*^?^|^ii>$£^^*;ii^y?p^ -\}^'-^^.
 
 UNIVERSITY OF CALIFORNIA 
 AT LOS ANGELES
 
 14^Hh^ 
 
 CYCLOPEDIA OF 
 
 Music and Musicians 
 
 Volume I 
 ABACO— DYNE 
 
 4
 
 -\
 
 CYCLOPEDIA OF 
 
 MUSIC AND MUSICIANS 
 
 EDITED BY 
 
 JOHN DENISON CHAMPLIN, JR. 
 
 CRITICAL EDITOR 
 
 WILLIAM FOSTER APTHORP 
 
 IV/TH MORE THAN ONE THOUSAND ILLUSTRATIONS 
 
 VOLUME 1 
 
 NEW YORK 
 CHARLES SCRIBNER'S SONS 
 
 M DCCC LXXXVlll 
 iSig „ f\ O "^ o 
 
 6d.i i O
 
 Copyright, i88S, by 
 Charles Scribiier's Sons. 
 
 3440 
 
 5r,;ii
 
 ilusic 
 
 Library 
 
 V 
 
 >^. I 
 
 PREFACE 
 
 THE Cyclopedia of Music and Musicians, like its predecessor, The 
 Cyclopedia of Painters and Paintings, is expected by its pro- 
 jectors to occupy a novel as well as a standard place among 
 authorities upon its subject. Like that, also, it founds its claim to this 
 position especially upon tlii-ee things : The character and comprehensive- 
 ness of the information which, through its text and illustrations, it for 
 the first time makes accessil)le ; the new simplicity of its arrangement ; 
 and the bibliography, of a kind hitherto unattempted, through Avhich it 
 furnishes a key and guide to the whole literature of its art. The two 
 works beino; then similar in kind and in method of arrangement, we can- 
 not do better than to re2)eat substantially the preface of the foi'mer. 
 
 It is not only a fuller biographical dictionary than now exists of the 
 musicians of all schools, including prominent contemporaries, but it is, as 
 well, a dictionary of works ; and in a form in which the one branch of 
 information is as immediately accessible as the other. It must be under- 
 stood, however, that it embraces in its scope only composers and their 
 works, excluding mere performers and musical literati. The important 
 compositions of all periods, operas, oratorios, cantatas, symphonies, etc., 
 are treated under their own names, in separate articles, in which are 
 given an accurate description of each work, the history ot" its text, 
 or of the subject of its theme, the date and place of composition and 
 of first performance, and of its prodiiction in other countries, its publica- 
 tion, and such other facts as make the account as nearly as possible ex- 
 haustive. The articles, whether biographical or descriptive, are not based 
 upon statements accepted in any sense at second hand, but upon close re-
 
 PBEFAGE 
 
 search, coiulucted with tlie hope of making this work virtually an oiiginal 
 authority — their facts being derived fi-oni the latest monographs in 
 all langiia<res on the several musicians and their works, from the music 
 periodicals of many countries, and from autobiographical memoranda 
 and other original material. In many instances correspondence with 
 musicians and others has brought to light hitherto unpublished informa- 
 tion of much interest and value, relating both to composers and to their 
 Avorks. The latest publications of the prominent music publishers and of 
 the several musical associations have also been carefully collated, so that 
 the information given is the best and fullest accessible up to the date of 
 completion. 
 
 The method of arrangement of the Cyclopedia is believed to be espe- 
 cially practical, intelligible, and convenient. The biographical and de- 
 scriptive articles are combined in a single alphabet : a novel plan, ena- 
 bling any reader, with no knowledge of a well-known opei-a or other 
 musical work other than the name, to turn to it directly and trace its 
 history back to its composer. A simple cross-reference system also en- 
 ables the i-eader of the biographical articles to tell at a glance what 
 works of each musician are treated at length, the italicizing of a single 
 word in the title of a composition showing that under that word a sepa- 
 rate article upon it will be found. 
 
 Tlie l>ibliography appended to each article is such as will guide tlie 
 reader to further -and more minute investigation than would be possible 
 in any book of reference ; even, it may be claimed, to an exhaustive 
 study of the whole literature of the topic. It embraces, besides English 
 works and periodicals, those in French, German, Italian, Spanish, Portu- 
 guese, Dutch, Swedish, and Danish. 
 
 The illustration lias not been undertaken with a view of mere embel- 
 lishment, )»ut ill accordance with the purpose of the Cyclopedia. The 
 biographical articles contain a greater number of portraits of prominent 
 musicians, living and dead, than have ever before been published in any 
 work. Many of the contemjiorary ones have been furnished l)y the com- 
 posers themselves, and are not obtainable elsewhere. In many of the 
 articles also are fac-simile re2)roductions of scores by celebrated com-
 
 r RE FACE 
 
 posers, fac-similes of autogi-aj)li signatures, and views of hirtlipLices, 
 monuments, statues, etc. In tlie articles on operas and oratorios are 
 given portraits of celebrated singers wliose names have been identified 
 with their representation, some of them in the costumes approi)riate to 
 their roles. Each volume of this edition contains, in addition to these, 
 twelve full-page etched portraits of the most famous composers, making 
 in all thirty-six etcliings, a representative collection of the great masters 
 of the art never before given in any publication. 
 
 The work is under obligations to Mr. Louis von Eltz for his efficient 
 labors during its entire progress, and especially for his valuable aid in 
 researches connected with the German, Italian, French, Spanish, and 
 Portuo-uese musicians. 
 
 Thanks are due, also, to the superintendent and other officials of the 
 Astor Libraiy of New York, and to the officers of the Athen;eum and 
 the Harvard Musical Association of Boston, for numerous pi'ivileges and 
 courtesies, without which the woi'k on the Cyclopedia would have been 
 attended with great difficulties, if not rendered impossible. 
 
 New York, November 1, 18S8. 
 
 vll
 
 LIST OF ILLUSTRATIONS 
 
 FULL-PACE PORTRAITS 
 
 To Fact' 
 
 I. DANIEL FRANCOIS ESPRIT AUBER 
 
 From the engraving by Hedoiiin, after the painting by Delaroche . . . 40 
 
 2. JOHANN SEBASTIAN BACH 
 
 From the engraving by Sichling, after the painting by Hanssinann . . , 80 
 
 3- LUDWIG VAN BEETHOVEN 
 
 From the lithograph by Kriehnber, after the bust by Dietrich . . . 120 
 
 4- VINCENZO BELLINI 
 
 From a contemporary lithograph '60 
 
 S' HECTOR BERLIOZ 
 
 From the engraving by Gilbert, after the painting by Conrbct . . . 200
 
 To Face 
 
 6. FRANgOlS ADRIEN BOIELDIEU W-' 
 
 From the engraving by Dien 240 
 
 7- JOHANNES BRAHMS 
 
 From a photograph by Hanfstaengl 280 
 
 8. LUIGI CHERUBINI 
 
 From a lithograph by Figiwroii, after tl.v painting by Ingres .... 520 
 
 9- FREDERIC CHOPIN 
 
 From a photograph after the painting by Schick 360 
 
 'o- GAETANO DONIZETTI 
 
 From a photograph after the painting by Eiigen Fetix 400 
 
 II- ROBERT FRANZ 
 
 From a photograph after the painting by Hermann 4J0 
 
 12- CHRISTOPH WILLIBALD CLUCK 
 
 From a photograph after the painting by Duptessis 460
 
 PORTRAITS OF MUSICIANS. 
 
 DRAWN BY VALfilUEN GIUBAV£D0FP. 
 
 1. 
 
 2. 
 
 3. 
 
 4. 
 
 5. 
 
 6. 
 
 7. 
 
 8. 
 
 9. 
 
 10. 
 
 11. 
 
 12. 
 
 13. 
 
 14. 
 
 15. 
 
 16. 
 
 17. 
 
 18. 
 
 19. 
 
 20. 
 
 21. 
 
 22. 
 
 23. 
 
 24. 
 
 25. 
 
 26. 
 
 Abel, Karl Fiiedrich 
 
 Abt, Franz 
 
 Adam, Atlolpbe Charles 
 
 Agostini, Paolo 
 
 Alard, Delpliiu 
 
 Alary, Jules 
 
 Albert, Eugene tV 
 
 Albreebtsberger, Joliann Georg. 
 
 Alcoc'k, John 
 
 Aklricli, Henry 
 
 Allegri, Gregorio 
 
 Allison, Horton Clariilge 
 
 Ambros, August Wilhelm 
 
 Anderton, Thomas 
 
 Andre, Johanu Anton 
 
 Anerio, Felice 
 
 Anfossi, Pasquale 
 
 Arditi, Luigi 
 
 Ariosti, Attilio 
 
 Armes, Philip 
 
 Arne, Thomas Augustine , 
 
 Arnold, George Benjamin 
 
 Arnold, Samuel 
 
 Asioli, Bonifazio 
 
 Auber, Daniel Frau<;ois Esprit . 
 Audran, Edmoud 
 
 2 
 4 
 7 
 
 17 
 24 
 25 
 
 35. 
 36. 
 
 37. 
 38. 
 39. 
 40. 
 
 26 41. 
 
 29 
 31 
 32 
 37 
 38 
 44 
 48 
 49 
 52 
 53 
 65 
 G8 
 
 42. 
 43. 
 
 44. 
 45. 
 
 46. 
 47. 
 48. 
 49. 
 50. 
 51. 
 
 69 : 53. 
 
 71 
 73 
 74 
 80 
 
 54. 
 
 55. 
 56. 
 57. 
 
 27. Bach, Carl Philipp Emanuel 
 
 28. Bach, Johann Christian 
 
 29. Bach, Johanu Sebastian 
 
 30. Bach, Wilhelm Friedemann 
 
 31. Baillot, Pierre Marie Fran9ois de 
 
 Sales 
 
 32. Baker, Benjamin Franklin 
 
 33. Balakirev, Mily Ale.xejevich 
 
 34. Balatka, Hans 
 
 86 : 58. 
 
 88 59. 
 
 60. 
 
 94 61. 
 
 97 j 62. 
 
 99 I 63. 
 
 105 64. 
 
 65. 
 
 109 66. 
 
 111 1 67. 
 112 ; 68. 
 
 112 69. 
 
 Balfe, Michael William 113 
 
 Banck, Carl IH 
 
 Banister, Henry Charles H" 
 
 Banister, John 118 
 
 Bargiel, Woldemar 123 
 
 Barnby, Joseph 125 
 
 Barnett, John 125 
 
 Barnett, John Francis 126 
 
 Bartholomew, Ann S li c p p a r d 
 
 Mounsey 128 
 
 Battishill, Jonathan 132 
 
 Bazin, Franyois 135 
 
 Becker, Albert 139 
 
 Becker, Eeinhold 140 
 
 Beethoven, Ludwig van, in 1809 . . 141 
 Beethoven, Ludwig van, in 1814. . 143 
 Beethoven, Ludwig van, profile. . . 144 
 
 Belcher, William Thomas 150 
 
 Bellini, Vincenzo 152 
 
 Beuda, Georg 156 
 
 Bendall, Wilfred Ellington 157 
 
 Bendel, Franz 157 
 
 Benedict, Sir Julius 158 
 
 Bennett, Sir William Sterndale. . . 161 
 
 Bently, John Morgan 1*54 
 
 Beriot, Charles Augusta do 168 
 
 Berlioz, Hector 169 
 
 Bertini, Henri 177 
 
 Berton, Henri Montan 178 
 
 Best, William Thomas 180 
 
 Biber, Heinrich Joliann Franz 183 
 
 Bishop, Sir Henry Rowley 189 
 
 Bizet, Georges 190 
 
 Blow, John 196 
 
 Blumenthal, Jacob 197 
 
 Boccheriui, Luigi 198
 
 PORTRAITS OF MUSICIANS 
 
 PAGE 
 
 70. Bochsa, llobert Nicolas Charles . . 201 
 
 71. Bocksliorn, Samuel 202 
 
 72. Boieklieu, Fran<;ois Adrieu 20G 
 
 73. Boito, Arrigo 209 
 
 74. Bonouciui, Giovanni Battista. . . . 213 
 
 75. Borodin, Alexander 21G 
 
 76. Bottesini, Giovanni 218 
 
 77. Boucher, Alexandre Jean 218 
 
 78. Boulanger, Ernest Henri Alexan- 
 
 dre 219 
 
 79. Boyce, "William 221 
 
 80. Bradbury, William Batchelder... 222 
 
 81. Braham, John 223 
 
 82. Brahms, Johannes 223 
 
 83. Brandeis, Frederick 22G 
 
 81. Brassin, Louis 227 
 
 85. Bridge, John Frederick 230 
 
 86. Bridge, Joseph Cox 231 
 
 87. Bronsart, Hans von 233 
 
 88. Bronsart, Ingeborg vou 233 
 
 89. Bruch, Max 235 
 
 90. Bruckner, Anton 23G 
 
 91. Briill, Ignaz 23G 
 
 92. Buck, Dudley 238 
 
 93. Bull, John 210 
 
 91. Bull, Ole 210 
 
 95. Billow, Hans von 211 
 
 96. Bunnett, Edward 212 
 
 97. Burney, Charles 215 
 
 98. Caballero, Fernandez 250 
 
 99. Cafaro, Pasquale 252 
 
 100. Callcott, John Wall 256 
 
 101. Calvisius, Sethus 257 
 
 102. Campana, Fabio 261 
 
 103. Canipra, Andre 262 
 
 104. Carey, Henry 270 
 
 105. Carter, WiUiam 277 
 
 106. Cellier, Alfred 291 
 
 107. Chadwick, George Whitfield 29G 
 
 108. Cherubini, Luigi 307 
 
 109. Child, William 312 
 
 110. Chipp, Edmund Thomas 313 
 
 111. Cliopiu, Frederic 314 
 
 112. Cimarosa, Domenico 322 
 
 113. Clarke, Hugh Archibald ; 329 
 
 114. Clemcnti, Muzio 338 
 
 PAGE 
 
 115. Conradi, August 347 
 
 IIG. Conrardy, Jules 317 
 
 117. Converse, Charles Crozat 351 
 
 118. Corelli, Arcangelo 355 
 
 119. Cornelius, Peter 357 
 
 120. Cossmanu, Beruhard 362 
 
 121. Costa, Sir Michael 363 
 
 122. Couperin, Francois 367 
 
 123. Cowen, Frederic Hymen 3G;) 
 
 124. Cramer, Johann Baptist 371 
 
 125. Croft, William 376 
 
 126. Crotch, William 376 
 
 127. Crouch, Frederick William Nich- 
 
 olls 377 
 
 128. Criiger, Johannes 378 
 
 129. Cui, COsar 380 
 
 130. Cusins, William George 381 
 
 131. Czerny, Carl 383 
 
 132. Dalayrac, Nicolas 385 
 
 133. Damrosch, Leopold 391 
 
 134. Danzi, Franz 395 
 
 135. David, Felicieu 399 
 
 136. David, Ferdinand 400 
 
 137. Davidoff, Karl 401 
 
 138. Defesch, Willem 405 
 
 139. Defies, Pierre Louis 405 
 
 140. Delibes, Leo 410 
 
 141. Despres, Josquin 419 
 
 142. De Swert, Jules _ 422 
 
 143. Diaz de la Pefia, Eugene Emile. . 428 
 
 144. Dibdiu, Charles 429 
 
 145. Dietrich, Albert 431 
 
 146. Dittersdorf, Karl Ditters von 434 
 
 147. Dohler, Theodor 437 
 
 148. Donizetti, Gaiitano 443 
 
 149. Dorn, Heinrich 447 
 
 150. Dotzauer, Justus Johann Fri'jdrieh 448 
 
 151. Draeseke, Felix 451 
 
 152. Dragonetti, Domenico 452 
 
 153. Dreyschock, Alexander 455 
 
 154. Duni, Egidio Romoaldo 462 
 
 155. Dujjont, Auguste 463 
 
 156. Durante, Francesco 467 
 
 157. Dussek, Johann Lndwig 468 
 
 158. Dvorak, Antoniu 471 
 
 159. Dyer, Arthur Edwin 472
 
 PORTRAITS OF SINGERS, /iUTOGRAPHS, FACSIMILES, 
 
 ETC. 
 
 1. Autograph of Franz Abt. 1878.. 
 
 2. Autograph of Adolphe Adam 
 
 3. Portrait of Pauline Lucca . . 
 
 4. Autograph of Johann Friedricli 
 
 Agricola. 1771 
 
 5. Clara Louise Kellogg, as Aula .... 
 
 6. Autograph of Johann Georg Al- 
 
 brechtsberger. 1793 
 
 7. Autograph of Micliael Altenburg. 
 
 1618 
 
 8. Caricature of the Chorus in Anti- 
 
 gone, London Punch, 1847. . . . 
 
 9. !Mara as Armida 
 
 10. Portrait of Carlo Broschi, called 
 
 Farinelli 
 
 11. Portrait of Elizabeth Billington . . 
 
 12. Autograph of Daniel Frani;ois Es- 
 
 prit Auber 
 
 13. Dugazon as Azemia 
 
 14. Autograpli of Philijjp Emanuel 
 
 Bach. 1774 
 
 15. Autograph of Johann Christian 
 
 Bach. 1757 
 
 16. Birthplace of Johann Sebastian 
 
 Bach 
 
 17. Facsimile of the MS. of Johann 
 
 Sebastian Bach : from tlie 1st 
 Prelude in the Wohltemperirte 
 Clavier 
 
 18. Autographs of Johann Sebastian 
 
 Bach. 1733 
 
 19. Autograph of Wilhelm Friedemann 
 
 Bach. 1733 
 
 20. Autograph of Pierre Mario Fran- 
 
 cois de Sales Buillot. 1834. . . . 
 
 PAGE ' 
 
 5 21. 
 
 8j 
 15 22. 
 
 18 I 23. 
 
 22 24. 
 
 25. 
 
 29 
 
 26. 
 
 
 27. 
 
 41 
 
 28 
 
 
 29. 
 
 58 
 
 30 
 
 69 
 
 
 
 31 
 
 77 
 
 32 
 
 78 
 
 33 
 
 
 34 
 
 87 
 
 35 
 
 92 
 
 36 
 
 95 
 
 37 
 
 97 
 
 38 
 
 100 
 
 39 
 
 
 40. 
 
 
 41. 
 
 101 
 
 
 
 42 
 
 105 
 
 
 
 43 
 
 105 
 
 
 
 44 
 
 110 
 
 
 Autograpli of Giuseppe Baini. 
 
 1831 Ill 
 
 Autograph of Michael William 
 
 Balfe 114 
 
 Portrait of Zelia Trebelli 115 
 
 Portrait of Adeliua Patti 121 
 
 Portrait of Erminia Frezzolini 137 
 
 Beethoven's Birthplace 142 
 
 Caricature of Beethoven 143 
 
 Beethoven's Tomb, Vienna 144 
 
 Beethoven's Statue in Bonn 144 
 
 Facsimile of Beethoven's MS.: from 
 
 the Sonata in A-flat, op. 26 146 
 
 Autograi^hs of Beethoven. 1809 . . 148 
 Lavinia Fenton, as Polly Peachuin . 149 
 Autograph of Vincenzo Bellini.... 154 
 Autograph of Franz Benda. 1781. 155 
 Autograph of Georg Benda, 1781. 157 
 Autograph of Sir Julius Benedict. 
 
 1867 158 
 
 Autograph of Sir William Stern- 
 dale Bennett. 1840 162 
 
 Portrait of Gioacchino Conti, called 
 
 Gizziello 166 
 
 Autograph of Charles Auguste de 
 
 Beriot 160 
 
 Autograph of Hector Berlioz. 1853. 171 
 Autograph of Christoph Bernhard. 
 
 1651 174 
 
 Autograph of Henry Moutan Ber- 
 
 ton 179 
 
 Autograph of Georges Bizet. 
 
 1859 191 
 
 Au*^ograpli of Luigi Bocclierini. 
 
 1787 200
 
 PORTRAITS OF SINGERS, AUTOGRAPHS, ETC. 
 
 45. Autograph of Robert Nicholas 
 
 Charles Bochsa 201 
 
 46. Autograph of Fran<;ois Adrian 
 
 Boieldieu 208 
 
 47. Autograph of Arrigo Boito. 1884 . 209 
 
 48. Autograph of Giovanni Maria Bo- 
 
 noncini. 1656 214 
 
 49. Autographs of Johannes Brahms. 
 
 1885 ; 1872 225 
 
 50. Autograph of Hans von Billow. 
 
 1868 242 
 
 51. Autograph of Giulio Caccini. 
 
 1005 251 
 
 52. Hermione, in Cadmus et Hermione. 
 
 1673 252 
 
 53. Autograph of Antonio Caldara. 
 
 1715 255 
 
 54. Autograph of Sethus Calvisius. 
 
 1594 258 
 
 55. Autograph of Michele Carafa 267 
 
 56. Minnie Hauck, as Carmen 273 
 
 57. Autograph of Charles Simon Catel. 
 
 1818 283 
 
 58. Autograph of Emilio de' Cavalieri. 
 
 1597 286 
 
 59. Portrait of Marietta Alboui 292 
 
 60. Autograph of Luigi Cherubini .... 309 
 
 61. Autograph of Frederic Chopin . . . 314 
 02. Facsimile of the MS. of Frederic 
 
 Chopin. Mazurka 315 
 
 63. Autograph of Domenico Cimarosa. 
 
 1793 324 
 
 64. Autograph of Muzio Clementi. 
 
 1807 334 
 
 65. Autograph of Arcangelo Corelli. 
 
 1711 356 
 
 66. AutograjDh of Peter Cornelius. 
 
 1873 357 
 
 67. Autograph of Sir Michael Costa. . . 363 
 
 68. Autogi-aph of Carl Czernj-. 1823 . . 383 
 
 69. Autograph of Nicolas Dalayrac. 
 
 1807 \... 386 
 
 70. Portrait of Marie Eoze 389 
 
 71. Autograjjh of Alexander Sergie- 
 
 vitch Dargomygky. 1857 396 
 
 72. Autograph of Folicien David. 1846. 400 
 
 73. Autograph of Ferdinand David. 
 
 1853 401 
 
 74. Autograph of Leo Delibes. 1883 . . 410 
 
 75. Portrait of Eegiua Mingotti 413 
 
 76. Autograph of Josejjh Dessauer. 
 
 1863 420 
 
 77. Portrait of Anna Thillon 427 
 
 78. Autograph of Karl Ditters von Dit- 
 
 tersdorf. 1798 435 
 
 79. Laura Damoreau as Augele, in Le 
 
 domino uoir 439 
 
 80. Portrait of Galli-Marie 441 
 
 81. Portrait of Lorenzo da Ponte, 
 
 author of the libretto of Don 
 Giovanni 441 
 
 82. Lablache as Leporello, in Don 
 
 Giovanni 442 
 
 83. Autograph of Gautano Donizetti. 
 
 1843 445 
 
 84. Autograph of .iutonioDraghi. 1687. 452 
 
 85. Autograph of Antoiiiu Dvorak. 
 
 1882 472
 
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 ACADEMY. London. 
 Adam, Adolphe. Derniers souvenirs d'un 
 
 miisicien. Paris, 1859. 
 Albei'gbetti, Fedeiigo and Michelangelo Cialli. 
 
 Donizetti-Mayr. Bergamo, 1875. 
 AUgemeine deutsclie Biogiapbie. Leipsic, 
 
 1875, et seq. 
 AUgemeine deutsche Musikzeitung. Leipsic, 
 
 1874, et seq. 
 AUgemeine musikalische Zeitung. Leipsic, 
 
 1798-1848 ; Neue Folge. 1SC3, et seq. 
 AUgemeine Wiener Musik-Zeitung. Vienna, 
 
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 AUgemeine Zeitung. Munich, formerly Augs- 
 burg, 1798, et seq. 
 Ambros, August Wilhelm. Gescbichte der 
 
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 Bilder aus dem Musiklebea der Gegen- 
 
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 Ambros, August W'ilhelm. Bunte Blatter, 
 
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 Ambros, August W^ilhelm, Robert Franz. Line 
 
 Studie. Leipsic, 1872. 
 Ambros, August Wilhelm. Geschiclite der 
 
 Musik der Neuzeit in Studien und Kriti- 
 
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 Apthorp, William Foster. Hector Berlioz. 
 
 New York, 1879. 
 Arnold, J. F. K. Luigi Cherubini. Seine 
 
 kurze Biographie. Erfurt, 1809. 
 Atheuaium. London. 
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 Austin, George Lowell. The Life of Franz 
 
 Schubert. Boston, 1873. 
 
 TIAINI, GIUSEPPE. Memorie storico-cri- 
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 Pierluigi da Palestrina. Eome, 1828. 
 
 Barbedette, Hipjaolyte. F. Chopin, essai de 
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 Barbedette, Hippolyte. Beethoven, sa vie et 
 ses oeuvres. Paris, 1870. 
 
 Barbedette, Hippolyte. Ch. M. de Weber, sa 
 vie et ses oeuvres. Paris, 1874. 
 
 Barrett, William Alexander. English Church 
 Composers. London, 1882. 
 
 Barrett, William Alexander. Balfe. London, 
 1882. 
 
 Baumker, W'ilhelm. Zur Geschichte der Ton- 
 kunst in Deutschland. Freiburg, 1881. 
 
 Becker, Carl Ferdinand. Die Tonwerke des 
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 sic, 1855. 
 
 Bellasis, Edward. Cherubini : Memorials Il- 
 lustrative of his Life. Lou<lon, 1874. 
 
 Benedict, Sir Julius. Weber. Loudon, 1881. 
 
 Berliner Allgemeiue Musikalische Zeitung. 
 Berlin, 1824-28. 
 
 Berlioz, Hector. Voyage musical en Alle- 
 magne et en Italie. Paris, 1844. 
 
 Berlioz, Hector. Les grotesques de la mu- 
 sique. Paris, 1871. 
 
 Berlioz, Hector. A travers chants. £tudes 
 musicales, etc. Paris, 1872. 
 
 Berlioz, Hector. Memoires de. Paris, 
 
 Berlioz, Hectoi-. 
 
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 Berlioz, Hector. 
 
 avec une 
 1 Bernard. 
 
 1878. 
 Les soirees de I'orchestre. 
 
 Les musicieus et la musique. 
 Historiettes et sc6nes musi- 
 
 Correspondance inedite de, 
 notice biographiipie par Daniel 
 Paris, 1879.
 
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 Berlioz, Hector. Lettres intimes, avec una I 
 
 preface par Charles Gonnod. Paris, 1882. | 
 Berlioz, Hector. Life and letters of, trans- 
 lated by H. Maiuwaving Dunstan. Lon- 
 don, 1882. 
 Bernardini, Leonie. Bicliard Wagner, sa vie, 
 
 ses poeojes d' opera, etc. Paris, 1882. 
 Biografia degli noiuini illustri del regno di 
 
 Napoli. Naples, 1814-26. 
 Biographic des hommes vivants. Paris, 1816- 
 
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 Biograpbie nationale de Belgique. Brussels, 
 
 1866, et seq. 
 Biograpbie universelle et portative des con- 
 
 temporains. Paris, 1834. 
 Bisson, Alexandre, et Theodore de Lajarte. 
 
 Petite encyclopedie mnsicale. Paris, 
 
 1883. 
 Bitter, Carl Hermann. Jobaun Sebastian Bach. 
 
 Berlin, 1865. 
 Bitter, Carl Hermann. Carl Philipp nnd "\Vil- 
 
 belm Friedemaun Bach und deren Briider. 
 
 Berlin, 1868. 
 Bitter, Carl Hermann. Beitriige zur Geschichte 
 
 des Oratoriums. Berlin, 1872. 
 Bitter, Carl Hermann. Die Keform der Oper 
 
 duu-h Glnck und Richard ^Yagner's Kuust- 
 
 Averk der Zukiinft. Brunswick, 1884. 
 Blaze de Burv, Henri. Vie de Rossini. Paris, 
 
 1854. 
 Blaze do Bury, Henri. Musiciens coutempo- 
 
 rains. Paris, 1856. 
 Blaze de Bury, Henri. Meyerbeer et son 
 
 temps. Paris, 1865. 
 Blaze de Buiy, Henri. Musiciens du passe, du 
 
 present et de I'avenir. Paris, 1880. 
 Blondeau, Anguste L. Histoire de la musique 
 
 moderne. Paris, 1847. 
 BOhme, Franz M. Geschichte des Oratoriums. 
 
 Gutersloh, 1887. 
 Botte de Toulmon. Notice des manuscrits, au- 
 
 tographes, etc. Paris, 1843. 
 Brendel, Franz. Geschichte der Musik in 
 
 Italien, Deutschlaml und Frankreicb. 
 
 Leipsic, 1875. 
 Brenet, Michel. Hi.stoire de la symphonie il 
 
 orcbestre depuis ses origines jusqu'a Beet- 
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 Breuning, Gerhard von. Aus dem Scbwarz- 
 
 spanierbans. Vienna, 1874. 
 Bull, Sara (!. Ole Bull. A Memoir. Boston, 
 
 1883. 
 Bultbaupt, Heinrich. Draraaturgie der Oper. 
 
 Leipsic, 1887..- 'i 
 
 Burney, Charles. A General History of Music. 
 
 London, 1789. 
 Busby, Thomas. A General History of Music. 
 
 London, 1819. 
 
 pACILIA, eine Zeitscbrift fiir die musikaliscb 
 
 ^ Welt. Mainz, 1824-48. 
 
 Caffi, Francesco. Vita di Domenico Drago- 
 netti. Venice, 1846. 
 
 Caffi, Francesco. Storia della musica sacra 
 nella gia cappella ducale di San Marco in 
 Veuezia dal 1318 al 1797. Venice, 1855. 
 
 Carricre, Moritz. Die Kunst un Zusammenhang 
 der Culturentwickelung. Loii^sic, 1871- 
 74. 
 
 Castil-Blaze, Francois Henri Joseiih. De I'o- 
 p6ra on France. Paris, 1820. 
 
 Castil-Blaze, Francois Henri Joseph. Molifere 
 Musicien. Paris, 1852. 
 
 Castil-Blaze, Francois Henri Josejib. Theatres 
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 TABLE OF ABBREVIATIONS. 
 
 A., Alto. 
 
 B., Bass, Basso, etc. 
 
 Bar., Baritone. 
 
 B. M. v., Beata Maria Virgo. 
 
 Biog., Biography, Biogratia, etc. 
 
 Cath., Cathedral. 
 
 Cb., Churcb. 
 
 Col., Collection. 
 
 do., ditto. 
 
 etc., et cetera. 
 
 et seq., et secjiientia. 
 
 Pr., Freiicb. 
 
 Ger., German. 
 
 ib., ibidem. 
 
 id., idem. 
 
 It., Italian. 
 
 L. of Honour, Legion of Honour. 
 
 Lib., Liber. 
 
 M., JMonsieur. 
 
 Mile, Mademoiselle. 
 
 Mme, Madame. 
 
 MS., MSS., Manuscript, Manuscripts. 
 
 M. S., Mezzo-soprano. 
 
 Mas. Bac, Bachelor of Music. 
 
 Mus. Doc, Doctor of Music. 
 
 n. d., no date. 
 
 op., opus, opera. 
 
 R A. M., Royal Academy of Music. 
 
 S., Soprano. 
 
 S., Sta., San, Santa. 
 
 S. M., Santa Maria. 
 
 Sp., Spianish. 
 
 St., Saint. 
 
 T., Tenor. 
 
 Voc, Voces. 
 
 Vol., Volume. 
 
 WoirU in italics indicate the alphabetical place of articles un the subjeds specified.
 
 CYCLOPEDIA 
 
 OP 
 
 Music and Musicians 
 
 ABACO, EVAEISTO FELICE DALL', 
 born in Verona, in 1662, died iu Mu- 
 nich, Feb. 26, 1726. Violinist, Con- 
 certmeister in the band of the Elector Max 
 Emmanuel of Bavaria. Works : 12 sonatas 
 for violin and bass ; 10 concertos for four 
 parts, for church use ; 12 sonatas for two vio- 
 lins, violoncello, and bass ; Sonata for violin 
 and bass ; 6 concertos for four violins, alto, 
 bassoon, violoncello, and bass. These works 
 were published in Amsterdam. — Fotis ; Men- 
 del, Ergdnz., 1. 
 
 ABADIA, NATALE, born in Genoa, Italy, 
 March 11, 1792, died (?). Dramatic com- 
 poser, pupil of Pietro Eaimondi and of 
 L. Cerro. Works : L'imbroglione ed il 
 castigamatti, opera buffa, given in Genoa, 
 1812 ; La Giannina di Pontieu, ossia la Vil- 
 lanella d'onore, musical drama, ib., 1812 ; 
 Mass for three voices ; Mass for four voices, 
 with orchestra ; Vesper service ; Motets. 
 — Fetis. 
 
 ABBATINI, ANTONIO MARIA, born at 
 Tiferno, or at Castello, Italy, in 159-5, died 
 in Castello in 1677. He was maestro di cap- 
 pella, in Rome, of S. Giovanni in Laterano 
 in 1626, of the Gesft in 1628, of S. Maria 
 Maggiore in 1645—46, and then of S. Lo- 
 renzo e Damaso ; again of S. Maria Mag- 
 giore in 1649-57, of S. ]Maria di Loretto 
 until 1672, when he returned to S. Maria 
 
 Maggiore, and remained there until his de- 
 cease. Most of his compositions, masses, 
 psalms, motets, etc., are in manuscript, and 
 are pi-eserved in the archives of the churches 
 in which he served. He assisted Kircher in 
 writing his Musurgia, and is said by Allaci 
 to have written an opera : Del male in bene, 
 Rome, 1654. Works published : Psalms, four 
 books (1630-35); Motets, for two, three, four, 
 and five voices (1636-38) ; Masses, three 
 books (1638-50). After his death, his pupil, 
 Dominique del Pane, published his An- 
 tiennes for twelve tenors and twelve basses 
 (Rome, 1677).— Fi'tis ; Mendel, Ergiinz., 1. 
 
 ABBfi, JOSEPH B.ARNABE S.AEXT- 
 SfiVIN, called, born at Agen (Lot-et-Ga- 
 ronne), June 11, 1727, died at Maisous, near 
 Charenton, in 1787. Violinist, son and pupil 
 of Philippe de Saint-Sevin, called Abbe 
 (who, from 1727, was a violoncellist of re- 
 piite in the orchestra of the Opera in Paris) ; 
 then pupil of Leclair in 1740-42. He was a 
 violinist at the Conu-die Franyaise in 1739, 
 and the Opera in 1742, whence he retii-ed 
 after twenty years of service. He published 
 eight works of sonatas and trios for the vio- 
 lin. — Fetis. 
 
 ABEGG VARIATIONS, theme on the 
 name Abegg, with variations for pianoforte, 
 by Schumann, op. 1, dedicated to Pauline, 
 Countess d' Abegg ; composed in the first
 
 ABEILLE 
 
 half of 1830 ; published iu July, 1832. This 
 work was inspired by a beautiful woman, 
 Meta Abegg, whose uarne, represented in 
 musical notes, Schumann used for the mo- 
 tive of his conijiosition. It is worked up in 
 waltz rhythiQ, f)robably iu memory of the 
 ball at which he met the young lady. The 
 Countess d'Abegg is a mythical jJerson, in- 
 vented for the occasion. — Reissmann (Al- 
 ger), 37. 
 
 ABEILLE, (JOHAXN CHRISTIAN) 
 LUDWIG, born at Baireuth, Feb. 20, 17G1, 
 (lied at Stuttgart, March 2, 1838. Pianist 
 and organist, pujjil of Boroni and Siimann 
 at the Karlsschule in Stuttgart. He joined 
 the jjrivate band of the Duke of Wiirtem- 
 berg in 1782, succeeded Zumsteeg as Con- 
 certmeister iu 1802, and was subsecpeutly 
 made director of official music, and organist 
 in the court chapel. In 1832 Abeille re- 
 ceived a ijension and royal gold medal for 
 his fifty years' services. Among his works 
 are eight Lieder, an Ash- Wednesday hymn 
 for four voices, and two operettas : Amor 
 luid Psj'che, Augsburg, 1801 ; and Peter und 
 Aeunchen, 1810 ; which have been arranged 
 for the pianoforte. He also wrote for the 
 harpsichord, sonatas, concertos, etc., some 
 with violin and violoncello accompaniment. 
 A Miserei'e, with full chorus, is jDreserved in 
 the MS. department of the Imperial Library, 
 Paris. — Allgem. d. Biogr., i. 7 ; Fetis ; Men- 
 del. 
 
 ABEL, oratorio, music by Thomas Augus- 
 tine Ai-ne, first performed at Drury Lane, 
 London, March 12, 1755. It was not suc- 
 cessful, but one of its melodies, known as 
 the Hymn of Eve, is simple and beautiful, 
 and became very popular. 
 
 ABEL, CLAINIOR HEINRICH, born in 
 Westphalia, middle of 17th century, time of 
 death unknown. Chamber-musician to the 
 court of Hanover. He composed for string 
 instruments, in the form of Allemandes, 
 CtMirantes, Sarabands, etc. : Erstlinge mu- 
 sikalischer Blumen (3 vols., Frankfort, 1071, 
 1G7G, 1G77) ; also published as Drei Opera 
 rausica (Brunswick, 1687), — Futis. 
 
 ABEL, KARL FRIEDRICH, born at 
 Kothen, about 1725, died in London, June 
 22, 1787. Viol-da- 
 gamba virtuoso, pu- 
 pil at the Thomas- 
 schule, Leipsic, of 
 Sebastian Bach ; one 
 of the court band at 
 Dresden, under 
 Hasse, in 17i8-58. 
 After travelling 
 through Germany, he 
 went in 1759 to London, where he gave, April 
 5, a concert composed entirely of his own 
 music. He was appointed chamber-musician 
 to Queen Charlotte, with a salary of £200. 
 Having joined John Christian Bach on his 
 arrival in London iu 17G2, he aided him in 
 conducting Mrs. Cornelys's subscrij)tion con- 
 certs, the first of which was given in Carlisle 
 House, Soho Square, in 1765, and which con- 
 tinued many years. The violinist Wilhelm 
 Cramer made his first appearance at these 
 concerts, and Haydn's symphonies were there 
 first performed in England. After Bach's 
 death, in 1782, the concerts, conducted by 
 Abel alone, were unsuccessful. He returned 
 to Germany in 1783, visiting Berlin and 
 Ludwigslust, where he played, but revisited 
 Loudon again iu 1785, and played in the 
 Subscription Concerts of Mr. Salomon and 
 Mme. Mara at the Pantheon and in the 
 newly established Professional Concerts ; he 
 played last iu public at Mrs. Billington's 
 concert, May 21, 1787. He was the greatest 
 and last virtuoso upon his instrument, which, 
 after his death, fell into disuse. Much of 
 Abel's music was published by Bremner, of 
 London, and Hummel, of Berlin. Among the 
 best known are : A fifth set of Six Overtures, 
 oj). 11 (Bremner), and Six Sonatas, op. 18 ; 
 his instrumental pieces are contained in 
 seventeen works. He wrote the music for 
 the operas : Love in a Village (London, 1760) 
 and Berenice (1761). — Allgem. d. Biogr., i. 
 13 ; Fetis ; Mendel. 
 
 ABEL.\, KARL GOTTLOB, born at Bor- 
 na, Saxony, April 29, 1823, died at Halle,
 
 f 
 
 A BELL 
 
 April 22, 184:1. Vocal composer, pupil in 
 Dresden of A. G. Fischer ; weut to Halle in 
 1825, and shortly after was made cantor at 
 St. Mary's Church. He did much toward 
 the jjromotion of vocal music iu the public 
 schools. Works : Collection of songs for 
 two, three, and four voices (Leipsic, Hart- 
 kuoch, -Ith ed., 1848) ; 160 songs, followed 
 by canons for several voices (ib., Breitkopf 
 & Hiirtel) ; 120 quartets for male voices 
 (ib.) ; Der Siingerbimd, (juartets for do. 
 (Halle, Knapp).— Fetis. 
 
 ABELL, JOHN, born in London (?) about 
 1()C0, died iu Cambridge in 1724. Alto 
 singer and lute player, probably educated 
 in the choir of the Chapel Royal, of which 
 he was a member in 1079, and afterwards 
 sent by Charles H. to study in Italy, whence 
 he returned in 1688. Having re-entered the 
 Chapel Royal, lie was dismissed, after the 
 Revolution of 1688, on account of his Roman 
 Catholic faith, and, after travelling on the 
 Continent, leading a vagrant life, returned 
 to London iu 1700 and settled at Cam- 
 bridge. Works : Les airs d'Abell pour le 
 concert (Amsterdam); A Collection of Songs, 
 in several languages (London, 1701) ; Col- 
 lection of Songs in English (ib.). — Grove ; 
 Fetis ; Mendel ; Schilling. 
 
 ABENCERAGES, LES (The Abeucer- 
 rages), French opera iu three acts, test by 
 Jouy, music by Cherubini ; first represented 
 at the Opera, Paris, April G, 1813. This 
 performance was attended by the Emperor 
 Napoleon, who left Paris the morning after 
 to attemjjt to check the advance of the Allies. 
 Tlie libretto is founded on the romantic, but 
 now disjjroved, story of the feud between 
 the two Moorish families the Zegris and the 
 AbenceiTages, and the murder in the Alham- 
 bra, by order of the sovereign of Granada, 
 of all the jarinces of the latter name, on his 
 discoverj' of illicit relations between one of 
 them and his own wife or sister. The storj-, 
 as given by Ginez Perez de Hita in his "His- 
 toria de los Vandos, de los Zegries y Aben- 
 cerages " (Saragossa, 1595), has been retold 
 by Floriau, Chateaubriand, and others. The 
 
 same subject is treated iu the operas Aben- 
 hamet et Zoraide, hy Giusejjpe Niccoliui, 
 Milan, 1805 ; Zoraide, by Giuseppe Fari- 
 nelli, Venice, 1816 ; Zoraide, or Der Friede 
 von Granada, by Karl Blum, Berlin, 1821 ; 
 Zoraide di Grauata, by Donizetti, Rome, 
 1822 ; Der letzte Abencerage, text by Lud- 
 wig Bartog, music by Franz Sarosi (Schauer), 
 Pesth, Jan. 4, 1887. — Bellasis, Cherubini, 
 206. 
 
 ABENHAMET E ZOR-HDE. See Aben- 
 rerarjfa. 
 
 ABENHEIJH, JOSEPH, born at Worms 
 in 1804, still living, 1888. Violinist, studied 
 the violin and pianoforte at Worms and 
 Darmstadt, and theory at Mannheim, where 
 he entered the orchestra. In 1825 he was 
 made a member of the royal orchestra at 
 Stuttgart, visited Paris in 1828, and studied 
 composition under Reiclia, and after his re- 
 turn was promoted to a more elevated posi- 
 tion in the orchestra, until in 1854 he be- 
 came director of music. Works : Music for 
 the drama Hariadan, played at Stuttgart, 
 1842 ; Psalm for four voices ; Pater noster ; 
 Songs without words, for pianoforte (Stutt- 
 gart, Hallberger) ; 2 nocturnes for do., op. 
 8 (ib.) ; Polonaise (Carlsruhe, Creuzbauer) ; 
 6 songs, with pianoforte, op. 2 (Leipsic, 
 Breitkopf & Hiirtel) ; 6 do., op. 5 (Stuttgart, 
 Copel) ; Der deuLsche Rhein, for a single 
 voice (Stuttgart, Schnitz) ; etc. Many entr'- 
 actes and overtures, which remain iu manu- 
 script. — Fetis ; Mendel. 
 
 ABERT, (JOHANN) JOSEF, born at 
 Kochowitz, Bohemia, Sept. 21, 1832, still 
 living, 1888. Dramatic composer, first in- 
 structed in the Augustine convent at Bohm- 
 isch-LeijJa, but at the age of fifteen i-au 
 away, and became a pupil at the Conserva- 
 torium, Prague, of Kittl and Tomaczek. In 
 1852 he obtained an engagement as contra- 
 bassist in the court orchestra at Stuttgart, 
 and in the year following brought out his 
 first symphony in C minor. After having 
 produced his first opera in 1859, he lived 
 for several years in Paris and London, and 
 in the former place was much aided by in-
 
 ABOS 
 
 tercourse with Rossini, Auber, and Halevy. 
 About I860 he was appointed royal director 
 of music at Stuttgart, and in 1867 Hof- 
 Kapellmeister. Works : Symphony in C 
 minor, given iu Stuttgart, 1853 ; do. in A 
 major, ib., 1856 ; Antia von Landskron, 
 opera, ib., 1859 ; KOuig Eazio, oj^era, ib., 
 1862 ; Columbus, symphonic poem, ib., 
 1864; Astorga, opera, ib., Sept. 20, 186G ; 
 Ekkehard, opera, Berhn, 1878 ; Die Almo- 
 haden, opera, written iu 1886 ; Concert- 
 Overtures, String Quartets, Compositions 
 for the jjianoforte, and Songs. — Brockhaus ; 
 Fetis, Supplement, i. 2 ; Mendel ; Riemaun. 
 
 ABOS, GIROLAMO, born at Mdta in 
 the beginning of the 18 th century, died in 
 Naples about 1786. Dramatic composer. 
 He taught in the Couservatorio deUa Pieta, 
 Najsles, the singer Aprile being his most 
 famous piupil ; he visited Rome, Venice, and 
 Tui-in, and was maestro al cembalo at the 
 opera iu London in 1756. Works — Operas : 
 Le due zingare, given at Na^sles, Teatro 
 Nuovo, 1742 ; La serva padrona, Naples, 
 about 1744 ; Ifigenia in Aulide, ib., about 
 1745 ; La moglie gelosa, ib., Teatro de' Fio- 
 rentiui, 1745 ; Artaserse, Venice, 1746 ; Ad- 
 riano, Rome, 1750 ; La pupilla e '1 tutore, 
 Naples, about 1753 ; Tito Maulio, London, 
 1756 ; Creso, ib., 1758. Church music : 7 
 Masses, 2 Kyries, and several Litanies to the 
 Virgin are in manuscript in Rome, Naples, 
 and Turin, and in the Conservatory in Paris. 
 — Fetis; Mendel, Ergiinz., 3. 
 
 ABRAHA:\IS OPFER (Abraham's Offer- 
 ing), oratorio, by Peter Joseph von Lind- 
 paintner, given at Stuttgart in 1821. The 
 characters are well conceived, the airs me- 
 lodious and exj)ressive, the recitatives purely 
 declamatory, and the choruses vigorous and 
 full of fire. The instrumentation is very 
 suitable and effective. It was dedicated to 
 Queen Victoria, who sent him, in return, iu 
 1848, a medal. — ^Vllgem. mus. Zeit., xxiii. 
 314. 
 
 ABRAM, JOHN, born at Margate, Eng- 
 land, Aug. 7, 1840, still living, 1888. Organ- 
 ist, successively, at St. John's, Torquay, 1864 ; 
 
 St. Peter and Paul's, Wantage, 1865 ; St. 
 Paul's, St. Leonard's-on-Seu, 1869. Works : 
 Jerusalem, cantata ; The Widow of Nain, 
 oratorio ; Anthems, services, pianoforte mu- 
 sic, etc. 
 
 ABRAMS, HENRIETTA, born in Eng- 
 land in 1760, died in the tu-st half of the 
 19th century. The eldest of three sisters, 
 singers, pupil of Dr. Ai'ue ; first appeared 
 in public at the Drury Lane Theatre in 1775, 
 and composed several songs which became 
 very popular, to wit : The Orphan's Prayer, 
 and Crazy Jane. In 1787 she published A 
 Collection of Songs, and A Collection of 
 Scotch Songs harmonized for three voices. 
 — Grove. 
 
 ABSCHEULICHER ! See FideUo. 
 ABSCHIEDS SYMPHONIE (Farewell 
 Symphony), music by Josef Haydn ; date 
 on autograph score, 1772. Published by 
 Simrock. 
 
 ABT, FRANZ, bom at Eilenburg, Prus- 
 sian Saxouj', Dec. 22, 
 1819, died at Wies- 
 baden, March 31, 
 1885. Composer of 
 vocal and of little- 
 known instrumental 
 music, educated at 
 the Thomasschule in 
 Leipsic, where, al- 
 though destined for 
 theology, he was 
 drawn towards music by his acquaintance 
 with Mendelssohn. In 1841 he was appoint- 
 ed musical director of the court theatre at 
 Bernburg, and iu the autumn of the same 
 year of the theatre at Zurich, where he was 
 much sought as a leader of singing societies 
 and a vocal teacher, and became jiopular as 
 a composer. Called to Brunswick, in 1852, 
 as second Kapellmeister at the court theatre, 
 he was appointed Hof-Kapellmeister iu 1855, 
 and pensioned in 1881. On the invitation 
 of several prominent singing societies, he 
 visited the United States iu 1872, and won 
 great triumphs. He was ver}' prolific, and 
 up to 1881 had published more than five
 
 ABU 
 
 rv 
 
 ^J^>^ 
 
 hundred and eighty books (Hefte), some of 
 theiu containing from twenty to thirty num- 
 bers. His songs for a single voice, and 
 his part-songs, written especially for men's 
 voices, are not of high standing, artisticallj', 
 but sho^y a good deal of iiuent, melodious in- 
 vention, although often verging on the senti- 
 mental. Certain of his songs, like " Weun 
 die Schwalben heimwilrts ziehn," and "Gute 
 Nacht, du meiu herziges Kind," have be- 
 come household melodies. Among his part- 
 songs are some of poetic beauty ; for in- 
 stance, "Die stille 
 W a s s e r r o s e . " 
 Member of Stock- 
 h o 1 ni Academy, 
 1865 ; Brunswick order of Henry the Lion, 
 18G9. — Mendel; Kiemanu. 
 
 ABU HASSAN, comic Singspiel in one 
 act, text by Franz Hiemer, music by Carl 
 Maria von Weber, first represented in Mu- 
 nich, June 4, 1811. Weber began the 
 score at Mannheim, Aug. 11, 1810, and, 
 after some interrujjtious, completed it at 
 Darmstadt, Jan. 12, 1811. He dedicated it 
 to the Grand Duke Ludwig, in the vain hope 
 that it would lead to a permanent ajjpoint- 
 ment at the court. It was produced with 
 success in London, in 1825, in an English 
 dress, and was given at the Theatre Lyrique, 
 Paris, May 11, 1859, with a French text by 
 Nuitter and Beaumont. — Max M. von Weber, 
 Carl M. von W., i. 212, 272. 
 
 ACCELLI, GESARE, Italian contrapunt- 
 ist of the second half of the 16th century-. 
 He published at Venice : Libro primo de' 
 madrigali a cinque voci, among which is 
 the one beginning, Donna mia casta e bella 
 (1557) ; others of his composition are found 
 in the collection : De' floridi virtuosi d'ltalia 
 il terzo libro de' madrigali a cinque voci, 
 imovamente composto, etc. (Venice, 1586). 
 — Fctis. 
 
 ACCIAJUOLI, FILIPPO, born in Rome 
 in 1637, died there, Feb. 3, 1700. Dramatic 
 composer and poet ; as knight of the order 
 of Malta he went to Palestine, travelled 
 through Europe, and parts of Asia, Africa, 
 
 and America, whence he returned to Italy 
 by way of England and France. He then 
 devoted his whole attention to the theatre, 
 for which he worked not only as a composer, 
 but as a most expert machinist. His many 
 operas, of which only four are complete, 
 were well received throughout Italy, owing 
 to their novel, romantic style, and were fre- 
 quently performed. Under the name of 
 Ireneo Amasiano he became, in 1690, a mem- 
 ber of the Arcadi illustri, the famous acad- 
 emy founded by Queen Christina of Sweden. 
 Operas : II girello, given at Modena, 1675, 
 at Venice, 1682 ; La damina placata, Venice, 
 1680 ; Ulisse in Feazia, ib., 1680, 1681 ; Chi 
 6 causa del suo mal, pianga se stesso. — 
 Fetis ; Mendel. 
 
 ACCORIMBONI, AGOSTINO, born in 
 Rome about 1754, died (?). Dramatic 
 composer. Works : II regno delle Amaz- 
 zoni, opera, given in Parma about 1782 ; II 
 podesta di tuft'o autico, opera, Rome, 1786 ; 
 Masses, Motets, and Vesjiers, which are 
 found in the churches of Romagua and 
 Lombardy. — Fetis. 
 
 A CE BONHEUR SUPREME. See 
 Zampa. 
 
 ACERES, , Spanish dramatic com- 
 poser of the present time, who has made 
 himself known by several zarzuelas, jr comic 
 operas : Dos comicos de jjrovincia ; Sensi- 
 tiva ; El manco de Lepanto (written for the 
 anniversary of the death of Cervantes), given 
 at Madrid, April 23, 1867 ; La bola negra, 
 1872 or 1873 ; El testamento azul (with 
 Barbieri and Oudrid), Madrid, Teatro del 
 Buen Retire, 1874. — Fetis, Supplement, i. 3. 
 
 A CETTE CAUSE SAINTE. See Hugue- 
 nols. 
 
 ACH ! ICH FilHL'S. See Zauberflote. 
 
 ACHILLE NELL" ASSEDIO DI TROJA 
 (Achilles at the Siege of Troy), Italian opera, 
 music by Cimarosa, represented at Rome, 
 1798, during the carnival. An opera, same 
 title, music by Francesco Basili, was given 
 at the Pergola Theatre, Florence, 1798. 
 Achille placato, Italian opera, music by 
 Antonio Lotti, given in Venice, 1707 ; L' ira
 
 ACHILLE 
 
 d' Achille, music by Niccolini, given in Milan, 
 1813 ; find L' ira d' Achille, music by Fran- 
 cesco Basili, Venice, 1817, deal with inci- 
 dents of the siege. 
 
 ACHILLE ET DEIDAAHE. See Achille 
 in Sciro. 
 
 ACHILLE PLACATO. See Achille nell' 
 assedio di Troja. 
 
 ACHILLE ET POLYXfiNE (Achilles 
 and Polyxena), lyrical tragedy in tive acts, 
 text by Campistron, music by Lulli and 
 Colasse ; first rei^reseuted, Paris, Nov. 7, 
 1687. The libretto is founded on the story 
 of the love of Achilles for Polyxena, daugh- 
 ter of Priam. Achilles, having gone to the 
 temple of Apollo, at Thymbra, to negotiate 
 his marriage, is treacherously slain there by 
 Paris, and Polyxena is afterward sacrificed 
 on his tomb by his sou Neoptolemus or 
 Pyrrhus. The same subject is treated in 
 Polyxene et Pyrrhus, five acts, text by La- 
 serre, music by Colasse, given at the Acade- 
 mic royale de musique, Oct. 21, 170G ; in 
 Pyrrhus et Polyxene, five acts, text by Joli- 
 veau, music by Dauvergne, Opera, Paris, 
 Jan. 11, 17G3 ; in Pyrrhus und Polyxene, 
 by Peter von Winter, Vienna, 1781 ; Polyx- 
 ena, by Anton Schweitzer, "Weimar, about 
 1770 ; Polyxena, by E. W. Wolf, Weimar, 
 177G ; and Polyxena, by Leojjold Zeller, 
 Neu-Strelitz, 1781. 
 
 ACHILLE IN SCIRO (Achilles in Sciros), 
 Italian opera in three acts, text by Metas- 
 tasio, first set to music by Caldara and rep- 
 resented at Vienna, Feb. 13, 1736, on the 
 marriage of the Archduchess Maria Theresa 
 with Stephano Francesco, Grand Duke of 
 Tuscanj'. Sabject, the adventures of the 
 young Achilles among the daughters of 
 Lj-comedes in Sciros, where he had been 
 introduced in the disguise of a maiden by 
 his mother Thetis, to keep him from the 
 Trojan war, which she knew would be fatal 
 to him. Characters repi'esented : Licomede, 
 Achille, Deidamia, XJlisse, Teagene, Nearco, 
 Arcade. Scene, the palace of Lycomedes in 
 Sciros. The libretto has been set to music 
 also bv Giovanni Legreuzi, given in Venice, 
 
 1664 ; by Antonio Caldara, Vienna, 1736 ; 
 Giuseppe Arena, liome, 1738 ; Pietro Chia- 
 rini, Brescia, 1739 ; Leonardo Leo, Turin, 
 1743 ; Nicoli) Jommelli, Vienna, 1745 ; An- 
 tonio Mazzoni, Naples, 1750 ; Sciroli, Naples, 
 1751 ; Manna, Milan, 1755 ; Johann Fried- 
 rich Agricola, Berlin, 1758 ; Johann Adolph 
 Hasse, Naples, 1759 ; Ferdinaudo Giuseppe 
 Bertoni, Venice, 1764 ; Johann Gottlieb 
 Naumann, Palermo, 1767 ; Giovanni Pai- 
 siello, St. Petersburg, about 1780 ; Giuseppe 
 Sarti, Florence, 1781 ; Gaetano Puguani, 
 Turin, 1785 ; Pietro Antonio Coppola, Na- 
 ples, 1825. Achille a Soyros, a ballet in 
 three acts, music by Cherubiui, was given 
 at the Opera, Paris, Dec. 18, 1804 ; and 
 Achille a Scyros, ojierette in one act, music 
 by Laurent de Kille, at the Folies Nouvelles, 
 Paris, in September, 1857. Achille et Deida- 
 mie, tragic opera in five acts, text by Danchet, 
 music by Andre Campra, given at the Acade- 
 mie royale, Paris, Feb. 24, 1735 ; and Achil- 
 les in Petticoats, English opera, music by 
 Thomas Augustine Arne, London, 1773, 
 deal with the same subject. 
 
 ACHILLEUS, dramatic oratorio, text by 
 Heinrich Bulthaupt, music by Max Bruch, 
 first jjerformed at the Khenish Festival, 
 1885. The jioem, which is founded on in- 
 cidents from the "Iliad," deals with the dis- 
 content of the Greeks, the resentment of 
 Achilles, the death of Patroclus, and the 
 final triumph over Hector. It was fii-st given 
 in America by the Liederkrauz Society, New 
 York, Nov. 28, 1886, with the following cast : 
 Achilleus, C. Zobel ; Andromache, Miss 
 Emily Winant ; Hector and Odysseus, M. 
 Treumann ; Polyxena and Thetis, Miss Hen- 
 rietta Beebe ; Agamemnon and Priam, Max 
 Heinrich ; conductor, Reinhold L. Herman. 
 — Krehbiel, Review, 1886-87, 34. 
 
 ACHTER, PAUL ULRICH, born at Aich- 
 bach, Bavaria, March 10, 1777, died there in 
 October, 1803. Violinist and church com- 
 posei-. The son of a tailor, he learned mu- 
 sic from the Benedictines, whose order he 
 joined in 1801. Among his works is a Mass 
 of remarkable beauty. — Fetis.
 
 ACH 
 
 ACH WIE FLtJCHTIG, cantata for the 
 24rtli Sunday after Trinity, by Johauu Sebas- 
 tian Bacli ; written for four voices, two vio- 
 lins, viola, two Geriiiau flutes, three oboes, 
 and continuo. Published by the Bach- 
 Gesellschaft, vol. iii., Church Cantatas, 1855. 
 
 ACIS AND GALATEA (Ital., Aci or Acide 
 e Galatea; Fr., Acis et Galatee ; Ger., Acis 
 und Galathea), the story, as related by Ovid 
 (Met., xiii. 750), of the loves of the shejjherd 
 Acis and the nymph Galatea. Polyphemus, 
 the Cyclop, jealous of Acis, crushed him un- 
 der a huge stone, and his blood gushing 
 forth was changed by Galatea into the river 
 Acis or Acinus, which flows from under a 
 rock at the foot of lit. Etna. First treated 
 by ]\Iarc Antoine Charpentier in Les Amours 
 d'Acis et Galatee, opera, Paris, 1678 ; then 
 by Giovanni Battista Lulli, text by Campis- 
 tron, in Acis et Galatee, an heroic pastoral 
 in three acts, represented at the Chateau 
 d'Anet, before the Dauphin, Sept. C, 1686, 
 and at the Opera, Paris, in 1687. Aci, Ga- 
 latea e Polifemo, a pastoral serenata, music 
 by Handel, given at Naples, 1708, bears no 
 musical resemblance to Acis and Galatea, 
 his English serenata. Other versions of this 
 subject are by Gottfried Heinrich StOlzel, 
 German opera, Prague, 1715 ; Franz Josef 
 Haydn, Italian ojjera, Vienna, 1770 ; Fran- 
 cesco Bianchi, Italian opera, London, 1797 ; 
 and Johann Gottlieb Naumauu, Dresden, 
 1801, his last work. See Galatea. 
 
 ACIS AND GALATEA, pastoral serenata 
 in two acts, text by Gay, with additions by 
 Poj)e and Hughes, music by Handel ; first 
 produced (not acted) at the Duke of Chan- 
 dos's place of Cannons, near Edgeware, in 
 1720-21. Though not intended to be acted 
 as an opera, it was thus represented, without 
 Handel's sanction, at the Haymarket Theatre, 
 London, May 17, 1732. Galatea was sung 
 by Miss Arne, afterwards Mrs. Cibber, sister 
 of the composer Thomas Augustine Ai-ne, 
 and Acis by Mr. Mountier. This illegiti- 
 mate performance led to its production, on 
 the following June 10th, under Handel's aus- 
 pices, as a serenata, Mozart strengthened 
 
 the score with additional accompaniments 
 for Baron Van Swieten in 1788. It was 
 again put upon the stage at Drury Lane, 
 Feb. 5, 1842. The MS. is in Buckingham 
 Palace. It was first printed by Randall, 
 successor to Walsh, in 1730, and has since 
 been published by the Handel Society (Lon- 
 don, 1846-47) and by the Handel- Gesell- 
 schaft (Leipsic, 1859).— Hogarth, ii. 58 ; 
 Schleicher, Handel, 59 ; Eockstro, Handel, 
 112, 173 ; Chrysander, ii. 262. 
 
 ACTION, opera comique in one act, text 
 by Scribe, music by Auber, given at the 
 Opera Comique, Paris, Jan. 23, 1836. The 
 story of this famous hunter, who was torn to 
 pieces on Mt. Cithseron by his own hounds 
 as a punishment for having surprised Diana 
 and her nymphs while bathing, was first 
 treated musically by Marc Antoine Charpen- 
 tier, Paris, about 1690. 
 
 A CONSOLAKMI AFFRETISI. See 
 Linda. 
 
 ACTUS TRAGICUS. See G'c/«e.s Zeit ist 
 die allerbeste Zeit. 
 
 ADAM, ADOLPHE CHARLES, born in 
 Paris, July 24, 1803, 
 died there, May 3, 
 1856. Dramatic com- 
 poser, son and pupil 
 of Louis Adam, and 
 pupil of Anton Rei- 
 cha and of Boieldieu 
 at the Conservatoire. 
 Having acquired a 
 popular name with 
 compositions and 
 transcriptions for the pianoforte, chansons 
 and ensembles for vaudevilles and operettas, 
 he brought out his first opera, Pierre et 
 Catherine (one act), in 1829, which was fol- 
 lowed by Danilowa (three acts) in 1830, 
 both at the Opera Comique, where also he 
 won his greatest triumph, in 1836, with 
 the PostiUoH de Lonjumeau, which made 
 its way rapidly in all the theatres of Eu- 
 rope, and is still a standard piece in their 
 repertories. In 1847 he founded a new 
 dramatic enterprise, the Theatre National,
 
 ADAM 
 
 which, successful at the outset, came to 
 grief during the revolutionary troubles of 
 1818, and left him financially embarrassed. 
 Besides operas and ballets he composed 
 some church music, of which two masses 
 are stiU in great favour in Paris. The rhyth- 
 mical grace and melodiousness of his mu- 
 sic, combined with a fine sense of humour, 
 and skilful treatment of voices and orches- 
 tra, secure for him a place in the history of 
 the national French opera next to Boieldieu 
 and Auber. He visited Belgium, Holland, 
 Germany, and Switzerland in 1826, sjjent 
 nine months in London in 1832-33, and 
 visited St. Petersburg in 1839, and Berlin 
 in 1840, on the invitation of the respective 
 sovereigns. He was an excellent organ and 
 pianoforte player, and much sought as a 
 teacher of the latter instrument ; he also 
 won distinction as a musical critic. L. of 
 Honour, 1836 ; Officer, Member of the Insti- 
 tut de France, 1844 ; professor of composi- 
 tion at the Conservatoire, 1848. Works — 
 Operas : Le jeune proprietaire et le vieux 
 fermier, Isaure. given in Paris, 1829 ; Henri 
 V. et ses compagnons, Rafael, Les trois 
 Catherines, Trois jours en une heure, Jo- 
 sephine, ou le retour de Wagram, ib., 1830 ; 
 Le moreeau d'ensemble, Le grand prix, 
 Casimir, ib., 1831 ; His First Campaign, The 
 Dark Diamond, London, 1832 ; Le proscrit, 
 Paris, 1833 ; Une bonne fortune, Le ohalet, 
 ib., 1834 ; La marquise, Micheliue, ib., 1835 ; 
 Le fidele berger, Le brasseiir de Preston, ib., 
 1838 ; Regine, La reine d'un jour, ib., 1839 ; 
 La rose de Peronne, La main de fer, ou le 
 secret, ib., 1841 ; Le roi d'Yvetot, ib., 1842 ; 
 Caglioslro, Eichard en Palestine, ib., 1844 ; 
 La bouquetiere, ib., 1845 ; Toreador, Le 
 fanal, ib., 1849 ; Giralda, ou la nouvelle 
 Psj'che, ib., 1850 ; Le farfadet. La poupee 
 de Nuremberg (opera-bouffe). Si j'etais roi, 
 ib., 1852 ; Le sourd. La faridondaine, Le 
 roi des halles, Le bijou perdu, ib., 1853 ; Le 
 muletier de TolOde, A Clichy, ib., 1854 ; 
 Le houzard de Berchiny, ib., 1855 ; Falstaflf, 
 Mam'zelle Genevieve, Les pantins de Vio- 
 lette, ib., 1856 ; Le dernier bal, unpublished. 
 
 Ballets : Faust, given in London, 1833 ; La 
 fille du Danube, Paiis, 1836 ; Les Mohicans, 
 ib., 1837; Morskoi Rasbonick, St. Peters- 
 burg, 1840 ; Die Hamadryaden, Berlin, 
 1840 ; Giselle, ou les Wilis, Paris, 1841 ; La 
 jolie fille de Gand, ib., 1842 ; Le diable a 
 quatre, ib., 1845 ; The Marble Maiden, 
 London, 1845 ; GriseUdis, ou les cinq 
 sens, Paris, 1848 ; La iiUeule des fees, ib., 
 1849 ; Orfa, ib., 1852 ; Le corsaire, ib., 1856. 
 Other works : Les nations, cantata, Paris, 
 1851 ; Chant de victoire, do., ib., 1855 ; 
 Cantate pour la naissauce du Prince Im- 
 perial, ib., 1856 ; Messe solennelle, a quatre 
 voix et choeur, Paris, 1837 ; Messe h trois 
 voix ; Messe de Saint-Cecile, pour soli, 
 choeurs et orchestre, Paris, 1850 ; Messe 
 de rOrpheon, pour choeur de quatre voix 
 d'hommes, Meaux, 1851 ; Mois de Marie de 
 Saint-Philippe, huit motets ; Domine sal- 
 vum, trio et choeur, avec orgue ; Grande 
 marche religieuse ; Les metiers, choeurs 
 populaires pour quatre voix d'hommes ; 
 Les enfants de Paris, choeur a quatre voix 
 
 d'hommes ; 
 Duets, Ro- 
 m a n c e s. 
 Melodies, 
 Ballades, Chansonnettes, etc. — Adam, Sou- 
 venirs d'un musicien (Paris, 1860) ; Clement, 
 Les musiciens celebres, 483 ; Fetis ; Halevy, 
 Notice sur la vie, etc.; Pougin, Adolphe 
 Adam, sa vie, etc.; Tournaillon, Sur Adolphe 
 Adam. 
 
 ADAM DE LA HALLE (de la Hale), 
 surnamed le bossu d'Arras (the Hunchback 
 of Arras), born at Arras, Artois, about 
 1240 (Coussemaker, 1220), died in Na- 
 ples between 1285 and 1288. He studied 
 at the Abbey of Vaucelles, near Cambrai, 
 and assumed there the habit of clerk, 
 though whether he meant to take orders is 
 very doubtful ; but he fell in love with and 
 married a young girl named Marie, whom 
 he soon deserted. He afterwards went to 
 Douai, and possibly to Paris to enter the 
 university ; was in the service successively 
 of Robert H., Comte d'Ai-tois, Robert de
 
 ADAM 
 
 Bethune, Count of Flanders, and Charles 
 d'Aujou, brother of St. Louis. He followed 
 these nobles to Egypt, Syria, Palestine, autl 
 Italy ; and probably shared the varied for- 
 tunes of Charles d'Anjou, who was made 
 Kegent of Naples in 1265. As a composer 
 Adam was the greatest genius of his time, 
 equal to the best of the dcchanteurs in 
 technical knowledge, and far surpassing the 
 other trouveres ; he was the connecting 
 link between the dechauteurs and the early 
 coutrajmutists of the first Flemish school. 
 Of his compositions (the text of which he 
 also wrote) there remain 34 chansons for 
 a single voice ; 16 jeux-partis ; 17 ron- 
 deaux and 17 motets for three voices ; the 
 famous Jeu de Bobin et Marion. As a j^oet 
 he was one of the chief founders of the 
 French drama, and had much influence upon 
 the formation of the French language it- 
 self. — E. de Coussemaker, (Euvres comjjlctes 
 du trouvere Adam de la Halle (Paris, 1872) ; 
 Ambros, ii. 231 ; Revue et Gazette musicale, 
 Paris, Dec. 18, 1836. 
 
 ADAM, JOHANN GEORG, organist at 
 Meissen, Saxony, about 1820. He is known 
 by estimable comjiositions, among which 
 are : Preludes for the organ (Meissen) ; 12 
 variations and a fugue for do., op. 8 (Lei^D- 
 sic, Hofmeister) ; 6 fugues for do., op. 9 (ib., 
 Breitkopf & Hilrtel) ; Series of songs, with 
 pianoforte (Meissen) ; Variations, dances, and 
 other p)ieces for pianoforte. — Putis. 
 
 ADAM, JOHANN THEOPHIL, born at 
 Taubenheim, Saxony, July 1, 1792, died (?) 
 Instrumental and vocal composer, chamber- 
 musician at the court of Dresden. Works : 
 10 variations for pianoforte (Meissen) ; Der 
 lustige Klavierspieler, collection of fortj'- 
 eight pieces for do. (ib.) ; 6 easy fugues for 
 the organ (ib.) ; Kurze und leichte Gesange 
 zum Gebrauche beim Gottesdienste und 
 bei Sing-Umgiingen, for four voices ; Die 
 Glocke (by Schiller), with pianoforte (ib.). — 
 Fetis. 
 
 ADAM, JOSEPH AUGUST, bom in 
 Vienna, April 22, 1817, still living, 1888. 
 Instrumental composer, pupil of Josef 
 
 Tecbliuger on the violin, and of Joachim 
 Hoffmann in harmony and composition ; was 
 made bandmaster of the civic guard of Vi- 
 enna in 1816, and has composed about sixty 
 works for military bands, which Lave had 
 great success in Austria. — Fetis. 
 
 ADAM, KARL FERDINAND, born at 
 Zadel, near Meissen, Dec. 22, 1806, died at 
 Leisnig, Saxony, Dec. 23, 1868. Instru- 
 mental and vocal composer, probably stud- 
 ied music in Dresden, and became cantor 
 and director of music at Leisnig. Works : 
 12 characteristic dances, for pianoforte 
 (Leipsic, 1829) ; 6 songs, op. 4 (Dresden, 
 Rotter) ; Gedichte eines Lebendigeu, for 
 male chorus, op. 6 (ib.) ; 6 quartets for male 
 voices (Leipsic, Breitkopf & Hiirtel). — Fetis. 
 
 ADAM, KARL FRIEDRICH, born at 
 Zadel, Saxony, in 1770, died (?). Organist 
 at Fischbach, near Bischofswerda. Works : 
 6 pieces for the organ (Meissen) ; Songs for 
 four men's voices (ib.) ; 6 songs for four 
 voices, op. 4 (Leipsic, Breitkopf & Hiirtel) ; 
 12 dances for pianoforte (ib.). 
 
 ADAM, LOUIS, born at Miettersholtz, 
 Alsace, Dec. 3, 1758, died in Paris, April 
 11, 1848. Pianist, pupil of the organist 
 Hepp at Strasburg ; but it was chiefly his 
 application to the works of Bach, Handel, 
 Clexueuti, and Mozart, which fflaced him in 
 the first rank among the teachers of his 
 instrument. Without a master he studied 
 the violin, the harp, and composition. Ar- 
 rived in Paris, when seventeen, he brought 
 out, at the Concerts Spirituels, two sym- 
 phonies for harp, pianoforte, and violin, 
 which were the first of their kind heard. 
 His principal work is the famous Methode 
 de pianoforte, which was at once adopted 
 by the newly founded Conservatoire, where 
 he was professor in 1797-1843, and edu- 
 cated many celebrated artists, among them 
 Benoist, Chaulieu, Kalkbrenner, and Ht'- 
 rold, father and son ; L. of Honour, 1827. 
 Works : Onze ceuvres de sonates pour le 
 piano (Paris) ; Sonates separees ; Airs va- 
 ries j)our do. (ib.) ; Methode ou principe 
 general du doigte (ib., 1798) ; Methode nou-
 
 ADAM 
 
 velle pour le piano (ib., 1802) ; Quatuors 
 d'Haydn et de Pleyel an'anges pour le pi- 
 auo ; Recueil de romances. — Fetis ; Men- 
 del ; Schilling. 
 
 ADAM VON FULDA, born about 1450, 
 died after 1537. Composer of sacred songs, 
 contrapuntist, and writer on music. He 
 was a monk of Frauconia, living at the same 
 time as Guillaume Dufay and Busuois, as 
 he states in the first book of his work, 
 wherein he styles himself Ducal musician. 
 He is the author of a treatise on music, fin- 
 ished Nov. 5, 14:90, of which one manuscript 
 is preserved in the library of Strasburg. 
 A canticle for four parts by him is jjre- 
 served by Glarean in his Dodekachordon, 
 with the text : O vera lux et gloria, but 
 originally set to the German words : Ach 
 hiilff mich Leid und senlich Klag, to be 
 found in Joseph King's Wittenberger Ge- 
 sangbuch of 1535, and in the Enchiridion 
 of religious chants and ijsalms (Magdeburg, 
 1673).— Allgem. d. Biogr., i., 43; Fetis; 
 Mendel ; Reissmann, 128 ; Schilling. 
 
 AD.OIASTOR, ROI DES VAGUES 
 PROFONDES. See Africaine. 
 
 ADAMS, THOJL\S, born in Loudon, 
 Sept. 5, 1785, died there Sept. 15, 1858. 
 Organist, pujiil of Dr. Busby. From 1802 
 imtil 1858 he was successively oi-ganist of 
 Carlisle Chapel, Lambeth, St. Paul's, Dept- 
 ford, St. George's, Camberwell, and of St. 
 Dunstan's-in-the-West, Fleet Street. His 
 anthem for five voices, O how Amiable are 
 Thy DweUings, was performed on the open- 
 ing of St. George's, Camberwell, in 1824. 
 Adams superintended for many years the 
 annual performances on the Apollonicon, a 
 chamber-organ of great power, containing 
 both keys and barrels, first exhibited in 
 1817. Works : Organ pieces ; Fugues ; 
 Voluntaries ; 90 interludes ; Hymns ; Sa- 
 cred songs ; Anthems. — Grove ; Fetis. 
 
 ADCOCK, JAMES, born at 'Eton, Eng- 
 land, in 1778, died at Cambridge, April 30, 
 18(')0. In 1786 he became a chorister in 
 St. George's Chapel, Windsor, and in Eton 
 College Chapel ; in 1797 he became lay 
 
 clerk in St. George's Chapel, and in 1799 
 held a similar position at Eton. On remov- 
 ing to Cambridge soon after, he was ad- 
 mitted to the choirs of King's, St. John's, 
 and Trinity Colleges, and later became 
 master of choristers at King's College. 
 Woi-ks : 3 glees dedicated to Sir Patrick 
 Blake ; Hark, how the Bees, glee for four 
 voices ; Welcome Mirth, glee for three 
 voices ; Solfeggi for the instruction of those 
 \vishing to read at sight. — Grove ; Fetis ; 
 Mendel. 
 
 ADDIO! DEL PASSATO. See Trairv- 
 ata. 
 
 ADDIO, FUGGO. See Mejhlofde. 
 
 ADDIO, SPERANZA. See RigoleUo. 
 
 ADDISON, JOHN, born in London about 
 1765, died there, Jan. 30, 1844. Dramatic 
 composei'. The son of an ingenious me- 
 chanic, he early exhibited a taste for music, 
 and on his man-iage with Miss Williams, 
 a niece of the bass singer Reinhold, he 
 adojjted it as a profession. He appeared 
 first in pulilic in Liverpool, and soon after 
 assumed direction of the amateur orchestra 
 of the private theatre in Dublin. In 1796 
 he returned to London, where his wife ap- 
 peared at Covent Garden Theatre as Ro- 
 setta in Love in a Village, and afterwards 
 in other characters, and he played the 
 double-bass at the Italian Opera and at the 
 Ancient and Vocal Concerts. In 1814 he 
 was one of six who composed music for 
 The Farmer's Wife, an ojjera by Charles 
 Dibdiu the younger. A musical drama, 
 Elijah raising the Widow's Son, adapted by 
 Addison to Winter's music, was given at 
 the Drury Lane Theatre, IMarch 3, 1815, in 
 the series of Lenten Oratorios under the 
 direction of Sir George Smart. Addison 
 also taught singing, and trained some well- 
 known public singers. Works — Ojseras : 
 The Sleeping Beauty (1805) ; The Russian 
 Impostor (1809); My Aunt (1813); Two 
 Words (1816) ; Free and Easy (1816) ; My 
 Uncle (1817) ; Robinet the Bandit (1818) ; 
 Rose d'Amour — adaptation of Boieldieu's 
 opera (1818).— Grove ; Fetis. 
 
 10
 
 ADELAIDE 
 
 ADELAIDE (Ger., Adelheid), daughter 
 of Rudoljib II. of Burguudy, and widow of 
 Prince Lothaire of Italy, forced to ofl'er her 
 hand to Adalbert, sou of the usur^jer Be- 
 reuger 11. of Ivrea, fled to Cauossa to the 
 protection of Otho I. of Germany, who 
 made her his wife. This subject has been 
 musically treated many times : By Sartorio, 
 Italian ojjera, Venice, 1G7'2 ; Porjsora, do., 
 Rome, 1723 ; Buiui, do., Bologna, 1725 ; 
 Orlaudini, do., Venice, 1729 ; Cocchi, do., 
 Rome, 1743 ; Fioravanti, do., Naples, 1817. 
 Adelaide di Borgogua (Adelheid of Bur- 
 gundy), Italian opera by Rossini, was given 
 at the Ai-gentiua Theatre, Rome, 1818, dur- 
 ing the Carnival ; do., by Generali, 1821. 
 Adelaide di Borgogna al Castello di Ca- 
 nossa, Italian opera, by Gaudiui, was repre- 
 sented at the Ducal Theatre, Modeua, 1842 ; 
 and Adelheid, German opera, by Telemann, 
 Hamburg, 1727. 
 
 ADELAIDE, cantata for tenor solo and 
 pianoforte, poem by ]Matthison, music by 
 Beethoven, op. 46, composed in Berlin 
 about the middle of 1796, published in 
 Vienna (Ai'taria), February, 1797 ; dedi- 
 cated to the poet. Published also in 
 Breitkojif & Hiirtel's Beethoven's Werke, 
 Serie 21, Cantateu. One of the composer's 
 hapjiiest conceptions. Mattbisou, in his 
 writings, published 1825, saj's: "Several 
 musicians have quickened this little lyrical 
 fancj' with music ; but none has, accord- 
 ing to my inmost conviction, placed the 
 text, as against the melody, in deeijer 
 shade than the ingenious Ludwig van 
 Beethoven."— Marx (Berlin, 1875), i. 117 ; 
 von Lenz, i. 247 ; Thayer, Verzeichuiss, 19. 
 
 ADELBURG, AUGUST, Ritter VON, 
 born at Constantinople in 1833, died insane 
 at Vienna, Oct. 20, 1873. Dramatic com- 
 poser, pupil on the violin of Maj'seder in 
 Vienna, 1850-54, then studied at the prin- 
 cipal conservatories of Germany ; after sev- 
 eral concert tours, he lived alternately in 
 Vienna and Pesth. Works : Wallenstein, 
 opei-a, about 1860, not performed ; Zrinyi, 
 opera, given in Pesth National Theatre, 
 
 1868; Martinuzzi, opera, ib., about 1870; 
 Sonatas and concertos for the violin ; Quar- 
 tets for string instruments. — Mendel ; Rie- 
 mann. 
 
 AD£LE ET DORSAN, drama in three 
 acts, text by Marsollier, music by Nicolas 
 Dalayrac, represented at the Opera Co- 
 mique, Paris, April 27, 1795. A poor girl, 
 about to be abandoned by her seducer, is 
 enabled to triumph over a powerful rival 
 and to touch the heart of the father of her 
 lover. 
 
 ADELE DI LUSIGNANO, Italian opera, 
 by Carafa, given at the San Carlo Theatre, 
 Naples, 1817 ; Spanish opera, by Carnicer, 
 Barcelona, 1818. The cavatina, " Grazie 
 vi reudo, amici," in Carafa's work, is still a 
 favorite with singers. 
 
 ADELE DE PONTHIEU, lyric tragedy 
 in three acts, text by Saint-Marc, a chivaWc 
 subject bearing some resemblance to the 
 Tancrede of Voltaii'e ; music by Delaborde 
 and Berton given at the Opera, Piu'is, Dec. 
 1, 1772. It was changed into five acts, with 
 new music by Piccinni, and represented Oct. 
 27, 1781; then reduced to three acts and 
 given in 1786, but without success. A 
 German operetta, same subject, music by 
 Joseph Lange, was given in Vienna in 1796 ; 
 and a German ojjera in three acts, music by 
 Kerijen, atMeutz in 1798. — Desnoiresterres, 
 Gluck et Piccinni, 317. 
 
 ADELGASSER, ANTON C A JET AN, 
 born at Lucerne, Switzerland, April 3, 
 1728, died at Salzburg, Dec. 23, 1777 
 Organist, pupil of Eberlin at Salzburg, 
 where he became organist at the cathe- 
 dral, and harpsichordist to the archbishop. 
 Among his compositions, several masses 
 with orchestra were greatly esteemed, al- 
 though he imitated too closely the style of 
 his master. — Fctis. 
 
 ADELSON E SALVINA, Italian opera, 
 music by Bellini, represented in 1824 in the 
 theatre of the Conservatorio, Naples. This, 
 Bellini's first work for the stage, produced 
 w-liile he was still a student, was played in 
 the presence of Barbaja, then manager of 
 
 u
 
 ADHEMAll 
 
 La Scala at IVIilaii, San Carlo at Naples, ami 
 other opera-houses. The impresario, struck 
 by the work, gave Bellini an order for an op- 
 era for Naples ; and in 1826 Bianca e Fer- 
 nando was produced at San Carlo with a 
 success which gave the author a European 
 reputation. The same subject was treated 
 by Valentino Fioravanti in Italy about 1804 ; 
 and by Savij in Florence in 1839. 
 
 ADHEMAE, Comte ABEL D', born in 
 Paris, 1812, died there, 1851. Vocal com- 
 poser, whose romances in dramatic stj'le 
 were for a long time jjopular in France, 
 Italy, and Germany. 
 
 ADIEU, CHiSKE LOUISE. See Le De- 
 serteur. 
 
 ADIEU, MIGNON, COURAGE! See 
 Mlgnim. 
 
 ADIEU, jMON DOUX EIVAGE. See 
 Africaine. 
 
 ADLER, GEORG, born at Buda, Hun- 
 gary, in 1806, still living, 1888. Violinist 
 and pianist ; devoted himself to the teach- 
 ing of both instruments, and was choir 
 leader in the cathedral of his native city. 
 Works : Hungarian theme, for violin, with 
 two violins, viola, and bass, op. 1 (Vienna, 
 Haslinger) ; Polonaise for do., o-p. 6 (ib.) ; 
 Variations for pianoforte, op. 2 (ib.) ; Sonata 
 for do. and violin, op. 3 (ib.) ; TiK'me varii', 
 op. 4 (ib.); do., op. 8; La Chasse, rondo 
 brillant, op. 7 (ib.); 4 songs, op. 10 (ib.) ; 
 Libei-a me, Domine, for four voices and or- 
 gan, op. 11 (ib.); Quartets for men's voices, 
 op. 12 (ib.) ; 3 do., op. 13 (ib., Diabelli) ; 
 Cantata, oj). 15 (ib., Haslinger) ; Allegro, 
 andante, and rondo, op. 18 (ib.); Sonata for 
 pianoforte at four hands, op. 27 (ib., Dia- 
 belli) ; Souvenir, rondo brillant (Pesth, 
 Grimm & Co.); 2 prayers for four voices, 
 small orchesti-a and organ (Augsbiu-g, 
 Bohm). — Fotis. 
 
 ADiVIETO (Ammeto, Admetus), Italian 
 opera in three acts, music bj' Handel, given 
 at the King's Theatre, London, Jan. 31, 
 1727. The text, the writer of which is 
 unknown, is founded on the story of Adme- 
 tus and Alcesth, from the " Alcestis " of Eu- 
 
 ripide.s. It had nineteen consecutive repre- 
 sentations, one of the longest recorded runs 
 of the period. Admeto was sung by Sene- 
 sino, Alceste by Faustina, Antigona b}' Cuz- 
 zoni, and Ercole by Boschi. The air of 
 Admeto, "Spera, si, mio caro,"is considered 
 one of Handel's finest inspirations. Pub- 
 lished first by Cluer ; full score, Handel- 
 Gesellschaft (Leipsic, 1877). — Schoelcher, 
 Handel, 76 ; Rockstro, Handel, 151 ; Reiss- 
 mann, Handel, 96 ; Chrysander, ii. 153. 
 
 ADOLF ATI, ANDREA, born in Venice 
 in 1711, time of death unknown. Dramatic 
 and sacred composer ; pupil in Venice of 
 Baldassare Galupjsi. He was conductor of 
 the music in S. M. della Salute, Venice, and, 
 from 1750 until his death, in L' Annunziata, 
 Genoa. His opera of Arianna is said to 
 contain an air in the time of five beats to 
 the measvire. Works : L'Artaserse, opera, 
 given in Rome, 1742 ; L' Arianna, do., Genoa, 
 1750; Adriano in Siria, do., ib., 1751; La 
 gloria ed il piacere, do., ib., 1752 ; the Psalm, 
 Domine, ue in furore, in the collection of 
 the Abbe Santini, Rome ; Nisi Dominus, 
 MS. in the Imperial Library, Paris ; Sei 
 sonate a tre, cinque e sei, op. 1 (Amster- 
 dam). — Ft'tis ; Mendel ; Ergiinz, 5. 
 
 ADOLPHE ET CLARA ; or, Les deux 
 prisouiiiers (The Two Prisoners), opera 
 comique in one act, text by Marsollier, mu- 
 sic by Dalayrac, given at the Opera Co- 
 mique, Paris, Feb. 10, 1799. Its original and 
 interesting plot, and its simple melodies 
 and dramatic expression, made it one of the 
 most popular works of its time. 
 
 ADONE (Adonis), pastorale, music bj' 
 Monteverde, given in 1639 in the Teatro 
 di San Cassiano, the first Venetian opera- 
 house, which had been opened two yeais 
 previouslj'. This was the first dramatic 
 work by this composer which was repre- 
 sented in public. The subject, the loves of 
 Venus and Adonis, has also been treated by 
 Keiser in Adonis, German opera, Ham- 
 burg, 1697 ; by Karl Wagner in Adonis, 
 monodrama, Darmstadt, 1772 ; by Legrenzi 
 in Adone in Cijoro, Italian ojjera, Venice, 
 
 12
 
 ADR A ST 
 
 lG7fi ; iiiul l)y Lngnarii in Adone e Venere, 
 opera seria. Naples, 1784. See Vemis and 
 Adonis. 
 
 ADRAST (Adrastus), opera, text hy 
 Mayrhofer, music by Schubert. Only a 
 fragment (two numbers) of this work was 
 ever written (1815). It exists in MS. in 
 the possession of Herr Dumba. The sub- 
 ject, the War of the Seven against Thebes, 
 has been treated also liy Friedricli Preu 
 in Adraste, grand opera, given in Germany 
 about 1785 ; l)y Tarchi in Adrasto, Italian 
 opera seria, Milan, 1792 ; and by Portogallo 
 in Adrasto, Lisbon, 1800. 
 
 ADRIANI, FRANCESCO, surnamed di 
 San Severino, born at Santo Severino, Italy, 
 in 1539, died Aug. IG, 1575. Church com- 
 poser, maestro di cappella of S. Giovanni in 
 Laterano, Rome, 1593. AVorks : Psalms for 
 four voices, published with those of Jacques 
 de Waet, under the title : Adriani et Jachet, 
 Psalmi vespertini omnium festorum per an- 
 num, equator vocum (Venice, 1567). Fetis 
 says it is possible that he has been con- 
 founded with Adrien Willaert. — Fetis. 
 
 ADRIANO DU ? WIE EIN COLONNA ! 
 See Rienzi. 
 
 ADRIANO m SIRIA (Hadrian in Syria), 
 Italian opera in three acts, text by Metas- 
 tasio, first set to music by Caldara, and rep- 
 resented in Vienna, Nov. 4, 1731. Scene in 
 city of Antioch. Characters represented : 
 Adriano, Asroa, Emirena, Sabina, Farnaspe, 
 Aquilio. The libretto has been set also 
 by Pergolesi, Naples, 1734 ; Ferandini, Mu- 
 nich, 1737; Karl Heinrich Graun, Berlin, 
 1745 ; Francesco Ciampi, Venice, 1748 ; Le- 
 grenzio Vincenzo Ciampi, Loudon, 1750 ; 
 Adolfati, Genoa, 1751 ; Perez, Lisbon, 1752 ; 
 Giuseppe Scarlatti, Naples, 1752 ; Johann 
 Adolph Hasse, Dresden, 1753 ; Galuppi, 
 Venice, 1700 ; Cabalone, Naples, about 17G0 ; 
 Johann Christian Bach, London, 17G4; Gu- 
 glielmi, Italy, 17GG ; Sacchini, Venice, about 
 1770 ; Holzbauer, Mannheim, 1772 ; Schwan- 
 berg, Brunswick, 1772 ; Mysliweczek, about 
 1775 ; Cherubini, Leghorn, 1782 ; Nasolini, 
 Milan, 1790 ; Johaim Simon Mayer, Venice, 
 
 1798 ; Migliorncci, Naples, 1811 ; Porto- 
 gallo, Milan, 1815 ; Giuseppe Farinelli, 
 iMilan, 1815 ; Mombelli, Como, about 1820 ; 
 Airoldi, Venice, 1852. Tlie operas entitled 
 Adriano, music by Duni, Italj-, 1737; by 
 Abos, Rome, 1750; by Bernasconi, court 
 of Bavaria, 1755, are after the same text. 
 
 ADRUNSEN (Hadrianius), EMANUEL, 
 born in Antwerp, lived in the second half 
 of the IGth centur3'. He is identical with 
 Hadrianius, a name he sometimes used as a 
 signature. Among his works ai-e a collec- 
 tion of pieces for one, two, three, and four 
 lutes, in four or five parts, arranged from 
 the compositions of Cyprian Rore, Orlandus 
 Lassus, and many others, under the title : 
 Pratum musicum, etc. (Antwerp, 1584, 1592, 
 and IGOO). He wrote also twelve preludes, 
 five fantasias, thirty-five madrigals, and 
 much other music for the lute. — Biogr. nat. 
 belgique ; Fetis. 
 
 ADRIEN (Hadrian), opera in three acts, 
 text by Hoftmanu, music by Mehul, repre- 
 sented in the Theatre de la R6publique et 
 des Arts, Paris, June 4, 1799. The libretto 
 follows pretty closely that of Adriano in 
 Siria b^' Metastasio. 
 
 jVDRIEN (Andrien), MARTIN JOSEPH, 
 called La Neuville, also Adrien TAine, born 
 at Liege, May 2G, 17G7, died in Paris, Nov. 
 19, 1822. Bass singer and composer ; edu- 
 cated at the Royal School of Singing of 
 Memes-Plaisirs. From 1785 to 1804 he 
 sang at the Opera in Paris, alternating 
 parts with Cheron, and later became choir- 
 master at the Opera. Neither his voice nor 
 method was good, but he was successful 
 as an actor. He succeeded Laine as pro- 
 fessor of declamation at the l5cole roj'ale de 
 Musique in March, 1822. Adrien composed 
 the Hymne a la victoire (1795), on the 
 evacuation of French territory in that year, 
 the hymn to the martyrs for liberty, and 
 the music to the melodrama, Elodie ou la 
 Vierge du Monastere, by Ducange, given at 
 the Theatre de I'Ambigu-Coraique, 1822. 
 A brother, name unknown, born at Liege 
 in 1767, was choirmaster at the Theatre
 
 ADRIENNE 
 
 Feydeau, Paris, and published five collec- 
 tions of sougs, romances, etc. (Paris, 17'JO- 
 1802). Ferdinand, another brother, was a 
 composer of songs, teacher of singing, and 
 choirmaster of the OiJura in Paris in 1799- 
 1801. — Biogr. nat. belgique ; Fetis. 
 
 ADRIENNE LECOUVREUR, Italian op- 
 era, text from the play (1819) of the same 
 name by Scribe, music by Vara, represented 
 in Rome in 1856. 
 
 AD\Ti:NTLIED, hymn, text by Riickert, 
 music by Schumann, for soli, chorus, and 
 orchestra, op. 71, composed 1818. 
 
 AELSTERS, GEORGES JACQUES, born 
 iu Ghent in 1770, died there, April 11, 1819. 
 Carillouneur of Ghent from 1788 to 1839, 
 and director of music at St. Martin's for 
 fifty years. His comj)Ositions, especially a 
 Miserere, are still performed in Flanders. — 
 Biogr. nat. belgique ; Fctis. 
 
 ^NEAS. See Enea ; Dido. 
 
 AERTS, EGIDIUS, born at Boom, near 
 Antwerp, March 1, 1822, died at Bru.ssels, 
 June 9, 1853. Virtuoso on the flute, pupil 
 of Lahou at the Brussels Conservatoire, 
 where he became professor iu 1817. As a 
 flutist he attracted attention iu Paris as 
 early as 1837 ; his compositions — symjiho- 
 nies, overtures, and for the flute, concertos, 
 etudes, and fantaisies — are not published. 
 —Fetis. 
 
 AERTS, F., born at St. Trond, Belgium, 
 May 4, 1827, still living, 1888. Violin- 
 ist, pupil of the Conservatoire, then of 
 Charles Hanssens at Brussels, where he 
 became first violinist at the Theatre de la 
 Monnaie ; subsequently he led the orchestra 
 of the theatre at Tournay, lived for several 
 years in Paris, and in 1862 was made pro- 
 fessor of music at the ficole Normale of 
 Nivelles. He has composed a great num- 
 ber of fantasias for orchestra, variations for 
 the violin, romances, etc., and written two 
 treatises on the Gregorian chant, and an 
 elementary method of music. — Fetis, Sup- 
 plement, i. 6 ; Riemann. 
 
 AFRICAINE, L' (The African), French 
 grand opera in five acts, text by Scribe, 
 
 music by Meyerbeer ; first represented at the 
 Opera, Paris, April 28, 1865. The libretto 
 was prepared in 1810 at the same time with 
 that of Le Prophete, which was given the 
 preference, but Meyerbeer worked simul- 
 taneously on the two, and in 1849, a few 
 days after the production of the latter, the 
 score of L'Africaine was completed. The 
 libretto, however, was unsatisfactory, and 
 Scribe rewrote it in 1852. Meyerbeer re- 
 vised the score to suit the revision, finishing 
 his work in 1860. It was brought to re- 
 hearsal in 1863, but the composer died 
 (1861) while still correcting it, and it was 
 not produced until the following year. 
 Original cast : 
 
 Vasco de Gama (T.) M. Naudin. 
 
 Nelusko (Bar.) M. Faure. 
 
 Don Pedro (B.) M. Belval. 
 
 Don Diego (B. ) M. Castelmary. 
 
 Selika (S.) Mme Marie Sasse. 
 
 lues (M.-S.) Mile Marie Battu. 
 
 lues, daughter of Don Diego, loves Vasco 
 de Gama, who has been absent two years 
 on an expedition of discovery. Her father 
 tries to persuade her that Vasco has per- 
 ished by shipwreck, and orders her to ac- 
 cept the hand of Dou Pedro, President of 
 the Council ; but the story is refuted by 
 the appearance of Vasco, who narrates be- 
 fore the Council the discovery of a new 
 land, and iu proof of it exhibits two cap- 
 tives, Selika and Nelusko. The inquisitors, 
 incited by Don Pedro, deny the truth of the 
 stor\', and Vasco, angrily using intemperate 
 language, is thrown into prison. In the 
 second act, Selika is watching the sleeping 
 Vasco in his dungeon. As he awakes she 
 declares her love for him, saves him from 
 the dagger of the jealous Nelusko, and 
 points out on a map the position of the 
 great island of which she is queen. Ines, 
 to save Vasco, consents to marry Don Pe- 
 dro, who, to cheat the navigator of his fame, 
 takes command of the ship fitted out for 
 the discovery of the new land, and with 
 Ines, and Nelusko, who agrees to pilot him 
 
 14
 
 AGAMEMNON 
 
 on boani, sets aall. Vasco, who has followed 
 iu another ship, warns him that Nelusko, 
 incited by revenge, is misleading him. Don 
 Pedro, distrusting him, orders him to be 
 shot, but at this moment the vessel strikes 
 on a reef and is boarded by savages, who 
 kill the commander and most of his crew. 
 In the fourth act Si'lika assumes the attri- 
 butes of royalty on her island, and to save 
 Vasco, who is brought before her with other 
 prisoners, declares herself his spouse. A 
 barbaric marriage is about to be celebrated 
 between them, when Vasco bears the voice 
 
 
 'U ^P>'3-'/.,o 
 
 ■fl ''" 
 
 Pauline Lucca. 
 
 of Inea, and, forgetting his protestations, de- 
 serts Selika and flies to his first love. In 
 the last act Vasco and Ines sail away for 
 Portugal, and the despairing Svlika lies 
 down to die, together with Nulusko, under 
 the poisonous luanchineel tree. The opera 
 is so full of noteworthy musical numbers 
 that it is difficult to make a selection ; but 
 among the best is the romance of Lies, 
 " Adieu, mon doux rivage," in the first act. 
 The second act opens with a beautiful 
 slumber-song, sung by Si'lika to Vasco in 
 prison, " Sur mes genoux, fils du soleil." 
 The aria of Nelusko, " Fille des rois, a toi 
 I'hommage," is sombre and full of character. 
 
 The act closes with a vocal septet without 
 accompaniment, of which the etlect is as 
 novel as unforeseen. In the third act, called 
 the Ship Act, are the graceful chorus of 
 women, " Le rapide et leger navire ; " the 
 prayer, " O grand Saint-Dominicjue ; " and 
 the invocation of Nelusko, " Adumastor, roi 
 des vagues profondes." The fourth act 
 opens with a grand Marche indienne which, 
 for originality of rhythm, disi^ositiou of in- 
 strumental masses, and taste in orchestra- 
 tion, is Meyerbeer's masterpiece. It is fol- 
 lowed by Vasco's aria, " Paradis sorti du 
 sein de Tonde," which is full of melodic 
 phrases, and by the grand duet between 
 Vasco and Selika, " Nuit d'ivresse," which 
 has been compared with the duet in the 
 fourth act of the Huguenots. In the fifth 
 act, the third scene, called La scene du 
 mancenillier, opens with a symphonic prel- 
 ude, which is one of the best of Meyerbeer's 
 compositions, and leads to Selika's dying 
 song on the border of the sea, as Vasco 
 sails away. On the production of L'Afri- 
 caine in London, the part of Selika was ably 
 sustained by Pauline Lucca, whose portrait 
 is given opposite. — Clement and Larousse, 
 9 ; Hanslick, Moderne Oper, 144. 
 
 AGAMEMNON, burlesque tragedy, text 
 and music by Herve, represented at the 
 Folies Nouvelles, Paris, in May, 18.5G. 
 
 AGAZZAEI, AGOSTINO, born in Siena, 
 Dec. 2, 1578, died there, April 10, 1640. 
 He began his professional life in the ser- 
 vice of the Emperor Matthias ; subsequently 
 went to Rome, where he became maestro 
 di cappella at the German College before 
 1(503, at the Church of S. Apollinaris, and 
 at the Seminario Romano. He was an in- 
 timate friend of Lodovico Viadana of Man- 
 tua, and one of the first to adopt figured- 
 bass, introduced by the latter, for the em- 
 ployment of which he gives instructions in 
 his third volume of ilotetti (Zanetti, Rome, 
 1606). In 1630-40 he was maestro of the 
 cathedral at Siena. He was a member of 
 the Academy of the Armonici Intronati. 
 Agazzari published a little work entitled 
 
 15
 
 AGGIjS'TOrJO 
 
 La musica ecclesiastica (Sieua, 1638), in- 
 tended to determine bow church music 
 should conform itself to the Resolution of 
 the Council of Trent. Pitoui ascribes to 
 him the pastoral drama of Eumelio, and 
 Proske gives a short motet of bis in the 
 Musica divina (Lib. motettorum, No. Ixv.). 
 His compositions consist of Madrigals, 
 motets, psalms, magnificats, and litanies. 
 Among them are : II pi-imo libro de' madri- 
 gali ; Madrigali armoniosi, etc., lib. 1 (Ven- 
 ice, 1600) ; Sacrse cantiones, lib. 1 (1602) ; 
 idem, lib. 2 ; idem, lib. 3 (Rome, 1603) ; 
 Sacrse cantiones con un basso ad organum, 
 lib. 1 (1603) ; idem, 2, 3, 4 voc. con basso ad 
 organum, lib. 2, op. 5. These are among the 
 first books published with basso coutinuo. 
 Besides these there are litanies, and other 
 church music published at Rome (1625, 
 1639, 16'10), which went through several 
 editions. — Fetis ; Grove ; Mendel ; Schilling. 
 
 AGGINTORIO, ROCCO, born in Naples 
 about 1810, still living, 1888. He com- 
 posed the opera, II biglietto e 1' auello, 
 given in Naples, Teatro del Fondo, 1839, 
 and subsequently settled in Paris as a 
 teacher of vocal music. He has since pub- 
 lished some compositions for the pianoforte 
 and the voice. — Fetis. 
 
 AGNELLI, SALVATORE, born at Pa- 
 lermo, Sicily, in 1817, still living, 1888. 
 Dramatic composer, pujjil at the Conser- 
 vatorio, Naples, of Furno, Zingarelli, and 
 Donizetti ; brought out his works in Na- 
 ples and Palermo, and went to Marseilles 
 in 18i6. "Works — Operas : I due piedauti, 
 given at Naples, Teatro Nuovo, 183'! ; II 
 lazzarone napolitano, ib., 1838 ; Una notte 
 di carnovale (opera buffa), Palermo, Teatro 
 Carolino, 1838 ; I due gemelli, I due for- 
 zati, ib., 1839 ; La locandiera, Naples, Teatro 
 Nuovo, 1839 ; La sentiuella notturna, ib., 
 Teatro Parthenope, 1840 ; L'omicido im- 
 maginario, I due pulcinelli simili, ib., Te- 
 atro de la Fenice, 1841 ; R fautasma, ib., 
 1842 ; La jacquerie, Marseilles, 1849 ; Luo- 
 nore de Medicis, ib., 1855 ; Les deux avares, 
 comic opera, ib., 1860 ; Cromwell ; Stefania ; 
 
 Sforza ; Calisto, Blanche de Naples, La 
 Rose. Ballets ; Apotheosis of Napoleon, can- 
 tata, performed in Paris, 1856 ; Miserere ; 
 Stabat mater. — Fetis, Supplement, i. 7. 
 
 AGNES VON HOHENSTAUFEN, 
 grand opera in three acts, text by Ernst 
 Raupach, music by Spontini ; first act rep- 
 resented in Berlin, May 28, 1827, the en- 
 tire work, June 12, 1829. Spontini, dissat- 
 isfied with it, had the libretto revised by 
 Baron von Lichtenstein and others, and 
 made many changes in the music. In this 
 form the work was reproduced in Berlin, 
 Dec. 6, 1837. The jslot turns on the recon- 
 ciliation, during the struggle between the 
 Guelphs and Ghibellines, of Henry VI., of 
 Hoheustaufen, with Henry the Lion, of 
 Brunswick, through the marriage at Mentz, 
 in 1194, of his daughter Agues von Hoheu- 
 staufen with Henrj', the sou of the latter. 
 Original cast : 
 
 Henry the Lion Herr Fischer. 
 
 Henry, his son Herr Eichberger. 
 
 Philip, King of France Herr Bader. 
 
 Archbishop Herr Zschiesche. 
 
 Agnes von Hohenstaufen . Fraulein Fassman. 
 Irmengarde Fraulein Griinbaum. 
 
 This, the last opera which Spontini com- 
 pleted, is one of his best works, and deals 
 worthily with a most dramatic period of 
 German history. The same subject has 
 been treated with success by Frederick 
 Slarpurg, whose work was given at Freiburg, 
 Baden, March 14, 1874. 
 
 AGNES SOREL, opera in three acts, 
 music bj' Gyrowetz, first represented in Vi- 
 enna in 1808. The hero is Charles VE. of 
 France, and the subject the deliverance of 
 his realm from the English invasion through 
 the eflbrts of Joan of Arc. The subject has 
 been treated also by De Pellaert, opera in 
 three acts, Brussels, 1823 ; and by Miss G. 
 A. Becket, English opera, London, 1836. 
 
 AGNESE (Agnes), Italian opera, two acts, 
 text by Luigi Buonavoglia, music by Fer- 
 dinando Paer, first represented in Parma, 
 1810; and in Paris, July 24, 1819. The 
 
 16
 
 AGXESI 
 
 libretto is an adaptation of Mrs. Opie's 
 " Father and Daughter," with the scene 
 and some of the names changed. Charac- 
 ters represented : Agnese, Ernesto, Pasquale, 
 Uberto, and Don Girolanio. One of Paer's 
 best works ; often reproduced, and alwaj's 
 with success. It contains admirable choruses 
 and a grand finale. — Musical Rev., i. 230. 
 
 AGNESI, MARIA TERESA, born at 
 Milan in 172-i, died about 1799. Pianist 
 and dramatic composer. Works : Sofo- 
 nisba ; Giro in Armenia ; Nitroci ; and lu- 
 subria consolata, all of which were given in 
 1771 in Naples, Venice, and other Italian 
 cities. She wrote also, for the pianoforte, 
 cantatas, concertos, and sonatas, well known 
 in Germany. — Mendel. 
 
 AGOSTI, a dramatic composer of the 
 18th centur}', settled in Russia, about whose 
 life nothing is known. Several of his comic 
 operas held tlie stage suceessfullj' ; as, for 
 instance : An Autumnal Adventure, or the 
 Squire of Giinsewitz, which wa.s given in 
 Germany after 1780. — Mendel. 
 
 AGOSTINI, LUDOVICO, born in Fer- 
 rara in 1534, died there, Sept. 20, 1590. 
 He took holy orders and became maestro 
 di cappella to Alfonso II., Duke of Este. 
 Works : II priino libro di madrigali a 5 voci 
 (1570) ; Madrigali a 4 voci (1572) ; L'eco ed 
 enigmi musicali a 6 voci, lib. 2 (Venice, 
 1581) ; Messe, Vespri, Motetti, Madi-igali et 
 Siufonie (Ancona, 1588).— Fetis ; Mendel. 
 
 AGOSTINI, PAOLO, born at Vallerano, 
 Italy, in 1593, died 
 in Rome in Sep- 
 tember, 1G29. He 
 studied in Rome 
 under Bernardino 
 Nanini, whose 
 daughter he mar- 
 ried, and became 
 organist of S. Ma- 
 ria in Trastevere ; 
 later he was maes- 
 tro di cappella of ' ■" 
 S. Lorenzo in Damaso, and finally, in 1629, 
 succeeded Ugolini as maestro of the Vatican 
 
 Chapel. He was among the first to employ 
 a number of voices in several choirs. A 
 masterpiece, the Agnus Dei, for eight voices 
 in canon, was published by P. Martini in 
 Saggio di contrappunto fugato ; Proske 
 gives a motet in his Musica diviua (Liber 
 motettorum, No. Ixx.). His most famous 
 works are preserved in manuscript in the 
 Corsiui Library and in the Vatican. Works : 
 Psalms for four and eight voices, 2 vols. 
 (Soldi, Rome, 1G19) ; Magnificats for one, 
 two, and three voices (ib., 2 vols., 1620) ; 
 Masses for eight and twelve voices, 5 vols. 
 (Robletti, Rome, 1621, 1625, 162G, 1627, 
 1628.)— Fctis; Grove; Mendel; Schilling. 
 
 AGOSTINL PIETRO SIMONE, born in 
 Rome about 1650, died (?). Dramatic com- 
 jioser, maestro di cajipella to the Duke of 
 Parma. His oj)era, II ratto delle Sabine, 
 was given in Venice in 1680. He also pub- 
 lished some cantatas (Rome, 1680). His 
 Sicut erat, for five voices, is in the work by 
 Paolucci styled : Arte j^ratica di contrap- 
 punto, where it is given as an illustration 
 of fugue. — Fetis ; Mendel. 
 
 AGRELL, JOHANN, born at LiUh, 
 Sweden, Feb. 1, 1701, died in Nuremberg, 
 Jan. 19, 1769. He studied at LinkOpiug 
 and at Upsal ; became court musician at 
 Cassel in 1723, and conductor at Nurem- 
 berg in 1746. Nine of his works, concertos, 
 sonatas, etc., were published at Nuremberg 
 (1761-64), and he left many others in man- 
 uscript. — Fctis ; Mendel. 
 
 AGRICOLA, ALEXANDER, born in the 
 Netherlands in 1460-70, died in Valladolid 
 in 1520-30. He was a pupil of Okeghem, 
 became one of the most noteworthy com- 
 posers of the second Flemish school of con- 
 trapuntists, and was distinguished as a 
 singer at an early age. He left tlie service 
 of Charles VIII. of France for that of Lo- 
 renzo de' Medici, and probably passed some 
 time in Floi-ence. About 1500 he was in 
 the service of Philip the Fair at Brussels as 
 "chaplain and singer," and in 1506 he fol- 
 lowed either him or Charles V. to Spain, 
 where he spent the remainder of his days.
 
 AGRICOLA 
 
 As a composer, Agricola is distioguished 
 from the rest of bis school by a peculiarly 
 fantastic style, and a fondness for bizarre 
 vocal effects. Yet side by side with phrases 
 of almost grotesque extravagance, and in 
 strong contrast to them, we find passages 
 in a strangely morose, atrabiliar sort of 
 counterpoint. In some of his works, how- 
 ever, especially in the superb mass " Je ne 
 demande," he shows himself to be on a 
 level with the finest geniuses of his day. 
 His secular chansons were probably very 
 popular, but his talent for this sort of wi-it- 
 ing was small ; he wholly lacked humour and 
 lightness of touch, and was great only in 
 the grand stj-le. His published works are : 
 Some motets in Motetti XXXIH. (Venice, 
 Petrucci, 1502) ; 8 four-part songs in the 
 Canti cento ciuquanta (ib., 1503) ; a vol- 
 ume of 5 masses, Misse Alex. Agricolae (ib., 
 1505). Several important works are in MS. 
 in the Vienna Library (Codex A. N., 35 ; 
 Cod. E., 133 ; Cod. N., 1783), and probably 
 many more are to be found in Spanish ca- 
 thedrals. — Ambros, iii. 243 ; Grove, i. 44. 
 
 AGKICOLA, GEORG LUDWIG, born 
 at Grossen-Furra, Thuringia, Oct. 25, 1643, 
 died at Gotha, Feb. 22, 1676. He studied 
 at Eisenach (1656), Gotha (1662), and at 
 the Universities of Wittenberg and Leipsic, 
 and became Kapellmeister at Gotha in 1670. 
 Works : Musikalische Nebenstunden, for two 
 violins, two violas, and bass (1670) ; Sonaten, 
 Prfcludien, Allemanden couranten Balleten 
 auf franzosische Art (1675) ; Deutsche geist- 
 liche Madrigalien von zwey bis sechs Stim- 
 men (Gotha, 1675).— Fetis ; Gerber, N. 
 Lex. 
 
 AGRICOLA, JOHANN, born at Nurem- 
 berg about 1570, died (?). Professor of music 
 at the Gj'mnasium Augusti at Erfurt, where 
 he still lived in 1611. Works : Motetten 
 mit vier, fiinf, sechs, acht und mehr Stimmeu 
 (Nuremberg, 1601) ; Cantiones de prseeijjuis 
 testis, quinque, sex et plurimum vocum 
 (Nuremberg, Conrad Bauer, 1601) ; Motetaj 
 novae pro prsecipuis, etc, containing twenty- 
 eight motets (Erfurt, 1611).— Fetis. 
 
 AGRICOLA, JOHANN FRIEDRICH, 
 born at Dobitschen, Saxe-Alteuburg, Jan. 4, 
 1720, died in Berlin, Nov. 12 (or Dec. 1), 
 1774. Dramatic composer, began to learn 
 music at the age of five under a certain 
 Martini ; having entered the university at 
 Leipsic in 1738, he studied music at the 
 same time under Sebastian Bach, for three 
 years ; after a visit to Dresden he went in 
 1741 to Berlin, where he soon attracted at- 
 tention by his organ playing, and studied 
 composition under Quantz. Devoting him- 
 self now chiefly to the dramatic style, he 
 took Graun and Hasse for his models, and 
 with the opera buffa, II filosofo convinto 
 in amore, performed at the theatre in Pots- 
 dam, 1750, won the applause of Freder- 
 ick the Great, who conferred upon him the 
 title of Hofcomponist (court-composer) in 
 1751. Ha^^ug written another opera, La 
 ricamatrice divenuta dama, for Potsdam, 
 he visited Dresden again in 1751, and in 
 the same year married the singer Benedetta 
 Emilia Molteni of the Berlin Opera. On the 
 death of Graun, in 1759, he was appointed 
 director of the royal chapel, although with- 
 out the title of KajDellmeister. Besides 
 operas, he wrote sacred cantatas and instru- 
 mental music, was considered the best or- 
 ganist in Berlin, reputed as a vocal teacher, 
 and distinguished as a writer on music. Of 
 his compositions only the twenty-first jjsalm 
 and some chorals have been published ; 
 the manuscrif)ts of all others are preserved 
 in the royal library, Berlin. Works — Op- 
 eras : H re pastore, given at Berlin, 1753 ; 
 Cleofile, ib., 1754 ; II 
 tempio d' amore, ib., 
 1755; Psyche, ib., 
 1756 ; Achille in Sciro, 
 ib., 1758 ; Ifigenia in Tauride, ib., 1765. 
 — Allgem. d. Biogr., i. 149 ; Fetis ; Mendel. 
 AGRICOLA, WOLFGANG CHRIS- 
 TOPH, German composer of the middle of 
 the 17th century. Works : Fasciculus mu- 
 sicalis, a collection of eight masses (Wiirz- 
 burg and Cologne, 1651) ; Fasciculus vari- 
 arum cantiouum, a collection of motets for 
 
 {J'C/if-i'OaL^ 
 
 18
 
 AGRIPPINA 
 
 two to eight voices. — Petis ; Mendel, Er- 
 giiiiz., 6. 
 
 AGRIPPINA, Italian opera, author of 
 text uukuowii, music by Handel, repre- 
 sented at the Teatro di S. Giovanni Cri- 
 sostomo, Venice, in 1708. The libretto is 
 founded on the story of Agrippiua, wife of 
 the Roman Emperor Claudius, who poi- 
 soned her husband (a.d. 5-4) in order to se- 
 cure the succession of her young son Nero, 
 through whom she hoped to rule the em- 
 pire. This work, Handel's second Italian 
 opera, which is said to have been written in 
 three weeks, was received with enthusiasm, 
 and held the stage in Venice more than 
 twenty years. It was given in Hamburg, 
 1718. Score printed first by Arnold, the 
 entire work by the Hilndelgesellschaft, 
 1781. The same subject is treated in 
 an Italian opera by Porpora, represented 
 about 1742.— Schoelcher, Handel, 17 ; Rock- 
 stro, Handel, 48. 
 
 AGTHE, CARL CHRISTIAN, born at 
 Hettstildt, Prussian Saxony, in 1762, died 
 at Ballenstiidt, Nov. 27, 1797. Dramatic 
 composer and organist to the Prince von 
 Buruburg at Ballenstiidt. Works — Operas : 
 Aconeius uud Cydippe, given at Ballenstiidt 
 about 1784; Das Milchmildcheu, ib., about 
 1787 ; Martin Velten, ib., about 1789 ; Ei-- 
 win und Elmire, ib., about 1789 ; Philemon 
 und Baucis, ib., about 1791 ; Der Spiegel- 
 ritter, ib., 1795. His sonatas for the pia- 
 noforte were published at Leipsic in 1790 ; 
 his Lieder, Der Morgen, Mittag, Abend und 
 Nacht at Dessau, 1782.— Fetis ; SchilHng. 
 
 AGUADO, DIONISIO, born in Madrid, 
 April 8, 1784, died there, Dec. 20, 1849. 
 He studied in Paris, under Garcia, in 
 1825, returned to Madrid in 1838, and 
 became one of the greatest of performers 
 on the guitar. He published, in 1825, 
 "New Method for the Guitar." Among his 
 compositions are a collection of andantes, 
 waltzes, and minuets, solos, transcriptions, 
 etc. 
 
 AGUILAR, EMANUEL, born in Clap- 
 ham, London, Aug. 23, 1824, still living. 
 
 1888. Dramatic composer and pianist, pu- 
 pil of Schnyder von Wartensee at Frank- 
 fort, where he lived in 1844-48, gave con- 
 certs, and brought out some of his compo- 
 sitions ; after his return to Loudon he 
 taught the pianoforte. Works : The Bridal 
 of Triermain, dramatic cantata ; A Summer 
 Night, cantata for treble voices ; Goblin 
 Market, do. ; The Bridal Wreath, opera ; 
 Symjjhonies, overtures, trios, sonatas, etc., 
 in MS., which have been performed at con- 
 certs ; Pianoforte music, and songs. — Fetis. 
 
 AGUILERA DE HEREDIA, SEBAS- 
 TIAN, Spanish composer of the 17th cen- 
 tury. He was a monk, and director of 
 music in the Cathedral of Saragossa. His 
 valuable collection of INIagnificats, for four, 
 five, six, seven, and eight voices (Saragossa, 
 1618) is still used in Saragossa and in other 
 churches in Spain. — Ft'tis ; Mendel. 
 
 AGUIRRE, ABELINO, born in Spain, 
 contemporary. Composer of the opera, Gli 
 amanti di Teruel, given at Valencia, 1865. 
 
 AH ! BEL DESTIN. See Linda. 
 
 AH ! BELLO, A IVIE RITORNA. See 
 Norma. 
 
 AH ! CHE LA MORTE. See Trovatore. 
 
 AH! CHI ME DICE MAI. See Don 
 Giovanni. 
 
 AH! COME RAPID A. See Grociato in 
 Egitto. 
 
 AH ! DI TUE PENE. See Linda. 
 
 AH ! DIVINITES BIPLACABLES. See 
 Alcpsle, Gluck. 
 
 AH ! FORS' E LUI. See Traviata. 
 
 AH ! GRAN DIO. See Tninala. 
 
 AH! LHONNfiTE HOMME. See Ro- 
 bert le Diable. 
 
 AH, LO PREVIDI, scena for soprano, 
 by Mozart, composed at Salzburg, in August, 
 1777. Aria of Andromeda, words from Pai- 
 siello's opera of that name. One of the 
 grandest compositions of its kind. An ex- 
 pressive recitative is followed by an elab- 
 orate allegro, in which the excited passion 
 of a great soul finds a powerful and vivid 
 expression. A motive that had previously 
 been introduced by the orchestra forms
 
 AH! MIO 
 
 then the trausitiou to a softer mood, ex- 
 pressing the grief over the lost lover in a 
 beautiful recitative, which ends in a cava- 
 tina. — Jahn, i. 424. 
 
 AH ! MIO PREGAR. See Semiramide. 
 
 AH ! MON FILS, SOIS BENI. See Pro- 
 plliti'. 
 
 AH! MON REMORDS TE VENGE. 
 See Dinorah. 
 
 AH ! MORIR POTESSI ADESSO. See 
 Emani. 
 
 AH ! NON GIUNGE. See Sonnamhula. 
 
 AH PERFIDO ! sceua and aria for so- 
 prano, with orchestra, music by Beethoven, 
 op. G5 ; dedicated to the Countess Clari ; 
 composed in Prague, February, 1796, and 
 published in Vienna (Artaria, pianoforte 
 arrangement), 1810. It consists of : 1. An 
 elaborate Recitative ; 2. Adagio, with ap- 
 isendix ; 3. Movement in Lied form. Alle- 
 gro assai ; 4. do., Piii lento ; 5. do., Alle- 
 gro assai ; 6. do., repetition of 4 ; 7. An 
 elaborate Finale, Allegro assai, and repeti- 
 tion of 4. All these movements are attract- 
 ive and expressive of the supposed situation ; 
 the recitative is to be ranked with the best 
 of Mozart's.— Marx (Berlin, 1875), i. 114. 
 
 AH ! PIETA, SIGNORI MIEI. See Don 
 Giovanni. 
 
 AH ! QUE JE SENS DIMPATIENCE. 
 See Azetnia. 
 
 AH! QUE MON SORT EST BEAU I 
 See Ambassadrice. 
 
 AH! QUELLE NUIT. See Domino 
 Doir. 
 
 AH! QUEL PLAISIR. See Dame 
 blanche. 
 
 AH! SI LA LIBERT E. See Armide et 
 Renaud. 
 
 AH ! TACI, INGIUSTO CORE. See Don 
 Giovanni. 
 
 AH ! TU GELAR MI FAT. See Semira- 
 mide. 
 
 AHLE, JOHANN GEORG, born at Miihl- 
 hausen, Tluiringia, died Dee. 2, 1706. Or- 
 ganist and composer of hymns, which were 
 popular in their day, and poet-laureate to 
 the Emperor Leopold I. (1680). He suc- 
 
 ceeded his father as organist of the Church 
 of St. Blasius. Works : Anmutige zehn vier- 
 stimmige Viol di Gamba-Sjjiele (1681) ; 
 Instrumeutalische Friihlingsmusik (1695, 
 1696) ; manj- Songs. He was also a jjrolitic 
 writer on music, and from 1671 to 1706 
 published a work yearly, either theoretical 
 or practical. Most of these were destroyed 
 in the great lire at Miihlhausen in 1689, 
 and the others are very rare. — Allgem. d. 
 Biogr. ; Fetis ; Mendel ; Schilling ; Winter- 
 feld, ii. 328. 
 
 AHLE, JOHANN RUDOLPH, born at 
 Miihlhauisen, Thuringia, Dec. 24, 1625, died 
 there, July 8, 1673. He was educated at 
 GOttingen and at Erfurt. In 1644 he be- 
 came organist at the latter place, and in 
 1646 was appointed director of the new 
 music school there. On his return to Miilil- 
 hausen he became organist of the Church of 
 St. Blasius, and also councillor and burgo- 
 master of that town. His treatise on sing- 
 ing. Compendium pro teuellis (Erfurt, 1638), 
 went through three editions. Among his 
 best known works are : Geistliche Dia- 
 logen (1648) ; thirty Symphonien, Paduane, 
 Balleten, etc., for instruments (1650) ; Thii- 
 ringische Lust-Garten, in two parts, for 
 voices (1657-1658); ten Geistliche Arien 
 (1660) ; 2d series of ten (Miihlhausen, 1662) ; 
 third and fourth series of ten songs (1663- 
 1664). These and many other collections of 
 hymns, motets, etc., appeared at Miihl- 
 hausen and Erfurt, until 1668. His hymn : 
 Liebster Jesu, wir siud hier, was his best 
 and is still in use, with many others. — AU- 
 gera. d. Biogr., i. 159 ; Fetis ; Mendel ; Spit- 
 ta, J. S. Bach, i. 331 ; Winterfeld, ii. 296. 
 
 AHLEFELDT, Griifin VON, German 
 pianist at the close of the 18th century. 
 She wrote the music of an opera ballet : 
 Telemach und Kalypso (Leipsic, 1794). — ■ 
 Fetis, Supplement, i. 8 ; Mendel. 
 
 AHLSTROM, OLOF, born in Stockholm, 
 Sweden, about 1756, died there in 1835. 
 He was court pianist and musical instruc- 
 tor of the royal family, and about 1790 
 was among the best dramatic composers.
 
 AHLSTROM 
 
 With Boman, lie edited a collecLioii of 
 Swedish popular airs, " Walda svenska 
 Folkdansar och Folkledar " (Stockliolm), 
 some of which were sung by Jenny Lind 
 Goklschmidt, and for two years edited a 
 Swedish musical periodical, " Musikaliskt 
 Tidsfiirdrif." Works: 4 sonatas for pianoforte 
 (Stockholm, 1783, 178G); also operas, can- 
 tatas, and soiigs.— Fetis ; Mendel ; Schilling. 
 AHLSTROM, JOHAN NICLAS, born at 
 Wisby on the isle of Gothland, Sweden, 
 June 5, 1805, died at Stockholm, May 14, 
 1857. Dramatic composer, studied music 
 in his native place and, chiefly without a 
 master, while at the University of Upsala ; 
 after returning home, he travelled as or- 
 chestra conductor with a theatrical company, 
 and settled at Carlskrona to teach music. 
 Having afterwards become organist and 
 musical director at Westerns, he was called 
 to Stockholm in 1842 as conductor at the 
 newly erected Nya Theatern. From 1845 
 he held different positions as instructor, 
 orchestra conductor at various theatres, and 
 organist. He deserves much credit for 
 having searched for and arranged many 
 popular melodies. Among his numerous 
 compositions are the operas : Alfred the 
 Great, and Abu Hassan ; Music to the trag- 
 edy of Agne ; Several cantatas ; 6 quartets 
 for stringed instruments ; Sonata for piano- 
 forte, violin, viola, and violoncello ; Quintet 
 for flute, two viohns, viola, and violoncello ; 
 Trio ; Concerto for pianoforte, with orches- 
 tra. — Mendel, Erganz., 6. 
 
 AIBLINGER, JOHANN CASPAR, born 
 at Wasserburg, Bavaria, Feb. 23, 177'J, died 
 in Munich, May 6, 1867. He began his 
 musical education at the seminary of Te- 
 gernsee in 1790, then went to Munich, where 
 he secured a pension which allowed him to 
 study in Italy. At Bergamo in 1802 he 
 wrote music under the direction of Mayr, 
 was patronized by the Vice-Queen of Italy, 
 and went to Milan as Kapellmeister to the 
 royal chapel. He afterwards went to Ven- 
 ice, where, in conjunction with the Abbe 
 Gregorio Treutiuo, he founded the Odeou 
 
 Institution. On the death of Winter, in 
 1825, he was recalled to Bavaria and ap- 
 pointed Kapellmeister to the court. In 
 1833 he revisited Italy, was made a member 
 of the Academy of St. Cecilia at Rome, and 
 settled at Bergamo, where he collected an- 
 cient classical music, now in the Staatsbiblio- 
 thek, Munich. Works : Bianca, ballet (Milan, 
 1820) ; I Titani, ballet (ib., 1820) ; Rodrigo 
 und Chimeue, opera, given at Munich, 
 1821 ; Requiems, Masses, Litanies, Psalms, 
 Offertories, etc., with full vocal and instru- 
 mental choirs. Most of his church music, 
 which is written with great skill, has been 
 published in Munich, Augsburg, and Paris, 
 and one pastorale for organ in Milan. — All- 
 gem, d. Biogr. , i. 163 ; Fetis ; ilendel ; Grove. 
 AICH, GOTTFRIED, composer of church 
 music, and canon of the Order of Premon- 
 strants in the 17th century. He published 
 at Augsburg, in 1663, a work entitled : 
 Fructus ecclesiasticus trium, quatuor et 
 quinque vocum, duorum vel trium lustrum, 
 cum secundo choro. — Fetis. 
 
 AICHINGER, GREGOR, born at Augs- 
 burg (?) about 1565, died after 1614. Hav- 
 ing taken holy orders, he became organist at 
 Augsburg in the service of Jacob Fugger, 
 baron of Kirchberg and Weissenhorn. In 
 1599 he visited Rome, and spent two years 
 in study. His works show the influence of 
 the Venetian school. His Madrigals, Can- 
 tatas, Litanies, etc., are among the best 
 German compositions of the time. Works : 
 Lib. i. Sacrarum cantionum and Lib. ii. 
 Sacrarum cantionum (Venice, 1590-1595) ; 
 Sacrte cantiones, dedicated to the chapter 
 of the cathedral at Augsburg (Nuremberg, 
 1597) ; Tricinai Mariana quibus, Antiphorse, 
 etc. (Innspruck, 1598) ; Diviupe laudes, etc. 
 (1602) ; Vespertini Virginia canticum (Augs- 
 burg, 1604) ; Cantiones ecclesiasticaj, etc. 
 (Dillingen, 1607); this work is especially 
 remarkable for being one of the first where- 
 in the words basso continuo appear. His 
 church compositions number iu all seven- 
 teen, published up to the year 1613. 
 Proske gives a Litany, Stabat mater, and 
 
 21
 
 AIDA 
 
 several motets by him, in his Musica divina ; 
 aud the library of the King of Portugal con- 
 tains several of his motets for three and four 
 voices. — Allgem. d. Biogr , i. 165 ; Ambros, 
 Gesch., iii. 5G0 ; Fotis ; Grove ; Schilling. 
 
 AIDA, Italian opera seria in four acts and 
 seven tableaux, text by Antonio Ghizlan- 
 zoui, music by Giuseppe Verdi ; first rej^re- 
 sented in Cairo, Egypt, Dec. 24, 1871. It 
 was written upon commission of the Khe- 
 dive Ismail Pasha, given in August, 1870, 
 for the inauguration of the new opera- 
 house in Cairo. The subject is said to have 
 been suggested by the Khedive himself. 
 The libretto was prepared in prose by M. 
 Vassali, conservator of the Boulak Museum, 
 then rendered into French verse by Camille 
 du Locle, and lastly translated into Italian 
 verse by Ghizlanzoni. The scenery and cos- 
 tumes were designed by Mariette Bey, the 
 distinguished Egyptologist. Original cast : 
 
 Aida (S.) Signora Pozzoni. 
 
 Amneris (M.-S.) Signora Grossi. 
 
 Ridames (T. ) Signor Mongini. 
 
 Amouasro (Bar.) Signor Costa. 
 
 Ramphis (B. ) Signor Medini. 
 
 King (B.) Steller. 
 
 Aida, daughter of Amouasro, King of 
 Ethiopia, has been made a prisoner in a 
 war between her father aud the King of 
 Egypt, and has become the slave of Amne- 
 ris, daughter of the latter. Amneris is in 
 love with Radames, au Egyptian captain, 
 who secretly loves and is loved by Aida. 
 When the High Priest, Ramphis, announces 
 the approach of the Ethiojiians against 
 Thebes, Radames, who is ignorant of the 
 relatiouship between Amonasro and Aida, 
 is chosen by Pharaoh to lead the Egyjjtiau 
 hosts. During Radames's absence Amneris 
 discovers Aida's secret and conceives for 
 her a violent hatred. Radames returns vic- 
 torious, with Amonasro his prisoner, aud is 
 awarded a triumph and the hand of Am- 
 neris. Acting under the instructions of 
 Amonasro, who has formed a plan to re- 
 cover his liberty and his kingdom through 
 
 the aid of Radames and to marry his 
 daughter to him, Aida persuades her lover 
 to betray to her the secrets of the military 
 operations preparing against Ethiopia and 
 to fly with her ; but their j)lans are over- 
 heard by Amneris and Ramjahis, and Rada- 
 mes is denounced as a traitor. Condemned 
 to be buried alive beneath the Temjjle of 
 Phtah, Radames is offered a jiardon if he 
 will marry Amneris, but he refuses, and de- 
 
 **%N \", 
 
 Clara Louise Kellogg, as Aida. 
 
 scends into the vaults, where Aida awaits 
 him. The tomb is walled up and sealed 
 by the priests, and the lovers are united in 
 death, while Amneris, abandoning herself to 
 grief, prays beside their seijulchre. The 
 first representation of Aida in Europe was 
 at La Scala, Milan, Feb. 8, 1872, with Si- 
 gnore Teresina Stolz and Waldmaun, and 
 Signori Fancelli, Pandolfini, and Maini in 
 the cast. The opera was given in Naples 
 in March, and in Parma in April, 1872 ; in 
 New York, 1873 ; in Paris, at the Italiens, 
 April 22, 1876, aud at the Opera, March 
 22, 1880 ; and in London, June 22, 1876. A
 
 AIGNER 
 
 Russian version was given in St. Petersburg 
 in 1879 ; a German version in New York, 
 Metropolitan Opera House, Nov. 12, 1886 ; 
 and an Eni^lisli version at the Brooklyn 
 Academy, Dec. 29, 1886, and at the Met- 
 ropolitan Opera House, March 5, 1887. 
 Among the noteworthy numbers in the 
 first act are : The romanza of Radames, 
 " Celeste Aula ; " the martial chorus of the 
 King and his retinue, " Su ! del Nilo al 
 sacro lido ; " and the scena of A'ida, " Ri- 
 torna vincitor ! " The second act opens 
 with a chorus of women, which is followed 
 by a duet between Amneris and A'ida, " Alia 
 pompa che si appresta," and closes with a 
 grand triumphal chorus, " Gloria all' Egit- 
 to." In the third act are the prayer of 
 Aida, " O cieli azzuri," and duets between 
 Amonasro and Aula, and Radames and 
 Aida. The last act, which contains an im- 
 pressive duet between Radames and Am- 
 neris, " Chi ti salva, o sciagurato," closes 
 with the plaintive dying song of Radames 
 and Aida, " O terra, addio," while the priests 
 and priestesses chant in the temple above 
 their tomb. — Clement and Larousse, 767 ; 
 Hanslick, Moderne Oper, 2-17; Edwards, 
 Lyrical Drama, ii. 1. 
 
 AIGNER, ENGELBERT, born in Vien- 
 na, Feb. 23, 1798, died in (?). Dramatic 
 composer, pupil of the Abbot Stadler ; in 
 1835-37 he was director of the ballet or- 
 chestra at the imperial theatre, then started 
 an industrial enterprise in the provinces, 
 and in 1842 returned to Vienna, where he 
 cultivated music as an amateur. Works : 
 Wunderlilie, opera, given in Vienna, 
 Kiirnthnerthor Theater, about 1824; Das 
 geheime Fenster, comic opera, ib., 1826 ; 
 Der Angriffsplan, do., ib., 1829 ; Das Hoch- 
 zeitsconcert, vaudeville, ib., 1829 ; Lob der 
 Tonkunst, cantata, ib., 183.5; Mass for four 
 voices (Vienna, Haslinger) ; Quintet in G 
 (ib., Diabelli) ; 6 choruses for male voices 
 (ib., Artaria) ; Masses with orchestra, and 
 a Requiem, unpublished. — Fetis ; Mendel. 
 
 AIMON, PAMPHH^E LEOPOLD FRAN- 
 COIS, born at LTsle, Vaucluse, Oct. 4, 1779, 
 
 died in Paris, Feb. 2, 1866. Dramatic com- 
 poser, son and pupil of the violoncellist 
 Esprit Aimon (1754-1828). When but sev- 
 enteen he conducted the orchestra of the 
 theatre at Marseilles, and in 1817 settled in 
 Paris, where he became leader of the or- 
 chestra at the Gymnase Dramatique in 
 1821, and at the Theatre Franyais in 1822. 
 Among his compositions, those for chamber 
 music are the most meritorious, showing 
 great inventive talent and originality. He 
 also wrote some treatises on harmony. 
 Works — Operas : Les jeux fioraux, 3 acts, 
 libretto by Bouilly, given in Paris, Acade- 
 mie royale de musique, Nov. 16, 1818 ; La 
 fee UrgMe, comic opera, ib., Gymnase, 
 1821 ; Velleda, 5 acts, libretto by Jouy, 
 ib.. Opera, 1824 ; Abufar, 3 acts, Alcide et 
 Omphale, Les Cherusques, written for the 
 Opera ; Les deux Figaros, for the Opera 
 Comique, none of which were performed ; 
 Quintet for two violins, two violas, and vio- 
 loncello (Paris, Janet) ; 3 quartets for two 
 riolins, viola, and violoncello, op. 4 (ib., 
 Hanry) ; 3 do., op. 6 (ib., Momigny) ; do., op. 
 7, 8, 9 (ib., Hentz) ; do., op. 43, 46 (ib., Pa- 
 cini) ; 3 do., op. 47 (ib., Janet); do., book 
 4 (ib., Frey); 3 new do., books 5-8 (ib.) ; 
 Concertino for violoncello (ib., Pacini) ; 
 Recreation for two violoncellos, horn, and 
 pianoforte (ib.); Solo for clarinet, with ac- 
 companiment of quartet or pianoforte (Ly- 
 ons, Arnaud) ; First and second concerto 
 for bassoon (Paris, Frey) ; Quartet for pia- 
 noforte (ib., Pacini) ; Duets for guitar and 
 violin (ib., Gaveaux) ; Several trios and duets 
 for violin. — Fetis ; do.. Supplement, i. ; 
 Mendel. 
 
 AIROLDI, born in Italy, contemporary. 
 Dramatic composer, pupil of Pietro Ray 
 and of Vaccai at the Conservatorio, Milan. 
 Works : Don Gregorio nell' Imbarazzo, op- 
 era buffa, given in Venice, 1850 ; Adriano 
 in Siria, opera, ib., about 1852 ; Statira, Re- 
 gina di Persia, Milan, about 1853. — Fetis. 
 
 AJAX, music to the tragedy of Sophocles, 
 by Sir William Stei-ndale Bennett, op. 45. 
 
 AJO NELL' BIBARAZZO, L' (The Em- 
 
 23
 
 AKADEMISCHE 
 
 barrassed Tutor), Italian ojsera, music by 
 Donizetti, reiDi-esented in Rome, 1824. An 
 opei"a of the same title, by C!elli, was per- 
 formed in Italy about the same time. See 
 Don Gregoi'io. 
 
 AKADEMISCHE FEST-OUVERTURE, 
 for full orchestra, by Brahms, op. 80, com 
 posed, 1881, in acknowledgment of the de- 
 gree of Ph.D., conferred upon him by the 
 Uuiversit}' of Breslau. 
 
 A' IvEMPIS, FLORENTINO, Flemish 
 composer of middle of 17th century. Or- 
 ganist of St. Gudule, Brussels. Works : 
 
 3 symphonies (Antwerp, 1644-47-49) ; Mass 
 for eight voices ; Misspe et motettse (Ant- 
 werp, 1650) ; Missa pro defunctis otto vo- 
 cum. — Fetis ; Mendel, Ergiinz., 7. 
 
 AKEROYDE, SAMUEL, born in York- 
 shire, England, latter half of the 17th cen- 
 tury, died (?). He contributed songs to the 
 Third Part of D'Urfey's Don Quixote in 
 1696. His songs are also found in the 
 Theatre of Music (1685-87), Vinculum so- 
 cietatis (1687), Comes amoris (1687-94), 
 Gentleman's Journal (1692-94), Thesaurus 
 musicus (1693-96), and other collections. — 
 Grove ; Fetis. 
 
 A LA FRONTlfiRE, cantata, music by 
 Gounod, first j^erformed in Paris, 1870. 
 
 ALA, GIOVANNI BATTISTA, born at 
 Monza, Italy, in 1580, died in 1612. Or- 
 ganist of the Church dei Servitori, Milan. 
 Works : Madrigals and canzonets (Milan, 
 1617, 1625) ; Concerti ecclesiastici (Milan, 
 
 4 vols. 1618, 1621, 1628); and motets in 
 the Pratum musicum (Antwerp, 1634). — 
 Fi'tis; Mendel. 
 
 ALADIN ; or, La lampe merveilleuse (The 
 Wonderful Lamp), French opera in five acts, 
 text by Etienne, music by Isouard ; first 
 represented at the Opera, Paris, Feb. 6, 
 1822. Subject from the " Ai-abian Nights." 
 This, the last work of Isouard, was left un- 
 finished at his death (1818), and was pre- 
 pared for the stage by Benincori. Although 
 it exhibits evidences of the composer's de- 
 cadence, it met with wonderful success, 
 partly due doubtless to its splendid spec- 
 
 tacular effects. The Op^ra was lighted 
 with gas for the first time on its represen- 
 tation. The subject has been treated also 
 by Gyrowetz, German opera in three acts, 
 Vienna, about 1822 ; by BishoiJ, English op- 
 era, Covent Garden, Loudon, 1826 ; by Karl 
 Guhr, Frankfort, 1830 ; and by Luigi Ricci, 
 Naples, 1835. 
 
 ALARD, DELPHIN, born at Bayonne, 
 France, March 8, 
 1815, still living, 1888. 
 Violinist, son and pu- 
 pil of au amateur 
 musician ; when only 
 ten years old he 
 played a concerto of 
 Viotti's in public. In 
 1827 he went to Paris, 
 became a pupil of Ha- 
 beneck, and won the 
 second pi'ize for violin in 1829, and the first 
 in 1830. He studied composition under Fetis 
 in 1831, and was a member of the orchestra 
 at the Opera in the same year. At concerts 
 of that year he won the notice of Paganiui, 
 who was much impressed with his plaj'ing. 
 In 1840 he succeeded Baillot as first violinist 
 to the king, and in 1843 as professor of the 
 violin at the Conservatoire. Alard is the 
 chief representative of the modern French 
 school of violin playing. He is the author of 
 a comprehensive work, " Ecole da violin," 
 adojjted by the Conservatoire ; editor of a 
 collection of violin pieces by the best com- 
 posers of the 18th century, " Les maltres 
 classiques du violin," in 40 parts, and com- 
 poser for his instrument of a number of 
 etudes, nocturnes, duos, etc., and of con- 
 certos and symphonies with orchestral ac- 
 companiment. — F('tis ; Grove ; IMendel ; Wa- 
 sielewski, Die Violine, 376. 
 
 ALARICO IL BALTHA (Alaric the Bold), 
 Italian opera, text by Luigi Orlandi, music 
 by Steffani, first represented at Brunswick, 
 Jan. 18, 1687, the birthday of the Elec- 
 tress Maria Antonia. Fresh singers were 
 brought from Italy for the occasion, and 
 the work was enlivened by ballets arranged
 
 ALARY 
 
 by Rodier, aud danced by ladies and gen- 
 tlemeu of the court, with costumes from 
 Paris. Subject treated also in Alarico, Re 
 de' Goti, by Bassaui, Ferrara, 1G85 ; in 
 Alaric, opera iu three acts, music by Schie- 
 ferdecker, Hamburg, 1702 ; and in Ingrati 
 tudine castigata, ossia Alarico, by Chiochetti, 
 Ancona, 1719. 
 
 ALARY, JULES, born of French parents 
 at Mantua in ISU, still 
 living, 1888. Dramatic 
 composer, pupil of Ba- 
 silj at the Conservatorio 
 of Milan, was for a few 
 years flutist nt the Te- 
 atro della Scala, and in 
 1835 went to Paris to 
 teach the j^ianoforte and 
 singing. He was iu Lon- 
 don in 1836, but returned to Paris, where 
 Jullien's orchestra performed some of hi.s 
 music. Alternately there and iu London 
 he gave concerts, in which he brought out 
 his comj)ositions, without being able to ac- 
 quire a genuine reputation, his style run- 
 ning almost exclusively iu the shallow taste 
 of fashion. In 1852 he went to St. Peters- 
 burg to bring out a grand opera, and after 
 his return, in 1853, was made accomjjanist 
 in the imperial chapel, while at the same 
 time he became musical director at the 
 Theatre des Italiens. Works : Rosamonda, 
 opera, given at Florence, Teatro de la Pergo- 
 la, June 10, 1810 ; La Redemption, oratorio, 
 Paris, Concert Sj)irituel, April, 1851 ; Le tre 
 nozze, opera bufta, ib.. Theatre des Italiens, 
 March 29, 1851 ; Sardanapale, ojjera, St. 
 Petersburg, 1852 ; L'orgue de Barbaric, oj)- 
 eretta, Bouflfes Parisiens. 185G ; La beaute 
 du Diable, Paris, Opera Comique, 1861 ; Le 
 /^ra.sseur d'Amsterdam, operetta. Ems, 1861 ; 
 La voix humaiue, Paris, I'Opera, 1861 ; Lo- 
 canda gratis, opera buffa, Theatre des Ital- 
 iens, 1866 ; many songs, duets, terzets, and 
 quartets, and pieces for the pianoforte, espe- 
 cially polkas and waltzes. — Fetis ; do.. Sup- 
 plement, i. 8. 
 
 ALAS! THOSE CHIMES. See3Iaritana. 
 
 ALAYRAC, D'. See Dalayrac. 
 
 ALBANESI, LUIGI, born in Rome, March 
 3, 1821, still living, 1888. Pianist and 
 composer, studied under his brother and 
 sister, who were pupils of Senderaeh ; after- 
 wards a pupil in harmony of Giuseppe 
 Polidoro and Salvatore Lavigna. Works : 
 Les sept paroles de Jesus Christ, oratorio ; 
 2 masses ; Motets with organ or harmonium, 
 or the pianoforte and other instruments ; 
 Pianoforte pieces, more than fifty. — Fetis, 
 Supplement, i. 9. 
 
 ALBANEZE (D'Albanese), born at Al- 
 bano, Apulia, iu 1729, died in Paris in 
 1800. Pupil of the Naples Conservatorio, 
 visited Paris in 1717, and was engaged at 
 the king's chapel. In 1752-62 he was first 
 singer at the Concerts Spirituels. He com- 
 posed airs and duets, among which are : 
 Airs a chanter, 3 collections ; Les amuse- 
 ments de Melpomene, with violin or guitar 
 accompaniment ; and fifteen other collec- 
 tions. The charming romance. Que ne suis- 
 je la fougere, is his, although it has been 
 attributed to Pergolesi. — Fetis ; Mendel ; 
 Michaud, Biogr. univ. 
 
 ALBENIZ, PEDRO, born in Biscay, 
 Spain, about 1755, died at St. Sebastian 
 about 1821. He was a monk aud conductor 
 of music in the Cathedrals of St. Sebastian 
 and Logrono (1795). Among his works 
 are : Masses, vespers, and motets, unpub- 
 lished, and a book of solfeggi (St. Sebastian, 
 1800).— Fetis. 
 
 ALBENIZ, Don PEDRO, born at Lo- 
 gi'ofio, Spain, April 14, 1795, died in Ma- 
 drid, Ajjril 12, 1855. Organist, son of Don 
 Matteo Albeniz, maestro of the Collegiate 
 Church at Logrono. When but ten years 
 old he becanje assistant organist of the Par- 
 ish of St. Vincent, Guipuzcoa. He studied 
 in Paris under Henri Herz aud Kalkbreu- 
 ner, and on his return to Spain was made 
 director of the musical fetes on the arrival 
 of the king and queen, in 1828. He after- 
 wards became organist of the Church of 
 Santa Maria in Logrono, a position left va- 
 cant by his father's resignation in 1829.
 
 ALBEllGATI 
 
 On his visit to Madrid and Aranjuez he 
 received great favours from the king, who 
 appointed him professor of the pianoforte 
 at the Conservatorio wliich the queen, Maria 
 Christina, had just instituted (1830), and 
 organist of the Chapel Royal. In 1838 he 
 was made vice-j)resident of the junto of 
 directors for the Artistic and Literary Ly- 
 ceum at Madrid, and became maestro to 
 the Lifanta and the queen. Dona Isabella, 
 and received several decorations. To him 
 is due the foundation of the modern school 
 of jjianoforte playing in Spain ; all the best 
 pianists of that country and of Spanish 
 South America were his pujjils. His works, 
 which number about seventy, are chiefly va- 
 riations, fantasias, etc., for pianoforte with 
 violin or violoncello accompaniment. His 
 Mcthode de piano (Madi-id, 1840), was 
 adopted by the Conservatorio. — Fetis ; 
 Mendel. 
 
 ALBERGATI, Conte PIRRO CAPA- 
 CELLI, born in Bologna, Italy, in the latter 
 part of the 17th century, died (?). Dramatic 
 composer. Although an amateur, his com- 
 positions are considered among the best of 
 his time. Works : Gli amici, opera, given in 
 1699 ; II prineipe selvaggio, opera, given 
 in Bologna, 1712 ; Giobbe, oratorio, given 
 in Bologna, 1688 ; Baletti, corrente, sara- 
 bande, etc. (1682-8.5) ; Sonate a due violini, 
 col basso continuo per 1' organo, ed un alto a 
 beneplacito per teorbo, o violoncello, op. 2 
 (1683); Cantate morali a voce sola (1685); 
 Messa e salmi concertate ad una, due, tre e 
 quattro voci con stromenti obligati e ripieni, 
 a beneplacito, op. 4: (1687) ; and Cantate ed 
 oratorio a piti voci, op. 17 (1714). Besides 
 these, there ai'e many cantate and motetti 
 dating from 1687 to 1721.— Fetis ; Mendel ; 
 Schilling. 
 
 ALBERICI, PIETRO GIUSEPPE, born 
 at Orvieto, Italy, lived in the beginning of 
 the ISth century. Composer and poet ; he 
 publislied a musical dialogue for four voices 
 entitled : L' Esilio di Adamo et di Eva dal 
 Paradiso terrestre (Orvieto, 1703). — Fetis ; 
 Mendel. 
 
 ALBERT, Prince of Saxe-Coburg-Gotha, 
 Prince Consort of Great Britain, born at 
 Castle Rosenau, near Coburg, Aug. 26, 1819, 
 died at Windsor Castle, Dec. 14, 1861. 
 Pianist, studied music at Coburg and at 
 Brussels. Works : Masses ; Anthems ; Songs 
 and glees ; also an opera, Hedwig von Lin- 
 den. — Fetis ; Mendel. 
 
 ALBERT, EMILE, born at Montpellier, 
 France, in 1823, died at Bagneres-de-Bi- 
 gorre in August, 1865. Dramatic composer 
 and pianist. Works : Les petits du premier, 
 operette, given in Paris, Theatre Saint-Ger- 
 main, 1864; Jean le Fol, do., 1865; Syni- 
 pljonies ; Trios for pianoforte, violin, and 
 violoncello ; Sonatas for 25ianoforte and vio- 
 lin. — Fetis, Supplement, i. 10. 
 
 ALBERT, EUGEN D', born at Glasgow, 
 Scotland, Ajsril 10, 
 1864, still living, 1888. 
 He is the son of 
 Charles d'Albert, a 
 French dancing-mas- 
 ter (born near Ham- 
 burg, 1815). Eugen 
 studied under Sir Ar- 
 thur Sullivan, Prout, 
 and Pauer in London, 
 then under Hans 
 Richter in Vienna (1880), and under Liszt 
 at Weimar (1881). He appeared, in the 
 same year, with bi-illiant success at a 
 philharmonic concert in Vienna ; at Weimar, 
 where he was made court pianist ; and in 
 Berlin. Works : Concerto for jsiauoforte ; 
 Overture to Hiilderlin's Hyijerion ; Suite in 
 five movements ; Songs, etc. 
 
 ALBERT, HEINRICH, born at Loben- 
 stein, Voigtland, Saxon)-, June 28, 1604, 
 died at Konigsberg, June 27, 1657 (Oct. 10, 
 1651 ?). Organist and poet. A nephew 
 and perhaps a pupil of Heinrich Schtitz, he 
 studied law in Leipsic and mu-tiic in Dres- 
 den. In 1626 he studied at Konigsberg un- 
 der Stobbaeus, who was then Kapellmeister, 
 and in 1631 he became organist of the old 
 church there. Albert's music showed all 
 that was best in the German and Italian 
 
 S6
 
 ALBERTAZZI 
 
 schools ; lie composed the words to many 
 of his owu lij-mns and songs, eight collec- 
 tions of which were printed by Paschen, 
 Meuse, aud Reussner, under the j^atronage 
 of the Emperor of Germany, the King of 
 Poland, and the Kurfiirst of Brandenburg. 
 These collections were so pojiular that sev- 
 eral editions were published by the author, 
 aud others were issued, without his jjermis- 
 sion, at KOnigsberg aud Dautzic under the 
 title of " Poetisch-musicalisehes Lustwald- 
 lein." These latter are very rare ; their 
 original title was: Erster (Zweiter, etc.) 
 Theil der Arien etlicher theils geistlicher 
 theils weltlicher, zur Andacht, guten Sitteu, 
 keuscher Liebe uud Ehreu Lust, dienender 
 Lieder zum singen uud spielen gesetzt. 
 This is followed by separate dedications to 
 each part, which are valuable on account of 
 the princijjles on musical art given iu them 
 at a time when a reform iu music was tak- 
 ing place by means of the basso continuo. 
 He was author of the manuscript, Tractatns 
 de modo conficiendi contrajsunetum, at that 
 time owned by Valentine Hausmann. He 
 composed for the centenary of the Konig.s- 
 berg University, Aug. 28, 164;4, a ComO- 
 dieii-Musik, afterwards given in the palace 
 of the Kurfurst, thus becoming, after Hein- 
 rich Schiitz, the founder of German opera. 
 This comedy was never jjublished and is now 
 lost. A Te Deum of his was published Sept. 
 12, 1647. Albert's editions were originally 
 in folio, but an octavo edition was published 
 by A. Profe, of Leipsic, in 1G57. — Allgem. 
 d. Biogr. ; Fetis ; Grove ; Mendel ; AViiiter- 
 feld, Der evaug. Kirchengesaug, ii. 13G. 
 
 ALBERTAZZI, ALESSANDRO, born at 
 Stagno, in Parma, 1783, died (?). Pupil at 
 Parma of the Carmelite friar Giuseppe Va- 
 leri, then of Fortunati iu singing and coun- 
 terpoint ; settled afterwards at Genoa. His 
 church music is highly esteemed. He wrote 
 also an opera, Gli amanti raminglii, given 
 about 1812, and much music for the piano- 
 forte. — FOtis. 
 
 ALBERTI, CARLO, born in Italy iu 1848 
 or 1849. Dramatic composer, brought out 
 
 the operas : Armando e Maria, at Naples, 
 Teatro de' Fiorentini, 18C9, aud Oreste, ib., 
 TeatroPoliteama, 1872. — Fetis, Supplement, 
 i. 10. 
 
 ALBERTI, DOMENICO, born in Venice 
 about 1717, died at Formio about 1740. 
 Amateur singer, pianist, and dramatic com- 
 poser, pupil of Antonio Biffi in singing, aud 
 of Lotti in compositiou ; as the page of a 
 Venetian ambassador he went to Madrid, 
 where hia singing excited the jealousy of 
 Fariuelli. Iu 1737 he came to Rome with 
 the Marchese Molinari, and made his debut as 
 a composer. Works — Operas : Endimione, 
 given iu Rome, 1737 ; Galatea, ib., ; Olim- 
 piade ; 36 sonatas, for pianoforte. — P^'tis ; 
 Meudel ; Schilling. 
 
 ALBERTI, GIUSEPPE MATTEO, born 
 at Bologna in 168.5, died after 1726. Vi- 
 olinist, jjupil of Carlo Manzoliui, of Pietro 
 Minelli on the violin, aud of Floriano Ar- 
 resti in counteri^oiut. He was first violinist 
 at the Church of S. Petronio, was elected 
 member of the Accademia Filarmonica iu 
 1714, aud principe in 1721. Works : Dieci 
 Coucerti a sei stromenti (Bologna, 1713) ; 
 Dodici senate jser violino solo, con basso 
 continuo (ib., 1721) ; Dodici sinfonie per 
 due violini, viola, violoncello ed organo (ib., 
 1726).— Fetis ; Mendel. 
 
 ALBERTI, JOHANN FRIEDRICH, born 
 at TiJnning, Schleswig, Jan. 11, 1642, died 
 at Merseburg, June 14, 1710. Contrapunt- 
 ist and organist, jiupil of Werner Fabricius 
 at Leipsic ; became organist at the cathe- 
 dral at Merseburg, but was obliged to re- 
 sign in 1698 owing to a stroke of paralysis. 
 He was esteemed one of the best composers 
 of chorals, fugues, etc., and one of the most 
 learned contrapuntists of his time. — Fctis ; 
 Fiirstenau, Gesch. der Musik am Hofe zu 
 Dresden, i. 143 ; Gerber, Hist. Lex. ; Spitta, 
 J. S. Bach, i. 98. 
 
 ALBERTINI, GIOVACHINO, born about 
 1744, died at Warsaw, April, 1811. Dra- 
 matic comjjosei-, lived at Warsaw in 1784 as 
 Kajjellmeister to the King of Poland. Po- 
 litical events induced him to return to Italy, 
 
 Z!
 
 ALBICASTEO. 
 
 where lie taught singing until 1804, wlien 
 he was called back to Warsaw by Prince 
 Poniatowski for the instruction of his chil- 
 dren. Works — Operas : Don Giovanni, 
 given at Venice, 1784 ; Le maitre de cha- 
 pelle polonais (Polish opera), Warsaw, 1784 ; 
 Circe, Hamburg, 1785 ; Virginia, Rome, 
 1786 ; Scipione Africauo, ib., 1789. — Fctis. 
 
 ALBICASTEO, HENPvICO, boru in Switz- 
 erland towards the end of the 17th century, 
 died (?). Violinist, real name Weissenburg. 
 He served as captain in the Allied Ai'niies 
 during the Spanish War of Succession. 
 Works : Sonatas for three parts, op. 1 (Am- 
 sterdam, Roger); do., op. 4 (ib.) ; 12 do., 
 op. 8 (ib.) ; 15 sonatas for violin and bass, 
 op. 2 (ib.); do., op. 5 and op. 6 (ib.); Sona- 
 tas for violin, violoncello, and bass, op. 3 ; 
 Concertos for four parts, op. 7 (ib. ) ; Sona- 
 tas for violin and violoncello (ib.). — Fetis ; 
 Schilliug. 
 
 ALBINI, FRANCESCO MARIA, Italian 
 dramatic composer, contemporary. Works : 
 Uu giorno di quarautena, opera butfa, giv- 
 en at Bologna, Teatro Contavalli, 18G6 ; and 
 Lamberto Malatesta, opera. — Fetis, Supple- 
 ment, i. 10. 
 
 ALBINONI, TOMilASO, boru in Venice 
 in 1674, died there in 1745 (?). Dramatic 
 composer and violinist. No i)articulars of 
 his life are known. He wrote forty-two 
 ojieras, some vocal, and much instrumental 
 music, in which he showed greater talent 
 thau in his dramatic works. He was also 
 an excellent performer on the violin. Bach 
 took bass parts by Albinoui for j^ractice in 
 thorough bass and used many of his themes, 
 notably two from his Opera prima, for 
 fugues ; see Peters's edition of Bach's clavier 
 works ; one in A (No. 10, cahier 13), the 
 other in F-sharp minor (No. 5, cahier 3). 
 Works — Operas: Engelberta (conjointly 
 with Gasparini), given at Venice, 1690 ; Zeno- 
 bia, regina de' Palmireni, ib., Teatro de' SS. 
 Giovanni e Paolo, 1694 ; II prodigo dell' in- 
 nocenza, ib., ib., 1695 ; Zenoue, imperatore 
 d' Oriente, ib., Teatro di S. Cassiano, 1696 ; 
 Tigrane, re d' Armenia, ib., 1697 ; Radamisto, 
 
 ib., Teatro di Sant' Angiolo, 1G98 ; Primis- 
 lao I., re di Boemia, ib., S. Cassiano, 1698, 
 Vicenza, 1701, Udiue, 1704 ; L'ingratitu- 
 dine castigata, Venice, 1698 ; Diomede pn- 
 nito da Alcide ; L' inganno innocente, both 
 in Rome, 1701 ; L' arte in gara con 1' arte, 
 Venice, 1702 ; La fede tra gli ingauni, 
 Rome, 1707; Astarte, Venice, 1708; H tra- 
 dimento tradito, ib., Sant' Angiolo, 1709 ; 
 Ciro riconosciuto, Rome, 1710 ; Giustina, 
 Bologna, 1711 ; H tiranno Eroe, Venice, S. 
 Cassiano, 1711 ; Le gare generose, ib., 1712 ; 
 Amor di figlio uon conosciuto, 171G ; Eu- 
 mene, Rome, 1717; Cleomene, ib., 1718; II 
 Meleagro, Venice, 1718 ; Gli eccessi della 
 gelosia, Rome, 1722, then under the title of 
 Marianna, Venice, Sant' Angiolo, 1724 ; Er- 
 mingarda, Rome, 1723 ; Laodicea, Venice, 
 S. Mose, 1724 ; Scij)ione nelle Spagne, ib., 
 S. Samuele, 1724 ; Antigono tutore, 1724 ; 
 Didone abbandouata, Rome, 1725 ; Alciua 
 delusa da Ruggiero, 1725 ; II trionfo d' Ar- 
 mida, Venice, 1726 ; L' incostanza schernita, 
 Rome, 1727; I due rivali in amore, and 
 Griselda, ib., 1728 ; II concilio dei pianetti, 
 and L' infedeltS, delusa, ib., 1729 ; Statira, 
 Venice, Sant' Angiolo, 1730 ; Gli strata- 
 gemmi amorosi, ib., S. Mos6, 1730; Elenia, 
 1730 ; Ai'deliuda, 1732 ; Gli awenimenti di 
 Ruggiero, Venice, 1732 ; Candalide, ib., 
 1734; Artamene, ib., 1741. Other works: 
 Due e dieci souate a tre, op. 1 ; Siufonie a 
 sei e sette, op. 2 (Venice, 1700) ; Dieci e 
 due balletti, ossia sonate da camera a tre, 
 op. 3 ; 12 cantatas for a single voice, and 
 bass, op. 4 ; 12 concertos for 6 instru- 
 ments, op. 5 ; Trattenimenti da camera, con- 
 sisting of 12 cantatas for a single voice, 
 and bass, op. 6 ; do. for oboe and violin, 
 op. 7 ; 12 ballets for two violins, violon- 
 cello, and bass, op. 8 ; 12 concertos for 2 
 oboes, viola, violoncello, and organ, op. 9. 
 — F.'tis ; Mendel ; Spitta, i. 423. 
 
 ALBRECHT, JOHANN LORENZ, called 
 Magister Albrecht, boru at Giirmar, Thu- 
 ringia, Jan. 8, 1732, died at Miihlhausen in 
 1773. More especially a writer on music, 
 but comjjosed cantatas (1758), a Passion
 
 ALDIIECIIT 
 
 (1750), and exercises for pianoforte (1708). 
 — Allgem. (L Biogr., i. 321 ; Fetis ; Meudel. 
 
 ALBRECHT, JOHANN MATTHAUS, 
 boru at Osterbehringen, near Gotba, May 1, 
 1701, died at Frankfort in 1769. Cburcb 
 composer and renowned organist, jjiipil of 
 Kapellmeister Witt at Gotlia ; visited South 
 Germany and France to Lear the best or- 
 ganists, and f?ooii ranked witli tliem. He 
 became organist at St. Catherine's, Frank- 
 fort, in 1724, and at the Metropolitan 
 Clmrch of the Barefooted Friars in 172G. 
 He was distinguished also as a didactic 
 writer. Works : Cantatas for the twenty- 
 fourth Sunday after Pentecost (1758) ; Pas- 
 sion according to the Evangelists (Miihl- 
 hausen, 1759) ; Musikalische Aufmunterung 
 f (ir Anfiinger des Kliiviers (Augslnirg, 17G:5) ; 
 Musikalische Aufmunterung in kleinen Kla- 
 vierstiicken und Oden (Berlin, 1703) ; Con- 
 certos for pianoforte (unpublished). — ^len- 
 del ; Schilling. 
 
 ALBRECHTSBEEGER, JOHANN 
 GEORG, born at 
 Klosterneuburg, 
 near Vienna, Feb. 
 3, 1736, died in 
 Vienna, March 7, 
 1809. Composer of 
 church and cham- 
 ber music, contra- 
 puntist, organist of 
 the first rank, and 
 cue of the most 
 eminent theoreticians and teachers of mu- 
 sic. He was first instructed in his native 
 place by the parson Leopold Pittner, after- 
 wards pupil in Vienna of the court organ- 
 ist Mann. Having pursued Lis educational 
 studies at tlie Benedictine Abbej' of Mulk, 
 and at the Jesuits' Seminarj' in Vienna, 
 where Michael Haydn was his fellow stu- 
 dent, he became an organist, first at Raab, 
 Hungary, then at Maria-Taferl, finally at 
 Molk, where he remained twelve years, and, 
 under the choir dii-ector Kimmerling, stud- 
 ied the classical works of Caldara, Pergo- 
 lesi, Grauu, Hasse, Handel, Bach, and others. 
 
 After 1765 he taught a few years in the 
 family of a nobleman in Silesia, then in 
 Vienna, earning a scanty living, but soon 
 attracting attention by Lis organ playing, 
 which procured for him the position as Re- 
 gens cliori at the Carmelites. In 1772 ho 
 was appointed court organist, and in 1792 
 Kapellmeister at St. Stephen's Cathedral. 
 Member of Vienna Academy, 1772, of 
 Stockholm Academy, 1798. As a teacher 
 of counterpoint and composition lie was 
 considered the first of his day, and he num- 
 bered among Lis pupils most of the prom- 
 inent musicians of the following generation, 
 notably Beethoven (in 1794-95), Hummel, 
 Weigl, and Johanu Fuss. He left 261 works, 
 consisting of 43 masses, 43 graduates, 34 
 offertories, vespers, litanies, jwalnis, hymns, 
 motets, etc.; 6 oratorios (Die Pilgrime auf 
 Golgotha, Die Auffindung des Kreuzes, Ge- 
 Inirt Christi, Passion), 4 Te Deums, 4 sym- 
 phonies, a great deal of chamber music, 
 besides fugues and preludes for organ and 
 pianoforte ; of all these only 27, compris- 
 ing chamber and organ music, were printed. 
 The bulk of his manuscript bequest, 244 in 
 number, was acquired by Prince Nikolaus 
 Esterhiizy. A complete edition of his theo- 
 retical writings was published by his pujiil, 
 Iguatz von Seyfried : J. G. Albreehtsber- 
 ger's Siimmtliehe Schrifteu iiber General- 
 bass, Harmonie und Tonsetzkunst, etc. 
 (Vienna, Strauss, 1837), containing also a 
 
 biography and list of his works. — Allgem. 
 d. Biogr., i. 323 ; Allg. mus. Zeitg., xi. 445 ; 
 xxxi. 443 ; Fetis ; Mendel ; Schilling. 
 
 ALBRICI, VINCENZO, born in Rome, 
 June 26, 1631, died in Prague in 1696. 
 About 1660 he was maestro di cappella to 
 Queen Christina of Sweden at Stralsund, in 
 1664 to the Elector of Saxony at Dresden, 
 in 1680 organist of St. Thomas' Church at 
 Leipsic, and in 1682 director of music at 
 St. Augustine's, Prague. His highly es-
 
 ALBITMBLATT 
 
 teemed works were bought for the royal 
 library, Dresden, but perished iu the bom- 
 bardment of 17G0. Among those still pre- 
 served are : Te Deum for 2 choruses, and 
 small orchestra ; Kyrie for 8 voices ; Mass 
 for do. ; Symbolum NiciEum for 4 voices 
 and instruments ; The one hundred and 
 fiftieth psalm for do. — Fetis ; Mendel ; 
 Schilling. 
 
 ALBmiBLATT, BIN, for pianoforte, by 
 Richard Wagner, composed 1860, published 
 as supplement to No. -11 (1871) of Musika- 
 lisches Wochenblatt. It has been arranged 
 for orchestra by Reiclielt ; for violin and 
 orchestra by August "Wilhelmj ; for violon- 
 cello and orchestra b}' David Popper. — 
 Kastner, Wagner Katalog, 51. 
 
 ALBUMBLATTER (Fr., Feuillets d'al- 
 bum ; Album Leaves), by Robert Schumann, 
 a collection of twentj' short movements in 
 varied styles, for pianoforte, op. 124. Com- 
 posed in 1832-45 ; dedicated to Frau Alma 
 von Wasielewski. Published by F. W. Ar- 
 nold (Elberfeld, 1854). 
 
 ALBUM FUR DIE JUGEND (Album 
 for the Young), by Robert Schumann, a col- 
 lection of forty-three short movements iu 
 varied styles for the pianoforte, op. 68. 
 Composed iu 1848 ; ijublished by J. Schu- 
 berth & Co. (Leijisic and New York, 1849- 
 51). 
 
 ALCESTE (Alcestis) ; or, Le triomphe 
 dAlcide (The Triumph of Hercules). Lyric 
 tragedy iu live acts, text by Quinault, music 
 by Lulli, first represented iu the theatre 
 of the Palais Royal, Paris, Jan. 19, 1674. 
 The plot, derived fi'om the "Alcestis" of 
 Eui-ijiides, turns on the restoration to life, 
 through the efforts of Hercules, who strug- 
 gles with and overcomes Death, of Alcestis, 
 who had died in place of her husband, Ad- 
 metus. King of Pheric. This ojjera was al- 
 ways successful until eclipsed by Gluck's 
 work. Hanslick, Moderne Oper, 23. 
 
 ALCESTE, tragic opera iu three acts, 
 Italian text by Calzabigi, music by Gluck, 
 first represented iu Vienna, Dec. 16, 17G6. 
 The score waa published iu Vienna iu 
 
 1769, with a dedicatory epistle to the 
 Archducliess Leopold, explaining the com- 
 poser's intention iu its composition, which 
 was to produce an opera in which the mu- 
 sic should be perfectly adapted to the 
 drama, and should faithfully interpret each 
 situation without undue ornamentation. 
 The new style was received with galling 
 criticism, and in 1774 Gluck removed to 
 Paris, where his work, with its text trans- 
 lated and adapted for the French stage by 
 the Bailli du Rollet, was produced at the 
 Academic de Musique, April 23, 1776. Al- 
 ceste was revived in Paris iu 1861, with 
 Pauline Viardot, and in 1866, with Mile 
 Battu in the title role. Among its best 
 numbers are : "Non, ce n'est i^oint uu sa- 
 crifice," "Divinites du Styx," and, "Ah! 
 divinites implacables ! " Other settings are 
 by Strungk, Hamburg, 1682 ; by Antonio 
 Draghi, Vienna, 1699 ; by Schurmaun, 
 Hamburg, 1719 ; by Lamjsugnani, Lon- 
 don, 1745 ; by Schweitzer, text by Wie- 
 laud, Leij)sic, 1774 ; by Gresnick, London, 
 1786 ; by Portogallo, Venice, 1799 ; by El- 
 wart, text by Hij^polyte Lucas, Paris, 1847. 
 —Marx, Gluck u. d. Oper, i. 337 ; Des- 
 noiresterres, Gluck et Picciuui, 62, 129. 
 
 ALCESTE, Handel. See Choice of Her- 
 cules. 
 
 ALCHYlVnST, DER (The Alchemist). 
 German opera, text by Pfeiffer, adapted 
 from Washington Irving's story of the 
 same title, music by Sjjohr ; first jierformed 
 at Cassel, July 28, 1830, the elector's 
 birthday. It had but a temporary suc- 
 cess. Other operas by this title : By 
 Johann Andre, Berlin, about 1765 ; by 
 Schuster, Vienna, 1785 ; by Hoffmeister, 
 about 1790 ; L' Alchimista, Italian opera, 
 by Laui-o Rossi, Naples, 1853 ; L'Alchi- 
 miste, French opera in one act, by Leon 
 Paliard, Lyons, 1855 
 
 ALCIBIADE (Alcibiades), Italian opera 
 by Marc Antonio Ziaui, Venice, 1680 ; by 
 Ballarotti (with Gasparini), Venice, 1699 ; 
 by Stefi'ani, text by Orteusio Mauro, Bruns- 
 wick, 1696, Hamburg, 1697 ; by Cordelia, 
 
 30
 
 ALCIDE 
 
 Venice, 1825 ; bj- C. L. J. Hanssens, test 
 by Scribe, Brussels, 182'J. Alcibiade soli- 
 taire, French opera in two acts, text by Cu- 
 velier and Barouillet, music by Louis Alex- 
 andre Picciuui, was given at the O^x-ra, 
 Paris, March 8, 182-4. 
 
 ALCIDE AL BIVIO, Italian opera, text 
 by Metastasio, music by Paisieho, repre- 
 sented at St. Petersburg about 1770. Ital- 
 ian opera, same title, music by Eighiui, Cob- 
 leutz, 1789. 
 
 ALCIDES. See Choice of Hercules. 
 
 ALCINA, Italian opera, text by Antonio 
 Marchi, music by Handel, represented at 
 Covent Garden Theatre, London, April 16, 
 1735. The MS. is dated at the end, April 
 8, 1735. Alciiia, a character in Boiardo's 
 "Orlando lunamorato," and in Ariosto's 
 " Orlando Furioso," is a kind of Circe, who 
 enjoys her lovers for a time in her en- 
 chanted garden, and then metamorphoses 
 them into trees, wild beasts, etc. — Rock- 
 stro, Handel, 191 ; Schojlcher, Handel, 176. 
 
 ALCOCK, JOHN, born in London, April 
 11, 1715, died at Lich- 
 field, March, 1806. 
 Organist ; pupil of 
 Stanley. He was chor- 
 ister of St Paul's Ca- 
 thedral in 1722 ; or- 
 ganist of St. Andrew's, 
 Plymouth, in 1738, of 
 St. Lawrence's, Head- 
 ing, in 1742, and of 
 Lichfield Cathedral in 1749, when ho was 
 also master of choristers and lay vicar ; in 
 1760 he resigned all positions but thatof lay 
 vicar. He received fi-om Oxford the degree 
 of Mus. B. in 1755, and Mus. D. in 1761. 
 Works : Six Suites of Lessons for the 
 Haqisichord, Twelve Songs (Plymouth), 
 Six Concertos, Collection of Psalms, Hymns, 
 and Anthems (Reading) ; Morning and 
 Evening Service in E minor (1753) ; 
 Twenty-six Anthems, and a Burial Service 
 (1771); a book of glees, Harmonia Festi 
 (1790). He edited a collection of psalm 
 tunes, arranged for four voices, called Har- 
 
 mony of Sound. Hail, ever pleasing Soli- 
 tude, a glee, gained a medal at the Catch 
 Club in 1790. His son, John Alcock (Mus. 
 B., born in 1739, died in 1791), was or- 
 ganist of Preston, and comjjoser of anthems 
 in 1773-76. — Grove ; Fetis ; Mendel. 
 
 ALDAY, the younger, born at Perpignan 
 or at Avignon in 1764, died at Edinburgh 
 after 1806. Violinist, supposed pupil of 
 Viotti ; appeared with great success in the 
 Concerts spirituels in Paris until 1791, 
 when he went to England. In 1806 he 
 was called as musical director to Edin- 
 burgh. Works : First Concerto for violin 
 (Paris, Imbault) ; Fourth Concerto for vio- 
 lin (ib.) ; Second and Third Concertos for 
 violin (Paris, Sieber) ; Duos for two vio- 
 lins (Paris, Decombe) ; Melanges for two 
 violins (Paris, Leduc) ; Airs varies for violin 
 and viola (ib., Imbault) ; Trios for two vio- 
 lins and bass (London, Lavenu). His elder 
 brother, born in 1763, was also a viohnist, 
 though less distinguished ; played in the 
 Concert spirituel in 1783, and with his 
 brother in 1789, and settled at Lyons about 
 1795 as a music dealer. He composed : 
 Symphonie concertante for two violins (Am- 
 sterdam, Hummel) ; do. for two violins and 
 viola (Paris, Sieber) ; Quartets for violins, 
 viola, and bass (ib., Pleyel) ; Method for 
 the violin (Lyons, Cartoux). To one of the 
 brothers is due the music to the lyrical 
 drama GeneviOve de Brabant, given at the 
 Theatre Louvois, 1791. — Fetis ; do.. Sup- 
 plement, i. 10 ; Mendel ; Schilling. 
 
 ALDOVRANDINI, GIUSEPPE AN- 
 TONIO VINCENZO, born in Bologna 
 about l(i65. Dramatic composer, pupU of 
 Jacques Perti. He was a member of the 
 Accademia Filarmonica of Bologna in 1695, 
 and principe in 1702 ; honorary maestro 
 di cappella to the Duke of Mantua. Works 
 — Operas: Dafne, Gl' inganni amorosi sco- 
 perti in villa, both given at Bologna in 1696 ; 
 Ottaviano, Turin, 1697 ; Amor torna in 
 cinque al cinquanta, ovvero Nozz' dla Flip- 
 pa e d' Bedette, comic opera in Bolognese 
 patois, Bologna, 1699 ; L'orfano, Naples 
 
 31
 
 ALDKICH 
 
 carnival, 1699 ; La fortezza al cimento, 
 Venice, 1699 ; Le due Auguste, Bologna, 
 1700 ; Cesare in Alessandria, Naples, 
 1700 ; Semiramide, Genoa, 1701 ; Pirro, 
 Venice, 1704 ; I tre rivali al soglio, ib., 
 1711 ; an oratorio, S. Sigismondo (1704) ; 
 cburcli music, consisting of three collec- 
 tions of motets (Bologna, 1701-1703) ; so- 
 natas for three parts, op. 5 (Amsterdam). — 
 Fetis. 
 
 ALDRICH, HENRY, born at Westmin- 
 ster in 1647, died 
 in Oxford, Dec. 
 14, 1710. He went 
 from Westminster 
 School to Christ 
 Church College, Ox- 
 ford, of which he be- 
 came A.M. in 1G69, 
 Canon in February, 
 1681, D.D. ill the fol- 
 lowing May, and Dean in 1689. He ad- 
 vanced the study and progress of church 
 music ill his college and cathedral, con- 
 tributing services and about fifty anthems, 
 original and adapted from Italian compos- 
 ers. They are to be found in the collec- 
 tions of Ely, Tudway, Christ Church MSS., 
 Boyce, Ai'nold, and Page. He bequeathed 
 to his college a large musical library con- 
 taining the works of Palestrina, Carissinii, 
 Bassani, Graziani, and other Italian com- 
 posers. His works include Morning and 
 Evening Service in G (Boyce), do. in A 
 (Arnold), and several catches. Hark, the 
 Bonny Christ Church Bolls, being one of 
 the most popular. — Barrett, English Church 
 Composers, 85 ; Fetis ; Grove ; Harmonicon 
 (1832), 95. 
 
 ALESSANDRI, FELICE, born in Rome 
 in 1742, died after 1791. Dramatic com- 
 poser and harpsichord player ; pupil of 
 the Conservatorio, Naples. When young 
 he went to Turin as harpsichord player 
 and composer, and subsequently spent 
 four years in Paris, writing for the Con- 
 certs Spirituels. On his return to Italy in 
 1767 he brought out several operas, and 
 
 afterwards visited the principal cities of 
 Europe. In 1769 he was in London, where 
 he brought out several operas ; in 1773 in 
 Dresden, in 1774 in Italy, in 1775 in Lou- 
 don again, and in 1778-86 in Italy. He 
 went to Russia in 1786, but was unsuccess- 
 ful there, and returned to Italy in 1788. 
 In 1789 he was in Berlin, where he re- 
 mained until 1792, as Kapellmeister to the 
 king. His II ritoruo d' Ulisse, given there 
 in 1790, was very successful ; but his opera 
 buffa. La com23agnia d' oj)era in Nanchino, 
 a satire on the cabals of the Theatre Royal, 
 was denounced by the critics, his opera of 
 Dario was hissed in 1791, and such dis- 
 putes and jealousies arose that he was dis- 
 missed from the service of the king, after 
 which nothing is known of him. Works — 
 Operas : Ezio, given at Verona, 1767 ; II 
 matrimonio per concorso, Vienna, 1767 ; 
 Argentino, ib., 1768 ; La mogiie fedele, 
 London, 1769 ; II re alia caccia, ib., 1769 ; 
 L'amore soldato, Dresden, 1773 ; Creso, 
 Pavia, 1774 ; La sjiosa persiana, London, 
 1775 ; La novita, ib., 1775 ; La contadina 
 (with Sacchini), ib., 1775 ; Calliroe, Milan, 
 1778 ; Venere in Cij)ro, Milan, at the carni- 
 val, 1779 ; Attalo, Florence, 1780 ; II vec- 
 chio geloso, Milan, 1781 ; II marito geloso, 
 Leghorn, 1781 ; Demofoonte, Padua, 1783 ; 
 Ai-taserse, Naples, 1784 ; I iiuntigli gelosi, 
 Palermo, 1784 ; I due fratelli, Cassel, 1785 ; 
 La finta priucipessa, Ferrara, 1786 ; Pappa 
 Mosca, Vienna, 1788 ; II ritorno d' Ulisse, 
 Berlin, 1790 ; La compagnia d' opera in 
 Nanchino, Potsdam, 1788 ; Dario, Berlin, 
 1791.— Fctis ; Mendel. 
 
 ALESSANDRI, GENNARO D', born at 
 Naples in 1717, died (?). Dramatic com- 
 poser ; author of several operas, among 
 which is Ottone, given in Venice, Teatro di 
 San Giovanni Crisostomo, 1740. — Fetis. 
 
 ALESSANDRO, Italian opera, in three 
 acts, music by Handel, represented at the 
 King's Theatre, London, May 5, 1726. The 
 principal parts were sung by Signore Faus- 
 tina and Cuzzoni, and by Signor Senesino. 
 It was a success, and ran imtil the close of
 
 ALESSAXDRO 
 
 the season, June 7, 1726. It was repro- 
 duced in 1743 under the title of Roxaua ; 
 or, Alexander in India. The MS. is in 
 Buckingham Palace. Oi^eras of the same 
 title have been written by Duni, given in 
 Italy, 1736 ; Leo, Naples, 1741 ; Himmel, 
 St. Petersburg, 1799. Alexander, German 
 opera, text by Schikaneder, music by 
 Franz Tayber, given in Vienna, June 13, 
 1800. — Kockstro, Handel, 147 ; Schcelcher, 
 Handel, 75 ; Chrysander, H. 145. 
 
 ALESSANDRO IN EFESO (Alexan- 
 der in Ephesus), Italian opera, music by 
 Giacomo Tritto, represented at Mantua, 
 1804 ; by Marinelli, Milan, 1810 ; Alexan- 
 der in Ephesus, German ojjera seria, music 
 by Lindpaintner, Stuttgart, about 1815. 
 
 " ALESSANDRO NELL' INDIE (Alex- 
 ander iu India), Italian opera in three acts, 
 text by Metastasio, first set to music 
 by Vinci, and represented at the Teatro 
 delle Dame, Rome, Dec. 26, 1729. Subject, 
 the meeting of Alexander the Great with 
 the Indian king Porus. Scene, on the 
 banks of the Hydaspes. Characters repre- 
 sented : Alessandro, Poro, Cleofide, Erisse- 
 na, Gandarte, Timagene. The libretto has 
 been set to music also by Porjiora, Dresden, 
 about 1730 ; Johauu Adolphe Hasse, Dres- 
 den, 1731 ; Manciui, Venice, 1732 ; Bioni, 
 Breslau, 1733 ; Scliiassi, Bologna, 1734 ; 
 Pescetti, Venice, 1740 ; Araja, St. Peters- 
 burg, 1740 ; Leo, Rome, 1741 ; Graun, Ber- 
 lin, 1744 ; Gluck, Turin, 1745 ; Galuppi, 
 Vienna, 1749 ; Perez, Genoa, 1751, Lisbon, 
 1755 ; Latilla, 1753 ; Jommelli, Stuttgart, 
 1757 ; Scolari, Venice, 1758 ; Piccinui, 
 Rome, 1758, Naples (new music), 1775 ; 
 Holzbauer, Milan, 1759 ; Gioacchiuo Coc- 
 chi, London, 1761 ; Majo, Naples, 1767 ; 
 Naumann, Venice, 1768 ; Sacchini, Venice, 
 1768, Turin (new music), about 1770 ; Caba- 
 lone, Naples, 1770 ; Bertoni, 1770 ; Paisiello, 
 Modena, 1775 ; Domenico Corri, London, 
 1774; Kozeluch, Prague, 1774; Friedrich 
 Rust, 1775 ; Mortellari, 1779 ; Cimarosa, 
 Rome, 1781; Cherubini, Mantua, 1784 ; Gres- 
 nick, London, 1785 ; Chiavacchi, Milan, 
 
 1786 ; Caruso, Rome, 1787, Venice, 1791 ; Bi- 
 anchi, Brescia, 1788 ; Tarchi, London, 1789, 
 Turin, 1793 ; Himmel, St. Petersburg, 1799 ; 
 Bomtempo, about 1800 ; Pacini, Naples, 
 1824. Alexandre aux ludes, tragedy, ojjera 
 in three acts, text by Morel, founded on the 
 "Alexandre" of Racine, music by Mcreaux, 
 was represented at the Opera, Paris, Aug. 
 26, 1783 ; Alexander am Indus, Russian 
 opera, by Sigismoud Neukomm, St. Peters- 
 burg, 1805 ; and Alessandro nell' Indie, bal- 
 let, by Peter Lichtenthal, Milan, 1820. 
 
 ALESSANDRO, LUIGI, born at Siena in 
 1736, died there, Jan. 29, 1794. Church 
 composer, became maestro di cappella at 
 the cathedral of his native citj' iu 1786. 
 He wrote manj' masses, vespers, and motets, 
 which are esteemed in Italy. — Fetis. 
 
 ALESSANDRO ROJIANO, lived in the 
 latter half of the 1 6tli century. Viola player ; 
 called della Viola from his facility on that 
 instrument. In 1560 he was chorister of 
 the Pojie's chapel, Rome. He composed 
 motets and songs, among them a collection 
 of Cauzoni alia napoletana for five voices 
 and music for the viola and other instru- 
 ments. Some of his MSS. are in the Royal 
 Library, Munich. — Fetis ; Mendel. 
 
 ALESSANDRO SEVERO (Alexander 
 Severus), Italian opera, music by Antonio 
 Lotti, represented at Venice, 1717 ; by Chel- 
 leri, Brescia, 1718 ; by Sarri, Naples, 1719 ; 
 Bioni, Breslau, 1733 ; Bonno, serenata, Vi- 
 enna, 1737 ; by Bernasconi, Venice, 1741 ; 
 and by Sacchini, Venice, 1770. Alexander 
 Severus, pasticcio, by Handel, Covent Gar- 
 den Theatre, London, Feb. 25, 1738. The 
 score was composed entirely of his own old 
 music, with a special overture, which be- 
 came very popular. 
 
 ALESSANDRO STRADELL.\. See 
 StradeUa. 
 
 ALESSANDRO E TIMOTEO (Alexander 
 and Timotheus), Italian opera, music by 
 Sarti, represented in Venice in 1782 ; rear- 
 ranged by Perotti, London, 1800. 
 
 ALESSIO, D', Italian dramatic 
 
 composer, contemporary. He brought out
 
 ALESSIO 
 
 two opere buffe : Elena in Troja, and Le 
 figlie di Bianca, at Naples, Teatro Polite- 
 ama, iu 1875. — Fetis, Supplement, i. 11. 
 
 ALEXANDER. See Alessandro. 
 
 ALEXANDER BALUS, oratorio, text by 
 Dr. Thomas Morell, music by Handel, first 
 performed at Coveut Garden, London, March 
 9, ITrtS. Alexander Balas (as it should be 
 written). King of Syria from 150 to 14:6 b.c , 
 was a pretended son of Antiochus Ei^ipha- 
 nes, who defeated Demetrius Soter and 
 took possession of his throne. The score 
 of the oratorio, in Buckingham Palace, is 
 dated at the beginning June 1, 1747, and at 
 the end July 4, 1747. Characters represent- 
 ed : Alexander Balus, Ptolomee, Jonathan, 
 Cleopatra, Aspasia, Chorus of Israelites, 
 Chorus of Asiatics. Published by the Hiln- 
 del-Gesellschaft (Leijiic, 1870). — Rockstro, 
 Handel, 287 ; Schcelscher, Handel, 308. 
 
 ALEXANDER, JOHANN (Joseph ?), lived 
 at Duisburg, Rhenish Prussia, in the latter 
 part of the 18th, and beginning of the 19th, 
 centuries. Violoncellist and instrumental 
 composer, etc. His variations for the vio- 
 loncello on the air, O mein lieber ; and an 
 arietta on the German air, Mich fliehen 
 meine Freuden, were popular. He was the 
 author of : Anweisung fiir das Violoncell 
 (Leipsic, 1801).— Fetis ; Mendel. 
 
 ALEXANDER'S FEAST, ode, words by 
 Dryden, music by Handel, first performed 
 at Covent Garden Theatre, London, Feb. 
 19, 1736. The jDoem, the second of Dry- 
 den's odes for St. Cecilia's Day, " Alexander's 
 Feast ; or. The Power of Music," was rear- 
 ranged with additions by Newburgh Ham- 
 ilton. The score is dated at the beginning, 
 Jan. 5, 1736, and at the end, Jan. 17, 1736. 
 The principal singers were Siguora Strada, 
 Miss Young (afterwards Mrs. Dr. Arne), 
 John Beard, and Erard, a basso. It was 
 published by Walsh in 1738, and by the 
 Handel Gesellschaft (Leipsic, 1862). In 
 1790 Mozart wrote some additional accom- 
 paniments to the ode for Baron von Swieten, 
 Vienna. John Clayton had attempted in 
 1711 to write music to Dryden's ode, but 
 
 failed through his incapacity for such a 
 task. — Rockstro, Handel, 203 ; Schcelcher, 
 Handel, 179 ; Crysander, H. 417. 
 
 ALEXANDRE A BABYLONE (Alexan- 
 der at Babylon), French opera in three acts, 
 music by Lesueur, received at the Opera, 
 Paris, in 1823, but never rejiresented. 
 
 ALEXANDRE, CHARLES GUIL- 
 LAUISIE, flourished in Paris about the 
 middle of the 18th century. Dramatic com- 
 poser, wrote the operas comiques : Georget 
 et Georgette, given iu Paris at the Theatre 
 de la Foire Saint Laurent, 1761 ; Le petit 
 maitre en province, ib.. Theatre Italien, 
 1765 ; L'esj^rit du jour, ib., 1767 ; Music 
 for the two spectacular pieces, Le triomphe 
 de I'amour conjugal, and La conquete du 
 Mogol, performed at the Theatre du Palais 
 des TuUIeries, 1755 and 1756. Among 
 his instrumental music are sis duets for 
 two violins, op. 8 (Paris, 1775). — Fetis, Sup- 
 plement, i. 11. 
 
 ALFONSO UND ESTRELLA, giand op- 
 era iu three acts, text by Franz von Schober, 
 music by Franz Schubert, written in 1821- 
 
 23. It remained unre^jresented vintil Juue 
 
 24, 1854, twenty-six j-ears after Schubert's 
 death, wheu it was given a single perform- 
 ance, under the direction of Liszt, at the 
 court theatre, Weimar, on the birthday of 
 the Grand Duke. In 1879 Kajsellmeister 
 Johann Fuchs, of the court ojaera, Vienna, 
 rewrote the libretto and shortened the 
 work, and it was produced at Cai-lsruhe 
 with gi-eat success, March 22, 1881 ; and in 
 Vienna, April 15, 1882. The scene of the 
 libretto is iu Sjjaiu, where Troila, King of 
 Leon, deprived of his throne by Mauregato, 
 lives in a secluded valley with his son Al- 
 fonso. Estrella, daughter of Mauregato, is 
 beloved by Adolfo, her father's generalis- 
 simo, but meets Alfonso, while hunting, and 
 loves him. Alfonso defeats in battle Adolfo, 
 who has rebelled, saves Mauregato, wins 
 Estrella, and receives the kingdom from 
 his father, Troila, who has himself been re- 
 instated by Mauregato. The original cast 
 (1854) was as follows : 
 
 84
 
 ALFEED 
 
 Troila Herr Milde. 
 
 Alfouso Herr Liebert. 
 
 Adolfo Herr Mayrliofer. 
 
 Mauregato Herr HOfer. 
 
 Estrella Frau Milde. 
 
 The original score, without the overture, is 
 in the library of the Musikverein, Vienna. 
 The overture, which is dated December, 
 1823, belongs to Herr Spina, who published 
 it in 1867. A bass and a tenor air have 
 also been published, with pianoforte ac- 
 comj)animent, by Diabelli (1832). — Hellborn 
 (Coleridge), i. 234 ; ii. 293 ; Grove, iii. 335 ; 
 Leipsic, Siguale (1882), 465. 
 
 ALFRED THE GREAT, King of Eng- 
 land, has furnished the subject of the fol- 
 lowing works : Alfred, English masque, text 
 by Thomson, and Mallet, music by Thomas 
 Augustine Arne (see Rule Britannia), Drury 
 Lane, London, Aug. 14, 1740 ; do., same 
 text, music by Charles Burney, London, 
 1759 ; Alfred, lyric tragedy, by Pitter- 
 lin, Magdeburg, 1797 ; Alfredo il Grande, 
 music by Donizetti, Venice, 1823 ; Alfred, 
 grand opera, text by Kotzebue, music 
 by Wolfram, Dresden, 1826 ; Alfred der 
 Grosse, German heroic opera iu two acts, 
 text by Korner, music by Johanu Philipp 
 Schmidt, Hamburg, about 1840 ; opera in 
 three acts, music by Reuling, Vienna, 1840 ; 
 German opera, by Maurice Chemin-Petit, 
 Halle, 1858 ; Konig Alfred, three acts, text 
 by Logan, music by Joachim Raff, Weimar, 
 March 9, 1851 ; Alfred, King of Wessex, 
 English opera, by Raymond Stainford, Liv- 
 erpool, 1864. 
 
 ALGHISI (Algisi), PARIS FRANCESCO, 
 born at Brescia, Italy, June 2, 1666, died 
 there, March 29, 1743. Dramatic composer 
 and organist at the cathedral of his native 
 city ; lived for some time in Venice, where, 
 in 1690, he brought out two operas : 
 L' amor di Curzio per la patria, and R 
 trionfo delta continenza, at the Teatro SS. 
 Giovanni e Paolo. — Fetis. 
 
 ALI BABA (or, Les quarante voleurs ; 
 The Forty Thieves), opera in four acts and 
 
 a jJrologue, text by Scribe and Melesville, 
 music by Cherubini, represented at the 
 Aeadomie Royale de Musique, Paris, July 
 22, 1833. The libretto, the subject of 
 which is fi'om the " Ai-abian Nights," is but 
 a rearrangement of Koukourgi, an unrep- 
 resented opera written by Cherubini in 
 1793 (text by Duveyrier-Melesville pere), 
 with the music adajjted and partly rewrit- 
 ten. The overture was probably new ; and 
 the composer introduced into the work the 
 march from Faniska and the bacchanale 
 from his ballet Achille a Sciros. A German 
 Schauspiel of the same title, text by Th. 
 Hell, music by Marschner, was given about 
 1822. Ali Baba, operetta, music by Charles 
 Lecocq, given at the Alhambra, Brussels, 
 Nov. 11, 1887. 
 
 ALI PASCHA VON JANINA (Ali Pa- 
 sha of Janina), opera by Lortzing, libretto 
 founded on the story of the celebrated des- 
 pot of Albania, first rejoresented at Cologne 
 in 1824. This, Lortzing's first opera, was 
 produced with success in the chief cities of 
 German}-. 
 
 ALIANI, FRANCESCO, born at Piacen- 
 za, died therein May, 1812. Violoncellist ; 
 first instructed by his father, a violinist, 
 then pupil of Giusejiise Rovelli at Parma. 
 After five years he returned home, and be- 
 came first violoncellist in the orchestras of 
 the church and the theatre. He has pub- 
 lished three books of duets for two violon- 
 cellos. His son Luigi, born at Piacenza in 
 1789, was a violinist of distinction. — Fetis ; 
 Mendel. 
 
 ALICE DE NEVERS, opera fantasy, 
 original plot, text and music by Herve, 
 represented at the Folies Dramatiques, 
 Paris, April 22, 1875. Sung by Herve, 
 Mme Desclauzas, and Mile Perrier. 
 
 ALIDIA. See Dernier jour de Pompeii. 
 
 ALINE, REINE DE GOLCONDE 
 (Alina, Queen of Golconda), opera ballet in 
 three acts, text by Sedaine, music by Mon- 
 signy, represented at the Comedie Itali- 
 enne, Paris, April 15, 1766. The subject, 
 which is from a story by Boufflers, has 
 
 3B
 
 ALINOVI 
 
 been treated also by : Eauzzini in La re- 
 gina di Golconda, Loudon, 1775 ; Uttini, 
 Stockholm, 1775; Martyu y Solar, Flor- 
 ence, 1781 ; Johaun A. P. Schulz, Coijen- 
 hagen, 1789 ; Berton, opcra-comique iu 
 three acts, text by Vial and Favieres, The- 
 atre Feydeau, Paris, Sept. 2, 1803, ar- 
 ranged as a ballet by G. Dugazou, Aca- 
 demie Koyale, Oct. 1, 1823, and Opei'a 
 National, Nov. 16, 1847; Boieldieu, St. 
 Petersburg, March 5, 1804 ; Karl Blum, 
 Aline, ballet, Vienna, 1814 ; Donizetti, 
 Alina, regiua di Golconda, text b}' Ko- 
 mani, Genoa, 1828, St. Petersburg, 1851, 
 Paris, March 10, 1870 ; Braga, Naples, 
 1853 ; Vizentini, Alina, opera semi-seria, 
 Verona, 1878. 
 
 ALINOVI, GIUSEPPE, born at Parma, 
 Sept. 27, 1790, died (?). Instrumental 
 and vocal composer, pupil of Francesco 
 Fortuuati ; devoted himself to teaching 
 vocal music and pianoforte. The manu- 
 scripts of his numerous compositions, sa- 
 cred and profane, are to be found iu nearlj' 
 all the archives of Italy. He published : 
 Divertimento per corno con accomp. di 
 grande orchestra (Milau, Ricordi) ; lutro- 
 duzione e tema origiuale con variazioni 
 per il pianoforte (ib.). — Fetis. 
 
 ALIPKANDI, BERNARDO, born in 
 Tuscauy in the beginning of 18th century. 
 In 1730 he was composer at the court of 
 Bavaria, and later director of the orchestra 
 at Munich. Works— Operas : Mithridate, 
 given at Munich iu 1738 ; Iphigenie, ib., 
 1739 ; Semiramide, ib., 1740. His son 
 Bernardo, who was first violoncellist in the 
 Munich orchestra about 1780, composed 
 for the violoncello and probably for the 
 viola di gamba. — Fctis ; Mendel. 
 
 ALKAN, CHARLES HENRI VALEN- 
 TIN, born iu Paris iu December, 1813 ; 
 known as Alkan aine. Pianist ; pupil of 
 the Conservatoire, Paris. He won the first 
 prize of solfege when only seven years old, 
 when he also played on the violin iu public 
 an air varii' by Rode. He was the pupil of 
 Zimmermaun on the pianoforte, and took 
 
 the first prize in 1823 ; of Dourlen in har- 
 mony, winning the first prize in 1826 ; and 
 he obtained honorable mention at the Cou- 
 cours de ITnstitut for fugue and counter- 
 point iu 1831. After a visit to London in 
 1833, he settled in Paris as a teacher of 
 the pianoforte. By him are seventy-two 
 published works, including transcriptions, 
 songs, pieces caracteristiques, two con- 
 certos, sonatas, duos, a trio, etudes, and 
 cajjrices. Among them are : Trois grandes 
 etudes ; Fantaisie pour la main gauche 
 seule ; Introduction et Finale pour la main 
 droite seule ; Etude a mouvement sembla- 
 ble et perpetuel pour les deux mains ; 12 
 etudes dans les majeurs, op. 35 ; 12 etudes 
 dans les mineurs, op. 39, etc. His brother, 
 Napoleon Morhange (born in Paris, Feb. 
 2, 1826), was a pupil of Adam and of Zim- 
 mermaun at the Conservatoire, and iu 1850 
 won the second prize of the Institut de 
 France for his cantata Emma et Eginhard. 
 He has published several works for the 
 j)ianoforte. — Grove ; Fetis ; Mendel. 
 
 ALL THE WORLD OVER. See 3Iari- 
 tana. 
 
 ALLA POMPA CHE SI APPRESTA. 
 See A'ida. 
 
 ALLCHIN, WILLIAM THOMAS HOW- 
 ELL, boru iu England in 1843, died at Ox- 
 ford, Jan. 8, 1863. Organist of St. John's 
 College, Oxford, from 1875. Works : The 
 Rebellion of Korah, sacred dramatic can- 
 tata, performed 1869 ; Songs. 
 
 ALLEGRI, DOMENICO, born in Rome, 
 second half of 16th century, died (?). Ma- 
 estro di cajijaella iu the Tiberiau Basilica 
 in 1610-1629. He was one of the first 
 composers who wrote obligato instrumental 
 accompaniments to choral compositions. His 
 first attempt at this style of writing was in 
 his work ; Modi quos expressit in choris 
 (Rome, 1617). He was a composer of sec- 
 ondary importance, and one of those who 
 sought to revive the old style of vocal writ- 
 ing, " ad voces sequales." An " Euge, serve 
 bone " for twelve tenors, a " Beatus ille 
 servus " for twelve basses, and a sixteen
 
 ALLEGRI 
 
 voice mass of his are in the Santini collec- 
 tion in Rome. — Ambros, iv. 107 ; Fetis. 
 
 ALLEGRI, FILIPPO, born at Florence, 
 July 18, 17G8, died (?). Church composer, 
 pupil of Luigi Bracciiii ; became j)rofessor 
 lit the seminary, and maestro di cappella at 
 San Michele. Among his compositions are : 
 Requiem Mass for four voices and grand or- 
 chestra ; O Salutaris hostia, for soprano and 
 bass ; Verbum caro factum est, motet for 
 tenor and bass. — Fetis ; Mendel. 
 
 ALLEGRI, GREGORIO, born in Rome 
 in 1560, died 
 there, Feb. 18, 
 1652. He was of 
 the same family 
 as Antonio Alle- 
 gri, the painter, 
 surnamed "11 
 Correggio." A pu- 
 pil of Giovanni 
 Maria Nanini, he 
 reached the age 
 of manhood just 
 as Palestriua's fame was at its height. He 
 was then a beneficed priest attached to the 
 cathedral at Fermo. On Dec. 6, 1629, Ur- 
 ban Vni. called him to Rome to enter the 
 college of pajjal singers, where he remained 
 until his death. He was buried in S. 
 Maria in Vallicella, in the tomb appropriated 
 to the college of singers of the Vatican 
 choir. Allegri was one of the shining 
 lights of the great Roman School, some- 
 times called the Palestrina School. If his 
 music shows, in general, all the purity of 
 style, objective beauty, and elevation of 
 religious sentiment for which the school is 
 noted, the subjective emotional element of- 
 ten asserts itself. In Allegri the use of 
 dissonances for the expression of agonized 
 grief is more frequent, and plainly more 
 intentional, than in Palestrina and Nanini ; 
 nor are other quasi-picturesque traits 
 wanting. In this sense, Allegri may be 
 looked upon as a sort of connecting link 
 between the so-called "great" (Roman) 
 period of Italian music, and the ensuing 
 
 " beautiful " (Neapolitan) period. His most 
 famous composition is his great Misei-ere 
 for two choruses, which is stiU sung in the 
 Sixtine Chapel on every Good Friday. His 
 published compositions are : II primo libro 
 di concerti a due, tre e quattro voci (Rome, 
 Soldi, 1618) ; II secondo libro di, etc. (ib., 
 1619) ; Gregorii Allegri Romani Firmanpe 
 ecclesife beneficiati motecta duarum, trium, 
 quatuor, quinque, sex vocum, liber primus 
 (ib., 1620) ; do., do., liber secundus, (ib., 
 1621) ; Egredimini et videte, for 2 sopranos 
 and tenor, in Fabio Coustantini's " Scelta di 
 motetti" (1618). A large number of works 
 in MS. are in the archives of S. Maria in 
 Vallicella, the Pontifical Chapel, the Collegio 
 Romano, and in the Library of the Abbate 
 Santini. The Altaemps collection, in the 
 Collegio Romano, contains several impor- 
 tant instrumental compositions. — Ambros, 
 iv. 90 ; Fetis ; Naumann (Ouseley), i. 512. 
 
 ALLEGRO, IL PENSEROSO ED IL 
 IMODERATO, L', text adapted from Milton 
 by Charles Jeunen.s, who added the third 
 part, nnisic by Handel, first produced at the 
 Lincoln's Inn Fields Theatre, London, Feb. 
 27, 1740. The score, in Buckingham Palace, 
 is dated at the beginning Jan. 19, 1740, and' 
 at tl)e end Feb. 4, 1740. Published by 
 Walsh, and by the Hiindel-Gesellschaft 
 (Leipsic, 1859). Robert Franz has supphed 
 the score with complete additional accom- 
 paniments. — Rockstro, Handel, 212 ; Schoel- 
 cher, Handel, 229 ; Chrysander, III. 112. 
 
 ALLEN, ALFRED BENJTUyilN, born at 
 Kingsland, Middlesex, England, Sept. 4, 
 1850, still living, 1888. Pianist, studied at 
 the London Academy of Music, 1868. 
 Works : Songs, orchestral and organ music, 
 and a secular cantata. 
 
 ALLEN, GEORGE BENJAjVIIN, born in 
 London, April 21, 1822, still living, 1888. 
 Dramatic composer, chorister at St. Martin's- 
 in-the Field, 18.30, in Westminister Abbey, 
 1832, at Armagh Cathedral, Ireland, 1843, 
 resierned in 1862, and became organist and 
 choirmaster of All Saints' Church at Ken- 
 sington ; aftei-wards organist at Toorak, 
 
 37
 
 ALLES 
 
 Melbourne, Australia, wliere he was also 
 conductor of Lj'ster's Ojjera Comi^any. He 
 organized an opera company with which he 
 travelled through Australia, New Zealand, 
 and India with great success ; and on his 
 return to England established a comedy 
 opera company. Works — Operas : Castle 
 Grim, given in London, 18G5 ; The Viking ; 
 The Wicklow Rose, Manchester, 1882 ; 2 
 others in manuscript. Cantatas : Harvest 
 Home, 1863; The Vintage of the Rhine, 
 1865; Ministering Angels, 1884; Te De- 
 ums ; Anthems ; Concerted vocal music ; 
 Songs. 
 
 ALLES riJHLT DER LIEBE FREU- 
 DEN. See ZauberflOff. 
 
 ALLEVI, GIUSEPPE, Italian composer 
 of the 17th century. He was maestro di 
 capisella of the cathedral at Piacenza ; au- 
 thor of three books of sacred music, the 
 second and third of which are entitled : 
 Composizioni sacre a due, tre, e quattro 
 voci, Missa jser li defonti a quattro a cap- 
 pella (Venice, Magni e Gardano, 16G2) ; 
 Terzo libro delle composizioni sacre, etc. 
 (Bologna, Monti, 1668).— Ft-tis. 
 
 ALLEZ DANS UN CLOiTRE. See 
 Hamlet. 
 
 ALLISON, HORTON CLARIDGE, born 
 in Loudon, July 25, 
 1846. Organist and 
 pianist, pupil at the 
 I Royal Academy of 
 Music of William 
 
 Henry Holmes, of 
 Macfarreu and of 
 Garcia, at the Con- 
 servatorium, Leipsic 
 (1862-65), of Plaidy, 
 Riehter, Reinecke, 
 Hauptmann, and Moscheles ; won the first 
 prize in 1865, and played at the Gewand- 
 haus Concerts during his stay at Leipsic. 
 Organist of St. James's, London, 1867 ; St. 
 Paul's, Bolton, 1868; St. Paul's, Kersal, 
 Manchester, 1869 ; appointed examiner, 
 li.A.M., 1875, and one of the Queen's ex- 
 aminers, 1884. He became A.R.A.M., 1862 ; 
 
 Mus. Bac, Cambridge, 1877 ; Mus. Doc, 
 Dublin, 1877; M.R.A.M., 1880. Works: 
 Sacred cantata for solo voices, chorus, and 
 orchestra (1871), performed in 1877 ; Can- 
 tata for do. (1874) ; Symphony for full or- 
 chestra (1875) ; Suite for do. ; Concerto for 
 pianoforte and orchestra (1870), performed 
 1877 ; Le Champ de Mars, war-march for 
 orchestra (1873) ; Sonata for organ (1865) ; 
 String quartet (1865) ; Concerto for two 
 pianofortes (1865), and other pieces and 
 studies for pianoforte ; The 110th, 117th, 
 and 134th psalms, for .solo voices, chorus, 
 and string orchestra (1876) ; Lord Wolse- 
 ley's March, 1883 ; Anthems ; Songs and 
 four-jjart songs. 
 
 ALLISON, RICHARD, English composer 
 and teacher of music in London in the 
 reign of Elizabeth. His name first occurs 
 as a contributor to Thomas Este's Whole 
 Booke of Psalms, 1592. He published The 
 Psalmes of David in Meter, 1599, a collection 
 of old church tunes harmonized by himself, 
 in four parts, with an accompaniment for 
 the lute, orpharyon, citterne, or bass-viol ; 
 also An Houre's Recreation in Musicke, apt 
 for Instruments and Voyces, 1606. 
 
 ALLMACHTGE JUNGFRAU. See 
 Tannhdusn: 
 
 ALL^MACHT'GER VATER. See Eienzi. 
 
 ALJUA L' INCANTATRICE, opera seria 
 in four acts, text bj- Saint-Georges, music 
 by Flotow, represented at the Theatre 
 Italien, Paris, April 9, 1878. This work is 
 the development of an older opera by the 
 same master, entitled L'Esclave de Ca- 
 moens, given in Paris in 1843, and later in 
 Vienna under the title of Indra. 
 
 ALMEIDA, FERNANDO D', born at 
 Lisbon, Portugal, about 1618, died at 
 Tbomar, March 21, 1660. Church com- 
 poser, one of the most distinguished pupils 
 of Duarte Lobo, and highly esteemed by 
 King John IV. of Portugal. He entered the 
 Order of Christ at Thomar in 1638. Of his 
 works only a folio volume in manuscript is 
 preserved, containing Lamentayoes, Respon- 
 sorias e Misereres das tres Ofiicias da
 
 ALMENEADER 
 
 Quaita, Quiuta e Sexta-feii-a da Semana 
 Sauta. — Vasconcellos. 
 
 ALMENEADER, KAKL, boru at Eons- 
 dorf, near Diisseldorf, Oct. 3, 178G, died at 
 Nassau, Sept. 14, 1843. Virtuoso ou the 
 bassoon, self taught on his instrument, and 
 jjupil of Beriihard Klein in theory ; became 
 instructor of the bassoon at the music 
 school in Cologne in 1810, bassoonist in 
 the theatre orchestra at Frankfort in 1812, 
 bandmaster of a regiment in 1815, and 
 of another in ISIG at Mainz, where he set- 
 tled, abandoning the military career. In 
 1820 he established at Cologne a factory 
 for wind instruments, but gave it up in 
 1822, and joined the Nassau court orches- 
 ti'a at Biebrich. He made improvements 
 in his instrument, and wrote a treatise on 
 it (Mainz, Schott,' 1824), also a complete 
 method for the bassoon (ib.). Works : 
 Concerto for bassoon (Mainz, Schott) ; Pot- 
 jjourri for bassoon and orchestra, op. 3 
 (ib.) ; Variations for do., with violin, viola, 
 and violoncello, op. 4 (ib.) ; Introduction 
 and variations for bassoon and quartet, op. 
 6 (Darmstadt, Alinsky) ; Duettinos for two 
 bassoons, op. 10, etc. In MS. : 3 concertos 
 for bassoon ; Fantasia for oboe, clarinet, 
 basset-horn, bassoon, and two horns. — 
 Fetis ; do., Supplement, i. 12; Mendel; 
 Schilling. 
 
 ALillEA, German opera in three acta, 
 text by Feustking, music by Handel, rep- 
 resented at Hamburg, Jan. 8, 1705. The 
 fuU title is : Der in Krohnen erlangte 
 Gliicks-Wechsel ; oder, Almira, KOuigin 
 von Castilien (The Vicissitudes of Eoyalty ; 
 or, Almira, Queen of Castile). The libretto 
 is a translation of an Italian opera, with a 
 similar title, music by Boniventi, given in 
 Venice in 1691. It was Handel's first dra- 
 matic work, and so aroused the jealousy 
 of Keiser that he wrote music to the same 
 subject, Hamburg, 1706. Handel's work 
 was revived in 1878, with changes by J. N. 
 Fuchs, on the two hundredth anniversary 
 of the Hamburg Theatre. The score was 
 piiuted in 1873 by the German Handel- 
 
 ' Gesellschaf t. — Eockstro, Handel, 37 ; Reiss- 
 mann, Handel, 17 ; Schcelcher, Handel, 12. 
 
 ALONZO ET COEA. See Cura. 
 
 ALOVISI (Aloysius), GIOVANNI BAT- 
 TISTA, born in Italy, second half of the 
 16th century, died (?). Church composer, 
 Minorite friar, and musical director at Bo- 
 logna. AVorks : Motecta festorum totius 
 anni, for four voices (Milan, 1587) ; Con- 
 textus musicus, motets for two, three, and 
 four voices (Venice, 162C) ; Cojlum har- 
 monicum, masses for four voices (ib., 1628) ; 
 Celestum Parnassum, motets, litanies, and 
 canticles for two, three, and four voices ; 
 Vellus aureum, litanies of the Virgin, for 
 from four to eight voices ; Corona stel- 
 larum, motets for four voices (Venice, 
 1037).— Fetis ; SchiUing. 
 
 ALQTJEN, (PETEE COENELIUS) 
 JOHANN D', boru at Arnsberg, West- 
 l^halia, in 1795, died at Millheim-on-the- 
 Ehine, Nov. 27, 1863. Pupil in Berlin of 
 Klein and Zelter, settled as a physician at 
 Miilheim, and composed many songs, which 
 became extremely popular, and rank among 
 the best of their kind. His younger 
 brother Franz, a ijiauist, was a pupil of 
 Ferdinand Eies, with whom he travelled 
 extensively. In 1827 he settled at Brussels 
 to teach music, but the revolution of 1830 
 induced him to go to London, where he 
 pubhshed several concertos, sonatas, and 
 other pieces for the ^jianoforte. — Fetis; 
 Mendel ; Schilling, Supplement. 
 
 ALS DU IN KiJHNEM SANGE. See 
 Tannhdi(f;c7: 
 
 ALSDOEF, WILHELM, born at KO- 
 nigsberg about 1804, still living, 1888. 
 Dramatic comjioser and director of music 
 at Eostock, where he produced his roman- 
 tic opera, Die Wiedertiiufer, oder Johann 
 von Leyden, in 1839. — Fetis. 
 
 ALSLEBEN, JULIUS, bom in Berlin, 
 March 24, 1832, still living, 1888. Pianist, 
 jjupil of Leuchtenberg and of Emil Zech on 
 the pianoforte, and of Dehn in composi- 
 tion. Having acquired great reputation as 
 a pianist, he began to teach, conducted sev-
 
 ALT 
 
 eral singing societies in 1856-58, and be- 
 came president of the Berlin Tonkiiustler 
 Verein in 1865. He is contributor to vari- 
 ous musical papers, edited for several years 
 the Harmonic, and published twelve lectures 
 on the history of music. In 1872 he re- 
 ceived the title of professor. Works : Ee- 
 quiem for six- and eight-part choruses a 
 cappeUa ; Liturgy ; Overtures ; Marches for 
 orchestra ; Sacred arias ; Songs and piano- 
 forte pieces, op. 1-21 (Mainz, Berlin, Ham- 
 burg). — Mendel; Eiemanu. 
 
 ALT, PHILLPP SAMUEL, born at Wei- 
 mar, Jan. 16, 1689, died there in 1750. 
 Composer of church and chamber music, 
 pupil of Dresen and Strattuer in singing, of 
 Heintze and Walther on the pianoforte, and 
 of the latter also in composition. After 
 studying lav? at Jena, he became organist at 
 St. James's Church in Weimar, where, at 
 the same time, he was attornej' to the court. 
 His compositions, still in MS., are preserved 
 in the grand-ducal library at Weimar. — 
 Mendel ; Schilling. 
 
 ALTAVILLA, FEANCESCO, born in 
 Italy, contemporary. Dramatic composer, 
 pupil of the Royal College of Music, Naples. 
 Works : II preventivo d'arresta, opera buflfa, 
 given at Naples, Teatro Nuovo, 1843 ; Lo 
 sposalizio di un principe, ib., 1816; I pirati 
 di Barratiera, ib., Teatro del Fondo, 18-16 ; 
 Pace figlia di amore, ib., about 184.7 ; I liti- 
 ganti, II debitore, ib., about 1818 ; Eaoul 
 di Crequi, Turin, about 1848. — P'etis. 
 
 ALTDEUTSCHEE SCHLACHTGE- 
 SANG (Old German Battle Song), for male 
 chorus unisono, with orchestra, by Julius 
 Eietz, op. 12. The unusual form and entire 
 conception of this work is proof of the com- 
 poser's talent and artistic judgment. Begin- 
 ning in the minor mode, the unison chorus 
 assumes wider propoi'tions later on, hj divis- 
 ion in parts, and ends in a brilliant major, 
 extolling the immortal fame of those slain 
 in battle. The harmony is simple and dig- 
 nified, the orchestration powerful and im- 
 pressive. — Allgem. raus. Zeitg., xlv. 678; 
 xlvii. 61. 
 
 ALTEMPS, DOM FAUSTINO, ItaUan 
 church composer of the 17th centurj'. He 
 was the son of Serafino Altemps, a musician 
 of Irish origin, who was chorister in the 
 Church of the Twelve Apostles ; and he be- 
 came a Benedictine monk in the Convent of 
 St. Calixtus, Eome. Works — Motets : As- 
 sumpta est, for soprano, bass, and organ ; 
 I Paradisi portte, for bass and organ ; Alle- 
 luia ; Beatus vir, for 4 voices and organ ; 
 Quasi Cedms, for 2 soprani, bass, and or- 
 gan ; Veni ad liberandum, for do. — FOtis. 
 
 ALTENBUEG, JOHANTy" EENEST, born 
 at Weisseufels, Prussian Saxony, 1734, died 
 at Bitterfeld in 1796. Virtuoso on the 
 trumpet, son and pupil of Johann Caspar 
 Altenburg, who was chamber-trumpeter to 
 the Duke of Weissenfels, and an artist of 
 great reputation. The son served as field 
 trumjjeter during the Seven Years' War, and 
 then became organist at Bitterfeld. He 
 composed works for two, four, six, and 
 eight tnimpets, and WTote a most valuable 
 historical and theoretical treatise : Versuch 
 einer Anleitung zur heroisch-musikalischen 
 Trompeter- imd Paukeukunst (Halle, Hen- 
 del, 1795), the second part of which con- 
 tains a concerto for seven trumpets and 
 kettle-drums. — Fetis ; Mendel ; Schilling. 
 
 ALTENBUEG, IVHCH-IEL, born at Alach, 
 near Erfurt, May 27, 1584, died at Erfurt, 
 Feb. 12, 1640. He studied theology at 
 Halle about 1601, and from 1608 was pastor 
 in different towns until 1637, when he was 
 appointed to the same office at St. Andrew's, 
 Erfurt. He did much towards the improve- 
 ment of church music, and the choirs in his 
 jjarishes were considered models. Works : 
 Das 53ste Kapitel des Jesaias, mit acht 
 Stimmen compouirt (Erfurt, 1608) ; Hoch- 
 zeit-Motetten von sieben Stimmen (ib., 
 1513) ; Musikalischer Sehirm und Schild 
 der Biirger, etc., oder der 55ste Psalm mit 
 sechs Stimmen (ib., 1618) ; Kirch- und Haus- 
 gesilnge mit fiinf, sechs und acht Stimmen 
 (ib., 11)20-21) ; Intraden mit sechs Stimmen 
 (ib., 1620) ; Cantiones de aventu Domini 
 Nostri Jesu, quinque, sex et octo vocibus
 
 ALTfiS 
 
 compositse (ib., 1621) ; Musikalische "Weih- 
 naclits uiid neu Jahrs Zierde, etc., zu vier- 
 Stimmen (ib., 1621) ; Musikalische 
 
 neune 
 
 Festgesiinge mit fiinf-viehrzehn Stimmen 
 (ib., 1653).— Ft'tis ; Mendel; Sclnlling. 
 
 ALTES, JOSEPH HENRI, born at Rou- 
 en, Jan. 18, 1826, still living, 1888. Virtu- 
 oso on the ilute, pupil at the Paris Conser- 
 vatoire of Tulou ; won the second prize in 
 1841, and the first in 18-12. He entered the 
 orchestra of the Opera, and in 1868 became 
 professor at the Conservatoire. Works : 
 Fantaisies, variations, etc., for flute and or- 
 chestra or pianoforte (Paris, Eichault). — 
 Fetis ; Mendel. 
 
 ALTNTKOL, JOHANN CHRISTOPH, 
 still living in 17.58. Church music com- 
 poser, pupil and, from 1719, son-in-law of 
 Johanu Sebastian Bach ; became organist 
 at Naumburg, Saxony, in 17-48, and enjoyed 
 the reputation of being one of the best per- 
 formers of his time on the organ and the 
 harpsichord. Works : Several cantatas with 
 grand orchestra ; Magnificat (Leipsic, Breit- 
 kopf & Hiirtel). In the royal library, Ber- 
 lin, are : Halleluia for four voices and or- 
 chestra ; Nun danket alle Gott, motet for 
 five voices. Two Sanctus, for four voices 
 and organ ; Fugues ; Sonata for harpsi- 
 chord. — Futis ; Riemann. 
 
 ALVAREZ ACEVO, BERNARDO, born 
 in Spain in 1787, died (?). Church com- 
 poser of considerable repute in his native 
 country ; maestro de capilla of the Church 
 de la Soledad, Madrid. The manuscripts 
 of several of his works are in the archives 
 of the Escurial.— Fetis. 
 
 ALVENSLEBEN, GEBHARD VON, 
 born in Berlin (?) about 1820, still living, 
 (?). Pupil of Marx ; became conductor of 
 the musical society EuteiiDe at Leipsic 
 about 18-14. Works: Cantata for male 
 
 2 (ib.) ; Four character- 
 pieces for pianoforte. 
 
 chorus and orchestra, 1838 ; Symphony in 
 G minor ; Concert overtui-e in D minor ; 
 Festival overture in E, 1844 ; Six songs for 
 _^ soprano and pianoforte, op. 1 
 
 ^^ (Berlin, Bote & Bock) ; do. 
 
 for contralto and pianoforte, 
 
 op. 
 
 istic 
 
 op. 3 (Leipsic, Hofmeister) ; 
 do. for mezzo-soprano and do., op. 4 (Berlin, 
 Stern) ; Two songs for bass and do., op. 5 
 (Leipsic, Wiistling).— Fetis; Allgem. mus. 
 Zeitg., xl. 607 ; xlvi. 56, 256. 
 
 AMAD^l, LADISLAW, Baron VON, born 
 at Kaschau, Hungary, died at Felbar, ib., 
 Dec. 22, 1764. A favourite national poet 
 and composer, whose melodies were sung 
 thi-oughout his native country and handed 
 down by tradition, until collected and pub- 
 lished in Pesth by Count Thaddiius Amade 
 in 1836. The latter (born at Presburg, 
 Jan. 10, 1783, died in Vienna, May 17, 1845), 
 was an excellent pianist and successful 
 composer, and is to be credited with the 
 discovery and education of the musical 
 genius of Franz Liszt. — Mendel. 
 
 AlVIADEI, FILIPPO, born at Reggio, 
 Italy, in 1683, died (?). Dramatic composer, 
 known only by the opera, Teodosio il Gio- 
 vane, given in Rome, 1711. He is probably 
 identical with the Amadei who wrote, con- 
 jointly with Orlaudini, the satirical opera, 
 Arsace, given in Hamburg, 1722. — Fetis ; 
 Mendel. 
 
 AMADEI, ROBERTO, born at Loreto, in 
 the Marshes, Italy, Nov. 29, 1840, still liv- 
 ing, 1888. Dramatic composer, pupil of 
 his father and of Luigi Vecchiotti ; became 
 orcanist and, in succession to his father, 
 maestro di cappella at Loreto. Works ; 
 Luchino Viscouti, opera, given at Lugo, 
 1869 ; Bianca de' Rossi, do., given at Bari ; 
 n Bacchettone, comic opera ; Motet for 8 
 parts, and many other religious composi- 
 tions ; Pianoforte and vocal music— Fetis, 
 Supplement, i. 13. 
 
 AMADIGI DI GALLIA ; or, Oriana, Ital- 
 ian opera, text by Heidegger, music by
 
 AMADIS 
 
 Handel, represented at the King's Theatre, 
 London, jMay 25, 1715. The story turns 
 on the enchantments of the sorceress, Me- 
 Hssa, who falls in love with the hero, Arua- 
 digi, and who, when warned by a messenger 
 from the other world that the hapjainess of 
 her rival, Oriana, has been decreed by the 
 higher powers, kills herself. Dardano, 
 Prince of Thrace, Amadigi's rival, plays a 
 principal part in the earlier parts, and reap- 
 pears after death as a ghost. The respective 
 characters of Amadigi, Dardano, Melissa, 
 and Oriana, were sung by Nicoliui, Signora 
 Diana Vico, Signora Pilotti Schiavonetti, 
 and Mrs. Auastasia Robinson. Mucli of the 
 music of Amadigi was transferred from a 
 preceding opera, Silla. Published by the 
 Hiiudel-Gesellschaft, Leipsic, 1874.- — Rock- 
 stro, Handel, 90 ; Schoelcher, Handel, 18. 
 
 AMADIS DE GAULE, lyric tragedy in 
 five acts, text by Quiuault, music by Lulli, 
 represented in Paris, Jan. 18, 1G84, and at 
 Versailles the following j-ear. The subject, 
 one of the knightly romances of the middle 
 ages, is from the original by the Portuguese 
 Vasco de Lobeira (1370), which was trans- 
 lated, about 1500, into Spanish by Ordonez 
 de Montalvo. One of the best of Lulli's 
 works, it was long a favourite both of coiu't 
 and city. Amadis, a parody vaudeville, text 
 by Romagnesi and Riccoboni fils, repre- 
 sented at the Nouveau Theatre Italien, Dec. 
 19, 1710, was almost as popular. On the 
 same subject are : Amadis des Gaules, bj' 
 Berton, in collaboration with La Borde, 
 Paris, Dec. 4, 1771 ; Amadis des Gaules, 
 text by Devisme and Saint-Alphonse, music 
 by Johann Christian Bach, at the Opera, 
 Paris, Dec. 10, 1779 ; Amadis von Gallieu, 
 text by Gieseke after Wieland, music by G. 
 Stengel, Hamburg Theatre, 1798. 
 
 AiMADORI, GIUSEPPE, flourished in 
 Rome about the beginning of the 18th cen- 
 tury, was stiU living in 1730. Church com- 
 poser and one of the best singing masters 
 of his time, pupil of Bernacchi. Works : H 
 martirio di San Adriano, oratorio, given in 
 riome, 1702 ; Ecce nunc benedicite, motet 
 
 for six voices, two violins, viola, and organ ; 
 Laudate pueri, for eight voices ; Leetatus 
 sum, do. ; Laudate Dominum, do. — Fetis ; 
 Schilling. 
 
 (ANNA) AMALIA, Princess of Prussia, 
 Abbess of Quedliuburg, born in Berlin, 
 Nov. 9, 1723, died there, March 30, 1787. 
 A sister of Frederick the Great, she was a 
 pujDil of Kiruberger, and composed many 
 excellent chorals, and the cantata Der Tod 
 Jesu to the same text as Graun's work. — ■ 
 Allgem. d. Biogr., i. 470 ; Mendel ; Schil- 
 ling. 
 
 (ANNA) AMALIA, Duchess of Weimar, 
 born Oct. 24, 1739, died April 10, 1807. 
 She composed the operetta, Erwin und El- 
 mire, to the text by Goethe. — Allgem. d. 
 Biogr., i. 386 ; Mendel ; Schilling. 
 
 AMALIA (MARIE FRIEDERIKE), Prin- 
 cess of Saxony, born at Dresden, Aug. 10, 
 1794, died there, Sept. 18, 1870. Dramatic 
 comjsoser, and writer of comedies under the 
 name of Amalie Heiter. Works — Operas : 
 II figlio perduto ; II marchesino ; La vasa 
 di sabitata ; Una donna ; Le tre einture ; 
 Die Siegesfahne ; Der Kauonenschuss, etc. 
 Stabat mater, and other church music. — 
 Mendel. 
 
 AMANT JALOUX, L' (The Jealous Lov- 
 er), comedy in three acts, text by d'HMe, 
 music by Gretry, represented at Versailles, 
 Nov. 20, 1778, and in Paris, Dec. 23, 1778. 
 Original plot ; one of Gretry's best works 
 and long popular. The serenade sung by 
 Florival in the second act, " Tandis que 
 tout sommeiUe," is of exquisite sentiment. 
 Of the same title is an opera in three acts, 
 music by Mengozzi, represented at the 
 Theatre des Varietes, Montansier, Feb. 2, 
 1796. 
 
 AMANT STATUE, L' (The Statue 
 Lover), opera comique in one act, vaude- 
 ville, text bj' Desfontaines, represented at 
 the Comedie Italienne, Feb. 20, 1781, put 
 into music by Dalayi-ac, Aug. 4, 1785. A 
 lover imagines that he appears to the eyes 
 of his mistress as an animate statue, which 
 plays the flute ravishingly. Of the same 
 
 43
 
 AMANT 
 
 title ia au opera-comique in one act, text by 
 Guichard, music by De Lusse, represented 
 ill Paris, Aug. 18, 1759. 
 
 AMANT, STEPHEN L', French dra- 
 matic comjioser of the 18th century, iu the 
 second half of which he was instructor at 
 the Royal School of Music in Paris. He 
 wrote five Italian operas, which were jiopu- 
 lar, and found favour with Dr. Burney. He 
 also published several collections of songs, 
 with accompaniment for the harp or piano- 
 forte. — Mendel ; Schilling. 
 
 A]\LA.KYLLIS. See Circe. 
 
 AMARYLLIS, opera-ballet, text by Dan- 
 chet, music by Campra, represented at the 
 Academic Roj'ale de Musique, Paris, Sept. 
 10, 1704. The same as the Muses, au op- 
 era-ballet by the same authors, given the 
 year before, with an additional act. 
 
 AMAT, PAUL LEOPOLD, born at 
 Toulouse, France, in 1814, died at Nice, 
 Oct. 31, 1872. He went to Paris in 1845 
 and soon made himself known bj' a num- 
 ber of romances, melodies, nocturnes, and 
 chansonettes ; in 1850 he went to Algiers 
 to establish a music house, but he was un- 
 successful, and returned to Paris, where, iu 
 1856, he became director of the little The- 
 atre Beaumarchais. Besides his numerous 
 vocal compositions he wrote the operette : 
 Elodie ou le forfait nocturne, given at the 
 Bouflfes Parisiens, 185G, and the cantata : 
 Le chant des Niyois, performed at the 
 Vaudeville, 1860, and for which he was 
 decorated with the Legion of Honour. — 
 Fetis, Supplement, 14. 
 
 A:VIAT0 (Amatus), VINCENZO, born in 
 Sicily, Jan. 6, 1629, died at Palermo, July 
 29, 1670. Church music composer of great 
 repute in his time ; maestro di cajjpella at 
 the Cathedral of Palermo. Of his composi- 
 tions are known : Messe e salmi di vespro e 
 compieta, for four and five voices (Palermo, 
 1656) ; Concerti sacri, for two to five voices. 
 He left also an opera, LTsauro (Aquila, 
 1664), of little merit.— Mendel ; Schilling. 
 
 AMAZONE, L' (The Amazon), ojiera- 
 comique in two acts, music by Amedce de 
 
 Beauplau, imitated from a vaudeville called 
 Le petit dragon, by Scribe and others, rep- 
 resented at the Opera Comique, Paris, Nov. 
 15, 1830 ; Die Amazone, German opera, mu- 
 sic by Lindpaintner, Stuttgart, 1831 ; L' 
 Amazone, opera-comique in one act, text by 
 Thomas Sauvage, music by Thys, Opera 
 Comique, Paris, Nov. 25, 1845. 
 
 AMAZONES, LES; or. La fondation 
 de Thebes (The Founding of Thebes), opera 
 in three acts, text by Jouy, music by Me- 
 hul, represented at the Academie Imperiale 
 de Musique, Paris, Dec. 17, 1811. Al- 
 though not inferior to some of the more 
 successful works by the composer, this 
 work was j^erformed but nine times. Of 
 the same title are the opera in two acts, 
 music by Eisner, represented at Briinn, 
 1795 ; Le Amazzoni, Italian opera, music 
 by Ottani, Turin, 1784 ; Le Amazzoni, by 
 Pavesi, Bergamo, 1809 ; Die Amazonen, 
 ballet by Schweitzer, about 1775. 
 
 AMAZZONE D' ABAGONA, L' (The 
 Amazon of Aragon), Italian opera, music by 
 Cavalli, represented in Venice, 1G52. 
 
 AMAZZONE CORSAEA, L' (The Ama- 
 zon Corsair), Italian opera, music by Palla- 
 vicini, Venice, 1687 ; Italian opera, music by 
 Monari, Ducal Theatre, Milan, about 1806. 
 
 AMBASSADRICE, L' (The Ambassa- 
 dress), opera-coraique in three acts, origi- 
 nal plot, text by Scribe, music by Auber, 
 represented at the Opera Comique, Paris, 
 Dec. 21, 1836. One of Auber's most pleas- 
 ing works. The role of the heroine, Hen- 
 riette, long served for the debuts of pupils 
 leaving the Conservatoire. Among its no- 
 ticeable parts are the aria buffa : " Ah ! 
 que moil sort est beau ! " the romance : 
 " Le ciel nous a places dans des rangs ; " 
 the duo: "Oui, c'est moi qui viens ici, 
 Madame I'Ambassadrice ;" and Charlotte's 
 air in the last act : " Que ces murs coquets." 
 L'Ambassadrice was first given in New 
 York at Niblo's Garden, May 19, 1843, by 
 a French company from New Orleans. 
 
 AMBER WITCH, THE, English ro- 
 mantic opera iu four acts, original plot, 
 
 43
 
 AMBIELA 
 
 text by H. F. Chorley, music by William 
 Vinceut Wallace, first represented at Her 
 Majesty's Theatre, London, Feb. 28, 1861. 
 It was sung by Sims Reeves, Charles Sant- 
 ley, and Mnie. Leniniens-Sherrington. 
 
 AMBIELA, ]\nCHELE, born in Aragon, 
 Spain, about 1665, died at Toledo, March 
 23, 1733. A secular priest, he studied mu- 
 .sic in a monastery of his native province, 
 and was at first maestro de capilla in some 
 churches of minor importance, then, in 
 1700-7, at the Cathedral of Saragossa, 
 and from 1710 at Toledo. He won a brill- 
 iant reputation with his numerous compo- 
 sitions, a large collection of which is pre- 
 served in the Cathedral of Oviedo. — Fetis. 
 
 AMBLEVILLE, CHARLES D', French 
 composer of church music, flourished in 
 the first half of the 17th century. He was 
 a Jesuit in the Maison professe de Cler- 
 mont, Paris. Works : Octonarium sacrum, 
 etc. (Paris, Ballard, 1634) ; Harmonia sacra, 
 etc. (ib., 1638) ; Domine, salvum fac regem ; 
 Hymns, anthems, etc. — Fetis ; Mendel. 
 
 A]\IBRONN, PETER CHRISTIAN, born 
 at Meiningen, Dec. 10, 1742, died about the 
 end of the 18tb century. Chamber-musician 
 and pianist of the ducal orchestra in Mei- 
 ningen ; one of the best virtuosi of his time. 
 His compositions were commended as mas- 
 terpieces of invention and contrapuntal skill. 
 — Mendel ; Schilling. 
 
 AMBROS, AUGUST WILHELM, born 
 at Mauth, Bohemia, Nov. 
 17, 1816, died in Vienna, 
 June 28, 1876. He was 
 educated for the Aus- 
 trian civil service, left 
 the University of Prague 
 in 1840 with the title of 
 Doctor Juris, and en- 
 tered the office of the 
 attorney-general ; but 
 he gave all his leisure to 
 the study of music, and after 1850 became 
 known as a writer on that art. His " Die 
 Granzen der Poesie und der Musik," an 
 answer to Hauslick's " Vom musikalisch 
 
 SchiJnen," called forth much journalistic 
 criticism, but won the admiration of the 
 best German musicians. It was followed by 
 a series of essajs, " Culturhistorische Bilder 
 aus dem Musikleben der Gegenwart " (2d 
 ed., Matlies, Leipsic, 1865). About this 
 time he was engaged hj Leuckhart to begin 
 his life's work, the " Geschichte der Musik," 
 for which he made extensive researches in 
 1860-73 in the Italian and German libra- 
 ries. Through the liberality of the Acad- 
 emy of Science at Vienna he was enabled 
 to pursue this important work, the four 
 volumes of which were published in 1862 
 -78, and a fifth (posthumous) in 1882. 
 In 1869 he became professor of the his- 
 torj' of music in the University of Prague. 
 Works: Overtures to Othello, and Calde- 
 ron's Magico Prodigioso ; Wanderstiicke, 
 Kinderstiicke, Landschaftsbilder (pianoforte 
 pieces) -, Songs ; Stabat mater ; 2 masses in 
 B-flat and A minor. — Fetis ; Grove ; Men- 
 del, i. 193 ; Ergiinz., 11 ; Wurzbach, i. 26. 
 
 AJNIBROZ (Ambrosch), JOSEF KARL, 
 born at Krumau, Bohemia, May 6, 1759, 
 died in Berlin, Sept. 8, 1822. Tenor singer, 
 pupil of Kozeluch the elder in Prague. 
 He made his debut at the theatre of Bai- 
 reuth in 1784, then sang in Hamburg, Han- 
 over, and Vienna, and in 1791 was engaged 
 for the National Theatre in Berlin, where 
 he entered upon a brilliant career, as one of 
 the most excellent dramatic singers of his 
 time. Many of his songs, published in Ber- 
 lin, Hamburg, and Zerbst, became favour- 
 ites. — Fetis ; Mendel ; Schilling. 
 
 AMBROSE, Saint, Archbishop of Milan, 
 born in 340, died in Milan, April 4, 397. 
 He was the first to regulate the church 
 chants bj' a fixed code of laws. He author- 
 ized the four authentic modes, since known 
 as the Dorian, Phrygian, Lydian, and Mixo- 
 Lydian, but not to be confounded with the 
 Greek modes of the same names (see Am- 
 bros, ii. 13, 126). He founded the Ambro- 
 sian chant, which, although superseded 
 about the year 600 by the Gregorian in 
 Rome, and later in most parts of Europe,
 
 AME 
 
 held its own in Northern Italy for several 
 centuries, and is stiU cultivated in Milan 
 (for difference between the two forms, see 
 Ambros, ii. 44-63). Of the chants attrib- 
 uted to him, the following are probably 
 authentic : J3terne rerum couditor ; Dens 
 creator omnium ; Veui redemptor omnium 
 Splendor pateruiB gloriie ; Confers paterui 
 luminis ; O lux beata trinitas. The ritual 
 Te Deum has been ascribed to him, but is 
 almost certainly of much later date. — Ca- 
 milla Perego, Kegola del canto Ambrosiauo 
 (Milan, 1622) ; Ambros, ii. 14 ; Grove, i. 59. 
 iME EN PEINE, L' (The Soul in Tor- 
 ment), opera in two acts, text by Saint- 
 Georges, music bj' Flotow, first represented 
 at the Opera, Paris, June 29, 1846 ; revived, 
 Nov. 4, 1859. The beautiful romance, "Pen- 
 dant la nuit j'ai pare ma chaumiire," has 
 been transferred, with a change of words, to 
 the opera of Martha. L'ame en jjeine was 
 produced at the Princess's Theatre, Lon- 
 don, Oct. 16, 1848, as Leoline. An Italian 
 version, entitled, II boscajuolo (The For- 
 ester), was given at the Teatro Scribe, 
 Turin, Nov. 30, 1872. 
 
 AMERBACH (Ammerbach), ELIAS NI- 
 KOLAUS, called, born in Saxony about the 
 middle of the 16th century, in which he is 
 reported to have been one of the greatest 
 contrapuntists. He travelled extensively to 
 study under the most eminent musicians 
 of the time — probably in the Netherlands, 
 where then flourished the best schools of 
 music — and in 1570 became organist at St. 
 Thomas's, Leipsic. His only work extant 
 is : Orgel- und Instruments-Tabulatur (Leip- 
 sic, 1571 ; Nuremberg, 1583). — Fetis ; Men- 
 del ; Schilling. 
 
 AMEYDEN, CHRETIEN VAN, born at 
 Oirschot, Brabant, died Nov. 20, 1605. 
 Composer of the Flemish school, contem- 
 porary of Orlando Lasso. He went to 
 Rome, was a singer in the papal chapel, and 
 a friend of Palestrina. His madrigals are 
 published in Lattre's 3d book of madrigals 
 for 3 voices (Venice, 1570). — Biogr. nat. de 
 Belgique, i. 261; Mendel, Ergiluz., 11. 
 
 AMI DE LA MAISON, L' (The Friend 
 of the Famil}'), opcru-comicjue in three acts, 
 text by Marmontel, music by Gretry, first 
 represented at Fontaiuebleau, Oct. 26, 1771, 
 and at Paris, bj' the king's comedians, 
 March 14, 1772. Gretry applied in this 
 work his theorj' of the intimate relationship 
 between the music and the words, as is well 
 shown in the two airs: "Je suis de voua 
 tres-mecontente," and " Rien ne plait taut 
 aux yeux des belles ; " also in the duet in 
 the third act : " Tout ce qu'il vous plaira ; " 
 and in the little duo: "Vous avez divine 
 cela." 
 
 AmLIE ; OR, THE LOVE TEST, Eng- 
 lish romantic opera in three acts, text by J. 
 T. Haines, music by William Michael Rooke, 
 first represented at Coveut Garden, Loudon, 
 Dec. 2, 1837. This work, which was writ- 
 ten about 1826, met with decided success 
 and established Rooke's reputation as a 
 composer. It was given in New York at 
 the National Theatre in 1838, by the Se- 
 guin combination, twelve consecutive nights, 
 before crowded houses. 
 
 AMIS, LA MATINEE EST BELLE. 
 See Miieite de Portici. 
 
 AMITIE AU VILLAGE, L' (Village 
 Friendship), opera-comique in three acts, 
 text by Desforges, music by Franc/ois Andre 
 Philidor, represented at the Theatre Italien, 
 Paris, Oct. 31, 1785. ProsjJer and Vincent, 
 rural copies of Orestes and Pylades, are 
 rivals in love and for the prize of virtue of- 
 fered to the villagers by the Seigneur de 
 Clemencey. Prosper absents himself to 
 leave the field free to his friend, whose deli- 
 cacy prompts him to refuse the prize won 
 under such conditions. In the end, of 
 course, everj'thing is satisfactorily arranged. 
 The oj)era excited so lively an enthusiasm 
 that the audience called for the composer, 
 an honour then almost without precedent. — 
 Allen, Life of Philidor, 87. 
 AIULETO. See Hamlet. 
 AMMETO. See AdmHo. 
 AMIMON, ANTON BLASIUS, born at 
 Imst, Tyrol, Jan. 2, 1572, died in Munich,
 
 AMNER 
 
 April 9, 161J:. Church composer, one of 
 the most famous contrapuntists of bis time. 
 He was for several years Hof-Kajsellmeister 
 at Munich. Works : Sacrse cautiones, for 
 four, five, and six voices (Munich, 1540) ; 
 Kurze Motetteu von vier, fiinf und sechs 
 Stimmen, auf verschiedene Heiligen-Fest- 
 tage gerichtet (ib., ISS-i) ; Liber sacratissi- 
 marum, for five voices (Vienna, Creuzer, 
 1582) ; Missse quatuor (ib., 1588) ; Sacrse 
 cantiones (Munich, Berg, 1590) ; Patroci- 
 uium musices, Missa; (ib., 1591) ; Missse 
 quatuor, for four, five, and six voices (ib., 
 1593).— Allgem. d. Biogr., i. 404 ; Fetis. 
 
 AjMNER, JOHN, born towards the end of 
 the 16th century, died in 1641. Organist 
 and choirmaster at Ely Cathedral, where 
 he succeeded George Barcroft in 1610. 
 Mus. Bac, Oxon., 1613. Works : Sacred 
 Hymns of three, four, five, and six parts, for 
 voices and vyols (1615) ; Anthems, etc. 
 
 AMON, JOHANN ANDREAS, born at 
 Bamberg in 1763, died at Wallerstein, Ba- 
 varia, March 29, 1825. He was first in- 
 structed in singing by the court singer 
 Madame Fracasini, and on several instru- 
 ments by Concertmeister Biiuerle ; then be- 
 came the pupil of the famous horn virtuoso 
 Giovanni Puuto, and was taken by him to 
 Paris, where he studied composition under 
 Sacchini in 1781-82. He travelled for sev- 
 eral years with Punto, accompanying, and 
 leading the orchestra in his concerts ; in 
 1789 he became musical director at Heil- 
 bronn, where also he taught the violin and 
 pianoforte, and in 1817 was made Kapell- 
 meister to the Prince of Oettingen-Waller- 
 stein. Of his compositions, about fift^'-two, 
 consisting of symphonies, concertos, sona- 
 tas, duets, trios, quartets, quintets, inarches, 
 and songs, were published by Simrock in 
 Bonn, Schott in Mainz, Andre at Ofifenbaeh, 
 Hug at Zurich, Bachmann at Hanover, 
 Gombart at Augsburg, Bossier at Speyer, 
 Falter in Munich, Pleyel and Janet in Paris, 
 Castaud at Lyons ; among those left in 
 manuscript are twenty-seven instrumental 
 works, German songs, and a German Re- 
 
 quiem. He wrote also two masses, besides 
 smaller chui'ch compositions, cantatas, and 
 two operettas, of which one, Der Sultan 
 Wampum, was performed with little success 
 in 1791. — Allgem. mus. Zeitg., xxvii. 366 ; 
 Fetis ; Schilling. 
 
 AMORE CONJUGALE, L'. See Leo7iora. 
 
 AMORE TRADITORE, cantata for a 
 bass voice, with pianoforte accompaniment, 
 by Johann Sebastian Bach. Published by 
 the Bach-Gesellschaft, 1861. 
 
 AMORITA. See PfingMen in Florenz. 
 
 AMOUR SACRE DE LA PATRIE. See 
 Muetle de Portici. 
 
 AINIOUR, VIENS FINIR. See Domino 
 noir. 
 
 AMOUROUX, CHARLES, French com- 
 poser, contemporary. Organist of the ca- 
 thedral at Bordeaux. He played the music 
 of his opera. La Eeine d'Ellore, or Reine 
 et bergure, at a private concert in Bordeaux 
 in 1865, and brought out II a ete perdu un 
 Roi, opera comique, at the Gj-mnase, Paris, 
 in 1867. He received honourable mention 
 from the Saint Cecilia Society of Bordeaux 
 for his Atteude, Domine, a choral for solos, 
 chorus, and orchestra, given at the Bor- 
 deaux Cathedral in 1873. — Fetis, Supple- 
 ment, i. 14. 
 
 AMPHION ANGLICUS. See Bloto, 
 John. 
 
 AaffHITRYON, opera in three acts, 
 text by Sedaine, music by Gretry, repre- 
 sented at the Academic Royale de Musique, 
 Paris, July 15, 1788, without success. Am- 
 phitryon, comedy by Dryden, music (over- 
 ture, act^tunes, and songs) by Henry Pur- 
 cell, London, 1690 ; Anfitrione, Italian 
 opera, music by Gasparini, Rome, 1707 ; 
 Amphitryfie, Portuguese opera, by Jose da 
 Silva, Lisbon, 1736 ; Amphitryon, Swedish 
 opera, by J. M. Kraus, Stockholm, 1792 ; 
 opera-comique in one act, scene laid in 
 Spain, text by Nuitter and Beaumont, mu- 
 sic by Lacome, Theatre Taitbout, Paris, 
 April 5, 1875. 
 
 AMTMANN, PROSPER, born in Aus- 
 tria, early part of the nineteenth centuij. 
 
 46
 
 ANACKER 
 
 Flutist ; appeared successfully in concerts in 
 Vienna, 183G, and Munich, 1839. Works : 
 Grand duo concertant for two flutes, op. 1 
 (Vienna, Diabelli) ; Marclie nationale lion- 
 groise for flute and pianoforte, op. 2 (ib., 
 Haslinger) ; Air varie for do., op. 3 (ib., 
 Mechetti) ; 3 grand duos for flutes (Milan, 
 Ricordi) ; 2 allemaudes for flute and piano- 
 forte, op. 8 (Vienna, Diabelli) ; Introduction 
 and variations for do., op. 9 (ib., Hasling- 
 er) ; Exercises in all kej's, for flute, op. 10 
 (ib.).— Fetis. 
 
 ANACKER, AUGUST FERDINAND, 
 born at Freiberg, Saxony, Oct. 17, 1790, 
 died there, Aug. 21, 1854. Dramatic com- 
 poser, self taught in his native city and in 
 Leipsic, where he frequented the university. 
 In 1822 he became cantor and musical di- 
 rector at Freibei-g, where he soon created 
 a musical atmosphere, organizing regu- 
 lar performances of church music, and in 
 1828 a singing academy, which from 1830 
 gave annual subscription concerts with 
 carefully selected programmes. Works : 
 Der Bergraannsgruss, cantata (Leipsic, Hof- 
 meister) ; Lebens Blume und Lebens Un- 
 bestand, do. (Dresden, Paul) ; Markgraf 
 Friedrich oder Bergmannstreue, musical 
 drama, giveu in Dresden, 1836 ; Overture 
 to Gotz vou Berlichingeu ; Pianoforte 
 pieces ; Duets ; Sacred and secular songs. 
 — Fetis ; Mendel ; Schilling. 
 
 ANACREON ; or, L'Amour fugitif, op- 
 era-ballet iu two acts, text by Mendouze, 
 music by Cherubiui, represented at the 
 Opera, Paris, Oct. 5, 1803. It is now 
 known only by its flue overture, and by a 
 charming aii-, " Jeunes filles, aux yeux 
 doux," which is still sung. Other works 
 with a similar title are : Anacreon, ballet 
 h^roique in one act, text by Geutil-Bernard, 
 music by Rameau, represented at the Aca- 
 demie Royale de Musique, Paris, May 31, 
 1757 ; music by Raymont, theatre of Beau- 
 jolais, about 1765 ; Anakreon, music by 
 Hoszisky, theatre of Rheinsberg, about 
 1791 ; Anacreon, text by Gentil-Bernard, 
 music by Beaulieu, written about 1819, not 
 
 represented ; Anakreou in lonien (Anacreon 
 iu Ionia), music by Ebell, Breslau, 1810 ; 
 Anacreon chez Polycrate (Anacreon at the 
 house of Polycrates), text by J. H. Grey, 
 music by Gretry, Paris, Jan. 17, 1797, Anac- 
 reonte in Samo (Anacreon in Samos), music 
 by Mercadante, San Carlo, Naples, 1820 ; 
 Anacreonte tiranno, music by Sartorio, Ven- 
 ice, 1678. 
 
 ANCESSY, JOSEPH JACQUES AU- 
 GUSTIN, born iu Paris, April 25, 1800, 
 died there, Jan. 2, 1871. Dramatic com- 
 poser, chef d'orchestre at the Odeon, and 
 afterwards at the Theatre Fran9ais. Works 
 — Operettas : Estelle et Nemorin, Jean et 
 Jeanne, Un troc, given at the Theatre des 
 Folies Nouvelles, 1855-59 ; Sis sonatas for 
 violin (Paris, Meissonnier). — Fetis, Supple- 
 ment, i. 15. 
 
 ANCOT, JEAN, the elder, born at 
 Bruges, Oct. 22, 1779, died there, July 12, 
 1848. Church music and instrumental 
 composer, pupil in Paris of Kreutzer and 
 Baillot on the violin, and of Catel in har- 
 mony ; returned to Bruges in 1804 and 
 taught the violin and pianoforte. Works : 
 4 concertos for violin with orchestra ; 3 
 quartets for two violins, viola, and bass ; 2 
 masses for three voices, with organ ; Ecce 
 panis for four voices and orchestra ; 2 O 
 salutaris for three voices, with organ obli- 
 gate ; 6 Tantum ergo for three and four 
 voices and organ obligate ; 4 Ave Marias 
 for four voices ; Divertissements, overtures, 
 fantaisies, marches, etc., for fifteen instru- 
 ments. — Biogr. uat. de Belgique, i. 270 ; 
 Fetis; Mendel. 
 
 ANCOT, JEAN, the younger, born at 
 Bruges, July 6, 1799, died at Boulogne, 
 June 5, 1829. Instrumental and vocal 
 composer, son of the preceding, who in- 
 structed him on the violin and pianoforte, 
 then pupil, at the Paris Conservatoire, of 
 Pradher on the pianoforte, and of Berton 
 in composition. He went, in 1823, to Lon- 
 don, became professor at the Athenseum, 
 and pianist to the Duchess of Kent, but 
 returned in 1823, and, after concert tours 
 
 47
 
 anda>;te 
 
 in Belgium, settled at Boulogne. Works • 
 Concerto for violin (Pai'is, Jouve) ; do. for 
 pianoforte (ib., Leduc) ; 3 Sonatas for do., 
 op. 4, 10, 18 ; Several fautaisies for do., 
 with orchestra ; La tempete, fantaisie for 
 do. (London) ; L'Ouragan, do. (Paris, Na- 
 derman) ; Nocturne for pianoforte and vio- 
 lin, op. 8 (ib., Petit) ; 2 aubades for do., 
 op. 32, 35 (ib., Dufant et Dubois) ; Grand 
 Sonata for do., op. 14 (ib.. Petit) ; 8 fan- 
 taisies for pianoforte for four hands (Paris 
 and London) ; 5 concertos for violin, with 
 orchestra ; 12 fugues for organ ; Amelia, ou 
 le depart pour la guerre, scena with orches- 
 tra ; Marie Stuart, do. ; La resolution inu- 
 tile, do. ; La philosophie d'Anacreon, do. ; 
 6 overtures for grand orchestra ; Grande 
 piece de concert ; Several collections of 
 romances (Paris and London). His brother 
 Louis (born at Bruges, June 3, 1803, died 
 there in September, 1836), after having trav- 
 elled as a pianist in France, Italj', the Neth- 
 erlands, and England, settled at Boulogne 
 to teach his instrument, then lived for some 
 years at Tours, and finally in his native city. 
 He composed music for pianoforte, over- 
 tures, and concertos with grand orchestra, 
 and romances and nocturnes for one and 
 two voices. — Biogr. nat. de Belgique, i. 271 ; 
 Fetis ; Mendel. 
 
 ANDANTE FAVORI IN F, for piano- 
 forte, by Beethoven, composed in 1804. 
 It was intended originally for the slow 
 movement of the sonata in C, op. 53, but 
 afterwards discarded and published sepa- 
 rately, without opus number, in 1806. 
 
 AN DAS VATERLAND, symphony No. 
 1, for full orchestra, by Raff, op. 96, com- 
 jjosed 1863. 
 
 AN DEM STRANDE DER GARONNE. 
 See Oberon. 
 
 ANDERL, JOHANN (?), born in Bavaria 
 about 1787, died at Jamuitz, Moravia, Aug. 
 19, 1865. Church composer, lived for some 
 time at Augsburg. Works : Asperges, for 
 four voices and organ (.\ugsburg, B<'ihm) ; 
 Christ on the Mount of Olives, three songs 
 for two sof)ranos, bass, and organ (Munich, 
 
 Falter) ; Processional hymn for do. (Augs- 
 burg, Bohm) ; Lauda Sion, for three voices 
 and organ (ib.) ; Pange lingua, for do. (ib.) ; 
 Canticle for Advent, for two voices, two vio- 
 lins, and organ (Munich, Falter) ; Nativity, 
 for two voices and organ (ib.) ; Canticles for 
 other festivals, etc. (ib.) ; Missa brevis, for 
 soprano, contralto, bass, two violins, double- 
 bass, and organ (ib.). — Fetis ; do.. Supple- 
 ment, i. 15. 
 
 ANDERS, HEINRICH, born in Germany 
 between 1660 and 1670, died at Amsterdam 
 between 1720 and 1730. Organist, settled 
 at Amsterdam about 1696. Works : Trios, 
 .Allemandes, Sarabandes, Gigues, etc. (Am- 
 sterdam, 1G96) ; Apollo en Daphne (ib., 
 1697) ; Min en Wijnstrijdt, herderspel met 
 muzick (ib., 1719) ; Symphonipe introduc- 
 toriffi triuin et quatuor instrumentornm, 
 consisting of twenty-four sonatas. 
 
 ANDERTON, THOMAS, born at Bir- 
 mingham, England, 
 April 15, 1836, still 
 living, 1888. Ama- 
 teur composer ; edi- 
 tor of the Midland 
 Counties Herald, Bir- 
 mingham. Works : 
 Song of Deborah and 
 Barak, cantata, 1871 ; 
 John Gilpin, do. ; 
 Three Jovial Huntsmen, do., 1881 ; Wreck 
 of the Hesperus, do , 1882 ; Norman Baron, 
 do , 1884 ; Yuletide, do., 1885 ; Gentle Ger- 
 trude, operetta, Liverpool, 1881 ; Chiltern 
 Hundreds, do., ib., 1882 ; Artoxominous ye 
 Great, do. ; Symphony for orchestra ; Quar- 
 tet for strings, in F (1884) ; Overtui-es, and 
 an oratorio ; Songs, and part-songs ; Piano- 
 forte music. 
 
 AN DIE FERNE GELIEBTE, lie- 
 derkreis, for one voice and pianoforte, 
 text by Jeitteles, music by Beethoven, op. 
 98, dedicated to Prince Lobkowitz ; com- 
 posed in Vienna, April, 1816. The first 
 cycle of songs ever set to music, and to 
 tiiis day unsurpassed. Each of the six 
 poems has its own melody, expressing the 
 
 48
 
 ANDRfi 
 
 fundamental mood, and thus every song 
 forms an independent whole. No. 1 in E- 
 llat, 5 verses ; No. 2 in G, 3 verses ; No. 3 
 in A-flat, 5 verses ; Nos. 4 and 5 in do., 3 
 verses each ; No. 6 in C, leading back into 
 E-flat. Every song is strikingly character- 
 istic in key, melody, and rliythm. (Vienna, 
 Stein er.)— Marx (Berlin, 1875), ii. 159. 
 
 ANDRE, JOHANN, born at Offenbach, 
 Hesse, March 28, 1741, died there, June 18, 
 1799. Dramatic composer. His father, a 
 eilk manufacturer, intended him for the 
 same business, but his love of music was too 
 strong. He received lessons on the violin 
 from a friend studying at Frankfort, and 
 mastered the harjisichord without a teaclier. 
 He soon began comj)osing, writing at first 
 only fugitive pieces, but on visiting Frank- 
 fort in 1760 he heard operas, and tliis gave 
 a new impulse to his taste. After the pro- 
 duction of his first comic opera, Der Top- 
 fer, Goethe confided to him his operetta, 
 Erwiu und Elmire, which was given in 1764 
 with great success, and afterwards in Berlin 
 twentj'-two times in 1782. In 1774 he es- 
 tablished at Offenbacli a printing office for 
 music, and in 1777 became musical director 
 of the Dcjbbelin Theatre in Berlin, where 
 two of his operas had been given with suc- 
 cess in 1775 ; while there, he formed a 
 friendship with and was much influenced 
 by Marjjurg, and composed many dramatic 
 pieces. Unable to carry out a plan for 
 transferring his printing office to Berlin, he 
 returned to Offenbach in 1784, with the title 
 of Kapellmeister, conferred on him by the 
 Margrave of Brandenburg-Schwedt, and to 
 the end of his active life devoted himself to 
 comjiosition, and his publications ; from this 
 press issued twelve hundred works before 
 his death. Of his operas, one, with libretto 
 by Bretzner, Belmonte und Constanze, oder 
 die Entfiirhruug aus dem Serail, given in 
 Berlin, May 26, 1781, became especially con- 
 spicuous from Mozart's setting of the same 
 with his own music, with alterations in the 
 text by Stephanie, July 12, 1782, which led to 
 a quarrel between the two librettists. Works 
 
 — Operas : Der alte Freier, given in Berlin, 
 DObbelin Theatre, 1775 ; Die Bezauberten, 
 ib., 1777 ; Der Alchymist, ib., 1778 ; Das 
 tartarische Gesetz, ib., 1779 ; Das wiithende 
 Heer, Kurze Thorheit ist die beste, ib., 
 1780 ; Herzog Michel, Der Fiirst im hOch- 
 sten Glanze, Die Schadenfreude, Das Auto- 
 mat, ib., about 1780 ; Eins wird doch helfen, 
 ib., 1782 ; Der Barbier von Bagdad, ib., 
 1783 ; Peter imd Hannchen ; Laura Rosetti ; 
 Claudina von Villa Bella ; Die Friedens- 
 feier ; Prolog der Grazien ; Azakia. Other 
 works : Harlekin Friseur, pantomime ; Mu- 
 sic to Macbeth, King Lear, and some Ger- 
 man plays ; Three sonatas for pianoforte, 
 violin, and violoncello, op. 1 (Offenbach, 
 1786) ; Songs with accompaniment of flute, 
 or violin, viola, and bass, 3 parts (ib., 1793) ; 
 Lenore (by Biirger), romance for piano- 
 forte (ib., 5 editions) ; Die Weiber von 
 Weinsberg, for pianoforte (ib., 1802) ; Ari- 
 ettas, duets, and many songs, of which 
 " Bekriinzt mit Laub den lieben vollen 
 Becher," is still jjopular. — Allgem. d. Biogr., 
 i. 434 ; Allgem. mus. Zeitg., xvi. 869 ; Petis ; 
 Gerber, Hist. Lex. ; Mendel ; Schilling ; 
 Schneider, Berliner Oper, 207. 
 
 ANDRfi, JOHANN ANTON, born at Of- 
 fenbach, Oct. 6, 
 1775, died there, 
 April 8, 1842. Dra- 
 matic composer, 
 violinist, and pia- 
 nist ; son of, and 
 first instructed in 
 Berlin by, Johann 
 Andre, pupil in 
 singing of the ten- 
 or, Marschhiiuser, 
 then on the violin, at Offenbach, of Ferdi- 
 nand Friinzl, 1787, at Mannheim of Franz 
 Friinzl, 1789, and in composition of Voll- 
 weiler, 1792. Having frequented the Uni- 
 versitj' of Jena in 1796, he made two ex- 
 tended musical tours through Germany in 
 1798-99, and on his father's death suc- 
 ceeded to the publishing business at Offen- 
 bach, which he raised to a very flourishing
 
 ANDRE 
 
 couditiou, especially through his alliance 
 ■with Sennefelder, inventor of lithography, 
 and through the acquisition of Mozart's 
 musical bequest, which he had secured 
 from the composer's widow in Vienna. He 
 published (1805 and 1828) a thematic cat- 
 alogue of Mozart's works, made from the 
 master's own careful records (from Feb. 9, 
 1784, to Nov. 15, 1791), and another the- 
 matic list (1841) of the composer's manu- 
 scripts, which had come into his possession. 
 In 1800 he visited England. He cultivated 
 every branch of composition, and as earlj- 
 as 1801 his works numbered seventy-five ; 
 they are now all foi-gotten, for, though skil- 
 ful in structure and pleasing, they lacked 
 original invention, and were conventional, 
 in the manner of the feebler imitators of 
 Mozart. Much esteemed as a teacher, he 
 also wrote a treatise on harmony* and 
 counterpoint, Lehrbuch der Tonsetzkunst, 
 planned to comprise six volumes, of which 
 only two were finished (1832-35 and 1838- 
 43), forming, however, a comj)lete whole, 
 and an important part of the theoretical 
 literature of nmsic. His violin-method : 
 Anleitung zum Violinsjjielen, holds an hon- 
 ourable place among its kind. Works : Die 
 Weiber von Weiusberg, opera (1792) ; Ei- 
 naldo und Alcina, do., given at Dresden, 
 1799 ; Der Friede Tuiscons, cantata (Oft'en- 
 bach, 1797) ; 3 sonatas for pianoforte, with 
 violin obligato, op. 2 (1790) ; Symphonies, 
 op. 4, 5, 6, 7 (1795) ; Concerto for oboe, op. 
 8 (1796); Concerto for flute, op. 3 (1793); 
 do., op. 10 (179G) ; Sonata for four hands, 
 op. 12 (1800) ; Spriehwi'irter (proverbs) for 
 four voices and pianoforte, op. 32 (1807) ; 
 besides many other specimens of church and 
 chamber music, and collections of songs. 
 — Allgem. d. Biogr., i. 435, Allgem. mus. 
 Zeitg., ix. 799; xxxviii. 18; Futis ; Gerber, 
 N. Lex.; Mendel ; N. Necrol. der D. (1842), 
 284; Schilling. 
 
 ANDRfc, (PETER FEIEDRICH) JU- 
 LIUS, born at Frankfort, June 4, 1808, 
 died there, April 17, 1880. Organist and 
 pianist, son of Johann Anton Andre, pupil 
 
 of Aloj's Schmitt. Works : 3 polonaises for 
 four hands for pianoforte, op. 7 (Offenbach, 
 Andre) ; Sonatiue for do., op. 17 (ib.) ; Me- 
 langes pour piano, op. 13, 18 (ib.) ; Valses 
 brillantes (ib.) ; Nocturnes and Rondos (ib.) ; 
 12 jjieces for the organ, op. 9 (ib.) ; Twelve 
 do., op. 26 (ib.) ; Method for the organ (ib.) ; 
 Songs with jjianoforte (ib.). — Fetis ; Men- 
 del. 
 
 ANDREASFEST, DAS, romantic opera 
 in three acts, text by Roderich Fels, music 
 by Karl Grammann, represented in Dres- 
 den, Nov. 30, 1882. It was warmly re- 
 ceived. 
 
 ANDREOZZI, GAETANO, born in Na- 
 ples in 1763, died in Paris in December, 
 1826. Dramatic composer, pupil of the 
 Conservatorio, Naples, under his kinsman 
 Jommelli ; he composed his first opera when 
 only sixteen. He was maestro of the roj'al 
 chapel at Naples, and travelled a great 
 deal in Italy, where he brought out a num- 
 ber of operas. His reputation extended 
 to Russia, and he was invited to St. Peters- 
 burg in 1784, returned to Italy in 1786, 
 and again visited the most important cit- 
 ies ; in 1790 he became conductor of the 
 orchestra at the opera in Naples, but in 
 the year following was in the same capac- 
 ity in Madrid. Not long after his return, 
 via Paris, to Italy, he ceased to write for 
 the stage, and devoted himself to teach- 
 ing, counting among his pupils the royal 
 princesses, notably the Duchesse de Berri, 
 who afterwards befriended him in Paris, 
 whither, much reduced in fortune, be had 
 rej)aired in 1825. His aria, "Ah, quest' 
 anima non speri," is still celebrated in Italy. 
 Works — Operas : La morte di Cesare, given 
 in Rome, Teatro Argentina, 1779 ; Bajazette, 
 Florence, Teatro Ducale, 1780 ; Olimpiade, 
 Leghorn, 1780 ; Agesilao, Venice, Teatro S. 
 Benedetto, 1781 ; Teodolinda, Turin, 1781 ; 
 Catone in Utica, Milan, 1782 ; II trionfo 
 d'Arsace, Rome, 1782 ; La vergine del sole, 
 Genoa, 1783 ; Angelica e Medoro, Venice, 
 1783; Dido, Giasone e Medea, both in St. 
 Petersburg, 1784; Virginia, Rome, Teatro 
 
 50
 
 ANDREVl 
 
 Ai-geutiua, 1787 ; Sofrouia e Olindo, Sesos- 
 tri, Naples, Teati-o Sau Carlo, ITS!) ; 11 fiuto 
 cieco, La principessa filosofa, ib., Teatio 
 Nuovo, 1790 ; Gustavo, iv di Svezia, Ma- 
 drid, 1791 ; Giovauua d' Arco, Yeuice, 1793 ; 
 Ai-sinoe, Naples, Teatro Sau Carlo, 1795 ; 
 Armida e Rinaldo, ib., 1802 ; Piramo e 
 Tisbe, II trioufo d' Alessaudro, ib., 1803. 
 Other works : Six quartets for 2 violins, 
 viola, and violoncello (Florence, 1786) ; 
 Saule, oratorio, given at Naples, 1790 ; La 
 passione di Gesti Cristo, do , ib., 1792. — 
 Fotis ; Mendel ; Schilling. 
 
 ANDREVI, FRANCISCO, born at Sana- 
 buya (Catalonia), Spain, Nov. 16, 1786, died 
 at Barcelona, Nov. 23, 1853. He was a 
 priest and maestro de capilla successively 
 at the cathedrals of Segorbe, Barcelona, 
 Valencia, Seville, and finally of the royal 
 chapel. During the Carlist War he took 
 refuge at Bordeaux, where he found em- 
 ployment, lived in Paris in 1845-49, and 
 after his return to Spain became maestro de 
 capilla at the Church of Our Lady at Bar- 
 celona. His most iiujwrtant works are : 
 The Last Judgment, oratorio ; Requiem for 
 Ferdinand VH. ; Stabat mater. — Fctis ; do., 
 Supplement, i. 15 ; Riemaun. 
 
 ANDRIES, JEAN, born at Ghent, April 
 25, 1798, died there, Jan. 21, 1872. Viohu- 
 ist and violoncellist, became professor at 
 the Conservatoire, Ghent, in 1835, and its 
 director in 1851. His comj)ositious remain 
 unpublished. As a writer he is known by : 
 Apergu historique de tons les instruments 
 de musique (Ghent) ; and Precis de I'his- 
 toire de la musique depuis les temjDs les 
 plus recules (ib., Busscher, 1862).— Futis, 
 Supplement, i. 16 ; Mendel, Ergiinz., 12 ; 
 Viotta. 
 
 ANDROMAQUE, French lyric tragedy 
 in three acts, text by Pitra, music by Grc- 
 try, represented at the Academic Royale de 
 Musique, Paris, June 6, 1780. Tliis opera, 
 which was given twenty-five times, was 
 written in thirty days. Mile Levasseur, 
 and afterwards Mile Laguerre, filled the 
 role of Andromaque, and Larivee that of 
 
 Oreste. Andromacca, Italian opera, text 
 by Zeno, music by Caldara, Vienna, 1724 ; 
 music by Bioni, Breslau, 1729 ; by Fran- 
 cesco Feo, Rome, 1730 ; by Davide Perez, 
 Vienna, 1752 ; by Sacchini, Florence, 1763 ; 
 by Tozzi, Brunswick, 1765 ; by Bertoni, 
 Venice, 1772 ; by Nasolini, London, 1700 ; by 
 Paisiello, Naples, 1798 ; by Puccita, Lisbon, 
 about 1806 ; by Rainiondi, Palermo, about 
 1815 ; by Pavesi, Milan, 1822 ; by EUerton, 
 Prussia, about 1830. 
 
 ANDROMEDA, daughter of Cepheus, 
 King of Ethioi^ia, who was delivered by 
 Perseus from the sea-monster, for whom 
 her father had been forced to chain her to 
 a rock beside the sea, has been the subject 
 of many operas : Andromeda, Italian opera, 
 music by Girolamo Giacobbi, rejiresented 
 at Bologna, 1610, and revived in 1628 ; 
 Italian opera, text by Benedetto Ferrari, 
 music by Frauce.sco Manelli da Tivoli, given 
 at the Teatro di San Cassiano, Venice, 1637, 
 the first oj^era ever represented in public 
 in that city ; music by Leo, Teatro di San 
 Carlo, Naples, 1742 ; by Paisiello, Milan, 
 about 1770; by Ignazio Fiorillo, Ca.sse], 
 1771 ; by Reichardt, Italian opera in three 
 acts, Berlin, 178S ; by Persicchini, Warsaw, 
 about 1782 ; by Trento, two acts, Rome, 
 about 1792, and Naples, 1805 ; Naumann, 
 ojjera seria, Dresden, 1792 ; German op- 
 era, by Baumgarten, 1776 ; Polish opera, by 
 Eisner, Warsaw, 1807 ; Andromeda e Per- 
 seo (Andromeda and Perseus), by Michael 
 Haydn, Salzburg, about 1780 ; by Mare- 
 scalchi, Rome, 1784 ; .\ndromeda und Per- 
 seus, German ojsera, by Jean Wolfgang 
 Franck, Hamburg, 1679 ; Singspiel, by 
 Zimmermann, Vienna, 1781. See Perseus. 
 
 ANELLI, ANGELO, Italian dramatic 
 composer of the 18th century. He is 
 known by the ojjere buffe : I due sup- 
 posti conti, given at Verona, 1786 ; La 
 statua matematica, Bologna, 1788. — Fetis ; 
 Schilling. 
 
 ANERIO, FELICE, born in Rome about 
 1560 (Ambros, 1551), died (?). He studied 
 under Giovanni Maria Nanini, and was 
 
 61
 
 ANERIO 
 
 appointed by Clement VIII. Palestrina's suc- 
 cessor as composer to the Pontifical Choir, 
 in which he was in- 
 stalled, April 3, 1594. 
 As a composer, Anerio 
 is among the best of 
 the " great " Roman 
 period, and a worthy 
 successor to Palestri- 
 na. His great Adora- 
 mus te, Christe, has 
 been long wrongly at- 
 tributed to Palestriua, 
 and it is very possible that the famous 
 Stabat Mater for three choruses, in the 
 Altsemps collection, is by him, and not by 
 Palestrina, as Baini asserts. Published 
 works : Three books of sacred madrigals for 
 4 voices, Eome, Gardane, 1585 ; Two books 
 of sacred concertos for 4 voices, Rome, Co- 
 attino, 1593 ; First book of Hymns, Canti- 
 cles, and Motets for 8 voices (dedicated to 
 Clement VIH.), Venice, Vincenti, 1596 ; 
 Second book of Hymns and Motets for 5, 
 6, and 8 voices, Rome, Zanetti, 1602 ; First 
 book of Madrigals for 6 voices, Venice, 
 Amadino, 1590, Antwerp, 1599 ; Second 
 book of do., Rome, Zanetti, 1602 ; Respon- 
 sorj per la settimana santa, a tre e quattro 
 voci, Rome, Zanetti, 1603 ; Canzouette a tre, 
 quattro voci, Madrigali spirituali a tre, quat- 
 tro voci, ib., 1603. Some Cauzoni a quattro 
 voci were published at Frankfort-on-the- 
 Main in 1610. Other works are in the three 
 collections of motets and psalms ijublished 
 by Fabio Constantini in Eome, 1615, and 
 Naples, 1616 and 1617, and in the Sonnetti 
 nuovi of Fabio Petrozzi, Rome, 1609. A 
 number of unjjublished works are in MS. in 
 the archives of Sta. Maria in Vallicella, the 
 Vatican Basilica, the library of the Pontifical 
 Choir, the archives of the Chiesa Nuova, the 
 CoUegio Germanico, and the library of the 
 Abbate Santini. — Ambros, iv. 73 ; Grove, i. 
 G7. 
 
 ANERIO, (GIOVANNI) FRANCESCO, 
 born in Rome about 1567, died ('?). A 
 younger brother of Felice Anerio. He was 
 
 at first maestro di cappella to Sigismund 
 lU. of Poland, and afterwards at the cathe- 
 dral at Verona, whence he was called to the 
 post of music teacher to the Seminario 
 Romano, Rome, and became later maestro 
 di cai^pelln at the Church of la Madonna de' 
 Monti, in 1600 ; finally, he was appointed 
 to a similar position at the Lateran Basilica, 
 where he remained until 1613, after which 
 all traces of him have been lost. Although 
 many of his works are in the pure a cap- 
 pella style, Francesco Anerio belongs strict- 
 ly to a later period than his brother. Some 
 of his works, notably his six-voice Conver- 
 sione di S. Paolo, have obligato instrumen- 
 tal parts, and in his madrigals the harmony 
 and modulations belong no longer to the 
 Gregorian modal system, but distinctly to 
 modern tonality. He was one of the first 
 Italians who used the eighth-note and six- 
 teenth-note in writing. Published works : 
 n libro primo de' motetti a una, due e tre 
 voci, Rome, Robletti, 1609 ; II libro secondo 
 de' motetti, con le letanie e le quattro an- 
 tifone maggiori dojDo il vespero, a sette e 
 otto voci, Rome, 1611 ; II libro terzo con le 
 letanie a quattro voci, Rome, 1613 ; II libro 
 quarto, etc., ib., 1617 ; II libro quinto, 
 etc., ib., 1618 ; Sacri conceutus quatuor, 
 quinque, sex vocibus, una cum basso ad 
 organum, ib., 1619 ; Selva armonica dove 
 si conteugon motetti, madrigali, canzonette, 
 dialoghi, arie a una, doi [sic], tre e quattro 
 voci con basso per organo, ib., 1617 ; 
 Ghirlanda di sacre rose, motetti a cinque 
 voci, Rome, Soldi, 1613 ; Diporti musicali, 
 madrigali a una, due, tre, quattro voci, 
 Rome, 1617 ; Autifone e sacri concerti per 
 una, due, tre voci, Rome, Robletti, 1613 ; 
 Libro di responsorj per il Natale, a tre, 
 quattro, otto voci, ib., 1619; Libro delle 
 letanie, Eome, Marsotti, 1626 ; Messa de' 
 morti, Rome, 1620 ; Libro de' salmi a tre, 
 quattro voci, Rome, Robletti, 1620 ; II libro 
 primo de' madrigali a cinque voci, Venice, 
 Gai-dane, 1605 ; II libro delle gagliarde inta- 
 volate ])er sonare nel cembalo e liuto, Venice. 
 Vincenti, 1607 ; II libro secondo de' madri-
 
 AXFOSSI 
 
 gali a ciuqiie, sei voci, ed una a otto voci, 
 ib., 1608 ; La recreazione armouica, iiia- 
 drigali a una, due voci, Venice, Gardaue, 
 1611 ; Teatro armonico spirituale di lua- 
 drigali a ciuque, sei, sette e otto voci, 
 coinposti dal rev. D. Francesco Anerio ro- 
 mano, e fatti imprimere da Oraz. GriflS, 
 cant, jjont. in Eoma, per Giovanni Battista 
 Robletti, in 1619 (this work contains, 
 among other things, the Conversione di S. 
 Paolo, and II figluol jsrodigo) ; Dialogo pas- 
 torale a tre voci con 1' intavolatura di cem- 
 balo e del liuto in ranie, Rome, Verovio, 
 1600. Some motets of Francesco Anerio 
 are contained in the Coustantini coUectiou, 
 referred to in the jireceding article, and a 
 sonnet, " Destati Apollo," in the Petrozzi 
 collection. Some one-voice motets are in 
 Giovanni Domenico Puliaschi's Gemma 
 musicale, Rome, 1618. Anerio's arrange- 
 ment of Palestrina's " Messa di Pajsa Mar- 
 cello " for four voices was first published in 
 Rome in 1600. Several editions of a col- 
 lection containing this arrangement, to- 
 cether with two other masses bv Pales- 
 triua and one bv Anerio were published in 
 Rome in 1626, 1639, 1689.— Ambros, iv. 
 74 ; Grove, i. 67. 
 
 ANFOSSI, PASQITALE, born at Naples 
 about 1736, died 
 in Rome in Feb- 
 ruary, 1797. Dra- 
 matic composer, 
 pupil of the Con- 
 servatorio d e 11 a 
 Pieta, Naples, 
 where he first 
 studied the violin, 
 but soon aban- 
 doned it for com- 
 position, iu which 
 
 he became a favourite ^juj^il of Piccinni, who 
 procured him au engagement in 1771 at the 
 Teatro delle Damme, Rome. Having failed 
 with his first opera, 1769, in Venice, where 
 he had become maestro di cappella at the 
 Conservatorio del Ospedaletto, and with his 
 next effort in Rome, he finally obtained a 
 
 brilliant success there in 1773 with his In- 
 cognita perseguitata, and thenceforth was 
 Piccinni's rival. But as early as 1776 he ex- 
 j)erienced the fickleness of the public, and 
 left Rome in disgust, to write for the prin- 
 cipal theatres of Italy. In 1780 he went to 
 Paris, where several of his operas, translated, 
 had been successfullj' given in 1778 and 
 1779, but left a year after for London, called 
 there as conductor of the Itahan opera. In 
 1783 he brought out operas in Berlin and 
 Prague, returned in 1784 to Italy, and in 
 1787 to Rome, where he won new tri- 
 umphs, but, tired of the stage, applied for 
 the position of maestro di cappella at S. 
 Giovanni in Laterano, which he obtained iu 
 1791. His reputation was equal to that of 
 the greatest masters of his time, his comic 
 operas especially being considered models 
 in style and in technical structure. He in- 
 troduced into the opera the elaborate finale, 
 which, in his Avaro, and in Isabella e Ro- 
 drigo, were of such mastery as to serve even 
 Mozart as examples. His instrumentation 
 was rich and varied. Works — Operas: 
 Cajo Mario, given at Venice, 1769 ; La cle- 
 menza di Tito, Rome, 1769 ; I visiouari, ib., 
 Teatro delle Damme, 1771 ; II barone di 
 Rocea, ib., 1772 ; L' incognita perseguitata, 
 Demofooute, ib., 1773 ; Autigono, Venice, 
 1773 ; Lucio Silla, ib., 1774 ; La finta giar- 
 diniera, Rome, Teatro delle Damme, 1774 ; 
 H geloso in cimento, La contadina in 
 Corte, L' avaro, ib., 1775 ; Isabella e Ro- 
 drigo, o la costanza iu amore, La pescatriee 
 fedele, Olimpiade, ib., 1776 ; Lo sposo dis- 
 perato, ib., 1778 ; II curioso indiscreto, 
 Cleopatra, Milan, 1778 ; II inatrimouio per 
 inganno, Paris, Theatre de I'Academie Roy- 
 ale, 1779 ; La forza delle donne, Milan, 
 1780 ; I vecchi burlati, London, 1781 ; I 
 viaggiatori felici, Armida, ib., 1782 ; Gli 
 amauti canuti, Dresden, 1784 ; II trioufo 
 d' Ariana, Prague, 1784 ; II cavaliere per 
 amore, Berlin, 1784 ; Chi cerca trova, opera 
 buffa, Florence, 1784 ; La vedova scaltra, 
 Castel-Nuovo, 1785 ; Didone abbandonata, 
 Naples, 1785 ; L' imbroglio delle tre spose,
 
 ANGE 
 
 Padua, 1786 ; La jjazzia de' gelosi, Fabiano 
 and Home, 1787 ; Creso, La villauella di 
 spirito, Rome, 1787 ; Artaserse, La maga 
 Circe, ib., 1788 ; L' orfanella americana, 
 Venice, 1788 ; Le gelosie fortunate, Bel- 
 luuo, 1788 ; La gazzetta, ossia il baggiano 
 deluso, Rome, 1789 ; Zeuobia in Palmira, 
 Florence, 1790 ; Issipile, ib., 1791 ; E zo- 
 tico iucivilito, Dresden, 1792 ; L' Americana 
 in Olanda, Matilda ritrovata, Gli artigiaui, 
 ib., 1793 ; II j)rincipe di Lago negro. Other 
 works : La feria del Ascensione, oratorio, 
 1786 ; Nose saorificium, do. ; Assalone, do. ; 
 Sant' Elena al Calvario, do. ; Mass for four 
 voices and orchestra ; Laudate jjueri, Lau- 
 date Jerusalem, both with grand orchestra ; 
 Salve regina ; Kyrie and Gloria for eight 
 voices ; Ut queant laxis, do. ; Lauda Sion, 
 do.. Dixit Dominus (2), do., Beatus vir, 
 do. ; Confitebor, Beatu^vir, Laudate pueri, 
 psalms for five voices ; Several psalms and 
 masses for four voices and orchestra ; mo- 
 tets and anthems. — Fetis ; Mendel ; Schil- 
 ling. 
 
 ANGE ADORE DONT LA CELESTE 
 IMAGE. See Damnatim de Faust. 
 
 ANGELET, CHARLES FRANCOIS, born 
 at Ghent, Nov. 18, 1797, died there, Dec. 
 20, 1832. Pianist, first instructed by his 
 father, then pupil, at the Paris Conserva- 
 toire, of Zimmermanu on the pianoforte, 
 winning the first prize in 1822 ; of Dour- 
 len in harmony and accompaniment, and 
 of Fetis in composition. He settled at 
 Brussels to teach the pianoforte, and in 
 1829 was made pianist to King William. 
 Works : Marclio varic'e, for jsianoforte, op. 
 1 (Paris) ; Eight variations, and polonaise, 
 op. 2 (ib.) ; Trio for pianoforte, violin, and 
 violoncello, op. 3 (ib., Leduc) ; Symjshony 
 for grand orchestra, oji. 5 ; Divertissement 
 pastoral for pianoforte, for four hands, op. 
 8 ; Fantaisies, caprices, melanges, etc., on 
 different airs, op. 6, 7, 9, 10, 12, 14, 15, 
 16, 17; etc.— Fetis; Mendel. 
 
 ANGELICA E MEDORO (Angelica and 
 Medor), Italian opera, text by Villati, music 
 by Lampuguani, Venice, 1738 ; music by C. 
 
 H. Graun, Berlin, 1749 ; music by Andre- 
 ozzi, Venice, 1783 ; music by Vaunacci, 
 Italy, about 1790 ; music by Niccolini, 
 Milan, 1811 ; Angclique et Medor, French 
 opera-bouffe in one act, test by Sauvage, 
 music by Ambroise Thomas, Opera Co- 
 mique, Paris, May 10, 1848 (published by 
 Escudier). 
 
 ANGELONI, , Italian dramatic com- 
 poser, contemporary. He brought out the 
 opera Osrade degli Abencerraggi, at Lucca, 
 1871. — Fetis, Supplement, i. 16. 
 
 ANGER, LOUIS, born at Audreasberg, 
 Hanover, Sept. 5, 1813, died at Liiueburg, 
 Jan. 18, 1870. Organist and pianist, first 
 instructed on the organ and pianoforte by 
 an old organist in his native place, then pu- 
 pil at Weimar, whither he went in 1833, of 
 Hummel on the pianoforte, and of Tojifer 
 in composition ; settled at Leijisic in 1836 
 to teach music, and was called to Liineburg 
 in 1842 as organist of St. John's Church. 
 Works : 6 melodious pieces for jiiauoforte, 
 0^3. 1 (Leipsie, Hofmeister) ; Grand varia- 
 tions for do., op. 3 (ib.) ; Concert overture 
 for grand orchestra (Leipsie, Whistling) ; 6 
 songs, with pianoforte, op. 2 (ib.) ; 4 do., 
 (sp. 22 ; Christnacht, cantata, for soli, chorus, 
 and orchestra ; Fugues for organ. — Fetis ; 
 Mendel. 
 
 ANGERMEYER, JOHANN IGNAZ, born 
 at Biliu (?), Bohemia, died in Vienna, Feb. 
 23, 1732. Virtuoso on the violin, and com- 
 poser of several concertos for his instru- 
 ment.— Mendel. 
 
 ANGIOLINI, GASPARO, born in Milan 
 in the 18th century. Composer of ballets, 
 celebrated all over Italy. He went first as 
 ballet-master to Vienna, then in 1760 to St. 
 Petersburg, and after his return to Italy 
 lived in Milan and Rome, overwhelmed with 
 orders to write for the stages of both cities. 
 — Mendel ; Schilling. 
 
 ANGIOLINI, GIOVANTSfl FEDERIGO, 
 born at Siena about 1760, died after 1812. 
 Pianist, studied while travelling through 
 Italy, and in 1784 went to Germany ; he 
 lived in Berlin in 1787-91, and after a visit 
 
 64
 
 ANGLEBERT 
 
 fo St. Petersburg returned to Germany in 
 1797, settling at Brunswick, and afterwards 
 to Italy. Works : Sonata for pianoforte 
 and flute ; Variations on the duet : Pace, 
 caro mio sposo ; 6 duos for two flutes or 
 violins (London, 1788) ; 3 sonatas for hai-p 
 with flute ad lib. (Berlin, 1792) ; Sonata 
 seeonda for pianoforte and flute (Berlin, 
 1794) ; 6 variations for harp or pianoforte 
 (Brunswick, 1797); Arie aus dem Sonntags- 
 kinde : Ich sage es doeh immer, with vari- 
 ations for harp or pianoforte (ib., 1797). — 
 Fetis ; Mendel ; Schilling. 
 
 ANGLEBERT, JEAN HENRI D', born 
 about 1G28, died in Paris, April 23, 1G91. 
 Organist to the Due d'Ork'aus and after- 
 wards chamber-musician to Louis XIV. 
 His works include a collection of original 
 fugues for the organ, and chaconnes, over- 
 tures, and other airs by Lulli, arranged for 
 harpsichord (Paris, 1689). — Fotis ; do.. Sup- 
 plement, i. 17 ; Mendel. 
 
 ANGSTENBERGER, MCHAEL, born 
 at Reichstadt, Bohemia, Jan. 2, 1717, died 
 in Vienna, May 1.5 (Aug. 20 ?), 1789. He 
 studied theology, entered the Order of the 
 Knights of the Cross in 1738, of which 
 he was chaplain, and in 1743-68 was dean 
 at Karlsbad, and finallj' commendator at 
 St. Charles's in Vienna. His compositions, 
 in the style of Lotti, often performed in 
 his time, remain in MS. — F<''tis ; Wurzbach, 
 i. 40. 
 
 ANICHINI, FRANCESCO, Italian com- 
 poser of chamber and church music, con- 
 temporarj-. Professor at the Royal Insti- 
 tute of Music, Florence ; won prizes in 
 1862, 1863, 1865, for string quartets. He 
 also published a Requiem with grand or- 
 chestra, an Ave Maria for four voices, and 
 other church music. — Fetis, Supplement, i. 
 17. 
 
 ANIMUCCIA, GIOVANNI, born in Flor- 
 ence about the beginning of the 16th cen- 
 tury, died in Rome, March, 1571. Vocal 
 composer, pupil of Claude Goudimel. 
 From 1555 until his death he was maestro 
 di cappella of the Vatican, a position in 
 
 which he was succeeded by Palestrina. 
 His music, which is an advance on the 
 productions of the Flemish school of the 
 time, is marked by the same religious spirit 
 which influenced Palestrina, with whom he 
 shared the friendship of St. Philip Neii, 
 founder in 1564 of the Congregation of the 
 Oratory. For this congregation, one of the 
 objects of which was to render religious 
 services attractive to the young, to keep 
 them from vain amusements, Animuccia 
 composed the Landi, to be sung at the con- 
 clusion of the regular ofBce, from the dra- 
 matic style of which the oratorio is said to 
 have been developed. Hence he is some- 
 times called the Father of Oratorio. Many 
 of his masses, magnificats, motets, madri- 
 gals, and several of the Laudi, were pub- 
 lished during his lifetime by Gardane, 
 Dorici, and liy Baldo's successors, but the 
 larger part of his compositions is probably 
 in MS. Among his published works are : 
 II prinio libro di madrigali, etc. (Rome, 
 1595) ; Joannis Animuccite magistri capelliB 
 sacrosanctiB basilic;© Vatieana^ Missarum 
 libri, etc. (Rome, 1567) ; II primo lib. di 
 madrigali, etc. (Venice, 1567) ; Canticum B. 
 Mariie Vir., etc. (Rome, 1568) ; II secondo 
 lib. delle laudi ore si contegono motetti, etc. 
 (Rome, 1570) ; Credo Dominicalis quatuor 
 voc. (Rome, 1567) ; Magnificat, ad omnes 
 modes, lib. 2 (Rome, 1568); these number 
 20.— Fetis ; Grove ; Mendel ; Scliilling. 
 
 ANIMUCCIA, PAOLO, born about the 
 beginning of the 16th century, died in Rome 
 in 1563. One of the most skilful contra- 
 puntists of his time ; brother of Giovanni 
 Animuccia, but whether older or younger 
 is unknown. He was maestro di cappella 
 of S. Giovanni in Laterano, after Rubini, in 
 1550-52. His madrigals and motets for 
 four and six voices, scattered in many old 
 collections, were verj^ popular. — Fetis ; Men- 
 del. 
 
 ANJOS, DINIZ DOS, born at Lisbon in 
 the first half of the 17th century, died in 
 the monastery of Belem, Jan. 19, 1709. 
 Chui'ch composer, entered the order of St. 
 
 55
 
 ANKEKTS 
 
 Jerome at Belem, in 1656. Works : Re- 
 spousorios para todas festas da primeira 
 classe ; Psalmos de vesperas, e Magnificat ; 
 Diversas missas, Vilhancieos et Motettes. — 
 Fetis ; Schilling ; Vascoucellos. 
 
 ANKERTS, D". See Dankerts. 
 
 ANNA BOLENA (Anne Bolejn), Italian 
 opera, text by Felice Eomaui, music by 
 Donizetti, first represented in Milan in 
 1831. This work, written for Pasta and 
 Rubini, gave the composer a European rep- 
 utation, and was long considered his mas- 
 terpiece. It was produced in Paris, Sept. 
 1, 1831, and in London the same year. In 
 it, in the role of Henry "Vlli., Lablache 
 first won public attention. It was first 
 given in New York, at the Astor Place 
 Opera House, Jan. 7, 1850, with Signoriua 
 Bertucca in the title role. 
 
 ANNA VON LANDSKRON, German 
 opera, text by Nehrlich, music by Abert, 
 represented at Stuttgart, December, 1858. 
 
 ANNfiES DE PfiLERINAGE (Years 
 of Pilgrimage), series of compositions for 
 pianoforte, by Franz Liszt, op. 34. Pre- 
 miere annee, Suisse : 1. Chapelle de Guil- 
 laume Tell ; 2. Au lac de Wallenstadt ; 
 3. Pastorale ; 4. Au bord d'uue soiu'ce ; 
 5. Orage ; 6. Vallee d'Obei-mann ; 7. E- 
 glogue ; 8. Le mal du pays ; 9. Les cloches 
 de Geneve (nocturne). Seconde annee, 
 Italie : 1. II sposalizio ; 2. II penseroso ; 3. 
 Cauzonetta di Salvator Rosa ; 4, 5, 6. Tre 
 sonetti del Petrarca ; 7. Apres une lecture 
 de Dante. Venezia e Napoli : 1. Gondo- 
 liera ; 2. Canzone ; 3. Tarantelle. 
 
 ANNETTE ET LUBIN, comedy in one act, 
 in verse, text by Mme. Favart and the Abbe 
 de Voisenou, music by Blaise, represented 
 at the Comodie Italienne, Paris, Feb. 15, 
 1762. The libi-etto is an adaptation of 
 Rousseau's Devin du village. It was re- 
 produced in 1800, with new music by IMar- 
 tini and revised text by Lourdet de San- 
 terre. La suite d'Annette et Lubin, text 
 by Favart, music by Jadin, given at the 
 Theatre Feydeau, Paris, March 10, 1791, 
 deals with the same story. 
 
 ANNETTE ET LUBIN, comedy in one 
 act, in verse, text by Marmontel, music by 
 Laborde, represented at the private theatre 
 of Marechal de Richelieu, March 30, 1762. 
 The piece is Marmontel's tale dramatized, 
 with some additional scenes. 
 
 ANNIBALE (Hannibal), Italian opera, 
 music by Porpora, re2:)resented in Venice, 
 1731 ; music by Zingarelli, Turin, 1787 ; 
 Hannibal, German opera, music by Johann 
 Wolfgang Franck, Hamburg, 1681 ; Anni- 
 bale in Bitinia, Italian opera, music by J. 
 Niccolini, Padua, 1818 ; Annibale in Capua, 
 P. A. Ziani, Venice, 1661 ; by Salieri, Vien- 
 na, 1801 ; by Cordelia, Naples, 1808 ; text 
 by Romanelli, music by Farinelli, Milan, 
 1810; by Ellerton, Prussia, about 1830; 
 Annibale in Italia, text by Duranti, music 
 by Paisiello, Turin, 1773 ; Annibale in To- 
 rino, music by Lodovico Ricci, Turin, 1830 ; 
 Annibal et Scipion, by Jules Conrardy, 
 Liege, 1860. 
 
 ANNIBALE, surnamed Patavinus or Pa- 
 dovano, born at Padua in the 16th century, 
 died at Venice, probably in 1556. Contra- 
 puntist, became organist at S. Marco, Ven- 
 ice, in 1552. He was also the best lute and 
 harpsichord player of his epoch. Works : 
 Liber primus motettorum quinque et sex 
 vocum (Venice, 157G) ; Cantiones quatuor 
 voeum (ib., 1592) ; Madrigali a cinque voci 
 (ib., 1583) ; 2 masses (Venice, Antonio Gar- 
 dane, 1566). — Fetis ; Mendel ; Schilling. 
 
 ANNUNCIAglO, G.ABRIEL DA, born 
 at Ovar, Portugal, in 1681, still living at 
 Lisbon in 1747. He studied music in his 
 native place, and in the convent of Leii'ia, 
 having entered the Order of St. Francis in 
 1706. He occupied subsequently musical 
 jiositions in the convents of his order at 
 Coimbra, Oporto, and Lisbon. He left a 
 great number of masses, anthems, motets, 
 etc. — Fetis, Supplement, i. 17 ; Vasconcel- 
 los. 
 
 ANSANI (Anzani), GIOVANNI, born in 
 Rome about the middle of the 18th cen- 
 tury, died at Naples after 1815. Dramatic 
 composer, one of the most famous Italian 
 
 G6
 
 ANSCHtTTZ 
 
 tenor singers. He sang first at Copen- 
 hagen in 1770, in Holland in 1774, and at 
 the Italian opera in London in 1782-84, 
 after which he returned to Italy, and for 
 sevei'al years was famous in Florence. Af- 
 ter singing on the principal stages of Italy, 
 he settled at Naples as a teacher. Works : 
 La vendetta di Minos, opera, given in Flor- 
 ence, 1791 ; Duets for two sopranos ; do. 
 for soprano and tenor, with basso con- 
 tinue. — Fetis ; Mendel ; Schilling. 
 
 ANSCHUTZ, JOHANN ANDREAS, 
 born at Coblentz, Germany, jNIarch 19, 
 1772, died there in 1858. Pianist, pupil 
 of his grandfather, who was court organ- 
 ist and Kapelldirector to the Elector at 
 Treves. In 1808 he founded, at Coblentz, 
 a musical society with a school for instru- 
 mental and vocal instruction, which was 
 subvened by the goverinnent. Works : 
 Sechs deutsche Lieder (Bonn, Simrock) ; 
 other songs and airs, German, French, and 
 Italian (ib.) ; Ehapsodische Gesiinge, op. 8 
 (Augsburg, Gombart) ; 3 songs (Leipsic, 
 Breitkopf uud Hilrtel) ; Waltzes for orches- 
 tra, books 1, 2, 3, 4 (Bonn, Simrock) ; 
 Waltzes for pianoforte, books 2, 3, and 4 
 (ib.) ; 8 allemandes fordo. (Augsburg, Gom- 
 bart) ; Masonic hymn for three voices and 
 chorus, with two violins, viola, and violon- 
 cello (Bonn, Simrock) ; Tantum Ergo ; Ecce 
 Panis ; Masses with orchesti-a. His son 
 Karl, born at Coblentz in 1815, died in 
 New York, December, 1870 ; pupil of Fried- 
 rich Schneider, took charge of his father's 
 musical institute in 1844, but went to Entr- 
 land in 1848, and to America in 1857, 
 where he conducted, for several years, 
 UUmann's opera orchestra. He composed 
 songs and pianoforte pieces. — Fetis ; Men- 
 del ; Schilling, Supplement. 
 
 ANSIAUX, JEAN HUBERT JOSEPH, 
 born at Huy, Belgium, Dec. 16, 1781, died 
 there. Dee. 4, 1826. Dramatic composer, 
 pupil of Tingry on the pianoforte, and of 
 Heukart in harmony ; went to Paris in 1808, 
 and after his return became the warm pa- 
 tron of all musicians and artistic institu- 
 
 tions of his native city. Works : Les reve- 
 nants, opera ; L'apotheose de Gretry, lyr- 
 ical drama, given at Lifege, 1820 ; Jephte, 
 oratorio ; La Fete de Sainte-Cecile, cantata ; 
 9 masses ; 3 Te Deums ; Overtures, and oth- 
 er works for orchestra. — Biog. nat. de Bel- 
 gique, i. 338 ; Fetis ; do.. Supplement, i. 18. 
 
 ANSORGE, CONRAD, born at Buch- 
 wald, Silesia, Oct. 15, 1862. Pianist, pupil 
 in Leipsic of Professor Paul (1880-82), and 
 at Weimar (1885) of Liszt, with whom he 
 went to Rome during the winter of 1885-86. 
 From Weimar, whither he returned in the 
 summer of 1886, he undertook concert trips 
 to the larger cities of Germany, and in Jan- 
 uary, 1888, went to New York, where he 
 made a successful debut at Steinway Hall. 
 Works : Sonata for pianoforte, in F minor ; 
 other pianoforte music. 
 
 ANTAO DE SANTA ELIAS, born at Lis- 
 bon about 1690, died there in 1748. Harp- 
 ist, went at an early age to America, where 
 he received his musical education. After 
 his return he entered the order of the Car- 
 melites at Lisbon, and became mestre de 
 capella. His works, consisting of masses, 
 Te Deums, psalms, hymns, and cantatas are 
 preserved in the library of his monastery. — 
 Mendel ; Schilling. 
 
 ANTEGNATI, COSTANZO, born at Bre- 
 scia about the middle of the 16th century, 
 died there after 1619. The son of Gratiadio 
 Antegnati, the famous organ-builder, whose 
 craft he followed ; he was organist at the 
 cathedral of his native city until 1619, 
 when he had a stroke of paralysis. Works : 
 Canzoni a quattro voci, four books (Venice, 
 Vineenti) ; Messe e niotetti a due e tre chori 
 (ib., Magni) ; Messe e sinfonie a otto (ib.) ; 
 Motetti e letanie a tre (ib.) ; Messe a sei e 
 otto voci (ib., Gardano) ; Inni d' intavola- 
 tura d' organo ; L' antegnata, intavolatura di 
 ricercate ; Salmi a otto voci (Venice, Gar- 
 dano, 1592) ; Motetti a tre voci ; Motetti e 
 messe a dodici in tre chori (Venice, Vin- 
 eenti) ; Canzoni da sonare a quattro e otto 
 voci (Venice, 1619) ; L' Arte organica (Bre- 
 scia, 1608). — Fetis, Schilling. 
 
 57
 
 ANTHIOME 
 
 ANTHIOME, EUG£NE JEAN BAP- 
 TISTE, boni at Lorieut, France, Aug. 19, 
 1836, still living, 1888. Dramatic composer, 
 pupil at the Paris Conservatoire of Elwart 
 in harmony, of Benoist on the organ, and 
 of Carafa in composition ; won the second 
 grand prix in 1861, and became repctiteur 
 at the Conservatoire iu 1863. Works : II 
 faut semer pour rccolter, operette, given in 
 Paris, Theatre des Fantaisies Parisieunes, 
 1866 ; Le dernier des Chippeways, do., ib., 
 Folies Bergtjres, 1876; 6 croquis d'album, 
 suite de morceaux de piano (Paris, Grus). 
 — Fctis, Supplement, i. 18. 
 
 ANTIGONE, tlie heroine of Sophocles's 
 tragedy of the same name. The daughter 
 of CEdipus and of Jocasta, she is condemned 
 to be shut up in a subterranean cave by the 
 
 tyrant Creon because she had given sepul- 
 ture, contrary to his orders, to the body of 
 her brother Polynices. She kills herself, 
 and her lover Hsemon, son of Creon, kills 
 himself beside her. The original text of 
 Sophocles, translated by Conner, music — 
 introduction and seven numbers — by Men- 
 delssohn, first represented at the Neue Pa- 
 lais, Potsdam, Oct. 28, 1841 ; first public 
 performance, Berlin Ojsera, Nov. 6, 1841 ; 
 given in Paris at the Odeon, May 21, 1844, 
 and in London, Covent Garden, Jan. 2, 1845. 
 The Invocation to Bacchus, called the Bac- 
 chus Chorus, is the most striking part. Its 
 success in London was not great at first, 
 owing to the way the chorus was put upon 
 the stage, which was satirized by "Punch" 
 (Jan. 18, 1845) in a cut here reproduced, but 
 it finally ran forty-five nights. Italian operas 
 
 on the same subject ; music by Galuppi, 
 represented in Italy about 1754 ; music by 
 Parenti, Italy, about 1786; by Campobasso, 
 Milan, 1789 ; BassiU, Venice, 1800 ; by Or- 
 landini, Bologna, 1818 ; Antigone, German 
 opera, by J. A. Hasse, Brunswick, 1723, his 
 first opera and his only one with a German 
 text ; by Bernasconi, Vienna, about 1745 ; 
 by Wagenseil, Vienna, 1750 ; by Mortellari, 
 Rome, 1782 ; ojsera seria iu three acts, by 
 Hoszisky, Eheinsberg, about 1787 ; grand 
 opera in three acts, text by Marmontel, 
 music by Zingarelli, Academie Royale de 
 Musique, Paris, April 30, 1790 ; by Gandini, 
 Modena, 1824 ; Antigona ed Emone (Anti- 
 gone and Hsemon), ballet, music by Pierre 
 Dutillieu, Naples, 1788. 
 
 ANTIGONO (Antigonus), Italian opera in 
 three acts, text by Metas- 
 tasio, music by Johann 
 Adolph Hasse, first repre- 
 sented in Dresden, during 
 the carnival, 1744. Scene 
 in Thessalonica, a maritime 
 city of Macedonia. Charac- 
 ters represented : Antigono 
 Gonata, King of Macedonia; 
 Berenice, Princess of Egypt, 
 betrothed to Antigono ; Is- 
 I mene, daughter of Antigono, in love with 
 Alessandro ; Alessandro, King of Epirus, in 
 I love with Berenice ; Demetrio, son of Anti- 
 gono, also in love with Berenice ; Clearco, 
 captain of Alessandro and friend of Deme- 
 trio. Metastasio's libretto has been set to 
 music also by Gluck, Eome, 1754 ; by Caf- 
 faro, Naples, 1754 ; by Santis, Naples, 1760 ; 
 by Francesco Ciampi, Venice, 1762 ; by Ga- 
 luppi, Italy, 1762 ; by Francesco Zanetti, 
 Leghorn, 1765 ; by Majo, Naples, 1768 ; by 
 Scliwanberg, Brunswick, 1769 ; by Pietro 
 Pompeo Sales, Munich, 1769 ; by Piccinni, 
 Rome, 1771 ; by Tommaso Traetta, St. Pe- 
 I tersburg, 1772 ; by Sacchini, London, 1773 ; 
 I by Giordani, London, 1773 ; by Aufossi, 
 Rome, 1773 ; by Giuseppe Gazzaniga, Na- 
 ples, 1779 ; by "Paisiello, Naples, 1784 ; by 
 Righini, Mainz, 1788 ; by Caruso, Rome, 
 
 58
 
 ANTIOCO 
 
 1788, Venice, 179-1 ; by Peter von Winter, 
 Naples, 1791 ; by Seraochini, Florence, 1794 ; 
 Antigonus, by von Poissl, Munich, 1808. 
 
 ANTIOCO (Antiochus I.). See Antiochus 
 und Stratoiiice. 
 
 ANTIOCO (Antiochus v.), Italian opera, by 
 Augelo Tiirchi, represented at Milan, 1788. 
 Subject, Antiochus V. (Eupator), who was de- 
 throned and put to death by Demetrius Soter. 
 
 ANTIOCO XL GRANDE (Antiochus the 
 Great), Italian opera, nnisic by Legreuzi, 
 represented in Venice, 1681. Subject, the 
 career of Antiochus III., King of Syria, who 
 made warlike expeditions into India, Egypt, 
 and Greece, and whose ambition was finally 
 curbed by the Romans. 
 
 ANTIOCHUS UND STRATONICE, Ger- 
 man opera, music by Graupner, represented 
 at Hamburg, 1708 ; Antiochus et Stratoniee, 
 French opera, music by Langle, Versailles, 
 1786. Subject, the love of Antiochus I. 
 (Soter) for his stepmother Stratoniee, wife 
 of Seleuous Nicator, King of Syria. His 
 father, discovering his son's malady through 
 his physician Erasistratus, resigned her to 
 him and made him King of Upper Asia. 
 The operas Antioco, by Cavalli, Venice, 
 1658 ; Carpani, Bologna, 1G73 ; and Gaspa- 
 rini, Rome, 1705, deal with the same subject. 
 
 ANTOIN, FERDINAND D', flourished 
 in Germany about 1780-9-1. Dramatic 
 composer and pianist, chiefly self taught 
 from the theoretical works of Marpurg, 
 Kirnberger, and Riepel. He was a captain 
 in the service of the Elector of Cologne, 
 and during his campaigns and travels was 
 much influenced by Italian and French mu- 
 sic. Works : II moudo al rovescio, opera 
 buffa, given at Cologne, 1780 ; Das tartar- 
 ische Gesetz, opera, ib., about 1783 ; Das 
 Mildchen im Eichthal, ib., about 1790 ; Otto 
 der Schiitz, ib., about 1792 ; Der Fiirst und 
 seiu Volk, operetta, ib., about 1793 ; Ende 
 gut, AUes gut, do., ib., 1794 ; Choruses to 
 the tragedy of Lanassa ; Symphonies and 
 quartets. — Fetis ; Schilling. 
 
 ANTONELLI (Antinelli), ABONDIO, 
 born in the second half of the 16th century. 
 
 died in Rome, probably in 1669. He was 
 maestro di cappella of the episcopal church 
 at Benevento, Naples, and in 1G08 of San 
 Giovanni in Laterano, Rome. Works : Missa 
 a quattro voci e quattro Motetti a due, con 
 organo (Rome, 1629) ; Missa breve a quat- 
 tro. Salmi e motetti a tre e quattro, con 
 basso continue (ib., 1628) ; Liber primus 
 diversarum modulationum (ib., 1615) ; Mo- 
 tetti a quattro chori. — Fetis. 
 
 ANTONI, ANTONIO D', born at Pa- 
 lermo, June 25, 1801, still living, 1888. 
 Dramatic composer, earned applause even 
 as a boy of twelve with a mass, composed 
 for the Feast of St. Cecilia ; wrote his first 
 oj)era when eighteen, and became director 
 of the opera at Syracuse and at Malta. 
 After travelling in France and England, he 
 settled at Venice to teach music and went 
 afterwards to Trieste, whither he returned 
 after a stay at Florence. In 1851 he found- 
 ed the Accademia Filarmonica, of which he 
 became director. Works — Operas : Uu du- 
 ello ; Gli amanti burlati, given at Syracuse 
 about 1820 ; II peregrino, Malta ; Armina, 
 Trieste ; Amazilda, Florence ; Several can- 
 tatas. Fugues for four hands, Canons, etc. — 
 Wurzb.aeh, i. 47 ; Mendel. 
 
 ANTONH, PIETRO DEGLI, born at Bo- 
 logna about 1630, died there shortly after 
 1718. Church composer and cornet player, 
 became maestro di cappella of S. Giovanni 
 in Monte, and was one of the members of 
 the Accademia Filarmonica from its foun- 
 dation in 1666, and principe six times be- 
 tween 1676 and 1718. Works; Missa e 
 salmi a tre voci, op. 2 (Bologna, Monti, 
 1670) ; Concerti da chiesa a due violiui, 
 viola e contiuuo per organo ; Sonate, arie, 
 oisfhe e balletti a tre stromenti, op. 4 ; Ri- 
 cercate a violino solo e violone o continuo, 
 op. 5 (Bologna) ; Sei motetti a voce .sola, 
 etc., op. 7 (ib., 1696) ; Tre messe per due 
 soprani e basso con due violini, op. 8.^ 
 Fetis; Schilhng. 
 
 ANTONIOTTI, GIORGIO, born in Lom- 
 bardy in 1692, died at Milan in 1776. In- 
 strumental composer of repute in his time. 
 
 59
 
 ANTONY 
 
 He lived several years in Holland, vrbere he 
 published in 1736 his first work, consisting 
 of twelve sonatas for viola di gamba ; after- 
 wards went to Loudon, where he resided 
 for more than twenty years, and where an 
 English translation of his "Arte armonica," 
 a treatise on composition, was published in 
 1761. About 1770 he returned to Milan. 
 • — Fetis ; Schilling. 
 
 ANTONY AND CLEOPATRA. See 
 Cleopatra. 
 
 ANTONY, FRANZ JOSEF, born at 
 Miinster, Westphalia, Feb. 1, 1790, died 
 there in 1837. Organist, son and pupil 
 of Josef Antony (1758-1836, organist of 
 Miinster Cathedi'al) ; became choir director 
 at the cathedral in 1819, and organist, suc- 
 ceeding his father, in 1832. Works : Die 
 Muse, cantata ; Wer spannet den Bogen, 
 do. ; Masses, chorals, and other church 
 music ; Quartets for strings ; Sonatas for 
 pianoforte. He was also a learned writer 
 on music. — Fetis; Mendel; Schilling, Sup- 
 plement. 
 
 AMERICAN SYMPHONY, by Louis 
 Maas, o-p. 15, first performed in the Music 
 Hall, Boston, Dec. 14, 1883, with great suc- 
 cess. The work, whicli was suggested while 
 travelling on the prairies, is dedicated to 
 President Arthur. It is in four parts : 1. 
 Morning on the Prairies ; 2. The Chase ; 
 3. An Indian Legend ; 4 Evening, Night, 
 and Sunrise. 
 
 ANVIL CHORUS. See Tromtore. 
 
 AOUST, Marquis JULES D', born in 
 France about 1825, still living, 1888. Am- 
 ateur dramatic composer, author of the 
 operettas : L'amour voleur, given in Paris, 
 1865 ; La ferme de Miramar, ib.. Theatre 
 de I'Atheuee, 1874. — Futis, Suisplement, i. 
 18. 
 
 APEL, GEORG CHRISTIAN, born at 
 Triichtelborn, near Erfurt, Nov. 21, 1775, 
 died at Kiel, Aug. 31, 1841. Contrapuntist 
 and organist, pupil at Erfurt of Kittel ; 
 became organist in 1796 at St. Thomas's 
 Church there, and in 1804 at St. Nicholas's 
 in Kiel, where he was also apjjoiuted musi- 
 
 cal director at the University in 1818. He 
 deserves much credit for the development 
 and treatment of church music, and espe- 
 cially of the Piotestant choral, which was 
 promoted through his Choral-Melodienbuch 
 (1817). Only a few of his compositions, 
 among which is a successful oratoi-io, were 
 printed. — Allgem. d. Biogr., i. 500 ; Jahn, 
 Ges. Aufsiitze (1866), 1. 
 
 APELL, (JOHANN) DAVID VON, born 
 at Cassel, Feb. 23, 1754, died there in 1833. 
 Dramatic composer, pupil of the court mu- 
 sician Wiesel, then at Rinteln of the organist 
 MiiUer, and after his return to Cassel of 
 Rodewald and Johann Braun the younger ; 
 finally, of the court organist Kellner. He 
 began to acquire reputation in 1780, became 
 a member in 1786, under the name of Ca- 
 pelli, of the Accademia Filarmonica at Bo- 
 logna, and, under the name Filleno Tin- 
 daride, of the Ai'cadi lUustri at Rome ; 
 and in 1791 was made an honorary mem- 
 ber of the Stockholm Academy, and in 
 1800 a knight of the Golden Spur by Pope 
 Pius Vn., to whom he had dedicated a 
 mass. At Cassel he reorganized the Phil- 
 harmonic Society, and became its first di- 
 rector. Works : La clemenza di Tito, opera, 
 given at Cassel about 1786 ; Tancrede, do., 
 ib., about 1789 ; L'amour peintre, comic 
 opera, ib., 1796 ; Ascanius und L'ene, dra- 
 ma, ib., 1797 ; Das Fest der Gatten, musical 
 prologue, ib., 1797 ; Euthj-me et Lyris, 
 Renaud dans la fon't enchantee, ballets, ib., 
 1782 ; Mass dedicated to Pius VIL (1800) ; 
 Laudate Dominum, psalm with full orches- 
 tra ; Beati omnes, do.; Tantum ergo. Can- 
 tatas : Anacreon ; La tempesta. La gelosia. 
 La scusa, with full orchestra (1786) ; Der 
 Traum : Ah no ! I'augusto sguardo, dedi- 
 cated to the Queen of Prussia ; Kantate zur 
 Kirchweihe (1795) ; II trionfo della musica, 
 with full orchestra (1806) ; 3 symphonies 
 for grand orchestra (1783) ; 3 quartets for 
 two violins, violoncello, and bass (1784) ; 
 12 notturni for wind instruments ; 6 polo- 
 naises for grand orchestra ; 6 marches for 
 the Hessian Guard ; Choruses with fuU
 
 APELLE 
 
 orchestra ; 24 Italian scenas and airs, with 
 do. ; 6 ItaHan duets for soprano and con- 
 tralto, with do. ; 6 canzonets (1791) ; 3 do, 
 with viola and bass. — Ft'tis ; Gerber, N. 
 Lex. ; Mendel ; Schilling. 
 
 APELLE E CAMPASPE (Apelles and 
 Campaspe), Italian opera, music by Zinga- 
 relli, represented at Venice, 1794 ; music by 
 Tritto, Milan, 1796 ; Apelle et Campaspe, 
 French opera, text by Dumoustier, music 
 by Eler, given at the Opera, Paris, July 12, 
 1798. Subject, the love of the painter 
 Apelles for Campaspe, the favourite concu- 
 bine of Alexander the Great, said by some 
 to have been the model of the Venus Ana- 
 dyomene. 
 
 APOLLINI, SALV ADOBE, born in Ven- 
 ice about the beginning of the 18th centur}'. 
 Dramatic and vocal composer. At first a 
 barber, he studied the violin and played 
 on it his barcaroles, which became popular 
 among the boatmen of Venice. He com- 
 posed the three operas : Fama dell' onore e 
 della virtii, given at Venice, 1727 ; Meta- 
 morfosi amorosi, ib., 1732 ; H pastor fido, 
 ib., 1739.— Fetis ; Schilling. 
 
 APOLLO AND DAPHNE. See Dafne. 
 
 APOLLO ET HYACINTHUS, Latin com- 
 ed}', music by IMozart, represented in the 
 Aula of the University of Salzburg, May 13, 
 1767. Mozart, who was then but eleven 
 years old, played the harpsichord at the 
 performance. The MS. of the music, which 
 is written for five voices, covers one hun- 
 dred and sixty-two jjages. 
 
 APOLLON, BERGER D'ADM^TE 
 (Apollo, Shepherd of Admetus), opera in 
 one act, music by Grenet, represented at 
 the Opera, Paris, 1759. The same episode, 
 the story of the god tending the flocks of Ad- 
 metus at Pherse in Thessaly, on the banks 
 of the Amphrysus, is treated in Apollo in 
 Tessaglia (Apollo in Thessaly), music by 
 Francescliini, Bologna, 1679 ; Apollo unter 
 den Hirten (Apollo among the Shepherds), 
 German Liederspiel, music by Schweitzer, 
 Germany, 1778 ; do., German opera, music 
 by Stegmann, Konigsberg, 1775. 
 
 APOLLON ET CORONIS (Apollo and 
 Coronis), French opera-ballet, text by Fuze- 
 lier, music by Jean Baptiste Rey, repre- 
 sented at the Academic Roj-ale de Musique, 
 Paris, May 3, 1781. The libretto deals with 
 the loves of Apollo and Coronis, who became 
 by him the mother of JSsculapius, and who 
 was finally slain by him through jealou.sy. 
 
 APOLLONI, GIOVANNI, Cavaliere, born 
 at Arezzo about 1650. Dramatic composer, 
 author of three operas : Dori, ossia lo schi- 
 avo regio, given in Rome about 1680 ; L' Ar- 
 gia, in the theatres of Italy, about 1682 ; 
 L' Astiage, ib., about 1683. — Fetis. 
 
 APOLLONI, GIUSEPPE, born at Vi- 
 cenza, contemporary. Dramatic composer. 
 Works : L' Ebi'eo, opera seria, given first 
 probably at Venice, 1855 or 1856, then on 
 aU the principal stages of Italy ; Pietro 
 d' Albano, Venice, 1856 ; Adelchi, ib., 1857 ; 
 II Conte di Konigsberg, Florence, Teatro 
 della Pergola, 1866 ; Gustavo Wasa, Trieste, 
 Teatro Communale, 1872.- — Fetis, Supple- 
 ment, i. 18. 
 
 APOSTEL VON PHILIPPI, DIE, orato- 
 rio, for unaccompanied male voices, text by 
 Giesebrecht, music by Karl Loewe, op. 48, 
 first performed at the music festival in Jena, 
 Aug. 13, 1835. 
 
 APPEL, KARL, born at Dessau, March 
 14, 1812. Violinist, pupil of Conzertmeis- 
 ter Lindner on the violin, and of Friedrich 
 Schneider in theory and composition ; early 
 entered the ducal orchestra as violinist, and 
 succeeded his master as Conzertmeister. 
 Among his vocal music, the quartets for 
 male voices are especially liked. He also 
 wrote an opera. Die Rauberbraut, which 
 was performed at Dessau, 1840. — Mendel. 
 
 AQUIN, D'. See Daquin. 
 
 ARABESKE (Arabesque), the title given 
 by Robert Schumann to a piece for the 
 pianoforte, op. 18, written somewhat in 
 rondo form. Composed in 1839, dedicated 
 to Frau F. Serre ; published by C. A. Spina 
 (Vienna). 
 
 ARABI NELLE GALLIE, GLI (The 
 Arabs in Gaul), opera in four acts, libretto 
 
 61
 
 AEAJA 
 
 from the romance by D'Arliucoiirt, entitled 
 "Le renegat" (The Renegade), music by 
 Giovanni Pacini ; first represented at Milan 
 in 1827, then at Turin, Dec. 2G, 1828, and in 
 Paris, at the Theatre Itaheu, with seven 
 new numbers, Jan. 30, 1855. Pacini him- 
 self superintended the representations in 
 Paris, where the opera was given under 
 the new title, L' ultiuio de' Clodovei. It 
 was first given in New York, at the Opera 
 House in Church Street, Jan. 20, 1834. The 
 action passes in Gaul in the time of Charles 
 Martel. Clodomir, formerly affianced to 
 Ezilda, Priucesse des Cevennes, has em- 
 braced the part of the Arabs, or Saracens, 
 and under the name of Agobar is devastat- 
 ing his native country. Leodato, general 
 of Charles Martel, is overcome and is about 
 to lose his life, when Ezilda comes out of a 
 monastery, where she had taken refuge, and 
 implores clemency for Leodato, who had 
 previously made to her an avowal of his 
 love. She recognizes iu Agobar her old 
 lover, the two renew their love, and the 
 Saracen leader orders his troops to stop the 
 pillage, and to i-espect the country of his 
 mistress. The soldiers murmur and form 
 a plot against Agobar, and, notwithstanding 
 the warning of the generous Leodato, he is 
 kUled, and EzUda, casting herself on his 
 dead body, makes known that he is Clo- 
 domir, her affianced. Pacini's best work. 
 The duet in the third act, between Agobar 
 and Ezilda, " Va, menzogner," is its most 
 noted number. Gli Arabi nelle Gallie, 
 opera semi-seria, music by Schoberlechuer, 
 Florence, 1815, has a different libretto, 
 older than D'Arlincourt's romance, which 
 was not published until 1822. 
 
 ARAJA, FRANCESCO, born at Naples 
 in 1700, died at Bologna about 1770. Dra- 
 matic composer, attracted attention with 
 his first opera in 1730, went to St. Peters- 
 burg with a troupe of Italian singers in 
 1735, and became conductor of the orches- 
 tra at the Italian opera there. Highly es- 
 teemed and distinguished in many ways 
 for twenty-three years, he returned to Italy 
 
 in 1759, and settled in Bologna, where he 
 was made honorary member of the Accade- 
 mia Filarmonica, and gathered around him 
 a circle of young artists, mostly without 
 means, who praised him as their teacher 
 and benefactor. In 1761 he visited Russia 
 again, but returned to Bologna in the year 
 following, after the assassination of Peter 
 HI. He is said to have been the first to 
 compose an opera (1755) in the Russian 
 language. Works : Berenice, given at a 
 chateau of the Grand Duke of Tuscany, near 
 Florence, 1730 ; Amor regnante, Rome, 
 1731 ; Lucio Vero, Venice, Teatro di S. Gio- 
 vanni Crisostomo, 1735 ; Abiatare, St. Pe- 
 tersburg, 1737 ; Semiramide, ib., 1738 ; 
 Scipione, ib., 1739 ; Alessandro nell' Indie, 
 ib., about 1740 ; Ai-sace, ib., 1741 ; La Rus- 
 sia afiiittae riconsolata, Moscow, 1742; Bel- 
 lerofonte, St. Petersburg, about 1743 ; Se- 
 leuco, ib., 1744 ; Cephalus and Procris, 
 Russian opera, ib., 1755 ; La Cimotea, lyric 
 drama, given (at Bologna?) about 1765 ; La 
 uativita di Gesti, oratorio. — Fetis ; Mendel ; 
 Schilling. 
 
 ARANAZ, PEDRO, born at Soria, Spain, 
 in the 18th century, died, at an advanced 
 age, at Cuenca, about 1825. Church com- 
 poser, became maestro de capilla at the 
 Cathedral of Cuenca towards the end of 
 the 18th century. His music is preserved 
 at Cuenca, in the Escorial, and in several 
 churches of Spain. He wrote a treatise on 
 counterpoint and composition, esteemed in 
 his countrj'. — Fetis. 
 
 ARANGUREN, JOSfi, born at Bilbao, 
 Spain, May 25, 1821, still living, 1888. 
 Pianist, pupil of Nicolas Ledesma on the 
 pianoforte, of Fausto Sanz on tlie violin, 
 then in Madrid (1844-48) of Hilarion Esla- 
 va in composition. He began teaching, and 
 in 18G7 became adjiuict professor of har- 
 monj' at the Conservatorio, Madrid. He 
 has composed much sacred music, piano- 
 forte pieces, and songs, and published in 
 1855 a method for the pianoforte, which 
 has had five editions, and in 1861 a treatise 
 on harmony. — Fetis, Supplement, i. 19.
 
 ARAUXO 
 
 AEAUXO (Araujo), FRANCISCO COR- 
 RfiA DE, born iu Spain about 1581, died 
 at Segovia, Jan. 13, 1663. A Dominican 
 monk, at first organist of San Salvador at 
 Seville, then professor at Salamanca, and 
 finally Bishop of Segovia. A number of 
 his compositions, consisting of psalms, mo- 
 tets, and vilhancicos, formed part of the fa- 
 mous musical library of King John IV. of 
 Portugal, as did also his treatise : Casos 
 morales de la mftsica. — Fetis ; do.. Supple- 
 ment, i. 19. 
 
 ARBACE (Arbaces), Italian pasticcio, 
 music by Handel, performed at Coveut Gar- 
 den, London, Jan. 5, 1734. The libretto is 
 an adaptation of Metastasio's Artaserse, re- 
 named after one of the principal characters, 
 and the music consists entirely of selections 
 from the composer's own works. The score 
 is in the Hamburg Library. — Rockstro, Life 
 of H, 322. 
 
 ARBAN, JOSEPH JEAN BAPTISTE 
 LAURENT, born in Lyons, Feb. 28, 1825, 
 still living, 1888. Pupil of the Paris Con- 
 servatoire ; then studied under Dauverne, 
 and took the second prize for the trumpet 
 in 1844, and the first in 1845. His playing 
 on the cornet-a-pistons, which had just come 
 into popular favour, was considered remark- 
 able. He i^layed at the Concerts Musard, 
 and afterwards became leader at the Casino- 
 Cadet, at the Valentino, Fraseati's, and at 
 the Opera balls after Strauss's retirement. 
 In 1857 he was appointed professor of the 
 sax-horn at the Conservatoire, and in 1869 
 was made director of a class on the cornet. 
 He has composed a great deal of music for 
 his insti'ument, besides Grande Mi'thode 
 complete de cornet-a-pistons et de sax-horn 
 (Paris). — Fetis, Supplement, i. 20 ; Mendel, 
 Ergilnz., 15. 
 
 ARBITRE D'UNE VIE. See iMuelle de 
 Portici. 
 
 ARCADELT (Archadelt, Arcadet, Harcha- 
 delt, Arkadelt), JACOB, born in the Nether- 
 lands towards the end of the 15th century, 
 died in Paris (?), 15—. The story that he 
 was a pupil of Joaquin Depres is probably 
 
 untrue. In 1540 he was admitted into the 
 Pontifical Choir at Rome, and in 1555 (?) 
 entered the service of the Cardinal Charles 
 of Lorraine, Duke of Guise, whom he fol- 
 lowed to Paris. Arcadelt was one of the 
 many Flemish composers who migrated to 
 Italy ; he helped to found the " great " 
 Roman school, and was one of Palestrina's 
 most distinguished forerunners. He united 
 French delicacy of sentiment, Flemish mas- 
 tery of musical form, and Italian culture in 
 quite an exceptional way, and was at once 
 one of the most important and prolific com- 
 posers of his day. Together with AVillaert 
 and Verdelot, he was one of the founders of 
 the madrigal. His first book of 53 madri- 
 gals (Venice, 1538) reached its sixteenth 
 edition in 1617, and was followed by five 
 other books. If in his church compositions 
 Arcadelt's style is of almost heroic grandeur, 
 and shows the most comj^lete mastery over 
 all the intricacies of counterpoint (albeit he 
 seems to have despised the then popular 
 " Netherlandish tricks "), in his Italian mad- 
 rigals we discover perhaps the first dawn 
 of the sentimental element in music. His 
 French chansons, on the other hand, are 
 perfect little cabinet-pieces of contrapuntal 
 elaborateness. Notwithstanding the glori- 
 ous musical epoch which followed close 
 upon his death, Arcadelt's works were long 
 looked upon with the greatest veneration ; 
 Freseobaldi wrote an organ jsiece on a 
 theme " del Signore Arcadelt," and even 
 Liszt wrote a pianoforte piiece on an Ave 
 Maria of his. His published works are : 
 Three books of Masses for 3, 4, 5, and 7 
 voices, Paris, Adrien Le Roy, 1557 (one 
 book of these, for 4 and 5 voices, repub- 
 lished, 4to, in 1583) ; H prirao libro de' 
 madrigali a piu voci, Venice, 1538 (subse- 
 quent editions in 1539, 1540 [ib., Vincenzo 
 Bianchi], 1541, 1542, 1545, 1550, 1.551, 
 1552, 1556, 1560, 1568, 1581, 1603, 1606, 
 1617) ; II secondo libro de' madrigali, etc., 
 Venice, Antonio Gardane, 1539 ; Four other 
 books of madrigals, published about the 
 same period ; L'excellence des chansons 
 
 63
 
 ARCAIS 
 
 musicales, Lyons, 1572 (2d ed., 4to, ib., 
 1587), not a theoretical work, as Forkel and 
 Licbtenthal have supposed, but a book of 
 chansons ; Chansons franyaises :i plusieurs 
 parties, Lyons, 158G. Other chansons are 
 in Le dixitme de chansons a quatre par- 
 ties compost'cs par phisieurs auteurs, 
 Paris, Nicolas Du Cheniin, 1552, and in 
 some collections published by Adrien Le 
 Roy ; also in Adriani Wigliar, Cypriani de 
 Rore, Archadelt et Johannis Gero, cantiones 
 trium vocuni, aliaque madrigalia trisona di- 
 versorum auctorum, Venice, 1565. (Title 
 and date, from Ambros, not found in Eit- 
 ner's Bibliography, which, however, men- 
 tions a collection, jiublished by Scotto, Ven- 
 ice, 1566, bearing the same title in Italian.) 
 Also an Ave Maria, London, Musical Times, 
 No. 183, and an 8-voice Pater noster, Com- 
 mer, "Collectio," viij. 21. Three sacred 
 pieces are in the collection "Piissimse ac 
 sacratissimse lamentationes, etc.," Paris, Ad- 
 rien Le Roy, 15 — , and three others in " Can- 
 ticum B. V. IMaripe quod Magnificat inscrib- 
 itur octo modis, etc.," ib., 15 — . Some four- 
 and five-voice motets are in Forster's col- 
 lection. — Ambros, iii. 576 ; Grove, i. 81. 
 
 ARCAIS, FRANCESCO, Marchese D', 
 born in Italy about 1830, still living, 1888. 
 Dramatic composer, and musical critic of 
 the most conservative stamp, extending liis 
 opposition to everything modern, even to 
 Gounod's Faust. Works : I due precettori, 
 opera buffa, given about 1863 ; Sganarel- 
 lo, do., Milan, Teatro Re, 1871 ; La guerra 
 amorosa, Florence. — Fetis, Supplement, i. 
 20. 
 
 ARCHAMBEAU, JEAN MICHEL D', 
 born at Herve, Belgium, March 3, 1823, 
 still living, 1888. Organist, first instructed 
 by his father, then pupil of GofBn and of 
 Joseph Massart, and studied harmony' and 
 counterpoint from the treatises of Cheru- 
 bini, Catel, and Fi'-tis. When scarcely fif- 
 teen years old, he became instructor of 
 music at the college of his native city, and 
 ten years later organist at Petit-Rechain. 
 Works : 2 masses for three men's voices, 
 
 with organ ; 12 litanies ; 7 motets ; Ro- 
 mances without words, for pianoforte, etc. 
 He has also composed an operetta, which 
 was given at Lit'ge, Theatre du Gymnase, 
 1859. His brother Edouard (born at Herve, 
 Dec. 8, 1834), is a pianist, and has published 
 several compositions for his instrument. — 
 Fetis, Supplement, i. 21. 
 
 ARCHER, FREDERIC, born of English 
 parentage, Oxford, England, June 16, 1838, 
 still living, 1888. Organist, pupil of his 
 father. In 1847 he became a chorister at 
 Margaret Chapel (now All Saints' Chm-ch), 
 London, and about five years later organist 
 of St. Clement's, Oxford, and then of Mer- 
 ton College, holding both appointments. 
 After travelling on the Continent he was 
 appointed organist of the Panopticon, 
 now the Alhambra Theatre, and in 1862 
 gave weekly recitals on the great organ 
 at the Universal Exhibition, in London. 
 In 1863, in association with Julius Bene- 
 dict, he directed the concerts of the Vocal 
 Association ; in 1865 became organist and 
 choirmaster of Christ Church, Lancaster 
 Gate, London ; then of the Church of the 
 Jesuit Fatliers, Farm Street, until 1873, 
 when he accepted a similar position at 
 Alexandra Palace, which was shortly after 
 burned. In 1875, when the new Palace 
 was completed, he resumed his position, 
 and gave more than 2,000 recitals on the 
 great organ, without repeating a programme. 
 In 1877 he was given the entire musical di- 
 rection of Alexandra Palace, and, besides 
 the organ recitals, conducted the orchestral 
 concerts and the English opera in the thea- 
 tre. In 1879 he became musical examiner 
 in the University of Glasgow ; and in 1880 
 formed an English opera comj)any, which 
 ga^ve performances in the chief cities of Eng- 
 land. He visited America in 1881, 23layed 
 in many of the principal cities, and, after a 
 short visit to Loudon, became organist of 
 Plymouth Church, Brooklyn, and subse- 
 quently of the Church of the Incarnation, 
 New York, during which he gave a series 
 of ninety organ concerts in Chickering
 
 ARDEMANIO 
 
 Hall. In 1885 he founded and edited The 
 Keynote, a musical journal, and in 1887 
 became conductor of the Boston Oratorio 
 Society, and removed to that city, where he 
 still resides. Works : Adagio maestoso for 
 organ ; Fugue in D minor, id. ; Grand fan- 
 tasia in F, id. ; Andantes in D, F, and A, 
 id. ; Concert variations, id. ; Jlarche triom- 
 phale, id. ; 12 pieces, id. ; 2 gavottes in D 
 and E-flat, for pianoforte ; Polka de sa- 
 lon, id. ; 3 impromptus, id. ; King Witlaf's 
 Drinking-horn ; Songs, part-songs, etc. He 
 is the author also of "The Organ," a theo- 
 retical treatise, with original exercises and 
 compositions ; and of " The Collegiate Or- 
 gan Tutor" (London, n. d.). 
 
 ARDEMANIO, GIULIO CESARE, born 
 (?), died in Milan in 1650. Maestro di cap- 
 pella and organist of the churches S. M. 
 della Scala and S. Fedele. His composi- 
 tions were held in high esteem long after 
 his death. Among them are : Motetti 
 (Milan, 1616) ; Faux-Bourdons (ib., 1618) ; 
 JIusica a pin voei con basso per I'organo 
 (ib., 1628).— Fctis ; Schilling. 
 
 ARDITI, LUIGI, born at Crescentino, 
 Piedmont, July 16, 
 18 2 5. Dramatic 
 composer and vio- 
 linist, puj)il, in 
 18.36-42, at the 
 Conservatorio, Mil- 
 an. In 1843 he 
 made his debut as 
 director of the op- 
 era at Vercelli, 
 where he was made 
 honorary member 
 of the Accademia Filarmonica. With Bot- 
 tesini he visited Havana in 1846, and then 
 Boston, Philadelphia, and New York, where 
 he conducted the opera at the opening of 
 the Academy of Music, Oct. 2, 18.54. In 
 1856 he visited Constantinople, and in 18.58 
 settled in London as conductor at Her 
 Majesty's Theatre. He afterwards travelled 
 with an Italian company through the prin- 
 cipal German cities, and conducted Italian 
 
 ^^r'/\K: 
 
 opera at St. Petersburg in the winter of 
 1871-73, and at Vienna each spring after 
 1870. Works : I briganti, opera, given at 
 the Conservatorio, Milan, 1841 ; II corsaro, 
 do., Havana, about 1846 ; La spia, do., New 
 York, 1856 ; Overture (1840) ; do., and Sou- 
 venir de Donizetti (1842) ; Commemoration 
 ode, given at the Crystal Palace, June 10, 
 1873, and II Bacio, vocal waltz ; L' Ardita, 
 do. He has also written violin music, con- 
 sisting of arrangements from operas, or 
 American songs. — Fetis, Supplement, i. 21 ; 
 Mendel ; Yapereau, 1880. 
 
 ARDITI, MICHELE, Marchese, born 
 at Presicca, Naples, Sept. 29, 1745, died in 
 Naj)les, April 23, 1838. Amateur dramatic 
 comjjoser, pupil of Jommelli. In 1807 he 
 became director-general of the Museo Re- 
 ale Borbonico. "Works : Olimpiade, opera ; 
 Sacred and secular cantatas ; Motets ; Sym- 
 phonies ; Overtures ; Sonatas for piano- 
 forte ; Arias with orchestra or pianoforte. 
 — Fctis. 
 
 ARDORE, Principe D'. See Milano. 
 
 ARENA, GIUSEPPE, born in Naples (?) 
 at the beginning of the 18th century. Di-a- 
 matic composer, very popular in his time. 
 Works — Operas : Aehille in Sciro, given in 
 Rome, 1738 ; Tigrane, Venice, 1741 ; Ales- 
 sandro in Persia, London, 1741 ; Farnace, 
 Rome, 1742. He left in manuscript : Prin- 
 cipj per cembalo o organo. — Fetis. 
 
 ARENS, FRANZ XAVIER, born, of Ger- 
 man parentage, on the banks of the Moselle, 
 Germany, Oct. 28, 1856, stiU living, 1888. 
 Organist, pupil on the j)ianoforte and organ 
 of his father. When fifteen years old he be- 
 came organist and choirmaster in a small 
 town near Cleveland, Ohio ; after finishing 
 the normal school course at St. Francis, 
 near Milwaukee, where he studied the or- 
 gan, the violin, and harmony and singing, 
 he took charge of a church choir in Mil- 
 waukee, at the same time continuing his 
 lessons in counterpoint with Prof. Singen- 
 berger of the St. Francis Normal School. 
 After acting as musical director of Canisius 
 College, Buffalo, N. Y., three years, he went 
 
 65
 
 AEETINUS 
 
 to Europe, where lie studied for two years 
 in Munich, counterpoint, instrumentation, 
 and tlie organ with Rheinberger, conduct- 
 ing under Abel, and in Dresden coinjjosition 
 under Wiillner, the pianoforte and organ 
 under Jannseu, and score-reading under 
 Kirchner. Upon his return to America he 
 took the conductorshijJ of the Cleveland Ge- 
 sang Verein and of the Cleveland Philhar- 
 monic Orchestra, but resigned the latter 
 position in 1887. He has also been organ- 
 ist in one of the churches of that city since 
 188G. Works : Prelude and Fugue for or- 
 gan, 1883 ; The Troubadour, for solo, cho- 
 rus, and oreliestra ; Salve Eegina, for mixed 
 chorus, 1884 ; String quartet in A minor, 
 produced in Dresden, 1884 ; Symphonic 
 Fantasia, Indianapolis, 1887 ; Slumber 
 sweetlj', song ; Other songs, and music for 
 mixed chorus. 
 
 ARETINUS, PAULUS, Italian church 
 composer of the 16th century. He is 
 known bj' the following works, preserved 
 in the royal library at ]M\inich : Sacra re- 
 sponsoria, turn natali Domini, etc. Respon- 
 soria hebdomadse sanct?e, etc. (Venice, 1547) ; 
 (ib., 1544) ; Libro primo delli raadrigali 
 cromatici (ib., 1549). — Fetis ; Mendel. 
 
 ARGENTILLY, CARLO D', born prob- 
 ably in Picardy, France, contemjDorary of 
 Arcadelt, and, like him, singer and com- 
 poser in the Pontifical Chapel, in the first 
 half of the ICth century. Some of his 
 works, bearing the date of 1543, are pre- 
 served in the library of the Vatican, and 
 justify the high estimation in which they 
 were held in his time. — Schilling. 
 
 ARGINE, CONSTANTINO DALL', born 
 at Parma, May 12, 1842, died in Milan, 
 March 1, 1877. Dramatic composer, au- 
 thor of operas and ballets given in Italy. 
 
 ARIA DELLA CALUNNIA. See .Bar- 
 hiere di Siviglia. 
 
 ARIADNE, Italian opera, text by Paolo 
 Rolli. music by Porpora, represented at the 
 Lincoln's Inn Fields Theatre, London, Dec. 
 29, 1733. This was one of the operas put 
 upon the stage by Handel's rivals, who pre- 
 
 tentiously called their enterprise the "Op- 
 I era of the Nobility." Porpora directed the 
 performance in person. — Rockstro, Handel, 
 189. 
 
 ARIANNA (Ariadne), Italian opera seria, 
 text by Einuccini, music by Claudio Monte- 
 verde, represented in Mantua, 1607, to cele- 
 brate the marriage of Francesco di Gonzaga, 
 son of the Duke, with Margherita, Infanta 
 of Savoy. The success of this work, written 
 in competition with Gagliauo's Dafne, which 
 was produced at the same time, was unprec- 
 edented. It is said that the audience was 
 moved to tears during the performance of 
 the scene in which Ariadne laments the de- 
 jjarture of her faithless lover, the only part 
 of the work, excepting a few passages of 
 recitative, now presei-ved to us ; and that 
 the composer's power was similarly shown 
 on the reproduction of the opera in Venice, 
 thirty years later. The story of the deser- 
 tion of the unfortunate daughter of Minos 
 by Theseus and her subsequent finding and 
 marriage by Bacchus has also inspired 
 many other musicians: Ariadne, music by 
 Niccolo Porpora, Loudon, 1733 ; Ai-iana, mu- 
 sic by Feo, Rome, 1728 ; music by Bene- 
 detto Ferrari, Venice, 1640 ; Arianna, music 
 by Handel, London, 1734 ; music by Adol- 
 fati, Genoa, 1750 : Ariane, opera in five 
 acts, text by the Abbe Perrin, music by 
 Cambert, London, 1667 ; opera-ballet, music 
 by Batistin, Versailles, about 1717 ; scene 
 lyrique, music by Jean Baptiste Rochefort, 
 Paris, 1785 ; Ariadne, music by Conradi, 
 Hamburg, 1691 ; music by Keiser, Ham- 
 burg, 1722 ; Ariana abbandonata (Ariadne 
 Abandoned), music by Boniventi, Venice, 
 1719 ; Aiiana e Bacco (Ariadne and Bac- 
 chus), music by Tarchi, Turin, 1785 ; Ariane 
 et Bacchus, opera in five acts, text by Saint- 
 Jean, music by Marais, Paris, March 8, 1696 ; 
 do., music by Bouvard, represented at the 
 Court of France, 1729 ; do., ballet, music 
 by J. B. Rochefort, Paris, 1793 ; Bacchus 
 und Ariadne, ballet, music by Thaddeus 
 Weigh about 1800 ; Nozze d' Arianna e di 
 Bacco (Nuptials of Ai-iadne and Bacchus),
 
 ARIANNA 
 
 music by Holzbauer, Vienna, about 1780 ; 
 Ariiichie auf Naxos, melodrama, music by 
 George Benda, Gotlia, about 1769 ; ojjera, 
 music by Bernhard Klein, Berlin, 1825 ; 
 opera in two acts, music by Mme Paradies, 
 Vienna, 1791 ; drama, text by Tb. Krebs, 
 music by Max Selfriz, Lihvensberg, 18G1 ; 
 Ariane dans File de Naxos, opera in one act, 
 text by Moline, music by Edelmaun, Paris, 
 1782 ; Ai-iane et Thesee (Ariadne and The- 
 seus), opera in five acts, text by Lagrange- 
 Chancel and Roy, music by Mouret, Paris, 
 1717 ; Ariana e Teseo, Italian opera, music 
 by Niccolo Porpora, Vienna, 1714 ; by Caf- 
 faro, Najiles, 1766 ; by Piscbietti, Dresden, 
 1769 ; by Peter von Winter, Vienna, about 
 1796 ; by Benvenuti, Pisa, 1810 ; Trionfo 
 d' Ariana (Triumph of Ariadne), music by 
 Anfossi, Prague, about 1784 ; by Righini, 
 Berlin, 1795. 
 
 ARIANNA, Italian opera, text by Francis 
 Colman, music by Handel, first represented 
 at the King's Theatre, London, Jan. 26, 
 1734 The score is dated Oct. 5, 1733. 
 The part of Theseus was magnificently sus- 
 tained by Giovanni Carestini, an artificial 
 contralto brought from Italy by Handel to 
 take the place of Senesino, who had de- 
 serted him to join the rival company at the 
 Lincoln's Inn Fields Theatre. The opei-a con- 
 tains some very dramatic situations, and the 
 minuet in the first scene was long poijular. — 
 Rockstro, Handel, 189 ; Crysander, ii. 334. 
 ARIANNA A NAXOS, cantata for voice 
 with pianoforte, by Josef Haydn, composed 
 in Vienna, 1790. Consisting of a recita- 
 tive : Teseo mio ben, and the aria : Dove sei, 
 mio bel tesoro. This vocal seena describes 
 the moment of the myth when Ariadne, 
 awaking on the rocky shore, espies the ship 
 of Theseus sailing away in the distance. It 
 is a highly dramatic scena, calling, however, 
 for an orchestral accompaniment, which 
 was supplied afterwards (1809) by Kapell- 
 meister G. Abraham Schneider in Berlin. 
 — Pohl, ii. 237, 358. 
 
 ARIENZO, NICOLA D', born in Na- 
 ples, Dec. 24, 1843. Dramatic composer, 
 
 67 
 
 pupil of Pietro Labriola on the pianoforte 
 and of Vincenzo Fioravanti, Moretti, and 
 Mercadante in harmony and counterpoint. 
 He made his debut at the age of sixteen by 
 producing an opei'a buffii, in Neapolitan 
 patois, played in a trio of his own compo- 
 sition at the Bouamici concert in 1864, 
 became professor of harmony and com- 
 position at r Albergo de' Poveri, and at the 
 College of San Pietro a Majella, Naples. 
 His four nocturnes for two, three, and four 
 voices, won the second prize of the Societa 
 del Quartetto, Milan, in 1869. Works— 
 Operas : Monzii Gnazio o La fidauzata del 
 Perucchiere (opera bufta in Neapolitan dia- 
 lect), given at Naples, Teatro Nuovo, 1860 ; 
 I due mariti, ib., Teatro Bellini, 1866 ; Le 
 rose, ib., 1868 ; II cacciatore delle Alpi, ib., 
 1870 ; n cuoco, ib., Teatro Rossini, 1873 ; 
 I viaggi, Milan, Teatro Castelli, 1875 ; La 
 figlia del diavolo, Naples, Teatro Bellini, 
 1879 ; I tre coscritti, ib. , Albergo de' Po- 
 veri, 1880 ; Pensiero sinfouico, performed 
 in Rome, 1871 ; H Cristo sulla croce, can- 
 tata ; several overtures, and much vocal 
 music. — Fi'tis, Supplt^ment, i. 22 ; Rie- 
 mann ; Vapereau ( 1880). 
 
 ARIOBANT (Ital., Ariodante), lyrical 
 drama in three acts, text by Hoffmann, sub- 
 ject from the " Orlando Furioso " of Ariosto, 
 music by Mehul ; first rej)resented at the 
 Theatre "^Favart, Paris, Oct. 11, 1799. It 
 was the composer's favourite opera, but, 
 though containing many dramatic beauties, 
 was not very successful. Some of its airs 
 were long popular, especially the romance : 
 " Femme sensible, entends-tu le ramage?"; 
 the duet of Ariodant and lua, "Dissi- 
 pons ce sombre nuage ; " and the air of 
 Dalinda, " Calmez, calmez cette colere." 
 Other operas on same subject : Ariodante, 
 Italian opera, music by Giovaiini jMaria 
 Costa, Genoa, 1655 ; music by Pollarolo, 
 Venice, 1716 ; music by Bioni, Bi-eslau, 
 1727 ; music by Handel, London, Jan. 8, 
 1735. 
 
 .\RION, lyric tragedy in five acts, text by 
 Fuzelier, music by Matho, represented at
 
 ARIOSTI 
 
 the Academie Eoyale de Musique, Paris, i 1693 ; Dafue, Venice, 1686 (pub. 1696) ; 
 April 10, 1711. Subject, the story of Ai-ion 1 Erifile, ib., 1697 ; La festa d' Imenei, near 
 the Greek bard. 
 
 AEIOSTI, ATTILIO, boru in 
 about 1660, 
 
 Berlin, 1700; Atys, Liitzenburg, 1700; La 
 Bologna , madre de' Maccabei, Venice, 1701 ; Na- 
 
 died (?). 
 A Dominican monk, 
 who, under a papal 
 dispensation, gave up 
 his ecclesiastical pro- 
 fession to follow that 
 of music, which art he 
 had studied from 
 youth up. With the 
 exception of one ora- 
 torio and a few cantatas, he wrote only 
 for the stage. His first opera, Dafne (text 
 by Apostolo Zeno) was brought out with 
 fail- success at Venice in 1686. Besides be- 
 ing a composer of great merit, he was a 
 clever performer on the violoncello and the 
 viol d' amore. In 1690 he was made either 
 private composer or maestro di cappella to 
 the Electress of Brandenburg, which post 
 he held until 1716. During this period he 
 probably left Berlin twice, once on a visit 
 to Italy, and once to Austria. He first api 
 
 bucodonosor, Vienna, 1706 ; La piti gloriosa 
 fatica d' Ercole, Bologna, 1706 ; Amor tra 
 Nemici, Vienna, 1708 ; Ciro, London, 1721 ; 
 1st act of Muzio Scevola, ib., 1721 ; Co- 
 riolano, ib., 1723 ; Vespasien, ib., 1721 ; Ar- 
 taserse, ib., 1721 ; Dario, ib., 1725 ; Lucio 
 Vero, ib., 1726 ; Teuzzone, ib., 1727 ; Vol- 
 ume of cantatas, and a collection of lessons 
 for the viol d' amore, ib., 1728. — Grove, i. 
 83 ; Hogarth, ii. 21. 
 
 ARIOVISTO (Ariovistus), Italian opera, 
 music by Ballarotti, in collaboration with 
 Perti and Paolo Magni, represented at the 
 ducal theatre in Milan, 1699. Subject, the 
 famous German chief, whose invasion of 
 Gaul was checked by Caesar at Vesoutio 
 (Besan(;on), b.c. 58. Another, same subject, 
 music by Mancini, Naples, 1702. 
 
 AEKADELT. See Arcadelt. 
 
 ARLESIENNE, L', melodrama in three 
 acts and five tableaux with entr'actes and 
 choruses, text by Alphonse Daudet, music 
 
 peared in London at the performance of | by Georges Bizet, represented at the Thea- 
 
 Handel's Amadis, in which he played a solo 
 for the viol d' amore. In 1720 the directors 
 of the opera engaged him, together with 
 Handel and Bononcini, to write for their 
 theatre. The first opera given was Muzio 
 Scevola, written by all three composers in 
 collaboration, the first act being by Ariosti. 
 But Handel's genius finally threw his two 
 rivals into the shade, and at the close of the 
 season of 1727 Bononcini and Ariosti were 
 dismissed. In 1728 Ariosti quitted Eng- 
 
 tre du Vaudeville, Paris, Sept. 30, 1872. 
 Frederi, a young peasant of the Camarge, 
 is in love vsdth a maiden of Aries (I'Arle- 
 sienne), said to be very beautiful, but who 
 does not ajjpear on the stage. When about 
 to marry her, she is proved to be unworthy 
 and he loses his reason. His mother, who 
 wishes him to marry a charming young girl 
 who loves him, is coldly repelled by him, 
 and at last, in despair, gives her consent to 
 his union with the Ailcsienne ; but it is too 
 
 land, and nothing is known of his subse- 1 late, and he commits suicide by throwing 
 quent life. Fetis's story that, previous to ! himself from a tower before her eyes. 
 
 his departure, he published a volume of can- 
 tatas by subscription, realizing £1,000, may 
 or may not be true ; at any rate, he was mis- 
 erably poor at the time. He was a man of 
 talent and great cleverness rather than of 
 genius. The list of his works, with date 
 of first performance and publication, is : Sta. 
 Eadegonda, Eegina di Francia, oratorio. 
 
 AEMES, PHILIP, born in Norwich, Eng- 
 land, Aug. 15, 1836, still living, 1888. Or- 
 ganist ; chorister in Norwich Cathedral in 
 1816-18, and in Rochester Cathedral 1818- 
 51 ; articled pupil of Dr. John Larkin Hop- 
 kins at Rochester, 1850-55 ; was organist of 
 Trinity Church, Milton, Gravesend, in 1855- 
 57, of St. Andrew's, Wells Street, London, 
 
 68
 
 ARM IDE 
 
 in 1857-61, of Chichester Catbedraliu 1861- 
 02, and of Durham Cathedral since 1862 
 Mus. Bac, Oxford, 
 1858 ; Mus. Doc, ib., 
 1864 ; degrees also 
 from University of 
 Durham, 1863, 1864. 
 Works : Hezekiali, 
 oratorio, jierformed at 
 Worcester Festival, 
 1878 ; St. John the 
 Evangelist, do., York 
 Festival, 1881; Com- 
 munion Services in 
 A ; do. in B-flat ; Te 
 Deum ; Morning and 
 G ; Antliems ; Chants 
 
 ARMIDE, gi-and heroic opera in five acts, 
 te-xt by Quinault, music by Gluck, repre- 
 
 Evening Service in 
 Hvmns, etc. 
 
 Mara as Armide, 
 
 sented at the Academic Royale de Musique, 
 Paris, Sept. 23, 1777. Subject from the 
 "Gerusalemme Liberata" of Tasso. Though 
 produced at the height of the quarrel be- 
 tween the Gluckists and the Piccinnists, 
 this work won an enthusiastic success. In 
 it the composer continued the musical revo- 
 lution, begun in Alceste, of subordinating 
 the singing to the ti'uth of dramatic expres- 
 sion. The airs, "On s'etonnerait moins que 
 la saison nouvelle," and " Ah ! si la liber- 
 ie me doit etre ravie," are still classic, and 
 
 the minuet and the gavotte in it were long 
 popular. Among the best interpreters of 
 Armide was Gertrude Elizabeth Mara, one 
 of the most famous singers of the last cen- 
 tury.^Marx, Gluck, ii. 184 ; Hanslick, Gluck 
 u. d. Oper, 9. 
 
 ARMIDE ET RENAUD (Armida and 
 Rinaldo), lyric tragedy in five acts, text by 
 Quinault, subject from the " Gerusalemme 
 Liberata '" of Tasso, music by Jean Baptiste 
 Lulli, first represented at the Opera, Paris, 
 Feb. 15, 1680. This was Quinault's last 
 and best libretto ; and Lulli's most popular 
 score ; it had an unprecedented success and 
 was applauded for nearly half a centurj-. 
 Several of the airs, such as "La chaine de 
 I'hymen m'otonne," and the recitative, "Le 
 perfide Renaud me fuit," still survive in the 
 classic repertory. The same subject has 
 been treated also by Rampini, Venice, 1711 ; 
 by Graun, text from Quinault, Berlin, 1751 ; 
 by Traetta, Vienna, 1760 ; by Jomnielli, 
 Naples, 1771 ; in three acts, by Salieri, Vi- 
 enna, 1771 ; by Sacchini, Milan, 1772 ; by 
 Nauniann, Padua, 1773 ; by Astaritta, 1777 ; 
 by Gazzaniga, Italy, 1777 ; by Rauzzini, 
 London, 1778 ; by Winter, Munich, 1778 ; 
 by INIortellari, Milan, 1778 ; by Mysliweczek, 
 about 1780 ; by Bertoni, Venice, 1781 ; in 
 three acts, by Cherubini, Florence, 1782 ; 
 by Anfossi, London, 1782 ; by F. J. Haydn, 
 Esterhaz, 1784 ; by Zingarelli, Rome, 1786 ; 
 by J. Mosca, Florence, 1799 ; two acts, text 
 by Soltellini, music by Eighini, Aschaften- 
 btirg, 1788, Berlin, 1799 ; by Rossini, Na- 
 ples, 1817, in which he began bis sec- 
 ond manner ; Armida abbandonata (Armida 
 Abandoned), Italian opera, by Giovanni Rug- 
 gieri, Venice, 1710 ; by Buini, Florence, 
 1723, also as Armida delusa (Deceived), 
 Venice, 1720; by Prati, Munich, 1785; Ar- 
 mida al campo (in the Camp), by Boni- 
 venti, Venice, 1717 ; by Bioni, Breslau, 1720 ; 
 Armida al campo d' Egitto (in the Egyptian 
 Camp), by Vivaldi, Venice, 1718 ; by Giu- 
 seppe Bertoni, Venice, 1781 ; Armida im- 
 maginaria (Imaginary), Cimarosa, Naples, 
 1778 ; Armida placata (Appeased), music by
 
 ARMINGAUD 
 
 Giambattista ]\Iele, Madrid, 1750 ; Avmida, 
 Eegina di Damaso (Queeu of Damascus), 
 Oi-giani, Verona, 1711 ; Armide la Magi- 
 cienue (the Magician), bj- F. Gliiser, Vieuua, 
 1828 ; n trioufo d' Arniida (Triumpli of 
 Armida), by Albinoni, Venice, 1726 ; Die 
 Zauberin Armide (Armida the Enchantress), 
 by Gliiser, Vienna, 1828 ; Riualdo, by Tozzi, 
 Brunswick, 1775 ; by Guglielmi, Venice, 
 
 1789 ; music by Handel, Loudon, 1711 ; 
 Einaldo e Armida, by Eccles, London, 
 1698 ; Rinald, German opera, by Hilffner, 
 Stockholm, 1792 ; Rinald und Armide, by 
 Rheineck, 1779 ; by Zumsteeg, Stuttgart, 
 
 1790 ; by von Paradies, Prague, 1797 ; Ri- 
 nald im Zauberwald (Rinaldo in the En- 
 chanted Wood), ballet, by Apell, Cassel, 
 1782. 
 
 ARMINGAUD, JULES, born at Ba- 
 yonue, May 3, 1820, still living, 1888. Vio- 
 linist, studied in his native city. He went 
 to Paris in 1839 to perfect himself at the 
 Conservatoire, but was not admitted as be- 
 ing too far advanced, and has since then 
 been a member of the orchestra of the 
 Opera. Works : Fantaisie, for violin and 
 pianoforte, op. 8 (Paris, Brand us) ; Sere- 
 nade for do., op. 9 (ib., Meissonier) ; Grande 
 fantaisie on Zampa, for do., op. 10 (ib.) ; 
 Vilanelle, op. 11 (ib.) ; Andante and Scher- 
 zo, op. 13 (Paris, Richault) ; Fantaisie et 
 variations, for violin and orchestra, op. 14 
 (ib.) ; Souvenir de Vasconie, for do., op. 15 
 (ib.) ; etc. — Fetis ; do.. Supplement, i. 22. 
 
 ARlVnNIUS (Ital., Arminio ; Ger., Ar- 
 min or Hermann), the German chief of the 
 Cherusci, who defeated the legions of Varus 
 in the Teutoberger forest and freed his 
 country from the Roman yoke, is the sub- 
 ject of many operas. Arminio, Italian op- 
 era, music by Pollarolo, Pratolino, 1703, 
 Venice, 1722 ; by Steffaui, Hanover, 1707 ; 
 in three acts, by Scarlatti, Venice, 1714 ; by 
 Johann Adolph Hasse, Milan, 1731, Dres- 
 den, 1745 ; by Handel, London, Jan. 12, 
 1737 ; by Galuppi, Italy, 1747 ; by Gioac- 
 chino Cocchi, Rome, 1749 ; by Ottani, Tu- 
 rin, 1781 ; by Tritto, Rome, 1786 ; opera 
 
 scria in three acts, music by Tarchi, Man- 
 tua, 1786 ; by Bianchi, Florence, 1790 ; by 
 Pavesi, Venice, 1821 ; Armiuius, French op- 
 era, music by Mehul, 1794 (not represented) ; 
 Armin, German opera in four acts, text by 
 Felix Dahn, music by Heinrich Hofmann, 
 Dresden, Oct. 14, 1877, Berlin, Nov. 14, 
 1877, with the tenor Niemann in the princi- 
 pal role. 
 
 ARMINIUS, secular oratorio, text by J. 
 Clippers (English translation by Mrs. Natalia 
 Macfarreu), music by Max Bruch, op. 43, 
 l^erformed at Ziirich, 1877 ; at Boston, Mass., 
 at the sixth triennial festival of the Handel 
 and Haydn Society, in the Music Hall, 
 INIay 4, 1883, under the composer's direction. 
 Solos by Miss Emily Winant, Charles R. 
 Adams, and Georg Henschel. 
 
 ARMOURER OF NANTES, THE, Eng- 
 lish opera in three acts, text by J. V. Bridg- 
 man, founded on Victor Hugo's " Marie 
 Tudor," music by Balfe ; represented at 
 Coveut Garden, London, Feb. 12, 1863. 
 Sung by Harrison, Sautley, Weiss, Corri, 
 Miss Pyne, and Miss Hiles. — Barrett, Balfe, 
 247. 
 
 AEMSDORFF, ANDREAS, born at 
 Miihlberg, near Gotha, Sei^t. 9, 1670, died 
 at Erfurt, Dec. 31, 1699. Composer of 
 church and chamber music, and organist in 
 several churches of Erfurt. Only a few of 
 his numerous compositions have been pub- 
 lished. — Fetis ; Mendel ; Schilling. 
 
 ARNAUD, fiTIENNE, born at Marseil- 
 les, March 16, 1807, died there in January, 
 1863. Vocal composer, pupil of Plantade 
 at the Paris Conservatoire. He has pub- 
 lished more than two hundred romances, 
 most of which obtained considerable suc- 
 cess. — Fetis. 
 
 ARNE, ]\nCHAEL, Ijorn in London 
 in 1741, died at South Lambeth, Jan. 14, 
 1786 . Dramatic composer ; son of Thomas 
 Augustine Arne. He early showed a talent 
 for music, being al)le to plaj' on the harpsi- 
 chord with gi-eat correctness, wlien only ten 
 j'ears old, the lessons of Scarlatti and Han- 
 del, and later exhibited great facility in the 
 
 70
 
 ARNE 
 
 composition of songs aucl dramatic pieces. 
 In " The Flow'ret, a New Collection of 
 Euglisli Songs, by Master Arne," is a song 
 called the Highland Laddie, written at the 
 age of thirteen, which was adapted by Liu- 
 ley in 1755 to "Ah, sure a pair were never 
 seen," in Sheridan's opera, The Duenna. 
 After devoting several years to chemistry in 
 search for the philosopher's stone, he turned 
 to composition again, and wrote for Rane- 
 lagh, Covent Garden, and Vauxhall. He 
 •was director of music at the Dublin The- 
 atre in 1779, and of the Lenten Orato- 
 rios at London theatres in 1781 and later. 
 Works— Operas : Alcmena (with Battishill), 
 The Fay's Tale, given in London, Drury 
 Lane, 1761; Cymon, ib., 1767; The Fa- 
 thers, ib., 1778 ; The Belle's Stratagem, ib., 
 1780; The Choice of Harlequin, ib., 1781; 
 The Positive Man, ib., 1782 ; Tristram 
 Shandy, ib., 1783. — Grove ; Hogarth, Mus. 
 Drama, ii. 102. 
 
 ARNE, THOMAS AUGUSTINE, born 
 in London, March 
 12 [May 2 8?] 
 1710, died there, 
 March 5, 1778. 
 The son of an up- 
 holsterer in King 
 Street, Covent Gar- 
 den ; he was edu- 
 cated at Eton, and 
 then studied three 
 j-ears in a solici- 
 tor's office, but his 
 bent for music was stronger than his love 
 for the law, and he at last persuaded his 
 jjarents to let him give up the latter for the 
 former. He studied the violin under Fest- 
 ing, and also took lessons on the spinet and 
 in composition. He was the singing teach- 
 er of his sistei', Susanna Maria, who, after 
 a short career as an opera-singer, became 
 famous as an actress and the wife of Colley 
 Gibber. Arne's first opera was a resetting 
 of Addison's "Rosamond," which he made 
 for his sister, and in which she appeared at 
 the Lhicoln's Inn Fields Theatre, March 7, 
 
 1733. In 1736 he married Cecilia, eldest 
 (laughter of Charles Young, organist of All- 
 hallows, Barking, a brilliant singer who was 
 famous in Handel's operas. In 1742 he 
 went with his wife to Dublin, where he 
 stayed until 1741. On his return to Lou- 
 don he was engaged as composer at Drury 
 Lane, and became conductor of the orches- 
 tra there after Gordon's death. In 1745 he 
 was engaged as composer to Vauxhall Gar- 
 dens, a post which he held for many years, 
 writing a host of songs for the Gardens, as 
 well as for Ranelagh and Marjdebone Gar- 
 dens. On March 12, 1755, was produced 
 his first oratorio, Abel. On July G, 1750, 
 the University of Oxford conferred upon 
 him the degree of Mus. Doc. In 1762 
 he produced Artaxerxes, an opera in the 
 Italian style, with recitative instead of spo- 
 ken dialogue, and the text of which he 
 himself translated from Metastasio's Arla- 
 serse. The part of Mundane, famous for its 
 florid writing, was written for and sung by 
 his pupil. Miss Brent. This, which held 
 the stage for more than seventy-five years, 
 has been accounted his best work. His 
 second oratorio, Judith, was represented 
 on Feb. 29, 1764. At a performance of 
 this work at Covent Garden Theatre, Feb. 
 26, 1773, Dr. Arue first introduced women's 
 voices into oratorio choruses. In 1765 he 
 brought out his only Italian opera, a setting 
 of Metastasio's OJimpiadf, but without suc- 
 cess. His last dramatic work was the mu- 
 sic to Mason's Caractacus, 1776. Besides 
 his operas, he wrote a vast amount of other 
 vocal music, glees, canons, catches (seven 
 of which won prizes at the Catch Club), 
 and a good deal of instrumental music. 
 He was buried in St. Paul's, Covent Gar- 
 den. His wife outlived him about seven- 
 teen years. Dr. Arne has been called the 
 greatest English composer of the 18th 
 century. His melodic stj'le was elegant 
 and brilliant ; he imitated neither Lulli, 
 Purcell, nor Handel, as most of his contem- 
 poraries did, but his melodies often suggest 
 at once the Italian manner and the flavour
 
 AENEIKO 
 
 of Scotch songs. His failure in Italian 
 opera is probably attributable to this field's 
 beiug so stroDgly occupied by Haudel and 
 BoDoucini. His oratorios are, iu geueral, 
 weaker than bis operas, the choruses esj)e- 
 cially bearing no comparison with those of 
 the great oratorio eomi^osers of his day ; 
 yet he was the first composer to introduce 
 female voices into oratorio choruses in Eng- 
 land. Much of his incidental music to 
 Shakespeare's plays has become standard, 
 and the air Rule Britannia, the finale of 
 his music to Thomson and Mallet's masque 
 "Alfred," written in 1740 to commemorate 
 the anniversary of the accession of the 
 House of Hanover, Aug. 14th, is world fa- 
 mous. Works — Operas, etc. : Rosamond, 
 given at Drury Lane, Loudon, 1733 ; The 
 Opera of Operas ; or, Tom Thumb the 
 Great, Haymarket, ib., 1733 ; Dido and 
 iEneas, 1734 ; The Fall of Phaeton, 1736 ; 
 Music to Zara, 1730 ; Comus, 1738 ; Judg- 
 ment of Paris, 1740 ; Alfred, 1740 ; Songs 
 iu Twelfth Night, 1741 ; Blind Beggar 
 of Bethnal Green, 1741 ; Songs in The 
 Merchant of Venice, 1742 ; Britannia, 1743 ; 
 Eliza, 1743 ; Thomas and Sally, 1743 ; 
 The Temple of Duhiess, 1745 ; King 
 Pepin's Camj^aigu, 174.5 ; Music to the 
 Tempest, 1746 ; Neptune and Amphitrite, 
 1746 ; Don Saverio, 1749 ; Dirge in Ro- 
 meo and Juliet, 1750 ; The Prophetess, 
 1759 ; The Sultan, 1759; Aiiaj-er.res, 1762 ; 
 Love iu a Village (compilation), 1762 ; 
 Birth of Hercules (not represented), 1763 ; 
 The Guardian Outwitted, 1764 ; Olimpiade 
 (Italian), 1765 ; The Ladies' Frolic, 1770 ; 
 Additions to Purcell's King Arthur, 1770 ; 
 The Fairy Prince, 1771 ; The Cooper, 1772 ; 
 Choruses in Mason's Elfrida, 1772; The 
 Kose, 1773 ; Contest of Beauty and Virtue, 
 1773 ; Achilles in Petticoats, 1773 ; May 
 Day, 1775 ; Phoebe at Court, 1776 ; Music 
 to Mason's Caractacus, 1776 ; Songs in The 
 Tender Husband, The Rehearsal, The Rival 
 Queens, and other plays. Oratorios : Abel, 
 1755 ; Jifdith, 1764. Collections of songs 
 under the following titles : Lvric Harniouv, 
 
 The Agreeable Musical Choice, Summer 
 Amusement, Winter's Amusements, The Sy- 
 ren ; Vocal Melody, 1753 ; The Vocal Grove, 
 1774 ; and nearly twenty other books of 
 songs. Glees, Catches, Canons, etc. : 12 
 glees, 10 catches, 6 canons, printed iu War- 
 ren's Collections; Ode on Shakespeare, writ- 
 ten by Garrick for the Shakespeare Jubilee 
 at Stratford-on-Avon, 1 769 ; Sonatas or les- 
 sons for the harjjsichord ; Organ concertos ; 
 Overtiu-es for orchestra, etc. — Grove ; Ho- 
 garth, ii. 65 ; Buruey, iv. 6 — ; Dwight's 
 Journal, xiii. 205. 
 
 ARNEIRO, (JOSfi AUGUSTO) FER- 
 REIRA VEIGA, Vicomte D', born at Ma- 
 cao, China, Nov. 22, 1838, still living, 1888. 
 Dramatic composer, of a family distinguished 
 in the musical cu-cles of Lisbon. He studied 
 law at the University of Coimbra, but from 
 1859 to 1862 studied harmony under Manoel 
 Joaquim Botelho, counterj)oiut and fugue 
 under Vicente Schira, and the pianoforte un- 
 der Antonio Jose Soares. He began com- 
 posing orchestra music, entr'actes, and other 
 pieces, and produced a ballet, Ginu, at the 
 Teatro San Carlos, Lisbon, iu 1866. He 
 wrote a great deal of church music. His 
 jirineipal work, a Te Deum, performed at 
 St. Paul's, Lisbon, in 1871, was afterwards 
 brought out iu Paris as a symphonie can- 
 tata. Works : Scherzo in E-flat ; Polonaise 
 de Concert ; Refrains du Priutemps, a col- 
 lection of characteristic pieces ; Elisire di 
 giovinezza, opera, Lisbon, 1876, Milan, 1877. 
 — Fetis, Sujjplemeut, i. 23 ; Naumann (Ouse- 
 ley), ii. 1265 ; Rieniann, Lex. 
 
 ARNOLD, GEORG, born at Weldsberg, 
 in the Tyrol, lived about the middle of the 
 17th century. He was organist at Inns- 
 bruck, and later of the cathedral at Bam- 
 berg. He jiublished the following works : 
 Cantionum sacrarum de tempore, op. 1 ; 
 Tres Mottettos de Nomine Jesu, op. 2 ; 
 Psalmi de Beata Maria Vergine, etc., with 
 violin or viola (1652) ; Cautiones et Sonettse 
 (1659) ; Sacrarum cantionum, etc. (1661) ; 
 Psalmi Vespertini ; Tres Missse pro defuuc- 
 tis, etc. (1676) ; Messarum quatern. cum no-
 
 ARNOLD 
 
 vem vocibus, i. pars. (1673) ; id., ii. pars. 
 (1675).— Fetia, 3 ; Schilling. 
 
 ARNOLD, GEORGE BENJ^ykHN, born 
 at Petworth, Sussex, 
 England, Dec. 22, 1832, 
 still living, 1888. Pupil 
 of S. S. Wesley ; Mas. 
 Doc, Oxford', 1861 ; 
 was organist of St. Col- 
 umba's College, 1852, 
 of St. Mary's Chnrcli, 
 Torquay, 1863, of Ne^v• 
 College, Oxford, 1860, 
 of Winchester Cathe- 
 dral, 18G5. Works : Ahab, oratorio, Exeter 
 Hall, Loudon, 1863 ; The Second Coming 
 of Our Lord, oratorio ; The Song of David, 
 cantata ; Sennacherib, do., Gloucester, 1883 ; 
 The Forty-third Psalm ; Communion Ser- 
 vice ; Te Deums ; Anthems and Motets ; Con- 
 certed vocal music ; Songs ; Pianoforte music. 
 
 ARNOLD, JOHANN GOTTFRIED, born 
 at Niederuhall, Wiirtemberg, Feb. 1, 1773, 
 died at Frankfort, July 26, 1806. Violon- 
 cellist, son of the schoolmaster of Niedern- 
 hall. He showed such taste for music that 
 his father apprenticed him from 1785 to 
 1789 to the musical director of the town of 
 Kiinzelsau, under whom he devoted himself 
 to the violoncello. In 1790 he entered on 
 bis first engagement at Wertheim, where 
 his uncle Friedrich Adam Arnold was mu- 
 sical director, and took lessons of the or- 
 ganist Frankenstein in composition. After 
 concert tours in Switzerland and Gei-many, 
 where he played his own concertos, he 
 studied under the violoncellist Willmanu 
 at Ratisbon (1796), and later visited Berlin 
 and Hamburg, where he studied the method 
 and style of Bernhard Romberg. He be- 
 came first violonceUist in 1798 at the 
 Frankfort Theatre, and was well known as 
 a teacher and composer. Works ; Five 
 concertos for violoncello ; Symphonic con- 
 certante for two flutes and orchestra ; Airs 
 with Variations, op. 9 (Bonn) ; Pieces for the 
 guitar. — Allgem. mus. Zeitg., xii. 609 ; Fe- 
 tis; Gerber, Hist. Lex.; Schilling. 
 
 ARNOLD, KARL, born at Neuenkircheu 
 near Mergentheim, Wiirtemberg, May 6, 
 1794, died at Christiania, Nov. 11, 1873. 
 Pianist, sou and pupil at Frankfort of Jo- 
 hann Gottfried Arnold, then pupil at Offen- 
 bach of Philipp Karl Hoffmann and Aloys 
 Schmitt on the pianoforte, and of Vollweiler 
 and Anton Andre in comjjosition. After a 
 concert tour through Germany and Poland, 
 he settled in 1819 at St. Petersburg, where 
 he was in great demand as a teacher, but 
 in 1824 removed to Berlin, whence he was 
 called in 1835, as musical director, to Miins- 
 tei'. In 1817 he gave concerts at St. Pe- 
 tersbui'g, and in 1849 became director of 
 the Philharmonic Society, and organist at 
 Christiania. His music is refined, and full 
 of technical difiiculties. Works : Sextet with 
 pianoforte ; Sonatas for do., op. 3 and 5 
 (Offenbach, Andre) ; Sonata for do., with 
 clarinet and bass, oj). 7 (ib.) ; Divertisse- 
 ment for do., Nos. 1 and 2, op. 12 and 13 
 (Berlin, Schlesinger) ; Rondo for do., oj). 14 
 (ib. ) ; Variations on an Original Theme, op. 
 16 ; Vive Henri IV., rondo for pianoforte 
 and violoncello (Leipsic, Peters) ; Rondo- 
 letto. No. 4 ; Concerto for pianoforte, with 
 orchestra, op. 17 (Berlin, Christiaui) ; Valses 
 favorites (ib., Grochenschuetz) ; Rondo for 
 pianoforte for four hands (Offenbach, An- 
 dre) ; Divertissements for pianoforte, op. 13, 
 14, 16, 24 ; Fantaisies et variations, op. 17, 
 20 ; Canticle for four male voices (Bruns- 
 wick, Sptihr) ; Quartet for two violins, viola, 
 and violoncello, op. 19 (Leipsic, Breitkopf & 
 Hiirtel) ; Thelephos, opera, given at Kuuigs- 
 berg about 1830 ; Irene, do., Berlin, 1832. 
 — Fetis ; Mendel ; Schilling. 
 
 ARNOLD, SAMUEL, born in Lon<lon, 
 Aug. 10, 1740, died there, Oct. 22. 1802. 
 Dramatic composer and pupil of the Chapel 
 Royal under Bernard Gates and Dr. Nares. 
 Before he was twenty-three years old he 
 was engaged as composer to the Covent 
 Garden Theatre ; here he used, with great 
 success, concerted music to carry on the 
 business of the stage. In 1769 he pur- 
 chased Maryleboue Gardens, where he
 
 AKNOLD 
 
 brought out original burlettas, performed 
 by the best singers of the day ; but he ulti- 
 mately lost by 
 the speculation. 
 In 1773 he re- 
 ^^;°;-l '*?S #^Kk ceived the de- 
 
 gree of M u s . 
 Doe. from Ox- 
 ford University. 
 He succeeded 
 Dr. Nares as or- 
 ganist and com- 
 poser to the 
 Chapel Royal in 1783 ; established the Glee 
 Club, iu conjunction with Callcott, about 
 1786 ; became conductor of the Academy of 
 Ancient Music in 1789 ; organist of West- 
 minster Abbey as successor to Dr. Cooke 
 in 1793 ; and was invited to conduct the 
 annual performances at St. Paul's for the 
 benefit of Sons of the Clergy on the death 
 of Dr. P. Hayes in 1796. Between 1765 
 and 1802 Dr. Arnold composed oratorios, 
 dramatic pieces, songs, glees, much sacred 
 music, and forty-three operas ; after 1783 
 published a continuation of Boyce's Cathe- 
 dral Music (4 vols.) ; in 1791, with the as- 
 sistance of Dr. Callcott, a book entitled 
 Psalms of David ; and later, an Ode for the 
 Anniversary of the London Hospital. In 
 1786 he proposed issuing a comj)lete edi- 
 tion of Handel's works, but only succeeded 
 in bringing out 168 numbers, containing 
 five out of Handel's forty-three ojDeras. 
 Works — Operas : Maid of the Mill, given 
 in London, 1765 ; Eosamoud, ib., 1767 ; 
 Portrait, Mother Shipton, ib., 1770 ; Son- 
 in-Law, Summer Amusement, 1779 ; Fire 
 and Water, Wedding Night, Silver Tank- 
 ard, 1780 ; Dead Alive, 1781 ; Castle of An- 
 dalusia, Harlequin Teague, 1782 ; Gretna 
 Green, 1783 ; Hunt the Slipper, Two to 
 One, Here, There, and Everywhere, 1784 ; 
 Turk and no Turk, Siege of Cuzzola, 1785 ; 
 Iidde and Yarico, 1787 ; Enraged Musician, 
 1788 ; Battle of Hexham, 1789 ; New Spain, 
 Basket Maker, 1790 ; Surrender of Calais, 
 1791 ; Harlequin and Faustus, Children in 
 
 the Wood, 1793; Auld Robin Gray, 1794; 
 Zorinski, Mountaineers, Who Pays the 
 Reckoning, Love and Mcjney, 1795 ; Ban- 
 nian Day, Shipwreck, 1796 ; Italian Monk, 
 1797 ; False and True, Throw Physic to 
 the Dogs, Cambro-Britons, 1798 ; Obi, or 
 Three-tingered Jack, 1800 ; Review, Cor- 
 sair, Veteran Tar, 1801 ; Sixty-third Letter, 
 Fairies' Revels, 1802. Oratorios : Cure of 
 Saul, given in 1767 ; Abimelech, 1768 ; Res- 
 urrection ; Elijah, given after his death, in 
 1810. — Barrett, English Church Composers, 
 144 ; Fe tis ; Grove ; Hogarth, Mus. Drama, 
 ii. 440 ; Schilling. 
 
 ARNOLD, YOURIJ VON, born in St. 
 Petersburg, Nov. 1, 1811, still living, 1888. 
 Dramatic composer, pujjil o'f Johaun Leo- 
 pold Fuehs, after having been an army offi- 
 cer (1831-38) ; then entered the government 
 civil service. In 1859 he won the prize of- 
 fered by the St. Petersburg Philharmonic 
 Society for the best ballad, and subsequently 
 produced two opieras, and much vocal mu- 
 sic ; he lectured also on the historj' and 
 theory of music at Moscow and St. Peters- 
 burg, and made himself favourably known 
 as a musical critic. In 1863-68 he lived in 
 the latter capacity in Leipsic, and in 1870 
 became professor of vocal music in the Mos- 
 cow Conservatory. Works : The Gypsj', 
 opera ; Swiitlana, ballad (1859, prize) ; 
 Overtui'e to Boris Godunov ; Oratorical 
 Psalm ; Four-part songs, and more than one 
 hundred songs. — Fetis, Supijlement, i. 24 ; 
 Mendel ; Riemann. 
 
 ARNOULD (Arnolt) DE BRUCK (Brucq, 
 Bruges, Pruck, Prug), called sometimes Ar- 
 noldus, born at Bruges about 1480, died in 
 Vienna, Sept. 22, 1536. Vocal composer, 
 and one of the celebrated musicians of his 
 century. Nothing is known of his eai-ly 
 life, or of his musical education. He be- 
 came Kapellmeister to Ferdinand I. of Ger- 
 many, as appears from a silver medal in the 
 Imperial Museum at Vienna, struck in his 
 honour in 1536. Among his works, which 
 consist of motets, hymns, etc., are several 
 in MS. in the collection of the Royal 
 
 74
 
 ARNOISTI 
 
 Library, Miinieh. Amoiif^ those published 
 are : The motet, Fortitudo Dei, iu a collec- 
 tion at Nuremberg (1537) ; Two motets, 
 Pater Noster and In civitatem Domini, in 
 the second part of the same collection 
 (1538) ; Several motets in a collection by 
 Georg- Porster (Nuremberg, 1540) ; The 
 hymns Audi, bonigne Conditor, Jesu quad- 
 ragenaripe, Adcsto nunc Ecelesifc, O Crux, 
 Ave, in the Saerorum Hymnorum, lib. i. 
 (1542) ; Several motets iu the collection en- 
 titled : Quatuor vocum musiese modul., lui- 
 mero 2G, etc. (Antwerp, 1542). He also 
 published German lieder in the 2d i^art of 
 the collection by Forster entitled : Bin Aus- 
 zug kurtzweiliger guter frischer Liedlein zu 
 singen (Nuremberg, 1540) ; and chants for 
 schools, in the collection entitled : 123 Newe 
 geistliche Gesiluge mit vier und fiintf Stim- 
 men, etc. (Wittenberg, 1544).— Biog. nat. de 
 Belgique, i. 4G6 ; Fetis ; Mendel, ii. 198 ; 
 Winterfeld, Der evang. Kirchengesang, i. 
 185. 
 
 ARNONI, GUGLIELMO, born at Ber- 
 gamo iu 1546. Organist of Milan Cathe- 
 dral about 1580. Works : Magnificat for 
 four, five, six, seven, and eight voices (MUan, 
 1595) ; H primo libro de' madrigali (Venice, 
 1600) ; Three books of motets (ib., 1602).— 
 Fetis. 
 
 AHQUIER, JOSEPH, born at Toulon, 
 1763, died at Bordeaux, October, 1816. 
 Dramatic composer, studied music at Mar- 
 seilles, and in 1784 joined the orchestra of 
 the theatre at Lyons as violoncellist. Four 
 years after he was at Carcassonne, went in 
 1789 to Marseilles to lead the orchestra at 
 the Tln'atre du Pavilion, and in 1790 to Paris, 
 where he filled positions at some of the 
 smaller theatres. About 1800 he went to 
 New Orleans as director of an opera troupe, 
 but returned to France iu 1804, resuming 
 his former position in Paris until 1807, then 
 teaching music at Toulouse until 1809, when 
 he once more led the orchestra at the Pavil- 
 ion in Marseilles ; in 1812 he was at Perpig- 
 nan, again at Toulouse, and finally retired 
 to Bordeaux in great poverty. Works- 
 
 Operas : L'Indienue, given at Carcassoune, 
 
 1788 ; Daphnis et Hortense, Marseilles, The- 
 atre du Pavilion, 17S9 ; Le pirate, Toulon, 
 
 1789 ; Le mari corrige, Paris, Tlu'atre Ly- 
 rique et Comique, about 1790 ; La peau de 
 I'ours, comic opera, ib., Theatre Moliere, 
 about 1792 ; Le conge, ib.. Theatre Montan- 
 sier, about 1793 ; Les Peruviens, Tours, 1798 ; 
 Les deux petits troubadours, comic opera, 
 Paris, Theatre des Jeunes Sieves, 1800 ; 
 L'ermitage des Pyrenees, do., ib., 1805 ; 
 L'hotellerie de Sarzanno, do., ib.. Theatre 
 Montansier, 1802 ; Le desert on I'oasi.s, do.. 
 New Orleans, about 1802 ; La fee Urgele, 
 do., Brest, 1804 ; Monrose, do., Marseilles, 
 1809 ; La suite du medecin turc, do., ib. 
 about 1810 ; Zipea, Perpignan, about 1815. 
 — Fetis. 
 
 ARRESTI (Aresti), FLORIANO, born at 
 Bologna, second half of the 17th century, 
 died before or in 1719. Dramatic com- 
 poser, and organist at Bologna Cathedral ; 
 pupil of Bernardo Pasquini on the organ ; 
 member of the Accademia Filarmonica in 
 1G84. Works — Operas : Inganno si vince, 
 given at Bologna, 1710 ; Enigma disciolta, 
 ib., 1710 ; CrLsii^ijo, Ferrara, 1711 ; Co.s- 
 tanza in Cimento colla Crudelta, Venice, 
 1712 ; II Trionfo di Pallade iu Arcadia, Bo- 
 logna, 1710.— Fetis; do., Supplement, i. 25. 
 ARRESTI, GIULIO CESARE, boru at 
 Bologna about 1630, died after l(i94. Or- 
 ganist, pupil of Ottavio Vernizzi, whom he 
 succeeded as organist at S. Petronio. He 
 was one of the first members of the Acca- 
 demia Filarmonica, founded iu 1666, and 
 its principe three times, 1671, 1686, 1694. 
 Works : Messa e vespro della B. V. M. a 
 otto voci (Bologna) ; Messa a tre voci con 
 sinfonie (ib.) ; Salmi cinque a quattro voci 
 (Venice, 1664) ; Gare musicali, salmi a cap- 
 pella a quattro voci. — Fetis. 
 
 ARRIAGA Y BALZOLA, JUAN CRT- 
 SOSTOMO JACOBO ANTONIO D', born 
 at Bilbao, Spain, Jan. 27, 1806, died at Mar- 
 seilles, February, 1825. Violinist, at first 
 self-taught ; composed a charming Spanish 
 opera before he knew the rules of harmony. 
 
 76
 
 ARRIETA 
 
 At the age of tliii-teen he went to the Con- 
 servatoire, Paris, to study the violiu under 
 Baillot, and harmony and counterpohit un- 
 der Fetis. His progress, Ft'tis says, was 
 marvellous, three months having been suf- 
 ficient for him to master harmony, and at 
 the end of two years there was no difficulty 
 in fugue or counterpoint which he could not 
 overcome. About this time he wrote a fugue 
 for eight voices to the words of the Credo, 
 Et vitam venturi, which was prouoiuiced a 
 chef-d'oeuvre by Cherubini. In 1824 he 
 was chosen director of a class in counter- 
 point at the Conservatoire. He died young, 
 but left a number of compositions, among 
 others, a work of three quartets for the 
 violin (Paris, 18"24) ; An overture, a sym- 
 phony for full orchestra, a mass for four 
 voices ; a Salve Regina, and several cantatas 
 and romances which remain in MS. — Fetis ; 
 Grove ; Riemann, Lex. 
 
 ARRIETA, Don JUAN ElMILIO, born 
 at Puente la Reina, Navarre, Spain, Oct. 
 21, 1823, still living, 1888. Dramatic com- 
 poser ; went to Italy in 1838, and studied 
 composition, in 1842—15, under Vaccaj at 
 the Conservatorio, Milan, where he brought 
 out Ildegonda, his first opera, but met with 
 no success. He returned to Madrid in 
 1848, and devoted himself to the compo- 
 sition of zarzuelas, of which he has writ- 
 ten about forty, and operas. He comijosed 
 a cantata for the inauguration of the Zar- 
 zuela Theatre in 185G, and a cantata dedi- 
 cated to Rossini in 1864. He became pro- 
 fessor of composition at the Conservatorio 
 of Madrid in 1857, and one of the coun- 
 sellors in the ministry for public instruc- 
 tion in 1875. Director of the Conserva- 
 torio since 1877. Works: Ildegonda, opera, 
 given at Milan, 1846 ; Isabel la Catulica 6 
 sea la conquista de Granada, do., Madrid, 
 1850. Zarzuelas : El domino azul. El gru- 
 mete, ib., 1853 ; La vuelta del Corsario, Ma- 
 rina, ib., 1855 ; La estrella de Madrid, De 
 tal palo tal astilla, El hombre feliz (mono- 
 logue), El sonambulo, ib., 1856 ; Guerra a 
 muerte ; La dama del rey ; Un ayo para el 
 
 nino, 1864-65 ; A cadenas pei-pt'-tua ; El 
 coujuro (with Lojsez de Ayala), ib., 1866 ; 
 Un sarao y una soiree, ib., 1866 ; Quien 
 manda, manda ; Llamada y tropa ; Azon 
 Visconti ; Cadenas de oro ; Dos coronas ; 
 El cautivo en Argel ; El cajjifan negrero ; 
 El agente de matrimonios ; El caudillo de 
 Baza ; El planeta Venus ; El toque de ani- 
 mas ; La insula Barataria ; La carceria real ; 
 La suegra del Diablo, ib., 1867 ; La taber- 
 nera de Londres ; Los Circasianos ; Un 
 trouo y un desengafio ; El motin contra 
 Esquilache. Cantata for the inauguration 
 of the Teatro de la Zarzuela, 1856 ; Cantata 
 to Rossini, 1864. — Fetis, Supjslemeut, i. 25; 
 Mendel, Ergiinz., 16. 
 
 ARRIGO TEDESCO. See Isaac, Hein- 
 rich. 
 
 ARRIGONI, CARLO, born in Florence 
 about 1708, died, probably in Tuscany, about 
 1743. Clever lutenist, maestro di cappella 
 to the Prince of Carignan. He is said by 
 Fetis to have been engaged with Porpora 
 as composer to the theatre started in oppo- 
 sition to Handel at Lincoln's Inn in 1734, 
 and to have brought out an unsuccessful 
 opera called Fernando ; but there is no 
 proof of it, although bis Cantate di Camera 
 was j^ublished in London in 1732. Burnej' 
 claims, in his Commemoration, that Arri- 
 goni is intended bv* the " King of Aragon, " 
 mentioned as one of Handel's opponents in 
 Arbuthnot's satire, " Harmony in an Up- 
 roar. " He was of small importance, as no 
 mention is made of him or of his opera in 
 the musical writings of that day. His ora- 
 torio of Esther was given at Vienna in 1738. 
 — Fetis ; Grove ; jNIendel. 
 
 ARRIVEE A SAIS, L'. See Eiifance 
 du Christ. 
 
 ARRONGE, ADOLPH L', born at Ham- 
 biu-g, Germany, March 8, 1838, still living, 
 1888. Dramatic composer, pupil of Richard 
 Gence, then at the Conservatorium, Leipsic 
 (1854^57), of Hauptmann, Rietz, and Mo- 
 scheles. He conducted the ojiera at the 
 theatres of Konigsberg, Cologne, Wiirzburg^ 
 Pesth, and Stuttgart, then in Berlin, where 
 
 76
 
 ARSACE 
 
 he settled in 1866, at KroU's Theatre, but af- 
 terwards devoted himself exclusively to the 
 teaching of vocal music, and conducting 
 the BerHn Miuiuergesangverein. Works : 
 Das Gespenst ; Der zweite Jakob, and other 
 comic operas ; Songs ; Part-songs. — Men- 
 del. 
 
 AESACE (Arsaces), Italian opera, music 
 by Gasparini, represented at Venice, 1715 ; 
 music by Sarri, Venice, 1718 ; music by 
 Fee, Rome, 1731 ; music by Giacomelli, 
 Turin, 1736 ; music by Araja, St. Peters- 
 burg, 1741. j 
 ART OF FUGUE. See Kumt der 
 Fuge. 
 
 AETASERSE (Artaxerxes), Italian opera 
 in three acts, text by Metastasio, music by 
 Leonardo Vinci, first represented at the 
 Teatro delle Damme, Rome, during the car- 
 nival, 1730. Scene in the city of Susa. 
 Characters represented : Artaserse, King of 
 Persia and lover of Semira ; Mandane, sis- 
 ter of Artaserse and lover of Arbace ; Ar- 
 tabauo, prefect of the royal guard, father 
 of Arbace and of Semira ; Arbace, friend of 
 Artaserse and lover of Mandane ; Semira, 
 sister of Arbace and lover of Artaserse ; 
 ]\Iegabise, general and confidant of Artaba- 
 no. The libretto has been set to music 
 also by Hasse, Venice, 1730, Dresden, 1740 ; 
 Duni, Italy, 1731 ; Pampani, Venice, 1737 ; 
 Terradeglias, Naples, 1737 ; Ferandini, Mu- 
 nich, 1739 ; Porta, Munich, 1739 ; Leo, 
 Naples, 1740 ; Gluck, Milan, 1741 ; Adol- 
 fati, Rome, 1742 ; C. H. Graun, Berlin, 
 1743 ; Abos, Venice, 1746 ; Jommelli, 
 Rome, 1749 ; Perez, Lisbon, 1753 ; Lam- 
 pugnani, 1757 ; Scolari, Venice, 1758 ; Ga- 
 luppi, Venice, 1762 ; Majo, Naples, 1762 ; 
 Beruasconi, Munich, 1763 ; Scarlatti, Vien- 
 na, 1763 ; Piiisiello, Modena, 1765 ; Fioril- 
 lo, Cassel. 1765 ; Ponzo, Venice, 1766 ; Pic- 
 cinni, Turin, 1766 ; Sacchini, Rome, 1768 ; 
 Vento, London, 1771 ; Giordani, London, 
 1772 ; Piccinni (new music), Naples, 1772 ; 
 Caruso, London, 1774 ; Mysliweczek, Na- 
 ples, 1774 ; Felice Alessandri, Naples, 1774 ; 
 Guglielnii, Italy, about 1775 ; Buroni, Stutt- 
 
 gart, 1776 ; Borghi, Venice, 1776 ; Bertoni, 
 London, 1780 ; Cimarosa, Turin, 1781 ; 
 Alessandri, Naples, 1784 ; Rust, Modena, 
 1784 ; Bertoni (new music), Venice, 1786 ; 
 Tarchi, Mantua, 1787 ; Bianchi, Padua, 
 1787 ; Anfossi, Rome, 1788 ; Parenti, Italy, 
 about 1789 ; Zingarelli, Turin, 1794 ; Nico- 
 lo Isouard, Leghorn, 1795 ; NiccoUui, Ven- 
 ice, 1795 ; Artaxerce, French ojjera in three 
 acts, music by Lesueur, 1801, not repre- 
 sented ; Artaxerxes, English opera, music 
 by Arne, London, 1762 ; Artaxerxes, Ger- 
 man opera, by Heinrich Dorn, Berlin, 1850. 
 There are also several operas of the same 
 title which follow an older text. 
 
 ARTASERSE, Italian opera in three acts. 
 
 /- 
 
 Farinelli. 
 
 text by Metastasio, mu.sic by Hasse, repre- 
 sented in Venice, 1730, and Dresden, 1740. 
 Composed for the celebrated singer Faus- 
 tina Bordoni, whom Hasse had married 
 shortly before. It was in this opera that 
 the famous artificial soprano. Carlo Broschi, 
 called Farinelli, made his debut in London, 
 in the King's Theatre, Oct. 29, 1734, under 
 the auspices of Handel's rivals and the su- 
 perintendence of Porpora. The other prin- 
 cipal parts were supported by Senesino, 
 Montagnana, and Signora Cuzzoni. With 
 this exceptional cast, the opera was very 
 successful and was performed more than 
 forty times in three years, a great run for 
 that period. When Farinelli separated
 
 ARTAXERXES 
 
 himself from the world of art by his ac- 
 ceptance of a yearly salary of 50,000 francs 
 from Philip V. of Spain, who heaped all 
 manner of honours upon him in addition, 
 he is said to have sung nightly to the ting 
 for ten years two songs from Artaserse, 
 "Pallido il sole " and "Per questo dolce am- 
 plesso." 
 
 ARTAXERXES, English grand opera in 
 three acts, text adapted by the composer 
 from Metastasio, music by Thomas Augus- 
 tine Arne, first represented at Covent Gar- 
 den Theatre, Loudon, Feb. 2, 17G2. The 
 libretto is a jsoor translation of the original, 
 and the music is in the Italian style of the 
 
 Elizabeth BiMington. 
 
 day, the dialogue being entirely in recita- 
 
 several operas : Italian oj)era, music by Ca- 
 valli, rej)resented at Venice in 1656, and 
 Paris, 1660, under the title of Xerxes ; Ger- 
 man opera, music by Stiilzel, Naumburg, 
 1713 ; music bj' Keiser, Hamburg, 1715 ; 
 Italian opera, music by Sarri, Venice, 1731 ; 
 in three acts, music by Terradeglias, Rome, 
 about 174:1 ; music by Johann Adolp)li Hasse, 
 Dresden, 1754 ; music by Reichardt, Berlin, 
 1787 ; music by Cimarosa, Venice, 1801. 
 Cimarosa's opera, one of his best works, was 
 left unfinished at his death in Venice, Jan. 
 11, 1801. 
 
 ARTHUR, ALFRED, born of American 
 parentage near Pittsburgh, Pennsylvania, 
 Oct. 8, 1844, still living, 1888. He studied 
 at the Music School, Boston, singing under 
 B. F. Baker, pianoforte under George How- 
 ard, and brass instruments under Matthew 
 Arbuckle and Henry Brown ; and at the 
 Boston Conservatory harmony and compo- 
 sition under Julius Eichberg. After singing 
 tenor in the Church of the Advent, Boston, 
 two years, he settled in 1871 in Cleveland, 
 Ohio, as a teacher of vocal music and leader 
 of the Germauia Orchestra. He was a 
 member for a few months of the choir of 
 Trinity Church, in that city, and later of 
 the Euclid Avenue Baptist Church, where 
 he remained until 1878, when he formed 
 the Bach Choir of the Woodland Avenue 
 Presbyterian Church, of which he is still 
 conductor. This society is ranked as one 
 
 tive. It is Dr. Arne's best work and had an ; of the best chorus choirs in the United 
 
 extraordinary success, being for a long time 
 a favourite on the London stage. In the 
 
 States. In 1873 The Cleveland Vocal So- 
 ciety was formed, with Mi-. Arthur as con- 
 
 original cast Ai-baces was sung by Tenducci, : ductor, a position he still holds ; and he is 
 
 Artaxerxes by Peretti, Mandane by Miss 
 Brent, and Artabanes by John Beard. To 
 succeed in the character of Mandane was 
 long considered a test of the vocal powers 
 of female dramatic singers. It was one of 
 Mrs. Elizabeth Billington's best impersona- 
 tions. — Hogarth, ii. 87 ; Musical Rev., iii. 
 264. 
 
 ARTEmSIA, Queen of Halioarnassus, 
 wlio aided Xerxes in the battle of Salamis, 
 when he invaded Greece, is the subject of 
 
 also director of the Cleveland School of 
 Music. He visited Euro2Je in 1879 and in 
 1887. Works : The Water Carrier, opera, 
 1876 (MS.) ; The Roundheads and Cavaliers, 
 do., 1878 (MS.) ; Adaline, opera, 1879-84 
 (MS.). Songs : Memory's Dream ; Tell it, 
 Silver Throat ; etc. Didactic : Progressive 
 Vocal Studies, 1887 ; Album of Vocal Stud- 
 ies, 1888 ; and other vocal studies. He has 
 also compiled the following hymn-books : 
 Evangelical Hymnal ; Spirit of Praise. 
 
 78
 
 ARTISAN 
 
 ARTISAN, L' (Tlip :\rechanic), opura- 
 comique in one act, text by Saint-Georges 
 and Simonnin, original plot, music by Ha- 
 levy, represented at the Theatre Feydeau, 
 Paris, January, 1827. Although the composer 
 had won the grand prix de Rome in 1819 and 
 had written several other dramatic works, 
 this was the first which he succeeded in pro- 
 ducing. The libretto is feeble but the music 
 is pretty, and it was given a hundred times. 
 
 ARTUT, ALEXANDRE JOSEPH MON- 
 TAGNY, called, born in Brussels, Feb. 4, 
 1815, died at Ville-d'Avray, near Sevres, 
 France, July 20, 184.5. Violinist and com- 
 poser, son and pupil of Maurice Montagny 
 (1772-1829, regimental music master in the 
 time of the Revolution). He studied later 
 under Snel in Brussels, and under Rudolf 
 and August Kreutzer at the Conservatoire 
 in Paris (1824-31), won the second prize in 
 1827, and the first in 1828. He made eon- 
 cert tours through England, Holland, Ger- 
 many, Italy, Russia, the United States 
 (1843), and to Havana, returning in 1845 to 
 France. Works : Concerto pour violon et 
 orchestre, en la mineur ; Fantaisies pour vio- 
 lon et jiiano, op. 4, 5, 8, 11, IG, 19 ; Airs 
 varies pour violon et orchestre, on piano, 
 op. 1, 2, 17 ; Rondeaux pour violon et or- 
 chestre, ou piano, op. 9 et 15 ; Serenades, 
 romances, etc. — Biog. nat. de Belgique ; 
 Fetis ; Mendel. 
 
 ARTOT, JEAN DESIRE MONTAGNY, 
 called, born in Paris, Sept. 23, 1803, still 
 living, 1888. Cornet player, son and pupil 
 of Maurice Montagnj'. He was first cornet 
 in the 31st Swiss Regiment in 1819, under 
 Jacques Bender, then member of the or- 
 chestra of the Royal Theatre, Brussels, in 
 1823 ; and cornet player to the King of the 
 Netherlands, at his father's death, in 1829. 
 He travelled through Germany and France 
 in 1835 ; was professor of the cornet at the 
 Conservatoire, Brussels, in 1843, and solo 
 player to Leopold I. in 1849. Woi-ks : Six 
 fantaisies concertantes pour cor chromat- 
 ique, avec piano ; 48 etudes adoptees comme 
 exercises par les Conservatoires et Ecoles de 
 
 Musique de Bruselles ; 18 melodies pour 
 cor, ou violoncelle, avec piano ; quatuors 
 pour cors chromatiques ou cornets a-pis- 
 tons ; 12 trios et 12 quatuors pour les 
 memea (Brussels). — Fetis, Supplement, i. 
 •26 ; Mendel, Ergiinz., 17. 
 
 ARTUSI, GIOVANNI M.ARIA, born at 
 Bologna, Italy, about 1554, died (?). Canon 
 of S. Salvatore, Venice ; he was the defender 
 of the counterpoint of his day against the in- 
 novations of Claudio Monteverde. Works : 
 Canzonette (4 voice.s) ; Cautate Domino 
 (dedicated to Schieti in Vincent! collec- 
 tion). His theoretical works are : Arte del 
 contrappunto ridotto in tavole (1586, 1589, 
 later translated by Frost into German) ; 
 Delle imperfezioni delle musica moderna 
 (an attack on Monteverde's use of unpre- 
 jmred sevenths and ninths, 1600, 1603) ; 
 Difesa ragionata delle sentenze date di 
 Ghisilino Dankerto ; Impresa del Zarlino 
 (1604); Considerazione IMusicale (1607).— 
 Fetis ; Gerber ; Schilling. 
 
 ARVIRE ET liVELINA, lyric tragedy in 
 three acts, text by Gaillard from Mason's 
 " Caractacus," music by Saccliini, repre- 
 sented at the Opera, Paris, April 30, 1788. 
 The composer died (Oct. 7, 1786) before 
 finishing his work, and the end of the third 
 act was written bj' Rey, the leader of the 
 orchestra at the Opera. 
 
 ASANTSCHEWSKY, MICHAEL VON, 
 born in Moscow in 1838, still living, 1888. 
 Composer and virtuoso, pupil at Leipsic in 
 1861-62 of Hauptmauu and of Richter in 
 Paris, where he bought the librarj' of An- 
 ders, adding it to his own, and he has now 
 one of the finest musical libraries in the 
 world. In 1870-76 he was Rubinstein's suc- 
 cessor as director of the Conservatory at St. 
 Petersburg. Works : Sonata in B minor, 
 op. 2, pianoforte and violoncello ; Trio in F- 
 sharp minor, op. 10, pianoforte and strings ; 
 Fest-Polonaise, op. 12, two pianofortes; Pas- 
 satempo, piano a quatre mains. — Fetis, Sup- 
 plement, i. 27 ; Riemann. 
 
 ASCANIO IN ALBA (Ascanius in Alba), 
 Italian opera, text by Metastasio, music by 
 
 79
 
 ASCHENBEENNEK 
 
 PoUarolo, represented in Venice, 1701 ; 
 serenata, test by Abbate Giuseppe Parini, 
 music by Mozart, given at JSIilan, Oct. 17, 
 1711, on the marriage of the Archduke 
 Ferdinand of Austria with the Princess 
 Maria of Modena. Ascanius is the son of 
 J^lueas and founder of Alba Longa. The 
 same subject lias been treated by Beruabei, 
 Munich, 1686 ; and by Antonio Lotti and 
 Leal-Moreira, Lisbon, 1784. 
 
 ASCHENBKENNER, CHRISTIAN 
 HEINRICH, bom at Alt-Stettin, Dec. 29, 
 1654, died at Jena, Dec. 13, 1732. Violin- 
 ist, first instructed by his father, who was 
 municipal music director at Alt-Stettin ; 
 then jjupil in composition of Schiitz, and at 
 Merseburg of Theile, and in Vienna of 
 Schmelzer. He was first violinist in the 
 ducal orchestras at Zeitz (1677-81), and 
 Merseburg (1683-90), then director of mu- 
 sic at Zeitz (1695-1713), and Kapellmeister 
 to the Duke of Merseburg (1713-19). He 
 visited Vienna in 1692, when he played 
 before the emperor and dedicated to him 
 a collection of sonatas for the violin, and 
 again in 1703. His principal and at present 
 only known work is : Gast- und Hochzeits- 
 freude, bestehend in Souateu, Praludien, 
 Allemanden, Couranten, Balletten, Arien, Sa- 
 rabanden mit di-ei, vier und fiinf Stimmen 
 nebst dem basso continuo (Leipsic, 1673, 
 Innsbruck, 1676).— F6tis ; Mendel ; Schil- 
 ling. 
 
 ASCHER, JOSEPH, born in London in 
 1831, died there, June 3, 1869. Pianist, 
 pupil of Moscheles, whom he followed to 
 the Conservatorium at Leipsic. He went 
 to Paris in 1849 and became court pianist 
 to the Empress Eugenie. His best known 
 compositions are two mazurkas, La jierle dii 
 Nord and Dozia, and an etude, Les gouttes 
 d'eau ; besides these, he wrote over a hun- 
 dred gallops, nocturnes, mazurkas, tran- 
 scriptions, and etudes. His song, Alice, 
 where art thou, is still a favourite at con- 
 certs. — Grove. 
 
 ASHE, ANDREW, bom at Lisburn, Le- 
 land, in 1759, died in London iu 1828. 
 
 Flutist, first instructed at Woolwich on the 
 violin, then pupil, at the Hague, of Wend- 
 ling on the flute, through the patronage of 
 Count Bentinck, a Dutch colonel in the 
 English service, with whom he had trav- 
 elled extensively. He was first flute at the 
 Opera House of Brussels in 1778-82, and 
 was engaged at the concerts in the Rotun- 
 da at Dublin until 1791, when he went to 
 London, where he appeared successfully in 
 many concerts as virtuoso and composer. 
 He was subsequently first flute at the Italian 
 ojjera, and in 1810 conductor at the concerts 
 at Bath, which position he resigned in 1822, 
 to devote himself to the editing of his nu- 
 merous works. — Grove ; Mendel. 
 ASHTON. See Aston. 
 ASILO D' AMORE, L' (Love's Refuge), 
 Italian opera in one act, text bj' Metastasio, 
 first set to music by Caldara, and ref)r6- 
 sented at Lintz, Upper Austria, Aug. 28, 
 1732, on the occasion of the visit there of 
 the Emperor Charles VI., to celebrate the 
 birthday of the Empress Elizabeth. Scene 
 near the coast of Cyprus. Characters rep- 
 resented : Venere, Amore, Pallade, Apollo, 
 Mercurio, Marte, Proteo. The libretto has 
 been set to music also by Johann Adolph 
 Hasse, Dresden, 1743 ; by Jommelli, Stutt- 
 gart, 1767 ; cantata, by Benedetto Bierey, 
 1797. 
 
 ASIOLI, BONIFAZIO, born at Correg- 
 gio, April 80, 1769, 
 died there, May 26, 
 1832. Dramatic 
 comijoser, first in- 
 structed, when five 
 years old, by Luigi 
 Crotti, organist of S. 
 Quirino, and at the 
 age of ten pupil of 
 Morigi at Parma. 
 Two yeai-s before, he 
 had already composed three masses, twenty 
 other pieces of church music, a concerto for 
 pianoforte with orchestra, another for vio- 
 lin, and two sonatas for four hands. Having 
 completed his studies in Parma, he went to
 
 ASIOLI 
 
 Venice, where he gave two concerts, .and on 
 his return to Correggio, four months later, 
 he was made maestro di cappella. In 1787 
 lie went to Turin, and lived there until 
 1796, when he accompanied the Marchesa 
 Gherardini to Venice, remained there for 
 three years, and in 1799 settled at Milan. 
 In 1801 he became maestro di cappella to 
 the Viceroy of Italy, and in 1809 censor and 
 professor of composition and singing at the 
 newly erected Conservatorio. In 1810 he 
 visited Paris, and in 1813 retired to his 
 native town, where he composed until 1820, 
 and established a school of music, which 
 nourished under his direction. Works — 
 Operas ; La volubile, given in Rome about 
 1786 ; La contadiua vivace, Naples, about 
 1786 ; La discordia teatrale, Milan, about 
 1786 ; H Ciclope, Naples, 1787 ; La festa 
 d'Alessandro, Turin, about 1790 ; Pimma- 
 glione, ib., about 1789 ; Gustavo, ib., 1791: ; 
 Cinna, Milan, Teatro della Scala, 1801 ; La 
 gabbia de' Pazzi, intermezzo, Venice, about 
 1785 ; II ratto di Proserpina, do., Naples, 
 about 178.5 ; Giacobbo in Galaad, oratorio. 
 Cantatas: La gioja pastorale (between 1781 
 and 1785) ; La primavera ; II nome ; II 
 consiglio ; II complimento ; Quella eetra 
 pur tu sei ; Piramo e Tisbe ; La scusa ; La 
 tempesta (Turin, 1787-96) ; H dubio ; La 
 Medea (Milan) ; Five masses, and many 
 other pieces of church music ; Four over- 
 tui-es ; Concertos, sonatas, duets, trios, etc. 
 For different instruments : Arias, canons, 
 songs, duets, terzets, quartets, with and 
 without accompaniment, etc. Several theo- 
 retical w'orks. — Fetis ; Mendel ; Schilling. 
 
 ASIOLI, Francesco, Italian dramatic com- 
 poser, contemijorary. He brought out the 
 opera Maria de' Ricci, in Milan, La Scala, 
 Feb. 10, 1859.— Fi'tis, Supplement, i. 28. 
 
 ASOLA (Asula), GIOVANNI MATTEO, 
 born in Verona, lived in the latter part of 
 the 16th century. Priest and comjioser be- 
 tween the j'ears 1565 and 1600. In 1592, 
 in conjunction with other composers, he 
 dedicated a collection of Psalms to Pales- 
 trina. He was among the first to use fig- 
 
 ured bass. Works — JIadrigals : Madrigali 
 a due voci da cantarsi in fuga (1587) ; 
 other editions (Venice, 1604, 1624, 1665) ; 
 La Vergine, madrigali a tre, lib. i. (1596). 
 Martini has included some in his Exem- 
 plare ; and some of Asola's motets are in the 
 Promptuarium Musicum of Abraham Schad. 
 Church compositions : Introitus et Alleluya, 
 etc. (1565) ; Missarum quiuque voc, etc. 
 (1571) ; Psalmodia ad vespertinas, etc. 
 (1574) ; Falsi bordoni sopra gli otto tuoni 
 ecclesiastici, etc. (Venice, 1575, 1582, 1584, 
 Milan, 1587) ; Vespertina jjsalmodia maj., 
 etc. (1576) ; Completorium per totum (pia- 
 tuorque illse B. V., etc., antij)honal (1576) ; 
 Vespertina omnium solemn, psal. duoque 
 B. v., etc. (1578) ; Primo lib. deUe Messe, 
 etc. (1579) ; Secundolib., etc. (1580) ; Missa 
 et major, solemn, psal. 6 vocum (1581) ; 
 Vesjjertina, etc. (1582) ; Officium majores 
 hebdomadte, saiict. etc. (1583) ; Secunda 
 pars, idem (1584) ; In jaassionibus quat. 
 evang. Ckristi locut., etc. (1583) ; Sacrse 
 cantiones, etc. (1584) ; Divinoe Dei laudes, 
 etc. (1586) ; Lamentatioues, etc. (1588) ; Se- 
 cunda j)fii's vespertina;, etc. (1591) ; Missa 
 defunctorum (1588) ; Duse Missse et decern 
 sacrre laudes (Venice, 1589) ; Misse sopra 
 gli otto tuoni, etc. (Milan, 1590) ; Canto 
 fermo sopira le Messe, etc. (Venice, 1596) ; 
 Sacro-sanctse Dei laudes, antiphonal in 
 four vols. (1600).— Fetis ; Gerber, N. Lex.; 
 Schilling. 
 
 ASP A, EDWIN, born in London, May 6, 
 1835, still living, 1888. Organist, nephew of 
 Mario Aspa. Works : The Gipsies, cantata ; 
 Endymion, do. ; Pianoforte pieces ; Songs, etc. 
 
 ASPA, MARIO, born at Messina, Sicily, 
 in 1799, died there, Dec. 14, 1868. Dra- 
 matic composer, studied at first in Messina 
 and Palermo, then under Zingarelli at the 
 Royal College of Music, Najjles, where he 
 settled as a teacher of vocal music. Works 
 — Operas: Giovanni Banier, ossia il Castello 
 di Arolte, given at Najjles, Teatro del Fondo, 
 1830 ; II carcei-e d' Ildegonda, ib., Teatro 
 Nuovo, 1831; La burla, ib., Teatro del 
 Fondo, 1832 ; II litigante senza lite, ib., 
 
 81
 
 ASPA 
 
 1833 ; La finta greca (farce), I due Forzati, * 
 ib., about 1834 ; II quadro pailaute, Teatro 
 Nuovo, 1834; II 20 Augusto, Teatro del' 
 Foudo, 1835 ; Bartolommeo del Piombo, 
 Teatro Nuovo, 1837 ; Allan Mac Auley, ib., 
 1838 ; H mariuaro, ib., 1839 ; Maria d'Ai-les, 
 ib., 1841 ; II proscritto, Turin, 1841 ; Gu- 
 glielmo Colman, Naj)les, 1843 ; Paolo e Vir- 
 ginia, Rome, Teatro Metastasio, 1843 ; II 
 travestimento, Najjles, Teatro del Foudo, 
 1846 ; Piero di Calais, Messina, Teatro Vit- 
 torio Emraanuele, 1872 ; La vei'ga magica ; 
 La metamorfose fortunata ; Federico II. ; 
 L' orfana muta ; II niuratore di Napoli ; 
 Werther ; Emo ; Margherita d' Aragona ; 
 Gustavo Wasa. — Fetis. 
 
 ASPA, EOSARIO, born at Messina, Sic- 
 ily, Jan. 12, 1827, still living, 1888. Dra- 
 matic composer, brother of Edwiu Aspa. 
 "Works : The Artist's Stratagem, opera ; 
 Pianoforte pieces ; Songs. 
 
 ASPASIE, French opera in three acts, 
 text by Morel, music by Gn'try, represented 
 at the Opera, Paris, March 17, 1789, known 
 now only by its celebrated duet, "Donne-la- 
 moi, dans nos adieus."' Opera-comique in 
 two acts, music bj' Saint-Amans, Paris, about 
 1790. Aspasie et Pericles, ojjera in one act, 
 text by Viennet, music by Daussoigne-Me- 
 hul. Opera, Paris, July 17, 1820. 
 
 ASPELMA.YER (Appelmeyer), FRANZ, 
 died in Vienna, July 29 (or Aug. 9), 1786. 
 Dramatic composer, court musician to the 
 emperor. Works : Die Kinder der Natur, 
 opera, given in Vienna, 1770 ; Pygmalion, 
 do., ib., about 1770 ; Der Sturm, do., ib., 
 1786 ; Agamemnon, ballet ; La Lavandara 
 di Citere, do.; I Mori spagnuoli, do. ; 6 duets 
 for violin and violoncello ; G trios ; 6 quar- 
 tets for violin ; 10 serenades for wind in- 
 struments. -— Fetis. 
 
 ASPERI, URSULA, born in Rome in 
 1807. Dramatic composer and pianist, pu- 
 pil of Fioravanti ; conducted the orchestra 
 of a small theatre in Florence in 1839. 
 Works : Le avventure di una giornata, 
 opera, given in Rome, Teatro Valle, 1827 ; 
 I pirati, do., ib., 1843. — Fetis. 
 
 ASSEDIO DI CORINTO. See Siege de 
 Corinthe. 
 
 ASSMAYER, IGNAZ, born at Salzburg, 
 Austria, Feb. 11, 1790, died Aug. 31, 1862. 
 Organist, pupil of Michael Haydn. In 1808 
 he was organist of St. Peter's, at Salzbui-g, 
 where he composed an oratorio. Die Siind- 
 fluth, and a cantata, Worte der Weihe. In 
 1815 he settled in Vienna, and in 1824 was 
 appointed organist at the Schottenstift, in 
 1825 imperial organist, in 1838 vice-, and in 
 1846 chief-Kapellmeister to the court. The 
 Tonkiinstler-Societat, which Assmayer con- 
 ducted for fifteen years, often performed 
 his chief oratorios. Das Geliibde, Saul und 
 David, and Saul's Tod. He was author of 
 fifteen masses, two requiems, a Te Deum, 
 some hymns, motets, and other sacred mu- 
 sic, and nearly sixty secular compositions, 
 consisting of overtures, symphonies, jiasto- 
 rales ; the latter have all been published. — 
 Fetis ; Mendel ; Schilling ; Pietznigg, Mit- 
 theilg. aus Wien (1834), iii. 1 ; Wurzbach. 
 
 ASSOUCI, CHARLES COYPEAU D', 
 born in Paris in 1604, died there in 1679. 
 Lute player and dramatic comjjoser. He 
 led a vagabond life in France, England, 
 and Italy, and died in want and misery. 
 He composed, and wrote the words to, Les 
 amours dApollou et de Daphne, comedie 
 en musique, en vers (Paris, 1650). — Schil- 
 ling. 
 
 ASTARITA, GENNARO, born at Naples 
 about 1749, died ('?). Dramatic composer, 
 esi^ecially of comic operas, which were very 
 popular both in Italj' and Germany. His 
 style shows a great similarity to that of his 
 contemporary, Anfossi. Works : La con- 
 tessa di Bimbinpoli, given in Rome, 1772 ; 
 
 I visionari, Venice, 1772 ; Le finezze d' 
 amore, o la Forza non si fa, ma si prova, 
 Naples, 1773 ; II marito che non ha moglie, 
 
 II priucipe Spondriaco, Venice, 1774 ; La 
 critica teatrale, Rome, 1775 ; H mondo 
 della Luna, Venice, 1775 ; La dama im- 
 maginaria, L' isola di Bingoli, Naples, 1777 ; 
 Armida, Circe ed Ulysse, 1777 ; Nicoletto 
 bella Vita, Naples, 1779 ; La contessina,
 
 ASTAETE 
 
 Rome, about 1780 ; La inoliuarella, Raven- 
 na, 1783 ; II divertimento in campagna, 
 Dresden, 1783 ; H Franccse bizzarro, ib., 
 1786 ; I tilosofi inimaginarj, Naples, 1788 ; 
 I capriccj in amore, Venice, 1791 ; L' im- 
 l^resario in scompiglio (farce), IVIilan, Tea- 
 tro della Canobbiana, 1791 ; II medico Parig- 
 ino, ib., 1792 ; II parrucbiere, Berlin, 1793 ; 
 L' isola disabitata ; Le Cinesi. — Fetis. 
 
 ASTARTE, Italian opera, text by Zeno, 
 music by Albinoni, Venice, 1708 ; music by 
 Fago, Naples, 1709 ; music by Predieri, 
 Bologna, 1715 ; music by Caldara, Vienna, 
 1718 ; music by Giovanni Battista Bonou- 
 cini, London, 1720 ; German oisera, from 
 Zeno's text, music by Treu, Breslau, 1725; 
 Italian opera, music by Terradeglias, Rome, 
 1736, Naples, 1739 ; music by Rauzzini, Mu- 
 nich, 1769. 
 
 ASTIANASSE. See A.^h/amx. 
 ASTON (Ashton, Asbtan), HUGH, Eng- 
 lish organist iu time of Henry VHI. A Te 
 Deum for live voices and a motet for six 
 voices by him are preserved iu the Music 
 School, Oxford. 
 
 ASTORGA, German opera iu three acts, 
 text by E. Basque, music by Abert, first 
 ref)reseuted with great success at Stuttgart, 
 Sept. 20, 1866. The libretto is derived 
 from the romantic story of the composer. 
 Baron Emanuele d' Astorga, who, when on 
 a diplomatic mission to the court of Parma, 
 in 1704, fell in love with the duke's sis- 
 ter, his pupil in music. Characters repre- 
 sented : Astorga (T.), Angioletta (S.), Bal- 
 bazes (Bar.), Eleonore (S.), Lauristan (B.), 
 and Farnese (B.). 
 
 ASTORGA, EMANUELE, Baron D', 
 born in Palermo, Sicilj', in 1681, died in 
 Bohemia, Aug. 21, 1736. He was the son 
 of the Marehese Capece da Roffrano, a Si- 
 cilian noble, executed with several others 
 for conspiring against the Spanish power. 
 Having attracted the attention of the Prin- 
 cess Ursini, maid of honour to the wife of 
 Philip v., he was placed by her at the con- 
 vent of Astorga, in Spain, where his musi- 
 cal education (probably begun at Palermo 
 
 under Francesco Scarlatti) was completed. 
 On leaving the convent, after a few years' 
 residence, he obtained the title of Baron d' 
 Astorga, through his patroness's influence. 
 Iu 1704 he was sent on a dij>lomatic mission 
 to the court of Parma, where he made him- 
 self very popular, but was sent to Vienna 
 by the duke iu 1705, to break off a love 
 affair between the young composer and his 
 puj^il, Elisabetta Farnese, the duke's sister. 
 He spent the greater part of his life in 
 travels through Spain, Portugal, England, 
 and Italy. Shortly after 1720 he retired to 
 the Prince of Lobkwitz's Sehloss Kaudnitz, 
 in Bohemia, where he remained until his 
 death. He was a handsome man of the 
 world, of graceful manners and pleasing 
 address, and a most accomplished singer. 
 As a composer, he is now chiefly famous for 
 his great Skibaf. Mater for 4 voices (Oxford, 
 1713). He wrote also a pastoral opera, 
 Dafui (Barcelona, June, 1709), and many 
 cantatas, of which the Abbate Santini has 54 
 for soprano, 44 for contralto, with figured 
 bass, and 10 for two female voices. The 
 score of Dafni is in the Kiesewetter collec- 
 tion in the Hofbibliothek, Vienna. The 
 Stabat Mater, with additional accompani- 
 ments by Robert Franz, is published by 
 F. E. C. Leuckart, Leijssic. — Rochlitz, Fiir 
 Freunde der Tonkuust, ii. 43 ; Grove, i. 99 ; 
 Riehl, Musikalische Charakterkopfe, i. 16. 
 
 ASTREA PLACATA (Astrea Appeased), 
 Italian operetta in one act, text by Metas- 
 tasio, music by Predieri, represented iu Vi- 
 enna, Aug. 28, 1739, to celebrate the birth- 
 day of the Empress Elizabeth. Scene iu the 
 palace of Jove ; subject from Ovid's "Meta- 
 morphoses." Characters represented : Gl- 
 ove, Astrea, Apollo, La Clemenza, II Rigore. 
 ASTREE (Astrea), lyric tragedy in three 
 acts, text by La Fontaine, music by Colasse, 
 represented at the Academic Royale de Mu- 
 sique, Paris, Nov. 28, 1691. 
 
 AS-TU SOUFFERT, AS-TU PLEURE. 
 See Mignon. 
 
 ASTUZIE FEMINILI, LE (Woman's 
 Cunning), Italian opera, text by Metastasio, 
 
 &3
 
 ASTYANAX 
 
 music by Cimarosa, repi'esented at the Tea- 
 tro del Fondo, Naples, 1793 ; Opera Italieu, 
 Paris, Oct. 21, 1802, and again in 1803, 1814, 
 and 187-4. — Clement and Larousse, 831. 
 
 ASTYANAX (Ital., Astiauasse), French 
 opera in three acts, text by Dejaure, music 
 by Kreutzer, represented at the Opera, 
 Paris, April 12, 1801. The libretto is de- 
 rived from the " Troyades " of Eurijjides 
 and of Seneca, and the hero is Astyauas, 
 son of Hector and Andromache, who, after 
 the fall of Troj', was hurled from the bat- 
 tlements by the Greeks to prevent the ful- 
 filment of the decree of fate, by which he 
 was to restore the city. Italian operas on 
 the same subject, text by Salvini : Astia- 
 nasse, music bj' Leo, Naples, 1725 ; music bj- 
 Vinci, Venice, 1725 ; music by Bouoncini, 
 London, May 6, 1727 ; music by Jommelli, 
 Rome, 1741 ; music by Pampiui, Italy, 1755 ; 
 music by Galuppi, about 17G0. 
 
 ATALANTA (Atalante), the Arcadian hunt- 
 ress, who was won for his wife by Mela- 
 niou, through a cunning stratagem, is the 
 subject of several operas. Italian opera, 
 text by Pallavicino, music by J. K. Karl, 
 Munich, 1667 ; music by Draghi, Vienna, 
 1669 ; text by Zeno, music by Chelleri, Fer- 
 rara, 1713 ; music by Handel, London, May 
 12, 1736 ; music by Johann Adolph Hasse, 
 Dresden, 1737 ; music by Giordani, Turin, 
 1792 ; music by Steffimi, Hamburg, 1698 ; 
 German opera, music by Strungk, Leipsic, 
 1695. Atalanta e Meleagro, music by Ei- 
 ghini, Beriin, 1797. 
 
 ATENAIDE, L', or, Gli affetti generosi, 
 Italian ojieretta in two parts, text by Metas- 
 tasio, music by Bonno, represented privately 
 in the palace of the Ai'chduchess Marianna 
 Isabella de Bourbon, Vienna, 1762. Sub- 
 ject, the elevation to the imperial purple of 
 Athenais, afterwards Eudocia, wife of Theo- 
 dosius n.. Emperor of the East. Scene in 
 an imperial palace on the banks of the Bos- 
 porus. Characters represented : Teodosio 
 il Giovane, Emperor, secretly in love with 
 Atenaide ; Marziano, general of the imperial 
 army, also in love with her ; Atenaide, se- 
 
 cretly in love with Teodosio ; Pulcheria, 
 elder sister of Teodosio, secretly in love 
 with Marziano ; Asterio, imperial prince, 
 also in love with Atenaide. 
 
 A TE, O CARA. See PurUani. 
 
 ATHALIA, oratorio, text by Samuel Hum- 
 phreys, music b}' Handel, first performed at 
 Oxford, July 10, 1733. The score of this, 
 the third of Handel's oratorios, was finished 
 June 7, 1733. The text is arranged in imi- 
 tation of the " Athalie " of Racine. The 
 oratorio was given in London five times 
 in April, 1735, with Miss Young as Athalia, 
 Siguora Strada as Josabeth,Carestini as Joad, 
 Waltz as Abuer, and Master Goodwill (?) as 
 the young King Joash. Handel rearranged 
 much of the music of Athalia for an Italian 
 serenata, called Parnasso in Festa, produced 
 at the King's Theatre, March 13, 1734, in 
 honour of the marriage of the Princess 
 Royal with the Prince of Orange. The ora- 
 torio was revived in London, June 20, 1845, 
 by the Sacred Harmonic Society. Pub- 
 lished by the Himdel-Gesellschaft (Leip- 
 sic, 1859).— Schcelcher, Handel, 156 ; Rock- 
 stro, Handel, 199. 
 
 ATHALIE, music to Racine's drama of, for 
 chorus and orchestra, by Mendelssohn, o-p. 74 
 (ojj. 2, posth.) ; composed 1843 (choruses), 
 i and 1844-45 (overture). Early in 1845 the 
 choruses were rewritten and scored for or- 
 chestra. It was first performed in Berlin, 
 Dec. 1, 1845. It was given in England at 
 Windsor Castle, Jan. 1, 1847, and by the Phil- 
 harmonic, London, March 12, 1849. Cho- 
 ruses for Athalie were written also by Abt 
 Volger, Stockholm, 1791 ; by Gossec, Paris, 
 1791 ; by Boildieu, ib., 1836 ; by Ftlix Cle- 
 ment, ib., 1858 ; and by Cohen, ib., 1859. 
 
 ATTALO, R£ DI BITINIA (Attalus, King 
 of Bithynia), Italian opera, music by Johann 
 Adoljah Hasse, represented in Naples, 1728 ; 
 by Aurisicchio, London, 1758 ; by Alessandri, 
 Florence, 1780; by Caruso, Rome, 1790. 
 
 ATTENHOFER, KARL, born at Wetting- 
 en, near Baden, Switzerland, May 5, 1837, 
 still living, 1888. Composer, pupil of Dan- 
 iel Elster at Baden, of Kurz at Neufcha- 
 
 84
 
 ATTERBURY 
 
 tel, aud of Richter, Papperitz, Dreyselioek, 
 Rontgeu, and Scbleiuitz at the Conservato- 
 rium iu Leipsic. In 1859 he became musical 
 instructor at Muri (Aargau), iu 1863 con- 
 ductor of a male singing society at Rappers- 
 wyl, iu wbich capacity he soon won reputa- 
 tion, and assumed the direction of several 
 other societies, removing in 1867 to Ziirich, 
 where in 1879 he became organist aud mu- 
 sical director of the Catholic church. He 
 is one of the most distinguished Swiss com- 
 posers, especially of male choruses, but also 
 of choruses for female, aud mixed voices, 
 songs, pianoforte pieces, violin studies, aud 
 some masses. — Riemann. 
 
 ATTERBURY, LUFFMAN, born in Eng- 
 land about 1740, died at Westminster, June 
 11, 1796. Musician iu ordinary to George 
 TIT, He composed numerous catches and 
 glees, aud between 1778 and 1780 obtained 
 from the Catch Club prizes for three glees 
 and two catches ; he also wrote an oratorio, 
 Goliah, which was performed at the Hay- 
 market Theatre in 1773. About 1790 he 
 published A Collection of Twelve Glees, 
 Rounds, etc. A number of his glees and 
 catches are in Warren's collections. 
 
 ATTILA, King of the Huns (a.d. 434-454), 
 called the Scourge of God, is the subject of 
 several operas : Music by Pietro Antonio 
 Ziani, Venice, 1672 ; music by Johann W^olf- 
 gang Franck, represented iu Hamburg, 
 1682 ; Italian opera, text by Rossi, music by 
 Giuseppe Pariuelli, Venice, 1810 ; music by 
 Malipiero, Venice, 1846 (later entitled Ilde- 
 gonda di Borgogua) ; text by Solera, music 
 by Verdi, Venice, 1846, New York, March 
 15, 1850, one of the most feeble of the mas- 
 ter's works. The terzet, " Te sol' quest' 
 auima" (for S., T. aud B.), however, is one 
 of the finest examples of Verdi's short con- 
 certed pieces, aud has been sung more than 
 anything else by him in this form. Attila 
 iu Aquileja (in Aquileia, which he besieged, 
 A.D. 451), opera seria, music by Giuseppe 
 Persiani, Parma, 1827 ; Attila il Re de' 
 Franchi (King of the Franks), text by So- 
 grafi, music by Mosca, Palermo, 1818. 
 
 ATTILIO REGOLO (Atilius Regulus), 
 Italian opera iu three acts, text l>y Jletastasio, 
 first set to music by Hasse and represented 
 in Dresden, during the carnival, in 1750. 
 Scene uear Rome. Characters represented : 
 Regolo ; Manlio, consul ; Attilia and Publio, 
 children of Regolo ; Barce, a noble Carthage- 
 niau girl, slave of Publio ; Licinio, tribune 
 of the people, in love with Attilia ; Amilcare, 
 ambassador of Carthage, in love with Barce. 
 The same text has been set to music also by 
 Scarlatti, Rome, 1719 ; Egidio Naselli, Pal- 
 ermo, 1748 ; Johauu Adolph Hasse, Dres- 
 den, 1750 ; Jommelli, Rome, 1752 ; Carlo 
 Monza, Munich, 1777. See also Eegulus. 
 
 ATTRIJP, KARL, born at Copenhagen, 
 March 4, 1848, still living, 1888. Organist, 
 pupil iu 1867 at the Conservatorium in Co- 
 penhagen, of Gade, whom he succeeded two 
 years later as instructor at the same insti- 
 tution. In 1871 he was appointed orgauist 
 at St. Frederick's, aud in 1874 at the Church 
 of the Redeemer, aud instructor of the or- 
 gan in the Royal Institute for the Blind. 
 He has given many organ concerts through- 
 out Denmark, Schleswig, and Swedeu, and 
 is the author of valuable organ music and 
 of songs. — Mendel, Ergiinz., 17. 
 
 ATTWOOD, THOMAS, born in London 
 iu 1767, died there, March 28, 1838. Dra- 
 matic composer and orgauist ; pupil of Dr. 
 Nares and Dr. Ayrton, while a chorister iu 
 the Chapel Royal, from 1776 to 1881, of Fi- 
 lippo Ciuque and Gaetano Latilla in Naples 
 in 1783-85, and of Mozart in Vienna until 
 his return to England in 1787. He was 
 under the immediate patronage of George 
 IV., by whom, when Prince of Wales, he 
 was sent to Italy to study, and fi-om whom 
 he received most of bis appointments. 
 Attwood held successively the following 
 offices : Orgauist of St. George the Martyr, 
 Queen Square, aud member of the Prince 
 of Wales's chamber band ; musical in- 
 structor to the Duchess of York in 1791, 
 to the Princess of Wales in 1795, organist 
 of St. Paul's Cathedral iu 1795, composer 
 to the King's Chapel Royal on the death of 
 
 86
 
 ATI'S 
 
 Dr. Dupuis in 1796 ; organist of George 
 IV. 's private chapel in the Pavilion at 
 Brighton in 1821 ; and organist of the 
 Chapel Royal in 1836. He occasionally 
 conducted concerts of the Philharmonic 
 Society, of which he became a member on 
 its organization in 1813. Attwood's earlier 
 compositions were dramatic, but later he 
 devoted himself to church music, sonatas, 
 songs, and glees. Attwood was a friend of 
 Mendelssohn, who dedicated to him some 
 of his best compositions. AVorks : The 
 Prisoner, opera, given in London, 1792 ; 
 The Mariners, do., ib., 1793 ; Caernarvon 
 Castle, do., ib, 1798 ; The Adopted Child, 
 do., ib., 1795 ; The Poor Sailor, do., ib., 
 1795 ; The Smugglers, do., ib., 1796 ; The 
 Mouth of the Nile, do., ib., 1798 ; The Devil 
 of a Lover, do., ib., 1798 ; A Day at Rome, 
 do., ib., 1798 ; The Castle of Sorrento, do., 
 ib., 1799 ; The Red Cross Knights, do., ib., 
 1799 ; The Old Clothesman, do., ib., 1799 ; 
 The Magic Oak, do., ib., 1799 ; True Friends, 
 do., ib., 1800 ; The Dominion of Fancy, do., 
 ib., 1800 ; The Escapes, or the Water Car- 
 rier (partly original, partly from Cherubiui's 
 Les deux journees), do., ib., 1801 ; II Bon- 
 docani, do., ib., 1801 ; St. David's Day, do., 
 ib., 1801; The Curfew, do., ib., 1807; 
 Two songs contributed to Guy Manneriug, 
 1816 ; Anthem with orchestral accompani- 
 ment, I was glad (written for coronation of 
 George IV.) ; do., O Lord, grant the King 
 a long life (coronation of William IV.) ; a 
 volume containing four services, eight an- 
 thems, nine chants (edited by his godson. 
 Dr. Thomas Attwood Walmisley, fifteen 
 years after Attwood's death). A third an- 
 them was begun for the coronation of 
 Queen Victoria, but never finished. His 
 song, The Soldier's Dream, was long jwp- 
 ular ; his glees, In peace Love tunes the 
 Shepherd's reed, and, To all that breathe 
 the air of Heaven, are still well known ; 
 and his services in F and D are household 
 words in most cathedrals. — Barrett, Eng- 
 lish Church Composers, 152 ; Fetis ; Grove ; 
 Naumaun (Ouseley), ii. 1287. 
 
 ATYS, lyric tragedy in five acts, text by 
 Quinault, music by Lulli, represented at 
 St. Germain, before Louis XTV., Jan. 10, 
 1676, and in Paris, August, 1677. Subject, 
 the love of Cybele for the beautiful Phry- 
 gian shepherd Atys. This work, now for- 
 gotten, was greatly liked by the king. In 
 1682, on its third representation, the ballet 
 was danced by the chief lords and ladies of 
 the court. It was reproduced ten times at 
 the Academic de Musique between 1687 
 and 1710. Quinault's text, reduced to 
 three acts by Marmontel, with music by 
 Nieolo Piccinni, was represented at the 
 Academie de Musique, Feb. 22, 1780. 
 Though successful, it did not keep the 
 stage long. On the same subject are the 
 operas, Atide, music by Giacomo Perti 
 [ (with Tosi), Bologna, 1679 ; Atide, music 
 \ by Mysliweczek, Padua, 1771 ; Atys, music 
 by Ariosti, Lutzenburg, 1700 ; and Cibele 
 et Ati, music by Antonio Bertali, Vienna, 
 1666. 
 
 AUBER, DANIEL FRANCOIS ESPRIT, 
 born at Caen (Cal- 
 
 vados), Jan. 29, 
 1784, died in Par- 
 is, May 12, 1871. 
 His father, Jean 
 Baptiste Daniel 
 Auber, was officer 
 of the king's hunt, 
 and an amateur 
 musician ; and an 
 uncle, Daniel Au- 
 ber, was painter 
 Auber first studied music as 
 an accomplishment, taking pianoforte les- 
 sons of Ladurner, and was sent to London 
 to enter a commercial house. Business 
 soon i^roved distasteful to him, and he re- 
 turned to Paris, where he became well 
 known in certain artistic circles for his 
 compositions, mostly chamber music. His 
 first dramatic work was a new setting of 
 the text of an old comic opera, Julie, the 
 orchestral part of which he wrote for strings 
 only. This was soon followed by another 
 
 to the king. 
 
 iffi
 
 AUBERLEN 
 
 opera ; both works were given in private ; first two and tliose otherwise marked, 
 about 1812, and were much applauded, j Works — Operas : Julie, 1812 (?) ; Le sejour 
 In sinte of these amateur successes, he felt ! militaire, 1813 ; Le testament, 1810 ; La 
 
 dissatisfied with his work, and began seri 
 ous studies under Cherubini. His studies 
 ended, he wrote a four-part mass. He first 
 appeared before the public in 1813, with an 
 opera in one act, Le sujour militaire ; this, 
 with Le testament, ou les billets-doux, 1819, 
 was wholly unsuccessful. But in 1820 his 
 three-act La bergere chatelaine, given at 
 the Opera Comique (Feydeau), was much 
 applauded, and Emma, ou la promesse im- 
 prudente, 1821, confirmed his reputation. 
 In Le concert a la cour, and Lij>cadii\ both 
 182-1, and notably iu Le mapon, 1825, a 
 new and more mature development of his 
 style was noticeable ; here begins his sec- 
 ond manner. This second period closed 
 gloriously with La Muette de Portici, given 
 at the Opera, 1828. To his third period 
 belong his master-works. La fiancee, Fra 
 Diavolo, Leittocq, Le chrva! de bronze, Le 
 domino noir, Zanetta. "With the Diamants 
 de la couronne (1811) his style began to 
 expand still further, and he 
 reached the apogee of that form ^ J\)Ww^'«b», ?<)vJ*^v«Jcuv 'i.^jui^J^ ^- w^^InqiA' | 
 known as the opera-comique. To 
 
 this fourtli period belong also La part d'amour 1869. — B. Jouvin, D. F. E. Auber, 
 du diable. La airhie, and Haydie. Auber j sa vie et ses oeuvres (Paris, Heugel, 1861) ; 
 was at once the greatest and the most Dwight's Journal, ii. 179; xxii. 291; E. de 
 characteristically French of all the writers Mirecourt, Auber (18.'5-l-58). 
 of opera comique. He did not enter upon AUBERLEN, SAMUEL GOTTLOB, 
 his professional career until the age of born at Feilbach, near Stuttgart, Nov. 23, 
 
 berghre chatelaine, 1820 ; Emma, 1821 ; 
 Leicester, 1823 ; La neige, 1823 ; Le concert 
 a la cour, 1824 ; Iji-ocadic, 1824 ; Le marnn, 
 1825 ; Fiorella, 182() ; Le timide, 1826 ; La 
 muelle de Portici, Opera, 1828 ; La fiand-e, 
 
 1829 ; Le diexi et la bayadere, Opi'ra, 
 
 1830 ; Fra Diavolo, 1830 ; Le philtre, Opura, 
 
 1831 ; Le servient. Opera, 1833 ; Gastave 
 in.. Opera, 1833 ; Lestocq, 1834 ; Le cheval 
 de bronze, 1835 ; Action, 1836 ; Les cha- 
 perons blancs, 183G ; L'AmhaAsadrice, 1836 ; 
 Le domino noir, 1837 ; Le lac des fees, Opi'ra, 
 1839 ; Zanetta, 1840 ; Les diamants de la 
 couronne, 1841 ; Le due d'Olonne, 1842 ; La 
 jxirt du Diable, 1853 ; La siriine, 1844 ; La 
 barcarolle, 1845 ; Haijdec, 1847 ; L'rnfant 
 prodigue. Opera, 1850 ; Zerline, Opera, 1851 ; 
 Marco Spada, 1852 ; Jenntj Bell, 1855 ; Ma- 
 non Lescaut, 185(> ; La Circassienne, 1861 ; 
 
 I Jjo, Jiancee du roi de Garbe, 
 
 /Y , ijti^ 1864 ; Jje premier jour de 
 
 •^ ''^ / bonheur, 1868 ; lUves 
 
 ( 
 
 twenty-nine ; his last opera. Roves d'amour, 
 was written at the age of eighty-five. If 
 his genius showed symptoms of decay 
 
 1758, died at Ulm after 1824. Organist ; 
 after having occupied positions as conduc- 
 tor, Conzertmeister, and organist at Zii- 
 
 in the last few years of his life, some rich, Stuttgart, Zofingen, Winterthur, Tii- 
 of his very best work was done when he bingen, and Schaffhausen, under constant 
 
 adversities, which he lias described in an 
 autobiography (Ulm, 1824), he was finally 
 
 was over sixty. In 1825 he was named 
 
 chevalier of the Legion of Honour, and was 
 
 admitted member of the Academic des appointed oi-ganist and musical director at 
 
 Beaux Arts de llnstitut in 1829. He ^ the Cathedral of Ulm iu 1819. Works: 
 
 wrote forty-two operas (not counting those Lob der Poesie, Lob der Musik, cantatas ; 
 
 which he wrote in collaboration with others), 
 besides many ballets and occasional pieces. 
 
 Das Fest der Christen auf Golgotha, orato- 
 rio ; Mass ; Seclis moderne Walzer fiir 
 
 In the following list, all were brought out Clavier, op. 7 (Augsburg, 1799) ; Euterpens 
 at the Opera Comique in Paris except the Opfer am Altar der Gi-azien (1801); other 
 
 87
 
 A LIBERT 
 
 collections of dances, etc., for pianoforte ; 
 Forty melodies for male voices (Muuich, 
 183-1:) ; Fifty songs for two, three, and four 
 voices (Esslingen) ; etc. — Fetis. 
 
 AUBEET, JACQUES (the elder), born 
 in France, end of 17th century, died at 
 Belleville, near Paris, in 1753. He was 
 violinist in the roj'al band in 1727, first 
 violinist in the orchestra of the Oprra and 
 in the Concerts Spirituels in 171:8, in which 
 year he became leader of the band and di- 
 rector of the Due de Bourbon's private mu- 
 sic. Works : 5 books of violin sonatas, 
 with a bass ; 12 suites en trio ; 2 books of 
 concertos for four violins, violoncello, and 
 bass ; airs and minuets for two violins and 
 bass ; La paix trioraphante, opera (1713) ; 
 Diane, ballet divertissement, (with Bour- 
 geois, 1721) ; Le ballet de 24 heures (1722); 
 La reine des Peris, words by Fuselier 
 (1725) ; La fete champetre et guerriere 
 (174:6) ; Le ballet de Chantilly, cantata, 
 Paris, 1728.— Fetis ; Grove. 
 
 AUBEET, PIEEEE FEANgOIS OLI- 
 VIEE, born at Amiens in 1763, died (?). 
 Violoncellist, member of the orchestra of 
 the Opera Comique, Paris, for twenty-five 
 years. Works : 3 quartets for two violins, 
 viola, and violoncello, op. 1 (Ziirich, 1796) ; 
 3 do., op. 2 ; 3 duets for violoncellos, op. 
 3 ; 3 do., op. 5 ; do., op. 6 ; do., oj). 7 ; 
 fitudes for violoncello, followed by thi-ee 
 duets and three sonatas, ofi. 8 ; 8 books of 
 sonatas. He has also published two meth- 
 ods for violoncello. — Ft'tis. 
 
 AUBEEY DU BOULLEY, PEUDENT 
 LOUIS, born at Verneuil (Eure), Dec. 9, 
 1796, died there, February, 1870. Instru- 
 mental composer, tirst instructed by his 
 father, who was a good musician. At the 
 age of five be was able to read music at 
 sight, and at ten played difficult concertos 
 on the flute and on the horn. In 1808 he 
 was sent to Paris, and studied at the Con- 
 servatoire, under Monsignj-, Mehul, and 
 Cherubini until 1815 ; returned to Ver- 
 neuil, where he seized every opportunity 
 to take part in concerts, given by artists 
 
 there and in the neighborhood. Obliged 
 to live in the country from 1827 ou account 
 of his health, he practised agriculture, pub- 
 lished a method of instruction entitled 
 " Grammaire musicale" in 1830, and, on the 
 organization of the National Ciuard through- 
 out France, formed at Verneuil a militarj' 
 band of forty, which led to the institution 
 of similar musical unions among the rural 
 pojjulation. His compo.sitious, consisting of 
 sonatas, and marches for the pianoforte, 
 quartets, trios, and other chamber music, 
 number 156 works, a complete list of which 
 may be found in : Socii'to Philharmonique de 
 I'Eure, de I'Orne et d'Eure-et-Loire (L'Aigle, 
 Ginoux, 1866). His comic opera, Les 
 amants querelleurs, received at the Opera 
 Comique, was given at the Gj'mnase in 
 1824, arranged as a vaudeville, for which 
 purpose the author of the libretto had with- 
 drawn it. — Fetis ; do., Supplement, i. 30. 
 AUDEAN, EDMOND, born at Lyons, 
 April 11, 1842, still 
 living, 1888. Dra- 
 matic composer, son 
 of the tenor Marius 
 Audran, pupil at the 
 Ecole Niedermeyer, 
 Paris, where he won 
 the prize for compo- 
 sition in 1859 ; set- 
 tled with his father, 
 in 1861, at Marseilles, 
 where he is maltre de ehapelle at St. Joseph's. 
 Works : L'Ours et le Pacha, comic opera, 
 given at Grand Theatre, Marseilles, 1862 ; 
 La chercheuse d'esprit, ib., 1864 ; La Niver- 
 naise, ib., Gymnase, 1866 ; Le petit Poucet, 
 operette, ib., 1868 ; Le grand Mogol, do., 
 ib., 1877 ; Les noces d'Olivette, comic opera, 
 Bouffes Parisiens, Paris, 1879 ; La maxcotle, 
 opera-bouffe, ib., 1880.— Fetis, Supplement, 
 i. 33. 
 
 AUF HOHEN BEFEHL, comic opera, 
 text and music by Carl Beinecke, repre- 
 sented at the Stadttheater, Hamburg, Oct. 
 1, 1886. The libretto is an adaptation of 
 Eiehl's novel, "Ovid bei Hofe." It was
 
 AUF 
 
 conclucted by the composnr, and met with 
 decided success. 
 
 AUF ! IM TRIUMPF ZUM CAPITOL. 
 See Rienzi. 
 
 AUTFORDERUNG ZUM TANZ (Invi- 
 tation a la valse), rondo brillant for piano- 
 forte, by Weber, op. G.5, dedicated to bis 
 Caroline, composed 1819, first original edi- 
 tion, Berlin (Schlesinger). This happy in- 
 spiration must forever remain a standard 
 work. You seem to see the respectful lover 
 approaching the object of his affection, and 
 claiming her hand for the dance. The coy 
 damsel at first but half consents, but after 
 some slight hesitation is persuaded. En- 
 circled by the arm of her happy partner, 
 she listens to the accents of passionate love 
 whispered in her ear, to which she replies 
 in subdued but encouraging tones. The 
 dance becomes more animated, and the hap- 
 py swain carries his future bride through 
 the mazy throng till the last chord of the 
 exciting dance. Then demurely he bows 
 his farewell. Among the different arrange- 
 ments of this piece, whose popularity is 
 unexampled, the following deserve special 
 mention : One, with somewhat larger treat- 
 ment of the pianoforte, by Henselt, and a 
 still more elaborate one, " with arabesques 
 for concei't performance," by Tausig (See 
 von Lenz, Drei grosse Klavier-Virtuosen) ; 
 one for eight hands, by Otto Dresel, and 
 Berlioz's matchless transcription for full or- 
 chestra (See Berlioz, Mc' moires, 330). It 
 has also been arranged for soprano with 
 pianoforte accompaniment, to the words, 
 Vieni, o cara, etc. — Benedict, 153. 
 
 AUFFMANN, JOSEF ANTON XAVER, 
 born about 1720, died in 1778. Organist, 
 and Kapellmeister at Kempten about 17.50. 
 His three concertos for organ, with orches- 
 tra (Augsburg, 175Jr), entitle him to remem- 
 brance. — Fetis ; Schilling. 
 
 AUFFSCHNAITER, BENEDICT AN- 
 TON, Kapellmeister at Passau, beginning 
 of the 17th century. Works : Concors dis- 
 cordia, consisting of six overtures (Nurem- 
 berg, 1695) ; Dulcis fidium harmonica, sona- 
 
 tas (ib., 1099) ; Vesperte soleranissimse, op. 
 5 (Augsburg, 1709) ; Alaudsc quinque, con- 
 taining five masses, op. 6 (ib., 1711) ; Duo- 
 dena offertoria, op. 7 (Pas.sau, 1719) ; Cym- 
 balum Davidis vespertinum, op. 8 (ib., 
 1729).— Fetis ; SchiUing. 
 
 AUGURIO DI FELICITA (The Happy 
 Augury), cantata for three voices, text by 
 Metastasio, music by Reutter, produced in 
 SchOnbrunn, 17-19. Characters represented : 
 Arciduchessa prima, Ai'ciduchessa seconda, 
 Arciduchessa terza. 
 
 AULAGNIER, ANTONIN, born at j\[a- 
 nosque (Basses-Alpes) in 1800, still living, 
 1888 (?). Composer, pupil of Benoist at the 
 Conservatoire, Paris, where he afterwards 
 established himself as a music publisher. 
 Works : 2 masses for three voices ; O Salu- 
 taris, do. ; Domine, salvum fac regem, do. ; 
 Variations, rondos, melanges, etc., for piano- 
 forte ; Square dances for several instru- 
 ments ; Romances for one and two voices ; 
 Faux-bour<lons roraains et parisiens, for 3 
 voices. — Fetis. 
 
 AULETTA, PIETRO, flourished in Italy, 
 first half of the 18th century. Dramatic 
 composer, maestro di capjjella to the Prince 
 of Belvedere. Works : Ezio, opera, given 
 in Rome, 1728 ; U Marchese Sgrana, NajDles, 
 Teatro Nuovo, 1738 ; L" Amor costante, ib., 
 Teatro de' Fiorentini, 1739 ; Orazio, Venice, 
 1748 ; H Giocatore, H maestro di musica, 
 interludes, given in Paris, 1752. Domenico 
 Auletta, probably his son, is the author of 
 an opera buffa. La loeandiei'a di si)irito, 
 given in Naples about 1820. — Fetis. 
 
 AUMANN, DIETRICH CHRISTIAN, 
 flourished about 1789 in Hamburg, where 
 he was organist. Works : Choralbuch fiir 
 das neue Hamburgiselie Gesangbueh (Ham- 
 burg, 1787) ; Hochzeit Cautate (ib., 1787) ; 
 Oster Oratorium (ib., Matthiesen, 1788) ; 
 Das Hocheuauer Schiffgeschrei, for four 
 voices, two violins, and bass. A comic opera, 
 Das neue Rosenmiidchen, was given in Ham- 
 burg, 1789. — Gerber, N. Lex. ; Schilling. 
 
 ATOIONT, HENRI RAYJIOND, born in 
 Paris, July 31, 1818, still living, 1888. Vio-
 
 A UNA 
 
 liuist, pupil at the Conservatoire of Guerin 
 and of Baillot, wou the second prize for vio- 
 lin in 1837, then studied composition until 
 1840. Works : Air varie, for violin and or- 
 chestra (Paris, Richault) ; Les caracteres, 
 three fantaisies for violin (ib., Challiot) ; 
 Duo coucertant for pianoforte and violin 
 (ib ) ; Fautaisie on a French theme, for do. 
 (ib.) ; do. on an Italian theme (ib.) ; do. on 
 a German theme (ib.). — Fetis. 
 A UNA FONTE. See Purilani. 
 AU PLAISIR, A LA FOLIE. See Zampa. 
 AURELIANO IN PAL:MIRA (Aurelian in 
 Palmyra), Italian opera, music by Rossini, 
 represented in Milan, 1811. It was unsuc- 
 cessful, but some of its principal parts have 
 been preserved in other woi-ks of the com- 
 poser. The melody of the first chorus, 
 " Sposa del grande Osiride," which had jsre- 
 viously done duty as a chorus in Giro in 
 Babilonia, is now the cavatina of Almaviva, 
 " Ecco ridente in cielo," in II barhiere di 
 Siviglia, and the overture is now the intro- 
 duction to the same work, after having served 
 meanwhile as the overture to Elisabetta. 
 Aureliano failed also in London. — Stendhal, 
 Vie de R. ; Edwards, Life of R., 65. 
 
 AURENHAMMER, JOSEFA, born in 
 Vienna about 1776, died there in 1841. 
 Pianist, pupil of jMozart, Richter, and Kotze- 
 luch ; gave annual concerts at the Burg- 
 theater, and was especially skilful iu extem- 
 jjorizing, and varying a given theme. She 
 composed 63 works for her instrument. — 
 Mendel ; Schilling. 
 
 AURISICCHIO, ANTONIO, flourished 
 about 1750 in Rome, where he died young. 
 Maestro di cappella at S. Giacomo degli 
 Spagnuoli, Rome. His works consist of 
 psalms, motets, cantatas, and masses, and 
 an opera, Attalo, given in London, 1758. — 
 Ft'tis. 
 
 AU SEUL PLAISm FIDDLE. See 
 Robert le Diable. 
 
 AUSSI NOMBREUX QUE LES 
 ETOILES. See I'rophrte. 
 
 AUSTIN, WALTER, English composer, 
 contemporary. Works : The Fii-e King, can- 
 
 tata ; The Stepmother, operetta ; Overtures 
 for orchestra ; Pianoforte pieces ; Songs, etc. 
 
 AUTERI-5L\NZOCCHI, SALVATORE, 
 born at Palermo, Sicily, Dec. 25, 1845, still 
 living, 1888. Dramatic composer, pupil of 
 Platania, and in Florence of Mabellini. 
 Works : Marcellina ; Dolores, given at Flor- 
 ence, Teatro della Pergola, 1875 ; H Negri- 
 ero, Barcelona, 1878 ; Stella, Piaeenza, 1880. 
 ■ — Fetis, Sujjjjlement, i. 34. 
 
 AUTRIVE, JACQUES FRAN(,'OIS D', 
 born at Saint-Quentin (Aisne), in 1758, died 
 at Mons, Belgium, in December, 1824. Vio- 
 linist, pupil of Jaruovich ; unfortunately 
 became deaf at the age of thirty-five, and 
 thenceforth devoted himself more to com- 
 position. Works : Several concertos, duets, 
 and other works for violin ; Songs. — Fetis. 
 
 AUVERGNE, See D'A n ivrgne. 
 
 AUVERJAT, JEAN DE L', French 
 composer of clmi-ch music, maitre de mu- 
 sique of the Eglise des Innocents, Paris, 
 in the second half of the 17th centur3'. 
 Works : Missa, Iste confessor, for 4 voices 
 (Paris, Ballard) ; Missa, Legem pone, do. 
 (ib.) ; Missa, O gloriosa Domina, do. (ib.) ; 
 Missa, Tu es Petrus, for 5 voices (ib.) ; Jlissa, 
 Ne moreris, do, ( ib ) ; Missa, Confitebor 
 Domine, do. (ib.) ; Missa, Fundamenta ejus, 
 do. (ib.).— Fetis. 
 
 AUX JOURS DE DI]\IANCHE. See 
 FausI, Gounod. 
 
 ALTX PIEDS DE LA MADONE. See 
 Zawpa. 
 
 A U X C O U S T E AU X (Hautcousteaux), 
 ARTHUR, born iu Beauvais, Picardy (Ma- 
 quin) or Saint Quentin (Gomart), died in 
 1656. He was a singer in the church of 
 Noyon (1627) ; music teacher in the College 
 of Saint-Quentin, maitre de la Sainte Cha- 
 I pelle, and haut-contre in the chapel of Louis 
 Xni., Paris. From the advanced style of 
 his music he is thought by Fctis to have 
 studied the Italian composers. He was the 
 author of numerous masses and chansons, 
 among which is a collection of chansons 
 dedicated to Molt'-.— Grove ; Fetis ; Men- 
 del, i. 306 ; Nouv. biog. gen. 
 
 90
 
 AVARO 
 
 AVMIO, L' (The Miser), Italian opera, ISth century, died about 1786. Dramatic 
 
 music by Anfossi, represented in 1775 ; 
 music by Sarti, Venice, 1777 ; music by 
 Rutiui, Rome, 1789 ; music by J. S. Mayr, 
 Venice, 1799 ; music by Orlandi, Bologna, 
 1801 ; music by Josef Haydn, Paris, 1802 ; 
 music by Bianchi, Paris, 1804 ; music by 
 Fioravanti, about 1804 ; music by Cordelia, 
 Naples, about 1810 ; music by Conte Miari, 
 Venice, 1811 ; music by Savij, Parma, 
 1840 ; music by Quarenghi, 1863 ; mu- 
 sic by C. Brizzi, Bologna, 1877. L' avaro 
 burlato (The Miser Tricked), Italian comic 
 opera, by Giovanni Puisiello, Prague, 1784 ; 
 by Giuseppe Sborgi, 1873 ; by Margaria, 
 Turin, 1877. L' avai-o deluso (The Miser 
 Deluded), by Sacchini, Loudon, 1778. L' 
 avaro punito (The Miser Punished), by Ga- 
 lujjpi, about 1760. 
 
 AVE, VERUM CORPUS, motet for 
 chorus, with string accompaniment, by Mo- 
 zart, composed at Baden, near Vienna, in 
 June, 1791. 
 
 AVELA, TOMiSO LULS VITTORIO 
 D', Spanish comisoser, living about the 
 close of the 16th century. He published the 
 following work : Motecta festorum totius 
 anni cum communi sanctorum, quatuor, 
 quiuque, sex et octo vocibus (Rome, 1585). 
 — Fetis. 
 
 AVISON, CHARLES, born at Newcas- 
 tle-upon-Tyne, England, in 1710, died there 
 May 10, 1770. Vocal comjjoser and or- 
 ganist, pupil of Geminiani ; studied also in 
 Italy. In 1736 he became organist of the 
 Church of St. Nicholas, Newcastle. He was 
 the author of " An Essay on Musical Ex- 
 pression" (1752), and he edited, with John 
 Garth, organist of Durham, Marcello's 
 Psalms (1757), adapted to English words. 
 Works : 5 concertos for a full band of 
 stringed instruments ; 2 sets of sonatas for 
 harpsichord and two violins ; Quartets and 
 trios. The once popular air, " Sound the loud 
 timbrel," is adapted from one of his concer- 
 tos. — Hawkins ; Grove ; Brand, Newcastle. 
 
 composer and violoncellist. Works ; Bere- 
 nice, ojjera, given at Najales about 1730 ; H 
 mondo della luna, do., ib., about 1732 ; 
 Gioa, rii di Giuda, oratorio ; La morte 
 d' Abele, do. ; Twelve sonatas for violin and 
 violoncello, op. 1 (Amsterdam, 1732) ; Duets 
 for violin and violoncello. Tlie manuscript 
 scores of his two oratorios are in the Royal 
 Library at Berlin. — Peti.s. 
 
 AVVISO AI MARITATI, L' (Advice to 
 the Married), Italian opera bufta, music by 
 Cimarosa, represented in Najile.s, 1780; mu- 
 sic by Isouard, his first opera, Florence, 
 1795 ; music by J. S. Mayr, Venice, 1798 ; 
 music by Caruso, Rome, 1810 ; nuisic by 
 Henri Cohen, written for Naples, 1838, but 
 not produced. 
 
 AWAKE, MY SOUL, hymn, music by 
 Franrois Hippolyte Barthelemon, written in 
 London, about 1780. 
 
 AXUR, RI5 D' ORMUS. See Tarare. 
 AYLWARD, THEODORE, born in 1731, 
 died in London, Feb. 27, 1801. He was 
 awarded a prize medal by the Catch Club 
 in 1769, and became professor of music in 
 Gresham College in 1771 ; organist and 
 choirmaster at St. George's Chapel, Wind- 
 sor, in 1788. Mus. Doc, Oxford, 1791. 
 Works : 6 lessons for the hari^sichord, or- 
 gan, or pianoforte, op. 1 ; Elegies and glees, 
 op. 2 (1785) ; Music for the dramas Harle- 
 quin's Invasion, Midsummer Night's Dream, 
 etc. ; 8 canzonets for two sopranos ; Glees ; 
 Church music. — Grove. 
 
 AYRTON, EDMUND, born at Ripon, 
 England, in 1734, died in Westminster, 
 London, May 22, 1808. Organist, pupil of 
 Dr. Nares. He was elected, when quite 
 young, organLst of the collegiate church of 
 Southwell ; became in 1764 a gentleman of 
 the Chapel Royal, and soon after vicar-choral 
 of St. Paul's, and one of the lay clerks of 
 Westminster Abbey. In 1780, on the res- 
 ignation of Dr. Nares, he was appointed 
 master of the children of His Majesty's 
 
 AVONDANO, PIETRO ANTONIO, born ^ chapels, which post lie held until 1805. He 
 at Naples about the beginning of the received the degree of Mus. Doc. from the
 
 AZEMIA 
 
 Uuiversity of Cambridge in 1784, aud was j 
 afterwards admitted ad eundem by the Uni- 
 versity of Oxford. He was given tliis for 
 bis autbem, Begin unto my God with tim- 
 brels, w^hich was performed in St. Paul's 
 Cathedral, July 28, 1784, the day of general 
 thanksgiving for the termination of the 
 American Revolutionary War. Works : Two 
 complete morning and evening services, sev- 
 eral anthems, and other church composi- 
 tions. William Ayrton (born Feb. 24, 1777, 
 died May 8, 1858), musical critic and editor, 
 was his son. 
 
 AZEIVIIA, French opera-comique in three 
 
 Dugazon as Azemia. 
 
 acts, text by Lachabeaussi^re, original sub- 
 ject, music by Dalayrac, represented at the 
 Italieus, Paris, May 3, 1787. One of the 
 composer's best works. Its "Ah! que je 
 sens d'impatience, mon cher pays, de te re- 
 voir," had a universal popularity. Like 
 other of the composer's works, the finale is 
 notable for the skilful and fluent treatment 
 of the choral parts. The character of Aze- 
 
 mia was one of the most remarkable crea- 
 tions of Mme Kosalie Dugazon (nee Le- 
 fevre, born in Berlin in 1755, died in Paris, 
 Sept. 22, 1821), who played with unvarying 
 success until 1806, when she retired from 
 the stage. The classes of parts in which 
 she excelled are still known on the French 
 stage as "jeunes Dugazon" and "meres 
 Dugazon." 
 
 BA.\KE, FEEDINAND GOTTFRIED, 
 born at Heudeber, near Halberstadt, 
 Prussian Saxony, April 15, 1800, still liv- 
 ing, 1888. Pianist and organist, pupil of 
 the brothers Samuel and Karl MiiUer at 
 Halberstadt, of Hummel at Weimar, and, in 
 theory, of Friedrich Schneider at Dessau. 
 He was organist at Halberstadt, Wolfen- 
 biittel, and Miihlhauseii, but returned to 
 Halberstadt in 1838 to conduct a singing 
 society, and has done much for the promo- 
 tion of musical life there. Works : 6 songs, 
 op. 1 (LeiiJsic, Breitkopf & Hiirtel) ; 6 polo- 
 naises for pianoforte, op. 2 (ib.) ; Rondo for 
 do., op. 3 (Berlin, Trautwein) ; 6 songs, op. 
 5 (ib.) ; Grand variations on an original 
 theme, op. 4 (Mainz, Sehott) ; Grand sonata 
 for pianoforte, oj). 6 (Leipsic, Breitkopf & 
 Hiirtel) ; Odeon, collection of new composi- 
 tions, 1st and 2d vol. (Wolfenbiittel, Hart- 
 manu) ; Variations and rondo, op. 9 (ib.) ; 
 Amusement, for pianoforte, op. 10 (ib.) ; So- 
 natine, op. 12 (ib.) ; 12 waltzes, op. 11 
 (Leipsic, Hofmeister) ; Prelude for organ 
 (Erfurt, Kih-ner) ; Songs for four voices, 
 with pianoforte, op. 13 (Halberstadt, Frantz); 
 Male choruses for four voices, op. IG (ib.) ; 
 Salve Regina, for four voices, with orches- 
 tra ; Die Verklarung des ErlOsers im Tode, 
 cantata, performed in Halberstadt Cathe- 
 dral, 1822.— Fi'tis ; Mendel. 
 
 BA.\L, ERHORE UNS, chorus of Priests 
 of Baal, in Mendelssohn's Elian, Part I. 
 
 BABAN, GRACIAN, musical director 
 of the Cathedral of Valencia, Spain, in 
 1G50-65. Masses and motets, written by 
 him for several choirs, are preserved there.
 
 BABBI 
 
 BABBI, CRISTOFORO, born at Ceseua, 
 Italy, iu 17i8, died at Dresden in 1814. 
 Violinist, pupil of Paolo Albergbi ; became, 
 iu 17',)0, Coiizeitmeister to the Elector of 
 Saxony. Works : Concertos for the violin ; 
 Symphonies for church and chamber ; Quar- 
 tets and duets for the flute ; Augusta, can- 
 tata (1789).— Mendel ; Schilling. 
 
 BABELL, WILLIAM, born in England 
 in lU'JU, died iu Loudon in 1723. Violinist 
 and organist, i^ujsil of Dr. Pepusch ; was a 
 member of the Royal Baud of Music and 
 organist of All -Hallows Church, Bread 
 Street, London. Works : 12 solos for vio- 
 lin or oboe ; 12 solos for flute or oboe ; 6 
 concertos for octave flutes and violins. 
 
 BACCELLI, DOMENICO, Italian dra- 
 matic composer of the ISth century. He 
 went to Paris iu 17GG with his wife, an 
 actress of reputation, and iu 1770 success- 
 fully produced the comic opera, Le uouveau 
 marie, ou les imjiortuns, at the Comedie 
 Italieune. In 1779 he returned to Italy. 
 
 BACCELLI, Padre MATTEO, born at 
 Lucca about 1680, died there in 175G. 
 Church comjjoser, jii'ofessor of music at 
 the seminary of San Giovanni. He wrote 
 masses, graduals, motets, and psalms for 
 four voices, a Domine, a Dixit, and a Mag- 
 nificat for do., with instrumental accompa- 
 niment. — Fetis, Supplement, i. 36. 
 
 BACCHINI, CESARE, born in Flor- 
 ence in 1816. Dramatic comjjoser, pujjil 
 of Aniehini on the jjianoforte and in har- 
 mony, of Giovacchino Giovacchini on the 
 violin, and of Mabellini in composition. 
 Works — Operas : II quadro jjarlante, given 
 at Florence, 1871 ; La secchia rapita (with 
 Deschamps, Felice, Giraldini, Tacchinardi, 
 and Usiglio), ib., Teatro Goldoni, April, 
 1872 ; La caeciata del Duco d' Ateue, ib., 
 Teatro Pagliano, Feb. 1871 ; Delmira, ib., 
 Dec. 5, 1878.— Fetis, Supplement, i. 36. 
 
 BACCHUS AND ARIADNE. See Ari- 
 anna. 
 
 BACCHUS, EVER FAIR AND YOUNG, 
 bass air in F major, iu Handel's Ale.rander's 
 Feast, Part I. 
 
 BACCI, PIETRO GIACOMO, born at 
 Perugia about the middle of the 17th cen- 
 tury. He composed the opera Abigail, 
 given at Citta della Pieve, Province of Pe- 
 rugia, in 1691. — Fotis. 
 
 BACCUSI, IPPOLITO, lived iu Verona, 
 Italy, latter half of the 16th centur}-. He 
 was maestro di cappella of the Cathedral of 
 Verona in 1.590. His works include masses, 
 madrigals, motets, and psalms, published 
 in Venice during his lifetime (1592) by 
 Gardpiio, Vincenti, and Ramjiazetti ; others 
 are in the volume dedicated to Palestrina 
 by fourteen Italian composers, and in oth- 
 er publications of the day. Baccusi was 
 amoug the first to introduce instruments 
 as an accomjianimeut to the voices iu 
 church singing, and this system is applied 
 in two volumes of his works, one contain- 
 ing vesi^er jssalms and two magnificats ; the 
 title of the other book is : Hip25olyti Bac- 
 cusi, Eccl. Cath. Veronse musicse magistri, 
 missse tres, tuni viva voce turn omni in- 
 strumentorum genere cantatu accommoda- 
 tissimte, cum octo vocibus (Amadiuo, Ven- 
 ice, 1596).— Fetis. 
 
 BACH. The Bach familj' jiresents by far 
 the most remarkable instance of hereditarj' 
 genius in all history. In seven con.secutive 
 generations we can count no less than forty- 
 nine musicians, of whom at least twenty de- 
 serve to be classed as important figures in 
 musical history. Of the eldest member of 
 the family to whom the genealogy is trace- 
 able, Hans Bach, nothing is known save 
 that he was one of the trustees of the Parish 
 (Gemeinde-Vormundschaftsglied) of Wech- 
 mar, a little town near Gotha, in 1561. The 
 first musical member of the family was Veit 
 Bach (probablj' sou of this Hans), who has 
 generally been looked upon as the head of 
 the family tree. He was a miller or baker 
 (possibly both), and used to delight in play- 
 ing on the cythringen (diminutive for cith- 
 ara, an instrument of the guitar tribe) ; he 
 left his native place, and settled somewhere 
 in Hungary ; a tradition, probably origi- 
 nated by Korabiusky, fixes Presburg as the
 
 BACH 
 
 place, but this is wholly without authentic 
 fouudation. Be this as it may, the Jesuit 
 troubles in Hungary, under Eudolph 11., 
 drove Veit, with other Lutherans, from the 
 country (probably before 1597), and he re- 
 turned to Wechmar. How many children 
 he had is not known. The genealogy men- 
 tions a Lips Bach (died Oct. 10, 1G20), three 
 of whose sons are said to have been sent 
 to Italy, by the reigning Count of Schwarz- 
 burg-Arnstadt, to study music. But it is 
 merely conjectural that Lips was Veit's son, 
 and a good deal of evidence points to the 
 rest of the story being apocryphal. It is 
 known, however, with tolerable certainty, 
 that Veit had at least two sous : one was 
 Hans (known as " der Spielmann ") ; the 
 name of the other is not known ; possibly it 
 may have been Lijjs. But Hans and his 
 unnamed brother were the heads of the two 
 main branches of the Bach family, which 
 branches unite in Veit. Both branches were 
 rich in musicians, all of whom studied in 
 Germany, a very notalsle fact at a period 
 when it was the almost universal custom for 
 musicians of any standing to go to Italy to 
 finish their musical education. In course 
 of time Arnstadt, Erfurt, Steinach, and 
 Meiuingen became the headquarters, so to 
 speak, of the family, which was a singularly 
 united one, very distant cousins (in younger 
 generations) living on terms of the greatest 
 intimacy, and mutually helloing one another 
 in their profession. The predominant fam- 
 ily traits, apart from a genius for music, 
 which grew apace until the fourth genera- 
 tion after Veit Bach, were a certain persist- 
 ent honesty and kindliness of character, an 
 almost childlike religious faith and adhe- 
 rence to the Lutheran Church, a great ca- 
 pacity for hard work, and an equally great 
 incapacity for living unmarried. 
 
 BACH, (CARL) PHILIPP EMANUEL 
 [20], born at Weimar, March 14, 1714, died 
 at Hamburg, Sept. (Dec. ?) 14, 1788. The 
 third son of Sebastian [15]. His father 
 originally intended him to study philoso- 
 phy, and sent him to the Thomas-schule at 
 
 Leipsic ; he afterwards studied law at the 
 universities at Leijssic and Frankfort-ou- 
 the-Oder, but his 
 passion for music 
 was so strong that 
 he studied the art 
 more thoroughly 
 than is generally 
 the case with ama- 
 teurs, and, when 
 he went to Frank- 
 fort, was already a 
 cultivated musician 
 and a brilliant clavecinist. He conducted a 
 singing society there, for which he com- 
 posed some music, and at last gave up the 
 law and chose music for his profession. In 
 1746 he went to Berlin, and was made 
 chamber-musician and clavecinist to Fred- 
 erick the Great. He had, however, to give 
 up this jjosition in 1757 at the first violent 
 outbi'eak of the Seven Years' War. He 
 went to Hamburg, where he took the direc- 
 tion of the music in a church, and in 1767 
 succeeded Telemann as Musikdirector of 
 the principal church there, which post he 
 continued to hold until his death. Emanuel 
 Bach was one of the least musically gifted 
 of Sebastian's sons, but his power of work, 
 and especially his great intelligence and 
 general culture, stood him in such good 
 stead that he is certainly the most famous 
 of them. The influence he exerted upon 
 the subsequent development of the art of 
 music can hardly be overrated ; he is prob- 
 ably the most important figure in the trans- 
 ition period between Sebastian Bach and 
 Handel on the one hand, and Haydn and 
 Mozart on the other. In his works we find 
 the germs (and something more) of the cy- 
 clical forms (sonata, symphony) and the 
 homophonic style of composition which be- 
 long to the later period of modern music-. 
 He also anticipated, to some extent, the 
 change in treatment of the orchestra which 
 was completed by Haydn and his successors. 
 He is especially important in the history of 
 pianoforte playing. In his great theoretical 
 
 94
 
 BACH 
 
 work, "Versuch liber die wahre Art das 
 Clavier zu spielen," he explained and devel- 
 oped the j)rinciples set down hj his father. 
 He thus may be regarded as the true foun- 
 der of the modern schools of pianoforte 
 playing. As a composer be was elegant, 
 finished, and pleasing rather than great, but 
 he was the man of all others best fitted to 
 advance the art of music in his day. As a 
 performer he was one of the greatest of his 
 time. He is often known as the " Berlin " 
 or "Hamburg'" Bach. Works — Instrumen- 
 tal : IS symphonies for orchestra ; Bi mis- 
 cellaneous pieces for wind instruments ; 11 
 trios for flute, violin, and bass ; 7 do. for 2 
 violins and bass ; 4 for various instruments ; 
 2 concertos for oboe (also for pianoforte) ; 
 i do. for flute ; 3 do. for violoncello ; 12 
 soli for flute ; 2 do. for viola di gamba ; 
 Solo for oboe ; do. for violoncello ; do. for 
 liarp ; Duet for flute and violin ; do. for 2 
 violins ; do. for 2 clarinets. For ijianoforte : 
 52 concertos, 3 quartets, 59 trios, 195 sona- 
 tas, 15 sonatinas, 24 minuets, 21 polonaises, 
 4 duets, 9 solfeggi, 1 fugue, 2 marches, 24 
 minor j^ieces, 9 symphonies arranged. Vo- 
 cal : 2 oratorios. Die hraelilcn in der Wiiste, 
 and Die Auferstehung und Himmelfahrt 
 Jesu ; 22 Passions ; Many can 
 tatas ; Psalms, motets, hymns, 
 etc. ; Sanctus for 2 choirs 
 Melodies to Gellert's sacrec 
 songs ; Choruses, arias, secular songs, etc. 
 — Allgem. d. Biogr., i. 744 ; Bitter, C. Ph. 
 E. Bach, etc. (Berlin, 1868) ; Ft'tis ; Grove ; 
 Mendel ; Schilling. 
 
 BACH, CHRISTOPH [3], born at Wech- 
 mar, April 19, 1613, died at Arnstadt, Sept. 
 14, 16G1. The second of the thi-ee musical 
 sons of Hans Bach [1], and grandfather of 
 Sebastian Bach [15]. He was a professional 
 musician (Kunstpfeifl'er), and attached to 
 the household of the Duke of Weimar in 
 that capacity ; also as " servant." About 
 1640 he went to Prettin, in Saxony, where 
 he married Maria Magdalena Grabler, whose 
 father was probably town-musician there. 
 lu 1642 he was member of a company of 
 
 11- 
 
 musicians in Erfurt, whence he went, in 
 1653 or 1654, to Ai-nstadt, where he re- 
 mained until his death. 
 
 BACH, GEORG CHRISTOPH [7], born 
 at Erfurt, Sept. 6, 1642, died at Schwein- 
 furt, April 24, 1697. Eldest sou of Chris- 
 toph Bach [3]. He was at first employed 
 (in what cajDacity is not known) at a school 
 in the little town of Heinrichs, near Suhl. 
 In 1668 he was called to Themar, near 
 Meiningen, where he became cantor, and 
 twenty years later he moved to Schwein- 
 furt, where he held the same position until 
 his death. A composition of his for three 
 male voices, with string accompaniment, on 
 the text of a psalm, was once in the posses- 
 sion of Philipp Emanuel Bach, but has since 
 been lost. He is notable as the ancestor of 
 the branch of the Bach family which mi- 
 grated to Francouia, and several members 
 of w^hich were excellent musicians. — Spitta, 
 i. 152. 
 
 BACH, HANS [1], born at Wechmar 
 about 1580, died there, Dec. 26, 1626. Son 
 of Veit Bach, and great-grandfather of Se- 
 bastian Bach [15]. Generally known as 
 "der Spielmann." Besides being a profes- 
 sional '■Kunstpfeiifer " {i.e., j)layer on vari- 
 ous orchestral instruments), he was a car- 
 pet weaver by trade. He was well known 
 about Gotha, Arnstadt, Erfurt, Eisenach, 
 and Suhl, and had his portrait taken four 
 times, a thing which, in those days, hap- 
 pened only to notabilities. — Spitta, i. 8. 
 
 BACH, HEINRICH [4], bom at Wech- 
 mar, Sept. 16, 1615, died at Ai-nstadt, July 
 10, 1692. Youngest son of Hans Bach [1], 
 and head of the Arnstadt line ; was taught 
 the violin by his father, but, even when a 
 boy, his taste led him to the organ, which 
 he studied under his elder brother, Johann 
 [2]. In 1641 he became organist at the 
 Liebfrauen-Kirche, Arnstadt, which post he 
 held for over fifty years. He inherited his 
 father's cheerful disposition, and his char- 
 acter was such that he was beloved and re- 
 spected by the whole community. He was one 
 of the best organists of his time. Only one 
 
 95
 
 BACH 
 
 of his works has been preserved, an organ- 
 piece on the chorale, " Christ lag in Todes 
 Bauden." — Johauu Gottfried Olearius, Fu- 
 neral Sermon (Arustadt, 1692) ; Spitta, i. 28. 
 BACH, JAIvOB [5], born at Wolfsbehr- 
 ingen, 1655, died at Euhla, 1718. Son of 
 Wendel Bach, and generally recognized as 
 the head of the Meiningen line of Bachs. 
 He was cantor in Steinbach, and, from 
 1694 to his death, in Euhla. He was the 
 first teacher of Johann Theodore Romhild. 
 — Spitta, i. ,11. 
 
 BACH, JOHANN [2], born at "Weehmar, 
 Nov. 26, 1604, died at Erfurt, May 13, 1673. 
 Eldest son of Hans Bach [1]. He was ap- 
 prenticed to Hoffmann, " Stadtpfeifer " in 
 Suhl, and became organist there and in 
 Schweinfurt. After a restless life during 
 the Thirty Years' War, he settled in Erfurt 
 as director of the Raths-Musikanten, Sept. 
 27, 1635, and became organist at the Pre- 
 diger-Kirehe, probably in 1647. He was a 
 true Bach in the strict morality of his life, 
 and his influence upon music in Erfurt, 
 where he lived during the greater jiart of 
 his life, was such that the town-musicians 
 were known as " the Bachs " down to the 
 second half of the 18th century. He was 
 the head of the Erfurt line of Bachs. 
 —Spitta, i. 15. 
 
 BACH, JOHANN ^GIDIUS [6J, born 
 at Erfurt, Feb. 9, 1045, died there in 1717. 
 Second son of Johann Bach [2]. He was 
 viola plaj'er among the town-musicians un- 
 der his father's directorsliii) ; became, later, 
 organist at the St. Michaelis-Kirche, and 
 succeeded his elder brother as Raths-Musik- 
 director in 1082.— Spitta, i. 23. 
 
 BACH, JOHANN AjNIBROSIUS [8], born 
 at Erfurt, Feb. 22, 1045, died at Eisenach 
 in 1095. Second son of Christoph Bach [3] 
 and twin brother of Johann Christoph [9], 
 also father of Johann Sebastian Bach [15]. 
 He studied the viola under his father, and 
 entered the association of the " Raths-Musi- 
 kanten " at Erfurt in 1667, taking the place 
 of his cousin Johann Christian [5]. In 
 October, 1071, he settled in Eisenach, leav- 
 
 ing his Erfurt position to his cousin Johann 
 Jj^gidius [0]. The mental and physical like- 
 ness between him and his twin brother was 
 so great that their own wives could not tell 
 them apart. He married Elisabeth Lilm- 
 merhirt, April 8, 1008, and had the follow- 
 ing children : 1. Infant, died soon after 
 birth ; 2. Johann Christoph [13] ; 3. Johann 
 Balthasar (born March 4, 1073, died April, 
 1091) ; 4. Johann Jonas (born Jan. 3, 1675) ; 
 5. Maria Salome (born May 27, 1077) ; 6. 
 Johanna Juditha (born Jan. 20, 1080) ; 7. 
 Johann Jakob [14] ; 8. Johann Sebastian 
 [15]. — Funeral sermon by Valentin Schron 
 on Dorothea Maria Bach (Eisenach, 1097) ; 
 now in the Ducal Librarj', Gotha ; Spitta, 
 i. 1.54, 171. 
 
 BACH, JOHANN BERNHARD [12], 
 born at Erfurt, Nov. 23, 1676, died at Ei- 
 senach, June 11, 1749. Second son of Jo- 
 hann ^gidius Bach [6]. He was organist 
 at the Kaufmanns-Kirche at Erfurt, and 
 afterwards at Magdeburg ; was called to 
 Eisenach in 1703 to succeed the great Jo- 
 hann Christoph [10] as organist at the St. 
 Georgen-Kirche and other churches. Be- 
 came also cembalist in the orchestra of 
 I Johann Wilhelm, Duke of Sachsen-Eise- 
 nach. He was one of the best organ com- 
 posers of his day. His style was much 
 like that of Pachelbel. Of his works there 
 still exist four suites for orchestra, a 
 few short pieces for harjisichord, several 
 arrangements of chorales for organ. Eight 
 of the latter are in the collection made by Jo- 
 hann Gottfried Walther of Weimar. Tliree 
 volumes of this are in the Royal Library at 
 Berlin, a fourth in the Royal Library in 
 KiJnigsberg, and a fifth in the possession 
 of Herr Frankenberger in Sondershausen. 
 Tlie orchestral suites are in the Royal Li- 
 brary in Berlin.- — Spitta, i. 24. 
 
 BACH, JOHANN CHRISTIAN [23], 
 
 called the Milanese or the English Bach, 
 
 born at Leipsic in 1735, died in London, 
 
 1782. Youngest son of Johann Sebastian, 
 
 I after whose death he went to Berlin to 
 
 ! study under his brother Philipp Emanuel ; 
 
 96
 
 BACH 
 
 but, being of a verj' convivial nature, he 
 soon tired of the strict discipline and went 
 in 1754 to Milan, 
 
 where he became 
 organist of the 
 cathedral, and 
 rapidly made him- 
 self popular with 
 the masses by 
 ministering to the 
 fashionable taste, 
 thus degrading 
 and wasting hia 
 extraordinary tal- 
 ent. To be able to devote himself entirely to 
 dramatic composition, he accepted a call to 
 London in 1763, and won abi'illiant, though 
 not a lasting success. Almost immediately 
 on his arrival, he was appointed music master 
 to the queen and royal family. His oj)eras 
 found great favour through their melody 
 and lively instrumentation, to which he 
 imparted a novel charm by the more fre- 
 quent use of wind instruments ; he was also 
 the first to abolish the frequent and tedious 
 da capo in the great arias. That he did not 
 lack the sense of the truly beautifid and 
 sublime, in spite of his frivolous turn of 
 mind, is proven by his few religious com- 
 positions and symphonies, characterized by 
 a touch of grandeur. By his elegant style 
 of comjjosition he vastly promoted the love 
 for pianoforte playing, and in his concertos 
 essentially amplified the technique of the in- 
 strument. Works — Oj>eras: Catoue, given 
 in Milan, 1758, London, 1764 ; Orione os- 
 sia Diana vendicata, Zanaide, London, 1763 ; 
 Berenice, pasticcio (with Hasse, Galuppi, 
 and Ferradini), ib., 1764 ; Adriano in Siria, 
 ib., 1764 ; Carattaco, ib., 1767 ; Olimpiade, 
 pasticcio, Vienna, 1769 ; Ezio, do., 1769 ; Si- 
 face, London, about 1771 ; Temistocle, Paris, 
 1772 ; Lucio Silla, ib., 1774 ; La clemenza 
 di Scipione, Breslau, about 1733 ; Amadis 
 des Gaules, Paris, 1779 ; Gioas, re de Giuda, 
 oratorio, King's Theatre, 1770. Cantatas : 
 Die Amerikanerin ; Rinnldo ed Armida ; 
 Amor vincitore ; Aurora ; Endimiono 
 
 (1772) ; The Litercession (1767) ; Salve Ee- 
 gina ; Magnificat, for two voices and orches- 
 tra ; Laudati pueri, for do.; Gloi'ia for four 
 voices and orchestra ; Te Deum, and other 
 church music ; 15 symphonies for eight 
 instruments ; Sj-mphonie concertante ; 18 
 concertos for pianoforte ; 6 quintets for 
 flute and violin ; 30 trios or sonatas for 
 pianoforte, violin, and bass ; 6 trios for vio- 
 lins ; 6 quartets for do.; 2 quintets for 
 2)ianoforte, flute, oboe, viola, and violon- 
 cello ; Quartet for pianoforte, two violins, 
 and bass ; 12 so- 
 natas for piano- /O y^ t) O 
 forte ; Sonata for ^ * ^ '/OCL..d^ „ 
 four hands ; do. ^ 
 for two piano- 
 
 fortes. — Allgem. d. Biogr., i. 747; Allgem. 
 Mus. Zeitg., viii. 811 ; Bitter, Carl Phil. 
 Em. Bach, etc., ii. 140 ; Burney, iv. 480, 
 486 ; Fctis ; Grove ; Mendel ; Schilling ; 
 Schubart, Ideeu zu ehier Aesthetik der Ton- 
 kuust, 201. 
 
 BACH, JOHANN CHRISTOPH [10], 
 born at Arnstadt, Dec. 8, 1642, died at Ei- 
 senach, March 31, 1703. The eldest son of 
 Heinrich Bach [4] ; studied under his fa- 
 ther. He was called in 1665 to Eisenach, 
 where he was appointed organist in several 
 churches, notably the St. Georgeukirche. 
 From 1()96 to his death he had free lodg- 
 ings in the mint, and was probably court 
 organist after Pachelbel's resignation in 
 1678. On the 23d Sunday after Trinity, 
 1667, he was married to Maria Elisabeth 
 Wedemaun, whose father was town clerk at 
 Eisenach. Johann Christoph was unques- 
 tionably the greatest of all the Bachs ex- 
 cejjting Johann Sebastian [15] ; he was not 
 only one of the best organists and greatest 
 contrapuntists of his daj', but one of the 
 most important composers of the whole 
 17th centui-y. None of his works were 
 published, and most of them have been 
 lost, but they were held in the highest 
 esteem by Sebastian Bach and his son 
 Philipp Emanuel, and the few choral com- 
 positions of his that have been preserved
 
 BACH 
 
 show him to have beeu the great spiritual 
 forerunner of Sebastian Bach, and perhaps 
 still more of Handel. Like most of the 
 family, he was wholly free from Italian in- 
 fluence, and in -vigour of inspiration and 
 perfection of form and style his works far 
 surpass those of his German contemporaries. 
 His more important works were : A sort of 
 oratorio, Der SLreit zwischen Michael und 
 dem Teufel (text from Eevelations, xii. 
 7-12), for double chorus, orchestra, and or- 
 gan. Sebastian had it performed at Leip- 
 sic, as Philipjj Emanuel did in Hamburg. 
 The score is the " Alt-Bachischen Archive," 
 now in the Berlin Library. Eight motets 
 are in the " Musica Sacra " of the Berlin 
 Dom-Chor, and others are in Naue's "Neun 
 motette . . . von Johann Christoph 
 und Johann Michael Bach " (Leipsic, Hof- 
 meister). A few unimportant organ and 
 harpsichord works stiU remain. — Sjsitta, i. 
 37, 4L 
 
 BACH, JOHANN CHRISTOPH [9], born 
 at Erfurt, Feb. 22, 1645, died at Arnstadt, 
 Aug. 25, 1693. Third son of Christoph 
 Bacli [3], and twin brother of J. Ambrosius 
 Bach [8]. After studying under his father, 
 he was made court musician at Arnstadt in 
 1G71, where he also assisted his uncle Hein- 
 rich Bach [-1] in the church music. In 1681 
 he was discharged, but was reinstated again 
 in 1682, and made Stadtpfeifer besides. 
 His principal instrument was the violin. — 
 Spitta, i. 154 
 
 BACH, JOHANN CHRISTOPH [13], 
 born at Erfurt, June 16, 1671, died at 
 Ohrdruff. Feb. 22, 1721. Eldest grown-up 
 son of J. Ambrosius Bach [8] and brother 
 of Sebastian Bach [15]. Studied from 1686 
 to 1689 under Pachelbel, and in the latter 
 j'ear took the position of organist at the 
 Thomaskii'che, but soon afterwards went to 
 Arnstadt to assist the old Heinrich Bach 
 [4]. In 1690 became organist of the Stadt- 
 kirche in Ohrdruff, where he remained 
 until his death. He was Sebastian Bach's 
 first clavier teacher, and was probably an 
 excellent organist. He was succeeded, af- 
 
 ter his death, by his second son, Johann 
 Bernard Bach.— Spitta, i. 171, 181. 
 
 BACH, (JOHANN CHRISTOPH) 
 FRIEDRICH [21], called the Biickeburg 
 Bach, born at Leipsic, June 29, 1732, died 
 at Buckeburg, Jan. 26, 1795. Ninth son 
 and pupil of Johann Sebastian ; studied 
 law at the University of Leipsic, but took 
 up music as a profession, and became Ka- 
 pellmeister to the count of Schaumburg- 
 Lippe at Buckebui-g, which he left only 
 once to visit London for a few mouths. 
 Although lacking the great talent of his 
 brothers, he was a worthj' disciple of his 
 father, whose character and kindne.ss of 
 heart he had also inherited. Works: Ino, 
 cantata for a voice, with 2 violins, viola, 
 and bass ; The Youth of Christ, biblical 
 tableau, for 4 voices, 2 violins, viola, basso 
 continuo, 2 flutes, and 2 horns ; The Res- 
 urrection of Lazarus, oratorio, for 4 voices 
 and orchestra ; Cantata for do. (1787) ; Can- 
 tata for Ascension, for 4 voices, 2 violins, 
 viola, and basso continuo ; 2 motets for 4 
 voices ; Symphony for 2 violins, viola, bass, 
 2 clarinets, bassoon, and 2 horns ; Pygma- 
 lion, theatrical cantata ; 2 concertos for 
 pianoforte and orchestra ; Trio for flute, 
 violin, and bass ; Trio for 2 vioUns and 
 bass ; Arias with orchestra ; 6 quartets for 
 flute and strings; 6 do. for violins; Sona- 
 tas ; Musikalisches Vielerley, a collection of 
 miscellaneous pieces ; Musikalische Neben- 
 stunden, do. ; Munter's geistliche Lieder, 
 etc. — Bittex-, Carl Phil. Em. Bach, etc. 
 (Berlin, 1868), ii. 131 ; Fetis ; Mendel. 
 
 BACH, JOHANN ERNST [18], born 
 at Eisenach, Sept. 1, 1722, died there, Jan. 
 28, 1777. Only son of Johann Bernhard 
 Bach [12], he entered the Thomasschule at 
 Leij^sic about 1735, and studied law at the 
 university there. In 1748 he became as- 
 sistant organist to his father, and succeeded 
 him after his death. In 1756 he was made 
 Kapellmeister at Weimar, but continued to 
 live at Eisenach. As a church composer he 
 was decidedly superior to most of his con- 
 temporaries, albeit he lived in the tran-
 
 BACH 
 
 sition period between Sebastian Bach and 
 Haydu, a period of general decadence in 
 vocal composition. A list of bis existing 
 choral works is given in Spitta, i. 849. 
 Some of his compositions for clavier are 
 published in Pauer's "Alte Claviermusik " 
 (Leipsic, B. Senff). The IMSS. of a Fan- 
 tasia and Fugue in A minor, and a Sonata 
 in A major, are in the Berlin Library. — 
 Spitta, i. S-IS. 
 
 BACH, JOHANN INIICHAEL [11], born 
 at Arnstadt, Aug. 9, 1048, died at Gehren, 
 May, 1694. Third son of Heinricb Bach 
 [4] and younger brother of the great 
 Johann Christoph Bach [10]. He was a 
 pupil and, later, an assistant of his fathei-'s. 
 In 16TS he was made organist in Gehren, 
 near Arnstadt. The house he lived in is 
 still standing. Besides his official duties 
 as organist, and his great activity as a 
 composer, he also devoted much time to 
 tlie manufacture of harpsichords, violins, 
 etc. His youngest daughter, Maria Bar- 
 bara Bach (born at Gehren, Oct. 20, 1684, 
 died at Cothen, July 7, 1720), was the first 
 wife of Sebastian Bach [15]. With the 
 exception of his brother, Johann Christoph, 
 Johann Michael was the greatest Bach of 
 his generation ; while the former shone 
 more especially in choral composition, the 
 instrumental works of the latter were nota- 
 bly fine. Yet a finer feeling for musical 
 form characterizes the elder brother. 
 
 BACH, J0H.4.NN SEBASTIAN 
 born at Eisenach, 
 probably March 
 21, baptized 
 March 23, 1685, 
 died at Leipsic, 
 July 28, 175 
 One of the great- 
 est masters of all 
 ages, son of Am- 
 b r o s i u s B a c h 
 
 (1645-95), from whom he received his 
 first instruction on the violin, and after 
 whose death he was taken in charge by his 
 elder brother Christoph at Ohrdruff. His 
 
 fine voice and musical education aided liim 
 in obtaining, in 1700, a position in the 
 choir of St. Michael's at Luneburgs where 
 the church library offered him rich treas- 
 ures for the study of the old as well as liv- 
 intr masters, from ^vhose works he chiefly 
 studied composition through his own ef- 
 forts. Georg Br.hm, the cantor at St. 
 John's, seems to have exerted a personal in- 
 fluence upon him, and the vicinity of Ham- 
 burg induced him to undertake various pe- 
 destrian trips, in order to hear the famous 
 organists Reiukeu and Vincenz Liibeck. 
 At Celle, which he visited frequently, he 
 became acquainted with French instrumen- 
 tal music, zealously cultivated at that court. 
 About Easter of 1703 he went to Weimgx 
 as violinist to Johann Ernst, brother of the 
 rei"-ning duke, and in the summer of the 
 same year was elected organist of the new 
 church at Arnstadt.- In the autumn of 
 1705 he visited Liibeck to make the ac- 
 quaintance of Buxtehude, and was so much 
 attracted by this famous master of the or- 
 gan that he did not return to his duties 
 until February, 1706. In the year following 
 he accepted a position as organist at Miihl- 
 hausen, and married his cousin, Maria Bar- 
 bara, daughter of Michael Bach ; in 1708 
 he was called to Weimar as court organist, 
 and, being chamber musician at the same 
 time, he was made Concertmeister in 1714. 
 His activity at Weimar was devoted princi- 
 pally to tlie organ and to church miisic, 
 and thence his fame as the first organist 
 of his time and as a composer began to 
 si^read. During the autumn vacation he 
 used to travel, and thus visited Halle in 
 1713 and 1716, Cassel (before 1714), Leip- 
 sic in 1714, and Dresden in 1717. At the 
 last place he found the much-admired 
 French player Marchand, who evaded 
 Bach's challenge for a musical contest by 
 taking himself off on the very morning of 
 the day agreed upon. In November of the 
 same year he was called by Prince Leopold 
 of Aniinlt to CiVtheju as Kapellmeister and 
 
 director of his chamber music ; and he de-
 
 BACH 
 
 voted himself there principaUy to instru- 
 lueutal music. The life at Cothen was in- 
 terrupted only by a few journeys ; to Carls- 
 bad, whither he had to accompany the 
 prince several times, to Leipsic in 1717, to 
 Halle in 1719, where he tried to make the 
 acquaintance of Haudel, who had, however, 
 left for England on the day of Bach's arri- 
 val. In July, 1720, his wife died suddenly, 
 while he was on his return from Carlsbad, 
 and in the autumn he went to Hamburg to 
 compete for the organist's position at the 
 Jacobikirche, but without success. In De- 
 cember, 1721, he was married again to 
 
 Birthplace of Johann Sebastian Bach. 
 
 Anna Magdalena Wilken, and in May, 1723, 
 accepted the call as cantor at the Thomas- 
 kirche in Leipsic, in which capacity he was 
 at the same time oi'ganist and director of 
 music at St. Thomas and St. Nicholas. On 
 May 30, 1723, he executed his first church 
 service at Leipsic Subsequently he re- 
 ceived the honorary appointment of Kapell- 
 meister to the Duke of Weissenfels, and in 
 1736, upon his special wish, that of court 
 composer to the King of Poland and Elec- 
 tor of Saxony. In his position at Leipsic 
 his creative power was naturally turned 
 again towards religious music, and there 
 he composed the greater portion of his sa- 
 
 cred cantatas, of which he wrote altogether 
 five sets for every Sunday and feast-day in 
 the year ; only 226 of these are known. 
 His outward life was now simple and un- 
 eventful ; he often visited Dresden, espe- 
 cially since his son Friedemann had become 
 organist there, and because he liked to at- 
 tend the Italian oj)era, which flourished un- 
 der Hasse. In 1747 he celebrated his lat- 
 est triumph ; Frederick the Great, whose 
 service Bach's son Philipp Emanuel had en- 
 tered in 1740, had often expressed the 
 ardent desire to see and hear the old mas- 
 ter iu his capital, and Bach resolved, there- 
 fore, to visit Potsdam, ac- 
 companied by his son 
 Friedemann. The king 
 received him with the ut- 
 most courtesj", and ex- 
 pressed the highest ad- 
 miration of the master's 
 art in the most flattering 
 terms ; a fugue theme 
 which he gave him. Bach 
 worked up at home in the 
 most artistic forms, and 
 dedicated to the king un- 
 der the title Das musilc- 
 alische Opfer. For some 
 time his eyesight had 
 been failing, and an op- 
 eration which he under- 
 went soon after his return 
 to Leipsic resulted in total blindness; af- 
 ter suifering also otherwise for six mouths, 
 he suddenly recovered his eyesight once 
 more, but ten days later breathed his last. 
 Twenty children had been born to him, 
 seven by his first, and thirteen 1)y his sec- 
 ond wife ; of these, five sons and four 
 daughters survived him. Bach is one of 
 those great masters who cannot be sur- 
 passed, because in them is embodied, so to 
 speak, the musical knowledge and senti- 
 ment of an entire epoch ; his especial sig- 
 nificance and unexampled greatness lie in 
 the fact that the styles of two different art- 
 epochs have, in him and through him, at- 
 
 lUU
 
 BACH 
 
 f^- f^, f^ f^^ ff ff 
 
 ^^^^y 
 
 bV>r ' ' nn ^ ^^^^^ 
 
 i 
 
 ^^ 
 
 ^^^^^^ 
 
 ^ ■ fj ^j" j 
 
 Facsimile of the MS. of Johann Sebastian Bach; from the rst Prelude in the Wohltempen.te Clavier.
 
 BACH 
 
 tained their liighest development ; like a ', lislied yearly since, witli a few intermissions, 
 
 gigantic landmark be stands between them, 
 towering above either in mighty grandeur. 
 (With equal right he belongs to the preced- 
 ' iug period of polyphonic music, of contra- 
 puntal, imitative style, and to that of har- 
 monic music, of pronounced tonality. He 
 lived in a period of transition, when the old 
 style had not as yet outlived itself, while 
 the new was in the first stages of its devel- 
 opment, and bore the stamp of immaturit}-. 
 Bach's genius combined the peculiarities of 
 both styles in a way which may be consid- 
 ered as worthy of attainment bj' a period 
 still lying before us ; the growing obsolete 
 of his music is therefore out of the ques- 
 tion, as at best only some accessory parts, 
 like cadences, embellishments, and the like, 
 in which Bach is entirely a child of his 
 times, remind us of the past. But his 
 melody is so sound and inexhaustible, his 
 rhythm so jiolymorphous and full of pulsa- 
 tion, his harmony so select, and withal so 
 clear, that his works are the object not only 
 of admiration but of the most zealous study 
 and emulation on the part of musicians, and 
 will probably continue to be so for ages 
 to come. Besides Handel, Bach is the last 
 great master of the reigning church music, 
 and the first great prophet of that domin- 
 ion of German instrumental music which 
 characterizes the second half of the 18th 
 century. Works : A nearly complete cata- 
 logue of Bach's works is given in Mitzler's 
 " Musikalische Bibliothek " (1754). Only a 
 few of the immense number were printed 
 during his lifetime. Others were published 
 after his death, but it was not until the per- 
 formance by Mendelssohn of the Matthew 
 Passion in Berlin in 1829, a century after 
 its first f)roduction, that the musical world 
 became conscious of the true value of the 
 master's compositions. Editions then be- 
 gan to multiply, and in 1850, the centenary 
 of his death, was founded at Leipsic the 
 Bach-Gesellschaft, for the publication of his 
 entire works. The first volume was issued 
 in 1851, and a new volume has been puW 
 
 ' in 
 
 to the present time. The following sum- 
 mary of the contents of the several volumes 
 shows the published works of the composer : 
 
 Year I. (1851). 10 Kirchencantaten (vol. 
 i) : 1. Wie schiJn leuchtet ; 2. Ach Gott, 
 vom Himmel ; 3. Ach Gott, wie manches ; 
 4. Christ lag in Todesbanden ; 5. Wo soil 
 ich flieheu hiu ; 6. Bleib' bei uns ; 7. Christ 
 unser Herr ; 8. Liebster Gott, wann werd' 
 ich sterben ? ; 9. Es ist das Heil ; 10. Meine 
 Seel' erhebt. 
 
 Tear H. (1852). 10 Kirchencantaten 
 (vol ii.) : 11. Lobet Gott ; 12. Weinen Kla- 
 gen ; 13. Meine Seufzer ; 14. Wiir Gott nicht 
 mit uns ; 15. Denn du wirst meine Seele ; 
 16. Herr Gott dich loben wir ; 17. Wer 
 Dank opfert ; 18. Gleieh wie der Regen ; 
 19. Es erhul) sich ein Streit ; 20. O Ewig- 
 keit, du Donnerwort. 
 
 Year IH. (1853). Clavierwerke (vol. i.) : 
 15 Tnveitlions and 15 Sijmphonies. Klavier- 
 iibung : Part 1, 6 partitas ; Part 2, A con- 
 certo and a partita ; Part 3, Choral-preludes 
 and 4 duets ; Part 4, Air, with thirty varia- 
 tions ; Toccata in F-sharp minor ; Toccata 
 in C minor ; Fugue in A minor. 
 
 Year IV. (1854). Passion nach Matthaus. 
 
 Year V. (1855). 10 Kirchencantaten (vol. 
 iii.) : 21. Ich hatte viel Bekiiminerniss ; 22. 
 Jesus nahm zu sich ; 23. Du wahrer Gott ; 
 24. Ein ungefilrbt Gemiithe ; 25. Es i.st 
 uichts Gesundes ; 26. Ach wie iliichtig ; 27. 
 Wer weiss, wie nahe mir ; 28. Gottlob ! nun 
 treht ; 29. Wir dauken dir, Gott ; 30. Preue 
 dich, erluste Schaar. WeiknachtsOvaXoviaia, 
 in four parts. 
 
 Year VI. (1856). Mass in B minor. 
 
 Year VII. (1857). 10 Kirchencantaten 
 (vol. iv.) : 31. Der Himmel lacht ; 32. Lieb- 
 ster Jesu ; 33. Alleiu zu dir, Herr ; 34. O 
 ewiges Feuer ; 35. Geist und Seele ; 36. 
 Schwingt freudig euch ; 37. We.r da glau- 
 bet ; 38. Aus tiefer Noth ; 39. Brich dem 
 Hungrigen ; 40. Dazu ist erschienen. 
 
 Year Vni. (1858). 4 Masses, in F, A, 
 G minor, and G. 
 
 Year IX. (1859). Kammermusik (vol. i.) : 
 
 102
 
 BACH 
 
 3 sonatas for clavier and flute ; Suite for 
 clavier and violin ; (i sonatas for do. ; '? so- 
 natas for clavier and viola di ganiba ; sonata 
 for fiute, violin, and figured bass ; sonata 
 for two violins and do. 
 
 Year X. (18(30). 10 Kirchencantaten 
 (vol. v.) : -11. Jesu, nun sei gepreiset ; 42. 
 Am Abend aber desselbigen ; 43. Gotl fahret 
 auf ; 4-4. Sie werdeu eucli ; 45. Es ist dir 
 gesagt ; 46. Scbauet doch und sebet ; 47. 
 Wer sicb selbst erbOhet ; 48. Icb elender 
 Menscli ; 49. Icb geh' und eucbe ; 50. Nun 
 ist das Heil. 
 
 Year XI. (1861). Magnificat in D. 4 
 Sanctus, in C, D, D minor, and G. Kam- 
 mermusik (vocal) : Der Htreit zwiscben Pbce- 
 bus und Pan ; Weichet nur, betrubte Scbat- 
 ten ; Amove traditore; Contentment; Der 
 ZiifriedcngealelUe J^olus. 
 
 Year XII. (1862). Passion music from 
 St. Jobn. 10 Kircbeucautaten (vol. vi.) : 51. 
 Jaucbzet Gott ; 52. Falscbe Welt ; 53. 
 Scblage docb ; 54. Widerstebe docb ; 55. Icb 
 armer Meuscb ; 56. Icb will deu Kreuzstab ; 
 57. Selig ist der Maun ; 58. Acb Gott, wie 
 manches (2d version) ; 59. Wer micb liebet ; 
 60. O Ewigkeit (2d version). 
 
 Year XIII. (1863). Trauungx Cantaten : 
 Dem Gerecbten muss das Licbt ; Der Herr 
 denket an uns ; Gott ist unsere Zuversicbt ; 
 3 chorales. Clavier werke (vol. ii.) : 6 Freiu-h 
 suites ; 6 English suites. Trauer-Ode ou 
 tbe Electress of Saxonj'. 
 
 Year XIV. (1864). Clavierwerke (vol. 
 iii.) : Das icohlleinperi.rle Clavier. 
 
 Year XV. (1865). Organ works : 6 Sona- 
 tas ; 18 Preludes and Fugues ; 3 Toccatas ; 
 Passacaglia. 
 
 Year XVI. (1866). 10 Kircbencantaten 
 (vol. vii.) : 61. Nun komm, der Heideu ; 62. 
 Id. (2d version) ; 63. Cbristen, iitzet diesen 
 Tag ; 64. Sebet, welcb' eine Liebe ; 65. Sie 
 werden aus »Saba ; 66. Erfreut eucb, ibr 
 Herzeu ; 67. Halt' im Gediicbtniss ; 68. 
 Also hat Gott die Welt ; 69. Lobe den 
 Herrn ; 70. Wachet, betet, seid bereit. 
 
 Year XVII. (1867). Kammermusik (vol. 
 . ii.) : Concertos for clavier and orchestra, in 
 
 D minor, E, D, A, F minor, F, and G mi- 
 nor ; Concerto for clavier, flute, and violin, 
 with orchestra. 
 
 Year XVIII. (1868). 10 Kircbencantaten 
 (vol. viii.) : 71. Gott ist mein Kunig ; 72. 
 AUes nur nacb Gottes Willen ; 73. Herr, 
 wie du willst ; 74. Wer mich liebet (2d ver- 
 sion) ; 75. Die Eleuden sollen essen ; 76. 
 Die Himmel erzilhlen ; 77. Du sollst Gott ; 
 78. Jesu, der du meine Seele ; 79. Gott der 
 Herr ist Sonn' ; 80. Ei.n feste Burg. 
 
 Yeai- XrX. (1869). Kammermusik (voL 
 iii.) : 6 concertos for various instruments, 
 with orchestra. 
 
 Year XX. (1870). 10 Kircbencantaten 
 (vol. ix.) : 81. Jesus scbliift ; 82. Icb babe 
 genug ; 83. Erfreute Zeit ; 84. Icb bin ver- 
 gniigt ; 85. Icb bin ein guter Hirt ; 86. 
 Wabrlich, ich sage eucb ; 87. Bisher babt 
 ibr nichts ; 88. Siebe, icb will viel Fischer ; 
 89. Was soil ich aus dir machen ; 90. Es 
 reifet eucb. 3 Dramas for various festivities. 
 
 Year XXI. (1871). Kammermusik (vols, 
 iv. and v.) : 2 concertos for violin and or- 
 chestra ; 1 do. for two violins and orches- 
 tra ; 1 symphony movement for violin ; 3 
 concertos for two claviers and orchestra. 
 Ostec-Oratorium. 
 
 Year XXII. (1872). 10 Kirchencantaten 
 (vol. X.) : 91. Gelobet seist du ; 92. Ich bab' 
 in Gottes ; 93. Wer nur den lieben Gott ; 
 94. Was frag' ich ; 95. Christus dor ist 
 mein Leben ; 96. Herr Christ, der ein' ge ; 
 97. In alien meinen Tbateu ; 98. Was Gott 
 tbut, das ; 99. Do. (2d version) ; 100. Do. 
 (3d version). 
 
 Year XXIH. (1873). 10 Kirchencantaten 
 (vol. xi.) : 101. Nimm von uns, Herr ; 102. 
 Herr, deine Augen sehen ; 103. Ibr werdet 
 weinen und beulen ; 104. Du Hirte Israel ; 
 105. Herr, gehe nicht ins Gericht ; 106. 
 Gottes Zeit ist die allerbeste Zeit ; 107. Was 
 willst du dicb betriiben ; 108. Es ist eucb 
 gut ; 109. Icb glaube, lieber Herr ; 110. 
 Unser ^lund sei voll Lachens. 
 
 Year XXIV. (1874). 10 Kirchencantaten 
 (vol. xii.) : 111. Was mein Gott will ; 112. 
 Der Herr ist mein getreuer Hirt ; 113. Herr
 
 BACH 
 
 Jesu Chiibt, du Luclistes Gut ; 114. Ach, 
 lieben Christen ; 115. Mache dicli meiu 
 Geist bereit ; 116. Du FrieJeusfiirst, Herr 
 Jesu Christ ; 117. Sei Lob und Ehr ; 118. 
 O Jesu Christ mein's Lebeu's Licht ; 119. 
 Preise Jerusalem, den Herru ; 120. Gott, 
 man lobet dich. 
 
 Year XXV. (1875). Die Kunst der Fuge ; 
 Orgelbilchlein ; Sechs Chorale (known as 
 the " Schiibler'scheu ") ; Achtzehn Chorale 
 (known as " diegrosseu mitdem Scbwanen- 
 liede "). 
 
 Year XXVI. (1876). 10 Kircheucantaten 
 (vol. xiii.) : 121. Christum wir solleu loben 
 schon ; 122. Das neugebor'ne Kindelein ; 
 123. Liebster Immanuel, Herzogder From- 
 men ; 124. Meinen Jesum lass' ich nicht ; 
 
 125. Mit Fried' und Freud' ich fahr' dahin ; 
 
 126. Erhalt' uns, Herr, luit deiiiem Wort ; 
 
 127. Herr Jesu Christ, wahr'r Mensch und 
 Gott ; 128. Auf Christi Himmelfahrt allein ; 
 129. Gelobet sei der Herr, meiu Gott ; 130. 
 Herr Gott, dich loben alle wir. 
 
 Year XXVH. (1877). 6 Sonaten fiii- vio- 
 line ; 6 sonaten filr violoncell. 
 
 YearXXVin. (1878). 10 Kirchencantaten 
 (vol. xiv.) : 131. Aus der Tiefe rufeich, Herr, 
 zu dir ; 132. Bereitet die Wege, bereitet 
 die Bahn ; 133. Ich freue mich in dir ; 134. 
 Eiu Herz, das seinen Jesum lebeud weiss ; 
 135. Ach Herr, mich armen Siinder ; 136. 
 Erforsche mich, Gott, und erfahre mein 
 Herz ; 137. Lobe den Herren, den machti- 
 geu Kijnig der Ehren ; 138. Warum be- 
 triibst du dich, mein Herz ; 139. Wohl 
 dem, der sich auf seiuen Gott ; 140. Wachet 
 auf, ruft uns die Stimme. 
 
 Year XXIX. (1879). Kammermusik fiir 
 Gesang : Cantaten ; Was mir behagt, is uur 
 die muutre Jagd ; Non sa che sia dolore ; O 
 holder Tag, erwiinschte Zeit (Hochzeits- 
 Cantate) ; Hochsterwiinsehtes Freudenfest ; 
 Schweigt stille, plaudert nicht ; Mer hahn 
 en neue Oberkeet ; Mit Gnaden bekrone 
 der Himmel die Zeiten (Gratulations-Can- 
 tate) ; O, angenehme Melodei ; Instrumen- 
 talsatz ffir Violine, Hoboe und Continuo. 
 
 Year XXX. (1880). 10 Kirchencantaten 
 
 (vol. XV.) : 141. Das ist je gewisslich wahr ; 
 142. Uns ist ein Kind geboren ; 143. Lobe 
 den Herrn, meine Seele ; 144. Nimm was 
 dein ist, und gehe ; 145. So do mit deinem 
 Munde bekennest Jesum ; 146. Wir miissen 
 durch viel Triibsal in das Keich Gottes ein- 
 gehen ; 147. Herz und Mund und That und 
 Leben ; 148. Briuget dem Herru Ehre seines 
 Namens ; 149. Man singt mit Freuden vom 
 Sieg ; 150. Nach dir, Herr, verlanget mich. 
 
 Year XXXI. (1881). Werke fiir Orches- 
 ter : Ouverturen in C, B minor, D, D ; Sin- 
 fonia in F. 
 
 Year XXXH. (1882). 10 Kirchencantaten 
 (vol. xvi.) : 151. Siisser Trost, mein Jesus 
 kommt ; 152. Tritt auf die Glaubensbahn ; 
 153. Schau', lieber Gott, wie meine Feind' ; 
 1.54. Mein liebster Jesus ist verloren ; 155. 
 Mein Gott, wie lang', ach lauge ; 156. Ich 
 steh' mit eiuem Fuss im Grabe ; 157. Ich 
 lasse dich nicht, du segnest mich denn ; 
 158. Der Friede sei mit dir ; 159. Sehet, 
 wir geli'n hinauf gen Jerusalem ; 160. Ich 
 weiss, dass mein Erliiser lebt. 
 
 Year XXXIH. (1883). 10 Kirchencanta- 
 ten (vol. xvii.): 161. Komm, du siisse To- 
 desstuude ; 162. Ach, ich sehe, jetzt da ich 
 zur Hochzeit gehe ; 163. Xur Jedem das 
 Seine ; 164. Ihr, die ihr euch von Christo 
 nennet ; 165. O heil'ges Geist- und Wass- 
 erbad ; 166. Wo gehest du bin ; 167. Ihr 
 Menscheu, riihmet Gottes Liebe ; 168. Thue 
 Rechuung ! Donnerwort ; 169. Gott soil 
 allein mein Herze haben ; 170. Vergniigte 
 liuh', beliebte Seelenlust. 
 
 Year XXXJV. (1884). Kammermusik fiir 
 Gesang : Serenata, Durehlaucht'ster Leo- 
 pold ; Cantata, Schwiugt freudig euch em- 
 por (Die Freude reget sich) ; Dramma per 
 musica, Lasst uns sorgen, lasst uns wachen ; 
 Do. Tonet, ihr Pauken ! Erschallet, Trora- 
 peten ; Cantata gratulatoria, Preise dein 
 Gliicke, gesegnetes Sachsen ; Dramma per 
 musica, Angenehmes Wiederau ; Do. Auf, 
 schmetterndeTiine dermuntern Trompeten. 
 — AUgem. d. Biogr., i. 729; Allgem. mus. 
 Zeitg., i.-xlviii. ; Bitter, J. S. Bach (Berlin, 
 1865) ; Forkel, Ueber Bach's Leben, Kunst 
 
 1U4
 
 I-ips Bach ii), b. (t). d. 1620. 
 
 Wendel Bach, farmer!?), 
 b. 1619 d. 1682. 
 
 Jakob Bach, musician 
 cantor in Steinach and 
 K-uhla. b. x6ss, d. 1718 
 
 nn Ludwie Bach, 
 :antor and music 
 rinMeiningen.b. 
 
 »74r. 
 
 Nicolaus Ephraim 
 Bach, court musician 
 at Gandersheim. 
 
 atHalle, b. 1703. d. 1771. ^ ' 
 
 Samuel Anton Bach, 
 court organist at Mein- 
 ingen, b. 1713. d. 1781. 
 
 Gottlieb Friedrich 
 Bach, court organist 
 at Meiningen, b, 1714, 
 d. 1785. I 
 
 Johann Philipp Each 
 court organist at Mein- 
 mgen, b. 1751, d. 1846. 
 
 Johanii Christian Bach 
 music teacher at Halle, 
 the "Clavier-Bach," b. 
 1743. d, 1814.
 
 GENEALOGICAL TABLE OF THE BACH FAMILY. 
 
 ^ 
 
 Johann Cbilitiaii 
 ncUt id Erfuit. b 
 
 Johann bacb, muli- 
 ciaD. oidnt^ in £^ 
 furt, b. itei. d. 167^ 
 
 [«I I 
 
 JohaiiD A<eidiui 
 
 Bnch, miufc dirEctor 
 
 and oisanitl in El- 
 
 futl. b. l&i;. d- mr- 
 
 J,l. 
 
 Bacb. rioU da 
 gamba player, b. 
 .6SJ. d. Jtaa. 
 
 Gcont Chiliioph Bimh, 
 
 ;ali«na Jakob BacIi, lohann Chriitoph Bach. Johann Derahard Jchann Chrittoph 
 
 ' ' ~ "' ~ cAiitor nnd orjranlsl fn Bdch, coniuo&er, 01- Bach.muikdlreclor, 
 
 Unier-Zininicrn ani) C.eh- c^nlii at Eifuit. b. b ttSi d.(tl. 
 
 tn. b. iftjj. d, im. 1&J6, d. 1J40. 
 
 Hans Bach, of Wechmar, b. tjM (t). 
 
 e cilhara, b. is9>-Ai, d. 1G19, 
 
 Veil Bach, anat«ur< 
 
 II, b 15S0IT), d. i»36. 
 
 Dph Bach 
 
 Johtuin Ambroiiui 
 Bach, violinlil and 
 compwer, b. iCits d. 
 
 Bacli. loirn ■ mu^- 
 cian m Schveinfun, 
 
 I Chriiloph 
 1671, d 
 
 Johann GOniher Bach, 
 t^wi xHiecr tn Eifun. b. 
 <N3. d. (Fj. 
 
 Johnnii lirntl B<ich. 
 conipotet and oi^an- 
 itt, b. tj3% iL 1J77, 
 
 r 
 
 Johann l^r«nz Bach. Johsnn Efldt Bach, 
 
 mmposar, orxnniit at cantor In Sch-««1nfuit, 
 Lahan, b. i6k, d. ■7;> b. tjos, d uss- 
 
 Tobias h'fitdrkh 
 Bach, canlnr in 
 Unmdt. b ib}s. 
 
 Johnnii Bern hard 
 Bach, oreaniil la 
 ObrtruB, b. 1700. 
 
 Johann Heinrieh 
 
 lohann Jacob Bach. 
 'KuitHpfeircr." conn 
 miitician nl Slock- 
 holm, b. i6B>. il. 1733. 
 
 ni' 
 
 ^. 
 
 Bach, violinist, courl 
 musician at A nutadi, 
 b. it«s. d. 1653. 
 
 Johann Cliiiitoph 
 
 Johann Michael Bac-h 
 coRipoKr, oncanlsi. and 
 intlrument bulldct at 
 Cehien. b. ifi^S. d. iCw 
 
 t.itn lUrh Hj. b. (I), d. iteo. 
 
 ITendel Racti, farmeilt). 
 
 JahohBach, muiician, 
 cantor in Slelnach and 
 Ruhia b i<^ d. If i& 
 
 Johann Ludwic Dacli, Sicol. 
 
 couft cnntor and music Bach.ci 
 dlref(oriaMelnine«n,b at Cani 
 
 Johnnn Umsl Itach, 
 en. h.i6»i, d. 1739. 
 
 Johann Chrldoph 
 Kculi (I), t. lOPo, d. 
 
 ^JohannNikl 
 vemiy oreani' 
 
 Johinn Christoph Johan 
 
 . i6jt. MQhIhauien. b 1(^4 
 
 ('pi I 
 Wilhclm Friedemann Bach. 
 
 Carl Philipp Hmanuel Bnch, 
 the " Hamburg" and " Berlin- 
 Bach " composei and pianist, 
 
 Johnnn Andreas 
 OhrdnitrSj 171J 
 
 Johnnn Chrisloph 1-riedrlch 
 Bach, the " BDc1cebuii['Bach," 
 composer nntl Kapcllnieitler, 
 b i7It.<l.i;95'| 
 
 (»U 
 Wilhelm tnedtich Emu 
 Bach, comjMiei, pianist 
 and Tiollnul, b. liso. d. 
 
 Samuel Anion Ddch, 
 COOrt organist nl Miln^ 
 iifSD, b i;i3. iL i;<ii. 
 
 It Halle, b 1701.1]. ini- 
 
 Bach, court ornanltt 
 d. .tSv T"' 
 Johann rhilipp Bacb, 
 instiai b i;ii, d. liti 
 
 Johann ChfUMan Dadi. 
 music IBAChor at Halle. 
 the - Clavier Bach," b 
 i-«. d 18(4. 
 
 ^ 
 
 • 
 
 c
 
 BACH 
 
 uud Kunstwerke (Leipsic, 1802) ; Hiller, 
 Lebensbesclireibuugen, etc. (ib., 1784) ;Hil- 
 
 genfeld, Bach's Leben, Wirken und Werke 
 (ib., 1850); Schauer, do. (ib., 1850) ; Poole, 
 Seb. Bach (Loudon, 1882) ; Mizler's mu- 
 sikalische BibHotliek (1754), iv. 1 ; Spitta, 
 J. S. Bach (Leipsic, 1873^80); do. (Eng- 
 lish ed., London, 1884-85). 
 
 BACH, (WILHELM) FRIEDEjVLi.NN 
 [19], called the 
 Halle Bach, born 
 at Weimar, Nov. 
 22, 1710, died in 
 Berlin, July 1, 
 1784. Eldest son 
 and pupil of Jo- 
 hann Sebastian, 
 whose favourite 
 he was, and, un- 
 der whose guid- 
 ance he had acquired a remarkable profi- 
 ciency on the pianoforte at the age of twelve. 
 When fifteen he studied the violin under 
 Graun, then at Merseburg. In 1733 he be- 
 came organist of the Sophienkirche in Dres- 
 den, andin 1747 of theMarienkirche atHalle. 
 There he gi-adually gave himself up to a dis- 
 sipated mode of life, which led to his resig- 
 nation in 1764 ; he then lived, without any 
 regular occupation, at Leipsic, Brunswick, 
 Gottingen, and from 1774 in Berlin, where he 
 deteriorated more and more, and finally died 
 in utter distress. He was the most gifted 
 and learned of Bach's children, and, accord- 
 ing to his brother Emanuel's testimony, the 
 only one who might have been able to re- 
 place their great father. Works — Vocal : 
 Cantata on the Pence of Hubertsburg (1763) ; 
 Pentecost Cantata (1746) ; Cantata for Ad- 
 vent (1749) ; do. for birthday of Frederick 
 
 the Great ; Christmas Cantata ; 17 other 
 cantatas and arias for special holydays ; 
 Kyrie and Gloria ; Pentecost music ; Amen 
 and Hallelujah ; 3 motets. Instrumental : 
 Organ concerto for 2 pianofortes ; Sonata 
 for do. ; 10 fugues ; 12 polonaises for do. ; 
 
 10 concertos for do., with quartet, and other 
 accompaniment ; 12 sonatas for pianoforte ; 
 
 11 fantasias for do. ; 1 gique ; 1 6tude ; 1 
 suite ; Trio for 2 flutes and bass ; 2 trios 
 for oboe, bassoon, and bass ; Trio for vio- 
 lins and cembalo obligato ; 4 duets for 
 flutes ; Allabreve for do. ; Ricercata for 
 quartet and bass ; Symphony for 2 flutes 
 and quartet ; Sextet for 2 horns, clarinet, 
 violin, viola, and bass ; Divertimento for 
 pianoforte ; about 30 polonaises and several 
 
 minuets for do. ; Duet for 2 pianofortes ; 
 Allemande for do. ; Presto for do. — AUgem. 
 d. Biogr.. i. 743 ; Bitter, C. P. E. Bach, etc., 
 ii. 150 ; Fctis ; Mendel ; Schilling. 
 
 BACH, WILHELM (FRIEDRICH 
 ERNST) [22], born at Biickeburg, May 27, 
 1759, died in Berlin, Dec. 25, 1845. ' The 
 last male descendant of Johann Sebastian 
 Bach, son and pupil of the Biickeburg Bach, 
 also pupil of his uncle Johann Christian in 
 London, where he lived, until the latter's 
 death, as an excellent jsifinoforte and organ 
 player and esteemed teacher ; he then went 
 to Paris, where he gave concerts, and settled 
 at Minden, whence he was called to Berlin 
 in 1792, to become pianist to Queen Fried- 
 erike Louise, and afterwai'ds to Queen 
 Louise. He was the teacher of Frederick 
 William III. and his brothers. Of his com- 
 positions, in the style of the old school, and 
 consisting of pianoforte and instrumental 
 works, cantatas, and songs, only a few have 
 been printed.— Bitter, C. P. E. Bach, etc., 
 ii. 139 ; Ledebur, Tonkilnstl. Lex. Berlins 
 (1861). 
 
 BACH, AUGUST WTLHELM, born in 
 Berlin, Oct. 4, 1796, died there, April 15, 
 
 105
 
 BACH 
 
 1869. Organist, son and pupil of Gottfried 
 Bach, who was organist at Trinity Church, 
 afterwards pupil of Zelter in counterpoint 
 and fugue, of L. Berger on the pianoforte, 
 and of C. W. Henuing on the violin. He 
 was organist at St. Gertrude's (1814), and 
 St. Mary's (1816), became professor at the 
 Institute for church music in 1822, and 
 succeeded Zelter as its director in 1832. 
 He composed church and organ music, 
 besides some jsianoforte pieces and songs. — 
 Mendel. 
 
 BACH, OTTO, born in Vienna. Feb. 9, 
 1833, still living there, 1888. Dramatic 
 composer, pupil of Sechter in Vienna, of 
 Marx in Berlin, and of Hauj)tmann in Lei})- 
 sic ; was at first Kapellmeister of the theatre 
 at Augsburg (1866), and in 1868 was called 
 to Salzburg as director of the Mozarteum 
 and Kapellmeister of the cathedral. Since 
 1880, Kapellmeister of the Votivkirche in 
 Vienna. Works — Operas : Sardanapal, three 
 acts, about 1860 ; Die Liebesprobe, two acts, 
 represented at Augsburg, April 1, 1867 ; 
 Die Argonauten, 1870 ; Lenore, three acts, 
 Gotha, Dec. 25, 1874 ; Medea ; 4 sympho- 
 nies ; Electra, overture ; Der Blumen Rache, 
 ballad for chorus and orchestra ; Requiem ; 
 Masses, choruses, chamber music. — Rie- 
 mann. 
 
 BACHE, FRANCIS EDWARD, born in 
 Birmingham, England, Sept. 14, 1833, died 
 there, Aug. 24, 1858. Pianist, pupil on the 
 violin at Birmingham of Alfred Mellon ; 
 went to London in 1849 to studj' under 
 Sterndale Bennett, and to Leipsic in 1853 
 to study with Hauptmann and Plaidv-, tak- 
 ing also organ lessons at Dresden in 1854 
 from Schneider. Illness took him in 1855 
 to Algiers, whence he went to Leipsic, 
 Rome, and Vienna, and returned to England 
 in 1857. His ability was great— far beyond 
 his physical strength. Works : Which is 
 Which?, opera, 1851 ; Riibezahl, opera, 1853 ; 
 4 mazurkas, op. 13 ; Souvenirs dTtalie, op. 
 19 ; Andante and rondo polonaise for piano- 
 forte and orchestra ; trio for pianoforte and 
 strings, op. 25 ; Romance for pianoforte and i 
 
 violin ; 6 songs, op. 16 ; Barcarola Vene- 
 ziana ; Concerto in E for pianoforte and or- 
 chestra. Walter Bache (born in Birming- 
 ham, June 19, 1842), his brother, is a pianist 
 in Loudon, and the acknowledged exponent 
 in England of Liszt's music. — Grove ; Brown. 
 
 bAche von gesalznen zahren, 
 
 tenor aria in F minor, with accompaniment 
 of strings complete, fagotto and continuo, in 
 Johann Sebastian Bach's cantata, Ich hatte 
 viel Bekiimmerniss. 
 
 BACHMANN, GOTTLOB, born at Born- 
 itz. Saxony, March 28, 1763, died at Zeitz, 
 April 10, 1840. Organist, pupil of Freeh at 
 Zeitz, for pianoforte and harmony ; went in 
 1785 to Leipsic and studied counterpoint, 
 and in 1790 to Dresden, where Naumann 
 became his master in composition. Organ- 
 ist at Zeitz in 1791. Works : Phaedou und 
 Naide, opera, given in Dresden, about 1790 ; 
 Don Silvio de Rosalva, do., Brunswick, 
 
 1797 ; Orpheus und Eurydice, do., ib., 
 
 1798 ; Cantate auf den Tod des Orpheus, 
 ib., 1799 ; Lieder und Arien (Halle, 1795) ; 
 Das Elysium, ballad (Vienna, Riedt) ; Hero 
 und Leander, do. (Offenbach, Andre, 1798) ; 
 12 songs, op. 6 (ib., 1799) ; Des Miid- 
 chens Klage (Aug.sburg, 1799) ; Leonhard 
 und Blondiue, ballad (Leipsic, Breitkopf & 
 Hiirtel) ; Leonore, do. (Vienna, Riedt) ; 
 Arion, do. (Bonn, Simrock) ; Die Biirg- 
 schaft, do. (ib.); Die Klage der Ceres (ib.); 
 Die Schlacht (ib.) ; Ballads of Goethe (Leip- 
 sic, Kiihnel) ; 12 songs, op. 22 (Vienna, 
 Eder) ; 6 do., op. 25 (ib., Riedt) ; 6 German 
 odes, op. 33 (ib.) ; 6 songs, op. 45 (Berlin, 
 Dunker) ; 6 do., op. 51 (Leipsic, Hoffmeis- 
 ter) ; 6 do., op. 59 (Worms, Kreitner) ; 
 Symphony for orchestra, op. 2 (Oflfenbach, 
 Andre) ; 2 do., op. 9 and 10 (Brunswick, 
 Spehr) ; 2 quai'tets for 2 violins, viola, and 
 violoncello, op. 3 (Offenbach, Andre) ; 2 do., 
 op. 5 (ib.) ; 3 do., op. 7 (Vienna, Eder) ; 2 
 do., op. 8 (Brunswick, Spehr) ; 1 do., op. 32 
 (Leipsic, Breitkopf & Hiirtel) ; do., op. 57 
 (Worms, Kreitner) ; do., dedicated to Haydn 
 (Augsburg, Gombart) ; Quintet for jnano- 
 forte, flute, violin, viola, and violoncello, op. 
 
 106
 
 BACH MANN 
 
 42 (Vienna, Eder) ; 2 trios for pianoforte, 
 violin, and violoncello (Brunswick, Spehr) ; 
 Sonata for pianoforte and violin obligato, 
 op. 4 (Offenbach, Andre) ; do., op. 23 (Vi- 
 enna, Eder) ; do., op. 24 (ib.) ; Sonata for 
 pianoforte for four hands, op. 41 (Bonn, 
 Simrock) ; do. for pianoforte, op. 21 (Leip- 
 sic, Breitkopf & Hiirtel) ; do., op. 3G (Vi- 
 enna, Riedt) ; 12 dances and marches, op. 
 58 (Worms, Kreitner) ; 6 pieces for the or- 
 gan, op. 34 (Leipsic, Breitkopf & Hiirtel). — 
 Fetis ; Gerber, N. Lex. ; Schilling. 
 
 BACHMANN, Pater SIXTHS, born at 
 Kettershaiisen, Bavaria, July 18, 1754, died 
 at Marchthal about 1818. Contra^Juntist 
 and organist, attracted attention even at the 
 age of nine, when he was able to play from 
 memory more than two hundred jjieces, and 
 held his own, at Biberach, 1706. in a musi- 
 cal contest on the organ with young IMozart, 
 vrho was then ten years of age. He ac- 
 quired his musical education in the monas- 
 teries of Eleliingeu and Marchthal, in the 
 latter of which he was a Premoustrant 
 monk, studied the works of Abbot Vogler, 
 and was temporarily instructed by Kapell- 
 meister Koa, who stopped at Marelithal on 
 his way to Italy. In 1786 he was associated 
 with Hoffmeister in Vienna in his musical 
 publishing society, but withdrew from it 
 two years later. His masses, written in true 
 church style, were much esteemed and wide- 
 ly circulated by numerous copies. Besides 
 them he left behind him a real treasure of 
 cantatas, symphonies, sonatas, violin quar- 
 tets, and fugues for the organ. Only the 
 following were printed : 2 sonatas for piano- 
 forte (Vienna, 1786) ; Sonata for do. (Speyer, 
 1791) ; Diverse Pezzetti (ib., 1791) ; Organ 
 Fugue alia Zoppa (ib., 1792) ; Sonata for 
 pianoforte, op. 1 (Munich, 1800). — Fetis ; 
 Gerber, N. Lex. ; Schilling. 
 
 BACHOFEN, JOHANN KASPAR, born 
 in Zurich in 1692, died there in 1755. 
 Singing-master in the Latin school and 
 cantor of one of the Zurich churches in 
 1718 ; director of the Chorherrn-gesell- 
 schaft as successor to Albertiu ; author of 
 
 an instruction book on music and singing, 
 the "Music. Notenbiichleiu." Compositions : 
 Musicalisches Halleluja, containing 600 mel- 
 odies for two and three voices with organ 
 and figured bass (8 eds. down to 1767) ; Ver- 
 mehrte Zusatz von Morgeu, Abend . . . 
 Gesungeu (1738) ; Sacred airs iu concert- 
 style for two and three voices given in 
 twelve monthly numbers (4th ed., 1755) ; 
 Brocke's Irdisches Verguiigeu iu Gott, set 
 to music (1,000 pages, 1740) ; jMusicalische 
 Ergetzungen (1755) ; Psalmen Davids (8vo, 
 2d ed., 1759) ; Fiir die Sundeu der Welt, 
 from Brooke's Passion (1759). His hymns 
 were very popular iu Switzerland. — Grove. 
 
 BACHRICH, SIGISMUND, born at 
 Zsambokreth, Hungary, in 1841, stiU living, 
 1888. Dramatic composer and violinist, 
 pujsil iit the Conservatorium, Vienna, of 
 BOhm on the violin (1851-57) ; for a short 
 time Kapellmeister of a small theatre in 
 Vienna, went in 1861 to Paris, and for sev- 
 eral years earned a scanty living as con- 
 ductor of an orchestra, journalist, and even 
 as an apothecary ; then returned to Vienna, 
 and for twelve years was a member of the 
 Helmesberger (Quartet. He is now in- 
 structor at the Conservatorium, and mem- 
 ber of the Philharmonic and the Opera or- 
 chestras, also of the Eose Quartet. Works : 
 Muzzedin, comic opera, given in Vieima, 
 1883 ; Heini von Steier, do., ib., 1884 ; Sa- 
 kuntala, ballet ; Two operettas, Vienna, 
 1866 ; Chamber music, pieces for the vio- 
 lin, and songs. — Riemann. 
 
 BACHSCHMIDT, ANTON, born at 
 Molk, Nether-Austria, Dec. 7, 1705, died 
 at Eichstiidt, Bavaria, iu 1780 (1776 ?). 
 Virtuoso on the trombone and violin ; 
 member iu 1760 of the prince-bishop's 
 court orchestra at "Wiirzburg, and later in 
 the prince's orchestra at Eichstiidt, where 
 in 1769 he became Concertmeister. It was 
 only then that he began to study the great 
 composers, especially Graun, to whose style 
 he conformed. The Prince of Eichstiidt 
 sent him to Italy to complete his musical 
 education, and, owing to the success of
 
 BACKOFEN 
 
 some operas composed there, appointed 
 bim Kapellmeister after his return. He 
 won reputation through his church music, 
 consisting of masses, litanies, vespers, etc.; 
 among his other works were symphonies, 
 concertos, and quartets, of which only the 
 following were printed : Concerto for oboe, 
 two violins, viola, violoncello, and two 
 horns ; Sis violin quartets. In his sixty- 
 eighth j-ear he became totally blind. — Fe- 
 tis ; Schilling. 
 
 BACKOFEN, (JOHANN G.) HEIN- 
 EICH, born at Durlach, Germany, in 1768, 
 died at Darmstadt in 1839. Virtuoso on 
 the harji, tbe English horn, the clarinet, 
 and the flute ; pupil at Nuremberg of Georg 
 Wilhelm Gruber in composition, and of 
 Birckmaun on the instruments. In 1789 
 he began a successful concert tour as clar- 
 inetist through France, Spain, and Italy, re- 
 turning to Nuremberg in 1794 ; four years 
 later he travelled through Germany, per- 
 forming on the harp and the English horn, 
 meeting with an especially honoui'able recep- 
 tion at Gotha, where he made a prolonged 
 stay iu 1802, and was appointed chamber 
 musician in 180(5. Thence he visited Leip- 
 sic, Munich, and Frankfort, and in 1815 
 settled at Darmstadt, where he established 
 a factory of wind instruments. He wrote a 
 very good method for the harp (Leijisic, 
 1803, and another for the clarinet and the 
 English horn (ib., 1803). Works : 16 vari- 
 ations for the harp (Leipsic, 1779) ; Sonata 
 for do., with violin (il>., 1798) ; Concertaute 
 for do., English horn, and violoncello ; do. 
 for harp, viola, and violoncello ; Abendge- 
 sang der Balsora (Leipsic, 1800) ; 13 varia- 
 tions for harp, op. 41 (ib., 1801) ; First, 
 second, and third books of pieces for the 
 harp (ib., 1799-1802) ; Concertante for two 
 clarinets ; Quintet for English horn, two 
 violins, viola, and violoncello. In manu- 
 script : Short Te Deuin ; Music for the inau- 
 guration of the Nuremberg Theatre : Scene 
 from Metastasio ; Dirge for four voices at 
 the grave of a Freemason ; 3 concertos for 
 Euglish horn ; Grand concerto for the harp ; 
 
 Quintet with clarinet ; Several pieces for 
 two clarinets, two horns, and two bassoons. 
 — Fetis ; Gerber, N. Lex.; Schilling. 
 
 BADIA, CARLO AGOSTINO, born iu 
 Venice iu the 17th century. Dramatic 
 composer, lived about the beginning of the 
 18th century as court musician at Vienna. 
 Works : La Niufa Apollo, opera, given in 
 Eome and Milan, 1692, in Bologna, 1694, 
 at Laxenburg Palace, 1699, in Vienna, 1700 ; 
 Narciso, do., Vienna, 1699 ; Amore vuol So- 
 migliauza, do., ib., 1702 ; La corte celeste, 
 oratorio, 1702 ; II profeta Elia, do., Venice, 
 1720 ; Gesti nel Prestorio, do., 1730 ; Tri- 
 buti armonici, a collection of twelve canta- 
 tas for a single voice and harpsichord. — 
 Fetis ; Schilling. 
 
 BADIA, LUIGI, born at Tirauo, Naples, 
 in 1822, still living, 1888. Dramatic com- 
 poser, known by the operas : Gismonda di 
 Mendrisio, given at Bologna, 1846 ; another 
 opera, given at Florence ; Flavio Racliis, 
 Trieste, 1853.— Fetis. 
 
 BAGATELLEN (Fr., bagatelle, a trifle), 
 a title, probably first used by Beethoven, to 
 designate a short piece of light pianoforte 
 music. Beethoven wrote four sets of Baga- 
 tellen : 1. 7 Bagatellen, op. 33, composed 
 1782 ; original MS. owned by Johann Kaff- 
 ka, Vienna. Published, Vienna. 2. 6 Baga- 
 tellen, op. 126, composed 1821. Published 
 by Schotts, Mainz. 3. 12 Bagatellen, op. 
 119, composed 1820-22. Published by 
 Sauer Liedersdorf in the " Wiener Zeitung " 
 (1824). 4. 6 Bagatellen, iu MS., owned by Ar- 
 taria & Co. (Vienna). — Thayer, Verzeichuiss. 
 
 BAGGE, SELMAE, born at Coburg, June 
 30, 1823, still living, 1888. Instrumental and 
 vocal composer, pupil of Kaspar Kunnner in 
 thorough bass and of Schilbach on the violon- 
 cello, then (1837) at the Conservatorium in 
 Prague of Dionys Weber and of Hiittner ; 
 later of Sechter in Vienna, where he be- 
 came professor of composition at the Con- 
 servatorium in 1851 ; resigned iu 1855 to 
 become a musical critic and editor ; from 
 1863 at Leipsic ; director of the music 
 school at Basel since 1868. His composi-
 
 BAI 
 
 tions consist of a symphony, a sonata for 
 pianoforte and violoncello, op. 3, string 
 quartets, pianoforte pieces, and songs. He 
 has published also an arrangement of Bach's 
 Fasaioii uach Matthiius for pianoforte solo 
 ( Leipsic, Breitkopf & Hartel ).— Grove ; 
 Mendel. 
 
 BAI (Baj), T0MM.\80, born at Creval- 
 cuore, near Bologna, Italy, in the second 
 half of the 17th century, died in Rome, Dec. 
 22, 1714. He was for many years tenor 
 singer in the chapel of the Vatican, where 
 he became maestro di cappella in 1713. 
 Bai was one of the many comi^osers who, 
 flourishing near the close of the " great " 
 Eouian period of Italian music, strove to 
 hold fast by the Palestrina traditions and 
 the a cappella style ; yet he, like the rest of 
 his generation, found it impossible wholly 
 to free himself from the influence of con- 
 temporary music, and his works, when 
 con^pared with Palestrina's, show what a 
 totally different musical atmosphere he 
 breathed from that which pervaded the 
 first few decades of the " great " period. 
 His great posthumous reputation is based 
 upon a single work, his Miserere, written 
 after the still more famous one by Gregorio 
 AUegri. It is published in Choron'a Col- 
 lection gunerale des ouvrages classiques de 
 musique (Paris, Le Due). A 5-voice mass, 
 twelve motets for i, 5, and 8 voices, and 
 an 8-voice De profuudis exist in MS. in 
 the Santini collection in Home. — Fetis ; 
 Grove ; Mendel. 
 
 BAILDON, JOSEPH, lived during mid- 
 dle of 18th century, died May 7, 1771. Or- 
 ganist. Gentleman of the Chapel Royal ; 
 lay-vicar of Westminster Abbey ; organist 
 of St. Luke's, Old Street, and All Saints', 
 Fulham, in 1763. The Catch Club awarded 
 him prizes in 1763 and in 17G6 for a catch 
 and the glee, " When gay Bacchus fills my 
 breast." In Warren's collection are ten 
 catches and four glees by Baildon. He 
 published two volumes of his works entitled 
 The Laurel, and Four Favourite Songs sung 
 by Mr. Beard at Ranelagh Gardens. His 
 
 glees, "Adieu to the village delights," and 
 "Pr'ythee, friend, fill t'other pipe," and his 
 humorous catch, "Mister Speaker, tho' 'tis 
 late," were very popular in their day. — 
 Grove. 
 
 BAILLEUX, ANTOINE, flourished in 
 Paris about 1758-84, died there in 1791. 
 Instrumental and vocal composer, and teach- 
 er ; author of an exceUeut vocal (1760), and 
 a violin method (1779). Works : Le bou- 
 quet de Tamitie, cantatille ; 6 symphonies 
 for four parts (Paris, 17.58) ; do. for grand 
 orchestra (ib., 17G7) ; Les petits concerts 
 de Paris ; Solfcges (Paris, 1784).— F6tis. 
 
 BAILLOT, PIERRE MARIE FRANCOIS 
 DE SALES, born at 
 Passy, France, Oct. 
 1, 1771, died in 
 Paris, Sept. 15, 1842. 
 Instrumental c o m- 
 poser, critic, and lust 
 great representative 
 of the classical school 
 of violin-playing in 
 Paris. Professor of 
 the violin at the 
 
 Conservatoire. His first master on the vio- 
 lin was an Italian named Polidori, but his 
 real musical education began in 1780 under 
 Sainte-Marie, in Paris, and was continued 
 in 1783 under Pollani, in Rome, where he 
 was sent by M. de Boucheporn ; his play- 
 ing was influenced also by Viotti, whom 
 he heard in his tenth year. Baillot first ap- 
 peared iu public in 1791, Viotti procuring 
 him a place in the Theatre Feydeau, which 
 he soon resigned for an apjjointment in the 
 Ministere des Finances, using his musical 
 talent merely as a recreation. In 1795, 
 after studying the compositions of CorelH, 
 Tartini, Gemiuiani, Loeatelli, Bach (?), and 
 Handel, he determined to become a profes- 
 sional musician, and made a successful de- 
 but in a concerto by Viotti, which secured 
 his reputation and gained him a professor- 
 ship of the violin in the newly opened Con- 
 servatoire, which he held till his death. He 
 studied also harmony under Catel, and
 
 BAILLOU 
 
 countei-point with Reiclia and Cherubini. 
 Member of Napoleon's private band in 1802. 
 He made a professional tour with the vio- 
 loncello-player Lamare in Russia in 1805- 
 08, but the war brought him home ; he gave 
 concerts in the South of France, and started 
 chamber-music concerts in Paris in 1814, 
 which gained him great reputation as a 
 quartet-player. In 1815-16 he made a sec- 
 ond professional tour in Holland, Belgium, 
 and England, becoming a member of the 
 English Philharmonic Society, at one of 
 whose concerts he played on Feb. 26, 1816. 
 Director of the band at the Paris Opera in 
 1821-31 ; director of the Concerts spirituels 
 given at the Opera, 1822, 1823, 1824 ; of the 
 Eoyal Band from 1825 ; his last tour was 
 made through Switzerland and part of Italy 
 in 1833. Baillot's quartet-playing is highly 
 praised by Mendelssohn and Hiller. He 
 had celebrated pupils, Mazas, Habeneck aine, 
 the two Danelas, and many others. He as- 
 sisted Rode and Kreutzer iu compiling a 
 work for the violoncello, and the Muthode 
 de Violon, adopted by the Conservatoire 
 (1803) ; with the exception of the Ai't du 
 Violou, which is considered by Fetis the 
 best elementary work of the kind (1834), his 
 works are almost forgotten. His music is 
 difficult. Among his i^ublished compositions 
 are : 15 trios for two violins and bass ; 6 duets 
 for two violins ; 12 etudes for violins ; 9 
 concertos ; Symphonie concertante for two 
 violins, with orchestral accompaniment ; 30 
 airs varies ; 3 string quartets ; Sonata for 
 pianoforte and violin ; 24 preludes iu all keys 
 and several smaller compositions for the 
 violin. A posthumous work, '•Observations 
 
 aux concours de violon du Conservatoire de 
 Musique," was published iu Paris (1872).^ 
 
 Fetis ; do.. Supplement, i. 37 ; Grove ; La- 
 rousse, ii. 62 ; Mendel, i. 416 ; Ergiiuz, 22 ; 
 Wasielewski, Die Violine und ihre Meister, 
 274. 
 
 BAH^LOU, LOUIS DE, born in France 
 about the middle of the 18th century, died 
 in Milan in 1809. Dramatic composer and 
 violinist, pupil of Capron on the violin ; 
 went to Italy and became conductor of the 
 orchestra at the Teatro della Scala, Milan, 
 for which he wrote the following ballets : 
 Andromacca e Pirro, L' amante generosa, 
 given in 1777 ; AjDollo jjlacato, Calipso ab- 
 bandonata, 1778 ; Mirza, La guinguetta iu- 
 glese. La Zingara riconosciuta, 1783 ; Giulio 
 Sabino, 1784 ; Lodovico il Moro, Amore 
 maestro di scuola, II popolo d' Argo festeg- 
 giante, Vologese, 1786 ; Guatimozin o la 
 Conquista del Messico, II primo viagiattore, 
 II fanfaro militare, I due avari, 1787 ; II 
 matrimonio per coucorso, 1788 ; Guglielmo 
 Tell, Lucio Giunio Bruto, 1797 ; La disfatta 
 di Abderamo (with Capuzzi), 1809. — Fetis. 
 
 BAINI, GIUSEPPE, born in Rome, Oct. 
 21, 1775, died there. May 21, 1844. Church 
 comjjoser, and the most eminent musical 
 writer and critic in Italy in this century ; 
 pujjil of his uncle, Lorenzo Baini, and at the 
 Seminario Romano of Jaunacoui in 1802, 
 when he obtained a j)osition as bass singer 
 iu the Pontifical Chapel, of which he was ap- 
 pointed maestro di cap2:)ella in 1817. His 
 celebrated Miserere was composed for the 
 Sistine Chapel, and is considered equal to 
 those by Allegri and Bai, and still used. As 
 a writer on music he is the author of " Saggio 
 sopra r identita de'ritmi musicaliepoetichi" 
 (Florence, 1820) ; his most important work 
 was the monograph, "Memorie storico-criti- 
 che della vita e delle opere di Giovanni 
 Pierluigi da Palestrina," etc. (Rome, 1828). 
 Member of Berlin Academy, 1837, of the 
 Deutsche National Musik Verein, 1839. His 
 princii^al compositions are : Salmi ed Inni 
 a quattro voci, etc. (1804) ; Inni ad otto 
 voci, etc. (1807) ; Tutto il servigio per la 
 solenne messa del martedi santo, etc., II Te 
 Deum o Inno Arubrogiano ad otto voci, etc 
 
 no
 
 BAJETTI 
 
 (1815) ; Tutto il servigio di chiesa anuuale, 
 
 etc. (1816) ; II tei'zo Miserere a tlieci voci 
 
 per servigio della cappella poutiticia, etc. 
 
 (1821). Besieies these he composed a great 
 
 jiumber of masses, motets, hymns, psahns, 
 
 and church _ 
 
 concertos 1.,',,,^^,^, 0*^ 
 
 I -'I 
 
 for from 
 four to 
 
 r^5^ 
 
 fa-uu-^ 
 
 twelve voices. — Allgem. mus. Zeitg., xxxvi. 
 473 ; Fetis ; Mendel ; Schilling ; do., Sup- 
 plement, 13. 
 
 BAJETTI, GIOVANNI, born at Brescia, 
 Italy, in 1815, died in Milan, April 28, 1876. 
 Dramatic composer, and musical director 
 at the Teatro della Scala, Milan. Works : 
 Gonzalvo, opera, given at Milan, La Scala, 
 1841; II genio d' Italia, Piaceuza, 1843; 
 L' assedio di Brescia, Milan, 1844 ; Faust 
 (ballet with Costa and Panizza). ib., 1848 ; 
 Uberto da Brescia, ib., 18G6. — Fetis ; do.. 
 Supplement, i. 38. 
 
 BAIvER, BENJAiVnN FEANKLIN, 
 born of American 
 parentage in Wen- 
 ham, Massachusetts, 
 July 10, 1811, still 
 living, 1888. In 
 1822 he removed to 
 Salem, and at the age 
 of fourteen began 
 to sing in the choir 
 of the Howard Street 
 Presbyterian Chui'ch 
 in that city. Dur- 
 ing 1828-33 he resided in Boston, whence 
 he removed to Bangor, Maine, to engage 
 in commercial pursuits, without, however, 
 severing his connection with music. In 
 1836 he returned to Boston, studied 
 under John Paddon, and sang in the 
 choir of the Chauucey Place Church, 
 and in the following year took charge of 
 the music in the Rev. Dr. Chanuing's 
 Church. In 1841 he was chosen succes- 
 sor to Lowell Mason, to teach music in 
 the public schools of Boston, and was 
 elected vice-president of the Handel and 
 
 Haydn Societj', a position which he held 
 for six years, appearing in solos at many of 
 the society's concerts. In 1847 the pre- 
 liminary work of establishing a music- 
 school in Boston was begun by ^Ir. Baker, 
 and in 1851 the Boston Music School was 
 incorporated, with a full corps of teachers 
 in the various dejjartments, Mr. Baker be- 
 ing vocal instructor and principal. The 
 establishment of this school was an im- 
 portant event in the development of musi- 
 cal culture in America. In 1868 the school 
 was closed, and Mr. Baker retired from ac- 
 tive professional work. Works — Vocal : 
 Death of Osceola, quartet, 1846 ; Stars of 
 the Summer Night, quartet, 1865 ; Ave Ma- 
 ria, 1871 ; The Storm King, cantata, 1856 ; 
 The Burning Ship, do., 1858 ; Camillus, the 
 Roman Conqueror, do., 1865 ; and other 
 songs and quartets. He is also the author 
 of Baker's Thorough Bass and Harmony, 
 and has compiled several books of glees 
 and anthems. 
 
 BAKER, GEORGE, born in Exeter, 
 England, in 1773, died at Eugeley, Feb. 
 19, 1847. Organist, pupil (about 1780) of 
 Hugh Bond and of William Jackson, organ- 
 ist of Exeter Cathedral ; he also studied the 
 violin under Ward, and the jjianoforte and 
 violin under Dussek and William Cramer 
 in London in 1790. He was organist of 
 Stafford in 1795, of Derby in 1810, and of 
 Rugeley in 1824 ; received the degree of 
 Mus. Doc, Oxford, about 1801. Baker 
 wrote anthems, glees, organ voluntaries, 
 pianoforte sonatas, songs, manj' of them 
 composed for Incledon, and music to The 
 Caffres, given unsuccessfully at Coveut 
 Garden Theatre, June 2, 1802.— Grove ; 
 Fetis. 
 
 BALAIOREV, JHLY ALEXEJEVICH, 
 born at Nijni Novgorod, Russia, in 1836, 
 still living, 1888. Pianist, appeared in con- 
 certs when still a boy, although he did not 
 take up music as a profession until after 
 his acquaintance with Ulibischeff. In 1856 
 he appeared as pianist in St. Petersburg 
 with great success, and in 1862 founded, 
 
 Ml
 
 BALART 
 
 with Lainakin, the free School of Music, 
 of which he assumed direction iu 1867. 
 He conducted the 
 concerts of the Rus- 
 sian Music Society in 
 1SG7-70, but retired 
 into private life in 
 1872. He is a fol- 
 lower of the Berlioz- 
 Liszt school. His 
 principal works are : 
 Overtures on Rus- 
 sian, Sj)anish, and 
 Czech themes ; Music to King Lear ; Bla- 
 rney, Oriental fantasy for pianoforte ; Other 
 music for do. — Riemann. 
 
 BALART, GABRIEL, born in Barce- 
 lona, Sjmin, June 8, 1824, still living, 1888. 
 Dramatic composer ; began his musical 
 studies in Spain, finished them in Paris, 
 and returned home iu 1852. He has been 
 orchestra leader of the ijrincipal theatres 
 of Barcelona and of Madrid, and has pub- 
 lished vocal and instrumental pieces, and 
 several zarzuelas : Un rapacion de Candas ; 
 Los guardias del Rej' de Siam (Barcelona, 
 18G6) ; El tulipan de los mares ; Amor y 
 Arte. — Fi'tis, Supplement, i. 38. 
 
 BALATKA, HANS, born, of Austrian 
 parentage, in H o ff - 
 nungsthal, Moravia, 
 March 5, 1828, still liv- 
 ing, 1888. He began 
 his musical education 
 as a choir-boy in the 
 01m (itz Cathedral ; in 
 1846^8 he studied 
 harmony, composition, 
 and singing in Vienna, 
 Seohter, and Gentiluomo, 
 and during that time was conductor of 
 the Academical Singing Societies in that 
 city. In consequence of the Revolution 
 of 1848 he went to America in 1849, and 
 settled in Milwaukee, where, in 1851, he 
 founded the Milwaukee Musikvei-ein, of 
 which he was the conductor for nine 
 years. In 1860 he went to Chicago to 
 
 under 
 
 conduct Mozart's Requiem, and accejsted 
 the leadership of the Philharmonic Society, 
 which he conducted six years, and in 1862 
 became conductor also of the Musical Un- 
 ion. He gave symphony concerts on his 
 own account, iu 1867 became conductor of 
 the Germania Mannerchor, in 1870 made 
 a concert tour with Madame Pappenheim 
 through the Northwest, and after again 
 leading the Milwaukee Musikvereiu, re- 
 turned, in 1873, to Chicago, where, with 
 the exception of a short engagement in 
 St. Louis, he has since resided. During 
 these later years he has organized the Lie- 
 derkranz Society and the Mozart Club, both 
 vocal, and he is now (1888) conductor of 
 the newly established Chicago Symjjhony So- 
 ciety. Works : The Power of Song, double 
 chorus for male voices, received first prize 
 at the Cincinnati Siingerfest, 1856 ; Festi- 
 val Cantata for soprano and grand orches- 
 tra, 1869 ; about 20 fantasias and tran- 
 scrij)tions for orchestra ; Quartets and cho- 
 ruses for male and mixed voices ; 26 
 songs with orchestral and pianoforte accom- 
 paniments. 
 
 BALBI, LUDOVICO, born iu Venice, 
 middle of 16th century, died there in 
 1608. Church composer and contrapunt- 
 ist, pupil of Costanzo Porta. Early in life 
 he entered the Franciscan order, and about 
 1591 became maestro di cappella at S. 
 Antonio, Padua, and about 1606 at the 
 convent of his order, Venice. He was 
 esteemed one of the most eminent musi- 
 cians of his time, a reputation justified by 
 his numerous masses, motets, and madri- 
 gals (Venice, 1576-1606). With Giovanni 
 Gabrieli and Orazio Vecehi he edited : 
 Graduale et Antiphonarium, juxta ritum 
 Missalis et Breviarii novi (Venice, 1591). — 
 Fctis ; Mendel. 
 
 BALBI, MELCHIORE, Cavaliere, born 
 in Venice, June 4, 1796, died in Padua, 
 June 22, 1879. Organist, pupil, at Padua, 
 of Alessandro Nini and of Gaetano Valeri 
 for pianoforte and organ, of Antonio Calegari 
 for harmony and fugue. He was maestro 
 
 U3
 
 BAL 
 
 concertatore of two theatres in 1818, maes- 
 tro di cappella at S. Antonio in 1853 ; 
 Academician of the Institute of Florence in 
 1868, for wliieh he wrote three memoirs, 
 and for which he was made Chevalier of 
 the Order of the Crown of Italy, and a 
 member of many Italian and foreign socie- 
 ties. Works : Solemn mass. Requiem 
 mass, Solemn do., with choruses, orches- 
 tra, and four organs, all performed at S. 
 Antonio's, 1831, 18G9, 1871. He was the 
 author also of the following theoretical 
 works : Sistema armonico d' Antonio Cale- 
 gari (Milan, 1829) ; Grammatica ragionata 
 della musica sotto 1' aspetto di lingua 
 (1845) ; Nuova Scuola casata sul sistema 
 semi-tonato equabile, 1 jsart (1872). — Fetis, 
 Supplement, i. 38. 
 
 BAL COSTUMlfi (Costume BaU), twen- 
 ty characteristic pieces for pianoforte {-i 
 bands), by Anton Eubinstein, op. 103. Pub- 
 lished by Bote & Bock (Berlin). Two series 
 of these pieces were afterwards scored for 
 orchestra by the composer. 
 
 BALDASSAKI, PIETRO, Roman com- 
 poser of the 17th century. He was the au- 
 thor of an oratorio, Applausi eterni dell' 
 Amore manifestato nel Temj>o (Brescia, 
 1709).— Ft'ti.s. 
 
 BALDUCCI, GIOVANNI, Italian dramatic 
 composer, contemporary, pupil of the Royal 
 College of Music, Naples. Works : II Conte 
 di Marsico, melodrama for female voices, 
 with accompaniment for two pianofortes, 
 1830 ; La sorciera di Benevento, opera in 
 two acts, Naples, 1837 ; Bianca Tui'enga, 
 oijera, Naj^les, 1838. — Fetis. 
 
 BALFE (Balph), MICHAEL WILLIAM, 
 born at Limerick, Ireland, May 15, 1808, 
 died at Rowney Abbey, Hertfordshire, Oct. 
 20, 1870. Dramatic composer, baritone 
 singer, and violinist. After instruction 
 on the violin, he studied under O'Rourke 
 (known in London as Rooke), who brought 
 him out as a violinist in May, 181G. In 
 1818 he composed a ballad, " The Lover's 
 Mistake," which was sung by Mme Vestris 
 in Paul Pry. In 1824 he played successful 
 
 violin solos at the Loudon oratorios, and 
 was subsequentlj' engaged in the Drury 
 Lane orchestra, 
 which he led when 
 the director, T. 
 Cooke, appeared on 
 the stage. About 
 this time he studied 
 composition under 
 C. F. Horn, organist 
 of St. George's Chajj- 
 el, W i n d s o r. In 
 1825, under the pat- 
 ronage of Count Mazzara, he visited Rome, 
 where he studied counterpoint under Fre- 
 dcrici, afterwards head of the Conservatorio, 
 Milan. Later, he received vocal instruction 
 from Filippo Galli, at Milan, where in 1827 
 he comjjosed his first dramatic piece, a bal- 
 lad entitled, La Perouse. Rossini offered 
 him an engagement as principal baritone at 
 the Italian Opera, Paris, with the proviso 
 that he should take preparatory lessons 
 from Bordogni ; the proj^osal was accepted, 
 Balfe making a successful debut in Figaro 
 in 1828. In 1829-30 he was principal bari- 
 tone at Palermo, where he produced his 
 first opera, I Eivali di se stessi, written in 
 twenty days. Sliortly afterwards he sang with 
 Mallbran at La Scala, Milan, and in 1835 re- 
 turned to London, where he sang at public 
 and private concerts. From the latter year 
 dates his career as a eomi^oser of English 
 operas. In the following autumn he appeared 
 at Drury Lane ; iu 1837 he sang the part of 
 Theodore in his own opera, Joan of Arc ; and 
 in 1839 appeared as Farinelli in Barnett's 
 opera, at Drurj' Lane, and iu a translation 
 of Ricci's Scaramuccia, at the Lyceum. Be- 
 ing unsuccessful as manager of the Lj-ceum 
 (the English opera-house), he went iu 1840 
 to Paris, where he wrote, and jjroduced at 
 the Opera Comique, two operas. The most 
 popular and successful of Balfe 's works, The 
 Bohemian Girl, was given in London, Nov. 
 27, 1843. While writing L'Etoile de Seville 
 for the Acadcmie Royale iu 1845, he was re- 
 called to London to make aiTangements for
 
 BALLADE 
 
 his engagement as conductor of Her Majes- 
 ty's Theatre, a position he hekl until its 
 close in 1852. Balfe ^Yas in Vienna about 
 1846, and in Berliu bringing out some of 
 his oj^eras in 1849 ; in the latter year, 
 until 1852, he conducted a series of 
 national concerts at Her jMajesty's 
 Theatre ; but, although important 
 ■works were produced, this enteri^rise 
 ■was not successful. In 1852 he visited 
 St. Petersburg and Trieste, returning 
 to England in 1856. A French ver- 
 sion of The Bohemian Girl, revised and added 
 to by the composer, was given at the Thea- 
 tre Lyrique, Paris, in December, 1869, with 
 such success that he was made chevalier of 
 the Legion of Honor by the French Emperor, 
 and Commander of the Order of Carlos by 
 the Regent of Spain. Works — Operas : I 
 Rivali di se Stessi, Palermo, 1829 ; Un Av- 
 vertimento ai Gelosi, Pavia, 1830 ; Eurico 
 rV. al Passo della Marna, Milan, 1831 ; 
 The Siege of Rochelle, London, Drury Lane, 
 1835 ; The Maid of Artois, ib., 1836 ; Cath- 
 erine Grey, Joan of Arc, ib., 1837 ; Diadeste, 
 ib., 1838'; Falstaff, Her Majesty's Theatre, 
 1838 ; Keolanthe, Lyceum, 1840 ; Le Puits 
 dAmour, Paris, Oi^era Comique, 1843 ; Les 
 quatre Fils dAymon, ib., 1844 ; The Bo- 
 hemian Girl, London, Drury Lane, 1843 ; 
 Daughter of St. Mark, ib., 1844 ; The En- 
 chantress, ib., 1845 ; UEtoile de Seville, 
 Paris, Academic Roy ale de Musique, 1845 ; 
 The Bondman, London, Drury Lane, 1846 ; 
 The Maid of Honour, ib., 1847 ; The Sicil- 
 ian Bride, Drury Lane, 1852 ; The Devil's 
 in it, Surrey Theatre, 1852 ; Pittore e Duca, 
 Trieste, 1856 ; The Rone of Castile, Lyceum, 
 
 1857 ; La Zingara (Italian vei-sion of The 
 Bohemian Girl), Her jMajesty's Theatre, 
 
 1858 ; Salanella, Lyceum, 1858 ; Bianca, 
 1860 ; The Puritan's Daughter, 1861 ; The 
 Armourer of Nantes, Blanche de Nevers, 
 1863 ; The Sleeping Queen, operetta, Lon- 
 don, Gallery of Illustration, 1863 ; La Bo- 
 hemienne (French version of The Bohemian 
 Girl, with many additions, and extended 
 into five acts), Paris, Theatre Lyrique, 1869. 
 
 Balfe's last opera. The Knight of the Leop- 
 ard, was given in Italian as II Talismano at 
 Drury Lane on June 11, 1874. Miscellane- 
 ous music : Mazeppa, cantata (London), 2 
 
 others, written at Paris and Bologna, and 
 many ballads, glees, part-songs, etc. — Ken- 
 ney, A Memoir of ]\I. W. Balfe (London, 
 1875) ; Clement, Mus. celebres, 511 ; Fetis ; 
 Grove ; Mendel ; Schilling, Supplement, 14 ; 
 Riemann, Lex. 
 
 BALLADE, the title given by Chopin to 
 four pieces of his pianoforte music, which 
 have no special character beyond that they 
 are all written in triple time. 1, Op. 23, in 
 G minor ; 2, op. 38, in F major ; 3, op. 47, 
 in A-flat major ; 4, op. 52, in F minor. 
 Brahms also has published four Balladen 
 for the pianoforte, op. 10 ; and Liszt two 
 Ballades for the same, op. 36. 
 
 BALL.ADE SUR LA MORT D'OPHfi- 
 LIE. See Tridia. 
 
 BALLAROTTI, FRANCESCO, Italian 
 dramatic composer, flourished about the 
 end of the 17th and the early part of the 
 18th centurj'. Works — O^jeras : Alcibiade 
 (Alciade ?), o violenza d' amore (with Polla- 
 rolo and Gasparini), given at Venice, 1699 ; 
 Ai'iovisto (with Perti and Paolo Magni), 
 IVIilan, 1699 ; L' Amante impazzito, Venice, 
 1714.— Fetis. 
 
 BALLERINA AMANTE, LA, Italian op- 
 era, music by Cimarosa, represented at Na- 
 ples, 1782. 
 
 BALLO DELLE INGRATE, ballet by 
 Claudio Monteverde, represented in Man- 
 tua, 1608. This work, performed at the same 
 time with the composer's Orfeo, was a mytho- 
 logical spectacle, showing the punishment 
 in Hades of fair ones who trifle with the 
 affections of their swains. 
 
 114
 
 BALLO 
 
 BALlLO in MASCHERA, IL (The Masked 
 Bail), Italian opera in four acts, text by Som- 
 lua, music by Verdi, tirst represented at the 
 Teatro Apollo, Rome, Feb. 17, 1859. It 
 was originally called Gustavo HI., the sub- 
 ject being identical with that of Gusiave 
 HI. ou le Bal Masque of Scribe, set to 
 music by Auber, and was written for the 
 San Carlo, Naples ; but during the re- 
 hearsals Orsini made his attempt on the 
 life of Najjoleon III. (Jan. 13, 1858), and 
 the jjerformauce was interdicted by the au- 
 thorities on account of its conspiracy scene. 
 Verdi's refusal to adapt his music to a new 
 libretto led to a suit against him by the 
 management of the San Carlo for 200,000 
 francs damages, and almost to a revolution 
 in Naples, where the poj^ulace greeted the 
 composer with shouts of "Viva Verdi," the 
 letters of his name being given a political 
 significance by being made to represent the 
 initials of I'ittorio jEJmmanuele -St) Z*' /talia. 
 Verdi finally took his work to Rome, where 
 the censorship permitted its production 
 with a change of scene and characters. 
 The scene was changed to Massachusetts, 
 and the action was made to turn on the 
 assassination, at a masked ball in the co- 
 lonial times, of Riccardo, Earl of Warwick 
 and Governor of Boston, instead of King 
 Gustavus m. of Sweden. In its new guise 
 the piece was full of anachronisms and ab- 
 surdities, but the beauty of its musical set- 
 ting made it au unqualified success. On 
 its production in Paris, at the Theatre 
 Italien, Jan. 13, 1861, JLuio, who was cast 
 for Riccardo, objected to the costume 
 (small clothes, red coat, and epaulets), 
 and the scene was again changed from 
 Boston to Naples, and the Earl of Warwick 
 was made into the Duke of Olivarez. The 
 principal characters, Riccardo and Amelia, 
 were represented originally by Fi'aschini 
 and Mile Lagrua. The role of Amelia is 
 a favourite with Mme Zelia Trebelli (nee 
 Gillebert, Paris, 1838 ; her stage name is 
 obviously her maiden name reversed), whose 
 marriage, in 18G3, to the tenor singer Ales- 
 
 sandro Bettini, was followed socm after by a 
 separation. 
 
 Cast in Paris. 
 
 Duca d' Olivarez Mario. 
 
 Renato, Secretary Graziani. 
 
 Oscar, a page Battu. 
 
 Adelia, wife of Renato Penco. 
 
 Ulrica, a sorceress Mme Alboni. 
 
 Un Ballo in Maschera was first produced 
 in London, at the Lyceum, June 15, 18G1 ; 
 a French version, text by Edouard Duprez, 
 was given at the Theatre Lj'rique, Paris, 
 November, 18G9. The opera is strong in 
 dramatic situations, to which the music is 
 
 
 Zelia Trebelli. 
 
 well adapted. Among the most noteworthy 
 numbers are in the first act the romanza of 
 Riccardo : " La rivedrii, nell' estasi ; " the 
 aria of Reiuhart, "Di speranze e glorie pi- 
 ena ; " and the ballata of Oscar, " Volta la 
 terrea f route alle stelle." In the second 
 act (or the third as now sung) are Amelia's 
 aria : " Ma dall' arido stelo ; " her duet with 
 Riccardo, "M'ami, in' ami;" and the trio 
 of the two and Reiuhart, "Odi tu come." 
 The last act opens with a scene between 
 Reinhart and Amelia, in which the latter 
 sings a minor andante, "Morro, ma prima, 
 in grazia," and the former au aria, " O dol- 
 cezze perdute," which is always popular. 
 Then comes the trio and the quartet of 
 the conspiracy music, and later the beau-
 
 BAL MASQUE 
 
 tiful song of the page, " Saper voireste," 
 aud tiually the ball scene and the assassiua- 
 tiou. — Hauslick, Moderne Oper, 237. 
 
 BAL HIASQUE, LE, by Auber. See 
 Gustave III. 
 
 BALTAZAR, oratorio, music by Giaeomo 
 Carissimi. MS. in National Library, Paris. 
 It has been published by Chrysander (Schott). 
 
 BALTAZARINI (Baltageriui, Balthazar 
 de Beaujoyeuls), flourished in the 16th 
 century. An Italian musician, and jjerhaps 
 the best violinist of his day. Brought from 
 Piedmont to Paris in 1577 by the Marquis 
 de Brissae, he became iuteudant of music 
 aud first valet de chambre to Catherine 
 de' Medici, queen dowager. He introduced 
 into France the five-stringed Italian violin 
 (tuned by 4ths from A to F). But his most 
 important service was the introduction of 
 the Italian dances into Paris ; he was the 
 real founder of the ballet in France, aud, 
 through the ballet, of the opera. In this 
 labor he associated with himself the best 
 Parisian musicians of the daj'. His most 
 important work was Circe, or Le ballet 
 comique de la Heine (-Ito, Paris, Adrieu 
 Le Eoy et Robert Ballard, 1582). Some 
 other ballets by him are in MS. in the Na- 
 tional Library, Paris. — Ludovic Celler, Les 
 Origiues de I'Opera, 135 (Paris, 1868). 
 
 B.\LTHAS.Ul, FLORENCE, Henry Mat- 
 thias BaUhasar, called, born at Arlon, Bel- 
 gium, Oct. 21, 1844, stiU living, 1888. Dra- 
 matic composer and pianist, pujDil at the 
 Conservatoire, Brussels, in 1857, studied 
 the pianoforte under Auguste Dupout, the 
 organ under Leramens, harmony under 
 Adolphe Samuel, fugue and counterj)oint 
 inider Futis, obtaining successively all the 
 prizes in these studies. He performed in 
 public at Namur, where he lived, and in 
 1868 brought out a dramatic overture at 
 the Concerts populaires in Brussels, and in 
 1870 the fragments of several symphonies. 
 In 1875 he took the jDrize given by the city 
 of Lille for a cantata. Works: Une croy- 
 ance bretonne, opura-bouffe, given at Brus- 
 sels, Thciitre de la Monnaie, about 1868 ; 
 
 Le Docteur Quinquina, operetta, ib.. Casino 
 des Galeries Saint-Hubert ; Grand concerto 
 symphonique for pianoforte and orchestra, 
 Namur, 1870 ; Messe solennelle, with cho- 
 rus and orchestra, Namur, 1872 ; Cantata 
 for soli, chorus, and orchestra, Lille, 1875 ; 
 Several fantaisies for pianoforte ; a concerto 
 for the trumpet ; ballet music, etc. — Fetis, 
 Supplement, i. 39 ; Mendel ; Ergiinz., 23. 
 
 BALTZAR, THOMAS, born in Liibeck, 
 Germany, about 1630, died in London, 
 buried July 27, 1663. Violinist, settled in 
 England in 1656, the first great performer 
 ever heard there. At the Restoration he 
 became leader of the king's celebrated band 
 of twenty-four violins. Anthony Wood cred- 
 its him with having introduced the shift 
 and the use of the upper part of the finger- 
 board. His printed compositions appear in 
 Playford's Division Violin ; a set of sonatas 
 for lyra violin, treble violin, and bass viol, 
 were sold at the auction of Thomas Britton, 
 aud Burney owned some MS. solos.— Grove ; 
 Fetis; Burney; Schilling. 
 
 BAMBINI, FELICE, born at Bologna, 
 Italy, about 1742, died in Paris during the 
 first years of this century. Dramatic com- 
 poser and jjianist, went to France in 1752 
 with an Italian opera troupe, of which his 
 father was director, first aft Strasburg, then 
 in Paris, where young Bambini, then nine 
 years old, accomiiauied the ^performances 
 on the pianoforte, and even composed airs, 
 which were introduced in the intermezzi. 
 Remaining in Paris after the expulsion of 
 the Italian troupe, he studied imder Bor- 
 denave and Rigade, and settled down as a 
 teacher of the pianoforte. Works : Les 
 amauts de village, comic opera, given in 
 Paris, Nouveau Theatre Italien, 1764 ; Ni- 
 caise, do., Opera Comique, 1776 ; LAmour 
 r emporte, do., Theatre de Beaujolais, about 
 1787 ; 8 sonatas for pianoforte ; Trios for 
 violin, viola, and violoncello ; 6 sympho- 
 nies ; Little airs for ijianoforte with violin. — 
 Fetis ; Schilling. 
 
 BANCHIERI, ADRIANO, born in Bo- 
 logna in 1567, died in 1634. Organist, pujnl
 
 BAKCK 
 
 of Gerami, who was organist of the Cathe- 
 dral of Lucca, aud later of S. Marco in Ven- 
 ice. Banehieri was first organist of Sta. 
 Maria iu Regola, Iniola, and in 1G03 of S. 
 Michele in Bosco, near Bologna. He wrote 
 church and dramatic music, and intermedj 
 for comedies, such as La pazzia senile, etc. 
 (Venice, 1598, reprinted at Cologne) ; its 
 pendant, La jsrudeuza giovenile, which he 
 entitled Comedia iu musica (Milan, 1G07) ; 
 La barca di Venezia a Padua (Venice, 1623) ; 
 and La fida fanciulla, etc. (Bologna, 1(528, 
 1629). His canzonette for four and three 
 voices are dated 1595, 1596, 1597, 1598 ; and 
 his madrigals for three and four voices 1593, 
 1594, 1600, 1602, 1623. Besides these he 
 had many collections of motets, concertos, 
 and masses. His 7th work is Fautasie e 
 psalmi, canzone alia francese (1603). Of his 
 theoretical works his first, " Conclusioni per 
 orgauo," appeared at Lucca iu 1591 ; his most 
 important, "L' Organo suonarino " (Venice, 
 1605), contained the first jwecise rules for 
 accompanying from a figured bass (pub- 
 lished separately by Lomazzo at Milan) ; iu 
 the " Moderna practica musicale " (Venice, 
 1613), he suggests alterations in the basso 
 continuo in consequence of its influence on 
 the ornaments in singing. Another book, 
 the " Cartella Musicale " (1614), contains a 
 jH'oject for founding an academy of science 
 and art at his monastery at Bologna. Ban- 
 ehieri wrote comedies under the name of 
 Camillo Scaligeri della fratta. — Grove ; Fe- 
 tis ; Gerber, N. Lex. ; Schilling. 
 
 BANCK, KARL, born at Magdeburg, May 
 27, 1809, still living, 
 1888. Instrumental 
 and vocal composer. 
 
 pupil in Berlin of B. 
 Klein aud L. Berger, 
 aud at Dessau (1829) 
 of Friedrich Schnei- 
 der. He visited Italy in 
 1831-32, then lived at 
 Magdeburg, Berlin, 
 and Leipsic, where he entertained friendly 
 relations with Robert Schumann, then at 
 
 
 Tubingen and Jena until 1840, when he set- 
 tled at Dresden. In 1861 he married an 
 American, and visited America in 1867. He 
 is one of the most eminent musical critics 
 of Germany. Besides songs and part-songs 
 he has published some music for pianoforte. 
 — Mendel ; Riemann ; Schilling, Sujiplement. 
 BANISTER, HENRY CHARLES, born 
 in London, June 13, 
 1831, still living, 
 1888. Pianist, son 
 and pujiil of Henry 
 Joshua Banister 
 (1803-1847, violon- 
 cellist), but mostly 
 self-taught ; studied 
 also at the Royal 
 Academy of Music 
 under Cipriani Potter, won the King's Schol- 
 arship iu 1846 aud 1848, and became assistant 
 professor of harmony and composition in 
 1851, and professor in 1853. He has been pro- 
 fessor of harmony at the Guildhall School 
 of Music since 1880, and at the Royal Nor- 
 mal College for the Blind. Works : First 
 Symphony iu D, for orchestra (1847) ; Sec- 
 ond do. in E-flat (1848) ; Third do. in A 
 minor (1850) ; Fourth do. in A (1853) ; Fu-st 
 Overture, for orchestra (1849) ; Second do. 
 — Cymbeline, Third do. (1852) ; Fourth do. 
 — The Serenade; Fifth do. — From Sorrow 
 to Joy (1876) ; First Quartet for strings 
 (1848) ; Second do. (1850) ; String quartet in 
 E minor ; Sonata iu E, for pianoforte ; Sec- 
 ond do., four hands, in G minor (1850) ; Third 
 do. in A-flat ; Fourth do. in A minor ; So- 
 natas for i^ianoforte iu B-flat, F-sharp minor 
 (2), F minor ; Fantasia in F minor, for 
 pianoforte (1874) ; Andante aud Rondo for 
 do. and orchestra (1852) ; Capriceio in A 
 minor fordo.; Fantasia iu D, for do. (1863) ; 
 Intermezzo in E, for orchestra (1875) ; Sa- 
 cred cantata for chorus, solo voices, and or- 
 chestra (1851) ; The Sea Fairies, cantata for 
 female voices, and orchestra (1861) ; The 
 Maiden's Holiday, do., without orchestra ; 
 Numerous songs, part-songs, aud pianoforte 
 pieces. 
 
 117
 
 BANISTEK 
 
 BANISTER, JOHN, born in Loudon in 
 1G30, died there, Oct. 3, 1679. Dramatic 
 composer and 
 violinist. His vio- 
 lin -playing at- 
 tracted the notice 
 of Charles II., who 
 sent him to Fi'ance 
 to study, and on 
 his return in 1663 
 made him leader 
 of his band. He 
 was the first to es- 
 tablish in London lucrative concerts, which 
 he kept up until near the time of his decease. 
 He wrote the music to the tragic opera of 
 Circe, by Dr. Charles Davenant, eldest son 
 of Sir "William Davenant, given in 1676 at 
 the Duke of York's Theatre ; and also wrote, 
 jointly with Pelham Humfrey, the music to 
 The Tempest, performed in 1676. He was 
 one of the contributors to Playford's Courtly 
 Masquing Ayres (1662), and 25ublished some 
 lessons for viols or violins. — Grove ; Haw- 
 kins, Notes to North's Memoirs of Musiek. 
 BAPTISTE, JOHANN ALBRECHT 
 FRIEDRICH, born, of French parents, at 
 Oettingen, Bavaria, Aug. 8, 1700, died at 
 Cassel about 1764. Yiolinist, lived in 1703- 
 20 at Darmstadt, visited Paris in 1718, and 
 travelled in Italy and most of the European 
 countries until 1726, when he settled at 
 Cassel as court dancing-master, his father's 
 2)rofession. "Works : 12 solos for violin ; 6 
 do. for violoncello ; 6 trios for oboe and 
 violoncello ; 36 solos for bass viol ; 12 con- 
 certos for do. ; 6 sonatas for flute. — Fetis ; 
 Schilling. 
 
 BAPTISTE (real name Baptiste Anet), 
 lived last of the 17th and beginning of the 
 18th centuries. Violinist, pupil of Corelli 
 for foui" years, from 1700. He went to 
 Paris, where he was looked upon as a musi- 
 cal prodigy, and did much to develop violin- 
 playing by introducing Corelli's method ; 
 but he failed to suit the taste of Louis XIV., 
 who preferred Lulli's music, and Baptiste 
 went to Poland, where he became music 
 
 director to the King. Published works : 
 Sonates pour violou, 1, 2, 3 liv. ; Deux suites 
 de pieces a deux musettes, ceuv. 2 ; Six duos 
 pour deux musettes, ceuv. 3. — Futis. 
 
 B.APTISTIN (Batistiu), JEAN, born, of 
 German parents, in Florence, Italy, about 
 1690, died in Paris, Dec. 9, 17.55. Dramatic 
 composer and violoncellist in the orchestra 
 of the Opera in Paris. His real name w^as 
 Johann Struck. He stood in high favonr 
 with Louis XTV., who allowed him an an- 
 nual pension during his sojourn in France. 
 "Works : Meleagre, Ij'ric tragedy, given in 
 Paris, Academic Koyale de Musique, 1709 ; 
 Manto la Fee, do., ib., Opera, 1711 ; Poly- 
 dore, do., Academie, 1720 ; Four books of 
 cantatas (Paris, 1706, 1708, 1711, 17U) ; 
 Collection of arias (ib., 1709). Several op- 
 eras and ballets, written for the court, and 
 not performed in Paris. — Fetis ; Mendel. 
 
 BARBE, ANTOINE, born, probably in 
 Hainault, in the early part of the 16th cen- 
 tury, died at Antwerp, Dec. 4, 1564. Church 
 composer, called to Antwerp in 1527 as mai- 
 tre de musique of the maitrise of Notre 
 Dame, which position he held for thirty-five 
 j-ears, becoming so famous as a composer 
 and leader that the best musicians of that 
 epoch placed themselves under his direc- 
 tion. Nearly aU of his numerous masses, 
 motets, hymn.s, anthems, etc., that were ex- 
 ecuted daily at Notre Dame, were destroyed 
 with the cathedral by the Iconoclasts in 
 1566. Only the following survive : Two 
 motets (Antwerp, Van Visseuaken, 1542) ; 
 Four-part song (ib., Tylman Susato, 1544) ; 
 Vecy la danse de Barbaric, mass (ib., 1545- 
 46). His sou (died, 1604) and grandson 
 (died, 1626), both named Antoine, wex-e also 
 musicians of distinction. — Biog. nat. de Bel- 
 gique, i. 703. 
 
 BARBE-BLEU (Blue Beard), opera-bouffe 
 in three acts and four tableaux, text by 
 Henri Meilhac and Ludovic Halevy, music 
 by Offenbach, first represented at the Thea- 
 tre des Varietus, Paris, Feb. 5, 1866. 
 
 B.ARBELLA, ElLiNUELE, born in Na- 
 ples, beginning of the 18th century, died 
 
 118
 
 BARBEREAU 
 
 there iu 1773. Violinist ; pupil of his father 
 Francesco Barbella, of Augjelo Zaga, and of 
 Pasqualiiio Biiii, a pupil of Tartini in Na- 
 ples ; instructed in counterpoint by Michele 
 Gabbalone and Leo. He had Kaimondi for 
 his pupil. Works : C duets for 2 violins and 
 Gsonatasforviolin (London) ; 6 duets for vio- 
 lin ; 6 duets for 'cello, op. 4 (Paris). Burney, 
 in his History of Music, gives, Tinna Tonna, 
 j)er prender souno, a chai-ming piece for 
 double string, by Barbella. — Ft'tis ; Schil- 
 ling. 
 
 BARBEREAU, (MATHUEIN AUGUSTE) 
 BALTHAZAR, born iu Paris, Nov. 14, 1799, 
 died there, July 18, 1879. Instrumental 
 composer, pupil of Eeicha at the Conserva- 
 toire. He won the grand prix in 1824, vis- 
 ited Italy and Germanj^ was for some years 
 chef d'orchestre at the Theatre des Nou- 
 veautes, and at the Theatre FranCj'ais, then 
 devoted himself for many years to historical 
 studies and teaching, and in 1872 became 
 professor at the Conservatoire. Works : 
 Agnes Sorel, cantata (grand jjrix, 1824) ; 
 Several overtures for orchestra ; Part of 
 the music to the lyrical drama Les Syba- 
 rites de Florence, given at the Theatre des 
 Nouveautes, 1831. He wrote a treatise 
 on composition (1845, unfinished) ; and 
 "Etudes sur I'origine du systfeme musical " 
 (1852, do.).— Fetis; do.. Supplement, i. 
 42. 
 
 BARBERS OF BASSORA, THE, English 
 comic oj)era in two acts, text by Madison 
 Morton, music by John Hullah, represent- 
 ed at Covent Garden, London, Nov. 11, 
 1837. 
 
 BABBLER, FRfiDERIC fiTIENNE, born 
 in Metz, Nov. 15, 1829, still living, 1888. 
 Dramatic composer, pupil of Darondeau, or- 
 ganist at Bourges. He was destined for the 
 army or the law by his family, but a little ope- 
 ra-comique which he produced at Bourges, 
 Le Manage de Colombine, decided his career 
 and enabled him to devote himself to the 
 study of music. He went to Paris, was pre- 
 sented to Sevestre, director at the Lyrique, 
 and made the acquaintance of Adoljahe 
 
 Adam, who gave him lessons in composi- 
 tion and helped him to bring out at the 
 Lyri<pie, in 1855, Une nuit a Seville, which 
 was favourably received. Two months after 
 he produced Rose et Narcisse (1855), and 
 since that time he has had his operas played 
 on all the lyric stages of France and in 
 all the cafos-chantants of Paris. He has 
 written more than sixty op6ras-comiques, 
 ojserettes, and ballets, besides three hun- 
 dred duets, romances, melodies, chanso- 
 nettes, and dance music. He was chef d'or- 
 chestre of the Theatre International in 
 1867, and has been director at the Alcazar 
 for some years. He has been musical critic 
 and has written for many musical sheets. 
 Besides operas mentioned, the following 
 have been given in Paris, at the Folies Nou- 
 velles : Le Pacha, Fraucaster, Le Page de 
 Mme Malbrough, Le Faux Faust, 1858 ; Le 
 Docteur Tam-Tam, 1859. At the Theatre 
 Dejazet : Monsieur Deschalumeaux, Le 
 grand Roi d'Yvetot, 1859 ; Le loup et 
 I'agneau, 18G2 ; Simon Terre-Neuve, 1863 ; 
 Deux permissions de dix heures, 1864 ; 
 Panne aux airs. At the Theatre du Chalet 
 des lies : Les amours d'un Shah, Flamberge 
 au vent, 1861. At the Folies Marigny : Ver- 
 sez. Marquis, La cigale et la fourmi, 1862 ; 
 La gamine du village, Les trois Normandes, 
 1863 ; Achille chez Chiron, 1864. Th^-atre 
 Saint-Germain : La bouquetiere de Trianon, 
 1864. Bouifes Parisiens : Mme Pygmalion, 
 1863 ; Un congres de modistes, 1865 ; Une 
 femme qui a perdu sa clef, 1866. Theatre 
 International : Gervaise, 1867. Fantaisies 
 Parisiennes : Les oreilles de Midas, 1866 ; 
 Les legendes de Gavarni, 1867 ; Le soldat 
 malgre lui, 1868. Folies Berg^re : Mam'- 
 zelle Pierrot, 1869. Varictes : Mam'zelle 
 Rose, 1874. At the Concert de I'Eldorado : 
 Le souper d'Arlequin ; Balladine et Cas- 
 quenfer ; Un mariage au gros sel ; Don 
 Ferocio ; Le beau chasseur ; Ferme le di- 
 manche ; Un proces en separation ; On de- 
 mande un pretre ; Un souper chez la Con- 
 tat ; L'acteur Omnibus ; Un leudemain de 
 noce ; La bonne de ma tante ; Une cause 
 
 119
 
 BARBIER 
 
 celebre ; Le nez de cartou ; Le coq est 
 mort ! ; La nouirice d'Hercule ; Millionaire ! 
 les point jaunes ; M. I'Alcade ; Maiu' Nico- 
 las ; Le champagne de ma tante ; La fer- 
 miere et son garjon ; Les deux clioristes ; 
 Marion de I'Orme, parody ; Luerece d'Or- 
 geat, do.; Le tresor de Cassandra, Les cas- 
 cades de Pierrot, La batte encliantije (pan- 
 tomimes). At the Alcazar : La fete de Mme 
 Denis ; Un scandale a I'Alcazar ; L'Orches- 
 tre des Danoises ; Les pifferari, ballet. Un- 
 represented operas : Le Miroir, operetta ; La 
 veuve Omphale ; La chaumiere indienne, 
 of)era comique ; Corinne, do. ; Les incroj'a- 
 bles, opera bouife. — Fetis, Supplement, i. 
 42. 
 
 BARBIER VON SIEVERING, DER 
 (The Barber of Sievering), operetta, parodj' 
 on the Barbiere di Siviglia, music by A. Miil- 
 ler, rejDresented at the Theater ander Wien, 
 Vienna, about 1828. 
 
 BARBIER DE TROUVILLE, LE (The 
 Barber of Trouville), operetta in one act, 
 text by M. Henri (Jaime), music by Charles 
 Lecocq, represented at the Bouffes Parisi- 
 ens, November, 1871. 
 
 BARBIER DE \TLLAGE, LE (The Vil- 
 lage Barber), ojaera-comique in one act, 
 text by A. J. Gretry, music by Gretry, rep- 
 resented at the Theatre Feydeau, Paris, 
 May G, 1797. Les barbieres de village, 
 French operetta, text by Blondelet and 
 Baumain, music by Firmin Bernicat, Paris, 
 1878. See Der Dorfbarhier. 
 
 BARBIERE DI SIVIGLIA, IL (The Bar- 
 ber of Seville ; Fr., Barbier de Seville ; Ger., 
 Barbier von Sevilla), Italian ojjera bufifa, 
 text founded on the celebrated comedy of 
 Beaumarchais (1775), music by Paisiello, 
 first represented in St. Petersburg in 1780, 
 and in Paris at the Theatre de Monsieur in 
 the Tuileries, July 12, 1789, and at the 
 Theatre Feydeau, July 22, 1789. This 
 work, sung originally by Signori Viga- 
 noni, Mengozzi, Mandini, Rovedino, Raf- 
 fanelli, and by Signore Morichelli, Baletti, 
 Zerbini, and Mandini, achieved a European 
 success and was always received with en- 
 
 thusiasm until supplanted by Rossini's 
 work. 
 
 BARBIERE DI SIVIGLIA, IL, Italian 
 opera buffa in two acts, text by Sterbini, mu- 
 sic by Rossini, first represented, in Rome, 
 at the Teatro Argentina, Feb. 5, 1816 ; in 
 Paris, at the Salle Louvois, Oct. 26, 1819. 
 Rossini, who had bound himself, Dec. 26, 
 1815, to produce a new opera by the twen- 
 tieth of the following mouth, hesitated to 
 accept a libretto which Paisiello had treated 
 so successfuU}', but, having obtained that 
 composer's permission, wrote the score, it 
 is said, in thirteen days. To avoid the ap- 
 pearance of rivalry with Paisiello he named 
 his work, Almaviva, ossia 1' inutile precau- 
 zione (Almaviva, or the Useless Precaution), 
 but the theatre was packed with the adhe- 
 rents of the older composer, who resented 
 the new effort as an intrusion on his rights, 
 and the work was unmistakably damned ; 
 but it was kept on the stage and continually 
 grew in favour until it became one of the 
 most poj)ular comic operas ever written. 
 A similar result attended its performance 
 in Paris. It was coldly received by the 
 critics, who demanded the Barbiere of Pai- 
 siello ; but when the latter was put upon 
 the stage at the Theatre Italien it met with 
 dismal failure and Rossini triumphed. 
 
 Original Cast in Rome, 1816. 
 
 Rosina (A.) Signora Giorgi Righetti. 
 
 Berta (S.) Signorina Rossi. 
 
 Figaro (Bar.) Signor Luigi Zamboni. 
 
 Count Almaviva (T.) Signor Garcia. 
 
 Bartolo (B.) Signor Botticelli. 
 
 Basilio (Bar.) Signor Vitarelli. 
 
 Cast in Paeis, 1819. 
 
 Rosina Mme Ronzi de Begnis. 
 
 Berta 
 
 Figaro Signor Pellegrini. 
 
 Count Almaviva Signor Garcia. 
 
 Bartolo Signor Graziani. 
 
 Basilio Signor de Begnis. 
 
 The opera was first produced in New 
 
 120
 
 BARBIE RE 
 
 York, at Niblo's Garden, Nov. 29, 182G, 
 with the following remarkable cast : 
 
 Rosiua Signorina Garcia (Malibran). 
 
 Berta Signora Garcia. 
 
 Figaro Signor Garcia, Jr. 
 
 Almaviva Siguor Garcia, Sen. 
 
 Bartolo Siguor Rosich. 
 
 Basilio Signor Angrisani. 
 
 Fiorillo Signor CrevelH. 
 
 Siguor jSIanuel del Popolo-Vicente Gar- 
 cia, the father of Malibran and of Viardot 
 Garcia, took the part of Almaviva, it will be 
 noted, in the original representations of the 
 opera in Rome, Paris, and New York. 
 Among the most noted of the Rosinas of the 
 present time is Mme Adeliua Patti (born at 
 
 ' * -'» 
 
 Adelina Patti. 
 
 Madrid, Feb. 19, 1843), whose marriage (July 
 29, 1868) to Henri, Marquis de Caux, Equerry 
 to Napoleon IIL, was annulled in 1885 and 
 followed by a second union with Signor Nieo- 
 lini (Ernest Nicolas), tenor singer. The 
 scene of the opera is laid in Seville, Spain. 
 Rosina, ward of Dr. Bartolo, who desires 
 to marry her, is loved by Count Almaviva, 
 known to her as Count Lindoro. The 
 Count prevails upon Figaro, the factotum 
 of the place, to secure him an interview 
 with his mistress, who lives with her guar- 
 dian, and, in spite of the latter's watchful- 
 ness and of that of Don Basilio, her music 
 teacher, who is in league with Bartolo, she 
 sends her lover a letter informing him that 
 she returns his passion, and he secures, with 
 
 the aid of Figai-o, admission to the house in 
 the disguise of a drunken dragoon. Foiled 
 in this by the entrance of the guard, who 
 aiTest him, he gets in a second time dis- 
 guised as a music teacher, jsreteudiug to 
 have been sent by Don Basilio, who is ill. 
 He secures Bartolo's confidence by showing 
 him Rosina's letter to himself, promising to 
 persuade her that the letter has been given 
 him by a mistress of the Count, and to thus 
 break off the connection between the two. 
 In an interview with Rosiua an elopement 
 is planned, but Don Basilio comes in and 
 the Count is obliged to make his escape. 
 Dr. Bartolo arouses his ward's jealousy by 
 means of the letter, whereupon she tells of 
 the i^roposed elopement and promises to 
 marry him ; but at the time for the elope- 
 ment the Count and Figaro appear, a rec- 
 onciliation takes place, and the lovers are 
 married by a notary just as Bartolo appears 
 with officers to arrest the Count. The over- 
 ture of H Barbiere di Siviglia is taken from 
 Aureliano in Palmyra, an unsuccessful op- 
 era by Rossini, written in 1814. It had 
 previously served as the overture to Ciro in 
 Babilonia (1812) and later (1815) to EHsa- 
 betta, regina d' Inghilterra. In the first per- 
 formance, in the scene beneath Rosina's 
 balcony, Garcia introduced a Spanish air, 
 but before the second performance Rossini 
 wrote for it the beautiful cavatiua, " Ecco 
 ridente in cielo," borrowing the melody 
 from the opening chorus in Aureliano, 
 " Sposa del graude Osiride." In the second 
 scene Figaro sings the famous bufl'o aria, 
 " Largo al factotum." After a duet between 
 Almaviva and Figaro, " Oggi arriva un reg- 
 gimento," comes the piquant cavatina of 
 Rosiua, "Una voce poco fa," so often heard 
 in concerts. The celebrated Cakimny aria, 
 "La calunnia o un venticello," is a bass 
 solo sung by Basilio, and the duet, "E il 
 maestro io faecio," by Figaro and Rosina. 
 In the second act, the music lesson of Ro- 
 sina gives the singer an opportunity for 
 interpolation, the original being lost. The 
 aria, " Sempre gridi," sung by the duenna 
 
 121
 
 BARBIE RI 
 
 Bertha, is taken from a Russian melody. 
 It is called iu Italy "Aria di Sorbetto," 
 because the audience used to eat ices while 
 it was sung. The trio " Zitti, zitti," is ta- 
 ken from Haydn's Seasons, it being the 
 air sung hj Simon. The same subject has 
 been treated musically by Louis Beuda, 
 Hamburg, 1782 ; by Elsj)erger, Sulzbach, 
 1783 ; and by Schulz, Eeinsberg, 1786. Fig- 
 aro, German opera, music by Tost, was rep- 
 resented at Presbiu'g, 1795 ; Barbiere di Sivi- 
 glia, Italian opera, music by Nicolo Isouard, 
 Malta, about 179G. See also Nozze di Figaro. 
 — Escudier, Rossini, sa vie, etc. ; Castil-Blaze, 
 Theatres Lyriques de Paris ; Edwards, Life 
 of R., 127 ;" Stendhal, 136 ; Hauslick, Mod- 
 erne Oper, 105 ; Musical Rev., ii. 66. 
 
 BARBIERI, CARLO EMANUELE DI, 
 born at Genoa in 1822, died at Pesth, Sept. 
 29, 1867. Dramatic composer, pujjil of 
 Mercadante at Naples. He conducted the 
 orchestra in several Italian opera houses, 
 then in 1845 in Vienna, and in 18-47 iu 
 Berlin, and was Kapellmeister at the Stadt 
 Theater in Hamburg in 1851-53. He then 
 went with an Italian opera troupe to Rio 
 Janeiro, and after his return in 1856 lived 
 iu Vienna, teaching music until 1862, when 
 he became Kapellmeister at the National 
 Theatre in Pesth. Works — Operas : Cristo- 
 foro Colombo, given in Berlin, 1848 ; Nisida, 
 la Perla di Procida, 1851 ; Carlo und Car- 
 lin, 1859 ; Perdita, ein Wiutermiirchen, 
 Leipsic, 1865, and at Cracow, Prague, Wei- 
 mar, Magdeburg, Kunigsberg, Berlin, etc. ; 
 Masses ; Pianoforte pieces ; German and 
 Italian songs. — Mendel. 
 
 BMtBIERI, FRANCISCO ASENJO, 
 born in Madrid, Aug. 3, 1823, still living, 
 1888. Dramatic composer, pupil of the Con- 
 servatorio Maria Christina, Madrid, under 
 Pedro Albenez for pianoforte, Ramon Broca 
 for clarinet, Baltazar Saldoni for singing, and 
 of Carnicer in composition. He was educated 
 as a doctor and a civil engineer, but his love 
 of music led him to adopt it as a profession. 
 For several years he liad a hard struggle, but 
 at last he became a member of the chorus 
 
 at the Cirque Theatre, and wrote a zar- 
 zuela, Felipa, which was not jslayed. He 
 joined an Italian opera company as a 
 supernumerary' and travelled through North- 
 ern Sjiain, and on his return to Madrid in 
 1847 his career as a composer began, and 
 ever since he has been one of the best 
 known writers in Spain, and the chief pro- 
 moter of Spanish national opera in oppo- 
 sition to Italian opera. He first wrote an 
 Italian opera, II buon tempo, but he soon 
 joined a society forming at Madrid for the 
 production of zarzuelas, or Spanish operas 
 comiques, of which he became secretary 
 and a hard-working member, and was at 
 the same time musical critic on the "Ilustra- 
 cion." In 1850 he produced Gloria y Peluca, 
 zarzuela in one act, which obtained a won- 
 derful success, and was followed by several 
 others, and in 1851 brought out Jugar con 
 fuego, which was greeted with enthusiasm 
 and he became a popular favourite. He 
 brought out no less than sixty works in the 
 next twenty-five years, some of which were 
 written in collaboration with other mem- 
 bers of the Zarzuela Society, the com- 
 posers Hernando, Oudrid, Inzeuga, Gaz- 
 tambide, and the dramatic author Don 
 Luiz Olona. The list comprises : Tramoya, 
 Escenas de Chamberi (with Oudrid, Her- 
 nando, and Gaztambide), 1850 ; La Jacara, 
 ballet, La Piscaresca (with Gaztambide), 
 Jugiir con fuego, Por seguir a una mujer 
 (with Oudrid, Inzenga, Gaztambide), 1851 ; 
 La hechicera, El Manzanares, Gracias a 
 Dios que estil puesta la mesa, 1852 ; La es- 
 pada de Bernardo, El Marques de Caravaca, 
 Don Simplicio Bobadilla (with Gaztambide, 
 Hernando, and Inzenga), Galanteos en Veni- 
 cia, 1853 ; Un dia de reinado (with Gaz- 
 tambide, Inzenga, and Oudrid), Aventura 
 de un cantante, Los Diamantes de la Coro- 
 na, 1854 ; Mis dos mujeres, Los dos ciegos, 
 El vizconde, El Sargento Federico, 1855 ; 
 Eutre dos aguas, Gato por liebre. La Zar- 
 zuela (with Gaztambide and Arrieta for the 
 inauguration of the Zarzuela Theatre), 1856 ; 
 El Diablo en el poder, 1856 ; El relampago. 
 
 122
 
 BARBIE ROLLI 
 
 1857 ; Por conquista, Amar sin conocer, Uu 
 caballero particular, 1858 ; El robo de las 
 sabinas, El nifio, Conipromisos del uo ver, 
 Eutre mi imijer y el negro, 1859 ; Un Tesoro 
 escondido, 18G1 ; Los herederos — el secreto 
 de una dania, 1862 ; Dos picboues del Tu- 
 ria, 1863 ; Pan y toros, 186-1 ; Gibraltar en 
 1890, El rabano portas hojas, Eevista de 
 un muerto juicio del aiio 1865 (with Eogel), 
 De tejas arriba, El pavo de Navidad, 1866 ; 
 El pan de la boda, 1868 ; El soprano, La 
 maya, 1869 ; Robinson, 1870 ; Los holga- 
 zanes, Don Pacifico, El liombre es debil, 
 1871 ; El tribute de las cien doncellas, 
 Suefios de oro, 1872 ; El proceso de can- 
 can, 1873 ; Los comediantes de antano. La 
 despedida, lyrical monologue, El domador 
 de fieras, El testamento azul. El barberillo 
 de Lavapies, 1874 ; La vuelta al niundo 
 (with Rogel), 1875. — Fetis, Supjjlument, i. 
 44 ; Mendel, Ergiinz., 24 ; Kiemaun, Lex. 
 
 BARBIEEOLLI, LORENZO, born at 
 Rovigo, Italy, in 1813, still living, 1888. 
 Dramatic composer, known by the opera, 
 I Trojani in Laurento, given at Rovigo, 
 1836, Venice, 1837.— Fetia 
 
 BARBIREAU (Barbarian, Barbingaut, 
 Barbiryant, Barbyrianus), JACQUES, bom 
 perhaps at Mons, Hainault, died at Antwerp, 
 Aug. 8, 1491. Church composer and cele- 
 brated contrapuntist ; he is mentioned as 
 choir-master at Notre Dame, Antwerj), as 
 early as 1448, was considered one of the 
 highest musical authorities of his time, and 
 the master of many famous musicians who 
 lived in his, and at the beginning of the 16th 
 century, notably Okeghem, Jacotin, Breden- 
 iers, Egide Charlier, and Van den Wj'ngaert. 
 Under bis direction the musical service at 
 Notre Dame attained to a very high standard. 
 He was a friend of Rudolf Agricola, with 
 whom he maintained a literary correspond- 
 ence. In thelmjierial Library, Vienna, are the 
 manuscripts of the following : Virgo parens 
 Chi-isti, mass for five voices ; Faulx perverse, 
 do. for four voices ; Kyrie of an Easter mass, 
 for do.; Kyrie and Christe of another mass. 
 — Biog. uat. de Belgique, i. 712 ; FetLs. 
 
 BARCAROLLE, L.\, or LAmour et la 
 musique (Love and Music), French opera- 
 coniique in three acts, text by Scribe, orig- 
 inal plot, music by Auber ; first represented 
 at the Opera Comique, Paris, April 22, 1845. 
 
 BARDES, LES. See Ossian. 
 
 BARGIEL, WOLDEMAR, born in Ber- 
 lin, Oct. 3, 1828, 
 still living, 1888. 
 His father was a 
 music teacher in 
 Berlin, his mother 
 the divorced wife 
 of Friedrich 
 Wieck ; he is thus 
 step-brother t o 
 Clara Schumann. 
 He studied the 
 pianoforte, violin, 
 and organ at home, and counterpoint un- 
 der Dehn. In 1846 he went to Leijjsic, 
 where he spent two years at the Conser- 
 vatory, of which Jlendelssohn was then 
 du-ector. In 1850 he began teaching in 
 Berlin, and gradually established his repu- 
 tation aa a composer by the publication 
 of several pianoforte pieces, orchestral and 
 chamber works. He had already made 
 some mark in Leipsic with a string-octet, 
 which was played at one of the public ex- 
 aminations at the Conservator^'. In 1859 
 he got a professorship at the Cologne Con- 
 servatory, and in 1865 was made Kapell- 
 meister and director of the music school at 
 Rotterdam. In 1874 he became professor at 
 Joachim's Hochschule fiir Musik in Berlin. 
 Bargiel is one of the more prominent fol- 
 lowers of Schumann ; he has not been a vo- 
 luminous composer, but some of his works 
 entitle him to a high position in modern 
 German music. His best known work is the 
 overture to Medea, which holds an honour- 
 able place in the current concert repei'tory. 
 Works : Overture Zur einem Trauerspiel, 
 op. 18 ; do. to Medea, op. 22 ; do. to Pro- 
 metheus ; do. to Romeo und Julie (? is 
 possibly op. 18) ; Synqihony in C ; Trois 
 danses brillantes, for orchestra, op. 24 ;
 
 BAEKOUF 
 
 Psalm 9G for double eliorus, op. 33 ; Two 
 psalms, oj). 25 and 26 ; Trio for piauoforte, 
 violin, and violoncello, op. G ; do., op. 20 ; 
 do., op. 37 ; Suite for pianoforte and violin, 
 op. 17 ; Sonata for do., op. 10. For piano- 
 forte : Drei Charakterstiicke, ojd. 1 ; do., 
 op. 8 ; Nachtstiicke, op. 2 ; Drei Notturnos, 
 op. 3 ; Secbs Bagatellen, op. 4: ; Phautasien, 
 op. 5, 12, 19 ; Suite (4 hands), op. 7 ; Drei 
 Phantasiestiicke, op. 9 ; Marscli und Fest- 
 reigen, op. 11 ; Scherzo, op. 13 ; Suite, op. 
 21 ; Sonata (4 hands), op. 23 ; Phantasie- 
 stiick, oj). 27 ; Acht Pianofortestiicke, op. 
 32 ; Drei do.— Wochenblatt (1871), ii. 424. 
 
 BARKOUF, French opt-ra-boufte in three 
 acts, text by Scribe and Boisseaux, music 
 by Offenbach, represented at the Opera Co- 
 mique, Paris, Dec. 24, 1860. The subject 
 is derived from a political and philosophi- 
 cal tale by the Abbe Blanchet. Barkouf is 
 a bull-dog, sent by the Grand Mogul to 
 govern the inhabitants of Lahore, the most 
 turbulent of his subjects. The people 
 tremble whenever the dog barks, but a 
 young girl named Maima tames the beast 
 and rules Lahore so justly and successfully 
 in his name that when Barkouf is unfort- 
 unately killed all mourn his loss. 
 
 BAEMANN, HEINRICH (JOSEF), born 
 at Potsdam, Feb. 17, 1784, died in Munich, 
 June 11, 1847. Celebrated clarinetist, pu- 
 pil of the oboe school at Potsdam ; in 1798 
 he entered as clarinetist the band of the 
 roj'al guard, where his skill procured him 
 the patronage of Prince Louis Ferdinand 
 of Prussia, who emjsloyed him at his private 
 concerts, and caused him to be instruct- 
 ed by the royal chamber-musician Franz 
 Tausch. After the battle of Jena he was 
 among the prisoners of war, bat, released 
 after the Peace of Tilsit, he returned to 
 Berlin, whence he proceeded to Munich, 
 with a recommendation from the Crown 
 Prince Ludwig of Bavaria, and after the 
 first court concert was at once appointed 
 first clarinetist of the royal orchestra. In 
 1808 he began a sei'ies of concert tours 
 throughout Eurojae, which constituted as 
 
 many triumphs. Karl Maria von Weber, on 
 his visit to Munich in 1811, wrote for him 
 three clarinet-concertos, became his friend, 
 and travelled with him in the same year ; 
 while in Vienna during the Congress of 
 1813, he was intimate with Meyerbeer, who 
 also composed for him, as later on did 
 Mendelssohn, with whom he formed a life- 
 long friendship. His compositions are re- 
 fined, brilliant, and thorough, and continue 
 in high favour with clarinetists. Among the 
 thirty-eight works published are : Concertos 
 and concertinos, op. 24, 27, 28 (Leipsic, 
 Breitkopf & Hiirtel) ; Fantasias and sonatas 
 with orchestra, op. 26, 31 (ib.) ; Quintets 
 for clarinet, two violins, viola, and violon- 
 cello, op. 19, 22, 23 (ib.) ; Quartets for do., 
 op. 18, 25 (ib.) ; Airs varies with orchestra, 
 op. 12, 20, 21, 29, 37 (ib., and Leipsic, Hof- 
 meister ; Bonn, Simrock ; Paris, Gambaro) ; 
 Divertissements, oj). 34, 35, 38 ; Duets, 
 etudes, and solos. His son and pupil Karl 
 (born in Munich, Oct. 24, 1811, died there. 
 May 24, 1885), also stands high as a virtu- 
 oso on the clarinet and basset-horn. He 
 accompanied his father to St. Petersburg in 
 1832, and to Paris in 1839, and succeeded 
 to his position in the royal orchestra at Mu- 
 nich. His compositions number more than 
 eiglity- seven, besides an excellent method 
 for his instrument, in the construction of 
 which he has also made great improvements. 
 — Allgeni. d. Biogr., ii. 69; Fetis ; Mendel; 
 Schilling ; do., Supplement. 
 
 BARNARD, Mrs. CHARLES, born in 
 England in 1834, died at Dover, Jan. 30, 
 1869. Song writer, published many popular 
 ballads under the pseudonym of " Claribel." 
 She wrote also duets, trios, and quartets, 
 and music for the pianoforte. Brown ; 
 Fetis, Supplement, i. 185. 
 
 BARNBY, JOSEPH, born in York, Eng- 
 land, Aug. 12, 1838, still living, 1888. 
 Organist, jnipil of the Royal Academy of 
 Music ; chorister in York Minster. He was 
 for nine years organist at St. Andrew's, 
 Wells Street, London ; was conductor of 
 Barnby's Choir, of the Oratorio Concerts, 
 
 ia4
 
 BARNES 
 
 Au- 
 
 anil of the Royal Albert Hall Choral Soci- 
 ety. In 1875 be was appointed succen- 
 tor and director 
 of musical in- 
 struction at Eton 
 College. Works : 
 Rebekah, orato- 
 rio ; tbe Lord is 
 King, for soli, 
 chorus, and or- 
 chestra, Leeds 
 Festival, 1883; 2 
 Services in E ; Te 
 Deum in B-flat ; 
 
 Magnificat and Nunc dimittis in D 
 theius ; Songs and part songs ; Organ mu- 
 sic ; Hymns, etc. He also edited a Hymnary 
 for Novello, to which be contributed many 
 of tbe airs. 
 
 BARNES, FREDERICK ED"\VIN, born 
 in London in 1858, died in Montreal, Can- 
 ada, Sept. 21, 1880. Organist, pupil of Hel- 
 more in the Chapel Royal and, from 1872, of 
 tbe Royal Academy of Music. Organist of 
 All Saints' Church, London, 1872, of St. Mar- 
 garet's, Liverpool, 1876, of tbe Cathedral, 
 Montreal, in 1878-79, and in 1880 assistant 
 organist of Trinity Church, New York. He 
 was also conductor of the Montreal Philhar- 
 monic Society. "Works : An opera, text by 
 Mrs. G. L. Craik (SIS.) ; Operetta, produced 
 at the "German Reed Entertainments;" 
 The 23d Psalm for soli, chorus, and orches- 
 tra ; Organ and pianoforte music ; Songs. 
 BARNETT, JOHN, born at Bedford, 
 England, July 1, 1802, 
 still living, 1888. Dra- 
 matic composer. His 
 father was a Prussian 
 named Bernhard Beer, 
 of tbe same family as 
 Meyerbeer. When 
 eleven John was articled 
 to S. J. Arnold, propri- 
 etor of the Lyceum, for five years as a singer 
 in return for musical instruction, received 
 from C. E. Horn, and later from Price, chor- 
 us-master of Drury Lane. After leaving Ar- 
 
 nold he studied the pianoforte under Perez, 
 organist of the Spanish Embassy, and under 
 Ferdinand Ries, from whom be received his 
 first lessons in harmony. In 1832 be was mu- 
 sic director of the Olympic Theatre, and in 
 August, 1834, bis best work, Tbe Mountain 
 Sylph, was given at the Lyceum. After this 
 Barnett visited Paris, and about 1837 went to 
 Frankfort to study Yogler's system of har- 
 mony, and composition under Snyder von 
 Wartensee ; while there he wrote a symphony 
 and two quartets (unpublished). In 1838, on 
 returning to London, be joined Morris Bar- 
 nett in an unsuccessful attemi^t to found an 
 English opera bouse. In 18-11 he settled at 
 Cheltenham as singing-master. His compo- 
 sitions include dramatic pieces, operas, an 
 oratorio, Tbe Omnipresence of the Deity 
 (1829), never performed in public, and more 
 than four thousand songs. Works — Dramat- 
 ic pieces : Before Breakfast, Lyceum, 1825 ; 
 Monsieur Mallet ; Robert the Devil ; Coun- 
 try Quarters ; Two Seconds ; Soldier's Wid- 
 ow ; The Picturesque ; Married Lovers ; The 
 Deuce is in her ; Charles the Twelfth ; Carni- 
 val of Naples, Covent Garden, 1830 ; Pet of 
 tbe Petticoats, Sadler's Wells, 1831 ; Paphian 
 Bower, Olympic Revels, Court of Queen's 
 Bench, Blanche of Jersey (written for 
 Olympic Theatre) ; Win her and Wear her, 
 Lyrical Version of Mrs. Centlivi-e's "Bold 
 Stroke for a Wife," for Drury Lane. Operas : 
 Fair Rosamond, Drury Lane ; Farinelli, ib., 
 1838 ; Kathleen, with a libretto by Sher- 
 idan Knowles, and two other operas which 
 have never been performed. Songs : Lyri- 
 cal Illustrations of the Modern Poets (1834:) ; 
 Songs of tbe Minstrels ; Amusement for 
 Leisure Hours. — Grove ; Fetis ; Mendel. 
 
 BARNETT, JOHN FRANCIS, born in 
 London, Oct. 6, 1838, still living, 1888. 
 Dramatic composer and pianist, nephew of 
 tbe preceding, son of Joseph Alfred Bar- 
 nett, professor of music. He studied the 
 pianoforte under Dr. Wylde in 1849, gained 
 tbe Queen's Scholarship at tbe Royal Acad- 
 emy of Music in 1850, and successfully com- 
 peted a second time on its exj)iratiou in 
 
 125
 
 BARNI 
 
 1852. In 1857 he visited Germany, where 
 he studied under Hauptmann and Eietz at 
 the Leijjsic Conserva- 
 torium ; and returned 
 to London in 1860 ; 
 Barnett's first notable 
 work was a symphony 
 in A minor, given by 
 the Musical Society of 
 London, June 15, 1864 ; 
 his most important, an 
 oratorio. The Raising of 
 Lazarus (1873). Other works : Ouverture 
 symphonique, given by the Philharmonic 
 Society, May 11, 1868 ; Concerto in D minor ; 
 two cantatas. The Ancient Mariner and Par- 
 adise and the Peri (written for the Birming- 
 ham Festival in 1867 and 1870) ; Overture 
 to Shakespeare's " Winter's Tale," British 
 Orchestral Society, Feb. 6, 1873 ; Orches- 
 tral work on Scott's " Lay of the Last Min- 
 strel," Liverpool Festival, Oct. 1, 1874: ; Tau- 
 tum Ergo in eight parts ; several quartets 
 and quintets for string instruments ; piano- 
 forte trios and songs. — Grove. 
 
 BARNI, CAMILLO, born at Como, Italy, 
 Jan. 18, 1762, died in Paris after 1811. Vio- 
 loncellist, pupil oil the violoncello of his 
 grandfather David Ronchetti, and of Giu- 
 seppe Gadgi, afterwards (1799) in composi- 
 tion of Minoja at Milan, where from 1788 
 he was second, and from 1791 first violon- 
 ceUist at the Teatro della Scala. In 1802 
 he settled in Paris, and was for some time 
 first violoncellist at the Italian Opera. 
 Works : Concerto for violoncello (1803) ; 2 
 Italian airs, with variations for violin and 
 violoncello ; 6 duets for do. ; 6 trios for vio- 
 lin, viola, and violoncello ; 3 works of quar- 
 tets for strings ; 12 Italian ariettas ; 6 French 
 romances. He also wrote an opera, Edou- 
 ard ou Le frere par supercherie, given at 
 the Theatre Feydeau, 1812, which did not 
 succeed. — Fi'tis ; Mendel. 
 
 BARON, ERNST GOTTLIEB, born at 
 Breslau, Feb. 17, 1696, died in Berlin, Au- 
 gust 26, 1760. Famous lute player, pupil 
 of the Bohemian lutist Kohott. He visited 
 
 several German courts, meeting everywhere 
 with brilliant success, and settled at Jena, 
 until called in 1728 as chamber musician to 
 Gotha, whence he went in the same capacity 
 to Eisenach in 1732. Five years later he 
 went to Berlin, to join the orchestra of 
 Frederick the Great, then crown prince. His 
 compositions, consisting of concertos, sona- 
 tas, trios, duets, and solos, remain unpublish- 
 ed. He wrote also several treatises on his in- 
 strument, and on music in general.- — Allgem. 
 d. Biogr., ii. 82 ; Fetis ; Mendel ; Schilling. 
 
 BARRf:, LEONARD, born at Limoges, 
 France, early in the 16th century. Vocal 
 composer, pupil of Willaerts in Venice, then 
 went to Rome, where he became a singer in 
 the Pontifical Chapel in 1537. He was one 
 of the musical delegates sent by the pope to 
 the Council of Trent in 1545. Of his com- 
 positions sevei'al masses and motets are in 
 manuscript in the hbrary of the Pontifical 
 Chapel. Other motets and madrigals are 
 to be found in a collection published in 
 Venice by Gardane, in 1544. — Fetis. 
 
 BARRE, MICHEL DE LA, born in Paris 
 about 1680, died there in 1744. Flutist, 
 and composer for his instrument. Works : 
 
 3 books of trios for flutes ; 13 suites of duets 
 for do. ; Sonatas for the flute, with bass, op. 
 
 4 ; Collections of drinking songs in two 
 parts ; Le triomphe des arts, ballet, given 
 at the Academic Royals de Musique, 1700 ; 
 La Venitienne, do., ib., 1705. — ^Fetis. 
 
 BARRETT, JOHN, born about 1674, died 
 in London in 1735. Organist, pupil of Dr. 
 Blow. He was music master at Christ's 
 Hospital and organist at St. Mary-at-Hill 
 about 1710. He wrote overtures and act 
 tunes for Love's Last Shift ; or, the Fool in 
 Fashion, 1696, Tunbridge Walks, 1703, and 
 Mary, Queen of Scots (1703). His songs 
 are to be found in D'Urfey's " Wit and 
 Mirth ; or. Pills to Purge Melancholy," and in 
 other collections of the day. Gay borrowed 
 his melody of lanthe the Lovely, for a song 
 in the Beggar's Opera. — Grove ; Mendel. 
 
 BARRY, CHARLES AINSLIE, born in 
 London, June 10, 1830, still living, 1888.
 
 BAESANTI 
 
 Organist, pupil of Thomas Attwood Walm- 
 islej' at Cambridge, then at the Conserva- 
 torium iu Cologne of Franz Weber on tbe 
 organ, of Eduard Franck on tbe pianoforte, 
 and of Hiller in composition ; finally at 
 Leipsic (1856-57) of Moscbeles, Plaidy, and 
 Kicbter. He lived for a time at Dresden, 
 wbere be was influenced by Reissiger, and 
 returned to London in 1858. Works : Sym- 
 phony for full orchestra ; 2 overtures for 
 do. ; Marches for do. ; Quartet for strings ; 
 An operetta ; Several cantatas, sacred and 
 secular ; Pianoforte and vocal music. 
 
 BARSANTI, FRANCESCO, born at Lucca 
 about 1G90, died in London after 1750. Vir- 
 tuoso on tbe tlute and oboe, went with 
 Geminiani to London in 1714, and entered 
 tbe orchestra of the Italian opera, first as 
 flutist, then as oboist. For several years he 
 then held a lucrative position iu Scotland, 
 but returned to London iu 1750, and played 
 the viola in the orchestras of the Opera iu 
 winter and of Vauxhall in summer. Works : 
 6 solos for flute, with bass, 1st book ; 6 do., 
 2d book ; G sonatas for two violins and 
 bass ; 12 concertos for violin ; G anthems in 
 the style of Palestriua ; Collection of old 
 Scotch melodies, with bass. — Fetis ; Grove ; 
 Schilling. 
 
 BARTA, JOSEF, born in Bohemia about 
 na, died in Vienna in 1803. Dramatic 
 composer, at first organist of St. Paul's 
 Chui'ch in Prague, then settled in Vienna in 
 1778. Works : Da ist nicht gut zu rathen, 
 operetta, given in Vienna, 1780 ; II mercato 
 di Malmantile, opera buffa, ib., 1781 ; Der 
 adelige Taglohuer, operetta, ib., 1795 ; Die 
 donnernde Legion, do. ; G quartets for two 
 violins, viola, and bass ; 4 concertos for pi- 
 anoforte ; 6 duets for two sopranos ; Songs. 
 — Fetis ; Schilling. 
 
 BART EI, GIROLAMO, born at Arezzo, 
 Italy ; lived earlj' part of 17th century. 
 General of the Augustin order of monks at 
 Rome. According to Baini (Memorie), he 
 published some masses for eight voices, a 
 book of ricercari for two voices, and two 
 books of concerti for two voices and organ 
 
 (Rome, 1G18) ; Fetis adds some Responsaria 
 for four equal voices (Venice, 1G07). — Fetis ; 
 Schilling. 
 
 BARTH, CHRISTIAN SAMUEL, born 
 at Glauchau, Saxony, iu 1735, died at Co- 
 penhagen, July 8, 1809. Virtuoso on the 
 oboe, pupil of Bach at the Thomasschule in 
 Leipsic ; was chamber musician successively 
 at Rudolstadt (1753), Weimar (17G2), Han- 
 over (17G8), Cassel (1772), and finally at 
 Copenhagen (178G-98). Works : 5 concer- 
 tos for oboe ; Rondeau suisse for do., with 
 orchestra, op. 10 (Leipsic, Breitkopf & 
 Hilrtel) ; Divertissement for oboe, two vio- 
 lins, viola, and bass, op. 8 (ib.) ; Pot-jjourri 
 for oboe and pianoforte, op. 9 (Offenbach, 
 Andre) ; Sonatas for pianoforte and oboe 
 (Hanover, Kruschwitz) ; Six ecossaises for 
 pianoforte (Coiienhagen, Lose) ; Grand sj'm- 
 phony for wind instruments (Oft'enbach, An- 
 dre) ; Overture for orchestra, op. 18 (ib,). 
 His son and pupil Philipp (born at Cassel 
 in 1773) succeeded him in the orchestra at 
 Cassel, and was afterwards called to Copen- 
 hagen as director of the royal band. He 
 composed concertos for oboe, a concerto for 
 flute, a symphonie concertante for two horns, 
 etc. — Fetis; Mendel; Schilling. 
 
 BARTHE, GRAT NORBERT, born at 
 Bayonne, June 7, 1828, still living, 1888. 
 Dramatic comjjoser, pupil of Leborne at the 
 Conservatoire, Paris ; won the grand prix in 
 1854, and studied for three years in Rome. 
 Works : Francesea da Rimini, cantata (grand 
 prix, 1854) ; Judith, oratorio ; Don Carlos, 
 opera; La Fianree dAbydos, do., given at 
 the Theatre Lyrique, 18G5. — Fetis, Supple- 
 ment, i. 50. 
 
 BARTHEL, JOHANN CHRISTIAN, 
 born at Plauen, Saxony, April 19, 177G, died 
 at Altenburg, June 10, 1831. Organist and 
 pianist, pupil of the organist Rosier on the 
 pianoforte, then at the Thomasschule in 
 Leipsic of Johann Adam Hiller and of Gor- 
 ner. When not quite twelve years of ago, 
 he played one of Mozart's most difficult 
 pianoforte concertos to the delight of the 
 composer ; when fourteen he became organ- 
 
 ic
 
 BARTllELEMON 
 
 ist at the free school in Leipsic, and two 
 years later concert director to Prince Schon- 
 burg. About 1796 he returned to Leipsic, 
 to complete his studies, and in 1798 -was 
 appointed cantor and musical director at 
 Greitz ; some jears after he made a suc- 
 cessful concert tour as organist through 
 Germany, and in 1804 became court organ- 
 ist at Altenburg. Of his numerous com- 
 positions, consisting of cantatas, motets, one 
 hundred and four j)salms, etc., only some 
 fantasias for the organ were printed. — Fe- 
 tis ; Gerber, N. Lex. ; Schilling. 
 
 BARTHELEMON, FRANCOIS HIP- 
 POLITE, born at Bordeaux, July 27, 1741, 
 died in London, July 20, 1808. Dramatic 
 composer and violinist. In 1765 he settled 
 in England, where he was appointed leader 
 of the Opera band ; and in 1770 leader at 
 Vauxhall Gardens. His professional life 
 was passed in England, with the exception 
 of a tour through Germany, Italy, and 
 France in 1776-77, and a visit to Dublin in 
 1784. While in Florence he set to music 
 the oratorio by the Abbate Semplici, Jefte in 
 Masfa. Works — OjDeras : Pelopida, given 
 at the Kings Theatre, London, 1766 ; Le 
 fleuve Scamandre, given in Paris, 1768. 
 Dramatic pieces : Orpheus, Judgment of 
 Paris, 1768 ; Enchanted Girdle ; Election, 
 Maid of the Oaks, 1774 ; Belphegor, 1778. 
 Preludes for the organ ; Quartets for stringed 
 instruments ; Concertos and duets for the 
 violin ; Pianoforte exercises ; Awake, my 
 Soul, hymn.— Fetis ; Grove. 
 
 BARTHOLDY. See Mendelssohn - Ba,r- 
 tholdy. 
 
 BARTHOLOJIEW, ANN SHEPPARD 
 MOUNSEY born (Mounsey), in London, 
 April 17, 1811, still living, 1888. Organist 
 and pianist, pupil of J. B. Logier from 1817 ; 
 organist at Clapham, 1828 ; at St. Michael's, 
 Wood Street, 1829 ; and at St. Vedast's, 
 Foster Lane, from 1837. She became 
 an associate of the Philharmonic Soci- 
 ety and a member of the Royal Society of 
 Musicians in 1839. In 18.59 she was mar- 
 ried to William Bartholomew (born in 
 
 London, 1793, died there, 1867), violinist 
 and writer, well known as the adapter of 
 the English librettos 
 of Mendelssohn's op- 
 eras and oratorios, 
 Mehul's Joseph, 
 Spohr's Jessonda,etc. 
 Mrs. Bartholomew 
 has been a noted 
 teacher of the piano- 
 forte and organ, and 
 of harmony, and a 
 prolific com poser. 
 Works : The Nativity, oratorio, text by 
 William Bartholomew, produced in Lon- 
 don, 1855 ; Sanctus, Kyries, and Chants, 
 1853 ; Supplication and Thanksgiving, sa- 
 cred cantata, 1864 ; The Young Vocalist, 
 1867 ; Holy Thoughts, 1875 ; 34 Orig- 
 inal Tunes (London, 1883) ; 6 four-part 
 songs, op. 37 ; 3 four-part songs, 1870 ; 
 Many songs, and organ and pianoforte 
 music. 
 
 BARTLETT, HOMER NEWTON, born, 
 of American parentage, in Olive, New York, 
 Dec. 28, 1845, still hving, 1888. Pianist 
 and organist ; played on the violin at the 
 age of five, and appeared in concerts when 
 nine years old. At sixteen he began a 
 regular course of musical instruction ex- 
 tending over seven years, studied the 
 pianoforte under S. B. Mills and others, 
 and harmony and counterpoint under Max 
 Brauu, Jacobsen, and others. He has occu- 
 pied the position of organist in several 
 churches in New Yoi'k and vicinity, and is 
 at present organist of the Madison Avenue 
 Baptist Church, New York. Works : 80 
 published compositions, of which about 50 
 are for the pianoforte ; the others are songs, 
 quartets, anthems, and glees for men's and 
 women's voices, and a sextet for strings 
 and flute. Among his unpublished works 
 are : La Valliure, opera in three acts, text 
 by J. Berry, 1885-86 ; Ignis Fatuus, ca- 
 price for orchestra, 1884 ; 2 marches for 
 orchestra, 1885 ; Quartet for harp, organ, 
 violin, and violoncello, 1888 ; The Last 
 
 128
 
 BARTNAXSKY 
 
 Chieftain, cantata, 1888 ; Samuel, oratorio, 
 text by J. B. Bartlett, 1888. 
 
 BAKTNANSKY (Bortniausky), DIMI- 
 TRI STEPHANOVICH, born at Gloukoff 
 (Ukraine) in 1752, died iu St. Petersburg, 
 Sept. 28 (Oct. 9), 1825. Church composer, 
 pupil of Galupj)i, first at St. Petersburg, then 
 at Venice ; called the Russian Palestrina. 
 A singer iu the choir of the luijDerial Chajjel, 
 he was patronized by the Empress Eliza- 
 beth, and also by Catherine 11., who sent 
 him to Italy in 1768 to continue his studies. 
 After leaving Galuppi, he studied at Bo- 
 logna, Eome, and Naples, and on his return 
 to Russia in 1779 became director of the 
 Imperial Chapel, which he thoroughly re- 
 formed. He reduced Russian church mu- 
 sic to a system, and composed forty-five 
 psalms iu four and five parts which were 
 considered very fine and were sung iu his 
 choir, thenceforth known as the Im^jerial 
 Chapel Choir. He composed a Greek mass 
 for three voices, ten concertos for double 
 choir, forty-five psalms for four and eight 
 voices, and other church music. An ojDera, 
 Fabio Quinto, was given at Modena in 1778. 
 — Fetis ; Grove ; Mendel ; Schilling. 
 
 BASEVI, ABRAMO, born iu Leghorn, 
 December, 1818, died in Florence, Decem- 
 ber, 1885. Theoretical and critical writer 
 and founder and proprietor of the two mu- 
 sical journals "Annonia" and "Boccherini." 
 Works : Romilda ed Ezzelino, oj^era, rejjre- 
 sented at the Teatro Alticri, Florence, Aug. 
 11, 1840; Enrico Odoardo, opera. La Per- 
 gola, ib., 1847. 
 
 BASILI (Basily), DOMENICO ANDREA, 
 maestro di caiDj)ella at Loreto, middle of 
 18th century, died in 1775. Church com- 
 poser, author of motets for three, four, and 
 five voices, iu the Abbate Santini's collec- 
 tion, together with a Salve Regiua in two 
 double canons, two Christus factus est for 
 four voices, a Miserere for eight and an- 
 other for twelve voices. Fetis jiossessed 
 eight masses for four voices, and two for 
 eight voices in manuscript. He wrote a 
 great deal of other church music, aud for the 
 
 use of his pupils published a collection of 
 twenty-four studies for the harpsichord, un- 
 der the title, Musica universale armonico- 
 pratica (Venice, Alessandri). — Fetis. 
 
 BASILI, FRANCESCO, born at Loreto 
 iu February, 1766, died in Eome, March 25, 
 1850. Dramatic composer, son of Domen- 
 ico Andrea Basili, and pupil of Jauuaconi, 
 of the Roman school after 1775. While 
 very young he became maestro di cappella 
 at Foligno, and wrote there his first work, 
 a cantata, Ariana e Teseo. At the age of 
 twenty-two he gave in Milan his first opera. 
 La bella incognita, 1788, which was soon 
 followed by La locaudiera, a farce jjlayed 
 at Rome about 1789. Ten years later be 
 left Foligno for a similar post at Macerata, 
 where soon after he contracted a rich mar- 
 riage, enabling him to give up music as a 
 l^rofession, but the union resulting iu a sejj- 
 aration in 1810, he accepted the position as 
 maestro di cappella at Loreto, and again 
 began comjjosing for the theatre. He was 
 called to Milau in 1818, brought out there 
 two new operas, and iu 1824, at the Teatro 
 S. Carlo iu Naj^les, his dramatic oratorio, II 
 Sansone, iu which the principal parts were 
 written for Lablache and Nozzari ; he also 
 wrote a Requiem mass for the death of 
 Jannaconi, performed at the Church of the 
 Twelve Apostles in Rome (181G). He was 
 appointed censor of the Imperial Conserva- 
 torio at Milan in 1827, and after occujsyiug 
 that i^osition for ten years was called to 
 Rome to succeed Fioravanti as maestro di 
 cajjpella of St. Peters, which post he held 
 until his death. He composed an immense 
 amount of church music ; Fetis gives an 
 exhaustive list of his published works, and 
 of those left in MS. at his death ; they con- 
 sist of Ave Marias, kyries, offertories, masses, 
 graduals, motets, introits, vespers, psalms, 
 hymns, litanies, etc. His operas are : 
 Achille neir assedio di Troja, given at 
 Florence, Teatro de la Pergola, 1798; 11 
 ritorno d' Ulysso, ib. 1799 ; Antigoua, 
 Venice, about 1800 ; Conviene adattarsi, 
 opera buffa, ib., Teatro S. Mose, about 
 
 129
 
 BASILIUS 
 
 1800 ; L' Unione mal pensata, farce, ib., 
 Teatro S. Benedetto, 1800 ; Lo stravagante 
 ed il dissipatore, Venice, 1802 ; L' ira d' 
 Acbille, L' orfana egiziana, ib., 1817 ; 
 Isaura e Eicciardo, Rome, about 1817 ; Gli 
 Illinesi, Milan, 1818 ; II Califtb e la scbi- 
 ava, Milan, Teatro della Scala, 1818.— Fetis ; 
 Grove ; Mendel ; Schilling. 
 
 BASILIUS, German opera seria, music by 
 Keiser, represented at Wolfenbiittel, 1G93. 
 The hero is Basilius I., Emperor of the East 
 (a.d. 867-88G), who, the son of a small 
 farmer in Thrace, raised himself to the im- 
 perial dignity and became one of the most 
 famous of the Byzantine rulers. The same 
 subject is treated in Basilio, Ee d' Orients, 
 Italian opera, music by Navara, Venice, 
 1G96 ; and music by PorjJora, Naples, 
 1709. 
 
 BASSANI, GIOVANNI BATTISTA, born 
 at Padua about 1C57, died at Ferrara in 
 1716. Dramatic composer and violinist. 
 He conducted for several years the cathe- 
 dral music at Bologna and from 1G85 held 
 the same position at Ferrara. He was a 
 member of the Accademia della Morte, Fer- 
 rara, and of the Accademia dei Filarmonici, 
 Bologna, of which he was prineipe in 1682. 
 Corelli is believed to have been one of his 
 pupils. Fetis gives a complete list of works 
 published by Bassani from 1G80 to 1710, 
 which includes six operas, thirtj'-one masses, 
 besides cantatas, motets, and psalms, for one, 
 two, or three voices with instruments, and 
 sonatas for violins and violoncello. Works 
 —Operas: Falaride, tiranno d' Agrigente, 
 given at Venice, 1G84 ; Amorosa preda di 
 Paride, Bologna, 1684 ; Alarico, E6 de' Goti, 
 Ferrara, IGOO ; II Conte di Baeheville, Pis- 
 toja, 1G96 ; La morte delusa, Ferrara, 169G. 
 The Imperial Library, Paris, and the Eoyal 
 Library, Berlin, own several of liis MSS. 
 Kent has taken the chorus, "Thy righteous- 
 ness," in his anthem, "Lord, what love," 
 from his Magnificat in G minor, and the 
 Hallelujahs in, "Hearken unto this," from 
 his Alma Mater. — Fi'tis ; Gerber, N. Lex. ; 
 Wasielew.ski, Die Violine, etc., 36. 
 
 BASSFORD, WILLIAM KIPP, born in 
 New York, N. Y., April 23, 1839, still living, 
 1888. Pianist and organist, pupil in har- 
 mony and composition of Samuel Jackson, 
 an organist in New York. After travelling 
 extensively in the United States witli a con- 
 cert troupe as pianist, he settled in New 
 York, where he has since devoted himself to 
 pianoforte teaching and composition. He 
 has also been organist of several churches 
 in New York, among them, of the Madison 
 Square Presbyterian Church, and he is at 
 present organist of Calvary Church, East 
 Orange, N. J. Works : Cassilda, opera in 
 two acts ; Devotion, Young Maiden and 
 Flowers, Meditation, Morning Song, Tran- 
 quility, and other pianoforte pieces ; Mass 
 in E-flat, and other sacred music ; "Never- 
 more," " She flung the roses iu the air," 
 "Sigh, thou Wind," " Thou lov'st no more," 
 and other songs. Mr. Bassford was also en- 
 gaged by Mme Wallace to complete the op- 
 era of Estrella, left unfiuished by William 
 Vincent Wallace. 
 
 BASSIEON, PHILIPPE, lived in the 
 Netherlands in the 15th century. He was 
 a contemporary of Josquin Depres. Some 
 of his masses are preserved by Ottaviano 
 Petrucci of Fossombrone in his collection 
 entitled, Missse diversorum auctorum (Ven- 
 ice, 1508). In the fourth book of Motetti 
 published at Venice by Petrucci is an In- 
 violata by Bassiron. — Grove ; Fetis ; Men- 
 del. 
 
 BASTIAANS, JOHAN GERARDSZOON, 
 born at Twello, Holland, in 1812, died at 
 Haarlem, Feb. 16, 1875. Organist, pupil of 
 Friedrich Schneider at Dessau, of Mendels- 
 sohn at Leipsic, and of Johann Schneider in 
 Dresden. After his return he settled at 
 Amsterdam, and in 1839 became organist of 
 the Zuiderkerk. In 1868 he was appointed 
 to the same jjosition at St. Bavon's Church 
 in Haarlem. Works : Cantata for mixed 
 chorus ; Motet for do. ; 6 jjieces for organ ; 
 Songs without words, for pianoforte ; So- 
 nata ; Choral Book. He was the author of 
 two theoretical works. — Viotta. 
 
 180
 
 BASTIEN 
 
 BASTDEN UND BASTIENNE, German 
 
 operetta iu one act, text by Anton Scliacbt- 
 ner, music by Mozart, iserformed in a Gar- 
 den-bouse belonging- to his friends tbe Miss- 
 mers, Vienna, 17GS. Mozart was then only 
 twelve years old. Tbe libretto is an adaj^- 
 tatiou of Weiskern's translation of a Frencb 
 parody, by JIadanie Favart, of Rousseau's 
 Devin du Village. The cliaracters rejjre- 
 seuted are : Bastien (tenor), Bastienne (so- 
 prano), and the Soothsayer Colas (bass). 
 — Wurzbaeh, Mozart Buch, 73. 
 
 BASTON, JOSQUm, born iu Flanders, 
 first half of the 16th century, died after 
 l.'JGe. Composer of motets, madrigals, 
 etc. His works form j^art of collections 
 published at Antwerp (15i2-58), Augsburo- 
 (1515), and Louvain (1554-Gl). — Biog. uat. 
 de Belgique, i. 770 ; Fetis. 
 
 BA-TA-CLAN, French operetta in one 
 act, text by Ludovic Halevy, music by Of- 
 fenbach, first represented at the Bouffea 
 Parisieus, Pariss, Dec. 29, 1855. This piece 
 of nonsense, with a Chinese plot, had a con- 
 siderable success. 
 
 BATES, WILLIAM, English composer of 
 the 18th century. He wrote the music of 
 The Jovial Crew, comic opera, 17G0 ; Phar- 
 naees, opera, 1765 ; The Ladies' Frolic 
 (jointly with Dr. Arue), an alteration of The 
 Jovial Crew, 1770 ; The Theatrical Candi- 
 dates, musical prelude, 1775 ; and Flora, or 
 Hob in the Well, 1768. He was the com- 
 poser also of glees, catches, and canons. 
 — Grove. 
 
 BATESON, THOMAS, born in England 
 about 1575, time of decease unknown. Or- 
 ganist of Chester Cathedral from 1599 to 
 1611, soon after which be settled in Ireland, 
 and became organist to Christ Church Ca- 
 thedral, Dublin He received the degree of 
 Mus. Bac. from Dublin University. Works : 
 A set of madrigals in praise of Queen Eliza- 
 beth (1601) : First Set of Madrigals (1604) ; 
 Second Set of Madrigals, with the following 
 inscription on the title-page : " Bachelor of 
 Mu.sick, Organist, and I\Iaster of the Chil- 
 dren of the Cathedral Church of the Blessed 
 
 Trinity, Dublin (1618)." The Musical An- 
 tiquarian Society has reprinted his First 
 Set of Madrigals, and some of his church 
 music is contained in the Society's "An- 
 thems by composers of the Madrigalian 
 Era." — Grove. 
 
 BATISTE, ANTOLNE EDOU.ABD, born 
 in Pari.s, March 28, 1820, died there, Nov. 
 9, 1876. Organist, son of Antoiue fidouard 
 Batiste, the well-known singer of the Opera 
 Comique ; pupil at the Conservatoire iu 
 1828, studied solfege under Leborne and 
 Bieuaime, harmony and accomiJauiment 
 under Lecouppey and Dourleu, composition 
 under Halevy, and the organ with Benoist. 
 He took 2d prize for solfege in 1832, 1st 
 prize in 1833 ; 2d prize for harmony and 
 accompaniment in 1836, 1st prize in 1837 ; 
 2d prize for counterpoint and fugue, and 2d 
 prize for organ, in 1838 ; 1st prize for all 
 three in 1839 ; and 2d grand prix de Eome 
 in 181:0. He was professor in the Conser- 
 vatoire from 1836, organist of Saint Nicolas- 
 des-Champs in 1812-54, and organist of 
 Saint Eustache in 1854. His organ music 
 consists of oflertoii-es, sonatas, fugues, fanta- 
 sias, voluntaries, etc., and he also wrote songs 
 and pianoforte nmsic. His edition of the 
 twelve volumes of Solfeges du Conservatoire, 
 annotated by him with accompaniment for 
 piano, or for organ with figured bass, and 
 a Solfege harmonique, was highly eulogized 
 by the Conservatoire. — Fetis, Supplement, 
 i. 52 ; Mendel, Ergilnz., 26. 
 
 BATISTIN. See Slruci: 
 
 BATTA, ALEXANDRE, born at Maes- 
 tricht, July 9, 1816, still living, 1888. Vio- 
 loncellist, pupil of Platel at the Conserva- 
 toire, Brussels, where he won the first jsrize 
 in 1834. He went to Paris, whence he made 
 successful concert tours through the greater 
 part of Eui'ope. He has published many 
 fantasias, romances, variations, etc., for vio- 
 loncello. His youngest brother, Joseph 
 (born at Maestricht, April 24, 1820), pupil 
 at the Conservatoire, Brussels, where he 
 won the grand prize for composition iu 
 1845, has been violinist in the orchestra of
 
 BATTANCHON 
 
 the Opera Conuqxie, Paris, since 1846, and 
 has conijjosed cantatas, overtures, sympho- 
 nies, etc. — Fetis. 
 
 BATTANCHON, F^LIX, born in Paris, 
 April 9, 181-4, still living, 1888. Violoncel- 
 list, 2>npil of Vasliu and Norblin at the Con- 
 servatoire, and since 1840 member of the 
 orchestra of the Opera. Works : Trois 
 etudes en double corde, op. 1 (Paris, Ei- 
 chault) ; Airs bretons, for violoncello and jsi- 
 auoforte (ib.) ; Deux melodies, for do., op. 
 3 (Leipsic, Hofmeister) ; 24 etudes pour 
 violoncelle, op. 4. — Fetis. 
 
 BATTEN, ADRIAN, born at Winches- 
 ter (?), England, about 1585, died in Lou- 
 don (?) about 1640. Church composer, 
 brought up in the cathedral choir of Win- 
 chester under John Holmes, was appointed 
 vicai--choral of Westminster Abbey in 1G14, 
 and removed in the same capacity to St. 
 Paul's Cathedral in 1624, where he held also 
 the position of organist. _ He wrote several 
 anthems which ai'e still sung, and a Morn- 
 ing, Communion, and Evening service in the 
 Dorian mode. Several of his compositions 
 are printed in Barnard's and Boyce's collec- 
 tions. — Burnej" ; Grove. 
 
 BATTI, BATTI, O BEL ]\L^SETTO. See 
 Don Giovanni. 
 
 BATTLSHILL, JONATHAN, bom in 
 London, May, 1738, 
 died at Islington, 
 Dec. 10, 1801. Or- 
 ganist, chorister in 
 1747 of St. Paul's 
 Cathedral u n d e r 
 W i 1 1 i a m Savage, 
 and later his arti- 
 cled puisil. After 
 officiating as harp- 
 sichord player at 
 Covent Garden Theatre, he became, about 
 1771, organist of the united parishes of St. 
 Clement, Eastcheap, and St. Martin, Orgar, 
 and a little later of Christ Church, Newgate 
 Street. He w-rote glees, catches, songs, and 
 (in conjunction with Michael Arne) the 
 score to the opera of Almena, given in Lon- 
 
 don, 1764 ; the music to a pantomime, The 
 Rites of Hecate, 1764 ; and much church 
 music. Two of his glees won prizes from 
 the Catch Club, Underneath this Myrtle 
 Shade, 1770, and. Come, bind my hair, 1771. 
 Published works : 3 collections of songs ; 4 
 anthems in Page's Harmonia Sacra ; 6 an- 
 thems and ten chants (Page, 1804) ; Glees 
 and catches in Warren's collection ; 12 psalm 
 tunes and an ode in Page's collection of 
 hvmus. — Grove ; Fetis. 
 " BATTISTA, VINCENZO, born at Naples, 
 Oct. 5, 1818 (1823 ?), died there, Nov. 14, 
 1873. Dramatic composer, pupil of the 
 Royal College of Music at Naples. His first 
 opera, Anna La Prie, was played at the San 
 Carlo in 1843 ; Margherita d'.lragona, ib., 
 1844 ; Rosvina de le Forest, Milan, Teatro 
 delta Scala, 1845 ; Emo, Naples, 1846 ; 
 Irene, ib., about 1847 ; Eleonora Dori, ib., 
 1847 ; II corsaro della Guadalupa, ib., Tea- 
 tro Nuovo, 1853 ; Ermelinda, ib., Alba 
 d' Ora, ib., 1869. He also wrote music to 
 a part of Dante's Inferno, called II Bivacco. 
 —Fetis. 
 
 BATTLE OF PRAGUE, a piece of mili- 
 tary music, by Kotzwara, a native of Prague, 
 descriptive of the battle fought near that 
 city. May 6, 1757, in which Frederick the 
 Great defeated the Austrians. It was writ- 
 ten for the pianoforte, with violin and vio- 
 loncello accompaniment, and was published 
 at Berlin and Hamburg about 1792 and in 
 Loudon in 1793. The j)iece was very suc- 
 cessful and was the precursor of much other 
 music of a similar kind. — Fetis; Grove. 
 
 B.\TTLE SYMPHONY. See Wdlington'.^ 
 Sieg. 
 
 BATTMANN, JACQUES LOUIS, born at 
 Maasmiinster, Alsace, Aug. 25, 1818, died at 
 Dijon, July 7, 1886. Organist, first at Belfort 
 (1840), then at Vesoul ; pupil at Colmar of 
 Theodor Sehlosser in harmony and composi- 
 tion, and of Martin Vogt on the organ. He 
 has i^ublished about 400 works, consisting of 
 masses, motets, choruses ; many pieces for 
 the harmonium ; studies for the organ and 
 pianoforte ; duos and trios for violins ; ro- 
 
 138
 
 BATTON 
 
 mauces, chansonettes, and man_y dances for 
 pianoforte, etc. — Fetis, Supplement, i. 55. 
 
 BATTON, DftSIRE ALEXANDRE, born 
 in Paris, Jan. 2, 1797, died at Versailles, Oct. 
 IG, 1855. Dramatic composer, pupil of the 
 Conservatoire from 1806 ; studied counter- 
 point under Cherubini. He gained the 2d 
 grand jjrixde I'lnstitutin 1816, and the 1st in 
 1817, for his cantata, La Mort d'Adouis, ac- 
 quiring the right to travel for five years in 
 Italy and Germany. While in Rome he com- 
 posed an oratorio, and several pieces of sa- 
 cred and instrumental music ; at Munich he 
 brought out a symphony and other works, 
 and returned to Paris in 1823. Having ob- 
 tained little success with several operas, he 
 was on the point of giving uj) his musical 
 career, when the opera, La Marquise deBrin- 
 villiers, written in 1832, in collaboration with 
 Auber, Herold, Carafa, and others, again 
 brought him into public favour, as the finale 
 written by him was very fine. He was made 
 Inspecteur des Suecursales at the Con- 
 servatoire in 1842, and director of a vocal 
 class in 1847. Works : La fenetre secrete, 
 comic opera, given in Paris, Theatre Fey- 
 deau, 1818 ; Ethelvina, ib., Op^ra Comique, 
 1827 ; Le prisonnier d'etat, Theatre Fey- 
 deau, 1828 ; Le champ du drap d'or (with Ri- 
 faut and Leborne), ib., 1828 ; Le remi)la<;ant. 
 Opera Comique, 1837. — Fetis ; Mendel. 
 
 BATTU, PANTALEON, born in Paris in 
 1799, died there, Jan. 17, 1870. Violinist, pu- 
 pil of Rudolph Kreutzer at the Conservatoire, 
 where he obtained the first prize in 1822. 
 From the start he was successful as a solo 
 player in the Concerts spirituels, and in the 
 concerts of the Conservatoire, which he 
 helped to establish. He was at the same 
 time a member of the orchestra of the 
 Opei'a, and until 1830 also of the Eoj'al 
 Chapel ; in 1846 he became second chef 
 d'orchestre at the Opera, and retired into 
 private life in 1859. Works : 2 concertos for 
 violin, op. 1, 3 (Paris) ; 3 duos concertants 
 for two violins, op. 2 (ib.) ; Theme varie for 
 violin, with orchestra ; Romances, with pi- 
 anoforte.— Fetis ; Mendel. 
 
 BAUDIOT, CHARLES NICOLAS, born 
 
 at Nancy, March 29, 1773, died in Paris, 
 Sept. 26, 1849. Violoncellist, pupil of Jan- 
 son the elder, whom he succeeded as pro- 
 fessor at the Conservatoire, Paris, in 1802, 
 and whence he retired in 1822, having been 
 appointed also first violoncello of the royal 
 orchestra in 1816. Works : 2 concertos for 
 violoncello ; 2 concertinos for do., op. 19 
 and 20 ; Trio for violin, viola, and violon- 
 cello, op. 3 ; Duets for violoncello, op. 5 and 
 7 ; Pot-pourri for do., with quartet ; 3 fan- 
 taisies for do., with pianoforte, op. 12; 3 do., 
 op. 20 ; 3 nocturnes for violoncello and 
 harp ; 2 works of sonatas for violoncello, 
 with bass ; Trios for pianoforte, violoncello, 
 and horn, and for pianoforte, harjs, and vio- 
 loncello ; Themes varies for violoncello and 
 pianoforte ; 3 duets for do. on themes of 
 Rossini and Auber, op. 31 ; Many pieces ar- 
 ranged after Lafont and de Beriot, for violon- 
 cello ; Methode complete de violoncelle, op. 
 25 ; Instruction pour les compositeurs. — 
 Fetis ; Riemann. 
 
 BAUDOIN. See Bauldewijn. 
 
 BAIXDEWIJN (Baudoin, Baulduin, 
 Balduin), NOEL (Natalis), born in the sec- 
 ond half of the 15th century, died at Ant- 
 werp in 1529. Maitre de musique of Notre 
 Dame at Antwerp in 1513-18. It is possi- 
 ble that he visited Italy, as some of his 
 motets were printed by Petrucci de Fossom- 
 brone in the collection, Motetti della corona, 
 in 1519. His masses in MS. are in the 
 Pontifical Chapel in Rome, and the Royal Li- 
 brary at Munich. Other motets are to be 
 found in collections published at Augsburg 
 (1540), Antwerp (1545), and Nuremberg 
 (1546). — Biog. nat. de Belgique, i. 663 ; 
 Fetis ; Mendel, Ergiinz., 26. 
 
 BAUMBACH, ADOLPH, born in Ger- 
 many about 1830, died in Chicago, 1880. 
 He removed to America, and in 1855 was 
 settled in Boston. He was a teacher of the 
 pianoforte and the organ, and many of his 
 compositions were for instruction on the 
 pianoforte ; he also compiled a collection 
 for the use of quartet choirs. 
 
 133
 
 BAUMBACII 
 
 BAUMBACH, FRIEDRICH AUGUST, 
 
 bom iu 1753, died at Leii^sie, Nov. 30, 
 1813. Couductor of the theatre orchestra 
 at Hamburg in 1778 ; retired to Leipsic iu 
 1789 to devote himself to composition. 
 Works : sonatas for pianoforte, op. 1 
 (Gotha, 1790); 6 duets for violins (Speyer, 
 1791) ; Trios ; Concertos ; Variations for 
 pianoforte, with violin or violoncello obli- 
 gato ; Kondos for jjianoforte ; Variations for 
 2 violins ; Etudes for guitar ; Songs and 
 duets. — Fetis ; Mendel. 
 
 BAUMFELDER, FRIEDRICH AUGUST 
 WILHELM, born iu Dresden, May 28, 1836, 
 still living, 1888. Instrumental composer, 
 pupil of Johauu Schneider, and at the Cou- 
 servatorium at Leipsic ; is a favourite teacher 
 of the pianoforte at Dresden, and has com- 
 posed symphonies, overtures, concertos for 
 pianoforte, and other works of a high stan- 
 dard, besides a great deal of light piano- 
 forte music. — Mendel. 
 
 BAUMGARTEN, GOTTHILF VON, 
 born iu Berlin, Jan. 12, 1741, died at Gross- 
 Strehlitz, Silesia, Oct. 1, 1813. Dramatic 
 comj)oser, studied music iu his native citv*, 
 served iu the army in 17G1-79, and was ap- 
 pointed to a government position in Silesia 
 iu 1780. Works : Zemire und Azor, given 
 at Breslau, 1775 ; Andromeda, monodrama, 
 ib., 177C ; Das Grab des Mufti, ib., 1778.— 
 Fetis ; MendeL 
 
 BAUMGARTEN, KABL FRIEDRICH, 
 born in Germany in 1754, died iu London 
 in 1824. Organist, violinist, and di\imatic 
 composer, pupil of the famous organist J. 
 P. Kunzeu ; went early to London, where 
 he was organist of the Lutheran chapel in 
 the Savoy, conductor of the opera at Coveut 
 Garden in 1780-94, and leader of the Duke 
 of Cumberland's private band. Among his 
 operas and pantomimes the best known are : 
 Robin Hood, given at Covent Gai'deu, 1786 ; 
 Blue Beard, ib., 1792.— Grove. 
 
 BAL^IGARTNER, AUGUST, born in 
 Munich, Nov. 9, 1814, died there, Sept. 29, 
 1862. Church composer, jnipil of the or- 
 ganist Kalcher and of Holz on the jjiano- 
 
 forte, then of Ettin theorj-, 1841-42 ; became 
 choirmaster at St. Ann's, Munich, iu 1853. 
 Works : Instrumental Mass ; Requiem ; Ves- 
 per Psalms ; Secular choruses with and with- 
 out orchestra, songs, and pianoforte jsieces. 
 ■ — Mendel. 
 
 BAUMGARTNER, JOHANN BAPTIST, 
 born at Augsburg, 1723, died at EichstiUlt, 
 May 18, 1782. Violoncellist, studied at 
 Augsburg and Munich, and as one of the 
 best performers on his instrument made 
 extensive concert tours through Germany, 
 England, Holland, Scandiuavia, etc., and 
 settled at Amsterdam in 1774. Called to 
 Stockholm in 1778, he was soon obliged to 
 give up a lucrative position on account of 
 the climate, and became chamber musician 
 to the Prince Bishop of Eichstiidt in 1781. 
 He composed concertos, variations, and solos 
 for violoncello, also published a valuable 
 method for his instrument (Hague, 1777). 
 An o)iera, Perseus and Andromeda, by a 
 composer of this name, was given in Ger- 
 many iu 1780. — Mendel. 
 
 BAUR, CHARLES ALEXIS, born at 
 Tours in 1789, died (?). Pianist and harp- 
 ist, first instructed by his jjareuts, then iu 
 Paris i^upil of Nadermaun ; went to Loudon 
 in 1820 and taught the harp. Works : 3 
 sonatas for harp, op. 1 ; do., op. 2 ; Collec- 
 tion of arias for do. ; Duets foi- harp and 
 pianoforte, ojj. 3 ; do. for harp and flute ; 
 Quartets for harp, pianoforte, violin, and 
 bass. — Fetis ; Mendel. 
 
 BAVAGNOLI, MANLIO, Italian com- 
 poser, contemporary. He is the composer 
 of Roderico di Spagna, opera seria, repre- 
 sented at the Teatro Reale, Parma, April 20, 
 1878. 
 
 BAVAEDS, LES (The Gossips), French 
 opera-bouffe iu two acts, text by Nuitter, 
 after Cervantes, music by Offenbach, repre- 
 sented at the Bouffes Parisiens, Paris, Feb. 
 20, 1863. 
 
 BAVERINI, FRANCESCO, Italian con- 
 trapuntist of the 15th century. His drama or 
 mystery. La Conversione di San Paolo, was 
 represented in Rome in 1440 (1480?), by 
 
 134
 
 BAYADERES 
 
 order of Cardinal Kiario. This work, one 
 of the first religious dramas ever put upon 
 the stage, is now lost.— Futis ; Mendel. 
 
 BAYADERES, LES, French opera in 
 three acts, text by Jouy, music by Catel, 
 first represented at the Opera, Aug. 7, 1810. 
 The Bayaderes are dancing girls attached 
 to the Hindoo temples. The libretto is 
 founded on Goethe's ballad, "Der Gott und 
 die Bajadere," which also gives the title to 
 Auber's Le Dieu et la Bayadere. Les Baya- 
 deres, -which achieved a great success, was 
 reduced to two acts, Aug. 31, 1821. 
 
 BAYARD A LA FERTE, French opera 
 comique in three acts, text by Desaugiers 
 and de Geutil, music by Plantade, first rep- 
 resented at the Theatre Feydeau, Paris, Oct. 
 3, 1811. The scene is laid at the Chateau 
 de la Ferte, and the action turns on the love 
 of Bayard for Mme de Randan, who is also 
 loved by the king. The opera was finally 
 reduced to two acts. 
 
 BAYARD A MEZT^RES, French opera- 
 comique in one act, text by Dupaty and 
 Chazet, music by Boieldieu, Catel, Isouard, 
 and Cherubini, first represented at the Ope- 
 ra Comique, Paris, Feb. 12, 1814. Subject, 
 Bayard at the siege of Mezieres. The Chev- 
 alier is the hero also in Bayard dans Bresse, 
 French opera in two acts, text by Piis, mu- 
 sic by Stanislas Champein, given at the The- 
 atre italien, Paris, Feb. 21, 1791. 
 
 BAYER, ANTON, born in Bohemia in 
 1785. Dramatic comjOTser and flutist, pupil 
 in Prague of Josef Rosier, Alibot Vogler, 
 and Karl Maria von \Velier ; in 1802-5 
 he conducted the orchestra of the Czech 
 and German popular opera, for which he 
 also composed many pieces. To escape 
 military service, he travelled as a pianist 
 and flutist through Germany, France, and 
 Italy, but returning to Prague at the time 
 of the Congress at Vienna, he became first 
 flutist at the theatre and professor at the 
 Conservatorium. In 1823 he obtained a 
 position as administrator on the estate of 
 Reichenbach. He was the first teacher of 
 Henriette Sonntag. Among his comic op- 
 
 JO- 
 
 erettas the most popular were : Der 
 Tausendsassa, BiJhmische Aniazonen, Frau 
 Ahndl, Der indianische Gaukler in Kriih- 
 winkel, Naturalische Zauberei, etc. His 
 numerous instrumental compositions, con- 
 sisting pirincii^ally of dances, variations, etc , 
 for violin, flute, pianoforte, and guitar, were 
 very popular. — Fetis ; Mendel; Schilling, 
 Supplement. 
 
 BAY OF BISCAY, THE, song by John 
 Davij, written in the early part of this cen- 
 tury. It is one of the most popular songs 
 of its kind ever composed. 
 
 BAZIN, FRANgOIS (EMANUEL 
 SEPH), born at Mar- 
 seilles, France, Sept. 
 4, 181G, died in Paris, 
 Sept. 2, 1878. Dra- 
 matic composer, pupil 
 at the Conservatoire, 
 Paris, of Dourleu and 
 Lecouppey in harmo- 
 ny, of Benoist on the 
 organ, and of Hak'vy 
 and Berton in compo- 
 sition. He won the first jn'ize in 183(5, 1837, 
 1839, and 1840, and the second in 1837 and 
 1839. His cantata, Louise de Montfort, hav- 
 ing been performed at the Academy in 1840, 
 he went for three years to Rome, where he 
 composed a solemn mass, performed at the 
 Church of S. Luigi de' Frances!, 1842 and 
 1843, the oratorio, La Pentecote, and the 
 psalm, Suj)er flumina Babylonis, which were 
 executed several times in 1843 by the So- 
 cieta Filarmonica of Rome. On his return 
 to Paris he was made professor at the Con- 
 servatoire, and in 1872 member of the Acad- 
 emy. Officer L. of Honour, 1869. Works — 
 Operas: Le trompette de M. le Prince, given 
 at the Opera Comique, 1846 ; Le malheur 
 d'etre joli, ib., 1847 ; La nuit de la Saint 
 Sylvestre, ib., 1849 ; Madelon, ib., 1852 ; 
 Maitre Pathelin, ib., 1856 ; Les desesperes, 
 ib., 1858 ; Le voyage en Chine, ib., 1867 ; 
 Marianne, opera-comique in one act, text 
 by Augustin Challamel, published in the 
 Magazin des Demoiselles (1861) ; L'Oura et 
 
 ISB
 
 BAZZANI 
 
 le Pacha, text by Scribe and Saintiue, Ope- 
 ra Comique, 1870. He also published a 
 Cours d'harmonie theorique et pratique, 
 for the use of the classes iu the Conserva- 
 toire. — Fetis ; do.. Supplement, i. 58. 
 
 BAZZANI. See Bazzino. 
 
 BAZZINI, ANTONIO, born at Brescia, 
 Lombardy, March 10, 1818, still living, 
 1888. Viohnist and composer, pupil of 
 Faustino Camisani. At the age of seven- 
 teen he was maestro di cappella of the 
 Church of S. Filij)po, Brescia, had written 
 masses and vespers for that church, and 
 brought out sis oratorios for full orchestra. 
 Pagauini heard him play the violin in 1836, 
 and advised him to travel, and from 1840 
 he played in all the i^rincipal cities of Italy, 
 France, Germany, and Belgium as a virtu- 
 oso and composer. In 18.52 he went to 
 Paris, where Pougin was iu the orchestra 
 at the Gymnase Theatre where his concerts 
 were given, and he recognized in him one 
 of the most finished violinists he had ever 
 heard. In 186-1 he returned to Brescia, and 
 in 1873 was made professor of couuterjioint 
 and composition at the Conservatorio, Mil- 
 an. Works : Tvu-audot, opera, given at La 
 Scala, Milan, in 184:4, which was not suc- 
 cessful. His psalms, among which is the 
 Resurrection, were considered his best 
 works, and next to these his symphonies 
 and cantatas. He wrote overtures to Alfie- 
 ri's "Saul"and Shakespeare's " Kinglunax." 
 His compositions for violin are numerous : Le 
 Carillon d'Arras, air flamand vario, op. 36 ; 
 Trois morceaux h'riques : Nocturne, Scher- 
 zo, Berceuse, op. 41; Trois morceaux so- 
 natas : Allegro, Romance, Finale, op. 44, 
 are the best. — Fetis; do.. Supplement, i. 
 58 ; Larousse ; Riemann, Lex. ; Wasielewski, 
 Die Violine, 312. 
 
 BAZZINO, FRANCESCO MARIA, born 
 at Lovero, Venetia, iu 1593, died at Berga- 
 mo, April 15, 1660. Celebrated theorbist, 
 pupil of Giovanni Cavaccio at Bergamo, 
 where he became organist at Sta. INIaria 
 Maggiore ; having entered the service of the 
 Duke of Modeua, he went thence to Vienna, 
 
 but returned to Modena, and in 1636 to 
 Bergamo. Works : La representazione di 
 S. Orsola, oratorio ; Sonata and other pieces 
 for the theorbo ; Canzonettas. His elder 
 brother, Natale (born at Lovero, died in 
 Venice, 1693), was an organist ; he com- 
 posed masses, motets, psalms, and arias of 
 merit. — Fetis ; Mendel. 
 
 BAZZONI, GIOVANNI LUIGI, born in 
 Milan in 1816, died in Paris, September, 1871. 
 Dramatic composer, studied in his native 
 city, settled iu Paris after 1836, and became 
 chef de chant at the Theatre Italien in 1852. 
 A few years after 1858 he went to Italy, but 
 returned to Paris, where he died in want. 
 Works : I tre mariti, farce, Teatro della 
 Canobbiana, Milan, 1836 ; Salvator Rosa, 
 opera, ib., 1837 ; Le quart d'heure de Rabe- 
 lais, operetta, Paris, Folies Nouvelles, about 
 1858 ; II rinnegato fiorentiuo, opera, Turin, 
 Teatro Regio, after 1858. Vocal melodies, 
 and morceaux de genre for pianoforte. — 
 Fetis, Supplement, i. 59. 
 
 BEALE, WILLIAM, born at Landrake, 
 England, Jan. 1, 1784, died in London, 
 May 3, 1854. Vocal composer, principally 
 of glees and madrigals ; chorister of West- 
 minster Abbey under Dr. Arnold and Rob- 
 ert Cooke. He was awarded the prize cuj) 
 given by the Madrigal Society in 1813, for 
 his "Awake, sweet Muse," and a j^rize from 
 the Adelphi Glee Club in 1840. In 1820 
 he published a collection of his glees and 
 madrigals, and about 1879 a selection from 
 his MSS., consisting of thirteen glees, etc., 
 was published. — Grove. 
 
 BEATRICE ET BENEDICT, French 
 opera in two acts, text and music by Hec- 
 tor Berlioz, represented at the theatre of 
 Baden-Baden, Aug. 9, 1862. Subject from 
 Shakespeare's " Much Ado about Nothing." 
 
 BEATRICE DI TENDA, Italian opera, 
 text by Felice Romani, music by Bellini, 
 first represented in Venice, March 16, 1833 ; 
 at the King's Theatre, London, March 22, 
 1836 ; at the Theatre des Italiens, Paris, 
 Feb. 8, 1841 ; and at Palmo's Opera House, 
 New York, March 18, 1844. Subject : Fi- 
 
 136
 
 BEAU 
 
 lippo di Visconti, Duke of Milau, suspect- 
 ing his wife, Beatrice di Tenda, of infidel- 
 ity, sends her to punishment by torture 
 together with her pretended accomplice 
 Orombello. Originally sung by Pasta, Curi- 
 oui, and Cartagenova, this opera was coldly 
 received both at Venice and Florence. Al- 
 though it contains many interesting num- 
 bers, it did not succeed much better in 
 Paris, where, however, it was reproduced 
 
 iinta Frezzolin'. 
 
 in 1854 with Frezzolini in the title-role, 
 aided by Graziaui. Mine Frezzolini, who 
 retained her maiden name on the stage, not- 
 withstanding her marriage with the tenor 
 Poggi, made her debut as Beatrice in 1838 
 in Florence. The same subject had been 
 previously treated in Philippus, Herzon- 
 von Mailand, text by Hinscb, music by 
 Mattheson and Bronner, Hamburg, 1701, 
 which was given also as Beatrix in 1702 ; 
 and later in Beatrice, music by Josef Wolf- 
 ram, Dresden, 1837 ; and in Beatrice, music 
 by Guimarais, Italy, 1882. 
 
 ' BEAU DUNOIS, LE, operette in one act, 
 text by Chivot and Duru, music by Charles 
 Lecocq, represented at the Theatre des Va- 
 rietfts, Paris, April 13, 1870. 
 
 BEAUJOYEULX, BALTHASAR DE. 
 See BaJlazarini. 
 
 BEAULIEU, MARIE DESIRE (MAR- 
 TIN), called, born in Paris, April 11, 1791, 
 
 died there in December, 1863. Church 
 composer, pupil of Alliaume, Kreutzer, Be- 
 nincori, and Mehul. He won the 2d grand 
 prix at the Institut de France iu 1800, and 
 the 1st in 1810 ; but he did not avail him- 
 self of its privileges, continuing his studies 
 under Mchul, and settling soon afterwards 
 at Niort ; he sent a Miserere to the Institut 
 in 1812, a Laudate and a cantata, Sapho, 
 iu 1813, a Dornine Salvum in 1814. He 
 was the founder of quartet meetings at 
 Niort, and in 182'J of a Philharmonic Soci- 
 ety, afterwards known as the Association 
 Musicale de I'Ouest (1835), one of the most 
 successful societies of the kind in France. 
 In 18G6 he instituted a vocal society iu 
 Paris, called La Societe de Chant Classique, 
 and at his death endowed both of these so- 
 cieties with the fortune amassed at his con- 
 certs, and by his works. He wrote also 
 several works on music. His most im- 
 portant compositions are : Miserere for 
 four voices, soli and chorus (1812) ; Sapho, 
 IjTic scene for solo and chorus, Laudate Do- 
 minum for two choruses (1813) ; Domine sal- 
 vum for five voices, soli and choruses (1817) ; 
 Jeanne dArc, cantata (1817) ; Requiem Mass 
 for four voices, soli and chorus (1819) ; An- 
 acreon, opera (about 1819) ; Sixieme Ode 
 sacree de J. B. Eousseau, for soli and cho- 
 rus (1828) ; Quinzieme Ode sacree de do., 
 for single voice ; Fantaisie for violin, solo 
 and chorus ; Psyche et lAmour, scenes, soli 
 and chorus (1833) ; Fete bachique, scene, 
 tenor solo and chorus (1835) ; Hymne pour 
 la premiere communion (1840) ; L'Ocean, 
 morceau d'ensemble (1841) ; L'Hymne du 
 matin, oratorio (1843) ; Messe solennelle for 
 four voices, soli and chorus (1845) ; Llm- 
 mortalite de I'ame, oratorio, L'Hymne de la 
 nuit, do. (1851) ; Jeanne d'Ai-c, grande 
 scene lyrique iu two parts (1853) ; Mass for 
 three voices and organ (18.53) ; Philadelphie, 
 opera (1855). — Fetis ; do., Supplement, i. 
 59 ; Mendel ; Riemann. 
 
 BEAUjMESNIL, HENEIETTE ADE- 
 LAIDE VILLARD DE, born in Paris, Aug. 
 31, 1758, died there in 1813. Dramatic 
 
 137
 
 BEAUTE 
 
 singer and composer, shone as one of the 
 great stars of the Opera in 17G6-74, retired 
 in 1781, and soon after married the actor 
 Philippe of the Comedie ItaUeune. Works : 
 Les Saturnales (act of a ballet), Academie 
 Eoyale de Musique, 1784: ; Tibulle et Delie, 
 ojjera, ib., 1784 ; Anacreou ; Les legisla- 
 trices ; Plaire, c'est commander, comic op- 
 era. Theatre Montansier, 1792. — Fetis; do., 
 Supi^lemont, i. 61 ; Mendel. 
 
 BEAUTE DIVINE, ENCHANTERESSE. 
 See Huguenots. 
 
 BEAUVARLET CHAEPENTIEE, JEAN 
 JACQUES, born in Abbeville in 1730, died 
 in Paris, May, 1794. Organist at Lyons, 
 and later (1771) of the Abbey Chmxh of St. 
 Victor, Paris. In 1772 he succeeded Da- 
 quin at St. Paul's, Paris, and was also one 
 of the four organists at Notre Dame. The 
 Revolution deprived him of these positions, 
 and he died of a broken heart. After the 
 death of Armand Louis Couperin he was 
 considered the greatest of French organists. 
 Works : Piuces d'orgue (Paris) ; Sonates de 
 clavecin, op. 2 et 8 ; Fugues pour orgue, 
 op. 6 ; Trois magnificats pour orgue, ojo. 7 ; 
 Journal d'orgue, in twelve numbers with 
 some of his hymns, four for the Circumci- 
 sion, the Ej)iphanj-, the Purification, and the 
 Annunciation, and four processional cho- 
 ruses. — Futis ; Larousse ; Schilling ; Mendel. 
 
 BEAUVARLET-CHARPENTIER, 
 JACQUES MAEIE, born in Lyons, July 3, 
 1766, died in Paris in November, 18.34. Or- 
 ganist and composer ; son and pujjil of Jean 
 Jacques Beauvarlet-Charpentier, whom he 
 succeeded as organist at the Church of St. 
 Paul, Paris, when the churches were re- 
 opened after the Revolution. He was also 
 organist of St. Germain-des-Pres towards 
 the latter part of his life. Works : Victoire 
 de I'armee d'ltalie, ou Bataille de Monte- 
 notte, for organ or harpsichord (Paris, 1796) ; 
 Airs varies a quatre mains pour clavecin 
 (1799) ; La bataille d'Austerhtz (1805) ; La 
 bataille d'lena (1807) ; Gervais, ou le Jeune 
 aveugle, opera, given in Paris, Theatre des 
 Jeunes Artistes, 1802 ; and a collection of 
 
 romances entitled, Le troubadour, with ac- 
 companiment (Paris, 1816). He also pub- 
 lished : Methode d'orgue suivi de I'olfice 
 complet de dimanches et d'un Te Deum. — 
 Fetis ; do., Sujiplement, i. 61 ; Mendel ; 
 Schilling. 
 
 BECHER, ALFRED JULIUS, born in 
 Manchester, England, in 1803, died in 
 Vienna, Nov. 23, 1848. He was of German 
 parentage, and his life was spent at Elber- 
 feld, Cologne, Diisseldorf, The Hague, and 
 Loudon until 1841, when he settled in Vi- 
 enna, and became musical critic of the 
 Wiener Musik-Zeitung and the Sonutags- 
 bliitter. In 1848 he became a violent demo- 
 crat, and was tried by court-martial and 
 shot in the Stadtgraben, Vienna. Works : 
 8 poems for one voice and pianoforte, op. 1 
 (Leipsic) ; 8 lyrical pieces for pianoforte, op. 
 2 (Cologne) ; 3 sonatas for pianoforte, op. 7 
 (Hegel) ; monologue for pianoforte, oj). 9 
 (Vienna) ; 5 songs for one voice with piano- 
 forte, op. 10 ; etc. His songs were pub- 
 lished in four collections in Cologne and 
 Vienna. — AUgem. d. Biogi'., i. 200 ; AUgem. 
 Zeitg., Dec. 3, 1848, Beilage ; Fetis ; Men- 
 del ; Wurzbach, i. 207. 
 
 BECK, FRANZ, born at Mannheim in 
 1730, died at Bordeaux, Dec. 31, 1809. Vio- 
 linist, pupil of his father, who was privy 
 councillor to the Prince Palatine ; adopted 
 by and a great favourite of the latter, he for- 
 feited his brilliant prospects in consequence 
 of a fatal duel, which caused his flight to 
 Paris, whence he was called in 1777 to Bor- 
 deaux as concert director. Works : 24 sym- 
 phonies (1776) ; Stabat Mater, performed 
 at the Concert Spirituel, Paris, 1783 ; Pan- 
 dore, a melodrama, ib., Thi'atre de Monsieur, 
 1789 ; Gloria ; Credo ; Quartets for violin ; 
 Sonatas for pianoforte. — Fetis. 
 
 BECK, JOHANN HEINRICH, born, of 
 German parentage, in Cleveland, Ohio, Sept. 
 12, 1856, still living, 1888. Violinist, began 
 the study of the violin when quite young. 
 In 1879-82 he studied in the Leipsic Con- 
 servatorium the pianoforte, violin, and vi- 
 ola, and theory and composition under Carl 
 
 138
 
 BECKEL 
 
 Keinecke, Jadassolin, Oscar Paul, F. Her- 
 mann, Alfred Richter, and others ; aud ou 
 his return in the latter year settled in Cleve- 
 land as a teacher and violinist. He has 
 received considerable praise as a violinist, 
 and his compositions have been favour- 
 ably noticed in both Germany and Amer- 
 ica. Originator of the Schubert Quartet of 
 Cleveland. Works : Byron's "Lara," ovei-- 
 ture in E minor ; Shakespeare's " Romeo and 
 Juliet," overture ; String quartet in C minor ; 
 String se.\tet in D minor ; Bayard Taylor's 
 Deukaliou, cantata. Songs : Bitte, Der 
 Schwere Abend, Meeresabend, Bedouin Love 
 Song, and others. These are all in MS. 
 
 BECKEL, JAMES COX, born, of Ameri- 
 can parentage, in Philadelphia, Pennsylvania, 
 Dec. 20, 1811, still Uving, 1888. Organist, 
 began the study of music at the age of six 
 under Jacob Reelsecker, a Moravian min- 
 ister, and afterwards studied counterpoint 
 and musical theory under Filippo Trajetta. 
 "When thirteen years old he was chosen or- 
 ganist of St. James's Church, Lancaster. 
 In 1840 he became organist of St. Raid's 
 Church, in 1843 of the Crown Street Church, 
 in 1847 of the Clinton Street Church, all in 
 Philadelphia ; in 1858 of Christ Church, 
 Germantown, where he remained until 
 1876, when he returned to the Clinton 
 Street Church, Philadelphia, of which he 
 is still organist. Works : 3 cantatas. The 
 Nativity, Pilgrim's Progress, and Ruth ; 
 The Restoration, oratorio, in MS. ; and 
 many minor pieces. He has also written 
 a method of organ instruction, and is the 
 compiler of The Psalter, a collection of 
 church music. 
 
 BECKER, ALBERT (ERNST ANTON), 
 born at QuedHnburg, June 13, 1834, still 
 living, 1888. Pupil of the organist Her- 
 mann Bonicke, then of Dehu in Berlin 
 (1853-56), where he settled as a music 
 teacher, and in 1881 became professor of 
 composition at Scharwenka's Conservato- 
 rium. For his symphony he received the 
 second prize from the Gesellschaft der Mu- 
 sikfreunde in Vienna, 1861. Works : Lie- 
 
 der, op. 1 (Leipsie, Siegel, 1857) ; Lieder 
 
 im Volkston fiir Haus und Herz (Berlin, 
 
 Simrock) ; S3'm- 
 
 phony in G minor 
 
 (1858); Lieder 
 
 aus Julius Wolff's 
 
 Rattenfilnger von 
 
 Hameln, do. aus 
 
 Der wilde Jager 
 
 (1877); Mass in B 
 
 minor (Leipsie, 
 
 Breitkojjf & Har- 
 
 tel, 1879); Weine 
 
 nicht!, a dirge for the soldiers fallen in 
 
 battle, 18GG ; Reformations Kantate (1883) ; 
 
 chorals and sacred folk-songs. — Mendel, 
 
 Ergiinz., 27 ; Riemann ; Wochenblatt (1884), 
 
 179, 214. 
 
 BECKER, CONSTANTIN JULIUS, born 
 at Freiberg, Saxony, Feb. 3, 1811, died at 
 Oberlosnitz, ib., Feb. 26, 1859. Dramatic 
 composer, pupil of Aiiacker in singing, then 
 at Leipsie of Karl Ferdinand Becker (or- 
 ganist and distinguished writer on music, 
 1804-77) in counterpoint. In 1837 he be- 
 came editor of the Neue Zeitschrift fiir 
 Musik and wrote many articles for it until 
 1846 ; about 1843 he settled at Dresden, 
 and taught singing and composition until 
 1846, when he retired suddenly to Ober- 
 losnitz. Works : Symphony for grand or- 
 chestra, performed at Leipsie, 1843 ; Das 
 Zigeunerleben, rhapsody, ib., 1845 ; Die 
 Erstiirmung von Belgrad, opera, ib., 1848 ; 
 Lieder, op. 2, 5, 6, 8, 14, 17 (Leipsie and 
 Dresden) ; 3 duets for female voices, op. 36 ; 
 Lieder for three voices and pianoforte, op. 
 21, 23 ; Serenade for violin aud violoncello, 
 op. 34. He has also written a singing 
 method for male voices (Leipsie, 1845), and 
 two treatises ou harmony. — Allgem. mu.s. 
 Zeitg., 1. 411 ; Fetis. 
 
 BECKER, JOHANN, born in Mannheim, 
 Germany, May 11, 1836, died there, Oct. 
 10, 1884. Violinist, pupil in Mannheim of 
 Kettenus and in Paris of Alard. He ap- 
 peared in public when only eleven years 
 old, succeeded Kettenus as leader of the 
 
 139
 
 BECKER 
 
 1 
 
 Mannheim orchestra, played with success in 
 Paris and Loudon in 1859-60, and, after 
 travelling through most of Europe, settled 
 in 1866 at Florence, where, with Masi and 
 Chiostri, and the German violoncellist Hil- 
 pert, he established the celebrated Floren- 
 tiuer Quartett, which had a well-deserved 
 reputation for the performance of string 
 music. He composed music for the violin. 
 BECKER, REINHOLD, born atUdorf, 
 Saxony, in 1842, still 
 living, 1888. Violin- 
 ist, fived for some 
 years in Souther u 
 France, giving con- 
 certs, but, obliged to 
 give up his instru- 
 ment on account of 
 an injury to his hand, 
 he settled in Dres- 
 den as a comjioser. 
 Works : Der Priiiz von Homburg, sym- 
 phonic poem ; Concerto for violin ; Wald- 
 morgen, for male chorus ; Songs. 
 
 BECKMANN, JOHANN FRIEDRICH 
 GOTTLIEB, born in 1737, died at Celle, 
 April 25, 1792. Instrumental and vocal 
 composer and one of the best pianists of 
 the 18th century. He was organist of the 
 new church at Celle, and excelled in impro- 
 visation, in which ho often made use of 
 double counterjjoint. Works : Lukas und 
 Hannchen, opera, given at Hamburg, 1782 ; 
 3 sonatas for harpsichord (17G9) ; 3 do. 
 (Hamburg, 1770) ; 3 concertos for harpsi- 
 chord (Berlin, 1779) ; Solo for harpsichord 
 (Hamburg, 1797).— Fetis ; Schilling. 
 
 BECQUIE, JEAN IMARIE (?), born at 
 Toulouse about 1800, died in Paris, Nov. 
 10, 1825. Flutist, pupil of Tulou and of 
 Guillod at the Conservatoire, Paris, where 
 he won the first prize in 1822. Having for 
 some years played in the orchestra of a 
 small theatre, he became first flutist at the 
 Opera Comique in 1821. Works : Grande 
 fautaisie and variations for flute, with or- 
 chestra ; Les regrets, do., for flute and 
 pianoforte ; Ronde d'Emma variee ; Air 
 
 nouveau ; Fantaisies on different themes, 
 etc.— Fetis. 
 
 BECQUI^, JEAN IVIARIE, called Bee- 
 quie de Peyreville, born at Toulouse in 
 1797, died in Paris, January, 1876. Violin- 
 ist, brother of preceding, pupil of Rudolf 
 and August Kreutzer at the Consei'vatoire, 
 Paris, where he won the second jsrize in 
 1823, and the first in 1826. He played 
 successively in several theatre orchestras, 
 and was then for many years violinist at 
 the Theatre Italien. Works : Fantaisie for 
 violin and pianoforte ; Air varie, with vio- 
 lin, viola, and bass; do., with quartet; Sev- 
 eral other pieces for violin. — Fetis. 
 
 BESVAROVSKY, ANTON FELIX, born 
 at Jungbunzlau, Bohemia, AjH-il 9, 1754, 
 died in Berlin, May 15, 1823. Organist of 
 the Church of St. James, Prague, about 
 1777, of the principal church at Brunswick 
 in 1779, resigned in 1796, lived at Bam- 
 berg until 1800, when he removed to Ber- 
 lin. Works : Concerto for pianoforte, op. 1 ; 
 do., op. 2 (Oflenbach, 1794) ; Three sonatas 
 for pianoforte, op. 3 (Berlin, 1797) ; Con- 
 certo for do., op. 6 (Brunswick) ; Niihe des 
 Geliebten, song with pianoforte ; Gesiinge 
 beym Klavier, 2 collections (1801); Songs 
 with pianoforte, 1st collection (Offenbach, 
 1799) ; do., 2d collection (ib.) ; Die Wiirde 
 der Frauen, song with pianoforte (1800). — 
 Fetis ; Mendel ; Schilling. 
 
 B:6DARD, JEAN BAPTISTE, liorn at 
 Rennes, Brittany, about 1765, died in Paris 
 about 1815. Violinist ; was first violin and 
 maitre de musique at the theatre of his 
 native town, and settled in Paris in 1796. 
 Works : Two symphonies for grand orches- 
 tra ; Duet for harp and horn ; Several suites 
 for wind instruments ; Duets for violins, op. 
 2, 3, 4, 28, 53, and 58 ; Suites of duets for 
 one violin (double string) ; Square dances 
 and waltzes for orchestra ; Airs varies, and 
 pot-pourris for violin ; Methode for violin 
 (Paris, I860).— Fetis. 
 
 BEECKE, IGNAZ VON, lived in the 
 latter half of the 18th century, died at Wal- 
 lerstein, January, 1803. One of the best 
 
 14U
 
 T^F.TTriAARD 
 
 harpsichoitT plaj-ers of his time. He was \ 
 captain of dragoous iu Hobenzollcru, was a 
 friend of Gluck and of Jommelli, bis master 
 in composition, and of W. A. Mozart, with 
 whom he played a concerto for four hands 
 at the Emperor's coronation at Frankfort. 
 Among his works are : Roland, French op- 
 era ; Claudine de Villa Bianca, opera, given 
 in Vienna, 1784 ; Die Weinlese, do., ib., 
 about 1785; Die Jubelbochzeit, List ge- 
 gen List, Nina, Die zerstOrte Hirtenfeier, 
 operas ; Overture and choruses to the 
 Hermannssehlacht ; lOagen iiber den Tod 
 der grossen Silngerin Nanette, von Gluck 
 (Augsburg, 1777) ; Der brave Maun (Mainz, 
 1784) ; Friedens Kautate for grand orches- 
 tra (Hambui-g, 1797). His instrumental 
 music consists of six sonatas for harpsi- 
 chord, four trios for do. (Paris, 17G7) ; Six 
 symphonies for eight parts, six symphonies 
 for six i^arts ; Three quartets for flute, vio- 
 lin, viola, and bass ; Three do., 2d book 
 (Spires, 1791). An oratorio, Die Auferste- 
 hung Jesu (1794) ; besides a great deal of 
 vocal music with pianoforte accompaniment. 
 — letis ; Gerber, N. Lex.; Schilling. 
 
 BEEHGAARD, JULIUS, born at Copen- 
 hagen, Dec. 19, 1843, stiU living, 1888. 
 Composer, pupil of the Conservatorium, 
 Leipsic, and in Copenhagen of several mas- 
 ters, last of Gade ; visited Germany and 
 Italy, and lived for some time in Paris be- 
 fore returning to his native city. Works : 
 Concert overture for orchestra ; Sailor's 
 Life, On the Field of Battle, Cycluses for 
 baritone solo, with pianoforte ; Four-part 
 songs, songs, and pianoforte music. — Men- 
 del, Ergiiuz., 29. 
 
 BEER, JACOB. See Meyerbeer. 
 
 BEER, JOSEF, born at Griinwald, Bo- 
 hemia, April 18, 1744, died at Potsdam in 
 1811. At first a trumpeter in the Austrian 
 army, he entered the French service shortly 
 after, and, going to Paris in 1771, was en- 
 rolled in the Garde du Corps, where he first 
 took up the clarinet, and became the most 
 eminent virtuoso ever heard on that instru- 
 ment, which he perfected by adding the 
 
 fifth valve. In 1777-82 he was chamber 
 musician to the Due d'Orli'aus, and after a 
 concert tour through Holland, England, 
 and Germany, held a similar position at 
 the court of St. Petersburg in 1783-90, and 
 finally in Berlin, from 1792. Works: 3 
 concertos for clarinet ; 6 duets for do.; Solo 
 variations for do. — Fctis ; Mendel ; Schil- 
 ling ; Wurzbach. 
 
 BEER, JULES, born about 1835, still 
 living, 1888, in Pari.s. Amateur dramatic 
 composer, nephew of Meyerbeer. Works : 
 En etat de siege, comic opei-a, performed 
 in Paris, 1859 ; Les roses de M. de Males- 
 herbes, do., ib., 18G1 ; La fille d'fegypte, 
 ib.. Theatre Lyrique, 18G2 ; Elisabetta d' 
 Ungheria, La Scala, Milan, Feb. 15, 1871 ; 
 Le Paria ; The 137th psalm, for soli, chorus, 
 and orchestra, Paris, 1868 ; Songs. — Fetis, 
 Supplement, i. G3. 
 
 BEER, MAX JOSEF, born iu Vienna, 
 1851, still living, 1888. Dramatic com- 
 poser, first instructed by his father, then 
 pupil of Dessoft'. Works : Otto der Schiitz, 
 opera (MS.) ; Der Pfeiferkonig, do. ; Das 
 Stelldicheiu auf der Pfahlbriicke, operetta 
 (prize) ; Der wilde Jiiger, for soli, chorus, 
 and orchestra ; Suite for pianoforte, op. 9 ; 
 Eichendorffiana, Spielmannsweisen, Abend- 
 feier, Heidebilder, Was sich der Wald er- 
 ziihlt, lyric cycles for pianoforte ; Songs. 
 — Riemann. 
 
 BEETHOVEN, LUDWIG VAN, born iu 
 Bonn, Dec. 16, 
 probably 17 70, 
 died in Vienna, 
 March 26, 1827. 
 The family came 
 originally from 
 a village near 
 Louvain, whence, 
 iu 1650, they re- 
 moved to Ant- 
 werp. The name, 
 originally as we 
 now know it, underwent various changes of 
 spelling (BiethofTen, Biethofen, Biethoven, 
 Bethoveu, Betthoven, Bethof), until at last
 
 BEETHOVEN 
 
 it returned to its original form. Ludwig's 
 father, Jean, and his grandfather Ludwig 
 were musicians in the court baud of the 
 Elector of Cologne at Bonn ; his mother, 
 Maria Magdalena Keverich, was daughter 
 of the head-cook at Ehrenbreitstein. She 
 was the widow of one Leym, or Laym, 
 when she married Jean Beethoven, Nov. 12, 
 1767. Ludwig was the second of seven 
 children, but as the first, Liidwig Maria, 
 born, April 1, 1769, lived only six days, he 
 was virtually the eldest of the family. He 
 began to study music at the age of four 
 under his father, a barsh teacher, who seems 
 well to have appreciated his son's talent. 
 The boy was taught the ordinary branches 
 and a little Latin at a public school, which, 
 however, be left when he was thirteen. 
 When he was nine years old his father gave 
 up his musical education to Pfeift'er, a tenor 
 singer at the Bonn opera. He studied the 
 organ under Van den Eeden, organist of 
 the court chapel, and, after he had left 
 school, Latin, French, and Italian under j 
 one Zambona. In 1781 he began to study 
 under Neefe, who succeeded Van den Eeden 
 as court organist. A year or two later he 
 was up to playing most of the Wohltemper- 
 irte Klavier, and to taking Neefe's jslace at 
 
 the organ when 
 necessary. In 
 1783 he was ap- 
 pointed cembal- 
 ist in the or- 
 chestra without 
 salary, part of 
 the duties of 
 the position be- 
 ing to conduct 
 the opera or- 
 chestra. In 
 1784 he was appointed second organist, 
 with a salary of 1.50 florins (about $63.30). 
 During this year be studied the \iolin under 
 Franz Ries. In 1787 he made his first trip 
 to Vienna, where he stopped pi-obably not 
 longer than three months, taking a few les- 
 sons of Mozart. Ou his return to Bonn he 
 
 made the acquaintance of von Breuning, to 
 whose children he gave lessons, and in 
 whose family his taste for literature was 
 first cultivated. In 1788 he entered the or- 
 chestra of the new National Theatre as sec- 
 ond viola. His circumstances at this time 
 were of the saddest ; his mother and his 
 only remaining sister had died (one sister, 
 born, 1779, lived only four days), and his 
 father had become a confirmed drunkard ; 
 he was, moreover, very poor. In 1790 and 
 
 Beethoven's Birthplace. 
 
 1792 Haydn passed through Bonn on his 
 way to and from London ; on the second 
 occasion he warmly praised a cantata by 
 Beethoven, which was given before him. 
 Up to this time the Elector had taken no 
 esisecial notice of Beethoven, but now he 
 determined that he should be sent to Vienna 
 to study. Accordingly he went, at the age 
 of twenty-two, and the second period of his 
 life began. His comjjositions had hitherto 
 been singularly few and unimportant, com- 
 pared with the early works of other great 
 composers ; but when he reached Vienna 
 
 142
 
 BEETHOVEN 
 
 Haydn considered liini quite up to the 
 greatest undertakings, and very soon volun- 
 tarily transferred liis own mantle, as it were, 
 to the young man's shoulders. Mozart had 
 died the year before. In November, 1792, 
 Beethoven was well settled in the Alservor- 
 stadt, Vienna, and immediately began study- 
 ing under Haydn ; the lessons were in strict 
 counterpoint (strict according to the then 
 existing views in Germany, but probably 
 pretty lax by the Palestrina standard), the 
 text-book being Fux's Gradus ad Parnas- 
 sum. But Haydn was too busy to give him 
 the attention he desired, and Beethoven, 
 
 dissatisfied with 
 his progress, 
 soon took extra 
 lessons secretly 
 from S c h e n k. 
 When Haydn 
 went again to 
 England, in 1794, 
 Beethoven con- 
 tinued his studies 
 in counterjjoint 
 under Alln-echtsberger, and took violin les- 
 sons from Schuppanzigh. He also benefited 
 by the advice of Salieri in Italian vocal com- 
 position, and of Aloys Forster in quartet 
 writing. In this year his allowance from 
 the Elector was stojipeil, and henceforth he 
 was dependent wholly upon his own re- 
 sources. He had excellent introductions to 
 influential people, and the time of his ar- 
 rival was fortunate. Mozart's death had left 
 the field comparatively free. It was as a 
 jjianist that he first became known at the 
 musical parties of Priuz Lichnowsky and 
 Baron van Swieten ; but his compositions 
 soon began to win him renown, if at first in 
 a rather restricted circle. On March 29, 
 1795, he made his first apjiearance before 
 the general public with his concerto in C at 
 the annual concert in the Burg Theater for 
 the widows's fund of the Artists' Society. 
 In 1796 he and Haydn appeared together 
 at a second concert. He had already paid 
 short visits to Prague and Nui'emberg, and 
 
 before the j'ear was out he went back to 
 Prague, and even to Berlin, where he played 
 at court and at the Singakademie. He very 
 soon returned to Vienna. In 1798 he again 
 visited Prague, playing at two concerts there. 
 During this year he met, and had a friendly 
 rivalry with, WOlffl in Vienna. Up to the 
 end of the century his Vienna comjjositions, 
 excepting the first concerto, had all been in 
 the way of chamber music ; but in 1800 his 
 C major .symphony appeared, although it 
 had been written for two or three years. It 
 was brought out, on April 2d, at a benefit 
 
 Caricature of Beethoven. 
 
 concert given him at the Burg Theater. In 
 180 1. Czerny first began to take lessons of 
 him. In this year his deafness, premoni- 
 tory symptoms of which had shown them- 
 selves as early as 1798, began to trouble 
 him seriously. His productiveness went on 
 increasing steadily until his death ; he was 
 in the habit of working on several composi- 
 tions at a time, and, although he composed 
 very slowly, writing and rewriting passages 
 over and over again until" he was satisfied 
 with them, he was certainly one of the most 
 prolific of composers. As he brought out 
 one work after another, his success with the 
 
 143
 
 BEETHOVEN 
 
 Vienna public, and especially with the circle 
 of distinKiiisbed amateurs amonp; whom he 
 
 Beethoven's Tomb, Vienna. 
 
 found his most influential patrons, was al- 
 most constant, no matter what strictures 
 critics and contemporary composers might 
 make on his music. In spite of his brusque 
 manners and his utter disregard for the 
 conventionalities, even for the common de- 
 cencies, of social intercourse, he never lacked 
 a circle of worshipping admirers who were 
 willing to put up with all his whims. He 
 passed his summers in the country, for 
 which he had an ardent love, and was very 
 restless, changing his winter lodgings al- 
 most every jear, sometimes more than once 
 in a season. The nearest ajjproach to his 
 losing his hold upon the public was about 
 
 1823, when the Eossini fever was at its 
 height. The popularity of Rossini's operas 
 probably had more to do with this than the 
 novelty of his own, so-called, third manner ; 
 for when his ninth symphony was given, in 
 
 1824, it was received with unbounded en- 
 thusiasm by the audience. Although the 
 
 sums he received from publishers seem 
 small to-day, he was reallj' fairly well off in 
 a material way during his life in Vienna. 
 He never held anj' official position, but re- 
 ceived yearly allowances from more than 
 one noble patron ; and when these noble- 
 men died he had already invested money in 
 the Bank of Austria. The privations he 
 submitted to in his later years were for the 
 most part voluntary, and occasioned by his 
 laying up money to provide for his nephew 
 Carl, the whole charge of whose mainte- 
 nance and education he took upon himself 
 at the death of his brother Caspar Karl in 
 1826. The recklessness and ingratitude of 
 this young ne'er-do-weel, together with his 
 own increasing deafness, which at last be- 
 came total, and general ill-health, the result 
 of a disease which even his iron constitu- 
 tion could not withstand, were the great 
 crosses of the later part of his life. The 
 
 Beethoven's Statue in Bonn, 
 
 immediate cause of his death was an attack 
 of dropsy brought on by a cold in the stom- 
 ach caught while travelling in the damp 
 December weather iu an open chaise.
 
 BEETHOVEN 
 
 His funei-al was attended, says Breuuiug, 
 by 20,000 people, iiicluiling many distiu- 
 guislied musicians, and a great crowd fol- 
 lowed the hearse to the Wiihringer Ceme- 
 tery, where the body was interred under the 
 south wall. In 1863, the grave having fallen 
 into neglect, the remains both of Beethoven 
 and of Schubert, who lay near him, were ex- 
 humed and reburied by the Gesellschaft der 
 Musik-Freunde, and Beethoven's place of 
 sepulture was marked by the monument il- 
 lustrated above. In 1888 the remains were 
 again taken up and removed, with imposing 
 ceremonies, to the Central Cemetery. Beet- 
 hoven was below middle height — not more 
 than five feet and five inches — but broad 
 across the shoulders and strongly built. 
 The full-length sketch by Lyser, on page 
 143, though probably intended for a cari- 
 cature, is said by Breuning to give a good 
 idea of his general appearance. Works 
 — Dramatic : Fidelia, opera, given in Vienna, 
 Theater an der Wien, Nov. 20, 1805. In- 
 strumental. I. For orchestra : 9 sympho- 
 nies, xrrC,oj).2j), intb,rap, 36,iu'JE-flat {Sin- 
 fonia Erojca), op. 5.'^, in B-flat, op. 60, in C 
 minor, op. 67:, in'¥ {Sinfonia Pastorale), oy). 
 6^ in Aj ,o]j. 92, in F, o-^. 93,, in. D minor 
 {Choral SymiDhony), o]). 125; Die Ge- 
 schopfe des Prometheus, ballet, op. 43 ; 
 Music to Goethe's Egmont, op. 84 ; Wel- 
 linglon's Sieg oder die Schlacht bei Vit- 
 toria, op. 91 ; 10 overtures, to Prometheus, 
 in C, op. 43, to Coriolan, in C minor, op. 
 G2, to Leonore (No. 1, charakteristische Ou- 
 verture), in C, op. 138, do. (No. 2) in C, op. 
 72a, do. (No. 3), in C, op. 72a, to Fidelio, 
 in E, op. 72b, to Egmont, in F minor, op. 
 84, to Rainen von Athen, in G, op. 113, zur 
 Namemfeier, in C, op. 115, to Ki^ni.g Ste- 
 phan, in E-flat, op. 117, Die Weihe des 
 Hauses, in C, op. 124 ; Allegretto (Gratula- 
 tions-Menuet), in E-flat ; Triumphmarsch zu 
 Tarpeja, in C ; 12 menuets ; 12 German 
 dMces ; 12 square dances ; 2 marches, for 
 miTitary band, in D and in F./ For violin 
 and orchestra : Romanze in G, op. 40 ; do. 
 in F, op. 50 ; Concerto in D, op. 61. 11. 
 
 For strings : 3 quintets, for 2 violins, 2 violas, 
 and violoncello, in E-flat (after octet, op. 
 103), op. 4, in C, op. 29, in C minor (after 
 trio, op. 1), 01^. 104 ; Fugue in D, for do., 
 oj). 137 ; Movement in C from an unfinished 
 quintet, for do. ; 17 (]uartets, for 2 violins, 
 viola, and violoncello, in F, G, D, C minor, 
 A, B-flat, op. 18, Nos. 1-6 {Lobkotvilz Quar- 
 tets), in F, E minor, C, op. 59, Nos. 1-3 
 {Rasoumowskij Quartets), in E-flat, op. 74 in F 
 minor, op. 95, in E-flat, op. 127, iu B-flat, o^j. 
 130, in C-sharp minor, oj). 131, in A minor, 
 op. 132, in F, op. 135, in F (after sonata, 
 op. 14, No. 1) ; Grand fugue iu B-flat, for 
 do.; 4 trios, for violin, viola, and violoncello, 
 iu E-flat, op. 3, in G, D, C minor, op. 9, Nos. 
 1-3 ; Serenade in D, for do. ' HL For "wind 
 instruments : Octet, for 2 oboes, 2 clarinets, 
 2 horns, and 2 bassoons, in E-flat, ojp. 103 ; 
 Eondiuo, for do., in E-flat ; Sextet, for 2 
 clarinets, 2 horns, and 2 bassoons, in E-flat, 
 op. 71 ; Trio for 2 oboes and English horn, 
 oix 87 ; 3 duos for clarinet and bassoon ; 2 
 equal^or 4 trombones. IV. For string and 
 wind iustrume\ts : Septet, for violin, viola, 
 clarinet, bassooDv violoncello, and double 
 bass, in E-flat, op. aO ; Sextet, for 2 violins, 
 viola, violoncello, and 2 horns, in E-flat, op. 
 81b ; Serenade for flute, violin and viola, op. 
 25. V. For pianoforte with accompaniment 
 — 1, with orchestra : 7 concertos, in C, op. 
 15, in B-flat, op. 19, in C minor, op. 37, in 
 G, op. 58, in E-flat, op. 73, in D (after the 
 violin concerto), op. Gl, in C (for pianoforte, 
 violin, and violonceHo), op. 56 ; Phantasie 
 with chorus, iu C nnnor, op. 80 ; Rondo in 
 B-flat ; — 2, with strings : 3 quartets, in E- 
 flat, D, and C ; Quartet (after quintet) in E- 
 flat, op. 16 ; 11 trios, in E-flat, G, C minor, 
 op. 1, Nos. 1-3, in D, E-flat, op. 70, Nos. 1 
 and 2, in B-fl£i,t, op. 97, in E-flat, in B-flat 
 (in one movement), in D (after 2d sympho- 
 ny), in B-flat (with clarinet or violin, and 
 violoncello), op. 11, in E-flat (after septet, 
 op. 20), op. 38 ; 14 variations in E-flat, op. 
 44 ; Variations (Jrii bin der Schneider Ka- 
 kadu) in G, op. 121a; 10 sonatas, for piano- 
 forte and violin, in D, A, E-flat, op. 12, Nos. 
 
 145
 
 BEETHOVElSr 
 
 1-3, ill A minor, op. 2.'j, in F, op. 24, in A, in F, G minor, op. 5, Nos. 1 and 2, in 
 C minor, G, op. 30, Nos. 1-3, in A, op. 47, 1 A, op. C9, in C, D, op. 102, Nos. 1 
 
 {Kreutzer ■Sonata) in G, op. 96 ; Rondo, for [ and 2 ; Variations {Ein Mi'idchen oder 
 
 do., in G ; Variations (Se vuol ballare), 
 for do., in F ; AUemaude, for do. ; 5 
 
 Weibclieu), for do., in F, op. 60 ; do. (theme 
 from Judas Maccabreus), in G ; do. (Bei 
 
 sonatas, for pianoforte and violoncello, Miiunern, welche Liebe f(ibleu), in E-llat ; 
 
 U6
 
 BEETHOVEN 
 
 • — 3, with wiml instruments : Quintet, with 
 oboe, clarinet, born, and bassoon, in E-flat, 
 op. 16 ; Sonata, with horn, in F, op. 17 ; C 
 varied themes, with flute (or violin), op 105 ; 
 
 10 do., op. 107. VI. For pianoforte alone 
 — 1, for 4 hands : Sonata in D, ojx G ; 3 
 marches, in C, E-tlat, and D, op. 45 ; Varia- 
 tions (theme by Count Waldstein) in ' C ; 
 Lied mit Verilnderungen {Ich denke dein), 
 in D ; Grand fugue (after 021. 133), in B-flat, 
 op. 134 ; — 2, solo : |32 sonatiis^yjtj^ttSijor, 
 ,A, C, op.»2, Nq3. 1^3^ E-flat, op. J, "me 
 minor', F, D, op. TO, ^os. 1-3, fu d nimor 
 (Sonate pathctlque), op. l-B, in 1? G, op. 14; 
 Nos. 1 and 2, in B-flai, op. 2e!, ni A-flafop. 
 26, in E-flat, Csharjo niiner (quasi-fantasia), 
 op. 27 {Laubensonale), No.s. 1 and 2, in* 6, 
 ojx 28 [Sonata pastorale,) iu G, D minor, 
 E-flat, op. 31, Nos. 1-3, in G minor, G, op,' 
 49, Nos. 1 and 2, jn C, op. 53 {Wakhtein 
 sonata), iu F, op. 54, in F minor, op. 57 {So- 
 nala appassionata,) in F-sharp minor, op. 
 78, in G (Souatiue), op. 7t\<tn E-flat (Das 
 Lebewohl, die Abweaeuheit, das Wieder- 
 sehn), oj). 81ft, iu E minor, op. 90, iu A, op. 
 101, in B-flat, op. 106 {Sonate fiir das Ham- 
 merklavier), in E, op. 109, iu A-flut, op. 
 110, iu C minor, op. 111.^ 3 sonatas iu E- 
 flat, F miuor, and D (written at the age 
 of eleven) r Leichte Sonate (fragment), in 
 C ; 2 sonatiuas, iu G, and F ;[ 7 Bagalrllen, 
 ojj. 33 J. 2 preludes (also for organ) op. 39 ; 
 2 roudos, in C, and G, op. 51 ; Phantasie, 
 iu G minor, op. 77 ; Polonaise, in C, op. 89 ; 
 
 11 (12) neue BagaleUen, op. 119 ; 6 Baga- 
 tellen, op. 126 ; Hondo a capriccio, in G, ojj. 
 129 ; Koudo in A ; Menuet in E-flat ; Prii- 
 ludium, iu F minor ; 6 menuets (arrange- 
 ment ?) ; 7 liindlerisehe Tilnze ; 6 do. (ar- 
 rangement?); Andante iavori, in F; Ivleines 
 Stiick,'iu B-flat ; Cadenzas to pianoforte con- 
 certos; Allemande (originally with violin) ; 
 Letzter Gedanke, iu C (after a movement for 
 5 string instruments) ; 6 variations (original 
 theme), in F, oj). 34 ; 15 do., with fugue (do.) 
 iu E-flat, op. 35 ; 6 do. (do.), iu D, op. 76 ; 
 33 do. (waltz by Diabelli), in C, op. 120; 9 do. 
 (march by Dressier), iu C minor • 24 do. 
 
 ( Vieni amore), in D ; 13 do. (Es war ein- 
 mal), in A ; 9 do. (Qiiant' i- pih bello), in A ; 
 do. (Nel cor jiiii nou), in G ; 12 do. {3Ie- 
 nuet A la Vigano), iu C ; 12 do. (Russischer 
 Tanz), iu A ; 6 do. (Schweizerlied), in F 
 (also for harj)) ; 8 do. [Une fii-vre brulaute), 
 iu C ; 10 do. (La stessa), iu B-flat ; 7 do. 
 {Kind, willst du ruhig sehlafen), iu F ; 8 
 do. {Tandehi und Scherzen), in F ; 6 do. 
 (original theme), in G ; 7 do. {God save the 
 king), in C ; 5 do. {Bide, Britannia), iu D ; 8 
 do. {Ich hab' ein kleines Hiittchen nur), iu 
 B-flat ; 32 do., in C miuor ; 7 do. in C 
 {Reich mir die Hand). Vocal. €. With 
 orchestra : Cliridas am Oelberge, oratorio 
 for 3 solo voices, and chorus, op. 85, first 
 performed iu Vienna, Theater an der Wien, 
 April 5, 1S03 ; Mass iu C, for 4 solo voices 
 and chorus, op. 86, Eisenstadt, Sept. 8, 
 1807 ; Mass {Missa solennis), in D, for do., 
 op. 123, St. Petersburg, March 27, 1824; 
 Die Ruinen von Athen, eiu Nachsj^iel (Kot- 
 zebue), op. 113 ; Kunig Stejjhau, ein Vor- 
 spiel (Kotzebue), op. 117, Pestb, Deutsches 
 Theater, Feb. 9, 1812 ; March with chorus 
 from Die Euincu von Athen, op. 114, Vien- 
 na, Joseijhstildter Theater, Oct. 3, 1822 ; Der 
 glorreiche Augenblick, cantata for 4 solo 
 voices and chorus, op. 13G, Vienna, Nov. 29, 
 1814 ; Music to Goethe's Egmont, op. 84, 
 Vienna, May 24, 1810 ; Chorus in Phantasie, 
 op. 80 ; do. (Schiller) in 9th symphonj', oji. 
 125 ; lleeresstille und gliiekliche Fahrt, for 4 
 voices, op. 112 ; Tremate, emjjj tremate, ter- 
 zetto for sojjrano, tenor, and bass, oj). 116 ; 
 Ah ! perfido, scena and aria for sojjrano, op. 
 65 ; Opferlied for do., with chorus, oj). 121b ; 
 German ia's Wiedergeburt, for bass with 
 chorus ; Es ist vollbracht !, for do. ; Ele- 
 gi.-<chcr Gesang, for 4 voices, with 2 violins, 
 viola, and violoncello, op. 118 ; Bandeiilled 
 (Goethe), for 2 solo aud 3 choral voices, 
 with 2 clarinets, 2 bassoons, aud 2 horns, 
 015. 122 ; Trauergesang bei Beethoven's Lei- 
 chenbegilnguiss, for four-part male chorus 
 and 4 trombones. 11. 'S^ithout accompani- 
 ment : Gesang der MOnche (from Schiller's 
 Wilhelm Tell), for 3 male voices ; 18 canons 
 
 ^ 
 
 147
 
 BEFFROY 
 
 for 2, 3, and i voices. III. Folk-songs, for 
 one voice, jjartly for two, or three voices, 
 and small chorus : 25 Scotch songs, op. 108 ; 
 25 Irish songs ; 20 do. ; 12 do. ; 26 Welsh 
 songs ; 12 Scotch songs ; 12 miscellaneous 
 songs (English, Scotch, Irish, and Italian). 
 IV. Songs with pianoforte : An die Hofi- 
 uung (Tiedge), op. 32 ; Adelaide, op. 46 ; In 
 tjuesta tomba oscura ; 6 Lieder (Gellert), 
 op. 8 ; 8 do., op. 52 ; 6 do., oi^ 75 ; 4 ariettas 
 and a duet (Metastasio), op. 82 ; 3 songs 
 
 ^^^iS^'^ (A^ 
 
 (Goethe), oix 83 ; Das Gliick der Freuud- 
 schaft, op. 88 ; An die Hoffnung (Tiedge), 
 op. 94 ; An die fei-ue Geliebte (Cyclus by 
 Jeitteles), op. 98 ; Der Maun von Wort, 
 oj). 99 ; Merkenstein, op. 100 ; Der Kuss, 
 op. 128 ; 28 others without op. No.-/— Lenz, 
 Beethoven, eine Kunststudie (Caiwel, 1855- 
 60) ; do., Beethoven et ses trois styles (St. 
 Petersburg, 1852) ; Schiudler, Biographie 
 von L. v. B. (Miinster, 1860) ; Kochel, Drei 
 und achtzig Briefe Beethoven's (Vienna, 
 1865) ; Thayer, Chronologisches Verzeich- 
 nissderWerkeB.'s (Berlin, 18G5); do., Beet- 
 hoven's Leben (ib., 1866-79) ; Nohl, Beet- 
 hoven's Lebeu (Leipsic, 1867-77) ; do., 
 Neue Briefe B.'s (Stuttgart, 1867) ; Notte- 
 bohm, Thematisches Verzeichuiss der Werke 
 B.'s, (Leipsic, 1868) ; do., Beethoveniana 
 (Leipsic k Winterthur, 1872) ; do., Beethov- 
 en's Studien (ib., 1873) ; do., Skizzenbuch 
 (Leipsic 1880) ; Graeme, Beethoven, a mem- 
 oir (London, 1870) ; Wagner (Parsons), Beet- 
 hoven, (Boston, 1872) ; La Mara, Ludwig van 
 Beethoven (Leipsic, 1873) ; do., Musikalische 
 Studienkopfe, HI. 319, 465 (Leipsic, 1880) ; 
 Gerhard von Breuning, Aus dem Schwarz- 
 spanierhaus (Vienna, 1874) ; Marx, Ludwig 
 van Beethoven, Leben und Schaffeii (Berlin, 
 
 1875) ; Naumann, Deutsche Tondichter 
 (BerHn, 1882), 181. 
 
 BEFFKOY DE EEIGNY, LOUIS ABEL, 
 better known as Cousin Jacques, born at 
 Laon, France, Nov. 6, 1757, died in Paris, 
 Dec. 18, 1811. Eccentric composer of operas, 
 for which he wrote also the words, and the 
 ephemeral success of which was due solely 
 to the singularity of their titles and subjects. 
 They were : Les ailes de I'Amour, given in 
 1786 ; L'Histoire universelle. Theatre Fey- 
 deau, 17.89 ; Nico- 
 deme dans la lune 
 ou la Kevolution 
 pacifique. Theatre 
 Fran9ais, 1790 ; La 
 federation du Par- 
 nasse. The li t r e 
 Beaujolais, 1790 ; 
 Jean-Bete, Theatre 
 des Grands Danseurs du Roi, 1790 ; Louis 
 XII., Les foliesdansantes, Di'lassementscom- 
 iques, 1790 ; Le club des bonnes gens. Thea- 
 tre de Monsieur, 1791 ; Nicodeme avix enfers. 
 Theatre Feydeau, 1791 ; Les deux Nico- 
 demes, 1791 ; Allons, (,•» va, ou le Quaker en 
 France, Theatre Feydeau, 1793 ; Toute la 
 Groce, ou ce que pent la liberto, Opera, 1794 ; 
 La petite Nanette, Theatre Feydeau, 1796 ; 
 Turlututu, Empereur de I'lle verte, 1797 ; 
 Jean-Baptiste, Theatre Feydeau, 1798 ; Un 
 Rien, ou I'Habit de noces, Ambigu Comique, 
 1798 ; Le grand genre, ib., 1799 ; Les deux 
 Charbonniers, Madelon, Le Bonhomme, ou 
 Poulot et Fanchon, Theatre Montansier, 
 1799. He also jDublished, Les romances 
 de Berquin (Paris, 1798), and a collection 
 of chansons. Soirees chantantes, ou le 
 Chansonnier bourgeois (ib., 1805). — Fetis ; 
 do., Supplement, i. 64. 
 
 BEFIEHL DU DEINE WEGE, choral, 
 to the melody "O Haupt voll Blut und 
 Wunden," in D major, in Johann Sebastian 
 Bach's Passion nach Matthiius, Part 11. 
 
 BEGGAR'S OPERA, ballad opera, text by 
 1 John Gay, music by Johann Christoph Pe- 
 I pusch, first represented at Lincoln's Inn 
 I Fields Theatre, Loudon, Jan. 29, 1728. 
 
 148
 
 BEHEERSCHER 
 
 Written ostensibly as an exposure of the 
 vices of criminals, it is reallj' a keen satire 
 on the corruj)tiou of the courtiers and poli- 
 ticians of the day. The songs, sixty-nine in 
 number, were all written to English and 
 Scotch ballad tunes, some old and some con- 
 temporary, and were arranged and scored 
 by Dr. Pepusch, who wrote also the over- 
 ture. The piece was received with great 
 applause, was acted in London sixty-three 
 times, and renewed the next season, and 
 was produced in all the large towns of the 
 kingdom. Gay's profits from the work are 
 said to have been £2,000, and it raised some 
 
 Lavinia Fenton, as Polly Pe^chum 
 
 of the actors in it from obscurity into prom- 
 inence. Lavinia Fenton, who represented 
 Polly Peachum, became the idol of the 
 town. Her portrait was engraved and sold 
 by thousands, her life was written, verses 
 and letters to h.er published, and she hei-- 
 self, after resisting innumerable offers, be- 
 came the mistress of the Duke of Bolton 
 and ultimately (1751) Duchess of Bolton. 
 The Beggar's Opera was followed by numer- 
 ous imitations, which were called, from the 
 introduction of old songs, ballad operas. 
 — Hogarth, ii. 40 ; Schcelcher, Life of Handel, 
 81 ; Edwards, The Prima Donna, i. 13 ; 
 Chappell, Popular Music of Olden Time, 
 630. 
 
 BEHERRSCHER DERGEISTER, DER, 
 
 overture to, by ^Yeber, op. 27, composed 
 1811, first original edition, score, Leipsic 
 (Peters). This entirely reconsti-ucted, and 
 jiartly rewritten, overture belonged, in its 
 original and now lost form, to the unfinished 
 opera Riibezahl, comjjosed at Bre.slau in 
 1804^5. It is perhaps, of all the composer's 
 instrumental preludes, the most regular, 
 complete, and musician-like. No flaw, from 
 the fiery beginning to the end of the exciting 
 peroration, can be detected ; aU is harmo- 
 nious and rhythmical, a work of beauty. 
 — Benedict, 141. 
 
 BEHOLD AND SEE, short air in E 
 minor, in Handel's Jfrxsiah, Part H. 
 
 BEHOLD ! GOD THE LORD PASSED 
 BY. See I>cr Herr ging voriiber. 
 
 BEHOLD, HOW STILL, HOW CALM. 
 See Geduld ! Geduld ! 
 
 BEHOLD THE LAMB OF GOD, chorus 
 in G minor, in Handel's Messiah, Part II. 
 
 BEI MANNERN, WELCHE LIEBE 
 FUHLEN, variations on theme of, for piano- 
 forte and violoncello, by Beethoven, com- 
 posed in 1801 (?). Dedicated to the Count- 
 ess Browne. Tlie theme is the familiar 
 duet between Pamina and Papageno, in 
 Mozart's Die Zaaherjldte: Published by 
 Mollo (Vienna). — Thayer, Verzeichniss, 41. 
 
 BEIDEN NEFFEN, DIE, oder Der 
 Onkel aus Boston (The Two Ne^^hews, or 
 The Uncle from Boston), opera in three acts, 
 text by Dr. Caspar, music by Mendelssohn, 
 first performed in his father's house, Berlin, 
 on the composer's fifteenth birthday, Feb. 
 3, 1824. This, Mendelssohn's fourth oper- 
 atic work, contains an overture and four- 
 teen numbers for voices and orchestra. It 
 was never given in 2:)ublic. The autograph 
 MS. is preserved in the Bibliothek, Berlin. 
 
 BEIDEN PADAGOGEN, DIE (The Two 
 Pedagogues), opera in one act, test bj- Dr. 
 Casj)ar, music by Mendelssohn, first ■pev- 
 formed in his father's house, Berlin, 1821. 
 It was the composer's third opera and was 
 written in his twelfth year. It contains an 
 ovei'ture and twelve numbers for voices and 
 
 149
 
 BEL 
 
 Triuity, Bordesley, 
 
 orcliestra. The MS. is iu the Berlin Bib- 
 liotbek. 
 
 BEL EAGGIO. See Semiramide. 
 BELCHER, W1LLL\.M THOMAS, born 
 iu Birmingham, Eng- 
 land, March 8, 1827, 
 still living, 1888. Or- 
 ganist of Great Barr 
 Church, Staffordshire, 
 1856 ; of St. Silas Lo- 
 zell's, B i r m i u g h am, 
 1861 ; of St. George's, 
 ib.,18G4-78; of Hands- 
 worth Parish Church, 
 1878-81 ; and of Holy 
 1884 Mus. Bac, Ox- 
 ford, 1867 ; Mus. Doc, 1872. Works : The 
 Sea of GalQee, oratorio, Oxford, 1872 ; Es- 
 telle, ojsera (MS.) ; The Fates, cantata, Ox- 
 ford, 1867 ; Excelsior, cantata, 1868 ; Church 
 music ; Four-part songs, songs, glees, etc. 
 
 BELCKE, FRIEDRICH AUGUST, born 
 at Lucka, Saxony, May 27, 1795, died there, 
 Dec. 10, 1874. Virtuoso on the trombone, 
 son and pupil of Christian Gottfried Belcke, 
 an able oboe and flute player (1765-1838). 
 He filled a place iu the city band M'heu a 
 boy of twelve, vfent in 1811 to Altenburg to 
 study with the city musician Sachse, and 
 soon after to Loipsic, where he appeared in 
 solos in 1815, and was immediately en- 
 gaged for the Gewandhaus and theatre or- 
 chestras. With his brother the flutist, Chris- 
 tian Gottlieb Belcke, he made a concert tovir 
 through Merseburg, Halle, and Dessau to 
 Berlin, where he was appointed chamber mu- 
 sician in 1816. Weber invited him to Dresden 
 to play at a court concert, and in Berlin he 
 played (after 1827) at church concerts with 
 especial success. Concert tours through 
 Germany, Denmark, and the Netherlands in- 
 creased his fame, and the Conservatoire of 
 Paris conferred upon him the medal of hon- 
 our in 1841:. He was the first virtuoso on his 
 instrument who introduced it into the con- 
 cert room. In 1858 he resigned his j)osition 
 in Berlin, and retired to his native city. Be- 
 sides concertos and studies for his instru- 
 
 ment, he composed works for orchestra, 
 wind and other instruments, and pianoforte. 
 — Fetis ; Mendel. 
 
 BELICZAY, JULIUS VON, born at Ko- 
 morn, Hungary, Aug. 10, 1835, still living, 
 1888. Pianist, jDujail in Vienna of Joachim 
 Hoffmann and Franz Krenu, afterwards of 
 Anton Halm on the pianoforte, and of Notte- 
 bohm in theory. After living alternately at 
 Presburg and Vienna, he has resided in 
 Pesth since 1871, as civil engineer of the 
 royal Hungarian railroad. Works : Mass 
 for soli, chorus, and orchestra ; Ave Maria, 
 for do., op. 9 ; String quartet, op. 21 ; Trio, 
 op. 30 ; Andante for string orchestra, op. 
 25 ; Pianoforte music for two and four 
 hands ; Songs. — Mendel ; Ergiinz., 30 ; Eie- 
 maun. 
 
 BELISARIO, opera in three acts, text by 
 Dartigny, music by Philidor, first repre- 
 sented at the Theatre des Italiens, Paris, 
 Oct. 3, 1796. The subject, the story of 
 Belisarius, the famous Byzantine general in 
 the reign of the Emperor Justinian, is from 
 Marmontel's romance, "Belisaire" (1767). 
 The same subject is treated in Belisar, 
 German melodrama, music by Leon de 
 Saint-Lubin, given at the Josephstadt The- 
 ater, Vienna, 1827 ; and in a tragedy, music 
 by J. M. Maurer, Bamberg, 1830. 
 
 BELISARIO, Italian opera in three acts, 
 text and music bj' Donizetti, first repre- 
 sented at the Teatro Fenice, Venice, Feb. 7, 
 1836 ; at the King's Theatre, Loudon, April 
 1, 1837 ; at the KOnigstadische Theater, 
 Berlin, April, 1838 ; at the Theatre des Ita- 
 liens, Paris, Oct. 24, 1843 ; and at Palmo's 
 Opera House, New York, March 14, 1844. 
 The libretto, which recalls Marmontel's 
 romance and the several tragedies on the 
 subject, contains some striking musical 
 situations. The work was successful in 
 Italy and in England, but was not very 
 warmly received in Paris. It was sung at 
 the Italiens by Giulia Grisi, Fornasari, 
 Mile Nissen, Morelli, Corelli, and ]\Ime 
 Bellini ; Fornasari made his debut iu the 
 title-role. 
 
 150
 
 BELLA 
 
 BELLA COME UN PRIMO AMORE. 
 
 See Ennmi. 
 
 BELLA FIGLIA DELL' AMORE. See 
 RigoMto. 
 
 BELLA IMAGO DEGLI DEL See ,S'e- 
 miramiih. 
 
 BELLA, JOHANN LEOPOLD, born at 
 St. Nicolau, Ujjper Hungary, in 1843, still 
 living, 1888. Church composer, self-taught 
 on the violin, pianoforte, organ, and in 
 singing ; a proficient at the age of eight. 
 While at the theological seminary at Neu- 
 sohl, he composed an instrumental mass 
 ■when only sixteen. In Vienna, wliere he 
 finished his studies at the university, his 
 intercourse with Sechter and Preyer only 
 increased his tendency to a severely clas- 
 sical style, in which he composed, after he 
 had become a priest at Neusohl. His most 
 important works are : Hsec dies, and Adora- 
 mus (in the style of Palestrina), for male 
 quartet ; Tu es Petrus, motet a cappella, 
 for 2 male quartets ; Modlitba sv. Cyrilla 
 (Prayer of St. Cyrillus), chorus ; Several 
 works for orchestra ; National choruses for 
 male and mixed voices ; Pri Presporku, 
 concert variations for pianoforte, op. ; etc. 
 — Mendel. 
 
 BELLA MIA FIAMMA, ADDIO, concert 
 aria for soprano, with orchestra, by Mozart, 
 composed at Prague, Nov. 3, 1787. 
 
 BELLAZZI, FRANCESCO, composer at 
 Venice in the first half of the 17th century. 
 He was a pupil of Giovanni Gabrieli, and 
 an imitator of Mouteverde. Works : Salmi 
 di vespri a otto voci (Venice, 1618) ; Sacro- 
 rum concentum, etc. (ib., 1620) ; Motetti, 
 op. 4 (ib., 1622) ; Salmi intieri, etc., op. 5 
 (Milan, 1623) ; Sahni concertati, op. 7 
 (Venice, 1626) ; Missa, Magnificat e mo- 
 tetti concertati, etc., op. 8 (Venice, 1628). 
 — Fetis. 
 
 BELLE AESfeNE, LA, fairy comedy in 
 verse, in four acts, text by Favart, music 
 by Monsigny, first represented at Fontaiue- 
 bleau by the Italian comedians in ordinary 
 to the king, Nov. 6, 1773, and in Paris at 
 the Theatre des Italiens, Aug. 14, 1775. 
 
 Subject from Voltaire's tale, " La Be- 
 gueule." One of Mousigny's best works, 
 and very successful. Same subject treated 
 by Mazzinghi, Loudon, about 1797 ; and by 
 Sor, London, about 1820. 
 
 BELLE H^LENE, LA, French opera- 
 bouffe in three acts, text by Henri de 
 Meillac and Ludovic Halevy, music by 
 Oft'enbach, first represented at the Theatre 
 des Varietus, Paris, Dee. 17, 1864. Sub- 
 ject, the seduction of Helen by Paris. A 
 piece of buffoonery, full of ridiculous anach- 
 ronisms, in which the heroes and gods of 
 Greece are made to masquerade in modern 
 costumes amid modern surroundings. Mu- 
 sically, it is one of the best of Offenbach's 
 bouffe operas, and it proved one of the 
 greatest successes ever known at the Vari- 
 etes. Original cast : Paris, Dapuis ; Me- 
 nelas, Kopp ; Calchas, Gi'enier ; Agamem- 
 non, Couder ; Achille, Guyon ; Ajax I., 
 Hamburger; Ajax II., Andof ; Helene, Mme 
 Schneider ; Oreste, Mme Silh'. 
 
 BELLE ISABEAU, LA, a tale during the 
 storm, for a voice, with chorus, by Hector 
 Berlioz, o-p. 19. 
 
 BELLERM.YNN, CONSTANTIN, born at 
 Erfurt in 1696, died at Miinden, Hanover, 
 April 1, 1758. Dramatic composer, became 
 cantor at Miinden in 1719, and rector of the 
 higli school there in 1741. He was a vir- 
 tuoso on the lute, the viol da gamba, the 
 violin, and the flute, and, besides many 
 other poems, wrote the texts to nearly all 
 his vocal compositions, and was made poet- 
 laureate in 1738. Works — Oratorios : Die 
 himmlischen Heerschaaren, performed at 
 GOttiugen, 1726 ; Der reiche jVIanu und der 
 arme Lazarus, 1731 ; Die Allmacht in der 
 Ohnmacht, oder die freudenreiche Geburt 
 Jesu Christi, Erfurt, 1734 ; Der in der 
 Auferstehung triumphirende Jesus, Die sie- 
 gende Selileuder des heldenmiithigen Da- 
 1 vids, 1734 ; Das auf ein La mi sich endi- 
 gende Wohlleben des reichen Mannes, Der 
 verlorene Sohn, Die Sendung des heiligen 
 Geistes, Erfurt, 1735 : Issipile, opera (about 
 \ 1744) ; Several cantatas : 24 suites for the
 
 BELLEPwMANN 
 
 lute ; 3 concertos for tlae flute ; 3 do. for j 
 oboe ; 10 do. for pianoforte with violiu ; 6 
 overtures for graud orchestra ; 6 sonatas 
 for flute, viol da gamba, and pianoforte. 
 — Fetis ; Mendel ; Schilling. 
 
 BELLERMANN, HEINRICH, born in 
 Berlin, March 10, 1832, still Hving, 1888. 
 Vocal composer, sou and pupil of Fried- 
 rich Bellermanu (1795-1874), and pupil of 
 Eduard Grell ; became iustructor of vocal 
 music at the Grey Convent iu 1853, royal 
 director of music iu 1861, and in-ofessor at 
 the university iu 1866. Member of Berlin 
 Academy, 1875. Works : Oratorios, psalms, 
 motets, choruses ; Gesaug der Geister iiber 
 den Wassern, for chorus and orchestra ; 
 Choruses in Ajax, King (Edipus, and (Edi- 
 pus in Colonos, by Sophocles ; An opera 
 (MS.)— Mendel ; Riemann. 
 
 BELLfiROPHON, opera iu five acts, text 
 by Thomas Corneille, Foutenelle, and Boi- 
 leau, music by Lulli, represented at the 
 Theatre de FOpera, Paris, Jan. 31, 1679. 
 Original title, Les triomphes de Bellero- 
 phon. Subject, the hero Bellerophon who, 
 mounted upon his wiuged steed Pegasus, 
 overcame the monster Chimfera. It met 
 with extraordinary favour, was plaj'ed until 
 the end of the following October, and re- 
 produced the next year with equal success. 
 In 1773 it was reset to music by Berton and 
 Grenier, but the new version proved a fail- 
 ure. The same subject is treated iu Bel- 
 lerofoute, Italian opera, music bj' Sacrati, 
 Venice, 1642 ; music by Araja, St. Peters- I 
 burg, about 1713 ; music by Terradeglias, 
 London, 1716 ; music by Giovanni Ferran- 
 dini, Munich, 1757 ; music by Mysliweczek, 
 Naples, 1765 ; in Bellerophon, German op- 
 era, music by Graupner, Hamburg, 1708 ; 
 music by von Winter, Munich, 1782 ; and in 
 Jobates und Bellerophon, music by Keiser, 
 Hamburg, 1717. 
 
 BELL'HA\^R, VINCENZO, born in 
 Venice about 1530, died there about 1588 
 (?). One of the organists at S. Marco, Ven- 
 ice, in 1586. As he was succeeded by Gu- 
 ami, Oct. 30, 1588, it is presumable that he 
 
 died about that time. Works : Madrigali 
 a cinque e .sei voci, lib. i. (1567) ; Madrigali 
 a cinque, lib. i.; Madrigali a cinque, lib. ii. 
 (Venice, 1575). Some of his madrigals are 
 in the library of the King of Portugal, 
 others in a collection entitled. Corona di 
 dodici sonetti di G. B. Zuccariui (Vienna, 
 1586).— Fetis. 
 
 BELLI, GIULIO, lived at end of the 
 16th aud beginning of the 17th century. 
 He was minor canon at Longiano, maes- 
 tro di cappella of the Church of Osimo, 
 near Ancoua, afterwards of the cathedral 
 at Imola, and, according to the title of one of 
 his works, maestro di cappella at Venice. His 
 works consist of masses, psalms, canticles, 
 motets, aud madrigals, published at Milan 
 and Venice from 1586 to 1613, and in the 
 Bodenschatz collection. — Fetis ; Schilling. 
 
 BELLINI, BERNARDO, Italian dramatic 
 composer, contemporary. He is author of 
 II sogno d' amore, opera semi-seria, text by 
 Golisciana, represented at the Casino Uni- 
 one, Naples, Jan. 12, 1880. 
 
 BELLINI, F., Italian composer, contem- 
 porarj'. He is author of Si paga o non si 
 paga?, operetta, played at the Collegio della 
 Visitatione, Monaco, January, 1877. 
 
 BELLINI, GIUNTI, Italian composer, 
 contemporary. He is author of Raphael, 
 grand opera in five acts, text by Mery, rep- 
 resented at the Athcnee, Paris, May 28, 
 1873. 
 BELLINI, VINCENZO, born at Catania, 
 Sicily, Nov. 3, 1802, 
 died at Puteaux, 
 France, Sept. 23, 
 1835. His father, 
 an organist, per- 
 suaded by a Sicil- 
 ian nobleman, sent 
 tlie young Vincenzo 
 to Naples to enter 
 the conservator}', 
 directed at that 
 The boy accordingly 
 entered a little after Donizetti had left the 
 institution, and while Mercadante was still 
 
 time by Zingarelli. 
 
 152
 
 BELLINI 
 
 studying there. Bellini was but poorly 
 taught, the Naples Couservatory being in a 
 miserable condition at the time, and Zin- 
 garelli neglecting his pupils greatly. Very 
 likely, also, Bellini did not work very hard 
 at his studies, and it is highly probable that 
 he got the better part of his musical educa- 
 tion, like many of his comjDatriots, from the 
 perusal of standard scores of the great mas- 
 ters. Throughout his career he showed 
 himself to be a composer by instinct rather 
 than a thoroughly schooled musician After 
 publishing in Naples some unimportant in- 
 strumental and sacred choral works, his first 
 opera, Adehon e Salvina, was brought out 
 at the little theatre of the CoUegio Reale 
 di Musica in 1824:. Barbaja, who was pres- 
 ent at the performance, immediately engaged 
 him to write an opera for the San Carlo, and 
 Bianca e Fernando was accordingly given 
 there on June 30, 1826. The principal parts 
 were sung by Rubiui, Lablache (who was 
 an ardent admirer of the young composer), 
 and Mme Meric-Lalande. The oj)era was 
 a great success at the time, but has since 
 been wholly forgotten. Emboldened by this 
 triumph, Barbaja engaged Bellini to write 
 another opera, this time for Milan, the 
 tenor part to be especially written for Ru- 
 biui. The composer accordingly retired to 
 the country, taking the great tenor with 
 him in order to profit by his advice, and the 
 result was II Pirata, which was brought out 
 with overwhelming success in Milan, 1827, 
 and was soon given in the principal Euro- 
 pean capitals. This work was the key-stoue 
 of Bellini's great and ever-growing reputa- 
 tion. From this time to his early death he 
 pi'oduced seven more operas, most of which 
 were brilliantly successful. Bellini's genius 
 may be called, in a certain sense, " epoch- 
 making." He perceived that the persistently 
 florid style of Rossini, which Pacini, Carafa, 
 Mercadante, and the young Donizetti imitat- 
 ed blindly, would not long monopolize pub- 
 lic favour ; he struck out in the direction of 
 bringing Italian melody back to its pre- 
 Rossinian simplicity and dramatic warmth 
 
 of expression. No man was better fitted to 
 do this than be ; for high natural gifts, ex- 
 treme sensibility of nature, and the most ex- 
 quisite refinement of artistic perception all 
 contributed to make him as great a melodist 
 as ever lived. His melodies quite equal 
 Rossini's in beauty, elegance, and finish, 
 while they are, as a rule, endued with a 
 fervid expressiveness, a graceful, almost fem- 
 inine tenderness and pathos to which the 
 great master of Pesaro very rarely attained. 
 Per contra, as a harmonist Bellini was little 
 more than embryonic ; not that his har- 
 mony is bad, but that he habitually confined 
 himself to the very simplest and most nat- 
 ural progressions. His almost total lack 
 of sound schooling made him impotent to 
 grapple successfully with any but the 
 simplest musical forms ; as a contrapuntist 
 he was absolutely null, and his mastery over 
 cyclical forms was of the very slightest. 
 Yet it must be said to his praise that he 
 was content to stay within the limits of his 
 own powers, and rarely attempted harder 
 tasks than he could accomplish. In the art 
 of instrumentation he was a perfect child, 
 but here, as elsewhere, the modesty of his 
 pretensions saved him from doing really 
 bad work. He depended solely upon his me- 
 lodic power and upon his consummate skill 
 in treating the human voice ; indeed, his skill 
 in this imjwrtant particular has never been 
 surpassed. His intimacy with Rubini, for 
 whom he wrote most of his tenor parts, had 
 probably much to do with the formation of 
 his perfect vocal style. Yet this influence was 
 unfortunate in one respect ; Bellini's tenor 
 parts, written for Rubini's exceptionallj- 
 high counter-tenor, are beyond the compass 
 of true tenor voices. As counter-tenor 
 voices have completely disappeared from 
 the stage, many arias and duets have now 
 to be largely transposed, with vmspeakable 
 detriment to their effect. These transposi- 
 tions are most ruinous just in Bellini's 
 greatest masterpiece. La Sonnambula, in 
 which the high register and peculiar quality 
 of the counter-tenor voice is absolutely 
 
 153
 
 BELLMAN 
 
 necessary to give the part of Elvino, most 1 1830 (Romeo et Juliette, Paris, 1859) ; La 
 tender of all complaining lovers, its tvne 'Sonnaiiibida, Milan, 1831 ; i\w))ia, ib., 1832 ; 
 character. The melody, "Ah, perche non , Beatrice di Teuda, Venice, 1833 ; I Furilani 
 posso odiarti ?, " when sung in B-flat, as it di Scozia, Paris, 1835. — Filippo Cicconetti, 
 now is, does not give an approximate idea ; Vita di Vincenzo BeUiui (Prato, Alberghetti, 
 of the effect it j)roduces when sung in the j 1859) ; Arthur Pougin, Belluii, sa vie, ses ceu- 
 original key of D. Bellini, like many other i vres (Paris, Hachette, 1868) ; Dwight's Jour- 
 composers, may be said to have had two , nal, vii. 58 ; Fetis, Supplement, i. 06. 
 manners. With Norma (1832) he began to ! BELLMAN, comic ojjera, music by Franz 
 adopt a broader and grander, albeit not von Suppe, rejjresented at the Theater an 
 more elaborate, melodic style. lu 1833 he , der Wien, Vienna, Feb. 26, 1887. 
 went to Paris, where, under Rossini's guid- 1 BELLMAN, CARL MICHAEL, born at 
 
 ance, he began to study the taste of the 
 French public. After a short trip to Lon- 
 
 Stockholm, Feb. 4, 1710, died there, Feb. 11, 
 1795. The great Swedish poet deserves a place 
 
 don, whither he went to superintend the ; also in the history of Swedish music, having 
 production of one of his ojseras, he returned set to music his ingenious descriptions of 
 to Paris and brought out I Puritani, a work ! popular life, embodied in the partly idyllic, 
 in which he forced himself to take unusual partly burlesque, cycles : The Epistles of 
 pains with the instrumentation, not, how- Fredman, The Songs of Fredman, and The 
 ever, with invariable success. After I Pu- Acts of the Bacchanalian Chapter. — Mendel, 
 ritani, he was engaged to write two more Ergiinz., 31. 
 
 operas, one for La Scala at Milan, the other 
 for the Opera in Paris ; but he died of dys- 
 
 BELLOLI, LUIGI, born at Castelfranco, 
 Bologna, Feb. 2, 1770, died at Milan, Nov. 
 
 entery before he had more than begun 17, 1817. Virtuoso on the horn, and dra- 
 either of them. He was buried in Pure matic composer, entered the court orchestra 
 la Chaise ; but the Italian Government af- at Parma in 1790, and became professor at 
 
 the Couservatorio, Milan, in 1812. Works : 
 II trionfo di Vitellio Massimo, La distru- 
 zione di Pompejano, ballets, Milan, Scala, 
 1803 ; La morte di Tipoo- Sahib, Eleazar 
 despoto della Servia, ib., 1801 ; Sofouisba, 
 Andromacca, ib., 1806 ; Le avventure di 
 Aroldo il prode ; Concertos for horn : 
 Method for do.— Fetis. 
 
 BELMONTE UND CONSTANZE (Bel- 
 mont and Constance), German comic opera 
 in four acts, text by Bretzner, music by 
 Johann Andre, first represented at the Ber- 
 liu Theatre, May 26, 1781. This work, pro- 
 duced with the alternative title Die Eutf iih- 
 rung aus dem Serail (The Abduction from 
 the Harem), was often repeated with suc- 
 cess until it was supplanted by Mozart's 
 work entitled, Entfiihrung, etc. The 
 - same subject, music by Dietter, was rep- 
 resented at Stuttgart about 1786. 
 BELSAZAR (Belshazzar), oratorio, by 
 Carl Reinecke. 
 
 terwards begged for his remains, and a 
 deputation from Catania went to Paris, 
 where the ceremonj" of exhumation took 
 place on Sejst. 15, 1876, and escorted the 
 body to his native town, where it was re- 
 buried with great pomp on Sept. 23d, the 
 forty-first anniversary of the comjaoser's 
 death. Works : Several small compositions 
 for various instruments, such as flute, clari- 
 net, pianoforte, etc., Naples, before 1821 ; 
 Fifteen sinfonie for orchestra, ib.; Is- 
 meue, a cantata, ib. ; Three Vespers, two 
 Dixit Dominus, and three Masses, be- 
 sides other sacred pieces, ib.; Adelson e 
 Salviua, Najjles, 1821 ; Bianca e Fernando, 
 ib., 1826; II Pirata, Milan, 1827; La 
 
 ^^; 
 
 Siraniera, ib., 1829 ; Zaira, Parma, May 16, 
 1829 ; I Vapuletti ed i Montecchi, Venice, 
 
 154
 
 BELSHAZZAR 
 
 BELSHAZZAR, oratorio, text by Charles 
 Jenuens, but much changed by Haudel, 
 music by Haudel, first performed at the 
 King's Theatre, London, March 27, 1745. 
 It was announced as Belteshazzar, the name 
 given in Babylon to Daniel (Dan., ii. 2G), 
 but the name was changed on the day of the 
 performance. The dates on the autograph 
 MS., preserved in Buckingham Palace, are, 
 at the beginning, Aug. 23, 1744: ; at end of 
 the first part, Sept. 3, 1744 ; and at end of 
 the second part, Sept. 10, 1744. The work 
 was revived by the London Sacred Harmonic 
 Society, Mai'cli 19, 1847. Handel was very 
 fond of this oratorio, which is undoubtedly 
 one of his best. Characters represented : 
 Belshazzar, Nitocris, Cyrus, Daniel, Gobrias, 
 Ai-ioch, Chorus of Babj'lonians, Chorus of 
 Jews, Chorus of Medes and Persians. Pub- 
 lished first by Walsh ; full score by Hiin- 
 del-Gesellschaft (Leipsic, 1864). — Schosl- 
 cher, Handel, 288 ; Rockstro, Handel, 
 279. 
 
 BENDA, FRANZ, born at Alt-Benatek, 
 Bohemia, Nov. 25, 1709, died at Potsdam, 
 March 7, 178G. Violinist, first instructed 
 by a blind Jew, named Label, then at 
 Prague by Kisnicek, afterwards (1732), at 
 Ruppiu, pupil of Johaun Gottlieb Grauu on 
 the violin, and of Karl Heiiirich Graun and 
 Quanz in composition. He had, at that 
 time, joined the orchestra of the crown 
 prince, afterwards Frederick the Great, 
 whom, according to his own statement, he 
 had accompanied in about 50,000 concertos 
 during his forty years' service. He formed 
 a number of distinguished pupils, among 
 whom were his youngest brother, Josef, and 
 his two sons Friedriohand Karl. His com- 
 positions consist of symphonies, many con- 
 certos, solos, etudes, of which only twelve 
 solos for violin (Paris), * ^, ^ 
 
 solo for flute (Berlin), and /MfA\nl^i^ 
 three books of violin stud- 
 ies. (Leipsic, Kiihnel), are printed. — AUgem. 
 d. Biogr., ii. 315 ; Ft'tis : Gerber, Hist. Lex.; 
 Hiller, Lebensbeschi-eibungen (Leipsic, 
 1784) ; Schilling. 
 
 BENDA, FRIEDRICH LUDWIG, born 
 
 at Gothaiu 1740, died at Konigsberg, March 
 27, 1793. Dramatic composer, sou of Georg 
 Benda, whom he took for his model. In 
 1780 he became musical director of the 
 theatre at Hamburg, where he married the 
 singer Felicitas Agnesia Rietz, with whom 
 he visited Berlin and Vienna ; iu 1783 he 
 entered the service of the Duke of Mecklen- 
 burg at Ludwigslust, but conjugal trouble 
 leading to a separation, he was induced to 
 go as a concert director to Konigsberg in 
 1789. Works : Three concertos for the 
 violin (Leipsic, 1779) ; Der Barbier von 
 Sevilla, opera, given in Hamburg, 1782 ; 
 Das Vateruuser, cantata (1783) ; Trauerkan- 
 tate auf den Tod des Herzogs von Mecklen- 
 burg (Funeral Cantata on the Death of the 
 Duke of M., 1785) ; Das Narrenballet, 1787 ; 
 Der Tod, cantata (1788) ; Die Religion, do. 
 (1790) ; Die Verlobung, operetta, given at 
 Konigsberg, 1790 ; Louise, do., ib., 1791 ; 
 Mariechen, do., ih., 1792. — Fetis ; Gerber, 
 N. Lex.; Mendel. 
 
 BENDA, FRIEDRICH (WILHELM 
 HEINRICH) born at Potsdam, July 15, 1745, 
 died there, June 19, 1814. Dramatic com- 
 poser, son of Franz Benda, whose pupil he 
 was on the violin, although he excelled more 
 as a pianist and iu composition, which he stu- 
 died under Kirnberger. In 1789 he received 
 a gold medal from the Empress of Russia, for 
 whom he had composed the opera Orpheus, 
 and in 179G a flattering letter with a pre- 
 cious snufi'-box from the Czar Paul I. Works : 
 Pygmalion, cantata, 1783 ; Die Grazien, do., 
 about 1788; Alceste, opera, 178G ; Die 
 Jiinger am Grabe des Auferstandenen, ora- 
 torio, performed in Berlin, 1792 ; Das Lob 
 des HOchsten, do., Potsdam, 1806 ; Das 
 Blumenmadchen, operetta ; G trios for violin 
 and violoncello, op. 1 ; 2 concertos for vio- 
 lin and orchestra, op. 2 ; 3 trios for harpsi- 
 chord, violin, and violoncello, op. 3 ; 3 con- 
 certos for the flute, op. 4 ; Trios for harpsi- 
 chord, op. 5 ; Sonata for four hands, op. 6 ; 
 7 sonatas for harpsichord or harp, witli flute 
 or violin and violoncello (Berlin, 1788-93) ; 
 
 155
 
 BENDA 
 
 licieucy. 
 
 Solo for flute and violoncello (1792) ; 6 con- 
 certos for violin ; 6 solos for flute. — Fetis ; 
 Gerber, N. Lex.; Schilling. 
 
 BENDA, GEUEG, born at Jungbuuzlau, 
 Bohemia, iu 1722, 
 died at KOstritz, 
 Nov. 6, 1795. He 
 was the third sou of 
 Haus Georg Benda, 
 u u d e r whom he 
 studied the oboe 
 and afterwards the 
 violin and piano- 
 forte, acquiring a 
 high degree of pro- 
 lu 1740 he went to BerUn, where 
 he completed his musical education, by 
 hearing the works of Graun and Hasse, 
 but he never made any regular study 
 either of harmony or counterjioint. In 
 1718 he became Kapellmeister to the 
 Duke Frederick III. of Saxe-Gotha, and in 
 1761 he made a journey to Italy at the 
 Duke's expense, and in company with Eust. 
 At Venice Galuppi's La donna di governo 
 (although all Rust's persuasion could not 
 make him sit out the first performance) fi- 
 nally attracted him so strongly by its facile 
 melody that Benda made a serious change 
 in his own style ; from that time his com- 
 positions showed decided marks of Italian 
 influence. In 1766 he returned to Gotha, 
 where he wrote his operas Giro ricono- 
 sciuto and II buon marito. These were fol- 
 lowed by several other works, notably 
 Ariadne auf Naxos and Medea. In 1778 
 Benda ran away from Gotha and assumed 
 the direction of Schroeder's Theatre 
 in Hamburg, a post which he soon relin- 
 quished to go to Vienna, whence he at 
 length returned to Gotha and resumed his 
 old position iinder Frederick HI. and his suc- 
 cessor Augustus. In 1781 he went to Paris 
 to superintend the production of a French 
 version of his Ariadne, but I'eturned to 
 Georgenthal, a village about nine miles from 
 Gotha, disappointed at the failure of the work. 
 But his nervous temperament would not al- 
 
 low him to stay long in any one place ; he 
 soon moved to Ohrdrufl" and thence, in 1788, 
 to Rouuenburg, where he wrote his Benda's 
 Klageu. His last place of abode was KOs- 
 tritz. Throughout life he was noted for his 
 absence of mind, and his fondne.ss for the 
 2)leasures of the table. As a composer he 
 was noted for the grace and expressiveness 
 of his melodies ; although he had made no 
 serious studies, his harmony is generally 
 pure and correct ; he was, however, not 
 gifted with much originality, and his works 
 are now forgotten. The important palace he 
 holds in the history of the German ojiera is 
 mainly owing to his melodramas Ariadne 
 auf Naxos and Medea. The alternation of 
 set musical forms and spoken dialogue in 
 Hiller's Singspiele and Reichardt's Lieder- 
 sjiiele, which afterwards became the standard 
 characteristic of German opera (as it is of 
 the French opera comique), seemed to Ben- 
 da to be inartistic and dramatically false. 
 The musical recitative of the Italian and 
 French grand opera struck him also as being 
 incomj^atible with a national German form 
 of musico-dramatic art. He accordingly 
 conceived the idea of confining the whole 
 musical part of the opera to the orchestra, 
 while the dialogue was all spoken ; thus he 
 may be said to have originated the pure 
 melodrama, a form of art which was short- 
 lived, to be sure, but which attracted much 
 attention in his day. Published works : Sei 
 sonate per il cembalo, Berlin, 1757 ; Amyn- 
 tas' Klagen iiber die Flucht der Lalage, can- 
 tata, ib., 1744 ; T>ev Dorfjahrmarlt, operetta, 
 Leijisic, 1776, pianoforte score ; Walder, op- 
 era, Gotha, 1777 ; Ariadne auf Naxos, duo- 
 drama, Leipsic, 1778, and (more complete 
 ed.) ib., 1781 ; Bledea, melodrama, ib., 1778 ; 
 Der Hohbauer, operetta, ib., 1778 ; Pygma- 
 lion, monodrama, ib., 1780 ; Romeo und 
 Julie, ib., 1778, pianoforte score ; Two con- 
 certos for the clavichord, ib., 1779 ; Three 
 series of pianoforte music, Leij^sic and 
 Gotha, 1780 and 1781 ; Collection of Italian 
 airs, Leipsic, 1782, jDianoforte score ; Airs 
 and duets, ib., 1789 ; Cephalus und Aurora,
 
 BENDALL 
 
 cantata, ib. ; Benda's Klagen, cantata. 
 Among bis uiipublisbed MSS. are a great 
 deal of church music, occasional pieces, 
 
 symphonies, concertos, sonatas, etc., and 
 the melodrama Almauzor. — Leipzig. AUg. 
 Mus. Zeitung, xvi. 8G0 ; iii. 329 ; Grove, i. 
 221. 
 
 BENDALL, WILFRED ELLINGTON, 
 born in London, April 
 22, 1850, still living, 
 1888. Pupil in har- 
 mony and comjjosition 
 of Charles Lucas and 
 Edward Silas in Lon- 
 don ; then studied at 
 the Leipsic Conser- 
 vatory in 1872-74 
 Work s — Operettas : 
 Lovers' Knots, St. 
 George's Hall, 1880 ; 
 1880 ; Oisera comique, 
 Parizadeh, St. James's Hall, 1884 ; The 
 Lady of Shalott, for female voices ; The 
 Kosiere, for do. ; Part songs and trios ; 
 Songs and duets ; Pianoforte music, etc. 
 BEN DEL, FRANZ, born at Schonlinde, 
 Bohemia, March 23, 
 1833, died in Berlin, 
 July 3, 1874. Pian- 
 ist, j)upil of Josef 
 Proksch in Prague, 
 and of Liszt at Wei- 
 inai\ He won rejiu- 
 tation as one of the 
 most brilliant of mod- 
 ern virtuosi on con- 
 cert toui-s through 
 Order of Danebrog, 1863. Be- 
 sides a mass, he composed etudes, idyls, 
 fantasias, etc., for pianoforte, numbering 
 118 works, of which the most popular are 
 
 Quid 
 
 1881. 
 
 pro Quo, 
 Cantatas : 
 
 Germany. 
 
 the fantasias on Bohemian folk-songs, o]}. 
 
 8, 45, 47, and on motives from Faust, and 
 L'Africaine. — Mendel. 
 
 BENDER, JACOB, born at Bechtheim, 
 near Worms, in 1798, died at Antwerp, Aug. 
 
 9, 1844. Instrumental composer, pupil at 
 the age of five of the organist M'lser on the 
 pianoforte, then of his father on the violin, 
 and at Worms of Alfuldisch on several in- 
 struments, among which he cultivated es- 
 pecially the clarinet. In 1819 he became 
 bandmaster of a regiment in the Nether- 
 lands, and in 1829 director of music at St. 
 Nicolas, Belgium, where he founded a phil- 
 harmonic society, and whence he went to 
 Antwerp in 1833 as director of the Har- 
 monie. He has composed many concertos 
 and other jiieces for different instruments, 
 besides fantasias and pot-jjourris for mili- 
 tary band. His brother and pupil Valen- 
 tin (1800-73) was a distinguished virtuoso 
 on the clarinet, became musical director at 
 Brussels, and composed clarinet and mili- 
 tary music. — Fctis ; Mendel. 
 
 BENDING TO THE THRONE OF 
 GLORY, sopi'ano air in B minor for Susan- 
 na, in Handel's Stisaniia, Part I. 
 
 BENDIX, JULIUS, born iu Stockholm in 
 1818, still living there, 1888. Pianist and 
 dramatic composer, pupil of Friedrich 
 Sclmeider at Dessau. His opera, The Fay 
 on the Rhine, was successfully given at 
 Stockholm. — Mendel. 
 
 BENEATH THE CYPRESS' GLOOMY 
 SHADE, soprano air in D minor, alia sicilia- 
 no (sic), of Susanna's attendant, in Handel's 
 Suaanna, Part H. 
 
 BENDL, KARL, born in Prague, x\.i)ril 
 IG, 1838, still living, 1888. Dramatic com- 
 poser, pupil of Franz Bla^ek and Karl 
 Pitsch at the Organists' School in Prague, 
 where he took the first prize. In 1864 he 
 went as second chef d'orchestre to the Opera 
 at Brussels, and, after its failure, as chorus- 
 master to the German Opera at Amsterdam, 
 returned to Prague in 1865, and became di- 
 rector of the male singing society Hlahol. 
 Works : Lejla, Bohemian ojjera, given at
 
 BENEDICT 
 
 the National Theatre, Prague, 18G8 ; Bret- 
 islav, do., ib., 1869 ; Cernahorci, three acts, 
 ib., 1881 ; Karel Skreta, comic opera, three 
 acts, ib., 1883 ; Two masses for male voices ; 
 Mass for mixed chorus and orchestra ; Over- 
 ture ; About two hundred Czech songs and 
 choiTises. — Mendel. 
 
 BENEDICT, Sir JULIUS, born at Stutt- 
 gart, Nov. 27, 1804, 
 died in London, 
 June 5, 1885. Dra- 
 matic composer, 
 and pianist, 23uj)il 
 of Louis Abeille on 
 the jjianoforte, 
 then at Weimar 
 (1819) of Hummel, 
 and at Dresden 
 (1820 of Weber,) 
 with whom he soon formed an intimate 
 friendship, and visited Berlin, Vienna, and 
 other cities, to attend the first representa- 
 tions of Weber's operas. On this master's 
 recommendation he was appointed Kajjell- 
 meister at the Iviirnthnerthor Theater in 
 Vienna, 1823, but two years later he started 
 with the impresario Barbaja on a journey 
 through Germany and Italy, and at Naples 
 became maestro di cappella of the Teatro 
 San Carlo. In 1830 he visited Paris, and, 
 after returning to Naples, went again in 
 1835, and in the same year to London, where 
 he soon became the fashionable professor of 
 the pianoforte, and gave annual concerts, in 
 which the most renowned artists apipeared. 
 Conductor of the ojiera buffa at the Lyceum 
 in 183G, he went in the same capacity to 
 Drury Lane Theatre in 1837, accompanied 
 Jenny Lind on her tour through America in 
 1850-51, and soon after his return became 
 orchestra leader of Mapleson's operatic en- 
 terprise, first at Her Majesty's, then at Drury 
 Lane Theatre. In 1859 he was called to Co- 
 vent Garden, also took charge of the Monday 
 jjopular concerts, conducted several music 
 festivals at Norwich, and in 1876-80 the 
 Philliarmonic Society at Liverpool. He was 
 knighted in 1871, and decorated with many 
 
 foreign orders. Works — Operas : Giacinta 
 ed Ernesto, given at Naples, 1829 ; I Porto- 
 ghesi in Goa, Stuttgart, 1830 ; Un anno ed 
 un giorno, opera bufta, London, Lyceum, 
 1836 ; The Gypsi/'s Warning, ib., Drury 
 Lane, 1837 ; The Bride>i of Venice, ib., 
 1844 ; The Crusaders, ib., 1846 ; The Lake 
 of Gleuaston, ib., Covent Garden, 1862 ; 
 The Lily of Killaruey, ib., 1862 (under the 
 title The Rose of Erin also on the Conti- 
 nent) ; The Bride of Song, ib., 1864. Can- 
 tatas : Undine, Norwich, 1860 ; Richard 
 Ca3ur-de-Liou, ib., 1863 ; Cantata for the 
 return of the Prince of W^ales from India, 
 Portsmouth, 1876. Oratorios : Saint Ce- 
 cilia, Norwich, 1866 ; Saint Peter, Birming- 
 ham, 1870 ; Two symphonies. Crystal Pal- 
 ace, 1873-74 ; Two concertos for pianoforte, 
 op. 13 and 29 ; Concertino for do., op. 18 ; 
 
 Rondo, with 
 
 ^■Mlul H€y>^e^ sTsonatTs 
 
 for piano- 
 forte solo, and with violin ; Fantaisies, ca- 
 prices, variations, etc. — Fetis ; do., Supjjle- 
 ment, i. 08 ; Grove ; Mendel ; Riemann. 
 
 BENEDICT, MILO ELLSWORTH, born, 
 of American parentage, in Cornwall, Ver- 
 mont, June 9, 1866, still living, 1888. Pi- 
 anist ; studied in Boston the pianoforte 
 under Carlyle Petersilea, and theory and 
 composition under John K. Paine. In 1883 
 -84 he was in Europe, spent three months 
 with Liszt at Weimar, visited Berlin, Leip- 
 sic, and Paris, among other musical centres, 
 and was favourably received bj' Rubinstein, 
 Scharwenka, L. Emil Bach, and otlier mas- 
 ters. Since his return to America he has 
 lived in Boston as a teacher of the pia- 
 noforte. Works : 6 Cornwall dances, op. 
 1, 1885 ; Polonaises, op. 2 and op. 3 ; Piano- 
 forte concerto, t'tudes, toccata, scherzo, 
 mazurka, etc., in MS. 
 
 BENEDICTUS. See Ihicis. 
 
 BENEDICTUS (Benedict, Benoit) OF 
 APPENZELL, born at Appenzell, Switzer- 
 land, lived about the middle of the 16th 
 century. He must not be confounded with 
 
 1S8
 
 BENELLI 
 
 Benedictus or Benoit Ducis of Belgium, 
 although some authorities, viz., Gesuer, 
 Gerber, Walther, Kiesewetter, aud Schilling 
 have tried to jJrove their identity. He was 
 master of the children's choir at Brussels 
 from 1539 to 1555. The only works which 
 are handed down also record his name and 
 birthplace : Liber primus ecclesiasticarum 
 eautionum quatuor voc. quas vulgo moteta 
 vocant, tarn ex veteri, quam novo Testamen- 
 to ab optimis quibusque hujus letatia musi- 
 cis compositarum, AutwerpiiB, 1553. Other 
 collections bear the name Benedictus with- 
 out any designation ; they number 12, ex- 
 tending from 1400 to 1569.— Fetis ; Ger- 
 ber ; Larousse ; Mendel ; Schilling. 
 
 BENELLI, ANTONIO PEREGEINO, 
 born at Forli, Romagua, Hept 5, 1771, died 
 at BOruichau, Saxony, Aug. 16, 1830. Com- 
 poser and dramatic singer, pupil of Fathers 
 Martini (?) and Blattei ; obtained au en- 
 gagement as first tenor at the Teatro San 
 Carlo, Najjles, 1790, then in London, 1798, 
 aud at Dresden in 1801, where he sans uu- 
 til 1822, when he lost his voice and was 
 pensioned, and soon after was appointed, 
 through Spontini's influence, vocal instruc- 
 tor at the Opera in Berlin. Some malignant 
 criticisms of his patron's ojjeras, which he 
 published in Leipsic, led to his dismissal 
 in 1829, when he retired to Dresden, aud 
 soon after to Bijrnichau. Works : Sonata 
 for pianoforte for four hands; Rondo for 
 pianoforte ; Pater noster for five voices ; 
 Salve Regiua for four voices and orchestra ; 
 Stabat mater for do.; II giorno natalizio, 
 cantata for five voices aud i^iauoforte ; 1 
 nocturnes for four voices ; Arias, cavatinas, 
 etc.; Vocal method (Dresden, 1819).— Fetis ; 
 Mendel. 
 
 BENESCH (Benes), JOSEF, born at 
 Batelov, Moravia, Jan. 11, 1793, died (?). 
 Violinist, first instructed by his father, a 
 tailor and able amateur violinist, then in 
 the Premonstratensian monastery at Iglau, 
 and finally pupil of Schlesinger in Vienna ; 
 played in the theatre orchestras at Baden 
 and Presburg, and in 1819 started on a con- 
 
 cert tour through Italy ; having returned 
 to Vienna in 1822, he was called to Lai- 
 bach, Carniola, in 1823 as Conzertmeister, 
 orchestra leader, and jirofessor of violin of 
 the Philharmonic Society ; once more in 
 Vienna, 1828, he became a member of the 
 imperial orchestra in 1832. Among his 
 compositions ai'e to be noticed : 2 polo- 
 naises for violin, with accompaniment of 
 two violins, viola, aud bass, op. 6 and 7 ; 
 Grandes variations on an original theme, 
 with quartet ; Variations, concertinos, etc. ; 
 German songs. — Fetis ; Mendel. 
 
 BENEVOLI, ORAZIO, born in Rome m 
 1602, died there, June 17, 1G72. The 
 natural son of Duke Albert of Lorraine, 
 he studied under Vincenzo Ugolini, but 
 not under Beruardio Nanini (Fctis, Biog. 
 Univ., ii. 135, note). His first official posi- 
 tion was that of maestro di cappella at 
 S. Luigi de' Francesi, Rome, which he re- 
 linquished in 1643 to enter the service in 
 Vienna of the Archduke of Austria. On his 
 return to Rome he resumed his old post, 
 but accepted a similar one at Sta. Maria 
 Maggiore on Feb. 23, 1646. On Nov. 7 of 
 the same year he succeeded Virgilio Mau- 
 zocchi as maestro di cappella of the Vatican 
 Chajjel, and retained the position until his 
 death. He was a man of the highest per- 
 sonal character, but died, as he had lived, 
 in great poverty ; he was buried in S. Spi- 
 rito di Sarsia, near the Vatican. Benevoli 
 may be regarded as the most important 
 figure of the Roman school towards the de- 
 cline of its " great " period, at a time when 
 writing a cappella for a large number of real 
 voices was in vogue, a style which, fifty years 
 before, was more characteristic of the Ve- 
 netian than of the Roman school. Indeed, 
 writing for sixteen real voices may be called 
 Beuevoli's familiar, every-day manner. Yet 
 easily clear and finely wrought as his works 
 in this form are, his chief fame is that of 
 being the perfecter of the jjolychoric style 
 of a cappella comjJosition. He excelled 
 in writing for four and six independent 
 choruses [i.e., sixteen and twenty-four real 
 
 159
 
 BENINCORI 
 
 parts), and was one of the first to attempt 
 (in a mass jjerformed on Aug. 4, 1650, in 
 Sta. Maria sojira Minerva) the feat of writ- 
 ing for twelve choruses (forty-eight real 
 voices). Benevoli did not always contine 
 himself to a cappella writing ; he was one 
 of the chief pioneers in the style of choral 
 composition with obligato instrumental ac- 
 companiments. His most noteworthy work 
 in this more modern stylo is his mass, writ- 
 ten for the consecration of the Salzburg 
 Cathedi-al (Sept. 2-4, 1G28), the score of 
 which (written on 54 staves) is preserved in 
 the Mozarteum in that city ; separate parts 
 are in the Corsiniana at Rome. Benevoli is 
 to be admired not only as a phenomenal 
 contrapuntist, but as a composer of real 
 genius and great elevation of style. Most 
 of his works are still in MS. in the archives 
 of the Vatican Basilica and the Corsiniana 
 (manj' of the latter in a very fragmentary 
 condition). The mass, In diluvio multarum 
 aquarum (4 choruses and organ), is i)ub- 
 lished (Leipsic, Breitkopf, 1769). The sec- 
 ond Kyrie from the same is in P. Martini's 
 Treatise on Fugued Counterpoint, p. 122 ; 
 Sanctus and Dona nobis for 4 choruses 
 (orchestral jjarts added by a later hand), 
 (Breitkopf, 1769) ; Mass, Si Deus jiro nobis, 
 for 4 choruses, in the library of the £cole 
 Nationale de Musique, Paris (the Kyrie 
 in Fetis's counterpoint, Paris, Troupenas, 
 1828.) Fragments of other works are in P. 
 Paolueci's Arte pratiea di contrapunto, vol. 
 iii. — Ambros, iv. 104. 
 
 BENINCORI, ANGELO MARIA, born at 
 Brescia, Italy, March 28, 1779, died at Belle- 
 ville, near Paris, Dec. 30, 1821. Dramatic 
 composer, pupil of Ghiretti, Rolla, and Cima- 
 rosa. He finished his musical education at 
 the age of seventeen, and went to Spain in 
 1797 with his brother, also a musician, who 
 died there, and left him without resources. 
 On his return to Italy he brought out his op- 
 era, Nitteti, there, and soon after in Vienna, 
 where he became a follower of Haydn. In 
 1803 he settled in Paris, where his quartets 
 had been published. Failing in repeated 
 
 efforts to bring out some of his operas, and 
 only moderately successful as a teacher, in 
 spite of the variety of his musical accom- 
 plishments, he seemed about to score a tri- 
 umj)h when commissioned to comjjose three 
 acts of the opera Aladin, left unfinished by 
 Isouard in 1818, but he died six weeks be- 
 fore the rej)resentation of the work, which 
 obtained a brilliant success. Works : Ga- 
 latee ou le nouveau Pygmalion, opera, 1804 ; 
 Hesione, do. (1807) ; Les jjarents d'un joui-, 
 operette, given in Paris, Thcati'e Feydeau, 
 1815 ; La promesse de mariage ou le re- 
 tour au hameau, do., Opera Comique, 1818 ; 
 Les epoux indiscrets, do., Paris, 1819 ; 
 Quartets for string instruments ; Masses ; 
 Litanies ; Hymns ; etc. — Fetis. 
 
 BENIOWSEI ; or, Les Exiles du Kam- 
 tschatka (The Exiles of Kamchatka), opera in 
 three acts, text by Alexandre Duval, music 
 by Boieldieu, first represented at the The- 
 atre Favart, Paris, June 8, 1800. Subject 
 from "Les Memoires de Beniowski," a 
 Hungarian chevalier, who, a general in the 
 Polish service, falls into the hands of the 
 Russians and is exiled to Kamchatka. 
 This, though not one of the composer's 
 best works, met with a good reception and 
 was much parodied. It was successfully 
 revived at the Opera Comique, July 20, 
 1824.— Pougin, Boieldieu, 60. 
 
 BEN NET, JOHN, English composer of 
 the latter part of the 16th and early part of 
 the 17th centuries. He was possibly an 
 organist, as he left some anthems and organ 
 pieces in MS. "Works : Madrigals to four 
 voyces (1599) ; All creatures now are merry 
 minded (Morley's Collection, The Tri- 
 umphes of Oriana, 1601) ; 5 compositions 
 in parts (Thomas Ravenscroft's, Briefe Dis- 
 course, etc., 1614). — Hawkins, Hist, of Mu- 
 sic, iii., 394; Grove; Fetis. 
 
 BENNET, SAUNDERS, born in England 
 in last quarter of the ISth century, died in 
 1809. Organist of church at "Woodstock. 
 He composed anthems, songs, and glees, 
 and sonatas, rondos, and variations for or- 
 gan and pianoforte. 
 
 160
 
 BENNETT 
 
 BENNETT, ALFRED, born iu Chiches- 
 ter, England, 1805, died in Oxford, 1830. 
 Organist, son and pupil of Thomas Bennett. 
 He became organist of New College, Ox- 
 ford, and of the TJuiversitj- in 1825, and re- 
 ceived the degree of Mus. Bac. Works: 
 Church Services and Anthems ; Chants 
 (with William Marshall, 1829) ; Songs. 
 
 BENNETT, THOMAS, born in England 
 in 1779, died at Chichester, March 21, 1848. 
 He was a chorister of Salisbury Cathedral, 
 where he studied under Joseph Corfe ; be- 
 came organist of St. John's Chapel, Chi- 
 chester, and in 1803 of Chichester Cathedral. 
 Works : Introduction to Art of Singing 
 (London, no date) ; Sacred Melodies (do.) ; 
 Cathedral Selections, anthems, chants, etc. 
 (do.). 
 
 BENNETT, WILLIAM, born near Teign- 
 mouth, England, in 1707, died in 18 — . 
 Organist, pupil at Exeter of Hugh Bond 
 and William Jackson, and iu London of 
 Johann Christian Bach and of Schroeter. In 
 1793 he became organist of St. Andrew's 
 Church, Plymouth. Songs and Glees (Lou- 
 don, 1799) ; Anthems, and pianoforte and ' 
 organ music. 
 
 BENNETT, Sir WILLIAM STERN 
 DALE, born iu Shef- 
 field, England, Ajiril 
 13, 1816, died in Lon- 
 don, Feb. 1, 1875. 
 His father, an organist, 
 died when he was 
 three years old, and 
 his education was 
 cared for by his grand- 
 father. At the age of 
 eight (1824) he en- 
 tered the choir of King's College Chapel at 
 Cambridge, where his grandfather lived, and 
 in 1820 was sent to London to study at the 
 Royal Academy of Music. Here he studied 
 composition under Lucas and Dr. Crotch, 
 and pianoforte, first under W. H. Holmes, 
 then under Cipriani Potter. His first com- 
 position of note was his D minor pianoforte 
 concerto, op. 1, written in 1832 and played 
 
 by himself at the prize concert at the Acad- 
 emy in 1833. Mendelssohn was jwesent and 
 greatly encouraged the young composer. In 
 1836 the firm of Broadwood offered to pay 
 his expenses for a year's study iu Leipsic ; 
 here he came under the influence of Men- 
 delssohn and Schumann, both of whom 
 held his talent in high esteem. He came 
 back to London after the specified year, but 
 returned to Leipsic for another year's study 
 in 1840. In 1843 he began to give success- 
 ful chamber concerts in London, and in 
 1844 married Mary Anne Wood, daughter of 
 a captain in the Navy. In 1849 he founded 
 the London Bach Society, one of the re- 
 sults of which was the first performance in 
 England of the Matthew-Passion, April 6, 
 1854. In 1853 he was offered the conduc- 
 torship of the Leipsic Gewandhaus eon- 
 certs, and in 1856 he was elected to the 
 chair of musical jjrofessor at the University 
 of Cambridge, and shortly afterwards re- 
 ceived the degree of Mus. Doc. In 1856 he 
 was also made i^ermanent conductor of the 
 Philharmonic Society, a jjost which he re- 
 signed ten years later to become princijial 
 of the Royal Academy of Music. Li 1867 
 he received the Cambridge degree of M.A., 
 and a salary of £100 was joined to his pro- 
 fessorship. In 1870 the University of Ox- 
 ford conferred upon him the honorary de- 
 gree of D.C.L. He was knighted in 1871, 
 and a scholarship was founded at the Royal 
 Academy of Music out of the subscriptions 
 to a public testimonial to him in St. James's 
 Hall in 1872. He died after a short illness, 
 and was buried in Westminster Abbey. 
 Bennett has been called the first English 
 composer of individual genius since Pur- 
 cell ; he certainly was the first English com- 
 poser who got any real recognition in Ger- 
 many. He has generally been considered 
 as a follower and imitator of Mendelssohn, 
 although the best English critics deny this. 
 Yet he may truly be said to have held more 
 by Mendelssohn than by Schumann. His 
 compositions are noteworthy for an easj' 
 grace, refinement, and elaborate perfection 
 
 161
 
 BENOIST 
 
 of style. His best-known works tire tlie 
 concerto in F minor, op. 19 ; the piano- 
 forte sextet, op. 8 ; the overture, The Nai- 
 ads ; the sonata, The Maid of Orleans ; and 
 the oratorio, The Woman of Samaria. His 
 influence upon music iu England, nota- 
 bly upon the introduction and study of 
 Bach's works, was very strong and whole- 
 some. Works : The Woman of Samaria, ora- 
 torio, for solo voices, chorus, and orchestra, 
 op. 44, Birmingham Festival, 1867 ; The May 
 Queen, a pastoral cantata (Chorley), for do., 
 023. 39, Leeds Musical Festival, 1858 ; Jlusic 
 to Ajax (Sophocles), op. 45 ; Ode (Tenny- 
 son), for the opening of the International 
 Exhibition, 18G'2, oj). 40 ; Cambridge Instal- 
 lation Ode (Kingsley), 1862, op. 41 ; Sym- 
 phony in G minor, op. 43 ; 4 Overtures, 
 Parisina, op. 3 (1834-35), The Naiads, op. 
 15 (1836), The Wood Nymph, op. 20 (1840), 
 I'aradisc and the Peri, op. 42 (1862) ; 4 con- 
 certos for pianoforte and orchestra, in D 
 minor, oi3. 1, in E-flat, op. 4, in C minor, 
 op. 9, in F minor, op. 19 ; CajJrice, in E, 
 for do., op. 22 ; Sextet for pianoforte and 
 strings, op. 8 ; Trio for do., op. 26 ; Sonata 
 for violoncello and pianoforte, op. 32 ; for 
 pianoforte solo ; 2 sonatas, op. 13, and the 
 Maid of Orleans, ojj. 46 ; Caj^riccio, op. 2 ; 
 3 Musical Sketches— Lake, Millstream, and 
 Fountain, op. 10 ; 6 studies iu Caisriccio 
 form, op. 11 ; 3 Impromptus, op. 12 ; 3 
 Romances, op. 14 ; Fantasia, op. 16 ; 3 Di- 
 versions (4 hands), op. 17 ; Allegro grazioso, 
 op. 18 ; Suite de Pieces, op. 24 ; Scherzo, 
 op. 27 ; Introductione e Pastorale, etc., op. 
 28 ; Two Studies — L' Amabile e 1' Appas- 
 sionata, op. 29 ; Tema e Variazioni, op. 31 ; 
 Preludes and Lessons, 60 pieces, oj). 33 ; 
 Kondeau — Pas triste, pas gai, oj5. 34 ; Flow- 
 ers of the Mouth, op. 36 ; Rondeau a la 
 PolouaLse, op. 37 ; Toccata, op. 38 ; Sona,- 
 
 tina in C ; 
 M i nuetto 
 e X p r e s - 
 sivo ; Prse- 
 
 ludium ; Eoniance — Genevieve ; Songs, An- 
 thems, and Four-i^art Songs. — Leipsic Sig- 
 
 nale, March, 1875, No. 16 ; London Mus. 
 Times, March 1, 1875 ; Dwight's Journal, 
 xxxiv. 393, 409 ; London Mus. Standard, 
 new series, viii. 88, 104 ; ix. 134 ; Grove, i. 
 224 ; Fetis ; do., Supplement, i. 69 ; Schu- 
 mann, Music and Musicians, i. 140 ; Hiller, 
 Musikalisches und Personliches, 156. 
 
 BENOIST, FKAN^'OIS, born at Nantes, 
 France, Sept. 10, 1794, died in Paris, May, 
 1878. Dramatic composer and organist, 
 pupil in 1811 at the Paris Conservatoire, of 
 Catel in harmony, and of Adam on the pi- 
 anoforte, obtained in the same year the first 
 prize in harmony, and in 1814 in pianoforte 
 playing. After his cantata Enone had been 
 crowned by the Institute of France in 1815, 
 he spent three years in Rome and Naples, 
 and on his return early in 1819 was made 
 organist of the royal chapel, and soon after 
 professor of the organ at the Conservatoire, 
 whence he retired in 1872. He was also 
 after 1840 chef du chant at the Opera. 
 L. of Honour, 1851. Works : Felix et Le- 
 onore, opera, given in Paris, Theatre Fey- 
 deau, 1821 ; La Gipsy, ballet (with Marliani 
 and Ambroise Thomas), Opera, 1839 ; Le 
 Diable amoureux, do. (with Reber), ib., 
 1840 ; L'Apparition, opera, ib., 1848 ; Nisi- 
 da ou les Amazones des Ayores, ballet, ib., 
 1848 ; Paquerette, do., ib., 1851 ; Requiem 
 mass for three men's voices and a child's 
 voice, with organ ad libitum (Paris, Veuve 
 Canaux) ; Compositions for the organ under 
 the title, Bibliotheque de I'organiste (ib.). 
 — Fetis ; do.. Supplement, i. 69 ; Riemann. 
 
 BENOlT, PETER (Ll^:ONARD LEO- 
 POLD), born at Haerlebeke, West Flanders, 
 Aug. 17, 1834, still living, 1888. Dramatic 
 composer, jjupil of Fetis at the Brussels 
 Conservatoire, where he won the second 
 prize in 1853 and the first in 1854. Two 
 years later he wrote the music of several 
 Flemish melodramas for the Theatre du 
 Pare, of which he was made chef d'orches- 
 tre in December, 1856. Having obtained 
 the grand prize in 1857 for his cantata Le 
 Meurtre d'Abel, performed at the Conserva- 
 toire, he studied several months at Leipsic, 
 
 162
 
 BENONI 
 
 and then visited Dresden, Prague, Munich, 
 and Berlin. After his return to Belgium 
 he brought out a solemn mass at Brussels 
 and at Ghent, and in 18G1 went to Paris, 
 where his French opera, Lo Roi des Aulnes, 
 was accepted at the Theatre Lyrique ; while 
 waiting for its performance (which never 
 took place), he conducted (18G2) the or- 
 chestra at the Bouflfes Parisiens, returned 
 in the same year to Brussels, and in 1867 
 became director of the Conservatory (Flem- 
 isli School of Music) at Antwerp. In this 
 f)ositiou he has since been most active as 
 the chief promoter of a national tendency 
 in music, making the Flemish language 
 and Flemish traditions the basis for all his 
 compositions. Officer of Order of Leojjold. 
 Works : De belgische Natie, melodrama, 
 given at Brussels, Theatre du Pare, 185G ; 
 Het dorp iu't gebergte, comic opera, ib., 
 1856 ; Ave Maria for eight voices in two 
 choruses, performed at the Cathedral in 
 Berlin, 1858 (Berlin, Bote & Bock) ; mel- 
 odies for a single voice with pianoforte 
 (Brussels and Mainz, Schotfc Freres) ; Douze 
 pensees na'ives, for do. (ib.) ; 12 motets (ib.) ; 
 Petite cantata de Noi-1, 1860 ; Te Deum, 
 1863 ; Requiem Mass, 1863 ; Quadrilogie (a 
 combination of the last three works and his 
 solemn mass), performed at AutwerjJ, 1864 ; 
 Concerto for pianoforte with orchestra, do. 
 for flute with orchestra, Lucifer, Flemish 
 oratorio, Brussels, 1866 ; Isa, Flemish op- 
 era, ib., 1867 ; De Schelde, oratorio, 1860 ; 
 Cantata, 1869 ; L'Eglise militantc, souf- 
 frante et triomphante, religious drama for 
 soli and chorus with organ, violoncelli, 
 double-basses, tinimpets, and trombones, 
 Antwerp, 1871 ; De Oorlog (War), oratorio, 
 ib., 1873 ; La Colonne du Cougres, cantata, 
 Brussels ; Cantata in 3 parts, Liege ; Pro- 
 mt'thce, oratorio, Ghent ; Hymne a I'Har- 
 monie, Antwerp ; Chant de la Lys, cantata, 
 Courtrai, 1875 ; De Maeyers, choral sym- 
 phony ; Kinder-cantate ; Music for Char- 
 lotte Corday, historical drama by Ernest 
 Van der Ven, Antwerp, Flemish Theatre, 
 1876 ; besides ballades, Lieder, choruses 
 
 without accompaniment, a collection of 20 
 motet.s, with oi-gan (Brussels). He has also 
 written articles for the Messager des Arts, 
 Le Guide Musical, and L'Art Universel. 
 — Fetis ; do., Supplement, i. 70 ; Riemauu ; 
 Viotta. 
 
 BENONI, JULIUS, born at Stfelohostic, 
 Bohemia, in 1833, still living, 1888. Dra- 
 matic composer, and pianist, first instructed 
 at Silberberg, Bohemia, whence he was 
 taken to Vienna by the Countess von Taafife, 
 and educated with her children ; showed 
 early a remarkable talent for improvisation, 
 which won him the favour of Prince Metter- 
 nich. He played in a concert at court in 
 1843, then studied composition under Doni- 
 zetti and Simon Seehter. In 1855 he gave 
 uj) his musical career, studied farming, and 
 assumed the administration of an estate in 
 Bohemia. Works — Ojieras : Die Wunder- 
 blume, given in Vienna, Palace of Count 
 Taaffe, 1847 ; Emma, ossia II Protettore in- 
 visibile, ib., Kiirnthnerthor Theater, 1851 ; 
 Giovanna da Ponte, Prague, 1855 ; Vocal 
 Mass, Vienna, 1843 ; Ave, regina coelorum, 
 ib., 1843 ; Lied vor der Schlacht, chorus with 
 orchestra ; Songs and romances. — Mendel ; 
 Wurzbacli. 
 
 BE NOT AFRAID. See Fiirchte dich 
 nicht. 
 
 BENTAYOUX (Ben-Tayoux), FRP]- 
 DERIC, born at Bordeaux, June 14, 1840, 
 still living, 1888. Dramatic composer, pu- 
 pil at the Conservatoire, Paris, of IMarmon- 
 tel on the pianoforte, of Emile Durand in 
 solfeggio, of Colin and Bazin in harmony, 
 and of Carafa in comjiosition. Works — Op- 
 erettas : Pa-tchou-ly, given in Paris, Folies 
 Bergcre, 1875 ; Bobiue, ib., 1876 ; Le 
 Dompteur de Bougival, Folies Marigny, 
 1875 ; Many pianoforte pieces of light cali- 
 bre, and romances and chansons. — Fvtis, 
 Supplement, i. 72. 
 
 BENTLEY, JOHN MORGAN, born in 
 Manchester, England, Sept. 3, 1837, still 
 living, 1888. Organist of St. Philip's, Sal- 
 ford, 1S55 ; St. Stephen's, Manchester, 
 1860 ; .St. Saviour's, ib., 1866 ; Bowdou 
 
 163
 
 BENVENUTI 
 
 Parish ChurcL, 18G8 ; and of Cheadle Ab- 
 bey, 1877. He has been the conductor of 
 several musical so- 
 
 cieties, and in 1870 
 established the Ac- 
 ademy of Music, St. 
 Ann's, Manchester. 
 In 1877 he received 
 the degree of Mus. 
 Bac, and in 1879, 
 IMus. Doc, Cam- 
 bridge. In 1881 
 he was appointed 
 local examiner for the Eoyal Academy of 
 Music. Works : Gethsemane, dramatic can- 
 tata (Mus. Bac. exercise), 1877 ; AVhat is 
 Life ?, oratorio (Mus. Doc. do.), 1879 ; Yule- 
 tide, cantata for mixed voices (Hutchings 
 & Komer) ; The Golden Butterfly, cantata 
 for female voices (Hutchings) ; Horte Sacrte, 
 series for violin and pianoforte ; The Two 
 Violinists, duets for violins, with pianoforte 
 accompaniment ; Vesper Canticles ; Sym- 
 phony for full orchestra (MS.) and other 
 orchestral works ; Songs, etc. 
 
 BENVENUTI, NICOH"), born at Pisa, 
 May 10, 1783, died (?). Dramatic composer, 
 pu^iil of his father, whom he succeeded as 
 maestro di cappella of the Cathedral .at Pisa. 
 Works : 6 masses for 4 and 6 voices, with 
 orchestra ; 2 Vespers ; II ratto di Proser- 
 pina, cantata for 3 voices with chorus, Pisa, 
 1806 ; Ariana e Teseo, ib., 1810 ; II Werter, 
 farce, ib., 1811 ; 12 symphonies for grand 
 orchestra ; Sonatas for pianoforte ; do. for 
 organ ; Variations, etc. — Fetis. 
 
 BENVENUTI, TOMMASO, born in Italy 
 about 1832, still living, 1888. Dramatic 
 composer, author of the following operas : 
 Valenzia Candiano, given at Mantua, 18.50 ; 
 Shakespeare, Parma, 18G1 ; La Stella di To- 
 ledo, Milan, Teatro della Canobbiana, 1861. 
 — Fetis, Supplement, i. 72. 
 
 BENVENUTO CELLINI, French opera 
 in two acts, text by Leon de Wailly and 
 Auguste Bai-bier, music by Hector Berlioz, 
 represented at the Academie Royale de Mu- 
 sique, Paris, Sept. 3, 1838. It was received 
 
 with general reprobation by the critics and 
 was withdrawn after three representations. 
 It was given at Covent Garden, London, in 
 three acts, June 2.5, 1853. The second 
 overture to this opera is now called Le Car- 
 naval romain. The same subject has been 
 treated by Franz Lachner, Munich, 1849 ; 
 Louis Schlosser, Darmstadt, 1815 ; by Leo 
 Kern, text by Prechtler, Pesth, 1851 ; by 
 Orsini, Naples, 1875 ; and by Bozzauo, text 
 by Perosio, Genoa, 1877. 
 
 BENZ, JOHANN BAPTIST, born at 
 Lauchheim, Wiirtemberg, June 17, 1807, 
 still living, 1888. Church compioser, first 
 instructed by Dreger, choir director at 
 EUwangen, then travelled with a family as 
 tutor, and in 1831 became instructor of 
 German at the College at Chalous-sur- 
 Marne. In 1836-38 he studied in Rome the 
 old church music, in personal intercourse 
 with Baiui, and through the agency of Car- 
 dinal Wiseman was appointed to a position 
 at the Catholic College at Oscott, England, 
 whence he went in 1811 to Birmingham, as 
 choirmaster and org.anist of the new cathe- 
 dral. In 1843 he returned to Germany, 
 lived in Munich and Vienna, until called to 
 Speyer in 1846 as professor of music at 
 the seminary, and organist of the cathedral. 
 Works: O clemens, o pia, o dulcis virgo 
 Maria, festival mass, Speyer, 1853 ; 4 masses, 
 for three and four voices, with organ ; Of- 
 fertories, graduales, etc. ; Harnionia sacra. 
 —Mendel. 
 
 BERARDI, ANGELO, born at Sant' Aga- 
 tha, Bologna, about the middle of the 17th 
 century. Church composer, maestro di cap- 
 pella at Viterbo, then (1681) of the cathe- 
 dral at Spoleto ; Canon at Viterbo in 1687, 
 and maestro di cappella of Sta. Maria in Tras- 
 tevere, Rome, 1693. Works : Requiem mass 
 for 5 voices (1663) ; Motets for 2-4 voices 
 (1665) ; Psalms (1675) ; Offertories (1680). 
 —Fetis; Schilling. 
 
 Bfi:RAT, FREDERIC, born at Rouen in 
 1800, died in Paris, Dec. 2, 1855. Vocal 
 composer, went early to Paris, where he 
 formed an intimate friendship with Buran- 
 
 164
 
 BERBIGUIER 
 
 ger, and set many of liis poems to music, 
 attaining great popularity. The best known 
 of bis romances and chausonettes, wbicli 
 are still sung in France, are : Ma Normandie, 
 Le depart, A la froutii're, La Lisette de 
 Berauger, Bibi, men chori, C'est demaiu 
 qu'il arrive, etc. — Fetis ; Mendel. 
 
 BERBIGUIER, BENOJT TRANQUILLE, 
 born at Caderousse (Vaucluse) Dec. 21, 
 1782, died at Pont-Levoy, near Blois, Jan. 
 29, 1838. Flute player, pujjil at the Paris 
 Conservatoire of Wunderlich on the flute, 
 and of Berton in composition. He was 
 drafted for the army in 1815 ; his profes- 
 sional life began in 1819 and was spent in 
 Paris until 1830. His playing was remark- 
 able for its technique and purity of tone. 
 Works : 15 books of duets for two flutes ; 
 2 do. for flute and violin ; 6 grand solos 
 for flute ; 10 concertos for do. ; 7 books of 
 sonatas for do. with bass or viola ; 8 varia- 
 tions with pianoforte or orchestra ; 6 do. ; 6 
 books of trios for three flutes ; One do. for 
 two flutes and viola ; One do. for flute, vio- 
 lin, and viola ; Several suites of duets for two 
 flutes ; Grand duo coucertante for flute and 
 pianoforte ; Several fantasias, romances, etc., 
 for do. ; Method for flute.— Fetis ; Mendel. 
 
 BERCHEM (Berghem), JACQUES 
 (Jachet), born in Flanders, beginning of the 
 16th century, died about 1580. Vocal com- 
 poser, and one of the most famous contra- 
 puntists of his century. He passed most of 
 his life, 1535-65, in the service of the Duke 
 of Mantua, whence he was called by the 
 Italians Giaclietto di Mantova, as well as to 
 distinguish him from Giachetto di Keggio, 
 who was Jachet de Werts. He is sometimes 
 confounded, too, with Jachet de Buus. 
 Works : 26 motets, lacheti musici celeber- 
 rimi atque delectabilis, etc. (Venice, 1539) ; 
 Second edition, with two more motets, II 
 prime lib. de motetti (Venice, 1540) ; 93 
 stanzas of Ariosto's "Orlando Furioso," set 
 to four-part music (Venice, 1561). In the 
 MS. of the 16tli century in the Koyal Li- 
 brary, Munich, are three of his masses for 
 five voices, under the name of laches de 
 
 Mantua. In a collection published at Ven- 
 ice in 1544 is a mass by Jachet Bergem on 
 the chanson. Mors et fortuna. — Biog. nat. 
 de Belgique ; Fetis ; Gerber ; Schilling. 
 
 BEREITE DICH, ZION, alto aria in A 
 minor, with accompaniment of oboe d'amore 
 and violins, in unison, fagotto and continue, 
 from Johann Sebastian Bach's Wriiiacliti^- 
 Oratorium, Part I. 
 
 BERENICE, daughter of Agrippa L of 
 Judtea, wife of her uncle Herod, King of 
 Chalcis, afterwards of Polemon, King of 
 Cilicia, and later at Rome beloved by the 
 Emperor Titus, is the subject of many 
 ojsenxs : Music by Freschi, Venice, 1680 ; by 
 Strungk, Leipsic, 1698 ; by Bronner, text by 
 Hinsch, Hamburg, 1702 ; by Porpora, Rome, 
 1710 ; by Orlandiui, Venice, 1725 ; by Do- 
 menico Sarri, Naples, 1725 ; by Ferrandini, 
 Munich, 1730 ; by Araja, Florence, 1730 ; 
 by Avoudauo, about 1730 ; by Fasch, Zerbst, 
 about 1739 ; by Galuppi, Italy, 1741 ; by 
 Perillo, Venice, 1757 ; English opera, music 
 by Charles Frederick Abel, Loudon, 1764 ; 
 by Piccinni, Naples, 1764 ; by Rust, Parma, 
 1786; by Spontini, Naples, i798 ; by Zin- 
 garelli, Rome, 1811 ; Tito e Berenice, music 
 by Caldara, test by Capeca, Rome, 1714; 
 Berenice iu Roma, by Raimondi, Naples, 
 1823 ; Titus et Berenice, by Gastiuel, Paris, 
 1860 ; Berenice in Siria, by Carafa, Naples, 
 1818 ; Berenice, f)asticcio, music by Johann 
 Christian Bach, in collaboration with Hasse, 
 Galuppi, and Ferrandini, London, 1764. 
 
 BERENICE, Italian opera in three acts, 
 author of text unknown, music by Handel, 
 first represented at Coveut Garden, Lon- 
 don, May 18, 1737. The MS. in Bucking- 
 ham Palace is dated at the beginning, Dec. 
 18, 1736, and at the end, Jan. 27,^ 1737. 
 The libretto, which is probably older than 
 the music, has the following characters : 
 Berenice, Selene, Alessandro, Demetrio, Ai-- 
 sace, Fabio, and Aristobolo. The scene is 
 laid in Egypt, of which Berenice is queen. 
 The part of the hero was sustained by Gio- 
 acchino Conti, called Gizziello (1714-61), 
 an artificial soprano, one of the gi-eatest sing- 
 
 lfi5
 
 BERENS 
 
 ers of the 18th century. The work, iu sjjite 
 of its excellence, had but four representa- 
 
 Gioaccnino Conti, called Gizziello. 
 
 tions, after which Handel closed his theatre. 
 Published first bj' Walsh ; full score by Hiin- 
 delgesellschaft (Leipsie, 1883). — Schoelcher, 
 Handel, 186 ; Eockstro, 192 ; Chrysander, 
 ii. 398. 
 
 BERENS, HERMANN, born iu Ham- 
 burg, Germany, in 1826, died iu Stockholm, 
 May 9, 1880. Dramatic comjioser and pi- 
 anist, son and pupil of Karl Berens (flutist, 
 1801-57) ; went in 1843 to Dresden, where 
 he studied composition mider Reissiger, 
 made a concert tour through Germany with 
 Mai'ietta Alboni in 1815, then returned to 
 Hamburg. In 1847 he was invited to Stock- 
 holm, where he established chamber-music 
 concerts. He went as musical director to 
 Oerebro in 1849, whence he returned to 
 Stockholm in 1860 as Kapellmeister of 
 the JNlindre Theatre ; later he was made 
 Court-Kapellmeister, professor and member 
 of the Academy. Works : Violetta, opera, 
 given in Stockholm ; Der Sommeruaehts- 
 traum, operetta, ib., Royal Theatre, 185G 
 (twenty-five times) ; LuUy und Quinault, 
 do., Mindre Theatre, 1859 ; Riccardo, do., 
 ib., 1869 ; Music to Kodros, Greek drama, 
 given in Hamburg ; Symphonies ; Over- 
 tures ; Cantatas ; Quartet for ijianoforte and 
 strings; Trio ; etc. — Fetis ; do., Snpph'ment, 
 i. G5 ; Mendel ; Rieraann ; Schilling. 
 
 BEREZOVSKY, MAXIMUS SAZONO- 
 VICH, born at Gluchov, Ukraine, in 1745, 
 died by suicide in 1777. Church composer, 
 studied music at the Academy at Kiev, and 
 under Martini at Bologna, whither he was 
 sent in 1765 by Catherine H., after having 
 been a singer iu the imperial chapel at St. 
 Petersburg. He returned from Italy in 
 1774, possessed of rai-e knowledge, but, dis- 
 apjjointed in his expectation of obtaining a 
 position as vocal instructor iu the imperial 
 chapel, he shot himself. He comjjosed in 
 the manner of the old Italian masters, en- 
 deavoured to improve the service of the 
 Greek Church, and was the first in Russia 
 to introduce double choruses. He was a 
 member of the Accademia Filarmonica, Bo- 
 logna. — Fc'tis. 
 
 BERG, KONRAD MATHIAS, born at 
 Colmar, Ai3ril 27, 1785, died at Strasburg, 
 Dec. 13, 1852. Pianist, pupil at Mannheim 
 of Friinzl on the violin, 1804-5, then in 
 Paris at the Conservatoire on the piano- 
 forte in 1806-7. He settled at Strasbui-g in 
 1808, thence visited Paris in 1810, 1818, 
 1835, and 1851, and Vienna in 1817, making 
 the acquaintance of Beethoven, Hummel, 
 and Czernj' ; and Darmstadt in 1825, where 
 he formed a friendshij) with Gottfried Weber 
 and Rinck. Works : Three concertos for 
 pianoforte and orchestra ; Rondo for do., 
 op. 24 ; Sonatas for pianoforte and violin, 
 op. 9, 23, and 25 ; Duo with variations, for 
 2 i^ianofortes, op. 12 ; Trios for pianoforte, 
 violin, and violoncello, op. 11, 15, 16, and 
 20 ; Quartet, op. 33 ; Four string quartets ; 
 Sonatas for pianoforte, op. 5 and 30 ; Fan- 
 taisies and rondeaux for do. ; Variations for 
 do. and violin ; Die Nixe des Mummelsees, 
 ballad for soprano. — Fetis ; Mendel. 
 
 BERGFJl, LUDWIG, born in Berlin, 
 April 18, 1777, died there, Feb. 16, 1839. 
 Pianist, jjupil of Gtirrlich, then in Dresden 
 of Johann Gottlieb Nainnann, and again at 
 Berlin of Clementi, whom he followed to 
 St. Petersburg iu 1805, and thence via 
 Stockholm in 1812 to London, whither Cle- 
 menti had gone in 1810 ; he retui-ned to 
 
 166
 
 BERGERE 
 
 Berlin iu 1814r. As a pianist and teacher [ 
 he was highly esteemed ; his compositions 
 are meritorious, but met with little success, 
 appealing to the trained musician rather 
 than the amateur. "Works : Souate pathe- 
 tique, op. 1 (Leipsic, Peters) ; Preludes and 
 fugues, op. 5 (Berlin, Schlesinger) ; Pre- 
 ludes a la turque, op. 8 (ib.) ; Sonatas, op. 
 9, 10, 18 (ib.) ; Twelve etudes, op. 11 (Ham- 
 burg, Christian!) ; Rondeau pastoral (ib.) ; 
 Toccata (Leipsic, Breitkoi^f & Hilrtel) ; So- 
 nata for four hands, oj). 15 (Berlin, Lane) ; 
 3 miHtary marches, op. IG (ib.) ; 3 infantry 
 marches (ib.) ; Variations on Russian and 
 Norwegian airs ; Orestes, opera ; Sympho- 
 ny, performed l)y iMeudelssohn iu Berlin, 
 1832 ; 8 collections of songs (Offenbach, 
 Andre) ; Several do. of four-part songs for 
 male voices (Berlin, Hamburg, and Offen- 
 bach). Unpublished : 2 symphonies ; Con- 
 certo for pianoforte ; String quartets ; 18 
 variations on "Ah! vous dirai-je, maman" ; 
 Kyrie and Gloria a cappella for four solo and 
 eight chorus parts ; Canons, fugues, marches, 
 and songs. — Allgem. d. Biogr., ii. 380 ; Allg. 
 mus. Zeitg., xli. 186 ; Fetis ; Rellstab, Lud- 
 wig Berger, ein Denkmal (Berlin, 18-lG). 
 
 BERGfiRE CH1TEL.\INE, LA, opera 
 comique iu three acts, text by Plauard, mu- 
 sic by Auber, iirst represented at the Opera 
 Comique, Paris, Jan. 27, 1820. This, the 
 first successful work of the comijoser, opened 
 to him a long and prosperous career. 
 
 BERGERS, LES (The Shepherds), opera 
 comique in three acts, text by Hector Cre- 
 mieux and Philippe Gille, music by Offen- 
 bach, first represented at the Bouft'es Pari- 
 siens, Paris, Dec. 11, 1865. The first act, 
 L'idylle, represents Arcadian shepherd life ; 
 the second, Le trumeau, the shepherd of 
 the rococo age, with music iu the style of 
 the seventeenth century ; the third. La 
 bergerie realiste, the shejiherd of real life. 
 
 BERGGEIST, DER (The Spirit of the 
 Mountain), romantic opera in three acts, 
 text by Di'iring, music by Spohr, represented 
 at Cassel, INIarch 24, 1825. Subject from the 
 " Rubezahl " of Museeus. See also Ruhezahl. 
 
 BERGGREEN, ANDREAS PETER, 
 
 born in Copenhagen, March 2, 1801, still 
 living, 1888. Instrumental and vocal com- 
 poser ; took up music as a profession after 
 having first been compelled to study law, 
 became organist at Trinity Church, Copen- 
 hagen, iu 1838, professor of vocal music at 
 the Metropolitan School in 1843, and in- 
 spector of the same branch in all public in- 
 stitutions. Works : Collection of songs, 
 with guitar (Copenhagen, 1822, 1823) ; Ro- 
 mances (ib., 1823) ; Ballads and Romances 
 (ib., 1824) ; Variations for guitar (ib., 1825) ; 
 Wedding Cantata (1829) ; Billedet og bus- 
 tan (The Portrait and the Bust), comic op- 
 era, given at Copenhagen, 1832 ; Songs for 
 the use of schools (1834-39) ; Popular songs 
 and national and foreign melodies, for pi- 
 anoforte (1842-47) ; Twelve Swedish songs 
 (184G) ; National songs (1848) ; Songs to 
 poems of Bellmaun (1850) ; Six Swedish 
 songs of Runeberg (1852) ; Several canta- 
 tas. — Pctis, Supplement, i. 74 ; Riemann. 
 
 BERGHEM. See Berchem. 
 
 BERGMANN, JOSEF, born at 6erno- 
 chov, Bohemia, July 26, 1822. Composer, 
 first instructed by his father, then in Prague 
 pupil of Josef Ki-ejci ; went as organist and 
 choirmaster to Jungbunzlau in 1862, and as 
 choir-director and vocal instructor to Smi- 
 chov (Prague) in 1867. Works : Pijakovo 
 dedictvi (The Toper's Bequest), cantata ; 
 Choruses for male voices ; Transcriptions 
 of national Czech melodies ; Chant des Si- 
 rt^nes, for pianoforte (1st prize, Vienna) ; 
 Other pianoforte pieces ; Songs. — Mendel. 
 
 BERGSON, anCHAEL, born at Warsaw 
 in May, 1820, still living, 1888. Dramatic 
 composer and pianist, pupil of Friedrich 
 Schneider at Dessau ; went in 1842 to Italy, 
 and after his return lived for several years 
 in Berlin and Leipsic, then settled in Paris. 
 In 1863 he became professor of the piano- 
 forte at the Conservatory in Geneva, soon 
 after its director, but went a few years later 
 to London. Works : Luisa di Montfort, 
 opera, given at Florence, Teatro de la Per- 
 gola, 1846, Leghorn, 1847, Hamburg, 1849 ; 
 
 167
 
 BERGT 
 
 Qui va ;i la chasse, perd sa jjlace, operetta, 
 Fans, 1859 ; Trio for pianoforte, violin, ami 
 violoncello ; Duo dramatique for pianoforte 
 and violoncello ; Three duos for pianoforte 
 and violin, for pianoforte and clarinet ; Con- 
 certo in E minor ; Fantasias ; Mazourkas ; 
 Pieces de Salon ; German songs. — Fetis ; 
 do.. Supplement, i. 358 ; Riemaun. 
 
 BERGT, CHRISTIAN GOTTLOB AU- 
 GUST, born at Oederan, Saxony, June 17, 
 1772, died at Bautzen, ib., Feb. 10, 1837. 
 His taste for music was aroused in 1790 at 
 Leipsic, where he was completing his theo- 
 logical studies, and be gave himself up to 
 the study of the organ, harmony, and com- 
 position. In 1801 he wrote bis first musi- 
 cal compositions, consisting of Lieder, sona- 
 tas for pianoforte, and an intermezzo. List 
 gegen List. He played the organ at several ! 
 of the churches of Leiissic as an amateur, 
 but bis recantation was soon established, and 
 in 1802 he was made organist of the princi- 
 pal cburcb at Bautzen, and soon after pro- 
 fessor at the seminary and director of the 
 singing society. From that time he became 
 a celebrated teacher of music, and had many 
 illustrious pupils. He wrote a treatise, "Et- 
 was zum Choral und Dessen Zubebor," much 
 used in the seminaries (Leipsic, 1832), and, 
 " Brief wechsel eines alten und jungen Schul- 
 meisters fiber allerhand Musikalisches " (Zit- 
 tauuud Leipsic, 1838). "Works : The Passion, 
 oratorio, in three parts, op. 10 ; So weit der 
 Sonne Strahleu, hymn for four voices and 
 orchestra, op. 17 ; Easter hymn, Christus 
 ist erstanden, for four voices and orchestra, 
 op. 18 ; A Te Deum ; A collection of re- 
 ligious songs ; The ancient canticle, Herr 
 Gott dich loben wir, reset for four voices, 
 with four trombones, trumpets, cymbals, 
 and organ. These have been much used in 
 all the German churches. Operas : Laura 
 c Fernando ; Die Wunderkur ; Erwin und 
 Elmire, by Goethe ; Das Stiindchen ; La 
 Fete auniversaire de la naissance du poete ; 
 Mitgefiihl. For the orchestra and for cham- 
 ber music he wrote symphonies, sonatas for 
 pianoforte and violin, German dances, a 
 
 wedding cantata, and two collections of 
 Lieder for several voices and pianoforte. 
 His Conge, Lieder for one voice with piano- 
 forte, had a wonderful success, and was 
 published in all the large towns of Ger- 
 many. — Allgem. d. Biogr., ii. 398 ; Allgem. 
 mus. Zeitg., xxxix. 454 ; Fetis ; Gerber. 
 B^RIOT, CHARLES AUGUSTE DE, 
 born at Louvain, 
 Feb. 20, 1802, 
 died in Brussels, 
 April 8, 1870. 
 Violinist, found- 
 er of the modern 
 Franco-Belgian 
 school of violin- 
 playing, the first 
 after Paganini to 
 adopt a brilliant 
 and effective mode of playing, in opposition 
 to the classic severity of the old French 
 school. De Beriot received his earliest in- 
 struction on the violin from Tiby, a provin- 
 cial teacher, and when nine years old per- 
 formed in public a concerto by Viotti. In 
 1821 he went to Paris, where he was assist- 
 ed in his studies by Viotti and Baillot. 
 After a successful debut there, De Beriot 
 played frequently in England, where he was 
 announced on his first appearance at the 
 Philharmonic Society, May 1, 1826, as " Vi- 
 olon de la chambre de sa Majeste le Roi 
 de France." He was solo violonist to the 
 King of the Netherlands from the date of 
 his return to Belgium until the Revolution 
 of 1830. From the latter year until 1835 
 he made a professional tour through Eng- 
 land, France, Belgium, and Italy, with 
 Maria Malibran, whom he married (1835). 
 In 1836 he settled in Brussels, reappearing 
 in public in 1840, when he travelled through 
 Germany. He was professor of violin 
 playing at the Brussels Conservatoire from 
 1843 to 1852, when he retired from loss 
 of eyesight. De Beriot wi-ote a great deal 
 of popular and brilliant music for the violin. 
 His published compositions consist of four 
 trios for pianoforte, violin, and violoncello ;
 
 BfiRIOT 
 
 seven concertos ; eleven airs varies ; and a 
 number of duos brillants for pianoforte and 
 violin in conjunction with Osborne, Thal- 
 berg, and other pianists. He was author of 
 an instruction book entitled : Premier guide 
 des violonistes ; of several books of studies 
 for the violin, and of Mcthode de violon en 
 trois parties (Paris, 1858), which is his best 
 work. He was, too, a clever painter and 
 sculptor. His bust of Mme Malibran is at 
 
 the Italiens, Paris, and a violin constructed 
 by him belongs to Prince Youssoupoff, in 
 Russia. — Fetis ; do., Supplement, i. 74 ; 
 Mendel ; Riemann ; Wasielewski, Die Vio- 
 line und ihre Meister, 380. 
 
 BERIOT, CHARLES WILFRID DE, 
 bom in Paris, Feb. 12, 1833, still living, 
 1888. Pianist, son of Charles de Beriot 
 and Maria Garcia Malibran. He made his 
 debut in a concert at Louvain, when scarce- 
 ly ten years of age, then studied at the 
 College Louis-le-Grand in Paris, until 1848, 
 when he went to Brussels. Works : Two 
 concertos for pianoforte, with orchestra ; 
 Two fragments symphoniques ; Trio ; Mor- 
 ceaux de genre (about 50) for pianoforte ; 
 Many songs. — Fetis, Sujiplement, i. 75. 
 
 BERLI.JN (Berlyn), ARON WOLF, born 
 at Amsterdam, May 2, 1817, died there, Jan. 
 16, 1870. Dramatic composer, pupil of 
 Bernhard Koch on the pianoforte and of 
 Ludwig Erk in composition ; went iu 1839 
 to Leipsic, where he studied counterpoint 
 under Gottfried Wilhelm Fink ; then visited 
 the most important cities of Germany, be- 
 fore returning to Amsterdam, whence he 
 visited Brussels in 1844 and Paris in 1845- 
 46. For several years after, he was leader 
 of the orchestra at the Royal Theatre. Or- 
 der of Oaken Crown, 1843 ; Gold medal 
 of merit of Belgium and Denmark, 1845 ; 
 Greece, 1846 ; Sweden and Austria, 1848 ; 
 Holland, 1858 and 1860 ; Saxe-Coburg, 
 
 1864 ; and Nassau. Member of the Acad- 
 emy of St. Cecilia, Rome. Works — Op- 
 eras : Die Bergknappen, Der Schatzgra- 
 ber, given at Amsterdam, 1841 ; Runal, ou 
 L'esprit du feu, ib., 1844; La deroute de 
 Culloden, ib., 1846 ; 5 other operas ; 7 bal- 
 lets. Moses on Nebo, oratorio, performed 
 at Magdeburg, 1844 ; Ouverture triomphale, 
 Brussels, 1844 ; Die Matrosen am Ufer, 
 symphonic cantata, Amsterdam, 1848 ; 
 Symphony, Cassel, 1857 ; A Mass ; Tautum 
 ergo ; cantatas, overtures, psalms, quartets 
 for string instruments, fantasias for orches- 
 tra, nocturnes, songs with pianoforte, four- 
 part songs, etc. — Fetis ; do.. Supplement, i. 
 77 ; Mendel ; Viotta. 
 
 BERLIOZ, HECTOR (LOTUS), born at 
 La Cote - Saint-An- 
 dre, near Grenoble, 
 France, Dec. 11, 
 1803, died in Paris, 
 March 9, 1869. His 
 father, Louis Ber- 
 lioz, was a phj-sician, 
 and intended his 
 son for the same 
 career. In 1822 he 
 was sent to Paris to 
 study medicine un- 
 der Amussat ; he also attended lectures on 
 chemistry by Thenard and Gay-Lussac, and 
 ou literature by Andrieux. But the passion 
 for music proved too strong and, in spite of 
 his parents, he gave up medicine, and took 
 private lessons in composition under Le- 
 sueur. He had already begun composing, 
 and a mass of his composition was given at 
 the Church of Saint-Roch in 1825. In the 
 following year he failed to be admitted as 
 competitor for the prize for comjjosition at 
 the lustitut des Beaux-Ai-ts, but on Aug. 26, 
 1826, he was regularly inscribed in the 
 books of the Conservatoire, and on Oct. 2d 
 he entered Reicha's counterjioint class. In 
 1827 he competed for the first time with a 
 cantata, Ori^hee, but got no prize. In 1828 
 he gave his first concert at the Conservatoire, 
 and iu the competition got the second prize 
 
 169
 
 BERLIOZ 
 
 for composition with bis cantata Hermiuie. 
 Ill June, 1829, he failed to get a prize for his 
 cantata Cluopatre, but in 1830 he won the 
 pris tie Rome with his cantata Sardanajaale. 
 This crowning success brought about a final 
 reconciliation with his family, with whom he 
 had broken several times. His important 
 compositions uji to this time were : Overture 
 to the Francs-Juges, 1827 ; Huit scones de 
 Faust, 1828, afterwards destroyed ; Melodies 
 irlandaises, 1829 ; Symjihonie fantastique 
 and Fantaisie sur laTempetc, 1830. "Within 
 this i^eriod fall also his first passion for Hen- 
 rietta Smithson, the Irish actress, whom he 
 subsequently married (1833), and his liaison 
 with Camilla Moke (concerning his ruisture 
 with whom, see Memoires, 121, and Hijipean, 
 Berlioz intime, 219). Early in 1831 he set 
 out for Eome, where he remained two years, 
 at the Academie de France. Durhag this 
 period he wrote, among other things, the 
 overture to Kob Roy, which he afterwards 
 destroyed. He returned to Paris in 1832. 
 Near the end of 1812 he set out on his first 
 concert trij) to Germanj-, in which he met 
 with flattering success. In 181G he made 
 an equally successful tour through Austria, 
 Hungary, Bohemia, and Silesia, and in 1847 
 he made a similar trip to Russia. In 1852 
 he went to London, where he conducted the 
 first series of New Philharmonic concerts ; 
 and in 1853 ho conducted his Benvenuto 
 Cellini there. His wife died (after having 
 been separated from him since 1811), March 
 3, 1854, and he married soon after Marie 
 Martin, or, as she was known by her mother's 
 name, Marie Recio, who died in 18G2 ; she 
 had been his mist/ess from 1841 up to the 
 time of her marriage, and was the main cause 
 of his rupture with his first wife. His last 
 years were years of intense and almost con- 
 stant suffering from an affection of the intes- 
 tines. The failure of his ojjei-a, Les Troyens 
 a Cartilage, in 1863, and the death of his son 
 Louis in 1867, wei'e blows from which he 
 never recovered. He, however, made one 
 more trip to Russia, on invitation of the 
 Grand Duchess Helene, and one to Vienna to 
 
 conduct his Damnation de Faust. Berlioz 
 was the head of the modern French orchestral 
 school, and may be called the father of mod- 
 ern orchestration. He occupied very much 
 the position in French music that Victor Hugo 
 did in French literature. He was a thor- 
 ough romanticist, but, with all his disdain 
 for tradition, he never sympathized with the 
 Wagnerian movement in Germany. His 
 success in France was limited during his 
 lifetime, although he had his coterie of ad- 
 mirers ; but his true jjojjularitj' in his native 
 country began only after his death. Now 
 he is looked up to as the greatest of modern 
 French composers ; as a master of the or- 
 chestra he is unsurpassed. His most popu- 
 lar composition is the Damnation de Faust. 
 He considered the Eequiem, the Romeo et 
 Juliette symphony, the Te Deum, and Les 
 Troyens as his greatest works. He never 
 played on any instrument, except a little on 
 the guitar and flute. He was for a long 
 time musical critic on the Journal des 
 Debats. He was appointed librarian to the 
 Conservatoire in 1838, and elected to suc- 
 ceed Adolphe Adam at the Institut in 1856. 
 He was Chevalier of the Legion of Honour. 
 ■Works — Ijramatic : llenvenulo Cellini, ojj- 
 era semi-seria, op. 23, given in Paris, Op- 
 era, Sept. 3, 1886 ; Beatrice et Benedict, 
 comic opera, Baden-Baden, Aug. 9, 1862, 
 conducted by the comjDoser ; Les Troyens — I. 
 La prise de Troie, opera in three acts, never 
 performed, II. Les Troyens a Carthage, 
 opera in five acts, Paris, Theatre Lyrique,Nov. 
 4, 1863 ; Lelio, ou Le retour a la vie, Ij-ric 
 monodrama, ojj. 14b (2d part of the Episode 
 de la vie d'un artiste). Vocal-^With orches- 
 tra : La damnation de Faust, legend in four 
 parts, op. 24, ib.. Opera Comique, Dec. 6, 
 1846, conducted by the composer. UEn- 
 fance du Christ, sacred trilogy, op. 25, 
 Paris, Salle Herz, Dec. 10, 1854, conduct- 
 ed by the composer ; Sara la baigneuse, 
 ballad for three choruses, op. 11 ; Romeo 
 et Juliette, dramatic symphony with chorus, 
 solos, and prologue in choral recitative, op. 
 17; Tristia, a collection of two choruses. 
 
 170
 
 BERLS 
 
 Paris, 1844); " Les soirees de Torcliestre " 
 (ib., 1853) ; " Les grotesques de la, musique " 
 (ib., 1859) ; " A travers chauts" (ib., 1802) ; 
 "Mcinoires,"etc., 1803-1865 (ib., 1870; Eug- 
 lisli trauslatiou, Loudou, 1884); " Traite 
 d'instrumentation " (Paris). A German edi- 
 
 and a funeral march with chorus, op. 18 ; 
 Vox Populi, two grand choruses, op. 20 ; 
 U Imperkdc, cantata for two choruses, oj). 
 2(), Palais de I'lndustrie, Champs Elysees, 
 1855, conducted by the composer ; Grande 
 messe des morts, requiem, op. 5 ; Te Deum 
 for three choruses and organ obli- 
 gato, op. 22 ; La belle Isabeau, for 
 chorus ; Le cinq mai, cantata for 
 bass and chorus, op. 6 ; Les nuits 
 d'c'te, six songs with small orches- 
 tra, op. 7 ; La captive, reverie (Vic- 
 tor Hugo), for contralto, op. 12. 
 . Vocalj — With pianoforte: 
 
 melodies (Thomas Moore), tor one W' • ra \ a 
 or two voices, or choruses, op. 2 ; ^ 
 
 Flews des Laudes, five songs, op. 13 ; tiou of his literary works is entitled " Ge- 
 Feuillels d'album, three songs, one of which sammelte Schriften" (Leipsic, 4 vols., 1865). 
 is with chorus, op. 19 ; Le temple universel, ^ — Edmond Hippeau, Berlioz iutime (Paris, 
 
 X^ 
 
 e:/,-W.,9 /) ^ 'ilo.Jb^ 
 
 ire), for one gV • r;tiA O O '^^-^ 
 
 ISPS mi 2 • ^ " ' J -/ 
 
 chorus for 4 voices ; Pricre du matin, do. 
 for 2 voices ; Le chasseur danois, for bass. 
 ' T'lptrumental : Symphonic fantastique, op. 
 14a, first part of Episode de la vie d'un ar- 
 tiste ; Grande si/nqjJionie fuuebre et triom- 
 phale, for full military band, with string 
 orchestra, and chorus ad libitum, ojj. 15 ; 
 Harold en Italic, symphony with viola obli- 
 gata, op. 16 ; 5 overtures, Waverley, op. 1, 
 Les Fi-ancs-J uges, op. 3, Boi Lrar, op. 4, 
 Le carnaval romain, op. 9 (second overture 
 to Benvenuto Cellini), Corsaire, op. 21 ; 
 Reverie et caprice, romance for violin, with 
 orchestra or pianoforte, op. 8. Eight scenes 
 from Goethe's Faust (destroyed, not to be 
 
 1883) ; Berlioz artiste (in press) ; Xavier 
 Eyma et Arthur de Lucy, licrivains et ar- 
 tistes vivants (Paris, Librairie universelle, 
 1840) ; Eugene de ilirecourt, Berlioz (Paris, 
 1856) ; Georges de Massougnes, Berlioz, son 
 oeuvre (ib., Eichault et Dentu, 1870) ; Revue 
 et Gazette musicale de Paris (1870-71) ; 
 D. Bernard, Correspondance inedite, (ib., 
 1879) ; H. M. DunstaiT7 Life and Letters 
 of Berlioz (trans, from Bernard, London, 
 2 vols., 1882) ; Joseph Bennett, Berlioz 
 (London, 1883) ; Alfred Ernst, LVeuvre 
 dramatique de H. Berlioz (Paris, 1884) ; 
 AVm. F. Apthorp, Hector Berlioz (New York, 
 1879) ; Georges NoulHard, Hector Berlioz et 
 
 confounded with La damnation de Faust) ; le mouvemeut de I'art contemporain (Paris, 
 
 Resurrexit et iterum venturus, for chorus 
 with orchestra (1831) ; Quartette e coro dei 
 Maggi, for mixed voices, with orchestra 
 (1832); Litrata di Rol 
 1832). Transcriptions : La Marseillaise, ar- 
 ranged for chorus and full orchestra ; Leo- 
 pold de !Meyer's Marche marocaine, for full 
 orchestra ; Weber's Invitation :i la valse, for 
 do. ; Accompaniment to Schubert's Erlkiinig, 
 do. ; do. to Martini's Plaisir d'amour, for 
 small orchestra. He was the author, also, 
 of the following Ut^rarv works^ " Voyage 
 musical en Allemagne et en Italic " (2 vols.. 
 
 1885) ; Leipsic Signale, March 15, 1869, 
 February, 1879, No. 16 ; London Musical 
 Times, xxi. 272, 326 ; Dwight's Journal, xxiii. 
 Roy MacGregor 25, 33, 41, 49 ; xxix. 10, 11 ; London Mus. 
 Standard, new series, xvii. 264, 294 ; Am- 
 bros, Bunte Bliltter, i. 93 ; Mirecourt, Ber- 
 lioz (Paris, 1856) ; Griepenkerl, Ritter 
 Berlioz in Braunschweig (Brunswick, 1843) ; 
 Hanslick, Musikalische Stationen, 190. 
 
 BERLS, JOHANN RUDOLF, born at 
 Alach, near Erfurt, May 8, 1758, died at 
 Rhoda, Thuringia (?). Organist, pupil of 
 Creuzmuller on the pianoforte and violin,
 
 BERNABEI 
 
 of the cantor Weimar in singing, of Eei- 
 chardt on the organ, and of Hassler in com- 
 l)ositiou. AYorks : Several short oratorios ; 
 Motets ; .Symjjhouies ; 2 sonatas for piano- 
 forte for four hands ; 30 national melodies, 
 for pianoforte ; Arias, and jjianoforte pieces. 
 — Fe tis ; Gerber, N. Lex. ; Mendel. 
 
 BERNABEI, GIUSEPPE ANTONIO, 
 born in Rome, 1659, died in Munich, March 
 3, 1732. Dramatic composer, son and pupil 
 of Giusej^pe Ercole Bernabei, with whom 
 he went to Munich, and whose successor 
 he became there. Works — Operas : Alvida 
 in Abo, Munich, 1G78 ; Enea in Italia, ib., 
 1679 ; Ermione, ib., 1680 ; Niobe regina di 
 Tebe, ib., 1688 ; La gloria festeggiante, ib., 
 1688. Church music : Orpheus ecclesias- 
 ticus, consisting of several masses (Augs- 
 burg, 1698) ; MissjB VII. cum quatuor voci- 
 bus (Vienna, 1710);. 24 hymns for four 
 voices, and basso continuo for organ. His 
 brother Vincenzo (born in Rome, 1666) also 
 composed several operas, among which may 
 be mentioned : Gli accidenti d' amore, 
 Vienna, 1689 ; Eraclio, Munich, 1690.— Fo- 
 tis ; Gerber, N. Lex. 
 
 BERNABEI, GIUSEPPE ERCOLE, born 
 at Caprarola, Papal Territory, 1620, died in 
 Munich, 1687. Dramatic composer, one of 
 the best harmonists of the 17th century, 
 pupil of Orazio Beuevoli. He was maestro 
 di cappella of San Giovanni in Laterano in 
 1662-67, then of San Luigi de' Francesi un- 
 til 1G72, when he succeeded Benevoli in San 
 Pietro in Vaticano ; only a year after, he was 
 called to Munich to succeed Kerl as Hof- 
 Kapellmeister. Works — Operas : La cou- 
 quista del vello d' oro in Colco, La fabrica 
 di corone, given in Munich, 1674 ; II liti- 
 gio del cielo e della terra, ib., 1680 ; Masses ; 
 Psalms ; Offertories for 4-16 voices ; Motets 
 (1690) ; IMadrigals, for 3, 5, and 6 voices 
 (1669).— Fc'tis ; Mendel. 
 
 BERNARD, PAUL, born at Poitiers, 
 France, Oct. 4, 1827, died iu Paris, Feb. 24, 
 1879. Pianist and composer, pupil in Paris 
 of Gambaro and Tlialberg on the pianoforte, 
 and at the Conservatoire of Elwart iu har- 
 
 mony, and of Halevy in fugue and compo- 
 sition ; appeared successfully in concerts, 
 and devoted himself to teaching. Several 
 parlor operas by him were performed iu 
 Paris ; amoug them : Loin du bruit, L' Ac- 
 cord parfait, etc. He has published nioie 
 than a hundred compositions for the pia- 
 noforte, and many songs. — Fetis, Sujjple- 
 ment, i. 78. 
 
 BERNARDI, BARTOLOMEO, born in 
 Italy iu the latter jjart of the 17th century. 
 Violinist, and about 1720 Kapellmeister 
 to the King of Denmark at Copenhagen. 
 Member of the Academy there. Works : 
 12 sonatas for violin with basso continuo ; 
 Sonate a tre, for two violins and violoncello, 
 with basso for the organ (Bologna, 1696) ; 
 Concertos, caprices, cantatas (formerly in 
 the Royal Librai-y at Copenhagen, consumed 
 in the great fire of 1794). — Fetis ; Mendel. 
 
 BERNARDI, ENRICO, Italian dramatic 
 composer, contemporarj^. He was maestro < 
 concertatore and orchestra leader at the 
 Teatro del Verme, Milan, in 1876. Works : 
 Zeliska, ballet, given at Milan, Scala, 1860 ; 
 Marco Visconti, do., Turin, Teatro Regio, 
 1862 ; nda, Don Pacheco, do., Trieste, 1868 ; 
 Ate, do., Milan, Teatro Castelli, 1876; II 
 Granduca di Gerolstein, oj)era buffa, Milan, 
 1871.— Fetis, Supplement, i. 78. 
 
 BERNARDI, STEFFANO, born about 
 the close of the 16th century. He was 
 maestro di cappella of the Duomo, and ma- 
 estro of the Accademia Filarmonica, Verona, 
 and probably canon and maestro di cajspella 
 at Salzburg. He wrote an elementary work 
 entitled. Porta musicale, etc. (Verona, 1615, 
 second edition, Venice, 1639). His composi- 
 tions, consisting of madrigals published 
 at Venice, of masses, ^jsalms, and motets, 
 appeared from 1611 to 1637. Some motets 
 were publi.shed at Salzburg in 1634, and a 
 mass for five voices at Antwerp in 1619. — 
 Fetis ; Mendel ; Schilling. 
 
 BERNARDIN, BERNARD COURTOIS, 
 called, born about 1826, died in Paris during 
 the siege, 1870 or 1871. Violinist, pupil of 
 the Conservatoire, where he won the second 
 
 172
 
 BERNARDINI 
 
 prize iu 1841 ; became chef d'orchestre at 
 the Vaudeville, then at the Folies Nouvelles, 
 and other theatres of this class, and finally 
 at the Folies Draniatiques. He wrote mu- 
 sic to the following pieces : Polkette, Folies 
 Nouvelles, 185G ; Nous n'irous plus au bois, 
 ib., 1857 ; P'tit fi, p'tit mignon, ib. ; Nicaise, 
 Bouiies Parisiens, 18C7 ; Une razzia galaute, 
 pantomime, Apres la noce, do. ; Fautaisie 
 for violin, with pianoforte. — Fetis, Supple- 
 ment, i. 79. 
 
 BERNARDINI, MARCELLO, boru at 
 Capua, Ital}', about 17G2, sometimes called 
 Marcello da Capua. Dramatic comjjoser ; he 
 frequently ^vl■ote his own libretti. Works : 
 L' Isola incautata, given at Perugia, 1781 ; 
 La finta sposa olandese, Rimini, 1784 ; 
 
 I tre Orfei, intermezzo, Rome, 1781 ; Le 
 donne bisbetiche, ossia 1' antiquario fana- 
 tico, ib., about 1785 ; II baroue a forza, ib., 
 1785 ; II coute di bell' umore, ib., 178G ; 
 
 II fonte d' acqua gialla, ossia il trionfo della 
 pazzia, Rome, 1787 ; Le quattro Stagioni, Al- 
 bano, 1788; II bruto fortuuato, Civita Vec- 
 chia, 1788 ; Gli amanti confusi ; La Donna 
 di Sj)irito, Rome, 1788 ; La finta Galatea, 
 Naples, 1789 ; La fiera di Forlipoijoli, 
 Rome, 1789 ; L' Ultima che si perde e la 
 sperauza, Naples, 1790 ; II Pizarro in Perh, 
 L' Amore Y>ei- magia, ib., 1791 ; La donna 
 bizzarra, Vienna, 1793 ; L' Allegria in cam- 
 pagna, Venice, 1794 ; La statua per j^uu- 
 tiglio, about 1794. — Fetis ; Gerber, N. Lex.; 
 Schilling. 
 
 BERNASCONI, ANDREA, born at Mar- 
 seilles iu 1712, died iu Munich, Jan. 24, 
 1784. Dramatic composer, son of au ex- 
 army officer who settled at Parma ; he stud- 
 ied music from his earliest youth and gave 
 lessons while still young ; brought out his 
 first opera in Venice iu 1741, visited Rome 
 and other Italian cities, went to Vienna iu 
 1743, and returned to Parma in 1747. He 
 became maestro di eappella at the Ospedale 
 della Pieta in Venice, went to Munich in 
 1754, and was made Hof-Kapellmeister to 
 the Elector Maximilian in 1755. Works — 
 Operas : Alessandro Severo, given iu Venice, 
 
 1741 ; La uinfa Apollo, Vienna, 1743 ; Te- 
 mistocle, ib., 1744 ; Antigone, ib., 1745 ; 
 Sallustia, Munich, 1753 ; Bajazet, L' Ozio 
 fugato dalla gloria, ib., 1754 ; Adriano, II 
 trionfo della costanza, Alessandro, ib., 1755 ; 
 Didone abbaudouata, ib., 1756 ; Agelmondo, 
 ib., 17G0; Artaserse, ib., 17G3; L' Olimpi- 
 ade, ib , 17G4 ; Demofoonte, ib., 17G5 ; En- 
 dimioue, ib., 176G ; La clemenza di Tito, ib., 
 17G8; Demetrio, ib., 1772 ; La Betulialibe- 
 rata, oratorio, 1754. He wrote also a num- 
 ber of masses, vespers, and litanies, which 
 remain in MS. — Futis ; Schilling. 
 
 BERNER, FRIEDRICH WILHELM, 
 born at Breslau, Silesia, March IG, 1780, 
 died there. May 9, 1827. Organist, pupil 
 of his father, who was organist of the Eliza- 
 beth Church at Breslau, and his assistant 
 when thirteen years old. He studied coun- 
 terpoint and composition under Gehirnie, 
 directorof the choir at the Matthiius Church, 
 and the violoncello, horn, bassoon, and clari- 
 net under Reichardt. In company with 
 Schnabel, Beruer visited Berlin in 1811, to 
 master the system of the Siugakademie, 
 with a view to establishing for the govex'u- 
 ment similar institutions throughout Silesia, 
 and ho was employed also iu cataloguing 
 the musical libraries of the suppressed mon- 
 asteries, a task which was cut short by his 
 death. He wrote cantatas, marches, dances, 
 etc., from 1792 to 179G ; later (1799) he com- 
 posed an elegy to Jules de Tarent, and a har- 
 monized piece which was considered very fine. 
 In 1801 his jiroductions became more char- 
 acteristic ; his best work is the 150th Ps;ilui 
 for four voices and orchestra ; L'H^-mne dcs 
 Allemauds with orchestra is also one of his 
 best works. He wrote an intermezzo, Der 
 Kapellmeister, besides masses, canons, 
 sacred choruses, and Lieder, of which his 
 Deutsches Herz, verzagenicht is still poi^ulnr. 
 He excelled as a teacher, and had as puj)ils, 
 Koehler his successor as organist, Zoelner, 
 and Adolph Hesse. His most valuable di- 
 dactic writings ai-e : " Grundregeln des 
 Gesanges " (1815) ; " Theorie des Choral- 
 Zwisehenspiels " (1819) ; " Lehre von der 
 
 ViS
 
 BERNE VI LLE 
 
 musikaliscbeu Interpunktion " (1821). — All- 
 gem, d. Biogr., ii. 413 ; Allgem. mus. Zeitg. ; 
 Fetis ; Meudel ; Schilling. 
 
 BERNEVILLE, GILBERT DE, trouba- 
 dour of the 13tli ceutury, boru at Couitraj-, 
 according to popular belief, but Fetis thinks 
 at the village of Berneville, near Arras. He 
 flourished before 12G0, and was in the 
 service of Henry HI., Duke of Brabant. He 
 ■wrote a song beginning, " Beau Gillebert, s'il 
 vos agree." Fifteen of his chansons are in 
 the National Library, Paris, and two IMSS. in 
 the same library contain six more. — Fetis ; 
 Larousse ; Mendel, Ergilnz., 3-1. 
 
 BEENHAED, CHKISTOPH, boru at 
 Dantzic iu 1G12, died at Dresden, Nov. 14, 
 1692. The son of a poor fisherman, he was 
 enabled, with tile assistance of Dr. Strauch, 
 to enter the Gymnasium at Dantzic, where 
 he studied music under Balthazar Ei-beu, 
 and the organ and harmony under Paul 
 Syfert, and later to visit Dresden, where he 
 was a jiupil of H. Schiltz in counterpoint 
 and composition. His fine tenor voice in- 
 duced the Kurfiirst to send him to study 
 singing in Italy, where he became the friend 
 of Carissimi, and his compositions were 
 much admired. He returned to Dresden 
 with several singers for the Royal Chapel, 
 but the Elector sent him back to comjjlete 
 the royal choir and to secure a Kapellmeis- 
 ter. Through intrigue he was forced to re- 
 sign his post at Dresden and to take a can- 
 torship at Hamburg, whence he was recalled 
 after ten years by the Kurfiirst Johann 
 Geoi'g ni., and became teacher to the young 
 princes, and Kapellmeister until his death. 
 He was noted for his knowledge of counter- 
 point, a notable instance of which is shown 
 in his setting of the Latin hymn, Prudentia 
 prudentiaua (Hamburg, IGfiO). Works : 2 
 
 '^i^^M^ 
 
 masses for fen voices and ten instruments, 
 in MS. ; Geistlicher Harmonia erster Theil, 
 
 containing 20 cantatas (Dresden, 1665). He 
 was the author also of didactic treatises en- 
 titled "Tractatuscomijositionesaugmentas ;" 
 and " Ausfiihrliclier Bericht von dem Ge- 
 brauch der Consouanzen, nebst einem Au- 
 hang von dem doppelten und vierfacheu 
 ContraiJunct." — Allgem. d. Biogr., ii. 456 ; 
 Fetis ; Gerber, N. Lex. ; Schilling. 
 
 BERNICAT, FIRJHN, boru in 1841, died 
 iu Paris, March, 1883. Works : Ali-pot-de- 
 rhum (a I'Hijipodrome), operette bouffe in 
 one act, played at the Alcazar d'Ete, Paris, 
 July, 1870 ; Trois grands prix, operette, 
 Theatre Taitbout, ib., March 28, 1875 ; La 
 jeunesse de Beranger, ojjerette, given at 
 I'Eldorado, ib., January', 1877. — Fetis, Sup- 
 plement, i. 79. 
 
 BERNIER, NICOLAS, born at Nantes, 
 June 28, 1664, died at Versailles, Sejat. 5, 
 1734. Church composer, pupil in Rome of 
 Caldara, whose works became his model. 
 He was considered the most skilful composer 
 of his time, was at first maitre de musique 
 of Saint-Germain I'Auxerrois, theu of the 
 royal chajsel, in which capacity he founded 
 at Versailles a school of music, from which is- 
 sued several of the most eminent French ar- 
 tists. Works : 26 motets, op. 1 (Paris, 1703); 
 Motets for 1, 2, and 3 voices, op. 2 (ib., 1713) ; 
 Motets, posthumous (ib., 1736) ; Cautates 
 franjaises, books 1-7. — Fetis ; Schilling. 
 
 BERR (Beer), FRIEDRICH, born at 
 Mannheim, April 17, 1794, died in Paris, 
 Sept. 24, 1838. Virtuoso on the clarinet 
 and bassoon ; pui^il of his father, Jacob 
 Beer, on the violin and the flute. He became 
 bandmaster of the 39th Regiment of Infan- 
 try, served in Sjjain in 1810-14, and iu 1816 
 studied harmonj' under Fetis, then organist 
 at Douai. In 1819 he became bandmaster 
 of the 2d Regiment of Swiss Guards iu Paris, 
 and in 1823 first clarinet at the Opera. He 
 was appointed professor of the clarinet at 
 the Conservatoire in 1831, first clarinet to 
 the king, and member of the Legion of 
 Honour iu 1835. In 1836 the government 
 created a school of military music as part of 
 the Conservatoire, which he superintended 
 
 174
 
 berrE 
 
 until bis death. He wrote au immense 
 amount of music for the clarinet, bassoon, 
 and other instruments. Five hundred of 
 his pieces are military music, forty suites 
 d'hariuonie, besides duos, quatuors, airs va- 
 ries, etc., published at Paris, Leipsic, etc. 
 He wrote a method for the clarinet entitled 
 Traite complet de la clarinette a 14 clefs 
 (Paris, 183(5), which was . translated into 
 German by Lobe.— Fetis ; do., Suppli'ment, 
 i. 79 ; Mendel ; Schilling, i. 587 ; Supple- 
 ment, 38. 
 
 BERRE, FERDINAND, born at Gaus- 
 horen, near Brussels, Feb. 5, 181:3, still liv- 
 ing, 1888. Dramatic composer, pupil of 
 Godineau, and of Bosselet the younger. 
 Having founded the Cercle Symplionique et 
 Dramatique, he brought out there : L'Orage 
 au moulin, comic opera, 18G7 (in Flemish, 
 under the title Marldes op Jacht, Theatre 
 du Cirque, the same year) ; Le couteau de 
 Castille, op6ra-bou£fe, 18G7, which was also 
 sriven at the Galeries Saint-Hubert, 1868. 
 He has composed the following operas, still 
 unpublished : Le dernier des Mohicans, 
 Madame Putiphar, Les poltrons, Lowely, 
 and has published about fifty romances 
 (Brussels, Schott).— Fctis, Supplement, i. 
 80. 
 
 BERTALI, ANTONIO, born at Verona, 
 1G05, died in Vienna, April 1, 1669. Dra- 
 matic composer, became court musician at 
 Vienna in 1637, and Hof-Kapellmeister in 
 1649. AVorks — Operas: L' inganno d' 
 amore, Vienna, 1653 ; Teti, ib., 1656 ; II 
 Re Gelidoro, ib., 1659 ; Gli amori di Apol- 
 lo, ib., 1660 ; II Giro crescente, ib., 1661 ; 
 L' Alcindo, ib., 1665 ; Cibele e Ati, ib., 
 1666 ; La contessa dell' aria e dell' acqua, 
 ib., 1667. Oratorios : Maria Magdaleua, 
 1663 ; Oratorio sacro ; La strega degl' in- 
 nocenti, 1665. Cantatas, performed in Vi- 
 enna, 1631-46 ; Thesaurus musicus (1671) ; 
 Jlass ; Suonata a nove ; Sonatas for 2 vio- 
 lins and bass ; Magnificat. — Fetis ; Gerbei-, 
 N. Lex. ; Schilling. 
 
 BERTANI, LELIO, born at Brescia 
 about 1520, died there in 1600. Maestro, 
 
 di cappella of the Cathedral of Brescia ; 
 subsequently court musician to Alfonso of 
 Perrara, and maestro to the Bishop of Pa- 
 dua. One of his madrigals is to be found 
 in the collection of Hubert Waebrant (1504), 
 and others in the following collections pub- 
 lished at Venice : II Lauro verde (1591) ; II 
 Trionfo di Dori (1596 ; Antwerp, 1601) ; and 
 in a collection of sonnets by Battista Zuc- 
 carini (Venice, 1586). Among those pub- 
 lished separately are : Madrigali a cinque, 
 lib. i. (Brescia, 1584) ; Sonnets for five 
 voices (Venice, 1586-1609) ; Madrigals for 
 six voices, lib. i. (Venice). — Fetis ; Gerber, 
 N. Les. ; Schilling. 
 
 BERTE.AU, born at Valenciennes in the 
 first years of the ISth century. Founder of 
 the violoncello school in France ; travelled 
 in Germany when young, and was a pupil 
 of a Bohemian named Kozecz on the bass- 
 viol, an instrument on which he excelled, 
 but he gave it up for the violoncello. In 
 1739 he made his first appearance in Paris at 
 the Concerts Spirituels. Among his pupils 
 were Cupis, the two Jansons, and Dupont 
 aine. He published four concertos for vio- 
 lin, and thi-ee books of sonatas for violin 
 and bass. — Fetis ; Mendel. 
 
 BERTELINIAN, JAN GEORG, born at 
 Amsterdam, Jan. 21, 1782, died there, Jan. 
 25, 1854. Composer, pupil of the blind or- 
 gan-virtuoso Brachthuijzer ; professor at the 
 Royal School of Music, Amsterdam, member 
 of the Accademia di Sta. Cecilia, Rome. 
 He formed many eminent pupils, among 
 whom were Stumpff, Richard Hoi, Van 
 Bree, etc. Order of the Lion. Works: Grand 
 cantata with orchestra, Amsterdam, 1836 ; 
 Other cantatas ; Motets ; Mass ; Requiem ; 
 Two overtures ; String quartets ; Concertos 
 for clarinet ; do. for double bass ; Etudes 
 for violin ; Pianoforte, and violin pieces. — 
 Viotta. 
 
 BERTELSMANN, KARL AUGUST, 
 born at Giltersloh, Westphalia, in 1811, died 
 at Amsterdam, Nov. 20, 1861. Composer, 
 pupil of Rinck at Darmstadt ; instructor of 
 vocal music at the seminary at Soest, he 
 
 175
 
 BERTHA 
 
 ■went in the same capacitj' to Amsterdam iu 
 1838, and assumed the dhectiou of the 
 newly founded Eutonia there in 1839. 
 Works : 12 four -part songs for mixed 
 voices, op. 3 ; Choruses for male voices ; 
 Hymn for do. ; Songs, with pianoforte ; Or- 
 gan, and pianoforte music. — Fiitis ; Viotta. 
 
 BERTHA, ALEX.\^DER VON, born at 
 Pesth, Hungary, contemporary. Instru- 
 mental composer, pupU iu Pesth of Mosonyi 
 and of A. Feley, and at Leipsic and Berlin 
 of Hauptmaun, Moscheles, and Hans von 
 Billow. He settled afterwards iu Paris. 
 Works : Symphony ; Quartets ; Sonatas ; 
 Hougroises, etc. ; National hymn (gold 
 medal). — Fetis, Supplement, i. 80. 
 
 BERTHAUME, ISIDORE, born in Paris, 
 1752, died in St. Petersburg, March 20, 
 1802. Violinist, played with success iu 
 public when nine years old, became first 
 violin in the Opera orchestra, and conductor 
 of the Concerts Sj)irituels iu 1783. He went 
 on a concert tour during the Revolution, 
 was appointed Conzertmeister to the Duke 
 of Oldenburg at Eutin iu 1703, and a few 
 years later went to St. Petersburg, as solo- 
 violinist in the imperial orchestra. Works : 
 Sonatas for violin, iu the style of Lolli ; Sis 
 solos for do., op. 2 ; 6 duos, op. 3 ; Sona- 
 tas, op. 4 ; Concerto for violin, op. 5 ; Sym- 
 phonic concertante, for 2 violins, op. 6 ; 
 Sonatas for jDianoforte, with violin, op. 7 ; 
 Six sonatinas for pianoforte, op. 8. — Fetis ; 
 Gerber, N. Lex. ; Schilling. 
 
 BERTHOLD, (KARL FRIEDRICH) 
 THEODOR, born at Dresden, Dec. 18, 
 1815, died there, April 28, 1882. Com- 
 poser, pupil of Julius Otto and of Johann 
 Schneider. He went with a noble family to 
 Little Russia in 1841, and became inspector 
 of music at the Ladies' Seminary at Charkov 
 in 1843, and at the Patriotic Seminary in 
 St. Petersburg in 1849. He was made also 
 professor of composition in the Imperial 
 Chapel, and organist and musical director 
 of the Lutheran Church of St. Ann.a. He 
 founded the Oratorio Society of St. Anna, 
 and in 1864 was called to Dresden to succeed 
 
 Johann Schneider as court organist. Works : 
 Petrus, oratorio ; Symphony ; Concert over- 
 ture for orchestra ; Missa solennis ; Other 
 church music ; Pianoforte pieces, and songs. 
 — Mendel. 
 
 BERTHOLDO. See Bertoldo. 
 
 BERTIN, LOUISE ANGELIQUE, bom 
 at the Roches, near Paris, Feb. 15, 1805, 
 died iu Paris, April 2G, 1877. Dramatic 
 comjjoser, jjianist, and contralto singer, pu- 
 pil of Fetis. Works — Operas : Le loup- 
 garou, given in Paris, 1827 ; Faust, ib., 
 1831 ; Notre Dame de Paris, ib., 1836, the 
 libretto of which was adaj)ted by Victor 
 Hugo. She also published a collection of 
 Six Ballades, and left uni^ublished a Prayer ; 
 Hymne a Apollon, Le retour dAgamemnon ; 
 besides other vocal music and symphonies 
 for chamber music. — Fetis; do.. Supple- 
 ment, i. 81. 
 
 BERTIN, T. DE LA DOUE, born in 
 Paris in 1G80, died there in 1745. Dra- 
 matic composer ; took Lulli's works for his 
 model. He was pianoforte teacher in the 
 Orleans family, organist of the Theatine 
 Church, and in 1714-34 violinist and ac- 
 companist at the Opera. Works — Operas : 
 Cassandre (with Bouvart), given in 1706 ; 
 Diomede, 1710 ; Ajax, 1716 ; Le jugement 
 de Paris, 1718 ; Les plaisirs de la campagne. 
 — Fetis ; Mendel ; Schilling. 
 
 BERTESn, DOJklENICO, born at Lucca, 
 June 26, 1829, still living, 1888, at Flor- 
 ence. Dramatic composer and singer, pujjil 
 under Pacini of the School of Music at 
 Lucca, where he won all the first prizes ; 
 and, after the eamisaigns of 1848-49, in 
 which he took part, jjupil of Michele Puc- 
 cini. In 1853 he became maestro concerta- 
 tore of the theatre at Lucca, in 1857 director 
 of the musical institute at Massa Carrara, 
 and in 18G2 settled at Florence, where 
 he made himself known as conductor of the 
 Societa Cherubini, and as a musical critic. 
 Works : Non ti scordar di me, Cinzica Sis- 
 mondi, operas ; Cantata ; Mass ; Magnificat 
 for 4 voices and orchestra ; Songs. — Fetis, 
 Supplement, i. 82 ; Mendel, Ergiinz., 35. 
 
 176
 
 BERTINI 
 
 BERTINI, HENRI (JEROME), bom in 
 
 London, Oct. 28, 1798, died at Meyl.an, 
 near Grenoble, 
 France, Oct. 1, 1876. 
 His father was a 
 clever composer and 
 pianist. The young 
 Henri studied the pi- 
 anoforte first under 
 his father and then 
 under his elder 
 brother, Auguste, 
 who was a pujiil of Clenienti. He began 
 playing in public at an early age, and when 
 only twelve years old left Paris on a concert 
 tour through the Low Countries and Ger- 
 many. The admiration his talent excited 
 did not dissuade him from pursuing his 
 studies diligently under his father's guid- 
 ance. On his return to Paris he began his 
 studies in composition, and then went to 
 live for some time in England and Scotland. 
 In 1821 he retui-ned to Paris, where he re- 
 mained, with few interruptions, until about 
 1856, when he retired to ]\Ieylan, breaking 
 off all relations with the public, both as 
 pianist and composer ; he had bought some 
 land at Meylan, and continued to live there 
 in seclusion until his death, composing only 
 now and then for a society of orpheouists, 
 of which he was president. He is said to 
 have refused the decoration of the Legion 
 of Honour, offered him by the Government 
 of July. Bertini was equally eminent as a 
 composer and a pianist ; his grace and purity 
 of style, as well as his high natural gifts, 
 compel admiration. Ho was a classicist in 
 the best sense, and made a stand against 
 the prevailing light salon-vii-tuosity of his 
 day in France, much as Schumann and 
 Mendelssohn did in Germany. He is best 
 known to-day by his pianoforte studies, of 
 which there are 29 sets ; almost all of these 
 were originally published bj- Lemoine in 
 Paris, but other editions have been printed 
 in most of the large cities in Eiu-ope and 
 America. These studies have been largely 
 superseded to-day by similar works in a 
 
 more modern style, and better adapted to 
 further the ends of the more brilliant tech- 
 nique of our day, but the "Ecole de lamu- 
 sique d'ensemble," a collection of preludes 
 and fugues by Sebastian Bach arranged for 
 four hands, is still of interest. Of Bertini's 
 other compositions, the following are the 
 most important : 6 trios for pianoforte and 
 strings (Paris, Lemoine) ; .5 serenades for 
 pianoforte and strings (ib.) ; ■! sextets 
 (ib.) ; Nonet for pianoforte and wind in- 
 struments. The following ai-e posthumous 
 works : 3 nonets for pianoforte and wind 
 instruments ; 3 .symphonies for jiianoforte 
 and orchestra ; 20 pieces for the pianoforte ; 
 a Pie Jesu composed foi', and sung at, Ber- 
 tini's funeral. — Grove, i. 236. 
 
 BERTINI, SALVATORE, boru at Pa- 
 lermo in 1721, died there, Dec. 16, 1794. 
 Dramatic composer, first instructed by Poz- 
 zudo, tlien pupil of Leo at the Conservatorio 
 della Pieta, Naj^les. Having declined a 
 call to St. Petersburg, from religious 
 scruples, he became afterwards maestro di 
 cappella in his native city, succeeding David 
 Perez, who had gone to Lisbon. He brought 
 out successfully several operas in Palermo, 
 Rome, and Naples, and wrote oratorios, 
 masses, psalms, and other church music, 
 among which are deserving of special notice 
 a Requiem mass, composed for the ob- 
 sequies of Charles IH., 1790, a Miserere for 
 two choruses, and a do. for four voices. 
 — Fetis; Mendel. 
 
 BERTOLDO, SPER' IN DIO (Sperandio). 
 born at Modena in 1530, died at Padua, Aug. 
 13, 1570. Renowned contrapuntist and or- 
 ganist at the cathedral at Padua. Works : 
 Madrigali a cinque voci (Venice, 1561) ; do., 
 second book (ib., 1562); Toccate, ricercate 
 e canzoni per 1' organo (ib., 1591). The 
 first two are in the Royal Library, Municli. 
 — Fetis. 
 
 BERTON, FRANyOIS, born in Paris, 
 May 3, 1784, died there, July 15, 1832. 
 Dramatic composer, illegitimate son of 
 Henri Montan Berton and Mile Maillard, 
 a famous singer ; pupil at the Conserva-
 
 BERTON 
 
 toire, where be was i^rofessor of singing in ] I'Epreuve, given in Paris, Comedie Italienne, 
 
 1821-27. Works : Monsieur Desbosquets, 
 Theatre Feydeau, IblO ; Le present de 
 uoces, ou le pari. Opera Comique, 1810 ; 
 Jeune et vieille (with Pradher), 1811 ; Ni- 
 nette a la cour, Opera, 1811 ; Les caquets, 
 Theatre Feydeau, 1821 ; Une heure d'ab- 
 seuce, Opera Comique, 1827 ; Chateau d"Ur- 
 tuby, ib., 1831.— Fetis ; do., Supplement, i. 
 83. 
 
 BERTON, HENRI MONTAN, born in 
 Paris, Sept. 17, 
 1767, died there, 
 April 22, 1844. 
 Dramatic c o m - 
 poser and Tioliu- 
 ist, son and 
 pupil of Pierre 
 Montau Berton ; 
 pupil of Rej- and 
 Sacchini, and fol- 
 lower of Paisiello. 
 When fifteen 
 years old he was a member of the orchestra 
 of the Opera (1782), and at nineteen several of 
 his oratorios were given at the Concerts Spi- 
 rituels, one, Absalon (1786), meeting with 
 much success. When twenty years old he 
 wrote his first opera, Promesses de man- 
 age, played at the Comedie Italienne in 
 1787, which was followed by several others, 
 and some of his best were written between 
 this time and 1794. When the Conservatoire 
 was established he was appointed professor 
 of harmony, in 1795, and he was director of 
 the Italian opera, then called opera buffa, 
 in 1807-9. He introduced Mozart's Nozze 
 di Figaro in Paris, and began a reform in 
 French opera, by giving works in which the 
 beauties of harmony and instrumentation 
 were as prominent as fine melodies. In 
 1815 he became a member of the Institut 
 de France, in 1816 Chevalier, and in 1834 
 Officer of the Legion of Honour. Professor 
 of composition, and afterwards Inspector at 
 the Conservatoire. Works— Operas : Le 
 
 1787 ; Cora, Academic Royale de Musique, 
 1789 ; Les brouilleries, Comedie Italienne, 
 1789 ; Les rigueurs du cloitre, Le Nouveau 
 d'Assas, ib., 1790 ; Les deux sentineUes, 
 Theatre Favart, 1791 ; Eugene, Theatre Fey- 
 deau, 1793 ; Agricole Viala, ou le Heros de 
 la durance, ib., 1794 ; Ponce de Leon, The- 
 atre Favart, 1797 ; Le souper de famille, 
 Le denoilmeut inattendu, ib., 1798 ; Mon- 
 tauo et Stephanie, L' Amour bizarre, Le De- 
 lire, ou les Suites d'une erreur, ib., 1799 ; 
 La nouvelle au camp, I'Opera, 1799 ; Le 
 Grand deuil. Theatre Favart, 1801 ; Les 
 deux Sous-lieutenants, ou le Concert iiiter- 
 roinpu. Theatre Feydeau, 1802 ; Aline, reiue 
 de Golconde, OjJera Comique, 1803 ; La Ro- 
 mance, ib., 1804 ; Delia et Verdikan, Le 
 vaisseau amiral, ib., 1805 ; Les Maris-gar- 
 yons, ib., 1806 ; Le Chevalier de Seuanges, 
 Ninon chez Madame de Scvigne, ib., 
 1808 ; Franyoise de Foix, ib., 1809 ; L'En- 
 levemeut des Sabines, ballet, Foutaine- 
 bleau, 1810 ; Le charme de la voix ; La 
 victime des arts (with Isouard and Solie), 
 ib., 1811; L 'Enfant prodigue, ballet, O- 
 pera, 1812 ; Valentin, ou le Paysan roma- 
 nesque, Opera Comique, 1813 ; L'Oriflamme 
 (with Mehul, Paer, and Kreutzer), Ojaera, 
 1814 ; L'heureux retour, ballet (with Per- 
 suis and Kreutzer), 1815 ; Les dieux rivaux, 
 opera-ballet (with Sj)ontini, Persuis, and 
 Ki-eutzer), Academie Royale, 1816 ; Feodor, 
 ou le Batelier du Don, Opera Comique, 
 1810 ; Roger de Sicile, I'Opera, 1817 ; Cori- 
 sandre, Opera Comique, 1820 ; Blanche de 
 Provence (with Boieldieu, Cherubini, and 
 Paer), Opera, 1821 ; Virginie, ou les De- 
 cemvirs, ib., 1823 ; Les deux mousque- 
 taires. Opera Comique, 1824 ; La mere et 
 la fille (not performed) ; Aline, reine de 
 Golconde, ballet (with Dugazon), 1825 ; 
 Pharamond (with Boieldieu and Kreutzer), 
 Academie Royale, 1825 ; Les Creoles, Opera 
 Comique, 1826 ; Les petits appartements, 
 ib., 1827. Oratorios : Absalon, Jephte, Da 
 
 premier navigateur (1786) ; Les promesses vid dans son Temple, Les Bergers de Beth- 
 de mariage, La dame invisible, ou I'Araant i\ leem, La Gloire de Lyon, iu the Concerts 
 
 178
 
 BERTON 
 
 Spirituels, 1786-90. Cantatas : Jlaiie de 
 Seymours, Orphee daus les bois, ib. ; Trasi- 
 bule, Hotel de ViUe, 1804 ; Thesee, Brus- 
 sels, 1805 ; Le Chant du letour (after the 
 campaign of 1805), Optra Comique, 1807 ; 
 and many romances, besides several collec- 
 tions of canons. He was the author of 
 several didactic works ; " Arbre genealo- 
 gique des Accords ;" "Un traitc d'harmonie 
 
 base sur I'Arbre getiealogique ; " " Diction- 
 uaire des Accords," -4 vols. (Paris, 1815). 
 — Futis ; do.. Supplement, i. 82 ; Mendel ; 
 Schilling, i. 593 ; Supplement, 43. 
 
 BERTON, PIERRE JIONTAN, born in 
 Paris in 1727, died there. May 14, 1780. 
 Dramatic eomj)oser and organist. He read 
 music at sight when six years old, composed 
 motets when twelve, which were j^layed at 
 the Cathedral of Senlis, and was for several 
 years a member of the choir of Notre Dame 
 de Paris. In 1744 he made his debut as 
 an opera singer, became chef d'orchestre 
 at the Opera, Bordeaux, in 1746, and or- 
 ganist of two churches in that citv. In 
 1755 he became chef d'orchestre at the 
 Opera in Paris, and director-general in 
 177G. Works— Operas: Deucalion et Pyr- 
 rha (with Giraud), 1755 ; £rosiue (words 
 by Moncrief), 17G8 ; Sylvia (with Trial), 
 176G; Theonis (with Trial and Granier), 
 1707 ; AdUe de Ponthieu (with Laborde), 
 1773. He is best known by his arrange- 
 ments of other authors' works. He wrote 
 airs for the ballet in Camille by Campra, 
 for Iphigenie en Tauride by the same, for 
 Castor and Pollux and Dardanus, by Ra- 
 meau, introducing the Chaconne de Berton. 
 — Fetis ; do.. Supplement, i. 82. 
 
 BERTONI, FERDINANDO GKTSEPPE, 
 born on the island of Salo, near Voiuce, 
 Aug. 15, 1725, died at Desenzano, Dec. 1, 
 
 1813. Dramatic composer and organist, 
 pupil of Padre Martini. He went about 
 
 1745 to Venice, where he became celebrated 
 as a teacher. He was organist of S. Marco 
 from 1752, and choir-master of the Con- 
 servatorio de' Mendicanti in 1757-97. He 
 visited London in 1778-80, and in 1781-83, 
 to bring out some of his ojjeras, succeeded 
 Galuppi as maestro di cappella at S. Marco 
 in 1784, and retired to Desenzano in 1810. 
 His best works, principally oratorios and 
 church music, were written between 1743 
 and 1760. Works — Operas : Orazii ed e 
 Curiazii, La Vedova accorta, given in Venice, 
 
 1746 ; Cajetto, ib., Palazzo Labia, 1747 ; 
 Ipermestra, Venice, 1748 ; Le Pescatrice, ib., 
 1752 ; Ginevra, ib., 1753 ; La Moda, ib., 
 1754; Le Vicende amorose, ib., 1760; La 
 bella Girometta, ib., 1761 ; Amore in Mu- 
 sica, ib., 1763; Achille in Sciro, L' Ingau- 
 natore ingannato, ib., 1704 ; L' Olympiade, 
 Naples, 1765 ; L' Isola di Calipso, dramatic 
 cantata, Venice, Palazzo Rezzonico ; Ales- 
 sandro nelle Indie, 1770 ; L' Anello incan- 
 tato, 1771 ; Andromacca, Venice, 1772 ; Ai-is- 
 to e Temira, 1774 ; Orfeo, Venice, 1776 ; 
 Ezio, Telemacco, ib., 1777; Quinto Fabio, 
 Padua and London, 1778 ; Tancredi, Venice, 
 1778 ; Artaserse, London, 1780 ; Armida, 
 Venice, 1781 ; Eumeue, ib., 1784 ; Artaserse 
 (second), il.)., 1786 ; Narbale, Naples, about 
 1787; Cajo Mario, about 1788; La Nitteti, 
 Najiles, 1789 ; Ifigenia in Aulide, Trieste, 
 1790 ; Antigouo. Oratorios : II Figliuol 
 l^rodigo, i^erformed at Sta. Maria della Fava, 
 1747 ; Perigrinatio ad sanctum Domini se- 
 pulchrum, 1753 ; David penitens, Conserva- 
 torio de' Mendicanti, 1775 ; Joas ; Susanna ; 
 Requiem mass, Chiesa dei Serviti, 1792. 
 Among his finest works for the church are 
 the psalms, Beatus vir, and Lstatus sum, 
 and the Improperia written for the ducal 
 chapel of S. Marco ; 6 sonatas for harpsi- 
 chord and violin, op. 1 (Berlin, 1789) ; 6 
 quartets for two violins, viola, and violon- 
 cello (Venice, 1793) ; 6 sonatas for liarpsi- 
 chord (Paris, 1780).— Fetis ; Gerber, Hist. 
 Lex. ; do., N. Lex. ; Schilling. 
 
 JT9
 
 BERWALD 
 
 BERWALD, JOHANN FRIEDRICH, 
 boru iu Stockholm, Sweden, July 23, 1788, 
 died there, Sejitember, 1861. Violinist, son 
 of one of the chamber musicians to the 
 King of Sweden, and pupil of the Abbe 
 Vogler. Before he was ten years old he 
 travelled as an infant i^rodigy ; in 1806 he 
 became a chamber musician to the king, 
 and from 1819 until his death he was 
 conductor and Kapellmeister in Stockholm. 
 ■ His three daughters were singers. Works : 
 3 polonaises for pianoforte and violin, op. 
 1, 1791 ; Symphon}' for orchestra, 1799 ; 3 
 quartets for stringed instruments, 1808 ; 
 Sonata for pianoforte, op. 6 ; and songs. 
 His cousin, Franz Berwald (born in Stock- 
 holm, 1796, died there, April 3, 1868), com- 
 posed much instrumental music, and an 
 opera, Estrella de Soria, given in Stock- 
 holm. — Ft'tis ; Gerber, N. Lex. ; Mendel. 
 
 BESANZONI, FERDINANDO, born at 
 Piacenza, Italy, in 1821, 'still living, 1888. 
 Dramatic composer ; became maestro di cap- 
 pella of the Italian opera, Berlin, in 1845, but 
 soon returned to his native land. His op- 
 era, Ruy Bias, was given with much success 
 at Piacenza, 1843. 
 
 BESLER, SAMUEL, born at Brieg, Si- 
 lesia, Dec. 15, 1574, died iu Breslau, July 
 19, 1025. Rector of the Gymnasium zum 
 Heiligen Geist, Breslau, 1605. A large col- 
 lection of his comijositious are jjreserved 
 in the library of St. Bernhardiuus, Breslau, 
 among which is a Passion after St. John, 
 I^rinted by Baumann (Breslau, 1621). — Fe- 
 tis ; Mendel ; Schilling. 
 
 BESSEMS, ANTOINE, born at Antwerp, 
 April 6, 1809, died in Paris, Oct. 19, 1868. 
 Violinist, pupil of Baillot at the Conserva- 
 toire, Paris ; for several years first violin at 
 the Theatre Italien, then made a concert 
 tour through Belgium, Germany, Italy, and 
 England, returned to Paris, and in 1847- 
 52 conducted the orchestra of the Societe 
 Royale d'Harmonie at Antwerp. Works: 
 3 masses for four voices and orchestra ; 2 
 psalms for do. ; Several motets, with or- 
 chestra or organ ; Canticles, oflertories. 
 
 ,-*»»■ 
 
 Art, London, 1852; 
 
 graduales, etc., with do., or quartet ; Hymn, 
 with chorus and two orchestras ; Concerto 
 for violin, with orchestra ; Fantaisies for 
 do.; 12 grandes etudes, with pianoforte; 
 Duos, trios, quartets, for strings ; 12 grand 
 duos de concert, for pianoforte and violin 
 (with Jules Dejazet) ; Melodies for violin ; 
 do. for pianoforte ; do. for violoncello ; do. 
 for one and several voices, etc. — Fetis ; 
 Mendel. 
 
 BEST, WILLIAM THOMAS, boru at 
 Carlisle, England, Aug. 
 13, 1826, still living, 
 1888. Organist ; pupil 
 of Young, organist of 
 Carlisle Cathedral. He 
 has held many impor- 
 tant positions, such as 
 organist of the Liver- 
 pool Philharmonic So- 
 ciety, 1848 ; of the Pan- 
 opticon of Science and 
 of St. Martin-in-the- 
 Fields, Loudon, 1852 ; of Lincoln's Inn 
 Chapel, 1854 ; of St. George's Hall, Livei"- 
 pool, 1855 ; of Church of Wallasay, Birken- 
 head, 1800 ; of Holy Trinity, near Liverpool, 
 1863 ; of the Musical Society, Liverpool, 
 1808 ; of Royal Albert Hall, 1871 ; of the 
 Philharmonic Society, Liverpool, 1872 ; of 
 West Derby Church,' 1879. Mr. Best, who 
 is one of the greatest masters of the organ 
 in Great Britain, still holds several of the 
 most important of these positions, and has 
 jjlajed iu manj' of the principal cities of 
 Europe. He is the author of many com- 
 positions for the organ and pianoforte, of 
 church services, anthems, hymns, and minor 
 vocal pieces, and of several standard didactic 
 works. His anthems are in constant use iu 
 English churches. — Grove ; Mendel ; Brown. 
 BE THOU FAITHFUL UNTO DEATH. 
 See Se'l getreu bis in den Tod. 
 
 BETLY, Italian opera in two acts, text 
 and music by Donizetti, first represented in 
 Najjles, 1836 ; and in Paris, at the Opera, 
 Dec. 27, 1853, in a French translation by 
 Hippolyte Lucas. Donizetti's text is an 
 
 180
 
 BETULIA 
 
 adaptation of "Le clialet," by Scribe aud 
 Melesville (music by Adam, 1834), wbicli iu 
 turn is from Goetbe's " Jery und Biitely." 
 Betly was unsuccessful in Paris, notwitb- 
 standing tbat the jnincipal cbaracter was 
 sustained by Madame Bosio. Betly was one 
 of Alboni's favourite parts. 
 
 BETULIA TJBERATA (Betbulia Freed), 
 Italian sacred drama iu two parts, text by 
 Metastasio, music by Georg Reutter, com- 
 posed by command of tbe Emperor Charles 
 VI., and first rejwesented in tbe Imperial 
 Chapel, Vienna, 1734. Subject from the 
 apocbryphal book of Judith. Scene, the 
 city of Betbulia. Chai'acters represented : 
 Ozia, Prince of Betbulia ; Giuditta, widow 
 of Manasseh ; Aniital, a noble Israelitish 
 maiden ; Acbior, Prince of tbe Ammonites ; 
 Cabri and Carmi, leaders of tbe people ; 
 chorus of inbabitauts of Betbulia. The 
 same libretto was set, probably iu 1771, by 
 Mozart, and performed at Padua during 
 Lent in 1772 (publisbed by Breitkopf & 
 Hiirtel, Mozart's Werke, Cantaten und Ora- 
 torien, No. 4) ; also by Cafl'aro, and repre- 
 sented in Naples about 1778. 
 
 BEVIN, EL WAY, born in Wales, flour- 
 ished towards tbe end of the reign of Eliz- 
 abetb. Organist, pupil of Tallis, ou whose 
 recommendation be was apjjointed organist 
 of tbe cathedral of Bristol. His onlj' com- 
 position known to-day is tbe first service of 
 four aud five parts, ijublished in Barnard's 
 collection : First Book of selected Church 
 Musick (1C41).— Grove ; Fetis. 
 
 BEYER, JOHANN SAMUEL, born at 
 Gotba in 1GG9, died at Carlsbad, Bohemia, 
 May 9, 1744. Composer, cantor at Frei- 
 berg, 1697, at Weissenfels, 1722, tben di- 
 rector of music at Freiberg, 1728. Works : 
 Pianoforte music, chiefly instructive ; Pri- 
 mse linese musicse vocalis (Freiberg, 1703) ; 
 Musikalischer Vorratb neu variirter Fest- 
 Cboral-Gesange (ib., 1710) ; Geistlieb musi- 
 kaliscbe Seelenfreude, containing 72 con- 
 cert arias (ib., 1724).— Fetis; Mendel. 
 
 BEXFIELD, WILLIA]M RICHARD, born 
 at Norwich, England, April 27, 1824, died 
 
 iu London, Oct. 29, 1853. Church com- 
 poser, pupil of Dr. Zechariab Buck, under 
 whom he was a chorister in the cathedral. 
 He became organist in Boston, Lincoln- 
 shire, and iu 184G graduated at Oxford as 
 Bacbelor of Music ; in 1848 he was ap- 
 pointed organist of St. Helen's, London, 
 and in 1849 received the degree of Doctor 
 of Music at Cambridge. Works : hrad 
 Restored, oratorio, given at Norwich Mu- 
 sical Festival, 18.52, and reproduced iii 
 1879 ; Church anthems (London) ; Set of 
 fugues for organ (ib.) ; Songs and part 
 songs ; Organ music. — Grove ; Brown. 
 
 BIAGI, ALAMANNO, born in Florence, 
 Dec. 20, 1806, died there, June 26, 1861. 
 Violinist, pupil of tbe Florence Academy ; 
 became one of the ablest orchestra conduc- 
 tors of his time, aud conducted for many 
 years the music at the grand-ducal court of 
 Tuscan}-. He has left compositions in every 
 branch, excepting the dramatic ; among bis 
 instrumental works, a quartet for strings, 
 which won a jjrize, is especially noteworthy. 
 — Fetis ; do.. Supplement, i. 87. 
 
 BIAGI, ALESSANDRO, born at Flor- 
 ence, Jan. 20, 1819, died, Feb. 28, 1884. 
 Pianist, fir.st instructed by one of his broth- 
 ers, then at tbe Academy pupil of Geremia 
 Sbolci and Palafuti on the pianoforte, and 
 of Nencini in counterpoint ; he won the 
 first i^rize in both classes, and in 1857 be- 
 came professor at the Academy, succeeding 
 Palafuti. Works : La secchia rapita, opera 
 buffii, given at Florence, Teatro de la Per- 
 gola, 1830 ; Gonzalvo di Cordova, opera, 
 ib., Teatro Nazionale, 1857 ; Cantico di Zac- 
 caria, for four voices, cboiiis, and orchestra 
 (1858); Padre Nostro (Dante); Pianoforte 
 pieces and songs. — Fctis, Supph'meut, i. 
 88. 
 
 BL\L, RUDOLF, born at Habelschwerdt, 
 Silesia, Aug. 26, 1834, died iu New York, 
 Nov. 13, 1881. Violinist, until 1853, in the 
 theatre orchestra at Breslau, tben made 
 a concert tour to Africa and Australia 
 with his brother, the pianist Karl Bial 
 (born in 1833) ; settled in Berlin, where he
 
 BIANCA 
 
 was Conzertmeister of Kroll's orcbestra, 
 then (1864) Kapellmeister at tbe Walluer 
 Theater, later director of the Italian ojj- 
 era, and finally established a concert en- 
 terprise in New York. Works : Herr von 
 Papillon, operetta, text by Fellechuer, given 
 in Berlin, Wallner Theater, January, 1870 ; 
 Der Liebesriug, opera butia, three acts, 
 text by Fellechner, ib., Friedrich-Wilhelm- 
 stildtisches Theater, Dec. 4, 1875 ; Ein 
 kluger JMaun, ib., January-, 187G ; Many or- 
 chestral pieces. — Mendel. 
 
 BIANCA ; or, The Bravo's Bride, grand 
 opera in four acts, text by Palgrave Simp- 
 son, music by Balfe, represented at Covent 
 Garden, London, Dec. 6, 18G0. The libretto 
 is founded on Matthew Gregory Lewis's 
 romance, " The Bravo of Venice " (1804), 
 which also served as a melodrama under the 
 title of " Rugantino " (1805). This opera, 
 jjroduced by the Pyne Harrison Company, 
 achieved a legitimate success. — Barret, 
 Balfe, 235. 
 
 BIANCA CAPELLO, opera, text by Jules 
 Barbier, music by Salomon, represented at 
 Antwerp, Feb. 1, 188G. It had a moderate 
 success. 
 
 BIANCA E FALIERO, Italian opera, text 
 after Manzoni's " Coute di Carmaguola," 
 music bj' Rossini, represented at La Scala, 
 Milan, Dec. 26, 1819. One of Rossini's 
 failures ; some of its best numbers were 
 transferred by him to other operas. 
 
 BLANCA E FERNANDO, Italian opera, 
 music by Bellini, represented at Naples, 
 June 30, 1826. Interpreted by Rubini, 
 Lablache, and Mme Mt'ric-Lalande, this 
 work met with success, but it is now for- 
 gotten. 
 
 BIANCHI, ANTONIO, born in Milan in 
 1758, died (?). Dramatic singer and com- 
 poser, made his musical studies in Milan, 
 and appeared successfully there, and at 
 Genoa, Paris, and Hanover. For a time in 
 the service of the Duke of Nassau, he ob- 
 tained an engagement in Berlin in 1793-97, 
 then sang in Hamburg, Breslau, Di-esden, 
 Leipsic, and Brunswick. Works : Die Insel 
 
 der Alcina, given in Berlin, 1794 ; Fileno e 
 Clorinda, intermezzo pastorale, ib., 1796 ; 
 Die Eutfiihrung, oder das Feldlager, by De- 
 seuzano, ballet ; French and ItaUan songs. 
 — Fetis ; Gerber, N. Lex.; Mendel. 
 
 BIANCHI, ELIODORO, Italian com- 
 poser, contemporary. He is the author of 
 Gara d' amore, Italian opera, rejsreseuted 
 at Bari, July, 1873. 
 
 BI.INCHI, FRANCESCO, born at Cre- 
 mona, Italj-, in 1752, died by suicide at 
 Hammersmith, London, Nov. 27, 1810. 
 Dramatic composer. At iirst maestro di cap- 
 pella in Cremona, he became a member of 
 the orchestra of the Italian Oj^era, Paris, in 
 1775, assistant conductor of S. Ambrogio, 
 Milan, in 1784, and second organist of S. 
 Marco, Venice, in 1785. About 1796 he 
 went to London, where he was connected 
 for seven years with the King's Theatre. 
 During the last ten years of his life he was 
 occupied chiefly in teaching, numbering 
 among his pupils Sir Henry Bishop and 
 others who won eminence. His operas, 
 pleasing but with little originahty, are now 
 forgotten. Works — Operas : La reduction 
 de Paris, given in Paris, Comedie Italienne, 
 1775 ; Le mort marie, ili., 1777 ; Castor e 
 Polluce, Florence, 1780 ; Venere e Adone, 
 ib., 1781 ; II trionfo della pace, Venice, 
 1782 ; Demofooute, Ai-bace, ib., 1783 ; Cajo 
 Mario, Naples, 1784 ; Briseide, Turin, 1784 ; 
 La caccia d' Enrico IV., Venice, 1784 ; As- 
 parde, jirincipe Battriano, Rome, 1784 ; H 
 Medonte, Reggio, 1785 ; II dissertore, Ven- 
 ice, 1785 ; La villanella rapita, 1785 ; Pi- 
 ramo e Tisbe, La vergiue del sole, Venice, 
 1786 ; Scipione Africano, La secchia rapita, 
 Naples, 1787 ; L' orfauo della China, Ven- 
 ice, 1787 ; Pizarro, ib., 1788 ; Mesenzio, Na- 
 ples, 1788 ; Alessaudi-o nell' Indie, Brescia, 
 1788; Tarara, Venice, 1788; B ritratto, 
 Naples, 1788 ; L' Inglese stravagante, Bo- 
 logna, 1789 ; H gatto, Brescia, 1789 ; La 
 morte di Giulio Cesare, Venice, 1789 ; L' 
 Arniinio, Florence, 1790 ; La dama bizarra, 
 Rome, 1790; Cajo Ostilio, ib., 1791; Se- 
 leuco, Leghorn, 1792; II finto Astrologo, 
 
 182
 
 BIANCllI 
 
 Turiu, 1792 ; La capricciosa ravveduta, 
 Venice, 1793 ; L' Olandese in Venezia, ib., 
 1794 ; Lo stravagante, ib., 1795 ; Zenobia, 
 Inez de Castro, Aci e Galatea, London, 
 1797; Seiuiramide, Venice, 1798; Meropo 
 (his best work), London, 1790. Oratorios : 
 Agar ; Joas.- Fetis ; do., Siipijlemeiit, i. 88 ; 
 Gerber, N. Lex.; Schilling. 
 
 BIANCHI, PIETRO ANTONIO, boiu in 
 Venice about 1530. Vocal composer, cano- 
 uicus regularis of S. Salvatore, Venice, then 
 chaplain of Archduke Ferdinand of Austria. 
 Most of his works are lost ; those still ex- 
 tant are : Canzoni Napoletaue a tre voci 
 (Venice, 1572) ; Sacri concentus, octo voci- 
 bus, etc. (ib., 1609) ; Motets in Abraham 
 Schad's "Promptuarium musicuuj." — Fetis ; 
 Gerber, N. Lex. ; Schilling. 
 
 BIANCIARDI, FRANCESCO, born at 
 Casola, near Siena, Italy, in the last quarter 
 of the 16th century, died at Siena, aged 
 thirty-five. He is said to have been one of 
 the first contrapuntists who wrote on the 
 basso continuo. He was maestro di cap- 
 pella of the cathedral at Siena about IGOO, 
 and Accademico intronato. Works : 3 books 
 of motets, for 4, 5, 6, and 8 voices (Venice, 
 Gardano, 1596-1607) ; 4 books of motets 
 for 2, 3, and 4 voices, with organ (1599- 
 1608) ; 3 books of motets without organ 
 (1600) ; 2 books of masses for 4 and 8 
 voices, without organ (Venice, Gardano, 
 1604-5) ; Psalms for 4 voices (Venice, 1604). 
 — Fetis ; Mendel ; Schilling. 
 
 BIBER, HEINEICH JOHANN FRANZ 
 VON, born in 
 Wartenberg, Bo- 
 hemia, in 1644, 
 died in Salzburg, 
 May 3, 1704. 
 He was a famous 
 violinist and 
 composer for the 
 violin, and one 
 of the chief, if 
 not the chief, 
 founders of the German violin school. His 
 
 Emperor Leopold I., besides other gifts, 
 presented him with a patent of uobility. 
 He was probably the first German who tried 
 to raise the art of violin writing above the 
 level of a mere display of virtuosity ; his 
 style, if closely related to that of his best 
 Italian contemporaries, is noted for a cer- 
 tain Teutonic severity and pathos. Judg- 
 iu"' from his compositions, his technique, 
 both in double-stopping and bowing, was 
 very considerable ; he seems to have been 
 the first to alter the usual tuning of the 
 violin to facilitate polyphonic inlaying in 
 otherwise unfavorable keys. He was liber- 
 ally patronized by the princes Ferdinand 
 Marie and Maximilian Emanuel of Bavaria, 
 and during the latter part of his life he ex- 
 ercised the functions of high steward and 
 maestro di cappella to the Prince Ai'cli- 
 bishop of Salzburg. Published works : Six 
 sonatas for violin and continuo (Salzburg, 
 1681 ; the sixth of these in Ferdinand David's 
 "Hohe Schule des Violinspiels," Leii> 
 sic, Breitkopf & Hiirtel) ; Fidicinium sacro- 
 jsrofanum, 12 sonatas for four and five in- 
 struments (Nuremberg, no date) ; Harmonia 
 artificioso-ariosa in septem partes vel parti- 
 tas distributa, for 3 instruments (Nurem- 
 berg, no date) ; Souat:e du?e tarn aris quam 
 aulis servientes (Salzburg, 1676) ; Vesperpe 
 longiores ac breviores, una cum litauis Laure- 
 tanis a quatuor vocibus, duobus violin, et 
 duabus violis in concerto, additis quatuor 
 vocibus in capella, atque tribus trombonis 
 ex ripienis desumendis ad libitum (Salz- 
 burg, 1693). The MS. of a Dramma musi- 
 cale is in the Salzburg Museum. Biber's 
 portrait was engraved in Germany in his 
 thirty-sixth year. — Wasielewski, Die Violine 
 und ihre Meister, 148 ; Grove, i. 240. 
 
 BIBL, ANDREAS, born in Vienna, April 
 8, 1797, died there, April 30, 1878. Organ- 
 ist, pupil of Josef Preindl, and so proficient 
 that he became organist of the parish church 
 of St. Leopold in 1816, and of St. Stephen's 
 Cathedral and St. Peter's Clinrch in 1818. 
 Works — For organ : 12 preludes, op. 3 (Vi- 
 
 reputatiou was great in his day, and the , enna, Diabelli) ; 32 versets, op. 7 (ib.) ; do. 
 
 183
 
 BIBLIS 
 
 cadences, op. 10 (ib.) ; 3 preludes, op. 11 
 (ib.) ; do., op. 13 (ib.) ; do., op. 15 (Vienna, 
 Haslinger) ; Preludes for use at church 
 festivals, op. 12 (Vienna, Diabelli) ; 20 pre- 
 ludes for requiem masses, op. 16 (ib.) ; 
 Fugue, op. 17 (ib.) ; Prelude and fugue, 
 op. 23 (ib.) ; 2 fugues on themes by Al- 
 brechtsberger (ib.) ; do. on themes by 
 Preindl (ib.). Church music : Salve Eegina 
 for four voices and organ, op. 5 (Vienna, 
 Mechetti) ; 3 Ave Maria for do., op. 6 (ib.) ; 
 2 Tantum ergo for do., op. 8 (Vienna, Dia^ 
 belli) ; In te Domine speravi, gradual for i 
 voices, 2 violins, viola, violoncello, double- 
 bass, and organ, oj). 9 (ib.) ; Lsetamini in 
 Domino, offertory for tenor, chorus, 2 vio- 
 lins, viola, violoncello, double-bass, organ, 
 2 oboes, 2 trumpets, trombones, and drums, 
 op. 18 (ib.) ; Ave Maria, gradual for 4 
 voices, 2 violins, viola, violoncello, double- 
 bass, organ obligato, 2 clarinets, and 2 bas- 
 soons, op. 19 (ib.) ; Mass for 4 voices, 2 
 violins, viola, bass, 2 clarinets, 2 horns, 2 
 trumpets, drums, and organ, op. 20 (Vi- 
 enna, Haslinger) ; Tantum ergo for soprano, 
 chorus, and oi'chesfra, op. 21 (ib.) ; do. for 
 contralto, chorus, and orchestra, op. 22 (ib.). 
 His son Rudolf (born in Vienna, Jan. C, 
 1832) jiupil of Sechter, became organist at 
 St. Stephen's in 1859, and of the Imperial 
 Chajiel in 1SG3. He has composed church 
 and chamber music of considerable merit. 
 — Allgem. "Wiener mus. Zeitg. (1811), No. 
 34 ; Fc'tis ; Wurzbach. 
 
 BIBLIS, opera in five acts, text by Fleury, 
 music by Lacoste, represented at the Opera, 
 Paris, Nov. 6, 1732. Subject, the love of 
 Byblis for her own brother Caunus, as re- 
 lated by Ovid (Met., ix. 446-4G5). 
 
 BIEGO, PAOLO, born in Venice about 
 1650. Dramatic composer, author of tbeoi^e- 
 ras : Ottone il Grande, given in Venice, 1688 ; 
 Fortuna tra le disgrazie, Pertinace, ib., 1689. 
 
 BTELATI, ALESSANDRO, Italian com- 
 poser, born at Genoa, contemporary. He 
 is author of 11 conscritto, opera buffa, 
 given at San Pietro d' Arena, Piedmont, 
 1841 ; and Ettore Fieramosca. 
 
 BIEREY, GOTTLOB BENEDICT, born 
 in Dresden, July 25, 1772, died at Breslau, 
 May 5, 1840. Dramatic composer ; pupil 
 of his father, a professor of music, and of 
 Weinlig in harmony and composition. He 
 was director of music in several travelling 
 opera companies, and in 1807 in Vienna, 
 where Lis opera of Wladimir was played 
 with much success. This procured him the 
 appointment of Kapellmeister at Breslau to 
 succeed C M. von Weber, and in 1824 he 
 became director of the theatre there. He 
 resigned in 1828, and lived alternately at 
 Leipsic, Weimar, Wiesbaden, and Mainz, 
 but ultimately returned to Breslau. Works : 
 Of his 26 operas, mostly comic, the most 
 prominent are : Der Zauberhain, given at 
 Ballenstiidt, 1799 ; Das Blumenmiidchen, 
 Leipsic, 1802 ; Klara, Herzogin von Breta- 
 nien, ib., 1803 ; Rosette, das Schwerzermiid- 
 chen, ib., 1806 ; Der Uberfall, Breslau, 
 1809 ; Der Gemsenjiiger, Das unsichtbare 
 Miidchen, ib., 1811 ; Almazinde, oder die 
 Hohle Sesam, Berlin, 1814 ; Pj-ramus und 
 Thisbe, Breslau, 1814 ; Der Apfeldieb ; Jery 
 und Bsitely ; Der Madchenmarkt ; Die bose 
 Frail ; Liebesabenteuer ; Der betrogene Be- 
 triiger. Cantatas : Die Sachsen im Lager ; 
 Das Opfer der Menschenliebe ; Die Feier 
 des Friihlings (3 under this title) ; Der Sieg 
 Amors ; II Tributo di rispetto e d' amore, 
 cantata on the death of Duke Ferdinand of 
 Brunswick ; Das Erndtefest ; L' Inverno, 
 ovvero la provida pastorella ; Osterkantate 
 (Leipsic, 1805) ; Overtures and marches for 
 orchestra ; Several collections of songs with 
 pianoforte (Berlin, Leipsic, and Breslau). — 
 Allgem. d. Biogr., ii. 628 ; Allgem. mus. 
 Zeit., iv. 516 ; vi. 207, 803 ; xiii. 241, 843 ; 
 xlii. 506 ; Fi'tis ; Gerber, N. Lex. ; Schil- 
 ling. 
 
 BIFFI, ANTONIO, flourished in Venice, 
 died there in March, 1736. Dramatic com- 
 poser, pupil of Legrenzi ; became maestro 
 di cappella at San Marco in 1701, and was 
 also professor at the Conservatorio de' 
 Mendicanti. Works : II Figliuolo prodigo, 
 given in Venice, 1704 ; 7 psalms for two 
 
 184
 
 BIFFI 
 
 and three voices (iu the Eoyal Library, 
 Berlin). A large number of Ins composi- 
 tions is to be found in the Santini col- 
 lection, Rome. — Fi'tis; Nemeitzen, Nachlese 
 besonderer Naclirichten von Italien (Leipsie, 
 172(i), '49. 
 
 BIFFI, GIUSEPPE, born at Cesano, 
 Lombardy, about the middle of the Ifith 
 century. Vocal composer, maestro di cap- 
 pella to Cardinal Andrea Battori, after- 
 wards court composer to the Duke of Wiir- 
 teinberg. "Works: Libro di madrigali a 
 quattro voci (Brescia, 1582) ; do. a cinque 
 voci (Venice, 159!)) ; do. (Milan) ; do. a sei 
 voci (Nuremberg, IGOO) ; Cantiones sex vo- 
 cum (Nurendjerg, 1596). — Fetis ; Mendel. 
 
 BIGAGLIA, Padre DIOGENIO, lived in 
 Venice about the beginning of the 18th 
 century. Dramatic composer ; Benedictine 
 monk of the convent of S. Giorgio Maggiore. 
 Works : Giaele, opera, given in Venice, 1731 ; 
 Dodici sonate a violino solo ossia flauto (Am- 
 sterdam, 1725) ; Siam soli, Erminie, cantata ; 
 In Serena coeli scena, motet for alto solo, 
 two violins, viola, violoncello, and organ. 
 Mail}' of his MS. works are j^reserved in the 
 convent of his order. — Gerber, N. Lex. ; Men- 
 del ; Nemeitzen, Nachrichten von Italien, 53. 
 
 BIGATTI, CARLO, born in Milan, Feb. 
 12, 1779, died there in November, 1854. 
 Dramatic composer, pupil of Vincenzo C'a- 
 nobbio on the pianoforte, then at Bologna 
 of Padre Mattel, and at Loreto of Zingarelli. 
 In 1801 he went to France, spent several 
 years at Marseilles, and returned in 1809 to 
 MUan, where he afterwards became maes- 
 tro di cappella at Santa JIaria Jlaggiore. 
 Works : II Fanatico, opera bufl'a, given at 
 Marseilles, 1804 ; Theodore et Jenny, 
 French opera, ib., 1808 ; L' Amante prigio- 
 niero, Milan, Scala, 1809 ; L' Albergo nia- 
 gico, ib., Teatro di Sta. Radegonda, 1811 ; 
 La Scoperta inaspettata ; Astuzie contra as- 
 tuzie ; I Furbi al cimento, Venice, 1819 ; 
 Symphouie concertante for two horns, with 
 orchestra ; O sacrum convivium, for three 
 voices ; Theme and variations for pianoforte. 
 — Fetis ; Mendel. 
 
 BIJOU PERDU, LE (The Lost Jewel), 
 opera-comique in three acts, text by de 
 Leuven and de Forges, music by Adolj)he 
 Adam, rej^resented at the Theatre Lyrique, 
 Paris, Oct. G, 1853. Subject, the history 
 of a watch which passes from hand to hand, 
 from the boudoir of Mme Coquilliere, to 
 the Marquis d'Angennes and others, until it 
 comes into the possession of Toinette, the 
 gardener's daughter, who restores it to the 
 marquis on condition that he relieves her 
 lover from militar}' duty. 
 
 BILDER AUS OSTEN (Pictures from 
 the East), 6 inqiromptus for pianoforte for 
 four hands, by Robert Schumann, op. 66, 
 composed in 1848. Dedicated to Frau Lida 
 Bendemann (born Schadow). Orchestral 
 transcription by Reinecke. First published, 
 Fr. Kistner (Leipsie, 1849) ; edition of Breit- 
 kopf & Hiirtel, Schumann's Werke, Series 
 VI., No. 2. 
 
 BILETTA, EMANUELE, Italian com- 
 poser, contemporarj-. He is the author of 
 La rose de Florence, opera in two acts, 
 text by Saint-Georges, represented at the 
 Opera, Paris, Nov. 10, 1856. 
 
 BILHON (Billon), JEAN DE, French 
 composer of the end of the 15th and begin- 
 ning of the 16th century. He resided in 
 Rome, where he was a singer in the Pon- 
 tifical Chapel. In its archives are masses 
 by him, composed on themes of old French 
 chansons. Other works may be found in 
 different collections.- — Fetis. 
 
 BILLERT, KARL FRIEDRICH AU- 
 GUST, born at Alt-Stettin, Pomerania, 
 Sept. 14, 1821, died in Berlin, Dec. 22, 
 1875. Di'amatic comjDOser, pupil of the 
 musical director Montu on the pianoforte, 
 and of Karl Loewe, then studied in Berlin 
 at the Organ Institute and iu the composi- 
 tion class of the Royal Academy, w'here be 
 took the first prize in 1847. He greatly 
 influenced musical life in Berlin, founded 
 a singing society, and after 1857 devoted 
 himself to researches and writing, especially 
 in the field of musical archaeology and the 
 science of instruments. Grand gold medal 
 
 165
 
 BILLET 
 
 for science aucl art. Works : Y^isilauti, 
 opera (IbiTj ; Der Liebesring, do. ; Christi 
 Geburt, oratorio ; Symphony in D major ; 
 Te Deum, for cborus, orchestra, and mili- 
 tary baud (for the coronation of King 
 WiUiam L); Cantata for the silver wed- 
 ding of King William (Berlin, Schlesinger) ; 
 Psalms ; Overtures ; Sacred and secular 
 songs. — Mendel. 
 
 BILLET, ALEXANDRE PHILIPPE, 
 born of Fi-ench parents, at St. Petersburg, 
 March U, 1S17, still living, 1888. Pianist, 
 pujoil of Ziranierniann at the Conservatoire, 
 Paris, which he entered in 1833. In 183.5 
 he won the second prize, and with his 
 brother, who had studied the violoncello at 
 the same time, went to Geneva, where both 
 taught and appeai-ed succe.ssfully in public 
 for several years. In 1841 he visited Italy, 
 Germany, and Russia, lived for several years 
 in London, then settled in Paris. His com- 
 2)ositions, consisting of fantaisies, nocturnes, 
 caprices, etudes, etc., for pianoforte, were 
 published in the several countries he had 
 visited. — Fetis ; Mendel. 
 
 BILLET DE LOTERIE, LE (The Lot- 
 tery Ticket), opera-comique in one act, text 
 by Roger and Creuze de Lesser, music by 
 Isouard, rejiresented at the Opera Comique, 
 Paris, Sept. 14, 1811. It had a prolonged 
 success in Paris and in the provincial cities. 
 
 BILLET DE MARGUERITE, LE, opera- 
 comitjue in three acts, text by de Leuven 
 and Brunswick, music by Gevacrt, repre- 
 sented at the Theatre Lyrique, Paris, Oct. 
 7, 1854. 
 
 BILLETER, AGATHON, born at Miln- 
 nedorf, Ziirich, Nov. 21, 1834, died at Burg- 
 dorf, Feb. 8, 1881. Vocal com2)oser, pupil 
 of the Leipsic Conservatorium ; organist 
 and musical director at Burgdorf, Switzer- 
 land. He has composed very puisular cho- 
 ruses for male voices. — Riemann. 
 
 BILLINGS, WILLIA:M, born in Boston, 
 Massachusetts, Oct. 7, 1746, died in Boston, 
 Sept. 26, 1800. He has been considered 
 the founder of American church music, as 
 before his time the Colonies had only the 
 
 ft w tunes that had been brought from Eng- 
 land. Being entirely self-taught, his theo- 
 retical knowledge of music was very limited, 
 but his pieces give evidence of some talent, 
 and at one time his music became so pop- 
 ular that it was used in the churches almost 
 exclusively. He published six collections 
 of music : The New England Psalm Singer 
 (1770) ; The Singing Masters Assistant 
 (1778) ; Music in Miniature (1779) ; The 
 Psalm Singer's Amusement (1781) ; The 
 Suffolk Harmony (1786) ; The Continental 
 Harmony (1794). In these collections the 
 tunes were, with few exceptions, his own. 
 The Lord is risei^ indeed, anthem. 
 
 BILLINGTON, THOMAS, born (?), died 
 af Naples in May, 1797. Harpist and jji- 
 anist ; music teacher and member of the 
 orchestra at Drury Lane Theatre in Lon- 
 don until 1786, when he elojsed with the 
 afterwards famous singer Elizabeth Billing- 
 ton to Dublin, and subsequently accom- 
 jjanied her on her travels. According to 
 Grove's dictionary he was not the husband, 
 but 23i"obably the brother-in-law of Eliza- 
 beth. Works : 12 canzonette for two voices 
 (London, Preston, 1795-97) ; 6 songs (ib.) ; 
 6 sonatas for pianoforte (ib.) ; Sonata for 4 
 hands (Amsterdam, Schmidt) ; Sonata for 
 harjisichord with violin (Paris, 1796) ; Ma- 
 ria's Evening Service ; Gray's " Elegy ; " 
 Pope's "Elegy to the Memory of an Un- 
 fortunate Lady ; " Pope's " Eloisa to Abe- 
 lard ; " 24 ballads to Shenstone's Pastorals ; 
 Prior's Garland ; Petrarch's Laura ; Laura's 
 Wedding-day ; Children in the Wood ; 
 Young's "Night Thoughts;" Glees (all in 
 London, Clementi). — Fetis ; Gerber, N. Lex. ; 
 Schilling. 
 
 BILSE, BENJAMIN, born at Liegnitz, 
 Silesia, Aug. 17, 1816, still living, 1888. 
 Orchestra conductor, first in his native city, 
 whence for many years he made regular 
 concert tours, meeting everywhere with brill- 
 iant success. After his great triumph dur- 
 ing the exhibition in Paris, 1867, he settled 
 in Berlin. He has composed a great num- 
 ber of dances and marches. — Mendel. 
 
 186
 
 BINCHOIS 
 
 BINCHOIS, KGIDE (or Gilles), born at 
 Biucli, uear Moiis, Haiuault, about 1-tOO, 
 died iu Mous, 1452-14G5. He was a soldier 
 iu Lis youtli ; iu 1438 Pljilipp the Good 
 grauted him a prebend iu the Cliurch of S. 
 Waudru at Mous, and iu 1452 lie is men- 
 tioned as second chaplain. Together with 
 Dufay, Binohois was one of the most famous 
 composers of the first Flemish school ; his 
 reputation reached as far as Italy, although 
 he seems never to have visited that country. 
 Very few of his compositions have been pre- 
 served. There is a three-voice mass in the 
 Brussels Library, aud some three -voice 
 French chansons iu the libraries of the Vat- 
 ican, Rome, and of Paris. Kiesewetter's de- 
 ciphering of the song '-Ce mois de Mai," 
 dedicated to Dufay (iu Gallerie der alteu 
 Contrapunktisteu), is jjrobably wrong. — Am- 
 bros, ii. 458. 
 
 BINDER, KARL, born iu Vienna, Nov. 
 29, 181G, died there, Nov. 5, 1860. Dra- 
 matic composer, Kapellmeister at the Josef- 
 stildter Theater of bis native city, 1839-47, 
 then in Hamburg, at Presburg, Hungary, 
 and finally again in Vienna, where he also 
 taught vocal music. Works : Der Wiener 
 Schusterhut, melodrama, Vienna, about 
 
 1840 ; Die drei Wittfrauen, opera, ib., about 
 
 1841 ; Purzel, vaudeville, ib., about 1843 ; 
 Overture and choruses to the drama Elmar ; 
 Psalms, with grand orchestra ; Songs, with 
 pianoforte. — Fetis ; Mendel. 
 
 BING, JACOB, born blind at Eschenbach, 
 Wiirtemberg, July IG, 1821, died at Freiburg, 
 Breisgau, April 17, 1841. Organist, pianist, 
 and violinist, educated at the Institute for the 
 Blind at Freiburg. Works : Overture for 
 graud orchestra ; Mass (1836) ; String quar- 
 tets and trios ; Sacred songs for 4 voices ; 
 Songs, with jjianoforte. — Fetis ; Mendel. 
 
 BIN ICH GLEICH VON DIR GE- 
 WICHEN, choral, to the melody : " Werde 
 raunter, mein Gemiithe," iu A major, iu 
 Johann Sebastian Bach's Passion nach Mat- 
 thiius. Part II. 
 
 BION, opera-comique iu one act, iu verse, 
 text by Hoii'man, music by Mchul, first 
 
 represented at the Opera Comique, Paris, iu 
 1801. Agenor, a young Athenian, perceiv- 
 ing that Bion is in love with Nyaa, endeav- 
 ours to throw obstacles iu his way. Bion 
 mystifies Agenor and finally wins Nysa. 
 
 BIONDINA, twelve melodies to Italian 
 words by Zaffira, music by Gounod, iu the 
 stj'le of the Tuscan storncllo. 
 
 BIONI, ANTONIO, born iu Venice iu 
 1G98, died after 1738. Dramatic composer, 
 pupil in harmony and counterpoint of Gio- 
 vanni Porta. He went to Ferrara in 1722, 
 and, as musical director of an Italian opera 
 troupe, to Breslau in 1726. In the next 
 nine years he wrote twenty-one operas, and 
 assumed the managemeut of the Italian 
 theatre at Breslau in 1730. After the dis- 
 banding of the troupe in 1733 he is lost 
 sight of, but seems to have been iu Vienna 
 in 1738, and afterwards probably returned 
 to Italy. The Elector of Mainz conferred 
 on him the title of court composer in 1731. 
 Works : Climene, given at Naples, 1721 ; 
 Udine, Venice, 1722 ; Cajo Mario, Mitridate, 
 Ferrara, 1722 ; Orlando furioso, Baden, 
 1724 ; Ai'mida abbandouata, Armida al 
 campo, Breslau, 172G ; Endimione — pasto- 
 rale, Lucio Vero, Ai'iodante, Attale ed Arsi- 
 noe, ib., 1727 ; Artabauo, Filindo — pastorale 
 eroica, Nissa ed Elpino, ib., 1728 ; La Fede 
 tradita e vendicata, Engelberta, Audromac- 
 ca, ib., 1729 ; Ercole sul Termodonte, ib., 
 1730 ; Lucio Papirio, Siroe, re di Persia, 
 Silvia, ib., 1731 ; La Verita sconosciuta, ib., 
 1732 ; Alessandro Severo, 1' Odio jjlficato, 
 Alessandro nell' Indie, ib., 1733 ; Girita, 
 Vienna, 1738. — Fetis; Gerber, N. Lex.; 
 Schilling. 
 
 BIORDI, GIOVANNI, born in Rome iu 
 the latter half of the 17th century. Cantor 
 of the Pontifical Chapel iu 1717, aud in 1722 
 maestro di cappella of S. Giacomo, Rome. 
 Nearly all the churches of Rome own works 
 by this master, and his music is still sung 
 at the Pontifical Chapel. The Abbate San- 
 tini's collection contains : Motetti e salmi, 4 
 voci ; Miserere, for two choirs ; Lauda Sion, 
 for two choirs ; Litanies for four voices ;
 
 BIKCKEiS' STOCK 
 
 Lietatus sum, for six voices, composed for 
 the Pontifical Chapel ; Christus factus est, 
 for 6 voices, with chorus di ripieno. 
 — Fetis ; Meudel ; Schilling. 
 
 BmCKENSTOCK, JOHANN ADAM, 
 born at Alsfeld, Hesse, Feb. 19, 1687, died 
 at Eisenach, Feb. 26, 1733. Instrumental 
 composer, pupil at Cassel of Euggiero Fe- 
 deli, then in Berlin of Volumier, at Bay- 
 reuth of Fiorelli, and finally in Paris (1709- 
 10) of de Val. After his return to Cassel 
 he was made court musician, in 1721 first 
 violinist, and 1725 Kapellmeister, in which 
 capacity he accepted a call to Eisenach in 
 1730. Works : 12 sonatas for violin with 
 basso continue (Amsterdam, 1722) ; 12 do. 
 (ib., 1730) ; 12 concertos for 4 violins obli- 
 gati, viola, violoncello, and bas.so continue 
 (ib., 1730).— Fetis ; Gerber, N. Lex. ; Men- 
 del ; Schilling. 
 
 BIRD, AETHUE, born of American par- 
 entage, in Watertown, Massachusetts, July 
 23, 1856, still living, 1888. In 1872-7G he 
 studied in Germany, and in 1881 he again 
 went to Europe, where lie was at different 
 times a pupil of Liszt, Hauptmann, Loesch- 
 horn, Arbach, and Eode. His compositions 
 consist of a symphony for orchestra ; 2 
 pieces for pianoforte and violin ; 3 marches 
 for pianoforte ; 3 waltzes for pianoforte ; 
 and other pianoforte jjieces. 
 
 BIED. See Bijrd. 
 
 BIEKLEE, GEOEG WILHELM, born 
 at Bochau, Wiirtemberg, May 23, 1820, still 
 living, 1888. Church comi^oser, pupil of 
 his father on the pianoforte and organ, and 
 in singing, then at the Wilhelmstift at Tii- 
 bingen, where he studied theology, influ- 
 enced especially bj' Professor Aberle. He 
 became a learned writer on classical music, 
 and is now professor at the Gymnasium of 
 Ehningen. He has composed masses, ves- 
 per psalms, etc., for mixed and male chorus. 
 — Mendel. 
 
 BntNBACH, (JOSEF BENJAMIN) 
 HEINEICH, born at Breslau, Jan. 8, 1795, 
 died in Berlin, Aug. 24, 1879. Pianist, son 
 and pupil of Karl Josef Birnbach, and stu- 
 
 dent of Friedrich M. Kilhler in thorough 
 bass. He made a concert tour to Warsaw 
 when a boy of eight years, became Kapell- 
 meister at the theatre and of a church in 
 Pesth about 1813, but returned in 1814 to 
 Breslau, where he taught until 1821, when 
 he settled in Berlin. In 1833 he founded 
 there a musical institute, and formed a 
 number of pupils of such note as Nicolai, 
 Dehn, Kiicken, etc. During the latter part 
 of his activity be had become entirely blind. 
 Works : Two symphonies for orchestra ; 
 Two overtures for do.; Concertos for piano- 
 forte, for clarinet, oljoe, guitar ; Sonatas for 
 jjianoforte ; Duos ; Quintet, etc. — Fetis ; 
 Mendel ; Schilling. 
 
 BIENBACH, HEINEICH AUGUST, born 
 at Breslau, 1782, died in Berlin, Dec. 31, 
 1840. Violoncellist, son of Karl Josef Birn- 
 bach and pupil of Anton Kraft in Vienna, 
 where he had obtained an engagement in 
 the orchestra of the Theater an der Wien. 
 In 1804-G he was chamber musician to 
 Prince Lubomirski at Landshut, Galicia ; in 
 1807 be entered the opera orchestra in 
 Vienna as guitar player, and returned to 
 Landshut in 1822, having in the meanwhile 
 played the violoncello in the theatre orches- 
 tra at Pesth, after 1812. On the erection 
 of the Kunigstiidter Theater in Berlin, 1824, 
 he accepted an engagement there, became 
 chamber musician in the royal orchestra 
 in 1825, and was pensioned in 1831. He 
 composed concertos and variations for vio- 
 loncello, and many pieces for the guitar. 
 — Fetis ; Mendel ; Schilling. 
 
 BIENBACH, KAEL JOSEF, born at K6- 
 pernick, near Neisse, Silesia, 1751, died at 
 W^arsaw, May 29, 1805. Violinist and 
 dramatic composer, pupil of Dittersdorf, 
 who pi-ocured him a position in Breslau, 
 whence he went to Berlin in 1795, and be- 
 came chamber musician in the royal orches- 
 tra. In 1803 he went to Warsaw with his 
 son Heinrich, and accepted an engagement 
 as Kapellmeister of the German theatre 
 there in 1804, but fell victim to an epidemic. 
 Works : Saphire, opera, given at Breslau 
 
 18S
 
 BIRTH 
 
 about 1783 ; Die Fiscliweiber vou Paris, 
 do., ib. ; Oratorios and cantatas ; Masses ; 
 10 symphonies for orchestra ; IG concertos 
 for pianoforte ; 10 do. for viohu ; 20 quar- 
 tets for strings ; several quintets for do. ; 25 
 sonatas for pianoforte ; 15 soli for violin, 
 etc. — Fetis ; Mendel ; Schilling. 
 
 BIRTH AND FORTUNE I DESPISE, 
 tenor air in A major of Jonathan, in Han- 
 del's Saul, Part I. 
 
 BISCHOFF, KARL BERNHARD, born 
 at Nieder-Rublingen, Weimar, Dec. 24, 
 1807, still living, 1888. Composer, j)ui3il 
 in Berlin of A. W. Bach, Rungenhagen, and 
 Grell. He accejjted a call to Stargard, 
 Pomerania, in 1843, and afterwards re- 
 ceived the title of roj'al director of music. 
 Works : Der Christ, oratorio ; Joas, do. ; 
 Quartets, and other chamber music ; Blotets, 
 etc. — Mendel. 
 
 BISCHOFF, KASPAE JOSEPH, born at 
 Ansbach, April 7, 1823, still living, 1888. 
 Composer, pupil of Ett and Stuutz in 
 Munich, then studied in Leipsic, 1847-49, 
 and settled at Frankfort. W'orks : Maske 
 und Mantille, oj)era, given at Frankfort, 
 1852; Symphony; Overture to Hamlet; 
 Cantatas ; Psalms ; Quartets for strings ; 
 Songs and part-songs. — ^lendel. 
 
 BISHOP, Sir HENRY ROWLEY, born 
 in London, Nov. 
 18, 178G, died 
 there, April 30, 
 1855. Dramatic 
 comj)oser, i)upil 
 of Francesco Bi- 
 anchi. He began 
 to compose at an 
 early age, but 
 was first brought 
 into notice by 
 his opera of The 
 
 Circassian Bride, produced at Drury Lane 
 Theatre in 1809. Unfortunately the theatre 
 was burned the night after (Feb. 24th) and 
 the score was lost, but its reception procur- 
 ed him in 1810 the position of musical di- 
 rector at Covent Garden Theatre. In 1S18 
 
 he was one of the founders of the Philhar- 
 monic Society, of which he took his turn as 
 conductor, and in lcS20 he visited Dublin 
 and received the freedom of the city. He 
 was conductor at Drur^' Lane Theatre in 
 1825, musical director at Vauxhall Gardens 
 in 1830, musical director at Covent Garden 
 Theatre in 1840-41. conductor of the An- 
 tient Concerts in 1840-48, professor of mu- 
 sic in Edinburgh University in 1841-43, and 
 professor of music in Oxford University in 
 1848. He received the degree of Bachelor 
 of Music at Oxford in 1839, and of Doctor 
 of Music in 1853, and was knighted in 1842. 
 Bishop jjroduced more than a hundred op- 
 eras, operettas, burlettas, ballets, and other 
 dramatic pieces, of which at least two-thirds 
 were entirely by him, and the rest adajita- 
 tious or works written in collaboration with 
 Davy, Reeve, Whittaker, and others. He 
 was esjjecially strong in vocal music and 
 one of the best of the English lyrical com- 
 posers. Works — Operas and musical dra- 
 mas : Angelina, farce, London, 1804 ; Ta- 
 nierlau et Bajazet, ballet, ib., 180G ; Narcisse 
 et les Graces, ballet, ib., ISOG ; Caractacus, 
 ballet, ib., 180G ; Love in a Tub, ballet, ib., 
 180G ; The Mysterious Bride, ib., 1808 ; The 
 Circassian Bride, The Vintagers, 1809 ; Mo- 
 ra"s Love, ballet, 1809 ; Tlio Maniac, or 
 Swiss Banditti, 1810; The Knight of Suow- 
 don, 1811 ; The Virgin of the Sun, The 
 ^thiop, or Child of the Desert, The Kene- 
 gade, 1812 ; Haroun Alraschid (altered from 
 the iEthiop), The Brazen Bust, Harry Le 
 Roy, The Miller and his Men, For England, 
 Ho !, 1813 ; Tlie Farmer's Wife (with Keeve 
 and Davy), The Wandering Boys, or The 
 Castle of Clival, Sadak and Kalasrade, or 
 The Waters of Oblivion, Tlie Grand Alliance, 
 The Forest of Bondj', or Dog of Montargis, 
 Dr. Sangi-ado, ballet, The Maid of the Mill, 
 comic opera, Brother and Sister (with Reeve), 
 John of Paris (adajjted from Boieldieu), 
 
 1814 ; The Noble Outlaw, Telemachus, Co- 
 mus, jNIagpie or the Maid, John du Bart, 
 
 1815 ; A Midsummer Night's Dream, Royal 
 Nuptials, intermezzo, Guy ]\Iannering, or
 
 BIST 
 
 the Gypsy's Prophecy (with Whittaker), The 
 Slave, opera, Who Wants a Wife?, melo- 
 drama, 181G ; The Heir of Verona, or Hon- 
 esty the best Policy (with Whittaker), The 
 Humorous Lieutenant, Tlie Father and his 
 Children, melodrama, The Duke of Savoy, or 
 Wife and Mistress, The Libertine (adapted 
 from Don Giovanni), 1817 ; Zuma, or The 
 Tree of Health, comic opera (with Braham), 
 The Illustrious Traveller, December and 
 May, Barber of Seville (adapted from Ros- 
 sini), 1818; The Heart of Midlothian, A 
 Roland for an Oliver, The Gnome King, or 
 The Giant Mountains, Swedish Patriotism, 
 The Comedy of Errors, Fortunatus and his 
 Sons, melodrama. Marriage of Figaro 
 (adapted from Mozart), 1819; The Anti- 
 quary, The Battle of Bothwell Brigg, Henri 
 Quatre, or Paris in the Olden Time, Tvt'elfth 
 Night, Don John, or The Two Violettas, 
 Montrose, or The Children of the Mist, 
 1820 ; The Two Gentlemen of Verona, 1821 ; 
 The Law of Java, Maid Marian, or The 
 Huntress of Arlingford, opera, 1822 ; Clari, 
 or The Maid of Milan, opera. The Beacon of 
 Liberty, Cortez, or The Conquest of Mexico, 
 1823 ; Native Land, or Return from Sla- 
 very, Charles the Second, oj^eretta. As you 
 like it, 1824; The Fall of Algiers, opera, 
 Edward the Black Prince, Coronation of 
 Charles X., Aladdin, or the Wonderful 
 Lamp, opera, Faustus, 1825 ; The Knights 
 of the Cross, opera, 1826 ; Englishman in 
 India, 1827 ; The Night before the Wed 
 ding, 1829 ; Ninetta, opera, Hofer (adapted 
 from Rossini), 1830 ; Under the Oak, opera, 
 
 1831 ; Adelaide, or The Royal William, op- 
 era. The Tyrolese Peasant, Home, Sweet 
 Home, operatic drama. The Magic Fan, or 
 The Fillip on the Nose, operetta, The Sedan 
 Chair, The Bottle of Champagne, operetta. 
 The Romance of a Day, ojaeratic drama, 
 
 1832 ; Yelva, or The Orphan of Russia, The 
 Rencontre, operatic comedy, 1833 ; Rural 
 Felicity, 1834 ; The Doom Kiss, opera, Man- 
 fred, 1836 ; The Fortunate Isles, 1841 ; The 
 Czar of Muscovy, opera. The Fallen Angel, 
 oratorio ; The Seventh Day, cantata, 1833 ; 
 
 Ode for the Installation of the Earl of Derby 
 as Chancellor of Oxford, 1853. Glees and 
 songs. — Brown ; Grove ; Fetis. 
 
 BIST DU MEIN? HAB' ICH DICH 
 WIEDER ? See Tm/a/t und Isolde. 
 
 BITTONI, BERNARDO, born at Fabri- 
 ano. Pontifical States, in 1755, died there, 
 May 18, 1829. Organist, j)upil of one Lom- 
 bardi ; lived for manj' yeavs as maestro di 
 musica at Rieti, then in the same capacity in 
 his native place. Alfieri wrote his biogra- 
 jihy. Works : Mass for 8 voices and or- 
 chestra ; Requiem Mass for 4 voices and 
 several instruments ; Lauda Jerusalem, 
 psalm for do.. Salve Regina, fordo.; Beatus 
 vir, for do. ; Christus factus est, for do.; 
 Credo for do. ; Magnificat ; Miserere ; Many 
 motets, and olt'ertories, etc. ; Sonatas for the 
 organ. — Fetis. 
 
 BIUMI, GIACOMO FILIPPO, born in 
 Milan, died there in 1652. Organist, first 
 at the Church della Passione, then at San 
 Ambrogio, and finally at the cathedral. 
 Works : A book of Magnificats for 4-8 
 voices ; do. of fantasias for 4 voices ; do. of 
 motets for 2-4 voices ; Caiizoni da suonar 
 alia francese a 4 ed 8 voci ; and others, 
 scattered in collections. — Fetis ; Mendel. 
 
 BIZET, (CHARLES CESAR LfiOPOLD) 
 called GEORGES, born in Paris, Oct. 25, 
 ,^ - 1838, died there, June 
 
 3, 1875. He entered 
 in 1848 the Conserva- 
 toire, where he studied 
 composition under Ha- 
 levy, and won the 
 prix de Rome in 1857. 
 Before graduating he 
 had brought out an 
 operetta, Docteur Mi- 
 racle, at the Bouffes Parisiens. On his re- 
 turn from Italy he composed and produced 
 several operas-comiques, which had but 
 indifferent success. His overture, Patrie, 
 and especially his interludes to Daudet's 
 L'Ark'sienne (afterwards published as two 
 orchestral suites) were far better received. 
 The corner-stone of his fame, however, was
 
 BLACK 
 
 the opera ('armcii, wliioli at once placed Lira 
 in the foremost rank of modern French 
 composers. This, and the suites L'Arle- 
 sienne and Koma, are liis best-knowu works. 
 He was a man of superior gifts, and of 
 decidedly greater originality than other 
 Fi'ench composers of his generation. He 
 was an aceomijlished pianist, especially 
 noted for his wonderful sight-reading of or- 
 chestral scores. He married a daughter of 
 
 /?. 
 
 €c^^ ei ^ / ? e^ 
 
 s. 
 
 Halevy. Great hopes were entertained of 
 his future, and his sudden death was uni- 
 versally lamented. Works — OjDeras : Le 
 Docleur Miracle, given at the Bouifes Pari- 
 siens, A25ril 9, 1857 ; Don Procopio ; La 
 Guzla de I'Emir ; Les ptcheurs de perles, 
 Theatre Lyrique, Sept. 30, 18G3 ; LaJoZ/efille 
 de Perth," ib., Dec. 2G, 18G7 ; Numa, 1871; 
 Djamileh, Oi^era Comique, May 22, 1872 ; 
 Carmen, Opera Comique, June 3, 187.5 ; 
 Yvan le Terrible (never performed). Other 
 works : Incidental music to Daudet's VArle- 
 sienne ; Overture, Pat tie ; La r//asse d'Ossian, 
 overture ; Two movemenis of a sj-mphony ; 
 Songs and pianoforte music. — Leipsic Sig- 
 nale, June, 1875, No. 29 ; April, 1883, No. 
 33 ; Grove, i. 246. 
 
 BLACK CROOK, THE, fairy operatic 
 spectacle in four acts, music by Jacobi and 
 Frederick Clay, first represented at the 
 Alhambra, London, December, 1872. The 
 first and third acts are by Jacobi, the others 
 by Clay. 
 
 BLACK DOMINO. See Domino Noir. 
 
 BLAHAG (Blahak), JOSEF, born at 
 Raggendorf, Hungary, in 1779, died in Vi- 
 enna, Dec. 15, 1846. Tenor singer at the 
 Leopoldstiidter Theater, Vienna, in 1802- 
 23, Kapellmeister at St. Peter's, there, in 
 1824. Works : 14 masses ; 25 graduales ; 
 29 offertories for one or several voices, with 
 
 [ string instruments and organ ; 10 Tantum 
 ergo, for four voices and organ ; 2 Te De- 
 um. — Fotis ; Wurzbach. 
 
 BLAHETKA, LEOPOLDINE, born at 
 Guutramsdorf, near Vienna, Nov. 15, 1811, 
 still living, 1888, at Boulogne. Pianist, 
 pupil of Czeruy, then of Kalkbreuner and 
 Moscheles on the pianoforte, and of Simon 
 Sechter in comisosition. She excited an 
 interest by her playing when only seven 
 years of age, and was afterwards very suc- 
 cesful on her concert tours. In 1840 she 
 settled at Boulogne, and devoted herself to 
 teaching. Works : Die Rauber und die 
 Sanger, opera, given in Vienna, Kiirnthner- 
 thor Theater, 1830 ; Concertos, sonatas, po- 
 lonaises, variations, etc., for pianoforte solo, 
 and with orehesti'a, or quartet, or only vio- 
 lin ; Trios for pianoforte, violin, and vio- 
 loncello ; Songs, with pianoforte. — Fetis ; 
 Wm-zbach. 
 
 BLAISE, ADOLPHE, died in Paris in 
 1772. Dramatic composer, bassoon-player 
 in the orchestra of the Comodie Italienne 
 in 1737. He wrote many divertissements, 
 entr'actes, dances, and marches for that 
 stage, besides the following works : Annette 
 et Lubin, given at the Theatre Italien, 1762 ; 
 Isabelle ct Gertrude, ou Les sylphes sup- 
 poses, ib., 1765 ; Le trompeur tromjii', il)., 
 1707 ; Orjihee, Filets de Vulcain, ballets, 
 given in 1738 ; Pedant, Amours de Cupi- 
 don. Psyche, and other ballets. — Fetis. 
 
 BLAISE ET BABET, opera-eomique in 
 two acts, text by Monvel, music by Dezede, 
 first represented at Versailles, April 4, 1783, 
 and at the Comedie Italienne, Paris, June 
 30, 1783. It is a sequel to Les trois fer- 
 miers by the same author. It was the most 
 successful of Dezede's works. 
 
 BLAISE LE SAVETIER (Blaise the Cob- 
 bler), opera-comique in one act, text by Se- 
 daine, music by Philidor, first represented 
 at the Opera Comique, Paris, March 9, 1759. 
 This opera, Philidor's first dramatic work, 
 achieved for him a decided and permanent 
 success. In it he showed himself to be a 
 more skilful harmonist than the French 
 
 191
 
 BLAKE 
 
 composers of his day, thovigh his phrasiug 
 often violates dramatic truth, and his pros- 
 ody is defective. It was one of the works 
 selected in 1762 with which to open the 
 new Comcdie Italieune, and it continued to 
 be a favourite for half a century. — Allen, 
 Life of Philidor, 45. 
 
 BLAKE, CHAl^LES DUPEE, born of 
 American parentage, in Walpole, Massachu- 
 setts, Sept. 13, 1847, still living, 1888. Or- 
 ganist, pupil of J. D. C. Parker, David Paine, 
 T. P. Eyder, J. K. Paine, and Handel Pond. 
 He has been organist and musical director 
 in the Congregational churches, at Wrent- 
 ham and at HoUiston, Mass.; in the Broom- 
 field St. :\I. E. Church, Boston ; and the 
 Union Church, Boston. Works — Songs : 
 Both sides. The Dead Leaves rustling, Roses 
 and Violets, The Cavalier's farewell, The 
 Longest way 'round, Wake from thy dream- 
 ing. When Pansies come again. Whisper thy 
 thoughts to me, etc. ; All Hope has fled, 
 duet ; Thine Own, duet ; Angels are sing- 
 ing, Christmas carol ; The Way, the Truth, 
 the Light, Christmas carol, etc. 
 
 BLAMONT, FKANCOIS COLIN DE, 
 born at Versailles, Nov. 22, 1G90, died in 
 Paris, Feb. 14, 1760. Dramatic com^joser. 
 At first a musician in the household of the 
 Duchess of Maine, he made his debut as 
 a composer in 1707 with Circe, a cantata, 
 which won him the notice of Lalande, who 
 gave him lessons in harmony and counter- 
 point. He afterwards became superintend- 
 ent of the king's music. His first work for 
 the stage (1723) established his reputation, 
 and won him the order of St. Michael. 
 Works : Les fetes grecques et romaines, 
 heroic ballet, given in Paris, Opera, 1723 ; 
 Diane et Eudymion, opera, ib., 1731 ; Les 
 fetes de Tlietis, opera-ballet ; Les carac- 
 t^res de I'amour, heroic ballet. Concert de 
 la Reine, 1736, Academic Eoyale de Mu- 
 sique, 1738 ; Les amours du printemps 
 (act added to Caractiires de I'amour), Ope- 
 ra, 1739 ; Jupiter vainqueur des Titans, 
 do., at Court, 174.5 ; Le retour des dieux 
 sur la terre (1725) ; Cantates f ran5aises in 
 
 3 books ; Five collections of Airs serieux et 
 h boire ; 2 liooks of motets ; and the music 
 of the following court ballets : Fetes on 
 divertissements, 1721 ; Les presents des 
 dieux, 1727 ; Les fetes du labyrinthe, 
 1728 ; La nymphe de la Seine ; Le jardin 
 des Hesperides, Zephire et Hore, 1739 ; 
 L'heureux retour de la reine, 1744 ; Les 
 regrets des beaux arts ; II pastor fido. — Fe- 
 tis ; Larousse ; Mendel ; Schilling. 
 
 BLANC, ADOLPHE, born at Manosque 
 (Basses-Alpes), June 24, 1828, still living, 
 1888. Violinist, f)upil at the Conserva- 
 toire, Paris, where he won a prize, and of 
 Halevy in composition. For a short lime 
 he was chef d'orchestre at the Theatre Lj'- 
 rique. He is one of the few French com- 
 posers who have pre-eminently cultivated 
 chamber music, for which the prix Chartier 
 was assigned to him by the Academy in 
 1862. Works : Une aventure sous la Ligue, 
 comic opera ; Les deux billets, operetta, 
 Paris, Salle Herz and Salle Pleyel, 1868 ; 
 Les reves de Marguerite, do. ; La prom- 
 enade du boeuf gras, symphonie burlesque ; 
 Ouverture espagnole, for orchestra; Sonatas, 
 trios, quartets, quintets, sej)tets for strings, 
 or for pianoforte and strings ; Rondos, so- 
 natinas, caprices, etc. — Fetis ; do.. Supple- 
 ment, i. 96. 
 
 BLANCHARD, HENRI LOUIS, born at 
 Bordeaux, Feb. 7, 1778, died in Paris, Dec. 
 18, 1858. Violinist and dramatic composer, 
 pupil of his father on the violin and of 
 Franz Beck in harmony, then in Paris of 
 Rudolf Kreutzer, Reicha, and JNIehul. He 
 was chef d'orchestre at the Theatre des Va- 
 riutes in 1818-29, where he composed a 
 great number of vaudeville airs, most of 
 which became popular. After the revolu- 
 tion of 1830 he assumed the management 
 of the Theatre Molicre, and wrote several 
 dramas which had great success, but brought 
 him into discredit with the government. In 
 1833 he devoted himself entirely to musical 
 criticism and writing on music, in which 
 field he became very distinguished. Works : 
 Diane de Vernon, comic opera, given at the 
 
 m
 
 BLANCHE 
 
 ThiVitre des Nouveautt's, 1831 ; L'Arioste, 
 do. (not performed) ; Concertini for violiu ; 
 Airs varies for do.; Fautaisie for do. and 
 liarf) ; Quartets for violins ; do. for violas ; 
 Duos for violins, etc. — Fctis ; Mendel. 
 
 BLANCHE DE NEVERS, English opera 
 ill three acts, text by John Brougham, mu- 
 sic by Balfe, represented at Covent Garden, 
 London, Nov. 21, 1803. Subject from the 
 French drama, " Le Bossu," called in Eng- 
 lish the '• Duke's Motto." 
 
 BL.\NCHE DE PROVENCE, or La Cour 
 des Fees (The Court of the Fairies), opei-a 
 in three acts, text by Theaulou and Ranee, 
 music by Berton, Cherubiui, Kreutzer, and 
 Paer, first represented at the Opera, Paris, 
 May 3, 1821. All that remains of this work, 
 composed on the occasion of the birth and 
 baptism of the Due de Bordeaux, posthu- 
 mous son of the DucdeBorry, is the splendid 
 final chorus by Cherubini : "Dors, cher en- 
 fant, tendre fleur d'esperance." 
 
 BLANGINI, GIUSEPPE MARCO MA- 
 RIA FELICE, born in Turin, Nov. 18, 1781, 
 died in Paris, Dec. 18, 18-41. Dramatic 
 composer and tenor singer. He was ad- 
 mitted in 1789 to the choristers' school in 
 Turin Cathedral, and made rapid progress 
 under the Abbate Ottani ; when twelve 
 years old he acted as organist to the cathe- 
 dral, and had composed a motet and a Kyrie, 
 and at fourteen he led a mass with full or- 
 chestra. His favourite instrument was the 
 violoncello. In 1799 he went to Paris and 
 became the fashionable composer of ro- 
 mances and nocturnes and teacher of sing- 
 ing. In 1802 he was commissioned to com- 
 plete Delia- Maria's unfinished oj)era. La 
 fausse duegne, which was followed by 
 others of his own, and in 1805 he was called 
 to Munich, where several of his operas were 
 produced. In 180G he became Kapellmeis- 
 ter to the King of Bavaria, and Princess 
 Borghese appointed him director of her mu- 
 sic. King Jerome made him General Mu- 
 sik-Director at Cassel in 1809. In 1814 he 
 returned to Paris and was appointed Surin- 
 tendant de la musique du Roi. He was an 
 
 indefatigable comj)Osor of operas. Works : 
 Zelie et Terville, ou Chimere et realite, 
 given in Paris, Theatre Feydeau, 1803 ; En- 
 core un tour de Calife, Munich, 1805 ; 
 Nephtali ou les Ammonites, Paris, Acadc- 
 mie Imjieriale de Musique, 180G ; Inez de 
 Castro ; Les fetes lacedemonieunes (1805) ; 
 Les femmes vengees, Paris, Theatre Fey- 
 deau, 1811 ; Le sacrifice d'Abraham, L'A- 
 mour philosophe, Cassel, 1811 ; Le uau- 
 frage comique. La fee Urgele, La Princesse 
 Cachemire, Cassel, 1812 ; Trajano in Dacia, 
 Munich, 1814 ; La sourde-muette, Paris, 
 Theatre Feydeau, 1815 ; La Comtesse de 
 Lamark, ib., 1817 ; Le jeune oncle, ib., 
 1820 ; Marie Therc'se, 1820 ; Le Due d'Aqui- 
 taine, Paris, Theatre Feydeau, 1823 ; Le 
 projet de j^iece, ib., 1825 ; La Saint-Henri, 
 Theatre de la Coui% 1825 ; L'Intendant, ib., 
 182() ; Le morceau d'ensemble. Theatre des 
 Nouveautes, 1825 ; Le coureur de veuves, 
 Le jeu de cache-cache, L'auueau de la fi- 
 ancee, ib., 1827 ; Le chanteur de romances, 
 Theatre des Varietes, 1830 ; Part of the 
 music of the Duchesso de Brinvilliers, 1831 ; 
 Uu premier pas, 1832 ; Les gondoliers, 
 1832 ; Le vieux de la montagne. His ro- 
 mances (174 for a single voice) and noc- 
 turnes (170 for two voices) are among his 
 best compositions ; several of the former, 
 like II est trop tard, Les souvenirs, M'ai- 
 meras-tu?, II faut partir, are still sung. 
 He wrote also some church music, including 
 four masses with orchestra, and motets. 
 — Villemarest, Souvenirs de F. Blangini, 
 1797-1834 ; Fetis ; do.. Supplement, i. 97 ; 
 Mendel ; Schilling. 
 
 BL.ARAMBERG, PAUL, born at Oren- 
 burg, Russia, Sept. 26, 1841, still living, 
 1888. Dramatic composer, j)upil of Bala- 
 kirev at St. Petersburg, where he studied 
 law ; he first held a government position, 
 but resigned it, in 1870, to become editor 
 of the Russian Gazette, at Moscow. He 
 is an adherent of the Berlioz-Liszt school. 
 Works: Maria Tudor, opera, given at St. 
 Petersburg, 1882 ; The Fu-st Russian Co- 
 median, do. ; Music to Ostrovski's Vaivode ;
 
 BLASIS 
 
 The Demon (after Lermontoff), cantata. — 
 Riemann. 
 BLASIS, FRANCESCO ANTONIO DE, 
 
 born at Naples in 1765, died at Florence, 
 Aug. 22, 1851. Dramatic composer, pupil 
 of Fenaroli at the Conservatorio of his na- 
 tive city. He was organist in Venice, re- 
 turned to Naples in 1799, and thence went 
 to France, settling at Marseilles. The time 
 of his return to Italy is not known. "Works 
 • — Operas and ballets, given in Italy : Ar- 
 minio ; Didoue ; Adoue e Venere ; Zulima ; 
 Lo sposo in periglio ; II burbero di buon 
 cuore ; La donna capricciosa ; H geloso 
 ravveduto ; L' isola di Bella Marina ; II 
 fiuto feudatorio, etc. The following were 
 given in France : Omphale ; Almanzor, ou 
 L'epreuve de la jeunesse ; Le eourroux d'A- 
 chille ; Debutade, ou L'oiigine du dessin ; 
 Les trois Sultanes ; Le triomphe de la pais ; 
 Meprise sur mejsrise ; La fete du village, 
 etc. Oratorios, masses, overtures, and quar- 
 tets. Methods for the violin, the pianoforte, 
 and a vocal method. — Fetis, Sui^plement, i. 
 98. 
 
 BLASroS, MATTHIEU FR^D^RIC, 
 born at Lauteburg (Bas-Rhin), April 23, 
 1758, died at Versailles, 1829. Violinist, 
 clai-inetist, flute and bassoon j^layer, pupil 
 of his father. He went early to Paris and 
 soon made himself known as a composer for 
 wind instruments. In 1791 he became chef 
 d'orchestre at the Opera Comique, then pro- 
 fessor at the Consei'vatoire (until 1802), and 
 bandmaster of the consular guard. In 
 1816 he retired to Versailles. Works : La 
 paysanue supjjost'e, ou La fete de la mois- 
 son, comic opera, given at the Comedie Ita- 
 lienne, 1788 ; Pelletier de Saiut-Fai-geau, 
 opera, given at the Opera Comique, 1793 ; 
 L'amour ermite, do., ib., 1793 ; Africo et 
 Menzola, Don Pedre et Zulika, Adelson et 
 Salvina, melodramas. Symphonic concer- 
 tante for 2 horns ; Three concertos for vio- 
 lin ; Four do. for clarinet ; One for bassoon ; 
 Twelve quartets for strings, op. 1, 3, 12, 19 ; 
 Six do. for bassoon ; Three trios for do., op. 
 48 ; Trios for clarinet, flute, and bassoon, 
 
 op. 31 ; do. for clarinets ; Duos for do., op. 
 18, 20, 21, 38, 40, and 46 ; do. for violins, 
 op. 8, 28, 29, 30, 32, 33, 39, 43, 53 ; Sonatas 
 for violin and bass, etc. — Fetis ; do., Sup- 
 j)lement, i. 99 ; Mendel ; Schilling. 
 
 BLATT, FRANZ THADDAUS, bom in 
 Prague, 1793, died (?). Clarinetist, pupil 
 at the Conservatorium, Prague, of Farnick 
 on the clarinet, and of Dionys Weber in 
 composition. In 1814 he went on a suc- 
 cessful concert tour through Germany and 
 the North of Europe, after his return ob- 
 tained a jjosition in the theatre orchestra, 
 and in 1818 became professor at the Con- 
 servatoiium. Works : 12 caprices in form 
 of etudes, for clarinet ; Trios for do., op. 
 3 ; Variations brillantes for do. and quar- 
 tet ; Introduction and variations for do., and 
 orchestra ; Three duos concertants, op. 29 ; 
 CajJrices amusauts for clarinet, op. 26 ; 
 iStudes, op. 33 ; Complete method for clar- 
 inet ; Vocal method. — Fetis ; Mendel ; Schil- 
 ling ; Wurzbach. 
 
 BLAVET, :\nCHEL, born at Besan5on, 
 March 13, 1700, died in Paris, Oct. 28, 
 1768. Flutist, self taught, and soon won 
 such distinction as to be without a rival ou 
 his instrument. In 1723 he settled in Paris ; 
 became a member of the Opera orchestra, 
 and made several concert tours, on one of 
 which Frederick the Great, then crown 
 prince, tried to induce him to enter his ser- 
 vice. Works : La fete de Cythere, opera, 
 given at Berny, 1753 ; Le jaloux corrige, 
 opera-bouffe, Paris, Academic Royale de 
 Musique, 1753 ; Egle, pastorale, ib., 1750 ; 
 Les jeux olympiques, ballet, 1753 ; Sonatas 
 and other pieces for flute ; Music for wind 
 instruments.- — Fetis ; do.. Supplement, i. 99 ; 
 Mendel. 
 
 BLAZE. See CaMil-Blaze. 
 
 BLAZE, HENRI SEBASTIEN, born at 
 Cavaillon (Vaucluse), in 1763, died there. 
 May 11, 1833. Dramatic composer, pupil 
 in his native place of the organist Lapierre, 
 and in Paris of Sejane. He settled as a 
 lawyer at Avignon, and after 1794 was made 
 admiuisti'ator of his native department, 
 
 1S4
 
 BLEytSEI) 
 
 whence he visited Paris again in 1799. 
 Works : L'hi'ritage ; Semiramis, operas ; 
 Masses ; Sonatas for pianoforte ; Duos for 
 do. and harp, etc.— Fetis ; Mendel. 
 
 BLESSED ARE THE MEN THAT 
 FEAE HIM. See Wold dem der den 
 Herreu fiirchtet. 
 
 BLEWITT, JONAS, organist in the latter 
 part of the 18th century, died in 1805. He 
 was author of the first treatise on the organ 
 published in London, under the title of : 
 "A Treatise on the Organ, with Explana- 
 tory Voluntaries." He also published " Ten 
 Voluntaries for the Organ," etc. ; " Twelve 
 easy and familiar Movements for the Organ." 
 — Grove ; Futis. 
 
 BLEWITT, JONATHAN, born in Lon- 
 don in 1782, died there, Sept. 4, 1853. 
 Composer and singer of ballads ; son and 
 pupil of Jonas Blewitt, organist, and pupil 
 of Jonathan Battishill. At eleven years 
 old he was deputy organist to his father 
 and held other appoiutmeuts as organist in 
 London, and in other parts of England dur- 
 ing his life. In 1811 he went to Dublin, 
 was grand organist to the masonic body of 
 Ireland, conducted concerts there, and was 
 associated with Logier in his system of mu- 
 sical instruction. In 1828-29 he was di- 
 rector of the music at Sadler's Wells Thea- 
 tre, Loudon, and in his latter years was 
 connected with Tivoli Gardens, Margate. 
 Works— Operas, etc. : Harlequin, or Man in 
 the Moon, pantomime, 1826 ; Tahsmau of 
 the Elements ; Auld Robin Gray ; My Old 
 Woman ; The Corsair ; The Magician ; Is- 
 land of Saints ; Rory O'More ; Mischief Mak- 
 ing, etc. Songs : A nice little man ; Adieu, 
 my moustachios ; Barney Brallaghan ; Eng- 
 land, Merry England ; Let us drink to old 
 friends ; White Cliffs of England ; Groves 
 of Blarney ; O for a cot ; Our jolly stout 
 jackets of blue ; Phillis, have you seen my 
 love ? ; When crowned with summer roses. 
 He wrote also a concerto for pianoforte and 
 orchestra, and sonatas, caprices, and fugues 
 for the pianoforte and the organ.— Grove ; 
 Brown ; Fetis. 
 
 BLIESENER, JOHANN, born in Prussia 
 about 175G, died in Berlin, February, 1842. 
 Violinist, pupil of Giornovichi, chamber 
 musician to the Queen of Prussia in 1791- 
 1806. Works : Three duos for violins (Ber- 
 lin, 1789) ; do., op. i (ib., 1795) ; Three 
 quartets for do., viola, and violoncello, op. 2 
 (ib., 1791) ; do., op. 3 (ib., 1792) ; do., op. 
 5 (ib., 1797) ; do., op. 6 (ib., 1799) ; 3 duos 
 for violin and viola, op. 7 (ib., 1800) ; Con- 
 certo for violin with orchestra, op. 8 (ib., 
 1801) ; 3 duos for violin, op. 15 (Leipsic, 
 Breitkopf & Hartel) ; Compositions for the 
 flute.— Fetis ; Mendel. 
 
 BLIND BEGGAR OF BETHNAL 
 GREEN, THE, English opera, music by 
 Thomas Augustine Arne, represented at 
 Drury Lane Theatre, London, 1711. 
 
 BLIND KING, THE, cantata, music by 
 James C. D. Parker, first performed by the 
 Apollo Club, Boston, Mass., April 29, 1885. 
 BLODEK, WILHELM, born in Prague, 
 Oct. 3, 1834, died there, May 1, 1874. Flut- 
 ist, pupil of Anton Eiser at the Conserva- 
 torium, where he became professor in 1860, 
 having meanwhile taught at Lubycz, Gali- 
 cia. In 1870 he became insane, and was 
 confined in the asylum in Prague. Works : 
 V studni (In the Well), Czech opera, given 
 in Prague, 1867 ; Zidek, do. (left unfin- 
 ished) ; Mass ; Overture ; Quartets for male 
 voices ; Pianoforte music and songs. — Men- 
 del ; Riemann. 
 
 BLOEMENBRUID, DE, Flemish opera, 
 text by Emil van Goethem, music by Franz 
 van Herzeele, represented at the Theatre 
 Minard, Ghent, March, 1887. It met with 
 well-deserved success. 
 
 BLONDEL (Blondeceux, Blondelaus), 
 born at Nesle, in Picardy, about 1160 (V). 
 A celebrated rhymer, or minstrel to Richard 
 L, King of England, about 1190. Accord- 
 ing to tradition, he discovered his master, 
 after searching for him in the Holy Land 
 and in Germany, by singing under the walls 
 of the Castle of LOwenstein, where Richard 
 was a prisoner, a song wdiich he and the 
 king had jointly composed. This subject 
 
 195
 
 BLOAV 
 
 furnished GrutiT with tbe insjjiration for 
 Lis ojDera, Richard, Cceur de Lion. Sixteen 
 of his chansons are in the MS. deixxrtmeut 
 of the National Library of Paris. — Fetis ; 
 Meudel ; Schilling ; Larousse. 
 
 BLOW, JOHN, born at North Colling- 
 ham, Notting- 
 hamshire, Eng- 
 land, in 1648, 
 died in London, 
 Oct. 1, 1708. He 
 was one of the 
 lirst set of chil- 
 dren of the ChajJ- 
 el Koj-al on its 
 re - establishment 
 in 1G60. His master was Captain Henry 
 Cooke, but, on leaving the choir, he studied 
 under John Hiugeston, and afterwards un- 
 der Dr. Christoi^her Gibbons. He had al- 
 ready begun to compose while a chorister, 
 and soon rose to great eminence. In 1669 
 he was appointed organist at Westminster 
 Abbey, but was displaced iu 1680 in favour 
 of Parcell ; on the hitter's death in 1695 he 
 was reappointed to the post. On March 16, 
 1674, he was sworn in one of the gentlemen 
 of the Chapel Eoyal, vice the Eev. Roger 
 Hill, deceased, and on July 21, 1674, he was 
 appointed master of the children of the 
 chajiel, succeeding Pelham Humj)hrey. A 
 few years later he became one of the organ- 
 ists of the chapel. Li 1685 he was appoint- 
 ed one of the king's private musicians, and 
 honorary composer to the king. In 1687 
 he succeeded Michael Wise as almoner and 
 master of the choristers of St. Paul's, but 
 resigned in 1693 in favour of his pupil, Jer- 
 emiah Clarke. In 1699 he was the first to 
 fill the office of composer to the Chapel 
 Royal. Blow was not a graduate of any 
 university ; but the degree of Doctor of 
 Music was conferred upon him at Lambeth 
 by Sancroft, Ai'chbishofi of Canterbury. He 
 was buried under the organ in the north 
 aisle of Westminster Abbey. Blow was a 
 voluminous composer, and many of his 
 works are still extant : One hundred an- 
 
 tliems ; Fourteen church ser\'ices ; Sacred 
 songs, duets, etc. ; Odes for New Year's Day, 
 1682, 1683, 1686, 1687, 1688, 1689, 1693 (?), 
 1694, 1700 ; Odes for St. Cecilia's Day, 1684, 
 1691, 1700, besides two which cannot be re- 
 ferred to any particular year ; Songs, catches, 
 Dryden's ode on the death of Purcell, etc. 
 Unfortunatelj', very few of these works are 
 published ; some of the church music is in 
 Boyce's " Cathedral Music," Stevens's " Sa- 
 cred Music," Smith's " Musica Antiqua," 
 Playford's " Harmonia Sacra," and in Clif- 
 ford's collection ; some of the catches are 
 published iu " The Catch Club," " The Pleas- 
 ant Musical Companion " (1724), and other 
 collections. Blow's works published by 
 themselves are : Lessons for the Harpsi- 
 chord (London, 1698, second ed., 1705, 
 with some by Purcell) ; Ode for St. Cecilia's 
 Daj', 1684 ; Amphion Anglicus, containing 
 compositions for one, two, three, and four 
 voices, with accompaniments of instrumen- 
 tal music, and a thorough bass, figured for 
 the organ, harpsichord, or theorbo-lute, with 
 portrait of the composer (London, 1700). — 
 Grove, i. 249. 
 
 BLUETS, LES, opera-comique in four 
 acts, text by Cormon and Trianon, music 
 by Jules Cohen, first represented at the 
 Theatre Lyrique, Paris, Oct. 23, 1867. Don 
 Juan of Castile, wishing to leave his crown 
 to his natural son, Fabio, a brave soldier, 
 imnuu'es in a convent Estelle, a young girl 
 whom he loves, and gives him iu marriage 
 to Sister Carmen, abbess of the convent. 
 The work was sung by Troy, Lutz, and 
 Miles Nilsson and Tual. An Italian ver- 
 sion, text by de Lauzii-res, was given at the 
 theatre of Nice in 1873. It was j^roduced 
 also at Covent Garden, London, 1880, under 
 the title of Estella, with Adelina Patti in the 
 princijial rule. 
 
 BLUM (Blume), KARL LUDWIG, born 
 iu Berlin in 1786, died there, July 2, 1844. 
 Dramatic composer and organist ; first in- 
 structed on the violoncello by the royal 
 chamber nuisician, H. Grosse, he went on 
 the stage in 1801 as an actor and singer, 
 
 196
 
 BLUMENFELDT 
 
 first in Berlin, then at Erlaugeu, aud iu 
 1805 at Ki'iuigsberg, where he studied com- 
 position under Hiller ; after his return to 
 Berlin, in 1810, he brought out an opera, 
 and composed a great deal of instrumental 
 and vocal music. He then spent five years 
 in Vienna, and became the friend aud pupil 
 of Saliin ; appointed chamber musician and 
 composer to the court of Prussia iu 1820, 
 he went about that time to Italy aud to 
 Paris to study the styles of Auber, Cheru- 
 bini, and Boieldieu, returned to Berlin iu 
 1822, taking charge of the royal opera. 
 After that he travelled in Germany, France, 
 and Italy, visited St Petersburg in 1828, 
 Paris again in 1830, and London. He was 
 the first to introduce the Freuch vaude- 
 ville iuto Germany. Works : Claudine de 
 Villa Bella, opera, given at KOnigsberg, 
 1810 ; Karl der Zweite, do., ib., 1812 ; Fe- 
 dora, Malvida, ib., 1814 ; Zoraide, oder Die 
 Mauren iu Granada, Berlin, 1817 ; Der 
 Schiffskapitiin, oder Die Uubefaugenen, 
 vaudeville, ib., 1817 ; Fortunata, operetta, 
 Canonicus Ignaz Schuster, vaudeville, ib., 
 1818 ; Alino, KOnigiu von Golconda, ballet, 
 Vienna, ISIS ; Achilles, do., ib., 1819 ; Das 
 Rosenhiitchen, opera, ib., 1819 ; Die Pageu 
 des Herzogs von Vendome, operetta, ib., 
 1820 ; Der Biir und der Bassa, vaudeville, 
 Berlin, 1822 ; Die Heirath im zwOlften Jahre, 
 operetta, ib., 1823 ; Riquet der Haarbiischel, 
 opera, ib., 1824 ; Der schOnste Tag des Le- 
 bens, ib., 1826 ; Der Bramin, opera, Der 
 Liebe Macht, operetta, ib., 1827 ; Die Wuu- 
 derlampe, do.. Die Waise aus Russland, 
 melodrama, ib., 1828 ; Die Liebe in der 
 Miidchenschule, operetta, ib., 1S30 ; Bettina, 
 do., ib., 1831 ; Baldrian und Rosa, do., ib., 
 1833 ; Madonna Ginevra, opera, Mary, Max 
 und Michel, operetta, ib., 1S3G ; Metastasio, 
 do., Weimar, 1836 ; Bergamo, do., ib., 
 1837 ; Three serenades for flute, clarinet, 
 horn, 2 violins, viola, and bass, op. 49, 50, 
 51 (Mainz, Schott) ; Rondeau a la turque, 
 for pianoforte and flute, op. 35 ; Many quar- 
 tets, trios, duos, and solos for guitar ; Pi- 
 anoforte music aud songs. He wrote also 
 
 a complete method for the guitar. — Allgem. 
 d. Biogr., ii. 737 ; Allgem. mus. Zeitg.; Fe- 
 tis ; Heinrii'h's Ahnanach fiir Freunde der 
 Schauspielkunst (1845), 109 ; Mendel ; 
 Schilling. 
 
 BLU.MENFELDT, ARON WOLFF, born 
 at Kurnick, Posen, Feb. 29, 1828, still liv- 
 ing, 1888, in Berlin. Instrumental and 
 vocal composer, pupil of Carl Friedrich 
 Rungeuhageu in Berlin, where he settled 
 afterwards to teach. Works : Kiiustlerleben, 
 opera ; Cantata, Berlin, 1851 ; Pianoforte 
 music and songs.— Meudek 
 
 BLUMENRODER, KARL, born at Nu- 
 remberg about 1789, died (?). Dramatic 
 composer, became director of music at Nu- 
 remberg in 181G ; conducted the music fes- 
 tivals there iu 1834-35. Works : Turandot, 
 given in Munich, ISIO ; Die Jagd, ib., 
 1810; Die Biirgschaft, Nuremberg, 1824. 
 — Fetis. 
 
 BLUMENTHAL, JACOB, born in Ham- 
 burg, Oct. 4, 1829, still 
 living, 1888. Pianist, 
 pupil of Grund in Ham- 
 bui-g, aud of Bocklet 
 aud Sechter in Vienna, 
 and from 1846 of Herz 
 and Halevy at the Con- 
 servatoire in Paris. In 
 1848 he went to Lon- 
 don and became a fash- 
 ionable teacher, aud pi- 
 anist to the Queeu. Besides compositions 
 for the violin aud violoncello, and piano- 
 forte, he has written many songs, among 
 which The Message, My Queen, and The 
 Requital, are well known. — Grove ; Futis ; 
 Mendel. 
 
 BLUMENTHAL, JOSEPH VON, born 
 in Brussels, Nov. 1, 1782, died iu Vienna, 
 May 9, 1850. Dramatic composer, pupil in 
 composition of the Abbe Vogler. He was the 
 director of a church choir in Vienna at the 
 time of his death. Works : Dou Sylvio de 
 Rosalba, romantic opera, 1805 ; 2d act of 
 the fairy piece Der kurze Mantel ; Entr'actes 
 aud choruses for dramas, such as : Colomb, 
 
 197
 
 BLUMNER 
 
 King Lear, Turandot, Kiitliclien von Heil- 
 bioun, Fernautlo Cortez, etc., and for the 
 luelodramas : Camma, and Menasko et El- 
 wina. He wrote a ballet, several sj-mijlionies 
 for orchestra ; Quartets for two violins, viola 
 and bass, op. 38 ; Variations on an air from 
 Cenereutola by Kossini, op. 32 ; Duos for 
 violins ; Quartets for flute, op. 31 ; Masses ; 
 Cantatas and chants. He was the author 
 also of a Methode de violoii. — Biog. nat. de 
 Belgique, ii. 532 ; Fetis ; Mendel ; Scbilliug. 
 
 BLU:MXEE, MARTESr, born at Fursten- 
 berg, Mecklenburg-Strelitz, Nov. 21, 1827, 
 still living, 1888. Dramatic composer, pu- 
 pil in Berlin of Dehu. He was appointed 
 in 1853 conductor of the Berlin Siugakad- 
 emie, of which he had become a member in 
 1845. He is a meritorious composer, strict 
 in style, and of considerable dramatic power. 
 Royal musical director and professor, 18G0 ; 
 member of Berlin Academj-, 1875. Works : 
 Columbus, cantata, 1853 ; Abraham, ora- 
 torio, 1860 ; Der Fall Jerusalems, do., 1881, 
 jjerformed with much success in Breslau, 
 1881:, at the seventh Silesian ^Musical Festi- 
 val ; Te Deum for eight voices ; Psalms ; 
 Motets ; also Lieder, duets, aud other vocal 
 music. — Mendel ; Naumaun (Ouselej'), ii. 
 1218 ; Eiemann. 
 
 BLUTE NUE, DU LIEBES HERZ, aria 
 in B minor for the soprano of Coro H., with 
 accompaniment of two flutes, strings com- 
 l^lete and continue, in Johann Sebastian 
 Bach's Passion nach Matthilus, Part I. 
 
 BLYMA, FEANZ XAVER, born in Bo- 
 hemia {?), died at Kiev, Eussia, in May, 
 1822. Violinist, director of music at Mos- 
 cow in 1797, afterwards chef d'orehestre to 
 Count Comburley. Works : Grande sym- 
 phonie, op. 1 (Moscow) ; Symj)hony in D, 
 op. 2 (Bonn) ; Solos and pot-pourris for 
 violin, with orchestra ; Airs varies for violin, 
 with do. and bass. — Fetis ; Mendel. 
 
 BOCCACCIO, operetta in three acts, text 
 by Zell and Genee, music by Suj)})!', repre- 
 sented at the Carltheater, Vienna, Feb. 1, 
 1879. It was produced at the Comedy 
 Theatre, Loudon, April 22, 1882. 
 
 BOCCHEEINI, LUIGI, born in Lucca, 
 Italy, Feb. 19, 1743, died in Madrid, Spain, 
 May 28, 1805. He 
 was the son of an 
 excellent contra- 
 bassist at the ca- 
 thedral in Lucca. 
 His first instruc- 
 tion was from his 
 father, the instru- 
 ment of his choice 
 being the violon- 
 cello, but his mu- 
 sical education 
 was soon confided to the Abbate Domenico 
 Vauucci, teacher of music aud singing at 
 the archiepiscopal seminary. The boy's 
 progress was so rapid that Vanucci soon 
 found he had nothing more to teach him, 
 and in 1757 he was sent to Eome to perfect 
 himself ujjon his chosen instrument aud 
 complete his studies iu counterpoint. Even 
 in Eome he was not long in distancing his 
 teachers, but there can be little doubt that 
 the church music he beard there (a cappella 
 works of Palestrina iu the Sixtine Chapel, 
 and the concerti spirituali in other churches) 
 had a lasting influence upon his genius. He 
 returned to Lucca with the most flattering 
 testimonials, but very soon set out for Vi- 
 enna and the several electoral coiu-ts of 
 Germany ; this journey he made both for 
 the purjiose of j^laying in public and of 
 perfecting his violoncello playing. His 
 first imjMrtant chamber compositions fall 
 within this period (six quartets, op. 1, 
 1761, and six trios, op. 2, 1760). On re- 
 turning to Lucca he wrote an Azione dram- 
 matica, Clementina, and two oratorios, Giu- 
 seppe ricouosciuto, and Gioas, Ee di Giuda, 
 ■which were brought out in 1765 in the 
 Church of S. M. Corteorlandini with great 
 success. He formed a close friendship with 
 Filippo Manfredi, a young violinist of great 
 talent and a jjupil of Tartini, and in 1767 
 the two young musicians made a successful 
 concert tour together through North Italy. 
 Their jdaying, and notably Boccheriiii's 
 
 198
 
 BOCCHERLXI 
 
 compositions, won such enthusiastic recog- 
 uitiou that the two friends determined upon 
 a more extended tour, and in 1768 they left 
 their native town for good, going first to 
 Turin, thence through the larger cities of 
 Lombardy, Piedmont, and Provence, arriv- 
 ing finally iu Paris. There, as elsewhere, 
 they had unbounded success, both in private 
 salons and at the Concerts Spirituels. The 
 eagerness of the Paris publishers to get 
 Boccheriui's compositions incited the young 
 artist to fresh efforts, and from this time 
 forward he was an untiring producer. Act- 
 ing on the advice of the Spanish ambassa- 
 dor, Boccherini and Manfredi set out for 
 Madrid, then the Eldorado of musicians, in 
 the fall of 1768. Arrived there, JNIanfredi 
 was more successful than his friend, getting 
 almost immediately the position of first vio- 
 lin in the chajsel of the Infante Don Luis, 
 but Boccherini some time later was ap- 
 pointed chamber composer and chamber 
 virtuoso. In 1780 Manfredi died, leaving 
 Boccherini to depend wholly upon his own 
 resources. This was a terrible blow to 
 Boccherini, who was nothing of a man of 
 the woi-ld, and had a thorough distaste for 
 the intrigues inseparable from the life of a 
 virtuoso at court. His career, which had 
 begun so brilliantly, was henceforth to be 
 but a succession of humiliations and priva- 
 tions. His productiveness as a composer 
 was astounding, but he was very ill x^aid for 
 his work. To till Manfredi's place, Bocche- 
 rini had Gaiitano Bruuetti invited to come 
 to Madrid. Brunetti, a pupil of Nardini, 
 was a brilliant violinist and clever composer, 
 who had won a considerable reputation iu 
 Germany and Paris. On his arrival in Ma- 
 drid Boccherini overwhelmed him with kind 
 attentions, which he accepted so long as he 
 needed the master's patronage, and then 
 repaid them with the blackest ingratitude. 
 The wily violinist succeeded in estranging 
 the court interest from Boccherini, and, 
 when the Infante died, in 1785, the latter had 
 to look around him for another patron. An 
 unlucky accident made Charles IV. his im- 
 
 placable enemy, but his dedication of some 
 music to Friedrich Wilhelm II. of Prussia 
 was acknowledged with a golden snufi-box 
 filled with friedrichs d'ors, and for ten years 
 Friedrich Wilhelm's patronage enabled him 
 to live tolerably at ease. But this enthusi- 
 astic patron died in 1797, and about the 
 same time a pension which Boccherini had 
 received from the Spanish Government was 
 withdrawn. During the previous decade 
 private misfortunes had not been wanting ; 
 he lost a wife and two adult sons, and a 
 second wife died soon after her marriage. 
 His health was very poor, and severe hem- 
 orrhages of the lungs would at times force 
 him to give up violoncello playing. AVhilo 
 Lucien Bonaparte was ambassador to the 
 Spanish court (October, 1800, to February, 
 1802) his circumstances were made easier 
 by the art-loving Frenchman's munificent 
 patronage. But when the latter was recalled, 
 abject poverty again stared Boccherini in 
 the face. The friendship of the Marquis of 
 Benavente was of some little help to him, 
 but the hundred francs paid by that noble- 
 man for each quartet with guitar obligato 
 that he wrote for his especial use did not 
 go very far, and he had to eke out a liveli- 
 hood by rearranging many of his works for 
 various instruments to satisfy the taste of 
 several of the j\Iarquis's friends. He at 
 length determined to seek better fortunes 
 in France. Some French friends spoke in 
 his behalf to Madame Sophie Ga'il, a brill- 
 iant French pianist and singer then in 
 Madrid, and she interested herself keenly 
 in the poverty-stricken old musician's be- 
 half. She went to see him, and found him 
 living with his whole family in a single mis- 
 erable room, in need of even the bare neces- 
 saries of life ; but, in spite of his poverty, 
 he refused her offer of one hundred louis- 
 d'ors for a Stabat Mater which he had prom- 
 ised to a Paris editor (Sieber) for sixty 
 ducats. But her charity bettered his con- 
 dition somewhat, and he could always for- 
 get his troubles if he had music-paper and 
 pen and ink at hand. He never lived to
 
 BOCCIIEllINI 
 
 visit Paris again. Boccberiui'fg genius was 
 eminently original and inventive ; the whole 
 form of his compositions and his manner 
 of treating his themes are as much liis own 
 as his melodies themselves. His harmony, 
 if not invariably correct, is full of delicious 
 and unexpected effects. In general, his 
 style is noted for its simple naturalness and 
 naivete. In freshness and grace of melodic 
 inspiration, and in purity of sentiment, he 
 has hardly been surjsassed ; his adagios and 
 minuets are stiU marvels of beauty ; his fi- 
 nales alone seem antiquated. The great 
 simplicity and a certain childlike innocence 
 of his style are what has probably stood in 
 the way of his works being duly appreciated 
 in Germany ; but he and his predecessor 
 Sammartini would have occupied very much 
 the position in Italian instrumental music 
 that Haydn and Mozart did in German, 
 had not Italy so neglected instrumental 
 compo-sition since Boccheriui's day. As it 
 is, Cberubini ■was the only Italian to con- 
 tinue Boccheriui's work in the field of cham- 
 ber music. Boccheriui's most famous works 
 are his quintets, most of which are for 2 vio- 
 lins, viola, and 2 violoncelli, an arrangement 
 which has been but rarely imitated since, 
 but which is suflSciently accounted for by 
 the composers intending the first violon- 
 cello part for himself, thus giving him a bet- 
 ter chance for the display of virtuosity than 
 
 Villancicos (motets for Christmas) for four 
 voices and orchestra ; Ines de Castro, can- 
 tata (the master's last work) ; 13 Arie acad- 
 emiche with orchestral accompaniment. In- 
 strumental works : First Symphony, 4 parts 
 with horn ad lib. (Paris, Grange, 1767) ; 
 Op. 1, Sei sinfonie ossia quartetti (Paris). 
 His instrumental works, which number up- 
 wards of 366, were mostly originally pub- 
 lished by Vernier and La Chevardiere, also 
 by Ignaz Pleyel in Paris, and reprinted in 
 Amsterdam, London, Offenbach, Worms, 
 Mannheim, Vienna, Naples, etc. Much con- 
 fusion exists in the opus numbers, different 
 publishers but rarely agreeing either among 
 themselves or with Bocchei'iui's MS. cata- 
 logue : 20 symphonies (11 of them in MS.) ; 
 8 Sinfonies concertantes ; 1 suite of min- 
 uets for orchestra (MS.) ; 1 concerto for vio- 
 loncello ; 113 quintets for 2 violins, viola, 
 and 2 violoncelli (of which 20 in MS.) ; 12 
 quintets for 2 violins, 2 violas, and violon- 
 cello (MS.) ; IG sextets (of which 2 iu MS.) ; 
 2 octets ; 18 quintets for flute, or oboe, 
 and strings ; 12 quintets for pianoforte and 
 strings ; 91 quartets for 2 violins, viola, and 
 violoncello (of which 2 iu MS.) ; 42 trios for 
 2 violins and violoncello (of which 2 in MS.) ; 
 12 trios for violin, viola, and violoncello ; 6 
 duets for 2 violins ; 6 sonatas for pianoforte 
 and violin ; G sonatas for violin (violoncello ?) 
 and bass. A complete catalogue of all Boc- 
 
 the usual violoncello part (bass) iu a quintet cherini's works may be found in Schletterer. 
 could legitimately afford. Indeed, the difS- ' A nearly complete edition of the trios and 
 culty and importance of the first vio- . 
 
 loncello jjart is quite characteristic of 
 the Boccherini quintet. Published 
 woi'ks — Vocal : La Clementina, opera, 
 given at Lucca, 17G5, Madrid, 1786 ; 
 Giuseppe ricouosciuto, oratorio, Lucca, 
 1786 ; Gioas, Re di Giuda, oratorio, ib., 
 1786 ; Messa a quattro, con tutti instru- 
 meuti obligati, op. 59, 1800 ; Stabat 
 Mater for three voices with string accom- 
 paniment, op. 61, 1800-1 ; Cantata al S. 
 Natale di N. S. Gesti Christo, a 4 voci ob- 
 ligati, coro e instrumenti, op. 63, 1802 ; 
 Cantici sacri for 4 voices and orchestra ; 
 
 .*<j^ 
 
 ^ 
 
 quintets was begun in Paris by Janet & Co- 
 telle in 1824. — L. Picquot, Notice sur la vie 
 et les ouvragea de Luigi Boccherini, suivi 
 du catalogue raisonnu de toutes ses oeuvres 
 (Paris, 1851) ; D. M. Cerfi, Cenui intorno 
 alia vita di Luigi Boccherini (Lucca, 1864) ; 
 M. Cristal, Luigi Boccherini, in Le Menes- 
 trel, 41ii'me annee (Paris, 1875) ; H. M. 
 Schletterer, Luigi Boccherini, No. 39 of 
 
 200
 
 BOCHSA 
 
 Sammlung musikalischer Vortriige (Leipsic, 
 Bi-eitkopf & Hiirtel, 1882) ; Dwighfs Jour- 
 nal, xxix. 178. 
 
 BOCHSA, KARL, bom in Bohemia, died 
 in Paris in 1821. Virtuoso ou the flute and 
 clarinet, oboist in the orchestra of tlie thea- 
 tres in Lyons and Bordeaux. In 180G he 
 went to Paris, where he became a music- 
 dealer. Works : 3 quartets for clarinet, 
 violin, viola, and bass, op. 1 (Paris, Janet, 
 1799) ; 3 do. (Paris, Momigny) ; 3 do., op. 
 3 (ib., Sieber) ; 3 nocturnes in quartets, 
 books 1 and 2 ; 3 quartets for oboe, book 1 ; 
 2 do., book 2 ; 3 do., 
 book 3 ; 6 duos con- 
 certauts for t w o 
 oboes, op. 5 (Paris, 
 P 1 e y e 1 ) ; Concerto 
 for clarinet, op. 53 ; 
 2 quintets ; Method 
 for the flute (Paris, Omont) ; do. for the 
 clarinet (ib.). — Fotis ; Mendel, 
 
 BOCHSA, EOBERT NICOLAS 
 CHARLES, born at 
 Montmedi (Meuse), 
 Aug. 9, 1789, died 
 at Sydney, Austra- 
 lia, Jan. 7, 185fi. 
 Dramatic compos- 
 er and celebrated 
 harpist, son of and 
 first instructed by 
 Karl Bochsa, then 
 pupil in composi- 
 tion of Franz Beck at Bordeaux, and in 1806 
 of Catel and Mehul at the Conservatoire, 
 Paris, where he studied also the harp under 
 Nadermann and Marin, but soon formed a 
 style of his own, and revolutionized harp 
 playing. He was a musical prodigy who 
 played a pianoforte concerto in public at 
 the age of seven, comi^osed a symphony 
 when nine, had written several overtures 
 and quartets when twelve, and brought out 
 an opera at Lyons when sixteen. In 1813 
 he became harpist to Napoleon I., and kept 
 his position under Louis XVHI. Detected 
 in forgeries, he was compelled to leave Paris 
 
 in 1817, and took refuge in London, where 
 he tauglit the harp, and had among his pu- 
 pils Parish-Alvars and Chatterton. In 1822 
 he imdertook, with Sir George Smart, the 
 Lenten oratorios, and in 1828 assumed entire 
 direction of them. He was appointed pro- 
 fessor of the harp and general secretary to 
 the Royal Academy of Music at its institu- 
 tion, but was dismissed in 1827. Succeed- 
 ing Coccia, he conducted Italian opera at 
 the King's Theatre in 1826-32, eloped with 
 Sir Henry Bishoji's wife in 1839, and with 
 her made a concert tour through Europe 
 
 /^>$^^;5^^ 
 
 and America, and finally went to Sydney, 
 where he died of dropsy. Works — Operas : 
 Trajan, given at Lyons, 1804 ; Les heritiers 
 de Paimpol, Paris, Opera Comique, 1813 ; 
 Alphonse d'Aragon, Les heritiers Michau, 
 ib., 181-4 ; Les noces de Gamache, Le Roi 
 et la Ligue, La lettre de change, ib., 
 1815 ; La bataille de Denain, Un mari 
 pour fitrenne, ib., 1816. Ballets : Danso- 
 manie (1806) ; Beniowski, or the Exiles 
 of Kamchatka ; Le corsaire ; Le Deluge 
 universel, oratorio, performed in London, 
 1823 ; Requiem mass ; Apotheosis of Louis 
 XVI.; Motet et Vivat ; Solo and chorus in 
 three parts with instruments ; Overtures 
 and symphonies for orchestra ; Caprices, 
 concertos, duos, fantaisies, nocturnes, so- 
 natas, studies, variations, and arrangements 
 for the harjj alone and with other instru- 
 ments ; Method for the harp, which is still 
 the best of its kind. — Fctis ; Grove ; Men- 
 del ; Schilling. 
 
 BOCKELER, HEINRICH, born at Co- 
 logne, July 11, 1836, still living, 1888, at 
 Aix-la-Chapelle. Church composer, pupil 
 of the Conservatorium, Cologne, especially 
 of Ferdinand Hiller, in counterpoint. He 
 became vicar in 1862 at Aix-la-Chapelle,
 
 BOCKSHORN 
 
 and Las had a great influence on the culti- 
 vation of church music in that city. In 
 1876 he was made choir director at the 
 Stiftskirche. Works: Mangou, missa in 
 summis festis ; Processionale, 3 books ; 
 Songs for the different seasons of the 
 church year, for male voices ; Latin songs 
 for male and for mixed chorus ; Collection 
 of two-jjart songs, etc. — Mendel, Ergauz., 
 38. 
 
 BOCKSHOEN, SAMUEL (called Capri- 
 cornus), born in 
 Germany in 1629, 
 died at Stuttgart 
 about 1669. H e 
 was director of mu- 
 sic at the Trinity 
 Church, Presburg, 
 Hungary, and in 
 1657 Kapellmeister 
 to the Duke of 
 Wiirtemberg at Stuttgart. Works : Kajjtus 
 Proser2:)iufe, dramatic cantata, 1602 ; and 
 many sonatas, capriccios, motets, chants, 
 etc., published in Nuremberg, Stuttgart, 
 Vienna, Wiirzburg, and other cities. The 
 Royal Library at Berlin has the following 
 MSS. : Miserere for five voices and instru- 
 ments ; ]\Iiserere for eight voices, four vio- 
 lins, and basso continuo ; Ecce quam bonum, 
 motet for five voices and instruments ; O 
 bone lesu, five voices and five viols. — All- 
 gem, d. Biogr., ii. 792 ; Fetis. 
 
 BOCQUILLON-WILHEM. See Wilhem. 
 BODE, JOHANN JOACHIM CHIIIS- 
 TOPH, born at Barum, Brunswick, Jan. 16, 
 1730, died at Weimar, Dec. 13, 1793. In- 
 strumental composer, first instructed by the 
 city musician Kroll at Brunswick (17-15), 
 then jjupil on the bassoon of the chamber 
 musician Stolz at Helmstedt. Having ob- 
 tained a position in 1775 as oboe player at 
 Celle, he went thence to Hamburg, where, 
 besides teaching music, he edited the Ham- 
 burger Correspondent in 1762-63, and made 
 a sj)ecia]ty of translating from the English. 
 He conducted the regular winter concerts, 
 and later became Lessing's jiartner as a 
 
 jn'inter and publisher. In 1778 he went to 
 . Weimar, and devoted himself to composi- 
 tion and literary work. He composed sym- 
 phonies, concertos for violin, for violon- 
 , cello, for bassoon, trios, soli for viola d' 
 amore, etc. — Allgem. d. Biogr., ii. 795 ; 
 Fetis ; Gerber, N. Lex.; Mendel ; Schilling. 
 
 BODENSCHATZ, EKHAED, born at 
 Lichtenberg, Saxony, about 1570, died at 
 Gross-Osterhausen, near Querfurt, in 1638. 
 Church composer, studied theology at Leip- 
 sic, became cantor at Schulpforta in 1600, 
 jsastor at Rehhausen in 1603, and at Gross- 
 Osterhausen in 1608. His name is best re- 
 membered by the following valuable collec- 
 tions, edited by him : Florilegium Portense, 
 containing 115 motets (Leipsic, 1603); do., 
 2d part, containing 150 motets (ib., 1621) ; 
 Florilegium selectissimorum, etc. (ib., 1606). 
 His own works are : Magnificat sampt Be- 
 nedicamus (ib., 1599) ; Psalterium Davidis 
 (ib., 1605) ; Harmonia angelica (ib., 1608) ; 
 Bicinia XC selectissima, etc. (ib., 1615). — 
 Allgem. d. Biogr., iii. 6 ; Fctis ; Gerber, N. 
 Lex.; Mendel. 
 
 BOELY, ALEXANDRE PIERRE FRAN- 
 gOIS, born at Versailles, April 19, 1785, 
 died in Paris, Dec. 27, 1858. Pianist and 
 organist, first instructed by his jDarents, 
 then pupil at the Conservatoire of Laduruer 
 on the violin, and self taught in harmony. 
 In 1830 he devoted himself to the study of 
 the organ, and was for several years organ- 
 ist at Saint-Germain I'Auxerrois. Works : 
 
 2 sonatas for pianoforte, op. 1 ; 30 caprices, 
 op. 2 ; Air varie for pianoforte and violin, 
 op. 3 ; Duo for jiianoforte for i hands, op. 4 ; 
 
 3 trios for strings, op. 5 ; 30 etudes, op. 6 ; 
 2 caprices for -1 and 1 for 3 hands, op. 7 ; Ca- 
 price for ijianoforte solo, op. 8 ; 4 offertories 
 for organ, op. 9 ; Mass for Christmas, op. 
 10 ; 14 pieces for organ, op. 11 ; 24 do., op. 
 12, etc.— Fetis. 
 
 BOERS, JOSEPH KAREL, born at 
 Nymwegen in 1812, still living, 1888. Vio- 
 linist, pupil of his father, and, at the Royal 
 School of Music at The Hague, of Lubeck. 
 In 1831 he was made chef d'orchestre at 
 
 2U2
 
 BOESSET 
 
 the National Opera, and in 1837 went to 
 Paris, wliere lie spent two years, then was 
 chef d'orchestre at the theatre at Metz until 
 1841, when he returned to his native city ; 
 there he conducted a choral society, and in 
 1853 went as musical director to Delft. In 
 1848 he conducted the great music festival 
 at Arnheim, and in 1861 one at Nymwegen. 
 He has composed a symphony, overtures, 
 choral works, cantatas, and several collec- 
 tions of songs. — Fetis ; Supplement, i. 102 ; 
 Mendel, Ergilnz.; Viotta. 
 
 BOESSET, ANTOINE, Sieur de Ville- 
 dieu, born in France about 158.5, died in 
 1643. He was surintendant de la musique 
 des chambres du roi et de la reine, 1615- 
 1617, under Louis XIII., and counsellor to 
 that king in 1632. He was quite celebrated 
 in France for his airs for foiu' parts, which 
 appeared in several collections, as follows : 
 " Airs de cour a quatre et a cinq parties en 
 neuf livres" (1617, 1620, 1621, 1624, 1626, 
 1629, 1630, 1632). The tenth is entitled : 
 "Airs de cour en tablature de luth," and was 
 published after his death. Tlie first was 
 translated into English as " Court Ayres 
 with their ditties Englished " (London, 
 1629). The National Library, Paris, has a 
 collection in MS. He wrote a great deal of 
 ballet music, among which are : Ballet des 
 dix Verds (1614) ; Ballet danced by Louis 
 XIII. (Jan. 29, 1617); Apollon '(1621); 
 Fetes de Junon (1623) ; Les Fetes des fo- 
 rets de Saint-Germain (1625) ; Des Tri- 
 omphes (1635) ; etc. His son, Jean Bap- 
 tiste Boiisset, was also musician to Louis 
 XIII.— Fetis. 
 
 BOHEMIAN GIRL, THE, grand opera 
 in three acts, text by Alfred Bunn, music 
 by Balfe, first represented at Drury Lane, 
 London, Nov. 27, 1843. The libretto is an 
 adaptation of La Gipsy, a ballet written for 
 Fanny Ellsler by Saint-Georges and Mazil- 
 lier, music by Benoist, Thomas, and Mar- 
 liani, given at the Opera, Paris, Jan. 28, 
 1839, which in turn was taken from "Tlie 
 Gj-psy of Madrid," one of the "Novelaa 
 Ejemplares " of Cervantes, which furnished 
 
 also the text of Weber's Preciosa. The 
 scene, laid in Scotland in the ballet, is trans- 
 ferred to Hungary in the opera. The work, 
 which became at once popular in England, 
 has been translated and successfullj- pro- 
 duced in nearly aU the languages of Europe, 
 and it will jDrobably keep the stage as long 
 as any of the ballad operas. It was repro- 
 duced in Italian as La Zingara, at Her 
 Majesty's Theatre, London, Feb. 6, 1858. 
 It was played as La Gitana in Hamburg ; 
 in Vienna and Berlin as Die Zigeunerin ; 
 and in Paris, in four acts and a prologue, 
 French text by Saint-Georges, with several 
 additional numbers by the composer, as La 
 Bohemienne, at the Theatre Lyrique, Dee. 
 30, 1869. 
 
 Original Cast, London, 1843. 
 
 Arline JNIiss Roraer. 
 
 Thaddeus Mr. Harrison. 
 
 Gypsy Queen Miss Belts. 
 
 Devilshoof Mr. Stretton. 
 
 Count Arnheim jNIr. Borrani. 
 
 Florestein INIr. Durnset. 
 
 Arline, davighter of Count Arnheim, Gov- 
 ernor of Presburg, is rescued from the at- 
 tack of a stag by Thaddeus, a Polish refu- 
 gee, who has joined a troop of gypsies to 
 escaj^e the Austrian soldiers. The exile, in- 
 vited to the hunting banquet by the grate- 
 ful father, refuses to drink the health of the 
 Emperor, and is saved from the soldiers by 
 Devilshoof, the gypsy chief, who is arrested 
 for his interference and taken to the castle. 
 Thaddeus is allowed to dejjart, and Devils- 
 hoof escapes, carrying Arline with him. The 
 second act, twelve years later, shows Arline 
 asleep in the Queen's tent in the gypsj' camp, 
 with Thaddeus watching over her. On her 
 awaking, Thaddeus tells her of her rescue 
 from the stag, which explains a scar upon 
 her arm, and declares his love, which is re- 
 turned, and the two are united, according to 
 the gypsy custom, by the Queen, who, also 
 in love with Thaddeus, at the same time 
 vows vengeance. During a visit to a fair in
 
 BOHLEN 
 
 the city, Aiiiue is arrested for the theft of a 
 medallion, stolen some time previously from 
 Florestein, nephew of Count Aruheim, and 
 maliciously given her by the Queen. She is 
 taken for trial before Count Aruheim, who 
 questions her about the scar on her arm, and 
 through it discovers his long-lost daughter. 
 In the third act, which opens in the salon 
 of Count Aruheim, Arline ajjpears in her 
 former position, but still retains her love for 
 Thaddeus, who, accompanied by Devilshoof, 
 has gained access to the castle. The Gyjjsy 
 Queen, intent on revenge, j'oints out the 
 place of concealment of her companions, and 
 Thaddeus is ordered to leave. Arline de- 
 clares her love and her intention to accom- 
 pany him, Thaddeus jjroves his noble de- 
 scent, and the Count finally gives him the 
 hand of his daughter. The Queen, enraged, 
 orders one of the tribe to shoot Thaddeus, 
 but Devilshoof throws ujj the weapon and 
 the bullet pierces the Queen's breast. Among 
 the noteworthy numbers in the Bohemian 
 Girl are, in the first act : " 'Tis sad to leave 
 your Fatherland," sung by Thaddeus, and 
 the closing prayer, "Thou who, in might 
 supreme." In the second: " Silence, silence, 
 the Lady Moon," a chorus by the gypsies ; 
 " I dreamt I dwelt in marble halls," and 
 " Come with the gypsy bride," sung by Ar- 
 line ; "From the valleys and hills," quartet 
 by Arline, tlie Queen, Devilshoof, and Thad- 
 deus ; and "The heart bowed down," by 
 Count Arnheim. In the third : " When 
 other lips and other hearts," and " When 
 the fair land of Poland," both sung by 
 Tliaddeus. — W. A. Barrett, Balfe (London, 
 1882), 15-4 ; Kenney, Memoir, 182. 
 
 BOHLEN, ADRIAN, born at Aurich, 
 East Friesland, Oct. 19, 1G79, died at Jever, 
 March 17, 1727. Church composer of dis- 
 tinction, contemporary of Bach, jjupil of his 
 father on the organ and harpsichord, and at 
 Norden of the organist Druckmiiller. He 
 studied theology at Wittenberg, and became 
 cantor in his native city, and in 1700 went 
 to Hamburg, whence he was called to Stade 
 as director of music. In 1705 he became 
 
 cantor at Jever. His numerous and greatly 
 esteemed compositions were left in manu- 
 script. — Fetis ; Mendel ; Schilling. 
 
 BOHM, HEINRICH, born at Blatna, 
 Bohemia, in 1836, still living, 1888. Dra- 
 matic comjjoser ; son of the choir leader 
 at Blatna, who had also written an opera 
 called Krakonos. Heiurich is the author of 
 thirty-five or more operas and operettas, 
 which are popular on the Bohemian stage. 
 — Grove ; Mendel. 
 
 BOHM, JOHANN, born at Blatna, Bo- 
 hemia, in 1810, died there in 1869. Organ- 
 ist, wrote masses, choruses, and songs, also 
 a Czech fairy-opera, Krakonos, which is, 
 however, unfinished. Another composer of 
 the same name was an eminent violinist and 
 orchestra conductor during the last decades 
 of the eighteenth and at the beginning of this 
 ceutui-y. The following operas by him were 
 given in Germany : Das Muster der Liebe, 
 Die Braut im Schleier, Philander, about 
 1800 ; Philemon und Baucis, about 1805. 
 
 BOHM, JOSEPH, born at Pesth, March 
 4, 1795, died in Vienna, March 23, 1876. 
 Violinist of repute and pupil of his father 
 and of Kode. He jjlayed with success at Vi- 
 enna in 1815, travelled several years in Italy, 
 phu'ed at La Scala, Milan, and returned in 
 1819 to Vienna, where he was appointed vio- 
 linist to the Royal Chapel and professor of 
 the violin at the Conservatorium, retiring iu 
 1848. He travelled through Germany and 
 France for two years, giving concerts in the 
 principal cities. For fifty years he resided 
 at Vienna and earned renown as a teacher, 
 having for j)upils Ernst, Joachim, Ludwig 
 Straus, Singer, Helmesberger, and many 
 other well-known violinists. He published 
 20 compositions for the violin, among which 
 are : Polonaise pour le violon, op. 1. ; Varia- 
 tions brillantes, op. 2 ; Polonaise for violin, 
 two second violins, alto and bass, op. 8 ; 
 Quartets for two violins, alto and bass. 
 — Fctis ; Hanslick, Concertweseu in Wien, 
 205, 231 ; Mendel ; Hart, Violin and Vio- 
 linists. 435 ; Wasielewski, Die Violine und 
 ihre Meister, 346. 
 
 204
 
 BOHM 
 
 BOHM, THEOB.ILD, born in Municli, 
 April 4, 1794 ilied there, Nov. 25, ISSl. 
 Flute player of distinction and inventor of 
 the well-known system of flute-fingering 
 which is named after him, and which he 
 perfected in 1831. He was Kammermu- 
 sicus at Munich, and composed many brill- 
 iant works for his instrument, consisting 
 of polonaises, fantaisies, variations, etudes, 
 etc. He was author also of a work en- 
 titled, Uber den Flotenbau und die neusten 
 Verbesserungen desselben (Mainz, 1847). 
 — Grove ; Fctis ; Mendel ; Schilling. 
 
 BOHME, (FRANZ) MAGNUS, born at 
 Willerstedt, near Weimar, March 11, 1827, 
 still living, 1888, at Dresden. Vocal com- 
 poser, pupil of G. Tiipfer, then at Leipsic of 
 Moritz Hauptmann and Julius Rietz ; lived 
 for twenty years in Dresden teaching music, 
 and received the title of royal professor. In 
 1878-85 he was jsrofessor of musical history 
 and counterpoint at Hoch's Conservatorium 
 in Frankfort, and since 1886 has lived again 
 iu Dresden. He has composed several 
 books of sacred choruses, and popular songs 
 for male chorus. — Mendel, Ergiinz., 40. 
 
 BOHNER, JOHANN LUDWIG, born at 
 Tottelstiidt, Gotha, Jan. 8, 1787, died at 
 Gotha, March 28, 1860. Pianist and or- 
 ganist, pupil at Erfurt of G. H. Kluge on 
 the organ, and of Michael Gotthardt Fischer 
 iu composition, then of Spohr at Gotha, 
 whence iu 1808 he went to Jena. In 1810 
 he set out on a concert tour through North 
 Germany to Sweden, then to Switzerland, 
 winning applause everywhere, and living 
 for five years at Nuremberg, where his best 
 compositions originated. In 1820 he re- 
 turned to his native town and afterwards led 
 an unsteady life, becoming a confirmed 
 drunkard, and finally playing in taverns for 
 a supper. Works : Quartet for piauoforte, 
 violin, viola, and bass, op. 4 (Leipsic, Breit- 
 kopf & Hiirtel) ; Concertos for pianoforte 
 with orchestra, op. 7, 8, 11 (ib.) ; Serenade 
 for two violins, viola, flute, 2 horns, bas- 
 soon, violoncello, and double-bass, op. 9 
 (ib.) ; Concertos en fantaisie, op. 13, 14 
 
 (Leipsic, Hofmeister) ; Sonatas for piano- 
 forte, op. 15 (ib.) ; Fantasia with variations 
 for clarinet and orchestra, op. 21 (Leipsic, 
 Breitkopf & Hiirtel) ; Variations for horn 
 with quartet, op. 24 (Mainz, Schott) ; Sonata 
 for pianoforte and violin, op. 37 (Copen- 
 hagen, Lose) ; Variations for piauoforte, op. 
 3, 6, 12, 20, 51, 53, 55 (Leipsic, Coburg, Of- 
 fenbach, Bonn, Nuremberg) ; Fantasias, 
 caprices, bagatelles, etc., for do., op. 19, 22, 
 31, 91, 92 (Leijisic, Hamburg, Frankfort, and 
 Augsburg) ; Quartets for 2 violins, viola, and 
 bass ; Fantasia for two pianofortes, op. 60 ; 
 Variations for pianoforte with orchestra, op. 
 120 (last work) ; Der Dreiherrensteiu, op- 
 era ; Overtures for grand orchestra ; Twelve 
 quartets for string instruments ; Motets ; 
 Several collections of songs. — AUgem. d. 
 Biogr., iii. 82 ; Fetis ; Mendel ; Schilling. 
 
 BOHRER, ANTON, born iu Munich in 
 1783, died at Hanover iu 1852. Violinist, 
 son of and first iustructed by Caspar Bohrer, 
 a celebrated double-bass player and trumjs- 
 eter (1744-1809) ; pupil of Danzi iu com- 
 position, and in Paris of Winter and Kreut- 
 zer on the violin. He was made violin 
 player iu the court orchestra at Munich, 
 and travelled iu Bohemia and Austria with 
 his father. Subsequently he undertook a 
 musical tour with his brother Maximilian 
 through Switzerland, France, etc. ; on their 
 return to Munich they studied togethei', to 
 prepare for a protracted concert tour through 
 Germany, Holland, Austria, Poland, and 
 Russia, on which they started in 1810. 
 Having narrowly escaped deportation to 
 Siberia, and silent a year at St. Petersburg, 
 they went through Finland, Sweden, and 
 Denmark, to England, returned to Munich 
 in 1814, gave concerts in Paris, with brill- 
 iant success, iu 1815 and again after a sec- 
 ond visit to Englaud, then went to Berlin, 
 where Anton was appointed Conzertmeister 
 in the royal orchestra. They went to Italy 
 in 1820, returniug to Berlin in 1824, when 
 they quarrelled with Spontini and threw up 
 their positions to return to Munich. There 
 they married two distinguished pianists 
 
 80.5
 
 BOHREE 
 
 ■who were sisters, and in this new artistic 
 association won new triumphs in Italy and 
 in 1827 in Paris, which they left at the 
 outbreak of the Eevolution of 1830, when 
 for the first time the brothers separated, 
 and Anton, after travelling about, went in 
 1834: to Hanover as Conzertmeister. His 
 works consist of concerted symphonies for 
 violin and violoncello (Paris, Pleyel) ; Four 
 concertos for violin and orchestra, op. 9, 12, 
 17, 27 (Paris and Offenbach) ; Quartets for 
 2 violins, viola, and bass, op. 23 ; Trios for 
 2 violins and violoncello, op. 13 ; do. for vio- 
 lin, viola, and violoncello, op. 14 and 15 ; 
 Caprices or etudes for violin ; Duos for vio- 
 lin and violoncello, and a number of airs 
 varies for violin with orchestra. — Fetis ; 
 Mendel ; Schilling ; Meyer, Con. Lex. 
 
 BOHRER, MAXIMILIAN, born in Mu- 
 nich in 1785, died (?). Celebrated violon- 
 cellist, brother of Anton Bohrer, and pupil 
 of Schwartz at Munich. In 1799 he became 
 a member of the court orchestra, and later 
 travelled with his brother. Having heard 
 Romberg in Vienna, he adopted him as hia 
 model. After leaving Paris in 1830, he 
 travelled in Germany and was made first 
 violoncellist and Conzertmeister at the court 
 of Stuttgart ; went to Russia for the second 
 time in 1838, and in 1840 journeyed through 
 Italy. From 1842 to 1843 he was in Amer- 
 ica, and on his return visited Holland, Bel- 
 gium, and England. Works : 3 concertos 
 for violoncello, ijublished in Paris and Ber- 
 lin ; Airs varies ; Fantaisie with orchestra 
 on Russian national airs, op. 21 ; Eondoletto 
 with quartet, op. 22 ; Duos for violin and 
 violoncello. — Fetis; ]\Iendel ; Schilling. 
 
 BOIELDIEU, FRANCOIS ADRIEN, 
 born in Rouen, France, Dec. 16, 1775, died 
 at Jarcy, near Grosbois, Oct. 8, 1834. His 
 father was secretary to Archbishop La- 
 rochefoucauld, and his mother kept a milli- 
 nery shop. The young Boieldieu took his 
 first musical instruction from Broche. or- 
 ganist at the cathedral and a pupil of Pulrc 
 Martini. It has been suspected that Boiel- 
 dieu's home life was not a ha23j)y one, but, 
 
 at any rate, he began to live in Broche's 
 house when quite young, although his mas- 
 ter treated him 
 with great bru- 
 tality. Fright- 
 ened one day at 
 having made 
 an ink-spot on 
 one of Broche's 
 books, the boy 
 ran away to 
 Paris, where 
 he was found 
 by his family 
 after some trouble, and brought back to 
 Rouen, Broche promising to treat him more 
 kindly in future. What Boieldieu learned 
 of Broche can hardly have been more than 
 rudimentary, but there are no authentic ac- 
 counts of his having studied under anj' 
 other master. His native talent was of the 
 finest, and he had a very quick power of 
 observation, but his distaste for serious 
 study of harmony and counterjDoint was un- 
 conquerable. Hia great ambition was to 
 write for the stage ; accordingly he wrote 
 an opera, La fille coupable, which was 
 brought out at Rouen in 1793 with much 
 success. His success made him ambitious 
 to try his fortunes in the capital, but it is 
 uncertain whether he left Rouen immedi- 
 ately, or in 1795 after the performance of a 
 second opera, Rosalie et Myrza ; when he 
 did leave his native town, he made the jour- 
 ney to Paris on foot (having hardly any 
 money) in two days. He brought an intro- 
 duction from the singer Garat to Jadin, at 
 whose house, and at Erard's, he met the 
 principal musical notabilities then in Paris. 
 He had a pretty talent on the pianoforte, 
 and soon made quite a reputation for him- 
 self, in musical circles, by his songs, such as 
 "Le menestrel," "S'il est vrai que d'etre 
 deux," and " O toi que j'aime," but the doors 
 of the lyric theatres were shut against him 
 for some time. Although intimate with, 
 and befriended by both Cherubini and Mv- 
 hul, he characteristically neglected to avail 
 
 206
 
 BOIELDIEU 
 
 liiiuself of the opportunity to take lessons 
 iu composilioii from either of them. He 
 made bis debut as au oj)era composer in 
 Paris with La FainiUe Suisse, which was 
 brought out at the Feydeau iu 1797, and 
 ran for thirty nights, alternating with Che- 
 rubini's Medee. Other operas followed 
 quickly, until Le Calife de Bagdad, 1800, 
 set the seal to his ever-growing reputation. 
 This charming opera may be called the last 
 and best of the first period of Boieldieu's 
 artistic career. During this period he also 
 wrote some chamber music, to the success 
 of which he owed his appointment as pro- 
 fessor of the pianoforte at the Conservatoire. 
 It is said that, after Le Calife de Bagdad, 
 Boieldieu studied counterijoint seriously un- 
 der Cherubini, but FcJtis (a pupil of Boiel- 
 dieu) denies the story. Indeed, the fact that 
 Boieldieu did not produce another opera for 
 three years, and the internal evidence of 
 the vast improvement in his style when he 
 took the stage again with Ma tante Aurore, 
 in 1803, would not, of themselves, be suffi- 
 cient to prove the truth of the report ; yet, 
 on the other hand, it is hard to conceive 
 how the position of professor of composition 
 at the Conservatoire should have been of- 
 fered to, and acceptecl by him (about 1818) 
 unless he had really gone through some such 
 course of training. A few months after 
 the success of Ma tante Aurore, Boieldieu 
 went to St. Petersburg. In 1802 he had 
 married Clotilde Matleuroy, tiio famous 
 dancer, an ill-advised union, which turned 
 out unhappily, and it is j^i'obable that do- 
 mestic trials may have had something to do 
 with his going to Russia. He accepted au 
 engagement offered by the Czar Alexander, 
 by which he was bound to furnish three 
 operas a year (the Czar to find the libretti), 
 be.sides writing music for the military bands. 
 But the libretti were not forthcoming, and 
 Boieldieu was forced to take opera texts 
 which had already been set by other com- 
 posers, or else French comedies not well 
 adapted to music. Little that lie did dur- 
 ing his eight years' stay in Russia has any 
 
 importance. In 1811 Boieldieu returned 
 to Paris, where he found matters much 
 changed ; both Mehul and Cherubini had 
 withdrawn from public life, Dalayrac was 
 dead, and Catel worked but little ; the only 
 rival left him was Nioolo Isouard. Boiel- 
 dieu's first work after his return was Jean 
 de Paris (1812), which had a stupendous 
 success. What may be called Boieldieu's 
 third and finest period began properly with 
 Le Petit chaperon rouge (1818), a work 
 which took him two years to write. The 
 labor this opera cost him seriously affected 
 his health, and he withdrew to the country. 
 With the exception of some imimportant 
 works, written in conjunction with other 
 composers, Boieldieu produced nothing for 
 seven years after the Chaperon, but in 1825 
 he returned to Paris, and brought out La 
 Dame blanche, which has generally been 
 considered his masterpiece. The success of 
 this opera was overwhelming. Four years 
 later he brought out Les deux nuits, but 
 the work failed with the public, although 
 the score had brought a very high jsrice be- 
 fore the ojjera was even put into rehearsal. 
 The work of writing this opera, and the 
 chagrin consequent upon its failure, com- 
 pletely broke down Boieldieu's already deli- 
 cate health ; laryngeal phthisis declared it- 
 self in a violent form, and the remainder of 
 his life was mostly spent iu travelling in 
 hope of recovery. He was troubled also 
 with apprehensions about his future means 
 of livelihood, as the change of government in 
 1830 deprived him of an important pension. 
 This was, however, re-given to him shortly 
 before his death, together with an additional 
 pension of three thousand francs granted by 
 the Minister of the Interior. He died, on a 
 trip for his health to the South of France, at 
 his own country-seat at Jarcy. His funeral 
 was celebrated at the Invalides in Paris. 
 Boieldieu was elected a member of the In- 
 stitut in 1817 iu place of Mehul, deceased. 
 He was the greatest writer of opera-co- 
 mique of his day ; indeed, Auber was prob- 
 ably the only composer who ever surjjassed 
 
 S07
 
 BOILLY 
 
 him in this field. His melodic itiventiou 
 was unbounded, and bis stj-le, especially in 
 his second and third periods, of the highest 
 degree of finish and perfection. He had an 
 especiallj^ keen perception of theatrical ef- 
 fect, and always knew how to adapt his mu- 
 sic to the requirements of the stage ; his 
 orchestration abounded in charming effects zer, and Isouard), Opera Comique, June 18, 
 
 jeune femme colere, ib., Oct. 12, 1812 ; 
 Les voitures versees, ib., Aj)ril 29, 1820. 
 The following works were written by Boiel- 
 dieu in collaboration with others : Emma, 
 ou la prisonniere (with Cherubini), Paris, 
 Theatre Moutausier, Sept. 12, 1799 ; Le 
 baiser et la quittance (with Muhul, Kreut- 
 
 1803 ; Bayard a Mt'zieres (with Cherubini, 
 Catel, and Isouard), ib., Feb. 12, 1814 ; Les 
 Bearnais, ou Henri IV. en voyage (with R. 
 Kreutzer), ib., May 21, 1814 ; Angela, ou 
 I'Atelier de Jean Cousin (with Mme Gail), 
 ib., June 13, 1814 ; Charles de France, ou 
 Amour et Gloire (with Herold), ib., June 
 18, 181G ; Blanche de Provence, ou la Cour 
 des Fees (with Berton, Cherubini, Ki-eutzer, 
 and Paer), Opera, INIay 3, 1821 ; Les trois 
 genres (with Auber), Odeon, April 27, 
 1824 ; Pharamoud (with Berton and Kreut- 
 zer), Opera, June 10, 1825 ; La Marquise 
 de Brinvilliers (with Auber, Batton, Berton, 
 
 of color. He was little of a harmonist, but 
 his style was in general so very simple, he 
 was tempted to modulate from the principal 
 key so rarely, and trusted so little to har- 
 monic effects that his writing is very jiure 
 and free from faults. He wrote easily, but 
 spent much time and conscientious labor in 
 retouching. His only works of importance 
 are his operas : La fille coupable, given at 
 Eouen, Nov. 2, 1793 ; Rosalie et Myrza, ib., 
 Oct. 28, 1795 ; La FaniUle Suisse, Paris, 
 Theatre Feydeau, Feb. 12, 1797 ; L'heu- 
 reuse nouvelle, ib., Nov. 8, 1797 ; Le Pari, 
 ou Mombreuil et ]\Ierville, Theatre Favart, 
 Dec. 15, 1797 ; Zora'ime et Zulnare, 
 ib.. May 11, 1798 ; La Dot de Suzette, 
 ib, Sept. 6, 1798 ; Les Meprises es- 
 pagnoles, Theatre Feydeau, April 19, 
 1799 ; Benioivski, Theatre Favart, June 
 8, 1800; Le Calife de Bagdad, ib., 
 Sept. 16, 1800 ; Ma tante Aurore, Opera 
 Comique, Jan. 13, 1803 ; Aline, Reine 
 de Golconde, St. Petersburg, March 5, 1804 ; Blangini, Carafa, Cherubini, Herold, and 
 La jeinie femme colere, ib., April 18, 1805 ; PaOr), Opera Comique, Oct. 31, 1831. — J. 
 Amour et mystere, ib., 1806 ; Abderkhan, A. Refuveille, Boieldieu, sa vie et ses ceu- 
 ib., 1806 ; Tel6maque, ib., Dec. 16, 1806 ; vres (Rouen, 1851) ; G. Hequet, Boieldieu, 
 Un tour de soubrette, ib., 1807 ; Les voitures 1 sa vie et ses CBUvres (Paris, 1864) ; A. Pou- 
 versi'es, ib., 1808 ; La dame invisible, ib., gin, Boieldieu, sa vie, ses ceuvres, son ca- 
 1808 ; Rien de trop, ib., Dec. 25, 1810 ; Jean ractere, sa correspondance (Paris, 1875) ; 
 de Paris, Paris, Opera Comique, April 4, Garnier, Institut Royal de France, Fune- 
 1812 ; Le nouvean seigneur de village, ib., railles de M. Boieldieu, Discours (Paris, 
 June 29, 1813; La y" te du village voisin, 1834) ; J. A. Wash, Proces-verbal de la cere- 
 ib., March 5, 1816 ; Le pe/i7 chaperon monie funebre en I'honneur de Boieldieia 
 rouge, ib., June 30, 1818 ; La France et (Rouen, 1835). 
 
 I'Espague, Hotel de Ville, Dec. 15, 1823 ; j BOILLY, EDOUARD, born in Paris, 
 La (lame blanche, Opt'ra Comique, Dee. 10, Nov. 16, 1799, died (?). Dramatic com- 
 1825 ; Les deux nuits, ib.. May 20, 1829. ' poser, son of the genre painter Louis 
 Of the operas brought out at St. Petersburg Boilly ; pupil, at the Conservatoire, of Fe- 
 the following were repeated at Paris : Rieu tis and of Boieldieu, and won the grand 
 de troj). Opera Comique, April 9, 1811 ; La I prix for composition, 1823. Having at first
 
 BOISE 
 
 studied drawing and engraving, lie after- 
 wards returned to the latter art. Works : 
 Le bal du sous-prOfet, opera, given at the 
 Opera Comique, 1844 ; several others, not 
 represented. Thisbe, cantata, 1823. — Fe- 
 tis ; do., Suppk'ment, i. 104 ; Mendel. 
 
 BOISE, OTIS B , born, of Amer- 
 ican parentage, in Oberlin, Ohio, Aug. 13, 
 1845, still living, 1888. When about four- 
 teen years old he became organist of St. 
 Paul's Church, Cleveland. In 1861 he went 
 to Europe, and studied theory and compo- 
 sition in Leipsic under Hauptmann, Richter, 
 Moscheles, Wenzel, and others ; and three 
 years later he visited Berlin, where he 
 studied under KuUak. In 1864 he returned 
 to America and became organist of the 
 Euclid Avenue Presbyterian Church, Cleve- 
 land ; in 1870 he removed to New York, 
 where he taught music, and was for a time 
 organist of the Fifth Avenue Presbyterian 
 Church. In 1876 he again went to Europe, 
 and visited Leipsic, where some of his mu- 
 sic was performed. The following year he 
 spent at Wiesbaden, where he made the ac- 
 quaintance of Raff ; in 1878 he returned to 
 New York. On Jan. 30, 1879, he gave a 
 concert in New York, the programme con- 
 sisting entirely of his own works. His com- 
 positions consist of a Psalm for chorus and 
 orchestra, symphonies, concertos, overtures, 
 and smaller instrumental pieces. 
 
 BOISMORTIER, JOSEPH BODIN DE, 
 born at Perpignan in 1691, died in Paris in 
 1765. Dramatic composer of little merit ; 
 went early in life to Paris, where he re- 
 ceived his musical education. Works : Les 
 Voyages de I'Amour, ballet, given in Paris, 
 Academic Royale de Mnsique, 1736 ; Don 
 Quichotte chez la Duchesse, opera-ballet, 
 ib., 1743 ; Daphnis et Chloe, pastoral, ib., 
 1747 ; Daphne, ballet (1748) ; Two col- 
 lections of motets ; 6 do. of French 
 cantatas ; Airs and vaudevilles, op. 16 ; 
 Sonatas for viola, op. 10 ; Trios for two 
 violins and bass, op. 18 ; Sonatas for 
 violoncello, op. 20, 50 ; do. for two bassoons, 
 op. 14, 40 ; do. for dute, op. 3, 9, 19, 35, 
 
 44 ; Duos for two ilutes, op. 1, 2, G, 8, 13, 
 25 ; Trios for tiute, violin, and bass, op. 4, 
 7, 12, 37, 39, 41 ; Concertos for Hute, op. 
 15, 21, 31 ; Suites for two musettes, op. 11, 
 17, 27.— Fc'tis ; Mendel. 
 
 BOissELOT. do:mixique FR.\NgOIS 
 
 XAVIER, born at MontpelUer, Dec. 3, 1811, 
 still living, 1888, at Marseilles. Dramatic 
 composer, pupil of Fetis and of Lesueur at 
 the Conservatoire, Paris, where he won the 
 second prize for composition in 1834, and 
 the first in 1836. After the death, in 1850, 
 of his father (founder of a great pianoforte 
 factory at INIarseilles), he abandoned his mu- 
 sical career to take charge of the establish- 
 njent. — W^orks : Ne touchez pas a la Reine, 
 opera, given at the Opera Comique, 1847 ; 
 Mosquita la Sorciere, do.. Opera, 1851 ; Vel- 
 leda, cantata, 183G ; Overture for grand or- 
 chestra, 1838 ; Melodies and romances, with 
 pianoforte. — Fetis ; do.. Supplement, i. 105 ; 
 ; Mendel. 
 
 BOITO, ARRIGO, born at Padua, Italy, 
 Feb. 24, 1842, still 
 living, 1888. Dra- 
 matic composer, pu- 
 pil of Mazzucato at 
 the Couservatorio, 
 Milan, which he fre- 
 quented in 1853-62. 
 He first became 
 known as a musical 
 critic and a poet, 
 visited Paris in 1862 
 and 1869, Germany, 
 
 and Poland, and conceived such a liking for 
 German music and the musico-dramatic re- 
 forms of Wagner that he is sometimes called 
 the Italian Wagner. He is the author of the 
 libretti of Ponchielli's Gioconda, and other 
 operas, of his own operas, and of Verdi's 
 
 it 
 
 a\^ 
 
 Otello, and of other poetical works. Works : 
 n quarto di Giugno, cantata (1860) ; Le 
 
 S09
 
 r.OKEMEYER 
 
 Sorelle d' Italia, do. (with Faccio, 1862) ; 
 Mefislofele, opera, given at Milan, Teatro 
 della Scala, 1868 ; Ere e Leandre (MS.) ; 
 Nerone (MS.) ; Ode (1880).— Meyer, Con v. 
 Lex., xviii.; Eiemann. 
 
 B0KE:MEYEK, HEINRICH, Ijom at Im- 
 mensee, nearCelle, March, 1679, diedatWol- 
 fenbiittel, Dec. 7, 1751. Church comiioser, 
 j)upil of Georg Oesterreich at Brunswick ; 
 became cantor at Husiim in 1712, and in 
 1720 at Wolfenbiittel, having returned to 
 Brunswick in 1717. His compositions have 
 become extremely rare, and he is now 
 better known by his writings on mu.sic. — 
 Allgem. d. Biogr., iii. 93; Fetis ; Mendel, 
 Schilling. 
 
 BOLCK, OSIvAR, born at Hohenstein, 
 East Prussia, March i, 1839, died at Bremen, 
 May 2, 1888. Dramatic composer, jjupil of 
 Paetzold at Konigsberg, then of Moscheles, 
 Hauptmann, Kichter, and Rietz at the Con- 
 servatorium, Leipsic. He held positions as 
 music teacher at various institutions : 1861 
 at Wiborg, Finland, 1866 in Liverpool, 1867 
 in London, 1875 at Riga, returning between 
 times to Leijisic in 1862, 1867, 1872, and 
 1878 ; was Kapellmeister at the theatre in 
 Wurzburg, 1868, and at Aix-la-Chapelle, 
 1869, for several years chorus-master at the 
 Stadttheater in Leipsic, and since 1886 has 
 lived in the same capacity at Hamburg. 
 Works: Lustspiel-Ouverture (1861) ; Pierre 
 Robin, opera (186-1), given at Riga, 1875 ; 
 Gudrun, do. (1865) ; Der Schmied von 
 Gretna Green, do., Leipsic, 1882 ; Two An- 
 thems (London, Novello & Co.) ; Six songs, 
 op. 5 ; Miidchens Gestiindnisse, for voice and 
 pianoforte, op. 7 ; Sechs Charakterbilder, 
 for i^iauoforte, op. 46 ; Herbstklilnge, five 
 songs for baritone or contralto, op. 51. — 
 Mendel, Ergilnz., 41 ; Riemann. 
 
 BOIMTEMPO, JOAO D0:MING0S, born 
 at Lisbon, Portugal, in 1775 (or 1781), died 
 there, Aug. 13, 1842. Piani.st, went in 1806 
 to Paris to complete his musical education, 
 and lived there, with the exception of a 
 short sojourn in London, until 1820, when 
 he returned to Lisbon, and became director 
 
 of the Conservatorio in 1833 ; he was also 
 conductor of the court orchestra and mu- 
 sical instructor in the royal family. Knight 
 of the order of Christ. Works : Two con- 
 certos for pianoforte with orchestra ; So- 
 natas for pianoforte, op. 1, 5 (Paris, 1803) ; 
 Fantasias and variations for do.; Requiem 
 mass in memory of Camoens, op. 23 (Paris, 
 Ledue, 1819) ; Two other requiem masses ; 
 Solemn mass for the iDroniulgation of the 
 constitution, Lisbon, 1821 ; Matins and re- 
 sponses for the dead ; Method for the pi- 
 anoforte (London, 1816) ; Alessandro nell' 
 Indie, opera. — Fetis ; Vasconcellos. 
 
 BONA, PASQUALE, born at Cerignola, 
 Naples, Nov. 3, 1816, died in Milan, Jan., 
 1879. Dramatic composer, pupil of the Con- 
 servatorio del Buon' Pastore, Palermo ; be- 
 came professor of harmony at the Conserva- 
 torio, Milan, in 1851. Works : I Luna e i Pe- 
 rollo, given at Milan, Scala, 1844 ; Don Carlo, 
 ib., 1847 ; R Gladiatore, Turin, Teatro Eegio; 
 Vittoria, la madre degli eserciti, Genoa, Te- 
 atro Carlo Felice, 1863 ; Funeral cantata 
 in memory of Cavour ; La Settimana musi- 
 cale, 7 duos for pianoforte and clarinet ; La 
 Collana Verdiana, fantasias for violin and 
 violoncello ; 50 duets without words ; 7 
 methods for different voices ; 4 collections 
 of vocalises ; 100 daily exercises ; 100 sol- 
 feggi. — Fetis, Supplement, i. 107. 
 
 BONA, VALERIO, born at Brescia, Lom- 
 bard}-, flourished in the second half of the 
 16th century ; was living in 1619. A Fran- 
 ciscan monk of the Order of Cordeliers, he 
 was maestro di cappella of the cathedral at 
 Vercelli and at Moudovi, and maestro of the 
 chvirch of San Francisco, Milan. Works : 
 Motetti a 8 voci (Milan, 1591) ; Lamenta- 
 zioni (Venice, 1591) ; Madrigali a cinque 
 (Milan, 1600) ; Masses and motets, from 
 1591 to 1611. In the National Library, 
 Paris, is an Introitus Missarum, octo vo- 
 cum, etc. (Antwerp, 1639). He was also a 
 didactic writer. — Ft'tis ; Gerber, N. Lex. ; 
 Schilling. 
 
 BONAMICI, FERDI NANDO, Italian 
 composer, contemporary. He is the author 
 
 210
 
 BONAWITZ 
 
 of Liila Wilson, opera seria, text by Goli- 
 sciaui, represented at the Teatro Nuovo, 
 Pisa, Jan. 31, 1878 ; Cleopatra, opera seria, 
 represented at La Feuioe, Venice, Feb. 8, 
 IST'J. 
 
 BONAWITZ, JOHANN HEINRICH, 
 born at Diirkheim-ou-tbellbiue, Dee. 4, 
 1839, still living, 1888. Dramatic com- 
 poser and pianist, pupil of tbe Liege Con- 
 servatoire, lie went in 1852 witb bis pa- 
 rents to America, wbence be returned to 
 Europe in 1861 to complete bis musical 
 education. In 1861-66 be lived at Wies- 
 baden, tbeu in Paris and London, went to 
 New York in 1871, and tbere conducted 
 tbe popular symphony concerts in 1872-73. 
 After a successful concert tour tbrongb tbe 
 United States, be lived in Pbiladelpbia in 
 1874-76, tbeu for several years in Vienna, 
 wbence be undertook various concert tours ; 
 of late, again in London (1887). Works : 
 Diogenes, comic opera (1870) ; The Bride 
 of Messina, opera, given in Pbiladelpbia, 
 1874 ; Ostrolenka, do., ib., 1875 ; Irma, do., 
 London, 1885 ; Requiem mass, ib., 1881 ; 
 Fantaisie de concert, op. 22 ; Sur la mer, 
 grande fantaisie, op. 28 ; Concerto for pi- 
 anoforte witb orchestra, op. 36 ; do. for two 
 pianofortes ; Sonata for pianoforte and 
 violin. Of). 40 ; Quartet for pianoforte and 
 string instruments. — Fetis, Supplement, i. 
 107 ; Mendel ; do., Ergiinz., 42 ; Riemann. 
 
 BONDINERI, mCHELE, born in Flor- 
 ence about 1750, died about 1798. Dra- 
 matic composer and singer (under the name 
 of Neri) ; as a writer of operas a local celeb- 
 rity of Florence, where tbe following works 
 were given : La serva in contesa, 1784 ; II 
 matrimonio in Cantina, 1785 ; La locau- 
 diera, 1786 ; Le spose provenzale. La finta 
 uobile, 1787 ; L'autunno, II maestro jjer- 
 seguitato, ogni disuguaglianza amore ugu- 
 aglia, 1788 ; II veccbio spezziale deluso in 
 amore, 1791.— Fetis ; Mendel. 
 
 BONDMAN, THE, English opera in 
 three acts, text by Alfred Bunn, music by 
 Balfe, represented at Drury Lane Theatre, 
 London, Dec. 11, 1846. Subject adapted 
 
 from tbe elder Dumas' "Le Chevalier Saint- 
 Georges." The opera, which was a success, 
 was sung by Miss Romer, Miss Rebecca 
 Isaacs, and Messrs. Weiss, Harrison, Harley, 
 and Rafter. It was produced at tbe Court 
 Opera, Berlin, in 1849, as Dcr Mulatto, 
 with Frau Koesler and Herr Mauting in tbe 
 chief roles.— Barrett, Balfe, 187, 204 ; Ken- 
 ney, Memoir, 215. 
 
 BONDUCA, English tragedy in five acts, 
 text by Betterton, with music by Henry 
 Purcell, represented in London, 1696. The 
 libretto is an adaptation of Beaumont and 
 Fletcher's "Bonduca" (1616), which is 
 founded upon the story of Bonduca or Boa- 
 dicea in Taeitus's "Annals" (Books sii. and 
 xiv.). The music was composed in 1695, 
 the last year of Purcell's life, and the piece 
 was brought out after bis death. Tbe work 
 has some powerful and pathetic scenes, but 
 is quite unfit for tbe modern stage. Edited 
 by Edward F. Rimbault, and published by 
 the Musical Antiquarian Society (Loudon, 
 1 1841).— Hogarth, i. 183. 
 I BONESI, BENEDETTO, born at Ber- 
 gamo about 1750, died in Paris in 1812. 
 j Dramatic composer and singer, pupil of 
 Augusto Cantoni in singing, and at Milan of 
 j Andrea Fioroni in comjjosition. He went 
 to Paris in 1779, and became vocal instruc- 
 tor at tbe Comudie Italieune. Works : Pyg- 
 [ malion, duodrama, given at the Comedie 
 Italienne, 1780 ; Judith, oratorio, Concert 
 , Spirituel, 1781 ; La niagie a la mode, ojjera, 
 Theatre Beaujolais, 1782 ; Le rosier, do., 
 ib., 1782 ; Amasis, ballet, ib., 1788. He 
 also wrote Traite de la mesure, etc. (Paris, 
 1806), which is bis best production. — Fetis ; 
 Mendel. 
 
 BONPICHI, PAOLO, born at Livraga, 
 Lombardy, Oct. 16, 1769, died at Lodi, 
 Dec. 29, 1840. Church composer, showed 
 early great talent for music, and learned to 
 play on tbe pianoforte and tbe organ with- 
 out a teacher. At Parma, where he studied 
 at tbe university, an old maestro of Marti- 
 ni's school taught him to accompany figured 
 basses and to read scores. At the age of 
 
 Sll
 
 BONHEUE 
 
 eighteen be entered the Order of Servites, 
 and in 1789 went to Kome, where he stud- 
 ied counterpoint under Guglielmi, and the 
 works of the classic German and Italian 
 masters. On the sup23ression of his order 
 in 1805 he retired to Milan, whence in 1828 
 he was called to Eome as maestro di cappella 
 at the Santa Casa di Loreto. Works — Orato- 
 rios : La morte d' Adamo ; La genesi ; La 
 nuvoletta d' Elia ; E Paradise perduto ; II 
 passagio del mar rosso ; Elia sul Carmelo ; 
 Ester, ossia La morte d' Amanno ; I tre Fau- 
 ciulli nella Fornaee di Babilouia ; La morte 
 di Baldassare ; La resurezione ; La discesa 
 al limbo ; L' ascensioue di Maria ; II figli- 
 uol prodigo ; La decolazione di S. Giovanni 
 Battista. Cantatas : H trionfo di Giuditta ; 
 II trasporto dell' area ; II natale di Gesh 
 Cristo ; La epifania ; La j)entecoste ; I trat- 
 tenimenti di S. Filipino Neri ; L' iuveuzione 
 e Kej)osizione del Corjjo di Sta Cecilia ; Cau- 
 tico di Zacharia. Operas : La Climene, per- 
 formed at Parma ; Abradata e Dircea, Tur- 
 in, 1817 ; Lauretta (?), opera buft'a ; Ten 
 Masses ; Requiem ; Two Miserere ; Five 
 Magnificat ; Te Deum ; Stabat Mater ; Many 
 Tantum ergo ; Hj'mns ; Psalms ; Versets ; 
 Many overtures and other instrumental 
 pieces. — Fetis ; Mendel ; Schilling. 
 
 BONHEUR DE LA TABLE. See Hu- 
 guenots. 
 
 BONIFORTI, CARLO, bora at Ai-ona, 
 Piedmont, in 1818, died at Trezzo d'Adda, 
 Lombardy, Oct. 10, 1S79. Dramatic com- 
 poser, pupil at jNIilan of Bouazzi, whom he 
 succeeded in 1811 as organist at the cathe- 
 dral, and royal maestro di cai^jsella, retain- 
 ing afterwards only the latter position. In 
 1852 he became professor of harmony and 
 counterpoint at the Conservatorio. Mem- 
 ber of Accademia di Santa Cecilia, Rome. 
 "Works : Velleda, opera, given at Milan, 
 Scala, 1817 ; Giovauua di Fiandra, ib., 
 1818 ; Overture for grand orchestra ; Many 
 religious compositions, with organ or or- 
 chestra. — Fetis, Supplement, i. 107. 
 
 BONrV'ENTI, GIUSEPPE, born at Yen- 
 ice, flourished about the end of the 17th 
 
 and during the first half of the 18tli cen- 
 tury. Dramatic composer, author of the 
 following operas : II gran Macedone, given 
 in Rome, 1690 ; Almerinda, 1691 ; Almira, 
 1691 ; La vittoria nella Costanza, Venice, 
 Teatro Sant' Angiolo, 1702 ; Endimione, 
 Naples, 1702 ; Armida al caiupo, Venice, 
 1707; Circe delusa, Italy, 1711; La Virtii 
 fra iNemici, Venice, Teatro San Mose, 1718; 
 Ariana abbandonata, Venice, 1719 ; L' In- 
 ganno fortunato, ib., 1721 ; II Vinceslao, 
 Turin, 1721 ; Pertarido, re de' Longobardi, 
 Venice, 1727. — Fetis. 
 
 BONMARCHE, JEAN, born at Ypres (or 
 Valenciennes?) about 1520. Church com- 
 poser, became canon and choirmaster at 
 Cambrai, and in 1565 maestro de capilla to 
 Philip n. of Spain (at Brussels ?). In his 
 old age he seems to have retired to Valen- 
 ciennes. His masses and motets (MS.) are 
 in the library of the Escurial. — Biog. nat. de 
 Belgique, ii. 685 ; Fetis. 
 
 BONNAY, FRANgOIS, flourished in 
 Paris about 1780-1800. Dramatic com- 
 poser, and violinist in the orchestra of the 
 Opera in Paris about 1787. Member of 
 the Academie Roj'ale de Musique. Works: 
 Colin et Colette, given in Paris, Theatre de 
 Beaujolais, 1786 ; Les deux jaloux, Les cu- 
 rieux punis, La fete de I'arquebuse, ib., 
 1787 ; Les amants ridicules, ib., 1790. 
 
 BONNET, JEAN BAPTISTE, bom at 
 Montauban (Taru-et-Garoune), April 23, 
 1763, time of death not known. Violinist, 
 pupil of Giornovicqhi and of Mestrino ; was 
 first violin in the theatre orchestras at Brest 
 and Nantes, and in 1802 retired to his na- 
 tive city, where he was made organist of 
 the cathedral. Works : 8 concertos for 
 violin ; 10 sj-mphonies concertantes for two 
 violins ; 30 duos for do., op. 1, 3, 6, 9, and 
 10 ; 6 quartets for strings ; 6 trios for do.; 
 12- divertissements for grand orchestra. 
 —Fetis. 
 
 BONO (Bonno), GIUSEPPE, born in Vi- 
 enna in 1710, died there, April 15, 1788. 
 Dramatic composer. The son of one of the 
 I imperial footmen, he was sent to Naples to 
 
 aia
 
 BONOLDI 
 
 study compositiou, was taken into the Im- 
 perial Hofkapelle as Hofscholar in 1738, 
 and rose to be Hofcorapositeur iu 1739, 
 and Hofkapellmeister in 1774. For many 
 years he was vice-president of the Ton- 
 kiintsler-Societat, Vienna, and his scores 
 are preserved iu the Imperial Library and 
 the jMusik-Verein. Works— Operas: Natale 
 di Giove, given at Venice, 1740 ; Danae, Vi- 
 enna, 1744 ; Ezio, ib., 1740 ; H vero omag- 
 gio, ib., 1750 ; L' eroe cinese, L' isola di- 
 sabilitata, ib., 1752 ; II re pastore, Milan, 
 1753 ; Atenaide, Vienna, 1762. Oratorios : 
 Isacco, San Paolo in Atene. — Fetis ; Men- 
 del ; Schilling. 
 
 BONOLDI, FEANCESCO, died at Mon- 
 za, near Milan, March 24, 1873. Instru- 
 mental compo.ser, son of the tenor singer 
 Claudio Bonoldi ; pupil of the Couserva- 
 torio, Milan. Works ; Symphonies and 
 overtures for orchestra ; Pot-pourris on op- 
 eratic themes, for pianoforte ; Variations 
 and valses for do. ; An opera, H Mauro, was 
 given at Trieste, 1833. — Fotis. 
 
 BONONCINI (Buononcini), GIOVANNI 
 BATTISTA, born at 
 Modena in IGGO, died 
 probably in Venice 
 in or after 17 5 0. 
 Dramatic composer 
 and violoncellist, son 
 and pupil of Giovanni 
 Maria Bononciui, 
 then at Bologna pu- 
 pil of Paolo Colonna. He went about 1091 
 to Vienna, where he was made violoncellist 
 to the emperor, and brought out an opera 
 with extraordinary success, which, however, 
 was afterwards proved to be the work of his 
 brother j\Iarco Antonio. Called to Kome 
 in 1094, he returned to Vienna in 1699, 
 and again iu 1706, having spent two years 
 (1703-5) in Berlin as court composer to 
 Queen Sophie Charlotte. The years 1706- 
 20 were divided between Vienna and Italy. 
 While iu Eome, in 1716, he was invited to 
 London, where soon a great rivalry sprang 
 up between him and Handel and, through 
 
 p^ 
 
 the patronage of the former by the Duchess 
 of Marlborough, and of the latter by the 
 court, assumed an almost political character. 
 The strife ended with the defeat of Bonon- 
 cini owing to the discovery, iu 1731, of his 
 plagiarism of a madrigal by Antonio Lotti. 
 His prospects being thus impaired, he was 
 enticed iu 1733 by an alchemist adventurer 
 to go to Paris, where he lost his entire fort- 
 une and was obliged again to resort to his 
 art. Iu 1748 he was recalled to Vienna to 
 compose the music for the festivities after 
 the peace of Aix-la-Chapelle. Soon after he 
 went to Venice, where he composed for the 
 theatre and was still active at the age of 
 ninety. Works — Operas: Tullo Ostilio, 
 Serse, given in Home, 1694 ; La Fede pub- 
 blica, Vienna, 1699 ; Aftetti pin graudi vinti 
 dal piti giusto, 1701 ; PoUfemo, Berlin, 
 1703 ; Eudimione, Vienna, 1706 ; Mario 
 fugitive, Tamiride, ib., 1708 ; Abdalomino, 
 ib., 1709 ; Muzio Scevola, ib., 1710 ; Astarte, 
 London, 1720 ; Crispo, Grmlda, ib., 1722 ; 
 Farnace, Erminia, ib., 1723 ; Calpurnia, ib., 
 1724 ; Alessandro in Sidoue, Vienna, 1737. 
 Symphonies for 5, 6, 7, and 8 instruments, 
 op. 2 (Bologna, 1685) ; do. for 3 instru- 
 ments with organ, op. 3 (ib., 1686) ; do. for 
 several instruments, op. 5 ; do. for violin 
 and violoncello, op. G (ib., 1687) ; Mass for 
 eight voices, op. 7 ; do., op. 8 (ib., 1688) ; 
 Duetti da camera, op. 9 (ib., 1691) ; Cantate 
 e duetti (London, 1721) ; Funeral Anthem 
 for the Duke of Marlborough (ib., 1722) ; 
 Divertimenti di camera (ib., 1722) ; 12 so- 
 natas or chamber airs for two violins and 
 bass (ib., 1732) ; II Giosue, oratorio.— Fetis ; 
 Gerber, N. Lex. ; Hawkins, v. 274 ; Mendel ; 
 Schilling ; Grove, i. 649 ; Hogarth, ii. 19. 
 
 BONONCINI, GIOVANNI IMARIA, born 
 at Modena in 1G40, died there, Nov. 19, 
 1678. Instrumental and vocal composer, 
 studied in Bologna, and at an early age en- 
 tered the service of the Duke of Modena, 
 and became maestro di cappella of S. Gio- 
 vanni in Monte. Member of the Accademia 
 Filarmonica of Bologna. Works : Primi 
 frutti del giardino musicale, for 2 violins 
 
 213
 
 EOXONCINI 
 
 (Venice, Magni, 1666) ; Vaij fiori, etc., so- 
 natas for 2, 3, and i instruments, op. 3 (Bo- 
 logna, 1669) ; Arie, Correnti, Sarabande, 
 etc., for 2 violins and double-bass, op. 4 
 (ib., Monti, 1674) ; Siufouie, Allemaude, 
 etc., for 5 parts, op. 5 (ilj., 1671) ; Sonatas 
 for 2 violins with organ, op. 6 (ib., 1077) ; 
 Ariette, correnti, gighe, etc., for violin solo 
 and 2 violins, op. 7 (ib., 1677) ; Musico pra- 
 tico, op. 8 (ib., 1673) ; Trattenimenti musi- 
 cali, for 3 or 4 instruments, op. 9 (ib., 
 1675) ; Cantata a voce sola, op. 10 (ib., 
 1677) ; Partitura de' madrigali a cinque 
 voci, etc., op. 11 (1678) ; Arie correnti, for 
 
 three instruments, op. 12 (ib., 1678) ; Libro 
 secondo delle cantate, op. 13 (ib., 1678). 
 — FOtis ; Gerber, N. Lex. ; Mendel. 
 
 BONONCINI, MARCO ANTONIO, born 
 at Modena about 1675, died there, July 8, 
 1726. Dramatic composer, brother of Gio- 
 vanni Battista, with whom he is said to have 
 been in Vienna and Berlin, and who seems 
 to have availed himself of Antonio's superior 
 talent in the composition of his operas. It 
 is certain only that he was in Rome in 1714 
 and was made maestro di cappella to the 
 Duke of Modena in 1721. Padre Martini 
 praises his elevated style, and places him 
 above all his contemporaries. Works — Op- 
 eras : Camilla, regina de' Volsci, given in 
 Vienna, 1692 ; Griselda, Italy, about 1700 ; 
 Andromeda ; Arminio ; Sesostri ; Turno 
 Ai'icino, Florence, 1704 ; Etearco, Vienna, 
 1707 ; La regina creduta re, Venice, 1707 ; 
 Tigrane, re d' Armenia, Cajo Gracco, ib., 
 1710 ; Astianatte, ib., 1718 ; La decoUazione 
 di S. Giovanni Battista, oratorio, Vienna, 
 1709 ; Christinas cantata. — Ft'tis ; Gerber, 
 N. Lex, ; Scliilling. 
 
 BONPORTI, FRANCESCO ANTONIO, 
 born at Trent, Tyrol, about 1660, died (?). 
 Instrumental composer. He was Aulic 
 Counsellor to the Emperor of Austria, and 
 gave much time to the study of music. 
 
 Works : Sonatas for two violins and bass 
 (Venice, 1696) ; Le triomphe de la Grande 
 Alliance, op. 8 ; One hundred minuets for 
 violins and bass ; Dodici Concertini e Se- 
 renate, etc. (Augsburg, 1741) ; and many 
 motets and sonatas. — Fetis ; Gerber. 
 
 BONTEMPI, GIOVANNI ANDREA, sur- 
 named Angelini, born at Perugia about 
 1630, died there after 1697. Singer, dra- 
 matic composer, and didactic writer, pupil 
 of Virgilio Mazzocchi. He was maestro di 
 cappella of a church in Rome, then in Ven- 
 ice, and entered the service of Margrave 
 Christian Ernst of Brandenburg at Berlin, 
 exchanging his jjosition in 1660 for a more 
 influential one at the court of Elector Jo- 
 bann Georg U. of Saxony, at Dresden. In 
 1694 he returned to Perugia. Works : Pa- 
 ride, opera, given in Berlin (published in 
 Dresden, 1662) ; Martirio di S. Emiliano, 
 oratorio. — Fetis ; Gerber, N. Lex.; Mendel ; 
 Schilling. 
 
 BOOM, JOHANNES VAN, born at 
 Utrecht, Oct. 15, 1807, died at Stockholm 
 in April, 1872. Pianist, son and pupil of 
 Johannes E. G. Van Boom, an eminent flut- 
 ist (born, 1783) ; made a concert tour to Den- 
 mark and Sweden about 1825, and was in- 
 duced to settle at Stockholm, where he 
 became member of the Academy in 1844, 
 and professor iu 1848. In 1862 he visited 
 the principal cities of Europe to study the 
 system of musical instruction. He com- 
 posed operas, symjihouies, overtures, quar- 
 tets, trios, and many works for pianoforte. 
 —Mendel ; Viotta. 
 
 BOOTH, KARL EDMUND OTTO VON, 
 born at Weinheini, Baden, March 13, 1842, 
 still living, 1888. Violinist, organist, and 
 pianist, pupil of the Conservatorium at 
 Carlsruhe, studied the violin under Con- 
 zertmeister Will, comijosition under Mo- 
 lique, and the organ under Dr. Steggall. 
 He made his debut as a violinist at Birming- 
 ham in 1853, and settled in London in 1856. 
 Organist at St. Mutthew's, Bayswater, in 
 1868-75. Works : Symphony in C minor ; 
 Prizes and Blanks, operetta ; A cantata ; 
 
 ai4
 
 BOOTT 
 
 Godiva, overture for orchestra ; JMarclie 
 funebre for do. ; Te Deuin in D ; Anthems 
 and church services ; Sonata quasi-fantasia, 
 for organ ; Offertories for do. ; Quartets and 
 quintets for stringed instruments ; Victoria 
 March for orchestra ; Sonata in A minor, 
 for viohn and pianoforte ; do. in D ; Ro- 
 mance in F, for do. ; Ten easy pieces for 
 do.; Wanderlieder, sketches for pianoforte; 
 Gavotte and Bourn'e for do. ; Songs, etc. 
 
 BOOTT, FRANCIS, born, of English par- 
 entage, in Boston, Massachusetts, June 24, 
 1813, still living, 1888. He studied har- 
 mony under Luigi Picchianti, in Florence, 
 Italy, where he has passed much of his life, 
 and where he is honorary professor in the 
 Academy of Fine Arts. Works : Mass, for 
 soli, chorus, and orchestra ; Song of Zecha- 
 riah, do.; Te Deum, do.; Memento Rerum, 
 hymn for eight parts ; Miserere, for chorus 
 a cappella ; Several string quartets. Songs : 
 Aftermath (Longfellow) ; Ave Maria ; Break, 
 Break (Tennyson) ; Kyrie Eleison (Longfel- 
 low) ; Laus Deo (Whittier) ; Rose upon the 
 Balcony (Thackeray) ; Sands of Dee ; We 
 Two (Ingelow) ; The Sea hath its Pearls 
 (Heine) ; Brooklet (Longfellow), duet ; Riv- 
 ulet (Tennyson), duet ; The Clover Blossoms, 
 duet ; Maria Mater, cpiartet, etc. His first 
 compositions were published under the 
 pseudonym of Telford. 
 
 BORDE. See Laborde. 
 
 BORDESE, LITIGI, born at Naples, Italy, 
 in 1815, died in Paris, Feb. 17, 1880. Dra- 
 matic composer, jjupil of the Conservatorio 
 at Najjles ; went in 1834 to Turin to bring 
 out an opera which he had been commis- 
 sioned to write, and thence to Paris, where, 
 after repeated failures of his dramatic ef- 
 forts, he devoted himself to the teachinir 
 and composition of vocal music. Works — 
 Operas : Zelimo e Zoraide, given in Turin, 
 1834 ; La Mantille, Paris, Opera Comique, 
 1837 ; L'automate de Vaucauson, Jeanne 
 de Naples (with Monpou), ib., 1840 ; I 
 Quindici, Naples, Teatro San Carlo, 1842 ; 
 Le Sultan Saladin, Paris, Opera Comique, 
 1847 ; Les deux bambins, ib., 1848 ; La 
 
 Fioraia (18fi7) ; Three masses; A requiem; 
 Motets ; Several vocal methods, and series 
 of solfeggi, and hundreds of sacred and sec- 
 ular songs for single and concerted voices. 
 — Fetis ; do.. Supplement, i. 109. 
 
 BORETTI, GIOVANNI ANDREA, born 
 in Rome about 1(340. Dramatic composer, 
 maestro di capj)ella at the court of Parma. 
 Works : Zenobia, given in Venice, Teatro 
 di San Cassiano, IGGG ; Alessandro aniante, 
 1667 ; Eliogabalo, Naples, 1668 ; Marcello 
 in Siraeusa, Venice, 1670, Bologna, 1672 ; 
 Ercole in Tebe, Rome, 1671 ; Dario in Babi- 
 lonia, Parma, 1671 ; Claudio Cesare, 1672 ; 
 Domiziano, 1673. — Fctis. 
 
 BORG.VTTA, EMANUELE, born at 
 Genoa about 1810, still living, 1888? Pi- 
 anist, made himself known by concerts given 
 in his native city in 1832, and in Milan, 1833. 
 Works : II Quadromaniaco, opera, given at 
 Genoa, 183.5 ; Francesca da Rimini, do., ib., 
 1837 ; Sonata for pianoforte ; Cadence ca- 
 pricieuse for do. ; Variations on operatic 
 themes for do. ; Italian romances. — Fetis. 
 
 BORGHESE, ANTONIO, born in Rome 
 in the second half of tlie 18tli century. Dra- 
 matic composer, w-ent to Paris about 1777. 
 Works : La Bazoehe, opera, given in Paris, 
 Theatre Beaujolais, 1787 ; Der unvermuthete 
 gliickliche Augenblick, ojieretta, given in 
 Germany ; Sonatas for pianoforte, with vio- 
 lin obligato, op. 2 (Paris, 1780). He pub- 
 lished also L'art musical, etc. (ib., 1786) ; 
 Traitii de composition (ib., 1788). — Fetis. 
 
 BORGHI, GIOVANNI BATTISTA, born 
 at Orvieto, Umbria, about 1740, last heard 
 of in 1800. Dramatic composer, maestro 
 di cappella of the Cliiesa della Santa Casa 
 at Loreto in 1770. He went to Vienna in 
 1797, thence to Russia, and returned to 
 Italy in 1800. Works — Operas : Alessandro 
 in Armenia (1768) ; Merope, given in Rome, 
 1768 ; Giro riconosciuto, given in Venice, 
 1771 ; Ricimero (1773) ; La Donna instabile, 
 Rome, 1776 ; Artaserse, Venice, 1776 ; Eu- 
 niene, Turin, 1778 ; Pirarao e Tisbe, Flor- 
 ence, 1783; L' Olimpiade, ib., 1785; La 
 Morte di Semiramide, Milan, 1791 ; EgiUna,
 
 EOUGill 
 
 ib., 1793; Semiramis, Vienna, 1798; II j 
 Tempio di Guido ; Two masses for four i 
 voices and orchestra ; A Dixit for four 
 voices ; Laudate for five voices ; Domine for 
 five voices ; Lamentazione per il Giovedi 
 Sauto for bass voice and orchestra ; Two 
 litanies for four voices, and one for two 
 choirs and orchestra. — Petis ; do., Supjjle- 
 ment, i. 110 ; Mendel ; Schilling. 
 
 BOEGHI, LUIGI, flourished in the 18th 
 centuiy, time of birth and death unknown. 
 Violinist, pupil of Pugnani. He lived from 
 about 1780 in London, where he was a lead- 
 er of the second violins at the Handel Com- 
 memoration in 1784. He jsublished music 
 for his instrument in London, Berlin, Paris, 
 and Amsterdam. "Works : 6 sonatas for vio- 
 lin and bass, op. 2 ; G solos for violin, op. 3 ; 
 6 duos for two violins, op. 4 ; 6 duos for 
 violin and violoncello, op. 7 ; 6 symphonies 
 for full and small orchestra ; Italian canzo- 
 nets, etc. — Fetis ; Grove ; Mendel ; Schilling. 
 BOKIS GODUNOW, Russian opera, mu- 
 sic by Mussorgski, represented at the Marie 
 Theatre, St. Petersburg, 1872. It is one of 
 the most popular works in the Eussian rep- 
 ertorv. 
 
 BOKODESr, ALEXANDER, born at St. 
 Petersburg, Nov. 12, 
 1834, died Feb. 22, 
 1887. Amateur in- 
 strumental composer, 
 studied medicine and 
 c h e m i s t r J' at the 
 Academy, whei-e he 
 became professor. 
 He was one of the 
 chief representatives 
 of the young Russian 
 school in music, and president of the Society 
 of Music Lovers at St. Petersburg. Works : 
 Middle Asia, symphonic poem ; 2 sj'mpho- 
 nies ; String quartets ; Pianoforte music ; 
 Prince Igor, opera (MS.). — Riemanu. 
 
 BORONI (Buroni), ANTONIO, born in 
 Rome in 1738, died there in 1797. Dra- 
 matic composer, pupil of Padre Martini at 
 Bologna, and of Abos at the Conservatorio 
 
 della Piet;"i, Naples. He brought out some 
 of his first operas at Venice in 1762, visited 
 Prague in 1764, became miisical director 
 and composer of the theatre at Dresden in 
 1765, and Hof-Kapiellmeister to the Duke 
 of Wiirtemberg at Stuttgart in 1770. He 
 returned to Italy in 1780, and became maes- 
 tro di cappella at St. Peter's, Rome, in 1785. 
 "Works — Operas : L' Amore in musica, La 
 notte critica, given in Venice, about 1760 ; 
 Alessandro in Armenia, ib., 1762 ; Sofonisba, 
 Le villegiatrici ridicole, ib., 1764 ; Siroe, 
 re di Persia, Prague, 1764 ; La moda, II 
 Carnevale, Le orfane suizzere, Dresden, 
 1769 ; Ricimero, Stuttgart, 1773 ; La donna 
 instabile, Artaserse, ib., 1776 ; Eomene, ib., 
 1778. He wrote also motets and symjjho- 
 uies and much church music. — Fetis ; Men- 
 del ; Gerber ; Schilling. 
 
 BORREMANS, JOSEPH, bom at Brus- 
 sels, Nov. 25, 1775, died at Uccle-les-Bru- 
 xelles, Dec. 15, 1858. Organist and dramatic 
 composer'; maitre de ehapelle in his native 
 city at Sainte-Gudule, organist of Saint- 
 Nicolas, and second chef d'orchestre at the 
 Theatre de la Mounaie, where he brought 
 out the following works : De Klapperman, 
 ou Le crieur de uuit d'Amsterdam, comic 
 opera, 1804 ; La femme imj)romptue, opi'ra- 
 bouffe, 1808 ; L'ofl'rande a I'Hymen, lyric 
 scene, 1816. He has left also masses, Te 
 Deum, motets, etc., with orchestral accom- 
 paniment. — Fetis, Supplement, i. 111. 
 
 BORRONI, ANTONIO, Italian church 
 composer, flourished about the middle of 
 the 17th century. He was among the first 
 to substitute for the severe stilo osservato 
 of Palestriua a freer style of composition. 
 His masses and motets remain in manu- 
 script. — Fetis ; Mendel. 
 
 BORSARO (Borsari), ARCHANGELO, 
 born at Reggio about 1570. Church com- 
 2)oser and Franciscan friar, about whose life 
 nothing is known. "Works : Magnificat su- 
 per omnes tonos (Venice, 1591) ; 7 books of 
 concerti ecclesiastici (ib., 1593-1606) ; Ves- 
 pertina psalmodia (ib., 1602) ; Novo giar- 
 dino di concerti, op. 11 (ib., 1611) ; Secondo 
 
 216
 
 P.OKTNIANSKY 
 
 libro degl' odoranti fiori, op. 13 (ib., 1615) ; 
 Aftectibus pietosis, G books of motets (ib., 
 1G15) ; Cauzonette si3iritiiali (ib., 1616) ; 
 Diversoi'um concejjtuum luusicalium, 3 
 books of miscellaneous cburcli music (161G- 
 18).— Fetis. 
 BOETNIANSKY. See Bartmiud'n. 
 BORTOLAZZI, BARTOLOMEO, born in 
 Venice in 1773, died in Vienna (?). Man- 
 dolin and guitar jjlayer, went to Germany 
 in 1803, and gave concerts at Dresden, 
 Leipsic, Brunswick, Berlin, and settled in 
 Vienna. Works : Variations, rondos, fan- 
 tasias, for guitar solo, or with violin, piano- 
 forte, and mandolin ; 6 variations for man- 
 dolin or violin and guitar, op. 8 ; Sonata 
 for pianoforte and mandolin or violin, op. 
 9 ; 6 themes vaiies for mandolin or violin 
 and guitar, op. 10 ; 6 variations for guitar 
 and violin obligato, op. 13 ; Sonata for gui- 
 tar and pianoforte ; 2 collections of Italian 
 and German songs ; 6 French romances, 
 op. 20.— Fetis ; Schilling. 
 
 BORZIO, CARLO, Italian dramatic and 
 church composer, maestro di cajipella at 
 Lodi towards the end of the 17th centur^y. 
 Works : Narciso, opera, given at Lodi, 1676 ; 
 Pastorale, Bologna, 1691 ; Much church mu- 
 sic. — Fetis. 
 
 BOSCAJUOLO, IL. See I'Ame en peine. 
 BOSI (Bossi), born at Ferrara in 1773, 
 died in London in September, 1802. Dra- 
 matic composer, brought out some operas 
 in Italy, but went to London about 1792, 
 and composed chiefly ballet music, such as : 
 Little Peggy's Love, L'Amant Statue, 1797 ; 
 Acis and Galatea. He published also so- 
 natas and other music for jiianoforte. — Fe- 
 tis ; Mendel. 
 
 BOSSELET, CHARLES, born at Lyons, 
 July 27, 1812, died at Saint-Josse-ten-Noode- 
 les-Bruxelles, April 2, 1873. Dramatic and 
 church composer, pupil of Fetis at the Con- 
 servatoire, Brussels, where he won the first 
 prize for composition in 1836, and became 
 professor of harmony in 1840. He was also 
 second chef d'orehestre at the Royal Theatre 
 from 1835. Works : Ballets, given at the 
 
 Theatre de la Monnaie, Brussels : Les Dry- 
 ades ; Arlecjuiu et Pierrot ; Terpsychore sur 
 terre ; Masses, motets ; Four-part songs for 
 male voices. — Fetis ; do., Supplement, i. 
 113 ; Mendel. 
 
 BOTT, JEAN JOSEPH, born at Cassel, 
 March 9, 1826, still living, 1888, at Ham- 
 burg. Violinist, sou of and first instructed 
 by the court musician Anton Bott (1795- 
 1869), then pupil of Spohr on the violin, 
 and of Moritz Hauptmann in theory. He 
 made a successful concert tour through 
 North Germany, and became solo violinist 
 of the Electoral Orchestra in 1846, Con- 
 zertmeister in 1846, and assistant Kapell- 
 meister in 1851. In 1856 he went as 
 Hof-Kapellmeister to Meiningen, and in 
 1865 to Hanover, where he was jjensioned 
 in 1878. He then taught nuisic for several 
 years at Magdeburg, and in 1884 settled at 
 Hamburg, whence he visited America in 
 1885. Works : Der imbekannte, opera, 
 given at Cassel, 1854 ; Actiia, das Miidcheu 
 von Corinth, do., Berlin, 1862 ; Sympho- 
 nies ; Overtures ; Concertos for violin ; Soli 
 for do.; Pianoforte music and songs. — Fe- 
 tis ; Mendel ; Riemanu. 
 
 BOTTE, ADOLPHE ACHILLE, born at 
 Pavilly (Seine-Inferieure), Sept. 29, 1823, 
 still living, 1888. Pianist, pupil at the 
 Conservatoire, Paris, of Ziminermann on 
 the pianoforte, of Savard and Leborne in 
 harmony, counterpoint, and fugue ; in 1842 
 he settled at Rouen, and in 1854 in Paris, 
 where he devoted himself to his profession 
 and to musical criticism. In 1864 he be- 
 came professor at the Convent des Oiseaux. 
 Works : Jocelyn, overture for grand orches- 
 tra ; Le corsaii'e, do. ; Album do chant 
 (1846) ; Album for pianoforte ; Souvenir de 
 I'ange gardien, six etudes de stylo (1850) ; 
 2 new albums (1855, 1857) ; 7 characteristic 
 pieces for pianoforte, etc. — Fetis, Sup^jlO- 
 ment, i. 113. 
 
 BOTTESmi, GIOVANNI, born at Cre- 
 ma, Lombardy, Dec. 24, 1823, still living, 
 1888. Dramatic composer and vii'tuoso on 
 the double-bass ; pupil of the Conserva-
 
 BOTTOM LEY 
 
 ~. <■■ 
 
 torio, Milan. He studied the double-bass 
 under Rossi, and counterpoint and har- 
 mony under Fran- 
 cesco Basili and Vac- 
 caj. After a concert 
 tour in Italy from 
 1840 to 18i6, he be- 
 came conductor of 
 the orchestra in the 
 theatre at Havana. 
 Since then he has 
 made various jour- 
 neys to America, vis- 
 iting the United 
 States and Mexico and the northern portions 
 of South America. In 1855 he became chef 
 d'orchestre at the Italiens, Paris. In 1857- 
 58 he travelled through Germany, Holland, 
 Belgium, France, and England on a concert 
 tour, in 1861 was maestro di capjsella of the 
 Teatro Bellini at Palermo, in 1863 at Barce- 
 lona, then founded in Florence the Societa 
 di Quartetto for the cultivation of German 
 classical music, and subsequently divided 
 his time between Florence and London, 
 whither he went last in 1871 as director of 
 an opera troupe at the Lyceum, but returned 
 again to Italy. "Works — Operas : Cristoforo 
 Colombo, given at Havana, 1847 ; L' Assedio 
 di Firenze, Paris, Theatre Italien, 1856 ; II 
 Diavolo della notte, oijera buifa, Milan, 
 Teatro di Santa Radegonda, 1859 ; Marion 
 Delorme, Palermo, 1862 ; Vinciguerra, op- 
 eretta, Paris, Theatre du Palais Royal, 1870 ; 
 Ali Baba, comic opera, London, 1871 ; Ero 
 6 Leandro, Turin, 1879 ; La Regina del 
 NeiDal, ib., 1880; Symphonies; Overtures; 
 Quartets ; INIany comf)ositions for double- 
 bass ; Songs. — Fe'tis ; Mendel ; Riemann. 
 
 B0TT05ILEY, JOSEPH, born at Hali- 
 fax, Yorkshire, in 1786, died (?). Organist 
 and pianist, pupil of Grirashaw at Manches- 
 ter, of Watts and Yaniewicz, in Leeds of 
 Lawton, and in Loudon of Woelfl. He was 
 organist at Bradford in 1807, then at Hali- 
 fax, and from 1820 at Sheffield. Works : 
 G exercises for pianoforte ; 12 sonatinas ; 2 
 divertissements with flute ; 12 waltzes ; 8 
 
 rondos ; 10 airs varies ; Duets for pianoforte. 
 — Fetis ; Mendel. 
 
 BOUCHER, ALEXANDRE JEAN, born 
 in Paris, April 11, 
 1770, died there 
 Dec. 29, 1861. Vio- 
 lin virtuoso, said to 
 have played at the 
 Concerts Spirituels 
 when only six years 
 old ; went to Madrid 
 in 1787, and was 
 appointed solo vio- 
 linist to the king. 
 In 1806 he returned to Paris, and in 1820 
 began to travel over Europe, exciting ev- 
 erywhere great enthusiasm on account of 
 his extraordinary skill in execution. He 
 styled himself L'Alexandre des violons. 
 He composed two concertos for his instru- 
 ment. 
 
 BOUFFET, JEAN BAPTISTE, born at 
 Amiens, Oct. 3, 1770, died in Paris, Jan. 
 19, 1835. Dramatic composer and singer, 
 made his musical studies while a choir-boy 
 in the cathedral of his native city, then in 
 Paris (1791) pupil of Tomeoni in singing, 
 and soon became himself a fashionable 
 teacher. Gifted with a fine tenor voice, he 
 was admitted as a member of the Imperial 
 Chapel in 1806, and retained his place after 
 the restoration. Works : L'heureux pre- 
 texte, opera, given at the Theatre Montan- 
 sier, 179-t ; 2 masses for four voices ; 3 
 psalms; 3 Magnificat; 2 Salve Regina; Sta- 
 bat Mater for four voices, chorus, and or- 
 chestra ; Romances, chansons, rondeaus, and 
 nocturnes. — Fetis. 
 
 BOULANGER, ERNEST HENRI ALEX- 
 ANDRE, born in Paris, Sept. 16, 1815, still 
 living, 1888. Dramatic composer, pupil at 
 the Conservatoire, Paris, of Alkau, Hak'vy, 
 and Lesueur, won the grand prix in 1835, 
 and studied in Italy four years. He was 
 made professor of singing at the Conser- 
 vatoire in 1871. L. of Honour, 1869. 
 Works — Operas : Le diable ;"i IV'cole, given 
 in Paris, Opera Coniique, 1842; Les deux 
 
 818
 
 BOULE-DE-NEIGE 
 
 bergeres, ib., 1843 ; Une voix, ib., 1845 ; La 
 cachette, ib., 1847 ; Les sabots de la mar- 
 quise, ib., 1854 ; L'E- 
 veutail, ib., 1860; Le 
 docteui" Magnus, ib., 
 Op6ra, 1804; Don 
 Quichotte, Theatre 
 Lyrique, 1809 ; Don 
 Mucarade, Opera Co- 
 luique, 1875 ; Acbille, 
 cantata, 1835 ; Le 15 
 Aout aux champs, 
 do., 1862. — Fetis ; Supplement, i. 115. 
 
 BOULE-DE-NEIGE (Snow Ball), opera- 
 bouft'e in three acts, text by Nuitter and 
 Trefeu, music by Offenbach, first rejare- 
 sented at the Bouffes Parisieus, Paris, De- 
 cember, 1871. Boule-de-Neige is a bear, 
 imposed by the Grand Khan as a monarch 
 upon an ungovernable people who are con- 
 tinually getting up revolutions. 
 
 BOUEGAULT-DUCOUDRAY, LOUIS 
 ALBERT, born in Nantes, France, Feb. 2, 
 1840, still living, 1888. Dramatic comjsoser, 
 educated a lawyer but turned to music. He 
 studied in the Conservatoire, Paris, under 
 Ambroise Thomas, gained an aecessit for 
 fugue in 1861, and took the grand prix of 
 the Institut, 18G2, for his cantata, Louise 
 de Mezieres. While in Rome he wrote a 
 lyrical drama ; visited Greece, and, on his 
 return to Paris, brought out a Stabat Mater 
 (1868). A follower of Bach and Handel, his 
 large private fortune has enabled him to in- 
 troduce their music to the French people, 
 for which he founded a choral society iu 
 Paris. Works : Stabat Mater for soprano, 
 alto, tenor, and bass, with chorus and grand 
 organ and orchestra of violoncellos, double- 
 bass, harp, and trombones ; Dieu notre pere 
 divin, cantata ; Chanson d'une mere, melo- 
 die ; Chant de ceux qui vont sur mer ; Ga- 
 votte et menuet pour pianoforte. At the 
 Concerts Populaires, 1874, he brought out 
 a Suite pour orchestre, in four parts ; Fan- 
 taisie en ut mineiu'. He wrote a " Souvenir 
 d'une Mission musicale en Grece et en 
 Orient " (Paris, 1876), and published '■ Trente 
 
 Melodies populaires de Grece et d'Orient 
 avec texte grec, traduction italieune en vers 
 adaptee alamusique, et traduction fran(,'aise 
 en prose." — Fetis, Supplement, i. 116 ; Men- 
 del, Ei-giinz., 44. 
 
 BOURGEOIS, LOUIS THOMAS, born 
 at Fontaine-l'Eveque, Haiuault, in 1676, 
 I died in Paris in January, 1750. Dramatic 
 j composer, counter-tenor at the Opera iu 
 1708. From 1711 he devoted himself to 
 composition, producing sixteen operas and 
 ' many cantatas. He became maitre de clia- 
 pelle at Toul about 1716, and after that at 
 Strasburg. Works : Les Amours deguises, 
 opera-ballet, given iu Paris, Academie Roy- 
 ale de Musique, 1713 ; Les jjlaisirs de la 
 paix, do., ib., 1715. Besides these he com- 
 posed divertissements and court ballets : 
 Les nuits de Sceaux, 1714 ; Le Comte de 
 Gabalis, oulesPeuples elomentaires, Sceaux, 
 1715 ; Les peines et les plaisirs de I'amour, 
 Zephyr et Flore, cantata, 1715 ; Psyche, 
 1718 ; Diane, 1721 ; Divertissement pour la 
 naissance da Dauphin, Dijon, 1729 ; Idyle 
 de Rambouillet, 1735 ; Cephale et I'Aurore ; 
 Phedre et Hipjiolyte ; La lyre d'Anacreon ; 
 Dedale ; Don Quichotte. He published two 
 books of French cantatas, and Cantates 
 Anacreoutiques. L'Amour prisounier de la 
 Beaute, cantata (Paris, Ballard) ; L" Amour 
 et Psyche, do. (ib.) ; La belle Hollandaise, 
 do. (ib.) ; Beatus vir, motet for full chorus. 
 ^Fetis ; do., Supplement, i. 117 ; Mendel. 
 BOURGEOIS GENTILHOMME, LE, 
 comedie-ballet in live acts, test by Moliere, 
 music by Lulli, represented at Chambord, 
 Oct. 14, 1670, and iu Paris, at the Theatre 
 du Palais Royal, Nov. 29, 1670. One of 
 LuUi's best works, it was very successful. 
 Iu 1852, on the occasion of Moliere's anni- 
 versary, the music was rearranged bj' Jules 
 Cohen, and in 1876, by Weekerlin for the 
 pianoforte (Paris, 1876). 
 
 BOURGES, CLEMENTINE DE, com- 
 poser of the 16th century, died Sept. 30, 
 1561. Her works occupy a place among 
 those of the great composers of her time. 
 A four-part chorus, " Da bei rami," written 
 
 219
 
 BOURGES 
 
 by lier, is in Paix's Orgel-tabulatur Buch. — 
 Grove ; Meiulel ; Gerber ; Scliilliug. 
 
 BOURGES, JEAN MAURICE, born at 
 Bordeaux, Dec. 2, 1812, died in Paris, April, 
 ISSl. Iiistruineutal composer, pupil in Paris 
 of Barbereau, made himself first kuowu as a 
 musical critic, aud by an ojsera entitled Sul- 
 tana, given at the Opera Comique, 1846. It 
 was well received, but it has not been fol- 
 lowed by any further etlbrt in this field. 
 Other works : Two trios for pianoforte, vio- 
 lin, and violoncello ; 2 sonatas for piano- 
 forte ; Caprices, barcarolles, waltzes, ro- 
 mances for do. ; Vocal melodies ; Stabat 
 Mater, 1863. — Fetis ; do., Suj^plement, i. 
 117 ; Mendel. 
 
 BOURIE, HONORfi, born at Nimes in 
 1795, died (?). Instrumental composer, bas- 
 soon-player in the theatre orchestra of his ! 
 native city, where he brought out a comic 
 opera, Les deux philosophes, in 1812. 
 Other works : A cantata ; Concertos for 
 bassoon ; Quartets for wind instruments ; 
 Church music ; Romances. — Fetis, Supjjle- 
 ment, i. 117. 
 
 BOUSQUET, GEORGES, born at Per- 
 jjignan, France, March 12, 1818, died at 
 Saint-Cloud, near Paris, June 15, 1851. 
 Dramatic composer and musical critic, jju- 
 pil at the Conservatoire of Collet and of El- 
 wart in harmony, then (1836) of Leborne in 
 counterpoint and fugue, and of Berton for 
 dramatic style. He won the grand prix in 
 1838, spent two years in Rome, where he 
 was made a member of the Accademia di 
 Sta. Cecilia, aud of the Filarmonici, passed 
 the year 1811 in Germany, and returned to 
 Paris after live years' absence. In 1847 he 
 became chef d'orchestro at the Opi'ra, and 
 ill 1849-51 held the same position at the 
 Theatre Italien. As a critic he wrote for 
 the " Commerce," the " Illustration, " and the 
 " Gazette nmsicale de Paris." Works : La 
 vendetta, cantata, performed at the Acade- 
 mie des Beaux Arts, 1838 ; Mass, for voices 
 only, Rome, S. Luigi de' Fraucesi, 1839 ; 
 Mass with orchestra, ib., 1840 : Miserere 
 for 8 voices with orchestra (1840) ; Three 
 
 quartets for 2 violins, viola, and violoncello 
 (1841) ; Quintet for 2 violins, viola, violon- 
 cello, and double-bass (1842) ; Overture for 
 orchestra, Academie des Beaux Ai'ts, 1842 ; 
 L'hotesse de Lyon, opera. Conservatoire, 
 1844 ; Le niousquetaire, do., Opera Co- 
 mique, 1844 ; Tabarin, do.. Theatre Lyrique, 
 1852.— Fetis ; Mendel. 
 
 BOUSSET, JEAN BAPTISTE DROU- 
 ART DE, born at Anieres, near Dijon, in 
 1662, died (?). Vocal composer, pupil of 
 Jacques Farjonel at the Jesuit college in 
 Dijon ; he was for several years maitre de 
 musique of the Lou^Te. His real name 
 was Drouart. Works : Cantates fran(;aises ; 
 Eglogues bachiques ; Twenty-one books of 
 airs ; Motets. His son Rene (born in Paris, 
 Sept. 11, 1703, died there, May 19, 1760), 
 pupil of Beruier, and of Calviere, became 
 one of the best French organists. He com- 
 posed odes, cantatas, and arias. — Fetis ; 
 Mendel. 
 
 BOUTEILLER, LOUIS, born at INIonce- 
 en-Rain, Maine, in 1648, died at Mans in 
 1724. Church composer, maitre de musique 
 of the cathedral at Mans, from his fifteenth 
 year. Several of his numerous composi- 
 tions, consisting of masses, motets, hymns, 
 and anthems, were executed before Louis 
 XIV., who often ordered them to be re- 
 peated. — Fetis ; Mendel. 
 
 BOUVAIiD, FRANCOIS, born in Paris 
 about 1670, time of death not known. Dra- 
 matic composer, was a singer at the Opera 
 until the age of sixteen, when he lost his 
 voice ; he travelled extensively aud spent 
 several years in Rome. W^orks : Meduse, 
 given at the Academic Royale de Musique, 
 1702 ; Cassandre (with Berlin), ib., 1700. 
 For the court he wrote: Ariane et Bacchus, 
 Le triomphe de I'Amour et de I'Hymen, 
 1729 ; Diane et I'Amour, idyl, 1730 ; L'e- 
 cole de Mars, 1733 ; Cantatas ; Collections 
 of arias ; Sonatas for violin. — Fetis ; Men- 
 del. 
 
 BOVERY, JULES, born at Liege, Oct. 
 21, 1808, died in Paris, July 17, 1868. Real 
 name Antoine Nicolas Joseph Bovy. Violin- 
 
 s'
 
 BOXBERG 
 
 ist anil dr.amatio composer, entirely self- 
 taught, iu Paris, whither he weut on leaving 
 the college of his native citj-. He became a 
 chorus singer iu the theatre at Lille, where 
 he assisted also in conducting the orches- 
 tra, then became chef d'orohestre at Douai, 
 and successively at Lyons, Amsterdam, Ant- 
 werp, Koueu, and iu 1845 at Ghent, having 
 returned to Paris the year before. Iu 1856 
 he was first violinist at the Theatre des Fo- 
 lies Nouvelles, Paris, and about 1865 be- 
 came chef d'orchestre at the Folies Saint Ger- 
 main (Theatre Cluny). Works: Mathieu 
 Laensberg, given at Douai about 1830 ; Paul 
 I., ib. ; La Tour de Eouen, Kouen, Theatre 
 des Arts, 1843 ; Charles II., Paris, Theatre 
 des Baulieues, 1844 ; Jacijues d'Artevelde, 
 Ghent, 1846 ; Le Giaour, Lyons, Amster- 
 dam, and Antwerp, 1840-48 ; Isoline, ballet, 
 given at Lyons ; La Carte a payer, Liege ; 
 Several operettas, and pantomimes, Paris, 
 Folies Nouvelles ; France et Augleterre, can- 
 tata ; Ouverture triomphale ; Ave Regiua, 
 etc. — Fetis ; do., Supplement, i. 11 ; Gre- 
 goir, Galerie biogr. des Artistes musiciens 
 beiges. 
 
 BOXBERG, CHRISTIAN LUDWIG, 
 born at Sondershausen, April 24, 1670, died 
 at Gorlitz, time not known. Dramatic com- 
 l^oser and organist, j)upil of the Thomas- 
 schule, Leipsic ; was at first tutor in a 
 private family, 1686-92, then organist at 
 Grossenhain, and since 1702 at Gorlitz. 
 His operas were very popular in his time, 
 and he often received invitations to the 
 courts of Ansbach, Cassel, Wolfenbiittel, and 
 others. Among them are : Orion, Sarda- 
 napalus. Die verschwiegeue Treue. — Gerber, 
 N. Lex. ; Mendel ; Schilling. 
 
 BOYCE, WILLIAM, born in London in 
 1710, died there, Kensington, Feb. 7, 1779. 
 Dramatic composer, pupil of Charles King, 
 under whom he was a chorister iu St. Paul's 
 Cathedral, then of Maurice Greene, and, 
 after becoming organist of Oxford Chapel, 
 Cavendish Square, of Dr. Pepusch. Iu 1736 
 he became organist of St. Michael's, Corn- 
 hill, and in the same year composer to the 
 
 r^ 
 
 Chapel Royal and the king. Li 1737 ho. 
 was appointed conductor of the music festi- 
 vals of the Three 
 Choirs (Glouces- 
 ter, Worcester, 
 and Hereford), 
 became organist 
 of the church of 
 All-hallows the 
 Great and the 
 Less in 1749, 
 and of the 
 
 Chapel Royal in 1758, when ho resigned 
 the other two organist's j)ositions, and re- 
 tired to Kensington. Doctor of Music, 
 Cambridge, 1749 ; master of the King's 
 Band, 1755. Works : David's Lamentation 
 over Saul and Jonathan, oratorio, performed 
 at the Apollo Society, 1736 ; Two Odes for 
 St. Cecilia's Day (1736) ; Solomon, serenata, 
 1743 ; Twelve sonatas or trios for 2 violins 
 and bass (London, 1747) ; Ode for the In- 
 stallation of the Duke of Newcastle as Chan- 
 cellor of Cambridge University, 1749 ; Pe- 
 leus and Thetis, masque, 1749 ; Pindar's 
 First Pythian Ode, 1749 ; The Chaplet, mu- 
 sical drama, Drury Lane Theatre, 1749 ; 
 The Shepherd's Lottery, do., ib., 1750 ; Sec- 
 ular Ode by Dryden, ib., 1752 ; 2 Odes in 
 Home's Agis, 1'758 ; Ode to Charity ; 15 
 Anthems, Te Deum, and Jubilate (London, 
 1780) ; 12 Anthems and a Service (ib., 
 1790) ; Organ concerto ; 8 symphonies for 
 various instruments ; Overtures ; Lyra Bri- 
 tannica, collection of songs, duets, and can- 
 tatas. He also edited Cathedral Music, 
 being a collection of the most valuable com- 
 positions for tliat service by eminent com- 
 posers (London, 1760-78). — Burney, iii. 
 619 ; Grove ; Fctis ; Mendel. 
 
 BOYLE, FRANCESCO, born at Piacenza 
 in 1787, died in :Milan, Nov. 27, 1844. Dra- 
 matic composer, went in 1801 to i\Iilan, 
 where he studied music and became an 
 excellent singer, and, having lost his eye- 
 sight, 1830 (?), devoted himself to vocal in- 
 struction and formed many eminent pupils. 
 Works : II Carnovale di Venezia, given in 
 
 331
 
 BOZZAXO 
 
 Milan, Teatro Ri-, 1812 ; La Selvaggia, not 
 performed ; Solfeggi for luezzo-soprauo ; 
 Pianoforte music. — Fetis ; Mendel. 
 
 BOZZANO, E:MILI0, Italian composer, 
 contemporary. He has written : Diem la 
 Zingara, Italian opera, given at the Teatro 
 Doria, Genoa, June 20, 1872 ; Benvenuto 
 Cellini, opera seria, represented at the Poli- 
 teama, Genoa, May 20, 1877. 
 
 BOZZELLI, GIUSEPPE, Italian com- 
 poser, contemporary. He is the author of : 
 Caterina di Belp, Italian opera, three acts, 
 given at the Teatro Balbo, Turin, June 4, 
 1872. 
 
 BR.4BANV0NNE, LA, the Belgian na- 
 tional air. It was composed during the 
 revolution of 1830, from which Belgium 
 dates its independence, the words by Jen- 
 neval, who fell in one of the actions near Ant- 
 werp, and the music by Franc;ois van Cain- 
 penhout. King Leopold gave the mother 
 of Jenneval a pension of 2,400 francs, and 
 appointed Campeuhout director of the royal 
 band. 
 
 WILLIAM BATCHEL- 
 DER, born, of Amer- 
 ican parentage, in 
 York, Maine, Oct. 6, 
 1816, died in Mont- 
 clair, New Jersey-, Jan. 
 7, 1868. He received 
 his first musical in- 
 struction from Sum- 
 ner Hill ; in 1830 he 
 removed to Boston, 
 where he attended 
 music classes taught by Lowell Mason and 
 Geoige J. Webb. In 1840 he began teach- 
 ing music in New York ; in 1847 he visited 
 Europe, and studied music at Leipsic under 
 Hauptmann, INIoscheles, and Bijhme. After 
 his jeturu to America, in 1849, he devoted 
 his time to teaching, composing, and to con- 
 ducting musical conventions in various parts 
 of the country. In 1854, with his brother 
 Edward G. Bradbury and F. C. Lighte, he 
 began to manufacture pianos, which busi- 
 ness he afterwards continued on his own 
 
 BRADBURY, 
 
 account, until 1869, and at one time the 
 Bradbury pianos w^ere widely known. Mr. 
 Bradbury was the editor of more than fifty 
 collections of music, from 1841 to 1867, in 
 which much of the music was his own. 
 Some of these collections had a very large 
 sale, especially The Jubilee (1857), 200,000 
 copies ; Fresh Laurels (1867), 1,200,000 
 copies ; and the Golden Series (including 
 several), about 2,000,000 copies. He was 
 the author also of Daniel, cantata (with G. 
 F. Root, 1853) ; Esther, cantata (1856). 
 
 BRADSKY, THE ODOR (WENZEL), 
 born at Rakovnik, Bohemia, Jan. 17, 1833, 
 died there, Aug. 10, 1881. Dramatic com- 
 poser, first instructed in his native place by 
 the choirmaster Johann Lepicovsky, then 
 jnipil in Prague of Caboun and Pischek in 
 singing ; went to Berlin, where he entered 
 the royal cathedral choir, and taught vocal 
 music. Prince George of Prussia made him 
 his court composer in 1874. His most pop- 
 ular works are his Bohemian and German 
 songs, and quartets for male voices. Works 
 — Operas : Der Heirathszwang (1859) ; Ros- 
 witha, given at Dessau, 1860 ; Die Braut 
 des Waffenschmieds (1861) ; Das Krokodil 
 (1862) ; Jarmila, Prague, 1879 ; Der Ratten- 
 fiinger von Hameln, Berlin, 1881 ; Music to 
 the tragedy Jolanthe, text by Prince George 
 of Prussia, 1872 ; do. to Christine von 
 Schweden, text hy do., Berlin, 1872. — Men- 
 del ; Riemann. 
 
 BRAGA, GAETANO, born at Giulianu- 
 ova, in the Abruzzi, June 9, 1829, still living, 
 1888. Dramatic composer and -^-ioloncellist. 
 He was destined for the church, and entered 
 the Consorvatorio, Naples, to study singing, 
 but finally took up the violoncello, under 
 Gaetauo Ciavidelli, studying harmony under 
 Parisi, accompaniment under Francesco 
 Ruggi, counterpoint under Carlo Conti, and 
 composition under Mercadante. He made 
 his first effort in composition while under 
 the last-named, writing Saiil, cantata, and 
 a luass for four voices and orchestra. He 
 brought out his first dramatic work. Alma 
 Braga, soon after leaving the Couservatorio 
 
 222
 
 BRAII-MULLER 
 
 (1852). Travelled in Italy, went to Vienna, 
 where he played with Mayseder, then to 
 Paris in 1855, where he appeared at con- 
 certs as a virtuoso, and taught singing. 
 Works— Operas : Estella di San Gerinano, 
 given in Vienna, 1857 ; II Ritratto, Naples, 
 1858 ; Margherita la mendicaute, Paris, 
 Theatre It.alien, 1860 ; Mormile, Milan, Feb. 
 4, 1862 ; Gli avveuturieii, ib., Teatro Santa 
 Radegouda, 1867 ; Reginella, Teatro Car- 
 cano, Milan, 1872 ; Caligola, Lisbon, Jan. 
 23, 1873. He also set to music Don Cicsar 
 de Bazan and Ruy Bias, which have not been 
 produced. Besides dramatic works he has 
 published : Concerto for violoncello in G 
 minor, and other music for that instrument, 
 with pianoforte accompaniment ; Vocal 
 pieces ; and au Album of Vocal Melodies 
 with Italian words, another with French 
 words, and a third entitled, Notti Lombardi. 
 — Fctis, Supplement, i. 120. 
 
 BRAH-MULLER, KARL FRIEDRICH 
 GUSTAV, born at Kritschen, Silesia, Oct. 
 7, 1839, died in Berlin, Nov. 1, 1878. Dra- 
 matic comijoser, pupil of Steinbrunn at the 
 seminary of Bromberg, later in Berlin, 
 1862-63, of Flodoard Geyer. Since 1867 
 he has been instructor at Wandelt's Insti- 
 tute, Berlin. Works : Ein IMatrose von der 
 Nymphe, Singspiel, given in Berlin, IMeysel's 
 Theater, 1864 ; Deutschland im Urwald ; 
 Te Deum, for chorus and orchestra, 1866 ; 
 Quartets for violins ; Organ music ; Char- 
 acteristic pieces for pianoforte ; Sonatas ; 
 Duets ; Songs ; Choral motets, etc. — Mendel. 
 
 BRAHAM, JOHN, liorn in London in 
 1 7 7 -t , died there, 
 Feb. 17, 1856. Dra- 
 matic composer and 
 tenor-singer ; jDupil 
 in London of Leoni 
 while very young, at 
 Bath, in 1794, of 
 Rauzzini, and in 
 Genoa of Isola in 
 composition. He 
 made his appearance at a very early age at 
 Covent Garden Theatre, but came into no- 
 
 tice as a great tenor in 1796, in the opera of 
 Mahmoud at Drury Lane, and was at once 
 engaged for the Italian Opera House. After 
 that he visited Italy to perfect himself, and 
 appeared in Florence, Rome, Naples, Milan, 
 Genoa, Venice, etc., retiu-ning in 1801 to Eng- 
 land, to reappear at Covent Garden. From 
 that date his career was a triumphant one, 
 and he was a public singer for nearly sixty 
 years. His voice was powerful, and his 
 compass, of three octaves, unusually wide. 
 As a composer he obtained success in many 
 ballads and songs, one of the most popular 
 being the Death of Nelson. He wrote also 
 most of the music for his own parts in 
 several of the operas in which he appeared. 
 Works — Music to Dramas : The Cabinet, 
 1801 ; Family Quarrels, 1802 ; Enghsh 
 Fleet, 1802 ; Thirty Thousand, 1804 ; Out 
 of Place, 1805 ; False Alarms, 1807 ; Kais, 
 or Love in a Desert (with Reeve), 1808 ; 
 The Devil's Bridge (with C. E. Horn), 1812 ; 
 The Paragraph ; Narensky ; The Americans ; 
 The ]V[agicians (with M. P. King).— Grove ; 
 Brown ; Fetis ; ]\Ieudel. 
 
 BRAHMS, JOHANNES, born in Ham- 
 burg, Germany, May 
 7, 1833, still hving, 
 1888. His musical 
 education, begun un- 
 der Ins father, who 
 was a musician, was 
 continued undei 
 Marxsen of Alton a 
 In 1853 he met, at 
 Diisseldorf, Schii- 
 mann, who entei- 
 tained the very highest hojses of him, and 
 published an enthusiastic article on him 
 in the Neue Zeitschrift f iir Musik. But for 
 several years after this Brahms seemed 
 rather to belie Schumann's prophecies, and 
 Schumann himself, in his later years, ex- 
 pressed himself as much disai^pointed in 
 hiin. Brahms remained in Hamburg until 
 1861, studying hard, and publishing a good 
 deal. His reputation was beginning to es- 
 tablish itself, but it was hardly brilliant,
 
 BRAHMS 
 
 and was confinetl to the more cultivated 
 musical circles ; upon the whole, his talent 
 was much disputed. In 1861 he moved to 
 Vienna, where he conducted the Siug-Aka- 
 demie in ISGS-G-l, and was director of the 
 concerts of the Gesellschaft der Musik- 
 freunde from 1872 to 1875, bringing out 
 choral works by Bach and Handel with 
 great lustre. His reputation as a composer 
 kej)t growing apace, but was still not wide- 
 spread. His first symphony, upon which 
 he had been at work for ten years, off and 
 on, came almost like a thunderclap out of 
 a clear sky when it was brought out at 
 Carlsruhe, Nov. 4, 1876. No composition 
 ever made more, or more immediate, noise 
 in the world ; Brahms found himself sud- 
 denly world fan)ous. His fame was still in- 
 creased by his Deutsches Eequiem and his 
 second symphony. He stands to-day almost 
 undisputed as the foremost com2:)Oser in the 
 world. He represents the climax of modern 
 musical thought ; he is the legitimate suc- 
 cessor of Schumann. His style is marked 
 bj' great elaboration, and there is in his mu- 
 sic a stoutness of construction, a warmth of 
 sentiment, and a real profundity of thought 
 (which has often been misconstrued into 
 abstruseness) such as no other living com- 
 poser can lay claim to. He was alwilj's an 
 anti-Wagnerite, and, during the Bayreuth 
 master's later years, an Gernaftuy may be 
 said to have virtually been divided into 
 Wagnerianer and Brahmsianer. Works — 
 Choral : Ein Deutsches Requiem, for solo 
 voices, chorus, and orchestra, op. 45, first 
 performed in Vienna, 1868 ; Rinaldo, can- 
 tata (Goethe), for tenor solo, male chorus, 
 and orchestra, op. 50 ; Rhapsodic, frag- 
 ments from Goethe's " Harzreise " for con- 
 tralto solo, male chorus, and orchestra, op. 
 58 ; SchicksaUUed (song of destiny, by HiJl- 
 derlin), for chorus and orchestra, op. 54 ; 
 Triumphlied (Rev., chap, xix.), for eight-part 
 chorus and orchestra, op. 55 ; Ndnie, for 
 cliorus and orchestra, op. 82 ; Gesang der 
 Parzen (fi'om Goethe's "Iphigenia"), for six- 
 part chorus and orchestra, op. 89 ; Ave Maria, 
 
 for female voices, organ, and orchestra, op. 
 12 ; Funeral hymn, for chorus and wind 
 instruments, op. 13 ; 4 part-songs for female 
 chorus, two horns, and harp, op. 17 ; 7 
 Marienlieder, for mixed choir, in two parts, 
 op. 22 ; Psalm xiii., for female chorus and 
 organ, op. 27 ; Geistliches Lied (Paul Flem- 
 miug), for four voices, mixed choir and or- 
 gan, op. 30 ; 3 sacred choruses for female 
 voices, op. 37 ; 5 part-songs for male chonis 
 (four voices), op. 41 ; 3 songs for chorus 
 (six voices), a cappella, op. 42 ; 12 songs and 
 romances, for female chorus, a cappella, op. 
 44 ; 7 songs for mixed choir, op. 62 ; 2 mo- 
 tets for five voices, a cappella, op. 29. For 
 orchestra : 4 symphonies, in C minor, op. 68, 
 in D, op. 73, in F, op. 90, in E minor, op. 
 98; Akademisclie Fest-Ouverture, op. .80; 
 Tragische Ouverture, op. 81 ; Variations on 
 a theme by Haj-dn (Choral St. Antonin), op. 
 56 ; Serenade in D, op. 11 ; do. in A, op. 
 16 (for small orchestra). Concerted music : 
 Concerto in D, for pianoforte and orchestra, 
 op. 15 ; do. in B-flat, for do., op. 83 ; do. for 
 violin and orchestra, in D, ojj. 77 ; 2 sextets 
 for strings, in B-fiat, op. 18, and in G, op. 36 ; 
 Quintet for do., op. 88 ; Quintet for piano- 
 forte and strings, in F minor, op. 34 (also 
 arranged for two pianofortes) ; 3 quartets 
 for strings, in C minor and A minor, op. 51, 
 Nos. 1, 2, and in B-flat, op. 67 ; 3 quartets 
 for pianoforte and strings, in G minor", op. 
 25, in A, op. 26, and in C. minor, op. 60 ; 3 
 trios for pianoforte, violin, and violoncello, 
 in B, op. 8, in E, op. 40 (with horn or vio- 
 loncello), in C, oj). 87 ; Sonata for violoncello 
 and pianoforte, in E minor, op. 38 ; do. for 
 violin and pianoforte, op. 78. For piano- 
 forte : 3 sonatas, in C, op. 1, in F-sharjD mi- 
 nor, op. 2, and in F minor, op. 5 ; 4 Bal- 
 laden, op. 10 ; Scherzo in E-flat minor, op. 
 4 ; 16 waltzes (4 hands), op. 39 ; Ungarhche 
 Tilnze (4 hands, also for orchestra) ; 8 jiieces 
 in two books, op. 76 ; Rhapsodien, op. 79 ; 
 Variations (themes by Schumann), op. 9 and 
 23 ; 2 do., op. 21 ; Variations and fugue 
 (Handel), op. 24 ; 28 variations (Paganini), 
 op. 35. Vocal : Liebeslieder, waltzes for pi- 
 
 224
 
 BRAMDACH 
 
 anoforte for four liands, and voieos, op. 52 ; 
 Neue Liebeslieder, do., op. 65 ; 3 quuitcts 
 for soprano, contralto, tenor, and bass, op. 
 32 ; 4 do., op. 64 ; 4 duets for contralto 
 and baritone, op. 29 ; 3 do. for soprano 
 and contralto, op. 21 ; 4 do., op. 61 ; 5 do., 
 op. 66 ; 4 do., op. 75 ; 6 songs, op. 3 ; do., 
 op. 6 ; do., op. 7 ; 8 songs and romances, 
 oj). 14 ; 5 songs, op. 19 ; 9 do., op. 32 ; 15 
 romances from Tieck's Magelone, op. 33 ; 
 4 songs, op. 43 ; do., op. 46 ; do., op. 47 ; 7 
 do., op. 48 ; 5 do., op. 49 ; 8 do., op. 57 ; 
 
 do., op. 58; do., op. 59 ; 9 do., op. 63 ; do., 
 op. 69 ; 4 do., op. 70 ; 5 do., op. 71 ; do., op. 
 72. — Deiters, Joh. Bralims, eine Charakter- 
 istik (1880) ; Wocbenblatt (1870), i. 40, 56 ; 
 Eiemann ; Signale Saral. mus. Vortriige, 23- 
 24, ii. 319 ; Dwiglit's Journal, xxii. 389 ; 
 xxiv. 269. 
 
 BR.\MBACH, CASPAR JOSEF, born at 
 Bonn, Westpliulla, July 14, 1833, still living, 
 1888. Composer, pujjil at Cologne of the 
 Conservatorium and of Ferdinand Hiller. 
 In 1847-50 lie was first violinist of the Bonn 
 Opera House ; in 1858-61 professor in the 
 Conservatorium, in 18()l-69 musical di- 
 rector at Bonn ; and since then he has re- 
 sided at Bonn as composer and teacher. 
 Works : Ariadne, grand opera. Cantatas : 
 Die Macht des Gesanges, op. 6 ; Velleda, op. 
 7 ; Trost in TiJnen, op. 10 ; Das eleusische 
 Fest, op. 32 ; Friihlingshymnus, op. 37 ; 
 Alcestis, op. 14 ; Prometheus, op. 47 (1880) ; 
 
 Columbus, op. 58 (1886) ; Germanischer 
 Siegesgesang, op. 26 ; Das Lied vom llliein, 
 op. 40 ; Lenzerwachen, op. 46 ; Rheinfahrt, 
 op. 54. Songs, duets, choruses, etc. ; Tas- 
 so, a concert-overture, op. 30 ; Sonata for 
 pianoforte, op. 3 ; Sextet for two pianofortes 
 two violins, two violas, oj). 5 ; 2 sonatas for 
 pianoforte, op. 20 ; Concerto for do. and 
 orchestra, op. 39 ; 2 romances for violon- 
 cello and pianoforte, op. 41. — Mendel ; Rie- 
 mann. 
 
 BRAMBILLA, PAOLO, born in Milan 
 (or in Vienna?) in 1793, died (?). Dra- 
 matic comjioser, who enjoyed considerable 
 reputation in Italy in 1815-20. Works : 
 L' Ajiparenza inganna, opera buffa, Milan, 
 Teati-o Re, 1816 ; II Barone bnrlato, opera, 
 ib., 1816 ; L' Idolo birmanno, ib., 1816 ; II 
 Carnovale di Venezia, Turin, 1819. Ballets, 
 given at the Scala, Milan : Acbar gran Mo- 
 gol, Saffo, Capriccio e buon cuore, 1819 ; 
 Giovanua d' Arco (with Lichtenthal and Vi- 
 gano), 1821 ; II Paria, 1828 ; Camma, 1833. 
 — Fetis ; do., Supplement, i. 122 ; Mendel. 
 
 BRANCA, GUGLIEL^MO, Italian com- 
 poser, contemporary. He is the author of 
 Catalana, opera, represented at La Pergola, 
 Florence, February, 1876. 
 
 BRANCACCIO, ANTONIO, born at Na- 
 ples in 1813, died there, Feb. 12, 1846. 
 Dramatic composer, pupil of the Couserva- 
 torio at. Naples. Works : I Panduri, given 
 at Naples, Teatro Nuovo, 1843 ; II Morto 
 ed il vivo, opera bulla, ib., 1843 ; II Punti- 
 glione, do., ib., 1845 ; L' Assedio di Con- 
 stantina, Teatro Fenice, 1844 ; L' Incognita, 
 ossia dopo quindici anni, ib., 1846 ; Ros- 
 muuda, Venice, Teatro Fenice, about 1830 (?) ; 
 Le Sarte ealabresi, ib., about 1832 (?) ; Fran- 
 cesca da Rimini, ib., 1844 ; Lilla, ib., 1848 ; 
 I duje Vastasi di Porto, opera in Neapolitan 
 dialect, Naples, about 1830 (?).— Fetis ; Rie- 
 mann. 
 
 BRANCOLI, CESARE, born at Massa- 
 Pisana, near Lucca, June 11, 1788, died July 
 9, 1869. Amateur church composer, pu- 
 pil at Lucca of Domenico Quilici. Among 
 his numerous works are : Stabat Mater,
 
 BRANDEIS 
 
 Beuedictus, Miserere, for several voices and 
 iustriiments ; Cliristum regem, for 4 voices ; 
 Mass with grand orchestra ; Motets with do. ; 
 Several masses and motets for 4-8 voices 
 with orchestra. — Ft-tis, Supplement, i. 122. 
 BRANDEIS, FREDERICK, born, of Ger- 
 man iiarentage, 
 in Vienna, July 
 5, 1835, still liv- 
 ing, 1888. Or- 
 ganist ; studied 
 in Vienna the jji- 
 anoforte u n d e r 
 Joseph Fischhof 
 and Carl Czerny, 
 and composition 
 ' under Eufiuat- 
 
 scha ; and in 
 New York under William Meyerhofer. In 
 1849 he went to America and travelled ex- 
 tensively in the United States with William 
 Vincent Wallace's concert company ; his first 
 jjublic appearance in New York, where he 
 finally settled, was in 1851 as a pianist. He 
 was organist of St. Jiilin the Evangelist (E. 
 C.) Church in 18G5-70, and of St. James's 
 (R. C.) Chui-ch in 1871-86. Since 1886 he 
 has been organist of the Fortj'-fourth Street 
 Sj-nagogue, and is at present organist of 
 Sl. Peter and St. Paul's (R. C.) Church 
 in Brooklyn. Works : Maria Stuart, over- 
 ture ; Capriccio ; Scherzo ; Gavotte sym- 
 phonique, and other orchestral pieces ; Trio, 
 quintet, and other in.strumental music ; Toc- 
 cata, tarentelle, sonata, and other pianoforte 
 music ; Vocal quartets and glees ; Many 
 songs, of which, " My love is like the red, 
 red rose," is the most popular. 
 
 BRANDL, JOHANN, born at Rohr, near 
 Ratisbou, Nov. 14, 1760, died in Carlsruhe, 
 May 26, 1837. Dramatic composer, pupil 
 of Valesi in singing, and studied in Rohr, 
 Munich, and Neuburg. When only sixteen 
 years old he wrote a Miserere, which was 
 sung in the Jesuit Church, Neuburg, and 
 one of the Jesuit fathers sent him to Eich- 
 stiidt to study counterpoint under Schlecht. 
 In 1784 he was appointed Kapellmeister to 
 
 Prince Hohenlohe-Bartenstein, in 1789 Mu- 
 sik-Direktor to the Bishop of Bruchsal, and 
 in 1806 the same to the Archduke of Baden 
 at Carlsruhe. Works : Germania, opera, 
 1800 ; Hermann, do. ; Hero, melodrama, 
 (Carlsruhe) ; Symphony for full orchestra ; 
 Serenades, quintets, quartets, sextets, and 
 nocturnes for string and wind instruments ; 
 Oratorio ; Masses, etc. He set the poems 
 of Schiitz to music (Leipsic), and jjublished 
 collections of Lieder for one and several 
 voices, with pianoforte. — Fetis ; Mendel ; 
 Schilling. 
 
 BRANDTS BUYS, LUDWIG FELIX, 
 born at Deventer, Holland, Sept. 20, 1847, 
 still living, 1888. Organist, brother and 
 pupil of Marius Brandts Buys ; went in 
 1874 to Rotterdam as organist and conduc- 
 tor of Rotte's Mannenkoor. Works : Das 
 Siugenthal (Uhlaud), for baritone, mixed 
 chorus, and orchestra ; Petrus-Klage, for 
 baritone with orchestra ; De vier Jaargetij- 
 den, for male chorus ; Songs with piano- 
 forte. — Viotta. 
 
 BRANDTS BUYS, MARIUS ADRIANUS, 
 born at Deventer, Oct. 31, 1840, still living, 
 1888. Organist, son and pupil of Cornells 
 Alyander Brandts Buys (born, 1812, organ- 
 ist and musical director at Deventer) ; since 
 1864 organist and bell-player at Zutphen. 
 Works : Vater unser, for chorus and solo 
 voices ; Mailied, for 3 female voices ; W^erk- 
 mannslied, for male chorus ; Een Kerk, for 
 female voices, with violin and pianoforte ; 
 Gegen Unmuth, 3 sacred songs for contralto, 
 female chorus, and organ ; Grabgesang, for 
 8 voices ; Wilhelmus van Nassouweu, for 
 organ ; Pianoforte pieces, and songs, tran- 
 scriptions for organ, etc. — Viotta. 
 
 BRASSAC, RENE DE BEAEN, Marquis 
 DE, French composer of the 18th century. 
 Amateur dramatic composer, ofiScer in the 
 royal army, and marshal in 1769 ; celebrated 
 by Voltaire in his " Temple du goilt." 
 Works : L'Empire de I'Amour, ballet, given 
 in Paris, Academic Royale de Musique, 
 1733 ; Leandre et Hero, opei-a, ib., 1750. 
 —Fetis. 
 
 326
 
 P.RASSEUU 
 
 BRASSEUR D-AMSTERDA]\I, LE (The 
 Brewer of Arasterdaiu), opcTa-comique iu 
 one act, text by de Najac, music by Jules 
 Alary, represented at Ems, Aug. 19, 18G1. 
 The wife of M. Vauberj^-, believing herself 
 misunderstood by her husband, abandons 
 herself to romantic ideas, but is finally cured 
 of her folly by Kaoul de Floriac, who proves 
 to be the friend of her husbaud. 
 
 BRASSEUR DE PRESTON, LE (The 
 Brewer of Preston), opura-comique in three 
 acts, text by de Leuven and Brunswick, 
 music by Adolphe Adam, represented at 
 the Opera Comique, Paris, Oct. 31, 1838. 
 Daniel Robinson is a brewer at Preston, in 
 the reign of George II., at the time of the 
 attempt of Edward, sou of the Pretender ; 
 and the plot turns on the confounding of 
 him with his brother George, a lieutenant 
 in the royal service, who so closely resem- 
 bles him as to render the two scarcely dis- 
 tinguishable. It is one of the most popular 
 of Adam's works. An English version was 
 given in New York, March 28, 1S4G.— Pou- 
 gin, A. Adam, 139. 
 
 BRASSIN, LOUIS, born at Ais-la-Cha- 
 pelle, June 24, 1810, <^^j4i^^ 
 
 died in St. Peters- "^^ 
 
 burg. May 17, 1884. 
 Pianist, pupil of Mo- 
 scheles at the Conser- 
 vatorium, Leij^sic ; 
 made several concert 
 tours with his broth- 
 ers and pupils Leo- 
 pold and Gerhard, 
 was instructor at Stern's Conservatorium in 
 Berlin iu 18(36, at the Brussels Conserva- 
 toire in 1869-79, and afterwards at the 
 Conservatorium of St. Petersburg. Works : 
 Der Thronfolger, operetta ; Der Mission- 
 iir, do.; L'ecole moderne du piano, twelve 
 etudes de concert (Brussels, Schott) ; Grand 
 galop fantastique, op. 5 (ib.) ; Valse caprice, 
 op. 6 (ib.) ; do., op. 11 (ib.) ; Pri^-e, op. 10 
 (ib.) ; Galop fantastique, op. 16 (ib.) ; Grande 
 polonaise, op. 18 (ib.), etc. ; Songs. — Fetis, 
 Supplement, i. 123 ; Mendel. 
 
 BRAULT, ELIE, French composer, con- 
 temporary. He is the author of Bachelier 
 et Alguazil, opera-comique in one act, 
 played at the Theatre du Chateau d'Eau, 
 Paris, 1880. 
 
 BRAUN, GEORG, born at Eichstiidt iu 
 the second half of the 18tb century. Dra- 
 matic composer, and German comedian, 
 author of the music of the following operas, 
 given at Gotha in 1789-96 : Julie ; Der 
 ueiie Herr ; Die Jubel-Hochzeit.— Fetis. 
 
 BRAUN, JOSEPH, born at Ratisbon in 
 1787, died ('?). Pianist, violoncellist, and 
 dramatic composer ; he was musical director 
 of several opera troupes at KOnigsberg, 
 Dantzic, Bremen, Liibeck, etc. In 1826 he 
 went to Philadelphia to conduct an operatic 
 enterprise, which failed in 1828 ; having 
 o'iven and played iu concerts in New York, 
 Baltimore, and other cities of the Union, he 
 returned to Germany in 1830, and settled 
 at Bremen. "Works: Die Wiinsche, oder 
 der Priifungstraum, fairy opera, given at 
 Konigsberg, 1825 ; Die lange Nase, comic 
 opera, Der Kosak uud der Freiwillige, do., 
 ib., 1825 ; Compositions for the pianoforte, 
 and the violoncello.— Fetis ; Mendel. 
 
 BRAUN, KARL ANTON PHILIPP, born 
 at Ludwigslust, Mecklenburg, in 1788, died 
 C?) Virtuoso on the oboe, son and pupil of 
 Jolianu Friedrich Braun ; entered, in 1807, 
 the royal orchestra at Copenhagen. Works : 
 Symphony for grand orchestra ; Overture 
 for do. ; Concerto for flute, op. 2 ; Quartet 
 foi 2 flutes and 2 horns, op. 1 ; Quartets for 
 flute, violin, viola, and bass, op. 6 ; Two 
 quartets for flute, oboe, horn, and bassoon ; 
 Duos for flutes ; do. for oboes, op. 3 ; Duo 
 for oboe and bassoon ; Sonata for piano- 
 forte and oboe, etc. — Fetis. 
 
 BRAUN, WILHELM, born at Ludwigs- 
 lust, Mecklenburg, in 1791, died (?). Vir- 
 tuoso on the oboe, son and pupil of Johanu 
 Friedrich Braun, whom he succeeded in 
 1825 as first oboe in the grand-ducal or- 
 chestra of ]Mecklenburg-Schwerin, having 
 from 1809 been a member of the royal or- 
 chestra iu Berlin. Works : Divertissement 
 
 827
 
 BRAUT 
 
 for oboe, op. 3 ; Concerto for do., op. 12 ; 
 yis duos for oboes, op. 1 ; Graud duo for 
 do., op. 23 ; Two quartets for strings, op. 
 13 ; Divertissement for flute and quartet, 
 op. 27 ; Sonata for j^ianoforte, ojs. 17 ; In- 
 troduction and ijolonaise, for do., op. 26 ; 
 Der Trost, cantata for soprano, with piano- 
 forte, op. 22. — Fetis. 
 
 BRAUT VON MESSINA, DIE (The Bride 
 of Messina), music to Schiller's drama of 
 the same title, for chorus and orchestra, by 
 Sigismund Neukoram, comj)osed at St. Pe- 
 tersburg, 1808. — Allgem. mus. Zeitg., xsix. 
 564. 
 
 BRAUT VON MESSINA, DIE, overture 
 to Schiller's drama of the same title, in C 
 minoi', for grand orchestra, by Robert Schu- 
 mann, op. 100, composed in 1850-51. First 
 performed in DUsseldorf, March 13, 1851 ; 
 in Leipsic, Nov. 6, 1851. First published 
 by C. F. Peters (Leij)sic, 1851) ; edition in 
 score by Breitkopf & Hiirtel, Schumann's 
 "Werke, Overturen, etc.. No. 3. 
 
 BRAVO, IL, Italian opera in three acts, 
 text by Berettoui, music by !Marliana, repre- 
 sented at the Theatre Italieu, Paris, Feb. 1, 
 1834. Plot original, scene in Venice. The 
 work was not successful, though it contains 
 some good numbers. It was revived in 
 1855. II Bravo, opera in three acts, text by 
 Gaetauo Rossi, music by Mercadante, first 
 represented during the Carnival of 1839, at 
 La Scala, Milan, and at the Thoatre Italieu, 
 Paris, May 12, 1853. The libretto is made 
 up of crimes and horrors, but the score has 
 many beautiful passages. The finale is very 
 dramatic. Le Bravo, French opera in three 
 acts and four tableaux, test by ^fcmile Bla- 
 vet, music by Gustave Salvayre, represented 
 at the Opera National Lyrique, Paris, April 
 18, 1877. As in the libretto by Berettoui, 
 the scene is in Venice and the name of the 
 heroine is Violetta Tiepolo, but the plot is 
 different. 
 
 BREDAL, IVOR FRIEDRICH, born at 
 Copenhagen, June 17, 1800, died there, 
 March 25, 1864. Viola player and dramatic 
 comjjoser, pupil of Kuhlau ; when still very 
 
 young be obtained a position in the royal 
 orchestra, and composed a concerto for vi- 
 ola, a concertante for do. and violoncello, 
 aud an overture for orchestra. In 1834 he 
 became Conzertmeister, and in 1850 chorus- 
 master. Other works : Lucia di Lammer- 
 moor, opera given at Copeuhagen, 1832 ; Die 
 Guerillas, do., ib., 1834 ; Judas Ischariot, 
 scene for tenor aud orchestra ; Resurrec- 
 tion, an Easter hymn ; Some church com- 
 positions. — Mendel, Ergiiuz., 46. 
 
 BREE, JOHANNES BERNARDUS VAN, 
 born iu Amsterdam, Jan. 29, 1801, died 
 there, Feb. 14, 1857. Dramatic composer 
 and violiuist, pupil of his father on the vio- 
 lin, and of Bertelmau in composition ; spent 
 his youth at Leeuwarden, and at the age of 
 eighteen returned to Amsterdam, where he 
 entered the orchestra of the Theatre Fran- 
 9ais, and in 1829 became director of the 
 FeUs-Meritis Society. In 1840 he founded 
 the Cecilia Club, and was director of it 
 and of the music school of the Society for 
 the Promotion of Music, up to his death. 
 Order of the Lion ; honorary member of the 
 Academy of St. Cecilia, Rome, and several 
 other societies. Works : Symphony for 
 grand orchestra (Amsterdam, Theune & 
 Co.) ; Concert overture (ib.) ; Festival over- 
 ture with chorus, performed, Amsterdam, 
 1836 (ib.) ; Quartet for two violins, viola, 
 and bass (Bonn, Simrock) ; Second quartet 
 for do. (Amsterdam, Theune & Co.) ; Third 
 do. (ib.) ; Solemn mass for four voices and 
 orchestra (Rotterdam) ; 4 masses for three 
 voices and organ (Amsterdam, Theune & 
 Co.) ; Requiem (ib., 1848) ; The Forty- 
 eighth Psalm for solo, chorus, and orches- 
 tra (ib., 1851) ; Adoljjhe au tombeau de 
 Marie, ballad for tenor and pianoforte (ib.) ; 
 Colomb, ou la Ducouverte de I'Amerique, 
 cantata for baritone and male chorus (ib.) ; 
 Lord Byron, do. for a single voice ; Le Ban- 
 dit, opera, given at The Hague, Theatre 
 Fran(;ais, about 1840 ; Sapho, Dutch op- 
 era, Amsterdam, 1834 ; Man in the Four 
 Stages of Life, melodrama, ib., 1835 ; He- 
 roic Death of Speick, do., ib., about 1850 ;
 
 BREMER 
 
 Nimm dich in Aclit, German opera, ib., about 
 1845.— I'etis ; Viotta. 
 BREVIER, JOHANN BERNHARD, bom 
 
 in Rotterdam in 1830, still living, 1888. 
 Pianist and orgauist, piqail at the Leipsic 
 Conservatorium of Johanu Sclnieider, and 
 after his return to his native city organist of 
 the Walloon church and professor at the 
 School of Music of the Musical Society of 
 the Netherlands. In ISG'I he visited Leip- 
 sic with his wife, a distinguished singer, 
 appeared with her in concerts, and brought 
 out several of his compositions ; in 18(53 he 
 produced in Milan his first concerto with 
 orchestra. Works : Voyage nocturne, for 
 pianoforte, violin, and violoncello, op. 4 ; 4 
 characteristic pieces for four hands, op. 7 ; 
 Jagdlied, for pianoforte, op. 9 ; Rondo ca- 
 priccio, op. 11 ; Sonata for pianoforte, op. 
 13 ; Quartet for pianoforte and stringed in- 
 struments, op. 16 ; Knosjien, six pieces for 
 pianoforte ; 2 concertos for pianoforte with 
 orchestra ; Judith, oratorio. — Fetis, Supple- 
 ment, i. 125. 
 
 BRENDLER, ERICH, died at Stock- 
 holm in 1845 in the bloom of youth. Dra- 
 matic composer, known by the operas, Ed- 
 mund and Clara, and The Death of Spartara, 
 given in Stockholm, 1845. His posthumous 
 opera, Ryno, was estimated a work of high 
 artistic value. — Fetis ; Mendel. 
 
 BRESCIANI, PIETRO, born at Brescia 
 (or Padua?) about ISOG, died (?). Dra- 
 matic composer, pupil of Antonio Calegari. 
 Works : La fiera di Frascati, given at Ven- 
 ice, 1830; L'albero di Diana, Trieste, 1832; 
 I promessi sposi, Padua, 1833. — Fetis ; 
 Mendel. 
 
 BREUER, BERNHARD, born at Co- 
 logne in 1808, died (?). Violoncellist, pu- 
 pil of his grandfather, who was director of 
 music, then in Berlin of Zelter, of Bernhard 
 Klein in composition, of A. Wilhelm Bach 
 on the organ, and of Moritz Ganz on the 
 violoncello. After his return to Cologne 
 he joined the orchestra of the Stadtthcater, 
 and in 1839 visited Pari.s, where he studied 
 counterpoint under Cherubini. In 1845 he 
 
 bought the musical concern of Eck & Co., 
 and was for many years professor at the 
 Rhenish School of Music. Works : Die Ro- 
 senmiidchen, opera, given at Cologne, 1839 ; 
 Lazarus, oratorio ; Die Sendung des Heili- 
 geu Geistes, do.; 3 masses, with orchestra ; 
 Several psalms, with do. ; Requiem mass ; 2 
 syrajihonies for orchestra ; 5 overtures for 
 do.; 4 string quartets; Trio for pianoforte, 
 violin, and violoncello ; Duos for violins ; 
 Songs ; Part songs for four male voices, 
 etc. — Fetis ; Mendel. 
 
 BREVAL, JEAN BAPTISTE, born in 
 the department of I'Aisne, France, in 175G, 
 died at Chamouille, near Laon, in 1825. 
 Violoncellist, pupil of Cupis ; made a brill- 
 iant success at the Concerts Spiritnels, when 
 still very young, was a member of the or- 
 chestra at the Opera in 1781-180G, and 
 professor at the Conservatoire in 1796- 
 1802. After 1806 he lived for some j-ears 
 in Paris and Versailles, then retired to Cha- 
 mouille. Works : 2 oi)eras ; 8 symphonies ; 
 7 concertos for violoncello ; 18 violin quar- 
 tets ; 21 trios for strings ; 54 duos for vio- 
 lins ; 6 do. for violin and viola ; 6 do. for 
 flutes ; 18 do. for violin and violoncello ; 12 
 do. for two violoncellos ; 18 soli for violon- 
 cello ; Method for do. {Paris, 1804).— Fe- 
 tis ; Mendel. 
 
 BREVI, GIOVANNI BATTISTA, Italian 
 composer of the second half of the 17th 
 centurj'. He was organist of the Cathedral 
 of Bergamo in 1G73, maestro di cappella of 
 the cathedral, 1G99, and afterwards of S. 
 Francesco, Milan, and of the Churches del 
 Carmine and S. Fedele. Works : Bizarrie 
 armoniche, ovvero sonate da camera a tre 
 stromeiiti col basso continuo, op. 3 (Bo- 
 logna, 1693) ; La catena d' oro, ariette da 
 camera a voce sola, op. G (Modena, 1696) ; 
 La divozioue canora, op. 7 (Modena, 1699) ; 
 Delire d' amor divino, o cantate a voce sola 
 e continuo, op. 8, lib. i. (Modena, 1695, 
 Venice, 1706). He left an elementary work : 
 Primi elementi di musica per i principianti 
 con alquanti solfeggj facili (Venice, 1699). 
 — Fetis ; Mendel ; Schilling.
 
 BREWER 
 
 BRE\YER, TH0:MAS, born in 1609, died 
 in 1G7G ('?). Vocal comjjoser and performer 
 on the viol-da-gamba ; educated at Christ's 
 Hospital. Man}' of Lis rounds and catches 
 are printed in Hilton's " Catch that Catch 
 can" ; he also composed several fantasias for 
 the viol, and a pretty three-jjart song. Turn, 
 Amaryllis, to thy swain. — Grove; Fetis ; 
 Meudel ; Gerber ; Schilling. 
 
 BKICCIALDI, GIULIO, born at Terni, 
 Papal States, March 1, 1818, died in Flor- 
 ence, 1882. Flutist, instructed by liis father, 
 then self-taught ; went to Rome, when 
 quite young, and entered the orchestra of 
 a theatre there, studying composition at the 
 same time under Ravagli. He was only 
 seventeen when appointed professor of the 
 Hute at the Aceademia di Sta. Cecilia. In 
 1836-39 he was in Naples, then lived in 
 Milan for fifteen months, and in Maj-, 1841, 
 plaj'ed in Vienna with great success, and re- 
 turned there after having visited the batbs 
 in Bohemia. He met with extraordinary' 
 success in England, and made London his 
 principal residence. Works : 2 concertos 
 for liute and orchestra ; Ballabile di con- 
 certo for do., op. 15 ; Fantaisies for do., or 
 for flute and pianoforte, on operatic themes, 
 op. 17, 18, 24, 2.5, 27 ; Morceaux de salon 
 for do., op. 3, 16, 21, 28, 30, 32, etc.— Fctis. 
 
 BRIDAL OF TRIERMAIN, THE, can- 
 tata, text and music by Frederick Corder, 
 first performed at the Wolverhampton 
 (England) Festival of 1886. Subject from 
 Walter Scott's poem of the same name 
 (1813). The work, which begins with a 
 choral introduction in place of an overture, 
 and is in two ])arts, is largely in narrative 
 form. The music is vigorous and dramatic, 
 and the cantata was one of the successes of 
 the year. — Upton, Standard Cantatas, 124. 
 
 BRIDE OF DUNKERRON, THE, can- 
 tata, text Ijy Frederick Enoch, music by 
 Henry Smart, first performed at the Bir- 
 mingham (England) Festival of 1864. Sub- 
 ject, the traditional story of the Lord of 
 Dunkerron, a castle on the coast of Kerry, 
 who becomes enamoured of a sea-maiden. 
 
 The Sea-King forbids their marriage, dooms 
 her to death tor loving a mortal, and drives 
 him from his realm to the upper world. 
 
 BRIDE OF SONG, THE, English oper- 
 etta in one act, text by Henry Faruie, nuisic 
 by Julius Benedict, represented at Covent 
 Garden Theatre, Loudon, Dec. 3, 1864. 
 
 BRIDES OF VENICE, THE, English 
 grand opera in two acts, music by Julius 
 Benedict, represented at Drury Lane Thea- 
 tre, London, April 22, 1844. 
 
 BRIDGE, JOHN FREDERICK, born at 
 Oldbury, England, 
 Dec. 5, 1844, still liv- 
 ing, 1888. Organist, 
 pupil of his father, 
 who was lay clerk of 
 Rochester Cathedral ; 
 organist of Trinity 
 Church, Windsor, 
 1865, of jManchester 
 Cathedral, 1869, and 
 of Westminster Ab- 
 bey, 1875-81 ; professor of harmony and 
 composition at the Royal College of Music. 
 Mus. Bac, Oxford, 1868 ; Mus. Doc, do., 
 1874. Works : j\Iount Moriah, oratorio, 
 1874 ; Boadicea, cantata, 1880 ; Callirrhoe, 
 do., 1888. Anthems : Magnificat and Nunc 
 Dimittis, in D ; do. in G ; Give unto the 
 Lord the glory ; It is a good thing to give 
 thanks ; The Lord hath chosen Zion ; Seek 
 ye the Lord ; We declare unto you glad ti- 
 dings ; Hope thou in the Lord ; The Offertory 
 Sentences as used in Westminster Abbey, 
 1884 ; Rock of Ages, for baritone solo, choi-- 
 us, and orchestra, 1885 ; Anthem for cele- 
 bration of Queen Victoria's Jubilee, West- 
 minster Abbey, 1887. Part-songs, and songs. 
 BRIDGE, JOSEPH COX, born in Roch- 
 ester, Kent, England, Aug. 16, 1853, still 
 living, 1888. Organist, brother of John 
 Frederick Bridge, entered as a chorister in 
 Rochester Cathedral, where he studied un- 
 der John Hopkins and became assistant or- 
 ganist. In 1870 he became assistant to his 
 brother at Manchester Cathedral ; in 1871 
 organist of Exeter College, Oxford, and in 
 
 2.30
 
 BRIEGEL 
 
 1877 organist of Chester Catliedral. B.A. 
 Oxford., 1875 ; Mus. Bac, ib., 187G ; :M.A., 
 ib., 1878; Mus. Doc, 
 ib., 1884; Fellow of 
 the College of Organ- 
 ists, 1879. Works: 
 Daniel, oratorio, 
 Chester Festival, 
 18S.5(Novello&Co.); 
 Magnificat and Nunc 
 Dimittis iu C, voice 
 and orchestra (1879, 
 id.) ; String quartet in G minor, 1870 ; 
 4 arrangements for organ from Handel, 
 Schumann, and Cramer ; 6 original organ 
 pieces ; Bourrce and gigue for pianoforte ; 
 Polonaise for do. ; Dance of ISIummers 
 for do. ; 2 pianoforte duets— No. 1, Danse 
 slav iu D major, No. 2, do. in G minor; 
 Anthem for Harvest Festivals ; do., O, 
 that men would praise the Lord. Songs : 
 O moonlight deep and tender (S. or T.) ; 
 The Steersman's Song (B.). Part-Songs : 
 It was a lover and his lass (S. A. T. B.) ; 
 The Curfew (do.) ; Greek War-Soug (T. T. 
 B. B.), with accompaniment of brass instru- 
 ments ; Great Britain's Sons (S. A. T. B.) ; 
 Soldier, rest ! (A. T. T. B.). 
 
 BKIEGEL, WOLFGANG KAEL, born 
 in Germany in 162G, died at Darmstadt in 
 1710. He was organist at Stettin, and 
 music director to Prince Friedeustein iu 
 Gotha ; in 1660 he became Kapellmeister 
 to the Duke of Saxe-Gotha, and in 1670 
 Kapellmeister to the Landgrave in Darm- 
 stadt, where he spent the rest of his life. 
 He was a voluminous composer of concer- 
 tos, sonatas, madrigals, dance music, Lieder, 
 psalms, etc., published between 1652 and 
 1709. His Hymn book for Darmstadt ap- 
 peared in 1687. A full list of his works is 
 given by Gerber and Fetis. — Allgem. d. 
 Biogr., iii. 328 ; Fi'tis ; Gerber ; Schilling. 
 
 BRIGANDS, LES, opera-bouffe in three 
 acts, text by Henri Meilhac and Ludovic 
 Halevy, music by Offenbach, represented at 
 the Varietes, Paris, Dec. 10, 1869. 
 
 BRIGANDS, by Verdi. See Masnadieri. 
 
 BRIGANTI, I (The Brigands), Italian op- 
 era in three acts, text by Crescini, music by 
 Mercadante, first represented at the Theatre 
 Italieu, Paris, March 22, 1836. The libretto 
 is an adaptation from Schiller's " Die Riiu- 
 ber." Mercadante went from Milan to Paris 
 to be present at its production, but was dis- 
 aupoiutetl at its reception. Same subject 
 treated by Luigi Arditi, Milan, 1811. 
 
 BRION D'ORGEVAL, EDOUARD BAR- 
 THELEilY, born at Saint-Etienne (Loire), 
 May 13, 1833, still living, 1888. Dramatic 
 composer, pupil at the Marseilles Conserva- 
 toire of Barsotti on the pianoforte, and in 
 harmony of Schoenagel. He then studied 
 under his uncle, the Abbe Brion, who was 
 maitre de chapelle of the cathedral at Cham- 
 bery, and in 1852 went to Paris and was pu- 
 pil, at the Consrevatoire, of Bataille, Levas- 
 seur, and Revial in singing, and of Halevy 
 in counterpoint and composition. Works : 
 Le meunier de Sans-Souci, comic opera, giv- 
 en at Antwerp, 1861 ; Le Don Juan de vil- 
 lage, do., ib., 1863 ; Una charge de dragons, 
 do., Nantes, 1867 ; Le Chevalier de Cordes- 
 sac, do., Lille, 1868 ; Ivan IV., ou les Porte- 
 glaives, grand opera, Marseilles, 1876 ; Due 
 et Paysan, opera comique, one act, text by 
 Yvert, Amiens, 1877 ; Two operettas ; Sev- 
 eral masses ; Cantata ; Motets, choruses, son- 
 atas; Quintet, etc. — Fetis, Supplement, i.l26. 
 
 BRISSON, FREDERIC, born at Angou- 
 leme (Charente), Dec. 25, 1821, still living, 
 1888. Pianist, played in public when twelve, 
 and gave lessons when fifteen years old. He 
 studied harmony under Garaudi, and pub- 
 lished his first composition in 1840 ; in 1846 
 he went to Paris, where he has since been 
 a prominent teacher and comjioser. He 
 published : Ecole d'orgue traitant speciale- 
 meut de la soufflerie et contenant 38 exer- 
 cises, 50 exeniples et 20 etudes (Paris). 
 Works : Les Ruses villageoises, operetta, 
 1863. Arrangements pour operas : Guil- 
 laume Tell, piano, violin, and organ ; Robert 
 le Diable, piano, etc. ; Reverie for piano- 
 forte, op. 17 ; Arabesque, op. 19 ; Caprice- 
 etude, op. 25 ; do., op. 30 ; L'Espaguol-
 
 BKISTOW 
 
 Bolero, op. 32 ; Galop Je concert, op. 36 ; 
 Fantaisie brillaiite, op. 40 ; Hjmne triom- 
 pbale, op. 4:1 ; Makouba, dause arabe, op. 
 42 ; Caprice uocturne, op. 44 ; Three con- 
 cert pieces, op. 46 ; Reverie fantastique, op. 
 50 ; Caprice elegant, op. 51 ; Caprice imi- 
 tatif, op. 55 ; Valse de concert, oj}. 59 ; Fan- 
 tasias, duos, trios, etc., from operas. — Fetis, 
 Supplement, i. 127 ; Mendel, Ergiinz., 48. 
 
 BRISTOW, GEORGE FREDERICK, 
 born in Brooklyn, New York, Dec. 19, 1825, 
 still living, 1888. Son of William Richard 
 Bristow. He was a violinist, about 1836, 
 in the orchestra of the Olympic Theatre, 
 New York ; and in the New York Philhar- 
 monic Society from its organization in 1842, 
 for more than forty years. In 1851-62 he 
 was conductor of the New York Harmonic 
 Societ}-, and later of the Mendelssohn Union. 
 He was also organist of several churches 
 in New York, among them St. John's, St. 
 George's, Zion, and the Church of the Cov- 
 enant, and a teacher of music in the public 
 schools of New York more than forty years. 
 His compositions, which number more than 
 sixty, are most of them still in MS. The 
 following are the more important : h'ip Van 
 Winkle, ojjera, produced at Niblo's Garden, 
 New York, Sept. 27, 1855 ; Columbus, an 
 unfinished opera, the overture to which has 
 been given in New York several times since 
 1857 ; Praise to God, oratorio, 1860 ; Dan- 
 iel, oratorio, produced in New York, Dec. 
 30, 1867 ; 5 symphonies, of which the Ar- 
 cadian was performed in New York by the 
 Philharmonic Society, Feb. 14, 1874 ; String 
 quartet, in F ; String quartet, in G minor ; 
 The Great Republic, cantata, with orchestral 
 accompaniment, 1880 ; Pieces for the vio- 
 lin, the pianoforte, and the organ ; Christ 
 our Passover, anthem ; Christmas Anthem, 
 1887 ; Songs. He was one of the compilers 
 of Music of the Church (1852), of The Can- 
 tilena, for Day Schools (1860), and of The 
 Cantata, for Day Schools (1866). 
 
 BRISTOW, WILLIAM RICHARD, born, 
 of English parentage, in Kent, England, 
 February, 1803, died in Brooklyn, New 
 
 York, Aug. 13, 1867. He went to America 
 in 1817, performed on the organ, clarinet, 
 and trumpet, and was noted as a pianoforte 
 teacher. Among other works he composed 
 5 masses, and 7 sets of vespers for use in 
 the Roman Catholic Church. 
 
 BRITO, ESTEBAN DE, Spanish com- 
 poser of about 1625. He was musical di- 
 rector of the Cathedrals of Badajos and 
 Malaga. Works : Tratado de musica ; Mo- 
 tetes a 4, 5, 6 voces ; Motete, Exurge Do- 
 mine, 4 voc. ; Villancicos de Natividad. His 
 compositions, which are in MS., are pre- 
 served in the library of the King of Portu- 
 gal. — Fetis ; Mendel ; Gerber. 
 
 BRIXI, FRANZ XAVER, born at Prague 
 in 1732, died there, Oct. 13, 1771. Church 
 composer, pupil of Pater Simeon in the Pi- 
 arists' College at Kosmanos ; became organ- 
 ist at St. Gall's, Prague, then at St. Nich- 
 olas's, and afterwards choirmaster at St. 
 Martin's, finally, in 1756, Kapellmeister at 
 the cathedral. He was a capital contrapun- 
 tist, and did much towards the reform of 
 Catholic church music ; his works are dis- 
 tinguished for originality and diversity of 
 ideas. Works : 52 grand masses ; 24 short 
 do. ; Litanies, vespers, graduals, ofiertories, 
 and oratorios ; Also operas and operettas. 
 — Dlabacz, i. 224 ; Fetis ; Mendel. 
 
 BRIZIO, PETRUCCI, born at Mosca 
 Lombarda, Ferrara, June 12, 1737, died at 
 Ferrara, June 23, 1825. Dramatic com- 
 poser, pupil of Pietro Beretta ; became ma- 
 estro di caijpella at the Cathedral of Fer- 
 rara in 1784. Works : Ciro riconoseiuto, 
 opera, given at Ferrara ; I pazzi improvisati, 
 opera buffa, ib., about 1770 ; Masses for 4 
 voices and orchestra ; Psalms, Te Deums, 
 litanies, hymns, etc. ; Stabat Mater ; Pas- 
 toral mass and Credo for Christmas, with 
 full orchestra, etc.- — Fetis. 
 
 BRIZZI, CARLO, Italian composer, con- 
 temjaorary. He is the author of L' avaro, 
 opera buffa, text by Romani, represented at 
 the Teatro Brunetti, Bologna, May 19, 1877. 
 
 BROCA Y RODRIGUEZ, ENRIQUE 
 ALEJO, born at Madrid, Feb. 17, 1843, 
 
 .339
 
 BROCrTARD 
 
 still livinp:, 1888. Violinist, first instructed 
 by one Manuel Pamfil, then j^npil of Isidore 
 de Vega on tbe violin, and studied harmony 
 and composition at the Conservatorio. He 
 played first violin in the orchestra of the 
 Zarznela in 1858-67. Composer of masses, 
 psalms, motets, overtures, and the music to 
 several zarzuelas. — Fetis, Supplement, i. 128. 
 
 BROCHAED, PETER, born in Munich, 
 Aug. -4, 1779, died there (?) after 1811. 
 Composer, pujiil of Kleinheinz and of 
 Streicher on the pianoforte, of Held and 
 Friedrich Eek on the violin, and of Schlccht 
 in composition. In 1797-98 he was a mem- 
 ber of the theatre orchestra at Munich, 
 whither he returned iu 1799 after a year in 
 Mannheim, and in 1804, having played for 
 two years in the court orchestra at Stuttgart. 
 "Works — Ballets : Der Tempel der Tugend, 
 Der Dorf-Jahrmarkt, Die zwei Wilden, given 
 in Munich, 1800 ; Der Mechaniker, ib., 
 1806 ; Der dankbare Sohn, ib., 1807 ; Son- 
 atas, variations, ariettas, cantatas, etc. — Fetis. 
 
 BROD, HENRI, born in Paris, June 13, 
 1799, died there, April 5, 1839. Virtuoso 
 on the oboe, pujjil of Vogt at the Conserva- 
 toire, where he won the first prize in 1819. 
 He played the first oboe in the orchestra of 
 the Opera, beside his master, and in 1832 
 became professor at the Conservatoire. In 
 all the concerts in which he was heard, in 
 Paris and abroad, he obtained the most 
 brilliant success. L. of Honour, 1838. 
 Works : Four fantaisies for oboe with or- 
 chestra or pianoforte ; Nocturne concertant 
 for oboe and pianoforte ; Bolero for do. and 
 orchestra ; Airs varies for do., with quartet ; 
 Three quintets for oboe, flute, clarinet, horn, 
 and bassoon ; Grand method for oboe, etc. 
 — Fetis ; Mendel. 
 
 BRONNER, GEORG, born in Holstein 
 in 1666, supposed to have died in 1764 or 
 1724?. Dramatic composer and organist. 
 His works are recorded in the annals of the 
 Hamburg Theater, of which he became di- 
 rector in 1699, soon after producing several 
 of his operas. He was also organist of the 
 OUurch of the Holy Ghost at Hamburg. 
 
 Works — Operas: Echound Narcissus, 1693 ; 
 Venus, 1694 ; Cei)halus uud Prokris, 1701 ; 
 Philippus, Herzog von Mailand ; Berenice, 
 1702 ; Victor (music for 3d act), 1702 ; Der 
 Herzog von Normandie, 1703 ; Der Tod des 
 grossen Pans, 1702. He published also a 
 collection of cantatas for the voice alone 
 (1690), and chorals arranged for the organ 
 (Hamburg, 1716).— Allgem. d. Biogr., iii. 
 361 ; Fetis ; Mendel ; Gerber ; Schilling. 
 
 BRONSART, HANS VON, born in Ber- 
 lin, Feb. 11, 1830, 
 still Yiving, 1888. 
 Pianist, educated 
 at Dantzic and at 
 Berlin University ; 
 pupil iu harmony 
 and composition of 
 Dehn in Berlin, 
 and on the iiiauo- 
 forte under Kullak, 
 and of Liszt at 
 Weimar. He ac- 
 quired fame on his concert tours through 
 Europe, conducted the Euterpe concerts at 
 Leipsic in 1860-62, the concerts of the Ge- 
 sellschaft der Musikfreunde in Berlin in 
 1865-66, and became intend ant of the Royal 
 Theatre at Hanover in 1867. Works: Trio 
 for pianoforte, in G minor ; Concerto for 
 do. ; Fnihlings-Fantasie, for orchestra ; Sex- 
 tet for stringed instruments ; Christnacht, 
 cantata, jierformed in Leipsic ; Der Corsar, 
 ojiera (MS.), text from Byron ; Polonaise in 
 C minor. — Mendel ; Riemann. 
 
 BRONSART, Mme INGEBORG ^'ON, 
 bom of Swedish par- 
 ents (Starek), in St. 
 Petersburg, in 1843, 
 married Hans von 
 Bronsart in 1862. Pi- 
 anist, pupil of Liszt. 
 Works : Konig Hiarne, 
 opera ; Jery und B;l- 
 tely, operetta, text after 
 Goethe, represented at 
 the Grand-Ducal Theatre, Weimar, April 
 Pianoforte music, etc. 
 
 26, 1873 ; Songs :
 
 BRONZE 
 
 BRONZE HORSE. See Gheval de 
 Bronze. 
 
 BROS, Don JUAN, born at Tortosa, 
 Spain, in 1776, died at Oviedo, March 12, 
 
 1852. Church composer, pupil of Queralt 
 at Barcelona, where he soon became assist- 
 ant maestro de cajjilla at Santa Maria del 
 Mar, and organist at San Severo. In 1807 
 he obtained the position of maestro de ca- 
 pilla of the cathedral at Malaga, was in the 
 same capacity at Leon in 1815-23, then from 
 1834 at Oviedo, whither he had retired af- 
 ter 1823. He comjiosed numerous masses, 
 psalms, and other church music, among 
 which are quoted as the best : 3 Misereres 
 ■with lamentations, a Te Deum, and a Re- 
 quiem. — Fetis. 
 
 BROSIG, MORITZ, born at Fuchswinkel, 
 Silesia, Oct. 15, 1815, died at Breslau, Jan. 24, 
 
 1887. Pupil at Breslau of Franz Wolf, whom 
 he succeeded as organist of the cathedral in 
 1842. He was made Dom-Kapellmeister in 
 
 1853, afterwards assistant director of the 
 Royal Institute for Catholic church music, 
 and instructor at the university. Doctor 
 of Philosophj', and member of the Accade- 
 mia di Sta. Cecilia, Rome. Works : 4 grand 
 instrumental masses ; 3 short do. ; 7 books 
 of graduals and offertories ; 20 books of 
 organ pieces ; Organ book in eight parts ; 
 Choralbuch, etc. — Fetis ; ^Mendel ; Rieniann. 
 
 BROUSTET, EDOUARD, born at Tou- 
 louse, April 29, 1836, still living there, 
 
 1888. Pianist, pupil in Paris of Maleden 
 in harmony, of Camille Stamaty, Ravina, 
 and Henri Litolfl", with whom he made an 
 extended tour abroad as far as St. Peters- 
 burg. After his return he brought out 
 several of his compositions in Paris, in 1871 
 visited Spain and Portugal, and settled in 
 his native city. Works : 3 trios for piano- 
 forte, violin, and violoncello ; Sj'mphonie 
 concertante for pianoforte and orchestra ; 
 Tarantella for do. ; Concerto for do. ; Grande 
 valse de concert ; Quintet for pianoforte and 
 strings ; Suite for string instruments ; Fan- 
 taisies, romances, t'tudes, etc., for pianoforte. 
 — Fetis, Supplement, i. 129. 
 
 BROWN, OBADIAH BRUEN, born, of 
 American parentage, in Washington, D. C, 
 July 2, 1829, still living, 1888. Pupil, in 
 Boston, on the pianoforte and in composi- 
 tion of J. C. D. Parker and Carl Hause, in 
 instrumentation of Carl Zerrahn, and in 
 singing of J. Q. Wetherbee and August 
 Kreissmann ; also attended the lectures on 
 counterpoint of Prof. J. K. Paine. In 1869 
 he went to Europe, and studied the piano- 
 forte in Leipsic under Louis Plaidy, and 
 comj^osition under J. C. Lobe. In 1860- 
 69 he was teacher of music in the State 
 Normal Schools of Bridgewater, Framing- 
 ham, and Salem, Mass.; and he has also 
 taught music in the public schools of Bos- 
 ton, Roxbury, Chelsea, Brookline, Salem, 
 and Maiden, where he is teaching at pres- 
 ent. He has been organist in Boston : five 
 years of the South Congregational Church, 
 eight yeai-s of West Church, and since 1876 
 of the New Jerusalem Church. He has con- 
 ducted several choral societies, among them 
 the Maiden Choral Union, and has acted as 
 musical editor for several music-publishing 
 houses. The pianoforte scores of Macken- 
 zie's Rose of Sharon, and of Gounod's Mors 
 et Vita, and the Holy Vision were arranged 
 by him for Novello, Ewer & Co., of London, 
 from the manuscript orchestral scores which 
 were sent from England for the purpose. 
 Many of his compositions have been pub- 
 lished under the pseudonyms of Ernest 
 Leslie and Ferdinand Mayer. Works : 
 Scherzo for orchestra, first jjerformed in 
 Boston, 1886, in MS. Vocal — Quartets : 
 How beautiful upon the mountains ; Thy 
 sun shall no more go down. Trios : I will 
 lay me down ; The Lord will comfort Zion. 
 Anthems : Whoso dwelleth in the secret 
 place ; Unto Thee, O Lord. Sacred Songs: 
 O that thou had'st hearkened ; Therefore 
 the redeemed of the Lord ; Songs and part- 
 songs. 
 
 BRUCH, MAX, born in Cologne, Jan. 6, 
 1838, still living, 1888. His father was in 
 government employ, his mother a brilliant 
 singer who watched carefully over her son's
 
 BRUCK 
 
 early musical instruction. He studietl bar- 
 mony nud couiitei-point at Bonn under Brei- 
 densteiu. In 1852 he 
 won the Mozart schol- 
 arship at Fraukfort- 
 ou-the-Main for four 
 years, and continued 
 his studies in compo- 
 sition under Hiller, 
 Breuniug, and Iteiu- 
 ecke at Cologne. 
 During this period 
 he set to music Gei- 
 bel's Lorelei (originally written for, and 
 partly set by Mendelssohn). Leaving Co- 
 logne about 1856, he made long -visits to 
 Leipsic, Munich, and other musical centres. 
 In Munich he met Geibel, whom he at last 
 prevailed upon to permit the performance of 
 his Lorelei, which was accordingly brought 
 out in IMauuheim, and later in Cologne. 
 During his staj' in Mannheim he wrote 
 some of his best-known works, and stud- 
 ied dramatic composition. In 1865 he was 
 made musical director of the Conzert-In- 
 stitution at Coblentz, and in 1867 was ap- 
 pointed Kapellmeister to the Prince of 
 Schwarzburg-Soudershausen. In 1870 he 
 resigned this post to go to Berlin, where, 
 and at Bonn he has since lived, occupying 
 himself entirely with composition. In 1883 
 be visited the United States, bringing out 
 his Arminius in Boston. He now stands in 
 the front rank of German musicians. If 
 his operas have been mainly unsuccessful, 
 and his orchestral works and chamber mu- 
 sic comparatively inconspicuous, his compo- 
 sitions for chorus and orchestra are the 
 basis of his high reputation. He stands 
 to-day as the foremost representative of the 
 epic cantata. His best-known and most 
 admired works are his Scenes from the 
 Frithjof-fiaga (which first established his 
 reputation), his Odt/sseus, and his two vio- 
 lin concertos in G minor and D minor. 
 Works : Scherz, List und Rache, operetta, 
 op. 1, given at Cologne, 1858 ; Jungfrau 
 von Orleans, ib., 1851) ; Lorelei/, romantic 
 
 opera, op. 16, Mannheim, 1863 ; Hermioiie, 
 opera, op. 10, Berlin, 1872 ; liOmischer 
 Triumjjhgesang, for male chorus and or- 
 chestra, op. 19, No. 1 ; Das Wessobruu- 
 ner Gebet, Lied der Stiidte, Schottlands 
 Thriinen, for do., op. 19, No. 2 (1862); 
 Gesang der heiligeu drei Ki'mige, for do., 
 op. 21; Frilhjof, for do., op. 23 (1862); 
 Salaniis, for do., op. 25 ; Normanneiizug, 
 for do., op. 32 ; Die Flucht der heiligeu 
 Familie, for mixed chorus, soli, and orches- 
 tra, op. 20 (1863) ; Sclwn Ellen, ballad for 
 do., op. 21: (1869) ; Eomiache Leicheufeier, 
 for do., op. 34: ; Das Lied vom deutschen 
 Kaiser, for do., op. 37 ; Odi/sseus, for do., 
 Of). 41 (1871) ; Arminius, oratorio, for do., 
 op. 43 (1875), Boston, 1883 ; Das Lied von 
 der Glocke, cantata, for do., of). 45 (1879) ; 
 Acldlleus, for do., op. 50, Rhenish Music 
 Festival, Bonn, 1885 ; Jubilate, Amen, for 
 sojsrano solo, chorus, and orchestra, op. 3 ; 
 Die Birken nnd die Erlen, for do., op. 8 ; 
 Die Flucht iiacli Egypten, for do. (female 
 chorus), op. 31, No. 1 ; Morgeustunde, for 
 do., op. 31, No. 2 ; Frithjof auf seines Vaters 
 Grabhiigel, concert scene for baritone solo, 
 female chorus, and orchestra, op. 27 ; Bo- 
 rate coeli, for mixed chorus, orchestra, and 
 organ (ad libitum), Of). 29 ; Kyrie, Sanctus, 
 Benedictus, and Agnus Dei, for double 
 choir, organ, and orchestra, op. 35 ; Dithy- 
 rambe, for tenor solo, chorus, and orchestra, 
 op. 39 ; Die Priesterin der Isis in Rome, for 
 contralto, with orchestra, op. 30 ; 5 songs 
 for mixed chorus, a cappella, op. 38 ; 4 male 
 choruses, op. 48 ; First symphony for full 
 orchestra, in E-flat, op. 28 ; Second do., in 
 F minor, op. 36 ; Third do., in E, op. 51 
 (1887) ; First concerto for violin and orches- 
 tra, op. 26 ; Second do., op. 44 ; Rom.anze, 
 for do., op. 42 ; Fantasia on Scotch airs, for 
 do., op. 46 (1880) ; Kol Nidrei, after Hebrew 
 melodies, for violoncello and orchestra, op. 
 47 ; Quartet for strings, in C minor, op. 9 ; 
 do., in E, op. 10 ; Trio for pianoforte, violin, 
 and violoncello, in C minor, op. 5 ; 3 duets 
 for soprano and contralto, with pianoforte, 
 op. 4 ; 4 terzets, and 3 duets, for do., op. 6 ;
 
 BRUCK 
 
 % 
 
 Songs, op. 7, 13, 15, 17, 18, 22, 33, 49 ; and 
 isiimoforte nnisic, op. 2 (4 liaiuls), 11 (2 
 pianofortes), 12, 14. — Fotis, Siipplument, i. 
 129 ; Grove ; Mendel ; Eiemanu ; Mus. 
 Wocheublatt (1870), 773, 787, 833. 
 BRUCK. See Arnould de Bruek. 
 BRUCKNEK, ANTON, born at Ansfeld- 
 eu, Uj)per Austria, 
 September, 1824, still 
 living, 1888, in Vienna. 
 Organist, first instruct- 
 ed bj' bis fatlier, then 
 cbieHj' self-taught and 
 pupil in Vienna of 
 Secbter in counter- 
 point, and at Linz 
 (18G1-63) of Otto 
 Kitzler in eonipiosition. 
 He was for several 
 years organist at the Monastery of St. Flo- 
 rian, from 1855 at the Cathedral of Linz, and 
 in 1868 became Sechter's successor at the 
 Imperial Chajjel in Vienna, when he was also 
 apijointed professor at the Conservatorium. 
 In 1875 he was apj)ointed lecturer on music 
 at the university. AVorks : 8 symjihouies ; 
 3 grand masses ; Te Deum ; Graduals and of- 
 fertories ; Quintet for strings ; Germauen- 
 zug, for male chorus ; Other works for do. 
 
 BRUGGER, Dr. J. D. C, born at Frei- 
 burg, Breisgau, Oct. 23, 1796, died (?). Vio- 
 linist, pujiil of Weiland and Moor on the 
 violin ; professor at the Gymnasium of Frei- 
 burg, where be conducted the academical 
 concerts. Works : German mass for 4 voices ; 
 Patriotic songs for male chorus ; Many songs 
 for a voice and pianoforte, or guitar. 
 
 BRiiLL, IGN.iZ, born at Prossnitz, Mo- 
 ravia, Nov. 7, 1846, still living, 1888. Pian- 
 ist and dramatic composer, puisil in Vienna 
 of Epstein on the jiianoforte, and of Rufi- 
 natscha and Dessotf in composition. He 
 appeared in concerts in Vienna, and in the 
 large cities of Germany, with increasing fa- 
 vour, and was especially successful in Lon- 
 don, where he played in twenty concerts in 
 1878. Work.s — Operas : Die Bettler von 
 Samai'kand (1864) ; Das (juldene Kreuz, giv- 
 
 en in Berlin, 1875 ; Der Landfriede, op. 
 
 30, Vienna, 1877 ; Bianca, Dresden, 1879 ; 
 KOnigin Marietta, 
 Munich, 1883 ; Das 
 sleinerne Herz, Vien- 
 na, 1888 ; Im AValde, 
 Jagd Ouvertiire, for 
 
 orchestra, op. 25 ; 2 
 serenades, for do., 
 in F, op. 29 ; in E, 
 op. 36 ; Symphony, 
 in E minor, op. 31 ; 
 Tanz-Suite, for do., oja. 54 ; Overture to 
 Macbeth, op. 46 ; Two concertos for piano- 
 forte, op. 10 and 24 ; Concerto for violin, 
 op. 41 ; Suite for pianoforte and violin, op. 
 42 ; Sonata for violoncello and pianoforte, 
 op. 9 ; do. for 2 pianofortes (4 hands), op. 
 
 21 ; do. for violin and pianoforte, op. 48 ; 
 Trio, oj). 14 ; Cycle of Tuscan songs, for 
 mixed chorus, tenor and soi^rano soli, op. 
 
 22 ; Siisses Begrabniss, for 2 soprani, tenor, 
 contralto, and 2 basses, op. 23 ; Der drei 
 Burschen Lied, for mixed chorus ; Jagdlied, 
 for do., op. 26, No. 1 ; Gebt mirvom Becher, 
 for male chorus, op. 26, No. 2 ; Pianoforte 
 pieces (op. 6, for 2 pianofortes) ; Songs. 
 
 BRU3HEL, ANTOINE, born in the Neth- 
 erlands about 1480 (?), died about 1520 (?). 
 He was one of the most distinguished of 
 Okeghem's pupils, and of the composers of 
 the second (or great) Flemish school. He 
 and De la Rue may be accounted the two 
 greatest contemporaries of Josquin Depres. 
 Although his rejiutation was wide-spread in 
 his own day, nothing is now known of his 
 life. As a composer, if he lacked something 
 of Josquin's finish of st_yle, he was yet one 
 of the strongest of his time ; his harmony 
 is peculiarly fine. Although as consummate 
 a master of counterpoint as any composer 
 of his time, he did not affect the enigmati- 
 cal canons and mere musical puzzles then in 
 vogue. He was one of the first to attempt 
 the feat of writing for twelve real voices ; 
 but his habitual style was for four voices. 
 His masterpieces were the missa De beata 
 Virgine, and the missa De A/n'y^. Pub-
 
 liUU^vELLI 
 
 lislied works : Several motets in " Motetti 
 xxxiii." (Venice, Petrucci, 1502), and iu 
 " Motetti tlella Coroua," lib. i. (Fossoin- 
 broue, Petrucci, 1514:), and some cbausons 
 in Petrucci's " Cauti B," and " Cauti cento 
 ciuquanta " (Venice, 1501 and 1503) ; Five 
 masses, viz., Je n'ai deuil, Berzeretta savoy- 
 enne, TJt re mi fa sol la, L'Homme armc, 
 Victimse pasclialae (Venice, Petrucci, 1503) ; 
 Mass De Api'yf, in '■ Missarum diversorum 
 auctorum liber primus " (Venice, Petrucci, 
 1508) ; Three masses, viz., De beata Vir- 
 gins, A I'ombre dung buyssonet (in canon). 
 Pro defuuctis, in " Liber quindecim missa- 
 rum " (Rome, Andreas de Antiquis, 1510) ; 
 Patrem from the mass Villayge, in " Frag- 
 menta missarum " (Venice, Petrucci, no 
 date) ; Two masses, viz., A I'ombre, etc., 
 Festivals, in " Liber quindecim missarum " 
 (Nuremberg, Job. Petrejus, 1538) ; Mass 
 Boutemps, iu '■ Missse tredecim " (Nurem- 
 berg, Grapheus, 1539) ; Pleui sunt cceli and 
 Qui venit iu nomine Domini, in Glarean's 
 " Dodecachordou " (Basel, 1547) ; Laudate 
 Dominum, (iu Forkel, ii. 629-647). The 
 twelve-voice mass, Et ecce terne motus, 
 and some other works are in MS. iu the 
 Munich Libi'ary ; many MSS. are iu the ar- 
 chives of the Pontifical Chapel at Eome. 
 Some chansons are in the Cor. Basevi in the 
 Eiccardiaua at Florence. — Ambros, iii. 240. 
 BRUNELLI, AXTONIO, Italian composer 
 of beginning of 17th century. He was ma- 
 estro di cajipella of the Cathedral of Prato, 
 subsequently of S. Miniato, Florence, and 
 to the Grand Duke of Tuscany. He was 
 one of the best theoretical vocalists and 
 contrapuntists of his day. "Works : Eser- 
 cizi ad una e due voci (Florence, 1605) ; 
 Motetti a due voci, lib. i. (ib., 1607) ; do. 
 lib. 2 ; L' affettuoso invaghito, canzonette a 
 ire voci (ib., 1608) ; I fiori odoranti, madri- 
 gali a tre voci, lib. 1 (Venice, 1609) ; Le fiam- 
 mette d' iugeuio, madrigali a tre voci, lib. 2 
 (ib., 1610); La Sacra. Can tica, a 1-4 voci; 
 Regole e dichiarazioni di alcuui contrapunti 
 doppj, etc. (Florence, 1610) ; Scherzi, arie, 
 canzonette e madrigali a 1-3 voci, lib. 3 
 
 (Venice, 1614) ; Fioretti spirituali a 1-5 
 voci, op. 15 (ib., 1621). Fetis ; Schilling. 
 
 BRUNET'Jl, GAiiTANO, born at Pisa, 
 Italy, in 1753, died in Madrid in 1808. 
 Violinist ; pui^il of Nardini. He spent the 
 greater part of his life at the Spanish court, 
 where he was court musician to Charles IV. 
 His compositions, which number more than 
 two hundred, consist of 32 symphonies for 
 orchestra ; 5 concerted symphonies for dif- 
 ferent instruments ; Two books of composi- 
 tions for wind instruments for horse dances 
 at public fetes ; 6 sextets ; 32 quintets ; 6 
 quintets for violins, etc., and other violin 
 and violoncello music ; among which are 18 
 sonatas for violin and bass. — Fetis ; jVIendel. 
 
 BRUNETTI, GIOVANNI GUALBERTO, 
 born iu Pisa, Italy, about 1760, died ('?). 
 Dramatic composer, sou of Antonio Bru- 
 uetti, maestro di cappella at Pisa, whom be 
 succeeded at the cathedral. Works — Operas: 
 Amore imbratta il senno (opera bufta in 
 Neapolitan patois), Pisa, 1733 ; Don Pas- 
 quino (do.), ib., 1785 ; II Corrivo, Naples, 
 1736 ; Lo sposo di tre, Marito di nessuua, 
 Bologna, 1786 ; Le stravagauze iu campag- 
 na, Venice, 1787 ; Bertoldo e Bertoldina, 
 Florence, 1788 ; Demofoonte, 1790 ; Nozze 
 per invito, ossia gli amanti capricciosi, 
 Rome, 1791 ; Fatima, Brescia, 1791. Of 
 bis church music, his Matines de la Trinite, 
 for eight voices, is considered best. — Fetis. 
 
 BRUNI, ANTONIO BARTOLOMEO, 
 born at Coni, Piedmont, Feb. 2, 1759, died 
 there in 1823. Dramatic composer and vio- 
 linist ; pupil of Pugnaui for violin, and of 
 Spezzani in composition. He lived in Paris 
 from 1771, was first in the orchestra of the 
 Theatre de Monsieur, was afterwards con- 
 ductor of the Opera Comique. "Works — Op- 
 eras, all jilayed in Paris : Coradin, 1786 ; Ce- 
 lestiue, 1787; L'Isola incantata, 1789 ; Aze- 
 lie, 1790 ; Spinette et Mariiii, and Le niort 
 imagiuaire, 1791 ; L'officier de fortune, 1792 ; 
 Claudiue, 1794 ; Le mariage de J. J. Rous- 
 seau, 1795 ; Toberni, ou le pecheur suedois, 
 1795 ; Le Major Palmer, 1797 ; La rencontre 
 en voyage, and Les sabotiers, 1798 ; L'Au-
 
 BRUNNMULLER 
 
 tear dans son menage, 1799 ; Augustine et 
 Benjamin, ou les Sargiues de village, 1800 ; 
 La bonne soeur, 1801 ; Le regue de douze 
 heures, 1811 ; Le mariage par commission, 
 1816 ; Cadiclion, ou les Bobemiennes, 1792 ; 
 L'Esclave, 1800. He wrote also for the vio- 
 lin four sets of sonatas, several concertos, 
 ten quartets, and twenty-eiglit duets, which 
 have been used in teaching with his " Mc- 
 thode de Violou," jjublished in Paris and 
 Leipsic. — Fetis ; do.. Supplement, i. 131. 
 
 BRUNNMULLER (B r o u n e m ti 1 1 e r) , 
 ELIAS, born in Germany in 1666, died at 
 Amsterdam, Sept. 17, 1762. Pianist and 
 violinist, pujail of Scarlatti, Lunati, and 
 Corelli ; played with success in London, 
 Paris, and at many Eurojjean courts, and 
 settled in Holland, first at The Hague, then 
 at Amsterdam. Works : Sonata a due vio- 
 lin! e violoncello con organo, ojJ. 1 ; Simon 
 van Beaumont, op. 2 ; Toccata, fugues, cha- 
 couue, suites, etc., for pianoforte and organ, 
 op. 3 ; 6 solos for violin ; 6 do. for oboe ; 
 Fasciculus musicus, containing toccatas, soli 
 for oboe, violin, and flute, and Italian and 
 German melodies. All these are in the 
 library at Leyden. — Mendel, Erganz., 49. 
 
 BRUSA, GIOVANNI FRANCESCO, born 
 in Venice about the middle of the 17th 
 century, died probably in 1740. Dramatic 
 comjjoser ; became organist of the Orga- 
 netto del Palchetto in San Marco, 1726, and 
 choirmaster in the Conservatorio degl' In- 
 curabili. Works: II Trionfo della Virtu, 
 given in 1724 ; Amor eroico, 1725 ; Medea 
 e Giasone, 1726.— Fctis. 
 
 BRUTI, VINCENZO, Italian composer, a 
 chef de musique in the Italian army, contem- 
 porary. He is the author of Macco, Italian 
 opera buffa, given at the Teatro Brunelli, 
 Bologna, June, 1872 ; Adina, comic opera, 
 represented at Sangeuesio, 1877. 
 
 BRYNE, ALBERT, Euglish composer of 
 the 17tli century. Organist, pupil of John 
 Tomkins, whom he succeeded as organist 
 of St. Paul's Cathedral, London. His com- 
 positions are preserved in Boyce and Clif- 
 ford, and in MS. in the British Museum. | 
 
 BRZOWSKI, JOSEPH, born at Warsaw 
 in 1805, still living, 1888, Pianist and dra- 
 matic composer, jjupil of Karl Kurpinski ; 
 became musical director of the ballet at the 
 Warsaw Theatre in 1832, and made a con- 
 cert tour through Germany and France in 
 1837, and, with his daughter and pupil Hed- 
 1 wiga, pianist, to Germany in 1843. Works : 
 Hrabia Weseliuski, Polish oi:)era, given at 
 Warsaw, 1833 ; Fantastic overture ; Dra- 
 matic symphony ; Quartet with jjianoforte ; 
 Quintet, do.; Requiem for soli, chorus, and 
 orchestra ; Pianoforte j^ieces, and songs, 
 duets, etc. — Fetis, Sujjplement, i. 131. 
 
 BUCHERON, LE (The Wood Cutter), 
 opera-comique in one act, text by Guichard 
 and Castel, music bj' Philidor, first repre- 
 sented at the Comcdie Italienne, Paris, Feb. 
 28, 1703. A satire on loquacious women. 
 
 BUCHNER, EMIL, born at Osterfeld 
 near Naumburg, Prussian Saxony, Dec. 5, 
 1826, still living, 1888. Pupil at the Con- 
 servatoriura, Leipsic (1843-46), in which 
 city he continued to live until 1856, and 
 whither he returned as musical director in 
 1862, having meanwhile conducted the 
 theatre orchestras at Rostock, Augsburg, 
 Nuremberg, Innsbruck, and Magdeburg. 
 In 1865 he became Hof-Kapellmeister at 
 Meiningen. Works : Dame Kobokl, opera, 
 text by Theodor Apel, about 1860 ; Konig 
 Harald's Brautfahrt, cantata ; Overture to 
 Schiller's Wallenstein (1867), and other 
 overtures ; Trio for pianoforte, etc. ; Songs. 
 BUCK, DUDLEY, born, of American 
 parentage, in Hart- 
 ford, Connecticut, 
 March 10, 1839 ; still 
 living, 1888. Organ- 
 ist, pupil on the 
 pianoforte of W. J. 
 Babcock, and in the 
 Leipsic Conservato- 
 rium, 1858, of Plaidy 
 and Moscheles, in in- 
 strumentation of Ju- 
 lius Rietz, and in composition of Haupt- 
 mann. Aftei' remaining at Leif)sic for 
 
 238
 
 BUHL 
 
 eighteen montlis, he became a, jjupil on 
 the organ of Johaiin Schneider in Dres- 
 den, and again of Rietz ; and in 18G1 lie 
 went to Paris and studied Frencli music 
 for a short time. Eeturniug to America in 
 18G2, he settled first in Hartford, where he 
 was organist of the Park Church ; then in 
 Chicago of St. James's Episcopal Church. 
 In 1872 he removed to Boston, where he was 
 appointed organist of St. Paul's Church, and, 
 subsequently, of the Music Hall Association, 
 a position which placed him in charge of the 
 great Music Hall organ. In 1875 he was or- 
 ganist at the Cincinnati May Festival, and 
 during the same year went to New York as 
 assistant conductor of Theodore Thomas's 
 Central Park Garden Concerts. He became 
 also organist of the Church of the Holy 
 Trinity, and director of the Apollo Club, 
 Brooklyn, in 1875. Works: Legfiid oi Bon 
 Muiiio, cantata, 1874 ; Faalm 46, do., Handel 
 and Haydn Society, Boston, 187-t ; Centen- 
 nial Meditation of Columbia, do., 1876 ; 
 The Nun of Nidaros, do., 1878 ; The Golden 
 Legend, do., 1880 ; Deseret, comic opera, 
 1880 ; Marmion, symphonic overture for or- 
 chestra, 1880 ; Voyage of Colamlnis, 1885 ; 
 Light of Asia (188G) ; King Olaf's Christmas, 
 1887 ; Slav Spangled Banner, overture, 
 1888 ; Easter Morning, for mixed voices ; 
 Hymu to Music, mixed voices. Church 
 Music : Motet Collection, 1867 ; Second 
 Motet Collection; Morning Service for 
 Episcopal Church, op. 25 ; Evening Service 
 for do., op. 31 ; Christ pur Passover, op. 29 ; 
 There were shepherds ; Hark, what mean 
 these holy voices?, op. 32 ; Darkly rose the 
 guilty morning, op. 33 ; Morning Service, 
 op. 45 ; Evening Service, op. 47 ; Easter 
 Anthem, op. 46 ; Christmas Anthem, op. 48 ; 
 Special Hymns (8 numbers), op. 43 ; Three 
 Anthems, op. 72 ; Te Deum and Jubilate 
 from Schubert's Mass in B-flat ; O Saviour, 
 hear me ! ; A Midnight Service for New 
 Year's Eve. Organ : Illustrations in Choir 
 Accompaniment, with Hints in Registration, 
 1877 ; Grand Sonata in E-flat, op. 22 ; Con- 
 cert Variations on the Star Spangled Ban- 
 
 ner, op. 23 ; Triumphal JMarch, op. 26 ; Im- 
 promptu Pastoral, op. 27 ; Eighteen Pedal 
 Phrasing Studies, op. 28 ; Rondo Caprice, 
 op. 35 ; Several Transcriptions and Varia- 
 tions ; At Evening, Idylle, op. 52 ; Second 
 Grand Sonata, in G minor, op. 77; The 
 Organist's Repertoire, edited by D. Buck 
 and A. P. Warren. Pianoforte music; 
 Songs, words by E. C. Stedman, and other 
 Songs ; Dictionary of Musical Terms ; The 
 Influence of the Organ in History (1882). 
 
 BUHL, JOSEF DAVID, born at the Cha- 
 teau de Chanteloup, near Amboise (Indre-et- 
 Loire), of German parents, in 1781, died at 
 Versailles, April, 1860. Virtuoso on the 
 trumpet, studied in Paris. He was pro- 
 fessor of the trumpet in the cavah-y school 
 at Ver.sailles in 1805-11, conductor of the 
 Garde du Corps in 1824, and a member of 
 the orchestra of the Opera and of the The- 
 atre Italien in 1816-25. He devoted much 
 time to improvements in his instrument. 
 L. of Honour, 1814. Works: Quicksteps 
 for wind instruments ; 16 marches, quick- 
 steps, etc., for four trumpets, two horns, and 
 trombone ; War-song for horns, trumpets, 
 and trombone ; Duets for trumpets, etc. ; 
 Method for the trumpet.^Fetis ; Mendel. 
 
 BUHLER, ABBE FRANZ (GREGOR), 
 born at Schneidheim, near Augsburg, April 
 12, 1760, died at Augsburg, Feb. 4, 1824. 
 Organist, first instructed by his father, 
 and at the Abbey of Neresheim, where he 
 became a chorister in 1770, pupil of Fa- 
 ther IMayr in singing, of Father Werk- 
 meister on the pianoforte, and of Father 
 Faulhaber in harmony and composition ; 
 then at Augsburg pupil of Michael Dimm- 
 ler on the organ and in composition. He 
 was organist at Mayngen Monastery for a 
 short time, and, having returned to Augs- 
 burg, went to the Convent of Benedictines 
 at Donauwerth in 1778, where he studied 
 under Neubauer and Rosetti, was made a 
 priest in 1784, and called as Kapellmeister 
 to Botzen in 1794 ; he obtained from the 
 pope his secularization in 1801, and became 
 Kapellmeister of the Cathedral of Augsburg.
 
 Bumi 
 
 Works : Masses with organ and orchesti-a ; 28 
 Vesper hymns ; 3 German masses for three 
 voices and orchestra (Augsburg) ; Psahns, 
 Pauge lingua, Libera, Eequieni, Te Deum, 
 Vespers ; Several collections of German Lie- 
 der with pianoforte ; Sonatas and preludes 
 for organ, etc. — Fetis ; Mendel ; Schilhng. 
 BUmi, GroSEPPE MARIA, born at 
 Bologna towards the end of the 16th cen- 
 tury. Dramatic composer, pianist and vio- 
 linist, and poet ; wrote the text to six of his 
 operas. Member of the Accademia Filar- 
 monica, 1722 ; principe in 1730 and 1735. 
 Works : L' ipocondriaco, given in Florence, 
 1718 ; II Mago deluso dalla magia, Bo- 
 logna, 1718 ; La pace per amore, I diporti 
 d' amore in villa, ib., 1719 ; Gl' inganni 
 fortunati, Filindo, Armida delusa, Venice, 
 1720 ; Cleofile, ib., 1721 ; Amore e maesta, 
 ovvero 1' Arsace, Gl' Inganni felici, Flor- 
 ence, 1722 ; Armida abbandonata, ib., 1723 ; 
 La ninfa riconosciuta, ib., 1724 ; Adelaide, 
 Bologna, 1725 ; Gli sdegni cangiati in 
 amore, Venice, 1725 ; B savio delirante. 
 La vendetta disarmata dall' amore, Bo- 
 logna, 1726 ; Albumazar, ib., 1727 ; Frene- 
 sie d' amore, ib., 1728 ; Teodorico, Malmo- 
 eor, Amore e gelosia, Chi no fa, non falla, 
 Endimione, ib., 1729 ; L' Oi-tolane eon- 
 tessa, II podesta di Colognole, La maschera 
 levata al vizio, ib., 1730 ; Artanagamem- 
 none, Fidarsi e ben, ma non fidarsi e me- 
 glio, Venice, 1731 ; Gli amici de' martelli, 
 Bologna, 1734— Fe'tis ; Mendel. 
 
 BULL, JOHN, born in Somersetshire, 
 
 England, in 
 1563, died at 
 Antwerp, 
 March 12, 
 1628. Organ- 
 ist, pupil of 
 William Blithe- 
 man, in the 
 Chapel Royal ; 
 was appointed 
 organist of the 
 cathedral at Hereford in 1582, and afterwards 
 master of the children. In 1585 he was ad- 
 
 mitted a member of the Chapel Royal, and 
 in 1586 received the degree of jMus. Bac. 
 and in 1592 that of Mus. Doc, at Oxford. 
 Upon the recommendation of Queen Eliza- 
 beth he was appointed professor of music in 
 Gresham College, 1596, which position he 
 resigned on his marriage in 1607, it being 
 tenable by statute only so long as he 
 remained unmarried. In 1601 he went 
 abroad for the recovery of his health, and 
 made a concert tour through Holland, 
 France, and Germany. In 1611 he was in 
 the service of Prince Henry, and in 1613 
 went to the Netherlands, where he entered 
 the service df the Archduke, and in 1617 
 became organist of the Cathedral of No- 
 tre Dame at Antwerp. Of his composi- 
 tions, said to number more than 200, only 
 a few have been printed in various collec- 
 tions ; to wit, in Barnard's, Boyce's, Leigh- 
 ton's, etc. A list of his works is contained in 
 Ward's "Lives of the Gresham Professors." 
 To him has been attributed the composition 
 of the national anthem God save the King, 
 but the question still remains undecided. 
 — Burney, iii. 115 ; Hawkins, ii. 366 ; Chap- 
 pell, Popular Music of Olden Time, 249, 698 ; 
 Marpurg's Beitrlige, iv. : Grove ; Mendel. 
 BULL, OLE (BOENEMANN), born at 
 Bergen, Norway, Feb. 
 5, 1810, died at his villa 
 Lysoen, near Bergen, 
 Aug. 17, 1880. Violin 
 virtuoso, self-t a u g h t, 
 adopting a ilat finger- 
 board and bridge, and 
 holding his instrument 
 in a way quite bis own. 
 Paulsen, a Dane, his 
 first teacher, could not control the method 
 of his pupil, who, at ten years of age, would 
 play passages which his teacher found too 
 difficult. Intended for the clerical profes- 
 sion, but failing in his examinations, his 
 friends arranged that he should direct the 
 Pliilliarmonic and Dramatic Societies (1828). 
 In 1831 he went to Paris, where he suffered 
 many hardships, but experienced the most 
 
 340
 
 BULOW 
 
 exciting of his musical iinpicssioiis in listen- 
 ing to Piigiiniui, who afterwards spoke of 
 Ole Bull's technique as masterful, and liis 
 style and method as original and admirable. 
 He belonged to no school, unless the study 
 of song in Italy may have helped him to 
 know his own powers and limitations. The 
 criticism of Joachim, quoted by Bjornson, 
 is worthy of note : " No artist in our time 
 has possessed Ole Bull's poetic power ; no 
 one has ever surpassed his inlaying of the 
 adagio." Mozart was the composer he 
 most cared to interj)i-et, but his own com- 
 positions and improvisations best brought 
 out his mastery of the instrument, and were 
 demanded by the public. He had also, 
 from his long experience and close study, 
 acquired a full knowledge of the construc- 
 tion of the violin, and was a judge of rare 
 instruments. Years of residence in the 
 United States led Ole Bull to call that 
 country his "other home." Works: Con- 
 certo in A (1832) ; do. in E minor (1841) ; 
 Quartetto a violino solo (1834) ; Preghiera 
 d' una madre (1834) ; Polacca guerriera 
 (1834) ; Gruss aus der feme (1841) ; Sicili- 
 ano 6 tarantella, Variazioni di bravura, II 
 Notturno (1843) ; Agiaco Cubano, Eecuer- 
 dos de la Habaua (1844) ; Niagara, The Sol- 
 itude of the Prairies, David's Psalm (1844) ; 
 Memory of Washington (184.5) ; La Verbena 
 de San Juan (1847); SaeterbesOg (1848); 
 The Nightingale (1867).— Sara C. Bull, Ole 
 Bull, a Memoir (Boston, 1883). 
 
 BtJLOW, HANS (GUIDO), Baron VON, 
 born at Dresden, 
 Jan. 8, 1830, still 
 living, 1888. His 
 father, Eduard von 
 Biilow, was cham- 
 berlain to the 
 Prince of Anhalt- 
 De.ssau, and had 
 some reputation as 
 a litterateur. The 
 j'oving Hans showed 
 at first neither taste nor talent for music, 
 and it was only after a long and severe ill- 
 
 ness that his musical gift declared itself. 
 At the age of nine he began studying the 
 pianoforte under Friedrich Wieck, and, 
 two j'ears later, harmony and counterpoint 
 under M. K. Eberwein. In 1848 he en- 
 tered the University of Leipsic, to study 
 law, but also continued his studies in 
 counterpoint under Hauptmann. In 1849 
 he left Leipsic to enter the University at 
 Berlin. He was, at the time, deeply inter- 
 ested in politics, and contributed to a dem- 
 ocratic newsjjaper, "Die Abendjrost." Here 
 he began his championship of the new 
 German school of music, and of the ideas 
 of Wagner and Liszt. In 1850, after hearing 
 a performance of Lohengrin, conducted by 
 Liszt in Weimar, he determined to abandon 
 the law, and take up music as a profession ; 
 hitherto he had pursued it only as an ama- 
 teur. He went to Ziirich and placed him- 
 self under Wagner's guidance. In 18.51 ho 
 went to Weimar to complete his study of 
 the pianoforte under Liszt. In 1853 he 
 made his fii-st concert tour to Vienna, Pesth, 
 Dresden, Carlsruhe, Bremen, Hamburg, and 
 Berlin, meeting with unqualified success 
 wherever he appeared. From 1855 to 18G4 
 he was priucij)al teacher of the pianoforte at 
 Stern and Marx's Conservatorium in Berlin, 
 where he organized symphony and chamber 
 concerts, contributed political and musical 
 articles to various papers, and did what he 
 could to helj) the propaganda of the new 
 school. He also made jDrofessional trips 
 through Germany, the Netherlands, and 
 Russia, appearing both as pianist and con- 
 ductor. In 18G4 he was appointed chief 
 conductor at the Royal Ojiera, and director 
 of the Conservatorium in Munich. It w'as 
 here that he conducted the first perform- 
 ances of Wagner's Tristan and Die Meister- 
 singer. His labors in reorganizing the Con- 
 servatorium, added to domestic troubles, 
 at last so affected his health that in 1809 
 he retired to Florence, where he lived for 
 several years. In 1873 he made a visit to 
 Loudon, and in 1875-76 a tour through the 
 United States. Since that time he has held 
 
 241
 
 BITNDESLEID 
 
 positions as conductor in several German 
 cities, notably in Hamburg, Hanover, and 
 Meiningeu. His concert tours witli the 
 Meiuiugeu orchestra have been esjjeeially 
 famous. Billow's fame as pianist, conduct- 
 or, and musical writer is of the very liigh- 
 est order. His memory is prodigious ; he 
 plays and conducts almost everything with- 
 out notes, and his repertory includes almost 
 everything of importance in the literature 
 of the pianoforte and of the orchestra. 
 Since 1870 his open championship of Wag- 
 ner's works and doctrines has been less 
 noticeable than formerly. Although still a 
 warm admirer of the Bayreuth master, he 
 has of late devoted his energies more ex- 
 clusively to the classic composer.?, especially 
 Bach and Beethoven, and has done much 
 to further the Brahms propaganda. As a 
 composer he never acquired much distinc- 
 tion, but his musical influence has alwaj'S 
 been ver^y great. His original composi- 
 tions, as far they have been published, are : 
 Marche heroique, op. 3 ; Innocence, Album- 
 blatt for juanoforte ; Die Entsagende, Lie- 
 dercyclus, for voice and pianoforte, op. 8 ; 
 Music to Shakesjjeare's JHliu.s Csesar, op. 
 10 ; Des Sanger's Fluch, ballade for orches- 
 tra, op. 16 ; Ninvana, symphonisches Stim- 
 mungsbild, op. 20 ; II Carnovale di Milano, 
 short dance-pieces for pianoforte, op. 21 ; 
 
 Vier Charakterstucke fiir Orchester, op. 23 ; 
 Two Romances for mezzo-soprano and pi- 
 anoforte, op. 26. Among his pianoforte 
 transcriptions the following are noteworthy : 
 The pianoforte score of Wagner's Tristan 
 und Isolde ; the Vorspiel to Die Meister- 
 singer ; Berlioz's overtures to Le Corsaire, 
 and Benvenuto Cellini. His instructive edi- 
 tions of many pianoforte classics, notably 
 of Beethoven's pianoforte works, beginning 
 with opus 53, are universally recognized 
 models. 
 
 BUNDESLIED (Song of Federation), 
 text from Goethe, for two soli, chorus, two 
 clarinets, two horns, and two bassoons, by 
 Beethoven, op. 122, composed in 1822. 
 Published by Schott (Mainz). Sketch in a 
 sketch-book in Royal Library, Berlin. — 
 Thayer, Verzeichuiss, 1-45 ; Lenz, Krit. Kat- 
 olog", 140. 
 
 BUN(4ERT, AUGUST, born at Miilheim 
 au der Rulir, Rhenish Prussia, Jlarch l-l, 
 1846, still living, 1888. Pianist, pupil of 
 Hubert Ferdinand Kufferath, then studied 
 for three year's at the Conservatorium in 
 Cologne, and, with interruptions, for four 
 years in Paris at the Conservatoire, and 
 under Mathias. In 1869 he became musi- 
 cal director at Kreuznach, and in 1873 set- 
 tled in Berlin, where he studied counter- 
 point and fugue under Kiel. Works : Die 
 Studenteu von Salamanca, comic opera, 
 given at Leipsic, 1884 ; Overture to Tasso ; 
 Hohes Lied der Liebe, with orchestra ; Pi- 
 anoforte quartet, op. 18 ; Pianoforte pieces, 
 songs, and male choruses. — Mendel, Ergiinz., 
 50 ; Riemanu. 
 
 BUNNETT, EDWARD, born at Ship- 
 ham, Norfolk, Eng- 
 land, June 26, 1834, 
 still living, 1888. Or- 
 ganist, pupil of Dr. 
 Zechariali Buck at 
 Norwich Cathedral, 
 of which he was a 
 chorister in 1842, and 
 assistant organist in 
 1855-77. He became 
 organist of St. Peter's 
 Church in 1877, and organist to the cor- 
 poration of Norwich in 1880. Mus. Bac, 
 Cambridge, 1856 ; Mus. Doc, do., 1869. 
 Works : Song of Praise, 1869 ; Rhineland, 
 j cantata for soprano solo, chorus, and or- 
 chestra, composed for Mile Tietjens, Nor- 
 I wich Festival, 1872 ; Lora, cantata, text by 
 W. W. Turnbull, 1876 ; Magnifieat, Nunc 
 dimittis, Cautate Domino, and Deus mi.se- 
 reatur, 1860 ; Te Deum in G ; Te Deum in 
 1 P ; Benedictus and Jubilate in F ; Volume 
 
 343
 
 BUNTE 
 
 of Chants, Kyries, Anthems, etc., 18(55 ; Of- 
 fice of the Holy Commuuiou iu E, 1883 ; 
 Anthems ; Songs ; Sonata for violin and pi- 
 anoforte, 1873 ; Trio for pianoforte, violin, 
 and violoncello, 1873 ; Pianoforte music, etc. 
 
 BUNTE BLATTER (Variegated Leaves), 
 li pieces for pianoforte, by Robert Schu- 
 mann, op. 99, composed in 1836-49 ; dedi- 
 cated to Miss Mary Potts. First published 
 by F. W. Arnold (Elberfeld, 1852) ; edition 
 by Breitkopf & Hartel, Schumann's Werke, 
 Series VIL, vol. vi., No. 33. 
 
 BUNTE REfflE (Variegated Series), 24 
 pieces for violin by Ferdinand David, tran- 
 scribed for pianoforte by Liszt. 
 
 BUONA FIGLIUOLA, LA (The Good 
 Daughter), ossia La Ceccliina, Italian opera 
 buffa, text by Goldoni, music by Piccinui, 
 
 BUONDELiSIONTE. See Maria Stuarda. 
 
 BUONOMO, ALFONSO, born at Naples, 
 Aug. 12, 1829, still living, 1888. Dramatic 
 composer, pupil at the Conservatorio, Na- 
 ples, of Achille Pistilli iu solfeggio, of Gio- 
 vanni Donadio on the pianoforte, then of 
 Giuseppe Polidoro and of Luigi Siri on the 
 pianoforte, of Pietro Casella in harmony, and 
 of RatYaele Polidoro and Alessandro Busti in 
 sin"in"'. Having lost his voice, he studied 
 composition under Giuseppe Lillo. Works : 
 Cicco e Cola, given at Naples, Teatro Nuovo, 
 1857 ; L' ultima Domenica di Carnovale, ib., 
 1859 ; Moualora di Chiaja, ib., 1862 ; Osti 
 e nou Osti, ib., Teatro Bellini, 1865 ; Le 
 Follie amorose, ib., 1865 ; Tizio, Cajo e 
 Sempronio, ib., Teatro de la Fcnice, 1867 ; 
 II :\Iarito geloso, ib., Teatro Rossini, 1871 ; 
 
 first represented in Rome, 1760 ; and iu Una Giornata a Napoli, ib., Teatro Nuovo, 
 
 Paris, at the Academie Royale de Musique, 
 as La bonne lille, Dec. 7, 1778. The li- 
 bretto is an adaptation of Goldoni's drama 
 of '■ Pamela," which is founded on Richard- 
 son's romance of the same title. One of the 
 most popular buft'a operas ever written, it 
 held the stage throughout Europe for many 
 years. Iu Rome it was played in all the 
 theatres, great and small, the fashions were 
 "alia Cecchina," and inns, shops, coiffures, 
 wines, etc., were named after her. Pro- 
 duced in Paris during the heat of the quar- 
 rel between the Gluckists and Piccinnists, 
 it met with a brilliant success, in spite of 
 the sarcasms of the former. It is said to 
 have been written in eighteen days. The 
 opera was revived iu London in 1814:, for 
 the benefit of Madame Catalani, who repre- 
 sented Pamela with great success. — Ho- 
 garth, Memoirs, ii. 134 ; Desnoiresterres, 
 Gluck et Piccinni, 173 ; Giuguene, Notice 
 sur . . . N. Piccinni, 10. 
 
 BUONA FIGLIUOLA MARITATA, LA 
 (The Good Daughter Married), text by Gol- 
 doni, music by Piccinni, first represented 
 at Naples, 1765, and at the Acadt'niie Roy- 
 ale de Musique, Paris, April 15, 1779. The 
 libretto, a sequel to La buona figliuola, deals 
 with The Good Daughter's married life. 
 
 1871 ; Le due Maschere ; Bi-Ba-Bu.— Fetis, 
 Supplement, i. 133. 
 
 BUONONCINL See Bononcini. 
 
 BURALI-FORTI, COSIMO, Italian com- 
 poser, contemporary. He is author of : Pic- 
 carda Donati, opera, given at Arezzo, Oct. 
 31, 1874 ; La Marchesella, opera buft'a, ib., 
 Dec. 24, 1876 ; Le teste di Gesso, opera 
 bufta, ib., April 19, 1877 ; Carmela, opera 
 seria, ib., March 17, 1880. 
 
 BURBURE DE WESEMBECK, LfiON 
 (PHILIPPE MARIE), Chevalier DE, born 
 at Termonde, East Flanders, Aug. 16, 1812, 
 still living, 1888. Distinguished musical 
 amateur, studied the violoncello at Ghent 
 under de Vigne, who was a pupil of Bau- 
 diot. He founded at the University of 
 Ghent, a musical society. La Lyre Acade- 
 mique, where many of his works were given ; 
 was a president of the societies of Sainte- 
 Cccile, Amour des Arts, Les Chceurs, and 
 "£chos de la Denche, for all of which he 
 wrote many choruses, and was the winner 
 of the 1st prize given by the Society des 
 Arts, des Sciences, des Lettres, of Hainault, 
 in 1840, for his overture of Charles-Quint. 
 The town of Termonde made him member 
 of the Council of the Church of Notre Dame 
 iu 1842, when he became interested in the 
 
 243
 
 ErRCK 
 
 work of classifying and recording the ar- 
 chives of that collegium. He was invited 
 by other towns to undertake the same work 
 for them, and in the coiu'se of it, particularly 
 while at Antwerp (1846-53j, he made valu- 
 able additions to the musical history of the 
 Netherlands. He was made administrator 
 of the Academie des Beaux Arts at Antwerp 
 in 1858, and of the Roj-al Academy of Bel- 
 gium iu 18C2. His compositions are very nu- 
 merous, as he wi'ote for all the principal mu- 
 sical societies of Belgium. They consist of 
 choruses with and without accomjjaniment, 
 romances, melodies, and Lieder, of which 
 fifty-six were published in Belgium and 
 Germany iu 1834-50. Church music : Te 
 Deum ; Stabat Mater ; Litanies to the Vir- 
 gin ; Ave Maria ; Tantum ergo. Orchestral 
 nuisic : Overtures to Jacques d'Arteville, 
 Quentiu Matsys, Godefroi de Bouillon, Da- 
 vid Teniers, etc. Choruses and cantatas : 
 The Pirate's Song, De Stag by Doggersbook, 
 Lindanus, with accompaniment ; Les mau- 
 vais gar<,'ons, Art, Patrie et Dieu, Belgie, 
 Flaudre au Lion, Hymue a Sainte-Cecile, 
 etc., without accomp)auiment. He is the au- 
 thor of : "Aperyu sur I'ancienne corporation 
 des musiciens instrumeutistes d'Anvers" 
 (18G2) ; " Recherches sur les factures des 
 clavecins et des luthiers d'Anvers depuis le 
 IGe jusqu'au 19e siecle " (Brussels, 1863) ; 
 "Notice sur Ian Van Ockeghem," in Flem- 
 ish (185G), and "Catalogue historique du 
 Musce d'Anvers." — Fctis ; do., Supj)lcment, 
 i. I3i ; Mendel. 
 
 BUECK, JOACHIM VON, born near 
 Magdeburg, second half of the IGth century. 
 Organist, cantor at Miilhausen, and one of 
 the fifty-three judges cliosen for the recep- 
 tion of the organ at Groningen, iu 1596. 
 "Works : Passion Christi, nach dcm 4 Evan- 
 geslisten auf dem teutschen Text, etc. (Er- 
 furt, 1550 and 1557, Wittenberg, 1568) ; 
 Harmonise sacra; tam viva voce, quam in- 
 struinentis musiois cantatu jucunda^ (Nu- 
 remberg, 15GG) ; IV Decades senteutiosorum 
 versuum (15G7) ; Cantiones sacra- 4 vocum 
 (Miilhausen) ; Symbolum aijostolicum Nic;c- 
 
 um, Te Deum laudamus, etc., mit 4 Stim- 
 men (1569) ; XX geistliche Odeu auf Villa- 
 i nellen Art gesetz, 1st part (Erfurt, 1572) ; 
 Idem, 2d part (Miilhausen, 1578) ; Sacrae 
 cantiones plane novse ex vet. et novo Testa- 
 mento a 4 vocum (Nuremberg, 1573) ; Odie 
 sacriB Ludovici Hemboldi Mulhusini suavi- 
 bus harmoniis ad imit. italicaruin villaue- 
 siarum, uusquam in Germania linguii' latinse 
 antea accommodatarum (Miilhausen) ; Heb- 
 domas div. instituta sacris odis celebrata, 
 lectionumque scholasticarum intervallis, etc. 
 (Miilhausen, 1560). — Futis ; Gerber ; Men- 
 del ; Winterfeld, Der evang. Kirchengesang, 
 i. 397. 
 
 BUEGEL, CONSTANTIN, born at Lie- 
 bau, Silesia, June 24, 1837, still living, 
 1888. Instrumental composer, pupil of 
 Brosig at Breslau and of Kiel iu Berlin, 
 where he afterwards taught the i^ianoforte 
 at Kullak's Academy (1869-70). He is liv- 
 ing there now as teacher and composer. 
 Works : Two sonatas for pianoforte ; So- 
 nata for violin ; Suite and variations for pi- 
 anoforte ; Fantasiestiicke for do. ; Quintet 
 for do., and stringed instruments ; Overture 
 to Sappho ; Symphonic march, etc. — Mendel. 
 
 BLTIGIO DI VILL.4.FI0EITA, Italian 
 composer, contemporary. He is author of 
 II Paria, Italian opera, represented at the Te- 
 atro Pergola, Florence, March, 1872 ; Jolan- 
 da, opera seria, text by Interdonato, Teatro 
 Grande, Brescia, Feb. 20, 1879 ; Le notti 
 romane, opera seria, Adria, Aug. 29, 1880. 
 
 bueg:mullee, (johann) fried- 
 rich (FRANZ), boru iu Eatisbon in 180G, 
 died at Beaulieu, France, Feb. 13, 1874. Pi- 
 anist, son and pupil of August Friedrich 
 Burgmiiller (1760-1824). He went to Paris in 
 1832, and became a noted teacher, and com- 
 poser of popular pianoforte nuisic. Works : 
 La Peri, ballet (1843) ; one act of Lady 
 Henriette, ballet (with Flotow and Del- 
 devez as collaborators) ; the motif for a 
 valse for Adolphe Adam's Giselle, ballet, 
 which became famous as La Valse de Gi- 
 selle. His compositions for pianoforte 
 number nearly one hundred, composetl of 
 
 ■i4i
 
 BURGMULLER 
 
 fautaisics, caprices, rondos, etc. — Frtis ; do., 
 Supplriiieut, i. 134. — Alendel. 
 
 BURGMULLER, NORBERT, boru iu 
 Dusseldorf, Feb. 8, 1810, died iu Aix-la- 
 Cbapelle, May 7, 1836. His father was Mu- 
 sik-Director at Diisseldorf, and one of the 
 founders of tbe Lower Rhine Festivals. 
 Norbert's musical education was begun at 
 home, and continued under Spohr and 
 Haujitmann at Cassel. He was of a weak 
 constitution, and died before he had reached 
 his full development, leaving an overture 
 and parts of two sj'mphonies, one of which 
 was completed by Schumann, who was his 
 warm admirer. There is little doubt that, 
 had he lived, he would have risen to a very 
 high rank as a composer. Besides these 
 works, a pianoforte concerto and some fugi- 
 tive pieces have been published by Kistner. 
 — Schumann, Ges. Sclir., iii. 145 ; Mus. and 
 Musicians, i. 172 ; Burgiuiiller's posthumous 
 compositions, Leipsio Signale, July 7, 18G4. 
 
 BURGSCHAFT, DIE (The Security), Ger- 
 man opera in three acts, test by an unknown 
 writer after Schiller's ballad of the same 
 name, music by Franz Schubert, uutiuished. 
 Schubert wrote fifteen numbers, including 
 the first two acts and one air and chorus 
 in the third act. The :MS., dated May 2, 
 181G, is in Herr Dumba's possession, and no 
 part of it has been jirinted. Same subject 
 treated by Blumenroder, Germany, 1824 ; 
 by Franz Lachner, text by von Biedeufeld, 
 Pesth, 1828 ; by Lindpaintuer, same text, 
 Stuttgart, Sept. 28, 1834 ; by G. Hellmes- 
 berger, Hanover, 1848. — Hellborn (Cole- 
 ridge), i. 02 ; Grove, iii. 32G. 
 
 BURMANN, GOTTLOB WILHEL:\r, 
 born at Laubaii, Silesia, May 18, 1737, died 
 in Berlin, Jan. 5, 1805. Pianist and organ- 
 ist of great facility, the more remarkable 
 because on one hand he had no ring-finger, 
 and another finger was lame. He lived in 
 Berlin in very narrow circumstances, for 
 the last ten years of his existence, paralyzed 
 on one side. He was also a talented poet, 
 and wrote the words to most of his songs. 
 Works : Sis pieces for pianoforte (1771!) ; 
 
 4 suites for do. (1777) ; Harmonietten oder 
 Stiicke fiir Khivier (17!)3) ; 5 collections 
 of songs (17G()-87) ; Winter-Uberlistung 
 oder deutsche National Lieder, 3 books of 
 songs (1794) ; Lenzgefiihle, do. (1794) ; Die 
 Jahreszeiten, do. (1795) ; G do. (1794) ; 
 Liederbuch fiir das Jahr 1787, etc. — Fctis ; 
 Mendel. 
 
 BURNEY, CHARLES, born in Shrews- 
 bury, England, April 
 7, 1726, died at Chel- 
 sea, April 12, 1814. 
 He was educated at 
 the free school, 
 Shrewsbury, and at 
 the public school, 
 Chester, where he 
 studied music imder 
 Baker, organist of 
 the cathedral ; later he was a pupil of his 
 elder brother James Burney, organist of St. 
 Mary's, Shrewsbury, and in 1744-47 of Dr. 
 Thomas Augustine Arne, in London. In 
 1749 he became organist of St. Diouis-Back- 
 cliurch, Loudon, and harpsichord player 
 at the subscription concerts, Cornhill. He 
 was organist of Lynn Regis, Norfolk, 1751- 
 60, returned to London in the latter year, 
 received the degree of Mus. Doc. fi"om Ox- 
 ford in 1769, travelled in France and Italy 
 in 1770-71, and in Germany and the Nether- 
 lands in 1772, and on his return to London 
 was elected a fellow of the Royal Society 
 iu 1773. Dr. Burney published, on his 
 return from the Continent, "The Present 
 State of Music in France and Italy " (Lon- 
 don, 8vo, 1771) ; and " The Present State 
 of ]Music in German}', the Netherlands, and 
 United Provinces" (ib., 2 vols. 8vo, 1773). 
 But he is best known by his " General His- 
 tory of Music, from the Earliest Ages to 
 the Present Period " (London, 4 vols. 4to, 
 1776-89). He was the author also of 
 " Memoirs of the Life and Writings of 
 the Abbate Metastasio " (ib., 3 vols. 8vo, 
 ! 1796), and of other works. In 1789 Dr. 
 I Burney was appointed organist of Chelsea 
 College, where he spent the remainder of 
 
 34S
 
 BFROXI 
 
 liis life, enjoying the intimate acqiiaint;mce 
 of almost every eontempoi-ary noted in 
 literature auJ iu art. Of liis eight chil- 
 dren, the second daughter was Mme d'Ar- 
 blay the novelist ; another daughter, Sarah 
 Harriet, was also a novelist ; James, the 
 eldest son, became a rear-admiral and au- 
 thor ; and Charles, an eminent classical 
 scholar, critic, and bibliographer. Dr. 
 Burney's musical compositions were as fol- 
 lows : Music for Mallet's Alfred, Mendez's 
 Robin Hood, and Queen Mab, Drury Lane, 
 1750 ; The Cunning Man, test and music 
 adapted from Rousseau's Deviu du Village, 
 Drury Lane, 1766 ; 2 sonatas for two vio- 
 lins and bass, 1765 ; Anthem, with over- 
 ture, solos, and choruses, Oxford, 1769 ; 6 
 cornet-pieces with introduction and fugue 
 for organ ; 12 canzonette a due voci in 
 canone, after Metastasio ; 6 duets for Ger- 
 man ilutes ; 6 concertos for violin, etc., 
 iu eight parts ; 2 sonatas for pianoforte, 
 violin, and violoncello ; 6 harjjsichord les- 
 sons ; Anthems ; Glees, instrumental music, 
 etc. — Madame d'Ai'blaj', Memoirs of Dr. 
 Burney (3 vols., London, 1832) ; Grove. 
 
 BURONI (Boroui), ANTONIO, born in 
 Rome in 1738, died there in 1797. Dra- 
 matic comjjoser, j)upil of Padre Martini at 
 Bologna, and of Abos at the Conservatorio 
 della Fieta, Naples ; went in 1765 to Prague, 
 and in 1766 to Dresden, where he became 
 musical director of the Italian opera. In 
 1770 he was made Hof-Kapellmeister at 
 Stuttgart, and in 1778 returned to Italy, 
 living alternately iu Venice, Rome, and 
 Naples, until 1785, when he became maes- 
 tro di cappella at St. Peter's, Rome. Works : 
 L' amore in nuisica, given in Venice about 
 1760 ; Alessandro in Armenia, ib., 1762 ; 
 Sofonisba, ib., 1764 ; Le villegiatrici ridi- 
 cole, ib., 1764: ; Siroe, Prague, 1765 ; La 
 Moda, Dresden, 1769 ; II Caruovale, Le or- 
 fane suizzere, ib., 1769 ; Ricimero, Stuttgart, 
 1773 ; La donna instabile, Artaserse, ib., 
 1776 ; Eumeue, ib., 1778.— Fetis ; Mendel. 
 
 BURY, BERNARD DE, born at Ver- 
 sailles, Aug. 20, 1720, died about 1790. 
 
 Dramatic composer, pupil of Colin de Bla- 
 mont ; when only nineteen he became ac- 
 companist of the royal chamber music, iu 
 1744 maitre de musique, and in 1751 sur- 
 intendant. Works : Les caracteres de la 
 fohe, ballet, given in 1743 ; La nymphe de 
 la Seine, divertissement ; Les bergers de 
 Sceaux, do. ; La Parque vaincue, do. ; Jupi- 
 ter vaiuqueur des Titans, opera (with Bla- 
 mont), 1745 ; Titan et I'Aurore, ballet, 1750 ; 
 Hylas et Zelie, do., 1762 ; Palmire, do., 
 Fontainebleau, 1765 ; Zenis et Almasie, do., 
 ib., 1766 ; La prise de Berg-oji-Zoom, can- 
 tata ; De Profundis, motet for full chorus. 
 — Fctis; Mendel. 
 
 BUSBY, THOMAS, born iu Westminster 
 in 1755, died in Islington, May 28, 1838. 
 Organist, j)upil of Battishill in 1769-74. 
 He was organist successively at St. Mary's, 
 Newiugton, and at St. Mary Woolnoth, 
 Lombard Street. Mus. Doc, Cambridge, 
 1800. Works : The Prophecy, oratorio, 
 1799 ; Ode, British Genius (by Gray) ; Ode 
 to St. Cecilia's Day (by Pope) ; Comala, dra- 
 matic romance (from Ossian), 1800 ; Thanks- 
 giving Ode (degree exercise), 1800 ; Music 
 to Joanna (drama by R. Cumberland), 1800 ; 
 Music to A Tale of Mystery (by J. Holcroft), 
 1802) ; Music to Rugautino, or The Bravo 
 of Venice (by M. G. Lewis), 1805 ; Music to 
 The Fair Fugitives (by Porter) ; Sonatas, 
 anthems, glees, etc. He was the author 
 also of "A Dictionary of Music " (London, 
 1786), " A Grammar of Music " (ib., 1818, 2d 
 ed., 1826), " A General History of Music " (2 
 vols., ib., 1819), and other works. — Grove ; 
 Fetis ; Brown ; Lai'ousse ; Mendel. 
 
 BUSNOIS, ANTOINE (Antonius de 
 Busne ; written also, Busnoys, Busnoi.', Bu- 
 gnoy.s, Bugniois, Busna, and Bufua), born (?), 
 died in 1480. His birthplace is not known. 
 He was a singer in the chapel of Charles the 
 Bold of Burgundy from 1467, and after- 
 wards, 1477, dean of the town of Furnes. 
 Busnois was one of the greatest composers 
 of his day ; he may be reckoned with 
 Faugues and a few others as belonging to 
 the short transition period between the first 
 
 346
 
 liUSSCllOl' 
 
 and second Flemish schools. He was a 
 generation younger than Diifay and Bin- 
 chois, and was a contemporary of Okeghem. 
 Tinctoria dedicated his book, " De natiua 
 et proprietate tonorum " (1470), to Busnois 
 and Okeghem together. Of Busnois's com- 
 positions but little is preserved : Mass Ecce 
 aucilla for 4 voices (his masterpiece) ; Two 
 Regina coeli, an arrangement of the sequence 
 Victimfe paschala-, a Christmas song Noul, 
 Noiil, a Magniticat sexti toni, and several 
 motets, all for i voices, and motet Anima 
 mea and Magnificat primi toni, both for 3 
 voices, in the Brussels Library. Several 
 masses (among them one on L'Homme ar- 
 me) are in Codex 14, in the archives of the 
 
 bat ; Le Depart des nu'nestrels ; La Chasse 
 au cerf ; Le Ghteur national ; La Vision 
 fantastique ; Le Cn'pviscule du matin ; 
 Bruges, etc. ; Symphonies, overtures, mo- 
 tets, etc. — Fc'tis ; Itiemann. 
 
 BUSS L"XD REU, aria in F-sharp minor 
 for the alto of Coro I, with aeeonipaniment 
 of two flutes and contiuuo, in Johann Se- 
 bastian Bach's frt.s.'^ion uach Matthiius. 
 
 BUSTILLO-ITURli.VLDE, CESAREO, 
 born at Valladolid, Spain, Feb. 2.5, 1807, 
 still living, 1888. Church composer, pupil 
 of Fernando Haikens and Angel Martin- 
 chique, and, after an interval of four years 
 (1824-28), during which he served iu the 
 army, of Soriano Fuortes the elder. In 
 
 Pontifical Chapel iu Rome. The Maglia- j 1832 he became maestro de capilla of the 
 becchiaua in Florence has 14 songs in a cathedral at Toledo, for which he wrote 
 
 codex of the Fund. Strozzi (No. 53, xix., 
 No. 15G). The Paris Library has two songs 
 for 3 voices : Je suis veuu vers mon ami, 
 and Chi dist en pudicite, madame. The 
 Codex 295 of Dijon has 17 songs for 3 
 voices, and two for 2 voices. Two songs, 
 Dieu, quel mariage, and Maintes fenimes, 
 are in the " Canti centocinquanta" (Venice, 
 Petrucei, 1503). — Ambros, ii. 463. 
 
 BUSSCHOP, JULES (.\UGUSTE GUIL- 
 LAUME), born iu Paris, Sept. 10, 1810, 
 still living, 1888. Composer, entirely self- 
 taught by studying the theoretical works of 
 Albrechtsberger and Reicha at Bruges, 
 whither his parents bad returned in 1816. 
 His patriotic cantata, Le drapeau beige, re- 
 ceived the first prize in 1834. Orders of 
 Leopold and of the Oaken Crown. Works : 
 Six religious songs for 1-4 voices and or- 
 gan ; Ave jVIaria and Tantum ergo, for 3- or 4- 
 part chorus, and orchestra or organ ; Three 
 religious pieces with or without organ ; Ave 
 verum Corpus ; Ecce panis Augelorum ; O 
 Sacrum Couvivium, choruses for 2 tenors 
 and bass, with organ. Choruses with and 
 without orchestra : L'fitendard de la patrie ; 
 Le Chant de Montagnards ; La Fete ba- 
 chique ; La Priere des Conobites ; Le Re- 
 veil des pfitres ; Le Charmes de la valse ; 
 L'Hymne de la unit ; La ilarche au corn- 
 
 many masses, vespers, litanies, responses, 
 motets, canticles, psalms, etc. Most of his 
 compositions are for two choruses and full 
 orchestra. — Fetis, Supplement, i. 135. 
 
 BUTERA, ANDREA, born iu Sicily about 
 1826, still living, 1888?. Dramatic com- 
 poser, pupil of Ruggi at the Conservatorio 
 of Palermo. Works : Angelica Veniero, 
 opera, given at Naples, Teatro del Fondo, 
 1846 ; Atala, do., Palermo, 1851.— Fetis. 
 
 BUT, OH ! SAD VIRGIN, THAT THE 
 POW'R, soprano air in E major, in Handel's 
 h' Allegro, il Peuseroso, ed il Moderato, Part 
 
 n. 
 
 BUT SOONER JORDAN'S STREAM, 
 tenor air iu C minor of Jonathan, in Han- 
 del's *(//, Part IL 
 
 BUT THE LORD IS MINDFUL OF 
 HIS OWN. See Dock der Herr. 
 
 BUT THOU DIDST NOT LE.WE, air 
 in A major in Handel's 3Ief;siah, Part II. 
 
 BUT WHO 5IAY ABIDE, bass air iu 
 D minor, in Handel's Ifessiah, Part I. 
 
 BUTTSTEDT, JOHANN HEINRICH, 
 born at Biudersleben, near Erfurt, April 25, 
 1666, died in Erfurt, Dec. 1, 1727. Organ- 
 ist, pupil of Johaun Pachelbel for organ, 
 harpsichord, and composition. He was or- 
 ganist of the i>rincipal church at Erfurt in 
 1691. Works : Three canticles— AUein Gott 
 
 347
 
 BTTUS 
 
 ill tier Hijh sej- Ehr (1705), Wo flott zum 
 Haus uicbt giebt seine Guust (1706), and 
 Zeucli micli dir nacb, so lauffeu wir (1719) ; 
 Musikaliselie Kunst- iind Vorratbskammer 
 (1713) ; Four masses, in Opera prima sacra 
 (1720) ; Ut, re, mi, fa, sol, la, tota musica et 
 harmonia teterna, etc. (Erfurt, without date, 
 probably 171G). This was written to refute 
 Mattheson's Das ueu erijfifnete Orchester. — 
 Allgem. d. Biogr., iii. 662 ; Fctis ; Gerber ; 
 Mendel ; Schilling. 
 
 BUXJS, JACQUES (Jachet) DE, born in 
 the Netherlands, beginning of the 16th cen- 
 tury. He established a printing office es- 
 pecially devoted to music iu Venice, where 
 he was known as lachet or Giachetto Fla- 
 mingo. In 1 54rl he was elected organist of 
 the second organ of S. Marco, Venice, but not 
 being adequately paid, he demanded leave 
 of absence and went to Vienna, where he 
 accepted a post under the Emjieror. The 
 Venetians tried every device to make him 
 return, the ambassador at the court of Vi- 
 enna being instructed to hold out all kinds 
 of inducements, but de Buus remained in 
 Vienna. He is sometimes confounded witli 
 Jacqvies Berchem, then in the service of the 
 Duke of Mantua. Works : Eicercari da 
 cantare e suonare d'organo e alti stromenti, 
 lib. i. (1547), lib. ii. (Venice, 1519) ; Can- 
 zone francesi a sei voci (Venezia, appresso 
 I'autore, 1513) ; Primolib. di motetti (1549) ; 
 Canzone francesi a 5 (1550). Other works 
 bearing the name of lachet in the Italian 
 collections of 1538 to 1545, and in Attaig- 
 uant's collections of 1534 and 1535, may be 
 his or lachet Berchem's, as the signature of 
 both was the same. In the 4th book of 
 motets, published in full by lacques Moderue 
 at Lyons, in 1539, some motets are given 
 under the name of Jachet, others under that 
 of Jacques Buus, showing that iu France 
 Jachet was used specially for Berchem. — 
 Ft'tis; Schilling. 
 
 BUXTEHUDE, DIETRICH, born in El- 
 sinore, Denmark, in 1637, died in Liibeck, 
 May 9, 1707. His father, Johann Buxte- 
 bude, was organist at the St. Olai Church 
 
 in Elsinore. Under whom Dietrich stud- 
 ied is not known ; in April, 1668, he was 
 made organist at the Marienkirche, Liibeck, 
 and bis reputation grew rapidly. In 1673 
 be instituted the " Abendmusiken " for 
 which Liibeck was famous all over Ger- 
 many even down to the 19th century. 
 These were musical services consisting of 
 concerted pieces for chorus and orchestra, 
 and organ music, given between four 
 and five o'clock p.m. on the five Sundays 
 before Christmas. It was to bear these 
 performances that J. S. Bach walked fifty 
 miles from Arnstadt to Liibeck in 1705. 
 Buxtehude was one of the most famous 
 organists and composers of his day ; his 
 greatest strength laj' in pure instrumental 
 composition, that is, in the fugued and suite 
 forms ; in the treatment of the chorale he 
 was surpassed by Pacbelbel and his school. 
 But he was the centre of musical activity in 
 North German}^, and as an organist may 
 be considered the immediate forerunner of 
 Sebastian Bach. Much of bis music has 
 been lost. Tlie following is a list of his 
 published works : Unterschiedlicbe Hoch- 
 zeit-Arien (Liibeck, 1672, folio) ; Fried- und 
 Freudenreiche Hinfahrt des alten Simeons, 
 in zwey Contrapuncten musikalisch abge- 
 sungen, composed on his father's death, 
 Jan. 22, 1674 (Liibeck, folio, 1674) ; Abend- 
 Musik in ix. Theilen (Liibeck, 4to, 1678- 
 1687) ; VII Sonate a doi, Violino & Viola di 
 gamba, con cembalo (ib., folio, 1696) ; Hoeh- 
 zeit des Lamnies (ib. 1681) ; Anonymi bun- 
 dert jiUiriges Gedicbte vor die Wolfahrt der 
 Stadt Liibeck ; am 1 Jan. dea Jubeljabres 
 1700, in S. Marieiddrebe musikalisch vor- 
 gestellet (Liibeck, folio, 1700) ; Castrum do- 
 loris dem verstorbenen Keyser Leopoldo 
 und Templum honoris dem regierenden 
 Keyser Josepho I, in zwey Musicken, in 
 der Marienkirche zu Liibeck, gewidmet 
 (ib., folio, 1705) ; Himmlisehe Seelenlust 
 auf Erden iiber die Menschwerdung und 
 Geburt unsers Heylandes Jesu Christi (an- 
 nounced in the Loipsic Catalogue for the 
 spring of 1684) ; Das Allerschrocklichbte 
 
 448
 
 BUZZI 
 
 und AllerfrcTilicliste, uemlicli das Eiide der 
 Zeit, und der Aufang der Ewiykeit, Ge- 
 sprilchsweise vorgestellet (id., ib.). lu later 
 times 14 ChoralBearbeitungen were edited 
 by DeLu (Leipsic, Peters). Separate pieces 
 are 2)ublisbed iu Commer's " Musica Sacra,"' 
 i. No. 8 ; G. W. Kiiruer ; Busbj-'s " Hist, of 
 Music ; " A. G. Eitter's "Kunst des Orgel- 
 spiels." — Spitta, Jobanu Sebastian Bacb, i. 
 2.52-308 ; Mathesou, Yollkoraniener Kajiell- 
 meister, 130. 
 
 BUZZI, ANTONIO, born in Rome about 
 the early part of this century. Dramatic 
 composer, known since 18-40 by the follow- 
 ing works : Bianea Ca2:)ello, given in Rome, 
 1842 ; SaiU, Ferrara, 1843 ; II convito di 
 Baldassare, Milan, Scala, 1853 ; Ermingar- 
 da, Trieste, Teatro Grande, 1855 ; Editta, 
 Venice, Teatro della Fenice, 1855 ; Gusmano 
 di Medina, Rome ; L' indoviua, Piacenza, 
 1862 ; La lega lombarda, Spain ; I due Cia- 
 battiui, operetta, Turin, 18G7; Several ballets. 
 — Fetis ; do.. Supplement, i. 135 ; Mendel. 
 
 BUZZING, OTTAVIO, Italian composer, 
 contemijorary. He is the author of L' orfan- 
 ella di' Gaud, comic opera, represented at the 
 Teatro Aliprandi, Modena, March 13, 1880. 
 
 BUZZOLA, ANTONIO, born at Adria iu 
 1815, died in Venice, March 20, 1871. 
 Dramatic composer, pupil of his father, who 
 was maestro di cappella and organist of the 
 cathedral at Adria, and who sent him after- 
 wards to Venice to perfect himself. He 
 jjlayed there first violin, then the flute, in 
 the orchestra of the Teatro Fenice, brought 
 out his first o2:)era, and in 1837 went to Na- 
 ples to study for two years under Donizetti, 
 returned to Venice, where he brought out 
 two more operas, then visited Germany, 
 Poland, a jjart of Russia, and Paris, and re- 
 tui-ued to Venice in 184G. In 1843-44 he 
 conducted the ItaUan opera at Berlin, and 
 in 1855 succeeded Perotti as maestro di 
 cappella at San Marco, Venice. Works : 
 Paramondo, given in Venice, Teatro Gallo, 
 183(5: II mastino, ib., 1840; Gli avventu- 
 rieri, ib., Teatro Fenice, 1841 ; Anileto, ib., 
 1847 ; Elisabetta di Valois (Don Carlos), 
 
 ib. ; La i^uta onorata ; Masses, requiem, 
 cantatas, ariette veneziaue, etc. — Fetis, Sup- 
 plement, i. 136 ; Mendel ; Riemaun. 
 
 BYRD (Byrde, Bird), WILLIA3I, born 
 iu London about 1538, died there, July 4, 
 1623. He is sujiposed to have been the son 
 of Thomas Byrd, a gentleman of the chapel 
 of Edward VI. He studied under Tallis, 
 and was senior chorister at St. Paul's in 
 1554 ; in 1563-C9 he was organist of Lin- 
 coln, after which he succeeded Robert Par- 
 sons as gentleman of the Chapel Royal. In 
 1575 he received the comjilimentary title of 
 organist. Byrd was, without doubt, one of 
 the greatest musicians of his time ; his har- 
 mony is pure and correct, his voice-leading 
 graceful, and he is noticeable beyond most 
 of the composers of his day by the frequency 
 with which he emploj's tonal responses (in- 
 stead of real) iu imitative and fugual forms 
 of composition. Ho was probably the first 
 Englishman who wrote in the form of the 
 madrigal. He was intimate with the elder 
 Ferrabosco, and a friendly rivalry existed 
 betweeu the two men. The canon "Non 
 nobis, Domiue," so familiar iu England, has 
 been ascribed to Byrd by tradition, but it 
 has not been discovered among his known 
 works. A poem iu Blow's " Amphiou An- 
 glicus " mentions " Bird's Anthem iu 
 golden notes," preserved in the Vatican ; 
 the canon in question maj* jjossibly be jiart 
 of it. Besides being famous as a composer, 
 Byrd was probably the greatest English 
 organist of his day. Published works : 
 Three masses for 3, 4, and 5 voices respec- 
 tively, probably composed betweeu 1553 
 and 1558, but published without date or 
 name of printer ; Cantiones qu;ie ab argu- 
 mento sacree vocantur quiuque et sex par- 
 tium (London, 1575 ; the volume contains 
 also motets by Tallis) ; Psalms, Sonets and 
 Songs of Sadnes and Pietie, made into 
 niusicke of five parts (ib., 1587) ; Songs 
 of Sundrie Natures, some of Gravitie and 
 others of Myrth, for 3, 4, 5, and 6 voices 
 (ib., 1589) ; Liber Primus Sacrarum Can- 
 tionum quinque vocum (ib., 1589) ; Liber 
 
 •249
 
 CABALLERO 
 
 Secundus Sn,c. Cant., etc. (ib., 15!)!) ; Gra- 
 dualia ac cantiones sacrte, qiiarum alia ad 
 quatuor, alise vero ad quinque et sex voces 
 editae sunt (lib. i., ib., 1G07 ; lib. ii., ib., 
 1610) ; Psalms, songs and souets : some 
 solemne, others joyfull, framed to the 
 life of the words, fit for voyces or violes of 
 3.4, 5 and 6 parts (ib., 1611). Byrd also 
 contributed to the following works : " Mu- 
 sica Transalpiua, Madrigales translated, of 
 foure, five and six parts " (London, 1588) ; 
 " Watson's First Sett of Italian Madrigalls 
 Englished " (ib., 1590) ; " Partlienia, or 
 the Maiden-head of the first jNIusick that 
 ever was printed for the Virginalls " (ib., 
 1600); " Leighton's Teares and Lamenta- 
 cions of a Sorrowful Soule," part-songs 
 (ib., 1014). Many of his \drginal compo- 
 sitions are in the " Virginal Book of Queen 
 Elisabeth " and in " Lady Nevill's Virginal 
 Book." Some of his services and anthems 
 are in Barnard's " Selected Church Musick " 
 (1641), and Boyce's " Cathedral Music ; " 
 many others are in MS. in the Aldrich, 
 Hawkins, and Tredway collections. A mass 
 in D minor and the " Cantiones Sacrse," 
 lib. i., are republished by the Musical Anti- 
 quarian Society, the former edited by E. F. 
 Rimbault, and the latter by W. Horsley. 
 —Grove, i. 286. 
 
 C>^ABALLERO, (MANUEL) FERNAN- 
 . DEZ, born at Murcia, Spain, March 
 ^ 14, 1835 ; still living, 1888. Dram- 
 atic composer, pupil at the Conservatorio, 
 - ' -, Madrid, of Soriano 
 
 § ^ Fuertes in harmony, 
 
 f6S«(°i«Si ^^ and of Hilarion Eslava 
 f / ^W in composition, for 
 
 . '-...JBW V. which he won the first 
 
 prize in 1857. The 
 following zarzuelas by 
 him were given at 
 Madrid : Juan Lanas ; 
 La jardinera ; El Viz- 
 conde de Letorieres ; El cocinero ; Fras- 
 quito, 1867 ; El primer dia feliz, 1872 ; El 
 
 atrevido en la corte, 1872 ; La revista del 
 diablo ; La clave ; Las hijas de fulano ; 
 Luz y sombra ; El vejo de encaje ; La gal- 
 lina ciega ; Las nueve de la noche ; Entre 
 el Alcalde y el Rey, La Marsellesa, El siglo 
 que viene, 1876. He composed also reli- 
 gious music. — Fetis, Supplement, i. 137. 
 
 CABALONE, MICHELE, born in Naples 
 in the beginning of the 18th century, died 
 there in 1773. Dramatic composer, known 
 as the first teacher of counterjjoint of the 
 violinist, Emmanuel Barbella. Works — Op- 
 eras : Alessaudro nell' ludie, given in Na- 
 ples about 1770 ; Adriano in Siria. The 
 library of the Conservatoire of Paris pos- 
 sesses the MS. of his oratorio. La Passion. 
 — Fc'tis ; aieudel, ii. 252. 
 
 CABO, FRANCISCO JAVIER, born at 
 Naguera, Valencia, Spain, in 1768, died at 
 Valencia in 1832. Organist, first at Santa 
 Cataliua, then at the Cathedral of Orihuela. 
 Gifted with an excellent voice, he became 
 in 1810 a singer in the Cathedral of Valen- 
 cia, of which he was made organist in 1816, 
 and maestro de capilla in 1830. His numer- 
 ous comjjositions consist of masses, motets, 
 vespers, psalms, and other religious music. 
 — Fetis, Supph'ment, i. 138. 
 
 CACCINI, GIULIO (culled Giulio Ro- 
 mano), born in Rome, 1558 or 1560, died in 
 Florence, 1640. He studied the lute and 
 singing under Scipione delta Palla, and in 
 1578 went to Florence, where he stayed until 
 his death. In 1579 he was in the service of 
 the Medici court, but later he passed into the 
 service of Giovanni Bardi, Count of Vernio. 
 He had made exhaustive studies in counter- 
 point, and had proved himself a contra- 
 puntist of no mean talent and skill, when 
 he became inoculated with the reformatory 
 ideas of Bardi, Cor.si, Galilei, and the otlier 
 Florentine music reformers. Grove is un- 
 questionably wrong in saying that he was 
 " neither harmonist uor contrapuntist." 
 Pietro della Valla mentions his contra- 
 puntal writings (See G. B. Doni, ii. 251), 
 and before IGOO no one could properly be 
 called a harmonist. He entered enthusias- 
 
 850
 
 CADAIIX 
 
 tically into the fight against counterpoint, 
 and to him and Jacopo Peri is due the estab- 
 lishment of the stile rappresentativo, or ex- 
 pressive (dramatic) style of composition for 
 a single voice with instrumental accom- 
 paniment. His Nuorc Musiche (Florence, 
 1(502) was an epoch-making work. He also 
 worked in the field of opera, setting Kinuc- 
 cini's Euridice entire, and writing other 
 operas. Grove is again probably wrong in 
 saying that he had anything to do with the 
 composition of the same poet's Dafae. Cac- 
 cini, besides being a composer of decided 
 genius, was a singer of great repute in his 
 day. Works : Euridice (Mareseotti, IGOO) ; 
 II RapimenU) di Cefalo (parts of the choruses 
 by Stefano Venturi del Nibbio, Piero Strozzi 
 and Luca Bati) ; II Comhaltimento d' Apol- 
 line col Serpente ; Le Naove Musiche (Flor- 
 
 ence, Giorgio Mareseotti, 1601, Florentine 
 style, correctly, 1602). — Ambros, iv. 1.59. 
 
 'CADAUX, JUSTIN, born at Albi (Tarn), 
 Prance, April 13, 1813, died in Paris, Nov. 
 8, 1871:. Dramatic compo.ser, pupil at the 
 Conservatoire, Paris, of Zimmermann on 
 the pianoforte, and of Dourlen in harmony ; 
 settled at Bordeaux as pianoforte teacher, 
 afterward became organist of the Protestant 
 church in Paris, and in 1866 was made chef 
 de copie at the Opera, but could not endure 
 the strain on his already weakened brain, 
 and was finally committed to the asylum of 
 Picpus. Works — Comic operas : Axel, given 
 at Toulouse, 1834 ; La chasse saxoune, ib., 
 1839 ; Les deux gentilshommes, Paris, 
 Opera Comique, 18-14: ; Les deux Jacquet, 
 ib., 1852 ; Le violon de Cremone ; Le 
 Sicilien. — Fetis ; do., Supplement, i. 138. 
 
 CADEAC, PIEEKE, lived about the 
 middle of the 16th century, at Auch, France, 
 where he was master of the choristers. 
 He wrote principally masses and motets. 
 Works : Moteta quatuor, quinque et sex 
 
 voc, lib. i. (Paris, 1555) ; Missre tres, etc., 
 ad imit. mod ; Ad placitium ; Ego sum 
 panis ; Levavi oculos (ib., 1558) ; Missa 
 cum quatuor, etc., ad. imit. mod. ; Alma Re- 
 demptoris condita (in a collection of masses 
 published in Paris) ; Miss;e tres, etc., on 
 the chanson frauyaise, les Haut Boys (Paris, 
 1558) ; and motets found in Quintus liber 
 Motettoriim (Lyons, 1543) ; and also in 
 Gardane's xii. Miss;e (Venice, 1554) ; and 
 in a col. Missarum Musicalium (Paris, 1556), 
 — Fetis;Chor. etFay.,Biog. desmus., i. 111. 
 
 CADI DUPi;, LE (The Duped Cadi), 
 opcra-comique in one act, text by Lemon- 
 uier, music by Monsigny, represented at the 
 Theatre de la Foire Saint-Laurent, Paris, 
 Feb. 4, 1761. Subject from the "Arabian 
 Nights." The success of this work led to 
 a friendship between Monsigny and the 
 poet Sedaine, and to their collaboration in 
 several more important operas. It was 
 given, with changes by Gluck, at the French 
 theatre in Vienna, and afterward, Dec. 1, 
 1783, at Dobbelin's Theatre, Berlin, in a 
 German translation (Der betrogene Kadi) 
 by Andre, with the music nearly rewritten 
 by Gluck. The work was reproduced by 
 Fuchs, 1878, at the two hundredth jubilee 
 of the Hamburg Theatre. 
 
 CADMUS ET HERmONE, lyric trag- 
 edy in five acts, and prologue, text by Qui- 
 ault, music by LuUi, first represented at 
 the Academic Royale de Musique, Paris, 
 April, 1673. It was reproduced nine times, 
 always with success, and six editions of the 
 score were pabUshed (1673 to 1737). At 
 the fifth reproduction, in 1690, the cele- 
 brated Mile Maupin made her d('but in the 
 character of Pallas. 
 
 CiESAR, JOHANN MELCHIOR, born 
 at Saverne, Alsatia, about the middle of the 
 17th century, died at Augsburg in 1692. 
 Kapellmeister to the bishops of Bamberg 
 and Wiirtzburg in 1683, and at the Cathe- 
 dral of Augsburg, in 1687. Works : Trisa- 
 gion Musicum, etc., op. 1 (1683) ; Missa; 
 breves VIII., 4 vocibus et 2 violiuis concer- 
 ! tautibus ac totidem vocibus et violis, etc.,
 
 CAETANO 
 
 op. 2 (1G87) ; Lustige Tafelmusik in VI. 
 Stiicken luit 60 Baletten, etc. (Wiirtzburg, 
 1684).— Petis ; Cbor. et Fay., i. Ill ; Gei- 
 ber • Schilling, ii. 144. 
 
 ; Giwstizia placata, 
 Olinipiade, Naples, 
 
 Hermione. in Cadmus et Hermione. 
 
 CAETANO, Fra LUIZ DE, bom at Fel- 
 gueiras, Portugal, iu 1717, died (?). Monk, 
 and chorister of monastery at Lisbon. 
 Work : Coroa serafica de puras e fragrantes 
 flores, Y>e\o ardente affecto dos j)adres men- 
 ores da provincia de Portugal para com 
 summa melodia ser offerecida emacciio de 
 grajas nos coros Franciscauos e no das mais 
 religoes sagradas, todas amantea da pureza 
 Mai-ianna (Lisbon, 1744). — Futis ; Vascon- 
 cellos, 32. 
 
 CAFARO (Caffaro), PASQUALE, called 
 Caffarelli, born at San Pietro in Galauti- 
 na, near Lecce, Naples, Feb. 8, 1708, died 
 at Naples, Oct. 28, 1787. Dramatic com- 
 poser, pupil of Leonardo Leo at tlie Con- 
 servatorio della Pieta, Naples. He was 
 maestro of the Eoyal Chapel, and sub- 
 sequently director of the Conservatorio. 
 Works — Operas : Ipermnestra, given at Na- 
 ples, 1751 ; Antigono, ib., 1754 ; La Dis- 
 fatta di Dario, ib., 1756 ; L' Incendia di 
 Troja, ib., 1757 ; Arianna e Teseo, ib., 1766 ; 
 
 I tre voci, Na- 
 do. a pill voci, 
 for two choirs 
 
 II Creso, Turin, 1768 
 intermezzo, ib., 1769 ; 
 1769 ; Antigono, ib., 
 1770; Oratorio per 
 r Invenzione della 
 Croce, ib., 1747 ; Be- 
 tulia liberata, sacred 
 drama, ib., about 
 1778; II Figliuolo 
 prodigo ravveduto, 
 oratorio ; H Trionfo 
 di Davidde, do. ; Or- 
 atorio per S. Gio- 
 vanni di Padua ; Cantata 
 pies, 1764 ; do., ib., 1766 ; 
 ib., 1769-75-81-85; Mass 
 and orchestra (1760) ; Pastoral motet for 4 
 voices and orchestra ; Litanies for 4 voices ; 
 Stabat Mater for 2 voices and organ ; Mise- 
 rere for 5 voices and organ ; Psalms, motets, 
 etc. His air, Bella luce che accendete, -wan 
 a gi'eat favourite. — Fetis ; Burney, iv. 569 ; 
 Chor. et Fay., i. Ill ; Mendel ; Schilling. 
 
 CAFFEE-CANTATE, short dramatic can- 
 tata in the comic vein by Johann Sebastian 
 Bach, text by Picander, although it is prob- 
 able that Bach altered the denouement him- 
 self.— Spitta, ii. 471. 
 
 CAFFRO, GIUSEPPE, born in Naples 
 in 1766, died after 1808. Virtuoso on the 
 oboe. He was placed in the Royal Chapel 
 at Naples, and while still young went to 
 Paris, where he became known as a success- 
 ful performer at the Concerts Spirituels. 
 He resided during his life in Holland, Ger- 
 many, and Italy. Works : 3 concertos for 
 oboe (Pari.s, 1790) ; 2 concertos for the 
 same (Amsterdam, 1794) ; Pot-pourri for 
 flute and violin, or flute and pianoforte 
 (Rotterdam, 1795). Several of his MSS. are 
 in the Conservatoire, Paris. — Futis ; Men- 
 del ; Schilling. 
 
 CAGLIOSTRO, opera-comique in three 
 acts, text by Scribe and Saint-Georges, mu- 
 sic by Adolphe Adam, represented at the 
 Opora Comique, Paris, Feb. 10, 1844. 
 Scene in 1780, in a salon at Versailles. 
 The charlatan, who is already married to an 
 
 262
 
 CAGNONl 
 
 Italian singer who has become prima donna 
 at Sail Carlo, Naples, wishes to marry a rich 
 heiress, but has a rival in a young chevalier, 
 who, at first the victim of his machinations, 
 finally unmasks him. Cagliostro, opera by 
 Johann Strauss, was given in Vienna at the 
 Theater aii der Wieu, March, 1875. Pub- 
 lished by Spina. 
 
 CAGNONI, ANTONIO, born at Godiasco 
 (Voghera), Italy, Feb. 8, 1828, stiU living, 
 1888. Dramatic composer, pupil at the 
 Milan Couservatorio of Ray and of Frasi iu 
 1842-47, when he wrote his first operas, of 
 which he had brought out six up to 1856. 
 At that time he became maestro di cappella 
 at Vigevauo, and for several years wrote 
 church music, which ranks among his best 
 efforts. In 18G3 he produced again a dra- 
 matic work, and has since written about 
 twenty operas, most of which have met with 
 success. Works : Rosalia di San Miniato, 
 given at jNIilau, Teatro Carcano, 1845 ; I due 
 Savojardi, ib., 1846 ; Don Bucefalo, ib., Tea- 
 tro Re, 1847 ; II testamento di Figaro, ib., 
 1848 ; Amori e Trappole, Genoa, Teatro 
 Carlo Felice, 1850 (partly rewritten and 
 given in Rome, 1867) ; La Valle d' Andorra, 
 Milan, Teatro della Canobbiana, 1851 (re- 
 written, and given at Genoa, 1861) ; Gi- 
 ralda, Milan, Teatro di Santa Radegonda, 
 1852 ; La fioraja, Turin, Teatro Nazionale, 
 1855 ; La figlia di don Liborio, Genoa, 
 Teatro Carlo Felice, 1856 ; II vecchio della 
 montagna, Milan, Teatro della Scala, 1863 ; 
 Michele Perriu, ib., Teatro dell' Accademia 
 de' Filodramatici, 1864 ; Claudia, ib., Teatro 
 della Canobbiana, 1866 ; La tombola, Rome, 
 Teatro Argentina, 1869 ; Un capriccio di 
 Donna, Genoa, Teatro Carlo Felice, 1870 ; 
 Pap;\ Martin, Florence, Teatro Nazionale, 
 1871 ; II Duca di Tapigiiano, Lecco, 1874. 
 — Fetis, Supplement, i. 140. 
 
 CAHEN, ALBERT, French amateur com- 
 poser, known by the following works : Jean 
 le precurseur, biblical drama, performed in 
 part at the Concert National, Jan. 25, 1874 ; 
 Endymion, mythological pastoral, do.. Con- 
 cert Danbe, Jan. 19, 1875 ; Le bois, comic 
 
 ojiera. Opera Comique, Oct. 11, 1880. — Fe- 
 tis. Supplement, i. 142. 
 
 CAHEN, ERNEST, born iu Paris, Aug. 
 18, 1828, still living, 1888. Dramatic com- 
 poser and pianist, pupil at the Conserva- 
 toire, where he obtained the first prize in 
 harmony and accompaniment in 1847, and 
 the second grand prix for composition in 
 1849. Works : Le Calfat, operetta, given 
 at the Folies Nouvelles, 1853 ; Le souper 
 de Mezzetin, do., ib., 1859. — Fetis, Supple- 
 ment, i. 141. 
 
 CAID, LE, opera-bouffe in two acts, in 
 verse, text bj' Sauvage, music by Ambroise 
 Thomas, first represented at the Opera Co- 
 mique, Paris, Jan. 3, 1849. Subject, the 
 adventures of a French barber in Algeria. 
 With a lively and original overture, melo- 
 dious airs, and a brilliant finale, this oper- 
 etta has won a deserved success. — Hanslick, 
 Moderne Oper, 174. 
 
 CMF^ABRI, GIOVANNI BATTISTA, 
 Italian church composer of the second half 
 of the 17th century ; Roman school. Works : 
 Motetti a due e tre voci (Rome, Mascardi, 
 1667) ; Scelta di Motetti a quattro voci (ib , 
 1675) ; Salmi vesi^ertini a do. per tutte le 
 feste deir anno, op. 4 (ib., 1683). — Fetis. 
 
 CAIGNET, DENIS, born about the mid- 
 dle of the 16th century. Musician to the 
 Due de Villeroi. He obtained the prize at 
 the Concours dii Puy de Musique, at Evreux, 
 in 1587, for a chanson for several voices, 
 Las ! je ne voyrrai jjIus. He set to music 
 the Psalms of David, in 4 parts (Paris, 1607). 
 —Fetis. 
 
 C.UilO, GIUSEPPE, born in Milan about 
 1540, lived till about 1585. Composer of 
 madrigals and canzonets. The titles of his 
 works which are known are : Madrigali a 
 cinque, lib. i. (Venice, 1568) ; Madrigali a 5, 
 6, 7, and 8 (Milan, 1571) ; Madrigali a quat- 
 tro, lib. i. (Milan, 1581) ; Madrigali a cinque, 
 lib. ii. (1582) ; Canzonette a quattro, lib. i. 
 (Brescia, 1584) ; others in 1585. Some of 
 his madrigals and chansons are in the Col. 
 Paradiso Musicale (Antwerp, 1596). — Fetis ; 
 Gerber ; Schilling. 
 
 353
 
 gA 
 
 \ 
 
 ^"A IRA, a French revoliitiouaiy song, 
 said to have been suug first when the Pa- 
 risian mob marched to Versailles, Oct. 5, 
 
 1789. The words were suggested to Ladre, 
 a street singer, by Lafaj-ette, who remem- 
 bered Franklin's favourite saying at each 
 stage of the American revolution. The 
 melody, composed by one Bocour or Be- 
 court, was originally a coutre-danse, very 
 jjopular under the title of Carillon national. 
 It is said to have been a favourite motive of 
 Marie Antoinette. This soug, which incited 
 the rabble to deeds of horror during the 
 Eeign of Terror, was prohibited by the law 
 of the 18th Brumaire, 1799, but it gener- 
 ally made its reappearance iu revolutionary 
 times. The tune is given in Grove, I. 297. 
 
 CAIUS HIAitlUS, the famous Roman 
 general (b.c. 157-8G), is the hero of the 
 following operas : Cajo Mario, Italian opera, 
 music by Antonio Bioni, Ferrara, 1722 ; by 
 NiccoK) Piccinni, Najiles, 17.57 ; by Giu- 
 seppe Scolari, ]\Iilan, 1763 ; by Galupjii, 
 Venice, 1764 ; by Anfossi, Venice, 1769 ; by 
 Carlo Monza, Venice, 1777 ; by Cimarosa, 
 Rome, 1780 ; by Bianchi, Naples, 178-4 ; by 
 Bertoni, about 1790 ; by Giordaui, Venice, 
 
 1790. Mario, Italian opei'a, music by Jo- 
 hann David Heiuichen, Dresden, 1719 ; and 
 by Sanpieri (Coute di San Bouifazio), Bo- 
 logna, 1869. Mario fuggitivo, Italian opera, 
 text by Silvio Stampiglia, music by Gio- 
 vanni Bononcini, Vienna, 1708 ; by Fran- 
 cesco Mancini, Naples, 1710. 
 
 CAJANI, GIUSEPPE, born in Milan iu 
 1774, died iu Paris iu 1821. Composer of 
 the following ballets, given in Milan : Ta- 
 vora ed Oliviera ; La festa campestre, 1797 ; 
 Demetrio ; I finti filosofi ; Eugenia e Ro- 
 dolfo, 1799 ; II filopemene ; Adelaide ed 
 Alfonso ; I tre matrimoni, 1805 ; Le Da- 
 naide ; Matilda e Radegoudo, 1816 ; Ro- 
 milda e Dezavedos ; I Riti di Milo, 1818. — 
 Fetis. 
 
 CAJO FABRICCIO, Italian pasticcio, mu- 
 sic by Handel, rejsreseuted at Covent Gar- 
 den Theatre, London, Dec. 4, 1733. In 
 this work, the muaic of which is entirely 
 
 made up of selections fi'om the composer's 
 own works, Giovanni Carestini, the cele- 
 brated artificial contralto, made his first 
 ap)pearauce in London. — Rockstro, Handel, 
 322 ; Schojlcher, Handel, 161. 
 
 CALDARA, ANTONIO, born in Venice 
 in 1678, died in Vienna, Dec. 28, 1736. 
 Dramatic composer ; j)upil in Venice of 
 Legrenzi. He was for many years a singer 
 in the ducal chapel of San Marco, but was 
 appointed in 1714 maestro di cajjpella at 
 Mantua. In 1718 he went to Vienna and 
 bacame Kapellmeister to Charles VI., who 
 was very fond of his music and took lessons 
 of him in composition. He wrote ojieras 
 and oratorios and much church music. 
 Some of his cantatas on sacred subjects 
 are for one, two, and three voices with 
 elaborate orchestral accompaniment. His 
 church work is hardly equal in quality to 
 his fecundity, but some of it is remark- 
 able for sublimity of style. His Crueifixus 
 for sixteen voices, a chef-d'oeuvre, was pub- 
 lished by Teschner iu 1840. Many of his 
 church works are iu the court libraries at 
 Vienna and Dresden, others iu the Sautini 
 collection. AVorks — Operas and sacred dra- 
 mas : Argene, given in Venice, 1689 ; Tirsi 
 (with Lotti and Ariosti), ib., 1696 ; Le pro- 
 messe serbate, II trionfo della coutinenza, 
 ib., 1697 ; Farnace, ib., 1703 ; II selvaggio 
 eroe, ib., 1707 ; Partenope, Sofonisba, ib., 
 1708 ; L' iuimico generoso, Bologna, 1709 ; 
 Costanza iu amore vince 1' iuganno, ]\Iace- 
 rata, 1710 ; Atenaide, Rome, 1711 ; Tito e 
 Berenice, ib., 1714 ; II ricco epulone, Ven- 
 ice, 171.5 ; II giubilo della salza, Salz- 
 burg, 1716 ; Cajo Mario, Vienna, 1717 ; 
 Coriolano, La verita nell' inganno, ib., 
 1717 ; La partenza amorosa, Rome, 1717 ; 
 Astarte, Ifigenia in Aulide, La forza dell' 
 amicizia, Vienna, 1718 ; Lucio Papirio 
 dittatore, Sirita, Sisai-a, Tobia, ib., 1719 ; 
 Assalone, ib., 1720 ; Naaman, ib., 1721 ; 
 Giuseppe, Nitocri, Ormilda, Scipione nelle 
 Spagne, ib., 1722 ; Euristco, ib., 1723 ; An- 
 dromacca, Davidde, Giangiur, ib., 1724; La 
 Griselda, Le profezie evangeliche, Semira- 
 
 S54
 
 CALDARERA 
 
 mide, ib., 1725; I duo dittatori, Venceslas, 
 Gioas, Battista, ib., 172(! ; Dou Cbisciotto 
 alia corte della ducbessa, Imeneo, Orno- 
 spade, ib., 1727 ; Gionata, Mitridate, ib., 
 1728 ; Cajo Fabrizio, Nabot, ib., 1729 ; La 
 Passioue di Gesii Cristo, Vienun, 1730 ; 
 Dauiello, Sauta Elena al Calvario, Demetrio, 
 ib., 1731 ; L" asilo d' Amore, Sedecia, ib., 
 1732; Demofooute, ib., 1733; Gerusalem- 
 me couvertita. La clemeuza di Tito, ib., 
 1734 ; Adriano in Siria, Davidde umiliato, 
 Enone, San Pietro in Cesarea, Ge.sti pi-esen- 
 tato uel tempio, Le grazie \indicate, ib. 
 1735 ; L' Olimpiade, Achille in Sciro, Giro 
 riconosciuto, Temistocle, ib., 1736 ; L' in- 
 gratitudiue castigata, ib., 1737. Oratorios : 
 S. Firnia ; Santo Stefano, prinio re d' Un- 
 glieria ; Le gelosie d' un amore iitilmente 
 crudele ; La couversione di Clodario, re di 
 Fraucia ; La frode della castitfi ; II trionfo 
 dell innoceuza ; Albigai ; Sta. Francesca ro- 
 mana ; La ribellione di Assalone ; L' As- 
 sunzioue della Beata Vergine ; La castita al 
 cimeuto ; II trionfo d' amore ; La costanza 
 in amore vince 1' iugauuo, pastoral ; Mas- 
 
 ses, motets, hymns, psalms, and cantatas ; 
 Sonatas for two violins and basso continuo 
 (Amsterdam). — Fetis ; Mendel ; Schilling ; 
 Wurzbach. 
 
 CALDARERA, MIGUEL, born at Borgo- 
 Sesia, Italy, Sept. 28, 1702, died at Casale 
 in 1742. He studied counterpoint at the 
 age of fourteen in IVIilau, became a very 
 clever musician, and was appointed maestro 
 di cappella of the Church of S. Evasio, Ca- 
 sale, a post he occupied until his death. 
 He left a gi-eat deal of church music in MS. 
 —Fetis ; Burney, iv. 533 ; Mendel. 
 
 CALDICOTT," ALFRED JAIMES, born 
 at Worcester, England, in 1842, still living, 
 1888. Dramatic composer, pupil at the Con- 
 servatorium, Leipsic, of Moscheles, Haupt- 
 mann, Plaidy, and Richter ; settled at Wor- 
 
 cester in 1864, and l)ecanie organist of St. 
 Stephen's Church, and to the Corporation, 
 and conductor of the musical and instru- 
 mental societies of Worcester. He won the 
 special Glee Prize offered by the Manchester 
 Glee Society, 1878, and the first prize for 
 serious glee, Huddersfield, 1879. Profes- 
 sor at the Royal College of Music, London, 
 since 1882 ; organist and conductor at Al- 
 bert Palace, ib. Mus. Bac, Cambridge, 
 1878. Works: The Widow of Nain, can- 
 tata, Worcester Festival, 1881 ; A Rhine Le- 
 gend, do. for women's voices, 1883 ; Queen 
 of May, cantata ; Treasure Trove, A Moss- 
 Rose-Rent, operettas, 1883 ; A Fishy Case, 
 children's operetta, 1883 ; Old Knockles, 
 operetta (German Reed), 1884 ; Humpty 
 Dumpty, prize glee, 1878 ; Winter Days, 
 do., 1879 ; Dickens' Series of Songs ; other 
 glees and songs. 
 
 CALEGARI (Callegari), ANTONIO, born 
 at Padua, Oct. 18, 1758, died there, July 22, 
 1828. Dramatic composer, chiefly known 
 by an eccentric work published in Venice, 
 and subsequently in Paris, entitled : L'art 
 de composer la musique sans en counaitre 
 les elements (1801, 1802), which he dedicat- 
 ed to Mme Bonaparte, who from that time 
 took him under her protection. Works — 
 Operas : Le sorelle rivali, 1784 ; L' Amor 
 soldato, 1786 ; II matrimouio scoperto, 
 Venice, 1789.— Fetis ; Mendel. 
 
 CALEGARI, CORNELIA, born at Ber- 
 gamo in 1644, died (?). Pianist and singer, 
 published her first collection of motets at 
 the age of fifteen ; in 1660 entered the con- 
 vent of Santa Margherita, Milan, where by 
 her organ playing and singing, she at- 
 tracted multitudes of church goers. Works : 
 Motets for one voice (1659) ; Madrigals for 
 do. ; do. for 2 voices ; Masses for 6 voices, 
 with instruments ; Vespers, etc. — Mendel. 
 
 CALEGARI, FRANCESCO ANTONIO, 
 born at Padua, about the end of the 17th 
 century. Maestro di cappella of the Church 
 of the Convent of the Cordeliers, Venice, in 
 1702, and at Padua, in 1724. Among his 
 published works are : IX Salmi ; Salve 
 
 265
 
 CALETTI 
 
 Sanguis ; Cantate tla Camera. He de- 
 stroyed most of liis church music when he 
 took up the enharmonic style of the old 
 Greek music, of which he thought he had 
 discovered the principle ; but his writings 
 iu the new style met with no success. 
 
 CALETTI-BRUNI. See CavcM. 
 
 CALIFE DE BAGDAD, LE, opera-com- 
 ique in one act, text by Godard d'Aucourt 
 (Saint-Just), music by Boieldieu, first repre- 
 sented at the Theatre Favart, Paris, Sept. 16, 
 1800. Isaoun, Caliph of Bagdad, wishing to 
 assure himself that he is loved for himself 
 and not for his title, woos the beautiful Ze- 
 tulbc' in disguise. He is mistaken for a noted 
 brigand, and the fright of Lemaide, Zi'tul- 
 be's mother, is complete ; but, in sjiite of 
 appearances, the heart of the young girl re- 
 mains constant. The dialogue is lively and 
 the music charming and fresh. The over- 
 ture is one of the composer's best efforts. 
 After more than eight hundred representa- 
 tions, this opera still keeps the stage. H 
 Califo di Bagdad, music by Manuel Garcia, 
 was represented at the Teatro San Carlo, 
 Naples, 1812, and at the Opera Italien, 
 Paris, March 22, 1817 ; and Adiua, ossia il 
 Califfo di Bagdad, music by Rossini, was 
 given at the Teatro San Carlos, Lisbon, 
 iu 1813. — Pougin, Boieldieu, 62. 
 
 CALIQN, JOHN BAPTISTE, born in 
 London, March 16, 1827, still living, 1888. 
 Church composer, pupil of his father. Or- 
 ganist, precentor, and choir-master at St. 
 Columba's College, L-eland, 184:6-53 ; do. 
 at "Woburn Chapel, 1853-57 ; do. at Cam- 
 den Road Chapel, 1803-68 ; do. at St. 
 Thomas' Church, Elm Road, Camden Town, 
 1870-84. Professor at Guildhall School of 
 Music. Works : Services, op. 40, 96, and 
 in D, for j^arish choirs ; Morning and Even- 
 ing Service, in G, 1883 ; Communion Ser- 
 vice, op. 104 ; Te Deum in D ; Anthems ; 
 Glees and Part-songs ; Songs ; Organ and 
 pianoforte pieces ; Quartet for strings ; 
 (Quintet for do. ; Trio for pianoforte, violin, 
 and violoncello ; Sonata for pianoforte and 
 violoncello, etc. 
 
 CALLCOTT, JOHN GEORGE, born in 
 London, July 19, 1821, .still living, 1888. 
 Son of John Wall Callcott ; is organist at 
 Teddington. He was for twenty-four years 
 accompanist of Henry Leslie's famous 
 choir, now under Alberto Randegger. 
 Works : Hallowe'en, cantata for solo voices, 
 chorus, and orchestra ; The Golden Har- 
 vest, do. ; Songs, pai't-songs, and piano- 
 forte music. 
 
 I CALLCOTT, JOHN WALL, born at Ken- 
 sington, London, 
 Nov. 20, 1760, died 
 there. May 1 5 , 
 1821. He learned 
 the rudiments of 
 music by frequent- 
 ing the organ-loft 
 of Kensington 
 Church, and by at- 
 tending the Chajj- 
 el Royal and West- 
 minster Abbey, where Drs. Arnold and 
 Cooke, and the elder Sale became interested 
 in him. In 1783-85 he was deputy organ- 
 ist of St. George the Martyr under Rein- 
 hold. In 1785, Dr. Cooke introduced him 
 to the orchestra of the Academy of Ancient 
 Music, and his bias was then formed for glee 
 writing. He won three of the ioxiv firize 
 medals of that year for his catch : O beau- 
 teous fair ; his canon : Blessed is he ; and 
 his glee : Dull rejiining sons of care ; and he 
 received at Oxford the degree of Bachelor 
 of Music. He took an active part in 1787, 
 with Dr. Arnold and others, in the forma- 
 tion of the Glee Club : was joint organist 
 with Charles S. Evans of St. Paul's, Covent 
 Garden, in 1788 ; and from 1792 to 1802 
 was organist to the Asylum for Female 
 Orphans. In 1790 he took lessons from 
 Haydn in instrumental composition to per- 
 fect himself in orchestral writing, and in 
 1793 studied the works of the best theor- 
 ists, having projected a musical dictionary. 
 Oxford gave him the degree of Doctor of 
 Music in 1800 ; and he employed the fol- 
 lowing yeai's on his dictionary, which was 
 
 356
 
 CALLCOTT 
 
 published iu 1806. In the same year he 
 was appointed lecturer on music at the 
 Royal Institution, to succeed Dr. Crotch, 
 but his niiud gave way from over-work and 
 he had to retire from public life. His works, 
 consisting of glees, catches, and canons, 
 were edited after his death by W. Horsley. 
 — Grove ; Futis ; Mendel. 
 
 CALLCOTT, WILLI.\:\I HUTCHIXGS, 
 born at Kensington, London, iu 1807, died 
 there, Aug. 5, 1882. Organist, younger son 
 of John Wall Callcott, and long a teacher iu 
 Loudon, where he attained considerable dis- 
 tinction as a composer and arranger. He 
 arranged many glees for three male voices, 
 including some by his father. Among his 
 most popular works are the song. The Last 
 Man, to Campbell's words, and the anthem. 
 Give peace in our time, O Lord. 
 
 CALL FORTH THY POW'RS, tenor 
 air iu D major, of Judas, iu Hantlel's Judas 
 Maccabteus, Part i. 
 
 CALLIAS, ou Natui-e et Patrie, heroic 
 drama in one act, in verse, text by Hoffmann, 
 music by Gretry, first represented at the 
 OiJera Comique, Paris, Sept. 19, 1794. 
 
 CALLIRHOE, French tragic oj)era in five 
 acts, with prologue, text by Ro\-, music by 
 Destouches, represented at the Academic de 
 Musique, Paris, Dec. 27, 1712. Subject, 
 the story of Callirrhoe, who was loved by 
 Coresus, priest of Dionysus (Pausauias, VH. 
 21). Calliroe, Italian opera, music by Sac- 
 chini, represented at Stuttgart, 1770 ; music 
 by Felice Alessandri, Milan, 1778. 
 
 CALLIRRHOE, cantata, text by Barclay 
 Squire, music by John Frederick Bridge, 
 written for and first performed at the 
 Bu-miugham (England) Festival, Aug. 30, 
 1888.— Athenseum -(1888), H. 328 ; Academy 
 (1888), H. 125, 159. 
 
 CALM SEA AND PROSPEROUS VOY- 
 AGE. See Mefi-fsdille und gliickliche 
 Fahrt. 
 
 CALMEZ, CALMEZ CETTE COLf:RE. 
 See Ariiidant. 
 
 CALVARY, Spohr. See Hedands letzte 
 Stunden. 
 
 CALVEZ, GABRIEL, a Spanish musician, 
 living in Rome about the middle of the 
 16th century. Chorister at the Church of 
 S. M. Maggiore. Composer of motets for 
 four voices, published at Rome in 1540. 
 One of these, Emeudemus in melius quae 
 ignoranter peccavimus, furnished Palestrina 
 with the theme for his mass, Emeudemus. 
 — Fctis ; Mendel. 
 
 CALVIERE, GUILLAUjVIE ANTOINE, 
 born iu Paris, iu 1695, died at Versailles, 
 Ajjril 18, 1755. Appointed organist of the 
 King's Chapel in 1738, a position he occu- 
 pied till his death. In common with most 
 of the French organists of that time, his 
 playing lacked style, aud his harmony was 
 uot correct, but he was considered a good 
 organist iu France. He comjwsed many 
 motets for full chorus, and many organ pieces, 
 which were never published. — Fetis ; Bur- 
 uey, iv. 623 ; Mendel ; Schilling. 
 
 "CALVISIUS, SETHUS (Seth Kallwitz), 
 born atGorsch- 
 leben, iu Thu- 
 r i n g i a , Feb. 
 21, 1556, died 
 i u L eips ic, 
 Nov. 24, 1615. 
 The son of 
 poor j)arents 
 named Kall- 
 witz, he con- 
 trived to at- 
 tend the Magdeburg Gymnasium and the 
 Universities of Helmstedt and Leipsic, and 
 became an eminent musician and theorist. 
 In 1580 he became Musik- Director of the 
 Pauliner Church, Leipsic ; in 1582 cantor at 
 Schulpforta ; was called to Leijssic to be- 
 come cantor audSchulcollege of theThomas- 
 schule iu 1592, and was made Musik-Direc- 
 tor of the .same, in 1594. He devoted all 
 his time and energies to this school, refus- 
 ing offers from Wittenberg aud Frankfort. 
 Works : Harmonia cantiouum a M. Luthero, 
 etc. (1596) ; Biciniorum libri duo (1500 and 
 1612) ; Teutsche Tricinia (1603) ; Der 150 
 Psalm fiir 12 Stimmen (1615) ; Der Psalter 
 
 •^.
 
 CALYO 
 
 Davids (Leipsic, 1G17). Many of liis motets 
 aud hymns iu MS. are in the Library of tlie 
 Thomasschiile. His treatises are : Me- 
 lopeia (Erfurt, 1582 aud 1630) ; Compen- 
 dium musicse practicse (Leipsic, 1594) ; 
 Auserlesene teutsche Lieder (ib., 1G03) ; 
 
 5V'^^ Q/^i 
 
 W6tW. 
 
 Exercitationes musicae duse (ib., 1600, 
 1611).— Grove ; Fetis ; Gerber ; Meudel ; 
 Eiemann ; Schilling ; Winterfeld, Der evang. 
 Kirchengesang, i. 352. 
 
 CALVO, LORENZO, a monk, of the Ven- 
 etian States, in the early part of the 17th 
 century. He was musician in the Cathedral 
 of Pavia. Works : Symbolje diversorum 
 musicorum, 2, 3, 4, 5 vocibus cantandse 
 (1626) ; Cauzoni sacre a 2, 3 e 4 voci ; Rac- 
 colte L, n., in., IV. ; Rosarium Litaniarum 
 B. V. Mariaj (Venice, 1626).— Fc'tis. 
 
 CAJIACHOS HOCHZEIT. See Hochzeit 
 des Camacho. 
 
 CAMARGO, LA, opi'ra-comique in three 
 acts, text by Vanloo and Leterrier, music 
 by Lecocq, represented at the Tlu-atre de la 
 Renaissance, Paris, Nov. 20, 1878. The 
 principal characters are the celebrated dau- 
 seuse Camargo and the notorious swindler 
 Mandrin, called the Chevalier de Valjoly. 
 — Clement and Larousse, 893. 
 
 CAMAUER, GODEFROID, born at Berg- 
 op-Zoom, Netherlands, May 31, 1821, died 
 at Huy, Belgium, Oct. 14, 1884. Dramatic 
 comiooser, pupil at the Conservatoire, Liege, 
 of Daussoigne and Jalheau. He settled at 
 Huy, where he became maitre de chapelle 
 of the parish church. Works : Gretry a Ver- 
 sailles, comic opera, given at Huy, 1856 ; 
 Mass for four voices ; Ouverture jiastorale ; 
 many choruses. — Fetis, Supplement, i. 142. 
 
 CAMBEFORT, JEAN, composer of the 
 17th century, died May 4, 1661. He was 
 court musician to Louis XIV., superintend- 
 ent of the king's chamber music, and court 
 composer. He wrote several ballets and 
 cantatas, and jjublished a collection of 
 
 twenty-seven songs entitled : Airs de cour 
 a quatre parties, de monsieur de Cambefort, 
 maistre et compositeur de la musique de la 
 chambre du Roy, a Paris, etc. (1651). An- 
 other collection contains twenty-two airs, six 
 from the Ballet royal de la Nuict, and one 
 from the Ballet du Temps, dedicated to Car- 
 dinal Mazariu. — Fetis ; Chor. et Fay, i. 114. 
 CAMBERT, ROBERT (sometimes, 
 wrongly, Lambert), born in Paris about 
 1628, died in London in 1677. The son of 
 a sword-cutler, he studied the clavichord 
 under Chambonnieres, and became organist 
 at the college church of Saint-Honore. In 
 1666 he was ajjpointed superintendent of 
 the music of Queen Anne of Austria, mother 
 of Louis XIV. On June 28, 1669, the Aca- 
 demic Royale de Musique was created, and 
 the license was given to Pierre Perrin (the 
 originator of the scheme), who soon asso- 
 ciated Cambert with himself. This license 
 was withdrawn iu favour of Lulli in 1672. 
 In 1673 Cambert went to England, where 
 he became bandmaster of a regiment and 
 afterwards master of the music of Charles 
 n., which jjost he held until his death. 
 Cambert may be called the founder of the 
 Freuch opera. He was induced to apply 
 his talent to dramatic composition by the 
 Abbe Perrin, who was fired with ambition, 
 by the performance in Paris, in 1647, of 
 Peri's Euridice, to produce similar works for 
 the French stage. The result of their col- 
 laboration was La Pastorale, universally 
 styled the first French musical comedy, 
 which was brought out at the Chateau 
 d'Issy iu April, 1659, and afterwards re- 
 peated at Vincennes by command of Louis 
 XIV. Mazariu ordered another ojjera, 
 Ariane, ou le mariage de Bacchus, which 
 was given at Issy in 1661. Adonis, written 
 in 1662, was never perfonned, aud the score 
 has been lost. The first work written for 
 the new Acadcmie de Musique was Pomone, 
 given with great success in 1671. Cam- 
 bert's works, as far as they are known, are : 
 La Faslorale, 1659 ; Ariane, 1661 ; Adonis, 
 1662 (never given) ; Pomone, 1671 (parts 
 
 268
 
 CAMBmi 
 
 published by Ch. Ballard) ; Les peines et 
 les plaisirs de raniour, 1(>72 (part of the 
 MS. score is in the National Library, Paris) ; 
 Airs a boire, a deux et a trois parties (Paris, 
 Robert Ballard, 1665 ; the bass part is in 
 the Paris Library, the other parts are waut- 
 inn), — Pougin, "Les vrais crc-ateurs de 
 rOpcn-a frail (jais, Perrin et Cambert," in Le 
 Mt'iiestrel (1875-1876). 
 
 CA^MBINI, GIOVANNI GIUSEPPE, born 
 at Leghorn, Feb. 13, 1746, died in Paris, iu 
 1825. Dramatic composer and violinist ; 
 pupil at Bologna of Padre Martini in 1763- 
 66. Captured by corsairs, while on his 
 way from Naples to Leghorn, and carried 
 to Barbary, he was ransomed by a Vene- 
 tian merchant, and went in 1770 to Paris. 
 There he found a patron in the Prince de 
 Conti, through whose influence Gossec, 
 director of the Concerts Spii'ituels, success- 
 fully produced one of his symphonies. He 
 became a prolific composer, writing sixty 
 symphonies iu a few years, and publishing 
 much instrumental music. He wrote some 
 dramatic music at this time, and music for 
 pantomimes, became director of the Beau- 
 jolais Theatre in 1788, and chef d'orchestre 
 at the Theatre Louvois in 1791. His or- 
 atorio, Le Sacrifice d'Abraham, was given 
 at the Concerts Spirituels in 1774, and Joad 
 and a Miserere in 1775. He published L'Art 
 de moduler sur le violou (1796) ; Mc- 
 thode pour flute (1799) ; and helped Ga- 
 rande to publish a musical paper, "Tablettes 
 de Polymnie," in 1811. He lost his theatrical 
 positions and was made director of the con- 
 certs of M. Armand Seguin, a rich business 
 man of Paris who gave concerts iu his own 
 house. Works — Operas : La statue, 1784 ; 
 La Croisee, 1785 ; Les fourberies de Ma- 
 thurin, 1786 ; Le tuteur avare. Colas et 
 Colette, Le bon pere, 1788 ; Nantilde et 
 Dagobert, 1791 ; Les trois freres, 1793 ; 
 Alcmcne, Alcede, and the ballet-opera, Fetes 
 venitiennes, 1782. The last ten years of his 
 life were spent in the hospital of Bicutre. 
 — Fetis ; do.. Supplement, i. 144 ; Mendel ; 
 Riemann, 144. 
 
 CAMBIO, PERISSONE, flourished in 
 Venice about the middle of the 16th cen- 
 turj-. Singer in the ducal chapel of San 
 Marco, Venice. His canzone villanesche 
 are among the most genuine national songs 
 of that period. Works : Madrigali a quattro 
 voci, libro primo (Venice, Gardano, 1547) ; 
 Secondo libro de' Madrigali a cinque voci, 
 etc. (ib., 1548) ; Canzone villanesche alia 
 Napolitana (ib., 1551).— Burney, iii. 214 ; 
 Fetis. 
 
 CAMERANA, LUIGI, born in Piedmont 
 in 1846, still living, 1888. Dramatic com- 
 poser, maestro di cappella at the theatre of 
 Savona. Works : Patatrich e Patatrach, 
 operetta, 1872 ; Don Fabiano dei Corbelli, 
 opera buSa, Turin, Teatro Balbo, 1874 ; 
 Gabriella Chiabrera, opera seria, Savona, 
 1876 ; music to the melodrama Alberto di 
 Prussia, performed in 1875. — Fetis, Supple- 
 ment, i. 144. 
 
 CAMERLOHER, PLACIDUS VON, born 
 in Bavaria about 1720, died at Freising, ib., 
 in 1776. Organist, lutist, and violinist ; can- 
 on of the basilica of St. Andrew at Freising, 
 afterwards councillor and Kapellmeister to 
 the Prince Bishop, there. He was noted 
 as a teacher, and formed many distinguished 
 pupils. Works : Melissa, opera, given in 
 Munich, 1739 ; 6 symphonies for two vi- 
 olins, viola, bass, two horns, and two trum- 
 pets, op. 2 (Liege, 1760) ; do., op. 3 (Am- 
 sterdam, 1761) ; do., op. 4 (Liege, 1762) ; 
 24 quartets for two violins, viola, and bass ; 
 18 trios for guitar, violin, and violoncello ; 
 24 sonatas for two violins and bass ; con- 
 certo for guitar, with two violins, viola, and 
 bass ; do., with two violins and bass ; mass- 
 es, motets, vespers, litanies, etc. — Fetis ; 
 Mendel ; Schilling. 
 
 CAMIDGE, JOHN, born in York, Eng- 
 land, in 1790, died there, Sept. 21, 1859. 
 Organist from 1844 of York Cathedral, a 
 position which his father, Matthew Cam- 
 idge (1758-1844), held from 1803, and his 
 grandfather, John Camidge (1734-1803), 
 from 1756. He was graduated at Cam- 
 bridge University as Bachelor of Music in 
 
 269
 
 CAMILLE 
 
 1812, and as Doctor of Music in 1819 ; and 
 he received tbe degree of Doctor of Music 
 at Lambeth in 1855. The organ of York 
 Cathedral, one of the largest in England, 
 was constructed under his superintendence. 
 Works : Cathedral music — a service, an- 
 thems, and fifty double chants ; six glees 
 for three and four voices, etc. — Grove. 
 
 CAMILLE, EEINE DES VOLSQUES 
 (Queen of the Volsci), lyric tragedy in five 
 acts, with prologue, text by Danchet, music 
 bj' Campra, first represented at the Acade- 
 mie Royale de Musique, Paris, Nov. 9, 1717. 
 Subject, Camilla, daughter of King Metabus, 
 of the Volscian town of Privernuni, who 
 took part with Turnus against JSneas and 
 was slain by Aruns, as related in the J3neid. 
 Same subject treated in Camilla, music by 
 Marco Antonio Bononcini, represented at 
 Vienna about 1692, London, 1707 ; and 
 music by Fioravanti, Italy, 1810 ; and in 
 II trionfo di Camilla, i-egina de' Volsci, music 
 by Leo, Rome, 172G. 
 
 CAMILLE, ou Le Souterrain (Tlie 
 Vault), opera-coraique in three acts, text 
 by Marsollier, music by Dalayrac, first rep- 
 resented at the Thoatre des Italiens, Paris, 
 March 19, 1791 ; reproduced in 1841:. Sub- 
 ject from the romance of " Adole et Theo- 
 dore," by Mme de Genlis. The same sub- 
 ject is treated by Paer, but less happily, in 
 Camilla, ossia il Sotterraneo, text bj' Car- 
 jaani, Venice, 1799, Vienna, 1801, and Paris, 
 Opera Italien, Nov. 5, 1804. 
 
 CAMILLUS, the famous Roman dictator 
 (died B.C. 3G5), is the hero of the following 
 operas : Furio Camillo, music by Sabadini, 
 Parma, 1C8G ; by Perti, Florence, 1692 ; by 
 Pacini, Naples, 1841 ; II trionfo di Camillo, 
 music by Ciampi, London, 1750 ; byGluck, 
 Rome, 1754 ; by Porpora, Naples, 1760 ; 
 and Le triomphe de Camille, music by 
 Champein, written in Paris, about 1800, but 
 not performed. 
 
 CAMMARANO, LUIGI, born in Naples 
 in the early part of this century, died there 
 in 1854. Dramatic composer, author of the 
 following works : I ciarlatani, opera buft'a. 
 
 given at Naples, Teatro del Fondo, 1839 ; 
 II ravvedimento, ib., 1840. — Fetis ; do.. 
 Supplement, i. 145 ; Mendel. 
 
 CAMPAGNOLI, BARTOLOMEO, born 
 at Cento, near Bologna, Sept. 10, 1751, died 
 at Neu-Strelitz, Nov. 6, 1827. Violinist, 
 pupil of Dair Occhia, in Modeua of Paolo 
 Guastarobba, and in Florence of Nardini. 
 He served as violinist in the Pergola, Flo- 
 rence, and after leading the opera bauds in 
 Florence and Rome alternatelj' for some 
 years, became in 1776 Kapellmeister to the 
 Prince Bishop of Freising, Bavaria. He 
 was violinist to the Duke of Courland in 
 Dresden, in 1778 ; travelled in 1783-86 in 
 the north of Europe ; revisited Italy in 
 1788, was conductor at Leipsic from 1797 
 to 1818; and visited Paris in 1801. He 
 wrote many concertos, sonatas, duos, and 
 fugues for violins, and published : L'art 
 d'in venter ii rimpro^iste des fantaisies et 
 des cadences, op. 17 ; Sept divertissements 
 compost's pour I'exercice des sept positions 
 principales, op. 18 ; Nouvelle niethode de 
 la mecanique progressive du jeu du violon, 
 op. 21. His 41 caprices pour I'alto-viola, 
 op. 22, is of importance in the meagre cata- 
 logue of viola music. — Fi'tis ; Gerber ; Hart, 
 The VioHn, 242 ; Chor. et Fay,, i. 115 ; Men- 
 del ; Schilling ; Wasielewski, Die Violine 
 und ihre Meister, 128. 
 
 CAMPAJOLA, FRANCESCO, born at 
 Naples, May 8, 1825, still living, 1888. 
 Dramatic composer, pupil of Pasquale 
 Mando, and at the Conservatorio of V. 
 Fiado, Mario Aspa, Carlo Conti, Busti, Gug- 
 lielmi and Mercadante. Works : Papa Mu- 
 linotto, opera, given at Naples ; L' Olimpo, 
 do. ; Igilda, not performed ; A Mass, and 
 other church music ; Songs and pianoforte 
 pieces. — Petis, Supplement, i. 145. 
 
 CAMPANA, FABIO, born at Leghorn, 
 Italy, Jan. 14, 1819, died in London, Feb. 
 7 (2 ?), 1882. Dramatic composer, pupil 
 of the musical lyeeum, Bologna. About 
 1850 he settled in London, where he taught 
 vocal music for many years. Works — Op- 
 eras : Caterina di Guisa, given at Leg-
 
 CAM PANE LL A 
 
 bora, 1838 ; Giulio (V Este, Rome, Teatro 
 Apollo, 1K41 ; Vauiua d' Ornauo, Florence, 
 Teatro della Pergola, 
 1842; Luisa cli Fran- 
 cia, Rome, 1844 ; Al- 
 miiia, London, 1860 ; 
 Esmeralda, St. Peters- 
 burg, 1869. Cauzon- 
 ettas, romances, melo- 
 dies, duos, etc. (Pa- 
 ris, Milan, London). 
 — Fetis, Supplumeut, 
 i. 145. 
 
 CAMPANELLA, FRANCESCO, born in 
 Naples, Italy, Sept. 30, 1827, still living, 
 1888. Instrumental and vocal composer, 
 pupil at the Conservatorio, Naples, of Gen- 
 naro Parisi in liarmony, of Carlo Conti in 
 counterpoint, and of i\Iercadante in compo- 
 sition. He devoted himself to teaching the 
 pianoforte and singing, and in 1855 became 
 second maestro di cappclla at the Teatro 
 Nuovo. He has composed cantatas, sacred 
 and secular, many choruses, songs, and 
 pianoforte pieces, and part of the music of 
 the opera buflfa La donna romantica (with 
 Buonomo, Ruggi, and Valente), given at the 
 Teatro Nuovo, 1858. — Futis, Supplement, i. 
 145. 
 
 CA?*IPANELLI, LUIGI, bom in Florence 
 in 1771, died ('?). Violinist, j)upil of Nardini. 
 He was maestro di cappella at the court of 
 Tuscany, and was appointed first violinist 
 at the court of the King of Etruria, in 1802. 
 His MS. compositions, known throughout 
 Italj', consist of sonatas, duos, trios, and 
 quartets for violin. — Fetis ; Mendel. 
 
 CAIMPANELLO DI NOTTE, IL (The 
 Night Bell), operetta in one act, text and 
 music by Donizetti, first represented in 
 Naples, 1836. It was written to save a 
 Neapolitan manager from ruin. Donizetti 
 promised that he should have an operetta 
 within a week, but be had no libretto. 
 Recollecting the plot of a vaudeville, called 
 La Sonnette de Nuit, which lie had seen in 
 Paris several years before, he adapted that, 
 and set it to music, and in nine davs it was 
 
 successfulh' performed and the theatre 
 saved. In 1864 it was reproduced *in St. 
 Petersburg with much favour. 
 
 CAMPBELL, ALEXANDER, born near 
 Callander, Perthshire, Scotland, Feb. 22, 
 1764, died in Edinburgh, May 15, 1824. 
 Organist, and composer of songs which he 
 published in two collections : one with an 
 accompaniment for the violin (1792), the 
 other with a harp accompaniment, publish- 
 ed later. In 1816 he published Vol. I. of 
 Albyn's Aiithologj-.^ — Grove ; Fetis ; Mendel. 
 
 CAMP DE GRANDPRE, LE, ou Le Tri- 
 omplie de la Republique, opera in one act, 
 text by Joseph Cheiiier, music by Gossec, reji- 
 resented at the Opera, Paris, Jan. 27, 1793. 
 Composed in honour of the defenders of the 
 country in 1792, after the Prussians and 
 Austrians had been driven out of Cham- 
 pagne. It was preceded by a popular song 
 by the same authors, entitled "Ronde du 
 camp de Grand-Pro," which was sung eveiy- 
 wliere to the accompaniment of clarinets, 
 horns, and bassoons. 
 
 CAMP DE SOBIESKI, LE, opera-co- 
 mique in two acts, text by Dupaty, music 
 l)y Kreutzer, represented at the Theatre 
 Feydeau, Paris, April 21, 1813. 
 
 CAMP DU DRAP D'OR, LE (Camp of 
 the Cloth of Gold), opera-comique in three 
 acts, text by Paul de Kock, music by Rifaut, 
 Leborne, and Batton, represented at the 
 Opera Comique, Paris, Feb. 23, 1828. 
 
 CA5IPELLI, CARLO, lived at Siena 
 about the end of the 17th century. He 
 was the author of an opera. Amor fra gl' 
 impossibili, represented in Siena, 1693. — 
 Fetis ; Chor. et Fay., Diet, des Mus., i. 115 ; 
 Mendel. 
 
 CAMPENHOUT, FRANgOIS VAN, born 
 in Brussels in 1780, died there, April 24, 
 1848. Dramatic composer and tenor, pupil 
 in singing of Plantade at The Hague (1807), 
 and in harmony and composition of Navoi- 
 gille, the elder, and of Saint-Amand at Am- 
 sterdam (1808), having at first studied the 
 violin under Pauwels at Brussels, and en- 
 tered the orchestra of the Theatre de la 
 
 361
 
 CAMPION 
 
 Monnaie. Soon after he went ou the stage 
 as a tenor singer, first at Ghent, then at 
 Brussels, Antwerp, Brest (1801-3), Paris 
 (1804, 18U, and 1824), Amsterdam, The 
 Hague (1807 and 1826), Rouen (1809-12), 
 Lyons (18U-1G), Bordeaux (1816-18), etc., 
 and ended his career as a singer at Ghent in 
 1827, settling at Brussels in 1828 to devote 
 himself to composition. He is the composer 
 of the Brabanronne (1830). Works — OjJ- 
 eras : Grotius, ou Le chateau de LiJwen- 
 stein, given at Amsterdam, 1808 ; Le passe- 
 partout, Lyons, 1814; L'heureux mensonge, 
 Bordeaux, 1819 ; Les quatre journees; Gil- 
 lette de Narbonue ; Therese, ou La femme 
 du pecheur de Sorreute ; Diane at Endy- 
 rniou, ballet, Bordeaux, 1819 ; Choeurs d'A- 
 thalie (Rouen, 1809) ; Le reprouve, lyric 
 scene for baritone, chorus, and orchestra ; 
 9 cantatas with orchestra (1806-47) ; Cho- 
 ruses with and without orchestra ; La tem- 
 pete, ou Une nuit en mer, scene for baritone 
 and chorus, 1846 ; 3 masses for 4 voices, 
 chorus, and orchestra, executed at Sainte- 
 Gudule, Brussels ; Te Deums, Tantum ergo, 
 psalms, etc. ; Nocturnes, romances, and songs 
 for one and two voices, with pianoforte. 
 — Fetis ; do.. Supplement, i. 145 ; Mendel. 
 
 CAMPION (Campian), THOMAS, com- 
 jjoser, in the earlier part of the 17th cen- 
 tury, died in London, February, 1619. He 
 published : Observations on the Art of Eng- 
 lish Poesie (1602) ; Two bookes of Ayre.s, 
 The First contayning Divine and Morall 
 Songs, The Second, Light Conceits of Lov- 
 ers, To be sung to the Lute and viols in 
 two, three, or four parts ; or by one Voyce 
 to an Instrument (1610) ; Ayres for the 
 Masque of Flowers, etc. (1613) ; A New 
 Way of making Four parts in Counter-point 
 by a most Familiar and Infallible Rule 
 (about 1618), was annotated by Christojiher 
 Symp.son in a second edition (1655). He 
 wrote for all the masques and court cere- 
 monies of his day, giving quaint and long 
 titles to his compositions. — Grove ; Fetis. 
 
 CAMPIONI, CARLO ANTONIO, born 
 in Leghorn, Italy, about 1720, died (?). 
 
 Composer of church music, and of a cele- 
 brated Te Deum mentioned by Burney, who 
 heard it jjerformed in Italy by two hundred 
 musicians (1767). He was maestro di cap- 
 pella to the Grand Duke of Tuscany. His 
 works were published in England, Ger- 
 many, and Holland ; his violin duets in 
 seven volumes. — Fetis ; Mendel ; Schilling. 
 CAMPISI, DOMENICO, born at Regal- 
 buto, Sicily, about the end of the 16th cen- 
 tury. A Dominican monk who was made 
 professor of theology to his order in 1629. 
 Mongitore (Bibl. Sicul., i. 166) saj's he was 
 a clever composer, and gives the following 
 list of his works : Motetti a due, tre e quat- 
 tro voci, con una computa, lib. i., Palermo 
 (1615) ; Motetti a due, etc., lib. ii. (ib., 
 1618) ; Floridus concentus binis, ternis, 
 quaternis, et quinis vocibus modulandus 
 (Rome, 1622) ; Lilia campi, binis, ternis, 
 quaternis, etc. (ib., 1623) ; Lilia campi, sen 
 Motetti et Laudi de B. 
 1627).— Fetis ; Mendel. 
 CAMP OF SILESIA. 
 Schlesien. 
 
 CAMPRA, ANDRE, born at Aix, Pro- 
 vence, Dee. 4, 
 1660, died at 
 Versailles, July 
 29, 1744. Dra- 
 matic composer. 
 He was at first a 
 chorister in the 
 Cathedral of 
 Aix, then maitre 
 dechapelleofthe 
 Toulon Cathe- 
 dral in 1679 ; at 
 Aries in 1681, and at Toulouse from 1683 
 to 1694, when he went to Paris, and became 
 maestro at the college chapel of the Jesuits 
 and maitre de musique at Notre Dame. He 
 was also master of the Royal Chapel, and 
 director of music to the Prince de Conti. 
 Next to Lulli he was considered the best 
 dramatic composer of France, a supremacy 
 which he held until the time of Rameau. 
 Works — Operas, given in Paris, Academie 
 
 V. M., etc. (ib.. 
 See Feldlager in 
 
 202
 
 CAMPS 
 
 Royale de Musique : L'Europe galante 
 (ope'ra-ballet), 1G97 ; Le Carnaval de Veuise 
 (do.), 1699 ; ArOthuse (do.), 1701; Hi-done, 
 1700 ; Taucrude, 1702 ; Les Muses (ballet), 
 1703 ; Iphigenie en Tauride (with Desma- 
 rest), Telcmaquo, 1704: ; Alcine, Le triomphe 
 de ramour, 1705 ; Hipijodamie, 1700 ; Les 
 fetes venitiennes (opera-ballet), 1710 ; Ido- 
 luenee, Les amours de Mars et Venus 
 (opw-a-ballet), 1712 ; Ti'K'phe, 1713 ; Ga- 
 mille, 1717 ; Les ages (opera-ballet), 1718 ; 
 Acbille et Deidamie, 1735. The followiug 
 ballets and divertissements were written for 
 the court : Venus, 1698 ; Le destin du 
 uouveau siecle, 1700 ; Les fetes de Co- 
 rintbe, 1717 ; La fete de I'ile Adam, 1722 ; 
 Les Muses rassemblees par I'Amour, 1723 ; 
 Le genie de la Bourgogne, 1732 ; Les noces 
 de Venus, 1740. He published three books 
 of cantatas (1708) ; Five books of motets 
 (1706, 1710, 1713).— Pougin, Andre Cam- 
 pra (Paris, 1861) ; Fetis ; do., Supplement, 
 i. 146 ; Burney, iv. 607 ; Mendel ; do., Er- 
 ganz., 53 ; Riemann. 
 
 CAMPS Y SOLEE, OSCAR, born, of 
 Spanish parents, at Alexandria, Egypt, Nov. 
 21, 1837, still living, 1888. Pianist, pupil 
 at Florence, of Doehler, and studied coun- 
 terpoint and composition at Naples under 
 Mercadante. Works : Gran cantata for 
 three voices, which was brought out at 
 Madrid, and a number of vocal pieces and 
 pieces for pianoforte. He has written also 
 theoretical works. — Fetis, Supplement, i. 
 147 ; Riemann, 145 ; Mendel, Ergiiuz., 53. 
 
 CAMUS, ANDRE, born in Paris in 1731, 
 died there in 1777. Tenor singer, and 
 composer of church music. He was at first 
 a page and one of the court musicians to 
 the King, and a pupil of the Abbe Madin. 
 In 1746, when he was only fifteen years old, 
 his first success was gained by the perform- 
 ance of his psalm, Qui confidunt in Domino. 
 The beauty of his voice procured him the 
 position of tenor in the Royal Chapel. — ^Fe- 
 tis ; Mendel. 
 
 CAMUS, PAUL HIPPOLYTE, born in 
 Paris, Jan. 26, 1796, died (?). Celebrated 
 
 flutist and composer for his instrument ; 
 pupil of Wunderlich at the Conservatoire, 
 Paris, in 1806. Became first flute at sev- 
 eral of the important theatres of Paris, and 
 at last entered the orchestra of the Italian 
 Opera. Works : Duos pour deux flutes, op. 
 2 ; Trois grands duos, liv. 2 ; Fantaisie sur 
 un air ecossais pour flute et piano ; Trois 
 grands duos pour flilte, op. 11 ; 24 sere- 
 nades composees d'airs nationaux varies, op. 
 1 (Paris), and many others mentioned by 
 Fetis. — Fetis ; Schilling. 
 
 CANDEILLE, PIERRE JOSEPH, born 
 at Estaires, Flanders, Dec. 8, 1744, died at 
 Chantilly, April 24, 1827. Dramatic com- 
 poser, pupil at the Royal Academy, where 
 he was afterwards instructor. Among his 
 works are several opei-atic arrangements of 
 well-known poems, such as Laure et Pe- 
 trarque, 1780, and many new arrange- 
 ments of old operas. His operas did not 
 fulfil the promise of his motets, given at 
 the Concerts Spirituels. Works— Operas : 
 Laure et Petrarque, given at court, 1778 ; 
 Pizarre, ou la Conquete du Perou, Opera, 
 1785 ; La Mort de Beaurepaire ; Les fetes 
 Grecques et Roniaines, 1777 ; L'Amour et 
 Psyche (1780) ; Lausus et Lydie (1786); La- 
 dislas et Adelaide (1791) ; Les jeux Olym- 
 piques ; Brutus (1793).— Fetis ; Mendel. 
 
 CANETTI, FRANCESCO, born at Cre- 
 ma, Lombardy, about the middle of the 18th 
 century, still living in 1812. Dramatic com- 
 poser, maestro di cappella of the Cathedral 
 of Brescia, and one of the eight members of 
 the musical department of the Institute of 
 Italj'. He produced an opei-a buffa, 1' Ima- 
 ginario, at Brescia in 1784. He is also 
 known by a Mass for eight real voices, in 
 the style of fugued counterpoint, which is 
 considered a masterpiece. — Fetis ; Mendel. 
 
 CANIS, CORNEILLE, born in Ghent, 
 flourished in the 16tli century, died before 
 1556. Singing master of Notre Dame, Ant- 
 werp. Works : Canons published in the 
 Antwerp and Louvain collections of songs, 
 printed about 1544. Dr. Burney quotes 
 also a French song, " Ta bonne grace et 
 
 263
 
 CANNABICH 
 
 maintien gracieux." — Biog. nat. de Belg., 
 iii. 286 ; Fotis ; Meudel ; do., Ergiinz., 53. 
 
 CANNABICH, CAKL, born in Maiiuheim 
 in 1769, died in Munich, May 1, 1806. 
 Dramatic composer and violinist, son and 
 pupil of Christian Cannabich ; studied the 
 violin under Eck, liarmony under Griitz, 
 and composition in Italy under P. Win- 
 ter. He was Musik-Director at Fraukfort- 
 on-the-Main, 179G-1800, and succeeded his 
 father in 1798, in Munich, as director of 
 court concerts. lu 1805 he was sent by his 
 government to Paris to study the method 
 of teaching at the Conservatoire. Works : 
 Orpheus, Palmer und Amalie, operas, given 
 in Munich, 1800 ; Gediichtnissfeyer Mo- 
 zarts, cantata (Hamburg, 1797) ; Deutsche 
 Lieder (Munich, 1798) ; 14: variations for 
 harjjsichord on the air, A Schiisserl uud a 
 Keindl (Munich, 1798) ; Variations for harp- 
 sichord, No. 2 (Munich, 1799) ; Trios for 2 
 violins and viola, op. 3 ; Duos for flute and 
 violin, op. 4 ; Cauzonette for 3 and 4 vio- 
 lins (Munich, 1801) ; Overtures, symphonies, 
 concertos, etc. — Allgem. d. Biogr., iii. 760 ; 
 Allgem. mus. Zeitg., viii. 529, 554 ; Fctis ; 
 Gerber. 
 
 CANNABICH, CHRISTIAN, born at 
 Mannheim in 1731 (1742 '?), died in Frank- 
 fort-on-the-Main, in 1798. Dramatic com- 
 poser and violinist, pupil of Johaun Stamitz, 
 then studied for three years in Italj', chiefly 
 under Jommelli, and returned to INIannheim 
 iu 1763. He was made Conzertmeister and 
 conductor of the Italian opera in 1765, mu- 
 sical director in 1775, and in the same ca- 
 pacity removed with the court to Munich 
 iu 1778. He was one of the foremost solo- 
 violinists of Germany, and excelled still 
 more as a teacher of his instrument and as 
 an orchestra conductor. Works — Operas: 
 Azakia, given at Mannheim, 1778 ; La Croi- 
 sce, Paris, 1788 ; Elektra, Angelica (operet- 
 ta), Munich, 1792 ; La descente d'Hercule 
 aux enfcrs, ballet ; Corthey und Thelaire, do., 
 Munich, Berlin, 1794 ; other ballets ; 3 sym- 
 phonies for grand orchestra ; 6 quartets 
 for violin, flute, viola, and bass, op. 1 (The 
 
 I Hague) ; 6 trios for two violins and violon- 
 cello, op. 3 (Mannheim) ; 6 duos for flute 
 and violin, op. 4 (ib., 1767) ; 6 quartets for 
 two violins, viola, and bass, op. 5 (Mann- 
 heim) ; 3 concertos for violin solo, two vio- 
 lins, viola, and bass ; 6 symphonies coucer- 
 tautes for two flutes, two violins, viola, and 
 bass, oj). 7 (Paris, 1769). — Allgem. d. Biogr., 
 iii. 759 ; Fetis ; Mendel ; Schilling. 
 
 CANNETI, FRANCESCO, born at Vi- 
 cenza, Italy, in 1809, died there, August, 
 1884. Dramatic and church composer, 
 pupil of Pilotti at Bologna. Works : Emilia, 
 opera, Vieenza, 1830 ; Francesca da Rimini, 
 do., ib., 1843 ; Requiem Mass (Milan, Luc- 
 ca) ; Tan turn Ergo for six voices (ib.). — Fetis, 
 Supjilement, i. 147. 
 
 CANNICIARI, Don POMPEO, flourished 
 in the beginning of the 18th century, died 
 in Rome, Dec. 29, 1744. Maestro at S. ^L 
 Maggiore from 1709 till his death. He be- 
 queathed his large musical library to that 
 basilica, but it was eventually disisersed. 
 Several of his pieces are in the Santini 
 Library, notably : 3 masses for four, and 
 1 for five, 6 for eight, and 4 for sixteen 
 voices ; 4 motets for four, and 10 for 
 eight voices ; 2 Magnificats for four voices, 
 with organ accompaniment ; and an Ave 
 IMaria for eight voices. — Grove ; Futis ; 
 Mendel. 
 
 CANOBY, GUSTAVE, born (in France ?) 
 about 1830, still living, 1888 (?). Dramatic 
 composer, pujiil at the Conservatoire, Paris ; 
 became maitre de chajaelle of the church at 
 Passy. W^orks : La medaille, Un drame en 
 I'air, operettas, given at the Boufl'es Pari- 
 sieus, 1865 ; La coupe et les levres, grand 
 ojjera. — Fc'tis, Supplement, i. 147. 
 
 CANOGIA, JOSE AVELINO, born at 
 Oeiras, Portugal, Nov. 10, 1784, died in 
 Lisbon in 1842. Clarinet player,^3rofessor 
 iu the Lisbon Conservatorio. He played 
 with success in Paris, London, and other 
 cities, and wrote concertos, fantasias, and 
 variations for his instrument, published in 
 Paris and London. — Futi.s, Supplement, i. 
 148 ; Mendel, Erganz., 53. 
 
 264
 
 CAXTATA 
 
 CANTATA FESTO ASCENSIONIS 
 CHRLSTI. See Her da glaubet uud ge- 
 tauft wird. 
 
 CANTATA PEE OGNI TEMPO. See 
 Ich hatte viel Bekiimnierniss. 
 
 CANTIA3I0, FACCIAM BRINDISI. See 
 Elisire d' Aniore. 
 
 CANTONE, Padre SERAFINO, born in 
 Milan about the end of the IGth centiuT, 
 died (?). Organist of the Cathedral of Mil- 
 an. A monk of the Monasterj' of S. Sim- 
 plic-iauo, he was one of the first composers 
 to introduce concerted pieces in the tlorid 
 style. Several of his canzonets, cantatas, and 
 motets are given by Fetis, and Bodenschatz 
 has inserted one of his motets for eight 
 voices in Florilegium Portense. —Fetis; 
 Mendel. 
 
 CANUTI, GIOVANNI ANTONIO, Italian 
 composer of the 18th century, born at 
 Lucca. He brought out an opera, entitled 
 Eodelinda, at Lucca in 1724 — Fetis, Sup- 
 plement, i. 148. 
 
 CANZONA DI RINGRAZIAMENTO in 
 modo lidico, offerta alia divinita da un 
 guarito (Song of thanksgiving in the Ly- 
 dian mode, offered to the Deity by one 
 cured of sickness). The title of the third 
 movement, Molto adagio, of Beethoven's 
 string quartet in A minor, op. 132. 
 
 CAPECE, ALESSANDRO, born at Te- 
 rena, in the Abruzzi, in the middle of the IGth 
 century, died (?). Maestro di cappella of the 
 cathedral of Ferra under Cardinal Mazo- 
 letto. Works : II Primo libro de' Madrigali 
 a quattro, cinque et otto vooi, op. 5 (Rome, 
 IGIG). Otto Magnificat sopra li tuoni dell' 
 Ecclesia, op. 4 (Venice, IGlG) ; Sacri con- 
 certi d' un vago e nuovo stile, a 2, 3 e 4 voci, 
 op. 10. Fetis gives a long list of other 
 works. — Fetis ; Mendel. 
 
 CAPECELATRO, VINCENZO, born in 
 Naples in 1815, died in Florence, Oct. 7, 
 1874. Dramatic composer, pujiil of the 
 Conservatorio of San Pietro, Naples. Works 
 — Operas : La mansarde des artistes, given 
 at Naples, 1837 ; Mortedo, Naples, 1847 ; 
 Gaston de Cleauley, Florence, 1855. He 
 
 went to Paris, became a singing teacher, 
 and published there a collection of roman- 
 ces and nocturnes entitled : L'Echo de Sor- 
 rente. He also published music for the 
 2)ianoforte ut Milan. — Ft'tis ; do., Supple- 
 ment, i. 148 ; Mendel, Ergiiuz., 54. 
 
 CAPELLETTI, CARLO, Bolognese dra- 
 matic composer, contemjsorary. He is a 
 pupil of Mattel, and member of the Acea- 
 demia Filarmonica. Works — Operas : La 
 contessina, given in Bologna, 1830 ; L' 
 amor mulinaro, Ferrara, 1837; II sindaco 
 burlato, Bologna, 1844 ; La capanua Mos- 
 covita. — Fetis ; do., Supplement, i. 140 ; 
 Mendel. 
 
 CAPELLO, Al)l>ate GIOVANNI MA- 
 RIA, born in Parma in the 17tli century, 
 died there in 1728. Dramatic composer, 
 canon of the Cathedral, and comj)oser to 
 the court of Parma. Works — Operas : 
 Rosalinda, given in Venice, 1G92 ; Climene, 
 Rovigo, 1700 ; Griselda, ib., 1710 ; Giulio 
 Flavio Crispo, Venice, 1722 ; Mitridate, re 
 di Ponto, ib., 1723.— Fetis ; Mendel. 
 
 CAPELLO, GIOVANNI UXBlk, born 
 in Venice about the end of the IGth cen- 
 tury. Organist of S. M. delle Grazie, Bre- 
 scia. He was the author of thirteen books 
 of masses and psalms, the ninth of which 
 was published at Venice in IGIG. — Fetis ; 
 Mendel. 
 
 CAPILUPI, GEMINIANO, born in Mo- 
 dena, about 1560, died there, Aug. 31, 
 IGIG. Vocal composer, j^upil of Orazio 
 Vecchi. Little of his history is known, but 
 according to Spaccini and Tiraboschi, he 
 intrigued in 1G04 to displace Vecchi, his 
 master, as maestro of the Cathedral of Mo- 
 dena. Works : Motetti a G e 8 voci, libro 
 primo (1G03) ; Madrigali a cinque voci, 
 libro 1 et 2 (1G08). A collection of thirty 
 pieces, canzonets for 3 voices, bj- Capilupi 
 and Vecchi are in the Liegnitz Library. 
 — Fetis ; Mendel. 
 
 CAPITAINE FRACASSE, LE, opera- 
 comique in three acts and six tableaux, 
 text by Catulle Mendes, music by Emile 
 Pessard, first represented at the Theatre 
 
 865
 
 CAPITAINE 
 
 Lyrique, Paris, July 2, 1878. The libretto 
 is au udaptiitiou of Tbeopbile Gautier's 
 liovel of the same title (1863). 
 
 CAPITAINE HENRIOT, LE, opera-com- 
 ique in three acts, text by Giistave Vaez and 
 Victorieu Sardou, music by Gevaeit, repre- 
 sented at the Opera Coniique, Paris, Dec. 
 29, 1864. The libretto, left unfinished by 
 Vaez, was finished by Sardou. Capitaine 
 Heuriot is Henri IV., and the time is 1570, 
 during the siege of Paris. 
 
 CAPOANI, GIOVANNI FRANCESCO, 
 born at Bari, lived about 1550. History 
 unknown ; several of his comjiositious are 
 in the first book of the "Authors of Bari," 
 jniblished by Antiquis at Venice, in 1585. 
 — Fetis ; Mendel. 
 
 CAPOLLINI, MICHELANGELO, Ital- 
 ian composer of the 17tli century. He 
 wrote the music to a sacred drama entitled : 
 Lamento di Maria Vergine, acconipagnato 
 delle Lagrime di Santa Maria Maddalena e 
 di S. Giovanni per la morte di Gesu Chris- 
 to, rajipresentato in musica in stile recitativo 
 nella chiesa de' Santi Innocenti di Mantua 
 (16-27).— Fetis ; Mendel, ii. 310. 
 
 CAPOTORTI, LUIGI, born at Molfetta, 
 Italy, in 1767, died at San Severo in 1842. 
 Dramatic composer, pupil at the Conserva- 
 torio di S. Ouofrio. Works — Operas : L' 
 impegno sujierato, given at Naples, 1802 ; 
 Obedde ed Alamaro, ib., 1808 ; Giro, and 
 Enea in Cartagiue, ib., 1805 ; Bref il sordo, 
 Naples and Rome, 1813 ; Marco Curzio, 
 Naples, 1813 ; Ernesta e Carlino, ib., 1815. 
 He wi'ote also a grand cantata, given at 
 Naples, composed to Ricci's words. — Fe- 
 tis; do., Supplement, i. 1-lfl ; Mendel. 
 
 CAPPONI, GIOVANNI ANGELO, lived 
 in the 17th century. He publisLed a col- 
 lection of masses and psalms for eight 
 voice.s, and a miserere for nine voices 
 (Rome, 1650) ; Litanies and psalms for five 
 voices (ib., 16,54).— Fetis ; Mendel. 
 
 CAPPDS, JEAN BAPTISTE, born in Di- 
 jon, France, about the beginning of the 
 18tb century, died about 1770. He was 
 maitre de musique at the Dijon Academy. 
 
 Works : Premier livre de pieces de viole et 
 de basse continue (Paris, 1730) ; Premier 
 recueil d'airs serieux et a boire (Paris, 
 1732) ; 2d recueil (ib.), Semele, ou la nais- 
 sance de Bacchus, cantate a deux voix avec 
 symphonies (1732) ; Plaisirs de I'hiver 
 (1730), plaj-ed at Versailles before the 
 Queen ; Methode de Musique. — Fetis ; Men- 
 del. 
 
 CAPRANICA, MATTEO, born in Rome, 
 lived about the middle of the 18th century. 
 His opera, Aristodemo, was played at the 
 Argentina Theatre, Rome, in 1746. He 
 finished the opera of La finta Frascatana, 
 which Leo left incomplete at his death. 
 Reichardt also makes mention of a Salve 
 Regina for soprano, with an accompaniment 
 for stringed instruments, written by Capra- 
 nica. — Fetis; Mendel. 
 
 CAPRON, , violinist, pupil of Ga- 
 
 vinies, first appeared at a Concert Sjjirituel 
 in 1768. He published six sonatas for the 
 violin, op. 1 ; and in 1770, six quartets, op. 
 2 (1769).— Fetis. 
 
 CAPTIVE, LA, reverie for a contralto 
 voice with orchestra, by Hector Berlioz, op. 
 12, to words by Victor Hugo. Published 
 in full score, and pianoforte score, by Ri- 
 chault, Paris. 
 
 CAPUANA, MARIO, maestro di cappella 
 of the Senate and of the Cathedral of Noto, 
 Sicily, about the middle of the 17th century. 
 Works : Motetti a 2, 3, 4, e 5 voci, op. 3 
 (Venice, 1649) ; Messa de' Defonti, a 4 voci 
 (ib., 1650).— Fetis. 
 
 CAPUANO, GIUSEPPE, born in Naples, 
 March 3, 1830, still Hving, 1888. Pupil of 
 Giuseppe Correggio. He has written masses 
 and much church music, and is the author 
 of a musical treatise entitled : Un nouveau 
 livre. — Fetis, Supplement, i. 150 ; Mendel, 
 Ergiinz., 54. 
 
 CAPULETTI ED I MONTECCHI, I 
 (The Capulets and the Montagues), Italian 
 opera in three acts, text by Romani, music 
 by Bellini, first represented at La Fenice, 
 Venice, March 12, 1830, in Paris, Jan. 10, 
 1833, and at the King's Theatre, London,
 
 CAPUTI 
 
 July 20, 1833. Libretto from Shakespeare's 
 " Eomeo aud Juliet." The music was writ- 
 ten in fifteen days to relieve the manager of 
 the Venice theatre from difficulty, and the 
 work proved a decided success. The role 
 of Tebaldo was cast for Rubini, and the 
 parts of Romeo and of Juliet for Giuditta 
 and Giulia Grisi. In Paris and in London 
 Romeo was sung by Mine Pasta. This opera 
 is usually given with a fourth act, added 
 by Vaccai. See Romeo et Juliette. 
 
 CAPUTI, ANTOINE, Italian composer 
 who lived in 1754. He settled in Germany, 
 where he produced an opera, Didone ab- 
 bandonata. He composed also in 1760 a 
 concerto for flute which remains in MS. 
 — Fetis ; Mendel. 
 
 CAPUZZI, GIUSEPPE ANTONIO, born 
 in Brescia, in 174:0, died in Bergamo, March 
 28, 1818. Dramatic composer aud violinist ; 
 pupil of Nazari, and in composition of Ber- 
 toni. In 1790 he produced in London a 
 ballet, La villageoise enlevoe, ou les cor- 
 saires. Other works : 3 books of quintets ; 
 2 books of quartets; 2 violin concertos 
 (Venice). — Fetis ; do., Suppk'ment, i. 150 ; 
 Mendel. 
 
 CARACCIOLO, LUIGI, born at Audria 
 (Bari), Italy, Aug. 10, 1849, died in London, 
 Aug. 2, 1887. Dramatic composer, pupil at 
 the Naples Conservatorio in 18G3 ; studied 
 the organ and harmony under Carlo Conti 
 and Mercadante ; settled in London as vocal 
 teacher. Works: Goffredo sotto le niura 
 di Gerusalemme, cantata, Naples ; Maso il 
 Montanaro, opera, Bari, 1874 ; many songs. 
 — Fetis, Supplement, i. 150. 
 ■■ CARACCIOLO, PASQUALE, IMarcliese 
 d' Arena and Duca di Sorrento, flourished, 
 probably at Naples, about the end of the 
 18th and the early part of the present 
 century. Amateur composer of church 
 and chamber music. Works : II ritorno, 
 cantata for three voices ; II flnto pastore, 
 do. ; L' amor costante, do. ; Coriolano, do. 
 for four voices ; Cantata for tenor and bass ; 
 do. for three voices, chorus, and orchestra, 
 performed at the Palazzo Calabritto, Naples, 
 
 1816 ; 2 masses with full orchestra ; Dixit 
 Doniinus, Salve Regina, Magnificat, Credo, 
 Tantuni Ergo, with do.; 2 motets for two 
 choruses aud orchestra ; Quartet for piano- 
 forte, flute, clarinet, and viola ; Nocturne 
 for violas and wind instruments. — Fetis. 
 
 CARACTACUS, English drama, test by 
 Mason, music by Thomas Augustine Ariie, 
 represented in London, 1776. This was Dr. 
 Ai-ne's last dramatic composition. A dra- 
 matic ballet, music by Henry R. Bishop, 
 was given in London, 1806. Carattaco, 
 Italian opera, music by Johann Christian 
 Bach, London, 1767 ; lyric tragedy, text by 
 Peretti, music by Catelani, Modena, 1841. 
 
 CAR.AI^A, M.\RZIO GAETANO, Prince 
 of Colobrano aud Duke of Alvito, born at 
 Naples in 1798, died (?). Amateur composer 
 of church and chamber music ; cousin of 
 Michele Carafa ; pupil of Gabriele Prota, of 
 Salini (1808), and of Fioravanti (1811). 
 Works : Miserere for four voices (1819) ; 
 Dafne, cantata for four voices and orchestra 
 (1819); Requiem mass for tw'elve voices 
 and orchestra (1821) ; do. for four male 
 voices ; Miserere for eight do. ; Choruses 
 to ]\Ianzoni's tragedy II Conte della Carma- 
 gnola ; do. to Adelchi ; two paraphrases of 
 Christus, for six male voices ; many pieces 
 for four voices ; about fifty airs for dift'er- 
 ent voices. — Fetis. 
 
 CARAFA (DE COLOBRANO,) m- 
 CHELE (ENRICO), born in Naples, Nov. 17, 
 1787, died in Paris, July 26, 1872. Dramatic 
 composer, second son of the Prince of Colo- 
 brano and Duke of Alvito ; first instructed 
 by the organist Fazzi, then pupil of Fran- 
 cesco Ruggi, and of Fenaroli in harmony 
 and composition ; and in Paris of Cheru- 
 bini in counterpoint and fugue. He then 
 entered the army and became an officer in 
 the guard of Murat, iu whose suite he took 
 part in the Russian campaign of 1812, and 
 was made chevalier of the Legion of Honour. 
 After the downfall of Napoleon he left the 
 army and took up music as a profession, 
 bringing out his operas iu Naples, ISIilan, 
 Venice, Rome, Vienna, and Paris, where he
 
 CARAPELLA 
 
 settled in 1827. He was made a member of 
 the Institut in 1837, director of the Gym- 
 nase de musique uiilitaire iu 1838, aud pro- 
 fessor of comi^ositioii at the Conservatoire 
 ill 1840. Works — Operas : H fantasma, 
 giveu at Naples about 1802 ; II vascello 
 d' occideiite, ib., Teatro del Foudo, 1811 ; 
 La gelosia eorretta, ossia Mariti aprite gli 
 Ocelli, ib., Teatro de' Fioreiitini ; Gabriella 
 di Vergi, ib., Foiido, 1816 ; Ifigenia iu Tau- 
 ride, ib., Sau Carlo, 1817 ; Berenice iu Siria, 
 ib., 1818 ; Adi'le di Liisignauo, Milan, Scala, 
 
 1817 ; Elisabetta in Derbyshire, Venice, 
 
 1818 ; 11 sacrifizio d" Epito, ib., 1819 ; I 
 due Figaro, ossia il Soggetto di una corn- 
 media, opera bufta, Milan, Scala, 1820 ; 
 Tamerlano (written iu Kome, 1822) ; La 
 capricciosa ed il soldato, ossia Un momento 
 di lezione, Eufeiuia di Messina, Kome. 
 
 1823 ; Abufar, ossia La faiuiglia Arabe, 
 Vienna, 1823 ; H sonnambulo, Milan, Scala, 
 
 1824 ; Aristodemo ; Gl' Italici e gl' Indiani ; 
 Jeanne d'Ai-c, Paris, Opera Comique, 1821 ; 
 Le Solitaire, ib., 1822 ; Le valet de cbam- 
 bre, ib., 1823 ; L'auberge supposee, ib., 
 1824 ; La belle au bois dormant. Opera, 
 182.5 ; Sangarido, 3Ta><a)neUo, ou Le pecheur 
 napolitain, Opera Comique, 1827 ; La Vio- 
 letle (with Lebonie), ib., 1828 ; Jenny, ib., 
 1829 ; Le nozze di Lammermoor, Theatre 
 Italian, 1829 ; L'auberge d'Auray (with 
 Herold), Opera Comique, 1830 ; Le livre de 
 Termite, ib., 1831 ; L'orgie ballet. Opera, 
 1831 ; Natalie, ou La laitiere Suisse, do., 
 (with Gyrowetz), ib., 1832 ; La iwiaon 
 d'Edimbourg, Une jouruee de la Fronde, 
 Opera Comique, 1833 ; La grande-duchesse, 
 ib., 1835 ; Thi'rese, ib., 1838 ; H uatale di 
 Giove, cantata ; Achille e Deidamia, do. ; 
 
 Soeur Agnes, ou La religieuse, Ip-ic scene ; 
 Messa di Gloria for 4 voices ; Messa di Re- 
 
 quiem ; Stabat Mater ; Ave verum, for ten- 
 or solo with chorus and orchestra ; Soli for 
 different wind-instruments, with orchestra. 
 — Clement, Mus. celebres, 3G8 ; Fetis ; do.. 
 Supplement, i. 1.51 ; Mendel ; Schilling. 
 
 CAItAPELLA, TOMMASO, born in Na- 
 ples about 1680, died (?). He was maestro 
 dicappella in his native city. "Works: Can- 
 zoui a due voci (Naples, 1728) ; Miserere 
 for 4 voices ; Peleo e Teti, cantata (1714) ; 
 Choruses for II Domiziano, a tragedy ; II 
 trionfo della eastita, oratorio (1715) ; Labat- 
 taglia spirituale, oratorio. — Fefis ; Mendel. 
 
 CAEAS.\LI, ODOARDO, born in Pisa, 
 Italy, lived in the first half of the 18th cen- 
 tury. He was maestro di cappella to the 
 Princess Roccella. He produced an opera 
 buffa which from its title seems to have been 
 written in jJatois, Le Mbroglie d' Ammore, 
 Najjles, 1736.— Fetis, Supplement, i. 152. 
 
 CARASAUX (Carausaux), born in Ai-ras 
 about the middle of the 13th centurj'. Six 
 of his songs are extant, four of which are 
 in the MS. department of the National Li- 
 brary, Paris — Fetis ; Mendel. 
 
 CARAVANE DU CAIRE, LA, opera in 
 three acts, text by Morel de Chedeville, mu- 
 sic by Gretry, represented at Fontaine- 
 bleau, Oct. 30, 1783, and at the Academie 
 Royale de Musique, Paris, Jan. 15, 1784. 
 Morel de Chedeville is a pseudonym for 
 the Comte de Provence, afterwards Louis 
 XVni. The work, notwithstanding its 
 want of local colour', achieved a great suc- 
 cess, being played more than five hundred 
 times. The overture was for a long time 
 a favourite, and the air "Victoire est a 
 nous " very popular. 
 
 CARBONEL, JOSEPH FRANgOIS 
 NARCISSE, born of French parents, in 
 Vienna, May 10, 1773, died at Nogent-sur- 
 Seine, Nov. 9, 1855. Composer, son of 
 Joseph Noel Carbonel, a well known tam- 
 bourine player, who was his first instructor ; 
 admitted to the ficole royale de chant, Paris, 
 at its foundation in 1783, studied the piano- 
 forte under Gobert, harmony and composi- 
 tion under Rodolphe and Grosse, singing 
 
 268
 
 CAPtCAKO 
 
 uuder Picciiiui and Guiuhanl ; and subse- 
 quenlly pupil of Eicber and Garat. He 
 became a celebrated professor of singing, 
 and ijublisbed some sonatas and instru- 
 mental music, and some romances for the 
 voice. — Fetis ; Mendel. 
 
 CARCANO, GIUSEPPE, born at Crema, 
 Lombardy, in 1703, died (■*). Dramatic com- 
 poser, maestro di cappella at tlie Conserva- 
 torio degl' Ineurabili, Venice, in the library 
 of which many of liis MSS. are preserved. 
 One of his cantatas, La concordia del tempo 
 colla fama, for seven voices and orchestra, 
 was performed by the scholars of the Con- 
 servatorio, and was given and published in 
 Venice, in 1740. His opera, Hamleto, was 
 given there in 17-12. — Fetis ; Mendel. 
 
 CARCANO, RAFFAELE, boru in 180C, 
 died in October, 186-4. He received a free 
 education at the Cathedral of Milan, and at 
 the age of eighteen was admitted to the 
 Ro3'al Chapel of tlie King of Sardinia, 
 where he remained till his death. He was 
 a fine contrapuntist and a finished harmon- 
 ist, and his works display great ability in 
 these departments ; but he was more cele- 
 brated as a singer of church music, which 
 he rendered in a grand style. — Fetis, Sup- 
 plement, i. 152. 
 
 CARCASSI, MATTEO, born in Florence 
 about 1792, died in Paris, Jan. IG, 1853. 
 Celebrated guitarist, excelling even Carulli 
 in his playing. He perfected the fingering 
 and produced many new effects in guitar 
 playing. He was in London in 1822 and 
 1820, and in Germanj' in 182-1, giving con- 
 certs. He published about forty composi- 
 tions for the guitar, con.sisting of rondeaux, 
 caprices, fantaisies, and studies. — Fetis ; 
 Mendel ; Schilling. 
 
 CARDENA, PIETRO LEONE, boru in 
 Palermo in the early part of the 18th cen- 
 tury. Dramatic composer, whose opera, 
 Creusa, was performed at the Teatro San 
 Samuele, Venice, in 1739.— Fetis ; Mendel. 
 
 CARDON, LOUIS, born in Paris in 1747 ; 
 died in Russia in 1805. Harji player. His 
 Methode pour la Harpe was j^ublished in 
 
 Paris, 1785. Works: Quatre sonates pour 
 la Harpe, op. 1 ; Pieces pour la Harpe, op. 
 2 ; Trois duos pour deux Harpes, op. 8 ; etc. 
 Fetis gives a list of 2 1 compositions, which in- 
 cludes symphonies for harp, violin, and bass ; 
 concertos for liarp, two violins, two oboes, 
 two horns, etc. — Fetis; Gerber ; Mendel. 
 
 CARDONNE, PHILIBERT, born in Ver- 
 sailles in 1731, died ('?). Dramatic com- 
 jjoser, pupil of Coliu de Blamont. When 
 fourteen years old he composed a motet, 
 which was given at the court in 1745, and 
 in 1748, the psalm, Super flumiua Baby- 
 lonis. He succeeded Berton, in 1777, as mu- 
 sician to the King, a iiosition which he occu- 
 l^ied until the Revolution. His pastoral, 
 Amaryllis, was performed before the Queen 
 in 1752. His opera, Omphale, given at the 
 Acadeniie Roj-ale de Musique, in 1769, was 
 not successful. — Fetis ; Mendel. 
 
 CARDOSO, FRANCISCO MANUEL, 
 boi-n at Beja, province of Alentejo, Portu- 
 gal, about the end of the IGth century. He 
 was a Carmelite monk and composer of 
 church music. Works : Missse 5 vocibus 
 concert. (1G13) ; Missse sex vocibus concert. 
 
 (1625) ; Magnificat sex vocibus concert. 
 
 (1626) ; Misste de B. Virgine quaternis et 
 sex vocibus, lib. 3 ; Livro que comprehende 
 tudo quanto se canta na semaua santa (Lis- 
 bon, 1()48). — Fetis ; Mendel ; Vasconcellos. 
 
 CARDOSO, MANUEL, born at Fronteira, 
 in 1569. He entered the Carmelite order at 
 Lisbon in 1588, becoming its sub-prior and 
 mestre de capella. Several of his works, 
 which are exclusively for the church, are 
 said to have been published. Two of his 
 motets are given by Proske in the Musica 
 Divina, ii., Nos. 5 and 33. — Grove ; Slendel. 
 
 CARDUCCL GIOVANNI JACOPO, born 
 at Bari, Kingdom of Naples, about the mid- 
 dle of the 16th century. Several of his 
 compositions are to be found in a collection 
 entitled : II Primo Libro a due voci di di- 
 vers! autori di Bari (Venice, 1585). — Fetis ; 
 Mendel ; Gerber. 
 
 CAEELIO, ANTONIO, born at Messina, 
 Sicily, 17th century. Violinist, and com- 
 
 3«l
 
 CAIIELLI 
 
 poser for bis instrument. His sonatas were 
 published in three j):irts (Amsterdam, 1710). 
 — Fctis ; Mendel. 
 
 CARELLI, BENJAlVnNO, born in Na- 
 ples, May 9, 1833, still living, 1888. Pupil 
 of the Naples Conservatorio, where he 
 studied the pianoforte under Lanza, har- 
 monj' under Parisi, counterpoint under 
 Carlo Conti, singing under Busti, and com- 
 position under Mercadante. Before leav- 
 ing the Conservatorio he produced an over- 
 ture. He afterwards taught singing and 
 composition, published a number of vocal 
 melodies, and wrote an ode-cantata for a 
 national fete in 18G4. He has been j)ro- 
 fessor of singing at the normal schools since 
 1873, and at the Conservatorio since 187J:. 
 He is the author of several didactic works. 
 — Fetis, Supplement, i. 452. 
 
 CARESANA, CRISTOFORO, born at Ta- 
 rento, Italy, in 1(55.5, died in Naples in 
 1713. Organist of the Royal Chapel, Na- 
 ples, about 1680, and afterwards maestro of 
 the Church of the Oratorians or Filippini. 
 Chorou embodied in his "Principes de 
 Composition " exercises on all the intervals 
 by Caresana, and introduced a new edi- 
 tion of his Solfeggi (Naj)les, 1680) at the 
 Conservatoire. Works : Motets, hymns, 
 duetti da camera, published during his life, 
 and many j\IS. works preserved in the Royal 
 Library, Naples. — Grove ; Fetis ; Mendel. 
 
 CAREY, HENRY, born in 1685 (1692 ?), 
 died in London, Oct. 4, 1743. Dramatic 
 composer, said to have been a natural son 
 of George Savile, Marquis of Halifax ; pupil 
 of Olaus Westeinson Linnert, of Rosein- 
 grave, and of Geminiani. His instruction 
 was limited, and he was obliged to teach for 
 a living. He wrote many musical dramas 
 which were popular in their time, but he is 
 now remembered chiefly by his ballad, " Sally 
 in our Alley," and by the attempt to prove 
 him the comi^oser of " God save tlie King." 
 Carey may have arranged and jjerhaps al- 
 tered this national air, and it is reasonably 
 certain that he first sang it in public, but 
 the melody is i^robably older than his time. 
 
 Nt 
 
 ancy 
 
 1739 
 
 His posthumous son, George Savile Carey 
 (1743-1807), poet and dramatist, tried to 
 substantiate his father's claim to its author- 
 ship, but the ques- 
 tion still remains 
 undecided. Henry 
 Carey is said to have 
 committed suicide, 
 but this is doubtful. 
 Works — Musical 
 dramas, etc. : The 
 Contrivances, Lon- 
 don, 1715 ; Betty, 
 1732 ; Cephalus and v 
 
 Procris, 1733 ; Tlie 
 Honest Yorkshireman, 1735 ; 
 Six cantatas (1732) ; The Musical Century 
 — one hundred English ballads written and 
 composed by himself (1739-40). He was 
 the author also of plays and poems. — Chajj- 
 pell, Popular Music of Olden Time, 702 ; 
 Grove ; Fetis ; Riemann, 147 ; Mendel ; Nau- 
 mann (Ouseley), ii. 914. 
 
 CARILLONNEUR DE BRUGES, LE 
 (The Bell-ringer of Bruges), opera-co- 
 mique in three acts, text bj' de Saint- 
 Georges, music by Albert Grisar, repre- 
 sented at the Opera Comique, Paris, Feb. 
 20, 1852. The action passes in the Neth- 
 erlands during the revolt against the Span- 
 ish yoke. Matheus Clacs, the deaf bell- 
 ringer, recovers his hearing when he sees 
 the standard of Brabant elevated on the 
 walls. The score, one of the best of the 
 composer's, is full of dramatic sentiment 
 and lively inspiration. One of the best of 
 the airs is : " Sonnez, mes cloches gentilles ! 
 ah ! pour d'autres, sonnez ! " The piano- 
 forte score is arranged by Vauthrot. 
 
 CARISSIMI, GIACOMO, born in Ma- 
 rino, near Rome, 1004 (according to Pito- 
 ni), at Padua, 1582 (according to Spiri- 
 dione, Mattheson, and Fetis), died in Rome, 
 1674. Very little is known about his life, 
 not even under whom he studied. De Fre- 
 neuse's account, that he formed his taste and 
 style in Paris, is undoubtedly a myth. Caris- 
 simi's first official position was that of maes-
 
 CARLETON 
 
 tro di cappella cat Assisi, but a few years 
 later be obtained a similar post at the 
 cburch of S. Apolliuaris at Rome, and most 
 probably continued to bold it during tbe 
 remainder of his life. Gerber's assertion 
 that he was at one time maestro di cappella 
 of tlie pontifical choir is unfounded. Caris- 
 simi was, beyond doubt, the greatest of 
 Italian composers between Palestrina and 
 Alessandro Scarlatti. The facts that he 
 never wrote for the stage, and that he sjaent 
 most of his life in directing a church choir 
 in Rome, have misled many persons into 
 ranking him among the followers of Pales- 
 trina. But with the Palestrina school he 
 really had no connection ; he was not a 
 classicist, but energetically followed the 
 lead of Cacciui, Peri, and Monteverde. His 
 compositions belong distinctly to modern 
 music. Carissimi did more than any of his 
 contemporaries toward perfecting the re- 
 citative ; he was also the first to develop the 
 sacred cantata and the oratorio to the jjoint 
 where Handel and Sebastian Bach found 
 them when they applied themselves to this 
 form of composition. He also did much in 
 the elajujratiou of the orchestral accompani- 
 ment in the stile concertante. Indeed he maj* 
 be called the true father of the modern orato- 
 rio. His style, if not so learned as that of the 
 " great " Roman school of contrapuntists, 
 is far purer and more facile than that of his 
 more progressive contemporaries. To the 
 emotional and dramatic power of Mon- 
 teverde and Cavalli he added a consummate 
 skill in counterjjoint, and he was one of 
 the first to reconcile contrapuntal writing 
 with modern tonality, and the more dram- 
 atic spirit which began to show itself in 
 music immediately after the establishment 
 of the tonal system. He was a most volu- 
 minous comjooser, but very little of his mu- 
 sic has been published. Published works : 
 2 collections of motets for 2, 3, and 4 voices 
 (Rome, 1664, 1667) in the Santini Library ; 
 Missse 5 et 9 vocum cum selectis can- 
 tionibus (Cologne, 1GG3, 1667) ; Jephte, 
 oratorio, his masterpiece (Mainz, B. Schott's 
 
 SOhneu) ; Judicium. Salomonis, oratorio, 
 (ib., probably not by Carissimi, but by his 
 pupil Cesti) ; Jonaa, oratorio (ib.) ; Bal- 
 thazar, oratorio (ib.) ; Jonah, oratorio 
 (London, Lamborn Cock). Detached pieces 
 by Carissimi were published in Burney, 
 Hawkins, Kircher's " Musurgia," Rochlitz, 
 Ballard's " Airs serieux et a boire," Stevens's 
 "Sacred Music," Crotch's "Selections of Mu- 
 sic," the " Fitzwilliams Music," and other 
 collections. Many MSS. have been lost, but 
 an 8-voice Nisi Dominus and Lauda Sion 
 are in the Santini collection in Rome ; the 
 Pontifical Chapel has a 12-voice mass on 
 L'honmie armc (probably the last ever 
 written on that once favourite theme) ; the 
 National Library at Paris has the following 
 oratorios in MS. : La plainle des damncs 
 (very celebrated), L'histoire de Job, Ezc- 
 chias, Baltazar, David et Jonathas, Abra- 
 ham et Isaac, Jej)hte, Le jugement derniei', 
 Le mauvais riche, and Jonas. The very 
 nearly complete collection of Carissimi's 
 works, made by Dr. Aldrich, is in the library 
 of Christ-Church College, Oxford. — Fetis. 
 
 CARLETON, Rev. RICHARD, lived in 
 England, beginning of the 17th century. In 
 1601 he published a set of twentj'-one fi.ve- 
 part madrigals ; and he contributed the 
 madrigal No. 8, Calme was the aire, to the 
 " Triumphes of Oriana." — Grove. 
 
 CARLETTI, MATTHIEU CESAR, com- 
 poser of the 16th century. His songs for 
 eight voices are to be found in a collection 
 l^ublished at Antwerp by P. Phalose, called : 
 Canzonetti alia romana da diversi excellen- 
 tissinii musici a sei e otto voci (1606). 
 — Fi'tis ; Mendel. 
 
 CARLEZ, JULES ALEXIS, born at Caen, 
 France, Feb. 10, 1836, still living, 1888. 
 Pupil of his father, a director of military 
 music under the Empire ; studied the pi- 
 anoforte and the violin at the Conservatoire 
 of Caen, after leaving which he became oi- 
 ganistof the church of Saint-Jean and teacher 
 of music. He has composed considerable 
 church music and works for the pianoforte 
 and organ, but is best known by his writings 
 
 271
 
 CARLIXE 
 
 on music, among which are : " Les Mu- 
 sieiens paysagistes " (1870) ; " Grimm et la 
 Musique cle son temps " (1872); "Notices 
 Liographiquessur Aiigele Cordier et Yvonne 
 Morel" (1873) ; " L'CEuvre d'Auber " (187-1) ; 
 " La Musique a Caen de 1066 a 1848 " ; " Le 
 Chant de Guillaunie de Fecamj) et les mai- 
 sons de Glastous" (1877). He was one of 
 the collaborators of Fotis' "Biographic Uni- 
 verselle des Musicians." — Futis, Supplement, 
 i. 153 ; Mendel, Ergilnz., 55. 
 
 CAKLIjSIE, opi'ra-comique in three acts, 
 text by de Leuven and Brunswick, music 
 by Ambroise Thomas, represented at the 
 Opera Comique, Paris, Feb. 24, 1840. The 
 Baroness de Montbreuse, jealous of the 
 actress Carline, who has turned the head 
 of the Vicomte de Quiucy, her fiance, gets 
 up an intrigue of which she herself is the 
 dupe. The Vicomte gives all his posses- 
 sions to the actress, together with a written 
 promise of marriage, but Carline generously 
 refuses all. 
 
 C^LINI, ORESTE, born at Naples 
 about 1800, still living, 1888. Dramatic 
 composer, pupil at the Conservatorio, Na- 
 ples ; went in 1834 to Paris, and resided 
 there as a singing teacher until 1844, when 
 he returned to his native country. Works 
 — Operas : Gioventu di Enrico V., given in 
 Naples, 1821 ; I sposi fugitivi, ib., 1833 ; 
 Solimanno II., Milan, 1844 ; Ildegonda, Flor- 
 ence, 1847 ; Gabriella di Falesia, ib., 1865. 
 — Fetis ; do.. Supplement, i. 153 ; Mendel. 
 
 CAELOTTI, GAETANO, Italian com- 
 poser, born in Modena in the first half of 
 the 19th century. He stiidied music at Na- 
 ples, and on returning to his native city, 
 bi-ought out an opera buffa, Rita, Nov. 
 19, 1853.— Fetis, Supplement, i. 154. 
 
 CARLSTADT, JOHANN, born at Vanern, 
 Thuringia, about the end of the 16th cen- 
 tury. He is known as the composer of 
 the following works : Geistliche und Welt- 
 liche Lieder, mit 3, 4, und 5 Stimmen 
 (Erfurt, 1609).— Fetis ; Mendel. 
 
 CAEIMAGNOLE, LA, French revolution- 
 arj" song, popular during the Reign of 
 
 Terror. The name was probably derived 
 from the Sardinian town of Carmagnola, 
 whence came most of the Savoyard boys. 
 The melody, thought by Gretry to have 
 been originally a Marseilles sailor song, 
 was more probably a country-dance tune. 
 It was first adapted to a military' national 
 song written in 1792, but it was soon sung 
 to new words, beginning " Madame Veto 
 avait promis," and ending with the refrain, 
 "Dansons la Carmagnole, vive le son du 
 canon ! " the singing being accompanied 
 with a kind of round dance. "When pub- 
 lished by Frere in 1792 it contained thirteen 
 stanzas. Many other songs were adapted to 
 the tune during the revolution, and the air 
 has been introduced on the stage in many 
 vaudevilles, etc. Its singing was prohibit- 
 ed by the law of the 18th Brumaire, 1799. 
 The tune is given in Grove, I. 315. 
 
 CARMAN'S WHISTLE, THE, an old 
 English air of the 16th century. It is found 
 arranged for the virginal, with harmony and 
 variations, by William Byrd, in " Lady 
 Nevell's Virginal Book " (No. 34, fol. 149), 
 in the possession of the Earl of Abergavenny ; 
 in the "Virginal Book of Queen Elizabeth" 
 (p. 106, No. 58), in the Fitzwilliam Mu- 
 seum, Cambridge ; and in " Will. Forster's 
 Virginal Book " (p. 130), in Buckingham 
 Palace. The tune is given in Grove, I. 316. 
 — Burney, iii. 89 ; Chappell, Popular Music 
 of Olden Time, 137, 428. 
 
 CARMEN, opera-comique in four acts, 
 text by Henri Meilhac and Ludovic Halevy, 
 mu.sic by Georges Bizet, represented at the 
 Opera Comique, Paris, March 3, 1875 ; Vi- 
 enna, Hof-Operntheater, Oct. 31, 1875. Sub- 
 ject from Prosper Merimee's romance of the 
 same title. Scene in Seville, in 1820. Don 
 Jose, a lieutenant, betrothed to Micaela, a 
 beautiful village maiden, is fascinated by 
 Carmen, a gipsy girl, and follows her to the 
 haunt of the contrabandistas in the moun- 
 tains. But she transfers her affections to 
 Eseamillo, bull-fighter of Granada, which 
 arouses the jealousy of Don Jose and finally 
 ends in his stabbing her at the bull-fight, 
 
 2'i2
 
 CARMEN 
 
 as she greets with joy Escamillo's victory 
 in the arena. 
 
 Original Cast, 1875. 
 
 Carmen Mine. Galli-Marie. 
 
 Micaela Mile. Chapuy. 
 
 Frasquita Mile. Diicasse. 
 
 Mercedes. Mile. Chevalier. 
 
 Don Jose M. Lherie. 
 
 Escaiuillo M. Bouhy. 
 
 Zuniga ^I- Dufriche. 
 
 Morales iM- Duveruoy. 
 
 Lillas Pastia M. Nathan. 
 
 The part of Carmen was written origin- 
 ally for Marie Roze (now Mrs. Henry Ma- 
 
 
 Minnie Hauck as Carmen. 
 
 pleson), but she being prevented from ap- 
 pearing in it on account of an engagement 
 in England, the part was rewritten for 
 Galli-Marie, whose voice had a more limited 
 range. The opera was given in London, at 
 her Majesty's Theatre, June 22, 1878, with 
 Minnie Hauck in the title-role, which she 
 had pre\iously sustained in Brussels. Her 
 
 impersonation of the passionate and capri- 
 cious, but fascinating gypsy of Merimce's 
 story was much ajsplauded, and she has 
 become almost identified with the char- 
 acter. Carmen is the best of Bizet's works, 
 and one of the best in the modern French 
 repertory. Among its noteworthy numbers 
 are : the habaiiera, " L" Amour est uu oiseau 
 rebelle " ; the duet between Micaiila and 
 Don Jose, " Parle-moi de ma mere " ; the 
 song of the gyj)sies in the second act, " Trin- 
 gles des sistres tiutaient " ; the chorus, "Vi- 
 vat le torero ! " ; Escamillo's song, with its 
 favom-ite refrain, "Toreador, en garde!"; 
 the duet between Carmen and Don Jose, 
 " Si tu m'aimais, lii-bas tu me suivrais " ; 
 the allegretto of Carmen, " Bel oificier " ; 
 the card-players' trio in the third act ; 
 Micaela's air, " Je vais voir de pros cette 
 femme " ; and the duet in the fourth act, 
 "Mais moi, Carmen, je t'aime encore." — 
 Clement and Larousse, 836 ; Edwards, LjtI- 
 cal Drama, ii. 64 ; id.. Prima Donna, ii. 228. 
 CABMEN SECULARE, ode by Horace, 
 set to music by Francois Andre Danican 
 Philidor, London, 1779. 
 
 CARNABY, WILLIAjM, born in London 
 in 1772, died there, Nov. 13, 1839. Organ- 
 ist successively at Eye, at Huntingdon, and 
 in 1823 of Hanover Chapel, Regent Street, 
 London. Mus. Bac, Cambridge, 1803, Mus. 
 Doc, 1808.— Works: 12 collects for four 
 voices and organ ; Sanctus for five voices ; 
 6 canzonets for voice and pianoforte ; 6 
 songs for do. ; Anthems ; Glees. — Grove. 
 
 CARNAVAL, scenes mignonnes sur qua- 
 tre notes, for pianoforte, by Schumann, op. 
 9, dedicated to Carl Lipinski, composed 
 1834-35. The theme of this work, consist- 
 ing of twenty-one pieces, is a phrase of four 
 notes, A, E-flat, C, and B, called in German 
 A, S (Es), C, H, thus making up the name 
 of a town where Schumann's musical friend 
 Ernestine von Fricken lived. In the entire 
 collection of pieces there are only two that 
 contain no reference to these notes, and the 
 greater number are actually developed from 
 them. The finale is the wonderful Marche
 
 CARNAVAL 
 
 des Davidsbi'mdler centre les Philistins, in 
 wLich the antiquated tune of the Grotssvater- 
 tanz is used to represent the enemies of 
 musical enliglitenment, and is laughed at, 
 attacked, and finally thrust ignominiouslj' 
 from the scene. Of all the comj)oser's pi- 
 anoforte works, this is perhajis the most 
 popular ; its wonderful animation and never- 
 ending variety insure the production of its 
 fuU effect, and its great difficulties make it 
 the best possible test of a pianist's skill and 
 versatility. — Maitland, 52 ; Schumann (Rit- 
 ter), Music and Musicians, 153. 
 
 CAENAVAL A PAELS, for orchestra, by 
 Johan Severin Svendsen, op. 0. 
 
 CAENAVAL DES EEVUES, LE, pro- 
 logue in two acts and nine tableaux, text 
 by Grange and Gilles, music by Oiienbach, 
 represented at the Bouffes Parisiens, Paris, 
 Feb. 10, 1860. The " Tyrolienne de I'ave- 
 nir," in this grotesque work, is very laugh- 
 able. 
 
 CAENAVAL DE VENISE, LE, opera-bal- 
 let in three acts, with prologue, text by Re- 
 gnard, music by Canipra, rejsresented at the 
 Acadcmie Royale de Musique, Paris, Feb. 
 28, 1699. This work ends with a little 
 opera in Italian, in one act, entitled : Orfeo 
 neir inferi. 
 
 CAENAVAL DE VENISE, LE, opera- 
 comique in three acts, text by Thomas Sav- 
 age, music by Ambroise Thomas, given at 
 the Opera Comique, Paris, Dec. 9, 1857. 
 Lelio, by marrying Sylvia the actress, has 
 incurred the displeasure of his family, and 
 particularly of Signor Palifornio. The lat- 
 ter has composed a violin concerto, which 
 Sylvia sings with great success at a concert, 
 under the title Ariette sans paroles, and 
 thus wins his favour and pardon. The role 
 of Sylvia was written for Mnie Cabel, who 
 exhibited in the ariette the most brilliant 
 vocalization. The overture shows very 
 clever variations on Paganini's famous air. 
 II Carnevale di Venezia, Itahan opera, music 
 by Pietro Guglielmi, London, 1770 ; by 
 Francesco Boyle, Milan, 1812 ; by Paolo 
 Brambilla, Turin, 1819 ; and by J. L. Eller- 
 
 ton, two acts, Prussia, 1832. Carnival of 
 Venice, English ojjera, music by Thomas 
 Linlej', London, 1781. El Carueval de 
 Venecia, Spanish ballet, by Nic. Manent, 
 Barcelona, about 1860. Karneval von Ve- 
 nedig, German opera, by Eeinhold Keiser 
 and Christian Grauptuer, text by Meister 
 and Kuno, Hamburg, 1707. 
 
 CAENAVAL DU PAENASSE, LE, ballet- 
 hero'ique in three acts, with a j)rologue, 
 text by Fuzelier, music by Mondonville, 
 represented at the Academie Royale de 
 Musique, Paris, Sept. 23, 17-49. Mile Ca- 
 margo took the part of Teri^sichore. 
 
 CARNAVAL ET LA FOLIE, comi'die- 
 ballet in four acts, with a prologue, text by 
 La Mothe, music by Destouches, first rep- 
 resented at Fontainebleau, before the king, 
 Oct. 14, 1703, and in Paris, at the Acade- 
 mie Royale de Musique, Jan. 3, 1704. It 
 was reproduced in 1719, 1730, 1738, and 
 1748. 
 
 CAENAVAL, LE, opera-ballet in five acts, 
 text by Moliere, Benserade, and Quinault, 
 music by Lulli, represented in Paris, Oct. 
 17, 1675. 
 
 CARNAVAL ROIVIAIN, LE (The Roman 
 Carnival), ouverture caracteristique, second 
 overture to Benvenuto Cellini, to be plaj'ed 
 before the second act of the opera, by Hec- 
 tor Berlioz, op. 9. 
 
 CAENEIEO, Fra MANUEL, born in 
 Lisbon about 1650, died in 1695. Organ- 
 ist, composer of masses, motets, responses, 
 psalms, etc. Works : Eesjionsorios e lic;o- 
 ens das Matinas de Sabbado Santo, a 2 
 coros ; Resi^onsorios das matinas de Pas- 
 choa, a 2 coros ; Mi.ssa de defuntos, etc., a 
 2 coros ; Psalmos, motetes e vilhancicos a 
 diversas vozes. — Machado, Bibl. Lusit., iii. 
 214 ; Fetis ; Mendel. 
 
 CARNEVALE DI MILANO, IL, Italian 
 opera, music by Pacini, represented at the 
 Teatro del Re, Milan, 1817. 
 
 CARNEVALE DI VENEZIA, a popular 
 air, probably composed in Venice about the 
 end of the eighteenth centurj'. Pagauini 
 heard it on his visit there in the first quar- 
 
 274
 
 CARNICEli 
 
 ter of this century, and made it known all 
 over the world by his burlesque variations. 
 It has been used as a theme by several com- 
 posers, especially by Herz and Sehulhofif, 
 whose variations and fantasias have been 
 very popular among pianists ; and Ambroise 
 Thomas has introduced it in his opera Le 
 Caruaval de Venise, and Victor Masse in his 
 La Reiue Topaze. 
 
 CARNICEK, Don RAMON, born at Ter- 
 riga, near Lerida, Catalonia, Oct. 24, 1789, 
 died in Madrid, March 17, 1855. Dramatic 
 composer and operatic conductor ; pupil in 
 Barcelona of Francisco Queralt, maestro de 
 capilla, and of Don Carlos Bagner, first or- 
 ganist of the Cathedi-al. At the time of 
 Napoleon's invasion he went to the Balearic 
 Islands and became organist and professor 
 of music, but returned in 1814. In 181G 
 he visited Italy, in 1818 became conductor 
 of the Italian Opera, Barcelona, and after 
 several journeys to Madrid, Paris, and 
 Loudon, was made director in 1828 of the 
 Royal Theatre, Madrid. He helped to cre- 
 ate the national or zarzuela opera, and wrote 
 zarzuelas for it. He was professor of com- 
 position at the Royal Couservatorio, Madrid, 
 from 1830 to 1854. Works : Adela de Lu- 
 signano, Elena y Constantino, Don Juan 
 Teuorio, Colon, El Eufemio de Messina, 
 given at Barcelona, 1818 ; Elena e Malvina, 
 Madrid, 1829 ; Colombo, ib., 1831 ; Iperme- 
 nestra, Madrid and Saragossa, 1843 ; Is- 
 maila, ossia morte ed amore, Madrid, 1837. 
 He wrote a great deal of church music, 
 amongst which is a mass for eight voices 
 and orchestra (1829-1842) ; he wrote many 
 national hymns, and many popular melodies 
 and .Si^anish chansons of singular character, 
 besides symphonies and music for the obse- 
 quies of Ferdinand VII. — Fetis ; Mendel. 
 
 CARNOVALE DI :\IILANO, IL, Ballabili 
 e intermezzi, for the pianoforte, by Hans 
 von Billow, op. 21, dedicated to Siguora El- 
 vira Salvioni. No. 1, Polacca, in A ; No. 2, 
 Valzer, in B ; No. 3, Polka, in B ; No. 4, Inter- 
 mezzo fantastico, in A minor ; No. 5, Qua- 
 driglia, in E-flat ; No. G, Mazm-ka in D ; No. 
 
 7, Intermezzo lirico, in C ; No. 8, Tarantella, 
 in C ; No. 9, Intermezzo scherzoso, in D-flat ; 
 No. 10, Galop, in F. Published by Bar- 
 tholf Senff (Leipsic). 
 
 CAROLI, ANGELO ANTONIO, born at 
 Bologna, June 13, 1701, died in 1791. Dra- 
 matic composer and organist ; pupil of Gi- 
 rolamo Consoni and of Giovanni Antonio 
 Ricieri. He was maestro di cappella of the 
 Basilica of S. Stefano and of other churches 
 in Rome, and became substitute for Jacques 
 Caisar Predieri in 8t. Peter's, in 1741, and 
 his successor in 1753. He was elected a 
 member of the Accademia Filarmonica, 
 Bologna, and was principe of that body in 
 1732, 1741, 1755, 1760, 1767, and 1776. 
 Works : Amor nato tra 1' ombre, opera, 
 given at Bologna, 1728 ; Serenade ; Messe 
 a 4 voci i^iene, due con violini obligati, e 
 due con violini ad libitum (Bologna, 1766). 
 — Fetis ; Mendel. 
 
 CARON, CA:MILLE, born in Rouen, 
 France, March 10, 1825, died there, March 
 11, 1886. He was a free pupil at the Rouen 
 Cathedral in 1835, at the Paris Conservatoire 
 in 1840, and studied singing under Le Coup- 
 pey and Amedee Mereaux. He settled at 
 Rouen, where he became a teacher. Works 
 — Operas : Le Sergentde Ouistreham, opera- 
 comique, given at Rouen, 1863 ; Naissance de 
 Boieldieu, ib., 1866 ; Le Trebuchet, opera- 
 coraique, ib., 1868. He wrote also choruses 
 for four male voices, among which are : La 
 Saint-Jean d'ete ; Le chant des deruiers 
 Gaulois, etc.; and romances. La nuit, and A 
 soixante ans, being the two best known ; and 
 composed many jjieces for the pianoforte, 
 marches for orchestra, etc. — Fctis, Sui^jjle- 
 ment, i. 154. 
 
 CARON, FIRMIN, born probably in the 
 Netherlands about 1420, died (?). Famous 
 contrapuntist of the 15th century, pupil 
 of Binchois, or of Dufay, or of both. Of 
 his compositions are preserved only some 
 masses in the archives of the Pontifical 
 Chapel, and a chanson for three voices in 
 the National Library, Paris.— Fetis ; Am- 
 bros, II. 468. 
 
 2T5
 
 CARO 
 
 CARO NOME. See Rigolelto. 
 
 CARPANI, GAETANO, boru about 1750, 
 died ('?). Cliurcb composer, considered one 
 of the most profound contrapuntists of his 
 day. He was maestro di cappella of the 
 Church del Gesti, and of other Jesuit 
 churches in Rome. Works : Three masses 
 for three voices ; the psalm Dixit Domiuus, 
 for eight voices and orchestra ; Several mo- 
 tets for two voices ; Credidi fur four voices 
 and orchestra ; Dixit for four voices ; Beatus 
 vir for four voices, etc. — Fetis ; Mendel. 
 
 CARPANI, GIOVANNI ANTONIO, lived 
 about the middle of the 17th century. He 
 published a collection of motets with the fol- 
 lowing title : Motetti a quattro voci, canto, 
 alto, tenore, basso, col rivolto alia duodecima 
 del basso in canto (Rome, IGGl:). — Fetis ; 
 Mendel. 
 
 CARPENTRAS. See Oenet. 
 
 CARRARA, MICHELE, flourished in the 
 16th century. He lived in Rome till about 
 1608. A few of his madrigals are inserted 
 in the collection entitled : De' floridi vir- 
 tuosi d' Italia, il terzo libro de' Madrigali a 
 cinque voci, nuovamente composti e dati in 
 luce (Venice, 1586). He sliould not be 
 confounded with Giovanid Michele Carrara, 
 didactic writer of the 15th century. — Fetis ; 
 Mendel. 
 
 CARREIRA, ANTONIO, Portuguese 
 composer of the 16th century, died at Lis- 
 bon in 1599. He was mestre de capella to 
 Dom Sebastian and Dom Henry, Kings of 
 Portugal. His motets, and a composition 
 entitled Lamentai;6es, are preserved in 
 MS. in the library of the King of Portugal. 
 — Mendel ; Schilling ; Vasconcellos, 37. 
 
 CARRENO, TERESA, born, of Spanish 
 parentage, at Caraccas, Venezuela, Dec. 22, 
 1853, still living, 1888. Pianist; first in- 
 structed by her father, Manuel Antonio 
 Carreno, a teacher of nnisic ; subsecjuently 
 for a short time a pupil of Julius Hoheni. 
 In 1862, when only nine years old, she 
 appeared as a concert pianist in New 
 York ; Gottschalk became interested in 
 her at this time and gave her some in- 
 
 struction, particularly in regard to the ren- 
 dering of his own compositions. About 
 1866 she went to Europe, and in Paris mar- 
 ried Emile Sauret the violinist. She has 
 travelled extensively, giving many concerts 
 in various parts of America ; is living at 
 present (1888) in the United States. She 
 has published compositions for the piano- 
 forte. — Fi'tis, Supplement, i. 154. 
 
 CARRER, PAOLO, Italian dramatic 
 composer, contemporary, history unknown. 
 Works — Operas : Isabella d' Aspecco, pro- 
 duced at Corfu, 1854 ; La rediviva, Carcano 
 Theatre, Milan, February, 1856 ; Marco 
 Botrario, Siena, January, 1867, and Dante 
 e Beatrice. — Futis, Supplement, i. 154. 
 
 CARRETTI, GIUSEPPE MARIA, born 
 in Bologna, Italy, Oct. 10, 1690, died there, 
 July 8, 1774. He wrote motets, masses, 
 and other church music. — Futis ; Mendel. 
 
 CARTARI, Padre GIULIANO, Francis- 
 can monk, maestro di cappella of the Mon- 
 astery of S. Francesco, Bologna, in 1588. 
 Works : Missarum quinque vocum, lib. i. ; 
 Missiie e Motecta, 8, 9 vocum (Venice). — Fe- 
 tis ; Mendel. 
 
 CARTELLIERI, CASIMIR ANTON, 
 boru at Dantzic, Sept. 27, 1772, died at 
 Libcoves, Bohemia, Sept. 2, 1807. Son 
 of Joseph Cartellieri, a celebrated tenor of 
 the 18th century ; received his musical 
 education in Berlin, and was until his 
 death Kapellmeister to Prince Lobkowitz. 
 His first work was an opera, Geisterbe- 
 schwOrung, produced in Berlin in 1793. 
 He went to Vienna and brought out there 
 an oratorio, Gioas, re di Giuda, in 1795. 
 Other works : Contimar und Zora, cantata, 
 Berlin, 1792 ; II Giudice nella propria causa, 
 do. ; Anton, ojieretta, given in Berlin, 1796 ; 
 II segi-eto, do. (1804) ; Per celebrare la fes- 
 tivita natale, oratorio (1806) ; Piirificazione 
 di Maria Vergine (1807) ; La lanterna ma- 
 gica, comic scene ; 7 masses ; 2 motets ; 4 
 symphonies ; 3 overtures ; 6 concertos ; 
 Notturno for 2 violins, viola, bass, flute, 
 oboe, clarinet, bassoon, 2 horns, 2 trom- 
 bones, and drums ; Quartets, songs, piauo- 
 
 876
 
 CAETER 
 
 forte pieces, ami fourteen marches. — Fetis ; 
 Meudel ; Schilling. 
 
 CAKTER, GEORGE, boru iu London, 
 Jan. 2(J, 1S35, still living, 1888. Dramatic 
 composer, pupil of Sir Johu Goss ; was or- 
 ganist successively at St. Thomas's, Stam- 
 ford Hill, 1848 ; Christ Church, Camber- 
 well, 1850 ; Trinity Church, Upper Chelsea, 
 1853 ; St. Luke's, Chelsea, 18G0 ; and Mon- 
 treal Cathedral, 1861-70. He has per- 
 formed on the organ iu New York, Boston 
 (1865-67), Leijjsic, Berlin, Dresden (1871), 
 and London (1871-73). Works: Siufonia- 
 cantata. Psalm 116, Royal Albert Hall, 
 1872 ; Evangeline, cantata, ib., and Crystal 
 Palace, 1873 ; Tema con variazoni, for or- 
 gan ; Grand festival march, for do.; Fair 
 Rosamond, opera ; Neroue, do. ; Golden 
 Dream, opei'etta ; Songs and miscellaneous 
 works. 
 
 CARTER, HENRY, born in London, 
 England, March 6, 1837, still living, 1888. 
 Organist, brother of George and William 
 Carter ; pupil on the organ of Avigust 
 Haupt, on the pianoforte of Ernst Pauer, 
 and iu composition of Frederick Kiel, Fer- 
 dinand Hiller, Sir John Goss, and Dr. Steg- 
 gall. At the age of nine he was organist at 
 Northchurch, England, and later at New- 
 ington Butts, London ; when about seven- 
 teen he removed to Canada, and shortly af- 
 terwards was made organi.st of the Quebec 
 English Cathedral. Subsequently he was 
 organist of the Church of the Advent, Bos- 
 ton, of St. Stephen's Church in Providence, 
 R. I., and in 1873-80 of Trinity Church, 
 New York. In 1880 he became professor 
 of the pianoforte, voice, and organ, and lec- 
 turer on music in the College of Music, 
 Cincinnati, which position he resigned in 
 1883 to become organist and choirmaster 
 of Plymouth Church, Brooklyn. Later he 
 was organist of the Forty-eighth Street Col- 
 legiate Church, New York. Mr. Carter has 
 given many organ concerts in New York, 
 Brooklyn, Cincinnati, Pro\'idence, and Bos- 
 ton and vicinity, and ranks among the finest 
 organists in America. Works : 2 quartets 
 
 for stringed instruments ; God who, in sun- 
 dry times, anthem for orchestra, ch(jrus, 
 quartet, and soli ; Psalm 122, anthem ; 
 Nunc Dimittis, in D ; The Lily Maid of As- 
 tolat, I told you the winter would go, 
 love, four-part songs ; Breathe, Trumpets, 
 breathe, song ; and other music for the or- 
 gan and voice. 
 
 CARTER, THOMAS, born in Ireland in 
 1735 (?), died in Loudon, Oct. 12, 1804. 
 Dramatic composer, pianist, and singer ; 
 studied music in Italy, went with an Eng- 
 lish regiment as bandmaster to Calcutta, 
 where he undertook the direction of the 
 music at the theatre ; the climate proving 
 injurious to his health, he returned to Eng- 
 land, brought out several operas at the 
 Drury Lane Theatre, and iu 1787 became 
 musical director of the Royalty Theatre. 
 Works — Ojjeras: The Rival Candidates, 
 given at Drury Lane, 1775 ; The Milesians, 
 ib., 1777 ; The Fair American, ib., 1782 ; 
 The Birthday, Royalty Theatre ; The Con- 
 stant Maid, ib.; Just in Time, Covent Gar- 
 den, 1792 ; Concertos, sonatas, and studies 
 for the pianoforte. He is best known as 
 the composer of "O Nannj', wilt thou gang 
 wi' me'?," and the naval song, "Stand to 
 your guns." — Fetis ; Meudel. 
 
 CARTER, WILLIAM, born in London, 
 Dec. 7, 1838, still Uv- 
 ing, 1888. Church 
 composer, brother of 
 George and Henry 
 Carter, pupil of his 
 father and of Ernst 
 Pauer. He was organ- 
 ist successively of 
 Christ Church, Roth- 
 erhithe, 1848; Little 
 S t a n m o r e , W h i t - 
 
 church, 1850 ; St. Mary, Newington, Sur- 
 rey, 1854 ; St. Helen's, Bishopsgate, 1856 ; 
 iu exchange with his brother Henry, of 
 Quebec Cathedral, 1859, iu which year he 
 conducted the largest Handel Festival ever 
 given in Canada ; organist of St. Stephen's, 
 Westbourne Park, London, 1860 ; St. Paul's, 
 
 ■m
 
 CAHTIEII 
 
 Ouslow Square, 18G8. He establisLed a 
 choir of one thousand voices on the opeuing 
 of the Koyal Albert Hall, 1871. ^Vorks : 
 Placida, cantata, 1871 ; Thanksgiving An- 
 them, 1872 ; Eepent ye, for the Kingdom 
 of Heaven, anthem ; Part-songs and songs. 
 
 CARTIER, HENRI, French dramatic 
 composer, contemporary. He is the author 
 of two operettas : L'homme entre deux 
 ages, produced at the Bouffes Parisieus, 
 May 6, 18G2 ; and, Le train des maris, text 
 by Emile Abraham, at the Atheut'e, Dec. 
 25, 1867.— Futis, Supplement, i. 155. 
 
 CARTIER, JEAN BAPTISTE, born in 
 Avignon, May 28, 17(55, died in Paris, 1841. 
 Violinist, jiupil of the Abbe Walraef and in 
 1783 of Yiotti in Paris, where later he re- 
 vived in his playing and teaching the clas- 
 sical style of Corelli, Porjiora, Nardiui, and 
 other great Italian masters. He was ac- 
 companist to Marie Antoinette until the 
 Revolution. In 1791 he was engaged at 
 the Opera as assistant leader and solo 
 player. He was also a member of Napo- 
 leon's private band under Paisiello, and, 
 after the Restoration, of the royal band 
 until 1830. In his work, L'art du Violon 
 (Paris, 1798 and 1801), he gives a compre- 
 hensive selection from the best Italian, 
 French, and German masters, forming a 
 practical history of violin literature in the 
 17th and 18th centuries. — "\Vasielew.ski, Die 
 Violine und ihre Meister, 261 ; Riemann ; 
 Mendel ; Grove ; Fetis. 
 
 CARULLI, FERDINANDO, born at Na- 
 ples, Feb. 10, 1770, died in Paris in Feb- 
 ruarj', 1841. Eminent guitar player, self- 
 taught, after first learning the violoncello 
 under the instruction of a priest. In 1808 
 he went to Paris, where he obtained a 
 brilliant success in concerts. He pub- 
 lished about 300 compositions, consisting 
 of solos, duos, trios, quartets, concertos, 
 fantasias, airs varies, etc., and a ]Method, 
 which passed through four editions. He 
 also wrote a treatise : L'Harmonie appli- 
 quee a la Guitare (Paris, Petit, 1825). — Fe- 
 tis ; Mendel. 
 
 CARULLI, GUSTAVE, born in Leghorn 
 in 1797, died in Boulogne, April, 1877. 
 Vocal composer, sou of Ferdinando Carulli. 
 About 1835 he brought out in Italy an 
 ojjera, entitled Tre mariti. He also pub- 
 lished compositions for the pianoforte and 
 for the voice, in France, Italy, and Germany. 
 His trios for three voices are the best of his 
 compositions. — Fotis, Supplement, i. 155. 
 
 CARUSO, LUIGI, born in Naples, Sept. 
 25, 1754, died in Perugia in 1821. Dra- 
 matic composer, pupil of his father, a musi- 
 cian, and of Nicolo Sala. He was maestro 
 di cappella of the Cathedral of Perugia and 
 director of the public school of that city. 
 Works — Ojjeras: II baron e di Trocchia, 
 given in Naples, 1773 ; Artarserse, London, 
 1774 ; II marchese villano, Leghorn, 1775 ; 
 La Mirandolina, Trieste, 1776 ; La cafleti- 
 era di spirito, Brescia, 1777 ; La virtuoso 
 alia moda, II cavaliers maguifico, Florence, 
 1777 ; La creduta pastorella, Rome, 1778 ; 
 II tutore burlato, Bologna, 1778 ; La Fie- 
 ra, Rome, 1779 ; L' amor volubile, Bologna, 
 1779 ; La barca di Padova, Venice, 1779 ; 
 Scipione in Cartagine, II fanatico per la 
 musica, Rome, 1781 ; L' albergatrice vi- 
 vace, Milan, 1781 ; H marito geloso, Venice, 
 
 1781 ; II matrimouio in comedia, Milan, 
 
 1782 ; L' inganno, Naples, 1782 ; La ge- 
 losia, Rome, 1783 ; II vecchio burlato, Ven- 
 ice, 1783 ; Gli amanti alia prova, ib., 1784; 
 Gli scherzi della fortuna, Rome, 1784 ; Le 
 quattro stagioni, I puntigli e gelosie fra 
 marito e moglie, Naples, 1784 ; Giunio 
 Bruto, Rome, 1785 ; La parentela ricono- 
 sciuta, Florence, 1785 ; Le sjiose ricupe- 
 rate, Venice, 1785 ; Le rivali in puntiglio, 
 Venice, 1786 ; II poeta melodrammatico, Ve- 
 rona, 1786 ; II poeta di villa, Lo studente 
 di Bologna, Rome, 1786 ; L' impresario 
 fallito, Palermo, 1786 ; Alessandro nell' In- 
 die, II maledico confuso, Rome, 1787 ; Gli 
 amanti dispei-ati, Naples, 1787 ; I campi 
 Elisi, Milan, 1788 ; L' Antigono, L' impru- 
 dente, Rome, 1788 ; La sposa volubile, La 
 disfatta di Duntalmo, Le due sjDose in 
 contrasto, Rome, 1789 ; L' Amleto, Flor- 
 
 278
 
 CAU\'ALII() 
 
 ence, 1790 ; Attalo, Rome, 1790 ; Gli aiiian- 
 ti alia prova, Milan, 1790 ; Alessaudro iielF 
 ludie (with new music) ; II Demetrio, Venice, 
 1791 ; La locaudiera astuta, Rome, 1792 ; 
 Gli amanti ridicoli, ib., 1793 ; L' Antigouo, 
 L' oro non compra amore, Venice, 1794 ; II 
 Giuocator del lotto, Rome, 1795 ; La Lo- 
 doiska, Rome, 1798 ; La tempesta, Naj)les, 
 1799 ; La donna bizzarra, Le Spose dispa- 
 rate, Rome, 1800 ; Azemiro e Cimene, ib., 
 1803 ; La ballerina raggiratrice, ib., 1805 ; 
 La fuga, ib., 1809 ; L' avviso ai maritati, 
 ib., 1810. Oratorios: Jefte, 1779 ; Giuditta, 
 Urbino, 1781 ; La scoufitta degli Assiri, 
 1793 ; H trionfo di David, 1791 Church 
 Music : Messa de' morti ; Dixit ; Messe 
 solenni, psalms, litanies, etc. — Fi'tis ; 
 Mendel ; Schilling. 
 
 CARVALHO, JOiO DE SOUSA, flour- 
 ished in Lisbon about the middle of the 
 18th century ; was living in 1793. Dra- 
 matic composer ; studied music in Najjles 
 with several other pensioned Portuguese 
 musicians. On his return he was made 
 music teacher to the royal family at the 
 death of David Perez (1778). From 1769 
 to 1789 he brought out twelve operas, and 
 many pastorals, cantatas, and serenades, 
 which were given at the court theatres, and 
 at the palaces of Aguda and Queluz. His 
 reputation spread to Italy, where several of 
 his best operas were played. Many of his 
 songs were published in the Jornal de Mo- 
 dinhas, a collection of songs. — Fctis, Sup- 
 plement, i. 155 ; Vasconcellos, 40. 
 
 CASALI, GIOVANNI BATTISTA, born 
 in 1730, died in Rome in 1792. Composer 
 of church music, and one of the last who 
 wrote music for voices a cappella. He was 
 maestro di cappella of S. Giovanni in La- 
 terano, Rome, from 1759 imtil his death. 
 Works : Campaspe, opera, given in Venice, 
 1740 ; Abigail, oratorio, Rome, 1770 ; three 
 other oratorios ; four masses ; motets, and 
 magnificats. A mass and four other pieces 
 by him are given by Liick (Samndnng, 
 1859), and the second mass in Novello's 
 first volume is by him. — Fetis ; Mendel. 
 
 CASAJIORATA, LUIGI FERNANDO, 
 
 born at "Wiirzburg, May 15, 1807, died at 
 Florence, September, 1881. Dramatic com- 
 poser. He was a critical and biographical 
 writer on the staifof the " Gazzetta musicale 
 di Milano." His Iginia d' Asti, ojaera, was 
 given in Bologna in 1838. He is the au- 
 thor also of compositions for the pianoforte 
 and the harp, of arrangements of Bellini's 
 and Donizetti's music, and of masses, motets, 
 hynms, and duetti per camera. — Fetis ; do., 
 Suiipk'ment, i. 157 ; Mendel, Ergiinz., 55 ; 
 Riemann, 149. 
 
 CASANOVAS, Padre ANTONIO FRAN- 
 CISCO NARCISO, born at Sabadell, Spain, 
 June, 1737, died (?). Organist, educated at 
 the Convent of Montserrat. He became one 
 of the greatest organists of his time, not- 
 withstanding a physical defect in his hands. 
 Among his works, preserved in MS. in the 
 archives of his convent, are : A Benedictiis, 
 some very remarkable responses for Holy 
 Week, and a Salutaris for four voices, con- 
 sidered one of the best works of the kind 
 ever written. — Fetis, Supjilement, i. 158 ; 
 Mendel, Ergiinz., 56. 
 
 CASATI, FRANCESCO, born in Milan 
 about the end of the 16th century. Oi-- 
 gauist of Sta. Maria, Milan, and afterwards 
 of S. Marco, Venice. Some of his works 
 are in a collection made by Pietro Frances- 
 co Lucino, entitled : Concert! diversi, etc. 
 (Milan, 161G) ; and several of his pieces are 
 in Pergameni's "Parnassus musicus" (Ven- 
 ice, 1615).— Fetis ; IMendel. 
 
 CASATI, GASPARO, maestro di cap- 
 pella of the Cathedral of Novaro, Piedmont, 
 about 1650. Fetis quotes a list of his 
 works, among which are the following : 
 Partitura sola de' sacri concert! a voce sola, 
 con il basso per 1' organo, op. 2 (Venice, 
 1641) ; Motetti coucertati a 1, 2, 3, 4 voci 
 ed organo, con una messa a quattro, op. 1 
 (ib., 1643) ; II Terzo Libro de' sacri cou- 
 certi a 2, 3, 4 voci, op. 3 (Venice, 1642), etc. 
 —Fetis ; Mendel. 
 
 CASATI, GIROLAMO, maestro di cap- 
 pella in Mantua about the end of the 16th
 
 CASATI 
 
 century. Works : Harnionica? Cantiones a 
 1, '2, 3, 4 et 5 vocibus cum Missa, Magnif- 
 icat, Litauiis op. 3 ; Collection of masses, 
 psalms, and vespers for 2, 3, and 4 voices. 
 — Fiitis ; Mendel. 
 
 CASATI, TEODORO, born in Milan 
 about 1630. He was maestro di cappella 
 of S. Fedele, then of S. Sejjolcro, and or- 
 ganist of Milan Cathedral in 16G7. Pic- 
 ciuelli mentions several masses and motets 
 published by Casati, but gives no names 
 or dates. — Fetis ; Mendel. 
 
 CASCIATmi, CLAUDIO, flourished in 
 the second half of the ISth century. He 
 was chorister in the Church of S. Lorenzo 
 in Damaso, Eome. His best works, pre- 
 served in MS. in the libraries in Eome, 
 are : Eequiem mass for three voices ; do. 
 for four voices ; Miserere for four voices ; 
 Psalm, Dixit Domiuus, for eight voices ; 
 Motets, Zacharise festinans descende, and 
 Angelus Domini, for eight voices. — Fetis ; 
 Mendel. 
 
 CASELLA, a Florentine composer of the 
 13th century ; died about 1300 (?). He 
 was the first noteworthy Italian comj50ser 
 of madrigals, and is celebrated as the friend 
 of Dante, who immortalized him in liis 
 great poem (" Purgatorio," ii. 91). Milton 
 also refers to him in his sonnet to H. Dawes. 
 Little is known of him, but he is supposed 
 to have been one of the authors of the Laudi 
 spirituali, a collection of canticles of never- 
 dj'ing beauty, though some of them are five 
 and a half centuries old. — Fetis ; Mendel. 
 
 CASELLA, PIETRO, born at Pieve (Um- 
 bria) in 1769, died in Naples, Dec. 12, 
 1843. Dramatic and church composer, 
 pupil at the Conservatorio San Onofrio, 
 Naples, of Giacomo Insanguine ; was suc- 
 cessively maestro di cappella at different 
 churches, and became professor of thorough 
 bass at the Conservatorio Reale San Pietro e 
 Majella. Works : L' inuocenza conosciuta, 
 L' equivoco, opere buffe, given at Naples, 
 
 1798 ; Paride, opera, ib., Teatro San Carlo, 
 
 1799 ; II contento per amore, ojsera buffa, 
 La donna di buon carattere, opera, Eome, 
 
 about 1800 ; Virginia, do., Milan, Scala, 
 1812 ; Maria Stuarda, Florence, Teatro della 
 Pergola, 1813 ; Many masses, vespers, mo- 
 tets, psalms, etc. — Fetis ; do., Supplement, 
 i. 158 ; Mendel. 
 
 CASENTINI, MAESILIO, composer of 
 madrigals and other vocal music, published 
 at Venice in 1607 and 1615. He was maes- 
 tro di cappella at Gemona in 1607. He 
 wrote madrigals for five voices, and also 
 Cantica Salomouis for sis voices (Venice, 
 1615). In the library of the King of Portu- 
 gal are the following : Tirsi e Clori, Madri- 
 gali a cinque, lib. 3 ; and Madrigali a cin- 
 que, lib. 5.. — Fetis ; Mendel. 
 
 CASINI, GIOVANNI MAEIA, born in 
 Florence towards the close of the 17th cen- 
 tury, died (?). Vocal and instrumental com- 
 j)oser and organist. He studied in Flor- 
 ence and in Eome under Matteo Simonelli 
 and Bernardo Pasquiui, and then became 
 organist of the cathedral at Florence. He 
 had some talent, but was eccentric, and 
 joined the ranks of some of the musical 
 reactionists of the 17th century after the 
 example of Doui, Vicentino, and Colonna. 
 Works : A book of motets for four voices 
 without organ in the style of the old Eo- 
 man school, called stile osservato (Eome, 
 1706) ; Eesponsori per la Settimaua Santa 
 a 4 voci (1706) ; Motetti a 4 voci a cap- 
 pella ; and for the organ, Fantaisie e toc- 
 cate d' intavolatura ; Pensieri per 1' orgauo 
 in partitura (Florence, 1714). — Grove ; 
 Fetis ; Mendel. 
 
 CASOETI, ALEXANDEE, born in Co- 
 burg, Germany, Nov. 27, 1830, died in Dres- 
 den, Sept. 28, 1867. Violinist, pupil at the 
 Conservatoire, Brussels, of Meerts and de 
 Beriot on the violin, and of Fetis in compo- 
 sition ; spent several years on concert tours 
 in Italy, and was made professor of the Ac- 
 cademia di Sta. Cecilia, Eome, in 1855. 
 Works : Maria, opera ; Four concertos for vio- 
 lin with orchestra ; Several overtures ; Quar- 
 tets for stringed instruments, etc. — Mendel. 
 
 CASPAE, CHAELES, born in Coburg, 
 Nov. 27, 1830. died in Dresden, Sept. 28, 
 
 sso
 
 CASPERS 
 
 1867. Violinist, pupil at tlie Brussels Con- 
 servatoire. Among his works, wLich were of 
 gi-eat promise, are : Four concertos for violin, 
 several quartets, and an unpublished Italian 
 opera, Maria. — Futis, iSui)plement, i. 159. 
 
 CASPERS, LOUIS HENRI JEAN, born 
 in Paris, Oct. 2, 1S25, died tliere, Dec. 19, 
 18G1. Dramatic composer and pianist, 
 pupil at the Conservatoire of Zimmermauu ; 
 studied harmony from 1813 to 1817, win- 
 ning in 1845 the second, and in 1817 the 
 first prize. He then studied counterj)oiut 
 and fugue under Halcvy, and obtained the 
 Conservatoire pirize in 1819. Works — 
 Operas : Le chapeau du roi, opcra-co- 
 mique, produced at the Theatre Lyrique, 
 Paris, 1856 ; La charmeuse, do., BoufTes 
 Parisiens, 1858 ; Dans la rue, operetta, ib., 
 1859 ; Ma taute dort, opera-comique, The- 
 atre Lyrique, 1860 ; La barouue de San 
 Fi'ancisco, opei'etta, Bouft'es Parisiens, 1861 ; 
 Cousin Babylas, ib., 1861. He has also 
 written choruses for the St. Cecilia Society. 
 Melodies, romances, preludes for the piano- 
 forte in the f ugued style, a bolero for piano- 
 forte, nocturnes, and fantaisies, of which a 
 complete list is given by Fetis. — Fetis ; do.. 
 Supplement, i. 159 ; Mendel. 
 
 CASSELL, GUILLAUME, born in 
 Lyons, France, Oct. 12, 1791, died in Brus- 
 sels, Oct. 11, 1836. Vocal comjjoser and 
 tenor singer, pupil in Brussels of Georges 
 Jadin, and at the Paris Conservatoire of 
 Garat, Talma, and Baptiste. He made his 
 debut at Amiens, sang at the Opera Co- 
 mique, Paris, three years, and tiually went to 
 Brussels, where, after playing live years, he 
 retired from the stage in 1832. He be- 
 came professor of singing at the Brussels 
 Conservatoire in 1833, and had many well- 
 known singers among his pupils. He wrote 
 romances and nocturnes ; a cantata for the 
 anniversary of the birth of Pierre Corneille ; 
 a Messe solennelle (Brussels), and several 
 church pieces. — Fetis ; Mendel. 
 
 CASTA DIVA. See Ni,rma. 
 
 CASTELLACCI, LUIGI, born in Pisa in 
 1797, died (?). Instrumental composer and 
 
 guitarist. He lived in Paris many years 
 and 2'i'ljlished more than two hundred 
 works, among which is a Method for the 
 Guitar, in two parts. — Fetis. 
 
 CASTELLO, DARIO, leader of tlie or- 
 chestra of San Marco, Venice, iu the early 
 part of the 17th century. He is often des- 
 ignated by the title of one of his works. 
 Capo di compagnia di musichi instrumonti 
 da fiato. Among his comjiositions are : So- 
 nate concertate a quattro stromenti (2 parts, 
 Venice, 1626-27) ; Sonate concertate in stile 
 moderno per sonar nel orgauo ovvero spiu- 
 etta con diversi stromenti (2 books, Venice, 
 1629-1611 ; 2d ed., 1658).— Fetis ; Mendel. 
 
 CASTELLO DI KENILWORTH, IL, 
 Italian opera, music by Donizetti, repre- 
 sented at Palermo, 1826. Called also Elisa- 
 betta a Kenilworth. 
 
 CASTELLO, GIOVANNI, Italian harpsi- 
 chord player, living at Vienna iu the early 
 part of the 18th century. His works are 
 published under the follo\ving titles : Neue 
 Clavieriibuug, bestehend iu eine Sonata, 
 CaxH'iccio, Allemanda, Corrente, Sarabauda, 
 Giga, Aria con xii. variazioni d' iutavolatura 
 di cembalo (Vienna, 1722). — Fetis. 
 
 CASTELLO, PAOLO DA, Venetian com- 
 jjoser, chorister of San Marco in 1670. He 
 produced an oratorio, II trionfo di David, 
 at Vienna (1683), of which he wrote both 
 the words and the music. — Fetis ; Mendel, 
 ii. 337. 
 
 CASTIL-BLAZE, FEANgOIS HENRI 
 JOSEPH, boru at Cavaillon (Vaucluse), Dec. 
 1, 1784, died in Paris, Dec. 11, 1857. Al- 
 though distinguished especially as a writer 
 on music, critic, and author and editor of 
 French versions of German and Italian ojd- 
 eras, he has also composed Pigeon vole, ou 
 flvite et poignard (afterwards renamed La 
 colombe), comic opera, given at the Theatre 
 desltaliens, 1813 ; Belzebuth, ouLesjeux du 
 roi Rene, grand opera, Montpellier, 1844 (?) ; 
 Choriste et liquoriste, opera-bouile, given 
 in the provinces ; Mass for four voices and 
 chorus ; Motets, anthems, and other church 
 music ; Quartets for violin ; Trios for bas- 
 
 281
 
 CASTILLON 
 
 soon ; Sonatas ; Eomances, etc. — Futis ; La- 
 rousse ; Mendel; Schilling. 
 
 CASTILLON DE SAINT-VICTOE, 
 ALEXIS, Vicomte DE, boru in 1829, died 
 in Paris, March 5, 1873. He resigned his 
 commission in the army on his father's 
 death, and devoted himself to the study of 
 music, for which he had always had a pref- 
 erence. He was the pupil of Charles De- 
 lious and Cesar Frank for the pianoforte, 
 and of Victor Masse for the theorj' of music. 
 He left numerous works, including sympho- 
 nies, quintets, pianoforte music, and songs. 
 — Fetis, Supplement, i. 159. 
 
 CASTOR ET POLLUX, lyric tragedy in 
 five acts, with a i^rologue in verse, text by 
 Gentil Bernard, music liy Kameau, repre- 
 sented at the Academie Eoyale de Musique, 
 Paris, Oct. 24, 1737. This work, Eameau's 
 masterijiece, was reproduced in 1751. The 
 beautiful dramatic air, "Tristes apprets, 
 pales flambeaux," still forms part of the rep- 
 ertory of the Societe des Concerts du Con- 
 servatoire. Candeille set Bernard's work to 
 new music, preserving this air and some of 
 Eameau's choruses, which was performed 
 at the Opera, June 14, 1791, and again in 
 1814 and in 1817. Louis XVL and Marie 
 Antoinette attended the opera for the last 
 time at its representation on June 20, 1791. 
 The same text, rewritten by Morel, and set 
 to music by Winter, was represented at the 
 Academie Eoyale de Musique, Paris, Aug. 
 19, 1806, but without success. Castore e 
 Polluce, Italian opera, music by Bianchi, 
 Florence, 1780 ; by Federici, text by Eo- 
 raanelli, Milan, 1H03. Kastor und Pollux, 
 German opera, text and nnisic by Vogler, 
 Mannheim, 1791. 
 
 CASTEITIUS (Castritz), IVIATTHIAS, 
 German contrapuntist of the IGth century. 
 He published the following works : Nova 
 harmonia, quinque vocum (Nuremberg, 
 15G9) ; Carmina quatuor vocibus concer- 
 tantibus (ib., 1571) ; Symbola princif)ium, 
 4 et 5 vocum (ib., 1571).— Fetis ; Mendel. 
 
 CASTRO, JE.A.N, French composer of the 
 16th century. He was living at Lyons about 
 
 1570. Fetis is of oj)inion that he was iden- 
 tical with Jean de Castro, but IM. de Bois- 
 gelon, an authority quoted by Fetis, thinks 
 not. His works were published between 
 1570 and 1592, by Le Eoy in Paris, and by 
 de Tournes at Lyons, and consist of nu- 
 merous songs, sonnets, and madrigals, in 
 four, five, six, seven, and eight parts. One 
 of these jjublications is called Chansons a 
 trois parties (Paris, 1580). — Fetis. 
 
 CASTEO, JEAN DE, born in Liege about 
 1530, died after 1592 (?). Composer and 
 lutist, living at Lyons in 1570 ; maitre de 
 chapelle to the Prince of Juliers in 1580. 
 He wrote madrigals, odes, chansons, motets, 
 published in several collections at Antwerp, 
 Louvain, Paris, Douai, Cologne, and Frank- 
 fort ; several are preserved in the Munich 
 Library. Fetis gives a full list of his works. 
 — Fetis ; Grove ; Biog. nat. de Belgique, iii. 
 374. 
 
 CASTEOVILLAEI, Padre DANIELE, 
 lived in Venice about the middle of the 
 17th centurj'. He was a monk of the Order 
 of Cordeliers. Among his operas, all pro- 
 duced in Venice, were : Gli avvenimenti di 
 Orinda, 1659 ; La Pasifae, 1661 ; and La 
 Cleopatra, 1662.— Fetis ; Mendel. 
 
 CASTEUCCI, PIETEO, born in Eome in 
 1689, died in London in 1769. Violinist, 
 pupil of Corelli. He went in 1715 with 
 Lord Burlington to London, where he was 
 leader of Handel's opera band. Among his 
 published works are two sets of solos for 
 violin with thorough bass, and twelve con- 
 certos for violins, which, though hardly 
 known, have great merit. His brother 
 Prospero (died, London, 1760), violinist 
 in the orchestra of the Italian opera, Lon- 
 don, and for some years conductor of the 
 concerts at the Castle Tavern, published 
 six solos for violin and bass. — Wasielewski, 
 Die Violine und ihre Meister, 56 ; Grove ; 
 Eiemann, 150 ; Mendel. 
 
 CAST THYBUEDEN UPON THE LOED. 
 See Wirf dein Anliegen auf den Herrn. 
 
 CASULANA, MADDALENA, born in 
 Brescia about 1540. Vocal composei-.
 
 CATALANO 
 
 chiefly of madrigals, among wliicli are : 
 Madrigali a quattro voci (Venice, 1568) ; II 
 secondo libro de' Madrigali a quattro voci 
 (Brescia, 1593).— Fetis ; Mendel. 
 
 CATALANO, OTTAVIO, bom at Euua, 
 Sicilj', aljout the end of the IGth centmy, 
 living in lOlG. Organist and church com- 
 poser, one of the first who made use of 
 the figured basso continuo in writing for 
 the organ. He was maestro di cajipella of 
 the cathedral at Messina. Two collections 
 of his motets were published (Rome, 
 1609-1G16). There is a Beatus vir, for 
 eight voices, in the library of the Abbate 
 Santini, Rome, and Bodenschatz has in- 
 serted one of his motets for eight voices in 
 Florilegium Portense. — Fetis ; Mendel. 
 
 CATALOGUE SONG. See Don Gio- 
 vanni. 
 
 CATARINA CORNARO, Italian opera, 
 music bj' Donizetti, represented at the San 
 Carlo, Naples, during the carnival of ISii. 
 It was the last work of the comjioser, who 
 died the same year. Subject, the story of 
 the famous Queen of Cyprus, which Halevy 
 had previously treated in La Heine de 
 Chypre. Written originally for Vieinia, 
 Donizetti's work was coldly received in 
 Naples, and it had no better success on its 
 reproduction in 1845. It has not been per- 
 formed since. Katharina Cornaro, German 
 opera, music by Franz Lachner, first repre- 
 sented in Munich, 1841. It had a con- 
 siderable success, and was given also in 
 Vienna, Berlin, Frankfort, and Brussels. 
 
 CATE, ANDRIES TEN, born at Amster- 
 dam, Netherlands, May 22, 1796, died there, 
 July 27, 1858. Amateur dramatic com- 
 poser, violinist, and violoncellist ; puj^il of 
 Bertelmann on the pianoforte and in com- 
 position, of Teniers on the violin, and of 
 Meyer on the violoncello. Works : Seid 
 en Palmire, Dutch opera, given at Amster- 
 dam, 1831 ; Constantiu, do., ib., 1835 ; Nu- 
 ma Pompilius, do. ; 3 grand cantatas, and 
 10 other cantatas for different voices and 
 orchestra ; Overture for fall orchestra and 
 chorus ; Six patriotic songs, with instru- 
 
 ments ; Concertinos for oboe, clarinet, and 
 bassoon ; Quintets and quartets for string in- 
 struments ; Church music, and songs for one 
 and two voices. — Fetis ; Mendel ; Viotta. 
 
 CATEL, CHARLES SIMON, born at 
 L'Aigle (Orne), June 13, 1773, died in Paris, 
 Nov. 29, 1830. Dramatic composer, \m\n\ 
 at the Ecole Royale de Chant, Paris, of Go- 
 bert on the pianoforte, and of Gossec in 
 harmony and composition ; as early as 1787 
 he became assistant professor at the same 
 institution, and in 1790 accompanist at the 
 Opera and second conductor of the band 
 of the National Guard. At the reorgani- 
 zation of the Conservatoire in 1795 he 
 was made professor of harmony, and in 
 1810 inspector ; resigned in 1814. Mem- 
 ber of the Institut, 1815. He is more 
 important as a theoretician than as a com- 
 poser, and his princi^Jal work is his "Traitc 
 d'Harmouie " (Paris, 1802 ; translated by 
 Lowell Mason, 1832 ; and by Sj^eranza and 
 Westrop, London, 1875). "Works — Operas: 
 S(''miramis, given in Paris, Opera, 1802 ; 
 L'auberge de Bagneres, Les artistes par oc- 
 casion, ib., Ojjc'ra Comique, 1807 ; Alexandre 
 chez Apelles (ballet), 1808 ; Les Buyadcrex, 
 Opera, 1810 ; Les aubei-gistes de qualite, 
 Oi^era Comique, 1812 ; Premier en date, 
 ib., 1814 ; Le sii'ge de Mezieres (with Isou- 
 ard, Cherubini, and Boieldieu), ib., 1814 ; 
 Wallace, ou le menestrel ecossais, ib., 
 1817 ; Zirphile et fleur de myrte, Oj)e- 
 ra, 1818 ; L'ofiicier enleve, Opera Comique, 
 1819 ; Marches, 
 overtures, sym- 
 phonies, hymns 
 for national fes- 
 tivals ; Sonatas, 
 quartets, quintets, and other chamber mu- 
 sic. — Fetis ; Clement, Mus. celebres, 297 ; 
 Mendel ; Schilling ; Riemann. 
 
 CATELANI, ANGELO, born at Guas- 
 talla, March 30, 1811, died at Modena, Sept. 
 5, 186G. Dramatic composer, pupil at Mo- 
 dena of Giuseppe Asioli on the pianoforte, 
 and of Michele Pusco in harmonj' and 
 counteriioint, then at the Naples Conserva-
 
 CATEXACCI 
 
 torio of Ziugarelli, Donizetti, and Crescen- 
 tini. He was maestro di cappella at the 
 theatre in Messina, 183J:-37, then city mu- 
 sic director at Keggio, and from 1838 at 
 Modena, where he afterwards became maes- 
 tro di cappella to the court and of the 
 cathedral, and in 1859 was appointed as- 
 sistant librarian of the Biblioteca Estense. 
 He is more noted as a writer on the history 
 of music. "Works — Operas : II diavolo im- 
 magiuario ; Beatrice di Tolosa (1840) ; Carat- 
 taco, given at Modena, IS-ll. Church and 
 chamber music. — Fctis ; Mendel ; Riemaun. 
 
 CATENACCI, Padre GIAN DOMENICO, 
 born in Milan in the early part of the IStli 
 century, died there about 1800 ; an able 
 contrapuntist and celebrated organist. He 
 published a book of sonatas in the fugued 
 stj'le for organ (Milan, 1791). He was a 
 good teacher and had several celebrated pu- 
 pils — Fetis ; Mendel. 
 
 CATHALA, JEAN, maestro at the ca- 
 thedral at Auxerre about the middle of the 
 17th centiuy. His works are as follows : 
 Missa quinque vocum ad imitationem mo- 
 duli, Lsetare Jerusalem ; Missa quinque 
 vocum ad irait. mod., In luce stellarum 
 (IGGG) ; Missa quatuor vocibus ad imit. mod., 
 luclina cor meum, Deus (1678, second edi- 
 tion, the date of first not known) ; Missa 
 quinque vocibus ad imit. mod., Nigra sed 
 formosa (1078, there is not a white note in 
 this mass, on account of its title) ; Missa 
 quatuor vocibus ad imit. moduli, Nou recuso 
 laborem (1680) ; Messe syllabique en plain 
 chant, a quatre voix (Paris, 1083). — Ft'tis. 
 
 CATHERINE GREY, English opera in 
 three acts, text by Alfred Bunn, music by 
 Balfe, performed at Drury Lane, London, 
 May 27, 1837. The composer himself sang 
 the part of the Earl of Hertford ; Miss 
 Romer sang Elizabeth, and Mrs. Wood (Miss 
 Paton) Catherine Grey. This was the first 
 of Balfe's operas on a purely English theme. 
 — Barrett, Balfe, 110 ; Kenney, Memoir, 
 123. 
 
 CATHERINE HOWARD, French opera, 
 music by Litolff, reijresented at the Con- 
 
 servatoire, Brussels, 1847. Catarina Ho- 
 ward, Italian opera in four acts, text by 
 Giacchetti, music by Salvi, Milan, 1846, 
 Vienna, 1847 ; by Giuseppe Lillo, three acts, 
 Naples, 1849 ; by Antonio Laudamo, Mes- 
 sina, 1857 ; by Petrella, Rome, 1806 ; by 
 Bezzosi, Catania, 1869. 
 
 CATONE IN IITICA (Cato at Utica), 
 Italian opera in three acts, text by Metas- 
 tasio, first set to music by Leonardo Vinci 
 and represented at the Teatro delle Damme, 
 Rome, during the carnival, 1727. Subject, 
 the death of Cato ; scene in Utica. Char- 
 acters represented : Catone ; Cesare ; Mar- 
 zia, daughter of Catone, secretly in love with 
 Cesare ; Arbace, Prince of Numidia, friend 
 of Catone and lover of Marzia ; Emilia, 
 widow of Pompeo ; Fulvio, legate of the 
 Roman Senate and lover of Emilia. The 
 name of Cornelia was changed to Emilia and 
 that of Juba to Arbace bj' Metastasio, as 
 better suited for music. The libretto has 
 been set also bj' Giacomelli, Vienna, 1727 ; 
 Leo, Venice, 1732 ; Johann Adolph Hasse, 
 Turin, 1732 ; Pietro Torri, Munich, 1736 ; 
 Vivaldi, Venice and Verona, 1737 ; Duni, 
 Italy, about 1738 ; Verocaj, Brunswick, 
 1743 ; Graun, Berlin, 1744 ; Jommelli, 
 Vienna, 1749 ; Ferrandini, Munich, 1758 ; 
 Ciampi, Venice, 1750 ; Gassmanu, Vienna, 
 about 1760 ; Majo, Naples, 1763 ; Johann 
 Christian Bach, Milan, 1758, Loudon, 1704 ; 
 Piccinni, Naples, 1770 ; Ottani, Naples, 1777 ; 
 Andi-eozzi, Milan, 1782 ; Paisiello, Najjles, 
 1788 ; and Winter, Venice, 1791. The old- 
 est treatment of the subject is Catone il gi- 
 ovane, by Monari, given in Bologna, 1688. 
 Others are Catone Uticensi, by Pollarolo, 
 Venice, 1701 ; and Cato, German ojsera, by 
 Reiser, text by KiJnig after Noris, Ham- 
 burg, 1715. II Catone, Italian pasticcio, 
 music by Handel, was given at the King's 
 Theatre, London, 1732. 
 
 CATRUFO, GIUSEPPE, born in Naples 
 April 19, 1771, died in London, Aug. 19, 1851. 
 Dramatic composer, pupil at the Conserva- 
 torio della Pieta de' Turchini of Tarentino 
 for basso contiuuo, of Sala for counterpoint,
 
 CATTANI 
 
 Tritto for dramatic composition, ami La 
 Barbiera for singing. He went to M;ilta iu 
 1791, anil wrote two opere buffe, II cor- 
 riere, and Cajacciello disertore ( 1792 ). 
 During the war in Italy be became a soldier 
 and took an active jjart in all tbe campaigns, 
 but returned to his musical avocations 
 whenever the opjiort unity oftered. At the 
 carnival of 1799 he produced II furbo 
 contro il furbo, opera bufta, at Arezzo, 
 and wi'ote a Mass and a Dixit for four 
 voices, with chorus and orchestra, for the 
 cathedral of that town, and composed 
 for the Teatro La Pergola several musical 
 pieces which were introduced in operas of 
 other authors. On retiring from military 
 service in 1804 he went to Geneva, and 
 wrote a Christus factus est pro nobis, for 
 one voice and orchestra, for the Church of 
 I'Auditoire, and brought out at the theatre 
 four comic operas : Clarisse, 180G ; La fee 
 Urgele, Paris, 180.5, Geneva, 1807; L'a- 
 mant alchimiste, 1808 ; and Les aveugles 
 (le Franconville, 1809. In 1810 he went 
 to Paris to teach singing, and in 1811 
 published a collection of Vocalises, which 
 were adopted at the Conservatorio in 
 Milan ; finally settled in London, in 183.5, 
 as a teacher of singing. Works — Operas, 
 all given in Paris : L'aventurier, 181.3 ; 
 Fclicie, ou la jeune fiUe romanesque, and 
 Une matinee de Froutin, 1815 ; La ba- 
 taille de Denain, and La boucle de che- 
 veux, 1816 ; Zadig, 1818 ; L'intrigue au 
 chateau, 1823 ; Voyage a la conr, 1825 ; 
 Les rencontres (with Lemiere), 1828 ; Le 
 passage du regiment, 1832. Other works : 
 Solfeges progressifs, 1820 ; Mi'thode de 
 Vocalisation (Paris, 1830) ; Many popular 
 songs, such as, L'infidelite dAnnette, La 
 declaration, Le gondolier, L'exile ; Many 
 cantatas, nocturnes, fantaisies for piano- 
 forte, etc. — Fetis ; Mendel. 
 
 CATTANI, LORENZO, born in Tuscany, 
 flourished in the second half of the 17th 
 century. Dramatic composer, Augustine 
 friar and maestro di cajjpella at the Cathe- 
 dral of San Stefano at Pisa. Works— Op- 
 
 eras ; II conte di Castro ; La pieta di Sabi- 
 na ; II pellegrino ; Cajo Marzio Coriolano ; 
 Quinto Lucrezio proscritto ; Geneviefa, ora- 
 torio ; Church music. — Fetis. 
 
 CATTIGNO (not Catugno), FRANCES- 
 CO, born in Naples in 1782, died there, 
 March 28, 1847. Dramatic composer, pupil 
 for fifteen years from 1793 at the Conser- 
 vatorio delta Pieta de' Turchini, where his 
 uncle, Sylvestro Palma, was his teacher of 
 singing and composition. He became ma- 
 estro di cajjpella to the churches of several 
 convents at Naples, for which he wrote 
 many of his masses, etc. Among his com- 
 positions are several operas, three of which 
 were opere butle, written for the Teatro 
 Nuovo, of Naples : I due compari ; Le 
 stravaganze d' amore ; I tinti ammalati. 
 He rewrote the second for the Teatro San 
 Carlo, for which he also wrote the cantata 
 Partenope. Among his most important 
 church compositions are : 3 masses for four 
 voices and orchestra ; 2 Dixit ; Venite ex- 
 ultemus, psalm ; Laudate pueri, alia Pal- 
 estriua for four voices, composed for the 
 court at Lisbon ; Laudate pueri, for four 
 voices and orchestra ; Miserere for three 
 voices ; Salve Regina for one, two, and 
 three voices ; Credo for four voices with 
 orchestra ; Ave Maria for three voices ; 
 Litanies for four voices ; De Profundis for 
 three voices and orchestra ; Te Deum for 
 the re-establishment of the health of Ferdi- 
 nand I. ; Lamentations for Holy Week ; 
 Motets, and the oratorio. Ester ed Assuero. 
 — Fetis ; do., Suppli'ment, i. 160 ; JMendel. 
 
 CAULERY, JEAN, lived in Brussels in 
 1556. He was maitre de chapelle to 
 Catherine de' Medici. His songs are to be 
 found in an exceedingly rare and valuable 
 collection entitled : Jardin musical, conte- 
 nant plusieurs belles fleurs de chansons, 
 choisies d'entre les cBUvi-es de plusieurs 
 auteurs excellents en I'art de la musique, 
 ensemble le blason du beau et laid tant 
 projjice a la voix comme aux instruments. 
 Le premier livre. En Anvers, par Hubert 
 Waelrant et Jean Laet (without date). The
 
 CAUKKOY 
 
 second book is entitled : Jardin musical, 
 conteuant plusieurs belles fleurs de chan- 
 sons spirituelles a quatre parties, composees 
 par Maistre Jean Cautery, maistre de clia- 
 pelle de la Royne de France, et de plusieurs 
 autres excellents autheurs en I'art de mu- 
 sique, tant propice a la voix comme aux in- 
 struments. Livre second. En Auvers, eliez 
 Hubert Waelraut et Jean Laet (without 
 date). Fctis gives a list of the composers, 
 all well known, whose songs are included. 
 — Fetis. 
 
 CAURROY, FRANCOIS EUSTACHE 
 DU, Sieur de Saiut-Fromin, born at Ger- 
 beroy, near Beauvais, 1.549, died in Paris, 
 Aug. 7, 1609. He was a canon of the 
 Sainte-Chapelle and prior of Saint-A'ioul de 
 Provins, and was a composer of great merit 
 in his day, sharing with Lasso and Pales- 
 trina the title of prince des professeurs de 
 musique. In 15G9 he was made director of 
 the king's band, and held that otKce during 
 the reigns of Charles IX., Henri HI., and 
 Henri IV. The post of surinteudant de 
 la musique du roi was created for him in 
 1599. He was awarded the prize of the 
 Puy de Musique, Evreux, in 1575, for a 
 chanson, one in 1576 for a motet, and the 
 silver lute in 1583 for a chanson. Works : 
 Missa pro defunctis, performed at the fune- 
 rals of the kings of France until the 18th 
 century, one copy only of which exists in 
 the Bibliotheque National ; Preces eccle- 
 siastic;© ; Precum ecclesiasticarum, lib. ii. 
 (1509) ; Fantaisies in 3, 4, 5, and 6 parts ; 
 and Melanges de musique (Paris, 1610), 
 from which Burney prints a Noel in four 
 l^arts in his 3d volume. Du Caurroy has 
 been credited also with the two aii-s appro- 
 priated by the Bourbons of France, Ghar- 
 manle Gabrielle and Vive Henri IV. — Fetis ; 
 do., Supplement, i. 160 ; Mendel. 
 
 CAUSSI^ JOSEPH, born at Saint-Pons 
 (Herault), in 1774, died (?). Pianist, pupil 
 of his father, a teacher of music in the 
 collegiate school of his town. He went to 
 Paris and published there the following 
 compositions : Sonate pour le ijiano avec 
 
 flute obligee, ceuvre i (1801) ; Caprice pour 
 le i)iauo, reuvre ii ; Sonates faciles pour le 
 piano (1802) ; Serenade pour piano, violon 
 et violoncelle ; Plusieurs pots-pourris, ron- 
 deaux, etc., pour piano seul. — Fetis. 
 
 CAUSTON, THOMAS, born (?), died in 
 London (V), Oct. 28, 1569. Organist, gen- 
 tleman of the Chapel Royal during the 
 reigns of Edward VI., IMary, and Elizabeth. 
 Some of his works may be found in Day's 
 collections, published in London, 1560 and 
 1563. His style, remarkable for flowing 
 melody, resembles that of Orlando Gibbons. 
 — Grove. 
 
 CAVACCIO, GIOVANNI, born at Berga- 
 mo about 1556, died in Rome, Aug. 11, 
 1626. He was a singer at the court of Mu- 
 nich, and, after visiting Rome and Venice, 
 maestro di cappella of the Cathedral of Ber- 
 gamo. Called to Rome twenty years after- 
 wards to be maestro di cappella of S. M. 
 Maggiore, he remained there till his death. 
 He was one of the composers who contrib- 
 uted psalms to a collection dedicated to Pa- 
 lestrina (1592). Works : Magnificats, all of 
 which are mentioned separately by Fetis, 
 psalms, madrigals, etc. (Venice and Milan, 
 1581 to 1611). Some of his pieces are in 
 Parnassus Musicus, Bergameno (Venice, 
 1615).— Fetis ; Mendel. 
 
 CAVALIERE ERRANT E, IL (The 
 Knight Errant), Italian opera, music by 
 Traetta, represented in Najjles, 1777, and in 
 Paris at the Acadoniie Royale de Musique, 
 Aug. 4, 1779. 
 
 CAVALIERI, EMILIO DE', born in Rome 
 about 1550, died before the end of the 16th 
 centurj'. A gentleman of good family, he 
 lived at Rome until called to the court of 
 Florence, where the Grand Duke Ferdinand 
 do' Medici made him insiieetor-general of the 
 arts and artists. Naturally endowed with 
 fine musical talents, he had studied coun- 
 terpoint, singing, and various instruments 
 from childhood up. He wrote madrigals, 
 and is especially notable for being one of 
 the first composers to write musical plays. 
 He was thus the immediate precursor of 
 
 38C
 
 CAVALIERI 
 
 Caccini and Peri, the real fouuJers of the 
 opera. Althougli an iunovator in several 
 ways, being the probable inventor of several 
 vocal embellishmeuts, and of the figured 
 basso continiio, he took no active part in the 
 famous Florentine music reform. He was 
 no frequenter of the house of Bardi, where 
 the reform in question was principally 
 mooted, and the music of his plays II satiro 
 and La disperazione di Fileno (brought 
 out at Florence in 1590) was wholly in the 
 traditional ma(lrigalesque(i.e., contrapuntal) 
 style. He did not live to hear a perform- 
 ance of his last and most important work, a 
 sort of dramatic oratorio, " La rappresen- 
 tazione del' aiiima e del corpo," which was 
 given at Sta. Maria in Vallicella, Rome, in 
 Februarj-, IGOO. In this work Cavalieri 
 shows signs of trying to imitate the new 
 stile rappresentativo of Caccini and Peri ; 
 indeed, he had heard the latter's opera 
 Dafne in Florence in 1594, and there can 
 be little doubt that, had he lived longer, 
 he would have taken an active part in the 
 music reform which resulted in the estab- 
 lishment of the dramatic, monodic style, 
 and, finally, in Monteverde's discover}' of 
 the tonal system. Besides the works al- 
 
 I di diversi accomodati per coucerti spirituali 
 con partitura (Louvain, 1616). — ^Fctis ; Men- 
 
 ' del. 
 
 CAVALLI (Pier-Francesco Caletti-Bruni), 
 called FRANCESCO, born at Crema, near 
 Venice, 1599 or IGOO, died in Venice, Jan. 
 14, 1676. His father was maestro di cap- 
 pella at the Church of Sta. Maria in Crema. 
 The evident musical talent of the boy Fran- 
 cesco attracted the notice of Federigo Ca- 
 valli, Podesta of the Province of Crema, 
 and that nobleman became his patrqu^ak- 
 ing him with him on his return to Venice 
 in 1616. Here he was soon known as 
 "il Checco di Ca-Cavalli " (Franky of the 
 House of Cavalli), and his real name was 
 gradually discarded. He s tudie d, under 
 several masters, but especially under Monte- 
 verde, whose greatest pupil and follower he 
 became. He was one of the singers in the 
 choir of San Marco until 1640, when he 
 was appointed second organist ; on Jan. 11, 
 1665, he was made first organist, and on Nov. 
 20, 16G8, maestro di cappella, which post 
 he held until his death. At his obsequies 
 the choir of San Marco sang a requiem for 
 choi-uses which he had written "for him- 
 self." Cavalli was chiefly imjjortant as a dra- 
 
 matic two comj)oser ; the 
 stile rappresentativo of Cac- 
 cini and Peri, which Monte- 
 verde had developed into a 
 really dramatic style, was 
 ready mentioned, Cavalieri wrote a musical j treated with still greater rliythmic^freecJam 
 drama, II giuoco delta cieca, which was , by Cavalli, whose melodies were better de- 
 
 ^%4 ko A ^^f^u^Ai^^ 
 
 given in Florence in 1595. — Ambi-os, iv. 
 1.54, 182. 
 
 CAVALIERI, GIROLAMO, born about 
 the end of the 16th century. Organist and 
 composer of church music and madrigals ; 
 priest of the Armenian Congregation at 
 the Monastery of Saint-Damieu, Blontfort, 
 Piedmont. Among his jiublished composi- 
 tions are the following : Nova metamorfose 
 a quattro, lib. i. (1600) ; Nova metamorfose 
 a 5, lib. ii., con partitura (1605) ; Nova me- 
 tamorfose a 6, lib. iii., col basso princi- 
 pale per 1' organo (Milan, IGIO) ; Madrigali 
 
 fined and more graceful than his master's, 
 and who even began to introduce passages 
 in imitative counterpoint into dramatic 
 writing. Indeed, Cavalli left the opera in a 
 condition in which it needed only the genius 
 of Alessandro Scarlatti to distinguish more 
 sharply between the declamatory and the 
 more purely melodic portions, and thus fi- 
 nally establish the definite forms of recita- 
 tive and aria. Cavalli's style was in general 
 very simple, and noted for its truth and in- 
 tensity of dramatic expressiveness. His 
 harmony is often awkward, at times incor- 
 
 287
 
 CAVALLINI 
 
 rect, but this was inevitable at a time when 
 the true character of the receutly discovered 
 tonal system was not fully understood ; but 
 for strong emotional power and veracity of 
 expression, with the simplest of means, he 
 has been seldom excelled. He was certainly 
 the greatest dramatic composer of his day, 
 and one of the greatest of all time. He was 
 for a short time in the service of the Elector 
 of Bavaria, and twice visited Paris, in 1660 
 and 1662. He began to write for the stage 
 in 1637, and continued to do so ujj to 1669. 
 Of Cavalli's church music a collection of 
 psalms, antiphoDS, and a mass was pub- 
 lished at Venice, 1656, and some vespers 
 for eight voices in 1675. The MS. of his 
 requiem was in the Sautiui collection at 
 Rome. Works — -Oijeras : 1. Le nozze di 
 Tetide e di Peleo, Venice, 1639 ; 2. Gl' 
 amori di Apolline e di Dafne, ib., 16-40 ; 
 3. La Didone, ib., 1641 ; i. L' Amore ina- 
 morato, ib., 1642 ; 5. La virtii de' strali d' 
 amore, ib., 1642 ; 6. Narcisso ed Ecco ira- 
 mortalati, ib., 1642 ; 7. L' Egisto, ib., 1643 ; 
 8. La Deidaiuia, ib., 1644; 9. L' Ormindo, 
 ib., 1G44 ; 10. La Doriclea, ib., 1645 ; 11. 
 II Titone, ib., 1645 ; 12. II Romolo ed il 
 Remo, ib., 1645 ; 13. La prosperita infe- 
 lice di Giulio Cesare dittatore, ib., 1646 ; 
 14. La Torilda, ib., 1648 ; 15. II Giasone, ib., 
 1649; 16. L' Euripo, ib., 1649; 17. La 
 Bradamante, ib., 1650 ; 18. L' Orimonte, ib., 
 1650 ; 19. L' Ori.steo, ib., 1651 ; 20. Ale^- 
 sandro vincitor di se stesso, ib., 1651 ; 21. 
 L' Artemidoro, ib., 1651 ; 22. La Rosinda, 
 ib., 1651 ; 23. La Callisto, ib., 1651 ; 24. L' 
 Eritrea, ib., 1652 ; 25. Veremonda 1' Ania- 
 zoiie d' Aragona, ib., 1652 ; 26. L' Elena 
 rapita di Teseo, ib., 1653 ; 27. II Serse, ib., 
 1654, Paris, Nov. 22, 1660 (published by 
 Ballard, 1660) ; 28. La Statira, principessa 
 di Persia, Venice, 1655 ; 29. L' Erismena, 
 ib., 1655 ; 30. L' Artemisia, ib., 1656 ; 31. 
 Autioco, ib., 1658 ; 32. Elena rapita di 
 Paride, ib., 1659 ; 33. Coriolauo, Parma, 
 1660 ; 34. Ercole amante, Paris, 1662 ; 35. 
 Scipione Africano, Venice, 1664 ; 36. Mu- 
 zio Scevola, ib., 1664 ; 37. II Giro, ib., 1665 
 
 38. Pompeo Magno, ib., 1666. Of these, 
 Nos. 1, 3, 5, 9, 10, 15, 18, 19, 22, 23, 24, 26, 
 27, 28, 29, 30, 32, 35, 36, and 37 are iu the 
 Library of Sau Marco, Venice ; Serse and 
 Artemisia are the composer's autograi)h. 
 — Ambros, iv. 371. 
 
 GAVALLINI, ERNESTO, born in Milan, 
 Aug. 30, 1807, died there, Jan. 7, 1874. 
 Clarinet player, jjupil of Cavalli at the 
 Milan Conservatorio, solo clarinet at the 
 Teatro Fenice, and later a member of the 
 band of a Piedmontese regiment ; visited 
 manj- of the principal cities of Europe, 
 and finally became professor at the Con- 
 servatorio of Milan, where he had many 
 celebrated pupils. Works : Concerto for 
 flute and orchestra (Turin) ; Concerto for 
 clarinet and orchestra, op. 4 (Milan) ; Chant 
 grec varie, clarinet, accompaniment of two 
 violins, viola, violoncello, and double-bass ; 
 6 caprices for clarinet, etc. — Fetis ; do., 
 Supplement, i. 164. 
 
 CAVALLO, FORTUNATUS, born in the 
 Diocese of Augsburg in 1738, died in Ratis- 
 bon, 1801. Violinist and organist ; pujjil 
 of Giulini, Kapellmeister of the Cathedral 
 of Augsburg, and later of Riepel, a comjioser 
 of Ratisbon. He became Kapellmeister of 
 the Cathedral of Ratisbon. Works : Twenty 
 masses, concertos for harpsichord, sym- 
 phonies, cantatas, etc. ; but, with the ex- 
 ception of two masses and several offer- 
 tories, all of his works were destroyed at 
 the time of the great fire iu Ratisbon in 
 1809.— Fetis ; Mendel. 
 
 CAVALLO, WENZEL, born in Ratisbon 
 in 1781. Violinist, son of Fortunatus Ca- 
 vallo, whom he succeeded as Kapellmeister 
 of the cathedral of Ratisbon ; a pujjil on the 
 violin and in composition of Anton Joseph 
 Liber, first violinist and composer to the 
 Prince of Thurn and Taxis. He wrote three 
 masses, and some other church music, all 
 of which was destroyed in 1809 iu the con- 
 flagration at Ratisbon. — Fetis; Mendel. 
 
 CAVENDISH, MICHAEL, English com- 
 poser of the latter part of the 16th century ; 
 nothing is known of his life. He was one 
 
 28S
 
 CA^^ENE 
 
 of the ten composers who harmonizecl the ' 
 times for Este's "Whole Booke of Psahus " 
 (1592) ; lie also published a set of Ayres for 
 four Voyces (1599), and contributed a mad- 
 rigal, Come, gentle swains, to the Triumphes 
 of^'oriana (1001).— Fetis ; Schilling. 
 
 CAVERNE, LA, lyric drama iu three acts, 
 text by Derey, music by Lesueur, repre- 
 sented at the Theatre Feydeau, Paris, Feb. 
 15, 1793. Subject, an episode in "Gil 
 Bias," in which Seraphine, daughter of 
 Count Alvar de Guzman, is captured by 
 bandits and taken to their cavern, whence 
 she is finally rescued by Gil Bias. The 
 brilliant success of this, the composer's best 
 dramatic work, procured him his appoint- 
 ment as professor in the Ecole de la Garde 
 Nationale, Nov. 21, 1793. La Caverne, text 
 by Forgeot, music by Mehul, given at the 
 Opera Comique, Dec. 4, 1795, treats of the 
 same subject. 
 
 CAVI, GIOVANNI, maestro di cappella 
 of the Church of S. Giacomo degl' Espa- 
 "■noli, Rome, in the second half of the 18th 
 century. He was the author of several 
 dramatic works, whose titles are not given. 
 The Abbate Santiui's collection has the fol- 
 lowing church compositions by Cavi : The 
 psalm Beatus vir, and a Laudate for four 
 parts, with orchestra ; another Beatus vir 
 for three voices, with chorus and orchestra ; 
 Two masses for four voices, with instru- 
 mental accompaniment. — Fetis ; Mendel. 
 
 C.A.VOS, CATTERINO, born in Venice 
 in 1775, died iu St. Petersburg, April 28, 
 1810. Dramatic composer, pupil of Fran- 
 cesco Bianchi ; when only twelve he was 
 intrusted with conducting the rehearsals 
 at the theatre, and wrote a cantata for the 
 entry of the Emperor Leopold II. into 
 Venice ; at fourteen he was elected organist 
 at San Marco, but resigned in favor of a 
 poor co-applicant. Another cantata, to 
 celebrate the peace of Campo Formio, ob- 
 tained also a brilliant reception, and soon 
 after he went to Germany, and thence to 
 St. Petersburg in 1798, where, after the suc- 
 cess of his first Russian opera, he was 
 
 appointed imperial maestro di cappella. 
 ■\Vorks : La Silfide, ballet, given at Padua, 
 1797. Russian operas : Ivan Sussanina : 
 The Ruins of Babylon ; The Phcenix ; The 
 Strength of Elijah ; The Livisible Prince ; 
 The Three Hunchbacks ; Love's Post ; The 
 Reign of Twelve Hours ; The Daughter of 
 the Danube ; The Fugitive ; The Cossack 
 Poet ; The Unknown ; A New Embarrass- 
 ment. Les trois sultanes, French opera ; 
 II convito degli spiriti, Italian monodrama, 
 Munich, 1819 ; ballets, among which, 
 Flore et Zephyr ; Vaudevilles, choruses, 
 and many Russian songs.— Fetis ; Mendel. 
 
 CAZOT, FRANCOIS FELIX, born in 
 Orleans, France, April G, 1790, died in 1858. 
 Pianist, pupil iu 1804 at the Conservatoire iu 
 harmony of Catel, on the pianoforte of Prad- 
 her, and in composition of Gossec and Fetis. 
 He took the 1st prize in fugue and counter- 
 point in 1809, and the 1st prize for piano- 
 forte in 1811. He was admitted to the In- 
 stitut de France, and took the 2d prize in 
 musical composition ; shared with Hurokl 
 the honours of the 1st prize iu 1812 for the 
 cantata, Madame de la Valliure. He after- 
 wards went to Brussels and gave lessons 
 until 1821, when he returned to Paris, and 
 became professor of the pianoforte. He 
 published variations on the air, Au clair de 
 la lune (Brussels), and Methode elementaire 
 de ijiano (Paris, no date). — Fetis ; do., 
 Supplement, i. 1G4. 
 
 CAZZATI, MAURIZIO, born in Mantua 
 about 1C20, died there in 1677. Organist 
 and maestro di cappella of the Collegiate 
 Church of San Andrea, Mantua, and sub- 
 sequently maestro of the Cathedral at Ber- 
 gamo, and of S. Petronio, Bologna, from 
 1657 to 1674. A severe criticism by Giulio 
 Cesare Aresti, organist of that church, on 
 a Kyrie written by Cazzati, led to a violent 
 quarrel and to Cazzati's resignation, and 
 was ultimately the cause of his death. His 
 masses, motets, cantate spirituali, etc., were 
 published in Venice, Bologna, Mantua, and 
 some were reprinted in Antwerp, from 1G41 
 ! to 1668. He wrote also Correnti e Balletti
 
 CEBALLOS 
 
 a 3 e 5 stromeuti (Venice, 1C57). One of 
 Lis motets, Sunt breves muncli rosse, was 
 printed in Profe's Geistliclie Concerten 
 (Leipsic, 1G41). — Fetis ; Schilling. 
 
 CEBALLOS, FRANCISCO, born in Cas- 
 tile (?), died iu Burgos in 1571. He was 
 maestro de capilla of the Cathedral of 
 Burgos, iu 1535. His comj)ositions are pre- 
 served in the churches of Spain ; many of 
 his motets are iu the library of the Escorial 
 and the archives of the Cathedral of Toledo. 
 The church of Nuestra Dama del Pilar, Sara- 
 gossa, possesses a fine mass by him, and in 
 Lira sacro-hispaua, bj' M. Hilarion Eslava, 
 there is a motet, Inter vestibulum, a work 
 of great merit. — Fetis, Supplement, i. 165 ; 
 Mendel, Ergiinz., 59. 
 
 CECCARELLI, EDOARDO, born at 
 Bevagna in the Pajxil States, died about 
 the middle of the ITtli century. He was 
 ajipointed tenor in the Pontifical Chapel, 
 Jan. 21, 1G28. He wrote many of the Latin 
 texts for motets, etc., and devoted much 
 attention to the rules of prosody, and to 
 the accentuation and punctuation of the 
 sacred text in church music. He was called 
 upon by Pope Urban VIII., together with 
 Sante Naldiui, Steffauo Landi, and Gregorio 
 Allegri, to prepare an edition of the hymns 
 of the Church, with all the old Gregorian 
 chants, as well as the more modern music 
 by Palestrina ; and the great work jjrepared 
 by these four distinguished men was pub- 
 lished at Autwerj"), with the following title : 
 Hynmi sacri in breviario romano S. N. D. 
 Urbani Vin, etc. (1G44).— FOtis ; Mendel. 
 
 CECCHELLI, CARLO, Roman musician, 
 flourished iu the 17th century. He is some- 
 times erroneously called Domenico Cecchi- 
 elli. He succeeded Boneventi as maestro 
 di cajjpeUa of S. M. Maggiore, Rome, 1G4G, 
 and resigned that position in 1619. In 1G51 
 he published a book of masses, for four 
 voices, a cappella. — Fetis ; Mendel. 
 
 CECCHERINI, FRANCESCO, born in 
 Florence in 1792, died there, Jan. 12, 1858. 
 Tenor-singer, pupil of the Abbate Filippo 
 Allegri. He was court tenoi", and maestro 
 
 di cappella and professor of singing at the 
 Academy, Florence. Among his composi- 
 tions are four oratorios : Saiil, David, San 
 Benedetto, and Debora e Giale, all of which 
 were produced in Florence ; A Requiem, 
 and a great deal of other church music. — Fe- 
 tis, SuiDplement, i. 165 ; Mendel, Ergiinz., 59. 
 
 CECCHINA, LA. See Buona figliuola. 
 
 CECCHINO, TOMMASO, born in Vero- 
 na, lived about 1G20. Composer of church 
 music, whose works are found in the cata- 
 logue of the library of the King of Por- 
 tugal, as follows : Missarum 3 et 4 vocum 
 cum motetta 4 et 5 voc, lib. ii., op. 17 ; Ma- 
 drigali a cinque, lib. i., op. 15 ; Missse 3, 4, 
 5 et 8 voc, lib. iv., op. 22. Among other 
 known works are : Madrigali e canzonette 
 a 3 voci (Venezia, Giac. Vincenti, 1617). 
 —Fetis ; Mendel. 
 
 CECH, FRANZ XAVER, born at Horic, 
 Bohemia, Dec. 4, 1759, died at Milevsko, 
 ib., Aug. 29, 1808. He became contralto, 
 in 1772, at the Church of the Barnabites, 
 Prague, where the director of the choir, 
 Johann Kutnohorskf , Ijecame interested in 
 him and superintended his musical and 
 literary studies, and often confided the di- 
 rection of the church music to him. In 
 1780 he entered the Convent of the Premon- 
 strateusians, Strahow, was ordained priest iu 
 1787, and lived in the monastery until 1801, 
 when he became jjastor of Bliihlhausen. 
 Works : Te Deum for chorus and orchestra ; 
 Credo, id. ; Messe solennelle ; Litanies ; 
 German dances for orchestra, and several 
 sonatas for jjianoforte. xAll this music is in 
 MS.— Fetis ; Mendel. 
 
 CEJKA (Czeyka), VALENTIN, born in 
 Prague iu 17G9, died (?). He was in the choir 
 of St. James's as a child, and there learned 
 to play on several wind instruments ; excel- 
 ling on the bassoon, he was admitted to the 
 chapel of Count Pachta as solo player. He 
 went to Vienna in 1802, and became a 
 member of an orchestra in that citj', and 
 afterwards went to Naples and became band 
 master to an Austrian regiment. He has 
 written seven concertos for bassoon, and 
 
 290
 
 CELANI 
 
 military marches which are still in MS. 
 — Fctis ; Mendel ; Schilling. 
 
 CELANI, GIUSEPPE CORSO, lived in 
 the second half of the 18th centiu-y, succes- 
 sively in Rome, Parma, and Ancona, and 
 composed an oratorio, Ismaele ed Agar, 
 which was performed iu Rome. Other 
 works : Santa Teodora, oratorio (1G88). 
 
 CELESTE AiDA. See Aida. 
 
 CELESTmO, ELIGIO, born in Rome in 
 1739, died at Liidwigslust, Mecklenburg, 
 Jan. 14, 1812. Violinist, considered one of 
 the best of his time. After travelling much, 
 from 177G, he settled in 1781 at Ludwigs- 
 lust as leader of the ducal baud. Six of his 
 sonatas for violin and bass are iu Preston's 
 Catalogue (1797), and three duos for violin 
 and violoncello (Loudon, 1798). — FtJtis ; 
 Mendel. 
 
 CELLARIER, HILARION, born at Flo- 
 rensac (Hurault), March 12, 1818, still living, 
 1888. Dramatic composer, pupil of Pacini 
 at the Conservatorio of Viareggio, near 
 Lucca. When about twenty, he replaced 
 his master, who had fallen sick, in comjDos- 
 ing a mass, which was performed with suc- 
 cess iu the Cathedral of Lucca. Recalled 
 by family affairs he returned suddenly to 
 France about 1842, and settled at Montpel- 
 lier. Works : Don Japhet, opera ; La sec- 
 chia rapita, do. (183G) ; I Guelfi, do. (1842) ; 
 Mass with grand orchestra (184.5), and other 
 church music ; Symphonies, quartets, j)ia- 
 noforte-pieces, etc. — Fetis, Supplement, i. 
 lti.5. 
 
 CELLI, FILIPPO, boru in Rome in 1782, 
 died iu London, Aug. 21, 1856. Of noble 
 birth, he devoted himself to the study of 
 music, and was the composer of many suc- 
 cessful operas : Amalia e Palmer ; Dritto e 
 Rovescio, opera bufta, produced at the Te- 
 atro Ro, Milan, 1815 ; Amore aguzza F in- 
 gegno, ossia Don Timonella di Piacenza, 
 ib., 1815 ; Emma (Bologna, 1822) ; II cor- 
 saro, Rome, 1823 ; II poeta al cimento, 
 written for the fair at Rimini ; Le due du- 
 chesse, Florence, 182G ; Ezio (1830) ; Me- 
 dea (Rome, 1838) ; Kicciarda (Naples, 1839) ; 
 
 La secchia rapita ; L' ajo ncll' imbarazzo ; 
 Sujjerbia e Vanita ; L' amore muto. He 
 was professor of singing at the Conserva- 
 torio of Madi'id in 1834-38 ; he afterwards 
 lived at Bologna and at Milan, and finally 
 went to Loudon as a teacher. Ricordi pub- 
 lished a collection of five of his ariettas, 
 four duets, and two trios, to words by Pe- 
 polli, under the title of Serenate Romane 
 (Milan).— Fc-tis ; IMendel. 
 
 CELLIER, ALFRED, born in Loudon, 
 contemporary. D r a - 
 matic composer. Some 
 of his songs and part- 
 songs are very popular. 
 Works : Sultan of Mo- 
 cha, operetta, London, 
 1876; The Spectre 
 Knight, do.; After All, 
 vaudeville, ib., 1878 ; In 
 the Sulks, oj)eretta, ib., 
 1880 ; The Masque of 
 Pandora, text by Longfellow, Boston The- 
 atre, Boston, Mass., Jan. 10, 1881 ; Gray's 
 Elegy, Leeds Festival, 1883 ; Dorothy, oper- 
 etta, London, 1886, Boston, Mass., Jan. 30, 
 1888 ; Part-songs, songs, etc. — Futis, Sup- 
 plement, i. 16G. 
 
 CELLINI, opera. See Benvenulo Cellini. 
 
 CELLINI, FRANCESCO, born at Fermo, 
 Italy, May 5, 1813, died there, Aug. 19, 1873. 
 Singing teacher, pupil of his uncle, Agos- 
 tino Cellini, and of Rafael Mouelli and Carlo 
 Morra. He then took lessons of Pilotti at 
 Bologna, and on his mastei''s death went to 
 the Conservatorio, Naj)les, where he studied 
 singing under Crescentini and composition 
 under Zingarelli and Mercadante. On his 
 retui'u to Fermo, iu 1842, he was made ma- 
 estro di cappella of the cathedral. In 1860 
 he visited London, with his pupil Antonio 
 Giuglini, and remained there some time. 
 Among his scholars were Francesco and 
 Ludovico Graziani, Henri Fagotto, Mme 
 Morgiali, Mme Biancolini, Rodriguez, and 
 many of the best operatic singers of his 
 day. His works consist of patriotic cho- 
 ruses used on several commemorations ;
 
 CELLOT 
 
 and of considerable churcli music, of which 
 there is no special list. — Fi'tis, Siipph''- 
 ment, i. IGG. 
 
 CELLOT, HENEI, born in France about 
 1835, still living, 1888. He has written a 
 few romances, and has brought out several 
 oj)erettas, among which are : Dix contre un, 
 Palais Koyal, 18C5 ; L'lle des singes, Eldo- 
 rado, 1868 ; L'amour charlatan, at the Folies 
 Marignj. — Fi'tis, Supplement, i. 166. 
 
 CENDRILLON, opera-comique in one 
 act, text by Anseaume, music by Laruette, 
 rei^resented at the Opera Comique, Paris, 
 Feb. 21, 1759. Subject, the story of Cinder- 
 ella, from the tale by Perrault. The same 
 subject is treated in an opera in three acts, 
 music by Steibelt, given in St. Petersburg, 
 1809 ; and in the opera-comique in three ' 
 acts, text by Etienne, music by Nicolo Isou- 
 ard, represented at the Theatre Feydeau, 
 Paris, Feb. 22, 1810. It was reproduced 
 at the Opera Comique in 1815, with some 
 changes by Adam, but with little success ; 
 and again, Jan. 23, 1877, with a divertisse- 
 ment called Les Saisons, introduced in the 
 second act, the themes of which were selected 
 by Theodore de Lajarte from the works of 
 LuUi, Destouches, and other old composers. 
 
 CENERENTOLA, LA, Italian opera, text 
 by Ferretti, music by Rossini, first rep- 
 resented at the Teatro Valle, Rome, during 
 the carnival, Dec. 26, 1817 ; at the Iiing's 
 Theatre, London, Jan. 8, 1820 ; at the 
 Theatre des Italiens, Paris, June 8, 1822 ; 
 and in New York, June 27, 1826. Sub- 
 ject, an adaptation from Etienne's Cendril- 
 lon, the story of Cinderella. It is a charm- 
 ing work, with a light and graceful over- 
 ture. Among its favourite numbers are : 
 the air, "Miei rampolli," originally writ- 
 ten for La Pietra del Paragone and used 
 second in La Gazzetta ; the duet, " Uu soave 
 non so che " ; the duet, "Zitto, Zitto," taken 
 from II Turco in Italia ; the bass duet, " Un 
 segi'eto d'importanza " ; and the contralto 
 aria "Non piii mesta." The principal part 
 in Cenerentola, though generally sung by a 
 soprano, was written for a contralto, and 
 
 was a favourite role of Marietta Alboni, 
 who always excited the greatest enthusiasm 
 by her singing of Non piu mesta. The 
 same subject is treated in La Cenerentola, 
 
 Marietta Alboni. 
 
 music by Manuel del-Popolo-Vicente Garcia, 
 given at the Park Theatre, New York, July 
 13, 1827.— Hanslick, Moderne Oper, 110 : 
 Stendhal, Rossini, 184. 
 
 CENTENNIAL HYMN, words by John 
 Greenleaf Whittier, music by John Knowles 
 Paine, oja. 27, composed in 1876. Sung at 
 the opening of the Centennial Exhibition, 
 Philadelphia, May 10, 1876. 
 
 CENTENNIAL INIARCH. See Grosser 
 Feshnarsch. Wagner. 
 
 CENTENNIAL ]MEDITATION OF CO- 
 LU^MBIA, cantata, words by Sydney Lanier, 
 music by Dudley Buck, sung at the open- 
 ing of the National Centennial Exhibition, 
 Philadelphia, May 10, 1876. The text con- 
 sists of sixty-one lines, in eight stanzas of 
 unequal length. The autograph of the can- 
 tata is owned by the Connecticut Historical 
 Society, Hartford. — Upton, Standard Can- 
 tatas, 106 ; Atlantic Monthly, xxxviii. 122.
 
 CENTO 
 
 CENTO, Padre GIOVANNI ANTONIO, 
 
 ttouiished in the 17th century. He was a 
 Franciscan monk, njaestro di cappella at 
 Padua, and afterwards, 1(560, at S. Prau- 
 cesco, Bologna. He left a great deal of 
 cliurch music in M8.— Fctis ; Mendel. 
 
 CENTOLANI, A:\IBilOGIO, Italian com- 
 poser, contemporarj'. He is author of the 
 opera, Isabella Orsini, produced at the 
 Lugo Theatre, Sept. 17, 1867.— Futis, Sup- 
 plement, i. 1G6. 
 
 CENTORIO, MARC ANTONIO, born at 
 Vercelli, end of the 16th century. Studied 
 music at the Collegio degT Innocenti, and 
 counterpoint at Milan. After being or- 
 dained a priest he returned to his native 
 town, and became canon and maestro di 
 cappella of S. M. Maggiore. He wrote many 
 masses, vespers, and motets, which are pre- 
 served among the archives of his chapter. 
 In 1637 the court of Savoy made a long 
 stay at Vercelli, and Centorio was made 
 director of the royal concerts, and pro- 
 duced several of his symphonies. — Fetis ; 
 Mendel. 
 
 CENT VIERGES, LES (The Hundred 
 Virgins), opt'ra-bouti'e in three acts, text 
 by Chivot, Duru, and Clairville, music by 
 Charles Lecocq, first represented at the 
 Theatre de la Monnaie, Brussels, March 
 16, 1872. The libretto details the story 
 of a hundred Englishmen, settled in an 
 island called Isle-Verte, who, in want of 
 wives, make a demand on the admiralty 
 for a cargo of virgins. The opera was given 
 in Paris, at the Varicti's, May 13, 1872, and 
 met with much success. 
 
 CEPHALUS AND PROCRIS. The le- 
 gend of Procris or Procne, beloved by Eos, 
 and the recipient from Diana of the never- 
 erring spear, with which she is at last ac- 
 cidentally slain by her husband Cephalus, 
 as related by Hyginus, Apollodorus, and 
 Ovid, is the subject of several operas. Ce- 
 phale et Procris, lyric tragedy in five acts, 
 text by Ducho, music by Mile de la Guerre, 
 represented in Paris, March 15, 1694 ; lyric 
 tragedy in three acts, text by Marmontel, 
 
 music by Gretry, given at Versailles, 1773, 
 and at the Academie Royale de Musique, 
 Paris, May 2, 1775 ; operetta, music by Eu- 
 gene Moniot, Paris, 1868. Cephalus und 
 Procris, German opera, music by Bronner, 
 Hamburg, 1701 ; melodrama, music by Ker- 
 pen, Mainz, 1792. Cephalus and Procris, 
 English opera, music by Henry Carey, Lon- 
 don, 1733. Cephale, opera-ballet, music by 
 Batistin Struck, Versailles, 1710. Russian 
 opera, music by Ai-aja, St. Petersburg, 1755, 
 the first Russian opera. 
 
 CE QUON ENTEND SUR LA MON- 
 TAGNE, symphonic poem, music by Liszt, 
 composed at Weimai-, 1 856. It was inspired 
 by the poem of the same title by Victor 
 Hugo, which the poet read from his manu- 
 script to a circle of literary and artistic 
 friends. The impression it made upon 
 Liszt lasted for years, until he freed him- 
 self from it by this composition, which 
 became the germ of his series of symphonic 
 poems. Published by Breitkopf & Hiirtel 
 (Leipsic), F. Liszt, Symphonische Dichtun- 
 gen. No. 1. — Ramann, 293. 
 
 CERACCHINI, FRANCESCO, born at 
 Asiua Lunga, Tuscany, in 1748, died (?). 
 Maestro di cappella of the Cathedral of Si- 
 ena in 1736. He wrote much church nuisic, 
 and was a celebrated teacher of counter- 
 point. — Fetis ; Mendel. 
 
 CERCIA, DOMENICO, born at Naples, 
 flourished about the end of the 18th cen- 
 tury. Dramatic composer, pupil of Fena- 
 roli. Works— Operas: Scipione in Carta- 
 gine, given at Naples about 1790 ; II servo 
 trappoliere, ib., about 1795 ; L' equivoco 
 curioso, opera buSa, ib., about the end of 
 the 18th century; Le false magie per 
 amore, do., ib., do.; La marinaressa di 
 spirito, ib., do.; I vecchi delusi, ib., about 
 1796; Gli amanti in angustie, ib., do.; Ilo 
 Robbe vecchie, in Neapolitan dialect, ib.; Lo 
 matrimonio utruppecuso, do., ib.; La Pas- 
 sione del Signore, oratorio ; La disfatta de' 
 mori in Valenza, cantata ; La fuga ed il 
 trioufo di Davidde, do. ; 3 cantatas for 
 Christmas ; Te Deum ; 14 solemn masses ; 
 
 393
 
 CEIIECEDA 
 
 2 requiem masses ; Pastoral mass ; 4 mo- 
 tets, etc. — Fetis. 
 
 CERECEDA, GUILLER:\I0, Spanish 
 dramatic composer, koowu by bis zarzuelas 
 or comic oiieras, produced at Madrid, as 
 follows : Pascal Bailou ; Tocar el violon ; 
 Pepe-Hillo ; Trayo ; Mefistofeles ; Esperan- 
 za, lyric and dramatic ballad, played at the , 
 Zarzuela Theatre, 1872, where he was leader 
 of the orchestra. — Fc'tis, Sujipk'ment, i. 167. 
 
 CEREROLS, Padre JUAN, Spanish monk, 
 living at the Abbey of Montserrat in the 
 last years of the 18th century. His works, 
 Ijreserved in the archives of that college, 
 are mostly for ten voices. Works : IMisa 
 de batalla, a mass for three choruses and 
 twelve voices ; the psalms, Dixit Dominus, 
 Confitebor, Beatus vir, Laudate iiueri Domi- 
 num, La;tatus sum. Nisi Dominus, Credidi ; 
 the hymn, Ave Maris Stella, and the can- 
 ticle. Magnificat. — Fetis, Supplement, i. 167 ; 
 Mendel, Ergilnz., 60. 
 
 CERESINI, GIOVANNI, born at Cesena 
 about the end of the 16th century. Church 
 comjjoser, author of the following works : 
 Primo libro de' Motetti a 1, 2, 3, 4, 5 e 6 
 voci (1617) ; Missa e Salmi a 5 voci, op. 3 
 (Venice, 1618) ; a second edition was pub- 
 lished at Venice (1623) ; Motetti e Litanie 
 de B. V. a 2, 3 e 4 voci (Venice, 1638). 
 — Fetis ; Mendel. 
 
 6eR]M.\K, ANTON, born in Bohemia in 
 1750, died in Prague, August, 1803. Or- 
 ganist, pujjil of Seger in comijosition and on 
 the organ. He was organist of the churches 
 of St. Heinrich, and Maria-Schnee, and 
 subsequently of the Kreuzherren-Kirche. 
 He composed concertos for the organ, which 
 he himself jilayed with rare ability. — Fetis; 
 JNIendel. 
 
 CERMAK (Csermak), Edler von Luid 
 und Rohans, born in Bohemia in 1771, died 
 at Veszprim, Hungary, Oct. 25, 1822. Vir- 
 tuoso on the violin and national composer, 
 appeared first in Vienna in 1798, and took 
 his audience by storm. Refusing a brilliant 
 offer of the French ambassador to go to 
 France, he went to Hungarv, and was for a 
 
 short time Kapellmeister at Presburg. He 
 then proceeded to Pesth, where, inspired by 
 the playing of the gypsy Bihari, he devoted 
 himself exclusively to Hungarian music, and 
 under the guidance of Lavotta became with- 
 in a few years a composer and interpreter of 
 national melodies who, according to Count 
 Stephen Fay, the greatest connoisseur of 
 Hungarian music and its history, had no 
 equal. A hopeless love for a high-born 
 lady impaired his mind, and, becoming mel- 
 ancholy and finally insane, he wandered 
 through the country from place to place, 
 writing his finest comijositious, now in a 
 tavern on the Puszta, now in the drawing- 
 room of a magnate. The Hungarians call 
 him their Beethoven. ^ — Mendel ; Wurzbach. 
 
 CERNOHORSKT, BOHUSLAV, born in 
 Nimburg, Bohemia, second half of the 17th 
 century, died in Italy in 1740. Organist, 
 monk of the Order of Minorites. He was 
 director of the choir in St. Ann's, Padua, 
 and had some illustrious pupils, among 
 them Tartini. On his return to Bohemia 
 he was Kapellmeister at the Teinkirche, 
 Prague, and afterwards of St. James's. 
 Among his pupils in Prague were Joseph 
 Seger, Czeslaus, Klaekel, Franz Tuma, and 
 Christoph Willibald Gluck. He left in MS. 
 much church music, which was nearly all 
 consumed in the great fire in the convent 
 of his order in 1754. The organist Kii- 
 charz j)Ossessed in 1808 the motet, Laude- 
 tur Jesus Christus, for four voices and or- 
 chestra. — Fetis ; Mendel. 
 
 6ERNY, DOmNIK, born in Nimburg, 
 Bohemia, Oct. 30, 1736, died in Prague, 
 March 2, 1766. He was a singer when 
 quite young, in St. Egidius's, Prague, and 
 afterwards studied at the university, and 
 entered the Order of the Minorites. In 
 1760 he became director of the choir of 
 the Church of St. James, Prague. His 
 compositions are much esteemed in Ger- 
 many and are sung in all the Bohemian 
 churches. — Fetis, ii. 408 ; Mendel, iii. 48. 
 
 CERTON, PIERRE, flourished in the 
 16th century. One of the foremost French
 
 CERVETTI 
 
 contrapuntists of the first Imlf of liis cen- 
 tury ; choirmaster of the Saiute Chapelle du 
 Louvre. Of his works, masses, magnificats, 
 motets, psalms, and many chansons were 
 published in Paris, 1533-59.— Fetis ; Men- 
 del. 
 
 CEKVETTI. See Geelmck. 
 
 CESARE. See GiuUo Cesare. 
 
 CESAKE IN EGITTO, Italian opera, mu- 
 sic by Pacini, represented in Rome, 1822. 
 The subject had been previously treated by 
 Giacomelli, Turin, 1735 ; and by Ercole Pa- 
 ganini about 1790. Cesare e Tolomeo in 
 Egitto, music by Novi, represented in Italy 
 about 1707. Cesare in Alessandria, music 
 by Aldovrandiui, Naples, 1700. 
 
 CESAKINI, CARLO FRANCESCO 
 (called del Violino), born in Rome in 1G64. 
 Violinist, musician at the Church of la Pi- 
 eta, Rome, in 1700, and later maestro di 
 cappella of the Gesti. His works, all of 
 which are in MS., are as follows : II fi- 
 gliuol 2'rodigo, oratorio ; Tobia, oratorio in 
 two parts ; II trionfo della divina j^rovi- 
 denza ne' successi di Sta. Geneviefa, ora- 
 torio ; Credidi for eight voices ; A mass 
 for eight parts. — Fetis ; Mendel. 
 
 CESENA, GIOVANNI BATTISTA, born 
 in the second half of the 16th century. 
 Franciscan monk in a monastery in the 
 Papal States. Works : Messe e motetti a 
 quattro voci, lib. i. (Venice, 1G05) ; Com- 
 pieta con litanie e motetti a otto voci (ib., 
 1606) ; Salmi a quattro voci, etc. (ib., 1600) ; 
 Secondo lihro de' concerti, etc. (ib., 1606) ; 
 Salmi intieri a cinque voci per i Vespri, 
 etc. (ib., 1607) ; Messe, litanie, e motetti a 
 cinque voci (ib., 1608) ; Salmi per Vespri a 
 quattro voci pari, op. 11 (ib., 1609) ; Mo- 
 tetti a quattro voci (ib., 1610) ; Due Com- 
 plete a quattro voci, etc., op. 15 (ib., 1612) ; 
 II quinto libro de' concerti e motetti (ib., 
 162 1).— Fetis ; Mendel. 
 
 CESI, PIETRO, born in Rome, flourished 
 in the second half of the 17tli century. He 
 was an ecclesiastic and maestro di cap- 
 pella in Rome. Works : Messe a (juattro, 
 con altre sacre canzoni a una, due, tre e 
 
 cinque voci, lib. ii., op. 3 (Rome, 1660), iu 
 the National Library, Paris ; Motetti a 1, 2, 
 3 voci con una Messa e Salve a 5 voci, 
 lib. i., op. 2 (Rome, 1656) ; etc. — Fetis ; 
 Mendel. 
 
 CESSARO I SUONI. See Ernani. 
 
 CESTI, MARC ANTONIO, born at 
 Arezzo (or Florence ?) about 1620, died in 
 Venice iu 1669. Dramatic composer, pupil 
 of Carissimi. He was maestro di cappella in 
 Florence in 164:6, became tenor singer of 
 the papal choir of Alexander VII., Jan. 1, 
 1660, and was maestro di cappella to the 
 Emperor Leopold I. in 1661-67. Although 
 an ecclesiastic, he did much for the prog- 
 I'ess of the music drama iu Italy. He is 
 best known by his cantatas, of which he 
 wrote many, preserved in the Music School 
 at Oxford, the British Museum, and con- 
 tinental libraries. Works — Operas : Orou- 
 tea, given at Venice, Teatro de' SS. Apos- 
 toli, 1649 ; Cesare amante, Venice, 1651 ; 
 Dori, ossia Lo schiavo regio, ib., 1663 ; II 
 23rincipe generoso, 1665 ; Tito, Venice, 1666 ; 
 Nettuno e Flora festeggianti, Vienna, 1666 ; 
 Semiramide, Le disgrazie d'auiore, ib., 1667 ; 
 La schiava fortunata (with Ziani) Vienna, 
 1667, Venice, 1674 ; Argeue, Venice, 1668 ; 
 Genserico, Ai-gia, ib., 1669 ; 11 pomo d' oro 
 (iu the Imperial Library, Vienna), produced 
 at the court of Leopold I. about 1669. 
 Some of his canzonets were ijublished by 
 Pianauo in a collection, Seelta di Canzonet- 
 te de' piti rinomati autori (London, 1665) ; 
 and there is a solitary sacred motet, Non 
 plus me ligate, in the National Library, 
 Paris. Arie da Camera and the libretto of 
 La Dori are in the Abbate Santini's collec- 
 tion. — Fetis ; Mendel ; Riemaun ; Schilling. 
 
 CEST LA CLOCHE DE LA TOU- 
 RELLE. Sec Dame blanche. 
 
 CEUPPENS, VICTOR, born in Brussels, 
 July 28, 1835, still living, 1888. Organist, 
 pupil of Goossens, Jourdan, Bosselet, Lem- 
 mens, and Fetis. He has been organist suc- 
 cessively of the churches of St. Joseph, the 
 Miuimes, and St. Catherine, and maitre de 
 chapelle of St. Boniface, as well as profes-
 
 CEVENIXI 
 
 sor at the music school of Saint-Josse-teu- 
 Noode, io the envirous of Brussels. Among 
 bis comjjositions are: Several Masses, one 
 of which, for four voices, was given, Jan. 
 14, 18()1 ; Ave Verum, for four voices ; Sal- 
 ve Kegiua, with orchestral accompaniment ; 
 Laudate Domiuum, chorus for i voices ; 
 Tautum ergo ; Pie Jesu ; O Salutaris, and 
 a prayer and three Elevations for the or- 
 gan. He has also written several romances. 
 — Fetis, Supplement, i. 108. 
 
 CEVENINI, CAMILLO, born in Rome 
 about the beginning of the 17th century ; 
 called r Operoso by the Filomusi Academi- 
 cians. AYorks : Coucerti notturui espressi 
 in musica (Bologna, 1C3G) ; Epitalamiche 
 serenate nelle nozze d'Anuibale IMarescotti, 
 e di Barbara Eangoni, applausi musicali 
 (Bologna, 1G38).— Fotis ; Mendel. 
 
 CH.iBANON DE MAUGRIS, born in the 
 Island of Santo Domingo in 173G, died in 
 Paris, Nov. 17, 1780. Dramatic composer, 
 brother of Itlichel Paul Chabanon. He 
 served in the navy in his youth and de- 
 voted most of his life to literature and art. 
 Works : Alexis et Daphne', pastoral opera ; 
 Philemon et Baucis, heroic ballet ; Fugi- 
 tive pieces for the harpsichord, and the 
 harp, with violin accompaniment. — Fetis ; 
 Mendel. 
 
 CHABANON, mCHEL PAUL GUIDE, 
 born in the Island of Santo Domingo in 
 1730, died in Paris, July 10, 1792. Violin- 
 ist, and didactic writer. Destined for the 
 church by the Jesuits who educated him, 
 he became an atheist, and gave himself up 
 to the study of music. He became an ac- 
 complished violinist after eight years' study, 
 and was second violin at the amateur con- 
 certs given by Saint-Georges. He was 
 made a member of L' Academic des In.scrip- 
 tions in 17G0, and of L'Acadumie Franjaise 
 in 1780. He wrote the words and music 
 of an opera, Semele, which was received by 
 the Acadt'mie Roj-ale de Musique, but not 
 performed. Among the best of his works 
 are tlu'ee Memoires on the problems of 
 Aristotle concerning music, published by 
 
 the Academic Eoyale des Inscriptions. — Fe- 
 tis ; Burney, iv. G"21 ; Schilling. 
 
 CHABRAN, FRANCESCO, born in Pied- 
 mont in 1723, died (?). Violinist and com- 
 poser, pupil and nephew of the celebrated 
 violinist Somis. Musician to the King of 
 Sardinia in 1747, he went in 1751 to Paris, 
 where his talent was enthusiasticallj' recog- 
 nized. He possessed a wonderfully light 
 and bi'illiant touch, and excelled in preci- 
 sion and finish. Published works : Three 
 works of sonatas, one of concertos for vio- 
 lin, besides other compositions. — Fetis. 
 
 CHACONNE in D minor, in J. S. Bach's 
 second partita for violin solo ; one of the 
 most stupendous compositions in existence 
 in the form of variations. Both Mendels- 
 sohn and Schumann wrote pianoforte ac- 
 companiments to it, and Rati' arranged it 
 for full orchestra. 
 
 CHACUN LE SAIT, CHACUN LE DIT. 
 See Fille du Regiment. 
 
 CHADWICK, GEORGE WHITFIELD, 
 born, of American 
 J^^^'^SjHJ^)) parentage, in Lowell, 
 f Wm Mass., Nov. 13, 1854, 
 
 still living, 1888. His 
 first musical instruc- 
 tion was received from 
 Eugene Thayer, Bos- 
 ton. In 187G he 
 went to Olivet, Mich- 
 igan, to teach in the 
 musical department 
 of the college there ; in 1877 he went to 
 Europe, and studied two years in Leipsic 
 under Jadassohn and Reinecke ; after travel- 
 ling in Germany, he studied composition 
 and organ playing in Munich under Rhein- 
 berger for about a year. In 1880 he re- 
 turned to America and settled in Boston, 
 where he resides as a teacher and con- 
 ductor, as organist of the South Congrega- 
 tional Church, and as instructor in harmony 
 and composition in the New England Con- 
 servatory of Music. He revisited Europe 
 in 1883," 188G, and 1888. Works— Choral : 
 The Viking's Last Voyage, for baritone solo,
 
 CHAINE 
 
 male chorus aud orchestra, Boston, 1881 ; 
 Dedication Ode, for soU, chorus and orches- 
 tra, ib., 1884. For orchestra : Overture to 
 Rip Van Winkle, Leipsic, 1879 ; Symphony 
 No. 1, in C, Boston, 1882 ; Thalia, overture 
 to an imaginary comedy, ib , 1883 ; Andante 
 for string orchestra, ib., 1881 ; Symphony 
 No. 2, in B-Hat, ib., Dec. 11, 1885 ; Mel- 
 pomene, overture to an imaginary tragedy, 
 ib., 1887 ; The Millers daughter, concert 
 overture, San Francisco, 1888. Chamber 
 music : Trio in C minor, Leipsic, 1877 ; 
 String quartet in G minor, ib., 1878 ; do. in 
 C major, ib., 1879 ; do. in D, Boston, Jan., 
 1888; Quintet for pianoforte and strings, 
 in E-flat, ib., Jan., 1888. Songs aud other 
 vocal music. 
 
 CHAINE, EUGENE, born at Charleville 
 (Ardennes), Dec. 1, 1819, still living, 1888. 
 Violinist, pupil at the Paris Conservatoire 
 and of Clavel and Habeneck. He took a 
 second prize for violin in 1839, and the first 
 in 1810. For his compositions he was 
 awarded prizes in Holland, 18C4, at Bor- 
 deaux, 18G6 and 1872, and in Florence. 
 Professor at the Conservatoire, Paris, since 
 1875. Works : Grand concerto for violin 
 and orchestra or pianoforte ; Second con- 
 certo, idem ; fik'gie for violin and piano- 
 forte ; L'Insomnie, romance for do. ; La 
 Eomanesca, caprice for do. ; Tarentelle for 
 do. ; Souvenirs de Beethoven, fantaisie for 
 violin with orchestra or pianoforte ; ISIass 
 for 4 voices, chorus, and orchestra, per- 
 formed at Poitiers, 18r)0 ; First symphony 
 (18G4) ; Second do. (ISGG) ; Overture for 
 grand orchestra ; Stabat Mater (1872) ; 
 Third concerto for violin ; About forty fan- 
 taisie-caprices and morceaux de genre for 
 violin with pianoforte. — Fetis ; do.. Sup- 
 plement, i. IGS ; Mendel ; do., Ergiiuz., 61. 
 CHAISES A PORTEURS, LES (The 
 Sodan-Chairs), opera-comique in one act, 
 text by Dumanoir and Clairville, music by 
 Victor Masse, represented at the Opera 
 Comi(iue, Paris, April 28, 1858. An anuis- 
 ing imbroglio between a tinancier, his wife, 
 a danseuse, aud two gentlemen, in which 
 
 the action is largely carried on in sedan- 
 chairs. 
 
 CHALET, LE, opi'ra-comique in one act, 
 text by Scribe and Melesville, music by 
 Adolphe Adam, first represented in Paris, 
 Sept. 25, 1834. Subject from Goethe's Jery 
 und Biltely, originally written for Kaiser. 
 The composer's most popular work. It has 
 but three characters, which were rejjre- 
 sented at its original pi-oduction by Mme 
 Pradher, luchindi, and Couderc. — Pougin, 
 Adolphe Adam, 90. 
 
 CHALLONER, NEVILLE BUTLER, 
 born in London in 1784, died after 1835. 
 Harpist and violinist, pupil of Dubroeck on 
 the violin. He made his debut iu 1793, be- 
 came violinist at Covent Garden Theatre in 
 179G, orchestra conductor at the theatre in 
 Richmond, 1799, and soon after at Birming- 
 ham. In 1809 he became harpist at the 
 Italian Opera, London, and later a music 
 dealer. He published miscellaneous works 
 for harp and pianoforte, and methods for 
 both instruments, and for violin. — ilendel. 
 
 CHALON, FREDERIC, French flutist 
 and oboe player-, contemporary. He was 
 long a member of the orchestra of the 
 Opera Comique, and was retired with a 
 pension in 1821. Works : Airs nouveaux 
 pour la flfite, ler et 2nie receuils ; G duos 
 faciles pour deux flutes, op. 2 ; G do., op. 
 3 ; Deux suites d'airs en duos ; Valses et 
 anglaises pour deux fliites; Methode pour 
 le flageolet ; Methode pour le cor anglais 
 avec des airs et des duos ; Methode pour le 
 hautbois a neuf clefs (Paris, 182G). — Fctis ; 
 Mendel. 
 
 CHALONS, CH.VRLES, lived at Amster- 
 dam about the middle of the 18th century. 
 Works : 6 symphonies a huit part. (17G0) ; 
 6 sonates pour clavecin (Amsterdam, 1762). 
 —Fetis. 
 
 CHAMATERO, IPPOLITO, born iu 
 
 Rome in the first half of the IGth century. 
 
 He was maestro di cappella of the Cathedral 
 
 of Udine, in FriuH. Among his works are : 
 
 i JIadrigali a quattro voci (Venice, 15G1) ; 
 
 1 Salmi coristi a 8 voci in due mute con
 
 CHAMBER 
 
 Magnificat separate, in Venetia (1573). — Fii- 
 tis ; Mendel. 
 
 CHAMBER DUETS (Italienisclien Kam- 
 merduette), music bj' Handel. There are 
 in all twenty-two of these, numbered in 
 Chrysandei-'s edition as follows : I. (A). Caro 
 autor di mia doglia (Soprano and Alto). 
 I.(B). Caro autor di mia doglia (2 Alti). 
 I.(C). Caro autor di mia doglia (2 Soprani). 
 U. Gill nei Tartarei regni (Soprano and 
 Basso), ni. Souo liete, fortunate (Sopra- 
 no and Alto). TV. Troppo cruda, troppo 
 fiera (Soprano and Alto). V. Che vai pen- 
 sando, foUe j^ensier (Soprano and Basso). 
 VI. Amor gioje mi jjorge (2 Soj)rani). VII. 
 Va, speme infida, pur, v;i, non ti credo (2 
 Soprani). VIII. A mirarvi io son intento 
 (Soprano and Alto). IX. Quando in calma 
 ride il mare (Soprano and Basso). X. Ta- 
 cete, ohime, tacete (Soprano and Basso). XL 
 Couservate, raddoppiate (Soprano and Alto). 
 Xn. Tanti strali al sen mi scocchi (Soj^ra- 
 no and Alto). XTTT. Langue, geme, sos- 
 pira e si lagna (Soprano and Alto). XTV. 
 Se tu non lasci amore (Sojirano and Alto). 
 
 XV. Quel fior che all' alba ride (2 Soprani). 
 
 XVI. No, di voi non vo' fidarmi (2 Soprani). 
 XVn. N", di voi non vo' fidarmi (Soprano 
 and Alto). XVIII. Beato in ver chi piio 
 (Sojjrano and Alto). XIX. Fronda leggiera 
 e n:obile (Soprano and Alto). XX. Ahi, 
 nelle sorti iimane (2 Soi)rani). Of these, 
 I. (A) was written about 1707 ; I.(B) about 
 1740 ; the tliirteen including Nos. IIL-XIV. 
 and No. I. (C) were composed for the Prin- 
 cess Caroline in Hanover in 1710-12, and 
 tlie text was furnished by the Abbate Orten- 
 sio Mauri. They were published originally 
 by Arnold ; and, edited by Chrysauder, 
 by the Hiindelgesellschaft (Leipsic, 1870). 
 Nos. XV.-XX. belong to the years 1741-45. 
 The whole twenty-two duets and two trios 
 (written in Naples, 1808) are edited by Chry- 
 sauder and published bj- the Hiindelgesell- 
 schaft (Leipsic, 1880), the accompaniment to 
 I. (C). filled out by Josej^h Joachim, that to 
 nearly all the others by Johannes Brahms. 
 v., Vn., X., and XIII., are published sep- 
 
 arately by Kistner (Leipsic), the accompani- 
 ment tilled out in a far more masterly style 
 by Robert Franz. 
 
 cha;mbonni£res, jacques cham- 
 pion DE, flourished in Paris in the 17th 
 century, died about 1670. Organist, sou of 
 Jacques Champion and grandson of An- 
 toine Champion, both celebrated organists. 
 He took the name of Chambonnieres from 
 his wife's estate, near Brie. He was first 
 hai-psichord player to Louis XIV., and 
 formed the school of harpsichord players 
 which preceded Rameau. Among his pu- 
 pils were Auglebert, La Begue, and the 
 earlier Couperins. Published works : Two 
 volumes of harpsichord music (Paris, 
 1G70) ; the first is in the Conservatoire 
 Lib., the second in the Biblioth. Nat. — Fe- 
 tis ; Mendel. 
 
 CHAMPEIN, STANISLAS, born in Mar- 
 seilles, Nov. 19, 1753, died in Paris, Sei^t. 
 19, 1830. Dramatic composer, pupil in 
 Paris of Pecico and Chauvet. He became 
 music-master at the Collegiate Church of 
 Pignan, in Provence, when only thirteen 
 years of age, and wrote a mass, a magnifi- 
 cat, and some psalms, which were given in 
 the chapel of the college. In 1770 he 
 went to Paris, and had a motet and full 
 chorus performed in the Royal Chajiel at 
 Versailles, which was rejjeated at the fete of 
 St. Cecilia in the same year, with the addi- 
 tion of a mass, and from that time he be- 
 came one of the foremost musical compos- 
 ers in France. His first dramatic work, Le 
 soldat fran<;ais, was given by the comedi- 
 ans of the Bois de Boulogne, about 1780. 
 The following were given at the Theatre 
 Italien, Paris : Mila, 1780 ; La mi-lomanie, 
 1781 (this was his best) ; Le poOte suppose, 
 1783 ; Le baiser, 1784 ; Les fausses nou- 
 velles, Les espiegleries de garnison. Bayard 
 dans Bresse, 178G; Isabelle et Fernand; 
 Colombine douairii're, ou Cassaudre ; Leon- 
 ore, on I'heureuse epreuve, Les dettes, 1787 ; 
 Les noces cauchoises, 1790 ; Les epreuves 
 dn republicain, Les trois hussards, 1804 ; 
 Menzikofi', 1808 ; La ferme du Mont-Cenis, 
 
 398
 
 CHAMPION 
 
 1809 ; Les riviiux d'uu moineut, 1812 ; Le j 
 portrait, ou la divinite da sauvage, Tlu'atre 
 de rOpora, 1791. Le nouveau Don (iui- 
 chotte, Thuutre de Monsieur, 178'J, was one 
 of bis best operas, but as at the Tlieiitre de 
 Monsieur only works of Italian origin were 
 allowed, he produced it under the name of 
 Zuccarelli, and even Italians were deceived. 
 Les hussards en cantonnement, Opora Co- 
 mique, 1817 ; Les ruses de Froutin, Thea- 
 tre Beaujolais ; Florette et Colin ; Les de- 
 guisements amoureux ; Le nianteau, ou les 
 nitces rivales. From 1792 to 1804, having 
 accepted a government position, he did 
 not bring out any new operas, but he 
 wrote the following works for the Acade- 
 mic Royale de Musique and the Opera 
 Comique : Le barbier de Bagdad ; Diane et 
 Eudymion ; Le trioniphe de Camille ; Wis- 
 nou ; LV'ducation de I'amoiir ; L'iuconnu ; 
 Les metamorphoses, ou les parfaits amants ; 
 L'amour goutteux ; Le pei'e adolescent ; 
 Beniowsky ; Bianca Capello ; La paternite 
 recouvi-ee ; Les Bohemiens, ou le pouvoir 
 de l'amour ; Le noyer ; Le tresor. La 
 chaise a porteurs, composed for the Prince 
 de Conde, played at Chantilly by the Prince 
 and Mademoiselle de Conde. — Fetis ; do., 
 Supplement, i. 168 ; Mendel. 
 
 CHAMPION, ANTOINE, French organ- 
 ist, in the reign of Henri IV. The royal 
 library, Munich, has a mass for live voices 
 and a book of organ-pieces by him in MS. 
 He was the grandfather of Chambonnieres 
 and the father of Jacques Champion, organ- 
 ist under Louis XIII. — Fetis ; Mendel. 
 
 CHAAIPS, ETTORE DE, born in Flor- 
 ence, Aug. 8, 1835, still living, 1888. Dra- 
 matic composer and pianist ; studied the 
 piano with Gioacchino Gordoni, harmony 
 and counter-point with Colsou, and compo- 
 sition with Mabellini. He taught nnisic 
 successfully, pul)lished much for the piano- 
 forte, and finally composed for the stage. 
 Works— Opere buffe : I tuttori e le pupille, 
 given at Florence, Teatro della Pergola, 
 18G9 ; II Califlb, ib., 1870. Operette : Gosto 
 e Mea, La secchia rapita (with Gialdini, Fe- 
 
 lici, and Tacchiuardi), 1872 ; L' Idolo Cinese 
 (with Tacchinardi, (Jiaklini, Felici, Usiglio, 
 and Bacchini), 1871 ; Le orfanelle, Florence, 
 1879 ; I pregiudizi della zia Teresa, ib., 
 1880. Ballets : II genio delle colline, Tea- 
 tro Pagliano, 1854 ; II naufragio della fre- 
 gata La Peyrouse, ib., 1859. Besides these, 
 he has published church music, consisting 
 of masses, with orchestral accompaniment, 
 etc.— Fetis, Supplement, i. 169 ; Mendel, 
 Erganz., Gl. 
 
 CHANDOS ANTHEMS, a series of com- 
 positions, music by Handel, written and 
 produced in the chapel at Cannons, during 
 his residence there as musical director to 
 the Duke of Chandos, 1718-20. They are 
 more properly choral cantatas, and they 
 difler from oratorios only in wanting the 
 narrative element. Each one is preceded 
 by a regular overture and divided into a 
 series of airs and choruses, intended for 
 performance by a band, choir, and solo- 
 singers. The MSS. of most of them are in 
 Buckingham Palace. In 1789 Arnold pub- 
 lished twelve of them, as follows : L I will 
 ' magnify Thee. H. Let God arise (in A). 
 m." Let God arise (in B-flat). TV. Have 
 mercy upon me, O God. V. O come, let 
 us sing unto the Lord. VI. O sing unto 
 the Lord a new song. VII. My song shall 
 be alway. VHI. As pants the hai-t. IX. 
 The Lord is my light. X. In the Lord put 
 I my trust. XI. O praise the Lord with 
 one consent. XII. O praise the Lord, ye 
 Angels. — Rockstro, Handel, 10-i. 
 
 CHANDOS TE DEUM, two composi- 
 tions, music by Handel, produced in the 
 chapel at Cannons, 1718-20. One of these, 
 in B-flat, is for five voices, soprano, three 
 tenors, and bass ; the other, in A, for seven 
 voices, soprano, two altos, tenor, and three 
 basses. The MS. score of the first is lost ; 
 that of the second is in Buckingham Palace. 
 They were first published by Arnold.— Rock- 
 ' stro, Handel, 106. 
 
 CHANDOSCHKIN, , born in Russia 
 
 about 1765, died (?). A violinist, by whom 
 are the following works : Six chansons
 
 CHANSON 
 
 russes, vark'es ponr violin, oji. 1. (1795) ; 
 Six chansons, id. (St. Petersburg, 1706j. 
 — Fetis ; Mendel. 
 
 CHANSON DE FORTUNIO, LA (For- 
 tunio's Song), operette in one act, text by 
 Cn'mieux and Jules Servieros, music by 
 Offenbach, represented at the Bouffes Pari- 
 sieus, Paris, Jan. 5, 1861. It is founded on 
 the Chanson de Fortunio in Alfred de Mus- 
 set's "Chandelier," the music of which was 
 composed bj' Otl'enbach in 1848. 
 
 CHANT bu DEPART, LE, a French 
 national hymn, words by Marie Joseph 
 Blaise de Chcnier, music by Mchul ; com- 
 posed for the fete on the fourth anniversary 
 of the taking of the Bastille, July 14, 1794. 
 It created a jirofound impression, was car- 
 ried by the military bands throughout Eu- 
 rope, and exerted almost as great a political 
 influence as the Marseillaise. Of the several 
 French national airs this is the only one 
 written in the Reign of Terror. — Larousse, 
 iii. 939 ; Grove, i. 440. 
 
 CHANTEUSE VOIL^E, LA (The Veiled 
 Singer), opcra-comique in one act, text by 
 Scribe and de Leuven, music by Victor Masse, 
 represented at the Opera Comique, Paris, 
 Nov. 26, 1850. Palamita, servant of the 
 great painter Velasquez, veils herself and 
 sings in the plaza every evening to earn 
 money for the support of her master, who 
 has come to Seville very pooi*. Driven by 
 the persecutions of some cavaliers to seek 
 refuge in his studio, he discovers her iden- 
 tity and, touched by her devotion, deter- 
 mines to marry her. One of Masse's best 
 works. 
 
 CHAPELLE, PIERRE DAVID AU- 
 GUSTIN, born in Rouen in 1756, died in 
 Paris in 1821. Violinist and dramatic 
 composer ; he played first at the Concerts 
 Spirituels concertos of his own, and after- 
 wards became violinist at the Comodie 
 Italienne. His operas were performed at 
 that theatre, and at several others in Paris, 
 but they are not remarkable ; La vieillesse 
 d'Annette et Lubin (1789) was the only 
 successful one. He wrote six concertos for 
 
 violin, duos for two violins, and several so- 
 natas. — Fetis : Mendel. 
 
 CHAPERONS BLANCS, LES, opera-co- 
 mique in three acts, text by Scribe, music 
 by Auber, represented in Paris, April 9, 
 1836. 
 
 CHAPPLE, SAMUEL, born at Crediton, 
 Devon, England, in 1775, died in 1845. 
 Organist, blind from infancy. He began to 
 study the violin at an early age, and when 
 about fifteen received lessons on the piano- 
 forte from Eames, of Crediton, a pupil of 
 Thomas, scholar of John Stanley, all three 
 of- whom were blind organists. He was or- 
 ganist of Ashburton from 1795 to 1835. 
 Among his publications are the following : 
 Three sonatas for pianoforte with accom- 
 paniment for violin ; Five songs and a glee, 
 the words by A. G. C. Tucker ; Six anthems 
 in score ; A second set of anthems in score ; 
 A third set of anthems in score and twelve 
 psalm tunes, and an anthem. — Grove ; Fe- 
 tis ; Mendel. 
 
 CHARBONNIER, Abbe ETIENNE 
 PAUL, born at Marseilles, Dec. 19, 1793, 
 died at Aix, Oct. 7, 1872. Organist, pujiil 
 of the Metropolitan Church of Aix, where 
 he was received as chorister in 1810. In 
 1821 he was ordained a priest, was organist 
 of the cathedral at Aix in 1822-67, and 
 shortly after became honorary canon. He 
 made a study of the old Provencal music, 
 and this gave a tinge to some of his own com- 
 positions, notably to a pastorale proven<;ale. 
 He has published a volume entitled : Noiils, 
 Magnificats, Marche des Rois, arranged for 
 the organ and the harmonium. Otlier 
 works : Fifty cantiques, forty motets, and 
 other church music, two Passions, one for 
 Palm Sunday, the other for Good Friday, 
 with accompaniments of violoncellos, double- 
 basses, and organ. — Fetis, Supplement, i. 
 169 ; Mendel, Ergilnz., 61. 
 
 CHARDAVOINE, JEAN, born in Beau- 
 fort, Anjou, about the middle of the 16th 
 century, living in 1576. Composer of sev- 
 eral collections of songs with the following 
 titles : Recueil de chansons, en mode de 
 
 800
 
 CHARDINY 
 
 vaudevilles, tir^-es de divers auteurs, avec la Copenhagen 18G1 ; Cromwell et Charles 
 musique de leur cbaut commuu (1575) ;: II., by Auatole Olivier, Pans, 1867. 
 
 Kecueil des plus belles chansons moderues 
 mis en musique (Paris, 157G).— Fctis ; Men- 
 del. 
 
 CHAKDINY, LOUIS ARMAND, born m 
 Rouen in 1755, died in Paris, Oct. 1, 1793. 
 Dramatic composer ; he made his debut as 
 a baritone singer at the Opera in 1780, but 
 though his voice was sweet and pure in 
 qualify, he never acquired the art of acting. 
 He wrote the following operas for the Beau- 
 jolais Theatre : Le pouvoir de la nature, La 
 ruse d'amour, 1786 ; Le clavet;in, 1787 ; 
 Clitandre et Cepbise, 1788. For the Como- 
 die Italienne he wrote L'anneau perdu et 
 retrouve, 1787. He wrote also the music 
 for a melodrama called Annette et Basile, 
 and he was one of the first to set to music 
 the two romances, Estelle and Galatoe, by 
 Florian. His oratorio, Le retour de Tobie, 
 was given at the Concerts Spirituels, 1787. 
 — Fetis ; Mendel. 
 
 CHARKE, RICHARD, English violinist 
 of the 18th century, died in Jamaica about 
 1760. He was violinist in the orchestra of 
 the Drury Lane Theatre in 1735, and at the 
 same time actor and dancing master. Dis- 
 sipated habits and an unhappy union with 
 the actress Charlotte Cibber, whom he ill- 
 treated, brought him into trouble, which he 
 tried to escape by emigrating to the West 
 Indies in 1756. He is notable as the first 
 to compose the so-called medley-overtures. 
 — Hawkins ; Mendel. 
 
 CHARLES n.. King of England, subject 
 of the following operas : Karl H., music by 
 Karl Blum, KOnigsberg, 1807 ; Charles the 
 Second, by Henry Rowley Bishop, London, 
 1824 ; Charles II., one act, by Jules Bovury, 
 Paris, 1844 ; King Charles the Second, two 
 acts, text by Desmond Ryan, music by ]Mac- 
 farren, Princess's Theatre, London, Oct. 27, 
 1849 ; Ein Abenteuer Karl's H. (An Advent- 
 ure of Charles H.), text by Mosenthal, mu- 
 
 CHARLES YL, opera in five acts, text in 
 verse, by Casimir and Germain Delavigne, 
 music by Halevy, represented at the Acade- 
 mie Royale de ISIusique, Paris, March 15,^ 
 1843. A patriotic work, the libretto of 
 which deals with the English wars in the 
 time of Charles VI. of France, in which 
 Odette, the daughter of an old guardsman, 
 plays a role similar to that of Joan of Aix. 
 The libretto is well written, the situations 
 are dramatic and interesting, and the mu- 
 sic is full of beauties and well sustained. 
 The opera has been given more than a hun- 
 dred times. 
 
 CHARLOT, JOSEPH AUGUSTE, born 
 in Nancy, Jan. 21, 1827, died in Sevres, 
 August, 1871. Composer, pupil of Zimmer- 
 man at the Conservatoire, Paris, where he 
 carried off many of the first prizes. He 
 finished bis studies under Carafa. He took 
 the first prize for solfege in 1838, when only 
 eleven years old ; second prize for piano- 
 forte in 1839, and the first in 1841 ; the 
 second prize for harmony and accompani- 
 ment in 1841, and the first prize for har- 
 mony in 1842. He obtained also an honour- 
 able mention at the Institut de France in 
 1846, the second prize in 1847, and the 
 cvrand prix de Rome in 1850. He was 
 director of singing at the Opera Comique, 
 composer of many works, some of which, 
 consisting of vocal melodies, choruses, etc., 
 are in MS. M. Hartmann has published a 
 collection of his music entitled, Dix J\Ielo- 
 dies, among them Le geant, written to 
 Victor Hugo's words, a composition replete 
 with inspiration.— Fetis, Supplement, i. 171. 
 CHARMANTE GABRIELLE, French 
 romance, attributed, both words and music, 
 to Henri IV. The Charming Gabrielle is 
 Gabrielle d'Estrees, the mistress of Henri, 
 who sent the song to her in a letter dated 
 May 21 [1597], when he was preparing to 
 
 larles ii. , text uy uiuseuiiun, u....- ^.--v — l j' . . , tjinn. 
 
 .ic bv von Piittlin-^en, Vienna, Jan. 13, leave for the campaign against the Span 
 
 1850 k'ts I Fhu^h (Flight of Charles ! iards. The words of the four couplets were 
 
 II rt'ext by Overskou,musicly Eric Sivori,: probably wx-itten by Bertaut, Bishop of 
 
 SOI
 
 CIlARPENTlEPt 
 
 Seez, and tlie melody is supposed to be 
 older. Fetis attributes it to Eustaebe du 
 Caurroy, maitre de cbapelle to Cbarles IX., 
 Heuri III., aud Henri IV., but tbis is doubt- 
 ful. — Grove, i. 572 ; Larousse, iii. 1024. 
 
 CHAEPENTIEE, MAKC ANTOINE, 
 born iu Paris iu lG3i, died tbere, JMarcb, 
 1702. Dramatic comi^oser, j)upil of Caris- 
 simi at Eome. He was maitre de cba- 
 pelle to tbe Daupbiu, under Louis XIV., 
 and was displaced by Lulli, wbose rival be 
 became, and wbom be sougbt to suri^ass iu 
 dramatic composition. Disgusted witb tbe 
 tbeatre, be finally turned bis attention to 
 cburcb composition, aud became professor 
 of music in tbe Jesuit College, aud maitre 
 de cbapelle of tbe Sainte Cbaiselle, a posi- 
 tion wbicb be occupied until bis deatb. 
 Works — Oj^eras : Circt', given at tbe Tbeatre 
 de la rue Guouegaud, 1675 ; music to tbe 
 Malade imaginaire ; Les plaisirs de Ver- 
 sailles ; La fete de Ruel (about 1690) ; Les 
 arts fiorissants, given iu Paris about 1673 ; 
 Le sort d'Andromede (about 1670) ; Les 
 fous divertissants, Comedie Franyaise, 1680 ; 
 Acteon ; Le jugement de Pan ; La cou- 
 ronue de fleurs ; La serenade ; Le retour 
 du printemps ; Les amours d'Acis et Gala- 
 tee, 1678 ; Medee, 1693. Otber works : 
 Several tragedies spirituelles, Jesuits' Col- 
 lege ; Pastorales ; Motets, masses, etc. — 
 Fetis ; Burney, iv. 607 ; Mendel ; Riemann, 
 156. 
 
 CHAETRAIN, N. , native of Liege, 
 
 died in 1793. Violinist at tbe Opera, Paris, 
 in 1772, and played one of bis own com- 
 positions at the Concerts Spiritnels in tbe 
 same year. Works — Operas : Le Lord sup- 
 pose, played at tbe ComOdie Italienne, 
 Paris, Feb. 22, 1776 ; Alcyone, about 1780. 
 Quartets for 2 violins, viola, and bass, op. 
 1, 4, 5, 6 ; Concertos for violin, op. 2, 3, 
 7 ; Six sympbonies for eigbt parts, op. 6 ; 
 Six duos for violin and viola, op. 9 ; Six 
 trios for two violins and viola, op. 10. 
 —Fetis ; Mendel. 
 
 CHASSE DU JEUNE HENRI, LA, over- 
 ture to tbe opera-comique, Le jeune Henri, 
 
 music by Mebul, first represented at tbe 
 Tbuatre Favart, Paris, May 1, 1797. Tbe 
 ojiera bas survived only in its magnificent 
 overture, wbicb was so entbusiastically re- 
 ceived at its first performance that tbe or- 
 chestra was obliged to repeat it a second 
 and a tliird time. At tbe Exposition uni- 
 verselle, Paris, 1867, it was played with 
 grand effect by three thousand musicians 
 under the direction of Georges Hainl, con- 
 ductor of the Academic de Musique. 
 
 CHASSE, LA, 3 sonatas for pianoforte 
 and violin, in C, F, and A major, by Johann 
 Ludwig Dussek, op. 8. Published by Breit- 
 kojjf & Hiirtel (Leijisic). 
 
 CHASSE, LA, symphony for full orches- 
 tra, by Fran9ois Joseph Gossec. This work 
 suggested to MehvU his Chasse du jeune 
 Henri. 
 
 CHASSE, LA (The Chase), symphony by 
 Josef Haydn, composed in 1781. The last 
 movement, which gave tbe symjihony its 
 name, was composed first, and formed the 
 introduction to tbe third act of Haydn's 
 opera, La fedelta premiata. Tbe first move- 
 ment contains fine details ; tbe andante bas 
 a genuine folk-song theme, pervading the 
 whole movement. Iu tbe lively menuet 
 occurs a bassoon solo. The finale leads us 
 to the bunting ground ; the horns resound, 
 supported by the oboes, and the motives 
 wander from instrument to instrument. 
 Before the repetition of tbe beginning, the 
 united attack of the instruments produces 
 a powerful eftect. Towards tbe close, oboes 
 aud horns give out once more tbe princiisal 
 motive, then cease completely. The otber 
 instruments grow fainter, and gradually 
 die away iu the distance. Haydn arranged 
 this symphony also for pianoforte, in which 
 form it was published by Artaria (Vienna). 
 — Pohl, ii. 191, 268. 
 
 CHASSEUR DANOIS, LE, song for a bass 
 voice, witb pianoforte, by Hector Berlioz. 
 Later addition to the Feuillets d' Album, 
 op. 19 (Paris, Mayaud). 
 
 CHASTAN, JULES, born in Marseilles, 
 April 30, 1837, still living, 1888. Dramatic 
 
 302
 
 CIIASTILLON 
 
 composer, pupil at tlie Conservatoire of 
 Marseilles, and studied iu 185-4 in Italy. 
 He brought out at Naples a mass, for which 
 the King of Naples decorated him. On 
 his return to Marseilles he published sev- 
 eral pieces for the pianoforte and the voice, 
 and brought out an opera, Don Jose de 
 Guadiaua, 1874. He wrote orchestral mu- 
 sic, a march, and a ballet for the drama, 
 Le roi Reue, which was produced at Mar- 
 seilles. Among his publications are : Ee- 
 ceuil de dix melodies ; Souvenir de Koche- 
 Heureuse, violoncelle et piano ; Chant cir- 
 cassien ; Chant d'automne ; Le gondolier ; 
 La feuille envolee ; La mi-re du Cosaque ; 
 Les paquerettes ; L'hymne de I'enfant a son 
 rcveil, romances ; LY-mir de Bengador ; Pre- 
 mier nocturne ; Deuxieme nocturne ; and 
 several pieces of dance music. — Fetis, Sup- 
 plement, i. 173. 
 
 CHASTILLON DE LA TOUR, GUIL- 
 LAUME DE, French musician, living at 
 Caen at the close of the ICth century. He 
 published a collection of airs and chansons 
 with the title : Airs de I'invention de G. D. 
 C. Hr. de la Tour, de Caen, sur plusieurs 
 poemes saints et chrutiens recueillis de di- 
 vers auteurs et divises en trois livres : L 
 De la grandeur de Dieu et de se rejouir en 
 lui ; II. De 1' Amour divin et du Mariage ; 
 TIT. Du Mepris du monde et de I'Esperance 
 en Dieu (Caen, 1593). These airs were 
 in four parts, for tenor, counter-tenor, air, 
 and bass.— Fetis, Supplement, i. 173 ; Men- 
 del, Ergiinz., G2. 
 
 CHASTITY, THOU CHERUB BRIGHT, 
 soprano air iu F major, of Daniel, iu Han- 
 del's Susaima. 
 
 CHAULIEU, CHARLES, born in Paris, 
 June 21, 1788, died in London, April 19, 
 1840. Pianist, pupil of Adam and Catel at 
 the Conservatoire. He settled in London 
 in 1840, as a teacher ; arranged a book of 
 studies, " L'Indispensable," a good elemen- 
 tary work. Works : Sonatas, caprices, 
 rondos, etc., for pianoforte, and arrange- 
 ments from operas.— Fetis ; Mendel ; Schil- 
 ling. 
 
 CHAUMET, WILLIA:M, born in Bor- 
 deaux, April 26, 1842, still livmg, 1888. 
 Dramatic composer. Destined for a busi- 
 ness career, he saved enough from his al- 
 lowance to give himself a musical education. 
 When twenty-three years old he wrote the 
 music to an operetta by Hippolyte Miniei-, 
 entitled Coche, which was never produced. 
 After this he published music for the violin 
 and the pianoforte, a quartet for string in- 
 struments, some romances, etc. In 1872 
 he produced an opera-corn ique, Le pechc de 
 M. Geronte, at the Theatre Lyrique de I'A- 
 thent'e, Paris. In 1873 he wrote the mu- 
 sic for Adolphe Adam's Muhul chez Gluck, 
 which was not brought out owing to the 
 closing of the Ath6nee ; in the same year he 
 produced Idea, at Bordeaux, and in 1875 
 he received the prize of the Institut des 
 Beaux-Ai-ts for the music of Bathyle. His 
 style is modelled on that of Gounod and 
 Bizet, whose sincere admirer he has always 
 been. — Fetis, Supplement, i. 174. 
 
 CHAUVET, CHARLES ALEXIS, born 
 iu Marnes, June 7, 1837, died in Argentan, 
 Jan. 28, 1871. Organist, pupil at the Con- 
 servatoire of Benoist for the organ, and of 
 Ambroise Thomas for fugue and composi- 
 tion. In 1859 he took the second, and in 
 18C0 the first, prize for organ. He was or- 
 ganist of the churches of St. Thomas d'A- 
 quin, of St. Bernard, and of St. Mery, and 
 was chosen organist of the Church of the 
 Trinity when it was erected, in 18G9. He 
 was remarkable for his wonderful powers 
 of improvisation. Works : Vingt morceaux 
 pour orgue, en 4 suites ; Quatre morceaux 
 de genre pour piano ; Quatre oflfertoires de 
 I'Avent a Noel, pour orgue sans pedales, ou 
 harmonium ; Cinq feuillets d'album, idem ; 
 Quinze fitudes preparatoires aux reuvres de 
 Bach, idem ; Cinq offertoires de Noel a I'E- 
 piphauie pour orgue ou harmonium, idem ; 
 Six pieces pour piano, eu deux cahiers, 
 idem ; and many other pieces published in 
 the Maitrise, and other collections of the 
 ' same kind.— Fetis, Supplement, i. 174 ; Men- 
 ': del, Ergiinz., 62 ; Riemann. 
 
 303
 
 CHAUYON 
 
 CHAUVON, 
 
 , French imisiciaii in the 
 
 King's service, about 1740. He composed 
 and published the following works : Les 
 charmes de I'harmonie, et les agrcments 
 ehampetres ; Le philosophe anioureux, can- 
 tata ; Two books of pieces for the voice 
 called Mille et un airs ; and a book of so- 
 natas for the flute alone, with the title, Les 
 Tibiades.— Fotis. 
 
 CHAVAGNAT, ANNE PIERRE tDOV- 
 ARD, born in Paris, Oct. 17, 1845. A blind 
 musician, pupil at the National Institution 
 for the Blind ; and at the Conservatoire 
 (186G), where he studied composition un- 
 der Victor Masst'. He obtained a third ac- 
 cessit for fugue in 1867, the second accessit 
 in 1868, and the first later. Among his com- 
 jjositions are pieces for the voice and 
 choruses with orchestral accompaniment ; 
 and a collection of vocal melodies entitled 
 Mignonne (Paris). — Fetis, Supplement, i. 
 173. 
 
 CHAVfiS, J , born at Montpellier, 
 
 France, in 1770, died in Paris, in 1808. 
 Violinist, pianist, and dramatic composer. 
 He comjjosed the opera, Euee et Laviuie, 
 at the age of fifteen ; his unusual talents 
 bi'ought him into notice in Paris, but he 
 was an inveterate gambler and soon ruined 
 all his j)rospects in life. He published so- 
 natas and romances for the pianoforte and 
 wrote a book : " Rudiment de musique par 
 demandes et reponses," which was published 
 by Olivier and Godefroy (Paris, no date) ; 
 and at one time he served in that j^ublish- 
 ing house as proof-reader, ha\'ing dissipa- 
 ted the entire fortune brought to him by 
 his wife. He ended his life by throwing 
 himself into the Seine. — Fetis; Mendel. 
 
 CHECCHI, RANIERO, born at Pisa, in 
 1749, died at Leghorn, about 1815. Dra- 
 matic composer, received his first musical 
 impressions from Giovanni Gualberto Bru- 
 netti, and finished his studies under Orazio 
 Mei, maestro of the cathedral at Leghorn, 
 where he afterwards lived. He wrote several 
 operas, among them L'eroe ciuese, and pub- 
 lished a great deal of church music. His 
 
 collection entitled Partimenti, is a ^York on 
 harmony. — Fetis ; Mendel. 
 
 CHEFDEVILLE (Chedeville), ESPRIT 
 PHILIPPE, died in Paris, in 1782. He 
 was one of two brothers celebrated for their 
 playing on the musette or French bag-pipe, 
 though his brother, Franyois, was much his 
 inferior. He entered the orchestra of the 
 Opera in 1725 and was pensioned in 1749. 
 Works :. Symphonies, duos jiour deux mu- 
 settes, livre 1 et 2 (Paris). Concerts cham- 
 petres pour deux musettes et basse, op. 3 ; 
 Recueil de vaudevilles, menuets, et coutre- 
 danses pour deux musettes (Paris). — Fetis ; 
 Mendel ; Schilling. 
 
 CHEIN, LOUIS, born at Beaune, about 
 the middle of the 17th century. A chorister 
 at the Sainte Chapelle of the palace, he be- 
 came later its maitre de chapelle. He was 
 choir master of the Cathedral of Quimper- 
 Corentin in the last part of his life. Works : 
 Missa quatuor vocum (1689) ; Missa pro 
 defunetis quatuor voc. (1690) ; Missa quin- 
 que voc. and Missa quatuor vocum (1691). 
 —Fetis ; Mendel. 
 
 CHELA RD, HIPPOLYTE ANDRii 
 JEAN BAPTISTE, born in Paris, Feb. 1, 
 1789, died at Weimar, Feb. 12, 1861. Dra- 
 matic composer, pupil in Paris of Fetis, and 
 at the Conservatoire of Dourlen and Gossec ; 
 won the grand prix de Rome in 1811, and 
 studied in Rome under Baini and Zinga- 
 relli, and in Naples under Paisiello. On his 
 return to Paris at the end of 1816, he en- 
 tered the orchestra of the Oj^era as violin- 
 ist. Disappointed at the small success of 
 his Macbeth, he went in 1827 to Munich, 
 where the same opera, in part rewritten, 
 obtained a complete success, and Chelard 
 was appointed Hof-Kapellmeister. In 1829 
 he went back to Paris and established a 
 music store, which was ruined by the out- 
 break of the revolution in 1830, causing his 
 return to Munich. In 1832-33, he conducted 
 the German opera in London, and in 1836, 
 left Munich, having been appointed Hof- 
 Kapellmeister at Weimar. In 1852-54 he 
 lived again in Paris. Works — Operas : La 
 
 3C4
 
 CHELLERI 
 
 casa da vendere, opera biiffa, given at 
 Naples, 1815 ; Macbeth, Paris, 1827 ; La 
 table et le logement, comic opera, ib., 1829 ; 
 Mitternacht, Munich, 1831 ; Der Student, 
 ib., 1832 ; Die Hermanusschlacht, ib., 1835 ; 
 Der Scheibeutoni, comic opera, Weituar, 
 1842 ; Der Seekadett, do., ib., 1844 ; Le 
 Aquile romane, Milan, 1864 ; Solemn mass ; 
 Cantatas, choruses, etc. — Fetis ; do., Sup- 
 plement, i. 175 ; Mendel ; Riemann. 
 
 CHELLERI, FORTUNATO, born at Par- 
 ma, of German parentage (his father's name 
 was Keller), in 16G8, died at Cassel, in 1757. 
 Dramatic composer, pupil of his uncle, 
 Francesco Maria Bassani, maestro di cappella 
 of the Cathedral of Piacenza, who gave him 
 lessons in singing, on the harjisichord, and 
 in counterpoint. His first efibrt at compo- 
 sition was the opera, Griselda, produced at 
 Piacenza, in 1707. In 1708, he was called 
 to Cremona to write the opening opera of 
 the season ; in Januarj-, 1709, he sailed from 
 Genoa for Spain, visited all the principal 
 cities, and returned to Italy in 1710. At 
 the end of twelve years there was hardly 
 any city of importance in Italy where his 
 operas had not been given. The Bishop of 
 Wtirzburg made him his Kapellmeister 
 about 1722, just after the last of his operas, 
 Zenobia e Radamisto, had been successfully 
 brought out in Venice. In 1725 he became 
 Kapellmeister and director of music to the 
 Landgrave of Hesse-Cassel, and in 1726 
 went to Loudon and published his cantatas. 
 The successor to the Landgrave Charles, 
 afterwards King of Sweden, took him to Swe- 
 den, in 1731 ; but he returned to Cassel in 
 1734. His best known works are : La Gri- 
 selda, given at Piacenza, 1707 ; II gran Ales- 
 sandro, Cremona, 1708 ; La Zenobia in Pal- 
 mira, Milan, 1711 ; L' Atalanta, Ferrara, 
 1713 ; L' Alessandro fra gli Amazzoni, Ven- 
 ice, 1715 ; LaCacciain Etolia, 1715 ; Pene- 
 lope, 1716 ; L' Amalassunte, regina de Goti, 
 1718 ; Alessandro Severe, Brescia, 1718 ; 
 L'Arsacide, Lapaceper amore, Venice, 1719 ; 
 n Temistocle, Padua, 1720 ; Tamerlano, 
 Treviso, 1720 ; L' iunocenza difesa, Venice, 
 
 1721 ; Zenobia e Radamisto, Venice, 1722 ; 
 Amor della patria, 1722. A book of canta- 
 tas and airs (London, 1726). A book of 
 sonatas and fugues for the organ and harp- 
 sichord (Cassel, 1729) ; Psalms, masses, 
 serenades, oratorios, trios, nocturnes, sym- 
 phonies, ouvertures, all published in Ger- 
 many. — Fetis ; Mendel ; Riemann ; Schilling. 
 
 CHENEVILLET, PIERRE, French com- 
 poser of the last half of the 17th century. 
 He was music teacher, and canon of Saint- 
 Victor at Clermont. His works are : Missa 
 quatuor vocum ad imit. mod.; Vota mea 
 Domino (1652) : Missa quatuor vocum ad 
 imit. mod.; Deus ultionis Dominus (1653); 
 Missa quatuor vocum ad imit. mod. ; Indica 
 mihi (Paris, 1672).— Fetis; Mendel. 
 
 CHENIE, MARIE PIERRE, born in Pa- 
 ris, June 8, 1773, died there. May 6, 1832. 
 Organist, pupil of the Abbe Haudinot ; when 
 sixteen years old a mass by him was per- 
 formed in the Church of Saint-Jacques-de- 
 la-Boucherie. He played the double-bass 
 in the orchestra at the Opera, from 1795 till 
 1820, and was afterwards in the orchestra 
 of the Theatre Italien, and in the choir of 
 the Chapelle Royale. At one time also he 
 was organist at the Salpctriere, and was 
 professor of the double-bass at the Conser- 
 vatoire. He wrote masses, motets, three 
 Te Deum, a Regina Cceli, an O Salutaris, a 
 Domine Salvum, etc., and some romances 
 and fugitive pieces. — Fetis ; Mendel. 
 
 CHERBLANC, JEAN LOUIS, born at 
 Morancu (Rhone), March 23, 1809, still liv- 
 ing, 1888 (?). Violinist, first instructed at 
 Lyons, where he joined the orchestra of the 
 Theatre des Celestins in 1825 ; went to Paris 
 in 1829 and became a i^uiail of Baillot at the 
 Conservatoire, winning the second prize in 
 1831 and the first in 1832. After playing 
 in the orchestra of the Opera several years, 
 he returned to Lyons and became solo vio- 
 ' linist at the Grand Theatre. Works : Two 
 i books of duos for violins (Paris, Richault) ; 
 ' Fautaisies, with quartet, op. 3 and 4 (ib.) ; 
 Fantaisie for violin, pianoforte, and quartet 
 1 (ib.) ; etc.— Fetis ; Mendel. 
 
 3U6
 
 CHERET 
 
 CHEEET, PIERRE, born in France, iu 
 1793, died iu August, 1864. Composer of 
 romances and dramatic melodies, such as 
 L'lieureux pilote ; Sur la Falaise ; La m&re 
 de L'Ecossais ; Petite fille ; Le pauvre ma- 
 rins ; La folle de Venise ; Les adieus d'une 
 scEur ; La Creole ; Matelot et mousse, etc. 
 — Fetis, Supplement, i. 175. 
 
 CHERT, VICTOR (Cizos, called), born 
 at Auxerre, March 14, 1830, died by suicide 
 in Paris, Nov. 11, 1882. Violinist, piupil at 
 the Conservatoire, Paris, studied the violin 
 under Massart, gained an accessit in 18-16, 
 the second prize in 1848, and the first in 
 1849. He studied comijosition under 
 Adolphe Adam, and won the second grand 
 prix of the Institut de France in 1855, and 
 in 1857 a prize at Bordeaux for the best 
 opera-comique, producing Une aventure 
 sous la ligue. He served as chef d'orches- 
 tre at the Varietes, the Chatelet, and the 
 Gj-mnase theatres ; wrote the music for 
 several ballets and faii-y spectacles at the 
 Chatelet, and published selections from 
 them for the pianoforte. He wrote also 
 a concerto for violin, with orchestral ac- 
 companiment, which has not been jjub- 
 lished. — Fetis, Supplement, i. 175 ; Rie- 
 mann. 
 
 CHERICI, SEBASTIANO, born near Bo- 
 logna in 1647, died (?). Maestro of the 
 cathedral at Pistoja and of the Aecademia 
 dello Spirito Santo at Fen-ara, iu 1684. 
 He was a member of the Aecademia Filar- 
 monica of Bologna. Works : Inni sacri a 
 2, 3, 4 e 5 voci con violini e senza, op. 1 
 (1672) ; Armouia di divoti concert! a 2 e 3 
 voci, idem (1681 ; 2d edition, Bologna, 
 1698) ; Compieta breve concertata a 3 e 4 
 voci con violini ripieni, op. 3 (1686) ; Mo- 
 tetti a 2 6 3 voci con violini e senza, op. 4 
 (3d ed., 1700) ; Componimenti da camera a 
 due voci (1688) ; Motetti sagri a due e tre 
 voci (1695), dedicated to the Emperor Leo- 
 l)old I.; II Cieco nato, oratorio, da Ghiberto 
 Ferri, da cantarsi nella chiesa della confra- 
 ternita del SS. Saci'amento, eretta in San 
 Lorenzo di Ferrara, posto in musica dal 
 
 signor Sebastiauo Cherici, 1' anno 1679. 
 — Fetis; Mendel. 
 
 CHERON, ANDRE, French composer of 
 the 18th ceutiiry, died iu Paris, 1766. He 
 was mailre de musique at the Ojn'ra in 1734 
 and conductor several years ; in 1750 he was 
 singing teacher, and afterwards music-in- 
 spector, until pensioned in 1758. Pub- 
 lished works : Trios ^Jour fliltes, op. 1 ; Duos 
 et trios pour flutes, op. 2. He wrote also 
 several motets, and is supposed to have 
 written the bass for the sonatas of Leclair ; 
 he composed the music sung to the verses 
 in the tragedy of Nieephore, in 1752. — Fe- 
 tis ; Mendel ; Schilling. 
 
 CHEROUVRIER, EDMOND MARIE, 
 born at Sable, France, Feb. 7, 1831, still liv- 
 ing, 1888. Dramatic composer ; at fourteen 
 years of age he wrote an Ave Maria which 
 was given at the College de Vaugirard. 
 He was a pupil of Leborne in fugue and 
 composition, although not entered as a pu- 
 pil at the Conservatoire ; obtained an hon- 
 oui'able mention from the Institut de France 
 in 1857, and the second grand prix in 1858. 
 In 1865 he brought out an opera, Le roi 
 des mines, at the Theatre Lyrique. This 
 was succeeded by Quentin Metsys, opi'ra- 
 comique, received but never played ; Gilles 
 de Bretagne, opera, and two unfinished 
 ones. La fiancee de Corinthe, and Nicolas 
 Flamel, opera-comique. His church music 
 comprises : Une Messe solennelle pour 
 quatre voix d'hommes ; a Tantum ergo a 
 quatre voix ; an Ave Maria and a Tota pul- 
 chra ; and a Mass, performed at the Church 
 of Montrouge in 1876. Besides these, a 
 collection entitled. Fleurs d'automne, melo- 
 dies vocales. — Fetis, Supplement, i. 176. 
 
 CHERRY, JOHN WILLIAM, born in 
 London, Dec. 10, 1824, still living, 1888. 
 He is the author of more than one thousand 
 songs, duets, and pianoforte compositions. 
 Some of his works, such as Shells of the 
 Ocean and Will-o-the-Wisp, have been very 
 popular. 
 
 CHERUBINI, (MARIA) LUIGI (CARLO 
 ZENOBI SALVATORE), born in Florence, 
 
 am
 
 C11EUU131XI 
 
 Sept. 8, 1760, died in Paris, May 15, 1842. 1 Returniug to London in 1787 he was ap- 
 The son of a musician at the Pergola Theatre, ' pointed composer to the king. It was dur- 
 ing this second visit that he wrote some 
 new music which he introduced into Cima- 
 rosa's Giannina e Beruadone and Paisiello's 
 GU schiavi per 1' amore. He returned to 
 Paris in 1788, and wrote his first French 
 opera, Demophon, which was brought out 
 at the Opera on Dec. 2d, but without suc- 
 cess, Vogel's work on the same theme di- 
 verting pubhc attention from it. Yet Che- 
 rubini's opera, besides being a work replete 
 with beauty, is important as a date both in 
 its composer's life and in the history of 
 French opera. In Dumophon Cherubini en- 
 tered upon his second manner, that elab- 
 orate, learned, and highly finished style of 
 writing for which he is now famous, but 
 which was at that time far beyond the com- 
 prehension of the Paris public. He, how- 
 ever, continued writing Italian operas in the 
 light manner of Cimarosa and Paisiello un- 
 til he brought out his Lodoiska, in 1791. 
 Here the revolution in his style, begun in 
 Demophon, was completed ; the work even 
 caused a thorough revolution in the style 
 of the French dramatic school, and Me-hul, 
 Steibelt, Bertou, Lesueur, and even Gretry 
 followed Cherubini in the (to them) new 
 path he had opened. This style is notice- 
 able for all the perfect co-operation of 
 voices and orchestra, the variety of har- 
 mony, riclmess of instrumentation, and 
 elaborate, almost symphonic, construction 
 
 his talent was evi 
 dent from the first. 
 The elements were 
 taught him before 
 he was sis years 
 old, and at the 
 age of nine he 
 began to study 
 harmony and thor- 
 ough bass under 
 Bartolomeo Fe- 
 lici and his son 
 
 Alessandro. After the death of these 
 teachers, he pursued his studies under Pie- 
 tro Bizzarri and Giuseppe Petrucci, who 
 also gave him some notions of the art of 
 singing. His progress was rapid, and in 
 1773 a mass and an intermezzo of his own 
 were produced at Florence. These works 
 were soon followed by others, which were 
 loudly applauded by the public. The Grand 
 Duke Leopold H., recognizing the boy's 
 genius, gave him a pension in 1778 to en- 
 able him to go to Bologna and complete his 
 studies under Sarti. Cherubini accordingly 
 studied hard for four years under this great 
 master, who trained him not only in all the 
 subtleties of old Italian counterpoint, but 
 confided to him the composition of the mu- 
 sic of the secondary roles in many of his 
 own operas. Indeed, Sarti's scores abound 
 in pieces written by Cherubini. Before 
 quitting his master's school, Cherubini 
 wrote an opera, Quinto Fabio, which was 
 given at Alessandria in 1782, and was fol- 
 lowed by seven other works, brought out 
 at Florence, Leghorn, Rome, Venice, and 
 Mantua. In 1781 he went to London, but 
 the two operas he brought out there did 
 not meet with success. During his stay he 
 added several numbers to the score of Pai- 
 siello's Marchese di Tulipano. He soon 
 went to Paris, with the intention of settling 
 there, but was almost iminediatelv called to 
 
 that we find in Mozart and the great Ger- 
 man composers. Lodoiska was followed 
 by £lisa, and Medee. Unfortunately, these 
 great and beautiful operas had the insuper- 
 able disadvantage of very poor libretti, and 
 hence never became really popular. But, 
 in Les deux journces Cherubini at last 
 found a text worthy of his music, and this 
 opera has generally been considered his 
 masterpiece. In the spring of 1805 Che- 
 rubini accepted an engagement at Vienna, 
 where he wrote Faniska, which had an 
 
 mere, out w:ia iiiuiuftu iiii[iieiii*itci^> ^;iiiic»i i-yj ^ \^ucxc n^ >fi.vy^v> -.. — , 
 
 Turin, where he wrote and brought out his , almo.st unprecedented success, Haydn and 
 opera, Ifigenia in Aulide, with great success. | Beethoven proclaiming its author to be 
 
 807
 
 CHEPtUBINI 
 
 "the first dramatic composer of liis time." 
 This work was long considered the greatest 
 opera since Mozart, and it was thought a 
 ridiculously high compliment to Beethoven 
 when a Vienna critic predicted that Fidelio 
 would cue day be considered as great a 
 work as Cherubiui's Faniska. The occupa- 
 tion of Vienna by the French forced Che- 
 rubiui to return to Paris. Here he wrote 
 Pimmaglione for the Italian oj^era at the 
 Tuileries, the leading jjart being written for 
 Crescentini. But Napoleon never favoured 
 the composer, and Cherubini felt that he 
 had fallen into disgrace in the eyes of the 
 l^ublic. He retired to the country to seek 
 repose of mind at the house of the Prince 
 de Chimay, and began to apply his whole 
 energy to the study of botany. But one 
 day a mass being needed for a certain solem- 
 nity at the Chimay Church, he was per- 
 suaded to compose cue for the occasion, 
 and his gi-eat three-voice mass in F was the 
 result. From this time forward he devoted 
 himself almost exclusively to sacred com- 
 position, in which field he has done prob- 
 ably his greatest work. Upon the restora- 
 tion of the House of Bourbon, the sort of 
 ostracism which had weighed upon Che- 
 rubini was removed, and he returned to 
 Paris. In 1816 he succeeded Martini as 
 superintendent of the king's music, and 
 wrote many masses for the Royal Chapel, 
 but few of which have been published. In 
 the same j'ear he was appointed professor 
 of composition at the Conservatoire, and in 
 1822 director. He continued to hold his 
 post at the Royal Chapel until 1830. He 
 Avas made chevalier of the Legion of Honour 
 in 1814, and afterwards ofiicer ; and was a 
 member of several societies, musical and 
 learned, in and out of France. The " Trea- 
 tise on CounteriDoint and Fugue," published 
 under his name, was not really written by 
 Cherubini himself and never had his sanc- 
 tion. Cherubini had only made a collection 
 of examples for the use of his pupils. This 
 collection was pounced upon by a speculative 
 publisher, and the explanatory text written 
 
 by no one knows whom. The book is full 
 of discrepancies and imperfections. That 
 Cherubini may have intended to write a 
 work of this description is not unlikely, but 
 he evidently abandoned the idea, for he 
 earnestly urged F. J. Fetis to write a text- 
 book of counterpoint and fugue to be used 
 at the Conservatoire, and, on the publica- 
 tion of Futis's book (probably the most 
 thoroughly excellent work on the subject 
 that exists), he gave it his unqualified ap- 
 proval. Cherubini was the most learned 
 and expert contrapuntist of modern times. 
 In grandeur of conception, purity of style, 
 and perfection of form, much of his church 
 music equals the best models. His operatic 
 music suffers somewhat (especially in the 
 eyes of French critics) from his disregard of 
 the requirements of the stage, and the, at 
 times, excessive development of separate 
 pieces. Yet the prime essence of this mu- 
 sic is essentially dramatic and emotional. 
 His musical invention was wonderfully fer- 
 tile, his command of every musical form 
 absolute. He was the only Italian who 
 could hope to vie with the great German 
 composers in the higher departments of 
 instrumental composition. His quartets 
 and overtures are still classics in every con- 
 cert-room. AVorks — Operas : H Qitinio Fa- 
 bio, op. 4:8, given at Alessandria, Piedmont, 
 1780 ; Armida, op. 62, Florence, 1782 ; 
 Adriano in Siria, op. 65, Leghorn, 1782 ; II 
 Meseuzio, oji. 79, Florence, 1782 ; II Quinto 
 Fabio (reset), op. 84, Rome, Teatro Argen- 
 tina, 1783 ; Lo sposo di tre, marito di nes- 
 suna, opera buffa, Venice, Teatro di S.' Sa- 
 muele, 1783 ; L' Idalide, op. 93, Florence, 
 Teatro della Pergola, 1784 ; Alessaudro 
 nell' Indie, Mantua, 1784 ; La finta Princi- 
 pessa, ojsera bufta, op. 101, Loudon, King's 
 Theatre, Hay market, 1785 ; 11 Giulio Sa- 
 bino, op. Ill, ib., 1786 ; Ifigenia in Aulide, 
 op. 131, Turin, Teatro Reale, 1788 ; Demo- 
 phou, op. 135, Paris, Academic Royale de 
 Musique, 1788 ; Lodoiska, op. 182, ib.. The- 
 atre de Monsieur, 1791 ; Elim, ou le voy- 
 age au Mont Saint-Bernai-d, o]y. 209, ib., 
 
 308
 
 CHEUrBI^'I 
 
 Theiitre Fej-deau, 1794 ; Mklie, op. 214, ib., 
 
 1797 ; Uhdlellene portugaise, op. 224, ib., 
 
 1798 ; La puiiitiou, op. 225, ib., 1799 ; La 
 prisonuii-re, pasticcio (with Boieldieu), The- 
 atre Montansier, 1799 ; Les deux journues, 
 op. 229, Theatre Feydeau, 1800 (uuder the 
 title The Water-Car lier, Loudou, 1801) ; 
 Epicure, pasticcio (with Mehul), op. 230, 
 Theatre Favart, 1800 ; Anaereoii, ou rAmoiir 
 fugitif, op. 241, Opera, 1803 ; Achille a 
 Scyros, ballet, op. 24G, ib., 1804 ; Faniska, 
 op. 254, Vienna, Kilrnthuerthor Theatre, 
 1806 ; Pimmaglioue, op. 279, Paris, Palais 
 des Tuileries, 1809 ; Le crescendo, op. 283, 
 ib., Opera Coniique, 1810 ; Bayard a Mezi- 
 6res, pasticcio (with Boieldieu, Catel, and 
 Isouard), ib., 1814 ; Les Abencvrages, op. 
 299, Opera, 1813; Blanche de Provence 
 (with Berton, Boieldieu, Kreutzer, and 
 Paer), ib., 1821 ; Ali Baba, op. 417, ib., 
 1833 ; Koukourgi, op. 204 (1793, not per- 
 formed, and afterwards adapted to Ali 
 Baba); Marguerite d'Anjou (1799, unfin- 
 ished) ; Selico (do.) ; Les Arrets, comic 
 opera (do.) ; An oratorio, op. 17, performed 
 at Florence, 1777 ; Intermezzo, for a The- 
 atre de Societe, Florence, 1773 ; II Giuoca- 
 tore, do., ib., 1775. Cantatas : La pubblica 
 felicita, op. 4, Floreiice, 1774 ; Amphion, 
 op. 112, 1786 ; Circe, op. 136, Paris, Con- 
 cert de la Loge Olympique, 1789 ; La lib- 
 erty, op. 199, 1793 ; Clytemuestre, op. 207, 
 1794 ; Cantate jaour la Goguette, Paris, 
 1812 ; do. pour I'etat major de la garde na- 
 tionale, ib., 1814 ; do., avec choeurs, pour 
 une fete de la ville de Paris, ib., 1814 ; do., 
 pour un banquet militaire, ib., 1816 ; Le 
 mariage de Salomon, ib., 1816 ; Cantate, 
 avec chceurs, pour le bapteme du due de Bor- 
 deaux, 1821 ; Chant sur la mort d'Haydn, 
 Paris, Conservatoire, 1810 ; Ode pour le 
 mariage de 1' Empereur, 1810 ; Inuo alia 
 primavera, Loudon, 1815. Church music ; 
 11 solemn masses, oji. 1 in D (1773), op. 3 
 in C (1774), op. 6 in C (1775), op. 272 in F 
 (1808-9), op. 295 in D minor (1811), op. 325 
 in C (1816), op. 338 in E-flat (1816), op. 
 363 in E (1818), op. 372 in G (for the cor- 
 
 onation of Louis XVm., 1819), op. 385 in 
 B-dat (1821), op. 403 in A (1825, for the 
 coronation of Charles X.) ; Two requiems, 
 op. 349 in C minor (1816), op. 426 in D 
 minor, for male voices (1836) ; 7 motets, 3 
 psalms, 20 autiphones, 14 detached Kyries, 
 3 do. Sanctus, 2 do. Credos, 2 Agnus Dei, 2 
 Glorias, 4 litanies, 2 lamentations, 1 grad- 
 uale, 1 offertory, etc. Other works — Vocal : 
 02 detached airs, 48 romances, 15 nocturnes, 
 14 duets, 9 terzetti, 5 detached canons, 3 
 ariettas, 2 madrigals, 2 quartets, 1 sextet, 36 
 hymns, 14 choruses, 4 sets of solfeggi (com- 
 jjrisiug over 160), etc. Instrumental : 1 
 overture, 1 symphony, 10 sonatas, 11 dances, 
 
 11 marches, 7 Pas redoubles, 6 quartets, in 
 E-flat, C, D, E, F, and A minor, 1 quintet, 
 in E minor, 1 minuet, 1 chacoune, 1 fantasia 
 for piimoforte, 1 capriccio for do., etc. 
 — Adam, Derniers Souvenirs, i. 237 ; Arnold, 
 Luigi Cherubini ; Seine kurze Biographie, 
 etc. (Erfurt, 1809); Bellasis, Cherubini, 
 (London, 1874) ; Berlioz, Memoires (Paris, 
 1878), i. 44, 103, 309, 318 ; Biographie des 
 Hommes vivants (Paris, 1816-17) ; Biogra- 
 phie universelle et portative des Coutem- 
 porains (ib., 1834) ; Botte de Toulmon, 
 Notice des Mauuscrits autograjjhes, etc. 
 (ib., 1843) ; Castil-Blaze (notice in Diction- 
 naire de la Conversation, ib., 1834) ; do. (in 
 Theatres Lyriques de Paris, ib., 1855) ; 
 Choron et Fayolle, Diet. hist, des ]\Iu- 
 sieiens (ib., 1810-17) ; Clement, Les Mu- 
 siciens celebres, 225 ; Denne-Baron, Che- 
 rubini, sa vie, etc. (Paris, 1862) ; Elwart, 
 Hist, de la Societe des Concerts (ib., 1860) ; 
 Gamucci, Intorno alia vitaed alle opere di L. 
 Ch. (Florence, 1869) ; Girod, De la Musique 
 religieuse (Namur, 1855) ; Halevy, fttudes 
 sur la vie, etc. (Paris, 1845) ; The Har- 
 monicon (London, 1825), 167 ; Lomenie, 
 Cherubini, par un liomme de rien (Paris, 
 1841) ; Miel, Notice sur la vie, etc. (ib.,
 
 CHESHIRE 
 
 1835) ; do. (ib., 1842) ; The MusicalWoild 
 (Loudon, 1862) ; Nisard, Notice (Paris, 
 1867) ; Piccbianti, Notizie sulk vita, etc. 
 (]\Iilan, 1843, Florence, 1844) ; Place, Essai 
 sur la Composition, etc. (Paris, 1842) ; Ra- 
 oul-Rocbette, Notice bistorique (ib., 1843). 
 
 CHESHIRE, JOHN, born in Birming- 
 ham, England, March 28, 1839, still living, 
 1888. Harpist, pupil of the Roj'al Academy 
 of Music in 1852-5.5, afterwards of George 
 Alexander Macfarren and John Balsir Chat- 
 terton. He became harpist at the Roj'al 
 Italian Opera in 1855, and at Her Majesty's 
 Theatre in 1865 ; was principal harpist at 
 the Grand Opera, Rio Janeiro, in 1858-61, 
 and made a concert tour through Norway 
 in 1879. Works : Sis romances for the 
 harp (1855) ; Serenade, Don Quixote, for 
 do. ; Album of Harp (24 pieces) ; Miscella- 
 neous music for the harp ; The Buccaneers, 
 cantata for four voices and orchestra (1866) ; 
 The King and the Maiden, do., performed 
 1866 ; Diana, opera (1860) ; Overtures for 
 orchestra in B-flat, D, and F minor ; Piano- 
 forte music, and songs. 
 
 CHESSI, LUIGI, Italian dramatic com- 
 po.ser, author of the following works : La 
 nuova pianella perduta nella neve, oi^eretta 
 in dialogue, given at Milan, Augusst, 1865 ; 
 la Contessa di Medina, Piacenza, April, 
 18G7.— Fetis, Supplement, i. 177. 
 
 CHEVAL DE BRONZE, LE (The 
 Bronze Horse), opera-comique in three 
 acts, text by Scribe, music by Auber, first 
 represented at the Opera Comique, Paris, 
 March 23, 1835. A fairy plot, scene laid in 
 China. It was amusing in its day, but its 
 scenes have become trite through many 
 imitations. It was reproduced in four acts, 
 with additions, at the Academie de Mu- 
 sique, Sept. 21, 1857. It has been fre- 
 quently given in English, as the Bronze 
 Horse, since its production at Drury Lane, 
 London, Jan. 5, 1836. 
 
 CHEVALIER, , French composer, 
 
 flourished in 1587-1617. Violinist in the 
 private band of Henri IV. and Louis XIII. 
 He is best known as a composer of court 
 
 ballets, which he wrote for many public oc- 
 casions. Fetis gives a list of thirty-four of 
 these, with the name and date, some of the 
 most important of which are : Ballet de 
 Tiretaiue, faict le lundi gras, danse au Lou- 
 vre, devaut Henri le Grand ; Le grand bal- 
 let de Nemours, 1604 ; Le grand ballet 
 faict au mariage de Monsieur de Vendome, 
 a Fontainebleau, 1609 ; Le ballet des gens 
 de la reine Marguerite, 1609 ; Le ballet de 
 Monsieur le Dauphin, Louis XIII., 1609 ; 
 Le recit des dames, from the Ballet des 
 Amoureux coutrefaits, which is found in 
 Airs de cour mis en tablature de luth, 
 par Gabriel Bataille, Paris, 1611.— Fetis ; 
 Mendel ; Schilling. 
 
 CHEVALIER LUBIN, LE, opera-co- 
 mique in one act, text by Michel Carre and 
 Victor Perrot, music by Adrien Boieldieu, 
 represented at the Theatre des Fantaisies 
 Parisiennes, Paris, May 23, 1866. The 
 Chevalier de Simiane, in love with the Com- 
 tesse Rosiue, who has ordered her gates 
 closed against him, disguises himself as a 
 peasant and hires himself out to her as a 
 gardener. The Marquis de Beautreillis, her 
 kinsman, seeks to amuse himself by ex- 
 changing clothes with the false Lubin, who 
 plays the part of a gentleman so dextrously 
 as to win the heart of the Comtesse. The 
 music is agreeable and ap2)ropriate to the 
 text. 
 
 CHEVALIER NAHEL, LE, French opera 
 in three acts, music by Litolff, represented 
 at Baden-Baden, Aug. 10, 1863. Scene in 
 the Thirty Years' War. The Chevalier Na- 
 hel is a corrupt genius who plays the part of 
 a traitor, and whose death serves as the de- 
 nouement of the piece. It contains some 
 good numbers, and the music generally is 
 well adapted to the libretto. 
 
 CHEVILLARD, PIERRE ALEXANDRE 
 FRANCOIS, bornat Antwerp, Jan. 15, 1811, 
 still living, 1888. Virtuoso on the violon-' 
 cello, first instructed in his native city, then 
 pupil of Norblin at the Conservatoire of 
 Paris, won the second prize in 1826, and 
 the first in 1827 ; studied composition 
 
 810
 
 CHTARA 
 
 under Futis, became solo violoncellist at 
 the Thi'atre du Gymnase, and in 1831, at 
 the Theatre Italien. Having formed a 
 quartet to play the last productions of 
 Beethoven's genius, he made a concert tour 
 through Germany in 1855 and 1856, win- 
 ning much applause. In 1859 he became 
 professor at the Conservatoire. Works : 
 Concerto for violoncello and orchestra ; 
 Quartet for two violins, viola, and violon- 
 cello ; 15 melodies for violoncello and or- 
 chestra or pianoforte ; Fantaisie for violon- 
 cello and pianoforte ; Lamenti, adagio and 
 finale, for do. ; Andante and Barcarole, with 
 quartet and pianoforte ; Method for violon- 
 cello. — Fetis ; Mendel. 
 
 CHIARA DI ROSEMBERG, Italian opera 
 in two acts, text by Gai'tauo Rossi, music 
 by Luigi Ricei, first represented at Milan, 
 1831, and then at the Theatre Italien, Paris, 
 Nov. 6, 1833. Subject from " Siege de La 
 Rochelle," by Mnie de Genlis. It had been 
 treated previously by Generali, in 1821. 
 
 CHIARELLI, ANDREA, born in Mes- 
 sina, Sicily, about 1675, died there in 1699. 
 Lutist and instrumental composer ; stud- 
 ied music at Rome and Naples, where he be- 
 came a proficient on the archlute. When 
 he returned to his own city, he was received 
 with honour, and devoted the rest of his life 
 to the jjerfecting of his instruments. He 
 constructed several theorbos and archlutes 
 on new principles, which are yet considered 
 the best ever made. Fetis had one of these 
 in his collection, with the date, 1098. 
 Works : Suouate musicali di violini, or- 
 gano, violone, ed arciliuto (Naj)les, 1699). 
 —Fetis ; Mendel. 
 
 CHIARINI, PIETRO, born in Brescia, 
 Italy, in 1717, died (?). Harpsichordist and 
 dramatic composer, author of the following 
 woi'ks : L' Achille in Sciro, given in Brescia, 
 1739 ; Statira, Teatro di S. Giovanni Chry- 
 sostomo, Venice, 171:'2 ; Meride e Seliuunte, 
 Brescia, 1744 ; Argenide, ib., 1745. — Fetis ; 
 Mendel. 
 
 CHIAROMONTE, FRANCESCO, born 
 at Castrogiovauni, Sicily, in 1814, died at 
 
 Brussels, Oct. 15, 1886. Dramatic com- 
 poser, pupil at Palermo of Pragusa and 
 Raimondi, then at Naples of Donizetti. 
 He abandoned law for music, and, gifted 
 with a tine voice, entered the royal chapel 
 at Palermo, whence King Ferdinand II. in- 
 vited him to Naples ; about 1844 he brought 
 out his first opera, and soon after became 
 conductor of the orchestra at the Teatro 
 San Carlo, and professor of singing at the 
 Conservatorio. Imjjlicated in the revo- 
 lutionary distui-bances of 1848, he was im- 
 prisoned for twenty-two months, and exiled 
 in 1850, when he went to Genoa and 
 brought out several oj^eras. In or about 
 1855 he went to Paris, where he became 
 chef du chant at the Theatre Italien, and 
 afterwards at the Italian Opera in London. 
 In 1862 he settled at Brussels to teach vocal 
 music, and became professor at the Con- 
 servatoire in 1871. Works — Operas: Feni- 
 cia, given at Naples, Teatro del Fondo, 1844 ; 
 Catarina di Cleve, ib., Teatro San Carlo, 
 1850 ; Armando il gondoliere, Genoa, Teatro 
 Carlo Felice, 1851 ; Giovanna di Castiglia, 
 ib., 1852 ; Manfredo, Trieste, 1853 ; Le 
 nozze di Messina, Venice, Teatro Fenice, 
 1853 ; Ines di Mendoza, Milan, Scala, 1855 ; 
 Fingal, 1855 ; Una burla per correzioue, 
 Genoa, Teatro Paganini, 1855 ; Mass, per- 
 formed at Sainte-Gudule, Brussels ; Hiob, 
 biblical opera, ib.. Conservatoire, 1884. He 
 also published a Methode de chant in three 
 parts. — Fetis, Supplement, i. 178 ; Riemann. 
 
 CHIAULA, MAURO, born in Palermo, 
 about the middle of the 16th century, died 
 in 1600. Benedictine monk of the convent 
 of S. Martino, of that city ; composer of 
 church music. Works : Sacrse cantiones, 
 quae octo, turn vocibus, tum variis iustru men- 
 tis concinni possunt (Venice, 1590). — Fetis ; 
 Mendel. 
 
 CHIAVACCI, MNCENZO, born in Rome 
 in 1760, died in Warsaw in 1815. Dramatic 
 composer, first known through his operas 
 produced in Milan. In 1801 he was di- 
 rector of the Opera Bouife in Warsaw. 
 Works — Operas : Alessaudro nell' Indie, 
 
 311
 
 CHIEN 
 
 given in Milan about 178G ; II tilosofo im- 
 postore, ib., about ISOl ; Quattro jjarti del 
 mondo. Besides these he published twelve 
 Ariette per il clavicembalo (Vienna, 1799). 
 — Fetis ; Mendel. 
 
 C'HIEN DU JAEDINIER, LE (The Gar- 
 dener's Dog), opera- coinique in one act, text 
 by Lockroy and Cormon, music by Albert 
 Grisar, represented at the Opera Comique, 
 Paris, Jan. 16, 1855. Plot original, illus- 
 trating the caprices of a village coquette. 
 The score is one of the composer's best 
 works. 
 
 CHILCOT, THOJUS, organist of the 
 Abbey Church at Bath from 1733 until late 
 in the last centurj'. He was the composer 
 of two sets of concertos for the harpsichord 
 and of Twelve English Songs, the words by 
 Shakespeare and other celebrated poets. 
 He was the first master of Thomas Liuley. 
 — Grove ; Fetis ; Mendel. 
 
 CHILD, WILLLIM, born in Bristol, 
 England, in 1606, 
 died in Windsor, 
 March 23, 1697. 
 (Jrganist and 
 church composer ; 
 Mus. Bac, Oxford, 
 1631 ; Mus. Doc, 
 1G63. He was 
 chorister of Bris- 
 tol Cathedral un- 
 der Elway Beviu, 
 organist of St. George's Chapel, Windsor, 
 in 1632, and afterwards of the Chapel Royal. 
 Some of his church services and anthems 
 are printed in the collections of Boj-ce and 
 Arnold, in Smith's "Musica Antiqua," and 
 man}' more are extant in manuscript in the 
 choir books of various cathedrals. Works : 
 Choice Musick to the Psalms of David for 
 three voices, with a continuall Base, either 
 for the organ or theorbo (1656) ; Divine 
 anthems and vocal compositions to several 
 pieces of Poeti-y ; Catches in Hilton's Catch 
 that Catch Can (1652) ; Playford's Musical 
 Companion (1672), and some compositions 
 on Court Ayres. — Grove ; Fetis ; Mendel ; 
 
 Barrett, English Church Composers, 69 ; 
 Harmonicon (1832), 192. 
 
 CHILDREN IN THE WOOD, THE, 
 English opera, music by Samuel Arnold, 
 represented at the Haymarket Theatre, 
 London, in 1793. 
 
 CHILPERIC, oi)era-bou£fe in three acts, 
 text and music by Herve, represented 
 at the Folies Dramatiques, Paris, Oct. 24, 
 1868. 
 
 CHI m FRENA. See Lucia. 
 
 CHIMfiNE. See Cid. 
 
 CHINELLI, GIOVANNI BATTISTA, It- 
 alian composer of the 17th century, whose 
 history is not known. He was the author 
 of the following works, quoted by Walther, 
 in his Musical Lexikon : Conzertirende Mes- 
 sen, von 3, 4, und 5 Stimmen, nebst 2 Vio- 
 linen a bene placito, 1 Th. ; Idem, 2 Th.; 
 Idem, 3 Th. ; Motetti a voce sola (1630) ; 
 Madrigali a 2, 3, 4, con alcune canzonette 
 a due violini, lib. 1, op. 4. ; Complete, Anti- 
 foue, Letanie della B. V., concertate a 
 quattro voci e due violini, op. 6 (Venice, 
 1639) ; II quarto libro de' Motetti a 2 e 4 
 voci con violini, 0)5. 9 (ibid., 1652). — Fetis; 
 Mendel. 
 
 CHINZER, JOHANN, German composer 
 of the 18th century. Little is known of 
 him excepting that he lived in 1754 in 
 Paris, where he published the following 
 works : Un livre de sonates pour deux vio- 
 lons ; Trois livres de sonates en trios pour 
 violon ; Un livre de sonates jJour la flute 
 seule ; Deux livres de sonates pour deux 
 violoncelles. Fetis thinks he may be the 
 same as the Chinzer who published some 
 music in London with the title : Un ceuvre 
 de duos pour deux violons, en 2 suites 
 (Preston, London, 1791). — Fetis ; Mendel. 
 
 CHIOCCHETTI, PIETRO \7NCENZ0, 
 born at Lucca in 1680, died Feb. 2, 1753. 
 Dramatic composer. Among his works are : 
 L' ingratitudine castigata, ossia 1' Alarico, 
 opera, produced at Ancona, in 1719 ; and La 
 Circoncisione, oratorio, Venice, 1729. — Fe- 
 tis ; do., Supplement, i. 180 ; Mendel ; do., 
 Erganz., 63.
 
 CIIIPP 
 
 CHIPP, EDMUND THOMAS, born in 
 London, Dec. 25, 182:5, died at Nice, Dec. 17, 
 1886. Organist and 
 violinist, son of Thomas 
 Paul Cliipp, harpist 
 (1793-1870); pupil at 
 the Chapel Royal of 
 William Hawes, and 
 studied the violin 
 under J. B. Nadaud, 
 and Tolbecque (1832- 
 40). He was organist 
 of manj' churches, inchiding Holy Trinity, 
 Paddiugton, in 1856-G2, St. George's, Bel- 
 fast, 1862-66, and of Ely Cathedral from 
 1866 until his deatli. Mus. Bac, Cam- 
 bridge, 1859 ; Mus. Doc, 1860. Mr. Chipp 
 was one of the best of English organists, 
 and his works are in constant use in the 
 British churches. He was a member of 
 Her Majesty's private band (1843-55), and 
 of the Royal Italian Opera, the Philhar- 
 monic, and the Sacred Harmonic Society 
 bands, a member of the Royal Society of 
 Musicians, and an examiner at the Univer- 
 sity of Cambridge and at Trinity College, 
 Loudon. Works : Job, oratorio, 1858 (No- 
 vello & Co.) ; Naomi, sacred idyl, 1868 
 (Novello & Co.). Church Music: Services 
 in A, D, and E ; Anthems — Lord of all 
 power. The Lord hath been mindful. As I 
 live, saith the Lord (Novello & Co.) ; 3 
 Glorias ; Music for the Church Service and 
 Home Circle ; Hymns, etc. Organ INIusic : 
 Introduction and variations on Handel's 
 "The Harmonious Blacksmith," 1843 ; do. 
 ou Haydn's " God preserve the Emperor," 
 Birmingham Festival, 1847 ; 24 sketches 
 for organ; 14 compositions for do.; Many 
 studies and arrangements. Pianoforte mu- 
 sic ; Songs, etc. 
 
 CHITI, GIROLAMO, Italian church com- 
 poser of the Roman school, born aljout the 
 end of the 17th century. He was made 
 second maestro di cappella of San Gio- 
 vanni in Laterano in 1726, as coadjutor to 
 Gasparini, whom he succeeded in 1727. 
 Works ; Mass for four voices, Fuge dilecte ; 
 
 do., Tempus est breve ; jMissa de Feria ; 
 Mass for six voices ; do. for eight ; Bene- 
 dictus for holy week ; 2 Christus factus est ; 
 2 Miserere for four voices ; Veni, Sponsa 
 Christi for four voices ; Sub tuum presi- 
 dium, for do. ; Dextera Domini, for do. ; 
 Salvator muudi for eight voices. — Fctis ; 
 Mendel. 
 
 CHI TI SALVA. See Aida. 
 
 CHMELENSKt, WENZEL, born at Ba- 
 vorov, Bohemia, in 1736, died there in 
 1793. Organist in his native place, where 
 his numerous works are still preserved in 
 the choir archives. His sons, Franz (1775- 
 1803), and Johann (1778-1864), were also 
 composers, the former of church music, the 
 Latter of Bohemian national songs. — Men- 
 del. 
 
 CHOICE OF HERCULES, musical in- 
 terlude, music by Handel, given at Coveut 
 Garden, London, March 1, 1751. The score 
 is dated at the beginning, June 28, 1750, 
 and at the end, July 5, 1750. It embodies 
 nearly all the music of an earlier dramatic 
 piece with different words, called Alceste, 
 published by Arnold, 1790, under the title 
 of Alcides, which was never performed. 
 The libretto, founded on an episode related 
 by Xenophon, is compiled from Joseph 
 Spence's " Polymetis." The characters rep- 
 resented are : Pleasure, Virtue, Hercules, 
 Chorus of attendants on Pleasure, Chorus 
 of do. on Virtue. Published first by 
 Walsh ; in full by Hilndelgesellschaft 
 (Leipsic, 1864).— Rockstro, Handel, 319 ; 
 Schoelcher, Handel, 318. 
 
 CHOLLET, LOUIS FRANCOIS, born 
 in Paris, July 5, 1815, died there, March 
 21, 1851. Organist and pianist, pupil at the 
 Conservatoire, of Zimmerman on the piano- 
 forte, and of Benoist on the organ, for 
 which he obtained the first prize in 1833. 
 He was organist in several churches of 
 Paris. His compositions consist of fantai- 
 sies, rondos, variations, duos, etc. — Fetis. 
 
 CHOPIN, (FRANgOIS) FREDERIC, 
 born at Zela Zowa Wola, near Warsaw, 
 March 1, 1809, died in Paris, Oct. 17, 1849. 
 
 313
 
 cHOPm 
 
 Joseph Eisner. 
 
 His fatlier, Nicolas Chopiu, was a Frencli- 
 man, born at Nancj-, who went to Warsaw 
 as private tutor, became 
 professor at the War- 
 saw Lycee, and after- 
 wards set up a jjrivate 
 school of his own. 
 Frederic's mother, Jus- 
 tine Kryzanowska, was 
 a Pole. He was edu- 
 cated at his father's 
 school, and studied mu- 
 sic under Zywny and 
 His earliest comjjositions 
 were dances. At nineteen he was already 
 a virtuoso of the first rank. In 1828 he 
 set out for Paris, giving concerts on the 
 way at Vienna and Munich. In Paris he 
 almost immediately became the centre of 
 a circle of admirers, among the most ar- 
 dent of whom was Liszt. He led a re- 
 tired life, teaching and composing, but 
 rarely jilaying in public. In 1836 he made 
 the acquaintance, through Liszt, of George 
 Sand, an event which had a considerable 
 influence on his future. Contrary to the 
 generally received idea, he enjoyed per- 
 fectly good health, although not of a robust 
 jihj-sique, until 1838, when bronchitis de- 
 clared itself, and he went with George Sand 
 to j)ass the winter in Majorca. His liaison 
 with her lasted until about 1846, when she, 
 after putting him into her novel " Lucrezia 
 Floriaui " as Prince Karol (a total distortion 
 of his character), got tired of him. Saving 
 his visit to Majorca, a short visit to London 
 in 1848, where he gave two jjrivate con- 
 certs, and an equally short one to England 
 and Scotland in 1849, he never left Paris. 
 He was buried at P6re-la-Chaise, between 
 the graves of Bellini and Cherubini. Schu- 
 mann has called Chopin " the boldest and 
 proudest spirit of the times." During his 
 lifetime he was too often looked upon as 
 merely a gifted amateur ; but he was really 
 a musician of very sound training and a 
 subtile harmonist. As a composer, he was 
 not only original, but absolutely unique ; 
 
 he wrote almost entirely for the pianoforte, 
 and his compositions have never been 
 equalled in the way in which they are 
 adapted to the peculiar character of that in- 
 strument. Everything he wrote seemed to 
 be inspired by the very nature of the piano- 
 forte itself. His best known works are his 
 mazurkas and nocturnes, but, to learn his 
 true greatness, one must turn to his con- 
 certos, scherzos, and ballades. Liszt al- 
 
 ways called his B minor sonata his greatest 
 work. As a pianist he was noted for im- 
 mense brilliancy, consummate grace, and 
 the most appealing depth of sentiment ; 
 but also for a capriciousness in tempo and 
 rhythm which led Berlioz to say : "Chopin 
 ill endured the curb of musical time, and 
 in my opinion, j^ushed rhythmic independ- 
 ence much too far ... he could not 
 play regularly." Works : 2 Concertos, in 
 E minor, op. 11, in F minor, op. 21 ; Al- 
 legro de Concert, op. 46 ; 4 Ballades, op. 
 
 23, 38, 47, 52 ; Barcarolle, op. 60 ; Berceuse, 
 op. 57 ; Bolero, op. 19 ; Duo concertant 
 (with Franchomme) ; 3 Ecossaises, op. 72 ; 
 12 Grandes Etudes, op. 10 ; 12 Etudes, op. 
 25 ; 3 do.; 4 Fantaisies, op. 13, 49, 61, 66 ; 
 3 Impromptus, op. 29, 36, 51 ; Krakowiak, 
 grand Kondeau de Concert, op. 14 ; Marche 
 funi'bre, op. 72 ; 52 Mazurkas, op. 6, 7, 17, 
 
 24, 30, 33, 41, 50, 56, 59, 63, 67, 68 ; 19 
 Nocturnes, op. 9, 15, 27, 32, 37, 48, 55, 62, 
 
 72 ; 12 Polonaises, op. 3, 22, 26, 40, 44, 53, 
 61, 71 ; 24 Preludes, op. 28 ; Prelude, op. 
 45 ; 5 Rondos, op. 1, 5, 14 (Krakowiak), 16, 
 
 73 (for 2 pianofortes) ; 4 Scherzos, op. 20, 
 31, 39, 54 ; 4 Sonatas, op. 4, 35, 58, 65 
 (with violoncello) ; Tarentelle, op. 43 ; Trio 
 for pianoforte, violin, and violoncello, op. 
 8 ; 13 Valses, op. 18, 34, 42, 64, 69, 70 ; 
 Variations (La ci darem la mano), op. 2 ; 
 (Je vends des scapulaires), op. 12 ; do. on a 
 German national air (posth.) ; Variation 
 dans I'Hexameron : Morceau de concert. 
 
 314
 
 CHORAL 
 
 etc., sur la Marclie des Puri tains de Bel- 
 lini ; Sixteen Polish songs, for a voice, 
 with pianoforte, op. 74. — Barbedette, Chopin 
 (Paris, 1869) ; Ehlert, Aus der Tonwelt 
 (Leipsic, 1882) ; Fetis ; Huefter, in Fort- 
 nightly Review (1877), xviii. 377 ; Larousse ; 
 Liszt, F. Chopin (Paris, 1852) ; Karasowski, 
 Friedrich Chopin, seiu Leben, etc. (Dresden, 
 1877) ; Mendel ; Sowiuski ; Theinatisches 
 Verzeichniss (Leijisic, Breitkopf & Hiirtel). 
 
 CHORAL FANTASIA. See Fantasie mit 
 Chor. 
 
 CHORAL SYMPHONY. See Sinfonie 
 mit Schlusschor. 
 
 CHORON, ALEXANDRE ETIENNE, 
 born in Caen, Oct. 21, 1771, died in Paris, 
 June 29, 1834. Composer and critical 
 writer ; at first self-taught in music, but 
 subsequently a jjupil of Rose in harmony 
 and of Bonesi and other Italian professors. 
 He published in 1804 Principes d'accom- 
 pagnement des Ecoles d'ltalie, written with 
 Frocchi, and in 1808 Priucipes de compo- 
 sition des Ecoles d'ltalie (3 vols.), through 
 which he introduced into France Sala's 
 practical e.Kercises in fugue and counter- 
 point, Marpurg's treatise on fugue, exer- 
 cises from Padre Martini's Esemplare, and 
 a new system of harmony of his own. He 
 was director of the music of the Fetes pvih- 
 liques from 1812 to the fall of Napoleon, 
 director of the Academie Royale de Mu- 
 sique in 1816-17, and founder of a school 
 of music which became famous under gov- 
 ernment support in 1824-30, under the title 
 of Institution Royale de Musique Classique 
 et Religieuse, and in which many noted 
 musicians were educated. He composed 
 some music, but his best title to fame is 
 the influence which he exercised on musical 
 education in France. Works : Collection 
 de romances et autres poosies raises en mu- 
 sique (Paris, 1806) ; Notes fran9aises et 
 italiennes sur Leo, Jommelli, Pierluigi da 
 Palestrina, Josquin Depres, in Collection 
 generale des ouvrages classiques de mu 
 sique ; Dictionnaire historique des musir 
 cieus, Choron et Fayolle, 2 vols. (1810- 
 
 1811) ; Mothode eh'mentaire de musique et 
 de plain-chant (1811) ; Traite general des 
 voix et des instruments d'orchestre, par 
 Francceur, revised (1813) ; Bibliotheque 
 encyclopedique de musique (1814) ; Me- 
 thode coucertaute de musique a plusieurs 
 parties, translation of Albreclitsberger 
 (1817) ; Methode de plain-chant from 
 tlie same, and Manuel complet de musique 
 vocale et instrumentale, ou Encyclopedie 
 musicale, also from Albrechtsberger (this 
 work was left unfinished, and published by 
 his assistant, Adrien de la Faye, after his 
 death, 6 vols., 2 vols, of examples (Paris, 
 1836-38). Besides these he published : 
 Livre choral de Paris, etc. (1817) ; Me- 
 thode concertante de musique (1817) ; Me- 
 thode de plain-chant (1818) ; Instruction 
 abreg6e (1819) ; Methode de chant (1821) ; 
 Chants chorals des Eglises d'Allemagne 
 (1822) ; Hymues pour toutes les fetes de 
 I'annee ; Messe a 3 voix sans accompagne- 
 ment. Dixit Dominus, Magnificat, Laudate, 
 15 motets, and other church music. — Fetis ; 
 Gauthier, Eloges (Caen, 1845) ; A. de la 
 Faye, Eloges (Paris, 1843) ; Grove. 
 
 CHOTAS, max, born at Chotesan, Bo- 
 hemia, May 8, 1831, still living, 1888. Or- 
 ganist, pupil in Prague of Josef Krej6i, 
 Franz Blazek, and Pitsch on the organ, and 
 of Horak in singing ; went as choir-master 
 to Temesvar, Hungary, in 1855, and in the 
 same capacity has been at Pelhrimov, Bohe- 
 mia, since 1862. Among his compositions 
 are several masses, graduals, offertories, 
 hymn for mixed chorus and orchestra, and 
 many choruses for male and mixed voices. 
 —Mendel. 
 
 CHOTEK, FRANZ XAVER, born at 
 Liebisch, Moravia, Oct. 22, 1800, died in 
 Vieinia, May, 1852. Composer, pupil in 
 Vienna of Henneberg and of Secbter. 
 Works : Potpourris sur des motifs de I'As- 
 sedio di Calais de Donizetti (Milan, Ri- 
 cordi) ; Beautes des operas de Bellini (ib.) ; 
 Rimembranze delle laguue (ib.) ; Antho- 
 logie musicale, fantaisies sur les motifs fa- 
 voris d'operas nouveaux (ib.) ; Rondinetto ;
 
 CllOUDENS 
 
 Variations brillantes in E-flat ; Rondino 
 bi-illaut ; La gaite, rondo for two and four 
 hands ; Marclie courageuse, and many others. 
 —Mendel ; Scliilling ; Wurzbach. 
 
 CHOUDENS, ANTONY, boru in Paris in 
 1849, still living, 1888. Dramatic composer, 
 son of the music publisher. He published 
 a collection entitled Dix melodies, one of 
 which, Uu dernier baiser, became well 
 known (1870), and later grew into Vingt 
 melodies (1873). Of these, one, A uue 
 etoile, with orchestral accompaniment, was 
 sung at the Concerts-Danbt'. He lias writ- 
 ten the music of an opera, Graziella, to the 
 libretto of Jules Barbier ; another. La jeu- 
 nesse de Don Juan, to a poem of Louis 
 Gallet ; and has published pieces for piano- 
 forte, and several Essais symphouiques. 
 — Fetis, Supplement, i. 181. 
 
 CHRi^TIEN, CHARLES ANTOINE, one 
 of the musicians of the king's chapel, Pa- 
 ris, about the middle of the 18th century. 
 He published : Pieces de diftV'rents auteurs, 
 mises en trios pour les violons (Paris, 1751) ; 
 and produced an opera, Les Precautions 
 inutiles, at the Comcdie Italieune (1760). 
 — Fetis ; Mendel. 
 
 CHRISTENIUS, JOHANNES, German 
 composer of the 17th century, born at Butt- 
 stiidt, Thuringia. In the early part of the 
 century he was cantor at the court of the 
 Elector of Saxony, and he was also a musi- 
 cian at Altenburg. Works : Selectissima 
 et nova cantio quam Valedictionis erga de- 
 dicat Patronis, a6vocibus (Jena, 1G09) ; Mu- 
 sikalisehe Melodias mit i Stimmen gesetzt 
 (1616) ; Giilden Venus-Pfeil, in welcher zu 
 finden, newe weltliehe Lieder, teutsehe und 
 poluische Tanze (1619) ; Symbola Saxon- 
 ica, Fiirtslicher Personen taegliche Gedeuk- 
 spriiche mit 3 Stimmen gesetzt (Leipsic, 
 1620) ; Coniplemeutum, und drifter Theil 
 Fest Yud Aposteltagiger evangelischer 
 Spriiche, so Melchior Vulpius abergangen, 
 mit 4-8 Stimmen (Erfurt, 1621) ; Omni- 
 geni mancherley Manier newer weltliclier 
 Lieder, Paduans, etc. (Erfurt, 1619).— All- 
 gem, d. Biogr., iv. 144 ; Futis ; Mentlel. 
 
 CHRISTIANELLI, FILIPPO, maestro di 
 cappella at Aquila, kingdom of Naples, about 
 the beginning of the 17th century. Works: 
 Salmi a cinque voci (Venice, 1626). — Fetis ; 
 Mendel. 
 
 CHRISTINA DI SVEZIA (Christina of 
 Sweden), Italian opera, text by Romani, 
 music by Sigismuud Thalberg, represented 
 at the Court Theatre, Vienna, June 3, 185.5. 
 The hbretto, from Alexandre Dumas's 
 "Christine" and Laube's " Monaldeschi," 
 illustrates the eccentric career of Christina, 
 daughter of Gustavus Adoljihus, and Queen 
 of Sweden. The same subject is treated in 
 Christina di Suezia, music by Nini, Genoa, 
 1840 ; and by Lillo, Naples, 1841. Also in 
 Christine von Schweden, German opera in 
 three acts, text by Tempeltey, music by 
 Rederu, given at the Royal Theatre, Berlin, 
 1860. 
 
 CHRISTMANN, JOHANN FRIEDRICH, 
 born at Ludwigsburg, Wiirtemberg, Sept. 
 9, 1752, died there May 21, 1817. Amateur 
 performer on the harpsichord and flute. 
 Educated at Tubingen University, he be- 
 came a Lutheran clergyman, and in 1783 
 was appointed minister in his native town. 
 He published, between 1790 and 1800, 
 much music for the voice and for pianoforte, 
 violin, and flute, highly esteemed in Ger- 
 man}'. His Elementarbuch der Tonkust 
 is in two parts with a book of examples 
 (Spires, 1782, 1790). He arranged a valu- 
 able collection of hymns with Knecht, en- 
 titled : Vollstrmdige Sammluug, many of 
 the hymns being of his own composition, — 
 Allgem. d. Biog., iv. 223 ; Fetis ; Mendel ; 
 Schilling. 
 
 CHRISTMAS ORATORIO, Bach. See 
 Weihnai-hU Oratorium. 
 
 CHRISTO, Frade 10 AO DE, born in Lis- 
 bon, about the beginning of the 17th cen- 
 tury, died at Alcoba5a, July 30, 1654. 
 Church composer and organist. Machado 
 quotes the following works (Bibl. Lusit., ii. 
 636),-, as the best known of his composi- 
 tions : Texto de Paixoens que se cantao 
 em a Semana Santa, composto a 4 vozes ;
 
 CHPJSTO 
 
 Calendas do Natal, e de S. Bernardo a 4 
 vozes. These are all iu MS. — Fctis ; Men- 
 del ; Vasconcellos, 47. 
 
 CHRISTO, Fra LUIZ DE, born in Lis- 
 bon, iu 1625, died iu Calcado, iu 1693. 
 Church composer, and organist of his con- 
 vent at Calcado. He left the following 
 ■works in MS. : Paixoens dos quatro Evan- 
 gelistas, a 4 voces ; Li(;oens de defunctos 
 motetes e vilhaucicos. — Fetis ; Mendel ; 
 Vasconcellos, 48. 
 
 CHRISTOFORUS (Christ-bearer), can- 
 tata (legend), jroem by F. vou Hoffnaass, 
 for baritone, soprano, and alto solos, chorus, 
 and orchestra, by Joseph Itheiuberger, op. 
 120, written in 1879. Subject, the story of 
 the giant who bears the infant Christ on his 
 shoulders across the river. Published by 
 Kistuer (Leijisic, 1885). — UiDton, Standard 
 Cantatas, 304. 
 
 CHRISTOPHE COLOMB, descriptive 
 symphony, by Felicien David, first per- 
 formed in Paris, 1847. 
 
 CHRISTUS, oratorio, by Frieddch Kiel, 
 composed in 1874 ; first given in Berlin, 
 April 4, 1874. Given by the Milwaukee 
 (Wis.) Musikverein, 1879. 
 
 CHRISTUS, oratorio for soli, chorus, or- 
 gan, aud full orchestra, by Liszt, finished 
 in 1866. Given first iu Rome, in the Sala 
 Dantesca, July 6, 1867. The first part was 
 given in New York by the Oratorio So- 
 ciety, in 1876, and the entire work, March 3, 
 1887. First Part : Weihuachts-Oratorium. 
 1, Introduction ; 2, Pastorale ; 3, Stabat ma- 
 ter preciosa, hymn ; 4, Song of the Shep- 
 herds at the manger ; 5, The three Holy 
 Kings, march. Second Part : After Epiph- 
 any. 6, The Beatitudes ; 7, The Prayer ; 8. 
 The Foundation of the Church; 9, The 
 Miracle ; 10, The Entry into Jerusalem. 
 Third Part: Passion and Resurrection. 11, 
 Tristis est anima mea ; 12, Stabat mater ; 
 13, O Filii et Filise, Easter hymn ; 14, 
 Resurrexit. — Nohl ; Upton, Standard Ora- 
 torios, 186 ; Musik. Wochenblatt (1886), 
 385, 398, 411 ; Krehbiel, Review (1886-87), 
 135. 
 
 CHRISTUS, oratorio projected by Men- 
 delssohn as the third of a trilogy with St. 
 Paul and Elijah, but left unfinished. The 
 libretto was written by Chevalier Bunsen 
 in 1844, but was much changed by Mendels- 
 sohn, who began the comjjosition of the 
 music after finishing Elijah. The fragment 
 consists of eight numbers of recitatives and 
 choruses, three in the first part, aud five 
 in the second part. They were published 
 soon after his death (op. 97) ; and were 
 first performed at the Birmingham (Eng- 
 land) Musical Festival, Sejst. 8, 1852. Giv- 
 en by the Handel and Haydn Society, Bos- 
 ton, May 7, 1874. 
 
 CHRISTUS AM OELBERGE (Christ on 
 the Mount of Olives), oratorio, text by 
 Franz Xaver Huber, music by Beethoven, 
 op. 85, composed iu the summer of 1801, 
 first performed in Vienna, Ajjril 5, 1803 ; 
 published by Breitkopf & Hiirtel (Leipsic, 
 1811). The work 023ens with Christ's 
 praj'er for comfort and strength ; a seraph 
 appears, and with the chorus of angels 
 praises the Redeemer's goodness. Christ 
 and the seraph in conversation. The Sa- 
 viour jjrays for deliverance from death, but 
 ends by submitting to the will of the 
 Father. The soldiers appear to take him ; 
 their alia marcia movement is interrupted 
 by a terzetto between Christ, the seraph, 
 and Peter, whose part is treated in the 
 style of the bufl'o parlante. The taking of 
 Christ ends the action ui^ou earth. Above 
 the angels sing their song of praise in motet 
 form. In his latter years the composer was 
 of the opinion that he had conceived his 
 subject too theatrically. — Marx (Berlin, 
 1875), i. 239; Thayer, "Verzeichniss, 35; 
 von Lenz, Beethoven, ii. 220. 
 
 CHEOMATISCHE FANTASIE, a brill- 
 iant composition in D minor for clavier by 
 Johaun Sebastian Bach, followed by a mas- 
 terly three-voice fugue. It is one of the 
 most generallj' j)lajed of Bach's larger 
 clavier works. 
 
 CHURCHILL, , English composer in 
 
 London, at the end of the 18th century. He 
 
 S18
 
 ClLrSTROVIUS 
 
 publislied the following works : '■i sonatas 
 for pianoforte with violin accompaniment ; 6 
 duets for two violins, op. 2 ; 3 sonatas for 
 pianoforte, with violin, op. 3 ; duets for 
 violin and alto (1793).— Futis ; Mendel. 
 
 CHUSTKOVroS, JOHANNES, director 
 of the Church of St. Nicolas, Liineburg, 
 about the beginning of the 17th century. 
 Works: Sacn« cantiones quinque, sex et 
 octo vocibus ita compositiB, ut non solum 
 viva voce commodissime cantari, sed etiam, 
 ad omnis generis instrumeuta optime ad- 
 hiberi possint (Frankfort, 1603).— Fetis ; 
 Mendel. 
 
 CHWATAL, FRANZ XAVEE, born at 
 Eumburg, Bohemia, June 19, 1808, died at 
 Elmen, near Magdeburg, June 21, 1879. 
 Pianist, first instructed by his father, an 
 organ builder ; appeared in public when 
 eight years of age, was settled at Merse- 
 burg as a teacher in 1822-35, when he 
 studied composition by himself, and after- 
 wards at Magdeburg. He published about 
 250 works, mostly for the pianoforte, and 
 his two Methods for the same, op. 93 and 
 op. 135, have been introduced in many in- 
 stitutions. — Mendel ; Eiemann. 
 
 CIAJA, AZZOLINO BERNARDINO 
 BELLA, born in Siena in 1671, died after 
 1733 (?). Organist and composer ; he pre- 
 sented in 1733 an organ to the Church of 
 the Order of St. Stephen, Pisa (of which 
 Order he was a knight), which is still one 
 of the finest in Italy. Published works : 
 Salmi concertati (Bologna, 1700) ; Cantate 
 da Camera (Lucca, 1701, Bologna, 1702) : 
 Sonate per cembalo (Rome, 1727).— Fetis ; 
 Mendel. 
 
 CIAMPALANTI, , one of the musi- 
 
 cians of Louis XV. He published in 1764 
 a collection entitled : Six Ariettes fran- 
 yoises dans le gotU Italien avec accom- 
 pagnement d'un violon et d'une basse, 
 suivies d'une cantate dctachee a grande 
 symphonie. — Fetis, Supplement, i. 183. 
 
 CIAMPI, FRANCESCO, born at Massa 
 di Sorrento, kingdom of Naples, in 1704. 
 Dramatic composer and violinist ; took up 
 
 his residence in Venice in 1728, and brought 
 out nearly all his operas there. The best 
 known are : Ouorio, given at Venice, 1729 ; 
 Adriano in Siria, ib., 1748 ; II negligente, 
 ib., 1749 ; Catone in TJtica, ib., 1756 ; Gian- 
 guir, ib., 1760 ; Amore in caricatura, ib., 
 1761 ; Antigono, ib., 1762. Burney men- 
 tions a ^lass, and a Miserere for eight voices, 
 with instrumental accompaniment, which 
 were held in great estimation.— Fetis ; Men- 
 del ; Schilling. 
 
 CIAMPI, LEGRENZIO VINCENZO, 
 born near Piacenza in 1719. Dramatic 
 composer, pupil of Roudini, maestro di 
 cappella at Piacenza ; he went to London 
 in 1748 with a company of Italian singers. 
 Dr. Burney says he had great tire and 
 ability, but no genius. Works— 0])eras : 
 L'Arcadia in Brenta, given in Italy about 
 1739 ; Bertoklo alia corte, Piacenza, about 
 1748 ; Gli tre cicisbei ridicoli, Loudon, 
 1748 ; Adriano in Siria, ib., 1750 ; II tri- 
 onfo di Camillo, ib., 1750 ; Didone, ib., 
 1754. Published instrumental music, songs, 
 a mass (1758), now in the Royal Library, 
 Berlin.— Grove ; Fetis ; Mendel. 
 
 CIANCHETTINI, PIO, born in London, 
 Dec. 11, 1799, died at Cheltenham in 1851. 
 Pianist, son and pupil of Veronica Cian- 
 chettini; appeared in public as an infant 
 prodigy in 1804, and was called the English 
 Mozart in Holland, Germany, and France, 
 where he travelled with his father in the 
 year following. Afterwards he accom- 
 panied Madame Catalani on her concert 
 tour through England. Works : 2 con- 
 certos for pianoforte; Fautaisies for do.; 
 Variations for do.; Cantata for two voices 
 with chorus (words from Paradise Lost) ; 
 Pope's Ode on Solitude ; 60 Italian notturni 
 for two, three, and four voices, with piano- 
 forte ; Benedictus for three voices ; etc. — 
 Fetis ; Mendel. 
 
 CIANCHETTINI, VERONICA, born at 
 Czaslau, Bohemia, in 1779, died in London 
 in 1833. Pianist, daughter and pupil of 
 Johanii Joseph Dussek, who was the organ- 
 ist and chief musician of Czaslau. In 1797 
 
 319
 
 CIANCHI 
 
 she -n'ent to Lonrlon to join her brother 
 Johann Ladislaw Dussek, aud mai-ried there 
 Francesco Cianchettini. Among her works 
 are two concertos and several sonatas for 
 the pianoforte.— Grove ; Fetis ; MendeL 
 
 CIANCHI, EMILIO, born in Florence, 
 March 21, 1833, still living, 1888. Dra- 
 matic composer, pnj)il of Iguazio Colson and 
 Ermanno Picchi. He became known, when 
 only twenty-one years old, by the perform- 
 ance of his oratorio, Giuditta, 1854. Works 
 — Operas : Salvator Eosa, Florence, Teatro 
 Pagliano, 185-5 ; II saltimbanco, ib., 1856 ; 
 La vendetta, ib., 1857 ; Leone Isauro, Tu- 
 rin, Teatro Regio, 1862. His Requiem 
 Mass, performed in Santa Croce, Florence, 
 on the anniversary of the death of King 
 Charles Albert, and of the martyrs of Italian 
 independence (1873), added to his renown. 
 He is secretary of the Royal Musical Insti- 
 tute and the Musical Academy at Florence. 
 — Fetis, Supplement, i. 183. 
 
 CIBBINI, KATHERINA, born in Vienna 
 in 1790, died there in 1858. Pianist, 
 daughter and pupil of the Bohemian com- 
 poser and Hof-Kapellmeister in Vienna, 
 Leopold Kozeluh, aud pupil of Clementi. 
 Works : Introduction et Valuations (Vienna, 
 Haslinger) ; ImjDromptu (ib.) ; Marche et 
 Trio (ib.) ; 6 valses, (ib.) ; etc. — Mendel; 
 Schilling. 
 
 CIBOT (Cybot), , French musician of 
 
 the 16th century. In the famous collection 
 of French chansons for four voices pub- 
 lished by Pierre Attaignant, about 1530, 
 are two chansons by Cibot: Ayer ne puis 
 celle, and, Amye, tu as sur moi trop. — Fetis, 
 Supplement, i. 182 ; Mendel, Ergiinz., 64. 
 
 CIBULKA, ALOJS, born in Prague, Feb. 
 22, 1768, died at Totis, Hungary, in 1845. 
 Instrumental and vocal composer ; he 
 studied in Prague, became Correpetitor at 
 the National Theatre at Gratz, Styria, in 
 1794, and musical director of the Gei'man 
 Theatre at Pesth in 1798, the management 
 of which he assumed in 1810. After his 
 resignation in 1823 he was made choir-mas- 
 ter of the parish church. While living at 
 
 Pesth, he gave lessons to Stephen Heller 
 in 1826. He may be looked upon as the re- 
 former of dance music in Bohemia. Pub- 
 lished works : 12 songs from celebrated po- 
 ets with pianoforte accompaniment (Prague, 
 1781) ; 14 wedding songs in German with 
 pianoforte (Leipsic, 1793) ; German dance 
 with twelve variations (Brunswick, 1794) ; 
 3 cantatas : Separation, the Spinner, and 
 the Trials of Lotte, from Werther (Munich, 
 1798). Many other compositions are men- 
 tioned by Fetis. — Fetis ; Mendel ; Schil- 
 ling. 
 
 CICCARELLI, ANGELO, born at Te- 
 ramo, in the Abruzzi, Jan. 25, 1806, still liv- 
 ing, 1888 (?). Church composer, pupil at 
 Lanciano of the organist Filippo Gianni, 
 then at the Conservatorio, Naples, of Cres- 
 centiui in singing, and of Zingarelli in com- 
 position. In 1829 he settled in Dresden, 
 where he was much esteemed as a vocal 
 teacher, and also as a member of the royal 
 chou\ Works : Stabat Mater for 4 female 
 voices ; Requiem Mass for 4 voices ; Two 
 Misse di Gloria ; Te Deum ; Catherine de 
 Guise, lyric drama ; many vocal composi- 
 tions. — Fetis, Supjslement, i. 183 ; Mendel. 
 
 CID, LE, the Spanish national hero, Ruy 
 Diaz da Bivar, called by his compatriots El 
 Campeador (The Warrior) aud by the Moors 
 El Seid (whence Cid), is the hero of several 
 operas. Italian opera in three acts, music 
 by Sacchini, first represented in Rome, 
 1762, as Chimena, and at the King's The- 
 atre, London, 1773, as II Gran Cid ; played 
 with great success in Paris at the Opera, 
 Feb. 9, 1784, as Chimene, ou Le Cid, with 
 a French adaptation of the text by Guillard, 
 and with Madame de Saint-Huberti in the 
 principal part. H Gran Cid, music by Pic- 
 einni, represented at Naples, 1763 ; music 
 by Paisiello, Florence, about 1776. H Cid 
 delle Spagne, music by Fariuelli, Italy, 
 about 1797. II Cid, three acts, text by 
 Jacopo Ferretti, music by Luigi Savj, Parma, 
 1834. Der Cid, German opera, music by 
 Neeb, Frankfort, 1857 ; text and music by 
 Peter Cornelius, Weimar, 1865. Le Cid,
 
 CIERA 
 
 French opera, text by Denuery, Gallet, and 
 Blau, music by Massenet, represented in 
 Paris, Dec. 1, 1885 ; the conijjoser's best 
 work. Chimene, German grand oijera in 
 three acts, music by Charles Wagner, Darm- 
 stadt, 1821. The same subject is treated in 
 liodrigo, Itahan ojjera, music by Handel, 
 Florence, 1708 ; nuisic by Sapienza, Naples, 
 1823 ; Rodrigo und Chimene, German opera, 
 by Aiblinger, Munich, 1821 ; Chimene et 
 Kodrigue, French opera, by Salieri, Paris, 
 1788 (not performed) ; Eodrigo di Valenzia, 
 Italian opera, by F. Orlandi, about 1815 ; 
 by Generali, Milan, 1817 ; Rodrigue de To- 
 lede, French opera, by H. Litolif, Paris, 
 about 1850 (not performed). Don Rodrigo 
 Diaz da Bivar, der Cid, German grand opera 
 in four acts, text bj' Karl Schmidt, music 
 by Emil Meyer, Linz, 1848 ; Cid, music by 
 Willy B5hme, Dessau, Feb. 18, 1887. 
 
 CIERA, IPPOLITO, born in Venice about 
 1512, died after 1569. Dominican monk, 
 and com2)oser of madrigals published under 
 the following titles : Madrigali del labirinto 
 a quattro voci, libro primo (1554, reprint) ; 
 II primo libro de' Madrigali a 5 voci (Venice, 
 1561). There are five other books of madri- 
 gals for 5 voices. The sixth book has for 
 title : Madrigali a 5 voci, libro sesto (Rome, 
 1623). In a collection of madrigals which 
 bears the title : II Bel Giardino di fiori mu- 
 sicali (Venice, 1587), there are two of Ciera's 
 compositions. — Fetis ; Mendel. 
 
 CIFOLELLI, GIOVANNI, Italian dra- 
 matic composer who settled in France about 
 1764. He wrote for the Conu'die Italienne 
 the following works : L'ltalienue, comic 
 opera in one act, words by Framery, 1770 ; 
 Pierre et Lucette, 1774. He also published 
 a Methode de Mandoline (Paris). — Fetis ; 
 Mendel. 
 
 CIFRA, ANTONIO, born in Rome about 
 1575, died at Loreto after 1629. A pupil 
 of Palestrina and Bernardino Nanini, he was 
 first maestro at the German college at 
 Rome ; in 1610-20" he occupied a similar 
 position at Loreto, and then for two years 
 in S. Giovanni in Laterano, Rome ; after 
 
 which he entered the service of the Ai'ch- 
 duke Charles, brother of Emjaeror Ferdi- 
 nand n. In 1629 he returned to Loreto, 
 where he remained until his death. Cifra 
 was one of the leading composers of the 
 " great " Roman school ; like most of the 
 immediate followers of Palestrina, he showed 
 in his later compositions that he felt the in- 
 fluence of the change that was then taking 
 place in musical feeling, and he entered 
 into the more modern spii-it of the times 
 more thoroughly than might have been ex- 
 pected of one who had won great renown 
 as a complete master of the stile osservato. 
 He was a voluminous composer, and many 
 of his works were published. Works : 1, 
 Motetti a due, tre e quattro voci, five books 
 (Rome, Soldi, 1600-1609) ; 2, Salmi per li 
 vesperi, three books (Rome, 1601-1609) ; 3, 
 Salmi e motetti a 8 voci (Rome, Zanetti, 
 1610) ; 4, Madrigali a cinque voci, three 
 books (Venice, Vincenti, 1610-1615) ; 5, 
 Motetti a due, tre e quattro voci (Venice, 
 1611) ; 6, Salmi spezzati a 4 voci (Rome, 
 Robletti, 1611); 7, Litanie a 8-12 voci 
 (Rome, 1613) ; 8, Scherzi ed arie a 1, 2, 3 e 
 4 voci, per can tar nel clavicembalo, chitar- 
 rone, o altro simile istromento (Venice, 
 1614) ; 9, Several sets of Madrigals (Venice, 
 1616-1623); 10, Cinque libri di Messe 
 (Rome, Soldi, 1619-1625) ; 11, Ricercari e 
 cauzoni francesi a 4 voci (Rome, Soldi, 
 1619) ; 12, Motetti a 4, 5, 6, 8 voci (Rome, 
 Robletti, 1620) ; 13, Antifone e motetti per 
 tutto r anno a 2, 3, 4, 5 voci (Rome, Gri- 
 gnani, 1625) ; 14, Motetti e salmi a 12 voci, 
 a tre cori (Venice, 1629) ; 15, Concerti ec- 
 clesiastici (posthumous), ten sets, contain- 
 ing over 200 motets (Rome, Antonio Pog- 
 gioli, 1638). The title-page bears a portrait 
 of Cifra, tetatis 45. — Ambros, iv. 98. 
 
 CIGALE ET LA FOURMI, LA (The 
 Grasshopper and the Ant), animal comic 
 opera, music by Edmond Audran, repre- 
 sented at the Theatre de la Gaite, Paris, 
 Oct. 30, 1886. 
 
 CBIA, ANDREA, born in Milan, about 
 the close of the 16th centurj'. Organist, 
 
 381
 
 CIMA 
 
 brother of Giovanni Paolo Cinia. He was 
 maestro di cappella of the Church della 
 Rosa, and subsequently of the Church of 
 Sta. INIaria, Bergamo, one of the most im- 
 portant positions of the kind in Italj'. 
 Works: Concerti a 2, 3 e 4 voci, lib. 1 
 (Milan, 1614) ; Concerti a 2, 3 e 4 voci, lib. 
 11 (Venice, 1627).— Fctis ; Mendel. 
 
 CBIA, ANNIBALE, Italian composer of 
 the 16th century. Several of his madrigals 
 ai'e in the collection entitled : De' floridi 
 virtuosi d' Italia, il terzo libro de' madri- 
 gali a cinque voci nuovamente composti e 
 dati in luce. (Vicenza, Giacomo Vincenti, 
 1568.)— Fetis ; Mendel. 
 
 CIMA, GIOVANNI BATTISTA, born in 
 the latter part of the 16th century. Organ- 
 ist of the Church of S. Nazaro, Milan, but 
 towards the close of his life retired to Son- 
 drio, a little town of the Valtelliua. Works : 
 2 books of concerti for two, three, and four 
 parts (Milan, 1626). In the Catalogue of 
 the Ivings of Portugal are 2 of his books 
 of motets for 4 voices. — Fetis ; Mendel. 
 
 CIMA, GIOVANNI PAOLO, born in 
 Italy about 1570, died (?). Oi'ganist, maes- 
 tro di cappella of the Church of S. Celso, 
 Milan. He is best known by his canons, 
 several of which Padre Angleria has in- 
 serted in his " Eegole del Contrappunto." 
 Padre Martini gives an ingenious one as an 
 example in his " Essai fondameutal pratique 
 de contrepoint fugue." Published works : 
 Motetti a quattro (1599) ; Eicercate per 
 r organo (Milan, 1602) ; Canzoui, conse- 
 quenze, e contrappunti doppj, a 2, 3, e 4 
 (ib., 1609) ; Concerti ecclesiastici, a 1, 2, 3, 
 4, e 8 voci con partitura (ib., 1610). — Fetis ; 
 Mendel. 
 
 CIMA, TULLIO, born at Ronciglione, 
 beginning of the 17th century. Church 
 composer who published the following 
 works : Sacrse cantiones. Magnificat, etc., 
 2, 3 et 4 vocum, lib. 1 (1639) ; Sacrarum 
 modulationum 2-5 vocum concin. liber quar- 
 tus (Rome, 1648) ; Salmi, Messa e Letanie 
 della B. M. V. a 3 voci, op. 7 (ib., 1673). 
 This last is a reprint. — Fetis ; Mendel. 
 
 CIMADOR, GIAMBATTISTA, born in 
 Venice, in 1761, died in London about 
 1808. Violinist, violoncellist, and pianist ; 
 said to have been a pupil of Haydn in com- 
 position. He produced an opera : Pimma- 
 glione, Venice, 1788, which, not satisfied 
 with, he destroyed, renouncing dramatic 
 composition. Cherubini afterwards used the 
 words of several of the scenes for his Pimma- 
 glione. Cimador settled in Loudon in 1791, 
 and became known by his arrangement of 
 Mozart's symphonies as 12 sextets for the 
 King's Theatre orchestra. He wrote some 
 vocal and instrumental music. — Grove ; Fe- 
 tis ; Mendel. 
 
 CIMAROSA, DO:\IENICO, born at 
 Aversa, near Na- 
 ples, Dec. 17, 
 1749, died in Ve- 
 nice, April 5, 
 1801. His pa- 
 rents were work- 
 people of the 
 humblest class ; 
 his mother's con- 
 fessor, Padre 
 Porzio, organist 
 at a Neajjolitan 
 convent, was so struck with the boy's talent 
 that he gave him music lessons, and finally 
 agreed to be responsible for his entire edu- 
 cation. He accordingly had him take sing- 
 ing lessons of Aprile, and in 1761 jjut him 
 at the Conservatoi'io Santa Maria di Loreto, 
 where he remained until 1772, studying 
 composition under Fenaroli, until he had 
 acquired that perfect and elegant style which 
 characterized composers taught at the Na- 
 ples Conservatorio in the 18th century. In 
 1772 he wrote his first opera bulfa, Le 
 stravaganze del conte, and from this mo- 
 ment to his death his career was an un- 
 broken chain of brilliant successes. From 
 1772 to 1780 he lived alternately at Rome 
 and Naples, writing twenty operas, among 
 them L' Italiana in Londra. In 1 780 Cima- 
 rosa's fame was so well established that he 
 was regarded as the worthy rival of Paisiello,
 
 CIMAKOSA 
 
 who Lad, up to tbat time, occupied the first 
 place among opera composers in Italy. 
 Cimarosa's operas were given all over 
 Europe. In 1787 be accei^ted the invita- 
 tion of Catherine IE., to come to St. Peters- 
 bui-g, where he held the position of cham- 
 ber composer to the Czarina for several 
 years. But the rigor of the Russian climate 
 at last forced him to return south, and in 
 1792 he succeeded Salieri as court Kapell- 
 meister at Vienna, ou the invitation of Leo- 
 pold II. Here he wrote his famous II ma- 
 trimonio segreto, which has always been 
 considered his masterpiece. On the Em- 
 peror's death iu the same year, Salieri was 
 again appointed Kapellmeister, and in 1793 
 Cimarosa returned to Naples, where he was 
 welcomed back with unbounded enthusiasm. 
 He wrote many admirable operas, until his 
 strong republican feelings, openly expressed 
 when the French army entered Naples in 
 1799, got him into trouble with the govern- 
 ment ; he was imprisoned and condemned 
 to death, but King Ferdinand was prevailed 
 upon to reprieve him ou condition of his 
 leaving Naples. He set out for St. Peters- 
 burg, but got no farther than Venice, where 
 he died of an abdominal tumor. The 
 strangest rumors were current concerning 
 his death, the general opinion being that 
 he was poisoned by order of the govern- 
 ment. Dr. Giovanni Piccioli, by order of 
 the court, published a cii'cular in which 
 the character of the mortal disease was set 
 forth, but even this official document was 
 not universally believed. Cimarosa is one 
 of the great composers whose works have 
 most unjustly been banished from the mod- 
 ern stage. His genius was of the finest, 
 his fertility of melodic invention positively 
 astounding, and, unlike most composers 
 who have become especially famous for 
 their melodic fecundity, he Avas a master of 
 musical form. To great skill in treating 
 the voice, and unsurpassed grace of melody, 
 he added a rare power of musical develop- 
 ment and a masterly use of the orchestra. 
 Of all Italian writers he most resembled 
 
 IMozart ; if he lacked somewhat of I\Iozart's 
 depth of sentiment, he fully equalled him 
 in humor and comic force. His greatest 
 work was in opera buffa, yet some of his 
 serious operas still deserve an honored place 
 ou the stage. He was the first to introduce 
 concerted pieces into the dramatic action 
 itself. A bust of Cimarosa was ordered of 
 Cauova by Cardinal Consalvi, who also took 
 charge of the composer's obsequies ; the 
 bust was for a long time in the church of 
 La Rotouda (Pantheon), at Rome ; it has 
 since been moved to the Capitol, where it 
 now is. Works, all operas, except where 
 otherwise specified : 1. Giuditta, oratorio, 
 Rome, 1770 ; 2. Le stmoaganze del conte, 
 Naples, 1772 ; 3. Le pazzie di Stellidaura e 
 Zoroastre, ib., 1772 ; 4. La fiuta Parigina, 
 Naples, 1773 ; 5. L' Italiana iu Londra, 
 i Rome, 1774 ; 0. La donna di tutti caratteri, 
 Naples, 1775 ; 7. La Frascatana nobile, ib., 
 1 1776 ; 8. Gli sdegni per amore, ib., 1776 ; 
 9. Matrimonii in ballo, ib., 1770 ; 10. II 
 fanatico per gli antichi Romaui, Naples, 
 1777; 11. Le stravaganze d' amore, ib., 
 1777; 12. La contessina, Naples, 1777; 
 13. II giorno felice, cantata, 1777 ; 14. Te 
 Deum, 1777 ; 15. I due baroni, Rome, 1777 ; 
 16. L' amor costaute, Naples, 1778 ; 17. 
 II matrimonio per 1' industria, ib., 1778 ; 
 18. Finti uobili, Naples, 1778 ; 19. L' Ar- 
 mida immagiuaria, Naples, 1778 ; 20. Gli 
 amanti comici, ib., 1778 ; 21. II duello 
 per complimento, Rome, 1779 ; 22. II 3fa- 
 triinonio per raggiro, ib., 1779 ; 23. La 
 Circe, cantata, 1779 ; 24. II rilorno di Don 
 Calandrino, Rome, 1779 ; 25. Litanies, 
 1779 ; 26. Cajo Mario, Rome, 1780 ; 27. 
 H mercato di Malmautile, ib., 1780 ; 28. 
 Assalonte, Florence, 1780 ; 29. L' infedelta 
 felice, Naples, 1780 ; 30. II faleguame, Na- 
 ples, 1780 ; 31. L' aviso ai maritati, ib., 
 1780 ; 32. L' amante combattuto dalle don- 
 ne di punto, ib., 1781 ; 33. II trioufo della 
 religione, oratorio, 1781 ; 34. Alessandro 
 neir Lidie, Rome, 1781 ; 35. Artaserse, 
 Turin, 1781 ; 36. II capriccio drammatico, 
 ib., 1781 ; 37. II martirio di Sau Gennaro,
 
 CIMOSO 
 
 Naples, 1781 ; 38. L' amor contrastato, ib., 
 1782; 39. II whvzVo di pietra, Venice, 1782; 
 40. La ballerina amante, Naples, 1782 ; 41. 
 Nina e Martufifo, 1782 ; 42. La villaua ri- 
 couosciuta, Naj^les, 1783 ; 43. Oreste, Na- 
 ples, San Carlo, 1783 ; 44. L' eroe cinese, 
 ib., Aug. 13, 1783 ; 45. II jjiHore Parigino, 
 Eome, 1783; 46. Chi d' altrui si veste presto 
 si spoglia, Najjles, 1783 ; 47. II baroue bur- 
 lato, Venice, 1784 ; 48. L' OHmpuuh', Na- 
 ples, 1784; 49. Due suppositi couti, Milan, 
 1784; 50. Le statue parlauti, ib., 1784 ; 51. 
 Two Masses, of which one is a Requiem, 
 1784 ; 52. II marito disperato, Naples, 
 1785 ; 53. II credulo, ib., 1785 ; 54. La 
 donna al' sue peggior sempre s' appiglia, 
 ib., 1785 ; 55. Gli amauti alia i^rova, ib., 
 1786 ; 56. La nascita del Delphiuo, can- 
 tata, 1786 ; 57. Le trame deluse, Naples, 
 1786 ; 58. L' impremrio in angustie, ib., 
 1786 ; 59. La baronessa Stramba, ib , 
 1786 ; 60. II sacrifizio d'Abramo, ib., 1786 ; 
 61. II Valdomiro, ib., 1787 ; 62. H fantaico 
 burlato, Naples, 1787; 63. Le feste d' Apol- 
 lo, ib., 1787 ; 64. Gianniua e Bernadone, 
 Naples, 1788 ; 65. Lo sposo seuza moglie, 
 Naj)les, 1789 ; 66. La felicita inaspettata, 
 St. Peter.sburg, 1790 ; 67. Cleopatra, ib., 
 1790 ; 68. Eequiem for the funeral of the 
 Duchess of Serra Capriola, ib., 1790 ; 69. 
 La vergine del sole, ib., 1791 ; 70. L' Atene 
 edificata, ib., 1792; 71. Five hundred sepa- 
 rate pieces for the Russian Court, ib., 1792 ; 
 
 72. II malrimonio segreto, Vienna, 1792 ; 
 
 73. La calamita de' cuori, ib., 1793 ; 74. 
 Amor rende sagace, ib., 1793; 75. 2 Dixit 
 Dominus, one written for the Emperor of 
 Austria, the other for Prince Esterhazy, ib., 
 1793 ; 76. I traci amanti, Naples, 1793 ; 
 77. Le astuzie feminili, Naples, 1794 ; 78. 
 Penelope, Naples, 1794 ; 79. Gli Orazj e 
 Curiazj, Venice, 1794; 80. II impegno su- 
 perato, Naples, 1795 ; 81. I nemici generosi, 
 Rome, 1796 ; 82. Achille nel assedio di 
 Troja, Rome, 1798 ; 83. L' imprudeute for- 
 tunato, ib., 1798 ; 84. L' apprensivo rag- 
 girato, Naples, 1798 ; 85. La feliciti com- 
 pita, ib., 1798 ; 86. Semiramide, ib., 1799 ; 
 
 87. Artemisia, Venice, 1801. Cimarosawas 
 also a collaborator with Asioli and several 
 
 other composers in Le C'inesi, Najjles, no 
 date. — Elogio fuuebre estemporaneo, etc., 
 ad onore del sempre chiaro e celeberrimo 
 scrittore in musica, D. Cimaro,sa, etc. (Ve- 
 nice, 1801. The portrait of the composer 
 in this publication was sujDpressed by the 
 police) ; Fetis ; Grove. 
 
 CIMOSO, GUIDO, bom at Vicenza, Feb. 
 10, 1804, still living, 1888. Organist, pupil 
 of his father, an organist (born in Vienna, 
 1780, died at Venice, 1850). He was em- 
 ployed successively in different cities as or- 
 ganist and orchestra conductor, and settled 
 at Trieste, where he occupied a position of 
 great artistic importance. Among about 
 one hundred compositions of sacred and 
 secular music, the following are especially- 
 noteworthy : Grande Studio di allegoric 
 armouico-religiose, for full orchestra (gold 
 medal, Trieste, 1871) ; Grande Studio alle- 
 gorico-musicale, for do. — Fetis, Sui3j)lc'- 
 ment, i. 183. 
 
 CINESI, LE (The Chinese), Italian oper- 
 etta in one act, text bj' Metastasio, music 
 by Georg Reutter, first represented in 
 1735 in Vienna, and in 1753, with changes, 
 in a country house of Prince Joseph of 
 Saxe-Hildburghausen. Scene in a city of 
 China. Characters represented : Lisinga, 
 a noble Chinese maiden, sister of Silango ; 
 Sivene and Tangia, Chinese maidens, friends 
 of Lisinga ; Silango, a young Chinese, re- 
 turned from travelling in Europe, in love with 
 Sivene. The libretto has been set to music 
 also by Cimarosa, with Asioli and others. 
 
 CINQ MAI, LE (The Fifth of May), can- 
 tata for a bass voice, chorus, and orchestra, 
 text by Beranger, music by Hector Berlioz, 
 op. 6. Chant on the death of Napoleon I., 
 who died May 5, 1821. Full score and pi- 
 anoforte score, Richault, Paris. 
 
 CINQ-MAES, French opera in four acts 
 and five tableaux, text by Paul Poirson and
 
 CINQUE 
 
 Louis Gallet, music by Charles Gouuod, 
 liist lepreseuted at the Opera Comique, 
 Paris, April 5, 1877. Subject from the 
 romance of the same name, by Alfred de 
 Vigiiy, dealing with the conspiracy of the 
 Marquis de Cinq-Mars in the time of Car- 
 dinal Richelieu. The soprano cantilena, 
 "Nuit respleudissante," has become very 
 poiuilar in the concert room. 
 
 CINQUE, ERMENGILDO, lived in the 
 second half of the 18th century, died in 
 1770. Works : Dies irte, for four voices, 
 ■with instrumental accompanimeut ; Canta- 
 tas for several voices, with orchestra, among 
 which are Angelica e Medoro, and II sogno 
 di Scipione ; Stabat Mater, for soprano and 
 contralto with orchestra ; all of Metastasio's 
 oratorios, for several voices, and orchestra ; 
 Eighteen sonatas for three violoncellos. 
 — FiHis ; Mendel. 
 
 CIPRIANO-CORNIER, born in Venice 
 about 1750, died at Warsaw in 1789. Vio- 
 linist, pupil of Nazzari, went at an early 
 age to Poland, and became chamber mu- 
 sician and instructor to Prince Sapieha. 
 He won reputation and accumulated a con- 
 siderable fortune. His compositions, inter- 
 preted by his exquisite cantabile playing, 
 were in great demand. — Mendel. 
 
 CIRCASSIENNE, LA, opt'ra-comique in 
 three acts, text by Scribe, music by Auber, 
 represented at the Opera Comique, Paris, 
 Feb. 2, 1861. Plot original, scene in the 
 Caucasus. Russian officers while away the 
 tedium of garrison life by playing Dalay- 
 rac's opera, Adolphe et Clara. Alexis Zou- 
 boil", a beardless lieutenant, who, under the 
 name of Prascovia, has masqueraded in 
 female costume and inspired a passion in 
 General Orsakoff, essays the part of Clara. 
 Orsakoff recognizes in Clara his Prascovia, 
 and Alexis humors his blind infatuation 
 until he obtains from him the hand of his 
 ward Olga, when he resumes his uniform. 
 See FatinUza. 
 
 CIRCfi, ou le ballet comique de la royne, 
 faict aux nopces de M. le due de Joyeuse 
 et de Mademoiselle de Vaudemont, rempli 
 
 de diverses devises, mascarades, chansons 
 de musique et autres geutillesses (4to, 
 Paris, Adrien Le Roy et Robert Ballard, 
 1582). The title of the first French op- 
 eratic ballet-spectacle, prepared by Balta- 
 zarini, and brought out on Sunday, Oct. 
 15, 1581, in the salle du Petit-Bourbon in 
 the Louvre. Many of the first nobles of 
 the realm took active part in it. The mu- 
 sic was mostly, if not wholly, by Beaulieu 
 and Maistre Salmon ; some of it is given 
 in Burney. One of the orchestral pieces, 
 " La Clochette,"' is the air now known as 
 " Amaryllis," wrongly attributed to Louis 
 XIII.— Ludovic Celler, Les origiues de 
 I'opora (Paris, 18G8) ; Ambros, iv. 216 ; 
 ' Burney, iii. 279 ; Jullien, Histoire du cos- 
 tume au theatre (Paris, 1880), 3. 
 
 CIRCE, the sorceress who entertained 
 Ulysses in her island home after changing 
 several of his companions into swine, is the 
 subject of the following operas : Circe, 
 French tragedy in five acts and prologue, 
 text by Tliomas Corneille, music by Char- 
 pentier, represented at the Theatre de la 
 rue Guenegaud, March 17, 1675 ; also with 
 music, by Robert de Visee, Paris, about 
 1690 ; text revised by Dancourt, and music 
 rewritten by Gilliers, 1705. Circe, French 
 lyric tragedy in five acts, with prologue, text 
 by Mme Gillot de Saintonge, music by Des- 
 j marets, given in Paris, Oct. 1, 1691. Circe, 
 1 English opera, text by Davenant, prologue 
 by Dryden, epilogue by Lord Rochester, 
 music by John Bannister, given at the Dor- 
 set Garden Theatre, London, 1677. Circe, 
 Italian opera, music by Giovanni Domeuico 
 Freschi, Venice, 1679 ; by Cimarosa, two 
 acts, Rome, 1779, and Milan, 1783 ; by 
 Giuseppe Gazzaniga, Venice, 1786; by 
 Peter von Winter, Munich, 1788 (not per- 
 formed) ; by Ferdinand Paer, Venice, 1791. 
 Circe, German opera, music by Reiser, 
 Hamburg, 1731. Circe abbandonata, Ital- 
 ian opera, text by Aurelio Aurelj, music 
 by Pollarolo, Piacenza and Parma, 1692, 
 and Venice, 1697. Gli amori di Circe 
 con Ulisse, Itahan opera, text by Giovanni 
 
 ass
 
 CIRILLO 
 
 Battista Aucioni, music by Badiii, Diesileii, 
 1709. Circe delusa, Italian opera, text by 
 Falieri, music by Giuseppe Boniventi, Ven- 
 ice, 1711. Circe ed Ulisse, Italian opera, by 
 Astaritta, Naples, 1777 ; by Gioaccbino Al- 
 bertini, Hamburg, 1785. La maga Circe, 
 Italian opera, by Anfossi, two acts, Eome, 
 1788. See also Uh/fises. 
 
 CIRILLO, FRANCESCO, dramatic com- 
 poser, living at Naj^les, about tbe middle of 
 the 17th century. He wrote the following 
 operas, given in that city : Orontea, regiua 
 d' Egitto (1G54:) ; II ratto di Elena (1655). 
 — Fetis ; Mendel. 
 
 CIRO RICONOSCIUTO (Cyrus Recog- 
 nized), Italian ojjera in three acts, text by 
 Metastasio, lirst set to music by Caldara, 
 and rej)resented in Vienna, Aug. 28, 1736, 
 in honour of the birthday of the Empress 
 Elizabeth. Scene on the borders of Media. 
 Characters represented : Astiage, King of 
 Media, and father of Mandane ; Mandane, 
 wife of Cambise and mother of Ciro ; Ciro, 
 under the name of Alceo, a shepherd and 
 putative son of Mitridate ; Arpago, confid- 
 ant of Astiage and father of Arixalice ; Ai-- 
 palice, confidant of Mandane ; Mitridate, 
 shepherd of the royal flocks ; Cambise, a 
 Persian j^rince, husband of Mandane and 
 father of Ciro, disguised as a shepherd. 
 The libretto has been set to music also by 
 Jommelli, Italy, about 1744 ; by John Chris- 
 topher Smith, London, about 1715 ; by Jo- 
 hann Adolph Hasse, Dresden, 1751 ; by 
 Sarti, Copenhagen, 1756 ; by Gioacchino 
 Coechi, London, 1759 ; by Beuda, Gotha, 
 1766 ; by Borghi, Venice, 1771 ; by Brizzio, 
 Ferrara, about 1800 ; by Tarchi, Piacenza, 
 1796. Cyrus und Astiages, German grand 
 opera, text by Collin, three acts, music by 
 von Mosel, Vienna, 1818. Cyrus und Kas- 
 sandra, music by J. D. Heusel, Vienna, 
 about 1800. Other works on the same or a 
 similar subject are : Ciro, Italian opera, 
 music by Cavalli and Matiolli, Venice, 
 1665 ; by Francesco Conti, text by Pariati, 
 Vienna, 1715 ; by Attilio Ariosti with Bo- 
 iionciui, Loudon, 1721 ; by Duni, Italy, 
 
 1730 ; l)y Giuseppe Ferraudiui, Munich, 
 1733 ; by Picciuui, 1759 ; by Capotorti, 
 Naples, 1805. Ciro in Armenia, Italian 
 opera, by Maria Teresa Agnesi, Milan, 1771. 
 Ciro in Babilonia, Italian opera, text by 
 Metastasio, music bj* Rossini, Ferrara, 1812 ; 
 music by Raimondi, Rome, about 1820. 
 Ciro ricouosciuto, music by Albinoni, rep- 
 resented at Rome, 1710 ; by Scarlatti, 
 Rome, 1712 ; by Leo, Naples, 1727. 
 
 CIRRI, GIOVANNI BATTISTA, born in 
 Forli, about 1710. Violoncellist and com- 
 poser, son of Iguazio Cirri, organist and 
 composer (1716). He lived some time in 
 England. His first work, quartets for two 
 violins, viola, and violoncello, was published 
 in Florence (1763). This was followed by 
 sixteen other works, also quartets, publish- 
 ed in Florence, Paris, and London. His 
 18th work, six trios for violin, viola, and 
 violoncello, was published in Venice (1791). 
 — Fetis; Mendel. 
 
 CLAEPIUS, "S^TLHELM HERMANN, 
 born at KOthen, Anhalt, Aug. 20, 1801, died 
 there, Aug. 11, 1868. Singer, im])il of 
 Mieksch at Dresden, whither he went in 
 1823, and where Weber befriended him and 
 procured him an engagement as basso at 
 the Opera. In 1825 he was engaged as 
 singer and actor at Bremen, in 1828 at 
 Brunswick, and in 1829 he went as choir- 
 director to Magdeburg. In 1834-42, and 
 again in 1847-48, he occupied a similar po- 
 sition at the KOuigsstiidtische Theater in 
 Berlin, where he resided for several years 
 afterwards, before retiring to his native 
 city. He comjjosed the music to a number 
 of dramas and ballets, besides overtures, 
 entr'actes, sti'ing quartets, and many songs. 
 —Mendel. 
 
 CL.\GGET, CHARLES, born in London 
 in 1755, died there in 1820. Instrumental 
 composer, and inventor and improver of 
 musical instruments. Among his composi- 
 tions are ; Six duos for two flutes ; do. for 
 violins ; do. for violin and violoncello, op. 
 5. He published also a description of some 
 of his instruments, under the title : Musi-
 
 CLAIR 
 
 ciil I'heuomeua (London, 17i);5). — IVHis ; 
 Grove ; Mendel ; Schilling. 
 
 CLAIR. See Le Clair. 
 
 CLAJEEMBAULT, LOUIS NICOLAS, 
 born in Paris, Dec. 19, 167G, died there, 
 Oct. 2G, 171:9. Organist, jjupil of Eaison, 
 whom be succeeded as organist of the 
 Church of the Jacobins, in the rue Saiut- 
 Jaques. He was afterward organist of the 
 Church of St. Louis, of the parish of St. 
 Sulpice, of the Eoyal House at St. Cyr, and 
 superintendent of the music of Mme de 
 Maintenon. He published iive books of 
 cantatas, of which Orphce is considered 
 his best. His first published work was : 
 Deux livres de pic'ces de clavecin (1707). 
 He wrote : Un office comjjlet a I'usage de 
 I'Abbaye de St. Cyr, and Un livre d'orgue 
 contenant deux suites du premier et du 
 second ton (Paris, 1710). He produced 
 also at the Opera : Le soleil vainqueur 
 des nuages, 1721 ; and wrote an Idyl, per- 
 formed at the Court, called : Le depart du 
 roi, 1745. His son, Cesar Franyois Nico- 
 las Clurambault, was organist of St. Sul- 
 pice, Paris, until his death, Oct. 9, 1760. 
 He published works for the harpsichord 
 and the organ. — Fetis ; do., Supplement, i. 
 187 ; Mendel. 
 
 CLAPISSON, ANTONIN LOUIS, born 
 in Naples, Sept. 15, 1808, died in Paris, 
 March 19, 18()6. Violinist and dramatic 
 composer, pupil at the Conservatoire from 
 1830 to 1835, under Habeneck for violin, 
 and Reicha for composition. His two op- 
 eras : La promise (1854:), and La fanchon- 
 ette (1S5G), are the only ones which were 
 popular, althougli the others contain much 
 fine orchestration. Legion of Honour, 1847 ; 
 Member of the lustitut, 1854 ; Professor of 
 harmony at the Conservatoire in the same 
 j'ear. His collection of ancient instruments 
 of music is now in the museum of the Con- 
 servatoire. Works — Oi^eras : La figurante, 
 given at the Opera Coniique, 1838 ; La sym- 
 phonic, ib., 1839; La perruclie, ib., 1840; 
 Le pendu, Frere et niari, ib., 1841 ; Le 
 code noir, ib., 1842 ; Les bergers trumeaux, 
 
 ib., 1845 ; Gibby la Cornemuse, ib., 1846 ; 
 Don Quichotte et Saucho, ib., 1847 ; Jeanne 
 la Folle, grand opera. Opera, 1848 ; La 
 statue equestre, Ojx'ra Comique, 1850 ; Les 
 mysteres d'Udolphe, ib., 1852 ; Dans les 
 vignes. La promise, Theatre Lyrique, 1854 ; 
 Fanchonette, ib., 1856 ; Margot, ib., 1857 ; 
 Le coffret de Saint-Dominique, Salle Herz, 
 1855 ; Les amoureux de Perrette, Baden-Ba- 
 den, 1855 ; Le Sylphe, ib., 1856 ; Les trois 
 Nicolas, Opera Comique, 1858 ; Madame 
 Gregoire, Theatre Lyrique, 1860. His song, 
 "Postilion de Mam' Ablou," was celebrated. 
 He wrote quartets for male voices and many 
 choruses. — Fetis ; do., Supplement, i. 184 ; 
 Mendel. 
 
 CLARCHIES, (LOUIS) JULIEN, born at 
 Curasao, Dec. 22, 1769, died in Paris in 
 1814. Violinist, pupil of Capron on the 
 violin, and of Cambini in composition. He 
 was celebrated for the peculiar elegance 
 and style with which he played contre- 
 danses, then very popular. He published 
 fifteen collections of contredanses for vio- 
 lin ; Un air varie, and Trois ceuvres de 
 duos, for violin ; Un air varie pour alto ; 
 Un oeuvre de duos pour clarinette ; and ro- 
 mances pour violon. — Fetis. 
 
 CLARENTINI, ]MICH1-:LE, born in Ve- 
 rona in the second half of the 16th century. 
 Composer of motets which were published 
 in a collection under the title : Moteta 2 et 
 3 vocum, cum basso ad organum (Venice, 
 1621).— Fetis. 
 
 CLAEER, THEODOR, born at Doebern, 
 Bavaria, in 1764, died (?). Church singer 
 and composer, pvipil of Pater Franz Sehnet- 
 zer, canon of Ottobeuern, and of Benedict 
 Kraus, who had been a maestro di cappella 
 in Venice. He was appointed director of 
 music at Ottobeuern in 1785, and held that 
 position till the extinction of the order, 
 when he was made pastor. He composed 
 a great deal of church music, which was 
 held in much estimation by Haydn.- — Fetis. 
 
 CLARI, Italian opera senii-seria in three 
 acts, music by Halevy, represented at the 
 Theatre Italien, Paris, Dec. 9, 1828. This
 
 CLAEI 
 
 opera, in which the principal role ^Yas sus- 
 tained by Mme Malibran, contains some 
 remarkable music and added much to the 
 composer's reputation. Clari, the Maid of 
 Milan, English opera in three acts, text by 
 John Howard Paiue, music by Bishop, given 
 at Covent Garden, LondoD, 1823. The sub- 
 ject of both these works is identical with 
 that of the ballet of the same name, by Ro- 
 dolphe Kreutzer, Paris, 1820. — Musical 
 Rev., V. 54:5. 
 
 CLARI, GIOVANNI CARLO MARIA, 
 born in Pisa in 1GG9, died about 1745. 
 Church composer, student at Bologna un- 
 der Colonna. He wrote an opera, II savio 
 delirante, which was given at Bologna in 
 1695, with great success, but he is best 
 known as a composer of madrigals for two 
 and three voices. A collection of these, 
 published in 1720, was reprinted by Carli, 
 Paris, in 1823, with a pianoforte accompani- 
 ment by Mirecki. In them is apparent an ap- 
 jjroach towards the modulation of later times 
 which helps to mark an epoch in composi- 
 tion, and this, together with his novel treat- 
 ment of the fugue, stamps him as a progres- 
 sive composer. Works : Dextera Domiue 
 for four voices ; Beuedictus for two choirs ; 
 Ave Maris Stella, four voices and orchestra ; 
 Domiue for do.; Mass for five voices, two 
 violins, viola, and organ (Pistoja, 1712) ; 
 Credo for four voices ; Psalms for do. ; De 
 profundis for do. and organ ; Requiem mass 
 for nine voices, two violins, viola, and organ ; 
 Mass for four voices a cappella (Pisa, 1736) ; 
 do. with two violins and organ. In the 
 royal library at Copenhagen is a Stabat Ma- 
 ter in C minor for four voices with orches- 
 tra. — Grove ; Fetis ; Mendel. 
 
 CLARK, FREDERICK SCOTSON, born 
 in London, Nov. 16, 1840, died there, July 
 5, 1883. Organist, pupil in Paris of Ser- 
 gent on the pianoforte and in harmony, of 
 Edward John Hopkins on the organ, and at 
 the Royal Academy of Music of Bennett, 
 Goss, Engel, Pinsuti, and Pettit. He was 
 organist successively of several churches in 
 London, where he founded a college of mu- 
 
 sic in 1865. While studying for the min- 
 istry at Oxford, he was organist of Exeter 
 College ; became curate at Lewes, Sussex ; 
 then studied at the Conservatorium, Leip- 
 sic, under Richter, Reiuecke, etc., and in 
 Stuttgart under Lebert, Pruckner, and Krii- 
 cer. In 1873 he returned to Loudon, and 
 represented English organ playing at the 
 Paris Exhibition in 1878. Bac. Mus., Ox- 
 ford, 1867. Works : Voluntaries, andantes, 
 melodies, marches, communions, offertories, 
 impromptus, gavottes, minuets, fantasias, 
 improvisations, etc., for organ ; Marches, 
 dances, nocturnes, niorceaux de salon, 
 studies for pianoforte ; Kyrie eleison, and 
 Sanctus from communion service (2) ; Mag- 
 nificat and Nunc dimittis ; Songs, and part- 
 songs. 
 
 CLARK, JEREMIAH, born about 1668 
 (1670 ?), died near London, by suicide, Dec. 
 1, 1707. Dramatic comjjoser, chorister in 
 the Chapel Royal under Dr. Blow. In 1693 
 he became organist of Winchester College, 
 but succeeded Dr. Blow in 1693 as almoner 
 and master of the children of St. Paul's 
 Cathedral, and in 1695 was appointed or- 
 ganist and vicar choral of St. Paul's. In 
 1700 he and his fellow pui^il, William Croft, 
 were named gentlemen extraordinary of the 
 Chapel Royal, and in 1704 joint organists. 
 He was the original composer of Drydeu's 
 famous ode, "Alexander's Feast," performed 
 at Stationers' Hall on the feast of St. Ce- 
 cilia, in 1697, the music of which is now 
 probably lost. Works : Music to the fol- 
 lowing plays : Antony and Cleopatra, 1677 ; 
 The Fond' Husband, 1676 ; Titus Andron- 
 icus, 1687 ; The World in the Moon (with 
 Purcell), 1697 ; The Island Princess (with 
 Purcell and Leveridge), 1699 ; Ode in 
 praise of the island of Barbadoes ; Alexan- 
 der's Feast, ode ; The Assumption, cantata ; 
 Anthems ; Ten songs, op. 4 ; Lessons for the 
 harpsichord.— Grove; Fetis ; Barrett, Eng- 
 lish Church Composers, 104 ; Harmonicon, 
 1832, 264 ; Athenrenra (1887), L 457. 
 
 CLARKE, HUGH ARCHIBALD, born 
 of Scottish parents in Toronto, Canada, Aug. 
 
 338
 
 CLAEKE 
 
 15, 1839, still living, 1888. Organist, pupil 
 of Lis father, James Tnton Clarke (Mus. 
 Doc, Oxford, profes- 
 sor of music in Upper 
 Canada University). 
 Since 1875 he has held 
 the position of profes- 
 sor of music in the Uni- 
 versity of Pennsylva- 
 nia, from which in 
 188G he received the 
 degree of Mus. Doc. 
 He was for several 
 
 years leader of The Abt, male singing so- 
 ciety, Philadelphia, which was disbanded in 
 1876. In connection with Charles H. Jar- 
 vis, of Philadelphia, Clarke gave a series of 
 historical concerts in that city ; since 1875 
 he has been organist of the Presljyterian 
 Church. "Works : Overture and Choruses 
 to Aristophanes's Acharnians, 1886 ; Songs ; 
 Pianoforte music. He is the author of a 
 treatise on Harmony, and of instruction 
 books for the pianoforte and organ. 
 
 CLARKE, JAMES HAjSHLTON, born in 
 Birmingham, England, Jan. 25, 1840, still 
 living, 1888. Dramatic comi^oser, chiefly 
 self taught. He was organist successively 
 at Birmingham (1852), Parsonstown, Ire- 
 land (1862), Dublin (1863), Belfast (1865), 
 Oxford (1866-7), South Kensington, Lou- 
 don (1871-2) ; travelled as conductor of the 
 Carlotta Patti concert troupe in 1873, and 
 with a company performing the Sorcerer in 
 1878 ; was leader of the Opera Comique in 
 London, 1874-5, and musical director of 
 the Lyceum Theatre, 1878, etc. Works : 
 Castle Botherem, or An Irish Stew, operetta, 
 op. 206, 1880 ; Martial Law, a musical 
 comedietta, op. 183 ; Praise, sacred cantata, 
 op. 68, 1867 ; Overtures : Thanistene, op. 
 7, 1859 ; Ballet overture, op. 100 ; Overture 
 composed for Birket Foster, op. 102, 1874 ; 
 Concert overture, op. 123 ; Overture to 
 Hamlet, op. 134, 1875 ; Rob Roy, op. 137 ; 
 Nanon, op. 187 ; Lady of Lyons, op. 197, 
 1879 ; Cecile, op. 21o! 1880 ; Overture and 
 incidental music to Hamlet, op. 192, 1878 ; 
 
 do. to Eugene Aram, op. 199, 1879 ; do. to 
 Zillah, op. 201, 1879 ; do. to the Iron Chest, 
 op. 202, 1879 ; do. to Merchant of Venice, 
 op. 203, 1879 ; do. to Corsican Brothers, 
 208, 1880 ; do. to The Cup, op. 214, 1881 ; 
 Music to a ballet, op. 136, Alexandra Pal- 
 ace, 1875 ; First Symphony, in F, op. 101, 
 1873 ; Second do., in G minor, op. 122, 
 1879 ; Saltarello, for orchestra, op. 98 ; First 
 Coucerto for pianoforte and orchestra, op. 
 78 ; First quartet for violins, viola and vio- 
 loncello, op. 93 ; Polonaise for pianoforte and 
 orchestra, op. 209 ; The Lord is my light, 
 anthem in eight parts, op. 44 ; Organ mu- 
 sic, songs, part-songs, etc. 
 
 CLARKE, JOHN, called afterwards 
 Clarke-Whitfeld, born in Gloucester, Eng- 
 land, Dec. 13, 1770, died at Holmer, near 
 Hereford, Feb. 22, 1836. Organist, pupil 
 at Oxford of Dr. Philip Hayes. He was ap- 
 pointed organist of the parish church of 
 Ludlow in 1789, and organist of Armagh 
 Cathedral, Ireland, in 1795, but resigned 
 the same year to become organist and mas- 
 ter of the choristers of St. Patrick's Cathe- 
 dral and Christ Church, Dublin. In 1798 
 he returned to England and became organ- 
 ist and master of the choristers of Trinity 
 and St. John's Colleges, Cambridge. From 
 1820 to 1833 he was organist and master of 
 choristers at Hereford Cathedral. He took 
 the degree of Mus. Bac, at Oxford, in 
 1793 ; Mus. Doc, Trinity College, Dublin, 
 1795 ; Mus. Doc, Cambridge, 1799 ; Mus. 
 Doc, Oxford, 1810 ; and he was elected 
 professor of Music at Cambridge in 1821. 
 He assumed the name of Whitfeld on the 
 death of a maternal uncle. Works : Cathe- 
 dral Services and Anthems (4 vols., 1805), 
 reprinted by Novello ; Twelve Glees (1805) ; 
 The Crucifixion and the Resurrection, ora- 
 torio (Hereford, 1822) ; Twelve Songs (2 
 vols., n. d.) ; Selection of single and double 
 chants (2 vols., n. d.) ; and many other 
 glees, songs, etc. He edited also the Vo- 
 cal Works of Handel (17 vols., London, 
 1809).— Grove ; Fctis ; Riemann, 170 ; 
 Mendel.
 
 CLARKE 
 
 CLARKE, WILLL\M HORATIO, born 
 of Americau parentage, in Newtou, Massa- 
 chusetts, 1840, still living, 1888. Organist, 
 when a lad played the violin in the choir of 
 one of the Newton churches, and studied 
 the organ under several teachers. Li 1856, 
 he became organist of the Congregational 
 Church of Norwood, Mass. ; 1857, Unita- 
 rian Church, Dedhaiu, Mass. ; 1859, Berke- 
 lej' Street Congregational Church, Boston ; 
 1861, First Congregational Church, Wo- 
 burn, Mass. ; 1865, Berkeley Street Congre- 
 gational Church, Boston ; 1866, First Con- 
 gregational Church, Woburn, Mass. ; 1869, 
 Unitarian Church, ib. ; 1873, First Metho- 
 dist Church, Erie, Peuu. ; 1875, First Bap- 
 tist Church, Indianapolis ; 1878, Treiuont 
 Temple, Boston ; 1880, Jarvis Street Bap- 
 tist Church, Toronto, Canada ; 1884, Plym- 
 outh Congregational Church, Indianapolis ; 
 1886, First Baptist Church, Rochester, New 
 York. At present (1888) he is settled in 
 Bostou as a teacher of music, and is organ- 
 ist of the First Congregational Church of 
 Woburn. In 1871 he was engaged as su- 
 perintendent of musical instruction in the 
 public schools of Dayton, Ohio. He has 
 had wide experience as an organist, and 
 possesses an unusual knowledge of his in- 
 strument. Works : Home Recreations for 
 Organ (1866) ; Short Voluntaries for the 
 Organ (1869) ; Reed Organ Melodies (1877) ; 
 Anthems and Responses (1879) ; Short Gems 
 for the Organ (1886). He has written also 
 several books on organ instruction, such as 
 New Method for Reed Organs (1869), of 
 which more than 100,000 cojsies have been 
 sold ; Outline of the Structure of the Pipe 
 Organ (1877) ; Harmonic School for the 
 Organ (1878). 
 
 CLASING, JOHANN HEINRICH, born 
 in Hamburg, Germany, 1779, died there 
 Feb. 8, 1829. Dramatic composer, and 
 pianist, pupil of Sclnvencke, early won rep- 
 utation as an excellent teacher, and did much 
 towards the promotion of musical life in 
 Hamburg. He also edited Handel's works, 
 and arranged the pianoforte scores of his 
 
 oratorios. Works : Belsazar, oratorio for 4 
 voices, chorus and orchestra ; Die Tochter 
 Jejjhta's, do. for 3 voices, etc. ; Micheli und 
 sein Sohn, opera (sequel to Clierubiui's 
 Watercarrier), given in Hamburg, 1806 ; 
 Welcher ist der Eechte, comic ojsera, ib., 
 1811 ; Pater Noster, for 4 voices ; Das Lob 
 des HOchsten, hymn for contralto or bass, 
 and organ ; Trio for j^ianoforte, violin and 
 violoncello, op. 4 ; Fantasia for jjianoforte 
 and violoncello, op. 8 ; Sonata for piano- 
 forte and violin, op. 10 ; Rondo for piano- 
 forte, op. 9 ; Two fantasias for do., op. 13 
 and 14. — Fetis ; Mendel ; Schilling. 
 
 CLAUDINE VON VILLA BELLA, dra- 
 ma by Goethe, music by Johann Andre, 
 Berlin, about 1780 ; music by Gottfried We- 
 ber, Stuttgart, 1783 ; by Ignaz von Beecke, 
 Vienna, 1784 ; by Reichardt, Charlotten- 
 biirg, 1790 ; by Friedrich Schneider, Leiji- 
 sic, 1807 ; by Blum, Berlin, 1810 ; by Eber- 
 weiu, Rudolstadt, 1815 ; by Franz Schu- 
 bert, 1815 (not performed ; two acts burned 
 by accident in 1848 ; tirst act preserved in 
 library of the Gesellschaft der Musikfreunde, 
 Vienna. See Helborn (Coleridge), i. 09) ; by 
 Kienlen, Augsburg, 1817 ; by Franz Gliiser, 
 Pesth, 1826 ; by Drechsler, about 1830 ; by 
 Franz Schneider, about 1830 ; by Heinrich 
 Wilhelm Stolze, about 1840 ; by Peter Mul- 
 ler, about 1850 ; by Graf von Hochberg, 
 Schwerin, 1864 ; and by Franz Knajjpe, 
 Diisseldorf, 1882. 
 
 CLAUFEN, JOHANN GOTLOB, organ- 
 ist at Auerbach, about the middle of the 
 16th century. He composed trios for the 
 organ, preludes for chorals on two man- 
 uals and pedal, which were never published, 
 but of wliich many copies exist in Germany. 
 — Fctis. 
 
 CLAUSS, VICTOR, born at Bernburg, 
 Auhalt, Nov. 24, 1805, still living, 1888. 
 Organist, pupil of Friedrich Schneider at 
 Dessau. He became organist in his native 
 city in 1828, founded a chlaral society for 
 sacred music, in the interest of which he 
 visited the principal cities of Germany in 
 1830-31. In 1834 he was made ducal di-
 
 CLAUSSEX 
 
 rector of music at Bernburg, and in 1837 at 
 Biillenstildt. He has published composi- 
 tious for orgau and pianoforte, and songs. 
 — Mendel. 
 
 CLAUSSEN, WILHELM, born at 
 Seliwerin, in 1843, died there, Dec. 22, 
 1869. Composer, pupil at Stern's Conser- 
 vatorium in Berlin ; he took the prize 
 which Meyerbeer founded at Berlin iu 1868, 
 for an overture, and with the means thus 
 gained visited France and Italy. Several 
 of his pianoforte pieces and songs were 
 published after his death. — Fetis, Supple- 
 ment, i. 185 ; Mendel. 
 
 CLAVli, JOSE ANSEL5I0, born in Bar- 
 celona, April 21, 182-1:, died there in Feb- 
 ruary, 1874. He became famous in Spain 
 for his popular songs and choruses ; he in- 
 troduced choral singing and established 
 the first musical society in 1851, and or- 
 ganized the first popiular musical festival in 
 Spain, Sept. 17, 1860, which led to great 
 results. He composed many zarzuelas, or 
 comic operas. — Fetis, Supplement, i. 185 ; 
 Mendel, Ergiinz., GL 
 
 CL.WEL, JOSEPH, born in Nantes, 
 Dec. 20, 1800, died at Sillc-le-Guillaume, 
 Aug. 31, 1852. Violinist, admitted as pupil 
 at the Paris Conservatoire in 1813, studied 
 the violin under Kreutzer, took the first 
 prize iu 1818, and became in 1819 adjunct 
 professor. He acted as leader of second 
 violins at the concerts of the Conservatoire, 
 and was first violinist at the Theatre It- 
 alien for ten years, entering the orchestra of 
 the Opera at the exjairatiou of that time. 
 Works : Deux ceuvi-es de duos pour deux 
 violons, alto et basse ; Trois senates ; Airs 
 varies ; Romances for violin. — Fetis ; do., 
 Supplement, i. 185 ; IMendel. 
 
 CLAY, FEEDEllICK, born of English 
 parents in Paris, Aug. 3, 18-10, still living, 
 1888. Dramatic composer, pupil of Mo- 
 lique, and at Leipsic of Hauptinann. He 
 produced first in private circles : The Pi- 
 rate's Isle, 1859 ; Out of Sight, 1860 ; and 
 since then has brought out the following 
 operas and operettas at Covent Garden, the 
 
 Gallery of Illustration, and other London 
 theatres : Court and Cottage, 1862 ; Con- 
 stance, 1865 ; Ages Ago, 1869 ; The Gentle- 
 man in Black, 1870 ; Happy Arcadia, 1872 ; 
 The Jllack Crook, 1873 ; Cattarina, 1874 ; 
 Princess Toto, Don Quixote, 1875 ; The 
 Golden Eing, 1883 ; Music to " Twelfth 
 Night," and other dramas ; The Knights of 
 the Cross, cantata, 1866 ; Lalla Kookh, do., 
 1877 ; Songs, part-songs, etc. — Grove. 
 
 CLAYTON, THOMAS, one of the royal 
 band in the reign of William and Mary. 
 Having studied in Italy, he undertook to 
 reform EuglLsh musical taste by performing 
 his own compositions. Having associated 
 himself with Nicolo Francesco Haym, and 
 
 ' Charles Dieupart, both good musicians, 
 he produced Arsinoe, in 1705, with some 
 success ; but when he subsequent]}' at- 
 tempted to compose the music for Addi- 
 son's opera, Rosamund, and Dryden's Alex- 
 ander's Feast, altered by Hughes, he failed 
 lamentablv. — Grove ; Fetis; Mendel. 
 
 CLEANSE THEE, O ^^^: SOUL, FROM 
 SIN. See llache dich, meiu Herze, rein. 
 
 CLEMENS NON PAPA (Jacques Cle- 
 ment), called, born in Flanders ? died before 
 1558. All that is known of his life is that 
 he succeeded Gombert as maitre de cha- 
 pelle to Charles V. It is probable that he 
 spent several year.s in Italy. Ambros calls 
 him the greatest Flemish composer between 
 Gombert and Orlando Lasso, and says that 
 his Vox in Rama, his Maria, vernans 
 rosa, and his Angelus ad pastores (Christ- 
 
 I mas motet), show that he was but a stejj 
 behind Palestrina. His fame and popular- 
 ity are indicated by his nickname, chosen 
 to distinguish him from Pope Clement VH., 
 
 \ and by the numerous editions of many of 
 his works published in various jjarts of Eu- 
 rope. He was a man decidedly in advance 
 of his time, and some of his works might be 
 mistaken, even by connoisseurs, for compo- 
 sitions by Palestrina. His popularity, how- 
 ever, like that of many of his contempora- 
 ries, did not long outlive him ; the rising 
 genius of Orlando Lasso threw too many of 
 
 331
 
 CLEMENT 
 
 that great man's Flemish predecessors into 
 the shade. Works : Ten masses, one for 6 
 voices, five for 5 voices, four for -1 voices, pub- 
 lished separately (Louvain, Petrus Phalesi- 
 us, 1556-1559) ; Cautionum sacrarum qua- 
 tuor vocum, lib. I.-Vn. (ib., 1567) ; Chan- 
 sons franyaises a quatre parties (ib., 1569) ; 
 Missa defuuctorum (ib., 1580) ; Seven books 
 of Flemish psalms (Souter Liedekeus) ; 
 Tylman Snsato, 1556, etc. (Four books also 
 in connection.) Various comj^ositions of 
 Clement are in the following collections : 
 66 motets (seven for G voices, thirty-eight 
 for 5 voices, tvsrenty-one for 4 voices) in 
 "Novum et insigne opus . . . etc." 
 (Nuremberg, 1558) ; 92 motets in the first 
 six books " Sacrarum cantionum quas vul- 
 go motetas vooant " (Louvain, 1559) ; 12 
 2)salms in parts I., III., and LV. of the col- 
 lection by Moutauus und Neuber (Nurem- 
 berg) ; 11 motets in "Lib. secuudus select, 
 cant." (Ulhard, 1548) ; 42 motets in Com- 
 mer's "Collectio op. mus. Batavorum saec. 
 XVI. ; " Motets in " Motetti del labirinto 
 (Venice, 1554); Motets in "Liber primus 
 musarum cum quatuor vocibus, seu sacrse 
 cantiones, quas vulgo motetas appellant" 
 (Milan, 1558) ; Three motets in Proske's 
 " Musica Divina ; " Chansons in "Premier 
 livre des chansons a quatre parties " (Lou- 
 vain, 1558) ; and in Recueil des Fleurs, etc." 
 (ib., 1569).— Ambros, iii. 307. 
 
 CLEMENT, CHARLES FRANCOIS, 
 born in Provence about 1720. Professor 
 of the harpsichord and dramatic composer. 
 He produced in 1756 La pipoe, a parody of 
 the ojjera, II paratagi, by Jommelli, at the 
 Theatre Italien, and La Bohemienne, at the 
 Opera Comique. He wrote also two canta- 
 tilles entitled : Le dc'part des guerriers, 
 and Le retour des guerriers ; Un livre de 
 pieces de clavecin avec accompagnement de 
 violon ; and collections of pieces for the 
 harpsichord (Paris, 1762, 1763, 1764, 1765). 
 He was the author also of several theoretical 
 works. — Fc'tis ; Mendel. 
 
 CLEMENT, FlilLrX, born in Paris, Jan. 
 13, 1822, died there, Jan. 31, 1885. Strongly 
 
 opposed by his parents, he took lessons in 
 harmony and composition without their 
 knowledge from Moucouteau, the blind 
 organist of Saint-Sulpice. When thirteen 
 years old he composed a mass which was per- 
 formed by the Soeiete Orj)heonique. He 
 was organist of Notre Dame de la Pitie for 
 five years, and then preceptor in a family 
 in Normandy. He returned to Paris in 
 1840, and was, from 1843 to 1860, ^jrofessor 
 of music at the College Stanislas. He was 
 appointed by the government, in 1849, to 
 take charge of the music of the Sainte 
 Chajselle on all public occasions ; and he 
 was also honorary maitre de chapelle of 
 the Sorbonne and of the College Stanis- 
 las, and incumbent of the Lycee Louis- 
 le-Grand. Works : Le dormem- eveille, or 
 Abou Hassan, comic ojjera. Theatre Ly- 
 rique (1847) ; Choruses for Racine's Athalie 
 (1858) ; Deux savants, comic opera (1858) ; 
 also motets, romances, a collection of mel- 
 odies, and other music. But he is best 
 known by his critical and bibliograiihical 
 works, such as : " Histoire generale de la 
 musique religieuse " (Paris, 1861) ; " Les 
 musieiens celebres depuis le seizieme siecle 
 jusqu'a uos jours " (Paris, 1866) ; and " Dic- 
 tioimaire des operas " (Paris, 1869 ; 4 sup- 
 plements to 1880). — Grove ; Fetis ; do.. Sup- 
 plement, i. 186 ; Mendel ; Riemann. 
 
 CLEMENT, FRANZ JOSEPH, born in 
 Vienna, Nov. 19, 1784 (1780?), died there, 
 Nov. 3, 1842. Violinist and conductor, pu- 
 pil of his father and of Kurzweil ; he began 
 to play the violin at the age of four, and 
 at seven made his first aj^pearance in a con- 
 cert in the Imperial Opera House. Travel- 
 ling with his father, he went in 1790 to 
 London, where he gave concerts conducted 
 by Haydn and Salomon. On his return to 
 Vienna in 1802, he was appointed solo vio- 
 linist to the emperor, and conductor of the 
 Theater an der Wien. He travelled in 
 Russia and Germany in 1812-18, and in 
 1822 conducted for Catalani in Prague. 
 He was remarkable for technical skill, and 
 for intonation. He published for his in-
 
 CLEMENT 
 
 stiument twenty-five concertiuos, sis con- 
 certos, twelve studies, and many other 
 pieces ; also several compositions for jDiano- 
 i'orte and orchestra, three overtures for or- 
 chestra, and an opera. — AUgem. d. Biog., 
 iv. 319 ; Fd'tis ; Mendel ; Schilling ; Wasie- 
 lewski, Die Violiue und ihre Meister, 354 
 
 CLEMENT, JOHANN GEORG, born in 
 Breslau, about 1710, died (?). He was Ka- 
 pellmeister more than fifty years of the 
 Church of St. Johann, Breslau. Works : 
 Masses, offertories, Te Deum, etc., and a 
 Requiem performed at the funeral of the 
 Emperor Charles VI., 17J:2. None of these 
 wei'e published. — Eutis ; Mendel. 
 
 CLEMENT Y CAVEDO, MANUEL, born 
 at Gandia, Valencia, Jan. 1, 1810, still liv- 
 ing, 1888. He was first organist in his na- 
 tive town, then in Algemesi, and later in 
 Valencia. In 1810-50 he taught in Guc'ret, 
 France, then settled in Madrid, where he 
 j)ublished an elementary work, Grammatica 
 Musicale, and an opera, Las rosas majicas, 
 1853. In 1855, at the request of General 
 Espartero, he furnisheil a plan for the ref- 
 ormation of musical studies at the Conser- 
 vatorio. He is the author of a zarzuela, 
 Tres para uno (185G), and of various ballads 
 and romances. — Fetis, Supplement, i. 187 ; 
 Riemann. 
 
 CLEMENTI, MUZIO, born in Rome, 
 1752, died at Evesham, England, March 9, 
 1832. His father, a silversmith, spared no 
 expense in cultivating his son's talent, which 
 was evident at an early age. The young 
 Muzio's first master was Buroni, a relation 
 of the Clementi family, and maestro di cap- 
 l^eUa at one of the churches in Rome, who 
 taught him the rudiments of music. In 
 1759 he began to study the organ under 
 Condicelli, and in two years he had ad- 
 vanced far enough to comj)ete successfully 
 for a position as organist. He studied sing- 
 ing also under Sartarelli, and counterpoint 
 under Carpani, and pursued these studies 
 unintermitteutly up to the age of fourteen. 
 At this period an Englishman by the name 
 of Beckwith was so delighted with the young j 
 
 artist's playing on the clavecin, that he asked 
 his father to allow Muzio to follow him to 
 England, promis- __ 
 
 ing to provide for 
 the boy's further 
 education. The 
 proposal was ac- 
 cepted, and Clem- 
 enti followed 
 Beckwith to his 
 home in Dorset- 
 shire; here he 
 diligently pui'- 
 sued his studies 
 
 until 1770, paying especial attention to the 
 works of Bach, Handel, Domeuico Scarlatti, 
 and Paradies. At the expiration of this 
 time he had not only surpassed all his con- 
 temporaries as a pianist, but had written his 
 opus 2, which may be regarded as the true 
 type of the j)ianoforte sonata in its j)erfected 
 form. He now went to London, where his 
 success was phenomenal. From 1777 to 
 1780 he was cembalist (conductor) at the It- 
 alian Opera. In 1781 he began his profes- 
 sional travels, giving concerts in Paris, Stras- 
 burg, Munich, and Vienna, and always with 
 the greatest success. In Vienna he met 
 Haydn and Mozart, and, at the request of 
 Emperor Joseph H., engaged in a sort of 
 musical contest with the latter (^Mozart's let- 
 ters, Jan. 12, 1782-June 7, 1783). Return- 
 ing to Loudon, he made two more visits to 
 Paris, in 1783 and 1785. From this time 
 to 1802, Clementi stayed in Loudon, oc- 
 cupying himself with conducting, concert- 
 playing, and teaching. He became quite 
 rich, and on the failure of the house of 
 Longman & Broderijs, " manufacturers of 
 musical instruments, and music sellers to 
 their majesties," in which he had an inter- 
 est, he determined to carry on the piano- 
 forte-making and music-publishing business 
 himself ; his success in this venture jJroved 
 him to have a rare business talent. The 
 house is still carried on under the firm 
 name of Collard & Collard. In March, 
 1807, property belonging to the firm, to
 
 CLEMENZA 
 
 the amount of £40,000, was destroyed by 
 fire. In 1802 Clemeuti, with his pupil 
 Field, made a successful tour to Paris, Vi- 
 enna, and St. Petersburg, returning through 
 North Germany. He made a second visit 
 to the Kussian capital together with Alex- 
 ander Klengel and Ludwig Berger. In 
 1810 he returned to London for good, 
 gave up public playing, and devoted his 
 time to business and composition. He 
 wrote symphonies for the Philharmonic 
 Society (which were, however, far less suc- 
 cessful than Haydn's), and many pianoforte 
 works, completing his famous Gradus ad 
 Parnassum. In 1820 and 1821 he passed 
 the winter at Leipsic, but spent the last 
 twelve years of his life either in London 
 or at his country-place in the vicinity. He 
 was man'ied three times, had children when 
 quite an old man, and retained full posses- 
 sion of his faculties to the last. Clemeuti 
 may be looked upon as the real father of 
 pianoforte-playing, in so far as the treatment 
 of that instrument differs from that of its 
 precursors, the harpsichord and clavecin. 
 As a comjjosei-, his style was in general 
 pure, concise, and masterly, and it is to 
 him, more than to anyone else, that we owe 
 the application of the perfected (modern) 
 sonata-form to the pianoforte. His most 
 important work is the Gradus, but some of 
 his sonatas, such as the one in B minor, op. 
 40, the three dedicated to Cherubini, op. 50, 
 the one in F minor, etc., are destined to live 
 
 as long as the pianoforte itself. Among his 
 pupils may be mentioned John Field, J. B. 
 Cramer, Zeuner, Alexander Klengel, Lud- 
 wig Berger, Meyerbeer, Kalkbrenner, and 
 others. Works : Six sonatas for piano- 
 forte, op. 1 ; do. (2 sets), op. 3, 4 ; do., op. 
 13 ; Three sonatas, op. 14 ; do., op. 21 ; do., 
 op. 40 ; do., op. 50 ; do. with violin, op. 22 ; 
 do., op. 27 ; Sonatas, op. 5-10, op. 15, 16 (La 
 Chasse), 18, 19, 20, 32, 33, 35, 41. 46 ; Six 
 
 sonatas for pianoforte and flute or violin, 
 op. 2 ; Four sonatas and a duet for piano- 
 forte, op. 12 ; Capriccio, op. 17 ; Sonatas 
 for pianoforte and violin, op. 29-30 ; Two 
 sonatas and two capriccios for pianoforte, 
 op. 34 ; Sonatinas, etc., op. 36, 37 ; Waltzes, 
 op. 38, 39 ; Introduction to the art of plaj'- 
 ing, op. 42 ; do., second part, op. 43 ; Gra- 
 dus ad Parnassum, op. 44 ; Two capriccios, 
 op. 47 ; Fantasia, op. 48 ; Twelve Monfer- 
 rinas, op. 49 ; Detached pieces, op. 51. 
 — Fetis ; Clument, Mus. celebres, 198. 
 
 CLEMENZA DI AUGUSTO, LA (The 
 Clemency of Augustus), opera drama, mu- 
 sic by Johanu Joseph Fux, represented at 
 the fete patronale of the Emperor Leopold 
 I., Vieima, 1702. 
 
 CLEMENZA DI SCIPIONE, LA, Italian 
 opera, music by Johann Christian Bach, 
 represented at Breslau, about 1770. 
 , CLEMENZA DI TITO, LA (The Clem- 
 ency of Titus), Italian opera in three acts, text 
 j by Metastasio, first set to music by Caldera 
 land represented at Vienna, Nov. 4, 1734. 
 Subject, an incident in the life of Titus, re- 
 j lated by Suetonius and others, in which he 
 I pardons the chief actors in a conspiracy 
 against himself. Scene in Eome. Charac- 
 ters represented : Tito Vespasiano, Emper- 
 or of Eome ; Vitellia, daughter of the Em- 
 peror Vitellio ; Servilia, sister of Sesto, in 
 love with Annio ; Sesto, friend of Tito, in 
 love with ViteUia ; Annio, friend of Sesto, 
 in love with Servilia ; Publio, prsetorian 
 prefect. The libretto has been set to mu- 
 sic also by Leo, Naples, 1735 ; by Johann 
 Adolph Hasse, Dresden, 1737 ; by Wagen- 
 seil, Vienna, 1746 ; by Pampani, Italy, 1748 ; 
 by Perez, Naples, 1749 ; by Gluck, Naples, 
 1751 ; by Adolfati, Vienna, 1753 ; by Jom- 
 melli, Stuttgart, about 1758 ; by Cocchi, 
 London, 1760 ; by Naumann, Dre.sden, 
 1768 ; by Bernasconi, Mannheim, 1768 ; by 
 Anfossi, Rome, 1769 ; by Sarti, Padua, 
 1771 ; by Holzbauer, Munich, about 1780 ; 
 by Guglielmi, Turin, 1785 ; by Apell, about 
 1785 ; by Ottani, Turin, 1789 ; by Mozart, 
 Prague, Sept. 6, 1791 ; and NiccoHni, Leg- 
 
 r.^A
 
 CLEOFIDA 
 
 born, 1797. Mozart's work, the text of 
 which was adapted from Mestastasio by 
 Mazzola, was written at the invitation of 
 the Estates of Bohemia for the coronation 
 at Prague of Leopold II. The autograph, 
 which is wholly in Mozart's handwriting, 
 contains no recitatives. They were sup 
 plied by Siissmaj'er, who accompanied him 
 to Prague. 
 
 CLEOFIDA. See Poro. 
 
 CLEOPATEA, Italian opera, music by 
 Daniele Castrovillari, represented in Venice, 
 1662 ; bj' Pasquale Anfossi, text by Verazi, 
 Milan, 1778 ; by Cimarosa, St. Petersburg, 
 1790 ; by Weigl, text by Romanelli, La Seala, 
 Milan, 1807 ; by Ferdinand Paor, Paris, 
 1809 ; by Nasolini, three acts, Paris, Dec. 1, 
 1813 ; by Combi, Genoa, 1842 ; by Lauro 
 Eossi, Turin, March 5, 1876 ; by Sacchi, text 
 by Rabitti, Milan, Nov. 23, 1877 ; by Boua- 
 mici, Venice, Feb. 8, 1879. Cli'opatre, four 
 acts, by Baroness de Maistre, text by Bo- 
 gros, Paris, about 1860 (not performed). 
 Kleopatra, German oj)era, music by Matthe- 
 ison, text by Feustking, Hamburg, 1704 ; mel- 
 odrama, music by Danzi, Mannheim, 1779 ; 
 parody, by Ad. Miiller, Vienna, about 1830 ; 
 by Hieronymus Truhn, Berlin, 18.53 ; by 
 Freudeuberg, text by Pasque, four acts, 
 Magdeburg, Jan. 12, 1882. Cleopatra e Ce- 
 sare, by Karl Heinrich Graun, text by Bot- 
 tarelli, Berlin, Dee. 7, 1742. La morte di 
 Cleopatra, by Gaglielmi, two acts, Naples, 
 1798 ; by Gaetano Marinelli, text by Rossi 
 and Sografi, Venice, 1800. Autonius und 
 Kleopatra, duodrama, two acts, by Johann 
 Christian Kaffka, Berlin, 1779 ; by Graf 
 von Sayn-Wittgenstein, text by Moseuthal, 
 Gratz, Dee. 1, 1883. Les amours d'An- 
 toine et Cleopatre, by Rodolphe Kreutzer, 
 three acts, Paris, March 8, 1808. Une Nuit 
 de Cleopatre, text by Jules Barbier, after 
 the story with the same title, by Theophile 
 Gautier, music by Victor Masst', Opi'ra 
 Comique, Paris, April 2.5, 1885. 
 
 CLICHY, A, oj)era-comique in one act, 
 text by Dennery and Grange, n»usic by 
 Adolphe Adam, represented at the Theatre 
 
 Lyri(]ue, Paris, Dec. 24, 1854. A poet and 
 a musician meet in the debtors' j)rison at 
 Clichy and form there a friendship which a 
 return to fortune renders durable. 
 
 CLIFTON, JOHN CHARLES, born in 
 London in 1781, died there, Nov. 18, 1841. 
 Composer of songs and glees, pupil of R. 
 Bellamy and of Charles Wesley ; intimately 
 associated with Cimador and Spagnoletti, 
 who helped to form his taste. He resided 
 in Dublin fourteen years?, and finally settled 
 in Loudon, in 1818. His glee, "Tell me, 
 thou soul of her I love," gained a piize in 
 1837. Remarkable among his many com- 
 positions are the glee, " 'Twas in the dark and 
 dismal hour" ; and the songs," Such tears are 
 bliss," and, "If music be the food of love." 
 
 CLINIO, TEODORO, born in Venice 
 in the 16th century, died in 1G02. He was 
 canon of the Church of S. Salvatore, and 
 maestro di cajJisella of the Cathedral of Tre- 
 j viso, in 1590. Works : Missse sex vocum, 
 lib. i., mentioned in the catalogue of the 
 librarj- of the King of Portugal ; Suite of 
 motets for three voices, for the Sunday of 
 Passion Week, with tlie title. Vox Domini 
 (Venice, 1595). In MS. : Falsi bordoni a 
 otto voci. — Fetis ; Mendel. 
 
 CLOCHES DE CORNEVILLE, LES 
 (The Bells of Corneville), opera-comique in 
 three acts, text by Clairville and Charles 
 Gabet, music by Robert Planquette, given 
 at the Folies Draniatiques, Paris, April 19, 
 1877. The libretto is little better than a 
 plagiarism of Martha and of La Dame 
 blanche ; the music is melodious and popu- 
 lar. The work had great success in Paris 
 and London, where it was adaj)ted to the 
 English stage by Farnie and Reece, and pro- 
 duced at the Folly Theatre, Feb. 23, 1878. 
 
 CLOCK SYMPHONY, by Joseph Haycbi, 
 first jDerformed at Salomon's concerts, Lon- 
 don, 1794. Date on autograph score, 1794. 
 The symphony is No. 11 in the catalogue of 
 the London Philharmonic Society, and No. 
 4 in Breitkopf k Hiirtel's edition (Leipsic). 
 
 CLYTEMNESTRE, cantata for solo, with 
 accompaniment, full score, by Cherubini,
 
 COBBOLD 
 
 composed in 1794 This, the composer's 
 fourth cantata, was written for " Mme B., 
 of Havre." It is No. 207 in Bellasis's cata- 
 logue. 
 
 COBBOLD, \\TLLIAM, English com- 
 poser of the 16th and the 17th century. 
 Nothing is known of his life. He was one 
 of the ten musicians who harmonized the 
 tunes for " The "Whole Booke of Psalmes " 
 published by Thomas Este (1592). His 
 madrigal, With wreaths of rose and laurel, 
 is in the Triumphes of Oriana. Two other 
 compositions : New Fashions, and an an- 
 them, In Bethlehem Towne, are in the 
 library of the Sacred Harmonic Society, 
 Loudon. — Grove ; Fetis ; Mendel. 
 
 COBERG, JOHANN ANTON, born at 
 Rothenburg, Hesse, 1650, died in Hanover, 
 1708. Composer, pupil on the harpsichord 
 and in harmony and counterpoint, at Han- 
 over, of Clamor Abel and Nicolas Adam 
 Strunck. He was first organist to the new 
 town of Hanover, and then to the Electo- 
 ral court, where Elector Ernst August and 
 Duke Johanu Friedrich became his pat- 
 rons. When the young King of Prussia 
 married one of the princesses, he followed 
 them to Berlin, where he tilled important 
 positions. He left a quantity of church 
 music, pieces for harpsichord, and rules for 
 accompaniment, all in MS., most of which 
 ai'e owned by the Hanoverian court. — Fe- 
 tis ; Gerber ; Mendel ; Schilling. 
 
 COCCHI, GIOACCHINO, born in Padua 
 in 1720, died in Venice in 1804. Dramatic 
 composer and teacher. He was in Rome 
 in 1743—16, in Naples in 1750, was appoint- 
 ed maestro di cappella of the Conservatoi'io 
 degl' lucurabili, Venice, in 1753, and re- 
 sided in London as composer to the Opera 
 from 1757 to 1773. In the latter year he 
 returned to Venice, and took his old posi- 
 tion in the Conservatorio. His composi- 
 tions were generally in the bufifo style. 
 Works : L' Elisa, given at Naples, 1741 ; 
 Adelaide, Rome, 1743; Bajasette, ib., 1746; 
 Giuseppe riconosciuto, Naples, 1748 ; Ar- 
 minio, farsetta in musica, Rome, 1749 ; La 
 
 serva bacchettona, Naples, 1749 ; Siroe, rb 
 di Persia, La Gismonda, ib., 1750 ; La 
 Maseherata, 1751 ; Le donne vendicate and 
 La serva astuta, 1752 ; II pazzo glorioso, 
 Semiramide riconoseiuta, Rosaura fedele, 
 Venice, 1753 ; Demofoonte, ib., 1754 ; I 
 matti i^er amore, Zoe, Emira, ib., 1756 ; 
 Gli amanti gelosi, London, 1757 ; Zenobia, 
 Issii^ile, ib., 1758 ; II tempio della gloria, 
 
 1759 ; La clemenza di Tito, Erginda, ib., 
 
 1760 ; Tito Manlio, Grande serenata, Ales- 
 saudro nell' Indie, ib., 1761 ; Le nozze di 
 Dorina, La tamiglia in scompiglio, ib., 
 1762 ; La mestra, opera bufl'a, written in 
 collaboration with several others. — Fetis, ii. 
 326 ; do., Sujjploment, i. 188 ; Grove ; Men- 
 del ; Schilling. 
 
 COCCIA, CARLO, born in Naples, April 
 14, 1782, died at Novara, April 13, 1873. 
 Dramatic composer and conductor, son of a 
 violinist ; pupil in singing, when nine years 
 old, of Pietro Casella. He began compos- 
 ing at an early age, and when sixteen had 
 written a serenade, several solfeggi, and a 
 cantata with j^ianoforte. In the Conser- 
 vatorio he studied composition and sing- 
 ing under Fenaroli, Paisiello, and Saverio 
 Valente. Through Paisiello's influence he 
 was appointed accompanist to King Joseph 
 Bonaparte. In 1829 he went to Lisbon, 
 where he was engaged for two years as 
 composer to the theatre, and in 1823-24 he 
 i conducted the Italian Opera in London. 
 He was also for a short time professor of 
 composition at the Academy of Music, Lon- 
 don. In 1828 he returned to Italy, and 
 after a second visit to Loudon in 1833 
 settled in Italy, succeeding Mercadante in 
 1836 as maestro di cappella at Novara. He 
 was also appointed inspector of singing at 
 the Aceademia Filarmonica, Turin. He 
 wrote with great raj^idity, and his comijo- 
 sitions were highly thought of in his day. 
 Works — Operas : II matrimonio per cam- 
 biale, given in Rome, Teatro Valle, 1808 ; 
 II poeta fortunate, Florence, 1809 ; L' equi- 
 voco, o le vicende di Martinaccio, opera 
 buifa, Bologna, Teatro Marsigli, 1809 ; La
 
 OOCCIOLA 
 
 veritfi iicUa bugia, Venice, 1810 ; Voglia di 
 dote 6 non di moglie, Ferr.ara, 1810 ; La 
 Matilde, ib., 1811 ; I solit:iri, II soguo veri- 
 licato, Venice, 1812 ; Arriglietto, La selvag- 
 gia, ib., 1814 ; Euristeo, ib., 1815 ; Evelina, 
 Milan, 1815 ; I begli nsi di cittii, ib., 1816 ; 
 Medea e Giasoue, Turin, Teatro Kegio, 1815 ; 
 Clotilde, Venice, 1816 ; Einaldo d' Asti, Car- 
 lotta e Werther, Rome, 1816 ; Claudine, Tu- 
 rin, 1817 ; La vera gloria, cantata, Padua, 
 1817 ; Etelinda, Venice, 1817 ; Simile, Fer- 
 rara, 1817 ; Donna Caritea, Turin, 1818 ; 
 Fayel, Florence, 1819 ; La fedeltii, cantata, 
 Trieste, 1819 ; Cantata for the birth of the 
 King of Rome, Treviso, 1811 ; Cantata for 
 tbe entrance of the allies into Paris, Padua, 
 1814 ; Atar, Lisbon, 1820 ; H Lusitano, can- 
 tata, ib. ; Mandane, regina di Persia, Elena 
 e Costaiitino, ib., 1821 ; La testa della rosa, 
 opera buffii, ib., 1822 ; Maria Stuarda, Lon- 
 don, 1827 ; L' orfano della selva, Venice, 
 1829 ; Rosamunda, Naples, 1831 ; Odoardo 
 Stuart, Milan, 1832; Eurico di Moutfort, 
 Catarina di Guisa, ib., 1833 ; Ero e Lean- 
 dro, farce, London, 1833; Ser Marc' Anto- 
 nio' Bologna, 1834; Maifa, Naples, 1834; 
 La figlia dell' arciere, Naples, 1834 ; La soli- 
 taria^delle Asturie, ib., 1835 ; Giovanna H., 
 regina di Napoli, ib., 1836; II lago delle 
 fat°e, Turin, 1841. Besides operas, be wrote 
 a great deal of chamber music, twenty-ftve 
 masses, fifteen motets, twenty-one vespers, 
 etc.— Fetia ; do.. Supplement, i. 188; Men- 
 del ; Schilling. 
 
 COCCIOLA, GIOVANNI BATTISTA, 
 born in Vercelli, Piedmont, about the end 
 of the 16th century. Kapellmeister to Leo 
 Sapieha, chancellor of Lithuania. Some of 
 his motets are in the "Paruasso musico 
 bergameuo," which led Frezza to believe 
 that he was born at Bergamo. He left a 
 mass for eight voices with basso continuo 
 (Venice, 1612).— Fetis ; Mendel. 
 
 COCCON, NICOLO, born in Venice, 
 Aug. 10, 1826, still living, 1888. Dramatic 
 composer, pupil of E. Fabio. He published 
 some motets at the age of fifteen, became 
 
 <U cappella in 1873. Works : Uggero il 
 Danese, opera ; Zaira, do. ; SaUl, oratorio ; 
 Thirty masses; Eight Requiems, and of 
 other" church music about four hundred 
 ^■orks.— Fetis, Supplement, i. 188 ; Rie- 
 
 mann. 
 
 CCEDES, AUGUSTE, born in 1835, died 
 in Paris, July 14, 1884. Dramatic com- 
 poser ; at first a prompter at the Op6ra, he 
 became chorus-master at the Theatre Ly- 
 rique, Paris. He began by writing chan- 
 sons, romances, and dance music. His first 
 successful effort was the ballet music for Le 
 bouquet de Lise, after which he wrote that 
 of La Cocotte aus oeufs d'or, a fairy spec- 
 tacle, with Herve and Raspail in 1873. 
 His La belle Bourbonuaise, opera-comique, 
 played at the Folies Dramatiques, April 11, 
 1874, was a work of still greater merit. 
 Other works : Clair de lune, 1875 ; Trouba- 
 dour de Pendule; La grande demoiselle. 
 He published a collection of fifteen vocal 
 melodies with the title Soirees d'Automne. 
 — Fitis, Supplement, i. 189. 
 
 COENEN, FRANS, bom in Rotterdam, 
 Dec. 26, 1826, still living, 1888. Violinist, 
 son of an organist ; pupil of Molique and 
 of Vieuxtemps. He travelled for six years 
 in America and the West Indies, giving con- 
 certs, first with Henri Herz, and afterwards 
 with the pianist, Ernst Liibeck. He held 
 the position of solo violin to the King of the 
 Netherlands, and is professor of violin and 
 harmony at the Music School of the Amster- 
 dam Society for the Encouragement of Mu- 
 sic. He is best known as a chamber mu- 
 sician, and has founded the best quartet 
 society in Amsterdam. Among his compo- 
 sitions are: The thirty-second psalm, for 
 orchestra and chorus ; several cantatas ; a 
 symphony ; quartets and other nnisic for 
 strings.— Fetis, Supplement, i. 190 ; Rie- 
 mann ; Viotta. 
 
 COENEN, JOHANNES MEINARDUS, 
 born at the Hague, Jan. 28, 1825, still liv- 
 ing, 1888. Virtuoso on the bassoon, pupil 
 at'the Conservatoire of the Hague. He was 
 
 soitip motets at tne age oi mieeii, uci_.viuc i»>- ^" ^, i mi --i 
 
 orgiiSof S. Marco in 1856, and maestro 1 leader of orchestra at the Grand Theatre, 
 
 337
 
 COGAN 
 
 Amsterdam, in 186i. Works : Ada vou 
 Holland op Tessel, cantata for solo, chorus, 
 and orchestra ; Symphony for full orches- 
 tra ; Ouverture de Floris V ; Ouverture du 
 roi de Bohcme ; Music for the following dra- 
 mas : De Berggeest ; Het Spook ; De Amster- 
 darasche Yungen ; De jwarte Duivel ; and 
 the cantata, Chant de fote, for voices, or- 
 chestra, and organ, given at the Palais de 
 rindustrie, Amsterdam, Oct. 27, 1875, for 
 the six hundredth anniversary of the foun- 
 dation of Amsterdam. He has written also 
 for the bassoon, violoncello, and jjianoforte ; 
 a national overture, concert overture, con- 
 certos, etc. — Fetis, Supplement, i. 190 ; 
 Mendel, Ergiinz., 66 ; Riemann ; Viotta. 
 
 COGAN, PHILIP, born in Doncaster, 
 England, in 1757 (Cork, 1750 ?), died about 
 18-28 (1834?). Organist, choirman of the 
 Cathedral of St. Finbar, Cork, and in 1772 
 stipendiary of Christ Church, Dublin. Pub- 
 lished works : Six sonatas for pianoforte 
 with violin accompaniment, op. 2 (London, 
 1788) ; Concerto favori for pianoforte with 
 two violins, viola, bass, two flutes, and two 
 horns, op. 6 (ib., 1792) ; New lessons for 
 harpsichord, op. 8 (ib.). — Fetis ; Mendel. 
 
 COHEN, HENRY, born in Amsterdam, in 
 1808, died at Brie-sur-Marne, May 17, 1880. 
 Dramatic composer. His parents settled in 
 1811 in Paris, where he studied liarmony 
 under Reicha, singing under Lays, and 
 later under Pellegrini, from 1826 to 1830. 
 His first compositions were fugues, roman- 
 ces, and nocturnes for the pianoforte, but 
 in 1832 he went to Naples and produced, at 
 the Teatro Feuice, an opera L'imjiegna- 
 trice. Being unfortunate with others, he 
 returned in 1834 to Paris, and publislied 
 several romances. He went to Naples again 
 in 1838, but his Avviso ai maritati, written 
 for the Teatro Nuovo, was prohibited by 
 the police, and he again returned to Paris 
 in 1839, and taught singing. In 1847 he 
 brought out a lyrical poem, Faust et 
 Marguerite, which was received at the Con- 
 servatoire, and in 1851 he produced Le 
 Moine, another lyrical poem, which was 
 
 given by the new Philharmonic Society 
 of London, under Berlioz. He published : 
 Traite d'harmonie pratique, and a collec- 
 tion of eighteen Solfeges in-ogressifs a trois 
 et quatre voix (Paris, S. Richault). — Ft'tis ; 
 do.. Supplement, i. 190 ; Mendel ; Riemann ; 
 Viotta. 
 
 COHEN, JULES, born in Marseilles, 
 Nov. 2, 1830, still living, 1888. Pianist and 
 composer, was placed by Halevy's advice as 
 a pujiil at the Conservatoire, whei'e he won 
 the prize for solfege in 1847 ; pupil of Zim- 
 merman on the pianoforte, and subsequently 
 of Marmontel. He obtained the first prize 
 for pianoforte in 1850, the first organ prize, 
 as a pupil of Benoist, in 1852, the second 
 prize in counterpoint and fugue, as pupil of 
 Hald-vy, in 1853, and the first in 1854. In 
 1855 his name was inscribed, at the Institut 
 de France, among the candidates for the jirix 
 de Rome, for comjjosition, which gives the 
 winner four years' study at the expense 
 of the government. Jules Cohen being 
 wealthy, he generously retired from the 
 competition when Halevy suggested that it 
 was more than possible that he woukl win 
 it, and in acknowledgment of this sacrifice 
 he was appointed professor in the Conserva- 
 toire. Of his numerous works, his church 
 compositions, O Salutaris, Ave Regina, Ave 
 Verum, Agnus Dei, Pie Jesu, Messe des 
 Morts j^oi'i' "^oix d'hommes, have been 
 sung in many of the Paris churches. Among 
 his orchestral works are two symphonies, 
 an overture in F, one in D, another in G, 
 and many cantatas and choruses, most of 
 which have been given at the concerts of 
 the Salle Herz and at the Conservatoire 
 exercises. For the theatre he has written : 
 Maitre Claude, given at tlie Opt'ra Comique, 
 1861 ; Josu Maria, ib., 1866 ; Les bkii<'li<, 
 Theatre Lyrique, 1867 ; Dea, Opera Co- 
 mique, 1870 ; other works : Vive I'Empereur, 
 cantata, ib,, 1860 ; L'annexion, do.. Opera, 
 1860 ; Music for the choruses in Athalie, 
 Esther, and Psyche, performed at the Thea- 
 tre Franyais. A great deal of pianoforte 
 music, thirty romances sans pai'oles, chan-
 
 COICK 
 
 sous, niazoai'kas, elegies, and twelve grandes 
 etudes ; he has also composed for the har- 
 luoniuni. Among vocal pieces are twenty 
 Romances, etc. — Fetis ; Mendel ; Riemanu. 
 
 COICK (Le Goq), GIAN LE, born in 
 1520, flourished in the middle of the 16tb 
 century. Several of his motets and chan- 
 sons are in the collections of that time, par- 
 ticularly among those published by Tylmau 
 Susato, at Antwerp, in IS-tS. One of these 
 is remarkable, a chanson for five voices, two 
 of which form a canon by retrograde move- 
 ment, while the other three furnish an ac- 
 compauinicnt in fugued counterpoint. — Fe- 
 tis ; Mendel. 
 
 COIGNET, HORACE, born in Lyons, in 
 173G, died there, Aug. 29, 1821. He was 
 a merchant who took uj) music late in life. 
 He wrote the music for Jean Jacques 
 Rousseau's Pygmalion, represented at the 
 Theatre Franyais in 1775, and composed 
 Le medecin de I'amour. — Fetis ; Mendel. 
 
 COLA DI RIENZI, opera seria, text by 
 Bottura, music by Luigi Ricci, the younger, 
 represented at the Teatro Fen ice, Venice, 
 Feb. 21, 1880. 
 
 COLASSE, PASCAL, born in Paris (or 
 at Rheims) in 1639 (1G36 ?), died at Ver- 
 sailles in December, 1709. Dramatic com- 
 poser, pupil of Lulli, who employed him to 
 fill in the choral and orchestral parts of his 
 own operas, for which Lulli \vrote only the 
 air and the bass. After his master's death 
 Colasse was accused of using manuscripts 
 which Lulli had thrown aside as incom- 
 plete. He was one of the chamber musi- 
 cians of Louis XIV. from 1G83, and always 
 enjoyed the king's jjatronage, but his op- 
 eras were never very popular. An opera 
 house at LiUe was destroyed by fire, and 
 this in connection with the failure of his 
 opera Pol3-xene et Pyrrhus, 170G, unsettled 
 his mind. His opera Les noces de Thetys 
 et Pelee, 1G89, was his best. Works— Op- 
 eras: Enee et Lavinie, 1690; Aslree, 1691; 
 Le ballet deVilleneuve Saint-Georges, 1G92 ; 
 Les saisons, 1695 ; Jason, ou la toisou 
 d'or, 169G ; Naissance de Venus, 1G9G ; Ca- 
 
 nente, 1700. These were all given at the 
 Academic de Musique. The Library of the 
 Arsenal, Paris, has the original MS. of .\ina- 
 ryllis, a pastoral, 1689. L'Amour et I'Hy- 
 men, written for the Prince de Conti's 
 marriage, and the music for a ballet of the 
 Jesuites, are in the Philidor collection, in 
 the Library of the Conservatoire, Paris. 
 — Fetis ; Mendel ; Riemann. 
 
 COLBORNE, LANGDON, born in Lou- 
 don, Sept. 15, 1837, still living, 1888. Or- 
 ganist, successively at Tenbury (1860), of 
 Beverley Minster (1874), Wigan parish 
 church (1875), Dorking do. (1877), and 
 Hereford Cathedral (1877). "Works : Com- 
 plete Service in C ; Magnificats and Nunc 
 dimittis in D, A, and B-flat ; Te Deum and 
 Benedictus in E-fiat ; Anthems ; Part- 
 songs ; Songs, etc. 
 
 COLINETTE A LA COUR, ou La double 
 epreuve, opera in three acts, in verse, text 
 by Lourdette de Santerre, music by Gretry, 
 rejjresented at the Academie Royale de Mu- 
 sique, Paris, Jan. 1, 1782. Subject from 
 Favart's comedy, "Le caprice amoureux, ou 
 Ninette a la cour," played at the Italiens in 
 1755, the idea of which was borrowed from 
 an Italian opera entitled Bertoldo in Corte. 
 The music is agreeable, but this is not one 
 of Gretry's best works. 
 
 COLERUS (Kohler), MARTIN, born in 
 Dautzic, about 1620, died in Hamburg, in 
 1704. Composer of church music. In IGGl 
 he was at Hamburg, and became Kapell- 
 meister to a church in Brunswick in 1665 ; 
 two years later, 16()7, he was in the employ 
 of the Margrave of Bayreuth, and in 1670 
 was in Holstein. It is not known precisely 
 how long he remained there, but he is 
 said to have wandered about till he came 
 to Hamburg in his old age. Among his 
 compositions are : Melodien zu Ristens Pas- 
 sionsandaehten (Hamburg, 1648). Hein- 
 rich Pape wrote the greater number of the 
 melodies in this collection. Die Hochzeit- 
 liche Ehrenfackel dem Hrn. von Harden- 
 berg zu Zell angeziindet und ucborschickt 
 von Martino Colero aus Danzig, etc. (Ham-
 
 COLEPaiS 
 
 burg, 1661) ; Sulamitische Seelen-Harmo- 
 uie, das ist einstiuimiger Freudenball et- 
 licher geistlicber Psalmeu (Hamburg, 1062). 
 — Fetis ; Meudel ; Gerber, i. 7.56 ; Schil- 
 ling, iv. 174 ; Wiuterfeld, Der evan. 
 Kirchengesaug, ii. 429. i 
 
 COLERUS (Koeler), VALENTIUS, born ' 
 at Erfurt, about 1550. Church Composer 
 aud cautor, at Sondersliausen. Works : 
 Three masses aud three magnificats (Erfurt, 
 1599) ; Cantionum sacrarum, quse vulgo 
 motettsB appellautur, 4-8 et pluribus voci- 
 bus concinnatarum, libri 1 et 2 (Urseren, 
 1604) . There was a Capuchin monastery 
 with a beautiful church at Urseren, in a 
 narrow valley of the St. Gothard, near the 
 Devil's Bridge, and Colerus must have re- 
 tired to it and have written there his two 
 books of motets, which the monks had 
 printed at their expense, according to their 
 title-page. Newe lustige liebliche und 
 artige luti-aden, Tiinze und Gagliardeu auff 
 allerley Saiteuspiel (Jena, 1609). — Fetis; 
 Meudel. 
 
 COLETTI, AGOSTINO BONA VEN- 
 TURA, born in Lucca, about the beginning 
 of the 18th century, died in Venice, in 1752. 
 Dramatic comjioser. He was made third 
 organist of the Ducal Chajjel, S. Marco, 
 Venice, in 1714, and full organist, in Lotti's 
 place, in 1736, and held this position until 
 his death. He brought out two operas in 
 Venice : Iligenia, 1706, and Paride in Ida 
 (with Manzi), 1706. He published : Ai-- 
 monici Tributi, o XH cantate a voce sola 
 e cembalo (Lucca, 1709). — Fetis. 
 
 COLIN, JEAN, born at Beaune (Cote- 
 d'Or), France, about 1637, died in 1722. 
 Church composer, ma.itre de chapelle of 
 the Cathedral of Soissous. Works : Missa 
 sex vocibus sub modulo : Ego flos campi 
 (Paris) ; Missa pro defunctis, sex vocibus 
 (Paris, 1688).— Fetis ; Mendel. 
 
 COLIN, PIERRE GILBERT, surnamed 
 Chamault, lived in the first half of the 16th 
 century. He was maitre de chapelle to 
 the royal children of France in the reign 
 of Francois L, from 1532 to 1536. After 
 
 leaving the king's household he was master 
 of the choristers at Autun. A collection of 
 his masses was published at Lyons with the 
 title : Liber octo luissarum, etc. (1541). 
 Six of these masses are for four voices, the 
 seventh is for five and the last for six (2d 
 ed., Lyons, 1552). It contains a Requiem 
 Mass by Richafort, besides motets and a 
 Magnificat by Colin. The 3d book of his 
 masses (Venice, 1544) is a reprint ; a new 
 edition was printed by Claudio Merulo 
 (Venice, 1547). Other masses were pub- 
 lished by Duchemin (1556), and some of 
 his motets are in the fourth book of motets 
 published by Jacques Moderne (Lyons, 
 1539), aud in another book dated 1543. 
 D'Attaignant's twelfth book of Chansons 
 NouveUes has one of Colin's chansons. 
 —Fetis ; Meudel. 
 
 COLIZZI, GIOVANNI ANDREA, born 
 in Italy about 1740, died (?). He travelled 
 through Hanover, Holland, and England, 
 and at last settled in London. Works : A 
 collection of chansons, with harpsichord 
 (Brunswick, 1766) ; Concerto for pianoforte, 
 with orchestral accompaniment ; 6 sonatas 
 for the harpsichord, op. 2 ; 6 sonatas for 
 the harp.sichord, op. 4 ; 3 sonatas for piano- 
 forte (London) ; Loto musical, ou Direc- 
 tion facile pour apprendre en s'amusant ii 
 connaitre les diiferents airs de musique 
 (The Hague and Amsterdam, 1787). Co- 
 lizzi arranged also several overtures for the 
 pianoforte, among them L'amant statue 
 (Paris, 1794).— Fetis ; Mendel. 
 
 COLLA, GIUSEPPE, born in Piacenza, 
 about 1780, died (?). He was maestro of 
 the Collegiate Church at Voghera. He 
 composed much church music, all of which 
 is in MS. He is best known by his treatise 
 on counterpoint entitled : Saggio teorico- 
 pratico-musicale, ossia Metodo di contrap- 
 punto (Turin, 1819, 2d ed., jNIilau, 1830). 
 — Fetis ; Meudel ; Schilling ; Gerber. 
 
 COLLIN, CHARLES, born in France 
 about 1840, still living, 1888. Organist of 
 the Cathedral of Saint-Brieue, and author 
 of a grand cantata : La Bienvenue, for so- 
 
 ■MO
 
 COLLINET 
 
 prano solo, orchestra and chorus, written 
 for the KOuniou du Couy:ros scieutitique 
 de France, in 1872. He is author also of a 
 cantata composed for the Catholic Con- 
 gress, and of another written for the Con- 
 grus Celtique International, with French 
 and Breton words. Published works : Sis 
 jours pour grand orgue ; L'orgue a I'eglise ; 
 Six Bluettes for harmonium ; Communion ; 
 Elevation ; Hymne a la Banniere, choeur 
 a 4 Yoix d'hommes avee solo ; Le chant 
 du franc-tireur, chceur avec solo ; Souvenu-s 
 du pensionnat, col. de 16 morceaux a une, 
 deux et trois voix egales et chosur, avec ac- 
 compagnement ; collection for divine ser- 
 vice entitled : Kautikou brezonek, ou Cau- 
 tiques bretons et logendes pieuses pour 
 orgue-harmonium (Paris) ; and much other 
 church and pianoforte music, for which see 
 Fotis.— Fetis, Supplement, i. 192. 
 
 COLLINET, . There were two 
 
 French flageolet players of this name, father 
 and son, whose christian names are un- 
 known, both of whom were distinguished 
 members of French orchestras. The father, 
 who was flutist at the Theatre des Varietes, 
 composed a great deal of flageolet music : 
 Two concertos for flageolet and orchestra ; 
 Quartet for flageolet, violin, viola and violon- 
 cello ; Deux livres de duos pour deux flageo- 
 lets ; Several Eecueils d'airs varies pour 
 deux flageolets ; Several Recueils de con- 
 tredanses et valses pour flageolet, violon, et 
 basse, ou flageolet et piano (Paris). The 
 son (born in Paris about 1797) surpassed his 
 father in playing the flageolet, and was a 
 more finished musician. He was a member 
 of the Musard orchestra, and a dealer in 
 music and musical instruments. — Fetis ; 
 Mendel. 
 
 COLMAN (Coleman), CHARLES, born 
 about 1600, died in London in 1664. 
 Chamber musician to Charles I., who taught 
 the viol lyra-way after the breaking out of 
 the civil war. In connection with Henry 
 Lawes, Captain Cooke, and George Hudson, 
 he composed the music for Sir AVilliam 
 Davenant's " First Day's Entertainment at 
 
 Rutland House by Declamations and Mu- 
 sic," 1657, intended as an imitation of Ital- 
 ian opera. Some of his songs are in " Se- 
 lect Musical Ayres and Dialogues" (1652, 
 1653, 1659) ; and instrumental composi- 
 tions in "Courtly Masquing Ayres " (1662). 
 Edward Colman, his son (about 1633-69), 
 was a teacher of the lute and viol, and a 
 composer of songs. He was a gentleman oi 
 the Chapel Royal.— Grove ; Fetis ; Mendel. 
 COLOINIBA, lyrical drama in four acts, 
 text by Francis Hueffer, music by Alex- 
 ander Campbell Mackenzie, first represent- 
 ed at Drury Lane, London, April 9, 1883. 
 Subject from Prosper Merimee's novel of 
 the same name. Colomba, Danish opera, 
 by Axel Grandjeau, Copenhagen, 1882. 
 Colomba, Italian opera, music by Pradeglia, 
 Teatro del Verme, Milan, May, 1887. 
 
 COLOMBANI (Columbani), ORAZIO, 
 born in Verona, in the 16th century. He 
 was a Cordelier monk, and maestro di cap- 
 pella to the convent of S. Francesco, Milan. 
 There is a Te Deum of his in Lindner's 
 CoroUarium cantionum sacrarum, and two 
 Magnificats and some madrigals, in the 
 King of Portugal's library at Lisbon. One 
 of tie Magnificats is for fourteen parts. 
 Five of his collections of Psalms for five, 
 six and nine voices, and two of madrigals, 
 were published in Italy (1576-1587).-retis ; 
 
 Mendel. 
 
 COLOMBE, LA (The Dove), opera-co- 
 mique in two acts, text by Jules Barbier and 
 Michel Carre, music by Charles Gounod, 
 represented at the Opera Comique, Paris, 
 June 7, 1866. Originally written for and 
 produced at the Baden-Baden Theatre, but 
 rearranged for Paris. It was given in Lon- 
 don as The Pet Dove. The subject is an 
 adaptation of La Fontaine's fable " Le 
 Faucon," with a change in the bu'd. This 
 work, the first by Gounod played at the 
 Opera Comique, was well received. The 
 score is published by Choudens. 
 
 COLOMBI, GIUSEPPE, born atModena 
 in 1635, died there in September, 1694. 
 He was maestro di cappclla of the ducal 
 
 341
 
 COLOMBO 
 
 chapel in 1674, and of the catliedral in 
 1678. Works : Sinfouie da camera, op. 1 
 (Bologna, 1668) ; La lira armouiea, op. 2 
 (ib., 1673) ; Balletti, Correuti, etc., op. 3 
 (ib., 1674:) ; Souate a due violiui con un 
 bassetto, op. i (ib., 1676) ; Sonate da came- 
 ra a tre stromenti (ib., 1689). In the ducal 
 library at ]Modeua there are twelve other 
 works, and four books of sonatas for differ- 
 ent instruments.— Fetis. 
 
 COLOMBO (de Columbis), GIOVANNI 
 FRANCESCO ANTONIO, born in Ra- 
 venna, beginning of the 17th century. 
 Cordelier monk and composer of church 
 music ; maestro di cappella and organist 
 of the Collegiate Church of Santa Tecla, 
 Eavenua. Works : Motetti (1643) ; Missa 
 et psalmi 2 et 3 voeibus concert. (1647) ; 
 Completorium, antiphonae et litan. 5 voc. 
 (1640) ; Syntaxis harmonica, 2, 3 e 4 voc. 
 — Fetis ; Mendel. 
 
 COLONNA, GIOVANNI AMBEOGIO, 
 called Stampadorino, lived in Milan, first 
 half of the 17th century. He published 
 two collections of pieces with the following 
 titles : Intavolatui-a di liuto (1616) ; In- 
 tavolatura di chitarra sjJagnuola (Milan, 
 1627).— Fetis ; Mendel. 
 
 COLONNA, GIOVANNI PAOLO, born 
 in Brescia, or Bologna, about 1640, died in 
 Bologna, Nov. 28 (Dec. 14) 1695. Church 
 comjjoser, piii^il of Filipuzzi on the organ, 
 and in composition of Carissimi, Benevoli, 
 and Abbatiui, in Rome. He was maestro di 
 cappella of S. Petronio, Bologna, and one 
 of the first members of the Accademia Fil- 
 armouica, of which he was elected Principe 
 in 1672, 1674, 1685, and 1691. Among his 
 works is one opera, Amilcare, 1693 ; but 
 his principal compositions were for the 
 church. His Psalms, in eight jjarts (Bolo- 
 gna, 1694), have been admired for their 
 masterly style. Among his published works 
 are : Messe pieue a otto (1684) ; Salmi 
 brevi, lib. 1 and 2 (Bologna, 1681, 1(!86) ; 
 Sacre lamentazioni, etc. (1689) ; La pro- 
 fezia d' Eliseo nell' assedio di Samaria, 
 oratorio (Modeua, 1088) ; La caduta di 
 
 Gerusalemme sotto 1' imperio di Sedecia, 
 ultimo re d' Israele (Modena, 1688) ; Mo- 
 tetti sacri, a voce sola (1691), etc. Paolucci 
 has inserted a Pange lingua in his Arte 
 pratica di coutrappuuto (i. 199). In Breit- 
 kopf's MSS. (Leipsic) there is a mass for 
 five voices, another for three choirs and 
 orchestra, and an oratorio, St. Basilius, ex- 
 ecuted at Bologna in 1680. A collection of 
 the known works of this celebrated com- 
 poser was made by order of the Emperor 
 LeoiDold I., and is preserved in the Imperial 
 Library, Vienna. It contains forty-four 
 numbers, some of which consist of thi'ee 
 or four Masses, seven Magnificats, four Lau- 
 date, etc. A Magnificat and Nunc dimittis, 
 for two choirs, are printed in the collection 
 of the Motet Society, London. Four other 
 pieces are in the Fitzwilliam Music. — Fetis ; 
 do., Supplement, i. 193 ; Mendel ; Riemann ; 
 Schilling. 
 
 COLUMBUS, cantata, for solo, male 
 chorus, and orchestra, by Caspar Joseph 
 Brambach, first performed at the Milwaukee 
 (Wisconsin) Silugerfest, July 23, 1886. It 
 was awarded the prize. 
 
 COLUMBUS, overture for orchestra, by 
 George Frederick Bristow, op. 33, given by 
 the Philharmonic Society, New York, in 
 1866-67. 
 
 COLUMBUS, CHRISTOPHER, the dis- 
 coverer of America, is the hero of the fol- 
 lowing operas : H Colombo, Italian ojjera, 
 music by Vincenzo Fabrizi, represented in 
 Rome, 1789 ; by Luigi Ricci, Parma, 1829 ; 
 by SangiorgioRabiti, Parma, 1840 ; by Giam- 
 bini, Genoa, 1846 (only a part produced) ; 
 by Alessandro Fava, Bologna, 1875 (given 
 privately). Christoforo Colombo, music by 
 Bottesini, given in Havana, 1847 ; by Carlo 
 Emanuele di Barbieri, Berlin, Dec. 26, 1848, 
 Hamburg, 1850 ; by Vincenzo Mela, Ve- 
 rona, 1857 ; by Donna Casella, Nice, 1865 ; 
 by Marcora, Bahia, 1869 ; and by Pignami 
 with Peneo, Genoa, December, 1883. El 
 Colon, Spanish opera, by Don Ramon Car- 
 nicer, Barcelona, 1825, Madrid, 1831. Co- 
 lombo in America, Italian opera, text by 
 
 342
 
 COLYNS 
 
 Romani, music by MorlaccLi, given at 
 Genoa, 1828. Colombo alia scoperfca delle 
 Indie, by Vincenzo Fioravanti, about 1830. 
 Columbus, pantomime, by Wenzel MiiUer, 
 Vienna, 1826 ; overture, by Eicbard Wag- 
 ner, Magdeburg, 1835, Paris, Feb. 4, 1841 ; 
 cantata, by Henry Gadsby, London, 1881. 
 Cristojilie Colomb, ode-syniphonie, by Ft'li- 
 cien David, 1817. 
 
 COLYNS, JEAN BAPTLSTE, born in 
 Brussels, Nov. 25, 1831. Violinist, studied 
 at the Conservatoire of Brussels under Wi'ry ; 
 won the 2d prize in 1849, and the 1st in 
 1850. He taught composition, became vio- 
 lin solo at the popular concerts in Brussels, 
 and was appointed professor at the Conser- 
 vatoire. He played in Paris, and visited 
 England, Holland, and Germany. His op- 
 era. Sir William, was given at the Theatre 
 de la Monnaie, Brussels, in 1877. — Fetis, 
 Supplement, i. 194. 
 
 COMA, AJSfNIBALE, lived in the second 
 half of the 16th century, born at Carjii, 
 duchy of Modena, or at Rovigo. Works : 
 Madrigali a cinque voci con un dialogo a 
 otto (Venice, 1568) ; II primo libro de' 
 Madrigali a quattro voci (ib., 1585) ; II se- 
 condo libro idem (ib., 1588). Two other 
 books of madrigals were piiblished later, 
 but Futis says thej' have no date. — Fotis. 
 
 COMALA, cantata, for soli, male and fe- 
 male choruses, and orchestra, by Niels W. 
 Gade, first performed at Leijosic, iMarch 3, 
 1843. Subject, the tragic story of Comala, 
 daughter of Sarno, King of Innistore, as 
 told by Ossian. Conceiving a violent pas- 
 sion for Fingal, King of Morven, she ac- 
 companies him on his expedition against 
 Caracul, King of Loehlin. Placed on an 
 eminence where she can overlook the battle, 
 she is overtaken by a fearful storm, and, 
 thinking that the battle has been lost, is 
 overcome with grief and dies. — Upton, 
 Standard Cantatas, 144. 
 
 COJIANEDO, FLAiMINIO, boin in Mil- 
 an about 1570, died ('?). Works : Can- 
 zonette a 3 voci, lib. i. (Venice, 1601) ; 
 Canzonette a 3 voci, lib. ii. (Milan, 1602) ; 
 
 Madrigali a cinque voci (Venice, 1615) ; 
 Vesperi a quattro voci con partitura per 
 1' organo (ib., 1618).— Fetis ; Mendel. 
 
 COMBATTIMENTO D' APOLLINE 
 COL SERPENTE, IL (Apollo's Contest 
 with Python), Italian opera, text by Bardi, 
 music by Giulio Caccini, represented in 
 Florence, in Bardi's house, in 1590. This 
 work, which was never given jniblicly, be- 
 longs to the earliest history of the opera. 
 
 COMBATTIMENTO DI TANCREDI E 
 CLORINDA, IL, dramatic interlude, music 
 by Mouteverde, given during festivities at 
 the palace of Girolamo Mocenigo, Venice, 
 1624. He introduced in it, among other 
 novel eflfects, a tremolo for violins, used as at 
 the present day, which so astonished the per- 
 formers that they at first refused to play it. 
 
 COMBATTONS, CHANTONS. See Pos- 
 tiUon de Lonjumeau. 
 
 COME, AND TRIP IT AS YOU GO, so- 
 prano, or tenor, air and chorus in C minor, 
 in Handel's L' Allegro, il Penseroso, ed il 
 Moderato, Part L 
 
 COM' E BELLO. See Lucrezia Borgia. 
 
 COME, BLESSED CROSS. See Komm, 
 susses Kreuz. 
 
 COME, EVER SMILING LIBERTY, 
 duet for two sopranos in Handel's Judas 
 Maccabteus, Part I. 
 
 COM' E GENTIL. See Don Pasqmle. 
 
 COiME PER ME SERENO. See Son- 
 namhula. 
 
 COME RATHER, GODDESS SAGE 
 AND HOLY, soprano air in D minor, in 
 Handel's L' Allegro, il Penseroso, ed il Mo- 
 derato, Part I. 
 
 COME, THOU GODDESS, FAIR AND 
 FREE, soprano air in B-flat, in Handel's 
 L' Allegro, il Penseroso, ed il Moderato, 
 Part I. 
 
 COMETTANT, (,JEAN PIERRE) OSCAR, 
 born in Bordeaux, April 18, 1819, still liv- 
 ing, 1888. Pianist, pupil at the Conserva- 
 toire, Paris, under Elwart and Carafa in 
 harmony and composition, from 1839 to 
 1843. in 1848 he won the gold medal 
 given l:y the government for the best 
 
 3«
 
 COME 
 
 national song and chorus for the Choral So- 
 ciety of France, for his Marche des travail- 
 leurs. He afterwards gained a reputation 
 as musical ci'itic and writer on the Siecle 
 and other periodicals, and is the author 
 of several books. He visited the United 
 States from 1852 to 1855. Works : Heures 
 d'harmonie, for pianoforte ; Religious com- 
 positions for soj)rano voice with organ or 
 l^iauoforte ; O Salutaris, Ave Maria, Ad te 
 levavi, Ecce panis, Veni Sancte, Ave Maris 
 Stella, etc. ; Les voix de Jeanne d'Arc, 
 for two choruses, in tive parts ; Le joyeux 
 Malbrough, etc — Fetis ; do.. Supplement, 
 i. 191: ; Mendel ; Rieniann. 
 
 COME WITH THE GIPSY BRIDE. See 
 Bohemian Girl. 
 
 COME, YE DAUGHTERS, AYEEP FOR 
 ANGUISH. See Kommt, ihr Tochter. 
 
 COMFORT YE MY PEOPLE, accom- 
 panied recitative for tenor, ojieuing Han- 
 del's Messiah. 
 
 COMI, GAUDENZIO, born at Civita 
 Vecchia, in 1749, (died ?). He went in 
 1781 to Paris, where he became musician 
 to the Prince de Gonti. Published works : 
 Six symphonies a huit parties, op. 1 (Paris, 
 1786), which obtained succe.ss, and were 
 followed by six other works, consisting of 
 trios, symphonies for full orchestra, and six 
 sonatas for two horns and bass. — Fetis ; 
 Mendel. 
 
 COMME UNE PALE FLEUR. See 
 Hamlet. 
 
 COMMER, FRANZ, born at Cologne, 
 Jan. 23, 1813, died in Berlin, Aug. 17, 
 1887. Church composer-, pupil of Leibl 
 and Josef Klein ; became organist at the 
 Carmelites and singer in the cathedral 
 in 1828, and went to Berlin in 1832, to 
 study the organ under August W^ilhelm 
 Bach, and composition under Rungenhagen 
 and A. B. Marx. Soon after he was com- 
 missioned to arrange the library of the 
 Royal Institute for Church Music, and edited 
 several collections of old compositions. In 
 1844 he became royal Musik-Director, and 
 Regens chori of St. Hedwig's church, and 
 
 founded, with Kiister and Kullak, the Berlin 
 Tonkiiustlerverein ; in 1845 he was made 
 member, and afterwards senator, of the 
 Academy ; in 1850 professor of singing at the 
 royal theatre vocal school, at the Friedrich 
 Wilhelms-Gymnasium, and the French Gj'm- 
 nasium. W^orks : Der Zauberring, oratorio 
 for male voices, with orchestra, performed 
 in Berlin, 1843, Strelitz, 1845, Cologne, 
 1850 ; Der Kiff hiiuser, do. ; Five solemn 
 masses for 4 voices and orchestra ; Eleven 
 masses for 4 voices and organ ; Overture, 
 entr'actes, choruses, and ballets to the 
 tragedy "Clotilde Montalvi" ; Music to The 
 Frogs hy Aristophanes, and to Electra hy 
 Sophocles, for male voices and orchestra ; 
 Passion Cantata for male voices and organ ; 
 Twelve motets for 4 voices and orchestra; 
 do. for 4 voices and organ ; Te Deum ; Do- 
 mine salvum fac ; Graduale, offertory, and 
 responses for Holy week ; Manj' pieces for 
 festive occasions, for 4 voices and orchestra ; 
 Several collections of songs, and part-songs, 
 psalms, motets, and masses. — Fetis ; Men- 
 del ; Riemann ; Ledebur, Tonkiiustler-Lexi- 
 kon Berlins (Berlin, 18C1). 
 
 COMMIT THY WAYS, OH PILGRIM. 
 See Befiehl du deine Wege. 
 
 COMODIEN MUSIK (Comedy Music), 
 musical drama, by Heinrich Albert, rep- 
 resented at the centenary of KOuigsberg 
 University, Aug. 28, 1644. It was after- 
 wards repeated in the palace of the Kur- 
 fiirst, but was never published and is now 
 lost. 
 
 C0MP{:RE, LOYSET, bom in Flanders 
 about the middle of the 15th century, died 
 at Saint-Queutin, Aug. 16, 1518. Famous 
 contrapuntist, probably a pupil of Okeghem, 
 simultaneouslj' with Josquin Despres and 
 Guillaume Ci-espel. He became a canon 
 and afterwards chancellor of the Cathedral 
 of Saint-Quentin. Only a few of his com- 
 positions have been preserved in collections, 
 printed by Petrucci in Venice (1501-3) 
 and at Fossombrone (1519), and by Petreius 
 at Nuremberg (1541). — Biog. nat. de Bel- 
 gique, iv. 343 ; Fetis. 
 
 844
 
 COMPONIMENTO 
 
 C05IP0NIMENT0 SACEO, oratorio, l)y ; Augustine Ariie, played at Drury Lane The- 
 
 JoLiauu Erust Eberliu, perforiued with 
 great success at Salzburg, 1747. 
 
 COMTE, ANTOINE LE, lived iu France 
 in the latter half of the 17th century. He 
 was maitre de niusique at the Churches 
 of Sainte-Marie and Saint-Martin, Marie. 
 Works : Missa quinque vocibus ad imita- 
 tiouem moduli : O vivum iueffabilem (Paris 
 lG8.5).-Fotis ; Mendel. 
 
 COMTE CARiUGNOLA, LE, opera in 
 two acts, text by Scribe, music by Ambroise 
 Thomas, represented at the Academic Koyale 
 de Musique, Paris, April 19, 1841. Scene 
 in Brescia. Under the name of the Mar- 
 quis de Ripada, the Comte Carmagnola 
 introduces himself into the palace of the 
 governor to make an attempt on his hon- 
 our as a husband. He succeeds, and the 
 curtain falls on vice triumphant. The mu- 
 sic is better than the libretto. 
 
 COMTE D'ALBERT, LE, drama in two 
 acts, afterwards iu one act, text by Sedaine, 
 music by Gretry, represented at Fontaine- 
 bleau, Nov. 13, 1786, and iu Paris, at the 
 Italiens, Feb. 8, 1787. 
 
 COMTE OEY, LE, opera in two acts, 
 text by Scribe and Delestre-Poirson, music 
 by Rossini, first represented at the Acade- 
 mie Royale de Musique, Paris, Aug. 20, 
 1828. The libretto is a rearrangement of 
 a play by the same authors written for the 
 Vaudeville Theatre in 1816, and the music 
 was iu great part composed for II Viaggio a 
 Reims, an opera iu honour of the corona- 
 
 atre, London, 1738. The jiarts of Comus 
 and the second Attendant Spirit were sung 
 by John Beard, Euphrosyne by IMi's. Clive, 
 and the lady and pastoral nymph by Mrs. 
 Arue. This work had a great run and fully 
 established Dr. Arue's reputation. It was 
 revived iu 1738 and 1750, and in 1772 with 
 alterations by Colman. — Hogarth, ii. 80. 
 
 CONCEiglO (not Conceicam), NUNO 
 DA, born in Lisbon, died in Coimbre in 
 1737. A Portuguese monk, who became 
 mestre de capella in his convent at Coim- 
 bre. His compositions, consisting of hymns, 
 motets, ijsalms, etc., are preserved by his 
 order. — Fetis ; Mendel ; do., Ergiinz., 67. 
 
 CONCEI9AO (not Concei<;am), PEDRO 
 DA, born in Lisbon iu 1691, died there, 
 Jan. 4, 1712. Composer of vocal music, of 
 which Machado gives the following list : 
 Musica a 4 coros, for a comedy ; Loa com 
 musica a 4 vozes ; Vilhancicos a 3, 4 e 8 
 vozes ; A cetera, e solfa de hum vilhancico ; 
 In exitu Israel de Egj'pto a 4 vozes, fnnda- 
 das sobre o Canto-Chao do mesmo psalmo 
 — Fetis ; Mendel ; Bibl. Lusit., iii., 569. 
 
 CONCERT DANS LE STYLE ITA- 
 LIEN, a composition in F major in three 
 movements for clavier by Johann Sebastian 
 Bach, generally knowu as the Italian con- 
 certo. It has long held a prominent place 
 in the i-epertory of almost all great pian- 
 ists. 
 
 CONCERTO PATHETIQUE, for piano- 
 forte with orchestra, by Moscheles, op. 93. 
 
 tion of Charles X., produced at the Opera | Published by Haslinger (Vienna). Although 
 Italien in 1825. Le comte Ory is one of i less famous than his concerto iu G minor, 
 the best of Rossini's scores. It was per- '■ it deserves to be ranked among the corn- 
 formed in London at the St. James's The- poser's best works. 
 
 atre, June 20, 1849. 
 
 COMUS, fairy masque, text by John Mil- 
 ton, music by Henry Lawes, jjroduced at 
 Ludlow Castle, England, on Michaelmas 
 night, 1634. Lawes himself performed the 
 part of the Attendant Spirit. The score is 
 preserved in the British Museum. Comus, 
 English opera, same text, altered and adapt- 
 
 CONCERTSTUCK, for four horns and 
 grand orchestra, by Robert Schumann, op. 
 86 ; composed in 1849, first performed in 
 Leipsic, Feb. 25, 1850. First published by 
 Schuberth & Co. (Leipsic, 1851). 
 
 CONCERTSTUCK, for pianoforte and 
 orchestra, in G major, by Robert Schumann, 
 op. 92 ; composed in 1849, first performed 
 
 ed by Dr. John Daltou, music by Thomas j by Clara Schumann, Leipsic, Feb. 14, 1850. 
 
 345
 
 CONCERTSTUCUv 
 
 First published by Breitkopf & Hiirtel 
 (Leipsic, 1852). 
 
 CONCERTSTUCK (Concert Piece), in F 
 minor, for pianoforte and orcbestra, by 
 Weber, op. 79, composed in BerHn, 1821, 
 dedicated to tlie Princess Maria Augusta of 
 Saxony, first played by the comjioser at his 
 concert, Berlin, June 25, 1821 ; first original 
 edition, full score, Peters (Leipsic). The 
 last and most striking of Weber's compo- 
 sitions for the pianoforte. He conceived the 
 idea as early as 1815 while at Prague, but 
 did not complete it until the morning of 
 the first performance of Der Freischiitz, 
 June 18, 1821. The exact idea of the com- 
 poser is expressed in his own words in the 
 biography by his son ; it was to give a 
 musical picture of a young knight's part- 
 ing from his betrothed to go to the cru- 
 sades, his triumphal return, and joyful 
 meeting with the lady. The ])iece has 
 long been a favourite with almost all dis- 
 tinguished pianists. Arranged for piano- 
 forte alone by Hans von Biilow. — Benedict, 
 65 ; Jahns, 337 ; Weber, ii. 311 ; Weitz- 
 mann, Gesch. des Clavierspiels, etc., 123. 
 
 CONCEZZIONE DELLA BEATA VER- 
 GINE, LA (Conception of the Holy Virgin), 
 oratorio, by Alessandro Scarlatti. 
 
 CONCONE, GIUSEPPE, born in Turin 
 about 1810, died there, June, 1861. Or- 
 ganist ; resided in Paris from 1832 to 1848, 
 when he was appointed organist of the 
 Royal Chapel, Turin. His Lec/ons de 
 Chant et Vocalises is much used by pro- 
 fessors of singing, and has been translated 
 and issued in many editions. Works : Un 
 episodio di San Michele, opei'a, Turin, 
 1836 ; Comtesse et Bachelette, duettiuo 
 pour deux sopranos et piano ; Judith, scena 
 ed aria, mezzo-soprano, pianoforte ; Les 
 soeurs de lait, duettiuo, 2 sopranos, piano- 
 forte, etc. — Fetis ; Mendel. 
 
 CONDELL, HENRY, born in England 
 in the latter part of the 18th century, died 
 in Loudon, June, 1824. Violinist at the 
 Opera, and at Drury Lane and Covent Gar- 
 den Theatres in the early part of this cen- 
 
 tury. Works : The Enchanted Island, ballet, 
 1804 ; Who Wins ? or the Widow's Choice, 
 farce, 1808 ; Transformation, do., 1810 ; 
 The Farmer's Wife, 1814 ; Glees, songs, etc. 
 
 CONFORTI, GIOVANNI BATTISTA, 
 Italian composer of whom little is known. 
 He was the pupil of Claudio Merulo, and 
 published his first work of Madrigals for 
 five voices, at Venice, in 1857. — Fetis ; Men- 
 del. 
 
 CONFORTO, NICOLd, Italian dramatic 
 composer, born in the Kingdom of Naples (?) 
 in the early part of the 18th century. Dra- 
 matic composer, author of the following 
 operas : La finta vedova, Naples, Teatro 
 de' Fiorentiui, 1746 ; La Nitteti, text by 
 Metastasio, Madrid, 1756 ; Antigono, Lon- 
 don, 1757. — Fetis ; do.. Supplement, i. 195; 
 Mendel. 
 
 CONINCK, JACQUES FELIX DE, born 
 in Antwerp, May 18, 1791, died in Schaer- 
 beck-les-Bruxelles, April 25, 1866. Pianist, 
 pupil in Antwerp of the organists De Tra- 
 zegnies and Hoefnagels, and at the Paris- 
 Conservatoire of Perne in harmony, in 
 which he won the first prize in 1813. In 
 1818 he returned to Antwerp, and then 
 went to America as accompanist to Mali- 
 bran. On his return to Antwerp he found- 
 ed the Harmonie Society. He published 
 in France pianoforte compositions, concer- 
 tos, sonatas, airs varies, etc. — Fetis, Supple- 
 ment, i. 195 ; Riemann. 
 
 CONINCK, JOSEPH BERNARD DE, 
 born in Ostend, Belgium, March 10, 1827, 
 still living, 1888. Dramatic composer, son 
 of Jacques Felix de Coninck. His Essai 
 sur I'histoire des arts et des sciences en 
 Belgique, written when he left college, and 
 crowned by the Societe Royale pour I'Eu- 
 couragement des Beaux-Arts, in 1845, de- 
 cided him to give up civil engineering 
 for music, and he studied the pianoforte 
 and the organ, counterpoint and harmony, 
 under a distinguished teacher, De Leun, 
 maitre de chapelle of St. Andre. In 1851 he 
 went to Paris, where Auber encouraged 
 him by using several choruses written by 
 
 346
 
 CONNAIS-TU 
 
 bim for Casimir Delavigne's Paria in the 
 singing classes at the Conservatoire con- 
 certs, and put him under the tuition of 
 Leborne for composition and fugue. He 
 has published many romances, melodies, 
 and choruses without accompaniment, has 
 brought out an opi'ra-comique, Maitre Pa- 
 thelin, text by Lajarte, and an operetta, 
 Le rat de ville et le rat des champs, both 
 performed at the Tivoli Theatre, Paris. 
 Another, La tille de Figaro, was accepted 
 by the Athence. He has been musical 
 critic of several prominent Paris papers. 
 — Fi'tis, Supplement, i. 195 ; Eiemann. 
 
 CONNAIS-TU LE PAYS ? See Mignon. 
 
 CONRAD, JOHANN CHRISTOPH, lived 
 in the 18th century. Organist at Eisfeld, 
 in the Hildburghausen. He published two 
 suites of preludes for the organ (Leipsic, 
 1772).— Futis. 
 
 CONEADI, AUGUST 
 June 27, 1821, died 
 
 there. May 2G, 1873. 
 Dramatic composer, 
 jMipil of Eungenha- 
 geu in harmony and 
 composition; won 
 several prizes of the 
 Academy in 1840-42, 
 and became organist 
 at the Church of the 
 Invaliden in 1843. Af- 
 ter a visit in 184(5 to Vienna, where he 
 brought out a symphony with brilliant suc- 
 cess, he lived for a time at Weimar inti- 
 mate with Liszt, was Kapellmeister at the 
 theatre in Stettin in 1849-51, then at the 
 Konigstiidtisches Theater in Berlin, at Diis- 
 seldorf, at Cologne, and since 185G again in 
 Berlin, successively at KroU's, at the new 
 KiJnigstadtisches, at Wallner's, and Victoria 
 Theatres. Works— Operas : Eiibezahl, given 
 in Berlin, 1847 ; Musa, der letzte Mauren- 
 fiirst, ib., 1855 ; Die Braut des Flussgottes ; 
 Die Sixtinische Madonna, ib., 1864 ; Knecht 
 Euprecht, ib., 18G5 ; So sind die Frauen, 
 Im Weinberge des Herrn, ib., 1867 ; Das 
 Bchonste Msidchen des Dorfes, ib., 1868. 
 
 Many vaudevilles and farces ; Five sympho- 
 nies ; Overtures, string quartets; Church 
 music ; Dance music for pianoforte and or- 
 chestra ; Songs.— Fetis ; Mendel. 
 
 CONEADI, JOHANN GEORG, Kapell- 
 meister at Oettingen, Bavaria, towards the 
 close of the 17th century. He was one of 
 the earliest German dramatic composers ; 
 all his operas were produced at the Ham- 
 burg Theatre. Works : Ariadne, Diogenes, 
 and° Numa Pompilius, 1691 ; Jerusalem, 
 
 1692 ; Carolus Magnus, 1692 ; Sigismund, 
 
 1693 ; Pygmalion, 1693 ; Gensericus, 1693. 
 — Fetis; Mendel. 
 
 CONRADIN. See Konradin. 
 CONEAEDY, JULES, born at Liege, Bel- 
 gium, Jan. 27, 1834, — 
 still living, 1888. Or- 
 ganist, pupil of De- 
 cbarneux. At the 
 age of fifteen he be- 
 came organist at the 
 Church of Ste. Mar- 
 guerite, then at St. 
 Servais, and later at 
 St. Antoine, a posi- 
 tion he still holds. 
 
 In 1853 he studied harmony, counterpoint, 
 and fugue at the Liege Conservatoire, under 
 Daussoigne-Mehul, and in 1857 won the 
 2d grand prix de Eome, in the grand con- 
 cours at Brussels, for his cantata, Le meur- 
 tre d'Abel. On his return to Liege from 
 Eome he began the composition of both 
 church and dramatic music, and in 1864 
 was appointed professor of solfege at the 
 Conservatoire. Works — Operas-comiques 
 in one act : Le pere Lajoie, given at the 
 Theatre Eoyal, Liege, 1858; Annibal et 
 Seipion, ib.,"l860; Jeanne et Jeannot, ib., 
 1861 ; Le roi de I'arbalete, ib., 1862 ; Le 
 loup-garou (prize in 1872 from Societe 
 d'fcnulation), ib., March 26, 1874. Church 
 music : Messe solennelle with grand orches- 
 tra ; 2 Te Deum ; Masses for three and 
 four voices ; Litanies ; Anthems, etc. He 
 has published also an album of romances, 
 and dance music for pianoforte. 
 
 847
 
 CON 
 
 CON KAUCO MORMOEIO. See Rode- 
 
 liiida. 
 
 CONSECRATION OF SOUND. See 
 Welhe der Tune. 
 
 CONSILIUM, JACQUES, French com- 
 poser, early part of the 16tb century. His 
 name was probably Latinized by the collec- 
 tors of motets, according to a custom of 
 the time. In Pierre Attaignant's collection 
 (Paris, 1529-1537) are tlie following motets 
 for five voices by Consilium, in the seventh, 
 eighth, and eleventh books : In ilia die ; 
 Cum iudueerent ; Adjuva me, Domiue. They 
 may also be found in the following collec- 
 tions: Psalmorum selectorum (Nuremberg, 
 1538) ; Tertius liber cum quatuor vocibus 
 (Leyden, 1539) ; Selectissimse nee non fami- 
 liarissimje cantiones, ultra cent., etc. (Augs- 
 burg, Melehior Kriessten, 1540) ; Can- 
 tiones sejjtem, sex et quinque vocum (ibid., 
 1545) ; Livre de danceries ii six parties, 
 (Attaignant, Paris, 1543).— Fetis ; Mendel. 
 
 CONSTANTIN, oratorio, by George Vier- 
 ling, first performed at Augsburg, Bavaria, 
 in 1887. Given by tlie Milwaukee (Wiscon- 
 sin) Musical Society, May 1, 1888. 
 
 CONSTANTIN, TITUS CHARLES, born 
 in Marseilles, Jan. 7, 1835, still living, 1888. 
 Violinist, plaj'ed in Paris in the orchestras 
 of the Italiens and the Theatre Lyrique, 
 and studied at the Conservatoire under 
 Ambroise Thomas from 1858. He received 
 honourable mention in 1861, and the second 
 prize, in 18G3, for his cantata, David Rizzio, 
 set to words by Chouquet. He was first 
 chef d'orchestre of the Fantaisies Parisi- 
 ennes, where he did much to raise the stan- 
 dard of French opera by producing the 
 works of the best masters, which had given 
 ])lace to the lighter operas then filling the 
 repertories of the Parisian theatres. In 
 1871 he directed the concerts at the Casino, 
 in 1872 conducted at the Athenee, and, 
 when that closed, at the Renaissance Thea- 
 tre, and in 1875 at the Opera Comique. 
 Works : Bek, a ballet brought out at the 
 Grand Theatre de Lyon, 1867 ; Le salut, 
 cantata, 1867 ; Dans la foret, opera-co- 
 
 mique, 1872 ; RoUa, overture, 1872 ; Ouver- 
 ture villageoise. The last two were played 
 at the Casino. — Fetis, Supplement, i. 197. 
 
 CONSUME THEM ALL, LORD SAB.\- 
 OTH ! See Virttlge sie, Herr Zebaoth. 
 
 CONTADINA ASTUTA, LA, Italian in- 
 termezzo, music by Pergolesi, represented 
 at the Teatro de' Fioreutini, Naj)les, 1734. 
 The intermezzo was the original form of the 
 ojaera buffa. 
 
 CONTE, ANTONIO ERNESTO, born in 
 Salerno, Italy, Oct. 23, 1826, still living, 
 1888. Pianist, pujsil in harmony of his 
 father and of Giuseppe Barberi, on the pi- 
 anoforte of Giuseppe Litto and Fenaroli, 
 and in composition of Carlo Asseuzio. He 
 is the author of nearly one hundred pieces 
 for the pianoforte, besides a great deal of 
 vocal music ; he has also published church 
 anisic with instrumental accompaniment. 
 — Fetis, Supplement, i. 198. 
 
 CONTE, JEAN, born in Toulouse, May 
 12, 1830, died in Paris, April 1, 1888. Vio- 
 linist, pupil of Carafa at the Paris Conserva- 
 toire. He was chef d'orchestre at a small 
 theatre in 1855, when he won the grand 
 prix de Rome for his cantata, Acis et Gala- 
 tee, text by Camille du Locle. During his 
 residence in Rome, he wrote : Une Messe 
 solennelle (1856) ; fragments of an opera, 
 Isabella di Lara (1857), and a Dies irse 
 (1858). He became professor of music at 
 Passy on his return, and member of the 
 orchestras of the Opera and Conservatoire. 
 Works : Methode de violon ; several books 
 of duos for violins ; pieces for violin and 
 pianoforte ; La charito, hymne ; Oh done 
 vont les hirondelles, reverie ; Le grand 
 veneur, legeude ; La marchande de plaisirs, 
 chansonettes ; Music for Bejspo, operette, 
 text by Camille du Locle. — Fetis, Supple- 
 ment, i. 198. 
 
 CONTESA DE' NUMI, LA (The Quarrel 
 of the Gods), Italian operetta in two parts, 
 text by Metastasio, first set to music by 
 Leonardo Vinci, and represented in the 
 palace of Cardinal de Polignac, Rome, 1729, 
 in honour of the birth of the Dauphin of 
 
 34S
 
 CONTES 
 
 France. Scene on lit. Olj-mpus. Charac- 
 ters represented : Giove, Marte, Apollo, 
 Astrea, La Pace, La Fortuna. The libretto 
 was set to music also bj' Paisiello, given 
 in Naples, 1773. Of the same title is an 
 Italian opera, text by Giuseppe Prescimonio, 
 nuisic bj' Caldara, produced at Prague, Oct. 
 1, 17-23. 
 
 CONTES D'HOFFxMANN, LES (Hoff- 
 mann's Tales), opera-comique in four acts, 
 text by Barbier, music by Offenbach, rep- 
 resented at the Opera Comique, Paris, Feb. 
 10, 1881. The libretto is founded on Hoff- 
 mann's storj', "Der Sandmann," which 
 furnished the motive also for Delibes's Cop- 
 pelia. The orchestration, left unfinished by 
 the composer, was completed by Ernest 
 Guiraud. This opera, Offenbach's last and 
 best work, has been almost entirely laid aside 
 on account of the frightful catastrophe of 
 the burning of the Ring Theater, Vienna, 
 Dec. 8, 1881, during its second representa- 
 tion there. 
 
 CONTI, ANGELO, liorn in Aversa, near 
 Naples, in 1603, died (?). Works : Libre de' 
 niadrigali a cinque voci (Venice, 1G34) ; Tre 
 libri de' madrigali a quattro voci (ib., 
 1G35-1637) ; Libro de' motett.i da una sino 
 a dieci voci (ib., 1639).— Fetis ; Mendel. 
 
 CONTI, CARLO, born at Arpino, near 
 Naples, Oct. 14, 1797, died in Naples, July 
 10, 1868. Dramatic composer, said to have 
 been the best Italian contrapuntist of his 
 time. He taught counterpoint to Bellini, 
 Lillo, Audreatini, Buonamici, and others. 
 Pupil at the College of Music at Naples 
 from his thirteenth year, he studied first 
 under Tritto and for three years had Ziu- 
 garelli for his instructor in counterpoint; 
 he afterwards took lessons in composition 
 from Simon Mayr while he resided at Na- 
 ples. He was j)rofessor of counterpoint 
 and composition at the Conservatorio, Na- 
 ples, in 1846-.58 ; secretary for life of the 
 Academy, ib., and corresponding mem- 
 ber of the lustitut de France. Works — 
 Operas : Le triippe in Franconia, opera 
 buffa, given at Naples, Teatro S. Sebas- 
 
 tiano, 1825 ; La pace desiderata, Misau- 
 tropia e pentimento, Teatro Nuovo, about 
 182.5 ; II trionfo della giustizia, ib., 1826 ; 
 Gli Aragouesi in Napoli, ib., 182^^ ; L' in- 
 nocenza in periglio, Rome, Teatro Valle, 
 1827; Alexi, Naples, Teatro San Carlo, 
 1828 ; Olimpiade, ib., 1829 ; Giov.anna 
 Shore, La ■Milan, Scala, 1830 ; L' audacia for- 
 tunata, ib., 1831 ; Cantata for the inaugura- 
 tion of the bust of the poet Monti, Milan, 
 Teatro Filodrammatico, 1829 ; 6 solemn 
 masses ; 2 Requiem masses ; 2 Credo ; Te 
 Deum ; Magnificat ; several Dixit ; Canzone, 
 with pianoforte. — Fetis ; do.. Supplement, 
 i. 199. 
 
 CONTI, CLAUDIO, born at Capracotta, 
 Kingdom of Najjles, in 1836, still living, 
 1888. Dramatic composer, pupil at the 
 Naples Conservatorio under Parisi and 
 Mercadante. His first efforts were in 
 church composition, but his first success 
 was an opera entitled La figlia del Marinajo, 
 given at the Teatro Bellini, Najjles, iii 18G-4. 
 He devoted himself to teaching, and in 
 1872 became director of the Albergo de' 
 Poveri musical institute. Works : 2 Hymns, 
 sung at the San Carlo in 1859 and 1869 ; 
 4 Albums of songs ; Collection of piano- 
 forte pieces ; 3 melodies for violoncello 
 and pianoforte ; Eloge funebre ; March 
 for full orchestra, written on the death 
 of Meyerbeer, etc. — Fetis, Supplement, i. 
 200. 
 
 CONTI, FRANCESCO BARTOLOMEO, 
 born in Florence, Jan. 20. 1681, died in 
 Vienna, July 20, 1732. Dramatic com- 
 poser ; court theorbist at Vienna in 1701, 
 and court composer from 1713. His first 
 opera, Clotilde, Vienna, 1706, was also 
 given in London, 1709, and the songs in 
 it were published separately by Walsh ; 
 but his best work was the tragi-comic op- 
 era, Don Chisciotto in Sierra Morena, per- 
 formed at the Carnival in Vienna in 1719, 
 and afterwards in German at Hamburg, in 
 1722. KiJchel gives a list of his works per- 
 formed in Vienna between 1706 and 1732. 
 They number sixteen grand operas, thir- 
 
 34?
 
 CONTI 
 
 teen serenades or festi teatrali, and nine 
 oratorios, the scores of which, ahuost en- 
 tire, are in the Imperial Library and in 
 the archives of the Gesellschaft der Musik- 
 freiinde, Vienna. Works — Operas : Clo- 
 tilde, London, 1709 ; Alba Cornelia, I Satiri 
 in Arcadia, Vienna, 171 J: ; Teseo in Greta, 
 ib., 1715 ; II Fiuto Policare, Giro, ib., 1716 ; 
 Don Chisciotto in Sierra Morena, ib., 1719, 
 and Hamburg, 172'2 ; Alessandro in Sidone, 
 Vienna, 1721 ; Archelao, re di Cappadocia, 
 Mosfe preservato, ib, 1722 ; Penelope, ib., 
 1724 ; Griselda, ib., 1725 ; Issipile, ib., 
 1726 ; Galatea vendicata, ib., 1727 ; II tri- 
 onfo deir amor e dell' amicizia, ib., 1728 ; 
 n martirio di San Lorenzo, oratorio, Vi- 
 enna, 1710 ; Cantatas, motets. — Futis; Men- 
 del ; Schilling. 
 
 CONTI, GIACOMO, born in the 18th 
 century, died in Vienna in 1804. Italian 
 violinist ; first violin in 1790 in the chapel 
 of the Empress Catherine of Russia, and of 
 Prince Potemkin. In 1793 he went to Vi- 
 enna and became conductor at the Italian 
 opera. His works consist of five concertos 
 for violin ; two sets of sonatas for violin ; 
 three sets of duos for the same, op. 6, 9, 
 and 10 ; and a set of solos for violin, op. 8. 
 — Futis. 
 
 CONTI, IGNAZIO, born in Florence in 
 1699, died in Vienna, March 28, 1759. 
 Church composer, son of Francesco Conti, 
 whom he succeeded in the service of the 
 court of Vienna. "Woi'ks : La distruzione 
 di Hai (1728) ; II giusto afflitto nella per- 
 sona di Giobbe (Vienna, 1736) ; and the 
 following in MS. in the Royal Libi-ary at 
 Berlin : Offertory, Meditabar, for five voices 
 and organ, in score ; Cantata in C minor, 
 for sojirano and continue, Dojjo tante e 
 tante pane ; Missa prima, Sperabo in te, 4 
 voci a cappella ; Missa secunda, Adjuva me, 
 4 e 5 voci a cappella ; Missa terza, Exaudi 
 me, 4 e 5 voci a capella ; Missa quarta, 
 Judica me, 6 voci a cappella. — Fotis ; Men- 
 del; do., Ergilnz., 67. 
 
 CONTI, NICOLO, born in the Kingdom 
 of Naples, lived in the 18th century. Dra- 
 
 matic composer, author of the following 
 works given at the Teatro de' Fiorentini, 
 Naples: L'Ippolita, 1733; L' Orlindo (with 
 Matteo Capranica), 1753. — Fetis, Sujiple- 
 ment, i. 198. 
 
 CONTINI, GIOVANNI, flourished in 
 Brescia, middle of the 16th century. He 
 was maestro di cappella of the Cathedral of 
 Brescia in 1550. Published works : Madri- 
 gali a cinque voci, lib. i.; Modulationum 
 quinque voc. liber primus ; Modulationum 
 sex vocum liber primus ; Introitus et alle- 
 luja quinque vocum ; Hymnos quatuor vo- 
 cum ; Threnos Hieremife quatuor vocum ; 
 Missae 4 vocibus concert. (1560); Cantiones 
 sex vocum (Venice, 1565). He must not 
 be confounded with Giovanni Contini, com- 
 poser of the Roman school, who lived in the 
 beginning of the 18th century, and pro- 
 duced the oratorio, II pescatore castigato 
 (Prague, 1735).— Fetis ; Mendel. 
 
 CONTIUS, , born at Rossla, in Thu- 
 
 ringia, about 1714, died in Quedlinburg in 
 1770. Harpist and harpsichordist in the 
 service of the Count von Brdhl, Dresden, he 
 retired in 1759 to Sondershauseu, where he 
 wrote several church pieces for that noble- 
 man's chapel. In 1762 he entered the ser- 
 vice of the Prince of Berneburg, but left it 
 in 1770, and went to Quedlinburg, where he 
 had a government ajspointmeut. He wrote 
 several sj'mphouies and some concertos for 
 the harpsichord and the harp which have 
 never been published. — Fetis; Mendel; 
 Schilling. 
 
 CONTRASTES, LES, grand duo for two 
 pianofortes, for eight hands, by Moscheles, 
 op. 115. In this composition the musical 
 styles of diiterent countries and times are 
 cleverly imitated. It has been arranged for 
 a single pianoforte for four hands. Pub- 
 lished by Kistner (Leii^sic). 
 
 CONVERSE, CHARLES CROZAT, born, 
 of American parentage, in Warren, Massa- 
 chusetts, Oct. 7, 1832, still Hving, 1888. 
 About 1855 he went to Europe and stud- 
 ied at the Leipsic Couservatorium orches- 
 tration under Richter, and the pianoforte 
 
 S60
 
 CON VE RSI 
 
 under Plaidy. In 1857 he returned, and 
 finally settled in Erie, Penii., where he now 
 resides. Mr. Converse 
 is a member of the Erie 
 bar, and has an intei-- 
 est in the Burdett Or- 
 gan Company ; he has 
 published a number of 
 pieces under the pseu- 
 donym of Karl Kedan. 
 Works : National Over- 
 ture ; Fest-Ouverture, 
 performed by the 
 Brooklyn Philharmonic Society, 1870 ; 6 
 German Songs, Aufmunterung zur Freude, 
 Wehnuith, Tiiuschung, Iluhe in der Ge- 
 liebteu, Die Nachtigalleu, Der gefaugene 
 Sanger (Leipsic, 1856) ; After, and other 
 vocal quartets ; What a friend we have in 
 Jesus, hymn, translated into many lan- 
 guages and set to the same tune ; God for 
 Us, American national hymn, 1887. He has 
 in MS. 2 symphonies, 2 oratorios, several 
 overtures, string quartets and quintets, and 
 many chorals. 
 
 CONVERSI, GIEOLAMO, born at Cor- 
 reggio about 1550, died (?). His pretty 
 madrigal. When all alone my pretty love 
 was playing, is well known. He was the 
 author of the following works : Canzone a 
 5 voei (Venice, 1575, reprinted in 1580) ; 
 Madrigali a 6 voci (Venice, 1584).— Fctis ; 
 Mendel. 
 
 CONVITATO DI PIETRA, IL. See Don 
 Giovanni. 
 
 CON VETO, IL (The Banquet), Italian 
 opera, music by Cimarosa, represented in 
 Venice, 1782. 
 
 CONZERT IN UNGARISCHERWEISE, 
 Hungarian concerto for violin and orches- 
 tra, by Joseph Joachim, op. 11. The com- 
 poser's most important and most successful 
 work, a masterpiece among violin concertos. 
 CONZERTSTUCK. See ConcertdiicL 
 COOKE, BENJAINIIN, born in London 
 in 1734, died there, Sept. 14, 1793. Church 
 composer, pupil of Pepusch, whom he suc- 
 ceeded as conductor of the Academy of An- 
 
 cient Music in 1752, holding this position 
 until 1789 ; became organist at Westminster 
 Abbey in 1742, choirmaster in 1757, and lay 
 vicar "in 1758 ; organist of St. Martin's-in- 
 the-Field, 1782. Doctor of Music, Cam- 
 bridge, 1775, Oxford, 1782. He is especially 
 esteemed in England as a composer of glees, 
 canons, and catches, for which he repeatedly 
 won prizes from the Catch Club. — Grove. 
 
 COOKE, HENRY, born about IGIO, died 
 in London, July 13, 1672. He was edu- 
 cated in the Chapel Royal of Charles I. In 
 1642 he obtained a captain's commission 
 in the royal army, from which he is gener- 
 ally called Captain Cooke. He taught mu- 
 sic under the Commonwealth, and on the 
 re-establishment of the Chapel Royal, in 
 1660, was made master of the children, 
 and in 1664 was appointed composer of the 
 king's private music for voices. He is the 
 author of several anthems, the words of 
 which are in Clifford's collection, and a 
 processional hymn for the festival of the 
 Knights of the Garter, Windsor, 1661. He 
 also contributed some of the music to 
 Daveuant's Siege of Rhodes, 1657. — Grove ; 
 Mendel; Barrett, English Church Com- 
 posers, 82. 
 
 COOKE, ROBERT, born in 1768, died 
 in London, Aug. 13, 1814. Organist, son 
 and pupil of Dr. Benjamin Cooke. He 
 succeeded his father as organist of St. Mar- 
 tin's-in-the-Fields, in 1793, and at the death 
 of Dr. Arnold, 1802, he was appointed or- 
 ganist and master of the choristers of West- 
 minster Abbey. He became deranged and 
 drowned himself in the Thames. He is the 
 author of about thirty glees, three of which 
 took prizes at the Catch Club. A collection 
 of eight of them was published by him in 
 1805. He composed also an Evening Ser- 
 vice, an anthem, and an Ode to Friendship. 
 —Grove ; :Mendel. 
 
 COOKE, THOMAS SIIMPSON, born in 
 Dublin, Ireland, in 1782, died in London, 
 Feb. 26, 1848. Dramatic composer, pupil 
 of his father and of Giordani ; a proficient 
 on several instruments, he was at first
 
 COOMBS 
 
 conductor at the theatre iu Dublin, then 
 opera-singer iu Loudon, where he con- 
 ducted the orchestras at Driuy Lane, Cov- 
 ent Garden, and in 1846—48 the concerts 
 of ancient music. Professor at the Koyal 
 Academy of Music ; member of the Phil- 
 liarmonic Society. He had a deserved re})- 
 utation as a singing master, and wrote 
 a treatise on singing, which was much 
 esteemed. Works — Operas : Frederick the 
 Great, 1814 ; The King's Proxy, 181.5 ; The 
 Count of Anjou, 1816 ; A Tale of other 
 Times (with Bochsa), 1822 ; The Wager, or 
 The Midnight Hour, 1825 ; Oberon, or the 
 Charmed Horn, Malvina, 1826 ; The Boy 
 of Santillane, 1827 ; The Brigand, Peter 
 the Great, 1829 ; The Dragon's Gift, 1830 ; 
 The Ice Witch, Hyder Ali, 1831 ; St. 
 Patrick's Eve, 1832 ; King Aiihur, and the 
 Knights of the Bound Table, 1835 ; The 
 five Lovers ; Numerous farces ; glees and 
 duets. — Fotis ; Grove ; Mendel. 
 
 COOMBS, JABIES MORRIS, born iu 
 Salisbury, Eugland, iu 1769, died in 
 Chippenham in 1820. He was a chorister 
 of Salisbury Cathedral under Ste2:>heus 
 and Parry, and organist at Cliippeuhani 
 from 1789 until his death. Published 
 works : Jubilate, songs, glees, a set of 
 canzonets, and a selection of psalm tunes. 
 A Te Deum, composed by him when very 
 young, is still in use. — Grove ; Meudel. 
 
 COOP, ERNESTO ANTONIO LUIGI, 
 born in Messina, June 1, 1812, died in 
 Naples, November, 1879. Pianist, jiupil of 
 a tenor named Lucchini, and of Mario Aspa 
 and Mazza. He became in 1836 professor 
 at the Naples Conservatorio. He pub- 
 lished more tlian one hundred compositions 
 for the pianoforte. — Fetis, Supjjk'ment, i. 
 200. 
 
 COPERARIO, JOHN, flourished at be- 
 ginning of the 17th century. He was an 
 Englishman named Cooper, who Italianized 
 his name during a sojourn in Italy ; per- 
 former on the viol da gamba and the lute. 
 He was musical instructor to the children 
 of James I., and comjjosed, in conjunction 
 
 with Lanicre, songs for the court masque 
 written by Di\ Campion on the marriage, 
 iu 1614, of the Earl of Somerset. His mu- 
 sic to the Masque of the Inner Temple aud 
 Graye's lun, was given at Whitehall, Feb. 
 20, 1612. He composed a set of Fancies 
 for the organ for Charles I., the manuscript 
 of which is still extant, and contributed two 
 vocal pieces to the '• Teares or Lamentacions 
 of a Sorrowfull Soule," published in 1614 bj' 
 Sir William Leighton. He was the master 
 of Henry and William Lawes. — Grove ; Men- 
 del. 
 
 COPPELIA, ou La fiUe aux yeux d'email, 
 ballet in three acts, text by Charles Nuitter 
 aud A. Saint-Leon, music by Leo Delibes, 
 first represented in Paris, 1870. The plot 
 is founded on E. T. A. Hoffmann's storj', 
 "Der Sandmaun," the motive of which 
 also served Adolphe Adam in his " Poupee 
 de Nuremberg (1852)," and Offenbach in his 
 "Coutes d'Hoffmann (1881)." The story 
 is funny aud the music bright and spark- 
 ling. It was given at the Metropolitan Op- 
 era House, New York, March 11, 1887. 
 
 COPPINUS (Coppino), AQUILINUS, 
 born in Milan, about 1565, died after 1621. 
 Educated at the college of S. Simone, he 
 devoted many years to the study of music, 
 and published a collection of motets, ar- 
 ranged from madrigals by well-known au- 
 thors, with this title : Partita della musica 
 tolta de' madrigali di Claudio Monteverde, 
 e d' altri autori, fatta sjiirituale da Aquilino 
 Cojjpino (Milan, 1607). — Frtis. 
 
 COPPOLA, GIUSEPPE, born in Naples, 
 about the middle of the 18th century-. Au- 
 thor of an oratorio, L' apparizione di S. 
 Michele Arcangelo sul monte Gargano 
 (1788) ; and a cantata, Gli amauti pastori, 
 with orchestral accompaniment. — Fetis ; 
 Meudel. 
 
 COPPOLA, PIER ANTONIO, born at 
 Castrogiovanni, Sicily, Dec. 11, 1793, died 
 at Catania. Nov. 14, 1877. Dramatic com- 
 poser, pupil of liis father and at the Royal 
 College of Music, Naples, but formed him- 
 self chiefly by studying the scores of the 
 
 !&i
 
 CORA 
 
 great masters. Gifted, but hampered by 
 the fact that Rossini was his contemporary, 
 his efforts for the stage, begun in 1816, met 
 with varying success until 1835, when his 
 Nina pazza made its way into all the prom- 
 inent opera-houses of Europe, and even 
 to Mexico. About 1839 he became mestre 
 de eapella of the royal opera in Lisbon, 
 whither he returned in 18(J0, having tempo- 
 rarily spent a few years in Italy to bring 
 out "new operas. ^Yorlis— Operas : II figlio 
 bandito, given at Naples, Teatro del Fondo, 
 181G ; Achille in Sciro, ib., about 1825 ; 
 Artallo di Alagona, ib., about 1830; La 
 festa delle rose, Milan, Genoa, Florence, 
 about 1831 ; Nina, o la pazza per amore, 
 Rome, 1835 ; Enrichetta di Baieufeld, 
 Vienna, 183G ; Gli lUiuesi, Turin, 1837 ; La 
 bella Celeste degli Spadari, Milan, 1838 ; 
 Giovanna I., regiua di Napoh, Lisbon, 1811 ; 
 Inez de Castro, ib., 1842 ; II folletto, Rome, 
 1843 ; Fiugal, Palermo, 1844 ; L' orfana 
 gnelfa, ib., 1845 ; II goudoliere di Venezia, 
 Florence, about 1850 ; II postiglione di 
 Lonjumeau, etc. ; Masses, litanies, and 
 other church music— Fctis ; Mendel ; Rie- 
 mann. 
 
 CORA (Alonzo et Cora), opera in four 
 acts, text by Valadier, music by Mchul, 
 represented at the Opi'ra, Paris, Feb. 15, 
 1701. Subject from Marmontel's " Incas," 
 a romance of Peru, in which Cora is the 
 priestess of the Sun. A Swedish opera of 
 the same title, three acts, text by Adlerbeth, 
 music by Naumann, was produced at the 
 opening of the new theatre, Stockholm, 
 Sept. 30, 1782. Cora, ou La prctresse du 
 soleil, music by Cambini, given at the The- 
 atre de Beaujolais, 1787. Cora, opera in 
 three acts, music by Heini Berton, produced 
 at the Academic Royale de :Musique, Paris, 
 July, 1789, but the representation was 
 stopped by the revolutionary troubles. 
 Cora und Alonzo, music by Lasser, Munich, 
 about 1795. Alonzo und Cora, ballet, music 
 by Weigh Vienna, about 1795 ; music by 
 Wenzel Miiller, Vienna, 1795. Alfonso e 
 Cora, music by Simon Mayr, Venice, 1803. 
 
 CORBELLINI, BERNARDINO, bom in 
 Dubino, in the Valtellina, in 1748, died in 
 Naples in 1797. Dramatic composer, pupil 
 at the Conservatorio della Pieta, Naples, 
 under Sala. He wrote several opere buffc, 
 among which are : Astuzie per astuzie, and 
 II marito imbrogliato. He composed also 
 some canzoui set to poems by Metastasio. 
 — Fetis ; Mendel. 
 
 CORBER, GEORG, German musician, 
 lived about the close of the 16th century. 
 He seems to have been a schoolmaster at 
 Nuremberg. Published works : Tyrocinium 
 (1589) ; Disticha moralia ad 2 voces ; Sacno 
 cautiones, 4 voc, fugis concinnatse (Nurem- 
 berg).— Fetis ; Mendel. 
 
 CORBESIER, ANTONIO, born in Naples, 
 first half of the 18th century. Works- 
 Operas : II mercante innamorato, inven- 
 zione per musiea, Teatro de' Fiorentini, 
 1750, and II finto innamorato, 1751. — Fetis, 
 Supplement, i. 201. 
 
 CORBETT, SAMUEL, born at Welling- 
 ton, Shropshire, England, Jan. 29, 1852, 
 still living, 1888. Organist, pupil of Mac- 
 fan-en and James Coward. Works : Beth- 
 lehem, cantata ; Sonata for pianoforte ; Mag- 
 nificat, and Nunc dimittis ; Anthems, songs, 
 and part-songs. 
 
 CORBETT, WILLIAM, born in England 
 in 1669 (?), died in 1748. Violinist, first 
 heard of as a member of Queen Anne's 
 band and leader of the band at the Opera 
 House, London, in 1705. In 1711 he went 
 to Italy and resided many years in Rome, 
 making visits to the principal towns of 
 Italy, amassing rare music and a valuable 
 collection of violins. He returned to Eng- 
 land in 1740. By his will he bequeathed 
 his collection to Gresham College, but there 
 being no room for them they were dis- 
 persed. Works: Music to Henry IV., 
 1700 ; do. to As you find it, 1703 ; do. to 
 Love Betrayed, or The Agreeable Dis- 
 appointment, 1703 ; Sonata for two violins 
 and bass, 1705 ; do. for two flutes and bass, 
 170G ; do., 1707 ; Six sonatas for two oboes 
 or trumpets, two vioUus, and bass ; Twelve 
 
 353
 
 CORDANS 
 
 concertos for various instruineuts ; Con- 
 certos or Universal Bizzarries, composed on 
 all the new Gustos during many years resi- 
 dence iu Italj', op. 5 (London, 1741). The 
 last, which consists of thirty-five concertos 
 in seven parts, professes to exhibit the dif- 
 ferent styles of various countries. — Petis ; 
 Grove ; Mendel ; Iliemaun. 
 
 CORDANS, B.\ETOLOMEO, born in 
 Venice in 1700, died in Udine, May 14, 
 1757. A Franciscan monk, he obtained a 
 dispensation from the Po^se absolving him 
 from his strict vows, and became in 1735 
 maestro of the Cathedral of Udine, in 
 Friuli. Before entering wpon these duties 
 he had written the following operas, which 
 were performed at Venice : La generosita 
 di Tiberio (conjointly with Santo Lapis), 
 
 1729 ; Silvia, words by the Count Enrico 
 Bissaro, played at the Teatro S. Mose, 
 
 1730 ; La Komilda, words by Carlo Paga- 
 nicessa, played at the same theatre, ib., 
 1731. He had written also the music of 
 the oratorio Sau liomualdo, to the words of 
 the Abbate D. Romano Marrighi, of Imola, 
 which was sung in 1727 by a choir of the 
 monks in the convent of S. Michele di 
 Murano. Cordans was a man of ungovern- 
 able temper and eccentric habits. He 
 quarrelled with the canons of his order, 
 and at his death bequeathed much of his 
 MS. music to a goldsmith, with orders to 
 burn it. Only three volumes, containing 
 twelve masses for three voices, were saved. 
 In the archives of the cathedral of Udine 
 is a collection of sixty masses which had 
 passed out of his possession before his 
 death ; these are mostly concerted pieces 
 with instrumental accompaniment, and 
 some are for double chorus. There are 
 also more than a hundred psalms, besides 
 motets, etc., in this collection. In Com- 
 mer's Musica Sacra are five masses and five 
 motets for three voices, by Cordans. — Fi'tis ; 
 Mendel. 
 
 CORDELET, CLAUDE, born in Dijon, 
 date unknown, died iu Paris, Oct. 19, 17C0. 
 He was maitre de musique at the Church of 
 
 Saint-Germain I'Auxerrois, Paris, and wrote 
 motets which were sung at the Concerts 
 Spirituels. Fctis, who gives a list of his 
 works, says he had very little talent, and 
 that his church works were severely criti- 
 cised. — Fotis. 
 
 CORDELLA, GERONIMO, born in the 
 kingdom of Naples, and lived in the 18th 
 century. He was organist, in 1783, to the 
 Arch-Confraternity of Sant' Anna di Pa- 
 lazzo. His opera, Faustina, was given at 
 the Teatro de' Fiorentini, Naples, in 1747. 
 — Fetis, Supplement, i. 201. 
 
 CORDELLA, GIACOMO, born in Naples, 
 July 25, 178G, died there, Aug. 8, 1846. 
 Dramatic composer ; sou of Gerouimo Cor- 
 delia and pupil of Fenaroli and Paisiello. 
 He wrote his first cantata. La vittoria dell' 
 Area contro Gerico, at the age of nineteen. 
 He became professor of solfeggio at tlie 
 Naples Conservatorio, and maestro di cap- 
 pella of several of the convents of that city, 
 and was for many years director of music 
 at the Teatro Sau Carlo. His first dra- 
 matic attempt was made in the Carnival of 
 1805, iu a farce entitled II ciarlatauo, which 
 had great success in Venice, Milan, Turin, 
 and Padua. Works — Ojaeras : L' isola in- 
 cantata, given at Naples, Teatro Sau Carlo, 
 1807 ; Annibale in Capua, ib., 1808 ; Una 
 follia, opera buffa, ib., Teatro de' Fioren- 
 tini, 1809 ; L' avaro, do., ib., 1810 ; I due 
 furbi, Teatro Nuovo, 1811; L' azzardo for- 
 tunato, ib., 1812 ; II contracambio, Rome, 
 Teatro Valle, 1813 ; U marito disperato, 
 Naples, Teatro del Fondo, 1814; Matilde 
 di Lanchefort, ib., 1815 ; Lo scaltro millan- 
 tatore, ib., Teatro Nuovo, 1820 ; Lo sposo 
 di provincia, Rome, Teatro Argentina, 1821 ; 
 I finti Savojardi (a revision of II ciarla- 
 tauo), Venice, Teatro San Moso, 1822 ; II 
 Castello degli Invalidi, Najsles, Teatro del 
 Fondo, 1823 ; II frenetico per amore, ib., 
 Teatro Nuovo, 1824 ; Alcibiade, Venice, Te- 
 atro Fenice, 1825 ; Gli avventurieri, Milan, 
 Teatro della Canobbiana, 1825 ; La bella 
 prigioniera, Naples, 182G. He left in MS. 
 much church music, consisting of masses. 
 
 354
 
 CORDEll 
 
 Dixit, sacred cantatas, etc. Two cantatas, 
 Maufredi, and Partenope, were given at the 
 gala fote at La Scala in 18-11. — Fetis ; do., 
 Supplement, i. 201 ; Mendel. 
 
 CORDEK, FREDERICK, born in 
 London, Jan. 2G, 1852, still living, 1888. 
 Dramatic composer, pupil of the Roj-al 
 Academy of Music, where he gained the 
 Mendelssolm scholarship in 1875, and at 
 Cologne of Ferdinand Hiller. He retui'ned 
 to England iu 1879, and was appointed 
 conductor of the orchestra at the Brighton 
 Aquarium iu 1880. He has translated, 
 together with his brother Henry, the tests 
 of Wagner's later music-dramas into Eng- 
 lish. Works : Morte d'Arthur, opera, o\x 3 
 (1877-79); Philomel, do., op. 4 (1879); 
 The Cyclops, cantata, op. 5 (1880) ; La the 
 Black Forest, suite for orchestra, op. 1 
 (187(j) ; Evening on the seashore, idyl for 
 do., op. 2 (187G) ; Ossian, overture for do.. 
 Philharmonic Society, Loudon, 1882 ; Songs 
 and part-songs. 
 
 CORELLI, ARCANGELO, born at 
 Fusignauo, near Luola, iu the Bologuese 
 territory, February, 1653, died in Rome, 
 Jan. 18, 1713. He studied counterpoint 
 under Matteo Simonelli, and the violin 
 under G. B. Bassani. It has been sup- 
 posed that he went to Paris, and was driv- 
 en thence by the jealousy and inti-igues 
 of Lulli, but this is more than doubtful ; 
 that he travelled through parts of Germany 
 is more certain, for we know that he was 
 in the service of the Elector of Bavaria iu 
 1680. In 1683 he settled in Rome, pub- 
 lishing there his first opus (sonatas for 
 two violins and bass, with organ accomjaa- 
 niment). His reputation was already great 
 at this time. The King of Naples invited 
 him repeatedly to come to that city, but it 
 was only during the later years of his life 
 that he really went there. His success on 
 this visit was brilliant, but one or two tri- 
 fling mishaps (slips made in trying to read 
 at sight music in an unaccustomed style) so 
 annoyed him that he returned to Rome, 
 feeling that he had disgraced himself. A 
 
 similar thing had occurred to him once be- 
 fore iu Rome, when he tried to read a 
 passage of Handel's 
 
 
 which that master 
 put before him. 
 On his return, he 
 found that an oboe 
 player (name un- 
 known), and Valen- 
 tiui, the violinist, 
 albeit far inferior 
 artists to himself, 
 had supplanted him 
 iu the admiration of the public, and he fell 
 into a melancholy which did not leave him 
 until his death. He was buried in the Pan- 
 theon near Raphael, and a marble monument 
 was erected over his tomb by Cardinal Otto- 
 boni, who had been his chief patron during 
 life. Corelli is certainly one of the greatest 
 figures in the history of violin music. His 
 specific executive power was probably not 
 extraordinarily brilliant, even for his day ; 
 his violin parts never run higher than the 
 third p)osition, and present no very great 
 difficulties of any sort. But his style as a 
 player was perfection itself ; no one ever 
 understood the true nature of the violin 
 better than he. In composition he was a 
 master ; his works are models of elegance 
 and correctness of style, and are especially 
 noteworthy for the way in which they 
 bring out the finest qualities of the violin. 
 Indeed, Corelli occupies very much the po- 
 sition in the history of the violin that P. 
 Emanuel Bach does iu that of the jjiano- 
 forte. Published works : 1. 12 sonate a 
 tre, due violini e violoncello, col basso per 
 r organo, op. 1 (Rome, 1683) ; 2. 12 suo- 
 nate da camera a tre, due violini, violoncello 
 e violone o cembalo, op. 2 (Rome, 1685) ; 3. 
 12 suonate a tre, due violini e arciliuto col 
 basso per 1' organo, op. 3 (Bologna, 1G90, 
 Antwerp, 1G81) ; 4. 12 suonate da camera a 
 tre, due violini e violone o cembalo, op. 4 
 (Bologna, 1694 ; an Amsterdam edition has 
 the title Balletti da camera) ; 5. 12 suo- 
 nate a violino e violone o cembalo, op. 5 
 
 35S
 
 CORETTE 
 
 (Rome, 1700 ; the same arranged by Ge- 
 miniani as Concert! srrossi) ; G. Coiicerti 
 
 gi'ossi con due violine e violoncello di con- 
 certino obligati, e due altri violini e basso 
 di concerto grosso ad arbitrio che si po- 
 tranno radoppiare, op. G (Rome, 1712). 
 Several other editions of most of these 
 works have been published since, but all 
 other compositions purporting to be by 
 CorelU are spurious. — Wasielewski, Die Vio- 
 line uud ihre Meister, 38 ; Grove ; Fetis. 
 
 CORETTE, •, lived in Paris, second 
 
 half of the 18th century. He wrote for the 
 Opera Comique, then the rival of the Come- 
 die Italienne. "Works : Les ages, ballet 
 pantomime ; Le jugement de Midas ; Nina, 
 pantomime italienne ; Arlequin Persoe, Ar- 
 mide, pantomimes a machines ; Ai'lequin 
 boulanger, pantomime en vaudeville ; Di- 
 ane et Eudymion, ballet pantomime, Paris 
 and London ; Concertos eomiques. Opera 
 Comique ; Les Tricotes ; Ma mie Margot ; 
 La bequille du pere Barnabas ; Les pan- 
 tins, ballet general ; La touriere, panto- 
 mime. He wrote also the music to La 
 fete infernale, by Valois, and of several 
 ballets in the ojieras-comiques by Pannard, 
 Carolet, Favart, Lagrange, and other.s. — Fe- 
 tis, Supplement, i. '201. 
 
 CORFE, ARTHUR THOMAS, born in 
 Salisbury, England, April !), 1773, died 
 there, Jan. 28, 1863. Organist, son of 
 Joseph Corfe. In 1783 he became a chor- 
 ister at Westminster Abbey, and he stud- 
 ied the jiianoforte under Muzio Clemcnti. 
 In 1801 he succeeded his father as organist 
 and master of the children of Salisbury Ca- 
 thedral. He wrote and published : A ser- 
 vice : Anthem, Lord, thou art become gi-a- 
 cious ; Ordination Hymn, from Handel's 
 works ; Pianoforte pieces, songs, glees, etc. 
 He was the author also of a didactic woi'k, 
 " Principles of Harmony and Thorough 
 Bass." — Grove ; Fetis ; Mendel. 
 
 CORFE, CHARLES WILLIAM, born in 
 Salisbury, England, July 13, 1814, died in 
 Oxford, Dec. IG, 1883. Organist, son and 
 pupil of Arthur Thomas Corfe. He was ap- 
 pointed organist of Christ Church Cathe- 
 dral, Oxford, in 1816. Mas. Bac, Oxford, 
 1817 ; Mus. Doc, ib., 1852 ; Choragus of 
 the University of Oxford, 1860 ; retired in 
 1882 from ill-health. He published some 
 songs, glees, and anthems. His brother, 
 John Davis Corfe (1801-187G), was for many 
 years conductor of the Bristol Madrigal 
 Society, one of the best choirs in England. 
 
 CORFE, JOSEPH, born in Salisbury, 
 England, in 1740, died in 1820. Chorister 
 in Salisbury Cathedral, gentleman of the 
 Chapel Royal in 1782, and organist and 
 choirmaster of Salisbury Cathedral from 
 1792 to 1804. He j'ublished a volume of 
 cathedral music, consisting of a service, 
 eight anthems, etc. ; Three sets of glees of 
 twelve each ; Beauties of Handel, 154 songs, 
 duets, and trios with jiianoforte accompani- 
 ment (3 vols., n. d.) ; Three collections of 
 Scottish songs ; Nine vocal trios ; Treatise 
 on Singing (London, 1791) ; Thorough 
 Bass Simplified (London, n. d.). — Grove ; 
 Brown. 
 
 CORIGLIANO, Cavaliere DOilENICO, 
 born at the Castle of Rignano, Naj^les, Jan. 
 17, 1770, died in Naples, Feb. 22, 1838. 
 Yocal composer, studied music at Naples, 
 became a knight of the Order of St. John 
 in 1795, and embarked for Malta two years 
 after. Finding the island in the power of 
 the French under Bonaparte, and the 
 knights disjjersed, he returned to Naples 
 and, after the return of King Ferdinand, 
 was for five years commissioner of the royal 
 theatres. Works : Collection of romances 
 and canzonets (Naj^les, 1814) ; 12 duets for 
 tenor and soprano (Paris, 1818) ; 12 ariette 
 for soprano (ib.) ; Four ariette (JNIilan) ; Lira 
 sentimeutale, 36 melodies (Naples, 1822) ; 
 others published in Florence and Rome. 
 He left also in manuscript a large number 
 of duets, trios, and quartets. — Fetis ; Men- 
 del. 
 
 S6S
 
 COEIOLAN 
 
 CORIOLAN, overture in C minor, to Col- 
 lin's tragedy, of the same title, by Beethoven, 
 op. 62, composed in April, 1807. Dedicated 
 to the poet Heinrich Joseph vou Collin. 
 First performed iu the Liebhaberzconcert, 
 Vienna, December, 1807, and published in 
 1808. Edition of Breitkopf & Hiirtel (Leip- 
 sic), Beethovens ^Yerke, Ouverturen fiir Or- 
 chester, No. 1. Given by the Philharmonic 
 Societj-, New York, first time, 1857-58. 
 Collin's tragedy, five acts, was represented 
 in Berlin, ISO-l.— Thayer, Yerzeichniss, 72 ; 
 Lenz, Beethoven, ii. 62 ; Schiudler, i. 142. 
 
 CORIOLANDS, the hero of one of the 
 early Roman legends (i3.c. 490 ?), is the sub- 
 ject of the following operas : Coriolano, 
 Italian opera, music by Cavalli, given iu 
 Parma, 1669 ; by Caldara, Vienna, 1717 ; 
 by Ariosti, London, 1723 ; by Treu, Bres- 
 lau, about 1726 ; by Graun, Berlin, 1750 ; 
 by Lavigna, Parma, 1806 ; by NiccoHni, 
 ililan, 1809. Marzio Coriolano, Italian op- 
 era, text by Silvani, music by Perti, Venice, 
 1683 ; text by Matteo Noris, music by Pol- 
 larolo, Venice, 1698. Cajo Marzio Corio- 
 lano, text by Moniglia, music by Lorenzo 
 Cattani, Pisa, about 1700 ; music by Jom- 
 melli, Rome, 1744 ; by Pietro Pulli, Naples, 
 1745 ; by Alessaudro Radicati, about 1810. 
 CORKINE, ^YILLIAM, lived in England 
 iu 16th and 17th centuries. Lute j)layer and 
 composer. Nothing is known of his life. 
 Published works : Ayres to Sing and Play 
 to the Lute and Basse Violl ; with Pavins, 
 Galliards, Almaines and Corantos for the 
 Lyra Violl (1610) ; The Second Book of 
 Ayres, some to sing and play to the Base 
 Violl alone ; others to be sung to the Lute 
 and Base Y'ioll with new Corautoes, etc., as 
 also divers new Descants upon old Grounds, 
 set to the Lyra Violl (1612).— Grove ; F6- 
 tis ; Mendel. 
 
 CORNELIUS, PETER, born in Mainz, 
 Dec. 24, 1824, died there, Oct. 24, 1874. 
 Dramatic composer, one of the principal 
 members of the new German school. He 
 was a nephew of Peter von Cornelius the 
 painter, and was intended for the stage. 
 
 but adopted music as a profession and in 
 1852 joined the young artists at ^Yeimar 
 who, under Liszt's 
 leadership, were 
 striving to carry 
 
 out the ideas of 
 Richard Wagner. 
 He undertook to 
 elucidate the new 
 principles iu the 
 Neue Zeitschrift 
 fiir Musik, the or- 
 gan of the party, 
 and composed a 
 
 comic opera, Der Barbier von Bagdad, of 
 which only a single performance took place, 
 in 1858, but which was revived and much 
 applauded in several cities of Germany in 
 1886-87. He then went to Vienna and join- 
 ed Wagner, whom he followed in 1865 to 
 Munich, where he became reader to King 
 Ludwig II. and professsor of harmony and 
 rhetoric at the Kunigliche Musikschule. 
 His ojiera, Der Cid, was performed at Wei- 
 mar iu 1865, and he was at work on Guu- 
 lod, taken from the legends of the Edda, 
 when he died. Among his published works, 
 
 are : Duets for 
 soprauo and bar- 
 i t o n e , op. 6 ; 
 Lieder-Cy c 1 u s, 
 op. 3 ; Weiluachtslieder, op. 8 ; and Trauer- 
 chore, for men's voices, op. 9.— Mus. Woch- 
 enblatt. Autobiography, v. 551 ; N. Zeitschr. 
 f. Mus. (1887), 517, 531, 542, 551, 574 ; 
 (1888), 1 ; Sammlung mus. Vortrilge (Breit- 
 kopf & Hiirtel), ii. 225 ; Sandberger, Leben 
 und Werke des Dichter-Musikers P. C. 
 (Leipsic, 1887). 
 
 CORNET, SI^VERIN, born at Valenci- 
 ennes about 1540, died ('?). He studied mu- 
 sic in Italy, and was master of the choris- 
 ters at the Church of Notre Dame, Antwerp, 
 !a position he held until his death. His 
 last pupil was Corneille Werdonck. Works : 
 Chansons fran«;aises a cinq, six et huit 
 parties ; Madrigali a 5, 6, 7 e 8 voci ; Can- 
 tiones musicte, 5, 6, 7 et 8 vocum (1581) ; 
 
 -i^^^^^^'-^t^*:^ 
 
 367
 
 CORNETTE 
 
 Motetti a 5, 6, 7 e 8 voci (1582).— Fetis ; 
 Mendel. 
 
 CORNETTE, LOUIS HIPPOLYTE, born 
 at Amiens in 17G0, died there in 1832. 
 Ciiurcli composer, first instructed at the 
 cathedral of his native city, where he was 
 a choir-boy, then in Paris pujjil of the 
 Abbe Duguet. After his return to Amiens 
 he became organist, and later maitre de 
 chapelle at the cathedral. He left in man- 
 uscript many masses, motets, psalms, hymns, 
 and other church music. — Ft'tis ; Mendel. 
 
 CORNETTE, VICTOR, born at Amiens, 
 France, in 1795, died (?). Instrumental 
 composer and virtuoso, son and pupil of 
 the preceding ; then at the Conservatoire, 
 Paris, pujjil of Lesueur. As musician of a 
 i-egiment he took part in the campaigns of 
 1813-14 in Holland and Belgium, was con- 
 ductor of a regimental baud in the service 
 of the King of Holland in 1815-17, then 
 professor at the Jesuits' College of Saint- 
 Acheiil until 1824 Having been a mem- 
 ber of the orchestras at different theatres 
 in Paris in 1825—42, and chef d'orchestre 
 at the theatre in Strasburg in 1842-41, 
 he returned to Paris, was chef des chceui's 
 at the Opera in 1847-48, then entered upon 
 his former position in the orchestra of the 
 Opera Comique. He was also adjunct or- 
 ganist at Saiut-Sulpice, and at the Cha- 
 pelle des luvalides. Able to j^lay ui^on 
 most instruments, and having a thorough 
 knowledge of all, he was asked by Paris 
 jjublishers to write methods for many in- 
 struments. He arranged for the pianoforte 
 thirty-nine scores of operas, and church mu- 
 sic. Of his own compositions are known : 
 37 airs varies, for cornet ; 24 duos for do. ; 
 18 duos for bassoons ; 14 grand studies for 
 cornet ; 6 do. for trombone ; 5 quadrilles for 
 military band ; 2 suites of waltzes for do. ; 
 150 miscellaneous pieces for different in- 
 struments. — Fetis ; Mendel. 
 
 CORNETTI, PAOLO, born in Rome in 
 the early part of the 17th century. He was 
 a monk of one of the strict orders, and 
 maestro di cappella of the confraternity of 
 
 the Holy Spirit at Ferrara. Works ; Mo- 
 tetti concertati a 1, 2, 3, 4, 5, 6 voci, etc. 
 (Venice, 1638). The first part of this col- 
 lection was reprinted with the title Sacnie 
 cautioues, etc., op. 1, lib. i. (Antwerp, 1G45). 
 —Fetis ; Mendel. 
 
 CORNU, RENP:, born in Paris, April 2, 
 1792, died there, June, 1832. Pianist, son 
 of a sub-teacher of singing at Notre Dame 
 de Paris ; received his first musical edu- 
 cation in the free school of that cathedral ; 
 pupil of Ladurner on the pianoforte, and of 
 Desvignes and Eler in composition. Pub- 
 lished works : Vive Henri IV., varie pom- 
 piano, op. 3 ; Chaur d'lphigenie en Aulide, 
 varie pour piano, op. 4 ; Charmante Ga- 
 brielle ; Varie, op. 6 ; Quand le bien-aime 
 reviendra, op. 8 ; God save the King ; etc. 
 He wrote also a Messe solennelle, given at 
 Notre Dame. — Fetis. 
 
 CORONA, LA (The Crown), Italian op- 
 eretta in one act, text by Metastasio, mu- 
 sic by Gluck, represented at the Imperial 
 Court, Vienna, 17C5. Subject, the hunt- 
 ing of the Caledonian boar. Scene in the 
 Caledonian forest. Characters represented : 
 Atalauta, princess of Argos, attendant of 
 Diana and friend of Asteria ; Meleagro, 
 prince of .3Etolia, leader of the Caledonian 
 chase ; Climene, attendant of Minerva, sis- 
 ter of Atalanta ; Asteria, sister of Meleagro, 
 attendant of Diana and friend of Atalanta ; 
 Chorus of huntsmen, etc. 
 
 CORONARO, GAETANO, contemporary 
 Italian composer, pupil at the Conservatorio, 
 Milan, which he left in 1873. At the an- 
 nual exercises he brought out, with great 
 success, a lyrical scene entitled, Un tra^ 
 monto, written to words by Arrigo Boito. 
 He was afterwards chosen to compose the 
 music for an opera. La Creole ; and a fund 
 having been given by the music publisher 
 Lucca for the best graduate of the Con- 
 servatorio, it was awarded to Coronaro, who 
 then visited the great art centres of Europe, 
 Paris, Vienna, Berlin, Cologne, Leipsic, and 
 Dresden. On his return he published a 
 Vocal Album, containing sis pieces ([Milan, 
 
 368
 
 coro:n'ation 
 
 Ricordi) ; also, Nimierella, for violin, with 
 pianoforte (ib.). He was assistant maestro 
 concertante at ILe Teatro della Scala, 187G. 
 — Fetis, Sui^pk'uient, i. 202. 
 
 CORONATION ANTHEM, music by Han- 
 del, composed for and performed at the 
 coronation ceremony of George li., West- 
 minster Abbey, Oct. 11, 1727. It is ar- 
 ranged in the original score in four divi- 
 sions, as follows : I. Zadok the Priest 
 (1 Kings, i. 38-40). H Let thy deeds be 
 glorious (Ps., Ixsxix. 14, 15). HI. The 
 King shall rejoice (Ps., xxi. 1). IV. My 
 heart is inditing (Ps., xlv. 1). The MS., in 
 Buckingham Palace, is undated, but the 
 music was rehearsed at Westminster Abbey, 
 Sept. G, 1727. It was first published by 
 Walsh ; reprinted by Arnold ; Handel Soci- 
 ety (London, 1843-44) ; Hiindelgesellschaft 
 (Leipsic, 18G3). — Rockstro, Handel, 153 ; 
 Schceleher, 78. 
 
 CORONINI, PAOLO, born at Vincenza 
 in 1796, died Jan. 14, 1875. Violinist; 
 travelled a great deal while young, settled 
 at Trieste in 1828, and became conductor 
 of the orchestra at the Opera, and first 
 violin at the Chaj^el of St. Just. Works : 
 Collection of scales and mechanical exer- 
 cises ; Exercises with second violin in 
 counterjjoiut ; Melodic scales with adagios ; 
 42 fitudes. Caprice brillant ; 2 Variations 
 on original themes, with orchestra, or 
 pianoforte ; Fantaisie a la Paganini ; Grand 
 Rondo, with quartet ; Polonaise brillante, 
 with orchestra ; etc. — Futis, Supplement, 
 i. 202. 
 
 CORRADINI, NHCOLi'), born in Berga- 
 mo, Italy, maestro di cappella of the jJi'in- 
 cipal chui-ches of Cremona about the close 
 of the IGtli centurj'. He was also maestro 
 at the Accademia degl' Animosi, Cremona. 
 Published a collection, Canzoni francesi a 
 quattro voci. His most important work is, 
 Motetti a una, due, tre e quattro voci, fra 
 quali ve ne sono alcuni concertati con in- 
 stromenti, e con il basso continue per 
 r organo, lib. primo (Venice, 1G24). — Fi'tis ; 
 Mendel. 
 
 CORREA, Trade MANOEL, born in Lis- 
 bon latter half of the 16th century. Car- 
 melite monk, mestre de capella in 1625 of 
 the Church of Santa Cathariua. He was 
 the author of a motet, Adjuva nos, Deus, 
 for five voices, which is preserved in the MS. 
 department of the Librai-y of the King of 
 Portugal. Another Manoel Correa, born at 
 Lisbon about the same time, was chaplain of 
 the cathedral at Seville in 1625. He wrote 
 some motets, which are also preserved in 
 the Library of the King of Portugal. — Fc- 
 tis ; Mendel. 
 
 CORREA, HENRIQUES CARLOS, born 
 in Lisbon, Feb. 10, 1680, died (?). Mestre 
 de cajiella of the cathedral at Coimbre. He 
 wrote many masses, motets, and other church 
 music, preserved in the MS. department of 
 the Library of the King of Portugal. A list 
 is given by Machado. — Bibliotheca Lusita- 
 nia, ii. 44G ; Fetis ; MendeL 
 
 CORRETTE, mCHEL, bom at St. Ger- 
 main, France, organist in 1755 of the Col- 
 lege des Josuites of the rue St. Antoine, 
 Paris. An enthusiastic admirer of French 
 music ; he gave firivate concerts at which 
 the music of Lulli and Campra was played, 
 together with cantatas of his own, which he 
 accompanied on the harpsichord. He ojiened 
 a music school, and wrote many elementary 
 works. He was organist to the Due d'An- 
 goulome in 1780. Works : Les soirees de 
 la ville, cantates a voix seule avec basse 
 continue pour le clavecin (1771) ; Methode 
 pour apprendre a jouer de la liarpe (1774) ; 
 Mc'thode pour apprendre a jouer de la flilte 
 traversiere (1788) ; Le parfait maitre a chan- 
 ter ; Methode pour apprendre facilemeut a 
 jouer de la quinte ou de I'alto (1782) ; L'art 
 de se perfectionner sur le violon ; Methode 
 pour le violonceUe contenant les veritables 
 positions (1782) ; Methode pour apprendre 
 a jouer de la vielle (1783). These works 
 contain some curious information relating 
 to French music in the middle of the 18th 
 century. — Fetis ; Mendel. 
 
 CORRETTE, INHCHEL, fils, son of the 
 preceding, and organist of the Church of the 
 
 359
 
 COEPJ 
 
 Temple, Paris. He published Pieces pour 
 I'orgue clans un genre nouveaii, :i Fusage 
 ties dames religieuses et de ceux qui tou- 
 cbent I'orgue, avec le melange des jeux et 
 la maniere d'imiter le tonnerre (1786). — Fe- 
 tis ; Mendel. 
 
 CORRI, DOMENICO, born in Naples in 
 nH (Rome, 1746 '?), died in London, May 
 22, 1825. Dramatic composer, pupil in Na- 
 ples of Porpora, in 1763-67. In 1774: be 
 went to London, where be was a teacher and 
 music publisher. He lived for a while also 
 in Edinburgh, where be conducted the Mu- 
 sical Society. Works — Operas : Alessaodro 
 neir Lidie, given in Loudon, 1774 ; The 
 Travellers, ib., about 1815. He wrote also 
 two volumes of sonatas for the pianoforte, 
 rondos, and manj' songs to English, French, 
 and Italian words ; and published a Musical 
 Dictionary (1708), Ai-t of Fingering (1798), 
 Musical Grammar, etc. His sons, Monta- 
 gue Corri (1784-1849) and Haydn Corri 
 (1785-1800), were music teachers and com- 
 posers. His daughter, Sophie Corri (born, 
 1775), who married Johann Ludwig Dus- 
 sek, was a singer and harpist. — Fetis ; 
 Grove ; Mendel ; Schilling. 
 
 CORRI, PIETRO, born at Naples in the 
 early -pnvt of this century, died (?). Dra- 
 matic composer, pupil of Donizetti. Works : 
 Galeotto Manfredi, given in Rome, Teatro 
 Valle, 1839 ; Argia in Atene, ib., Teatro Ar- 
 gentina, 1846. — Fetis. 
 
 CORS.A[R, THE, cantata, text by R. E. 
 Francillon, adapted from Byron's poem, 
 music by Frederic Hymen Cowen, com- 
 posed for the Birmingham (England) Festi- 
 val, Aug. 29, 1876. Sung by Mile Tietjens 
 (Gulnare), Mme Lemmens (Medora), 3Ir. 
 Lloyd (Conrad), and Signer Foli (Seyd). 
 
 CORSAIRE, LE (The Corsair), opL'ra-co- 
 miquc in three acts, text by La Chabeaus- 
 siere, music by Dalayrac, represented at 
 the Theatre Italien, Paris, March 17, 1783. 
 The success of this, one of Dalayrac's ear- 
 liest works, decided him to devote himself 
 to a dramatic career. Of a similar title are 
 the following: Der Corsar, German oi^eraj 
 
 music by Weigl, Vienna, about 1790 ; and 
 in three acts, by Rietz, Leipsic, 1850. The 
 Corsair, English ojjera, music by Samuel Ar- 
 nold, London, 1801 ; by Jonathan Blewitt, 
 London, 1812 ; and by Christopher Dessel, 
 text after Byron's "Corsair," London, 1873. 
 II Corsaro, Italian ojjera, music by Celli, 
 Rome, 1823 ; by Pacini, Rome, 1831 ; by 
 Luigi Arditi, Havana, 1846 ; by Pappa- 
 lardo, Naples, 1846 ; by Misi, Turin, 1847 ; 
 by Verdi, Trieste, 1848. La Corsara, Italian 
 opera, music by Piccinni, Naples, 1772. I 
 Corsari, Italian opera, text by Romani, mu- 
 sic by Mazzucato, Milau, Feb. 15, 1840. A 
 Danish ojjera called The Corsairs, by Hart- 
 mann, was given at Copenhagen in 1836. 
 Le Corsaire noir, opera-boufl'e in three acts, 
 text and music by Offenbach, Theater an 
 der Wien, Vienna, Sept. 21, 1872. 
 
 CORSAIRE, LE, overture for full orches- 
 tra, by Hector Berlioz, op. 21. Dedicated 
 to " son ami Davison." Published by Ri- 
 chault (Paris). 
 
 CORSI, BERNARDO, born in Cremona, 
 Italy, lived at the beginning of the 17th 
 century. He published, in 1617, psalms for 
 five voices entitled : Sacra ouni. Solemn, 
 vespertiua jisalmodia, 5 vocum, op. 6 ; Le- 
 tanie, autifouie e motetti a 8 voci ; Psalmi 
 vespertini octo vocum, op. 7 ; Concerti o 
 motetti a 1, 2, 3, 4 voci, con lui Magnificat, 
 op. 5 (1613) ; Compieta, motetti e Letauie 
 della B. V. a otto voci, op. 9 (Venice, 1619). 
 — Fetis ; Jlendel. 
 
 CORSI, GIUSEPPE, maestro di cappella 
 of S. M. Maggiore, Rome, in 1G07, accord- 
 ing to a collection of motets pubUshed in 
 that year, though his name is not found iu 
 the Abbate Baini's list of the maestri of that 
 church. He wrote : Motetti a 2, 3, 4 voci 
 (Rome, 1667) ; Miserere a cinque ; Motetti 
 a 9.— Fetis ; Mendel. 
 
 CORTECCIA, FRANCESCO DI BER- 
 NARDO, born in Arezzo early in the 16th 
 century, died in Florence, June 7, 1571. 
 His family settled iu Florence when he was 
 very young, whence he has generally been 
 called a Floreutiue. He was organist in 
 
 360
 
 COETELLIXI 
 
 1531 of tlie Cburcn of S. Lorenzo, of wbicli 
 he was also a canon, aud maestro di cappella 
 ill 154:1-71 to Cosmo the Great. The old- 
 est of his compositions, nine pieces for four, 
 six, and eight voices, are in a rare work in 
 the Imiierial Library, Vienna, entitled : Mu- 
 siche fatte uelle nozze dello illustrissimo 
 duca di Fironze, il Signor Cosimo de' Me- 
 dici, etc. (Venice, Gardane, 1539). Other 
 works : Madrigali a quattro voci, lib. i and 
 ii (ib., 1515, 1547) ; Primo libro de' Madri- 
 gali a 5 e G voci (ib., 1517) ; Responsoria et 
 lectiones hebdomadre sanctse (ib., 1570 ; 
 but see Goriwcid) ; Kesiduum cantiei Zac- 
 charise (ib., 1570) ; Cauticorum liber pri- 
 mus (ib., 1571). A volume containing 
 thirty-two hymns in 4-part counterpoint is 
 in the Laureutiau Library, Florence, and a 
 copy of the madrigals is in Christ Church 
 Library, Oxford. — Grove ; Ft'tis ; Mendel. 
 
 CORTELLINI, CAMILLO, lived at the 
 begiimiug of the 17th centuiy. Violinist 
 in the service of the municipality of Bo- 
 logna. From his proficiency on the violin 
 he was called II Violiuo. Several volumes 
 of his 25saltns, litanies, masses, and other sa- 
 cred pieces were published by Vicenti, of 
 Venice. — Ft'tis. 
 
 CORTESI, FRANCESCO, Italian dra- 
 matic composer, author of the following 
 operas : Michaela, Parma, 1855 ; L' etra, 
 Siena, 1857 ; Almina, Rome, 1859 ; Le 
 dame a servire, 1859 ; La colj)a del cuore, 
 Florence, Teatro della Pergola, 1870 ; Ma- 
 riulizza, ib., 1871. — Fetis, SuppKment, i. 
 203. 
 
 CORTEZ. See Fernnnd Cortez. 
 
 CORTICCIO, FRANCESCO, born in Ve 
 rona, lived in the second half of the 16th 
 century. He is the author of a collection 
 of madrigals for five voices entitled : Fiam- 
 mette dell' amore (Venice, 15G9). It is 
 very probable, says Fetis, that a work pub- 
 lished under the name of Cortitius, with 
 the title, Responsoria et lectiones hebdo- 
 mads sanctai, 4 vocum, is by Corticcio aud 
 not by Corteccia, although attributed to the 
 latter. — Fetis ; Mendel. 
 
 CORTONNA, ANTONIO, born in Venice, 
 beginning of the 18th century. Nothing is 
 known of his history. He is the author of 
 two operas : Amor iudovino, given at Ven- 
 ice in 172G ; and Marianne, ib., 1728.— Fe- 
 tis ; Mendel. 
 
 COSA SENTO ? TOSTO ANDATE. See 
 Nozze di Figaro. 
 
 COSl FAN TUTTE (They all do it), 
 ossia La scuola degli amanti (The School 
 for Lovers), ojsera bufl'a in two acts, text by 
 Da Ponte, music by !Mozart, first rejne- 
 sented in Vienna, Jan. 2G, 1790. It was 
 written bj' command of the Emperor Jo- 
 seph n., but he died before the first per- 
 formance, and Mozart did not reap from 
 the work the benefits for which he had 
 hoped — the nomination as second Kajjell- 
 meister to the court. The libretto is so 
 bad that on its production in Paris, in 1807, 
 the music was fitted to a new text entitled 
 Le laboui'eur chiuois. In 18G2 it was pro- 
 duced at the Italiens with the original 
 words, and on March 31, 18G3, with a new 
 libretto by Michel Carre and Jules Barbier, 
 arranged from Shakespeare's " Love's La- 
 bour's Lost," entitled Peines d'amour per- 
 dues ; but in the change of the plot, the 
 scene, and the epoch, the noble inusic of 
 Mozart was spoiled. It was produced at the 
 King's Theatre, London, May 9, 1811 ; and 
 in 1828, in an English version, as Tit for Tat. 
 In Germany it was given under various 
 titles : Scliule der Liebe, Vienna, 1794 ; Die 
 Wette, Oder Madchenlist, Munich, 1795; 
 Mildchentreue, Berlin and Leipsic, 1805 ; 
 Die Zauberprobe, Vienna, 1814 ; Mildchen 
 sind Miidchen, Stuttgart, 181G ; Sind sie 
 treu ? Stuttgart, 1856 ; Weibertreue, Dres- 
 den, 1856 ; So machen's Alle, Carlsruhe, 
 18G0 ; Alle wie Fine, Dresden, 1871. — Hans- 
 lick, jNIoderne Oper, 43. 
 
 COSim, NICOLO, born in Rome, sec- 
 ond half of the 17th century. Violinist, 
 pupil of Corelli (V). He went to London 
 in 1702, and published twelve solos for vio- 
 lin, dedicated to the Duke of Bedford (Lon- 
 don, 1706).— Fetis; Mendel. 
 
 361
 
 COSSET 
 
 COSSET, FRANgOIS, loorn in Saint- 
 Qiientin, France, about 1620. He was 
 educated at the free school of Saint-Queu- 
 tiii, became minor canon of the church of 
 Laon, and subsequently maitre de cha- 
 pelle of the Cathedral of llheims, where he 
 remained four years. Works : Missa quatuor 
 vocum ad imit. mod. ; Cantate Domino ; 
 IVIissa sex vocum ad imit. mod. ; Domine 
 salvum fac regem ; Missa sex vocum ad 
 imit. mod. ; Surge propera (1659) ; Missa 
 quiuque vocum ad imit. mod. ; Salvum me 
 fac Deus (1661) ; Missa quatuor vocum ad 
 imit. mod. ; Eructavit cor meum ; Missa 
 sex vocum ad imit. mod. ; Super flumina 
 Babj'lonis (1673) ; Missa quinque vocibus, 
 ad imit. mod. ; Gaudeamus omnes (1676) ; 
 Missa quatuor vocum ad imit. mod. ; Exul- 
 tate Deo (1G82).— Futis ; Mendel. 
 
 COSSMANN, BERNHAED, born at Des- 
 sau, May 17, 1822, 
 still living, 1888. 
 Virtuoso on the 
 violoncello, jjupil 
 of Espenhahn and 
 Karl Drechsler, at 
 Brunswick (1837- 
 40) of Theodor 
 Miiller, and in 
 Dresden 
 Kumm er. 
 then went 
 
 of 
 
 He 
 
 to 
 
 Paris, was a member of the orchestra of 
 the Theatre Italieu until 1846, and made 
 concert tours to Baden-Buden, BerUn, Leij)- 
 sic, Brunswick, etc. In 1847-48 he was solo 
 violoncellist of the Gewandhaus concerts 
 at Leipsic, and studied composition under 
 Hauptmann ; in 1849 he played in London 
 and at Windsor Castle, and for the Phil- 
 harmonic Society in Dublin. Having spent 
 the following winter in Paris, he was brought 
 to Weimar through Liszt in 1850, and ap- 
 Ijointed chamber virtuoso and solo violon- 
 cellist to the grand duke ; in 1866 he went 
 to Moscow as professor at the Conserva- 
 tory, but returned to Germany in 1870, and 
 settled at Badeu-Baden. He is a virtuoso 
 
 of the first rank. Works : Conzertstiick, 
 Pieces de salon, Fantasias on ojjeratic 
 themes. — Fetis ; Grove ; Mendel. 
 
 COSSONI, CARLO DONATO, born in 
 Italy about 1640, died at Gravedona, on 
 Lake Como, Feb. 8, 1700. Organist of 
 
 5. Petronio, Bologna, and member of the 
 Accademia Filarmonica, ib., until 1671 ; 
 then maestro di cappella in 1675 of the 
 Metropolitan Church of Milan, a position 
 he resigned about 1686, to accej)t an eccle- 
 siastical benefice at Gravedona. His works 
 consist of masses, psalms, motets, etc., of 
 which fifty-two, composed in 1665-99, re- 
 main in manuscrii^t. The following were 
 jjublished in Bologna : Lamentazioni, op. 
 5 ; Salmi a otto voci (1667) ; Salmi con- 
 certati a cinque voci e 2 violini, etc., op. 6 
 (1668) ; Motetti a 2 e 3 voci, op. 9 (1670) ; 
 Canzouette amorose a voce sola (1669). 
 — Fetis ; Mendel ; Monatshefte fiir Musik- 
 geschichte, iii. 49. 
 
 COSTA, AFFONSO VAZ DA, born in 
 Portugal, close of the 16th century. He 
 went to Rome in his youth, and studied 
 singing and comj)Osition under the best 
 masters of the time. On his return to 
 Portugal, he was mestre decapellaatBadajos, 
 and afterwards at Avila. His compositions, 
 which are quite numerous, are j)reserved in 
 the MS. department of the Library of the 
 King of Portugal. — Fctis ; Mendel ; Vascon- 
 cellos, 60. 
 
 COSTA, Frade ANDRlfi DA, born in Lis- 
 bon, first half of the 17th century, died July 
 
 6, 1685. In 1650 he entered the confrater- 
 nity of the Trinity. He was harpist of the 
 chapel of the kings Dom Affouso VI., and 
 Dom Pedro II., of Portugal, who held him 
 in great esteem. His works are in MS. in 
 the Library of the King of Portugal. — Bi- 
 bliog. Lusit. ; Ft'tis ; Mendel ; Vasconcel- 
 los, 61. 
 
 COSTA, FRANCISCO DA, born in (?), 
 died in Lisbon in 1667. His works, all of 
 which are in MS., prove him to have been 
 a thorough musician and clever theorist. 
 For a list of them see Machado — Bibliog.
 
 COSTA 
 
 Lusit., iv. 131 ; Vasconcellos, 02 ; Ft'tis ; 
 Mendel. 
 
 COSTA, FRANCISCO EDUARDO DA, 
 born at Lamego, Portugal, May 15, 1815, 
 died in Oporto in 185i. His parents re- 
 moved in 1822 to Ojjorto, where he attracted 
 the notice of the Duke of Braganza, who 
 commissioned Costa to write the Te Deum 
 to celebrate the return of the king to Oporto 
 (1835). He became leader at the S. JoiTo 
 Theatre, organized the first Philharmonic 
 Society of Oporto, and was mestre de ca- 
 pella and organist of the Cathedral. He 
 left a quantity of church music, consisting 
 of masses with organ and orchestra ; Cre- 
 dos ; Libera me ; Responses, etc. — Fetis, 
 Supplement, i. 201 ; Vasconcellos, 62 ; Men- 
 del, Ergiinz., G8. 
 
 COSTA, GIOVANNI PAOLO, born in 
 Genoa, close of the IGth century. He was 
 maestro di cappella at Treviso. He i)ub- 
 lished : Madrigali a due, tre e quattro voci, 
 lib. 1 ; Madrigali a cinque •voci, lib. 1 e 2. 
 — Fetis. 
 
 COSTA, JOAO EVANGELISTA PE- 
 REIRA DA, born in Lisbon in 1805, died 
 in Paris in 1830. Dramatic composer ; edu- 
 cated at the ^matriarchal seminary of Lisbon, 
 which he entered in 1815. He was con- 
 ductor of the orchestra of the San Carlos 
 Theatre, Lisbon, in conjunction with Mer- 
 cadaute, where he brought out his opera, 
 Egilda de Proven<;a, and a cantata, Tribute 
 a virtude, in 1827. A quarrel arose between 
 Mercadante and Costa, on account of criti- 
 cisms upon this opera ; he left Lisbon and 
 went to Paris, where he became intimately 
 associated with Rossini, whose influence is 
 visible in the opera, Egilda de Proveni;a, 
 1828, a superior work which gave great 
 promise. His Te Deum for eight voices, 
 written in the same year, was jjroduced in 
 Lisbon, July 24, 1873. — Fetis, Suppli'ment, 
 i. 204 ; Vasconcellos, G7 ; Mendel, Ergilnz., 
 68. 
 
 COSTA, Sir mCHAEL, born at Naples, 
 Feb. 4, 1807 (1806 ?), died in London, April 
 28, 1884. Dramatic composer, son and pu- 
 
 pil of Pasquale Costa, then at the Conserva- 
 torio di San Sebastiauo pupil of Crescentini 
 in singing, of Gio- 
 vanni Furno in har- 
 mony, of Giacomo 
 Tritto (his grand- 
 father) in counter- 
 point, and of Zin- 
 garelli in composi- 
 tion. In 1829 he 
 went to England to 
 assist at the Bir- 
 mingham Festival, 
 then visited London, and in 1830 was 
 engaged by Laporte as maestro al piano 
 at the King's Theatre, and in 1833 as di- 
 rector and conductor. He was naturalized 
 in 1839, became conductor of the Phil- 
 harmonic Society in 1846, of the new Italian 
 Opera at Covent Garden in 1847, and of the 
 Sacred Harmonic Society in 1848, in which 
 latter capacity he conducted the Handel 
 Festivals from 1857. Engaged for the 
 Birmingham festival in 1849, he continued 
 to conduct it until 1882 ; in 1871 he was 
 appointed director of music, composer, and 
 conductor at Her Majesty's Theatre. His 
 fame rests chiefly upon his superior powers 
 as a conductor. He was knighted at Wind- 
 sor in 1868, and decorated with orders 
 from the sovereigns of Wiirtemberg, Hol- 
 land, Turkey, and Italy. "Works — Operas : 
 II sospetto funesto, given at the Teatro 
 del Conservatorio, Naples, 1826 ; II delitto 
 punito, ib., 1827 ; II carcere d' Ildegonda, 
 Teatro Nuovo, 1828 ; Malvina, Teatro San 
 Carlo, 1829 ; Malek Adhel, Paris, Theatre 
 Italien, 1838 ; Don Carlos, London, 1844. 
 Ballets : Kenilworth, ib., 1831 ; Uue heure 
 
 a Naples, ib., 1832 ; Sir Huon, ib., 1833 ; 
 Alma, ib., 1842. Oratorios : La Passione, 
 Naples, 1827 ; EIi, Birmingham Festival, 
 1855 ; Naamaii. ib., 1864. Cantatas : L' Im- 
 
 3G3
 
 COSTA 
 
 magine, Najiles, 1825 ; The Dream, Lon- 
 dou, 1858 ; Hymn, ib., Coveut Garden, 
 1867 ; do., Berlin, 1869 ; Mass for i voices 
 and orchestra ; Dixit Dominus, for do. ; 
 Three symi^houies for full orchestra ; Songs 
 and miscellaneous music. — Athenajum 
 (1884), i. 576 ; FOtis, Sui^plement, i. 205 ; 
 Grove. 
 
 COSTA, SEBASTIAO DA, boru at 
 Azeitao, Portugal, beginning of the 17th 
 century, died in Lisbon in 1696. He was 
 mestre de capella to the Kings Dom Aftbuso 
 VI. and Dom Pedro II. ; musician of the 
 Koyal Chapel of Dom Joao IV., and che- 
 valier of the Order of Christ. He left Por- 
 tugal at the death of this king, intending 
 never to return, but was recalled from Spain 
 by the widowed queen. Many of his com- 
 positions are preserved in the Royal Library 
 of Portugal. — Fetis, SujJislemeut, i. 203 ; 
 Vasconcellos, 71 ; Mendel, Ergiinz., 68. 
 
 COSTA E SYLVA, FRANCISCO DA, 
 born in Portugal ('?), died in Lisbon, May 
 11, 1727. He was canon and mestre di 
 capella of the Cathedral of Lisbon. He 
 left the following works in MS. : Missa a 4 
 vozes com todo o genero de iustrumentos ; 
 Miserere all vozes, com instrumentos ; Mo- 
 tetes para se cantarem as missas das do- 
 mingas da quaresma ; Lameutayao primeira 
 de quarta feira de Trevas a 8 ; O Testo de 
 Paixilo de S. Marcos e S. Lucas a 4 ; Vil- 
 hancicos a S. Vincenti, e a Santa Cecilia 
 com instrumentos ; Responsorios de officia- 
 dos defuntos a 8 vozes, com todo o genero 
 de instrumentos. — Fetis. 
 
 COSTAMAGNA, ANTONIO, boru in 
 Milan in 1816, died there, Feb. 17, 1839. 
 Dramatic composer, first studied in his 
 native city, then went to Naples, where he 
 was a i^upil of Zingarelli. "Works : E pazza, 
 given at Piacenza, 1837 ; Don Garzia, Genoa, 
 Teatro Carlo Felice, 1838.— Fttis ; Mendel. 
 
 COSTANTINI, FABIO, born in Rome 
 about 1570. Maestro di cappella to the 
 confraternity of the Rosary, Aucona, and 
 afterwards of the Cathedral of Orvieto. 
 Works: Motets for 2, 3 and 4 voices (1596) ; 
 
 Motetti, etc., Psalmi, Magnificat (Rome, 
 1618) ; Canzoui and Madrigals (Orvieto, 
 1621). He published two collections con- 
 taining motets, airs, and madrigals by Pa- 
 lestriua and others, besides his own (1614, 
 1621).— -Grove ; Fetis ; Mendel 
 
 COSTANZI, GIOVANNI, called Gioan- 
 uino di Roma, born in Rome, died there, 
 March 5, 1778. A violinist in the service of 
 Cardinal Ottoboui, nephew of Pope Alex- 
 ander VIH., he became assistant maestro di 
 cappella of S. Pietro in Vaticauo in 1754, 
 and full maestro in 1755, a position which 
 he retained until his death. Works : Carlo 
 Magno, oi^era, given in Rome, 1729 ; a 
 Miserere, which was very celebrated ; mo- 
 tets for 16 voices preserved in the original 
 MS. in the Pontifical Chai^el ; Offertories 
 for four voices ; Ave IMaria for three voices ; 
 Salve Regina for four voices ; Dixit for 
 eight voices ; Te Deum and Magnificat for 
 eight voices ; Pastoral Mass for four voices ; 
 Laudate for four voices ; Regina CVeli for 
 four voices ; Salve Regina for soprano and 
 chorus. — Fetis ; Mendel. 
 
 COSTE, JULES, born in Lorraine about 
 1828, died Nov. 13, 1883. Amateur dra- 
 matic comjioser. His operettas, which 
 Pougiu says are of little consequence, have 
 been played in jjrivate and in some of the 
 Parisian theatres, in the following order : 
 Jacqueline, opc'ra-comique (with the comte 
 d"Osmond),TheatreItalien, 1855 ; TJne pleine 
 eau, operetta, Boufifes Parisieus, 1855 ; La 
 quenouille de la reine Bertlie, Perijignan, 
 1858 ; Les horreurs de la guerre, operetta, 
 Atheuee, 1868 ; La paix armee, oj^eretta, 
 1 1868 ; Au harem, ballet, 1873 ; Cent mille 
 francs et ma fiUe, operetta. Menus Plaisirs, 
 1874 ; Le dada, 1875 ; Les charbonuiers, 
 1877.— Fetis, Supplement, i. 206. 
 
 COSTELEY, A\TLLIAM, born in Scot- 
 laud in 1531, died at Evreux, Normamly, 
 Feb. 1, 1606. Organist to Henri IL and 
 Charles IX. He was one of the founders 
 of the society called Puy de musique en hon- 
 neur de Sainte-Cecile, at Evreux, and its 
 first prince (1571). Some of his compo- 
 
 304
 
 COSYN 
 
 sitions are iu the library at Orli'ans. His 
 cLausous a i et 5 parties were published by 
 Le Roy et Ballard (1507), wlio also pub- 
 lished his treatise entitled Musique (Paris, 
 1579). — Grove ; Fctis ; Mendel. 
 
 COSYN, BENJA:\UN, lived iu England 
 iu the first half of the 17th century. Com- 
 poser for the harpsichord. Many of his 
 pieces are extant. He was probably the 
 son of John Cosyu, who published in Lon- 
 don, 1585, sixty psalms for four and six 
 voices, in simple counterjwint. — Mendel. 
 
 COTTELL, GEORGE LANSDOWNE, 
 born at Bath, England, Sept. 22, 1835, still 
 living, 1888. Pianist, pupil at the Royal 
 Academy of Music ; founder and director of 
 the London Conservatory of Music. His 
 compositions for pianoforte and his songs 
 are brilliant and tasteful. Ho has also 
 written an opera : The Archers. 
 
 COTTER'S SATURDAY NIGHT, can- 
 tata, by Alexander Campbell Mackenzie, 
 composed for the Birmingham (England) 
 Festival, 1888, but not performed. 
 
 COTTI-CACCIA, , Italian dramatic 
 
 composer, who wrote the words and music 
 of an opera buffa : II vino di Barbara, given 
 at Pignerol in May, 18GG. He produced 
 also an operetta, Don Finocchio, at Genoa 
 in 1873.— Fetis, Supplement, i. 206. 
 
 COTTIN, , French dramatic com- 
 poser who wrote two operettas : Uu duo de 
 serpents, given at the Bouffes Parisiens, i 
 185G, and La revanche de Vulcain, Folies 
 Nouvelles, 1856. The latter piece was the 
 first in a new style of French opera, which 
 Offenbach afterwards copied and excelled 
 in, a musical parody on mythological sub- 
 jects.— F ('tis. Supplement, i. 206. 
 
 COTTRAU, GUILLAUME, born in Paris 
 in 1797, died at Naples, Oct. 31, 18-17. 
 Vocal composer, pupil of Crescentiui at 
 Naples, whither he had been taken when 
 foiu- years of age. He made his reputation 
 liy the publication of Neapolitan cauzoui, 
 wiiich became very popular. He wrote 
 both the music and the words, which were 
 in the Neapolitan dialect. From 1829 to 
 
 1845 he published, under the title of Passa- 
 tempi musicali, six collections of canzoni, 
 among the best known of which are : Fe- 
 nesta che lucivi ; Raziella ; La vedova ro- 
 mana; Fenesta vascia e patrona crudele. 
 A great many other canzoni are in a col- 
 lection bearing the title : Eco del Vesuvio, 
 scelta di celebri canzoni napolitaue (Naples). 
 Some are to be found in the second volume 
 of Echos d'ltalie, published in Paris.— Fetis, 
 SuppU'ment, i. 206 ; Mendel, Ergiinz., 68. 
 
 COTTRAU, JULES, born in Naples in 
 1836, still living, 1888. Son of Guillaume 
 Cottrau, pupil of Luigi Gordigiani in har- 
 mony and composition, and of Samuel 
 David, in Paris. He has published about 
 thirty pieces, melodies, canzoni, duets, etc., 
 at Naples and Paris, on Italian words. 
 One of these, La serenata spagnuola, was 
 very popular. He has written also some 
 operas: Une sentinelle perdue, opi'ra-co- 
 mique ; Griselda, Italian opera, words by 
 Goliseiani; Le roi Lear; La princesse 
 Georges ; La mouche blanche ; none of 
 which have been played.— Futis, Supple- 
 ment, i. 207. 
 
 COTTRAU, THEODORE, born in Naples, 
 Nov. 7, 1827, died there, March, 1879. Son 
 of Guillaume Cottrau ; studied the piano- 
 forte under his mother and under Filippo 
 Festa, and composition under Pappalardo. 
 Like his father, he was distinguished for 
 his Neapolitan canzoni, among which are : 
 ' lo ti vidi a Piedigrotta ; La Sorrentina ; 
 Rissa in piazza serra ; Addio mia bella Na- 
 poli. Some are published in a collection 
 entitled, Eco del Vesuvio. Some of the 
 least remarkable were published by the au- 
 thor under the name, Eutalindo Martelli. 
 He was at the head of a nuisical publish- 
 ing house, and to him is due the Italian 
 translation of Herold's chef-d'oeuvre, Le pre 
 aux clercs, which was brought out in Italy 
 as, Un duello al pre aux clercs (Naples, 
 1872).— Fctis, Supplement, i. 206 ; Mendel, 
 ErgUnz., 69. 
 
 COTU^ilACCI, CARLO, born at Naples 
 I in 1698, died there in 1775. Organist, 
 
 S65
 
 COUCY 
 
 pupil of Alessandro Scarlatti ; succeeded his 
 fellow pupil Durante as maestro di cappella 
 of the Conservatorio di San Ouofrio. His 
 most important works are : Eesponsori for 
 Holy Week ; Requiem mass for five and 
 eight voices ; Te Deum for two choruses ; 
 Hymn for Pentecost. He wrote also : 
 Eegole deir accomjiagnamento, and Trat- 
 tato di contraj)punto, which remain in 
 manuscript.— Fetis ; Mendel. 
 
 COUCY, REGN.\ULT (or Raoul) DE, a 
 troubadour living towards the close of the 
 12tli ceutm-y. From a chronicle of 1380 it 
 appears that he went to the crusades in 1190, 
 with Richard Cceur de Lion, and was killed 
 in 1192. There has been a deal of contro- 
 versy among the French authors, Fauchet, 
 Mezeray, Laborde, Fraucisque Michel, and 
 Crapeletpover the life and the true name of 
 this minstrel. Fetis thinks that Francisque 
 Michel has jiroved that he is no other than 
 the Regnault de Coucy whose romantic 
 history has furnished the subject of several 
 dramas, and which is told in a poem of 
 about 1228, entitled, " Le Eoumans dou 
 Chastelain de Coucy et de la dame de 
 Fayel." He is one of the oldest trouba- 
 dours whose works have been handed 
 down. The Bibliotheque Nationale, Paris, 
 has twenty-four of his chansons with their 
 melodies in the manuscript department. 
 Laborde has published four of his melo- 
 dies in his " Essai sur la Musique " (Paris, 
 1780), and several others in a new edition of 
 a work entitled, "Memoires historiques sur 
 Raoul de Coucy, avec un rccueil de sea 
 chansons eu vieus langage, et la traduc- 
 tion de I'ancienne musique " (Paris, 1781). 
 Francisque Michel has published, Chansons 
 du Chatelain de Coucy, revues sur tous les 
 manusci-its (Paris, 1830-33). Besides these 
 there are " Memoires historiques sur la 
 maison de Coucy et sur la Dame de Fayel, 
 par de Bellay " (Paris, 1770) ; and " His- 
 toire du Chutelain de Coucy et la dame de 
 Fayel, publiee d'apres le manuscrit de la 
 BibliothOque du roi," par M. Crapelet (Pa- 
 ris, 1828).— Fctis; Mendel; Riemann. 
 
 COUNTRY WEDDING. See Landliche 
 Hochzeit. 
 
 COUPE, H , born at Bottelaere, near 
 
 Ghent, June 7, 1827, still living, 1888. The 
 son of a professional musician, he became a 
 pupil at the Conservatoire at Ghent, and 
 won in 1855 the first prizes for singing and 
 harmony. He became assistant maitre de 
 chapelle of the Church of St. Bavon, Ghent, 
 and subsequently maitre de chapelle of the 
 Church of St. Michel. He published j)iano- 
 forte music first under the signature of C. 
 Henri. Works : Mass for three voices, a 
 set of Seven Cantiques de Noiil, and a num- 
 ber of motets for several voices. — Fetis, 
 Supplement, i. 208. 
 
 COUPE DU ROI DE THUL^, LA (The 
 King of Thule's Cup), opera in three acta 
 and four tableaux, text by Louis Gallet and 
 Edouard Blau, music by Eugene Diaz, rep- 
 resented at the Opera, Paris, Jan. 10, 1873. 
 This work was crowned at the competition 
 opened by the ministre des beaux-arts in 
 1867. The title is from the song sung by 
 Margarete in Goethe's "Faust." The cuj}, 
 which is enchanted and gives power to 
 whomsoever possesses it, is left, on his 
 death, by the King of Thule to Paddock, 
 his buffoon, with the injunction to give it 
 to the worthiest. Paddock casts it into 
 the sea. Myrrha, in love with Angus, the 
 prime mmister, and hoping to reign with 
 him when the cup is obtained, jjersuades 
 Yorick, a young fisherman who loves her, 
 to go after it. He preciiiitates himself into 
 the sea, where, with the aid of Claribel, 
 queen of the waves, who conceives a tender 
 sentiment for him, he obtains the cuj) and 
 is permitted to return to earth, promising 
 however to rejoin Claribel if he finds Myr- 
 rha untrue. Myrrha gives the cup to An- 
 gus, and the two are about to be made the 
 sovereigns, when Yorick, invoking the aid 
 of Claribel, triumphs. 
 
 COUPERIN, ARMAND LOL^S, born in 
 Paris, Jan. 11, 1721, died in 1789. Son of 
 Nicolas Couperin, nephew to Couperin le 
 Grand. Organist successively to the King,
 
 COUPERI^' 
 
 to the cburcbes of St. Gervais, St. Bartlii'- 
 lemj', Ste. Marguerite, and one of the four 
 organists of Notre Dame. He wrote churcli 
 music and motets, and published two col- 
 lections of sonatas and of trios for the haiij- 
 .sichord. — Fotis; Mendel, iii. 7, Ergiinz., 
 (ji) ; Riemann. 
 
 COUPERIN, CHAREES, born atCbaume 
 (Brie), France, April 9, 1G38, died in Paris 
 in ICGIl One of a family of three broth- 
 ers, all organists and musicians, and father 
 of Coujjerin le Grand. He went to Paris 
 while young, and took his eldest brother 
 Louis' place, at the Church of Saint-Ger- 
 vais, as organist ; was talented and died 
 young. — Fetis ; Mendel ; Schilling. 
 
 COUPERm, FRANgOIS, sieur de Crouil- 
 ly, born at Chaume, in 1631, died in Paris in 
 1703. Brother of Louis and Charles Coupe- 
 rin ; Organist, pupil of his godfather, 
 Chambonnieres. He was organist of the 
 Church of Saiut-Gervais from 1679 to 1698. 
 Published works : Pieces d'orgue consis- 
 tantes en deux messes, I'une a I'usage or- 
 dinaire des paroisses j)our les festes solen- 
 nelles ; I'autre propre pour les couvents de 
 religieux et de religieuses ; par le priviK^ge 
 du roi (1690).— Fetis ; Mendel. 
 
 COUPERIN, FRANCOIS (suruamed Le 
 Grand), born in Paris, 
 Nov. 10, 1668, died 
 there, 1733. His fa- 
 ther, Charles Coupe- 
 rin, having died in 
 1669, he studied un- 
 der Louis Jacques 
 Thomelin, organist of 
 the chapel of Louis 
 XIV. On Dec. 26, 
 1693, he succeeded to his late teacher's post, 
 his official titles being "chevalier de I'ordre 
 de Latran, organiste de la chapelle du Roy, 
 et professeur de Monseigneur le due de 
 Bourgogne." He married Marie Aune Au- 
 sault, and had two daughters, Marie Anne 
 and Marguerite Antoinette. Both were good 
 organists and clavecinists, the second being 
 the female claveciuist to the King. FOtis 
 
 says of Coujierin that ho combined more 
 fine qualities than any other French organ- 
 ist. Yet his reputation now rests mainly 
 uj)on his works for the clavecin ; indeed he 
 is one of the principal figures in the history 
 of pianoforte and clavecin writing. His in- 
 fluence upon Sebastian Bach is unmistak- 
 able. Published works : 1, Premier livre 
 de pieces de clavecin (Paris, 1713) ; 2, 
 Deuxiume livre id. (ib., 1716) ; 3, Troisieme 
 livre id., a la suite duquel il y a quatre con- 
 certs a I'usage de toutes sortes d'instru- 
 ments (ib., 1719) ; 4, Quatrieme livre id. (ib., 
 no date) ; 5, Les gouts ri'unis, ou nouveaux 
 concerts, augmentes de I'apotlu'ose de 
 Corelli en trio (ib., 1717) ; 6, L'Apoth('ose 
 
 de I'incomparable L (Lulli), (ib., no 
 
 date) ; 7, Trios for two violins and bass, 
 with figured continue (ib., no date) ; 8, Le- 
 mons des tenubres a une et deux voix (ib., 
 no date) ; 9, Methode, ou I'art de toucher 
 le clavecin, y compris huit preludes (ib.) ; 
 10, Pieces de viole (ib.). A revised edi- 
 tion of the clavecin suites is edited by 
 Brahms. — Spitta, J. S. Bach, i. 695 ; Fetis ; 
 Mendel. 
 
 COUPERIN, GERVAIS FRANCOIS, 
 born about (?), died after 1815. Organist, 
 son and pupil of Armand Louis Couperin. 
 Though not the equal of the rest of his il- 
 lustrious family, his name procured him the 
 position of organist to the Sainte Chapelle, 
 to the churches of Saint-Gervais, of Saint- 
 Jean, of Sainte-Marguerite, Les Carmes- 
 Billettes, and Saint-Mery. Works : So- 
 natas, airs varies, caprices, potjiourris, and 
 romances (Paris) ; several motets in MS. 
 — Fetis ; Riemann, 182 ; Mendel. 
 
 COLTERIN LE GRAND. See Couix- 
 rin, Francois (2d). 
 
 COUPERIN, LOUIS, born at Chaume in 
 1630, died in Paris in 1665. Organist, one 
 of three celebrated brothers of a family of 
 musicians ; uncle to Couperin le Grand. 
 He went to Paris while young, and was or- 
 ganist to the church of Saint-Gervais and 
 of the King's Chapel. Louis XIII. created 
 a place for him as player on the viol among 
 
 367
 
 COUPERIK 
 
 liis chamber musicians. "Works : Three 
 Suites de pieces de clavecin in JLS. — Futis ; 
 Larousse ; Mendel. 
 
 COUPERIN, NICOLAS, born in Paris, 
 about IGSO, died there, in 1748. Organist, 
 son of Frangois Couperin. He was organ- 
 ist of Saint-Gervais for many years, and 
 musician to the Comte de Toulouse. Fetis ; 
 Larousse ; Mendel. 
 
 COUPERIN, PIERRE LOUIS, bom (?), 
 died in 1789. Organist, son of Louis Ai-- 
 mand Couperin, and grandson of Nicolas 
 Couperin. Ue received all his instruction 
 from his mother and father ; was assistant 
 organist to his father at Notre Dame, St. 
 Gervais, St. Jean, the Royal Chapel, and 
 Les Carmes-Billettes. "Works : Motets used 
 iu many of the French churches ; La Ro- 
 mance de Nina, with variations for piano- 
 forte. — Fetis ; Larousse ; Mendel. 
 
 COUPPEY, FELIX LE, born in Paris, 
 April 14, 1814, died there, July, 1887. Pian- 
 ist and composer for his instrument, pupil at 
 the Conservatoire, where he took the first ' 
 prize for pianoforte in 1827, and for har- 
 mony in 1828 ; when only seventeen, he 
 was entrusted by Cherubini with a jDrejiara- 
 tory class in harmony, iu 1837 was aja- 
 pointed titulary f)rofessor of solft'ge, and in 
 1843, professor of harmony. He retired 
 from the Conservatoire in 1886. "U'orks : 
 12 etudes expressives (Leipsic, Breitkopf & 
 Hilrtel) ; 3 other collections of etudes. He 
 also jjublished two instructive works : Ecole 
 du meeanisme du piano, and De I'enseigne- 
 ment du piano (Paris, Hachette, 1865). 
 — F(_'tis ; do., Supplement, i. 210. 
 
 COURBOIS, , French musician who 
 
 became known in 1728 by a motet : Omnes 
 gentes plaudite manibus, with trumpets and 
 drums, played at the Concerts Si^irituels. 
 He published also a book of cantatas and 
 cantatilles ; the Cantata of Don Quichotte, 
 and a book of Airs a chanter. — Fetis ; Men- 
 del. 
 
 COURCELLE, FRANCESCO, Italian dra- 
 matic composer of the first half of the 18th 
 century, maestro di cappella at the court of 
 
 Parma. "U'orks : Nino, given at Reggio, 
 1720, and Venice, 1732 ; La Venere placata, 
 Venice, Teatro di San Samuele, 1731. 
 
 COUR DU ROI PETAUD, LA, opera- 
 bouffe in three acts, text bj' Adolphe Jaime 
 and Philippe Gille, music by Delibes, rep- 
 resented at the Theatre des Varietes, Paris, 
 April 24, 18G9. 
 
 COURTEMLLE, RAPHAEL, the 
 younger, born in the second half of the 
 17th century, died about 1735. Composer, 
 son of Raphael, the elder, who was a gentle- 
 man of the Chapel Royal in the reign of 
 Charles I, and died Dec. 28, 1675. The 
 son was appointed organist of St. James's 
 Church, Piccadilly, in 1C91. Works : 6 so- 
 natas for two violins ; Sonatas for two flutes 
 (about 1685) ; Many songs, published in 
 various collections in the latter part of 
 the 17th century. He wrote also part of 
 the opera Don Quixote (with Purcell, and 
 others, 1696). John CourteviUe, probably 
 his brother, was a song writer. — Grove. 
 
 COURTOIS, JEAN, French composer of 
 the first half of the 16th century. Ho Mas 
 maitre de chapelle at the cathedral in 
 Cambrai in 1540, and a 4-voice motet of 
 his, Venite populi terr;e, was performed by 
 34 singers at the cathedral on Jan. 20th of 
 that year (not 1539, as Fetis has it), in the 
 presence of Charles V., as he passed through 
 Cambrai on his way to Ghent. Courtois, 
 if not one of the greatest, was still markedly 
 above the composers of the second rank in 
 France iu his day. He was a clever contra- 
 puntist, not without very genuine inspira- 
 tion, but an extreme classicist, and often 
 rather servile imitator of Josquin Depres's 
 school. Eight of his masses are in the 
 Royal Library at IMunieh, and one in the 
 library at Cambrai. Motets and other 
 compositions of his are included iu the 
 following collections : Fior de' Motetti (Ve- 
 nice, 1539) ; Selectissimre .... Can- 
 tiones (Augsburg, 1540) ; Novum et insigne 
 opus musicum (Nuremberg, 1537) ; Liber 
 Quartus, XXIX., musicales quatuor, etc. 
 (Paris, 1534) ; Psalmorum selectorum, etc. 
 
 368
 
 COUSINEAU 
 
 (Nuremberg, 153!)) ; Cautiones sacnc (Ant- 
 werp, 15-16) ; Three voliuiies of motets 
 (Lyons, 153'2-15;^8) ; Chansons a 4, 5, 6 et 
 8 j)arties de clivers auteurs (Antwerp, 1543- 
 1550) ; Trente chansons .... a 4 
 parties (Paris) ; Trent cinq livres de Chan- 
 sous uouvelles (Paris, 1532-1549) ; Chan- 
 sons a cinq et six jiarties (Louvain, 1545). 
 — Ambros, iii. 291. 
 
 COUSINEAU, PIERRE JOSEPH, bom 
 in Paris, about 1753, died in 1824. Lu- 
 tist and harpist. He was the first to con- 
 struct a double row of pedals for the harp, 
 an improvement perfected later by Dizi in 
 London, and Erard in Paris ; but it was not 
 ajusreeiated at the time, as harp music did 
 not then require any great amount of exe- 
 cution. He was appointed lutist to the 
 Queen in 1788 ; and he was harpist of the 
 Academie Royale de Musique, until 1812. 
 Published works : Sept ceuvres de Sonates 
 pour la harpe, op. 1, 2, 5, 7, 10, 13 et 16 ; 
 Cinq recueils d'airs varies ; Deux concertos, 
 op. 6 et 12 ; Deux potpourris ; and a Me- 
 thode pour la harjie. — Fetis ; Mendel ; 
 Schilling. 
 
 COUSSER (Kusser), JOHANN SIGIS- 
 JIUND, born at Pressburg, Hungary, in 
 1657, died in Dublin, L-eland, in 1727. 
 Dramatic comjjoser, son and pupil of a 
 musicitm of Pressburg, and pupil of Lulli 
 in Paris, for six years. On his return to 
 Germany he was Kaijellmeister at Wolfen- 
 biittel and at Stuttgart, lived in 1693-97 at 
 Hamburg, where he was director of the Op- 
 era, and made two journeys to Italy between 
 1700 and 1705. He is said to have been 
 the first to introduce the Italian method of 
 singing into Germany. He settled finally 
 in London as a teacher of singing, but went 
 in 1710 to Ireland and became organist in 
 Dublin Cathedral. His published works 
 comprise the operas Erindo, given at Ham- 
 burg, 1693 ; Porus, Pyramusand Thisbe, ib., 
 1694 ; Scipio Africanus, ib., 1695 ; Jason, 
 ib., 1697 ; Apollon enjoue, sis operatic over- 
 tures, and several airs (Nuremberg, 1700) ; 
 Heliconische Musenlust, a collection of airs 
 
 from Ai-iadne (ib., 1700) ; Ode on the death 
 of Ai'abella Hunt (Loudon) ; Serenade for the 
 King's birthday (Dublin, 1724). — Grove ; 
 Fetis ; Mendel. 
 
 COUTINHO, FRANCISCO JOSfi, born 
 in Lisbon, Oct. 21, 1671, died in Paris, in 
 1724. Amateur musician, left the following 
 works in MS. : Te Deum, for eight choruses 
 (1722) ; Mass for four choruses, with an 
 accompaniment of violins, horns, and drums 
 entitled, Scala Ai-etina. — Fetis ; Mendel ; 
 Vasconcellos, 73. 
 
 COWARD, JAMES, born in London, 
 Jan. 25, 1824, died there, Jan. 22, 1880. 
 Chorister in Westminster Abbey. Organist 
 of the Crystal Palace in 1857-80. He was 
 a jjerformer of great ability. Works : An- 
 thems ; Part-songs ; Ten glees for four and 
 five voices (London, 1857) ; Ten glees, etc., 
 (ib., 1871) ; Songs, and misceUaueous mu- 
 sic. 
 
 COWEN, FREDERIC HY^MEN, born at 
 Kingston, Jamaica, 
 Jan. 29, 1852, still 
 living, 1888. Dra- 
 matic composer, 
 pupil of Benedict 
 and (1860-65) of 
 Goss, then at the 
 Conservatories of 
 Leif)sic and Berlin 
 of Hauptmann, 
 Moscheles, and 
 Reinecke ; returned 
 to England in 1868. Gave a series of orches- 
 tral concerts, introducing modern English 
 music in 1880 ; travelled in Europie, 1881- 
 82. Conductor of the London Philhar- 
 monic Society, but resigned to accept the 
 direction of the music at the Centennial 
 Exhibition, Melbourne, Australia (Aug. 1, 
 1888, to Feb. 1, 1889), for which he receives 
 a salary of £5,000. Works : Garibaldi, op- 
 eretta ; One too manj-, 1874 ; Pauline, op- 
 era, London, 1876 ; Music to Schiller's 
 Maid of Orleans, 1871. Cantatas: The 
 Rose Maiden, 1870 ; The CoTsair, Birming- 
 ham Festival, 1876 : Saint Ursula, Norwich
 
 cox 
 
 Festival, 1881 ; The Sleeping Beauty, Bii- 
 miugbam, 1885 ; Rath, oratorio, Worcester 
 Festival, 1887 ; The Deluge, oratorio, Brigh- 
 ton Festival, 1878 ; 4 sj-mphonies, in C 
 minor (1869), iu F (1872), iu C minor, 
 Scandinavian (1880), and Weigh (1884) ; 
 Overture in D minor (186G) ; Festival Over- 
 ture, Norvv'ich, 1872 ; Concerto for piano- 
 forte and orchestra iu A minor (1869) ; 
 Suite de Ballet for orchestra ; Sinfonietta 
 in A for do., Philharmonic Society, 1881 ; 
 Trio in A minor for pianoforte and strings 
 (1868) ; Quartet iu C minor for do. (1869) ; 
 Pianoforte pieces and songs. 
 
 COX AND BOX, English operetta, text 
 by F. C. Buruand after Madison Morton's 
 farce, music by Arthur Sullivan, rejjresented 
 iu London, Adelishi Theatre, May 11,1867. 
 
 COZZI, CAELO, born at Parabiago, near 
 Milan, Italj% first half of the 17tli century, 
 died in 1658 or 1659. Originally a barber, 
 he devoted himself to the study of music 
 and became organist of S. Simpliciano, 
 Milan. On the visit to that city of Queen 
 Maria Anna of Spain, he presented her with 
 a collection of his church music, and she 
 created him organist of her court. Pub- 
 lished works : Messa et salmi correnti per 
 tutto r anno a 8 voci jjiene (1651) ; Con 
 motetti e litanie della B. V. e con due 
 motetti di Michel-Angelo Grancini ; Com- 
 pieta a quattro voci (Milan, 1649). — Fctis ; 
 Mendel. 
 
 COZZOLANI, CfflAEA MARGARITA, 
 lived in the 17th century. She was a nun 
 of the convent of Sta. Radegouda, of the 
 order of S. Benedetto, at Milan, who took 
 the veil in 1620. This is all that is known 
 of her, but her compositions prove that she 
 was a clever musician. Published works : 
 Primavera di fiori musicali a 1, 2, 3 e 4 voci 
 (Milan, 1640) ; Motetti a 1, 2, 3 e 4 voci 
 (1642) ; Scherzi di sacra melodia (Venice, 
 1648) ; Salmi a otto voci coucertate, Laudate 
 pueri a 4, e Laudate Dominum a voce sola, 
 op. 3 ; Salmi a otto voci concertate, con mo- 
 tetti, e dialoghi a 2, 3, 4 e 5 voci (Venice, 
 1650).— Fetis ; Mendel. 
 
 CRAEI.rV'ANGER, K. A., born at Utrecht 
 in 1817, died there, July 30, 1868. Virtu- 
 oso on the violin and guitar. He appeared 
 with great success as a singer in the cities 
 of Holland, was director of three musical 
 societies, and conducted the music festival 
 at Cleves, 1852, and Utrecht, 1853. Among 
 his compositions are : Quartet for string in- 
 struments ; Fantaisies for guitar ; Motets ; 
 Choruses for male voices ; Songs. — Fetis, 
 Supplement, i. 213 ; Viotta. 
 
 CRAMENT, JOHN M.\UDE, born at 
 Boltou Percy, Yorkshire, in 1845, stQl liv- 
 ing, 1888. Church composer and organist, 
 jjupil of Macfarren, and in Berlin of Haupt 
 and Kiel. Organist of Broni^^tou parish 
 church, London ; Mus. Bac, Oxford, 1879. 
 Works : Festival Psalm for solo voices, cho- 
 rus, and orchestra ; Anthems. 
 
 CRAMMER, FRANZ, born in Munich in 
 1786, died (?). Instrumental and vocal 
 composer, nephew of Wilhelm Cramer, jm- 
 pil of Eberle on the pianoforte, of Gerhard 
 Dimler on the flute, and of Josef Griitz iu 
 composition ; in 1795 he became first flutist 
 in the court orchestra. He wrote several 
 concertos for different instruments, varia- 
 tions, rondos, several collections of songs, 
 an opera, Hidallan, and a ballet, which was 
 performed in Munich. — Fetis ; Mendel. 
 
 CRAZIER, JOHANN BAPTIST, born at 
 Mannheim, Feb. 24, 1771, died in London, 
 Ai^ril 16, 1858. His father, Wilhelm Cra- 
 mer, who settled iu London wheu Johann 
 was a year old, gave him bis fi.rst instruc- 
 tion on the violin, pianoforte, and iu theory. 
 Johann studied also uuder Benser, SehrJiter, 
 and from 1779 to 1781 under Clementi. In 
 1785 he took a course of thorough bass 
 under C. F. Abel, but his knowledge of 
 theory and composition resulted almost 
 wholly from self-dii-ected studies in the 
 works of Kirnberger and Marpurg. From 
 1788 to 1828 he made frequent concert 
 tours through Europe, returning at inter- 
 vals to London. In 1828 he founded the 
 music publishing house of J. B. Cramer & 
 Co. Some time afterwards he spent several 
 
 370
 
 CRAMER 
 
 years in Paris, returning to London finally 
 in 1845. The remainder of Lis life was 
 passed in retirement. Cramer's rei)utation 
 as pianist and teacher was deservedlj' of 
 tlie Yery highest. 
 His compositions 
 are marked Ly 
 great stoutness 
 of construction 
 and interesting 
 harmony, albeit 
 by a certain dry- 
 ness. His one '"■ 
 undying work is 
 his Si studies, 
 which form the fifth part of his Gi-osse 
 piaktische Pianoforte-Schule. An admira- 
 ble, instructive edition of fifty of these 
 studies has been edited by von Biilow. 
 Together with parts of dementi's Gradus 
 and Moscheles's studies, they will proba- 
 bly never be sujjerscded. In the historj- 
 of the develojiment of pianoforte-playing 
 Cramer's i^lace is intermediate between 
 Clenieuti and Hummel. Works : 7 con- 
 certos for pianoforte and orchestra, op. 10, 
 16, 26, 37, 48, 51, 56 ; Sonatas, op. 1-9, 
 11-15, 18-23, 25, 27, 29, 31, 33, 35, 36, 38, 
 39, 41-44, 46, 47, 49, 53, 57-59, 62, 63 ; 
 Marches and waltzes, op. 17 ; Duet, op. 24; 
 do., op. 34 ; do., op. 50 ; Quartet for piano- 
 forte and strings, op. 28 ; Suite of Studies, 
 op. 30 ; Nocturne, op. 32 ; do., op. 54 ; 
 Studies, op. 40 ; Duet for pianoforte and 
 harp, op. 45 ; do., 52 ; Dulce et utile, op. 
 55 ; Bravaira, op. 60 ; Quintet for pianoforte 
 and strings, op. 61 ; Method for the piano- 
 forte in 5 parts. — Grove ; Fctis ; Mendel. 
 
 CRAMER, KASPAR, co-rector of the 
 school of Salzburg, in the first half of the 
 17th century. He published sixty-nine 
 chorals for four voices with the singular 
 title : Animse sauciatre; medela, etc. (Erfurt, 
 1641). Part of these chorals are his own, 
 the others are by various other German 
 composers. — Fetis ; Mendel. 
 
 CRAMER, WILHELIM, born in INIaun- 
 lieim in 1745, died in Loudon, Oct. 5, 
 
 i 1799 (1800?). Violinist, .sou of Jacob Cr.a- 
 mer (1705-1770), a flutist of the celebrated 
 band at Mannheim, and pupil of Johann 
 Stamitz, Sen., and of Caunabicb. He was 
 admitted to the band at Mannheim when 
 sixteen years old, and was connected with 
 it until his father's death, when he removed 
 to London. He held many important posi- 
 tions. He was head of the king's band, con- 
 ductor at the Oj)era and the Pantheon, the 
 Ancient Concerts, and the Professional Con- 
 certs, and he also conducted the Handel Fes- 
 tivals at Westminster Abbey, in 1784 and 
 1787, and the Gloucester Festival in 1799. 
 He published eight concertos, and several 
 solos and trios. — Fetis ; Mendel ; Schil- 
 ling ; Wasielewski, Die Violine luid ihre 
 Meister, 185. 
 
 CRAPPIUS, ANDREAS, born at Liine- 
 burg, about the middle of the 16th century. 
 Cantor and composer at Hanover. Works : 
 Melodise cpithalamii in honorem nuptiarum 
 Johannis Schneideweiu (Wittenberg, 1568) ; 
 Sacrse cantiones 4 et 6 vocum (Magde- 
 burg, 1581, 1584) ; Sacrss aliquot can- 
 tiones quinque et se.x vocum aptissimse, tarn 
 vivse voci quam diversis musicorum in- 
 strumentorum generibus, harmonia accom- 
 modate', quibus adjuncta est missa ad 
 imit. cantionis germanica; ; Schafi't in mir, 
 Gott, eiu reines Herz (Magdeburg, 1581) ; 
 Erster Theil newer geistlicher Lieder und 
 Psalmen mit dreyen Stimmeii, etc. (Helm- 
 stiidt, 1594) ; Musieaj artis elementa (Halle, 
 1608).— Fctis; Mendel. 
 
 CRAS, P I , born Sept. 13, 1795, 
 
 died in Mechlin, Nov. 4, 1871. Organist, 
 pupil of the Abbe Andre, canon of the Me- 
 tropolitan church of Mechlin. He was or- 
 ganist of the church of Saint-Jean at Mech- 
 lin in 1817-1840, and afterwards at Sainte- 
 Catherine. His works, which are all for 
 the church, consist of twelve masses ; 3 
 Tantum ergo ; 3 Ave Maria ; 12 pieces for 
 organ ; etc. — Fctis, Supplement, i. 214 ; 
 Mendel, Ergiinz., 70. 
 
 CRASSOT, RICHARD, born in Lyons, 
 France, about 1530? died (?). He pub-
 
 CKAYWINCKEL 
 
 lished : Les psaulmes mis en rime fran9oise 
 par CI. Marot et Th. de Beze, et iiouvelle- 
 ment mis en musique a quatre parties par 
 Kichard Crassot, excellent musicien, le tout 
 en uu volume (Lyou, 1564). This was pub- 
 lished also in a second edition with the title : 
 Les CL psaumes de David a quatre parties, 
 avec la lettre au long (Geneva, 1.569). — Fe- 
 tis ; Mendel. 
 
 CRAYWINCKEL, FERDINAND MAN- 
 UEL MARTIN LOUIS BARTHELEMY 
 DE, born in Madrid, Aug. 24, 1820, still 
 living, 1888. Composer of sacred music, 
 pupil of Bellon, who was a pupil of Reicha. 
 He is maitre de chapelle of St. Bruno, Bor- 
 deaux, where he has lived since 1825. 
 Among his works, which are in the stjle 
 of Weber, are : Deuxieme messe, en sol 
 mineur ; 2 collections of canticles ; 4 messes 
 solenuelles for three voices, solos and or- 
 chestra, the third one of which was given 
 at Notre Dame, Bordeaux, and by the So- 
 ciety of Saint Cecilia ; 20 motets and Sa- 
 ints ; 2 collections of canticles ; a Stabat ; 
 5 masses for the principal feasts of the 
 year ; Antiennes de la sainte Vierge ; etc. 
 — Fc-tis, Suppk'ment, i. 214 ; Mendel, Er- 
 giinz., 71. 
 
 CREATION THE. See Schopfung, Die. 
 
 CREDIA, PIETRO, born at Vercelli, 
 Italy, about the beginning of the 17th cen- 
 tury, died in Rome in 1648. Studied at 
 the Collegio degli Innocenti, and became 
 Minor canon of the church of S. Eusebio, 
 and subsequently maestro di cappella at the 
 same church. Called to Rome, he became 
 a musician of the Sixtine Chapel, but after- 
 wards retired to the Jesuit College. He left 
 several books of masses and vespers in MS. 
 — Fetis. 
 
 CREIGHTON (Creyghton), Rev. ROB- 
 ERT, D.D., born in Cambridge, England, 
 about 1639, died at Wells, in 1736. Son of 
 the Rev. Dr. Creyghton, Bishop of Bath 
 and Wells, who attended Cliarles H. in 
 exile. He became, like his father, Greek 
 professor at Cambridge, and was appointed 
 canon residentiary and precentor of Wells 
 
 Cathedral. He applied himself early in 
 life to the studj' of church music, and is 
 reckoned among tlie masters of his time. 
 His anthem, 1 will arise and go to my father, 
 is weU known. Several of his services and 
 anthems are extant in the library of Wells 
 Cathedral. Tudway's MS., in the British 
 Mus., contains another and an anthem. 
 Praise the Lord. — Grove ; Fetis. 
 
 CREJIONESI, AMBROGIO, lived in Italy, 
 middle of the 17th century. He was maes- 
 tro di caj)pella at Ortona-a-Mare ; and au- 
 thor of Madrigali concertati (Venice, 1636). 
 — Fctis ; Mendek 
 
 CRfiMONT, PIERRE, born at Aurillac, 
 France, in 1784, died in Tours, March, 1846. 
 Violinist and clarinetist, pupil at the Paris 
 Conservatoire until 1803, when he travelled 
 in Germany and Russia, where he lived 
 several years as director of the Theatre 
 Franj'ais in St. Petersburg. In 1817 he re- 
 turned to Paris, became assistant conductor 
 of the orchestra at the Opt'ra Comique in 
 1821, went to the Odeon in 1824, where he 
 organized the orchestra for the performance 
 of Italian and German operas. He returned 
 to the Opt'ra Comique as director in chief 
 in 1828, and remained there until 1831, 
 when he went to Lyons to direct the or- 
 chestra of the Grand Theatre. Works : 
 Concerto pour violon, op. 1 : Trois marches 
 funebres pour harmonie militaire ; Har- 
 monie pour musique militaire, liv. 1 et 2 ; 
 Concerto pour la clarinette, op. 4 ; Quatuor 
 pour deux violons, alto et basse ; Fantaisies 
 pour violon jJrincipal sur I'air, Au clair de 
 la lune, avec violon, alto et basse, op. 8 ; 
 Duos pour deux violons, ceuvres 10 et 11 ; 
 Fantaisie pour violon principal sur ini air 
 des montagnes de I'Auvergne, avec quatuor, 
 op. 11 ; Trois trios concertants pour deux 
 violons et alto, op. 13. — Fi'tis ; Mendel. 
 
 CREOLE, L.^, opera-comique in three 
 acts, text by Albert Milland, music by Offen- 
 bach, represented at the Bouffes Parisiens, 
 Paris, Nov. 3, 1875. The cast was : Dora, 
 Mme Judic ; Reno, Mme Van-Ghell ; An- 
 toinette, Mme Luce ; Commandant, Dau- 
 
 sti
 
 citfiyriLLox 
 
 brav ; Frontigiiae, Cooijor ; Sixiiit-Clianias, 
 Fugure. 
 
 CREQUILLON (CrecquiUoii), THOMAS, 
 born near Ghent at the begiuuiug of the 
 16th century, died at Bethune iu 1557. 
 Eminent contrapuntist, maestro de capilhi 
 to Charles V., at Madrid, about 1544—i7, 
 afterwards canon successively at Namur 
 (until 1552), Termoude (until 1555), and 
 Bt'thune. He ranks with Clemens non 
 Papa, and Nicolas Gonibert, among the great 
 musicians of that epoch. His works con- 
 sist of many masses, motets, cantiones, and 
 French chansons for four, five, and six 
 voices. — Biog. nat. de Belgique, iv. 4'.)4 ; 
 Fetis ; Mendel. 
 
 CRESO (Crffisus), king of Lydia, whose 
 famous interview with Solon is related by 
 Herodotus, is the subject of the following 
 operas : Creso, Italian opera in three acts, 
 text by Minato, music by Antonio Draghi, 
 represented at Vienna, 1G78 ; music by 
 Ciiovanni Legreuzi, Venice, 1081 ; music 
 by JommeUi, Rome, 1743 ; three acts, mu- 
 sic by Abos, London, 1758 ; music by Sac- 
 chini, Naples, 1765, London, 1775 ; music 
 by Cafaro, Turin, 17G8 ; music by Felice 
 Alessandri, Pavia, 1774 ; mu.sic by Anfossi, 
 Rome, 1787 ; music by Terziani, Venice, 
 1788. Krcisus, German opera, three acts, 
 text by Bostel, music by Fortsch, Hamburg, 
 1684 ; music by Reinhold Keiser, same text, 
 Hamburg, 1711, 1730. Creso in Media, 
 music by Josejah Schustei', Najsles, 1779. 
 Creso tolto alle fiamme, music by Polaui, 
 Venice, 1705. 
 
 CRESPEL (Crispel, Chrispel), JEAN, 
 Belgian musician, lived in the IGtli century, 
 pupil of Johannes Okeghem. Nothing is 
 known of bis life, but many of his composi- 
 tions are in collections published in the sec- 
 ond half of the 16th century. Some of his 
 motets are in Thesaurus Musieus (Nurem- 
 berg, 1564) ; and some of his chansons in 
 Recueil des fleurs produites de la divine 
 musique (Louvain, 1569). The first book 
 of a collection of French chansons published 
 at Louvain in 1558, has a chanson of his, 
 
 arranged as a canon for four voices : Fills 
 qui prend facecieulx mary. — Biog. nat. de 
 Belgi(|ue, iv. 499 ; Fetis ; Mendel ; do., 
 Ergilnz., 71. 
 
 CRESSONNOIS, JULES ALFRED, born 
 at Mortagne (Orne), France, April 17, 1823, 
 still living, 1888. Pupil of Fessy in har- 
 mony, of Georges Kastner in counterpoint 
 and composition ; entered the Gymnase 
 Militaire in 1845, became chef de musique 
 in 1847, and from that year until 1869 was 
 successively director of music to the Cuiras- 
 siers of the Imperial Guard, the Guides, 
 and the Gendarmerie. From 1808 he was 
 conductor of the orchestra of the Champs- 
 Elysees. Works : Chapelle et Bachaumont, 
 operetta, Opera Comique, 1858 ; Collection 
 of six vocal melodies entitled Harmonies 
 (1862) ; 3 do. (1863, 1864, 1865) ; Romances 
 and melodies, such as le Cavalier et I'Echo, 
 Esperance, Nuit d'etoiles, etc. He wrote 
 the music for the comedy Deidamia, by 
 Theodore de Banville, performed at the 
 Odeon, 1876.— Fetis, Supplement, i. 216; 
 Mendel, Ergilnz., 72. 
 
 CRESSONNOIS, PAUL, French drama- 
 tic composer, son of the preceding, pupil 
 at the Conservatoire of Paris, where he ob- 
 tained a second accessit for harmony and 
 accompaniment. He is the author of two 
 operettas : Une nuit a Seville, 1875, and 
 Mac-Hulott, 1877 ; Hymnis, opera-comique, 
 Nouveau Theatre Lyrique, Nov. 14, 1879. 
 — Fetis, Supplement, i. 210. 
 
 CRESTE, JULES, French dramatic com- 
 poser, contemporary. He is the author of 
 Trois Sultanes, words by Favart, given at 
 the Varietes, Paris, 1853 ; and Les four- 
 beries de Marinette, Opera Comique, 1858. 
 He has written also some popular songs. — 
 Fetis, Supplement, i. 216. 
 
 CRISPI, Abbate PIETRO, born in Rome 
 about 1737, died there in 1797. Harpsi- 
 chord i^layer, at first an amateur and then 
 a professor of music. He published some 
 sonatas and concertos in the style of Al- 
 berti ; Dr. Crotch included some of his 
 music in his collection. — Fetis. 
 
 S73
 
 CRISPINO 
 
 CRISPING E LA COMARE, Italian 
 opera buft'a iu three acts, text by Piave, 
 music by Luigi and Federico Ricci, first 
 represented iu Venice, at the Teatro San 
 Benedetto, Feb. 28, 1850. Scene in Venice, 
 plot original. Crispino, a j)oor cobbler, 
 whose wife Anuetta tries to help him by 
 singing ballads in the street, becomes at 
 last so disconsolate at his iU-luck that he 
 determines to drown himself in a well. As 
 he is about to do this the fairy. La Comare, 
 rises and promises him fortune on condi- 
 tion that he sets up as a doctor. He f)er- 
 forms wonderful cures, becomes rich and 
 haughty, ignores his old friends, and quar- 
 rels with his wife. La Comare takes him 
 into a subterraneous cavern, informs him 
 that she is Death, and so frightens him that 
 he promises amendment, and is finally re- 
 stored to his famil}-. The underplot, which 
 is commonly omitted, exhibits the love of the 
 Contiuo del Fiore and Lisetta, the ward of 
 an old miser who, in love with her himself, 
 dies iu time to permit their union. Among 
 the best numbers are : " Istorie belle a leg- 
 gere," a canzonetta in w^altz time sung bj- 
 Annetta ; " Troppo do, basta per oro," duet 
 between her and Crispino ; " Ma signori, 
 perchc tanta questione ? " buffo trio be- 
 tween Crispino and Doctors Fabrizio and 
 Mirobolante ; and "Piero mio, go qua una 
 fritola," an arietta sung l)y Ainietta. Cris- 
 pino was first sung in Paris, at the Theatre 
 Italien, Ajjril i, 1865, with the following 
 cast : 
 
 Annetta Signora Vitali. 
 
 La Comai-e Signora Vestri. 
 
 Crispino Siguor Zucchini. 
 
 II Contino Signor Brignoli. 
 
 Dr. Fabrizio Signor Agnesi. 
 
 Dr. Mirobolante Signor Mercuriali. 
 
 A French version in four acts, Le docteur 
 Crispin, text by Nuitter and Beaumont, 
 was given at the Athenee, Sept. 18, 1869. 
 
 CRISTLANELLI, FILIPPO, born in 
 Bari in 1587, died (?). He was maestro 
 di caij^iella at Aquila, kingdom of Naples, 
 
 about 1615. He published Salmi a cinque 
 voci (Venice, 162G). — Fctis. 
 
 CRIVELLI, AliCANGELO, born iu Ber- 
 gamo about the middle of the IGth century, 
 died in 1610. He was tenor in 1583 of the 
 Pontifical Chapel, where his compositions 
 were in use for mauy years. Some of his 
 motets are iu Coustautini's Selectaj can- 
 tiones excellentissimorum auctorum (Rome, 
 1614). He left also masses, psalms, and mo- 
 tets iu MS. Three masses for four voices, 
 two for five voices, and a Mass entitled: 
 Transeuute Domino, are iu the Santiui col- 
 lection. — Fetis ; Mendel. 
 
 CRIVELLI, DOMENICO FRANCESCO 
 IMARIA, born in Brescia, Italy, in 1791:, 
 died iu London, Dec. 31, 1856. Son of 
 Gaetauo Crivelli, one of the best Italian 
 tenors (1771-1836). Pupil iu singing of 
 Millico, in Naples, and at the Conservatorio 
 di San Onofrio, in accompaniment, of Fena- 
 roli. In 1812 he went to Rome, where he 
 studied under Zingarelli. On his return to 
 Naples, in 1813, he composed several pieces 
 of sacred music, and in 1816 wrote an op- 
 era for the San Carlo, the production of 
 which was prevented by the burning of the 
 theatre. He joined his father in Loudon, 
 iu 1817, and became noted as a teacher and 
 didactic writer. Works : Cantata for three 
 voices with orchestral accompaniment ; La 
 fiera di Salerno, ossia la fiuta capriceiosa, 
 opera bufia ; Songs. — Fetis ; Mendel. 
 
 CRIVELLI, GIOVANNI BATTISTA, 
 born at Scaudiano, last of the 16th century, 
 died iu Slodeua, March, 1652. He was or- 
 ganist of the cathedral at Reggio, then ma- 
 estro di cappella of the Santo Spirito, 
 Ferrara, and finally, in 1651, entered the 
 service of Francis I., Duke of Modena, as 
 maestro. Among his works are ; Primo 
 Libro de' motetti concertati a due, tre, 
 quattro e cinque voci (1626; 2d ed., 1628; 
 3d, 1635) ; II Primo Libro de' madrigali 
 concertati a due, tre, e quattro voci (Venice, 
 1633).— Fetis ; Mendel. 
 
 CROATTI, FRANCESCO, born in Ven- 
 ice about the middle of the 16th centurj'. 
 
 371
 
 CROCE 
 
 He published liis first book of masses and 
 motets for five and six voices in that city. 
 Bodenscliatz lias given one of his motets 
 for eight voices iu his Florilegium Portense. 
 — Fc'tis ; Mendel. 
 
 CROCE, GIOVANNI DALLA, caUed 
 Chiozzotto, born at Chioggia, Italy, about 
 1550, died in Venice, August, 1600. Pupil 
 of Zarlino, who placed him in the choir of 
 S. Marco, of which he eventually became 
 maestro, succeeding Baldassare Donato iu 
 1603. He was also a priest of S. M. For- 
 mosa. Works : Sonate a cinque (Venice, 
 1580) ; II primo Libro de' Madrigali a 
 cinque (ib., 1585) ; II Secondo, do., con uno 
 a quattro e 1' eco (ib., 1588) ; Motetti a otto 
 voci, lib. i. (ib., 1589) ; II secondo Libro de' 
 Motetti a otto voci (ib., 1590 ; these two 
 books were reprinted with this title : Mo- 
 tetti a otto voci del R P. Giovanni Croce 
 Chiozzotto, etc., ib., 1607); Salmi a tre 
 voci, Te Deum, Benedietus, Miserere a otto 
 voci (ib., 1596) ; Triaca musicale, contain- 
 ing seven humourous pieces for four, five, 
 six, and seven voices (ib., 1597) ; Canzo- 
 nette a quattro voci, lib. i. (ib., 1595) ; Ves- 
 pertine omnium, etc. (ib., 1589) ; Messe 
 a cinque voci, lib. i. (ib., 1596) ; Septem 
 psalmi poenitentiales sex vocum (ib., 1598) ; 
 Sacrre cantiones quinque vocum, Lamenta- 
 zioni ed Improperie, etc. (ib., 1603) ; Mag- 
 nificat, motetti a quattro voci (ib., 1605) ; 
 Nove Lamentazioni (ib., 1610) ; Madrigali 
 a sei voci (Antwerp, 1610) ; Cantiones sa- 
 erse octo vocum (Antwerp, 1622) ; do., lib. 
 ii. (ib., 1623). An English collection of his 
 church music is entitled : Musica Sacra for 
 six voyces (London, 1608). His madrigal, 
 Cynthia, thy song and chanting, is an Eng- 
 lish favourite. Six of his motets have been 
 published in Mr. Hullah's Part Music, and 
 nine in the collection of the Motet Society. 
 — Fetis ; Grove; Mendel; Riemann. 
 
 CROCIATI IN PTOLEMAIDE, I (The 
 Crusaders in Ptolemais), Italian opera, mu- 
 sic by Pacini, given in Trieste about 1827. 
 
 CROCIATO IN EGITTO, IL (Thfr Cru- 
 sader iu Egypt), grand heroic opera, text 
 
 by Rossi, music by Meyerbeer, first rejire- 
 sented at La Fenice, Venice, 1824. The 
 last opera of Meyerbeer's second or Italian 
 period, and the first iu which he revealed 
 his nuisical genius. It was enthusiastically 
 received, and the com^joser was called for 
 and crowned upon the stage. One of the 
 best of its numbei-s is the soprano aria, 
 "Ah! come rajjida." — Hanslick, Moderne 
 Oper, 140. 
 
 CROES, HENRI DE, born at Brussels 
 in 1758, still living at Ratisbon in 1811. 
 Son and pupil of Henri Jaccpies de Croes, 
 like whom he became musical director to 
 the Prince of Thurn und Taxis. Works : 
 Masses, cantatas, symphonies, concertos, 
 morceaux d'harmonie, etc., several of which 
 have been published in Germany. — Fi'tis ; 
 Mendel. 
 
 CROES, HENRI JACQUES DE, born at 
 Antwerp, bapt. Sept. 19, 1705, died at Brus- 
 sels, Aug. 16, 1786. At first violinist and 
 assistant maitre de chapelle at St. Jacques', 
 Antwerp, he became director of music to 
 the Prince of Thurn und Taxis at Ratisbon 
 in 1729, and went in 1715 (or 1749) to 
 Brussels, where he conducted the choir of 
 the Royal Chapel until 1755, when he suc- 
 ceeded N. de (!roes (probably his father) as 
 maitre de chapelle to Prince Charles of Lor- 
 raine. His works consist of masses, motets, 
 anthems, etc.; symphonies and sonatas for 
 different instruments. — Fetis, Supplement, 
 i. 219 ; Mendel, Erganz., 72 ; Riemann. 
 
 CRCESUS. See Creso. 
 
 CROFF, GIOVANNI BATTISTA, born 
 in the beginning of the 19th century, died 
 in ]\Iilan in February, 1868. Professor of 
 harmony at the Conservatorio of Milan 
 from 1850 until his death. He wrote an 
 opera bufi'a, (^uauti casi in un sol gior- 
 no, given at La Scala in 1834 ; and the 
 music for a ballet, Giovanni di Leida, ossia 
 il falso profeta. He published also music 
 for the pianoforte and the harmonium. — Fe- 
 tis, Suppli'mcnt, i. 219. 
 
 CROFT, WILLIAM, born at Nether Eat- 
 ington, Warwickshire, England, in 1677, 
 
 375
 
 CROISEZ 
 
 died in Loudon, Aug. 14, 1727. He was 
 one of the children of the Chapel Royal 
 under Dr. Blow, 
 and succeeded hiui 
 at his death, in 
 1708, as organist of 
 Westminster Abbey 
 and as master of 
 the children and 
 composer to the 
 vV, Chapel Royal. It 
 
 was in the discharge 
 of the duties of the latter office that he pro- 
 duced, for the frequent thanksgivings for 
 victories, so manj' of his noble anthems. 
 He became Mus. Doc, O.xford, July 9, 1713. 
 His llusica Sacra, two folio volumes, con- 
 taining thirty anthems and a burial service, 
 was published in 1721. The two fine tunes 
 of St. Ann's, and St. Matthew's, and a single 
 chant in B minor, will long live in the An- 
 glican Church. In the earlier jjart of his 
 career he composed for the theatre, and 
 produced overtures and airs for Courtship) 
 a la mode, 1700 ; The Funeral, 1702 ; The 
 Twin Rivals, 1703 ; The Lying Lover, 1704. 
 Numerous songs of his are in collections of 
 the i^eriod. He published also sonatas for 
 both violin and flute.^Grove ; Fetis ; Men- 
 del ; Barrett, English Church Composers, 
 108 ; Harmonicon, 1828, 71. 
 
 CROISEZ, PIERRE, born in Paris, May 
 9, 1814, still living, 1888. Harpist, pupil 
 .at the Conservatoire of Nadermanu on the 
 harp, for which he took the second prize in 
 1829, and the first in 1831, and pupil of 
 Halevy in composition. After leaving the 
 Conservatoire in 1832, he devoted himself 
 to the study of the pianoforte, for which he 
 has Avritten many fantaisies, caprices, themes 
 varies, and morceaux de genre, of medium 
 difficulty, intended for pupils. — Fc'tis ; Men- 
 del. 
 
 CRON, JOACHIM ANTON, born at Po- 
 dersam, near Saatz, Bohemia, Sept. 29, 
 1751, died at Osseg, Jan. 20, 1826. Or- 
 ganist, and virtuoso on the harmonica ; 
 pupil of the University of Prague, from 
 
 which he went to the Cistercian Monastery 
 of Osseg. He was professor at the College 
 of Leitmeritz in 1782, at the Gymnasium in 
 1788, and at the University of Prague at 
 Kommotau in 1805, where later he became 
 dean of the theological faculty. He was 
 considered a great organist, always imj^ro- 
 vised, and none of his compositions for the 
 organ were ever written out or published. 
 Only a few works for clarinet and jjiauoforte 
 are known. — Fetis ; Mendel. 
 
 CROSS, MICHAEL HURLEY, born of 
 American parentage in Philadelphia, Penn- 
 sylvania, April 13, 1833, still living, 1888. 
 Organist ; studied in Philadelphia harmony 
 and composition under Dr. Meignen, piano- 
 forte and organ under B. Cross, violin un- 
 der C. Honimann, and violoncello under 
 L. Engelke. He has been organist of the 
 following churches in Philadelphia: St. 
 Patrick's, St. John's, First Bai:)tist, Beth 
 Eden Baptist, The Cathedral, and Holy 
 Trinity. He is, or has been, also leader in 
 that city of the Abt Society, the Orpheus 
 Club, the Arion Society, the Beethoven So- 
 ciety, The Cecilian, and The Eurydice. 
 "Works : Masses and other church music ; 
 Pianoforte compositions ; Quartets and other 
 concerted music ; Songs. 
 
 CROTCH, WILLIAM, born in Norwich, 
 England, July 
 15, 1775, died 
 in Taunton, Dec. 
 29, 1847. Or- 
 ganist of remark- 
 able precocity, 
 peiforming i n 
 London in 1780, 
 ■when only five 
 years old. Dr. 
 B u r n e y p u b - 
 lished an inter- 
 esting account of him, which was commu- 
 nicated to the Royal Academy and printed 
 in the Philosophical Transactions in 1779. 
 He went in 1786 to Cambridge as assist- 
 ant to Dr. Randall, organist of Trinity and 
 King's College, and at fourteen composed an 
 
 S7C
 
 CUOUCII 
 
 oratorio, The Captivity of Jadali, perforiued 
 at Trinity Hall, Cambridge, iu 1789. In 
 1788 be weut to Oxford, aud in 1790 was 
 appointed organist of Christ Church, aud 
 in 1794 Mus. Bac. He succeeded Dr. 
 Philip Haves in 1797, as organist of St. 
 John's College aud 2'i'ofessor of music in 
 the University, and became Mus. Doc. in 
 1799. From 1800 to 1804 he delivered 
 lectures iu the Music School. He pro- 
 duced his oratorio, Palestine, and published 
 a treatise on the Elements of Musical Com- 
 position in 1812. About 1820 lie was ap- 
 pointed music lecturer at the Eoyal Insti- 
 tute, London, aud on the establishment of 
 the Eoyal Academy of Music, in 1822, he 
 was made its jii'i'icipal. In 1834 he pro- 
 duced a second oratorio. The Captivity of 
 Judah, entirely difierent from his earlier 
 composition, and conducted the Royal Mu- 
 sical Festival at Westminster in the same 
 year. Among his other works are : Ten 
 anthems, some chants, several glees, fugues, 
 and concertos for organ. His ode, Mona 
 on Snowdeu calls, his glee. Nymph with 
 thee, and his motet, Methinks I hear the 
 full celestial choir, for bass solo and cho- 
 rus, were very popular. He published 
 works on thorough bass and harmony, and 
 resumus of his lectures at Oxford. — Grove ; 
 Ft'tis ; Larousse ; Mendel ; Schilling ; Kie- 
 mann ; Barrett, English Church Composers, 
 157 ; Harmonicon, 1831, 3. 
 
 CROUCH, FREDERICK WILLIAM 
 NICHOLLS, born, of English parentage, iu 
 London, July 31, 1808, still living, 1888. 
 His grandfather, William Crouch, was or- 
 ganist of Old Street Road Church, St. 
 Luke's parish, and of ClaiDliam Rise Church, 
 Surrey ; his father was Frederick William [ 
 Crouch, violoncellist and composer. He 
 studied music under his grandfather aud 
 father, and the violoncello under Bochsa, 
 and aljout 1822 entered the Royal Academy 
 of Music in London, where he had as 
 teachers Dr. Crotch and Thomas Attwood 
 iu harmony. William Hawes in Eiiglish 
 singing, Richard Lindley iu violoncello | 
 
 playing, and Crivelli iu Italian singing. 
 He made his first public appearance at the 
 Royal Coburg Theatre, Loudon, when nine 
 years old ; in 1820 he played in the orches- 
 tra at the coronation 
 of George TV. ; was a 
 member of Queen Ade- 
 laide's i^rivate band 
 until it was abolished 
 iu 1832, on the pas- 
 sage of the Reform 
 Bill, and sang at one 
 time as chorister in 
 Westminster Abbey 
 
 aud St. Paul's Cathedral. After living as 
 a concert singer and vocal teacher in 
 Plymouth, he became in 1838 supervisor 
 in D'Almaine & Co.'s music-publishing 
 house, London, serving also as violoncellist 
 at Drury Lane, Covent Garden, and the 
 Haymarket Theatres. In 1849 he went 
 to New York and served as violoncellist 
 at the Astor Place Opera House, thence 
 went to Boston, and iu 1850 to Portland, 
 Me., where he produced Rossini's Stabat 
 Mater with his owu translation. In 1856 
 he removed to Philadelphia, where he con- 
 ducted Mi-s. Rush's Saturday Concerts, and 
 brought out Mehul's Joseph and his Breth- 
 ren ; he afterwards went to Washington, 
 D. C, as choir-conducter of St. Matthew's 
 Church, in which Palmer (later known as 
 Heller, the magician) was the organist. 
 Crouch and Palmer established in Wash- 
 ington an Academy of Music, which failed, 
 and Crouch went to Richmond, Va., where 
 he sang first bass iu the choir of St. Paul's 
 Church. He served during the civil war in 
 the Confederate army, and after its close 
 settled in Baltimore, Md., where he was for 
 many years well known as a teacher of mu- 
 sic, and where he still resides. Within a 
 few years he has had conferred upon him 
 the certificate of fellowship, aud a medal 
 for musical comjjosition, by the Society of 
 Letters, Arts, and Sciences of London. 
 Having become reduced in circumstances 
 through sickness and other misfortunes, a 
 
 ■377
 
 CEOW 
 
 testimonial concei't was given him in Balti- 
 more, May 30, 1883, and about the same 
 time he became the legally adopted father 
 of a friend who wished to alleviate his 
 condition. Though remembered priuci- 
 l^ally for his Kathleen Mavourneeu, all 
 Crouch's music is refined and shows him to 
 be possessed of a fund of melody, and of 
 considerable artistic merit. Works : Sir 
 Eoger de Coverley, opei-a (MS.) ; The Fifth 
 of November, 1C70, opera (MS.). Collec- 
 tions : Echoes of the Lakes ; Twenty-four 
 Irish Songs, poetry bj' Mrs. Crawford (1840, 
 containing Kathleen Mavourneen) ; Songs 
 of Erin, jJoetry by D. Ryan ; Echoes of the 
 Past ; Bardic Remiuisceuces ; Songs of the 
 Past ; Songs of the Olden Time ; Songs of 
 a Rambler : Songs of the Parish Wake ; 
 Songs of the Seasons ; Songs of the Abbeys 
 and Cathedrals ; Songs of Shakespeare ; 
 Songs of a Voyager ; Songs of the Bards, 
 and other collections ; Songs, etc. He is 
 the author also of a Complete Treatise on 
 the Violoncello (London, 1827). 
 
 CROW, ED'WIN JOHN, born at Sitting- 
 bourne, England, Sept. 17, 1841, still living, 
 1888. Organist, fiupil of John Larkin Hop- 
 kins at Rochester Cathedral, of John Hop- 
 kins, Dr. Steggall, and of Banister. Or- 
 ganist, successively, of three churches at 
 Leicester, 1861-73, and since 1873 of Kipon 
 Cathedral. Mus. Bac, Cambridge, 1872. 
 Mas. Doc, 1882. Works: Church Oratorio 
 for harvest time ; The 14Gth Psalm, for voices 
 and orchestra ; Communion Service in F ; 
 Morning Service in C ; Evening Services in 
 G, A, and D ; Music for masonic ceremo- 
 nies ; Hj-mns, chants, etc. ; Orchestral and 
 organ works ; Pianoforte music. 
 
 CROWN DIAMONDS. See Diamants de 
 la couroune. 
 
 CROWN WITH FESTAL P0:MP, cho- 
 rus in D major, in Handel's Hercules', 
 Part i. 
 
 CRO'WNED WITH THE TEMPEST. 
 See Ernani. 
 
 CROZE, FERDINAND DE, born in Mar- 
 seilles, about 1828, stiU living, 1888. Pian- 
 
 ist, who began teaching early in life. He 
 is a proUtic writer of pianoforte music, and 
 has published at least a hundred and fifty 
 compositions, such as caprices, etudes, reve- 
 ries. Serenades, etc. — Fetis, Supplement, i. 
 220. 
 
 CROZE, J B , French dramatic 
 
 composer, contemporary. His opera en- 
 titled : Louise de Charolais, was given in 
 Marseilles in 1854. Others which have 
 not been produced are : Harold, opera 
 fantastique, and La Moabite, opera biblique, 
 though the latter was given by a society 
 of amateurs at INIarseilles. He has pub- 
 lished also music for the pianoforte and vi- 
 olin, songs, and dance music— Fetis, Sup- 
 plement, i. 220. 
 
 CEUDEL, PERCHE FINORA. See 
 Nozze di Figaro. 
 
 CRiJGER, JOHANNES, born at Gross- 
 Breesen near Guben, 
 Prussia, April 9, 
 1598, died in Berlin, 
 Feb. 23, 1662. He 
 was educated at the 
 Jesuit College of 
 Olmiitz, at the school 
 of poetry at Ratis- 
 bon, and the Uni- 
 versity of Witten- 
 berg, and was cantor of the church of St. 
 Nicolaus, Berlin, from 1622 until his death. 
 Works : Meditationum musicarum Para- 
 disus primus, oder Erstes musikalisches 
 Lustgiirtlein, for three and four voices 
 (Frankfort, 1622), and Med. mus. Parad. se- 
 cundus (Berlin, 1626) ; a collection of Mag- 
 nificats in German, in two and eiglit part 
 harmony written in all the eight modes; 
 Praxis pietatis melica, for four voices and 
 two instruments, a collection of Luther- 
 an hymns (Leipsic, 1649 ; 30th ed., Berlin, 
 1703). The best known numbers in this 
 collection are : Nun danket alle Gott ; Jesu 
 meine Zuver-sicht ; Jeau meine Freude ; and 
 Schmfid-e dich, O Hebe Seole. His Recrea- 
 tiones rausicie, das ist neue poetische Arao- 
 riisen, contained thirty-two pieces (Leipsic, 
 
 378
 
 CRUSADERS 
 
 1G51). Amoug liis tbeoretical works are, 
 Synopsis miisica (Berlin, 1G24) ; a method 
 for tliorougb bass ; Precepta musieje prac- 
 tice figuralis (ib., 1625) ; Quajstiones mu- 
 sicse practice (ib., 1650). — Fetis ; Mendel ; 
 Eiemann ; Winterfeld, Der evaug. Kircben- 
 gesang, ii. 159. 
 
 CRUSADERS, THE, or The Old Mau of 
 the Mountain, English opera in three acts, 
 text by Saint-Georges, music by Julius Bene- 
 dict, represented at Drury Lane, London, 
 1846, and in Munich, 1853. The old man 
 is the chief of the sect of Assassins. Die 
 Kreuzfahrer (The Crusaders), text by Ko- 
 tzebue, music by von Seyfried, given in 
 Vienna, 1809 ; music by Eeichardt, same 
 text, Germany, 1810 ; Romantic opera in 
 three acts, text by Ziegler, music by Georg 
 Kremjielsetzer, given iu Munich, Feb. 17, 
 1865. Der Kreuzfahrei', romantic ojjera in 
 three acts, text by the composer and his 
 wife Marianne, music by Louis Sjjohr, given 
 iu Cassel, Jan. 1, 1845. La Croisee, opera 
 in two acts, music by Cambiui, Beaujolais, 
 1785. The Crusade, English historical op- 
 era, music by William Shield, Covent Gar- 
 den, London, 1790. 
 
 CRUSADER.S, THE, cantata by Gade. 
 See Kreuzfahrer, Die. 
 
 CEUSELL, HENRIK BERNHARD, born 
 at Nystad, Finland, Oct. 1.5, 1775, died at 
 Stockholm in July, 1838. Clarinet player, 
 self-taught until 1791, when he received his 
 first instruction r.t Stockholm, then iu Ber- 
 lin (1798) 25upil of Tausch, the elder, and 
 in Paris (1803) of Berton and Gossec in 
 composition. In 1811-12 he made several 
 concert tours, and afterwards became mu- 
 sical director of the two royal guard regi- 
 ments at Stockholm. Works : Concerto for 
 clai-inet, o-p. 1 ; Idem, op. 5 ; Concerted 
 symphony for clarinet, horn, and bassoon, 
 op. 3 ; Quartets for clarinet, violin, viola, 
 and bass, op. 2, 4, 7, and 8 ; Duos for two 
 clarinets, op. 6 ; Divertissement for oboe 
 with quartet, op. 9 ; Twelve German songs, 
 with i^ianoforte accompaniment, op. 10 
 (Leipsic). — Fotis ; Mendel. 
 
 CRUZ, FELIPPE DA, born in Lisbon, be- 
 ginning of the 17th century. A clerk in 
 the monastery of Palmella, Portugal, he at 
 first taught music in Lisbon, and then went 
 to Madrid, where he became almoner to 
 Philip IV. He was recalled to Portugal by 
 Joiio IV., who made him his mestre de ca- 
 pella. The following works are in the MS. 
 department of the Royal Library at Lisbon : 
 A mass for ten voices on the Portuguese 
 song. Quel razon ijodeis vos tener jxara no 
 me querer ; another mass on the song. Solo 
 regnas tu en mi ; Psalmos de vesperas, e 
 eompletos a 4 coros ; Motete de defuntos ; 
 Dimitte me, a 12 ; Motete, Vivo ego, a 5 ; 
 Vilhancicos, a diversas vozes. — Fetis ; Men- 
 del ; Vascoucellos, 75. 
 
 CRYSTAL STREAMS IN MURMURS 
 FLOWING, soprano air in G major, of Su- 
 sanna, iu Handel's Susanna, Part II. 
 
 CUDMORE, RICHARD, born in Chi- 
 chester, England, in 1787, died in Man- 
 chester, January, 1841. Violinist, pupil of 
 James Forgett, organist in Chichester, and 
 later of Reinagle and Salomon. After play- 
 ing in the orchestra of the Italian Opera, 
 London, he resided in Chichester in 1779- 
 1808, and then returned to London to study 
 the pianoforte under Woelfl, and became a 
 member of the Philharmonic Society's band. 
 He afterwards lived in Manchester as leader 
 of the Gentlemen's Concerts. Works : Mar- 
 tyr of Antioch, oratorio ; Concertos for vio- 
 lin ; Concertos for pianoforte ; Songs, etc. 
 — Grove ; Fetis. 
 
 CUELLAR Y ALTARRIBA, RAMON 
 FELIX, born in Santiago, Spain, close of 
 the 18th century, died Jan. 7, 1833. Or- 
 ganist, chorister in the Cliurch of La Sen 
 at Saragossa, jjupil of Gai-cia, called I'Es- 
 pagnolet. He became maestro de caisilla of 
 the Cathedral of Oviedo in 1817, chamber- 
 musician to the king, and finally organist of 
 the Meti'opolitan Church of Santiago until 
 his death. Works : Sixteen masses ; Nine 
 Psalms ; Five Magnificats ; Lamentations ; 
 some Te Deum, and a great many canticles 
 and motets, which are scattered throughout 
 
 379
 
 cm 
 
 the clmrclies of Spain, partieiilarlv those of 
 Saragossa. — Fc'tis, Supplement, i. 220 ; Men- 
 del, Ei'ganz., 72. 
 
 GUI (Kiii), CESAR, born at Wilua, Jan. 6, 
 1835, still living, 
 1888. Dramatic 
 composer, pupil 
 of Moniuszko and 
 of Balakirev. lu 
 1864-68 musical 
 critic of the St. 
 Petersburg G a - 
 zette, he warmly 
 embraced the 
 cause of Schu- 
 mann, Berlioz, 
 and Liszt, and in 1878-79 published in the 
 Paris Revue et Gazette Musicale a series 
 of articles, La Musique en Eussie. As a 
 composer he belongs to the young Russian 
 school. By profession a military engineer, 
 he was educated at the Imperial Academy 
 of Engineering in St. Petersburg, where he 
 afterwards became successively instructor, 
 adjunct-professor, and professor of fortifica- 
 tion, on which he has also written a treatise 
 and a historj'. Works — Operas : "William 
 Ratcliff, given at St. Petersburg, 1869 ; The 
 Prisoner in the Caucasus, ib., 1873 ; Angelo, 
 ib., 1876 ; The Mandarin's Son, ib., 1878 ; 
 Two Scherzos and a Tareu telle for orchestra ; 
 Suite for pianoforte and violin ; more than 
 fifty songs. — Fetis, Supplement, i. 220 ; Rie- 
 maiin. 
 
 CUMmNGS, WILLIAM HAY]\IAN, born 
 at Sidbury, Devon, England, in 1835, still 
 living, 1888. A member when very young 
 of the choir of St. Paul's, and later of the 
 Temple Church, London, he became or- 
 ganist of Waltham Abbey, and later tenor 
 singer in the Temple, Westminster Abbey, 
 and the Chapel Royal. He is professor of 
 singing in the Royal College for the Blind, 
 Norwood, London. Works : The Fairy 
 Ring, cantata ; Te Deum, Jubilate, Sanc- 
 tus, etc., in D ; O Lord, give ear, anthem ; 
 Glees ; Songs ; Part songs, etc. He is the 
 author also of The Rudiments of Music 
 
 (London, 1877) ; Pureell, in Great Musi- 
 cians' series (ib., 1882) ; and contributions 
 to English musical history. 
 
 CUNIEWICZ, , Polish composer, 
 
 contemporary. He is the author of a cele- 
 brated lyric and symphonic work entitled : 
 La Captivite Babylonienne, produced at 
 Lemberg, Feb. 3, 1867. This important 
 work was divided into six parts, as follows : 
 Aux fleuves de Babyloue ; La jjriere ; Les 
 orphelins de la Judee ; Choeur des pru- 
 tres ; Le depart ; L'arrivee au pays de la 
 Judee.— Fotis, Supplement, i. 220. 
 
 CUPIS, JEAN BAPTISTE, born in Paris 
 in 1741, died (?). Violoncellist, pupil of 
 his father and of Berteau. When twenty 
 years old he was one of the ablest violon- 
 cellists in France. He left the orchestra at 
 the Opera in 1771, and after travelling in 
 Germany, went to Italy, where he married 
 the celebrated singer Giulia Gaspariui, and 
 went with her in 179-1 to Milan. Works : 
 Premier concerto pour violoncelle, avec 
 accomj)agnement d'orchestre ; Deuxieme 
 concerto. Air de I'Aveugle de Palmyre et 
 menuet de Fischer, varies pour le violon- 
 celle avec deux violons, alto, basse, deux 
 hautbois, et deux cors ; Petits airs varies 
 pour 2 violoncelles, Nos. 1 a 3 (posthumous, 
 Paris) ; Methode nouvelle et raisonnee pour 
 apprendre a jouer du violoncelle, oil Ton 
 traite de son accord, de la maniere de tenir 
 cet instrument, etc. (Paris). — Fetis ; Men- 
 del. 
 
 CUPRE, JEAN DE, French composer of 
 madrigals, living at Heidelberg at the be- 
 ginning of the 17th century. He published : 
 Livre premier, contenant treute madrigals 
 a cinq voix, nouvellement mises en lumiere 
 par Jean Cupre, nuisicien et maistre d'es- 
 chole au Palatinat, a Heidelberg (Frankfort- 
 on-the-Main, 1610).— Fetis ; Mendel. 
 
 C!URCI, GIUSEPPE, born in Barletta, 
 Italy, June 5, 1808, still living, 1888. Pu- 
 pil at the Conservatorio of Naples from 
 1823 ; studied harmony under G. Furno, 
 counterpoint and fugue under Raimondi 
 and Zingarelli, and singing under Cres- 
 
 300
 
 CUiiCIO 
 
 ceutini. While at the Conservatorio he 
 wrote two masses for four voices aud or- 
 chestra ; two operettas, Un' ora di prigione 
 and II matriuiouio eonchiuso per le bugia, 
 played at the Conservatorio Theatre ; an 
 opera bufla, H medico e la morte, performed 
 in 1833 at the Teatro Nuovo ; another, I 
 dodici Tabarri, in 1833, at the Teatro del 
 Fondo ; and composed a cantata, Kuggiero, 
 for a grand gala representation at the San 
 Carlo, Jan. 1, 1835. On leaving the Con- 
 servatorio, he went to Milan, then to Turin, 
 where he brought out II jn-oscritto, 1837; to 
 Venice, where lie gave Don Desiderio, aud 
 L' Uragano, a scena played by the Societii 
 Filarmonica. He lived several years at Vi- 
 enna, where he became famous as a profes- 
 sor of singing, ti-avelled in Germany and 
 Belgium, and resided in Paris from 1848 to 
 1856, when he returned to Barletta. Other 
 works : Six masses for three or four voices 
 with organ, quartet, and orchestra ; over 
 sixty religious compositions with organ or 
 orchestra ; Funeral mass for three voices and 
 orchestra ; Piccolo solfeggio, II Bel Canto, 
 two collections of solfeggi, etc. — Fotis, Sup- 
 pk>ment, i. 221 ; Mendel, Ergiinz., 72. 
 
 CURCIO, VINCENZO, born iu Naples, 
 lived iu the second half of the 18th century. 
 He was the author of an opera, I sciocchi 
 presuntuosi, given at Naples in 1776. — Fc- 
 tis. Supplement, i. 221. 
 
 CUmOSO INDISCRETO, IL, Italian 
 opera, music by Anfossi, first given at 
 Milan in 1778. On its performance in 
 Vienna in 1783, Mozart added three new 
 songs to it (KOchel, 418, 419, 420), two for 
 Madame Lange and one for Adamberger. 
 The last one was not sung. An Italian 
 opera of the same title, music by Gherar- 
 desca, was given at Lucca in 1764. 
 
 CUESCHMANN, KARL FRIEDRICH, 
 born in Berlin, June 21, 1805, died at 
 Langfuhr, near Dantzic, Aug. 24, 1841. 
 Tenor singei-, pupil at Cassel of Spohr and 
 Hauptmann in harmony and comjiosition 
 for four years ; settled in Berlin and 
 made occasional concert tours in Germany, 
 
 France, and Italy. He was the favorite song 
 writer before Schumann, and his Lieder 
 are full of melody, and rather superior 
 to other compositions of his time. Some 
 of them are still great favorites, which speaks 
 well for their intrinsic merit. His collect- 
 ed Lieder comprise eighty-three solos and 
 nine songs in two and three jjarts (Berlin, 
 1871). His song. In every opening flower, 
 and his trios, Ti prego, and Atldio, have 
 always been popular. He composed also 
 two canons for three voices, op. 7 (Berlin) ; 
 Romeo, scena and aria, op. 6 ; and an opei-a, 
 Abdul und Erinuieh, given at Cassel about 
 1825. — Fetis ; Ledebur, Toidiiinstler Lexi- 
 kon Berlins ; Mendel ; Schilling. 
 
 CURTI, VINCENZO, born in Naples, 
 Sept. 18, 1836, still living, 1888. Pianist, 
 pupil at the Naples Conservatorio of Fran- 
 cesco Lanza, Alessandro Busti, and Viuceuzo 
 Fiodo. He has written two masses, two al- 
 bums of vocal melodies, three albums of 
 dance music, and a number of transcriji- 
 tions and arrangements for the pianoforte. 
 — Fetis, Supplement, i. 221. 
 
 CUSINS, WILLIAM GEORGE, born in 
 L o n d o n , Oct. 14, 
 
 1833, still living, 
 1888. He entered 
 the Chapel Royal in 
 his tenth year, and 
 studied the piano- 
 forte, violin, and har- 
 mony at the Brussels 
 Conservatoire, in 
 1844, under Fetis. 
 In 1847 he gained the 
 King's Scholarship at 
 the Royal Academy 
 which was prolonged in 1849 for two years. 
 He made his first appearance as a pianist 
 and his debut as a composer, in an over- 
 ture, in 1849, and became organist of the 
 Queen's private chapel and a violinist iu 
 the orchestra of the Royal Italian Oi^era. 
 In 1851 he became assistant professor of 
 the pianoforte at the Royal Academy of 
 Music, and later full professor, and in 1867 
 
 of Music, London, 
 
 381
 
 CUSTAED 
 
 conductoi" of the Philbarmonic Society in 
 place of Sterndale Beuuett. He was ajj- 
 pointed master of music to the Queen in 
 1870 ; in 1875 succeeded Bennett as ex- 
 amining professor at Queen's College ; and 
 in 1876 became joint examiner of scholar- 
 ships for the National Training School of 
 Music, with Mr. HuUah and Otto Gold- 
 schmidt. In 1885 he became professor in 
 Trinity College and in the Guildhall School 
 of Music, London. Works : Eoyal Wed- 
 ding Serenata (1863) ; Gideon, oratorio, 
 given at Gloucester in 1871 ; 2 concert 
 overtures for full orchestra ; Travailleurs de 
 la Mer (1869) ; Love's Labour's Lost (1875) ; 
 Pianoforte concerto in A minor ; Te Deum 
 for soli, chorus, and orchestra, 1880 ; Trio 
 for pianoforte, violin, and violoncello ; 
 Songs; Pianoforte music, etc. — Grove; 
 Eiemann. 
 
 CUSTARD, WALTER GOSS, born in 
 England, June 9, 1811, still living, 1888. 
 Organist, articled to Sir George Elvey, 
 Chapel Royal, Windsor, 1857 ; oi-ganist of 
 Spring Grove Cluirch, Isleworth, 1861, and 
 of Christ Church, St. Leonards-on-Sea, 
 1865. Works: Office of the Holy Com- 
 munion in E-flat ; Choral Service in D ; 
 Te Deum in F ; Benedictus in F ; 12 stud- 
 ies for pianoforte, 1879 ; Agiuis Dei and 
 Benedictus, 1880 ; Communion Office in F, 
 1881 ; Songs ; Pianoforte music, etc. 
 
 CUTLER, WELLLVM HENRY, bom in 
 London in 1792, died (?). Pianist, pupil of 
 Little and Griffin, and in singing of Dr. Ar- 
 nold. In 1803 he became a chorister at St. 
 Paul's Cathedral, and studied afterwards 
 with William Russell. He received the de- 
 gree of Mus. Bac. at Oxford in 1812 ; be- 
 came organist of St. Helen's, Bishopsgate, 
 in 1813, and of Quebec Chapel, Portman 
 Square, London, in 1823. His works com- 
 prise a service, several anthems and songs, 
 and numerous pianoforte pieces. — Grove ; 
 Fetis ; Mendel. 
 
 CUVELIERS, JEAN LE, born at Arras, 
 about 1230, died (?). Poet and composer 
 of chansons, of which six only are extant. 
 
 Two of these are in the MS. department of 
 the National Library, Paris, the other four 
 are among the manuscripts of the Vatican 
 Library, Rome. — Fetis. 
 
 CYBULOWSKY, LUCAS, dii-ector of the 
 choir at the diaconal church at Prague, in 
 1617. He is known in Bohemia as the 
 composer of a great deal of church music, 
 such as graduals, offertories, etc., preserved 
 in many Bohemian churches in the original 
 MSS.— Fetis ; MendeL 
 
 CYMON, English dramatic romance, text 
 by David Garrick, music by Michael Arne, 
 represented at Drury Lane Theatre, Lon- 
 don, in 1767. It was long popular, and 
 gave the composer a considerable reputa- 
 tion. — Hogarth, ii. 102. 
 
 CYRUS. See Ciro. 
 
 CYTEEIK, ALOIS, born in Prague, 
 Nov. 19, 1826, still living, 1888. Pianist, 
 pupil of Dreyschock, and of Toniaschek in 
 composition ; appeared iirst in concerts in 
 his native city, 1851, then in Hung!iry, 
 Transylvania, and Wallachia with great suc- 
 cess, 1852 ; after his return he made a con- 
 cert tour through Bohemia and Saxony, 
 and has since lived at Prague, teaching the 
 pianoforte. Works : Concerto for piano- 
 forte and orchestra ; Introduction and 
 Rondo for do. ; Andante and Rondo for 
 pianoforte and violoncello ; Trio for piano- 
 forte, violin, and violoncello ; 2 sonatas, 
 and many pieces in modern style, for piano- 
 forte ; Songs. — Mendel. 
 
 CZAR UND ZIMMERMANN (Czar and 
 Carpenter), German comic ojjera in three 
 acts, text and nuisic by Lortziug, first rep- 
 resented in Berlin in 1854. Scene in Hol- 
 land. Peter the Great, under the pseudo- 
 nym of Peter Michaelhoff, and Peter Ivan- 
 hoff, a Russian deserter, are working as 
 cai'penters in a shijjyard at Saardam. The 
 plot turns on the efforts of the English and 
 French ambassadoi's to penetrate the Czar's 
 disguise, and is complicated by the con- 
 founding of the two Peters. At the close 
 the Czar sails away, leaving Ivanholf, who 
 has beau enjoying a regal reception from
 
 CZAr.TII 
 
 tlie people of Saardatn, in a good position, 
 witli the royal consent to his marriage 
 with Marie, the niece of the Burgomaster. 
 The libretto is uninteresting and the music 
 light, but the opera has been very success- 
 ful in Germany and in Russia. An English 
 version, entitled Peter the Shipwright, was 
 played at the Gayety Theatre, London, 
 April 15, 1871. 
 
 CZARTH (Schardt, Zarth), GEORG, 
 born at Deutschbrod, Bohemia, in 1708, 
 died in Mannheim, in 1771. Violinist, pu- 
 pil of Timnier and Rosetti on the violin, 
 and of Biarelli on the flute. He entered 
 the service of the Starost Suchaczewski at 
 Warsaw, was admitted to the Chapel Royal 
 of the King of Poland in 1733, and in 1731 
 entered the orchestra of the Prince Royal 
 of Prussia, with whom he went in 1740 to 
 Berlin, ou his accession to the throne. In 
 1760, he went to Mannheim, as violinist in 
 the chapel of the Elector Palatine. Besides 
 many concertos, trios, solos, and sympho- 
 nies, left in MS., he published six 
 solos for the flute, and as many 
 for the violin. — Fotis ; Mendel. 
 CZEK. See Gech. 
 CZERMAK See dermak. 
 CZERNY, D0:\1INIC, JOS- 
 EPH, and SANCTUS. See 
 ()ern>% 
 
 CZERNY, (Cerny'), CARL, born in 
 enna, Feb. 21, 1791, died there, July 
 1857. Pianist, pupil of his father Wencezclas 
 Czerny, pianist, of Beethoven, and of de- 
 menti. Beethoven, who offered to teach him 
 and became his ardent friend, introduced 
 liim to his patron, Prince Lichuowsky, whose 
 friendship was of great service to Czerny. 
 In 1804 he made preparations for a profes- 
 sional tour, but abandoned it on account of 
 the unsettled state of the continent, and 
 devoted himself from that time to teaching 
 and composition. Among his pupils were 
 Liszt, Thalberg, DOhler, Mme Oury, and 
 many other well-known musicians. His 
 first published work : "Variations concer- 
 tantes, for pianoforte and violin, appeared 
 
 in 1805, and Rondo brillant, for four 
 hands, in 1818. From that time he had 
 difficulty in keeping pace with the demands 
 of the jjublishers. 
 His printed com- 
 j)ositions amount 
 to nearly one 
 thousand, of which 
 many consist of 
 fifty or more num- 
 bers. His piano- 
 forte compositions ' 
 may be divided 
 into three classes, 
 scholastic, solid, 
 and brilliant ; the best of which are \m- 
 doubtedly the scholastic, op. 299, 300, 335, 
 399, 400, and 600, published under the 
 title of : Complete Theoretical and Practi- 
 cal Pianoforte School, 3 vols. Besides his 
 printed works, which embrace every species 
 of composition for pianoforte, he left an enor- 
 mous mass of MS., now in the archives of 
 
 yOi/(^-^«^" 
 
 Vi- 
 15, 
 
 the Gesellschaft der Musik-Freunde, Vienna. 
 Tliese comprise : 24 masses, 4 requiems, 
 300 graduals and offertories, symphonies, 
 overtures, concertos, string trios and quar- 
 tets, choruses, songs for one or more-voices, 
 and even pieces for the stage. His book : 
 XJmriss der ganzen Musikgeschichte, was 
 publi-shed by Schott, of Mainz (1851) ; and 
 by Ricordi, of Milan.— Fetis ; IMendel ; Rie- 
 mann ; Schilling ; Wurzbach. 
 
 CZERWmSKY, WILHEL3I, born in 
 Vienna, 1838, still living, 1888, at Lemberg, 
 Galicia. Pianist, pupil of Fischhof, Hell- 
 mesberger, the elder, von Mikuli, and Notte- 
 bohm. Works : Slowirek (singing bird), 
 operetta, given at Lemberg, 1875 ; Sym- 
 phony ; String quartets ; Pianoforte pieces,
 
 CZEYKA 
 
 choruses, aud songs. — Mendel, Ergiiuz., 
 73. 
 
 CZEYKA. See 6ejka. 
 
 CZIBULKA, ALPHONS, born at Szepes- 
 Varallya, Hungary, May, 14, 1842, still liv- 
 ing, 1888. Pianist, studied at Pressburg 
 aud in Vienna, then went as pianist to Rus- 
 sia. In 1865 he became Kapellmeister at 
 the Carl Theater in Vienna, and in 1866, 
 upon his own application, in the 17th regi- 
 ment of infantry, with which he made the 
 camjjaign iu Italy ; afterwards in the same 
 capacity in the 25th regiment at Prague ; 
 he is now Armee-Kapellmeister in Vienna, 
 His dance-music enjoys great favor. He 
 is author of an operetta : Pfingsten in Flor- 
 enz, 1884. — Mendel, Ergauz., 73 ; Kiemann. 
 
 DAASE, RUDOLF, born in Berlin, Feb. 
 21, 1822, still living, 1888. Pupil 
 of Streit and Braune on the violin, 
 of Kilitschgy on the pianoforte, and of 
 Eduard Wilsing, A. W. Bach, and Marx in 
 theorj' and composition. He teaches music 
 in Berlin, where he is a conductor, aud has 
 composed many dances, mai'ches, and similar 
 works for special occasions, also pianoforte 
 pieces, aud four-part songs for male voices. 
 In 1885 he received the great gold medal, 
 of Austria, for art and science. — Mendel. 
 
 DACHSTEIN, WOLFGANG, lived in 
 the 16th century. He was a priest of Stras- 
 burg, but adopted the reformed religion iu 
 1524, married, and became organist aud 
 vicar of the church of St. Thomas, Stras- 
 burg. He composed the chorals : An Wus- 
 serjlilsaeii Babylon ; Ach Gott, wie lang ; 
 Aus tiefer Noth ; Ich glaub ; Darum red' ich, 
 etc.— Fetis ; Mendel ; SchillinLr, Sup., 88. 
 
 DACOSTA (da Costa), ISAAC FRANCO, 
 born at Bordeaux, France, Jan. 17, 1778, 
 died there, July 12, 1866. Clarinetist, first 
 instructed by his father, then (1797) pupil 
 of Xavier Lefcvre at the Paris Conservatoire, 
 where he took the first prize in 1798. He 
 held positions in the orchestras of different 
 theatres aud of the Opera until 1842, when 
 
 he retired to his native citj'. Works : 4 
 concertos for clarinet, with orchestra ; Con- 
 certino ; Fautaisies aud themes varies ; Ro- 
 mances. — Fetis ; Mendel ; Schilling. 
 
 DAFNE, pastoral drama by Ottavio Rinuc- 
 cini, music by Jacopo Peri, privately per- 
 formed in the Palazzo Corsi, Florence, 1597. 
 This was the first true opera ever put ujjou 
 the stage. Peri himself took the j)art of 
 Apollo. The music, now lost, was in the 
 style then believed to be identical with that 
 cultivated by the Greek tragedians. It was 
 never performed in public. Dafne, Italian 
 opera, music by Marco da Gagliano, was 
 represented iu 1607, at the marriage of the 
 Duke of Mantua with the daughter of the 
 Duke of Savoy ; Italian oj^era, music by 
 Ariosti, Venice, 1686 ; music by Aldovrau- 
 dini, Bologna, 1696 ; music by Baron As- 
 torga, Vienna, 1705 ; music by Pollarolo, 
 Venice, 1705. Daphue, text translated from 
 Rinuccini by Martin Opitz, music by Hein- 
 rich Schiitz, produced under the ausi^ices 
 of the Elector Joliaun Georg I., at the pal- 
 ace of Torgau, April 13, 1627, was the first 
 ojiiera written by a German and the first 
 ever performed in Germany. Florindo uud 
 Daphne, German opera, text by Hiusch (in 
 two parts, the first entitled F'lorindo), music 
 by Haudel, given at Hamburg, 1706. Dapli- 
 ne, music by J. D. Hensel, Goldberg, 1799. 
 Apollo and Daphne, English opera, music 
 by Pepusch, London, 1716 ; music by Gal- 
 liard, Loudon, 1726. Apollon et Daphue, 
 French opera, text byPitra, music by Anton 
 Mayer, Paris, 1782. Gli amori d' Apolline 
 e di Dafne, music by Cavalli, Venice, 1640. 
 
 DAHL, E:\BIA, born (Freyse), ai. Plon, 
 Holsteiu, April 6, 1819, still living, 1888. 
 Dramatic singer and vocal composer, 
 adopted daughter and pupil of Baroness vou 
 Natorp (Marianne Sessi) ; made her debut 
 as Agathe iu Der Fi-eischiitz at the Royal 
 Opera in Berlin, and sang with gi-eat success 
 on the stages of Breslau, Leipsic, Schwerin, 
 etc. Ilaviug declined an engagement as 
 prima donna at Copenhagen, and afterwards 
 at Stockholm, she married in 1841 the book- 
 
 381
 
 DAI 
 
 seller Dab], at Christiania, and, save oue 
 year in Paris, where she studied under 
 Garcia, has since lived in Norway. She 
 has composed many songs, distinguished 
 for pleasing melody and natural sentiment, 
 which are popular in the Scandinavian king- 
 doms. — Mendel. 
 
 DAI CAJVIPI, DAI PRATI. See Mefido- 
 fele. 
 
 DALAYEAC, NICOLAS (properly 
 dAlayrac), born at 
 
 Muret (Languedoc), 
 June 13, 17.53, died 
 in Paris, Nov. 27, 
 1809. His father, 
 who held a high 
 civil ajipointment 
 iu his jjrovince, had 
 a horror of music, 
 and the young 
 Dalayrac's early 
 youth was, like that of many artists, a series 
 of struggles against parental authority. 
 He was destined for the bar, but was at 
 one time allowed to take violin lessons, a 
 l^ermission soon withdrawn, as his music 
 was found to take too much time from his 
 legal studies. But the boy persisted in 
 practising in secret, climbing up on to the 
 roof by night for that purpose. The noise 
 of his violin disturbed the nocturnal devo- 
 tions of the nuns in a convent liard by ; 
 they reported his secret playing to his 
 father, who, touched by the lad's persever- 
 ance, allowed him to jjursue his musical 
 exercises unhindered in future, and even 
 permitted him to give up all thoughts of 
 a legal cai-eer. In 1774 he got a commis- 
 sion in the Guards of the Comte dArtoi-s, 
 and went to Paris. Here his military 
 duties were neglected, as his legal studies 
 had been before ; as soon as he got to the 
 capital he began to study harmony under 
 Langle. Langle was his only regular 
 teacher, but he benefited much by the 
 advice of Grc'ti-y, whose study he used to 
 frequent far more than that great man's 
 own pupils did. His dt-but as dramatic 
 
 composer was not long in following, and in 
 1781 his first comic opera, " Le petit sou- 
 per," was given with great success at the 
 French Court. He was soon recognized as 
 one of the most fertile composers of the 
 day, and continued writing operas at the 
 rate of one or two a year for the remainder 
 of his life, even the horrors of the Reign of 
 Terror being insufficient to interrupt his 
 productiveness. In 1790 the failure of the 
 banking house of Savalette de Lange swept 
 away the savings of ten years, but Dalayrac 
 nevertheless annulled his father's will which 
 made him sole heir, to the exclusion of a 
 younger brother. In 1798 he was made 
 member of the Academy of Stockholm, 
 and, on the establishment of the order of 
 the Legion of Honour, some years later, he 
 was made chevalier. He was buried in his 
 garden at Fontenay-sous-Bois. His bust, 
 by Cartellier, stands in the lobby of the 
 Opera Comique. Dalayrac's name is one 
 of the more imjjortant ones in the historj' 
 of French opera. He was one of tlie fore- 
 runners of Auber and Boieldieu. He was 
 particularly at home in the smaller forms 
 of comic opera ; his melody is graceful, 
 natural, and often piquant, although at 
 times trivial. In command of the orchestra 
 he was quite up to the average of his time ; 
 his sense of dramatic fitness was very keen. 
 Some of his songs and ensemble pieces, 
 although they have quite passed out of 
 public notice, are still to be regarded as 
 models. Works : 1, L'eclipse totale, 1 act, 
 Paris, Comedie Italienne, Mar. 7, 1782 ; 2, 
 Le corsaire, 3 acts, ib., March 17, 1783 ; .3, 
 Les deux tuteurs, 2 acts, ib.. May 8, 1784 
 (originally given at court as Les deux sou- 
 pers ; afterwards cut down to 1 act) ; 4, 
 Tiamaiit statue, 1 act, ib., Aug. 4, 1785 ; 5, 
 La dot, 3 acts, ib., Nov. 21, 1785 ; 6, Nina, 
 ou la foUe par amour, 1 act, ib., May 15, 
 1786 ; 7, Azemia, ou les sauvages, 3 acts, 
 ib.. May 3 or 4, 1787 (first given in Decem- 
 ber, 1786, at court, at Fontainebleau, as 
 Le nouveau Robinson, and much remod- 
 elled for the Paris jjerformauce) ; 8, Benaud
 
 DALAYKAC 
 
 cl'Ast, 2 acts, ib., July 19, 1787 ; 9, Les 
 deux serenades, 2 acts, ib., Jan. 23, 1788 ; 
 10, Sargiues, ou Televe de I'amour, i acts, 
 ib.. May 14, 1788 ; 11, Fauchette, 2 acts, ib., 
 Oct, 13, 1788 ; 12, Les deux petits Savoy- 
 ards, 1 act, ib., Jan. 14, 1789 ; 13, Raoiil, 
 sire de Crequi, 3 acts, ib., Oct. 31, 1789 ; 
 14, La soiree orageuse, 1 act, ib.. May 29, 
 1790 ; 15, Le cbene jjatriotique, 2 acts, ib., 
 July 10, 1790 ; 16, Vert-vert, 1 act, ib., 
 Oct. 11, 1790 ; 17, Camille, ou le souter- 
 rain, 3 acts, ib.. Mar. 19, 1791 ; 18, Agues 
 et Olivier, 3 acts, ib., Oct. 10, 1791 ; 19, 
 Philippe et Georgette, 1 act, ib., Dec. 28, 
 1791 ; 20, Tout pour I'amour, ou Juliette 
 et Eomeo, ib., July G, 1792 ; 21, Ambroise, 
 ou voila ma journee, 1 act, ib., Jan. 12, 
 1793 ; 22, Asgill, ou le prisounier de 
 guen-e, 1 act, ib., May 1, 1793 ; 23, TJr- 
 gande et Merlin, 3 acts, ib., Oct. 4, 1793 ; 
 24, La prise de Toulon, 1 act, Theatre 
 Feydeau, Feb. 1, 1794 ; 2.5, Le congres des 
 rois (with ten other composers), 3 acts. 
 Theatre Favart (Comedie Italienne), Feb. 
 20, 1794 ; 2G, L'enfauce de J. J. Rousseau, 
 
 1 act, ib., May 23, 1794 ; 27, Le detenu, ou 
 Cange, commissionnaire de Lazare, 1 act, 
 Nov. 18, 1794 ; 28, La pauvre femme, 1 
 act. Theatre Favart, April 8, 1795 ; 29, 
 AdUe et Dorsan, 8 acts, ib., April 27, 1795 ; 
 30, Marianue, 1 act, ib., July 7, 1796 ; 31, 
 La maison isolee, ou le vieillard des Vosges, 
 
 2 acts, ib.. May 11, 1797 ; 32, La leron, ou 
 la tasse de glace, 1 act. Theatre Feydeau, 
 May 24, 1797 ; 33, Gulnare, ou I'esclave 
 persane, 1 act, Theatre Favart, Jan. 9, 
 1798 ; 34, Alexis, ou I'erreur d'uu bon pere, 
 1 act. Theatre Feydeau, Jan. 24, 1798 ; 
 35, Leon, ou le Chateau de Mouteuero, 3 
 acts, Theatre Favart, Oct. 15, 1798; 36, 
 Adolphe et Clara, ou les deux prisonniers, 
 1 act, ib., Feb. 10, 1799 ; 37, Laure, ou 
 I'actrice chez elle, 1 act, ib., Sept. 26, 1799 ; 
 38, Arnill, ou le prisonnier americain, 1 act, 
 (remodelled version of No. 22, Asgill, etc.), 
 ib., Nov. 22, 1799 ; 39, Le rocher de Leu- 
 cade, 1 act, ib., Feb. 13, 1800 ; 40, Une 
 matinee de Catinat, ou le tableau, 1 act, 
 
 Theatre Feydeau, Sept. 28, 1800 ; 41, Mai- 
 aon a vendre, 1 act. Theatre Favart, Oct. 
 22, 1800 ; 42, Lehemau, ou la tour de Neu- 
 stadt, 3 acts. Opera Comique, Dec. 11, 1801 ; 
 43, L' antichambre, ou les valets maitres, 1 
 act, ib., Feb. 26, 1802 ; 44, La boucle de 
 cheveux, 1 act, ib., Oct, 27, 1802 (fiasco, 
 but remodelled and brought out with suc- 
 cess, Nov. 23) ; 4.5, Picaros et Diego, ou la 
 folle soiree, 1 act, ib.. May 2, 1803 (remod- 
 elled version of No. 43, L'antichambre, etc., 
 which was suppressed after first perform- 
 ance for political reasons) ; 46, La jeune 
 prude, ou les femmes entre elles, 1 act, ib., 
 Jan. 14, 1804 ; 47, Une heure de mariage, 
 1 act, ib., Mar. 19, 1804 ; 48, Le pavilion 
 du Calife, 2 acts. Opera, April 11, 1804 ; 
 49, Gulii<tan, ou Hulla de Samarcande, 3 
 acts, Opera Comique, Sept. 29, 1805 ; 50, 
 Deux mots, ou une nuit dans la foret, 1 act, 
 ib., June 9, 1806 ; 51, Koulouf, ou les Chi- 
 nois, 3 acts, ib., Dec. 18, 1806 ; 52, Lina, ou 
 le mystere, 3 acts, ib., Oct. 8, 1807 ; 53, 
 £lise-Hortense, ou les souvenirs de I'en- 
 fanee, 1 act, ib., Oct. 25, 1809 ; 54, Le poete 
 et le musicien, ou je cherche uu sujet, 3 
 acts, ib., May 30, 1811 (posthumous) ; 55, 
 Le pavilion des fleurs, ou les pecheurs de 
 ^ • Grenade, 1 act, 
 
 -l^^eiy^h^U-^^ ^ ib., May 13, 1822 
 
 ' (posthumous, re- 
 
 modelled version of No. 48, Le pavilion 
 du Calife). Dalayrac wrote also some 
 songs for Colin d'Harleville's comedy, Rose 
 et Picard, Comedie Frangaise, 1794 or '95. 
 According to Pixerecourt, he left two un- 
 published comic operas : Le heros en 
 voyage, and Zozo, ou le mal avise. — R. C. 
 G. P. (Rene-Charles-Guilbert Pixerecourt), 
 Vie de Nicolas Dalayrac (Paris, 1810) ; 
 Adolphe Adam, Derniers Souvenirs d'un 
 musicien (Paris, 1859) ; Series of articles 
 by Amedee de Bast, entitled Nicolas 
 D'Alayi-ac, in La Guienne, newspaper (Bor- 
 deaux, May 2, 3, 4, 5, 6, 7, 8, 9, 1865) ; 
 Alexandre Fourgeaud, Les Violons de Da- 
 layrac (Paris, 1856) ; Clement, Mus. cele- 
 bres, 192 ; Pamphlet entitled : Eeponse de
 
 DALBEKG 
 
 Daleyrac u MM. les directeurs de specta- 
 cles, ix'clamant contre deux docrets de I'as- 
 semblee natiouale de 1789, lue au coinito 
 d'instruetiou publique, le 26 decembre 1791 
 (Paris, 1791). 
 
 DALBERG, Barou JOHANN FRIED- 
 RICH HUGO VON, boru at Ascbatteuburg, 
 May 17, 1752, died there, July 26, 1812. 
 Instrumental aud vocal composer, pianist, 
 and writer on music, pujjil of Holzbauer at 
 Mannheim. He was a brother of Karl The- 
 odor von Dalberg, Prince-primate of the 
 Confederation of the Rhine, and was coun- 
 sellor to the Elector of Treves at Coblentz, 
 aud canon of Worms. He is best known 
 by his writings on music, containing many 
 interesting historical facts concerning mu- 
 sic among the Persians, Indians, Arabs, 
 Chinese, aud other nations. Works : Eva's 
 Klage, cantata (Speyer, 1785) ; Der ster- 
 beude Christ an seine Seele, do. (Leipsic, 
 1787) ; Das Saiteuspiel, do., sung at Gotha, 
 1796 ; Beatrice, English cantata (London) ; 
 Quartets for pianoforte, oboe, horn, and 
 bassoon ; Trios for pianoforte, violin, and 
 violoncello ; Several books of sonatas for 
 piauoforte ; German, French, and English 
 songs, canons, and other music. — Fetis ; 
 Gerber ; Mendel ; Schilling. 
 
 DALLA BELLA, DO:\IENICO, Italian 
 contrapuntist, lived in the first half of the 
 18th century ; maestro di cajipella of the 
 cathedral at Treviso. Of his manuscripts 
 the Imperial Librarj' at Vienna preserves : 
 Masses for three, four, and eight voices, a 
 Salve Regina, a Kyrie, and Gloria, a Te 
 Deum, a Veni Creator, etc. 
 
 DALL'ARGINE, COSTANTINO, born 
 in 1843, died in Milan, March 1, 1877. 
 Dramatic composer, especially of ballet 
 music. He was maestro concertatore in 
 several theatres in Italy, and in 1864 served 
 in that capacity at Alexandria, Egypt, in 
 1875 at Valencia, Spain, and in 1877 at 
 Mantua. Works ■ — Ballets : La visioue d' 
 un poeta, Anna di Masovia, Un concorso 
 coregrafico, Turin, 186-t ; Velleda, Milan, 
 1864 ; II diavolo a quattro (with Pio Bel- 
 
 lini), Milan, 1865 ; Enrico di Guisa, Fermo, 
 1865 ; Amina, Ferrara, 1867 ; Zelia, Turin, 
 1868 ; La Camargo, Milan, 1868 ; Nissa e 
 Saib (with Baur), Turin, 1868 ; Brahma ; 
 La battaglia di Legnano ; La Semiramide 
 del Norte ; Episodio della vita d' una 
 ballerina ; Attea ; Anelda ; Nerone, Milan, 
 1877. Operas : I due Orsi, opera bufi'a, 
 Milan, 1867 ; II diavolo zoppo, ib., 1867 ; 
 II barbiere di Siviglia (same libretto as that 
 of Rossini, to whom he dedicated it, receiv- 
 ing a flattering letter of accej)tance), Bo- 
 logna, 1868, unsuccessful ; Pietro Micca ; 
 Garello ; Ifigenia. — Fetis, Supplement, i. 
 225. 
 
 DALLA SUA PACE. See Don Giovanni. 
 
 D.ALLOGLIO (d' Alloglio ?), DOMENICO, 
 born in Venice (or Padua) in the beginning 
 of the 18th century, died near Narva, Russia, 
 in 1764. Violinist, went to St. Petersburg 
 in 1735, and remained in the imperial ser- 
 vice twenty-nine j'ears ; when about to re- 
 turn to Italy, struck by apoplexy at Narva. 
 He composed several symphonies, concertos 
 for violin, solos for do., and for viola. His 
 younger brother, Giuseppe (died in Venice, 
 1771), a celebrated violoncellist, accom- 
 panied him to St. Petersburg, and after Do- 
 meuico's death proceeded to Warsaw, where 
 he api^eared at court, and was entrusted 
 by the King of Poland with a diplomatic 
 mission to the republic of Venice in 1765. 
 — Ft:-tis : Mendel. 
 
 DAL TUO STELLATO SOGLIO. See 
 3Ios(i in Egitto. 
 
 D'ALVIMARE, MARTIN PIERRE, born 
 at Dreux (Eure-et-Loir), Sept. 18, 1772, 
 died in Paris, June 13, 1839. Harp player ; 
 he wrote an opera, Egle, when onl}' sixteen 
 (1788), played before the court at Ver- 
 sailles, and entered the Garde du Corps of 
 Louis XVI. A refugee at the time of the 
 Revolution, he afterwards became harp 
 teacher to the Empress Josephine (1807), 
 and on his retirement to his jjatrimony at 
 Dreux, in 1812, devoted the rest of his life 
 to music and composition. Among his 
 published works are : Sonatas for harji, or 
 
 387
 
 DAM 
 
 harp and pianoforte ; Fantaisies on Eussian 
 airs for harp ; Collections of romances, and 
 pieces for harp and horn arranged with 
 Frederic Duvernoj. He wrote also an 
 opera -comique, Le mariage par impru- 
 dence, given at the Oj^i'ra Comique, Paris, 
 April 4, 1809. — Futis ; do., Supplement, i. 
 227 ; Mendel. 
 
 DAM, HERRMANN GEOEG, born in Ber- 
 lin, Dec. 5, 1815, died there, Nov. 27, 1858. 
 Violinist, son and pupil of Mads Gregers 
 Dam, Danish violinist and composer (1791- 
 1859), who was Kaijellmeister to the King 
 of Prussia. He was Kammermusiker to 
 the king from ISiO until his death. Works 
 — Operas: Das Fischermiidchen, Berlin, 
 1831 ; Cola Eienzi, ib., 1835 ; Der Geister- 
 ring, lb., 1842 ; Die englischen "Waareu, ib., 
 1844. Oratorios : Das Hallelujah der Schup- 
 fung, 1847 ; Die Siiudfluth, 1848. Over- 
 tures, cantatas, and Lieder. — Fetis, Supple- 
 ment, i. 228 ; Mendel. 
 
 DAMCKE, BERTHOLD, born iu Hano- 
 ver, Feb. 6, 1812, died in Paris, Feb. 15, 
 1875. He was educated at the Hanover 
 Gymnasium, became a player on the viola 
 in the royal chapel iu 1833, and gave a 
 concert on the organ of his own composi- 
 tions the year following. After studying iu 
 Frankfort-on-the-Main under Sehelble, Eies, 
 and Aloys Schmitt, he became director of 
 the Musical Society of Ki-euznach, and of 
 its Liedertafel, and established there a 
 singing society for which he comjjosed his 
 oratorio, Deborah, choruses for Goethe's 
 Faust, and some psalms. In 1837 he went 
 to Potsdam as director of the Philharmonic 
 Society, and was soon after made director 
 of the Association for the production of 
 dramatic music. He occupied a similar 
 position at Ivonigsberg from 1841 to 1845, 
 when he went to St. Petersburg to teach 
 the pianoforte. In 1855 he went to Brus- 
 sels, and was professor of harmony and the 
 pianoforte there until 1859, when he went 
 to Paris to reside. Works : Kiitchen von 
 Heilbronn, romantic opera iu three acts, 
 Konigsberg, 1845 ; Deborah, oratorio, 1836 ; 
 
 Die Geburt Jesu, do., 1839 ; Tobias, do., 
 1839 ; Cantatas ; Overtures ; Thirty-second 
 psalm and other psalms ; Pianoforte music ; 
 Songs and part-songs. — Fetis ; Mendel; 
 Riemann. 
 
 DAME BLANCHE, LA (The White 
 Lady), opera-comique iu three acts, test by 
 Scribe, music by Boieldieu, first represented 
 at the Opera Comique, Paris, Dec. 10, 1825. 
 The libretto is an adaptation of Walter 
 Scott's novel, "The Monastery," in which 
 the White Lad}' figures as the protectress 
 of the Avenel family. This work, one of the 
 
 Mane Role. 
 
 most pleasing and most successful operas- 
 comiques ever written, still holds the stage. 
 In 1864 it reached its one thousandth rej)- 
 resentation at the Oi^era Comique, and 
 since then it has been given several hun- 
 di-ed times. Among those who have filled 
 the princiiial role most successfully is Mme 
 Marie Euze (Mrs. Henry Mapleson), who 
 appeared in it frequently at the Opera 
 Comique iu 1865-69. It was first per- 
 formed in English at Covent Garden, Lon- 
 don, Jan. 2, 1827, under the title of The 
 White Maid. It was first given in New York, 
 at the Park Theatre, Aug. 5, 1833. The fol- 
 lowing is the original cast, as played in Paris, 
 1825: 
 
 Anna Mme Rigaut. 
 
 Gaveston M. Henri.
 
 DA]\[E 
 
 Georges M. Ponchard. 
 
 Dickson M. Fei-c'ol. 
 
 Jeimy Mrue Boulauger. 
 
 Marguerite Mine Desbrosses. 
 
 Gabriel M. Belnie. 
 
 Maclrtou M. Firmin. 
 
 Among the most popular numbers are : 
 The inti-otluctory chorus, " Sounez, cors et 
 musettes ; " the opening song of Georges, 
 " Ah ! quel plaisir dVitre sohlat ; " the ballad 
 of the White Lady, " D'ici voyez ce beau 
 domaiue ; " the romanza iu the opening of 
 the second act, " Pauvre dame llarguerite ;"' 
 the trio, " C'est la cloche de la tourelle ;" 
 the tenor cavatina, " Viens, gentille dame ; " 
 and iu the third act the chorus, " Chantez, 
 joj'eus menestrels," leading up to the lay 
 of the Clan of Avenel, the old ballad 
 " Eobiu Adair." The same subject has been 
 treated in La donna bianca dAvenello, Ital- 
 ian ojiera iu three acts, music by Pavesi, 
 Milan, Nov. 13, 1830 ; and music by Cesare 
 Gallieri, Milan, Feb. 1, 1855. These at- 
 tempts to improve upon Boieldieu were not 
 successful. — Liszt, Gesammelte Schrifteu, 
 
 m. 99. 
 
 DAME DE PIQUE, LA (The Queen of 
 Spades), ojJera-comique in three acts, text 
 by Scribe, music by Halevy, first represented 
 at the Opera Comique, Paris, Dec. 28, 1850. 
 Subject from a novel by the Russian poet 
 Pushkin, translated by Prosper Mcrimee. 
 The Princess Poloska possesses a secret by 
 means of which she is sure to win at plaj'. 
 Her lover. Lieutenant Constantin Nclidoff, 
 wins through it a very large sum from his 
 rival, Colonel Ziziauoff, and with it the 
 hand of the Princess. 
 
 DAME DU LAC. See Donna del Lago. 
 
 DAME INVISIBLE, LA (The Invisible 
 Lady), ou L'amant a, I'epreuve (The Lover 
 tested), opera in three acts, text bj' Moline 
 and Loraux, music by Henri Berton, repre- 
 sented at the Comedie Italienne, Paris, Dec. 
 5, 1787. 
 
 DAME KOBOLD (The Fairy Lady), 
 comic opera iu three acts, test by Paul Re- 
 
 ber, freely adapted from Calderou's comedy, 
 "La dama duende," music by Joachim Ealf, 
 first represented at Weimar, April 9, 1870, 
 ou the occasion of the fete of the Grand 
 Duchess. 
 
 DAME KOBOLD, overture to Calderon's 
 comedy, " La dania duende," for orchestra, 
 by Carl Reinecke, op. 51. 
 
 DAME VOILEE, LA (The Veiled Lady), 
 opera- comique in one act, text by Segur, 
 music by Mengozzi, represented at the 
 Opora Comique, Paris, Nov. 28, 1799. 
 
 DAMES CAPITAINES, LES (The Lady 
 Captains), opera-comique in three acts, text 
 by Mclesville, music by Reber, rejiresented 
 at the Opera Comique, June 3, 1857. The 
 action passes in the time of the Fronde, 
 and the Duchesse de Chatillon is the he- 
 roine. 
 
 DAMM, FRIEDRICH, born in Dresden, 
 March 7, 1831, still living, 1888. Pianist, 
 pupil of Kragen, Julius Otto, and Reichel ; 
 after living more than ten years iu diS'er- 
 ent cities of North Germany, and iu Amer- 
 ica, settled iu Dresden. He became known 
 chiefly through his brilliant compositions 
 for pianoforte, while his more important 
 works, like sonatas, and contrapuntal works, 
 remain in manuscript. — Mendel. 
 
 DAMMAS, HELLMUTH IvARL, born at 
 Bergen, island of Riigen, Oct. 22, 1816, still 
 living, 1888. Amateur composer, studied 
 nuisic at the Royal Institute for Church 
 Music, and at the Academy of Arts in Ber- 
 lin, where he began to teach the pianoforte, 
 but soon after entered the government ser- 
 vice. He is also a poet, and well known as 
 a writer of tales and novels under the pseu- 
 donym of Feodor Steifen. Works : Gomez 
 Arias, heroic opera (text by himself) ; Trauer- 
 Cantate ; Crucifixus for 6 voices ; Vocal 
 quartets, and duets ; songs with pianoforte. 
 —Mendel. 
 
 DAMNATION DE FAUST, LA, dramatic 
 legend in four parts, for full orchestra, solo 
 voices, and chorus, text by Hector Berlioz, 
 Gerard, and Gandonniere, music by Hector 
 Berlioz, op. 24 ; first given at the Opera
 
 DAMON 
 
 Comique, Paris, Dec. C, 1846. Although 
 Berlioz bad had this work in his mind for 
 several years, he did not begin to write it 
 until 1846, when be was making a concert 
 tour through Austria and Huugarj\ Parts 
 of it were composed in his post-chaise, on 
 railways, on steamboats, in inns, wherever 
 the inspiration seized him ; and after the 
 outline was sketched he worked the whole 
 over again in Paris. The text makes many 
 deviations from Goethe's jjoem, which 
 brought down upon him the anger of the 
 German critics. The parts are as follows : 
 I. Scene 1. Plaines de Hongrie ; 2. Faust 
 seul ; 3. Marche hongroise. II. Scene 1. 
 Faust dans son cabinet de travail ; 2. 
 Hymne de la fete de Paques ; 3. Cave de 
 Leipzig ; 4. Bosquets et prairies du bord 
 de I'Elbe. III. Scene 1. Faust dans la 
 chambre de Marguerite ; 2. Le Eoi de 
 Thule ; 3. Marguerite seule ; 4. Devaut la 
 maison de Marguerite ; 5. Serenade de 
 Mephistopheles ; 6. Finale. IV. Scene 1. 
 Marguerite seule ; 2. Forets et eavernes ; 3. 
 La course a I'abime ; 4. Pandemonium ; .5. 
 Ajjotheose de Marguerite. The most re- 
 markable numbers are the Marche hon- 
 groise or Rakoczy IMarch, in which is intro- 
 duced the famous Hungarian air of Franz 
 Eiikoczy ; the duet, " Ange adore dont la 
 celeste image ; " the serenade of Mephis- 
 topbeles ; Marguerite's song at the spin- 
 ning-wheel ; the famous ride to the abyss ; 
 and in the finale, the chorus of celestial 
 spirits. The work was sung in Paris by 
 Roger, Hermann Leon, Henri, Mme Duflot- 
 Maillard, and two hundred musicians di- 
 rected by the composer himself. It was 
 given in Vienna Ln 1866, with extraordinary 
 success. Its first production in America 
 was in Steinway Hall, New York, Feb. 12, 
 1880, under the direction of Dr. Leopold 
 Damrosch, aided by the Symphony, Ora- 
 torio, and Arion Societies. — Berlioz, Mem- 
 oires, 397 ; Ernst, L'<euvre dramatique de 
 Hector Berlioz, 145 ; Jahu, Ges. Aufsatze 
 iiber Musik, 87 ; JuUien, Hector Berlioz, 
 149 ; Clement. 
 
 DAMON, DER (The Demon), fantastic 
 opera in three acts, text by Viskovatoff, 
 after Lermontoff's poem of the same title 
 (Berlin, 1857), music by Anton Rubinstein, 
 first represented in Russian at the Marie 
 Theatre, St. Petersburg, Jan. 25, 1875. It 
 was given in German at Hamburg, 1880, 
 and in Italian at Covent Garden, London, 
 June 21, 1881. 
 
 DAMON, WILLIAM, born in England 
 about 1540, died early in the 17th cen- 
 tury. An organist of Queen Elizabeth's 
 chapel, he harmonized forty of the jjsalm 
 tunes then in use, which were published 
 with the following title : " The Psalmes of 
 David in English Meter with Notes of foure 
 partes set vmto them by Guilielmo Damon, 
 for John Bull, to the use of the Godly 
 Christians for recreatyng themselves in stede 
 of fond and unseemly Ballades. At London, 
 printed by John Daye. Cum privilegio." 
 This collection not meeting with ijublic 
 favour, Damon reharmonized the tunes and 
 republished it in 1591 : "The former Booke 
 of the Musicke of M. William Damon, late 
 one of her Majesties Musitions, containing 
 all the tunes of David's Psalms, as they are 
 ordinarily soung in the Church : most ex- 
 cellently by him composed into four partes. 
 In which sett the Tenor singeth the Church 
 tune." — Fotis ; Grove ; Mendel. 
 
 DAISIROSCH, LEOPOLD, born in Ro- 
 sen, Prussia, Oct. 22, 1832, died in New 
 York, Feb. 15, 1885. Violinist and con- 
 ductor ; was graduated as M.D. from the 
 University of Berlin, but devoted all his lei- 
 sure time to music, studying the violin un- 
 der Conzertmeister Ries, and theory and 
 compiositiou under Dehn and Buhmer. 
 After appearing as a solo violinist in sev- 
 eral German cities, and making a national 
 reputation, he went in 1855 to Weimar, 
 where Liszt gave him the position of solo 
 violinist in the Grand Duke's orchestra, and 
 dedicated to him the second of his sym- 
 phonic poems. Wagner's friendship was 
 no less sincere, and a short time before the 
 composer's death he sent to Dr. Damrosch 
 
 390
 
 DAMSE 
 
 the MS. finale to the first act ot Parsifal. 
 In 1859 Dr. Damrosoh began his career as 
 a conductor at the Philharmonic concerts 
 in Breslau, but resigned after about a year 
 and made a concert 
 tour with von Billow 
 and Tausig. In 1862 
 he returned to Breslau, 
 and organized a Sj-m- 
 phony society there 
 witli an orchestra of 
 eighty members; twelve 
 concerts were given 
 each season, and many 
 of the celebrated artists 
 of the day appeared at them, among others, 
 Eubinstein, von Billow, and Joachim ; both 
 Liszt and Wagner personally conducted on 
 various occasions. In 1871 he went to New 
 York to become the conductor of the Arion 
 Society, and made Lis first public appear- 
 ance in that city, Maj' Gth, in the triple 
 character of conductor, composer, and vi- 
 olinist. In 1873 he organized the Oratorio 
 Society of New York, and in 1878 the Sym- 
 phony Society, the success of both of which 
 was entirely due to his untiring efforts. In 
 
 1880 the degree of Mus. Doc. was con- 
 ferred on him by Columbia College. In 
 
 1881 he organized and conducted a Mu- 
 sical Festival in New York, May 3-7, in 
 which the orchestra numbered 2.50 per- 
 formers, the chorus 1,200 voices, and the 
 audiences 8,000 to 10,000. Among other 
 notable compositions, Eubinstein's Tower 
 of Babel, and Berlioz' Grande Messe des 
 Morts, were given for the first time in 
 America. In 1883 Dr. Damroseh made a 
 successful tour with his orchestra through 
 the principal western cities. In 1884, at 
 his suggestion, the directors of the Metro- 
 politan Opera House, New York, gave Ger- 
 man opera there during that season, during 
 which Wagner's Tannhi'iuser, Lohengrin, 
 and Die Walkiire, were produced. At the 
 same time Dr. Damroseh continued his 
 work as conductor of the Oratorio and S3m- 
 phony Societies, and in the midst of these 
 
 many labors, which greatly taxed his strength, 
 he took a severe cold and died after a very 
 brief illness. As one whose rare cultivation 
 and ability were always used for the purpose 
 of raising the standard of musical taste, and 
 who gave to the public so many of the best 
 products of the art, his name occupies a 
 most honorable position in the history of 
 music in America. His own compositions 
 indicate a thorough knowledge of instru- 
 mentation, and his musical ideas are both 
 refined and noble. Works — Orchestral : 
 Orchesterstiick, op. 9. in MS., 1859 ; Music 
 to Schiller's Jeanne d'Arc, in MS., 1858 ; 
 Festival overture, op. 15, 18G8 ; Synipliony 
 in A, in MS., 1878 ; arrangement of Schu- 
 bert's Marche Militaire, in MS., 1875 ; ar- 
 rangement of a Quintet by Schubert, in MS., 
 1877 ; Arion March, 1882 ; Independent 
 Schiltzeu-Marsch, 1882. For solo violin and 
 orchestra : Fantasie, in MS., 1856 ; Taran- 
 tella, in MS., 1856 ; Mazurka, in MS., 1859 ; 
 Serenade, 1860 ; Eomanze, A major, 1865 ; 
 Fir.st concerto, D minor, 1874 ; Nachtge- 
 sang, 1875 ; Capriccetto, 1876 ; Second con- 
 certo, in MS., F-sharp, minor, 1877 ; Con- 
 certo, G major, op. 8. For solo, chorus, 
 and orchestra : Die lustigen Musikanten, 
 in MS., 1872 ; Ruth and Naomi, 1874 ; 
 Brautgesang, 1874 ; Thou who art God 
 alone, in MS., 1874 ; Battle hymn of Lex- 
 ington, in MS., 1875 ; Centennial cantata, 
 in MS., 1876 ; Sulamith, The Song of Songs, 
 1881. For solo and orchestra : Siegfried's 
 Sword, 1868 ; King Harald Haarfager, in 
 MS., 1868. Choral works : And that they 
 know thy name ; Christmas Carol ; Laudate 
 Domiuum : Te Deum laudamus ; Ring out, 
 wild bells ; and others. Songs for male 
 chorus : Ausfahrt ; Eeichthum und Ehre ; 
 Die Maulbi-onner Fuge ; Frilhlingsahnung ; 
 Maieunacht, and others. Duets : Keiner 
 soil die Thiir' verriegeln ; Sie blasen zum Ab- 
 marsch ; Diesen schmucken Ritter, Mutter ; 
 So oft sie kam ; and others. Many Songs. 
 
 DAMSE, JOSEPH, born at Warsaw in 
 1788, died at Rudno, near War.saw, Dec. 
 15, 1852. He was for many years a j^rolific
 
 DANA 
 
 composer of dram.atic and instramental 
 music iu Poland and Kussia. He wrote 2G 
 comic operas, 17 vaudevilles, more than 30 
 melodramas, 7 ballets, and much church 
 and military music. Principal works : 
 Klarynecik magnetyczuy, oj^era, 1820 ; Noc- 
 leg V zamku, do., 1821 ; Kluska, do., 1822 ; 
 Dawne czasky, do., 1826 ; Przykaz, do., 
 1837 ; Kontrabandzista, do., 1844. His j^ol- 
 onaise. La soiree de Saiut-Sylvestre, was 
 very popular. — Fetis, Supplement, i. 229 ; 
 Mendel ; Sowinski, Mus. Polonais, 140. 
 
 DANA, (CHARLES) HENSHAW, born, 
 of American parentage, in West Newton, 
 Massachusetts, Feb. 7, 1846, died iu Wor- 
 cester, Feb. 5, 1883. As a boy he studied 
 under George Kingsley, in Northampton, 
 and afterward under Albert S. and Benja- 
 min D. Allen, in Worcester ; Avhen fifteen 
 he was organist in a local church, and he 
 was then for a time a pupil of Otto Dresel, 
 in Boston. In 1869 he went to Eurojje, 
 and studied the pianoforte and harmony iu 
 Leipsic under Papperitz, and in Stuttgart 
 four years with Lebert, Speidel, and Krii- 
 ger, with the last of whom he made his first 
 public appearance as a pianist iu Stuttgart. 
 He afterwards studied a winter under La- 
 borde in Paris. In 1875 he returned to 
 America and appeared as pianist, with suc- 
 cess, at the annual session of the Worcester 
 County Musical Association. The seven re- 
 maining years of his life were jjassed in 
 teaching, composing, and conducting ; dur- 
 ing this time he was organist and choir- 
 master of St. Paul's (R. C.) Church in 
 Worcester, and Jilso of the Jesuit Church 
 of the Immaculate Concepition in Boston. 
 Among his compositions, which consist 
 mostly of songs and church choir music, are 
 the following, Marguerite, 1867 ; Like a 
 strain of wondrous music, 1870 ; Te Deum 
 in D, 1873 ; Among the Lilies, 1875 ; O Sal- 
 utaris (E flat), 1876 ; Salve Regina, No. 1, 
 1876, No. 2, 1879 ; The Sunmier Wind 
 (quartet), 1877 ; Ave Maria, 1877 ; O Salu- 
 taris, 1878 ; The Lilies clustered fair and tall, 
 1881 ; Veni Creator, 1882 : Edeuland, 1883. 
 
 DANAIDES, LES, tragic opera in five 
 acts, text by the Bailli du Rollet and Tschu- 
 di, music by Salieri, first given at the 
 Opera, Paris, April 26, 1784. Salieri worked 
 at this opera under the supei'vision of Gluck, 
 who had been asked by the Acadoraie de 
 Musique in Paris to suggest a composer 
 who could write a French opera in which 
 his own jsrinciples should be carried out. 
 In its first twelve representations it was 
 ascribed jointly to Gluck and Salieri, but 
 before the thirteenth Gluck announced pub- 
 licly that Salieri was the sole author. The 
 subject is the tragic story of the fifty daugh- 
 ters of Danaus, who were compelled by 
 their father to promise to kill their hus- 
 bands on the first night. On the same sub- 
 ject are : Le Dauaidi, Italian opera, music 
 by Tarchi, given at Milan, Dec. 26, 1794 ; 
 music by Morlacchi, Rome, 1810 ; and by 
 Simon Mayr, Rome, 1819. Danao, re d' 
 Argo, Italian opera seria, two acts, music 
 by Persiani, given at La Pergola, Florence, 
 1827, and at Milan, Oct. 26, 1833. Le 
 Danaidi romane, music by Pavesi, Venice, 
 1816. 
 
 DANBY, JOHN, born in 1757, died in 
 London, May 16, 1798. Between 1781 and 
 1794 he obtained ten prizes from the Catch 
 Club for seven glees, two canons, and an 
 ode. He was organist of the chapel of the 
 Spanish Embassy, London, for which he 
 composed some motets and masses. He 
 published an elementary work : La Guida 
 alia Musica vocale (1787) ; and three books 
 of his compositions ; another was issued 
 after his death. His glee, Awake, .3iiolian 
 lyre, for four voices, is considered his best. 
 — Grove ; Mendel. 
 
 DANCLA, ARNALTD, born at Bagneres- 
 de-Bigorre (Hautes-Pyn'-nees), Jan. 1, 1820, 
 died there, Feb., 1862. Violoncellist and 
 composer, brother of the following ; pupil of 
 Norblin, at the Conservatoire, Paris, where 
 he obtained the second prize in 1839, and 
 the first in 1840. AVorks : Fantaisie for 
 violoncello on La Sircne by Auber ; Etudes 
 for do., op. 2 ; 2 books of duos for do. ;
 
 DANCLA 
 
 Mi'lodies for do. ; Method for do. Another 
 brothel', Leopold (boru June 1, 1823), is a 
 distinguished violinist, pupil of Baillot at 
 the Conservatoire, where he took the sec- 
 ond prize in 1840, and the first in 1842. 
 He has composed Airs varies and fantaisies 
 for violin, etudes for do., and three quartets 
 for string instruments. — Fetis. 
 
 DANCLA, JEAN BAPTISTE CHARLES, 
 boru at Bagneres-de-Bigorre Dec. lit, 1818, 
 still living, in Paris, 1888. Violinist ; when 
 ten years old he played Eode's seventh 
 concerto before that composer, who placed 
 him in 1828 at the Paris Conservatoire, 
 where he was the pupil of Guerin and of 
 Baillot. He won the first prize at the age 
 of fifteen (1833), and was a member of the 
 orchestra of the Opera Comiqae in 1834, 
 meanwhile studying harmonj', counterpoint, 
 and fugue under Hak'vy, and composition 
 under Berton. He took the prize for fugue 
 in 1837, the 2d gi\and prix de Rome in 
 1838, and became professor of the violin at 
 the Conservatoire in 1857, and member of 
 the Legion of Honour. Li 1847 and in 1848 
 he was awarded by the ministry of Public 
 Instruction the 1st gold medal for musical 
 compositions for the use of primarj- schools ; 
 in 1857, the first prize by the Sainte-Ct'cile 
 Society of Bordeaux, for a quartet for string 
 instruments ; in 1858 the first prize of the 
 Imperial Society of Agriculture, at Valen- 
 ciennes, for the Hymn to Agriculture, male 
 chorus without accompaniment ; and in 18G1 
 the prize given by the Academic and the 
 Institut for quartet and chamber music 
 (1861). Works : Four symphonies, op. 6, 
 10, 29, 98 ; 6 concertos for violin and or- 
 chestra, op. 77, 93, 94, 95 ; 8 quartets for 
 string instruments, op. 5, 7, 18, 41, 48, 56, 
 80, 87 ; 4 trios for pianoforte ; 30 duos for 
 pianoforte and violin ; 14 works of duos for 
 two violins ; Methode elementaire et pro- 
 gressive du violon ; L'Ecole de I'expression, 
 op. 82 ; L'Ecole de la melodie, op. 129 ; 
 L'Art de raoduler sur le violon (with Panse- 
 ron). He was the author also of : " Les 
 Compositeurs chefs d'orchestre " (Paris, 
 
 1873), and " Miscellam'es musicales (ib., 
 1877).— Fetis ; do.. Supplement, i. 229 ; 
 Mendel ; Riemanii. 
 
 DANDRIEU (d'Andrieu), JEAN FRAN- 
 Ij^'OIS, boru in Paris, in 1684, died there, 
 Jan. 16, 1740. Organist at the churches 
 of Saint-Merry and Saint-Barthelemy. His 
 works, much esteemed among his contem- 
 poraries, consist of three books of pieces 
 for pianoforte, one book for organ, a suite 
 of Noels, and sonatas for string instru- 
 ments. — FeHs ; Mendel ; Schilling. 
 
 DANHAUSER, ADOLPHE LEOPOLD, 
 born in Paris, Feb. 26, 1835, still living, 
 1888. Vocal comj^oser, pupil at the Con- 
 servatoire of Bazin in harmony, of Halevy 
 and Reber in fugue and composition ; won 
 the first prizes for harmony and fugue, and 
 in 1862 the second prix de Rome. He de- 
 voted himself early to teaching, and is now 
 jjrofessor of solfege at the Conservatoire. 
 In 1875 he was .appointed inspector of vocal 
 instruction in the schools of Paris. Works : 
 I Maures et Castillans, opera ; Le proscrit, 
 ' musical drama with chorus, given at Au- 
 teuil, 1866 ; Soirees orpheoniques, collec- 
 tion of twelve choruses for three voices ; 
 Songs. — Fetis, Supplement, i. 230. 
 
 DANIC.4.N. See PhiUdor. 
 
 DANIEL, JOHN, born at Aberdeen, Scot- 
 land, in 1803, died in New York, June 21, 
 1881. In 1840 he removed to America and 
 settled as a teacher of vocal and instru- 
 mental music in New York, where he 
 gained reputation as a teacher and had as 
 pupils members of many of the best known 
 families of the time. Works : National Psal- 
 mody of the Church of Scotland, with selec- 
 tion of pieces from the most eminent Com- 
 posers, for Organ, Pianoforte, etc. (1837) ; 
 2d Edition (1843) ; also, jjart-songs, songs, 
 and pianoforte music. 
 
 DANILOWA, opera-comique in three 
 acts, text by Vial and Duport, music by 
 Adolphe Adam, represented at the Opera 
 Comique, Paris, April 23, 1830. 
 
 DANKERS (Dankerts), GHISILIN, 
 born at Tholen, Zeeland, lived in the 16th
 
 DANK 
 
 century. A singer in the Papal choir under 
 Popes Paul in., Marcellus Jl., Paul IV., and 
 Pius rV. ; he was one of the conservative 
 musicians of that time who adhered strictly 
 to the teachings of the old Netherland 
 school ; he gained celebrity by being chosen 
 with Bartolomc Escobedo as umpire, in 
 1551, in the dispute between two ecclesi- 
 astical musicians, Vicentino and Lusitano, 
 upon the nature of the scales on which the 
 music of their time was constructed. He 
 defended his verdict against Vicentino in 
 a learned and exhaustive treatise, the MS. 
 of which is preserved in the Vatican Library. 
 Works : Eight-part motet, Lretamini in Do- 
 mino, included in Uhlaud's Coucentus octo 
 . . . vocum (Augsburg, 151:5) ; Six-part 
 motet, Tua est potentia, in the Selectissima; 
 cantiones ultra centum (Augsburg, 1540) ; 
 2 books of madrigals for four, five, and six 
 voices (Venice, 1559). — Ft'tis ; Mendel ; Eie- 
 mann ; Viotta. 
 
 DANK SEI DIR, GOTT, final chorus of 
 the first part of Mendelssohn's Elias. 
 
 DANKS, HART PEASE, born, of Amer- 
 ican parentage, in New Haven, Connecticut, 
 April 6, 18.34, still living, 1888. He stud- 
 ied music under Dr. L. E. "Whiting, of Sar- 
 atoga, N. Y., and in 1854 was settled in 
 Chicago as choir-leader, and conductor of 
 choral societies. He was afterwards di- 
 rector of music at St. Mary's (E. C.) Church 
 in that city ; in 1864 he removed to New 
 York, where he has since resided. He has 
 filled the positions of bass singer and mu- 
 sical director in the following churches in 
 New York : Zion Church, Church of the In- 
 carnation, St. Stej)hen's Church ; in Brook- 
 lyn, Holy Trinity, First Baptist Church, 
 Lafayette Avenue Presbyterian Church, 
 Second Unitarian Church, and Ross Street 
 Presbyterian Church ; in Jersey City, St. 
 Matthew's Church ; he has also appeared 
 as a concert singer. As a composer he is 
 self-taught, and what success he has had as 
 a writer of popular music is largely due to 
 the production of effects that have been 
 suggested in his jjractical experience as a j 
 
 singer and choral leader. His best work 
 has been in the line of sacred music ; many 
 of his comj)ositions for the choir being ex- 
 tensively used in America. His first com- 
 position was the hymn-tune, Lake Street, 
 piublished afterward, in 1858, in William B. 
 Bradbur}''s book Jubilee ; in 1856 he jsub- 
 lislied two songs. The Old Lane, and Anna 
 Lee. Since then he has produced each 
 j'ear from one to eighty-eight pieces, his 
 published works numbering at present 
 more than twelve hundred. Many of his 
 pieces have been brought out over the 
 j)seudonyms of Arthur Dana, H. Leighton, 
 George Randall, Charles Dupont, and others. 
 The following are some of his better known 
 compositions : Don't be angry with me, 
 darling, song (1870) ; Pauline, operetta 
 (1872) ; Silver threads among the gold, song 
 (1872, had a sale of more than 400,000 
 copies in America alone) ; Not ashamed of 
 Christ, solo (1873). Also a number of An- 
 them and church-service books, the more 
 important being. The Diamond Collection, 
 Festival Anthems, 1885 ; Ideal Anthems, 
 1886 ; Danks's Canticles, 1887. 
 
 DANNREUTHER, EDUARD, born in 
 Strasburg, Nov. 4, 1844, still living, 1888. 
 He was taken, in 1849, by his parents to 
 Cincinnati, United States, where he was a 
 pupil of P. L. Ritter, then studied in the 
 Leipsic Conservatorium under Moscheles, 
 Haujitmann, and Richter, from 1859 to 
 1863, when he settled in London as a 
 teacher of the pianoforte. In 1872 he 
 founded the Wagner Society, and conduct- 
 ed its tw'O series of concerts in 1873 and 
 1874 ; he also promoted the Wagner Fes- 
 tival in 1877. Although the champion of 
 Wagner, he is not entirely devoted to the 
 new school, but is also an able interpreter 
 of the works of Bach and Beethoven. He 
 has composed pianoforte music and songs, 
 and is the author of " Richard Wagner, his 
 Tendencies and Theories " (London, 1873), 
 of papers on Wagner, Beethoven, etc., and 
 of articles in Grove's Dictionary of Music. 
 He has made several visits to the United
 
 DAX:sKTU()M 
 
 States, where he is kuown as a pianoforte 
 player of much abihtj'.— Grove ; Meudel, 
 Erganz., 75 ; Riemaini, 192. 
 
 DANNSTROM, JOHAN, Swedish com- 
 poser, contemporary. He Hves in Stockholm 
 as a vocal teacher ; has composed operas 
 and operettas, but especiallj' numerous lyric 
 songs, full of true sentiment, which next to 
 those of Liudblad are the most popular in 
 Sweden. 
 
 DANN WERDEN DIE GERECHTEN 
 LEUCHTEN, tenor air in A-flat in Mendels- 
 sohn's Elia.% Part 11. 
 
 DANRf:MONT REQUIEM. Sec 3Ie.-<se 
 des Morts. 
 
 DANS LES BOIS (In the Woods) ; seven 
 reveries for the pianoforte, by Stephen Hel- 
 ler, op. 8C. 
 
 DANS LA NUIT OU SEUL JE VEILLE. 
 See Huguenots. 
 
 DANS SON REGARD PLUS S0:MBRE. 
 See Hamhi. 
 
 DANSE macabre, la (Dance Macaber, 
 or Dance of Death), sjmphonic poem, for 
 full orchestra, by Camille Saint-Saens, op. 
 40. Played frequently iu New York by 
 Thomas's Orchestra iu 1884-88. 
 
 DANTE ET BEATRICE, lyrical drama 
 in four acts, text by Eduard Blau, music by 
 Benjamin Godard, first represented at the 
 Opc'ra Comique, Pari.s, in 1888. Deals 
 with the war between Guelphs and Ghibel- 
 lines, and makes Dante a young and active 
 participant. 
 
 DANTE SYMPHONY. See Si/mphonie 
 zu Dautes Diviua Commedia. 
 
 DANZA, LA (The Dance), cantata for two 
 voices, text by Metastasio, music by Bonno, 
 given in Vienna, in 1744. Characters rep- 
 resented : Nice, Tirsi. 
 
 DANZI, FRANZ, born in Mannheim, 
 May 15, 1763, died in Carlsruhe, April 13, 
 1826. Dramatic composer and violoncellist, 
 pupil of his father, who was first violoncel- 
 list to the Elector Palatine, and in composi- 
 tion of the Abbc' Vogler. He wrote music 
 for his instrument when twelve years old, 
 and was admitted to the Elector's band at 
 
 fifteen. The band was transferred, in 1798, 
 to Munich, where he produced his first 
 opera, Azakia, in 
 1780. In 1790 he 
 married Margarethe 
 Marchand, a singer, 
 and with her made a 
 professional tour of 
 six years. He re- 
 turned to JMunich in 
 1797, and was succes- 
 sively Vice-Kapell- 
 meister at the Elec- 
 toral Chaisel, Kapellmeister to the King of 
 Wiirtemberg, at Stuttgart (1807), and Kapell- 
 meister at the court of Baden, at Carlsruhe, 
 where he remained until his death. Works 
 — Operas : Cleopatra, given at Mannheim in 
 1779 ; Azakia, ojaeretta, Munich, 1780 ; Der 
 Triumph der Treue, ib., 1781 ; Die Sylphe, 
 ib., 1782 ; Der Kuss, ib., 1799 ; Die Mitter- 
 nacht Stunde, ib., 1801 ; Der Quasimann, 
 operetta, ib. ; Elbondokaui, do. ; Iphigenia 
 in Aulis, grand opera, Munich, 1807 ; !Mal- 
 vina, Turandot, Carlsruhe, about 1815 ; 
 Abraham auf Moria, oratorio, Stuttgart, 
 1808 ; Das Freudenfest, cantata for four 
 voices and orchestra ; Preis Gottes, cantata, 
 Leipsic, 1804. He composed also masses 
 for four voices and organ ; the 128th psalm 
 for four voices and orchestra, op. 65 ; or- 
 chestral and chamber music, consisting of 
 symphonies, quintets, concertos, sonatas, 
 etc. ; and many songs and choruses. He ex- 
 celled as a teacher of singing, and his sing- 
 iujx exercises were used long after his 
 
 death.— All 
 mus. Zeit 
 
 d. 
 
 Biog 
 581 
 
 , iv. 755; Allg. 
 Ft'tis ; Mendel ; 
 
 em. 
 g., xxviii. 
 Riemann ; Schilling. 
 
 DAPHNE. See Dafne. 
 
 DAPHNIS ET CHLOi:, pastorale, text 
 by Laujon, music by Boismortier, repre- 
 sented at the Academie Royale de Mu- 
 sique, Paris, Sept. 28, 1747. The libretto 
 is founded on the pastoral romance of 
 Longus, the Greek sophist (about a.d. 400), 
 entitled "The Pastorals of Daphnis and 
 Chloe." Daphnis ct Chloe, operetta in one 
 
 89B
 
 DAKCIEIi 
 
 act, text by Clairville, music by Offenbach, 
 is a parody on the same romance. 
 
 DAECIER, JOSEPH, born in Paris in 
 1820, died there, December, 1883. Singer 
 and dramatic composer ; he played small 
 parts in the theatres in the environs of 
 Paris while studying music (18i2-181;6), 
 and wi-ote his first chansons : Larmes d'a- 
 mour, Le premier du roi, Apres la bataille, 
 Les gabiers, Aux armes, etc , while giving 
 singing lessons. About 1848 he made a 
 reputation by siuging political songs at 
 popular concerts and cafes chantants, siug- 
 ing Dupont's Les boeufs, Les louis d'or, and 
 Du pain, in which he stirred up so much 
 feeling that the police forbade it. He also 
 sang many of his own compositions, of 
 which Le bataillon de la Moselle, and La 
 31ieme demi-brigade, were very popular. 
 Among his best compositions are : Les 
 doublons de ma ceiuture, Madeleine, Le . 
 chemiu du moulin, Toutes les femmes c'est 
 des trompeuses. La mere Providence, L'ami 
 soleil, and Le chevalier priutemps. When 
 Offenbach opened the Bouffes Parisiens, in ' 
 185.5, Darcier appeared in Une uuit blanche, 
 and in 1857 in Le violoneux. He sang also 
 at the Beauraarchais in Les compaguons 
 du tour de France, and brought out some | 
 operas of his own at the Folies Nouvelles : 
 Les doublons de ma ceiuture, fi-om his song 
 of that name ; Le roi de la Gaudriole, Por- 
 nic le hibou, 1858. These were not as suc- 
 cessful as his songs, and he has since com- 
 posed but one operetta, Ah ! le divorce, 
 1874, and the music of a vaudeville, Ces 
 petites dames du Temple, 1875. — Fetis, Sup- 
 plrment, i. 234 ; Larousse. 
 
 DARDANUS, tragic opera in five acts, 
 text by La Bruyore, music by Rameau, first 
 represented at the Acadt'mie 
 Royale de Musique, Paris, 
 NoV. 19, 1739. The libretto 
 is founded on a passage of 
 the " Jiineid " in which Dar- 
 danus is said to have estab- 
 lished himself in Phrygia, and to have built 
 the city of Troy with the aid of Teucer, 
 
 whose daughter he married. Dardanus, 
 lyric tragedy, text by La Bruyere, with 
 changes by Guillard, music by Sacchini, 
 represented at the Opera, Paris, Nov. 30, 
 1784. The scenes in this are more devel- 
 oped than in the work by Rameau, and the 
 movements are more pathetic. Dardane, 
 Italian opera seria in three acts, music by 
 Paisiello, given in Naples. 1772. Dardanus 
 Sieg, German opera, music by Stamitz, St. 
 Petersburg, about 1770. 
 
 DARG0]HY2SKY, ALEXANDER SER- 
 GEEVITCH, born in the government of 
 Toula, Russia, Feb. 2, 1813, died in St. 
 Petersburg, Jan. 29, 1869. A noble who 
 manifested a talent for music so early that 
 he composed little sonatas for the pianoforte 
 at the age of seven. He was taken to St. 
 Petersburg in 1817 by his parents to study 
 music, and he afterwards studied the violin, 
 harmony, and composition under Schober- 
 lechner. In 1830 he appeared as a pianist 
 in St. Petersburg, and in 1831 he received 
 a state appointment in the Emperor's house- 
 hold, but gave it up in 1835, and devoted 
 himself to hard study for eight years. In 
 1845 he visited Germany, Brussels, and 
 Paris, and in 1847 produced in Moscow his 
 opera, Esmeralda (written in 1839), which 
 met with a brilliant success both there and 
 in St. Petersburg, where it was rejiroduced. 
 Between 1850 and 1855 he published more 
 than a hundred romances, airs, duos, 
 waltzes, fantaisies, etc. In 1856 he pro- 
 duced in St. Petersburg his most success- 
 ful ojjera, Busnalha, which still keeps the 
 stage, and in 1867, at Moscow, The Feast 
 of Bacchus, ballet with song (written in 
 1845) ; his posthumous opera Kamenoi Gost 
 (The Marble Guest, or Don Juan), scored 
 
 by Rimsky-Korsakov, and with a postlude 
 by Cui, was given in St. Petersbui-g in 
 
 896
 
 DARONDEAUX 
 
 1872. A Finnish fantasy, Baba laza, Koz- 
 aczek (Cossak Dance), and other orchestra 
 music, and Le Paladin, a romance. In 
 18G7 the Eussian Musical Society made him 
 its president, and his house became the 
 gathering ^jlace of the young Russian 
 school of musicians who followed Schu- 
 mann, Berlioz, Wagner, and Liszt. — Fetis ; 
 do., SuppKmeut, i. 234 ; Mendel ; Rie- 
 mann. 
 
 DARONDEAUX, HENRI, born in Strass- 
 burg, Feb. 28, 1779, died in Paris, July 30, 
 18G5. Pianist, dramatic composer, son of 
 Beuoni Darondeaus (singing teacher, and 
 composer of the music of the opera, Le sol- 
 dat par amour. Opera Coniique, 1789), pupil 
 at the Conservatoire, Paris, of Ladurner on 
 the pianoforte, and of Berton iu harmony. 
 He was for a long time connected with the 
 Theatre des Varietcs, for which he arranged 
 . music. Works — Ballets : Acis et Galatee, 
 given at the Opera, 1806 ; and Les deux Cre- 
 oles ; Jenny, ou Le mariage secret ; Rosine 
 et Lorenzo ; Les sauvages de la Floride ; La 
 chatte merveilleuse ; Pizarro, all brought 
 out at the Theatre de la Porte-Saint-JIartin. 
 He wrote many airs for vaudevilles, which 
 became very popular, such as : En amour 
 comme en amitie ; Retour de la sentinelle, 
 etc. ; and published pianoforte music, sona- 
 tas, fantaisies, etc. — Fetis ; do.. Supple- 
 ment, i. 237; Mendel. 
 
 DAS FEUER FIEL HERAB, chorus 
 with figured choral iu Mendelssohn's Elias, 
 Part I. 
 
 DAS SCHONE FEST. See MeUlersing- 
 er von Niirnberg. 
 
 DAUC4HTER OF GODS, BRIGHT 
 LIBERTY, soprano air in B-flat, of lide, iu 
 Handel's Hercules, Part I. 
 
 DAUGHTER OF ST. MARK, THE, Eng- 
 lish opera, text by Alfred Bnnn, music by 
 Balfe, represented at Drury Lane, London, 
 Nov. 27, 1844. The heroine is Catarina Cor- 
 naro. Queen of Cyprus. The libretto is an 
 adaptation of La Udne de Cliypre, by Saint- 
 Georges, music by Hah'vy. It was the first 
 of Balfe 's operas in which the entire action 
 
 is expressed in music. Catarina was sung 
 by Miss Rainsforth, Adolph by Mr. Har- 
 rison, Moncenigo by Mr. Weiss, Andrea by 
 Mr. Borraui, and the King by Mr. Burdini. 
 —Barrett, Balfe, 166. 
 
 DAUPRAT, LOUIS FRAN(;OIS, born in 
 Paris, May 24, 1781, died there, ivXy 16, 
 1868. Cornet player, pupil of Kenn at the 
 Institut National de Musique, afterwards 
 the Conservatoire. In 1799 he became a 
 member of the band of the Consular guards, 
 and in 1800 went through the campaign in 
 Italy. In 1801 he played in the orches- 
 tra of the Theatre Montansier, Paris, and 
 studied harmony under Catel at the Con- 
 servatoire, and composition under Gossec. 
 He played in the theatre of Bordeaux iu 
 1806-08, when he was recalled to Paris by 
 the administration of the Opera as solo 
 cornet, a position which he held until 1831, 
 when he retired. He became honorary 
 member of Napoleon's Chapel in 1811, suc- 
 ceeded Domnich in the royal chapel under 
 Louis XVni. in 1816, and was made pro- 
 fessor of the cornet at the Conservatoire in 
 the same year. Among his pupils were 
 Gallay, who succeeded him at the Conser- 
 vatoire, Rousselot, Norbert, Meric, Banneux, 
 Bernard, Jacqmin, and Meifred. Works : 
 Concerto for horn and orchestra, op. 1 ; So- 
 nata for pianoforte and horn, op. 2 ; Many 
 other concertos and sonatas, symphonies, 
 overtures, quintets, sextets, duos, etc., a 
 list of which is given by Fetis. He was the 
 author of several theoretical works, and of a 
 Methode pour cor alto et cor basse, in 
 three parts, one of the best manuals pub- 
 lished.' — Fetis ; Mendel ; Riemann. 
 
 DAUSSOIGNE MEHUL, JOSEPH, born 
 at Givet (Ardennes), June 24, 1790, died 
 at Liege, March 10, 1875. Dramatic com- 
 poser, pupil at the Paris Conservatoire ; 
 studied the pianoforte under Adam in 
 1799, composition under his uncle ^Nlehul, 
 harmony under Catel. He won the 2d 
 grand prix de Rome iu 1807, and the 1st 
 grand prix in 1809. After his return from 
 Rome he wrote several operas, but as they 
 
 3!J7
 
 DAUTKESME 
 
 were unsuccessful, he gave up dramatic 
 coiujjosition and resigned his position at 
 the Conservatoire, in 1827, to accejit the 
 direction of the Conservatoire at Liege. 
 He was a member of the Eoj-al Academy 
 of Belgium, chevalier of the Legion of Hon- 
 our, and correspondent of the Institut de 
 France. Works — Operas : Kobert Guis- 
 card ; Le faux inqviisiteur (1817) ; Le testa- 
 ment (1818) ; Les amants corsaires (1819) ; 
 Aspasie, given at the Oisera, 1820 ; Les 
 deux Salem, ib., 1824 ; Cantata for grand 
 orchestra, Liege, 1828 ; Une journee de la 
 revolution, symphony with choruses, Brus- 
 sels, 18151:. — Fetis; do., Sui^plemeut, i. 238; 
 Mendel ; Eiemann. 
 
 DAUTEESilE, AUGUSTE LUCIEN, 
 born at Elbeuf (Seine-Inferieure), May 21, 
 1826, still living, 1888. Dramatic composer, 
 pupil of Autoine Neukomm on the piano- 
 forte, of Amcdee Mereaus in harmony, 
 counterj^oint and fugue, and profited much 
 by the advice of Mej'erbeer. He was presi- 
 dent of the musical committee which cele- 
 brated the centenary of Boieldieu in 1875. 
 Medal of honor from Eouen Academy, 1802. 
 Works — Operas: Sous les charniilles, comic 
 opera, given at the Theati'e Lyrique, 1862 ; 
 Le bon temps, musical drama, Paris and 
 Eouen, 1803 ; Cardillac, Theatre Lyrique, 
 1867. — Fetis, Supplement, i. 230 ; Mendel, 
 Ergilnz., 76. 
 
 D-Am^EEGNE, ANTOINE, born at 
 Clermont-Ferrand, Oct. 4, 1713, died in 
 Lyons, Feb. 12, 1797. Violinist and dra- 
 matic composer. Son and pupil of a clever 
 violinist who was leader of the band at 
 Clermont. In 1739 he went to Paris, where 
 he plaj'ed in the Concerts Spirituels in 1740, 
 and became violinist of the king's band in 
 1741, and of the Opera in 1742. He was 
 forty years old when he first began com- 
 posing for the stage. His first work was 
 a ballet : Les amours de Tempe, 1752. His 
 opera-comique, Les troqueurs, attracted 
 notice in 1753, for uj) to that time what is 
 now opera-comique had been merely a 
 vaudeville with music introduced, and was 
 
 called comedie a ai-iette. Les troqueurs 
 was more like the Italian intermezzo with 
 spoken dialogue instead of recitative, and 
 ojjened a new field for French composers, 
 and had great success. He bought the ap- 
 pointment of composer to the king in 1755, 
 and also the succession to the post of cham- 
 ber-musician, and had to resign his place 
 at the OiJura. Mondonville gave up the 
 Concerts Sjjirituels in 1762, and Dauvergne 
 took his place ; and he was conductor of 
 the Opera from 1751 to 1755, director in 
 1776, 1777, 1780 to 1782, and from 1785 to 
 1790. He was also superintendent of the 
 king's music, and chevalier of the order of 
 Saint-Michel in 1786. At the outbreak of 
 the Eevolution he left Paris and retired to 
 Lj'ons. Works — Operas : Les amours de 
 Tempe, ballet, given at the OiJcra, 1752 ; 
 Les troqueurs. Opera Comique, 1753 ; La 
 coquette trompoe, at court, 1753 ; Enee et 
 Lavinie, Opera, 1758 ; Les fetes d'Euterjje, 
 Canente, 1760 ; Hercule mourant, 1761 ; 
 Pyrrhus et Polyxene, 1764 ; La Venitienne, 
 1708 ; Persee (with Eebel, Francceur and 
 de Burj-, at court, 1770 ; Le prix de la va- 
 leur, 1770 ; Callirhoe, 1773 ; Linus (with 
 Trial and Berton) ; La tour enchantee ; 
 Orphee. The last three were never played. 
 He wrote also the music of fifteen motets 
 played at the Concerts Spirituels ; Book of 
 trios for two violins and basso, published 
 in 1740 ; Book of sonatas for the violin ; 2 
 books of symphonies, in four parts (1750). 
 —Grove ; Mendel ; Fetis. 
 
 DAVAUX, JEAN BAPTISTE, born at the 
 Cote Saint-Andre (Isere) in 1737, died in 
 Paris, Feb. 22, 1822. Violinist, acquired 
 early j)roficiency in music, and at the age 
 of twenty-three went to Paris, where he 
 soon obtained success as a composer. After 
 the revolution he held a position in the 
 ministry of war, and was pensioned in 1815. 
 Works : 6 quartets, op. 1 ; do., op. ; do., 
 op. 9 ; do., op. 10 ; Four concertos, op. 2 ; 
 Symphonies concertantes for two violins, 
 op. 3 and 4 ; 2 do. for violin, op. 7 ; 3 sym- 
 phonies for grand orchestra, op. 8 ; 2 sym- 
 
 398
 
 DAVID 
 
 plioiiies, op. 11 ; 2 do. coneertantes for two 
 ■violins and tlute, op. 12 ; 2 do. for two vio- 
 lins, op. 13 ; 3 quartets, o-p. 14 ; do., op. 17 ; 
 3 trios for two violins and viola, op. 15 ; 
 Synijjlionie concertaute for two violins, op. 
 16 ; Concerto for violin, op. 18. — Fctis. 
 
 DAVID, oratorio, by Sigismund Neu- 
 komm, written for the Birmingliam (Eng- 
 land) Festival, 1834 
 
 DAVID, biblical ofjera in three acts, text 
 by Alexandre Soumet and F. Malletille, mu- 
 sic by Auguste Mermet, represented at the 
 Acadt'niie Royale de Musique, Paris, June 3, 
 1840. The libretto is an adaptation of the 
 tragedy of Saiil by Soumet, previously pro- 
 duced at the Odcon. Davide, Italian opera, 
 text by Apostolo Zeno, music by Francesco 
 Conti, given in Vienna, 1724 ; and music 
 by Liverati, same text, Vienna, 1802. 
 
 DAVID, FELICIEN, born at Cadenet, 
 France, April 13, 
 1810, died at Saint- 
 Germain -en - Lay e, 
 Aug. 29, 18 70. 
 The son of an ac- 
 complished ama- 
 teur, he began to 
 show musical tal- 
 ent at a very early 
 age. About 18 K! 
 or 1817 his family 
 moved to Aix, where he entered the Mai- 
 trise (school) du Saint-Sauveur, and became 
 a chorister at the cathedral. Even at this 
 early j)eriod he wrote hymns and motets ; 
 a string quartet, written at the age of thir- 
 teen, is preserved at the maitrise. In 1825 
 he entered the Jesuit college at Aix, con- 
 tinuing his musical studies, and acquiring 
 some proficiency on the violin. At this 
 period he also develojjed an astonishing 
 musical memory. When he left college, in 
 1828, want of means forced him to enter his 
 brother-in-law's law olSce, but soon after- 
 wards he was appointed second conductor 
 at the Aix Theatre, which post he held for 
 a year, when, in 182!), he was made maitre 
 de chapelle at the Saint-Sauveur. This post 
 
 also he held for only one year, during which 
 he wrote some church music, among other 
 things a " Beatus vir," which Cherubini 
 afterwards praised highly. In 1830 he went 
 to Paris to complete his musical education, 
 his uncle giving him a moderate allow- 
 ance. He entered the Conservatoire, study- 
 ing harmony under Millot and Eeber, and 
 counterpoint and fugue under Fi'tis. In 
 1831 David joined the Saint-Simouiens, 
 and lived for some time at the convent 
 presided over by Pere Eufantin, writing 
 music for the hymns of the brotherhood. 
 When the latter was dissolved in 1833, 
 David went to Marseilles and thence to 
 the East, where he stayed several years, 
 visiting Constantinople, Smyrna, Egypt, 
 and Palestine. He always had a pianoforte 
 with him, the gift of an admiring maker 
 at Lyons. Soon after his return to Paris, 
 in 1835, he j)ublished a set of Melodies 
 orientales for pianoforte, a work which 
 met with undeserved neglect. Disai^iiointed 
 at this failure, David retired to the neigh- 
 borhood of Igny. A good deal of orches- 
 tral and chamber music and several songs 
 belong to this period. In 1841 he again 
 moved to Paris, and in 1844 brought out 
 his Le Desert, which has ever since been 
 his most successful work. This was fol- 
 lowed in 1846 by Moise au Sinai, an ora- 
 torio written during a concert trip to Ger- 
 many, and next year by the descrijjtive 
 symphony, Christophe Colomb ; Eden, a 
 Mystery, was given at the Opera in 1848, 
 but none of these three works was suc- 
 cessful. David's first genuine success after 
 the Desert was the opcra-comique. La perle 
 du Br6sil (1851). This was followed by 
 other more or less successful operas until 
 1865, when David withdrew from the stage. 
 In 1860, he received a pension of 2,400 
 francs from the Emperor, in 1862 he was 
 promoted to the grade of oflicer of the 
 Legion of Honour, and in 1807 the Academic 
 des Beaux-Arts awarded him the prize of 
 20,000 francs oft'ered by the Emperor " for 
 the work or discovery most calculated to
 
 11 AVID 
 
 honour the country, and produced during- 
 the last ten years." David had two prom- 
 inent competitors, Charles Blanc, with his 
 " Grammaire des arts du dessin," and the 
 architect Labrouste, who had restored the 
 Imperial Library. The work which ob- 
 tained the prize for David, by a vote of GO 
 out of 104, was the opera Herculanum. In 
 18G9 David succeeded Berlioz at the Aca- 
 demie des Beaux-Arts, and as librarian at 
 the Conservatoire. Since his death several 
 of his works, notably Le desert, Lalla 
 Roukli, and some string quartets, have been 
 revived in Paris with much success. David 
 was certainly one of the most genial of 
 modern French composers ; his genius was 
 rather of the dreamy, contemplative, and 
 imaginative stamp, refined and elegant, but 
 almost wholly lacking in dramatic power. 
 His mastery of the orchestra was complete, 
 and his power of musical characterization 
 (tone-painting, as it is now called) especially 
 astounding. His sojourn in the East had a 
 strong determining influence upon the char- 
 acter of his musical thought ; his local colour 
 is surprisingly true whenever he deals with 
 oriental subjects. Like Berlioz, he was a 
 little in advance of the musical taste in 
 France in his time, and he can divide with 
 that composer the honor of founding the 
 modern French descriptive orchestral school. 
 Works — Operas : La perle du Bresil, given 
 at the Theatre Lyrique, 1857 ; Herculanum, 
 Opera, 1859 ; Lalla Koukh, Opera Comique, 
 1862 ; Le Saphir, ib., 1865 ; La captive, not 
 performed. Le desert, ode-symphony, 1844 ; 
 Christophe Colomb, do., 1847 ; Mfdise au 
 Sinai, oratorio, 1846 ; JJEden, mystery in 
 two parts, Opera, 1848 ; Symphony in F ; 
 2 nonets for wind instruments ; Les quatre 
 saisons, 24 quintets for 2 violins, viola, 
 
 violoncello, and double bass ; 12 melodies 
 for violoncello ; Les brises d'Orient, coUec- 
 
 
 tion of melodies for pianoforte ; Les mina- 
 rets, 3 melodies for do. ; Les perles d'Ori- 
 ent, 6 melodies for voice and pianoforte ; 
 Many detached melodies and romances. 
 — Sylvain Saint-Etienue, Biog. de Felicien 
 David (Marseilles, 1845) ; Azevedo, Felic. 
 David, sa vie et son oeuvre (Paris, 1863) ; 
 Clement, Mus. celebres, 533 ; Fetis ; do., 
 Supplement, i. 240 ; Mendel ; Eiemann. 
 DAVID, FERDINAND, born at Ham- 
 burg, Germany, Jan. 
 19, 1810, died at 
 Klosters, Switzer- 
 land, July 18, 1873. 
 Violinist, ytwpW at 
 Cassel of Spohr in 
 1823-26, and while 
 still a boy, made sev- 
 eral concert tours 
 with his pianist sis- 
 ter, Louise, after- 
 wards famous as Mme Dulcken. He then 
 played in the orchestra of the KOnigstiidter 
 Theater, Berlin, for three yeai-s, led a string 
 quartet in Dorpat, Russia, for an amateur, 
 Liphardt, whose daughter became later his 
 wife. During his stay in Russia he gave 
 concerts in Moscow, Riga, and St. Peters- 
 burg. In 1835 he returned to German}', 
 and the next year was appointed Conzert- 
 meister of the city, opera, and Gewandhaus 
 orchestra of Leipsic, an office he honorably 
 filled until his death. When the Leipsic 
 Conservatorium was founded, he became 
 its professor of the violin, and among his pu- 
 pils were Joachim and Wilhelmj. He was 
 an intimate friend of Mendelssohn, and for 
 years his influence was great in the musical 
 circles of Leipsic. Though eminent as a vir- 
 tuoso, he was especially noted as a quartet- 
 player, and as a leading first violin he had 
 a rare gift of inspiring his orchestra. His 
 compositions are valuable, and he has fur- 
 ther done good service by editing manj' for- 
 gotten classics from the violin literature of 
 former centuries. Works : 5 violin concer- 
 tos ; Variations, capriccios, rondos, and other 
 violin music ; 2 symphonies ; Bunle Reihe, 
 
 400
 
 '^mv^Kc
 
 DAVID 
 
 pieces for ijianoforte ami violin, fraiiscribetl 
 for jnanoforte by Liszt ; Violinscliule, cue 
 of the best instruction books ; Hans Wacbt, 
 an opera ; a sextet, quartet, and other cham- 
 ber music ; Die hohe Schule des Violin- 
 spiels, the works of 17th and IStli cen- 
 tury masters. La !Mara (Marie Lipsius) 
 gives a list of fifty works with ojius uum- 
 
 ber, besides the editions of other composers. 
 — Grove ; Allgem. d. Biogr., iv. 784 ; Eck- 
 ardt, r. David u. die Familie Mendelssohn 
 (Leipsic, 1888) ; Fetis, ii. 440 ; Sup., i. 239 ; 
 Mendel ; do., Ergiiuz., 77 ; Wasielewski, 
 Die Violine, 339 ; Hart, The Violin, 433 ; 
 La Mara, jMus. Studienkopfe, iii. 53 ; Mus. 
 Wocheublatt, iv. 513. 
 
 DAVID, S.\j\roEL, born in Paris, Nov. 
 12, 183(5, still living, 1888. Dramatic com- 
 poser, pupil at the Conservatoire, where he 
 took the first prize in solfcge in 1850 ; pu- 
 pil of Bazin in harmony and accompani- 
 ment, winning the second j)rize in 1853 and 
 the first in 1854 ; and pupil of Halcvj' in 
 fugue, taking the first iM'ize in 1855. He 
 was director of singing at the Theatre Ly- 
 rique in 1856, won the grand prix de Rome 
 at the lustitut in 1858, for his cantata 
 Jephti', and in the same year the gold 
 medal for the cantata Le genie de la terre, 
 written for the International Orj)heonic Fes- 
 tival of 1859, and sung by six thou.sand 
 voices. On his return from Rome in 1861, 
 he became i^rofessor at the college of Sainte- 
 Barbe, and wrote a theoretical and practical 
 work: " LArt de jouer en mesure," pub- 
 lished in 1862. In 1872 he was made di- 
 rector general of music to the Jewish 
 synagogues of Paris. Works : La peau 
 de Fours, operetta, given at the Folies 
 Nouvelles, 1857 : Les chevaliers du poig- 
 nard, Mademoiselle Sylvia, given at the 
 
 Opt'ra Comique, 1868 ; La foe dcs Bru- 
 yeres ; La gageure, Une Dragonnade, L'tdu- 
 cjtion d'un prince ; Absalon ; Les chan- 
 geur.s, Tu I'as voulu, operetta, BoutFes Pari- 
 siens, 1869 ; Le bien d'aiitrui, do., 1869 ; 
 Un caprice de Ninon, do., 1871 ; I Macca- 
 bei, grand Italian opera. He wrote four 
 symphonies, choruses, and some vocal mel- 
 odies, of which Le gui'. Si j'l'tais seigneur, 
 A Conchita, Sonnet, Le soutien, Chantez 
 encore, Le souvenir, are the most popular. 
 —Fetis, Supi^lement, i. 241 ; Mendel, Er- 
 giinz., 77 ; Riemanu. 
 
 DAVIDDE PENITENTE, ItaUan cantata 
 for three solo voices, chorus, and orchestra, 
 by Mozart, compiled from his mass in C 
 minor, composed 1783, and two concert 
 arias, composed 1785 ; first performed in 
 the Burg Theater, Vienna, at the concert for 
 the pension fund of musicians' wido\vs, 
 March 13 and 17, 1785. The solo singers 
 were Friiulein Cavalieri, Fraulein Distler, 
 and Herr Adamberger. The cantata, which 
 comprises ten numbers, is one of the best 
 examples of Mozart's church style. Pub- 
 lished by Breitkopf & Hiirtel (Leipsic), Mo- 
 zarts Werke, Cantaten und Oratorien, No. 
 5.— Jahn, iii. 395 ; KOchel, 374 ; Upton, 
 Standard Cantatas, 274. 
 
 DAVIDOFF, KARL, born at Goldiugen, 
 Courland, March 15, 
 1838, still living, 
 1888. Violoncellist, 
 pupil of H. Schmitt 
 at Moscow, where he 
 took the course in 
 mathematics at the 
 University in 1854- 
 58. Having studied 
 the violoncello under 
 Schuberth, of St. Petersburg, and harmony 
 under Hauptmann, at Leipsic, he made his 
 first appearance there in a Gewaudbaus 
 concert, Dec. 15, 1859, and was immedi- 
 ately appointed first violoncellist of the Ge- 
 wandhaus orchestra and professor at the 
 Leipsic Couservatorium. In 1862 he was 
 made solo violoncellist to the Emijeror of 
 
 401
 
 DAYIDSEtrXDLER 
 
 Russia aud iu the orchestra of the new Rus- 
 sian music society, and was also engaged as 
 professor in the St. Petersburg Conserva- 
 tory, of which he became director iu 187G. 
 He has jshij-ed in the chief cities of Russia, 
 Germany, Hohand, aud Belgium, as well as 
 iu London and Paris, aud rauks very high 
 as a virtuoso. Order of Vladimir, 1879. 
 Works : Concertos, a ballad, aud a song with- 
 out words for the violoncello ; Songs ; Piano- 
 forte music. — Grove ; Fetis, Sufjplement, i. 
 2-42 ; Mendel, iii. 83 ; do., Ergiinz., 78. 
 
 DAVIDSBUNDLER, MARCHE DES. 
 See CarnavaL 
 
 DA\1DSBUNDLERTANZE DIE (The 
 Davidsbiindler Dances), 18 character jjieces 
 for the jjianoforte, by Robert Schumauu, 
 op. 6, dedicated to Walther von Goethe, 
 composed 1837, imblished in February, 
 1838. The Davidsbiindler (Davidites) was 
 an imaginary secret society of Schumauu 
 and his friends, banded together, like Da- 
 vid aud his companions against the Philis- 
 tines, in ojjposition to the fashionable salon 
 music of the day. They appeared chiefly in 
 the columns of Schumann's periodical, the 
 Neue Zeitschrift fiir Musik, though their 
 names are found in some of his composi- 
 tions also. Iu this work no one of the 
 numbers is in dance measure, the title be- 
 ing in allusion to the idea which inspired 
 the work, meaning dances which the David- 
 ites had with the Philistines. Each num- 
 ber bears the mai-k either of Florestan (F), 
 or of Eusebius (E), or of both, two con- 
 trasted individualities, in which Schumann 
 strove to personify the two most prominent 
 traits of his character, dreamy tenderness 
 and mysticism as Eusebius, and passionate 
 energy as Florestan. — Reissmann, G2. 
 
 DAVISON, JAMES WILLIAM, born in 
 London, Oct. 5, 1815, died at Margate, 
 March 24, 1885. Composer, pupil of Will- 
 iam Henry Holmes, and of Macfarren. He 
 was musical critic of the Times and the 
 IMusical World. Works — Pianoforte music : 
 Dramatic overture to the fairy tale of Fortu- 
 iiatus ; 4 bagatelles a la valse, op. 4 ; First 
 
 sonata, op. G ; Tarantella, op. 7 ; 3 sketches, 
 op. 8 ; Romance, oj). 11 ; Songs. 
 
 DAVY, JOHN, born at Upton Helion, 
 near Exeter, Eugland, in 17G5, died in Lon- 
 don, Feb. 22, 1824. Dramatic composer, 
 articled in 1777 to Jackson, of Exeter, aud 
 after teaching in that city several years, 
 went to London, where he played the violin 
 in the orchestra of Covent Garden Theatre, 
 and taught music. He composed the music 
 for the following dramatic jiieces : What a 
 blunder, 1800 ; Perouse (with J. Moorhead), 
 1801 ; The Brazen Mask (with Mountain), 
 1802 ; The Cabinet (with Braham and 
 others), 1802 ; The Caffres (with others), 
 1802 ; Red Roy, 1803 ; The Miller's Maid, 
 Harlequin Quicksilver, 1804 ; Thirty Thou- 
 sand (with Braham and Reeve), 1805 ; Span- 
 ish Dollars, Harlequin's Magnet, 1805 ; The 
 Blind Boy, 1808 ; The Farmer's Wife (with 
 others), 1814 ; Rob Roy Macgregor, 1818 ; 
 Woman's Will a Riddle, 1820. He wrote 
 also au overture to Shakespeare's Tempest, 
 six quartets for voices, and six madrigals 
 for four voices. Some of his songs, such as 
 Just like love. May we ne'er want a friend, 
 The Death of the Smuggler, and especially 
 The Bay of Biscay, Avere popular in their 
 day. — Fetis ; Grove ; Mendel. 
 
 DAYAS, WILLIA:M HUMPHRIES, born, 
 of English and American parentage, in New 
 York, Sept. 12, 18G4, still living, 1888. Pi- 
 anist ; studied in New York the joianoforte 
 and thorough bass under Samuel Jackson, 
 and later counterpoint aud the organ un- 
 der Warren, and the pianoforte under S. 
 B. Mills and Joseffy. After serving as or- 
 ganist of the Fifth Avenue Presbyterian 
 Church, New York, and of St. Andrews, 
 Harlem, he went, about 1881, to Europe, 
 and studied first, in Lcipsic, the jiianoforte 
 under Kullak and counterpoint with C. A. 
 Haupt ; and then in Berlin the pianoforte 
 under Heinrich Ehrlieh, and composition 
 and orchestration iiiider Heinrich Urban ; 
 he was also under Liszt's instruction at 
 Weimar for several summers. In 1888 he 
 made a concert tour iu Germany with Miss 
 
 402
 
 dea 
 
 Anna Seiikrali (Harkness), the violinist ; at 
 present be is settled iu Weimar. Works : 
 Polonaise for pianoforte, op. 1 ; 2 pianoforte 
 sonatas, op. 4 ; Sonata for tlie organ, op. 
 5 ; 6 psalms for mixed chorus, op. 6 ; So- 
 nata for the organ. No. 2, op. 7 ; Suite 
 for string orchestra, performed at Weimar, 
 1886; Quartet for strings; Sonata for pi- 
 auoforte and violin ; 20 songs. 
 
 DEA, opura-comique iu two acts, text by 
 Cormon and Michel Carre, music by Jules 
 Cohen, represented at the Oj)era Comique, 
 Paris, April 30, 1870. 
 
 DEANE, THOMAS, flourished in the 
 17th and 18th centuries. He was organist 
 at Warwick and at Coventry, and received 
 the degree of Mus. Doc. at Oxford in 1731. 
 He composed a service and other church 
 music ; and the instrumental music for Old- 
 mixon's tragedy. The Governor of Cyprus 
 (1703). Many compositions for the violin 
 by him are iu the collection called The Di- 
 vision Violin. — Grove ; Mendel. 
 
 DEARLE, EDWARD, boruiu Cambridge, 
 England, in 180G, still living, 1888. Or- 
 ganist of St. Paul's, Deptford, 1827, of oth- 
 er parish churches, and of the church at 
 Newark iu 183.5-G4. Received the degree 
 of Mu.s. Bac, Cambridge, iu 1836, and Mus. 
 Doc, 1842. He was one of the founders of 
 Trinity College, London, of which he is a 
 member of the couueil. Works : Israel iu 
 the Wilderness, oratorio, 1879 ; Morning 
 aud Evening Service in F (1832); Turn 
 Thee again, Thou God of Hosts, anthem 
 (Gresham gold medal, 1837) ; Volume of 
 Church Music (1838) ; Magnificats and 
 Nunc dimittis. Authems : The desert shall 
 rejoice ; Rend your hearts ; With angels aud 
 archangels ; By the waters of Babylon ; God 
 is a spirit ; Part-songs, and songs, etc. 
 — Brown. 
 
 DEATH OF NELSON, THE, a popular 
 English song, written by S. J. Arnold, and 
 first sung iu Loudon, in the opera called 
 The Americans, by John Brahani, as Wil- 
 mot, iu 1811. The first verse is an adapta- 
 tion of au old song, or ode, written on the 
 
 death of the Duke of Cumberland. The 
 song is commonly erroneously attributed 
 to Dibdin.— Notes aud Queries, 4th Series, 
 si. 28 ; .5th do., i. 314. 
 
 DEBILLEMONT, JE.iN JACQUES, 
 born at Dijon, Dec. 12, 1824, died in Paris, 
 Feb. 14, 1879. Dramatic composer, pupil 
 of Alard in Paris, and member of the or- 
 chestra of the Opera Comique. He studied 
 composition under Leborne and Carafa, re- 
 turned to Dijon, and brought out several 
 operas and other works. In 1839 he set- 
 tled iu Paris, where he conducted several 
 prominent orchestras, directed the concerts 
 of the Soeicte des Beaux-Arts about 18G5, 
 was chef d'orchestre to the theatre of the 
 Porte Saint-Martin, and a well-known teacher 
 and musical critic. Works — Operas : C utait 
 moi, Bouffes Parisiens, 1860 ; As-tu dejeflne, 
 Jacquot?, Theatre Dejazet, 1860; Asta- 
 roth. Theatre Lyrique, 1861 ; Uu premier 
 avril, Bouffes Parisiens, 1862 ; Les inva- 
 lides du travail, cantata ; La viperine, Folies 
 Mariguy, 1866 ; Napoleon devant les peu- 
 ples, cantata, 1867 ; Le grand-due de Ma- 
 tajja, Le mousseline club. Menus Plaisirs, 
 1868 ; Roger Bontemps, Fantaisies Pari- 
 sienues, 1869 ; La revanche de Candaule, 
 1869 ; Le pantalon de Casiniir, 1873 ; Le 
 treizieme couj) de minuit. Theatre du Cha- 
 teau d'Eau, 1874 ; Le miroir magique, bal- 
 let, Porte Saint-Martiu, 1876 ; Les trois 
 sultanes. Others not yet produced : Les 
 noces de Paiuu-ge, La Florinde, Les peches 
 de Monsieur Jean, Les esclaves d'Athys, 
 Vercingetorix, grand opera, Bocchori.s, La 
 cour de Tulipauo.— Fetis ; do.. Supplement, 
 i. 244. 
 
 DEBORA, oratorio, by Jean Francois 
 Lesueur, composed in 1828. 
 
 DEBORAH, oratorio iu three acts, test 
 by Samuel Humphreys, music by Handel, 
 first performetl at the King's Theatre, Lon- 
 don, March 17, 173.3. The score of this, 
 Handel's second oratorio, dated Feb. 21, 
 1733, is in the Buckingham Palace collec- 
 tion. It contains some of his finest music, 
 and the overture is one of the best he ever
 
 DECKER 
 
 wrote. Characters represented : Deborah, 
 Barak, Abiuoain, Sisera, Jael, 1st Israelite 
 woman, 2d do., 3d do., Chief Pi'iest of 
 Israelites, Chief Priest of Baal, Choiiis of 
 priests and Israelites, Chorus of pi-iests 
 of Baal. Published first by Walsh; full 
 score by Hiiudelgesellschaft (Leijjsic, 1869). 
 — Rockstro, Handel, 183 ; Schoelcher, Han- 
 del, 127 ; Chrysander, ii. 281. 
 
 DECKER, CONSTANTIN, born at Filrs- 
 tenau, Brandenburg, Dec. 29, 1810, died iu 
 18G8. Pianist and dramatic composer, first 
 instructed by his father, afterwards in Ber- 
 lin pupil of Dehn in bai'mony and counter- 
 point. Lived at Halle, Leipsic, Breslau, 
 Konigsberg, for several years in St. Peters- 
 burg, and lastlj' at Potsdam. Works — Op- 
 eras: Die Gueusen in Breda (1837) ; Giaffir, 
 der Weiberfeiud (1838) ; Isolde, Grtifin von 
 Toulouse, given at Konigsberg, 1852. Pub- 
 lished works : Quartet for two violins, viola 
 and bass, op. 14 (Leipsic, 1837) ; Grand 
 sonata foriaiauoforte, op. 10 (Berlin) ; Sonate 
 facile, op. 11 (Leipsic) ; Fantasias, op. 8 
 and 22 (Berlin and Leipsic) ; Songs and 
 romances ; Duets, op. G, 12, 13, 19. — Fetis ; 
 Mendel. 
 
 DECKER, JOACHIM, organist, living in 
 Hamburg in the beginning of the 17th cen- 
 tury. His most important work is the book 
 of canticles, and choral music for four 
 voices, written in conjunction with Prae- 
 torius and Seheidemann (Hamburg, 1604), 
 with the following title : Melodej'eu Gesang- 
 buch darinn D. Luthers und ander Christen 
 gebreuchlichsteu Gesenge. — Fetis ; Mendel. 
 
 DECOURCELLE, MAURICE HENRI, 
 born in Paris, Oct. 11, 1815, still living, 1888. 
 Pianist, pupil of Herz on the pianoforte, 
 and of Barbereau in harmony and compo- 
 sition. For years he was the accompanist 
 par excellence in Paris, and every artist of 
 importance had recourse to Lis services. 
 In 1848 he began to teach. Works : 12 
 litudes melodiques, op. 6 ; exercices pro- 
 gressifs, op. 11 ; Repertoire d'exercices, 
 op. 30 ; 20 Etudes caracteristiques, ojd. 33 ; 
 Exercices et preludes, op. 41 ; 3 Nocturnes, 
 
 op. 8 and 10 ; Fantaisie ck'gante, op. 21 ; 
 Galop brillant, op. 25 ; Le couvre-feu, 
 Villanelle, melodies, op. 38 ; L'automue, 
 mulodie, op. 31 ; Chant du matin, oyx 46 ; 
 Dix melodies de Mozart transcrites pour le 
 piano, op. 51 ; Serie de seize ouvertures 
 Cblebres, transcrites pour deux pianos a 
 huit mains. — Fetis, Supjjlement, i. 245. 
 
 DEDEKIND, CONSTANTIN CHRIS- 
 TIAN, born at Reinsdorf, Anbalt-Kothen, 
 April 2, 1G28, died after 1697. Church 
 and chamber composer, pupil of Chris- 
 toph Beruhardi, KajJellmeister at Dres- 
 den. He was musician to the Elector of 
 Saxony, poet laureate, and musical precep- 
 tor. Works : Aelbianische BIusen-Lust, 
 etc., 4 vols. (Dresden, 1G57 ; this consists of 
 175 poems in the form of chansons, from 
 the most celebrated poets) ; Davidisclie 
 geheime Music-Kammer (Dresden, 1G63) ; 
 Siisser Mandel-Kiirnen, erstes und zweites 
 Pfund, von ausgekilrnten Salomonisclien 
 Liebes-Worten, etc., 2 books (Dresden, 
 1G64) ; Belebte oder ruchbare Myrrhen- 
 Bliltter, das sind zweystimmige beseelte 
 beilige Leideus-Liedern (Dresden, 1666) ; 
 Die sonderbare Seelen-Freude (Dresden, 
 1672) ; Musikalischer Jahrgang und Vesjjer- 
 Gesang, 3 parts (Dresden, 1674) ; David- 
 ischer Harfenschall iu Liedern und Melo- 
 deyeu (Frankfort) ; Siugende Sonn- und 
 Festtage-Andachten (Dresden, 1683) ; Mu- 
 sikalischer Jahrgang und Vesper-Gesang in 
 2 Singstimmen und der Orgel (Dresden, 
 1G94).— Allgem. d. Biog., v. 11; Fetis; 
 Mendel ; Riemann. 
 
 DEEPER, AND DEEPER STILL, tenor 
 recitative of Jephtha, iu Handel's Jephlha, 
 Part II. ; usually sung at concerts in con- 
 nection with the air iu Part HI., '• Waft her, 
 angels, through the skies." 
 
 DEERING. See Dering. 
 
 DE FERRARI. See Ferrari. 
 
 DEFESCH, WILLEJI, born iu Amster- 
 dam, close of the 17th century, died in 
 London (?) about 1758-60. Violinist and 
 organist of the Church of Notre Dame at 
 Antwerp, and maitre de chapeUe iu 1725, 
 
 404
 
 deff£:s 
 
 succeeding Alfonso cl'Eve ; dismissed in 
 1731 for cruelty to the choir-hoys. He 
 went to London and ,.;. 
 
 produced there, in 
 1733, an oratorio, Ju- 
 dith, and in 1745, Jo- 
 seph. His published 
 works comjirise sev- 
 eral sets of sonatas 
 and concertos for 
 string and other in- 
 struments, solos for 
 violoncello, a collection of canzonets and 
 airs, and some single songs. He composed 
 also, in 1730, a Mass for four voices and or- 
 chesti-a which is preserved in the cathedral 
 at Antwerp. — Fc-tis ; Grove ; Biog. nat. de 
 Belg., V. 83 ; Mendel. 
 
 DEFFfiS (PIEKRE), LOUIS, born in 
 Toulouse, France, 
 July 25, 1819, still 
 living, 1888. Dra- 
 matic composer, ini- 
 pil at the Conserva- 
 toires of Toulouse 
 and of Paris, at the 
 latter under Halevy 
 and Barbereau in 
 composition, for 
 which he won the 
 Having pursued his 
 studies in Rome, he visited parts of Italy 
 and Germanj-, and returned to Paris in 
 1852. Works : L'ange de Tobie, cantata 
 (1817) ; Symphony for grand orchestra, 
 Acadc'mie des Beaux-Arts, 1851 ; Messe 
 solennelle, Notre Dame, 1857. Operas : 
 L'anueau d'argent, one act, given at the 
 Opera Comique, 1855 ; La clef des champs, 
 one act, ib , 1857 ; Broskovauo, two acts. 
 Theatre Lyrique, 1858 ; Les petits violons 
 du roi, three acts, ib., 1859 ; Le cafe du 
 roi, one act, Theatre Lyrique, 1861, Opera 
 Comique, 1868 ; Les Bourguignonnes, one 
 act, Ems, 1862, Paris, 1863 ; PassC' minuit, 
 Bouffes Parisieus, 1864 ; La boite a sur- 
 prise, one act. Ems, 1861, Paris, 1865 ; La 
 comedie eu voyage, one act. Ems, 1867 ; j 
 
 grand jirix in 1817. 
 
 Les croqueuses de porames, five acts. Me- 
 nus Plaisirs, 1868 ; Petit bonhoinme vit 
 encore, two acts, Boufles Parisieus, 1868 ; 
 Valse et menuet. Ems, 1865, Paris, Theatre 
 de I'Athenee, 1870 ; Le trompette de Cham- 
 borau, Dieppe, 1877 ; Les noces de Fer- 
 iiande. Opera Comi(iue, Paris, 1878. Un- 
 published works : La nuit de noces, Ei- 
 quet a la Houppe, comic operas ; Le mar- 
 chand de Veuise, grand opera, four acts. 
 An operetta. La lanterue magique, was 
 published in the Journal des Demoiselles ; 
 Two masses ; Motets ; Overtures ; Choeurs 
 d'Orphoon ; Patriotic hymns ; Pieces for mil- 
 itary baud ; Romances ; etc. — Fetis, ii. 149 ; 
 do., Sujjpk'ment, i. 247. 
 
 DEGOLA, ANDREA LUIGI, born in Ge- 
 noa in 1778, died ('?). Organist, pupil of Lui- 
 gi Cerro. His first comioosition was a mass, 
 but he afterwards wrote an opera bufta, II 
 medico per forza, performed at Leghorn 
 in 1799, and several minor pieces. Hav- 
 ing become maestro di cajipella of the 
 priuciijal church of Chiavari, he again de- 
 voted himself to church composition and 
 wrote many masses, vespers, hymns, and 
 other sacred pieces. He was at one time 
 organist of a church at Versailles, and gave 
 lessons in singing and harmony in Paris. 
 Published works : L'utile et I'agreable, col- 
 lection of pieces for pianoforte ; Methode 
 de chant; Methode daccompagnement 2Jour 
 le piano, la harjje et la guitare ; Theme 
 varie pour f)iano avec accomjjagnement 
 de c[uatuor ; Several romances. — Fetis; 
 Mendel. 
 
 DEGOLA, GIOCONDO, born in Genoa 
 about 1803, died there, Dec. 5, 1845. Dra- 
 matic composer ; son and pupil of Andrea 
 Luigi Degola, and pupil of Franyois Mi- 
 recki, a Polish pianist. He became a pro- 
 fessor of singing, and composer of nocturnes 
 and romances which were published in No- 
 vara and Milan. His first ojjera, Adelina, 
 was given at Genoa in 1837, and his La 
 donna capricciosa, an opera buffa, in 1889. 
 His best work, Don Papirio Sindaco, was 
 given in Milan, 1841. He brought out a 
 
 405
 
 DEIIAAN 
 
 gi-and cantata, II trionfo di Davide, at Genoa 
 in 1842, and wrote a mass for two choirs 
 with two organs, which was executed iu the 
 same year iu the cathedral at Milan. His 
 opera, Uu duello alia pistola, jMilau, 1843, 
 was not successful. —Fetis ; do., SujJijle- 
 ment, i. 247 ; Mendel. 
 
 DEHAAN. See Haan. 
 
 DEH ! CON TE LI PEENDI See Norma. 
 
 DEHN, SIEGFEIED WILHELM, born 
 in Altona, Feb. 25, 1796, died in Berlin, 
 April 12, 1858. He studied at the Gymna- 
 sium of Plun and became a clever violon- 
 cellist ; finished his education at Leipsic, 
 studied harmony and composition under 
 Bernharil Klein in Berlin, iu 1823, and be- 
 came a finished coutrapuutist. After trav- 
 elling in Germany and Italy, he became 
 librarian of the music department at the 
 Royal Library of Berlin, which he cata- 
 logued and to which he added raauy valu- 
 able works, such as Poelchau's collection of 
 the original MSS. of the Bach family. He 
 scored 500 motets by Orlando Lasso, and 
 published Bach's six concertos for various 
 instruments (1850), and a collection of vo- 
 cal compositions iu 4, 5, 6, 8, and 10 parts 
 called Sammluug iilterer Musik aus dem 
 XVI. und XVn. "jahrh. (Berlin). He suc- 
 ceeded Gottfried Weber as editor of the 
 musical periodical Cacilia ; re-edited Mar- 
 purg's treatise on fugue (Leipsic, 1858) ; 
 and translated Delmotte's work on Orlando 
 Lasso, " Biographische Notiz liber Kolautl 
 de Lattre," Vienna, 1837. He had distin- 
 guished pupils, among them Glinka, Kul- 
 lak, Antou Rubinstein, Friedrich Kiel. He 
 collected much material for FOtis' " Bio- 
 graphie des Musicieus." Theoretical works : 
 " Theoretisch-praktische Harmonie lehre " 
 (Berlin, 1840, 2d ed., Leipsic, 1858) ; " An- 
 alyse dreier Fugen, J. S. Bach's und Bonou- 
 cini's " (Leipsijc, 1858) ; " Lehre vom Cou- 
 trapunkt dem Kanon uud der Fuge " (1859). 
 — Allgem. d. Biogr., v. 27 ; Futis ; Mendel, 
 V. 341 ; Riemann. 
 
 DEH ! VIENI ALLA FINESTKA. See 
 Don Giovanni. 
 
 DEH, VIENI, NON TAEDAR. See 
 
 Nozze di Figaro. 
 
 DEIDAMIA, Italian opera in three acts, 
 libretto by Paolo RoUi, music by Haudel, 
 represented at the Liucolu's luu Fields The- 
 atre, London, Jan. 10, 1741. Deidamia is 
 the daughter of Lycomedes of Scyros, who 
 became the mother of Pyrrhus by Achilles. 
 This, Handel's last Italian opera, with which 
 he took his farewell of the stage, is by no 
 means the weakest of his dramatic produc- 
 tions. The score, the MS. of which is in the 
 collection at Buckingham Palace, is dated at 
 the beginning Oct. 27, 1740, and at the end 
 Nov. 20, 1740.— Rockstro, Handel, 213. 
 
 DEISS, MICHEL, musician to the Em- 
 peror Ferdiuaud I. of Germany, middle of 
 the 10th century-. Iu 15C4 he wrote for 
 the Emperor's obsequies a motet for four 
 voices, Quis dabit oculis nostris, preserved 
 by Pietro Joaunelli in the fifth book of his 
 Thesaurus musicus. This collection con- 
 tains also eight other pieces by Deiss, for 
 five and six voices. Abraham Schad has 
 given some of his motets iu his Prompt- 
 uarium musicuiu. — Fetis. 
 
 DEJAZET, EUGENE, born in Lyons in 
 1825, still living, 1888. Dramatic com- 
 poser, son of Pauline Virginie Dc-jazet, the 
 actress. He began by writing songs which 
 his mother introduced in her roles. In 
 1852 he brought out an opera-comique, Un 
 mariage en I'air. Having bought in Paris a 
 small theatre which he called the Theatre 
 Dejazet, be produced many dramatic works, 
 among them : Fanchette, 1860 ; Double- 
 deux, 18G1 ; La rosiere de quarante aus, 
 1862 ; L'argent et I'amour, 1863 ; La nuit 
 de la mi-carcme, 1864 ; Monsieur de Belle- 
 Isle, La tentation d'Antoine, 1865 ; Les sept 
 baisers de Buckingham, 1866 ; and the mu- 
 sic for several vaudevilles, Le ro3'aume de la 
 betise, Les vacances de Tamour, etc., and 
 several cantatas written for special occa- 
 sions. His .sister, Mile Hermine Dt'jazet, 
 wrote the music of an operetta, Le diable 
 rose, which was given at his theatre in 
 1859.— Fetis, Supplement, i. 247. 
 
 40C
 
 Dfi.TAZET 
 
 DtjAZET, JULES, bora in Paris, IMarcli 
 17, 180G, died at Ivry, Aug. 29, 18iG. Pi- 
 auist, pupil at the Conservatoire of Zinnner- 
 mau on the pianoforte, for which he took 
 the second prize in 18'23, and the first in 
 1824, and of Fctis in composition. Works : 
 Grand trio for pianoforte, violin and violon- 
 (;ello (Paris, Lemoine) ; Duos for pianoforte 
 and violin, op. IS), 24, 31 ; do. for jjiauo- 
 forte and violoncello, op. 2, 13, 39 ; Fan- 
 tasias for pianoforte, op. 3, 20, 22, 30, 35 ; 
 Rondos for do., op. 5, 8, 9, 11, 12 ; Thames 
 varies, valses, romances, etc. — Fetis. 
 
 DEL.4BAREE, LOUIS ALBERT, born 
 in Soissons, July 12, 1809, still living, 1888 (?). 
 Oboe player, pupil in 1832 at the Paris 
 Conservatoire. He studied the oboe also 
 under Vogt, and obtained the 2d prize in 
 1836, and the 1st in 1837. In 1838 he be- 
 came i^rofessor at the Ghent Conservatoire, 
 and member of the orchestras of the theatre 
 and the Casino, and a few years after first 
 oboist of the Royal Theatre, Brussels. Pub- 
 lished works : La I'omanesca, concert piece 
 with quartet or pianoforte ; Morceau de 
 concert, on two of Hah'vy's melodies, with 
 orchestra or pianoforte ; Souvenir d'Irlande, 
 concert jjiece with quartet or pianoforte ; 
 Souvenirs d'Ecosse, idem ; Noel, morceau 
 de salon, oboe and pianoforte ; and others 
 (Paris). — Fetis. 
 
 DELACOURT, HENRI, French musi- 
 cian of the IGth centur^y. In 1547 he was a 
 singer in the Cathedral of Soissons, and 
 afterwards musician to the Emperors Fer- 
 dinand I. and Maximilian H. of Germany. 
 Pietro Joannelli gives six of his motets for 
 four, five, and six voices in " Novus Thesau- 
 rus musicus." — Fotis. 
 
 DELALRE, JACQUES AUGUSTE, born 
 at Moulins (AUier), France, March 10, 1795, 
 died in Paris in September, 18G4. Ama- 
 teur musician and composei-, studied music 
 while practising law ; pupil of Choron, and 
 in harmony of Reicha. He was secretary 
 of the Athi'nee Musical, Paris, in 1830, con- 
 tributor to the Revue Musicale, and for 
 thirty-one years member of the Societe 
 
 Libre des Beaux-Arts, of which he was 
 elected president seven years. He was the 
 author of a number of pamphlets on musi- 
 cal topics published in the annals of that 
 society. Works : Stabat Mater, 4 voices 
 and orchestra (1826-1827) ; La Grece, scene 
 lyrique, chorus and orchestra ; besides, a 
 grand symphony (1830) ; a mass ; 3 quar- 
 tets, quintets, and other music for violin, 
 and romances, published in Paris. — Fetis ; 
 do., Supplement, i. 248 ; Mendel, iii. 103 ; 
 Ergiiuz., 80. 
 
 DE LANGE, SAMUEL, born in Rotter- 
 dam, Feb. 22, 1840, still living, 1888. Pi- 
 anist and organist, son of Samuel de Lange, 
 organist of Rotterdam (1811-1884). After 
 a professional tour with his brother, Daniel 
 de Lange, violoncellist, and a three years' 
 residence in Lemberg, where they were pro- 
 fessors at the Conservatorium, he returned 
 to Rotterdam, and became in 1864 organist 
 of the Walloon Churcli and professor in the 
 musical school. In 1875 he went to Paris, 
 and finally settled in Cologne as professor 
 of the organ and pianoforte at the Con- 
 servatorium. Works : Quartets for string 
 instruments, op. 15, 18 ; Trio for piano- 
 forte, violin and violoncello, op. 21 ; Sere- 
 nade for pianoforte and string instruments ; 
 Symphony for orchestra ; Sonatas for or- 
 gan, 015. 5, 14 ; Marehenbilder for piano- 
 forte, op. 7 ; etc. — Fetis, Supplement, 249 ; 
 Mendel, Ergiinz., 80. 
 
 DE LA RUE (De Larue), PIERRE, born 
 in Picardy, lived at the end of the 15th and 
 beginning of the 16th centuries. He is 
 called also in the old collections de la Ru- 
 ellien and Petrus Platensis. A pupil of 
 Johannes Okeghem, he became a priest, 
 belonged to the chapel of the dukes of 
 Burgimdy from 1545, and was the favourite 
 comi^oser of Marguerite of Austria. In 1501 
 he was prebendary of Coutrai, and later, 
 until 1510, at the church of Saint-Aubin, 
 Namur ; he is said by Bruschius to have 
 composed the Lamentations of Jeremiah in 
 1540, but that would seem to be an impos- 
 sibility, as it would make him a composer 
 
 407
 
 DELATRE 
 
 at a very advanced age. The first publica- 
 tiou containing bis works is Ottavio Petrucci 
 de Fossombrone's " Harmonica Musices Od- 
 becaton," 3 vols. (Venice, 1501), in which 
 are several of bis four-part songs, Tons les 
 regri'S, Pourquoy non, Ce n'est pas, Fors 
 seulement, and Myn beer. The same editor 
 published Canti cento cinquauta (1503), in 
 which are other four-joart songs. Jlisse de 
 la Kue, Beati Yirginis, etc., aj^peared in 
 1503 ; Salve Regina, 4 voc, was inserted in 
 Motetti della Corona (1505) ; and one of his 
 masses in Missarum diversorum, etc., lib. i. 
 (Petrucci, 1508). Fifty of bis masses were 
 published in 1513, and one in 1515, in the 
 volume of Antoiue de Fevin. lu a collec- 
 tion by Andrea Antico da Moutona (Rome, 
 151G), are two other masses for four voices. 
 Liber selectarum Cantionum, etc. (Augs- 
 burg, 1520), contains several of his motets. 
 His works were published also in several 
 richly decorated volumes, about 1530, by 
 the order of Marguerite of Austria, who 
 was a patroness of the arts. One of the 
 volumes, now in the Royal Library of Brus- 
 sels, contains six masses for five voices and 
 one for four. In a collection published at 
 Nuremberg (1538) is a mass for four voices, 
 and in another (1539) are three reprinted 
 from Petrucci's collection. Several of bis 
 chansons are in Selectissimse uecnon fami- 
 liarissimfe cantiones ultra centum (Augs- 
 burg, 1510), and in Tricinia tum veterum, 
 etc., in arte musica sympbouistarum latina, 
 germauica,brabantica et gallica (Wittenberg, 
 1542) ; Several madrigals for four voices 
 were published bj' Gardane (Venice, 1544), 
 and are reprinted by Buruej'. Chansons a 
 deux vols are found iu the collection 
 Bicinia gallica, latina et germanica (Witten- 
 berg, 1545) ; other compositions in Lamen- 
 tationes Hieremifc prophetse (Nuremberg, 
 1549), and in Psalmorum selectorum, etc. 
 (Nuremberg, 1553) ; a motet, Lauda, anima 
 mea, Dominum, is in a collection of motets 
 (Nuremberg, 15G4). In Harmoniie suavissi- 
 niit', etc. (Nuremberg, 15G7) are several of 
 his vocal compositions, and a collection of. 
 
 fugues (Lauingen, Bavaria, 1587) contains 
 some of his oi-gan music. Among the ar- 
 chives of Mechlin is a volume in MS. of 
 four masses composed for the chajjel of 
 Marguerite of Austria ; and the libraries of 
 Munich and of the Pontifical chapel also 
 contain bis MS. — Biog. nat. de Belg., v. 325 ; 
 Ambros, iii. 235. 
 
 DELATRE, CLAUDE PETIT-JAN, 
 Flemish comjDoser from about 1540 to 
 1580. He is best known under the name 
 of Petit-Jan. He was maitre de chapelle to 
 the Bishop of Liege in 1555, and subse- 
 quently master of the choristers of the 
 Cathedral of Vendome. Iu 157G he took 
 the prize of the Silver Lyre at the Puy, 
 or mvisical competition of Evreiis, in Nor- 
 mandy, for a chanson for six voices, begin- 
 ning : Ce riz plus doux. In Hortus !Musa- 
 rum (Louvain, 1552), and in Liber sextus 
 cantionum (Louvain, 1558), Phalesius gives 
 some information about him and some of 
 his compositions. There are five of his 
 chansons in the first three books of the last 
 collection, and twenty-nine in the sixth 
 book, which is entitled : Sixiesme livre des 
 chansons a quatre, nouvellement composez 
 et mises en musicque f)fir Maistre Jehau 
 de Liitre (Louvain, 1555). His compositions 
 also appear in the following collections : 
 Cantiones sacrse (Susato, Autwerjj, 1.54G- 
 1547) ; Recueil de fleurs produictes de la 
 divine musique a trois jDarties de par Cle- 
 mens non Papa, Thomas Cricquillon, et 
 aultres excellens musiciens, premiire, deu- 
 zieme et tiers livres (Louvain, 1560) ; La 
 Fleur des chansons a trois parties, contenant 
 uu recueil produit de la divine musique de 
 Jean Castro, Severin Cornet, Noe Faignient 
 et aultres excellens auteurs, etc. (Louvain, 
 Antwerp, 1574). This collection contains 
 one of his best songs: Aupres de vous. — 
 Fetis ; Mendel, Ergiinz., 80. 
 
 DELATRE, OLIVIER, Belgian musician 
 of the first half of the IGtb centurj-. He is 
 sometimes called Olivier in the collections 
 of that time, especially in Attaignant's, 
 in which are five of bis four-part chansons 
 
 40S
 
 DELATTTJE 
 
 (Paris, 1539-1540). Another of his foiir- 
 2)art chansons is in the Parangou des clian- 
 sous, liv. i., X. (Jacques Moderne, Lyons, 
 1540-1543). A motet for five voices on the 
 text, Sancti niei, is in Sacrarum Caiitio- 
 nuni, etc. (Waeh'ant and Laet, Antwerp, 
 1554-1555). In Jardin Musical, a collec- 
 tion by the same (Antwerp, no date), is a 
 clianson for four voices, beginning, Tant 
 faut-il que soit. — Fotis; Biog. nat. de Bclg., 
 V. 230. 
 
 DELATTKE, PvOLAND. See Lrti^.w. 
 
 DELDEVEZ, EDOUAED MARIE ER- 
 NEST, born in Paris, May 31, 1817, still 
 living, 1888. Violinist, pupil from 1825 at 
 the Conservatoire, where he took the 2d 
 prize for solfege in 1820, and the 1st in 1831 ; 
 then pupil of Habeneck on the violin, win- 
 ning the 2d prize in 1831 and the 1st in 1833. 
 He studied counterpoint and fugue under 
 Halcvy, and took the 2d prize in 1837 and 
 the 1st in 1838 ; and composition under Ber- 
 ton, winning the 2d grand prix de Rome 
 in 1838 for his cantata, Loyse de Moutfort. 
 In 1839 he published in Paris a collection 
 of songs with jjianoforte accompaniment, 
 and in 1840 he appeared at a Conservatoire 
 concert, playing his own ouverture to Rob- 
 ert Bruce, and his prize cantata. In 1859 
 he became second chef d'orchestre at the 
 Opera, and was chef from 1872 to 1877, 
 when he retired. Until 1883 he also con- 
 ducted the Societe des Concerts du Con- 
 servatoire. He is a chevalier of the Legion 
 of Honour. Works : Lady Henrietta, bal- 
 let (3d act) ; Eucharis, ballet, 1844 ; Paqui- 
 ta, ballet, 1846 ; Vert- Vert, ballet, 1851 ; 
 Requiem Mass, 1853 ; First and second sym- 
 phonies, op. 2 and 8 ; Trios for pianoforte, 
 violin, and violoncello, op. ; Mazarina, bal- 
 let, op. 11 ; O salutaris, soprano and tenor, 
 with organ or pianoforte, op. 14 ; Symphonic 
 hero'i-comique, op. 13 ; La vendetta, soprano 
 and tenor, scene lyrique ; Velk'da, scone ly- 
 rique, soprano, chorus, and orchestra, op. 
 17 ; Choeur religieux for soprano, contralto, 
 tenor, and bass, op. 18 ; Le violon enchantc, 
 grand opera, op. 20 ; Yauko, le bandit, bal- 
 
 let, op. 21 ; Quintet for 2 violins, viola, vi- 
 oloncello, and double-bass, op. 22 ; 6 ro- 
 mances sans paroles, op. 24 ; Hymnes a 
 trois voix ; Hymnes a quatre voix ; and a 
 cantata (1853). He has published also : 
 Curiositcs musicales, notes, analy.ses, inter- 
 pretations de certaines particularity's con- 
 tenues dans les oeuvres des grands maitres 
 (Paris, 1873) ; La Notation de la nuisique 
 classique, comparee a la notation de la mu- 
 sique moderne, et de I'execution des petites 
 notes en general; Trilogie, containing: 1, 
 Principe des intervalles et accords ; 2. Re- 
 alisation des partimenti de Fenaroli ; 3, 
 CEuvres des violonnistes celebres depuis 
 Corelli jusqu'ii Viotti, choisies et classee.s ; 
 Transcriptions et realisations d'reuvres an- 
 ciennes. — Fetis ; do., Sujipli'meut, i. 250 ; 
 Mendel ; do., Ergilnz., 81 ; Riemanu. 
 
 DELEHELLE, JEAN CHARLES AL- 
 FRED, born in Paris, Jan. 12, 182fi, still 
 living, 1888. Dramatic composer, piupil at 
 the Conservatoire imder Colet and Adam, 
 winning the first grand prix de Rome, in 
 1851, for his cantata Le prisonnier. From 
 1851 to 185(1 he lived in Rome and Naples, 
 visiting meanwhile the principal cities of 
 Germany. "Works : L'lle d'amour, operetta, 
 given at the Bouftes Parisiens, 1859 ; Mon- 
 sieur Polichinelle, comic opera, Athenee, 
 1873. His paper on the genius of Auber 
 was published in the Correspondance litte- 
 raire in 1861. — Fi'tis ; do.. Supplement, i. 
 251. 
 
 DELGADO, C0S:M0, born in Cartaxo in 
 the 17th century. Portuguese singer and 
 composer of a great deal of music preserved 
 in the Convent of Santo Jeronimo, Lisbon. 
 He is the author of a theoretical work, Ma- 
 nual de musiea, etc., still in MS. — Fetis. 
 
 DELIBES, LI'^O, born at Saint-Germain- 
 du-Val (Sarthe), in 1836, still living, 1888. 
 Dramatic composer, pupil at the Paris Con- 
 servatoire, where he won the second prize 
 for solfege in 1849, and the first in 1850 ; 
 of Le Couppey on the pianoforte, of Bazin 
 in harmony and accompaniment, taking the 
 second accessit for harmony in 1854 ; of
 
 DELIOUX 
 
 Adam iu composition, and of Benoist on [ 
 the orji'an. In 1853 he became accompa- 
 nist at the Theatre 
 Lvrique and organ- i 
 ist of the Church 
 of Saint- Jean et : 
 Saint-Fraufois. In 
 1855 he brought 
 out his first oper- 
 etta, and he soon 
 became a popular 
 dramatic com- 
 poser, one of the 
 best writers of light sparkling music of 
 the modern French school. In 18G5 he 
 gave up his position at the Lvrique to ac- 
 cept that of second chef de chant at the 
 Opera, where he gained new popularity as 
 the composer of the higher class of ballets. 
 In 1880 he became professor of composi- 
 tion at the Conservatoire, and in 188-1 be- 
 came a member of the Institut, as succes- 
 sor to Victor Masse. Works— Operas and 
 ballets : Deux sous de charbon, operetta, 
 given at the Folies Nouvelles, 1855 ; Deux 
 vieilles gardes, do., Six demoiselles a ma- 
 rier, do., ib., 1856 ; Maitre Gritiard, comic 
 opera. Theatre Lyrique, 1857 ; L'omelette 
 a la Follembouche, Bouifes Parisiens, 1859 ; 
 Monsieur de Bonne-Etoile, ib., 18G0 ; Les 
 Musiciens de I'orchestre (with Erlanger and 
 Higuard), ib., 1861 ; Mon ami Pierrot, ope- 
 rette, Ems, 1862 ; Les eaux d'Eras, do., ib.; 
 Le jardiuier et sou seigneur. Theatre Lv- 
 rique, 1863 ; La tradition, Le serpent a 
 plumes, Boutfes Parisiens, 1861 ; Le boeuf 
 Apis, ib., 1865 ; La source, ballet (with 
 Miukous), Theatre Lyrique, 1866; Mal- 
 brough s'en va-t-en guerre, operette (with 
 Bizet, Jonas, and Legouix), Athenee, 1867 ; 
 L'Ecossais de Chatou, fantaisie, Bouffes Pa- 
 risiens, 18()i) ; La cour du roi Petaud, ope- 
 ra-bouife, Variutes, 1869 ; CopjKlia, ou la 
 fille aux j-eux d'email, ballet, Opera, 1870, 
 New York, 1887 ; Le 7-vi I'a dit, comic op- 
 era, Oi^era Comique. 1873,Vienna, 1874 ; Si/I- 
 vie, ou la nymphe de Diane, ballet, Opera, 
 1876 ; Jean de Nivelle, opera-comique. Opera 
 
 Comique, 1880 ; Lakme, do., ib., 1883 ; Le 
 Koi des Montagues ; Le Don Juan Suisse 
 (MS.); La priucesse Eavigotte (do.) ; Alger, 
 cantata. Opera, 1865. As a member of the 
 commission for teaching singing in the 
 government schools at Saint-Denis and at 
 Sceaux, he has written a mass and several 
 choruses for children's voices. He has also 
 written for the Societe Orpheonique choruses 
 for men's voices, such as Les lansquenets, 
 Les pilierari, C'est Dieu !, Avril, Marche des 
 soldats. Pastorale, Trianon, etc., some of 
 which obtained prizes ; and many choruses 
 
 /^ ^^^1^ 
 
 for female voices with orchestra. 
 A collection of Quinze Melodies 
 with j)ianoforte accompaniment, 
 written in the style of the Ger- 
 man Lieder, the most remarkable of which 
 are Myrto, Avril, and Bonjour, Suzon, has 
 been published in Paris, and his 3Iorl d'Or- 
 phee was given there at a concert in 1877. 
 
 DELIOUX DE SAVIGNAC, CHARLES, 
 born at Lorient (Morbihan), in April, 1830, 
 still living, 1888. Pianist, self-taught, and 
 in Paris pupil of Barbereau in harmony, 
 and at the Conservatoire of Halevy in com- 
 position. Works : Yvonne et Loic, comic op- 
 era, given at the Theatre du Gymnase, 1851: ; 
 Marche hongroise, op. 11 ; Fete a Seville, 
 op. 23 ; Le ruisseau, op. 25 ; IMandoline, 
 op. 28 ; Le Son du Cor, op. 34 ; Le Carna- 
 val espagnol, op. 38 ; Les Bohemiens, op. 
 39 ; Les matelots, op. 40 ; Fantaisie sur 
 Faust, op. 54 ; Le lac, op. 88 ; Pensees 
 musicales, op. 89 ; Allegro agitato, op. 94 ; 
 Recueil pour le piano, op. 71-80 ; Vocal 
 Melodies.— Fetis, Supplement, i. 253. 
 
 DfiLIRE, LE, ou les suites d'une erreur 
 (Frenzy, or The Consequences of an Error), 
 opera-comique in one act, text by Saint-Cyr, 
 music by Barton, represented in Paris, Dec. 
 6, 1799. This, rather a drama, than an ope- 
 ra-comique, is one of Berton's best works. 
 
 DE LISLE, See Bougel de Lisle. 
 
 410
 
 BELLA 
 
 BELLA BELLA, DOMENICO, laaestio ! two were posthumous. — Futis ; Clement, 
 di cappella of the Cathedral of Treviso at the Mus. ce-lcbres, 262 ; Meudel ; Kiemaiiu. 
 beginning of the 18th century. Composer DELL' ELISIR IMLRABILE. See Eimre 
 of church and instrumental music. Works : d' Aniore. 
 
 12 Sonatas for two violins, violoncello ohli- DELLER, FLORL\N, born in Wiirtem- 
 gato, and harpsichord (Venice, 1704). The berg about 1730, died in Munich in 1774. 
 following are in the Imperial Library, Vi- He was court composer in Stuttgart in 
 
 enna : 2 masses a cappella, for four voices ; 
 Mass for do. ; Third mass for eight voice.?, 
 with violins and organ ; Mass for two tenors 
 and bass ; Gloria for four voices, with vi- 
 olins and organ ; Requiem Mass a cappella 
 for two tenors, baritone, and bass ; do. for 
 four voices and organ ; Psalm for four 
 voices and orchestra ; 3 Psalms for eight 
 voices, with violins and organ ; Te Deum 
 for six voices ; Veni Creator for four 
 voices and instruments ; Vem sponsa 
 Christi, for do. ; Salve Regina for soprano, 
 with violins, violoncello, and basso coutinuo. 
 — Fctis. 
 
 BELLA MARIA, BOMINIQUE, born in 
 Marseilles in 17G8 (1778 ?), died in Paris, 
 March 9, 1800. Bramatic composer, son 
 of Bominique Delia Maria, mandolin player. 
 He excelled first on the mandolin, and then 
 became a fine violoncellist. When eighteen 
 years old he produced at Marseilles an op- 
 era which, though faulty, showed talent for 
 composition. He studied afterwards the 
 theory of music in Italy for sis years, his 
 last teacher being Paisiello, and, soon after 
 leaving him, wrote six opere bufi'e for sev- 
 eral Italian theatres, three of which were 
 successful. In 1706 he went to Paris, where 
 Alexandre Buval recognized his talent and 
 intrusted him with the music for his piece 
 Le prisonnier, which was wonderfully suc- 
 cessful at the Ojjcra Comique in 1798. He 
 wrote quite rapidly after this, composing 
 six operas in the four following years, but 
 none of these were ever as popular as the 
 first. He died young, leaving much unpub- 
 lished music and fragments of operas. Pub- 
 lished works : L'opera-comique, L'oncle 
 valet, Le vieux chateau, Jacquot, ou I'ecole 
 des mores (1799) ;, La maison des marais 
 (1800) ; La fausse duOgne (1802). The last 
 
 1760, and from 1770 lived in Ludwigsburg, 
 Vienna, and Munich. He is jjrobably iden- 
 tical with the comjjosers Deler and Teller. 
 W^orks : La contessa per aniore, opera ; 
 Orpheus und Eurydice, Pygmalion, Der 
 Sieg des Neptuu, Die beiden Werther, bal- 
 lets ; Church and concert music. — Mendel ; 
 Fctis. 
 
 DELPANE, DOMENICO, born in Rome 
 about 1629. He was cantor of the Pon- 
 tifical Chajjel, \Yhere he was received as so- 
 prano in 1654. He published at Rome a 
 collection of motets for two, three, four-, 
 and five voices. Much of his MS. music 
 is in the archives of the Sixtine Chapel. 
 —Fctis. 
 
 DELPHIS ET MOPSA, opera in two acts, 
 text by Guy, music by Gretry, first rep- 
 resented at the Opera, Paris, Feb. 16, 1803. 
 One of the last efforts of Gretry's muse. 
 
 D^^LUGE, LE, biblical poem in three 
 parts, text by Louis Gallet, for solos, 
 chorus, and orchestra, by Saint-Saens, op. 
 45, first performed in Paris, Concert du 
 Chatelet, March 5, 1876 ; and in Boston, 
 ilass., in the Music Hall, May 7, 1880. 
 
 DELUGE, THE, oratorio, by Frederick 
 Hymen Cowen, given at the Brighton (Eng- 
 land) Festival, February, 1878. 
 
 DEJIANTIUS, CHRISTOPH, born in 
 Reichenberg, 15G7, died in Freiberg, Sax- 
 ony, April 20, 1643. He was cantor at 
 Zittau about 1596, and in 1707 at Freiberg. 
 He composed sacred and secular songs, 
 dances, threnodies and funeral laments, be- 
 sides two elementary works : " Isagoge artis 
 musicte," etc. (Nuremberg, 1605 ; 12th ed., 
 Freiburg, 1671); ''Forma musices, Griind- 
 licher und kurtzer Bericht der Singekunst " 
 (Budissiu, 1592), a very rare work, a copy 
 of which is in the Royal Library, Berlin. 
 
 411
 
 DEMAE 
 
 Some of his music is fouud iu collections of 
 the time ; four eight-jmrt motets in Floii- 
 legium Portense, and a short Domine ad 
 adjuvandum for four voices, iu Proske's 
 Musica Diviua, Lib. Vesperarum. Works 
 mentioned by Fotis : Magnificat (Frank- 
 fort) ; Weltliche Lieder mit 5 Stimmen 
 (Nuremberg, 1595) ; LXXVn auserlesene 
 liebliche Polnischer und Teutscher Ai't 
 Tiintze mit und ohue Texte, etc. (Nurem- 
 berg, IGOl) ; Triades i^recum vespertiuarum 
 ad 8 tonos et modos concinnatfe (Nurem- 
 berg, 1G02) ; Conviviorum Delicije (Nurem- 
 berg, 1608), Couvivalium conceutuum far- 
 rago, etc. (Nuremberg, 1609) ; Corona har- 
 monica, etc. (Leipsic, 1610) ; Threnodiae, 
 etc. (Leipsic, IGll) ; Erster Theil newer 
 teutscher Lieder, etc., Zweiter Theil der- 
 selben (Leipsic, 1615) ; Timpauum mili- 
 tare, etc. (Nuremberg, 1615) ; Te Deum 
 laudamus, 5 voc. (Freiburg, 1618) ; and 
 other church music ; Threnodite, etc. (Frei- 
 berg, 1620).— Allgem. d. Biogr., v. 45 ; Fe- 
 tis ; Riemann ; Mendel. 
 
 DEM.\E, JOHANN SEBASTIAN, born 
 at Gauaschach, near Wiirzburg, June 29, 
 17G3, died at Orleans in 1832. Pupil of 
 Richter, who was maitre de musique at the 
 Cathedral of Strasburg ; having been organ- 
 ist and instructor at Weissenburg for three 
 years, he went to Vienna to profit by the 
 advice of Haydn, and thence to Italy, where 
 he finished his studies under his uncle 
 Pfeifter (Michel Traugott?). In 1788 he 
 went to Paris, and settled at Orleans, where 
 he became organist of Saint-Paterne in 
 1802. — "Works: Three operas; Masses; Te 
 Ueuni with full orchestra ; 6 symphonies ; 2 
 collections of military music for grand or- 
 chestra ; 4 concertos for pianoforte ; 2 do. 
 for violin ; 3 do. for harp ; concerto for 
 horn ; 4 quartets for violin ; 10 works of 
 duos for violin ; 3 duos for horn ; 4 do. for 
 pianoforte and harp ; 4 works of sonatas for 
 pianoforte ; 4 do. for harp ; methods for vio- 
 lin, pianoforte, and" clarinet. His brother, 
 Joseph Detnar (born 1774), was an able 
 violinist and composer. — Fetis ; Gerber. 
 
 DEMELIUS, CHRISTIAN, born at 
 Schlettau, near Aunaburg, Saxony, April 1, 
 1643, died at Nordhausen, Nov. 1, 1711. 
 Church composer, pupil of the organist 
 Chiistoph Knorr, then of Adam Drese, at 
 Nordhausen, where he became cantor in 
 1669.— Works : Vortrab von VI. Motetten 
 und Arien mit 4 Stimmen (Sondershausen, 
 1700) ; Tirocinium musicum, etc. (Nord- 
 hausen). — Allgem. d. Biogr., v. 46 ; Futis ; 
 Gerber. 
 
 DEMERSSEMAN, JULES AUGUSTE 
 EDOUARD, born at Houdschoote, Belgium, 
 Jan. 9, 1833, died in Paris, Dec. 1, \866. 
 Flute virtuoso, pupil at the Paris Conser- 
 vatoire from 1844, studied solfege under 
 Tariot, the flute under Tulou, harmony 
 under Colet, and counterpoint and fugue 
 under Leborue. He won the accessit for 
 solfege and first prize for flute in 1845, 
 when only twelve years old ; first prize for 
 solfi'ge in 1846, and first accessit for fugue 
 in 1852. Works : La Priucesse Ka'ika, oper- 
 etta, 1859 ; fantasias for the flute, and sev- 
 eral orchestral pieces, among which was a 
 concerto for flute with orchestra, played 
 at the Casino concerts. He published also 
 some charming songs, and wrote a series of 
 pieces for Sax instruments. — Fetis, Suj)i)le- 
 ment, i. 257. 
 
 DEMETRIO (Demetrius), Italian opera 
 in three acts, text by Metastasio, first set 
 to music by Caldara and represented iu 
 Vienna, Nov. 4, 1731. Subject, the j'oung 
 Demetrius, son of Demetrius Soter, regains 
 his kingdom, lost by his father through the 
 conspiracy of Alexander Balus. Scene in 
 Seleucia. Characters repi-esented : Cleonice, 
 queen of Syria, in love with Alceste ; Al- 
 ceste, afterwards Demetrio, king of Syria ; 
 Fenicio, a noble, tutor of Alceste and father 
 of Olinto ; Oliiito, a noble, rival of Alceste ; 
 Barsene, confidant of Cleonice and secretly 
 in love with Alceste ; Mitraue, captain of 
 the royal guard and friend of Fenicio. The 
 libretto has been set to music also by 
 the following composers : Johann Adolph 
 Hasse, Venice, 1732 ; Pescetti, London,
 
 DEMETRIO 
 
 1738 ; Dimi, Italy, about 1740 ; Gluck, Ven- 
 ice, 1742 ; Galuppi, Vienna, 1748 ; Nasell, 
 Naples, 1749 ; Perez, Turin, 1752 ; Joni- 
 melli, Parnia, 1753 ; Picoinni, Naples, 17G2 ; 
 Paisiello, Modeua, 17G5 ; Pauipani, Italy, 
 1768 ; Perillo, Venice, 1769 ; Beruascoui, 
 Mannheim, 1772 ; Gugliehni, Turin, 1773 ; 
 Giesnick, London, 1785 ; Tarcbi, Milan, 
 1788 ; and Caruso, Venice, 1791. An opera 
 on the same subject, music by Pallavicino, 
 had been previously produced in Venice in 
 1666. Of a later date are Demetrio, music 
 by Simon Mayr, Turin, 1824 ; and music by 
 Coppola, Turin, 1877. Demetrio e Polibio, 
 music by Eossiui, Eome, 1812, has for its 
 subject the intimacy between Demetrius, 
 son of Pliilip in. of Macedon, when a host- 
 age in Eome, with the historian Polybius. 
 
 DEMETEIO A EODI (Demetrius at 
 Ehodes), Italian ojjera, music by Pugnani, 
 represented at Turin, 1789, on the occasion 
 of the marriage of the Duke of Aosta, has 
 for its hero Demetrius Poliorcetes, King 
 of Macedonia, who conducted a memorable 
 but unsuccessful siege of Ehodes. The 
 subject is treated also in Demetrio a Eodi, 
 music by E. Paganini, Italy, about 1810. 
 
 DEMETEIUS, overture to Schiller's trag- 
 edy of, by Ferdinand Hiller. 
 
 DEilETEIUS, overture to Schiller's trag- 
 edy of, by Joseph Eheinberger, op. 110. 
 
 DE' MIEI BOLLENTI. See Traviata. 
 
 DEMOFOONTE (Demophoon), Italian 
 opera in three acts, text by Metastasio, lirst 
 set to music by Caldara and represented 
 at the Court Theatre, Vienna, Nov. 4, 1733, 
 in honour of the Emjieror Charles VI. 
 Scene in the palace of Demojjhoon, in 
 the Thracian Chersonese. Charactei's rep- 
 resented : Demofoonte, king of Thrace ; 
 Dircea, secretly wife of Timaute ; Creusa, 
 jirincess of Phrygia, destined wife of Ti- 
 mante ; Tiniante, putative hereditary prince 
 and son of Demofoonte ; Cherinto, son of 
 Demofoonte, lover of Creusa ; Matusio, 
 23utative father of Dircea ; Adrasto, captain 
 of the royal guard ; Olinto, a youth, son 
 of Timaute. The libretto has been set to 
 
 music also by Schiassi, Bologna, 1735 ; 
 Fiorillo, Naples, 1735 ; Duni, Italy, about 
 1735 ; Ferandini, Munich, 1737 ; Latilla, 
 Naples, 1738 ; Lampugiiani, Piacenza, 1738 ; 
 Leo, Naples, 1741 ; Gluck, Milan, 1742 ; 
 Verocaj, Brunswick, 1743 ; Graun, Berlin, 
 1746 ; Hasse, Dresden, 1748 ; Perez, Lis- 
 bon, 1752 ; Sarti, Florence, 1753 ; Cocchi, 
 Venice, 1754 ; Bei-nasconi, Munich, 1758 
 and 1766 ; Jommelli, Stuttgart, 1759 ; 
 Vento, Najjles, 1761 ; Piccinni, Naples, 
 1762 ; Majo, Eome, 1764 ; Pami^ani, Italy, 
 1764 ; Wauhal, Eome, about 1764 ; Koze- 
 lucli, Prague, about 1770 ; Aufossi, Eome, 
 1773 ; Mysliweczek, Naples, 1775 ; Paisi- 
 
 Regina Mingotti. 
 
 ello, Venice, 1775 ; Schuster, Forli, 177G ; 
 Felice Alessandri, Padua, 1783 ; Bianchi, 
 Venice, 1783 ; Bertoni, Loudon, 1784 ; 
 Tarchi, Crema, 1786; Gatti, Mantua, 1787; 
 Prati, Venice, 1787 ; Pugnani, Turin, 1788 ; 
 Brunetti, Italy, 1790 ; Federici, London, 
 1791 ; Portogallo, Milan, 1794 ; Giusejipe 
 Maria Sborgi, Florence, 1836. Among the 
 most successful of these settings was that 
 by Johann Adolph Hasse, represented in 
 Dresden in 1748, in whicli Eegiua Mingotti 
 (1728-1807) sang the principal part. Hasse, 
 who was jealous of her, because she was the 
 pupil of his rival Porpora and had eclipsed 
 his wife, the celebrated Faustina, insidi- 
 ously wrote for her an Adagio, with a piz- 
 zicato string accompaniment, with the hope. 
 
 413
 
 DEMOISELLE 
 
 probably, tliat she would sing out of tuue 
 for want of iustrumeutal support. She saog 
 the part, however, iu so faultless a mauner 
 as to win universal ajjplause, and the song, 
 " Se tutti i mali miei," became one of her 
 most successful show pieces. 
 
 DEMOISELLE EN LOTERIE, LA, ope- 
 rette in one act, text by Jaime fils, music 
 by Offenbach, given at the Bouflfes Parisiens, 
 July 7, 1857. 
 
 DE MOL. See 3Iol. 
 
 DEMON. See Damon. 
 
 DEMOPHON, lyric tragedy iu three acts, 
 text by Marmontel, music by Cherubiui, 
 represented at the 02:)era, Paris, Dec. 1, 
 1788. In this, his first French opera, 
 Cherubini broke loose from the light and 
 trivial school characteristic of his previ- 
 ous works, and laid the foundation of his 
 grand style. The libretto is an adaptation 
 of Metastasio's Demofoonte. Another ad- 
 aptation of the same is Dumoishou, lyric 
 tragedy in three acts, text by Desriaux, 
 music by Johann Christoph Vogel, given 
 in Paris, Sept. 22, 1789. This excellent 
 work was reproduced in 1793, and had a 
 considerable success. The overture was 
 long considered a masterpiece. 
 
 DEMOPHOON. See Demofoonte. 
 
 DENEEVE (Denepve), JULES, born at 
 Chimaj', Belgium, in ISli. Violoncellist 
 and dramatic composer, pupil at the Brus- 
 sels Conservatoire from 1833, and on the 
 violoncello of Platel and Demunck ; he won 
 the accessit in 1833, and studied harnionj' 
 and composition under Fetis. He became 
 professor of the violoncello in the Ecole de 
 Musique, and first violoncellist at the the- 
 atre and Societu des Concerts, at Mons, in 
 Hainaut, where he stiU resides, and has suc- 
 cessively become director of the Ecole, con- 
 ductor of the Sociote des Concerts, direc- 
 tor of the Harmonic Society, and in 1841 
 founder and director of the Koland de Lat- 
 tre Choral Society. He received a gold 
 medal for a cantata sung before Leopold I., 
 at Mons, in 1841 ; took the prize given by 
 the Socicto des Ai'ts, Sciences et Lettres of 
 
 Hainaut, for an overture for militarj' band ; 
 won the second prize at the Concours de 
 Bruges for a Hymn of Victory in 1846, and 
 the medal of the Societc Eoyale des Beaux- 
 Arts et Lettres of Ghent, in 1851, for his War 
 Overture with chorus ; and took the second 
 medal at Dunkerque for a symphony with 
 chorus iu 1853. He is a member of the 
 Societe des Beaux-Arts et Lettres of Ghent, 
 correspondent of the Cercle Artistique of 
 Antwerp, and a member of the most impor- 
 tant musical societies in Belgium and the 
 North of France. Works : Kettlj', ou le 
 retour en Suisse, opera-comique, given at 
 Mons in 1838 ; L'Echeviu Brassart, opura- 
 comique, ib., 1845 ; Marie de Brabant, 
 scene lyrique, ib., 1850 ; several cantatas, 
 one sung by six hundred voices at the 
 unveiling of the statue of Orlando Lasso at 
 jNIons, in 1858 ; a requiem, and orchestral 
 music. — Fetis ; Grove ; Mendel. 
 
 DENNE-BAEON, RENE DIEUDONNE, 
 born in Paris, Nov. 1, 1804, died there, Nov. 
 11, 1865. Composer, pupil of Porta and 
 Cherubini, but never more than a clever 
 amateur. He contributed to many music 
 periodicals, and wrote the biographies of 
 musicians in the " Nouvelle biograjihie 
 geuerale." Works : New airs for Vert- Vert, 
 Le brigand, L'alcove, etc. ; Grand Mass 
 for 4 voices and orchestra, hymns, and can- 
 ticles, choruses, ballads, romances, noc- 
 turnes, for the voice, and organ, pianoforte, 
 and orchestra pieces. — Fctis, Sui^islument, 
 i. 258 ; Larousse, vi. 441. 
 
 DENN ER HAT SEINEN ENGELN, 
 double quartet in Mendelssohn's Elias, 
 Part I 
 
 DENTICE, FABRICIO, born in Naples, 
 lived in Rome in the second half of the 
 16th century. Galilei speaks of his clever 
 lute-playing and his talent for composition 
 (Dialogo della Musica, 138). Works : Mise- 
 rere for six voices, now in the Sixtine 
 Chapel, arranged for four voices by Michele 
 Pacini, cantor of the chapel of the Due 
 d'Altaemps ; Motets iu the Eler Collection 
 (MS.), owned by the Paris Conseiwatoire ; 
 
 414
 
 DEXTICE 
 
 Motets for five voices pnlilislied under tlie 
 title, Madrigali sj^irituali (Venice, 1581) ; 
 Antbems for four voices (Venice, 158G) ; 
 Lainentatioui (sic) a 5 voci, aggiiuitovi li Ee- 
 sponsori, Autifone, Benedictus et Miserere 
 (Milan, 1593).— Fetis; Mendel. 
 
 DENTICE, SCIPIONE, born in 1590, 
 died in Naples, in 1G33. Of the same 
 famil}- as Fabricio Deutice, he became a 
 member of the Congregation of the Ora- 
 tory, and a distinguished musician. His 
 first book of Madrigals for five voices was 
 dedicated to the Duke of Ferrara (Naples, 
 1591) ; second, do. (Venice, 1596) ; third 
 and fourth, do. (Naples, 1G02) ; fifth, dedi- 
 cated to Cardinal Aquaviva (Naples, 1007). 
 He wrote also responses, Tenebrro for Holy 
 Week, many liymns, masses, Blagnificats, 
 and a large number of motets. — Fotis ; 
 Mendel. 
 
 DENZA, LUIGI, born at Castellamare, 
 near Naples, in 1S4G, still living, 1888. 
 Noted as a writer of popular songs. Works 
 published by Ricordi. 
 
 DENZI, ANTONIO, Italian singer in 
 Prague, in 1724. Having lost his fortune 
 as manager of the opera at Prague, he com- 
 posed a national opera, Praga nascente da 
 Libussa e Primislao, ^vhich he brought out 
 in 1734. He dedicated this work to the 
 nobles of Bohemia, and played the r(*)le of 
 Ctirad himself, and its success was so great 
 that Denzi repaired his fortune. — Fetis ; 
 Mendel ; Allgem. histor. Kunst-Lexik. fiir 
 Boehmen., i. 321. 
 
 Dt^:PART, CHANT DU. See ChaiU du 
 depart. 
 
 DEPEfiS, JOSQUIN. See Despres. 
 DEPRET, EDMOND, born at Virelles, 
 Belgium, in 1827. Singer, puinl at the 
 Brussels Conservatoire, where he took the 
 first prize for singing in 1845. He went 
 to London in 1859, and, after two years in 
 Italy, returned thither, and studied com- 
 position under Molique. Works : Septet ; 
 Nocturne for the pianoforte ; two trios for 
 voices ; and several pieces of minor impor- 
 tance. At the fete given to liiug Leojjold, 
 
 in 1873, he brought out a grand Te Deum 
 with orchestra at the Church of Saiute- 
 Gudule, Brussels. — Fetis, Supplement, i 
 259. 
 
 DEPROSSE, ANTON, born in Munich, 
 May 18, 1838, died in Berlin, June 23, 
 1878. Di-amatic composer, pupil of the 
 royal school of music, then of E. Doctor 
 on the pianoforte, of Sturz in composition, 
 and of Herzog on the organ and in score 
 reading ; was instructor of the pianoforte 
 at the above school in 1861-G4, and at a 
 music institute in Gotha until 18G8 ; re- 
 turned to Munich in 1871, and settled in 
 Berlin in 1875. Works : Several operas 
 (MS.) ; Die Salbung Davids, oratorio ; 
 Pianoforte music and songs . — Mendel ; 
 Riemann. 
 
 DERCKUM, FRANZ, boin in Cologne 
 in 1812, died May 11, 1872. Dramatic 
 composer, pui^il of F. Schneider, of Dessau, 
 then became in his native city instructor 
 in the Rheinische Musikschule and director 
 of a Gesangverein ; also viola player in 
 a string quartet. His compositions have 
 not been permanently successful. Works : 
 Alda, opera, performed at Cologne in 184G ; 
 Other operas ; String quartets ; Four-jiart 
 songs ; Overtures. — Mendel, iii. 113 ; Er- 
 g'anz., 84 ; Fetis. 
 
 DEREGIS, GAIIDENZIO, born at Agno- 
 ua, near Vereelli, in 1747, died at Ivrea, 
 in ISIG. He studied music at the seminary 
 of Casadadda, Varallo, under Coruola ; went 
 thence to Borgo-Sesia, and became a jiupil 
 of his uncle, Giusejipe Deregis, in composi- 
 tion. He was maestro di cappella of the Col- 
 legio of Ivrea from 1775. Works : Masses 
 and vesjiers with full orchestra, written in 
 a learned style, preserved among the Col- 
 legio MSS.~ Fetis ; Mendel. 
 
 DEE ERDKREIS 1ST NUN DES 
 HERRN, five-part chorus, with fugue, in 
 B-flat major, in Mendelssohn's I'atdus, Part 
 II. 
 
 DER GLAUBE SCHAFFT DER SEELE 
 FLUGEL, bass aria in B minor, with ac- 
 companiment of oboe d' amore, strings com- 
 
 415
 
 DER 
 
 plete, and continuo, in Jobann Sebastian 
 Bach's cantata: "ICer da glaubet und ge- 
 tauft wird." 
 
 DEE HERE GING YOEUBEE, clioius 
 in Mendelssohn's EUas, often known as the 
 whirlwind chorus. 
 
 DEE HOLLE EACHE KOCHT. See 
 Zanherflote. 
 
 DEEDsG (Dealing), EICHAED, born in 
 Kent, England, in the latter part of the 
 16th century, died about 1657. Organist, 
 educated in Italj-. On his return to Eng- 
 land he practised his profession in London, 
 and took the degree of Mus. Bac, Oxford, 
 in 1610. Svibsequently he became organ- 
 ist to the convent of English nuns, Brus- 
 sels, and later organist to Queen Henrietta 
 Maria from the time of her marriage to 
 Charles I., 1625, until she left England. 
 Dering became a Roman Catholic, and died 
 in that faith. Published works : Cantiones 
 sacrse quinque vocum, cum basso continuo 
 ad organum (Antwerp, 1597) ; Cantica 
 Sacra, ad duas et tres voces, composita 
 cum Basso continuo ad organum (London, 
 1662). In Piavford's second set of Cantica 
 Sacra by various composers, are eight mo- 
 tets attributed, but doubtfully, to Dering. 
 The library of the English Harmonic So- 
 ciety has some imperfect MS. sets of parts 
 of the anthem. Unto Thee, O Lord ; the 
 madrigal. The Country Cry ; and some mo- 
 tets and several fancies for viols. — Grove ; 
 Riemann. 
 
 DERNIER JOUR DE ISHSSOLONGHI, 
 LE (The Last Day of Missolonghi), drama 
 in three acts, in verse, text by Ozaneaux, 
 music by Herold, represented at the Odeon, 
 Paris, April 10, 1828. 
 
 DERNIER JOUR DE POMPEI, LE 
 (The Last Day of PomiDeii), opera in four 
 acts and five tableaux, text by Nuitter and 
 Beaumont, music by Victorin Joucii-res, 
 represented at the Theatre Lyrique, Paris, 
 Sept. 21, 1869. Subject from* Bulwer-Lyt- 
 ton's " Last Days of Pompeii " (1831). The 
 same subject had been pi-eviously treated in 
 L' ultimo giorno di Pompeja, Italian opera 
 
 in two acts, text by Tottola, music by Gio- 
 vanni Pacini, given in Naples, Nov. 19, 
 1825, and Paris, Oct. 2, 1830. Alidia, oder 
 die letzten Tage von Pompeji, grand opera 
 in three acts, text by Prechtler, music 
 by Franz Lachner, Munich, April 12, 1839. 
 Die letzten Tage von Pompeji, grand opera 
 in four acts, text by Julius Pabst, music 
 by August Pabst, Dresden, Aug. 17, 1851 ; 
 grand opera, text by Pasque, music by 
 Peter MiiUer, Darmstadt, 1855. lone, ossia 
 I'ultimo giorno di Pompeji, Italian opera in 
 three acts, text by Peruzzini, music by Pe- 
 trella, Milan, Jan. 21, 1858. 
 
 DEENIER ROI DE JUDA, LE (The 
 Last King of Judah), biblical ojjera in two 
 acts, poem by Maurice Bourges, music by 
 Georges Kastuer, executed in the Salle du 
 Conservatoii'e, Paris, Dee. 1, 1844:. This 
 work, which is properly an oratoi'io, has for 
 its subject King Zedekiah, whose overthrow 
 by Nebuchadnezzar was succeeded by the 
 Babylonish captivity. 
 
 DERNlfcRE PENSfeE MUSICALE, 
 (Last Musical Thought), a short jiiano- 
 forte piece in B-flat, by Beethoven, written 
 in 1818, and first published as a supjale- 
 ment to the Berlin Allgemeine Musika- 
 lische Zeitung (Schlesinger) for Dec. 8, 
 1824. Another little pianoforte jiiece, en- 
 titled Derniure pensee de 'Weber, and 
 widely known as 'U^eber's last Waltz, was 
 for some time generally supposed to be a 
 composition of ^Yeber's ; it was, however, 
 written by Reissiger, who was for some 
 time '\\'eber's colleague at the Dresden 
 Q-peva. 
 
 DEROSIERS, NICOLAS, lived in Hol- 
 land about the close of the 17th century. 
 He had been chamber musician to the 
 Electress Palatine at Mannheim. Works : 
 Trois livres de trios pour divers instru- 
 ments ; Ouvertures :\ trois parties et con- 
 certs a quatre, etc. (Amsterdam) ; Douze 
 ouvertures pour la guitare, op. 5 (The 
 Hague, 1688) ; Mt'thode pour jouer de la 
 guitare, reprinted in Paris as, Nouveaux 
 principes de la guitare (1689) ; La fuite 
 
 416
 
 DER 
 
 du roi d'Aiigleterre, for two violins, or tAvo 
 flutes and bass (Amsterdam, 1G89) ; Book 
 of guitar pieces with two second parts for 
 iustruments and basso continiio. — Fetis ; 
 Mendel. 
 
 DER V0C4ELFANGER. See ZauberflOle. 
 
 DER, WELCHER WANDELT DIESE 
 STRASSE. See Zaitherfiote. 
 
 DERX, J W , born at Nymwegen, 
 
 Holland, in 1801, still living, 1888. 'Organist, 
 pupil of F. Hauff. He became organist of 
 the Walloon church in his native place, in 
 1819, and organist of the Mennonite church, 
 Haarlem, in 1830. Works : Organ preludes 
 and pieces, psalms, chorals, and pianoforte 
 music. — Fetis, Supplement, i. 259 ; Mendel, 
 Ergiinz., 84. 
 
 DESAUGIERS, MARC ANTOINE, born 
 at Friijus in 1752, died in Paris, Sept. 10, 
 1793. Dramatic comjioser, studied with- 
 out a teacher, and went in 1774 to Paris, 
 where he first became known by a transla- 
 tion of "Reflexions sur I'Art de Chanter," by 
 J. B. Mancini (Paris, 1776). A great en- 
 thusiast for the revolution, he composed a 
 festival cantata, Hicrodrame, to celebrate 
 the storming of the Bastille, which was per- 
 formed at Notre Dame. He was intimate 
 with Gluck and with Sacchini, for whose 
 obsequies he wrote a Requiem. Works — 
 Operas : Le petit CEdipe, given at the 
 Theatre Italien, 1779 ; Erixene, ou I'amour 
 enfant, Opora, 1780 ; Florine, Theatre Ita- 
 lien, 1780 ; Les deux Sylphides, ib., 1781 ; 
 Les jumeaux de Bergame, ib., 1782 ; L'a- 
 mant travesti, Theatre de Monsieur, about 
 1783 ; Jeannette et Lucas, La jeune veuve, 
 1788 ; Le nu'decin malgre lui, Theatre 
 Feydeau, 1791 ; Les rendez-vous, Theatre 
 de Beaujolais, 1792 ; Belisaire (MS.).— Fe- 
 tis ; Mendel ; Riemann. 
 
 DESBROSSES, ROBERT, born at Bonn, 
 Rhenish Prussia, in 1719, died in Paris, 
 February, 1799. Dramatic composer, mem- 
 ber of the company of the Comedie Italienne 
 from 1743 to 1764. Works, given in Paris : 
 Les amusements champOtres, ballet, 1749 ; 
 Mai, divertissement, 1751 ; Lamour pique 
 
 par une abeille et gui'ri par un baiscr de 
 Venus, ballet, 1753 ; Venus et Adonis, do., 
 1759 ; Les sceurs rivales, opera-comique, 
 1762 ; Le bon seigneur, Les deux cousines, 
 1763 ; Les trois deesses rivales, 1788. 
 — Futis ; do., Supplement, i. 259 ; Mendel, 
 iii. 116 ; Larousse. 
 
 DESBUISSONS, :\riCHEL CHARLES, 
 called Flandrus insulanus, born at LDle 
 about 1520, died before 1573. Singer and 
 church composer, attached to the chapel 
 of the Emperor Ferdinand I. Works : Can- 
 tiones aliquot musicfo, etc. (Munich, 1573) ; 
 13 motets for 5, 6, and 7 voices ; 5 do. for 5, 
 6, and 8 voices ; 3 do. for 5 and 6 voices ; one 
 motet for 12, one do. for 5, and one for 6 
 voices ; 25 motets for from 5 to 12 voices (in 
 Joaunelli's Novus thesaurus musicus, Venice, 
 1568).— Fetis. 
 
 DESERT, LE, symphonic ode in three 
 parts, jjoem by A. Colin, music by Felicien 
 David, given in the Salle du Conservatoire, 
 Paris, Dec. 8, 1844, and afterwards at the 
 Opera Comique. This work, the descnp- 
 tive part of which is very remarkable, ex- 
 cited general enthusiasm and opened the 
 way for the composer to public favour. In 
 1846 it was jjlayed in costume at Aix-la- 
 Chapelle. 
 
 D1-:SERTEUR, LE, drama in three acts, 
 text by Sedaine, music by Monsigny, repre- 
 sented at the Theatre des Italiens, Paris, 
 March 6, 1769. This, Monsigny's best 
 work, was reproduced at the Ojiera Co- 
 mique, Oct. 30, 1843. The air sung by 
 Alexis, "Adieu, chere Louise," was long 
 popular. Der Deserteur, ojiera in two acts, 
 music by Ebell, Berlin, 1799 ; and opera in 
 three acts, text by Ernest Pesque, music by 
 Ferdinand Hiller, Cologne, Feb. 17, 1865, 
 differ in subject from Monsigny's work. 
 
 DESERTO SULLA TERRA. See Tro- 
 vatore. 
 
 DESHA YES, PROSPER DIDIER, 
 French dramatic composer of the 18th 
 century, history unknown. His oratorios, 
 Les Machabees, and Le sacrifice de Jephte, 
 were played at the Concerts Sjsirituels in 
 
 417
 
 DESLANDEES 
 
 1780 and 1786, and bis operas aud ballets 
 were given from 1782 at the Comudie Fran- 
 9aise, but be was never heard of after the 
 close of the Revolution. He wrote, in con- 
 junction with Gretry, Mohul, Dalajrac, Devi- 
 en ne, Solie, Trial fils, Blasius, Kreutzer, 
 Bertou, Cherubiui, and Jadiu, the music for 
 Le eongres des rois, played in 1793 at the 
 Theatre Favart. Works— Comic operas: 
 Le faux serment, L'auteur a la mode, 1786 ; 
 Le paysan a pretention, Berthe et Pepin, 
 1787:"Adele et Didier, 1790; Nantdde et 
 Dagobert, Zelia, ou le mari a deux femmes, 
 1791 ; Suite de Zelia, Melite, ou le pouvoir 
 de la nature, 1792 ; Le petit Orphee, La 
 fin du jour, 1793 ; Bella, ou la femme a 
 deux maris, 1795 ; Don Carlos, 1799 ; 
 Henri de Baviere, 1803. ■ He left sympho- 
 nies for full orchestra in MS., and a book of 
 pieces for wind instruments published by 
 the Conservatoire. — Fetis ; do., SujJiJle- 
 ment, i. 260 ; Mendel. 
 
 DESLANDRES, ADOLPHE EDOUARD 
 MARIE, born in Paris, Jan. 22, 1840, still 
 living, 1888. Organist, pupil at the jCan- 
 servatoire of Leborue in counterisoiut and 
 fugue, and of Benoist on the organ ; first 
 accessit for the organ in 185G, and second 
 l^rize in 1857 ; first accessit for fugue in 
 1857, and first prizes for fugue and organ 
 in 1858 ; honourable mention at the Institut 
 in 1859, and second grand prix de Rome in 
 18G0. He became organist of the church 
 of Sainte-Marie des Batignolles, where his 
 father was maitre de chapelle, and mean- 
 while studied composition. Works : Di- 
 manche et Luudi, comic "opera, given at the 
 Theatre de I'Athenee, 1872 ; Le chevalier 
 Bijou, operetta. Alcazar d'Hiver, 1875 ; Fri- 
 dolin, do., ib., 1876 ; Les sept paroles du 
 Christ, oratorio ; Sauvons nos freres, can- 
 tata ; Mass ; Ode a I'harmonie ; Feuillets 
 d'album, collection of six vocal melodies ; 
 La barque brisee, patriotic ode ; Medita- 
 tions, morceaux concertants for several in- 
 struments, motets, pianoforte pieces, and 
 songs. His brother, Georges Philippe Des- 
 landres (died in Paris, Oct. 12, 1875, aged 
 
 26), was an organist and composer. He 
 had published church compositions. — Fetis, 
 Supplement, i. 261 ; Mendel, Ergiinz., 84. 
 
 DESLOUGES, PHILIPPE, French mu- 
 sician of the 16th century. He composed 
 motets preserved in a collection entitled : 
 Xn. motetz a quatre et cinq voix, composes 
 par les autheurs cy-dessoubz escrijjts, na- 
 gueres inprimes a Paris par Pierre Attai- 
 gnant, etc. (1529) ; and chansons in Pierre 
 Attaignant's collection of four-part songs 
 (1530).— FOtis ; do.. Supplement, i. 261. 
 
 DES3IARETS, HENRI, born in Paris in 
 1662, died at Luneville, Sept. 7, 1741, 
 Dramatic composer. At first a page, he 
 competed for the place of maitre de chapelle 
 to the king in 1683, when Louis XTV. pen- 
 sioned him, thinking him too young for the 
 position. He composed several motets and 
 jiublished some of them under the name of 
 Goujjillier, maitre de chapelle to the king, 
 at Versailles ; and being dismissed therefor, 
 he went to Senlis in 1700, and there mar- 
 ried secretly the daughter of a government 
 official, who rej)orted the case as one of 
 abduction. Desmarets was sentenced to 
 death, but escaped to Spain, and became 
 maestro de capilla to Philip V. ; foiu'teen 
 years later he went to Luneville, where he 
 was made superintendent of music to the 
 Duke of Lorraine. He returned to Paris 
 in the time of the Regency, in 1722, and was 
 pensioned by the Due d'Orleans. Works — 
 Operas : Didon, 1693 ; Circe, 1694 ; The- 
 agene et Chariclee, Les amours de Momus, 
 1695 ; Venus et Adonis, 1697 ; Les fetes 
 galantes, 1698 ; Iphigeuie en Tauride (with 
 a prologue by Campra), 1704 ; Renaud, 
 1722 ; and music for the birth of the Duke 
 of Burgundy (1682). — Fetis; Larousse ; 
 Mendel ; Riemann. 
 
 DE SON CCEUR JAI CALMfi LA FI- 
 f;VRE. See 3Iir;non. 
 
 DESORMERY, JEAN BAPTISTE, born 
 at Nancy, in 1772, died (?). Pianist, pupil 
 of his father, Leopold Bastien Desormery, 
 and of Hulmandel. Works : Sonatas for 
 pianoforte, op. 1, 2, 7, 14, 16 ; Sonatas for 
 
 418
 
 DESORMERY 
 
 pianoforte witli accompaniment, op. 5, G, 9, 
 and 15 ; Sonata for four hands, oii. 11 ; 
 Airs varies and fantaisies. His op. 19, pub- 
 lished in 1831, consisted of twenty-four 
 studies for the pianoforte in the twenty- four 
 keys. — Futis, 5 ; Mendel. 
 
 DESORMERY, LEOPOLD BASTIEN, 
 born at Bayon, Lorraine, died at Beauvais 
 in 1810. Singer and dramatic composer, 
 2)upil of the Primatial school of Nancy. 
 He went to Paris in 1765, and was in Stras- 
 burg in 1770, when he carried off the double 
 prize of two gold medals for a motet in 
 Latin, given at the Concert Spirituel in 
 1770. Later, he was engaged to sing at 
 the Comudie Italienne, where he remained 
 until 1778. Works — Operas : La fote du 
 village, 1775; Hylas et Eglu (with Legros) ; 
 Euthyme et Lyris, given at the Acadomie 
 Royale, 1776 (22 times in succession) ; 
 Myrtil and Lycoris, at Court, 1777, after- 
 wards at the Opera ; Les Montaguards, and 
 others, which were not played. — Fetis ; do.. 
 Supplement, i. 263 ; Mendeh 
 
 DESORMES, L C , French com- 
 poser, contem^jorary. He has written the 
 music of several operettas and musical 
 sketches, represented in Paris : Deux beau- 
 tcs d'autrefois ; Maitre Luc ; Pruuelle 
 et Piffard ; Le menu de Georgette, 1871 ; 
 Les diamants de Florinette, 1875 ; Una 
 lune de miel normande, Le rove d'Yvou- 
 nette, 1876. He has published also sev- 
 eral chansons and chansonnettes, and some 
 dance music. — Ftitis, Supplement, i. 263. 
 
 DESPRfiAUX, GUILLAUME ROSS, 
 born at Clermont, France, in 1803, died (?). 
 Dramatic composer, pupil at the Paris Con- 
 servatoire, under Fetis and Bertou for com- 
 position. He was an actor at the Gymnase 
 Dramatique from 1821 to 1828. He gained 
 the 2d grand prix of the Institut in 1827, 
 and the 1st prix de Rome in 1828, for his 
 cantata Orphee, played, at the Institut. 
 From Rome he sent in 1830 a Requiem 
 and a Dies irse, and on his return to Paris 
 in 1833, brought out an opera, Le souper 
 du mari ; and in 1838 another, La dame 
 
 d'honneur, which was not successful. — Fe- 
 tis ; do.. Supplement, i. 264 ; Mendel. 
 
 DESPRES, JOSQUIN (Josse), born at 
 Conde, near Saint- 
 Quentiu, Hai- 
 uaut, about 1150 
 -55, died there, 
 Aug. 27, 1521. 
 His real name, re- 
 corded in his epi- 
 taph at Conde, was 
 Josse D e s p r e s , 
 Josquin or Josse- 
 kin being a di- ' 
 
 minutive. He was called in Latin Jodocus 
 Pratensis, and in Italian Jusquino or Gius- 
 quino del Prato ; Ijut his name is found in 
 many forms, as Dejires, de Pre's, Dej^ret, 
 Deproz, Dupro, etc. At first a choir-boj' in 
 the Cathedral of Saint-Quentin, he studied 
 couuter2)oiut under Okeghem, probably at 
 Tours, and in 1471-84 was a member of 
 the jsapal choir at Rome under Sixtus IV. 
 He next j)assed some time (probably from 
 1484 to 1490) in Florence, much esteemed 
 by Lorenzo the Magnificent ; and then 
 probably lived at the court of Ercole, Duke 
 of Ferrara ; certainly he was at one time, 
 and necessarily after 1498, in the service of 
 Louis XII. in Paris, where he lived on terms 
 of close intimacy with the king. The story 
 that he was appointed maitre de chapelle at 
 Cambrai is probably false. At last he was 
 undoubtedly ajipointed, by Emperor Maxi- 
 milian I., to the post of provost of the cathe- 
 dral chapter at Conde (not, as has been re-, 
 jjorted, to a post in Vienna). The date of 
 this last appointment was not earlier than 
 1515. Josquin, the most distinguished of 
 Okeghem's pupils, has, with reason, been 
 called the first really great composer. He 
 was the first man to make the intricacies of 
 Netherlandish counterpoint the vehicle for 
 ideal musical beauty and expressiveness. 
 His fame during his own lifetime was such 
 as few composers have ever enjoyed ; it was 
 virtually universal, reaching from England 
 to Italy. He was everywhere i-ecognized 
 
 419
 
 DESQUESKES 
 
 unhesitatingly as the greatest musician of 
 the age ; no one dared to call himself his 
 rival. Compared with the huge mass of his 
 compositions, but few were published dui-- 
 ing his lifetime ; he was punctiliously care- 
 ful in writing, and worked long over a 
 composition before he would allow it to be 
 performed. He was evidently a man of 
 hi'ih efeueral culture, even for his time. 
 He was buried in the choir at Coude. Our 
 portrait is from the one of him in Van der 
 Straeten's "La Musique aux Pays-Bas " 
 (Brussels, 1867). The original in the 
 church of Saiute-Gudule, in Brussels, has 
 disappeared. The following is a list of his 
 most important published works : 19 Masses. 
 In Petrucci's Lib. i. (Venice, 1502) : L'omme 
 arme super voces musicales ; La sol fa re mi ; 
 Gaudeamus ; Fortuna desperata ; L'omme 
 arme, sexti toni. In Petrucci's Lib. ii. 
 (Venice, 1503) : Ave Maris stella ; Hercu- 
 les dux Ferrarse ; Malheur me bat ; Lami 
 Baudichon ; Una musque de Byscaia ; 
 Dung aultre amer. In Petrucci's Lib. iii. 
 (Fossombrone, 1516) : Mater jsatris ; Fay- 
 saut regres ; Ad fugam ; Di dadi super 
 n'arai je ; De beata Virgine ; Sine nomine, 
 lu Otto's "MissiB xiii." (Nuremberg, 1539): 
 Da pacem ; Pauge lingua. Especially fine 
 are his masses : La sol fa re mi. Ad fugam, 
 De beata Virgine, Pauge lingua, and Da 
 pacem ; his motets on the genealogies in 
 the first chapters of Matthew and Luke ; 
 his Miserere, 5 voc; Planxit autem David, 
 and Absalon fili mi, 4 voc. — Ambros, iii. 
 200 ; Monatschrift fiir Musikgeschichte, iii. 
 212 ; Naumann (Ouseley), i. 310 ; Grove ; 
 Eockstro, 54. 
 
 DESQUESNES (d'Esquenes), JEAN, 
 lived at the beginning of the 17th century. 
 He is supposed to have been a native of 
 Mons, or Saint-Ghilain, in Hainaut. He is 
 the author of a collection of compositions 
 entitled : Madrigali di Giov. Desquesues, il 
 primo libro a cinque voci (Antwerp!, 1591). 
 Pougin says that documents lately discov- 
 ered prove thst he was in the service of 
 Marguerite of Parma, Queen Kegeut of the 
 
 Netherlands, as cantor, and that through 
 her influence he obtained the two preben- 
 daries of Tournay and Aix from her son, 
 Alexander of Parma. It is also probable 
 that it is his name which is registered as a 
 composer in the exchequer of the Archduke 
 Ernest, governor of the Netherlands, in 
 1630.— Biog. nat. de Belgique, v. 787 ; Fe- 
 tis ; do., Supplement, i. 264 ; Mendel ; do., 
 Ergiinz., 84. 
 
 DESSAUER, JOSEPH, born in Prague, 
 May 28, 1798, died at Modling, near Vien- 
 na, July 8, 1876. He studied the pianoforte 
 at Prague under Tomascheck, and composi- 
 tion under Dionys Weber ; visited Najjles 
 in 1821, and travelled in Italy, France, and 
 England in 1831-32. His songs were well 
 received in Paris, and his reputation in 
 Germany is chiefly due to them. "Works — 
 Operas : Lidwinna, performed at Prague in 
 1836 ; Der Besuch in Saiut-Cyr, Dresden, 
 1838 ; "Paquita, Vi- 
 enna, 1851 ; Do- 
 minga, oder die 
 Schmuggler in deu 
 Pyrenaen, 1860 ; Oberon ; and many songs 
 and pianoforte pieces. — Allgem. d. Biogr., v. 
 74 ; Fotis ; do., Sui^ploment, i. 264 ; Men- 
 del ; Wurzbach. 
 
 DESSOFF, OTTO (FELIX), born in 
 Leipsic, Jan. 14, 1835, still living, 1888. 
 Studied at the Leipsic Conservatorium in 
 1851-54 under Moscheles, Plaidy, Haupt- 
 mann, and Rietz. He was a conductor suc- 
 cessively in Chemnitz, Altenburg, Diissel- 
 dorf, Aix-la-Chapelle, Magdeburg, and Cas- 
 sel ; and in 1860 became Kapellmeister at 
 the Vienna Hof-ojjer. The same year he 
 was chosen to conduct the Pliilhai-mouic 
 Concerts in Vienna, and in 1861 he was 
 made professor of composition at the 
 Vienna Conservatorium. Since 1875 he 
 has been Hof-Kapellmeister at Carlsruhe. 
 He is considered one of the best German 
 conductors. Works : Sonata for pianoforte ; 
 songs ; and some orchestral and chamber 
 music never published. — Mendel ; Fetis, 
 Supplement, i. 264. 
 
 Z^ ^^^^>&U.Oiy^ 
 
 42U
 
 DESSY 
 
 DESSY, BATTISTA, born at Cagliaii, 
 Italy ; coutemporary. He has beeu con- 
 ductor at several theatres, and is maestro 
 concertatore and conductor at the theatre 
 of Cagliari, where he produced, about 1875, 
 two operas : Don Martino d' Ai-agona, and 
 Un cuore di marinajo. A third, Suor Ter- 
 esa, has not been played. — Fetis, Supple- 
 ment, i. 264. 
 
 DESTOUCHES, ANDRE CAEDINAL, 
 born in Paris in 1672, died there in 1749. 
 He went to Siam with the Jesuit father 
 Tachard, intending to join the order of 
 Jesus himself, but on his return became a 
 professor of music, and brought out an 
 opera, Isse, at the court, in 1697, which 
 was successful from its originalitj', He 
 had never studied composition at this time, 
 and was obliged to have the assistance of 
 a thorough musician wheu he wished to 
 reduce his ideas to music. He afterwards 
 studied music thoroughly, especially coun- 
 terpoint ; but his subsequent jjroductions 
 were not as successful as the first, which 
 was represented again at the Opera in 1768. 
 He was superintendent of the King's music 
 and inspector general at the Opera, from 
 1713 until his death. ^Yorks : Amadis de 
 Grece, given in 1699 ; Marthcsia, reine des 
 Amazones, Fontainebleau, 1699 ; Omphale, 
 Paris, 1701 ; Le caruaval et la folic, 1704 ; 
 CaUirhoe, 1712 ; Telemaque, 1718 ; Semi- 
 ramis, 1725 ; les Elements, opera-ballet 
 (with Lalande), 1726 ; Les stratagemes de 
 I'amour, 1726. Louis XIV. pensioned him 
 late in life. — Fetis ; Larousse ; Mendel ; 
 Riemaun. 
 
 DESTOUCHES, FRANZ SERAPH VON, 
 born in Munich, Jan. 21, 1772, died there, 
 Dec. 10, 1844. Dramatic composer, pupil 
 of Josef Haydn in Vienna (1787-91) ; be- 
 came musical director at Erlangen in 1797, 
 Conzertmeister at Weimar, 1799, professor 
 of harmony at the university of Laudshut, 
 in 1810, Hof-Kapellmeister at Homburg in 
 1826, and retired to Munich in 1842. 
 Works : Die Thomasnacht, opera, given in 
 Munich, 1792 ; Das Missverstiindniss, ojier- 
 
 etta, Weimar ; Die bliihende Aloe, do., ib. ; 
 Der Teufel und der Schneider, comic opera, 
 Munich, 1843 ; Music to Schiller's William 
 Tell, Maid of Orleans, Wallenstein's Camp, 
 Bride of Messina, to Werner's Wanda, and 
 to Kotzebue's Hussiten von Naumburg ; 
 Masses and other church music ; Concerto 
 for pianoforte and orchestra ; Sonatas, 
 fantasias, variations, etc., for pianoforte ; 
 Sonatas for do., violin, and violoncello. 
 — AUgem. d. Biog., v. 77 ; Fetis ; Mendel ; 
 Riemann. 
 
 DESTRIBAUD, PAUL, bom about 1828, 
 still living, 1888. Pupil at the Paris Con- 
 servatoire under Hippolyte Colet. He is 
 the author of several romances, and Venus 
 au moulin d'Ampijshros, operetta, Bouflfes 
 Parisiens, 1856 ; and Sylvio-Sylvia, comic 
 opera, Opera Comique, 1861. He became 
 a financier and gave up musical composi- 
 tion. — Fetis, Supplement, i. 264. 
 
 DESVIGNES, \1CT0R FRAN(,'OIS, 
 born at Treves, June 5, 1805, died at Metz, 
 Dec. 30, 1853. Dramatic composer, stud- 
 ied at first the violin, and was for years 
 conductor in the theatres of provincial 
 cities, and after a stay in Paris, during 
 which he completed his studies in harmony, 
 resumed this life until he settled at Metz, 
 where he became director of the theatre. 
 In 1835 he founded a conservatory, which 
 flourished to such a degree that it was 
 taken in charge by the government in 1841, 
 as a branch of the Paris Conservatoire. 
 Member of Metz Academy. Works: Two 
 trios for pianoforte, violin, and violoncello ; 
 Trio for harp, violin, violoncello ; Adagio 
 for do. ; Duo for harp (or pianoforte), and 
 violin ; 6 duos coucertants for pianoforte 
 and violin ; 3 suites of canons without 
 words; 4 do., with words; Many sacred 
 and secular choruses ; Romances and melo- 
 dies ; unpublished : Stabat Mater, per- 
 formed at Metz, 1833 ; Lequel des trois, 
 comic opera ; La belle au bois dormant, 
 fairy opera ; Symphony in D ; 9 overtures 
 for grand orchestra ; Several works of 
 chamber music ; Romances, chansouuettes. 
 
 431
 
 DE SWERT 
 
 choruses, serenades, etc., for one, two, and 
 three voices. — Fctis, Supplement, i. 264 ; 
 Gaudar, V. F. Desvignes (Metz, 1854). 
 DE SWEKT, JULES, born at Louvaiu, 
 Belgium, Aug. 15, 
 1843, still living, 1888. 
 Dramatic composer 
 and violoncellist ; son 
 of Hermann De Swert, 
 Belgian musician 
 (born in 1803), and 
 brother of Isidore De 
 Swert (1830), violon- 
 cellist, and Jean De 
 Swert (1832), violinist 
 and pianist. He played in public before 
 he was nine years of age, went to Brussels 
 in 185G and became a pupil of Servais at 
 the Conservatoire, where he won the first 
 violoncello prize in 1858. He has travelled 
 l^rofessionally in Belgium, Holland, Ger- 
 many, and England, became Conzertmeister 
 at Diisseldorf in 18G5, first violoncellist in 
 the court orchestra at Weimar in 1868, 
 roj'al Conzertmeister, solo violoncellist and 
 professor in Berlin in 1869. He resigned 
 in 1873, to undertake new concert tours, 
 and made his home first at Wiesbaden, and 
 since 1881 at Leipsic. Works : Die Albi- 
 genser, 02)era, given at Wiesbaden, 1878 ; 
 Graf Hanimerstein, do., Mainz, 1884 ; Nord- 
 seefahrt, symphony ; Three concertos for 
 violoncello with orchestra or j^ianoforte 
 (Mainz) ; Itomances for do., with piano- 
 forte, op. 4 ; Fantasia, with orchestra or 
 pianoforte, op. 25 (Mainz) ; Fantaisie de 
 salon, op. 26 ; 3 duos de salon, pour violou- 
 celle et piano ; Barcarolle, Capriccio, Ma- 
 zurka, op. 29 (Cassel) ; 3 morceaux pour 
 violoncelle et piano. — Fetis, Supplement, i. 
 265 ; Eiemann. 
 
 DETTINGEN TE DEUM, music by 
 Handel, written in commemoration of the 
 victory of Dettingen, June 27, 1743. On 
 the return of Iving George H. from Dettin- 
 gen, where he commanded in person, a 
 public thanksgiving was ap23ointed, and 
 Handel commissioned to prepare a Te 
 
 Deum and an Anthem for the occasion. 
 The original score of the Te Deum, in 
 Buckingham Palace, is dated at the begin- 
 ning, July 17, 1743, but is not dated at the 
 end ; the Anthem, in the British Museum, 
 is dated July 30, 1743, at the beginning, and 
 August 3, 1743, at the end. The two were 
 publicly rehearsed at the Chapel Royal, 
 Whitehall, Nov. 18th and 25th, and per- 
 formed at the thanksgiving in the Chapel 
 Eoyal, Saint James's, Nov. 27, 1743. This 
 is one of the greatest of Handel's later 
 works. It is claimed that he was indebted 
 for many of the themes to a similar work 
 by Francesco Antonio Urio. The Te Deum 
 was published first by Wright, the Anthem 
 by Arnold ; jjublished b}' Handel Society 
 (London, 1846), and by Hilndelgesellschaft 
 (Leipsic, 1866).— Rockstro, Handel, 271 ; 
 Grove, iv. 209 ; E. Prout, Monthly Musical 
 Record, Nov. 1, 1871. 
 
 DEUCALION ET PYRRHA, opera in 
 five acts, text by Sainte-Foix and Morand, 
 music by Pierre Montan Berton in collabo- 
 ration with Giraud, represented at the Aca- 
 domie Royale de Musique, Paris, Sept. 30, 
 1755 ; opera-comique in one act, text by 
 Michel Carre and Jules Barbier, music by 
 Mont-fort, given at the Opera Comique, Oct. 
 8, 1855. 
 
 DEUTSCHE MESSE (German Mass), in 
 F, text by Johana Philipp Neumann, for 
 four voices, with wind instruments or organ, 
 bj- Franz Schubert, composed in 1826 for 
 the students of the Polj'technic Institute, 
 Vienna. Second arrangement, for male 
 voices, 1827. Published by Gotthard (Vi- 
 enna). 
 
 DEUTSCHE MICHEL, DER, German 
 opera, text and music by Adolph ]\Iohr, 
 represented at Breslau, May 8 ; Nuremberg, 
 Oct. 28 ; Magdeburg, Dec. 11 ; and Leip- 
 sic, Dec. 14, 1887. 
 
 DEUTSCHES REQUIEM, EIN (A Ger- 
 man Requiem), biblical poem, for solo 
 voices, chorus, and orchestra, bj' Brahms, 
 op. 45, first performed in Vienna, at the 
 Gesellschafts Conzert, 1868. Published by
 
 DKUTSOIILANDS 
 
 Rietei'-Biedermami. Given In- tlic [Milwau- 
 kee (Wiscousiu) Musikverein, 1875. — Woch- 
 enblatt (1870), 5, 20, 35, 52, 67. 
 
 DEUTSCHLANDS AUFERSTEHUNG 
 (Germany's Kesurrectiou), festival cantata 
 for male voices and orchestra, by Joachim 
 Eaff, first ijerformed in 1863. Written for 
 the fiftieth anniversary of the memorable 
 battle of Leipsic, Oct. 16-19, 1813, which 
 preci2)itated the downfall of Najjoleon. 
 
 DEUX AMOUES, ojjera in one act, text 
 by Eugene Cormon and Amedee Achard, 
 music by Gevaort, rei)reseuted at Baden- 
 Baden, July 31, 1861. 
 
 DEUX AELEQUINS, LES, opera-co- 
 mique in one act, text by Mestepes, music 
 by Emile Jonas, represented at the Fantai- 
 sies Parisieunes, Dec. 29, 1865. 
 
 DEUX AVARES, LES (The Two Misers), 
 comedy in two acts, text by Fenouillot de 
 Falbaire, music by Gretry, represented at 
 the Comedie Italienue, Paris, Dec. 6, 1770. 
 It had been previously played, Oct. 17, be- 
 fore the court at Foutainebleau. The dia- 
 logue is feeble, but the music is among 
 Gretry 's best compositions. I due avari, 
 an Italian translation of the text, with mu- 
 sic by Nicolo Isouard, was given in Malta, 
 about 1797. The original text, with new 
 music by Agnelli, excei^tiug the famous 
 chorus by Gretrj', "La garde passe, il est 
 minuit," was produced at the Marseilles 
 Theatre in ilarch, 1860. 
 
 DEUX AVEUGLES, LES (The Two 
 Blind Men), operette in one act, text by 
 Jules Moiueaux, nuisic by Offenbach, rep- 
 resented at the Bouffes Parisiens, July 5, 
 1855. It was given in English, with the 
 title Beggar my Neighbour, at the Gallery 
 of Illustration, London, in 1869. 
 
 DEUX BILLETS, LES, salon opera, text 
 by Florian, music by Charles Poisot, rep- 
 resented at the Salle Beethoven, Paris, 
 April, 1858 ; music by Adolphe Blanc, Pa- 
 ris, 1868 ; music by Ferdinand Poise, Athe- 
 nee, Paris, Feb. 19, 1870. 
 
 DEUX COUVENTS, LES (The Two 
 Convents), opera in three acts, text by Des- 
 
 jsrez, music by Gri'try, represented at the 
 Comudie Italienne, Paris, Jan. 12, 1792. 
 
 DEUX FAMILLES, LES (The Two Fam- 
 ilies), drama in three acts, text by Planard, 
 music l)y Labarre, represented at the Oi^i'ra 
 Coinique, Paris, Jan. 11, 1831. Subject 
 from the history of the Cid. The bass air, 
 "Non, de ma juste colere," is classic and 
 one of the most beautiful in the French 
 rei:)ertory. 
 
 DEUX JOUENEES, LES (The Two 
 Days), lyric comedy in three acts, text by 
 Bouilly, music by Cherubiui, rejjresent- 
 ed at the Theatre Feydeau, Paris, Jan. 16, 
 1800. The scene is laid in the time of 
 Cardinal Mazarin, and the hero is Antonio, 
 a little Savoyard, who saves the proscribed 
 Count Armand by carrying him out of Paris 
 concealed in a water-cask. This ojjera, 
 which is generally considered Cherubini's 
 greatest work, is called in Germany Der 
 Wassertriiger (The Water-carrier). The 
 same subject is treated in Le porteur 
 d'eau, opera-comique in one act, music by 
 Lemiere de Corvey, Paris, 1801 ; Le due 
 giornate, Italian comic opera, text by Fop- 
 pa, music by Simon Mayr, Milan, 1801 ; 
 The Escajses, or the Water-carrier, English 
 oj^era, by Thomas Attwood (with part of 
 Cherubini's music), London, 1801 ; and II 
 portatore d' acqua, Italian opera, text by 
 d' Arienzo, music by Paolo Fabrizi, Naples, 
 1841.— Hansliek, Moderne Oper, 86. 
 
 DEUX LETTEES, LES (The Two Let- 
 ters), opera-comique in one act, text by De- 
 jaure, music by Boieldieu, represented at the 
 Theatre Feydeau, Paris, Aug. 4, 1796. Op- 
 era in two acts, music by L. E. Jadin, given 
 at the Favart, Paris, 1797. 
 
 DEUX MOTS (Two Words), ou une nuit 
 dans la foret (A Night in the Forest), com- 
 edy in one act, text by Marsollier, nmsic by 
 Dalayrac, first given in Paris in 1798 ; rep- 
 resented at the Opera Comique, June 9, 
 1806. A French officer and his servant, 
 who have taken refuge for the night in a 
 forest inn, are saved from the attack of a 
 robber by the timely warning of the land- 
 
 423
 
 DEUX 
 
 lady's pretty maidservant. The same sub- 
 ject is treated in the German opera Zwei 
 ^Yorte, oder eine Nacbt im "Walde, by Con- 
 radiu Kreutzer, Vienna, 1810. 
 
 DEUX NUITS, LES (The Two Nights), 
 opora-comique iu three acts, text by Scribe 
 and Bouillj', music bj' Boieldieu, repre- 
 sented in Paris, May 20, 1829. This work, 
 which contains many charming numbers, 
 worthy of the author of La dame blanche, 
 was a failure on account of the uninterest- 
 ing libretto, the j)lot of which turns on the 
 ruses of a valet. It was the composer's last 
 dramatic work, and it is probable that his 
 disappointment at its reception hastened 
 the disease, the germs of which he had 
 brought from Russia. An oj)era-comique 
 of the same title, in two acts, text by Cofiu- 
 Eosny and Eeraud, music bj' Leblauc, was 
 given at the Theatre de la Gaite, Paris, May 
 31, 1802. 
 
 DEUX P^CHEUES, LES (The Two 
 Fishermen), oprrette in one act, text by 
 Bourget and Dujjeuty, music by Offenbach, 
 represented at the Bouiifes Parisiens, Nov. 
 13, 1857. 
 
 DEUX PETITS SAVOYARDS, LES 
 (The Two Little Savoyards), opera-comique 
 in one act, text by Marsollier, music by 
 Dalayi'ac, represented at the Comedie Ita- 
 lienue, Paris, Jan. 11, 1789. Two little Sa- 
 voyards, who attract the attention of a Sei- 
 gneur at a fair held in his park, and who 
 refuse his offer of adoption because they 
 are unwilling to leave their mother, turn 
 out to bo his nephews. The libretto, de- 
 spite its silly sentimentality, is pleasing, 
 and the music is full of grace. The song, 
 in dialect, of the two Savoyards, " Escouto 
 d'Jeannetto," was long popular in France. 
 
 DEUX EEINES DE FRANCE, LES 
 (The Two Queens of France), drama in four 
 acts, text by Ernest Legouve, music by 
 Charles Gounod, represented at the Theatre 
 Italien, Paris, Nov. 27, 1872. Subject, the 
 excommunication of Philippe Auguste, King 
 of France, who had divorced Lis queen 
 Ingelburge, and, in defiance of a papal bull, 
 
 married (119G) Agnes de Meranie, and the 
 subsequent struggle between him and Pope 
 Innocent III. The characters of the two 
 queens, Ingelburge and Agnes, were repre- 
 sented by Mmes Dica-Petit and Tholer ; the 
 other roles of Philipi^e Auguste, the Comte 
 de Landresse, the Cardinal, and the Comte 
 de Nevers, by Bresil, Berton pere, Dupont- 
 Vernon, and Debray. 
 
 DEVASINI, , Italian comjjoser, con- 
 
 temi^orary. He studied at the Milan Con- 
 servatorio until 1842, composing while there 
 his Francesca da Rimini, a musical drama, 
 played by bis fellow-students at the Con- 
 servatorio, 1841, and Un giorno di nozze, 
 opera buffa, ib., 1842. He has written also 
 a sextet for fiute, oboe, two clarinets, 
 horn and bassoon, and other music. — Fe tis ; 
 Mendel. 
 
 DEVIENNE, FRANgOIS, born at Join- 
 ville (Haute-Marne), Jan. 31, 1759, died at 
 Charenton, Sept. 5, 1803. Dramatic com- 
 poser, tlute and bassoon player, pupil of his 
 brother, who was musician to the Duke of 
 Zweibriicken. He became musician to the 
 Cardinal de Roliau, flute jilayer in the band 
 of the Gardes-Suisses, and in 1788 bassoon 
 player in the orchestra of the Theatre de 
 Monsieur. He was also professor at the 
 Conservatoire amtil 1802. His intense ap- 
 plication to his musical duties and to com- 
 position, to which he devoted eight hours a 
 day, resulted in brain trouble, and he died 
 in the insane hospital of Charenton. He 
 left a valuable "Methode de flute theorique 
 et pratique " (Paris, 1795), which has passed 
 through several editions. Works — Operas : 
 Encore des Savoyai-ds, given in Paris, The- 
 atre de Monsieur, 1789 ; Le mariage clan- 
 destin, Theatre Montansier, 1791, and in 
 Hamburg, 1798 ; Les precieuses ridicules, 
 1791 ; Les visitandines, Les quiproquos 
 espagnols, Theatre Feydeau, 1792 ; Rose et 
 Aurele, ib., 1793 ; Agnes et Felix, ou les 
 deux espiegles, 1794 ; Valecour, ou un 
 tour de page, 1797 ; Les comediens ambu- 
 lants, 1798 ; Le valet de deux maitres, 1799. 
 His vocal music comprised : Romances 
 
 434
 
 DETir;s 
 
 d'Estello, with pianoforte and flute ; Eo- 
 mauccs do Gousalve de Cordoue, piano- 
 forte, and flute or violin, op. 53 (1795) ; 
 Eomances patriotiques ; Chansons republi- 
 caines, a Tusage des fetes nationales ; Pre- 
 miere livraison de six romances, paroles de 
 Lablee, with jjianoforte and havp. His or- 
 chestral music consisted of sj'mphonies, 
 such as Hymphonio concertante pour haut- 
 bois, ou clarinette et basson (1793) ; Sym- 
 phonie concertante pour flute, hautbois, 
 cor et basson, avec orchestre (1794) ; La 
 Bataille de Jemmajses, for twenty instru- 
 ments (179G) ; Ouvertures pour instru- 
 ments h vent a I'usage des fetes, nationales, 
 and many others ; Concertos, quartets, trios, 
 sonatas, and many other pieces of which 
 Fetis gives a list, for flute, for pianoforte, 
 etc., in which one of the numbers contains 
 158 duets for various instruments, pub- 
 lished in Paris, London, OiTenbach, and 
 Berhn (1788-1801). He published also: 
 Douze suites d'harmonies ii huit ct douze 
 parties (Paris, 1798-1801).— Fetis ; do., 
 Supplement, 266 ; Larousse ; Mendel ; Eie- 
 mann. 
 
 DEVIL'S OPEEA, THE, English opera 
 in two acts, test by George Macfarren, mu- 
 sic by George Alexander Macfarren, repre- 
 sented at the English Opera House, Lon- 
 don, Aug. 13, 1838. This, the composer's 
 first dramatic work, at once drew public 
 attention to him. 
 
 DEVIN DU VILLAGE, LE (The Village 
 Sorcerer), pastoral opera in one act, text and 
 music by Jean Jacques Eousseau, first rep- 
 resented at Fontainebleau, Oct. 18, 1752 ; 
 and at the Academie Royale de Musique, 
 Paris, March 1, 1753. The literai-y reputa- 
 tion and social position of the author in- 
 sured this mediocre work a success which 
 it would not otherwise have had. It was 
 last played in 1829, after more than four 
 hundred representations. At last a wig 
 thrown upon the stage during one of the 
 scenes, created such a laugh that it was 
 withdrawn. In the original east Cuvilier, 
 Jelyotte, and Mile de Fel sang respectively 
 
 the 2)arts of Lo Devin, of Colin, and of Co- 
 lette. Notwithstanding that the music of 
 Le devin du village has been generally at- 
 tributed to Rousseau, who also claimed it 
 as his own, there seems to be some doubt 
 concerning its authorship, and Castil-Blaze 
 asserts that it was composed by Granet, an 
 obscure musician of Lyons, and only the 
 libretto belongs to Rousseau ; but the 
 character of the music itself would seem 
 enough to show that it was not the work 
 of a professional musician. The work had 
 many imitations and parodies, such as 
 Annette et Lubin, by Blaise, Paris, 1762 ; 
 Rose et Colas, Monsigny, Paris, 1761 ; The 
 Cunning Man, Dr. Burney, London, 1766 ; 
 L'astien und Bastienne, Mozart, Vienna, 
 1768 ; Rose and Colin, Charles Dibdiu, 
 London, 1778; Colin et Colette, Vanden- 
 broeek, Paris, 1789 ; Annette et Lubin, 
 Jadiu, Paris, 1791.— Fetis, vii. 496 ; Castil- 
 Blaze, Moliere Musicien, ii. 408 ; Edwards, 
 Hist, of the Opera, i. 261. 
 
 DE VOLDER, PIERRE JEAN, born in 
 Antwerp, July 27, 1767, died in Brussels, 
 June 27, 1841. Violinist, pupil of Redin, vio- 
 linist at the cathedral. He became first vio- 
 linist of the Church of Saint-Jacques at the 
 age of sixteen, then at the theatre, and sub- 
 sequently was leader of the Concert Orches- 
 tra. In 1794 ho began the manufacture of 
 organs at Ghent, and became celebrated for 
 his instruments, of which he constructed 
 about seventj'-eight. In 1831 he removed 
 his manufactory to Brussels, where he re- 
 sided until his death. Works : 5 masses 
 for four voices and orchestra ; 2 concertos 
 for violin ; 2 symphonies concertantes ; 9 
 quartets for two violins, viola and bass ; La 
 bataille d'lena, symphony for full orchestra ; 
 La bataille de Waterloo ; La jeunesse d'Henri 
 v., ojaera in three acts; Hymns, motets, and 
 litanies ; Fantaisies for two orchestras ; 
 Nocturnes and divertissements for several 
 instruments. — Biog. nat. de Belgique, v. 
 847 ; Fetis. 
 
 DEZftDE (Dezaides), N., born about 
 1740, died in Paris in 1792. Dramatic
 
 DIABELLI 
 
 composer ; his nationality is iinlvnown, 
 some biographers calling him a German, 
 others maintaining that he was born in Ly- 
 ons. He himself never knew the year of 
 his birth, nor did. any member of his family. 
 He received the education of a gentleman, 
 first at college, then under the care of 
 an abbe who taught him music and the 
 harj). He went to Paris to finish his mu- 
 sical education, and in consequence of his 
 efforts there to find out the source of the 
 income which he received regularly through 
 a legal firm, he was thrown upon his own 
 resources and obliged to make music his 
 profession. In 1785 he became composer 
 to Duke Maximilian of Zweibriicken, after- 
 wards Elector and King of Bavaria, and 
 received the title and pay of captain on 
 condition of going to Zweibriicken once a 
 year for two months ; but his best work was 
 done in Paris for the Comedie Franjaise. 
 "Woi'ks — Operas, given at the Theatre Ita- 
 lien : Julie, 1772 ; L'erreur d'un moment, 
 Le sti-atageme decouvert, 1773 ; Les trois 
 fermiers, 1777 ; Zulima, Le portenr de 
 chaises, 1778 ; A tromj^eur, trompeur et 
 demi, 1780 ; Cecile, 1781 ; Blaise et Babet, 
 1783 ; Alexis et Justine, 1785 ; Auguste et 
 Theodore, ou les deux pages, 1789 ; Fer- 
 dinand, 1790 ; Pauline et Clairette, ou les 
 deux espicgles, 1792 ; La fete de la cin- 
 quautaine, 1796. At the Opera : Fatme, ou 
 le langage des fleiirs, 1777; Peroune sauvage, 
 1783 ; Alcindor, 1787. A musical comedy 
 in one act, by Mile Dezede, his daughter, 
 then fifteen years old, was represented in 
 1781 at the Italiens, Paris. — Fetis ; do., 
 Sui^plement, i. 267 ; Clement, Mus. celebres, 
 147 ; Larousse ; Mendel. 
 
 DIABELLI, ANTON, born at Mattsee, 
 Salzburg, Sept. 6, 1781, died in Vienna, 
 April 8, 1858. He received his earliest 
 music lessons from his father, became a 
 choir-boy, and while attending the Munich 
 Latin school continued his musical studies. 
 He entered a convent to study theology, 
 but found time for many compositions, 
 which he submitted to his father's friend, 
 
 Michael Haydn. On the secularization of 
 the Bavarian monasteries in 1803, he gave 
 up the idea of becoming a priest, and went 
 to Vienna, where he was well received by 
 Joseph Haydn, and taught the pianoforte 
 and the guitar until 1818, when he went 
 into the music publishing business with 
 Peter Cajijii, and in 1824 became the head 
 of the firm of Diabelli & Co., from which 
 he retired in 1852. His compositions are 
 numerous, and sometimes interesting, if not 
 solid. Works : Adam in der KJemme, oj)- 
 era, performed but once, at Vienna, in 1809 ; 
 Church music, including the Landmesseu, 
 or masses for the country ; Choruses, Die 
 Betende von Mathisson, Weihuachtshed, 
 Der Engel der Geduld ; Waltz, upon which 
 Beethoven wrote 33 variations ; Sonatas, ron- 
 dos, variations, songs, and many easy pieces 
 and arrangements for young pianists. — All- 
 gem, d. Biogr. ; Fetis ; Mendel ; Wurzbach. 
 
 DIABLE A L'ECOLE, LE (The Devil at 
 School), oj)cra-comique in one act, text by 
 Scribe, music by Ernest Boulanger, repre- 
 sented at the Opera Comique, Paris, Jan. 
 17, 1842. Scene in Italj'. Stenio, who has 
 staked his fortune against Babylas, sent 
 upon earth by Satan to win a soul, and lost, 
 has it returned on condition of delivering 
 himself up at midnight. Fiamma, his fos- 
 ter-sister, proposes to the demon to take 
 his place, and putting herself under the 
 protection of her patroness, defies Babylas, 
 who returns to his master empty-handed. 
 An opera of the same title, music by Bou- 
 bee, was given at the Societa Filarmonica 
 de' Nobili, Naples, Feb. 17, 1880. 
 
 DIABLE AU jMOULIN, LE (The Devil 
 at the Mill), opera-comique in one act, text 
 by Cormou and Michel Carre, music by Ge- 
 vaert, represented at the Opera Comique, 
 Paris, May 13, 1859. A choleric miller, 
 Antoine, who abandons himself to fits of 
 anger on the least provocation, is cured of 
 his folly by Marthe, who, feigning to admire 
 him, imitates all his acts with usury. 
 
 DIADESTfi, LE, opera-eomique in two 
 acts, text by Priot and Saint-Hilaire, music
 
 DIAMANTI 
 
 by Jules Go Jefroid, represented at tlic Opi'ra 
 Comique, Paris, Sept. 7, 1836. The plot 
 tams on an Arabic game in which two 
 players, male and female, do not receive 
 anything from each other's hand within a 
 given time without saying " diadeste," on 
 penalty of a forfeit. Diadeste, Italian opera 
 buffa, text by Fitzball, music by Balfe, was 
 produced at Drury Lane, London, May 17, 
 1838.— Kenney, Memoirs, 132. 
 
 DIAMANTI, PAOLO, born in the Eo- 
 magna, about 1805. Buffo singer and com- 
 poser ; member of the Teatro Commuuale, 
 Bologna, in 1838, where he brought out 
 two operas : La distruzione de' Masuadieri, 
 and La Turca fedele.— Ft'tis ; Mendel. 
 
 DIAMANTS DE LA COURONNE, LES 
 (The Crown Diamonds), text by Scribe and 
 Saint-Georges, music by Auber, represented 
 at the Opera Comique, Paris, IMarch G, 
 1841. Scene in Portugal, time 1777. The 
 young queen of Portugal, having pledged 
 the crown diamonds for the national debt, 
 seeks to deceive her people by having false 
 stones made to take their place. She visits 
 in disguise the cavern where bandits, led 
 by EeboUedo, carry on the manufacture of 
 false money and false jewels, and while 
 masquerading there as Catarina meets Dom 
 Henrique de Sandoval, who has been capt- 
 ured by the gang while on his way to sign 
 a marriage contract with his cousin Diana, 
 daughter of the Conde de Campo INIayor, 
 Minister of Police at Coimbra. Dom Henri- 
 que is fascinated by Catarina and makes 
 love to her notwithstanding his relations to 
 Diana, who in turn ^jrefers Dom Sebastien 
 to her aflSanced. Catarina, after mystifying 
 Dom Henrique in her assumed characters, 
 at last appears in her role of queen and 
 announces that she has chosen him for her 
 husband, and Diana is made happy with 
 Dom Sebastien. The principal part in the 
 original representation was tilled by jNIme 
 Anna Thillou, for whom Auber expressly 
 wrote the opera. Notwithstanding its im- 
 probable libretto, Auber's sparkling and 
 Kraceful music has made it one of the 
 
 most successful operas of its class, both in 
 its French and its English form. It was 
 first performed in London, as Crown Dia- 
 
 monds, at the Princess's Theatre, May 2, 
 1844, with Mme Thillon in the principal 
 part ; and it had a still greater success in 
 1854, when it was produced at Drury Lane 
 by the Pyne-Harrison troupe, and had a 
 run of a hundred nights. It was first given 
 in New York at Niblo's Garden, 1850, also 
 with Mme Anna Thillon in the chief role. 
 
 DIANA, German opera, text by Konig, 
 music by Keiser, represented at Hamburg, 
 1712 (given as Cupido, Hamburg, 1724) ; 
 Diane, opera ballet, music by Struck, rep- 
 resented at Versailles, about 1714 ; Diane, 
 divertissement, music by Jacques Aubert 
 and de Bourgeois, Paris, 1721 ; operette 
 bouffe, music by Millocker, Vienna, Jan. 2, 
 18G7. Diana amante, Italian opera, text by 
 Orlandi, music by Giuseppe Antonio Ber- 
 nabei, Munich, 1GS8 ; music by Leo, Na- 
 ples, 1717 ; Diana ed Endimione, Italian 
 opera, music by Scarlatti, Italy, about 1675 ; 
 music by Ignazio Fiorillo, Cassel, 1763 ; dra- 
 matic cantata, Pescetti, London, 1739. Di- 
 ane et Endymion, music by Anne Danican- 
 Philidor, Paris, 1G98 ; opera in three acts, 
 
 427
 
 DIANA 
 
 text by Liroux, music by Picciuni, Acadomie 
 Royale de Musique, Paris, Sept. 7, 1784 ; 
 opera in two acts, music by Jean Baptiste 
 Eey, Paris, 1791. Las amours de Diane et 
 d'Endymion, text by Guicliard, music by 
 Sablieres, Versailles, 1671. Diane et I'A- 
 mour, opera-comique, represented at the 
 French Court, 1730. Diana ed Ainore, 
 Italian opera, music by Georg Maun, Vi- 
 enna, about 1745. Diana placata, music by 
 Ferrandini, Munich, 1753 ; opera, text by 
 Pariati, music by Fux, Vienna, 1717. Di- 
 ana veudicata, Italian opera, text by Pas- 
 quini, by Georg Karl Reutter, Vienna, 1736. 
 See also Endimione. 
 
 DIAl^A DI CHAVEPiNI, Italian opera, 
 music by Sangiorgi, represented at the 
 Argentina Theatre, Rome, December, 1875. 
 
 DIANA VON SOLANGE, opera, music 
 by Duke Ernest U., of Saxe-Coburg-Gotha, 
 represented first in Coburg, 1858 ; and at 
 the Stadttheater, Nuremberg, Dec. 25, 1877. 
 
 DIANORA, opera-comique in one act, 
 text by Chantepie, music by Samuel Rous- 
 seau, represented at the Opera Comique, 
 Paris, Dec. 22, 1879. Fantino, the herds- 
 man, imable to induce Dianora to return 
 his love, feigns to poison himself. The 
 belle, duped by his stratagem, yields to this 
 evidence of amourous despair. This opera 
 was a public failure, notwithstanding that 
 it was crowned at the Concours Crescent. 
 
 DI.VS, GABRIEL, Portuguese musician 
 of the 17th century. Very little is known 
 of him beyond that he was first singer in 
 the chapel of Philip IV. at Madrid, and 
 then maestro de capilla of the convent of 
 the Fi'anciseanas descalzas of that city. 
 The catalogue of the musical Library of 
 Juan IV. records a great deal of relig- 
 ious music by Dias, 497 vilhancicos being 
 attributed to him, besides masses, motets, 
 etc. — Fuertes, Historia de la musica espa- 
 gnola ; Fetis, Supplement, i. 268 ; Mendel, 
 Ergiinz., 85. 
 
 DIAZ DE LA PENA, EUGENE EiMILE, 
 born in Paris, Feb. 27, 1837, still living, 
 1888. Son of Narcisse Virgile de la Pen a, 
 
 the jjainter ; jjupil from 1852 at the Con- 
 servatoire, where he studied harmony un- 
 der Eeber, and ob- 
 tained the first ac- 
 cessit in 1856 and the 
 second prize in 1858 ; 
 and pupil of Halevy 
 iu composition. In 
 1865 he produced at 
 the Theatre Lyrique 
 an opera-comique en- 
 titled Le roi Can- 
 daule, and in 1867 he won the government 
 prize for the music to La coupe du roi de 
 Thule, which was given at the Opera iu 
 1S73. He has since published songs, and 
 has given selections from La coupe du roi 
 de Thule at the Concerts Danbe (1875). 
 — Fetis, Supplement, i. 269 ; Larousse. 
 
 DIBDIN, CHARLES, born at Dibdiu, 
 near Southampton, March 15, 1745, died in 
 London, July 25, 1814. Dramatic composer, 
 and poet, pujnl of Kent and of Fussel , but 
 chiefly self-taught, studying the works of 
 Corelli and the didactic writings of Ra- 
 meau. At the age of fifteen lie went to 
 London, where he soon obtained an en- 
 gagement at Covent Garden Theatre as a 
 singing actor, began to write for the stage, 
 and after an engagement at Birmingham 
 (1763-65), returned to London, and in 
 1768 transferred his services from Covent 
 Garden to Drury Lane. Owing to difter- 
 euces between him and Garrick, he left his 
 position, visited France in 1776, and on his 
 return was engaged as composer for Covent 
 Garden, but held the appointment for a 
 few seasons only, and having projected and 
 failed in various theatrical enterpirises, 
 started on a musical tour in 1787 to raise 
 funds for a meditated visit to India, for 
 which he sailed in 1788 ; the vessel being 
 driven to shelter at Torbay, he abandoned 
 his trip and returned to London, where he 
 produced those successful table entertain- 
 ments, which he originated, and in which 
 he appeared as author, composer, narrator, 
 singer, and accompanist, from 1789 to 
 
 428
 
 DIBDIN 
 
 1805, when be retired from public bfe. lu 
 1802 tbe government granted bini a pen- 
 sion, but tbis be- 
 ing witlidrawn on 
 a cliange of uiiuis- 
 trj', be ojjened a 
 music sbop in tbe 
 Strand as a means 
 of subsistence ; 
 tbe specidatiou 
 failed, and a sub- 
 scription for bis 
 relief was raised 
 in 1810, wbicb secured an annuity to bim- 
 self, bis wife and daugbter successively. 
 His pension was also restored to bini. 
 "Works : Tbe Sbepberd's Artifice, 1703 ; 
 Love in tbe City, 1707 ; Damon and Pbil- 
 lida, Lionel and Clarissa, Tbe Padlock, 
 1708 ; Tbe Maid tbe Mistress, Tbe Re- 
 cruiting Sergeant, Tbe Ejabesian Matron, 
 Tbe Jubilee, Queen Mab, The Captive, 
 1769; Pigmy Revels, 1770; Tbe Wed- 
 ding Ring, Tbe Listitution of tbe Garter, 
 1771 ; Tbe Ladle, Tbe Mischance, Tbe 
 Brickdust Man, Tbe Widow of Abingdon, 
 The Palace of Mirth, 1772 ; A Christmas 
 Tale, Tbe Trip to Portsmouth, Tbe De- 
 serter, The Grenadier, 1773 ; The W^ater- 
 man, The Cobbler, 1774 ; The Quaker, The 
 two Misers, 1775 ; Tbe Seraglio, The 
 Blackamoor, Tbe Metamorphoses, The 
 Razor Grinder, Yo, Yea, or the friendly 
 Tars, The old Woman of Eighty, Tbe mail 
 Doctor, She is mad for a Husband, England 
 against Italy, The Fortune Hunter, All is 
 not Gold that glitters, 1770 ; Poor Vulcan, 
 Rose and CoUin, Tbe Wives revenged, An- 
 nette and Lubiu, The Milkmaid, 1778; 
 Plymouth in an Uproar, Tbe Chelsea Pen- 
 sioner, The Mirror, Tlie Touchstone, 1779 ; 
 The Shepherdess of tbe Alps, Harlequin 
 Freemason, Tbe Islanders, 1780 ; Jupiter 
 and Alcmena, 1781 ; None so blind as 
 those who won't see, 1782 ; The Barrier of 
 Parnassus, The Graces, Tbe Saloon, Man- 
 darina, Tbe Land of Simplicity, Tbe Pas- 
 sions, Tbe Statue, Clump and Cudden, Tbe 
 
 benevolent Tar, Tbe Regions of Accom- 
 plishment, Tbe Lancashire Witches, 1783 ; 
 The Cestus, Pandora, The long Odds, Har- 
 lequin tbe Phantom of the Day, 1784 ; Lib- 
 erty Hall, 1785 ; Harvest Home, 1787 ; A 
 loyal ESusion, 1797 ; Hannah Hewett, 
 1798. Monodramas: The Whim of tbe 
 Moment, the Oddities, 1789 ; Tbe Wags, 
 1790 ; Private Theatricals, 1791 ; The 
 Quizzes, 1792 ; Castles in the Air, 1793 ; 
 Great News, 1794; Will of the Wisp, 
 Christmas Gambols, 1795 ; The general 
 Election, 1790 ; The Sphinx, Valentine's 
 Day, 1797 ; King and Queen, 1798 ; A Tour 
 to tbe Land's End, Tom AVilkins, 1799; 
 The Cake House, 1800 ; A Frisk, 1801 ; 
 Most Votes, 1802 ; New Year's Gifts, Bro- 
 ken Gold, Britons, strike home, Heads and 
 Tails, The Frolic, Datchet Mead, The pro- 
 fessional Volunteers, Rent Da}-, Commo- 
 dore Pennant, 1802-05. His sons, Charles, 
 Jr. (1770-1831), and Thomas (1771-1841) 
 were dramatists and song writers. His 
 granddaughter, Mrs. Tonna, was a harpist. 
 — Grove ; Reminiscences of Thomas Dib- 
 din (2 vols., London, 1827) ; Fetis. 
 
 DIBDIN, HENRY EDWARD, born in 
 London, Sept. 8, 1813, died in Edinburgh, 
 May G, 18GG. The youngest son of Charles 
 Dibdin tbe younger, he became a jjroticieut 
 on tbe harp, which he studied under bis 
 sister, Mrs. Tonna, and Bochsa, and on tbe 
 organ and the violin. In 1833 be removed 
 to Edinburgh, where he established him- 
 self as a teacher, and became honorary 
 organist of Trinity Chapel. He was the 
 author of a collection of chants and jDsalm 
 and hymn tunes (1843), and of some music 
 for tbe organ and tbe pianoforte, but he is 
 best known as the compiler of " Tbe Stand- 
 ard Psalm Tune Book" (London, 1851), the 
 largest and most authentic collection of 
 psalm tunes ever published. — Grove. 
 
 DICHTERLIEBE, sixteen songs from 
 Heine's Biich der Lieder, by Robert Schu- 
 mann, op. 48, dedicated to Madame Schrii- 
 der-Devrient, composed in 1840, published 
 in 1844. Tbe songs in tbis collection, from
 
 DICHTER 
 
 their melodic constructiou, are the first 
 23erfect examples of the style of the roman- 
 tic school. Every cue of them requires a 
 careful declamation, and thej' are worked 
 out, not in the recitative form usual vpith 
 Schubert, but into a thoroughly concise, 
 strophic verse-structure. The composer 
 enters so completely into the mind of the 
 poet, so absolute is the assimilation, and so 
 well is it sustained, that it is sometimes 
 imj)ossible to rid ourselves of the impres- 
 sion that the songs are the work of one 
 man. Schumann's songs are in many 
 moods, but there is not one of these that 
 is unrepresented in the Dichterliebe. 
 — Maitland, 65 ; Reissmann, 82. 
 
 DICHTER UND BAUER (Poet and Peas- 
 ant), overture by Franz Suppe. This, the 
 composer's most popular orchestral work, 
 has been arranged for fifty-nine different 
 combinations of instruments, all published 
 by Aibl, Munich. 
 
 D'ICI VOYEZ CE BEAU DOMAINE. 
 See La Dame blanche. 
 
 DICK, CHARLES GEORGE COTS- 
 FORD, born in London, Sept. 1, 1846, still 
 living, 1888. Studied at Worcester College, 
 Oxford, 1865-69 ; obliged from ill-health 
 to give up law, and devoted himself to mu- 
 sic. Works : Our Doll's House, ojseretta, 
 1876 ; Our new Doll's House, do., 1877 ; 
 Back from India, do., 1879 ; Doctor D., 
 comic opera, 1885 ; Songs and pianoforte 
 music. 
 
 DIDON, French opera in three acts, text 
 by Marmoutel, music by Piccinni, rep- 
 resented at the Academie Royale de Mu- 
 sique, Paris, Dec. 1, 1783. Subject from 
 the fourth book of the "J3neid," and the 
 tragedy of " Didou " by Lefranc de Pom- 
 pignan. The music made so profound an 
 impression on the Court that Louis XVI. 
 attended three successive representations. 
 The melodies are full of grace and tender- 
 ness and the accompaniments are rich in 
 harmony. The role of Didon, which is ad- 
 mirably treated, was filled by Madame de 
 Saint-Huberty with such success that Pic- 
 
 cinni, who had written some airs expressly 
 for her voice, said that without her his oj^era 
 would be without Didon. Three j-ears after- 
 wards, when Madame de Saiut-Huberty was 
 singing it at Strasburg, she received from 
 Napoleon Bouajjarte, then a young oflScer of 
 artillery, these ingenious verses . 
 
 " Komains, qui vous vautez d'uue illustre origiue, 
 Voyez d'oii depeudait votre empire naissaut ; 
 Didon n'eut pas de cliaine assez puissant 
 Pour arreter la fuite oh. son aniant s'obstine ; 
 Mais si I'autre Didon, ornement de ces lieux, 
 
 EOt ete reine de Carthage, 
 II eftt, pour la servir, abandoune ses dieux, 
 Et votre beau pays serait encore sauvage. " 
 
 She afterward became the Comtesse d'En- 
 traigues, and was murdered, together with 
 her husband, by a servant, at Barnes, near 
 London, July 22, 1812. — Clement and La- 
 rousse, 211 ; Edwards, Prima Donna, ii. 183. 
 DIDONE ABBANDONATA (Dido For- 
 saken), Italian ojsera in three acts, text by 
 Metastasio, first set to music by Domenico 
 Sarri and represented in Naples, during the 
 Carnival, 1724. Scene in Carthage. Char- 
 acters represented : Didone, Queen of Car- 
 thage, in love with Euea ; Jarba, King of 
 the Moors, under the name of Arbace ; Se- 
 lene, sister of Didone and secretly in love 
 with Eoea ; Ai-aspe, confidant of Jarba and 
 lover of Selene ; Osmida, confidant of Didone. 
 In this tragedy, which excited universal en- 
 thusiasm in its time, and held the Italian 
 stage for a century, the poet has closely 
 followed the narrative of Virgil in the 
 "iEueid." The text has been set to music 
 also by Scarlatti, Rome, 1724 ; Albinoni, 
 Rome, 1725 ; Vinci, Rome, 1730 ; Schiassi, 
 Bologna, 1735 ; Duni, Italy, about 1740 ; 
 Poipora, Italy, about 1740 ; Beniaseoni, 
 Rome, 1741, Munich, 1756 ; Hasse, Dres- 
 den, 1743 ; Jommelli, Rome, 1746, Stutt- 
 gart, 1763 ; Scalabrini, Dresden, 1747 ; 
 Manna, Venice, 1751 ; Perez, Genoa, 1751 ; 
 Bonne, Vienna, 1752 ; Ciampi, London, 
 1754 ; Bernasconi, Mannheim, 1756 ; Tra- 
 etta, Parma, 1764 ; Schwanberg, Brunswick, 
 1765 ; Zanetti, Leghorn, 1766 ; Galuppi,
 
 DIE 
 
 St. Petersburg, 17GG ; Srirti, Venice, 17G7 ; 
 Piccinui, Naples, about 17G7 ; Majo, Naples, 
 1769 ; Mortellari, Naples, 1771 ; lusanguine, 
 Naples, 1772; Calla, Turin, 1773; Moiu- 
 belli, Crescentino, 1775 ; Scbirer, Najjles, 
 1776 ; Scbuster, Naples, 1776, and 177",) ; 
 Ottani, Forli, about 1780 ; Piticcliio, Bruns- 
 wick, 1780 ; Antlreozzi, St. Petersburg, 1784 ; 
 .infossi, Naples, 178o ; Guglielmi, Venice, 
 1785 ; Gazzaniga, Venice, 1787 ; Federici, 
 London, 1794 ; Paisiello, Naples, 1795 ; 
 Kozelucb, Vienna, about 1795; Paer, Par- 
 is, 1810 ; Eossiui (dramatic cantata), 1811 ; 
 Mercadante, Turin, 1823 ; Keissiger, Dres- 
 den, 1823. The subject had been treated 
 before Metastasio in an Italian opera, 
 music by Cavalli, Venice, 1641 ; and by 
 Mattioli, Bologna, 1656. The Queen of 
 Carthage is the subject also of the follow- 
 ing : Didon, French lyric tragedy in live 
 acts, with prologue, text by Mme Gillot de 
 Sainctonge, music by Desmarest, repre- 
 sented at the Opera, Paris, June 5, 1693 ; 
 Dido, German opera, text by Hinsch, music 
 by Graupner, Hamburg, 1797 ; grand op- 
 era, text by Rellstab, music by Bernlmrd 
 Klein, Berlin, about 1820 ; by Joseph 
 Haydn, Marionetteu Theater, Esterhazy, 
 1778 ; by Lampert, Gotha, 1845. Dido, 
 English drama, music by James Hook, Lou- 
 don, 1771 ; English opera iu three acts, 
 music by Stephen Storace, Drury Lane, 
 London, 1792. Dido and Jilneas, English 
 opera in three acts, text by Nahum Tate, 
 music by Henry Purcell, Loudon, 1675 ; 
 masque, music by Thomas Augustine Arne, 
 London, 1734 ; Swedish opera, music by 
 Kraus, Stockholm, 1792. The Death of 
 Dido, English opera, music by Pepusch, 
 London, 1716 ; La mort de Didon, French 
 ballet, music by Saint- Amans, Paris, 1776. 
 
 DIE FRIST 1ST UM. See Der Flie- 
 fjende Hollander. 
 
 DIE LIEBE ZIEHT ^HT SANFTEN 
 SCHEITTEN, tenor aria in B minor, with 
 accompaniment of oboe d' amore, and cou- 
 tinuo, in Johann Sebastian Bach's cantata 
 for Dominica 1 Adv. Chi-., Schwingt freudig 
 
 eucli empor ; published separately, with ad- 
 ditional accompaniments by Robert Franz, 
 by F. Whistling, Leipsic. 
 "dIEMER, LOLTS, born in Paris, Feb. 
 14, 1843, still living, 1888. Pianist, and 
 instrumental and vocal composer, jiupil at 
 the Conservatoire of Emile Durand in sol- 
 fuge, of Marmontel on the pianoforte (first 
 prize, 1856), of Bazin in harmony (first prize, 
 1859), of Ambroise Thomas in counterpoint 
 and fugue (first prize), and of Benoist ou 
 the organ (second prize). He won great 
 success as a virtuoso at many of the great 
 public concerts. Works: Sonata for pi- 
 anoforte and violin ; Trio for do. and vio- 
 loncello ; 6 pensees musicales ; 3 valses de 
 salon ; 2 caprices ; Polonaise de concert ; 
 Ek'gie , Berceiase ; Mazurka de salon ; 
 Impromptu-valse ; Imj)romptu-caprice ; 18 
 transcriptions for pianoforte of sj'mphonic 
 fragments from Haydn, Mozart, and Beet- 
 hoven ; etc. ; Melodies for the voice. — Fl'- 
 tis, Supplement, i. 269. 
 
 DIE NACHT 1ST VERGANGEN, chorus 
 in Mendelssohn's Lohrjemng. 
 
 DIES BILDNISS IST BEZAUBERND 
 SCHON. See Zauhcr/lOfe. 
 DIETRICH, ALBERT 
 born at Golk, near 
 Meissen, Germany, 
 Aug. 28, 1829, still 
 living, 1888. Instru- 
 mental and vocal com- 
 poser, pupil in Dres- 
 den of Julius Otto, 
 then iu Leipsic (1847- 
 51) of Rietz and Mos- 
 cheles, and until 1854 
 
 at Diisseldorf of Robert Schumann ; after 
 his return to Leipsic his first symphony 
 was played there at a Gewaudh;ius concert. 
 He was conductor of the subscription con- 
 certs at Bonn, from 1855 until 1861, when he 
 became Hof-Kapellmeister at Oldenburg ; 
 has directed concerts iu Cologne, Leipsic, 
 and other German cities. Works : Robin 
 Hood, opera, given at Frankfort, 1879 ; 
 Symphony in D, op. 20 ; Normannenfahrt, 
 
 431
 
 DIETRICH 
 
 overture ; MorgenLymne, for chorus and 
 orchestra; Kheiumorgeu, do.; Altcbrist- 
 licher Bittgesang, do. ; Concerto for violin ; 
 do. for violoncello ; Trios for j)ianoforte 
 and strings ; Sonata for violoncello ; Ro- 
 mance for horn with orchestra ; Songs, 
 duets, choruses, and pianoforte pieces. 
 — Fetis, Supplement, i. 210 ; Mendel ; Mus. 
 Wochenblatt, vi. 20 ; Riemanu. 
 
 DIETRICH (Dieterich), SIXTUS (Xistus 
 Theodoricus), born at Augsburg between 
 1490 and 1495, died at St. Gall, Switzer- 
 land, Oct. 21, 1548. Contrapuntist, spent 
 bis }-outh at Freiberg in the Breisgau, went 
 in 1517 to Strasburg, and in 1518 became 
 schoolmaster at Constance ; thence he vis- 
 ited Wittenberg in 1540 to attend lectures, 
 and sutfering from gout, was taken to St. 
 Gall in 1548, just before the siege of 
 Constance bj- Charles V. Works : Magnifi- 
 cat octo tonorum, liber primus (Strasburg, 
 1535) ; Novum ac insigue opus musieum 3G 
 Antiphonarum (Wittenberg, 1541) ; Novum 
 opus mus. etc. (ib., 1545) ; Psalms, motets, 
 and other pieces in various German collec- 
 tions (Nuremberg, Augsburg, and Witten- 
 berg, 1538-45).— Allgem. d. Biogr., v. 159 ; 
 Fetis ; Mendel ; Riemann. 
 
 DIETSCH, PIERRE LOUIS PHILIPPE, 
 born at Dijon, March 17, 1808, died in 
 Paris, Feb. 20, 1865. Church composer, 
 pupil in Paris of Choron, and at the Con- 
 servatoire of Reicha in counterpoint and of 
 Chenie on the double-bass. In 1830 he be- 
 came maitre de chai^elle of Saint-Eustache, 
 and in 1842 of the Madeleine ; 1831 he 
 also entered the orchestra of the Theatre 
 Italien as double-bass player, afterwards 
 that of the Opera, where he subsequently 
 became chef du chant, and in 1860 chef 
 d'orchestre, but retired in 1863. He was 
 professor of harmony and counterpoint at 
 Niedermeyer's Ecole de musique religieuse, 
 from its foundation. L. of Honour, 1856. 
 Works : Twenty-five masses ; Motets and 
 hymns ; ]\Iagnificat and Te Deum, and 
 many other religious compositions. He 
 wrote also an opera, Le vaisseau fantome. 
 
 given at the Opera, 1842, which did not suc- 
 ceed, and several didactic works. — Fetis; 
 do., Supplement, i. 270. 
 
 DIETTER (Dieter), CHRISTIAN LUD- 
 WIG, born at Ludwigsburg, Wiirtemberg, 
 June 13, 1757, died at Stuttgart in 1822. 
 Dramatic composer and violinist, pupil at 
 the Karlschule in Stuttgart, of Seubert and 
 Celestini, and in composition of Baroni, 
 but formed himself chiefly by studying the 
 works of Jommelli and other great Italian 
 masters. He took prizes in 1776, 1777, and 
 1778, and became first violinist in the 
 ducal orchestra in 1781. Works — Comic 
 operas, given at Stuttgart: Elisinde, 1794; 
 Der Schulze im Dorfe ; Der L'rwisch ; Das 
 Freischiessen ; Der Rekrutenaushub ; Gliick- 
 lich zusammen gelogeu ; Die Dorfdej^utir- 
 ten ; Der Luftballon ; Belmont und Con- 
 stanze ; Des Teufels Lustschloss ; Laura 
 Rosetti, grand opera. Concertos for violin, 
 horn, flute, oboe, and bassoon ; sonatas, 
 duos, etc., for various instruments. — Fetis ; 
 Mendel ; Riemann. 
 
 DIEU ET LA BAYADfiRE, LE (The God 
 and the Bayadere), opera-ballet in two acts, 
 text by Scribe, music by Auber, represented 
 at the Academic Roj^ale de Musique, Paris, 
 Oct. 13, 1830. This pleasing and graceful 
 work still holds the stage in France. The 
 libretto is derived from Goethe's ballad, 
 " Der Gott vmd die Bajadere." It was sung 
 originally by Nourrit, ]Mme Damoreau, and 
 Levasseur, with Miles Taglioni and Noblet 
 as dauseuses. — Hanslick, Moderne Oper, 
 131. 
 
 DIEUPART, CHARLES, born in France, 
 latter part of the 17th century, died in Lon- 
 don about 1740. Violinist and harpsichord 
 player ; went to England and was associated 
 with Clayton and Haym in the introduction 
 of translations of Italian ojoeras in London. 
 After their discontinuance he devoted him- 
 self to teaching the harpsichord. Published 
 Works : Six suites de clavecin, divisees en 
 Ouvertures, Allemandes, Courantes, Sara- 
 baudes, Gavottes, Minuets, Rondeaux et 
 Gigues, composees et mises en Concert 
 
 432
 
 DIEU 
 
 pour un Violon ei Flflte, avec une Basse 
 de viol et im Archilute (London) ; G ouver- 
 tures pour clavecin et violon avec basse 
 continue, quoted by Walther (Amsterdam). 
 — Ft'tis ; Grove ; Mendel. 
 
 DIEU, QUE MA VOIX. See La Juive. 
 
 DIEUX KIVAUX, LE8 (The Rival Gods), 
 ou les fetes de Cythere (The Fetes of 
 Venus), ojiera-ballet in one act, text by 
 Briti'aut and Dieulafoy, music by Berton, 
 Ki-eutzer, Persuis, and Spontini, repre- 
 sented at tlie Academic Eoyale de Musique, 
 Paris, ou the occasion of the marriage of 
 the Due de Berry, June 21, 1816. 
 
 DIJKHUIJZEN, D H , born at 
 
 Tweelo, in Gelderland, April 28, 1821, still 
 living, 1888. Organist, pupil at Dessau of 
 F. Schneider; returned and became or- 
 ganist at Elburg, and in 1845 organist of 
 the great organ in the church at Nymwe- 
 gen. Published works : Sonata for organ ; 
 Sonata for jsianoforte and violin and sev- 
 eral Lider ; Twenty-third Psalm for chorus 
 and orchestra ; Concert overture, given at 
 Utrecht in 1853 ; Symphony in C, 1856. 
 — Fetis, Supijlement, i. 271; Mendel, Er- 
 gilnz., 86. 
 
 DIKRAN - TSCHIHADJIAN, Armenian 
 composer, author of the music to Sherif- 
 Agha, Turkish opera in three acts, text by 
 Alexander Abbosetto, represented in Con- 
 stantinople, Dec. 8, 1872.— Fetis, Supple- 
 ment, i. 271 ; Mendel, Ergiinz., 87. 
 
 DILETTANTE D'AVIGNON, LE, opOra- 
 comique in one act, text by Hoffmann and 
 Leon Hak'vy, music by Francois Halevy, 
 first repi-esented in Paris, Nov. 7, 1829. 
 
 DILLIGER (Dillinger), JOHANN, born 
 atEisfeld, Bavaria, in 1590, died at Coburg, 
 Aug. 28, 1647. Church compose!-, was at 
 first cantor at Wittenberg, then (1625) at 
 Coburg, became parson at Gellershausen in 
 1633, and afterwards returned to Coburg 
 as deacon at the ]\Ioritzkirche. Works : 
 Prodromi triciniorum sacrorum (Nurem- 
 berg, 1612) ; Medulla ex psalnio, etc. 
 (Magdeburg, 1614) ; Exercitatio musica I. 
 etc. (Wittenberg, 1624) ; Trauerlied auf den 
 
 Tod eines Kindes (Coburg, 1626) ; Disce 
 mori, etc. (ib., 1628) ; Gesprilch Dr. Lutheri 
 und eines krankeu Studiosi (ib., 1628) ; Mu- 
 sica votiva, etc. (ib., 1629) ; Musica Chris- 
 tiana cordialis domestica (ib., 1630) ; Two 
 Supplements to the same (ib., 1631) ; Mu- 
 sica Concertativa, etc. (ib., 1632) ; Musica 
 Oratoria, etc. (ib., 1633) ; Jeremias poeni- 
 tentiarius, etc. (ib., 1640) ; Musica Chris- 
 tiana valedictoria (ib., 1642). — Fetis ; Men- 
 del ; Riemann. 
 
 DILUVIO UNIVERSALE, IL (The Uni- 
 versal Deluge), Italian op)era, music by 
 Donizetti, represented at Naj)les, 1830. 
 
 DIMITRI, French opera in five acts and 
 seven tableaux, text by Henri de Bornier 
 and Armand Silvestre, music by Victorin 
 Joncieres, rejiresented at the Opera Na- 
 tional Lyrique, Paris, May 5, 1876. The 
 libretto is an adaptation of Schiller's unfin- 
 ished tragedy " Demetrius," the hero of 
 which is Dimitri Samotzvanetz, or the 
 Pseudo-Demetrius, who, assuming the name 
 of the youngest son of Ivan the Terrible, 
 overthrew the Czar Boris and was crowned 
 Czar in Moscow in 1605. He is the hero 
 also of the Czech opera Dimitrije, music 
 by Dvorak, given in Prague, 1882 ; and of 
 the Latin opera, Demetrius Moscovia? solio 
 restitutus, music by Joliaun Eberlin, pro- 
 duced at Salzburg in 1755. 
 
 DimTKI DONSKOI, Russian opera in 
 three acts, music by Anton Rubinstein, rep- 
 resented in St. Petersburg in 1852. The 
 hero is Dimitri IV. Ivanovieh, called Don- 
 skoi (of the Don) from his defeat of the 
 Mongols on that river in 1380. 
 
 DBDILER, ANTON, born at Mann- 
 heim, Oct. 14, 1753, died in Munich after 
 1815. Dramatic composer, pupil of Josef 
 Zivvina, and of the Abbe Vogler ; at the age 
 of eleven he entered the court orchestra as 
 hoi-nist, and in 1778 went to Munich, where 
 he studied the double-bass, and became a 
 famous performer on that instrument. 
 Works — Operas : Der Guekkasten, Mu- 
 nich, 1794 ; Die Schatzgriiber, at Schloss 
 Sufeld, near Munich ; Die Zobeljager.
 
 DINOEAII 
 
 Ballets : Der erste Tod ; Der erste Scbilfer ; 
 Mede;i ; Die Grazieu ; Ritter Aiuadis ; etc. 
 He comjjosed the music of oue hundred 
 and eighty-five ballets. Symphonies, quar- 
 tets, concertos ; Compositions for the guitar. 
 — Fc-tis ; Mendel. 
 
 DINORAH. See Pardon de Ploermel. 
 DI PESCATORE IGNOBILE. See Lu- 
 crezia Borgia. 
 
 DI PROVENZA IL MAR. See Tmuiala. 
 DI QUELL A PIRA. See Tromtore. 
 DI SPERANZE E GLORIE PIENA. 
 See Ballo in Maschera. 
 
 DISSIPONS CE SOMBRE NUAGE. 
 See Ariodant. 
 
 DISSOLUTO PUNITO, IL. See Don 
 Giovanni. 
 
 DISTRATTO, IL, symphony in C, by Jo- 
 seph Haydn, originally the overture to Der 
 Zerstreute, a Lustspiel by Regnard, repre- 
 sented in Vienna, Jan. 6, 1776. Haydn 
 wrote also the music of the second act of 
 tlie opera. 
 
 DI TANTI PALPITI. See Tancredi. 
 DI TANTI REGI. See Semiramide. 
 DITE ALL A GIOVINE. See Trcwiata. 
 DITHYRAMBE, for male voices, chorus 
 and orchestra, by Julius Rietz, to Schiller's 
 poem of the same title ; first given at the 
 Schiller-Festival at the theatre in Leipsic, 
 Nov. 11, 1816. The work has long been a 
 favourite with male singing societies in Ger- 
 many. 
 
 DITTERSDORF, KARLDITTERS VON, 
 born in Vienna, Nov. 
 2, 1739, died at Castle 
 Rothlhotta, near Neu- 
 haus, Bohemia, Oct. 
 31, 1799. Dramatic 
 composer, and virtu- 
 oso on the violin, first 
 instructed by Konig 
 and Ziigler. When 
 scarcely ten years 
 old, he attracted by 
 Lis playing the attention of Prince Joseph 
 of Hildburghausen, who took him into his 
 piivate orchestra and gave him a thorough 
 
 j education ; his musical teachers there were 
 Traui on the violin, and Bono in composi- 
 tion. The Prince having dismissed his 
 band in 1759, he procured for Ditters a 
 position at the court-theatre in Vienna, 
 whence the latter went with Gluck to Italj', 
 in 1761, and afterwards to Frankfort to 
 attend the services at the coronation of 
 Joseph II. At Bologna he had won fame 
 as a violinist, and after his return to Vienna 
 sustained it against that of the celebrated 
 Lolli. About 1764 he became Kapellmeister 
 to the Bishop of Gross- Wardein, Hungary, 
 and after a short stay in North Italy, upon 
 the dismissal of the bishop's orchestra in 
 1769, he entered the service of Count Schaf- 
 gotsch. Prince-bishop of Breslau, at Jolian- 
 nisberg, Silesia, where he established a 
 little theatre, and won for his orchestra 
 the rei^utation of the best in the province. 
 In 1770 he received the papal order of the 
 Golden Spur, and in 1773 was ennobled by 
 the Emperor. To bring out some ojseras 
 and oratorios he visited Vienna (1770, 1776, 
 1786), and Berlin (1789), with great artistic 
 and material success. After the death of 
 his j):^ti'on in 179.5, j^ensioned by his suc- 
 cessor with a 23altry sum, he lived in indi- 
 gence and poor health for two years, when 
 Baron Stillt'ried offered him and his family 
 shelter at Castle Rothlhotta. He was a 
 prolific composer, and stands foremost in 
 the field of popular jovial humor in opera, 
 a true national tone-poet, rarely gifted, and 
 of sound education. His Doctor vuid Apo- 
 theker continues to hold the stage. Works 
 — Operas : Amore in musica, given atGross- 
 Wardein, 1767 ; Lo sposo burlato, Johau- 
 nisberg, 1775 ; II viaggiatore amerieano, 
 ib. ; La contadina fedele, ib., 1785 ; Betrug 
 dureh Aberglauben, Doctor und Apotheker, 
 Die Liebe im Narrenhaus, II Democrito 
 corretto, Vienna, 1786 ; Orpheus der zweite, 
 Hieronymns Knicker, ib., 1787 ; Das rothe 
 Killjpchen, ib., 1788 ; Der Schiffspatron, oder 
 der neue Gutsherr, ib. , 1789 ; Hocus Pocus, 
 ib., 1790 ; Das Gespenst mit der Trommel, 
 Oels, Silesia, 1794 ; Gott Mars, oder der
 
 DITTMAR 
 
 eiserne JMaim, Don Quixote, Die Guelfeu, 
 Der Scbab von Schiras, ib. 1795 ; Ugolino, 
 grand opera (the only one he wrote), Die 
 histigeu Weiber von Windsor, Der schiJue 
 Herbsttag, ib., 1790 ; Der Teruengewinust, 
 Der Madchenmarkt, ib., 1797 ; Terno secco, 
 Bre.shiu, 1797 ; L'ojDera buffa, Don Coribaldi 
 (1798) ; II tribunate di Giove. Oratorios : 
 Isacco, tigura delEedeutore, Gross- Wardein, 
 1767 ; La hberatrice del pojnilo giudaico 
 nella Persia, ossia L'Esther, Vienna, 1785 ; 
 Giobbe, ib., 1786. Great Latin Cantata, 
 Gross- Wardein, 1765 ; Concerto grosso, for 
 eleven instruments, with orchestra ; 16 or- 
 chestral symphonies ou Ovid's Metamor- 
 phoses (Vienna, 1785) ; 35 symphonies ; 
 new do. ; 12 concertos for violin ; 6 quartets 
 for stringed instruments ; 12 divertissements 
 for two violins, and violoncello ; Duos for 
 violin, and bass ; 2 Nocturnes for two horns 
 and violoncello obligato ; Concertino for 
 two oboes, two horns, two violins, viola and 
 bass ; 12 sonatas for four hands, for piano- 
 forte ; 72 preludes for do., etc. He wrote 
 also the treatises : " Brief fiber die Grenzeu 
 des Komischen und Heroischen in der Mu- 
 sik " ; " Brief fiber die Behandluug italien- 
 ischer Texte bei der Kompositiou " ; and 
 
 Cct/^ 
 
 y 
 
 J-^tijejvd^f^\ 
 
 his autobiography (Leipsic, 1801). — Allgem. 
 d. Biog., V. 262 ; Allgem. Mus. Zeitg., 
 Bernsdorf ; Fetis ; Mendel ; Schilliug ; 
 Wurzbach. 
 
 DITTMAR, MANTEY, Baron VON, 
 born in Bavaria, contemporary. Dramatic 
 composer, pui^il of Peter Winter, whose 
 style he imitated ; he was Hotkapellmeister 
 to the Grandduke of Meckleuburg-Strelitz. 
 His religious music is distinguished for 
 great purity of style, but remains in man- 
 uscript. Works : Die beiden Galeeren- 
 sklaven, opera, given in Strelitz, 1830 ; Over- 
 ture to the drama Ludwig der Baier ; 6 
 
 danses populaires de Baviere, for pianoforte, 
 op. 2 ; Fantaisie serieuse, for do. ; Fantaisie 
 en forme de variations sur le theme favori 
 de Himmel, An Alexis, for do., op. ; G 
 valses de Kossiui, op. 7 ; Adagio ed allegro 
 agitato concertante, for ijianoforte, violin, 
 and tiute, op. 8 ; Festival march, and torch- 
 light dance, op. 10. — Fetis ; Mendel ; Schil- 
 ling. 
 
 DIVA, LA, opcra-boufte in three acts, 
 text by Henri Meillac and Ludovic Halevy, 
 music by Offenbach, represented at the 
 Bouffes Parisieus, Paris, March 22, 1869. 
 
 DIVINITES DU STYX. See Alcesle, 
 Gluck. 
 
 DIVITIS, ANTONIUS (Antoine Le Eiche), 
 born in the second half of the 15th century. 
 Church composer, and one of the most 
 eminent French contrapuntists of his time ; 
 singer in the chapel of Louis XH., about 
 1515. Of his works only single motets and 
 chansons are jsreserved in various collec- 
 tions (1514-1551), besides a mass for four 
 voices (Gaude Barbara) in MS. in the library 
 at Cambrai, and a Credo for six voices, and 
 a Salve Kegina for five voices in the royal 
 library at Munich. — Fetis. 
 
 DIXON, GEORGE, born in Norwich, Eng- 
 land, in 1820, still living, 1888. Organist, pu- 
 pil of Dr. Zechariah Buck ; assistant organ- 
 ist of Grantham Cluirch, 183.5-45; organist 
 of Retford Church, Notts, 1845-59, of Louth 
 Church, 1859-65, and of Grantham Church, 
 1865. Mus. Bac, Oxford, 1852 ; Mus. Doc, 
 ib., 1858. Works : The 121st Psalm, can- 
 tata ; Pope's Messiah, do. ; Anthems : Open 
 we the Gates ; Unto Thee, O my Strength ; 
 We will rejoice ; O give Thanks ; Te Deum 
 in G ; Hymns, Chants, Kyries, etc. ; Songs. 
 
 DIZI, FRANgOIS JOSEPH, born at Na- 
 mur, France, Jan. 14, 1780, died in Paris, 
 November, 1847. Harpist, sou and pupil 
 of a professor of the violin. He went to 
 London, where Sebastian Erard, then the 
 most celebrated manufacturer of hai-ps and 
 pianofortes in England, became his patron 
 and found him pupils. He lived there 
 thirty years as virtuoso and composer, and 
 
 435
 
 DJAMILEH 
 
 made several improvements in harp mechan- 
 ism. In 1830 he went to Paris, and became 
 a member of the firm of Pleyel, manufact- 
 urers of harps, but iu this venture he was 
 unsuccessful. Works : Grande sonate (Lon- 
 don) ; Air Saxon, de Cramer, varic (Paris) ; 
 Douze exercices ou fautaisies pom* la harjje 
 a deux rangs de pt'dales, premiere et deux- 
 ieme suites (Paris) ; French romances, Eng- 
 lish and Italian airs with variations for harp 
 (Paris). — Fotis ; Biog. nat. de Belg., vi. 84 ; 
 Mendel, Riemaun. 
 
 DJAMILEH, opera-comique in one act, 
 text bj Louis Gallet, music by Georges 
 Bizet, represented at the Ojjera Comique, 
 Paris, May 22, 1872. The subject of the 
 libretto is derived from Alfred de Mussel's 
 poem, "Namouua." Djamileh, concubine 
 or slave of Haroun, who changes his mis- 
 tress every month, conceives for her master 
 a violent passion, which he does not return. 
 She persuades the slave merchant to pre- 
 sent her anew iu disguise, and at last Ha- 
 roun, touched by her ardour and obstinacy, 
 decides to love her. 
 
 DOBLHOF-DIER, KARL VON, born iu 
 Vienna, July 13, 1762, died there iu 1836. 
 He studied under Albrechtsberger and Sa- 
 lieri, and in 1810 retired from business to 
 devote himself to music. After his death his 
 manuscript compositions came into the 
 possession of Kiesewetter, who bequeathed 
 them to the Imperial Library of Vienna. 
 Works : Masses ; Choruses ; Hymns, and 
 other church music. — Fetis ; Meudel. 
 
 DOBRZYNSKI, IGNAC Y, born in the pro- 
 vince of Volhynia, Russia, in 1777 or 1778 ; 
 died in Warsaw in 1811. He was first violin, 
 for eighteen years, at Romauof, in the or- 
 chestra of the Senator Hiriski, for whom he 
 wrote the music of several operas and bal- 
 lets ; professor at Winniya, subsequently at 
 Krzemieniej ; settled in Warsaw, where his 
 sou held a musical position. He was re- 
 nowned for his characteristic Polonaises, to 
 which he gave a rhythm and a finish which 
 made them strictly national. — Fi' tis ; Sup- 
 plement, i. 273 ; Sowinski, 150. 
 
 DOBRZYNSKI, IGNACY FELIX, boru 
 at Romanof, Volhynia, Feb. 25, 1807, died 
 in Warsaw, Oct. 18, 1867. Pianist, son and 
 pujiil of Ignacy Dobrzynski, for the violin 
 and pianoforte, and pupil of Eisner in har- 
 mony and counterpoint. He became the 
 intimate friend of Chopin, also Eisner's pu- 
 pil, and his music partook of the same style, 
 his Piesni Sielskie, or Melodies villageoises, 
 being peculiarly characteristic. In 1815-16 
 he gave concerts in Berlin, Leipsic, and 
 other cities in Germany, playing his own 
 music ; he was at one time conductor of the 
 opera in Warsaw. Works : Symphony in C 
 minor (2d prize, Vienna Concours, 1838) ; 
 Three quartets for two violins, viola and 
 bass ; two quintets for two violins, viola, 
 two violoncellos, op. 38, 40 ; One sextet for 
 two violins, viola, two violoncellos and 
 double-bass, op. 39 ; Trio for pianoforte, 
 violin and violoncello, oj). 17 ; Sonata for 
 pianoforte and violiu ; Les larmes. Noc- 
 turne for pianoforte and violin. He wrote 
 also an opera, Monbar, the overture to 
 which, together with several of the prin- 
 cipal parts, was j)laj'ed at Leipsic aud 
 Dresden in 1845 and 1846 ; and many 
 mazurkas, nocturnes, and songs Avith jiiauo- 
 forte accompaniment. — Fctis ; do., Supple- 
 ment, i. 273 ; Sowinski, 151 ; Meudel ; Rie- 
 mann. 
 
 DOCH DER HERR VERGISST DIE 
 SEINEN NICHT, arioso for contralto iu 
 JNIeudelssohn's Paulus, Part I. 
 
 DOCHE, JOSEPH DENIS, born iu Par- 
 is, Aug. 22, 1766, died at Soissons, July 
 20, 1825. Dramatic composer ; chorister 
 at the cathedral of Meaux at the age of 
 eight, he learned music under the direction 
 of Guignet ; maitre de chapelle of the Cathe- 
 dral of Constance at the age of nineteen, re- 
 maining there until the Revolution, when 
 he entered the orchestra of the Vaudeville 
 Theatre (1794) as violinist, and subsequently 
 as violoncellist and double-bass player. He 
 became assistant-conductor of that orchestra 
 in 1810, and chef d'orchestre from 1815 to 
 1823. He composed a number of new airs 
 
 436
 
 DOCH 
 
 for the vaudevilles played at that theatre ; 
 the best kiiuwu of these were : Fanchou la 
 Vielleuse, The Romance of Santeuil, that of 
 Geiitil Bernard, etc. He wrote the oijeras- 
 comiques, Les trois Derville (1818), refused 
 at the Theatre Feydeau ; Les deux seuti- 
 uelles (1803), and several operettas played 
 at minor theatres, among which was Point 
 de bruit, Theatre de la Porte-Saiut-Martin, 
 1804. He published collections containing 
 his popular romances, entitled : Recueil 
 contenant quaraute airs et romances, avec 
 accompaguemeut de guitare, op. 4 ; Trois 
 recueils de romances ; Rondeau Italien ; 
 Collection de romances et chansons de L. 
 P. Segur I'aino avec des airs nouveaux et 
 accompagnement de piano. — Fetis ; do,, 
 Supplement, i. 274 ; Meudel. 
 
 DOCH, WEICHET, IHR TOLLEN, bass 
 aria in A major, with accompaniment of 
 flute, strings complete, and continue, in 
 Johann Sebastian Bach's cantata for Do- 
 min. 16 post Trinit., " Liebster Gott, wann 
 werd' ich sterben ; " published separately, 
 with additional accompaniments by Robert 
 Franz, by F. Whistling, Leipsic, 1800. 
 
 DOCTEUR CRISPIN, LE. See Criqmw 
 e la Comare. 
 
 DOCTEUR MAGNUS, LE, opera in one 
 act, test by Cormon and Michel Carre, mu- 
 sic by Ernest Boulauger, represented at the 
 Opera, Paris, March 9, 1864. Dr. Magnus 
 is a zealous preacher, whose nejihew Daniel, 
 a young German student, gets him into no 
 end of trouble by his pranks. 
 
 DOCTEUR ]NURACLE, LE, operette in 
 one act, text by Leon Battu and Ludovic 
 Hali'vy, music l3y Lecocq and Bizet, repre- 
 sented at the Bouffes Parisiens, April, 1857. 
 Each of the composers wrote a score to the 
 same text on the occasion of a competition 
 opened by Oft'enbach, and the jury awarded 
 the prize to them equally. The two scores 
 were played successively. 
 
 DOCTEUR IVIIROBOLAN, LE, opera-co- 
 mique in one act, text by Cormon and Tri- 
 anon, music by Eugene Gautier, represent- 
 ed at the Opera Comique, Paris, Aug. 28, 
 
 1860. The subject is from " Crispin mede- 
 cin," a comedy by Hauteroche, given at the 
 Hotel de Bourgogne, 1673. 
 
 DOCTEUR OX, LE, opera-bouffe in three 
 acts, text by Philippe Gille and Mortier, 
 music by Offenbach, represented at the Ya- 
 riL-tes, Paris, Jan. 26, 1877. The subject is 
 from Jules Verne's story of the same title. 
 
 DOCTEUR PYRAMIDE, LE, opera-eo- 
 mique in one act, text by Brand and Jala- 
 bert, music by Haring, represented at Tou- 
 louse, January, 1877. 
 
 DOCTEUR ROSE, LE, opera-bouffe iu 
 three acts and four tableaux, text by Emile 
 de Najac, music by Federico Ricci, repre- 
 sented at the Boufl'es Parisiens, Feb. 10, 
 
 Plot original. 
 
 1872. Scene in Venice. 
 
 DOCTEUR SANGRADO, LE, opera-co- 
 mique in one act, text by Anseaume, music 
 by Duui and Laruette, represented at the 
 Opera Comique, Paris, Feb. 13, 1758. Sub- 
 ject from " Gil Bias." 
 
 DOHLER, THEODOR, born in Na- 
 ples, April 20, 1814, 
 died in Rome, Feb. 
 21, 18.")6. Pianist, 
 pupil of Benedict, 
 afterwards in Vienna 
 of Czerny on the 
 pianoforte, a n d of 
 Sechter in composi- 
 tion ; at the age of 
 seventeen he ob- 
 tained a position as 
 virtuoso to the Duke 
 of Lucca, whom he accompanied on several 
 journeys, and in 1836 he made a concert 
 tour through Germany, visited Florence and 
 Bologna in 1837, Paris in 1838, London and 
 Holland iu 1839, obtaining everywhere a 
 brilliant success. Having returned to Italy, 
 he started for Holland again on invitation, 
 gave concerts at Amsterdam, Rotterdam, 
 and Utrecht, then at Brussels, and after 
 another sojourn at Lucca of about two 
 years, revisited Germany, whence he went 
 to Copenhagen in 1843, and finally to Rus- 
 i sia, where he stayed two years ; iu 1846 
 
 4»7
 
 DOLES 
 
 married the Princess Tscberemetefif, aud set- 
 tled iu Italy, abandoning music as a pro- 
 fession. Works : Concerto, op. 7 ; 12 fan- 
 taisies on difl'erent operatic themes ; 10 noc- 
 turnes ; Themes varies, etudes, caprices, 
 rondos, etc. — Fetis ; Mendel ; Eiemann. 
 
 DOLES, JOHAJ^N FRIEDRICH, born 
 at Steinbacli, Meiningen, April 21, 1715, 
 died at Leipsic, Feb. 8, 1797. Church 
 composer, pupil of Bach, and in 1744-56 
 cantor at Freiberg ; then for tliirty-three 
 years at the Thomasschule, aud musical 
 director at the two principal churches in 
 Leijjsic. His style was jjopular and utterly 
 diflerent from that of his master. Works : 
 Neue Lieder von Fuchs (Leipsic, 1750) ; 
 Tlie 46th Psalm (ib., 1758) ; Melodien zu 
 Gellert's geistlichen Oden (ib., 1762) ; Vier- 
 stimmiges Choralbuch (ib., 1785) ; Cantata 
 on Gellert's Ich komme vor dein Auge- 
 sicht, for 4 voices, and orchestra (ib., 1790) ; 
 Singbare und leichte Choralvorspiele 1st — • 
 3d book (ib., 1795) ; do. 4th book (1796) ; 
 do. 5th book (1797). Li manuscript: The 
 Passion, oratorio ; Passion-Music according 
 to St. Mark ; do., according to St. Luke ; 
 Psalms 12, 16, 24, 33, 81, 84, 85, 100, 
 111; Two masses ; Magnificat ; Kyrie aud 
 Gloria ; Salvete vos ; Motets. His son aud 
 pupil, Joliann Friedrich (born at Freiberg, 
 May 26, 1746, died at Leipsic, April 16, 
 1796), was a distinguished amateur pianist, 
 and bass singer. He composed a concerto, 
 several sonatas and solos for pianoforte, be- 
 sides Langbeiu's " Poststationen des Le- 
 bens." — Allgem. d. Biog., v. 312 ; Fetis ; 
 Mendel ; Schilling. 
 
 DOLEZALEK, JOHANN EM.INUEL, 
 born at Chotebor, Bohemia, died iu Vi- 
 enna, July 6, 1858. Pianist ; attracted at- 
 tention iu Prague about 1814 by his play- 
 ing, and the originality of his Bohemian 
 songs, published iu 1812. He then settled 
 in Vienna, where he rapidly took his place 
 as one of the favorite teachers of singing 
 and the pianoforte. Works : 12 eeossaises 
 for two violins, 2 clarinets, 2 horns, flute, 
 two bassoons, and bass ; 9 variations on a 
 
 theme of Sargines, for jsianoforte ; Varia- 
 tions on a theme from the ballet Der Fass- 
 binder ; Several collections of allemandes, 
 ecossaises, and waltzes for pianoforte ; 2 
 Russian marches, for do. — Fetis. 
 
 DOLORI DI jMARIA SEJIPRE VER- 
 GINE, I, ossia la Vergiue addolorata, ora- 
 torio, by Alessandro Scarlatti. 
 
 DOLOROSA, Liedercyclus, by Adolph 
 Jensen, op. 30. 
 
 DOMBROWSKI, HENRI, born at Zwini- 
 acz, Russia, in 1838, still living, 1888. Pi- 
 anist, jjupil of Liszt. After finishing his 
 musical education he visited Russia, Italy, 
 Spain, and France professionally, and finally 
 settled in Paris. Works : Le 26 Novembre ; 
 Chant magyare ; Saltarella ; Les contrastes ; 
 fitude de genre ; Romances sans paroles ; 
 Grande Polonaise ; Polonaise historique ; 
 JIarche des Tartares ; Impressions de voy- 
 age ; Conte de salon ; Soirees de Versailles, 
 etc. He has sometimes published under 
 the name Ary de Bogota. — Fetis, Supple- 
 ment, i. 275. 
 
 DOillNICETI, CESARE, born at De- 
 senzano, Italy, July 12, 1821, died at Sesto 
 di Monza, June 20, 1888. Dramatic com- 
 poser. Works — Operas : I vegli usi di cittii, 
 Desenzano, 1841 ; Due mogli in una, Milan, 
 1853 ; La maschera, text by Guidi, Milan, 
 March 2, 1854 ; Morovico, Milan, Decem- 
 ber, 1873 ; II lago delle fate, text by Za- 
 nardini, Naples, May 18, 1878 ; L' eredita- 
 ria, text by Zanardini, Milan, Feb. 19, 1881. 
 — Riemann. 
 
 DOmNO AZUL, EL (The Blue Domino), 
 Spanish opera in three acts, music by Ar- 
 rieta, represented in Madrid, 1852. 
 
 DOMINO NERO, IL (The Black Domino), 
 Italian opera, music by Rossi, represented 
 at Milan, 1849. The libretto is an adapta- 
 tion of the French Le Domino Noir. 
 
 DOmNO NOIR, LE (The Black Domino), 
 ojjcra-comique iu three acts, text by Scribe, 
 music by Auber, first represented in Paris, 
 Dec. 2," 1837. The libretto, the scene of 
 which is laid at a masked ball in Madrid, 
 is one of Scribe's best, and the composer's 
 
 436
 
 DOMXICU 
 
 musical setting' is full of grace and melody. 
 Among the best of its uuuibers are the two 
 romances : " Le trouble et la frayeur," and 
 " Amour, vieus fiuir mon supplice " ; the 
 couplets, " Une fee, un bon auge," and "S'il 
 est sur terre ; " the airs " D'oti venez-vous, 
 ma chore," and " Ah ! quelle unit ! " and 
 the song and chorus, " Heureux qui ne 
 respire." In the original rej)resentation 
 
 
 Laufe Damoreau as Angfele. 
 
 the part of Angele was sung by Mme Laure 
 Damoreau, who made it one of Ler most 
 successful parts, and that of Horace by the 
 celebrated tenor, Roger. — Larousse, vi., 
 lpC9 ; Hanslick, Mod. Oper, i:U. 
 
 DOMNICH, HEINEICH, born at Wiirz- 
 burg, March 13, 1767, died iu Paris, June 
 19, 1844. Virtuoso on the born, pupil of 
 his father, who was also an eminent liorn 
 player iu the service of the bishop of Wiirz- 
 
 burg. In his twelfth year he appeared at 
 court, and played concertos of his own com- 
 jiosition ; he then entered the service of 
 the Count von Eltz, at Mainz, and thence 
 went to Paris, where be studied under 
 Puuto, and becoming a celebrity among 
 virtuosi, obtained the first professorshijJ of 
 his instrument at the newly erected Con- 
 servatoire, and was decorated by Napoleon 
 I. Having started out from Wiirzburg with- 
 out any meaus, he left a fortune of over a mill- 
 ion of francs. Works : 3 concertos for horn, 
 with orchestra ; Syraphonie concertante 
 for 2 horns ; 2 collections of romances, with 
 pianoforte, oj). 4, aud 5 ; Variations, duets, 
 quartets, etc. His brothers, Jacob (born at 
 Wiirzburg, 1758, died in America (?) after 
 18()C>), and Arnold (boru Sept. 29, 1771, 
 died at Meiningeu, July 14, 1834), were also 
 eminent and reputed horn players. The 
 former led a wandering life from his thir- 
 teenth year, and was last heard of fi-om 
 Philadelphia in 1806 ; the latter was cham- 
 ber musician to the Duke of Meiningeu, 
 from 1786, for forty-eight years. — Allgem. 
 d. Biog., V. 327 ; Mendel ; Schilling. 
 
 DOM SEBASTIEN, KOI DE PORTU- 
 GAL, grand opera iu five acts, text by 
 Scribe, music by Donizetti, represented at 
 the Academie Roj-ale de Musique, Paris, 
 Nov. 13, 1843. This mournful work, which 
 has been described as a "funeral in five 
 acts," was written in the same year with 
 the gay and sprightly Don Pasquale. The 
 libretto, which is lugubrious and absurd, 
 deals with the fatal expedition into Morocco 
 by the Portuguese King, Dom Sebastiao in 
 1578, iu which be lost his life. Zaida was 
 sung by Mme Stoltz, who made it one of 
 her best impersonations. The ojaera had 
 only thirty-two representations. 
 
 DONATI, IGNAZIO, boru at Casal-Mag- 
 giore, Lombardy, towards the end of the 
 16th century, died (probably at Milan) 
 after 1633. Church composer, maesti'o di 
 cappella of the Accademia di Santo Spirito 
 at Ferrara in 1619 ; was called in tlie same 
 caj)acity to his native town iu 1624, and to
 
 DOXATO 
 
 the cathedral of Milau in 1633. "Works : 
 Sacri concensus a 1, 2, 3, 4, e 5 vocum (Ven- 
 ice, 1612) ; Le Faufakiche, madrigali a 3, 
 4, e 5 voci (ib., 1615) ; Concerti ecclesiastici, 
 op. 2 (ib., 1617) ; do., op. 4 (ib., 1619) ; 
 Messe a 4, 5, e 6 voci jjiene e concertate 
 (ib., 1626) ; Motetti a 5 voci concertati, etc. 
 (ib., 1626) ; do., op. G (ib., 1627) ; Motetti a 
 voce sola col basso per 1' organo (ib., 1628) ; 
 Salmi Boscherecci a sei, op. 9 (ib., 1629). 
 — Fc'tis. 
 
 DONATO (Donati), BALDASSAEE, born 
 about 1530 (1510?), died in Venice, June, 
 1603. Madrigal comijoser, maestro di cap- 
 pella of San Marco, Venice. He was first a 
 singer in the choir, whence he was pro- 
 moted on account of merit as a composer 
 to be maestro di cappella of the lesser 
 choir ; but this was suj)f)ressed in 1565 and 
 Donato became once more a choir singer. 
 In 1590 he succeeded Zarlino as maestro of 
 the main choir. Works : II primo libro di 
 cauzonette villanesche alia Napoletana a 
 quattro (Venice, 1551 ; 2d ed., 1555) ; Mo- 
 tetti, 1 libro, a 5, 6, 8 voc. (Venice, 1599) ; 
 Madrigali a cinque, sei, sette e otto voci, 
 lib. 2 (Venice, 1559) ; Madrigali a cinque e 
 sei voci, etc., lib. 1, (1560) ; Madrigali a 
 cinque voci, lib. 4 (1567 ; dates of the other 
 three not known) ; Madrigali a 4 voci, lib. 
 1, 2 (Venice, 1568). Some of his madrigals 
 for 4 voices are found in the collection en- 
 titled : La eletta di tutta la Musiea intitu- 
 lata Corona di diversi, etc., Zorzi, lib. 1 (Ven- 
 ice, 15G9). His madrigal : Chi la gagliarda, 
 has been an-anged by Oliphant, as : All ye 
 who music love. — Fetis ; Mendel ; Schil- 
 ling ; Eiemann. 
 
 DON BUCEFALO, Italian opera bufta, in 
 three acts, music bj' Antonio Cagnoui, rep- 
 resented at the Teatro del Ke, Milan, 
 1847 ; at the Teatro Carcano, ib., 1849 ; 
 and at the Theatre Italien, Paris, Nov. 9, 
 1865. Don Bucefalo is a musician who 
 imagines himself a great composei*. He 
 converts a troup of villagers into opera 
 singers and tries to teach them their re- 
 spective parts, wholly unconscious of an 
 
 intrigue between Eosa, his prima donna, 
 who passes as a widow, the gouty Marco 
 Bomba, and a young count ; and he is 
 plunged into despair when her real hus- 
 band appears and, carrying her off, breaks 
 up all his plans. This amusing work was 
 very successful in Italj*. 
 
 DON CARLOS, opera in five acts, test 
 by Mery and Camille du Locle, music by 
 Verdi, represented at the Opera, Paris, 
 March 11, 1867 ; and at Her Majesty's 
 Theatre, London, June 4, 1867. The sub- 
 ject is the morbid, imjiulsive son of PhiUp 
 H. of Spain, engaged to Elizabeth of 
 France, who subsequently became his step- 
 mother, and whose conduct so exasjjerated 
 his father that he had him placed under 
 arrest and finallj- transferred to the prison 
 at Madrid, where he died in 1568, at the 
 age of twenty-three. The libretto is found- 
 ed on Schiller's drama of the same title. 
 The original cast in Paris was as follows : 
 
 Philip II M. Obin. 
 
 Don Carlos M. Morere. 
 
 Marquis de Posa M. Faure. 
 
 Grand Inquisitor M. Belval. 
 
 Monk M. David. 
 
 Elizabeth de Valois Mme Sass. 
 
 Princess Epoli Mme Gueymard. 
 
 Page Mile Levieilli. 
 
 The same subject had been previously 
 treated in Don Carlo, Italian opera, text by 
 Giacchetti, music by Pietro Bona, Milau, 
 1847 ; Don Carlo, text by Beninzoue, after 
 Alfieri's "Filippo," music by Ferrari ; Don 
 Carlos, opera seria in three acts, test by 
 Tarantini, music by Costa, Her Majesty's 
 Theatre, London, June 20, 1844 ; Don 
 Carlos, Italian opera, music by Vincenzo 
 !Moscuzza, Teatro San Carlo, Naples, May 
 25, 1862.— Hanslick, Modeme Oper, 243. ' 
 
 DON CAELOS, ou la belle invisible (The 
 Invisible Beauty), opera, music by Duplessis, 
 represented at the Theatre des Aleves de 
 I'Opera, Paris, 1780. Don Carlo, opura- 
 comique in one act, text by Lcger and 
 Tremblay, music by Deshayes, produced at 
 
 440
 
 DON CESAR DE BAZAN. 
 
 the Opera Comique, Paris, Jan. 11, 1800. 
 These two differ in subject from the above. 
 DON CESAE DE BAZAN, opera-comique 
 in three acts and four tableaux, text by Den- 
 nery, Dumanoii', and Ghantejjie, music by 
 
 Galli-Marie. 
 
 Massenet, represented at the Opera Co- 
 mique, Paris, Nov. 30, 1872. The libretto 
 is an adajstation of a romantic drama of the 
 same title, in iive acts, by the same authorsi 
 represented at the Theatre de la Porte-Saint- 
 Martin, in 1844. Don Cesar is a character 
 from Victor Hugo's drama, "RuyBlas." The 
 ojjera was sung by Bouhy, Lherie, Neveu, 
 Mme Galli-Marie, and Mile Priola. For 
 Wallace's Don Cesar de Bazan, see Maritana. 
 
 DON CHISCIOTTO. See Don Quixotte. 
 
 DON DESIDERIO, Italian opera buffix 
 iu two acts, text by the Comte Giraud, after 
 the play entitled " L'obligeant maladroit," 
 music by Prince Joseph Poniatowski, rep- 
 resented at Pisa, 18.39, at Rome, 1842, and 
 at the Theatre Italien, Paris, March IG, 1858. 
 
 DON GIOVANNI, ossia il dissoluto pu- 
 uito (The Libertine Punished), Italian opera 
 buffa in two acts, text by Lorenzo da Ponte 
 (born in Venice, 1749, died in New York, 
 1838), music by Mozart, first represented at 
 Prague, Oct. 29, 1787. The libretto is iu 
 part au adaptation of Moliere's " Le festin 
 de pierre " (1665), which in turn derives 
 its subject from " El burlador de Sevilla y 
 couvidado de piedra " (1622) by the Spanish 
 
 poet Gabriel Tellez, whose pseudonym was 
 Tirso de Molina. Moliere's play was pre- 
 ceded by an Italian version by Onofrio 
 Giliberti, "II convitato di pietra," given at 
 Naples in 1652, and bj' several French ver- 
 sions which popularized the subject in 
 France. The original of this prince of lib- 
 ertines was Don Juan Teuorio, of Seville, 
 Spain, who attempted the seduction of the 
 governor's daughter. The father, forcing 
 Don Juan to a duel, is slain, and a statue is 
 erected to him in the family vault. One 
 day Don Juau forced his way into the vault 
 and invited the statue to a banquet. To 
 the amazement of the guests, shortly after 
 assembled at the libertine's house, the 
 statue enters the banquet hall, seizes Don 
 Juan, and delivers him to devils, who carry 
 him off to his doom. Mozart's work, called 
 by Naumaun the " grandest romantic opera 
 that the history of music can show," was 
 written in Prague iu about six weeks after 
 the composer's an-ival there. The overture 
 was written the night before its first per- 
 formance. The opera was received with 
 
 Lorenzo da Ponte. 
 
 rapturous approval at Prague, where the 
 original cast was as follows : 
 
 Donna Anna Signora Teresa Saporiti. 
 
 Donna Elvira. . . .Signora Catarina Micelli. 
 
 Zerlina Signora Catarina Bondini. 
 
 Don Ottavio Signor Antonio Baglioni. 
 
 Don Giovanni Signor Luigi Bassi. 
 
 Leporello Signor Felice Ponziani. 
 
 Masetto and Don Pedro . . Signor Giuseppe 
 
 Lolli. 
 
 441
 
 DON^ 
 
 Among the most noted of its numbers are 
 the humourous aria by Leporello, Don Gio- 
 vanni's rascally valet, " Notte e giorno fati- 
 car;" the charming aria of Donna Elvira, 
 " Ah ! chi mi dice mai ; " the buffo aria of 
 Leporello, " Madamina, il catalogo," com- 
 
 ,4SS:.^ 
 
 Lablache as Leporello. 
 
 nionly called the Catalogue Song, because 
 iu it he catalogues his master's amours ; the 
 duet of Don Giovanni and Zerlina, " La ci 
 darem la mano ! " ; the song of Don Gio- 
 vanni, "Finch' ban dal vino;" the aria of 
 Zerlina, " Batti, batti, o bel Masetto," sung 
 to her jealous lover ; and the trio of Donna 
 Anna, Donna Elvira, and Don Ottavio, fa- 
 mous as the Mask Trio, all iu the first act. 
 The second act opens with a duet between 
 Don Giovanni and Leporello, "Eh ! via buf- 
 fone," followed by the trio, as Donna Elvira 
 appears at the window, "Ah ! taei ingiusto 
 core." After Don Giovanni's serenade to 
 Zerlina, " Deh ! vieni alia finestra," Zerlina 
 consoles the beaten Masetto with the beau- 
 tiful aria, "Vedrai carino." The second 
 scene ojsens with a strong sextet followed 
 
 by an air by Leporello, after which comes 
 the celebrated tenor aria, "II mio tesoro 
 intanto." The finale is filled up with the 
 statue and banquet scenes, excej)tiug a 
 short scene between Donna Anna and Don 
 Ottavio, in which the former sings the aria, 
 " Non mi dir, bell' idol mio," commonly 
 called the Letter Aria. When Don Gio- 
 vanni was given in Vienna, May 7, 1788, 
 IMozart wrote for it four new numbers : the 
 air of Leporello, in the second act, " Ah ! 
 pieta, signori iniei ! " the duet between Le- 
 poi-ello and Zerlina, "Per quests tue ma- 
 nine ;" the aria of Donna Elvira, "Mi tradl 
 quell' alma ingrata ! ; " and the aria of Don 
 Ottavio, " Dalla sua pace." Don Giovanni 
 was refiresented, Oct. 12, 1791, in Berlin, 
 but neither there nor in Vienna was it ap- 
 preciated at first. A French version of Don 
 Juan, text by Thuring and Baillot, music 
 arranged by Kalkbrenner, with changes 
 and intercalations, was given in Paris, at 
 the Academie Imjicriale de Musique, Sept. 17, 
 1805 ; but the original was not performed 
 there until Oct. 12, 1811, when it was sung 
 at the Theatre Italien. Another and better 
 French version in four acts, text by Castil- 
 Blaze, was given at the Odeon, Dec. 24, 
 1827 ; and a third, iu five acts, by Castil- 
 Blaze, A. H. Castil-Blaze, and E. Deschamps, 
 at the Academie Eoyale de Musique, March 
 10, 1834. In 18GG it was produced con- 
 cui'rently at the Opera and at the Theatre 
 Lyrique, with great success. Don Giovanni 
 was first performed in London at the King's 
 Theatre, April 12, 1817 ; and in New York, 
 at the Park Theatre, May 23, 1826. The 
 centennial anniversary of its first perform- 
 ance was celebrated at Salzburg, Oct. 29, 
 1887. The subject of Don Juan was first 
 treated musically by Le Tellier, iu a vaude- 
 ville entitled Le festin de pierre, Paris, 
 1713. This was followed by Don Juan, 
 ballet, by Gluck, Vienna, 17(51 ; II convitato 
 di pietra, ojDera, music by Eigliini, Vienna, 
 1777 ; do., opera, music by Tritto, Naples, 
 1783 ; Don Giovanni, opera semi-seria, 
 nuisic by Albertini, Venice, 1784 ; Don 
 
 449
 
 DOX 
 
 Giovanni Tenorio, ossia il convitato di pie- 
 tra, opera, music by Gazzaniga, Bergamo, 
 1788 ; Don Giovanni, ossia, etc., opera, 
 music by Fabrizi, Fauo, 1788 ; II dissolute 
 jjunito, oj^era, music by Raimoudi, Rome, 
 about 1818 ; Don Juau Tenorio, ojjera, by 
 Ramon Caruicer, Barcelona, 1818 ; II con- 
 vitato di pietra, by Giovanni Pacini, Via- 
 reggio, 1832 ; Don Juan de fantaisie, ope- 
 rette, by Barbier, Paris, 18G{J ; Eiu kleiner 
 Don Juan, operetta by Ziebrer, Pesth, 1879 ; 
 II uuovo Don Giovanni, operetta by Palmi- 
 eri, Trieste, 1884 — Dwiglit's Journal, iii. 
 41, 4(5, 49 ; Hanslick, Moderne Oper, 30 ; 
 Edwards, Lyrical Drama, i. 42-148 ; Cas- 
 til-Blaze, Moliere Musicien, i. 189 ; Engel, 
 Karl, The Legend of Don Juan on the Stage 
 (1887); Freisauff, R. von, Mozart's Don 
 Juan, 1787-1887 (1887) ; N. Zeitsclir. f. 
 Mus. (1887), 481, 485, 494, 505, 518 ; Rietz, 
 preface to edition of full score, Breitkoff & 
 Hiirtel (Leipsic, 1871). 
 
 DON GREGORIO, ou le precepteur dans 
 I'embarras (The Embarrassed Tutor), opera- 
 comique in three acts, text by Sauvage 
 and de Leuveu, music by the Comte Ga- 
 brielli, re^Jresented at the Opera Comique, 
 Paris, Dec. 17, 1859. The plot is derived 
 from the Comte Giraud's comedy, " Le jiru- 
 cepteur dans I'embarras." The same sub- 
 ject has been treated by Mosca, in his opera, 
 Don Gregorio in imbarrazzo, Italy, about 
 1813 ; by Airoldi, in his ojjera buffix, Don 
 Gregorio nelF imbarrazzo, Venice, 1850 ; and 
 by Donizetti, in L' A Jo nell' imbarrazzo. 
 
 DONIZETTI, GAETANO, born at Ber- 
 gamo, Italy, Nov. 29, 1797, died there, 
 April 8, 1848. He began his musical stud- 
 ies at the Liceo in his native town, and then 
 entered the Naples Conservatorio, where 
 he finished under Simon Mayr. He is 
 said also to have studied under Pilotti 
 and Mattel at Bologna. His first opera, 
 Enrico di Borgogna, was brought out at 
 Vienna in 1818. The success of Zoraide 
 di Granata, brought out at Rome in 1822, 
 was such that it saved the composer from 
 military conscription, and won him the 
 
 honour of being carried in triumph and 
 crowned at the Capitol. Donizetti's earlier 
 operas were all 
 imitations of Ros- 
 sini's style, and, 
 for the most 23art, 
 very hurriedly 
 and carelessly 
 written. At 
 length, in 1830 
 he produced Anna 
 Bolena at Milan, 
 a more elaborate 
 piece of workman- 
 ship than he had hitherto attempted, and 
 the first of his operas to win more than local 
 fame. In L' elisire d' amore, Milan, 1832, 
 and especially in Lucia di Lammermoor, 
 Naples, 1835, his style showed itself to be 
 fully formed. In 1835 Donizetti visited Pa- 
 is, where he brought out Marino Faliero, at 
 the Theatre des Italieus, and, five years 
 later, Luerezia Borgia, which he had written 
 in 1834 for Milan. In this work the com- 
 poser seems at times to have anticipated 
 the more intensely dramatic style of Verdi. 
 During the same year (1840), Les martyrs, 
 which in its original Italian form of Poliuto 
 had been forbidden by the censorship of 
 Naples, was brought out at the Opera, 
 La fiUe du regiment, at the Opera Co- 
 mique, and La favorite, at the Opera. Lucia, 
 Luerezia Borgia, and La favorite, may be 
 regarded as Donizetti's best and most suc- 
 cessful serious works. Of these three, the 
 second is better known and more highly 
 esteemed in England and America than in 
 France or Germany ; La favorite owes its 
 high reputation to its fourth act, probably 
 the finest and most dramatic act that the 
 composer ever wrote. But Lucia is almost 
 universally recognized as his masterpiece, 
 in sjoite of some very weak moments in 
 it. Leaving Paris, Donizetti visited Rome, 
 Milan, and Vienna, at which last city he 
 brought out Linda di Chamonix, in 1842, 
 and wrote a Miserere and an Ave Maria, 
 for the Hofkapelle, the strict style of which 
 
 443
 
 DONIZETTI 
 
 was much applauded by German critics. 
 Eevisitiug Paris iu 1843, Donizetti produced 
 Dou Pasquale, at tbe Tlieatre des Italiens, 
 aud Dom Sebastien, at tbe Opera, the 
 former a great success, the latter a decided 
 failure, albeit probably the composer's most 
 elaborate aud carefully written score. Maria 
 di Eohau, also an elaborate work, written 
 for Vienna the year before, met with more 
 success. Catarina Cornaro, his last opera, 
 made a decided failure at Naples in 1844. 
 Le due d'Albe, discovered a few j'ears ago iu 
 a sealed box, and i^roduced with some eclat 
 iu Italy, was an early work. During the 
 last years of his life Donizetti was subject 
 to fits of melancholy. He died of a stroke 
 of paralysis. Works — Operas : 1. Enrico 
 di Borgogua, Venice, Teatro San Luca, 1818 ; 
 2. II falegnanie di Livonia, ib., 1819 ; 3. 
 Le uozze in villa, Mantua, 1820 ; 4. Zora'ide 
 di Granata, Home, 1822 ; 5. La zingara, 
 Naples, 1822 ; 6. La lettera anonima, ib., 
 1822 ; 7. Chiara e Serafiua, Milan, 1822 ; 
 8. II fortuuato inganno, Venice, 1823 ; 9. 
 Alfredo il Grande, ib., 1823 ; 10. Unafolha, 
 ib., 1823 ; 11. L' ajo nell' imbarrazzo, Rome, 
 1824 ; 12. Emilia di Liverpool, Naple.s, 
 1824 ; 13. Alahor in Granata, Palermo, 
 1826 ; 14. II castello degli iuvalidi, Na- 
 ples, 182G ; 15. Elvida, ib., 1826 ; 16. II 
 giovedi grasso, ib., 1827 ; 17. Olivo e Pas- 
 quale, Eome, 1827 ; 18. II Borgomastro 
 di Saardam, Naples, 1827 ; 19. Le cou- 
 venienzi teatrali, ib., 1827 ; 20. Otto mesi 
 in due Ore, Palermo, 1828 ; 21. Bisahctla 
 a Kenilworth, Najjles, 1828 ; 22. La regina 
 di Golcouda, Genoa, 1828 ; 23. Gianni di 
 Calais, Naples, 1828, Paris, Theatre Italien, 
 Dec. 17, 1833 ; 24. L' esule di Roma, Na- 
 ples, 1829 ; 2.5. L' elisire d' amore, ib., 
 1820 ; 26. II paria, ib., 1829 ; 27. II castello 
 di Kenilworth, ib., 1829 ; 28. II rfi7«DJ0 uni- 
 versale, ib., 1830; 29. I pazzi per progetto, 
 ib., 1830 ; 30. Francesca di Foix, ib., 1830 ; 
 31. Isnelda di Lambertazzi, ib , 1830 ; 32. 
 La romanziera, ib., 1830 ; 33. Anna Bolena, 
 Milan, 1831 ; 34. Fausta, Najjles, 1831 ; 35. 
 Ugo, coute di Parigi, Milan, 1832 ; 36. 
 
 Sancia di Castilla, Naples, 1832 ; 87. II 
 nuovo Pourceaugnac, ib., 1832 (there is 
 some doubt as to this opera being really 
 by Donizetti) ; 38. II furioso nell' isola di 
 San Domingo, Rome, 1833, Paris, Theatre 
 Italien, Feb. 2, 1862 ; 39. Paridna, Flor- 
 ence, 1833 ; 40. Torqualo Tasso, Rome, 
 1833 ; 41. L' assedio di Calais, 1833 ; 42. 
 Liwrezia Borgia, Milan, Teatro della Scala, 
 1834; 43. Rosamunda d' Inghilterra, Flor- 
 ence, Teatro della Pergola, 1834 (later at 
 Najjles as Eleonora di Guienna) ; 44. Maria 
 Stuarda, Naples, 1834 (later at Rome as 
 Buondelmonte) ; 45. Gemma di Vergi, Mil- 
 an, 1835, Paris, Theatre Italien, Dec. 6, 
 1845 ; 46. Marino Faliero, Paris, Theatre 
 Italien, 1835 ; 47. Lucia di Lanunermoor, 
 NajDles, 1835 ; 48. Belisario, Venice, T. 
 della Fen ice, Feb. 7, 1836 ; 49. II Cam- 
 panello di Notte, Naples, 1836, St. Peters- 
 burg, January, 1864 ; 50. Belly, ib., 1836 ; 
 51. Roberto Devereux, ib., 1836 ; 52. Pio 
 de' Tolomei, Venice, 1837 ; 53. Maria di 
 Rudenz, ib., 1838 ; 54. Poliuto, not per- 
 formed, Pai'is, Oj^era, as Les martyrs, Ajsril 
 10, 1840, aud Theatre Itahen, April 14, 
 1859 ; 55. Gianni di Parigi, Milan, 1839 ; 
 56. Gabriella di Vergi, ib., 1839 (not per- 
 formed, but given in Naples, 1844) ; 57. 
 La JiUe du regiment, Pai'is, Opera Co- 
 mique, Feb. 11, 1840 ; 58. La favorite, ib.. 
 Opera, Dec. 2, 1840 ; 59. Adelasia, ossia la 
 figlia dell' arciero, Rome, 1841 ; 60. Mlaria 
 Padilla, Milan, 1841 ; 61. Linda di Cliamo- 
 nix, Vienna, Kiirnthnerthor Theater, 1842 ; 
 62. Maria di Rohan, Vienna, 1843 ; 63. 
 Don Pasquale, Paris, Theatre Italien, Jan. 
 4, 1843 ; 64. Dom Sebastieu, Paris, OjJera, 
 Nov. 13, 1843 ; 65. Galarina Cornaro, Na- 
 ples, Teatro San Carlo, 1844 ; 66. Rita, ou 
 le marl battu (posthumous), Paris, Oj^era 
 Comique, May 7, 1860 ; 67. Le Due d'Albe, 
 (do.), Barcelona, 1882. Dramatic and other 
 Cantatas : L' Ai-istea, 1823 ; I voti de' sudditi, 
 1825 ; Elvira, 1826 ; H fausto ritorno, 1830 ; 
 Admete, 1832 ; La morte d' Ugoliuo, 1835. 
 Miscellaneous : Nuits d'ete a Pausilippe (ly- 
 ric album) ; Sou'ees d'automue a I'lnfraa-
 
 DON 
 
 cata (G songs ami duets) ; KCveries iiapoli- 
 taiues (G ballads) ; Ispirazioui Vieuuesi (5 
 ariettas and 2 ducts) ; Les soirees de Paris 
 (12 cauzouets aud duets) ; 7 masses, of 
 whicli one is a requiem ; Several vespers, 
 
 psalms, and motets ; 12 string quartets, aud 
 some pianoforte music. — Filipjio Ciccoiietti, 
 Vita di G. Donizetti (Rome, 1864) ; Federico 
 Alborglietti and Michelangelo Galli, Doni- 
 zetti-Ma3'r (Bergamo, 1875) ; Clement, Mas. 
 coU'bres, 453 ; Fetis. 
 
 DON JUAN. See Don Giomnni. 
 
 DON PASQUALE, opera butia in three 
 acts, text and music by Donizetti, repre- 
 sented at the Theatre Italieu, Paris, Jan. 4, 
 1843. The plot is derived from an older 
 Italian opera in two acts, Ser Marc' Antonio, 
 music by Pavesi, which was represented iu 
 Milan in 1811, and in Paris in 1813. Don 
 Pasquale, old and rich, takes it into his 
 head to marry. His friend, Dr. Malatesta, 
 unable to dissuade him, jjroposes to him to 
 marry his sister Sophronia, a timid, modest 
 girl, he tells him, brought up iu a convent. 
 Under this guise he introduces to him a 
 young widow, Noriua, the beloved of Don 
 Pasquale's nepliew, Ernesto. The old man 
 is captivated aud a sham man-iage contract 
 is signed. This is no sooner done than 
 Noriua drops her assumed modesty and 
 leads the Don such a dance that he is finally 
 glad to take the Doctor's advice and let Er- 
 nesto marry her iustead. He is too glad of 
 his escape to quarrel with Malatesta wheu 
 he discovers the plot, aud the young couple 
 are united with his blessing. This charm- 
 ing opera, almost unequalled for sparkling 
 gayety aud comic situations, was writteu by 
 Donizetti iu three weeks. The exquisite 
 serenade in the third act, " Com' e gentil," 
 is still a favourite with concert singers. 
 The original cast of the opera was as fol- 
 lows : 
 
 Noriua Siguora Grisi. 
 
 Ernesto Signor Mario. 
 
 Dr. Malatesta Signor Tamburini. 
 
 Dou Pasquale Signor Lublache. 
 
 Don Pasquale was played for uiany years 
 after its first representation as a piece of 
 the present, but for the sake of picturesque- 
 uess the characters were tiually dressed iu 
 the costume of the last century. It was 
 produced iu London at Her Majesty's The- 
 atre, June 30, 1843. In 18G4 a French 
 version, by Ali^honse Royer and Gustave 
 Vaez, was given in Pai-is at the Theatre Ly- 
 rique. An English version was given iu 
 New York, March 9, 184G ; it was first sung 
 there in Italian, Dec. 18, 1849.- — Edwards, 
 Lyrical Drama, ii. 3G. 
 
 DON QUIXOTE. The great romance of 
 Cervantes, " El ingeuioso hidalgo Don Qiii- 
 jote de la Maucha " (1G05-15), has furnished 
 the material for many operas. The earliest 
 appears to have been : Der irreude Ritter 
 Dou Quixote de la Mancha, text by Hiusch, 
 music by Fiirtsch, Hamburg, 1690 ; and 
 next, Don Quixote, text by D'Urfey, music 
 by Henry Purcell, London, 1694. These 
 were followed by : Dou Chisciotto iu Sierra 
 Morena, by Conti, Vienna, 1719 ; Dou Chis- 
 ciotto alia corte della duchessa, by Caldara, 
 Vienna, 1727 ; Don Chisciotto, hy Padre 
 Martiui, Italy, about 1730 ; by Treu, Bres- 
 lau, 1727 ; by Holzbauer, Mannheim, 1755 ; 
 by Picciuni, Naples, 1770 ; Dou Chisciotto 
 alle nozze di Gamazzo, by Salieri, Vienna, 
 1771 ; Don Chisciotto della Maucia, by Pai- 
 siello, Naples, 1769 ; Dou Quixote, German 
 opera, by Schack, Vienna, 1792 ; by Hubat- 
 schek, Hermannstadt, about 1792 ; by Dit- 
 tersdorif, Oels, 1795 ; Don Chisciotto, Italian 
 opera, by Tarchi, Paris, 1791 ; by Generali, 
 text by Rossi, Milan, 1805 ; by Miari, Venice, 
 about 1810 ; by Manuel Garcia, New York, 
 1827 ; by Mercadante, Cadiz, 1829 ; by Maz- 
 zucato, Milan, 1836 ; by Lucantoni (ballet), 
 Milan, 1845 ; by Luigi Ricci, Jr., Venice, 
 1881 ; Don Quichotte chez la ducliesse (bal- 
 let), text by Favart, music by Boismortier, 
 
 445
 
 DON 
 
 Paris, 1743 ; Dou Quixote, by Macfarren, 
 Loudon, 18i6 ; Ritter Don Quixote, by 
 Spindler, about 1790 ; Die Abeuteuer des 
 liitters Dou Quixote de la Maucha, by Sei- 
 del, Berlin, 1811 ; Le nouveau Dou Qui- 
 cliotte, by Champeiu, text by Boissel, Paris, 
 1789 ; a Polish opera, similar title, by Mo- 
 niuszko, Wilna, 184:7 ; Dou Quicliotte at 
 Sancho, by Clapisson, Paris, 1847 ; Dou 
 Quicliotte et Sancho Pausa, by Herve, Paris, 
 1848 ; Dou Quicbotte, b\' Ernest Boulauger, 
 text by Barbier aud Carre, Paris, 1869 ; 
 Don Quixote, by Frederic Clay, London, 
 1875 ; Dou Quixotte, operetta, by Both and 
 Weiuzierl, Vienna, 1879. 
 
 DON QUIXOTE, characteristic compo- 
 sition for orchestra, by Antou liubinsteiu, 
 op. 87. Published by Senfi' (Leip.sic). 
 
 DON RODKIGO. See Cid. 
 
 DONNA BIANCA DAVENELLO, LA. 
 See La Dame blanche. 
 
 DONNA DEL LAGO, LA (The Lady of 
 the Lake), Italian opera in two acts, text by 
 Tottola, music by Rossini, first represented 
 at the Teatro Sau Carlo, Najjles, Oct. 4, 
 1819 ; in Loudon, King's Theatre, Feb. 18, 
 1823 ; in Paris, Sept. 7, 1824 ; in New 
 York, Nov. 28, 1833. Subject from Walter 
 Scott's "Lady of the Lake." The leading 
 jjart, Elena, was written for Mile Colbran, 
 who saug it with striking success. In this 
 work Rossini introduced for the first time 
 a military baud on the stage. Much of the 
 music of the Donna del Lago was afterwards 
 transferred to Robert Bruce. A French 
 version. La dame du lac, in four acts, text 
 by d'Epaguy, Auguste Rousseau, aud Horace 
 Raisson, with the music arranged by Le- 
 mii're de Corvey, was given at the Odeon, 
 Paris, Oct. 31, 1825. The Knight of Snow- 
 dou, English opera, music by Henry Row- 
 ley Bishop, London, 1811, deals with the 
 same subject. — Edwards, Prima Donna, i. 
 1G4 ; Clemeut and Larousse, 233. 
 
 DONNA DIANA, comic opera, text by 
 Wittkowski, music by Heinrich Hofmaun, 
 first represented at the Royal Opera House, 
 Berlin, Nov. 15, 1886. Subject from Agus- 
 
 tin Moreto's comedy, "Desden con el des- 
 den (Disdain met with Disdain), which was 
 adajited for the French stage by ^Moliere as 
 " La princesse d'Elide,'' for the Italian by 
 Carlo Gozzi as "La priucipessa filosofa, o 
 il contravveleno," aud for the German by 
 Joseph Schreyvogel as "Donna Diana." 
 — Leipsic Siguale (1886), 1078. 
 
 DONNA DI SPIRITO, LA (The Woman 
 of Genius), Italian opera buffa, music by 
 Piccinni, represented at Naples, about 1770. 
 
 DONNE DISPETTOSE, LE (The Spite- 
 ful Women), Italian comic opera, music 
 by Piccinni, represented at the Teatro 
 Fioreutino, Naples, 1754. Piccinni made 
 his debut as a composer with this work, 
 after twelve years' study in the Couserva- 
 torio. 
 
 DONNEZ POUR UNE PAUVRE AME. 
 See Pruphlie. 
 
 DONT, JAKOB, born in Vienna, March 
 2, 1815, still living, 1888. Violinist, son 
 of the violoncellist Josef Valentin Dont 
 (1776-1833), pupil of BOhm aud Hellmes- 
 berger, the elder, at the Couservatorium in 
 Vienna, where he entered the orchestra of 
 the Burgtheater in 1831, aud the imperial 
 Court orchestra in 1834. He distinguished 
 himself as a solo and quartet player, and 
 was much esteemed as a teacher. He has 
 beeu since 1873 professor at the Couser- 
 vatorium. His compositions, numbering 
 about 50 works, and comprising concertos, 
 solos, variations, quartets, etc., were most 
 favourably commented upon by Spohr. — 
 Fetis ; Mendel ; Riemann. 
 
 DOPPEL-SINFONIE. See Jrdisches und 
 Gottliches im Meuschenlebeu. 
 
 DOPPLER, (ALBERT) FRANZ, born at 
 Lemberg, Galicia, Oct. 1, 1821, died at 
 Baden, near Vienna, July 27, 1883. Hav- 
 ing finished his musical education in Vi- 
 enna, aud made a concert tour with his 
 brother Karl, he became first flute at the 
 theatre of Pesth, where he began to com- 
 pose. In 1858 he was engaged for the Vi- 
 enna Hofoper. Works : Beujowski, Polish 
 opera given in 1847 ; Ilka, Hungarian 
 
 44G
 
 DOPFLEIl 
 
 opera, 1849 ; Afaiiasia ; Wanda, Polish ' tlior of motets fonml in Attaignanfs collec- 
 opera, 1851 ; Erzebetli (with bis brother 
 Karl and with Erkel) ; Die beideu Husaren, 
 Hungarian comic ojjera, 1853 ; Judith, Ger- 
 man opera, Vienna, 1870 ; overtures, bal- 
 lets, and other music. — Wurzhach, Biogr. 
 Lex., iii. 372 ; Mendel, iii. 214 ; Fetis, iii. 
 4G ; Suppk'raent, i. 277 ; Sowinski, 160. 
 
 DOPPLER, KAEL, born at Lemberg in 
 1826, still living, 1888. Studied under his 
 father and his brother, Franz Doppler. 
 After a concert tour he became conductor 
 at a theatre in Pesth. Works : Das Lager 
 der Grenadiere ; Der Sohu der Wiiste, 
 Hungarian operas given in 1852 and 1854 ; 
 ballets and pieces for the flute. — Mendel ; 
 Fetis ; Wurzbach, Biogr. Lex., iii. 372 ; 
 Sowinski, 160. 
 
 DORATI, (Doratus) NICOLO, Venetian 
 composer of madrigals, lived in the second 
 halt of the IGth century. Works : Madrigali a 
 cnique, sei e sette voci, lib. 1-2 (1559) ; Mad- 
 rigali a cinque voci, lib. 1, 2, 3, 4 (Venice, 
 15G7).— Fetis ; Mendel, iii, 215 ; Erganz.,91. 
 
 DORFBARBIER, DER (The Village Bar- 
 ber), German Singspiel, music by Johanu 
 Adam Hiller, represented at Leipsie, about 
 1770 ; opera, music byNeefe, Leijasic, 1772 ; 
 music by Johann Schenck, Vienna, 1796 ; 
 music by Ludwig Seidel, Berlin, 1817. See 
 Barbier de village. 
 
 DORFJAHRiNIARKT, DER (The Annual 
 Village Fair), German operetta, music by 
 Georg Beuda, 1776. 
 
 DORING, KARL HEINRICH, born in 
 Dresden, in 1834, still living there, 1888. 
 Instrumental and vocal comjjoser, pupil at 
 the Conservatorium of Leipsie, 1852-55, 
 then of Hauptmann and Lobe in counter- 
 point and composition ; taught music at 
 Leipsie until 1858, when he returned to 
 Dresden, and became a professor at the ib., 1832 ; Der SchOffe von Paris, Riga^ 
 
 tions, especially in : XU. motets ii quatre et 
 cinq voix, etc. (1529). — Fetis, iii. 47. 
 
 DORN, HEINRICH (LUDWIG EG- 
 MONT), born in 
 Kc'migsberg, Nov. 
 14, 1804, still living, 
 1888, in Berlin. He 
 studied law at the 
 KOnigsberg Univer- 
 sity, and after visit- 
 ing Leipsie, Dres- 
 den, Prague, and 
 Vienna, settled at 
 Berlin, where he ' ' 
 
 pursued his musical studies under Zelter, 
 Berger, and Klein. He produced an opera 
 at Berlin with success ; was appointed con- 
 ductor of the theatre in Ki'migsberg, and 
 filled a like position in 1829-32, in Leipsie, 
 where he instructed Schumann in counter- 
 point. After a short engagement at a 
 Hamburg theatre, he succeeded Wagner 
 as conductor in Riga, and in 1843 was 
 called to Cologne, where he founded in 
 1845 the Rheinisehe Musikschule. In 1849 
 he became conductor of the Berlin Royal 
 Opera, from which he was retired on a 
 pension with his colleague, Wilhelm Tau- 
 bert, at the beginning of 1869, to make 
 way for Karl Eckert. He received the title 
 of Kfjniglicher Professor, and has since 
 been engaged in teaching and writing. 
 In 1876 he celebrated the fiftieth anni- 
 versary of the beginning of his career as 
 a composer. He has published an autobi- 
 ography. Works — Operas : Die Rolands- 
 knappen, performed at Berlin in 1826 ; 
 Der Zauberer, melodrama, ib., 1827 ; Die 
 Bettlerin, Konigsberg, 1828 ; Abu Kara, 
 Leipsie, 1831 ; Das Schwiirmermiidchen, 
 
 Conservatorium there. He has composed 
 masses and other church music, pianoforte 
 jiieces, and songs, and is also an able writer 
 on music. — Mendel. 
 
 DORLE, French musician of the early 
 part of the 16th century. He was the au- 
 
 1838 ; Das Banner von England, Riga, 
 1841 ; Die Nibelungen, Weimar, 1854, his 
 most successful production ; Ein Tag in 
 Russland, comic opera, 1856 ; Der Boten- 
 liiufer von Pirna, 1865 ; (xcwitter bei Son- 
 nenschein, operetta, 1869 ; Amor's Macht, 
 
 «7
 
 DORNROSCIIEN 
 
 ballet, Leipsic, 1830 ; Missa jsro defunc- 
 tis, performed at Berlin in 1851 ; Church 
 music ; Cantatas, symphonies, songs, and 
 other pieces for orchestra and for p)iano- 
 forte. — Dorn, Aus meinem Leben (Berlin, 
 1870, 2 vols.) ; Mendel ; Fetis ; do., Supple- 
 ment, i. 278 ; Eiemann. 
 
 DOKNEOSCHEN, German opera, music 
 by Ferdinand Lauger, represented at the 
 Stadttheater, Hamburg, March 18, 188G. 
 It was conducted by the composer and had 
 a signal success. 
 
 DOROTHY, comic ojiera, music by Al- 
 fred Cellier, represented at the Gaiety The- 
 atre, London, Sej^t. 25, 1886. 
 
 DORS, CHER ENFANT. See Blariche 
 de Provence. 
 
 DORUS, VINCENT JOSEPH LOUIS 
 VAN STEENKISTE, called, born at Valen- 
 ciennes, March 1, 1812, still living, 1888. 
 Virtuoso on the flute, pupil at the Paris 
 Conservatoire, from 1812, of Guillou ; won 
 the second prize in 1826, and the first in 
 1828. He was a member of the Varietes 
 orchestra iu 1828-30, and of that of the 
 Opt'ra in 1831-61 ; member of the Societe 
 des Concerts du Conservatoire, and musi- 
 cian to the Emjseror ; succeeded Tulou as 
 professor of the flute at the Conservatoire, 
 in 1858 ; and was first flute at the Acade- 
 mic de Musique. Works : iSchos des la- 
 gunes, solo pour flftte ; sixteen airs varies ; 
 Fautaisies et melanges sur des melodies 
 de Donizetti (Mainz) ; Variations sur une 
 Tyrolieune de Weber ; Cretly, valse Suisse ; 
 Marches des chasseurs de Lutsow, with 
 Herz ; and other music. — Fetis ; Larousse ; 
 Mendel. 
 
 DOT, LA (The Dowry), comedy in three 
 acts, text by Desfontaines, music by Dalay- 
 rac, represented at the Italiens, Paris, Nov. 
 21, 1785. The libretto is clever, and the 
 music sj)rightly and pleasing. The over- 
 ture is one of the best by the composer. 
 
 DOT DE SUZETTE, LA (Suzette's Dow- 
 r}-), opura-comique in one act, text by De- 
 jaure, from a romance by Fievee, music by 
 Boieldieu, represented at the Theatre Fa- 
 
 vart, Paris, Sept. 6, 1798. This little work 
 was a success, having had more than fifty 
 representations. The part of Suzette was 
 charmingly sung by Madame Saint-Aubin. 
 — Pougin, Boieldieu. 55. 
 
 DOTZALER, JUSTUS JOH.^JNN FRIED- 
 RICH, born at 
 Hiisselrieth, near 
 H i 1 d burghausen, 
 Jan. 20, 1783, died 
 in Dresden, March 
 6, 1860. Violon- 
 cellist, studied the 
 jiianoforte under 
 Heuschkel, violin 
 under G 1 e i c h - 
 mann, and compo- 
 sition under Riittinger, all in Hiklburghau- 
 sen, where also Hessner gave him his first 
 violoncello lessons. His love for this in- 
 strument caused him to be sent to Meinin- 
 gen, where he made such progress under 
 Kriegek, that he was engaged for the court 
 orchestra in 1801-5. Thence he went to 
 Leipsic, and in 1806 to Berlin, where Bern- 
 hard Romberg influenced him much. In 
 1811 he joined the royal orchestra in Dres- 
 den, and excei^ting concert tours in Ger- 
 many and the Netherlands, lived there until 
 his death, composing, playing, and teach- 
 ing. Among his jjupils were his son, Louis 
 Ludwig Dotzauer, Karl Schuberth, Drechs- 
 ler, and Kummer. Works : Graziossi, opera 
 performed at Dresden in 1811 ; Mass ; Sym- 
 phony ; Overtures ; Duets and quartets ; 
 Concertos for violoncello and orchestra ; Ex- 
 ercises, variations, sonatas, and other pieces 
 for violoncello ; Waltzes for pianoforte ; and 
 an excellent violoncello method. — Allgem. 
 d. Biogi-., V. 865 ; Mendel ; Fetis; Grove. 
 
 DOUAY (Douai), EMILE, born in Paris 
 about 1802, died (?). Dramatic composer, 
 pupil of Reicha in harmony and counter- 
 point. When the Theatre du Gymnase was 
 opened, in 1822, he became first violinist, 
 and in 1823 assistant chef d'orchestre. He 
 brought out : Une bonne mere, opera, iu 
 1822, and Une aventure de Faublas, opera, 
 
 as
 
 DOUAY 
 
 in 1823. Ill ltS27 he became solo violinist ; 
 in 1831 retired from that theatre aiul from 
 public life, and was not heard of until 1843, 
 when he brought out au overture, Gene- 
 vieve des Bois, and a sj'mphonic i^oeni. La 
 creation, la vie et la destruction, at a con- 
 cert hall in Paris, with his own orchestra. 
 These works were much criticised and, 
 though they showed him to be a clever 
 composer, failed to interest the general 
 public. He then went to Germany, and on 
 his return to Paris spent three years in 
 composing two more orchestral pieces with 
 chorus and solos : Christophe Colomb and 
 La mer, ou une vols dans I'orage, which 
 w^ere performed at the Salle Ventadour. 
 He afterwards brought out Jeanne (d'Arc), 
 musical trilogy for full orchestra, chorus, 
 and solos, and La chasse royale, k'gende de 
 la Forut de Fontainebleau, with orchestra, 
 chorus, and solo. None of these compo- 
 sitions were successful, although they at- 
 tracted much notice. He was violinist at 
 the Theatre Italien, and later wrote an 
 overture, and a symjihony for the concerts 
 of the Jeunes Artistes du Conservatoire 
 under Pasdeloup, and a musical Hcro'ide for 
 one voice and orchestra entitled Homcre. 
 — Fetis, iii. 50 ; Supplement, i. 278 ; Mendel. 
 DOUAY, GEORGES, born in Paris, Jan. 
 7, 1840, still living, 1888. Amateur dra- 
 matic composer, ijupil of Duprato. His 
 operas and musical sketches have been 
 jjlayed at all the minor theatres and cafcs- 
 chantants of Paris. Works : La fleur du 
 Val-Suzon, opera-comique, played at the 
 Theatre Lyrique, 1862 ; La barbe de Betas- 
 son, Jerome Pointu, and Les amoureux de 
 Fauchon, 18G1: ; Les crepes de la marquise, 
 1865 ; Les gammes d'Oscar, and Vauuavet 
 I'empailleur, 1866 ; Uu bureau de nourrices, 
 and LY'caillere africaine, 1867 ; Un Merlan 
 frit, Le double Pii'ge, 1868 ; Ce bon roi 
 Dagobert, 1869 ; La premiere Escarmouche, 
 1870 ; Le phoque a ventre blanc, and Creme 
 fouettee, 1871 ; Le petit Vert-Vert, Le gar- 
 nisaire, Le jwmmier des amours, Le tresor 
 de la tante Bechu, Le tonueau de Mig- 
 
 uoune, 1872 ; La tunique fatale, 1873 ; Le 
 piege, 1874 ; Le hanneton de la chatelaine, 
 Les valets modeles, Les mules de Suzette, 
 Oh c' Paladin, 1875 ; Uu trio d'aftames, Le 
 pays des bijoux, 1876. — Fetis, Supplement, 
 i. 279. 
 
 DOUBLE ICPEEUVE, LA. See Colinelte 
 a la Cour. 
 
 DOUCE JOUVENCELLE. See Zampa. 
 
 DOUELEN, VICTOR (CHARLES 
 PAUL), born at Dunkirk, Nov. 3, 1780, 
 died in Paris, January, 1864. Dramatic 
 composer, pupil at the Paris Conservatoire 
 from 1797 ; studied the pianoforte under 
 Moziu, harmony under Catel, and counter- 
 point under Gossec, winning the second 
 grand prix in 1804, and the grand prix de 
 Rome in 1805. Before leaving Paris he 
 brought out an opera, Philocles ; and he sent 
 to the Institut, from Rome, in 1808, a Dies 
 irse. He was assistant professor of harmony 
 and accompaniment in 1812-16, and profes- 
 .sor iu 1816-42. Works : Philocles, opera- 
 comique, Opera Comique, Paris, 1806 ; Lin- 
 nee, ou la mine de Suede, do., Theatre Fey- 
 deau, 1808 ; La dupe de son art, do., ib., 
 
 1809 ; Cagliostro (with Reicha), do., ib., 
 
 1810 ; Plus heureux que sage, do., ib., 1816 ; 
 Le frere Philippe, do., ib., 1818 ; Marini, 
 do., ib., 1819 ; Vente apri's deces, 1821 ; 
 Le petit souper, 1822 ; Sonatas for piano- 
 forte op. 1 ; Fautaisie sur la romance de 
 Belisaire ; First concerto for pianoforte, op. 
 
 3 ; Trio for pianoforte, violin, and bass, op. 
 
 4 ; Three sonatas with flute, op. 9 ; sonata 
 for four hands, op. 10. He published also 
 several didactic works. — Fetis, iii. 50 ; do.. 
 Supplement, i. 279 ; Mendel. 
 
 DOUTE DE LA LUMlfcRE. See Ham- 
 let. 
 
 D'OU VENEZ-VOUS, MA CHEEE ? See 
 Le Domino Noir. 
 
 DOVE SONO. See Le None di Figaro. 
 
 DOWLAND, JOHN, born iu Westmin- 
 ster, London, iu 1562, died in 1626. Lu- 
 tist, one of the musicians who harmonized 
 the psalm tunes published by Este in 1592. 
 In 1584 he visited France, Germany, and 
 
 449
 
 DOWLAXD 
 
 Italy ; on bis return to England he took, 
 in 1588, the degree of Mus. Bac. at Ox- 
 ford, and in 1592 at Cambridge. In 1597 
 he published the First Book of Songes 
 or Ayres of four parts, with Tableture for 
 the Lute, of which four other editions 
 were published, in 1600, 1G03, 1608, and 
 1613 ; and in 1844 it was printed in score 
 by the Musical Antiquarian Society. Soon 
 after its publication, he became lutist to 
 Christian IV., King of Denmark, and while 
 in that country he published : Second 
 Booke of Songs or Ayres of 2, 4 and 5 jjarts 
 . . . . Also an Excelent lesson for the 
 Lute and Base Viol, called Dowland's adew ; 
 for Master Oliuer Cromwell (London, 1600). 
 He was still in Denmark in 1602, and pub- 
 lished : The Third and last Booke of Songs 
 or Ayres, etc. He returned to England in 
 1605, made another visit to Denmark, and 
 finally settled in England in 1609. In 
 1612 he was lutist to Lord AValden, and 
 in 1625 one of the six lutists in the ser- 
 vice of the king. Works : Lachrynife or 
 Seven Teares, figured in seaven passionate 
 Pavans, etc., set forth for the Lute, Viols 
 or Violins, in five parts (1605). The first 
 pavan of these seven is the one known as 
 Lachrymse, spoken of by the dramatists of 
 that period. He piublished a translation of 
 Andreas OruithoparcusV. treatise, Micro- 
 logus, in 1609. A Pilgrime's Solace, wherein 
 is contained Musicall Harmonie of 3, 4 and 
 5 parts, to be sung and plaid with Lute and 
 Viols, was published in 1612. Shakespeare 
 celebi'ates his skill upon the lute in one of 
 the sonnets of his " Passionate Pilgrim " 
 (1599).— Grove ; Mendel ; Eiemann, 220. 
 
 DOWL.\ND, ROBERT, son of John 
 Dowland, succeeded his father as lutist to 
 the king in 1626 ; he was living in 1641, 
 and was then one of the musicians for the 
 Waytes. He edited : A Musicall Bauqvet. 
 Furnished with varietie of Delicious Ayres, 
 Collected out of the best Authors in English, 
 French, Spanish, and Italian, by Robert 
 Dowland (1610). The authors alluded to 
 are : Daniel Batchelar, John Dowland, 
 
 Robert Hales, Anthony Holborne, and 
 Richard Martin. He also edited : Varietie 
 of Lessons : viz., Fautasie.s, Pavins, Gal- 
 liards, Almaines, Corantoes and Volts, etc. 
 Whereuuto is annexed certaine Observa- 
 tions belonging to Lute-playing, by John 
 Baptisto Besardo of Viconti ; Also a short 
 Treatise thereunto appertayning, by John 
 Dowland, Batchelor of Musicke (1610). 
 — Grove ; Riemaun, 220. 
 
 DOWN IN A FLOWERY VALE. See 
 Quando ritrovo la mia pastorella. 
 
 DOYAGUE, MANUEL JOSE, born in 
 Salamanca, Spain, Feb. 17, 1755, died 
 there, Dec. IS, 1842. The son of a poor 
 artisan, he became a chorister in the cath- 
 edral, was soon admitted to the free school 
 of music, and in 1781, when only twentj'- 
 six years old, succeeded Don Juan ^Martin, 
 on his retirement, as maestro de capilla. He 
 was also appointed maestro of music at the 
 university. He was a priest and canon of 
 the cathedral, and spent the rest of his life 
 in strict seclusion, attending to his duties, 
 and devoting himself to the composition of 
 music for his own choir. So little was he 
 known, that it was not until he was asked 
 to go to Madrid, to superintend the bring- 
 ing out of his own great Te Deum in 1813, 
 that he became famous. His mass for 
 eight voices and orchestra, given at Madrid 
 in 1830, excited universal enthusiasm ; and 
 he was made, in 1831, honorary maestro of 
 the Madrid Conservatorio. His master- 
 piece was a Magnificat for eight voices with 
 orchestra and organ. When Doyague died, 
 he was buried with great pomp in Sala- 
 manca, and the original of his celebrated 
 jMaguificat, enclosed in a leaden casket, was 
 laid by him in his marble tomb. Other 
 works : Magnificat for four voices and or- 
 chestra ; a third for eight voices and instru- 
 ments in D ; Lamentations for Holy Week ; 
 Three Miserere in E-flat ; others for four 
 voices, in P ; Solemn Mass for eight voices, 
 orchestra and organ, in G ; Mass for four 
 voices, in F ; Two others in A. Psalms for 
 Vespei's for all festival ; Office for the dead. 
 
 450
 
 DliAESEKE 
 
 for four voices, cliorus and orchestra ; Fimer- 
 al motet for four voices, with two violins, 
 viola and bass, in F ; Several Genitori ; a 
 great number of psalms, motets, villiancicos, 
 airs, duets, and quartets for church use, in 
 all kinds of vocal and instrumental com- 
 binations. — Fctis ; Larousse ; Mendel. 
 
 DRAESEKE, FELIX, born at Coburg, 
 Gerinanj% Oct. 7, 
 18 3 5, still living, 
 1888. Dramatic 
 a n d instrumental 
 composer, puj)il of 
 Kietz at the Con- 
 servatorium, Leip- 
 sic. An enthusias- 
 tic disciple of Liszt 
 at "Weimar, he went 
 afterwards to Dres- 
 den, and in 18G4- 
 74 was instructor at the Conservatoire at 
 Lausanne, with the inteiTuption of one 
 year (18GS-09), when he was called to 
 Munich by von Biilow to teach at the royal 
 Conservatorium. Having then for a time 
 lived at Geneva, he settled at Dresden. 
 Both as a composer and as a writer on 
 music, he belongs to the extreme left. He 
 has published a number of pianoforte 
 pieces remarkable for rhythmic and har- 
 monic subtleties. Works : Fantasiestiicke 
 in Walzerform, op. 3 ; Deux valses de Con- 
 cert, op. 4 ; a tine sonata in E major, op. 6 ; 
 several pieces for pianoforte and violon- 
 cello, a symphony, and some vocal com- 
 positions, and an opera, Gudrun, given in 
 Hanover in 1884. He is an expounder of 
 the ideas of Wagner in musical reform, 
 and has written several critical works. 
 — Grove ; Fetis, SujJijlcment, i. 280 ; Men- 
 del ; Rieniaun 
 
 DRAGHI, ANTONIO, born at Ferrara, 
 Italy, in 1635, died in Vienna, Jan. 18, 
 1700. Dramatic composer. He at first 
 wrote masses and motets, and produced his 
 first opera in 1003. In 1774 he was in- 
 vited to Vienna as Hoftheater Intendant to 
 the Emperor Leopold I., and Kapellmeister 
 
 I to the Emjiress Leonore, and iu 1782 he 
 took up his abode there for life. The 
 scores of most of his works are iu the Im- 
 perial library, and some in the archives of 
 the Gesellschaft der Musikfreunde. His 
 librettos, some of them illustrated, werf 
 printed in the Imperial press by Cosmerov 
 and have nearly all been preserved. Oc- 
 casionally he wrote librettos wliicli were set 
 by other composers, Ziani, Bertali, and even 
 the Emperor Leopold, who composed the 
 complete opera, Apollo deluso. Works : 
 Aronisba, 1663 ; Alcindo, Doriclea, 1665 ; 
 Muzio Scevola, 1666 ; Ercole acquisitator 
 deir immortalita, 1667 ; Atalanta, 1669 ; 
 Leonida in Tegea, Itide, Penelope, La 
 prosjierita d' Elio, Segano, 1670 ; Cidippe, 
 L'avidita di Mida, Gara de Genni, 1671 ; 
 Guudelberga, La Sulpizia, Gli atomi d" Eiji- 
 curo, 1672 ; Provare per non recitare. La 
 Tessalonica, 1673 ; La lanterna di Diogene, 
 II ratto delle Sabine, II fuoco eterno custo- 
 dito dalle Vestali, 1674 ; Pirro, I pazzi Ab- 
 deriti, 1675 ; Lucrezia, Seleueo, 1676 ; II 
 silenzio d' Ai-pocrate, Adriano sul monte 
 Casio, Chelonida, Rodogeue, 1677 ; La con- 
 quista del vello d' oro, Creso, Enea iu Italia, 
 Leucippe, La monarchia latiua trionfante, 
 II tempio di Diana in Taurica, II vincitor 
 magnanimo in Tito Quinto, 1678 ; Flaminio, 
 Baldracca, 1679 ; Ija pazienza di Soerate 
 con due mogli, 1680 ; II Temistoele, Achille 
 in Tessalia, La forza dell' amicizia, 1681 ; 
 Gli stratagemmi di Bionte, La chimera, 
 
 1682 ; La lira d' Orfeo, II palladio in Roma, 
 
 1683 ; La piii generosa Spartana, Le nere 
 azioni di Temise, II risorgimento della 
 ruota della fortuna, 1685 ; Le scioccag- 
 giui degli Psilli, Lo studio d' amore, 1686 ; 
 La vendetta dell' onesta, La vittoria della 
 fortezza, 1687 ; II marito ama piti, la moglie 
 ama meglio, Tanasio, 1688 ; I Pianeti be- 
 nigui, Pimmalione in Cipro, Rosaura, 1GS9 ; 
 La regina de' Volsci, II ringiovenito, II 
 tributo de' Sari, La varieta di fortuna in 
 Lucio Giunio Bruto, II merito uniforma i 
 geni, 1691 ; Fedelta e generosita, 1692 ; 
 Amore in sogno, Le piante della virtii e 
 
 461
 
 DRAGHI 
 
 della fortuua, Le piu ricclie gemme, 1693 ; 
 Pelopida Tebano iu Tessaglia, L' ossequio 
 della poesia e della storia, Le sere dell' 
 Aventino, 1094 ; La ebioma di Berenice, 
 La finta cecita d' Antioco grande, Industrie 
 aiuorose de' ragazze di Trazia, 1695 ; Mag- 
 uianimita di Fabrizio, La tirannide abbatuta 
 dalla virtti, Adalberto, ovvero la forza dell' 
 astuzie femiiiili, Amor per virtii, Le pira- 
 midi d' Egitto, 1697 ; Arbace, foudatore 
 deir impero de' Parti, Delizioso ritiro di 
 LucuUo, Idea del felice governo, 1698 ; Le 
 fiuezze deir amicizia e deU' onore, L' AI- 
 
 aff^9^^ 
 
 ceste, 1699. He wrote in all eighty-seven 
 ojoeras, as many feste teatrali and serenades, 
 and thirty-two oratorios. — Fotis ; Grove ; 
 Mendel. 
 
 DKAGHI, GIOVANNI BAPTISTA, an 
 Italian musician, supposed to have been a 
 brother of Antonio Draghi, who settled in 
 London about the middle of the 17th cen- 
 tury. He excelled on the harpsichord, and 
 so completely adopted the English style of 
 composition that he is regarded as an Eng- 
 lish composer. The earliest notice of him 
 is in Pepys's Diary, under the date, Feb. 
 12, 1667. Pepys heard him sing at Lord 
 Bourncker's house, an act of an Italian opera 
 which he had written at the instance of 
 Thomas Killigrew, but it is doubtful whether 
 this opera was ever produced iu public, 
 though Draghi lived to see the introduc- 
 tion of Italian ojjera into England at the 
 beginning of the following century. He 
 was music-master to Queen Anne, and pro- 
 bably also to her elder sister. Queen Mary. 
 Works : Act tunes and other instrumental 
 music for Shadwell's opera of Psyche, 1675, 
 the rest of the music being composed by 
 Matthew Lock, whom Draghi succeeded, in 
 1077, as organist to Catherine of Braganza, 
 wife of Charles H. ; music for Dryden's ode 
 beginning, " From Harmony, from heavenly 
 
 Harmony," for the celebration of St. Ceci- 
 lia's Day in 1687 ; jjart of the music to 
 D'Urfey's comic opera, Wonders in the Sun, 
 or, the Kingdom of the Birds, 1706. Many 
 songs by him are found in the collections 
 of the daj'. — Grove ; Fetis ; Mendel. 
 
 DRAGON OF WANTLEY, THE, Eng- 
 lish burlesque opera, text by Henry Carey, 
 music by John Frederick Lampe, rep- 
 resented at Covent Garden, London, in 
 1737. Subject from the old ballad of the 
 same name (Percy's Eelique.s, IX. 13), in 
 which the hero is More of More-Hall, made 
 by Carey into 
 Moore of Moore- 
 hall. It is an ad- 
 mirable burlesque 
 of Italian opera, 
 especially of Handel's Giustino, which had 
 just appeared, with its dragons vomiting 
 fire, and fantastic animals, and it had a suc- 
 cess not inferior to that of the Beggar's 
 Opera. In 1738 Carey brought out at Cov- 
 ent Garden a sequel to it, entitled Margery. 
 —Hogarth, ii. 73. 
 
 DRAGONETTI, DOMENICO, born iu 
 Venice, April, 
 
 1755, died in 
 Loudon, April 16, 
 1840. Double- 
 bass plaj-er, sou 
 of a poor musi- 
 cian. He taught 
 himself the 
 guitar and the 
 violin, and was 
 able to take a 
 place in an orchestra when eleven j'ears old. 
 He studied next under Berini, double-bass 
 player in S. Marco and the best master in 
 Venice, who, after giving him eleven lessons, 
 said there was nothing more to teach uim. 
 When thirteen years old he was admitted 
 to the orchestra of the Opera Buffa, and a 
 year later to the Opera Seria. In his eigh- 
 teenth year he was appointed to the post 
 in the choir of S. Marco, hitherto filled by 
 Berini, who persuaded him to accept it. 
 
 452
 
 DRAGON I 
 
 At this time he composed concertos, so- 
 uat.as, solos, etc., iu ■which lie played pai'ts 
 which no one else could master. While 
 playing iu Vicenza he discovered a mar- 
 vellous double-bass, from which he never 
 again parted, and which he bequeathed at 
 his death to the vestry of S. Marco, an in- 
 strument made by Gasparo di Salo, master 
 of the Aniati, find which had belonged to 
 the convent of S. Pietro. Iu 1794 he ap- 
 peared iu London at the Opera and at the 
 King's Theatre, and excited universal aston- 
 ishment at the force aud expression of his 
 playing, and his power of reading at sight. 
 There he became intimate with Robert 
 Lindley, the violoncellist, whose insepar- 
 able compauion he was for fifty-two years, 
 l)laying at the same desk with him at the 
 Opera, the Antient Concerts, the Philhar- 
 monic, the Provincial Festivals, etc. Soon 
 after bis arrival in London, Dragonetti met 
 Haydn, with whom he became intimate ; on 
 his way to Italy, in 1798, he visited that 
 great master iu Vienna. In 1808 and 1809, 
 he was in Vienna, but from caprice, would 
 play before no one but the family of Prince 
 Starhemberg, in whose palace he lived, and 
 where he made the acquaintance of Bee- 
 thoven, and of Sechter, afterwards court 
 organist. In 181.5, when ninety years old, 
 he headed the double-basses, thirteen in 
 number, at the Beethoven Festival at Bonn. 
 He left but few works. Three canzonets 
 with Italian words, written during his staj- 
 in Vienna, are iu a collection of xxxiv. Can- 
 zonette e Romanzie by various composers, 
 dedicated to the Archduke Rodolph, Bee- 
 thoven's friend and pupil. He left 182 
 volumes of scores of classical oi^eras to the 
 British Museum.— F. CatB, Vita di D. Drago- 
 netti (Venice), 184G ; Fctis ; Grove ; Mendel ; 
 Riemanu. 
 
 DRAGONI, GIOVANNI ANDREA, born 
 at Meldola, Pontifical States, about 1.540, 
 died in Rome, December, 1598. One of the 
 best contrapuntists of the Roman school, 
 pupil of Palestriua, and maestro di cappella 
 of S. Giovanni iu Laterano, from 1570 to 
 
 his death. Works : Madrigali a cinque voci 
 (Veuice, 1575) ; do. (ib., 1579) ; do. (ib., 
 1594) ; Madrigali a sei voci (ib., 1583) ; 
 Vilanelle a cinque voci (ib., 1588) ; Motetti 
 per tutti i santi dell' anno, a cinque voci 
 (ib., 1578) ; Motetti a tre voci (ib., 1580) ; 
 Madrigali a sei voci, Motetti a cinque voci 
 (Rome, 1600). In the Santini Collection, 
 Rome : Three Benedictus for 8 voices. Dixit 
 for 7 voices, and a mass for 4 voices iu 
 canon. — Fetis ; Mendel. 
 
 DRAMATISCHE SYMPHONIE (Dra- 
 matic Symphony), in D minor, for grand 
 orchestra, by Anton Rubinstein, op. 95. 
 Dedicated to Otto Dessoti'. Edited and 
 published by Bartholf Senff (Leipsic). 
 
 DRECHSLER, JOSEF, born at Vlachovo 
 Bfezi (Wallisch-Birkcu), Bohemia, May 2G, 
 1782, died iu Vienna, Feb. 27, 1852. Dra- 
 matic composer, first instructed by his 
 father, then pupil in thorough-bags aud 
 counterpoint of the famous organist Gro- 
 tius at the Benedictine monastery of Floreu- 
 bach. In 1807 he went to Vienna, found 
 employment at the imperial Ojiera in 1810, 
 and was made Kapellmeister adjunct iu 
 1812 ; having afterwards filled positions as 
 conductor at the theatres of Baden and 
 Pressburg, he became organist at the Serv- 
 ites iu Vienna, where in 1815 he opened a 
 music school, and gratuitously taught the 
 organ and thorough-bass. Iu 1816 he be- 
 came Regens chori at St. Ann's, iu 1823 
 Kapellmeister at the University church, and 
 at the jmrish church am Hof, and in 1844 
 succeeded Giinsbacher at St. Stephen's ca- 
 thedral, in the same capacity. From 1822 
 to 1830 he was also Kapellmeister at the 
 Leopoldstildter Theater. Works — Operas : 
 Claudine von Villabella, given in Vienna 
 about 1830 ; Der Zauberkorb ; Pauline ; 
 Die Schauernacht ; Die Feldmiihle ; Con- 
 tine. Operettas and vaudevilles-: Ydor ; 
 Der Diamaut des GeisterkiJnigs ; Gisf)erl 
 und Fisperl ; Das Madchen aus der Feen- 
 welt ; Der Berggeist ; Capricciosa ; Die 
 Girafi'e ; Das griine Manncheu : Oscar und 
 Tina ; Lisko und Saldino ; Die Schlangen-
 
 DllEI 
 
 konigin ; Sylpliide ; Der Tauseutlsassa ; 
 Das Yergissiueiiniiclit ; Die "Wiener iu Bag- 
 dad ; Die "WOltiu um Mitteruacbt ; Die 
 Wunderbrille ; Der Zauberscblaf ; Friibliug, 
 Sommer, Herbst uud Wiuter ; Der "Wun- 
 derdoctor ; Cabale imd Liebe, etc. Sev- 
 eral 23automimes ; 3 grand cantatas ; 10 
 masses ; Keqniem ; Offertories and gradu- 
 als ; Quartets for strings; Sonatas for pi- 
 anoforte ; Variations, rondos, marches, and 
 dances for do. ; Fugues for the organ ; 
 Songs ; Method for the organ ; Treatise on 
 harmony. — F e t i s ; Mendel ; Schilling ; 
 Wurzbach. 
 
 DREI PINTOS, DIE, opera in three acts, 
 by Carl Maria vou Weber, written about 
 1821, left unfinished ; completed from the 
 comjDoser's sketches by G. Mahler, and rep- 
 resented at the Stadttheater, Leijssic, Jan. 
 20, 1888. The first and the third acts were 
 enthusiastically received, but the second 
 was not so successful. The management 
 of the theatre is said to have paid 20,000 
 marks for the MS.— N. Zeitschr, f. Mus. 
 (1887), 1:71 ; (1888) 5, 20, 32, 44, 53, G.5 ; 
 Siguale (1888), 113. 
 
 DRESE, ADA:M, born probably in "Wei- 
 mar, iu 1620, died in Arnstadt, Feb. 15, 
 1701. In his youth he was sent by "Wilhelm 
 IV., Duke of "Weimar, to "Warsaw to study 
 composition under JIarco Saechi, and on 
 his return became Kapellmeister at Wei- 
 mar. When his patron died, in 1662, lie ac- 
 cepted a similar position in Jena, and was 
 also secretary of the chamber to Duke Bern- 
 hard. In 16G7 he left Jena, but ajipeared 
 there again in later years, and iu 1683 be- 
 came Kapellmeister iu Arnstadt. Worldly- 
 minded in youth, he was drawn toward 
 pietism later by Spener's works. Es2ie- 
 cially notable was his musical treatment of 
 the recitative. W^orks : Operas whose titles 
 even are now unknown ; Hymns and cho- 
 rals, fourteen of which are in Georg Neu- 
 mark's Fortgeisflanzter musikalisch-poeti- 
 scher Wald (Jena, 1657) ; Pianoforte suites, 
 sonatas, and church music, besides a work 
 ou composition ; all now lost. — Allgem. d. 
 
 Biogr., V. 397 ; Fetis ; Mendel ; Winter- 
 fekl, Der evang. Kirchengesang, ii. 603 ; 
 Spitta, J. S. Bach, i. 1G2 (English ed., 164). 
 
 DEESEL, OTTO, born at Andernaeh, on 
 the Ehine, in 1826, still living, 1888. 
 After studying under Hiller at Cologne, and 
 Mendelssohn at Leipsic, he went to New 
 York in 1848, as a concert pianist and 
 teacher, but returned to Germany after a 
 year or two. In 1852 he went to Boston, 
 IMass., where he has resided ever since, with 
 the excei^tion of a few visits to Germanj'. 
 He was for some time the leading i^ianist 
 in Boston, but he withdrew from the con- 
 cert-room about 1868, and gave up teaching 
 a few years later. For a man of his excep- 
 tionallj- fine musical instincts and culture 
 he has composed comparatively little, but 
 his influence upon music in Boston, always 
 exerted in furthering the cause of the great 
 classic masters, and especially Mendelssohn, 
 Schumann, Chopin, and Robert Franz, has 
 been ver\- strong. He has long been a co- 
 worker with Franz iu writing additional 
 accompaniments to the scores of Bach and 
 Handel. His 2:)ianoforte score of Handel's 
 Messiah, arranged from Franz's completed 
 score (Leijjsic, Kistner), is in every resjsect 
 a model. His published works are few : 
 G songs with pianoforte, op. 3 (Leipsic, 
 Breitkopf & Hiirtel) ; Songs and fugitive 
 l^ianoforte pieces, among which are tran- 
 scriptions of songs by Franz. The follow- 
 ing works, still in MS., have been performed 
 iu Boston : Trio for j^ianoforte, violin, and 
 violoncello ; Quartet for pianoforte and 
 strings ; Army Hj'mn for solo, chorus and 
 orchestra, to words by Oliver Wendell 
 Holmes, given iu the Music Hall at the 
 jubilee concert iu celebration of President 
 Lincoln's emancipation proclamation, Jan. 
 1, 1863 ; In Memoriam, ballad for sojjrano 
 and orchestra, to Longfellow's ver.ses on the 
 fiftieth birthday of Louis Agassiz, ib., Jan. 
 29, 1874. 
 
 DRESLER (Dreslerus), G.iLLUS, born 
 at Nebra, Thuringia, about 1535. He suc- 
 ceeded Martin Agricola as cantor iu ]\Iagde- 
 
 454
 
 DRESSLEIl 
 
 bm-n- about 1558, and from 15G(5 was deacon ' 
 of the Nicolaikirclie in Zerbst. Works : 
 Cantiones sacriB (Wittenberg, 15GS ; Magde- 
 burg, 1569, 1570, 1577 ; Nuremberg, 1574, 
 1577) ; Auserlesene teutselie Lieder (Magde- 
 burg, 1570; Nuremberg, 1575, 15S0) ; Ele- 
 menta musicse practicce (Magdeburg, 1571, 
 1584).— Allgem. d. Biogr. ; Mendel ; Fctis ; 
 Wluterfeld, Der evang. Kircbengesang, i. 
 341. 
 
 DRESSLER, R.\PH.VEL, born in Gratz, 
 about 1784, died in Mainz, Feb. 12, 1835. 
 While a youth be played the flate extremely 
 well, and in 1809 became first flute of the 
 Viemia Kiirnthnerthor Theater. He had the 
 same position in the Hanover royal orches- 
 tra in 1817, and lived in England as vir- 
 tuoso and teacher in 1820-34. Works ; 
 about a hundred compositions for the flute, 
 with and without accompaniment, consisting 
 of duets, trios, quartets, concertos, capriccios, 
 variations, and studies, about seventy of 
 which were published. He was the author 
 also of a treatise on the flute, which has 
 been translated into English, and other 
 works. — Mendel ; Fetis. 
 
 DREUILH, J J , born in Bor- 
 deaux in 1773, died at Niort in 1858. Vio- 
 linist, pupil of the free school of the Cathe- 
 dral of Bordeaux in 1781, studied harmony 
 under Giraud, a pupil of Rameau, and 
 counterpoint and fugue under Fran(;ois 
 Beck, who also taught him the violin. In 
 1790 he succeeded Giraud as maitre de 
 cliapelle, and brought out a Te Deum for 
 the Fete de la Federation, the IMS. of which 
 is now owned by the Cathedral. After 
 serving in the army from 1792 to 1794, he 
 succeeded Fran(;ois Beck as conductor of 
 orchestra at the Grand Theatre, Bordeaux. 
 Later he became leader of the orchestra in 
 the Theatre de la Cite, Paris, and brought 
 out there an opera-comique, Le point d'hon- 
 eur, in 1802. la 1804 he became chef 
 d'orchestre of the Grand Theatre at Marseil- 
 les, and brought out Valaski et Oplu'lie, ou 
 le passage de I'hermitage, opera-comicjue. 
 He returned to Paris, desirous of composing 
 
 for the Opera, but instead had to write the 
 music for dramas and pantonnines, among 
 others. La nouvelle Jeanne d'Arc, Sophie et 
 Linska, etc. — Fetis, Supplement, i. 280. 
 
 DREYER, JOHANN aiELCHIOR, boru 
 at Ellwaugen, Wiirtemberg, about 17G5, 
 died there, beginning of this century. He 
 was organist of the cathedral in his native 
 place. His compositions were known to 
 the Catholic choirs of Southern German}- 
 long after his death. Works : Numerous 
 masses ; 28 vespers ; 24 hymns ; Sympho- 
 nies, offertories, organ sonatas, and other 
 church music. — Fetis ; Mendel. 
 
 DREYSCHOCK, ALEXANDER, born at 
 Zack, Bohemia, 
 Oct. 15, 1818, died 
 in Vienna, April 1, 
 1869. Pianist, pu- 
 pil at Prague of 
 Tomaschek. He 
 became a distin- 
 guished performer 
 of great mechanical 
 ability, and trav- 
 elled professionally 
 for twenty years throughout Europe, play- 
 ing principally his own music. In 1862 he 
 became a professor at the Conservatory of 
 St. Petersburg, director of the imperial 
 school for theatrical music, and pianist to 
 the emperor, and was at the same time 
 Kapellmeister to the Grand Duke of Hesse- 
 Darmstadt. His health failing, he was sent 
 in 1868 to Italy, where he died. His works, 
 chiefly salon music, consist of 140 piano- 
 forte pieces, rondeaux militaires, sonatas, 
 nocturnes, songs without words, etc.; a 
 string quartet, and a grand ouverture 
 (Prague). His brother, Raymuud Drey- 
 schock (1824-69), was a violinist.— Allgem. 
 d. Biogr., V. 408 ; Grove ; Fetis, iii. 59 ; do., 
 Supplement, i. 281 ; Mendel ; Wurzbach, 
 iii. 382. 
 
 DRIEBERG, FRIEDRICH (JOHANN) 
 VON, born at Chai-lottenburg, near Berlin, 
 Dec. 20, 1780, died there, May 21, 1856. 
 He left the army in 1804 to study music for 
 
 455
 
 DEOBI8CII 
 
 five yeai-s iu Paris uucler Si^ontini, and jsrob- 
 ablj' also uuder Cherubiui. He was amoug 
 the first to take ujj the study of ancient 
 Greek music, and though Chladni and 
 Perne disputed his views, Fetis called him 
 a writer of romance instead of history, and 
 many of his oijiuions have since been 
 proved false, he deserves credit for awak- 
 ening interest in an almost forgotten sub- 
 ject. His last and unpublished opera was 
 an application of his studies on Greek mu- 
 sic. Works : Don Cocagno, opera, jjer- 
 formed iu Berlin in 1812 ; Der Sanger und 
 der Schneider, opera, Berlin, 1814-26 ; Al- 
 fons von Castilien, iu !XIS. ; a farce and two 
 comic operas unjKiblished, besides songs 
 and instrumental 25ieces. Among his crit- 
 ical writings are, " Auf schliisse fiber die 
 Musik der Griechen " (Leii^sic, 1819) ; 
 " Wiirterbuch der griechischeu Musik" 
 (Berlin, 1835) ; and other writings on Greek 
 music. — Allgem. d. Biogr., v. 410 ; 'Sleu- 
 del ; Fotis ; Riemaun. 
 
 DROBISCH, KAHh LITDMIG, born in 
 Leipsic, Dec. 24, 1803, died in Augsburg, 
 Aug. 20, 1854. He studied music bj- him- 
 self while at school iu Grimma, and com- 
 jjosed a cantata, operetta, and other little 
 pieces, and studied composition at Leipsic 
 iu 1821, under J. A. Drobs and Weiulig. 
 His first oratorio was performed at a Ge- 
 wandhaus concert in 1820, with little suc- 
 cess. He remained several years in ^Munich, 
 where he studied in the libraries and was a 
 friend of Ett. In 1837 he became musical 
 director of the Church of St. Anna in Augs- 
 burg, but soou gave up the place to de- 
 vote himself to composition and teaching. 
 Works : Bonifacius, oratorio ; Eighteen mas- 
 ses ; Six graduals ; Six offertories ; Three 
 litanies ; Three Requiems ; Motets, and other 
 church music, altogether more than a hun- 
 dred compositions. — Allgem. d. Biogi\, v. 
 412 ; FfHis, Gl ; !Mendel ; Riemann. 
 
 DROBS, JOH.VNN ANDREAS, born near 
 Erfurt in 1784, died at Leipsic, May 4, 1825. 
 Organist, first instructed by his father, then 
 mainly self-taught ; in 1808 he went to 
 
 Leijisic, and became organist at St. Peter's 
 iu 1810. He was much sought after as a 
 teacher, and composed meritorious works 
 for the organ and the pianoforte, compris- 
 ing sonatas, fugues, preludes, etc. — Fetis. 
 
 DROLLIXG, JEAN iHCHEL, born at 
 Turekheim (Haut-Rhin), in 179G, died in 
 Paris in 1839. Pianist, pupil at the Paris 
 Conservatoire under Adam for pianoforte, 
 and Muhul for comjjosition. Works : 
 Themes varies, op. 1, 2 ; Di tanti palpiti, 
 varie pour piano et violou, op. 3 ; Caprices 
 for pianoforte oj). 4 and 14 ; Fantaisies, 
 idem, op. 15 and 20 ; Rondeau pastoral, op. 
 19 ; Duos for pianoforte for foiu- hands, op. 5 
 and 17 ; Duos for pianoforte and violin, op. 
 11, 12, and 22 (Paris) ; etc. He left a Traito 
 elementaire d'harmouie et de composition, 
 iu MS. — Fetis ; Mendel. 
 
 DROUET, LOOS (FRANCOIS PHI- 
 LIPPE), born in Amsterdam in 1792, died 
 at Berne, Sept. 30, 1873. Flute player, pu- 
 pil at the Paris Conservatou'e ; jslayed there 
 and at the Opera when only seven years old. 
 From 1807 to 1810 he was teacher to King 
 Louis of Holland, and is sujjposed to have 
 helped Queeu Hortense write the French 
 national air " Partant j)our la Syrie." Iu 
 1811 he was appointed solo flute to Napo- 
 leon, and he held the same position to Louis 
 XVIII. In 1815 he went to London, and 
 appeareti at the Philharmonic in 181G, and 
 this was the beginning of a long profes- 
 sional tour through Europe. In 1836-54 
 was Kapellmeister at the court of Saxe- 
 Coburg, after which he visited America, 
 Works : 3 waltzes for two flutes, op. 24 ; 3 
 trios for three flutes, op. 38 ; fantasia for 
 j)ianoforte and flute, op. 36 ; do., op. 37 ; 
 10 concertos, variations, duets, etc., com- 
 prising more than a hundred and fifty 
 works. — Allgem. d. Biogr., v. 434 ; Fetis ; 
 do., Supjolemeut, i. 281 ; Mendel, iii. 257, 
 Ergi'mz., 92 ; Riemann. 
 
 DRUIDS' CHORUS, THE, cantata for 
 male voices, text by Kiunersley Lewis, mu- 
 sic by Joseph Parry, first given in Wales, 
 1888. Subject, the attack by Suetonius 
 
 456
 
 DRUZECUY 
 
 Paulinus on the Druids of Mona, who are 
 surprised at their devotions in the temple 
 of Keridwen. 
 
 DKUZECHY (Druschetzky), GEOEG, 
 born about the middle of the 18th century. 
 He was in the service of Count Grassalko- 
 vicz in Presburg- in 1787, and was consid- 
 ered the greatest player on the kettle-drum 
 in his time. "Works : Andromeda iiiid Per- 
 seus, opera-ballet, about 1787 ; lukle vmd 
 Yariko, do. ; Battle symphony for two or- 
 chestras ; Pieces for wind instruments. 
 — Fotis ; JMendel. 
 
 DUB.YRROIS, , French composer, 
 
 lived at the close of the 18th century. He 
 wrote the music of two operas-comiques : 
 Lolotte et Fanfan, produced in Paris, Feb. 
 28, 1803, and Les faux parents, ib., Aug. 
 27, 1803.— F6tis, Suppli'nient, i. 282. 
 
 DUBOIS, (CLEMENT FRANgOIS) 
 THEODORE, born at Rosuay (Marne), 
 Aug. 2-4, 1837, still living, 1888. Dramatic 
 and instrumental composer, pupil at the 
 Paris Conservatoire of Marmontel on the 
 jjianoforte, of Bazin in harmony and accom- 
 paniment, of Benoist on the organ, and of 
 Ambroise Thomas in fugue and composition. 
 He won prizes in 185.5, 185G, 1857, 1858, 
 and 1859, and the grand i^rix de Rome in 
 1861. He sent from Rome a mass and a 
 first overture ; a second concert overture 
 which was played at a Conservatoire con- 
 cert in ISGf). Dubois returned to France 
 in 18GG, began ieaching, and became maitre 
 de chapelle, first at the church of Sainte- 
 Clotilde, then at the Madeleine, and in 1871 
 professor of harmony at the Conservatoire 
 and organist at the Madeleine. "Works — 
 Operas : La fiancee d'Abydos (18G1:) ; Flor- 
 entin (1867) ; La guzla de I'l'mir, comic op- 
 era, given at the Th(';itre Lyrique, 1873 ; Le 
 jjain bis, do., Opera Comique, 1879 ; Aben- 
 hamet. Opera, 1884 ; Les sept paroles du 
 Christ, oratorio, Sainte-Clotilde, 1867 ; Le 
 Paradis perdu, do.. Theatre Lyrique, 1878 ; 
 Deus Abraham, religious chorus with soli ; 
 Tu es Petrus, motet ; Concert overture ; 
 Symphonic overture ; Frithjof overture ; 
 
 Several suites for orchestra : Concerto for 
 pianoforte ; Douze petites pieces for do. ; 
 Chceur et danse des lutins, op. 7 ; Marche 
 orientale, op. 8 ; Scherzo, op. 10 ; Bluette 
 pastorale, op. 11 ; Reverie-prelude, op. 12 ; 
 Allegro de bravoure, op. 12 ; Scherzo et 
 chorale, op. 18 ; Divertissement, op. 19 ; In- 
 termezzo, op. 20 ; other pieces for piano- 
 forte, and songs. — Fetis, Supplement, i. 
 283 ; Riemann. 
 
 DUC D'ALBE, LE, French opera, text 
 by Scribe, music by Donizetti, represented 
 at Barcelona, 1882 ; later produced with 
 some eclat in Italy. The libretto, founded 
 on the life of the famous Duke of Alva, was 
 written for Rossini, but was returned to its 
 author when that composer determined, 
 after William Tell, to write no more for the 
 dramatic stage. The work, written before 
 1840, was never produced during the life 
 of Donizetti, who transferred some of its 
 most effective numbers to later operas, 
 among them the celebrated tenor romanza, 
 " Ange si pur," or " Spirto gentil " in its 
 Italian form, now in the fourth act of La 
 favorite. 
 
 DUC D'OLONNE, LE, opera-comique in 
 three acts, text by Scribe and Saintine, mu- 
 sic by Auber, represented at the Of)era Co- 
 mique, Paris, Feb. 4, 1842. The libretto is 
 full of absurdities, but the music is among 
 the best of Auber's compositions. The 
 phrase, " France, O ma patrie ! ' in the 
 second act, is one of his finest inspirations. 
 
 DUC, PHILIPPE DE, Netherlands com- 
 poser, lived in the second half of the IGth 
 century. He seems to have settled in Italy. 
 "\'\'orks : Madrigali a quattro voci, con una 
 serenata e uu dialogo a otto (Venice, 1570) ; 
 Madrigali a cinque et sei voci (ib., 1586) ; II 
 primo libro de' Madrigali, a 4, 5, e 6 voci 
 (ib., 1595); Le "Vergini, a sei voci, con uu 
 dialogo a otto nel fine, novamente composti, 
 libro primo (Venice. 1574). — Fetis ; Mendel. 
 
 DUCASSI Y OJEDA, IGNACIO, born 
 in Barcelona, Jan. 18, 1775, died in Madrid 
 in 1824. Priest and maestro de capilla of the 
 Chui-ch of the Incarnation, at Madrid. His 
 
 467
 
 DITGHAMBGE 
 
 numerous cburcli compositions in the mod- 
 ern style consist of masses, psalms, motets, 
 and otlier important works, most of which 
 are for several voices with instrumental ac- 
 companiment, though several are for voices 
 alone. — Fctis, Supplement, i. 280. 
 
 DUCHAMBGE (Du Chambge), PAU- 
 LINE, born at Martinique, West Indies, in 
 1778, died in Paris, April 23, 18.58. Pianist, 
 pupil of Desormery in a convent in Paris, 
 whither she was taken when quite young. 
 For many years she entertained friendly rela- 
 tions with several of the most distinguished 
 musicians of her time, and as a teacher 
 formed a number of well-known pianists and 
 singers. As a composer she was especially 
 popular through her songs, more than 
 three hundred of which were i^ublished. 
 — Fetis. 
 
 DUCIS, BENEDICTUS, probably born in 
 Bruges about 1480, flourished in the first 
 forty years of the 16th century. Generally 
 styled Benedictus, but must not be con- 
 founded with Benoit cVAppenzell, Swiss 
 composer of that time, also called Benedic- 
 tus. AValther and Gerber call him Dux, 
 the Archives of Antwerp, Hertoghs. In tlie 
 registry of the Confraternity of St. Luke 
 he is spoken of as Prince de la Gilde, or 
 chief of the Confraternity, the highest 
 honour to which artists could aspire in the 
 Netherlands. In the registry of Notre 
 Dame, Antwerp, he is mentioned as organ- 
 ist of the Chapel of the Virgin. In 1515 he 
 visited England, but little else is known of 
 his history. lu 1531 he composed a mon- 
 ody on the death of Josquin Despres, who 
 had taught him composition, and in 1536 an- 
 other on the death of Erasmus, which proves 
 him to have been living at those dates. 
 Among his compositions are : Four-pai-t 
 monody on the death of Josquin, in the 
 7th set of French chansons in 5 and 6 
 l^arts (Susato, 1545), a cojjy of which is in 
 the British Museum (for the composition 
 itself see Burney's History, ii. 513) ; songs 
 in former vols, of the same works ; Elegy 
 in 5 parts, Plangite Pierides, on the death 
 
 of Erasmus, and an S-joart Agnus Dei, both 
 from the Selectissimfe nee non familiaris- 
 siniffi cantiones ultra centum (Augsburg, 
 1540) ; Songs in the collection of German 
 songs made by Forster and printed by 
 Petreius (Nuremberg, 1539-40) ; motet, 
 Peccantem me c[uotidie, from Cantiones 
 octo vocum, ijrinted by Uhlard (Augsburg, 
 1545) ; motet, Dum fabricator raundi sup- 
 plicium, from Ehau's Selectee Harmonise 
 
 . . . de Passione Domini (Wittenberg, 
 1558) ; Two 5-part motets, Benedic Domine, 
 and Corde et animo, from Kriesstein's Can- 
 tiones sex et quinque vocum, etc. (Augsburg, 
 1545). Other works by him are in the col- 
 lections cantiouum sacrarum, etc., lib. viii. 
 (Louvain, 1554-57) ; Selectissimarum sacra- 
 rum eantionum, etc., lib. iii. (Louvain, 
 1569) ; Livre septieme des chansons a 
 quatre parties accommodees tant aux in- 
 strumens comme a la voix (Antwerp, 1597). 
 — Allgem. d. Biog., v. 445 ; Biog. nat. de 
 Belg., vi. 231 ; Fetis; Grove ; Mendel ; Eie- 
 maim. 
 
 DLIDENEY, THOMAS JAMES, born in 
 Maytield, Sussex, England, Nov. 29, 1854, 
 still living, 1888. Organist, pupil of Sir 
 George Alexander Macfarren. He is or- 
 ganist and choir-master of St. James's 
 Church, Taunton, and music-master at the 
 Independent College. As conductor, he has 
 introduced many classical works thi-ough 
 several musical associations with which he 
 is connected. Works : Andante con varia- 
 zioni e fuga ; Near the town of Taunton 
 Dean, part-song, and other songs. 
 
 DUE FOSCARI, I (The Two Foscari), It- 
 alian opera in three acts, text by Piave, 
 music by Verdi, first represented at Flor- 
 ence, February, 1845 ; in New York, June 
 9, 184G ; and in Paris, at the Tlu'atre 
 Italien, Dec. 17, 1846, with Mario and Grisi 
 in the principal rules. Scene in Venice, in 
 the 16th century. Doge Francesco Fos- 
 cari, constrained by the Council of Ten, is 
 obliged to subscribe to the capital punish- 
 ment of his own son, Jacopo Foscari. Die 
 Foscari, German grand opera in three acts, 
 
 458
 
 DUE 
 
 music by Max Zeuger, represented iu BIu- 
 uicli, 18C3, treats the same subject. 
 
 DUE ILLU8TRI lilVALI, I (The Two 
 Illustrious Eivals), Italian opera bufl'a, text 
 by Rossi, music by Mercadaute, represented 
 iu Venice, 1S39. 
 
 DUFAY (Du Fay), GUILLAUME, born 
 at Cbimay, Belgium, about 1350, died iu 
 Home iu 1432. He was attached as tenor 
 to the Pontifical Chapel from 1380 until 
 his death. With some of his contempora- 
 ries, he did much to advance the art of 
 counterpoint and to improve the system of 
 nnisical notation. His masses are the old- 
 est written in the contrapuntal style, and he 
 understood and practised many of the con- 
 trapuntal devices, the discovery of which has 
 commonly been attributed to a later period. 
 Works : Ecce ancilla Domini ; L'Omme 
 arme ; Se la face ay pale ; Taut me deduis, 
 all masses preserved in the archives of the 
 Pontifical Chapel, j^ortions having been pub- 
 lished by Kiesewetter ; De Saint-Antoine, 
 another mass quoted by Tinctor ; 6 mas- 
 ses in the Royal Belgian Library ; Gloria 
 iu the library of Cambrai, witli other jjieces 
 attributed to him by Coussemaker ; manu- 
 script motets and French songs from the 
 library of Guilbert de Pixorucourt. — Fetis ; 
 Mendel ; Biog. nat. de Belgique, vi. 247 ; 
 Ambros, ii. 453 ; Fetis, Hist, de la Musique, 
 V. 321 ; Kiesewetter, Modern Music, 105 ; 
 Brendel, Gesch. der Musik, 21 ; Reissmann, 
 Gesch. der Musik, i. 142. 
 
 DUFORT, CHARLES DE, born at Sens 
 (Yonue), Nov. 21, 1803, still living, 1888. 
 Church composer, pujjil of Henri Brod at 
 the Conservatoire, Paris. He has composed 
 many masses, graduales, hymns, etc., most 
 of which have been published. — Fetis. 
 
 DUFRESNE, ALFRED, born about 1822, 
 died in Paris, March, 1803. Dramatic com- 
 poser, pupil at the Paris Conservatoire, un- 
 der Halevy. He became known first by his 
 songs, twelve of which were published as 
 Soirees d'automne (Paris). Works — Operas: 
 En revenant de Pontoise, given at the 
 Bouftes Parisiens, Paris, 185G ; Maitre Ba- 
 
 ton, ib., 1858 ; L'hotel de la poste, ib,, 18C0 ; 
 Les valets de Gascogue, Theatre Lyrique, 
 I860.— Fetis, Supplement, i. 285. 
 
 DUGAZON, GUSTAVE, born in Paris in 
 1782, died there in 182G. Dramatic com- 
 poser, pupil at the Conservatoire, of Berton 
 for harmony, and of Gossec for conqMsitiou. 
 He won the 2d grand prix de Rome in 
 1806, taught the pianoforte after leaving 
 the Conservatoire, and published for that 
 instrument. He began composing dra- 
 matic works in 1800, bringing out a little 
 opera, Le voisinage, in collaboration with 
 Bertrand and others. He next jjroduced 
 at the Theatre Feydeau, Marguerite de 
 Waldemar, 1812, La noce ecossaise, 1814, 
 and Le chevalier d'iudustrie (with Pra- 
 dher), 1818, none of which were successful. 
 For the Opera he wrote : Les tiauces de 
 Caserte, ballet (1817); Alfred le grand, 
 ballet (1822) ; Aline, ballet (with Berton), 
 1823. His instrumental compositions con- 
 sist of : 5 melanges d'airs varies en 
 trios, pour piano, violon et violoneeUe ; 5 
 melanges d'airs et nocturnes jjour jiiauo 
 etcor. ; Fantaisies, melanges d'air.s, preludes 
 and toccatas for jjianoforte ; Airs varies for 
 pianoforte ; Quadrilles and contredanses for 
 pianoforte ; Duos for harp and pianoforte ; 
 and several collections of romances and 
 nocturnes for two voices. — Fetis, iii. 74 ; 
 Suijplement, i. 286 ; Mendel. 
 
 DUGUET, DIEUDONNE, born at Liege, 
 Sept. 22, 1794, died there, April 18, 1849. 
 He founded with Henrard and Jaspar, in 
 1821, a school of music which did much 
 good work until absorbed in the Conserva- 
 toire, established at Liege bj' the government 
 in 1827, in which he was then made pro- 
 fessor of solfege. In 1828 he became organ- 
 ist of the Church of Saint-Denis, in 1835 
 maitre de chapelle, and in 1837 organist of 
 the cathedral. He was stricken with blind- 
 ness in 1835, and had to resign his class at 
 the Conservatoire. He did much to culti- 
 vate the study of religious music in Liege. 
 His greatest work is a motet, Sanctum et 
 terribile, preserved in MS. in the cathedral. 
 
 459
 
 DUHAUPAS 
 
 Published works : A Te Deum, a Salve re- 
 giua and a Homo qiiidam, with full orches- 
 tra ; 2 Ecce panis ; G Tautum ergo, two 
 Genitori aud three cantatas for solos, chor- 
 us, and orchestra ; 3 Requiems with organ 
 accompauiraeut, violoncello, and double- 
 bass, etc. ; Solfeges en canons, with Jaspar 
 and Heurard (1823) ; Livre d'orgue pour 
 raccompagnenient du plain-chant (1842, 2d 
 ed., 1851) ; Ilecueil de preludes et versets 
 pour I'orgue (1851) ; Livre de motets et 
 psaumespour les processions ; Recueil de 34 
 morceaux de musique sacree a 1, 2, 8 et 4 
 vols, etc. (1853-1855) ; Kecueil de 32 mor- 
 ceaux (Qiuvres posthumes, 1859) ; Re- 
 cueil de litanies ii 1, 2 et 3 voix, 2 vols.; 
 aud pieces for pianoforte, duos, romances, 
 melodies, scenes. — Biog. nat. de Belgique, 
 vi. 258 ; Fetis, Supplement, i. 286 ; Mendel, 
 Erganz., 92. 
 
 DUHAUPAS, ALBERT, born at Arras, 
 France, April 22, 1832, still living, 1S8S. 
 Organist, first instructed by his father, then 
 by a German artist, Neuland, and at the 
 Conservatoire, Paris, pupil of INIarmontel ; 
 having returned to his native city, he be- 
 came maitre de chapelle of the cathedral, 
 aud director of the Society des Orpheouistes, 
 which he succeded in making one of the 
 best in France. Works : ^Mass for four 
 male voices ; 10 motets for two soprani, 
 tenor, and bass ; Other motets and various 
 sacred compositions ; Pianoforte pieces, 
 choruses, and songs. — Fetis, Sujaplement, i. 
 286. 
 
 DUHEM, HIPPOLYTE JEAN, born in 
 Paris, Dec. 1, 1828, still living, 1888. Trum- 
 jjet player, pupil at the Brussels Conserva- 
 toire, under Zeiss. In 1846 he took the 1st 
 prize ; became solo trumpet at the Theatre 
 Royal, and served three years in the band 
 of the Guides. After a professional tour 
 through Europe and America, he returned 
 in 1860 to Brussels, where he became pro- 
 fessor at the Conservatoire. He has pub- 
 lished in London music for the trumpet and 
 cornet-a-pistons. — Fetis ; Mendel. 
 
 DU HIER, IRENE ! See Mienzi. 
 
 DULCKEN, FERDINAND QUENTIN, 
 
 born, of German and French parentage, in 
 London, England, June 1, 1837, still living, 
 1888, in New York. Pianist, son of Ma- 
 dame Louise (David) Dulcken (1811-1850), 
 who was a sister of Ferdinand David, the 
 violinist. He studied the j)ianoforte and 
 the theory of music at the Leipsic Con- 
 servatorium under Mendelssohn, Moscheles, 
 Gade, Riehter, Plaidy, Joachim, aud Haupt- 
 mann, and the organ under Becker ; after- 
 wards he was a pupil at Cologne of Ferdi- 
 nand Hiller. He was for a time a professor 
 in the "Warsaw National Conservatory, Po- 
 land, in which country he resided five years. 
 He lived in Paris also for four years, and 
 played in concerts throughout Europe with 
 Wieniawski, Vieuxtemj^s, de Kontski, and 
 others. In 1876 he went to xlmerica and 
 travelled there with Essipoti", Remenyi, 
 Marie Eoze, aud Jose&y. "Works : Piano- 
 forte pieces ; Songs ; Messe Soleunelle : 
 Wieslaw, opera, played in Poland ; aud en- 
 semble pieces ; in all about 200 works. 
 
 DULON, FRIEDRICH LUDWIG, born 
 at Oranieuburg, Prussia, Aug. 14, 1769, 
 died in Wiirzburg, July 7, 1826. In the 
 first week of his life an unskilful physician 
 made him blind. His father taught him 
 the flute ; Angersteiu of Steudal instructed 
 him in theory, so that he began composing 
 at the age of nine ; and he was enough of a 
 pianist early to play Bach's fugues. He 
 began making concert tours in 1783, ac- 
 companied at first by his father, later by 
 his sister, and was heard almost all over 
 Europe. In St. Petersburg he was made 
 imperial chamber musician in 1796. His 
 memory was such that he could remember 
 a new flute concerto after a few hours' hear- 
 ing ; and in his mature years he had 250 
 concert pieces at his command. He partly 
 dictated, partly wrote, with the aid of a 
 movable relief alphabet invented for him, his 
 autobiography, which was published by Wie- 
 land : Dulon's des blinden Flotenspielers 
 Leben und Meinungen von ihm selbst bear- 
 beitet (ZiU-ich, 1807-8, 2 vols.). "Works: 
 
 m\
 
 DU]\IANOIll 
 
 Duos aiul variatious for flute and violin ; 
 Flute caiJi-icidos ; Flute concerto.— Allgem. 
 d. Biogr. ; Mendel ; Fotis ; Scliilling. 
 
 DUJNLiNOIR. There were several mu- 
 sicians of this name belonging to the same 
 family, who flourished in Paris from IGlo 
 to 1G95. Matthieu Du Muuoir was violon- 
 iste de la chambre du roi, under Louis XIII. ; 
 his son, or nephew, Claude, and the most 
 remarkable, succeeded Louis Coustantiu as 
 roi des violons de Paris and maitre des 
 mcnestriers. The royal ordinance granting 
 this is dated Nov. 20, 1657, and is regis- 
 tered in the Parlement, Jan. 21, 1G.58. He 
 was also first violin to the king. This pecu- 
 liar sovereignty had been established in 
 1331, and the right confirmed by Charles 
 VI., in an ordinance dated April 21, 1107. 
 Guillaume Du Manoir, born Nov. 1(5, 1613, 
 also son of Matthieu, was the author of Le 
 mariage de la musique avee la danse. 
 Guillaume Michel Dumanoir II., sou of 
 Guillaume, became roi des violons (1G90), 
 and also first violin to the king ; he abdi- 
 cated, signing his resignation before a no- 
 tary public, Dec. 1, 1695.— Fetis, iii. 76 ; 
 do., Supplement, i. 287 ; Mendel. 
 
 DU MOLIN (Dumoliu), JEAN EEMI, 
 Netherlands musician, born iu the last years 
 of the 15th century. He was organist of the 
 church of Saint-Jean, Mechlin, a position 
 which he still held in 1528. His name is 
 sometimes spelled Du Moulin in the collec- 
 tions of the 16th century. His works are 
 found in Motetti del Fiore a quattro, hb. 
 1, 2, 3, 4 (Jacques Moderne, Lyons, 1532- 
 1539). His motet, In Domino confido, for 
 four voices, is iu the third book of that col- 
 lection. His motets for five voices are in 
 Motettorum, 5 vols. (Jacobo Moderno, Lug- 
 duni, 1532-1512). Attaignant's Missarum 
 dominicalium, quatuor voc, second book 
 (1534) contains two of his Masses.— Biog. 
 nat. de Belg., vi. 274 ; Fetis ; Mendel. 
 
 DUMONCHAU, CHARLES FRANCOIS, 
 born in Strasburg, April 11, 1775, died in 
 Lyons, Dec. 21, 1820. Pianist, pupil of his 
 father Joseph Dumouchau, on the violon- 
 
 cello, of Berg in harmony, and of Baumayr 
 on the pianoforte. Admitted to the Con- 
 servatoire, he took up the study of the pi- 
 anoforte and composition, and finally took 
 lessons of Wijlfl. In 1S05 he brought out 
 an opera, L'ofiicier cosaque, at the Porte- 
 Saint-Martiu, which was not successful. He 
 returned to Strasburg shortly after this, 
 and became professor of the pianoforte, but 
 in 1809 went to live in Lyons. His com- 
 piositions, though elegant and pure in style, 
 are now nearly forgotten. Works : 33 so- 
 natas for pianoforte, op. 1, 3, 5, 19, 21, 26, 
 28, 30, 32 ; 24 sonatas for pianoforte with 
 violin or flute, op. 4, 13, 15, 20, 23, 24 ; 2 
 trios for pianoforto, violin and bass, op. 29, 
 34 ; 2 concertos for pianoforte, op. 12, 33 ; 
 besides airs varies, pots-pourris, etc., a sym- 
 phonic concertante for flute, oboe and bas- 
 soon, aud a concerto for horn. — Fctis ; 
 Mendel. 
 
 DUMONT, HENRI, born at Villers-FE- 
 vcque, near Liege, in 1610, died in Paris, 
 May 8, 1684. Priest aud organist ; studied 
 music as a chorister in the College of Sidnt- 
 Servais, Maestricht, and afterwards at the 
 music school of Liege. About 1G30 he 
 went to Paris to begin his musical career, 
 but no record is found of him until 1639, 
 when he is mentioned as organist of the 
 church of Saint- Paul. He was the first to 
 introduce into France the basso coutinuo. 
 Louis XIV. made him one of his maistres 
 de musique, the others being Robert, Spirli, 
 and Gobert, and at the death of the last 
 two he and Robert became full maitres de 
 chapelle to the king. He held a like posi- 
 tion in the queen's household, and was 
 made Abbe de Silly at her request. His 
 works are now very rare. Those still in 
 use are : Five grand masses in plain-chant, 
 called Messes royales, still sung on great 
 occasions in France. Other works : IMes- 
 langes a 1, 2, 3, 4, 5 parties, avec la basse 
 continue, contenaut plusieurs chansons, 
 motets. Magnificat, preludes et allemandes 
 pour I'orgue et pour les violes, liv. 1. (Paris, 
 1549) ; Meslanges, etc., lib. 2 (1657) ; Can-
 
 D' UN 
 
 tica Sacra, 2, 3, 4 voc, etc., lib. 1 (1GG2) ; 
 Motets a deux voix avec la basse continue 
 (16G8) ; Motets a 2, 3, et 4 parties pour 
 voix et instruments, avec basse continue 
 (1681) ; Motets pour la chapelle du roi, etc. 
 (1G86). The following are in a collection 
 iu 4 vols., by Ballard : 1, Motets a deux 
 chcEurs, seize parties ; 2, Motet de TEter- 
 uite a voix seule avec basse continue ; 3, 
 Motet d'elevation a deux parties avec basse 
 continue ; 4, Les airs et basse continue de 
 Du Mout. Psaumes, cantiques, et motets 
 a 4 voix avec basse continue, are in the 
 MS. collection by Pbilidor (1G97), preserved 
 iu the Conservatoire, Paris. Cinq messes 
 Eoyales, 5th ed. (1711) ; a sixth mass, called 
 Messe Papale (1G90), found by Maurice Ar- 
 daut, of Limoges, in an old MS. — Biog. 
 nat. de Belg., vi. 302 ; Fetis ; Mendel. 
 
 D' UN ALMA TKOPPO PERVIDA. See 
 PoliiUo. 
 
 DUN, FINLAY, born in Aberdeen, Scot- 
 land, Feb. 24, 1795, diediu Edinburgh, Nov. 
 28, 1853. Violinist and singing teacher, pu- 
 pil of Baillot and Mirecki. Works : Two 
 symi^houies for full orchestra (MS.) ; The 
 Parted Spirit, glee (prize at Manchester, 
 1831) ; She is coming, trio ; anthems, psalms, 
 hymns, etc. He edited, with John Thomson, 
 " The Vocal Melodies of Scotland " ; with J. 
 F. Graham " Wood's Songs of Scotland " ; 
 and other collections. 
 
 DUN COMBE, WILLLIM DUNCAN 
 VAN DER HORST, born at Siou Hill, An- 
 tigua, July G, 1832, still living, 1888. Bass 
 singer, bassoonist, and vocal composer. As- 
 sistant vicar in Hereford Cathedral, minor 
 canon and custos of the College of Vicars 
 choral, Hereford. Composer of the madri- 
 gal "In the Merry Spring," of a few carols 
 and two songs, and of the dirge iu " Much 
 Ado about Nothing," Pardon, Goddess of 
 the Night, which is in MS. 
 
 DUNHAM, HENRY MORTON, born of 
 American parentage in Brockton, Massa- 
 chusetts, July 27, 1853, still living, 1888. 
 Organist, pupil on the organ of George E. 
 Whiting and J. K. Paine, on the pianoforte 
 
 of James C. D. Parker and Franz Petersi- 
 lea ; and in composition of J. K. Paine and 
 Stephen A. Emery. He was graduated iu 
 1873 at the New England Conservatory of 
 Music, Boston, and in 1875 from the Boston 
 University College of Music ; was organist 
 and choir-master of the Porter Congrega- 
 tional Church, Brockton, Mass., 1870-78 ; 
 and conductor of the Gounod Club in that 
 city. In 1878 he was appointed instructor 
 of organ and pianoforte at the New England 
 Conservatory, and professor of organ at 
 the Boston University College of Music ; 
 both of which positions he still holds. In 
 1879-80-81 he gave a series of thirteen 
 concerts, on the great organ in Boston 
 Music Hall. Since 1880 he has been organ- 
 ist of the Ruggles Street Baptist Church, 
 Boston. Works : 3 books of Hymn Music, 
 1877 ; Cappriccio brillaute for the piano- 
 forte, 1877 ; anthem, O Tell me Thou Life, 
 1877 ; 2 Andantes for the organ, in A-flat 
 and E-tiat, 1879 ; Exercises in Pedal Play- 
 ing, 1885 ; and other organ music. 
 
 DUNI, EGIDIO E0:M0ALD0, born at 
 Matera, near Otranto, Naples, Feb. 9, 1709, 
 died in Paris, June 11, 1775. Dramatic 
 composer, pupil at the Conservatorio dei 
 poveri di Gesii Christo, Naples, then under 
 the direction of Durante. He went to Rome 
 in 1735, commissioned to write the opera 
 of Nerone, in comf)etition with Pergolesi, 
 who was then composing his Olimpiade ; 
 he won the prize, but had the modesty to 
 acknowledge the superiority of Pergolesi's 
 work. Sent on a secret mission from Rome 
 to Vienna, he brought out there some of 
 his compositions, and on his return to 
 Naples was made maestro di cajjpella at 
 San Nicola di Bari. After short visits to 
 Venice and Paris, he went in 1744 to Lon- 
 don, where he comj^osed several works, but 
 suffering from a chronic disease, was ad- 
 vised to consult the famous Boerhaave, iu 
 Holland. On his return he visited Milan 
 and Genoa, and was made music instructor 
 to the daughter of the Infante of Parma in 
 1746 ; French manners and customs prevail-
 
 DUMECKI 
 
 ing at that court, he was iiKluced to com- \ and Wciulis', ami became chamber musician 
 pose some Freuch operas, the great success to the Elector of Saxony in 1788. "W orks : 3 
 of which led to his 
 removal to Paris 
 in 1757, where he 
 wrote the music 
 
 /• 
 
 V 
 
 '•Cm 
 
 .:/^' 
 
 for eighteen other 
 operas - comiques, 
 all of which were 
 successful, and 
 some of which be- 
 came famous. He 
 may be considered 
 
 as the real founder of the opura-comique 
 in France. Works — Italian Operas : Nerone, 
 given in Rome, 1735 ; Artaserse, Naples, 
 about 1737 ; Bajazette ; Giro ; Ipermnestra ; 
 Demofoonte ; Alessandro ; Adriano ; Catone 
 in Utica ; Didone ; Demetrio ; OHmpiade ; 
 Tordinona. Freuch operas-comiques : Ni- 
 nette a la cour, Parma, 1755 ; Le peintre 
 amoureuxde son modMe, Paris, Tht'atre dela 
 Foire Saint-Laurent, 1757 ; Nina et Liudor, 
 ou les caprices ducoeur, ib., 1758 ; Le doc- 
 teur Sangrado (with Laruette), Ojx'ra Co- 
 mique, 1758 ; La title nial gardce, Coincdie 
 Italienne, 1758 ; L'ile des fous, ib., 17G0 ; 
 Mazet, ib., 17G1 ; La veuve indecise, Foire 
 Saint-Laurent, 1759 ; La bonne fille ; Le 
 retour au village, 17G2 ; La jjlaideuse et le ; litaniis B. 
 proces, Comcdie Italienne, 17G2 ; Le mili- 
 cien, Versailles, 17G2 ; Comedie Italienne, 
 1763 ; Les chasseurs et la laitiere, Le 
 rendez-vous, ib., 17G3 ; Locole de la jeu- 
 nesse, La fee Urgele, ib., 1765; La clo- 
 chette, ib., 1766 ; Les nioissonneurs, Les 
 sabots, ib., 1768 ; Themire, ib., 1770.— Cle- 
 ment, ]Mus. CL'U'bres, 79 ; Fetis ; Mendel ; 
 Schilling. 
 
 DUNIECia, Le Chevalier STANISLAS, 
 Polish dramatic composer ; contemporary. 
 Works : Pakusa, opera, text by his brother, 
 given at Cracow, April, 1866 ; Der Teufel 
 ist los, Berlin, 18GG ; Lucifer, Theater an 
 der Wein, Vienna, 1868.— Fetis, Supple- 
 ment, i. 288. 
 
 cantatas, Der Friihling, Das Lob Gottes, 
 and Das Lob der Tonkuust ; Die Eugel 
 am Kreuze Jesu, oratoi-io ; music for the 
 drama Kein Faustrec-ht mehr, performed 
 in Weimar in 1798 ; Symphonie.s, trios, 
 quartets, quintets, concertos, and songs. 
 —Mendel ; Ft'tis. 
 
 DUNNE, JOHN, born in York, England, 
 in 183-1, died at Aston, near Dubhn, Ire- 
 land, June 7, 1883. He was chorister in 
 Worcester Cathedral in 1850, in Cashel Ca- 
 thedral, Ireland, in 1854, and was a mem- 
 ber of Christ Church, St. Patrick's Cathe- 
 dral, and Trinity College choirs, Dublin. 
 Mus. Bac, Dublin, 18G6 ; Mus. Doc, ib., 
 1870. Works : Myra, cantata for full 
 chorus and orchestra ; The Hanging of the 
 Crane, cantata (Longfellow) ; Church ser- 
 vices and anthems ; Glees, songs, etc. 
 
 DU PAm^E SEUL AMI FIDIJLE. 
 See Muctle de Portici. 
 
 DUPONCHEL, Le Pore JACQUES, 
 born at Douai in the first half of the 17th 
 century. Cordelier monk, organist to Car- 
 dinal Bichi, Rome. Works : Psalmi Vesper- 
 tuii cum litaniis B. M. V., 3 voc. (Rome, 
 1G65) ; Sacrse cantiones 2, 3, 4 voc. cum 
 M. v., op 
 
 2 (Bologna, 1G71) ; 
 Messe a 3, 4, 5 voci concertate con violini 
 e ripieni a bene plaeito, op. 3 (Rome, 1G76). 
 — Fetis. 
 
 DUPONT, AUGUSTE, born at Eusival, 
 near Liege, Feb. 9, 
 1828, still livhig, 
 1888. Pianist, pupil 
 at the Liege Conser- 
 vatoire from 1840 to 
 1844 ; studied also 
 under Jalheau, for- 
 mer pupil of Jacques 
 Herz and Knlkbreu- 
 ner. After successful 
 professional tours 
 through Europe, he became in 1852 pro- 
 
 DUNKEL, FR.iNZ, born in Dresden in fessor of the pianoforte at the Brussels Con- 
 1769, died (?). He studied under his father 1 servatoire. Works : Variations sur un air 
 
 463
 
 DUPONT 
 
 populaire Liegeois (1846) ; fitude de trilles 
 (1848) ; Concerto en l':i miueur jjour j)iMio 
 et oi'chestre (1850) ; Six contes du foyer, en 
 morceaux separus pour piano (1852) ; Trois 
 cabiers de reminiscences pastorales pom- 
 piano (1853) ; Etude fantasticpie a 5 temps 
 (1854) ; Sonate pour piano et violou (Leip- 
 sic) ; Lamento, jjoesie elegiaque pour piano ; 
 Le tremolo staccato (Bonn) ; Grand galop 
 fantastique, dedie :i Meyerbeer ; Fautaisie 
 pour j)iano et orchestre, op. 21 (Paris) ; Le 
 mouvement perpetual, op. 24 ; Grand trio 
 pour piano, -yiolon et violoncelle, op. 29 ; 
 Marclie et scene druidique, op. 30 ; Grand 
 concerto symijlionie pour piano et orchestre, 
 played at a concert in 1857, and at the Con- 
 servatoire in 1858 ; La danse des Alniues, 
 op. 25 ; Tocatelle, op. 26 ; Trois dauses dans 
 le style ancien, Gavotte, Sarabaude, Bourree, 
 op. 37 ; Fantaisie et fugue pour la main 
 droite seule, op. 41 ; Roman en dis images, 
 op. 48, etc. — Fetis, iii. 81 ; do., Supplement, 
 i. 290 ; Mendel ; Eiemann. 
 
 DUPONT, HENEI DENIS, born in 
 Liege in 1660, died there, Sept. 1, 1727. 
 Organist, chorister in the cathedral of Saint- 
 Lambert, where he was pupil of canon 
 Pietkin and of his colleague Pierre Lanialle. 
 He received organ lessons also from Guil- 
 laume Deleshay, and became organist of the 
 Cathedral in 1685, and maitre de chajselle in 
 1703. He was also canon of the Cathedral, 
 and made a famous collection of musical 
 works. Works : Repons en contrepoint 
 pour les isrincijiales fetes de I'anuee ; Gran- 
 des Antiennes O pour I'Avent ; Several 
 messes solenneUes, with orchestra ; Several 
 motets, with orchestra ; Messes des Morts, 
 with orchestra ; Te Deum pro Turcorum 
 destructione, with orchestra, performed at 
 the Liege Cathedral to celebi'ate the victory 
 of Prince Eugene over the Turks (1717). 
 Of all these works only several of the 
 Ri'pons and Antiennes are extant. — Biog. 
 nat. de Belg., i. 315. 
 
 DUPONT, JEAN FEANrOIS, born in 
 Rotterdam in 1822, died at Nuremberg, 
 March 21, 1875. Dramatic composer and 
 
 violinist, pupil at the Conservatorium, Leip- 
 sic, of Mendelssohn in comisositiou, and of 
 Ferdinand David on the violin. On his re- 
 turn to Holland he brought out successfully 
 several choral and orchestral works, then 
 settled in Hamburg (1854), was Kapell- 
 meister of the theatre at Liuz in 1856, and 
 at Nuremberg in 1858-74. There and at 
 Warsaw and Moscow he acquired reputation 
 as au excellent conductor. Most of his 
 works remain in manuscript, owing prob- 
 ably to their great length. His grand opera 
 in three acts, Bianca Siffredi, text by L. 
 Hoffmann, was given with success at Linz, 
 Nov. 23, 1855.— Mendel 
 
 DUPONT, JOSEPH, born in Liege, Aug. 
 21, 1821, died there, Feb. 13, 1861. Vio- 
 linist, jjupil of his father, a distinguished 
 amateur, and at the Liege Conservatoire, 
 where he studied under Antoine W^anson 
 and Frau(,'ois Prume. He became professor 
 of the violin at the Conservatoire when 
 seventeen years old. His opera-comique, 
 Eibeiro Pinto, was played at the Cercle 
 Artistique, Liege, in 1858, by members of 
 the Choral Society La Legia. Works : 
 Credo, Kyi'ie, Agnus Dei, quartet, and 
 quintet for string instruments ; Symphonic 
 andante ; Two fantaisies for violin ; Three 
 Etudes and a Romance sans paroles for 
 violin ; 8 Etudes for violin with accompani- 
 ment of a second violin ; Ave Maria Stella 
 for two voices ; Ave JMaris for a single 
 voice ; Tantum ergo for a single voice ; 8 
 Litanies for a bass voice. — Fetis, Supple- 
 ment, i. 289 ; Riemann. 
 
 DUPONT, JOSEPH, the younger, born 
 at Eusival, near Liege, Jan. 3, 1838, died 
 at Haarlem, June 26, 1867. Violinist, pu- 
 pil at the Brussels Conservatoii-e, where he 
 gained the 1st prize for violin in 1862, and 
 the 1st prize for composition in 1863. He 
 was professor of harmony in the Conserva- 
 toire. W^orks : Symphonies, overtures, can- 
 tatas, pianoforte music, songs, etc. 
 
 DUPONT, PIERRE, born at Rochetaillce, 
 near Lyons, April 23, 1821, died at Saints 
 fitienne, July 25, 1870. Poet and musician. 
 
 464
 
 DUPORT 
 
 whose reputation was made liy his rustic 
 and political songs, which were sung 
 throughout France. The son of a poor la- 
 borer, he received very little education. 
 His poetical taste was fostered by the ac- 
 quaintance of Pierre Lebrun, author of 
 Marie Stuart, who read Dupont's first ef- 
 fort, Les deux anges, which was afterwards 
 awarded a prize by the Acadcmie Frau<;aise 
 (1842). Dupont went to Paris in 1839, and 
 held a position under the Academie, and 
 in IS-tG began writing songs such as Les 
 bceufs, La vigne, La mfere Jeanne, etc. His 
 iii'st poems were published in the collection 
 entitled : " Les Paysans, chants rustiques," 
 brought out under the care of Tlu'ophile 
 Gautier. His songs, Les sapins, Le mois 
 de mai. La chanson des foins, which may 
 be called pastoral symphonies, succeeded 
 these and were followed by his political 
 songs, which sometimes awoke such enthu- 
 siasm when sung at mass meetings, that 
 they were suppressed by the police. Among 
 these are : Le pain, one of his most fa- 
 mous ; Le chant des ouvriers ; Chanson de 
 la sole, Chant du transporte, Les adieus 
 de Kossuth, La nouvelle alliance. At the 
 time of the Coup d'Etat, 1851, he was con- 
 demned to exile, but pardoned in the first 
 days of the Empire. He never wrote after- 
 wards, however, with the same freedom, and 
 his later songs were unsuccessful. In com- 
 posing he was aided by Keyer, who noted 
 down the airs which the poet sang to his 
 own poems, and which he was not musician 
 enough to write. His works have been col- 
 lected in an edition published in four vol- 
 umes with notes by Baudelaire and Eeyer 
 (Paris, 1854).— Ft'tis, Supplement, i. 289 ; 
 Larousse, vi. 1413 ; Mendel, iii. 277 ; Eie- 
 mann, 229. 
 
 DUPORT, (JEAN) LOUIS, born in Paris, 
 Oct. 4, 1749, died there, Sept. 7, 1819. Vio- 
 loncellist, brother and pupil of Jean Pierre 
 Duport, whom he surpassed. He was first 
 heard at the Concerts Spirituels and the 
 Societe Olympique, but his style w-as much 
 improved after the coming of Viotti, in 
 
 1782. After the breaking out of the French 
 Revolution, he went to Prussia to join his 
 brother and became court musician for sev- 
 enteen years. He returned to Paris after 
 the Prussian war to find himself unknown, 
 became musician to Charles IV., ex-King of 
 Spain, at Marseilles, and when that Prince 
 went to Rome in 1812, returned to Paris 
 and was thenceforward the leading French 
 violoncellist. He was chamber musician 
 to the Empress Marie Louise, violoncellist 
 in the Imperial Chapel, professor at the 
 Conservatoire until its suppression in 181.5, 
 and musician to Louis XVIH. Works : Six 
 concertos ; Four works of sonatas with ac- 
 companying bass ; Three duos for two vio- 
 loncellos; Eight airs varies with orchestra 
 or quartet ; Two airs varies for violin and 
 violoncello (with Jarnowick) ; Romance with 
 pianoforte accompaniment ; Nine nocturnes 
 for harp) and violoncello (with Bochsa) ; 
 Fantaisies for violin and jjianoforte. His 
 Essai sur le doigter du violoncello et la con- 
 duite de I'archet, avec une suite d'exercices 
 (Paris), is a fundamental work for the study 
 ! of the violoncello. — Fetis ; Mendel ; Rie- 
 maun ; Biog. gen., iv. 354 ; Larousse ; Grove. 
 . DUPORT, (JEAN) PIERRE, called Du- 
 port aine, born in Paris, Nov. 27, 1741, died 
 in Berlin, Dec. 31, 1818. Violoncellist, pu- 
 pil of Berthaut, who considered him his 
 best scholar. He was first heard at the 
 Concerts Spirituels in 1761, was musician to 
 the Prince de Conti until 1769 ; and after 
 visiting England and Spain, went in 1773 
 to Berlin as first violoncellist of the Royal 
 ; Chapel of Frederick H. of Prussia. He was 
 superintendent of the court concerts from 
 1787 to 1806. Works : 3 duos for two 
 violoncellos, op. 1 (Paris) ; 6 sonatas for 
 violoncello and bass (Amsterdam, Berlin, 
 1788). — Fctis ; Larousse ; Grove ; Mendel. 
 DUPRATO, JULES LAURENT (ANA- 
 CHARSIS), born at Nimes, Aug. 20, 1827, 
 still living, 1888. Dramatic composer, pu- 
 pil at the Conservatoire, Paris, of Leborue, 
 won the grand prix in 1848 with his cantata 
 Damocles, and having silent two years in 
 
 «<5
 
 DUPEEZ 
 
 Rome, visited other cities of Italy, and trav- 
 elled in Germany. In 1866 he became 
 I^rofessor of harmony at the Conservatoire. 
 Works — Operas-coniiques: Les trovatelles, 1 
 act, given at the Opera Comique, 1854 ; 
 Paquerette, do., ib., 18.56 ; M'sieu Landry, 
 Bouft'es Parisiens, 1856 ; Salvator Rosa, 3 
 acts, Opera Comique, 1861 ; La deesse et 
 le berger, 2 acts, ib., 1863 ; Le baron de 
 Groschaminet, 1 act, Sacripaut, 2 acts, 
 Fantaisies Parisieuues, 1866 ; Le chauteur 
 florentin, lyric scene, ib., 1866 ; La fiancee 
 de Corinthe, 1 act, Ojiera, 1867 ; La tour 
 du chien vert, 3 acts, Folies Dramatiques, 
 1871 ; Le cerisier, 1 act. Opera Comique, 
 1874 ; La reine Mozab, operetta, not 
 given ; Uue promenade de Marie Therese, 
 do. ; Marie Stuart au chateau de Lochleven, 
 do. ; Gazouillette, opera-comique, do. ; 3 
 cantatas, Ojiera Comique, 1859, 1861, Ojiera, 
 1864 ; Cantata for the inauguration of the 
 Ath^nee Musical, 1864 ; 3 choruses for equal 
 voices ; vocal melodies. — Ft'tis ; do., Sujjjjle- 
 ment. 
 
 DUPREZ, GILBERT LOUIS, born in 
 Paris, Dec. 6, 1806, stQl living, 1888. Dra- 
 matic composer, joupil of Choron at the 
 Paris Conservatoire. He sang in public 
 for the first time in Athalie, at the Theatre 
 Frauyais, in 1820 ; made his debut as a 
 tenor at the Odeon, in 1825, as Almaviva ; 
 went to Italy in 1828, and sang in NajDles 
 and other cities. He became very popular, 
 and took his place at the head of French 
 dramatic singers of his time. In 1836, on 
 his return to France, he became first tenor 
 at the Opera, where he sang twelve years, 
 creating many important roles. From 
 1842 he was professor of lyrical decla- 
 mation at the Conservatoire, but resigned 
 in 1850, and founded I'Ecole Spociale du 
 Chant, which during the war of 1870 was 
 removed to Brussels. Works : L'abime de 
 la maladetta, .loanita, given at Brussels, 
 1851 ; La lettre au Bon Dieu, Paris, Ope- 
 ra Comique, 1853 ; Jeanne D'Arc, grand 
 opera, ib., Grand Theatre Parisien, 1865 ; 
 La cabane du pccheur, opera-comique, 
 
 Theatre de Versailles ; Jelyotte ; Samson, 
 grand opera ; Amelina ; Zephora, grand 
 opera ; Sariotti, grand opera ; La pazza 
 della regina ; Le jugemeut dernier, ora- 
 torio, Cirque des Champs-Elysees, 1868 ; 
 two masses ; romances, chamber music, 
 etc. ; L'Art du chant (Paris, 1846) ; La Me- 
 lodie, etudes complementaires vocales et 
 dramatiques de I'Art du chant. — Fetis ; do., 
 Supplement, i. 292 ; Grove ; Mendel ; Rie- 
 mann. 
 
 DUPUIS, JACQUES, born in Liege, 
 Oct. 21, 1830, died there, June 20, 1870. 
 Violinist, pupil at the Liege Conserva- 
 toire, from 1839 ; studied solfege under 
 Lignac, the pianoforte under Ledent ; the 
 violin under Joseph Dupout and Prume ; 
 and composition under Daussoigne-Mehul. 
 He won 1st prize for solfi'ge, in 1841 ; 2d 
 prize for violin, in 1842 ; 1st prize for vio- 
 lin and 2d for pianoforte, 1847 ; and 1st 
 prize for pianoforte, 1848. In 1850 he be- 
 came professor of the violin in the Con- 
 servatoire. He has j^layed at the popular 
 concerts of Paris and Brussels, at the Fe- 
 lix Meritis of Amsterdam, and concerts at 
 Aix-la-Chapelle. Works : 2 concertos for 
 violin ; Sonatas, fantaisies et morceaux de 
 genre for pianoforte and violin. Many of 
 his works remain uiqDublished. — Fetis, Sui> 
 plemont, i. 294 ; Mendel. 
 
 DUPULS, THOMAS SANDERS, born in 
 England of French parents in 1733, died in 
 London, June 7, 1796. Organist, choris- 
 ter of the Chapel Royal under Bernard 
 Gates, and pujiil of John Travers, organist 
 of the Chajjel Royal. He was appointed 
 organist of that chapel on the death of Dr. 
 Boyce, in 1779 ; Mus. Bac. and Mus. Doc, 
 Oxford, June 26, 1790. He published sev- 
 eral sonatas and concertos for pianoforte, 
 organ pieces, chants, anthems, and glees. 
 After his death a selection of his cathedral 
 music was j^nblished bj' John Spencer, one 
 of his i)uj)ils. — Grove ; llarmonicon, 1833, 
 141. 
 
 DUPUY, JEAN B.\PTISTE EDOUARD 
 LOUIS CAmLLE, born at Corselles, near
 
 DURANTE 
 
 NeufcliAtel, in 1775, died iu Stocldiolin, 
 April 3, 1822. Diamatic composer, pupil 
 in Paris of Cluibran on the violin and of 
 Dussek on the pianoforte ; at the age of 
 sixteen lie became Conzertnieister to Prince 
 Henry of Prussia, at Illieinsberg, and four 
 years later went to Berlin, where he stud- 
 ied harmony under Fasch. He afterwards 
 travelled through Germany and a part of 
 Poland, giving concerts iu all the larger 
 cities ; towards the end of 1793 he arrived at 
 Stockholm and was engaged as singer at the 
 Opera, and second conductor of the court 
 concerts ; he left for Coi^euhagen, iu 1799, 
 to enter upou a similar eugagemeut there, 
 and at the time of the English expedition 
 against Copenhagen, under Nelson, lie en- 
 listed iu 1801 in a corps of volunteers or- 
 ganized for the defence of the city ; during 
 the bombardment of 1807 he distiuguished 
 himself by his bravery, and was promoted 
 to the grade of lieutenant. In 1809-10 he 
 was in Paris, and after his return lived first 
 at Schoeuen, then at Stockholm, where he 
 was ajjpointed professor and Kapellmeister 
 to the court iu 1812. Works : Bjorn Jarii- 
 sida, Swedish opera, given at Stockholm, 
 1822 ; Felicie, ib., about 1824 ; Une folie ; 
 Funeral service for King Charles XIII.; 
 Duos for violins ; Concerto for flute ; Polo- 
 naise for two violins, guitar, and bass ; Qua- 
 drilles, waltzes, and ecossaises, for piano- 
 forte ; Marches for military baud, etc. 
 — Fetis. 
 
 DURANTE, FRANCESCO 
 Frattamagg lore, 
 Naples, March 15, 
 1684, died in 
 Naples, Aug. 13, 
 1755. As a boy 
 he entered the 
 Couservatorio dei 
 Poveri di Gesfi 
 Cristo, and, later, 
 that of S. Onofrio, 
 where he studied 
 under Alessandro Scarlatti. Some accounts 
 have it that he afterwards went to Rome, 
 
 born 
 
 and studied singing five years under Pi- 
 toni, and strict counterpoint under Bernar- 
 do Pasquiiii ; but this is doubtful. In 1718 
 he became the head of S. Ouofrio, and in 
 1742 succeeded Porpora at the Couserva- 
 torio Santa Maria di Loreto, at Naples, 
 which post he held until his death. Du- 
 rante and Leo have been called the founders 
 of the Neapolitan school, but they should 
 rather be called two of its most shining 
 lights, as their i^redecessor Scarlatti must 
 be looked upon as the real founder. Du- 
 rante wrote almost exclusively for the 
 church, and never for the stage. If some- 
 what lacking in invention, he was a com- 
 plete master of style ; his manner is vigor- 
 ous, grand, and often exceedingly brilliant. 
 He was esjjecially noted for Ids skill as a 
 teacher, and he produced probably more 
 famous pupils than any other one man. Of 
 these Pergolesi, Duiii, Traetta, Vinci, Ter- 
 radeglias, Jommelli, Piccinni, Sacchini, Gu- 
 glielmi, Paisiello, aud others may be said to 
 have almost monopolized the l_yric stage 
 iu Europe during the last half of the 
 18tli ceuturj'. Few of Durante's works 
 have been published. The library of the 
 Paris Conservatoire has a rich collection of 
 his MSS., and a few important works are 
 in the Vienna library. The collections of 
 Schlesinger, Rochlitz, Commer, and the 
 Fitzwilliam Music contain separate pieces 
 of his ; the great Magnificat, with addi- 
 tional accompaniments by Robert Franz, is 
 published by Ivarmrodt, iu Halle. Works : 
 11 masses for four to nine voices ; Credo 
 for four voices ; do. for five voices ; IG 
 psalms for one to eight voices; G anthems; 
 3 hymns ; 13 motets ; Te Deum for five 
 voices ; 5 litanies ; Dopo sentiro, cantata 
 for contralto ; 12 madrigals ; 11 solfeggi 
 for two voices ; G sonatas. The Vienna li- 
 brary possesses also his Lamentations of 
 Jeremiah, a so-called pastoral mass, aud 
 other compositions iu MS. — Clement, Mus. 
 celebres, 58 ; Fctis ; Mendel ; Schilling. 
 
 DURCH DIE WALDER, DURCH DIE 
 AUEN. See FreischiUz, Der. 
 
 407
 
 DUEGH 
 
 DIIECH INIITLEID WISSEND. See 
 
 Parsifal. 
 
 DtJRRNER, JULIUS (RUPPEECHT), 
 
 born at Ausbacli, July 15, 1810, died at 
 Edinburgh, June 10, 1859. Vocal comjjoser, 
 pupil of Eriedricli Sehueider at Dessau ; be- 
 came cantor at the Stadtkirche in his native 
 city in 1831, and went to Leipsic in 1812 
 to comijlete bis studies under Mendelssohn 
 and Hauptmann ; two years later he ac- 
 cepted a call to Edinburgh, where he was 
 much esteemed as a vocal teacher and mu- 
 sical director. Of his compositions those for 
 male chorus are especially popular. — Mendel. 
 
 DU SANG, DU SANG. See ProjMlc. 
 
 DUSCHEK (Dusek), FRANZ, born at 
 Choteboi'ky, Bohemia, Dec. 8, 1736, died in 
 Prague, Feb. 12, 1799. Pianist, educated 
 in the Jesuits' Seminarj', Koniggriitz, under 
 the patronage of Count von Spork ; but 
 being crijjpled by a fall, he devoted himself 
 entirely to music ; and studied at Vienna 
 under Wageuseil. He settled in Prague, 
 where he was one of the best players and 
 teachers of the pianoforte until his death. 
 Among his pupils were Maschek, Kozeluch, 
 Witasek, and his wife Josephine. Mozart, 
 who was his friend, j)ut the last touches to 
 Don Giovanni at his villa. Works : Several 
 sonatas ; Die Seeschlacht uud giinzliche 
 Niederlage der grossen holliindischen Flotte 
 dureh den General Duncan, den 2. Oct., 1797, 
 charaktei'istische Sonate fiir das rortej)iano 
 (Vienna, 1799) ; xxv. Lieder fiir Kinder von 
 Spielmanu (Prague, 1792), written partly 
 with Maschek ; Pianoforte concerto ; Many 
 other compositions in manuscript. — Wurz- 
 bach ; Mendel ; Fotis ; Grove ; Dlabacz. 
 
 DUSSEK, (originally Dusek) FRANZ 
 (BENEDIKT), born at Czaslau, Bohemia, 
 March 22, 1765, died (in Italy?) after 
 1816. Dramatic composer, son and pupil 
 of Johann Josef Dussek, whose place he 
 often supplied at the organ ; he jslayed 
 well also on the violin, the violoncello, 
 and the pianoforte. Being sent to Prague 
 to complete his studies, he entered the 
 service of the Countess von Liltzow, whom | 
 
 he accomj)anied to Italy. At Mortara he 
 obtained a position as organist and musi- 
 cal director, afterwards became accompa- 
 nist at the Teatro San Benedetto, Venice, 
 then at La Scala, Milan, whence he went 
 to Laibach, Carniola, in 1790, as organ- 
 ist at the cathedral. In 1808 he became 
 Kapellmeister of an Austrian regiment of 
 infantry, stationed at Venice. Works — Op- 
 eras : La cafl'etiera di spirito, given in Mil- 
 an, 1780; La feudataria, about 1780 ; L'im- 
 postore, about 1785 ; Voglia di dote e nou 
 di moglie, Milan, about 1795 ; II trombetta ; 
 Matrimonio e divorzio in uu sol giorno ; 
 Roma salvata, ojiera seria ; II fortunato suc- 
 cesso ; L' iucantesimo senza magia ; La 
 fei'ita mortale ; L' ombra, ossia il ravvedi- 
 niento, farce, Venice, 1815 ; Gerusalemme 
 distrutta, oratorio; Trio for flutes; Sonata 
 for pianoforte and violin ; Concertos for 
 violin and jiianoforte ; Church music, can- 
 zonets, etc. — Fetis ; Mendel ; Dlabacz. 
 
 DUSSEK (Dusek), JOHANN JOSEPH, 
 born at Wlazowicz, Bohemia, in 1739, died 
 in 1811. Taught music in Langenau and 
 Chumecz, and was organist and choir-master 
 at Czaslau until three years before his death. 
 He was the father of Johann Ludwig and 
 Franz Benedikt Dussek. Works: Masses, 
 litanies, pianoforte sonatas, organ fugues 
 and toccatas, all in manuscrij^t. — Mendel ; 
 Fetis ; Wurzbach. 
 
 DUSSEK (Dusek), JOHANN LUDWIG 
 (Ladislaw), born 
 at Czaslau, Bohe- 
 mia, Feb. 9, 1761, 
 died at Sain t- 
 Germainen-Laye, 
 March 20, 1812. 
 The name was 
 variously sjselled, 
 Dussik, Duschek, 
 Dussek ; Johann 
 wrote it in the 
 last form, but 
 pronounced it Duschek. He was the eldest 
 of three children (his brother Franz Bene- 
 dikt, and his sister Veronika Rosalia, were 
 
 468
 
 DUSSEK 
 
 both distiiignislied iu music) ; bis fatber, 
 Jobaim Joseph Diissek, was organist aud 
 the leading teacher iu Czaslau, aud began 
 to teach his sou the jaianoforte iu 1766, and 
 the organ iu 1770. Johanu was soon en- 
 gaged as soprano at the Miuorite church 
 iu Iglau, where he entered the Jesuit col- 
 lege, and kept up his studies in music under 
 Father Ladislaw Speuar, continuiug them 
 for two years at Kutteuberg, after being ap- 
 pointed organist at the Jesuit church there. 
 Thence lie went to Prague, where he took 
 the degree of blaster of Philosophy. He 
 wished to enter the Cistercian order, but 
 was refused admission because of his youth. 
 Count Miiuuer, an Austrian artillery officer, 
 took him to Mechlin, where he was for some 
 time organist at the church of Saiut-Kom- 
 baut, and gave pianoforte lessons. He 
 next went to Berg-op-Zoom, where he was 
 organist at one of the princijial churches. 
 This was his last engagement as organist. 
 He soon went, however, to Amsterdam, 
 where his brilliant reputation as pianist 
 and composer began to establish itself ; 
 then he jjassed a j-ear at The Hague, where 
 he gave much time to composition. In 
 1783 he moved to Hamburg, where he stud- 
 ied uuder Philipp Emanuel Bach, with the 
 best results. In 1781 he was in Berlin, 
 aud a year later iu Cassel, astonishing 
 everyone by his performances ou the pia- 
 noforte and on the harmonica, an instru- 
 ment then newly invented by one Hessel. 
 Near the end of 1786 he went to Paris, 
 where his immense success could not dis- 
 suade him from visiting Italy in company 
 with his brother Franz. Returning to Paris 
 iu 1788, he was driven by the unsettled con- 
 dition of aftairs to London, where he re- 
 mained until 1800. Here he became im- 
 mediately a fashionable teacher and the 
 centre of a distinguished musical circle, 
 winning the highest encomiums from 
 Haydn. In 1792 he married Sofia Corri, 
 a noted singer whom he had often ac- 
 companied at concerts. He set up a mu- 
 sic-shop iu iiartnership with his father-in- 
 
 law, Domeuico Corri ; but, owing to Dus- 
 sek's shiftlessness aud want of business 
 knowledge, the enterprise was a total failure, 
 Dussek being even forced to leave Loudon 
 secretly in 1800 to escajje creditors, and to 
 go to Hamburg. In 1802 he gave a concert 
 in Prague, and paid a visit to his father at 
 Czaslau. Iu 1803 he met Prince Louis 
 Ferdinand of Prussia iu Magdeburg. He 
 continued living with the iirince iu Berlin 
 on terms of aft'ectionate intimacy until 
 the latter's death, iu 1806, on tlie tield of 
 Saalfeld. Dussek's Elcgie harmonique, 
 op. 61, one of his best works, was inspired 
 by the death of his friend (see Leipziger 
 Musik Zeitung, 1807, 741 ; Rellstab, Erin- 
 nerungen ; Spohr, Selbstbiographie, i. 85, 
 94.) He next entered the service of Prince 
 von Isenburg, and theu of Talleyrand, 
 Prince of Beueveuto, with whom he re- 
 turned to Paris iu 1807. He remained 
 living with him until his death, enjoj-ing 
 almost complete leisure and an exception- 
 ally brilliant reputation. Although Dus- 
 sek's compositions have now passed into al- 
 most complete oblivion, the place he occu- 
 pied iu musical history was an important 
 one. In the history of the development of 
 pianoforte playing he stands, as it were, 
 between Clementi and Hummel. Yet, al- 
 though his reputation was of the most 
 brilliant in an age especially rich iu great 
 pianists aud composers for that instrument, 
 he was hardly a man who made the most of 
 his surpassing natural gifts. His extraor- 
 dinary facility was accompanied by a care- 
 less, easy disposition, antl he was not a 
 hard worker. Much confusion exists in the 
 opus-numbers of his works. Works : 3 
 concertos for pianoforte and quartet, op. 1 ; 
 11 concertos for pianoforte and orche.stra, 
 iu E-ilat, op. 3, iu F, op. 15, iu B, op. 22, 
 in E flat, op. 26, do., op. 27, iu C, op. 29, in 
 B, op. 40, iu G minor, op. 50, in B, op. 63 
 (for 2 jjianofortes and orchestra), in F, op. 
 66, op. 70 ; 3 sonatas for pianoforte, violin 
 and violoncello, op. 2 ; do., op. 24 ; do., op. 
 31 ; 2 do., op. 34 ; Sonata for do., op. 37 ;
 
 DUTILLIEIT 
 
 3 do. for pianoforte and violiu, op. 4 ; do., 
 op. 8 ; do., op. 12 ; do., op. 13 ; do., op. 
 14 ; do., op. 17 ; do., op. 18 ; do., op. 51 ; 
 do., op. 69 ; G sonatas for do., op. 28 ; do., 
 op. 46; 4 do., op. 30 ; 2 do., op. 47 ; Son- 
 ata for do., op. 36 ; 3 sonatas for 2 violins, 
 op. 5 ; do. for pianoforte and flute, oj). 7 ; 
 do., op. 25 ; 6 sonatas for do., op. 19 ; 6 
 sonatinas for do., op. 20 ; 3 sonatas for pi- 
 anoforte, op. 9 ; do., op. 10 ; do., op. 11 ; do., 
 op. 35 ; do., oj). 39 ; Sonata, etc., for do., 
 op. 23 ; do., op. 75 ; do., op. 77 ; Sonatas 
 for do., op. 43-45 ; Sonatas for pianoforte 
 duet, op. 32, 38, 48, 67 (3), 72, 73, 74; 
 Sonata for pianoforte, flute and Tioloncello, 
 op. 21 ; do., op. 65 ; Quartet for pianoforte 
 and strings, op. 41 ; do., op. 53 ; do., op. 
 56 ; 3 quartets for strings, op. 60 ; Not- 
 turuo concertante for jsianoforte and violin, 
 op. 68 ; Numerous minor works for piano- 
 forte, and songs. — Dlabaez ; Fetis ; Mendel ; 
 Clement, INIus. celebres, 235 ; Dwight's Jour- 
 nal, 1861 ; London Mus. World, 1861. 
 
 DUTILLIEU (Ditillieu), PIERKE, born 
 at Lyons in 1756, died in Vienna, June 28, 
 1798. Dramatic composer, studied and 
 travelled in Italy, and in 1790 went to Vi- 
 enna, where lie was appointed comjsoser at 
 the court theatre. Works — Operas : An- 
 tigono ed Enone, given at Najjles, 1788 ; 
 II trionfo d' amore, opera buffa, Vienna, 
 1791 ; Nanuerina e Pandoltino, ossia gli 
 sposi in cimeuto, do., ib., 1792 ; Gli acci- 
 dent! delta villa, ib., 1794 ; La superba 
 corretta, ib., 179.5. Ballets : I Cui-landesi, 
 Naples, 1790 ; IMagia contra niagia, ib., 
 1791; Die Freiwilligen, Vienna, 1793; Ar- 
 minio, Der Jahrmarkt, Die ]\Iacht des scho- 
 nen Geschlechts, ib. ; Sis duos for two vio- 
 lins, op. 1 (Vienna, 1800) ; Concerto for 
 violin ; Trios, songs, etc. — Fetis ; Mendel. 
 
 DUVERNOY, HENRI (LOUIS 
 CHARLES), born in Paris, Nov. 16, 1820, 
 still living, 1888. Pianist, sou of Charles 
 Duvernoj', clarinettist (1766-1845) ; jjuj^il at 
 the Paris Conservatoire from 1829 to 1845. 
 He took the 2d i^rize for solfege in 1831, 
 and the 1st in 1833 ; was a pupil of Zim- 
 
 merman for the pianoforte, winning the 1st 
 prize in 1837 and the 1st in 1838 ; the 2d 
 prize for harmony and practical accompani- 
 ment in 1839 ; and for counterpoint and 
 fugue, as pupil of Halevy, in 1841. He took 
 also the 2d jn-ize for organ in 1840, the 
 1st in 1842, and the 2d grand prix de Rome 
 in 1848. He became assistant professor of 
 solfege at the Conservatoire in 1839, and 
 full professor in 1848 ; was organist for 
 several years of the Protestant churches of 
 the rue des BiUettes and of the Redemp- 
 tion, and organist in chief of the Pauthemont 
 Church in 1858. He was appointed hj the 
 Consistory of Montbelliard, in 1846, to make 
 a selection of psalms and chants for the Re- 
 formed Church of France ; this he under- 
 took with his uncle and co-labourer, Georges 
 Kuhn. Their joint work was published as : 
 Nouveau chois de lasaulmes et cantiques 
 harmonises a quatre voix, et composes en 
 jjartie par MM. Kuhn et Henri Duvernoy (2 
 vols., Paris, 1848). A second part was pub- 
 lished at the desire of the Protestant clergy, 
 in which he was assisted by Duprato (Paris, 
 1859). He also published, in collaboration 
 with Kuhn, Solfege des chanteurs (Paris, 
 1855); and is the author of Solfeges a change- 
 nients de clef (Paris, 1857), which has been 
 adojated by the Conservatoires of Paris, Brus- 
 sels, and Liege, and by the music schools of 
 Toulouse, Marseilles, Metz, and Lille. He 
 published Solfege artistique, in two parts 
 (Paris, 1860) ; Vocalises pour voix de so- 
 prano ou de tenor ; Ecole concertante de sol- 
 fege, on 20 Etudes de style et de perfectiou- 
 nemeut pour deux voix egales sans accom- 
 pagnement ; Solfege melodique, theorique 
 et pratique. — Fetis, iii. 101 ; Suj)plement, i. 
 298 ; Larousse ; Mendel ; Riemanu, 234. 
 
 DLWERNOY, VICTOR ALPHONSE, 
 born in Paris, Aug. 30, 1842, still living, 
 1888. Pianist, pupil of the Paris Conser- 
 vatoire under JIarinontel for the jiianoforte, 
 winning the 2d prize in 1854 and the 1st in 
 1855 ; pupil of Bazin in accomjjaniment 
 and harmony, taking the 2d accessit in 
 1859. He brought out two symphonic
 
 DVORAK 
 
 fragments at the Chfitelet concerts, and a 
 concerto at a concert of the Societe Na- 
 tionale de Musitjue, in 187(5. Went to 
 London as virtuoso and met with great 
 success. Works : Six nu'lodies avec ac- 
 compagnement de piano ; and several mor- 
 ceaux de genre for pianoforte. — Petis, Sup- 
 plement, i. 298 ; Mendel, Ergiinz., 93. 
 
 DVOEAK, ANTONIN (pronounced Dvor- 
 shak), born at Miilil- 
 liausen, B o li e m i a, 
 Sept. 8, 1841, still 
 living, 1888. He 
 was destined to be a 
 butcher and i u n - 
 keeper, like his fa- 
 ther, but the village 
 schoolmaster taught 
 him to play the vio- 
 lin and to sing. In 
 1857 he went to Prague, became violinist 
 iu an orchestra, sttulied in an organ school, 
 and after graduating was engaged as first 
 violinist at the National Theater, and as or- 
 ganist iu several churches of Prague. His 
 hymn for chorus and orchestra, Die Erben 
 des weisseu Berges, was performed in 1873 
 with such success as to gaiu him a wide 
 reputation ; and in 1875 he was awarded 
 the Artist's Stipend by the Austrian Gov- 
 ernment, which enabled him to devote him- 
 self to composition. About 1877 his fame 
 was firmly established all over Europe. In 
 1884 he visited London as the guest of the 
 Philharmonic Society, and in 1885 he con- 
 ducted his cantata, The Spectre Bride, at 
 the Birmingham Festival. Works — Op- 
 eras : Wanda, five acts, text by Sumawsky, 
 Prague, 187G ; Der Bauer ein Sehelm, 
 comic, Prague, 1878, Dresden, 1882 ; Der 
 Dickshiidel, comic; Dimitrije {Dlmitri), 
 Prague, 1882; Konig und Ki")hler, comic, 
 Prague. Silhouetten, 12 pieces for piano- 
 forte (i hands), op. 8 ; Romance for violin 
 and orchestra, op. 11 ; Dumka (elegy), and 
 Furiant (Bohemian dance), for pianoforte, 
 op. 12 ; Ballade, for violin with pianoforte, 
 op. 15 ; Four duets, op. 20 ; Trio for jjiano- 
 
 forte, violin, and violoncello, op. 21 ; Sere- 
 nade in E, for string, orchestra, op. 22 ; 
 (Quartet for pianoforte and strings, op. 23 ; 
 Trio in G minor, op. 26 ; Hymne der biih- 
 mischen Landleute, for mixed chorus, with 
 pianoforte (4 hands), op. 28 ; Hymnus for 
 mixed chorus and orchestra, op. 30 ; Kliinge 
 aus MiUiren, 13 duets for soprano and con- 
 tralto, op. 32 ; Concerto for pianofoi'te and 
 orchestra, op. 33 ; Quartet for strings, op. 
 34 ; Dumka, elegy for pianoforte, op. 35 ; 
 Air and variations in A-tlat, pianoforte, op. 
 3G ; Four duets, op. 38 ; Suite for orchestra, 
 op. 39 ; Notturno for string orchestra, op. 
 40 ; Furiant, Bohemian national dance, op. 
 42 ; Serenade in D minor, for wind instru- 
 ments, violoncello, and double bass, op. 44 ; 
 Slavische Rhapsodieu in D, G, and A-fiat, 
 for full orchestra, op. 45 ; Slacische Tiinze, 
 for do., ojj. 4G ; Bagatellen for two violins, 
 violoncello, and pianoforte, op. 47 ; Sextet 
 for strings, op. 48 ; Mazurek in E minor, 
 violin and orchestra, op. 49 ; Quartet in E- 
 flat, strings, op. 51 ; Impromptu, Intermez- 
 zo, Gigue, and ]5glogne for pianoforte, op. 
 
 52 ; Concerto for violin and orchestra, op. 
 
 53 ; Waltzes for pianoforte, op. 54 ; Gypsy 
 Melodies, op. 55 ; Mazurkas for pianoforte, 
 op. 5G ; Sonata for pianoforte and violon- 
 cello, op. 57 ; Stabat mater for soli, chorus, 
 and orchestra, op. 58, 1883 ; Legends for 
 orchestra, op. 59 ; Symphony No. 1, iu D 
 major, op. 60 ; Third quartet in C, op. 61 ; 
 Mein Heim, overture for orchestra, op. 62 ; 
 In der Natur, five choruses for soprano, 
 contralto, tenor, and bass, op. 63 ; Second 
 trio iu F minor, op. 65 ; Scherzo capriccioso 
 for orchestra, op. 66 ; Hunit^ti'i, dramatic 
 overture for orchestra, op. 67 ; Aus dem 
 Buhmer Walde, Charakterstiicke for piano- 
 forte (4 hands), op. 68 ; Die Geisterbraut 
 (The Spectre Bride), ballad for soU, chorus, 
 and orchestra, op. 69, Birmingham Festi- 
 val, 1885 ; Symphony No. 2, in D minor, 
 op. 70, played in London, April 22, 1885, 
 New York, by Theodore Thomas, Jan. 9, 
 1886 ; Die heilige Ludmila (Saint Ludmila), 
 oratorio, op. 71, Leeds Festival, 1886 ; Neue
 
 DYER 
 
 Slavische Taiize foi- orchestra, op. 72 : Trio 
 for two violins and viola, op. 74 ; Roman- 
 tische Stiicke for violin and pianoforte, op. 
 75 ; Patriotic Hymn, for cliorus and orches- 
 
 tra ; Songs, op. 3, 5, 6, 7, 9, 
 
 50, 55, 73.— Mus. Wocheu- 
 
 blatt, xi. 3, 15, 39, 67, 79, 91 ; Mendel ; 
 
 Eiemann. 
 
 DYER, ARTHUR EDWIN, born at 
 Froine, Somersetshire, 
 England, Feb. 26, 
 1843, still living, 
 1888. Organist and 
 music-master at Chel- 
 tenham College. Mus. 
 Bac, Oxford, 1873; 
 Mus. Doc, ib., 1880. 
 Works: Salvator 
 Mundi, cantata, 1881 ; 
 Harold, do., 1882; I 
 wish to tune my quivering Ij're, for cho- 
 rus and orchestra, Gloucester Musical Fes- 
 
 X*w/,, 
 
 tival, 1883 ; Church and organ music ; 
 Songs. 
 
 DYKES, JOHN BACCHUS, born at 
 Kingston-upon-Hull, England, March 10, 
 1823, died at St. Leonai-d's, Jan. 
 22, 1876. Church composer, pupil of 
 Skelton, organist at Hull, then stud- 
 ied at Cambridge under Walmisley, 
 and in 1817 became curate at Malton, 
 Yorkshire, in 1849 minor canon and 
 jjrecentor of Durham Cathedral, and 
 in 1862 vicar of St. Oswald, Durham. 
 Mus. Doc, Durham, 1861. Works : Ser- 
 vice in F ; The 23d psalm ; Anthems, 
 psalms, and hymns, the latter of which are 
 among the finest examples of modern times. 
 — Grove. 
 
 DYNE, JOHN, distinguished English 
 alto singer and glee composer of the latter 
 part of the 18th century, died Oct. 30, 1788. 
 His glee, Fill the Bowl, obtained the Catch 
 Club prize in 1768. He was appointed 
 Gentleman of the Chapel Royal in 1772, 
 and lay vicar of Westminster Abbey in 
 1779. He was one of the principal singers 
 at the Handel Commemoration in 1784. 
 —Grove, i. 478. 
 
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