friar con-
seals himself in an alcove ; Faust enters
and begins to read his Bible, the dread
of which betrays Mefistofele, who de-
clares himself and assumes the form of
a knight. He bargains for Faust's soul,
offering him all earthly pleasures. Faust
accepts, and steps on Mefistofele*s cloak
to be spirited away.
Act II. — Scene i. The garden of Mar*
eherita, who engages in amorous dal-
fiance and promise with her lover, Faust
(Enrico), while her mother, Marta,
flirts ludicrously with Mefistofele. Scene
». The wild gorge of the Brocken, where
evil spirits of all sorts hold the varie-
gated orgy appropriate to the witches'
Sabbath. Faust, under the guidance
of Mefistofele, is shown a vision of the
betrayed Margherita's sorrow, and Me-
fistofele pictures the world in a declama-
tion over a globe of glass.
Act iii.-~Scene. The prison where
Margherita, who has killed the child of
her shame, is awaiting her execution.
Faust appears and begs her to fly with
him. With her dying breath she refuses,
and as the day breaks he is haled away
by Mefistofele, who declares Margherita
doomed. But the angelic chorus (given
to the orchestra) declares her to be for-
given and saved.
Act IV. — ^Scene i. The moonlit banks
of the river Peneus, on '* The Night of
a Classical Sabbath.** Pantalis and the
sirens sing of the moon, and Helen of
Troy describes the capture and pillage
of the old Homeric city. Faust wakens
from slumber and appears on his rest-
less pleasure hunt, and, watched by Me-
fistofele, finds in Helen a quick re-
sponse to his ardor. Scene 2. Faust's
laboratory, in which he muses on his dis-
mal hunt for earthW pleasure, and longs
for Heaven. Menstofele tries to per-
suade him to continue the hunt, but the
heavenly music is heard. Mefistofele
invokes seductive sirens to counteract
the better influence, but Faust clings
to bis Bible, and, praying and redeemed,
^es in a shower of roses, which scorch
and foil MefistofeU^
CHARPRNTIER^ GUSTAV.
Louise.
Four-act opera. Book by the com-
poser. Produced, Op^ra Comique,
Paris, February 2, 1900. [The story
of this opera, by Annie C* Muirhead.]
PRINCIPAL CHAKACTBRS AND THRIR
CREATORS.
Jvuuf,
An artist, Marshal, tenor.
The Fathu. , . . , .Fugcre, bar.
Louiti,
Mdlle. Marthe Rioton, dram. sopr.
The Mother,
Mme. Deschamps-Jehin, mez.-sopr«
Othtr Charactirs {all with singing
parts).
Men,
\ The Night Walker and
I Master of the Revels.
An old Bohemian. A Song-writei
First Philosopher. Second Philosopher.
A painter. A sculptor. A young poet.
A student. A ragpicker. A jack-of
all-trades. First policeman. Second
policeman. An apprentice. A street
urchin.
Womtn,
Irma,
Camille,
Gertrude,
Elise,
Dressmaker's apprentice.
Dressmaker's forewonwn.
Blanche, \
Suzanne, I 1 • •
Manfuerite. f^oA-Pris.
Madeleine, j
A ragpicker. A street-sweeper. A
milk-girl. A newspaper-girl. A ciga«
rette-gatherer.
The street-cries: Sellers of chick*
weed, green peas, potatoes, brooms
barrels, old clothes.
Place of action : Paris. Time : the
present day.
Act I.— ^ene. Room ^n a tenement
Sewing-girls,
854
THE MUSICAL GUIDE
Louise at the window talking^ with Ju-
lien outside. He urges her to elope,
since her parents prevent their marriage.
She refuses to grieve them so. She asks
how he fell in love with her. He tells.
The mother, entering, listens angrily to
their mutual confidences, then pulls
Louise back and dismisses JuUen. A
violent scene, follows between Louise
and her mother, who talks of Julien*s
alleged bad character. The father en-
ters, holding a letter, and tenderly greets
Louise. While he reads the letter, which
is from Julien, Louise anxiously scans
his face ; they embrace without a word
(the orchestra, during this pantomime, is
notably expressive). The family sup,
the father talking contentedly of his
lot, the mother making bitter allusions
to artists and idlers. After supper,
the parents discuss the letter. The
father sympathises, the mother fiercely
opposes. Then the father reasons with
Louise about her inexperience and Tu-
lien*s bad reputation. He asks whether
she has ever spoken with him. Louise
says no. The mother ironically mimics
the talk she heard between the lovers.
The father makes Louise promise to
have no more dealings with Julien ; says
she will soon get over her pain, and
sets her to reading aloud the newspa-
per. She breaks down at the word
*• Paris."
Act 11. — Orchestral Prelude. ** Paris
awakening.** Scene i. On the Hill of
Montmartre. All sorts of workers be-
ginning their day*s toil. The Night-
walker enters and talks beguilingly to
the girls. He throws off his cloak, ap-
pearing garbed as Spring ; explains that
he represents the Pleasures of Paris,
and runs off, knocking over an old rag-
picker as he goes. This old man tells,
weeping, how his daughter was formerly
tempted away by the Nightwalker. An
old street-sweeper tells how she once was
rich and gay — ^it was paradise. An ur-
chin asks for the address of her para-
dise. She points to Paris. Julien
enters with Bohemian friends, and de-
scribes how he means to abduct Louise.
The young men sing gaily of love and
a free life. Julien, left alone, sings pas-
sionately of his love and wonders whence
help will come. As he pauses, the
street-cries of Paris are heard. He list-
ens with growing emotion ; then breaks
out in praise of city life. Work-girls
pass chattering. JuJien hides. Loaise
and her mother appear and separate
for the day*s work. Julien waylajrs
Louise and entreats her to go with him,
but she refuses. He sorrowfully de-
parts. Street -cries resound on all
sides. Scene 2. Interior of dressmaker's
shop. Girls sevnng, and quarrelling.
Louise sits among them, pensive. The
others note her sadness and talk among
themselves, telling how severely her
parents treat her, even striking hei;
Then they teastngly accuse her of being
in love. Gertrude, an old maid, talloc
sentimentally (hurdygurdy in the dis-
tance). Camille moralises on the strong
attraction of men for girls. Irma de-
scribes enthusiastically the charms of
city life. Sounds of street-music are
heard. The girls flock to the window
and recognise Julien singing to his gui-
tar. Each girl, thinking the serenade
is for her, is loud in praise, till Julien,
missing Louise, breaks his strings im-
patiently and sings in sadder vein ; then
the girls feign boredom. The pathos
of the singer moves Louise*s heart. She
rises to go, pleading illness. As the
E'rls watch from the window, they see
ouise walking away with Julien.
Act III. — Scene i. Tulien and Louise
in the garden of a little house on the
summit of Montmartre. Panorama of
Paris in the background. Twilight,
Louise rejoices that her happiest dream
has come true. She regrets nothing—
at home, her father treated her as a
child, her mother with blows. Julien
calls them Mother Routine and Father
Prejudice. Louise tells how thev wished
her to be guided by their experience in-
stead of by her heart. Julien declaims
against experience. He asserts that
everyone has a right to freedom ami
love. Louise asks whether anyone has
STORIES OF THE OPERAS 855
the right to break another's heart. He
answers that her parents' selfishness
most be met with selfishness. He says
her character has been developed by
city life. They join in a rhapsody
over Paris. The city begins to light up.
The lovers exult in a psean of Iil)erty,
echoed by voices from the city. Then
they sing ecstatically of love and
life. Scene 2. A crowd of their Bo-
hemian friends arrive, and with danc-
ing and ceremonies crown Louise '* Muse
of Montmartre." The mother suddenly
appears. At her sad aspect, the revel-
lers scatter in dismay. She comes
humbly to tell of the Father's illness,
and beg Louise to return home. The
old ragpicker passes by, alluding to his
lost daughter. Julien, touched, lets
Louise go on the promise of her re-
turn.
Act IV. — Scene same as Act i. A
summer evening. The father seated,
broken down and sombre, gradually
rouses to talk bitterly of the injustice of
Fate ; of rearing children only to suffer
from their ingratitude. Louise at the
window merely looks out into the night.
Her Mother calls her to help in the
kitchen and argues with her, while the
Father, eagerly listens, hoping she will
be convinced. Louise recalls their
promise that she should be free. The
Mother refuses to let her return to a life
of sin. Louise bids her father good-
night coldly. He draws her passion-
ately to him and rocks her on his knee
liloe a child, in forced gaiety singing a
lullaby, promising that if the child will
be good, she shall have whatever she
wants. Louise answers that if they
want her to be happy they must let her
go to her lover, and repeats Julien's
words of the individual's right to free-
dom of choice. Joyous voices heard
from the town increase her longing.
She declares Paris calls her. The Father
becoming infuriated chases her from the
house; then immediately repents and
calls her back — in vain. He shakes his
fist at the city, ejaculating bitterly " O
Pariai**
DELIBES, LEO.
Lakm^ (l&k-ma).
Three-act opera. Book by E. Gon-
dinet and Ph. Gille.
Produced, Opera Comique, April 14.
1883.
CHARACTERS AND tHElR CREATORS.
GfRALD (zha-rfil).
English officer engaged
to Ellen M. Talazac, tenor.
FrId^mc (fra-da-rek),
English officer M. Barre, bar.
NiLAKANTHA (nHa-kan-ta),
A devout Brahman^
M. Cobalet, bass.
Hadji (ftd-zhe),
A servant Chennevi^re, 2d tenor.
Lakme (l&k-ma),
Daughter of Nilakantha^
Mile. Van Zandt, sopr.
Ellen contr.
Rose Mile. R^my, sopr.
MirrsEsi Bentson. .Mile. Mol^, 2d sopr.
Mallika,
A servant. . . Mile. Frandin, m. sopr.
Act i.-^Scene. A garden in India at
dawn. A chorus in morning homage
to Brahma. Nilakantha appears and
invokes maledictions on the English
conquerors, Lakm^ joins the prayers.
Her father tells her he must go to an-
other temple for the day, and leaves
Lakm^ in charge of Mallika and Hadji.
Lakm^ lays her jewels on a table, sings
of the beauty of the stream, and sets
forth with Mallika in a little boat. The
English enter laughing and chattering.
They talk of the Hindus and of La)c-
me's beauty, and force their way
through the hedge. Frederic explains
that in trespassing on the garden of a
Brahman they commit sacrilege, and are
liable to a deadly revenge. The women
hurry away. leaving Gerald to copy the
design of Lakm^ 's jewels. He hides as
Lakme returns. She muses on love and
seeing G^ld gives a cry. The servants
8j6
THE MUSICAL GUIDE
Miter hastily but she says it was nothing
and sends them away. She upbraids
Gerald when they have gone, but he
^ins her love by his flattery. Seeing
her father return, she ma Ices him steal
away unseen. Her father finds the
hedge broken, however, and vows re-
venge on the trespassers.
Act II. — Scene. A market-place full
of people. The English enter, much
bothered by the merchants. The
bell for closing sounds ; and soldiers
clear the market-place. A fete begins,
and bayaderes dance. Nilakantha
and Lakme pass, he clothed as a peni-
tent. Frederic tells Gerald that their
regiment moves at dawn to put down an
uprising. The English leave, and Nila-
kantha explains to Lakm^ that he is dis-
guised searching for revenge. A crowd
gathers and I^kme sing^ to them a
legend of Vishnu and a Hindu maid.
The English officers return. Nilakan-
tha recognises them and orders Lakm^
to sing the legend again. Gerald recog-
nises her, but she pretends not to know
him. The English soldiers pass and
the officers go. Nilakantha plots with
the other Hindus, leaving Lakm^ with
Hadji. Gerald returns. They exchange
vows ol love. The crowd returns for the
Brahmin rites, but soon withdraws again.
Nilakantha stabs Gerald and disappears.
Lakm^ bends over him and seeing that
he is not mortally wounded calls the
faithful Hadji to her aid.
Act III. — Scene, The heart of a for-
est. Gerald asleep, watched by Lakm^.
Songs of lovers are heard in the distance,
Lakm^ goes to bring him sacred water.
Frederic appears ; he has followed G^
raid by the drops of blood. He re-
minds him of his betrothal to Ellen and
makes him promise to return to her.
He leaves, and when Lakme returns
with the consecrated water in a cup
she notes a change in G(^rald*s manner.
He hears the soldiers singing in the dis-
tance, and she eats the leaf of a poison
plant. Nilakantha returning finds them
embracing. Lakm^ tells her father that
Gerald, having drunk of the sacred
water, is consecrated. She offers hep
self as a sacrifice in his place and dies.
DONIZETTI, GAETANO.
La FavoriU (U fi-vo-re'-tft). The
Favourite.
Four-act opera. Book by Royer and
WaStz (based on the play ** Le Comtt
de Commingues").
Produced^ Paris, Dec. 2, 1840.
CHARACTERS AND THEIR CREATORS.
Alfon'm), /Cing of CasHU bar.
BALOAMAti (s2 -r£) Baroelhst, bas.
FiaiTAN'oo Duprez. tenoc
Don Gaipabb (gfis-pft'-re)
Lbonoba (li-o-nd'-rS), Mme. Stolz, sopr.
Inbs (e -nte) contr.
Act I. — ^Scene i. Interior of a mon-
astery. Chorus of monks passing. Fer
nando, in distraction, tells Baldassare
that he has fallen in love with a maid-
en, an angel of heaven (*' Una veigioe,
un angel di dio **). Baldassare is hom-
fied and bids him begonrt (** Deb
vanne ! **). Scene 2. A Aowery island.
Ines and other women gathering floweis.
A boat arrives with Fernando, blind-
folded. His bandage is removed, but
his questions are not answered. At
length Leonora enters, and the lovers
have a rapturous reunion. She shows
him a parchment which will lead him to
glory provided he gives her up. He re-
fuses passionately. Ines enters to say
that the King Alfonso has arrived. Le-
onora, in agitation, gives Fernando the
parchment and hurries away. Ines
warns him to be cautious. Left akme,
he finds the parchment to be a commis-
sion with a title, and he welcomes his
chance for military fame (**Si, che un
tuo solo accento").
Act II. — Scene. The Palace of the Al-
cazar. The King is rejoicing with Don
Gaspaic in the victory oiver the Moon,
giving the credit to the brave FemandOb
*l^
STORIES OF THE OPERAS 857
whom he is now waiting to load with
honours. An attendant announces a
message from the chief churchman, and
Gaspare retires. The King broods over
the plots of his courtiers, but swears
they shall never separate him from Le-
onora, his favourite (**Vien, Leonora,
a* piedi tuol *'). Don Gaspare returns,
and is sent to invite the court to the
f £te. Leonora enters with Ines, who is
sent away. The King pours out his
love (** Ah, I'alto ardor ), but Leonora
reproaches him with betraying her
and decoying her from home on false
Sromises. He tries vainly to console
er with her rich surroundings. The
court gathers. Don Gaspare, in much
agitation, gives the King an intercepted
love-letter to Leonora. The King de-
mands the lover*s name, which Leonora
withholds. Baldassare is led in. He
bears a mandate from the Pope, ordering
Alfonso to put away Leonora and return
to his queen. The King refuses fiercely,
but Baldassare*s threats of excommuni-
cation terrify him, and Leonora flees.
Act III. — Scene. A room in the palace.
Fernando, dreaming only of Leonora,
sees the King and Don Gaspare enter.
The King has decided to yield to the
Pope, and sends for Leonora. He wel-
eomes Fernando and offers him whatever
he may ask. He asks for Leonora. Leo-
nora enters, and the King reproaches
ber (**A tanto amor"), but demands
*'hat she marry Fernando at once. Le-
nora, left alone, is enraptured, and can-
not believe the truth (** Fia dunque ve-
ra?**) that she is to possess her lover
(*' O mio Fernando **), but she thinks it
dishonourable for her, disgraced as she
is, to wed him, and decides to die. She
leaves Ines to tell him the whole truth.
When she is gone, Ines is arrested and
led away. The courtiers gather. The
King gives Fernando a title and the
hand of Leonora, who, thinking Ines
has told Fernando of her past, consents
and is led to the altar. The courtiers,
overcome with the shame of making the
inicnown Fernando a nobleman, and
\hen marrying him off to the King's dis-
carded mistress, treat him with contempt
on his return from the altar. He is in-
furiated, and challenges Gaspare. Bal-
dassare enters to make peace, and Fer-
nando embraces him. Baldassare tells
Fernando the truth, and he, in wild
rage, rebukes the King, who returns
with Leonora. Baldassare declares the
marriage null, and Fernando refuses to
keep his title and decorations. The
King orders him into exile, and Leonora
learns that Ines is under restraint.
Act IV. — Scene (composed in four
hours). Convent cloisters. Monks dig-
ging their graves and chanting ('* Sea-
viam Tasilo **). Fernando, in dejection
returns to the monastery. Baldassare
welcomes him, then leaves to console a
youth who, he says, has just come as a
novice. Fernando, alone, bewails his
trust in hope, the gentle zephyr (" Spirto
fentir*). He is led into the chapel,
.eonora, clad as a monk, appears when
he has gone, and scans the faces of
the other monks. She has come to im-
plore Fernando*s foi^veness. Inside
the church he is heard taking his vows.
She sinks before the cross, and he, re-
turning, finds her and bids her leave
(" Ah, va, tUnvola "). She tells him the
truth and begs his forgiveness (** Cle-
mente al par di Dio "). He takes her in
his arms ('* Vieni, ah, vieni ") and offers
to fly the cloisters once more with her.
She dreads such a step, and dies be-
seeching him to be faithful to his vows.
The monks, entering, are bidden to pray
for the dead young novice.
La Figlia del Reggimento (la UV-ySi
d«l rfid-jY-men'-to), /., La fille du
Regiment, /"., Marie, die Tochterdes
Regiments, G. The Daughter of the
Regiment.
Two-act opera. Book by Bayard anc
St. Georges.
Produced, Paris, February 11, 1840.
CHARACTERS.
Mama, created by Mme. Anna
Thillon sopr.
858
THE MUSICAL GUIDE
Makcnksa di BiKKENriLO (or Mag-
giorivoglio) m.-sopr.
To'wo,
A yifung Swiss • .tenor
Ortbn'sio,
Steward to the Afarchesa bar.
Caporalx bass.
SuLPizjo (sool-pe'-tst-o),
A sergeant. ..••• bass.
Pxsa'no.
Act I. — Scene. The Tyrolese moun-
tains during the French occupation.
Peasants gather for war ; women pray
to the Virgin. The Marchioness and
Ortensio are anxiously waiting news.
Peasants enter to say the enemy are re-
treating. All withdraw. Sulpizio, a
French sergeant, enters, followed b'J
Maria, the "daughter" of the Regi-
ment and its vivandi^re. She rejoices
in having first seen the light of day on a
battle-field ('* Apparvi alia luce sul cam-
po g^errier ")• Sulpizio proudly claims
credit for finding her on the battle-field
and adopting her. He speaks of the letter
he found with her ; she speaks of the
young Swiss who saved her life and
whom she has learned to love. This
very Swiss now enters as a captive.
The French are about to kill him, but
she saves him and he joins in a toast.
Maria sings the song of the Regiment,
which has no equal as ** everybody says
and knows " (** Ciascun lo dice ; ciascun
lo si "). A drum calling to roll-call is
heard and the soldiers hurry away, tak-
ing Tonio under guard. He returns,
however, having eluded the others.
Maria and he are on cordial terms,
she welcoming his ardent vows (** A
voti cosi ardente "). They stroll away
together and Sulpizio and the Marchio-
ness appear. She is reading the letter
found with Maria many years before.
It is addressed to her by the child's
father, and she recognises Maria as her
daughter bv an early secret marriage
with Captain Roberto. But she tells
Sulpizio that Maria is her niece. The
foldiers return and Tonio enters, having
decided to enlist with the French foi
Maria's sake. He asks the Regimental
fathers for her hand, and they grant it.
But Sulpizio tells them that her aunt
has appeared to claim her. Maria bids
her friends a fond farewell ('* Convieo
partir"), to the disgust of the Mar-
chioness.
Act II. — Scene. A salon. Sulpizk)
wounded. Maria dressed as becomes
her new station, is mutinous against ber
training. The Marchioness makes her
sing a romance by CafTariello(" Sorgeva
il di *') but Sulpizio prefers the regimen-
tal rataplan, in which Maria joins;
the Marchioness leaves angrily. Or-
tensio calls Sulpizio away to see a sol-
dier who has come. Maria hears the
familiar music and the Regiment reap-
pears, Maria welcoming all, particularly
Tonio, now an officer. The soldieis
are sent to broach a cask of wine, and
the Marchioness finds Maria with Tonio
and says the girl is engaged to the Duke
of Krakenthorp. Tonio goes, vowing
he will have Maria, who withdraws
weeping. The Marchioness reads to
Sulpizio a confession of her ow^n secret
marriage and begs him to aid her in
marrying Maria to the Duke without
telling the truth to the world. The
mother of the Duke appears, he being
unable to appear, and the contract is
about to be signed when Tonio leads the
Regiment in to protest against the bar-
tering of its daughter (** Ti rincon
amata figlia "). Maria avows her grati-
tude to the soldier who saved her from
death (**Quando il destino*')- ^^
Marchioness relents and gives Maria to
Tonio, to the joy of the Regiment.
Lucia di Larn'mermoor (loo-che-i
de). Lucy, The Bride of Lammer-
moor.
Three-act opera. Book, from Si*
Walter Scott's novel, by Cammara-
no.
Produced, Naples, 1835. with Pcrei-
ani as " Lucia " and Duprez as *' Ed
gardo."
STORIES OF THE OPERAS 859
CHARACl'ERS.
Enrico (<n-re'-k6) bar.
Lord Henry Ashtonof Lammermoor.
Edoard'o tenor.
Sir Edgar Ravenswood.
Raimondo (ra-e-mdn'-do) bass.
Raymond Bide-the-Bent^ Tutor.
Akturo (ar-too'-r6) tenor.
Lord Arthur Bucklaw,
Norman'no tenor.
Warrior-chief of Ravenswood.
UuciA sopr.
Lucy^ Ashton^s sister.
ausA (ii-le'-sa) sopr.
Alice y her maid.
Time, Scotland, about 1670.
Act t. — Scene I. A vestibule. Norman
and others are searching the tower.
Henry enters brooding and tells Norman
that he has lost his fortune and that his
sister Lucy who can by marrying Arthur
restore the Lammermoor. prestige, re-
fuses and spends her time mourning
her dead mother. Meanwhile his enemy
Edgar triumphs. Norman tells Henry
that Lucy is in love ; he tells how she
was saved from a furious bull by a shot
fired by Edgar, whom she now loves.
At this Henry is insane with rage
(** Cruda funesta smania *'). A chorus
of hunters enter and tell (**Come vinti
da stanchezza ") how they had seen a
mysterious horseman stealing from the
tower. It was Edgar. Henry threat-
ens revenge ('* La pietade in suo fa-
vore "). Scene 2. A Park. Lucy and
Alice. Lucy is longingly awaiting Edgar
(** Regnava nel silenzio'*). Edgar en-
ters to say he is ordered to France as
an ambassador. He tells how Elenry has
killed his father and robbed him of his
heritage ; he had sworn revenge on his
father's tomb ("Sulla tomba che rin-
serra"), but Lucy's love has changed
his ideal. The act ends in a love-
duet.
Act 11. — Scene. A room in the castle.
Henry and Norman are waiting for
Lucy. They speak of intercepting Ed-
gar's letters and poisoning Lucy's mind
against him. Henry asks Norman for
the forged letter and bids him sum-
mon Arthur. As Norman goes, Lucy
enters. Reproached for her gloom, she
accuses him of cruelty ; he shows her
the letter and she believes Edgar false ;
he begs her to marry Arthur, who is even
now coming with nuptial splendour.
They quarrel in a duet ("Se tradirmi
tu portrai ") and he threatens to kill
Edgar if she persists. She prays for
death. She leaves as Arthur enters
with a great crowd, but is led back by
Henry ; intimidated by threats he lAters
under his breath, she signs the marriage
contract. Suddenly Edgar appears and
there are mutual reproaches in a power-
ful sextet (** Chi mi frena"). Raymond
pleads that there be no bloodshed,
Edgar, seizing the marriage contract,
furiously upbraids Lucy for her faith-
lessness and will not listen to her ex-
planation.
Act in. — Scene i. A room in the
Castle on Wolf's Crag. Edgar alone
rejoices in the storm. Henry enters
and the men confront each other ; they
ag^ee to fight at dawn, and pray for the
sun to rise (in a duet '* O sole, pid ra-
pido '*). Scene 2. The chorus sings a
song of jubilant victory (** D'immenso
giubilo"). Raymond bids them cease
their mirth, he tells how he had heard a
groan from the bridal-chamber (** Dalle
stanze ove Lucia") and entering had
found Arthur dead and Lucy with
his bloody sword in her hand ; she
had gone insane. The mad girt now
appears, thinking she is about to wed
PMgar. She sings the famous mad-song
V O gioja che si senti"). Henry enters
And sees her frenzy with bitter remorse.
Scene 3. Outside the castle at night.
Edgar alone before the tomb of his an-
cestors begs for speedy death from his
sorrows ('* Tombe degli avi miei").
People enter to say that Lucy has gone
mad : he determines to see her ; Ray-
mond enters with the news that she is
dead, and Edgar stabs himself.
86o THE MUSICAL GUIDE
GLUCK, CHRISTOPH VON,
Orfeo e Euridice (or -fa-o i a -oo-re-
de'-ch£), /., Orpheus et Euxydice, /*.
Orph'eus and Euryd'ice.
Three-act opera. Book by Calzabigi,
Produced, Vienna, October 5, 1762, in
two acts. Revised and extended. Paris
Acad^mie, Augfust 2, 1774 (with the role
of Orfeo transposed for the tenor Le-
gros. In 1859 restored by Berlioz for
the alto Viardot-Garcia).
CHARACTERS.
Orfbo (Orpheus) alto.
L* Cm BR A Felice ( The Happy Shade)
(Idm'brfi fa-lech«) sopr.
L'Amorb (la-mo -r«). The God of
Love sopr.
EoRiDicE. sopr.
Act I. — Scene i. A lonely wood with
the tomb of Eurydice and a statue of
Hymen. Rustics and nymphs dance
about, calling on Eurydice to come
back to life and her inconsolable hus-
band, Orpheus. Orpheus, lost in sor-
row, bids them leave him to his grief
('* Chiamo il mio ben cos\ "). He muses
on his great loss (*' Euridice I ombra
cara "). At length the God of Love enters
and offers his aid. Even Jupiter has been
moved to grant Orpheus the privilege
of descending into the abode of the
dead to bring back his wife, provided
he promises not to look back at her till he
has safely led her to the upper world.
The god bids Orpheus restrain his ar-
dour (**Gli sg^ardi trattieni") and all
^ill be well. The god vanishes and
Orpheus sets forth boldly on his quest.
Act II. — Scene I. The gates of In-
ferno. Demons and furies gather and
the sound of Orpheus* lyre sets them to
dancing and crying out with wrathful
amazement at the hardy wanderer in
Erebus (*' Chi mai delP Erebo "). The
barking of the three -headed hound
Cerberus is hinted in the orchestra.
Orpheus begs them to be calm ; he tells
them of the thousand pangs that rend
his heart ('* Mille pene"); and thr
furies melt before him. They order the
gates to open and the minstrel cnten.
Scene 2. Elysium and the blessed shades,
who wreathe a blissful dance under the
leadership of one of them. As they
withdraw Orpheus enters rejoicing in
the pure sky and peace of the regk>n
("Che puro ciel !*'). When he cries
out for Eurydice, the happy shades tell
him she is there, and bid him come to
the realm of repose (** Vieni ai regni dd
reposo "). They lead in Eurydice, veiled.
Act III. — Scene. A cavernous egress
from Inferno. Orpheus enters leading
Eurydice. She rejoices at the reunioii,
but is distressed at his anxiety and his
refusal to look at her. She is angered
at his mysteriousness, and deeply grieves
(** Che nero momento "). At lei^;th be
turns and looks at her. She falls down
lifeless, and Orpheus in despair at the
thought of losing her, cries ** What can
I do without Eurydice ! " (" Che fart
senza Euridice'*). He determines to
kill himself that he may join her eter-
nally. The God of Love entering stays
his hand and restores Eurydice to life.
The two embrace amidst a chorus of
rejoicing at Love's triumph (" Trionfi
amore ").
GOUNOD^ CHAS. FRANgOIS.
Faust (fowst ; in /^ fost), in Ormany
this opera is called Margarete (mir*
g&-ra'-t^), in Italy, Faust e Mar-
gherita (a roftr>ga-re'-tS).
Five>act opera. Book from Goethe's
poem, Part I, by Jules Barbier and
Michel Carre.
Produced, The&tre Lyrique, Paris.
March 19, 1859.
CHARACTERS AND THEIR CREATORS.
Faust, An oid scholar. . . . Barbot, tenor.
MEFisTorBLB ( ma-fc-sto-fSl ), Mtnin.
TOPHELKt,
The Evil Spirit Balanqu^, bass.
Valentin (vil-An-tilfi), ValenHm,
Brother 0/ Marguerite , . Re;gnaU bar.
STORIES OF THE OPERAS 861
fin the Gennan version,
bbandsr] tenor.
SiusL (sl^b.£l),
A ycuth in lave with Margturitit
Mile. Faivre, m. sopr.
MABOvitm (m&r-gtt-ret),
A village beauty^
Mme. Mtolan-Carvalho, sopr.
Maitha (mar-t&). . .Mrae. Duclos, alto.
Act I. — Scene i. The study of the de-
crepit scholar Faust, who soliloquises
on the vanity of research (**Ittterrogo
invano **) ; he decides to kill himself
and pours out poison. Bursts of song
heard from peasant girls and men pass-
ing by, embitter his reflections on old
age, and in his rage he calls on Satan,
who to his amazement, appears and
bargains for his soul, Faust asking for
youth and pleasure (*' lo voglio il pia-
^r**). When Faust has signed, Meph-
istopheles shows him in a vision Mar-
guerite at her spinning-wheel. Faust
drinks to her, and is transformed to a
richly dressed youth, who hurries away
with the Evil One.
Act II. — Scene. A Fair, or Ker-
messe. Students, soldiers, etc., sing of
wine, old men sing of peace, and young
girls of love. Valentine enters wearing
a medallion (" O santa medaglia ") given
by his sister ; he is about to ^o to the
wars and commends Marguerite to the
charge of Siebel. As Wagner is singing
a ballad of an old rat, Mephistopheles
appears and joins the fun with a song of
the calf of gold (** Dio del' or"). He
tells fortunes, saying that Wagner will
fall in battle, and that every flower Siebel
touches will wither ; he draws wine from
the sign of the inn and as the goblet flares
up, he drinks to Marguerite. Valentine
indignantly knocks down the glass, and
they draw swords. Mephisto draws a
circle about him and Valentine's blade is
shattered. When, however, the soldiers
hold up their sword-hilts as crosses (' ' T«
puoi la spada frangere ") the Evil One
cowers #hile they pass. Faust arrives
and asks to see Marguerite ; a bevy of
students and girls waltz in (** Come la
brezza'*) and Marguerite appears. Sie-
bel moves toward her but is kept away
bv Mephisto,' while Faust offers her
his arm ; she declines it with meek-
ness and passes on. Faust and Mephis-
to follow her.
Act III. — ^Scene. The garden of Mar-
guerite. Siebel is plucking a bouquet for
his beloved Marguerite (** La parlate
d*amor ") ; each flower withers at his
touch till he dips his Angers in holy wa-
ter ; as be passes on in his search, Faust
and Mephisto look in and see him place
the flowers at Marguerite's window.
When he has gone, Faust apostrophises
the pure and lowly dwelling of his love
(** Salve ! dimora casta e pura," or
**Salut, demeure!**). Mephisto reap-
pears with a casket of jewels which he
places on the steps, then draws Faust
back into the shrubbery. Marguerite
enters alone; she is humming a folk-song
(*• Cera un re di Thule"— ** Es war ein
KOnig im Thule" in Goethe's Faust)
which she intermits with memories of
Faust. She spins awhile, then rises
wearily and sees Siebel's nosegay, but
drops it in ecstasy over the jewels, in
which she decks herself ('* Ah, h strano
poter*'). Martha, an old neighbour,
enters and tells her they were doubtless
left by a suitor. Mephisto and Faust ap*
pear and Mephisto by flirting desperate-
ly with the giddy crone leaves Faust a
chance to woo Marguerite, who tells
of her loneliness, the absence of her
brother (** Al campo k il fratel"), and
the death of her little sister. Siebel ap-
pears and Martha drives him away and
goes home. Mephisto watches the
crescent passion of the lovers (" Sem*
pre amar "). As night falls Marguerite
begs Faust to be gone, and enters her
home. Mephisto drives Faust back, and
when she opens her window to tell her
love to the night- wind ('* Ei m'ama"),
Faust takes her in his arms, while
Mephisto chuckles in the shadow.
Act IV. — Scene i (often omitted). A
room in Maiguerite's house. The b»>
862
THE MUSICAL GUIDE
trayed and deserted girl, taunted by
passers-by, reflects that her shame is due
to love alone ("Nascose eran"), but
when Siebel tries to console her with
f>romise of revenge (** Quando a te
ieta ") she determines to go to the church
and pray for her false lover and for her
unborn child. Scene 2. The square
before the cathedral. The soldiers re-
turned from war chant of victory and
peace (** Deponiam il brando "). Valen-
tine greets Siebel cordially, but is met
only with embarrassment and evasion,
and at last a plea that he forgive Margue-
rite. The soldiers pass on and Valen-
tine gloomily enters his house. Faust
appears full of remorse ; Mephisto tries
sardonically to win her forth with a bur-
lesque serenade to ** Catterina" ('*Tu
che fai Taddormentata **). Valentine
comes out and demands the cause of the
serenade, sends Mephisto*s mandolin
flying with his sword, and falls to fight-
ing with the reluctant Faust. Valen-
tine throws away disdainfully his sister's
medallion and Faust with Mephisto's
aid wounds him mortally and flies. The
citizens gather excitedly and finally Mar-
guerite, on whom the dying Valentine
invokes maledictions (** Stammi adas-
coltar "). When his body is borne away
she prays for heavenly mercy, but Meph-
isto taunts her with despair and claims
her while a chorus of monks combat
with a chorus of demons.
Act V. — Scene r (often omitted). The
Walpurgis revel in the Brocken, with a
vision of Marguerite shown. Scene 2.
A prison. Marguerite lying asleep in a
heap of straw. Faust and Mephisto
enter and Mephisto, who has procured
the keys, urges Faust to waken, the girl
and make her fly with him. Faust is
torn with repentance and blames him-
self for Marguerite's fall and for the
madness in which she killed her new-
born child ('* Penetrato h il mio cor").
She wakes and greets him as her res-
cuer (**Pur fra il riso beflfardo").
Her mind wandeis and she lives over
their first meetings. Mephisto tries to
drag Faust aw^y before the dawn be-
trays his presence, and Faust tries to
lead Marguerite with him, but sceiag
the Evil One, she falls on her knees
and prays (* * O del ciel anpneli **). She re-
pulses Faust with her dying breath and
a chorus of angels welcomes her re-
deemed soul to heaven. A tableau
(often omitted) shows her in Paradise ;
Faust, seeing her, prays and Mephisto
falls beneath an Archangelic swonl.
Rom6o et Jtilietttt (r6m-a-6 & zhfll-
ydt')i K, Romeo e Giulietu (rd'-m&-ft
& jool-y£t'-t£), /. Romeo and Juliet.
Five-act grand opera. Book by Bar-
bier and Carre, after Shakespeare.
Produced, Theitre Lyrique, Paris,
April 27, 1867.
Characters as in Shakespeare with the
addition of Stephano, Romeo*s page
(played by a mezzo-soprano), and Ore-
gorio, a watchman.
Act I. — Scene. The masked ball at
Capulet'9 palace. Romeo disguised as
a pilgrim meets and makes love to the
young Juliet, who later confides her
ecstasy in a famous waltz-song to her
nurse. Her cousin Tybalt recogms>
ing the presence of his family enemy
Romeo, is only restrained from inter-
rupting the festivity by Capulet himself.
Act II. — Scene. Juliet*s balcony,
where Romeo finds her, and though in-
terrupted by the impatience of the nurse
and the tour of Gregorio and his watch-
men, plights his troth.
Act III. — Scene i. The cell of Friar
Laurence (or Lorenzo) who marries the
young runaways. Scene 2. Street be-
fore Capulet's {xilace. Stephano in a
flipf>ant serenade, provokes a street
brawl between the retainers of the rival
families, in which Tybalt kills Romeo's
cousin Mercutio. Romeo coming from
the church wishes to avoid a duel with
Tybalt, now his kinsman, but taunted
into a flght, kills him. Capulet appear-
ing cries for ** justice " from the Duke,
who enters. Romao. to his wild grief, is
banished, but determines to see Juliet
STORIES OF THE OPERAS 863
Act IV. — Scene i. Juliet's chamber at
daybreak. Her husband Romeo is
bidding her farewell. When he has
stolen away, her father Capulet enters
with Friar Laurence and declares that
Juliet must marry Paris at once. The
Friar secretly gives her a potion to keep
her as one dead till Romeo can be sum-
moned to spirit her away. Scene 2
(usually omitted). The wedding cele-
bration, in the midst of which Juliet
swoons and is thought to have died.
Act V. — Scene. The tomb of the Cap-
ulets, where Juliet lies in state. Romeo,
ignorant of the plot, has come to die at
her side and takes poison. She wakens
to see him perish in helpless regret and
kills herself with his dagger.
HUMPERDINCK, BNGBLBRRT,
Hansel luid Gretel (h^n'.z^l oont gra'-
t«l).
Fairy opera in Three ** Pictures."
Book by the composer's sister, Frau
Adelheid Wette.
Produced, Weimar, 189^.
CHARACTERS.
ViTEi (pa'-t«r),
A broom-maker bar.
^BiTivo (gif-troot).
His wife m.-sopr.
NAnsbl,
ThHr son (played by a girl) . . m.-sopr.
Grstkl, Their daughter sopr.
Die Knuspuhxzz (knoos'-p£r-h£x-^),
A witch m.-sopr.
Sandmjbnnchen (z2nt'-m£n-kh£n).
The sandman^ or sieep-fairy, . .sopr.
TAOtBNDMJBNNCHlN (tOw'-zSut-m^n-
kh^n), The dew man, or dawn-
fairy sopr.
Based on one of Grimm's stories,
this graceful opera imports Wagnerian
ideas into the nursery.
Act I. — Scene. The home of Peter.
His hungry children left alone bewail
their^poverty, then fall to frolic. Their
mother finding them idle, in hereagemesB
to punish them knocks over the only jug
of milk in the house. She sends them to
the woods to pick berries for supper and
falls asleep. Her husband returns slight-
ly tipsy but burdened with provisions.
On learning of the errand of the children
he is terrified lest they fall into the
clutches of the Witch wno lives on the
Ilsenstein in a honey-cake house and
bakes into gingerbread all the children
she can capture. Peter and Gertnid
rush out to rescue their children.
Act 11. — Scene I. The depths of a fir-
forest near the Ilsenstein. The chil-
dren, at first delighting in the woods
and their liberty, suddenly realise as it
grows dark that they are lost. At length
they fall asleep under the spell of the
Sandman after they have said their
pra3rers invoking the fourteen angels,
who appear coming down a Jacob's lad-
der to guard the children.
Act III. — Scene. The Witch's House.
The angels and the forest have van-
ished, and the Dew-fairy appearing
wakens Gretel by sprinkhng her with
dew from a bluebell. She wakens Hin-
sel by tickling him. They discown' the
Witch's House with its oven and cage,
and a fence of gingerbread. They are
nibbling bits of this when the Witch
appears, takes the children captive and
gallops about on her broomstick weav«
ing incantations. She prepares the
oven and tells Gretel to crawl in and
see if the cakes are ready. The shrewd
Grete*, however, has already used the
Witch's wand to release Hfinsel from
the spell, and now pretending stupidity,
begs the Witch to show her the way.
The Witch t>ends over the oven and
the children pop her into it and close
the door on her. The fire roars within
at such a rate as the children dance with
glee, that finally the oven falls to pieces.
The gingerbread figures now lose their
honey-crust and prove to be children
whom Hftnsel restores to life with the
wand. The jubilation is increased by the
entrance of Peter and Gertnid, and finds
its climax in the discovery that the
864
THE MUSICAL GUIDE
Witch has been turned into a hu^e
gin^ferbread-cake. A h3rmn of gratitude
ends the quaint masterpiece.
LEONCAVALLOy RUGGIRRO,
I Pagliacci (e pfti-ySt'-che), /. The
Strolling Players. Der Bajazzo (d^r
ba-yat'-s6), G,
Two-act drama ; text and music by
Leoncavallo.
Produced, Milan, May 21,. 1892.
CHARACTERS.
Strolling Players :
Canio (kS'-nt-6) tenor.
To'nio bar.
B«p'pE tenor.
Nkd'da, Canto's wife sopr.
Sil'vio, a villager bar.
The scene is in Calabria on the Feast
of the Assumption, about 1865. It de-
velops a play within a play, a tragedy
within a farce, and concerns the domes-
tic crisis of a group of strolling players,
presenting the venerable story of Harle-
quin, Columbine & Co., to the peasants
of lUly.
After a brief orchestral flourish, To-
nio, a hunchback, the clown of the
troupe, sticks his head through the cur-
tain and begs permission to revive the
old Greek prologue. He steps forward
as Prologue and explains that the play
is a draught from real life, and shows
that actors have their genuine, as well
as their mimic tragedies. The pur-
port of this famous number may be ex-
pressed in an inversion of Shakespeare's
tines : ** All the stage is a world, and
all the players merely men and women.*'
Act I. — At Tonio's signal the curtain
opens disclosing a cross-roads with a
rude portable theatre. The distant
sounds of a cracked trumpet and a be-
laboured drum call the peasants together
and they greet with joy the familiar
characters in whose costumes Canio,
Nedda and Beppe enter in a donkey-
oart. bilenqing the crowd with his drum,.
Canio announces the play for the even-
ing. Canio descends and boxes the
ears of Tonio who loves Nedda and
has hastened to assist her. The crowd
laugh at Tonio who wanders off angrily.
Beppe leads the donkey out and a villa-
ger invites the players to drink. Beppe
throws down his whip * and goes to
change his clothes. Tonio says he must
stay to clean the donkey. The villager
hints that Tonio lingers to flirt with
Nedda. Canio takes it as a joke. He
says it is his place to play the hood-
winked husband on the stage, but ofi
the stage — the end of the joke would be
different (** Un tol gioca "). He loves
his wife. After kissingNedda, he goes
with the men . The other peasants stroll
away to Mass on hearing the church-bell.
Nedda left alone broods over the
fierce look Canio gave her. She won-
ders if he suspects her. The sunlight
thrills her with a vague ecstasy, and she
revels in the song and sport of the
birds {'" Ballatella "). At the end ol
her rhapsody she finds that the hideou£
Tonio is listening. He makes ardent
love (•* So ben che difforme " — ** I know
I'm deformed "). She laughs him to
scorn and advises him to save his love-
making ior the stage. He pursues her,
however, and she, picking up Beppe's
whip, slashes him across the face with it.
He curses her, swears revenge, and
stumbles away. Now her secret lover,
Silvio, a villager, steals in over the wall
In an ardent love-scene he pleads with
her to leave her hateful life, and join
him. She begs him not to tempt her
(**Non mi tentar"), but promises to
meet him that night after the play is
over. Tonio, having seen them, hurries
away and returns with Canio. Silvio
escapes, however, unrecogrnised in the
thicket, while Tonio taunts Nedda.
Canio returns and demands the lovers
name. He threatens to kill Nedda, but
she will not speak. Beppe rushes in
and disarming Canio implores him to
dress for the play as the people are even
now approaching. Tonio hints that the
lover may appear at the play. Left
STORIES OF THE OPERAS 865
alone, Canio bewaiis his bitter fate
sardonically » '* On with the motley !
(**Vesti la giubba") the people pay
and want to laugh. If Harlequin steal
your Columbine — ^laugh, Punchinello,
And everyone will applaud. Laugh at
your own frenzied love ! laugh at the
woe that is rending your heart." In
wild grief Canio gropes his way into the
cheatre.
Act II. — Same scene in the evening,
Beppe and Tonio beat the drum and
Dlow the horn, and the people crowd
Into their places. Nedda collects the
money and whispers a word of warning
•nd promise to Silvio. ' The crowd
gfrows impatient and at length the cur-
tain of the theatre opens showing a crude
little room. Nedda (as Columbine) is
restlessly waiting. The servant Taddeo
is away at market. She hears someone
tuning a guitar outside and the voice of
Beppe (as Harlequin) is heard outside
in a serenade (" O Columbina, il tenero
fido arlecchin **). As Columbine flut-
ters with delight, the loutish Taddeo
(played by Tonio) enters with a market-
basket and makes ludicrous love. Har-
lequin entering the window kicks him.
Taddeo finding a rival generously sur-
renders Columbine and promises to act
as sentinel. Columbine and Harlequin
feast gaily on the bird and wine fetched
by Taddeo. He gives her a sleeping
potion to mix with her husband*s (Pun-
chinello's) drink. Taddeo enters to
warn the lovers, and Harlequin steals
out of the window. Punchinello (plaved
by Canio) enters the door just in time
to hear Columbine promise to meet Har-
lequin at midnight. Canio's self-pos-
session is shattered by the similarity of
these words with those he had heard in
real life a few hours before. He goes
on with increasing difficulty. Columbine
vows that no one has been with her,
and Taddeo substantiates her story.
Tonio lays such an ironic stress on the
praise of Nedda's virtue that Canio
again forgets himself and frantic with
jealous rage demands the name of her
lorer. Nedda tauntingly calls him
Punchinello, but he declares that he is
a man again, not a puppet ; and tells
how he had taken heF up as a starving
orphan and loved her. He breaks down
and the audience is much affected by
the realism of the acting. Canio bursts
out again in furious denunciation of
Nedda's infidelity. The crowd ap-
plauds. Nedda volunteers to leave, but
Canio says she shall not get to her lover
so easily, and again demands the man's
name. Nedda tries to resume the play
with a flippant air ('* Suvvia, cosl terri-
bile "). Canio shrieks with rage at her
manner and once more demands her
lover's name, which she solemnly swears
on her mother's soul that she will not
tell. Tonio appears at the back of the
stage restraining Beppe. Nedda, de-
termined to escape, dashes toward the
audience, but Canio seizing her stabs
her. As she dies, she cries Silvio's
name, and he rushing forward is also
stabbed to death. Canio gasps to the
horrified crowd, "The comedy is fin-
ished."
MASCAGNI, PIETRO.
Cayalleria Rusticana (kfl-val-l^-re'-i
roos-tl-kft'-na). Rural Chivalry.
One-act melodrama. Book by Tar-
g^oni-Fozzetti and G. Menasci (based
on a story by Giovanni Verga).
Produced, Rome, May 20, 1890.
CHARACTERS AND THEIR CREATORS.
ToRiDDu (too-rtd'-doo),
j4 peasant. . . . Roberto Stagno, tenor.
Ai!nOf A carrier bar.
Santusza (san-tood'-za),
A peasant girl.
Gemma Bellinconi, sopr
Lucia (loo-che'-ft).
Tltriddu^s mother contr.
Lo'la, Alfio^s wife m.-sopr.
Scene. — A village-square in Sicily on
Easter Day. Before the curtain rises,
Turiddu is heard carolling a SiciUana
to Lola whom he loves. At rise of the
866
THE MUSICAL GUIDE
curtain peasant men, women, and chil-
dren enter the church. There is a
chorus of May and love. The deserted
Santuzza enters and going to Lucia's
cottage asks where Turiddu is. Lucia
says he has gone to Francofonte, but
Santuzza says he was seen in the village.
She cannot enter Lucia's house, being
excommunicated. The whip and bells
of the carrier are heard and Alfio ap-
pears singing of the joys of the road
(** II cavallo scalpita "), and also of the
fidelity of his wife. He asks Lucia for
wine. She says Turiddu has gone to
the next town to fetch it. Alfio says
he had seen him that very morning near
his own cottage. Lucia is curious but
Santuzza signs her to be silent. The
Easter hymn is sung and all enter the
church but Santuzza and Lucia. Lucia
asks why Santuzza warned her to keep
silent Santuzza tells her, *' Well, you
know, mother" (*' Voi lo sapete, O mam-
ma "), how Turiddu, going to war had
plighted troth with Lola, returning to
find her wedded. He then won the
heart and the honour of Santuzza, only
CO be reconciled with Lola, leaving San-
tuzza to despair. Lucia goes into the
church sadly. Turiddu comes and
when asked, says he has been to Fran-
cofonte. Santuzza gives him the lie,
she had seen him at dawn leaving Lola's
house. He denies that he loves her,
but scorns Santuzza. Lola is heard
singing a light flower-ballad ('* Fior di
giaggolo "). Lola comes and finding the
two together, scornfully enters the
church. Turiddu reviles Santuzza for
awaking Lola's jealousy. She pleads
with him frantically but vainly (** No,
no, Turiddu "). He casts her off and en-
ters the church. In her fury she tells
Alfio, who enters, that Turiddu has be-
trayed him. Alfio swears revenge.
After an instrumental InUrmetzo^
the same scene. An Easter chorus of
people returning from church. Turiddu
speaks to Lola, but she is hurrying home
expecting her husband. Turiddu in-
vites all to join him in wine ('* Viva il
Tino spumeggiante "). Alfio comes.
Turiddu invites him to drink with them.
He sa3rs it would be poison to him. The
women in alarm lead Lola away. Tu-
riddu offers Alfio satisfaction and the
men embrace, Turiddu according to
custom biting Alfio's ear as a challenge.
Turiddu begs Alfio not to blame Lola
and thinks sadly of the lorn Santuzza.
Alfio moves on to await Turiddu. who
calls his mother and asks her blessing
and her care for Santuzza if he does not
return. He hurries away leaving her
mystified and anxious. Santuzza and
others appear. Confused voices are
heard, then a woman screaming, ** Tu-
riddu is killed ! " Santuzza and Lucia
swoon.
MASSENET, JULES E. F.
Lc Cid (m ced). The Cid (Com-
niander).
Four-act opera. Book (after Cor-
neille) by Messrs. D'Ennery, Gallet,
and Blau.
Produced, Paris, November 30. 18S5.
CHARACTERS AND THEIR CREATORS.
ChimIns (she-m^n),
Daughter of De Gormas,
Mme. Fides- Devriis, sopr.
The Infanta Mme. Bosman, sopr.
RoDMGuz (rod-reg'), Son of Don Diigtu,
M. Jean de Keszke, tenor.
Don DizGUE (d6n de-«g'),
M. Edouard de Reszke, bass.
The King.. . Melchiss^ec, bar. or bass.
The Comte de Gormas (kont dtt Gor-mas),
M. Plan9on, bass or bar.
Saint Jambs . . . M. Lambert, bass or bar.
The Moorish Envoy,
M. Ballerory, bass or bar.
Don Arias (don &-re-^), M. Girard, tenor.
Don Alonzo (don &-ldn'-z5),
M. Sentein, bas&
Act I. — Scene i. Hall in the Comte
de Gormas's palace. The Count and
his friends hear a trumpet fanfare sani>
moning them to be present at the knight
STORIES OF THE OPERAS 867
teg of the young Rodrigo. The friends
say flatteringly that while honours are
in the air, it were fitting the Count
were appointed tutor to the King's
son. The Count says how much he
should value the honour. Chim^ne
cannot contain her joy at the rejoic-
ings in honour of Rodrigo. Her father
smilingly accuses her of a tender in-
terest in the hero of the day, and ap-
plauds her choice. Chimene, left alone,
rejoices in being able to love openly.
The Infanta, coming to visit her, re-
veals her own love for Rodrigo ; but
seeing Chim^ne's consternation, bids
her love on untroubled, as a princess
has not the right of loving whom she
will. Scene 2. Gallery leading from
Palace to Cathedral. Priests and peo-
ple intone a psalm of thanksgiving
for deliverance from the Moors. The
King announces his intention to knight
Rodrigo, though his valour is yet un-
proved, in compliment to Don Diegue.
Rodrigo enters, his noble bearing ad-
mired by the assemblage. The King
administers the oath of knighthood and
presents the sword. Rodrigo apostro-
phises his sword, and invokes the aid of
tis patron St. James, and, gazing at Chi-
mene, of his guardian angel. Chimene
rejoices in this sign of his love for her.
The King dismisses Rodrigo to the ca-
thedral. As a further proof of his re-
gard for Don Diegue, app)oints him tutor
to the Infanta. The friends of De (lor-
mas express dissatisfaction. The King
rebukes them, and goes. Diegue returns
to ask the hand of Chimene for his son.
The jealous Count repulses him, and
ends by striking him. The old man,
drawing his sword to avenge the insult,
is easily disarmed by the Count, and
is taunted by the others. Left alone,
he bewails his age and dishonour.
Hearing the voice of Rodrigo taking
the oaths in the cathedral, he remembers
that he has a champion in his son.
When Rodrigo appears, he is told of
the insult, which he angrily swears to
avenge, and demands the offender's
name. He is horrified to hear the
name of Chim^ne's father. She ap-
pears from the church at that moment.
His struggle between love and filial
duty is fierce, but duty triumphs. He
joins with his father in swearing ven-
geance.
Act II. — Scene i. Moonlight street in
Burgos with the Count's palace. Rod-
rigo enters, bemoaning his cruel fate,
and meditating suicide ; but overcomes
his weakness, meets the Count, and
challenges him. The Count disdains so
untried a foe, but Rodrigo forces him
to fight, and kills him. Diegue enters
with friends and commends his son,
who, however, is distracted with grief.
Diegue sympathises with his distress.
Chimene enters and wildly inquires
her father's murderer, going from one
to another, till she sees by Rodrigo's face
that he is the guilty one. She swoons.
A Requiem is heard chanted within.
Scene 2. Square in Burgos. Scene
of popular rejoicing. The Infanta goes
from group to group, distributing alms.
The King enters and is received with
acclamation, to his daughter's joy. Sud-
denly Chimene rushes in and calls ex-
citedly for justice ; followed by Don
Diegue and his friends who give their
explanation of the Count's death. All,
in chorus, express varied emotions ; in-
terrupted by a Moorish* enVDK* who
brings a defiant message ftoivi the
returning enemy. He is answered
proudly by the King and withdraws.
Then the King reproaches Rodrigo for
having deprived him of his best general
in this extremity. Diegue boldly sug-
gests that Rodrigo take the place of
leader, and is seconded by the crowd
and Rodrigo himself, who begs a chance
of proving his valour before he dies.
The King consents.
Act III. — Scene i. Chimene alone in
her chamber at night, mourning her
dead father and her lost lover (" Pleurez,
pleurez, mes yeux ! "). To her surprise,
Rodrigo enters. They sing sadly of the
bygone days of their happiness. Rod-
rigo, enraptured to 6nd that Chimene
still loves him, bids farewell before he
868
THE MUSICAL GUIDE
goes to die. Chim^ne, reproaching him
for thinking of death, urges him to re-
turn victorious, so that his past may
be forgiven ; then shocked with herself
at this disloyalty to her father, tries to
take it back, and flees, ashamed. But
Rodrigo, glorying in her love, feels
that no enemy can be too strong for
him. Scene 2. Rodrigo^s camp. Sol-
diers amusing themselves. Rodrigo
entering reproaches them for frivolity in
the face of death, and announces that
an overwhelming army is upon them.
Some counsel flight; it is indignantly
repudiated by Rodrigo, who, however,
lets the cowards go. lie thanks
the brave few who remain. Scene 3.
Rodrigo praying in his tent. St.
James appears and promises him vic-
tory. Scene 4. The battle-field at
sunrise. Rodrigo assures his soldiers of
victory.
Act IV. — Scene I. Hall in the pal-
ace at Grenada. The runaway soldiers
tell that Rodrigo has been overpowered
and slain and they alone escaped.
Di^gue accuses them of cowardice, and
says he had rather see his son dead than
living as they. The Indies, entering,
hear the bad news and cry out in grief.
The Infanta tenderU consoles the old
father, Chim^ne mourns her twice-
broken heart, then publicly proclaims
that she still loves Rodrigo, and is glad
he knew it before he died. The King
entering inquires the meaning of their
distress when the town is joyful. Sounds
of acclamation are heard, and Chim^ne
understands at once ths^t Rodrigo is
alive, and a conqueror. Scene 2. Court
of the palace. The King, etc., enter
and take their places, while the crowd
sings praises of the Cid. Procession of
soldiers, captives, etc., lastly Rodrigo.
He proffers his sword to the King, who
tells him to keep it and name his re-
ward. Rodrigo sadly answers that the
only reward he craves is not in the
King's power to grant. The King, un-
derstanding, bids Chim^ne answer, and
is echoed by the people. Chim^ne com-
plains that she should be asked to reward
her father's murderer, and the people
fear she means to sentence him to
death ; but she can neither condemn nor
forgive. Rodrigo, to relieve her, pre-
pares to kill himself, but Chimine just
in time prevents him, and confesses her
love. General rejoicing.
METERBEER, GIACOMO.
L'Africaine <lif-rT-k«n), F., Die Afri-
kanerin (de ilf-rT(-kli'-n«r-!n), G. The
African.
Five-act opera. Book by Scribe. Th^
Academie, Paris, April 28, 1865.
CHARACTERS AND THEIR CREATORS.
Seuka <sa-le'-ka). An African
queen in slavery ^
Mme. Marie Saxe, sopr.
Ink (e-nfis). Daughter of Don
Diego. . . .Mile. Marie Batte, sopr.
Anna,
Her attendant contralto.
Vasco Di Gama (ga'-ma),
Portuguese naval officer ^
Naudin, tenor.
Nklusko (na-Ioos'-ko),
A slave Faure, bass.
Don Pkdko (pa'-dro). President
of the Royal Council. . . Belval, bass.
Don Dikgo (de-a -go). Member of
the Council and A dmiraL, . . .bass.
Don Alvar', Metnber of the
Council and Admiral bass.
Gban Sacerdotk di BiAMA (sa-
cher-do'-td), I/igh Priest of
Brama Obin, bass.
Grandk 1n2ui8itobb (gr&n'-dt* en-
kwez-S-to'-re) and Inquisitors.
Beg^n in 1838 the opera was not fin-
ished till 1863, nor produced till two
years after Meyerbeer s death.
Act I. — Scene. Royal Council cham-
ber. Inez and Anna appear ; Inez,
who loves the absent Vasco, has been
summoned by her father, who comes to
tell her that she is to marry Don Pedro.
He tells her that Vasco is lost at sea.
STORIES OF THE OPERAS 869
and she hurries away. The council as-
sembles to discuss further explorations.
Vasco appears. He has escaped alone
from the shipwreck at the Cape of
Storms, but begs a new ship to try the
passage again, explaining that he has
bought in Africa two slaves, members
of a race not conquered by the Span-
iards. Selika and Nelusko are brought
in. Questioned as to their country,
they refuse to tell. Vasco, persisting
in his request for a ship, is arrested, and
is condemned for impiety.
Act II. — Scene. The prison of the
Inquisition at Lisbon. Vasco asleep.
Selika declares her love for him, but
hides as Nelusko enters to kill him as a
Christian and enemy. She intervenes
and pleads for him, but is forced to
wake him, whereupon Nelusko conceals
his dagger and leaves. Vasco studies
his map and she warns him against
dangerous capes. He expresses his
gratitude! just as Don Pedro and Inez
enter with his pardon. Inez suspects
that Vasco loves Selika ; to allay her
suspicions he presents Selika to her as a
slave. Don Pedro announces that he
has won the royal commission to make
the exploration Vasco planned. He
also announces that he is to wed Inez,
who has consented in order to secure
Vasco*s freedom. The treacherous
Nelusko is to go as Pedro's pilot. Vasco
is left alone in despair.
Act III. — Scene. The **between-
decks " of a ship. Sailors' chorus and
prayer. Inez, now Pedro's wife, is with
him. Nelusko appears and gives com-
mands. Accused of treachery, he de-
nies it, but gleefully sings of Adamastor,
the god of the t3rphoon, whom he trusts
to destroy the Portuguese. A strange
ship is sighted and a boat puts out.
Vasco comes aboard and tells Pedro that
he is drifting into the same trap he him-
self fell into ; that the ship will fall prey
to the storm and to a horde of savages
from the shore. Pedro scornfully orders
him to be tied to a mast and shot. Se-
lika' threatens to stab Inez if Vasco is
not released. She is hoodwinked, over-
powered and ordered to be scourged.
But now the hurricane dashes on
them, and in the panic, the ship is in-
vaded by savages who overpower the
crew.
Act IV. — Scene. Space between an
Indian temple and a palace. The cor-
onation ceremony of Selika. All the
Portuguese have been condemned to
death except Vasco, who had been
found in chains. When all have de-
parted, Vasco enters, guarded. He is
overcome with the beauty of the place,
an earthly Paradise. The Brahmans
and soldiers are about to kill him, when
Selika appears and rescues him, declar-
ing that she has been plighted to wed
him. Nelusko is overcome with grief
at losing his beloved Selika. Vasco, in
loving grratitude, consents gladly to the
marriage, and the rites begin, when the
mournful wails of Inez and her women
are heard in the distance. He attempts
to rush to her rescue, but the brides-
maids surround him and hale him to the
altar.
Act V. — Scene i. The queen's gar-
dens. Inez, under guard, is upbraided
by the enraged Selika, because Vasco
has found his way to her. Inez con-
fesses that she and Vasco are lovers
still, and begs to be killed ; but Selika's
anger subsides into anguish, and when
Nelusko enters with soldiers, she orders
Inez and Vasco to be put on board a
ship and sent home. Scene 2. A prom-
ontory on which is a large tree — the
manchineel, whose perfume produces an
ecstasy ending in death. The lone Se-
lika appears and, inhaling the odour,
breaks into a rapturous delirium of love
for Vasco, as she falls asleep. The
sound of a distant cannon awakens her.
Nelusko enters joyfully announcing that
Vasco has sailed. With a despairing
cry her soul departs, and Nelusko dies
of grief at her feet.
Lea Huguenots Ga-zOg'-no), F,, Gli
Ugonotti (le oo-gd-not'-te), /., Die
Hugenotten (de hookh'-£-n6t-t2n), G.
The Huguenots.
870
THE MUSICAL GUIDE
Four^ct open. Book by Scribe and
Deschamps.
Acad^mie, Paris, February 29, 1836.
CHARACTERS AND THEIR CREATORS.
Valkntxnb (vftU&ii-ten),
Daughter of St, Bris,
Mile. Fal9on, sopr.
Maigvbkitb dz Valou (dfi v&l-wii),
Betrothed to Henry IV,,
Mme. Donis-Gras, sopr.
Ubbain (Or-bAh),
Her page ^ Mile. Flecheux, sopr.; now
a contr. role.
CoMTz Dx St. Bill (s&n-bre),
Governor of the Louvre Leda.
CoMTB DX Nbtkks (k66t dii-nfi-
v^r) Derivis.
Raool dx Nanois (ri-ool dil nSA-
zhe),^ Protestant, .Nourrit, tenor.
Mabczl (m&r-s£l),
His servant, Levasseur, bass.
Maubzvkkt (mo-rtt-v&r).
Tavannks (t4-vitn).
DzRm.
Mz«u (mfi-rtl).
Act I. — Scene i. A feast at the cas-
tle of De Nevers. The revellers per-
suade Raoul to tell of a b^iutiful stran-
ger he had once rescued from a crowd
of boisterous students, and had since
loved though he does not know her
name. His servant, a stem old Protes-
tant soldier, appears and is persuaded
to sing an anti-Popery song, which the
Catholic noblemen take good-naturedly.
A servant, followed by Valentine, heav-
ily veiled, whispers to De Nevers, who
leaves with the veiled woman. Raoul
recognises her as his mysterious love.
De Nevers returns. The page Urbain
appears and with much flourish delivers
to Raoul a letter, which he passes about ;
though not signed, it is recognised as
Marguerite*s writing and is an invi-
tation to come blindfolded to Court.
The noblemen shower the puzzled Raoul
with congratulations. Scene 2. The
ch&teau and gardens of Marguerite.
Surrounded by her attendants, she is
rhapsodising over love, ** A questa voce
sola." Valentine enters. She has be-
come a favourite of Marguerite and at
her request has asked De Nevers to
absolve her from the promise of mar-
riage arranged by her father. Urbain
laughingly announces that a cavalier
with ejres blindfolded is waiting. Raoul
is led m. Mai^erite bids him remove
the veil, and he is overcome by her beau-
ty. She exacts of him a promise to do
as she bids. The Gentlemen of the
Court, including Valentine*s father, St.
Bris and De Nevers enter. She makes
them all take an oath of peace and
friendship. Mai^erite, who is eager
to reconcile the Catholics and Protes-
tants, who are already drifting toward
the St. Bartholomew massacre, an-
nounces that Raoul is to wed a lady of
her choice. St. Bris brings in his daugh-
ter, and Raoul recognising her as the
veiled woman who had called on De
Nevers, suspects her honesty, and firmly
declines to wed her. De Nevers aijd
St. Bris swear revenge, and Valentine is
overcome with humiliation.
Act II. — Scene. Two inns and a
chapel on the bank of the Seine. Cath-
olic students at one tavern and Hugue-
not soldiers at the other are making
holiday. A bridal procession appears,
leading De Nevers and Valentine,
and St. Bris and Maurevert. Valen-
tine remains at the chapel to pray. De
Nevers leaves. Marcel enters and de-
livers a letter to St. Bris, who finds in
it a challenge. He plots with Maure-
vert to assassinate Raoul, and is over-
heard by Valenrine, who warns Marcel
and leaves. St. Bris and Raoul arrive
and prepare for the duel, when Marcel
seeing Maurevert appear with soldiers,
summons the Huguenot soldiers from
the inn. The Catholics hasten from
theirs and a riot is brewing. Margue-
rite and Urbain appear, and the com-
batants begin recrimination. Valentine
appears and Mai^erite explains to
Raoul the purpose of Valentine's visit
to De Nevers. He learns with grief
STORIES OF THE OPERAS 871
that she has now become the wife of
De Nevers, who appears in a barge and
takes her away.
Act III. — Scene. The chiteau of Dc
Nevers. Valentine, alone, bemoans her
lot, wedded to De Nevers, loving
Raoul. Raoul appears. She conceals
him behind a curtain just before the en-
try of St. Bris, De >fevers and others,
who have met to plan the annihilation
of all the Huguenots. There is an im-
?ressive scene, *' The Blessing of the
bignards." De Nevers refuses to stoop
to assassination ; he breaks his sword
and is led away. St. Bris bids them
await the signal of the bell for the gen-
eral massacre. Monks enter with a
basket of white scarves. They bless
the swords. When all have gone, Raoul
steps out, eager to warn his friends and
slay the conspirators. Valentine pleads
with him not to go lest her father and
her husband perish. She clings to him
k>vingly and he echoes her passion till
the distant bell announces the slaugh-
ter ; they look out into the street and
see the St. Bartholomew massacre in
full course. She faints with terror for
him and he leaves by the window. [The
performance usually ends here.]
Act IV. — Scene. A cemetery and
church. Within the church are Hugue-
not women and children preparing to
die for the faith. Raoul meets Marcel,
who falls wounded. Little remains to
them but to die bravely. De Nevers
has been killed for interceding. Valen-
tine appears, dishevelled and breathless.
She begs Raoul not to die but to live
for her. Her husband is dead. Mar-
cel will join them in marriage. The
religious hymns from the church are
interrupted by sounds of musketry and
the fury of the assassins. After a silence
the three begin to sing Protestant
hymns. The Catholics appear, St.
Bris leading a company of soldiers.
Though Valentine tries to restrain him,
Raoul declares that he is a Huguenot.
Valentine and Marcel cry. *' And we
also.*' St. Bris gives the command to
fire, not seeing his daughter. She dies
declaring that she will intercede for hei
father in heaven.
[In some versions there is a scene in
which Raoul makes wild but vain ap-
peals to Marguerite to put a stop to the
massacre.]
Le Proph^te (m pr6.f«t), F., II Profeta
(el pro-fa -ta), /., Der Prophet Cd«r
pro-fat'), G. The Prophet.
Five-act opera. Book by Scribe.
Produced, Paris, April i6th, 1849, with
Mme. Viardot-Garcia as Fidet^ and
Roger as the Pr&phiU
CHARACTERS.
JiAN DE Lkydin (zhdA dfi IM-AA),
An innkeeper. The Prophet, . . tenor
CoMTB d*Obxkthal (kdAt d'd-b^r-
t&l).
Gio'iCA, Ma'thisen, Zacca'na,
Three Anabaptist Leaders of
the Revolt,
FiDb (fe-dfa).
Mother of Jean alto.
BuTAy
His betrothed. sopr.
Note, — The hero of the opera is John
of Leyden, an historical personage, who
led a religious revolt that succeeded (or
a time in Holland, 1534.
Act I. — Scene. Dordrecht. Peas-
ants and millers are at breakfast. Berta
and Fid^ meet. Berta, a poor orphan,
is to be wed to Jean ; the bridegroom
even row waits her. Berta says she
cannot wed without the consent of Ober-
thal, the lord of the domain. They
start to ask this, but meet with three
Anabaptists, who enter, and by talk of
liberty arouse the peasants to attack the
Castle. Oberthal appears at the gates
and scornfully reviles Giona as his late
thievish cellar-keeper. This cools the
mob's fuiv. Berta and Fid^ interrupt
to ask ODerthal*s consent to the girPs
marriage, but he, smitten with hef
872
THE MUSICAL GUIDE
beauty, refuses it, and has her and
Fid^ dragged into the Castle. In the
distance the hymn of the Anabaptists is
beard.
Act II. — Scene. Jean*s inn at Ley-
den. A soldier and peasants drinking.
Jean serves them, but dreams of Berta's
return. The three Anabaptists enter.
Thev are struck by Jean's likeness to
the image of the patron saint of the city
of Mttnster. They learn from a peasant
that he is also brave and versed in the
Scriptures. Left alone with Jean« they
question him. He tells them of dreams
Uiat have disturbed him by showing
the people kneeling and hailing him
king, while he reads in blazing letters a
warning against drawing the sword ;
then a sea of blood envelops him and as
he tries to climb to the throne it is
•wept away ; demon-voices roar round
him, but give way to a soft voice whis-
pering •* Mercy. They hail him as
their leader, but he prefers Berta and
lowly peace, and they leave him. A
sound of horses is heard and Berta
rushes in in terror, hiding, just before
Oberthal and soldiers hasten after her.
Oberthal demands the delivery of Berta »
and vows otherwise to take the life of
Fid^, who is dragged in and threatened
with a soldier's axe. Jean turns toward
Berta, who comes from concealment,
but cannot see his mother killed, and in
despair surrenders Berta to Oberthal,
who drags her away swooning. Fid^
pours out her gratitude (in a famous air
**Ah, mon fils" or "O figlio mio")
and leaves him to his misery. The Ana-
baptists enter and offer him the crown
and sword. He accepts with fire, but
when they tell him he must give up all
his family ties and depart without seeing
his mother again, he wavers ; at length,
however he follows them.
Act III. — Scene i. The Anabaptist
Camp, near a frozen lake in Westphalia.
A battle is heard in the distance, and
Anabaptist soldiers drag in a monk and
other prisoners whom they and their
women taunt. A band of skaters ar-
xjvM with foodj for which the soldiers
barter spoils. Zaccana sends the vis-
itors away and sends the soldiers to
sleep. Scene 2. Zaccana's tent. He
and Mathisen meet. They decide to
assault Mtlnster at once before Ober-
thal's father can bring up reinforce-
ments. Oberthal is brought in as a
prisoner. He is not recognised in the
dark and offers to join them, swearing
eo help destroy the abbeys and the no-
bility. They declare that he must help
destroy his father, and he consents.
Giona strikes a light gaily and they all
recognise Oberthal. They order him at
once to the gallows, as Jean enters. He
is determined to see his mother, and
Zaccana says she will be killed if he at-
tempts it. Oberthal is led past, but
Jean demands his safety and, left alone
with him, learns that Berta had leaped
into the river to save her honour, and
had escaped to MUnster. A mutiny is
threatened now by the soldiers chafing
at Jean's inaction, till he, after prayers
and exhortation and the seeing of a
heavenly vision, sets forth with them to
the assault.
Act IV. — Scene i. A square in Mtln*
ster. The citizens are paying tribute
of gold to the victorious Anabaptists
and secretly cursing the impostor Proph-
et, who is to be proclaim^ Emperor of
Germany. Fid^ enters, disguised as
^ ^gg^f* The citizens give her alms
and depart ; Berta enters as a Pilgrim.
Recognising Fid^ by har voice, she
tells of her flight from Ot>erthaI, her
rescue by a shepherd, her return to the
inn, where she learned Jean and Fid^
had gone to Mtinster. Fides sa}*s that
Jean is dead ; she had found blood-
stained clothes of his and she believed
the mysterious Prophet had killed him.
Berta vows to kill the Prophet in re-
venge. Scene 2. Interior of the Ca-
thedral. The coronation procession of
Jean passes across. Fid^ kneeling,
has not seen him and prays for his de-
struction, unwitting who he is. Jean
re-enters as all kneel, and takes the crown.
Fidte and he recognise each other.
Mathisen tells him that if he acknowi
STORIES OF THE OPERAS 873
edgts her, she dies, and he disavows
her. .When she proclaims herself his
mother, he says she is insane. She is
about to be killed, but he intervenes,
sa3ring she has lost her reason. He then
declares that if she still calls him her
son, his followers must kill him. Faced
by this crisis, Fid^s denies him, and he
is hailed as a miracle-worker for restor-
ing the reason of Fid^, who is made
prisoner.
Act V. — Scene i. Prison in MQnster
Palace. The three Anabaptists meet ; and
learning that the true Emperor is march-
ing on the town to recapture it, discuss
a paper sent offering them clemency if
they surrender Jean. Soldiers lead in
Fidfe, who, left alone, broods bitterly
over her son's faithlessness to her. Jean
enters, and she makes him kneel to im-
plore her pardon. She demands that he
renounce his power and repent. He
consents. An officer enters to announce
that the city is betrayed to the Emperor,
and that a frantic woman was found
trying to set lire to the palace. Berta
is dragged in. Learning Jean's identity,
she is revolted by his bloody ambition,
and cursing him, stabs herself. Jean
sends his mother away to safety, and
determines to revenge himself on the
traitors. The scene changes to 2. The
Banquet Hall. Jean after sending two
officers secretly to close the gates as soon
is the Emperor's forces enter, joins
mildly in the revel. The three Ana-
■>aptists now rush in, leading the hostile
troops. They claim Jean as their pris-
oner. He cries that they are his. A
great explosion rends the wall and all
perish in the flames. Fid^ rushes in to
forgive her son, and dies with him.
Robert le Diable (ro-bftr lit dY-ftbl),
^., Rober'to il Dia'volo, /., Robert
der Teufel (toi' f«l), C, Robert the
Devil.
Five-act opera. Book by Scribe and
Delavigne.
Produced, Paris. Academic, Novem-
ber 21. id3X.
CHARACTERS AND THSIR CREATORS.
ROBKRT,
Vuig of Normandy t Nourrit, tenor.
Bertram (bir-trah).
His friend, t^evasseur, bass.
Raimbaut (rftn-bo),
A Norman peasant, . .Lafont, tenor.
Albbit,
A knight bar.
ItABKLLB,
Princess of Sicily,
Nlme. Cinti-Damoreau, sopr.
Alice,
A Norman peasant , Mile. Dorus, sopr.
Thk Abbesi Signora 7'aglionL
[Next to Die Zauberfl5te, probably
the worst libretto in existence.]
Act I. — Scene. A tented space near
the port of Palermo. The Sicilian
knights are drinking. Robert intro-
duces himself and joins the chorus. A
Norman minstrel (Raimbaut) appears
and being asked to sing, tells the his-
tory of Robert the young duke ('* Reg-
nava un tempo "). According to this
the Princess Bertha was won and wed-
ded by a fiend in human disguise ;
their son was Robert called '*the
fiend." Robert in rage, declares him-
self the subject of the song, and orders
his servants to hang the minstrel ; he
spares the man's life, however, when he
learns that Raimbaut 's betrothed has a
message for him. Alice is shown in,
Robert's heart softens toward her and
he orders the boisterous knights away.
Alice, his foster-sister, tells him his
mother is dead, and dying had told her
to go to her son (" Vanne, disse, al fig«
lio mio") and beg kim to reform his
ways, and, on the day he felt worthy, to
read the scroll which Alice shows:
Robert feels unworthy to read. He
tells Alice he has fallen in love with the
Princess Isabelle, and in attempting to
carry her off, was set upon by the
knights of the court, and only saved by
Bertram. Alice advises him to write to
874 THE MUSICAL GUIDE
the Princess, whom he has not since
seen. He dictates a letter and gives it
to Alice to deliver, promising to consent
to her ttSirriage with Raimbaut. As
she gCiM, sne meets Bertram, who terri-
6es her by his resemblance to a picture
of Satan she had seen. Robert con-
fesses to Bertram he thinks his influ-
ence evil, but is persuaded to join the
gambling knights, singing a Sicilian
luck-song (**Sorte arnica"). He
loses everything he possesses in the
game and receives only jeers from the
others.
Act II. — Scene. Alone the Princess
muses on her ill-fated love (** Dell'
umana grandezza '*). Alice and others
enter with petitions, and Alice g^ves the
Princess Robert's letter, which she re-
ceives with delight ("Ah, vieni").
She leaves just as Robert and Bertram
enter. Robert has challenged the
Prince to a bout at arms. A herald an-
nounces that the Prince desires the
combat to be mortal ; he leads Robert
away to the forest. Isabelle and the
King, Bertram, Alice, Raimbaut, and
others assemble. After dances and
song, the herald announces to Isabelle
that the Prince wishes her to arm him.
She gives his squires the arms, but se-
cretly wishes Robert success. Bertram
aside gloats over the fact that Robert
is lost in the woods and will not come.
The others wait anxiously for him, but
he does not appear, and the procession
moves away.
Act III. — Scene i. A gloomy place
with a ruined temple, a cavern and a
cross. Raimbaut has come to meet
Alice here, but Bertram appears and
givi.:g him gold advises him not to be
hasty about marrying Alice. The min-
strel' goes away in doubt. Bertram
alone gloats demon-like over the ap-
proaching doom of Robert, who is ac-
tually his son. The chorus of fiends is
heard (" Demoni fatali," the "Valse
Infernale") and Bertram enters their
fiery cave. Alice comes down the
mountain dreaming of Normandy
(** Nel lasciar la Normandia "). She is
terrified by the sounds from the cavern,
but hearing Robert's name called she
stops, embraces the cross and swoons.
Bertram enters in confusion ; the de-
mons have warned him that if he doQ
not win Robert's soul before midnight,
he loses him forever. Seeing Alice,
he threatens her and her betrothed and
all her friends with death if she dis-
closes what she has heard. Robert
comes gloomily and Bertram orders her
away. She goes reluctantly, and Ber-
tram tells Robert she is agitated with
jealousy of Raimbaut ; he tells Robert
that the Prince has used sorcery and must
be met with it. Scene 2. Mysteriou*
vaults. Bertram entering calls statues
of nuns to life and bids them endce
Robert when he comes, and make him
pluck the branch of magic power. When
he withdraws, the nuns dance a wild
Bacchanale and surround Robert, who
enters, but in terror seeks to fly. After
the ballets of ** Intoxication,** and
** Gaming," and ** Love," he seizes the
branch.
Act IV. — Scene. Isabelle is in her
apartments surrounded by bridesmaids;
she is to marry the Prince. As he en-
ters, Robert appears and with his mag-
ic branch puts all to sleep, then awak-
ens Isabelle. She rebukes him for not
being present at the combat, and pleads
with him to throw off the infernal influ-
ence (*' Roberto, o tu che adoro." or
"Robert, toi que j'aime"). He con-
sents, breaks the, branch, and kneels at
her feet. The court awakens from its
sleep and Robert is seized and dragged
away. Alice prays for him and the
Princess swoons.
Act V. — Scene. Cloisters. A chorus
of monks. Robert enters, dragging
in the reluctant Bertram. Bertram
promises him success after all if he will
sign a scroll. As he is about to do so,
he hears a hymn sung in the chapel,
and his childhood faith wakes in hiiru
Bertram tries to win him away to de-
spair, and at last declares himself Rob-
ert's father. Alice enters and strugglef
for Robert with the fiend-father ; as b»
STORIES OF THE OPERAS 875
liiMily produces a parchment and a sti-
letto, Alice presents the mother's will ;
in it Robert reads a warning not to trust
the counsels of the fiend. As he still hesi-
tates, the clock strikes twelve. Bertram
vanishes in despair and a chorus of an-
gels and men sing a hymn of joy.
MOZART, jyoLFGANG AMADEUS.
II Dissolu'to Puni'to ; ossia il Don
Giovanni (ddn j5-vfin'.ne), /., Don
Juan (d6n hwSn in 5/., in F. ddii-
zhw&A, in E, dan joo'-an).
Two-act opera buffa. Book by Lo-
renzo da Ponte (from Tirso de Molina's
story, '*E1 combidado de piedra").
Composed in g^eat haste and produced,
Prague, October 29, 1787.
CHARACTERS AND THEIR CREATORS.
Don Otta'vio Baglioni, tenor.
Don Giovanni Luigi Bassi, bar.
Lxpoikl'lo,
His servant. . .Felice Ponziani, bass.
Don Pbdio (pa'-dro),
HCommendatore (in Ger-
man, Der Komthur), the
Commandant of S>eville.
Masbt'to, a peasants
. Donna Anna,
Daughter of Don Pedro,
Signora Teresa Saporitti, sopr.
Donna Elvira (51-ve'-ra) . . Micelli, sopr.
ZzRLiNA (ts2r-le'-nS) Bondini, sopr.
Act I. — ^Scene i. Seville Square be-
fore the Commendatore's palace at
night. Leporello complains of working
for his master night and day (*' Notto e
giomo faticar"). Don Giovanni now
enters ; he has attempted outrage upon
Donna Anna, and being frustrated is
taking Flight ; she clings to him to dis-
cover who he is and calls for help. Her
father, the Commendatore, hurrying to
her rescue, is killed by Don Giovanni,
who slinks away undiscovered, followed
by his disgusted and terrified servant.
Loli, bass.
Ottavio, Anna's fiance, enters with ser-
vants and torches. He and Donna
Anna swear revenge against the murder-
er ('* Fuggi crudeie *' ; Schwur- Duett).
Scene 2. A street. Don Giovanni en-
ters hastily. Leporello protests against
his master's mode of life, but is threat-
ened and cajoled, and told of a new
amour. Donna Elvira is seen coming
and the men withdraw to one side,
while she bewails her lost honour and
Don Giovanni's perfidy (**Ah chi mi
dice"). Not recognising her, the Don
comes forward flirtatiously, only to be
bitterly rebuked. The Don referring
her to Leporello, steals away. Leporello
tells her that she is only one of a long
list of victims to the Eton's gallantry ;
he unrolls a catalogue of them (** Ma-
damina, il Catalogo '* ; Register^Arie),
a thousand or more of all countries,
ages and conditions. When he has
gone, she breaks out into a prayer for
revenge (** Mi tradi quell* alma ingra-
ta "). Scene 3. The country near the
Don's palace. Zerlina and Masetto,
about to be married, make merry with
the other peasants (** Giovenette, che
fate "). The Don and his servant ap-
pear, and the Don questions Zerlina
and orders the others to his palace for
refreshment. Masetto, in spite of his
jealous dread, is dragged away by Le-
porello. The Don promises the terri-
fied girl that he will marry her, and
after some fluttering she accepts the de-
coy (in a duet, ** La ci darem '). They
are confronted by Donna Elvira, who
leads the girl away from danger. Ot-
tavio and Anna in deep mourning enter.
The Don now attempts to play the gal-
lant to Anna, and pretends he does not
know the cause of her mourning. El-
vira returns and denounces him (*' Non
ti tider, O misera "), whereupon he de-
clares that she is insane. Ottavio and
Anna are deceived for the moment, but
when, after inviting them to his palace;
he follows Elvira away, Anna tells Ot-
tavio that she believes Don Giovanni to
be the mysterious man who had entered
her room at night, and in his flight had
876 THE MUSICAL GUIDE
killed her father. She describes the
scene in detail and declaring to Otta-
vio " Now you know the villain" (** Or
sai che Tindeg^o"), she bids him re-
venge her. When they have gone,
Leporello enters, deciding to quit his dis-
tasteful service, and when Don Giovan-
ni enters, he tells him how he has Blled
Masetto and the others with food and
drink only to have Zerlina return with
Elvira, who had told the company of the
Don's misdeeds. Leporello tells how
he hnally got her out of the house, and
the Don decides that a carousal with
the peasants will please him (*' Finch^
dal vino "). Scene 4. A garden. Zer-
lina is trjnng to console the indignant
Masetto, finally crying, ** Beat me,
beat me " (** Batti, batti "). Just as he
is won over, the Don's voice is heard ;
Masetto and she hide and the Don en-
ters with the peasants ; they pass on
and the Don discovers Zerhna ; as he
pleads with her, he also descries Ma-
setto and with presence of mind invites
him to join them at the feast. When
they have gone Ottavio enters with
Anna and Elvira, all three in dominoes
and masks. In the ** Mask-Trio" they
disclose their plan to learn the true
character of the Don who with Lepo-
rello appears and invites them in.
Scene 5. A g^eat ball-room. The peas-
ants are revelling in the hospitality
of the Don, and the attentiveness of his
servant. Both master and man flirt
outrageously, and Masetto is in tor-
ment, as the Don drags Zerlina away.
Her voice is heard crying for help, and
the three masked people entering realise
the Don's blackness of heart. Zerlina
escapes and throws herself on their pro-
tection. The Don tries to throw the
blame on Leporello, but the three re-
move their masks and denounce his
crimes. Thunder is heard foreboding
his doom, but the Don laughs at
fate.
Act II. — Scene i. A street at even-
ing. Leporello is trying to get away
from his master, who finally bribes him
with money to carry out his plot. He
exchanges cloaks and hats with the re-
luctant servant, and when the iove-lom
Elvira appears at a window, the Don
from concealment implores her to for-
give him and come down. She is over-
whelmed with joy at his return and de-
scends. Leporello imitates his master's
voice, and makes such love to her that
w^hen the Don makes a noise as if kill-
ing someone, she flees hastily with Le-
e)rello. The coast is now clear for the
on's plot against Zerlina, and he
sings a serenade to bring her to the
window (** Deh vieni alia finestra ").
But Masetto enters with his friends
armed with cudgels and guns. Think-
ing the Don to be the servant, he tells
his plan to kill the libertine ; the Don
sends the villagers on a wild-goose
chase, beats the stupid Masetto and gets
safely away. Zerlina entering tries to
appease her distracted and aching lover
by her tenderness (**Vedrai carino'*).
Scene 2. Portico of Donna Anna's
palace. Leporello and Elvira enter, he
wondering how to get rid of the tena-
cious servants and torches. Ottavio is
trying to comfort Anna. Leporello in
eluding Elvira comes upon Masetto and
Zerlina, but after pleading for pardon
escapes by running. Ottavio declares
himself convinced of the Don's guilt,
and promises to console Anna '*his
treasure" ("II mio tesoro") with
speedy revenge. Scene 3. A square
with a statue of the Commendatore.
The Don and Leporello groping along,
meet in the dark. The Don laughing'
ly tells of an amorous encounter he had
with some strange woman who thought
him to be Leporello. The statue speaks
wamingly. Leporello is terrified, but
the Don only mystified ; he has Lepo-
rello read the inscription "On the im-
pious wretch who caused my death,
here I wait revenge." He laughs and
says : " Tell the old buffoon, that I ex-
pect him to dinner to-morrow even-
mg " ; he is greatly amused at Lepo-
rello's terror, and asks the statue itself
"Will you come to dinner?" Th«
statue answers "Yes," and the Don.
STORIES OF THE OPERAS 877
amazed, drags the trembling Leporello
home. Scene 4. A garden. Ottavio
is trying to pacify Donna Anna with
hopes of speedy revenge,* but when he
talks of love she bids him wait (** Non
mi dir"). Scene 5. Banquet-hall in
Don Giovanni's palace. Musicians
play while the Don eats, served by Le-
porello, who steals many mouthfuls
meanwhile. (In this scene Mozart
alludes to and parodies an aria from his
rival Martin's opera, ** La Cosa Kara,'*
and later parodies his own * * Non piii
andrai" from ** Le Nozze di Figaro.")
Elvira enters to plead with him to re-
pent, the last proof of her love (** L'ul-
tima prova *'), but he ridicules her and
she leaves him. As she goes, she gives
a scream of terror. The Don sends
Leporello to learn the cause. He cries
out and fastens the door. The musi-
cians take flight, and Leporello explains
as he shivers, that the statue has come.
Its knock is now heard, and the Don
goes to the door while Leporello crawls
under the table. The Don ushers in
the statue and orders Leporello to bring
him food, but the statue says he does
not feed on mortal food ; he has come
to invite the Don to sup with him. In
spite of LeporeUo*s pleading, the Don
jauntily accepts. The statue takes his
hand, and in this chill clutch the Don
ieams fear for the first time. He re-
fuses the statue's pleading that he re-
pent, however, and is enveloped in
flames and haled by demons down to
eternal punishment.
Le Nozze di Figaro (la n6d'-z£ de
fe'-ga-ro), /., Die Hochzeit des Figaro
(de-h6kh'-tslt d€s fe'-khfi-ro), G., Le
Mariage (or Les Noces) de Figar6
(la mar-T-izh (or la nos) dft /*.), F,
The Marriage of Figaro.
Four-act opera buffa. Book by Lo-
renzo da Ponte (after the comedy by
Beaumarchais).
Composed, December, 1785 — April,
1786. Produced, Vienna, May i, 1786.
CHARACTERS AND THEIR CREATORS.
CoNTE Almaviva (k6n'-ta al'-ma-ve-vi),
Mandini, bar.
Figako,
His vaUt Benucci, bass.
D«. Barto'lo Occheley, bass.
Basiuo (ba-se'-ll-o),
A singing-master^ . . .Bussani, tenor.
Anto'nio,
Gardener bar.
Don Curzio (don koor'-tst-6),
A magistrate tenor.
Chkrubino (ka-roo-be'-no),
The Counts page^
Signora Mandini, sopr.
La CoNTES'tA,
The Countess (in German Die
Grafin) (de gra -fin),
Signora Storace, sopr.
Susan' N A,
Her maid Signora Laschi, sopr.
Marczllina (mar-ch£l-le -nil),
Dr, BartoUfs housekeeper,
Signora Bussani, m.-sopr.
Barbarina (bar-ba-re'*na),
Antonio's daughter ^
Frau Gottlieb, sopr.
[The story is really a sequel to that in
Rossini's •* Barber of Seville."]
Act I. — Scene. A half -furnished room
in the Count's castle near Seville. Fi-
garo and Susanna talk of their coming
marriage. He thinks the room very
convenient ; *' ding-ding ! " he can soon
answer his master's bell ; '* dong-dong ! "
she can soon answer that of her mis-
tress. Susanna suggests that the bell
may send him three miles away while
the Count comes in his place. Sne tells
the jealous Figaro of the Count's atten^
tion to herself. She is called away and
he fumes and threatens to lead the
Count a dance he will not like. When
he has gone, Bartolo and Marcellina
enter, she with a document, Figaro's
former agreement to marry her. She
is planning to break up the match be-
tween Susanna and Figaro, so that she
878
THE MUSICAL GUIDE
can marry him herself ; Bartolo, in love
with Susanna, seeks revenge (*' La Ven-
detta "} on his successful rival. He
goes and Susanna enters. The two
women cast aspersions on each other
ironically, and Marcellina leaves. Che-
rubino the page enters, and says the
Count has threatened to discharge him
for flirting with Barbarina ; he is really
in love with the Countess, and the Count
is jealous of him. He says that he is a
madman over love, and has written a
poem (he sings *' Non so piu cosa
son"). The Count is heard coming
and he has just time to hide behind a
great chair. Basilio is next heard and
Susanna just manages to conceal the
Count behind the chair and Cherubino
in it. Basilio retails a deal of gossip
about the page and the Countess till
the Count rises angrily. Susanna pre-
tends to swoon, and tne two men sup-
port her with great solicitude. The
Count tells how he discovered the page
hiding under the table at Barbarina's.
In illustration he lifts the cloth Susanna
had thrown over Cherubino, and again
discovers the page. The Count is first
con^emated, then angry. Peasants
come in to deck the bridal-chamber, and
the Count declares that he will send
Cherubino to the war with a commission
as Captain. Figaro gloats over the ter-
rified boy, ** No more you*ll flit, amor-
ous butterfly," etc. (** Non pii an-
drai ").
Act II. — Scene. The Countesses cham-
ber. She is alone and sings a sad
love-wail (** Porgi, amor"). Susanna
enters, then Figaro, who tells a plan
to torment the Count with jealousy by
sending him a warning letter. He leaves
and Cherubino appears. He shows his
commission ; they make him sing his
poem, ** You who know what love is"
(** Voi che sapete "). They then dress
him in women's clothes, Susanna bid-
ding him kneel {*' Venite inginocchia-
tevi "). Suddenly the Count is heard
outside. Cherubmo flies to the closet.
The Count is suspicious and shows his
letter ; he hears the page in the closet,
but his wife will not unlock the door.
He makes her go with him while be
hunts a crowbar. While they are gone
Cherubino steals forth and jumps out
of the window and Susanna takes hb
place in the closet. As the Count is
about to break the door in, the Count-
ess confesses that Cherubino is there and
is overcome with grief. Susanna walks
out to the astonishment of all. The
Countess taunts the apologetic Count,
and tells him Figaro wrote the letter.
Figaro enters and is accused of the let-
ter, but denies it. The gardener, half-
drunk, enters complaining that some
man had jumped out of the window and
ruined hiis flowers, then run away.
Figaro says it was he, in terror of the
Count. The gardener says that he
dropped some papers, among them Che-
rubino*s commission. This is recog-
nised and the Count is frenzied. To
complete Figaro's discomfiture, Marcel-
lina enters with his document promising
to marry her. Bartolo and Basilio ait
witnesses. All ends in confusion.
Act HI. — Scene i. A large room
decorated for a wedding. The Count,
alone, plans to compel Figaro to marry
Marcellina. Susanna, overhearing, pre-
tends to have come for the Countess*s
smelling-salts ; she says she has over-
heard the Count's scheme, but consents
to meet htm in the garden at night. He
starts to go, and she tells Figfaro, who
enters, that he has won his cause. They
hurry out ; the Count, who has over-
heaid her, ponders suspiciously ; ns
miserably asks ** Shall I behold, while I
sorrow, my servant happy?" ("Vedrc,
mentr* io sospiro"). I)on Curzio en-
ters with Figaro, Marcellina, and Bar*
tolo. He says that Figaro must marry
Marcellina or pay her a forfeit. Figaro
proves that he is of good birth, and
shows a mark on his arm by which Mar-
cellina recognises him as her own son
by Dr. Bartolo. They are all embrac-
ing when Susanna enters with the money
to buy Figaro's liberty. Her indigna-
tion is soon assuaged and all leave.
Scene 3. The Countess enters alone
STORIES OF THE OPERAS 879
musing over the plan to disguise her-
self as Susanna and meet the Count in
the garden ; she bewails the lost de-
votion of her husband who had wooed
her so ardently (see Rossini's opera
•• The Barber of Seville "). She moans
** Where now are those blessed mo*
ments" (** Dove sono i bei moment!'').
Susanna enters and the Countess dic-
tates to her a letter (in a duet ** The
Zephyr "), telling the Count to meet her
where the zephyr breathes in the pines.
Cherubino enters in girl's clothes, and a
chorus of country girls present the
Countess with flowers. Antonio and
the Count enter and recognise Cheru-
bino. Figaro tries to calm the Count,
the Wedding March is heard ; Figaro
sings (** Ecco la Marcia**) and all leave
except the Count and Countess, who re-
main and wait coldly till the double
wedding-procession returns with Figaro
and Susanna and Bartolo and Marcel-
Una. Susanna (observed bv Figaro)
slips the note to the Count, who bids all
make merry.
Act IV. — Scene. The garden. Ba-
silio and Bartolo ponder the Count's du-
plicitv and the folly of love. Basilio
tells how ** in those years when inexpe-
rienced '* (** In quegli anni "), love had
made him mad, till finally ag^ and ex-
perience protected him with the skin of
an old ass. They withdraw and Figaro
entering grieves over Susanna's treach-
ery and woman's frailty (**Ah, che il
fidarsi a donna "). He hides, but is ob-
served by Susanna, who enters with the
Countess and Marcellina. To torment
Figaro Susanna sings ** Come, love, do
not delay " (** Deh, vieni non tardar "),
and leaves ; Cherubino enters in regi-
mentals looking for Barbarina ; he sees
the Countess in Susanna's garb and
thinking her to be actually Susanna tries
to flirt with her. He escapes into the
pavilion on the left as the Count enters.
Seeing Figaro, the Count whispers the
supposed Susanna to hide with him in a
pavilion on the right. Susanna enters
m the Countess's gown and explains her-
mli to the delighted Figaro. The
Count reappears and seeing Figaro
kneeling before the supposed Countess
is infuriated and calls the servants.
Figaro and Susanna escape into a pa-
vilion on the left. Basilio and others
enter with torches. The Count entering
the pavilion on the left unearths Cheru-
bino and Barbarina, Marcellina and Bar-
tolo, and Susanna, who, pretending still
to be the Countess, hiding her face,
pleads for pardon, which the Count will
not grant. The Countess herself now
appears and the Count kneeling begs
her forgiveness. She grants it and a
chorus of general contentment (** Ah,
tutti contenti ") cuts the Gordian knot
of complications.
Die Zauberfldte (de tsow'-b^r-fli-tQ.
II Flauto Magico (el fl&'-oo-to m2-je'-
ko). The Magic Flute.
Two-act opera. Book by Emanuel
Schickaneder. Composed, 1791.
Produced, Vienna, September 30,
1 79 1, under the management of the
librettist, who also played the rdle of
Papageno.
CHARACTERS AND THEIR CREATORS.
Sarastko (sfi-rits'-tro),
High-Priest of Isis.^
Schickaneder, sr., bass.
Papagino (pa-pS-ga'-no)»
A hird-catcher.
Schickaneder, jr., bass.
Tamino (ta-me'-no),
A fisher Schack, tenor.
MoNOtTATOS,
A Nubian prince Gorl, tenor.
Bamboloda,
His slave.
Manbs (ma'-nas).
And other priests of I sis,
KoNiGiN DKR Nacht (ka'*nYkh-en
d^r nakht), Queen of Night
Frau Hofer sopr
Pamina (p&-me'-na).
Her daughter^ a net-worker^
Frl. Gotlieb, sopb
88o
THE MUSICAL GUIDE
Pap AGS* NA,
Slave of Monostatos. . . Frau Gorl, —
Thru Fairiis,
Disguised as women and guides.
Note. — The opera is sadly compli-
cated by the vanity and gaucherie of
the librettist and his desire to drag in
certain allusions to Freemasonry, in
which he and Mozart were enthusiasts.
Act I. — Tableau i. A rocky path
past a fairy cavern. Tamino in the
toils of a serpent (or in some versions
Gnomes) calls for help just as he falls
asleep under the spell. The Fairies res-
cue him and discuss how he, a fisher,
played his sweetheart such sweet tunes
that the Queen of Night herself loved
him. As her love is fatal, they plan to
save him by getting him into the Tem-
ple of Isis. They retire as Papageno
runs in ; he meets Papagena and tells
her who he is (** Der Vogelf anger bin
ich ja," or ** Sono un gaio uccellator ") ;
she tells him she is in the power of Mon-
ostatos. Tamino wakes as from a
dream and asks the way to the Tem-
ple ; he tells of his beloved Pamina
and shows a miniature of her ('' Dies
Bildniss ist bezfiubemd schOn"— **0
cara immagine "). Papagena tells him
that Monostatos has just bought Pamina
as a slave. They decide to hunt for
her, but cannot find the path ; as they
look for it, the Queen of Njght appears
to Tamino and sings to him a love-song,
** Oh, fear not, dear youth " (** O zittre
nicht, mein lieber Sohn " — *' Giovane
amato, non temer"). She pledges him
to rescue her daughter Pamina and van-
ishes. The three Fairies offer to show
the lost ones the path ; but the price
must be the power of speech or that of
memory. Papagena loses memory and
Papageno is rendered dumb, but later re-
stored on swearing never to lie again, and
given a magic bell, while Tamino is given
a flute of magic power. They are then
shown the path, after a quintet known as
the "Padlock." Tableau 2. The Harem
of Monostatos. Bamboloda drags Pap-
agena in ; in her absence Pamina has
escaped. Monostatos enters and the
recaptured Pamina is brought in and
chained. Papageno appears and fright-
ens Monostatos away. They sing a
duet of love's power (" Bci Mfinnem,
welche Liebe fallen "—** Del cor gU
aflfanni **) ; he shakes hU bell, the gates
open and they escape. Tableau 3.
An Avenue. The Fairies tell that Pa-
mina has fallen in Sarastro's power;
appearing to Tamino disguis^ as
Guides, they point him a path and leare
him. He is warned by voices and by
Manes, who tells him that he is moved
by desire for revenge on Sarastro, and
refuses to tell him where Pamina is.
Tamino plays on his flute and sirens
gather round ; he wanders sadly away,
searching. Papageno enters with Pa-
mina and answers Tamino's distant
flute with his own ; encountering Monos-
tatos and slaves, he compels them to
dance away to his magic bell. Saras-
tro enters with retinue, and welcomes the
two to his Temple. Monostatos drags
in Tamino, who embraces Pamina. Sa-
rastro orders Monostatos to be flogged
and Tamino and Papageno to be veiled
and led in.
Act II.— Tableau 4. The Hall of In-
itiations. Sarastro and the Priests in-
voke Isis and Osiris (** O Isis und
Osiris ! "— " Possenti Numi "). Tamino
and Papageno are brought in and asked
if they will undergo the rites ; thej' are
advised by two priests to avoid false
beauty and they are left alone and find
that their flute and bell have been
taken. The three Fairies appear and
warn them not to undergo the rites, but
they resist the blandishments of the
women, whose presence in the sanctuary
causes the fall of the altar. Tableau 5.
A Tent in a garden. Monostatos steals
in, guided by Bamboloda. He is furi-
ous at being beaten, but dreams of the
beloved Pamina (*' Allesfahlt der Liebe
Freuden" — ** Reg^ amor"). Pamina
is discovered in the tent ; he tries to take
her away, and she escapes only to be
confronted by the Queen of Night, her
mother, who hates her for her devotio«
STORIES OF THE OPERAS 881
to the noble Sarastro, who is trying to
save the girVs soul. The Queen curses
her in tremendous fury (** Dcr HOlle
Rache kocht "— *' Gli angui dMnfemo ").
Sarastro enters and declares that only
peace and love rule in these sacred pre-
cincts (** In diesen heirgen Hallen" —
**Qui sdegno"). He leads the girl
away and the Queen and Monostatos
plot the death of Pamina. When they
have gone, the three Fairies enter ;
they have overheard the plot but decline
to aid it. Tamino and Papageno en-
ter; the Fairies appear as the Guides
and restore the mugic talismans in a
trio. Papageno sliakes his bell and
calls for Papagena, only to see her flirt-
ing with ^mboloda. He shakes the
bell again and summons Pamina ; she
enters and embraces Tamino, but he is
under pledge and does not answer her.
She sings sadly that no joy is for her
(**Ach! ich fahl's es ist verschwun-
den " — ** Ah, lo so "). Sarastro enters
and removing the pledge reunites the
lovers ; he bids Tamino hasten across
the sadred forest to complete his rites.
There is a trio of farewell and Tamino
leaves. Tableau 6. The Sacred Forest.
Papageno alone sings a love-song (** Ein
M&dchen oder Weibchen " — ** Colomba
o tortorella "). Papagena enters, she
does not remember him, and he re-
proaches her. She flees, and the three
Fairies tell him of Tamino*s ordeal.
He leaves, and Pamina enters with a
dagger ; she would kill herself, but the
Fairies prevent her. Tableau 7. The
Crypt of the Temple. Tamino is taking
his final vows ; Pamina is brought in,
and the two undergo the ordeal of fire
and water, the evil spirits being chased
by Tamino*s flute. He is hailed by the
Priests as a victor. Tableau 8. The
Portal of the Temple. Papageno in de-
spair for Papagena is about to hang
himself ; the Fairies advise him to sum-
mon her with his bell. She appears
and they have a joyful duet ('* Pa-pa-
pa-pa-geno "). When they have gone,
the Queen of Night and Monostatos
steal in to murder Sarastro before her
power vanishes with dawn. The gates
of the Temple open, revealing the vo-
taries kneeling, and the lovers united
before I sis. The Queen vanishes in
helpless rage before the dawn and the
chorus of reverent joy.
PADEREff^SKI, IGNACE JAN.
Manru.
Three-act opera. Book by Dr. Al-
fred Nossig. Produced, Court The-
atre, Dresden, May 29, 1901.
CHARACrERS AND THEIR CREATORS.
Man'ku,
A gipsy Anthcs, tenor.
Urok (oo'-rok),
A dwarf Scheidemantel, bar.
Jaou (ya'-goo),
A gipsy fiddler Rains, bass.
O'ROt,
A gipsy chief Hopfl, basa
Ulana (oo-l&'-na),
A Galician girl. , . .Frl. Krull, sopr.
HiowiG (hat'-vlkh),
J/er mother ^
Frl. von Chavanne, m. sopr.
AtA (a'-za),
A gipsy girL . , , Frau Kammer, sopr.
The opera begins and ends with a
single voice. It has no overture at all,
and only seventeen measures of prelude.
The scene is the Tatra Mountains
between Galicia and Hungary.
Act I. — The widow Hedwig sits be-
fore her hut and bemoans in a folk-
song the fate of the dove that took no
heed of the hawk's approach till she
felt his sharp claws. The dove is Hed-
wig's daughter, Ulana ; the hawk, the
heathen gipsy who carried her off. As
she sings maidens dance about, adorn-
ing the village green for the festival.
The dwarf, Urok, appears. The maid*
ens call him ** dragon's-egg, an adder,
monster, wood-dwarf,* tadpole, and
horn-owl." Urok takes these as a great
joke. Then he asks Hedwig of her
882
THE MUSICAL GUIDE
daughtei **She is dead to me/* says
Hedwig. Urok tells of meeting the
* * dead Ulana. The maidens greet her
name with jeers ; the mother, with a vow
never to receive her until she gives up
her gipsy. Hedwig returns to her hut ;
Urok rebukes the maidens, and they
mock him as a rejected lover of Ulana.
Ulana herself now appears in great de-
jection and the villagers rail at her.
She says she still loves her gipsy, and
he her. But they taunt her with a pro>
verb :
** Era the full moon starts to wane
Every gipsy goes insane,
Leaves his child and leaves has wife
And scoots for his dear life."
This jingle reappears all through the
opera. The maidens leave Ulana to
her grief. Against Urok's advice, she
knocks at her mother's door. Hedwig
comes. After some reproach she offers
to take Ulana and her child back if she
will give up Manru. Urok and Hed-
wig insist that Manru will leave her,
anyway, when the gipsies come again.
But Ulana refuses. Hedwig shuts her
door on her. Urok prophesies Manru's
perfidy and proffers his own love. But
she prevails on him to brew her a philter
to bring back Manru's wavering fancy.
The Tillage men and maidens gather
and dance. They surround Ulana.
Manru appears and demands that they
let her go, but they scout him as a
heathen. Hedwig comes out of her
hut and a hush falls on the mob. She
bitterly denounces the pair as lepers,
and the people fall back from them.
Act II. — Scene. The curtain rises at
once on Manru's home in the moun-
tains, where the gipsy, turned black-
smith, is fighting a losing battle against
his Wanderlust. Ulana is singing a
lullaby to her baby in the hut. Manru
admires, but cannot imitate, her stead-
fastness. In a frenzy he belabours the
anvil with his sledge. Ulana hurries
out to calm his fury, but whispers un-
lasily :
** Era the full moon starts to wane
Svtiy gipsy goes insane."
This brings down on her own head all
his violence, and he is about to strike
her when Urok appears and stays his
hand. Both Manru and Ulana accuse
him of being a sorcerer, but he claims
only a knowledge of the human heart
and a few herbs. He admits that he
can evoke a spell to carry Manru away.
Listen ! In the distance a Romany
fiddler is heard. Manru breaks away
and flies toward the siren music. Ula-
na would run after him. but Urok holds
her back, gives her a potion for Manru,
and keeps her in hiding while Manru
returns with an old gipsy 6ddler, Jagu.
Jagu offers Manru the leadership of the
tribe. He refuses. Jagu mentions the
fair Asa, who longs for Manru but must
soon wed Oros, his old rival. Manru,
about to go, sees Ulana, and refuses,
ordering the tempter awav. Left alone,
Manru and Ulana marvel at the travel-
frenzy that spurs him. With a noble
effort to return to his duty he takes up
his sledge. But Urok teases him with a
vivid picture of Asa. Manru drives
him away and Ulana brings him a po-
tion, which he drains. This rouses him
to an ecstasy of love in which she
joins.
Act III. has a long prelude. The
rise of the curtain reveals a summer
landscape of storm and night. Manm
is alone and stifling with restlessness.
" All is dark," he cries, ** but I feel the
moon which sweeps past behind the
clouds." Voices of gipsies are heard
in the distance and he sinks down
asleep. There follow^s an orchestral
nocturne. Now and then the full moon
breaks from the clouds and Manru
grows restless in his sleep, till it is
veiled again. Gipsies troop in, among
them Asa. They discover Manru and
sprinkle his face with water. When be
wakes, it is Asa that first welcomes
him. Oros protests angrily that Manru
should be an outcast as he is a renegade.
He quarrels with Asa ; but Manru in-
sists that he cannot follow them. Asa
pleads with him. The people fall
to dancing and Asa joins them to allure
STORIES OF THE OPERAS 883
Manni. Oros protests wrathfuUy and
the tribe are won to his wrath. Then
Jagu enters and turns the tide for Man-
ni, who is nailed as a repentant kins-
man. Oros, in a ngc, throws down
his staff of office and goes. The revel
begins anew, but Manru refuses the
chieftainship. Then the musicians un-
der Jagu try their skill, and Manru*s
last scruple melts in an outburst of joy.
Urok appears and gleefully reviles
Manru*s treason to his wife and child.
He is driven away by the crowd.
Manru*s conscience gnaws him again,
but is smothered by Romany-rapture.
He embraces Asa, and the tribe march-
es away (the stage remaining empty
during most of a barbaric march-tune).
Ulana follows, crying for her husband,
and Urok tells her of his perfidv. She
cries to Manru to come bacK. She
sends Urok up into the hills to find him.
He answers that he has gone past re-
call. With a last shriek she leaps into
the lake. Later, upon a cliff, Asa
and Manru reappear in each other's
arms. Oros rushes upon Manru and
crying, ** You rob me of Asa ; you*d
teplace me as chief ! " hurls him into
the gorge. Asa screams. Urok laughs
fiendishly. Oros roars **The place is
mine ! " [In a later version it is Urok
who hurls Manru over the cliff.]
PUCCINI, GIACOMO.
Lit Boheme (U bo-«m'), /^, Die
Boheme (de bd-ha m^), G. Bohemia.
Four-act opera. Words by C Gi-
acosa (after Murger*s ** Scenes de la
Vie de Boheme ").
Produced, Regio Theatre, Turin,
February i, 1896.
CHAKACTERS.
RoDOLPMi (rQ-doif),
Poet tenor.
Makcel (mir-s^l),
Painter bar.
ScHAUNARD (sho-uftr),
Musician bar.
CoLLiNi (ktt-len),
Philosopher bass.
BiftNARD (b^r-nllr).
Landlord bass.
Parpignol (pAr-pen-yfil),
Toy-seller tenor.
Alcindor (&l.sft6-ddr) .bass.
Sbrgkant at TOLL-Houti. hass.
MiMi (me-me) sopr.
MusBTTB (mU-z^t) sopr.
Place of action, Paris. Time, about
1830.
Act 1. — Scene. A bare and cold gar-
ret. Marcel and Rudolphe at their work.
Rudolphe brings a MS. tragedy of his to
bum in the stove for warmth. CoUine
enters and assists. Then Schaunard
comes to the rescue with food and wine
and fuel, which they enjoy. The landlord
enters to demand rent. They make him
drink and chaff him about his flirtations ;
then, in simulated righteous indignation,
eject him. I'he young men go pleasure-
seeking, leaving Rudolphe to finM his
writing. Mimi, an embroiderer and fel«
low-lodger, enters to ask for a light.
As the door opens to let her out again,
a gust of air extinguishes all the lights.
She drops her kev and they both grope
for it in the daric. Rudolphe finds it,
but promptly pockets it and continues
groping till he catches Mimi's hand.
He engages her in talk, tells her he is a
poet, and she tells about herself and her
work. The others call impatiently from
below, where they wait. Rudolphe
opens the window to answer. The
moonlight streaming in irradiates Mimi's
beauty. Rudolphe and Mimi confess
their mutual love.
Act II. — Scene. Christmas Eve in
the Latin Quarter. A throng of holi-
day-makers, in front of the Cafe Momus,
buying, eating, etc. Rudolphe, Mimi
wearing a becoming pink hood, Marcel,
Schaunard, and Colline mix with the
crowd. A waiter brings out a table for
the young men. Rudolphe introduces
Mimi and they sit down together. Their
884
THE MUSICAL GUIDE
orders to the waiter mingle with the out-
cry caused by the entry of Parpignol,
surrounded by eager children, whose
mothers try to lead them away. Mu-
sette, richly dressed, enters with the el-
derly and infatuated Alcindor. They
sit at an adjacent table. She is indig-
nant that Marcel, her former lo.ver,
takes no notice of her, and talks loudly
for his benefit, while Alcindor vainly
tries to quiet her, thinking her talk is
meant for himself. Musette, seeing
that she has at last moved Marcel, pre-
tends her shoe hurts and sends Alcin-
dor to buy a new pair. Then she and
Marcel embrace and are reconciled.
The bill is presented, but none of the
party has money. Musette bids the
waiter add it to her bill and leaves it
for Alcindor to pay. A military pro-
cession marches across the scene. The
friends fall in line behind and exeunt ;
Musette having only one shoe, is car-
ried by Marcel and Colline, followed by
the rest keeping step. Alcindor return-
ing, is shown the bill and sinks horrified
into a chair.
Act III. — Scen6. The Barri^re d'En-
fer. Market-women, etc., paying tolL
Mimi enters, coughing, and asks for Mar-
cel at the inn where he lives with Mu-
sette. He comes out and she tells him Ru-
dolphe threatens to leave her, and asks
in despair what to do. As Rudolphe just
then comes out of the inn, she hides be-
hind a tree. Rudolphe tells Marcel he
means to leave Mimi. At first he pre-
tends it is on account of jealousy ; final-
ly he confesses it is because he sees she
is dying of consumption and, though he
still loves her, he hias no money to keep
her in comfort. Marcel tries to lead
Rudolphe out of earshot, but Mimi, la*
menting, hears her death-sentence. A
fit of coughing betrays her hiding-place.
Rudolphe, startled, soothes and caresses
her. Musette is heard within, laughing
and flirting. Marcel, jealous, rushes
inside. Mimi bids Rudolphe farewell,
telling him to keep her pink hood as a
keepsake. Marcel and Musette emerge
^oarrelUng, and the four voices mingle
in contrasting colloquies. The disput-
ing lovers go in again, leaving the otb-
ers to end their pathetic farewell.
Act IV. — Scene. Same as Act I. Mar
eel and Rudolphe at their work tell how
each has seen the beloved of the other
riding in a carriage, well-dressed, etc.
Both express contentment, but are in«
wardly jealous and cannot work. Mar-
cel takes out a ribbon Musette gave him,
and Rudolphe presses Mimi's hood to his
heart, each concealing his emotion from
the other. Schaunard and Colline en-
ter with frugal provisions. They try to
forget their woes in merrymaking. Sud-
denly Musette enters, saying that Mimi
is close behind, and explains that Mimi
has left her Count and returned to Ru-
dolphe to die. Mimi enters in the last
stage of consumption. She says bow
much better she feels to be back there,
but that her hands are cold and she
would like a muff. Rudolphe tries to
warm them in his. The others are
overcome with compassion. Musette
gives her jewels to Marcel to sell to
get a doctor, etc., for Mimi; then de-
clares she must also get her a muff, and
goes with him. Colline bids farewell to
his faithful old coat and carries it to
pawn, taking Schaunard with him that
the lovers may be alone. Mimi, who
had apparently been asleep, now rouses,
and the two renew memories of their
happy past. Mimi, rejoiced to sec her
hood, makes Rudolphe put it on her.
The others return and Mimi delights in
the muff. Soon she falls asleep and
dies. Rudolphe in despair throws him-
self on her corpse.
ROSSINI, GIOACCHINO,
II Barbiere di Siviglia (e! bir-bl-
a -r€ de se-vel'-yi), /. The Barber of
Seville.
Two-act lyric comedy. Book (from
Beaumarchais's comedy) by Sterbini.
Composed in three weeks. Produced,
Rome, Argentina Theatre, Febniaiy $
1816.
STORIES OF THE OPERAS 885
CHARACTERS AND THEIR CREATORS.
Figaro (fe'-gS-ro),
A barUr Luigi Zamboni, bar.
Il Contb Almaviva (&l-m&-ve'-v£),
A young count Garcia, tenor.
Dotto'rx Baito'lo,
Hasina's guardian, . .Botticelli, bass.
Basiuo (bii-sel'-yO),
Music-master Vittarelli, bass.
FioRBLLo (fc-6-r<r-l6),
A servant tenor.
RociNA (r5-zc'-na),
Dr. Bartolo^s ward^
Signora Giogi Righetti, sopr.
Bxi'ta,
Ner governess (in Germany Maicil-
uNi) Signorina Rossi, sopr.
Note. — This opera is taken from the
same source as an opera by Paesiello,
and Mozart's **Nozze di Figaro," to
which it is precedaneous in action. It
was originally called ** Almaviva, ossio
Tinutile precauzione," **The Useless
Precaution."
Act 1. — Scene i. Dawn in a Se-
ville street. Fiorello leads along sev-
eral musicians for a serenade. The
Count enters and sings a serenade or
aubade under Rosina's window ('* Ecco
ridente il cielo "). He pays the musi-
cians liberally and drives them away,
vexed at their profuse thanks. Figaro
bustles gaily by to his work (singing
•* Largo al factotum "), rejoicing in his
importance as the general factotum and
go-between of the town. The Count
stops him, tells him he has fallen in
love with the ward of Dr. Bartolo, and
is flirting with her desperately under the
name of Lindoro. Rosina appears on
the balcony to drop the Count a note,
but, Bartolo appearing, she pretends it
is a paper that has slipped out of her
hand, and asks him to go down and get
it. While he disappears in the house,
the Count gets the note and lets Figaro
read it. It reveals a Juliet-like desire to
know more of the stranger. Bartolo
comes out, then stops to call back in-
structions that none is to be admitted to
the house save Basilio ; he says he him-
self will marnr Rosina that very day.
The Count offers Figaro a reward if he
can help him to win Rosina, and Figa-
ro, always prolific in schemes, bids him
disguise as a tipsy soldier. He tells the
Count how to find his shop ('* La bot-
tega")and after a duet on love (**A
che d'amore ") Figaro enters Bartoio's
house and the Count hurries away.
Scene 2. A room in Bartolo*s house.
Rosina ponders how to get a letter past
her lynx-eyed guardians (in the brilliant
air ** A voice has made my heart re-
sound," "Una voce poco fa "). Figaro
enters, but seeing Bartolo coming, post-
pones his message, and they leave in
opposite directions. Bartolo and Basilio
come in. Basilio tells the anxious Bar-
tolo that Rosina's unknown lover is the
Count Almaviva. They decide to efface
him with calumny ("La calunnia"),
whose growth from a whisper to a tem-
pest Bi^ilio pictures vividly. They de-
part and Figaro steals in, soon meeting
Rosina, who questions him about the
Count, and persuades him to bear a
note to him. She has it already written;
he takes it and goes, after a duet (" £
il maestro io faccio "). Bartolo comes in
and cross-questions her as to the note
she dropped from the balcony and the
one he suspects she has given Figaro.
She blames the ink on her finger to a
design she was drawing. They go their
ways and Berta, hearing loud knocking,
enters. The Count disguised as a sol-
dier bursts in, pretending to be drunk,
but anxiously looking for Rosina while
he embraces and worries Bartolo. Ro-
sina entering, the two steal a few words
surreptitiously ; he bids her drop her
handkerchief, while Bartolo angrily
hunts a paper giving him exemption
from soldierly visits. The Count lets
fall a note, Rosina drops her handker-
chief on it, but Bartolo observes the
ruse and snatches the note, only to find
it a mere list of names. He apologises,
but the Count jostles him about and
also Basilio and Berta, who enter. Fi'
886
THE MUSICAL GUIDE
garo appears with a basin and is amazed
at the noise, which finally brings the
police. The Count shows his order of
nobility and avoids arrest.
Act II. — Scene. Bartolo is alone in a
room, and bitterly reflects that he is not
safe in his own house. The Count
enters disguised as a music-teacher. He
annoys Bartolo with over-eflFusive greet-
ings and says Basilio was too ill to
come, and sent him. He lets slip a
word about Rosina*s note, and to cover
the slip tells Bartolo that he has hap-
pened on a note written to the Count by
Kosina, and he suggests that if he can
talk with Rosina he might convince
her that the Count is only a faithless
rake. Bartolo gladly brings in Rosina,
who recognises the alleged teacher and
sings for him. (The music written for
this place by Rossini was lost, and the
prima donna is at liberty to introduce
any song she prefers.) Figaro arrives
to shave Bartolo, who resists, but finally
sends Fipjaro to his room to get the
doth, givmg him the keys, one of which
Rosina whispers him is the key to the
balcony. Now Basilio enters, to the ex-
quisite confusion of the Count, who
tries to make Basilio think he is ill and
lo send him home. A purse opens Ba-
%ilio's eyes to the plot and he goes. As
ihe Count and Rosina pretend to study
/lusic and really plot an elopement,
Bartolo overhears in spite of Figaro's
efforts to keep him engaged. He dis-
perses the group. Berta enters alone
complaining of the noisy house always
in uproar, and the old dotard's love
(** II vcchietto cerca moglie" — based on
a Russian air, and called the ** Aria di
Sorbetto," because the audiences chose
it as a good time to eat sherbets). She
leaves, and Bartolo brings on Basilio,
who tells him that the music-teacher was
the Count and there is to be a marriage
that night at Figaro's house. When he
has gone, Bartolo plans a bold coup, and
calls Rosina, whom he tells that the
Count is unfaithful to her ; showing her
the note she had written him as proof.
Rosina, infuriated, consents to marry
Bartolo at once, confessing to him her
plan to elope. Bartolo hurries away to
find the police to arrest the Count when
he comes. The Count and Figaro steal
in from the balcony as soon as he has
gone, and Rosina is soon convinced of
his love. He reveals himself as the
Count Alma viva. They decide to elope,
and tip-toe stealthily with a ** Hush,
hush"(*'Zitti, zitti"). They find the
ladder gone and see persons coming
with a lantern. They conceal them-
selves and Basilio enters with a notary.
The Count, by softly threatening Basilio
with death, gets himself married to Ro>
sina. Bartolo enters with soldiers, but
too late. He gives the two their bless-
ing and all ends happily.
Gugliclmo Tell (gool-y6l'-m6 t«l),
Guillaume (ge-yom), or Wilh^lm
(vei'-hdlm), or William, TcU.
Three -,(originally five-) act opera.
Book by Etienne Jouy, revised by Hip-
polyte Bis, after Schiller's drama.
The Academie, Paris, August 3, 1829.
CHARACTERS AND THEIR CREATORS.
Mathildb von HAraBUJtGi
Gessler*s daughter ^
Mme. Damoreau-Cinti, sopr.
Hbdwig,
TelTs wife Mile. Mori, m. sopr.
J«m'my,
TelTs son. .... Mme. Dabodie, sopr.
Gbss'lm,
Austrian Governor of Switzerland,
Prevost, bass.
Rudolf dir Harkas Massol, tenor.
Tkll Dabodie, bar.
Walthbr FiiRtT Levasseur, bass.
Melch'thal (m^ltch'-tal),
An old man Dupont, bass.
Ar'nolo,
His son Nourrit, bar.
Leuthold (loit'-holt),
A peasant Prevot, bar.
A Fisher tenor
STORIES OF THE OPERAS 887
Act I. — Scene, Switzerland, thirteenth
century. Shore of a mountain-lake.
Peasants enjoying a wedding festival are
joined by Tell, who bemoans the tyran-
ny oppressing his country. Arnold, who
has loved Gessler's daughter since he
saved her life, promises nevertheless to
aid Tell in freeing Switzerland. The
peasant Leuthold appears. He has
killed an Austrian soldier who tried to
abduct his daughter, and is now pur-
sued by the soldiers. He begs to be
rowed across the lake, but the rising
storm dismays the fishermen. Tell taked
the oars and puts out into the storm just
before the soldiers enter, led by Rudolf,
who, finding no one who will reveal the
identity of Leuthold*s rescuer, seizes
old Melchthal as an inciter of rebellion.
Act II. — Scene. A forest. Huntsmen
and shepherds meet and disperse.
Princess Mathilde passes, returning
from a hunt. She meets Arnold and
reciprocates his love. She leaves him
when Tell comes up with Walther Fttrst,
who tells Arnold that his father has been
killed by the Austrian. Arnold, putting
aside his thoughts of love, joins the other
two men in an oath of dire revenge.
The deputies of three cantons appear
successively and Tell persuades them to
join the oath and free Switzerland.
Act III. — Scene I. A love-duet be-
tween Mathilde and Arnold. Scene 2.
The market-place of Altdorp. Gessler
has set his hat up on a pole and the indig-
nant citizens are compelled to salute ir.
Tell and his son enter and scorn such
humility. They are seized and the
father ordered to prove his vaunted
archery by shooting an apple from his
son*s head. After an anxious prayer, he
accomplishes this. Gessler seeing that
he has another arrow, asks what it is
for. Tell declares that if he had missed
the apple and hurt his son, his second
arrow would have been shot at Gessler.
For this defiance he is fettered, despite
Mathilde*s plea. Scene 3. The Swiss
revolutionists meet in a storm, Mathilde
asks to be admitted to the band, and
gives her hand to Arnold. Success fol-
lows the battles of the Swiss, and Tell
enters ; he has escaped from prison and
slain Gessler ; the country has now won
liberty, which is celebrated in a hymn
of freedom.
SPINELLI, NICOLLA.
A Bas'80 Por'to. At the Lower Har.
bour.
Three-act lyric drama of the slums.
Book by Eugenio Checchi.
CHARACTERS.
Masi'a,
A widow .m. sopr*
Shil'la,
Her daughter sopr.
LviGiNo (loo-e-jc'-no),
Marians son^ a gambler tenor
CiciLLo (che-chtl'-l6),
A government spy baf
PA912VALE (p^s-kwil'-lS),
An innkeeper basflw
PiciLLo (pe-cMl'-lS) tenor.
Act I. — Scene. An open market-
place near the lower harbor of Naples ;
time i860. Maria and Sesella are wear-
ily at work on one side, on the other in
front of a tavern Luigino is gambling
away their hard earnings. Maria pleads
with him but ends by paying his gam-
bling debts. Cicillo appears. He is
posing as the leader of the Cammoristi,
an anarchistic society, but is really
spying on them and trying to foist on
another member the treachery that has
been betraying them. Luigino hates
Cicillo but Sesella loves him ; and he is
plotting to seduce her ; he takes an op-
portunity to ask her to elope with him
since the Cammoristi hate him. Luigino
sees her kiss him and tries to stab him,
but Maria intervenes and sends her
children away. She and Cicillo have a
bitter interview, in which it transpires
that, years before, Cicillo had betrayed
Maria and deserted her for another
woman, against whom Maria had con-
spired, securing the arrest of both. The
girl had been put to death, though Ci«
888 - THE MUSICAL GUIDE
cillo had escaped to vow vengeance THOMAS, AMBROISE.
against Maria, who meantime had mar-
ried. Though she is now a widow, he Mignon (men-yon).
still plots to bring her son to the gutter Three-act opera. Book by Barfoief
and her daughter Sesella to the streets. & Carre (based on Goethe's *' Wilheim
Maria pleads and threatens for an end Meister ").
to the feud, but Cicillo mocks her. The Produced, Opera Comique, Pari^
Cammoristi rush in in excitement ; an- November 17, 1866.
other member has been arrested and
they swear to hunt out and kill the trai- characters and their creators.
tor. Cicillo's momentary uneasiness is Gogu.lmo (gool.y«l'-m6).
seen by M ana. in German, Wilhblm Mnn-Eii,
Act H. — Scene. A low tavern filled ' Achard tenor
with hilarious smugglers, girls etc. Lui- Lot^„„ (,5.ts'.rt-6) Bataille, bar.
ginosmp a gay song C.c.Uo etiteis f.d«.co (fa^«-re'k6) lenor.
and strikes h.m across the face. lie l^„^, (,^.^,j^) ' Condere. bar
explams that he believes Luigmo to be Giarno fiar'-nof bass
the traitor. He is to meet Sesella and Anto'nio "
will try to wring the truth from her. w.^-^*. ' vr.«« n-ii; \m>^^a «« .^•,-.
fx^. 1 u'-. 1 J u' r I MiGNON. .. .Mme. ualii-Mane, m. sopr.
They leave him alone and his remorseful i?„,„. /rs is* „«\ tu«,« r-«u-i «^I«.
^ i./ •„ • i. i J u t? II > Filina (te-le -na). . . .Mme. Cabel, sopr.
soliloquy is interrupted by Sesella s en- ^ * » f
trance. He poisons her mind against Act i. — Scene. Court)'ard of a Ger-
her mother, and she consents to elope man inn. Townsfolk seated drinking.
with him at midnight. When he has The old minstrel Lotario enters al-
gone. Maria enters, and pleads with her most distracted with g^ef at the loss of
daughter, finally confessing her own his child, who has disappeared, and
past and proclaiming Cicillo a spy. whom seeking he wanders disconso-
Sesella is won back and determines to lately. A band of gipsies appear, and
betray Cicillo. She calls in the landlord dance for pennies, watched from a bal-
and the others and accuses the absent cony by two actors, Filina and Laerte.
Cicillo. Luigino, however, is brought The savage chief Giarno orders the
to trial by the Cammoristi, but Maria child Mig^non to dance. When she
saves him by swearing that she has seen proudly rebels, he threatens her with a
Cicillo take government pay. Cicillo is cudgel, and the old minstrel tries to
condemned to die, and I^uigino chosen protect her. He is pushed aside, but
to assassinate him, in spite of Maria's Guglielmo entering cows the g^ipsy.
frantic appeals. .Mignon gives flowers to both of her
Act HI. — Samesceneas Act 1. Night. rescuers. When the others withdraw,
Maria, alone, prays heaven to save her Filrna admiringly sends Laerte to
children. Cicillo enters and slie warns scrape acquaintance with Guglielmo.
him that she alone can save him from She follows soon, and begins to flirt
the Cammoristi and begs him to give up with great sophistication. Guglielmo
his plot to ruin her children. He laughs gives her the flowers Mignon gave him.
at her and says that in a moment he will Filina and Laerte leave, and Mignon,
have the soldiers all about the place. seeing that Giarno is asleep, steals for«
Singing and mandolin-playing in the ward to pour out her gratitude. She
distance indicate the signal to kill him, tells Guglielmo that her childhood is a
but he will not accept her offer, and mystery. She remembers being stolen.
brushes past her to call the soldiers, When he asks her the name of her coun-
whereupon she stabs him, to save her try she can only ask, ** Knowest thoa
•on from the blood-guilt. The Canuno- the land where the citrons bloom ** (in
risti rush in as he dies Goethe's words, ^*^ Kennst du das LamA
STORIES OF THE OPERAS 889
XV0 die Citronen bluKn '*). He judges
from her other phrases that her land
must be Italy. Giamo reappearing,
offers to sell Mignon for what he paid
for her. Guglielmo enters the inn to
dose the bargain. Mignon tells the old
minstrel of her new freedom, and when
he says he must follow the swallows
northward, she sings a swallow-song
(*• Leggiadre rondinelle "). They with-
draw and Filina appears, teasing Fede-
rico, her lover. Guglielmo returns,
having bought Mignon. Filina intro-
duces him to Federico. A letter comes
ordering the troupe of players to appear
at the castle of Federico's uncle ; and
Guglielmo is invited to go as poet.
Mignon seizes an opportunity to ask
what is to become of her, and begs to
follow Guglielmo in disguise as a page ;
though the old minstrel pleads for her,
Guglielmo consents to take her. She
notes with a pang that he has given her
flowers to Filina. The troupe set out
for the castle.
Act II. — Scene i. The boudoir of
Filina, who is gaily preparing her
charms for further conquest ('* A mara-
viglia ! "). Laerte, and later Guglielmo,
enter. Laerte, about to leave, finds
Mignon jealously waiting; Guglielmo
treats her with kindly impatience, and
she seems to fall asleep before the fire.
Guglielmo makes love to Filina. They
leave ; and Mignon, after brooding mo-
rosely, looks about with interest and
falls to powdering and rougeing her face,
hoping to captivate Guglielmo by her
beauty ("Son io che mi specchio?" or
"1st das Mignon wohl?"). She disappears
just as Federico enters at the window
singing a Rondo-Gavotte. Guglielhio,
coming back to seek Mignon, falls to
altercation with Federico. They draw
swords, but Mignon rushes between.
She is garbed in one of Filina*s gowns,
and Federico retires laughing. Gugli-
elmo sadly tells Mignon she must leave
him (*' Addio, Mignon "). Filina enter-
ing, Mignon fiercely tears off the gown
and rushes awav. Laerte announces
that the play is aoout to begin and they
leave, Mignon and Federico jealously
watching Guglielmo's devotion to Fili-
na. Scene 2. The park of the castle.
Mignon alone in her grief is about to
throw herself into the lake, when she
hears the harp of the minstrel. He ap-
pears and tries to console her. She
frantically wishes that the fires of
heaven would consume the hated castle,
and hurries away. The half-insane
minstrel ponders her wish and disap*
pears. The guests flock out from the
play, "The Midsummer Night's
Dream," and Filina rejoices in her suc-
cess as Titania ('* Io son Titania bi-
onda**). Guglielmo searches for Mignon.
She appears, and the minstrel tells her
that he has set fire to the castle. She
represses her horror, and when Filina
asks her to get a bouquet which Gugli-
elmo had given her, and which she had
left in the castle, Mignon goes. The
flames break forth, while the old min-
strel chants to his harp. Guglielmo
rushes into the castle and rescues
Mignon against her will.
Act III. — Scene. Gallery of a manor-
house. A chorus of sailors is heard in
the distance. The minstrel appears;
later Guglielmo, and Antonio who ex-
plains that all the other houses of the
region are illuminated in honour of the
festival, but this house alone remains
dark since, ten years ago, the daughter of
the count who owned it was drowned.
The count has since been a wanderer,
and Antonio offers to sell the house to
Guglielmo, who plans to buy it. He
tells the minstrel, who, hearing the
name, seems to recall a forgotten past,
and enters a long-sealed door. Gugli-
elmo, alone, muses on the discovery he
has made that Mignon secretly loves
him (* * Ah. non credea Tafflito "). A note
comes telling that Filina is following
him. He is not interested. Mignon ap-
pears, very pale and feeble ; she seems
to remember her surroundings vaguely.
Guglielmo tells her he has learned to
love her. Filina's voice is heard, and
she is terrified again. Now the min-
strel enters richly garbed < He has re-
890
THE MUSICAL GUIDE
turned to his right mind. He welcomes
them to the house as his own. He
brings out a casket of jewels belonging
to his lost child. In it is a Prayer Book.
Mignon reads a few lines and, letting
the book fall, recites the rest of the
child*s prayer by heart. The Count
recognises her as his child. She faints
with delight, but recovers and sings with
joy the last of the '* Mignon's Song " of
Goethe, ** Kennst du das Land."
VERDI, GIUSEPPL
Aida (a.e'-d&).
Four-act opera. Book by A. Ghiz-
landoni, from de Locle's version of an
old Egyptian tradition. The opera was
composed on a commission from the
Khedive and first produced at Cairo,
December 27, 1871.
CHARACI'KRS.
AlDA,
An Ethiopian princess in slavery ^
sopr.
Amnerm (am-na'-res)»
Princess of Egypt^ in love with
Radambs. contr.
Radamu (ra -diUmas),
Egyptian Captain in love with
Kii>K tenor.
Amonai'ro,
Ethiopian King^ father of Ki^s^ bar.
Ramfis (rilm'-fes).
High Priest of I sis bass.
King or Egypt.
Mbsuncbr.
Act I, — Scene i. Hall in the Palace.
Ramfis speaks to Radames of the hos-
tile movements of the Ethiopian king ;
he hints that Radames will lead the
Egyptian force. When he has gone,
Radames rejoices in the hope of win-
ning glory, all for the sake of AYda (" Ce-
leste AYda "). Princess Amneris, enter-
ing, notes his joy and hopes it is for her.
AYda enters and the Princess greets her
kindly but suspects her of being Ra-
dames* sweetheart. AYda weeps for the
woes of her country. The King and
retinue appear and Ramfis and other
Priests ; a messenger follows to speak
of the Ethiopian incursion led by Amon-
asro. The Priest declares Radames
the leader chosen of I sis, and after a
chorus all leave except AYda, who is
torn between love for her father and for
Radames ('* Retoma vincitor'*), ending
in a prayer (** Numi, pieta '*). Scene 2.
The Temple of Phthah at Memphis.
Priests and Priestesses chant and dance
before the altar. Radames enters and
is veiled and armed by Ramfis (two
actual Egyptian themes are employed
in the harp music and the dance).
Act II. — Scene I. Amneris* apart-
ments. Her slaves sing while she broods
on love. AYda enters and the slaves re-
tire. Amneris wrings from AYda the
secret of her love by saying that Rada-
mes is dead. She upbraids the girl
with high fury. The army is heard re-
turning in pomp (duet ** Alia |x>mpa '*).
Scene 2. An open place. The victori-
ous army returns loaded with trophies
and is welcomed with all ceremony.
AYda, cowering at Amneris* feel, sees
Radames triumphant ; among his cap-
tives she sees her father, who whispers
her not to tell his rank ; but he decides
to announce it himself, ap|>ealing for
mercy (*' Questa assisa "). The Priests
and people demand his death but Ra-
dames wins clemency from the King,
who releases the other prisoners but re-
tains Amonasro. The act ends with a
paean (*' Gloria air Egitto").
Act III. — Scene. Shore of the Nile,
before a Temple of Isis, wherein the
worshippers are heard singing. Ram-
fis pnters the Temple ; Amneris follows
to pray Isis for Radames* love. AYda
steals in, veiled, to meet Radames ; she
muses on the beauty of the sky and on
her far-off home (* ' O cieli azzurri **).
Amonasro appears : he tells Aida he has
discovered her passion for Radames : he
tells her she can see her home again and
have her lover too (**Rivedro le for-
este"). She must win Radames td
treachery, or at least learn from him the
name of the pass by which his troops
k«i
STORIES OF THE OPERAS 891
will march. When she protests, he
glints a wild picture of the havoc the
gyptians have wroug'ht in Ethiopia
and threatens her with his curse. At the
height of her terror, Radames appears,
Amonasro hiding near by. Radames
tells AYda that the Ethiopians have
risen again, he intends to defeat them*
again and then claim AYda's hand from
the King. AYda says Amneris would
seek vengeance, that only one course is
open to their love, and that is, flight
(" Fuggiam gli ardori "). He is horri-
fied, but she mentions Amneris and
says that she and her father will be put
to death. In an access of love he con-
sents to fly. She asks him the name of
the pass; he tells her, and is over-
heard by Amonasro, who is discovered
by Radames. Amneris, who has ovei^
heard, charges Radames with being a
traitor. Amonasro is about to stab her,
but is prevented b^ Radames, who sur-
renders to Ramiis, while AYda and
Amonasro escape.
Act IV. — Scene i. A hall in the
palace. Amneris alone broods over
AYda's escape and Radames* trial for
treachery ; she wishes to save him. Ra-
dames is led in ; she pleads with him to
love her and be saved, but he is faith-
ful to AYda, though he learns that her
father has been killed. He will not re-
nounce her though Amneris demands it
(** Chi ti salva "). He is led away and
Amneris gives way to despair (** Ohimi,
morir mi sento "). She sees the Priests
descending into the subterranean hall,
then hears their voices as they pray for
divine guidance ; she hears Ramfis call-
ing on Radames to speak, but he will
make no defence, and they condemn him
to be buried alive under the altar. As
the priests return, Amneris assails them
insanely. Scene 2. Same as Act I,
Scene 3, save that the vault below the
altar is also shown. Radames is in
the crypt, dreaming of AYda. Suddenly
she appears, saying that she foresaw
his doom and stole into the crypt unob-
served to die with him. They bid fare-
veU to Ufe {'' O terra addio "), whUe the
chant of the Priests and the dance of
the Priestesses goes on over them. Am*
neris, in black, enters the Temple to
pray Heaven to accept Radames into
bliss.
Otel'lo. Othello.
Four-act lyric drama. Book from
Shakspere*s play by Arrigo BoYto.
Produced at Milan, La Scala, Feb-
ruary 5, 1887.
CHARACrEKS AND THEIR CREATORS.
Otello,
A Moorish general in the Venetian
army Tamagno, tenor.
Iaco,
His ensign Maurel, bar.
Caiuo, Oteiio's lieutenant,
RoDuico (ro-di-re'-go),
A Venetian gentleman in love with
Desdemona,
LoDOYico (lo-do-ve'-ko),
Venetian ambassador,
Monta'na,
Otello^s predecessor as Governor 0/
Cyprus,
A Herald.
Dbsobmo'na,
Otello's wife,
Signorina Pantaleoni, sopr.
Emil'ia, logons %vife.
Act I. — ^Scene. A stormy quay. All
the men except Otello are present and
watching a storm-tossed ship. It is
Otello*s. Women enter, and pray for
the ^ip's safety. The ship reaches the
harbour at length ; Otello lands with
news of a great victory, and passes
into the Castle. A bonfire is built, and
lago talks to Roderigo of Desdemona,
saying she will soon weary of the Moor ;
he says he hates him for promoting
Cassio over him. The soldiers rejoice
in the fire ("Fuoco di gioia") and in
wine. lago plies Cassio with wine and
talks of Desdemona, bidding Roderigo
beware of Cassio as a rival. lago sings
a wine-soBg, and Cassio grows drunL
892
THE MUSICAL GUIDE
He is easily provoked to a fight by
Roderigo, and sets on Montana who
tries to be a peacemaker. At lago's
advice Roderigo steals away and rings
the alarm, bringing the people and
Otello, later Desdemona. Otello re-
duces Cassio to the ranks, and all dis-
perse save Otello and Desdemona ; they
have a love-scene and she praises him
as a great warrior (** Mio superbo guer-
rier"). He exclaims that death were
welcome in such bliss ("Venga la
morte ").
Act II. — Scene. Hall in the Castle ;
garden at the back. lago is promising
the despondent Cassio restoration, ad-
vising him to appeal to Desdemona ;
left alone, lago soliloquises over his
cynical creed of cruelty and deceit
(** Credo in un Dio crudel"). Later
Cassio finds Desdemona in the gar-
den and they talk together. Oteilo
enters and lago slyly provokes his jeal-
ousy. Sailors, children, and others ap-
pear to load Desdemona witn tlowers
and gifts ; she dismisses them gracious-
ly, and comes forward to plead for Cas-
sio. Otello blames his uneasiness to
headache; Desdemona is about to
bind his head with her handkerchief;
he throws it away ; Kmilia unobserved
picks it up,and lago snatches !*: from her,
while Otello broods. When the women
have gone, Otello upbraids lago for in-
stilling suspicion in him, and finally
throttles him, then demands proof,
lago whispers that he heard Cassio
talking in his sleep of trysts with Des-
demona ; he mentions the handkerchief,
and says he saw it in Cassio's posses-
sion. Otello vows a terrible revenge.
Act III. — Scene. A lai^gc hall with
portico. The Herald announces the
arrival of ambassadors from Cyprus,
and goes. lago advises Otello to watch
Cassio's gestures when later lago talks
to him. He goes, and Desdemona en-
ters ; Otello asks for her handkerchief ;
she says it is mislaid; he warns her
that it has a strange significance, but
ihe impatiently persists in pleading for
Cassio. He makes her swear she is
faithful, then drives her from him.
Left alone he muses on his g^ef (** Dio,
mi potevi scagliar"). lago enters to
say Cassio has come, and Otelio hides,
lago then talks softly to Cassio of Bi-
anca, and he is moved to laughter ; he
speaks of finding a strangely broidered
'handkerchief mysteriously left at his
lodgings and produces that of Desde-
mona. Trumpets and a gun announce
the arrival of the ambassadors and
Cassio hastens away. The ambassa.
dors enter to deliver official praises to
Otello. Desdemona appears and Otel-
lo sends for Cassio, bidding lago watch
how Desdemona looks when he comes.
He announces that Cassio is to stay in
Cyprus as its Governor, while Otello is
recalled to Venice. He mistakes Des-
demona *s distress at her husband*s noan-
ner, for grief at the loss of Cassio, and
hurls her to the ground, where she cow-
ers, lago tells Otello that he will kill
Cassio ; he then whispers Roderigo to
kill Cassio so as to keep Otello at Cy-
prus longer, when Roderigo may still
hope for Desdemona's favour. Otello
rising in supreme wrath orders every-
one away, curses his wife, and swoons
with rage. As the cries of " Long live
Otello" resound outside. lago gloats
over the prostrate ** lion."
Act IV. — Scene. A bedroom. Des-
demona and Emilia. Desdemona in
deep sorrow as she undresses sings a
sad ballad (" Willow "), of a giri, Bar-
bara, whose lover had gone mad.
When Emilia is gone, she kneels and
prays to the Virgin, then lies down on
the bed and sleeps. Otello enters with
a scimitar. He puts out the candle,
and gazing at Desdemona kisses her*
she wakes and he orders her to pray.
He accuses her of unfaith with Cassio,
saying that he has been killed ; when
she weeps, he thinks his suspicions veri-
fied and smothers her. Knocking is
heard. Emilia enters to say Cassio has
killed Roderigo, and lives. Desdemona
with her dying breath says she has
killed herself. Emilia calls for help^
and the others enter. The truth of tit
STORIES OF THE OPERAS 893
handkerchief is explained. lago
capes. Otello tries to kill himself with
his scimitar, but Lodovico prevents
him. Gazing on Desdemona he draws
*L dagger and kills himself.
RigoletCo (re-gd4«t'-to).
Three-act opera. Book by F. M.
Kave. (Based on Victor Hugo's " l^
roi s'amuse,**) Produced, Venice,
March ii, 1851.
CHARACTERS AND THEIR CREATORS.
Il Duca di Manto'va....M irate, tenor.
RiGOLBTTO,
J/is court fool. ........ . Varesi, bar.
Sparafucilb (foo'-chMS),
A bravo Ponz, bass.
Il Contb di Montero'nb. . . Damini, bar.
Marvl'lo,
A cavalier, Kunerth, bar.
Bor'sa,
A courtier. Zuliani, tenor.
Il Contb 01 Ckprano (chfi-pri'-n5),
Bellini, bass.
Court Usher Rizzi, tenor.
Gilda (jel'-da),
Rigolettos daughter^
Signorma T. Brambilla, sopr.
Maddalbna (la'-na),
Sister of Sparafucile^
Casaloni, contr.
OiovANNA (jo-van -na),
Gilda s nurse Saini, m. sopr.
La Contbssa 01 Ceprano,
Marselli, m. sopr.
pAC? OP THE Duchess,
Modes Lovati, m. sopr.
Act I. — Scene r. A fete in the Duke*s
palace. The Duke tells Borsa of his
infatuation for an unknown maiden
whom he has seen at church, and traced
to her home where an unknown man
visits her nightly. He sings of the
fickleness of his heart for this or that
woman ('* Questa o quella "). The
CouPtess Ceprano appears and though
watched by her jealous husband per-
mits the Duke to lead her away. Rigo-
letto, the Duke*s favourite and the gO'
between of his intrigues, laughs at the
Duke's flirtations, and MaruJlo says h^
learns that even the hunchbacked Rig>
oletto has a sweetheart. The Duke
reappears and Rlgoletto advises him to
elope with Ceprano*s wife. He taimts
Ceprano, who plots with other courtiers
to put the hunchback out of the wav.
The Count Monterone forces his way in
and denounces the Duke's crimes.
Rigoletto mocks him because he maket
such ado over the loss of his daughter's
honour; but Monterone frightens the
hunchback by a father's curse before he
is led away. Scene 2. A dark, se-
cluded street at night. Rigoletto, steal-
ing in, is accosted by Sparafucile, who
offers to put any rival out of the way,
either by a single thrust in the street, ot
by decoying the victim into his house
with the aid of his sister. Rigoletto
declines the man's service with thanks,
and in a soliloquy compares the bravo's
sword to his own wit as a weapon. He
enters the walled yard of his house,
out of which Gilda comes and embracef
her father. He keeps her in this seclu-
sion from the corruptions of court life,
and she does not even know his name.
She asks to know who her mother was
He begs her not to ask (** Deh non par
tare "). Gilda assures him she has nevei
left the house except for church, and
her nurse Giovanna corroborates her.
Father and daughter sing a loving duet
(** Veglia o donna "), The Duke in dis-
guise appears outside. Rigoletto goes
out to see who is there, and the Duke
manages to steal inside unobserved and
throw a purse to the nurse. Rigoletto re-
turning warns Gilda to let no one in on
any account, and, not seeing the Duke,
locks the gate from the outside and
goes away. The Duke appears, motions
the nurse to retire, and kneeling before
Gilda, declares his love for her (**E il sol
deir anima "), pretending he is a poot
student named Gualtier Malde. She
promises him her love and he goes away
894
THE MUSICAL GUIDE
Left alone Gilda muses on his dear name
('*Caro nome")and enters the house.
Outside appear three courtiers to steal
Rigoletto*s supposed mistress. Rigoietto
appears and is told they are g^oing to
steal Ceprano's wife. His fears for his
own daughter thus set at rest, he enters
the plot with zest, and is given a mask,
which blindfolds him, and is set to hold
a ladder by M'hich the courtiers ascend
his own wall to steal Gilda. Though
she manages to scream, he does not
recognise her voice. Tearing off the
bandaging mask, he discovers too late
that he has aided in the violation of his
own home, and remembering Count
Monterone's malediction, he swoons.
Act II. — Scene. The Duke's pal-
ace. He is brooding over the abduc-
tion of Gilda whom he truly loves
(* * Parmi veder "). The courtiers enter to
tell him of stealing Kigoletto*s mistress
(*' Scorrendo uniti remota "). The Duke
recognises from their story that it is
Gilda whom they have stolen, and ex-
claiming that the voice of love calls
him (*' Possente amor "), hurries away.
Rigoletto enters, trying to conceal his
anxiety from the taunting courtiers.
The Duchess's page enters, asking for
the Duke. They try uneasily to explain
his absence. Rigoletto suspects that
Gilda is with the Duke and confessing
that she is his daughter tries vainly to
force his way through the courtiers. He
curses them bitterly (" Cortigiani, vil raz-
aca dannata "), and breaks down weeping.
Gilda appears and rushes to her father.
The courtiers withdraw, and Gilda tells
of her humble lover and her abduction.
Rigoletto weeps with her ('* Piange,
fanciulla ''). The Count Monterone
passes in chains, confessing that his curs-
ing of the Duke has been vain, but Rig-
oletto fiercely vows to administer the
curse, though Gilda pleads against his
frenzy ('* No, vecchio, t'inganni ").
Act III. — Scene. An old weather-
worn house on the bank of the Mincio.
Inside, Sparafucile cleaning his belt.
Oatside Gilda pleads with her father
mho has plotted the death of the Duke.
She persists that the Duke is faithful ttt
her. The Duke, dressed as a soldier,
now appears inside the house, and calls
for wine. He sings recklessly of '* fickle
woman" (" La donna ^ mobile "), and
when Maddalena, Sparafucile's sister,
appears, makes violent love to her, not
knowing that Gilda and her father are
watching through crevices in the walls.
The varying emotions are combined in
the famous quartet ('' Bella figlia dell*
amore **). Sparafucile steps out and
bargains with Rigoletto, who wants htm
to kill the Duke and put the body in a
sack which Rigoletto will throw into
the river at midnight. He pays half
the sum agreed and promises more. H*
has sent Gilda on ahead to don boy's
clothes to aid their flight, and bow fol-
lows her out. A storm rises, and the
Duke decides to spend the night where
he is. He goes up to a room, and
Maddalena pleads with Sparafucile not
to kill him. Gilda, who has stolen back
in boy's clothes, overhears the plea.
The assassin says he will spare the Duke
if he can get someone else to put in
the sack. Gilda, to save her faithless
lover, knocks at the door and asks lodg-
ing. As she is admitted, the lights are
put out. Rigoletto appears ; the clock
strikes twelve. Sparafucile comes out
with a heavy sack, receives the money,
and goes. As Rigoletto is dragging the
sack toward the river, he hears the
Duke pass in the distance singing ** La
donna ^ mobile." In amazement he tean
open the sack and finds his daughter.
She asserts with dying breath her de-
votion to the Duke, and promises to
pray for her father in heaven ('* Lassu
in cielo"). She dies, leaving him in
frantic g^ef and loneliness, confessing
the fulfilment of Monterone's maledic-
tion.
La Traviata (12 tra-vX-a -ta). The
Erring One.
Three-act opera. Book by Piave.
after Dumas fils' '* La Dame aux Cam^
melias" or '^Camille'* (with names oi
STORIES OF THE OPERAS 895
characters chang^ed, and time placed
back in 1700).
First produced disastrously, Venice,
Marcji 6, 1853, the failure being largely
due to the embonpoint of the soprano,
whose wasting away was not convinc-
ing-
CHARACTERS AND THEIR CREATORS.
VioLrrrA Vauebe (va-la'-r«).
Mme. Donatelli, sopr.
Flora Bervoix (bdr-vwa).
Her friend, sopr.
Gborgio Germont (j£r'-m6nt),
Vavesi, bar,
ALrRSDo Germont,
His son tenor.
Baron Dauprol (d&'-oo-fol) bass.
Gabtone OS Letorieres (gas-t5'-n^
da la-ta-rt-a'-res) tenor.
DoTTORE Grsnvil (dot-to'-r^ gran'-vel),
bass.
Marquis d*Obigny (do-ben'-ye) .. .bass.
Act X. — Scene. The rich apartments
of Violetta, a demi-mondaine doomed
to die of consumption. She is giving
a dinner-party. Gastone introduces
Alfredo, who has conceived a deep pas-
sion for her. He is prevailed on to
sing a wine- song, but shows deep sym-
pathy when, the dinner finished, she
faints on the way to the ball-room.
Slie gives him a flower and he departs,
followed soon after by the other guests.
Left alone she thinks that she has at
last found a sincere lover, and falls into
ecstatic re very ("Ah, fors ^ lui "), *' Per-
chance *tis he that my fancy has been
painting in its loneliness."
Act II. — Scene i. A country house
near Paris. Alfredo enters, rejoicing in
the blissful seclusion in which he is liv-
ing with Violetta. Her maid returns
from Paris, and betrays the fact that
Violetta has been pawning her re-
sources to keep up the country place.
He is overcome with the humiliation of
his position, and leaves for Paris to se-
cufe funds. Violetta enters, and rt«
ceiving a letter from Flora inviting her
back to the old gaiety, laughs at the
thought. An elderly man is shown in.
He announces himself to be Alfredo's
father. He has come to plead with her
to give up Alfredo as otherwise the
lover of Alfredo's sister will break off
the match because of the scandal. After
a bitter struggle, she consents, and he
embraces her and goes into the garden.
She writes a letter and Alfredo sur-
prises her. She leaves him, in great
agitation. Soon a messenger appears
with a letter, dnd he learns that Vio-
letta has fled. In his grief, his father
appears and endeavours to console him,
reminding him of his home in sunnv
Provence ; but Alfredo reading Flora s
letter determines to follow Violetta and
revenge himself. Scene 2. Flora's
mansion. Some of her guests are gam-
bling, others pass in masquerade as
^psies. Gastone leads a group of bull-
nghters, and recites the romance of the
Matador Piguillo. Flora and her de-
voted but quarrelsome Marquis have
various disagreements. Alfredo ap-
pears, and dejectedly joins the card-
players. Violetta enters upon the arm
of the Baron. Alfredo as he plays
makes slighting references to the fickle-
ness of the broken-hearted Violetta.
Dinner is announced, and all leave the
room save Violetta, who calls Alfredo.
She warns him of the Baron's fury.
He says he will go if she will go with
him, but she refuses, and he summons
all the guests and furiously denounces
Violetta as a mercenary wretch ; to pwiy
his debt to her he flings a purse at her.
She faints in the arms of her Doctor.
Alfredo's father enters and leads him
away.
• Act III. — Scene. Violetta's bedroom.
She is asleep and her maid Annina
sleeps near the flreplace. The Doctor
arrives and tells Annina that Violetta
has only a few hours to live. When he
has gone, Violetta sends Annina to give
ten of her remaining twenty louis to the
poor, who are making holiday outside
Left alone she reads an old letter froai
896
THE MUSICAL GUIDE
Alfredo*s father, who has been moved
by her suffering to send for his son to
return from the foreign country. She
fears that he will be too late. Annina
enters hastily, trying to prepare her for
the coming of Alfredo. They have a
rapturous reunion and decide to flee
from *'dear Paris" ('* Parigi caro ").
But weakness overcomes her, and she
accepts her fate. The Doctor and
Alfredo's father enter, but can be -of
no help. She gives a medallion of her-
self to Alfredo as a memorial, and dies.
II Trovatore (el tr6-vfi-t6'-r«). The
Troubadour.
Four-act opera. Book by S. Com-
marano, from a drama by Garcia de la
Vega. Produced, Rome, January 19,
1853.
CHARACTERS.
Il Conti di Lvna bar.
M ANuco (man-re' -ko) tenor.
Fkbman'do ;. . . .bass.
RwM (roo'-cts) tenor.
An Old Zingako (Gipsy) bass.
Un Memo tenor.
Lbono'ma sopr.
AcvcBNA (a-tsoo-cha'-ni) m.-sopr.
iMn (e'.n*s) sopr.
Act I. — ^Scene i. Vestibule to the
apartments of the Count. Ferrando
tries to keep awake the other servants
by telling them the story of the Count's
younger brother, who had been be-
witched in his cradle by a gipsv. For
this the g^psy had been burned. Her
daughter, and the Count's baby brother
then simultaneously disappeared. It
ws^s believed that he had been burned.
Ferrando hopes some day to meet this ^
younger gipsy. Scene 2. The gardens*
of the Queen's palace. Leonora, her
maid of honour, tells her friend Ines
how she fell in love with a cavalier at a
tournament. He appeared again one
placid night <** Tacea la notte placida "),
and sang to her as a Troubadour. She
confesses her love for him ('* Di tale
fmorchiedirii"}. The t^rp womea with-
draw, and the Count di Luna appears,
breathing love for Leonora. Outside he
hears the voice of a Troubadour singing.
Leonora rushes out and mistakii^ the
Count for the singer, embraces him.
The Troubadour appearing upbraids
Leonora's faithlessness, but she ex-
plains her mistake. The Count chal-
lenges Manrico to combat, and the
men withdraw, Leonora fainting with
terror.
Act II. — Scene i. A ruined house at
dawn. Azucena, a gipsy, near a large
fire ; near her Manrico. Gipsies gatherod
about. The men working with their
hammers sing the famous " Anvil cho-
rus" ("Vedi le fosche"). Azucem:
sings a fierce song of burning a woman
at the stake ("Stride la vampa ! ").
The others disperse to their tasks, leav
ing Azucena and Manrico together.
She tells him the dismal story of her
mother's death for sorcery, and how
she, mad for revenge, had seized the
Count's younger brother, as she
thought, and burned him to death,
only to find that ihe had buaned her
own child. Manrico exclaims, **Thea
I am not your son." But Azucena
denies her own words and says she
was raving. Manrico tells her that he
has once more met his old enemy the
Count, this time not in battle but in
duel ; he had defeated him, but had
spared his life. Azucena commands
him never again to spare the Count. A
messenger appears and summons Man-
rico to the command of the troops. He
bids Azucena farewell and goes. Scene
2. Convent cloisters at night. The
Count with his followers has come to
kidnap Leonora, whose beauty he
cannot resist ('* II balen del sao
sorriso "). A chorus of nuns is heard.
Leonora and Ines appear, and Leonora
declares her intention to take the veil.
The Count seizes her, but Manrico
appears and later some of his fol-
lowers. Leonora consents to go with
Manrico.
Act III. — Scene i. Camp of Cooat
di Luni^, QW^4fi ^, b^eged cmOc^
STORIES OF
Fenando and chorus sinj^ a martial
song (** Squilli, eccheggi la tromba guer-
riera '*). The Count appears and is told
that a sp3Hng gipsy has been captured.
Azucena is brought in. She says her
home is Biscay and the Count says his
younger brother was stolen there. Fer-
rando recognises her, she is seized, and
calls on Manrico her son to save her.
The Count rejoices at this double re-
venge. Scene 2. A room near a
chapel in the castle. Leonora and Man-
rico together. He rejoices in her love
as an aid in battle (** Ah, se ben mio **).
They are about to be married in the
chapel when Manrico*s friend Ruiz
brings news that Azucena is taken, and
is to be burned. Manrico in horror
(*' Di quella pirra**) rushes to rescue
her.
Act IV. — Scene i. Outside a palace
tower at night. Leonora and Ruiz
enter. Manrico has been captured ; she
sends him hope and comfort ** on love's
rosy wings " (" D'amor suir ali rose ").
A death-knell is tolled and voices are
heard chanting a* * Miserere. " She hears
Manrico bewailing his fate ("Ah, che la
morte ognora '*), and she vows to save
him at all costs ('* Tu vedrai che amore
in terra **). She withdraws as the Count
enters, then accosts him and begs for
Manrico's life with bitter tears (** Mira.
di acerbe lagrime "). She finally offers
herself as payment for Manrico's life.
The Count gives the order to release
Manrico, and I^eonora takes poison from
a ring, then follows the Count. Scene
M, A prison ; Azucena and Manrico.
Azucena sees in terrible vision her own
mother's death at the stake. She falls
asleep watched by Manrico. The Count
and Leonora enter. She offers him free-
dom and begs him to fly. He curses
her ; but she dies before him and he
understands her fidelity. The Count,
thus foiled, orders Manricovout to death.
He awakes Azucena and drags her to
the vrindow, and shows her Manrico's
dead body. She exclaims, *' He was
your brother ! Thus thou art avenged,
0 mother miae I"
THE OPERAS 897
fTjtGNER, H^ILUELM RICHARD.
[Who wrote all of his own librettos.]
Der Fliegende Hollander (d«r f!e'-
g«n-d« h61'.l«nt-«r). The Flving
Dutchman. In French as ** Le Vais-
seau Fantdme " (le v*s-s6 fHh-tom).
In Itolian, first as " L'Oliando'se
danna'to"then as *' II Vascello Fan-
tas'ma" (i\ va-sh«l'-l6) or *• The
Phantom Ship."
Three-act opera, book and music by
Wagner. Conceived during a very
stormy three-weeks sea- voyage in 1839.
Begun, 1841. Produced, Dresden,
January 2, 1843.
CHARACTERS AND THEIR CREATORS.
Daland (dft'-lMnt),
Norwegian sea-captain bass.
Enw (a'-rek),
A huntsman tenor.
Das Steuemmann (dils shtoi'-ir-min),
Daland's pilot tenor.
The Hollander Wechter, bar.
Senta (zan'-ta),
DalaneTs daughter,
Frau SchrOder-Devrient, sopr.
Maey (ma'-rc) m.-sopr.
Act I. — A rocky shore. Under a
heavy storm a Norwegian ship has cast
anchor close to shore. The sailors are
heard singing as they furl the sails.
Daland on the rocks grumbles at being
driven inshore so near his port, so near
home and his dear old child Senta.
The storm subsides and Daland (with
grand opera license) is able to step
aboard as easily as he stepped ashore.
He orders the sailors below to rest and
leaves the pilot to take the watch. Left
alone, the pilot sings a love-song of his
sweetheart (** Mein Madel ") and the
southwind that brings him home. He
gradually falls asleep. The storm wak-
ens and a ship with blood-red sails and
black masts appears and drops anch-
or with a crash ; then the uncanny
crew furl the sails without noise, and
go below. The captain landing, ex-
claims that the seven-year terror is past
898
THE MUSICAL GUIDE
and he may come ashore a little while.
He bewails his lot, cursed to sail on
forever till the Day of Judgment unless
some woman perchance may love hira
unchangingly. He feels the futility of
such hope and cries to heaven to de-
stroy him. On Daland's ship there is a
scene of excitement. Datand, coming
on deck, finds his pilot asleep and a
strange ship near ; he goes ashore and
meets the newcomer, who tells him of
his sad lot and begs a home for a time ;
he has a chest brought from his ship
and offers the pearls it contains for a
night's hospitality, and still greater
wealth for the hand of the daughter
Daland mentions. The canny Daland
accepts, and the two captains going
aboard cheerfully make sail for Da-
land's port.
Act II. — Scene. Interior of Daland's
home. Among charts, pictures, etc., on
the wall is a portrait of a pale, black-
bearded man in Spanish garb. The
room is filled with girls at spinning
wheels. Senta and Mary are among
them. Senta alone of all is sad, and the
merry spinning chorus (** Summ' und
brumm* ") does not enliven her. Mary
rebukes Senta for gazing at the por-
trait. They finally persuade her to sing
the ballad of the ** Flying Dutchman,''
whose portrait it is. She sings of the
ship with blood-red sails and black
mast and her sleepless spectral captain,
who must sail on and on forever be-
cause in trying to round a cape in the
teeth of a gale he swore, *' I will keep on
trying to all eternity." Satan heard him
and condemned him to sail eternally
till some maiden should love him faith-
fully. Me may land once in seven years
to hunt for such a wife. At the end of
the ballad Senta excitedly cries out
that she herself would be that faithful
woman. Her lover Erik enters, and,
hearing the words, is deeply hurt at her
resolve. When the spinners finish the
task and leave, he pleads for her love ;
but she puts him off, eager to welcome
her father, whose ship has been sighted.
Srik is jealous of the picture and tells
her that he has dreamed of seeing her
father coming home and bringing the
Flying Dutcimian ; in the dream Senta
embraced the stranger and sailed away
with him. On hearing this dream,
Senta exclaims that she feels the Flying
Dutchman to be her destiny. Erik
rushes away in horror. Senta, remain-
ing gazing at the picture, suddenly sees
her father enter with — the Dutchman
himself ! Her father, amazed at her
stupor, tells her that the stranger has
come to find a home and a wife. Com-
mending each to each, he goes away,
leaving them together. The Dutchman
muses on her beauty and she on his
sorrow. He asks her to be his wife and
she vows to follow him through all.
Daland returning is rejoiced at the out-
come.
Act III. — ^Scene. A bay at night ;
on shore, Daland's house; in the bay
Daland's and the Dutchman's ships at
anchor. Daland's sailors are making
merry on deck singing ** Pilot, leave the
watch " {'* Steuermann, lass die
Wacht "). Girls come from the house
with food and drink for the sailors.
They are surprised at the unnatural
gloom and silence on the Dutch ship.
They can get no response to their
taunts. At length a strange blue flame
appears on the Dutch ship, and gradn-
ally a storm rocks the weird craft, leav-
ing the bay and the other ship calm.
The Dutch sailors now bestir themselves
and chant a sardonic song of the van
ity of the Dutchman's hopes. The
Norwegian sailors and women are
frightened and try to drown the uncanny
song with their own, but vainly, and
finally go below in terror, and silence
takes the Dutch ship again. Erik and
Senta come from the house, he pleading
with her frantically and imploring her
to remember the day of their young
love ("Willst jenes Tag's"). The
Dutchman entering hears his plea and,
thinking Senta false, cries out in despair,
and orders his crew to set sail, weigh
anchor And away. Senta pleads with
him, in spite of Erik's prayer, but the
STORIES OF THE OPERAS
Note. — ^This semi-historical opera
concerning the guild of Mastersingers
is a comic companion-piece to Tann-
hauser (q. v.. Note a), but without su«
pematural personages. It is also a
satirical answer to Wagner's academical
critics. Hans Sachs is an actual figure
in early German literature.
Dutchman mocks her. He proclaims
his identity and, going aboard his ship,
puts to sea. Senta is restrained from
following him by her father and others
who rush out. But she breaks away,
and with a last cry, *' Here am I, faith-
ful unto death ! ' leaps into the sea.
The Dutch ship sinks, and in the sun-
set glow Senta and the Hollander are
seen rising, transfigured in each other's Act i. — Scene. Interior of St. Kath-
armb. erine's church. A service is just clos-
ing. Walter gazes at Eva, who flirts
Die Meisterilnger Ton Nttrnberg *'"> .¥■"• ""'^ Z^""' »*^ '^' <:°"K«««-
(de mr-st<r-zlng-«r fon nOrn'-Mrkh? *'°?' d.spers^, he speaks to her she
Les Mattres Chanteun. (la miti shift- P'"" '"»« ^Y '^'}^"\ *"" ""^^^
tar). I maestri cantori di Norim- ^!'' scarf-pm. then her P^yer-book
K..JL- /•-— «s'««.-is *-• -s\ -ru^ ^nc anxious nurse tells the ardent
burga (e mi-a -stre kan-to -re). The , . j^ , .
Mastersingers of Nuremburg. 1^! :.M^ * .a • ^ I
^, ** . ^ ».. , . , tor m the next day s song-tourney.
A 3-act Comic Opera, tirst sketched ^^vid enters and busies himself draw-
m Vienna, 1845. the text finished and ^jg curtains to shut off the nave. Eva,
published. Pans, 1862. music finished, comparing Walter to the painter Du-
^^"7* rer*s picture of the Biblical David, is
Produced, Munich, June 21, 1868. misunderstood by Magdalene to refer
to the awkward apprentice. David
CHARACTERS AND THEIR CREATORS. j^j^^j q^i^^^ apprentices are preparing the
Hans Sachs (hfins zSkhs), room for the Mastersingers ; they are
A cobbler and famous writer^ about to undergo the examination that
Betz, bass. ^H admit them to the guild. Walter
Veit Pocnek (fit pokh'-n^r), decides to try the examination. David,
A goldsmith bass. with his shoemaking companions, tells
SixTus Beckmessee (zex'-to<is bik'-m«s- him how a song must be cut, soled and
^j.\ heeled to ht the ngid requirements of
Town elf rk Httlzel, bass. J^^ K"*^^; .^\»'.h ™any interruptions
Fmtz ICothne. ffrtts kot' n^r^ ^^°"^ ^^^ skylarking apprentices, David
J A ! ^ ^ ^' K ^«"» Walter of the various steps ; first
^ ^"^'''' ^^^^' the thirty-six musical tone* -^d modes
Eight other tradesmen. must be learned, they make a King lis>
Walthbe von Stolzino (val'-tir fon most arbitrarily named as " short, long,
shtol'-tslng). crimson, luscious, nightingale, secret,
A young Franconian Knight^ glutton, pelican, etc." Once these are
Nachbauer, tenor. known, they must be sung with proper
David (d&'-fet), voice production and correct embellish-
Apprentice to Hans Sachs, ment. Having thus become *'ascho-
Schlosser, tenor. lar ** and ** a singer," one must pass the
Eva (&'-fii), examination as " Poet," manipulating
Pogner*s daughter, in love with WaU rimes adroitly but strictly within limits
ter, Frl. Mallinger, sopr. of the rules. To become a *' Master-
Magdalxnb (makh-da-la'-n$), singer" one must sing both poetry and
Eva*s maid, in love with David, music of his own composing, and do all
Frau Dietz, m. sopr. three feats without breach of the thirty-
A Night Watchmam* three canons. A blackboard is broughl
900
THE MUSICAL GUIDE
\n. On this one of the judges, called
the ' ' Marker/* chalks down each mistake
— seven' are allowed ; if more are made
the candidate is declared " outsun^ and
outcast." Pogner and Beckmesser enter,
the latter, a grotesque old pedant, beg-
ging Pogner to plead with his daughter
on his behalf, Pogner having declared
that though Eva is to be the prize, she
must add her consent before she will be
made to marry the victor. Walter an-
nounces himself as a candidate for
Mastership. Beckmesser is jealous,
bmt the rest welcome the young noble-
man. The roll is called, Pogner an-
nounces the prize he offers for the next
song contest — his daughter, who must
add her verdict to that of the judges.
Hans Sachs suggests that the public
also be given a voice in the decision. He
defends their right to be considered,
lest art grow too severe and hidebound.
Hs enrages Beckmesser by hinting that
only the young bachelors be allowed to
vie for the girKs hand. Walter is
brought forward, and asked who has
been his teacher. He says the t>ooks
of the old Minnesinger Walter von der
Vogelweide (vide TannhSuser) have
taught him poetry ; he has learned mu-
sic of the birds in the woods. His tui-
tion is received M'ith scepticism save by
Sachs, and he prepares for the trial.
Beckmesser goes to the Marker's box.
Kothner summarises to him the rules,
and Walter begins a joyous song of
spring and love. Beckmesser is heard
scratching down the marks, and at the
end shows the blackboard quite cov-
ered. The other masters ridicule the
formless composition, and Walter is
allowed to sing his second stanza only
when Sachs has outwrangled Beck-
messer, who insults him as a poor
cobbler. The spontaneous lilt of the
second attempt Beckmesser finds guilty
of breaking every rule, and despite
Sachs* plea for genius unfettered, a vote
throws W^alter out, and the meeting
disperses in confusion.
Act II. — Scene. A Street, on one
side Hans Sachs' Shop: oa the other
Pogner's residence, in front of it a lime*
tree and shrubs. It is evening and llie
apprentices are putting up the shutters,
and thinking of the next day*s festival.
Magdalene enters with a basket of
sweets for David ; on learning of Wat*
ter's rejection, she snatches it away,
and hurries into the house. The ap-
prentices mock him, and Sachs, on his
way to his shop, stops an impending
brawl. Pogner and Eva enter ; he says
she must wed none but a master, and
enters the house. Eva and Magdalene,
after deciding to consult Hans Sachs,
follow- Pogner. Sachs appears and sits
down at his bench to make shoes for
Beckmesser ; he falls to musing on the
strange, lawless charm of Walter*s song.
Eva steals across to him, but being
timid of direct questioning, gets noth-
ing from him but vexation and banter
and reprova] of the aristocrat, who
w^ould not study the rules. He with-
draws to his shop, leaving his door slight-
ly ajar. Magdalene tells Eva to prepare
for a serenade from Beckmesser, who
hopes so to soften her heart to him.
Walter appears and tells Eva of his hu-
miliation. The watchman passes, or-
dering all lights out. Eva slips into the
house, and Walter hides behind the
lime-tree. Hans Sachs has overheard,
and, fearing an elopement, turns a
bright light across the street. Eva
slips out in Magdalene's cloak, but she
fears to cross the light. Beckmesser is
now seen approaching, and the lovers
hide behind the shrubbery. Sachs, re-
suming his work, sings lustily a song of
Eve driven barefoot out of Paradise,
and needing the aid of a cobbler. The
cunning allusion to Eva's own plan to
become an exile is not lost on the giil
hidden with her lover behind the shrub-
bery. Beckmesser, seeing Magdalene
at an upper window, sings to her his
idea of an artistic serenade, pretending
to Sachs, whom he Cannot get rid of,
that he is singing merely to get SachsT
opinion. The cobbler now pUiys Mark*
er, noting each mistake witji a thwack
of his hammer on the shoe. Bedb
STORIES OF THE OPERAS 901
ttiesser lays the stress on the wrong
tyliables, adds tawdry flourishes, etc.
Sachs finds so many mistakes that
the shoe is finished before the song.
The neighbours now begin to com-
plain. David appears and cudgels
Beckmesser. The whole town falls
into a riot, and Walter decides to
clear a way through. He and Eva
make a dash, but Sachs seizes Wal-
ter, and Pogner appearing drags Eva
inside the. house. Sachs drives David
in, and forces Walter also into his
house. And the watchman appearing
disperses the crowd.
Act III. — Scene i. Interior of Sachs*
workshop. Sachs is reading. David en-
ters with a basket full of ribbons and
edibles, which he hides from his master.
He tells Sachs that he and 'Lena have
made up, but Sachs does not hear him.
At length he closes his book, and has
David rehearse his trial-song. David
begins with Beckmesser*s tune, but cor-
rects himself. Sachs dismisses the ap-
prentice more gently than usual, and
falls into reverie on the troublesome lit-
tle things of life. Walter appears, hav-
ing slept ill. Sachs counsels him that
his passionate spring song was all very
well, but that life and wedlock demand
more serious art and science. In a long
scene he now writes down and corrects
and guides the composition of a song as
Walter improvises it. Two sections or
** bars" being shaped, Sachs says Wal-
ter can fashion the third later, and goes
with him to dress for the festival.
Beckmesser limps in and, finding Sachs'
manuscript of Walter^s song, slips it in
his pocket. Sachs re-enters only to be
reviled as a rival and conspirator against
Beckmesser. In proof he shows the
song. Sachs says he may keep it, and
use it. Beckmesser is overcome with
delight at having a poem by the gifted
Sachs, and hurries away to compose his
music. Eva enters, pretending to be
troubled by a tight shoe ; but she can-
not tell where it pinches. She is evi-
dently scheming to see Walter, who
soon appears. Sachs draws off her shoe
and pretends to be busy with it, while
Walter sings to Eva the third bar of his
prize-song. As Sachs sighs ironically
of the miseries of his trade, Eva tells
him that she could have loved him had
not Walter appeared. But Hans Sachs
alludes to the fate of the old husband,
who intervened between Tristan and
Isolde (the love-motive of that opera
being quoted in the music). Magda-
lene and David enter. Sachs says a
new mode of art has been created by
Walter, and with a box on the ear he
raises David to a journeyman. The
five unite in a song of hope for Walter's
success — this glorious quintet is well
known. Eva and Magdalene go home,
and the scene changes to 2. The banks
of the river Pegnitz ; a stage has been
erected for the contest, and the *' Cor-
porations" arrive in the following or-
der : Shoemakers, Instrument makers,
Tailors and Bakers. The apprentices
gather. David waltzes with a g^rl till
someone mentions Magdalene. The
Masters gather, and Pogner leads in
Eva. Sachs steps forward, but the af-
fectionate people break out into one of
his own songs. Sachs then tells of the
unusual prize of the contest. Beck-
messer is the first to sing, and is re-
ceived with laughter. He sings Wal-
ter's verses to his old serenade tune.
The words fit it so ill, that he becomes
confused, mixes his metaphors and
words and sings arrant nonsense. He
at length breaks down and, accusing
Sachs of the fault, rushes away. Sachs
says the song is not his, and onlv needs
good music. To prove it, he asks Wal-
ter to sing it ; Walter takes his place
and wins the enthusiasm of the throng
by his art. The [)eople at last vote him
the prize. Pogner welcomes him as a
Master. Sachs gives him counsel in the
glory of German poetry and song, and
places the golden chain about his neck.
Eva takes the Master's wreath from
Walter's head and places it on that of
Sachs. Walter and she embrace the
cobbler, whom all hail with affectionate
homage.
«
^
902
THE MUSICAL GUIDE
Lohengrin (ld'-£n*gr€n).
Three-act opera. Beg^n in 1845.
Produced, Weimar, August 28, 1850
(Goethe's birthday).
CHARACTERS AND THEIR CREATORS.
LoHiNGRiN Beck, tenor.
Hbinkich du Vogler (hin'-rTkh d^r
f6kh'-l«r) ("Henry the Fowler").
Emperor Hofer, bass.
Friidricm von Tblramund (fret'-rYkh fon
t^l'-riUmoont) Millde, bar.
The Herajlo of the King bass.
EuA VON Brabant (dl'-za fon br&'-bant),
Frau Agathe, sopr.
Ortruo (dr'-troot),
IVife of Count Telratnund,
Frl. Fastlinger, alto.
Act I. — Scene. The banks of the
Scheldt in Brabant near Antwerp,
Tenth Century. After the Herald's
message the Emperor Henry announces
that he has come to Brabant to gather
forces to repel the Hungarians ; he
leams that the people are in discord.
He calls on Telramund to explain, and
is told by him that the late - Duke had
died, leaving two children in Telra-
mund*5 charge. The son and heir has
disappeared and he accuses the sister
Eisa of putting him out of the way. He
therefore claims the Duchy as next
kinsman. The accused is summoned
to trial, and she enters, answering the
King's questions by telling a dream she
had of an angelic knight and defender.
Telramund offers to undergo the ordeal
of battle (which was then the procedure
of the courts) and Elsa says she will
have no champion save the one she
dreamed of. Four trumpeters sound
North,South,East, and West, but no one
appears to champion her. She kneels
in prayer ; from the distance comes a
knight in a boat drawn by a swan. All
are amazed except Ortrud, who is ter-
ror-stricken. The knight (who is Parsi-
fal's son Lohengrin, one of the semi-
deified Knights of the Holy Grail period
of King Arthur) bids farewell to the
swan, which departs. He announces
himself Elsa's champion, but makes one
stipulation : that she shall ask no ques-
tions of who or what he is, or whence
come. She promises and is embraced
as his betrothed. The ground is now
prepared for the fight and with due
ceremony the contest begins. Telra.
mund is soon beaten down, but his life is
spared, and he and his wife are crushed
with shame, while the Knight is hailed
with joy by the others.
Act II. — Scene. Night outside the
palace. On the steps of the Minster
opposite, cower Telramund and his
wife. Under the ban of confiscation
and exile they linger in rags. He re-
viles her as the cause of bis disgrace,
the lying accuser of Elsa and the source
of the whole plot. She promises in one
day to ruin Elsa by making her ask
Lohengrin the forbidden question. She
relies on witchcraft for success. Elsa
appears on the balcony in blissful rev-
erie. Ortrud with mock meekness ad-
dresses her, craving pity, which Elsa
bestows. She comes down to take into
shelter the outcast noblewoman, prom-
ising to add Lohengrin's forgiveness
to her own. She invites her to attend
the wedding, and Ortrud, pretending
gratitude, says she would save Elsa
from impending ill, and hints that
Lohengrin may depart as easily as
he came. Elsa, ill at ease, takes her
into the house, and Telramund watches
gloatingly. Day begins with the
bustle of servants and the sounding of
trumpets to gather the people. The
Herald publishes Telramund's exile, Lo-
hengrin s accession to his estates, his
wedding to Elsa, and the departure the
next day of all the warriors to battle.
Four noblemen, angry at being called
on for service, find Telramund and con-
ceal him. The wedding procession
forms, Elsa entering with Ortrud ricJily
garbed. As Elsa is about to ascend tlM
Minster step, Ortrud angrily darts in
front of her, demanding precedence.
She casts aspersion on the mysterious
Knight. The King and Lohengrin
STORIES OF THE OPERAS 903
press through the crowd, and Lohen-
grin, rebuking Ortnid as an evil sorcer-
ess, starts to lead Elsa up the steps.
Telramund confronts him, demanding
his name and station. Lohengrin sees
with grief that Elsa is disheartened and
afraid. Telramund whisf>ers to her
that if the Knight but lose even a
finger-joint, he must tell all. Elsa
hesitating, finally falls on Lohengrin's
bosom and enters the Minster with him.
Act III. — Scene i. The bridal chamber.
The procession enters and Lohengrin
and Elsa are divested of their outer
robes. Left alone they exchange words
of bliss, and she says her only regret is
that she may not know and speak his
name. She persists in her questioning,
despite his entreaties. Suddenly Tel-
ramund and the four nobles rush in with
swords drawn. Elsa seizes Ix>hengrin's
sword and hands it to him quickly. He
kills Telramund with it and bids the
nobles, who yield, to take the body to the
King. Elsa swoons and he summons
her women and bids them take her also
before the King. He promises there to
give her the answer she has asked ; and
sadly departs. — The scene changes to
that of Act I. The armies gather and
the King promises them success in
battle. Telramund*s body is brought
in, followed soon by the tottering and
dejected Elsa, then by the mournful
Lohengrin. He tells the King be can-
not go to the war with the armies : he
says that Telramund was slain as a
midnight assassin, and that Elsa has
been lured into breaking her vow. He
says he has no shame of birth to con-
ceal, and describes the Temple of the
Holy Grail (i.e., the second cup or grail,
from which Christ drank at the Last
Supper, which contained the blood He
shed on the cross, and which is preserved
and renewed yearly by the Holy Ghost,
as it is guarded by Knights chosen for
blameless life). Lohengrin declares that
he is the son of Parsifal (see the story of
that opera), and has been sent to rescue
the maiden. The swan reappears and
Lohengrin announces that the Grail is
recalling him. He says that Elsa*s
brother will return to her, and gives
her for him his sword, horn, and ring,
which ensure her brother's success.
Ortrud exultantly confesses that Elsa's
brother is the swan, changed to that
shape ; if the Knight had remained, the
swan would have been freed of the
spell. Lohengrin listening kneels in the
boat to pray. A dove descends, Lohen-
g^n joyfully removes the chain from the
swan, which sinks. In its place appears
Elsa's brother. Ortrud falls with a
sLriek. Elsa greets the boy with such
delight that she does not see the dove
taking the chain and drawing the boat
away. The nobles kneel to the returned
boy, but Elsa seeing Lohengjin already
far in the distance, faints with a last
cry, •• My husband ! "
Tristan und Isolde (tres'-tan oont
e-z61t'-i). Tristram et Yseult (tres-
triin a e-siil), F, Tristram and Isolde.
Three-act '* Action." Composed
i857~59- Produced, Munich, June 10,
1865.
CHARACTERS AND THEIR CREATORS.
T«I8TAN,
Cornish Knight^
Ludwig Schnorr von Carolsfeld, tenor.
KuftwENAL (koor'-fg-nal),
His squire Mitterwurzer, bar.
KoNiG Marke (ka -nYkh mar'-kQ,
Zoltmayer, bass.
Melot (ma'-lot),
King of Cornwall, tenor.
Stexrsmav bar
Young Sailor tenox
Shepherd tenoi
Isolds,
Daughter of the king of Ireland^
Frau Schnorr von Carolsfeld. .sopr.
Brangane (brSng-a'-n£),
Her attendant Frl. Deinet, sopr.
Act I. — Scene. A pavilion on the
forward deck of a ship ; a tapestry clos-
ing from view the portion aft. Isolde
reclining on a couch, Brangiine gazing
904 THE MUSICAL GUIDE
out over the sea. The voice of an un-
seen sailor singing of his Irish love.
Isolde starts up in a sudden fury. Bran-
ffftne is distressed. Isolde calls for air.
Isolde throws back the tapestry-, show-
ing sailors and knights and Tristan look-
ing off seaward. Isolde speaks scornful-
ly of Tristan to Brangilne, who defends
him. Sent to summon Tristan, Bran-
^ne finds him reluctant to come ; he
^ys his only duty is to take the bride
Isolde, willing or not, to King Marke,
who awaits her. The devoted Kurwe-
nal emphasises this point, but is re-
proved by Tristan, while Brangine
draws the curtains again. The insulted
Isolde tells her of the first meeting when
once, years before, she had found Tristan
wounded in Ireland and had nursed him
to health, though she should have killed
him, since he had killed her kinsman
and betrothed lover Thorold. He had
made love to her and she had forgotten
the blood-feud between them ; then he
had sailed away, only to return to de-
mand her hand for his king and lead
ner away as bride to another. She
curses Tristan. Brang&ne tries to calm
uer, but at Isolde's Order brings out a
coffer of medicines and poisons. Isolde
indicates a deadly draught The crew
ts heard greeting the land. Kurwenal
appears to bid them prepare to disem-
bark. She tells him to send Tristan to
her. Brangane pleads frantically, but is
silenced as Tristan enters. He explains
that honour has kept him far from her,
and she bitterly reminds him that she
should have slain him for killing Tho-
rold. He offers her his sword, but now
she pretends to have forgiven him and
^ks him to seal the peace with a
4raugl|t ; sb# offers him the cup and he
4rinVs ; sHe snatches it away from him
^d drains the rest. Instead of both dy-
ing as Isolde expects, the draught, which
Brangane has surreptitiouslv changed
to a love-potion, makes them lovers,
madly impassioned and blind to all that
gocH on about them. They do not ob-
serve even the bustle of landing, and the
raproach of King Marke from shore*
Act II. — Scene, A gariien with steps
leading up to Isolde s chamber. A
torch bums. In the distance the horns
of far-away hunters are heard. Isolde is
awaiting 1 ristan. Brangane warns her
that Melot, her pretended friend, is
actually spying on them; she bittcriy
regrets her mixture of the love-potion,
but Isolde says it is destiny. She
quenches the torch as a signal, and
beckons to Tristan, who hurries in.
They have a long scene of unrestrained
ecstasy, the voice of BrangSne, who
watches unseen from the tower, falling
on their ears with unheeded warning.
At last she screams. Kurwenal rushes
in to warn Tristan, but King Marke,
and Melot and others appear and con-
front the lovers. Tristan in a daze tries
to conceal Isolde, who is overcome with
shame. Melot is violent with accusa-
tions, but King Marke is only bewil-
dered and mystified. Tristan confesses
equal bewilderment, is ready to die.
however, and asks Isolde if she will die
with him. She says she will follow him
anywhere ; he kisses her. Melot draws
his sword. Tristan rebukes him as a
false friend, draws and attacks, but lets
himself be wounded, and falls in Kur-
wenal's arms. Isolde throws herself on
his breast.
Act III. — Scene. A castle garden on
the cliffs. The mortally wounded Tris-
tan lies sleeping on a couch watched by
the anxious Kurwenal. A shepherd
playing a melancholy air on a ppe
pauses to inquire of Tristan's welfare.
He is watching for a ship — Isolde*s, if
he sees it, he will pipe merrily. Tris-
tan wakes drearily. Kurwenal explains
how he had carried the wounded Tris-
tan away to his own long-deserted cas-
tle. Tristan tells a dream he had of
Isolde. Kurwenal says he has sent for
her to come and heal the wound. This
enraptures Tristan for a moment, bul
he smks back under the spell of the
shepherd's wailing song. He wakens
again, however, and the shepherd plays
a brighter melody. A ship is sight^
Isolde leaps ashore, and K.UTw^tf9i
STORIES OF THE OPERAS 905
hastens down the steep to bring her up.
Tristan, left alone in a delirium of joy,
desires to meet Isolde again as when
the first saw him — with bleeding wounds.
He tears the bandage from his wound,
staggers toward her, and dies in her
arms with a last sigh ** Isolde ! " The
shepherd now warns Kurwenal that an-
other ship has landed with King Marke
and Melot. They barricade the gate.
Kurwenal kills Melot and resists Marke
and his followers, not heeding Bran-
gilne*s appeals, and is wounded to
death. Brangftne tries to explain to
Isolde that she has toid the story of the
love-potion. The King, understanding
all, has come to reunite the lovers.
Isolde, however, oblivious of everything,
falls into a state of exaltation and seems
to see Tristan rising in an apotheosis of
bliss. In a transfiguration of rapture,
she sinks upon his body, and King
Marke invokes a blessing on the dead
lovers. This swan-song of Isolde is
called the ** Liebestod " (le'-WJs-tdt), or
" Love's-death."
Tannhiiuser u&d der Sangerkrieg
anf Wartburg (tan-hcl'-e-z£r oont
dir z£ng'-£r-krekh owf v&rt'-boorkh).
TannhaeuserandtheSinger*s Contest
at the Wartburg.
Three-act opera ; book and music by
Wagner. Produced, Dresden Royal
Opera, October 20, 1845, with Frau
Schr6der-Devrient and Niemann as
Elizabeth and Tannhauser
CHARACTERS.
Knights and Singers :
HXIMANN,
Landprave of Thuringia, . . .bass.
TammnXvui ok HxuraicH tenor.
WoLPSAM VON EtcRXNBACH (vdK-fr&m
f dn £sh'.«n-b&kh) bar.
Waltxr von dm Vogelwxidb (vftl'-tCr
f6n d«r f6'-g«l-vT-d«) tenor.
BrrsROLP (bc'-t«r-6lf) bar.
HuNRicH PER ScHRUBKR (hin'-rikh d£r
shrl'-bifr) tenor.
RuNV/R VON ZwrriR (rln'-mfir fon
tsv&'-t^r) .bass.
EuEABiTN (i-le'-zit-bit).
Niece of the Landgrave sopr.
ViNui (f&'-noos),
Goddess of love , sopr.
A YouNO Shiphbrd , sopr.
Note.— (a) Like •* Die Mcistcrsing-
er," this opera has a semi-historical
basis in the ancient contests between
Germanic singers. The Minnesanger
(mTn'-n<5-zing-*r) or love-bards were
noblemen who sang poems and music of
their own in praise of pure love, to their
own harp accompaniment. They flour-
ished in the twelfth and thirteenth
centuries. The Mastersingers, usually
tradesmen, who succeeded them in the
fourteenth to the sixteenth centuries,
made more elaborate rules for composi-
tion, (b) The goddess Freia or Holda (v.
** Das Rheingold "), Goddess of Youth
and Spring, was believed to have been
driven by Christianity to take refuge in
the caverns of a mountain near Eise-
nach. She became confused, and finally
identified, with the Greek Venus of simi-
lar attributes, and the mountain came
to be called the Venusberg. This
mountain is not far from the castle of
the Wartburg, where the old landgraves
held vocal contests of the sort described
in this openu
Act I. — Scene i. The subterranean
palace of Venus. Surrounded and be-
guiled by singing and dancing nymphs
and sirens, Venus reclines in voluptuous
languor, gazing wonderingly at Tann-
hauser, who is dreaming of the upper
air and homesick for the life he left for
her. At her insistence he sings in her
praise, but begs for his freedom. At
first resentful, she then tries to charm
his restlessness away, but grows furious
again and tells him that his Christian
God will never forgive him. She van*
ishes and he finds himself (scene 2) in a
sunnv valley before a shrine of the
Virgin. A youn^ shepherd pipes and
sings of Holda, the Goddess of Spring.
Seeing a file of elderly Pilgrims wan*
dering Rome-wards, he asks their blea*
9o6
THE MUSICAL GUIDE
sing. Tannhauser himself kneels and
joins their chant (known as the Pilger<
chor, •* The Pilg^rims' Chorus "). They
disappear in the distance, and the Land-
grave, entering with his retinue of Bards,
on a hunt, finds his long-lost favorite and
welcomes him back. Tannhauser speaks
vaguely of travel in strange lands and
wishes to avoid them, but Wolfram
tells him that Elizabeth has been pining
for him and his all-surpassing minstrel-
sy. Tannh&user, at the memory of her,
gladly rejoins them and they set off for
the castle of the Wartburg.
Act 11. — Scene. The Hall of Apollo
in the Castle. Elizabeth enters and
greets it with joy since now Tann«
h^user's voice is to glorify it again.
Wolfram ushers in Tannhauser and he
and Elizabeth are fervently reunited.
The Landgrave welcomes Elizabeth to
the hall she has shunned so long and
announces her as the queen of the con-
test. The court gathers witli much
E>mp. The Minnesingers enter. The
andgrave announces that love is the
subject of the prize-songs. Four pages
collect the names of the Bards in a cup*
and draw lots. Wolfram, the first
chosen, sings of the fountain of clean-
hearted love, to much applause. Tann-
hauser interrupts with a praise of pas-
sion, but is received in chill silence.
Walter sternly contradicts him, and is
applauded. Tannhauser reiterates his
view and Biterolf angrily rebukes him.
Tannhauser returns the abuse, and
Wolfram tries to calm the rising excite-
ment by imploring heaven's interven-
tion. Tannhauser madly declares that
Venus alone can teach love. The
women leave the Hall hastily and
the men advance against Tannhauser,
whom the Landgrave declares eternally
condemned, for his unholy life in the
Venusberg. The rash minstrel is about
to be cut to pieces by the infuriated
mob, but Elizabeth protects him and
pleads that he may have a chance to re-
pent. Tannhauser is now overcome
with shame and prays God to accept
him. The Landgrave bids him join a
band of young Pilgrims who seek absolu-
tion at Rome. He rushes away hope-
fully
Act III. — Same as scene 2 of Act I,
Elizabeth is praying before the shrine.
Wolfram muses on her incessant prayer
that Tannhauser may return forgiven.
The returning elderly Pilgrims are heard
approaching and she rises. They pass,
singing joyfully, and she scans them
anxiously, but Tannhiuser is not with
them. Crushed with grief, she sinks to
her knees begging to die. In an apo-
theosis of soul she departs. When
Wolfram offers her escort, she points
silently to heaven whither she now is
tending. The faithful Wolfram, left
alone, sings to the Evening-star to bless
and guide her. (Romance of the Even-
ing Star — **0 du mein holder Abend-
stem.") In the thickening night, Tann-
hauser staggers by in tattered Pilgrim
garb. Wolfram asks him how he dares
return unshriven. and he declares wildly
that he is on his way to the Venusbeig
again. He tells how the Pope had ab-
solved all the other Pilgrims, but had
likened him in his unholy acquaintance
with the Venusberg to the Pope*s own
dead staff, which could never again put
forth leaf or flower. The excommu-
nicated Tannhauser can find shelter
nowhere but with Venus. She now
appears to him in a rosy cloud, but Wolf-
ram struggles to restrain the maniacal
Tannhauser and finally breathes Eliza-
beth's name. Tannhauser cries her
name wildly, and the goddess vanishes
frustrated. A funeral procession enters
bearing the dead Elizabeth. At sight of
her, Tannhauser, imploring her to pray
for him in heaven, dies of g^cf. The
younger Pilgrims now enter, chantir^ of
the miracle they have seen. The Pope's
staff has blossomed, showing heaven's
forgiveness of Tannhauser.
STORIES OF THE OPERAS 907
Der Riflff des Nibelnng^en (d£r rtng
das ne -Ml-oong;-^n). The Ring of
the Nibelung.
*' A stage-festival for three days and
A Fore-evening."
^his great work is a trilogy with
prologue, or rather a tetralogy, bearing
a close resemblance to Greek tragedies,
which were groups of three plays set to
music by the author of the text, and de-
claimed with choral interspersions much
after the manner of Wagnerian opera,
except that the harmonic resources in
which this latter is so rich were practi«
cally unknown in the music of the trage-
dies of ^.schylos, Sophokles, etc.
The stories of these four works have
a continuity, but, though they were
meant for performance on consecutive
evenings, they contain many repetitions.
The plots are adapted with much license
from that great collection of German
legend and mythology, the epic *' Das
Nibelungenlied " or **Song of the Ni-
belungs, a race of hideous gnomes
living in the heart of the earth in the
Nebelheim or '* home of mists."
The tetralogy follows the baleful effect
of a piece of consecrated gold stolen
from the Rhine, made into a ring and
then fought for by gods, Nibelungs,
and heroes, bring^g disaster to all its
possessors, until it finally returns to the
Rhine after compassing the destrur^.ion
of the old dynasty of gods, with Wotan
as their chief and Walhalla as their
home. There is much room for moral-
ising and allegory in the work, and
commentators have not lost sight of
the opportunity to confuse the complex
with further obscurities. There is
enough, however, in these librettos as
dramatic and poetic works to occupy
the interest and the attention.
The Prologue or **Vorabend" (f6r-
ft'-b6nt), or Fore- Evening of the trilogy ;
X. Das Rheing^old (dSs i1n'-g61t).
The RHine-gold.
One-act music-drama. Begun 1852,
finished 1856. Produced {at public
diess-rehearsal, Munich, August 25,
1869) ; with the entire trilogy, Bayreuth,
August 13, 1876.
CHARACFERS AND THEIR CREATORS
(at Weimar).
Gods :
Wotan (vo -tan) Betz, bar.
DoNNEM (don'-ndr),
Thunder. Gura, bar.
F»oH (fro), Toy Unger, tenor.
Logs (lo -g^),
Demi-god of fire and trickery^
Vogl, tenor.
Nibelungs :
Albkrich (al'-b^-rtkh) Hill, bar.
MiMB (me'-m£) Schl6sser, tenor.
Giants .*
Fasolt (fa'-zolt) Eilers, bar.
Fafnbb (faf'-n«r),
von Reichenberg, bass.
Goddesses :
Fbicba (frik'-ft),
Wotan^s wt/ey
Frau von GrOn-Sadler, m. sopr.
Fbbia (frl'-a), or Holda (h61t'-fi),
Goddess of love and youth ^
Frl. Haupt, sopr.
Erda («r'-dfi),
The Earth-mother, ,Yx\, J&ida, alto.
Rhine Daughters :
WoouNDB (v6kh'.Wn-d€),
Frl. Lilli Lehmann, sopr.
Wbllgundb (v^l'-goon-dd),
Frl. Marie Lehmann, m. sopr.
Flohhilob (fids' -hll-d£),
Frl. Lammert, alto.
Scene i.— The orchestral prelude,
based on a single musical piattem, indi-
cates the gloomy fiow of the depths of
the Rhine, which are disclosed on the
rising of the curtain. The Rhine
daughters or nymphs gather and disport
around a great central rock where rests
the sleeping Rhine-gold, which their
father has set them there to sentinel.
Alberich appears from a chasm ana
makes sensual love to them and tries to
clutch them. They make sport of him
and decoy him to violent scrambling
and wrath. Suddenly the Rhine-goid
"awakes" and gleams. The fascina#
9o8
THE MUSICAL GUIDE
ed Alberich asks what it is, and the
Rhine-girls laughingly taunt htm with
his ignorance of the fact that this gold
if seized and fashioned into a ring would
confer boundless power on the thief,
who must, however, they add tauntingly,
forswear love before he can take it.
Alberich's love is turned to hate by their
scorn, and climbing the rock he wrench-
es the gold loose. In the gloom that
follows, he laughs at their frantic pur-
suit and disappears into the earth. By
a scenic transformation, the first scene
is modulated skilfully, as are all the
scenes of this opera, into the next.
Scene 2. — An open space among cliffs,
one of which bears the new castle
Walhalla. Wotan and Fricka awake
from sleep. He revels in the beauty of
the vast achievement just finished in the
building of a fit home for the gods. She
reminds him that he must now pay the
builders, for he had promised the two
Giants his wife's sister Freia. Fricka
upbraids him for his ruthless ambitions
and his roving infidelity. He reminds
her that he gave one of his eyes to win
herself, and that he will not give Freia
up to the Giants as he promised, but
trusts in Loge to slip him out of the
compact by trickery, since the whole
compact was Loge's idea. Freia now
hurries in, terrified with fear that the
Giants are to have her. The Giants fol-
low shortly. They say they have come
for their wages. Wotan tells them she
is not his to give. The Giants are furi-
ous, Fasolt saying thev ^ad counted on
her beauty, Fafner preierring the golden
apples of youth that grow in her garden.
They propose to seize Freia, but Froh
and Donner appear to shelter her.
Donner threatens them with his thun-
derous hammer, but Wotan intervenes.
The anxiously awaited Loge now ap-
pears and all suspect him of trickery as
he flits flame-like about. He finally
tells how he has ransacked the earth for
a ransom for Freia, but nowhere could
he find anything rated so high as woman
and love — only one being in the uni-
verse has other preference, and that is
Alberich. He tells of the theft of the
gold and of the ring Alberich has made
from it. Wotan now covets the ring
and so do the Giants. Loge says the
ring can only be got by theft. The
Giants ofler to accept it as ransom.
Meanwhile they take away the screaai.
ing Freia as hostage. Immediately the
Gods grow wan and old and Loge says
that the apples of youth which renew
the universe and the gods, are wither-
ing in Freia's deserted garden ; a pallid
mist rises. Wotan resolves to wrest
the gold from Alberich, and Loge leads
him into a cleft of the earth whence sul-
phurous vapours spread, veiling the
transformation to Scene 3. A subter-
ranean cavern. Alberich drags in the
squealing Mime, who pretends not to
have finished his appointed task of mak-
ing the Tamhelm (a helmet conferring
invisibility on the bearer). Inadvertently
he lets it fall. Alberich puts'it on and
vanishes into mist ; invisible now, be
beats Mime, then is heard as he departs
to the forge-room beneath. Loge leads in
Wotan and they question the whimper^
ing Mime, who tells them that Alberich
has usurped a despotism over them all
and makes them slaves to his greed. He
tells of the new helmet of darkness and
the beating he had. Alberich comes in,
visible now. the Tamhelm at his girdle,
he drives in a herd of Nibelungs who
heap up gold ; he then scourges them
back to their work. He gives his new
guests bitter greeting and says he will
soon have them all in his grasp, gods
and women. Loge hints that the gold
might be stolen in his sleep. Alberich
trusts in the Tamhelm to hide him.
They question his power to change his
shape. To prove it he becomes a great
serpent. Loge hints that he cannot
change himself to anything small like a
toad. Alberich ingenuously makes this
change. Wotan puts his foot on the
toad, Loge snatches the Tamhelm, thus
bringing Alberich back to his natural
shape. They tie him up and drag him
back to the upper ir and to scene 4,
the same as scene 2. They offer hifli
STORIES OF THE OPERAS 909
freedom for all his gfold ; he munnurs
to his ring a summons to his dwarfs,
who appear and heap up the gold. Loge,
in spite of his protest, adds the Tarn-
helm to the heap. Wotan espies the
ring and wrenches it from Alberich*s
finger. Alberich, released, curses the
ring and loads its power with a heritage
of death, misery, envy, sleeplessness,
and crime to its possessor. He then
returns to his forge. (The too-consist-
ent mind will wonder why a ring which
conferred *' measureless might" on its
wearer, could not get him out of an
ordinary rope ; but myths, like meta-
phors, *' must not be squeezed till they
squeal ".) The Gods and the Giants as-
semble. The Giants demand that the
gold be heaped up to hide the beautiful
Freia whom they are so loth to surren-
der. They stick their staves in the
ground in front of her, and Loge and
Froh heap yp the gold. The Giants
can still see her hair shining through
and the Tamhelm must be added to the
heap. Even now they can see one of
her eyes, and demand the ring on Wo-
tan*s finger. He furiously refuses it.
Now, in a rocky cleft appears the awe-
some Erda, mother of the three Noms
or Fates ; she implores Wotan to keep
his faith and yield the ring. She van-
ishes, and after some resistance he
throws the ring on the heap. Imme-
diately the Giants quarrel for it, and
Fafner kills Fasolt, places the treasure
in a sack, and stalks away. The Gods
watch him with horror and Wotan re-
solves to visit Erda again. Donner,
hating the mists that veil Walhalla, dis-
appears in storm clouds ; he swings his
thunder hammer and the lightning clears
the mists. Froh spans the gorge with
a rainbow bridge to Walhalla. The
Gods move toward the castle. Loge,
the flame demi-god, looks scornfully
after those whom he has saved, and* is
tempted to turn against them, but fol-
lows for the nonce. The wail of the
forlorn Rhine daughters is heard from
the deeps of the valley, but the Gods
mock it with laughter.
2. Die Walkttre (de vSl.kQ'-r«). The
Valkyrs.
Music-drama in three acts. Begun,
1852. Finished, 1856.
Produced at public dress-rehearsal,
Munich, june 24, 1870. With the
trilogy, Bayreuth, August 14, 1876.
CHARACTERS AND THEIR CRKATORfl
(at Munich).
Valsungs :
SiBGMUND (zekh'-moont), Vogl, tenor.
SuGUNDE (zekh-Un'-de),
His sister ^ /funding^ s wife^
Frau Vogl^ sopr.
HuNDiNG (hoont'-Tng),
A Neidung Bauserwein, bass.
Gods :
Wotan (vo'-tan), Kindermann, bar.
Fmcka (fr)(k'-&),
Frl. Kaufifmann, m. sopr.
Valkyrs :
fisuENNMiLox (brin-htl'-d^).
Frl. Stehle, sopr.
RonwusE (r6s'-vi-z5) sopr.
Grimgeroe (grem'-g^rt-i) sopr.
Hblmwigs (hdlm'-ve-kh^). . . .m. sopr.
GxsHiLDs (ier'-htl-dfi) m. sopr.
Ortunde (ort'-lln-d«) m. sopr.
Waltraote (valt'-row-tfi) alto.
SiEGRUNE (ze'-groo-n£) alto.
Schwbrtlxitb (shv«rt -ll-ti) alto.
With this work, the trilogy proper
begins. As gradually transpires : since
the events of " Das Rheingold," the
fickle Wotan has been wandering over
the now populated earth under rhe name
WSlse (vSl -ze). The children of his
roving amours have formed a tribe
called W&lsungen, or Volsungs, who are
at war with the tribe of Neidungs (nf-
doongs). A Volsung woman had borne
to Wotan the twins Siegmund and Sieg-
linde, but the children were soon sep-
arated. Over the conflicts of humanity
Wotan eagerly watches, and those who
prove heroes and are killed in battle aim
910 THE MUSICAL GUIDE
carried aloft to form a blissful g^arrison
for the defence of Walhalla. Over
every battlefield hover, for this purpose,
the heavenly horse-women, or Valkyrs,
who are all illegitimate daughters of
Wotan by Erda, whom he had seduced
with a love-potion.
Act I. — Scene. The interior of a
primitive hut built round a great tree in
which a sword has been thrust up to the
hilt. Siegmund breathlessly enters from
the storm outside. Sieglinde not know-
ing him, gives him a horn of mead, and
treats him kindly ; her husband Hund-
ing, one of the Neidungs, enters and
confirms her hospitality but with suspi-
cion. Siegmund, asked to tell who he
is, describes his vile life in the woods
with his father, a Volsung, his mother
and twin-sister having been carried off
by the Neidungs. To-day he has
fought single-handed in defence of a
woman. Hunding recognises him as
the wretch his tribe is hunting, and says
that on the morrow he must fight out
the feud. He gives Siegmund sanctu-
ary for the night, but warns him to have
weapon and resolution for the morning.
Siegmund, left alone, broods over the
misfortune that hounds him, but remem-
bers that his father had said a sword
would be at hand in direst need. Sieg-
linde enters, having drugged her hus-
band, and tells him of the sword in the
tree, thrust there by a strange wanderer
(Wotan). No one has ever been able
to draw it out. She longs for someone
to unsheath it, and revenge her. The
door springs open, showing moon-lit
night outside. Siegmund says that the
mysterious visitor is the Spring itself,
and sings a rapturous idyll. Sieglinde
calls him the Spring she has longed for.
Not knowing that they are brother and
sister, they grow ardent in love. He
proclaims Walse (Wotan) as his father,
and with a mighty effort, plucks out the
sword, which is called ** Nothung" (not-
oong), i.e., need. Sieglinde proclaims
herself his sister. He embraces her fer-
vently as both sister and bride for the
TCStoration of the Volsung lineage.
Act II. — Scene. A gorge in the
mountains. Wotan sends Brflinnhilde
to watch an impending battle. Fricka
comes angrily in. She plays the Xan-
thippe. To her as goddess of wedlock,
Hunding had appealed to punish Sieg-
mund and Sieglinde, who have fled.
After a bitter quarrel she compels Wo-
tan to swear that Siegmund shall die
under Hunding*s sword, even if he most
intervene himself. When she has gone,
BrQnnhilde reappears and tries to con-
sole her dejected father. He tells her
the story of the Rhine-gold ; of Fafner
who holds the ring, of his betrajring
Erda for his purpose, and of his one
hope that some unaided hero shall of
his own volition alid resource win the
world-power. He bewails his oath to
Fricka, but when BrQnnhilde hints that
she will save Siegfmund, he threatens her
wrathfully. When they have left in
opposite directions, Siegmund and Sieg-
linde enter, both overcome with fatigue,
and she also with shame at yielding to
him. In the distance the horses of their
pursuers are heard. She swoons in her
anguish. BrQnnhilde appears and bid"
Siegmund follow her to Walhalla, bi..
he refuses to be separated from Sieg-
linde. He even threatens to kill her
and himself first, and BrQnnhilde pas-
sionately vows to preserve them both.
She disappears, and a great storm
arises. Siegmund leaves Sieglinde to
meet Hunding. They fight. Brtlnn-
hilde protects Siegmund with her shield ;
but Wotan appears, and with his spear
shatters the sword of Siegmund whom
Hunding slays. The disot^ient Brt&nn-
hilde, in terror, escapes with Sieglinde,
and Wotan after slaying Hunding with
one scornful glance, follows her.
Act III. — Scene. A mountain peak
and cavern. The Valkyrs gather, each
with a slain hero across her hoise.
They await BrQnnhilde, who appeaia
finally in great panic with Sieglinde on
her saddle. She tells what she ha*
done and begs shelter. Sieglinde plcadi
to be allowed to die, but BrQnnhilde
reminds her that in her womb she bean
STORIES OF THE OPERAS 9ii
Siegmund's son, to be called Sie^ried
(here first appears the motive **Sie£^-
fried and the sword "). Sieglinde now
wishes to live, and they decide that a
cave near Fafner's lair would be safe
from Wotan's discovery. She gives
Sieglinde the pieces of Sieg^und's
sword, and bids her save them for her
son. Sieglinde hurries away, just be-
fore Wotan appears and denounces
BrQnnhilde bitterly. He disowns her,
and tells his plan to disg^ce her by
making h^^r a prisoner on this mountain.
The maidenhcKxl which is the pride of
the Valkyrs, shall be the prey of who-
soever finds her. He sends the other
Valkyrs away, and BrQnnhilde pleads
earnestly that she protected Siegmund
because she knew Wotan really loved
him and wished him to win; but she can-
not alter his resolve. She begs to be
surrounded with flames that only a fear-
less hero may reach her to make her his
own. Wotan grants this wish, and bids
ker a tender farewell, kisses her divinity
away and lays her fast asleep witr
closed helmet on a bank of moss. He
places her long shield over her, and in-
vokes Loge, who sends a circle of fire
to guard the sleeping Valkyr. He
vanishes after a last charm : ** He who
feareth my spear, shall never fare
throHgh this fire ** (in which again the
" Siegfried and the sword " motive ap-
pears).
3. Siesffried (zekh'.fret).
Three-act music-drama. Begun, 1856,
finished, 1869. Produced, Ba3rreuth,
August 15, 1876.
CHARACTERS AND THEIR CREATORS.
SiiorRiiD Unger, tenor.
MiMi (mc'-m^) Schlosser, tenor.
Du Wandkrm (d<r v&n'-dSr-^r),
Betz, bar.
Albbiich (tl'-W?r-lkh) Hill, bar.
Fafmbi (fif'-nir). Von Reichcnberg, bar.
E«DA («rt'-i) Frau Tftida. alto.
Bbobnnhilob (bi1n-hir-dS),
Frau Friedrich Materna, sopr.
Act I. — Scene. A cave-dwelling with
primitive forge and anvil. The dwarf
Mime is forging a sword, but grumbles
that the boy Siegfried breaks the strong-
est blade he can make. If he could
only forge the pieces of Siegmund*s
sword Nothung, that would be un-
breakable ; with it Siegfried might
even slay Fafner who, shaped like a
dragon, guards the all-powerful Ring.
Mime would then possess himself of the
Ring. But he winces at his inability to
forge Nothung. The boyish Siegfried
romps in with a bear and terrifies the
dwarf, and breaks with a blow the
latest sword he has forged. Mime sob9
that all his fatherly care of the boy
meets only hate and rebuff. Siegfried
confesses an unconquerable repugnance
to the dwarf ; he only tolerates him for
the knowledge he has. He has Ieame<)
that all animals have father and
mother ; he asks who his mother was,
and Mime claims the double honour of
being both father and nrother to the
boy. Siegfried has seen his own image
in a brook, and gives Mime the lie. He
chokes the dwarf into telling him of a
nameless woman who had come to the
cave and died in bearing a child. She
entrusted him to Mime after naming him
Siegfried. He tells over in little slices
the story of his devoted care for the boy,
and finally produces the broken sword.
Siegfried orders him to forge it anew
and dashes out into the woods. Mime,
despairing of hoodwinking the lad to
his own purposes, views with suspicion
the entrance of Wotan, who is disguised
as a wanderer. In a long colloquy,
which re-tells the stories of the previous
operas, they enter into a contest in
which each is to ask three questions ;
the one failing to answer forfeits his
head. Mime asks (i) What race dwells
in the earth ? (2) What on the surface ?
(3) What in the clouds ? Wotan answers
(i) The Nibelungs, vhom Alberich sub-
jugated with the Ring. (2) The Giants,
of whom Fafner guards the Ring. (3)
The Gods, of whom Wotan is the chief,
ruling all with his spear. He strikes tht
912
THE MUSICAL GUIDE
Spear on the ground and a thunder
rumbles. Wotan, recognised, asks
Mime three questions : (i) What race
does Wotan persecute though he loves
them? Mime answers correctly, "the
Volsungs." (2) What sword must Sieg-
fried use to slay Fafner? Mime an-
swers, *' Nothung." (3) Who will forge
that sword anew ? Mime can find no
answer. Wotan laughs and says that
only one who knows no fear can forge
it ; to that hero he bequeathes Mime's
head. When he is gone, Siegfried re-
turns to 6nd Mime hysterical with fright.
He tries to teach Sieg^fried fear, a thing
the boy has never felt ; as a last resort
he will show him the dragon. Siegfried
resolves to forge the sword himself and
with growing ecstasy works away.
Mime watches him and plans his own
ambitions, brewing the while a poison
for Siegfried when he has won the
Ring. The sword at length is made and
Siegfried exultantly splits the anvil in
twain with its resistless edge.
Act II. — Scene. The heart of a for-
est at night. Alberich lies brooding.
The Wanderer enters. The ancient
enemies quarrel. They speak of Sieg-
fried who is coming to slay Fafner.
Alberich calls to the dragon Fafner,
whose cave is near by, offering to pro-
tect him if he will g^ve him the Ring.
Fafner yawningly declines. Wotan ad-
vises Alberich to try Mime next, and
vanishes. Alberich hides as in the
dawning light Mime enters with Sieg-
fried. His descriptions of the dragon
fail to terrify Siegfried, who finally
orders him away. The boy, alone, muses
on his father and his mother. The
bird-choir charms him. He cuts a reed,
fashions a pipe and tries to imitate
them on it and on his horn. Fafner
thrusts out his hideous head and gapes.
Siegfried laughs. After some banter he
closes to the attack and kills the fire-
breathing dragon, who with his dying
breath warns the boy against conspii^
acy. The dragon's blood on the boy's
hand bums him. He lifts it to his lips.
Instantly he understands the bird-
voices. A wood-bird tells him of the
Tamhelm and the Ring and he enters
the cave. Mime and Alberich steal in ;
they wrangle, but retire when Siegfried
reissues with the ring and Tarnhelm.
The wood-bird tells him to beware of
Mime, whose hypocrisy he can see
through, thanks to the taste of dragon's
blood. Mime enters and while trying
to dissemble, actually tells his basest
motives. Siegfried finally slays him
and, throwing the body in the cave«
calls again to the wood-bird for counseL
The bird tells him that his future wife
sleeps on a lofty peak flame-girdled.
He bids the bird lead on and joyfully
hastens after.
Act III.— Scene i. The mouth of a
craggy cavern at night. Wotan ap-
pearing summons Erda to a long, but
bootless conference, in which be ex-
presses his resig^tion to his comin^
doom. Erda vanishes and Siegfried
comes along the path. Wotan questions
him and is told all that has happened.
He reproaches the boy for his frank in-
solence and tries to check him, but has
his spear hewn in two for his counsel,,
and vanishes. Siegfried, blowing his
horn, plunges into the mist and flames
and the scene is changed to the same as
Act IIL of "Die Walktlre," where
BrOnnhilde still lies sealed in sleep
under her long shield. Siegfried, seeing
her, thinks her a man till he has opened
her helmet and lifted her breastplate.
He is overcome with an emotion which
he thinks may be fear, but at length
kisses her. She wakes and greets the
sunlight, and knows him to be Siegfried.
Her joy changes to fear and grief as
she remembers her lost Valkyr estate,
but his ardour and bravery win her back
to rapture in his arms.
4. GdtterdHmmerung; (g£t'.tSr-d£m'.
m^r-oongk). The Gloaming (or Dusk
or Twilight) of the Gods.
Music-drama in three acts and Pro
logue. Begun, 1867. Finished, 1876
Produced, Bayreuth, August 16^ 1876,
STORIES OF THE OPERAS 9i3
CHARACTBRS AND THflR CREATORS.
SitoriasD ^zekh'-frSt) Unger, tenor.
GvNTHBs (eoon'-t£r) Gura, bar.
Hagsn (ha -g£n).
Von Reichenbergf, bass.
Alumch (fll'.b^-Ykh) HiU, bar.
BiuBNNHiLDK (brYn-hTl'-dd),
Frau Friedrich Matema, sopr.
OuTivNi (goo-troo'-ni), Frl. Weckerlin.
Walt*aut« (valt'-row-t«), Frau JUida.
Thi Tmrsi No«n8, ok Path.
Thi Tmsss Rhine-dauchtsks.
Pr^&jfK^.— Scene, on the Valkyre*
rock, same as the last scenes of ** Die
WalkQre " and " Siegfried." The three
Noms sit idle and gloomy under a fir-
tree. The first Norn fastens a eold«
en rope to the tree, and tells of the
coming of Wotan long before, and how
ae had paid one of his eves to drink at
the spring of wisdom, and broke a spear
from the World-ash tree ; thereafter the
tree and the spring failed. She throws
the rope to the second Norn, who winds
it round a rock and tells how Siegfried
shattered Wotan*s spear, and Wotan
had sent bis Walhalla heroes to chop
up the World-ash tree. She casts the
rope to the third Norn, who tells that
the Gods and heroes will gather in Wal-
halla round a fire made of the World-
ash boughs, and the fire will waste
Walhalla and leave the Gods in eternal
night. As the rope is passed forward
and back, they talk of Loge*s plots
against Wotan and of Alberich ; the
sacred rope grows frayed and finally
parts. They wind the strands about
them and moaning that eternal wisdom
and wise counsel are lost forever to the
world, sink into the earth. Day dawns.
Siegfried comes from the cave, full-
armed, followed by Brttnnhilde leading
her horse Grane, which had been pre-
served in sleep during her own long
slumbers. Siegfried having made BrQnn-
hilde his own, and learned from her the
story of the Gods and the meaning of
tiM holy runes, is now eager for new
deeds. He promises to remember her
faithfully, and gives her the Ring itself
as a pledge. She gives him the horse
to carry him back to the world, and
they part in mutual idolatry.
Act I.— Scene i. The Hall of the Gi-
bichungen (ge'-bTkh-oong-^n), on the
banks of the Rhine. Three of the
Gibichs or Gibichungs, a race of heroes,
are seated in earnest counsel : Gunther
(who is wifeless and longs for BrQnnhilde,
whom he believes to be still surround-
ed by the terrifying flames which Sieg-
fried had pierced), his sister Gutrune
(who is husbandless and longs to wed
Siegfried, whose fame has reached
them), and their half-brother, the vi«
cious Hagen (whom their mother Grim-
hilde had borne when seduced by AU
berich*s gold). Hagen is suggesting
that they persuade Siegfried to marry
Gutnine, then ask him to bring Brttnn-
hilde through the flames to wed Gun-
ther. Sie^ried*s horn is heard and
they see him rowing on the river. They
invite him to land. He does so, and
they lead his horse Grane to a stall.
He tells them that he has left the use*
less gold of Alberich in the dead drag-
on's cave, and brought away only the
Tamhelm and the Ring. Now, Hagen*t
father Alberich had charged him tt> re»
cover the Ring (v. " Das Rheingold "),
and he learns that Siegfried has given
it to BrQnnhilde. Gutrune brings in a
horn full of a magic liquor which effaces
all remembrance. Siegfried, draining
it, forgets BrUnnhilde utterly, and be-
comes so infatuated with Gutrune that
he asks for her hand. Gunther tells of the
fire-guarded BrUnnhilde, and Siegfried
promises to win her for Gunther by
means of the Tamhelm. The two men
prick their arms with thei* swords, drop
blood into their wine-horn, and swear
blood-brotherhood, and Hagen cuts the
horn in two to complete the pact.
When asked why he has not joined the
two, he evades the question. Siegfried
and Gunther set forth to find Brttnn-
hilde, while Hagen stays to guard th«
house, and bide his time to seize tbt
914
THE MUSICAL GUIDE
Ring". Scene 2, same as the Prolo^e.
BrQnnhilde, alone, is visited by her sis-
ter Waltraute (v. "Die WalkOre").
Asked why she had broken the ban their
father Wotan has put on Brttnnhilde,
she says that she has fled from Wal-
halla in terror. The Valkyrs no longer
seek heroes slain on battlefields ; Wotan
has come home with his spear hewn
asunder ; the sacred ravens have flown
away ; Wotan has made a great pile of
logs from the shattered World-ash tree
and sits with his heroes waiting the
general doom. Waltraute has wrung
from him the word that if the Ring could
be found and flung" back into the Rhine
whence it was stolen, and cursed by Al-
berich (v. *' Das Rheingold ") the doom
would be averted. BrQnnhilde, despite
Waltraute*s frenzied pleading, sternly
refuses to throw back into the Rhine-
waves the pledge of love Siegfried has
given her, and Waltraute rushes away
in wild despair. Siegfried*s horn is
heard, and he enters in Gunther's form
with the Tamhelm hiding his face.
The terrifled BrQnnhilde threatens the
stranger with the Ring, Siegfried says
it shall be their wedding-ring, and takes
it from her after a struggle. He orders
her into the cave, and drawing his sword
Nothting to lay between them as a proof
of faith to Gunther, follows her in.
Act II. — Scene. The river-bank be-
fore the Hall of the Gibichungs. Hagen
is seated, asleep. Alberich, his father,
is talking to him in his dreams, ur^ng
him on to revenge his ancient wrongs
on the ignorant Siegfried. Hagen vows
and All^rich vanishes. Siegfried enters
in the dawn and removes the Tam-
helm. Hagen wakes, Gutrune enters,
and Siegfried tells how he had won
BrQnnhilde, but kept the sword between
them till he gave her over to Gunther,
who was waiting at the foot of the
mountains. Siegfried had then willed
himself back to the Hall by his Tarn-
helm's power. Hagen summons the
vassals with his horn ; they come ex*
pecting a battle, but are told of the
vedding festivities. Gunther and BrQnn*
hilde arrive in a boat. BrQnnhilde it
dumbfounded at seeing Si^^ried, and
swoons in his arms, but he still fails t»
recognise her. Then she sees the Ring
on his flnger. Gunthe. confesses be
had not given it to Siegfried. Hagen
tells BrQnnhilde that Siegfried had won
the ring from Gunther by wiles, and
BrQnnhilde in supreme rage accuses
Siegfried of having possessed her body
as well as her soul when he conquered
her. Siegfried swears to Gunther on
H agents spear that BrQnnhilde's accu-
sation is false. BrQnnhilde on the same
spear swears her own statement, and
hallows the point to pierce Siejirfried^s
heart in revenge. Siegfried tries to re-
assure Gunther, and embraces Gutrune.
Hagen promises the distracted BrQnn-
hilde revenge, and she tells him that he
must stab Siegfried in the back, his only
vulnerable point. Gunther, overcome
with his own position, and believing
that Siegfried has played him false, is
drawn into the plot. Hagen plans to
kill Siegfried out of BrQnnhilde*5 sight
at a hunt. The three then vow the
death of Siegfried, who enters, wreathed
as a brideg^room.
Act III. — Scene I. A valley through
which the Rhine sweeps. In the stream
the Rhine-daughters drift, waiting the
hero who shall restore them the lost
Rhine-gold. Siegfried appears ; he has
lost his wav, following a bear. The
Rhine-daughters tease him and try to
win the Ring from him, but their prayeis
are futile, and threats do not avail to
frighten him, so they swim away. The
hunters now g^ather with their booty;
they drink, and Siegfried, under the
memory-waking spell of a herb Hagen
has put in his drink, tells them the
whole story of his life, and how he
came to learn the language of birds,
and how he won BrQnnhilde. The sacred
ravens fly past, Siegfried starts up and
looks after them. Hagen thrusts his
spear into his back. Siegfried turning,
swings his shield high to crush Hagen,
but with sudden weakness, drops it, and
falls on it. Hagen stalks away. Sic^«
STORIES OF THE OPERAS 915
fried, seeing^ Brttnnhilde in a vision
welcoming him, dies in a rapturous de-
lirium. His body is raised and carried
homeward. Scene 2. The Hall of
the Gibichungs at night. Gutrune is
waiting for Siegfried. Hagen storms
in, announcing Siegfried's return, say-
ing that a wild boar has killed him.
Gutrune faints as the body is brought
in. Gunther declares Hagen's guilt
Hagen admits it, and claims the Ring.
Gunther opposes him, and is killed. As
Hagen moves to take the Ring, the dead
Siegfried's arm rises threateningly and
all fall back in terror. BrOnnhilde en-
ters. She proudly claims the dead hero
«s her hi{sband, and Gutrune now real-
ises for the first time the truth. While
A funeral pyre is being raised and
decked, BrUnnhilde muses upon Sieg-
fried, and the tangled net of lies that has
enmeshed his pure soul and brought her
shame. She understands all Fate now,
and taking the Ring from Siegfried's
hand, places it on her own. His body
is put upon the pyre. She calls to the
Rhine-maidens that they will find the
ring burned free of its curse in her own
f shes. She seizes a firebrand, and sets
the p^e ablaze. The ravens fly up
and disappear. She bids all look to the
north when she is dead, to see the burn-
ing of Walhalla. Her horse has been
brought in. Addressing him and bidding
him neigh gladly to rejoin Siegfried his
lord and her husband, she warns man-
kind to trust only to love and not to gain
or to treachery, and dashes into the
flames. In a great Hash the Hall of the
Gibichungs catches fire and is ruined.
The pyre dies out and collapses. The
Rhine overflows and comes rippling
across the Hall. The Rhine-daughters
swim in on the waves. Hagen, who
rushes in to struggle for the Ring, is
dragged down to death by two of them
while the third holds up exultantly the
Rhine-gold that has returned home at
last from its devastating travels. In
the north a greftt glow appears. It is
the flash of the flames consuming Wal-
\fiMA, With the palace built by deceit
and broken faith, the fire destroys the
race of gods and heroes, and their mer-
ciless, honourless dynasty, leaving Free-
will and Love as the inspiration of man-
kind.
rON fFEBER, CARL MARIA.
Der Freischtttz (d«r frl'-shots), G., II
Franco Arcicro (ar-cha'-ro), /. In
French first produced as " Robin des
Bois " ; later with recitatives by Ber*
lioz as **Le Franc Archer" (Itt-fran-
kilr-sha). The Free Shot.
Three-£tct Romantic opera. Book by
Friedrich Kind. Produced, Berlin, June
18, 1821.
CHARACTERS AND THEIR CREATORS.
Graf Ot'toka* Rubinstein, bar.
KuNo (koo'-no).
His chief forester Waner, bass.
Kas'pax,
A forester, . . . Heinrich Blume, bass.
Max (mix),
A forester (in Italian, Giulio),
Karl StQmer, tenor.
Zamibl (zam-t-«l'),
A demon,
A HxRMrr Gem, bass.
Kil'lian,
A peasant Wiedemann, tenor.
Agathe (fi'-ga-t«), .
Kuno^s daughter^
Frl. Karoline Seidler, sopr.
Aennchen (5n'-khiJn),
Her friend^
Frl. Johanna Eunike, sopr.
Act I. — Scene. Before an inn. The
peasants are congratulating Killian, the
winner of a shooting-match ; he taunts
Max, who has lost. Kuno and Kaspar
enter and learn of Max's humiliation.
Kuno tells how his own grandfather
was made head-ranger to the prince by
a lucky shot that saved the life of a
man bound to a stag ; he will give his
own daughter to the best marksman,
and make him his successor. He hopes
Max may win. Killian speaks of a
certain enchantment with seven magic
9i6
THE MUSICAL GUIDE
ballets of which he has heard. A trio
concerning the morrow's match is fol-
lowed by a hunting chorus, and the men
and women dance away. Max alone,
bewails his recent bad luck and his fear
of losing Agathe (** Durch die Waldes,
etc.**), while Zamiel, the demon, hovers
about unseen. Kaspar appears and
persuades Max to drink, singing a
boisterous vine-song (*' Hier im ird*-
schen Jammerthal '*). He persuades
the sceptical Max to shoot at an eagle
almost invisible aloft ; the eagle falls
just as the clock strikes sev«n ; Kaspar
says that more of the magic bullets may
be had, and after winning from Max a
promise to meet him in the Wolfs Glen
at midnight, he sings a song of diabolic
triumph.
Act II. — Scene i. A room in Kuno*s
house. Agathe preparing for her wed-
ding is gloomy with foreboding ; a pict-
ure had fallen from the wall and cut
her forehead just as the clock struck
seven. Aennchen teases her and sings
a little ballad of a young lover
(** Kommt eifi schlanker Bursch gegan-
gen **). But Agathe speaks of a hermit
who frightened her with his prophecies.
Aennchen goes, and Agathe leaning
out into the moonlight has a blissful
reverie (** Leise, leise, fromme Weise ").
She sees her lover coming ; he enters,
and Aennchen returns. Max learns
with dread that Agathe*s forehead was
cut by the picture just the moment he
killed the eagle with the magic bullet.
He tells her he must go to bring a slain
stag from the Wolfs Glen, and in spite
of her horror of the place he goes.
Scene 2. The wild ravine of the Wolfs
Glen. A chorus of invisible demons.
Kaspar appears and summons Zamiel.
The demon appears to him ; he appeals
to be released from his unholy compact
—he is to die the next day ; he oflfers as
a bribe to Zamiel to bring a new victim
who wishes the mag^c "free bullets."
Zamiel accepts, saying that six of the
bullets shall hit, but the seventh shall
betray. Kaspar asks that the seventh
may kill Agathe so that both her lover
and her father shall go mad and fall in
Zamiel's power. Zamiel consents, sav.
ing; '• Thou or he to-morrow must oe
mine." He vanishes. Max enters in
much terror. Thev set about casting
the bullets from unhallowed materials ;
as they count them an echo repeats their
words. After the fifth, the demons cry
out ; after the sixth the echo cries " Be-
ware," but Max summons Zamiel, who
appears as the seventh is cast.
Act HI. — Scene i. Agathe*s room.
The bride is still sad and praying. Aenn-
chen enters and Agathe tells of the
fierce storm that rag^ at midnight ; she
dreamed she was a dove ; a huntsmai.
appeared ; the dove vanished and an
eagle fell dead. Aennchen tries to re-
assure her by telling comically a fright-
ful dream her grandmother had, all
caused by the family dog getting into
her room. The bridesmaids appear and
sing (** Wir winden dir den Jungfera
Kranz"). When, however, the bridai
garland is produced, it proves to be a fu-
neral wreath ; but she remembers in her
gloom the roses left for her by the hcr^
mit and plucks up courage. Scene 2. The
Forest. The Graf and others assembled.
A Hunters* Chorus (*' Was gleicht wohl
auf Erden dem jSgervergntlgen "). Kas
par watching from behind a tree. The
match has taken place and the Graf ac-
cepts the victorious Max as Kuno's
successor ; he asks Max as a last test
(this is his seventh shot) to bring down
a white dove flitting about in the
branches. Agathe*s sudden absence is
noted. Max calls on hitf last bullet to
find its mark, and Kaspar invokes Za-
miel. Agathe, standing near the tree
where Kaspar hides, cries, "I am the
dove ! " She is stunned but is saved bf
the hermit's wreath ; Kas]>ar is killed
and dies cursing as Zamiel appears to
him. Max confesses his league with
Zamiel and the Graf banishes him in
spite of the entreaties of all. The her-
mit appears, however, and pleads for
him as it was his first sin ; he suggests
the abolition of the trial-shot, a yearns
penance for Max, and then his wedding
to Agathe. The opera ends in rejoidng
and religious fervour.
Supplementary Stortes
(Not corrected in the supplement)
Page 309> col b Ssafiddin should be Safieddin.
Page 3"» col. b Agrel should be Agrell.
Page 372, col. a. Breuning should be Breunung.
Page 374, col. b.y line 34 Kerim should be K6rim.
Page 375, col. a., line 9 Bebroid should be Debrois.
Page 379> col. a., line 50 k&-b&l-l&-ro should be k&-v&Mr-i«.
Page 383* col. a., line 16 Firmln should be Philippe.
Page 384, col. a., line 30 London should be Dublm.
Page 389, col. a., line 3 February 22, 1810 is correct. See
supplement.
Page 389, col. a., line 12 Zwyny ^ould be Zywny.
Page 394, col. a., line 31 1882 should be September 2, 1907.
Page 41 1, col. b.\ Une 46 Eminy should be Emmy.
Page 437, col. b., line 48 1807 should be 1897.
Page 493» col. a., .Hillenmacher should be HiUemactief;
Page 512, col. a., line 38 omit "Helmann the Fool."
Page 525, col. a., line 24 1900 should be December 21, 1899.
Page 53 1, col. a., line 24 1884 should be 1894.
Page 533, col. a., line 39 1804 should be 1802.
Page 533, col. a., line 50 Le^-d6f should be L'ya'-dA£.
Page 540, col. a., line 26 1852 should be 1582.
Page 549, col. b., line 42 Sokr should be Soler.
Page 549, col. b., line 44 May, 1810, should be March 3, 1806.
Page 560, col. a., line 15 July should be June 30.
Page 583, ckA, b., line 23 1898 should be January 8, 1904.
Page 586, col. b., line^ 4 Mayence, 1841, should be Mftunh^^wL.
April 30, 1842.
Page 610, col. b., line 37 1863 should be 1893.
Page 640, col. b., line 18 i8i8 should be 1816.
Page 666, col. a., line 29. . .*. Serrao should be Serrao.
Page 668, col. a., line 39 1847 should be 1837.
Page 685, coL b., line 10 1710 should be 1700.
Page 690, col. a., line 40 December 25 should be April 25 (or
May 7, N. S.).
Page 693, col. b., line 36 K. L. should be J. F. L.
Page 700, col. b., line 27 1756 should be 1750.
Page 736, ool. a., line 48 1827 should be 1822.
of tift ^txus
MASSENET, JULES. appears laughing with two slave girb,
Crobyle and Myrtale. He welcomes
Thais (til Cs) Athana^l as an old friend. AthanaCl
A thiec-i«:t lyric comedy. Book by JPeaks of Thais, for vjom Nidas has
Louis GaUet (based on the novel by baiikrupted hmiself . He wanis Athan-
Anatole France). a«l against her, but consents to arrange
Produced at the Qp6ra, Paris, 1894. 9""^ meeting In Uict she is ejected
' ' '^ for supper this night. Athanafel asks
CHASACTEKS. fof decent raiment, and the slave girls
A /u ^mf V Mi\ u laughingly adorn and perfume him,
Athanabl (ft-tft -nJl-«l) bar. ^ntil they find him beautiful as a young
NiOAS (nC -sl-&s) .ten. g^^^ ^ g^,. throng of revellers and
Palemon (pfi-la-mAn) bass, philosophers pour in, preceding Thais.
Thais sopr. she amves for her last visit with Nidas
Albine (flJUbto) after "one whole long week of oon-
Chobyle (kiO-bel) stancy." She meets Athanael and
Myrtale (m&r-t&l) demands why he is so severe (Ow* <«/«*<
Place of action: Egypt, in the early « sfvhe). She swears that nothing is
Christian Era. '^ ^^^ lovt, and mvites him to wreathe
his head with roses and watch her pos-
Act X.-* Scene i. A settlement of turing again as Aphrodite. But he
hermit Cenobites on the Nile. Twdve flees in horror.
holy men are eating their frugal meal, Act n. — Scene. The home of Hials.
among them PaJ6mon. They are await- She dismisses her friends wearily, and,
ing the return of Athanafil. He returns left alone, begs her faithful mirror to
from Alexandria fagged and dejected, reassure her that she will always be
and describes thejpower of a priestess of beautiful {Dis-moi ^que je suis toujours
Venus named Thais, whom he had helle). She sees Athanaisi, who declares
known in his youth and whom now he that he loves her, but not as she under-
wisdies to save. Palemon and the stands. A duel between sacred and
others warn him not to meddle with profane love ensues, and each begins to
such evil, and AthanaSl falls asleep. In influence the other strangely. Thais
t vision he beholds a crowded tneatre sprinkles incense on the altar of Venus,
where the half-naked Thais postures. and AthanaSl trembles. But iie tears
fLs the vision vanishes, he awakens with away his gorgeous robe and reveals him-
Vorror and vows to save her, pra3dng for self as a monk, cursing her life and bid-
aid to the God of Pity (r^* qui mis la ding her forsake it. She throws herself
pUii dans nos dmes). The Cenobites at his feet and the voice of Nidas heard
anxiously bid him farewell. in the distance fills her with loathing.
Scene n. The terrace of the palace AthanaSl tells her that he will wait for
of Nidas. Athana£l with difficulty her on her doorstep until dawn, but she
persuades a slave to summon his master. turns against him and drives him out;
while he waits, he contemplates the then falls weeping on her pillows,
panorama of the terrible aty (Voild After a symphonic interlude in the
done la terrible ciU), He calls upon the form of rdigious meditation, the scene
angels to purify its corruption, as Nidas changes to a square before her house.
919
920
THE MUSICAL GUIDE
In the moonlight AthanaSl is seen l3ang
on the st^s. In the distance, the
home of Nidas is brilliant and noisy
with revelry.
Thais appears and AthanaSl promises
to lead her to a monastery in the desert.
But first she must destroy all the monu-
ments of her shame. She must bum
her house and her goods. She consents,
but asks only to save one little ivory
image of Cupid, for "Love is a virtue
rare" (V amour est une veriu rare).
She wishes to take this image to the
convent; it was a gift from Nidas.
Athanael hurls the statuette to the
ground. Thais meekly submits and
they go within to bum the palace.
Nidas and a crowd of revdlers fill the
square. The two slave girls sing of a
new charmer, who is more beautiful
than the Queen of Sheba (Celle out
tierU est plus helle). At the end of tnis
duet and during the dance, AthanaSl
appears with a lighted torch, leading
Thais meanly clad and followed by her
soiTowf ul slaves. While th& palace
bums, the crowd turns on AthanaSl
and Thais and would stone them, but
Nidas saves them from violence by
throwing gold into the mob.
Act m. — Scene i. The oasis, with
the white cells of the retreat of the nuns
of Albine. Thais and Athana^l, greatly .
fatigued, struggle in. He is rough with
her until she swoons; then a change
comes over him and his heart bleeds for
her bleeding feet, which he kisses, hail-
ing her as a saint. He goes to the well
for water,' and she blesses him as a mes-
senger from God (OmessagerdeDieu).
He brings her water and fruits while
the white nuns of Albine appear sing-
ing a Latin hynm. Athima^ greets
Albine and presents Thais to her.
Thais bids Athana£l farewell forever.
The word shocks him, and as he sees
her led away in Albine's arms, a cry of
anguish escapes him.
Scene n. The Cenobite settlement
again with a night of storm coming on.
AthanaSl has returned and spent twenty
days of fasting. He comes out of his
hut and asks Pal6mon to confess him.
In saving the soul of Thais, he has lost
his own. His mind is filled with visions
of Aphrodite. He falls asleq> and sees
her again in all her fleshly charms. The
vision vanishes in strident laughter,
giving place to a new vision, the
Monastery of Albine, where Thais, aU
in white, is dying, surrounded by the
kneeling nuns. Athana£l awakens in a
frenzy of revolt and dashes out to re-
claim her.
The scene changes to the Convent
garden, where Albine and the nuns
moan over the saintly Thais, wlio has
saved her soul, but wom out her life
with her penances. Athanagl appears
and is greeted with respect as a vener-
able saint. He drags himself on his
knees to the side of Thais, who weakly
reminds him that his promise of Heaven
and redemption are fulfilled. She sees
the angels and God. But AthanaS*
Protests that nothing is tme but life and
>ve. And when ^e dies, he falls to
the ground with a terrible cry.
SMETANA, FRIEDRICH
The Bartered Bride. Prodana
Nevesta (prO'-dft-na n*v-y&'-ta) B.
Die Verkauf te Biaut (de f«r-kowf-te
browt) G.
A comic opera in three acts. Book
by Karl Sabina.
Produced, National Theatre, Prague,
May 30, 1866.
CHARACTERS
Hans ten.
Wenzel (vfin'-tsfl) ten.
S:£ZAL(k&'-tsfil) bar.
KRUSCHZNA(kroo-she'-nft) bass.
Springer bar.
MU7F
MiCHA (me-khft)
Marie
Kaihinka (ka-teenk'-a) ...
£sicbrai.'da
Agnes
STORIES OF THE OPERAS 921
Act I. — Scene. The Square of a
Bohemian village during a Spring
Church Festival. The chorus is rejoic-
ing in the coming of Spring, but Marie
is sad. Hans, her lover, a^ her why,
and is told that she is to be the bartered
bride of the son of Micha. She is puz-
zled at the caknness of Hans, and asks
him to explain the mystery of his origin.
He tells her that he is the son of a rich
man, but he left home on the death of
his mother. He bids her to be of good
cheer and goes. She hides as her father
and mother, Kruschina and Kathinka,
come in with the marriage broker, KezaL
Kezal has arranged a marriage for
Marie with the son of Micha, whose
elder son has disappeared. Kezal sings
the praises of the younger son, Wenzel.
Marie appears and refuses the match
declaring her love for Hans. Kezal
shows the agreement with Micha, but
Marie knocks it out of his hand. Kezal
promises to talk to Hans, and the act
ends with a country dance, called " the
hen."
Act n. — Scene. A room in the inn,
Hans at one table, Kezal at another,
A beer-chorus is sung and Hans toasts
love, while Kezal toasts cash. After a
wild dance called a ''furiant*' the scene
is emptied, and Wenzel enters stut-
tering a song about his mother's ad-
vice to her "Dear Son" (FAw' . . .
theurer Sokn). Marie appears and is
amused at her prospective bridegroom,
but Wenzel does not suspect her iden-
tity. She persuades him that Marie
wiU be a wretched wife, and promises
to find him another. He repeats her
oath that he will forswear Marie, and
follows her when she runs away. Kezal
drags Hans in and begs him not to
interfere with the wedding. Kezal
described love as a folly (Wer in Lieb*
entbrannt). He promises to get Hans
another bride and to give lum three
hundred gulden. Hans consents on one
condition, that Marie shall marry no
^nebutMicha'sson. The duped Kezal
hurries away in delight to draw up the
contract, and Hans rejoices in thff
happiness awaiting him {Es musi
gelingen). Kezal returns with the
others and reads the marriage contract
by which Hans gives up all claims to
Marie in favour of the son of Micha.
Hans signs the paper while the villagers
revile him for selhng his bride.
Act m. — Scene. The same room.
Wenzel is grieving that Marie has
escaped him, when Springer, a circus
man, arrives with his troupe, including
Esmeralda, the tight-rope walker, a
wild Indian chief and a great trained
bear. A brief performance is given
and Wenzel falls in love with Esmendda.
The Indian chief tells Springer that
the actor who plays the trained bear
is drunk. In his desperation Springer
appeals to Wenzel to join the troupe
and promises him a hfe of joy with
Esmeralda, who teaches him now to
dance as a bear. His mother, Agnes,
his father, Micha, and Kezal arrive to
lead him to the ceremony;^ but he
declines the marriage. Marie rushes
in in an agony of grief because Hans has
betrayed her and sold her. Left alone,
she broods upon her sorrow {Wis
fremd und todt ist AUes umher), Hans
rushes to her, but is repulsed, and she
announces that she will marry WenzeL
Kezal ai^>tars and Hans still appeals
for trust ipesegnett wer da liebt und
auch verirauil) The others return and
Hans is recognized by his father and
mother. Marie, understanding his plot
rushes to his arms, and Kezal dashes
away from the general ridicule. Loud
cries are h&eurd that the bear has
escaped and there is a general panic, but
the bear exclaims "Don't be afraid I
I'm only We-We-Wenzell" and the
opera ends in cries of "Long life to the
Bartered Bride."
STRAUSS, RICHARD.
Salome (s&l.&-maOF. (s&-l6'-ine) £.
Drama in one act. German text by
Frau I^wig TAchmann (founded on
922
THE MUSICAL GUIDE
the drama written in French by Oscar
wade).
Produced, Dresden, Dec. 9, 1905;
New York, 1907, the subscribers de-
manding its withdiawaL
CHASACTESS
Hek'od An'tipas ten.
loKANAAN (y6-kSn'-fin} bar.
Nar'raboth,
A young Syrian; Captain of the
Guard ten.
Tigelu'nus,
A young Roman
A Cafpado'cian bass.
A Nubian
The Page contr.
Naaman (nft'-m&n),
The executioner
Heroidias mes-sopr.
Salome sopr.
The story is based upon the account
in the New Testament. Salome is the
daughter of Herodias by her first hus-
band, Herod Phillip. The second hus-
band, Herod Antipas, has imprisoned
lokanaan (John the Baptist) in a well
because he denounced Herod for marry-
mg his own brother's wife.
Scene. A terrace of Herod's palace
above the banquet hall. At the back,
an old cistern. Soldiers are leaning
over the balcony and watching the
banquet, discussing the beauty of
Salome, the quarrelsomeness of the
Tews and the gloom of Herod. Narra-
both, a young S3man, Captain of the
Guard, stares with idolatry at Salome.
The voice of lokanaan is heard from the
well, prophesying the coming of a
mightier than he. The Cappadodan
thmks that the cistern is a strange
prison for a man, but a soldier tells him
that Herod kept his elder brother, the
first husband of Herodias, imprisoned
there for twelve years, and then sent his
ring to the executioner, Naaman, who
strangled him. Narraboth exclaims
that Salome is leaving the table, and
Salome enters, complaining tbat she
could not endure the strange staie of
Herod. She is glad to be in the gaxden
away from the crowds; she hears the
voice of lokanaan, and asks about him.
A slave comes from Herod to beg ha to
return, but she refuses, and insists Ihat
the soldiers bring lokanaan forth imai
the cistern. They are afraid, but she
beguiles Narraboth into disobeying
Herod's orders, and the Prophet is
brought forward, denouncing Herod
and Herodias. He terrifies, yet fascin-
ates, Salome, and she speaks to him.
He denounces her and her mother, but
she grows all the more amorous of him.
Again he rebukes her as a daugliter of
Babylon. She turns upon bim in
fury, only to grow ardent again. She
longs to caress and to kiss him. Nana*
both's heart breaks with jealousy and he
slays himself and falls between Salome
and lokanaan. The young page of
Herodias, who had foreseen omens in
everything on this fateful evening, be-
wails the death of Narraboth, bat
Salome does not even see the body, so
fiercely is she pleading for the lips of
lokanaan. He reviles her, and bids her
go seek One whom she will find by the
Sea of Galilee, but she will not cease
demanding his love, and he curses her
and returns to the well.
Herod and Herodias and the Court
appear, Herod demanding why Salome
had not returned to the banquet as he
conunanded. He notes that the nxxn
has a strange look like a mad woman.
Herod calls for torches and wine that
he may do honour to TigeOinus, the
Amba^ador of Caesar. He slips on the
blood of Narraboth, and finds that an
ill omen. He sees the corpse of Narra-
both and learns that he has slain him-
self. Herod remembers that Narraboth
looked too much at Salome. Herodias
says that Narraboth is not the only one
who looked too mudi at Salome, and
bids him go within. But he calls again
for wine which Caesar himself sent him,
and asks Salome to sip from his ciq>.
STORIES OF THE OPERAS 9^3
She refuses, and he calls for fruit, but
she will not eat. Herodias in fury de-
nounces Herod as the son of a camel
driver. He invites Salome to share his
throne. The voice of the Prophet
comes from the well denouncing Herod.
Tlie Jews ask that lokanaan be de-
livered into their hands, but Herod
answers that lokanaan is reputed to be
the prophet Elias returned. lokanaan
predicts the coming of the Saviour of
the Worid. Tigellinus protests that
this is a title of Cesar's. Other Jews
describe the miracles of Christ, and
Herod wishes Jesus apprehended and
forbidden to raise the dead. The
Prophet's voice still thunders from the
well, and Herodias demands his life, but
Herod refuses it. He stares always at
Salome and begs ^r to dance. She
refuses. He commands her. She re-
fuses. He pretends indifference and
loudly dedares himself happy and con-
tent. But again he begs Salome to
dance away his gloom, promising her
whatsoever she may ask, even to the half
of his kingdom. Salome takes off her
sandals in spite of her mother's pro-
tests. Herod warns her that she will
dajice upon the blood on which he has
slipped: but she dances ''The Dance of
the Seven Veils. "
Herod, overjoyed, now asks her her
fee. and she, to her mother's delight,
adls for the head of lokanaan on a silver
charger. Herod is aghast and protests
and pleads, but Herodias and Salome
remind him of his oath. He offers
jewels and fifty white peacocks, biit she
is immovable. He warns her of the
evil omens and promises her all manner
of gifts, even to the Veil of the Sanctu-
ary, but she repeats, " Give me the head
of lokanaan." At last he yields. He
draws from his hand the ring of death
and gives it to a soldier who bears it to
the executioner. The executioner, with
a look of terror, descends into the cis-
tern. Salome leans over the edge and
describes what she sees. The execu-
tioner is afraid and will not strike. But
at last, his huge black arm comes forth
from tne dstem, bearing on a shield the
head of lokanaan. Salome seizes it as
Herod hides his head in his cloak.
Herodias smiles and the Nazarenes
kneel in prayer.
Salome |[loats over the head, and
taunts it with having refused the kisses
she demanded. She kisses the helpless
lips of the dead lokanaan, and cries out
her love for him.
Herod sickens and cries out against
her as a monster. He orders the
torches quenched, and as the cloud hides
the moon and the hideous courtship of
Salome, Herod cries, "Kill that
woman I" The soldiers hurl their
shields upon her.
STRAUSS, RICHARD
Eltk'tra
Tragic opera in one act. Book by
Hugo Hoffmannsthal.
Produced, Dresden, January 25,
1909; New York, February i, igio.
CHAAACTERS
Elek'tra sopr.
Chrysothemis (krS-sdth'-&-mIs) .sopr.
Klytaeicnestra (kle-tSm-nSs'-tril)
mez-sopr.
Aegisthus (6- jls'thiis) ten.
Ores'tes bar.
Foster Father of Orestes bass.
A Young Servant ten.
An Old Servant bass.
The Confidant sopr.
Overseer of the Servants sopr.
Trainbearer sopr.
Five Serving Women
The story is based upon the Greek
legends somewhat as treated in the
tragedies by Sophokles and Euripides.
Elektra was the daughter of King
Agamemnon and his wife, Klytaemnes-
tra. During the absence of Agamem-
non at the Trojan war his wife carried
on an intrigue with Aegisthus. When
A^unemnon returned home he was
sbun in his bath by his wife and hei
924
THE MUSICAL GUIDE
paramour. The Queen treated her
children, Elektra and Orestes, with
great cruelty, and they finally conspired
to murder her and her lover.
The German author has introduced
the character of Chrysothemis as a sister
of Elektra.
Scene. A courtyard of the palace
showing the servants' quarters and a
well. Five serving maids are grouped
about the well imder the direction of
the Overseer. They are discussing the
ferocious and uncanny behaviour of
Elektra, who is a veritable wildcat.
Some of the maids have sympathy for
her because she is beaten and treated
like a beast. When they have gone,
Elektra appears, brooding over the
murder of her father, which she sees
enacted before her. She longs for the
day when her father shall be revenged,
and when she shall dance over the
bodies of her guilty mother and the
wicked Aegisthus. Her sister, Chry-
sothemis,appears and warns Elektra that
she is to be thrown into a dungeon.
Chrysothcpiis bngs for a life of love and
motherhood, but Elektra rebukes her
for her weakness and sends her away, as
Klytaemnestra appears with torches
and retinue. Kl3rtaemnestra is worn
out with guilt and sleeplessness, and
asks Elektra if there is no rest for her.
Elektra answers in riddles which imply
that Klytaenmestra's repose shall only
come when the right blood shall flow
under the axe; when a certain woman
and a certain man shall be slain by
another man. Elektra asks if Orestes
may not be allowed to return from his
years of ejdle, and accuses her mother
of trying to have him murdered. Elek-
tra warns her that she will die for her
crime.
As the two women confront each
other, the Queen's confidant hurries in
and whispers news to her which gives
her great joy. As she hurries away,
Chr^^themis comes in screaming that
Orestes is dead, and that two strangers,
«a 6Ld man and a young man, have
brought word that he had been
trampled to death by his horses.
A young servant darts in rf<*m^wHii^
a hone, as he must carry a message
quickly. Elektra pleads with Chiy-
sothemis to join her in the vengeance
which the dead Orestes should have
wreaked. She praises the younger sis-
ter for her stroigth and Ixauty, and
offers to be her slave if she will ud ha.
Chrysjthemis is afraid and reluctant,
and flees. Elektra creeps toward the
house to do the slaughter hersdf , but
meets Orestes himself, who enteis.
Brother and sbter do not recognise each
other at first, because he has grown to
manhood and she has lost her beauty.
An old servant prostrates himself before
Orestes' feet, and Elektra embraces him
with joy. Orestes' foster-father hurries
in to warn the brother and sister not to
betray themselves. A servant appears
to invite Orestes to the presence of
Kl3rtaemnestra, who does not suspect
him. Orestes enters the palace and
shortly afterward the wild shrieks of
Klytaemnestra are heard as she is being
slain. Elektra braces hioself against
the door and keeps out the servants,
who are in a panic Aeguthus arrives
hastily and Elektra, taking a torch,
invites him to enter, and pays him
ironical homage, dancing before him.
Much puzzled, Aegisthus enters the
house and b heard crying for help. He
appears at the window, struggling and
tearing down the curtain. He is
dragged away and his cries are silenced.
Chrysothemis speaks to Elektra and
tells her that the palace is in an upioar,
the retainers of Orestes having attacked
the partisans of Aegisthus. Elektra
crouches by the door brooding with
uncanny rapture over the great zevenge.
She tries to dance, but falls prostrate.
BUMPERDINCK, ENGELBERT
Konigskindcr (kft'-n&hs-klht-fir)
A fairy opera vx three acts. Book by
Ernest fxtofif^y^
STORIES OF THE OPERAS 9^5
Produced, Metropolitan Opera
House, New York, Dec. 28, 1910.
CHAKACTEKS AND IHEZR CSEATOSS
Dek Koenigssohn (kft'-nlkhs-zOn),
The King's San
Hermann Jadlowker, ten.
Die Gaensemagd (gte'-zS-mftkht),
The Goose-girl, Geraldine Farrar, sopr.
Deb Spielmann (shpd'-mttn),
The Fiddler Otto Goritz, bar.
Die Hexe (hfa'-C),
The Witch Louise Homer, contr.
Der Holzhacker (hOlts'-hftk-fr),
The Wood-cuUer.AdBLmo Didur, bass.
Dee Besenbinder (bft'-zCn-bln-dfir),
The Broom-maker. .Albert Reiss, ten.
ZwEi Kinder
Two Children
Edna Walter, Lottie Engel,
Der Ratsaelteste (rfits'-£l-t£s-tQ,
The Senior Councillor
Marcel Reiner, bar.
Der Wirt (vftt),
The Inn-keeper
Antonio Pini-Corsi, bass.
Die Wirtstocbter (verts'-t6kh-ter),
The Inn-keeper's Daughter
Florence Wickham, mez-sopr.
Der Schneider (sdmf-dfr),
The Tailor Tulius Bayer, ten.
Die Staixuagd (sht&l'-mftkht),
The Stable-maid
Marie Mattfeld, contr.
The Two Gate-keepers
Herbert Witherspoon, ? Ko,.»«
WiUiam Hinshaw, f '**'*•
The action takes place in the Hdla
Forest, and in the neighbouring town
of Heilabrunn.
Act I. — Scene. A glade near tne
Witch's hut. The Goose^l b neglect-
ing her flock, and idly humming to her-
self, when the Witch pop her head out,
berates her for letting her geese stray,
then calls her into make a poisoned
pasty of acorns. The Goose-girl stares
at a sttmted lily and wonders why her
floiv^isiriU Qot Slow «a Qthm 4q< She
asks oft her own childhood, bcgi her
" Grandmother'' to let her go forth into
the world, but the Witch tells her she
has cast aspell over bush and briar, and
ihe cannot escape. The girl, left alone,
sings to the beloved linden tree (O liebe
Linde) and to her own reflection in the
water. The King's son appears in a
shabby hunting costume, witn a bundle
on his shoulders. She questions him
ignoxantly, and he finds her beautiful.
She asks what a King b, and he tells her
that a King guards his people as she
guards her geese; but that he, being
youthful, has found the life of a Prince
too gloomy and fettered and has fled
(Forti Hinausf) She longs to go with
himy and he takes her in his arms, ask-
ing her, "Wilt thou go mayixig with
me?" (Willsi du mein Maienbuhle
seinf) The wind blows the wreath
from her hair, and he puts it in hb
doublet as a token. He unties hb
bundle and takes out a golden crown,
but she refuses it and he tosses it aside.
He takes her hand to lead her away, but
she feeb the charm and b frightened.
He b angiT and finds her unworthy
with her beggar's blood (KOnigshlui
und Bettelblut). He dashes away and
leaves her weeping. She hears the
Witch calling, and fearing lest the crown
betray her, begs one of the geese to hide
1^ and hfugs it on the goose's neck.
Ine Witch quizzes her d(»ely, and she
confesses that she has seen a man.
The Fiddler b heard singing, "Three
foob went out one day for an egg that
a cock did lay" (Drei Narren sogen
aus). The Witch drives the girl into
the house and follows her in. The
Fiddler, the Wood-cutter and the
Broom-maker appear. They knock at
the door loudly, and when the Witch
finally appears, Hie Fiddler sings an
ironical love song to her beautiful red
eyes {Deine schdnen roten Augen).
He and hb friends have come to say
that the King of Heilabrunn had died
and hb hdr had disaroeared. They
(^ bw wbom tbiSr shaU choose to rule
926
THE MUSICAL GUIDE
over them. The Witch says that at the
Hella feast the next day, when the noon
strikes, the gate of the dty must be
open, and whosoever enters the town
must wear the crown. The Broom-
maker and the Wood-^nitter ^o back to
the dty, but the Fiddler, havmg caught
a glimpse of the Goose-girl, denuinds
that she be given her liberty. When
she appears, he questions her. He
thinks tnat she is of royal blood, but the
Witch sneers that she is the shameful
child of a hangman's daughter. Never-
theless, the Fiddler hails her as royal,
and she calls to the gray goose to bring
back the crown. She puts it upon her
head as ^e kneels in prayer and the
light of a star falls upon the stunted
lily, which opens wide in full bloom.
Crying that she is free, the Goose-girl
darts away, followed by her geese and
the Fiddler. The Witch knocks down
the lily with her staff.
Act n. — Scene. A square near the
gate of the dty. The Gate-keepers are
on guard and the Inn-keeper's daughter
is quarrelling with the Stable-maid, as
the King's son comes out of the inn
yawning. He has slept with the swine,
and the girls treat him with contemptu-
ous familiarity. The Inn-keeper's
daughter brings him food, but it is too
coarse for his palate. She makes love
to him and advises him to marry, but he
asks if it is a linden tree under which
they sit. She embraces him, but he
pu«ies her hands away and she boxes
his ears. He turns to leave the hateful
town, when he finds in his doublet the
Goose-girl's wreath. The leaves seem
to whisper to him, " Do not go. " The
townspeople appear, and the Gate-
keepers keep them from the gates lest
one of them claim the crown. There is
a Spring dance. The King's son asks
the Inn-keeper for employment. He
is offered the post of swineherd and
reluctantly accepts. The Broom-maker
appears, followed by his thirteen
daughters, each of the children riding a
Hroom and trying to seil it. The
3roungest child of the Broom-maka
asks the King's son to pUy with her,
and they dance a ring-around-a-rosy.
The Councillors and t& rich Buxghea
with their famih'es arrive and seat them-
selves in the Tribune. The Wood-cut-
ter describes for them his journey to
the Witch's hut, which he dresses up
with dangers and wild animals. He
announces that at the opening of the
gates the King will arrive in glory upon
a golden car. The King's son asks if
the King might not come in rags, but
everybodv laughs at the idea. He de>
scribes what a true King should be, but
they mock him; the Inn-keeper demands
pay for the food which the King's
son could not eat. He is about to oe
roughly handled by the crowd, when
the first bell rings. The crowd is hushed
with awe. At the twelfth stroke the
Gate-keepers throw open the gates, and
the Goose-giri enters with her flock,
followed by the Fiddler. The King's
son hails her as his Queen, and she him
as her King, but the crowd bursts into
derisive laughter at her bare feet and
his rags, fte King's son draws his
sword and protects the giri, and the
Fiddler proclaims them King and
Sueen, but the mob drives them out
1 three with sticks and stones. The
Broom-maker's littlest daughter weeps.
The Senior Councillor asks her if she
weeps because her broom has vanished.
She answers, ''No, it was the King and
Queen you banished. "
Act in. — Scene. The same as the
first act, but it is now bleak winter.
Tlie water trough is frozen and the lin-
den tree is bare. The Witch's hut is
dilapidated, for she has been btuned at
the stake on account of her prophecy.
The Fiddler has been jailed and broken
on the rack for defending the two pte-
tenders. He is living alone in the hut,
hoping for the return of the two chil-
dren. He feeds the doves that gather,
and questions them for knowledge of the
outcast royal children, but they flutter
away. The Wood-cutter and the
STORIES OF THE OPERAS 927
Broom-maker appear, Bhivering with
the cold. The Broom-maker brings his
littlest daughter, luid the Fiddler greets
her with gratitude because when he was
perishing in jail she was the only one to
bring hmi bread. The Wood-cutter
brings word that the town has foigiven
the Fiddler, and the children, who have
followed, beg him to come back and
play for them, promising him cakes and
kisses, but he has sworn an oath not to
revisit the hateful town. The Broom*
maker describes the desolation that has
fallen upon the dty. the hostility of the
children toward their parents. The
little chfld tells the Fiddler that the
children know the King and Queen were
driven away. They want them brought
back. The Fiddler says he hopes that
when the Spring comes he can go forth
and find them. The child says that
May is a hundred years away, and the
Fiddler, taking up his fiddle limps off
into the wood with the children. The
Wood-cutter and the Broom-maker
remain and search the hut, while the
Fiddler is heard singing, "Whither hast
thou wandered, oh, my Ro3ral Maid"
(Wokin hist du geiangen). His voice
dies out, and the King's son and the
Goose-girl enter, starved and chilled.
The King's son goes to the door of the
hut and knocks. The Wood-cutter
opens the window, but slams it shut
when the King's son asks for bread.
The Goose-girl regrets that they have
left the cave where they have been in
hiding, but the King's son explains that
hunger was their compulsion, and that
he was lured back to his rightful realm.
He contrasts the gayety with which he
ran away from home and the sorrow of
his exile. To cheer him, she throws off
her fatigue, and dropping her doak and
tearing her furs from her feet, she dances
barefooted in the snow untU she drops
at the foot of the linden tree. He wraps
her in her cloak and in his own robe.
He resolves to sell the useless crown for
bread, but breaks it in two lest any one
else should wear it. He knocks at the
hut door and the Wood-cutter and the
Broom-maker, who have found nothing
in the hut but the poisoned pastv,
greedily exchange it for the gold. The
King's son takes it to the Goose-girl,
and they quarrel lovingly over which
shall have the larger share. They eat,
and as the poison fills their veins they
dream of Spring and happiness.
Wrapped in each other's arms and
kissing, they fall asleep. The snow be-
gins to fall more heavily and gradually
covers them over.
The Fiddler comes back with the
children, and the Wood-cutter and the
Broom-maker shows the pieces of the
crown and describe the ragged outcast
from whom they had taken it. The
Fiddler calls w&dly into the woods,
"KOnigskinder!! KSnigskinder!" A
dove circles about the Fiddler, and flies
to the linden tree, where the Fiddler
finds the royal children in the sleep of
death. The children from the town
gather about and place the two bodies
on a bier of pine branches, on which
they are borne away to a royal grave
on the mountain, the Fiddler vowing to
sing them one last song, then fling away
his fiddle forever.
WAGNER, WILHELM RICHARD
Parsifal (pjlr'-sl-fal)
''A consecration festival-drama" in
three acts.
In 1848 Wagner made plans for a
work, "Jesus von Nazareth," which
were gradually modified into the proj-
ect for "Parsifal," on which he was
engaged as earhr as 1854. But the
poem was not finished until 1877, in
which year it was published. He be-
gan the music the next year at the age
of 65. The prelude was privately per-
formed at Bayreuth, Christmas, 1878.
but the work was not completed until
January 13, 1882. The first perfor-
mance was at Bayreuth, July 38, 1882;
sixteen performances were given during
the following month.
928
THE MUSICAL GUIDE
It was 'Wagner's earnest wish that
the work should never be given except
in the theatre to which it was sacred,
though it was performed ahnost entire
in concert form in London in 1884,
under Sir Joseph Bamby. After much
controversy and an effort at legal
prevention, the work was performed at
the Metropolitan Opera House, under
Conried's management, with Buigstal-
ler as Parsifal, Blass as Gumemanz,
Van Rooy as Amfortas, and Temina as
Kundry. In 1905 it was produced at
Amsterdam.
At its original production there were
alternating casts as follows:
CHARACTEItS
Parsifal. Winkelmann, Gudehus,
Jaeger. ., ten.
Amfo&'tas. Reichmann, Fuchs . . . bar.
GuxNEMANZ (goor'-n£-m&nts). Scaria,
Siehr bass.
KuNGSOR (kllhk'-z^r). Hill, Degele,
Plank bar.
TrruREL (tee'-too-r£l).
Knights of tbe Grail
Four Squires
Kundry (koon'-drS). Matema,
Marianne Brandt, Malten . . . .sopr.
Flower Maidens
The storv concerns the Imnd of the
Holy Grail (the chalice from which
Jesus drank at the Last Supper, and in
which blood from His wounded side
was caught and kept). The Grail and
the spear that pieitred Christ's side fell
to the care of the Knights Templars,
whose chief, Titurel, built the castle
Montsalvat for their sanctuary. The
power of the Grail was renewed an-
nually by the Holy Ghost, in the form of
a dove, from which the Knights also
received miraculous virtues.
The Knight Klingsor, failing to
obtain admission to the circle, laid
violent hands on himself, and avowed
undying enmity to the Grail Knights
In the wilderness near Montsalvat he
established, by evil mag;ic, a garden
filled with flower-women of infernal
charm. Among his anchantresses was
Herodias, who laughed at Christ on His
way to crucifixion and was cursed.
She now eidsts as Kundry, only partly
under the spell of Kling^r. At hu
behest she works evil sorceries, for
which she tries to atone when she Is
free.
The Knights know her only as the
wild Kiind^, but it was she who, under
Klingsor's spell, once enchanted Am-
fortas, the son of Titurel, who had
abdicated in Amfortas' favour. During
Amfortas' enchantment Klingsor had
robbed him of the sacred spear, and with
it inflicted on him a wound which could
not be cured save by the same spear,
which should be recaptured by a pure-
souled fool. Meanwhile, Klingsor has
continued to entice away the Knii^ts
one by one, and the CasUe of the Grail
is the home of despair.
Act I. — Scene i. A forest near a
lake, in the demesne of Montsalvat, the
castle of the Keepers of the Holy Grail.
The elderly Gumemanz is asleq> at the
foot of a tree and two squires are asleep
at his feet. A reveille of trombones
wakes them; they kneel in prayer. Two
Knights enter and Gumemanz asks
after Amfortas' health. He is about to
be brought to his bath though
Gumemanz says that his only hope is
in one man.
Kundry enters like a witch, bringing
a small flask of balsam which she has
fetched from Arabia. Amfortas is
brought in on a litter, bewailing his
wound. He thanks Kundry for her
gift and is carried on to his bath. The
squires revUe Kundry, but Gumemanz
defends her, and outlines to the squires
the whole previous history as described
above, ana the prophetic dream of the
guileless fool (der reine Thor),
A commotion is heard from the lake,
and a wounded swan flutters d3ring to
the ground. Other squires drag in the
>balf-witted Parsifal, whose arrow has
STORIES OF THE OPERAS 9^9
slain the swan. Gumemanz reraoaches
him for the wanton cruelty. Parsifal,
now first realizing what he has done,
weeps and breaks his bow and arrows.
The swan is borne away in state.
Gumemanz, questioning Parsifal, learns
that, though he has no name himself,
his mother was called Heart's-Grief
(Heneleide) . Kundry hoarsely explains
that he was bom after his father.
Gkunouret, had been slain in battle, and
was reared in solitude by his timorous
mother. Parsifal says that he was
lured from home by seeing a glittering
company of Knights ride by, and had
bad to defend himself from wolves and
robbers.
Kundry says that she saw his mother
die. At this news Parsifal, in a frenzy,
seizes Kundry by the throat. Gume-
manz takes him away and rebukes him.
He turns faint and Kundry restores
him with water from a brook; then
Kundry, unnoticed, struggles in vain
against the slumber that marks
Klingsor's spell, and falls behind a
thicket.
The Knights return with Amfortas
and pass on. Gumemanz, half-hoping
that Parsifal is indeed the pure-souled
fool, invites him to the castle; map^caJly
the woods flow back beneath their feet,
till they arrive in Scene n, a lofty cathe-
dral, on whose shrine stands the Holy
Grad. Parsifal, overawed, stands in
motionless wonaer throughout the long
ceremony of the Eucharist. ICnights
and squires gather at tables singing,
and Amfortas is brought in. From an
unseen crypt comes the voice of the
aged Titurel ordering his son to cele-
brate the feast. Amfortas in an agony
of pain and remorse reluctantly con-
sents, oying aloud for forgiveness or
death. The Grail is unveiled and
S laced before him, and, in a shaft of
ght from heaven, Amfortas elevates
the Host.
The cups of the Knights are seen to be
filled with wine. Gumemanz motions
Parsifal to sit by him and partake of
the Communion, but Parsifal does not
move. At the end of the repast Am*
fortas' pain breaks out afresh and he
is carried out, and the others withdraw.
Gumemanz, finding Parsifal still stupe-
fied, asks him if he understands what he
saw. Parsifal shakes his head. Gur«
nemanz in disgust orders him ofif , with a
warning to leave the swans alone and
seek the geese, since he is one.
Act n.— Scene. Klingsor's Magic
Castle. In the inner keep of a tower,
Klingsor stands amid hia magic imple-
ments, and with necromancy summona
Kundry. Her form rises from the
earth, resisting vainly and protesting.
Klingsor exultantly commands ha to
change her fom and enchant Par^fal,
whom he sees approaching. The othei
enchanted Knights are heard resisting
him, but in vain. With triumphant
hopes of possessing the verv Grail itself.
Klingsor sends Kundry to her task, ana
sinks into the earth with his tower,
revealing Scene n: the flowery terraces
of the palace, and Parsifal staring into
the garden. From all sides betoitiful
women rush upon him with caresses anq
laughter, each proffering him her love.
At first fascinated, he grows colder, and
is about to flee when he hears Kundrv's
voice call him by the name "Parsifal."
The word reminds him of his mother's
voice and he pauses.
Kundry in the form of a beautiful'
woman on a flowery couch dismisses the
other enchantresses. Parsifal asks hei
how she came to call him, the namelesc
one, "Parsifal." She tells him of his
mother, her loneliness for her son. uid
his death. Thus she brings Parsifal to
his knees at her side. Then she offers
him the consolation of her own love,
and kisses him. Her lips bum him.
and he remembers Amfortas' pain ana
his outcry against the enchantress whose
charms ensnared him. He denounces
Kundry as the destroyer of Amfortas.
Kundrv tries all her wiles^ appealing
for pity because of her anaent suffer^
ings since she laughed at Christ, and
930
THE MUSICAL GUIDE
can only be healed by the returning
Christ. She begs Parsifal to take her
to his arms and redeem her, but be cries
that her love would only make him
share her damnation. She seizes him,
but he breaks from her. She curses his
pathway and calls for help, and the
enchantresses rush out. Klingsor also
appears on the castle wall. He raises
the sacred spear and hurb it at Parsifal.
But it pauses in air over his head.
Parsifal, reaching upward, grasps it,
makes the sign of tne cross, and the
palace and garden fall into instant ruins.
Parsifal calls to the prostrate Kundry,
''Thou knowest where alone thou see'st
me again. "
Act m. — Scene i. A meadow and
grove in Montsalvat. A hut wherein
dwells Gumemanz, now much older and
in hermit's garb. Hearing groans, he
comes out and finds Kundry lying
among brambles. He restores her to
life with difficulty, and her only answer
b the words "To serve! To serve!"
As she brings water from the spring,
she sees a strange warrior approaching
in complete black armour, with visor
down. The mysterious fijught will not
answer Gurnemanz' questions save by
noddings of the head. Gumemanz in-
forms him that the day b Good Friday,
and that he should disarm. He does so
slowly and in silence, kneeling before hb
own spear. Gumemanz tells Kundry
softly that the stranger b the fool 1:^
had banished long ago. Parsifal rises,
recognizes Gumemanz, and tells him of
hb long, lon^ wanderings. Kundry's
curse upon his pathway had kq>t him
from finding hb way ba^ till now. He
shows the sacred spear which he has
carried undefiled. Gumemanz wel-
comes him with rapture, and telb him
that since the day of hb departure
Amfortas would no more elevate the
Host, and the Grail has remained un-
revealed. liarking its aid, the Knights
have grown old and weak, and Titurel
has died.
Parsifal, blaming himself for hb long
delay to return, grows faint. Ktudiy.
like a Magdalen, washes hb feet tooa
anoints them, and dries them with her
hair, while Gumemanz, like a John the
Baptbt, baptizes him, and at Faisifal's
behest anoints hb head, for Parsifal b to
be the King. Parsifal now baptizes
Kundxy and redeems her.
Seeing how fair the landscape b, Fu»-
fal wonders that nature ^ould not
grieve on the day of agony, but Gur-
nemanz answers that everything glows
with gratitude to the Saviour. (Thb
scene b known musically as The Spdi
of Good Friday and the Flowering
Meadow intermezzo.) Parsifal kisses
the brow of Kundry^ and the peal of
belb in the dbtance calb him. Our
nemanz brin^ out armour and a numtl^
of the Grail Knights, and he and Kun-
dry fasten them on Parsifal. Once
more the landsc^)e flows magically be-
neath their feet, but in the opposite
direction from Act i. Once more the^
arrive in the Hall, Scene n: but now Hi
Communion tables are missing.
The Knights bring in Titurel's body
m its coffin, and Amfortas in hb litter,
preceded by the covered shrine of the
GraiL Amfortas has consented onoe
more to reveal the Grail. He hlamri
himself now for hb father's death and
implores the dead body to mount to
heaven and pray: "Saviour, give my
son peace. ''
The Knights demand the uncovering
of the Gnul, but he asks them rather
to slay him. Baring hb wound, he begs
them to thrust in their swords and alav
him. They shrink back, but Parsifal,
advancing with the sacred spear, puts it
forth and touches Amfortas' wound,
saying that only the weapon that noade
the wound can heal it. Amfortas, re-
leased from pain, thrilb with ecsta^ as
Parsifal announces that he himaell will
reign thereafter. The GraO glows and
a halo of glorv streams down from
heaven, in which a white dove dcacendt
and hovers over Parsi^'s head. He
rises and elevates the Grail. Kundry
<
J
STORIES OF THE OPERAS 931
sinks slowly into a blissful death.
Amfoitas and Gurnemanz kneel in
honuige to the guileless fool.
PUCCINI, GIACOMO
Madama Butterfly
A Japanese tragedy in two acts.
Libretto by L. Illica and G. Giacosa
(after the book and plav by John
Luther Long and David Belasco).
Produced La Scala, Milan, 1904,
in two acts and hooted off the stage.
Withdrawn after one performance and
revised in three acts. Produced again
at Brescia with an immediate success.
Repeated at Covent Garden, 1905, and
throughout the world.
chakacte8s
Madama Butterfly
(Cho-Cho-San) sopr.
Suzuici,
Her Servant mez-sopr.
Kate Pinkerton mez-sopr.
B. F. Pinkerton,
Lieuienaut in ike Untied States
Navy ten.
Sharpless,
United States Consul at Nagasaki .hai,
GORO,
A Marriage Broker ten.
Prince Yamadori bar.
The Bonze,
ChhCko-San's Uncle bass.
Yakusidb bar.
The Imperial Commissioner bass.
The Ovficial Registrar bar.
Cbo-Cho-San's Mother . . . mez-sopr.
The Aunt mez-sopr.
The Cousin sopr.
Trouble,
Cko-CkfhSan's Ckild
Place of action at Nagasaki, Japan.
Act L — Scene. A Japanese house
and garden, with the harbour in the
background. A United States naval
officer. Lieutenant B. F. Pinkerton, has
llizcd a Japanese marriage broker, Goro,
to procure for him the pretty Japanese
girl, Cho-Cho-San, with whom he has
become infatuated. The broker has
arranged the contract and leased this
house — both leases for nine hundred
and ninety-nine years, and both break-
able at will. At the rise of the curtain,
Goro b explaining to Pinkerton the con-
veniences of the little house and the
conveniences of Japanese marriage-law.
The two servants come in and prostrate
themselves, but are dismissed with scant
courtesy by Pinkerton. Goro explains
that the bride's relatives must be
present in large numbers' at the cere-
mony. Shatpless, the American Con-
sul, comes in, out of breath with the
climb. Refreshments are served and
Pinkerton gayly exalts the Yankee
spirit, but Sharpless warns him that his
course is dangerous. Pinkerton de-
scribes his infatuation — "love or
whim" (Amore 0 grillo) ? Sharpless
begs Pinkerton not to crush this butter-
fly. Pinkerton laughs at his old-fogy
Motions, and drinks to the da^ when
he will marry ''in true marriage an
American. **
Butterflv enters singing of the breath
of Spring {Spira sid mare). She kneels
and orders her friends to kneel. Sharp-
less asks her of her people, and learns
that she comes of a wealthy family
whose sudden poverty drove her to the
life of a geisha. Her father is dead, but
she has two uncles; one of them is a
toper; the other is the Bonze, a great
man. She is fifteen years old.
The High Commissioner and the
official Registrar and the relations now
arrive. Pinkerton laughs at the farCe
(Cke burleUa) . Refreshments are served
and the papers are drawn up. Mean-
while, Butterfly takes from her big
sleeves her possessions. She throws
away her jar of paint at his protest.
She has brought also the sword the
Emperor had sent to her father with
instructions to commit hara-kiri; brings
out the images of the souls of her an-
cestors; to pVease him she has gone to
932
THE MUSICAL GUIDE
the mission, forsworn her religion and
taken his; and now she throws the
images away.
The marriage bond is signed, and
the guests are dispersing, when the
Bonze enters in a rage and demands of
his niece what she was doing at the
mission. Learning that she has re-
nounced her religion, he curses her and,
gathering the relatives together, leads
them all away, renouncing her. But-
terfly weeps. Pinkerton consoles her
tenderly, the servants close the sliding
walls, and Butterfly, aided by her maid,
Suzuki, prepares her toilet. Pinkerton
muses on her ways of a little squirrel
(Con moti di scojaUolo), her childlike
charms (Bimba dagli occhi). She com-
pares herself to the moon-goddess {La
piccola Dea deUa luna), tells of her fear
of him when the marriage-broker pro-
posed marriage to a foreign barbarian,
and now of her love. She begs him to
be good to his butterfly and not to thrust
a needle through her heart, as Ameri-
cans do with butterflies. She points
to the star-filled night (Dolce noUet
Quante sleUe!) and he leads her to the
marriage chamber.
Act n. — Scene. Three years later.
Inside the same house. Suzuki is
praying and ringing a prayer-bell. But-
terfly says that the God of her hus-
band must have overlooked them, for
they are near to starvation and Suzuki
has only a few coins left. Butterfly is
sure that her husband will return, and
a notes his promise to come back when
lie robins nest. ''Some fine day we'll
see the smoke of his ship'* (Un hel di,
vedremo). Sharpless and Goro appear.
The Consul brings a letter from Pmker-
ton. She asks when robins nest in
America. "They have already nested
thrice in' Japan; perhaps they nest less
often in America." Goro laughs and
Butterfly explains that as soon as
Pinkerton left her, Goro tried to bribe
her to marry the Prince Yamadori, who
enters now and declares his love.
They insist that Butterfly is already
divorced through her husband's deser-
tion. Goro whispers that Pinkerton's
ship is already signalled. Sharpless
has had a letter asking him to break the
news to Butterfly tiiat Pinkertoo b
married and does not want to see her.
Yamadori rejected again, goes away
dejected and Sharpless reads the ktta
to Butterfly, trymg to prepare her.
But she is furious and orders him out,
then begs his forgiveness, and to prove
that she could not be forgotten, brings
in her baby, bom after Pinkerton 1^
her. Surely the mother of so wonderful
a child could not go back to the geisha
Ufe.
Sharpless rises in despair, kisses the
child and asks its name. Butterfly
says his name is ** Trouble" till his father
returns; then it shall be " Joy, " When
Sharpless goes, Suzuki drags in Goro,
saying that he has been spreading a
scandal that nobody knows who is the
baby's father. Butterfly is about to
kill him with her father's sword, but
spurns him and he slinks away. A
cannon is heard from the harbour.
Butterfly mad with joy, gets her tde-
scope and reads the name of Pinkerton'a
ship, the Abraham Lincoln.
Flowers are gathered and scattered
everywhere. She is made beautiful,
and her wedding obi donned. They
make three little holes in the wall to
watch for Pinkerton. The vigil is pro-
longed till Suzuki and the child fall
asleep, but Butterfly stands like a
statue. The slow passage of the night
is indicated by the oi^estral inter
mezzo, accompanied by the hummiz^
of an unseen cnorus.
Dawn comes, sailors are heard in the
distance, Suzuki wakens and begs But-
terfly to rest. She takes the child up
the stairs, crooning to it (Dormi amor
tnio). Sharpless arrives with Pinker-
ton. Pinkerton will not let Suzuki call
Butterfly. She sees a woman in the
garden. It is Pinkerton's American
wife. Sharpless explains that she is
willing to adopt the child and rear it
STORIES OF THE OPERAS 933
Suzuki refuses to carry the proposal to
Butterfly. Pinkerton looks about at
the flowers, in remorse {Oh! Vamara
fragranza). He cannot face Butterfly,
but gives ths Consul money for her ana
hurries away.
His wife, Kate, comes in and Butter-
fly returns, heaiing voices. Kate ex-
plains the situation. Butterfljyr is ma-
yestic in her grief, and promises that
Pinkerton shall have his child if he will
come for it himself in half an hour.
Sharpless and Mrs. Pinkerton go, and
Butterfly, driving out the heartbroken
Suzuki, prays to Buddha, takes her
father's sword and reads the legend on
the blade, '*With honour die whoso
cannot with honour live.'' She is
about to kill herself when Suzuki thrusts
the child into the room. She embraces
the child frantically (Tu, tu, piccolo Id-
dio) and tells him that she is dying for
his sake, that he may cross the ocean.
She begs him to remember her, then
seats hun with an American flag and a
doll, and bidding him play, goes behind
the screen. The sword is heard to drop,
and she comes from behind the screen
with a white veil wrapped around her
throat. She falls at the child's side,
and as Pinkerton rushes in with the
Consul, she points to the child and dies.
PUCCINI, GIACOMO
La ToBca
"A melodramai" in three acts.
Libretto by L. Ulica and G. Giacosa.
(After the play by Sardou.)
Produced Costanzi Theatre, Rome,
January 14, 1900.
c3caracters
Floria Tosca,
A Celebrated Songstress sopr.
Makio Cava&adossi,
A Painter ten.
Bason Scarpia,
Chief of Police bar.
Cesare Angelotti. . . / bass.
A Sacristan bar
Spoletta,
Police Agent ten.
SCIARRONE,
Gendarme bass.
A Gaoler bass.
A Shepherd Boy contr.
ROBERTT,
Executioner
The action takes place at Rome,
June, 1800, and concerns the actiWties
of the Baron Scarpia, Chief of the Police
in his efforts to recapture Angelotti, the
Consul of the fallen Roman Republic.
Just before the rise of the curtain
Angelotti has escaped from the prison
of San Anselo, and has made his way to
the Church of Sant' Andrea alia Valle,
where his sister has concealed in the
Attavanti Chapel a woman's costume to
aid his escape. It happens that a
painter, Mano Cavaradossi, who has
Deen painting frescoes in this chapel,
has made a sketch of Angelotti's sister
as she has knelt at prayer. This hastv
portrait is the cause of a quarrel with
Mario's sweetheart, the celebrated
singer, Floria Tosca; and her jealousy
is the weapon which Scarpia uses for
the eventual destruction of everybody
concerned.
Act I. — Without any overture, the
curtain rises with the first music from
the orchestra. Angelotti in convict
garb steals into the empty church, finds
a key at the foot of* the Madonna's
statue, and lets himself into the Atta-
vanti Chapel, just as the Sacristan, who
is cleaning Mario's paint brushes,
comes in followed by the painter, who
ascends the dais and uncovers the
picture of Mary Magdalen, which is
the portrait of Angelotti's sister. The
Sacristan recognizes the likeness and
Mario confesses that he has made
the sketch without the model's
knowledge. As he paints, however,
he takes out a miniature of La Tosca
and, comparing the two, avows his
heart's fidelity to La Tosca (Recondita
armonia). The Sacristan points out
934
THE MUSICAL GUIDE
to him the basket of food, but
Mario tells him to leave it and go.
Later Angelotti, thinking the church
empty, comes from concealment and is
discovered by Mario, to whom he tells
his story. Mario gives him the basket
of food and he hurries back into hiding
as La Tosca enters, jealously insisting
that she heard voices. Mario only
partially convinces her, but she tells
him to meet her at the stage door after
the performance that they may retreat
together to their villa in the country
(OkaltiM fianco senlire). She catches
sight of the portrait, recognizes it, and
her jealousy is again suppressed with
difficulty. He swears he prefers her
black eyes to the blue eyes in the por-
trait {Quale occhio al mondo), and she
departs after a duet of love. Angelotti
returns from the chapel with the
woman's costume his sister has left for
him, but Mario thinks it unnecessary
for him to put it on and offers the pro-
tection of his own villa. A cannon shot
is heard announcing the prisoner's
escape, and the two men hurry away as
the Sacristan and the choir-boys enter
with the glorious news that Napoleon
has been defeated. Their joy is silenced
by the unexpected entrance of Scarpia,
with his aide, Spoletta. Scarpia finds
that the Attavanti Chapel has been
opened with a new key, and inside he
finds a fan with^the family coat of arms.
He recognizes also the portrait on the
easel, and discovers that the basket of
food brought for Mario has been emp-
tied, although the Sacristan insists that
Mario refused to eat it. Tosca returns,
and Scarpia, who loves her, devises a
scheme to play up>on her jealousy for a
double purp>ose: to make her betray
Mario and to bring her into his own
power. He shows her the fan, which he
claims to have found upon the easel,
and convinces her that the blue-eyed
woman has been meeting Mario secretly.
She swears revenge and hurries out,
and Scarpia, giving instructions to
Spoletta to follow her in a closed car-
riage, remains to exult over his triuinph
and then to kneel in prayer.
Act n. — Scarpia's i^Mutments in tht
Famese Palace. Scaipla is dbiinr
alone and rejoicing over the assured
capture of Mario and Angelotti. He
has sent word to Tosca, who is to aog
for Queen Caroline in the Palace, that
she must come to his apartments at
once "for the sake of her Mario."
His gendarme, Sdarrone, is sent to
bring Spoletta, who comes to say that
he has arrested Mario, and searched his
villa, but has been unable to find
Angelotti. Scarpia orders Mario
brought into his presence, and stands
listening to the music which is beiif
sung for the Queen, and in wh^
Tosca's voice is audible.
Mario is brought in with Roberti, the
executioner, and a judge. Mario is
indignant at his arrest and denies all
knowled^ of Angelotti. Tosca is
brought in in great alarm and, as she
embraces Mario, he warns her to say
nothing. Scarpia orders him taken
away, and murmurs to the executioner
that he is to be tortured. Then he
turns to Tosca with suave politeness
and questions her about w^t she has
learned at Mario's villa. She says that
her jealousy about the fan was un-
founded and that Mario was entirely
alone when she arrived at his ^illa.
Unable to move her otherwise, he tells
her that Mario is being tortured with a
steel band about hb temples. He is
heard groaning and she odls to him,
but he warns her to keep silence. At
last, however, Scarpia permits her to
look into the torture chamber and she
is overcome by what she sees. She
confesses that Angelotti is concealed m
an old well in the garden. Mario is
brought in swooning, and Spoletta b
ordered to go search the well in the
garden. Mario, overhearing, accuses
Tosca of treachery and rcpuJaes her.
Sdarrone brings yrord that Napoleon
has won the &ittle of Marengo and the
royal troops have been defeated
STORIES OF THE OPERAS 93?
This brings a cry of joy from Mario.
Scarpia orders him hanged. He is
dragged away^ and Tosca remains to
8 lead for his hfe. Scarpia will save it
she will pay the price — herself. He
pours out his love for her with ardour
that she detests. She repulses him
until she hears the drums of the death
march, and is told that the gallows
awaits ner lover outside the window.
Spoletta enters to say that Angelotti
took poison when captured, and Scarpia
orders Mario shot. Tosca consents
with a silent nod to pay Scarpia's price,
and he promises that there shall be a
mock execution with blank cartridges.
He instructs Spoletta that Mario's
execution is to be conducted ''like that
of Palmi eri. " Spoletta, understanding
his duplicity, nurries away. Tosca
insists that Scarpia must write a safe
conduct to take her and Mario out of
the country. While Scarpia is writing
it she picks up a sharp knife, ana when
Scarpia moves to take her in his arms,
she stabs him to death. As sobn as he
is dead she forgives him, and finding the
safe conduct clenched in his fingers,
takes it from them, and puts out all the
liffhts, except two candles, which she
pSices on either side of him. She
removes also a crucifix from the wall,
and. placing it on his breast, slinks out
of tne room.
Actm. A platform of the castle with
a trap-door and a fljght of steps. It is
almost daybreak and the voice of a
shepherd leading his flock to the hills
b heard dying in the distance. Mario
IS brought in under guard. The jailer
records Mario's name and grants his
request for the privilege of writing a
letter of farewell. As he begins to
write he muses upon Tosca coming into
lus garden under the starlight {E luce-
van le sklle). He breaks down and
weeps as Spoletta appears, followed by
Tosca. who rushes to him and shows
him tne safe conduct. Perceiving the
signature of Scarpia, he demands what
price she paid. She says that he de<
manded "your blood or my love/' and
describes how she had killed him. He
wonders at such a deed at such gentk
hands (0. doici mani). She explains
the plan of escape and informs him that
he must simulate death after the volley.
There is a love duet {Amaro sol perlii*
The firing party enters. Mario is kd
to one side. He refuses to have hla
eyes bandaged. The soldiers fire.
Mario falls. The soldiers are led away»
leaving Tosca alone. She hunies to
Mario bidding him to make haste.
She finds that he is actually dead,
Scaipia has duped her after all; she
throws herself upon his body in agony of
grief. Spoletta and others return,'
exclaiming that Scaipia has been a»-
sassin^ted by Tosca. As Spdetta
rushes to seize her, she springs upon the
parapet and leaps to her death.
PUCCINI, GIACOMO
Le Panciulla (f&n>choor-Ul). 'Del
West. /. The Girl of the Golden West
An opora in three acts. Book by C
iZanganni and G. Civinini (after the
drama by David Belasco).
Produced, Metropolitan Opera House
New York, December lo, 1910.
CBA&ACTER8 AMD TBOOK CREAT0X8
MiMKiB Emmy Destinn, sopr.
Jack Range,
Sheriff Pasquale Amato, bar«
Dick Jobnsom,
Ramerres Enrico Caruso, ten.
Nick,
Bartender Albert Reiss, ten.
ASflBY,
Agent of the W^-Fargo Transport Co.
Adamo Didur, bass.
SONORA "
TWN
Sid
Handsome . . .
Harky
Toe
Happy
Laskens ....
Dinh Gilly,.ba&
ten.'
bar.
bar.
ten.
Glen Hall, ten.
... A. Pini-Corsi, bar.
Miners'
936
THE MUSICAL GUIDE
Billy Jacszabbit,
An Indian. . .Geoigts Burgeou.bua.
Wowux,
BiUyt Squam,
Meiie M&ttfdd, mez-sopr.
Jaxx Wau-ace,
Trmdling camp-miiutrd,
A. de Seguiola, bar.
Josi Castko bass.
A Greattrfrom Ramerrtt' tatg
A Postilion ten.
Uen or THE Cahp
Act I.— Scene. Interior ot the
"Polk*," » baiToom and dance hall.
On the wan a placard offering a reward
of five tfaouMod dollars for the stage-
tobber, Ramerres. The room U full of
■-'-"- gambling and drinking. From
itaace comta the homesick voice
« Wallace, singing hii song of
Back Yonder^' (Li lonlatia).
u, another tniner, breaks down
omesickness and a subscriptioii is
up for bim. Sid is caught cheat-
faro. Jack Ranee, the Sheriff,
tim from being lynched, but pins
■e on him in token of dishonour
13 him kicked out. Sauce and
play poker as Ashby, the Wells-
agent enters. Aahby tells them
» is hard on the track of Ramorei
pecta to catch him soon. Nick
with whiskey and glaaaea, telling
>y> that Mmnie has sent it to
They all join in drinking to
i. Ranee tiraiessively tells them
iionie wdl be Mrs. Ranee shortly.
I bursts out with rage that Min-
only fooling Ranee, whereupon
a fight, which is stopped by
i's entrance. She separates and
s than alL
b^ gather around her, giving
ssenta. Sonora hands her a little
«U to dear up his debt to the
Id Minnie signs for it and {daces
Nfawnl. ShctbtnUfccswlhet
Bible and holds her achotd for the boys,
treating them all as little childioi.
The pony-emress boy enters with let-
ters, and tells Nick that a greaser has
been seen hanging around, and to be
on his guard. Ashby asks him if he
knows an adventuress by the name of
Nina Micheltorena. Minnie interposes
that she bos heard of this creature, who
tries to make love to all the boys.
Ashby tells the Sheriff that he will catch
Ramencz that night, as Nina has
betrayed his movements.
As the boys read scraps of their home
letters aloud, Ranee makes love to
Umnie and asks her to many him.
Minnie asks him what will be^nne of
the wife he already has. He tells he*
that for her sake he will desert bis wife.
Minnie, drawing a pistol, wans Rants
to cease bis dishonourable proposals.
Raoce goes angrily to the faro table,
and Minnie follows to say that she has
only done what she was taugfat down
at her home in Soledad (Laggitt nd
Seltdad).
Nick reenters with Ramerret, alias
Dick Johnson, whom Minnie greets and
seems to remember. They rtcaU to
each other their meeting on the road to
Monterey and vow that neither eva
would IX ever could forget. He asks
her to dance with him) some at the
otheiB follow. Sounds of shots are
heard and Ashby enters drag^ng Josf
Castro. Castro, seeing Johnson's sad-
dle, believes that his master is captured,
but when he is questioned by Rawx
concerning RarDcrrez be gives than a
false scent; and they dedde to follow it.
The door opens and Castro meets tl^
eves of Johnson and secretly teOs him
tnat Johnson's following are near at
hand and will give the si^tal wbm tbey
are ready to come to him. Ranceaand
the others galkf) away <m the false
scent, taking Castro. Nitk goes into
the dance hall to put out the li^ts.
Uinnie and Johnson talk together. A
vrtiistle fs heard and Johnaon realwa
K il Uw rignal of his men. lUnoie %
STORIES OF THE OPERAS 937
itened and telb Johnaon that the
Td, representing all the labour of the
>ys, is in the barrel iinder her care,
but she will fight for it with her life.
Johnson b so moved that he cannot
take the gold as he intended. He tel]:>
her that he wants to come and see her
in her cabin by the hillside, and that she
has the face of an angel. He goes, and
Minnie is left alone, repeating as the
curtain falls, "The lace of an angd.''
Act II. — Scene. The interior of
Minnie's cabin. The act opens with
Wowkle, the Indian woman, singing to
her baby (II mio bimbo). Billy, the
Indian, enters and they discuss mar-
riage till Minnie appears and makes
preparation to receive Johnson. John-
son enters and they have a love-scene.
Minnie sings ''You should see my little
Emy" {Ho un piccolo polUdro). Wow-
e enters with canoles and Minnie
sends her home, telling Johnson that
he may stay for an hour longer. Dur-
ing their further love-scene, the snow-
storm increases, till Minnie tells Johnson
that it will be impossible for him to go
at all. Minnie sends him to rest on
her bed, while she wraps herself in a
blanket to sleep by the nre.
Nick is heard knocking and calling at
the door. Minnie forces Johnson to
hide, as she fears the jealous Ranee has
come and brought the others. As she
opens the door, Ranee, Nick. Ashby,
and Sonora enter. They tell Minnie
that tiiey feared for her safety, and that
Johnson is in reality Ramerrez, who
had come to the ''Polka" to rob it.
Ranee convinces Minnie that Johnson is
Ramerrez, and has been betrayed by
his woman, Nina Micheltorena, show-
ing her the picture of Johnson given
them by Nina. Minnie, concealing her
jealous agony, sends them away, and
then orders Johnson to come out of hid-
ing. She accuses him riolently, and
I^mson bursts out in seK-defence, con-
fessing "I am Ramerrez, vagabond by
birth, [Sono Ramerrez: nacqui vagO"
imido). lifimiieyBioved^attbeatoKyQi
his life, savB that she coifld f oigive him
anything but his having taken her first
ki^: that she cannot f oigive; she sends
him out into the blizzard. He goes and
immediately after, shots are heard.
Minnie opens the door and Johnaoia
staggers in wounded. He struggles to
go away again, but Minnie helpsnim to
hide in the loft, declaring that she loves
him. Ranee, knocking excitedly, Min*
nie runs to admit him, feigning suiprise
as Ranee declares he has trackef*
Ramerrez to her cabin. Minnie denies
having seen Johnson, and Ranee makes
violent love to her. As she reptil^
him, a drop of blood falling on his hand
from above leads to the discovery of
Johnson. Minnie helps Johnson down
the ladder, and as he faints, she bargains
to gamble with Ranee — ^e is to have
Johnson's life if she wins; she gives
herself to Ranee if she loses. During
the game, Minnie contrives to exchange
her cards for others hidden in her stock*
ing. Ranee, believing that she has fairly
won, goes and Minnie is left sobbing
on the inert body of her lover.
Act in. — Scene. "Baily dawn on the
edge of the great California forest.
Nick and Ranee talk of Johnson, curs-
ing his love for Minnie. Men come and
go on horseback and there is pursuit.
Sonora rides in with the news of John*
son's capture. Ranee exulting, sings
"Your turn to weep now Minnie'*
(Minnie, ora piangi iu)t The men dance
and sing pofaiting to the tree where Billy
is preparing the noose for hanging.
Johnson appears in the midst of a crowd
of horsemen. Ashby hands him over to
Ranee and demands that justice be done
without delay. The men insult John-
son. He tells them that he does not
fear to die, but only begs that Minnie
shall not know. He sings "Let her be*
lieve me free and far away" (CVeUa mi
areda libero e lontano). As they taker
hun to the tree where Billy holds the'
noose, Minnie rides in wildly crying,
followed by Nick. She throws hetsea
in front ol JohiisoDt holding a pistol
938
THE MUSICAL GUIDE
towaid the men, who dose in threaten-
in^y. She pleaxls with them: ** I daim
this man as mine" (Ora quests uomo i
mio) . So appealing to them eadi in turn
for some favour or service she has
rendered in the past she mdts their
hearts. Sonora frees Johnson, and to-
gether Johnson and Mmnie take up the
trail toward the mountains singing
*• Good-bye, My CaUfomia."
DEBUSSY, CLAUDE ACHILLE
PelUaset Melisande (pl^l'-lSrfts
& ma-le-s&hd
Lyric drama in five acts. From the
play bv Maurice Maeterlinck.
Produced Op6n, Comique, Paris,
April, 30, igo2.
CHAXACTESS
AxxEL, King of AUemonde bass.
Prince Golaud (gMO),
His grandson bar.
Pelleas,
Half-hrotker of Golaud ten.
MiiiSANDB sopr.
Genevieve (zhiin— vy£v),
FeUias* mother jnez-sopr.
Yniold (en-y6l')f
Golaud* s son.
A Physician
Act I. — Scene i. A forest in AUe-
monde. Melisande is seated by a foun-
tain weeping. Prince Golaud, who is
hunting and has lost his way, asks her
why she weeps. She shrinks from him.
She has dropped into the fountain her
crown, but will not let him regain it.
He persuades her to let him lead her
away, as the ni^ht is coming on.
Scene n. A room m the castle. King
Arkd is listening to a letter read to him
by his queen. It is Golaud's letter to
his half-brother, Pelldas, telling how he
had found Melisande and later married
her, and now fears to bring her home
kst Arkel refuse to recdve her. Go-
laud has been a widower devoted to his
little son, Yniold. Pell6as enters to say
thftt he is called away by the illness of
his friend Marcellus. Arkd tells him he
must await Golaud's airivaL Scene
m. In front of the castle. Mdlisande
is complaining to Genevi^e of the
^oom of the surrounding forests.
Pell6as appears and they watch a shqi
puttini^ out with the coming storm.
Genevt^e leaves them and Pellte
helps Melisande to descend. She hopes
that he will not go away.
Act n. — Scene i. A fountain m the
park. Pelldas and Mdisande enter, and
Mflisande tries to reach down into the
dark dq)ths. She plays with the ring
Golaud gave her. It falls and is lost.
She is a&aid and wonders what to tdl
Golaud. Pell6as says "The truth, the
truth, the truth!" Scene n. An
apartment. Golaud b ill; his horse has
thrown him. Mdisande stands by his
bed, she begins to weep. She is not
happy at the castle. She wants Golaud
to take her away. He questions her
dosdy of Pell&is. He notes that his
ring is gone. She is confused and tdb
him she lost it in the sea wlnle gathering
shdls for Yniold. He bids her go hunt
for it. She is afraid of the dark. He
teUs her to take Peli6as with her; she
goes weeping. Scene m. Before a
grotto. Pell^ would lead Mflisande
within 90 that she may describe it as
the place where she lost the ring. The
moon reveals three poor old men asleqx
She is afraid and will not enter.
Act m. — Scene i. A tower. Melis-
ande at a window sings as she combs
her long hair {Mes longs cheveux des-
eendenl). Pell6lu appears and praises
her hair. He tells her he must leave
.on the morrow, and would kiss her
hand. As she bends over, her hair falls
about him; he embraces and kisses iL
It "inundates" him, it "loves" him.
To hold her prisoner, he ties it to a
willow. Two doves are frightened by
her outcry and fly off. Golaud appears
and calls them mere children. He leads
Pellto away. Scene n. A vault un-
der the castk. Golaud leads Pelleas in,
q)eaking <rf die odour of death and the
STORIES OF THE OPERAS 939
den> abysB. Pell^as feds suffocated
and they go. Scene ni. A terrace.
Pcll^as comes gasping from the vaults.
Golaud warns .him that there must be
no more of these games of children.
Scene nr. In front of the castle imder
M^lisande's window. Golaud takes his
little son Yniold on his knees, questions
him of his stepmother, Mdisande.
The child says that Pelldas is alwavs
with her. Giolaud's grasp makes tne
diild cry. Golaud promises him toys.
Yniold says that Pell^ and M£Iisande
do not send him away. They are
afraid not to have him there. They
are always afraid. Did they ever kiss?
Once when it was raining. Now a light
appears in the window above. Golaud
lifts the child so that he can see into
Mdisande's room. He sees FeI16as
there, but the two are apart, just gazing
at one another.
Act IV. — Scene i. A corridor. Pel-
l^jLS meets M^lisande. He has just come
from talking with Arkel, who has ad-
vised him to set out on his voyage. He
has made up his mind to go. Afkel
enters and speaks tenderly to the sor-
rowful M^lisande. Golaud appears.
His forehead is bleeding. He says he
tore it on a thorn. He repulses Mdis-
ande and demands his sword. He
seizes M61isande by the hair and drags
her about; then strides away. M61is-
ande sighs "He loves me no more. I
am not nappy.'' Scene n. A dark ter-
race. Yniold is trying to lift a rock
behind which his ball has rolled; he
Causes to watch a flock of sheep driven
y in a panic. Scene ni. A fountain.
Pell^ broods over the snares of destiny.
M^lisimde comes. She is fearsome,
but he suddenly seizes her in his arms
and she confesses her love. In the
midst of their mutual rapture they hear
the noise of the castle gates closing.
They hear some one approaching.
They kiss as Golaud rushes upon them
with drawn sword. Pellto falls and
Mdlisande flees in wild terror with
Golaud in pursuit.
Act V. — Scene i. An apartment.
Mdisande lies in a bed. A physician
tells Golaud and Arke) that she should
not die from so little a wound. Golaud
is bitterly remorseful, "They were
embracing like little children — and I
did it in spite of myself. I did it in
spite of mysdi," M^lisande wakens.
Arkel tells her she has been a little
delirious for days, and she has borne a
child. She asks Golaud to come close.
He asks the others to withdraw and
begs her foreiveness. As she is about to
die, he implores her to tell him truth-
fully if she loved Pelldas. She says diat
she loved him, but there was no guilt in
them. Golaud cannot believe her.
The servants gather unbidden with an
ominous prescience. Golaud begs again
to question her; but Arkel tells him not
to disturb her, "The human soul is very
silent. The human soul loves to steal
away alone." He leads the sobbing
Golaud from the room. " It was a little
being, peaceful, so timid, so taciturn.
It was a poor little mysterious thing,
like everybody else. She lies there a&
if she were the elder sister of her child
It must live in her place. It is the
little one's turn now."
WOLF'FERRARI, ERMANNO
I Giojelli Deria Madon'nff^
(€j6-y€l'-le) /. The Jewels of the
Madonna.
Three-act opera. Book by the com^
poser. Lyrics by C. Zangarini and E.
Golisciani.
Produced Berlin, December 23, 191 x*
CHAKACTERS
Gennaro (g&i-na'-r6),
A Uacksmiih ten,
Carmela (kfir.m&'-l&),
His ffioiher mez-sopr.
Mauella (mfil-y£l'-lft),
Her fosUr-chUd sopr.
Rataeie (rft-fft-ft'-lfi).
Head of the Camorra bar.
BiASO (be-&'-sO)
A scribe buf-ten.
940
THE MUSICAL GUIDE
Ciocnxo (ch6-chll'-l6) J Cam- ten.
Roc'co I orrisls bass.
Stella '\ sopr.
CoNCETTA 1^^*^ ^P*"-
(k6n<hCt'.tli) V %^^
Sekena I rists contr.
(sSrr&'-n&} J
Grazia (grftts'-y&)
iCfMmvi as "la biandina^'
Toton'no,
il ^<H«nj man of the peasatU class, . ten.
Place of action: Naples. Time:
The present day.
Act I. — Scene. A small open square
by the sea; Carmela's house, Gennaro's
workshop, Biaso's hut and tavern. It
is the afternoon of the festival of the
Madonna, and the square is crowded
with merrymakers of all sorts. The
Children of St. John and others pass b^
in procession. When the crowd is
somewhat dispersed, Gennaro works at
his anvil on a wrought-iron candela-
brum. Totonno quizzes him for being
so serious. When he is gone, Gennaro
kneels before the anvil as at an altar and
pledges the gift to the Madonna (Ma-
donnay con sospiri). Maliella rushes
out of the house in disarray, re-
buked by her foster-mother, Carmela.
Gennaro, her foster-brother, protests
against her recklessness, and she accuses
him of jealousy. Biaso, the scribe,
gives her a paper cap and she sings the
" Canzone di Cannetdla, " while a chorus
of Camorrists come over the bay.
Then Maliella dashes out followed by a
crowd of young men; and Gennaro pours
out to his mother, Carmela, his jealous
anguish. The mother tells how, when
Gennaro was a sick baby about to die,
she vowed to adopt an infant girl begot-
ten in sin if the Madonna would spare
Gennaro's life (T*eri nn giomo ammalalo
bambino), Maliella has turned out
badly, but Carmela hopes that mar-
riage with an honest man will reform
her. Gennaro goes out with his candel-
abrum, as the Camorrists chase Biaso
and threaten him because he has pay-
tested against their pursuit of MaEeUa.
Amonf^ .them is Rafade, their chieL
He seizes the eirl in his arms with a
song of love (Si, ferchi V amc, btUa
assassina). She tries to esc^ie, but
they surround her and sing a mo^
serenade [Old Plant, Plam/) She de-
fends herself with a sharp hatpin, and
stabs Rafaele in the hand. He kises
the wound made by her "kiss of sted"
(Bacio di lama), and thrusts a flower in
her bosom. She throws the flower down.
The crowd now appears to watch the
procession of chilaren in white, pre-
ceding the image of the Madonna, dur-
ing the procession Rafade pours out his
love and asks her if she wishes to be
adored kneeling {Adorarti in ginoccMio)
and if she wishes him to steal Uie Jewels
of the Madonna for her. Gennaro ap-
pears and warns her against Rafaele.
\\lien Maliella defends him, Gennaro
orders her into the house, and is about
to attack Rafaele; but the procession
reappears, and all must kneel. Rafaele
throws a flower to Maliella. She pidcs
it up, puts it in her hps and hurries Into
the nouse.
Act n. — The garden of Cannda's
house in the evening a few hours later.
Maliella stands near the railing looking
longingly toward the sea. She is stiS
holding the flower. Carmela bids them
good-mght and ^)es in. Malidla turns
on Gennaro saymg that she is sick ci
this gloom and is going away. She
goes inside and can be seen at her win-
dow packing her things, as she sings a
popular love song (E ndringhde^
ndranghete). She comes out with her
bundle and Gennaro checks her', lovingly
embraces her and pours out his devotioD
(5s, perchi Vamo, fadoro). She n
astounded, but says she could love on^
a man of reckless courage like the one
who had offered to st^ for her the
Jewels of the Madonna. Gennaro is
orrifled, but when she starts to go,
prevents her, and she storms back to ner
STORIES OF THE OPERAS 94i
room in a rage, leaving him alone with
a sacrilegious temptation. At last, he
goes to a tool chest and taking out
skeleton keys and files, steals away like
a thief.
A group of serenading Camonists.
among them Rafaele, appear and call
upon Maliella to open her window
(AfrUa, 0 belia, La finestrella). Mai-
ieln appears, and Rafaele makes love
to her, and promises to make her queen
of his band. At last she embraces him
through the bars of the gate just as a
warning is given that Gennaro is return-
ing. Rafaele disappears as Gennarp
comes back in a mood of horror. He
carries a bundle, which he opens at
MdieUa's feet It contains the Jewels
of the Madonna. Maliella is terrified,
but Gennaro, with mystical passion
declares "The Madonna knows that I
am guiltless" (Noy la Madonna sa eke
tan I* off est). Irresistibly fascinated,
Maliella takes up the necklace and notes
that it smeUs of incense. She puts on
the diadem and the bracelets, wishing
that Rafaele might see her so. Gennaro
embraces her with wild fervour and she,
almost in a trance of horror, thinking
him to be Rafaele yields herself to him.
Act in. — Scene. The headquarters
of the Camorra. Among the crude and
vulgar ornaments is a fresco of the
Madonna, and a little altar behind a
curtain. The Camorrists are drinking
stupidly, and three women join in their
revel. When Rafaele appears, the girls
twit him with his infatuation for
Maliella, but he sings in her praise.
"You don't know Maliella's charm"
(Nan sapeie — di Maliella). A curtain
is drawn in front of the fresco of the
Madonna, and a wild orgy begins. In
the midst of it Maliella pounds on the
door and rushes in, appealing for help
against Gennaro and revenge. She
ffiunts in Rafaele's arms, and he orders
the Camorrists to bring him Gennaro
alive or dead. "Were you his? "Rafaele
demands. Sjie covers her face and
sobs. The others ridicule him. He
turns against Maliella, ciying, ''You
belong to Gennaro, go to him," and
hurls her to the ground. As she falls,
her shawl falls open and exposes the
jewels. The other women surround
MaUeUa in amazement, not knowing
whence the jewds had come. In the
distance Gennaro Is heard bewailing
his sin. ' Then the noise of the attack
upon him is heard and he bursts into the
room pursued by the Camorrists. He
bares his breast, calling on them to kill
him. Rafaele rushes upon him in a
rage, but is dragged away. Gennaro,
seeing Maliella, moves toward her with
a despairing cry, but she looks on him
with loathing, tearing off the jewels an<l
flinging them at his feet, crying to all tb^
crowd that Gennaro had stolen them
from the Madonna. The men recoil,
and the women drop to their knees
mumbling the Litany. Rafaele cries
out that MalieUa's soul is damned, and
she dashes out to drown herself. Ra-
faele protects Gennaro from the at*
tacks of the Camorrists, saying that he
shall be left to die there like a dog. In
the distance the church bells ring the
alarm, showing that the theft is dis-
covered. The women flee in terror;
the men, bowing before the Madonna's
fresco, retreat backward, leaving Gen-
naro idone. He gathers up the jewels,
kisses them with reverence and staggers
to the altar, where he lays them before
the portrait of the Madonna begging her
pity. A ray of light from the rising sun
shines through the window and falls on
the jewels. Gennaro takes it for a sign
of forgiveness and in his delirium seems
to hear the angels of paradise. Finding
a knife on the ground, he calls aloud for
his mother not to weep for him, and in
a mystical ardour, slowly presses the
knife into his breast. . As he falls, he
sees Maliella's scarlet wrap on the
ground. He kisses it, and pillows his
dying head on it as. the birds break out
into song. The angiy mob appears at
the door, but halts on the thzesboid
seeing Gennaro dead.
942
THE MUSICAL GUIDE
WOLP'FBRRARI, ERMANNO
La Donna Curiosa (1ft d6a'-nft
koo-iM'-«ft). /. Inquuitive Women.
A musiad comedy in three acts.
Book by Luigi Sugana (based upon
Carlo Goldoni's comedy).
First produced in Munich, 1903. as
Die Neugierigen Frauen (de noi-ge-rl-
gte froir-£n).
OlIAVXO (dt-t&v'-yQ) bass.
BXAXBiCE (bSrft-tre'-che) me»-sopr.
RofiAUXA (r&-zftroo'-r&) sopr.
F^sin'oo ten.
Pamtalone (pftn-tft-l6'-n<i) . . . .buf-bar.
Leuo Ql'-n^) bar.
Lkan'd&o ten.
Coloicbi'na sopr.
ExxONO'xA sopr.
Abieochino (ftr-l&-ke'-nO) . .buf-bsuss.
ASDRUBALB (ftz-droo-bftM<0 ten.
Azjco'bo tfV.
Alvisb (m-ve'-z^ ten.
LuNA&'oo bass.
Mo'molo bass.
MxMEOO (m6-nft'-g6) bass.
The action concerns a men's dub in
Venice, whose mottoes are ''No Women
Admitted" and "Friendship" (Vami-
cuial) and the efforts of the wives and
sweethearts of the members to discover
what goes on in the dub.
Act I.— Scene i. A room in the dab-
bouse. The members are variously
en^^jSed at chess and arguments.
Fbrindo is sighing like a furnace for his
sweetheart, Rosaura. the daughter of
Ottavio. The members describe the
efforts of their wives and daughters to
ftid out the secrets of the <Nrganization,
but Florindo sings of his sweetheart
(If a, aUor ch^io vedo tremulo) . Leandro,
who is a bachdor, suggests a dinner for
the evening, and they all agree to allow
old Pantalone to pay for it. He comes
:in and falls into tne trap. His servant,
' Ariecchino appears ana is told to order
*a fine supper for that evening at ten
o'dock. Pantalone reminds hint that
the dub's secrets must be kept from the
women.
Scene n. A room in the home d
Ottavio, who is late for dinner, detained,
of course, at his horrid dub. Hu wifor
Beatrice, and his daughter, Rosaura,
are complaining. Beatrice is sura
they gamble there. Rosaura's theory ia
that they meet women there. Eleonora
a nei^bour, ai^)ears, and she is positive
that the men are alchemists trying to
discover the philosopher's stone. She
sings of her tragic experience with ths
drnsmaker (A iravare la mia sarta),
Colombina, a maid, runs in breathlessly
and announces that she has discovered
that the dub is engaged in disgmg for
buried treasure (Ne ka dibeUe). And
now Arlecchino, who is secretly court-
ing Colombina, comes in. The women
pounce on him with their theories as to
the object of the dub and he agrees to
all of them. They turn upon him in a
rage and he runs out, leaving the women
as mystified as ever, but each still posi-
tive of her own theory. Ottavio comes
home and announces that Florindo wiD
dine with him. He is figuring out some
accounts in his notebook, and his wife
tries to wheedle from him the secrets of
the dub. He leaves in a huff and she
follows him. Florindo appears, but
Rosaura will not give him on heart un-
til he tells her the secret of the dub. Hd
pleads for merc^ (lo sento, akime).
Colombina returning, suggests to Ro8«
aura that she should try the effect ol
swooning. She pretends to faint.
Florindo is frantic and Colonolnna ad-
vises him that the only way to regain
Rosaura's affections is to tell her the
secrets of the club. She manages to
wheedle from him the rule of the dub
that no women shall be admitted, tha
motto "Friendship," the fact that
there is to be a supper at tei^
o'dock, and that every member has
his own key. Col<»nbuia then gets
rid of him and speedily resusotatSi
Rosaura.
STORIES OF THE OPERAS 943
Act n. — Scene i. A room in the
house of Lelio. His wife is going
through the pockets of his clothes
{Chebestion di marik). She finds two
new keys with a letter from Pantabne
saying that the locks have just been
changed. She cries "Victory I Vic-
toryr' and restores the letter, but not
the kevs. Lelio comes in and she asks
him if he is going back to the alchemist's
furnace. He is furious at her Quizzing,
and they stonn out at opposite doors.
Scene n. A room in Ottavio's house.
Colombina announces all that she has
learned. Only one thing is lacking —
the kev to get in with. Ottavio and
Florindo appear and Beatrice tries to
get her husband to change his coat so
that she may search the pockets of it,
and Odombina, as if by accident, spills
s.offee on Ottavio's coat. And now
Ottavio takes it off to have the spots
mnoved. Ottavio begins to sneeze
while waiting for another coat. Colom-
bina brings back the things she has
found in the pockets, but secretly in*
forms Beatrice that she has substituted
the cellar keys for the dub keys, and
Ottavio goes with Florindo leaving the
women rejoicing in their triumph.
Beatrice seizes the keys and tells
Rosaura that she is too young to go to a
men's club. Rosaura, left alone, muses
over Florindo (Ah^ itUto per te, mio bene),
H^ steals back . but she refuses to relent
unless he gives her the keys. He pours
out his despair (VH lacerate U mio paoero
cuore)^ but finally 3rields to her determin-
ation, and they are reconciled in a duet
(// cor^ nel contento).
Act' in. — Scene i. A street in Venice
before the clubhouse. At the back is a
canal. Pantalone comes out of the club-
house looking for Arlecchino, who ap-
pears with bottles, but has forgotten the
candles. Arlecchino goes inside to un-
load before he returns for them, and
Pantalone follows him in. A gondola
draws up to the landing and Eleanora
steps from it as Arlecchmo comes from
the clubhouse. Eleonora in her terror
drops her keys and runs. Arlecchino
pockets them and goes on his way, at
Colombina, disguised as a man, enters
with Beatrice from a side street.
Beatrice hides as Pantalone comes out,
and seeing Colombina gives the pass-
word, "Friendship." He soon dis-
covers that Colombina is only a dis*
guised woman, and snatches the keys
m>m her. She runs off, leavin|; Panta^
lone to wonder who is the traitor who
has given up the dub keys into women's
keeping. Pantalone goes back into the
dub. Lelio and Ottavio come up.
Lelio is puzzled at not finding his keys
in his pocket. Florindo appears. Ot-
tavio twits him about his love for -the
capridous Rosaura (Bravo mio fenero)*
Ottavio, about to open the duo door,
finds that he has the cellar keys instead.
He turns to Florindo for his. Florindo
in some confusion says that he left them
at home. The three locked out mem-
bers knock, and Pantalone comes to the
door in a bad temper and shows the keys
that have been found. Lelio and
Ottavio lollow him into the dub, but
Florindo remains, seeing a servant with
a lantern precedins a woman. He con-
ceak hunself and Rosaura, masked,
follows her servant in. The servant is
about to put the key in the door when
Florindo snatches it from him. Ros-
aura drops her mask and the servant
runs away. Florindo reproaches Ros-
aura for trying to betray him, and enter-
ing the Club, slams the door behind him.
Arlecchino, who has seen this quarrd,
catches Rosaura as £he faints. While he
is wondering what to do with his burden,
Beatrice and Eleonora appear. Bea-
trice, recognizing her daugnter, faints
in Arlecduno's other arm. Colomr
bina runs and prepares to faint also, but
Arlecchino reminds her that he has not
arms enough for three. The women
recover and begin to cry, reviling the
door that will not open. They now
turn upon Arlecchino. Colombina tries
to bribe him with caresses. Beatrice
offers him money; Rosaura offers
944
THE MUSICAL GUIDE
earring; Colombina ofiFers him a dinner
and kiases. But he refuses them all.
Then they turn upon him with their
finger-nails, and he surrenders the ke^^s.
They open the dub door and enter
while Anecchino picking up the lantern
looks up and down the street, ironically
calling out, "Are there any others who
want to get in?"
Scene n. A room in the clubhouse,
with an opaque door leading to the
dining room. The members of the
dub are saluting Pantalone, who warns
them not to give to a woman the keys
to a door or to their hearts. Arlecchino
announces supper and the members
enter the banquet roouL When the
door is dosed the four women steal
from Uieir hiding places, somewhat sur-
prised to find that the mysterious activ-
ity of the dub consists of a simple stag
supper. The men are heard laughing
and the women, taking turns at the
keyhole, describe what is going on.
They grow hungry at the si^t of the
banquet, and when Arlecchmo comes
in at a side door with a dish of tarts,
they rob him of them. They begin
now to struggle so frantically for the
privilege of peeping through the key-
liole, that tney push the door open.
The dub members arise in amazement
from the table, and Pantalone exclaims
that he has heaid of showers of frogs and
showers of larks, but never before
showers of women (Piova de sorzi).
The women apologize for their suspi-
dons and are forgiven. One of the
members begins to play the spinet and
Pantalone chucks Colombina under
the chin. Arlecchino protests that her
huid bdongs to him, and she gives it
to him — over the ear. A minuet is
begun, and it gradually develops into a
livelier and livelier dance, during
which Pantalone gives Arlecchino a
dip over the head and sends him face
downward into a laige dish of whipped
cteam. The dance breaks up with a
general cry of the dub's motto,
MASSENET, JULES
Manon
An opera in five acts. Book by H.
Meilhac and Ph. Gille, (after the
romance by the Ahh6 Provost).
Produced Op6ra Comique,
January 19, 1884.
CHASACTESS
The Chevalier Des Gxizux (shft-
vSl-ya' dftgr6-a') ten.
The Count Des Gsiexjx,
His jather,
Lescaut G^l^d)»
Of the Royal Cuards, cousin ef
Manon bar*
GunxoT MoREONTAiN (m6r-fAn-tAn},
Minister of finance, an old beau,
De Breticny (da brarten-yCO,
A nobleman
An Innkeeper
Manon (m&-n6n) aopR •
POUSETTE, (pOO-s6t), )
Javotte (zha-v6t), > Actresses
Rosette. )
Place of action, Amiens In the yeai
1721.
Act I. — Scene. Courtyard of an Inn.
Morfontain, the old Minister of Fi-
nance, and Br^tigny with three actresses
are demanding food and drink. The
host appears and they order dinner.
The landlord leads them to a paviHoo.
A bell rings and the townsfolk gather to
see the coach arrive. Among them it
Lescaut, who has come to meet his
cousin, Manon. The coach appears
and the passengers descend and wrirngb
with the porteis. Manon is among
them and greets her cousin with a kiss.
She describes her impressions of the
voyage and tells how one moment she
wept and another she laughed (Je suis
encore tout etourdie). Her cousin goes
in search of her luggage, and Moifoo-
tain, seeing Manon, starts an inunediate
flirtation. She is amused rather than
oSended. His companiops join in the
STORIES OF THE OPERAS 945
meniment. As Morfontain in a low
voice states that his carriage is at her
service, Lmcaut returns. He advises
her to be prudent and good (Ne bronckes
faSf soya gentiUe) and returns to his
brother officers. Manon resolves to go
to the convent and have done with her
dreams (VoyonSf Manon, plus de
ckim^es). Suddenly she sees in the
pavilion Moiiontain and the actresses^
and she envies their jewels and Uieir
^lendours, their life of pleasure. Tlie
voung Chevalier Des Gneux appears on
his way to meet his father. Seeing
Manon, he is greatly struck with her
and makes her acquaintance with little
difficulty. She explains that she is only
a simple maid, not wicked, but longing
for happiness and now on her way to a
convent. He cannot endure the thought
of her being so entombed, and oflers
her his protection. * She accepts and
they decide that they will live in Paris
together (Notts vivrons d Paris ious Us
deux). At her suggestion they will
elope together in the carriage that
Morfontain has placed at her disposal.
They hurry away, leaving Morfontain
and Lescaut to amazement and wrath.
Act n. — Scene. An apartment in
Paris. Des Grieux is writing at his
desk. He reads his letter to her. It
is a description of her charms written
to his father. He goes to mail the
letter, but notices some flowers, and
iihe explains quickly that they were
thrown in at her window. He promises
not to be jealous. The maid enters to
announce that two officers are present.
One of them is Lescaut and the other
De Br6tigny. They come in and
Lescaut denounces Des Grieux for dis-
honouring his family. He demands that
Des Grieux marry Manon, and is shown
the letter just written. As the men
read it together at the window. De
Br6tigny warns Manon that her lover
is to be kidnapped that evening by his
father's order, and advises her to let
him be taken, lest poverty engulf them.
Once she is free, he will make her the
Oueen of Beauty. The two visitors
depart and Manon is troubled, though
Des Grieux is full of rapture and love.
He goes to post the letter and she makes
up her mind that for his sake she must
sacrifice him, especially as she is not
worthy of him. She hears a voice
which calls her (J* enUnds ceUe voix gtd
m* enlraine). He returns and tells her
of a dream he iiad, seeing a little cot-
tage (EnfermantUsyeuxje wis Id-bas).
A loud knock is heard at the door and
he is about to answer it, but she is
overcome with fear for him and tries to
restrain him. He releases himself and
going to the door is gagged and dra^^sed
away. She runs to the window crying,
"Oh, my poor Chevalier!''
Act m. — Scene. The promenade
of the Cours la Reine. It is a holiday
and there are booths and a dancing
pavilion, where the three actresses
beckon to youths to join them. Les-
caut appears singing of his Rosalinda.
Morfontain sees the actresses and greets
them, complaining that not one of the
three is faithful to him. De Br6tigny
ironically begs him not to rob him cl
Manon. Morfontain says that he has
heard that De Br^tigny refused Manon
a favour, and st^ds away. Later
Manon appears on the arm of De-
Br6tigny and receives much homage.
She is delighting in her conquests, and
advises everybody to heed the call of
love and youth. As she moves on, the
Count Des Grieux, father of the Cheva-
lier appears and tells De Br^tigny that
his son has taken holy orders and be-
come an Abb^ Manon seizes an
opportunity to speak to the Count and
is told that her lover has learned hia
lesson and forgotten her. She deter-
mines to see him and orders her chair
to take her to the Seminary of Saint
Sulpice.
Scene n. The pariour of the Semi-
nary. The Count congratulates hn
son on the eloquence of his sermons,
but begs him not to take final orders;
rather to find some worthy maiden
946
THE MUSICAL GUIDE
and many her, especially as the next
day he inll receive a fortune from
his mother. Des Grieux, left alone, is
tormented by the image of Manon
(Ak, fuyet, douce image). So(»i she
appears and hearing tl^ choir within,
says a prayer. On seeing Des Grieux,
she appeals for his foigiveness. He
warns her that she cannot speak of
love in such a place, but she clings to
him, and at length he throws his arms
about her, defying heaven's vengeance.
Act IV. — Scene. A fashionable gam-
bling house. Lescaut is playing and
winning, but the shaipers are watching
him hopefully. The three actresses
appear, and he tells them that his
sweetheart is the queen of spades
(C'est id que ceUe que faime), Des
Grieuz and Manon appear, and Des
Grieux tells her that he both hates and
loves her. She has brought him here
to recoup their squandored fortunes.
Lescaut encourages him toplay. Mor-
fontain challenges Des Grieux to a
game, and as they gamble Manon
levels in the excitement, which is life
to her (il nous les amours ei les roses),
Morfontain accuses Des Grieux of
cheating, and the crowd tunis against
him just as the place is raided by the
poUoe. Morfontain denounces Des
Grieux and Manon as accomplices.
The Count enters and orders htt son
and Manon arrested. He tells his son
that he shall be released at once, but
that Manon must "go where many oi
her sort have gone. "
Act v. — Scene. The road to Havre.
Des Grieux is seated by the roadside to
watch Manon pass by imder guard; for
she is to be transported to a penal
settlement. Lescaut appears and Des
Grieux disniswfs with him their plan to
idease Manon. The soldiers are heard
singing {Capitaine, 6 gui, es-tu fatiguif)
Des Grieux is de^erate enou^ to
attack the guard smgle handed, but
Lescaut drags him behind some bushes,
TOnmising him that he shall see Manon.
The aoldien appear and Lescaut kadi
one of the seigeants aside. Tlie
soldiers move on, dragging with them
the women who are prisoners. Later
Manon comes down the path greatly
exhausted. She is remorseful m her
fickleness and feels at last a pure flame
in her heart (Ah! je sens une pure
damme). The evening stars appear To
her coquettish heart they are jewels.
"You know I was always fond of
jewels." She grows weaker and weaker,
and dies of exhaustion murannmg
"This is the stoiy of Manon LescaoL"
MASSENET, JULES
Le Jongleur De N6tre Dame
Qtt 2h6nrp&c' da nOt-rtt dfim) F. The
Juggler ofN^tre Dame.
A "miracle" in three acts. Book by
Maurice Lena (based on an old miraW^
play).
Produced, Monte Carlo, Fdmiaiy
z8, 1902.
CHASACIESS
Jeak (zhftii),
Thejug^ tttL or sopr.
BoNiFACS (b6n-e-f8s).
Cook of the abbey bar.
TvE. PuoK Jbmm^
Tbe. Musician Monk
Tbe. Sculptok Monk
Tbx. VoKt Monk
The PAiNtER Monk
The part of the Juggler, thoQ^
originally sung by a tenor, was taken
by Miss Mary Garden on its productkn
at the Manhattan Opera House in New
YoriL.
Place: Paris. Timeof actioD: Foor-
teenth Century.
Act I. — Scene. The Place Chmy,
in front of the abbey with a statue ol
the Madonna over the door. It is
market day and the Square is filled with
merchants, and with meny-nDnken who
dance in honour of the Madonna aad
the "Dauphm, Jesus." The sound oCa
is hcajtd appioarhing. It ii
STORIES OF THE OPERAS 947
recognized as the muaic of a Juggler
Joyous anticipations are quendied by
the appearance of the meagre and
poverty-stricken Jean. He b hailed
as "His Majesty, King Famine." He
pla3rs for them to dance, holding out his
cup with little success. They ridicule
him, and when he suggests the various
songs that he knows, they refuse to hear
any of them. They demand a drinking
sons, and he consents to sing "The
Hallelujah of Wine, " first praying the
Virgin to pardon his sacrilege, for though
his heart is Christian, his stomach
is pagsm. As he is singing reluctantly,
the Prior rushes out of the abbey, ana
all flee except the Juggler, who drops
to his knees craving pardon. This the
Prior refuses, declaring that the gate of
hell is yawning for him. Jean weeps in
terror, and the Prior, relenting, tells
him he can save himself, but only by
taking holy orders. Jean recoils at the
thought of renouncing Liberty, his
heart's mistress {C*e5t eUe que man coeur
pour tnailresse a ckoisU), The Prior
warns him that Liberty will let him
Ktarve, while the convent will feed, both
soul and body. He points to Boniface,
the cook, who arrives on a donkey
laden with flowers, food and wine. The
cook sings of the three: the flowers for
the Virgin, the food and the wine for
her servants {Pour la Vierge (Tabord).
The breakfast bell rings in the abbey,
and the monks are heard redting
the Benedidte in the refectory. The
Prior invites Jean to the feast, and he
enters taking with him the Juggler's
outfit.
*Act n. — Scene. Study roo^i and
garden of the abbey. Among the
monks is a Sculptor who has finished a
statue of the Virgin, which the Painter
is colouring. A Musician monk is
rehearsing the others in a hymn to the
Virgin, which he has composed for the
occasion; Assumption morning (Ave
coeUste Itlium). Jean is bemoaning the
fact that he cannot join thdr praises
because he does not know Latin, but
only profane songs in the vulgar tongue.
The monks joke with Jeanbecause he
b taking on flesh, but he regrets that
he is only an ignorant monk who can
simply eat and drink and do nothing in
honour of the Virgin (De^is qu^en ce
couvefU prospire) . He asks to be turned
out into tne world again, but the
Sculptor advises him to study sculpture,
pointing with pride to his statue \Vois:
des fiancs du mwbre se Uoe). The Poet
monk cries "Not so; give poetry the
place of honour (Non pas la flace d'
honneur). The Musician upholds mu«
sic as the direct echo of the great mys-
tery (Pour moi, je tne figure). The
Pamter joins the quarrel until the Prior
silences them all and compels them to
be reconciled. They cany the statue
out into the Chapel, leaving Jean alone
with Boniface the cook. Boniface de-
dares that the art of the cook is the
true glory (S*U faui s'enfler de ghire)»
He tries to console Jean with the state-
ment that the Virgin understands
French as well as Latin, and tells the
legend of the rose and the sage-plant
(Marie avec VEnfani Jesus), As for
himself, he serves the Virgin by looking
to his oven. Jean is uplifted with a
sudden ray of light (Quel trait de
soudaine lumiire)^ and hopes that
perhaps the Virgin will accept a Jug-
gler's offering.
Act m. — Scene. The chu^I of the
Abbey. In the distance the monks are
singing the new hymn to the Viigin.
The painter is alone before the statue
he hais coloured, taking a last look at it.
He sees Jean dressed as a monk, but
carrying his vielle and his kit. Jeai
approadies and appeds to the Mother
ot Jesus (Mere adorable de Jesus), to
accept his homage. Throwing off
his monk's robe, he appears in the
Juggler's costume, spreaos his carpet
and begins to play on his vielle while
the Painter hurries out to warn the
Prior. Jean, declaring himself to be
the King of Jugglers from force of habit,
begins to pass his cup about a cirde 0*
948
THE MUSICAL GUIDE
imaginary bystanders, but stops in con-
fusion. He begins to sing a song of
war, but fears it will frighten the
Virgin. He tries two other songs, but
his memory fails him, and sings the
eternal pastoral of Robin and Marion
(A Voffdujoli hocage). As he sings, the
Prior, the Painter and the cook appear.
Hie cook restrains the Prior from inter-
fering, and Jean, not knowing he is
observed, jovially offers to evoke flying
devils for Her. He apologizes to the
statue and permits hixnself the honour
of dandng before her. The cook re-
minds the indignant Prior that David
danced before the Ark, and Jean dances
a bourrfe faster and faster until he falls
exhausted, kneeling in adoration. * The
other monks have gathered and are
furious at the blasphemv. .They are
about to attack Jean when the cook
orders them back, "The Virgin protects
him. '' A strange light begins to shine
on the statue, and on the mouth a smile
is about to awake. The voices of angels
are heard singing "Hosannahl Glory to
Jean." The Prior and the monks
approach the Juggler reverently.
Startled from his prayer, Jean kneels
for forgiveness from the Prior. But the
Prior says that it is Jean who should
for^ve them, for he is a great saint.
Thmking th^ are mocking him, he is
horrified, but th^ point to the intense
radiance now illuminating the altar
and the aureole, which descending from
the hands of the Virgin, gleams on the
head of the Juggler. Jean swoons with
ecstasy. Wnen the monks have chanted
the Kyrie Eleison, he says feebly, "At
last I understand Latin." He swoons
again while two unseen angels sing of
Heaven's Gate opening before him.
There is a snow of lilies and bluebells
about him and a cloud of incense. The
Virgin mounts to the skies and Jean
sees her surrounded by the angels in
Heaven. In his death ecstasy, he sees
Paradise welcoming him (Spectacle radi-
eux) i6id the Virgin beckoning him.
He dies is his rapture.
Ariane et Barbe-Bleuc (ir-yin'
fi- bSr-bO-blS')- Ariane and Blue
Beard.
A lyric story in three acts. Book by
Maurice Maeterlinck.
Produced, Opera Comique, PSarit,
1907.
• CHARACTERS
Ariane sGpCi
The Nurse
SiXYSETTE (s&-lS-zSt)
Ygiake (e-2^ftn)
MiussANDE (mSrlb-sftnd)
BEiXANciRE (bfl-lfth-zhftr)
ALLA0INE (&l-lft-den)
Blue Beard
Act I. — Scene. A hall in Blue
Beard's castle, showing six doors with
silver locks. Outside the window the
angry peasants are threatening to kOl
Blue Beard for bringing home another
wife. The windows dose magically as
Ariane enters with the nurse. The
nurse is terrified because the peasants
insist that Blue Beard killed hb first
five wives. Ariane feds sure that they
are not dead, but alive, and thinks
Blue Beard loves her so mudi that she
will sain his secret. She shows the keys
her husband has given her; six silver
keys, which she is permitted to use, and
one gold key, which is forbidden to her.
Woman-like, she throws away the silver
keys and keeps the gold one. The
nurse, picking up the k^s, opens the
doors m succession. Out of them
tumble great heaps of predous stones;
first, amethysts, second, sapphires
third, pearls, fourth, emeralds, fifdi,
blooa<ml rubies, and sixth, a cataxmct
of diamonds. These last fascinate
Ariane and she bedecks herself with
them. {Omes datrsdiamanis!) Inaide
this cell she finds a door with a golden
lock and, in spite of the nurse's tenor.
opens it. From the depths a smothered
chant arises from the five iiwnrw^miirft
wives, the five daughters of Onamande
(Les cinq JUles d'OfUmmide). Bhie
Beard enters in a rage. TheimfirisQnod
34. Al
15. Vi
ociee
orV
J
STORIES OF THE OPERAS 949
wives have all disobeyed him just as
Ariane has done: some of them after a
few days; the last of them after a year.
"It was the last one alone that de-
served to be punished." said Ariane.
Blue Beard seizes her, out she and the
nurse scream so loudly that the peas- -
ants come to the rescue. Blue Beard
draws his sword, but Ariane gently
pushes the peasants back and says:
" What do you want? — He hasn't done
me any harm. "
Act n. — Scene. The dungeon..
Ariane, with a lamp, and the nurse
move forward till tney discover in a
huddle the five wives. Ariane rushes
to them with kisses and caresses, dying:
"Ahl I have found you*' {Ak/ Je tons
at trauvies). She is sure that they are
beautiful, but they are in rags and
unkempt and frightened. She asks
their names and comforts them. A
drop of water from the dank roof extin-
l^ui^es the lamp, but the wife, S^lysette
IS used to the dark and leads the others
to a trap door. Ariane breaks it open,
and the music of wind and sea, minglea
with the song of birds and the soimd of
shepherd bells invades the room.
S^ysette waves her long hair as a signal
flag to a distant peasant, and as the
dock strikes noon the women scramble
out joyously.
Act in. — Scene. The same hall as
in the first act. Open coffers are over-
flowing with gorgeous robes. The
wives before laige mirrors are dressing
their hair and donning gleaming rai-
ment, while Ariane goes from one to the
other assisting them. They have been
unable to escape from the castle walls,
but Ariane hopes to make them so
beautiful that Blue Beard will IbH in
love with them again. The nurse
appears with the terrifying news that
Blue Beard is returning. But the
peasants are armed and lying in wait
for him. From the window they see
Blue Beard arrive with warriors who
fight the peasants. At length the
peasants conquer, and tying the
wounded Blue Beard, they burst into
the hall with their prisoner. They
deliver him to the wives for punish-
ment. When the peasants have gone,
Ariane and the wives, overcome with
pity, release Blue Beard and dress his
wounds, kissing him furtivdy. He
stares at his victims, but turns to
Ariane. She tells him farewell and asks
the other wives if they will go with her.
She points to the open door and the
moonlit sky (YoiSf la parte est auverte),
but they prefer to remain with Blue
Beard, and she leaves them, wishing
them happiness.
i
Table of Pronunciations
Giving the Code of Symbols used in this
Book; and also a Guide to the Pronun-
ciations of sixteen Languages, arranged
io a novel Tabular Form by Letters
BOOK.
sifMtlit phonetic
Ott Ittten and tym-
THZ8
._., difficult
for lojounien among the peo-
bSSJOBAK : See Note 4- In
diphthongs the Towela are pro-
nouooed eepaimtely, at in Ital-
ian.
DAHISH : doabled voweb are
■imply prolonged.
PUTCH : r in be and ge:, /be-
fore k. £ and nr/ um "
■uffiz lijk are luent.
in the
PLBMI8B : dead at a literarjr
language, but of great hittonc
impoftance*
a Blent final cooio-
oant it utually teunded with
the following word when that
begins with a ToweL This is
called liaiion. French sylla-
bles have duration rather than
accent ; the tendency b, to i^re
a slight stress to the final syl-
lable. In thb book accent b
rarelv marked.
OBBMAH : long words usually
accent the first syllable most
strongly, and give a leaser ac-
cent to one or more of the
others.
HUHOASIAV: long and short
Toweb are so rather in dura-
tion than in sound. There are
no silent letters and no accents.
ITALIAH : doubled consonants
are dbtincdy pronounced, as
f red-do. Doubled voweb are
also separately pronounced.
lORWBGUir:
?OLISH : consonants strongly
■ounded are accented thus : S,
» f. f r r / w /
very difficult
language; placed usually just
back of the teeth. The nasal
vowels are also unique. Notes.
IktfSOAH: has ^6 letters, m-
duding 13 vowels. It b usu-
ally written phonetically in
Gorman pronunciation as fol-
lows:
•PAHISH : a language of ideal
t«gularity and preoston; all
vowels are separately pn>-
liounced.
4WBDI8H:
VBLSH: all vowel comblna-
tioos are separmtdy pro-
. Bounced; the letterwaoo
\ In
I Bsed 10 thb book: 4 as
in father; A as in fate; d
as in fat ; dm and dm, see
Note I.
as In fat; before r as in
far.
as « b fun ; ^ as In father*
as in father; oa as a in faU.
when short as in half: also
before M/ when open as
in father : aa, aai (see a»),
prolonged as in father.
a or ^ as in father or mica ;
aa or at, the same pro-
longed.
as in f&t: 4 as in father;
see ai, am, and Note x.
I in father; 4, tee Note e ;
d b sometimes spelled or .*
oi'ss tin bite ; for dm and
aem^ see««.
I in what : d b prolonged,
as in father.
as in father and mica ; d ai
in far.
a as in father; an ti% 0 la
■ no ; aMBBoia no.
as in father : ^ as in balL
as in father; when two as
occur in a word the first
b more like a in fat; S,
see Note 5.
when accented, as in father:
unaccented, as in bat; at
the beginning, as /» in
yacht; if unaccented, as
m yank. ^
as in father or in hat ; a as
in father.
•ifaibobw
as in bob.
as In bob.
•i In bob*
beginning a syllable, as in
bet; ending, as/ ia trap.
as in bob.
as in bob.
bttiinning a tyllnble, as in
bet : ending a syUaUe, as
/in trap.
as in bob.
as In bob.
as in bob.
aslnbohi
nearly as in bob; but softer.
thb letter resembling our /
b pronounced v, as 10
vane, ory^ as in foe; the
equivalent of our 3 sounds
. aa 6 ox p in bet or trap.
like V in very.
■eetfi, atendol the aiphabefc
I In father or in mica ; 4S as as in bob.
o in go, when long ; when
short, as a in what ; d as
inhere.
■a in fat : 4 at In dare.
asbbofak
•i in English; ck Uke Ger-
man ch, see Note 3.
c like U, or German s/ 7
like ch b chOd.
like Swedish ^.
only b foreign words; Bin.
» before r, / and y / lik«
kf otherwise.
Uke k; ck like German ck.
as » before r, / and y ; 9%k
otherwise, except dutt ^ b
always «. See ck.
like U b hats befoi« ^ /
and d : like k before «, a
and u ; ck. See Note 3.
csmck b church ; CM^ii,
asbhatt.
before # and / at M b
chime; ce before c and I
= ick, at wretched ; ck
only in f oiei^ words ; as M
Mfore r, r and jf/ M k
otherwise.
tf=&, as b hats; ckss
German ck/ cs = ck ia
church.
likefbefore #, / and y/ Eke
^otherwise; f always fike
s; in cc the first cis like k.
the second b determbed
by the f oQowbg btter.
as m cent or tone ; ck 3
German ck at die end ; at
the beginning, at b chett.
before r or /, as M in think ;
otherwise •» k : ck as b
church; rw as f a in qtuut.
before f, i or j, as \n cent;
otherwise at b cash; ck
= k, except b foreign
words.
alwajrs like k,' ck = (Ut»
man ck^ see Note 3.
m fa dMd; iik M M
4^' as in adjoin.
in
•oft Cke Italian d.
as In deed. For ^, df and
lA*, see Note 4.
be|(inning a syllable as in
date: ending as M in
bathe: after ^ «, and ^»
silent : t/s =i ss in hiss.
at the beginning of syllables
as in date; at the end as
/ in hot.
like German ^ and <//&
at the beginning or in the
middle as d in deadlock ;
usually silent at the end
of the word: in liaison it
becomes •.
^ginning a syllable as in
date; ending a syllable as
/in hat: <//=:/ in bat.
t in deed : <&' same
i(/s = J in judge.
M'£y;
I in deed, but softer and
mure palataL
M In deed.
as in deed; 461 as in adxe;
' dM as dffe in judge.
m In deed.
Mlndaed.
much like M in those
(marked in this book by
M) : when two ds occur in
a word, only the second
has this sound, the first as
in date.
•s in deed, but silent in fuin
and ftds and before/ or i.
laiBdate; <£/ as <4ui these.
? as in bean ; JF aa in pet — at
the end of words almost like
as in prey ; ^'as in pet.
as in pet ; / as in era : i s ya^
as in beatitude. See also
Note 4.
as in prey and there ; 9* like /
in lute.
when short as in met; when
open as In prey : ee simply
prolongs the sound: see
also *u.
r or / as in pet ; €ti like French
em ; e after a vowel usually
simply prolongs it ; ^^ s a in
fate or as in seen ; see en.
as r in father or u in cut ; as a
final syllable generally silent;
i as in prey when it has
stress, otherwise as in pet;
i as «f in fair; 1 as in pet;
see ei, dt t, t, z, r.
when long as in prey ; when
short as in pet ; ei'm i in
right ; see eu.
before M.or a sharp consonant
as in fat ; otherwise as « in
ten ; ^ as in prey.
as in prey when long ; when
short as in pet ; i as in pet.
as in prey ; but when final as
#in
father.
/ as in met ; / s French in, see
Note X ; # s a aa in pate. -
/ and i usually as in prey ; i
has a curious closed sound.
F
as in fife.
ai in fife.
ai in fife.
as in fife.
as in fife ; /7 as in flow ; Jr
as in fresh.
as in fife.
as in fife, not silent at the
ends of words, except in
clef; in liaison it becomes v.
as in fifa.
as in fife,
as in fife.
as in fife,
as in fife*
as in fife.
at the beginning of words s^rtf usually represented by the
in yelk if accented ; if unac- German v or w,
cented as ye in yesterday ;
otherwise as / in pet.
as in prey when long; when
short as in pet ; / as in prey
or pet
as in .film when long : when
short as in pet ; #r as «r in
bam.
as in pet ; < as in bean.
as in fife.
as in fit at the beginning of
syllables or after a short
vowel ; at end of syllable
like V in slave; before v
silent.
like 9inr0vive;^l£ke/'in
ofif
as in gig.
as in gig.
as in gig: after <> or a Ek^ ; i> .,
yoke ; between vowels «.liu :
mute.
like German ^/ jr^ as in <eak ]
as German /;
as in gate except befaic *. t
and y, then as « in
(manced here as Mk
when final, becocBiag i v
Ifadson ; /» as m'ia
at the beginning of a sjiftii
asin gate, but softer; at ik
end. see Note ^ : m£ mha
final vanishes in a fsatf i
sound as sang = zangk.
•s ui gig: jy =rfin docfari
doo) ; «r = ^17 «r ^ r.
before e and r' as in gcss; a
as df in adioia: fh'^^
like // in miukm, gmtsif
or ni in pinion: ^s/w>
gmi^va.
as in ^g, but before- /srl/|
as^ m yoke. |
asm gig.
as in gate: but before «itj
/'asin gem.
at the beginning nsnaBr •* *
go ; sometimes at the '
ning, always at thr ^
Gernuin ck : see Note 1.
asin gate^ bat belore f*'^^,
as a very harsh k is b«s '
gme = ^A as in gale.
^ as m gear : gn s
nite : // as in glow.
i««i
as in gate : before A, e. i,
and after / and r. ¥k*
jroke; silent beiocer
Mfia sing.
asin gate; syas ii
a
ot the Vfttert
And flTmboIs
4i> nSBD IK
TIDaBOOK.
ARABIAN:
BOHBMUV
DA1I18H :
asin hue.
I as 133 ^Ht; I M in pin.
•I
b jug.
liUTCH :
strongly aspirated
at end or begin*
ning of a word.
as in hats.
ftft in bate bnt
silent before j
and V.
as in hate.
PLSmSH :
VttBllCH:
GBSMAa:
HiniGABUir:
tlALUH:
VORWBOUH :
P0U8H:
P0RTU0UB8B :
RUSaiAV:
dPAratR :
9WBDI8H:
7BL8R:
as in hate.
alwajrs silaat.
as in hate.
as in hate.
silent; after c or
g it has siitaplv
a hardening ef-
fect.
as in hate.
as in hate ; see c»
/ and M.
silent.
used only in a few
native words,
and in foreign
derivations.
usually silent or
very slight; see
as in hate : silent
before/ or r.
as in hate.
as in pin; i as in bird.
as in ptn ; f as in machine.
as in machine ; after a, e^ o, j>.
and u like y in yoke.
when short as in {nn: when
open as « in rely ; it prolongs
the open sound only before
f; otherwise as # in rely ; (f
same as tfr.
i or, i as in pin ; ft or fV the
same prolonged ; iiraf sounds
Uke9-4.
as in Dint xa **t ^» } as r in
machine, but see mi.
as in machine ; iV as in believe.
as the <}uick t in rely ; / as in
machme.
as in machine, but when short
as in pin ; at the beginning
of words like j^ in yoke.
as in machine ; at the begin-
ningas^inyoke.
/ as in machine; after a con-
sonant it has the effect of
the imaginary y in due (not
doo) ; »'« s » in gun.
as in aftafibine.
as in machinet but well back
in the throat; after labials
(3, /, m, p and v) as » in
pin.
as in machine when lon^:
when short as in pin ; i as in
machine.
as in machine.
asta machine.
asliijut^.
like y in yes ; after vowels
It prolongs their sotmds
somewhat as ^ in day.
whey, etc.
even with vowels Vi <^
like^ in yoke.
as jr in v'oke.
as in kick; kh m Geima^
ck or g-; see Note 3.
strongly guttnxal.
as in kick*
as in kick.
as^ in yoke.
I « in measure (maikad
b this book assA).
as/ b yoke.
as / in yoke; ff' bm y ia
paying.
same as f / at the begin-
ning of words like/ In
^oke; as a vowel like
t\n machine.
as in yoke.
as'/ b yoke.
as b Jug.
as/ b yet.
as a very harsh A in hate;
almost tike German cA.
as/ in yoke.
as b kick: Ax k jr b
fix; Aw B fS( b quart
as b Uck ; Af at jr bf
as b kifik.
as in kick.
asinkicki
as b kick ; bef ort 1 and
/ tike A/ Av « fs m
quarter.
asbkick.
only b foreign wotdSi aa
bkick.
as b kick; befofe A, i
and cA softly aa in
German rAi
as b kick but betuce A, «>,
t\ 9 and y b the
syUableUkefA.
m
L
M
N
o
F
•sialnU.
as In man.
t
as in nan; m, see Note i.
a as in note; «/ as in noise;
«0 as in moon or foot ; ^ as
in wrrong; cnv as in cow : ^
see Note z.
asbpofk
MmluO.
as in mum.
as in nun.
asin note; 9 s Geiman 9, see
Note a.
i
asbpofk
MinlulL
asin nun ; A asin cafion.
as in note; ^ as in wrong.
as mpopb
ftsinluU.
as in nun.
when open as in bother ; when
dosed as in move; ^s
French eu closed as in ^eu /
9 = the same open as in
coeur; see Note a.
aabpofb
at in lull, but when fol-
lowed by another con*
sonant a short ^ is in-
terpolated, as i/ elk
were spelt elek.
as In mm.
as in bother when short, when
long as in over ; «v = « in
over: oei ^ o in over fol-
lowed by f in pin ; see 0€.
•s b pop: >l ■
J*
as in loll.
as in mum.
asbttun.
» as in note or not ; 09 or «r
usually the same prolonged,
somedmes like wa in was,
crioxoeytA d-i.
aabpopu
as in lily, t sometimes /
(called « 1 mouiU^ ") U
liquid, as ^ in yoke or
paying.
at the beginning, as
mmate. See note
z.
a: the begiamnff, as in
name. See Note x.
as in not: often almost as tf in
nut; ^asin note: see«£
at the b«an«
andBiiddIe.a
b papcr:>s|
saiinost>w«;
wiien fittsL
asinluU.
as in mum.
as in nun.
u sometimes spelled oe.
asbpopw
as in late; ffotfysayia
paying.
as in mum.
as in nun ; ««y a m as in
new (not iMtf); m/ij
— njfmy, or u* tif.
» as in note ; S isprolonged as
in slow ; 3 = French «m/ 0
asbpofk
as in lull; see/;
as in mum.
asin nun; see/-.
as in note; ^ as in wrong;
asbpapk
•sinlnlL
as in mum.
as In nun.
as « in full, but often as « in
note or not ; oe ^ a\n sale ;
}i Uke French eu loitg or short.
as za popb
as in lull ;/ is sounded
by closing the teeth on
the tip ot the tongue
as / is pronounced.
astumum.
asiantin.
« as in note ; d is between note
and move.
asinpofk
as in lull: /A like /// m
million.
as in meet, but at
end of syllables
or after e, like
French nasal m.
See Note x.
as in note; but at end
of syllables or after
e, like French nasal
«, see Note z ; »A s
«/ in minion.
asiniM>teorinix>t; ^seeNote
5-
as b pop: /ft a
J*
•s in tun : before a or a,
as /^ in collar.
as in mum.
as in nun.
as in not.
as In pop.
Mbi k>ok: ^like&'ia
biUiards.
as in mom*
as in nun; A divides
into uy as mi in min-
ion, thus caAon s
canyon.
when long as In note ; when
short tf as in not; if as in
note.
as in pep; aleri
L
•a ia lull, but usually
iileat before/
as in mom.
as b nun; gn^ng in
sing.
as in move or not, acconlmg
to complex rules: '9 — Ger-
man il.
asbpop^
•a ia look; i7has a can>
^asminglingpfrtandl
as In mn«L
aslnntm.
aa in gone: ^as in bona; the
sound «9 b represented by «r.
aaiapops/ia
I •«
of UM letters
»nd nrmbob
A8 U8BD m
THIS BOOK.
ARABIAN
DOHBMIAII
OAinSR
DUTCH:
tLEmSR
VSmCH:
HUVOABXAV:
ITALIAH:
VORWBOIAV:
POUSH:
PORTUOUBflB
RUSSUir:
fiPAinSH:
«s 7« in quart.
fv s ^« in qtuut.
/« as in quart.
^« as in quart.
^m always as ^ in
kick; cgM/t.
fu as kvi thus
quart S3 k'TXrt.
fM as In quart.
f» as ui quart.
gMu as in quart;
htioneox itqu
is like k.
qu9Ak\xi kick.
ftrm Aiokia.
R
asin
as in roar.
as in roar; ^ = r^
or rsk as in ** i^
sure, '* thus Dror-
AkUdvdr-shXk.
as in roar.
asin hunry.
asinnMf.
commonly rolled on
the back of the
tongue I in Paris
almost tike w in
bower ; as a final
letter it is sounded
except after #/ tr
s a m sale.
usually rolled and
always strongly
sounaed«
always trilled.
usually trilled,
as in huny.
I in roar; r» es
French y or / in
as in roar and
httxry.
with a burr as rr in
wony.
as ui roar.
as in hunry.
In
8
asin
as in iAax m strongly hi
xA as in show.
xasinsts; ^asMin show.
as in sense; ^ki or ^ky as in
skim.
sharply as in sense; 4^'ssmA
in show ; see scA,
as b suppose.
I in suppose: when final it
is silent except in proper
names; in liaison it beiDomes
beginning a syllable Defore a
vowel usually as s in sone ;
as the end ot a syllable as in
this ; */ and x/s sA/ and
M/ kA^sA,
as M in show; sm^mA,
as in suppose: set as tAM,' set
as sAi/ tcA as tA,
as in sis; sAiaesA in show.
as in eense ; xx s jA in show.
as in suppose; having the x
sound between vowels.
as in sense; xA as in show;
sAi s sAA/ SM a sA,
asmsense.
» in sense; sM^ ^, and x^'all
s xA in show.
■^^"^^■■■^w
•ilatot; MasInthUk;
strongly palataL
as in tot: ■•• also Ndt 4.
as In tot.
after a hard vowd it Is soft ••
in note, otherwise as in hot.
as in tot; tUmttbihtX,
as / in tub; like x in sudi suf*
fixes as •tion : almost alway*
silent when final; x/ s a la
asm tot; tAmilmhaL
as In tot ; i^ strong as / te
tube; Oya^' (/ ot f f/
time A,
as in tot; tf usually «AA
asm tot.
as in tot.
as in toll
I in tot ; U beginniag <
ing as in hats ; tscA a
in waxA^ilum.
as mtot.
as in tot: ^^cA in dmrcfci
but if followed by tf or x h *
in hats; <4s/intot.
•ibtot; MasmtUnlE.
I alwltjrt with the sound of
you ; A, see Note a.
isb full.
M in full; iotti^MMva rule.
M in role or f uO.
rhen shorty es m cut : wbeo
long, as in rule ; mm um a^
in moon.
like a short German fl.
Note a : im* or at^ , the same
prolonged; seew.
ti»Noi«a.
I «# In^ noon or foot: H
(sometimes spelled mt), see
Notox
n as in pull: if as in rule: U
m French » / & or ifc the
same prolonged.
■a in rale; « asinfuIL
as in rule.
■s in rule ; preceded by i it
is the French m.
■s in rule; fi, see Note 5.
•s in due, or as «» in moon ,
except m words of French
or German origin, then as
French at.
as in rule, when long . when
short, as in full; ail as in
rule or foU; u* a tua in
wall.
•• in rule; or in fuS.
/in this;
dl*«rin
V
M in revive.
asm revive.
as tn revive.
as in rerive: silent
after / and r.
at tlie beginningf as
in vote at the
end, asyin off.
as in revive.
as in revive.
likey inflfe.
asb revive.
as in revive*
as in revive* 4p
fm in quart.
asinrevir^
as/inf0-«roff.
asm
w
asinwUL
asin wilL
as in will: ^ is
ulent before s
and another con-
sonant, as wz4i»
only in forogn
words.
asin wilL
asm win.
in foreign words
only, and sounded
lilce • in vote;
wA sounded as w
in
like V in revive, but
with a soft trace
also of the w in
as V m revive.
1/ in far or off'.
X
•sin fix.
asin fix*
asinfijL
as infix.
I in fix or exile;
silent when final ;
becoming X in lia-
as in fix, even at
the be«nning of
a syllable.
asin fix*
asin fix
after #, as in vex:
otherwise as sA -n
show.
like V in revive.
sounded like 09 in
moon.
s in fix; even at
the beginning;
in some proper
names aa A in
hate.
asin«rfiy.
as f in pin. / as I a «
chine.
like u in for.
aain why.
like ff in machme;
times nasal like Frend
m, see Note t . see oil
when akme or when a 01%
sonant precedes or foUow
it, as « m bean. Wbca i
lies between two vowds 1
may be said to l>e dhnM
into two sounds. Aftcril
« or / it is ewindcd OeJ
in pet followed by j m
jroke (thus rayon beonan
rh-jbA) ; with an # ii
sounds fike «b«I in was fd
lowed by ^, as to yoki
(thus loyeux becoaMi
shwil-yif): with a it be
comes i — y (ifans afpnf
ant becomes 3ip>pwd^ jtt|
asrin bean.
«/ see Note a.
see/v 4 isaodA
KkeFranch
as ff'in mncUao.
same as Ruanaa £
as /in manhineu
like French « / see N«li%
as « m turn : at
syllable asin
of tlM kttan
and lymboli
AS U8BD m
THZ8 BOOK.
UUBUVt
BO
DASIBBs
wnuMi
'BBVO|lt
yonroASUH
IffiXlAV
in
z
and ban.
•shixoaau
M in soa*; X as in
asore.
onhr in fovai^ words,
m«n lilM « in «•.
as in tone.
as in tone: often ascd
intsrchangeabts with
aaiasoaa.
■ORWBOIAH
MU8H:
ffORTUOUBSB
.U88UB
dPABUHi
lika JSr in hats, arm at
the beginning of a
■f UaUe.
asinsona; si, seei£
a «s /Ir in hats ; ss as dSr
In Windsor.
like £r In hats.
as in tone ; m^* m
measure : *£^i
preceded by a Dots.
as in soae ; bat at tha
end of sfUables fika
« in this.
Mmtt: or
as French rrr.f\a
menagerie.
asMin thinlL
Hhaiinsit.
like ai both la saU
and in said.
same as «a a « inro-
longed; aei ck mty
>B tf/pnuongad.
onhr another spelling
of A See Note s.
in vowel combinations
die troweb are al-
w a y s sepaiatdv
pronounced in Ital>
AI
Eke /in bite.
mai combines a in
father with a
2uicl»/ in meet,
Imost liJce^ b
why.
«U and a/ as a/ in
said; aHwaty
the same pro-
longed.
a/> «At ^y
pet.
is r m
Uke/iaUta.
AU
as «tv ia cow.
combines a in iat
with M in moon;
sharper than ^«r
in cow.
astfiasoQo*
as MO in cow ; hm
almost like / in
bite (actually
Uke^ innota.
German
SUA
' •••
>••*
asatoi
UM«^
>!••
>••
diphthongs.
•••«»
D
BU
II OK
Ol
nsin nolle.
ou
combinw # in i*^«t
same as German short »,
see Note a; r/» =
0 in fate, with a
whispered v after it.
some as French tm ; tern
the same prolooged.
like / in father when
short ; when long,
the same sound pro-
lehged; it lies be-
tween tf in pet and m
in cut, and resemUes
German 9. See Note
a.
ahaost like / hi bite
with a hint of «r in
noise.
•
see i/ itm ss a in
fate, with a soft
w after it.
same as «9 in moon :
oa = ao followed
bjashorti.
•M 00 in moon;
sometimes a
simple prolonged
9/ at luce wa in
was; Mtixtotyst
#r SB CM hi was;
«f»like«w.
*
onljr another speOmg
of 9. See Note 3.
with f in pin : in
the infix held
with ■ in n^
iofierdi^
often ooeni
withfM.
MflapeL
0i at oy vs IMS hi
was; «Ab s tv
followed \rf the
nasal in. See
Notex.
•
asinbeliere.
«f«BdN0lB&
•
• e«ettttvtta*tf ••# pff
■
like « In ftak.
•••••••• ««••••••
•
ahnoatas^adl
«.
a*
the
German
thonp.
1
1
•
1
t
Fkwetic meaning
of the letters
end nrmbolt
▲8 VWJ> IH
THIS BOOK.
UK
Ul
CH
as in church ; German cA
is represented by AA^ see
Note 3.
8CH
ai^
ARABIA* *-'
Uke German cJL
BAirRlftAW •
•
'^IIITRH ?
M k, except in foreign
words.
like German ckt but more
palatal at the beginning
of foreign words : as tA
in show.
like German ^A. See Note
3-
as sk before a vowel; be-
see Notes.
miTOK:
ahnoet y in why :
but verging on
the French eu.
•
ui and my like
German «a.
beginning a syl-
lable, as ticA,'
at the end, as
simple * \n this.
aatevpta.
VLBMIBH:
Mune as a pro-
longed».
tut like tu,
only another tpell-
ing of U. See
Note a.
nSVCH:
,j
gSBMAH:
like sA in show.
like xA« fai dkli*
«
OUirOABXAV:
pan.
ITALIAV:
as >fc in Un.
■a sk in skip.
aMmvpm»
RORWBOIAH :
POLISH:
like German cA^ see Note 3.
-
PORTUOUBSB :
m
• • ■• ««•••' #^«a as ••
RUSSIAH:
8PAXI8H :
as in church.
SWEDISH :
, ^y
WXL8H:
3*
,
•T
f Ve sMi in
^ashcub.
MWftOIM.
k««*<
TH
as in tktnr: the
ik in MMfT It
ntedbj
dJi
like / b tot.
like / in tot.
NOTES
' No. z.— The French nasal tonndt are easily obtained :
(x) Thou^ spelled with an m or « (and indieated in this book by an «) they have
really no n sound in them, much less the ng sound that some foreigners give thm.
Though variously spelled they are reducible to four vowel sounds pronouaccd as w%.
say, "through the nose," though actually with closed nasal passages. If one wil
pronounce or rather snort the word " wrcmg " without prodncins the final / at afi,
one will have exactly the French on (i); the word " thank " simUaily sounded witb*
out the k will give the French in (a) ; the word " trunk '* without the k gives tfae
French un (3): the word "donkey" <not pronounced like monkey) r^^^m^ the
French en (4). These four are indicated in this book by <x) Mr / (3) »k ;
(4) *».
<3)
The French nasals may be grouped as follows : Those pronounced like (1) are 0h,
cn^ and ton after g ; like (a), 2m, m, a/wr, ain, n'n and also ra as an endhig; like (3) Ae,
un and tvn ; like (4) om, an, tan, aen, €ton and en at the beginning of words.
These letters m and ir^ however, lose their nasal quality when doubled o
preceding a vowel ; onnt is pronounced as one in done, om« or omnnt as in
as in /M in them, etc.
No. 3. — French u (which is the same as the (/erman U when long) is easfly pfWKmBoed
if one will pucker his lips to say m, as in moon : and keeping them stronf^y peckcied,
say # as in bean. Those who have eaten ^reen penimmons. or had their Sps dis-
tended with peach fuss, have the correct position for this t sound. I'hcre is really b«
00 sound in the French u at all, and if one cannot say the ar correctly be will coeM
much nearer the truth if he uses a plain English long ^, as in been, rather than die
sound of «, as the spelling mi^ht suggest.
The German U when short is formml by keeping the lips puckered and sayxiv ' <■
in fit, instead of t in serene.
The other German modified (or umlauted) vowels are (a) J, pronounced, when kngi
almost like a in sale, but verging on a in care (it is marked here simply as MM whes
short much like f in pet ; (O 3 when long can be secured by puckering the lips for a
round, full o. as in note and then saying a as in sale (it is marked in this bo<^ simply
as a to avoid the danger of saying a plain 0) ; when it is short the lips should be pock'
ered for the round o, and a short / as in pet then pronounced. The caotioa must be
emphasised that in the experiments the lips must he firmly kept in the first, or puck-
ered posidon, in spite of the temptation to alter it.
No. |. — German ck is not dtflScult, once caught Our sound M as in think wiD he
found if prolonged to be produced by the simple device of holding the tip of th«
tongue lighdy between the teeth and then breathing. The Gennan ch resahs bom
pressing the two sides of the ton^e firmly against the bicuspid teeth (the two upfci
teeth on each side back of the canine or eye teeth) and leaving the tip ci the taqgas
free, then breathing the necessary vowel as in ack, ich^ etc. Gennan g ts much ihe
same but even softer. Both are indicated in this book by kh.
No. 4.— Certain Bohenuan letters and combinations insert the sound y doeehr aScd
to a consonant, as in the Ftench dititle and iUrn, or the English " How d'ye dio ? " er
"I've caug^jfy/." Bohemian d, n and t are given this d'^y and t'y sooad wbea
followed bv e or for by an apostrophe as </*, jt or f.
Many Bohtmltui combinations of consonants seem unspeakable because tbcy «"•
spelt with no vowels between. They are no harder to say, however, than sodi woco^
of ours as " twelfths." Among such consonant chains are dm, JtS, kdy JM, /p*4
sArtf xr, tp/ and Mr, They must be run together as smoothly as possible.
No. 5.— Portuguese diphthongs are of three
guished here, U>ey are simply combinations of
sorts; the first two cannot be
vowels (sometimes of three vowels
ioiphthongs) in which each' vowel u sounded independently ; in the fine
the fint vowel takes the accent, in the second class the second vowd b
The third class contains a nasal vowel marked a, oor u, and pronounced with a
nasal twang.
No. 6. — In vowel combinations other than those specially mentioned bcse, the
vowels are pronounced separately, each in its own way.
No. 7.— Combinations of consonants other than those mentioned h^re will be feonA
under their first letter.
No. 8. — As Greek and Latin pronunciations are matters of controveisy and penoael
taste, no system is attempted here. Chinese, Japanese, Hebrew, Hindu, and variodf
other languages are usually spelled phonetically, but on such (fiflereot
personal standards that they can hardly be generalised.
; f
• ;_ :r
ML 100J4W41t12
3 6105 042 406 103
W J>l;: U*i^4^<
ML
100
.H89l»
1912
rai£
n:;:
REf
STANFORD UNIVERSITY UBRARIES
STANFORD, CAUFORNIA
94505
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