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 c/l/. ^y^icr?^^^ t>^fe^4*^; 
 
0lmic Hahtxs* Cpclopetita 
 
Author of 
 
 ** Contemporary American Composers" '' The 
 
 Love Affairs of Musicians" ''Gyges' 
 
 Ring" " The Whirltoind" 
 
 mc. 
 
Cpclopelim 
 
 Containing a pronouncing and defining Dic- 
 tionary of Terms, Instruments, &c., including a 
 Key to the Pronunciation of sixteen Languages ; 
 many Charts; an Explanation of the Construc- 
 tion of Music for the Uninitiated; a pronoun- 
 cing Biographical Dictionary; the Stories of 
 the Operas; and numerous biographical and 
 critical Essays by distinguished Authorities 
 
 EDITED BY 
 
 Rupert Hughes, m.a. 
 
 Garden City New York 
 
 DOUBLEDAY, PAGE & COMPANY 
 
 1912 
 

 Copyright, 191 2, by 
 
 DOUBLEDAY, PaGE & CoMPANY 
 
 All rights reserved, includmg thai of 
 
 translation into foreign languages, 
 
 including the Scandinavian 
 
 COPYRIGHT, 1903, BY MCCLURE, PHILLIPS & CO. 
 
0lum Eobers' Cpclopetita 
 
 PUBLISHER'S PREFACE TO THE REVISED 
 EDITION 
 
 WHEN the "Music Lovers' Cyclopedia" was first 
 compiled, it was the editor's effort to make it the 
 most nearly complete reference work of its kind 
 in existence. That this effort did not fail is 
 proved by a comparison of the original edition with other 
 works since issued. A careful checking, item by item, proves 
 that where other musical dictionaries and cyclopsldias, how- 
 ever voluminous^ contain at most a few hundreds of bio- 
 graphies and definitions omitted from this work, the best 
 of them omit many thousands of biographies and definitions 
 contained in the "Music Lovers' Cyclopedia." 
 
 On account of the completeness of its contents and their 
 extremely convenient arrangement, the book at once took 
 its place on the reference shelves of libraries, public and 
 private, large and small; and everywhere the worn condition 
 of its bindings, and the testimony of its readers have proved 
 how invaluable it has been found. 
 
 Originally published in two volumes at six dollars, we are 
 now able to issue it in one volume at one dollar and a half, 
 and the editor has seized the opportunity to bring it down 
 to date by the addition of several thousand biographies. 
 Great changes have taken place in music in the nine years 
 since the "Music Lovers' Cyclopedia" was published in 
 1903. Two widely contrasted instances will prove this: 
 Caruso, and "Parsifal." 
 
 Caruso swam into the ken of London and New York just 
 
 "^'^leis 
 
vi THE MUSICAL GUIDE 
 
 after the "Music Lovers' Cyclopedia" went to press. 
 "Parsifal" was, of course well known, but its libretto was 
 omitted from the "Stories of the Operas" for the reason 
 that it was then supposed to be the exclusive property of 
 Bayreuth. Only a few months later it was produced in New 
 York City, after a sensational controversy. The story of 
 "Parsifal," therefore, appears in this new edition of the 
 "Music Lovers' Cyclopedia," along with the stories of many 
 other operas that have since entered the repertoire of the 
 leading opera houses. This means that the "Music Lovers' 
 Cyclopedia" now contains the detailed plots of sixty operas. 
 
 Attention may be called again to the fact that the stories 
 as told here give the places and dates of original production, 
 and, where discoverable, the names of the creators of the 
 roles, the pronunciation of the names of the characters, and 
 a full outline of the plot as it is unfolded on the stage by exits 
 and entrances, with the titles of the principal musical num- 
 bers as they appear. 
 
 We beg to acknowledge here our indebtedness to G. 
 Schirmer for permission to give the plots of the following 
 operas whose American copyright he controls: "Louise," 
 "Pelleas et Melisande," "Ariane et Barbe-Bleu," "Hansel 
 und Gretel," "I Pagliacci," "Le Cid," "Le Jongleur," 
 "Thais," "Manon," "I Giojelli della Madonna" and "Le 
 Donne Curiose." 
 
 The phonetic pronunciation of every proper name and 
 term is a further distinguishing feature. 
 
 Emphasis should also be laid on the number of special 
 contributions by the most eminent musical authorities in 
 
PUBLISHER'S PREFACE vii 
 
 America and England, men of the calibre of Sir Hubert H. 
 Parry, Ernest Newman, James Huneker, W. J. Henderson, 
 Richard Aldrich, and many others of distinction. 
 
 The fault to be found with dictionaries in general is that 
 they are inclined to be provincial; those published in Eng- 
 land have been parsimonious of German, French, Italian, 
 and American names; and those published in these other 
 countries have returned the discourtesy. It has been the 
 ambition of the editor of the "Music Lovers' Cyclopedia" 
 to avoid this disproportion by collecting the greatest possible 
 number of important names from every country. 
 
 The compactness of the "Music Lovers' Cyclopedia" 
 compels a decided brevity of presentation, but this in itself 
 is rather a virtue than a fault, and it has been a great 
 source of gratification to be constantly informed by musi- 
 cians, both lay and professional, that the "Music Lovers' 
 Cyclopedia " is the book to which they refer first, and the 
 one in which they are least often disappointed. 
 
 It is a book compiled for the convenience of the lover of 
 music who seeks information on the simplest subjects, as 
 well as for the trained musician who has more abstruse 
 needs. 
 
 Now that it is possible to issue the work in one greatly 
 enlarged tome at one dollar and a half, the "Music Lovers' 
 Cyclopedia" can be confidently announced as a musical 
 reference book of unapproached completeness, a concise 
 musical library in itself, an invaluable addition to any musi- 
 cal collection, however large. 
 
 The Publishers. 
 
%\ft preface 
 
 MUSIC is, indeed, the universal language. It 
 passes current everywhere like gold. But none 
 the less every nation puts a different stamp on 
 its coinage, and each new sovereign of the realm 
 makes some change in the design and the legend. In 
 consequence a musical dictionary becomes largely a poly- 
 glot affair. 
 
 The object of this book is to present in a condensed and 
 convenient form all the essential facts that may be required 
 to guide the student of music, or needed as a reference for 
 the professional musician. 
 
 To fit this work for the non-professional mind has been 
 no easy task, but it has been the chief effort, and an intro- 
 duction into the mysteries has been written especially for 
 the uninitiated, who wish to be told some necessary truths 
 without submitting to hard study or teaching. 
 
 The marriage of completeness with conciseness is a hard 
 knot to tie. The present work cannot hope to compete 
 with the great musical encyclopaedias in certain respects. 
 Yet, in other respects, it outdoes even the greatest of them. 
 It has more biographies and more definitions than any of 
 them. Each of the large encyclopaedias shows a distinct 
 bias toward one nation, period, or idea. The Music Lovers' 
 Cyclopedia has practically every jname and definition in 
 each of them; by its catholicity it covers man> fields quite 
 unnoticed by any one book, and it has many names and 
 definitions to be found in none of them. 
 
 The pronunciation of practically every name and term in 
 musical use, forms a unique feature of the Music Lovers' 
 Cyclopedia, This alone makes it a desirable and important 
 supplement to any musical library, however large. Not 
 only have general rules of pronunciation for sixteen Ian- 
 
THE MUSICAL GUIDE 
 
 guages been tabulated in a novel and convenient manner, 
 but the pronunciation of names, terms, and frequently of 
 phrases has been represented as closely as possible. Even 
 the "given names" have been pronounced, for it is of 
 little comfort, for instance, to be saved from calling "Bat'- 
 hof-en," "Bee-tho'-ven," and to be left to miscall his 
 first name "Lud-wig" for "Loot'-vikh." 
 
 The Definitions are given as plainly as is compatible with 
 succinctness. Space has been greatly saved, not by sacri- 
 ficing fulness of explanation, but rather by grouping 
 together words of similar meaning in different languages, so 
 far as this could be done without undue violence to alpha- 
 betical arrangement. So far as possible the Music Lovers'' 
 Cyclopedia avoids that exasperating abuse of cross-reference, 
 by which some of the Dictionaries bandy the reader from 
 one term to another in a wearisome zigzag, finally, at 
 times, to send him to a word that has been omitted. 
 
 In the Biographies the scheme has been to crowd the 
 multitude of minor personages into very narrow space in 
 order that a hundred or more of the greatest should find 
 liberal room. The major dead musicians and those still 
 living, minor as well as major, have been chiefly favoured. 
 The work is particularly rich in living musicians, and the 
 great masters are given biographies which, although con- 
 densed, are quite complete. As to the rest, the mere list 
 of dates, with an abbreviated indication of special activities, 
 must suffice, compensation being found, it is hoped, in the 
 great number of these names. 
 
 The Contributed Essays are in many respects the most 
 valuable part of the work, written as they are by notable 
 authorities who have reviewed certain subjects peculiarly 
 their own, in a brief yet luminous manner especially for the 
 Layman. Nothing is a more valuable mental property than 
 a somewhat definite and decisive summing-up of the actual 
 
THE PREFACE xi 
 
 meaning and the true proportions of the great personages, 
 schools, and phases of a subject; such a summing-up is 
 rare, largely because it is so difficult. As one contributor 
 wrote: "It is very hard to compress these oxen into cups 
 of beef-tea." That these prominent scholars have ex- 
 pressed themselves so definitely and with such rounded 
 completeness on the subjects explained here, is a matter of 
 greatest value in a work of this kind, and of greatest inter- 
 est to every one that cares for music. 
 
 The Stories of the Operas are told here in the only way in 
 which, surely, they should be told; and that is by telling the 
 stor>- as it is unfolded on the stage, not by acts and by 
 scenes only, but by the entrances and exits and by the 
 principal songs. The pronunciations of the names of the 
 operas in different languages, and of the characters, have 
 also been given, as well as the dates and casts of the first 
 productions. 
 
 A few Charts of actual value have been preferred to the 
 mere ornaments of portraits. These latter would have to be 
 ver}^ numerous to be at all comprehensive, and their intro- 
 duction would defeat the prime purpose of the book, 
 which is to be informing within limited compass. 
 
 In fact, the one idea of the work has been to present as 
 much information as possible, as conveniently as possible 
 — andante quasi allegretto. 
 
 That mistakes occur is inevitable. Every dictionary the 
 Editor has examined has abounded in them, ranging from 
 what scientists call the personal equation to what they call 
 downright blunders. It is only to be hoped that most of 
 the errors of this book will be rather amusing than exas- 
 perating or misleading. In any case, corrections and 
 suggestions of any kind for future editions will be most 
 gratefully welcomed. 
 
 The code of pronunciation as used in the book is ex- 
 
xii THE MUSICAL GUIDE 
 
 plained on the top line of the Table of Pronunciations. 
 It cannot hope to give more than approximate shades of 
 sound. 
 
 The Editor is indebted to Miss Annie C. Muirhead for 
 many valuable suggestions and a large contribution to the 
 accuracy of the work. The stories of the three operas, 
 "Louise," "La Boheme," and "The Cid," are from her 
 pen. For everything else not specially signed or credited, 
 the Editor must be held responsible. He wishes here to 
 make grateful acknowledgment to his publishers, who first 
 suggested the idea of preparing such a work, and to the 
 distinguished gentlemen who have lent to the Music 
 Lovers'' Cyclopedia the prestige and value of their contribu- 
 tions. 
 
%Mt of Contents 
 
 PART I 
 
 PAGE 
 
 Publisher's Preface v 
 
 Editor's Preface to the Original Edition . . ix 
 
 List of Charts xix 
 
 List of Contributors xxi 
 
 Phonetic Meaning of the Letters and Symbols xxiii 
 An Introduction to Music for the Uninitiated . i 
 A List of Abbreviations, Titles, Dignities, In- 
 stitutions, Etc 53 
 
 A Pronouncing and Defining Dictionary of 
 
 Terms 57 
 
 Essays by Special Contributors: 
 The National Schools of Music, E. Iren^us 
 Prime-Stevenson: 
 
 Italian Music 3° 
 
 German Music 34 
 
 French Music 37 
 
 English Music 4° 
 
 Russian Music 42 
 
 American Music. The Editor .... 45 
 
 The Great Instrumentalists. Louis C. Elson . 48 
 
 The Great Singers. Louis C. Elson .... 50 
 
 Acoustics. J. S. Shedlock 60 
 
 Altered Chords. Charles W. Pearce .... 66 
 
 Counterpoint. Homer A. Norris 104 
 
 Folk-Song. H. E. Krehbiel 131 
 
 Form. John F. Runciman 133 
 
 Fugue. Homer A. Norris 140 
 
 Grace. The Editor I47 
 
 Modern Harmony in Practice. A.J.Goodrich . 159 
 
 xiii 
 
xiv THE MUSICAL GUIDE 
 
 PAGE 
 
 Harmonic Warnings for Composers. A. J. Good- 
 rich 164 
 
 Hymnology. H. E. Krehbiel 170 
 
 Leading-Motives. Gustave Kobbe 184 
 
 Modes, Greek and Ecclesiastic. The Editor . 199 
 
 Notation. The Editor 211 
 
 Opera. Ernest Newman 216 
 
 Oratorio. H. E. Krehbiel 220 
 
 The Orchestra and Orchestration. W. J. Hen- 
 derson 222 
 
 Organ. The Editor 225 
 
 Pianoforte. The Editor 231:; 
 
 Piano Studies. James Huneker 237 
 
 Stories of the Operas 309 
 
 PART II 
 
 Pronouncing Dictionary of Given Names, Titles, 
 
 Epithets, Etc iii 
 
 Biographical Dictionary 379 
 
 Bach. Sir Charles Hubert H. Parry .... 395 
 
 Beethoven. H. E. Krehbiel 412 
 
 Berlioz. Ernest Newman 422 
 
 Bizet. Edward E. Ziegler 427 
 
 Brahms. James Huneker 438 
 
 Chopin. James Huneker 460 
 
 Franz. Henry T. Finck 509 
 
 Gluck. Ernest Newman 525 
 
 Gounod. Vernon Blackburn 531 
 
 Grieg. Henry T. Finck 536 
 
 Handel. John F. Runciman 545 
 
 Haydn. August Spanuth . . . ^ . . . . 553 
 
 Liszt. Henry T. Finck . 607 
 
 Mendelssohn. Vernon Blackburn . . . . . 628 
 
TABLE OF CONTENTS 
 
 XV 
 
 PAGE 
 
 Meyerbeer. E. Iren^eus Prime-Stevenson . .632 
 
 Mozart. Vernon Blackburn 643 
 
 Palestrina. W. J. Henderson 661 
 
 Purcell. John F. Runciman 682 
 
 Rossini. E. Iren^us Prime-Stevenson . . . 702 
 
 Schubert. H. A. Scott 722 
 
 Schumann. Richard Aldrich 729 
 
 Strauss. James Huneker 753 
 
 Tschaikowsky. Ernest Newman 761 
 
 Verdi. W. J. Henderson 775 
 
 Wagner. Henry T. Finck 784 
 
 Supplementary Stories OF the Operas . . .811 
 Supplementary Dictionary of Musicians . . . 845 
 
 Necrology 943 
 
 Pronunciation Table of Sixteen Languages . .951 
 
.J 
 
Stories of tl)e #peras: 
 
 PAGE 
 
 Beethoven. Fidelio 309 
 
 Bellini. Norma 310 
 
 " La Sonnambula 311 
 
 Bizet. Carmen 312 
 
 BoiTO. Mefistofele 314 
 
 Charpentier. Louise 315 
 
 Debussy. Pelleas et Melisande 830 
 
 Delibes. Lakme 317 
 
 DuKAS. Ariane et Barbe-bleue 840 
 
 Donizetti. La Favorita 318 
 
 " La FiGLiA DEL Reggimento . . . . 319 
 
 " Lucia di Lammermoor 320 
 
 Gluck. Orfeo ed Euridice 322 
 
 Gounod. Faust 322 
 
 " Romeo ET Juliette 324 
 
 Humperdinck. Hansel und Gretel .... 325 
 
 I " KONIGSKINDER 8x6 
 
 {Leoncavallo. I Pagliacci 326 
 
 IvIascagni. Cavalleria Rusticana 327 
 
 Massenet. Le Cid 328 
 
 " Manon 836 
 
 " Le Jongleur de Notre Dame . . . 838 
 
 " Thais 811 
 
 VIe-^erbeer. L'Africaine 330 
 
 " Les Huguenots 331 
 
 " Le Prophete 333 
 
 " Robert le Diable 335 
 
 " Die Zauberflote 341 
 
 xvu 
 
xviii THE MUSICAL GUIDE 
 
 Paderewski. IManru 343 ; 
 
 Puccini. La Boheme 345 ! 
 
 " La Tosca 825 ( 
 
 " Madama Butterfly 823 ' 
 
 " The Girl of the Golden West . . . 827 
 
 Rossini. Il Barbiere di Siviglia 346 
 
 " Guglielmo Tell . 348 
 
 Smetana. The Bartered Bride 811 
 
 Spinelli. a Basso Porto 349 
 
 Strauss. Salome 813 
 
 " Elektra 815 
 
 Thomas. Mignon 350 
 
 Verdi. Aida 352 
 
 Otello 353 
 
 " Rigoletto 355 
 
 " La Traviata 356 
 
 " Il Trovatore 358 
 
 Wagner. Der Fliegende Hollander . . . -359 
 
 " Die Meistersinger 361 
 
 " Lohengrin 364 
 
 " Tristan und Isolde 365 
 
 " Tannhauser 367 
 
 " Das Rheingold 369 
 
 " Die Walkure 371 
 
 " Siegfried 373 
 
 " GotterdAxMmerung 375 
 
 " Parsifal 819 
 
 Weber. Der Freischutz 377J 
 
 Wolf-Ferrari. I Giojelli della Madonna . . 83 
 
 " Le Donne Curiose 83-4 
 
Eist of CJjarts 
 
 !! 
 
 PAGE 
 
 The Keyboard, Scales, and Intervals .... 4 
 
 Dance-Rhythms 108 
 
 Graces and Embellishments 148 
 
 Greek Modes 200 
 
 Ecclesiastical Modes 203 
 
 Signs and Symbols 267 
 
 Times akd Rhythms 285 
 
 Absolute Pitch, and Compasses of Voices and In- 
 struments 949 
 
 ziz 
 
Contributors and Subjects of Special Essays 
 
 Jll Essays luill be found in their Alphabetical Sequence 
 
 Richard Aldrich Schumann. 
 
 Vernon Blackburn Gounod, Mendelssohn, Mozart. 
 
 Louis C. Elson Great Instrumentalists, Great Singers. 
 
 H. T. Finck Franz, Grieg, Liszt, Wagner. 
 
 A. J. Goodrich Modern Harmony in Practice, Harmonic 
 
 Warnings. 
 W. J. Henderson The Orchestra and Orchestration, Pales- 
 
 trina, Verdi. 
 James Huneker Piano Studies, Brahms, Chopin, Richard 
 
 Strauss. 
 
 GusTAVE Kobbe' Leading-Motives. 
 
 H. E. Krehbiel' Folk -Song, Hymnology, The Oratorio, 
 
 Beethoven. 
 
 Ernest Newman The Opera, Berlioz, Gluck, Tchaikovsky. 
 
 Homer A. Norris Counterpoint, Fugue. 
 
 Sir C. Hubert H. Parry . . The Art of Johann Sebastian Bach. 
 
 Dr. Charles W. Pearce . . . Altered Chords. 
 
 E. iRENiEus Prime-Stevenson . The National Schools, Meyerbeer, Rossini. 
 
 John F. Runciman Form, Handel, Purcell. 
 
 J. S. Shedlock Acoustics. 
 
 August Spanuth Haydn. 
 
 Edward E. Ziegler ..... Bizet. 
 
 The Editor Music for the LTninitiated, The American 
 
 School, Graces, Modes, Notation, The 
 
 Organ, The Pianoforte. 
 
Phonetic Meaning of the Letters and Symbols 
 Used /;/ the Pronunciation of Names 
 
 a as in father ; a as in fate ; a as in 
 
 fat ; an and au as in French clan and 
 
 fin ; see note i, vol. I, page 396. 
 
 as in bob. 
 c used only in ch, as in church. The 
 
 Scotch and German guttural as in loch 
 
 and ich is indicated by kh ; see note 
 
 3, vol. I. 
 
 as in deed ; ilh as th in these ; dj as 
 
 in adjoin, 
 /as in bean ; c as in pet — at the end of 
 
 words it is almost like I'l. 
 /"as in fife. 
 §• as in gig. 
 // as in hate. 
 
 i as in fight ; /' as in pin. 
 ^' as in jug. 
 k as in kick ; kh is used here to indicate 
 
 the German or Scotch ch or g ; see 
 
 note 3, vol. I. 
 / as in lull. 
 
 w as in mum. 
 
 n as in nun ; n indicates the P'rench 
 
 nasal » or m ; see note i, vol. I. 
 as in note ; oi as in noise ; 00 as in 
 
 moon or foot ; ^ as in wrong ; 07u as 
 
 in cow ; oil as in French l>on ; see 
 
 note I, vol. I. 
 / as in pop. 
 r as in roar. 
 J- as in sense. 
 t as in tot ; th as in think ; the sound of 
 
 th in these is indicated by dh. 
 a always with the sound of you ; the 
 
 French n and the German long ti are 
 
 both indicated by tij see note 2, 
 
 vol. I. 
 7' as in revive. 
 7v as in will. 
 X as in fix. 
 y as in yoke. 
 2 as in zone. 
 

Jntroliuction 
 
 to 
 
 For the Uninitiated 
 
 A Free Translation of its Technicalities into Untechnical 
 Language (especially for those who do not Read Music 
 and do not Care to Study it). 
 
 THERE is almost as much humbug about the 
 mysteries of music as there was about the 
 oracles of Delphi. And the vast majority of 
 music-lovers have as meek and uninquiring a 
 dread of the inner art and science of composition as the 
 old pagans had of priestcraft. 
 
 There is no deeper mystery about the tools and the trade 
 of music than about those of any other carpentry and 
 joinery. It is far easier for some people to write a melody 
 than to drive a nail straight. But anybody who will earn- 
 estly try, can learn to do the one as easily as the other. 
 And there are thousands of professional composers who 
 ought to be earning honest livings driving nails home instead 
 of starving to death dishonestly driving audiences home. 
 
 The one mystery of music is the one mystery of all art 
 and all other human intercourse — personality. Everybody 
 can write a novel or a play. Almost everybody does. So 
 everyone can write a sonata or a string-quartet. But the 
 number of those who possess the sparic (divine, prenatal, 
 accidental or howsoever secured) — the spark of magnetism, 
 felicity, and eloquence, that number is small and is no more 
 
THE MUSICAL GUIDE 
 
 superabundant than on the day when little Hermes found 
 the old tortoise-shell and made the first harp out of it. 
 
 The reason the Editor is desirous of taking the veil from 
 certain of the arcana of music is not that he wishes to in- 
 crease the number of composers — Heaven forbid ! The 
 one object is to increase the number of those who will lis- 
 ten to music intelligently and know just what they are 
 hearing, and pretty well why they like this and dislike that. 
 For like and dislike by pure instinct are relics of mere 
 animalism. 
 
 The open highway to the enjoyment of so-called classic 
 music is the hearing of it in large quantities. There is a 
 short cut for those who lack the time or the inclination for 
 this long training — and it is by way of learning the ele- 
 ments of musical form. For it is the crystallisation ^f 
 human passion into some graceful and powerful form that 
 gives music long life. Many wretched pedants think that 
 the number of forms is limited ; but this is a fallacy that is 
 disproved every day. 
 
 Some form, however, is as necessary in music as in sculp- 
 ture. And though the number and variety of forms avail- 
 able are as infinite and illimitable in music as in sculpture, 
 still some definite shape must be in the artist's mind and 
 must be discoverable by an unprejudiced, attentive, and 
 educated audience- 
 
 • If you do not already know the skeleton that underlies 
 the shapely contours and full, fair flesh of melody and har- 
 mony, you can find some enlightenment in the anatomical 
 lecture that follows, provided you will use your own scal- 
 pel, and carry out the suggestions made. It is not easy to 
 avoid asking the reader to master the language and sym- 
 bols of music, but 'much that is important can be learned 
 from the following, without this long special study, if an 
 occasional general truth will be allowed to stand without 
 
AN INTRODUCTION TO MUSIC 3 
 
 stating its exceptions, and if permission be granted to arrive 
 at certain facts in a homely and button-hole manner. 
 
 I 
 
 FIRST, turn to a piano or organ — either of these is 
 more convenient for illustration than a bow or 
 wind-instrument. The highly-organized instru- 
 ment before you is the result of centuries of blind groping 
 in the dark, of unnumbered great failures for every little 
 triumph. This is true not only of the mechanism of strings, 
 hammers, keys, shape, size and materials of wood and 
 metal, but of the very music the instrument is intended to 
 send out upon the air. 
 
 If you will simply glide your finger-nail along the white 
 keys you will produce a scale which in itself is the result 
 not only of ages of experiment but of the bitterest conflict 
 between scholarly musicians, — a conflict still raging. But 
 this cannot be discussed here. Let us for the present take 
 the instrument as we find it. 
 
 On the opposite page will be found a picture of the 
 middle portion of the key-board, with the letter-names that 
 have been, for convenience' sake, given to the tones marked 
 on it. They are easily recognisable by the alternation of 
 the black keys in groups of twos and threes. For con- 
 venience it might be well to transfer the letter-names to the 
 white keys with ink, which will be easily washed off^ with a 
 wet cloth. 
 
 The first thing noteworthy about the diagram is that this 
 series of letter-names is made of only seven letters and be- 
 gins over again at every eighth tone. This is because the 
 eighth tone (or octave) is produced by a string or a col- 
 umn of air making just twice as many vibrations as the 
 original tone ; the 15th tone by 4 times as many, etc., and 
 because each group of seven steps plus the octave or 8th 
 
THE MUSICAL GUIDE 
 
 step. Is built on a uniform model of ratios. The series 
 from one letter-name to its reappearance, as from c to c', is 
 subdivided into 12 half-steps or semitones. 
 
 This extended series of tones thus divided into octaves 
 is the material from which all European and American 
 music is made. Save for a few changes and choices made 
 for convenience, this scale is based on human nature and 
 physical law, and is not likely to be materially altered in 
 our generation. Other fundamental facts will be discov- 
 ered on studying this array of whole-steps (white keys — ex- 
 cept e to f and b to c) and half-steps (from a black key to 
 the next white — also from b to c and e to f). 
 
 You will observe that the black keys carry the same 
 names as the w^hite keys they interpose between, except 
 that the letter-name carries the symbol % (" sharp ") for the 
 key next below or the symbol t? (" flat ") for the key next 
 above. The same black key represents two w^hite keys. 
 If you are advancing from f to g, for instance, the black 
 key between is a half-step above f ; it is said to "sharpen " 
 the note, by a half-step (or a " chromatic " degree) ; if, 
 however, you are moving down the scale from g to f the 
 black key is said to " flatten " the note g by a half-step (or 
 a " chromatic " degree). The same black key serves con- 
 veniently then both as {% (f " sharp ") and ^ (g " flat ") in 
 our system of music. Tones not thus " chromatically al- 
 tered " by a sharp or flat are said to be "natural." If 
 you have struck g^ or f- and wish to reassert the white 
 key, the tone is now called gi: (g "natural") or f 
 natural. 
 
 The signs, S's, b's and t's are called " sharps, flats and 
 naturals," or in genergil "chromatics." 
 
 Put your finger at random on any of the white keys and 
 move downwards on the white keys in strict succession. 
 You will find (if you have a normal ear) that, whatever the 
 
AN INTRODUCTION TO MUSIC 5 
 
 tone you sounded first, you do not feel a willingness to 
 stop till you reach a certain tone or one of its octaves. 
 That tone will invariably be one of the notes lettered C. 
 
 If now you begin at random on any note and move up- 
 ward keeping to the white keys except in the case off, for 
 which you substitute fS, you will find that the letter c no 
 longer gives a sense of repose, but that you unconsciously 
 desire and demand one of the letters marked g. 
 
 If vou run a scale on all the white keys except b, and 
 substitute for this note the W, you will find no resting-place 
 except upon one of the letters marked f. 
 
 It is a physical fact, then, that a scale with neither sharps 
 nor flats finds its end on the note c; a scale with one sharp 
 (which is always f) is based on the note g ; a scale with 
 one flat (b flat) is based on the note f. Hence one speaks 
 of the scale of C, or of G, or of F. 
 
 If you try the substitution of some other single sharp 
 or flat for the f sharp or b flat, you will get no satisfactory 
 point of repose at all. But by keeping b flat and adding 
 e flat you will find b flat a comfortable pausing-place ; by 
 adding a flat to the htr and et>, you will find a pleasant scale 
 ending on et^. By adding flats in the following order (and 
 only in the following order), b, e, a, d, g, c, you will con- 
 struct symmetrical scales reposing always on the next to 
 the last flat added. 
 
 By substituting sharps for the natural tones of the origi- 
 nal scale of C, you build scales satisfactorily only by heap- 
 ing up sharps in the following order, f, c, g, d, a, e, which 
 scales are based respectively on the notes g, d, a, e, b, f, 
 the point of repose being in each case a half-tone above the 
 last sharp added. 
 
 The scales take their names from the note of repose. A 
 scale together with all the chords that can be built upon its 
 notes is called a key. The word "key" is often loosely 
 
6 THE MUSICAL GUIDE 
 
 used (and has been used in this essay thus far) to indicate 
 a finger-lever which causes a string to sound ; this is better 
 called a " digital." From now on the word " key" will be 
 used only to designate a group of harmonies and a scale 
 belonging to some series of progressions ending on a cer- 
 tain note, as the " key of C," the " key of G " (which con- 
 tains f sharp), the " key of D " (which contains f sharp and 
 c sharp), the " key of E flat " (which contains b flat, e flat 
 and a flat), and the others. 
 
 Since practically every musical composition has some principal key to which 
 it harks back as its home, however far or often it may wander away, so you 
 will find at the beginning of every new line of a composition a list of the 
 sharps or flats in that key which predominates, and these sharps or flats affect 
 every tone not otherwise marked throughout the composition. This group is 
 called the key-signature. 
 
 A convenient trick of deciding the key from the number of sharps or flats 
 is as follows : where there are flats the key is next to the last flat ; where 
 there are sharps the key is always the next letter-name above the last sharp. 
 This is true of every key except three which are easily remembered, F with 
 one flat, G with one sharp, C with neither flats nor sharps. 
 
 Before studying chords, it will be necessary to have an- 
 other look at the diagram of the key-board. We have 
 spoken of half-steps and whole steps. But it is possible 
 also (and often desirable) to desert the monotonous pro- 
 gression of whole and half-steps and skip several steps, 
 as one does in singing a tune. The space covered by a 
 skip is called an interval. As geography has its imaginary 
 equator, and as geometry has its imaginary lines without 
 breadth and its planes without depth, so music has one 
 imaginary interval which is no interval at all, but identity. 
 The distance from a note to the very same note is called a 
 prime. (This is sometimes useful when speaking, for in- 
 stance, of a*? and aif, which are a prime apart, and are called 
 primes of each other.) The interval from one white digital 
 to the next white digital is called a second^ the skip to the 
 
AN INTRODUCTION TO MUSIC 7 
 
 next but one is called a third (the original note being always 
 numbered one), the skip to the third white digital is called 
 2i four thy and so on; the interval of an eighth being called 
 an octave. Also the tones separated by an interval may be 
 called by the names of the interval as c and g, or d and a 
 are called j^Mj- ; f and d, or g and e are called sixths^ etc. 
 
 It will greatly clear the belt of fog we are now going 
 through if you will pick out the examples on the key-board. 
 
 The skip from a white to a black digital results in an in- 
 terval which is either greater or less than the nearest inter- 
 val on the white digitals alone. The normal or greater of 
 two similarly named intervals as c to e is called a major 
 third, while c to eS^ is called a lesser or minor third. C to eJJ 
 is greater even than the major and is called an augmented 
 third, while c to ebb ( " double flat" ) is a diminished third. 
 
 Owing to the elasticity of the letter-names of the notes, 
 an interval may be expressed or spelled in diff^erent ways, 
 thus c to eb is called a minor third, but the very same tones 
 may be called c to dif, an augmented second, c-f bb a dimin- 
 ished fourth, btf-dJt a major third, etc. The name of the in- 
 terval depends upon the key we happen to have most in 
 mind at the time. 
 
 It is a curious fact that all scales are made up of exactly 
 the same intervals in exactly the same order. Try over any 
 of the scales you wish, and you will find that you move up- 
 ward by the following degrees, in the following order: (i) 
 a whole step, (2) a whole step, (3) a half-step, (4) a whole 
 step, (5) a whole step, (6) a whole step, (7) a half-step; this 
 last bringing you to the octave of the note you started 
 from. 
 
 As earnestly as the soul demands that in the last act of a 
 play we shall see the villain sent to prison and the hero and 
 heroine locked in each other's arms, so our nature demands 
 this arrangement of tones, and when it says half-step or 
 
8 THE MUSICAL GUIDE 
 
 whole step we must move so, or leave the key we started in 
 and take up another. 
 
 This explains why there is no black digital between the 
 notes, b-c, and e-f: the scale of C, which has no sharps 
 or flats, must still have its two half-steps at these points ; 
 there is accordingly no sharp or flat to be put there. 
 
 II 
 
 WE have now had a bird's-eye view of the natural 
 arrangement of tones, one at a time. But we 
 grow tired of one note at a time. Four men 
 singing along a midnight street or a picnic group riding 
 home in a moonstruck mood fall to singing favourite melo- 
 dies and naturally avoid singing in unison. They spon- 
 taneously sing in chords. These chords are formed in- 
 dividually and succeed one another according to certain 
 fundamental demands of the ear just as noticeably as the 
 tones of the scale followed a rigid pattern. 
 
 First, let us combine various tones. Take the middle 
 c' and strike this tone with the right thumb while another 
 finger strikes another tone above, c' and c'$f do not sound 
 well together, nor yet c' and d'; c' and d'# (or eV) is not 
 unpleasant, but rather sombre (it is indeed a minor har- 
 mony, the interval c^-e> being a minor third) ; c' and e' 
 make a pure, sweet concord, however. Let us keep c' and 
 e' and see if we can add another tone, c'-|- e'-f- f, is very 
 bad; c'-|- e'-f- fjf is also rough; c -\- e'-f g' is very com- 
 fortable. We have now a three-tone chord, which we may 
 call a triad; it happens to be based on the ist, 3d and 5th 
 degrees of the scale. 
 
 Let us see if we can build triads on other tones of the 
 C scale. We find by trying all the combinations on the 
 note d', that while the triad d -f'-a' is pleasant but sombre 
 
AN INTRODUCTION TO MUSIC 9 
 
 (it is minor), the only clear harmony is d'-fS-a'; but as f}f 
 does not belong to the scale of C, we cannot include it. 
 On the note e' we find e'-g'-b', minor, and e -g'jf-b' pleas- 
 ant ; this again is outlawed by the gjf. On f , however, we 
 can form a triad f -a'-c', which has no foreign chromatics 
 and is yet satisfying. On g' we find another triad, g'-b'-d", 
 which is native to the C scale and which impels us strongly 
 to substitute the e" above for the d", and (^' for the b'; 
 when we have done this we find we have the chord c'-e'-g' 
 again, only now arranged differently, as g'-c'-e'. 
 
 If we rearrange the chord on g' differently, as b'-d"-g", 
 we shall be impelled to move on to c' -e' -g", which is 
 again our old friend the original triad on c' in its original 
 form. 
 
 This hankering after the original triad on the key-note 
 whenever we form a triad on the fifth tone of the scale, is 
 one of the most noteworthy and inescapable factors of the 
 chord-world. 
 
 But let us proceed with our triads ; on a' we find a'-c' — e" 
 to be minor ; the major chord b'-dtf"-f Jf" is doubly ruled 
 out; while b'-d"-f" is doubly minor, the fifth (b-f ") be- 
 ing imperfect and the third (b'-d") being minor. 
 
 It may be well to state here a handy way of telling the majority or minor- 
 ity ot intervals ; imagine the lower note to be the key-note ; if the upper note 
 would occur in a major scale on that key-note its interval is major or diatonic. 
 Thus on b : the key of B has 5 sharps, f, c, g, d, and a ; both d and fare 
 sharp, therefore b— dt—fC has neither interval major. 
 
 Looking back over the chords of the scale of C, we find 
 the only major triads to be those on c', f and g'. Since 
 that on g' is so urgent in demanding the main triad on C, 
 it is called the dominant triad, and the tone g is called the 
 dominant of the scale of C. T being beneath it is called sub- 
 dominant^ and its chord the subdominant chord ; the note c 
 
lo THE MUSICAL GUIDE 
 
 being the foundation note of the whole scale and key is 
 called the tonic {tonus being an old name for scale). 
 
 The principal chord-material of any scale is, then, made 
 up of the triads on the tonic (or ist), the dominant (or 
 5th) and the subdominant (or 4th). 
 
 Try another Key, F for instance, which has bb. After 
 testing all the combinations on the key-note or tonic f ' 
 we find only f'-a"-c" ; on g' the triad, to be in the key, 
 must be g'-b'(^-d" (since hi. is a characteristic of the key 
 of F), and this is a minor chord; a'-c"-e" is also minor, 
 but bl?-d"-f" is a major triad; it is indeed a chord on the 
 subdominant. We should expect also to find a major triad 
 on the dominant (which, in the key of F, is the tone c), 
 and so we find c"-e -g", which we recognise as the tonic 
 chord of the scale of C. But strange to say it offers no 
 repose in its new environment with the other chords of the 
 key of F ; on the contrary, we have an irresistible desire to 
 move on from it to c"-f -a" (the same as the key-chord or 
 tonic chord, f-a'-c", where we feel at home). The two re- 
 maining tones of the scale of F offer no satisfactory chords. 
 
 Let us try a key with one sharp in it, that is to say, the 
 key of G. Beginning on g' we find after groping about 
 that the only chord endurable is g'-b -d". Building triads 
 on all the other tones, a, b, c, d, e and f i*, we find all of them 
 outlawed as unpleasant or at least minor, except two, which 
 again, are on the subdominant and the dominant tones of the 
 key of G, and are c"-e"-g", and d"-f Jf-a". 
 
 Taking the sum-total of the chords of these three keys, 
 c, f, and g, we have the following chords : (C) c-e-g, f-a-c, 
 g-b-d ; (F) f-a-c, bi^-d-f, c-e-g ; (G) g-b-d, c-e-g, d-f if-a. 
 You will see that each of the two subordinate keys has two 
 of the chords of the key of C. This will be found the 
 case with any group of three keys similarly differing only 
 by one sharp or flat, that is to say, having their tonics a fifth 
 
AN INTRODUCTION TO MUSIC n 
 
 above or below. On -this account the keys based on the 
 dominant and subdominant tones of the scale of any given 
 key are said to be closely related in the first degree of re- 
 lationship. 
 
 Add another flat and another sharp, that is, take the key 
 of Bi:^ and the key of D, and we find the following princi- 
 pal chords : (Bi^) bb -d-f, et^ -g-bi? and f-a-c ; (D) d-fff-a, 
 g-b-d, a-cS-e. Each of these keys has only one of the 
 chords belonging to the key of C. These keys are then 
 related^ but only in the second degree 
 
 If we add three flats or three sharps and study the keys 
 of Et^ and A we find the chords (Et^) eb--g-b^, ab c-el^, 
 bt^-d-f; (A) a-cj-e, d-ftt-a, e-g# bb. None of these 
 chords occur in C, and these keys are said to be remote from 
 it. On the other hand comparing E!^ with the key which had 
 only 2 flats (Bb), we find that Eb has two chords belonging 
 to Bb. We also find that A has two of the chords belong- 
 ing to the key with one sharp less, viz., D. We may 
 generalise, then, by saying that the most closely related keys 
 are those that differ by one flat or one sharp ; the next near- 
 est relations are those differing by two flats or sharps. 
 
 Ill 
 
 WHILE we are on the subject of heredity take 
 another point of view of this family-tree : 
 The tone f , which is four steps above c', is 
 called its subdominant ; on looking below the note c, we find 
 another f, but where it was four tones above, it is five tones 
 below. The Key of F has added one flat to the key of C. 
 Counting five more whole steps down (always counting the 
 note you began on as first) we find the note Bt^. The 
 scale on that tone has yet another flat, two more than C. 
 The tone a full fifth below (Et^) has three flats, So we 
 
THE MUSICAL GUIDE 
 
 find that moving downward by fifths we add one flat every 
 step. Ab- has 4, Db has 5, and G:^ has 6 flats. 
 
 Now counting upwards from our starting point on c', we 
 find that the key based on the fifth (g') adds one sharp ; 
 a fifth above G is D, a key with two sharps ; a fifth above 
 is A with three sharps, a fifth further is E with four sharps, 
 and, as we continue, B with five sharps and FJf with six 
 sharps. 
 
 But the key of F3 on our piano or organ passes over 
 the very same digitals as the key of Gt, is identical with it 
 in fact. We have therefore been personally conducted 
 through the grand tour of keys by way of the circle of fifths^ 
 twelve in all. 
 
 We see therefore that all keys are related, and by careful 
 procedure in chords a player can move through them all in 
 succession with the greatest smoothness. The more mod- 
 ern the composition the more widely does it rove from key 
 to key until in some works, Wagner's for instance, it is 
 sometimes hard to say just what key we are driving at. 
 Instead of keeping to the iron rails of one key as earlier 
 music aimed to do, and only leaving the main line at cer- 
 tain definite set switches, the art has recently left the hard 
 and fast railroad and taken to the pathless waters where, to 
 use Wagner's words, it *' swims in a sea of tone." 
 • : Some very formal minds grow speedily sea-sick and pre- 
 fer the rigid grooves of the older school. Each one to his 
 tastes. But the broadest mind will find pleasure both in 
 land-travel and sea-change, insisting only that the composer 
 shall have a plan and know what he is about, and not send 
 his locomotives slashing and sinking in the buxom waves, 
 nor drag his yacht gratingly along the hard ground. Live 
 and let live is the best art motto. 
 
 One more point is worth noting in this increasingly im- 
 portant subject of key-relationships. Reverting for a mo- 
 
AN INTRODUCTION TO MUSIC 13 
 
 ment to the key of C with its first cousins f and g, we find 
 if we take the tonic triads of the three keys and arrange 
 them as follows : 
 
 tonic, 
 I 1 
 
 f-a-c-e-g-b-d. 
 
 subdominant dominant 
 
 These tones include the complete scale of C. So it will be 
 found of every key-scale that it contains within itself the 
 tonic triads of itself, of its subdominant and its dominant 
 keys. 
 
 This scale and key principle is further justified by a 
 study of the mathematics and physics of music. And the 
 Relationship of Keys is given a still greater importance in 
 the more recent writers on the theory of music, especially in 
 Riemann's beautiful theory of clang-keys (see this word in 
 the Dictionary of Definitions). 
 
 IV 
 
 NOW that we have laboriously picked out our triads, 
 they will be found more elastic than they look. 
 Take the triad c'-e'-g', the tonic triad of the key 
 of C, which is now said to be in the root or first position, 
 c' being the root or generator of the triad. We can place 
 the C uppermost and have e'-g'-c", which is in effect the 
 same chord, though a chord is said to be inverted when 
 any note except its root is in the bass. The second inver- 
 sion places the fifth in the bass, as g'-c"-e" or g-c -e'-g' or 
 g-e'-g'-c". These 3 positions are all we have for a 3 -tone 
 chord or triad. They can be sounded anywhere on the 
 key-board, however. 
 
 Still another possibility is to repeat some of these letter- 
 names, as to sound the triad c'-e'-g' with the right hand 
 
14 THE MUSICAL GUIDE 
 
 and touch the tone c an octave below with the left hand ; 
 or the tones c-g with the left hand and e'-g'-c" with the 
 right. This process called doubling may be carried on in- 
 definitely. In a piano-duet, sometimes twenty notes or 
 more are struck, all of them repetitions of the inner kernel 
 or triad of three notes. 
 
 Strike the left hand note c first, then the right hand 
 triad c -e-'g' twice ; then strike the note f with the left 
 hand and the subdominant triad c'-f'-a' twice, now c and 
 the tonic triad again ; then strike g with the left hand and 
 the dominant triad b-d'-g' twice ; and return finally to C 
 and the tonic triad. This little plot in three instalments 
 constitutes the whole harmonic accompaniment of many 
 a modern popular song and many an old work of classic 
 reputation. 
 
 You can usually tell the key of a song by humming it 
 and picking out on the piano or organ its very last note ; 
 nine times in ten this will be the tonic or homenote of 
 the composition. Suppose this to be B7. How shall 
 one find chords to accompany it ? Build a major triad on 
 b'tr; it will be b>-d'-f'; build a triad on the dominant or 
 fifth (f), f-a'-c"; build another on the subdominant or 
 fourth (eb), e> -g-b>. Play these three notes (B^, f, 
 ei?) with the left hand, and use triads with the right, re- 
 arranging the three notes in any of the inversions as they 
 run most smoothly into one another. Your ear will help 
 you find the right order of the chords. This will serve as 
 a recipe for easy accompaniments. 
 
 More elaborate songs rove through so many keys with 
 so little warning that only trained ears and hands can pick 
 out their accompaniment ; but it will clear up a deal of the 
 construction of music if you will take some simple tune and 
 study out its accompaniment on these lines, however pain- 
 ful the operation may be to yourself and your neighbors. 
 
AN INTRODUCTION TO MUSIC 15 
 
 (Familiar songs requiring only these three chords are " The 
 Star Spangled Banner," " God Save the Queen," " Home 
 Sweet Home," " Suwanee River," " Dixie," etc., and most 
 of the hymn-tunes.) 
 
 BUT the simple triads grow monotonous, and it is 
 desirable, if possible, to enrich them. Take the 
 all important dominant triad of the key of C 
 (namely, g-b'-d") and see if we can lay another third on 
 top of it like a musical brick. The next major third above 
 d" is f'tf. But ftt does not belong to the key of C. The 
 minor third ft does beautifully, however, and we have a 
 warm rich chord which more than ever goads us on to the 
 tonic triad ; the g' holding over, the b' and the d" both 
 merging into c", and the f" subsiding blissfully into e". 
 
 A chord of 4 tones is called a chord of the seventh or 
 seventh chord, because the interval between the first and last 
 tones is a seventh (g -f ')• This chord, g -b'-d' -f ", is a 
 dominant 7th, then. If we wish, we can add another third, 
 a", and make a chord g-b-d-f-a, called a ninth chord. The 
 dominant 7th, however, is far the more useful. In fact it 
 is the most energetic chord in all music, and whatever key 
 you may be in, if you stray into the dominant seventh of a 
 foreign key, it drags you along eagerly and hales you into 
 that foreign key to which it belongs and for which it is a 
 most eager usher. 
 
 This seventh chord, pleasant as it is, is only a go- 
 between, it offers no point of repose, but requires an almost 
 immediate dissolution into another chord. The musical 
 term for one of these restless chords is dissonance ; the mu- 
 sical term for the necessity and process of merging it into 
 another is called resolution. The word dissonant does not 
 
i6 THE MUSICAL GUIDE 
 
 necessarily mean " ugly " or " harsh " in music, but merely 
 implies lack of stabihty. 
 
 This dominant yth chord has magical powers for transi- 
 tion. Take the tonic triad of the key of C major in the 
 second inversion, that is, touch g with the left hand and 
 e'-g'-c" with the right. Now lift the finger off the upper 
 g' and place it on b>. Instantly you find it undesirable 
 to go back to the c -e'-g' triad and you are impelled to 
 lower that b> to a', bring the e' up to f', keep the c" where 
 it is and lower the g in the left hand to f. Now you feel 
 at rest ; if you will pause and look, you will find that the 
 b>, which is characteristic of the key of F, has led you into 
 the triad f-a'-c", which is the tonic triad of the key of F. 
 If you revert to the state of affairs existing when that for- 
 eigner b> entered the peaceful key of C, you will find that 
 the chord formed by its entrance could be arranged to read 
 c'-e'-g-bb. This is a yth chord on the tone c. But 
 while the tone c' is tonic of the key of C, it is the fifth or 
 dominant of the key of F. Yet, though this yth chord was 
 built on the tonic of C, as it happened to be the dominant 
 of F, it forced the key over into the tonality of F. This 
 is the case with every dominant yth chord. 
 
 It is possible by a slight diversion to throw the resolu- 
 tion of the chord into other keys, but this always comes as 
 a surprise to the hearer. It may be justified and it may be 
 pleasurable, but it is a surprise, and in a sense abnormal. 
 
 Going back to the first formation of the yth chord, it 
 will be found that the yth chord, on other tones than the 
 dominant, are rather murky or even distressing. These 
 are called secondary yths and must be handled in gingerly 
 manner. 
 
AN INTRODUCTION TO MUSIC 17 
 
 VI 
 
 Now if we take our dominant yth of the key of C, 
 that is, g-b'-d"-f", and raise the g' a half-step 
 so that the chord reads g'jf b'-d "-f ", it will most 
 naturally resolve itself into this chord, a-c"-e", a sombre 
 chord which is minor because its third from a-c is minor 
 (the major third being a-cg, as cjt would be characteristic 
 of the key of A). This chord, a'— c"-e", has the look of a 
 chord in the key of C, but it seems to offer a sense of de- 
 jected repose and' makes no demand for progress to the 
 tonic chord, c'-e'-g'. We arrived at this chord by way of 
 a curious chord with fj but gj. The chord g'-b'— d "-f " 
 had been a minor yth (the interval from g' to f being less 
 than the major interval, which would be g' to f S), but this 
 chord, g'j-b'-d"— f ", is even narrower than minor. It is 
 hence called a diminished yth chord. 
 
 We have been led to believe that the first sharp of a 
 major key was f, and that c followed, then g. This is true 
 of a major key, but here we are under a different flag. 
 You can construct a scale out of these two chords, the 
 diminished yth and its resolution, and gjf-b-d-f; a-c-e 
 gives us a-b-c-d-e-f-gJt-a as an octave scale. This scale, 
 which is closely related to the C major scale, is founded on 
 a', which is a minor third below c". So it will be found 
 that every major key has one of these disappointed relative 
 keys a minor third below and differing from it, for har- 
 monic purposes, only in the fact that the yth tone of this 
 minor scale is raised a half-step above the tone of the same 
 name in the major scale (in the scale of A minor, the yth 
 tone, gS, is the only tone foreign to the scale of C major, 
 and it is a half-tone higher than the tone g; the key of 
 
i8 THE MUSICAL GUIDE 
 
 C minor corresponds exactly with the major key a minor 
 third above, that is Et^, except that where b is flattened 
 in the key of Etr major, it is made natural in the scale of 
 C minor). This is the case with every major and minor 
 key ; the related minor key is a minor third below and 
 raises the 7th tone of its major scale a half-step (as g to 
 gJJ ; e[^ to eti). Thus far we have concerned ourselves 
 only with major scales, keys and intervals. But life would 
 be very monotonous if it were all sunshine, blue sky and 
 laughter. Music could not represent or stimulate human 
 emotion, as it does, without a large armoury of sombre 
 colours, bitter dissonances and, in place of a sense of cheer- 
 ful repose, a feeling of resigned despair.- These purposes 
 are subserved by the minor key. 
 
 In looking at scales and intervals we find that certain of 
 the intervals were to be distinguished as " greater " and 
 " lesser." The Latin words meaning greater and lesser are 
 major and minor. (And as the mediaeval Latinity of the Cath- 
 olic Church was the fountain-head of modern music, many 
 of its terms persist.) On the major scale there were indeed 
 four minor triads to only three major. There is abundance 
 of minor material then in music. Its arrangement into 
 scales and keys cannot be so easily explained as that of the 
 major mode ; indeed upon this subject scientists are mutu- 
 ally discordant and commonly as " troubled " (betriibt) as 
 the great musical scientist Helmholtz found the minor scale 
 itself. 
 
 Where doctors disagree, the layman would do best to pass 
 by on the other side. Let us take the minor keys as we 
 find them and thank Heaven for their existence as mirrors 
 to the chillier, grayer moods of the mind. Music has in- 
 deed laid up something for a rainy day. 
 
 To go any further into the construction of chords would 
 be to write a text-book on Harmony. 
 
AN INTRODUCTION TO MUSIC 19 
 
 Those who wish to pursue the subject of chord construction and progres- 
 sion will find fijrther information in such articles as Chord, Harmony, 
 Thorough-bass, Parallel, Covered, Anticipation, Suspension, Interval, Al- 
 tered, etc., in the Dictionary of Definitions. 
 
 VII 
 
 GIVEN the scales for melody and the chords for 
 harmony, with an unlimited variety of progres- 
 sions, the subject of rhythm enters. There 
 was a time when the music of the scholars was all in notes 
 of equal length ; such music was well called plain-song 
 {planus meaning literally " smooth "). But popular instinct 
 and popular music still had drum-rhythms and dances and 
 finally forced the music of the scholars to return to hu- 
 manity ; and so-called mensurable (i. e., measurable) music 
 began. 
 
 The definition of rhythm is so native and instinctive in 
 everyone that it would be impertinence to foist it on the 
 reader. It is to be noted, however, that in music it de- 
 pends on the relative accent and duration of notes follow- 
 ing a pattern more or less closely. The rhythm of a com- 
 position can be expressed by thumping it on a table with 
 your fingers, for rhythm is independent of height or low- 
 ness of the tone and the volume of sound. Strum out in 
 this way such tunes as " Comin' Thro' the Rye," " Yankee 
 ^^^ Doodle," " We Won't Go Home Until Morning," or the 
 !\ve ^^^^' °^ ^^^^ °^ more dignity. If you mark the accents 
 forcefully, the regularity of the rhythmical pattern be- 
 comes evident, and almost as monotonous as certain styles 
 of wall-paper. If you tap with the left hand a regular beat 
 y like a clock's, only faster, the rhythm of the air will assume 
 " piew vividness. 
 
 Take " Comin' Thro' the Rye " for example, the rhythm 
 
20 THE MUSICAL GUIDE 
 
 could be expressed by underlining with the right hand a 
 series of numbers to be ticked off by the left hand : 
 
 If a bod-y meet a bod - y com - in' thro' the rye 
 
 1-2, 3, 4-5, 6, 7-8, 9, 10-11_, 12, 13-14 , 15, 16-17 , 18, 1 9, 20, 21, 22, 23, 24, 
 
 If a bod-y kiss a bod-y need a bod-y cry 
 
 25-26, 27, 28-29, 30, 31-32, 33, 34-35, 36, 37-38 , 39, 40-41 , 42, 43,44,45,46 , 47, 48 
 
 This covers two lines of the song, the rest of which fol- 
 lows the same model. We find 48 beats in the two lines 
 of verse, 24 to each line. The rhythm is almost exactly 
 stencilled all the way through ; it begins over again, after 
 every sixth count, each 7th count having a marked accent, 
 the 4th of each group of 6 having a lighter accent. If, 
 since the rhythm is the same, we simply repeat the first 6 
 numerals and cut off with a line every group of 6, we shall 
 have the song pictured in as simple a pattern as that of the 
 maid's own print gown. 
 
 If a body meet a body com-in' thro' the rye 
 
 /1-2, 3, 4, 5, 6/ 1-2, 3, 4-5, 6/ 1-2, 3, 4-5, 6 / 1, 2, 3, 4, 5, 6/ 
 
 Call each of these groups a measure^ the slanted line a 
 baVy take a certain time or nole-v3.\ut as the unit in place of 
 these numbers and you will have the musical terminology. 
 As the notes are short the quick eighth note (one-eighth of 
 a whole note) may be taken as the unit ; there are 6 of 
 these in each measure, and the time of the song is said to 
 be six-eighths or 6-8 time. This is a combination of triple 
 and duple rhythm, for, while each measure contains 6 
 counts, these counts are divided into two groups of three 
 each and there are two accents to each measure, conse- 
 quently 6-8 time is sometimes used for marches. 
 
 But the typical march time for marches (as well as for 
 many other moods, as " Auld lang syne," etc.) is, as you 
 will find, divisible into measures of 4 counts each, with two 
 
AN INTRODUCTION TO MUSIC 21 
 
 accents to each measure. As the whole note is taken as the 
 whole extent of each measure, the presence of four beats to 
 the measure gives each beat a fourth or quarter-note value. 
 It is therefore called 7-7 time, or simply common-time. Very- 
 quick marches are sometimes written in 2-4 time with one 
 beat to the measure. Waltzes are written with 3 beats and 
 only one accent to the measure. This time is called 3—4 
 time. Other rhythms are 3-2, a slow time (with 3 half- 
 notes and 3 accents to the measure) ; 3-8 time (a light 
 quick time with 3 eighth notes and one accent to the meas- 
 ure) ; 6-4 time (a slower form of 6-8 measure, differing from 
 3-2 only in having two accents to the measure) ; 9-8 (with 
 9 eighth notes and 3 accents), &c. (v. article on Time). 
 
 VIII 
 
 NO way of submitting music to the all-devouring 
 decimal system has yet been brought into play. 
 The measure-notes are all multiples of 2 and 4 ; 
 whole notes, half, quarter, 8th, i6th, 3 2d, and 64th notes. 
 
 The larger divisions of music also fail to follow the deci- 
 mal system. In the analysis of "Comin' Thro' the Rye " 
 the measures themselves can be collected into groups of 2, 
 4 and 8. There is a slight pause after every other meas- 
 ure, a perceptible pause at the end of the 4th measure, a 
 longer pause at the end of the 8th. The next group of 8 
 measures is hkewise divisible into groups of 2 and 4. 
 
 This quality of divisibility into 4 and 8 measures is a 
 fundamental law of musical structure. Because it is such a 
 law many composers strive to hide its nakedness or re-shape 
 it to special purposes, but these are exceptions which by 
 their very sense of novelty and oddity prove and emphasise 
 the general rule. 
 
22 THE MUSICAL GUIDE 
 
 A group of eight measures is called a period ; this period 
 contains two phrases of four measures each ; each phrase 
 contains two sections^ of i measures ; and each section is 
 generally divisible into its melodic or rhythmic motive or 
 subject. The song " Comin' Thro' the Rye " is especially 
 clean-cut in its divisions. They correspond in spirit to the 
 comma, semicolon, colon and period of ordinary prose, 
 but occur with far more regularity. Frequently the periods 
 themselves can be collected into larger groups or compound 
 periods corresponding to paragraphs. The first accent of a 
 measure has a stronger accent than the second or third. So 
 the first accent of the first measure of a period should re- 
 ceive a greater stress than the first accent of the first meas- 
 ure of a phrase, and so on. In the proper distribution of 
 accents lies the larger part of musical punctuation, or, as it 
 is called, phrasing. 
 
 IX 
 
 IN the first group of 8 measures of " Comin* Thro* the 
 Rye " there is a general upward tendency to the 
 melody. The second period begins on a high note 
 (at the words "Ilka body") and has a downward ten- 
 dency. This desire for a contrast is at the root of all 
 musical form. This song is condensed even beyond the 
 usual popular form, partly because of the stanza-form of 
 its poetry. " The Last Rose of Summer " fulfils the typical 
 song-form which contains a theme of one or more periods, 
 followed by a contrasting or subsidiary theme of one or more 
 periods, the song concluding with a repetition of the first 
 or principal theme. Practically the same idea governs the 
 typical dance-form though the themes are likely to be more 
 elaborate and the second theme is still stupidly called a trio 
 (from the fact that it was actually in old times given to a 
 
 I 
 
AN INTRODUCTION TO MUSIC 23 
 
 trio of instruments in order to contrast its simple song-like 
 manner with the more ornate and broken progress of the 
 principal theme). 
 
 It would naturally" occur to composers seeking variety, 
 to put this subsidiary theme into a different key, to empha- 
 sise the contrast. The key naturally chosen would be a 
 closely related key. This is usually the case, and the con- 
 trast of keys is a most important part of classic forms. 
 
 The elaboration or variation of the themes in a way to 
 show off the composer's scholarship and cleverness, was 
 also as inevitable as human pride in skill. 
 
 The word variations has, in the general mind, a thought 
 of " The Old Oaken Bucket " and " Nearer my God to 
 Thee " " with variations." " Variations " is an incorrect 
 word here ; the proper term for these cheap and gaudy 
 works being embellishments^ for the air is simply made a 
 trellis for all manner of running vines and frippery. 
 
 The true variation of a theme is its genuine manipula- 
 tion. Take the first i measures of " Comin' Thro' the 
 Rye " as a theme ; i.e., the notes to the words " Gin a 
 body meet a body," sit down again before the piano and 
 play this theme, picking out the notes as indicated from 
 their letter-names as shown in the Chart. 
 
 Suppose the notes to be placed — 
 
 /c', c', c', eV, d', c', d', e'/g g a g/c'. 
 
 If with the right hand you play the theme as indicated, and 
 shortly after follow in with the left hand (as you would fol- 
 low the leading voice in singing such a round as " Three 
 Blind Mice"), you will use the frequent device called for 
 evident vt2iSons imitation yjis here : 
 
 Right hand/c' c' c' e'/d' c' d' e'/g g a g/c' /&c. 
 
 Left hand / / /c c c e/d c d e/&c. 
 
24 THE MUSICAL GUIDE 
 
 This is imitation at the octave and at two measures' dis- 
 tance ; imitation may be at a different interval and distance, 
 at the fifths for instance : 
 
 Right hand / c' c' c' e / d' c' d' e'/ &c. 
 Left hand / / f f f a / &c. 
 
 Imitation need not be so strict as this; it may h^free^ 
 the intervals being slightly changed to enrich the harmony, 
 for it is not every air that can be treated smoothly and strict- 
 ly at the same time. Here, for instance, the a in the left 
 hand might be reduced to a g. Imitation in the orchestra 
 has vast scope. The trombones may proclaim a splendid 
 phrase which the oboes will cackle over ludicrously, the 
 flutes whistle gaily, the clarinets echo gurgingly, the 'cellos 
 bemoan nasally, and the violins murmur deliciously. 
 
 But in piano or organ composition, imitation is more 
 restricted. Sometimes a composer in mathematical mood 
 will set an elaborate air jogging, and when it has gone a few 
 spaces along, will start after it its very double. The two 
 will race like twin snakes. 
 
 When the imitation is exact, whole step by whole step, 
 skip by skip, whole note by whole note, and half-note by 
 half-note, the composition is said to be a canon. The canon 
 may set more than two snakes wriggling swiftly along at 
 always the same distance from head to head. Fugue is 
 only a special form of composition in which the canon plays 
 a large part, the word ^^ fuga " meaning " flight." 
 
AN INTRODUCTION TO MUSIC 25 
 
 THE devices for varying a theme are infinite. It 
 can be played in longer_ nptes^while another theme 
 chosen from another part of the song ripples 
 about it ; or the duration of the notes can be shortened. 
 The new treatment of a theme by lengthening its notes 
 is called au gmen tation ; the shortening of the notes is dimi- 
 nution. 
 
 The upper of two themes can be made the lower at dif- 
 ferent intervals than the octave ; this is called inversion. 
 Another form of inversion is the turning of a theme upside 
 down, so that whenever it went up before, it goes down 
 now, and vice versa ; this is imitation by contrary motion. 
 
 A theme can be picked to pieces and different frag- 
 ments of it tossed to and fro with the skill of a juggler (and 
 about as much importance). The first 4 notes of" Comin' 
 Thro' the Rye " could be taken as a figure and repeated. 
 Thus : 
 
 c' c' c e', e' e' e' g'jf, g'jf g'jf g% b', etc. 
 
 This would be called a sequence. The themes could be 
 played in octaves, or in varied and key-changing chords as : 
 
 If a bod -y 
 
 el^-g-c', f-ai>-c', g-b7-c', g-bl^-e' 
 
 It could be ornamented as : 
 
 If a bod -y 
 
 c', c', d', c', b', c', d', c', e', e', e', e'. 
 
26 THE MUSICAL GUIDE 
 
 In fact, there is no hinting here the dissection and recon- 
 struction of which a theme is capable. As opposed to a 
 melodious or lyric treatment, this method is called thematic. 
 Common names for this sort of treatment are " develop- 
 ment, elaboration, variation, working-out, free fantasy," 
 &c., &c., the Germans calling it Durchfiihrung, "going 
 through." 
 
 XI 
 
 THE highest and noblest form of strictly academic 
 and formal composition is the sonata^ for the 
 symphony is only a sonata for orchestra. We 
 have now arrived hastily at a point where a rough explana- 
 tion of this form is possible. 
 
 This is the way you should set about writing a sonata, 
 or rather, one of the ways, for the sonata is elastic and 
 has some room for individual tastes. 
 
 First you select a melody, one with an elocutionary and 
 sententious manner, and containing many good texts to 
 develop. You write it out plainly and emphatically in the 
 key that suits it best. As a sidelight and a foil you se- 
 lect some more lyrical and song-like air, and for contrast 
 you put it in another key, naturally one of the related keys, 
 most naturally the nearest related key, or the dominant. 
 Or you might put the second melody in the relative minor. 
 Having stated your two subjects, you may choose to repeat 
 them word for word, or note for note, so that there shall be 
 no mistaking them ; you may then add a concluding reflec- 
 tion more or less elaborate. This is the first section of the 
 sonata. 
 
 Having stated the two texts, t\\t principal and the subsid- 
 iaryy you now propose to show their true profoundness, 
 and your own true skill as an orator. You employ the de- 
 
AN INTRODUCTION TO MUSIC 27 
 
 vices of elaboration mentioned above, and you play battle- 
 dore and shuttlecock with the two themes in all the keys 
 you wish till they fly to pieces ; then you juggle the pieces ; 
 you modulate from grave to gay ; from cold to tropical, 
 from whisper to shriek, from insinuation to fervid appeal, 
 from metaphor to homely paraphrase ; in fact, you invoke 
 every art and artifice you can borrow from the schools 
 or can find in the promptings of your own emotions. 
 When you have exhausted all the devices propriety or your 
 knowledge permits, you have finished the second section of 
 the sonata, the so-called Working-out, or Development, or 
 Free Fantasy, or Elaboration. 
 
 The third section consists of a re-statement of the first 
 theme in the original or tonic key, followed by the second 
 theme, not in its related key, but now in the same key as the 
 first themey in order that a definite key may be left in the 
 mind to give an effect of unity. A short p erora tion or 
 coda^Xlids_ tke sermon like a welcome benediction. 
 
 This is what is strictly called the sonata form. It is 
 reasonable and based on a natural and artistic arrangement 
 of ideas and their development. 
 
 The sonata is not complete in this one composition, or 
 mo vement as it is called. Three or usually four contrasted 
 movements are strung together. They usually have some 
 faint suggestion of similarity of theme, but variety of mood 
 and key is the chief endeavor. A slow movement (called 
 from its slowness by one of the Italian words meaning 
 " slow " — Andante, lento, largo), marked by deep pathos 
 or tragedy, usually follows the passionate outburst. Then 
 comes a lighter mood in one or two movements in the form 
 of (a) an optimistic and prettily braided Rondo with one 
 chief theme and two attendant themes ; (b) a gallant Min- 
 uet ; or (c) a witty and jocose scherzo. 
 
 The sonata ends withj^ Finale of stormy and brilliant 
 
28 THE MUSICAL GUIDE 
 
 character generally built on the same scheme as the first 
 movement and written in the same key. 
 
 The whole group of three or four movements makes^ up 
 a sonata. The first movement of the sonata is often also 
 called the " sonata-form." 
 
 An overture (excepting one that is a medley of airs) 
 is merely the first movement of a sonata, written out for 
 an orchestra. A symphony is merely a whole sonata written 
 to take advantage of the enlarged opportunities of a great 
 orchestra of from 50 to 120 instruments. The sonata- 
 formula is also the basis of the string-quartet^ -quintet, etc., 
 and of concertos for solo instruments with orchestra. 
 
 A symphonic poem is a symphony only in the breadth of 
 its orchestration and its high demands. Like many smaller 
 forms it forsakes the somewhat rigid arrangement of the 
 sonata and other classical forms and lets the moods or the 
 story it tells furnish the programme of musical events. A 
 composition which has some programme other than the 
 classic arrangement of keys and sections ; — a programme for 
 instance representing musically a storm or the tragedy of 
 " Romeo and Juliet " — such a composition is said to be 
 programme music. In its worst form, when programme 
 music descends to cheap and unconvincing imitations of 
 natural sounds instead of contenting itself with an artistic 
 suggestion of them to the hearers' imagination, such music, 
 if music it can be called, becomes quite as hopeless trash as 
 that school of music which stoops to cheap and unconvinc- 
 ing imitations of classical masters and parrots devices which 
 only the original spontaneity of the old master himself can 
 keep alive. But generalisations are vain. What is poison 
 as one man serves it up, is meat from another's hands. 
 One failure or one triumph no more makes a rule than one 
 bluebird brings the spring. 
 
AN INTRODUCTION TO MUSIC 29 
 
 This hasty and incomplete sketch will have failed in its 
 purpose if it leads its reader to the delusion that he need 
 investigate no further the real mysteries of the art of 
 music ; if it lead to the delusion that because the art is 
 founded on certain physical laws of inner and outer nat- 
 ure, the artistic imagination is to be hobbled to them ; or if 
 it lead to the delusion that any one form, symmetrical or 
 natural soever, can suffice for all generations or all moods, 
 or that any school of masters can hope to embody all that 
 is good and solid in the art. 
 
 The classic masters were once living, breathing, passion- 
 ate young artists, impatient of precedent and breaking rules 
 for sheer pleasure as wanton boys smash windows. He 
 who approaches them with intelligence and sympathy wil 
 find them still made of bone and blood, sinew and spirit. 
 But once he has had the inestimable delight of their ac- 
 1, A quaintance, he must, above all things, avoid the belief that art 
 tie and glory died with them. He should approach every new 
 lefoi work, howsoever startling, with a readiness to be convinced 
 (jyof that the new trumpeter, standing on the outer hilltop which 
 we thought was the rim of the art, may, after all, be looking 
 „e into a further world and be proclaiming to us new fields and 
 treams, and a new horizon. And though his music may 
 rtistijfteem strange, blatant and incoherent to us at first, per- 
 nusic, "^^ps the fault is not with him, nor with us, but only with 
 ishs -^^ great new wonder-land he sees beyond. 
 i^.in(. I Music, like any other living speech, is always growing 
 i,jj| ind must always be newly studied. If we would not have 
 l,fj5 it a dead language we must be prepared for change, and be 
 oisor filling to learn. 
 lands. 
 
Cjje i^ational g»t!)ooIs: 
 
 Five Essays 
 
 by 
 
 iRENiEus Prime-Stevenson 
 
 With an Appendix on 
 the American School by the Editor 
 
 Italian Music 
 
 WHATEVER currents of emotion, or of the me- 
 chanics of music, have varied and developed the 
 art in Italy, two traits have been fundamental to 
 distinctively Italianistic compositions — in each instance ap- 
 parently spontaneous vital pulsations and principles. The i 
 first is the notion that without melody — especially sensuous, 
 warm, obvious melody — music has no eloquence for the I 
 heart, no matter how admirable the harmonic structure may 
 be. The second trait is lyricalism — the tendency to keep 
 music ever in touch with the art of actual song, with the ex- 
 pressiveness that the human voice alone can afford. 
 
 It is true that in view of many widening phases of Italian 
 musical genius we cannot claim that on these two command- 
 ments have hung all the law and the prophets which set 
 Italy to creating for the rest of the world the most recently 
 perfected of the arts ; that gave Italy her long-time sov- 
 ereignty in music ; even now distinguish her in it. Still, 
 they are the quintessence of Italianism in all " schools " Ji 
 
 and phases really reproductive. Let us note, along with! 
 these two general Italian concepts of music, the tendency 
 to unite melodic beauty with melodic strength, a feminine, 
 
 30 
 
THE NATIONAL SCHOOLS 31 
 
 not a masculine, emotionality and melodiousness, and a 
 failure, first and last, to reach in abstract music that inter- 
 est and dignity which Germany, Austria, France, Scan- 
 dinavia, and Russia have achieved. Thus we have two 
 other salient Italian traits before us. The Italian " schools " 
 of music, not excluding even the lofty ecclesiastical com- 
 posers, if compared with the workers in the North, stand 
 for Music as a thing of mere human heart and nerves and 
 
 0; artless passion as contrasted with a vaguer, more mystic 
 psychologic message. Only Italy could produce a Rossini 
 
 ~" or a Verdi ; we cannot think of an Italian Bach, Bee- 
 thoven, or Brahms ; and vice versa the feeling holds good. 
 It is logical, therefore, that we find Italy to be really 
 , shining in only two forms of music. Both are her own 
 
 ' special discoveries, or re-creation. The first is polyphonic 
 church-music. The second is opera. Neither of these 
 forms is of the more abstract and independent utterances 
 of the art. But in each instance Italy has never been sur- 
 passed in dealing with them, either in principles or prac- 
 tice, and it is not likely that she ever will be, till music as a 
 jcience and as an emotion is revolutionised. Let us add, 
 n passing, that a third form — also lyric — is also Italy's di- 
 ■ect invention, the sacred oratorio. But her accents in ora- 
 orio, as in her early developments of almost all other kinds 
 )f music, have been so outdone by French and German 
 nusicians that the Italian oratorio is to-day a fact for the 
 tudent, not the auditor. 
 
 It would be as impossible to essay even a general histor- 
 :al sketch of Italy in music in a few pages, as to condense 
 he story of Italian painting into equally few paragraphs. 
 n Italy, the modern ideas of music, sacred or secular, all 
 Dund creation or resurrection. All the rest of the world 
 
 ider.c|jwes the art, as it is to-day, to one or another phase of 
 
 ^ininltaly's early intense sensibility to It. Perhaps, indeed. 
 
32 THE MUSICAL GUIDE 
 
 music is the Italian art, in chief, rather than any other. Out 
 of the mists of the early Christian Era, out of the thunders 
 of mediaeval wars and sieges, come to us the harsh but noble 
 chants of Saint Ambrose of Milan (a.d. 333-397) and of 
 Pope Gregory the Great (540-604) ; and as we reach the 
 fifteenth and sixteenth centuries, we hear, clear and full, 
 some of the most magnificent and pure church-song ever 
 written, in the masses, motets, anthems, psalms and other 
 great polyphonic works by the Roman masters of vocal scor- 
 ing, Palestrina (1524 ?-i594), and AUegri (1560-1652) and 
 their contemporaries. At the same time, sacred oratorios 
 began under Cavalieri (1550-15 — ) a course to which in a 
 course of 200 years Handel, Haydn, and Mendelssohn were 
 to give such dignity. But the great burst of Italian church- 
 music occurs after the beginning of the seventeenth century, 
 when Carissimi (i 604-1 674), the Venetian Marcello (1686- 
 1739), the Neapolitans Durante(i684-i755)and Leo(i694- 
 1746), Pergolesi (1710-1736), Jommelli of Naples (1714- 
 1744) and Scarlatti, the Sicilian (1659-1725), shone out as 
 suns in Italian church-music, by styles and principles not! 
 yet weakened. Thereafter, however, Italian church-music 
 declined in excellence ; and save for a few special and rela- 
 tively recent works by Zingarelli, Rossini, and Verdi 
 (quite of other voice and structure), its message has finished. 
 In early instrumental composition Domenico Scarlatti of 
 Naples (1683-1757) is of mark. 
 
 Opera, as has been observed, presents the phase of Italian 
 genius in music at its most prolific, most powerful and — ap-i 
 parently — most natural eloquence. As is well known, it was! 
 in trying to revive old Greek drama, with its musical ele- 
 ment, that, in 1681, a group of wealthy Italian dilettanti 
 originated modern lyric drama. Under Caccini and Peri, 
 by the broader ideas of Monteverde, Lotti, and others, the '! 
 structure of opera became firm. In Alessandro Scarlatti 
 Pergolesi, Sacchini, and Piccini — mostly southern Italians — 
 
 it 
 
THE NATIONAL SCHOOLS 33 
 
 an enormous Italian operatic growth occurred ; soon trans- 
 formed or grafted to France, Germany and Austria. The 
 consummation of the classical Italian opera appears in the 
 Austrian Mozart, whose operatic voice is — fundamentally 
 — Italian. From this point we pass, in Italian opera, to the 
 greater modernists and romanticists, always Italian in their 
 concept of opera, whatever their actual birth or locality— 
 Paesiello, Cimarosa, Salieri, Zingarelli, Spontini, Rossini, 
 Donizetti, Bellini, Mercadante, mostly Neapolitan or of 
 meridional Italy. Their works have given place, in large 
 measure, to the Contemporary School of Italian Opera, 
 strikingly eclectic and much influenced for better or worse by 
 Northern phases. The supremest and noblest figure here 
 met is the gigantic Verdi (1813-1901), beyond doubt, one 
 of the most astonishing and consummate emotional com- 
 posers in all the story of music. Verdi is elsewhere in this 
 book so fully treated, as are Rossini, Donizetti and Bellini, 
 as to need no long essay here on his merits and career. Of 
 his contemporaries, especially of what we may call the Neo- 
 Italian " School " of operatic writing, the most important 
 are Ponchielli, Boito, Cagnoni, Gomez, Puccini, Franchetti, 
 Cilta and Giordano; with less distinct merits attaching to two 
 other much advertised names, Mascagni and Leoncavallo. 
 - At present, Italy is, beyond doubt, in the same plight 
 
 "' of musical decadence (creatively estimated and measured 
 'by her past importance) as is almost every other land and 
 
 ^^ race in the art. Only in opera has the Italian composer 
 to-day a really attractive, spontaneous musical communi- 
 cation. For we can scarcely think that the few superior 
 
 "^'^ Italian symphonists and pianoforte writers are of general 
 and real significance. Whether Italy can give any further 
 limpetus, indeed, to a form of art that appears to be thought- 
 -out and written-out is a question : but if the Italian fail to- 
 day in his aesthetics it is easy to forgive the failure, consid- 
 ering his splendidly Hellenic utterances in the past. 
 3 
 
34 THE MUSICAL GUIDE 
 
 German Music 
 
 No other art is so indebted to distinctively Teutonic 
 influences, no other art has been so civilised and 
 dignified by the German minds and by the Ger- 
 man temperaments as music. A special office of the Teu- 
 tonic soul seems to be the bringing of intellect to bear on all 
 those things for which it possesses emotional receptiveness 
 and creative power. It is true that this very tendency some- 
 times ties down the wings of Pegasus, and dulls the lyre of 
 this or that muse. Sensuous beauty can be the less in its 
 being Germanized. But we can forgive the turgidness and 
 clumsiness that come often as if in an intellectual extreme, 
 when we think of Peter Fischer, of Albrecht Diirer, of the 
 architects who have built the Cologne Cathedral or St. Ste- 
 phen's, and of that sparkling galaxy of musicians whose 
 names are peculiarly linked to Austria — Haydn, Mozart, 
 Gluck, Beethoven, Schubert and Brahms ; and of the more 
 strictly German group that shows us as central figures Bach, 
 Handel, Mendelssohn, Weber, Schumann, and Wagner. 
 
 Whenever we ask ourselves what constitutes distinctive-, 
 ly the high and true German school of musical creative 
 ness, we are face to face with the same concept and result :' 
 the making of music an intellectual matter ; a psychologi- 
 cal thing to- a degree not originative in any other country. 
 The passion and fire of Italy's idea of music, as well as her 
 lighter sensuousness in it, these are seized by the German 
 heart and made into something deeper and more eloquent. 
 The dance-forms of the South are transformed to a Cia- 
 conna by Bach, a Minuet in Mozart's G minor symphony, | 
 or to the mystery of a Scherzo in Beethoven's terrific utter- 
 ance. The symphony in German and Austrian concert-halls 
 reached the supreme disclosure of music yet known to us, 
 The love-ditties that merrily sighed or prattled or Ian 
 
THE NATIONAL SCHOOLS 35 
 
 guished, alia mandolinata, in less serious lands, grew under 
 the hand of Schubert and Schumann to be outcries from 
 the world's heart. A romantic ballad could reach the 
 height of tragedy, when Lowe gave it German voice. As 
 for opera, Mozart so infused Italian principles with the 
 force of his dramatic instinct as to give the world three 
 consummate advances on all Italian models preceding, ad- 
 vances beyond which music in operatic conditions never 
 has gone and never can go. Beethoven speaks with the 
 soul forever in the three acts of " Fidelio." Weber and 
 Marschner have built up the structure of a truly German- 
 romantic opera to perfect effect. Wagner has brought into 
 an absolutely stupendous demonstration a group of theories 
 as to the lyric-dramatic opera — theories which, with all their 
 error of expression even from so great a workman, are of 
 psychological power overwhelming to the mass of opera- 
 hearers to-day (not necessarily even musical) and which 
 have indeed put a period for the time to any new phase of 
 opera as drama. 
 
 In church-music and in religious music (to use a false 
 term) the Germans and the German-Austrians have said 
 what no other schools seem to have conceived in any eccle- 
 siastic or devotional or spiritually reflective connection. The 
 suave beauty of Italian polyphony as we find it in the 
 
 ^ :hurch-music of Palestrina and Leo and of Marcello and 
 Pergolesi grows colourless when our ears contrast it with 
 he Mass in B minor of Bach and the D minor Mass of 
 
 '* jBeethoven. True, a lovely and devout Italianism created 
 
 '^'' bratorio ; but it was left for Handel to write " Israel in 
 Egypt " and the " Messiah," and for Mendelssohn to con- 
 
 0'" '.ummate such a form of musical and of religious receptive- 
 less as " Elijah." 
 In fact it is through a subtle appeal to the very core and 
 
 :0'' ssence of human nature just as it is, just as we meet it daily 
 
36 THE MUSICAL GUIDE 
 
 about us, as we know it to be struggling or repressed in our 
 very selves, in our heart of hearts, that the German school 
 has so influenced music. Its voice is the voice of mystic 
 humanity in us ; and something more. Haydn, Mozart, 
 Gluck, Beethoven, Schumann, Schubert, and Brahms have 
 not degraded music in relation to our merely artistic ideal 
 of it. They have not laid violent hands on it as art, and 
 wrested it away from its earlier mysteriousness. They have 
 brought it near to us by a wonderful natural gift and in- 
 sight. But they have made music psychologically as near- 
 ly an articulate and organic thing as it is possible to make 
 it. From Bach to the second Johann Strauss this is out 
 of question. There is no clear outlook at present for any 
 further mastery over it — mystic and ever-elusive art that 
 it is — none for any more articulate soul messages. The 
 German has entered within the holy of holies of musical 
 art. To him has been granted the freest foot in its vague 
 realm yet granted to any mortal. 
 
 Whether after such a glorious and dominant past the 
 German is likely to go further for us than he has already 
 done, we may well believe is not in the bounds of even the 
 most thoughtful and the most psychologic of prophets in 
 aesthetics to decide for us. All the future of music is at 
 present a strange problem. We are certainly swinging back 
 to the highest ideals and the truest expressions of them, in 
 such large measure the express embodiments of German 
 composers. We do so daily not only because the " Ger- 
 man " symphony, concert overture, concerto, string quartet, 
 pianoforte sonata, song, oratorio and opera are what they 
 are, but because with the departure from the world of the 
 last set of greater " German " composers a twilight seems 
 to be settling down over all mortal musical creativeness. 
 
 The youngest, the most suddenly and prodigally flores- 
 cent of all aesthetics, seems to demand a time of silence, of 
 
 I 
 
THE NATIONAL SCHOOLS 37 
 
 repose, of inaction. It seems to say, " I have done enough 
 for awhile, I have given you enough for awhile. Let me 
 sleep for a century or more." And such being music's 
 good pleasure, we cannot deny that the German mind and 
 temperament have given the most beautiful and solemn 
 " last word " the art has published. 
 
 T 
 
 French Music 
 
 HE history and scholastic aspects of France in 
 music are like the relationship of France to the de- 
 velopment of the sister arts — of painting, of archi- 
 tecture, of sculpture, and even of literature. We do not find 
 the gift of high origination — of invention — of striking out a 
 "[I new ground of principles — fresh forms and phrase. Instead, 
 ' [ j we find that the mission of the French composers from the 
 ,1] first fruits of their musical creativeness (often so lavish and 
 J i rich) to our own day has been to clarify, to refine, to suggest, 
 ,1 1 often to imitate with a most subtle and elegant technical 
 j i improvement, what Germany and. Italy may have invented 
 [ in one or another form, but have not carried out in the 
 '[ ! same degree of a lucid and logical eloquence. More than 
 ^ t that, in several of the most dignified forms of music, in 
 ' ) I that music which approaches the abstract, as the symphony 
 . I and the deepest expressiveness of chamber-music approach 
 ' I it, we find France has ever been singularly lacking In her 
 , : I contributions ; and has not only made no advance on the 
 I I same foundation, no successful rivalry, but has distinctly 
 i failed to take a firm place and to win universal recognition. 
 I Between the symphonies of Mozart or Beethoven and 
 ' I those of Saint-Saens or Franck ; between the songs of 
 ^* I Schubert and Brahms and the lyrics of Godard and Mas- 
 ' I senet, from the string quartets of Haydn or Smetana to 
 
38 THE MUSICAL GUIDE 
 
 the best works of the Gallic hand, there is a long musical 
 distance ; and in sonata-writing for the pianoforte the 
 French temperament has not in any wise distinguished 
 itself. 
 
 The French troubadour (corresponding to the minne- 
 singer of Germany's early musical day), a development un- 
 der Italian influences in the South of France, is now a 
 romantic and venerable figure before us as we study the 
 mediaeval growth of secular music in French social life. 
 If we include the Franco-Flemish masters of religious 
 church-music in the seventh, eighth, ninth and later cen- 
 turies until the close of the sixteenth, France offers a series 
 of composers for the Church of great learning and often ; 
 lastingly instructive work. Such are de Meurs (1300?- 
 1370?), Dufay (1350), Ockeghem (i430?-i495 ?) and Gou- ■ 
 dimel (1505 ?-i 572). With this group, we are near to the 
 great Italian church-composers represented by Palestrina ; 
 (1514?-! 594), who was taught by Goudimel. 
 
 The element of concrete, human emotion is strong in 
 French temperament and art. We are therefore not sur- ; 
 prised to find the opera* a vigourous phrase In Frange's i 
 music-story ; but with the establishment of Italian opera In ji 
 France under Mazarin a foreign form for dramatic mu- j 
 sic was seized on by French composers and soon made ; 
 Into something their own, and unlike that which they Im- I 
 Itated ; and such it has continued even to our day. Cam- 
 bert (1628 ?-i677), pioneer, and the great founder of 
 French opera, Lulli (1633- 1687), and the equally gifted 
 Rameau (i 683-1 764), defined opera for France with grace 
 and force. 
 
 The noble, sincere art of Gluck (who though a German ; 1 
 by birth belongs to France in his purest glory) is elo- 
 quent to us to-day, though his " Orphee " and " IphI- ' 
 genie " and " Armide " date from the last year before the . i 
 
 
 
 ■ ' 
 
THE NATIONAL SCHOOLS 39 
 
 French Revolution. Every dramatic and musical princi- 
 ple re-proclaimed by Wagner is contained in Gluck's best 
 scores. From Gluck we advance to the truly modern 
 epoch. The works of Lesueur (i 764-1 837) are not vital 
 now ; but Cherubini, " the French Beethoven," holds a 
 high place for his best operas and his austere Requrem, a 
 masterpiece of church-music. The galaxy of French opera- 
 writers is met herewith — Mehul (1763-18 17), Boieldieu 
 (1775-1834), Gretry (1741-1813), Auber (1782-1871), 
 Herold (1791-1833), Meyerbeer (1791-1864), the most 
 distinctively French composer as a stylist in opera of the 
 period, Halevy (1799-1862), and Berlioz (i 803-1 869). 
 With Berlioz (who is truly a Titanesque figure in modern 
 French music, either for opera or concert, but ever gran- 
 diose rather than grand) we are in quite our own epoch. 
 Gounod, Bizet, and Lalo are its strongest and most widely 
 recognized creators of serious lyric drama. " Faust " and 
 " Carmen " are of universal acceptance. To these masters 
 has succeeded a prolific Germano-GalHc school of music, 
 both secular and religious, under Wagnerian or Neo-Ital- 
 ian or other influence. The most salient, if not always 
 vigorous expressions of this group, we soon find in the 
 scores of Massenet, Salvayre, Chabrier, Reyer, Saint-Saens, 
 and Franck, de Lara, Leroux and Charpentier. We must 
 not forget that Offenbach, the creator of satiric opera- 
 bouffe, not only was a figure of brilliant originality under 
 the second Empire, but, like Johann Strauss in Austria, 
 seems destined to a longer vitality than was expected a 
 decade ago and has created a school of imitators of wide 
 vogue. 
 
 It is not likely that In any form of music France will 
 originate more in the future than her brilliant and most 
 representative composers have done in the past. But it is 
 something — a great thing — in modern music to hold our 
 
.40 THE MUSICAL GUIDE 
 
 interest and admiration by the art with which a work, from 
 a song to a symphony, is written for us, the skill of mere 
 means even to an imitated purpose. In this gift it is not 
 likely that the French composers soon will fail us. We 
 can hear them with pleasure where their message is neither 
 new ftor valuable in itself — a racial trait and grace. 
 
 English Music 
 
 IT is under restricted meaning that we can speak at all of 
 an " English " school of musical art. However flexi- 
 bly the word " school " be employed in defining mu- 
 sical utterances, after all it should stand for a distinctive indi- 
 vidual product ; and in case of a country and race, for an 
 accent in symphony, oratorio, opera, chamber-music and 
 song, that is national and individualised. It should not be 
 reckoned as merely a product of influences from outside. 
 In England nearly every form of music has been an impor- 
 tation ; and almost every expression of the art that is effec- 
 tively represented in the present or the past history of musical 
 composition in England is derived or reflects Italy, France, 
 or Germany. Musical composition and musical taste in 
 England itself in the old-time of the art lagged behind 
 the popular developments in Wales, Scotland, and Ireland 
 (where the bardic expressions of music early were enjoyed 
 by all classes), and creative productiveness was proportion- 
 ately slow. The Italian musical influences in due course 
 obtained, as did Italian literary influences, and later the 
 German and French ; and English composition to-day is a 
 more or less disguised and eloquent product of Continen- 
 tal developments of the art, and English popular taste 
 for music in abeyance and instructed by the Continental 
 product. 
 
THE NATIONAL SCHOOLS 41 
 
 There are, however, three exceptions to this general 
 summary. The Enghsh Ballad — the true ballad — with its 
 precise, definite rhythms and clear periods has an individ- 
 uality at once strong in song, and admirable in sincerity 
 and beauty. The Scotch and Irish lyric, or instrumental 
 expression, is also distinct ; and both interesting and beau- 
 tiful. The second exception is represented by the finest 
 developments of music for the organ and for its churchly 
 usage ; and the choral English anthem, and what apper- 
 tains to English liturgical offices in music. Here we can 
 review a noble musical structure. It was gradually per- 
 fected from the time of Elizabeth (in particular) as a prod- 
 uct of English, Italian and German musical art fused to- 
 gether. Bright lights in it have been Dunstable, Tallis, 
 Bird, and the gifted Purcell ; the majestic Gibbons and Blow ; 
 the great organist Bull ; the English fraction of Handel's 
 work in oratorio and for the Protestant church service ; and 
 the busy group of contemporary English composers for the 
 offices of the National church, who are not much under 
 foreign influences of one sort or another. Although Han- 
 del is always to be reckoned as of England, and as develop- 
 ing the English " oratorio " to its climax, we cannot speak 
 of "the great Saxon " as uttering an " English style," so. 
 much as a modification of German and Italian musical 
 forms and accents, whether in an oratorio or an opera, a 
 cantata, a suite or an organ-piece. Purcell, after all, was 
 operatically Italian. Costa said little to be reckoned 
 " English." Nevertheless in one field of opera to-day 
 England has an assured and a brilliant individuality. It has 
 not come in the serious opera, whatever successes have been 
 won by such skilled workers as Benedict, Balfe, Stanford, 
 and MacKenzie, Goring Thomas and others ; but in the 
 genius of Sir Arthur Sullivan for light opera. By Sullivan 
 ^nd in a lesser degree by Cellier, an English operatic mes- 
 
42 THE MUSICAL GUIDE 
 
 sage firmly and graciously has been given forth, allowing for 
 all suggestions of influences from abroad. Sullivan's "Pin- 
 afore," "Mikado," "Ruddygore," and "The Yeoman of 
 the Guard," are masterpieces of invention and of musical 
 diction — not to be confused with Italian, French, or German 
 products. 
 
 In modern secular music for the orchestra some supe- 
 rior symphonic work has come from Bennet, Cowen, and 
 others ; and particularly contemporaneous high lights iii 
 composition in large form for the orchestra or choral choir 
 are Edward Elgar and Coleridge-Taylor. Both these vig- 
 orous writers are, however, of the modern German school 
 rather than of any English style ! 
 
 Altogether we must accept the fact that in England music 
 is not an original art-expression, compared with the products 
 in other and more genial lands. The English temperament 
 is not yet to the manner born, musical. Musical produc- 
 tivity is a process of kindly foreign sunshine and of enrich- 
 ment of a more or less England-born and England-working 
 musical talent. If a genius of world-wide importance is to 
 be expected from England and as " an English composer," 
 he has been long on the way, and will now have hard work 
 •to win any " towering pride of place." Dignified national 
 productivity is not national originality ; nor a national voice 
 and school in aesthetics. 
 
 Russian Music 
 
 THE youngest school (as a strictly national develop- 
 ment of composition) of which the average student 
 of music must seriously take account at present, is 
 that of Russia. It has, however, reached a clear and, in large 
 measure, a singularly impressive unfolding for the extra- 
 Slavic world's notice within the century, in which distinct- 
 
THE NATIONAL SCHOOLS 43 
 
 ively Russian musicianship has made its place good in the 
 concert-rooms, in the drawing-room, and in the operatic es- 
 tabHshments of almost every corner of aesthetic Europe and 
 America. 
 
 Like the Italian, and the Hungarian, and the Pole, so 
 is the Russian, by nature, intensely musical. Often he is 
 morbidly so. The peasant and the prince alike are born 
 to quick musical Empfindlichkeit. The folk-songs and 
 folk-melodies for the dance or more serious mood are im- 
 memorial, beautiful, and countless. All truly Russian mel- 
 odies have a peculiar voice and character of their own — scale 
 and rhythms are rich in melancholy, in passionate gaiety, in 
 dramatic accent and in varied hints of the psychologic. A 
 strain of Orientalism is not absent. The Russian sings or 
 makes instrumental music by impulse and feels music by 
 impulse (the balaika, a three-stringed guitar, is the original 
 musical instrument of Russia). 
 
 Such being the popular aspect noted, we turn to the 
 formal development of the art in Russia. This, as has 
 been mentioned, is little more than a century old in culti- 
 vated activity. Its chief classic is — curiously — an operatic 
 writer, Michel Glinka, of Smolensk (i 804-1 869), a gifted 
 man in many other traits than music, a pupil of Dehn along 
 with the two Rubinsteins. His two finest operas, " A Life 
 for the Czar " and " Ruslan and Ludmilla," are, to Russian 
 lyric drama, what Mozart, Gluck, and Weber are to Italian, 
 French and German opera. Dargomizsky (18 13-1869) is 
 a link between Glinka and Anton Rubinstein. Anton Ru- 
 binstein, however, although popularly accounted as a Rus- 
 sian master-worker and although so great an influence for 
 music in Russia (I am not speaking here only of his career 
 as a pianist), was less a Russian than a German composer 
 in matter and manner. His best music is superb; his birth 
 and works honour Russia, but in symphony, pianoforte 
 
44 THE MUSICAL GUIDE 
 
 music and opera, Anton Rubinstein was Germanised early 
 and stayed thus to tlie end, nolens volens. 
 
 Far more national in " school " is Borodin, a writer of 
 the first order, whose opera, " Prince Igor," is a classic, 
 though its composer has been dead only some fourteen 
 years. Yet a further height of national Russian utterance 
 in music comes with Balakireff, a native of Nijni-Novgorod, 
 whose heart ever turns toward the folk-tunes of all Russia 
 for thematic material. The most national Russian com- 
 poser, however, and a veritable giant in the technical use of 
 Slav themes is Tschaikowski, whose masterpieces are not to 
 be questioned as to their being Russian music and strong 
 developments of composition scientifically, measured by any 
 school. 
 
 The contemporary Russian movement is represented 
 especially in Rimsky-Korsakow, a giant for modern orches- 
 tration and a magician in orchestral effectiveness ; in Cesar 
 Cui, a brilliant operatic writer ; and in Alexander Glazounow, 
 a pupil of Rimsky-Korsakow, and a symphonist of strong 
 Slavic diction, as well as a technicist of orchestration equalled 
 only by the most eminent writers of the day. 
 
 The actual profession of composition in music is yet a 
 recent — one might almost say experimental — profession in 
 Russia. We find one distinguished composer is a soldier, 
 another a lawyer, another a marine officer, another a military 
 official by his legal standing. Which gives us rather a curi- 
 ous perspective of amateurism, if of magnificent amateurism. 
 However, this older aspect is each year passing away, the 
 Russian conservatory system is widening and taking root in 
 the greater cities ; and while the most gifted contemporaries 
 are not always concentrated on their own home-material for 
 subjects, they have fairly impressed the world as a distinct 
 school. Often they have astonished and fascinated it. 
 
THE NATIONAL SCHOOLS 45 
 American Music 
 
 THE youth and lack of uniformity of the United 
 States citizenry furnish excuses for the absence of 
 a strictly national art hitherto. But, after all, 
 there are not many countries that have preserved one form 
 of government so long as the Constitution has been presid- 
 ing over the assimilation of the world-pilgrims. Youth is 
 a disease for which time is an almost certain cure, and too 
 much uniformity of thought and character is favourable 
 rather to stagnation than life. 
 
 At last, however, American music has arrived. It is 
 only a healthy and somewhat bewildered child as yet, but 
 it has the beginnings of an accent quite its own. The 
 American composer has had a combination of advantage 
 and disadvantage in the thoroughly foreign nature of most 
 of his tuition. But so Germany and France took their start 
 in Italy. As they gradually learned the importance of mak- 
 ing their alien dexterity a medium for the expression of na- 
 tive and national emotions and personalities, so has Amer- 
 ica finally reached the stage of true introspection expressed 
 with outward polish of manner. 
 
 The high favour of the foreign executant as pianist, violin- 
 ist, 'cellist, opera and concert singer, and also as orchestral 
 leader and yeoman, has been an obstacle to the wide and 
 easy promulgation of the native composer's experiments 
 and achievements. 
 
 Through the fog of a thousand discouragements and dis- 
 tractions, however, the cause has groped until a few sturdy 
 figures have emerged already into prominence and even 
 into importance. The forms in which the earliest successes 
 have been found have naturally been the smaller. In 
 grand opera there has been absolutely nothing achieved in 
 a public sense, though doubtless there are enough manu- 
 
46 THE MUSICAL GUIDE 
 
 script grand operas to bankrupt a dozen impresarios. In 
 the symphony there have been only a few works of large 
 worth, though John Knowles Paine's " Spring Sympho- 
 ny," Edgar S. Kelley's humourous symphony " Gulliver," 
 and Henry K. Hadley's " Youth " are full of personality, 
 art, and genuine vitality. A number of overtures, sym- 
 phonic poems and prologues have shown a right to exist, 
 notably George W. Chadwick's " Melpomene," Arthur 
 Foote's "In the Mountains," Frank van der Stuck- 
 en's " RatclifFe," and various works by Johann H. Beck, 
 Harry Rowe Shelley, C. C. Converse, and Mrs. H. H. A. 
 Beach, while Edward MacDowell's " Indian Suite," Henry 
 Schoenefeld's " Sunny South Overture " and Kelley's 
 " Aladdin " have exploited fields of local colour in which 
 the American finds much novelty ready to hand. Various 
 symphonic poems and orchestral suites deserve the men- 
 tion space forbids them here. Of concertos there are 
 many, Henry Holden Huss having written an especially 
 excellent work for piano. 
 
 In the field of the sonata MacDowell has written two 
 masterworks, the sonatas " Eroica " and " Tragica," and a 
 piano " Fantasy " by Arthur Whiting is a notable innova- 
 tion in the free manipulation of the sonata form. The 
 religious choral works of Dudley Buck and Horatio W. 
 Parker deserve serious acceptance. The marches for brass 
 band written by John Philip Sousa have gained world-wide 
 note for their military fire and novelty. In the realm of 
 smaller piano pieces, cantatas, and songs, there is an em- 
 barrassment of riches. The piano-works of MacDowell, 
 who gains eminence in all fields, and of Harvey Worthing- 
 ton Loomis are genuine creations. 
 
 In the short-song form these two men collaborate wit! 
 such sterling individualities as Kelley, Ethelbert Nevin^ 
 Foote, Wilson G. Smith, James H. Rogers, Fred Fiek' 
 
THE NATIONAL SCHOOLS 47 
 
 Bullard, Margaret Ruthven Lang, Ad. M. Foerster, Ho- 
 mer A. Norris, Howard Brockway and others, to give 
 America a song literature whose importance is not sur- 
 passed in contemporary composition. There is also a large 
 body of naturalised foreigners who, while hardly justifying 
 the epithet American, are yet aiding to make American 
 musical life one of great activity, a life which has accom- 
 plished more than might have been fairly expected, and 
 gives promise most glowing. 
 
by 
 
 Louis C. Elson 
 
 on 
 I. The Great Instrumentalists. 
 II. The Great Singers. 
 
 I 
 Great Instrumentalists 
 
 IF the time of Beethoven, Schubert, and Haydn was a 
 golden epoch in the field of musical creation, the present 
 has become, in even a greater degree, the era of musical 
 execution, for we have attained a standard of musical excel- 
 lence far beyond anything ever dreamed of by the classical 
 composers. Feats which Beethoven's critics derided as 
 being too difficult for the violin (the high C in the " Eg- 
 mont " overture for example) are now readily within the 
 scope of all good orchestral players, and our concert pian- 
 ists have now definitely shelved the cadenzas which the old 
 masters wrote for their concertos as being too simple to 
 display the modern points of technique. 
 
 Piano technique, beginning with Bach's " Well-tempered 
 Clavichord," advancing with Clementi and Cramer, found 
 its transition period in the time of Moscheles, and then 
 culminated in two diverse ways — the poetry of Chopin and 
 the brilliancy of Liszt. All of the pianists cited in these 
 pages will be most easily measured by four standards, viz. : 
 — Bach, for intellectuality; Chopin, for emotion; Beet- 
 hoven, for a combination of both in equipoise ; and Liszt, 
 
 48 
 
GREAT INSTRUMENTALISTS 49 
 
 in such works as the " Don Juan " Fantasie, for technique 
 pure and simple, or rather pure and difficult. 
 
 D'Albert achieves his chief triumphs in the Beethoven 
 school ; Von Biilow was pre-eminent in the last five Beet- 
 hoven sonatas ; De Pachmann leads the Chopin band ; 
 Paderewski is famous in Chopin as well as in the entire 
 modern school ; Rosenthal scintillates with all the pyro- 
 technics of the latest specialists. Occasionally one finds a 
 Liszt who is almost equally great in all the schools, or a 
 Rubinstein in whom intellectuality and emotion are well 
 combined. 
 
 Less diverse are the schools of violin-playing, for here 
 the evolution has taken two rather distinct roads : pyro- 
 technics on the one hand, and soulful expression on the 
 other. While these two styles are sometimes combined, 
 as for example, in the Mendelssohn concerto, they are 
 sufficiently distinct to enable one to classify every soloist 
 as belonging chiefly to the one or the other school. 
 
 Paganini, the greatest violinist that ever lived (as Liszt 
 might be called the greatest pianist), was distinctly de- 
 voted to technical display, in which he so entirely dis- 
 tanced all competitors that some of his cadenzas cannot 
 )ian- 1 be played exactly as originally written by even the greatest 
 lold technicists of our time. He was able to produce the 
 twelfth harmonic with absolute clearness (his strings were 
 made especially thin for this effect), the most intricate 
 double harmonics had no terrors for him ; special ways 
 of tuning were studied out by him for special effects ; but 
 we learn from contemporary authorities, that his tone was 
 neither broad nor especially sympathetic. Joachim, in our 
 own day, has held the violin sceptre, and combined tech- 
 nique and expression in a marvellous degree. A host of 
 woman-violinists has arisen, with Lady Halle at their head, 
 and as will be seen in other parts of this volume, the 
 
so THE MUSICAL GUIDE 
 
 modern school has brought forth numerous young violinists |oj 
 of both sexes, among whom it might be hard to select an 
 absolute monarch of violin-playing — such as Paganini un- 
 doubtedly was — from the technical side. 
 
 On other instruments, too, one can find definite leaders, 
 as for example, Servais, on the violoncello ; Dragonetti, on 
 the contrabass ; Thomas Harper, in trumpet-playing, etc. ; 
 all illustrating in a large degree the triumph of technical 
 skill and the modern tendency toward specialisation of 
 effort in the music of the last hundred years. 
 
 Great Singers 
 
 IF, as may be seen in the article on " Great Instrumental- 
 ists " (pages 48-50), their technique has been advancing 
 in modern times, almost the opposite may be said in 
 regard to the art of singing. The studies required of the 
 vocalist in the seventeenth and eighteenth centuries would 
 be appalling to the singers of to-day, and every operatic 
 manager finds more difficulty in finding an adequate quar- 
 tette for the " Barber of Seville " than in selecting forces 
 for " La Boheme," or even such great works as " A'ida " 
 or " Otello " ; even Wagnerian singers are becoming more 
 plentiful than thorough coloratura singers. 
 
 The study of vocal art is the most ancient branch of 
 technical musical work. Gaditanian singers were trained 
 for performance in imperial Rome eighteen centuries ago ; 
 the Phonarci, vocal teachers of Athens, preceded even 
 these ; the early Christians made vocal conservatories of 
 their orphan asylums in the third century ; Julian, a little 
 later, endeavoured (in opposition) to found a Pagan sing- 
 ing-school in Alexandria ; the Copts in earliest times gave 
 
GREAT SINGERS 51 
 
 long cadenzas upon almost every syllable of their religious 
 songs ; Notker, in the tenth century, trained many digni- 
 taries of the Church in singing ; Guido, of Arezzo, in the 
 eleventh century, taught sight-singing and the vocal sylla- 
 bles ; the list might be carried on in an almost unbroken 
 line down to our own times. 
 
 But the period of greatest vocal development is found in 
 Italy in the seventeenth century. A whole race of vocal teach- 
 ers culminated in Nicolo Porpora, whose pupils, Farinelli, 
 Senesino, CafFarelli and many more, won the highest fame. 
 
 It may be mentioned en passant that Italy has always 
 been prolific in natural tenors, and Spain even more so. 
 Russia is the land of phenomenal basses ; England is 
 the natural home of the alto; America of the soprano. 
 Whether such vocal characteristics are racial, alimentary or 
 cHmatic has not yet been decided. 
 
 Yet the greatest sopranos of the world, Catalani, Mali- 
 bran, Patti, do not belong to America. The highest soprano 
 that history tells us of was Agujari, sometimes called " La 
 Bastardella," who really sang, not squeaked, a full octave 
 higher than the highest of our famous sopranos of to-day, 
 and we have Mozart's authority for the good quality of her 
 high notes. 
 
 It is not our purpose in such a very brief synopsis to 
 speak of many of the famous singers, the list of whom 
 alone would form a long article ; we desire only to speak 
 of those who are especially representative of some epoch 
 or are recognised as absolute leaders in their field. 
 
 Such a leader was Luigi Lablache, the most wonderful of 
 all bass singers. His ponderous voice could easily overtop 
 the heaviest orchestra, yet was modulated with the skill 
 and flexibility of a flute ; the most showy cadenzas could 
 be sung by him as easily as if he were a soprano leggiero^ 
 yet he could also sing the Priest's part in "The Magic 
 
52 THE MUSICAL GUIDE 
 
 Flute," or any role requiring ponderous majesty. Among 
 great altos one thinks first of Alboni. 
 
 The list of leading tenors would be a difficult one to 
 compile, yet Rubini, Mario, and the modern Jean de Reszke 
 are representative. 
 
 A special list of Wagnerian singers might be added, 
 but it may be observed that th^ title will soon lose its 
 especial meaning, for many of the Italian and French ar- 
 tists are entering this field and proving that the same ap- 
 plication of vocal technique is necessary in the singing of 
 Wagner's roles that is required in Mozart or Rossini. One 
 may learn in Italy the vocal method to be applied to the 
 operas of Germany. 
 
^ 
 
 iMi 
 
 of 
 
 Abbreviations, Titles, Dignities, 
 Institutions, Etc. 
 
 Acad., Academy. 
 
 a capp. (/., acappclhi), unaccompanied. 
 ace, according(ly). 
 accomp., accompaniment. 
 allg., allgem, ((7., allgemein), uni- 
 versal, general. 
 app., appointed. 
 apt., appointment. 
 Arab., Arabian. 
 
 Archbp., Archbishop. * 
 
 arr., arranged, arrangement. 
 asst., assistant. 
 
 b., born. 
 
 bandm., bandmaster. 
 
 bar., barytone. 
 
 B. D., used of the Biographical Dic- 
 tionary in this volume. 
 
 biog., biography, biographical. 
 
 C, composed. 
 
 ca, circa (Z,.), about. 
 
 oath., cathedral. 
 
 Cav. (/., Cavalier e). Chevalier. 
 
 cent., century, as iSth cent. 
 
 cf. (Z., confer), compare. 
 
 ch., church, chorus, choir. 
 
 chapelle (/".), chapel, choir. 
 
 Chev,, Chevalier. 
 
 choirm., choirmaster. 
 
 clar., clarinet. 
 
 coll., collected, collection, collector, 
 college. 
 
 collab., collaborated, collaboration. 
 
 comp(s)., composition(s). 
 
 cond., conducted, conductor (this abbre- 
 viation is here used for the equivalents 
 
 in various languages, Kapellmeister, 
 
 maestro di cappella, maitre de chapelle, 
 
 etc.). 
 Cons., Conservatory (Conservatoire, 
 
 Conservatorio, Conservatorium). 
 cpt., counterpoint. 
 cptist., contrapuntist (used of an early 
 
 composer of highly contrapuntal 
 
 works). 
 ct., court ; ct.-cond., court-conductor ; 
 
 ct,-Th., court-theatre ; ct.-opera, 
 
 court-opera. 
 
 d., died. 
 
 D. D., used of the Dictionary of Defi- 
 nitions in this volume. 
 
 diet., dictionary. 
 
 dir., director. 
 
 do., ditto. 
 
 dram., dramatic. 
 
 Dr. jur. (Z., doctor juris). Doctor of 
 Law(s). 
 
 Dr. phil. {L., doctor pkilosopkicE), Doc- 
 tor of Philosophy, h. c. (Z., honoris 
 causa, i. e., honorarily.) 
 
 ecd., ecclesiastical. 
 ed., edited, editor, edition. 
 e. g. (Z., exempli gratia), for example. 
 eng., engaged. 
 Engl., England, English. 
 est., establ., established. 
 et seq. (Z., et sequentes, sequentid), 
 and the following. 
 
 F., Fr., French. 
 Fast., Festival. 
 
 53 
 
J4 
 
 THE MUSICAL GUIDE 
 
 fl., flute. 
 
 fracm., fragmentary ; fragment(s). 
 
 F.(R.)C. O., Fellow of the (Royal) 
 
 College of Organists, London. 
 Frl. {G., Frdulein), Miss. 
 
 G., Ger., German. 
 
 gen., general. 
 
 Govt., Government. 
 
 Gr., Greek. 
 
 gr., grand. 
 
 grossherzoglich (gros-har-tsakh-nkh , 
 
 G.), Grandducal. 
 Gym., Gymnasium. 
 
 harm., harmony. 
 
 harps., harpsichord. 
 
 h. c. (Z., honoris causa), used of hon- 
 orary titles. 
 
 Heb., Hebrew. 
 
 herzoglich (G.), Ducal. 
 
 H. M.'s Th., Her Majesty's Theatre. 
 London. 
 
 Hochschule (hokh' - shoo - le. 6^.), 
 " High School," college, university. 
 
 Hof (hof , G.), court ; a frequent prefix, 
 as in Hof-kapclh\ court-chapel, or 
 court-orchestra; Hof KapcUmeis- 
 ter, court-conductor ; Hofmustkin- 
 tendant, superintendent of the court- 
 music, etc. 
 
 hon., honorary. 
 
 Hun., Hungarian. 
 
 I., It., Ital., Italian. 
 
 ib., ibid. (Z., ibidem), in the same place. 
 
 id. (Z., ideni), the same. 
 
 i, e. (Z., id est), that is. 
 
 Imp., Imperial. 
 
 incid. music, incidental music (to a 
 
 drama). 
 inch, including. 
 inst., institute, institution. 
 instr(s)., instrument(s), instrumental. 
 introd., introduction, introduced. 
 inv., invented, inventor. 
 
 Jap., Japanese. 
 
 L., Latin. 
 libr., librarian. 
 lit., literally. 
 lyr., lyric. 
 
 m., married. 
 
 M(aestro) (Z), teacher, conductor ; 
 
 m. a I cembalo, the conductor, who 
 
 formerly sat at the harpsichord ; m. 
 
 dei piitti. Master of the choir-boys. 
 m. de chap. {F., maitre de chappelle), 
 
 conductor, 
 m. di capp. (Z, maestro di cappella), 
 
 conductor. 
 M. E., Methodist Episcopal. 
 melodr., melodrama. 
 Met. Op., Metropolitan Opera House, 
 
 New York. 
 mfr., manufacturer. 
 mgr., manager. 
 mid., middle. 
 min., minor. 
 mod., moderately. 
 m.-sopr., mezzo-soprano. 
 M. T. (N.) A., Music Teachers' (Na- 
 
 tional) Association. 
 mus., music, musical, musician. 
 Mus. Antiq. Sec, Musical Antiqua- 
 rian Society, London. 
 Mus. Bac. (Doc), Bachelor (Doctor) 
 of Music. Vide D. D. 
 
 n., near. 
 
 Nat. Cons., National Conservatory, 
 New York. 
 
 N. E. Cons,, New England Conserva- 
 tory, Boston. 
 
 n. s., new style (referring to the use of 
 our calendar in place of the Russian 
 or old style). 
 
 N. Y., New York, U. S. A. 
 
 O., Ohio, U. S. A. 
 
 obbl., obbligato. 
 
 obs., obsolete. 
 
 op., opus, opera. 
 
 Op. com., opera-comique ; or the 
 
 Opera Comique at Paris. 
 Oper {G.), opera. 
 
 Op6ra,used of the GrandOpera at Pans, 
 orch., orchl., orchestra, orchestral. 
 org,, organ, organist. 
 o. s., old style, see n. s. above. 
 Oxon. (Z., Oxonics), of Oxford. 
 
 p., part. 
 pes., pieces. 
 
LIST OF ABBREVIATIONS 55 
 
 %!w«. 
 
 ^iHocse, 
 
 <:viloiy, 
 
 P. E., Protestant Episcopal. 
 
 perf., performed. 
 
 pf., pianoforte. 
 
 Philh., Philharm., Philharmonic. 
 
 Pol., Polish. 
 
 pop., popular. 
 
 Port,, Portuguese. 
 
 pres., president. 
 
 Presb., Presbyterian. 
 
 prod., produced. 
 
 Prof., Professor (a special title of great 
 
 distinction in Germany). 
 pseud., pseudonym. 
 pt., pianist. 
 pub., published, publisher. 
 
 R., Royal. 
 
 R. A. M., Royal Academy of Music, 
 
 London. 
 R. C, Roman Catholic. 
 R. C. M., Royal College of Music, 
 
 London. 
 Regius musicus. Royal musician. 
 ret., retired, retiring, returned. 
 rev., revised. 
 Rev., Reverend. 
 Rus., Russian. 
 
 sch., school. 
 sec, secretary. 
 soc, society. 
 sopr., soprano. 
 Sp., Spanish. 
 
 St., studied, studying, student. 
 succ, successfully, success. 
 supt., superintendent. 
 syniph., symphonic, symphony. 
 
 t., teacher, taught. 
 
 th., theatre. 
 
 th., theorist (writer of treatises). 
 
 th.-cond., conductor of theatre-orches- 
 tra. 
 
 transcr., transcribed, transcription. 
 
 transl., translated, translation, trans- 
 lator. 
 
 Tur., Turkish. 
 
 Unit., Unitarian. 
 U. S., United States. 
 U., Univ., university. 
 
 v., I. (Z., vide) see ; as v. B. D., see the 
 Biographical part of this volume, v. 
 D. D., see the Defining Dictionary. 
 2. very, as v. succ, very successful* 
 
 (ly)- 
 
 var(s), variation(s). 
 via., viola. 
 vln., violin. 
 vt., violinist. 
 
 VT., with. 
 
 Wis., Wisconsin, U. S. A. 
 
 Ztg. {G., Zeitung), Gazette. 
 
Pronouncing £^ Defining 
 
 I Bitttonar^ 
 
 I ' . ^ 
 
 * Musical Terms, Instruments 
 
 A 
 
 A 
 
 {G.?i; F. I. & Sp. la.) i. A 
 musical pitcli (435 vibrations 
 per second, according to the 
 standard adopted in France 
 1879 and at Vienna 1887, and called 
 diapason normal). 2. Any octave of 
 this pitch. 3. This tone designated 
 in Absolute Pitch (q.v.) as a' is invari- 
 able on the oboe, and is accordingly 
 used as the tone to which the whole 
 orchestra is attuned. It is hence 
 called the normal tone. 4. The major 
 key with three sharps. 5. The minor 
 key relative to "C major. 
 
 a, a or ab, Z., /., F. By, from, for, to, 
 at, in, etc' 
 
 ab (ap), G. " Off." Used of stops. 
 
 abacus harmon'icus, L. i. A table 
 of notes. 2. The arrangement of 
 the keys and pedals of an instrument. 
 
 abanera (a-ba-na'-rii), Sp. Vide ha- 
 banera. 
 
 abandon (a-ban-don), F. Lack of all 
 restraint in emotion. 
 
 abbadare (ab-ba-da'-re), /. To take 
 care. 
 
 abbandonar si, abbandonatamen'te, 
 abbando'ne, abbando'no, /. With 
 abandon. 
 
 abbassamen'to, I. Lowering. A. di 
 mano, (a) down-beat ; (b) the carry- 
 ing of one hand below the other in 
 
 ' Phrases beginning with these and other 
 prepositions will be found under their principal 
 words. 
 
 piano playing. A. di voce (vo-che), /. 
 Loweringof the voice. Diminution. 
 
 abbatimen'to, /. Down-beat. 
 
 abbellare (iib-bel-la'-re), /. To orna- 
 ment. abbelitura(e) (too'-ra), a- 
 bellimen'to(i). Embellishment(s). 
 
 abbetont (ap'-ba-tont), G. With final 
 emphasis. 
 
 a-b-c-d-i(e)ren (a-ba-tsa-de'ren), G. 
 To sing the notes by their letter 
 names. 
 
 Abend (a'-bent), G. Evening, -glocke. 
 Curfew, -lied (let). Even song. 
 -musik (moo-zek'). Evening music. 
 
 abenteuerlich (a'-ben-toi-er-likh), G. 
 Venturesome. 
 
 abfal'len, G. To deteriorate, -gebro- 
 chen (iip'-ge-brokh-en). Interrupted. 
 Vide CADENCE. Abgesang (ap'- 
 ge-zangk). Refrain. It followed the 
 two St alien in the songs of the Meis- 
 tersanger. -gestossen (ap'-ge- 
 shtos-sen). Staccato, -gleiten (;ip'- 
 gli-ten). To slide the finger from a 
 black key to the next white key. 
 Abkiirzung (ap'-kiir-tsoongk). Ab- 
 breviation, -leiten (ap'-lf-tgn). To 
 derive from, -losen (ap'-la-zen). To 
 change fingers on a sustained tone. 
 -nehmend (ap'-na-ment). Diminu- 
 endo. 
 
 abreges (ab-ra-zha), F. Trackers. 
 
 abreichen (ap'-rl-khen), G. On the 
 violin, to e.xtend the little, or draw 
 back the first, finger. 
 
 Abreissung (ap'-rls-soongk), G. Sud- 
 den pause. 
 
 57 
 
58 
 
 THE MUSICAL GUIDE 
 
 abrup'tio, L. An abrupt halt. 
 
 Absatz (ap'-zats), G. i. Cadence. 
 2. A phrase. 
 
 Abschnitt (ap'-shntt), G. Section. 
 
 abschwellen (ap'-schvel-len), G. Di- 
 minuendo. 
 
 absetzen (ap'-zet-zen), G. To strike 
 two keys successively with the same 
 finger. 
 
 absolute. Used of music that is self- 
 derived and complete in its own form, 
 meaning, and beauty, as opposed to 
 operatic or programme musjc. 
 
 abstammen (jip'-shtam-men), G. To 
 be derived from. 
 
 Abstand (ap'-shtant), G. Interval. 
 
 ab'stossen, G. To play staccato. Ab'- 
 stosszeichen (tsi-khen). Staccato 
 mark(s). 
 
 Abstrak'ten, G. Trackers. 
 
 Abstufung (ap'-shtoo-foongk), G, 
 Shading. 
 
 abtonen (ap'-ta-nen), G. To err from 
 the key. 
 
 ab(h)ub (ii'-boob). A Hebrew horn. 
 
 abun'dans, L. Augmented. 
 
 abwechselnd (jip'-vekhs-elnt), G. Al- 
 ternating. 
 
 Abweichung (ap'-vlkh-oongk), G. A 
 variant. 
 
 Abyssinian flute. A beak flute. 
 
 Abzug (ap'-tsookh). i. Lifting of a 
 finger or a bow. 2. The sliding 
 of the finger from o"ne key to the 
 next. 
 
 academic spirituelle (ak-ad-a-me 
 splr-et-wel), F. A sacred concert. 
 
 acathis'tus, Gr. Ancient Greek Church 
 hymn in honor of the Virgin. 
 
 accademia (ak-kad-a-me'-ji), /. i. An 
 Academy. 2. A concert. 
 
 accarezzevole (ak-ka-red-za'v6-le), /. 
 Caressing. accarezzevolmen'te. 
 Pleadingly. 
 
 accell., acceldo. Abbr. of accele- 
 rando. 
 
 accelerando (at-cha-le-ran'-d5), /. 
 Accelerating (the velocity), accele- 
 ratemen'te. Swiftly, accelerato, 
 (ra-to). Swift. 
 
 accent (in F., ak-sah). accento (at- 
 chen'-to), /. i. Emphasis, force, on 
 
 a tone, a chord, a beat. 2. An ac- 
 cent mark (q.v.). The first beat of 
 every measure receives a primary ac- 
 cent. In 4-4 time, the third beat re- 
 ceives a lighter or secondary or sub- 
 accent. 3. In 6-8 or 6-4 time the 
 fourth beat takes a secondary accent. 
 In g-8 time the fourth beat has a 
 secondary a., and the seventh a terti- 
 ary a. still lighter. The regular skel- 
 etonic accent of the standard measure 
 is called the grammatical, tnetrical, 
 7iatural or regular a.; this is modi- 
 fied by the rhythmical and the ccs- 
 thetic, emotional, pathetic, poetical or 
 rhetorical accent. 
 
 accent-mark. One of the numerous 
 signs of stress ; as > sfzorzando or 
 A (strictly tenuto) ; 'or used (a) to 
 indicate pitch (q. v.) as c 'and C,, = c''' 
 and C3 ; (b) as an abbreviation of 
 foot (q. V.) as 8'= 8-foot. 
 
 accent'or. Leader of a chorus. 
 
 accentuare (too-a -re), /. accentui(e)- 
 ren (ak-tsen-too-e'-ren), G. To ac- 
 cent. To accentuate, accentua'to. 
 With marked accent. 
 
 accentuation. The act or art of prop- 
 erly distributing emphasis. 
 
 accen'tus, L. Portion(s) of the ritual 
 song of the Church, chanted by the 
 priest at the altar ; in contradistinc- 
 tion to the Concentus, sung by the 
 assistants or choir. A. ecclesias- 
 tici, L. Melodic formulas used in 
 the Church in reciting, the collects, 
 etc. They correspond with the com- 
 ma, semicolon, interrogation, etc., of 
 ordinary writing, and are of seven 
 kinds, called immutab' His, monotone 
 ine'dius, a minor third ; gravis, 
 fifth ; acu' tus, sol mi mi sol ; tnodera- 
 tus, rising a second and returning;] 
 inter rogati'vus, falling a second and! 
 returning ; final is, sol la sol fa mi' 
 re — thus closing in the Dorian key. 
 
 Accessis'ten, G. Unpaid choristers. 
 
 accessory notes. The subordinatei 
 notes of an ornament, accessoryj 
 tones. Overtones. 
 
 acciaccato (at-chT-ak-ka'-to), /. Vi-| 
 olent. 
 
DICTIONARY OF TERMS 
 
 59 
 
 Acciaccatur (at-tst-ak-ka-toor), G. 
 The doubling of the 6-4 chord on 
 the dominant, the right hand alone 
 resolving it. 
 
 acciaccatura (at-chak-ka-too'-ra), /. 
 A short appoggiatura, usually a grace- 
 note, struck at the same time with its 
 principal, but instantly released. 
 
 accidentals, E. accidenti (at-tsht- 
 den-te), /. accidents (ak-sl-diin), F. 
 Sharps, flats, and naturals, foreign to 
 the key-signature. 
 
 accolade (ak-ko-lad), F. Brace. 
 
 accompagnamento (ak-kom-pan-ya- 
 men'-to), /. Accompaniment ; figured 
 bass, accompagnare (ya-re). To 
 accompany. accompag'nato (ya'- 
 to). Accompanied. 
 
 accommodare (dii'-re), /. To tune. 
 
 accompagner (ak-kom-pln-ya), F. 
 To accompany, accompagne (ak- 
 kom-pTn-ya). Accompanied. ac- 
 compagnement (ak-kom-pln-yu- 
 man). Accompaniment. 
 
 accompaniment. A part or parts 
 added to other principal parts, a. 
 ad libitum. Optional accompani- 
 ment, a. obbligato. Accompani- 
 ment essential, accompanist. One 
 who plays accompaniments. 
 
 accoppiato (ak-kop-pt-a'-to), /. Tied. 
 
 accord, E (in F., ak-kor), i. Conso- 
 nance. 2. A chord; al'ouvert, on the 
 open strings ; natural, a fundamental 
 chord ; parfait, a triad ; renverse, 
 inverted ; de sixte ajoutee, chord 
 of the added sixth. Vide altered. 
 accordant (ak-kor-dan), F. In con- 
 cord, accorder (ak-kor-da). To 
 tune, accordeur (diir). i. A tuner ; 
 2. a set of 12 tuning forks giving the 
 tempered scale. 3. Monochord. ac- 
 cordoir (ak-kor-dwar). A tuning- 
 key, hammer, or cone. 
 
 accordamen'to, accordanza (dan'- 
 tsa), /. Consonance. 
 
 accordance, accor'dature, E. ac- 
 cordatura (too'-rii), /. The system 
 
 of tuning the strings of an instrument ; 
 thus, the a. of a violin is g-d-a-e. 
 
 accordare (da-re), /. To tune, ac- 
 cordan'do. Tuning ; in tune. 
 
 accor'deon. A free-reed instr. inv. 
 by Damian of Vienna, 1829. The 
 tone is produced by a double set of 
 bellows acting upon metallic tongues. 
 The right hand presses buttons or 
 keys giving an incomplete chromatic 
 scale ; the left hand has a few bass 
 tones. 
 
 accor'do, /. i. A chord. 2. An old 
 Italian instrument of twelve or more 
 strings. 
 
 accoupler (ak-koo-pla), F. To couple. 
 accouplez (ak-koo-pla). " Draw the 
 coupler." 
 
 accrescendo (ak-kres-shen'-do). /. 
 Crescendo, accrescimento (ac-cra- 
 she-men-to). Augmentation as of a 
 fugal theme, punto d'a., the dot 
 placed after a note to prolong it. ac- 
 cresciuto (shoo'-to), /. Augment- 
 ed. 
 
 acetabulum, L. An ancient instr. of 
 percussion. Earthen vessels beaten 
 as drums or clashed as cymbals. 
 
 achromatic. Lacking accidentals and 
 modulations. 
 
 acht (akht), G. Eight. Achtfusston 
 (akht'-foos-ton) or 8-fiissig(fus-sikh). 
 Eight-foot tone. 8-stimmig (shtim- 
 mTkh). For eight voices or instru- 
 ments. 
 
 Achtel (akhtl), Achtelnote, G. Eighth 
 note ; quaver. Achtelpause, G. 
 Eighth-rest. 
 
 A Chula (a choo'-la). Port. A dance 
 like the fandango. 
 
 ac'ocotl. A Me.xican plant from whose 
 stalk an aboriginal wind-instr. of the 
 same name was made. 
 
 acolyth'ia, Gr. The order of service 
 in the Greek Church. 
 
 acous'tics (a-kow'-stix, or ii-koo'stix), 
 E., acoustique (a-koos-tek), F. The 
 science of sounds. 
 
6o THE MUSICAL GUIDE 
 
 Acoustics. 
 
 By J. S. Shedlock. 
 
 THE term Acoustics is derived from a Greek verb signifying to hear, 
 and the science of acoustics tells us about the production and prop- 
 agation, also the comparison, of sounds. When a pianoforte string 
 is struck by a hammer or a violin string by a bow, it trembles, sways to and 
 fro and thus sets the surrounding air a-trembling ; the air-particles swav to 
 and fro producing a wave as a light breeze sets a corn-field waving; so we 
 speak of waving air, or waves of air. These waves strike the ear and their 
 motion is passed on to the brain and becomes what is called sound; but by 
 what wonderful process one changes into the other does not concern us here. 
 ^When the swaying to and fro of the particles of an elastic body is steady 
 and sufficiently rapid, a musical sound results, otherwise, only noise. The 
 word sound indeed is generally understood to mean a musical one, hence 
 sound is contrasted with noise. We speak of the noise of thunder or of battle, 
 but of the sound of an instrument or of the human voice. Nature frequently 
 offers a mixture of sound and noise, as in a waterfall, in which sometimes the 
 one sometimes the other predominates. ^'Vibratio?i is the name given to the 
 swaying to and fro of the particles of an elastic body, and of this motion the 
 clock pendulum gives a clear and simple idea. The particles only sway but 
 the motion is passed on. When a glass ball is pushed against one end of a 
 row of glass balls touching one another, the ball at the other end flies off. 
 The motion of the first ball has been passed on from ball to ball until it has 
 reached the extreme one. Vibrations when steady and sufficiently rapid 
 produce sounds which may be higher or lower, and the higher the sound the 
 greater the number of swayings to and fro, or vibrations, within a given time. 
 There are two special instruments by means of which air-vibrations can be 
 easily counted : one is Savart's toothed wheel, the other the Siren. When 
 one sound is higher than another, it is said to be of higher pitch ; when 
 lower, of lower pitch. The shorter a string, the higher its pitch. If a vio- 
 linist, setting one of the strings of his instrument in motion by means of the 
 bow, slides his finger along that string toward the bridge, the sound will be- 
 come continually of higher pitch : for the string is gradually shortened, the 
 ever-increasing portion behind the finger being cut off from the vibratory 
 movement caused by the bow. There is, therefore, a topsy-turvy connec- 
 tion between the number of vibrations produced by a string, and the length 
 of that string. ^Vibration can be felt if a glass jar over which a bow has 
 been drawn is touched lighdy with the finger. Vibration can be seen when 
 the string of a piano or violin is struck by a hammer or bow. Vibradon can 
 be shown by attaching a strip of sheet copper tapering to a point to one of the 
 
 I 
 
DICTIONARY OF TERMS 61 
 
 prongs of a tuning-fork. If the latter be set in motion, and the copper point 
 be placed on a piece of smoked glass, it will give the exact record of the exact 
 swaving to and fro of the fork. ^[Strings such as are used in the pianoforte 
 and violin when set in motion would of themselves create very faint sound- 
 vvaves. The sound has to be strengthened. In the pianoforte the motion 
 is not communicated directly to the air, but first to a massive sound-board. 
 In a violin the little sound-post plays an important part in passing on the 
 vibrations from the string to the back of the instrument. The strengthening 
 of tone by such means is apt to be overlooked. ^Particles of air when set 
 in mouon by a vibradng body first move from their point of rest to a certain 
 distance and then back through the point of rest to a similar distance in an 
 opposite direcdon ; the distance between these extreme points is the extent, 
 or as it is named, the amplitude of the vibration. As the vibrating body 
 returns to a state of rest, that distance gradually diminishes and finally vanishes, 
 just as it does when, the chain giving out, the clock pendulum slows down 
 and finally stops. The degree of loudness or softness of a sound depends on 
 the extent or amplitude of the vibration, the wider the one the louder the 
 other. Sound travels at freezing temperature at the rate of 1 090 feet per 
 second ; with increase of temperature there is increase of velocity, for the air 
 thus becomes more elastic. Sound travels faster in water than in air because the 
 former is more elastic. The degree of closeness of the particles of the medium, 
 air, water, gases of different kinds, through which sound travels has also an 
 influence on velocity. ^Sound diminishes in intensity according to the dis- 
 tance. Throw a stone into a pond and see how the expanding waves be- 
 come feebler and feebler in proportion as they are distant from the spot which 
 generated them. So it is with sound-waves. Intensity varies inversely as 
 the square of the distance, i.e., if a sound is heard twenty feet away from the 
 instrument producing it, at forty feet, twice the distance, it will only be a 
 quarter as loud : the square of 2 = 4, and the relationship of the two sounds 
 is as one to four, or i^. This is of course theory; in practice sound is mostly 
 intensified in various ways, so that it does not lose its strength at this exact rate. 
 •[[A string set in motion, that is into a state of vibration, produces a note 
 higher or lower according to its length. That note, however, is not a simple 
 sound, but one made up of many sounds. For in addition to the whole 
 string vibradng, it divides into two, three, four, and indeed into many por- 
 dons, all of which vibrate in themselves at the same time that the whole string 
 is vibrating. And these pordons being shorter give out higher sounds than 
 that of the whole string, and they bear themselves the self-evident name of 
 Overtones. They are also called upper partiah because they are higher 
 sounds produced by parts of the string. The swaying to and fro of these 
 parts is not so great as that of the whole string, therefore the sounds they pro- 
 
62 THE MUSICAL GUIDE 
 
 duce are fainter. The halves give a louder sound than the thirds, the thirds than 
 the quarters and so on. All these sounds mix so thoroughly 
 together as to give the impression of one sunple sound, and it is 
 upon their order and number, which differ in different instru- 
 ments, that quality of tone depends. Here are the first eleven 
 notes of such a compound sound — they can be heard and ana- 
 lyzed by pressing the "loud" pedal of a pianoforte, striking the 
 
 low c indicated and listening intendy and long. Out of the overtones which 
 
 are repeated we secure easily \-4^ S ^^^ ^^^ simplest of all chords in har- 
 
 mony. ^If the key of the lowest note F ^' ^^ is pressed down on a 
 
 pianoforte without producing any sound, and so held, then if the above chord 
 is struck sharplv, the fingers after the blow being instantly removed from the 
 keys, then that chord will continue to sound, although the strings which pro- 
 duced it have ceased to vibrate. Portions of the string of the lowest -note have 
 been set swaying to and fro, for the key pressed down removing the damper 
 fi-om its string left it free to vibrate. These portions vibrate by what is called 
 sympathetic attraction. Repeat the experiment, but immediately after the 
 chord has been struck, raise the key of the lowest note, and the chord is no 
 longer heard. ^It has already been stated that by means of certain instru- 
 ments the numbers of vibrations of sounds can be counted, and they can 
 therefore also be compared. Of any two notes an octave apart the upper 
 one has twice as many vibrations as the lower. Of any two notes a perfect 
 fifth apart the relationship between upper and lower is as 3 to 2. Of any 
 two notes a major third apart as 5 to 4, and a minor third as 6 to 5. We 
 see then that the perfect consonances, the 8th, 5th, and 4th, have the sim- 
 plest relationship, 2 to I, 3 to 2, 4 to 3. Next in order come the imperfect 
 consonances, the major and minor thirds, 5 to 4, and 6 to 5 ; in no case is a 
 higher figure than 6 required. From these relationships the major diatonic 
 scale can easily be constructed, and then if the reladonships between each note 
 of the scale and the succeeding one be taken, it will be found that the inter- 
 vals between c and d, f and g, a and b are equal, that d to e and g to a are 
 slightly smaller and that e to f and b to c are alike. The former are called 
 tones, either major or minor, and the last two semitones. 
 
 acte de cadence (akt-du-ka-dans), F. actin'ophone. A device for producing 
 
 A progression to or toward a ca- sound by means of actinic rays. 
 
 dence. act music. Cantatas composed by the 
 
 action." The mechanism of an instru- Professor of Music at Oxford forspe- 
 
 ment. cial occasions. 
 
DICTIONARY OF TERMS 
 
 63 
 
 act-tune. Music between the acts of 
 a play. 
 
 acuite (ak-we-te), F. Acuteness. 
 
 acustica (a-koos'-tl-ka), /., Acustik 
 (a-koos-tek), G. Acoustics, acus- 
 tisch (tish), G. Acoustical. 
 
 acuta (a-koo'-ta), /. i. Acute, shrill. 
 2. A shrill 2-ft. mixture-stop. 
 -'acu'tae clav'es, L. The name given 
 by Guido to the tones from a to g. 
 
 acute. High in pitch, shrill. 
 
 acutus, Z. Vide accentus. 
 
 ad, L. To, for, at. 
 
 adagio (a-da'-jo), I. i. Slow, slower 
 than andante, not so slow as lento. 
 2. A slow movement or division of a 
 symphony or sonata, adagietto (a- 
 da-jet'-to). A little faster than ada- 
 gio, adagissimo (j!s-sI-mo). Ex- 
 tremely slow. 
 
 adaptation, E., adattazione (a-dat- 
 ta-tsl-o'-ne), /. An arrangement or 
 transcription. 
 
 adasio (a-da'-sl-o), I. Adagio. 
 
 added lines. Ledger lines, added 
 sixth. Vide sixth. 
 
 additato (ad-dl-ta'-to), I. Fingered. 
 
 additional keys. Those above f" 
 on the piano, additional accom- 
 paniments. Accompaniments or 
 parts added to a work by another 
 hand than that of the composer. 
 
 addolorato (ad-d5-lo-ra'-t6), /. Mel- 
 ancholy. 
 
 Adel (a'-del), G. Majesty. 
 
 Adi'aphone. Vide gabelklavier. 
 
 Adi'aphonon, G. A piano of perma- 
 nent tune, inv. in 1820 by Schuster. 
 The tone was produced by metal 
 bars. 
 
 adirato (a-dt-ra'-to), I. Angry, adi- 
 ratamen'te. Angrily. 
 
 adjunct notes. Unaccented auxiliary 
 notes. 
 
 Adjuvant (at'-yoo-fant), G. Assistant 
 to a chorister. 
 
 Adler (at'-ler), G. A rarely used organ- 
 stop. 
 
 ado'nia. An ancient musical feast. 
 
 adornamen'to (pi. -i), /. An embel- 
 lishment. 
 
 adoucir (a-doo-ser), F. To soften, to 
 
 flatten. 
 adquis'ta or adsuma'ta vox, L. The 
 
 extreme low tone. 
 
 adufe (a-dhoo'-fe), Sp. Tambourine. 
 adufero (fa'-ro). Player of it. 
 
 A-dur (a-door), G. The key of A 
 major. 
 
 ae'rophone. A kind of harmonium. 
 
 aengstlich (enkst-likh), G. Anxious- 
 ly- 
 
 aeol harmon'ica. A kind of seraphine. 
 
 iEo'lian, i. Vide modes. 2. The fifth 
 of the authentic Gregorian modes. 
 3. An automatic reed instrument in 
 which the performer controls the time, 
 the stops, and the expression. 
 
 iEo'lian Harp or Lyre. An instr. inv. 
 by Kircher in the 17th century. It is 
 usually a box set in a window and fit- 
 ted with 6 or more strings of silk or 
 gut, tuned in unison, passing over 
 bridges about 3^-inch high. The 
 strings are so arranged that the air 
 causes vibration among them. The 
 varying humours of the wind produce 
 a strangely sweet and various har- 
 mony, the different overtones being 
 audible in a shifting concord of eerie 
 beauty. 
 
 iEolian mute. A combination of the 
 pitch-pipe and mute. 
 
 iEolian pianoforte. A piano inv. by 
 T. Gilbert about 1850, and provided 
 •with free reeds and a bellows for giv- 
 ing the piano a sustaining power. 
 
 soli'na. i. A small free-reed mouth 
 instr., inv. by Wheatstone, 1829. 2. 
 An organ-stop. 
 
 aeolo'dicon or aeolo'dion, Gr. A keyed 
 instr. in which the tone is produced 
 by steel springs, put in vibration by 
 bellows. 
 
 aeolomelo'dicon. The same instru- 
 ment with brass tubes to reinforce the 
 springs. 
 
 cBolopan'talon. An aeolodicon com- 
 bined with a piano. 
 
 .^olsharfe (a'-61s-har'-fe), G. /Eol- 
 ian harp. 
 
 iEolsklavier (a'-61s-kla-fer), G. A 
 keyboard wind instr., inv. 1825, by 
 
64 
 
 THE MUSICAL GUIDE 
 
 Schortmann, with reeds of wood in- 
 stead of metal. 
 
 /Eota'na, G?-. A small mouth instr. 
 of short metallic reeds. 
 
 .^qual (a-kwal), C, from Lat., signify- 
 ing " 8-ft." Vide STOP. 
 
 aequiso'nus, Z. Unison, aequiso'nans. 
 Concordant. 
 
 aequiva'gans, Z. Simultaneously syn- 
 copated or varied in all the parts. 
 
 .^quivoken (a'-kwT-fo-ken), (7. Meis- 
 tersinger airs of the same name. 
 
 aere recurvo., Z. Bucena. 
 
 se'rophone. A French melodeon. 
 
 aevia (e'-vl-a), Z. Abbr. (the vowels 
 only) of Alleluia. 
 
 affabile (af-fa'-bl-le), Z Affable, af- 
 fabilita (be-lT-ta'). Cordiality, affa- 
 bilmen'te. Affably. 
 
 affanna to, affano'so, I. Tormented, 
 distressed. 
 
 affectirt (af-ft^k-tert'), G. With affec- 
 tation. 
 
 affectueux (af-fek-tu-ii'), F. Affec- 
 tionate. 
 
 affettazione (ta-tst-5'-ne), Z. Affec- 
 tation, affettatamen'te. Affectedly. 
 
 affet'to, Z Affection, affettuoso. Af- 
 fectionate, affettuosamente. Af- 
 fectionately, affettivo (te'-vo). Af- 
 fecting. 
 
 affilar', Z Vide filar. 
 
 affinity. Close relation (as of keys). 
 
 afflizione (af-fle-tst-o'-ne). Sorrow, af- 
 lit'to. Sorrowful. 
 
 affrettan'do, affrettate (ta -te). Hur- 
 rying, affretto'so. Hurried. 
 
 afofa'. Portuguese fandango. 
 
 after-beat. Two notes used as end- 
 ing a trill, after note. A small 
 unaccented note taking its time from 
 the preceding. 
 
 agevole (a-ja'-v6-le), /. Agile, age- 
 volmen'te. Nimbly, agevolezza 
 (a-ja-vo-led'-za). AgiUty. 
 
 aggiustato (ad-joos-ta'-to), I. Ad- 
 justed, arranged, adapted, aggius- 
 tatamen'te. In strict time. 
 
 aggraver la fugue (Sg-gra-va la fiig), 
 F. To augment the (subject of a) 
 fugue. 
 
 agiatamente (a-jat-a-men'-tS). Easily. 
 
 agilita (a-jel-l-ta), Z Agility, agil- 
 men'te. Nimbly. 
 
 agitato (a-jl-ta'-toj, I. Agitated, hur- 
 ried, agitamen'to, agitazione (a- 
 je-ta-tsi-o'-ne). Agitation. 
 
 agit6 (a-zhe-ta'), F. Agitated. 
 
 agli (al'-ye), Z Vide al. 
 
 Agnus Dei. Z. " Lamb of God." 
 Vide MASS. 
 
 ago'ge, Gr. I. The order of inter- 
 vals of melodic progression. 2. 
 Rhythmical order of accents and 
 duration. 3. Expression. Ago'gik, 
 G. The art of expression by rubato, 
 acceleration, &c. ago'gic accent. 
 Expression mark. 
 
 agraffe (a-graff), F. A small pin to 
 check the vibration of a piano string. 
 
 agr6ments (a-gra-mafi), F. i. Em- 
 bellishments. 2. Incidental music and 
 dancing. 
 
 ai (a -e), Z To the. Vide al. 
 
 aigre (egr), F. Harsh, sharp, aigre- 
 ment (egr-mah). Sharply. 
 
 aigu (e-gii), F. Acute, shrill. 
 
 air, E. and F. A melody, or tune ; 
 an aria. a. a boire (bwar). A drink- 
 ing song. a. a reprises (ru-prez). 
 Catch, a. chantant (shah-tah). A 
 lyric, a. d6tach6(da-ta-sha). A sin- 
 gle air detached from a larger work. 
 a. rapide (ra-ped). A flourish, a. 
 vari6 (vi-rl-a). Theme with varia- 
 tions. 
 
 Ais (a-Is), G. The note or key " A " 
 sharp. 
 
 ais6 (e-za), F. Easy. ais6ment (e-za- 
 mah). Easily, freely. 
 
 aiuton (I'-u-tan), Gr. An organ made 
 of tuning-forks, inv. by Charles Clag- 
 get and guaranteed never to require 
 retuning. 
 
 ajakli-keman (a-yak'-le-ka-man). A 
 Turkish violin. 
 
 Akkord (ak-kort'), G. A chord. A.- 
 passage. An arpeggio. A.-zither. 
 I. The auto-harp. 2. A set of instru- 
 ments. 
 
 Akromat (a-kro-mat'), G. A musician. 
 
 akromatisch (a-kr6-ma'-ttsh), G. Ach- 
 romatic. 
 
 Akustik (a-koos'-tek), G. Acoustics. 
 
DICTIONARY OF TERMS 
 
 (>5 
 
 k la, au, aux, al, all', alia, alle, 
 alio, agli, ai, J^. and /. Varying 
 combinations of the different genders 
 of tlie article "the" with the prepo- 
 sition " to," meaning " in the manner 
 of," as a la grecqite, and alia cappella. 
 
 a'lamoth, Hcb. Obscure and disputed 
 musical term in Psalm LXVIII, 25. 
 
 alar'um, L. all' armi, /. A call to 
 arms. 
 
 albada (al-ba-dha), Sp. A morning 
 serenade. 
 
 Albert! Bass. A bass consisting of 
 monotonous simple broken chords. 
 So called after its alleged inventor. 
 Vide B.D. 
 
 albogue (al-bo-ga'), Sp. An instr. of 
 the flute species. 
 
 Albumblatt (al'-boom-blat). Album- 
 leaf. Plural, A.-blatter (blet-ter). 
 
 alcuna (al-koo'-na), /. Some ; as con 
 a. licenza, with some licence. 
 
 alelu'ya, Sp. Hallelujah. 
 
 alemana (al-e-ma'-na), Sp. Old Span- 
 ish dance. 
 
 Alexandre organ. Vide American 
 
 ORGAN. 
 
 aliquot. Used of the parts into which 
 a vibrating string is subdivided in 
 producing overtones. Aliquotflii- 
 gel, G. A piano inv. by Bluthner 
 with a sympathetic octave string for 
 each note. Aliquottheorie (al -T- 
 kw6t-ta-o-re), G. The theory of over- 
 tones. 
 
 alia. Vide al. 
 
 allargan'do, /. Gradually slower 
 and broader. 
 
 air ova. Vide ottava. 
 
 alle (alle), G. All : alle Instruraente. 
 All the instruments ; ttiUi. 
 
 allegrativo (al-la-gra-te'-v6) ; alle- 
 gramen'te, allegran'te, /. / all6- 
 grement (al-la-gru-mah), F. Gayly 
 and quickly. 
 
 allegrettino (al-la-gret-te'-no), /. A 
 little slower than allegretto. 
 
 allegretto, /. Slower than allegro, 
 but blithe and cheer)'. 
 
 allegrezza (al-la-gred'-za) ; allegria 
 (gre'-a), /. Joy, cheer. 
 
 allegro (al-la'-gr5), /. Very fast, 
 
 though slower than Presto ; it usually 
 indicates a high rate of speed. This 
 may be modified by additional phrases 
 as allegro ma non troppo. allegri 
 di bravura (al-la-gre de bra-voora), 
 /. Compositions to display virtuos- 
 ity, allegrissimamen'te, allegris - 
 simo, /. Extremely fast, allegro 
 con moto, /. a. di molto. Very 
 fast. a. moderato, a. non molto, 
 a. non troppo, /. Moderately fast. 
 a. giusto (joos'-to), /. Fast ; but 
 exactly in time. 
 
 allein (al-lTn'), G. Alone, single. A.- 
 sang. Solo. A. -sanger, or -spieler. 
 Solo-singer (or player). 
 
 alleluia, alleluja'h (al-la-loo'-ya), 
 Heb. " Praise the Lord ; " Hallelujah. 
 
 Allemande (al-mand), F. i. A Ger- 
 man national or peasant dance in 3-4 
 or 3-8 time ; in some places 2-4 time. 
 
 2. A French imitation of this dance. 
 
 3. A movement in the classic Suite of 
 Bach, etc. ; in 4-4 time, andaniino, 
 with a short note on the up-take. 
 
 allentato (ta-to), allentamen'to, al- 
 lentan'do, /. Retarding. 
 
 allgemeiner Bass (al-khe-ml'-nerbas), 
 G. Thorough bass. 
 
 allied. Accessory. 
 
 allmahlich, allmahlig (al'-ma-likh), G. 
 Gradually. 
 
 allonger I'archet (al-16n-zha ISr-sha), 
 F. To prolong the bow stroke. 
 
 allo'ra, /. Then. 
 
 Almain, Alman, Almand. Allemande. 
 
 Alma Redemp toris, Z. Hymn to 
 the Virgin. 
 
 al'penhorn, alp'horn. A horn used 
 by the Alpine herdsmen ; it is made 
 of strips of firwood from 3 to 8 feet 
 long. It has a limited range. 
 
 alphabet. The 7 letters used in music, 
 A-G. 
 
 alt (iilt), /. High. In alt is applied 
 to tones in the first octave above the 
 treble staff, as b"; in altissimo re- 
 fers to tones in the second octave 
 above the treble staff, as d' ' '. 
 
 al'ta, /., alt, G. High, or alto; as 
 Althorn. octava alta. An octave 
 above. 
 
66 
 
 THE MUSICAL GUIDE 
 
 al'ta, Sp. An old Spanish dance. 
 alterata (a'-ta), /. Scales with notes 
 
 foreign to the Church modes. 
 altera'tio, L. The doubling of the 
 
 time value. 
 
 alterato (al-tg-ra-t6), /., alt6r6 (aU 
 ta-ra), F., altered, E. Changed 
 chromatically, especially applied to 
 certain inverted chords. 
 
 Fig. I. — The small 
 black notes indicate 
 those intervals above 
 the Dominant which 
 are most susceptible 
 of chromatic altera- 
 tion. 
 
 Altered Chords. 
 
 By Charles W. Pearce, Mus. Doc. 
 
 A CHORD originally formed by a combination of notes belonging 
 to the Diatonic Scale of any key can be chromatically altered by 
 the addition of an accidental %, b, or J, to one or more of its in- 
 tervals. A chord ceases to be chromatic when it induces modulation : 
 being then a diatonic chord in the new key. In modern harmony, 
 the combinational tendency of the Diatonic Scale is to arrange itself in 
 a perpendicular series of thirds above the 5th degree 
 or dominant of the scale, according to this formula : 
 ^Reckoned from the lower note (or root) the intervals 
 are: l. Major 3d ; 2. Perfect 5th; 3. Minor 7 th ; 4. 
 Major (or minor) 9th ; 5. Eleventh (compound 4th) ; 
 6. Major (or minor) 13th (compound 6th). ^Thus 
 the first sign of chromatic alteration is the interchange- 
 ability of the major and minor 3d and 6th of the scale. 
 The harmonic formula shown in Fig. I can be built 
 up on the dominant notes of the two adjacent keys, 
 (viz. : those keys having one sharp or one flat more or less than the signa- 
 ture of the tonic key). And as these additional formulae can be used in 
 b.£. the tonic key without modulation to either of its adjacent 
 keys, their roots are conveniently called supertonic and 
 tonic to show their relationship to the scale of the tonic. 
 Fig. 2. — Supertonic ^The supertonic root is dominant of the next sharp 
 Formula. ^^^^ ^The tonic root is dominant of the next flat key. 
 
 ^In the supertonic formula the necessary major 3d of 
 the root (i of the series) is an invariable chromatic 
 alteration. The interchangeability of the major and 
 minor 3d of the scale (4 of the series) is a confirma- 
 tion of No. 6 of the Dominant formula (Fig. i). The 
 interchangeability of the major and minor 7th of the 
 scale (6 of the series) is the characteristic chromatic alteration of the super- 
 tonic formula. ^[In the tonic formula the necessary minor 7th of the root 
 (3 of the series) is an invariable chromatic alteration. The interchange- 
 ability of the major and minor 6th of the scale (6 of the series) is a con- 
 
 Fig. 3.— Tonic For- 
 mula. 
 
DICTIONARY OF TERMS 
 
 67 
 
 firmation of No. 4 of the Dominant formula ( Fig. i ) . The interchange- 
 ability of the major and minor 2d of the scale (4 of the series) is the 
 characteristic chromatic alteration of the tonic formula. ^lyFrom the harmonic 
 formula shown in Figs. I, 2, 3, the chromatic scale is derived. This 
 chromatic scale is the same for both major and minor keys having the same 
 tonic ; but the difference of key signature induces changes in the number of 
 accidentals used. Compare Figs. 4 and 5. ^[With the introduction of the 
 
 Fig. 5. — Signature of C Minor. 
 
 chromatic element into harmony, the absolute distinction of major and minor 
 disappears, and the key tonality becomes one. ^[To facilitate the notational 
 convenience of the chromatic element in harmony, the enharmonic equiva- 
 lents of several degrees of the chromatic scale are freely admitted. ^Chro- 
 matic alteration is chiefly observable in triads and in chords of the seventh 
 with their inversions. ^[Fig. 6 shows the triads on the seven degrees of 
 the diatonic scale. Fig. 7 shows how these triads may be chromatically 
 altered in the same key without necessitating modulation to any other key. 
 
 ^Of these Nos. i, 4, 18, 19, and 28, show an enharmonic substitution of 
 C sharp for D flat ; Nos. 4, 5, i i, 22, and 25 have G sharp instead of A 
 flat ; Nos. 10, 21, 25, and 34 have D sharp for E flat ; Nos. 3 and 15, 
 have G flat for F sharp ; and No. 30 has C flat for B. It may also be re- 
 marked that Nos. 30 and l 5 are the only triads of the series which have all 
 
68 
 
 THE MUSICAL GUIDE 
 
 three of their notes altered from the notation of the diatonic scale of C ; but 
 it will be observed that in No. 30 two of these altered notes (A flat and E 
 flat) are the notes shown in Fig. i to be those first susceptible of chromatic 
 alteration in the key of E ; and in No. i 5 two of the altered notes belong to the 
 supertonic formula shown in Fig. 2. A glance at Fig. 7 is sufficient to show 
 that ♦' enharmonic substitution " is only made use of in modern music in order 
 to throw the altered chords into an easily recognizable harmonic shape such as 
 triads or sevenths (or their inversions). ^Distinguishing names of a purely 
 fanciful character have been given to the first inversions of several of the 
 chords in Fig. 7 (see Fig. 8). ^One other triad containing three altered 
 
 Neapolitan Sixth. 
 
 Italian Sixths. 
 
 ist inversion of 
 No. 8, Fig. 7. 
 
 ist inversion of 
 No. 10, Fig. 7. 
 
 ist inversion of ist inversion of 
 No. 20, Fig. 7. No. 36, Fig. 7. 
 
 Fig. 8. 
 
 notes remains to be shown — this can be written either as the major triad of 
 the flattened dominant or its enharmonic equivalent, the sharpened subdomi- 
 nant of the key, as in Fig. 9. ^Figure 9 exemplifies also the ordinary 
 
 treatment of chromatically altered triads, viz. : they are usually followed by 
 some form of dominant harmony. ^The chords of the seventh built on the 
 seven degrees of the diatonic scale (see Fig. 10) may (like the triads in Fig. 
 6) undergo chromatic alteration. *^yA chromatic alteration of Fig. 10, I, 
 
 i^^ 
 
 II III IV V VI VII 
 Fig. 10. 
 
 Ill, V, VII, has already been shown in Fig. 3 by the flattening of the lead- 
 ing note of the scale; and similar alterations of Fig. 10, 11, and IV, have 
 been observed in Fig. 2 by the sharpening of the subdominant of the scale 
 (see Fig. 11). ^Fig. 1 i shows that a chord of the seventh may consist oi 
 
 i 
 
DICTIONARY OF TERMS 69 
 
 the following different series of intervals from the bass : ^I, and II, Major 
 3d : Perfect 5th : Minor 7th ; III, and IV, Minor 3d : Dim. 5th : 
 Minor 7th ; V, Minor 3d : Perfect 5th : Minor 7th ; VII, Major 3d : 
 Perfect 5th : Major 7th. ^[A further reference to Figs, i, 2, and 3, shows 
 that the harmonic superposition of three minor 3ds one above the other — that 
 familiar combination of notes known as the chord of the Diminished 7th — is 
 possible over every note of the unaltered Diatonic Scale by chromatic or 
 enharmonic alteration without necessitating modulation. ^Accordingly each 
 
 Enharmonic Equivalents. 
 
 ^^^1 
 
 note of the Diatonic Scale may bear the chromatic alteration of its own chord 
 of the 7th as shown in Fig. i 3. ^And with the chromatic alteration (Fig. 14) 
 
 Fig- 13- 
 
 of the root itself the permutations are almost endless. ^It only remains to 
 give the distinguishing names which have been fancifully applied to one or 
 two of the chromatically altered chords of the 7th in an inverted shape. 
 
 French Sixth. 
 
 German Sixth. 
 
 Fig. 14. 
 
 ^Of these (l) is the second inversion of VII in Fig. 10, with the sixth of 
 its bass chromatically raised, (2) is the second inversion of II in Fig. i I 
 with its bass chromatically lowered. (3) is the second inversion of V in 
 Fig. 10, with its bass chromatically lowered. (4) is the first inversion of 
 II in Fig. 10 with its root chromatically raised. (5) and (6) are respect- 
 ively chromatic alterations of the first inversions of IV in Fig. I I, and VII 
 in Fig. 12. ^It will be observed that the distinguishing feature of the 
 chords in Fig. 1 4 is the interval of the Augmented 6th. In the usual reso- 
 lution of such chords, care should be taken to lee the two notes forming the 
 Augmented 6th proceed outwardly, each by step of a semitone. 
 
70 
 
 THE MUSICAL GUIDE 
 
 alterezza (al-te-rSd'-za), /. Haughti- 
 ness. 
 
 alternamen'te, alternan'do, /. Al- 
 ternating. 
 
 alternations. Tunes for bells. 
 
 alternative (te'-vo), /. i. Alterna- 
 tive ; a choice of methods. 2. A 
 short trio. 
 
 Altgeige (alt'-gi-khe), G. The viola. 
 
 Althorn. Vide saxhorn. 
 
 altieramente (tl-a-ra), /. Haughtily. 
 
 alti naturali. Male altos, or counter- 
 tenors, as opposed to castrati. 
 
 altisonante, altiso'no. Sonorous. 
 
 altis'onous. High-sounding, used of 
 the highest male voice. 
 
 altis'simo, L. Vide alt. 
 
 altist, altista (al-tes'-ta), /., altiste 
 (al-test), /•". An alto singer. 
 
 Alt'klausel (alt'-klow-zel), G. The 
 progression of the alto part in a ca- 
 dence. 
 
 alto (al'-to), /. I. High; originally 
 applied to the high range of the arti- 
 ficial or falsetto tenors {castrati, alti 
 naturali, tenori aciiti, falsetti, coun- 
 ter-tenors). Thence the term has been 
 applied to the lower range of women's 
 or boys' voices, ordinarily extending 
 from g below the treble staff to c" 
 (an octave above middle C). 2. Viola, 
 also alto viola, a. primo, /. The 
 higher alto. a. secondo, T. The 
 lower alto. a. tenore, /. The 
 higher tenor. 
 
 al'to-basso, /. An obs. dulcimer with 
 a few gut strings, struck with a stick 
 in the left hand, while the performer 
 held a flageolet in the right hand. 
 
 alt'ottava, /. Vide alta. 
 
 Altposaune (alt'-p5-zow-ne), G. Alto 
 trombone. 
 
 al'tra, al'tro, /. Another, altra 
 volta. Encore, aitro modo. Al- 
 ternate manner. 
 
 Altsanger (alt'-zeng-er), G. Alto, or 
 counter-tenor. 
 
 Altschliissel (alt-shlUs'-sel), G. The 
 alto clef. 
 
 Altviole, G. The viola. 
 
 al'tus, L. Alto or counter-tenor. 
 
 alzamento (al-tsa-m^n'-to), /. An 
 elevating, as of the voice, a. di mano. 
 Up-beat. 
 
 alzando (al-tsan'do), /. Raising. 
 
 amabile (a-ma-bl-le), /. Amiable. 
 amabilmen'te. Amiably, amabi- 
 lita (be-ll-ta). Tenderness. 
 
 amarezza (a-ma-red'-za), /. Bitter- 
 ness, amaro (a-ma-ro). Bitter, 
 araarissimamen'te, araarissimo. 
 Very bitter(ly). 
 
 amateur (am-'a-tiir'), F. A "lover"' 
 of an art, who does not make it his 
 profession ; makes it rather an avoca- 
 tion than a vocation. 
 
 Amati. A violin made by the brothers 
 Amati. Vide B. D. 
 
 am'bira. An African wooden drum 
 with vibrating tongues of wood or 
 iron. 
 
 am bitus, L. Compass or range. 
 
 am'bo or ambon. The platform 
 where canons were sung in the me- 
 diaeval Eastern Church. 
 
 Ambro'sian, Ambrosia'nus. Intro- 
 duced by Ambrose. Vide B. D. A. 
 Hymn. The " Te Deum " doubt- 
 fully credited to him. 
 
 ambubaja (am-boo-ba'-ya), L. A 
 strolling flute-player from Syria. Vide 
 anbuba. 
 
 ambulant (an-bii-lah), F. Vagabond 
 musician. 
 
 ame (am), F. Soundpost. 
 
 amen (a-men'), Heb. "So be it." 
 
 American fingering. That system 
 of fingering in which x indicates the 
 thumb ; in foreign fingering, the 
 thumb is called the first finger and 
 marked i. 
 
 American organ. Originally called 
 " Melodeon " or " Melodic." A free- 
 reed instrument differing from the 
 older harmonium (q. v.) in that the 
 air is drawn through the reeds by 
 suction, instead of forced outward 
 through them ; this gives a superior 
 control and shading ; inv. by Jere- 
 miah Carhart. Its superiority, recog- 
 nised in Europe more than at home, 
 is also due to the better voicing of 
 the reeds and the resonant air-cham- 
 
DICTIONARY OF TERMS 71 
 
 bers developed by Mason & Hamlin. 
 The stops are many, and imitate va- 
 rious instruments. 
 
 amore (a-mo'-rS), /. Love ; affection. 
 amorevole (ra-v6-le), amorevol- 
 men'te, amoroso, amorosamen- 
 te. Loving(ly). 
 
 amphichord. Lira barberma (q. v.). 
 
 Amorschall (a-mor-shall), Amors- 
 klang, G. An imperfectly valved 
 French horn, inv. by Kolbel, 1760. 
 
 ampho'ter, Gr. A series of tones com- 
 mon to two registers. 
 
 ampoUo'so, ampollosamen'te, /. am- 
 poule (iifi-poo-la ), F. Pompous(ly). 
 
 amusement (a-muz-man), F. A light 
 composition. 
 
 an (an), G. On (of an organ-stop) ; 
 "drawr." 
 
 anab asis, Gr. A series of ascending 
 tones. 
 
 anabath'mi, Gr. Certain antiphons 
 in the Greek Church. 
 
 anacrusis, anakrusis, Gr. i. The 
 up-beat. 2. The up-take, or ac- 
 cented part of a measure beginning a 
 theme or air. 
 
 anafil (a-na-fel'), Sp. A Moorish pipe, 
 anafilero (fe-la-ro). A player of it. 
 
 anagaza (ii-na-ga'-tha), Sp. A bird- 
 call. 
 
 anakamp'sis, anakamp'tos, Gr. A 
 series of descending tones. 
 
 anaka'ra, Gr. Ancient kettle-drum. 
 anakaris'ta, Gr. Kettle-drummer. 
 
 analisi (a-na-le'-ze), /., analyse (Sn-a- 
 lez), F. Analysis. 
 
 anbu'ba (ya). Syrian flute. 
 
 anche (afish), F. A reed, libre. Free- 
 reed, jeu d'a., or a. d'orgue. A 
 reed-stop. 
 
 ancia (ah-che a), /. A reed. 
 
 anco'ra, /. Once more ; yet ; still, as 
 ancor piu mosso. Still more quick- 
 ly- 
 
 Andacht (an'-dakht), G. Devotion. 
 andachtig (an-dekh'-tikh). Devo- 
 tional. 
 
 andamen'to, /. i. Rate of speed. 
 2. An episode as in a fugue. 3. A 
 fugal theme. 
 andante (an-dan'-tg), /. Literally— 
 
 "going"; moderately slow, repose- 
 ful. Often much qualified by other 
 words, as con moto, largo, maestoso, piu 
 tosto allegretto={nta.r\Y allegretto). 
 
 andantino, /. Literally, slower than 
 Andante ; but usually considered to 
 mean slightly faster. 
 
 andare (jin-da'-ra), /. To move ; as a. 
 diritto, go straight on ; a. a tempo, 
 keep strict time. 
 
 anem'ochord or anim'ocorde. An 
 instr. inv. by Schnell, 1789, aiming to 
 imitate the ^olian harp by means 
 of keys pressing bellows and forcing 
 air against strings. 
 
 anemometer. Wind-gauge. 
 
 ane'sis, Gr. i. Descent from a higher 
 to a lower tone. 2. The lowering of 
 the pitch of strings. Reverse of ep- 
 itasis. 
 
 Anfang (an'-fangk), G. Beginning. 
 vom A., = Da capo. Anfanger 
 (an'-feng-er). A beginner. Anfangs- 
 grunde. Rudiments. Anfangsri- 
 tornell. Prelude. 
 
 Anfiihrer (an'-fu-rer), G. Conductor, 
 leader. 
 
 angeben (an'ga-bSn), G. To give. 
 den Ton a. to give the pitch. 
 
 Angelica (an-ja'-ll-ka), G. ang6Iique 
 (an-zha-lek), ang61ot (an-zhii-l6), F. 
 I. An organ-stop. Vide vox. 2. A 
 17th century keyboard instr. with 17 
 strings. 
 
 angel'ophone. Early form of har- 
 monium. 
 
 angemes'sen, G. Appropriate. 
 
 angenehm (an'-khe-nam), G. Pleas- 
 ing. 
 
 angkloung (ank'-loong). A Javanese 
 xylophone. 
 
 anglaise (an-glez), F., anglico (an- 
 gle'-ko), /. I. In the "English" 
 style. 2. An English country dance, 
 ballad or hornpipe. 3. A sprightly 
 French dance in 3-4 time. 
 
 ango're (an-go'-re), angoscia (an- 
 go'-sha), /. Anguish. 
 
 angoscevole (an-go-sha'-v6-le), an- 
 gosciamen'te, angosciosamen'te, 
 angoscio'so, /, With anguish or 
 anxiety, 
 
72 
 
 THE MUSICAL GUIDE 
 
 angstlich (engsht' llkh), G. Anxious- 
 
 (ly). 
 
 anhaltend (an'-hal-tent), G. Contin- 
 uous, a. Cadenz. A pedal point or 
 prolonged cadence. 
 
 Anhang (an'-hangk), G. Coda. 
 
 am'ma, /. Soul spirit. 
 
 animan'do, animato (a -to), /., ani- 
 me' (an-l-ma), F. Animated, anima- 
 zione (a-nl-ma-tsl-o'-ne), /. Anima- 
 tion. 
 
 animo (an'-T-mo), /. Spirit, animo'so, 
 animosamen'te, /. Boldly. 
 
 animocorde. Vide anemochord. 
 
 An'klang, G. Harmony. 
 
 Anlage (an'-la-khe), G. Outline. 
 
 anlaufetl (an' -low-fen), G. To in- 
 crease ; to swell. 
 
 Anleitung (an'-li-toongk), G. Intro- 
 duction ; instruction. 
 
 Anmuth (an' moot), G. Sweetness, 
 grace. anmuthig (an'-moo-tTkh). 
 Sweetly, anmuthvoll (fol). Full of 
 grace. 
 
 anom'aly. Deviation from exactitude 
 due to temperament (q. v.). anom- 
 alous. As a chord ; characterized by 
 a much tempered interval. 
 
 anonner (&-niin-na), F. To hesitate, 
 blunder. 
 
 anpfeifen (an'-pfi-fen), G. To whistle 
 at ; to hiss. 
 
 An'sa. In Hindu music the note cor- 
 responding to our tonic. 
 
 Ansatz (an'-zats), 6^. i. Embouchure. 
 
 Anschlag (an'-shlakh), G. i. Touch. 
 2. A short double appoggiatura. 
 
 anschwellen (an-'shvel-len), G. To 
 increase ; swell. 
 
 an'singen, G. To greet with song. 
 
 ansio'so, ansiosamen'te, /. Anx- 
 iously. 
 
 anspie'Ien (an'-shpe-len), G. To play 
 first. 
 
 Ansprache (an'-sprakh-e), G. "Speak- 
 ing " or intonation. 
 
 an'sprechen, anstimmen, G. To 
 speak ; sound. 
 
 Anstimmung (an'-shtlm-moongk), G. 
 Intonation. 
 
 answer. Vide fugue. 
 
 antelu'dium, L. A prelude. 
 antecedent, i. A subject. 2. Vide 
 
 FUGUE. 
 
 anthem. In the Anglican Church ser- 
 vice, a sacred vocal work with or 
 without accompaniment. " There are 
 five species of anthems, i. Verse 
 and chorus a., consisting of verse 
 and chorus, but beginning in chorus. 
 2. Verse a., containing verse (i. e. 
 solo) and chorus, but beginning in 
 verse. 3. Full a., consisting wholly 
 of chorus. 4. Solo a., consisting 
 of solos and choruses, but without 
 verse, and 5. Instrumental a." 
 [Busby]. 
 
 anthe'ma. Greek dance with song. 
 
 Anthologie (an-to-16-zhe'), Antholo'- 
 gium, F. and G. The collection of 
 hymns, prayers, and lections of the 
 Greek Church. 
 
 an'thropoglossa, Gr. The vox hu- 
 mana ; a stop. 
 
 anticipation, anticipamento (an-te- 
 che-pa-men'-to), or anticipazione 
 (an-te-che-pa'-tsl-6'-ne), /. The sound- 
 ing of one or more parts of a har- 
 mony before the natural and ex- 
 pected place. 
 
 antico (an-te'-ko), /. Ancient, all' 
 a. In the ancient style. 
 
 antienne (ans-yen), F., antifona (an- 
 te' f5-na), /. Anthem , antiphon. 
 atifona'rio, /., atifonero (an-tt-fo- 
 na'-ro), Sp. A precentor ; anthem 
 singer. 
 
 antifonal', Sp. A book of anthems. 
 
 antiphon, an'tiphone, antipho'non, 
 antiph'ony. i. In Greek music, 
 accompaniments in the octave. 2. 
 Responsive singing by parts of a di- 
 vided choir, or congregation. 3. A 
 short scriptural sentence sung before 
 and after the Psalms or Canticles. 
 The chant or alternate singing in 
 churches and cathedrals. 
 
 antiphona, Gr. An anthem. 
 
 antiphonal, antiphonaire (aht"(-f6- 
 nar), i^., antiphona'rium, Z.. an'ti'- 
 phonary. A collection of Catholic 
 antiphons. 
 
 antiphonel. Vide planchette. 
 
DICTIONARY OF TERMS 
 
 73 
 
 an'tiphonic. Not in unison ; made up 
 of 2 or more parts. 
 
 antistro'fa. An ancient Spanish dance. 
 
 antith'esis. i. Contrast. 2. Coun- 
 tersubject. 3. In fugues applied to 
 the anszver. 
 
 anto'de, Gr. Responsive singing. 
 
 Antwort (jint'-vort), G. Answer. 
 
 anwachsend (an'vakh-zent), G. Cres- 
 cendo. 
 
 aoi'dos, Gr. Singer. 
 
 aper'to, /. i. Open, broad. 2. In 
 piano music, ' ' use the damper pedal." 
 
 aper'tus, L. Open ; as diapason, ca- 
 non, pipes. 
 
 Apfelregal (ap'fel-rakh-il), G. "Ap- 
 ple-register," an obsolete reed-stop. 
 
 aphony, aphonic (i-fo-ne), F. Dumb- 
 ness, aph'onous. Without voice. 
 
 apoggiatura. Vide appoggiatura. 
 
 apolli'no, Gr. An invention combin- 
 ing the qualities of several instru- 
 ments. 
 
 apol'lo, apol'lon. A 20-stringed lute 
 inv. in 1678, by Prompt, of Paris. 
 
 apollo lyra. An improvement made 
 by Schmidt in 1832, on the Psalmmelo- 
 dicon (q. v.). 
 
 apollo'nicon. A gigantic orchestrion 
 exhibited in 1817, by Flight & Robson, 
 and containing 5 manuals, 45 stops, 
 1,900 pipes, and kettle-drums. It 
 could be played automatically or by 
 five performers at once. 
 
 apollo'nion. An instr. inv. by Voller in 
 1800 ; a piano with double key- board, 
 organ-pipes and automatic performer. 
 
 apostrophe. In singing, used to mark 
 a breathing-place. 
 
 apot'ome, Gr. A major semitone, in 
 Greek music. 
 
 appassionato (ap-pas'-sl-o-na'-to), ap- 
 passionatamente, /. Passionate- 
 
 (ly). 
 
 appeau (ap-po), F. Bird-like tone. 
 
 Appel (ap-pel'), F. & G. Drum call ; 
 assembly. 
 
 appenato (ap-pa-na-to), /. Dis- 
 tressed. 
 
 application (ap-plT-kas-yon), F., ap- 
 plicatura (ap-pll-ka-too'-ra), /., Ap- 
 plikatur (toor), G. Fingering. 
 
 appoggiando (ap-pod-jan'-do), ap- 
 poggiato (ja'-to), /. Leaning upon, 
 as a tone that slides into the next 
 
 appoggiatura (ap-p6d-ja-too'-ra), pi. 
 e, /. " Leaning note." i. The 
 short or lesser a., or grace note, is 
 written small with a Hne through its 
 hook, it receives the accent, but has 
 the minimum of duration ; the double, 
 or compound a., contains more than 
 one note and follows the same rule, 
 the first note taking the stress ; the 
 unaccented a. {A''ac/ischlag) follows 
 its principal, is connected with it by a 
 slur, and like other grace notes bor- 
 rows its time from the principal, but 
 unlike them has no accent. 2. The 
 long a. was written small in old music 
 but played at its full value. It is now 
 written large as an unprepared sus- 
 pension. Almost any dissonantial 
 note can be introduced unprepared as 
 an a. 3. A superior a. is one placed 
 above its principal ; an inferior a. one 
 below. Vide grace. 
 
 apprestare (ap-pra-sta'-re), /., ap- 
 preti(e)ren (ap-pre-te'-ren), G. To 
 prepare, as an instrument. 
 
 Appretur (ap-pre-toor'), G. The prop, 
 er set-up of an instrument. 
 
 apre (apr), F. Harsh, aprement (apr- 
 man). Harshly. apret6 (ap-rii-ta). 
 Harshness. 
 
 Ar (ar). Fort. All. 
 
 Arabeske (ar-a-bes'-ke), G., ara- 
 besque (ar-a-besk), F. 1. An em- 
 bellishment. 2. A light and graceful 
 form of music, resembling the rondo. 
 
 arbit'rio. Pleasure. A sua a. —ad lib. 
 arbit'rii (tri-e). Embellishments im- 
 provised at pleasure while singing. 
 
 arc, /. The bow ; an abbr. of arco. 
 areata (ar-ka -ta). Use of the bow. 
 arca'to. Played with the bow. 
 
 Arche (ar-khe), G. Sounding-board. 
 
 arch-, E. & F., archi-, Z., arci- 
 I. A prefix, meaning "chief, prin- 
 cipal"; of instruments "the great- 
 est." 
 
 archeggiare (ar-ked-ja'-re), /. To 
 use the bow, to fiddle. 
 
74 
 
 THE MUSICAL GUIDE 
 
 archet (ar-sha), /'., archetto (ar-ket'- 
 to), /. Violin bow. 
 
 archlute, archiluth (ir-shT-lut), F., 
 arciliuto (ar-chel-yoo'-to), /. A the- 
 orbo in whicli the bass strings were 
 doubled with an octave and the small 
 strings with a unison. 
 
 arcicetnbalo (ar-chl-cham'-ba-l5), /. 
 A harpsichord inv. by Vincentino in 
 the i6th century with 6 key-boards 
 and a diatonic, chromatic, and en- 
 harmonic scale. He also inv. the so- 
 called arci-organ. 
 
 arco (ar'-ko), /. The bow. a pun'ta 
 or colla punta d'arco. With the 
 point of the bow. coll' arco, or 
 simply arco after pizzicato. 
 " Resume the bow." a. in giil (joo). 
 Down-bow. a. insu(soo). Up-bow. 
 contr' arco. Bowing against the rule. 
 
 arden'te, ardentemen te, ardentis- 
 simo, /. Ardent(ly). 
 
 arditezza (ar-di-ted -za), /. Boldness. 
 
 ardito, arditamen'te. Bold(ly). 
 
 Aretin'ian. Concerning Guide D'Arez- 
 zo or Aretinus, as the A. syllables. 
 Vide SOLMISATION (and GUiDO in the 
 B. D). 
 
 argentin (ar-zhan-tafi), F. Silvery. 
 
 arghool'. An Egyptian cane pipe with 
 reed mouthpiece. 
 
 aria (a -rl-a) (pi. e), /. A song ; a me- 
 lodic composition for a solo voice with 
 instrumental accompaniment. It is 
 usually elaborate. The a. da capo 
 with two parts (the first repeated af- 
 ter the second) was the first important 
 form, though the rondo and even the 
 sonata idea have been used. Various 
 sorts of aria are a. buffa (boof'-fa), 
 humorous ; cantabile, lyrical ; con- 
 Cfrtane (c6n-cher-tan'-te) or da 
 conc-T o, for concert use, elaborately 
 accompanied; d'abilita (da-be-le-ta), 
 for a display of virtuosity ; d'entra- 
 1 a (dgn-tra'-tii), or sor ita (s6r-te'-ta), 
 for the first appearance or entrance 
 of an operatic character ; di bravura, 
 highly florid ; da chitsa, for church 
 with accompaniments of full orches- 
 tra ; fuga ta parlan'te, declama- 
 tory ; tedes'ca, with closely related 
 
 accompaniment. A. d'ostinazione 
 (dos-tl-na-tsl-o'-ne), /. An aria with 
 a basso osiinaio. aggiunte. One 
 introduced into an opera, ariettina 
 (te'-na), arietta, /. A short air or 
 melody. 
 
 ariette (ar-I-et), F. Literally " a short 
 aria," actually a grand aria. 
 
 arigot (a-rl-go), F. A fife. 
 
 ario'sa (or-o), /. Melodious(ly), can- 
 tabile. ariose cantate (a-rl-6'se kan- 
 ta te), /. Airs in a style between 
 a song and recitative, introducing 
 frequent changes in time and manner. 
 arioso. In the style of an air ; be- 
 tween an aria and a recitation. A 
 rather melodious declamation. 
 
 arm. Iron end-piece in an organ- 
 roller. 
 
 Armandine (ar-man-den), F. A grand 
 piano with gut-strings and no key- 
 board, invented by Pascal Taskin, 
 and named after the singer Mile. 
 Armand. 
 
 arma'rius, L. Precentor. 
 
 armer la clef (ar-ma la kla), F. To 
 mark the signature on the clef. 
 
 Armgeige (arm'-gl-khe), G. Viola da 
 braccia. 
 
 armoneggiare (ar-mo-n^d-ja-rS), /. 
 To harmonize. 
 
 armonia (ar-mo-ne'-a), /. Harmony ; 
 union, a. militare. Military band. 
 armonia'co (a -ko), armonia'le, ar- 
 monia to, armo'nico, armonio'so, 
 armoniosamen'te, /. Harmonized ; 
 harmonious(ly). 
 
 armonica, /. i. Early form of the 
 accordeon. 2. Musical glasses. Vide 
 HARMoxic.\. armonica guida (gwe- 
 da). Text-book in harmony. 
 
 armure (ar-mlir), F. i. The key sig- 
 nature. 2. Action, mechanism. 
 
 ar'pa(pl. e), /. Harp, a, d'eolo. Mo- 
 Han harp, a.doppia. i. Formerly a 
 harp with double strings for each tone. 
 2. Now a double-action, arpanet'- 
 ta, arpinel'la. A small harp or lute. 
 
 Vide SI'1TZH.A.RFE. 
 
 arpfege (ar-pezh), arpegement (ar- 
 pezh-man), F. Arpeggio, arpeger 
 (ir-pe-zha). To arpeggiate. 
 
 I 
 
DICTIONARY OF TERMS 
 
 75 
 
 arpeggi (ar-ped'-je), /. PI. of Arpeg- 
 gio. 
 
 arpeggiare (iir-ped-ja're), /. i. To 
 play the harp. 2. To play chords in 
 harp-manner, i. e., waved, broken. 
 arpeggiamento (ar-ped-ja-men -to), 
 arpeggian do (ped-jan'-do), arpeg- 
 giato (ja'-to). Played arpeggio, in 
 imitation of the harp. 
 
 arpeggiatura (too'-ra), /. A series 
 of arpeggi. 
 
 arpeggio (ar-ped'-jo), /. i. The play- 
 ing of the notes of a chord quickly, 
 one after another, in the harp style, 
 ripplingly. 2. Such a chord written 
 out. 
 
 arpeggione (jo'-ne). A small 6- 
 stringed 'cello tuned like a guitar, 
 inv. by Stauffer in 1823. 
 
 arpicor'do, /. Harpsichord. 
 
 arpo'ne, /. A harp with horizontal 
 strings, inv. in the i8th century by 
 Barbieri. 
 
 arrangement. The translation of a 
 composition to an instr. or instrs. for 
 which it was not originally written. 
 
 arranger (ar-ran-zha), F. arrangiren 
 (ar-ran-zheren), G. To arrange. 
 
 ar'sis, Gr. A raising as opposed to 
 thesis. In accent it means the stress ; 
 in metre it means the up-beat, and 
 therefore the unaccented part. It is 
 musically most common in the latter 
 sense. 
 
 ars musica, L. The art of music. 
 
 Art (art), G. Species, quality, as Ton- 
 art, key. 
 
 articolare (ar-te-ko-la'-re), /. articu- 
 ler (ar-te-kii-la), F., artikuliren 
 (ar-te-koo-le'-rSn), G. To articulate. 
 articolato (la'to), /. Articulated. 
 articolazione (la'-tst-6'-ne), /. Ex- 
 act and distinct pronunciation ; articu- 
 lation. 
 
 artific'ial. Vide harmonic. 
 
 artiglich (ar'tlkh-likh), G. Neat(ly). 
 
 As (as), G. The note A flat. Asas, 
 or Ases. The note A double flat. 
 
 ascaulos or askau'los, Gr. A bag- 
 pipe. 
 
 As-dur (as-door), G. The key of A 
 flat major. 
 
 Ashantee trumpet. One made of 
 the tusk of an elephant. 
 
 asheor (ii-'she-or). Hebrew instr. of 
 10 strings. 
 
 As-moll (as-moU), G. The key of A 
 flat minor. 
 
 Asperges me, Z. "Cleanse me." 
 The opening of the Catholic Mass. 
 
 aspirare (as-pl-ra-re), /. To breathe 
 audibly. 
 
 aspiration, i. The dot indicating 
 Spiccato. 2. An obsolete grace note 
 having the effect of a beat in a sus- 
 tained tone. 
 
 asprezza (as-pred'-za), I. Harshness. 
 
 assai (as-sa'-e), /. Very ; as allegro 
 a., very fast. 
 
 assemblage (as-sah-blazh), F. Double 
 tonguing ; rapid execution. 
 
 assembly. A rallying call for troops. 
 
 assez (as-sa), F. Enough ; rather. 
 
 assoluto (loo'-to), /. Absolute ; alone ; 
 of a chief singer. 
 
 assonant, E., assonan'te, /. Having 
 resemblance in sounds, concordant. 
 Assonanz (as-so-nants'), G., asso- 
 nanza (as-so-nan'-tsa), /. Conso- 
 nance. 
 
 assourdir (as-soor-der), F. To muf- 
 fle ; to deafen, assourdissant (dls- 
 sari). Deafening. 
 
 at'abal. A large Moorish drum. 
 
 Athem (a'tam), G. Breath, a.-los. 
 Breathless. A.-zug (tsookh). Res- 
 piration. 
 
 athmen (at'-man), G. To blow soft- 
 
 ly- 
 
 attacca (at-tak'-ka), /., attaquer (St- 
 ta-ka'), F. To attack, attacca su- 
 bito, /. Attack or begin what fol- 
 lows immediately. attacca-Ansatz, 
 G. The attack-touch, a quick stroke 
 from near the keys. 
 
 attacco, /., attaque (at-tak), F. i. 
 A brief fugue theme. 2. A subject 
 for imitation in fugue. 
 
 attack. The manner or act of begin- 
 ning a tone, a phrase or a movement. 
 
 attendant. Related. 
 
 atto (at'-to), /. An act. a. di ca- 
 denza. Point where a cadence may 
 occur. 
 
76 
 
 THE MUSICAL GUIDE 
 
 au (6), F. "To the; in the style of 
 the." Vide al, etc. 
 
 aubade (o-bad), F. Morning music ; 
 a day-break serenade. 
 
 audace (a-oo-dat'-che), /. Audacious. 
 
 auf (owf), G. On, upon, in, at, etc. 
 -blassen. To blow upon, -fas- 
 sung. Conception ; interpretation. 
 -fiihrung (fii-roongk). Performance. 
 -geregt (-ge-rakht). Agitated, -ge- 
 weckt (-ge-vekt). Lively, -geweck- 
 theil (til). Cheer. 
 
 aufhalten, G. To retard, to suspend. 
 Aufhaltung (owf'-hal-toongk), G. 
 A suspension. Vorhalt. 
 
 Auflage (owf'-la-khe), G. Edition. 
 
 auflosen (owf-la'-zen). To resolve. 
 Aufiosung (owf'-la-zoongk). i. Res- 
 olution. 2. The solution of a riddle 
 canon. 3. A natural (fl) sign. 
 
 Aufsatz (owf'-zats), G. Tube (of a 
 reed-pipe). 
 
 Aufschlag (owf'-shlakh), G. Up-beat. 
 
 Aufschnitt (owf'-shnTtt), G. Mouth 
 (of a pipe). 
 
 aufsteigende (owf-shti'-khen-de), G. 
 Ascending. 
 
 Aufstrich (owf'-shtrTkh), G. An up- 
 bow. 
 
 Auf takt, G. Anacrusis ; up-take. 
 
 Auf tritt, G. A scene. 
 
 Aufzug (owf-'tzookh), G. An act. 
 
 augmentant, en (a-nog-mah-tah), F, 
 Crescendo. 
 
 augmenta'tio, Z., augmentation (in 
 F. og-mah-tas'-yoh). Increase, i. 
 Of inter\'al (q. v.) a semitone larger 
 than major, as an augmented fifth. 
 2. Of note-values, as in counterpoint, 
 where a theme may appear with quar- 
 ter notes changed to half, etc. 
 
 augmented, E., augments (6g-mah- 
 ta), F. Used of i. Intervals a 
 semitone greater than major. 2. 
 Chords containing such intervals. 
 
 Vide ALTERED CHORDS. 
 
 aul'os, Gr. Most important Greek 
 instrument, probably a flute, possibly 
 like the oboe. aul'etes. Flute- 
 player. 
 
 aulozo'num, Gr. The tuning-wire of 
 reeds. 
 
 aus (ows), G. From, out of. -arbeitung 
 
 (-ar-bl-toongk). Elaboration, -deh- 
 nung (-da-noongk). Development. 
 -druck (-drook). Expression. 
 
 -drucksvoll. Full of expression, 
 -fiihrung (fii-roongk). Performance ; 
 exposition, -fiillung. The middle 
 parts. -gabe (-ga-be). Edition. 
 -gang. Exit ; conclusion, -gehal- 
 ten. Sostenuto. -geigen (gl-khen). 
 To finish, -gelassen. Wild ; un- 
 governable. Aus'gelassenheit (hit). 
 Extravagance ; wantonness. -hal- 
 ten. To sustain. Aus'haltung. 
 Sustaining. Aushaltungszeichen 
 (tsi-khen). The fermate. -losung 
 (-la-zoongk). The device that releases 
 the hammer of a piano. 
 
 ausserste Stimmen (is'-ser-ste shttm- 
 men), G. Extreme parts. 
 
 ausweichen(ows-vikh'n), G. To mod- 
 ulate. Ausweichung (vl-khoongk), 
 G. Modulation ; transition. 
 
 authentic, E., autentico (a-oo-ten'-tl- 
 ko), /., authentisch(ow-ten'-t1[sh),6^. 
 That part of a scale between the tonic 
 and the dominant above ; the part be- 
 tween the tonic and the dominant be- 
 low being called Plagal. Vide modes. 
 a. cadence. Vide cadence, a. 
 melody. One whose range covers the 
 octave above its tonic or final. 
 
 au'toharp. A zither whose strings are 
 stopped by a series of dampers so ar- 
 ranged that pressing one down, leaves 
 free certain strings. When these are 
 swept with the plectrum a chord re- 
 sults. 
 
 au'tophon. A barrel-organ, whose 
 music is cut in heavy pasteboard. 
 
 autos sacrementale (a'-oo-tos sak- 
 ra-men-ta'-le), Sp. Oratorio, or pas- 
 sion music. 
 
 auxiliary. Said of tones one degree 
 above or below the true harmonic tone, 
 particularly in a grace ; of scales be- 
 longing to auxiliary or related keys. 
 
 avanera. Vide habanera. 
 
 ave (a-va), L. " Hail." Ave Ma- 
 ria. " Hail Mary," the salutation of 
 the angel at the Annunciation, which, 
 with the words of Elizabeth (Luke i. 
 
 \ 
 
DICTIONARY OF TERMS 
 
 11 
 
 42) and a concluding hymn, has 
 formed a favorite text for music since 
 the 7th century. Ave maris Stella, Z. 
 " Hail, star of the sea." A Catholic 
 hymn. 
 
 avec (a-vek), F. With. 
 
 ave'na, L. A reed ; a pipe. 
 
 avicin'ium. A bird-like organ-stop. 
 
 avoided. Prepared and then omitted, 
 as a cadence (q. v.). 
 
 avoir du retentissement (a-vvvar- 
 dii rii-tafi-tes-mah), F. To be re- 
 peated and echoed. 
 
 azione sacra (a'-tsI-6-ne sa'-kra). 
 Oratorio ; passion music. 
 
 B 
 
 Bi. A musical pitch, one whole 
 step higher than A, and its 
 octaves. In France and Italy 
 called "si." In Germany B 
 natural is called H (ha), and the term 
 B (ba) confined to B flat. 2. The major 
 key having five sharps ; the minor key 
 relative to D major. In old works 
 (and modern German) square B (or B 
 quadratum or quadrum or durum, 
 in F. Be carr6) stands both for B nat- 
 ural and for the natural sign (fl) itself. 
 "B rotundum (or moUe, in F, b6- 
 raol) stands for B flat, and for the flat 
 sign itself ([7), the tone B having been 
 the first to be chromatically lowered. 
 B cancellatum stands for the sharp 
 sign (#) first formed by crossing the flat 
 Q>) and originally equivalent merely to 
 nullifying or naturalizing the flat. 
 
 In old solmization B flat was j9/rt ; 
 B natural, B mi. 
 
 As abbr. B — basso ; c. b. — col 
 basso ; C. B. — Contrabasso. Mus. B. 
 — Bachelor of music. 
 
 baas (bas) or base dance. A dance 
 resembling the minuet. 
 
 baazas (ba-za), F. A kind of guitar. 
 
 babara (ba-ba-ra), Sp. A Spanish 
 country dance. 
 
 baborack'a, bab'orak. Bohemian 
 dances of eccentric rhythm. 
 
 baccalaureus musics, Z., bachel- 
 ier (bash-iil-ya), F. Bachelor of Mu- 
 
 sic. A degree granted to those who 
 have proved a certain standard of 
 proficiency. Inferior to Doctor of 
 Music. 
 
 bacchanale (nal), F. A Bacchic revel. 
 bacchanalian songs. Drinking 
 songs. 
 
 bacchia. A Kamschatkan dance in 
 2-4 time. 
 
 bacciocolo (bat-tchI-6-k6'-lo), /. A 
 Tuscan guitar. 
 
 bachelor. Vide baccalaurkus. 
 
 back-block. Wrest-block. 
 
 badinage (bi-dl-nazh), F. Banter. 
 
 baga'na. lo-stringed Abyssinian lyre. 
 
 back. The under side of a violin.' 
 
 back-fall. i. An obsolete sign and the 
 grace note it indicated. Vide graces. 
 2. A lever in the organ. 
 
 back-turn. Vide turn. 
 
 bagatelle (bag-a-tel), F. A trifle. 
 
 bagpipe(s). An instr. of great antiq- 
 uity and wide favour, consisting of 
 a series of pipes furnished with wind 
 from a bag in the player's mouth or 
 a bellows under his arm, or both. It 
 has usually one chanter or melody- 
 pipe with a reed, and 6 or 8 holes, 
 played with the fingers ; 3 drone 
 pipes sounding continuously an octave 
 and a fifth. 
 
 baguette (bS-get), F. i. A drumstick. 
 2. Bow. 
 
 baile (ba-e'-le), Sp. National Spanish 
 dances. 
 
 baisser (bes-sa), F. To lower, as the 
 pitch. 
 
 bal'afo. A Senegambian xylophone. 
 
 balalaika (ba-la-ll'-ka). A rude Rus- 
 sian or Gipsy guitar with 2 to 4 
 strings. 
 
 balancement (bal-ans-mah), F. A 
 tremolo (as of a violinist's finger). 
 
 balance-rail. The wooden strip on 
 which piano kevs are balanced. 
 
 Bal(c)ken (biil'-ken), G. i. Bass-bar. 
 2. The heavy lines connecting the 
 stems of a series of small notes. 
 
 ■Balg (balkh), G. Bellows. B.-zug. 
 Bellows-stop. 
 
 ballabile (bal-la'-bt-le), I. In a dance 
 
78 
 
 THE MUSICAL GUIDE 
 
 bal'lad, Ballade (b<tl-iad'), F. (bal- 
 la-d^), G. ballata (bal-la-ta), /. 
 Originally a dance tune (from ballare, 
 to dance) ; it now means a simple 
 song of popular tone. In instrument- 
 al work, it may be as elaborate as 
 ■'Chopin's Ballades," but it still has 
 an idea of directness and melodious- 
 ness, if not narrative. balladen- 
 massig (mes-sikh), G. Ballad style. 
 ballad of ballads. Solomon's song. 
 ballad opera. Light tuneful opera. 
 alia ballata. In ballad style, balla- 
 tella, ballatetta. A short ballata. 
 
 ballet (bai-Ia), F., Ballett (bal-let), (?., 
 ballet'to, /. I. An elaborate dance 
 by professionals, often spectacular 
 and narrative. 2. A light glee of the 
 i6th cent. Vide fa-la. 3. bal- 
 letto was used by Bach for an alle- 
 gretto in common time. 
 
 bal'lo (pl-i), /. A dance, or dance tune, 
 as b. della stira, Styrian dance like 
 the waltz ; b. ungaresi, a syncopated 
 2-4 Hungarian dance ; da ballo, in 
 dance style. 
 
 ballonchio (bal-16n'kI-o), /. A coun- 
 try dance. 
 
 band. A group of instrumentalists, 
 usually a military band, sometimes an 
 orchestra ; oftener a part of the or- 
 chestra, as the string-band, band- 
 master. The leader of a band. 
 
 Band (bant), G. A volume. 
 
 ban'da, /. i. The brass and the 
 drums of a theatre-orchestra. 2. An 
 orchestra on the stage. 
 
 Bande (ban'-de, C, band, F.). i. The 
 24 court-violins. 2. A strolling band. 
 
 bando'la, bandolon, bandalo're, 
 bandelo're. bando'ra, bandura 
 (ban-doo'ra), /. Instrs. of the lute 
 kind, played with a plectrum. 
 
 bando'nion. A concertina named af- 
 ter the Heinrich Band, invented by 
 Uhlig, 1830. 
 
 bandurria(ban-door'-r!-a), Sp. A wire- 
 strung guitar. 
 
 ban'ia, ban'ja. African instrs. from 
 which the banjo may have been de- 
 rived. 
 
 banjo. A long-necked stringed instru- 
 
 ment with a broad, round body, cov- 
 ered with a tight skin, which gives the 
 five to nine strings a quaint sound. 
 
 Bankelsanger (benk'el-zSng-er), G. 
 " Bench-singer(s)," vagabond musi- 
 cian(s). 
 
 bar. I. A vertical line drawn across 
 the stave just before the major accent 
 of each measure ; since the bar sep- 
 arates the measures, the word is in- 
 correctly used to denote the measure 
 itself. In psalmody used to mark the 
 end of lines and phrases. 2. A gen- 
 eral division of the song of the Meis- 
 tersanger ; it included 2 Stollen and 
 an Abgesang. 3. Vide barker. 
 
 bar'baro, /. Barbarous(ly). 
 
 barbarism. Crudeness of progression 
 or combination. 
 
 barbet', bar biton, bar bitos. i. An- 
 cient Greek lyre. 2. In i6th cent, a 
 violin. 
 
 barcaro'la, barcaruola (b.ir-ka-roo-6'- 
 la), barca ta, /., barcarolle (bar-ka- 
 rol), F. I. An air sung by gondoliers, 
 or boatmen. 2. Hence, a lyrical in- 
 strumental composition usually in 6-8 
 time (Chopin's are in 12-8). 
 
 bard. A Celtic minstrel. 
 
 bardd alan (bard-a'-lin). A Welsh 
 prof, of music. 
 
 Bardlet, Bardit (biir-det'), G. Ancient 
 German war-song. 
 
 bardo'ne, /. Vide barytone. 
 
 bare. Open ; parallel, as bare fifths. 
 
 Barem (ba'-ram), G. Obs. soft organ- 
 stop. 
 
 Barentanz (bar'-en-tants), G. Bear- 
 dance. 
 
 bargaret, bargeret, barginet. Vide 
 berger?:t. 
 
 baribas'so. A deep barytone. 
 
 bariolage (bar-I-o-lazh), F. i. A med- 
 ley. 2. A rapid passage showing a 
 distinct design, or " waist-coat pat- 
 tern." 
 
 bar'itenor. The deeper tenor voice. 
 
 bariton(e). Vide baryton. 
 
 baroc'co, /., barock', G., baroque (bS- 
 rok), F. Eccentric ; uncouth. 
 
 Barpfeife (bar'-pfl-fe), G. Bear-pipe, 
 an old growling organ-stop. 
 
DICTIONARY OF TERMS 
 
 79 
 
 barquade (bar-kad), F. Old form of 
 barcarolle. 
 
 bar'ra, /. Bar. 
 
 barrage (bar-razh), F. Vide barker. 
 
 barre (bar), F. i. A bar; also b. de 
 mesure ; b. de repetition, repeti- 
 tion mark. 2. A bridge. 
 
 barr6 (bar-ra), F. Vide barker. 
 
 barred C. The mark for common time. 
 C with a bar through it ; a mark of 
 alia breve. 
 
 barrel. The body of a bell. 
 
 barrel chime. Portion of a mechanism 
 ringing a chime of bells. 
 
 barrel organ, i. An instrument, com- 
 monly portable, in which the bellows 
 are worked, the pipes blown and the 
 tune automatically played by a crank 
 turning a cylinder set with pegs, so 
 arranged as to open valves in melodic 
 and harmonic order. 2. The same 
 principle is used in street-pianos, the 
 pegs -releasing hammers which strike 
 wires. 
 
 barrer (bar-ra), F. To bar. Pressing 
 the strings of a guitar or lute with the 
 forefinger of the left hand to raise 
 their pitch ; great , or grand b., press- 
 ing all the strings ; small b., pressing 
 2 or 3 strings ; hence barre and bar- 
 rage. 
 
 Bart, G. Ear, as of an organ-pipe. 
 
 bar'yton(e), E., baryton (bar-I-toh), 
 Baryton (ba-rl-ton), G., barito'no, 
 /. I. The male voice, between bass 
 and tenor, with a compass between low 
 G and g (vide pitch). If low in qual- 
 ity it is bass-baryton, if high, tenor- 
 baryton. 2. A brass valved instr. 
 (vide sax-horn). 3. The viola di 
 bordone {or bardone). An obsolete 
 l8th cent, instr. resembling the viola 
 da gamba ; its 6 gut-strings being re- 
 enforced by the sympathetic vibration 
 of from 8 to 27 wires. 4. An epithet 
 for any instr. between bass and tenor, 
 as b. clarinet. 5. b. clef. The obso- 
 lete F clef on the 3d line. 
 
 barz (barz), Welsh. A Welsh bard. 
 
 bas (ba), F. Low. bas-dessus (dSs- 
 su). Mezzo-soprano. 
 
 base, bass, £., Bass (bas), G., basse 
 
 (b5s), F., basso (bas'-s6), /. i. The 
 base or lowest part of a chord, pro- 
 gression, chorus, etc. 2. An epithet 
 denoting the deepest instr. of a class, 
 as bass clarinet. The double-bass, 
 q. V. 3. Formerly an instr. of 5 or 6 
 strings between 'cello and double- 
 bass. 4. Affixed to the name of an 
 organ-pipe or stop, it restricts it to the 
 pedal. 5. The lowest male voice, 
 ranging usilally from low F to mid. C ; 
 basse chantante (shah-taht), basso 
 cantan'te, a flexible "lyric" bass 
 voice ; basse-contre (kontr), basso 
 profundo (pro-foon'-do), a very low 
 voice ; basse taille (tl-yti), a high 
 bass ; basso buffo, bass comedian. 
 6. Thorough bass, continued bass, 
 figured bass, Generalbass (ga-ng- 
 ral'-bas), bezifferte Bass, basse 
 chiffr6e (shif-fra), basse continue 
 (koh-tah-u), basse figur^e (fe-gu- 
 ra), basso contin'uo, basso figura'- 
 to, basso numera'to — a species of 
 musical shorthand in which only the 
 bass-part is written with Arabic and 
 Roman numerals indicating the chords 
 (vide chord). 7. Fundamentalbass, 
 basse fondamentale, basso fon- 
 damentalo, vide fundamental. 8. 
 Ground-bass, drone-bass, basse 
 contrainte (kon-triht), basso con- 
 strutto, basso ostinato, basso te- 
 nuto, a bass phrase or figure obsti- 
 nately repeated. 9. basse-contre, 
 a very deep voice ; also the double- 
 bass ; b. de cremo(r)ne, or, de cro- 
 morne or d'hautbois or de fliite 
 traversi^re, old names for the bas- 
 soon ; b. de cornet, the serpent ; 
 b. d'harmonie, the ophicleide ; b. 
 guerri^re, a bass clarinet ; bass 
 orgue, an instr. inv. in 1812 by 
 Sautermuiter. 10. Bassllote, an 
 obsolete bassoon ; an 8-foot organ- 
 stop on the pedal. Bassgeige, 
 'cello ; grosse Bassgeige, doub- 
 le-bass. Bass-schliissel, or -zei- 
 chen— F clef. 11. basso concer- 
 tante, the principal bass in recitatives, 
 etc. ; also florid music for the lower 
 strings ; basso obbligato, a neces- 
 
8o 
 
 THE MUSICAL GUIDE 
 
 sary bass-part ; b. ottava, an octave 
 lower ; b. ripieno, vide ripieno ; b. 
 rivoltato, inverted bass. 12. bass 
 clef, the F clef. Alberti bass, vide 
 ALBERTi. given bass, a bass on which 
 harmony is to be built, supposed 
 bass, a bass tone not the root of the 
 chord, murky bass, vide murky. 
 bassanello, an obsolete instr. bass- 
 bar, bass-bram, in violins, etc., a 
 strip of wood glued inside the belly 
 near the bass string. 
 basset horn. An obsolete clarinet. 
 Bassett, bassett'l, Bass'l, (7. i. Old 
 name for 'cello. 2. As a prefix = 
 tenor. 3. A 4-ft. flute-stop on the 
 pedal. 
 basset'to, /. i. The little bass. 2. 
 An obsolete instr. with 4 strings. 3. 
 An 8 or 16 ft. reed-stop. 4. The 
 lowest voice when the bass is si- 
 lent. 
 Bassklausel (bas'-klow-zel). The pro- 
 gression of the bass in a cadence. 
 Basslade(bas-la-de). G. Soundboard. 
 basson (bits-son), F. Bassoon, b. 
 quart (kar). One whose tones are 
 a fourth lower, b. quinte (kant). 
 One whose tones are a fifth higher. 
 bassoon. The bass voice of the wood- 
 wind. A 9-foot conical tube doubled 
 on itself, with a long double-reed 
 mouth-piece. Its original was the 
 long bombardon, from which it was 
 derived in 1539. It is the bass of the 
 oboes ; its natural scale is G major ; 
 its music is written in the V clef, 
 save for higher notes which use the 
 tenor clef. All keys are available by 
 means of cross fingering, and it is 
 capable of considerable brilliance. It 
 has three registers, the lowest being 
 very reedy, the highest resembling 
 partly a 'cello and partly a tenor 
 voice, the medium is rather colourless. 
 The compass B'tj-c" (sometimes to 
 
 f"). 
 basta, bastante, /. ' Enough ! stop ! " 
 bastardilla (bas-tar-del'-ya), Sp. A 
 
 kind of flute. 
 bath'yphon, Gr. An obsolete clarinet 
 
 inv. 1829. 
 
 batil'lus, L. An Armenian instr. used 
 in the place of bells ; a board struck 
 with a hammer. 
 
 battant(e) (bat-tan(t) ), F. Beating. 
 
 baton de mesure (ba-toh dii mu-zUr), 
 /". I. Stick used in beating time. 
 2. A conductor's manner. 3. A rest 
 of 2 or more measures. 4. baton, 
 The thick line of a measure-rest. b. 
 de reprise. Repeat. 
 
 battement (bit -man), F. battimen- 
 to, /. Beat. 
 
 battere (bat'-te-re), /. The down stroke. 
 
 batterie (bat-re), F. i. The roll of 
 the drum. 2. Smiting the guitar 
 strings. 3. Broken chords on string 
 instrs. 4. The group of percussion 
 instruments. 
 
 battery. A harpsichord effect amount- 
 ing to a quick sharp repetition of a 
 chord. 
 
 battre (bStr), F. To beat. 
 
 battuta (bat-too'-ta), /. i. A beat; 
 so a b.,with the beat, strictly a tevi- 
 po. 2. A measure. 3. A progression 
 from the loth on an up-beat to the 
 octave on the down, forbidden in old 
 counterpoint. 
 
 Bau (bow), G. Construction. 
 
 bauerisch (bi'-er-!sh), G. Rustic; 
 coarse. 
 
 Bauernflote (bow'-ern-fla-te), Bauem- 
 pfeife, Bauerlein, G. i. Rustic 
 flute. 2. A stopped register in old 
 organs. 
 
 Bauernlied (bow'-ern-let), G. A rustic 
 ballad. 
 
 baxoncillo (bax-on-thel'-yo), Sp. i. 
 Small bassoon. 2. Open diapason 
 stop. 
 
 bayla, bayle (ba -e-la), Sp. A dance. 
 
 b b (ba-ba), G. Double flat. 
 
 B-cancellatum. Vide B. 
 
 B-dur (ba-door), G. B. durum, Z. 
 The key of B flat major. 
 
 bearbeitet (be-ar'-bi-tet), G. Ar- 
 ranged. Bearbeitung (bi'-toongk). 
 Adaptation. 
 
 beards. Small projections on the side 
 of, or beneath, the mouth of a pipe, 
 to improve the speech ; hence, cross- 
 and side-beards. 
 
DICTIONARY OF TERMS 8] 
 
 bearings. The tones and intervals 
 first established by a tuner as a 
 basis. 
 
 beat, beating, i. The hand-motions 
 of a conductor. 2. That part of a 
 measure marked by one beat. 3. 
 One pulsation of a trill. 4. An old 
 ornament consisting of a short prelim- 
 inary trill with the next note below. 
 Vide GRACES. 5. The throb produced 
 by the interference of two tones of 
 slightly different pitch. Vide acous- 
 tics. 
 
 bebisation. Vide solmisation. 
 
 Bebung (ba'-boongk), G. i. A tremolo ; 
 on the clavichord, a tremolo made by 
 vibrating the finger upon the key. 2. 
 Also, German organ-stop. 
 
 bee (bek), F., bec'co, /. The mouth- 
 piece, as of a clarinet, becco polac- 
 co. A large bagpipe. 
 
 b^carre (ba-kar), F. The natural 
 sign (G). 
 
 Becher (bekh'er), G. i. The cup or 
 bell of a wind-instr. 2. The tube of a 
 reed-pipe. 
 
 Becken (bek-n), G. Cymbals. 
 
 bedeckt', G. Covered ; stopped. 
 
 bedon (bii-don), F. Old name for 
 drum. b. de Biscaye. A tam- 
 bourine. 
 
 Be (ba), G. B flat. Be-be. B dou- 
 ble flat. 
 
 beffroi (buf-frwa), F. i. Belfry. 2. 
 Tocsin. 
 
 befilzen (be-fel'-tsen), G. To put felt 
 on. Befilzung. Felt. 
 
 Begeisterung (be-gls'-ter-oongk), G. 
 Enthusiasm. 
 
 begleiten (be-gll'-ten), G. To accom- 
 pany. Begleitung. Accompani- 
 ment. Begleitstimmen. The ac- 
 companying parts. beglei'tete 
 Fu'ge. A fugue with free parts. 
 
 beide (bl'-de), G. Both, usually die 
 Beiden. 
 
 Beispiel (bi'-shpel), G. Example. 
 
 Beisser (bls'ser), G. A mordent. 
 
 Beitone (bl'-ta-ne), G. Accessory 
 tones ; harmonics. 
 
 Beizeichen (bl'-tsl-khen), G. Acci- 
 dentals. 
 
 bekielen (be-ke'-len), G. To fit with 
 quills. 
 
 beklemmt', G. Oppressed. 
 
 bel (bel), /. Beautiful, perfect, as il 
 bel canto. The perfect (art of) song. 
 
 belebend (be-la'-bent), G. Accelerat- 
 ing, belebt (be-lapt). Lively. Be- 
 lebtheit (hit). Belebung. Vivac- 
 ity. 
 
 beledern (be-la-dern), G. To cover 
 with leather or felt. Belederung. 
 Felt. 
 
 belegt (be-lakht'), G. Hoarse ; veiled. 
 
 belieben (be-le'-ben), G. Pleasure ; at 
 pleasure. 
 
 beliebig (be-le'-bikh), G. At pleasure, 
 
 bell. I. A hollow metallic instrument 
 set in vibration by a clapper, or ball, 
 within, or by hammers from outside. 
 
 2. The wide opening of horns, etc. 
 
 3. B. diapason. A diapason stop 
 with flaring pipes, b.-gamba. A stop 
 whose pipes are topped with a bell, 
 b.-harp. An old form of harp which 
 was swung when played, b.-metro- 
 nome. A met. with a bell-indicator. 
 b.-scale. A diapason for testing bells. 
 b.-piano. Vide glockenspiel. 
 
 bellezza (bel-led'za). /. Beauty. 
 
 bellico'so, bellicosamen'te, /. Belli- 
 cose(ly). 
 
 bello'nion. An automatic instr. inv. in 
 18 12, consisting of 24 trumpets and 2 
 drums. 
 
 bellows. A pneumatic device for sup- 
 plying air to various instruments. 
 
 bel ly. A soundboard of an instr., 
 violin or piano, over which strings are 
 stretched. 
 
 bemerk bar, G. Marked. 
 
 bemol (ba-mul), F., bemolle (ba-mol- 
 le), /. The mark called a flat (1>). b^- 
 moliser (ba-m6-l!-za), F., bemol- 
 Uzzare (ba-mol-lld-za're), /. To 
 mark with a flat. b6niolis€e(za). 
 Flattened. 
 
 ben (ban), bent (ba'-ne), /. Well, 
 good ; as ben tenuto, well-sustained ; 
 a bene placito, at the good pleasure. 
 
 Benedic'ite, Omnia Opera. "All ye 
 works (of the Lord) praise Him," Z. 
 A canticle for morning prayer. 
 
82 
 
 THE MUSICAL GUIDE 
 
 '• Benedictus, Domine," Blessed be 
 Thou, O Lord. A canticle. Bene- 
 dic'tus Qui Venit, L. " Blessed is 
 He that cometh," vide mass. 
 
 bequadro (ba-kwa'dro), /. The natural 
 sign (5). 
 
 berceuse (ber-suz), F. A cradle-song ; 
 hence, an instrumental piece in that 
 spirit. 
 
 bergamask, E., bergamas ca, /., 
 bergamasque (mask), F. A rustic 
 dance, imitating the clumsy peasants 
 of Bergamask in Italy. 
 
 bergeret (ber-zhg-ra), F. A rustic 
 song or dance. 
 
 Bergkreiyen, Bergreigen (barkh-rf- 
 khen), G. >'ountain melodies. 
 
 berlingozza (bor-lm-godza), /. A 
 rustic dance. 
 
 Bes (bas), G. The note B double 
 flat. 
 
 besaiten (b^-zi'-ten), G. To string. 
 
 beschleunigend (be-shloi'-nl-gent), G. 
 Accelerating. 
 
 befiedern (be-fe'-dern), G. To quill. 
 
 bestimmt (be-shtlmt), G. Distinct. 
 B.-heit (hIt),G'. Precision. 
 
 betonend, betont (be-t5nt), G. Ac- 
 cented. Betonung. Accentuation. 
 
 betrubt (be-trlipt), G. Troubled. 
 
 Bet'tlerleier (ll-er), G. Hurdy-gurdy ; 
 Bettleroper. " Beggar's opera." 
 
 bewegen (be-va-khen), G. To agi- 
 tate, bewegt (vakht). Agitated. 
 Bewegung. Motion, emotion. Be- 
 wegungsart. Tempo, a movement. 
 
 beziffert (b6-tslf'-fert), G. Figured. 
 Vide BASS. 
 
 Bezug (be-tsookh'), G. The set of 
 strings for an instrument. 
 
 bhat. A Hindu bard. 
 
 bianca (bl-an'-ka), /. A "white" or 
 half note. 
 
 bibi (be-be), F. A pianette. 
 
 Bible-regal. A regal that folded up 
 into the size of a tome. 
 
 bichord, L. An instr. (a) having two 
 strings, (b) Having two strings to 
 each note. 
 
 bicin'ium. A 2-part composition. 
 
 bien (b'yah), F. Well. 
 
 bifara (be-fa-ra), bif fara, bif ra, /. A 
 
 stop with paired pipes slightly out of 
 tune, so as to produce a tremolo, 
 biju'ga. The two-necked cither. 
 bina. Vide vina. 
 bimraolle (blm-mol'-lg), /. B flat; 
 
 the flat mark. 
 binary. Two-fold ; two-part. b. 
 form. A movement with 2 chief 
 themes or sections. b. measure. 
 Common time with its two accents. 
 
 bind. A line, usually curved, binding 
 two notes into a sustained tone ; or the 
 brace binding staves. 
 
 Bindebogen (bm'-dg-bo-khen), G. A 
 slur. 
 
 bin'den, G. To bind ; to perform /<?- 
 gato. Bindung. A slur ; hence, a 
 suspension or syncopation ; the legato 
 manner. Bindungszeichen. The 
 slur. 
 
 biquadro (be-kwa-dro), /. The nat- 
 ural sign. 
 
 bird-organ. A small organ for teach- 
 ing tunes to birds. 
 
 Birn(e) (ber ne), G. The socket of a 
 mouthpiece. 
 
 bis (bes), L. i. Twice, bis unca, i6th 
 note. 2. Used by the French in- 
 stead of our pseudo-French "en- 
 core ! " meaning " please repeat." 
 
 biscan'to, /. A duet. 
 
 bischero (bes'-ka-r5), /. A peg or 
 pin. 
 
 biscroma (bes-kro'-ma), /., biscrome 
 (bes-krom), F. A l6th note. 
 
 bisdiapa'son, Z. A double octave, or 
 fifteenth. 
 
 biseau (be-so), F. Stopper of a pipe. 
 
 bisin'ium, L. A duet. 
 
 bisogna (be-s6n'-ya), /. "It is neces- 
 sary." 
 
 bisqua'dro (kwa'-dro), /. A natural 
 sign. 
 
 bissare (bls-sa -r^), /., bisser (bes-sa), 
 F. To encore. 
 
 bis'sex, L. A 12-stringed guitar. 
 
 bit. A small tube to supplement a 
 crook. 
 
 Bit'terkeit (kit), C. Bitterness. 
 
 bizzarria (bid-zar-re'-a), /. Eccentric^ 
 ity. bizzar'ro. Curious, bizzar- 
 ramente. Oddly. 
 
DICTIONARY OF TERMS 
 
 83 
 
 blanche (blansh), F. A "white" or 
 half note. 
 
 Blasebalg (bla-ze-balkh), G. Bel- 
 lows. 
 
 blasen (bla'-zen), G. To blow. Bla'- 
 ser. A blower ; an instrument for 
 blowing-. Blasemusik. Music for 
 wind instrs. Blas'instrument. A 
 wind-instrument. 
 
 Blatt (blat), G. A leaf ; a reed. 
 
 Blechinstrumente (blekh'-ln-stroo- 
 m^n-te), G. The brass instruments. 
 
 blind (bllnt), G. "Blind," simulated, 
 as a dummy pipe. 
 
 Blockflote (bl6k'-fla-te), G. \. K stop, 
 of large-scale pipes. 2. A i6th cen- 
 tury flute. 
 
 b-mol (be-mol), F. The flat mark [7, 
 Vide BEMOL. 
 
 B-moU (ba-mol), G. The key of B 
 flat minor. 
 
 blocks. Supporting strips in violins, 
 etc. 
 
 boat-songs. Water-music, vocal or 
 instrumental. 
 
 bob. The changes to which a set of 
 bells can be rung ; 6 bells give bob 
 minor; 8, b. major; 10, b. royal ; 
 12, b. maximus. 
 
 bo'bisation, bocedisation. Vide sol- 
 
 MISATION. 
 
 bocal (bo-kai), /^., boc'ca, /. Mouth- 
 piece ; mouth. bocca ridente. 
 " Smiling mouth," believed to aid the 
 production of pure tone, con bocca 
 chiusa (kl-oo'-za). With mouth 
 closed, humming, bocchino (ke'no), 
 /. Mouthpiece. 
 
 bocina (bo-the'-na), Sp. A large trum- 
 pet. 
 
 Bockpfeife (bok'-pfl-fg), G. A bag- 
 pipe. 
 
 Bockstriller(b6ks'-trtl-lgr), G. A goat- 
 ish bleat. 
 
 Boden (bo'-dSn), G. The back (of vio- 
 lins, etc.). 
 
 Boehm Flote (bam fla'-te). An im- 
 proved flute inv. 1834 by Boehm, in 
 which a series of keys simplify the 
 fingering and intonation ; the system 
 is also fitted to oboes and clarinets. 
 Vide the B. D. 
 
 Bogen(bo'-khen), G. i. A bow. 2. A 
 slur, as Haltebogen. Bogenfiihrung. 
 Bowing. Bogenstrich. A stroke of the 
 bow. Bogeninstrumente. Stringed 
 instruments. Bogenfliigel, -ham- 
 merklavier, or -klavier. Piano- 
 violin. 
 
 bois (bwa), F. Wood, les (la) bois. 
 The wood-wind. 
 
 boite (bwjit). Box ; swell box. ouvrez 
 (fermez) la b. Open (close) the swell. 
 
 bolero (bo-la'-ro), Sp. A lively Span- 
 ish dance, in 3-4 time, with castanets. 
 See chart of dance-rhythms. 
 
 bombard, E., bombarde (bon-bard), 
 F., bombar'do, /. i. A very long 
 obsolete shawm, the original of the 
 bassoon (q. v.). 2. A powerful reed- 
 stop of i6-ft. tone. 
 
 bombar'don, E. (in F. boh-bar-don ; 
 in G. bom-bar-don'). i. A large, 
 valved bass trumpet. 2. The bass 
 saxhorn. 3. A i6-ft. reed-stop. 
 
 bom'bix, Gr. Ancient Greek reed 
 instrument. 
 
 Bom bart, bom'mert, G. Bombard. 
 
 bom'bo, /. A figure in repeated tones. 
 
 bon (bon), F. Good, bon temps de 
 la mesure, F. The accented part of 
 a measure. 
 
 bonang. A Javanese series of gongs. 
 
 bones. Castanets made of bone. 
 
 Bonn's bridge. A violin bridge inv. by 
 Bonn of London with a foot under 
 each string, aiming at more reso- 
 nance for the interior strings. 
 
 boot. The foot of a reed-pipe. 
 
 bo'ra. A tin trumpet used by the Turk- 
 ish. 
 
 bordone (bor-do'-ne), /., Bordun(b6r'- 
 doon), G. I. A covered i6-ft. or 32- 
 ft. stop ; the French have 4 and 8 
 foot bourdons. 2. The lowest string 
 of 'cello and double bass ; the free 
 string of a hurdy-gurdy. 3. A great- 
 bell. 4. A drone bass. B. Flote, 
 G. A stop, bourdon de cornemuse 
 (-korn-miiz), or bourdon de musette, 
 F. The drone of a bagpipe. 
 
 bouch6 (boo-sha), F. i. Stopped (of 
 horn, etc., tones). 2. Covered (of 
 pipes). 
 
84 
 
 THE MUSICAL GUIDE 
 
 bouche ferni6e (boosh fer-ma), F. 
 
 With closed mouth ; humming. 
 bouffe (boof), F. A buffoon, opera b. 
 
 Comic opera. 
 boulon. A Senegambian harp. 
 bour'doti, E. (in F., boor-doh). Vide 
 
 BORDONE. 
 
 bourr^e (boor-ra), F. A lively old 
 Spanish or French dance in 4-4 or 2-4 
 time. The second and fourth quar- 
 ters of the measure divided. Used as 
 an alia breve movt. in old suites. 
 See chart of dance-rhythms. 
 
 boutade (boo-tad), F. i. An instru- 
 mental spectacular fantasia. 2. An 
 old French dance. 3. A short ballet, 
 impromptu. 
 
 bow. An elastic wooden rod with horse- 
 hairs (in recent cases, gut-thread) 
 stretched from the bent head or point 
 to a movable nut ; the hair being 
 drawn over strings sets them in vibra- 
 tion, bowhair. Hair used in mak- 
 ing the bows, bowhand. The right 
 hand, bowing, i. The art of using 
 the bow.' 2. The sign for bowing. 
 The direction in which the bow is 
 drawn is indicated by doivn-botv 
 (marked ri) from nut to point ; or up- 
 bo7v (marked V or A ) from point to 
 nut. The back of the bow is sometimes 
 used, and indicated by sul or col legno, 
 " with the wood." The bow may be 
 allowed to bounce on the strings (the 
 bounding or springing bow), the spic- 
 cato (marked by dots over the notes) 
 being played with a loose wrist near 
 the middle of the bow ; the saltato be- 
 ing with higher leaps. boTW instru- 
 ments. String instruments played 
 with a bow. bow guitar. A violin 
 shaped like a guitar ; vide also piano- 
 violin, and BOW-ZITHER. 
 
 boyau (bwa-yo), F. Gut-strings, bo- 
 yaudier (bwa-yod-ya). A maker of 
 them. 
 
 bozzetto (bod-zet'-to), /. Sketch. 
 
 B-quadratum, B-quadrum, L. i. 
 Vide B. 2. B-natural. 
 
 braban^onne (bra-bah-siin). The Bel- 
 gian or Brabantine national hymn. 
 
 bracclo (brat'-sho), /. "Arm." A 
 
 term applied to instruments held up 
 to the neck, as viola da b., an arm- 
 cello. Vide VIOLA. 
 
 brace, i. A character used to connect 
 staves. 2. Leather slides on drum- 
 cords. 
 
 branches. Parts of a trumpet that con- 
 duct the air. 
 
 bran de inglaterra (bran de en-gla- 
 ter'-ra), Sp. An old Spanish dance ; 
 the English Brawl. 
 
 bran(s)le (brah'-lu), F. A lively old 
 dance, 4-4 time, led in turn by 
 couples. 
 
 brass. General term for the instrs. 
 made of brass (or brass-wind), 
 brass-band. A military band of only 
 brass instruments. 
 
 Bratsche (brat' -she) (pi. -en), G. Vi- 
 ola. 
 
 Brautlied (browt'let), G. A wedding- 
 song. Brautmesse. Music before 
 the wedding. 
 
 Bravour (bra-foor). G. Bravura. Bra- 
 vour-arie or -stiick, G. A florid 
 song or piece. 
 
 bravura (bra-voo'ra), /., bravoure 
 (bra-voor), F. Dexterity, dash, aria 
 di b. A show-piece, con b. With 
 brilliancy, b. mezza. Medium diffi- 
 culty. 
 
 brawl(e). An old dance in a circle. 
 
 break, i. The point at which one reg- 
 ister ends and another begins. 2. 
 Slips of various kinds in tone produc- 
 tion. 3. In a stop, the abrupt return 
 to an octave lower, due to insufficient 
 pipes. 4. In compound-stops, a point 
 where the relative pitch changes. 
 
 breakdown. An hilarious negro clog. 
 
 breit (brit), G. Broad, slow. 
 
 Brettgeige (bret'-gl-ge), (7. A pock- 
 et fiddle. 
 
 breve {E., brev — in /., bra've). brfeve 
 (brev), F. i. Formerly the shortest 
 note, now the longest, equal to two 
 whole notes. 2. In old music — one- 
 half the longa. alia breve. To the 
 breve, i. e., a half note to each beat, 
 formerly four minims to the measure, 
 and in quick time ; it is indicated by 
 a common-time signature, with a ver- 
 
DICTIONARY OF TERMS 85 
 
 tical bar through it ; also called alia 
 cappella, or tempo maggiore. 
 
 bre'viary. A book of matins, lauds, 
 
 and vespers. 
 Bre'vis, L. and G. A breve. 
 
 bridge, i. A piece of wood on which 
 strings rest ; itself rests on the reso- 
 nance box or board, to which it trans- 
 mits vibrations. 
 
 brief, i. A bass-viol bridge. 2. Breve. 
 
 brillant(e) (bre-yan(t) in F. , in /. brli- 
 lan'te). Brilliant. 
 
 Brillenbasse (brll'-Ien.bes-se), G. 
 " Spectacle basses," on account of 
 its resemblance to a pair of spectacles ; 
 a name for the abbreviated form of a 
 bass tremolo, two half notes with thick 
 connecting bar. 
 
 brindisi (brin'-de-ze), /. A drinking- 
 song. 
 
 brio (bre'o), /. Vigour ; fire, con brio, 
 or brio'so. With spirit ; vivacity. 
 
 bris6 (bre-za), F. Broken, as chords. 
 cadence b, A trilling grace. 
 
 broach. An old instr. played with a 
 crank. 
 
 broderies (brod-re), F. Ornaments. 
 
 broken. Vide ( interrupted) cadence ; 
 of chords whose notes are not taken 
 simultaneously, but in arpeggio ; so 
 broken octaves. 
 
 brpk'king. Quavering. 
 
 B-rotundum, L. i. Flat sign, b. 2. 
 The note B flat. 
 
 Brummeisen (broom'ml-zen), G. Jew's 
 harp. 
 
 brummen (broom'men), G. To hum, to 
 drum. Drummer. Drone. Brumm- 
 ton. Drone. Brummstimmen. 
 Humming voices. 
 
 bruscamen'te, /., brusquement 
 "(brlisk-mah), F. Brusquely. 
 
 Bfiist (broost), G. The breast or chest, 
 hence B,-ton or -stimme. Chest 
 voice. Brust'werk. The middle 
 pipes of an organ. 
 
 buca (boo'-ka), /. Sound-hole. 
 
 buce'na, Z., buccina (boot-che'-na), /. 
 An ancient curved trumpet. 
 
 Biichse (bUkh'-se), G. Boot (q. v.). 
 
 Buch'stabentonschrift, G. Alpha- 
 betical notation. 
 
 bucolic, £■., buccol'ica, /., bucolique 
 
 (bii-ko-lek), F. Pastoral. 
 
 buffa (boof'fa), or (-0), /. Comic ; a 
 comic singer, buffo carica'to. Comic 
 character, aria buffa. Comic aria. 
 opera buffa. Comic opera, buf- 
 fo'ne. Comic singer, buffonesco, 
 -amente. Burlesque(ly). 
 
 buffet. Organ case, buffet organ. 
 A small organ. 
 
 bugle. I. A hunting and military horn 
 in 3 or more keys (Bb, C, Eb) having 
 7 harmonic tones. 2. The key-bugle 
 with 6 keys (inv. in 1815 by Halliday, 
 and named by him after the Duke of 
 Kent) has a chromatic compass b-c ' ' '. 
 3. Valve-bugle. Vide saxhorn. 
 
 bugle horn. A hunting-horn. 
 
 Biihnenweihfestspiel (bu'-nen-vi- 
 fesht-shpel), G. " Stage-consecrat- 
 ing- festival-piece." Wagner's name 
 for his opera " Parsifal." 
 
 Bund (boont), G. Fret, bundfrei. 
 Fret free. Vide clavichord. 
 
 Bunge (boong'-e), G. A kettle-drum. 
 
 bungen (boong'-en), G. To drum. 
 
 buonaccordo (boo-on-ak-kor'-do), /. 
 A child's spinet. 
 
 buono(-a) (boo-6-n6(a)), /. Good. b. 
 nota. An accented note. b. mano. 
 A skilful hand. 
 
 buras'ca, /. A comp. descriptive of 
 a storm. 
 
 burden. i. A regular refrain. 2. 
 The bass. 3. The drone. 
 
 burla (boor'-la), 7. A quip, burlan'- 
 do, burles'co, burlescamen'te. Fa- 
 cetious(ly). burles'ca, /., burlesque 
 (biir-lesk), F. A travesty, burlet'- 
 ta, /. A light farcical work. 
 
 burre (bur), /". A dance melody. 
 
 bur'then. Burden. 
 
 busain (bti-san), F., Busaun (boo- 
 zown), G. A i6-ft. reed-stop on the 
 pedal. 
 busna (boos'na), /. A species of trum- 
 pet. 
 bussone (boos-s6'-ne), /. Obs. instr. 
 
 of bassoon type. 
 button. I. The knob on a violin-base, 
 etc. 2. An accordeon-key. 3. A 
 leather-disk on the wire of a tracker. 
 
86 
 
 THE MUSICAL GUIDE 
 
 bux'ea tibia, bux'us, L. Ancient 3- 
 
 holed flute. 
 bys'synge songes. Early English 
 
 lullabies. 
 
 c 
 
 (For German words not found here 
 look under K.) 
 
 C((7., C (tsa), F., ut; /., do.) 
 I. A musical pitch (mid-C or 
 c' has 256 vibrations, "philo- 
 sophical pitch " ; c ", 522, in- 
 ternational pitch), c' called middle- 
 C from its position on the piano 
 key-board, is the tonic or key-note of 
 the normal major scale. 2. All the 
 octaves of this pitch. 3. The major 
 key having neither flats nor sharps; 
 the minor key relative to E flat major. 
 C reversed, an old sign indicating a 
 decrease of one half of the note- 
 values. 4. Vide Time and Notation. 
 cabalet ta, /. "A little horse." Hence 
 a song (usually a rondo with varia- 
 tions) with an accompaniment in trip- 
 lets suggesting hoof-beats. 
 cabinet d'orgue (k3.b-i-na dorg), F. 
 
 Organ-case. 
 cabinet organ. A small reed-organ, 
 cabinet pianoforte. An upright pi- 
 ano. 
 cabis'cola, L. Precentor. 
 caccia (kat'cha), /. A hunt, alia c. 
 
 In hunting style. 
 cach^e (kil-sha), F. Hidden (as 
 
 fifths). 
 cachucha (ki-choo'-cha), Sp. A dance 
 
 like the bolero. 
 cacofonia (ka-ko-fo-ne'-a), /., caco- 
 phonie (kak-o-fo-ne), A, cacoph- 
 ony, E. Discord, cacofon'ico, /. 
 Discordant. 
 ca'dence, E. (in F. ka-dans), ca'- 
 dens, Z., cadenza (ka-den-tsa), /., 
 Kadenz (ka-dents'), G. i. Literally 
 "a fall," hence, the subsidence of 
 a melody or harmony to a point of 
 rest ; thence any concluding strain, 
 rising or falling. Harmonic cadences 
 are of the following sorts : (a) When 
 the chord of the dominant is followed 
 
 by the chord of the tonic, with the 
 roots of both chords in the bass and 
 the root of the second chord doubled 
 in the highest voice, it is called a per- 
 fect authentic cadence ; when the 
 first chord has other than the root in 
 the bass, or when the highest voice 
 does not take the tonic in the last 
 chord (takes the third for instance), 
 this cadence is called an imperfect 
 authentic cadence. Other names 
 for the authentic cadence are, 
 whole, peft-fect, full or complete 
 cadence ; cadence parfaite (pir- 
 fet), /". voU'kommene, or eigent- 
 liche (I-'kheht-llkh-e)Kadenz, G. (b) 
 When the cadence is formed by a sub- 
 dominant chord followed with a tonic, 
 the cadence is called plagal (popularly 
 church or amen cadence) ; cadence 
 plagale (pla-gai), F. ; Plagal ka- 
 denz, G. (c) When a subdominant 
 chord is followed by a dominant and a 
 tonic, it is called a mixed cadence, (d) 
 When the mediant is prominent the c. 
 is called a medial cadence, (e) When 
 the tonic or some other chord is fol- 
 lowed by the dominant the cadence is 
 called a half-cadence, semi-ca- 
 dence, imperfect cadence, half- 
 close ; c. imparfaite(an-p&r-f^t) or c. 
 sur la dominante or c. irr^gulibre 
 (er-rag-ul-yir), F. ; unvollkommene 
 or Mittel Kadenz, G. (f) When the 
 chord of the dominant apparently pre- 
 paring a close, is followed by other 
 than the tonic harmony the progression 
 is called a deceptive, avoided, bro- 
 ken, interrupted, irregular or sur- 
 prise cadence ; cadence 6vit6e 
 (a-vl-ta) or interrompue (ah-tSr- 
 ron-pu), or rompue, F. ; cadenza 
 d'ingann'o, c. sfuggita (sfood-je'- 
 ta) or fin'ta, /. ; Trug'kadenz or 
 -schluss, or ab'gebrochene K., G. 
 (g) When various modulations are in- 
 troduced between the dominant and 
 its tonic, the cadence is said to be 
 suspended ; or sospesa (s6s-pa -za), 
 I. (h) When any dissonant harmony is 
 followed by a consonance the French 
 call this a cadence pleine (plSn), 
 
DICTIONARY OF TERMS 
 
 87 
 
 (i) A cadence of any kind in which the 
 chords have their roots in the bass is 
 called a radical cadence. 
 
 2. When the cadence is highly ornate 
 it is called fioritu'ra or fiorita (fe-6- 
 re'-ta). So the word cadenza has 
 in English and Italian, and the word 
 Kadenz in German, a wide use for 
 designating the florid passage preced- 
 ing the actual cadence. This may 
 be vocal or instrumental, may go up 
 as well as down, and may be written 
 out by the composer or some other 
 musician or left to the skill of the 
 performer. This cadenza usually fol- 
 lows a sustained chord in the second 
 inversion (a 6-4 chord) with a fermate 
 or hold-mark over it (in F. pointe 
 d'orgite). The Germans accord- 
 ingly call this an auf gehaltene 
 Kadenz, the F. call it a pointe 
 d'orgue. 
 
 3. The French use cadence of a 
 brief trilling ornament as c. brillan- 
 te, or c. perl6e ; c. pleine is a trill. 
 
 4. Cadence is used of rhythm and 
 velocity also as the "cadence" of 
 double-time in a military sense, is 180 
 steps to the minute. 
 
 ca'dent. An old ornament like a short 
 anticipation. 
 
 c(a)esura, j5'., /., and Z. caesure 
 (se-ziir), F. i. A minor rhythmic pause 
 dividing a line or period ; hence, 2. 
 The last accented note preceding a 
 caesura, c. tedesca. A lo-stringed 
 zither. 
 
 caisse (kes), F. A drum. c. plate 
 (plat). A shallow side-drum, grosse 
 (gros) c. The bass-drum. c. roulan- 
 te (-roo-lant). The side-drum, of 
 wood, caisses claires (kes-klSr). 
 The drums. 
 
 calamus, c. pastoralis, or tibialis, 
 L. A reed used by shepherds. 
 
 calan'do, /. Diminishing and retard- 
 ing. 
 
 calandro'ne, /. A small clarinet. 
 
 calascione (ka-la-shi-6'-ne), /. A 2- 
 stringed guitar of lower Italy. 
 
 calata (ka-la'-ta), /. A lively dance in 
 2-4 time. 
 
 calcando (kal-kan'-do), /. Hurrying. 
 Calcant (kill'-kant), G. Bellows-tread- 
 
 er. 
 Calliope. i. The Greek muse of 
 heroic verse. 2. An instr. played by 
 an engine that fills its metal pipes 
 with steam instead of air. 
 
 callithump'ian. Vide shivaree. 
 
 calma (kal-ma), I. Calm, calma'to. 
 With calm. 
 
 calore (ka-lo'-re), /. Warmth. Calo- 
 ro'so. Animated. 
 
 cambiare (kam-bT-a re), /. To change. 
 nota cambia'ta. Changing note. 
 
 camera, /. Chamber, used in dis- 
 tinction from a large auditorium, as 
 musica di c, sonata di c, alia c. 
 
 camminan'do, /. Andante. 
 
 campana (kam-pa'-na), I. A bell. 
 campanel'la (or o), /. A little bell. 
 campanile (ne'-le), /. A belfrey. 
 campanol'ogfy. The art of ringing 
 or making bells, campano'ne, /. 
 A great bell, campana'rum con- 
 cer'tus, or modula tio, L. Chimes. 
 campanarum pulsa'tor, Z. A ring- 
 er of bells. 
 
 canarder (ka-nSr-da), F. To imitate a 
 duck ; to coiiac. 
 
 canarie (ka-na-re), F., cana'ry, ca- 
 na'ries, E., canario (ka-na'-rI-6), I. 
 A lively old dance in 3-8, 6-8 or 12-8 
 time. Named from the Canary Isl- 
 ands. 
 
 cancan (kan-kan). A boisterous French 
 dance. 
 
 cancel. The natural sign, 11. cancel- 
 latum, Z. Vide b. 
 
 Cancellen (kan'-tsel-len), G. Grooves 
 in an organ. 
 
 can'crizans, cancrica'nus, Z., can- 
 crizzante (kan'-krid-zan'-te), /. Re- 
 trograde. Vide CANON. 
 
 canere (ka'ne-re), Z. To sing ; to play. 
 
 cangiare (kan-ja -re), I. To change ; 
 to alter. 
 
 can'na, I. A reed, or pipe. c. d'an- 
 ima. Flue-pipe. c. alingua. Reed- 
 pipe. 
 
 cannon-drum. East Indian tomtom. 
 
 can'on (in F., ka-non), canone (ka- 
 no'-ng), Z, G. Canon or Kanon (ka'- 
 
THE MUSICAL GUIDE 
 
 non). The most rigid form of imi- 
 tation, a subject (antecedent) being 
 followed accurately by an . answer 
 (consequent); once the playground of 
 musical ingenuity, all forms of com- 
 plication being indulged in. A ca- 
 non written out completely was full 
 or aper'to. Often only the antece- 
 dent (or canon) was written out, the 
 consequent (now called fuga or con- 
 sequenza) being left to the perform- 
 er's skill ; this was called close or 
 chiuso (kl-oo'-zo). If the entrances of 
 the other parts were indicated by cab- 
 alistic signs, it was a riddle-canon 
 (Rathsel-Kanon), or enigmatical 
 or enigmatico. Canons were named 
 by the interval between answer and 
 antecedent and by the general treat- 
 ment as in Imitation (q. v.). 
 
 canonic hours. Vide hor.e. 
 
 cano'nici, L. The Pythagoreans, who 
 developed musical science from the 
 abstract mathematics of intervals ; 
 opposed to Aristoxenos and the har- 
 monici, who developed it from the 
 actual practice of music. 
 
 cantabile (kiin-ta -bl-le), /. Lyrical. 
 
 cantajuolo (kan-ta-yoo-6'-l6), can- 
 tamban'ca, /. A street singer. 
 
 cantamen'to, /. Air ; cantilena. 
 
 cantan'do (kan-tan'-do), /. In a melo- 
 dious, singing style. 
 
 can'tans, L. Singing. 
 
 cantan'te, /. A singer ; also a vocal 
 part. c. ariose. A form of melody 
 transitional between air and recita- 
 tive. 
 
 cantare (ta'-re), /. To sing. c. di 
 maniera (man-ya'-ra) or maniera- 
 ta. To sing with mannerism, c a 
 orecchio (o-rek'-kI-6). To sing by 
 ear. c. a aria. To sing with impro- 
 vised cadenzas. 
 
 cantarina (re'-na), Sp. A woman- 
 singer. 
 
 cantata (kan-ta'-ta), /., cantate (kah- 
 tat), F., Cantate (kan-ta-te), G. 
 
 1. Originally, something sung, in dis- 
 tinction to something played {sonata). 
 
 2. Now a work for chorus and solo, 
 often with orchestral accompaniment; 
 
 a short oratorio of a narrative style ; 
 a short opera not meant for the the- 
 atre, c. amoro'sa, /. A cantata hav- 
 ing love for its subject, c. mora'le 
 or spiritua'le. A sacred cantata de- 
 signed for the church, cantatil'la, 
 cantatille (te'-yii), cantati'na. A 
 short cantata ; an air preceded by a 
 recitative. 
 
 canta'tor, L. A singer ; a chanter. 
 
 cantato're, /. A male singer, can- 
 tatrice (tre-che). A female singer. 
 c. buffa. A woman who sings in 
 comic opera. 
 
 cantato'rium, L. The Roman Cath- 
 olic book containing the music of the 
 Antiphonary and Gradual. 
 
 Canterei (kan'-te-ri), G. i. The dwell- 
 ing-house of the cantor. 2. A class 
 of choristers. 
 
 canterellare (kan-te-rel-la-re), /. To 
 sing softly, canterellan'do. Sing- 
 ing softly. 
 
 canti carnascialeschi (car-na-sha-les'- 
 ke), canti carnevali (kar-ne-va -le),/. 
 Songs of the carnival week. 
 
 canticles, E., can'tico, /., can- 
 tique (kah-tek), F., can'ticum, L. i. 
 Biblical lyrics, the Song of Songs 
 (canticum canticorum). 2. A sa- 
 cred chant with scriptural text. 3. 
 The cantica majora include the 
 Magnificat, Benedictus and Nunc 
 dimittis. The cantica minora are 
 seven texts from the Old Testament. 
 
 can'tillate, F.. To recite with occa- 
 sional musical tones ; hence, cantil- 
 lation. 
 
 cantilena (kan-ti-la'-na), /. The mel- 
 ody ; air. 
 
 cantilla'tio, L. A singing style of 
 declamation. 
 
 cantino (te'-no), /. The smallest 
 string. 
 
 canto, 1. I. A song ; a melody ; the 
 voice, col canto. "With" (i.e., 
 adopting the time and expression of) 
 the voice or melody. 2. The art of 
 singing, as 11 bel canto, the old art 
 of allegedly perfect production. 3. 
 The highest part in concert music. 4. 
 The soprano voice. 5. The high- 
 
DICTIONARY OF TERMS 
 
 89 
 
 est string of an instrument, c. a 
 cappella. Vocal music without ac- 
 companiment, c. ambrosiano. Am- 
 brosian chant (Vide cantus). c. 
 armonico. A part song. c. clef. 
 The C clef on the first line. c. con- 
 certante (kon-cher-tan'-te). The 
 treble of the principal concerting 
 parts, c. cromat'ico. Chromatic 
 melody, c, fermo. i. A chant or 
 melody. 2. Choral unison. 3. Can- 
 tus firmus. c. figurato. A fig- 
 ured melody instead of figured bass 
 (q. v.). c. fiorit'to. A much 
 ornamented air. c. fune'bre. Fu- 
 neral song. c. grego'riano. The 
 Gregorian chant, c. piano. Plain 
 chant, c. necessa rio. A principal 
 part. c. primo. The first treble or 
 soprano. c. recitative. Recita- 
 tive, c. ripie'no. Vide ripieno. 
 c. rivolta'to. The treble inverted. 
 c. secondo. The second treble, c. 
 simplice. A simple song. 
 
 ^antolla'no, Sp. Precentor. 
 
 cantor, L. Singer, c. choralis. Pre- 
 centor, cantori are the singers that 
 sit near the cantor, on the left side ; 
 opposite to decani, those on the dean's 
 side. 
 
 can'tus, L. i. A song ; a melody. 2. 
 The treble or soprano part. c. Am- 
 brosia' nus. The four chants intro- 
 duced by St. Ambrose, in the fourth 
 century, supposed to be derived from 
 Greek melodies, c. figura'lis (or 
 figuratus). Mensurable music ; mel- 
 ody with figurate embellishment, c. 
 fir mus. (a) The melody originally 
 given to the tenors, later to the so- 
 pranos ; (b) plain song ; (c) a theme 
 or air chosen for counterpoint ; this 
 air remains the same, i. e., " firm," as 
 the different voices take it, while the 
 accompanying voices always change ; 
 in distinction to the c. f. they are 
 called the comiterpoint (q. v.). 
 
 C. coronatus, A c. fractus when 
 accompanied by a fa-burden. c. 
 durus. A song modulating into a 
 key with one or more sharps, almost 
 the same as " major key." c. eccle- 
 
 3 
 
 siasticus. Church-music, particu- 
 larly plain song ; also the singing of 
 the liturgy, c. fractus. Broken melo- 
 dy, c. Gregorianus. A melody in- 
 troduced by St. Gregory, c. planus. 
 Plain song. c. mensurabilis. Reg- 
 ular, or measured, melody. Vide 
 
 MENSURABLE MUSIC. C, molHs. Song 
 
 in the minor. 
 ca'nun, Tur. A Turkish zither. 
 canzona, canzone (kan-ts6'-ne), /. 
 
 1. A folk-song. 2. A part-song. 3. 
 An instrumental work, in two or three 
 parts, with passages in imitation, 
 somewhat like the madrigal, can- 
 zonaccia (nat'-cha). A low song. 
 canzoncina (che'-na). A short can- 
 zone, or song. c. sacra. A sacred 
 song, canzonet, canzonnet'ta, 
 canzonina. A short canzone, can- 
 zoniere (ts6n-ya'-re). A song-book. 
 
 caoine, caoineadh (kii-en'-e-u), Irish. 
 A funeral song. 
 
 capis'col. A precentor. 
 
 capis'trum. A face bandage worn by 
 ancient trumpeters. 
 
 capo (ka'-p6), /. The head or begin- 
 ning, da capo (return and play again), 
 from the beginning, capo d'opera, 
 capo-Iavoro. Master-piece, chief 
 work. c. violino. The first violin. 
 capo-dastro, c. di tasto. Vide 
 CAPOTASTo. c. d'instrumenti. 
 Leader, c. d'orchestra. The con- 
 ductor. 
 
 capodastre (kap-6-dastr), F. Capo- 
 tasto. 
 
 capo'na. A Spanish dance. 
 
 capotasto(ka-p6-tas'-to), /. i. Thenut 
 of a fingerboard. 2. A strip fastened 
 across a fretted fingerboard and serv- 
 ing as a movable nut to raise the 
 pitch of all the strings at once. 
 
 cappella, /. i. A chapel, or church. 
 
 2. A band of musicians. A c. or 
 alia c. (a) Without instrumental ac- 
 companiment, (b) Alia breve, da c. 
 In solemn church style. 
 
 cappello Chinese (ke-na -ze), /. Vide 
 
 CHAPEAU. 
 
 caprice, E. and F., capriccio (ka- 
 pret'-cho), /, A whimsical work of ir- 
 
90 
 
 THE MUSICAL GUIDE 
 
 regular form, capriccietto (ch^t'-to), 
 /. A short caprice, capricciosamen- 
 te, capriccio'so, /., capricieuse- 
 ment (ka-pres-yuz'-man), capricieux 
 (ka-pres-yii), F. Capricious(ly). 
 
 captandum, ad, L. Takingly, brill- 
 iantly. . 
 
 caput scho'lae, Z. Precentor. 
 
 caract^res de musique (kar-ik-tir 
 du mli-zek), F. Musical symbols. 
 
 caramillo (ka-ra-mel'yo), Sp. A flag- 
 eolet. 
 
 carattere (ka-rat'-ta-r^), 7. Character, 
 dignity. 
 
 caressant (k^-res-san'), F., carez- 
 zando (ka-rSd-zan'-do), carezze- 
 vole (za -v6-l^), /. Caressing ; ten- 
 der. 
 
 carica'to (ka'-t5), /. Exaggerated. 
 
 carillon (ka-re-yon), F. \. K set of fixed 
 bells on which tunes may be played 
 by hand or mechanism. 2. A com- 
 position suggesting or using bells. 
 3. The simultaneous clashing of 
 many large bells. 4. A bell-like stop. 
 c. a clavier, F. A set of keys and 
 pedals, acting on bells, carillonner 
 (ka-re-yo-na), F. To ring bells. 
 carillonneur (niir), F. A bell- 
 ringer. 
 
 carita (ka-re-ta ), /. Tenderness. 
 
 Carmagnole (kir-min-yol), F. A fa- 
 mous French revolutionary song. 
 It derived its name from the town 
 Carmagnola. 
 
 carmen, L. A song. c. natalitium. 
 A carol of the Nativity. 
 
 carol. I. A song of joy and devotion. 
 
 2. Ballads for Christmas and Easter. 
 
 3. An old circling dance. 
 
 caro'la, /. A circling dance, resem- 
 bling the Carmagnole, carolet'ta. 
 A little dance. 
 
 Carrie (kar-ra), F. A breve. 
 
 carrure des phrases (kar-rur-da fraz), 
 F. The balance of the phrases. 
 
 cart'el, F., cartelle (kar-tel), F. i. 
 The first draft of a score. 2. A sheet 
 of hide or varnished cloth on which 
 music could be sketched and erased. 
 
 cartellone (l5'-ne), /. A catalogue of 
 operas to be performed, 
 
 cas'sa, 7. The drum. c. grande, c. 
 militare. The great drum. c. ar- 
 monica. The body (as of a 'cello). 
 
 cassa'tio, Z., cassazione (kas-sa- 
 tsI-6'-ng), 7. I. The final number. 
 2. A serenade consisting of instru- 
 mental pieces. 
 
 castagnetta (kas-tan-yet'ta), 7., cas- 
 taffnettes (kis-tln-yet), F., castag- 
 noTe (kas-tan-y5'-le), Castanet- 
 as (kas-tan-ya tas), castanuelas 
 (kas-tan-yoo-a -las), Sj>., castanhe- 
 ta (kas-tanya-ta), Port., castanets, 
 E. Small, concave shells of ivory or 
 hard wood, carried in the hand and 
 rhythmically snapped by dancers in 
 Spain and other countries. 
 
 castrato (kas-tra -t6), 7. An artificial 
 male soprano or alto ; a eunuch. 
 
 catch. A round in which the singers 
 catch up their lines at the cue ; usu- 
 ally with humourous and ambiguous 
 effect. 
 
 catena di trilli (ka-ta'-na), 7. A chain 
 of trills. 
 
 catgut. A small string for violins, 
 made of the intestines of sheep and 
 lambs, rarely of cats. 
 
 catling. A lute-string of smallest size. 
 
 cattivo (kat-te'-v5), 7. "Bad." c. 
 tempo. The weak beat. 
 
 catzoze'rath. Hebrew trumpet. 
 
 Cauda, Z. The tail of a note. 
 
 cavaliet'to, 7. i. A cabaletta. 2. A 
 small bridge. 3. The break in the 
 registers. 
 
 cavata (ka-va'-ta), 7 i. Tone-pro- 
 duction. 2. A recitative ; a cava- 
 tina. 
 
 cavatina (ka-va-te'na), 7, cavatine 
 (k3.v-a-ten), F. A melody of one 
 strain only. 
 
 c-barr6 (iit-blr-ra), F. Vide barred c. 
 
 C-clef. The tenor clef ; wherever it 
 stands it indicates middle C. 
 
 C-dur (tsa-door), G. The key of C 
 major. 
 
 cebeir. A theme in common time with 
 variations and alternation of high and 
 low notes. A sort of English gavotte. 
 
 cecilium (su-se'-lf-un), F. A key-board 
 reed instr. the size and shape of a< 
 
DICTIONARY OF TERMS 
 
 «RIOt 
 
 ereveril 
 
 time 
 lioeoi 
 
 'cello, the left hand playing keys, the 
 right working bellows. 
 
 cedez (sa-da), F. Decrease ! 
 
 celamustel (sa-la-mii-stel), F. A har- 
 monium wnth unusual imitative stops. 
 
 celere (cha'-la-r^), /. Rapid, celerity 
 (rl-ta). Rapidity. 
 
 Celeste (sa-lSst), F. Celestial, applied 
 to stops of soft, sweet tone, and to a 
 piano pedal of the same effect. 
 
 celestina (cha-lSs-tena), /. i. A 4-ft. 
 stop. 2. A tremolo stop in reed or- 
 gans. 
 
 cell. Vide ELLIS (b. d.). 
 
 'cello (cherio). Abbr. and common 
 name of violoncello, cello'ne. A 
 'cello inv. by Stelzner gaining in- 
 creased sonority by its method of 
 stringing. 
 
 cembalo (cham'ba-l6), cembolo (cham'- 
 bo-16), /., cembal (san-bal), /'. i. A 
 harpsichord. 2. A cymbal, cembalis- 
 ta, /. A player on either, cembal d'- 
 amour, X Avery large harpsichord. 
 tutto il c.,/. Loud pedal, c. onni- 
 cordo, /. Proteus, cembalist, E. 
 A player on the harpsichord. 
 
 cembanel'la, cennamella, /. A 
 flute. 
 
 cent, E. The hundredth part of an 
 equal semitone. Vide Ellis (b. d.). 
 
 cento (chan'-to), cento'ne, /., centon 
 (sah-ton), F. i. The Gregorian an- 
 tiphonary. 2. A patchwork or med- 
 ley. 
 
 cercare (char-ka'-re), /. To search, c. 
 la nota. A common effect in sing- 
 ing where a note taken by skip is 
 lightly anticipated with a short grace. 
 
 cer' valet, cervelat. An obsolete clari- 
 net. 
 
 Ces (tses), G. The note C flat. 
 es, C double flat. 
 
 cesura, cesure. Vide C^sura. 
 
 cetera (cha-te-ra), /. A cittern. 
 
 C. f. Abbr. of Cantus firmus. 
 
 cha chi (cha-che), Chinese. A 
 matic kin. 
 
 chacona (cha-k6'-na), Sp., chaconne 
 (shi-kun), F., ciaccona (chak-ko'- 
 na), /. A slow dance probably Span- 
 ish in origin ; in 3-4 time with a 
 
 Ces- 
 
 chro- 
 
 groundbass ; almost always in major, 
 in contrast with the passacas^lia ; and 
 generally in form of variations. 
 
 chair organ. Vide choir organ. 
 
 chalameau, E., chalumeau (shal-ii- 
 mo), F., Chalamau, Chalamaus 
 (shal'-a-mows), G. i. An ancient 
 pipe blown through a calamus, or 
 reed. 2. The low register of the 
 clarinet ; as a direction it means "an 
 octave lower," being cancelled by 
 clar. or clarinet. 3. The chanter of 
 a bag-pipe. 
 
 chalil (ka-lel), Heb. Hebrew pipe or 
 flute. 
 
 chalotte (sha-lot'). A tube to receive 
 a reed. 
 
 chamber music. Music composed for 
 a small auditorium, as a string quartet 
 or a pianoforte trio. 
 
 chamber-organ. A cabinet organ. 
 
 chang. A Persian harp. 
 
 change, i. A tune rung on a chime. 
 2. Vide MODULATION. 3. Mutation. 
 4. (a) changing-note. A note for- 
 eign to the immediate harmony and 
 entering (unlike the passing-note) on 
 a strong beat ; when two or more ap- 
 pear simultaneously they make a 
 changing-chord. (b) In old counter- 
 point, a passing discord entering un- 
 accented and then skipping. 
 
 changeable. Used of chants that may 
 be sung either in the major or minor 
 mode. 
 
 changer de jeu (shan-zha du zhu), F. 
 I'o change the stops. 
 
 chanson (shan-s6n), F. A song ; a 
 ballad, c. bachique (ba-shek). A 
 drinking-song. c. des rues (da-rU). 
 A street-song ; a vaudeville, chan- 
 sonnette (net). A little or short 
 song, chansonnier (sun-ya). A 
 song-writer ; a book of songs. 
 
 chant. I. Originally a song, and still 
 so meant in the French word (vide be- 
 low), since the Gregorian time used of 
 vocal music marked by the recitation 
 of many syllables on one tone, and 
 employed for prose texts such as the 
 Canticles and Psalms. There are two 
 sorts of chant, the Gregorian and the 
 
92 
 
 THE MUSICAL GUIDE 
 
 Anglican, (a) The Gregorian is a short 
 tune to be repeated in successive sec- 
 tions of prose ; it has 8 tones and is in 
 four parts ; the intonation (or incho- 
 atio) or opening notes ; the Jirst recit- 
 ing note (or dominant) ; the mediation ; 
 the second reciting note {or dominant) ; 
 the termination (ending or cadence), 
 (b) The Anglican omits the intonation 
 and differs in the rhythm and mode 
 but has the same monotone recitation 
 with modulations in the middle (me- 
 diation) and end (termination). The 
 Anglican has two parts of 3 and 4 
 measures, 7 in all ; this is the single 
 chant, there are also double, triple, 
 and quadruple forms of proportionate 
 length. In chanting, the fitting of the 
 unequal phrases to the music is called 
 pointing, and consists of reciting them 
 strictly within the duration of the notes 
 except those of the ist and 4th meas- 
 ures which are enlarged to fit the 
 words. Words to be sung to the ca- 
 dence are cut ofT from those to be 
 sung to the reciting-note, by a verti- 
 cal line called the cadence-mark. 2. 
 Any recitation of chant-like character. 
 3. A tone. 4. A cantus Jirmus. 
 5. Vide PLAIN-CHANT. 6. Vide 
 CHANGEABLE. 7. Frce-chant. A 
 form in which the hemistichs consist 
 of only 2 measures. 8. Roman Chant- 
 Gregorian. 9. Phrygian chant. 
 One intended to provoke wrath. 
 
 chant (shah), F. Song ; tune ; vocal 
 part. c. amoureux. Love song. c. 
 d'6glise, or gr^gorien. Gregorian 
 chant, c. ^gal, c. en ison. Chant on 
 one tone, or with one interval of two 
 tones, c. figure. Figured counter- 
 point, c. funebre. Funeral song. c. 
 royal. A sacred song ; or a prayer 
 for the monarch ; the mode in which 
 such prayer was sung. c. sur le livre, 
 i. e., "on the book," vocal counter- 
 point extemporized on a printed 
 cantus Jirmus. 
 
 chanter, E. i. One who chants. 
 arch-c. The leader of the chants. 
 2. The tenor, or melodic pipe of a 
 bag-pipe. 
 
 chanter (shah-ta), F. To sing. c. k 
 livre ouvert (a lev-roovgr). To sing 
 at sight, chantant(e). Lyric, basse 
 C. Vide HASS. caf6 c. (ka-fa-chan- 
 taii). A music hall. chant6(e) (shan- 
 ta). Sung, chanteur (euse). A 
 male (female) singer, chantonner. 
 Canterellare. 
 
 chanterelle (shant-ii-rel), F. The 
 highest and smallest string of an 
 instrument. 
 
 chanterie (shah-tre), F. chantry, E. 
 A chapel endowed for daily mass. 
 
 chanterres (shah-tSr), F. loth cen- 
 tury ballad-singers. 
 
 chan'tor, E. A singer in a cathedral 
 choir. 
 
 chantre (shahtr), F. Choir - leader. 
 grand c. Precentor, second c. A 
 chorister. 
 
 chapeau (sh&-p6), F. A " hat ; " a tie. 
 c. chinois (shen-wa). A set of small 
 bells arranged on a frame like a Chi- 
 nese hat. Cf. CRESCENT. 
 
 chapel. Musicians in the retinue of a 
 great personage. 
 
 chapelle (shi-pel), F. Cappella. 
 
 characteristic. Strongly individual 
 in character, or mood, used of a com- 
 position (as Charakterstiick, G.). c. 
 note or tone. The leading-tone or 
 any tone peculiar to a key. c. chord. 
 The principal chord. Charakter- 
 stimme, G. A solo-stop. 
 
 charivari (sha-rl-va-rl), F. Vide 
 
 SHIVAREE. 
 
 chasse (shSs), F. The hunt, k la c. 
 In hunting style. 
 
 chatsoteroth. A Hebrew trumpet. 
 
 che (ka), /. Than, that, which. 
 
 che chi (ka-ke). One of the eight 
 species of Chinese music. 
 
 chef (shef), F. Leader, chief, chef- 
 d'attaque (dat-tak). i. The leader, 
 or first violin. 2. Leader of a chorus. 
 chef-d'oeuvre (sha-diivr). Master- 
 piece, chef-d'orchestre (sh^f-dor- 
 kSstr). The leader, ch. du chant. 
 Leader of an opera chorus. 
 
 cheipour. A Persian trumpet. 
 
 chel idonizing. Singing a spring or 
 " swallow song." 
 
 I 
 
DICTIONARY OF TERMS 
 
 93 
 
 ' chel'ys. i. Vide lyre. 2. Old name 
 for viol. 
 
 cheng^ (ch^ng). A Chinese mouth-or- 
 gan, a gourd with many free reeds ; 
 it suggested the invention of the har- 
 monium. 
 
 cheng chi (cheng-che). One of the 
 eight species of Chinese music. 
 
 cherub'ical hymn. The Prisagion. 
 
 chest of viols. A group or set of 
 viols, two basses, two tenors, and two 
 trebles. 
 
 chest tone, chest voice. The lowest 
 register of the voice. 
 
 chevalet (shgv-a-la), F. Bridge. 
 
 cheville (she-ve'-ye), F. Peg. 
 
 chevroter (shev-r6-ta), /'. To bleat 
 like a goat, hence, chevrotement 
 (she-vrot-mon). A tremor or shake 
 in singing. 
 
 chiarenta'na, /. An Italian country 
 dance. 
 
 chiarina (ke-a-re'na), /. A clarion. 
 
 chiaro (ke-a'-ro), /. Clear, pure, chia- 
 ramen'te. Brightly, purely, chia- 
 rezza (red'-za). Clearness, di c. 
 Clearly. 
 
 chiave (ke-a'-ve), /. i. A clef. 2. 
 
 Key. 3. Tuning-key. 4. A failure. 
 
 5. c. maestro. The fundamental 
 
 key or note. 
 
 cor: chiavette (vet'-te), /. pi. Transposing 
 
 ite clefs of the i6th century ; of which 
 
 the high c. indicated that its line was 
 
 to be read a third higher, the low c, 
 
 a third lower. Thus the C clef might 
 
 all indicate e or eb ; or a, or afe. 
 
 chickera (ke'-ke-ra) or chikarah. A 
 Hindu bow instrument. 
 
 chiesa (ke-a'-za), /. A church, da c. 
 For the church, or in sacred style, as 
 sonata or concerto da chiesa. 
 
 chiffre (shifr), F. A figure in thor- 
 ough bass, basse chiffr6e (shif-fra). 
 Figured bass. 
 
 chifonie (she-fo-ne'), F. Old name 
 for hurdy-gurdy. 
 chat chime. A set of bells tuned to a scale. 
 chime-barrel. Portion of the mech- 
 anism for ringing a chime. 
 
 chimney. A tube in the cap of a 
 stopped pipe. 
 
 Chinese flute. Bamboo flute. 
 
 Chinese hat. Vide chapeau. 
 
 Chinese scale. Five notes without 
 semitones ; the music is written on 
 five perpendicular lines, the pitches 
 indicated by distinctive names. 
 
 chinnor, chinor. Vide kinnor. 
 
 chirimia (che-re-me'-a), Sp. The oboe ; 
 clarion. 
 
 chirogym nast. A mechanical con- 
 trivance for exercising the fingers. 
 
 chi'roplast (kl'rd). A device of gloves 
 and bars, inv. 18 14 by Logier, to 
 keep the hands and fingers of piano- 
 players in the right position. 
 
 chitarra (ke-tar'-ra), /. i. A guitar, a 
 cithara. c. coU' arco. A violin with 
 guitar-shaped body. chitarris'ta. 
 One who plays on the guitar, chit- 
 tarrina (re'-na). Small Neapolitan 
 guitar, chitarro'ne. A double guitar. 
 
 chiterna (ke-ter'-na), /. Quinterna. 
 
 chiuso (ke-oo'-z6), /. Closed. Vide 
 CANON and BoccA. chiuden'do. 
 Closing. 
 
 Chladni's figures. Vide nodal fig- 
 ures. 
 
 choeur (kiir), F. Choir, chorus. & 
 grand c. For full chorus. 
 
 choice note. An alternative note. 
 
 choir. I. A body of singers usually in a 
 church. 2. Their place in the church. 
 3. A subdivision of a chorus or or- 
 chestra, c. organ. Vide organ. 
 grand c. The combination of all 
 the reed-stops. 
 
 Chor (kor), G. Same as Choir i, 2, 3 ; 
 also on the piano, or organ, a unison, 
 i. e., all the strings or pipes belonging 
 to one digital or pipe ; hence a piano 
 with 3 strings to each tone is drei- 
 chorig. 
 
 chora'gus, chore'gus (ko). The do- 
 nor of a choral or dramatic work. At 
 Oxford the director of Church music. 
 
 cho'ral. Pertaining to a choir or cho- 
 rus, choral service. A service in 
 which the entire liturg)' is intoned or 
 chanted. 
 
 chorale, Choral (ko-ral), G. i. Chor- 
 al psalm or hymn. 2. Early German- 
 Protestant hymn. 
 
94 
 
 THE MUSICAL GUIDE 
 
 chora leon. Vide ^olomelodicon. 
 
 choraliter (ko-ral'-I-ter), choralmas- 
 sig (mes-sikh), G. In choral style. 
 
 Choramt (kor'-amt), G. Choral ser- 
 vice. 
 
 choraul'es. A Greek flutist. 
 
 chord. I. A string. 2. Vide vocal c. 
 3. A combination of three or more 
 tones, whether pleasant or discord- 
 ant. 
 
 The chords which are the building-ma- 
 terial of all our music are made up of 
 thirds laid brick-wise one upon an- 
 other. A single third is not counted 
 a chord, two thirds (for instance the 
 two intervals, g-b-d) make up a triad ; 
 another third (d to f) makes a chord, 
 called a seventh (g-b-d-f) because the 
 interval (q. v.) from g to f is a sev- 
 enth ; adding another third gives a 
 chord of the ninth or a ninth 
 chord (g-b-d-f-a), two other additions 
 give the chords of the eleventh and 
 thirteenth (g-b-d-f-a-c-e) (these last 
 are usually cacophonous, and their 
 existence as special chords is denied 
 by some theorists). To add another 
 third brings us back, on the tempered 
 scale, to g, from which the chord grew 
 and which is known as the funda- 
 mental or root of the chord. 
 
 Chords are distinguished in mode, as 
 major or minor, from the majority or 
 minority of their intervals, a minor 
 triad differing from a major in hav- 
 ing a minor third, the fifth being per- 
 fect in both cases. When the chord 
 has been constructed as above (g-b- 
 d-f) it is said to be in the first or 
 root or fundamental or perfect po- 
 sition ; it may re-appear with any 
 of its notes as the lowest (though g 
 always remains the root). When the 
 3d (b) is in the bass, it is said to be 
 in the 2d position; when the fifth (d), it 
 is in its 3d position. With any of its 
 notes other than the root in the bass 
 the chord is said to be inverted. The 
 names of these inversions have been 
 cumbrously taken from the intervals 
 between the lowest note and the others, 
 no interval being stated in terms of 
 over an octave, the greatest interval 
 being named first, and some of the in- 
 tervals being unmentioned, especially 
 those of doubled notes : thus the in- 
 tervals in that inversion of a seventh 
 chord in which the seventh is in the 
 bass might be, counting upward, II 
 (-4), 16 (-2), 20 (-6), but it would be 
 called, for short, a 4-2 chord, or chord 
 of the second and fourth. 
 
 In the following table the names of all the inversions are given. In thorough- 
 bass these inversions are indicated by Arabic numerals above the bass notes. 
 
 5 8 
 A triad in the root or fundamental position is marked — 3 or 3 or 5. 
 
 3 
 A triad in the ist inversion is called a chord of the 6th and marked 6. 
 A triad in the 2d inversion is called a chord of the 4th and 6th or a six-four 
 6 
 chord and marked 4. 7 
 
 A 7th chord in the root or fundamental position is marked 7 or 5. 
 
 3 
 A 7th chord in the ist inversion is called a chord of the 5th and 6th or a six-five 
 6 6 
 chord, and marked 5 or 5. 
 3 
 A 7th chord in the 2d inversion is called a chord of the 3d, 4th and 6th, or a 
 6 
 four-three chord and marked 4 or 4. 
 3 
 
DICTIONARY OF TERMS 
 
 95 
 
 A 7th chord in the 3d inversion is called a chord of the 2d and 4th or a four- 
 4 6 
 two chord and marked 2 or 4. 
 
 2 99 
 
 A 9th chord in the root or fundamental position is marked 9 or 7 5 according as the 
 
 3 3 
 5th or 7th is omitted. 
 
 A line or dash through any Arabic nu- 
 meral as Z means that the note it 
 represents is sharpened ; it may be 
 also preceded by a natural or flat. 
 A sharp or flat standing over a bass 
 note means that the third of the 
 chord is to be sharpened or flattened ; 
 a dash or horizontal line following a 
 numeral continues its tone in the next 
 chord. 
 
 The character (but not the inversion) 
 of chords may be indicated by Roman 
 numerals indicating the degree of the 
 scale on which they are founded, the 
 scale being noted by a large letter for 
 major (as C), and a small for minor 
 (as c). Thus IV means a triad on 
 the fourth degree with a major third 
 and perfect fifth ; iv. a triad on the 
 fourth .degree with minor 3d and per- 
 fect fifth. An accent after the numeral 
 indicates an augmented fifth, as IV'; 
 a small cipher indicates a diminished 
 fifth, as Vir ; a small 7 indicates a 
 chord of the seventh. These devices 
 are an heirloom from an age of little 
 modulation and formal counterpoint ; 
 they were shorthand then, but to our 
 music they are handcuffs. They have 
 only a dry te.xt-book career, and alert 
 theorists are rapidly denying them 
 the right even to this existence. 
 Other kinds of chords are character- 
 istic, the leading chord ; chromatic, 
 containing a chromatic tone ; com- 
 mon, a triad ; accidental, produced 
 by anticipation or suspension ; al- 
 tered, having some tone chromatical- 
 ly changed with modulatory effect (one 
 of the bugaboos of the theorists), vide 
 ALTERED ; anomalous, vide anom- 
 aly ; augmented, having an aug- 
 mented fifth ; broken, vide broken ; 
 derivative, formed by inversion ; di- 
 
 atonic, a triad ; diminished, having 
 an imperfect 5th and diminished 7th ; 
 dominant, the triad or 7th chord on 
 the dominant ; doubtful, equivocal, 
 resolvable in many ways, as the di- 
 minished 7th ; imperfect, having an 
 imperfect fifth, or having some tone 
 omitted ; leading, the dominant 
 chord ; related or relative, con- 
 taining a tone in common ; solid, 
 opposed to broken ; threefold, a 
 triad ; transient, modulatory. 
 
 chord'a, L. A string ; a note. c. 
 characteristica. The leading note. 
 c. dominant septima. The domi- 
 nant chord of the seventh ; no'na, the 
 ninth, chordae essentia'les. The 
 tonic, third and fifth, chordae voca- 
 les. Vocal chords. 
 
 chordaulo'dian, chordomelo'dion. A 
 large automatic barrel organ, inv. by 
 Kaufmann, 1812. 
 
 Chordienst (kor'-denst), G. Choral 
 service. Chordirektor. A director 
 who trains a chorus at the opera 
 house. 
 
 chordom'eter. A gauge for measuring 
 strings. 
 
 Chore (kar'e), G. plural. Choirs, cho- 
 ruses. 
 
 Chorist', G., choriste (ko-rest), F., 
 chorister, E. i. A leader of a choir. 
 2. A choral singer. Chorsanger, 
 C.-schiiler, C.-knabe (kor'-kna-be), 
 G. Choir-boy. 
 
 Chorstimme (kor-shtlm-me), G. .Cho- 
 rus part. 
 
 Chorton (kor-ton), G. "Choir-pitch." 
 I. The pitch at which choruses for- 
 merly sang in Germany. 2. Choral 
 tune. 
 
 chorus. I. A company of singers ; es- 
 pecially in opera, etc., the support- 
 ing body of vocalists who do not 
 
96 
 
 THE MUSICAL GUIDE 
 
 sing solos. 2 A composition for a 
 chorus, usually in 4 parts — a "dou- 
 ble chorus " requires 8 parts. 3. A 
 refrain. 4. The compound stops. 5. 
 The bagpipe, or drone-pipe. 7. Ma- 
 rine trumpet. 8. The free-staves of 
 the crwth. chorusmaster. The 
 chief singer in a chorus. 
 
 choutarah. Vide tambour.\. 
 
 Chris'te eleison (a-la'-e-son), Gr. 
 "Christ have mercy;" part of the 
 Kyrie. 
 
 Christmesse, Christmette (krest- 
 met-te), G. Christmas matins. 
 
 chroma, Gr. i. A chromatic modifi- 
 cation of the Greek tetrachord. 2. A 
 sharp or a flat. c. duplex. A double 
 sharp. 3. c. diesis. A semitone. 
 4. (Ore. simplex.) An eighth note. 
 c. duplex. A i6th note. 
 
 chromam'eter. A tuning-fork. 
 
 chromatic, chromatique (tek), F., 
 chromatisch (ma-tish), G., cro- 
 mat'ico, /. i. Literally, "col- 
 oured " and implying a foreign or 
 added tinge, specifically that given to 
 the sober diatonic notes natural to 
 a key, by an unrelated sharp, flat or 
 natural that is not of modulatory 
 effect. A whole scale may be chro- 
 matic (i. e.. progress by semitones) ; 
 a chord, an interval or a progression 
 altered by a flat or sharp is called 
 chromatic, and the process of so mod- 
 ifying it is called c. alteration ; an 
 instr. playing semitones is called C, 
 and the signs themselves that sharpen 
 or flatten a tone are called c. signs, 
 or chromatics. 2. Vide modes. 
 
 chronometer. Metronome, particu- 
 larly Godfrey Weber's. 
 
 chronom^tre (kr6n-6-metr), F. A form 
 of monochord inv. 1827, by Raller, to 
 teach piano-tuning. 
 
 chrotta (krot ta). Vide crowd. 
 
 church cadence. The plagal cadence. 
 
 church modes. Vide modes. 
 
 chute (shut), F. An obsolete sliding 
 embellishment. 
 
 ciaconne. Vide chaconne. 
 
 ciaramella (cha-ra-m^l'-la), /. A bag- 
 pipe. 
 
 cicogna (che-c6n-ya), /. Mouthpiece, 
 cicu'ta, Z. A Pan's pipe. 
 cicutrenna (che-koo-tren'-na), 7. A 
 
 pipe. 
 ifrj 
 
 cifrato (che-fra'-to), I. Figured. 
 
 cimbalo (chem'-ba-16), /. i. Cymbal. 
 2. Tambourine. 3. Harpsichord or 
 dulcimer. 
 
 cimbalon. Vide czimbalon. 
 
 Cimbel (tslm'-bel), G. A high mixt- 
 ure stop. Cimbelstern. A group 
 of star-shaped cymbals attached to 
 old organs. 
 
 cinelli (che-nel-le), /., Cinellen (tse- 
 nel'-len), G. Cymbals. 
 
 Cink (tsink), G. 1. A small reed-stop. 
 2. Vide ziNK. 
 
 cinq (sank), F., cinque (chen'kwe), /. 
 Five ; the fifth voice or part in a 
 quintet, a c. — in 5 parts, cinque- 
 pace (sank-pas). Old French dance 
 in quintuple time. 
 
 cin'yra. Old name for harp. 
 
 ciphering. The sounding of organ 
 pipes, when the keys are not touched, 
 due to leakage, cipher system. An 
 old notation using numerals instead of 
 letters. 
 
 circle of fifths. A method of modu- 
 lation by dominants. Vide temper- 
 ament and preliminary essay, intro- 
 duction TO MUSIC. 
 
 circular canon. A canon going 
 through the major keys. 
 
 circular scale. The curved row of tun- 
 ing-pins. 
 
 Cis (tses), G. The note C sharp. Cis- 
 is. C double sharp. Cis-dur. C # * 
 major. Cis-moll. C # minor. 
 
 cistel la, Z. A dulcimer. 
 
 cistre (sestr), F. Cither. 
 
 cistrum, Z. Vide sistrum. 
 
 citara (che-ta'-ra), 7. Cither. 
 
 citaredo (the-ta-ra'-dho), Sp., citarisca 
 (che-ta-res-ta), 7. A minstrel, a player 
 upon the harp or cittern. 
 
 citerna (che-ter'-na), 7. Quinterna. 
 
 cith'ara, Z. The large lyre from which 
 the guitar and zither are derived, c. 
 biju'ga. A 2-necked c. c. hispanica. 
 The Spanish guitar, keyed c. The 
 
 . clavicitherium. cith'aris. The the- 
 
DICTIONARY OF TERMS 
 
 97 
 
 niodu 
 
 orbo. citharoe'dus. A singing lu- 
 tenist. 
 
 cither, cithera, cithern, cittern, 
 cythorn. An old guitar-like instr., 
 strung with wire and played with a 
 plectrum ; sometimes with a bow, or 
 by means of keys. 
 
 Cito'le. A dulcimer. 
 
 cit'tam. Ancient English guitar. 
 
 civetteria (che-vet-tg-re'-a), /. Co- 
 quetry. 
 
 dair (kiar), F. Clear, shrill, loud. 
 
 daircylindre (klar-si-landr), F. Vide 
 
 CLAVICYLINDER. 
 
 dairon (kiar-6h), F. i. Trumpet. 2. 
 Reed-stop. 3. Vide clarinet. 4. 
 A bugler. 
 
 dang. I. A bell-tone. 2. In acous- 
 tics a fundamental tone with its group 
 of over and under-tones, their com- 
 pleteness giving the clang-colour or 
 clang-tint, Tyndall's word. 
 
 dang-key, ^., Klangschlussel, G. 
 Riemann's word for his system of 
 chord designation intended to supplant 
 thorough-bass as a better method of 
 describing a combination by its quali- 
 ties. Intervals are reckoned, not from 
 the bass, but from the principal tone 
 of each chord. He uses Arabian fig- 
 ures for major, Roman for minor 
 chords, the former indicating an inter- 
 val upwards from a tone, the lat- 
 ter an interval below, as follows: 
 I (I). Principal tone. . 2 (II). Major 
 2d. 3 (III). Major 3d. 4 (IV). 
 Perfect 4th. 5 (V). Perfect 5 th. 
 6 (VI). Major ^th. 7 (VII). Mi- 
 nor 7th. 8 (VIII). Octave. 9 (IX). 
 Major 9th. 10 (X). Major loth. 
 < indicates raising a tone by a semi- 
 tone. > Lowering it a semitone ; 
 " tones doubly raised or lowered be- 
 ing inconceivable musically." The 
 major chord (or upper-clang) is ab- 
 breviated -\- (for 5-3-1), the minor 
 chord (or under-clang) is abbr. o (for 
 I-III-V) — thus a+ or ao. Feeling that, 
 for instance, the tone C in the major 
 triad a|;>-c-e|j has a different meaning 
 from the tone c in the minor triad 
 
 c, P ! 
 
 pjjji^ j a-c-e, he has coined for this "sub- 
 
 stitution of clangs " the word 
 Klangvertretung (klang'-f^r-tra'- 
 toongk). clang-succession is a 
 
 chord-progression with regard to its 
 clang-meaning, that is, a tonality 
 which does not consider every chord 
 in its proper absolute key but in its 
 relation to some other chord to which 
 it plays the part of principal or re- 
 lated clang. Fuller particulars of 
 this interesting philosophy must be 
 sought in Riemann's Dictionary of 
 Music, and other of his writings. 
 
 claquebois (klak-bwa), F. A xylo- 
 phone. 
 
 clar. Abbr. of Clarinet. 
 
 clarabel'la, L. A soft-voiced wood 
 organ-stop. 
 
 claribel flute, i. A flute. 2. A 4-ft. 
 clarabella. 
 
 clar'ichord, clarico lo, clar'igold. An 
 old harp, or a clavichord. 
 
 Clarin (kla-ren', G. \nF. klar-ah). i. 
 A clarion. 2. A 4-ft reed-stop. 
 Clarinblasen. Soft notes of the 
 trumpet. 
 
 clarinet, clarinette (net), F., dari- 
 netto, /. An important wood-wind 
 instr. with a single beating reed, cylin- 
 drical tube and bell. It is in effect a 
 stopped pipe (q. v.) and sounds an 
 octave lower than other wood-wind 
 of its length ; it has only the odd- 
 numbered partials in the overtone- 
 scale, and requires a different fin- 
 gering from the oboe, etc. It has 
 18 holes, including 13 with keys, by 
 means of which it has a range of 
 3 octaves and a sixth, which range 
 is sharply divided into four distinct 
 qualities of tone: i. The highest, 
 or superacute, being (in the normal 
 soprano clarinet in C)d"' -c"". 2. The 
 high or clarinetto or clarion regis- 
 ter (whence the instr. took its name) 
 b'-c'". 3. The medium, f -b'h>. 4. The 
 chalumeau (shal'-ii-mo) or Schalmei 
 (shal-mi) g-e' ; the qualities being re- 
 spectively. I. Shrill. 2. Liquid and 
 clear. 3. Veiled and feeble. 4. Rich 
 and sonorous like a contralto voice. 
 The clarinet is a transposing instr. 
 
98 
 
 THE MUSICAL GUIDE 
 
 written in the C clef ; it is made in 
 many sizes to adapt it to different 
 keys ; the large soprano in C, Bt» (of- 
 ten called simply " clarinet in 13 ") and 
 A ; the small soprano in D, E, F, 
 A\) ; the alto or barytone in F and 
 Et>, the bass (an octave lower than 
 the sopranos) in C, B b and A. The 
 soprano in B j? is the most brilliant ; 
 the soprano in A is very tender in tone. 
 The small sopranos are too shrill 
 for use except in military bands in 
 which the clarinet group serves the 
 substantial purpose served by the 
 strings in the orchestra. 
 The clarinet is an improvement (made 
 by Denner of Nurnberg, 1700) upon 
 the old chalumeau or Schalmei, 
 whose name still persists in the low 
 register of the clarinet. The ch. had 
 a single, beating reed, a cylindrical 
 tube and nine holes, each of which 
 produced a tone giving a compass of 
 these natural tones, f-a'. By plac- 
 ing a hole and a key at a nodal point 
 dividing the tube into 3 equal parts, 
 overblowing became possible in the 
 twelfth, i. e., the 3d partials (vide 
 acoustics). This new register was 
 called clarinetto or clarion for its 
 clarity of tone, and from this word 
 came the present name of the instr., 
 all of whose gaps have been tilled by 
 means of the Bohm key-mechanism, 
 etc., though the fingering is still dif- 
 ficult and a slip gives a squawk called 
 the " goose " or couac. 
 2. A soft 8-ft. reed-stop, clarinet 
 flute. A flue-stop with holes in the 
 cover. 
 
 clarino (kla-re'-no), /., clarion, E. 
 (in F, klar-yon). i. A small trum- 
 pet. 2. A 4-foot organ reed-stop, an 
 octave above the trumpet. 3. The 
 trumpet parts in score. C harmon- 
 ique. A reed-stop. 
 
 clarionet. Obsolescent spelling of 
 clarinet. 
 
 clarionet-flute. A stop. 
 
 clarone (kla-ro'-ne), /. A clarinet. 
 
 clarseach (klar'-sakh), clarseth (klar'- 
 s6). The old Irish harp. 
 
 claus'ula, L. A dance. 
 
 clavecin (klav-sin), F. i. The harpsi- 
 chord. 2. The keys a bell-ringer 
 plays on. C acoustique. An instr. 
 of the i8th cent, imitating various 
 instruments. 
 
 Claviatur (kla-fl-a-toor'), G. The 
 key-board. 
 
 clav ichord. Prototype of the piano, 
 the strings being set in vibration not 
 by hammers, but by small brass 
 wedges (called tangents) on the ends 
 of the keys ; these set only one sec- 
 tion of the string in vibration. 
 
 clavicyl'inder. An instr. inv. by 
 Chladni, about 1800, consisting of 
 cylinders of glass attuned. 
 
 clavicymbalum, Z., clavicembalo, /. 
 The harpsichord. 
 
 clavicythe'rium, Z. An upright harp- 
 sichord of the 13th Century. 
 
 Clavier (clav-ya, F., in G. kla-fer'), 
 I. The key-board. 2. An old name for 
 the clavichord. 3. c. de r6cit. The 
 swell manual. 4. In French use, the 
 gamut included in the stave. 5. Vide 
 
 KLAVIER. 
 
 clav'is, Z. and G. i. A key. 2 
 A clef. 3. A note. 4. Handle of a, 
 bellows. 
 
 cl6 (kla), clef (kla), F. (In Englisbj 
 pron. " klgf.") A florid form of a 
 letter, used as a symbol with a fixedl 
 note-meaning, from which it takes it 
 name, as the so-called "c" clef de-j 
 noting that whichever line it grips i! 
 middle C (c'). The most commorl 
 clefs are the " G" (or treble c. 01 
 clef sol, or clef* descant, or vio- 
 lin c.) which is always seen now 0l| 
 the 2d line; the F. (or bass or c 
 de fay). (These two are those usee 
 in piano music.) The C (orclef d'ut 
 is used movably and is called thi 
 soprano (or German soprano) o 
 discant c. ; or the alto ; or the teno 
 (or mean or counter-tenor) clef, ac 
 cording as it is placed on the first 
 the 3d or the 4th line, in each c 
 which cases it marks middle C. Th 
 C clef is found in various forms an 
 is still used in music for the 'cello an 
 
 
DICTIONARY OF TERMS 
 
 99 
 
 Mt,| 
 
 1 
 
 other instruments and in contrapuntal 
 
 writing. 
 
 The obsolete clefs are the F on the 
 
 3d line (the barytone clef), the C on 
 
 the 2d line (the mezzo soprano), the 
 
 G on the ist line (the French violin, 
 
 or French treble clef), 
 
 clear flute. Organ-stop. 
 
 clef d'accordeur (dak-kor-dur), F. 
 Tuning-hammer. 
 
 cloc'ca, Z., cloche (klosh), F. A bell. 
 clochette. A hand-bell. 
 
 clock. To swing the clapper of a sta- 
 tionary bell. 
 
 clog, /n's/i. A shuffling dance. 
 
 :loro ne, 7. Alto clarinet. 
 
 :lose (kloz). A cadence. 
 
 :lose harmony or position. That in 
 which the chords spread over little 
 space; when a chord extends beyond 
 an octave it is said to be in open po- 
 sition. 
 
 :lose play. Lute-playing in which the 
 fingers remain on the strings. 
 
 :lose score. That with more than one 
 voice on a stave. 
 
 :-moll (tsa-mol), G. The key of C 
 minor. 
 
 :. 0. Abbr. of choir-o7-gan. 
 
 :oalotino (ko-a-lot-te'no), I. Concer- 
 tino. 
 
 •-occhina (kok-ke'-na), /. An Italian 
 country-dance. 
 
 :o'da, /. "Tail." i. An additional 
 termination to the body of a compo- 
 sition, ranging from a few chords to 
 a long passage. 2. The stem of a 
 note. 
 
 :odet'ta. i. A short coda. 2. A 
 short passage in fugue, between the 
 end of the subject and the entry of 
 the answer. 
 
 -odon, Gr. i. A little bell. 2. The 
 bell of a trumpet. 
 
 :oelesti'no (or-a). A name formerly 
 applied to various keyed instruments. 
 
 :offre (kofr), F. The frame of an 
 instrument. 
 
 ;ogli (kdl'-ye), coi (ko'-e), col, coll', 
 colla, collo, /. Forms of the prepo- 
 sition "con," and the definite article 
 meaning " with the." 
 
 colachon (ko-la-shoh), F. An instr. like 
 a lute with longer neck. 
 
 colascione. Vide calascione. 
 
 collet (kol-la), F. The neck, as of a vio- 
 lin. 
 
 collinet (kol-ll-na). A flageolet, named 
 from a famous virtuoso on it. 
 
 colofo'nia, /., colophane (k61-6-fan), 
 /"., Colophonium (k6-16-f5'-nI-oom), 
 G., colophony, E. Resin. 
 
 colorato (k6-l6-ra'-to), /. Florid. 
 
 coloratura (k6-16-ra-too'ra) (pi e), /., 
 Coloraturen (ko-lo-rii-too'-ren), G. 
 Ornaments and ornamental passages, 
 in vocal or instrumental music ; brill- 
 iant vocalization. 
 
 coloris (ko-lo-re'), F., Colorit (ret'), 
 G. The ' ' colour "-scheme of a work. 
 
 colour. I. Vide NOTATION. 2. Timbre. 
 3. Literally colour ; to some minds 
 each tone, or each key, has a distinc- 
 tive actual colour, as C is red to some, 
 C# scarlet, C 5 blood red, Cb darker, 
 etc. The Editor has even met a 
 painter who claimed the ability to play 
 any picture or paint any composition. 
 
 colpo, (Ji, /. " At a blow," abruptly. 
 
 combinational tones. Vide result- 
 ant TONES. 
 
 combination mode. The ambiguous 
 mode resulting from resolving a dom- 
 inant chord in a minor key to the 
 tonic major. 
 
 combination pedals. Vide compo- 
 sition PEDALS. 
 
 come (k5'me), /. As, like, the same as. 
 c. prima. As before, as at first, c. 
 sopra. As above, c. sta. Exactly 
 as it stands. 
 
 co'mes, L. i. In fugue, the companion 
 or answer, to the dux (leadci-), or sub- 
 ject. 2. In canon, the consequent. 
 
 comiquement (ko-mek-man), F. Com- 
 ically. 
 
 com'ma. i. A breathing-mark. 2. A 
 theoretical term indicating the minute 
 difference between two tones nearly 
 identical, (a) The comma synto- 
 num, or c. of Didymus, is that be- 
 tween a major and a minor tone 80 : 8 1. 
 (b) The comma ditonicum, or c. of 
 Pythagoras, is that by which six 
 
lOO 
 
 THE MUSICAL GUIDE 
 
 whole notes with the ratio q : 8 exceed 
 
 the octave, or 531 + : 524 +. 
 com(m)odamen'te, com'(in)odo, /. 
 
 With ease. 
 common. Vide chord and turn. c. 
 
 measure or time. 4-4 time. 
 compass. Range of a voice or instr. 
 compiacevole (l<6m-pla-cha'-v6-Ie), 
 
 compiacevolmen te, /. Pleasant- 
 
 (ly). 
 
 complainte (kon-plant), F. A religious 
 ballad. 
 
 com'plement. That quantity or inter- 
 val which fills up an octave, as a 
 fourth is c. to a fifth. 
 
 complementary part. In fugue, the 
 part added to the subject and counter- 
 subject. 
 
 complete. Vide cadence. 
 
 completo'rium, Z., com'pletory, E. 
 I. An Ambrosian anthem supplement- 
 ary to the antiphon. 2. A compline. 
 
 complin(e), L. Vide Horae canon- 
 
 TCAE. 
 
 componis'ta, /. A composer. 
 
 compo'num. A machine inv. by Win- 
 kel to present a given theme, in end- 
 less variety of forms. 
 
 composition, /. The act, art or sci- 
 ence of writing original music. 
 
 composition pedals. Pedals inv. by 
 J. C. Bishop, connected with a mech- 
 anism for bringing into use several 
 stops simultaneously. 
 
 composizione di tavolino (kom-po-ze- 
 tsI-6'-ne de ta-vo-le'-no), I. Table- 
 music. 
 
 compos'to, /. Composed, quiet. 
 
 compound. Of intervals, those ex- 
 ceeding the octave, c. stop. One 
 having more than one rank of pipes. 
 c. measures or times. Those which 
 contain more than one principal ac- 
 cent, as 6-4, 9-S, etc. 
 
 compressed score. Close score. 
 
 comprimaria (kom-pre-ma'-rl-a), /. 
 The next in rank to 9. prima donna. 
 
 con (kon), /. " With ; " it is often com- 
 bined with the article "the," vide 
 coGLi, etc. con. Sva, vide ottava. 
 
 concave pedals. Radiating pedals. 
 
 concealed. Vide hidden. 
 
 concento (kon-chen'-to), 7. i. Concord. 
 
 2. Non-arpeggiation. 
 concen'tus, L. i. Concord, vide ac- 
 
 CENTUS. 
 
 concert (in F. koh-sar'). i. A public 
 performance. 2. c. spiiltuel. Sa- 
 cred concert. Dutch c. An impro- 
 vised chorus of little regularity and 
 much hilarity. 3. A concerto. 4. A 
 set of instrs. of different size, vide 
 
 CHEST OE VIOLS. 
 
 concertante (kon-cher-tan'-te), /. i. 
 A piece in which each part is alter- 
 nately principal, as a duo concer- 
 tante. 2. A concerto for two or 
 more instrs., with orchestral accomp. 
 c. style. In brilliant concert style. 
 c. parts. Parts for solo instrs. in an 
 orchestral work. 
 
 concertato (ta'-to), /., concerted, E. 
 Used of music for several voices 01 
 instruments. 
 
 concert-grand. The largest size of 
 the piano. 
 
 concertina (k6n-sgr-te'na). Chas. 
 Wheatstone's improved accordeon 
 (q. V.) inv. 1829. It is double-action, 
 producing tone on being drawn oul 
 or compressed. Its 2 key-boards ar( 
 hexagonal, and the English treble c 
 (much superior to the German) has j 
 range of four octaves from g belov 
 middle C with all the chromatic tones 
 The c is to be had also in alto, tenor 
 bass and double-bass ranges. 
 
 concertino (kon-cher-te'-no), /. i. / 
 small concerto. 2. Principal as op 
 posed to ripieno, e. g., violino c. 
 principal violin. 3. The first-violii 
 part. 
 
 concertis'ta, /. Virtuoso. 
 
 Concertmeister (kon-tsert-mlshter) 
 G. I. The leader. 2. The first c 
 the first-violins. 
 
 concerto (kon-cher'-to), /. i. A cor 
 cert. 2. A composition for one- 
 two {double) three {triple) — or moi 
 solo instruments with orchestral a( 
 companiment. It is usually in sonat 
 form with modifications to alio 
 of virtuosity, notably the cadenzf 
 played by the performer of the soJ 
 
 ( 
 
DICTIONARY OF TERMS 
 
 lOl 
 
 part just before the concluding tutti 
 of the first and last movement. For- 
 merly the word was applied to con- 
 certante. Torelli is credited with 
 the modern form. The c. without 
 orchestral accompaniment (c. a. solo) 
 is very rare. c. da camera. Cham- 
 ber concerto, opposed logrosso. c. da 
 chiesa (kl-a'-za) or c. ecclesiastico. 
 (a) In Viadana's work, merely motets 
 with accomp. for organ, (b) A con- 
 certo for church use. c. doppio. a 
 C, for two or more instruments, c. 
 gros'so. A composition for full or- 
 chestra, c. spirituale. Sacred con- 
 cert. 
 
 concert pitch. Vide a, of which the 
 French standard is now generally 
 adopted. By this all the tones are 
 regulated. In England c. p. refers 
 to a pitch almost half a tone higher 
 than the international pitch. 
 
 Concertspieler (kon-tsert'-shpe-ler), G. 
 A solo or concerto player. Con- 
 cert stiick (shtiik). I. A concert- 
 piece. 2. A concerto. 
 
 concitato (kon-chl-ta-to), /. Agi- 
 tated. 
 
 conclusione (kloo-zT-o'-ne), /. Con- 
 clusion. 
 
 concord. An harmonious combina- 
 tion, concordant, i. Harmonious. 
 2. In P'rench use (pron. kon-kor-dah), 
 a barytone. 
 /;J|con-dissonant. Used of a triad which 
 is consonant with each of two mutual- 
 ly dissonant triads. 
 as(Konducten(dook'-ten), G. Wind-tubes. 
 jliuoi conductor. The time-beater and direc- 
 tor of a chorus or orchestra. 
 
 COnduct'us, Z. That form of discant 
 in the 12th century in which not only 
 the improvised counterpoint of the 
 singers was original, but the central 
 melody (or cantiis firmiis) also. 
 
 Jconduit (kon-dwe), F. i. A wind- 
 trunk. 2. Conductus. 
 Jicone-gamba. The bell-gamba. 
 
 coniinal. Vide final. 
 
 conjoint, or conjunct, £., congiunto 
 (joon'-to), /. I. Used of notes lying , 
 immediately next to each other ; of 
 
 the I 
 
 motion or succes^sijn proceeding legu- 
 larly by single degrees. 2. Applied 
 by the Greeks to tetrachords, in which 
 the highest note of the lower, was also 
 the lowest note of the upper, tetra- 
 chord. 
 connecting note. One common to 
 
 successive chords. 
 consecutive. Following in immediate 
 succession. Chiefly applied to pro- 
 gressions of intervals such as perfect 
 fifths and octaves, strictly forbidden 
 in most cases. 
 conseguente (gwen'-te), /., conse- 
 quent, E. In fugue or canon, the 
 imitation or answer of the subject. 
 conservatoire (kon-ser-va-twar), /"., 
 conservato rio, /., Conservato- 
 rium (oom), C, conservatory, E. 
 A school of music. 
 consolan'te, /. Consoling, consola- 
 
 tamen'te. Cheeringly. 
 consonance, E., consonanza (nan- 
 tsa), /. An accord of sounds, not 
 only agreeable but restful, cf. disso- 
 nance, imperfect c. A major or 
 minor third or si.xth. perfect c. An 
 octave, fifth or fourth, consonant. 
 Harmonious, c. chord. One with- 
 out a dissonant interval. 
 consort, i. To be in accord. 2. A set, 
 
 as of viols, cf. CHEST. 
 constituents. Partial tones. 
 cont. Abbr. of coiitaiio. 
 contadines'co, /. Rustic. 
 contano, /. " They count," of instrs. 
 
 which " rest." 
 continua'to (tin-oo-a'-to), /. Sustained. 
 continued bass. Vide bass (6). 
 continuo, /. Vide bass (6). 
 contra. Against or under. As a pre- 
 fix to names of instruments, or of or- 
 gan-stops, it indicates a pitch an 
 octave lower than the standard, as 
 Contraposaune, contra - octave. 
 (Vide pitch), contra-arco. Bowing 
 against the rule. contra-tempo. 
 Syncopation, contrabass (kon-tra- 
 bas). The double-bass, contrabom- 
 barde. A 32-ft. stop in the pedal. 
 contraddanza (kon-trad-dan'tsa), /. 
 A country-dance. 
 
102 
 
 THE MUSICAL GUIDE 
 
 cont-ralto (kon-tral'-to), /. The deepest 
 female voice. The term means lower 
 than the alto (high), the former name 
 of male soprano. 
 
 contrappunto (poon'-t5), /. Counter- 
 point, contrappuntista. One skilled 
 in cpt. c. alia decima. . Double 
 counterpoint in the tenth. c. alia 
 mente. Improvised cpt. alia zop- 
 pa, or syncopata. Syncopated cpt. 
 c. doppio. Double cpt. c. doppio 
 alia duo decima. Double cpt. in 
 the twelfth. c. sciolto (shol'-to). 
 Free cpt. c sopra (sotto) il sog- 
 getto (s6d-jet'-to). Cpt. above (be- 
 low) the subject. 
 
 contrapunct'us, L. Counterpoint, c. 
 flo'ridum, L. Florid cpt. c. in 
 decima gradi. Double cpt. in 
 which the parts move in tenths or 
 thirds below the subject, c. simplex. 
 Simple cpt. 
 
 contrapuntal. Relating to counter- 
 point, contrapuntist. One skilled 
 in counterpoint. 
 
 contrario(tra-rr-6), /. Contrary. Vide 
 MOTION, contrary bow. A re- 
 versed stroke. 
 
 contrasogetto (s6d-jet'-to), /. Coun- 
 ter-subject. 
 
 contratenor. Vide counter-tenor. 
 
 Contratone (kon'tra-ta-ne), G. The 
 deeper bass tones. 
 
 contraviolo'ne, /. Double-bass. 
 
 centre (kofitr), F. Contra, or coun- 
 ter, as contrebasse. Double-bass. 
 c. 6clisse. Lining, c. partie. Apart 
 contrasted with another, as bass 
 and soprano, contrepoint (kontr- 
 pwin). Counterpoint, contresujet. 
 Counter-subject, contre-temps. Syn- 
 copation. 
 
 contredanse (koii-tru-dans), F. A 
 country-dance, in which the dancers 
 stand in opposite ranks. 
 
 conver'sio, L. Inversion. 
 
 coper to, /. I. Covered (as fifths). 2. 
 Muffled (as drums). 
 
 copula, /. I. A coupler. 2. A stop 
 requiring a coupler. 
 
 cor. Abbr. of cornet. 
 
 cor (kor), F. Horn, cor-alt. Alta 
 
 horn, cor-basse. Bass-horn, c-an- 
 glais. " English horn," in reality 
 an alto oboe (q. v.). c. de basset. 
 Basset-horn. c. de chasse (shas). 
 Hunting-horn ; the French horn. c. 
 de postilion. Postilion's horn. c. 
 de signal. A bugle, c. de nuit. 
 The Cremona stop. c. de vaches. 
 Cow-horn. c. omnitonique. A Sax- 
 horn. 
 
 corale (ko-rale), /. Chora. 
 
 coranto (k6-ran'-to), /. Vide cou- 
 
 R.\NTE. 
 
 corda (kor'-da), /. A string ; tina corda, 
 one string, i. e., the soft pedal ; dtte 
 (two) or tre (three) or tutte (all) le 
 corde (the strings), " release the soft 
 pedal ! " In violin-playing, diie-corde, 
 means ' ' play the same note on 2 strings 
 simultaneously ; " iina. 2da, jza, or 
 4ta corda, means that the passage is 
 all to be played on the string indi- 
 cated. 
 
 cordatura (too'-ra), /. Vide ac- 
 cord (3). 
 
 corde (kord), F. A. A string, c. a 
 boyau. Catgut, c. a jour (zhoor). 
 c. a vide (ved). Open string, c. 
 de luth. A lute-string, c. fausse 
 (fos). A false string. c. sourde. 
 (soord). A mute-string. 
 
 cordier (kord-ya), F. cordiera (kor- 
 dl-a-ra'), /. Tail-piece. 
 
 cordometre (kor-do-metr), F. String- 
 gauge. 
 
 corifeo (k5-rT-fa'-6), /. Leader of a 
 ballet, corimagistro (ma-jes'-tro). 
 Leader of a chorus. 
 
 corista (ko-res'-tii), /. i. Chorister. 2. 
 Tuning-fork or pitch-pipe. 
 
 cormorne. i. A soft-toned horn. 2. 
 A reed-stop. 
 
 corn (korn). Welsh. Horn. 
 
 cornamusa (kor-na-moo'-za), /., cor- 
 nemuse (korn-mliz), F. Bagpipe. 
 
 cor'net (not cornet'), E. (in F. kor-na), 
 Cornett', C. i. Loosely used of the 
 cornet d pistons (q. v.) 2. An obso- 
 lete wind instr. of the 15th cent, made 
 straight {diritto or muto) and bent 
 i^curvo or torto) ; the latter was also 
 called cornon or cornetto basso 
 
DICTIONARY OF TERMS 103 
 
 and was the original of the serpent. 
 3. Various reed-stops as echo c, 
 mounted c, grand c, c. de r^cit, 
 C. dreifach (or 3-ranked). 
 
 corneta (kor-na'-ta), cornet'to, /. A 
 i6-ft. reed-stop. 
 
 cornet a bouquin (boo-kan), F. Bugle- 
 horn. 
 
 cornet a pistons (kor-na ta pes-toii), 
 F. A 3-valved chromatic brass in- 
 strument of the trumpet family. It 
 has a plebeian voice of great agility. 
 It is a transposing instr. written in 
 the G clef. It is usually in Bf?, and 
 has crooks (A, A[;), G). It has a 
 chromatic compass, f# -c'" 
 
 COr'no, /. Horn. c. alto. A horn 
 of high pitch, c. basso. A bass- 
 horn, c. di basset'to. i. The bas- 
 set-horn. 2. A soft-reed stop. c. di 
 caccia (kat'-cha). The hunting or 
 French horn. c. dolce (dol'che). 
 An organ-stop. c. in B basso. A 
 low B horn. c. inglese (en-gla'ze). 
 The English horn (vide oboe), c. 
 ventile (ven-te'-le). Chromatic horn. 
 c. sor'do. A horn with dampers. 
 
 COrnope'an. i. Cornet a pistons. 2. 
 An 8-ft. reed-stop. 
 
 co'ro, /. and Sp. Chorus, c. della 
 chiesa, /. Church-choir, c. primo. 
 The first chorus. 
 
 coro'na, /. A pause or fermate (O). 
 
 coronach (k6r'-6-nakh). A Gaelic 
 dirge. 
 
 corps (kor), F. Body (as of an instru- 
 ment), c. de ballet (bal-la). All 
 the dancers in a ballet, c. d'har- 
 monie (dar-mo-ne). A fundament- 
 al chord, c. de musique. A band. 
 c. de r^change. The crook of a 
 horn. c. de voix. Body or range 
 of a voice. 
 
 corren'te, /. Vide courante. 
 
 Coryphaeus, G. i. The conductor of 
 the chorus. 2. At Oxford, a special 
 instructor in music. 
 
 coryphee (ko-rl-fa), F. i. The leader 
 of dancers. 2. A ballet-dancer. 
 
 cosaque (ko-sak), F. The Cossack 
 dance. 
 
 cotillon (ko-te-yon), F. " Petticoat." 
 
 An elaborate ceremonial dance of 
 many couples, not unlike the Ger- 
 man. 
 
 couac (kwak), F. Vide goose. 
 
 couched harp. Spinet. 
 
 coul6 (koo-la), F. r. Slurred. 2. A 
 grace note consisting of two or three 
 sliding notes, indicated by a dash be- 
 tween the notes. 
 
 coulisse (koo-les), F. i. Slide (vide 
 trombone). 2. Side-scene, wing (of 
 a theatre). 
 
 count. A beat. To count time, to 
 measure the beats audibly or men- 
 tally. 
 
 counter-. A prefix indicating contrast, 
 as cotinter-tenor (once a name for the 
 alto voice), is higher than the usual 
 tenor ; often falsetto or artificial tenor ; 
 counter-bass is lower than the usual 
 bass ; counter-tenor clef, vide clef ; 
 counter-subject, vide FUGUE. 
 
 counterpoint. Originally notes were 
 called " points ; " the literal meaning 
 of counterpoint is therefore "note 
 against (or in accompaniment with) 
 note ; " it is loosely used of the combi- 
 nation of independent voices as in a 
 quartet. It is more strictly used (a) of 
 the art of writing simultaneous melo- 
 dies or (b) of the melodic part added to 
 a given part called the cantus finnus 
 (q. v.). The contrapuntal style dif- 
 fers from the harmonic in that while 
 the latter consists of melody accom- 
 panied by chords, the former is a com- 
 bination of melodic parts. The su- 
 preme contrapuntal forms are Canon 
 and Fugue. Of counterpoint there 
 are five species : i. Note against note 
 — a semibreve against a semibreve. 
 2. Two notes against one ; 3. Four 
 notes against one. 4. Syncopation. 
 5. Florid counterpoint — a mixture of 
 the preceding species. Counterpoint 
 is also Simple and Double. In the 
 latter, the parts are invertible, i. e., 
 may be transposed an octave, or 
 ninth, tenth, twelfth, etc., above or 
 below one another. Counterpoint is 
 triple (or quadruple') when 3 or 4 
 parts are mutually invertible. 
 
.04 
 
 THE MUSICAL GUIDE 
 
 Counterpoint. 
 
 By Homer A, Norris. 
 
 THE art of combining melodies is called counterpoint. When a pianist 
 " plays * Old Hundred ' in one hand, and • Yankee Doodle ' in the 
 other " he illustrates the contrapuntal idea. Weingartner's arrange- 
 ment of Weber's "Invitation to the Dance" represents most ingenious 
 counterpoint. In strict (plain, simple) counterpoint, no combination of 
 notes representing more than three sounds is allowed ; no dissonances except 
 passing notes ; no chromadcs. ^[Counterpoint is double when it may be 
 correctly used either as an upper, or a lower part ; i. e., when it admits of 
 double employment. Double counterpoint may be so written as to invert in 
 the 8th, 9th, I 2th, or any other interval. The following is an example of 
 
 double counterpoint, fi Within the confines of strict counterpoint ecclesiastical 
 music reached its loftiest expression through Palestrina, in about 1600. ^In 
 modern harmony chords may be built up of three, four, five, and even more 
 different sounds. When the contrapuntal idea is applied to modern harmony, 
 
DICTIONARY OF TERMS 105 
 
 'piaiis 
 
 ■m 
 
 may it 
 lilniitsol 
 invert i 
 fflipleol 
 
 the result is caWed free counterpoint. Free counterpoint is simply a contra- 
 puntal manipulation of modern harmony, as opposed to strict counterpoint 
 which is limited to chords of three sounds. Bach re-established the counter- 
 point_o£Palesmna OTL the modern-harmonic Jbass. In JbisJigues ihe contra- 
 puntal, ^or po lyphonic, idea is found in its most perfect form. ^[The very 
 essence of Wagner's music is counterpoint. When the melodies of "Die 
 Meistersinger " are brought together in the overture it is modern counter- 
 point ; not an end in itself, but as a means to direct, emotional expression. 
 ^So from out this old counterpoint has come a new, which to-day permeates 
 all music. Neither Brahms nor Richard Strauss could exist but for the industry 
 of those early savants, who, piling notes upon notes, laid a foundation for 
 the cathedral of music which has risen majestically under Bach, Handel, 
 Mozart, Beethoven, Brahms, and Wagner. It is modern counterpoint, 
 counterpoint with a soul in it, which distinguishes all great work to-day and 
 stamps it for posterity. 
 
 ^ 
 
 i 
 
 1 
 
 counterynge ye songe (kovvn'-ter- 
 ing the song) (old E.). Descant. 
 
 country-dance. Whatever the ety- 
 mology, a country-dance is a contra- 
 dance (in duple or triple time) in 
 which partners are ranged opposite 
 each other. 
 
 coup (koo), F. Blow. c. d'archet 
 (dSr-sha). A stroke of the bow. c. 
 de glotte(glot). A snappy vocal at- 
 tack, double c. de langue. Double- 
 tonguing. c. de baguette (ba-get). 
 Beat of the drum. c. de cloche 
 (klosh). Stroke of a bell. 
 
 couper le sujet (koo-pa lii soo-zha), F. 
 To cut or contract the subject. 
 
 coup'ler. An organ mechanism con- 
 necting 2 manuals, or manuals with 
 pedals. 
 
 couplet. Two notes occupying the time 
 of a triplet. 
 
 Courante (koo-rant), F. "Running," 
 an old dance in 3-2 and 6-4 time. 
 Hence an instrumental piece in the 
 same style. Vide Suite. The sec- 
 ond part of the suite, usually in pas- 
 sage work. 
 
 couronne (koo-run), F. A hold. 
 
 course. A group of strings sounding 
 in unison. 
 
 COurtal (koor-tal), courtaud (koor-to), 
 
 courtaut (koor-to), F. An old short 
 bassoon. 
 
 couvre-feu (koovr-fti), F. Curfew. 
 
 covered, i. Hidden, used of progres- 
 sions (q. v.). 2. Used of pipes and 
 stops (q. v.). 3. Used of strings 
 wrapped with fine wire. 
 
 C. p. Abbr. of colla parte, or counter- 
 point. 
 
 or., ores., cresc. Abbr. of crescendo. 
 
 crackle. I n lute-playing, to play chords 
 brokenly. 
 
 cracoviak, Pol, cracovienne (kra- 
 ko'vl-en), F. A Polish dance in 
 syncopated 2-4 time. 
 
 creanluidh (kran'-loo-e). Vide pi- 
 broch. 
 
 Cre'do, L. "I believe." Vide mass. 
 
 crem'balum, L. Jew's harp. 
 
 Cremona (kra-mo'-na), /. i. A town in 
 Italy, hence an instr. made there by 
 the Stradivari, the Amati, or Guar- 
 nerius. 2. A corrupt form of crom- 
 horn. 
 
 cremorn. Vide crom-horn. 
 
 crepitac'ulum or crepun'dia, L. 
 Ancient frictional castanets. 
 
 crescendo (kre-shen'-do), /. " Increas- 
 ing," i. e., in loudness, c. il tempo. 
 Increasing in speed. C-zug, G. The 
 swell-box, or crescendo pedal. 
 
io6 
 
 THE MUSICAL GUIDE 
 
 cres'cent. A Turkish instr. of crescent- 
 shaped metal plates hung on a pavil- 
 ion ; or small bells on an inverted cres- 
 cent. 
 
 criard(e) (kre-ar(d)), F. Bawhng. 
 
 crib rum, L. Sound-board. 
 
 croche (krosh), F. An eighth note. 
 c. double. Sixteenth note. c. quad- 
 ruple. A sixty-fourth note. C. 
 triple. 32d note. 
 
 crochet (kro-sha), F. The hook of a 
 note. croche ta, L. A quarter 
 note. 
 
 croisement (kwaz-mah), F. Crossing 
 (as of parts). 
 
 croma (kro'-ma) (pi. e), /. An eighth 
 note. " crome," written under notes 
 of larger value Indicates that they are 
 to be played as eighth notes. 
 
 cromat'ica, /. Chromatic. 
 
 crom'-horn. i. A melancholy double- 
 reed wood-wind instr. of the i6th 
 cent. 2. A 4, 8 or i6-ft. reed-stop. 
 
 crom'mo, /. A choral dirge. 
 
 cromor'na, /.. cromorne (kro-morn), 
 /''. Crom-horn. 
 
 cronach. Same as coronach. 
 
 crook. I. A curved tube inserted in 
 horns, etc., altering the length of the 
 tube, therefore the key. 2. The 
 mouth-piece of a bassoon. 3. A de- 
 vice in old harps for raising a string 
 a half tone. 
 
 crooked flute. An Egyptian instru- 
 ment. 
 
 crooked horn or trumpet. Buccina. 
 
 crope'zia, Gr. Wooden clogs worn 
 by the Greeks in beating time. 
 
 croque-note (krok-nut), F. An unin- 
 telligent virtuoso. 
 
 cross. I. The head of a lute. 2. 
 
 Vide FINGERI.NG. 
 
 cross-beards. Vide beards. 
 
 cross-fingering. A method of play- 
 ing old flutes. 
 
 cross flute. A transverse flute. 
 
 cross-relation. Vide false. 
 
 crotale (kro-tal), F., crota'lo, /., 
 cro'talum, L. An ancient small 
 cymbal or castanet. 
 
 crotchet. A quarter note. crot'- 
 chet rest. A quarter rest. 
 
 crowd. The crwth (q. v.). 
 
 crowie. Old English instr. of the 
 bassoon type. 
 
 Crucifix'us, Z. "Crucified," part of 
 the Credo. Vide mass. 
 
 cruit (kru It), Irish. Old Irish Crwth. 
 
 crush-note. Acciaccatura. 
 
 crutch'etam. Name originally given 
 to the crotchet. 
 
 crwth (krooth), Welsh. An old instr. 
 of Welsh or Irish origin ; it was 
 somewhat lyre-shaped, had six 
 strings, and was the first European 
 instr. played with a bow. 
 
 C. S. Abbr. of Con sordino. 
 
 csardas (tsiir-dash), Magyar. A Hun- 
 garian (Magyar) dance in 2-4 or 4-4 
 time. Triple time is very excep- 
 tional, and not true to the national 
 character. The Csardas (from csar- 
 da, " inn on the heath ") is often pre- 
 ceded by a moderate movement called 
 lassu (from lassait, slow). The quick 
 movement is called fris or friska 
 (cf. the German frisch, fresh, brisk, 
 lively). 
 
 C-Schlussel (tsa-shliis-sel), G. C 
 clef (vide clef). 
 
 cto. Abbr. of Concerto. 
 
 cue. Notes from another part inserted 
 as a guide. 
 
 cuivre (kwevr), F. les cuivres. The 
 brasses, faire ciiivrer (fir kwev-ra). 
 To half-stop a French horn with clan- 
 gourous effect. 
 
 Cum sancto spiritu, L. " With the 
 Holy Ghost." Part of the Gloria. 
 Vide MASS. 
 
 cupo (koo'-po), I. Dark, reserved. 
 
 Currenda'ner, Curren'de, G. Young 
 carol-singers. 
 
 cushion dance. An old English round 
 dance in triple time, each dancer 
 placing before another of his or her 
 choice a cushion on which both kneel 
 and kiss. 
 
 custo (koos'-to), /., custos, L. A 
 direct. 
 
 cuvette (kii-vet), F. Pedestal of a 
 harp. 
 
 cycle. A complete set (as of songs). 
 cyclical forms {G. cyclische For- 
 
DICTIONARY OF TERMS 107 
 
 men). Those made up of a set or 
 cycle of movements, as the sonata, 
 suite or symphony. 
 
 Cylinder, G. Ventil piston. 
 
 cymbals, E., cymbales (saii-bal), F. 
 I. Circular metal plates, clashed to- 
 gether. 2. A steel triangle with a 
 number of rings. 3. A high-pitched 
 mixture-stop. 
 
 cymbalum, L. i. Cymbal. 2. A medi- 
 eval series of eight drums to a scale. 
 
 czakan (tshak'-an). A Bohemian bam- 
 boo flute. 
 
 czardas (tshar'-dash). Vide csardas. 
 
 czimken (tschlm'-ken). A Polish 
 country-dance. 
 
 czymbaiom (tsMm'-ba-16ni). The 
 Hungarian dulcimer. 
 
 D 
 
 Din G. pron. da, F. r6 (ra), 
 /. re (ra). i. A musical pitch, 
 the next full step above C in 
 all its octaves. 2. The ma- 
 jor key having two sharps ; the minor 
 key relative to F major. 3. Abbr. d = 
 discantus, or dessus ^ in da capo, dal 
 segno, main droit, mano dritto, d' 
 abbr. of de before a vowel. 
 
 da (da), L. By, from, for, through, in 
 the style of, etc. 
 
 dabbuda (diib-boo'-da), /. A psaltery. 
 
 da capo (da ka'-po), /. " From the 
 beginning." A sign of repetition. 
 
 Dach (dakh), C. "Roof." The belly 
 of a violin, etc. 
 
 Dachschweller (dakh'-shvel-ler), G. 
 Swell-box. 
 
 dactyl'ion, Cr. An apparatus of 10 
 rings hung from steel springs above 
 the key-board, used to strengthen the 
 fingers; inv. by Herz, 1835. 
 
 dada. A term in drum music — the left 
 hand. 
 
 daddy-mammy. A colloquial term 
 for a roll on the side-drum. 
 
 dagli (dal-ye), dai (da-e), dal, dall', 
 dalle, dal'lo, /. Combinations of 
 the prep, da with the article " the." 
 
 daina (da-e'-na), dainos, A tender 
 Lithuanian folk-song. 
 
 daire (da-e'-ra), /. The tambourine. 
 
 dal, /. Vide dagli. 
 
 dalzimr. An Egyptian reed instru- 
 ment. 
 
 damenisa'tion. Vide solmisation. 
 
 damper, i. In pianos a cushion which 
 when raised by the touch of the key 
 or the use of the da !?i per pedal {oiian 
 called the " loud pedal ") permits the 
 vibration of strings ; when released 
 it silences the vibration. 2. A mute 
 for brass instruments. 
 
 dampfen (demp'-fen), G. To muffle. 
 Damp'fer. A mute or damper. 
 Damp'fung'. Damping mechanism. 
 
 Danklied (dank'-let), G. A thanks- 
 giving song. 
 
 danse (dans), F. A dance, or dance- 
 tune, centre d. (kontr). A country- 
 dance, a quadrille, d. de matelot 
 (mat-l6). A horn-pipe, danseries 
 (dahs-re). Dance-tunes. 
 
 danza (dan'-tsii), /. A dance or dance- 
 tune, danzet'ta. A little dance. 
 
 daraboo'ka or darabuk'keh. A small 
 Arabian drum. 
 
 dar la voce (dar la vo'-che), /. Give 
 the key-note. 
 
 Darmsaite (darm'zi-te) (pi. en), G. 
 Gut-string. 
 
 Darsteller (dar'-shtel-ler), G. A per- 
 former. Darstellung. Performance. 
 
 dash. I. A staccato mark. 2. Vide 
 CHORD. 3. Vide couL^. 
 
 Da'sian-notierung, G. Hucbald's no- 
 tation, using forms of the letter F for 
 14 tones. 
 
 Dauer (dow-er), G. Duration. 
 
 Daumen (dow'-men), G. The thumb. 
 D.-aufsatz. Thumb-position. D.- 
 klapper. Castanet. 
 
 D. C. Abbr. of da capo. 
 
 D-dur (da-door), G. D major. 
 
 de (du), F. Of, in, from, by. De plus 
 en plus vile. More and more quickly. 
 
 dead march. Funeral march. 
 
 debile, debole (da'-bo-la), /. Feeble. 
 
 decachord, decachor'don, deca- 
 cor'do, L. An ancient harp or gui- 
 tar with ten strings. 
 
 dec'ad. Vide ellis (B. D.). 
 
 d^'cani, L. pi. Vide cantori. 
 
io8 THE MUSICAL GUIDE 
 
 Chart of Dance-Rhythms. 
 
 ( Spanish national dance. A pan- 
 BOLERO. Ktomime in honor of Cupid, ac- 
 I companied with castanets. 
 
 A ccom p . or , ^,_^ 
 
 - ( French or Spanish. The peri- 
 BOURREE. < ods commence on the fourth 
 I and end on the third beat. 
 
 L.^ENDLER. Slow Tyrolese waltz. 
 
 Polish national dance of state- 
 MAZURKA.-^ly character, with varied ac- 
 cents. 
 
 ( Old French,of stately character. 
 
 Minuet. < The third beat is slightly ac- 
 
 f cented. 
 
 I «i Moderate. I 
 
 CHACON(N)E. \ Begyis on the second beat 
 
 ^ 
 
 T-r 
 
 ( Moorish, Spanish, or Italian. 
 X Begins on the second beat . 
 \ contains a basso ostmato. 
 Moderato. or , -^ 
 
 ( Polish. Full of syncopa- 
 Cracovienne.- tionsand unexpected ac 
 ( cent. 
 Allegro. 
 
 li- 
 
 1 Hungarian national dance, be- 
 einning with a slow, sad Las- 
 san, followed by a fiercely 
 rapid Friska. The rhythm is 
 too varied to plot, but this 
 germ usually appears : 
 
 ( Spanish dance with guitar 
 Fandango. \ and castanets, performed be- 
 \ tween verses. 
 
 f Old French. Periods begin on 
 1 the third and end upon the 
 Gavotte. \ second beat. It is generally 
 [ combined with a Musette. 
 
 Musette. 
 
 Old French dance.now usual- 
 ly part of the Gavotte. Its 
 
 bag-pipe orij 
 drone-bass. ' 
 
 T>/^, LTA (Bohemian (not 
 fULKA. -j j-Qund dance. 
 Allei 
 
 ... gives it a 
 jee Gavotte. 
 
 Polish) rapid 
 
 1 Polish dance, formerly very 
 stately. It commences with 
 a strong accent and closes 
 on the last beat, thus : 
 , Moderato. i close. > d> I 
 
 ( Italian and Spapish dance 
 SALTARELLO.-^of leaping and bounding 
 
 ( Spanish or Moorish dance of 
 Sarabande. -j J/^^;h solemnity. 
 . Anda7ite. . i o or 
 
 itT-rVrrrtrr 
 
 'rf 
 
 J-J4J-J-LJ- 
 
 J2^ 
 
 r Cuban national dance. Ac- 
 ^„ . J companiment of marked 
 HABANERA. J. rhythm, theme greatly va- 
 1, ried and syncopated. 
 Th eme. or _ o r 
 
 1 1 1 1 r_i 
 
 TARANTELLA. 
 
 Old Italian dance of great 
 violence, said either to be 
 the result of, or an anti- 
 dote for, the tarantula 
 bite. Also said to ^be of 
 Tarentine origin, 
 and 
 
 rnnH 
 
 ( A dance of uncertain origin ; 
 Waltz, -y varied speed. 
 
 Vienna, or la I ^ • ^ J 
 
 Quick Waltz. ^-S-j-f \^ I 
 
 German, or 
 Slow Waltz 
 
 
DICTIONARY OF TERMS 109 
 
 Decern (da-ts^m), G. Vide decima (2). 
 
 deceptive. Vide cadence. 
 
 d6chant (da-shan), F. Discant. 
 
 d6cid6 (da-se-da), d6cid6ment (da-se- 
 da-mafi), F. Decisive(ly). 
 
 decima, Z. i. A tenth. 2. An organ- 
 stop sounding the tenth, d. plena 
 de tonis. A major tenth, d. non 
 plena detonis. A minor tenth, d. 
 tertia, quarta, quinta. Intervals 
 of the 13th, 14th, I5lh. 
 
 D6'cime (da sem), /'. (da-tsem'), G. A 
 tenth. 
 
 dec'imole. A group of ten equal 
 notes. 
 
 46'cisif (da-se-sef), d6cisivenient 
 (sev-man), F. _Decisive(ly). 
 
 decisione (da-che'-zl-6'ne), I. Decis- 
 ion, decisive (da-ch!-se'v6). de- 
 ciso (da-che'-z6). In a bold manner, 
 decisively. 
 
 Decke (dek'e), G. i. Sound-board. 2. 
 Belly. 3. Cover or top for organ- 
 stops. 
 
 declaman'do (da-cla-man'-do), 7. With 
 declamatory expression. 
 
 declamation, dedamazione (da-kla- 
 ma-tsI-6'-ne), /. Singing in declam- 
 atory style. 
 
 d^claver (da-kla-va), F. To change 
 the key. 
 
 d6compos6 (da-koh-po-za)^, F. Dis- 
 connected. 
 
 d6compter (da-kon-ta); F. To use 
 the portamento. 
 
 decoration (da-ko-ras-yoh), F. The 
 signature. 
 
 decorative notes. Notes of embel- 
 lishment. 
 
 d^couplez (da-koo-pla), F. Uncouple. 
 
 d6cousu(e) (da-koo-sii), F. Disjointed. 
 
 deer., decres. Abbr. of decrescen- 
 do. 
 
 decrescendo (da-kresh-Sn'-do), /. Di- 
 minishing in loudness. 
 
 dec'uplet. A group of ten equal 
 notes. 
 
 dedicate (da-dt-ka to), /., d6di6 (dad- 
 ya), F. Dedicated. 
 
 deduct'ie, L. i. Resolution. 2. In 
 Guido d'Arezzo's hexachords, the as- 
 cending series. 
 
 deficiendo (da-fe-chen'-do), /. Dying 
 away. 
 
 degli (dal'-ye), dei (da-e), del, dell', 
 del'la, del le, del le, /. Of the ; 
 than the. 
 
 degr6 (dfi-gra), F., degree, E. i. 
 Line or space on the staff. 2. One 
 of the diatonic tones of a' scale. 
 
 dehnen (da'-nen), G. To extend. 
 gedehnt (ge-dant). Prolonged, slow. 
 Dehnung. Prolongation. Deh- 
 nungsstrich. i. The line or dot in 
 vocal music holding one syllable over 
 several notes. 2. A long bow-stroke. 
 
 ddlassement (da-las-mah), F. A light 
 piece. 
 
 deliberate (da-le-be-ra'-to), deliber- 
 atamen'te, /. Deliberate(ly). 
 
 d61icatesse _(da-ll-ka-tes), A., deli- 
 ca-tezza. (da-U-ka-ted'-za), /. Deli- 
 cacy. 
 
 delicate (da-ll-ka -to), delicatamen- 
 te, /. Delicate(ly). delicatissima- 
 men'te, delicatis'simo. Most del- 
 icate(ly). 
 
 d^lie (dal-ya), F. Light, easy. 
 
 delir'io, /. Frenzy, excitement. 
 
 delizio'so or -amente, 7. Delicious- 
 
 (ly). 
 
 dem (dam), G. "To the." Dative of 
 "the." 
 
 d^mancher (da-mah-sha), F. To 
 change or cross hands ; to shift on 
 the 'cello or violin ; hence d^man- 
 ch6, d^manchement (da-mansh. 
 man). 
 
 demande (du-mand), 7". The " ques- 
 tion," subject of a fugue. 
 
 demi (dCi-me), F. Half, d.-baton- 
 (ba-toh). A semibreve ; or 2-meas- 
 ure rest. d. -cadence (ka-dans). A 
 half cadence, d.-croche. A i6th 
 note, d.-jeu. With half power, m/. 
 d.-mesure. Half measure, d. -stac- 
 cato. Lightly staccato, d.-pause. 
 A half rest, d.-quart de soupir. 
 A 32d rest, d.-seupir. An 8th rest. 
 d.-temps. A half beat, d.-ton. A 
 half tone. 
 
 demi-dit'enus, L. A minor 3d. 
 
 demi-quaver. A i6th note, or semi- 
 quaver. 
 
1 10 
 
 THE MUSICAL GUIDE 
 
 dem'isemiquaver. A 32d note. 
 
 dem itone. A semitone. 
 
 demoiselle (dem-wa-zel), F. Tracker. 
 
 Denis d'or (dun-e-dor). A piano with 
 pedals and many qualities of sound, 
 inv. 1762 by Procopius Divis. 
 
 depen'dent^ Used of a chord requir- 
 ing resolution. 
 
 depres'sio, /. Lowering, as of the 
 hand in time-beating ; or of a tone 
 chromatically. 
 
 De profun dis, L. " From the depths." 
 One of the penitential psalms. 
 
 der (der), G. i. The. 2. Of the. 
 
 derivative, i. The root of a chord. 
 2. An inversion. 
 
 d6riv6 (da-re-va), F. i. Derivative. 
 2. An inversion. 3. Inverted. 
 
 derniere (dern-yar), /'. Last. d. fois. 
 The last time. 
 
 Des (des), G. i. The note Dfc*. 2. 
 From the ; of the. 
 
 d6saccorder (da-zak-kor-da), F. To 
 untune, desaccord^. Untuned. 
 
 des cant. Vide discaxt. 
 
 descend. To pass from higher to low- 
 er pitch, descent. Such a pass- 
 ing. 
 
 descendere (da-shen'-de-re), /., de- 
 scendre (du-sahdr), F. To descend. 
 d. d'un ton. To descend a step. 
 descendant (du-sah-dah). Descend- 
 ing. 
 
 deschant (dii-shafi), F. Discant. 
 
 Desdes (dasdas) or Deses (dasas), G. 
 D double flat. 
 
 Des-dur (das'door), G. Yi\) major. 
 
 desiderio (da-se.da-rl-o), /. Desire, 
 passion. 
 
 desinvolturato (v6l-too-ra'-to), /., 
 avec d^sinvolture (a-vek da-sah- 
 vol-tiir), F. Free, easy. 
 
 Des-moU (das-mol), G. Dp minor. 
 
 desperazione. Vide disperazione. 
 
 Dessauer Marsch (des' sow-er marsh), 
 G. One of the national march-songs 
 of Germany. 
 
 dessin (dus-sih), F. Sign. 
 
 dessus (dus-su), F. i. Treble or up- 
 per part. 2. Old name for violin. 
 
 desto (das'-to), /. Brisk, sprightly. 
 
 desterita (ta-re-ta'), /. Dexterity. 
 
 destra (das'-tra), /. Right, d. mano. 
 Right hand, colla d. With the right 
 hand. 
 
 d6tach6 (da-ta-sha), /'. Detached ; 
 with separate bow movements, but 
 not staccato. grand d. With a 
 whole bow-stroke to each note. 
 
 determinazione (da-ter-ml-na-tsl-o'- 
 ne), /. Determination, determina- 
 te (na'-to). Determined, resolute. 
 
 detoni(e)ren (da-to-ne'-ren), G., de- 
 tonner (da-tun-na), /". To sing or 
 play off the key ; hence d^tonna* 
 tion (da-tun-nas'-yoh). 
 
 detto (det'-t5), /. The same ; ditto. 
 
 deuferus. Vide modes. 
 
 deutlich (doit'-likh), G. Distinctly. 
 
 Deutsch (doitsh), G. "German." 
 deutsche Flote. The German or 
 transverse flute, deutscher Bass. 
 An obsolete 5 or 6 stringed double- 
 bass, deutsche Tabulatur. Vide 
 TABLATURE. deutsche Tanze. Old 
 slow waltzes. 
 
 deux (du), F. Two. a deuxhuit (duz- 
 wet). In 2-8 time, a d. mains. 
 For 2 hands, d.-quatre. 2-4 time. 
 d.-temps. The two-step, or a fast 
 waltz with two measures to the beat, 
 also called Valse a d. t. deux fois. 
 twice. 
 
 deuxieme (diiz-yem), F. Second, d. 
 position (p6-zes-y6h). i. The sec- 
 ond fret. 2. The second position or 
 half-shift. 
 
 development. Working out ; free fan- 
 tasy. Vide FORM. 
 
 devo to, /. Devout, devozione (da- 
 v5-tsI-o'-ne). Devotion. 
 
 dex'tra, Z., dextre (dextr), F. i. 
 Right; the right hand. 2. Vide tibia. 
 
 Dezem (da-tsam'), G. Vide decima. 
 
 Dezime (da'-tse-me), G. A tenth. 
 
 di (de), /. Of, with, for, from, by, etc. 
 di molto. Extremely, as allegro di 
 7)1 olio. 
 
 di'a, Gr. Through. 
 
 diacon'icon, Gr. Collects in the Greek 
 Church. 
 
 di adrom, Gr. Vibration. 
 
 diagonal bellows. The old form with 
 slanting flap. 
 
DICTIONARY OF TERMS 
 
 diagram' ma, Gr. Diagram, i. The 
 Gspek scale. 2. The staff. 3. A 
 score. 
 
 dialogo (de-a-lo'-go), /., dialogue (de- 
 a-16g), /". Dialogue ; a duet. 
 
 diamond-shaped notes. Vide har- 
 monics. 
 
 diana (de-a-na), /., Diane (dTt-an), F. 
 The reveille. 
 
 diap. Abbr. of diapason. 
 
 diapason, Gr. pron., in E. (di-a-pa'- 
 son ; in /"., de-ap-a-s6h). i. An oc- 
 tave, d. (cum) diapente. An octave 
 with the hfth — a twelfth, d. con di- 
 atesseron. An octave with the fourth 
 — an eleventh. 2. Range. 3. Abso- 
 lute pitch, as d. normal, internation 
 al pitch, vide \ (i). 4. In the organ 
 the sonorous chief foundation-stops 
 one of S and one of 16-foot pitch on 
 the manual, on the pedal, 16-foot 
 the open d. has metal pipes open at 
 the top, the stopped d. has wooden 
 pipes closed at the top. In other 
 countries they are C3.\\&d priucipal. 
 
 diapente, Gr. A perfect fifth ; vide 
 DIAPASON (4). d. col dito'no, A ma- 
 jor 7th. d. col semidito'no. A mi- 
 nor 7th. d. cum semitonio. A 
 minor 6th. d. cum tono. A major 
 6th. 
 
 diapentisa're, Mediceval L. i. To 
 discant at the interval of a 5th. 2. 
 To proceed by 5ths. 3. To tune by 
 5ths. 4. In French usage, discant at 
 the intervals of the 2d, 3d, 6th, and 
 7th. 
 
 diaphonics. The science of refracted 
 sounds. 
 
 diaph'ony. i. In Greek music, dis- 
 sonance. 2. In the middle ages, the 
 earliest form of 2-voiced counter- 
 point. 
 
 diapla'sion. Vide vis-a-vis. 
 
 diaschis'ma or diaskhisma, Cr. 
 Vide SCHISMA and ellis (B. D.). 
 
 dias'tema, Gr. An interval. 
 
 diastolic(s), (7;-., Diastolik (lek'), G. 
 Art of phrasing. 
 
 diates'seron, Gr. Interval of a fourth. 
 
 diatonic, E., diato'nico, /., diaton- 
 ique (de-a-toh-ek), F., diatonisch 
 
 (de-a-ton'-Ish), G. I. Going through, 
 or confined to, the tones of any one key, 
 with no flats, sharps, or naturals be- 
 longing to another key — opposed to 
 chromatic; hence a d. scale is the regu- 
 lar scale of any predominant key ; a d. 
 interval, chord, or progression is an 
 unaltered interval, chord, or progres- 
 sion containing no tones foreign to the 
 key ; a d. melody or harmony clings to 
 one scale ; a d. instrument sounds only 
 the tones of the one key from which it 
 takes its name ; a d. modulation goes 
 to the nearest related key. 2. One of 
 the three genera in Greek music. 
 Vide MODES. 
 
 diaul'os, Gr. A double flute with 2 
 tubes, I mouthpiece. 
 
 diazeux'is, Gr. The separation of two 
 tetrachords by a tone ; the tone sep- 
 arating them ; hence the adjective 
 diazeuc'tic. Vide modes. 
 
 di'chord. An instrument (a) with 2 
 strings ; (b) with 2 strings to each 
 note. 
 
 dictation, dict^e musicale (dek-ta 
 mii-zl-kal), F. The performance of 
 musical phrases to be written on 
 paper by the listener(s). 
 
 die (de), G. The. 
 
 die, E. A steel punch for engraving 
 music. 
 
 diecetto (de-a-chet'-to), /. A compo- 
 sition for 10 instruments. 
 
 diesare (de-a-sa'-re), /., di^ser (de-a- 
 za), F. To sharpen a tone or note. 
 
 di^se or difeze (de-ez), F. Sharp (#). 
 
 Dies i'rae, L. " Day of wrath," sec- 
 ond movement of the Requiem. 
 
 diesis (de-a'sls), Gr. and /., di6sis(dl- 
 ase), F. I. The sharp (^). 2. The 
 enharmonic d. is the difference be- 
 tween a diatonic and a chromatic semi- 
 tone (ratio 128 : 125), or between 3 
 major thirds and one octave. 3. A 
 quarter tone, the unit of tone-division 
 in Aristotle's system. 4. The Pytha- 
 gorean semitone or limma. 
 
 diezeug'menon, Gr. Disjunct. Vide 
 modes. 
 
 difference tones. Vide resultant 
 
12 
 
 THE MUSICAL GUIDE 
 
 differen'tiale or distinct'io tonorum, 
 L. Differenzen (en'-tsen), G. The 
 different cadences available for the 
 saeculorum amen of each psalm- 
 tone. 
 
 difficile (dif-fe'che-la). /. (dif-fl-sel), F. 
 Difficult. 
 
 digital. A key to , be pressed by a 
 finger (as opposed to pedal = foot- 
 key). 
 
 digito'rium, A dumb instr. with five 
 keys for exercising the fingers. 
 
 dignita (den-yl-ta), dignita'de, dig- 
 nitate (ta -td), /. Dignity. 
 
 digressio'ne, /. Deviation. 
 
 dilettant(e)(de-lgt-tah(t)), /. An am- 
 ateur. 
 
 dilettosamen'te, /. Pleasantly. 
 
 dilicato (de-ll-ka-to), dilicatamen'te, 
 /. Delicate(ly). dilicatezza (ted - 
 za). Delicateness. dilicatis'simo. 
 Most delicate. 
 
 diligenza (de-lI-jSn'-tsa), /. Diligence, 
 care. 
 
 dilu'dium, Z. An interlude. 
 
 diluendo (de-loo-en'do), /. Fading 
 away. 
 
 dim, dimin. Abbr. of diminuendo. 
 
 diminished. 1. Used of intervals 
 which are a semitone smaller than 
 the minor intervals ; used also of 
 chords containing such intervals. 
 Fourths, fifths and octaves, however, 
 being called "perfect" instead of 
 " major," are, when contracted a 
 semitone, said to be, not " minor," 
 but diminished. When inverted, d. 
 intervals become augmented and vice 
 versa. A d. triad contains a minor 
 3d and an imperfect (or diminished) 
 fifth. The chord of the d. seventh 
 is the 7th chord built on the leading 
 tone of a minor key. d. imitation, 
 subject or theme, is used when the an- 
 swer reappears in notes of lessened 
 time-value. 
 
 diminuendo (de-me-noo-en'-do), /. Di- 
 minishing gradually in loudness, d. 
 molto. With extreme diminution of 
 power. 
 
 diminuer (dl-me-nii-a), F. To dimin- 
 ish. diminu6 (dl-men-ii-a). Di- 
 
 minished, en diminuant beaucoup. 
 
 Diminuendo molto. • 
 
 diminution, E. (in F. de-me-ntis- 
 yoh), diminuzione (de-mT-noo-tsI- 
 o'-ne), /. In cpt., the repetition or 
 imitation of a theme, in notes of shorter 
 duration ; opposed to augmentation. 
 
 diox'ia, Gr. Diapente. 
 
 dip. The extent to which a key or 
 pedal may be depressed. 
 
 dipho'nium. A vocal duet. 
 
 direct', r. A mark placed at the end 
 of a staff (a) to indicate the position of 
 the note next following (m/) ; (b) = 
 &c. 2. Vide TURN'. 3. To conduct. 
 d. motion. Similar or parallel mo- 
 tion. 
 
 directeur (df-rek-tur), F., diretto're, 
 /. Director ; conductor. 
 
 diriger (de-re-zha), F., dirigiren 
 (de-re-je'-ren), G. To conduct. 
 
 dirit to(a), /. Direct, allad. Straight 
 on. 
 
 Dis (des), G. The note D sharp. 
 
 disaccentato (at-chen-ta'-to), /. Un- 
 accented. 
 
 disarmo'nico, /. Discordant, dis- 
 armonia (ne'-a). Discord. 
 
 dis'cant, E., discant us, Z. " Diverse 
 song." I. The early form of cpt., the 
 addition, usually by improvisation, of 
 one or more parts to a given melody. 
 Contrary motion was much used and 
 elaborate rules made. Double, triple, 
 quadruple d. refer to the number of 
 parts. 2. The highest part, voice or 
 register ; the highest of a family of in- 
 strs. d. clef. The soprano clef. 
 
 discendere (de-shan'-de-re), /. To de- 
 scend. 
 
 disciolto (de-shol'to), 7. Skilful, dex- 
 terous. 
 
 discord, E., discorde (des-kord), /"., 
 discor'dia, Z., discordanza (dan'- 
 tsa), I. I. Ugliness of sound; an 
 inharmonious combination of tones. 
 2. Loosely used for dissonance (q. v.). 
 discordan'te, discordantemen'te, 
 I. Discordant(ly). 
 
 discrete (dis-kra'-to), I. Discreet, 
 discrezione (dis-kra-tsl-o'ne). Dis- 
 cretion. 
 
DICTIONARY OF TERMS 113 
 
 disdiapa'son. In mediseval music, a 
 double octave, a 15th. 
 
 Dis-dis (des-des), G. D double sharp. 
 
 Dis-dur (des-door), G. D JJ major. 
 
 Disharmonie(des-har-m6-ne'), G. Dis- 
 cord, disharmo'nisch (nish). Dis- 
 cordant. 
 
 disinvol'to, disinvolturato (v6l-too- 
 ra-to), /. Easy. disinvoltura 
 (too'-ra). Ease. 
 
 Disis (des-es), G. D double sharp. 
 
 disjunct'. Disjoined. A term applied 
 by the Greeks to tetrachords where 
 the lowest sound of the upper was 
 one degree higher than the highest 
 sound of the lower. Vide modes. 
 
 disjunct succession. A succession of 
 skips. 
 
 Diskant (des-kant'), G. Discant i. 
 and 2. D.-schliissel. The soprano 
 clef. D.-geige. The soprano of 
 the strings, i. e., the violin. Diskan'- 
 tist, D.-sanger. Treble singer. D.- 
 register, D.-stimme. Half-stops. 
 D.-saite. The highest string. 
 
 Dis-moll (des-mol), G. D# minor. 
 
 dispar'te, /. Aside. 
 
 dispera'to (a'-to), /. Desperate, dis- 
 perazione (dis-pe-ra-tst-o'-ne), /. 
 Despair. 
 
 dispersed. Used of chords or har- 
 monies whose elements are at wide 
 intervals. 
 
 disposition, i. Arrangement of parts 
 of a score, chorus, or orchestra. 2. 
 Estimate as to make-up and cost of 
 an organ. 
 
 dissonance, J?. {F. dis-s6-nahs), Dis- 
 sonanz (des-so-nants'), G., disso- 
 nanza (dTs-so-nan'-tsa), /. 1. Loose- 
 ly used for discord. 2. In acoustics 
 used of combinations producing 
 beats. 3. In composition used of 
 tones or combinations (irrespective 
 of their pleasantness or unpleasant- 
 ness of effect) that do not give a 
 sense of rest, but demand motion and 
 resolution in some other tone or 
 chord. 
 
 dis'sonant, E. {F. dts-so-nah), disso- 
 nan'te, /. Dissonant. 
 
 dissonare (dTs-s6-na-re), /., dissoner 
 
 (des-s6-na), F., dissoniren (dTs-so- 
 ne'-ren), G. To form dissonance. 
 
 distance. Interval. 
 
 distanza (des-tan'-tsa), /. Interval, 
 distance, in d. In the distance. 
 
 distincfio. r. VideDiFFERENTiALE. 2. 
 A pause in Gregorian vocal music. 
 
 distin'to, distintamen'te, /. Dis- 
 tinct(ly). 
 
 distonare (to-na'-re), /., distoniren 
 (des-to-ne'-ren), G. To be out of 
 tune. 
 
 distro'pha. In plain-song, a double 
 square note of lesser stress than the 
 tristropha. 
 
 di'tal. A key raising the string of a 
 lute or guitar a semitone, d. harp. 
 A chromatic lute with a dital to each 
 of its 12 to iS strings ; inv. by Light, 
 1778. 
 
 diteggiatura (de-ted-ja-too -ra), /, 
 Fingering. 
 
 dithyramb, E., dithyrambe (de-tt- 
 ramb), F., Dithyrambe (de-ti-ram'- 
 be), G., ditirambo (de-te-ram'-bo), 
 /. A rhapsody in honour of Bacchus ; 
 a wine-rapture. 
 
 dito (de'to), /. Finger, d. grosso. 
 The thumb. 
 
 di'tone, E., diton (de-toh), F., dito- 
 no (de-to'-no), /., dito'nus, Z. A 
 Pythagorean major third greater by a 
 comma than our major third. 
 
 ditty. A naive little song. 
 
 div. Abbr. of divisi. 
 
 diver'bia, Z., diver'bio, /. A mu- 
 sical dialogue. 
 
 divertimento, Z, divertissement 
 (dT-ver'-tes-man), F. i. A musical di- 
 version ; a potpourri, a series of 
 songs or dances inserted in operas 
 and plays ; a short ballet, in one or 
 several movements. 2. In fugue, an 
 episode. 
 
 divide. Vide division. 
 
 divisi (de-ve'-ze), I. Divided. When 
 2 parts are written on one stave, to 
 ensure their not being played as doub- 
 le-stops by one instr. they are 
 marked '"divisi." When a single 
 note is to be played by two instrs. the 
 sign is a due, separated. 
 
114 
 
 THE MUSICAL GUIDE 
 
 divisio modi, L. A point formerly 
 serving the purpose of the present 
 bar. 
 division, i. A variation. 2. A long 
 note divided into short notes. 3. A 
 series of notes sung to one syllable. 
 To "divide" or "run a division" is 
 to execute such a series, d.-viol. The 
 viola da gamba. division-mark. A 
 figure and a slur binding a number of 
 notes of foreign rhythm, as a triplet 
 or quintole. 
 division (de-vez'-yoh), F. A double 
 
 bar. 
 divo to, divotamen'te, /. Devout(ly). 
 divozione (de-v6-tsI-6'-ne). Devo- 
 tion. 
 dixieme (dez-yem), F. A tenth. 
 d. m. Abbr. of destra mano. 
 D-moll (da-mol), G. D minor. 
 do (do), /. I. A syllable applied to 
 the first note of a scale in solmisation. 
 In the '■'fixed do" system, the name 
 do is always applied to C. In the 
 "movable do" system, do is always 
 the tonic or key-note ; it has dis- 
 placed the original syllable ut. Vide 
 S0LMis.\Ti0N. 2. in France and 
 Italy, the name for C. 
 Docke (dok'-e), G. A wooden jack. 
 Doctor of Music. The highest mu- 
 sical degree, generally honorary, fre- 
 quently meaningless. In England 
 secured by examination. 
 dodechachor don, Cr. i. The bissex. 
 
 2. Vide GLARE.A.Nrs in the B. D. 
 dodecupla di cro me, /. 12-8 time. 
 
 d. di semicrome. 12-16 time. 
 dodec'uplet. A group of 12 equal 
 
 notes. 
 doglia (dol'-ya), /. Grief. 
 doh (do). Vide toxic-sol-f.\. 
 doigt (dwa), v^. Finger. doigt6 (dwa- 
 ta). Fingered, or fingering, doigter 
 (dwa-ta). To finger ; the art of fin- 
 gering any instrument, doigtes 
 fourchus (dwa-ta foor-shii). Cross- 
 fingerings. 
 dol. Abbr. of doke. 
 dolce (dol'-che), /. Sweet, soft, dol- 
 cezza (dol-ched'-za). Sweetness. 
 dolceraente. Softly, dolcis simo. 
 
 I. With extreme sweetness. 2. A 
 very soft flute-stop. 
 Dolcian (dol-tsi-an), 6"., dolciana 
 (o) (dol-che-a'-na), dolcino (dol- 
 che-no), /. I. An obsolete small bas- 
 soon. 2. A reed-stop. 
 dolciato (dol-cha'-to), /. Softened. 
 dolciss. Abbr. of dolcissimo. 
 dolemment (do-Iem-mah), F. Dole- 
 fully. 
 dolen do, dolente, /. Sad. dolente- 
 
 mente. Sadly. 
 dolent (do-lah), F. Sorrowful, mourn- 
 ful. 
 dolore (d6-l5're), /. Grief, sorrow. 
 doloro so, dolorosamen'te. Sor- 
 rowful(lv). 
 Dolzfiote (dolts'-fla-te), G. i. An 
 
 obsolete flute. 2. A flute-stop. 
 Dom (dom) or Domkirche (ker'-khe), 
 G. A cathedral. Domchor (kor). 
 The cathedral choir. 
 dominant, E., dominante (dom-T- 
 nant),i^., Dominante(d6-ml-nan'-te), 
 G. & /. I. The fifth tone of a scale, so 
 called because it is the principal tone 
 after the tonic and its chord or har- 
 mony indicates the key and demands 
 resolution in the tonic ; hence d. 
 chord, the triad or the 7th chord 
 built on the dominant. 2. The key 
 whose tonic is the dominant of the 
 principal key ; hence the expression, 
 " to modulate to the dominant," thus 
 the key of G is the dominant to the 
 key of C. In the sonata formula the 
 dominant key is the one usually chosen 
 for the contrasting second subject, 
 after which the tonic key is re-estab- 
 lished ; hence the dominant sectio7i, 
 3. Vide CH.A.NT (i) a. 
 Domine, salvum fac, Z. " Lord, 
 make him hale," first words of a Cath- 
 olic prayer for the health of the sov- 
 ereign. 
 Domin icali Psalmi, L. Psalms in the 
 
 Vespers. 
 Dona nobis pa'cem, Z. " Grant us 
 
 Thy peace." Vide mass. 
 donna, I. Lady. prima donna. 
 
 Leading lady in opera. 
 do'po, /. After. 
 
DICTIONARY OF TERMS 115 
 
 doppel (dop'l), G. Double, doppel- 
 B or doppel-Be (d6p"l-ba). The 
 double flat (tif). D.-blatt. Double 
 reed. D.-chor. Double chorus. D.- 
 fagott. Double bassoon. D,-flote. 
 
 1. Double flute. 2. A stop-pipe with 
 two mouths. D.-fuge. Double 
 fugue. D.-flugel. i. Vide vis-.-^-vis. 
 
 2. Vide PIANO A CLAVIERS REN- 
 VERSES, d.-gedeckt. Double-stopped 
 diapason. D.-geige. An organ-stop. 
 D. -griff. Double stop on the violin, 
 etc. ; paired notes on other instru- 
 ments. D.-kanon, Canon with two 
 subjects. D.-kreuz (kroits). The 
 double sharp. D.-okta've. Double 
 octave. D.-punkt. Double dot after 
 a note. D.-quintpommer. A large 
 bombard. D.-schlag. A double 
 beat, a turn. D.-schritt. A quick 
 march. D.-zunge. Double tongu- 
 ing. 
 
 doppelt (dop'-plt), G. Doubled, d. 
 
 Trillerlauf. Double cadence, dop- 
 
 peltgestrichene Note. A i6th 
 
 note. doppelte Noten. Double 
 
 notes. 
 dop'pio (or a), /. Double ; sometimes 
 
 used to mean " play also the octave " ; 
 
 with names of instrs. it means larger 
 
 and deeper, d. movimento or d. 
 
 tempo. Twice as fast. d. pedale. 
 
 Playing the pedals in octaves, d. 
 
 lyra. A double lyre. 
 do-re-mi. Vide solmisation. 
 Dorian, Doric, E., dorien (do-rl-an), 
 
 F. Vide MODES. 
 dossologia (d6s-s6-l6'-ja), /. Doxol- 
 
 dot, I. A point placed after a note to 
 increase its duration one half, double 
 dot. Two dots placed after a note to 
 increase its duration three fourths. 2. 
 A point placed above or below a note 
 to indicate that it is to be played stac- 
 cato ; if slurred, mezzo-staccato. 3. A 
 series of dots above a note indicate 
 that it is to be divided into that num- 
 ber of small notes. 4. Vide repeat. 
 
 double. As a noun. I. A repetition. 
 2. A variation. 3. Any 16-foot stop. 
 4. A change rung on 5 bells. As a 
 
 verb. I. To add the superior or in- 
 ferior octave to the written tones of 
 any part. 2. To give the same tones 
 to different instrs. 
 
 As an adjective. I. Doubled, paired, 
 as the 2-mouthed d. flageolet. 2. 
 Repeated in the octave or in other 
 instrs. 3. Vide pitch, concerning 
 double C, double octave, d. chant, 
 vide CHANT lb. d. drum. One beaten 
 at both ends. d. reed. The combina- 
 tion of 2 reeds in the mouthpiece of one 
 instr. d. flute, (a) A flute capable of 
 producing two tones at once, (b) An 
 organ-stop. d. grand pianoforte. 
 An instr. inv. by James Pierson, of 
 New York, with a set of keys at either 
 end. d. action harp. Vide harp. 
 d. lyre. A double lyre. d. demi- 
 semiquaver. A 64th note, double 
 flat. A symbol of two flats (bb) low- 
 ering its note two semitones, dou- 
 ble sharp. A symbol ( x ) raising a 
 note two semitones, d. note. A 
 breve, d. time, (a) 2-4 time, (b) In 
 the army a running step or cadence of 
 180 to the minute, d. concerto or 
 sonata. A concerto or sonata for two 
 solo instrs., as violin and piano, d. 
 octave. An interval of a 15th or 2 
 octaves, d. quartet. Eight singers. 
 d. chorus. Two choirs, d. after- 
 note. 2 after-notes, d. beat. A beat 
 repeated, d. shake or trill. Two 
 notes (3ds or 6ths) shaken together, d. 
 backfall. An old grace, d. relish, 
 vide relish, d. suspension. The 
 suspension of two notes of a chord. 
 d. triplet. A se.xtole. d. pedal. 
 Pedal-point on 2 notes, double bar. 
 Two thin or thick lines vertically cleav- 
 ing the stave to show the end of a 
 major part, or of the whole composi- 
 tion. 
 
 " doubled " is used of notes repeated 
 in the octave or in other instruments, 
 as "the 'cellos are d. by the bas- 
 soons." 
 
 Concerning the double letters (AA, 
 BB, etc., or D.A, D.B, etc.), vide 
 PITCH. In England d. is applied to 
 the tones from G to F inclusive. 
 
i6 
 
 THE MUSICAL GUIDE 
 
 4. Deeper by an octave, d. bassoon. 
 An instr. an octave lower than the 
 bassoon. Its compass extends from 
 B,,t> to F. d. bourdon, A 32-ft. stop. 
 d. diapason. A stop an octave below 
 diapason, i6-ft. on the manuals, 32-ft. 
 on the pedals, d. dulciana. A i6-ft. 
 dulciana. d. hautboy. A i6-ft. stop. 
 
 5. double counterpoint and d. des- 
 cant refer to parts so written that 
 they may be inverted. Vide coun- 
 terpoint, d. fugue. A fugue with 
 
 2 subjects. 
 
 6. double stopping. The playing of 
 two or more notes at once on a stringed 
 instr. d. -stopped diapason. A doub- 
 le diapason with covered pipes, doub- 
 le tonguing or d. tonguing. In flute 
 and trumpet playing, the production 
 of rapid staccato tones by striking 
 the upper teeth and the hard palate 
 alternately with the tongue, double 
 trouble. A quick shuffle of the feet in 
 The breakdown, double trava'le. 
 The trill of a tambourine made by 
 drawing the wet thumb across it. 
 d. twelfth. A stop sounding the fifth 
 above the foundation-stops. The dou- 
 ble-bass got its name from an ob- 
 solete higher instr., the bass of the 
 stringed instrs., and of the orchestra. 
 Its compass is from E or G, to a, its 
 
 3 strings being tuned by the Italian 
 and French system, G,-D-A, by the 
 English, A,-D-G. With 4 strings it 
 is tuned E,-A,-D,-G. Its music is 
 written an octave higher than it 
 sounds. 
 
 double (doo-bl), F. i. Repetition with 
 variations, pi. doubles. Obsolete. 2. 
 In the minuet, a short trio with the 
 main harmonies of the first subject 
 retained. As an adjective. Double, 
 d.-barre. Double bar. D.-b6mol. 
 Double flat, d.-corde. (a) Double 
 stopping, (b) Playing the same note 
 on 2 strings simultaneously, d.'coup 
 de langue (koo-du lang). Double 
 tonguing. d. croche. A i6th note. 
 d. di^se. Double sharp, d. main. 
 An octave-coupler. d. octave. 
 Double octave, d. touche (toosh). 
 
 In harmoniums, etc., a key-fall ad- 
 justable at two heights to regulate the 
 volume of tone. d. triple. 3-2 time. 
 
 doubl6 (doo-bla), F. i. A turn. 2. 
 Doubled. 
 
 doublette' (et), F. i. A 2-ft. stop. 2. A 
 stop with 2 ranks of pipes. Vide fif- 
 teenth. 
 
 doublophone. A combination of 
 euphonium and trombone inv. by 
 Besson, Paris, 1891. 
 
 doubtful. Vide equivocal. 
 
 douleur (doo-lur), F. Grief, doulou- 
 reux (doo-ioo-rii'). Sad. doulou- 
 reusement (doo-loor-uz-mah). Sad- 
 
 ly. 
 
 doux (doo), douce (doos), F. Soft, 
 sweet, doucement (doos-mah). Soft- 
 
 ly- 
 
 douzi^me (dooz-yem), F. A twelfth. 
 
 downbeat, i. The fall of the hand in 
 time-beating, marking the major ac- 
 cent of the measure. 2. The accent 
 itself, or thesis. 
 
 downbow. Vide bow. 
 
 doxolo'gia, Z., doxologie (dox-ol'o- 
 zhe), F., doxol'ogy, E. A sacred 
 hymn of praise ; strictly, the Greater 
 (or major or magna) D. is the glo- 
 ria in excelsis. The Lesser (or mi- 
 nor or parva)^. is the gloria Patri. 
 
 drag. I. A retardation. 2. In lute- 
 music, a portamento downward. 
 
 Drahtsaite (drat'-zl-te), G. Wire 
 string. 
 
 dramma lir'ico or per musica (moo'- 
 zl-ka), 7. An opera or musical 
 drama. 
 
 drammat'ico, /. Dramatic, dram- 
 maticamen'te. Dramatically. 
 
 drangend (dreng'-ent), G. Hurrying. 
 
 drawknob or drawstop. In the 
 organ a knob which when pulled ad- 
 mits the wind to a stop, or couples 
 certain stops, d. s. action. The 
 mechanism of stops. 
 
 Dreher (dra'er), G. An obsolete Aus- 
 trian waltz like the Landler. 
 
 Drehorgel (dra'-6rg-el), G. Barrel-or- 
 gan. 
 
 Drehsessel (dra-zes-sel), Drehstuhl 
 (dra-shtool), G. A music-stool. 
 
DICTIONARY OF TERMS 117 
 
 drei (dri), G. Three. Dreiachtel- 
 
 tact (dri-akht'-el-takt). 3-8 time. 
 -handig (hen-dlkh). For three hands. 
 -angel (dri'-ang-el). Triangle. 
 -chorig(kar-rkh). Three-choired. Ap- 
 pHed to (a) pianos having three strings 
 to each note, (b) Compositions for 
 three choirs, -gesang (drige-ziing). 
 Trio, -gestrichen. 3-lined ; vide 
 PITCH, -klang. A triad, -mal (drl'- 
 mal). Thrice, -spiel (dri'shpel). A 
 trio, -stimmig. Three-voiced. Drei- 
 vierteltakt (dri-fer'tel-takt). 3-4 
 time. Dreizweiteltakt (drl-tsvi'-tel- 
 takt). 3-2 time. 
 
 dreist (drisht), G. Brave, confident. 
 Dreistigkeit (drls'tlkh-klt). Bold- 
 ness. 
 
 drem'la, Pol. A Jew's harp. 
 
 dringend (drtng'ent), G. Hastening. 
 
 Dritte (drit'-te), G. Third. 
 
 drit'to, /. Right, mano d. Right 
 hand. 
 
 driving note. A syncopated note. 
 
 droit (dwa), droite (dwat), F. Right. 
 main droite. Right hand. 
 
 Drommete (drom-ma'te), G. A trum- 
 pet. 
 
 drone or drone-pipe. Vide bagpipe. 
 
 drone-bass. A form of monotonous 
 pedal-point suggesting a bagpipe. 
 
 Vide MUSETTE. 
 
 dronen (dra'nen), G. To drone. 
 
 Drucker (drook'er), 6". i. A tour-de- 
 force in performance. 2. Sticker. 
 
 Druckwerk (verk), G. In an organ, 
 an action exerted through stickers. 
 Druckbalg (drook-balkh). A con- 
 cussion bellows. 
 
 drum. An instr. of percussion, of great 
 antiquity and variety ; it consists of 
 one or two membranes stretched taut 
 over the ends of a hollowed chamber 
 of wood or metal. The tightness of 
 this membrane regulates the pitch of 
 the one tone of which it is capable. 
 Many drums do not produce a musi- 
 cal tone, but are merely of rhythmic 
 value ; besides the savage forms, there 
 are (a) the small, shrill side drum 
 (or tenor-drum) with two heads, the 
 upper only being beaten with two 
 
 wooden sticks ; this is capable of a 
 sharp rattling roll, which may be 
 emphasized by drawing strings (or 
 snares) of gut across the lower head; 
 the drum is then called a snare- 
 drum ; (b) the tambourine ; (c) the 
 big deep-booming bass-drum beaten 
 on both sides or on one, with padded 
 sticks. The musical drum is the 
 kettle-drum (q. v.). drum-major. 
 The officer conducting a band on the 
 march. 
 
 dru'ma, Irish. A drum. 
 
 drum-bass. The monotonous giving 
 out of the tonic and dominant in 
 double-bass music. 
 
 D. S. Abbr. of Dal Segno. 
 
 duc'tus, L. Melodic progression, i. 
 d. rectus. Ascending. 2. d. rever- 
 sus or revertens. Descending ; or 
 3. d. circumcurrens. Ascending 
 and descending. 
 
 Dudeler (doo'del-er), G. A wretched 
 singer or player. 
 
 Du'delkasten, G. Barrel-organ. 
 
 Dudelsack (doo'd'1-zak), Dudelkas- 
 tensack, G. A bagpipe. 
 
 due (doo'-e), /. Two ; in two parts. 
 Vide Divisi. d. corde. Vide CORDA. 
 d. cori. Two choirs or choruses. 
 d. pedali, /. Both pedals to be used, 
 due volti. Twice. A due, vide 
 
 DIVISI. 
 
 duet, Duett (doo-et'), C, duet'to, /. 
 
 A composition for two singers, or in- 
 strumentalists ; a 2-hand piece fof 
 two manuals of an organ, duettino 
 (te'no), /. A short duet. 
 
 dul^dina (dool-sa-e'na). Port. A beak 
 flute. Also do9aina. 
 
 dulcet. A stop. 
 
 dulcian. i. Vide dolcian. 2. An 
 organ-stop. 
 
 dulciana stop, dolcan, dolcin, dul- 
 can, or dulzain. i. An 8-ft. stop of 
 soft sweet quality, d. principal. A 
 4-ft. stop. 2. A dolcian. 
 
 dulcimer. A very ancient instr. with 
 a wooden frame, a sound-board with 
 sound-holes, two bridges, and wire 
 strings. It is played upon with two 
 padded hammers ; compass g to d." 
 
 k 
 
ii8 
 
 THE MUSICAL GUIDE 
 
 The czimbalom is a very familiar 
 form. 
 
 dulzaina (dool-tha-e'-na), Sp. A small 
 trumpet. 
 
 dumb piano, dumb spinet, A key- 
 board without strings or hammers 
 meant for silent practice. 
 
 dummy pipes. Ornamental organ 
 pipes that make no sound. 
 
 dump. An obsolete slow dance in 4-4 
 time. 
 
 dumpf (doompf), dumpfig (doomp'- 
 flkh), G. Dull, mutfied. Dump- 
 figkeit (kit). Dulness. 
 
 duo (doo' o), /. Two ; in two parts ; 
 a duet, especially of 2 voices or instrs. 
 of the same kind. d. concertante. 
 A duo in which each part is alternate- 
 ly principal. 
 
 duodecima (doo-6-da'chK-ma), /. The 
 twelfth ; a stop, a twelfth above the 
 diapasons, d. acuta, Z. A twelfth 
 above, d. gravi, L. A twelfth be- 
 low. 
 
 duodecimole, /. A group of twelve 
 equal notes. 
 
 duode nal, duodena'rium, duodena'- 
 tion. See A. J. Ellis in the B. D. 
 
 duodram'ma, /. " A dramatic piece for 
 2 actors or singers. 
 
 duoi (doo-6'e), /. Two. 
 
 duole, G. Vide couplet. 
 
 duolo (doo-6'16), 7. Sorrow, grief. 
 
 duomo (doc-o'mo), /. A cathedral. 
 
 dupla (doo'-pla), L. Double. Vide 
 
 NOTATION. 
 
 duple time. Double time ; 2 beats to 
 the measure. Vide time. 
 
 duplex longa. Vide notation. 
 
 duplication. Doubling. 
 
 duplo (doo-pl6), /. Double. 
 
 dur (door), G. Major, as A-dur. 
 
 dur (dur), F. i. Hard, harsh of tone. 
 2. Major. 
 
 durament'te (doo-ra-men'-te), I. 
 Sternly. 
 
 durchaus (doorkh-ows), G. Through- 
 out. 
 
 durchdringend(doorkh'-drtng ent), G. 
 Penetrating, shrill. 
 
 Durch'fiihrung (fur-oongk), (7. Devel- 
 opment ; working out. Vide FORM, 
 
 Durchgang (gang), G. Passage. 
 Durch gangston. Passing note, or 
 changing note, called regtlmassig, 
 when on a weak beat; utiregehniissig, 
 on a strong beat (or schwerer DurcK- 
 
 gang)- 
 
 durchgehend (doorkh'ga-ent), G. i. 
 Passing, transitional. 2. Complete. 
 d. Stimmen. Complete organ-stops. 
 
 durch komponirt (nert), G. " Com- 
 posed through," used of a song whose 
 every stanza has individual treat- 
 ment. Through-composed. 
 
 durchschlagende (shlakh-ent-e), G. 
 Free (of a reed). 
 
 durchstechen (stekh-en), G. Vide 
 RUN (2). D.-stecher. Notes made 
 by running. 
 
 duree (dii-ra), F. Length, duration. 
 
 durezza (doo-red'-za), I. Hardness, 
 harshness. 
 
 dur-moll Tonart (door'-mol-ton'-art), 
 G. Major-minor-mode. Vide COM- 
 
 EIN.\TION MODE. 
 
 duro(a) (dooro), /. Rude, harsh. 
 
 durus, L. I. Major, as cantus d. 2. 
 Natural, as b. durum. 
 
 Dutch concert. Vide concert. 
 
 Diitchen (dut'-khen), G. A small cor- 
 net. 
 
 duten (doo'-ten), G. To toot. 
 
 dux, /.. " Leader, guide;" the sub- 
 ject of a fugue (q. v.) 
 
 dyad. A concord of two tones. 
 
 dynam'ics. The theory of the differ- 
 ent degrees of power applied to notes. 
 
 Dystonie (des-to-ne ), G. and Gr. Bad 
 intonation. 
 
 E 
 
 major 
 minor 
 
 e (a), /. 
 els. 
 
 ear. i. 
 either 
 pipes. 
 
 Pron. a in G.; in F. and /. 
 
 called mi (me), i. A musical 
 
 pitch, two full steps above C. 
 
 2. All its octaves. 3. The 
 scale having four sharps ; the 
 scale relative to G major. 
 
 And ; written ed before vow- 
 
 A projecting metal plate on 
 
 side of the mouth of organ- 
 
 2. A musical sense of pitch, 
 
DICTIONARY OF TERMS 
 
 119 
 
 interval, etc.; the capability of dis- 
 tinguishing between tone-qualities. 
 ebollizione (a-b61-let-tsI-5'-ne), /. 
 Ebullition, overflow of emotion. 
 ebollimen'to. Ebullient(ly)- 
 6cart (a-kar), F. A long stretch on the 
 
 piano. 
 ec'bole, Gr. The sharpening of a 
 
 tone. 
 eccedente (et-che-den'-te), /. Aug- 
 mented. 
 ecclesia (ek-kla'zl-a), Z. and /. 
 Church, ecclesiastical modes. 
 Vide MODES, ecclesiastico, /. Ec- 
 clesiastic. 
 ecco (ek'-ko). I. Behold. 2. Echo. 
 ^chappement (a-shap-man), F. Re- 
 lease, double €. Repeating-mech- 
 anism. 
 echeggiare (a-ked-ja'-re), /. To echo, 
 echelon (pi. a), Gr. i. A drum or 
 gong. 2. A sound-screen. 3. Res- 
 onance-box of a lyre. 
 6chelette (ash-let), F. Xylophone. 
 6chelle (a-shel), F. The scale or 
 
 gamut. 
 Echelon (ash-16n), F. A degree. 
 ech'o (in F. a-ko). i . An imitation of an 
 echo. 2. An echo-stop. 3. A harpsi- 
 chord-stop, e. cornet, e. dulciana. 
 Organ-stops, e. organ. A set of 
 pipes inside a box or at a distance 
 giving an echo effect. 
 ech'ometer. A device for measuring 
 
 the power of an echo. 
 Pelisses (a-kles), F. Ribs (of a violin, 
 
 etc.). 
 ec'logue. A pastoral. 
 ec'lysis, Gr. The flattening of a tone. 
 eco (a-ko), /. Echo. 
 6cole (a-kiil), F. School, method. 
 6cossais (a-kos-sa), ecossaise (a-kos- 
 sez), F., Ecossase (a-kos-sa'ze), G. 
 " Scotch." I. A grave old dance, in 
 3-2 or 3-4 time. 2 A lively country- 
 dance in 2-4 time. 
 ^cu (a-kli), F. A shield on the face of 
 
 mandolins, etc. 
 ed (M), /. And. 
 edel (a dl), G. Noble. 
 E-dur (a-door), G. E major. 
 Effekt', C, effet (ef-fS), F., effet'- 
 
 to, /. Effect. Effekt-piano, G. 
 
 The effect marked " fp " (forte piano). 
 effort (ef-for), F. A guttural vocal 
 
 attack. 
 ^galement (a-gal-mah), F. Equally, 
 evenly. 6galit6 (a-gal-I-ta), F. 
 Equality, evenness. 
 egloga (al'yo-ga), /., 6glogue (ag- 
 
 log), F. A pastoral, 
 eguale (a-goo-a'le), /. i. Equal, even. 
 2. Applied to a composition for 
 voices or instrs. of one kind, as female 
 voices only, egualezza (led'za), 
 egualanza (an'-tsa). Evenness. 
 egualmen'te. Evenly, alike. 
 ei'domusikon. A melograph. 
 eifrig (if'-rlkh), G. Ardent. 
 eigentlich (ikh'-ent-Ukh), G. Right, 
 strict, in perfect time. e. Fuge. A 
 strict fugue, e. Kadenz. Perfect 
 cadence. 
 Eigenton (I'-kh^n-ton), G. The tone 
 natural to a wind or other instr., its 
 " own tone." 
 eight or 8. The octave, con 8va. 
 With the octave below or above. 
 Vide OTT.'^VA. 
 eighteenth. A double octave plus a 
 
 fourth. 
 eight-foot. 8-ft. Vide foot. 
 eighth. I. An octave. 2. An eighth 
 note, eighth note. A quaver, of half 
 the value of a quarter note, eighth 
 rest. A rest of an eighth-note dura- 
 tion. 
 eilen (i'len), G. To hurry, eilend 
 (lent). Accelerating, eilig (i'-likh). 
 Swift. 
 ein (In), eine (I'ne), eins (ins), G. 
 One, once. einchorig (ka'-rikh). 
 Used, I. Of an instr. which has but 
 one string to each note. 2. Of a 
 comp. for one choir, eingestrichen 
 (in-ghe-strlkh'-en). Once-accented. 
 Vide PITCH. 
 einfach (In-fakh), G. Simple, plain. 
 einfache Kontrapunkt. Simple 
 counterpoint. Einfalt. Simplicity. 
 Eingang (In'-gang), G. Introduction. 
 Eingang der Messe. The Introit. 
 Eingang'schliissel. Introductory 
 key. 
 
120 
 
 THE MUSICAL GUIDE 
 
 eingreifen (in'-grl-fen), G. (a) To strike 
 (of strings), (b) To interlace (of the 
 fingers in piano-playing). 
 
 Einheit (In -hit), G. Unity, einhel- 
 fen. To prompt. Einhelfer. Prompt- 
 er. einige(n) (I'nlkh-en). Some, 
 any. Einigkeit (kit). Unity, har- 
 mony. Einklang (In'klang). Uni- 
 son. Einlage (In-lakh-e). A short 
 interpolation. Einleitung _ (In'll- 
 toongk). Introduction. Einleit- 
 ungssatz (zats) or spiel. Overture, 
 prelude, einmal (In-mal). Once. 
 Einmiithigkeit (In-miit'-Ikh-kit). 
 Unanimity. Einsaiter (zl'-ter). The 
 monochord. Einsang. A solo. 
 Einsatz. (a) Attack, (b) Entrance. 
 Einsatzstiick. Crook. Einsatz- 
 zeichen (In'zatz-tslkh'n). i. The 
 sign the leader gives the performers 
 to commence. 2. In a canon the 
 mark indicating the entrance of the 
 imitating voice, einschlagen. To 
 strike in. einschlafend. Dying 
 away, einschmeichelnd (shmlkh- 
 glnt). Insinuating. Einschnitt 
 (shnTt). A phrase, einsetzen. To 
 enter, attack, einsetzender Horn- 
 ist. A horn-player, whose thick lips 
 must surround, instead of press the 
 mouthpiece, einsingen. (a) To learn 
 singing by practice, (b) To lull to 
 sleep, einspielen. (a) To get an 
 instr. in good working order, (b) To 
 attain command of a piece. ein- 
 stimmen. To tune, einstimmig. 
 For one part. Einstimmigkeit. 
 Literally, one-voiced-ness. eintonig. 
 Monotonous. Eintracht. Accord. 
 eintrachtig (trekh-tlkh). Concord- 
 ant, eintretend (tra-tent). Enter- 
 ing. Eintritt. Entrance, entry, 
 beginning. Einverstandniss (fer- 
 shtent-nTs). Agreement. 
 
 Eis (a'-cs), G. E sharp. Eisis. E 
 double sharp. 
 
 Eisenvioline (i-'zen), G. A nail-fid- 
 dle. 
 Eisteddfod (es'-t^d-fod), Welsh. An 
 assemblage of Welsh bards and mu- 
 sicians ; first held in 1078. 
 Eklog(u)e (ak'-16kh-6), G. Eclogne. 
 
 61a. Name of the highest tone in the 
 Aretinian scale ; e". 
 
 electric organ. One having elec- 
 tric connections in place of trackers. 
 
 electric piano. A piano inv. 1851, 
 and unsuccessfully attempted often 
 since, till Dr. Eisenmann of Berlin in 
 1 89 1 succeeded in obtaining an instr. 
 capable of swelling on a sustained 
 tone, and securing many beautiful ef- 
 fects. 
 
 6I6gamment (al-a-gam-man), F., ele- 
 gantemen'te, /. Elegantly, grace- 
 fully, elegante (al-e-gan'te), /. Ele- 
 gant, eleganza (al-e-gan'tsa), /., 
 Elegance, grace. 
 
 elegia (a-la-je'-a), /., 616gie (a-la- 
 zhe), /'., Elegie (el-a-je'), G^., elegy, 
 E. A mournful composition or dirge. 
 elegiaco (jak'-6), /., 616giaque 
 (a-la-zhak), F. elegiac. 
 
 616ment (a-la-man), F. The series of 
 tones in a scale. €. m^trique. A 
 measure -note. 
 
 elevamen'to, elevatezza (al-a-vated'- 
 za), /., elevazione (va-tsT-6'ne). Ele- 
 vation, elevato (va'to). Elevated, 
 exalted, sublime. 
 
 eleva'tio, Z., elevation. i. The 
 upbeat. 2. The rising of a melody 
 beyond the compass of a mode. 3. A 
 motet or other comp. performed dur- 
 ing the elevation of the Host. 
 
 eleventh. An octave plus a fourth. 
 
 Elfte (elf'te), G. Eleventh. 
 
 Ellenlange (ellen-lgng-e), G. An ell 
 (in pipe-measuring). 
 
 Ellis's system. See A. J. Ellis in 
 the B. D. 
 
 embellir(an-bel-Ier), F. To embellish. 
 embellissement (les-man), F. Em- 
 bellishment. 
 
 embellishment. Ornament, decora- 
 tion. Vide GRACK. 
 
 embouchure (ah-boo-shiir), F. i. The 
 mouthpiece of a wind instr. 2. The 
 position the mouth assumes in play- 
 ing the instrument. 
 
 E-moU (a-mol), G. E minor. 
 
 emmelei'a, Gr. i. Consonance. 2. 
 A tragic dance. 
 
 emozione (a-m6-tsl-6'-ne), /. Emotion. 
 
DICTIONARY OF TERMS 12] 
 
 empater les sons (an-pa-ta la son), F. 
 To produce a legato, execution or 
 voix empat6e. A blurred style. 
 
 Empfindung (emp-flnt'-oongk), G. 
 Feeling, emotion, e. svoll. Full of 
 feeling. 
 
 Emphase {G. em-fa -ze, F. an-faz). 
 Emphasis, emphasis. Stress or ac- 
 cent. 
 
 emphatique (an-fa-tek), F. emphat- 
 isch (em-fa'-tlsh), G. Emphatic. 
 emphatiquement (tek-mah), F. 
 Emphatically. 
 
 empito (em'-pe-to), /. Impetuosity. 
 empituosamen'te. Impetuously. 
 
 emport6 (an-p6r-ta), F. Passionate, 
 hurried, emportement (port-man). 
 Passion, transport. 
 
 empress^ (an-pres-sa), F. Hurried. 
 empressement (pres-man), F. Zeal. 
 
 en (aii), F. In ; often used with the 
 participle, as en dhcendant, descend- 
 ing ; en badinant, scherzando. 
 
 enarmo'nico, /. Enharmonic. 
 
 enclavure du maftche (an-kla-vilr dii 
 mahsh). Space for the insertion of 
 the neck (of a violin) into the belly. 
 
 encore (ah-kor), F. Again ; a recall. 
 Used by the English to demand a 
 repetition ; the French use " bis." 
 
 Ende (ent'e), G. End, conclusion. 
 
 end-man. One of the chief negro min- 
 strels who sits at either end of their 
 semicircle. 
 
 energia (en-er-je'a), /., energie (en- 
 er-zhe), F. Energy, energico (en- 
 ar'jt-ko), energicamen'te, /. En- 
 ergetic(ally). energique (en-er-zhek), 
 F., energisch (en-ar'zhlsh), G. En- 
 ergetic, energiquement (zhek-mah), 
 F. Energetically. 
 
 enfasi (en-fa'ze), /. Emphasis. 
 
 enfat ico, enfaticamen'te, /. Em- 
 phatic(ally). 
 
 enfiatamerite (en-fe-a'-ta-men'-te), /. 
 Proudly. 
 
 enfler (ah-fla), F. To swell, increase. 
 
 eng(engk), G. Close, compressed ; ap- 
 plied, (a) to the stretto in fugue, (b) 
 to narrow straight organ-pipes, enge 
 Harmonie (or Lage). Close har- 
 mony. 
 
 Engelstimme (eng'el-shtlm-mS), G. 
 " Angel voice." Angelica ; a stop. 
 
 Engfuhrung (eng'-fur-oongk), G. 
 Stretto. 
 
 englisch (eng'lTsh), G. English, e. 
 Horn. English horn. e. Mechan- 
 ik, in pianos, the English action, e. 
 Tanz. Vide anglaise. e. Viollet 
 (ve-6-let'). (a) An old way of tuning 
 the violin — e-a-e'-a'. (b) An obsolete 
 viola a amove with 14 sympathetic 
 strings beneath the others. 
 
 English fingering. Same as Ameri- 
 can fingering. 
 
 English horn. A species of oboe 
 (q. V.) 
 
 enguichure (ah-ge-shUr), F. Embou- 
 chure. 
 
 enharmonic, enharmon'icus, Z., en- 
 harmonique (en-ar-mon-ek), F., en- 
 harmonisch (en-har-mo'-nlsh), G. i. 
 Differing in name or notation, but 
 not in sound, as c sharp and d flat. 
 Mathematically and actually c '$, and 
 d b differ by an appreciable inter- 
 val, but for convenience' sake and 
 in the name of temperament (q. v.) 
 they are the same tone on the key- 
 board instruments and, by contagion, 
 have become so in singing and the 
 playing of stringed and wind instru- 
 ments. Tones that are identical in 
 our present artificial scale, but not in 
 actuality or acoustics, are called en- 
 harmonic ; hence chords and inter- 
 vals written differently and sound- 
 ing alike are called enharmonic, and 
 the change of the key by such chords 
 is called enharmonic modulation ; 
 the writing of the same chord in 2 
 notations is e. change. Instruments 
 have been frequently invented mak- 
 ing a distinction between such tones 
 as c sharp and d flat, and giving them 
 separate digitals. These instrs. are 
 called enharmonic. The e. scale 
 is, strictly, a scale with more than 
 the twelve semitones of our usual 
 scale ; the term is loosely applied to 
 scales as c sharp and d flat, having 
 the same sound 2. Vide MODES. 
 3. Vide DIESIS. 
 
122 
 
 THE MUSICAL GUIDE 
 
 enigmatical. Vide canon. 
 
 6noncer (a-non-sa), F. To enunciate. 
 enonciation (a-noh-sas-yon). Enun- 
 ciation. 
 
 eno plia, Cr. Spartan war-music. 
 
 ensemble (an-san'bl), F. i. Together ; 
 the whole ; all the factors considered 
 as a unit. 2. The quality of their 
 co-operation. morceau d'e. A 
 number requiring more than one per- 
 former. 
 
 entgegen (ent-ga'khen),e. -gesetzt, G. 
 Contrary, opposite. 
 
 entr'acte (ah-trikt), F. Music played 
 between the acts, or of such charac- 
 ter. 
 
 entran'te, entrata (en-tra -ta), /., en- 
 trada (en-tra'-dha), Sp., entree (an- 
 tra), /^. I. Entrance; introduction, or 
 music of such character, as in a ballet. 
 2. An old polonaise-like dance in 4-4 
 time. 
 
 entre-chats (afit-ru-sha), F. The enter- 
 ing bounds of a dancer. 
 
 entremese (en-tre-ma -sa), Sp. A bur- 
 lesque interlude. 
 
 entremets (ant-ru-ma), F. Slight in- 
 terlude. 
 
 entry (obs). An act. 
 
 Entscheidung (ent'-shi-doongk), C 
 Decision. entschieden (ent-she- 
 den), G. Decided. 
 
 entschlafen (ent-shla'fen), G. To die 
 away (lit. to fall asleep). 
 
 Entschliessung (ent'-shles-soongk), 
 G. Resolution. 
 
 entschlossen (ent-shl6s'sen), G. Res- 
 olute. Entschluss (ent'-shloos), G. 
 Resolution. 
 
 Entwurf (ent'-voorf), G. Sketch, out- 
 Hne. 
 
 enunciate (a-noon-chl-a'-to), /. Enun- 
 ciated, enunciazione (a-tsl-6'-ne), 
 /. Enunciation. 
 
 en'voy. Postscript, or ending, of a 
 ballad. 
 
 Eolia (e-6'll-a), Eolian (e-6'll-an), /. 
 Vide .-EOLIAN. 
 
 epicede (ep-i-sed), F., epicedio (ep-t- 
 cha'dl-o), /., epice'dium, L. An 
 elegy, dirge, funeral-song, or ode. 
 
 epigo'nion, Gr., epigo'nium, L. An 
 
 ancient Greek lyre, with 40 strings, 
 named from Epigon. 
 
 epile nia, Gr. Vineyard songs. 
 
 epinic'ion, Gr. i. A triumphal song. 
 2. The Triumphal Sanctus in the 
 Greek Church. 
 
 epio dion, Gr. A dirge. 
 
 episode, episode (a-pe-s6d), F., epi- 
 so'dio, /. All incidental portions of 
 composition. Vide FUGUE, episo- 
 disch (ep-l-z6-dlsh), G. Episodic. 
 
 epistle side. The left or south side 
 of the altar ; the right or north is 
 the gospel side. 
 
 epis'trophe, Gr. A refrain. 
 
 epitalamio (ep-T-ta-la'ml-5), /. , epi- 
 th'alme (ep-I-talm), /"., epitha- 
 lami on, Gr., epithalamium, epi- 
 thal amy, L. and E. Wedding-ode. 
 
 epit'asis, Gr. Vide anesis. 
 
 epito nion, Gr. i. A pitch-pipe. 2. 
 A tuning-wrench. 
 
 ep'ode, Gr. After-song. i. A refrain. 
 2. The conclusion of an ode. 3. A 
 retraction. 
 
 ep tacorde (ep-ta-kord), F., eptacor'- 
 do, /. I. A heptachord. 2. A 
 seventh. 3. A scale of seven notes. 
 
 equabile (a-kwa'bl-la), /. Equal, alike. 
 equabilmen'te. Smoothly. 
 
 equal, i. Of counterpoint, consisting 
 of notes of equal duration. 2. Vide 
 temperament. 3. Of voices, alike 
 (all male, for instance) ; not mixed. 
 
 e'quisonance, equisonnance (a-ke- 
 sun-nahs), F. Unison, as of octaves. 
 e'quisonant. Of like sbund ; in uni- 
 son. In guitar music used of differ- 
 ent ways of stopping the same note. 
 equiso'no (a-kwe's6-no), /. In the 
 unison or octave. 
 
 equivocal. Used of chords which 
 may by slight change in notation be- 
 long to more than one key. 
 
 Erard action. Vide harp. 
 
 erbeb, Arab. Rebec. 
 
 erfreulich (er-froi'-Ukh), G. Joyous. 
 
 ergrif fen, G. Stirred, affected. E-heit 
 (hit). Agitation. 
 
 erhaben (er-ha'ben), G. Exalted, sub- 
 lime. Erhabenheit (hit). Sublim- 
 ity. 
 
DICTIONARY OF TERMS 123 
 
 erheben (er-ha'ben), G. To raise, to 
 elevate ; as the hand, in beating time. 
 
 erhohen (er-ha'en), G. To raise. Er- 
 hohung (er-ha'oongk), G. Raising, 
 sharpening. E.-szeichen. Sharps, 
 double sharps, or naturals following 
 flats. 
 
 ermattet (er-mat'-tet), G. Exhausted. 
 
 Erniedrigung (er-ne'-drlkh-oongk), G. 
 Depression by means of a flat or 
 natural. E.-szeichen. A sign for 
 lowering a note. 
 
 ernst (ernsht), ernsthaft (ernst'haft), 
 G. Earnest. Ernsthaftigkeit 
 (ernst'haf-tlkh-kit), Ernstlichkeit 
 (l!kh-kit). Earnestness. 
 
 Erntelied (ern'te-let), G. Harvest- 
 song. 
 
 Eroffnung (er-ef'noongk), G. Open- 
 ing, beginning, E.-sstiick. Over- 
 ture. 
 
 eroico (a-ro'I-ko or -a), /. Heroic. 
 " Sinfonia eroica" Beethoven's 3d 
 symphony. 
 
 erot'ico, /., 6rotique (a-ro-tek), F., 
 erot'ic. i. Amorous, 2, An am- 
 orous composition. 
 
 erst (ersht), G. First, erste Mai, 
 First time. 
 
 ersterben, G. To die away. 
 
 ertonen (er-ta'-nen), G. To sound. 
 
 Erweckung (er-vek'oongk), G. An- 
 imation. 
 
 erweitern (er-vl'-tern),6'. To develop, 
 expand, erweitert. Expanded, as 
 erweiterte Harmonic, Open har- 
 mony, erweiterter Satz. A move- 
 ment fully developed thematically. 
 Erweiterung. The widening of an 
 interval in a fugal theme. 
 
 Erzahler (er-tsa'ler), G. The narra- 
 tor in Passion music. 
 
 Erzlaiite (erts'-low-te), G. The arch- 
 lute, 
 
 Es (es), G. The note E flat. 
 
 esacordo (a-sa-kor'do), /. r. Hexa- 
 chord. 2. A sixth. 
 
 esat'to, /, Exact, strict. 
 
 Es-dur (es-door), G. E flat major. 
 
 esecuzione (as-^-koot-sI-6'ne), /. Ex- 
 ecution, esecuto're. Performer, 
 
 eseguire (a-sa-goo-e'-re). To execute. 
 
 esem'pio, /. Example. 
 
 esercizio (a-ser-che'tst-5) (pi. i), /. 
 An exercise. 
 
 Es-es (es-es), G. E double flat. 
 
 esitamento (a-se-ta-men'to), esita- 
 zione (a-se-ta-tsl-o'ne), /. Hesita- 
 tion. 
 
 Es-moll (es-mol), G. E flat minor. 
 
 espace (us-pas), F. A space in the 
 staff. 
 
 espagnol (es-pln-yol), F., espagnu- 
 olo (es-pan-yoo-o'l6), /. " Spanish ; " 
 in Spanish style. 
 
 esper'to, /. Expert. 
 
 espiran'do, /. Dying. 
 
 espr., espress. Abbr. of Espressivo, 
 
 espressione (sT-6'ne), /, Expression 
 feeling, espressivo (sevo), /. Ex 
 pressive. 
 
 espringale (^s-prln-ga'-lg), /. Spring 
 dance. 
 
 essem'pio, /. Example, 
 
 essen'tial. (a) Of harmonies, the three 
 chief harmonies in any key, viz., th* 
 tonic, dominant, and subdominant. 
 (b) Of notes, those that make up a 
 chord, in distinction from ornamen- 
 tal, and other foreign notes, e. sev- 
 enth, (a) The leading note, (b) The 
 7th chord in the dominant. 
 
 estemporale (rale), estemporaneo 
 (ra'-ne-6), /. Extemporaneous. 
 
 estinguendo (es-tln-goo-en'do), /. 
 Dying away. 
 
 estinto (es-ten'-to) (or a), /. Extin- 
 guished, almost inaudible. 
 
 estravaganza (es-tra-vii-gan'tsa), /, 
 Extravaganza. 
 
 estremamente (es-tra-ma-men'-te), /. 
 Extremely. 
 
 estribilho (es-trl-bel'-yo). A familiar 
 Portuguese air. 
 
 estrinciendo (es-tren-chan'do), /. 
 Playing incisively. 
 
 estriniendo (es-tren-yan'do), /. Very 
 legato. 
 
 es'tro, /. Poetic fire. 
 
 et, /.. And. 
 
 et (a), /: And. 
 
 6talon (a-ta-16n), F. Vide SCALE 3. 
 
 6teinte (a-tafit), F. Almost inaudi- 
 ble. 
 
.24 
 
 THE MUSICAL GUIDE 
 
 6tendre (a-tandr), F. To extend, 
 spread, ^tendue (a-tan-dii). Com- 
 pass. 
 
 Et Incarna'tus, L. "And He was 
 born," etc. Part of the Credo. 
 
 €tofi€ (a-tof-fa), F. Having " body," 
 as a voice. 
 
 6touffer (a-toof-fa), F. To deaden the 
 tone. 6touff6 (a-toof-fa). Stifled, 
 muffled ; in harp-playing a deadening 
 of the tones by touching the strings. 
 6touffoir (a-toof-war). Damper. 
 
 etre en r6p6tition (et'rah ra-pa-tes- 
 yoh), F. To be in rehearsal. 
 
 Et Res'urrexit, L. " And rose again." 
 A part of the Credo. 
 
 -et'to (or a), /. Little ; an Italian 
 sufifix, as trombetta. A little trum- 
 pet. 
 
 et'tacordo, /. Instr. with 7 strings. 
 
 6tude (a-tud), F. A study. A comp. 
 outwardly intended for practice and 
 facility in some special difficulty of 
 technic ; often marked with much 
 art, and in the 6. de concert (du- 
 koh-sSr), concert-study, intended for 
 public display. 6tudier (a-tiid-ya). 
 To study, to practise. Vide study. 
 
 Et Vi'tam, L. "And life everlasting." 
 Part of the Credo. 
 
 etwas (et'vas), G. Some, somewhat. 
 e. langsamer. A little slower. 
 
 eufonia (a-oo-fo-ne'a), /. Euphony. 
 eufo'nico. Harmonious. 
 
 enharmonic (ii). Producing harmony 
 or concordant sounds. Well-har- 
 monied, not tempered, e. organ. 
 An instr. of American origin, inv. by 
 H. \V. Poole, 1848, and containing 
 the untempered intervals. Vide en- 
 harmonic. 
 
 euouae. The vowels in the words 
 " Seculorum, Amen," at the end of 
 the " Gloria Patri ; " (a) the trope of 
 the Gregorian Lesser Doxology ; (b) 
 any trope (q. v.) 
 
 Euphon (yoo-fon). A glass harmonica 
 (compass from c to f") inv. by Chlad- 
 ni, about 1790 ; the tone produced 
 by rubbing with wet fingers strips of 
 glass, connected with metal rods ; 
 also called eupho'nium. 
 
 eupho'niad. An instr. of American 
 origin, containing thirty keys, and 
 tones of the organ, horn, bassoon, 
 clarinet, and violin. 
 
 euphonic-horn, eupho nion. Somme- 
 rophone. 
 
 euphonious. Harmonious. 
 
 eupho'nium. A bass brass instr. used 
 in military bands. It has two tubes, 
 played from a single mouthpiece. 
 
 Euterpe, G. The seventh muse, 
 patroness of flute-music and song. 
 
 evacua'tio, L. In old notation, the 
 reduction by one-half of a solid note's 
 value by writing only its outline. 
 
 Evakuant (a-vak-oo-ant), G. The 
 exhaust-pallet ; also evacuant, F. 
 
 6veill6 (a-va-ya), F. Gay, sprightly. 
 
 evening, or even, song. Evening 
 service in the Anglican Church. 
 
 ever'sio, L. In cpt., inversion. 
 
 evirate (a-ve-ra -t5), /. A eunuch 
 with a soprano or alto voice. 
 
 evolu tio, L. In cpt., inversion. 
 
 evovae. Vide euouae. 
 
 executant (ex-a-ku-tan), F. A per- 
 former. 
 
 exe'quiae, L., Exequien (ex-a'kwl- 
 en), G. Obsequies ; requiems. 
 
 exercice (ex-er-ses), F., Exercit'ium 
 (ex-er-tse'tsl-oom), G., exercise, A 
 practice piece ; a problem in compo- 
 sition, or technic. 
 
 exhaust pallet or valve. A stop 
 opening a valve which exhausts the 
 bellows of an organ. 
 
 exposition. Development ; the work- 
 ing out of a theme. Vide form and 
 
 FUGUE. 
 
 expressif (^x-prils-ef), F. Expressive. 
 
 expres'sion (in F. ex-prus-yoh). The 
 psychological and spiritual elements 
 of music, its message and eloquence. 
 The delivery of a composition with 
 fidelity to its meaning. Hence an 
 expression-mark is any sign that 
 will aid in the interpretation of a 
 composition. In French the word e. 
 is also used specifically of the vibrato 
 effect, expression-stop. An har- 
 monium-stop giving the pedals close 
 control of the expression. 
 
DICTIONARY OF TERMS 125 
 
 expressive-organ, Expressivorgel 
 
 (sef-6r-khel), 6"., orgue expressif, 
 F. The harmonium. 
 
 extemporaneous. Without premed- 
 itation, extempore, L. Impro- 
 vised ; off-hand, extempodze. To 
 improvise. extemporizing ma- 
 chine. A melograph for recording 
 extemporization. 
 
 extended, i. Dispersed, as a chord. 
 2. Enlarged, as a development, e. 
 phrase. One with three measures 
 instead of the usual two, etc. e. sec- 
 tion. One containing from 5 to 8 
 measures. 
 
 extension (ez-tans-yon), F. Stretch, 
 or compass on the violin ; the exten- 
 sion of the forefinger or little finger 
 of the left hand, extension pedal. 
 Loud pedal. 
 
 extra'neous. Foreign to the key. e. 
 modulation. Transition to an un- 
 related key. 
 
 extravaganza (ex-tra-va-gan'tsa), /. 
 I. An ornament in bad taste. 2. A 
 musical burlesque, usually spectac- 
 ular. 
 
 extreme, extreme (^x-trem), F. i. 
 The highest and lowest parts. 2. 
 Augmented, chord of the e. sixth. 
 An altered chord. (Vide altered.) 
 
 FE. and G. ; in F. and /. called 
 f^ (fa). I. A musical pitch, 
 a perfect fourth above C in 
 all its octaves. 2. The major 
 key having one flat ; the minor key 
 relative to A flat minor. F clef, F 
 Schliissel, G. The bass clef grip- 
 ping the line F. f. holes (in G. F. 
 Locher (ef-lekh-er) ; in F. les F. (la- 
 zef). The f-shaped sound-holes in 
 the belly of violins, etc. f, ff, fff, etc. 
 Abbr. of forte and fortissimo. 
 fa (fa), /. I. The fourth of the sylla- 
 bles of solmisation (q. v.). 2. Name 
 of F. in France and Italy, fa-feint 
 (fan), F., fa fint'o,/., fa fict urn, L. 
 Obsolete term for any flatted note. 
 fa mi. Formerly the descent of half 
 
 a tone from F to E ; now any such 
 descent, fab^mol, F flat, fa di^se. 
 F sharp, faburden. i. A counter- 
 point of thirds and sixths added by 
 G.-3.X X.O 2.cantus firtnus. 2. Laterany 
 improvised accompaniment. 3. A 
 burden. 4. A drone-bass. 5. In- 
 tonation of the Psalms. 
 
 fabliau (fab-lI-6), F. An old narrative 
 poem, fablier (ll-a). A trouvere. 
 
 faces d'un accord (fas d'un &k-k6r), 
 F. The positions of a chord ; a triad 
 has 3, a seventh 4, etc. 
 
 fach (fakh), G. (lit. -fold). Ranked ; 
 as dreifach. Three-ranked (of 
 pipes). 
 
 facherfbrmiges Pedal (fekh'-Sr-fer- 
 mlkh-espa-dal), C A fan-shaped ped- 
 al-board. 
 
 facile (fa-sel), F.. facile (fa'-che-le). 
 Light, easy, facilitii (fa-che-ll-ta'), 
 /..facility (fa-sel-t-ta), F. i. Facil- 
 ity. 2. An easier arrangement of a 
 piece or passage, facilement (fa-sel- 
 man), F., facilmente (fa-chel-men'- 
 ta), /. Easily. 
 
 Fackeltanz (fak'el-tants), G. Dance 
 with flambeaux in a minuet form, 4-4 
 time. 
 
 facture (f&k-tur), F., Faktur (fak- 
 toor'), G^. I. Scheme or construction, 
 workmanship. 2. The scale of pipes. 
 
 -fadig (fa-dtkh), G. Threaded (of 
 violin-strings), as vierfadig. 4- 
 threaded. 
 
 fading (fad'-Ing). Irish. A dance ; a 
 refrain. 
 
 fag. Abbr. of fagotti. 
 
 fagot, E., Fagott (fa-got), C, fagot'- 
 to, /. I. A bassoon. 2. A reed-stop 
 (also Fagottzug). fagottino(te'no), 
 /. A small bassoon. Fagottist 
 (fa-got-test'), G. fagottista (tes'- 
 ta), /. A performer on the bassoon. 
 fagotto contro, /. A bassoon, an 
 octave, a fifth, or a fourth lower. 
 fagotto'ne. A large obs. bassoon, 
 an octave lower. 
 
 fah. Fa in Tonic sol-fa. 
 
 Fahnenmarsch (fa'-nen-marsh), G. 
 The march played when the colours 
 are lodged. 
 
126 
 
 THE MUSICAL GUIDE 
 
 faible (feb 1) F. Weak, temps f. 
 Weak-beat. 
 
 faire (far), F. To do, make. f. des 
 fredons. A trill, faites bien sen- 
 tir la m^lodie (fet-bl-an-san-terla 
 ma-16-de), F. Keep the melody very 
 distinct. 
 
 fa-la. I. An old refrain. 2. A song 
 with such refrain, or a dance, falal- 
 el'la, /. A nonsense song. 
 
 fall. r. A cadence. 2. Vide fly. 
 
 falo'tico, /. Fantastic. 
 
 falsa (fal'-sa) (or o), /., false, E., 
 falsch (falsh), G. False, wrong, out 
 of tune, false accent. Accent re- 
 moved from the first to the second or 
 fourth beat. f. bordone. (a) Fa- 
 burden, (b) The reciting-notes. f. ca- 
 dence. An imperfect or interrupted 
 cadence, f. fifth. An imperfect fifth. 
 f. relation, (a) The appearance sim- 
 ultaneously or consecutively in differ- 
 ent voices of the same notes chromat- 
 ically altered, as C sharp and C flat, 
 implying a disagreement or incom- 
 patibility, (b) The appearance of the 
 tritone (q. v.) in different voices. 
 Though strictly forbidden in the text- 
 books, late composers ignore the rule 
 altogether, f. string. An ill-made 
 string giving a bad tone. f. triad. 
 The diminished triad having a false 
 fifth. 
 
 Falsett (fal-zet'), G., falsetto, /. 
 I. The top or artificial register of the 
 voice, having an unnatural or effem- 
 inate sound. 2. One who uses this 
 register. 
 
 fan'cy. i. A slight tune. 2. A fan- 
 tasy. 
 
 fandan'go, Sp. A popular Spanish 
 dance in triple time, accompanied 
 with castanets (or tambourine) and 
 guitar, the dance being interpolated 
 between vocal couplets. 
 
 fanfare, E. (pron. in F. fan-far), 
 fanfara (fan-fa'-ra), /. i. A trumpet- 
 flourish. 2. A brass-band. 
 
 fantaisie (fah-te-ze), F., fantasia (fan- 
 ta-ze'a), /., Fantasie (fan-ta-ze'), G. 
 I. Fantasy, caprice, a composition 
 free in spirit and form. 2. An ar- 
 
 peggiated prelude. 3. A potpourri. 
 4. An improvisation. 5. Formerly 
 a work, vocal or instrumental, full of 
 free imitation free fantasia or 
 fantasy, same as Development. 
 Vide FORM, fantasio'so, /. Fan- 
 tastic, fantasiren (ze'ren), G. To 
 improvise. 
 
 fantastico, fantasticamen'te, /., 
 fantastique (fan-tas-tek), F. , fantas- 
 tisch (fan-tas'-tlsh), G. Capricious. 
 
 faran'dola, /., farandole (far-ah-dol), 
 farandoule (far-ah-dool), F. A cir- 
 cle dance in 6-8 time. 
 
 farneticamen'te, /. Deliriously. 
 
 farsa in musica (moo'zi-ka), /. A 
 burletta. 
 
 farsia (far'sf-a), /. A canticle in 
 Italian and Latin sung at CathoHc 
 festivals. 
 
 fascia (fa'-sha), /. i. A tie. 2. A 
 rib. 
 
 fasto'so, fastosamen'te, /. Pom- 
 pous(ly). 
 
 fattura (fiit-too'-ra), /. Vide facture. 
 
 faucette (fo-set), fausset (fo-sa), F., 
 Falsetto. 
 
 faux (fo) or fausse (fos), F. False, 
 out of tune. f. accord (fo zak-kor). 
 A dissonance, f. bourdon (fo-boor- 
 doh). Vide faburden. f. quinte. 
 Imperfect fifth. 
 
 F clef. The bass-clef. Vide clef. 
 
 F-dur (ef-door), G. F major. 
 
 feathering. The bowing of swift 
 staccato. 
 
 Federklavier (fa-der-kla-fer'), G. 
 Spinet. 
 
 feeders. Small bellows to supply 
 large. 
 
 Feier (fl'er), G. Festival, celebration. 
 F.-gesang. Anthem, feierlich. 
 Festive, solemn. F.-keit. Solem- 
 nity. 
 
 feigned voice. Falsetto voice. 
 
 feilen (fl-len), G. To polish. 
 
 fein (fin), G. Fine, refined. 
 
 feint. In drum music, a figure. 
 
 feinte (fent), F. Old name for semi- 
 tone ; accidental. 
 
 Feld (felt), G. Field. F. flote. A 
 peasant flute. F. Kunstpfeifer 
 
DICTIONARY OF TERMS 127 
 
 (koonst'pfi-fer). A military musician. 
 Feldmusik (felt-moo-zek'). Military 
 music. Feldrohr (ror), G. A rural 
 pipe. F.-stiick. A cavalry call. 
 F. -ton. The key-note of a military 
 windinstr. F. -trompete. Military 
 trumpet. 
 
 fe'rial. Non-festal, secular. 
 
 fer'ma, /. Firm, fermamen'te, /. 
 Firmly. 
 
 fermare il tuono. Vide messa di 
 
 VOCE. 
 
 fer'mate, E. (in G. fer-ma-te), fer- 
 mata (fer-ma -ta), I. 1. A symbol '^ 
 or ^ above or below a note, rest or 
 bar indicating a long pause upon it ; 
 /. ad libitum, often occurring before 
 a cadenza. 2. A stop, on the vio- 
 lin. 
 
 {ermato (ma'-to), /. Firmly, fer- 
 mezza (fer-med'-za). Firmness, fer- 
 mo (fer'mo). Firm. Vide cantus 
 
 FIRMUS. 
 
 fermement (ferm-man), F. Firmly. 
 
 Feme (fer'ne), G. Distance, wie 
 aus der F. (ve-ows-der). As if from 
 the distance. Fern-flote. A covered 
 8-ft. stop. Fern-werk. Echo-organ. 
 
 feroce (fa-ro'-che), ferocemen'te, /. 
 Fierce(ly). ferocita (fa-ro-chl-ta). 
 Fierceness. 
 
 fertigtfer-tlkh), G. Ready, nimble. F.- 
 keit (kit). Dexterity. 
 
 fervemment (far-ve-mSn), F. Fervent- 
 ly- 
 
 ferven'te, fer'vido, /. Fervent, fer- 
 ventemen'te, fervidamen'te. Ve- 
 hemently. 
 
 Fes (fes), G. The note Fb. Feses 
 (fes'es). F double flat. 
 
 Fest (fesht), G. i. Feast, festival. 2. 
 Firm, steady. Festigkeit (fes- 
 tTkh-klt). Firmness, steadiness, fest- 
 lich (fest-llkh). Festive, solemn. 
 Festlichkeit. Solemnity. Fest- 
 lied. A festive-song. Festouver- 
 tiire. A Hrilliant overture. Fest- 
 zeit (tsit). Festival-time. 
 
 festivo (fes-te'vo), festivamen'te, /. 
 Gay(ly). festivita (fes-te-vl-ta'). 
 Festivity, gayety. 
 
 festo'so, /. Merry cheerful, gay. 
 
 Feuer (foi'er), G Fire, ardour, pas- 
 sion, feurig (rlkh). Ardent, pas- 
 sionate. 
 
 fff. Abb. of Fortissimo. 
 
 F holes. Vide f. 
 
 fiacco (fl-ak'ko), /. Feeble, languish- 
 ing. 
 
 fiasco (fl-as'-ko), /. A failure ; not so 
 used in Italy. 
 
 fiato (fl-a-to), /. Breath ; voice. 
 
 fictus(aHum), Z. " Feigned." i. 
 Vide FA. 2. musica ficta. For- 
 mer name for music transposed. 
 
 fiddle. Violin, iron f. An arrange- 
 me'nt of nails or rods played with a 
 bow, inv. by Jn. Wilde, iSth cent. 
 fiddler. Violinist, commonly a poor 
 player, fiddlestick. Violin-bow. 
 
 Fidel (fe'-del), G. Violin. 
 
 fi'des, Z. I. A string. 2. A stringed 
 instr. fid'icen. One who plays a 
 stringed instr. fidicina. A woman, 
 player. 
 
 fidic'ula, Z. A small lute. 
 
 fiducia (fi-doo'-cha), /. Confidence. 
 
 Fiedel (fe'dl), G. A violin. Stroh- 
 fiedel. Xylophone. F.-bogen(b6kh'- 
 en). A violin-bow. F.-brett (brdt). 
 A squeaky violin. Fiedler (fet'-lSr). 
 A fiddler. 
 
 fiel. An old name for violin. 
 
 field-music. Martial music. 
 
 fier (fe-ar), fibre (fl-ar), F. Proud, 
 lofty, fierce, fiferement (fl-ar-mah). 
 Fiercely. fiert6 (f'yar-ta'). Fierce- 
 ness. 
 
 fiero (fe-a'-ro), fieramen'te, Z. Fierce- 
 (ly). fierezza(rgd'-za). Fierceness. 
 
 fife. I. A 6-holed octave cross-flute, 
 usually in the key of F or Bj^, chiefly 
 used in military music, differing from 
 the piccolo in lacking keys ; compass 
 d'-d'". 2. A 2-foot stop. 
 
 fif faro, Z Fife. 
 
 fifre (fefr), F. i. A fife. 2. A fifer. 
 3. An harmonium-stop. 
 
 fifteenth, i. An interval of two oc- 
 taves. 2. A 2-ft. stop, two octaves 
 above the diapasons. 
 
 fifth. I. The fifth tone of a scale, the 
 dominant. 2. An interval contain- 
 ing five tones, the extremes included, 
 
128 
 
 THE MUSICAL GUIDE 
 
 as C-G (the ratio being 2 : 3). Tiie 
 tonic and the dominant of a key con- 
 stitute a perfect (or less strictly, 7)ia- 
 jor) fifth. To widen the interval by 
 lowering the lower (or raising the up- 
 per) tone a half-step results in an aug- 
 mented (or superfluous, extre7?ie, 
 sharp ov pluperfect) fifth, as c-g#, or 
 ct>-g ; to narrow the interval a semi- 
 tone by raising the lower or lowering 
 the upper tone a half-step results 
 in a ditninished (or itnperfect, false, 
 flat, minor ox defective) fifth. Two 
 parts or voices according to the rules 
 may not progress by perfect fifths 
 either in consecutive or parallel man- 
 ner, whether the fifths are open or 
 {covered, concealed), hidden, (q. v.). 
 Though this rule is the very ABC 
 of harmonic law, it is not justified by 
 science, by history, or by latest prac- 
 tice. Circle of fifths. Vide tem- 
 perament, fifthy. With the second 
 partial (a fifth) noticeably marked. 
 
 Figur (fe-goor'), G. A figure, or num- 
 eral. 
 
 figura (fe-goo'-ra), Z. and /. Vide 
 FIGURE, f. liga'ta. A ligature, f. 
 muta (moo-ta). A rest. f. obli'qua. 
 In old music, an oblique symbol in- 
 dicating that two superimposed notes 
 (as g-b) were to be sung obliquely 
 (thus g-b-b-g). 
 
 figural, E. (in G. fe-goo-ral'). Fig- 
 urate. F.-gesang. Cantus figura- 
 tus, counterpoint. 
 
 figuration, i. The use of figures or 
 ornamented passages in the variation 
 of a theme. 2. The writing or the 
 filling out of figured bass. 3. In 
 opt. the interpolation of figures, 
 changing notes, etc. 
 
 figurato (fe-goo-ra'-t5), /., figur^ (fe- 
 gii-ra), F. figurate, or figured, i. 
 Ornamented with figures, hence 
 florid, free. 2. Provided with numer- 
 als, as figured bass. Vide bass 6, 
 and CHORD. 
 
 figure, E. (in F. pron. fl-giir). i. A 
 pattern or design in grouped notes 
 which may be repeated variously. 2. 
 A numeral, f. of diminution. A 
 
 number diminishing the duration of a 
 note. 
 
 fil (fel), F. Thread (of a string). 
 
 filar il tuono or la voce (fe-lar el 
 too-o'-no or la v5' che), 7. , filer un 
 son or la voix (fe-la run son or la 
 vwa), F. To draw the tone out to a 
 thread of sound. 
 
 filarmo'nico, /. Music-loving. 
 
 filet de voix (fe-la dii vwa), F. A 
 mere thread of tone. 
 
 filling-up. I. Of parts, those of har- 
 monic but not melodic use. 2. Of 
 stops, mutation. 
 
 filo (fe -IC), /. Thread, f. di voce. 
 Softest possible tone. 
 
 filpen (fel'-pen), G. Vide fistuliren. 
 
 fi'lum, L. Stem, of a note. 
 
 fin (f5h), F. The end ; fine. f. a qui. 
 (fdniike). End here. 
 
 fi'nal. The note of rest in church? 
 modes corresponding to our Tonic ; 
 in authentic modes the F. is on the 
 first degree ; in plagal, on the 4th. 
 These are called regular- finals. 
 Others occur frequently and are irreg- 
 ular or confinals. Vide modes, f. 
 close. A finishing cadence. 
 
 finale (fe-na'-le, /. / in F. fl-nal). i. 
 The conclusion, usually elaborate, as 
 the closing chorus of an act in opera ; 
 in sonatas, symphonies, an independ- 
 ent movement. 2. A final. 
 
 final'is, L. Vide accentus ecclesi- 
 
 ASTICI. 
 
 fine (fe'-ne), /. The end ; it may ap- 
 pear sometimes before a da capo 
 sign, in which case the movement is 
 to be played to the repeat-bar and 
 then repeated to the Fine, where it 
 ends. 
 
 Finger (In E. fing'-ger ; in G. fing- 
 er). Finger. F.-bildner, finger-de- 
 veloper, A device for keeping the 
 last joint of the fingers up ; inv. 
 by Seeber. F.-brett. Finger-board. 
 F.-fertigkeit. Agility. F.-leiter 
 (llt'-er). The chiroplast. F.-satz, 
 F.-setzung. Fingering. Enger or 
 gedehnter, Fingersatz. Close (or 
 stretched) fingering. F.-wechsel 
 (vekhs'l). Change of fingers, finger- 
 
DICTIONARY OF TERMS 129 
 
 board. In a stringed instr. the neck 
 on which the strings are stopped. 
 finger-cymbals. Tiny cymbals 
 fixed on the fingers, finger-holes. 
 The holes on wind-instrs. by which 
 the pitch is regulated. 
 
 fingering. i. The manner of using 
 the fingers on instrs. 2. The symbols 
 indicating a fingering. In the Ger- 
 man F. the thumb is marked i, the 
 fingers 2, 3,4, 5 ; in an older German 
 method the thumb was marked by a 
 circle O ; in the English, ox Ameri- 
 can F. the thumb is marked with a 
 cross, the fingers, i, 2, 3, 4. 
 
 finire il tuono, /. Vide messa di 
 
 VOCE. 
 
 finite. Of a canon, not repeated, end- 
 ing with the finish of the theme ; not 
 '■ infinite." 
 
 finito(a) (fl-ne'-to), /. Finished. 
 
 fino (fe'-no), /. To, as far as, till. 
 
 finto(a) (fen'-to), /. Feigned, cadenza 
 f. Vide CADENCE (f). fa finto. Vide 
 
 FA. 
 
 fioco(a) (fl-o'-ko), /. Hoarse, faint. 
 fiochetto. Rather hoarse, fiochez- 
 za (fe-6-ked'-za). Hoarseness. 
 
 fiore (fl-o'-rS), /. Flower. a f. di 
 labbre. Lightly on the lip. 
 
 fioreggiare (fe-6-red-ja'-re), /. To 
 add figures to. 
 
 fioret'to, /. A little ornament. 
 
 fioriscente (fe-6-rl-shen'-te), /., fiorito 
 (fe-o-re'-to). Florid, fioritezza (fe-6- 
 rl-ted'-za). Embellishment. 
 
 fioritura (fe-6-rI-too'ra) (pi. e), /. 
 Florid ornament. 
 
 first. I. The highest voice-part or 
 string ; the lowest line or space. 2. 
 A unison or prime. 
 
 Fis (fes), G. The note F#. Fis-dur 
 (fes-door). FJ$ major. Fis-fis. The 
 note F double sharp. Fis-moll. FJf 
 minor. 
 
 Fistel (fish-tel), G. Falsetto (also F.- 
 stimme). 
 
 Fistola (fes'-to-la), /., fis'tula, Z. 
 A reed, a pipe. f. dulcis. Tht Jii^te 
 a bee. f. germanica. German flute. 
 f. panis or f. pastoralis. The Pan- 
 dean pipes, f. pastorica. An oaten 
 
 pipe used in Roman theatres to ex- 
 press disapprobation, fistulator, Z., 
 fistulato re, /. A piper, fistuli- 
 ren (fis-too-le'ren), G. i. To sing fal- 
 setto. 2. Of organ-pipes, to over-blow. 
 
 fith'ele. Old English name for fiddle. 
 
 fixed-Do. That system of solmisation 
 in which the syllables are fixed, i. e., 
 do is given always to C (sharp, flat, 
 or natural), re to D, etc. 
 
 fixed tone or intonation. Used of 
 the piano and instrs. in which the 
 player cannot change the pitch of a 
 tone, as on the violin, etc. 
 
 Flachflote (flakh'fla-te), G. 1. Flage- 
 olet. 2. An organ-stop. 
 
 flag. I. Abbr. ior flageolet, ox flage- 
 olet tones. 2. A hook. 
 
 flageolet', E. {F. flazh-6-la), Fiage- 
 olett (fla-je-6-let'), C, flagioletta 
 (fla-j6-let'ta), /. i. A small flute played 
 at the end, compass g'-b'" flat. 
 double f. An instr. with 2 different- 
 sized flageolets meeting in one mouth- 
 piece, inv. by Bainbridge, 1800. 2. 
 flageolet or flageolet-tones or 
 Tone. Vide harmonics. 3. A i- 
 or 2-ft. stop. 
 
 flam. In drum music a grace note, 
 close f., as short as possible ; open f., 
 with a brief interval. 
 
 Fla minenorgel, G. Pyrophone. 
 
 Flaschinett (flash'I-net), G. The 
 flageolet. 
 
 flat. I. A symbol (|r) lowering the note 
 before which it is placed one semi- 
 tone ; placed in the signature it af- 
 fects every note occurring on its line 
 or space. The double flat (bfr), 
 formerly a great flat, lowers the note 
 two semitones. flat fifth. Vide 
 FIFTH, flat tuning. Of a lute tuned 
 to the former lower French pitch. 2. 
 As a verb, to lower a note a semi- 
 tone ; preferably to flatten. 
 
 flatter la corde (flat-ta la' kord), F. 
 To flatter or caress the string. 
 
 flautando (fla-oo-tan'do), flautato 
 (ta'to), /. I. Drawing the bow gent- 
 ly across the strings near the bridge, 
 producing a "fluty" tone. 2. Pro- 
 ducing harmonics. 
 
130 
 
 THE MUSICAL GUIDE 
 
 flauto (fla'oo-to), /. Flute, flautis'- 
 ta. Performer on the flute, flau- 
 tino (te'-no). i. A small octave- 
 flute. 2. A piccolo. 3. Same as 
 Jlautando. f. piccolo. The shrill 
 octave-flute. f. a bec'co. Beak- 
 flute, f. alto. A tenor-flute used in 
 bands, f. amabile. An organ-stop. 
 f. amoroso. A 4-foot organ-stop. 
 f. dolce. I. A beak-flute. 2. An 
 organ-stop, flauto'ne. A large bass- 
 flute, f. tedesco, transverse, tra- 
 verso. I. The German or transverse 
 flute. 2. An organ-stop. 
 
 flebile (fla -bl-le), flebilmen'te, /. Sad- 
 (ly), doleful(ly). 
 
 flessibile (fles-se'-bT-la), /. Flexible. 
 flessibilita (ll-ta'), /. Flexibility. 
 
 Flick'opera, G. An opera with new 
 words to old tunes. 
 
 fling. A Scotch Highland dance in 4-4 
 time. 
 
 F-Locher, G. F holes. "Vide F. 
 
 flon-flon (floh-floh), F. A refrain to 
 old vaudevilles ; hence, trash. 
 
 flor'id. Ornamental, embellished. 
 
 Flote (fla te), G. Flute, flotchen (flet'- 
 khSn). A little flute. F.-bass. A 
 bass-flute. floten. To play the 
 flute. F.-spieler. A flute-player. 
 F.-stimme, F.-zug. A flute-stop. 
 Flbtenwerk. A small organ with 
 only flue-pipes. F. traverso. i. 
 The transverse flute. 2. An organ- 
 stop. Flotist (fla'-test). A flute- 
 player. 
 
 flourish. I. A trumpet-fanfare. 2. 
 An embellishment. 
 
 fluchtig (flukh't!kh), G. Light(ly). 
 Fliichtigkeit (kit). Fleetness. 
 
 flue-pipe-stop-work. Vide pipe. 
 
 Fliigel (flii'-gel), G. " Wing," hence, 
 I. A wing-shaped instr. ; or the 
 modern grand piano. 2. The ear of 
 a pipe. F.-harfe. A small table- 
 harp with upright sound-board. F.- 
 horn. I. A bugle. 2. A keyed 
 bugle or other keyed brass instru- 
 ment. 
 
 flute, E.. flu'ta, Z., flute (flut), F. i. 
 Now generally used of the transverse 
 (or cross, or German) flute. The beak- 
 
 (or direct) flute (in various sizes) is 
 obsolete. This latter was blown at 
 one end. The cross-flute is blown 
 through a hole in the side near the 
 larger end. It is a long tube (for- 
 merly slightly conical) with the larger 
 end closed. Usually made of wood, 
 it is sometimes of silver or other met- 
 als. The principle is that of the flue- 
 pipe (vide pipe), and the tone is 
 clear, pure, and especially rich in the 
 lower range, which is too little used. 
 A very ancient instrument (appear- 
 ing often with two tubes and one 
 mouthpiece as the doubh-flute, one 
 tube furnishing probably a mere 
 drone-bass); its modern form owes 
 much to the improvements of Boehm, 
 and controls with its keys fourteen 
 orifices, with an extreme range of 
 h-c""t . It is made in six sizes (in- 
 cluding the piccolo, or octave-fiMie) 
 and sounds as written, is non-trans- 
 posing. The normal flute is the C ; 
 there are two others in D flat and E 
 flat. Tht piccolo is in the same keys, 
 but the lower octave is not used ; it 
 is written an octave lower than it 
 sounds. A fourth (or quart) flute 
 sounds a fourth higher than the nor- 
 mal flute. 2. An organ-stop, flute* 
 work. Vide stop, harmonic f, or 
 f. armonique. An organ-stop, oc- 
 tave-f. The piccolo, pastoral or 
 shepherd's f. A short beak-flute. 
 f. a bee (a bek), F., Schnabel- 
 flote (shna-bel), G. Beak-flute, f. 
 allemande(ai-mand), /". The cross- 
 flute, f. conique (kon-ek), F. i. 
 Conical flute. 2. An organ-stop. 
 f. d'amour (da-moor), i. An ob- 
 solete flute in A or in B flat. 2. 
 A 4- or 8-ft. stop. f. d'Angle- 
 terre (dan-glii-tar). The flageolet. 
 f. du Poitou( du pwa-too). The bag- 
 pipe, f. douce (doos). The beak- 
 flute, f. minor (me-nor). A 2- or 
 4-foot stop. f. octaviante (6k-ta- 
 vl-ant). Octave-flute ; an organ- 
 stop, f. ouverte (oo-vSrt). An open 
 stop. f. traversiere (tra-ver-sI-Sr). 
 The cross-flute. 
 
DICTIONARY OF TERMS 131 
 
 flute, F. As a directioti — " use har- (prum-yar). The first time, deux- 
 
 monies." flutde (ta). Fluty. i^me f. (diiz-yem). The second time. 
 
 fly. The lid covering a key-board. deux f. (dii-fwa). Twice, derni- 
 
 F-moU (ef-mol), G. F minor. fere f. The last time. 
 
 fo'co, /. Fire, passion, focosamen'- folia (fo-le'-a), Sp., follia(e) di spagna 
 
 te. Ardently, focosis'simo. Very (span-ya), /., folies d'espagne 
 
 ardent, focoso. Passionate. (fo-le-des-spin), F. i. A slow Span- 
 
 foglietto (fol-yet'-to), /. A part which ish solo-dance in 3-4 time. 2. A 
 
 contains all the obbligato passages, species of air with variations. 
 
 used often by conductors instead of a folia'ted. Ornamented. 
 
 score. folk-music. The body of folk-songs, 
 
 foire des enfants (fwar-da-zah-fan), F. dances, etc. 
 
 " Children's fair." Toy symphony. folk-song. A strongly racial popular 
 
 fois (fwa), F. Time, premiere f. song that has become a tradition. 
 
 Folk-Song. 
 
 ' H. E. Krehbi 
 
 HE bearing which Fo!k-music {i.e.. Folk-song and Folk-dance) has 
 on national schools of composition gives propriety to an attempt at 
 accurate definition of the subject to which this article is devoted. 
 Folk-song is not popular song in the sense in which the word is most fre- 
 quently used, but the song of the folk ; not only the song admired of the 
 people but, in a strict sense, the song created by the people. It is a body of 
 poetry and music which has com2 into existence without the influence of 
 conscious art, as a spontaneous utterance, filled with characteristic expression 
 of the feelings of a people. Such songs are marked by certain peculiarities of 
 rhythm, form, and melody which are traceable, more or less clearly, to racial 
 (or national) temperament, modes of life, climatic and political conditions, 
 geographical environment and language. Some of these elements, the spirit- 
 ual, are elusive, but others can be determined and classified. Peoples living 
 in northern climates, for instance, are predisposed to the minor mode, which 
 has melancholy for its most marked characteristic. Here the influence is 
 ■T\ generally climatic and geographical. But peoples living in cheerful and salu- 
 brious climes may also be dominated by gloom if they have long sufi^ered under 
 oppressive political and social conditions. •[jBoth propositions are illustrated 
 in the case of Russian Folk-song, which is overwhelmingly minor in spite of 
 the fact that the Czar's empire extends over nearly thirty degrees of latitude 
 and has a mean temperature varying from thirty-two degrees Fahrenheit at 
 Archangel, to fifty-eight degrees in the Caucasus. It would seem to be a 
 paradox, moreover, that heavy-hearted song should be paired almost univer- 
 sally with singularly boisterous and energetic dances ; but the reason of this 
 becomes plain when it is remembered that a measured and decorous mode of 
 
132 THE MUSICAL GUIDE 
 
 popular amusement is the general expression of equable popular life, while 
 wild and desperate gayety is frequently the sign of reaction from suffering. 
 There is a gayety of despair as well as of contentment and happiness. 
 ■Tflntervallic peculiarities are more difficult to explain than rhythmic, and 
 may be said to be survivals of primitive artistic conditions. The modern 
 scale was an evolution, not an inspiration, and the study of savage music dis- 
 closes many rudimentary forms of it. The most idiomatic music of the Finns 
 is confined to the first five tones of the minor scale, which was the compass 
 of the ancient Finnish harp — the kantele. Old Irish and Scotch songs share 
 the pentatonic scale (^i.e.-, the modern diatonic scale omitting the fourth and 
 seventh steps) with the popular music of China, Japan, and Siam. In the 
 songs of the negro slaves of America, I have found the same scale, a major 
 scale with a flat seventh and a minor scale with a raised sixth, to be predomi- 
 nant. Cesar Cui mentions the prevalence in Russia of two major scales, one 
 without the fourth, the other without the third and seventh. Hungarian 
 melodies make frequent use of the interval called the augmented second, 
 which compasses three semitones and is common to Oriental music. There 
 is a hint in this of the origin of the Magyars, who are not Slavs, as is so com- 
 monly supposed, but Scythians ; they belong to the Finno-Ungrian stock, 
 and are more nearly related to- the Turks than to their neighbours, the Poles 
 and Russians. The profusion of ornament which characterises Hungarian 
 music is an importation from the Orient by the Gypsies who, while the 
 national musicians of Hungary, are nevertheless a Hindu people, ^j These 
 facts, gathered at random from the vast but as yet unexplored storehouse of 
 Folk-music indicate the possibility of using the study as an aid in the deter- 
 mination of many things in ethnology and ethnography ; for Folk-song 
 elements have a marvellous tenacity of life. In the study of Folk-music, 
 however, the purpose of the student should be primarily to discover and, if 
 possible, account for the elements which differentiate the creations of one 
 race, people, or tribe from those of another. This done it will be possible to 
 explain and describe the distinguishing characteristics of the national schools 
 of composition based upon Folk-song idioms, such as the Scandinavian, 
 Russian, Polish, Bohemian, and Hungarian. 
 
 folk-tone. The folk-song manner or foot. i. The unit of metre, a distinct 
 
 spirit (cf. Volkston). rhythmic unit of two or more sylla- 
 
 fondamental(e), (fon-da-man-tal) /"., bias. 2. Of a pipe, the part below the 
 
 fondamentale (tale), /. Funda- mouth. 3. Old term for a refrain, or a 
 
 mental, son f. Root, basse, or bas- drone-bass. 4. A unit for the desig- 
 
 so, f. Vide BASS 6. nation of the pitch of pipes and instrs. . 
 
 fondamen'to, /. Fundamental bass. arrived at as follows. Sound travels 
 
 fonds d'orgue (foh dorg), F. The 1056 feet per second, the tone C,, has 
 
 foundation-stops. 33 vibrations a second ; 1056 -^33 = 
 
DICTIONARY OF TERMS 133 
 
 32 feet, the length of one sound- 
 wave ; a 32-foot pipe will therefore 
 sound C,,. The pipe giving C (two 
 octaves below middle C) is about 8 
 feet long. This is taken as the nor- 
 mal length, and while the pipes that 
 make up a so-called 8-foot stop (q. v.) 
 decrease in length as they ascend the 
 scale, they are considered as belong- 
 ing to the 8-foot tone and they sound 
 as written or played, i. e., when an 
 8-foot stop is on and the key of 
 mid. C is depressed, mid. C sounds, 
 etc. If this key is depressed when a 
 4-foot stop is on, the tone an octave 
 higher sounds ; when a 32-foot is on, a 
 tone two octaves lower sounds : the 
 2-foot and i-foot stops produce tones 
 respectively two and three octaves 
 higher than the key depressed. A 
 stop then is named from the length 
 of its longest pipe and lowest tone. 
 From this use arises the designation 
 of instruments by foot-measure, or 
 foot-totie ; an instr. sounding as ivrit- 
 ten (e. g. , the flute) is called an 8-foot 
 instr., one sounding an octave higher 
 (e. g., the piccolo-flute) is called a 
 4-foot instr. Furthermore, this desig- 
 nation is used of octaves ; the letters 
 in the great octave (vide pitch) are 
 
 known as 8-foot (as 8-ft. C, D, etc.), 
 those in the small octave, as 4-ft. c, d, 
 etc. ; those in the once-accented as 2- 
 foot, and those in the twice-accented 
 as i-foot. The word foot is sometimes 
 abbreviated by an (') as S', 16'. 
 The metrical system has been ap- 
 plied with much inaccuracy ; 8-feet 
 
 5 , 5 , 
 
 = - metre ; 4-feet = - m. ; 2-feet = 
 
 i6-ft. = 5 m. ; 32-ft. 
 
 and 
 
 2 I 
 
 3. ^ 3. ' "" 3 
 
 5 
 
 ^^^'^ =f 3".l,^""'^2l"^^^'-^^--«- 
 spectively. 
 
 2 I 3 4 
 
 Tierce (6 - 3 r i 7 ^"^^ - ^^^"-^ ~ 
 
 y(or2), I (on), ^^^(i),and^ (i) 
 metres respectively. 
 
 foot-key. Pedal-key. 
 
 forbidden. Contrary to musical gram- 
 mar. Vide HARMONY. 
 
 foreign. Alien to the given key, or 
 
 tonality. 
 forlana (for-la'-na), /., forlane (for- 
 
 lan), F. A lively Venetian dance in 
 
 6-8 or 6-4 time. 
 
 Form. 
 
 By John F. Runciman. 
 
 A DEFINITION of Form would have this disadvantage : that it 
 would convey absolutely nothing save to those who understood 
 perfectly what the meaning is ; and, further, it would occupy much 
 more space than is here available. So instead of trying to reach a perfect 
 definition, let us try what is a much better plan from the lay point of view — 
 let us trace the growth of the mass of principles and their methods of appli- 
 cation which are included in this one comprehensive term Form. ^In the 
 beginning, we may assume, music was without Form, though not always 
 quite void. The savage tootled his melody, caring nothing about repeating 
 phrases, nothing about middle sections, nothing about development. But in 
 the earliest traditional melodies that come down to us we find the germ of all 
 that is now known as Form. ^In any collection of popular songs the reader 
 
134 THE MUSICAL GUIDE 
 
 will find examples built on the following plan : — first a strain is delivered ; 
 then another strain, in another key, is delivered ; and finally the first strain ,s 
 repeated, bringing the whole thing to a satisfactory close. Let us consider 
 for a moment the inwardness of this arrangement. No one wants to sing only 
 one strain and be done with it. To sing a second strain in the same key 
 would prove tiresome, so a feeling..af relief, of variety is produ ced wh en the 
 thing is lengthened by the addition of a second strain in a new key. But to 
 end in the new key would be quite unsatisfactory : it would be like breaking 
 off in the middle of a sentence. So the first key is re-introduced and the 
 whole song rounded off and made to end with a sense of perfect complete- 
 ness by a repetition of the first strain in the first key. ^From this s'mph 
 example, then, we may infer the whole object of Form : it is to secure, 
 whether in songs or in instrumental movements or in choruses^_ji__pitcc- of 
 music sufficiently long and combining variety with unity. ^Length, varietv', 
 and unity — to attain these is, so far as instrumental music, music without 
 words, is concerned, the whole aim and object of Form. When once music 
 is used in association with words, other than the simplest lyrics, other con- 
 siderations enter. These we will touch upon later ; let us for the present 
 try to get as far as the first instrumental music written in anything approach- 
 ing regular Form. Naturally this grew out of the„_polyphonic vocaLjn^c, 
 which came before it. If we examine the old music, in a great deal of it 
 we find nothing corresponding to Form as we understand the word to-day. 
 A phrase is delivered bv one voice. Let us call that phrase A ; it may be 
 two, four, or six bars, or indeed any length. After the firstly oic e has sung 
 it a second voice takes it up, while the first voice proceeds to a second jhsjne 
 or stTain which we will cajl^^ — a third voice enters with A, the second tajtes 
 up B, while the first proceeds to yet another new strain, C^ Roughly, this 
 is the way in which whole movements are spun out. The modulations are 
 more or less haphazard and dictated entirely by the composer's desire to 
 achieve expression : there is nothing done in obedience to any rule. The 
 first instrumental pieces are built after this plan, ^j These pieces may be 
 compared to the harmless amceba, the tiny speck of protoplasm which swims 
 about, sans eyes, ears, mouth or limbs : simply a shapeless bit of life capable 
 of existing, so long as it remains small. But even the older composers were 
 not content to let their musical creations remain small. They wanted to 
 display their skill in weaving a longer web of music ; some of them had 
 something to say, something which demanded length ; most of them had the 
 architectonical instinct which forces man to build out of any material he can 
 lay his hands on. Now a 1 o^ng movement, a too long movement, spun on 
 the old plan necessarily becomes tedious, monotonous and difficult to follow — 
 it is at best like a very long sentence or paragraph with never a comma or a 
 
DICTIONARY OF TERMS 135 
 
 period. Moreover, if the music is all the same, if it is homogeneous, it is 
 obvious that one of the principal methods, of getting expression, contrast, is 
 ruled out. Last, no musical architecture is possible with a mere series of 
 musical phrases that can only be compared with a lot of strips of wood more 
 or less carelessly nailed together. So gradually the principle of the popular 
 song already referred to was adopted, probably, nay, certainly, quite uncon- 
 sciously, and there was evolved a very simple and useful Form, one which 
 has been vastly used by all composers and will doubtless be used constantly 
 in the future, however music may develop. ^\ln place of the one strain of 
 the simple song one section consisting of many strains was introduced. Fol- 
 lowing that, in a new key, for the sake of variety, came a second section, 
 also consisting of many strains. Finally the first section was repeated in the 
 original key, bringing the whole movement to a satisfying conclusion. Of 
 this form there are hundreds of examples in the shorter movements of Haydn, 
 Mozart and Beethoven. When a more modern composer uses it, however, 
 he by no means sticks to a couple of keys. Our sense of tonality has grown, 
 we perceive relations between keys, which our forefathers were totally unable 
 to perceive ; and the first and second sections may both pass through many 
 keys. But the general principle remains the same. Now this very excel- 
 lent Form is also very primitive. In Haydn's time, and before it, the in- 
 stinct to build, to crystallise, music was still at work ; more than ever com- 
 posers wanted to express something ; and more than ever it was necessary to 
 secure contrast. ^So what is commonly called sonata form came to be 
 invented. In the simplest examples of this a first t hemg — corresponding to 
 the first strain of a popular song, as aforesaid — is^jinnounced. Then comes 
 the s econd theme in.a/resh key. But after that, instead of a repetition of 
 the first section, there is what is called a development or working-out section, 
 in which both first and second themes are treated with all the skill and fancy 
 the composer possesses and shown in a dozen or more unsuspected lights. 
 Only after that does the first th eme xelurn, and then the second theme. 
 This is called the Reprise . But the second theme, if repeated in the key in 
 which it first appeared, would of course end the work inconclusively: where- 
 fore it is placed, on its last appearance, in the key of the first theme. ^The 
 ingenious reader will observe that if variety is obtained only by change of 
 key then there would be no more variety from the beginning of what is called 
 the reprise. Nor, for that matter, is the mere change from the original key 
 to that of the dominant enough to produce any great variety. The second 
 theme therefore is made as unlike the first in every respect as possible : if the 
 first is bold and rugged, the second may be gentle and soothing ; if the first 
 moves rapidly, the second may be long drawn out ; if rhythm is strongly 
 marked in the first, the second is in a more subtle and elusive rhythm — in 
 fact contrast is seciired by any of the thousand ways open to the composer. 
 
136 THE MUSICAL GUIDE 
 
 and quite easily understood when heard, though anything but easy to de- 
 scribe. ^Now if we take a symphonic movement of Mozart we find a first 
 theme of marked character ; after its delivery (and perhaps brief expansion) 
 all the orchestra goes to work at a cadence in a hammer-and--toiigs_fashion 
 and lets you know unmistakably that you have reached the end of a section. 
 Then the second theme is announced, clearly. Then we have " develop- 
 ment ' ' in which the old tunes are turned into new ones as unlike the old as 
 possible, yet obviously growing out of them. Finally we have the reprise, 
 and then the cpda, a few bars in the case of Haydn and Mozart stuck on to 
 make an effective conclusion. ^This is simple sonata form. There was an 
 enormous lot of waste in it : those thumping conventional series of chords at 
 the end of each section, for example, never mean and never did mean any- 
 thing. At the time they were written the tendency to formulate music, to 
 get conscious control of the material of music, was at its strongest ; one of 
 the most powerful desires of Mozart and Haydn was to make their form as 
 clear and distinct as possible ; and to that everything else was, in an emer- 
 gency, sacrificed. In fact, composers of that time seem to have felt as keen a 
 pleasure in the mere regularity and balance of the various parts of movements 
 as in the poetic and sheer musical quality of the parts, even when the balance 
 was secured by the introduction of conventional padding altogether at war 
 with beauty and expression, quite destructive of both. ^With Beethoven 
 came a change. His music must at first have been very difficult to under- 
 stand, for instead of the trumpet and drum passages marking the close of the 
 different sections, one section leads straight into another by means of passages 
 of as high musical and poetic quality as any other portions of his movements. 
 Further, he went in for third themes following the second (the second and 
 third being so proportioned as to balance the first), and he mightily extended 
 the coda. Instead of a few noisy bars to end up each movement he started 
 out and developed his theme in new ways, thus adding a fourth main section 
 to the three existing before his time — the first, in which the themes are an- 
 nounced ; the second, in which they are developed ; the third, in which 
 they are repeated. This was an inevitable corollary of the enormous increase 
 he made in the size of the forms he used. After such huge themes, such 
 lengthy developments, a few chords were not sufficient to wind up ; a tail 
 was needed by the symphonic movement before it could be felt to be satis- 
 factory, just as much as a tail is needed by a kite before it will ascend. 
 •[[Let us pause for a moment to sum up. In the early days music had form 
 as a flower or a blade of grass has form ; each piece grew more or less by 
 haphazard into some shape, starting from its one theme. The utmost that 
 could be done in that way was done by Bach in his fiigues. But the fiigue 
 itself was the result of the tendency to formulate music, to press it into the 
 bonds of strict rule, to get a conscious mastery of the material. That ten- 
 
DICTIONARY OF TERMS 137 
 
 dency, together with the desire to express more complex emotions and the 
 natural instinct of man to build, resulted in certain clearly defined forms, with 
 hard outlines, so to speak. Beethoven came and softened the outlines, hiding 
 the bones of music, as it were, under a beautiful expressive veil of tone. 
 The form is there just the same, and can easily be grasped by anyone who 
 takes the trouble to listen careflilly. The fact that for the sake of expression, 
 he prodigiously varied his themes on their repetition, does not alter the fact 
 that they are repeated in a satisfying way. The reader who can follow the 
 form of say the first movement of the Eroica symphony (a symphony being 
 only an orchestral sonata) understands not only the abstract principles of 
 form but the manner of applying those principles to the concrete. TJThe 
 results of these applications are various forms — the Rondo, the Minuet and 
 so on : all are based on one of the two plans ; in short pieces one theme is 
 used, set forth and finished with ; in longer pieces variety and unity are se- 
 cured by two or three (or even more) themes of different character placed 
 in different keys. The mere setting of themes one after another can always 
 secure variety of a kind ; but whether there is at the same time unity depends 
 entirely upon whether the composer is or is not an artist. There is no rule 
 for that : only genius can solve the problem. So much then for pure music. 
 ^The application of the principles may be widened in a thousand ways ; 
 ten themes may be used instead of two or three or four, the order and rela- 
 tion of the keys used may be altered and added to ; but the principles remain' 
 the same. ^But when music ceases to be pure music, when words are 
 added to it, or it is intended to tell a story, then these principles can no 
 longer be applied — or rather, there is no longer any need to apply them. 
 Instead of following the architectonical faculty, the composer must follow the 
 dictates of the dramatic or lyrical faculty. The number, character, mode of 
 development, etc. , of the themes is derived from the thing to be conveyed to 
 the listener ; and then we get what is called Programme music. But just as 
 in a fine novel the writer reveals architectonical sense, so in a really fine piece 
 of Programme it is revealed. There is very little difference in form, for 
 example — at any rate no essential difference — between a Bach Hague and the 
 Valkyries' Ride of Wagner ; the themes are stated and developed in a certain 
 order, and all one's faculties are satisfied — the emotions, the sense of pure 
 beauty in melody and harmony, the architectonical sense, the intellectual 
 appreciation of right handling of the material. ^Whether music is pure 
 music or Programme music, it must satisfy all these. And though, in the 
 future, we may use quarters and eighths of tones, and though we may arrive 
 at complexities unknown to-day and be able to express subtleties of feelings 
 as yet never felt, the principles by which our feelings are expressed in noble 
 and beautiful Form cannot but remain the same. 
 
■38 
 
 THE MUSICAL GUIDE 
 
 formare il tuono. Vide messa di 
 vocp:. 
 
 formula. A word respectfully submit- 
 ted by the editor to obviate the loose 
 use of " sonata-form," which is em- 
 ployed both of a movement and a 
 group of movements — both for the 
 part and the whole ; by speaking of 
 the dual-theme movement as written 
 in the sonata formula and the group 
 of formulas, largo, rondo, etc., as in 
 the sonata-yb^-w much ambiguity will 
 be avoided. 
 
 fort, G. Off (of an organ-stop). 
 
 fort (for), forte (fort), F. i. Loud. 
 2. Temps f. Strong beat. 
 
 fortbien (forb-yih), F. A modification 
 of the o'd fortepiano, by Friederici, 
 1758. 
 
 forte (for'-te), /. i. Loud. (Abbr. f.) 
 f. possibile. As loud as possible. 
 piii f. Louder, poco f. Rather 
 loud. f. piano. (Abbr. fp.) Loud, 
 then immediately soft, fortamen'te. 
 Loudly. 
 
 fortement (fort-mah), F. Loudly. 
 
 forte-piano. i. Vide pianoforte. 
 2. Loud ! then soft ! 
 
 fortezza (for'-ted'-za). Force. 
 
 fortiss. Abbr. oi fortissimo. 
 
 fortissimo (for-tes'-sr-mo), /. Very 
 loud, fortissis simo. Double super- 
 lative of forte, f. quanto possibile 
 (kwan'-to p6s-se -bt-le). As loud as 
 possible. 
 
 Fortriicken(f6rt'-ruken), G. The ad- 
 vance of the hand (as in ascending 
 figuration) with the same finger- 
 ing. 
 
 Fortschreitung (fort'shrl-toongk), G. 
 Progression. F. einer Dissonanz. 
 Resolution. fortschreiten. To 
 progress. 
 
 Forts itzunj (fort'zet-zoongk), G. 
 Contiiuatioi, development. 
 
 forza (for'-tsa), /. Force, power. 
 forzaado, forzato (for-tsa'-to). 
 Forced, sharpiv emphasized (marked 
 V A >). fo-zare (for-tsa -rSl. To 
 strengthen, f. la voce (la vd'chS). 
 To force the voice. 
 
 foundation-stop. Vide stop. 
 
 fourchette tonique (foor-shet tofi-ek), 
 
 F. Tuning-fork. 
 
 fourniture (foor-nl-tur), F. A mixture- 
 stop. 
 
 four-part. Written for four parts. 
 
 fourth. I. The fourth tone of a scale, 
 the subdominant. 2. An interval 
 containing four tones, the extremes 
 included, as d-g, the ratio being 3 : 4. 
 Fourths are perfect and iinperfect 
 rather than major or minor. An 
 augmented {superjitious, extreme, 
 sharp or pluperfect) fourth is one 
 whose upper tone has been raised a 
 half-step, or its lower lowered. A 
 diminished {imperfect, false, minor 
 or defective) fourth one whose upper 
 tone has been lowered half a step or its 
 lower raised (cf. fifth). Chord of 
 the second and fourth, chord of 
 the 3d, 4th, and 6th, chord of 
 the 4th and 6th. Vide chord. 
 four-three, four-two. Vide chord. 
 f. flute, f. shift. Vide flute and 
 
 SHIFT. 
 
 fp. Abbr. Vide forte (2). 
 
 frangais (frah-se'), fran§aise (fran- 
 sez), F. I. French. 2. A country- 
 dance in 3-4 time. 
 
 francamen'te, /. Frankly, boldly. 
 
 franchezza (fran-ked-za), /., fran- 
 chise (frah-shez), F. Boldness, 
 frankness. 
 
 franzese (fran-tsa'ze), /., franzosisch 
 (fran-tsa-zlsh), G. " French ; " in 
 French style. Franzton (frantston), 
 
 G. French pitch. 
 
 frappe (frap), F. A manner of beat- 
 ing time with force, frapp^ (frip- 
 pa). The down-beat. 
 
 frapper (frap-pa), F. To strike ; to 
 beat time. 
 
 frase (fra'-ze) (pi. i), /. A phrase, fr. 
 larga. With broad phrasing, fra- 
 se j^iare (fra-zed-jar're). To phrase. 
 
 Frauenstimme (frow'-en-shtlm'mS), 
 G. Female voice. 
 
 freddo (fred'-do), freddamen'te, /. 
 Cold(ly). freddezza (fred-ded'za). 
 Coldness. 
 
 fredon (fru-doh), F. A trill, or other 
 ornament, fredonnement (fru-dun- 
 
DICTIONARY OF TERMS 139 
 
 man). Humming, trilling. fre- 
 donner (fru-dun-na). To trill, also 
 to hum. 
 
 free. Unrestrained, not according to 
 strict rule, as f. composition, or 
 style. f. fugue. Vide fugue, f. 
 reed. Vide keed. f. part. An in- 
 dependent part added to fill up the 
 harmony of canon or fugue, f. chant. 
 A form of reciting the Psalms or Can- 
 ticles using a group of two chords for 
 each hemistich. Vide fret-free. 
 
 freemen's songs. Little compositions 
 for three or four voices, in use about 
 1600. 
 
 fregiare (fra-ja're), /. To adorn. 
 fregiatura (too' ra). An ornament. 
 
 frei (fri), G. Free. Freiheit (frl- 
 hit). License, f. Schreibart (shrTp'- 
 art). Free composition. 
 
 French horn. Vide horn. French 
 sixth. Vide altered. 
 
 French treble clef. The G on the 
 lowest line of the staff. 
 
 fresco (fres'-ko), /., frescamen te 
 Fresh(ly). 
 
 fret. One of the thin projecting ridges 
 across the neck of stringed instrs. 
 to divide the strings into differ- 
 ent lengths, thus producing different 
 pitches, on pressure, fretted and 
 fret-free. In the early precursors of 
 the piano, there were fewer strings 
 than keys, each string serving for 
 several notes, through the action of 
 tangents acting as frets. These were 
 called tied or fretted or gehunden. 
 Later instruments were given a string 
 to each note, and these were called 
 bundfrei, or ungebiinden or free or 
 fret-free. 
 
 frcteau, fretian, frestel, fretel (frii- 
 tel), fret^le, fretetel. A Pan's pipe. 
 
 fret'ta, /. Haste. 
 
 Freude (froi'-de), G. Joy, rejoicing. 
 Freudengesang. Song of joy. 
 freudi? (froi'dlkh). Joyfully. Freu- 
 digkeit (kit). Joyfulness. 
 
 fricassee (fre-kSs-sa), F. A dance with 
 pantomiTie in the i8th cent. In the 
 i6th cent, a part-song, each part hav- 
 ing different words. 
 
 Fries (fres), G. Purfling. 
 
 frisch (frish), G. Fresh, lively. 
 
 fris'ka (frish'-ka). The quick move- 
 ment in the Czardas, and the Hun- 
 garian Rhapsody. 
 
 frivolo (fre'v6-lo), /. Trifling, trashy. 
 
 frohlich (fra-llkh), G. Joyous, gay. 
 F.-keit (kit). Gayety. Frohgesang 
 (fro-khe-zang). Song of joy. 
 
 Frohnamt (fron'amt), G. High Mass. 
 
 Frontpfeife (front'-pfl-f^), G. Front 
 pipes of an organ. 
 
 Frosch (frosh), G. Nut (of a bow). 
 
 frottola (frot'-to-la), /. A i6th cen- 
 tury ballad. 
 
 Friihlingslied(fru'lings-let),G'. Spring- 
 song. 
 
 Fruhmesse (frU'mes-se), Friihstiick 
 (fru'shtiik), G. Matins. 
 
 F-Schlussel (ef-shliis'el), G. The F- 
 clef. 
 
 fuga (foo'-ga), L. and /. "A flight." 
 Vide fugue, f. ad quintam (octav- 
 am). Fugue (also canon) at the 5th (oc- 
 tave), f. aequalis motus (or recta). 
 In similar motion, the answer conform- 
 ing to the ascent and descent of the 
 subject, f. al contrario (or riverso 
 or roves'cio) or fuga contraria (or 
 per motum contrarium). One whose 
 answer is the subject inverted, f. 
 authentica. A fugue with an as- 
 cending subject. f. canonica (or 
 inconseguenza or perpetua or 
 totalis). A canon. f. compo- 
 sita (or inaequalis). One whose 
 subject moves by degrees, not by 
 leaps, as does f. incomposita f. del 
 tuono, /. A tonal fugue, opposed 
 to f. reale, a real fugue, f. dop- 
 pia, /. A double fugue, f. homopho'- 
 na. One whose answer is at the 
 unison, f. impro'pria (or irregu- 
 laris or sciolta or soluta). An ir- 
 regular free fugue, f. in contrario 
 tempo (or per ar'sin et the'sin). 
 One in which the accented notes of 
 the subject are the unaccented ofthe 
 answer, and vice versa, f. in nomine. 
 A fugue " in name only," i. e., a free 
 fugue, f. inversa. One in double 
 counterpoint and contrary motion. 
 
140 
 
 THE MUSICAL GUIDE 
 
 f. libera. One with free episodes, 
 opposed to f. ligata (or obbligata), 
 whose episodes are entirely derived. 
 f. mixta. One whose answer is 
 varied by augmentation, etc. f. par- 
 tialis (or periodica). One without 
 full and perpetual canonic imitation, 
 the usual fugue, f. per augmenta- 
 tionem (or diminutionem). One 
 whose answer is by augmentation 
 (diminution), f. per imitationem 
 interruptam. One whose answer is 
 broken by rests, etc. f. plagalis. One 
 with subjects descending below the 
 key-note. f. propria (or regularis). 
 One in regular form. f. reddita or 
 redita. One in which canonic pro- 
 gression occurs at the middle or end. 
 f. retrograda. One whose answer 
 is in r^/;'('^^'';'(7(/t' progression, f. retro- 
 grada per motum contrarium. One 
 whose answer is in contrarj' motion as 
 well as retrograde progression, f. 
 ricercata (ret-cher-ka-ta). A fugue 
 of the highest development. 
 fugara (foo-ga -ra), /. A 4- or 8-ft. 
 organ-stop. 
 
 fugato (foo-ga' -to), /. i. Freely in 
 the manner of fugue. 2. A passage 
 in such manner. 
 
 Fuge (foo'-khe), G. Fugue. F. gal- 
 ante (ga-lan'te), G. A free fugue in 
 chamber-music style. 
 
 fuggire la cadenza (food-je-re), /. To 
 writea deceptive cadence. 
 
 fughetta (foo'get'-ta), /. A short 
 fugue. 
 
 fugirt (foo-gert'), G. In fugue style ; 
 also used of the ranks of a mi.xture- 
 stop. 
 
 fugue {E. fug, in F. fug). See below. 
 counter f. One whose subjects move 
 in contrary directions, double f. A 
 fugue on two subjects, f. renvers^e 
 (rah-ver-sa), F. An inverted fugue. 
 strict f. One in which the fugal 
 form and its laws are strictly observed. 
 perpetual f. A canon, f. simple, F. 
 A fugue containing but a single sub- 
 ject, fugued (fiigd) or fuguing. In 
 fugue form, or loosely in fugue 
 manner, fuguist. A composer or 
 performer of fugues. Also vide 
 
 Fugue. 
 
 By Homer A. Norris. 
 
 A FUGUE is a comgosijion in which a theme, called the_j^^^££/, is 
 announced by^ne yoice^nd imitated by other voices. The word 
 comes from the Latin fuga (a flight), suggesting the thought of 
 one part starting alone after which the others enter in pursuit. A fugue may 
 be written for any number of voices, but we shall here discuss a four-voiced 
 fugue. •jThe subject is usually short and of such marked character as to fi_x 
 itself readily on the mind, and is usually so constructed as to admit of over- 
 lapping ; i.e., so that a second voice may enter without musical friction 
 before the first voice has completed the phrase. This overlapping process is 
 called stretto. ^jThe subject may be announced by any voice. At its 
 completion there comes a very short passage called codetta, after which a 
 second voice sings the subject-matter in another key. This is called the 
 answer. ^In the majority of fugues the answer is a transposition of the sub- 
 ject into the key a perfect fifth above the subject, so that subject and answer 
 correspond to the keys of tonic and dominant. Certain subjects instead of 
 
DICTIONARY OF TERMS 141 
 
 being reproduced literally are changed. Subjects which are changed are 
 known as tonal subjects ; subjects which remain unchanged are known as real 
 subjects. "fyWhile the second voice is singing the answer, the first voice 
 accompanies it, and usually in one of the forms of double counterpoint. It 
 is then intended for subsequent use. Such an accompanying part is called 
 counter-subject. •[[The answer is followed by another codetta, leading back 
 to the original key, where a third voice sings the subject, but in a different 
 octave than that in which the first voice announced it. The other voices 
 continue with contrapuntal accompaniment. Another codetta follows, leading 
 to a fourth voice which sings the answer in the dominant. The part of the 
 fugue that we have discussed is called the exposition. The exposition closes 
 the first of the three big divisions of the fugue. ^The exposition is followed 
 by the first episode. In the episode the composer has more freedom than in 
 any other portion of the fugue. New material may be presented ; briet 
 modulations to related keys introduced, together with free imitation. ^ After 
 the first episode comes the middle section. ^[Here the four voices again 
 present the subject-matter in somewhat the same order as in the first section 
 but in other keys. The principal keys are altogether avoided or only inci- 
 dentally touched. In this group often occur variations of the subject ; it 
 may be shortened or lengthened ; the answer may be presented in* contrary 
 motion, etc. ^In the third, and (usually) final section a return is made 
 to the original keys. Here the subject and answer are generally combined 
 in stretto. ^A strict fugue is one in which there are either no episodes, 
 or in which the episodic material is drawn entirely from the subject or counter- 
 subject. Nearly all the fugues in Bach's "Das Wohltemperirte Clavier" are 
 strict fiigues. ^[In zfree fugue the episodes are constructed of new material. 
 ^In a fugato passage one voice announces a theme, after which other voices 
 enter in free imitation. ^A fughetta is to a fiigue what a sonatina is to a 
 sonata : i.e., it is a little fugue. ^An academic fugue is the most elaborate, 
 artificial, and purely intellectual expression of musical art. 
 
 Fuhrer (fu-rer), C. i. Conductor. 2. full. For the voices or instrs. complete, 
 
 Subject of a fugue. 
 
 f. anthem. Vide anthem, f. band. 
 
 Fiill- (fll), (7. Filling. F.-flote. "Fill- A complete band or orchestra, f. 
 
 ing flute," a 4-ft. stop. F.-pfeife cadence or close. Vide cadence. 
 
 (pfi'fe). A dummy pipe. F.-quinte. f. chord. A complete chord ; m 
 
 A shrill quint-stop useful only in com- part-music, one in which all the parts 
 
 bination. F.-stelle. Padding. F.- join. f. score. Vide score. f. 
 
 stimme. i. A part used to fill out stop (on the lute). A chord usmg all 
 
 harmony. 2. A mutation-stop a 3d the fingers ; full chord followed by a 
 
 or 5th above normal pitch. 3. A pause, full choir (or great or swell), 
 
 part doubling another in the octave " Draw all the stops of the choir (or 
 
 or unison. great or swell) organ." full organ. 
 
142 
 
 THE MUSICAL GUIDE 
 
 "Draw all the stops and couplers." 
 f. service, i. One for the whole 
 choir. 2. An office using music as far 
 as permissible, f. orchestra. One 
 in which all the instrs. are employed. 
 
 fundamental, i. The root of a chord. 
 2. The generator of a series of par- 
 tials. f. position. Vide position. 
 f. tone. I. A generator of partials. 
 2. One of the three principal tones, 
 tonic, dominant or subdominant. f. 
 bass. Vide base. 
 
 Fundamentalbass (foon-da-men-tal'- 
 bas), G. Vide base. F.-ton. Fun- 
 damental tone. 
 
 funebre (fu-nebr), F., funebre (foo-na- 
 bre), /., funerale (foo-ne-ra'-le), /., 
 funereo (foo-na'-re-o), /. Funereal ; 
 mournful, marcia f. Funeral march. 
 
 funf (finf), G. Five, f.-fach. Five- 
 fold, in five ranks, of pipes, f.-stim- 
 mig. For five voices. f.-stufige. 
 Pentatonic. Fiinfte (flnf'-te). Fifth. 
 Fiinfzehnte (finf'tsan-te). Fif- 
 teenth. 
 
 funzioni (foon-tsT-o'ne), /. (pi.) Masses, 
 and other sacred music in the R. C. 
 Church. 
 
 fuoco (fo-o'ko), /. Fire, energ)-, pas- 
 sion, fuoco'so. Fier)'. 
 
 fiir (fur), G., preposition. For. 
 
 fureur (fli-rur), /"., furia (foo'-rl-ii), /. 
 Fury, passion. Furiant (foo'ri-ant), 
 C, furie (foo-re), F. A quick Bo- 
 hemian dance with irregular rhythm 
 and accent, furibon do, furioso, /. 
 Furious, mad. furieusement (fiir- 
 yuz-man), /"., furiosamen te, /. Fu- 
 riously, madly. 
 
 furlando (foor-lan'-do), furlano (foor- 
 la'-no), /. Forlana. 
 
 furniture stop. Vide stop. 
 
 furore (foo-ro'-re), /. Rage ; a great 
 success. 
 
 fu'sa, Z., fuse (fuz), F., Fusel (foo- 
 zel'), G. An eighth note. 
 
 fus6e (fii-za), F. A roulade or rapid 
 passage, a skip or slide. 
 
 fusel la, L. A 32d note, fusel'lala. 
 A 64th note. 
 
 Fuss (foos), pi. Fusse (fls-se), G. 
 Foot (q. v.). Fussklavier. The 
 
 pedals of an organ, fussig(fus-sikh), 
 G. Foot, as ^y-Z^j-j-/^, 8-foot. Fuss- 
 ton (foos-ton). Foot-tone, as Acht' 
 fusston, 8-foot tone. 
 
 fut (fut), F. Barrel (of a drum). 
 
 Fiitterung (fut'-ter-oongk), G. Lin- 
 ings. 
 
 Future, music of the. Vide zu- 
 
 KUNFTSMUSIK. 
 
 fz. Abbr. of Forzando. 
 
 GPron. in G. ga ; in F. and /. 
 sol(sulinv^., solin/.). i. A 
 musical pitch, a perfect fifth 
 above C ; all its octaves. 
 2. The major key having one sharp ; 
 the minor key relative to B flat major. 
 G clef. The treble clef. 
 g. Abbr. for main gauche, left hand, 
 or grand orgtte, full, or great-organ. 
 
 Gabel (gabel), G. A fork. G.-ton. 
 The fork-tone, a' used for tuning. 
 G.-grif fe. Cross-fingering. Stimra- 
 g. Tuning-fork. G.-klavier (ga- 
 b'1-kla-fer). A key-board instr. with 
 a scale of tuning-forks, and a sympa- 
 thetic fork an octave higher for each 
 tone ; inv. by Fischer & Fritzsch, 
 Leipzig, 1882. 
 
 gagliarda (gal-yar'da), /., Gagliarde 
 (giil-yar'-de), G. A galliard. 
 
 gagliardo (gal-yar'-do), gagliarda- 
 men te, I. Gayly. 
 
 gaillarde (gl-yard), F. i. Merrj'. 2. 
 A galliard. gaillardement (gl-yard- 
 mah). Merrily. 
 
 gaio (ga'I-6), 7. ' Gay. 
 
 gaita (ga-e-ta), Sp. i. Bagpipe. 2. 
 A flageolet, gaitero (ga-e-ta'-ro). 
 A player on the street-organ. 
 
 gajo (g'ii -yo), I. Gay. gajamen'te. 
 Gayly. 
 
 gala'(ga'la), /. Gala. dig. Gayly. 
 
 galamment (gal-a-mah), F., galan- 
 temente(te-men-te), /. Graciously. 
 
 galant(e) (ga-lah(t)), F., galante (ga- 
 lan -te), /. Graceful, gallant, gal- 
 anteraen'te, 7. Gallantly, galan- 
 tria (ga-lan-tre'-a), 7. Gallantry. 
 
 galant (ga-lant'), G. Free. G. Stil (or 
 
DICTIONARY OF TERMS 143 
 
 Schreibart). The free (as opp. to the 
 gebundener or strictly contrapuntal) 
 style of harpsichord composition in the 
 i8th century. Galanterien (ga-lan- 
 tare'-en). Ornaments in old harpsi- 
 chord music. Galanteriestiick (ga- 
 lan-t^-re'stuk). A piece in the orna- 
 mental style. 
 
 galliard (gal-yard), E. An old dance 
 similar to the Pavan. 
 
 gal op, E. (in F. gal-6), galopade 
 (gai-6-pad), /"., Galopp (ga-16p'), G„ 
 galop po, /. A hopping round- 
 dance in 2-4 time. 
 
 galoube (ga-loo-ba), galoubet (ga- 
 loo-ba'), F. A small fife with three 
 holes and range of 17 notes, found in 
 Provence. 
 
 gamba (gam'-ba), /., gambe (gamb), 
 F., Gambe (gam'-be). G. i. Leg; 
 hence, viol di g. Vide viola. 2. An 
 organ-stop ; the whole family of stops 
 named after stringed instrs. Gamben- 
 stimme. A gamba-stop. Gamben- 
 werk. A piano-violin. Gambabass. 
 A i6-ft. stop on the pedals. G. 
 major. A i6-ft. stop. Gambette 
 (gam-bet'-te), G. An octave gamba- 
 stop. Gambist'. A player on the 
 G. Gambviole (gamp-fe-6'le), G. 
 Viol di gamba. 
 
 gambeta (gam-ba-ta), Sp. An ancient 
 dance, a caper. 
 
 gam'ma, Gr., gamme (gSm), F. The 
 Greek G (T). i. The lowest note 
 (G) of the Aretinian scale. 2. The 
 name of that scale. 3. Scale gener- 
 ally. 4. Compass. 5. A clef for 
 the scale of G. g. chromatique 
 (descendante, montante). Chro- 
 matic (descending, ascending) scale. 
 gammes (gam). Scale-exercises. 
 
 Gamma ut or r ut. G, in the old solmi- 
 sation. 
 
 gamut. (From gamma ut.) i. The 
 scale of any key. 2. The staff. 3. 
 In old English church-music, the key 
 of G. gamut G. The G on the 
 first line of the bass staff. Guide's 
 g. The scale of two octaves and a 
 sixth introduced by Guido of Arezzo : 
 the tones called by name, ut, re, mi. 
 
 fa, sol, la, and written in the first 
 octave r (gamma) (the lowest tone) 
 A, B to G, in the second g-g ; and in 
 the upper sixth gg-dd. 
 
 ganascione (ga-na-sho'ne), /. A lute. 
 
 Gang (gang), G. i. Rate of movement. 
 2. A passage. 
 
 ganz (gants), G. Whole, all, very. 
 Ganzinstrumente. Those brass 
 instrs. of such width that they speak 
 the lowest sound natural to the tube, 
 i. e. , they reach the depth of an open 
 organ-pipe of equal length. Nar- 
 rower instrs. speak only the octave 
 above this natural tone and are called 
 Halbinstrumente. ganz langsam. 
 Very slowly, ganze Note (gan'tse 
 no'te). A whole note. ganzer 
 Ton (giin'-tser-ton). Ganzton. A 
 whole tone. Vide second, ganzes 
 Werk. The full organ. Ganz- 
 schluss. Final cadence, ganzver- 
 hallend (fer-hal'lent). Dying away 
 entirely. 
 
 garbo (gar'-bo), /. Grace, elegance. 
 garbato (ba'-to), garbatamen'te. 
 Graceful(ly). 
 
 garibo (ga-re'-bo), /. Dance, ball. 
 
 gariglione (ga-rel-yo'ne), /. Chime. 
 
 garnir (g^r-ner), F. To string a violin. 
 
 garrire (gar-re'rS), /. To chirp, war- 
 ble. 
 
 Gassenhauer (gas'-sen-hower), G. 
 Street-song, trash. Gassenhauer- 
 lin (len). Popular songs of the i6th 
 century. 
 
 Gastrollen (gast'rol-len), G. To go 
 "guesting," i. e., "starring." 
 
 gathering note. A pause on a final 
 note of recitation to give time for the 
 chorus to gather. 
 
 gauche (gosh), F. Left, main g. 
 (min). The left hand. 
 
 gaudente (ga-oo-d^n'-tg), gaudio'so, 
 gaudentemen'te, /. Joyful(ly). 
 
 Gaumenton (gow'-men-ton), G. Gut- 
 tural tone. 
 
 gavot', E., gavot'ta, /., gavotte 
 (ga-v6t), F. An old French dance 
 (named probably from the people of 
 Gap, called Gavots). It is in 4-4 
 time, strongly marked ; begins on the 
 
^44 
 
 THE MUSICAL GUIDE 
 
 weak half of a measure and ends on 
 the accented ; no notes smaller than 
 eighth notes occur. 
 
 gazel'. A piece with a brief constant 
 refrain. 
 
 gazzarra (gad-zar'-ra), /. A fete with 
 music and cannon. 
 
 G clef. The treble clef. 
 
 G-dur (ga-door), G. G major. 
 
 Geblase (ge-bla'-ze), G. Bellows. 
 
 gebrochen (ge-bro'-khen), G. Bro- 
 ken. 
 
 gebunden (ge-boon'den), G. i. Tied, 
 g. Dissonanz. A prepared (and tied) 
 dissonance, g. Spiel. Legato-play- 
 ing, g. Stil. Strict, connected style. 
 
 2. Vide FRETTED. 
 
 Geburtslied (ge-boorts'let), G. Birth- 
 day-song. 
 
 gedackt (ge-dakt'), gedeckt (ge-dekt'), 
 G. Stopped, of pipes. Gedackt- 
 stimmen. Stops with covered pipes. 
 G.-flote. Stopped flute, in an organ. 
 
 gedampft (ge-dempft), G. Muffled, 
 muted. 
 
 gedehnt (ge-dant), G. Lengthened, 
 slow. 
 
 Gefahrte (ge-far'-te), G. Answer (in 
 fugue). 
 
 Gefallen (ge-fal'len). Pleasure, nach 
 G. Ad libitum. 
 
 gefallig (ge-fal'llkh), G. rieasing(ly), 
 agreeably. 
 
 Gefiedel (ge-fe'del), G. Fiddling. 
 
 Gefiihl (ge-ful'), G. Feeling, expres- 
 sion, mit G. or gefiihlvoU. With 
 feeling. 
 
 gegen (ga'-khen), G. Against, con- 
 trary, contrasted with. G.-bewegung 
 (be-vakh'-oongk). Contrary motion. 
 G.-fuge. A fugue whose answer is 
 an inversion of the subject. G.-ge- 
 sang. Antiphony. G.-hall, G.- 
 schalL Resonance, echo. G.-har- 
 monie. Counter-subject in fugue. 
 Gegenpunkt (poonkt). Counter- 
 point. G.-satz. I. Contrast. 2. A 
 movement. G.-stimme. i. Coun- 
 ter-tenor or alto. 2. Counter-subject. 
 
 3. Any contrapuntal part, g.-stim- 
 mig. Dissonant. G.-subjekt. Coun- 
 ter-subject, in a fugue. 
 
 gegit tertes B. B. cancellatum, videB. 
 
 gehend (ga'-ent), G. Andante. 
 
 Gehorlehre (ge-har'-la-re), G. Acous- 
 tics, gehorspielen. To play by ear. 
 
 Geige (gi'-khe) (pi. en), G. Violin. 
 geigen (gl'-khen). To play on 
 the violin. G.-blatt. Finger-board 
 of a violin. G.-bogen (bo'khn). 
 Bow. G.-clavicymbel or G.-kla- 
 vier. Bow-piano. G.-futter (foot'- 
 ter). Case for a violin. G.-hals. 
 The neck of a violin. G.-harz 
 (harts). Resin. G.-holz (holts), G. 
 Wood used in making violins. G.- 
 macher (makh'-er). A violin-maker. 
 G.-principal. A diapason stop. G.- 
 saite. Violin-string. G.-sattel, G.- 
 steg (stakh). Bridge of a violin. G.- 
 schule. A violin method. G.-strich 
 (strlkh). A stroke of the bow. G.- 
 stuck. A comp. for the violin. G.- 
 werk. I. Piano-violin. 2. A 4-ft. 
 organ-stop. G.-'wirbel (ver'-bel). A 
 violin-peg. G.-zettel (tset'-tel). 
 The vioHn-maker's label. G.-zug. 
 A vioHn-stop. Geiger (gl'kher). Vio- 
 lin-player. 
 
 Geist (gist), Gr. Spirit, soul, mind, ge- 
 nius, g.-reich (rikh), g.-voll (fol). 
 Spiritual. Geisterharfe. /Eolian 
 harp. geistlich. Ecclesiastical, 
 sacred. G.-gesange. Psalms, hymns. 
 
 Geklingel (ge-kllng'-el), G. Tinkling. 
 
 gekneipt (ge-knipt), G. Pizzicato. 
 
 gelassen (ge-las'-sen), G. Calm, quiet- 
 ly. G.-heit (hit). Tranquillity. 
 
 gelaufig (ge-lT'fIkh), G. Easy, rapid. 
 G.-keit (kit). Fluency, ease. 
 
 Gelaut (ge-lit), G. A peal. 
 
 gelinde (ge-!ln'-de), G. Soft, gentle. 
 Gelindigkeit. Sweetness. 
 
 gellen (gellen), G. To sound loudly. 
 G.-fiote, G. Clarinet. 
 
 Geltung (gel'-toongk), G. Value, pro- 
 portion (of a note). 
 
 gemachlich (ge-mekh'-likh), gemach- 
 sam (ge-makh'zam), G. Quiet(ly), 
 calm, slow. 
 
 gemahlig (ge-ma'lTkh), G. Gradually. 
 
 gemassig^ (gS-mes-sIkht), G. Mod- 
 erato. gemes'sen. Measured, mod- 
 erato. 
 
DICTIONARY OF TERMS 145 
 
 Gemisch (ge-niTsh'), G. Mixture (of 
 stops). 
 
 Gemshorn (gems'-horn), C. i. A pipe 
 made of a chamois horn. 2. A stop 
 with tapering pipes, 2, 4, 8-ft. on 
 the manuals, i6-ft. on the pedals. 
 G.-quinte. A quint-stop of this 
 class. 
 
 Gemiit(h) (ge-miit), G. Mind, soul. 
 gemiitlich (llkh). Expressive. 
 
 genera, plural of genus (q. v.). 
 
 general (ga-ne-ral'), G. General. G.- 
 bass (ga-ne-ral '-bas). Thorough- 
 bass. G.-b.-schrift. Thorough-bass 
 notation. G. -pause (po\v-ze). A 
 rest or pause for all the instrs. G.- 
 probe. A general rehearsal. 
 
 gen'erator, E. , gen6rateur (zha-na-ra- 
 tiir), /^ Root, fundamental. 
 
 genere (ja'-ne-re), /. i. A mode or key. 
 2. A genus. 
 
 genero'so (ja-ne-ro's6), /. Noble, dig- 
 nified. 
 
 genial'ia, Z. Cymbals. 
 
 g6nie (zha-ne), F., Genie (ga'-ne), G., 
 genio (ja-nT-o), /. Genius, talent, 
 spirit. 
 
 genouillfere (zhun-wt-yar), F. Knee- 
 lever. 
 
 genre (zhahr), F. r. Style, g. ex- 
 pressif. The expressive style. 2. 
 Genus, as g. chromatique, g. dia- 
 tonique, g. enharmonique. 
 
 gentil(le)(zhah-te(l)), /"., gentile (jen- 
 te'-le), /. Graceful, elegant, genti- 
 lezza (led'-za), /. Refinement of 
 style, gentilmen'te. Gracefully. 
 
 ge'nus, pi. genera, L. i. Greek clas- 
 sification of tetrachords. Vide modes. 
 2. A scale or mode. 3. Class, g. in- 
 flatile. Wind instrs. g. percussi- 
 bile. Instrs. of percussion, g. ten- 
 sile. Stringed instruments. 
 
 gerade (gg-ra-de), G. Straight, reg- 
 ular. G.-bewegung (be-va'khoong). 
 Similar motion. G.-taktart or ge- 
 rader Takt. Common time. 
 
 German. Vide fingering, flute. G. 
 pedals. Pedal key-board. G. scale. 
 A, H, C, D, E, F, G. (Vide h.) 
 G. sixth. Vide altered chords. 
 G. soprano clef. Vide clef. 
 
 Ges <ges), G. The note G flat. Ge- ! 
 
 ses (ges'-es). G double flat. ' 
 
 Gesang (ge-zang'), pi. Gesange 
 (zeng'e), G. Song, melody, air. G.- 
 buch (bookh). Song-book. G.- 
 kunst. Art of song. G.-(s)massig 
 (mes-sikh). Adapted for or congenial 
 to the voice. G.-sgruppe (groop-pe). 
 
 Song-group ; the second subject of a ' 
 sonata formula, which should be lyri- 
 cal in nature, g.-sweise (vl-ze). In 
 the style of song. G.-verein (fer- 
 Tn). A choral society. 
 
 Geschlecht (ge-shlekht'), G. Genus. \ 
 
 geschleift (ge-shllft'), G. Slurred, le- • 
 
 gato. : 
 
 Geschmack (ge-shmaks), G*. Taste. : 
 
 g.-voll. Tasteful. j 
 
 geschwanzte Noten (ge-shvSnts'tS 
 
 no'ten), G. Notes with tails. ', 
 
 geschwind _(ge-shvlnt), G. Quick, | 
 
 rapid. G.-igkeit (kit). Rapidity. | 
 
 Geschwindmarsch. A quick-step. i 
 
 Ges-dur (ges-door), C. Major. Geses '■ 
 
 (ges-es), G. G double fiat. i 
 
 Gesicht (ge-zTkht'), G. Face, front (of ' 
 an organ). G.-spfeifen. Front pipes. 
 
 Gesinge (g^-zlng'g), G. Bad sing- 
 
 ing, sing-song. ; 
 
 gesponnen (ge-shp6n'-nen),6^. Spun. j 
 gesponnene saite. Covered string. 
 
 gesponnener Ton. A tone drawn i 
 
 out to a mere thread. i 
 
 gesteigert (ge-shtl'-khert), C Cres- ; 
 
 cendo. \ 
 
 gestossen (ge-shtos'sen), G. Sepa- ■ 
 
 rated, detached. • 
 
 gestrichen (ge-strKkh'en), G. i. Hav- 
 ing hooks (as notes). 2. Having ; 
 lines or accents, as eing. Oktave, j 
 one-lined octave. Vide pitch. 3. ; 
 Crossed, as a numeral, raising the in- ■ 
 terval a half-tone. Vide chord. 4. 
 Cut, as a movement or scene. j 
 
 get'ern, get'ron. The cittern. 
 
 get(h)eilt (ge-tllt'), G. Divided. Vide j 
 
 divisi. g. Stimmen. Partial stops. \ 
 
 Geton (ge-tan), G. Clamour. \ 
 
 getragen (ge-tra'khen), G. Sustained. "' 
 
 getrost (ge-trost'), G. Confident. \ 
 
 gewichtig (ge-vlkh'-tikh). G. Heavy. I 
 
 gewidmet (ge-vet'-met), G. Dedicated. I 
 
146 
 
 THE MUSICAL GUIDE 
 
 Gewirbel (ge-ver'bel), G. Roll of 
 drums. 
 
 gewiss (ge-vis'), G. Firm, sure. G.- 
 heit (hit). Firmness. 
 
 geworfener Strich (ge-v6rf'-en-er 
 strlkh), G. A springing bow-stroke. 
 Vide BOW. 
 
 geziert (ge-tsert'), G. Affected, prim. 
 
 geyta'rah. Eastern guitar. 
 
 ghazel', Arab. A piece with simple 
 recurrent theme. 
 
 ghiribizzi (ge-rl-bed'-zl), /• Unex- 
 pected intervals, fantastic passages. 
 ghiribizzo so. Fantastic. 
 
 ghironda (ge-ron'-da), /. Hurdy- 
 gurdy. 
 
 ghit'tern. Old name for cittern. 
 
 gicheroso (je-ke-ro'-so), /. Merry. 
 
 giga (je'-ga), /., gigue (zheg), F., 
 Gigue (je'ge), G. i. Jig. 2. Old 
 form of viol, gighardo (je-gar'-do), 
 /. A jig. 
 
 gigelira (je-ge-ll'ra), /. Xylophone. 
 
 ging'larus, ging ras orgingri'na. A 
 small Phojnician flute. 
 
 gioco (j6'-k6), /. A joke, merriment. 
 giocoso, giocosamente. Jocose- 
 (ly). giochevole(j6-ka'v6-le). Merry. 
 giocolarmen'te. Merrily. 
 
 giocondo (j6-k6n'-d6), giocondatnen'- 
 te, /. Cheerful(ly). 
 
 gioja (j6'-ya), /. Joy. giojan'te, gio- 
 jo so, giojosamen'te. Joyful(ly). 
 
 gioviale (jo-vl-alg), /. Jovial, gio- 
 vialita (I-ta). Gayety. 
 
 giraffe (jl-rSf). An upright spinet. 
 
 giro (je'-ro), /. A turn. 
 
 Gis (ges), G. G sharp. Gisis (ges- 
 es). G double sharp. Gis-moll, G. 
 sharp minor. 
 
 gitana (he-ta'-na), Sp. A gipsy. 
 
 gittana (jlt-ta'-na), /. A Spanish 
 dance. 
 
 git tern, git'teron, git'tron. Cittern. 
 
 gitteth (jit'teth), Heb. An instr. of 
 the harp kind. 
 
 giubilazione (joo-bMa-tst-o'ne), giu- 
 bilio (joo-bMe'-6), giubilo (joo'bl- 
 16), /. Jubilation, giubbilo'so. Ju- 
 bilant. 
 
 giucante (joo-kan'-te), giuchevole 
 (joo-ka -v6-le), /. Merry, joyful. 
 
 giulivo (joo-le'vo), giulivamen'te, /. 
 
 Joyful(ly). 
 
 giuoco (joo-6'k6), /. I. A joke, sport. 
 2. A stop, giuoco'so, giuocan'te. 
 Playful. 
 
 giusto (joos'-to), /. Exact, precise, 
 proper. tempo g. Strict time. 
 allegro g. Rather fast, giusta- 
 men'te. Strictly. 
 
 given bass. A figured bass. 
 
 glais (gle), F. The passing-bell. g. 
 funfebre. A knell. 
 
 glanzend (glen'-tsent), G. Brilliant. 
 
 glapissant (gli-pls-sah), F. Shrill. 
 
 Glas harmonika, G. Vide harmonica. 
 
 glasses, musical. Goblets tuned by 
 partial filling with water and played 
 by rubbing their edges evenly with a 
 wet finger. 
 
 glatt (glat), G. Smooth, even. Glatte 
 (glet'te). Smoothness. 
 
 glee. An unaccompanied secular comp. 
 for three or more voices ; its mood may 
 be grave or gay, its counterpoint is 
 not usually elaborate. 
 
 gleich (glikh), G. Equal, alike 
 consonant, gleicher Klang. Con- 
 sonance, unison, gleicher Kontra- 
 punkt. Equal cpt. gleichschweb- 
 ende Temperatur (shva -ben-de). 
 Equal temperament, gleiche Stim- 
 men. Voices of the same sort, as 
 male, gleichstimmig (shtlm-mlkh). 
 Harmonious. 
 
 gleiten (gll'ten), G. To glide the fin- 
 gers. 
 
 gli (le), /. Pi. The. 
 
 glicibarifona (gle-che-ba rT-fo'-na), /. 
 A wind-instr. inv. by Catterini, 1827 ; 
 a small expressive organ. 
 
 glide. Portamento ; glissando. 
 
 Glied (glet), G. Link. 
 
 glissade (gUs-sSd), F., glissando, 
 glissato (glls-sa'to), glissican do, 
 glissicato (ka'to), /., glissement 
 (gles-man), F. Gliding, i. e., by slid- 
 ing the finger quickly along the keys 
 or the strings ; in piano-playing it 
 is done with the finger-nail usually. 
 glisser (glls-sa), /"., glitschen(gUt'- 
 shen), G. i. To glide. 2. An em- 
 bellishment executed by glissando. 
 
DICTIONARY OF TERMS 
 
 47 
 
 glissez la pouce (glls-sa la-poos), F. 
 Slide the thumb. 
 
 Glocke (glok'e), G. A bell. Glock- 
 engelaute (glokSn-ge-lI-te). The 
 ringing or chiming of bells. Glock'- 
 enist. Bell-ringer. G.-klang. The 
 sound of bells. G.-spiel. i. Chimes. 
 2. A stop imitating bells, or causing 
 them to tinkle. 3. An orchestral 
 instr. of bells or tuned steel rods 
 struck with a hammer. Glockchen 
 (glek'kh^n). A little bell, glock- 
 eln (glSk'-eln). To ring little bells. 
 Glockner (glok'ner). Bell-ringer. 
 Glockleinton (gl6k'-lTn-ton). An 
 organ-stop of very small scale and 
 wide measure. 
 
 Glo ria or Gloria in excel'sis Deo, Z. 
 " Glory to God in the highest," Vide 
 MASS and uoxology. 
 
 Gloria Pa'tri, L. " Glory to the 
 Father." Vide doxology. 
 
 glotte (glot), F. The glottis, coup de 
 g, (koo du). A short snappy attack 
 sought by some vocal teachers, but 
 generally believed to be pernicious. 
 
 glottis (glat'tis). I. The upper part 
 of the wind-pipe, an aperture in the 
 larynx controlling vocal production. 
 2. A reed used by ancient flutists. 
 
 gliihend (glii'ent), G. Ardent, glowing. 
 
 G-moll (ga-mol). G minor. 
 
 gnaccare (nak-ka -ra), /. Castanets. 
 
 gnacchera (nak-ka ra), /. A tambou- 
 rine, kettle-drum. 
 
 gnotno (no'-mo). In neumatic nota- 
 tion, a long bar used to indicate a 
 sustained note. 
 
 goathorn. Vide Gemshorn. 
 
 gola (go'la), /. I. Throat. 2. A gut- 
 tural voice. 
 
 goll trompo. Trumpet used by Danes, 
 Normans, etc. 
 
 Gondellied (gon'del-let), C, gondo- 
 liera (gon-dol-ya'ra), /., gondolier- 
 song. Song composed and sung by 
 the Venetian gondoliers ; barcarolle. 
 2. Music in the same style. 
 
 gon'dolin. An instr. of the zither- 
 class with four octaves of strings and 
 one octave of piano-keys above them. 
 The pressure of one key submits 
 one tone in all its octaves to the 
 sweep of the plectrum. Chords can 
 thus be played in different posi- 
 tions. 
 
 gong. A Chinese instr., a circular 
 plate of metal struck with a padded 
 stick. Also called tam-tam. 
 
 goose. A squawk accidentally occur- 
 ring in the tone of an oboe or other 
 reed instrument. 
 
 gorgheggiare (gor-ged-ja're), /. To 
 trili, shake. gorgheggiamen'to. 
 Trilling ; the art of florid song, gor- 
 gheggio (ged'jo). A trill, a shake. 
 gorgheggi. Rapid vocalises. 
 
 gos'ba. An Arabian flute. 
 
 gospel side. Vide epistle side. 
 
 go'to. Japanese dulcimer. 
 
 Gottesdienst (got'tes-denst), G. Di- 
 
 vme service. 
 
 gout (goo), F. Taste, judgment. 
 governing key. Principal key. 
 Grabgesang (grap'-ge-zang), G. 
 (let), G. Dirge. 
 
 lied 
 
 Grace. 
 
 By the Editor. 
 
 ONE of the innumerable decorative details of melodic progression. 
 Grace notes are musical parasites borrowing their entire sustenance 
 and duration from the note to which they are tied by a slur. They 
 arc consequently vitally affected by the rapidity of the tempo. They are 
 almost invariably written small, and are frequently abbreviated, or indicated 
 by some form of musical shorthand. It is to be noted in playing old music 
 that the appoggiatura was written small merely as a bit of academic hypocrisy 
 
148 THE MUSICAL GUIDE 
 
 Modern Graces. 
 
 Acciacatura, or Short Appog- 
 
 giatura, I. and E. Kurzer Vor- 
 
 schlag or Zusammenschlag G. 
 
 Pince etoufEe, F. (Sometimes „ ^ , 
 
 struck simultaneously and in- Long Appoggiatura. Langer Vorschlag or \ orhalt. 
 
 stantly released.) (Written small but taking its full value.) 
 
 Played. 
 
 Unaccented Appoggiatura, or 
 Double Appoggiatura, or Slide, E. Anschlag, or After-beat. Nachschlag or Nach- 
 
 Schleifer, or Schneller. G. schleifer. (Also double N.) 
 
 Played. C ^ j^-f 
 
 Shake, or Trill, E. Trillo, I. Trille, F. Triller, G. [Old abbreviations, A +, ('^, (/ 
 '**' etc ] (The length of the trill varies with the'leugth of the note and the tempo.) 
 
 Begun on the Begun on the With After- ^^.^ chromatic sign. 
 principal. auxiliary. beat. ^ 
 
 Played. ^^=^^ffffffJ^^fff^r^ ^ ^^^ ^^^ 
 
 Chain of Trills, E. Catena di trilH, I. Trillerkette, G.. (May be with or without the 
 afterbeat, at discretion.) 
 
 Written. E^_ 
 
DICTIONARY OF TERMS 149 
 
 The Passing Shake, or Inverted Mor- 
 dent. Praller, Pralltriller, or Schnell- 
 
 er, G. Pince renverse, or mordant, F. or '.] 
 
 Played. 
 
 The Mordent, E. 
 Mordent or Beis- 
 ser, G. Pince, F. The Double Mordent (dop- 
 
 [Old signs, ♦!♦, pelteM; pince double). Giveu 
 
 here with a chromatic. 
 
 The Turn, E. Doppelschlag, G. Groupe, F. Gruppetto, I 
 «• or 2, now used for back-turn, 
 (a) With sign over the note, ib) With sign following a note. 
 
 Played. 
 
 [Sign, >j or ~, formerly 
 
 Played. 
 
 Old Graces. 
 
 {Those used in Bach's ivorks from his oivn explanation^ 
 
 Trillo and Double or 
 
 Trillo. Mordant. Mordant. Cadence. Doppelt Cadence. 
 
 ' 
 
 Written. 
 
 Played. 
 
 Doppelt Doppelt Cadence Doppelt Cadence Doppelt Cadence 
 Cadence. and Mordant. and Mordant. and Mordant. 
 
 Played. 
 
150 
 
 THE MUSICAL GUIDE 
 
 Accent Accent 
 
 steigend fallend Accent and 
 (ascenaing).(descending). Mordant. Accent and Trillo. Accent and Trillo. 
 
 a}v 
 
 
 P,a,.d. l^S^ilie^^iEl^^ifeg^ 
 
 From Couperin's List (1713) 
 Pince simple. Pince double. 
 
 Port de 
 voix simple. 
 
 Port de 
 voixcoule. 
 
 Played. I (»l7->^^ 
 
 Port de voix Tremblement ap- 
 
 double. puyc et lie. Tremblement ouvert. 
 
 ^^^m 
 
 ^^^^m 
 
 Played, bzz: 
 
 T=^- 
 
 i 
 
 Tremblement lie sans 
 Tremblement firme etre appuye. Tremblement detache. 
 
 Written, t — -^ — -"^=p-_>a- 
 
 ^^^iplii^^^lifi 
 
 Played. 
 
 Arpegement Arpegement 
 Accent. en montant. en descendant. Pince diese. Pinces bemoUises. 
 
 Written.i|l^S^^^61ill^gll$^l:^i^ 
 
 -.ed. p^^MBaa-Egi 
 
DICTIONARY OF TERMS 151 
 
 Pince continu. 
 
 .lg^=^ 
 
 Tremblement continu. 
 
 E — py-g:^.».!* ,,-b:. f . r , e .-r-i^-.B-^^'^=^~s:r^T^J':^:^^r^m^^^ 
 
 Coules, dont les points marquent 
 que la seconde note de chaque Tierce coulee Tierce coulee 
 temps doit etre plus appuye. en montant. en descendant. Double. 
 
 Written. \_ i ^._^ ^=^^r^-* (frz ^^Er^^z 
 
 (Slurs whose dots indicate that the second note 
 of each beat should be more dwelt upon.) 
 
 Played. 
 
 i^kn^^l^i^i^i^ 
 
 From Rameaii's List. 
 Cadence. Cadence appuyee. Double Cadence. 
 
 Played. ^^^^gE 
 
 Port de voix. Coules. 
 
 L*;^C:g:^g^=j=^j:g^:g^-^Eg 
 
 S3 
 
 Played. 
 
 Son Suspen- 
 Pince et port de voix. coupe. sion. 
 
P THE MUSICAL GUIDE 
 
 Arp^gement simple. Arpegement figure. 
 
 Played, t^^ 
 
 L ffe^p^ i^fe^ijiii^ 
 
 Cadence liee. 
 
 Played. 
 
 Additional Graces {Obsolete). 
 
 Accents. 
 
 A 
 
 Acciaccaturas. Appoggiaturas. Backfalls. 
 
 \:^_ I _ 1 . 
 
 Played. 
 
 w^^ 
 
 Backfall. Double Backfall. Shaked Backfall. Balancement. 
 
 Played. 
 
 ill. Shaked Cadent. Chute. Chute et Pince. 
 
 ^^^?^e: 
 
 m 
 
 Played. 
 
 lii^^^^p^lB^^ 
 

 DICTIONARY OF TERMS 153 
 
 ry ,. r. t-1 4..»™ Geschnellter Dop- Prallender D. 
 
 Coule. Double sur une tierce, p^j schlag. ~ 
 
 ^"^-"=^=^^ ^^^^^8=^^51^ 
 
 Shaked Elevation, 
 
 Martellement 
 simple. 
 
 Played. 
 
 F=^l I I ' I |--t 
 Played, h— si ; J J r ^^— 
 
 
 Slides. Springer. Plain Beat, Shaked Beat, 
 
 or 
 
 Played. 
 
 Passing Shake, Beat, 
 
 Trill with Trill without 
 
 Appoggiatura, After-beat. 
 
 A- SI 
 
 :„.,,, ^^^^^ii^^^li^^^i^^^ 
 
 I 
 
54 
 
 THE MUSICAL GUIDE 
 
 to smuggle in thus an unprepared suspension. Though written small it was 
 given one-half (sometimes only a third) the value of the note it was bound 
 to, and two-thirds of the value if the note were dotted. ^The Chart 
 gives first the modern graces, as written and executed, then a series of old 
 graces made up from Bach's own list, and from those of Couperin and 
 Rameau. •{Composers who desire to escape the wide diversity of interpre- 
 tation put on all grace-abbreviations are coming, more and more, to write 
 their ornaments out in full, a procedure for which there is every reason but 
 the one of laziness. 
 
 Grad (grat), 6". Step, degree. 
 
 gradare (da' re), /. To descend by de- 
 grees. 
 
 gradation. A series of diatonic chords 
 ascending or descending. 
 
 gradation (gradas-yoh), F., gradazi- 
 one (gra-da-tsl-6'ne), /. A gradual 
 increase or diminution of speed or 
 volume. 
 
 gradevole (gra-da'-v6-le), g^adevole- 
 men'te, /. Graceful(ly). gradita- 
 men'te, graditis'simo'. Very sweet- 
 ly- 
 
 gradire (gra-de'-re), /. To ascend by 
 degrees. 
 
 Gradleiter (grat'-li-ter), G. A scale. 
 
 grade (gra -do), /. A degree ; single 
 step. g. ascendente (or descen- 
 dente). Ascending (or descending) 
 degree, di grado. Moving by step, 
 opposed to di salto, moving by skip. 
 
 grad ual, E., gradua'le, Z. i. Part 
 of the R. C. servnce sung between the 
 Epistle and Gospel, anciently sung on 
 the altar-steps. 2. A book contain- 
 ing the gradual and other antiphons. 
 The Roman G or Graduale Roma- 
 num. A celebrated ancient volume 
 of ritual music of the i6th century. 
 3. gradual modulation. That in 
 which the principal modulating chord 
 is reached by others. 
 
 gradualmen'te, graduatamen'te, /., 
 graduellement (grad u-el-man), F. 
 By degrees. 
 
 graduare (gra-doo-a're), /. To divide 
 into degrees, graduazione, /. Vide 
 GRADAZiONE. gradwcisc (grat-vl- 
 ze), G. Gradually, by degrees. 
 
 gra'dus ad Parnas'sum, L. "The 
 road to Parnassus." Name applied 
 by Fux to his text-book in counter- 
 point ; by Clementi to his book of 
 etudes ; hence, any text-book. 
 
 graha (gra' -ha), Hindu. The open- 
 ing tone of a song. 
 
 grail (gral). Early E. The Roman 
 gradual. 
 
 graillement (gr^-yu-mah), F. A 
 hoarse sound. 
 
 grammar. Rules of composition. 
 
 grammatical accent. Vide accent, 
 
 gran (gran), /. Great, grand, g. cassa 
 or tamburo. The great, or bass- 
 drum, g. prova. Final rehearsal. 
 
 grand. Abbr. of Grand piano. Vide 
 PIANO, g. action. The action of a 
 grand piano, grand opera. Seri- 
 ous opera in which there is no spoken 
 dialogue, g. stave. Vide staff, g. 
 choir. Union of all the reed-stops. 
 g. cornet. i6-ft. reed-stop. g. so- 
 nata. An extended sonata. 
 
 grand(e) (grah(d)), F., grande (gran'- 
 A€),I. Grand, great. g.barr6,/". Vide 
 BARRE. g. bourdon. A 32-ft. stop 
 on the pedal, g. chantre (shantr). 
 Precentor, g. choeur (kfir). Full 
 organ, all the stops, g. orgue (gran- 
 dorg). I. Great organ. 2. Full or- 
 gan, g. jeu. I. Full organ. 2. A 
 stop bringing all the stops of an har- 
 monium into play, g. messe. High 
 Mass. g. mesure a deux temps. 
 Duple time. g. orchestre (grah- 
 dor-kestr). Full orchestra. 
 
 grandeur (gran-dur), .F. i. Grandeur. 
 2. Width (of intervals). 
 
DICTIONARY OF TERMS 155 
 
 grandezza (gran-ded'-za), /. Grand- 
 eur. 
 
 grandiose, /. Noble, grandison- 
 an'te. Sonorous. 
 
 grandsire. Changes on 5 bells. Vide 
 DOUBLE (4). 
 
 granulate (gra-noo-la-to), /. Slightly 
 staccato. 
 
 grappa (grap'pa), /. Brace. 
 
 grasseyer (gras-su-ya), F. To pro- 
 nounce the r ox I thickly ; hence, 
 grasseyement (gras-yu-man), such 
 pronunciation. 
 
 Gra'tias ag'imus, L. " We give 
 thanks to Thee." Vide mass. 
 
 gratioso (gra'-tsi-6'so), /. Gracious. 
 
 grave (gra've in /. / in F. grSv). 
 I. Grave, deep, slow. 2. A slow 
 movement. grave harmonics. 
 Combinational tones, gravement 
 (grav-man), F. gravemente (gra-ve- 
 men'te), I. Gravely, gravezza (gra- 
 ved'-za), /. Gravity. 
 
 gravicembalo (gra-ve-cham'-ba-l6), /., 
 gravicem'bolo, /., gravecem'bal- 
 um, L. Harpsichord. 
 
 gra'vis, L. Heavy. Vide accentus 
 
 ECCLKSIASTICI. 
 
 gravisonan'te, /. Loud-sounding. 
 
 gravita (gra-vT-ta), /., Gravitat (gra- 
 fe-tat'), G., gravity (gri-vl-ta), F. 
 I. Solemnity. 2. Relative depth of a 
 tone. 
 
 grayle (gral). Early E. The " Ro- 
 man gradual." 
 
 grazia (grats'-ya), /., grazie (grats- 
 ya), G. Grace, elegance, grazios 
 (gra-tsl-as), C, grazio'so, /. Grace- 
 ful, graziosamen'te. Gracefully. 
 
 greater. Major (of a scale, sixth, or 
 third). 
 
 great octave. Vide pitch, ^reat 
 organ. Vide organ, great sixth. 
 A 6-5 chord with perfect 5th and ma- 
 jor 6th. 
 
 grec (grek),- F. Greek. Chorus a la 
 G. A chorus at the end of an act, as 
 in Greek tragedy. 
 
 Greek Modes and Music. Vide 
 
 MODES. 
 
 Gregorian, gregorianisch (gre-go-rT- 
 an-Ish), (?., gr6gori'ano (gra-go-rl- 
 
 a'no), /., gr^gorien (gra-go-rl-an), F. 
 Introduced or regulated by Pope 
 Gregory I. in the sixth century (vide 
 his name in the B. D.). Chiefly 
 used as a synonym for plain-chant. 
 Gevaert in his " Lesoriginesdu chant 
 lyrique," iSgo, has shown how little 
 reason there is for continuing the tra- 
 ditional view of St. Gregory as a 
 great innovator ; he may have been a 
 codifier of music. Much credit be- 
 longing to St. Ambrose has been 
 given to him ; he did not originate 
 the notation by letters (a-g), some- 
 times called the Gregorian letters. 
 The so-called Gregorian chant or 
 song is diatonic, without definite 
 rhythm (the words dictating the me- 
 tre) and keeping to the Church modes. 
 Of Gregorian chant, modes, tones, 
 etc. Vide plain-chant, and modes. 
 
 greifen (grl'-fen), G. To take, to 
 finger, to play ; to stop (of violin- 
 playing) ; to stretch. 
 
 grel (grel), G. Shrill. G.-heit (hit). 
 Sharpness. 
 
 grelot (grii-lo), F. A small bell. 
 
 Griff (grlf), G. Touch, manipulation, 
 fingering, stretch. G.-brett. Finger- 
 board. G.-loch (lokh). Hole (as of 
 a flute). G.-saite (zi-te). A stopped, 
 or melody, string as opposed to a 
 sympathetic string. 
 
 grillig (grtl'-llkh), G. Capricious. 
 
 gringotter (grafi-go-ta), F. To hum. 
 
 grisoller (gre-s6-la), F. To warble. 
 
 grob (grop), G. Coarse, deep, broad. 
 As a prefix (of organ-pipes); "of 
 broad scale." G.-gedackt. A 
 stopped diapason of full, rough tone. 
 
 grop po, groppet'to. Vide gruppo, 
 
 GKUPPETTO. 
 
 gros (gro), F. Great, g. tambour. 
 Great drum. 
 
 gros-fa (gro-fa). The old square nota- 
 tion. 
 
 gross (gros), G., grosse (gros), F. 
 Great, major, grosse caisse (gros 
 kes), F. The great drum. Grosse- 
 nazard, G. A stop a fifth above the 
 diapasons, grosse Oktave. The 
 great octave. Vide pitch, grosse 
 
56 
 
 THE MUSICAL GUIDE 
 
 Quinte, grosses Quintenbass. A 
 
 stop in the pedals, a fifth or twelfth 
 to the great bass, grosse Senate. 
 Grand sonata, grosses Principal. 
 A 32-ft. stop, grosses Terz. Ma- 
 jor third, grosse Tierce. Stop 
 producing the third or tenth above 
 the foundation-stops, grosse Trom- 
 mel. The great drum, grossge- 
 dackt (ge-dakt). Double-stopped 
 i6-ft. diapason. 
 grosso (gros'-so), /. Full, great, 
 
 grand. 
 Grossvatertanz (gros'fa-ter-tants), G. 
 " Grandfather's dance " ; an old-fash- 
 ioned dance. 
 grottes CO, /. Grotesque. 
 ground bass. Vide base (8). 
 group. I. A series of short notes tied, 
 or sung to one syllable. 2. A divis- 
 ion or run. 3. A set of instruments, 
 as the brass. 4. The arrangement of 
 parts in score. 
 Grund (groont), G. Ground, founda- 
 tion. G.-akkord. An uninverted 
 chord. G.-bass. Fundamental bass. 
 G.-lage. Fundamental position. G.- 
 ton. Root ; tonic. Fundamental of 
 a compound tone. G.-tonart. The 
 prevailing key. G,-stimme. The 
 bass part. 
 gruppo (groop'po), /. A group, for- 
 merly a trill, shake, or turn, grup- 
 petto. I. A small group. 2. A turn. 
 G-Schliissel (ga'-shlus-sel), G. The 
 
 G clef. Vide clef. 
 guaracha (gwa-ra'cha), Sp. A Span- 
 ish dance, with one part in triple and 
 one in 2-4 time, the dancer often 
 accompanying himself on the guitar. 
 guaranita (gwa-ra-ne'-ta), S/>. A small 
 
 guitar. 
 Guarnerius. Vide the B. D. 
 guddok (goo-dok), /(us. A 3-stringed 
 
 violin. 
 gue. An obsolete Shetland violin with 
 2 horsehair strings played 'cello- 
 fashion. 
 guerriero (goo-er-ri-a'-ro), /. Martial. 
 guet (ge), P. A trumpet flourish. 
 guia (ge'-a), Sp. Fugue ; conductor ; 
 leader. 
 
 guida (goo-e'-da), /. (a) Guide i, 2, 3. 
 (b) Vide PRESA. (c) Also, a tone 
 through which the voice glides in 
 singing an interval legato. 
 
 guide. I. Subject, of fugue. 2. An- 
 tecedent of imitation. 3. A direct. 
 
 guide (ged), J^. Guide i, 2. guide- 
 main (man). A chiroplast, inv. by 
 Kalkbrenner. 
 
 guidon (ge-doh), F. A direct. 
 
 Guido nian. Relating to Guido d'Arez- 
 zo. (Vide B. D.) G. hand. A diagram 
 on an outstretched left hand of the 
 Aretenian syllables. Vide SOLMISA- 
 
 TION. 
 
 guil'tern (gtl'-tern). Cither. 
 
 guimbard, guimbarde (gari-bar(d)), F. 
 A Jew's harp. 
 
 guion (ge'-6n), Sp. A repeat sign. 
 
 guitar, j5'., guitare (gl-tar), /"..guitar- 
 ra (ge-tarra), Sp., Guitarre (gl-tar'- 
 re), G. A modern form of the lute, 
 long-necked with frets ; six-stringed ; 
 compass E-a" (plus an octave of 
 harmonics). The accordature is E- 
 A-d-g-b-e' (or E-B-e-g-b-e'). Its 
 music is written an octave higher than 
 it sounds, g. d 'amour. Vide arpeg- 
 GiONE. g. lyre. A French si.x- 
 stringed instr. of lyre-shape. 
 
 guiterne (ge-tern), F. Ancient guitar. 
 
 gu'nibry. A 2-stringed guitar. 
 
 Gunst (goonst), G. Grace, tender- 
 ness. 
 
 guracho (goo-ra'-cho), Sp. Vide guar- 
 
 ACHA. 
 
 gusla (goosh'-la). Servian i-stringed 
 instr. with skin sound-board. 
 
 gusli, gussel. A Russian zither. 
 
 gusto (goos-to), I. Taste, expression. 
 gran g. The grand manner, gus- 
 toso (goos-toso), gustosamente. 
 Tasteful(ly). 
 
 G-Ut. Vide GAMMA UT. 
 
 gut. Strings made of entrails of sheep. 
 gut (goot), G. Good, gutdiinken 
 
 (dunk'en). At pleasure. guter 
 
 Takteil. Strong beat. 
 gutturale (goot-too-rale), guttural- 
 
 mente, /. Gutteral(ly). 
 gyta'rah. Nubian guitar, g. bar- 
 
 barych. The Berber guitar. 
 
DICTIONARY OF TERMS 157 
 
 H 
 
 H(In G. pron. ha). German 
 name for B-natural ; B be- 
 ing reserved for B flat. 
 h. Abbr. for horn, heel, 
 hand. 
 
 Habanera (a-ba-na'-ra), Sp. A dance 
 popular in Havana ; it is in 2-4 time 
 with the first eighth note dotted ; 
 syncopation and caprice play a large 
 part. Vide dance-rhythms. 
 
 Haberrohr (ha'-ber-ror), G. Shepherd's 
 flute. 
 
 Hackbrett (hak'-bret), G. Dulcimer. 
 
 halb(halp),C?. Half, lesser. halbeAp- 
 plikatur. Half-shift. Halb-bass, 
 -cello, or violine, A small double- 
 bass, 'cello or violin. H.-violon. A 
 small double-bass. halbgedackt 
 (ge-dakt). Half covered (of stops). 
 H.-instrumente. Vide ganzinstru- 
 MENTE. H.-kadenz or -schluss. 
 Half-cadence. H.-mond. Crescent. 
 H.-note. Half-note, or H.-taktnote. 
 Hand-note ; in horn-playing, a 
 stopped note. H.-orgel, or -werk. 
 An organ with no stops lower than 
 8-ft. pitch. H.-prinzipal. An obso- 
 lete 4-ft. stop. H.-riidenhorn. Vide 
 HIEFHORN. h.-stark. Mezzoforte. 
 H.-stimme. A half or partial stop. 
 H.-ton, or halber Ton. Semitone. 
 half-cadence or half-close. Vide 
 CADENCE. half-note. A minim. 
 half-note rest. A pause equal to a 
 half-note, half-shift. Vide shift. 
 half-step. The smallest interval 
 used, half-stop. Vide stop. 
 
 hal'il. Vide KHALiL. 
 
 Hall (hiil), G. Sound, clang, hallen 
 
 • (hal'len). To sound, to clang. Hall- 
 drommete (drom-ma-te) or -trom- 
 
 Jete. A powerful trumpet. 
 lelujah (hal-le-loo'ya), Heb. Al- 
 leluia. 
 hal'ling. Norwegian country-dance. 
 Halrapfeife (pfl'fe), G. Shepherd's 
 
 pipe. 
 Hals (hals), G. i. Neck (of a violin, 
 
 etc.). 2. Throat. 3. Stem. 
 Halt (halt), G. A pause, a hold. 
 
 Hammer (pron. in G. ham'mer). i . That 
 part of the mechanism of a piano 
 which strikes the strings and produces 
 the tone. 2. Mallet for playing the 
 dulcimer. 3. The striker of a bell. 
 tuning h. An instr. for tightening 
 the pegs of a piano or harp. Ham- 
 merklavier (kla-fer), G. The mod- 
 ern piano. 
 
 hanacca (ha-niik'-ka), /., hanaise 
 (a-nez), F., Hanakisch (ha-nii'-kish), 
 G. A rapid polonaise-like Moravian 
 dance in 3-4 time. 
 
 Hand, harmonic. Vide guidonian. 
 hand-guide. Chiroplast. h. -har- 
 monic. Accordeon. h.-horn. One 
 without valves or pistons, h. -organ. 
 A portable barrel organ (q. v.). h.- 
 note. In horn-playing, a stopped note. 
 
 Hand (hant), pi. Hande (hent'-e), G. 
 Hand. H.-bassl. An obsolete instr. 
 between viola and 'cello. H.-bildner 
 (or -leiter). A chiroplast. H.-lage. 
 Position of the hand. H.-stiicke. 
 Finger-exercises. H.-trommel. Tam- 
 bourine. 
 
 handle-piano. Vide barrel organ 2. 
 
 Harfe (har'-fe), G. A harp. Harfen 
 bass (har'fen-bass). A bass of 
 broken chords. Harfensaite. Harp- 
 string. Harfenspieler. Harpist. 
 Harfenett. Vide spitzharfe. Har- 
 feninstrumente. Instrs. whose 
 strings are plucked. H.-laute, Vide 
 dital. 
 
 Harke (har'-ke), G. Fork for ruling 
 staves. 
 
 Harmo'nia, L. Daughter of Mars 
 and Venus ; music in general. 
 
 Harmonic. As an adjective. Musical, 
 concordant ; relating to harmony (i. e., 
 to chords, etc. as opposed to melody) 
 and to the theory of music. h. 
 chord. A generator and its harmon- 
 ics. (Vide below.) h. curve. The 
 figure described by a string in vibra- 
 tion, h. figuration. Broken chords, 
 often with passing notes, h. hand. 
 Vide GUIDONIAN. h. mark. A 
 small circle over a note to be played 
 as an harmonic. h. note, tone, 
 vide the noun harmonic, h. scale. 
 
158 
 
 THE MUSICAL GUIDE 
 
 Theseriesofpartials( vide acoustics). 
 h. stop. A flute or reed stop having 
 its pipes pierced midway, so that the 
 harmonics predominate over the fun- 
 damental tone, hence h. flute and 
 h. reed. h. triad. Major triad. 
 h. trumpet. The sackbut. 
 As a noun (frequently used in the 
 plural). I. One of the many partial 
 tones that go to make up the com- 
 pound vibration we call tone, this 
 compound being called by the name 
 of its generator. (Vide acoustics.) 
 2. A vibrating string when lightly 
 touched at a nodal point (as that 
 of a half, 3d, 4th, or 5th, etc., of 
 the string's length) will vibrate in 
 divisions (2, 3, 4, or 5, etc.), each 
 division sounding the same tone 
 respectively an octave, a I2th, 15th or 
 17th, etc., higher than the string. 
 These produce a choir-like unison of 
 exquisite sweetness whose flutiness 
 has given them the name flageolet- 
 tones. These harmonics if produced 
 from an open string are called nat- 
 ural ; from a stopped string, arti- 
 ficial. Harmonics are called for by 
 the word flageolet or its abbr. fl. ; or 
 the \vox(\?>fla!itando,flauta/o, ox fltite, 
 or by a small circle (o) called the 
 harmonic-mark over the note to 
 be touched, or by writing a black 
 note indicating the open string, a 
 diamond-headed note above it show- 
 ing where the string is to be touched, 
 and a small note above to indicate 
 the actual sound. Grave Harmon- 
 ics. Combinational tones. " Prop- 
 erly speaking, the harmonics of any 
 compound tone are other compound 
 tones of which the primes are partials 
 of the original compound tone of 
 which they are said to be harmonics." 
 —A. J. Ei.Lis. 
 Harmon'ica. i. An arrangement by 
 Benj. Franklin of musical glasses in 
 a scale, on a spindle turned by a 
 treadle. The glasses were moistened 
 in a trough, and as they revolved 
 melodies and chords could be played. 
 F. called his device armonica. 2. 
 
 The mouth-harmonica or har- 
 monicon is a reed mouth-instr. pro- 
 ducing different tones when the 
 breath is inhaled and exhaled. 3. A , 
 delicate stop. Harmonica-athe- ' 
 risch (a'-ter-Tsh), G. A delicate mixt- 
 ure-stop, harmonichord. Vide 
 
 PIANO-VIOLIN. 
 
 harmonicello (chel'-lo). A 'cello-like 
 instr. with 15 strings (5 of them wire) 
 inv. by J. K. Bischoff, Nurnberg, 
 iSth century. 
 
 harmonici. Vide canonici. 
 
 harmon'icon. i. Vide harmonica. 2. 
 A keyed harmonica with flue-stop, inv. 
 by W. C. Muller. 3. An orchestrion. 
 
 harmoni-cor, F. A wind-instr. with 
 harmonium-like reeds in a clarinet-like 
 tube, inv. by Jaulin, Paris. 
 
 harmo'nicum. An improved bando- 
 nion ; virtually an accordeon worked 
 with treadles, inv. by Brendl and 
 Klosser, Saxony, 1893. 
 
 Harmonie (har-m5-ne'), G. i. Har- 
 mony. 2. A chord. 3. (a) The wind- 
 instruments collectively, or (b) music 
 for them, h.-eigen, Chordal ; appro- 
 priate or native to the harmony ; op- 
 posed to h.-fremd, foreign. H.-lehre 
 (la-re). Theory of music. H.-musik. 
 Vide harmonie 3. H.-trompete. A 
 trumpet employing stopped tones with 
 success. H.-verstandiger (fer-sht^n'- 
 dTkh'-r). A harmonist, harmoni- 
 ren (har-mo-ne'-ren). To harmonise. 
 harmo'nisch. Harmonious. 
 
 harmonist. One versed in the laws 
 of music. 
 
 harmonie (ar-mo-ne), F. i. Harmony. 
 2. Harmonics. harmonieux (ar- 
 mon-yu). Harmonious, harmoni- 
 eusement (yuz-man). Harmonious- 
 ly- 
 
 Harmo'nika, G. i. Accordeon. 2. 
 Concertina. H.-tone. Vide harmon- 
 ics. 
 
 Harmo'niker, G. Harmonici. 
 
 harmon'iphon. An instr. with key- 
 board, inv. 1837, by Panis, of Paris, to 
 supply the place of oboes in orches- 
 tras. The sounds are produced from 
 reeds acted upon by currents of air. 
 
 I 
 
DICTIONARY OF TERMS 159 
 
 harmonique (ar-mo-nek), F. Har- 
 monic, applied to pipes of double 
 length. 
 
 harmoniquement (ar-md-nek-man), F. 
 Harmonically. 
 
 harmo'nium. Vide reed-organ. 
 
 har'monise. To combine two or more 
 parts in accordance with the laws of 
 music ; to add accompanying chords 
 to a melody. 
 
 harmonom'eter. A monochord. 
 
 harmony, chromatic (or diatonic). 
 That characterised by chromatic (or 
 diatonic) progression, close h. That 
 in which the 3 highest parts do not 
 cover more than an octave ; opposed 
 to open, dispersed, or extended 
 h. compound h. That in which 
 some of the tones are doubled ; op- 
 
 posed to simple h. essential h. 
 
 (a) The fundamental chords of a key. 
 
 (b) The harmonic outline stripped of 
 embellishment, figured h. That in 
 which the chord progressions are em- 
 bellished variously ; opposed to plain 
 or natural h., the common triad. 
 forbidden h. A chord whose con- 
 struction or approach is contrary to 
 the rules of Harmony, suspended h. 
 That in which one or more notes is 
 suspended, pure h. (as of a string- 
 quintet). Opposed to tempered h,, 
 as of a piano. Vide temper.v 
 MENT. strict h. That which is rig- 
 idly obedient to the rules ; opposed 
 to free h. Two-part (etc.) h. 
 That in which two (or more) parts 
 appear. 
 
 Modern Harmony in Practice. 
 
 By a. J. Goodrich. 
 
 [Note. — Many of the terms touched upon here will be found treated in more detail under 
 their names. — £</.] 
 
 I 
 
 N its broader sense Harmony embraces the origin and classification of 
 chords, their rearrangement, inversion, and progression ; modulation, 
 resolution, transition, false relation, sequence, suspension, chromatic 
 harmonisation and other topics too numerous to mention here. Yet the 
 fundamental principles of harmony may be easily explained and readily under- 
 stood. ^We begin with concords because they are most euphonious and 
 not subject to the somewhat complex theories of resolution. A concord or 
 consonant triad consists of a normal ("perfect") 5th and a major or minor 
 3d from the root. When the intervals stand in this order the lowest note 
 is the root, or the name-note of the chord. It would thus appear to the eye 
 
 fall upon lines or all upon spaces : thus G b d form the chord of G 
 major. G, b fiat, and d, would form the chord of G minor. ^ Every 
 major key bears six concords, the imperfect triad on the leading note not be- 
 ing a concord. *f[The reader may now sound upon a piano or organ these 
 six concords, each in its first or root position. After sounding the first chord 
 and before proceeding to the next, ascertain the gender, — that is, whether it 
 is masculine (major), or feminine (minor). These distinctions should be 
 determined by the auricular sense, and also by the visual sense. Practice 
 ,and theory should be thus combined. ^From the theory of scales and keys 
 
i6o THE MUSICAL GUIDE 
 
 and intervals [vide these terms] the reader is supposed to Icnow whether a 
 given chord represents a major or a minor key. The ist, 3d, and 5th, of 
 every major scale form a major concord : the same numbers in a minor key 
 yield a minor concord. But it is still more important that the ear shall be 
 trained to distinguish between these genders, because music appeals most 
 directly to the auricular faculties. 
 
 Concords Classified. 
 
 When all the concords have been sounded and their characteristics recog- \m 
 nised, they should be classified. How many major? How many minor? 
 Which degrees of the scale bear major and which minor concords ? ^Tech- 
 nical terms may be then applied : chord of the tonic, I ; chord of the sub- 1^ 
 dominant, 4 ; chord of the dominant, 5 ; chord of the super-dominant (relative 
 minor of the tonic), 6 ; chord of the super-tonic, 2 ; chord of the mediant, 3. 
 In other words we have as elemental material, the chords of the tonic, sub- ' 
 dominant, and dominant (always major in a major key) and the relative 
 minors [vide RELATIVE] of these. This process should be repeated in all 
 the major keys. 
 
 Concords Rearranged. 
 
 topi 
 
 F" 
 Ih. 
 'nc 
 Hi 
 
 A chord has as many close positions as it has letters. In the first position 
 the root is lowest. In the second position the root is highest, while the third 
 is below. In the third position the root is in the middle, the 5th bemg 
 below and the 3d above. ^At first the different positions are to be effected 
 by rearranging the letters thus : C, e, g, root position of the C chord. 
 Place the Clast (an octave higher), and the second position will result e, g, C. 
 Now place the e last (an octave higher), and the third position will appear. 
 — g, C, e. Since no new element has been introduced it is evident that the 
 chord still remains and that C is the root. The capital letter serves to indi- 
 cate to the eye whether the theoretical root is below, in the middle, or at liciBg 
 the top. (A distinction is to be made between these simple rearrangements 
 of concords and the actual inversion oi cVox^?,. Inversion comes much later.) \i 
 Every concord in the key is to be rearranged by means of letters, as indi- \ 
 cated, and the different positions are to be numbered in regular order i, 2, 3. ! 
 ^The six concords are now to be rearranged on the key-board, using the jci 
 letter schemes as a preliminary guide. After the six chords have thus been JS 
 played in their three close positions the process should be continued in other \ " 
 keys without the aid of letters or written notes. ^Care must be exercised ,. 
 not to add any new element to the tones of a given chord while its rearrange- ... 
 ments are being played. For instance, in the second position of the F chord . 
 pupils sometimes produce the A minor triad by playing a, C, e, instead of 
 
DICTIONARY OF TERMS i6i 
 
 a, Ct F. Sound all the concords in their three close positions in every major 
 key. (Sec Ex. l.) ^Also it is desirable to play the rearrangements in this 
 
 manner descending, as well as ascending. (Interesting examples in this style 
 may be invented.) 
 
 Preliminary Harmonisation. 
 
 The six rearranged chords in any given key are now selected as a guide. 
 
 These must appear in notation. Every tone in the major scale of C is to be 
 
 harmonised with as many concords as contain the note to be illustrated. 
 
 This is to be accomplished at the instrument. i. Select c" (an octave 
 
 above middle r). This is a stationary tone representing; for instance, a soprano 
 
 part. 2. How many of the six concords in this key contain c? (Examine 
 
 the chart of rearranged chords in C, always beginning with the first chord, 
 
 and ascertain how many contain c, — whether above or below is immaterial. ) 
 
 3. What is the first chord that contains a c? What position has c at the 
 
 :;op ? 4. Play this. 5. What is the next chord containing r .? 6. What 
 
 position has c uppermost? 7. Play this, keeping the same finger (5) upon 
 
 3d space c" . 8. What is the third chord containing c? In what position 
 
 s c uppermost ? 9. Play this, the c being still in the soprano part, highest. 
 
 f this much has been correctly executed the following results will appear : 
 
 he C chord will be in its second position, the F chord in its first position, 
 
 nd the A minor chord in its third position, e. A, c. Each chord is to be 
 
 unded simultaneously, the letters which represent notes are read from below, 
 
 pward, therefore e, g, C, indicate that the chord of C is to be struck, C 
 
 ing uppermost. Repeat the process at the piano : C chord, 2. F chord, i. 
 
 5 5 5 
 minor chord, 3. The fingering should be 2 3 3. (See Ex. 2,) ^The 
 
 :cond chord of the scale is now selected, and this is to be harmonically illus- 
 ated in the same manner. i . How many concords in the key of C con- 
 lin d? (Do not use the imperfect triad in any of these elementary exercises.) 
 . What is the first chord containing d ? 3. What position has d at the 
 
l62 
 
 THE MUSICAL GUIDE 
 
 top? 4. Play this. 5. What is the other chord having a d'.? (Mention the 
 letter-name of the chord and say whether it be masculine or feminine. ) 6. 
 What position of the G chord has ^ at the top ? 7. Play it, then repeat. 
 In this manner every tone in the key of C should be harmonically illustrated. 
 Only the six concords in this key are to be used, though each one may be 
 played in any of its three close positions, according to circumstances. Trans- 
 pose to other major keys. 
 
 Simple Theory of Strict Chord Progression. 
 Any tone which occurs in any two different chords is called a connecting 
 tone. Every connecting tone is played by the same finger in both chords or 
 sung by the same voice. When there are two notes in common between two 
 chords in progression, the connecting tones are retained, or remain stationary 
 — tied or played by the same finger. (The previous elementary progres- 
 sions agree with this theory.) ^Now arrange a score of four staves, the 
 bass staff below and three treble staves above. On the first treble staff write 
 the progression C, F, A minor, keeping the connecting notes stationary. 
 On the second treble staff write the C chord in its next position above, g, C, e. : 
 Then write the F chord (with c in the middle) and the A minor chord with 
 a and c tied from the preceding. On the third or highest treble staff write 
 the C chord in its first position and proceed to make the same progression, 
 ;. e., C to F, and F to A. It is to be understood that the progressions on the 
 two upper staves are similar to those on the lowest treble staff, 2 and 3 being 
 rearrangements of i . In each instance the same principles are to be applied. 
 
 Example III. 
 
 * Write an octave lower when the parts run too high. 
 
 For instance in progressing from the C to the F the connecting note (f) wil| 
 appear alternately in the soprano, mezzo-soprano, and contralto parts. Wheij 
 the first measure is completed in the three treble parts, vertically, add th, 
 roots in the bass staff immediately beneath the treble chords. The bass pai' 
 
 U 
 
DICTIONARY OF TERMS 
 
 63 
 
 Tioves fundamentally, from root to root, while the treble parts progress 
 Tielodically, that is without skipping. Do not skip the bass part up or down 
 more than a ^th. ^[Proceed to harmonise d with the two concords which 
 iccompany it : then write two rearrangements above. Observe strictly the 
 onnecting-note principle. When the second measure is completed in the 
 reble parts add the roots in the bass as before. Every tone in the scale is 
 o be treated similarly — 2, 4 and 7 having but two chords each as accom- 
 janying harmonies. (See Ex. 3.) ^[ After this scheme has been worked 
 )ut on paper, choose another key and proceed to make a similar example at 
 he key-board, without the aid of notes except perhaps the rearranged chords, 
 vhich may be used as a chart. Continue this process in several other major 
 :eys, until the progressions can be played readily and correctly. 
 
 Melodic Skips of a 30. 
 When the melody skips up or down a 3d the accompanying harmony 
 cmains the same. In other words the melody skip may be accompanied by 
 \m ny chord in the key which contains both notes of the melodic interval. This 
 X las been partially illustrated in the rearrangement of concords. Therefore 
 and e may be accompanied by the C chord or the A minor chord, but not 
 y both chords. When the melody skips, the bass remains stationary as a con- 
 ecting note. Consequently there is always a connecting note either above 
 T below in the present examples. A skipping theme is given and this should 
 harmonised at the piano and on paper. (See Ex. 4.) 
 
 Example IV. 
 
 Skips of a 4TH. 
 These are harmonised by the same principle, though a skip of a fourth 
 dmits but one chord as accompaniment : that chord which contains both 
 otes of the skip furnishes the solution. During the skip the bass remains, 
 nd acts as a connecting note. Example 5 is to be harmonised practically 
 nd theoretically, as explained. 
 
 Example V. 
 
64 THE MUSICAL GUIDE 
 
 Harmonic Warnings for Composers. 
 
 By a. J. Goodrich. 
 
 1. Don't use any intervals in parallel movement except these : 
 
 (a) Unisons, and octaves when the latter are above or below, with no 
 harmony between the octaves. 
 
 (^) Major or minor thirds, ascending or descending diatonically. 
 
 (r) Minor thirds ascending or descending chromatically. 
 
 (^) Major thirds ascending or descending chromatically. (These were 
 formerlv forbidden, but modern composers use them freely for certain pur- 
 poses. Thev are, however, rather harsh and incisive.) 
 
 (^) Major or minor sixths ascending or descending diatonically — like the 
 thirds. 
 
 (/) Major sixths up or down chromatically. 
 
 (_g^) Minor sixths up or down chromatically. (These are inversions of 
 the major thirds, and therefore the same remarks apply.) 
 
 {h') Augmented fourths may ascend or descend chromatically where they 
 form parts of diminished chords in succession. (The exigencies of notation 
 will require that the imperfect fifth — which is an harmonic equivalent of the 
 augmented fourth — shall appear occasionally in place of the latter. Thus, c 
 and /* sharp may be followed by b and _/ natural. Practically the two inter 
 vals are identical and interchangeable.) 
 
 (/■) Descending augmented fourths may occur in a series of dominant 
 seventh chords proceeding according to the dominant relation — up a fourth or 
 down a fifth. 
 
 2. Don't use /?;?)' of these intervals in parallel movement : 
 (/?) Major or minor seconds, ascending or descending. 
 
 (i^) Normal or"perfect" fifths, especially between bass and soprano, oi 
 contralto and soprano. The imperfect may follow the perfect fifth. But the 
 reverse of this is rather rough and generally ineffective. 
 
 (r) [Normal fourths, when they are accompanied by diatonic thirds 
 above or below, have been frequently employed. A succession of triads n 
 their second or third close positions necessarily involves parallel fourths, as ii 
 the Finale to Beethoven's op. 2, //.] Parallel fourths ought to be excludec 
 from strict two-part counterpoint, as they are too much inclined to vacuousness 
 
 (^) Major or minor sevenths are not to be used in parallel succession 
 Diminished sevenths sound like major sixths. Therefore these two interval 
 may succeed each other alternately. 
 
 (^) Parallel octaves have always been forbidden, and usually their effect 
 awkward or confusing. Yet hundreds of instances might be quoted from tb 
 
I DICTIONARY OF TERMS 165 
 
 masters. A simple illustration is the little Romance from Schumann usually 
 coupled with his " Traumerei " — the theme above is doubled by a solo 
 bass part below. 
 
 (y) Cross relation or false relation is another pitfall into which the young 
 composer is likely to stumble. The effect is sometimes very unpleasant and 
 at other times perfectly satisfactory. ^|The student should avoid at all times 
 all interdicted or suspicious progressions, even though the " evil " be more 
 fancied than real. If he becomes a creative artist he must eventually act on 
 his own responsibility, free and independent of all prescription and formula. 
 
 ha.rp,£., harpe (arp), /^. A stringed 
 triangular instr. of great antiquity 
 and variety. The gut-strings which 
 are plucked with both hands are nec- 
 essarily diatonic. In the old single- 
 action harp (key of E flat, compass 
 F'-d"") the notes could he raised a half- 
 tone by the use of pedals. Thanks 
 to the ingenuity of Sebastian Erard, 
 who in 1S20 perfected the " double- 
 action harp," all keys are obtainable 
 on the modern harp in fairly quick suc- 
 cession, by the manipulation of seven 
 pedals each raising a string and all its 
 octaves a half or a whole tone. Thus 
 by sharpening or flattening the proper 
 tones, any key may be obtained. The 
 natural scale is (y, and the more 
 sharps in the key the less the sonor- 
 ity ; double flats and sharps are im- 
 possible, and remote modulation diffi- 
 cult. There are 46 (or 47) strings, 
 compass C flat-f"" (or g"" flat). 
 double h. One with 2 rows of dif- 
 ferently tuned strings, triple h. 
 (such as the Welsh). One with 3 rows. 
 .^olian h., h. 6olienne. Vide 
 i*:oLiAN. couched h. The spinet. 
 pointed h. Vide spitzharfe. chro- 
 matic h. Inv. by Pfranger ; it has, 
 however, too many strings. Jew's 
 harp. A small instr. with metal 
 tongue, played upon by placing it 
 between the teeth, and striking with 
 the tongue and the finger ; the breath 
 determines the tone ; known in the 
 trade as "Irish harp." h. instru- 
 ments. Those whose strings are not 
 bowed. 
 
 harpechorde (jirp-kord), F., harpi- 
 cordo (ar-pl-kor'-do), /. The harp- 
 sichord. 
 
 harpeggiren (har-ped-je'ren), G. Vide 
 
 AKPEGGIATE. 
 
 harpe-lute. Vide dital. harp-pedal. 
 
 The soft pedal of a piano. 
 
 harpo-Iyre. A 3-necked, 21-stringed 
 guitar, inv. by Salomon, 1829. 
 
 harp'secol. Vide HARrsicHORD. 
 
 harpsichord. A precursor of the mod- 
 ern piano, whose strings were set in 
 vibration by jacks carrying quills or 
 bits of hard leather (instead of tan- 
 gents, as in the clavichord). Sometimes 
 it had more than one key-board as in 
 the vis-a-vis (ve-za-ve), which had 
 a key-board at each end. The double 
 h. had 2 unison strings and an octave 
 for each tone ; and stops for vary- 
 ing the use of these. The harmon- 
 ica h. is an harmonica with key- 
 board. 
 
 harp-style. Arpeggio style. 
 
 harp-way tuning. Eariy English ac- 
 cordatures of the viol da gamba fa- 
 cilitating arpeggios. 
 
 harsur or hasur (ha-zoor), //ed. A 
 Hebrew instr. of 10 strings. 
 
 hart, G. Major; hard; unprepared, h. 
 verminderter Dreiklang. A triad 
 with major 3d and diminished 5th. 
 hartklingend. Harsh-sounding. 
 
 hate (at), /; Haste, speed. 
 
 haubois (6-bwa), F. An oboe. 
 
 Haupt (howpt), G. Head, principal. 
 H. -accent. Principal accent. H.- 
 akkord. Fundamental triad. H.-ge- 
 sang, H. -melodic. Principal mel- 
 
i66 
 
 THE MUSICAL GUIDE 
 
 ody. H.-kadenz. Full cadence. 
 H.-kirche Cathedral. H. -manual. 
 The great manual ; the great organ. 
 H.-note. I. The principal note in a 
 shake, turn or trill. 2. The chord- 
 note. 3. Accented note. 4. Melod)-- 
 note. H.-periode. Principal period. 
 H. -probe. The final rehearsal. H.- 
 satz. Principal theme, subject or 
 idea. H.-schluss. Final cadence. 
 H.-septime. Dominant 7th. H.- 
 stimme. Principal part. H.-thema. 
 Principal theme. H.-ton. i. Funda- 
 mental or principal tone. 2. The 
 tonic. 3. The 5th in a minor triad. 
 H.-tonart, The principal key. H.- 
 werk. Great organ. 
 
 hausse (os), F. Nut of a bow. 
 
 hausser (6s-sa), F. To raise the 
 pitch. 
 
 haut (0), haute (6te), F. Acute, 
 shrill, high. haute-contre (Gt- 
 kohtr). High tenor, haute-dessus 
 (ot-des-su). High treble, soprano. 
 hautement (ot-mah). Haughtily, 
 haute-taille (6t-ta-e). High tenor. 
 
 hautb. Abbr. of Hautboy. 
 
 hautbois (,o-bwa), F., hautboy (ho- 
 boy), E. I. The oboe. 2. An S-ft. 
 reed-stop, h.-d'amour. An organ- 
 stop. Vide OBOE, hautboy-clarion. 
 
 Vide OCTA\"E HAUTBOY. 
 
 H.-bes (ha-bes), (7. B double flat. H.- 
 dur (ha-door). B major. 
 
 head. i. The part of the note which 
 marks its position on the staff. 2. 
 Point of a bow. 3. Membrane of a 
 drum. 4. The part above the neck of 
 \-ioIins. etc., containing the pegs, 
 head voice. The upper or highest 
 register of the voice. 
 
 heel. The wooden brace fastening the 
 neck of \-iolins, etc., to the body. 
 
 Heerhorn (har-hom), G. A mi'litar}- 
 trumpet. Heerpauke (har'pow-ke), 
 G. Old kettle-drum. t\-mbal. Heer- 
 pauker. Kettle-dninimer. 
 
 heflig (hef -tlkh). G. Boisterous, pas- 
 sionate. Heftigkeit (kit). Vehe- 
 mence. 
 
 heimlich (him'-likh), G. Secret, 
 stealthy, mysterious. 
 
 heiss (hlsl, G. Hot, ardent. 
 
 heiter ihl ter). G. Serene, glad. 
 
 Heldenlied (hei den-let), G. Hero- 
 scng-. heldeniniithig(,mu-tikh). He- 
 roic. Heldentenor. Dramatic tenor. 
 
 he! icon, E.. Hel ikon, G. i. A mil- 
 itar}- bass brass wind-instr. . carried 
 over the shoulder ; scales, F, E flat, 
 C and B flat (the lowest tone of the 
 bass of which is B ). 2. Ancient 9- 
 stringed device showing the theory of 
 intervals. 
 
 hell (hel), G. Clear, bright. 
 
 helper. An octave-pipe set beside one 
 of S-ft. pitch to add to its brilliance. 
 
 hem i, G. Half. hemidemisemi- 
 quaver -rest). A 64th note (or rest). 
 hemidiapen te. Diminished fifth, 
 hemidit onos, Gr. Minor third. 
 
 hemio la, hemio lia, Gr. i. The ratio 
 3:2. 2. Quintuple time. 3. Inter- 
 val of a 5th. 4. A triplet. 5. Vide 
 NOT.\TIOX (colour). 
 
 hemiope, Gr. An ancient three-holed 
 
 nute. 
 hemiphrase. One bar of a phrase, 
 hemito nium, Gr. A semitone in Greek 
 
 music (ratio 256 : 243). 
 heptachord, i. Interv-al of a seventfe. 
 
 2. A 7-stringed instr. 3. A Greek, 
 
 series of 7 tones with half-tone step 
 
 between the 3d and 4th. 
 heptade (hep -tad), hep tadechord, EJ, 
 
 Vice ELLIS. ^ 
 
 heptam eris, Gr. A seventh part of a J 
 
 meris. \ 
 
 Herabstrich (har -apstrlkh), G. Down- 
 bow. Heraufstrich (har'-owf-stnkh). 
 
 Up-bow. 
 heraufgehen (har-owf gaen), G. Tc; 
 
 ascend. • 
 
 hero ic, E., heroisch (har-o-Ish), G.\ 
 
 h^rolque (a-ro-ek), F. Bold, brave. 
 
 Vide EROic.A.. t 
 
 Herstrich (har-stnkh), G. Down-bowf 
 
 (on 'cello and double-bass). Heruihl 
 
 terstrich, G. Down-bow (on the Tio-|3 
 
 hervorgehoben (har-for'ghe-ho'ben) 
 hervorhebend (habenrt), hervor- 
 tretend (tra-tSnt), G. With empha 
 
DICTIONARY OF TERMS 167 
 
 Herz (herts), (7. "Heart." Vide tas- 
 
 SEAU. 
 
 herzig (herts-ikh), herzlich (llkh), G. 
 Tender. 
 
 Hes (hes), G. B flat when directly 
 derived from B natural (or H). 
 Heses, B double flat. 
 
 heulen (hoi'-len), G. To cipher. 
 
 hexachord, Gr., hexachorde (ex-a- 
 kord), F. I. A scale, or system, of 
 six sounds. 2. A sixth. 3. A six- 
 stringed lyre. 
 
 liexam eron, (7r. Group of six pieces. 
 
 hex aphonic. Composed of six voices. 
 
 hey de guise (e-du-geze), F. A 
 c juntn,--dance. 
 
 lia tus. A gap. 
 
 lidden. i. Obscured, covered, yet im- 
 plied ; thus in the skip, say, from 
 c to g, the tone f is implied though 
 not struck or dwelt on ; it could be 
 called hidden. But the term is used 
 : -:her of intervals similarly implied, 
 -US in the progression, say from e-c 
 ■ J g-d, the tone / is passed over, 
 and as/ makes with c the same in- 
 terval as g with d. that is, a perfect 
 fifth, the progression becomes a hid- 
 den or implied fifth, and is put 
 under the same ban by stricter theo- 
 rists, though auctioned by free prac- 
 tice. Similarly a progression, as of 
 g-b to c-c' contains hidden octaves. 
 2. h. canon. Close canon. 
 
 rlief (hef), Hiefstoss (shtoss), G. 
 Sound of the hunting-horn. Hief- 
 horn, Hifthorn (hift). Hiifthorn 
 (hlft). A wooden hunt-horn with 2 
 or 3 notes, and in 3 pitches : H.- 
 ■ zinke (tsink-ke). High. Riiden- 
 horn (riid-n). Low. Halb-riiden- 
 horn. Medium. 
 
 lierophon (her'-o-fon), Gr. Singer of 
 hymns. 
 
 liggai on selah, Heb. A term, per- 
 » haps calling for stringed instr. and 
 trumpets. 
 
 ligh. I. Acute in pitch. 2. Upper, 
 
 or first, as h. scprano. high bass. 
 
 A baritone. higher rhythm. A 
 
 rhythm composed of smaller ones. 
 
 '[. High mass. Vide m.\ss. h. tenpr. 
 
 Counter-tenor, h. treble clef. The 
 
 G clef on the first line. 
 
 hilfs-. Same as hiilfs-. 
 
 Hinaufstrich (hin-owf'strikh), G. Up- 
 bow on the \-iolin, etc. Hinstrich 
 (hin'-strikh), G. Up-bow on 'cello 
 and double-lDass. 
 
 Hintersatz, G. An old mixture-stop, 
 re-enforcing the open diapason. 
 
 Hirtenflote (hlrt-en-fla'-te), G. Shep- 
 herds flute. Hirtengedicht (ge- 
 dlkht). Pastoral poem. H.-lied (let). 
 Pastoral song. H.-pfeife (pfl-fe). 
 Pastoral pipe, hirtlich (hirt -llkh). 
 Pastoral, rural. 
 
 His (his), G. B3. hisis (Ms'Is), G. B 
 double sharp. 
 
 H.-moll (ha'mol), G. B minor. 
 
 Hoboe (ho-bo'-e), Hoboy (ho-boe), G. 
 Oboe. Hobo ist, G. Oboist. 
 
 hoch (hokh), G. High, sharp, ver)-. 
 Hochamt (hokhamt). High Mass. 
 h. feierlich (fi -er-likh). Ver}- sol- 
 emn. H.-gesang, H.-lied' (let). 
 Ode, hymn. H.-horn. Oboe. H.- 
 muth (moot). Elevation, pride. 
 Hochzeitsgedicht (tsits), Hoch- 
 zeitslied. Wedding-song. Hoch- 
 zeitsraarsch. Wedding - march, 
 
 hbchsten (hekh'-shten), G. Highest. 
 
 hock et, hocqu etus. i. An abrupt 
 rest. 2. Old English part-music full 
 of rests and abruptness. 
 
 Hof (hof), G. Court; hence, H.-kapelle 
 (Konzert). Court orchestra (concert). 
 H.-musikant (moo-zi-kant). Court 
 musician. H. -organist. Court or- 
 ganist. 
 
 hoflich (hef'hkh), G. Graceful. Hof- 
 lichkeit (kit). Grace. 
 
 Hohe (hae), G. Height, acuteness ; 
 upper register of ; as Oboen-hohe. 
 
 hoheit (hohit), G. Dignitj', lofti- 
 ness. 
 
 Hohlfiote (holfla-te), G. "Hollow- 
 toned flute." Open flue-stop of vari- 
 ous pitches ; in the smaller called 
 Hohlpfeifen. The mutation-stop in 
 the fifth is called Hohlquinte. 
 
 hok et, hock'et. .\ quint-stop. 
 
 hold (holt), G. Pleasing, sweet. 
 
 hold. The fermate. holding-note. 
 
THE MUSICAL GUIDE 
 
 A note sustained while others are in 
 motion. 
 
 holding. Old E. Burden. 
 
 Holzblaser (holts'bla-zer), G. Play- 
 er(s) on Holz'blasinstrumente, or 
 wood-wind instruments. 
 
 holzernes Gelachter (helts'-er-nes 
 ge-lekh'-ter), 6". Xylophone. 
 
 Holzflote (halts' fla-te), G. " Wood- 
 flute " ; a stop. 
 
 Holz'harmoniica, G. Xylophone. 
 
 hom'ophone. A letter or character de- 
 noting the same sound as another ; 
 thus a} and bfe are homophones. 
 homophon'ic, homoph'onous. i. 
 Noncontrapuntal, lyric, marked by 
 one melody in predominance. Vide 
 POLYPHONIC. 2. In unison. Vide 
 AkxiPHONic. homoph'ony, E., 
 homophonie (6m-6f-6n-e), F. Mu- 
 sic that is homophonie I or 2. 
 
 hook. The stroke added to the stem of 
 notes smaller than \ notes. 
 
 hop'per. In piano action, the escape- 
 ment-lever. 
 
 Hop'ser, Hops-tanz (tants), G. Coun- 
 try-dance. Hopswalzer (hops' val- 
 tser), G. Quick waltzes. 
 
 hoq'uetus. Hocket. 
 
 hora (pi. horae), L. Hour(s). horae 
 canonicae. Canonic hours, those at 
 which services are held : lauds. 
 Sunrise, prime. First hour (6 a.m.). 
 tierce (or terce). 3d (g a.m.). Sext. 
 6th (noon), nones. Qth (3 p.m.). 
 vespers. Evening, compline. Final. 
 Services during the night are called 
 nocturns ; the word matins includes 
 both nocturns and lauds. horae 
 regulares. Chant sung at regular 
 hours. 
 
 horn(G'. pi. Horner) (hern'er), E. & G. 
 General name for all metal wind-in- 
 struments. Specifically, the French 
 horn, a brass conical tube variously 
 curved, with a flaring bell at one 
 end, and a cupped mouthpiece at the 
 other ; the shape of this mouthpiece, 
 and the ratio of the width to the 
 length of the tube determining the 
 quality of the instr. The old natural 
 horn was diatonic, producing only the 
 
 tones of its natural scale, some inter- 
 mediate tones being obtained by put- 
 ting the hand in the bell, or "stop- 
 ping " the tone. The key of the horn 
 was changed by taking out one sec- 
 tion of its tube (a crook), and inserting 
 a section longer or shorter, thus low- 
 ering or raising the key. The tone 
 series was thus incomplete, and the 
 stopped tones were inaccurate. The 
 natural tones depend on the amount 
 of wind-pressure (or in F, embou- 
 chure, lipping) which must vary with 
 each note according to the natural 
 scale (see acoustics). 
 The horn of this century has gradu- 
 ally displaced the natural horn. It is 
 provided with valves (or auxiliary 
 tubes), which practically lengthen or 
 shorten the tube instantaneously. 
 The tone is produced by embouchure 
 combined with valve-manipulation 
 until a complete chromatic scale is 
 obtainable. Stopped tones are now 
 not necessary, though available for 
 special effects ; they are called for by 
 the sign +, by the word "stopped," 
 or by "son bouch6 " (son boo-sha), 
 and are weirdly tragic or romantic. 
 The range of the horn depends upon 
 its key, the scale of each consisting 
 of a fundamental tout, and the nat- 
 ural series of partials (vide acous- 
 tics), the intermediate tones between 
 the 3d and the i6th partial being ob- 
 tained by valves or stopping. The 
 horn in C thus sounds C, r, g-c" , 
 from g to c" being nearly complete 
 chromatically, the upper notes being 
 risky. The other horns are lower by 
 the interval between their key and C ; 
 they are B flat. A, A flat, G, F, E, 
 E flat, D, C basso, B flat basso. The 
 keys FJt (G flat), Cj (D flat), B and A 
 basso are obtained not by changing 
 crooks, but by drawing out a special 
 slide which lowers the key a semi- 
 tone. In valve-horns the F horn is by 
 far most common. Music for horns 
 is now always written in the G clef, 
 the F clef being used for the low 
 notes, which are always written an 
 
DICTIONARY OF TERMS 169 
 
 octave lower than they sound. For 
 convenience of embouchure, the notes 
 are written as if the horn were always 
 in C, and the player so plays it ; but 
 the crook used governs the tone, and 
 a C on the staff sounds as the F below 
 on an F horn, as A flat on the A fiat 
 horn, etc. Alpine h, A wooden horn 
 8 ft. long, basset h. Vide b.\sset. 
 hunting-h. The primitive natural 
 or French horn. horn-band. A 
 band of trumpeters. A Russian H- 
 B. is one in which each hunting-horn 
 plays but one note, horning. Vide 
 shiVaree. Hornmusik', G. Music for 
 the brass. Hornquinten, G. The hid- 
 den fifths prevalent in music for two 
 horns. Hornsordin',6^. A conical or 
 pear-shaped mute inserted in the bell. 
 
 hornpipe. A old E. shawm with a 
 bell of horn ; hence, an old E. dance 
 of great vivacity, in 3-4 or 4-4 time. 
 
 Hosan'na, Hosian'na, /A^. "Save, 
 I pray," an interjection in prayer, 
 hence part of the Sanctus. Vide mass. 
 
 Hose (ho'-ze), G. Boot of a pipe. 
 
 houl (howl). A Persian military drum. 
 
 hours. Vide hor/e. 
 
 hreol (wra'61). A Danish peasant-dance. 
 
 H. S. Abbr. for Hauptsatz. 
 
 huehuetl, huehuitl (wa-wat'-'l). An 
 Aztec drum 3 feet high with a mem- 
 brane that could be tightened at will, 
 changing the pitch and furnishing an 
 harmonic bass. 
 
 Hiifthorn (hlft-horn), G. Bugle-horn. 
 
 hug' gab, Heb. i. An organ. 2. Pan's 
 pipes. 
 
 huitpied (wet-pT-a), F. Eight feet (of 
 stops), huitpieds. An organ with 
 no stops larger than 8 ft. 
 
 Huldigungsmarsch (hool-dl-goongks- 
 marsh), G. A solemn march for re- 
 
 Hulfs- (hllfs),^. Auxiliar)'. Hulfslinien 
 (le'-nl-en). Ledger-Unes. H.-note, 
 H.-ton. Auxiliary, accessory note. 
 H.-stimme (shtlm'me). A mutation- 
 stop. 
 
 Hummel (hoom'mel), Hiimmelchen 
 (hlm'mel-khen), G. i. A bagpipe. 
 
 2. In organs the thorough-bass drone. 
 
 3. The Balalaika, because it had a 
 sympathetic or drone-string. 4. The 
 drones in a hurdy-gurdy. 
 
 hummen (hoom'mgn), G. To hum. 
 
 Humor (hoo'-mor), G. Humour, whim. 
 Humoreske (hoo'mo-res'ke), C, hu- 
 moresque (u-mor-esk), F. A humor- 
 ous or whimsical composition. 
 
 hunting-horn. A bugle or French 
 horn. hunting-song. Song in 
 praise of the chase, hunt's-up. A 
 boisterous morning-song. 
 
 hurdy-gurdy. An old instr. with 
 four strings, acted on by a wheel 
 rubbed in resin. Two of the strings 
 are stopped by certain keys, the 
 others act as a drone-bass ; compass 
 g-g" . 
 
 hurry. Premonitor>' roll of drum or 
 tremolo of strings in stage-music. 
 
 hurtig (hoor'tikh), G. Quick, allegro. 
 H.-keit (kit). AgiHty. 
 
 hydraul icon, hydraulic organ. An 
 instr. older than the wind-organ, inv. 
 180 B.C., by Ktesibios of Alexandria, 
 the wind-pressure being regulated by 
 water. 
 
 hymn, F., hymne (emn), F., Hymne 
 (hemne), G. A sacred or patriotic 
 song. h. vesper. A hymn sung in 
 the R. C. Vesper service, hymnal, 
 hymn-book. A collection of hymns. 
 hymnology, hymnologie (em-n51- 
 6-zhe). Vide next page. 
 
 hymnus, L. A hymn. h. Ambro- 
 sianus. The Ambrosian chant. 
 
170 THE MUSICAL GUIDE 
 
 Hymnology. 
 
 By H. E. Krehbiel. 
 
 HYMNS, in the sense in which we apply the term, as an adjunct of 
 Christian worship, appear to have been used from the earliest days 
 of the Church. The early Christians naturally borrowed their 
 music from their forefathers in Judea, Greece, and Rome, and the Church thus 
 was quite lacking in any uniformity in this element of worship. Not till the 
 various branches of the Church in the Roman Empire were united under a 
 Christian Emperor, Constantine, is there evidence of attempts to form a system. 
 The first result of this was the Ambrosian chant, and later, the Gregorian, at first 
 congregational, later confined exclusively to the priest. Famous Latin hymns, 
 like the " Te Deum," "Magnificat," *« Benedictus," etc., were in use 
 from very early days of the Church, being sung to plain-chant melodies. In 
 the period of the great Church composers — Josquin des Pres, Palestrina, 
 Orlando di Lasso, and others, these hymn-tunes were often used as canti 
 fermiioT masses and motets ; and Palestrina also used them as the basis for. 
 a set of "Hymns for the Entire Year," one of the most important of his 
 works. ^In the meantime a more popular development of hymnal music 
 had been going on in the Mysteries and Miracle-plays, outside the immediate 
 supervision of the Church, that were so conspicuous a feature of popular life and 
 worship in the Middle Ages. In the Church itself the music had been en- 
 tirely in the hands of the priests and the regular choirs. At the time of the' 
 Reformation, however, Luther introduced a great change in this respect, for 
 which the ground was already prepared by the popular development of hymn- 
 singing just mentioned. The chief note of the Reformation was individuality 
 in worship, the transfer of its chief features fi-om the priest to the congrega- 
 tion ; and in line with this principle Luther laid great stress on the reintro- 
 duction of congregational singing, which had been abandoned since the early 
 days of the Church. Luther produced a great number of hymns, the words, 
 of which he fitted to popular melodies of the day. The first Lutheran hymn-, 
 book was published in 1524 ; it was in the vernacular and its popularity in 
 Germany soon became enormous, leading to the speedy issue of innumerable' 
 other works of the same kind. Luther not only used the melodies of folk-' 
 songs for these hymns, but caused new tunes to be written, and some o: 
 them — notably the most famous, " Ein' feste Burg ist unser Gott," — he i.' 
 said to have composed himself. It ought to be said, however, that his au- 
 thorship of the music of this " Battle Hymn of the Reformation " has beer 
 disputed. They were all broad choral tunes simply harmonised, such as re 
 main to-day in constant use in Germany, and formed the model for the hymn* 
 
DICTIONARY OF TERMS 171 
 
 of the whole Protestant Church. In France the metrical psalms of Marot 
 and Beza were as enthusiastically received by the Protestants as Luther's 
 hymns in Germany ; they were originally sung to popular tunes of the day 
 as contained in a psalter published in 1542, by Calvin, in Geneva. There- 
 after numerous other collections were published, notably one by Claude Gou- 
 dimel, in 1565. ^In England the general cultivation of part-singing in the 
 madrigals made the acceptance of popular hymnody as a part of the new 
 religious movement facile and speedy. Here, as in France, the first hymns 
 were metrical versions of the Psalms in English, and numerous collections of 
 them were published in the last half of the sixteenth century, at first for one 
 part only. "The Whole Psalmes in foure parts," harmonised in the sim- 
 plest manner possible, published in 1563, was the first harmonised collection 
 of English hymn-tunes. Numerous collections of such tunes were issued 
 thereafter, the most notable being Ravenscroft's, in 1621, and Play ford's, 
 in 1 67 1. ^With the composition of hymns by Wesley and his followers in 
 the eighteenth century came a new poetic material of which musicians were 
 not slow to avail themselves, and which resulted in new hymn-tunes of greater 
 warmth of feeling, differing entirely from the older school of hymns in both 
 melody and harmony. These have had a great, if not always beneficial, in- 
 fluence on the modern development of hymnal music. ^Hymnology has 
 held a notable place in the history of American music. The stern piety of 
 the Puritan immigrants in New England developed a great activity in this 
 branch of musical art, after it had been freed from the shackles that at first 
 confined it, and the number of early American hymn-tune composers was 
 large. Among these were William Billings (who in 1770 published "The 
 American Psalm Singer : or American Chorister," containing hymns of his 
 own composition), Samuel Holyoke, Andrew Law, Jacob Kimball, Oliver 
 Holden, and others. In the earlier years of the nineteenth century Thomas 
 Hastings, Lowell Mason — whose influence in a secular way on the develop- 
 ment of music and musical taste in America was marked — and Nathaniel 
 Gould were the most prominent. 
 
 hy'pate, Gr. The uppermost lyre-string Greek octave species " a fifth higher," 
 
 but the lowest in tone, hypaton. or " a fourth lower." Vide modes for 
 
 Lowest tetrachord. Vide modes. such words as hyper-aeolian, etc. 
 
 hypatho'ides. The lower tones in the hypo, Gr. Below, under ; of intervals, 
 
 Greek scale. " sub," or "lower." hypodiapa'son. 
 
 hyper (hi'-per), 6^r. Over, above, of in- The lower octave, h-diapen'te. The 
 
 tervals, "super," or "upper" (as hy- fifth below, h-dito'nos. The third 
 
 perdiapa'son, the octave above ; h,- below. For the names of the Greek 
 
 diapen te, the 5th above ; h.-dito'- transposition scales and ecclesiastical 
 
 nos, the 3d above, etc.) ; of the Greek modes, as hypoaeo'lian, etc., vide 
 
 transposition scales and ecclesiastical modes. 
 
 octave species, "a fourth higher"; the Hzbl, Abbr, of Holzblaser (q. v.). 
 
172 
 
 THE MUSICAL GUIDE 
 
 / 
 
 1(e) /., pi. " The." Also the letter 
 is used by Kirnberger, to indicate 
 a major seventh, as b5in place of 
 bl^ in the 7th chord on c. Tartini 
 used u. 
 
 las'tian, Gr. The Ionian mode. 
 
 ic'tus, Gr. Stress, accent, emphasis. 
 
 idea. A theme, subject, figure, or mo- 
 tive. 
 
 idee fixe (e-da fex), F. Berlioz's name 
 for a recurring theme or motive. 
 
 idyl, idillio (e-del'll-o), /., idylle 
 (e-de-yii in F., in G. e-dll'le). A 
 pastoral. 
 
 il (el), /. The. il piu (el pe-oo'). The 
 most, e. g., il piu forte possibile. 
 As loud as possible. 
 
 ilarita (e-la-rl-ta'), /. Hilarity. 
 
 imboccatura (Im-bok-ka-too'ra), /. i. 
 Mouthpiece. 2. Embouchure. 
 
 imbroglio (rm-brol'yo), /. " Confu- 
 sion," a passage of complicated 
 rhythms. 
 
 imitando (Im-t-tan'do), /. Imitating. 
 i. la voce (v6'-ch€). Imitating the 
 voice. 
 
 imitation (pron. in F. tm-I-tas-yon), 
 imitatio(em-t-ta'tsT-6), /. The rep- 
 etition by a second voice (the con- 
 sequent or answer) of a figure, sub- 
 ject or theme first announced by 
 another (the antecedent or subject). 
 If this repetition be exact, interval 
 for interv'al, note-value for note-value, 
 the imitation is strict or canonic, 
 vide CANON ; othenvise free. i. at 
 the Sth, octave, etc. That in which 
 the answer follows the subject at the 
 interval of a 5th, octave, etc. i. 
 augmented or i. by augmenta- 
 tion. That in which the answer is 
 in notes of greater value than those 
 of the subject, diminished i. or i. 
 by diminution. A style of imitation 
 in which the answer is given in notes 
 of less value than those of the sub- 
 ject, freely inverted i. That in 
 which the order of successive notes is 
 not strictly retained, i. in contrary 
 motion. That in which the rising 
 
 inter\'als of the subject descend in 
 the answer and vice versa, i. in dif- 
 ferent divisions. That in which 
 the subject is answered in a different 
 division of a measure ; for instance, 
 beginning on the accented is an- 
 swered on the unaccented, i. in sim- 
 ilar motion. That in which the 
 answer retains the order of notes of 
 the subject, retrograde i. (or i. 
 per recte e retro), cancrizans, or 
 cancrizante. That in which the 
 subject is taken backwards in the 
 answer, reversed retrograde i. 
 That in which the subject is taken 
 backwards and also in contrar)' mo- 
 tion in the answer, strictly invert- 
 ed i. That in which note-values are 
 precisely answered in contrary mo- 
 tion, tonal i. That which does not 
 alter the key. 
 
 imitation pipes and dra'w-knobs are 
 dummies of more beauty than use. 
 
 imitative music. That aiming to 
 mimic the operations of nature, as 
 water-falls, thunder, etc. 
 
 imitato (Im-I-ta'to), /. Imitated, im-, 
 itazione (ta-tsl-6'ne). Imitation. 
 
 immer (Im'mer), G. Always, ever,; 
 constantly. 
 
 immutab'ilis, L. Vide accentus' 
 
 ECCLESIASTICI. 
 
 imparfait (aii-par-fe'), F. Imperfect. 
 
 impaziente (!m-pat-sl-en'-te), /. Im- 
 patient, impazientemen te. Hur- 
 riedlv. 
 
 imperfect. Not perfect or complete. 
 VidecADENCE and INTERVAL, i. con- 
 cords, consonances. Thirds anc 
 sixths, so called because they chang< 
 from major to minor, still remaining 
 consonant, i. measure. Old tern 
 for two-fold measure, i. time. Ok 
 term for common time. i. triad 
 The chord of the third, fifth an( 
 eighth, on the seventh degree ; i 
 consists of two minor thirds. 
 
 imperfection, i. Vide ligature. 2 
 
 Vide NOTATION. 
 
 imperfet'to, /. Imperfect. 
 imperioso (tm-pa-rl-o'-so), /. Pon 
 pous. imperiosamen'te. Imperioush 
 
DICTIONARY OF TERMS 173 
 
 imperturbabile (to-per-toor-ba'bI-lt5), 
 /. Quiet. 
 
 impeto (im'-pg-to). impetuosita (im- 
 pa-too-o-zl-tii'), /. Impetuosity, ve- 
 hemence, impetuoso, impetuosa- 
 men'te. Impetuous(ly). 
 
 imponente (nen'te), /. Imposingly. 
 
 implied discord. A concord con- 
 tained in a dissonant chord as a major 
 third in an augmented 5th (as f-a-c$). 
 
 implied interval. One not specifically 
 indicated by its numeral but implied by 
 another numeral. Vide hidden. 
 
 impresario (Im-pre-sa'-rl-o), /. Man- 
 ager of opera, concerts, etc. 
 
 impromp'tu (in F. afi-profi-tii). An 
 extemporaneous comp., or one having 
 a spirit of informality and caprice. 
 
 imprope'ria, L. " Reproaches." In 
 R. C. ritual, a series of antiphons 
 and responses for Good Friday morn- 
 ing. In Rome sung to old Faux 
 hou7-dons arranged by Palestrina ; 
 elsewhere to plain-song from the 
 Graduale Romanum. 
 
 impropri'etas. Vide ligature. 
 
 improvise, impro(v)visare (za're), /., 
 improviser (aii-pro-ve-za), F. To 
 sing or play without premeditation. 
 
 improvisateur (ah-pro-ve-za-tiir), 
 
 improvisatrice (tres), F., Impro- 
 visator (tm-pro-fi-za -tor), C, Im- 
 provvisato're, /. An improviser. 
 
 im'provisation. Extemporaneous per- 
 formance. Improvisier maschine 
 (Im-pro-fl-zer' ma-she'-ne), G. A 
 melograph. improvvisata (za'ta), /. 
 An extempore composition. im- 
 provviso (im-pr6v-ve'-z6), improv- 
 visamen'te, /. Extemporaneous(ly). 
 
 in (en), /., G. and Z. In, into, in the. 
 
 inacutire (in-a-koo-te'-re), 7. To 
 sharpen. 
 
 in'betont, G. With medial emphasis. 
 
 Inbrunst (In'broonst), G. Fervour. 
 inbriinstig (Tn-brln'-shtikh). Ar- 
 dent. 
 
 incalzando (to-kal-tsan'do), I. Has- 
 tening. 
 
 Incarna'tus, Z. " Was born " (of the 
 Virgin Mary). Part of the Credo. 
 Vide MASS. 
 
 inch (of wind). In an organ, wind- 
 pressure is gauged by a graduated U 
 tube in which water rises, the mean 
 pressure being 3 inches. 
 
 inchoa'tio, Z. Vide chant. 
 
 incisore (in-cht-so'-re), /. Engraver 
 of music. 
 
 inconsola'to (la -t5), 7. Mournful. 
 
 incordare (dii' -re), /. To string. 
 
 incrociamen'to (kro-cha), I. Crossing. 
 
 indeciso (In-de-che'-z6), /. Undecided 
 (implying slight changes of time, a 
 somewhat capricious tempo). 
 
 indegnato (In-dan-ya -to), indegna- 
 tamen'te, I. Wrathful(ly). 
 
 independent. Used of non-dissonant 
 harmony requiring no resolution. 
 
 index, i. A direct. 2. Forefinger. 
 
 indifferen'te (ren'-te), indifferente- 
 men'te, /. Indiflerent(ly). indiffer- 
 enza (ren'-tsa), 7. Indifference. 
 
 infantile (Tn-fan-te'le), 7. Child-like 
 (of the quality of upper notes of some 
 voices). 
 
 inferior, Z. Lower. 
 
 infernale (In-fer-na le), 7. Infernal. 
 
 infervorato (ra'-to), 7. Fervent. 
 
 infiammatamen'te, 7. Ardently. 
 
 infinite, Z'., infinito (In-fl-ne'-to), 7. 
 Used of canon which can be contin- 
 ued indefinitely unless given a special 
 cadence. 
 
 inflatil'ia, Z. Instrs. of inflation ; wind- 
 instruments. 
 
 inflection. i. Modification in the 
 pitch of the voice. 2. In chanting a 
 change from the monotone. 
 
 infra, Z. Beneath. Infrabass, G. 
 Sub-bass. 
 
 infuriante (in-foo-ri-an'te), infuriate 
 (a'-t5), 7. Furious. 
 
 inganno (In-gjin'-no), 7. " Decep- 
 tion " ; applied to a deceptive ca- 
 dence ; also to unexpected resolutions 
 or modulations, d'inganno. Un- 
 expected. 
 
 in'gemination. Old term for repeti- 
 tion of words. 
 
 ingressa. Vide introit. 
 
 Inhalt (Tn'halt), G. Contents ; idea. 
 
 inharmonic relation. Vide false 
 
 RELATION. 
 
174 
 
 THE MUSICAL GUIDE 
 
 inner, i. Used of the alto or tenor 
 part as distinguished from the bass 
 and soprano. 2. Used of a pedal- 
 point on an inner part. 
 
 innig, inniglich (In'-n!kh-llkh), G. 
 Sincere, tender, heartfelt. Innigkeit 
 (kit). Deep feeling. 
 
 inno (ln'-n5), /. A hymn, canticle, 
 ode. 
 
 innocente (In-no-chen'te), innocent- 
 emen'te, /. Innocent(ly), artless- 
 (ly). innocenza (In-no-chen'-tsa). 
 Innocence. 
 
 inquieto (In-k\vl-a -to), /. Restless. 
 
 insensible (In-sen-se'bl-le), insensi- 
 bilmen'te, /. Imperceptibly, by 
 small degrees. 
 
 insisten'do, /. Urgent, insistenza 
 (ten'-tsa). Insistence. 
 
 instandig (In-shten'dlkh), G. Urgent, 
 pressing. 
 
 instante (in-stan'te), instantemen'te, 
 /. Vehement(ly), urgent(ly). 
 
 in'strument (in F. an- stru-man). A 
 sonorous body constructed for the 
 production of musical sounds, i. a 
 cordes (a-kord). A stringed instr. 
 i. a I'archet (ii-lar-sha). Instr. played 
 with a bow. i. a percussion (a par- 
 ktis-yofi). Instr. of percussion, i. a 
 vent (a van). Wind-instrument. 
 
 instrumental, E., instrumentale (tn- 
 stroo-men-ta'le), /. Of music for 
 instrs. as opposed to vocal music. 
 
 instrumentare (ta're), /. To compose 
 instrumental music. 
 
 in'strumenta'tion (in F. an-strli-man- 
 tas'yoh), instrumentazione (ta-tsl- 
 o'ne), /., Instrumenti(e)rung (In- 
 stroo-men-te'-roongk), G. The art or 
 act of writing or arranging a compo- 
 sition for instrs., particularly the or- 
 chestra (vide article on the orches- 
 tra AND orchestration); sometimes 
 used of piano-playing that produces 
 the effect of other instrs. Instru- 
 mentenmacher (makh'er), G. An 
 instr. -maker. 
 
 instrumen'to, /., An instrument, i. 
 d'arco (or a corda) (diir'-ko). A 
 stringed instrument, i. da campa- 
 nel'la. Glockenspiel, i. da fiato 
 
 (fl-a-to). Wind-instr. 1. daquil'la. 
 A spinet. 
 
 intavolare (In-ta-vo-la-r^), /. To 
 write out or copy music, intavola- 
 tura (la-too'-ra). i. Notation. 2. 
 Figured bass. 3. Tablature. 
 
 integer valor (notarum), L. "The 
 integral value" (of notes), i. e., their 
 average duration at a moderate 
 movement. Michael Pretorius set 
 the i. V. of the brevis at about -,\- of 
 a minute (i. e., 80 to 7^ minutes). 
 
 intendant (ah-tah-dan), F., inten- 
 den'te. /. Director, conductor. 
 
 intenzionato (In-ten-tsI-6-na'-t6). Em- 
 phatic. 
 
 interlude, i. A piece, usually short, 
 played between acts, movements, 
 stanzas, or portions of service. 2. 
 A short operetta. 
 
 interlu'dium, L., interm^de (Sh-tSr- 
 med), F. , intermedio (In-t6r-ma dI-6), 
 intermezzo (In-t6r-mSd'-z6), /. An 
 interlude. 
 
 intermediate, i. Accidental. 2. 
 Transitional. 
 
 intermedietto (In-t^r-ma'dl-St-to), /. 
 A short interlude. 
 
 interrogati'vus. Vide accentus eccl. 
 
 interrotto (rot'-to), /. Interrupted. 
 
 interrupted. Vide cadence. 
 
 interruzione (root-sI-o'nS), /. Inter- 
 ruption. 
 
 interval, Interval! (In-tgr-fal'), G., in- 
 tervale (afi-ter-vai), F., intervallo 
 (valid), /., interval'lum, Z. The 
 distance, or difference in pitch, be- 
 tween tones, reckoned upwards (unless: 
 specially stated). The intervals are, 
 the Jirst or prime (which is identity, C 
 for instance being its own prime) ; the 
 secofid{diS c-d) ; the t/iird or iterce (as; 
 c-e) ; \.\\t. fourth ox quart (as c-f) ; the^ 
 fifth or quint (as c-g) ; the sixth or' 
 sext (as c-a) ; the seventh or sept (as 
 c-b) ; the eighth or octave (as c-c') ; 
 the ninth (as c-d'), etc. Those with- 
 in the octave are called sitnple ; those- 
 over the octave, compound, since s 
 tenth is an octave plus a third, etc. 
 Intervals are qualified also by theii^ 
 mode ; those in the major key of thei; 
 
DICTIONARY OF TERMS 
 
 75 
 
 lower tone (as a-cJt) being called major, 
 those a semitone greater than major 
 are augmented or extreme, superflu- 
 ous, redundant or sharp ; those a 
 semitone less than major are minor 
 (as a-c) ; those a semitone less than 
 minor are diminished or flat (as a-clz). 
 The first, fourth, fifth and octave are 
 called perfect instead of major, be- 
 cause they do not change their quality 
 as do the others on inversion (q. v.). 
 Other names for intervals are chro- 
 matic, containing a note foreign to 
 the key, opposed to diatonic, dis- 
 sonant, needing resolution ; opposed 
 to consonant, enharmonic (q. v.) ; 
 harmonic when struck simultaneous- 
 ly instead of separately, hence op- 
 posed to melodic. Forbidden. Con- 
 trary to the rules of Harmony (q. v.). 
 Consecutive (q. v.). A natural inter- 
 val is that between two tones of a 
 major scale. 
 
 The ratios of the vibrations of diaton- 
 ic intervals are prime, i : i ; second, 
 8:9; third, 4:5; fourth, 3:4; fifth, 
 2:3; sixth, 3:5; seventh, 8:15; 
 octave, I : 2. 
 
 intervening. Intermediate (of a fugue 
 subject). 
 
 intimo (In'-tK-mo), /. Intimate, ex- 
 pressive, intimis'simo. Most e.\- 
 pressive. 
 
 intonare (In-to-nare), /. To in- 
 tone. 
 
 intona'tion. i. The production of 
 sound by voice or instr., as regards 
 quality and pitch, false i. That 
 which is untrue to the key or pitch. 
 
 2. The initial phrase of the antiphon. 
 
 3. Method of singing plain-chant. 4. 
 Vide CHANT, fixed i. Vide fixed 
 
 TONE. 
 
 intonato (Tn-t6-na -to), /. Tuned, set 
 to music. 
 
 in'tonator. Monochord. 
 
 intonatura (In-to-na-too'ra), intona- 
 zione (In-t6-na-tsl-6'ne), /. Intona- 
 tion. 
 
 intoni(e)ren (Tn-to-ne'ren), G. i. To 
 intone. 2. To voice, as pipes. 3. 
 The voicing. 
 
 Intonireisen (ner'-I-z^n), G. A knife 
 used in trimming and tuning pipes. 
 
 Intrade (In-tra'-de), G. A prelude or 
 entrance-music. 
 
 intreccio (In-tret'-cho), /. " Intrigue." 
 A short dramatic work. 
 
 intrepidezza (In-tra-pT-ded'-za), /. In- 
 trepidity, intrepido (ln-tra'-pe-d5), 
 intrepidamen'te. Bold(ly). 
 
 introduction, £., introducimen'to 
 (doo-chT), introduzione (doo-tsl-o'- 
 ne), /. The preliminary measures, 
 or movement preparatory for the 
 main subject. 
 
 introit (in F. an-trwa), introito (Jn- 
 tro-e'-to), /., intro'itus, Z. " En- 
 trance " ; a hymn or antiphon sung 
 in R. C. service while the priest goes 
 to the altar ; in the Anglican Church 
 Communion, when the minister goes 
 to the table. In the Ambrosian rit- 
 ual called Ingressa. 
 
 intuonare (in-too-6-na -re), I. To in- 
 tone. 
 
 invention (in F. an-vans-yon), in- 
 venzione (In-ven-tsI-6'-ne), I. A 
 short informal contrapuntal study 
 with one theme. 
 
 Inventions (horn) (Kn-ven'tsl-ons), F. 
 A Waldhorn fitted with crooks by 
 Werner, 1760. 
 
 inver'sio, L., inversion, E, The 
 transposition of the elements of (a), 
 chords, (b) intervals, (c) themes, (d) 
 parts, (a) The triad is "inverted" 
 from its fundamental position with 
 the root in the bass, to the first in- 
 version with the 3d in the bass, and 
 the second i. when the fifth is in the 
 bass (a 6-4 chord), etc., vide chord. 
 (b) The inversion of intervals is the 
 lowering of the upper tone an octave, 
 thus bringing the lower note above, 
 and the upper below ; for example, 
 to invert a major 6th, e'^-c , we lower 
 c an octave, securing c-e\f a minor 
 3d. The new product of an inver- 
 sion is always the difference between 
 the first interval and the number 9, 
 e. g., a 6th inverted becomes a 3d, 
 a 5th inverted becomes a 4th, etc. 
 The result of inversion is to change 
 
76 
 
 THE MUSICAL GUIDE 
 
 major intervals to minor, and vice 
 versa ; and augmented to diminish, 
 and vice versa ; but perfect remain 
 perfect, (c) A theme is inverted by 
 being repeated backwards, hence, 
 retrograde inversion, or inversio 
 cancrizans, "crab-like." (d) Two 
 parts are inverted when the lower is 
 raised by an octave (inversio in oc- 
 tavam acutam), or by a fifth, tenth, 
 twelfth, etc., or when the higher is 
 lowered by an octave (inversio in 
 octavam gravem, or inferiorem), 
 a fifth, tenth, twelfth, etc. (vide coun- 
 ter-point). 
 
 invert, inverted. Vide inversion. 
 K pedal-point \n any part other than 
 the lowest is called inverted. A turn 
 commencing with the lowest note is 
 inverted. 
 
 invi'tatory, E., invitato'rio, Sp., in- 
 vitato'rium, L. i. An antiphon in 
 the R. C. Matins. 2. In the Anglican 
 Church, the versicle "Praise ye the 
 Lord," and the response sung at 
 matins. 3. In the Greek Church the 
 " O come let us worship " sung thrice 
 before the psalms at the canonical 
 hours. 
 
 invocazione (ka-tsT-o'-n^), /. Invoca- 
 tion. 
 
 lo'nian, lon'ic. Vide modes. 
 
 ira (e'-ra), /. Anger, wrath, irate 
 (e-ra'-to), iratamen'te. Passion- 
 ate(ly). 
 
 Irish harp. i. An ancient instr. having 
 more strings than the lyre. 2. Trade 
 name for " Jew's harp." 
 
 irlandais (er-lan-de'), F., irlandisch 
 (er'-lent-Ish), G. An air or dance in 
 the Irish style. 
 
 iron harp. A semicircular arrange- 
 ment of tuned iron rods which vi- 
 brate sympathetically when a violin 
 is played. 
 
 ironico (e-r5'-nt-k6), /., ironicamen'- 
 te. Ironical(ly). 
 
 irregular, E., irregolare (er-ra-go- 
 la're), /. Not according to strict 
 rule or practice. Vide cadence. 
 
 irresolute (er-ra-zo-Ioo'-to), /. Irres- 
 olute. 
 
 isdegno (es-dan'-yo), /. Indignation. 
 
 i sochronal, Cr., isochronous. Uni- 
 form in time. 
 
 i'son. In Greek Church chant, the 
 movable tonic. 
 
 isoton'ic. Used of a system of inter- 
 vals in which all concords are tem- 
 pered alike, and contain twelve equal 
 semitones. 
 
 istes'so, /. The same. i. tempo. The 
 same time (as before). 
 
 istrepito (es-tra-pe'-to), /. Noise, blus- 
 ter. 
 
 istrionica (es-trl-o'nT-ka), /. Histri- 
 onic. 
 
 istrumentale (es-troo-m^n-tal^), /. 
 Instrumental, istrumentazione (ta- 
 tsl-o'ne). Instrumentation, istru- 
 men'to. An instrument. 
 
 Italian mordent. Shake or trill of a 
 tone with the next above. Italian 
 sixth. Vide altered chords. 
 Italian strings. Catgut strings 
 largely made in Rome. 
 
 italiano (e-ta-ll-a'-no), /., italienisch 
 (e-ta-lI-a'-nTsh), G.,italien(ne) (e-tai- 
 yafi [or-yen]), F. Italian. 
 
 i'te, mis'sa est (ecclesia), L. "De- 
 part, the congregation is dismissed." 
 Vide MASS ; from the word fnissa the 
 word mass is derived. 
 
 
 7 
 
 JACK, /. I. An upright slip of wc 
 on the back end of a key-leve 
 carrying a crow-quill or piece 
 hard leather which projected 
 right angles (in the harpsichord), ot 
 a metal tangent (in the clavichord) 
 and which struck and set in motior 
 a string. The quill or the leather 
 served as a plectrum. 2. The "hop- 
 per." 
 Jagd (yakht), C. Hunt, hunting. Jagd- 
 horn, Jagdzink (tstnk). Hunting- 
 horn, bugle-horn. Jagdruf (roof). 
 Sound of the horn. J-lied (let). 
 Hunting-song. J-sinfonie (sTn-fo- 
 ne'). A symphony of the hunt. ]- 
 stiick. A hunting-piece. 
 
DICTIONARY OF TERMS 177 
 
 Jagerchor (ja'-kher-kor), G. Chorus 
 of hunters. Jagerhorn. Hunting- 
 horn. 
 
 jailtage (yal'-taj). The sole musical 
 instr. of Tartary, a slender box of fir, 
 about 4 ft. long, over which si.x wire 
 strings are stretched. It is played 
 with both hands. 
 
 jaleo (ha-la'-6), Sp. A Spanish dance 
 in 3-8 time, moderato, for one per- 
 son. 
 
 Jalousieschweller (yal-oo-ze' -sh vel- 
 ler), G. " Venetian-blind " swell. 
 
 Janitscharentnusik (ya-ntt-sha'ren- 
 moo-zek), (7., jan'izary music. Mil- 
 itary music for cymbals, triangles, 
 etc. 
 
 Jankd. Vide key-board. 
 
 jeu (zhu) pi. jeux (zhu), F. i. Play ; 
 style of playing on an instr. 2. A 
 stop on the organ, harmonium, etc. 
 3. The organ-power, as grand j. 
 (gran), or plain j. (plan). Full organ. 
 demi-j. Half-power, j. abouche(a 
 boosh). Flue-stop. j. c61este (sa- 
 fest). Vide CELESTK. J. d'anche 
 (dafish). Reed-stop. j. d'anges 
 (danzh). Vox angelica, j. d'6chos 
 (da-ko). Echo-stop. j. de flutes 
 (fiiit). Flute-stop. j. de mutation 
 (mii-tas-yoh). Mutation, or a mi.xt- 
 ure-stop. j. de timbres (tahbr). 
 Glockenspiel, j. de violes (ve-61). 
 Consort of viols, j. de voix hu- 
 maine (vwa U-men). Vox humana. 
 j. d'orgues (dorg). Register, or 
 row of pipes, jeux forts (for). Loud 
 stops. 
 Jew's harp or jewstrump. Vide 
 
 HARP. 
 
 jig. A light, brisk dance in 6-8 or 12-8 
 time. Vide suite. 
 
 jingles. The disks of metal on a tam- 
 bourine. 
 
 jobel (yo'-bel), Heb. Trumpets or 
 horns, 
 
 joc'ulator. A jongleur. 
 
 Jodler (yot'-ler), G. A style of sing- 
 ing affected by the Tyrolese, falsetto 
 alternating rapidly with chest-regis- 
 ter, jodeln (yo'deln). To sing in 
 such style. 
 
 jongleur (zhoh-gliir), F. A hired or 
 
 strolling musician. Vide trouba- 
 dour. 
 jota (ho'-ta), Sp. A Spanish dance in 
 
 rapid 3-8 time. 
 jouer de (zhoo-a-dii), F. To play 
 
 upon (as an instr.). 
 jour (zhoor), F. " Day." corde a j. 
 
 Open string. 
 ju'ba. Part of the breakdown dance of 
 
 the American negro. 
 Jubal (yoo'-bal), G. A 2 or 4 ft. 
 
 stop. 
 Jubelflote (yoo-bel-fla'-te), G. A stop. 
 
 Jubelgesang, Jubellied (let). Song 
 
 of jubilee. Jubelhom. Key-bugle. 
 jubelnd (yoo'-belnt), G. Rejoicing. 
 Jubilate, L. "Be joyful." The name 
 
 for the loth Psalm' in the Anglican 
 
 Church. 
 jubila'tio, L. The cadence on the last 
 
 syllable of " Alleluia " in R. C. music. 
 jub'iloso (yoo-bI-l6'-s6), /. Jubilant. 
 ju bilus, L. I. An elaborate passage 
 
 sung to one vowel. 2. Jubilatio. 
 Judenharfe (yoo'-den), G. Jew's harp. 
 Jula (yoo'-la), G. An old 5 ^-ft. stop, 
 jump. I. A progression by a skip. 2. 
 
 Vide DUMP. 
 Jungfernregal (yoonk-farn-ra'-gal) or 
 
 J-stimme, G. Vox angelica. 
 Jupiter symphony. Mozart's 49th, 
 
 in C major. 
 just. Used of consonant intervals, 
 
 voices, strings, pipes, etc., that speak 
 
 or sound with exactness. 
 juste (zhust), F. Accurate, perfect (of 
 
 intervals), justesse (zhiis-tes'). Ex- 
 actness of intonation. 
 
 K 
 
 [NOTE. — Many German ivords are 
 spelt either with "C" or " K,"' prefer- 
 ably the latter :\ 
 
 KABARO (ka-ba'-ro). A small 
 Egyptian drum. 
 Kadenz (ka-dents'), G. i. 
 Cadence (q. v.). 2. Cadenza. 
 kalamaika (kal-a-ma'-ka). A lively 
 Hungarian dance in 2-4 time. 
 
THE MUSICAL GUIDE 
 
 Kalkant (kal-kiint), G. Bellows-tread- 
 er. K.-glocker. Signal-bell to the 
 blower. 
 
 Kammer (kani'-mer), G. Chamber 
 (q. v.). K.-kantate (kan-ta -te). 
 Chamber-cantata. K. komponist. 
 Court-composer. K. konzert. Cham- 
 ber-concert, or concerto. K. duet. 
 C. duet. K. musik, K. spiel (shpel). 
 Chamber-music. K. musikus (moo^- 
 zl-koos). Member of a prince's pri- 
 vate band. K. Sanger (zeng-gr). 
 Court-singer. K. stil (shtel). Style of 
 chamber-music. K. suiten. Cham- 
 ber-suites. Vide SUITE. K. ton. 
 International pitch. K. virtuose. 
 Court-virtuoso. 
 
 kampoul (kam-pool). A Malay 
 gong. 
 
 kandele (kan-da-le). i. Ancient Fin- 
 nish harp. 2. A dulcimer. 
 
 Kanon (ka-non), C "A rule." i. A 
 canon. 2. A monochord with mov- 
 able bridge ; sometimes it had a sec- 
 ond string in unison, kanonik (ka- 
 no'-nek). Canonic. 
 
 kanoon', kanun . Turkish instr. of 
 the dulcimer variety ; the canun. 
 
 Kantate (kan-ta'-te), G. Cantata. 
 
 Kan tor, G. Cantor. 
 
 Kanzelle (kan-tsel'-le), G. Groove in 
 a wind-chest. 
 
 Kanzellied (let), G. Hymn before 
 the sermon. 
 
 Kanzone (kan-ts6'-ne). G. Canzone. 
 
 Kapelle (ka-pel'-le), G. A chapel. I. 
 A musical establishment, a choir or 
 a band connected with a church or 
 court. 2. Any orchestra. Kapell- 
 knabe(n) (kna -be(n). Choir-boy(s). 
 Kapellmeister (ka-pel -mish-ter), G. 
 I. Conductor. 2. Chapel -master. 
 Kapellmeister-musik. Music full 
 of such strains as must sound reminis- 
 cent to the conductor. K. stil (ka- 
 pgl'-shtel), G. Same as A cappella, 
 i. e., unaccompanied. 
 
 Kapodas ter, G. Capotasto. 
 
 Karfreitag (kar-frl'-takh), G. Good 
 Friday. 
 
 Kassation (kas-sa-tsl-on), G. Cassa- 
 tion. 
 
 Kastagnetten (kas-tan-y^t'-t^n), G. 
 Castanets. 
 
 Kat zenmusik (moo-zek), G. "Cat- 
 music." Charivari. 
 
 Kavatine (kav-a-te'-ne), G. Cavatina. 
 
 kazoo'. A tube with a vibrating string 
 which gives the voice an amusing 
 qualitv when spoken or sung through. 
 
 keck (kek), G. Fresh, bold. Keck- 
 heit (kek'-hlt). Boldness, vigor. 
 
 keen'ers. Irish paid mourners. 
 
 Kehle (ka'-16), G. The voice, the 
 throat. K.-fertigkeit (fer-tlkh-kit). 
 Vocal agility. K.-kopf. Larynx. 
 K.-schlag (shlakh). Coup de glotte. 
 K.-laut (lowt). A guttural sound. 
 
 Kehrab (kar'-ap), Kehraus (ows), G. 
 Colloquial term, for the final dance of 
 a ball. 
 
 kemangeh (ke-man-gah'). A Turk- 
 ish stringed instrument. 
 
 kenet (ken'-et). Abyssinian trumpet. 
 
 Ken'ner, G. A connoisseur, "one 
 who knows." 
 
 Kent bugle (C, Kenthorn). Vide 
 BUGLE. So named in honor of the 
 Duke of Kent. 
 
 kerana (ke-ra'-na). A Persian horn 
 sounded at sunset and midnight. 
 
 ker'anim. Vide keren. 
 
 ke'ras, Gr. A horn. 
 
 Keraulophon (ke-row'-16-fon), G. An 
 8-ft. stop, a small round hole bored 
 in the pipe near the top promoting 
 the overtones ; inv. by Gray and 
 Davidson. 
 
 keren (ker'-en), pi. keranim, Heh. A 
 horn. keren-Jebel (ya-bel). Ju- 
 bilee horn. 
 
 Kern (karn), G. The languid (q. v.). 
 K. stimmen. The fundamental 
 stops. 
 
 kerrena (ker-ra'-na). The kerana. 
 
 Kes sel, G. Cup (of a mouthpiece). 
 Kesselpauke (pow-kc). Kettle- 
 drum. 
 
 ketch. Old name for catch. 
 
 Ket tentriller, G. Chain of trills. 
 
 kettledrum. A brass or copper ket- 
 tle over the top of which is stretched 
 a head of vellum, tightened by a ring 
 and tuned by screws, or by cords and' 
 
DICTIONARY OF TERMS 179 
 
 braces. Kettledrums are usually 
 played in pairs with sticks having 
 flexible handles and soft knobs. 
 Each has a compass of a fifth ; the 
 lower may be tuned to any note from 
 F to c, and the higher B flat to f. 
 key. I. A family of chords and a 
 chain of tones (i. e., a scale) finding 
 their centre and point of rest in a cer- 
 tain tone (the tonic) from which the 
 key takes its name. All keys con- 
 form to the standard for major keys, 
 or to that for minor keys. The 
 signature in which the number of 
 sharps or flats of a major key is 
 written serves as the signature for 
 its related tniiior key, the tonic 
 of which is a minor third below. 
 The key of C has neither sharps nor 
 flats, the key a fifth above (G) has 
 one sharp, the key a fifth below (F) 
 has one flat , and so the progression con- 
 tinues, forming (in a tempered instru- 
 ment. Vide temperament) what is 
 called the circle of fifths, as Y% and G^^ 
 are enharmonic keys traversing the 
 same tones. The following ingenious 
 chart from Riemann's Dictionary 
 tabulates the keys and their signatures 
 concisely, the flats and sharps ap- 
 pearing in the same order on the 
 signatures as here : 
 
 Major Keys. 
 Flats. 
 
 A tuning-hammer. 6. A lever con- 
 trolling organ-pallets. 
 
 key-action. The entire mechanism 
 of a keyed instr. 
 
 key-board. The series of digitals or 
 pedals of a piano, organ or such instr. 
 The idea of having a key-board so 
 arranged that each digital can be 
 struck in 3 different places seems to 
 have occurred first to Paul von Janko, 
 who in 1882 inv. the Jankd key- 
 board, which has the look of si.x 
 contiguous key-boards on a rising 
 plane. The advantages are that all 
 scales are fingered alike and that the 
 reach of the hand is greatly increased, 
 so that a good hand can cover 14 digi- 
 tals. The consequent simplification 
 and enrichment of piano-resources 
 are inestimably valuable. It may 
 be applied to any key-board and is 
 sometimes called a chromatic key- 
 board. 
 
 key-bugle. Vide bugle. 
 
 key-chord. The triad on the tonic. 
 
 keyed. Furnished with keys, as a 
 flute, or piano, keyed violin. Pi- 
 ano-violin. 
 
 key-stop violin. One having a finger- 
 board fitted with thirty-three keys 
 acting as stops perpendicularly upon 
 the strings. 
 
 Sharps. 
 
 765432IOI234567 
 
 Cb Gt> Db Ab El7 Bb F C G D A E B F$ C« G« D« A« 
 765432101234567 
 
 Flats. 
 
 Mi. 
 
 Keys. 
 
 Sharps. 
 
 attendant, or related k. Vide re- 
 lated, chromatic k. One with 
 sharps or flats, opposed to natural 
 k. extreme k. A remote, unrelated 
 k. parallel k. a. Related, b. Used 
 of a major and a minor key with the 
 same tonic but different signatures. 
 2. Old name for clef. 3. A me- 
 chanical lever for controlling tone, 
 whether digital or foot-key. 4. One 
 of such keys as those on the outside 
 of a flute covering certain holes. 5. 
 
 key-harp. An adjustment of tuning- 
 forks over cavities of sonorous metal, 
 with piano-key action, inv. by Dietz 
 and Second, 1819. 
 
 key-note, key-tone. The tonic, key- 
 ship. Tonality. 
 
 key-trumpet. One with keys or 
 valves. 
 
 khal'il. Hebrew flute or oboe. 
 
 khasan (kha'zan), Ileh. Chief singer 
 in a synagogue. 
 
 Kicks, G. Vide goose. 
 
i8o 
 
 THE MUSICAL GUIDE 
 
 Kielflugel (kel'-flll-khel), G. Wing- 
 shaped harpsichord. 
 
 kin chi (Itln che). A Chinese dulcimer 
 with 5 to 25 silk strings. 
 
 Kinderscenen (kint'-er-za-nen), G. 
 Childhood scenes. Kinderstiick 
 (shtuk). An easy piece. 
 
 king chi (king che). A Chinese instr. 
 with sixteen pendent stones gradu- 
 ated and struck with a hammer. 
 
 kinnor (kin'-nor), Heb. A small harp, 
 or lyre. 
 
 kin'tal. Small Indian cymbals. 
 
 Kirche (ker'-khe), G. (in compounds 
 Kirchen). Church. K. kantate 
 (kan-ta'-te). A cantata for church 
 service. K. komponist'. Com- 
 poser of church music. K. dienst 
 (denst). Church service. K. fest 
 (fesht). Church festival. K. gesang 
 (gS-zang), K. lied (let). Canticle, 
 psalm, or hymn. K. musik (moo- 
 zek'). Church music. K. schluss 
 (shloos). Plagal cadence. K. stil 
 (shtel). " Church style " ; in an ec- 
 clesiastical mode. K. tone (tan'-6). 
 The church modes. 
 
 kis'sar. 5-stringed Nubian lyre. 
 
 kit. A small pocket violin, with 3 
 strings, c'-g'-d". 
 
 kitra (kl-tra'). A guitar-like instr. of 
 the Arabs. 
 
 kitha'ra, Gi-. Greek lyre. 
 
 Klage (kla'-khe), G. Lamentation. 
 K.-gedicht (ge-dlkht), K.-lied (let). 
 Elegy. K.-ton (ton). Plaintive tune, 
 or melody. klagend (kla'-khent). 
 Plaintive. 
 
 Klang (klang), pi. Klange (kleng'-e), 
 G. I. Sound, ringing. 2. Vide 
 CLANG. K.-boden. Sound-board. 
 K.-far'-be. Sound-color, clang-tint. 
 K.-geschlecht (gg-shlekht). A ge- 
 nus, or mode. K.-lehre (la-re). 
 Acoustics. K.-folge (fol-khe). A 
 chord-progression in point of ton- 
 ality. K.-figuren (fl-goo'-ren). No- 
 dal figures. K.-leiter (ll-tSr). A 
 scale. K.-saal (zal). Concert-room. 
 K.-schliissel, K.-vertretung. Vide 
 KLANG-KEY. klanglos (klang'los), 
 G. Soundless. 
 
 Klappe (kliip'pe), G. Valve (of a wind- 
 inst.). Klappenfliigelhorn (flu'g^l), 
 G. Keyed bugle. Klappenhorn. 
 Keyed horn. Klapptrompete. A 
 keyed trumpet. 
 
 klar (kliir), G. Clear, bright. Klar- 
 heit (klar'-hit). Clearness, plainness. 
 klarlich (kler-lTkh), G. Clearly, dis- 
 tinctly. 
 
 Klarinette (kla-rl-net'-te), G. Clari- 
 inet. 
 
 klassisch (klas'sTsh), G. Classi- 
 cal. 
 
 Klausel (klow'-zSl), G. A cadence. 
 Bassklausel. The progression of the 
 bass in a final cadence from dominant 
 to tonic. 
 
 Klaviatur (kla-fl-a-toor), G. Key- 
 board. K. harfe (or Klavier-harfe). 
 A harp inv. by Lutz, Vienna, 1893, 
 in which the strings are plucked by 
 plectra manipulated by a key-board. 
 The same man in the same year inv. 
 the K.-zither, a small piano with 
 single strings, plucked by means of a 
 key-board. 
 
 Klavier (kla-fer'). i. Key-board. 2. 
 Key-board instr., especially the clav- 
 ichord (formerly the piano). Klavi- 
 erauszug (ows-tzookh). Arrange- 
 ment for piano. K. -harfe. Vide 
 KLAViATUR-HARFE. K.-hafmonium. 
 An harmonium shaped like a grand 
 piano, inv. by Woroniecki, 1893. 
 K.-hoboe. The harmoniphon. K.- 
 massig (mes-sikh). Suitable for, in 
 the style of the piano. K.-satz. 
 Piano-music, or manner. K.-sonate 
 (kla-fer'-s6-na-te). Piano-sonata. K.- 
 spieler (shpe'-ler), G. Piano-player. 
 K.-violoncello. A 'cello in a frame 
 with a key-board arrangement for the 
 left hand, of special advantages ; inv. 
 by de Vlaminck, Brussels, 1893. K.- 
 viola. A viola with key-board at- 
 tachment. 
 
 klein (kiln), G. Small, minor. K.- 
 bass (klln-bas), K.-bassgeige (gi'- 
 khe), G. Violoncello. Kleinege- 
 dacht. A flute-stop. kleiniaut 
 (lowt),6^. Small or low in tone or 
 voice. 
 
DICTIONARY OF TERMS 181 
 
 klingbar (klTng'-bar), G. Resonant. 
 Klingel (kllng-el). A bell, klingeln 
 (kllng'-eln). To jingle, klingend 
 (kllng-ent). Ringing. klingende 
 Stimme. Speaking (as opposed to 
 dummy) pipes. Klingklang (kllng- 
 klang). Tinkling, bad music. 
 
 Klutter (kloot'-ter), G. A bird-call. 
 
 Knabenstimme (kna'-ben-shtlm-me) , 
 G. " Boy's voice," counter-tenor. 
 
 knee-stop. A lever worked by the 
 knee, and (a) controlling the wind, 
 (b) opening the swell-box, (c) drawing 
 all the stops. 
 
 knell. The tolling of a bell. 
 
 Knie (kne, not ne). Knee. K.-gui- 
 tarre. Guitarre d'amour. K.-zug 
 (tsookh). Knee-stop. K.-geige (kne- 
 gi'-khe), G. Viol da gamba. K.- 
 rohre (ro-rS), G. A mitred pipe. 
 
 Knopfregal (knopf-ra'-gal), G. An 
 obs. reed-stop. 
 
 Knote (kno'-te), G". Node. K.-punkt. 
 Nodal point. 
 
 kobsa (kob'-sha), Rus. A crude lute- 
 like instrument. 
 
 Kollectivzug (kol-lek-tef -tsookh), or 
 Kombinationspedale (kom-bl-na- 
 tst-6ns-pe-da'-le), G. Combination 
 pedal. 
 
 kollo (k6r-I6),/a/. A Japanese harp. 
 
 kol'lern, G. To sing in a thin reedy 
 voice. 
 
 Kolophon'. Resin. 
 
 Kombinationstone (kom-M-na-tst- 
 6ns'-ta-ne). Resultant tones. Vide 
 
 also KOLLEKTIVZUG. 
 
 Komiker (k5'-ml-ker), G. A writer of 
 burlettas ; comic performer. 
 
 komisch (ko'-mlsh), G. Comical. 
 
 Komma (kom'-ma), G. Comma. 
 
 komponi(e)ren (k6m-p6-ne'-ren), G. 
 To compose. komponi(e)rt. Com- 
 posed. Komponist'. A composer. 
 
 Komposition (k6m-p6-ze'-tsT-6n), G. 
 A composition. Kompositionslehre 
 (la-re). The art of composition. 
 
 Konservatorium (to'-rt-oom), G. A 
 conservatory. 
 
 kon'tra, G. Contra. Kontrabass. 
 Double-bass. K.-fagott. Double- 
 bassoon. K.-oktave. Contra-octave. 
 
 K.-punkt. Counterpoint. K. - 
 subjekt. Counter-subject. K.-tone 
 (ta-ne). The deepest tones of a bass 
 voice. 
 
 Konzert (kon-tsirt'). Concert ; con- 
 certo. K.-meister (ml-shtSr). First 
 violin ; leader. K.-oper. Concert 
 opera. K.-stiick (shttik). A free 
 concerto in one movement, or any 
 short concert-solo. 
 
 koous. A Persian brass drum. 
 
 Kopfstimme (kopf'-shtlm-me), G. Fal- 
 setto. 
 
 Koppel (kop'-pel), G. Coupler, coup- 
 Hng-stop. K. ab (or an). " Coupler 
 off (or on)." 
 
 Kornett (kor-net'), G. Cornet. 
 
 koryphae'us, Gr. Chief, or leader of 
 the dances. 
 
 kos (koz), Hun. A Hungarian dance. 
 
 Kosake (ko-sa-ke). A national dance 
 of the Cossacks in 2-4 time. 
 
 ko'to. Japanese zither with 13 silk 
 strings, compass 2 octaves. 
 
 Kraft (kraft), G. Power, energy, kraf- 
 tig (kref'-tikh). Powerful, vigorous. 
 
 Kragen (kra -khen), G. Lute peg-box. 
 
 Krausel (kri'-zel), G. Mordent. 
 
 Krakoviak (kra-ko'-vlt-ak), Krako- 
 vienne (kra-ko-vt-en), F. The cra- 
 covienne. 
 
 krebsgangig (kraps'-geng-tkh), G. 
 ' ' Crab-going " ; retrograde imitation. 
 Krebskanon. Canon cancrizans. 
 
 kreischend (krl'-shent), G. Shrieking. 
 
 Kreisfuge (krls'-foo-khe), G. A canon. 
 
 Kreisleriana (krls'-la-rt-a -na), G. A 
 series of piano pieces by Schumann, 
 named after an eccentric conductor 
 called Kreisler, in one of Hoffman's 
 novels. 
 
 Kreistanz (kris'-tants), G. Dance in a 
 circle. 
 
 kreol (kra -61). A Danish reel. 
 
 Kreuz (kroits), G. A sharp, dop- 
 pelt K. A double sharp. K.- 
 saitig (z!-tlkh). Overstrung. K.- 
 tonart. Sharp key. 
 
 Kriegsgesang (krekhs'-ge-zang), 
 
 Kriegslied (let). G. A war-song. 
 K.-spieler (shpe-ler). A military 
 
l82 
 
 THE MUSICAL GUIDE 
 
 kriegerisch (kre'-kh^r-tsh). Mar- 
 tial. 
 
 Krome (kro'-me), G. Vide chroma. 
 
 kro talon, Gr. Crotalum. 
 
 krumm (kroom), G. Crooked, curved, 
 bent. K.-bogen (bo'-khen). A 
 crook. K.-horn. Crooked horn. 
 I. An obs. wind-instr. resembling a 
 small cornet ; it had a range of nine 
 notes, and was made in several sizes ; 
 its plaintive tone has led to its imita- 
 tion in (2) an organ-stop of 4 and 
 8 ft. pitch (and in the Krummhorn- 
 bass, of 16 ft.). Same as crom- 
 horn. 
 
 krustische Instrumente (kroos -tTsh- 
 e), G. Instr. of percussion. 
 
 kuhn (koon), G. Bold, decided. 
 
 Kuhhorn (koo-horn), G. Swiss " cow- 
 horn." 
 
 Kuh-kuk (koo'-kook), G. The cuckoo 
 used in toy symphonies. 
 
 Kuhreigen (koo'-ri-khdn), G. "Cow- 
 round-up." Vide KANZ DES VACHES. 
 
 kuit'-ra. Kitra. 
 
 Kunst (koonst), G. Art, skill. K.- 
 fuge (foo-khe), ftiga ricercata. Vide 
 FUGUE. Kiinstler (kKnst'-lr). Ar- 
 tist. K.-lied (let). An art (as opp. 
 to a folk) song. K.-pfeifer (pfl'-fer). 
 Street musician. Kunstwerk der 
 Zukunft (koonst'-virk der tsoo'- 
 koonft). "Art work of the future." 
 A term given by Richard Wagner to 
 his theory of music. 
 
 ku'rum. Curved trumpet of the West- 
 ern Nile. 
 
 kurz (koorts), G. Short, detached, 
 staccato. kiirzen. To abridge. 
 kurzer Mordent. Short mordent. 
 kurze Oktave. Short-octave, kur- 
 zer Singesatz. Cavatina. Kiir- 
 zung (kiir'-tsoongk). Abbreviation. 
 Kiirzungszeichen (tsl'-khen). Sign 
 of abbreviation. 
 
 kussir (kijs-ser), F. Turkish instru- 
 ment. 
 
 Kyrie eleison (ke'-rl-a a-la'-e-s6n), Gr. 
 " Lord, have mercy (upon us)." Vide 
 
 MASS. 
 
 kyrielle (ke-re-^1), F. Litany. 
 kyr'riole. Old E, for Carol. 
 
 LAbbr. for Left {G., Links). 1. h.. 
 left hand. 1', abbr. for le or 
 la, "the." 
 la. I. Vide solmisation. 2. 
 The note A {F. and /.). la bemol, 
 or bemolle, atz ; la difese (la dl-ez), 
 F., at. 
 
 la (la). /. and F. The. 
 
 labecedisa'tion. Vide solmisation. 
 
 labial. Lipped (of flue-pipes). La- 
 bialstimme (Iri-bl-al-shtlm-m^), or 
 pfeife (pfi-fe), G. Flue-stops. 
 
 labisa tion. Vide solmisation. 
 
 Labien (lii -bl-en), pi., G. Pipes. 
 
 Labium (la'-bl-oom), Z. and G. The 
 lip of a pipe. 
 
 lacrimando (la-krT-man'-do), lacri- 
 mo'so, /. Mournful. 
 
 Lacrimosa(la-krl-m6'-sa), L. "Weep- 
 ing." An occasional part of the Re- 
 quiem. 
 
 Lade (la-de), G. Wind-chest of an 
 organ. 
 
 Lage (Iji-khe), G. Position, i. Of 
 a chord. 2. Of the hand in violin 
 shifts, eng'e L. Close harmony, 
 opposed to weite (vi'-te), open. 
 
 Lagenwechsel (vekhs-^l), G. Shift- 
 ing. 
 
 lagnoso (lan-yo'-s6), /. Plaintive, dole- 
 ful. 
 
 lagrimando (la-grl-man'-do), lagri- 
 mo'so, /. Weeping. 
 
 lah. Vide TONIC sol-fa. 
 
 lai (le), /'. Lay, ditty. 
 
 lament'. Old name for harp music or 
 songs of pathos. 
 
 lamentabile (la-men-ta'-bl-lS), lamen- 
 tabilmen'te, /. Mournful(ly). la- 
 mentan do, lamentevole (la-men- 
 ta'-v6-ld), lamento'so. Plaintive. 
 
 Lamentations. Words from Jere- 
 miah sung at Vespers in Passion 
 week. 
 
 lampon (laii-pon), F. Drinking-song. 
 
 Ian cers, F., lanciers (lans-ya), /". A 
 set of quadrilles. 
 
 Landerer (len'-de-rer), Landler (lent'- 
 ler), G. Slow German or Austrian 
 waltz in 3-4 or 3-8 time, the last notes 
 
DICTIONARY OF TERMS 183 
 
 of each measure a dotted Sth and a 
 
 i6th note. 
 landerisch (l^n'-der-lsh), G. In the 
 
 Landler style. 
 Undlich (lent'-lTkh), G. Rural. 
 Landlied (liint -let), G. Rustic-song. 
 landu (lan'-doo), Port. A Portuguese 
 
 dance in duple -time. 
 landums (lan'-dooms), Po7-t. Portu- 
 guese music of sentimental tone. 
 lang (liing), G. Long. 
 langsam (lang'-zam), G. Slow(ly), 
 
 largo. langsamer (lang'-zam-er). 
 
 Slower. 
 language, languid. In a flue-pipe a 
 
 horizontal strip of metal or wood just 
 
 inside the mouth. 
 languendo (lan-gwen'-do), languen'- 
 
 te, languido (lan-gwe'-do), /. Lan- 
 guishing, languemen te. Lan- 
 
 guishingly. 
 languette (lah-get), F. i. The tongue 
 
 of reed-pipes. 2. Pallet. 3. Key on 
 
 a wind-instr. 4. Tongue carrying the 
 
 quill of a jack. 
 languid. Vide language. 
 lan'tum. A large hurdygurdy with 
 
 rotary bellows and reeds played by 
 
 buttons. 
 lapid'eon. A scale of flint-stones 
 
 played with hammers ; inv. by Bau- 
 
 dry. 
 largamente (lar-ga-men'-t^). Broadly, 
 
 nobly. Vide largo. 
 largando (lar-gan'-do), /. Broadening, 
 
 becoming largo (q. v.). 
 large. The longest note in ancient 
 
 music equal to four breves (eight of 
 
 our whole notes). Vide not.\tk)X. 
 large (larzh), F. Broad, largo, large- 
 
 ment (lirzh-mah). Broadly. 
 larghetto (lar-get'-to), /. Not quite 
 
 so slow as largo. 
 larghezza (lar-gW-za), /. Breadth, 
 
 slowness, larghissimo (lar-gls'-sT- 
 
 mo). Very slow. 
 largo (lar'-go), /. Slow, noble, broad, 
 
 usually taken as slower than lento. 
 
 1. assai (as-sa'-e), 1. di molto (de- 
 
 mol'-to). Very slow. 1. ma non 
 
 troppo. Slow, but not too slow. 1. 
 
 un poco (oon po'-ko). Rather slow. 
 
 larigot (lar-I-go), F. i. Shepherd's 
 pipe. 2. A very shrill i^^-ft. stop. 
 
 laringe (la-ren'-je), /. Larynx. 
 
 larmoyant (lirm-wa-yah), /". Weep- 
 ing. 
 
 larynx. Upper part of the trachea or 
 wind-pipe ; a human reed-pipe vary- 
 ing at will the tones of the voice. 
 
 laud (la-oodh), Sp. Lute. 
 
 laud, lauda (lii'-oo-da), /. and Z., /. pi. 
 laiide, L. pi. latides. I. Hymn(s) of 
 praise. 2. Vide hora. 
 
 Lauda Si'on, Salvato'rem. " Zion, 
 praise the Saviour " ; a sequence sung 
 at the High Mass of Corpus Christi. 
 
 laudis'ti, L. Psalm-singers. 
 
 Lauda'mus Te, L. " We praise Thee." 
 Part of the Gloria. Vide mass. 
 
 Lauf (lowf), G. I. Peg-box. 2. A 
 run, a trill. Lauftanz (lowf'-tants). 
 A running dance, corante. Laufe 
 (iT'-fe). Rapid divisions. Laufer (li- 
 fer). A run, trill, or shake. 
 
 Launenstiick (low'-nen-shtiik), G. A 
 voluntary'. 
 
 launig (low'-nTkh). Humorous. 
 
 Iaur6ate (lo-ra-St), F. A winner of 
 the Grand Prix de Rome (q. v.). 
 
 laut (lowt), G. I. Loud. 2. A sound. 
 lautlos (lowt-16s). Soundless, mute. 
 
 Laute (lowt'-e\ G. The lute. Laut- 
 enist'j Lautenschlager (shla'-kher), 
 or spieler (shpe-ler), G. Lutenist. 
 
 Lautenfutter (foot-ter), lautenkas- 
 ten. Lute-case. Lauteninstru- 
 mente. Instrs. whose strings are 
 plucked. L.-geige. Viol. L.-zug. 
 Lute compass. L.-macher(ma -kher). 
 Lutemaker. 
 
 lauten (h'-tSn). To toll, to sound. 
 
 lavol'ta. Old Italian waltz. 
 
 lay. Song. 
 
 le (lu), /"., le (la), /., pi. The. 
 
 lead (led), i. The announcement by 
 one part of a theme to reappear in 
 others. 2. A sign giving the cue for 
 the entry- of the various parts of a 
 canon, etc. 
 
 leader, i. Conductor, director. In 
 older times the first violinist was the 
 actual conductor and is still called 
 "leader" though he has lost his 
 
84 
 
 THE MUSICAL GUIDE 
 
 function as conductor. 2. The first 
 comet (in bands). 3. The first so- 
 prano (in chorus). 
 leading, i. As a noun. A melodic 
 progression or tendency. 2. As an 
 adjective. Guiding, compelling, char- 
 acteristic, predominant. 1. -chord. 
 The dominant. l.-tone, or note. 
 The 7th degree of a scale (because it 
 
 leads in and demands the tonic), 
 l.-melody. The chief melody. 
 leading-motive, A musical phrase or 
 figure (as those in Wagner's operas), 
 used as a sort of autograph or trade- 
 mark of a certain character, mood or 
 sentiment, and recurring whenever 
 that character or mood is to appear 
 oris remembered. 
 
 Leading-Motives. 
 
 By Gustave Kobbe. 
 
 OTHER composers before Wagner have used typical phrases to 
 express some personal characteristic or idea, and have repeated them 
 in a manner which suggests what is now termed a leading-motive. 
 Such is the '* Idee fixe'''' in Berlioz's "Fantastique " symphony; or the 
 phrase in Weber's "Euryanthe" which occasionally even is spoken of as 
 the " Tomb Motive." I, however, have always considered that Beethoven 
 in the use he made of the opening theme of his Fifth Symphony more nearly 
 approached the leading-motive than any of Wagner's predecessors. The 
 theme recurs with great variety of effect throughout the symphony, the 
 second movement excepted. It is found as a mysterious threatening figure 
 accompanying the second theme of the first movement, while in the Allegro, 
 the scherzo of the symphony, it partakes of a joyous character, to reappear 
 as a disturbing element in the finale. It has the plasticity of a leading- 
 
 motive, but it may be questioned whether Beethoven intended to use it for an; 
 other than a purely musical effect. In fact any suggestions Wagner ma;' 
 
DICTIONARY OF TERMS 185 
 
 have received from other composers were so slight that the leading-motive 
 in the modern sense may unhesitatingly be said to be his invention. ^It 
 is easier to say what a leading-motive is not, than to give it a fixed defi- 
 nition. The first idea to disabuse one's self of is that a leading-motive 
 is anything like a label. The "Walhalla" motive in the "Ring of the 
 Nibelung " is not a guide-post which reads "Walhalla to the right — 3 
 miles" — nor does it even represent Walhalla as a pile of masonry. It 
 expresses, in its simple yet lofty measures, the rulership of Wotan, the 
 hegemonia of the gods. A leading-motive is a musical searchlight or X-ray 
 which illuminates and enables us to look deep into every character, thought, 
 mood, purpose, idea, and impulse in the drama. Even conscience itself 
 does not escape Wagner. Witness how he lays it bare with his scalpel of 
 leading-motives in the first meeting of Siegfried and Hagen in " Goetterdaem- 
 merung " with the Curse Motive, which hints at Hageii' s fell purpose, 
 darkening the noble Siegfried Motive. The use of the Curse in this episode 
 clearly foreshadows the death of the Volsung hero at Hagen'' s hand and lays 
 the gloom of impending tragedy heavily upon the hearer's soul. ^[How 
 plastic a leading-motive may be, how closely welded to the ever-changing 
 phases of the drama and how clearly it expresses them, the wonderful 
 
 =5=P^^Mfpi=^E^ g^i 
 
 
 variants of the motive of Siegfried the Fearless — the call Siegfried sounds on 
 
 his silver horn — will show. Joyous and buoyant in its simplest form, it 
 
 becomes when he takes leave of Briinhilde to sally forth in quest of adven- 
 
 p. tare, heroically grand, and in the Death Music, that strain of triumphant 
 
 5.1 mourning which thrills every hearer and stamps the episode as the greatest 
 
 til climax ever achieved in a musical work for the stage. Indeed, the whole 
 
 scene is a triumph for the leading-motive idea, since here, as Siegfried' s Hfe- 
 
i86 
 
 THE MUSICAL GUIDE 
 
 less body is borne up on the mountain crest, the orchestra gives a musical 
 epitome of his career bv voicing successively the motives most intimately 
 relating to him which have been heard in the cycle of music-dramas. • But 
 Wagner's use of leading-motives singly and in complex combinations ac- 
 cording to the trend of the drama however interesting analytically would 
 wholly have failed were not the motives themselves musically valuable. They 
 are enunciated chiefly bv the orchestra (which thus forms a constant com- 
 mentary upon the proceedings of the stage) and they are considered by those 
 who are in the van of musical opinion to have resulted in the most eloquent 
 and sublime — if at times the most tedious — scores ever penned. To ap- 
 preciate what a genius Wagner really was, it is only necessary to listen to the 
 works of some of his imitators. 
 
 Liszt in his Symphonic Poems has adapted the leading-motive to instru- 
 mental music, in which respect Richard Strauss may be regarded as follow- 
 ing him. 
 
 leaning note. Appoggiatura. 
 
 leap. I. Skip. 2. In piano-playing a 
 long jump for the hand. 3. A dis- 
 tance composed of several interme- 
 diate intervals. 
 
 Leben (la-ben), G. Life, vivacity, le- 
 bendig (la -ben-dikh), lebhaft (lap'- 
 haft). Lively. Lebhaftigkeit (kit). 
 Vivacity. 
 
 le^on (ICi-son), F. Lesson, exercise. 
 
 ledger line, leger line. A short ad- 
 ditional line above or below the staff, 
 for notes too high or too low to 
 be written on the staff. 1. 1. are 
 counted away from the staff, the 
 nearest being the first, ledger space. 
 The space between two 1. 1. 
 
 leere Saiten (la-re zT'-ten), G. Open 
 strings. 
 
 legabile (le-ga'-bl-le), legando, /. 
 Legato. 
 
 legate (le-ga-re). To bind, or tie. 
 
 legato (le-ga'-t5), /. "Bound." In 
 a smooth, connected manner, opposed 
 to staccato, and indicated by a slur, or 
 legato-mark {G., legato-bogen) 
 thus, „. L. touch. A touch pro- 
 longing the tone, till it exactly con- 
 nects with the ne.xt. legatis simp. 
 Exceedingly legato. 
 
 legatura (la-ga-too -ral, /. i. A slur. 
 2. Syncopation. 1. di voce. Vide 
 LI(;.\TUK1- (2). 
 
 legend, legende (la-zharid), /•., Le- 
 gende (la-gen -de), G. A composi- 
 tion in romantic or narrative style. 
 im Le gendenton, G. In the ro- 
 mance manner. 
 
 leger. Vide lkd(;kk. 
 
 legcr (la-zha), legere (la-zhar), /". 
 Light, nimble, legerement (man). 
 Lightly, legerete (la-zhar-ta). Agil- 
 ity. 
 
 leggenda (led-jen'-da), /. A legend." 
 
 leggeramente (led-jer-a-men -te), leg- 
 germen te, /. Lightly, leggeran- 
 za (led-jer-an'-tsa). leggerezza 
 (Icd-jer-c'd'-za). Lightness. 
 
 leggiadro (led-ja'-dro), leggiadra- 
 men te, /. Graceful(ly). 
 
 leggiere (led-ja -re), leggiero, leg- 
 gieramente, leggiermen te, /. 
 Light(ly). leggierezza (led-je-red 
 za). Delicacy. 
 
 leggieruco lo. Rather light. 
 
 legno (lan-yo), /. Wood. col. 1. 
 To be played with the back or wood 
 of the bow. 
 
 Lehrsr (la-rer), feminine J-ghrerin, 
 (7. Teacher, master, 
 
DICTIONARY OF TERMS 
 
 87 
 
 Leich (likh), (7. A lay. 
 
 Leichenmusik (ll'-khen-moo-zck'), G. 
 Funeral-music. Leichenton (ton). 
 \ lugubrious sound. 
 
 leicht (iTkht), G. Light, easy, facile. 
 L. bewegt (b^-vakht), (a) delicately 
 swift, (b) agitatedly. Leichtheit 
 (hit), Leichtigkeit' (llkh-tikh-kTt). 
 I.ightness, facility. leichtfertig 
 (fer-tlkh). Light(ly), careless(ly). 
 
 Leidenschaft (iT'-den-shaft), G. Pas- 
 sion, leidenschaftlich (llkh). Pas- 
 sionate. 
 
 Leier (ll'-er), G. A lyre. L.-kasten 
 (kjist'en). A hurdygurdy. Lejer- 
 madchen (mat'-khen). A girl who 
 plays on a hurdygurdy. Leiermann 
 (man). A male player of a hurdy- 
 gurdy. Leierorgel (lT'-er-6rkh-el). 
 Hand-organ. Leierspieler (shpc- 
 ler). One who plays on a lyre. 
 
 Leine (iT'-ne), G. A line on the staff. 
 
 leise (iT'-ze), G. Low, soft, gentle. 1. 
 wie fiir sich (ve fur zlkh). Softly, as 
 if to one's self. 
 
 Leitakkord (lit'-rik-kord), G. A har- 
 mony progressing naturally to an- 
 other, as the dominant. Leitmotiv 
 (iTt'-mo-tef). Leading-motiye (q. v.). 
 Leitton (lit'-ton). The leading note. 
 
 Leiter (iT'-ter), G. i. Leader. 2. 
 " Ladder," the scale of any key. 
 
 leitereigen (iT-ter-Ikh'-n). Proper and 
 peculiar to a key, opposed to foreign 
 notes which are L-fremd (fremt). 
 
 lene. Old term for a note sustained, 
 while other parts moye. 
 
 leno (la-no), /. Weak, feeble, faint. 
 lenezza (la-ned'-za). Gentleness. 
 
 lent (lah), F. Slow, lentement (lant- 
 mah), F. Slowly. lenteur (lan- 
 tiir'). Slowness, delay. 
 
 lentando (len-tan'-do), /. Retarding. 
 
 lento (len'-to), /. Slow ; usually con- 
 sidered between andante and largo. 
 1. assai, 1. di molto (de mol'-td), 1. 
 lento. Very slow. lentis'simo. 
 E.xtremely slow, lentamen'te, len- 
 temen'te. Slovyly. lentezza (ISn- 
 tod'-za). Slowness. 
 
 lesser. Minor, as the 1. third. 1. 
 appoggiatura. Vide .vppocg. 
 
 L barbiton. The kit. I. comma. 
 The diaschisma, 
 
 lesson. A piece of two or three move- 
 ments for the harpsichord or piano- 
 forte, often combined into a suite. 
 
 lesto (les'-tu), /. Lively, lestissimo. 
 Verj' quick, lestezza (les-ted'-za), 
 /. Agility. 
 
 letterale (I'et-te-ra'-le), letteralmen- 
 te, /. Literal(ly). E.xactly as written. 
 
 letter-name. A letter designating a 
 tone, key, etc., as a, b, c. Letter-no- 
 tation is old as the Greeks. 
 
 leuto (la-oo'-to), /. Lute. 
 
 leva (la'-va), /. Lift, release, si leva 
 il sordino, "lift the mute"; si le- 
 vano i sordini, "release the damp- 
 ers." 
 
 Iev6 (lil-va'), /". Up-beat. 
 
 levet. A blast of a trumpet ; reveille. 
 
 levezza (le-ved'-za), /. Lightness. 
 
 levier pneumatique (lev-T-a'-nii-ma- 
 tek), F. The pneumatic lever. 
 
 leziosamen'te (la-tsl-o), /. Affected- 
 ly- 
 
 lezzioni (led-zT-o'-ne), /., pi. Les- 
 sons.. 
 
 Leyer (IT'-Sr), G. Lvre. 
 
 L. H. Abbr. for "left hand." 
 
 liaison (!e-ez'-on), /". i. A bind or 
 tie. 2 Vide LIGATURE, 2. 3. 1. d 'har- 
 monic (drir-mo-ne). Syncopation. 
 1. de chant (du shan). Sostenuto 
 singing. 
 
 libero (le'-b^-ro), liberamen'te, /. 
 Free(ly), unrestrained(ly). 
 
 libitum, L. Pleasure, will, ad libitum. 
 At the pleasure of the performer, 
 who may decide tempo, e.\pression, 
 etc., or even omit the section so 
 marked. 
 
 librement (lebr-mafi), /'. Freely. 
 
 libretto. The te.xt of an opera, ora- 
 torio, etc. librettist. A writer of 
 such texts. 
 
 li'cence (in F. le-sans), licenza (le- 
 chen'-tsa), /. A deviation from the 
 rules, con' alcuna (al-koo'-na) li- 
 cenza. With some freedom. 
 
 liceo (le-cha'-6), /. Lyceum ; academy. 
 
 -lich- (llkh), G. Suffix, equivalent to 
 "-like," or "-ly." 
 
i88 
 
 THE MUSICAL GUIDE 
 
 lich'anos, Gr. Vide lyre. 
 
 Ii6 (le-a'), F. Smooth(ly), legato. Ii6 
 coulant (koo-lan). Slurred but flow- 
 ing. 
 
 Liebeslied (le'-Ws-let). Love-song. 
 Liebesflote. A flute-stop. Lieb- 
 haber (lep'-ha-ber). Amateur. 
 lieblich (lep'-llkh). Lovely, charm- 
 ing. Lieb lichgedacht (ge-dakht). 
 A stopped-diapason organ register. 
 
 Lied (let), pi. Lieder (le-der), G. 
 Loosely, any song ; technically, a 
 song (as opposed to the ballad or 
 Strophenlied), in which the text 
 predominates over merely melodic 
 rights, and the music interprets, rather 
 than disregards, the words. Such a 
 song in which each stanza has special 
 music is often called durchkompon- 
 i(e)rtes (doorkh-kom-p5-ner'-tes), or 
 one " composed all through." Lied 
 (or lieder) ohne Worte (5'-ne 
 v6r'-t6), G. Song (or songs) without 
 words. Lied form (form). The form, 
 or theme of a song. Liedchen (let- 
 khen). A short song. Liederbuch 
 (bookh). A song or hymn-book. L.- 
 bund (boont). A society of singers. 
 L.-cyclus (tse'-kloos). A cycle of 
 songs. L.-dichter (dTkh'-tSr). A 
 song - writer. L, - kranz (krants). 
 Glee-club. L. - kreis (kris). A 
 " wreath " of songs. L.-satnmlung 
 (zam'-loongk). Collection of songs. 
 L.-sanger (zSng'-Sr). A ballad- 
 singer. L. -spiel (shpel). An oper- 
 etta. L.-sprache (spra -khe). Words 
 adapted to songs. L.-tafel (ta -fgl). 
 "Song-table"; a glee-club of male 
 voices. L.-tafler (tef'-ler). Glee- 
 singers. L.-tanz (tants). A dance 
 with songs. 
 
 lier (ler), Dutch. A lyre. 
 
 ligare (ll-ga-re), ligato (le-ga-to). 
 
 Vide LEGARE, LEGATO. 
 
 Ligatur (le-gii-toor'), G., ligatura 
 (le-ga-too'-ra), /., lig'ature, E. (pron. 
 in /'. le-ga-tiir'). i. A succession of 
 notes sung to one syllable or in one 
 breath, or played with one stroke of 
 the bow. 2. A tie. 3. A syncopa- 
 tion. 4. In old music a succession of 
 
 notes sung to one syllable. Vide 
 
 NOTATION. 
 
 ligne (len'-yu), F. A line. 1. addition- 
 nelle (ad-des-yii-nel), or ajouti 
 (a-zhoo-ta), or postiche (pos-tesh), 
 or suppl^mentaire (siip-pla-mafi- 
 tar'). A ledger line. 
 
 lig neumpsalte'rium, L. Xylophone. 
 
 limite (le'-ml-te), /. Limit. 
 
 lim'ma, Gr. An interval in Greek 
 music, less by a comma than a major 
 semitone. 
 
 linea (le'-ne-a), /. A line of the staff. 
 
 line. One of the five lines making up 
 the staff (q. v.). added, or ledger 
 line. Vide ledger. 
 
 lingua (lln'-gwa), /. i. The tongue in 
 a reed. 2. The reed itself. 
 
 Lingualpfeife (len-goo-al'-pfi-fe), G. 
 A reed-pipe. 
 
 lin'gula, L. Glottis. 
 
 Linie (le'-ne), pi. Linien, G. Line(s). 
 Liniensystem (le'-nl-Sn-zes-tam). 
 The staff. 
 
 lining-out. The old practice of read- 
 ing out one or two lines of a hymn , 
 before singing them. 
 
 li'nings. The supporting strips glued 
 to the ribs of violins, etc. 
 
 link (link), links (links). G. Left, 
 linke Hand (hant). The left hand. 
 
 linos, Gr. 1. A rustic air. 2. A 
 dirge. 
 
 lip, E., Lippe (llp'-p^), G. i. The 
 flat surface above or below the mouth 
 of a flue-pipe. 2. Vide embouchure. 
 Lippenpfeife. A flue-pipe. 
 
 lira (le'-ra), /. i. The Greek lyre. 2.' 
 In i6th-i8th cent, a viol, hence, 1. 
 barberi'na. A small viol inv. by j 
 Doni in 17th century. 1. da braccio 
 (da brat'-sho). Obsolete instr. like 
 the tenor viol, with seven strings, i 
 1. da gam'ba. An instr. held be- 
 tween the knees and having 12 to 16 
 strings. 1. dop'pia. Double lyre. 
 1. grande (grjin'-de). A viol with six 
 strings, formerly used in Germany. 
 1. pagana (pa-ga-na), 1. rustica 
 (roos'-tl-ka), 1. tedesca (ta-dSs'-ka). 
 A hurdygurdy. 
 
 lire (ler), F. To read. 
 
DICTIONARY OF TERMS 
 
 89 
 
 liressa (le-rSs'-sa). A bad lyre. 
 
 lirico (le'-ri-ko), /. Lyric. 
 
 lirone (le-ro'-ne), /. The large bass 
 viol with 24 strings. 
 
 liscio (le'-sho), /. Smooth. 
 
 lispelnd (lls'-pelnt), G. Lisping. 
 
 I'istesso (les-tes'-so), /. The same. 
 
 litanei'a, Gr., litania (le-ta-ne'-a), 
 Z. and /., litanie (ll-ta-ne'), F., 
 Litanei (le-ta-m), C, lit'any, j?. A 
 solemn form of supplication, the min- 
 ister offering prayers, to which the 
 congregation add "Lord have mer- 
 cy." kyrie elfison is the lesser 1. 
 
 lit'terae significa'tivae, L. Letters 
 of doubtful meaning, used in neu- 
 matic notation. 
 
 lit'uus, L. A kind of trumpet. 
 
 liuto (le-oo'-t5), I. A lute. 
 
 livre (levr), F. A book ; II. V ouvert 
 (oo-vSr). At first sight. 
 
 livret (le'-vra), F. A libretto. 
 
 lo (16), I. The. 
 
 Lobgesang (I6p'-g5-zang), Loblied 
 (lop'-let), G. A hymn of praise. 
 
 Loch (lokh) in der Stimme, G. 
 " Hole in the voice," used of that 
 part of a register where certain tones 
 are weak or wanting. 
 
 loco (l6'-k5), /. "Place." I. Aword 
 nullifying Sva or all ottava, and 
 meaning that the notes are to be 
 played as written, not an octave 
 higher or lower as before. 2. A sign 
 for a violinist to return to his original 
 position, form or shift. 
 
 Locrian (lo'-krt-an), lokrisch (16'- 
 krKsch), G. Vide modes. 
 
 lo'geum, L. I. A stage. 2. A motet. 
 
 Logier'ian system. The system of in- 
 struction of John Bernard Logier, 
 including class-work, harmony, etc., 
 and use of the chiroplast. 
 
 lombardo. A dance of Lombardy. 
 
 long, longa, Z. An obsolete note half 
 the length of the large, or equal to 
 four of our whole notes, long double. 
 An old character equal to four breves. 
 As adjective, long appoggiatura. 
 An accented app. of a single note 
 forming part of the theme, and borrow- 
 ing half the length of the next note. 1. 
 
 drum. The bass-drum of military 
 bands. I. mordent. A mordent 
 of four notes. 1. roll. A drumbeat 
 to arms. 1. spiel. An ancient long 
 and narrow Icelandic bow instrument. 
 
 longue pause (16ng'-p5z), F. A long 
 pause. 
 
 lontano (16n-ta'-n6), /. Distant, re- 
 mote, da 1. At a distance, lon- 
 tananza (16n-ta-nan'-tsa). Dis- 
 tance. 
 
 loop. I. The vibrating part between 2 
 nodes. 2. The chord binding the tail- 
 pieces of violins, etc., to the button. 
 
 Losung, fortschreitende (fort-shri- 
 ten-de-la'-zoongk), G. Resolution. 
 
 loud pedal. Vide damper. 
 
 lourde (loord), F. Heavy, lourdement 
 (man). Heavily. 
 
 loure (loor), F. i. An old F. bagpipe, 
 thence ; 2. A slow dance in 6-4 time, 
 strongly accented. 
 
 lour6 (loo-ra'), F. Smooth(ly), legato. 
 
 louvre (loovr), F. Applied to an air, 
 called " L' Amiable Vainqueur," a 
 favourite of Louis XIV. ; thence a 
 dance. 
 
 Indus, Z. Play. ludi moderator. 
 Organist, ludi spirituali. Miracle- 
 plays. 
 
 lugubre (loo-goo'-bre), I. Lugubrious, 
 sad. 
 
 luinig. A plaintive song of the Heb- 
 rides sung by the women at work. 
 
 lullaby. A cradle-song. 
 
 lu-lu. The Chinese official laws of 
 music. 
 
 lundu (loon'-doo). Port. A Portuguese 
 dance in duple time. 
 
 lunga (loon'-ga), pi. lunghe (loon-ge). 
 I. Long, prolonged. 
 
 luogo (loo-6'-g6), I. Same as loco. 
 
 lur (loor), Dan. i. A birch-bark instr. 
 similar to the alp-horn. 2. A pre- 
 historic curved and conical bronze 
 instr. 5 to 7 feet long, with cupped 
 mouthpiece, and, instead of a bell, a 
 circular flat plate, ornamented with 
 bosses and bronze tassels. 
 
 lusing. An abbr. of lusingato. 
 
 lusingando (loo-sen-gan'-do), lusio- 
 gan'te, lusingato (ga'-to), lusin- 
 
igo 
 
 THE MUSICAL GUIDE 
 
 ghevole (ga'-v5-le), /. , lusinghiere 
 or o (gl-a'-re). Coaxing lusinghevol- 
 men'te. Insinuatingly, persuasive- 
 
 ly- 
 
 lustig (loos'-tlkh), G. Merrv, cheer- 
 ful. 
 
 Lustlied (loost'-let), G. A gay song, 
 
 lute (lut, not loot), E., lut or luth 
 {Hit), F. A very ancient string instr. 
 now obsolete except in the small form 
 of the mandolin and the modified 
 form of the guitar. It was pear- 
 shaped, and had a neck wnth fretted 
 finger-board. The stringing was va- 
 rious ; the largest form having paired 
 strings tuned in unisons, and, besides, 
 a series of strings that did not cross 
 the finger-board but were played upon 
 as a bass. This form required a 
 double neck and was called a theor- 
 bo, arch-lute, or chitarrone. The 
 strings, sometimes as many as 13 
 pairs, were played as in the guitar. 
 Lute-music was written in tablature. 
 Lute -players were called lutists, 
 luters, lutanists, lutenists, or lu- 
 tinists, A lute-maker was a luthier 
 (lut-ya), a name also given then, 
 and now, to violin-makers. The 
 trade and its product are called lu- 
 therie (lut-re'). lutina. A small 
 lute, or mandolin. 
 
 luttuoso (loot-too-6-s6), luttuosa- 
 mente, /. Mournful(lv). 
 
 Lyd ian, E., lydisch (let'-lsh), G. Vide 
 MDDKS. Lydian chant, A chant 
 of a sorrowful, melancholy style. 
 
 Lyon catlins. Thick bass-strings. 
 
 lyre (lir in E. ; in F. ler), lyra (le'-ra), 
 Z. , /. , and G. i. A most ancient 
 instr. consisting of a sound-box or 
 board with 2 long cun-ed arms carry- 
 ing a cross-bar from which descend- 
 ed, across a bridge, the 3 to 10 
 strings, struck with a plectrum. On 
 the 8-stringed lyre, the strings were 
 thus named, beginning nearest the 
 body : hy'pate (hi'-pa-te) (the low- 
 est in tone), parhy'pate, lich'anos, 
 me'se, par'amese, trite (tre -te), 
 paranete, nete (na'-te). The largest 
 lyre was the cithara, the treble was 
 
 the chelys. A large 20-stringed 
 instr. on which octaves were played 
 was the magadis. 2. The modern 
 lyra is a rebec, and various bow- 
 instrs. have been called lyres, or lyre- 
 viols, since the 14th cent. ; some 
 have a double neck or bijuga like 
 the theorbo (Vide lute), including 
 the lyra di braccio (brat'-cho) or 
 arm-viol and archeviole di 1., or 1. 
 doppia. The 1. di gamba is a leg- 
 viol. 1. barbarina. An old instr. 
 resembling the guitar, but played 
 with the bow. 1. hex'achordis, Gr. 
 A six-stringed lyre. 1. mendico'rum, 
 Z. " Beggar's lyre," a hurdygur- 
 dy. Lyra-sang'er (zeng -er), or 
 -spieler (shpe -ler), G. Performer on 
 the lyre. 3. The modern Stahlspiel. 
 lyric, lyrical, lyrisch (lir-lsh), G 
 " Fitted to be sung to the lyre," 
 hence used of subjective moods, usu- 
 ally brief and enthusiastic as opposed 
 to narrative, dramatic, or epic, lyric 
 drama is opera, lyric tragedy. .\ 
 tragic opera. 1. comedy. Comic 
 opera. 1, opera. A ballad opera. 
 
 M 
 
 MAbbr. of Mezzo, Metronome, 
 Mano, Main; m. f., foi 
 Mezzo-forte ; m. ^.,MezzO' 
 piano ; m. v., Mezzo-voce. 
 
 M. M. Abbr. for Maelzel's Metro- 
 nome (q. v.). 
 
 ma (ma), I. But ; as allegro ma tu 
 trcppo, quick, but not too much so, 
 
 machalath (ma'-ka-Iath), Heh. A term 
 employed in the Psalms, supposed by 
 some to mean a flute, but by others 
 to indicate familiar tunes. 
 
 machete (ma-she'-te). Fort. A small 
 guitar with 4 strings, tuned d'-^ 
 i)'-e" . 
 
 mach-icotage {mash-!-ko-tazh), F., 
 macicota ticum, L. Embellishment 
 added to the cantm: finnus of plain- 
 chant, customary' in France in the 
 1 8th cent. The clergy alone 5 
 the embellished or machicot6e 
 fmash-I-ko-ta) plain-song, and were 
 
DICTIONARY OF TERMS 191 
 
 called machicots (mash-T-ko) or ma- 
 cicico'nici. The choir sang the 
 can /its firm us without embellishment 
 (si ne macicota tico). 
 
 machine-head. A rack and pinion 
 appliance to be used in place of ordi- 
 nary tuning-pegs. 
 
 machol (ma'-kol), Heb. Instr. sup- 
 posed to be either string or pulsatile. 
 
 Madre, alia (al'-la mad-re). " To the 
 Mother." Used of hymns to the Vir- 
 gin. 
 
 madriale (ma-drl-a'-l$), /. Madrigal. 
 madrialet'to. A short madrigal. 
 
 madrigal (in /■. mad-rl-gal ; in G. mfi- 
 drt-hal), madrigale (mad-rl-gal'-e), 
 /. I. Loosely, a short amorous or pas- 
 toral lyric. 2. Strictly an unaccom- 
 panied chorus in from 2 to 8 parts, 
 based on a.canlus fir»ius, and written 
 with elaborate counterpoint. Begin- 
 ning in Italy in the 15th cent, it 
 spread all over Europe, madrigal- 
 es'co, /. Pertaining to the madri- 
 gal. 
 
 maesta (ma-as'-ta), maestade (ma- 
 as-ta'-de), maestate (tii'-te), /. 
 Majesty, grandeur. maestevole 
 (ta'-v6-ie), maestevolmen'te, ma- 
 estoso, maestosamen te. Majes- 
 tic(ally), noble (nobly). 
 
 maestria (mji-as-tre'-a), /. Masterv, 
 skill. 
 
 maestro (ma-as'-tro), fem., maestra 
 (ma-as'-traj, /. Master. m. al 
 cembale. A conductor, since he 
 formerly sat at the harpsichord. 
 m. al piano. Pianist of an orches- 
 tra, m. del coro. Master of the 
 choir. m. di camera. Conduc- 
 tor of chamber-music. m. di 
 canto. A singing-master, m. di 
 cappella (de kiip-pel'-la). i. Chap- 
 el-master. 2. Conductor. 
 
 mag'adis, Gr. i. Vide lyke. 2. 
 i6th cent, name for monochord. 
 
 magadizing. A vocal performance in 
 octaves. 
 
 mag'as, Gr. i. Bridge. 2. Fret. 3. 
 Vide MAG.\Dis, 2. 
 
 Magazinbalg (makh-a-tsen'-balkh), G. 
 Reservoir-bellows, 
 
 maggiolata (mad-j6-la'-ta), /. A song 
 
 in praise of May. 
 maggiore (mad-jo-re),/. "Greater," 
 
 major. 
 niaggot. An impromptu fantasy. 
 magistrate (ma-jis-tra -Ig), /. Vide 
 
 MAESTRALK. 
 
 Magnificat, Z. A part of the Vespers 
 from " Magnificat anima mea Domi- 
 num," My soul magnifies the Lord. 
 
 main (man), F. The hand. m. droite 
 (drwat). Right hand. m. gauche 
 (gosh). Left hand. m. harmonique 
 (ma-nar-mun-ek). Harmonic hand. 
 
 maitre (metr), F. A master, a director. 
 m. de chappelle (sha-pel). Chapel- 
 master ; conductor ; director of a 
 choir, m. de musique (dii mli-zek). 
 Musical director, or teacher. 
 
 maitrise (met-rez), /'. A music school 
 connected with a cathedral. 
 
 majesta (ma-yas-ta), /., majesty (mi- 
 zhes-ta), /'. Majesty, majestueux 
 (ma-zhest-yu'). Majestic, majesta- 
 tisch (mii-yes-ta'-tlsh), G. Majestic. 
 
 major, E.,' majeur (ma-zhur), F. 
 " Greater," asopp. to minor (" less "), 
 and used of intervals greater by a 
 semitone than the minor (though less 
 by a semitone than the augmented); 
 hence, those major chords and major 
 scales and keys in which major inter- 
 vals predominate, m. triad. One with 
 a major 3d and perfect 5th. m. ca- 
 dence. One ending on a m. triad. 
 
 Mai (mil), G. Time, as zum ersten 
 M., for the first time. 
 
 malaguena (ma-la-gwan'-ya), .S^. A 
 fandango. 
 
 malanconia (ma-lan-ko-ne'-a), malin- 
 coni a, /. iVIelancholy. malenco- 
 nico, malincol ico, malinco'nico, 
 malinconio'so, malincono'so, ma- 
 linconicamen te, /. In a melan- 
 choly style. 
 
 mama (ma'-ma), /. In drum-music the 
 right hand. 
 
 manca (man'-ka), /. The left. 
 
 mancando (man-kan'-do), /. Decreas- 
 ing and retarding. 
 
 manche (mahsh), F. Neck (of a vio- 
 lin, etc.). 
 
192 
 
 THE MUSICAL GUIDE 
 
 mandolin(e) (man'-do-ltn), E., mando- 
 lino (man-do-le'-no), /. A small lute 
 with fretted neck, and paired strings 
 played with a plectrum. The com- 
 pass g-g. " The Neapolitan {man- 
 dolino napolita no) has 4 pairs tuned 
 g-d'-a'-e" ; the Milanese (w. lom- 
 bardd) has five or six pairs tuned 
 g-c'-a'-d"-e", or g-b-e'-a'-d"-e". 
 mandolinata (a -ta). To be played 
 with mandoHn-like effect, mando'la, 
 mando'ra, mando're. A large man- 
 dolin. 
 
 mangeot (man-zho), F. A piano a 
 claviers renverse. 
 
 manico (manl-ko), /. Neck (of vio- 
 lin, etc.). 
 
 man'ichord, E., manichord'ium, Z., 
 manichord'on, Gr. An old term for 
 various string instrs. Manichor- 
 diendraht (drat), 6". Wire for the 
 manichord. 
 
 maniera (ma-nt-a-ra), /., manifere 
 (m5n-var), F. Manner, style, m. 
 affettata (af-fet-ta'-ta), /. Affected 
 delivery, m. languida (lan'gwi-da), 
 /. A languid style. 
 
 Manier (ma-ner'), pi. Manieren (ma- 
 ne'-ren), G. Grace(s), embellish- 
 ment(s). 
 
 manifold fugue. One with two or 
 more subjects. 
 
 Mannerchor (men-ner-kor), G: Male 
 chorus. Mannergesangverein (ge- 
 zang'-fer-in). A male choral society. 
 Man'nerstimmen. Male voices. 
 
 mano (ma-no), /. The hand. m. 
 destra (das'-tra), m. diritta (dl-rlt'- 
 ta), or dritta (drit'-ta). The right 
 hand. m. sinistra (sl-nes'-tra). The 
 left hand. 
 
 man'ual, E., Manual (ma-noo-al'), G., 
 manuale (ma-noo-a-le), /. and L. i. 
 Key-board of an organ. 2. A digital, 
 especially manual-key. manual- 
 iter. Without pedals, " on the man- 
 uals alone." M.-koppel, G. A coup- 
 ler connecting one manual with 
 another, m.-mente (ma-noo-al-men'- 
 t^), /. Manually. M.-untersatz 
 (oon-ter-zats), G. A 32-ft. stop. 
 
 raanubrio (ma-noo'-brI-6), /., Man- 
 
 ubrien (ma-noo'-brl-en), pi., G. The 
 handle(s) by which a stop is drawn. 
 M. koppel. A draw-stop collar. 
 
 marcan'do, marcato (mar-ka'-to), /. 
 Marked, accented, marcatis'simo. 
 Very strongly marked. 
 
 march. A composition to accompany 
 marching. There are two kinds, the 
 quick m. or quickstep, and the solemn 
 processional, funeral or dead 
 Usually in 4-4 time, the m. may be in 
 2-4, 3-4 or 6-8 time. The march 
 usually includes a second part, or trio, 
 and a repetition of the first subject. 
 The second part is often lyrical rather 
 than rhythmic. The cadence for the: 
 quick step in the American army is 
 120 to the minute. 
 
 marche (marsh), F. i. A march. 2. 
 A progression, as m. harmonique 
 (ar-mun-ek). 
 
 marcia (mar'-cha), /. A march, m. 
 fun^bre (foo-na-bre). Funeral-i 
 march. marcia'le, or marziale; 
 (mar-tsl-a -le), or alia m. In march-j 
 style, marciata (mar-cha'-ta). 
 march. 
 
 marked. Accented. 
 
 mark. A sign, cadence-m. Vic 
 CHANT. harmonic-m. Vide has 
 MONic. metronomic-m. Vide met-I 
 RONOME. expression-m. Vide ex-I 
 PRESSioN. tempo-m. Vide tempo.] 
 
 markiren (mar-ke'-ren), C, marquetl 
 (mar-ka), F. To mark, emphasize.f 
 markirt (miir-kert'), 6"., marqu^j 
 (marka'), F. Well marked, marqueaj 
 un peu la melodie (mar-ka lifi ptj 
 la ma-16-de'), F. " Emphasize thC 
 melody slightly." 
 
 Marsch (marsh), pi. marsche (mar'l 
 she), G. March(es). marschartijf 
 (marsh'-ar-tikh). In the style of ;! 
 march. 
 
 Marseillaise, la (la mar-se-yez), / 
 The French national anthem, writtc 
 and composed by Capt. Rouget d 
 Lisle, April 24, 1792, and called b 
 him " Chant de guerre de I'armee d 
 Rhin," but first popularized by, an, 
 always named after, the soldiers fror 
 Marseilles. 
 
DICTIONARY OF TERMS 
 
 93 
 
 marteau (mar-to), F. i. Hammer, in 
 
 piano-action. 2. Tuning-key. 
 marteld (mar-tu-la'), /'., martellato 
 
 (mar-tel-Ia'-to), martellan do, /. 
 
 Strongly marking the notes, as if 
 
 hammering. 
 martellement (mar-tel-mafi), F. i. 
 
 Played with the acciacatura. 2. In 
 
 old music a mordent. 
 marziale (mar-tsl-a-le), /. Vide mar- 
 
 CIA. 
 
 mascherata (ma-ske-ra -ta). Masque- 
 rade. 
 
 maschera (ma'-ska-ra), /. A mask. 
 
 Maschinen (ma-she'-nen), G. Pistons. 
 Vide VALVE. M.-pauken. Kettle- 
 drums with a mechanical adjuster of 
 pitch. 
 
 mask, E., masque (mask), /^., Mas- 
 kenspiel (mas-ken-shpcl), G. A spec- 
 tacular entertainment usually allegor- 
 ical and dramatic, with music. Verj' 
 elaborately done in Elizabethan 
 times. 
 
 mass. In the R. C. service, that por- 
 tion accompanying the consecration 
 of the Host. Before this service, 
 those not permitted to take part are 
 dismissed with the words, " Ite 
 missa est " (vide ite) — hence, by cor- 
 ruption, the name "mass." The 
 service up to the dismissal was called 
 " Mass of the catechumens," that 
 after it, "Mass of the faithful" 
 (A/issa Jidelum). A mass without 
 music is low m. ; with music high 
 m. The musical service is as follows : 
 
 1. The kyrie, (a) Kyrie Eleison, (b) 
 Christe Eleison, (c) Kyrie Eleison. 
 
 2. The gloria, or doxology, (a) 
 Gratias agimus, (b) Qui tollis, (c) 
 Quoniam, (d) Cum sancto spiritu. 3. 
 The credo, (a) Et incarnatus, (b) 
 Crucifixus, (c) Et resurrexit. 4. The 
 sanctus. Benedictus and Hosanna. 
 5. The agnus dei, and Dona Nobis. 
 These divisions are named from the 
 first words of their text (which will be 
 found translated under the separate 
 heads). 
 
 The short m. is that of tne Protes- 
 tant Church, which uses only the kyrie 
 or the gloria. 
 
 Masses have been written in all elab- 
 orations from simple unison to fullest 
 counterpoint and to choral works in 
 from S to 32 parts with orchestral ac- 
 companiment. (Vide PALESTRINA in 
 the B. D.) 
 
 Mass (mas), G. Measure, time. 
 
 massig (mes'-sikh), G. i. Moderate, 
 moderate(ly). 2. Asa sufifix, "appro- 
 priate to," as klaviermdssig, etc. 
 
 massima (mas'-sl-ma), /. The " great- 
 est." I. A whole note. 2. Augmented 
 intervals. 3. A maxim. Vide nota- 
 tion. 
 
 master chord. The dominant, m. 
 fugue. An elaborate fuga ricercata. 
 m. note. The leading-tone. m.- 
 singer. Vide meistersinger. 
 
 Masure (ma-zoo'-re), G., Masure(c)k 
 (ma-zoo' -rek), Pol., Masurka (ma- 
 zoor'-kii), G. Vide mazurka. 
 
 matachin (ma-ta-chen'), Sp. A gro- 
 tesque Merry Andrew dance. 
 
 mat'alan. A small Indian flute. 
 
 matassins (ma-tas-sSh), F. i. Ma- 
 tachin. 2. The dancers of it. 
 
 matelotte (mat-lot), F. Sailor's horn- 
 
 . pipe. , 
 
 matinare (ma-tl-na -re), /. To sing 
 matins. 
 
 matinata (ma-tt-na -ta), /. Morning 
 serenade. 
 
 mat'ins. The first morning service in 
 the R. C. Church. Vide hor.«. 
 
 Maultrommel (mowl'-trom-mel), G. 
 A Jew's harp. M.-t.-klavier. Me- 
 lodicon. 
 
 max'im(a), L. Vide notation. 
 
 Mazourk (ma-tsoork'). Maz(o)urka 
 (ma-tsoor'-ka), mazur (ma-tsoor), 
 Mazur'ca, Mazurek (mii-tsoo'-rek). 
 Mazurka (ma-tsoor'-ka ; pi. Mazur- 
 ke, ma-tsoor'-ke), G. mazurka, £. 
 (ma-zoor'-ka). A Polish national 
 dance of whimsical mood ; in triple 
 time with the 3d beat variously 
 treated. 
 
 m. d. Abbr. of Main Droite, right hand. 
 
 me. Vide tonic-sol-fa. 
 
 mean. Inner, as tenor, or alto (of 
 voices) ; as the ^ or a strings (of a vio- 
 lin), mean clef. Tenor clef, mean- 
 tone system. Vide temperament, 
 
194 
 
 THE MUSICAL GUIDE 
 
 measurable. Vide me.nsurakle. 
 
 measure, i. The unit of rhythm, 
 corresponding to the metrical foot 
 and including the notes between two 
 bars ; each measure has one and only 
 one major accent. Vide time. 2. 
 Loosely for tempo. 3. A stately 
 dance as the passy m., a cinque-pace. 
 measure-note, the typical standard 
 note of a measure, as the Sth note in 
 3-3 time, measure-rest. Vide rest. 
 
 m6canisme (ma-kan-ezm), F. Tech- 
 nic. 
 
 Mechanik (me-ka'-nek), G. i. Action. 
 2. Machine-head. 3. The mechan- 
 ism of fingering and wrist-action. 4. 
 Technic. 
 
 mechanism, i. Action. 2. Finger 
 and wrist action. 
 
 medesimo (me-da'-sl-mo), medesmo, 
 /. The same. m. tempo. The same 
 time, as before. 
 
 medial, i. Concerning the Mediant. 
 2. Intermediate or secondary (of ac- 
 cent). Vide C.\DENCE. 
 
 me'diant, m^diante (ma'-dl-ant), F., 
 mediante (ma-dl-an'-te), G. and /. 
 I. The third note of the scale. 2. 
 One of the 3 pivotal tones of a mode, 
 midway between final and dominant. 
 
 mediation. Vide chant. 
 
 medius. Vide accentus eccl. 
 
 medley. A conglomerate of unrelated 
 and usually familiar tunes. 
 
 Meertrompete (mar-trom-pa'-te), 
 Meerhorn, G. Sea-trumpet. 
 
 mehr (mar), G. l^Iore. m. chorig 
 (ka-rikh). For several choruses, mehr- 
 fach (mar-fakh). Manifold, of an in- 
 terval, a canon, or a compound stop. 
 mehrstimmig (shtlm -mlkh). For 
 several voices. Mehrstimmigkeit 
 durch Brechung (klt-doorkh-brekh- 
 oongk). Polyphony that consists 
 only of broken chords. 
 
 Meis'ter (ml-ster), G. Master. M. 
 fuge (foo'-ge). A ricercata fugue. 
 M.-gesang (ge-zang). Minstrel- 
 song. M. -Sanger (zeng-er), or 
 singer (zing-er). A member of the 
 singing guild founded at Mainz in the 
 14th cent, and lasting till 1839 at 
 
 I'lm. Wagner's opera describes 
 their strict and elaborate rules 
 Tabulatur. (Vide Stories of the 
 Operas, " Die Meistersinger.") Meis- 
 terstiick (shtiik). Masterpiece. 
 
 melancolia (ma-lan-k5-le'-a), /., m6- 
 lancolie (ma-iah-ko-le), F. Melan- 
 choly. 
 
 melange (ma-lahzh), F. A medley. 
 
 melis'ma, Gr. i. A vocal embellish- 
 ment or run. 2. melismat'ic song.; 
 That in which one syllable is sung 
 to many notes, opposed to syllabic | 
 song. 
 
 melode (ma-l6'-de), or melodia (r 
 16-de-a), /. i. Melody. 2. A 
 much like the clarabella. 
 
 melo deon. Vide American orcxAN. 
 
 melodic interval, or step. One 
 which the tones are taken in succes 
 sion, as opposed to harmonic, 
 which they are simultaneously taken.] 
 
 melo dica. A tiny pipe-organ will 
 compass of 3-^^ octaves, inv. 1770, 
 Stein, of Augsburg. 
 
 melodico (ma-l6'-dl-k6). Cantando. 
 
 melod icon, A key-board instr., invjj 
 by Rififel, in Copenhagen, the tone 
 produced from tuning-forks. 
 
 melodies. Theory of melody. 
 
 melodic (ma-16-de), F. Melody, air! 
 m. bien sentie (bT-an safi-te). ' Tht 
 melody well accented. 
 
 melodieuse (ma-l6d-yuz). Melodious 
 melodieusement (maii). Melodi 
 ously. 
 
 Melodik (me-l6'-dek), G. Vide Melo 
 
 Dies. 
 
 melo'diograph. Melograph. 
 melo'dion. A key-board instr. witl, 
 
 range of 6 octaves inv. by Dietz, 
 
 Emmerich, the tone produced b 
 
 tuned steel bars pressed by a rotatin;; 
 
 cylinder. 
 meiodioso (me-l5-dI-6'-so), /., melc 
 
 disch (me-15'-dlsh), G. Melodious, 
 melodista (ma-16-des'-ta), /., m^lc 
 
 diste (ma-l6-dest), F. Melodist. 
 Melodistik (me-l6-des'-tek), G. Mek 
 
 dies. 
 melodium. i. American organ. : 
 
 Alexandre organ. 1 
 
 I 
 
DICTIONARY OF TERMS 195 
 
 melodrama, E., Melodram (ma'-l6- 
 drjim), G., m^lodrame (ma-Io-dram), 
 /"., melodramma (ma-lo-dram'-ma), 
 /. I. Originally opera. 2. Spoken 
 drama accompanied with instr. music, 
 hence the music accompanying action. 
 3. A play of sensational nature. 
 
 melody, i. A tune. 2. A succession 
 of tones, rhythmically and symmetri- 
 cally arranged, as opposed to har- 
 mony, a combination of simultaneous 
 tones. 3. The leading part, lead- 
 ing ra. A principal melody. 
 
 rae'lograph. A piano inv. 1827, which 
 recorded what was improvised. Many 
 attempts of this sort have been made, 
 the most successful an electric m., the 
 Phonaut'ograph, by Fenby, of Eng- 
 land, recording after the manner of 
 telegraphy. This record cut into 
 cardboard is run through a key-board 
 attachment, the melotrope, to repro- 
 duce the music. 
 
 mel ologue. Recitative and music 
 
 meloman, Gr., m^lomane (ma'-l6- 
 man), F., Meldmaniac, E. A pas- 
 sionate lover of music, me'lomanie 
 (ma-16-ma-ne), F., melomany. Mu- 
 sic mania. 
 
 melopea (ma-l6-pa'-a), /., m^lop^e 
 (ma-16-pa), F. The art of melody. 
 
 mel'ophare. A lantern with oiled 
 music paper sides for use in sere- 
 nades. 
 
 mel'opiano. A device inv. 1870 by 
 Caldera, of Turin, for giving the 
 piano power to increase the volume 
 of a sustained tone. A treadle works 
 small hammers acting rapidly on the 
 strings. 
 
 mel'oplaste (mel'-o-plast). Pierre Gal- 
 ius's simplified method of teaching the 
 rudiments by singing popular airs and 
 pointing the place of the notes on the 
 staff, and by using two metronomes 
 for beats and measures. 
 
 melopoea (me-16-pe'-a), Gr. Art of 
 Composition. 
 
 Melos (ma'-l5s). Melody. Used by 
 Wagner for the melody, also the en- 
 tire implied harmony, the musical 
 idea. Vide recitative. 
 
 mel'otrope. Vide melograph. 
 meme (mem), F. The same, a la m. 
 
 tempo. In the original tempo. 
 men (man), /. Abbr. of meno before 
 
 a vowel, men allegro. Less quick. 
 mendstrel (mu-nas-trel), F. Minstrel. 
 
 Vide TROUBADOUR. 
 
 men^'trier (mii'na-trl-a), F. A min- 
 strel or rustic musician. Vide trou- 
 badour. 
 
 meno (ma'-no), /. Less ; not so fast. 
 m. mosso. Less speed. 
 
 Mensur (men-zoor), G. Measure, of 
 time, intervals, scale of pipes, and 
 sizes of instr. strings, etc. 
 
 men'sura, L. Measure, time. 
 
 mensurable, E., mensural (men- 
 zoo-ral'), G. The original plain- 
 chant was in notes of equal duration ; 
 in the 12th cent, the old square 
 notes were modified and given a 
 " measurable " value. The first men- 
 surable notes were the maxima, 
 longa, brevis and seinibrevis ; in 
 1300, the mijiima and semiminima 
 were added. In the 15th cent, white 
 notes displaced the black, which were 
 chiefly used for smaller values. The 
 music so written, or mensurable 
 music, was governed by many com- 
 plicated laws. Vide notation. 
 
 mente (men'-te). Mind, alia m. Im- 
 provised. 
 
 menuet (mCi-noo-a), /"., Menuett 
 (men-oo-et'), (7., menuetto (ma- 
 noo-et'-to), /. Minuet. 
 
 mer'ula, L. A set of pipes in water 
 producing a warbling tone. 
 
 me'ris, Gr. The 6th part of an oc- 
 tave. 
 
 mesau'lion, Gr. Symphony, ritor- 
 nello. 
 
 mescal. A Turkish instr. of twenty- 
 three cane pipes, each giving three 
 different sounds. 
 
 mescolanza (mes-ko-lan'-tsa), /. A 
 medley. 
 
 me'se, me'son, Gr. Vide chart oe 
 
 GREEK MODES and LYRE. 
 
 me'sotonic. i. Mean-tone. Vide tem- 
 perament. 2. Vide lyre. 
 mes'sa, /. A mass. 
 
196 
 
 THE MUSICAL GUIDE 
 
 messa di voce (mes'-sa dt v6'-che), /. 
 The gradual swelling and diminishing 
 of a tone ; to attack and swell is for- 
 mare il tuono (f6r-ma -re el too-o'- 
 no) ; to sustain loudly is fermare il 
 t. (fer-ma'-re) ; to diminish is finire 
 (fe-ne'-re) il t. 
 
 messanza (mes-san'-tsa), /. Quodli- 
 bet (q. v.). 
 
 messe (mes), F., Messe (mes'-se), G. 
 A mass. 
 
 mes'sel, ^^a3. "Measure." The Ara- 
 bian method of reckoning intervals, 
 the lower notes receiving greater 
 values than the higher because the 
 vibrating portion of the string which 
 produces them is longer. 
 
 mesto (mas'-to), /. Melancholy, mes- 
 to'so. Sad. 
 
 mesure (mii-zur'), F. Measure, a la 
 m. In time. m. a deux temps (dii 
 tan). Common time. m. a trois 
 temps (trwa taii). Triple time. m. 
 demi (d'me). Half measure. 
 
 met. Abbr. of Metronome. 
 
 metal (ma-tai'), Sp. Strength, compass 
 of the voice. 
 
 metallico (me-tal'-lt-ko), /. (Of a voice) 
 " metallic " in a good sense, clear, 
 ringing, hence metal'lo, "metal." 
 
 metamorphoses. Variations. 
 
 meter, or metre, E., metre (metr), F. 
 In music as in verse, the arrange- 
 ment of rhythmic units, or measures. 
 The m. of hymns is classified by the 
 number of syllables to a line, the met- 
 rical foot and the number of lines to a 
 stanza. In Iambic m. are common 
 m. (C. M.), 4 lines alternately 8 and 
 6 syllables long ; common partic- 
 ular, or hallelujah m. (C. P. M.), 
 886886 ; longm. (L. M.), 4 lines of 8 
 syllables ; long particular m. (L. 
 P. M.), or long m. six lines, 6 
 lines of 8 ; short m. (S. M.), 6686 ; 
 short particular m. (S. P. M.,), 
 668668 ; stanzas of 8 lines are called 
 double (C. M. D. ; L. M. D. ; S. M. 
 D.). Other line-lengths are sevens 
 and sixes (7676), tens (four lo's), 
 hallelujah (666688, or 66664444). 
 In trochaic m. are sixes (four 6's), 
 sixes and fives (6565), sevens 
 
 (four 7's), eights and sevens (8787). 
 In Dactylic m. are eights, eights, 
 sevens and fours, etc. ; elevens 
 (four ii's), and elevens and tens 
 (11, 10, II, 10), etc. Classic and 
 French metres depend on quantity 
 or length of syllables, instead of on 
 their stress or accentuation as withj 
 us. Vide FOOT. 
 
 method, E., m^thode (ma-tod), F., 
 metodo (ma-to-do), /. A course of 
 instruction ; classification ; system. 
 
 Metrik (mat'-rek), G. Metrical art. 
 metrisch (met'-rlsh). Metrical. 
 
 metro (ma'-tro), /. and Sp. Metre. 
 
 Metrometer (me-tro-ma-ter), G., m6- 
 trom^tre (ma-tro-metr), F., metro- 
 metro (ma-tro-ma'-tro), /. Metro- 
 nome. 
 
 metronome, E., Metronom (ma- 
 tro-nom), 6"., metronome (ma-tro- 
 nimi), /'., metronomo (ma-tro-no'- 
 mo), /. A pendulum worked by 
 clock-work, and weighted below ; pro- 
 vided with a movable slide, and 
 graduated that its rate of vibration 
 per minute can be fixed by the slider ; 
 with the slider at 60 it beats 60 times 
 a minute, etc. It moves with an au- 
 dible click ; the bell-metronome has 
 also a bell which rings every third or 
 fourth, etc., beat. Perfected by Win- ; 
 kel it was put on the market by 
 Maelzel (vide B. D.), and is called 
 Maelzel's metronome(abbr. M.M.). 
 It is useful as a composer's indica- 
 tion of the standard time of a compo- 
 sition ; hence the metronome-mark, 
 thus M. M. J -90, means a rate for 
 quarter notes equal to 90 per minute, • 
 as indicated by the slider set at go. 
 It is used also to beat time for stu- 
 dents. It is made also in watch- 
 form as a pocket m. 
 
 met'rum, L. Metre. 
 
 Mette (met'-te), G. Matins. 
 
 metter la voce, /. Same as messa di 
 voce. 
 
 mettere in musica (met'-te-re in moo'- 
 zl-ka), /. To set to music. 
 
 mettez (met-ta), /'". " Draw (a stop).": 
 
 mettre d'accord (metr dak-kor), F., 
 To tune. m. en musique (an-mii- 
 
DICTIONARY OF TERMS 197 
 
 zek). To set to music, m. en re- 
 petition (ra-pa-tes'-yon). To put in 
 rehearsal. 
 
 met'zilloth, metzilltheim, Heb. Cym- 
 bals. 
 
 mez. Abbr. of Mezzo. 
 
 mezzo (med'-z6), /. Medium, half. 
 m, aria. Vide aria parlante. m. 
 bravura. Moderate difficulty, m. 
 forza (for'-tsa). Moderately loud. 
 m. manica (ma'-nl-ka). The half- 
 shift, mezzana (med-za'-na). Middle 
 string of a lute. m. orchestra. Half 
 the string-band. m. voce (vo'-che), 
 /. Half the voice, with moderate 
 tone. m. forte (for'-te). Moderately 
 loud. m. piano (pl-a-n5), /. Rather 
 soft. m. soprano. A voice lower 
 than soprano, higher than contralto. 
 mezzo soprano clef. The C clef on 
 the second line, in old church-music 
 or madrigals. The treble, or soprano, 
 clef now supplies its place, m. stac- 
 
 ■ cato. A little detached, m. teno're. 
 A low tenor voice, nearly barytone, m. 
 tuono (too-6'-no), /. A semi-tone. 
 
 m. f. Abbr. of mezzo forte. 
 
 m. g. Abbr. of main gauche (left 
 hand). 
 
 mi (me), /. and F. r. The note E. 
 mi beraol (ba-mol). E flat, mi 
 di^se (dl-ez). The note E sharp. 
 2. Vide SOLMISATION. 3. The 3d 
 of the scale, nti contra fa est diabo- 
 lus in musica, ** mi against fa is the 
 devil in music," was the medireval ob- 
 jurgation against the tritone (q. v.), 
 mi being B natural in the hard hexa- 
 chord, fa being F in the natural 
 hexachord. mi-re-ut. Vide octave. 
 
 mi'crophone. An instr. for the mag- 
 nifying of sounds. 
 
 mid-c, or middle c. c' (vide pitch), 
 because it is in the centre of the piano 
 and between the treble and bass 
 staves. 
 
 middle voices. Tenor and alto. 
 
 mignon (men-yon), F. i. Favourite, 
 pet. 2. Delicate. 
 
 militaire (mll-I-tar), F., militare (me- 
 ll-ta-re), /., militairement (mll-I- 
 tar'-mah), F., militarmen'te, /. 
 Martial(ly). 
 
 Militarmusik (me-ll-tar'-moo-zek). 
 Military band or music. 
 
 military band. An orchestra for out- 
 of-doors, substituting for stringed 
 instrs. additional and more powerful 
 clarinets, and using saxophones, cor- 
 nets, etc., freely. 
 
 milote (me-l6'-te), Sp. An Indian 
 dance. 
 
 mi'modrama, E., mimodrame (me- 
 mo-dram'), /". Pantomime. 
 
 minacciando (me-nat-chan'-do), min- 
 accievole (cha'-v5-le), minaccio'so, 
 minaccie'volmente, minaccio'sa- 
 mente. Threatening(ly)- 
 
 minagnghinim (mi-nangd'-gT-ntm), 
 Heb. A table over which was stretched 
 an iron chain and a hempen cord 
 through balls of wood or brass ; strik- 
 ing against the table they made a 
 ringing sound. 
 
 minder (mint'-er), G. Minor, less. 
 
 mineur (me-niir'), F. Minor. 
 
 min im, minima (me'-nT-ma), /., min- 
 ime (mln-em'), F. A half-note. Vide 
 
 NOTATION. 
 
 Minnedichter (mTn'-ne-dlkh'-ter), M.- 
 sanger (zeng-er), M.-singer (zlng- 
 er), G. From the 12th to the 14th 
 century a German troubadour of 
 noble birth celebrating pure love in 
 song (Minne-gesang). The sing- 
 ers wrote both words and music, sing- 
 ing and playing on the arpanetta or 
 the viol. Their festivals of contest 
 are reproduced in Wagner's " Tann- 
 hauser." They were less formulaic 
 than their successor the " Meister- 
 singer." In the opera of the latter 
 name, Wagner (vide "Stories of the 
 Operas " in this book) shows Walter 
 the Minnesinger in conflict with the 
 dogmas of the Meistersinger. 
 
 minor, E., minore (me-no'-re), /. 
 "Smaller," of intervals, etc., as op- 
 posed to major. Vide interval, ma- 
 jor, MODE, SCALE, m. tonc. The 
 lesser whole tone, 10:9. m. triad. 
 One with minor 3d and perfect 5th. 
 
 min'strels. Singers, usually of a servile 
 or vagabond class, sometimes acting 
 as attendants on the trouveres and 
 troubadours (q. v.), and generally play- 
 
THE MUSICAL GUIDE 
 
 ing the rebec, negro m. One who 
 gives an imitation (usually remote) of 
 the songs, dances, etc., of the Amer- 
 ican negro. 
 
 minue (me-noo-a), Sp. A minuet. 
 
 minuet (min-u-et'), .£., minuetto (me- 
 noo-et'-to), /. A stately and delib- 
 erate dance (originating probably in 
 Poitou in the 17th centur}-) in triple 
 time, with gallant and amorous 
 spirit. As one of the most important 
 music-forms, it contains usually a 
 principal subject and a trio each in 
 contrasted sections. Appearing first 
 as a movement in the suite and par- 
 tita it became a part of the sonata and 
 symphony, Beethoven substituting for 
 it the Scherzo, and Tchaikovsky, in 
 one case, a Viennese waltz, minuet- 
 tina (tena), /. A little minuet. 
 
 miracle, mirade-play. Vide mys- 
 tery. 
 
 mi-re-ut. Vide oct.we. 
 
 miscel la, L. Mi.^cture-stop. 
 
 mise de voix (mez-du-vwa). Vide mes- 
 
 SA DI VOCE. 
 
 miserere (me-ze-ra-re), L. First word 
 of Psalm LI. beginning miserere mei, 
 domine, " Pity me. Lord." Hence 
 a setting of this Psalm sung in the 
 R. C. service for the dead, and dur- 
 ing Holy Week. 
 
 misericordia (me'-za-rl-kor'-dl-a), L. 
 A miserere. 
 
 misk'in. A little bagpipe. 
 
 mis sa, L. and /. A mass (q. v.). 
 m. brevis. Short mass. m. can on- 
 ica. A canonical mass. m. cantata. 
 Chanted mass. m. pro defunc tis. 
 "Mass for the dead." Requiem. 
 m. solen nis. High mass. 
 
 missal, E., missa le, Z., Missel 
 (mis -sel), G. The mass-book contain- 
 ing the forms of the year. 
 
 misshaliig, or misshellig (mTs-hel- 
 llkh), G. Discordant. Misshallig- 
 keit (kit). Dissonance. Missklang 
 (klang). Discord. missklingen 
 (mTs -kllng-en), misslauten (low- 
 ten). To be discordant. Misslaut 
 (lowt). Discordant sound. Miss- 
 lautead (low-tent). Dissonant, dis- 
 
 cordant, misstimmen (shtlm'-men). 
 To put out of tune. 
 
 misterio (mls-ta -ri-o), mistero (mls- 
 ta'-ro), /. Mystery, misterio SO, 
 misteriosamen te. Mysterious(ly). 
 
 mistichanza (mes-tl-kan'-tsa), /, 
 Quodlibet (q. v.). 
 
 mis to, Gr. Mixed. Vide modes. 
 
 misura (me-soo -ra), /. Measure, mis- 
 urato (me-soo-ra'-to), /. In strict 
 time. 
 
 mit (mit), G. With, by. 
 
 Mitklang (mit -klang), G. Resonance. 
 mitklingende Tone (mlt'-kllng- 
 ent-e ta'-ne). Overtones. 
 
 Mitlaut (mit'-lowt), G., Mitlauter 
 (mit -low-ter). Concord, consonance. 
 mitlauten. To sound with. 
 
 mitleidsvoll (mlt'-llts-fol), G. Compas- 
 sionate. 
 
 Mittel (mit'-tel), G. Middle, half. 
 mittel c. (tsa). Middle C. Mittel- 
 kadenz (ka-dents). A half-cadence. 
 Vide CADENCE. Mittel-laut (lowt). 
 Middle sound, mittelmassig. In- 
 different. M.-stimme (shtlm'-me). 
 Inner part. 
 
 mixed. Vide cade.nce. m. canon. 
 Vide CANOx. m. chorus, etc. One 
 with both male and female voices, m. 
 in organ, the mi.xture-stops. 
 
 mix'olydian. Vide modes. 
 
 mixture, A., mixtu ra, L., Mixtur 
 (mex-toor'), G. A compound flue- 
 stop consisting of 2 to 6 ranks of 
 pipes, giving 2 to 6 harmonics of any 
 tone. The m, is auxiliary only, 
 usually sounding only the octave and 
 the fifth, and aiming to brighten the , 
 foundation-stops. Ancient m. 's had ■ 
 from 8 to 24 ranks, the result doubt- 
 less being atrocious discord. 
 
 mobile (mo-bl-le), /. Facile, impul- ; 
 sive, fickle. 
 
 moderato (mo-de-ra'-t5), 7. Moderate, 
 in time. moderatissimo, or m. 
 assai (as-sa'-e). In very moderate 
 time, moderamen'te. Moderately. 
 moderanza (ran'-tsri), moderazione 
 (ra-tsl-5'-ne). Moderation. 
 
 moderna, alia (al'-la mo-der'-na), /. 
 In the modern style. 
 
DICTIONARY OF TERMS 199 
 Modes. 
 
 Bv THE Editor. 
 
 PERHAPS the most graphic definition of modes to the modern mind 
 would be : — overlapping portions of the C major scale : or succes- 
 sive octave-stretches along the white keys of the pianoforte. Eccle- 
 siastical modes were the Middle Age perversion of the Greek Modes. While 
 overthrown by Nineteenth Century scales and tonality, traces of their 
 influence persevere, and many of the old chants still in use in the Roman 
 Catholic and Anglican services are more or less exact specimens of the 
 capabilities of the modes. The Twenty-first Century will probably qualify 
 and develop our own system oi keys out of shape and recognition. The 
 complete overthrow of the ideas of tonality and modulation of the earlier part 
 of the Twentieth Century is indeed even now beginning. We are already 
 over the doorsill of the nullitonic or omnitonic harmonies, and the mukitude 
 of accidental sharps and flats and naturals required to notate the highly 
 chromatic music of our day renders inevitable some radical change in the 
 system of keys ; meanwhile, the obsolete modal systems have at least a keen 
 historical interest and importance. There is place here for only an allusion 
 to a few of the salient points. Full statement of the details and the contro- 
 versies on them would fill a large library. ^Though the Greeks properly 
 gave music a very high place in their educational system, they were too 
 much engrossed in theories, rules, and restrictions to build up large material. 
 Their musical resources were of the slenderest. While their noble tragedies 
 were exactly Wagner's idea of opera, the music to which they were set 
 seems to have been of the most limited range and variety ; and furthermore, 
 absolutely lacking in harmony even in the Middle Age sense. ^The Greek 
 svstem difi"ers from ours in being all of a minor tendency, in having the 
 notes named downwards, and in paying attention only to melody and not at 
 all to chords. The white piano keys from e' (just above middle C) to the 
 E an octave below, represent their oldest and central mode, the Dorian. By 
 remembering that all these steps are whole tones except the two semitones 
 fi-om c' to b and F to E, and by representing a whole step by a ( + ) and a 
 half step by a ( — ), it will be seen that this Dorian mode descends by the 
 
 following steps, + H \- -\ . These make two similar groups of three 
 
 steps or four notes, which were called tetrachords. The word chord with 
 them meant "string " not "harmony," for their whole music took its rise 
 from their lyre, a stiff and limited, unfretted instrument of many poetical 
 associations but stinted in practical possibilities. The pattern of tetrachord 
 ( -f -1 ) into which this Dorian mode divided was called the Dorian tetra- 
 
aoo 
 
 THE MUSICAL GUIDE 
 
 Chart of the Greek Modes. 
 
 Dorian (^'-i?) (^Hypo--(_ 4- 
 mixo-lydian). 
 
 -I- 6. Hyper-phrygian (or Locrian) d'-ij. 
 -I- 7. Hypo-phrygian (or Ionian)^' 
 + ^ S. Hyper-lydian(^i-^). 
 -I- +1^ 9. Hypo-lydian (/'-/). 
 
 2. Phrygian {J' -J). 
 
 3. Lydian (c'-c). — 
 
 4. Mixo-lydian 0-B). »J, -f 
 5. (>35olian or) Hypo-dorian (a-. 4). -f- 
 
 T/zt' 2u/io/t' stt-ps are indicated bv + , the half -steps by — ; the Diazeuxis 
 is 'indicated by 4"- 
 
DICTIONARY OF TERMS 201 
 
 chord. They superimposed on the top note e' a similar tetrachord of the tones 
 a', g', P, e, and added below another e, d, c, B. To these they added the 
 low A as a supplementary (in Greek proslambanomenos'). The outer couples 
 of tetrachords overlap. Between the middle two is an imaginary line of sep- 
 aration {diazeuxis). Each of these was therefore a " disjunct " (^diazeng- 
 menofj) tetrachord. The "complete system " (^systema teleioTt) of two octaves 
 (a' down to A) was divided thus into four tetrachords, each of them given 
 the name whichi (with its English translation) is shown in the chart here- 
 with. For purposes of modulation they laid across the middle of this system 
 an overlapping or " conjunct " {syriemmejio?i) tetrachord in which the b was 
 flattened, d', c', b^, a (+ -^ _). ^The octave from e' down to E was, 
 as already stated, called the Dorian mode. Other portions of the systema 
 were given other names, d to D being called the Phrygian, d to C the 
 Lydimt, and b to B the Mixo-Lydian. ^They conceived a way of extend- 
 ing these octaves by duplicating one of the tetrachords below (in Greek 
 "hypo"'). Thus, if the upper tetrachord (e' to a) of the Dorian mode 
 be transferred an octave below, and fastened to the lower tetrachord, we 
 
 shall no longer have e', d', c', b, a, g, f, e, ( + H f- H ) but a, g, 
 
 f, e, d, c, B, A, which also is + -| \- -\ , with the added step + 
 
 {proslambanomenos). This is called the Hypo- Dorian mode. ^The Phryg- 
 ian, Lydian, and Mixo-Lydian modes do not descend by the same whole 
 
 and half steps as the Dorian, but as follows : Phrygian (H + + -1 h), 
 
 Lydian (_+-f — -f+_), Mixo-Lydian (-f -f- + _ -f -f _). It vvill 
 be found, however, that these modes are capable of the same ^j/o-treatment, 
 thus making two more modes, Hypo- Phrygian and Hypo- Lydian, — for the 
 Mixo-Lydian (b to B) being too low to add a tetrachord beneath, it is 
 added above, giving / to e, which is identical with the Dorian. The 
 principal note {tonic) of the regular modes was the top note. Each hypo- 
 mode kept for its chief note the chief note of the original (or its octave). 
 The names and ranges of these seven modes with two others added later are 
 shown in the chart, which shows also the names (and their translations) given 
 each note and each tetrachord. ^With this system as a foundation and 
 with the use of the conjunct tetrachord and its b flat as an entering wedge, 
 the Greeks gradually added several notes above and below their systema, and 
 inserted half steps between the full steps until they acquired a complete 
 chromatic scale on which they transposed their scales with much melodic 
 freedom. Harmony, of course, they did not have. These transposed scales 
 were not named like the original modes from their chief notes, but were 
 given the name of the scale whose steps they resembled. By making use of 
 the -|- and — , or other signs for indicating half or whole steps, it is easy to 
 plot out the steps of any scale and find its prototype and its name in the 
 
202 THE MUSICAL GUIDE 
 
 original modes. ^The Greek notation was by letters and symbols. It is 
 too complicated to explain here. ^A method of manipulating their scale 
 melodically may be mentioned. The tetrachords as described were called 
 diatonic, but in the Dorian e, d, c, b, if the d were omicted, the tetrachord 
 became e — c, b, and was called the older enharmonic. A later plan was to 
 keep the d, but lower it by half a tone (that is, to tune the d string to c 
 sharp), making the four strings e, cJJ, c, b. This was the chromatic genus. 
 A still later plan, called the nezuer enharmonic, was to tune the d to a pure 
 third with the e, making the tetrachord e, c, c, b ; the two c strings differ- 
 ing slightly in tone (see the word comma). ^This group of three tones, c, 
 c, b, or cj, c, b, was the pyknon (plural pykna). Other variations m the 
 treatment were called chroai (colourings). Definite melodies were given 
 definite names, a melody being a nomas (i. e., arrangement, order, or set 
 ting). ^jUpon this false, but elaborate, system, enormous ingenuity was( 
 spent, and appalling complexity and scholarship of a kind were made possible, 
 to the delight of the typical theorist. In respect of melody the Greek modes 
 offered far more freedom than the church modes, which, however, possessed! 
 the modern invention of harmony. 
 
 ECCLESIASTICAL MODES. 
 
 Music, along with all the other early Christian arts, borrowed largely; 
 from the Greeks, but rejected their warmth and ornate sophistication for j; 
 stark rigidity. •[[Early church musicians took the Greek modes as best they 
 could understand them, making as many mistakes as was usual in the de 
 generate classicism of those times. The Byzantine school perverted Greelj 
 music and passed it along, as it had done with painting and architecture; 
 The range and the chromatic graces of later Greek melody were deserted fo| 
 a heavy march through one octave of one key. Furthermore, the scale wai 
 considered now as ascending, instead of descending. ^St. Ambrose is tra, 
 ditionally credited with establishing four modes for church music. Frori 
 these St. Gregory was believed to have derived four new modes. Th; 
 original four are called Authentic, i. e., "governing," or "chief" Th' 
 latter four are called Plagal, i. e., "oblique" or "inferior." To thes 
 were added other modes, some of them being denied a right to exist, h 
 with all the old Greek modes, all the church modes are to be found on tk^ 
 white keys of the piano ; no chromatic was allowed except, finally, b fla 
 which was admitted to avoid the forbidden tritone and the diminished fiftl 
 A melody that did not stray out of its octave mode was called perfect ; oi 
 that did not use all of its range was imperfect ; one that overstepped i 
 octave was superfluous ; one that used up both a mode and its plagal was ini 
 mixed mode. ^ Greek names were used for the church modes, but wi 
 
DICTIONARY OF TERMS 
 
 AUTHENTIC MODES, 
 
 OR 
 
 MODI AUTHENTICI. 
 
 Each authentic mode is 
 •connected with its plagal 
 by a line through the key- 
 note or finalis of both. 
 
 PLAGAL MODES, 
 
 OR 
 
 MODI PLAGALES. 
 
 203 
 
 O 
 
 u 
 
 U 
 
204 THE MUSICAL GUIDE 
 
 many differences from the old nomenclature. •fjAn authentic mode is based 
 on its Final or lowest note ; the next most important note, usually a fifth or 
 a third above, is its dominant. A plagal mode is found a fourth below its 
 authentic, and the final of the authentic serves also for the plagal. The 
 dominant of a plagal is a third below that of its authentic (save where it falls 
 on b, in which case c is used). ^Curiously enough, the two modern keys 
 which we think of as white keys, c major and a minor, were not added until the 
 sixteenth century, and then as the Ionian and ^olian modes. ^Besides 
 many impressive hymns the church modes have been unconsciously allowed 
 to fit many popular modern tunes. It is not hard to test the mode-ship of 
 any air. First, if necessary, bring the melody into a range requiring no key- 
 signature. If it now contains any accidentals save b flat, it is not in any of 
 the modes. Otherwise note the tone on which the air ends. This will be 
 the final of its mode. If this is the lowest, or almost the lowest note used, 
 and if the melody does not soar higher than an octave above it, the air is in an 
 authentic mode. If the final is in approximately the centre of the melodic 
 range, and if the range does not exceed the fifth above, or the fourth below, 
 it is in a plagal mode, or it may be in a mixed mode. The name of the\ 
 final indicates the mode. The airs ♦* God save the King" (or " America")! 
 and the "Blue Bells of Scotland " are authentic melodies. The " OldJ 
 looth" and *< Eileen Aroon " axc plagal. "Jock o' Hazeldean " is in al 
 mixed mode. ^Much of the music in the old church modes is as shocking: 
 to the modern sense of tonality as our modern music would seem anarchistic 
 to an old master. Superb treasures were given to immortality in those stifi 
 and arbitrary forms. Yet, after all, the modes deserve their eternal obsolete- 
 ness. They were unsatisfactory and arbitrary in their own day. They are 
 hopelessly inappropriate to the modern musical ideas and ideals. The ma- 
 jestic beauties of some of their results are but as the impressive fossils of earlieij 
 evolution. Their fate should warn us against stolid satisfaction with qui 
 own musical system. 
 
 modesto (mo-das' -to), modestamente. (mo-doo-la'-re), /. To modulate 
 
 Modest(ly). modulan'te. Modulating. 
 
 modification. Temperament (q. v.). modulate, j?., moduler (mod-u-la), / 
 
 modificazioni (m6-de-fI-ka-tsI-6'-ne), To effect a modulation. 
 
 /., pi. Slight alterations. modula'tion. i.. Change of key, to 
 
 modinha (mo-den'-a). Port. A short nality, or mode (usually to a relat 
 
 song. ed key by means of chords on th 
 
 mod. Abbr. of Moderate. dominant of the new major, or on th 
 
 modo (m6'-d5), /. and Sp. Mode, scale, leading-tone of the new minor key' 
 
 style. The m. may be transient, transi 
 
 modto. Abbr. of Moderato. tory, or passing, when it leads t 
 
 modolare (m5-d5-la'-re), modulare still a third key or back to the first' 
 
 t! 
 
DICTIONARY OF TERMS 205 
 
 it may be final when it establishes a 
 new tonaHty. enharmonic m. is that 
 by means of enharmonic (q. v.) 
 changes of notation. 2. Obsolete. 
 Melodic, or rhythmic measurement, 
 inflection. 
 
 modulator. Vide tonic-sol-fa. 
 
 modulatore (mo-doo-la-to'-re), /. i. 
 Singer. 2. Tuner. 
 
 modulazione (mo-doo-la-tsl-o'-ne), /. 
 Modulation. 
 
 moduliren (mo-doo-le'-ren), G. To 
 modulate. 
 
 mo dus, L. Key, mode, scale. 
 
 moglich (makh-likh), G. Possible. 
 so rasch wie m. (z6-rash-ve). As 
 fast as possible. 
 
 mohinda (mo-en'-dii). A short Portu- 
 guese love-song. 
 
 Mohrentanz (mo-ren-tants), G. Mo- 
 risco. 
 
 moins (mwan), F. Less. 
 
 moll (mol), G. Minor. Mollakkord, 
 or Molldreiklang. Minor chord or 
 triad, etc. 
 
 molla (mol'-Ia), /. A key (of the flute), 
 etc. 
 
 mol'le, L. Soft. I. Vide "b." 2. 
 Used of the hexachord f-d in which 
 b flat was substituted for the older 
 b natural. 3. Minor. 
 
 molle (mol), F. Soft, delicate. 
 
 mollemente (mol-le-men'-te), /. Softly, 
 gently. 
 
 mollis, L. Vide molle. 
 
 Molltonart (mol'-ton-art), G. Minor 
 key. MoUtonleiter (ll-ter). Minor 
 scale. 
 
 moltisonante (m6l-te-s6-nan'-te), /. 
 Resounding, very sonorous. 
 
 molto (mol' -to), /. Much, very, di m. 
 E.xtremely. m. adagio. Very slow. 
 m. allegro. Very quick, etc. 
 
 momen'tulum, L. A i6th rest. • 
 
 momen'tum, L. An 8th rest. 
 
 monau'los, Gr. An ancient beak- 
 flute. 
 
 monocordo (mo'-no-kor'-do),/., mon'- 
 ochord, F., monochorde (m6n-6- 
 kord), F. I. An instr. of one string 
 with a movable bridge, for determin- 
 ing intervals and pitch. 2. Marine 
 
 trumpet. 3. A clavichord. 4. A 
 German i-stringed zither with fretted 
 finger-board and resonance-box. 5. 
 a monocordo = " on one string," 
 i. e., with the soft (or monochord) 
 pedal down. 
 
 monferina (mon-fe-re'-na), /. Lively 
 dance in 6-8 time. 
 
 raonodia (mo-no-de'-a), /., Monodie 
 (mon-o-de), /'. and G. Monody. 
 
 monodie. P'or one voice ; or with one 
 voice predominant. 
 
 monodra'ma, monodrame (dram). A 
 musical drama with only one actor. 
 
 mon'ody. Homophony. 
 
 monophon'ic. Homophonic. 
 
 monoph onous. Producing but one 
 tone, as the drum. 
 
 monotone, i. Uniformity of sound. 
 2. Recitation on one tone. 
 
 Monotonie (mo-no-to-ne'), G. Monot- 
 ony. 
 
 monot'onous. Monophonous ; lack- 
 ing variety. 
 
 montant (moh-tah), F. Ascending. 
 
 monter (moh-ta), F. i. To string. 2. 
 To tune. 3. To put an instr. to- 
 gether. 4. To ascend. 
 
 montre (mohtr), F. The pipes (usu- 
 ally the diapason) erected and 
 " shown " at the front of the organ. 
 
 Moorish drum. A tambourine. 
 
 Moralitaten (moral-l-ta'-ten), C, mo- 
 ralit^s (mo-ral-I-ta ), F., moralities, 
 F. Allegorical moral plays of the 
 middle ages, a later form of the mys- 
 teries. 
 
 morbidezza (mor-bl-ded'-za), /. Lux- 
 urious delicacy. 
 
 morceau (m6r-s6), F. A "piece." 
 I. A short composition. 2. A phrase. 
 m. d'ensemble (dan-sahbl). A piece 
 harmonised for voices, m. de genre 
 (du zhanr). Characteristic piece. 
 
 mordant (mor-dah), F. A trilled 
 grace (q. v.). 
 
 mordent, F. , Mordent, C. , mordente 
 (mor-den'-te), /. A grace (q. v.), long, 
 short, or inverted. 
 
 moren'do, moriente (mo-rt-en'-tS), /. 
 Dying away ; diminishing in volume 
 and speed. 
 
2o6 
 
 THE MUSICAL GUIDE 
 
 moresca (mo-res'-ka), /., moresque 
 (mo-resk), F. Moorish dance with 
 jingling anklets and clashing swords. 
 
 Morgengesang (mor'gen-ge-zang), 
 M.-liea (let), G. Morning song. M. 
 -standchen (shtent'-khen). Morn- 
 ing serenade. 
 
 morisco (mo-res'-ko), /. Moorish. Vide 
 
 MORESCA. 
 
 tno'risk. Morris-dance. 
 
 mormoramen'to, /. A murmur, mor- 
 morando (rjin'-do), mormorevole 
 (ra-v6-le), mormoro'so. Gently 
 murmuring. 
 
 morrice-dance, morris-dance, mor- 
 riske-dance. An English country- 
 dance of supposedly Moorish origin 
 in 4-4 time, the dancers wearing 
 ankle-bells and grotesque costumes. 
 
 mort (in F. mor). A tune at "the 
 death " of the game. 
 
 mosso (mos'-s6), /. " Moved," rapid. 
 molto m. Very fast, meno m. 
 Less fast, etc. 
 
 mostra (mos'-tra), /. A direct. 
 
 mot (mo,, F. A note or strain on the 
 bugle. 
 
 motet(t), E., Motette (mo-tet'-te), G*., 
 motet (mo-ta), A., motet to, /. i. 
 An almost always unaccompanied vo- 
 cal composition contrapuntally devel- 
 oped, and using biblical text ; a sacred 
 madrigal. 2. Loosely, an anthem. 
 
 mote'tus, L. i. A motet. 2. An 
 obscure mediiTsval term. 
 
 motif (mo-tef), F. Motive, subject. 
 
 motion. Progression, i. Of a single 
 part by degrees (conjunct m.), or by 
 skip (disjunct m.). 2. Of two parts 
 relatively considered ; contrary or 
 opposite if one ascends as the other 
 descends ; oblique, if one is sta- 
 tionary while the other progresses ; 
 parallel or consecutive, if both 
 move in the same direction by the 
 same interval ; similar, if both move 
 in the same direction by unequal in- 
 tervals (the latter terms are loosely 
 used as synonymous); mixed, if, in 
 the case of several parts, two of the 
 above motions occur simultaneously 
 between different parts. 3. perpet- 
 
 ual m. Vide perpetual. 4. pulse- 
 motion. That in which the prevail- 
 ing tone-length is that of the standard 
 note of the measure, as \ notes pre- 
 dominating in 3-2 time ; half-pulse, 
 that in which the prevailing motion is 
 in notes of half the pulse-value, as J 
 notes in 3-2 time, etc. 5. eighth-note 
 motion. That in which the prevailing 
 entrances of tones fall uniformly on 
 eighth notes. 
 
 motive, .£■., Motiv (mo-tef), G., mo^ 
 tivo (m5-te -v6), /. i. Theme, sub- 
 ject, a brief phrase or figure. 2. Vide 
 LEADING-MOTIVE. 3. In Form, a 
 measure, measure-m. One whose 
 accent is that of the measure. 
 
 moto (mo'-to), /. I. Motion (q. v.). 
 2. Speed, con moto. With motion, 
 rather fast. m. contrario (kon-tra- 
 rT-6). Contrary motion, m. mis'to. 
 Mixed motion. m. obliquo (6b- 
 le'-kwo). Oblique motion, m. ret'- 
 to. Parallel motion, m. perpet'uo. 
 Vide PERPETUAL, m. precidente 
 (pra-chl-den'-t£). The same time as 
 the preceding movement, m. primo 
 (pre'-mo). The same time as the first. 
 
 motteggiando (mot-ted-jan'-do), /. 
 Mocking(ly), jocose(iy). 
 
 mottetto (mot-tet'-to), /. Motet. 
 
 mo'tus, L. I. Motion (q. v.). 2. Move- 
 ment, m. contrarius. Contrary 
 motion, m. obliquus. Oblique mo- 
 tion. 
 
 mouth. The opening in the front of a 
 pipe. m. -harmonica, or m. organ. 
 I. Vide UARMOMCA. 2. Pan's pipes. 
 
 mouthpiece. The part of a wind- 
 instr. applied to the lips. 
 
 mouvement (moov-man), F., movi- 
 men to, /. i. Motion. 2. Move- 
 ment, m. de I'archet (du-lar'-sha),. 
 
 ' F. Bowing. bien mouvement6, 
 (b'yan moov-man-ta). Rhythmically 
 elegant ; well regulated. 
 
 movement. i. Rate of speed. 2. 
 Style of rhythm, as waltz-ra.. 3. A 
 major division of a composition, hav- 
 ing a certain integrity in itself, as the 
 slow or the 2d m. of a symphony 
 
DICTIONARY OF TERMS 207 
 
 (left 
 
 m. p. Abbr. of Mezzo-piano. 
 
 m. s. Abbr. of Mano Sinistra 
 hand). 
 
 muance (mii-ans), F. A change or 
 variation of note. Vide mut.'VTION 
 (2). 
 
 mue (mu), F. See mutation. 
 
 muet (mii-a), F. Mute. 
 
 Mund (moont), G. Mouth. M. har- 
 mo'nika. Mouth-harmonica. Vide 
 HARMONICA. M.-loch (lolvh). Mouth 
 of a pipe. M. stUck(shtuk). Mouth- 
 piece. 
 
 muiieira (moon-ya-e'-ra), Sp. A mod- 
 erately fast Galician dance, in 2-4 
 time, beginning on the unaccented 
 beat, with the strong beat in casta- 
 net-rhythm. 
 
 munter(moon'-ter), G. Lively, spright- 
 ly. Munterkeit (kit). Vivacity. 
 
 murk'y- Used of a harpsichord comp. 
 having a bass in broken octaves 
 (called murky-bass). 
 
 murmeln (moor'-meln), G. To mur- 
 mur, murmelnd (moor'melht). Mur- 
 muring. 
 
 Mus. Bac. 
 of Music. 
 
 Mus. Doc. 
 Music. 
 
 muse (muz) 
 desses of art. 
 of a bagpipe. 
 
 musetta (moo-zet'-ta), /., musette (in 
 F.. mu-zet', in F. mii-zet). i. A 
 small, imperfect oboe. 2. A bag- 
 pipe with bellows. 3. Hence, a short 
 pastoral dance-tune (often part of the 
 Gavotte) in duple or triple time with 
 a drone-bass. 4. A reed-stop. 
 
 musica (moo'-zl-ka), L. and /. Music. 
 m. da camera (da ka -me-ra). Cham- 
 ber-music, m. da teatro (ta-a'-tr5). 
 Dramatic music, m. di gat'ti. 
 "Cat-music." Vide charivari, m. 
 plana. Plain-chant. 
 
 musicale (moo-zl-ka'-le), musical- 
 men'te, /. Musical(ly). 
 
 • musicale (mu'-zl-kil). An " at home " 
 concert. 
 
 music-box. A box containing an au- 
 tomatic musical instr. The Szviss 
 
 Abbr. of Bachelor (q. v.) 
 
 Abbr. of Doctor (q. v.) of 
 
 I. One of the nine god- 
 2. The muzzle or tube 
 
 m. b. has a steel comb of graduated 
 teeth set in vibration by small pegs in 
 a revolving cylinder. 
 
 music-drama. An opera (particularly 
 of the Wagnerian school) in which 
 the te.xt and the action determine 
 the music, and are not interrupted by 
 set arias, duets, etc. 
 
 musicien (mi'i-zes-yafi), F. Musician. 
 
 musicista (moo-zl-che'-sta), /. Musi- 
 cian. 
 
 musico (moo'-zl-ko), /. i. Musician. 
 2. A male soprano, particularly a 
 eunuch. 
 
 musicone (moo-zl-ko'-ne), /. A great 
 musician. 
 
 music-pen. i. A 5-pointed pen for 
 ruling the staff. 2. A broad-pointed 
 pen for writing music. 
 
 music-recorder. A melograph. 
 
 music-timekeeper. An English instr. 
 enabling a performer to keep time. 
 
 Musik (moo-zek), G. Music. Mu- 
 siker(moo'-z'(-ker). Musikus (koos). 
 A musician. Musikalien (kal'-I-en). 
 Trade name for compositions. Mu- 
 sikant (moo-zl-kant ). A vagabond 
 musician. M.-fest. A musical festival. 
 MusiKbande, or Musikanten- 
 bande (ban-de). A band of strolling 
 musicians. Musik'diktat (dek-tat). 
 Vide DICTATION. M.-direktor. Con- 
 ductor. M.-lehrer (la -r$r). Music- 
 teacher. M.-meister (m!-shter). 
 Bandmaster. M. -probe (pro'-bS). 
 Rehearsal. M.-verein (fe-rln). A 
 musical society. M.-zeitung (tsl- 
 toongk). A musical periodical. 
 
 musique (mii-zek'), F., Music, m. 
 d'eglise (da-glez). Church-music. 
 
 musiquette (mii-zl-ket). i. A short 
 composition. 2. Light music. 
 
 muta (moo'-ta). " Change ! " A di- 
 rection in scores to change the crooks 
 or tuning of an instr. in preparation 
 for a change of key. 
 
 mutation, F. (in F. mu-tas'-yon), 
 mutazione (moo-ta-tsI-6'-ne), /. i. 
 The transformation of the male voice 
 at puberty (in F. mue (mi'i)). 2. Vide 
 soi.MiSATioN. 3. Shifting. 4. As 
 prefix, used of all tierce, quint, etc., 
 
208 
 
 THE MUSICAL GUIDE 
 
 stops not producing the unison or 
 octave of the foundation-stop. 
 
 mute. A device for muffling tone ; in 
 string-instrs. a clamp of brass, wood 
 or ivory placed on the bridge and 
 deadening the resonance ; in wind- 
 instrs. a pear-shaped leather pad, a 
 cylinder of perforated wood or a 
 pasteboard cone introduced into the 
 bell. 
 
 mut(h)ig(moo'-ttkh), G. Courageous, 
 spirited. 
 
 muthwillig (^moot'-vtl-likh), G. Mis- 
 chievous. 
 
 Muterung (moo'-te-roongk), G. Mu- 
 tation, I. 
 
 mysteres (mts-tar), F., Mysterien 
 (me-sta'-rT-en), (7., mysteries, E. 
 Medieval sacred dramas dealing with 
 the Last Judgment and other myster- 
 ies, as the moralities dealt with alle- 
 gorical virtues and vices, and miracle- 
 plays with the miracles of Christ. 
 The idea persists in the Passion Play 
 dealing with Christ's sufferings. In 
 these dramas, often accompanied with 
 music, oratorio had its beginning. 
 
 N 
 
 NABLA (na-bia), Heh. The 
 nebel. 
 nacaire (na-kar), F., nacara 
 (na-ka'-ra), /. An obs. 
 kettledrum. 
 
 naccara (nak-ka'-ra), nacchera (nak- 
 ka'-ra), /. Kettledrum. 
 
 nach (nakh), G. After ; according to. 
 Nach'ahmung (a-moongk). Imita- 
 tion, nach Belieben(be-leb'n). Ad 
 libitum. Nachdruck (drook). Em- 
 phasis, accent, nachdrucklich (driik- 
 llkh), nachdrucksvoll (drooks'fol). 
 Emphatic. nachgi(e)biger (ge'-bTkh- 
 er). More slow and sustained. 
 Nachhall(hal), Nachklang (klang). 
 Resonance, echo. nachklingen 
 (kUng-en), nachlassend (las'-sent). 
 Slackening in time. nachlassig 
 (les-stkh). Carelessly. Nachruf 
 (roof). A farewell. Nachsatz (zats). 
 
 The second part of a period, follow- 
 ing the Vordersatz. Nachslag 
 (shlakh). (a) An after-note, an ap- 
 poggiatura following its principal note 
 (the opposite of Vorschlag). (b) 
 An au.xiliary note at the end of a 
 shake, also Nachschliefe (shle-fe). 
 Nachspiel (shpel). Postlude. nach 
 und nach (oont). By degrees. Nach- 
 tanz (tants), F. Second movement 
 of a dance. 
 
 nachtsverwandte Tone (nekhst'fer- 
 vant'-tg-ta-ne), G. The nearest rel- 
 ative keys. 
 
 Nacht (nakht). Night. N.-horn, N.- 
 schall. An 8-ft. flue-stop. N.-horn- 
 bass. The same stop on the pedal. 
 N.-musikstandchen, N.-stiick 
 (shtiik). Nocturne, serenade. 
 
 Nachtschlager (nakht'-shlakher), 
 
 Nachtigall (niikht'-l-gal), G. 
 
 Nightingale ; an imitative instrument. 
 
 nae'nia, Gr. A dirge. 
 
 nafie (na'-fe). A Persian trumpet. 
 
 nafiri (na-fe'-re). An Indian trumpet. 
 
 nagarah (na-ga'-ra), nagaret', na- 
 gareet'. Oriental kettledrums. 
 
 nag'uar. An Indian drum. 
 
 Nagelgeige (niikh'-el-gT-khe), nail- 
 fiddle. Vide KIDDLE (Iron). 
 
 naif (na-ef), F., fem. naive (na-ev), F. 
 naiv (na-ef), G. Artless, natural. 
 naivement (na-ev-mah). Naturally. 
 naivete (na-ev-ta). Artlessness, sim- 
 plicity. 
 
 naked. Of intervals, as fourths or 
 fifths lacking the third or other ac- 
 companiment. 
 
 na'ker, nakeres. Old E. Small 
 metal drum(s). 
 
 nakokus (na-kd'-kiis), Egypt. Two 
 brass plates suspended and struck. 
 
 nan'ga. Negro harp. 
 
 Nanien (na-nl-en), G. Dirges. 
 
 narrante (nar-ran'-te), /. In narrative 
 style. 
 
 narrator. The chief performer in ar 
 oratorio or Passion Play. 
 
 Narrentanz (nar'-ren-tants), G Fool's 
 dance. 
 
 nasard (na-zar), /".,Nas(s)at'(nas-zat') 
 C, Hazard'. An old name for a stoj 
 
DICTIONARY OF TERMS 209 
 
 tuned a twelfth above the diapasons. 
 nasar'do, /. and S/>., nasarde (na- 
 zard), F., nassart (nas'-sart), na-sil- 
 lard. A 25^-foot stop. The Grosnas- 
 ard (gro-na-zSr), /"., or Grossnasat 
 (gros-na-ziit), C, is a quint-stop on 
 manual or pedal, petit-nasard (p'te), 
 orlarigot, is a i>^-ft. stop. 
 
 na'son. A 4-ft. flute-stop. 
 
 Nationallied (na-tsl-o-nal'-let), G. Na- 
 tional song. 
 
 Natur (na-toor'), G. Nature. N. horn. 
 A valveless Waldhorn. N.-scala. 
 Natural scale. N.-tone. Vide n.\t- 
 URAL TONE. N. trompcte. Valve- 
 less trumpet. natiirliche (na-tiir'- 
 llkh-e). Natural. Naturalist'. A 
 self-taught singer. naturalistisch 
 (Ist'-Ish). Untrained. 
 
 nat'ural. i. The sign 2 nullifying a 
 sharp or flat. 2. A white digital. 
 n. harmonics. Those on an open 
 string, n. hexachord. That based 
 on C. n. modes. The authentic 
 church modes. n. modulation. 
 That to a nearly related key. n. key, 
 or scale. That of C major, n. pitch. 
 That of a pipe not overblown, n. 
 tones. Those producible on a wind- 
 instr., as the horn, without altering 
 the length of the tube with valves, 
 keys, etc., hence natural horn, etc., 
 one producing tones without valves 
 or keys. 
 
 naturale (na-too-ra'-le), /. Natural. 
 naturali suoni (soo-6'-ne). Sounds in 
 the compass of the voice, natural- 
 men'te. Naturally. 
 
 natural'is, Z. Natural ; Cantus n., 
 music in the hexachordian N. (the 
 hexachord based on C). 
 
 naturel(le) (nat-li-rel), F. Natural. 
 
 naublum (no-bloom), Heb. Vide 
 
 NEBF.L. 
 
 nay (na). A Turkish flute. 
 Neapolitan sixth. Vide altered 
 
 CHORDS. 
 
 nebel (na-bel), nebel nassor (na-bel- 
 nas'-sor), Heb. Ten-stringed harp. 
 
 neben (na-ben), G. Accessory. N.- 
 dominant. The dominant of the 
 dominant. N.-dreiklang. Second- 
 
 ary triad. N.-gedanke. Subsidiary 
 theme, or idea. N.-klang. Acces- 
 sory tone. N.-note. Auxiliary note. 
 N. -register, N.-ziige (tsu-khe). 
 Acessory stops. N.-septimenak- 
 korde. Secondary sevenths. N.- 
 stimme. Subordinate voice or part. 
 N.-werk, Choir-organ. 
 
 necessario (na-ches-sa'-rI-6), /. Nec- 
 essary. 
 
 nechiloth (nek'-M6t), neg(h)inoth 
 (ne'-gl-not), Heb. A wind-instru- 
 ment. 
 
 neck. That part of an instr. which 
 carries the finger-board. 
 
 ne'fer. Egyptian guitar. 
 
 negligente (nal-ye-j^n'-te), negligent- 
 emente, I. Negligent(ly). negli- 
 genza (jen'-tsa). Carelessness. 
 
 negli (nal'-ye), nei (na-e), /., pi. In 
 the. 
 
 nei (na'-e), Tur. A flute made of cane. 
 
 nekeb (na-keb), Heb. A wind-instr. 
 formed of a single tube. 
 
 nei, nella, nelle, nello, nell', /. In 
 the, at the. 
 
 nenia. Vide naenia. 
 
 neo-German. Used of the program- 
 matic school. 
 
 nero (na-ro), /. "Black." A quarter 
 note. 
 
 nete (na-te), Gr. Vide lyre and 
 mode. 
 
 net (net), nette (net), P., nett (net), 
 C, net'to, /. Neat, clear. nettet6 
 (net-ta), F., Nettheit (net-hit). 
 Nettigkeit (net'-tlkh-klt), G. Neat- 
 ness, distinctness, nettamen'te, /. 
 Crisply. 
 
 neu (noi), G. New. n.-deutsche 
 Schule (doit-she shool'-e). Vide neo- 
 german school. 
 
 neu'ma, neume (num). i. One of the 
 characters in the early notation by 
 points, commas, hooks, etc. Lines 
 were introduced later, but they were 
 always rather an aid to memory than 
 a notation. 2. Melisma. 3. A slur. 
 The neumes somewhat resembled 
 modern shorthand and served some- 
 what the same function. The earlier 
 forms before lines are quite indeciph- 
 
210 
 
 THE MUSICAL GUIDE 
 
 arable. A single note was called 
 Virga, virgula, punctus, or punc- 
 tum ; a rising inflection sign, pes, or 
 podatus ; a falling inflection, clinis or 
 Jiexa ; various nuances of perform- 
 ance and special note values were the 
 uncus, bivirga, cephalicus, distropha 
 epiphonus, gnomo, oriscus, plica 
 (turn), quilisma (shake), semivocalis, 
 siiiHosa, strophicus, tra?nea, t) e7nida, 
 trivirga, etc. 
 
 neun (noin), G. Nine. Neunachtel- 
 takt (akh'-tel-takt), G. Nine-eighth 
 time. Neunte (noin -te). A ninth. 
 Neunzehnte (tsan-te). Nineteenth. 
 
 neuvieme (nuv-ydm'), F. A ninth. 
 
 nex us, L. A binding together. 
 
 nicht (nikht), G. Not. 
 
 nicolo (ne'-ko-lo). A 17th cent, bom- 
 bardon. 
 
 nieder (ne'-der), G. Down. N.-schlag. 
 Down-beat, or accented part. N.- 
 strich. The down bow. 
 
 niedrig (ne'-drikh), G. Deep, in voice. 
 
 nina (ne'-na), /. Lullaby (or, ninna- 
 nanna). ninnare (nln-na-re). To 
 sing a lullaby. 
 
 nine-eighth. Vide time. 
 
 nineteenth, i. An interval of two oc- 
 taves and a fifth. 2. A stop tuned a 
 nineteenth above the diapasons. 
 
 Vide LARIGOT. 
 
 ninth, i. An interval of an octave and 
 a second. 2. Vide chord. 
 
 nobile(no'-bt-le),nobiimente,/., noble 
 (nobl), noblement (no-blu-man), F. 
 Noble (nobly). nobilita,(n6-be-lI-ta), 
 /. Nobility. 
 
 noch (nokh), G. Still, yet ; as noch 
 schneller (shngl'-ler). vStill quicker. 
 
 nocturn(e), E., nocturne (nok-tUrn) 
 F., notturno (not-toor'-no), /. i. 
 Term first used by John Field for a 
 composition of dreamy, night-like 
 mood. 2. Vide hor.k canon'ic.^. 
 
 node, nodalpoint, no'do, /. One of 
 the axis-like points or lines in a vi- 
 brating body, where there is no vi- 
 bration (cf. loop), nodal figures. 
 The chart of vibration produced by 
 sand strewn upon a flat vibrating 
 plate ; discovered by Chladni, 
 
 no dus, Z. "A knot," an enigmatical 
 canon. 
 
 noel (no-el'), F. A Christmas carol. 
 Vide NOWELL. 
 
 noeud (nCi), F. i. A turn. 2. A node. 
 
 no far. Vide nefer. 
 
 noire (nwar), F. " Black," a quarter 
 note. 
 
 noise. Early E. i. Music, 2. A 
 band. 
 
 no lae, Z. Tintinnabulse. 
 
 nomes (n5mz), Gr. i. Airs anciently 
 sung to Cybele, Fan, and other divin- 
 ities. 2. Compositions regulated by 
 inviolable rules, as canon. 3. A can- 
 on. Vide NOMOS. 
 
 nomine, in (in no'-mT-na), Z. i. " In 
 the name " (of the Lord). A motet. 2. 
 Vide FUGA. 
 
 no mos, pi. nomoi, Gr. Law(s). Greek 
 songs fulfilling all the rules. 
 
 non (non), /. Not, no. 
 
 nona (no -na), Z, None (no'-ne), G. A 
 ninth (interval). Nonachord'-O, Z., 
 No nenaickord, G. A ninth. Vide 
 
 CHOKD. 
 
 nones. Vide hor.'e canonic*. 
 
 nonet(t)', E., Nonett', G., nonet'to, 
 I. Music for 9 parts. 
 
 Non'nengeige (gl-khe). " Nun's-fid- 
 dle." Vide marine trumpet. 
 
 Nonole (n5-n5'-le), G. Nonuplet. 
 
 nonny hey nonny. An old E. refrain. 
 
 nonuplet. A group of nine equal 
 notes. 
 
 normal (in G. nor-mal'). Normal, 
 standard. Normalton (ton), G. The 
 tone A. Normaltonleiter (ll-tSr), 
 G. The natural scale (of C). 
 
 nota (no'-ta), Z and Z. Note. n. 
 bianca. "White " or half-note, etc. 
 n. buO!ia(boo-6'-na). Accented note. 
 n. cambiata (kam-bT-a'-ta), or cam'- 
 bita, I. I. A changing note. 2. 
 Resolution by skip. n. caratteris'- 
 tica. Leading-note. n. cattiva 
 (kat-te'-va). Unaccented note, nota 
 contra notam. " Note against 
 note." Vide counterpoint. n. 
 corona'ta. A note marked with a 
 hold. n. d'abbellimen'to. A note 
 of embellishment, n. di passaggio ■ 
 
DICTIONARY OF TERMS 211 
 
 (de piis-sad -jo). A passing note. ta). Staccato, n. sensible (sen-se'- 
 n. di piacere (de-pr-a-cha'-re). An br-lc), /., sensi'bilis. L. The lead- 
 optional embellishment, n. falsa. A ing-note. n. digna'ta, L. A note 
 changing note. n. principale (pren- marked with a sign. n. sostenuta 
 chl-pa-le). Principal note. n. quad- (sos-te-noo -ta). A sustained note. 
 rata. A plain-song note. n. ro- nota tion (in F. n5-tas -yon), notazi- 
 ma'na, A neume. n. scolta (shol'- one (n6-ta'-tsi-6 -ne), /. Notation. 
 
 IT 
 
 Notation. 
 
 By the Editor. 
 
 HE musical parallel of writing and printing as the means of express- 
 ing in universal and permanent symbols the ideas, emotions and 
 memories of the mind. ^jThe Greeks, having only unharmonised 
 melodies to record, made use of the letters of the alphabet in positions and 
 combinations of a most complex yet definitive variety. These letters had 
 reference to tetrachords and transpositions of the most subtle sort (see 
 modes). The business-like Romans swept away a mass of detail by giving 
 each letter a definite position on the whole scale without reference to tetra- 
 chord relations. These letters were written on a straight line over the text 
 to be sung. In the Eighth Century this alphabetical notation had given way 
 before a system of symbols looking much like the hooks and curves of modern 
 shorthand. These were called neuma (q. v. ) and were of numberless sorts 
 and names. Thus a short single note was a punctum ,• two or three of these in 
 a group were bipunctum or tripunctum ; the standard long note was the virga 
 which could be grouped as bivirga or trivirga. Other terms were podatus 
 (a low note joined to a higher), and its reverse called clivis, clinis, or Jiexa ; 
 the scandicus (three ascending notes) and its reverse, climacui ; the quilisma 
 (a repeated note), the gnomo, ancus, distropha and many others. These 
 neumse were written over the text and were set higher or lower in a rough 
 form of melodic contour. They were only an aid to the memory and fre- 
 quently defy decipherment. In time, a few letters were added as abbreviations 
 of speed or force. *l[But about the year 900 a genius (who in his way was 
 almost as great as the inventor of the wheel) hit upon the inspiration of ruling 
 above the text a thin red line and calling it " F." Every neuma on this 
 line stood positively for the tone F, and those above or below the lines were 
 of higher or lower pitch. The genius was soon followed by a man of 
 talent who ruled a yellow line a little higher and called it " C." The 
 ornamental letters set at the head of these lines soon took the forms known 
 to-day as the clefs. Not long after, the monk Hucbald erected a series of 
 lines and used the spaces between them to indicate definite pitches, writing at 
 the beginning T for a whole step and S for a semitone. The hymn to be 
 
212 THE MUSICAL GUIDE 
 
 sung was written in these spaces, each syllable being placed on its proper 
 space. (This gave the verse a stepladder effect resembling the refrains of cer- 
 tain modern humorous poems.) Spaces were added above or below as the 
 melody needed them and each voice had its own set of shelves. ^This 
 awkward plan suggested the use of the lines instead of the spaces, for notes 
 instead of syllables. Each line was given a definite pitch marked by a letter. 
 ^Recurrence was now made to the two-line system and somebody (Guido 
 of Arezzo was usually credited with the scheme) added two black lines and 
 made a 4-line staff in which both lines and spaces had fixed pitch values. It 
 only needed the later addition of one more line to give the five-lined staff we 
 still use to-day. ^[The neums gradually exchanged their scraggly outlines 
 for the square black heads of the choral note (the ?iota quadrat a or quadri- 
 quarta'). ^[It now being possible to express the relative pitch of notes, an 
 effort was made to express their relative duration, for the old Plain Song with 
 its notes all of the same length could not satisfy many human musical needs. 
 The modern division into measures of equal length by means of bars was a 
 long time coming. There were two centuries of clumsy mensurable (/. e., 
 measurable) music. Notes to be sung to the same syllable were grouped 
 together by ligatures ; they were either set so close together as to touch, 
 or were if ascending, placed one above the other like a chord ; if de- 
 scending, they were merged in a thick black slanting line {Jigura obliqua'). 
 When white or open notes came into use the thick line became an open 
 rectangle sloping in the desired direction. When the first note of the liga- 
 ture was a breve, it was said to be «' cum proprietate^\- if the first note were 
 a long, it was sine proprietate ; if a semibreve, it was cum opposita proprie- 
 tate ; if the last note were a breve it was imperfecta ; it was a Ugatura per- 
 fecta when the last note was a long. *^The method of expressing rhythm 
 was, as said, very cumbersome. Rhythm was classified under three ratios : 
 mode (^modus^, time-value (^tempus'), prolation. ^[The Modus major 
 or "Great Mode " concerned the division of the large into longs, being 
 perfect(^us^ if there were three longs to a large, and imperfections^ if 
 there were two. Modus minor or the "Lesser Mode" concerned the 
 division of the long into breves, with the same classes perfect or imperfect. 
 ^The division of the breves into semibreves was the tsmpus and was simi- 
 larly called perfe'cti^um') or imperfect (^uni), a circle indicating perfect time and 
 a semicircle, imperfect. ^[The reladon of semibreve to minims was called 
 prolatio{ji), being major or minor (greater or lesser) prolation as the semibreve 
 equalled 3 or 2 minims. The former was indicated by a dot in the time 
 signature. *\T\ie. position of the notes also indicated their proportion; a long 
 or a breve followed by a note of its own value was perfect by position ; a 
 note accompanied by another of less value was imperfect. ^Colour played. 
 
DICTIONARY OF TERMS 213 
 
 a part ; the red (^notula rubra') or white {alba) or black (nigra) note 
 among others ot a different colour marked a change from perfection to imper- 
 fection. There was later the proportio hcmioI{i)a, or 2 : 3, indicated by 
 grouped black notes among white, ^j Speed was open to slackening (aug- 
 ment at io) or acceleration (diminutio), the latter being marked by a bar through 
 the time-signature, or by the use of numerals or fractions, called signs of pro- 
 portion, a term referring to the rhythm of simultaneous voices. ^[The value 
 of a note was open to alteratio(n) by position or by use of the dot (punctum 
 augmentatioiiis, alter atioiiis, (im)perfectionis or divisionis). ^[Expression 
 marks appeared, along with many other symbols, in the Seventeenth Cen- 
 tury ; the bar was brought over from lute-tablature, and mensurable music 
 disappeared before the convenient complexities of our own era. 
 
 note. A character representing a musi- 
 cal tone ; by its shape indicating the 
 duration, by its position on the staff, 
 the pitch, of the tone, connecting 
 note. A note common to two 
 chords. 
 
 note (not), F. Note. n. d'agrdment 
 (d'a-gra-miin). Ornamental note. n. 
 de passage (dii pas-sazh). Passing 
 note. n. dies6e (dl-e-za), F. Note 
 marked with a sharp, notes coulees 
 (koo-la). Slurred notes, n. de gout 
 (dii-goo). Note of embellishment. 
 n. sensible (san-sebl'). Leading 
 note. n. surabondantes (siir-a-bon- 
 dant). Such incommensurate groups 
 as triplets, quintoles, etc. n. liee 
 (le-a). Tied note, n, syncop^es 
 (safi-ko-pa). Syncopated notes. 
 
 Noten (no'-ten), G., pi. Notes. No- 
 tenblatt (blat). A sheet of music. 
 N.-buch (bookh). Music-book. N.- 
 fresser. " Note-gobbler," one who 
 has facility but no taste. N.-schrift 
 (shrift). Musical manuscript. N.- 
 system (zes-tam). The staff. 
 
 noter (no-ta), F. To write out a tune. 
 
 no'tograph. Melograph. 
 
 notturno (not-toor'-no), /. A noc- 
 turne. 
 
 no'tula, L. Note used in ligature. 
 
 nourrir le son (noor-rer lu son), F. 
 To attack a note forcibly, and sus- 
 tain it. un son nourri (noor-re). A 
 sustained tone. 
 
 nourrisson (noor-res-s6n), F. Bard. 
 
 nour'singh. A^straight Indian trum- 
 pet. 
 
 no va, /. A small flute. 
 
 Novelette (nof-e-let), G. From F., a 
 short musical romance. Name first 
 given by Schumann to pieces con- 
 taining considerable freedom of form, 
 treatment, and idea. 
 
 novemole (n5-ve-m6 -le), /. A group 
 of nine equal notes. 
 
 no well. 0\d E. "Good news." i. 
 A refrain of Christmas carols, hence 
 2. Carol. Cf. NOEL. 
 
 nuances (nii-aiis), F., pi. i. Lights 
 and shades of expression ; variety. 
 2. A notation. 
 
 null. I. A cipher. Vide o. 2. Vide 
 
 T.A.STO SOLO. 
 
 number, i. An integral portion of an 
 opera, symphony, or programme, etc. 
 2. A favourite method of designating 
 compositions, as Chopin's "5th" 
 waltz. 
 
 numer ical notation. A scheme in- 
 troduced by Rousseau, to substitute 
 numerals as names of tones. A simi- 
 lar notation in Massachusetts was 
 called Day's & Beal's "One-line sys- 
 tem." 
 
 nu'merus, Z. i. Number. 2. Rhythm. 
 
 Nunc dimit'tis, L. "Now dismiss 
 (us)." The text, Luke IL 10-12, 
 often used as a final number. 
 
 nun's-fiddle. Marine trumpet. 
 
214 
 
 THE MUSICAL GUIDE 
 
 nuovo (noo-6'-v6), /. New. di nuovo. 
 
 Again. 
 nut. I. The small bridge at the upper 
 end of the finger-board of violins, etc. 
 2. The movable fastening of the hair 
 of a bow. 3. The " lowest nut," the 
 ridge between tail-piece and tail-pin. 
 
 
 
 OA small circle, or cipher, 
 means : i. An open string. 
 2. Harmonic. 3. Diminished 
 fifth (or a chord containing 
 one). 4. Tasto solo. 5. To be played 
 with the thumb. 6. Tempus perfec- 
 tum. Vide notation. 7. Harmo- 
 nium-stops are marked with a numeral 
 in a circle. 8. In neume-notation, 
 the fourth church mode. 
 
 O (o), od (6d), /. Or, as, either. 
 
 O (n), L. Exclamation. les O de 
 A^o'cl {\i.-zb du no-el), F. The Christ- 
 mas antiphons to the Magnificat, all 
 beginning with " O ! " 
 
 oaten-pipe. A simple straw cut to 
 form a reed-pipe. 
 
 ob. Abbr. for oboe(s). 
 
 obbligato (6b-bll-ga'-t6), /., obligd 
 (6b-ll-zha), F., Obligat (6p-ll-gat'), 
 G. " Indispensable," of a part which 
 cannot be omitted without injury to 
 completeness ; though latterly the 
 term has come almost to mean " op- 
 tional," as in songs "with violin 
 obb." in which the violin part is fre- 
 quently omitted. 
 
 ob(b)liquo (6b-ble'-kwo), /. Oblique. 
 Vide MOTION. 
 
 ober (6'-ber), G. Upper, higher. O.- 
 dominante. Dominant. O. -labi- 
 um. Upper lip (of a pipe). O.- 
 manual. The upper manual. O.- 
 stimme. Upper part. O. -taste 
 (tas'-te). Black key. O.-theil (til). 
 The upper part. O.-ton. Harmon- 
 ic, phonischer O.-ton. The 15th 
 partial. O.-werk. In an organ 
 with 2 manuals, the choir-organ ; 
 with 3, the swell ; with 4, the solo. 
 
 oblique, obli'quus, L. Vide motion. 
 
 oblique pf. An upright pf. with di- 
 agonal strings. 
 
 oboe (6' -bo ; in G. o-bo'-e), obofe (6- 
 bo-a'), /. Plurals : oboes, E., 
 Oboen, C, oboi (6-b6'-e), /. i. A 
 double-reed instr. with conical wooden 
 tube, and 9 to 14 keys ; e.xtreme com- 
 pass b\j-{" . It is non-transposing 
 (except in the case of the Bb and Ely 
 oboes for military bands), and is 
 fingered somewhat like a flute. Its 
 tone is reedy and quaint, almost 
 homely ; it gives a pastoral atmos- 
 phere, or is capable of great melan- 
 choly, but rarely of much floridity. 
 The alto of the oboe is the so-called 
 cor anglais (kor afi-gle), F., corno 
 inglese (kor-no-en-gla'-ze), /., en- 
 glisches Horn (eng'-Ush-es not eng- 
 gllsh-es), C. , or English horn. An 
 oboe with a double long tube, and a 
 pitch a fifth lower, extreme compass 
 g^-b." This is now written as an 
 instr. transposing a fifth. It is even 
 more sombre than the treble oboe — 
 indeed it is the most mournful and 
 inconsolable of instruments. It is 
 a development from the old obo^ da 
 caccia (da kat'-sha), in F. or El? 
 written in the alto clef. The o. d'a- 
 more (da-mo'-re), o. basso, and o. 
 lungo (loon'-go) were lower by a 
 minor third than the modern treble 
 oboe, which was formerly called o. 
 piccolo. 2. A reed-stop of 4 and 8 
 ft. pitch, also called orchestral oboe. 
 
 obois'ta, /. Oboist. 
 
 Obw. Abbr. for Oberwerk. 
 
 ocarina (o-ka-re'-na). A terra-cotta 
 bird-shaped instr. of fluty tone. 
 
 occhiali (6k-kl-a'-le). i. White notes. 
 2. Brillenbasse. 
 
 occhetto (6k-ket'-t6), /., ochetus, Z. 
 Hocket. 
 
 octachord, i. An 8-stringed instr. 2. 
 A series of 8 tones. 
 
 oct aphonic. Eight-voiced. 
 
 octave (in /'. 6k-tav, in G. ok-ta- 
 fe). I. A consecutive series of eight 
 diatonic tones as from c'-c" . 2. The 
 interval of an eighth. 3. A tone an 
 8th above (or below) another. 4. 
 
DICTIONARY OF TERMS 215 
 
 large octave, once-marked or lined 
 o.. etc. Vide pitch. 5. The diapa- 
 son of the Greek system. 6. The 
 eight days following a Church festival. 
 7. A stop sounding an octave higher 
 than the digital pressed, as octave- 
 flute (also used for the piccolo (,q v.). 
 consecutive covered, broken, etc., 
 octaves, vide the adjectives, rule 
 of the o. A 17th century system of 
 harmonising the scale giving a bass 
 scale with the normal chords and 
 inversions to accompany it. short 
 o. The lowest octave in an organ, 
 where the scale is incomplete or com- 
 pressed, also called mi-re-iit. o.- 
 scale. Vide modes, o.-coupler. 
 Vide COUPLER, o.-staff. A notation 
 introduced by Adams, of New Jersey, 
 three groups of lines combined in 
 three octaves, dispensing with the 
 fiats and sharps, and giving each tone 
 its own place, octave stop. i. A 
 4-ft. stop. 2. The position of fingers 
 stopping an octave on the finger- 
 board. 3. A mechanical stop in 
 reeJ-organs, coupling the octave 
 above. 
 
 octaviana (6k-ta-vT-a'-na), octavina 
 (6k-ta-ve'-na), /., octavin (6k-ta- 
 van), F. I. An octave-spinet. 2. 
 The piccolo. 3. A harpsichord oc- 
 tave-stop. 4. A 2-ft. organ-stop. 
 
 Octavin (ok-ta-fen). G. A single reed, 
 conical wood-wind instr. fingered like 
 the oboe ; compass c -c"" , keys Bl? and 
 C. Inv. by O. Adler. 
 
 octavo attachment. Vide pedal 
 (octave). 
 
 octet(t)', octet'to, /. A composition 
 for eight parts. 
 
 octipho'nium, L. Octet. 
 
 oc'tobass, A., octobasse (bas), F. A 
 double-bass of huge size, about 12-ft. 
 high. Inv. by Vuillaume. The 3 
 strings are stopped by means of keys 
 and pedals. 
 
 oc'tochord, L. 8-stringed lute. 
 
 Octole (6k-t6'-le), G. Octuplet. 
 
 oc'tuplet. A group of eight equal 
 notes. 
 
 octuor (6k-tw6r), F. Octet. 
 
 od (6d), /. Or. 
 
 ode (5d). An elaborate lyric, almost 
 a cantata, odische (o'-dlsh-e) Mu- 
 sik, G. Music for an ode. 
 
 Odem (o'-dam), G. Breath. 
 
 Odeon (6-da'-6n), Cr., ode'um, L A 
 public building for music. 
 
 Oder (o'-der), G. Or, or else. 
 
 ode-symphonie (od-saii-fo-ne), /". A 
 symphony with chorus. 
 
 ceuvre (uvr), F. Work, composition. 
 
 off. I. A direction to push in an organ- 
 stop or coupler. 2. False. 
 
 offen (of'-fen), C, offenbar. i. Open. 
 2. Parallel. Offenfiote (fla -te). An 
 open flute-stop. 
 
 offertoire (6f'-fer-t\var), F., offerto'rio, 
 /. and Sp., offerto rium, L., offer- 
 tory. The part of the Mass or ser- 
 vice, the motet or instrumental piece, 
 performed during the taking of the 
 collection. 
 
 offic'ium, L. A service, o. defunc- 
 to'rum. Funeral service, o. diur - 
 num. Daily s. o. matuti'num 
 (nocturn um) morning (evening) s. 
 o. vesperti num. Vespers. 
 
 oficleida (6-fl-kla'-I-da), pi. e., /. Oph- 
 icleide. 
 
 ohne (o'-ne), G. Without. 
 
 oioueae. The vowels of " World 
 without end. Amen." Cf. evovae. 
 
 Oktave (6k-ta'-fe), G. Octave (q. v.). 
 oktavi(e)ren (fe'-ren). To produce 
 the octave by overblowing. Oktav- 
 chen (6k-taf'-khen), Qktavflote (fla'- 
 te), or -flotlein (lln). Piccolo. Ok- 
 tavengattungen (gat-toong-en). 
 Octave-scales. Oktav-folgen (fol- 
 khen), or -parallelen, or Oktaven- 
 verdoppelungen (fer-dop-pel-oong- 
 en). Parallel, or consecutive oc- 
 taves. 
 
 Oktavwaldhorn. A Waldhorn inv. by 
 Eichborn & Heidrich. 
 
 Oktavin, G. Vide octavin. 
 
 ole, el (cl o'-le), Sp. Slow 3-4 dance 
 with castanets. 
 
 ol'iphant. A horn made of a tusk. 
 
 olio. A miscellany. 
 
 olivettes (6-lI-vet), F. Proven5al 
 dance after the olives are gathered. 
 
2l6 
 
 THE MUSICAL GUIDE 
 
 olla podrida (ol'-la p6-dre'-dha). Med- 
 ley. 
 om'bi. An African harp. 
 om'bra, L. Shade ; nuance. 
 om'nes, omnia, Z. All. Vide tut- 
 
 TI. 
 
 om nitonic, omnitonique (om-nt-to- 
 nek), /". Having all the tones of the 
 chromatic scale, as a horn. 
 
 once-accented, or once-marked oc- 
 tave. Vide PITCH. 
 
 ondeggiamen'to (6n-ded-ja-men'-t6). 
 Undulation. ondeggian'te, /. 
 ondule (oh-dli-Ia), F. Waving, un- 
 dulating, trembling, onduliren (6n- 
 doo-le-ren), G. To make a tremu- 
 lous tone. 
 
 one-lined. Vide pitch. 
 
 ongarese (6n-ga-ra -ze), ongherese 
 (6n-ge-ra'-ze), /. Hungarian. 
 
 onzi^me (6hz-yem), F. Eleventh. 
 
 op. Abbr. of Opus. 
 
 open. 1. Of pipes, open at the top. 
 
 2. Of chords, not in close position. 
 
 3. Of strings, not stopped. 4. Of 
 tone, (a) produced by an open string 
 
 or by a wind-instr. not stopped, (b) 
 not prod, by valve or key. 5. Of 
 scores, in which a stave is given to 
 each part or instrument. 
 Oper (o'-per), C, op'era, E. (in /. 
 o'-pe-ra), /., opera (o-pa-ra), F. 
 Drama set to music. O.-bouffe (boof), 
 or buffon (biif-foh), A, o.-buffa 
 (boof'-fa), /. Farcical, or low-comedy 
 opera, what we call comic opera. 
 opera comique (ko-mek), F. Literal- 
 ly " comic opera," but generally used 
 only to indicate that the dialogue is 
 spoken, not sung. The plot may be 
 as serious as grand opera, opera 
 seria (sa'-rl-a), /., opera s^rieux 
 (sa-rl-ii), F., in which all dialogue is 
 in recitative and the ensembles are 
 more elaborate, o. di camera (ka- 
 me-ra). Opera for a small audito- 
 rium, o. lyrique (le-rek), ballad- 
 opera. One in which lyricism has 
 the preference over dramatic action, 
 o.-drammat'ica, /. Romantic opera. 
 O.-haus (hows). Opera-house. O.- 
 sanger. Operatic singer. 
 
 The Opera. 
 
 By Ernest Newman. 
 
 COMBINATIONS of poetry and music, in a more or less dramatic 
 form, must have been usual from very ancient times ; and, as a 
 matter of fact, we can trace this form of art back to 1350. But 
 the opera proper, in the modern sense of the word, sprang up in Italy about 
 the end of the sixteenth century. It was the invention oi certain Florentine 
 amateurs, lovers of the antique, who wished to give to music something of 
 the importance it was thought to have had in the Greek drama ; and the 
 Dafne (1594), and Euridice (1600), of Peri and Caccini, mark the begin- 
 nings of opera. These works were mostly in a kind of recitative, with slight 
 orchestral accompaniment. The object was to imitate in music the inflections 
 of the speaking voice, the Florentine scholars imagining that the music in the 
 Greek drama had been simply an intensification of the tones of ordinary 
 speech. Music a parlante, " speaking music," was the ideal they aimed at. 
 As the opera progressed, it inevitably became less speaking and more musical. ' 
 The orchestra became larger and more capable of colour ; recitative devel- 
 oped into the aria, the duet, and the concerted piece. As the opera sprea4j 
 
 \ 
 
DICTIONARY OF TERMS 217 
 
 over Italy, however, it tended to degenerate. It relied too much on imita- 
 tion of the antique ; it had no healthy poetical drama with which to compare 
 itself, and so became ever more inane in sentiment ; it was corrupted first by 
 the fashionable courts and then by the ignorant, pleasure-loving Italian public ; 
 undue prominence was given to the mere scenery and spectacle ; and the star 
 singers tried to subordinate everything to their own vanity. All this while 
 there existed, among the people, an ancient form of rural comedy — the Corn- 
 media deir Arte — full of healthy life and sincere sentiment, and free from the 
 affectation of the pseudo-antique. From this there grew up, at a later date, the 
 charming and sparkling opera buff a. ^[France had long had a form of enter- 
 tainment — the ballet — with many points of similarity with the opera. The 
 first real French opera seems to have been La pastorale, by Perrin and Cam- 
 bert (1659) ; but no great progress was made till Lully — an Italian by birth, 
 but French in sympathies — became the head of the opera in Paris (1671). 
 In France, the verbal element always resisted the encroachment of the mu- 
 sical, this being partly due to the highly developed, rather than to that of the 
 flowing, aria. In the course of time, Italian influences tended to cultivate 
 the merely musical element at the expense of the dramatic ; but the balance 
 was restored by Rameau, who, with a greater musical gift than Lully's, made 
 the vocal portion of the opera free and interesting in itself, without losing 
 sight of the dramatic expression. When the Italian opera buffa was intro- 
 duced into Paris (1752), it strengthened the already existent French comic 
 opera, and even taught the serious writers some lessons in naturalness and 
 directness. ^In Germany, opera first found favour at the Courts. Singers, 
 composers, librettists, conductors — all were Italian ; and, if, in an isolated 
 case, the recitatives were sung in German, the airs, which were held to be 
 the essential parts of the opera, were generally given in Italian. It was at 
 Hamburg that the German element had its stronghold. Keiser (1673 — 
 1739) relied on the German Z/>^ rather than the Italian aria, and preferred 
 a German libretto to an Italian one. But on the whole the German passion 
 was for thoroughly Italian opera. ^Neither in Italy, Germany, nor France 
 did the opera seem, in the middle o'i the eighteenth century, to have any real 
 life or any chance of development. From this miserable condition it was de- 
 livered by Gluck, who added to a musical gift greater than that of the major- 
 ity of his predecessors, a strong sense of the value of a dramatic basis for the 
 music. ^[The history of the opera in England in the seventeenth and eigh- 
 teenth centuries is somewhat curious. Purcell's influents were mainly French, 
 derived through his master, Pelham Humphreys, who had studied under 
 Lully. Purcell's striking individuality, however, transformed this influence 
 into something quite English. Later on, the English stage was ruled almost 
 1 entirely for a time by Handel, who made no alterations in the general form 
 
2i8 THE MUSICAL GUIDE 
 
 of the opera, but fi'led each separate part with a wealth of musical inventive- 
 ness previously unknown. •|yin the early work of Mozart, Italian influences 
 struggled with German. His experiences in Paris, where he heard the best 
 operas of all kinds, in 1778, deepened both his technical powers and his dra- 
 matic sense. "The Marriage of Figaro," and "Don Giovanni," show the 
 most wonderful art of character-drawing, interpenetrated with a musical spirit 
 of unfailing and surpassing loveliness. They seem to combine Handel's mel- 
 odic beauty and power with Gluck's intensity of dramatic expression. Gluck 
 and Mozart were the two men whose influence was most felt by later operatic 
 writers. ^The next great development came with Weber and the German 
 Romantic movement. Between the true classical and Romantic epoch, how- 
 ever, came a body of work, half ancient, half modern, both in France and 
 Germany. It is typified by such men as Herold, Mehul, Cherubini, Boiel- 
 dieu, and Spontini, and by Beethoven's solitary opera ♦* Fidelio," and repre- 
 sents the crossing of the old culture with the new, the forms of the eighteenth 
 century with the post- Revolution spirit. Under Weber and the Romantics 
 the German opera entered on a new career. Its essence was a heartfelt sin- 
 cerity — almost simplicity — of musical feeling, subtilised and enriched by the 
 warm, expansive culture of that day. Most of the sensations of the eighteenth 
 century opera are found in the work of Weber and his fellows, together with 
 some quite novel ones ; and in every case a deeper or subtler tinge is given 
 them by the superior orchestral resources. In the painting of scenes of ner- 
 vous horror, for example, the Romantics added considerably to the palette of 
 their predecessors, ^j While this movement was going on in Germany, Ros- 
 sini was galvanising the almost extinct art of Italy. His sparkling melody, his 
 verve, his audacity, his superficiality, produced a new type of Italian opera, 
 appealing to fashionable and uncultured audiences, who asked for nothing from 
 the opera but amusement, and that in a form not too subtle for them. The 
 really dramatic passages in his operas, as in those of Donizetti and Bellini, are 
 comparatively few. Their general style of work was carried on by a stronger 
 musician, Meyerbeer, who was weak enough to sacrifice, for the applause of 
 Paris, the genuine musical gifts he had brought with him from Germany. 
 ^Concurrently with this vogue of Italian opera there ran the career of Wag- 
 ner, who reflected more upon his art than any opera composer except Gluck. 
 Dissatisfied with both the independent musical and poetical elements out of 
 which previous operas had been built, he modified each to suit the demands 
 of the other. He aimed at a form of expression in which poetry and music 
 should combine in one indissoluble speech. This was to be the '♦ means " 
 of the opera; its "end " was the drama itself Wagner's reforms were so 
 entirely the outcome of his own peculiar individuality, and depended so much 
 on his own stupendous gifts, that no one has been able to take up his work* 
 
 \- 
 
DICTIONARY OF TERMS 219 
 
 after him. He has influenced almost all his countrymen ; but their work, as 
 a whole, is plainly imitative and reminiscent. ^Similarly Berlioz, who also 
 worked on his own lines, occasionally casting his eyes back to Gluck and 
 Weber, left no successor. The Une on which composers like Halevy and 
 Auber must be strung derives from Meyerbeer and the Itahans. But the 
 more modern French opera- writers strike a more original, more national note. 
 Gounod and Bizet, Reyer, Saint-Saens, and Massenet are really French, each 
 in his own way ; while in the very modern work of Bruneau we get the 
 spirit of French realistic fiction, and in that of Vincent d'Indy we have a 
 curious expression of the subtlety and mysticism of the Celtic revival. 
 The rise of serious French opera has been accompanied by a consolidation of 
 the lighter form — the opera bouffe. ■[jln Italy, the most remarkable phe- 
 nomenon has been the change of Verdi's style. Beginning as a common- 
 place, though sometimes dramatic, writer of Italian operas, he has developed 
 into a composer who, while never losing his southern grace and Utheness, has 
 assimilated some of the best elements df northern art. In the work of the 
 younger men of his school there seems to be, at present, a contest between 
 the old ideals and the new. In many cases, unfortunately, their musical gifts 
 are not on a par with their dramatic intentions. ^The first great name in 
 Russian music is that of Glinka, who, about the middle of the century, worked 
 out a national form of opera. Though Wagner's influence has necessarily 
 been felt here and there, the Russian opera as a whole has developed freely 
 on its own account ; and the two representatives of it best known to the 
 West — Rubinstein and Tschaikowsky — are in no way Wagnerian. 
 
 operet ta, /., Operette (6p-e-ret'-te). opus (o'-poos), Z. Work, composition ; 
 
 G. A small light opera, of. siNU- as, Op. 10, the loth composition, or, 
 
 SPiELE. Op'erist. An operatic singer. more commonly, the loth publication 
 
 Operndichter (o'parn-dlkh-ter), 6". Li- of a composer, opus'culum. A lit- 
 
 bretto writer. tie work, opus post humum. A 
 
 iophicleide (6f'-l-klld). i. Anobsoles- work published after the death of 
 
 cent brass instr. the bass of the key- the composer. 
 
 bugle family. The bass. o. in C, B [7 orage (o-riizh), /". ".Storm." i. An 
 
 and A ^ (compass A l^-a'tj) the alto imitative composition. 2. A stop. 
 
 0. in F and Ei^ (compass 2^ oc- O'ra pro no'bis, Z. " Pray for us ! " A 
 
 taves) ; the contrabass o. same com- response to a litany in R. C. ser- 
 
 pass as the alt. o. but an octave vice. 
 
 lower. The bass tuba (q. v.) has a oratoire (6r-a-twar), F., orato'rio, 7. 
 
 j richer tone and has displaced it. 2. and E., orato'rium, Z. (in G. 6'- 
 
 I A powerful 4 or 8 ft. reed-stop. ra-to'-rl-oom). A sacred work con- 
 
 lOpp. Abbr. of oppure. structed like an opera, but performed 
 
 opposite. Contrary (of motion, q. v.). now without action, costume, or 
 
 oppure (6p-poo'-rg), 7. Or, or else. scenery. See next page. 
 
220 THE MUSICAL GUIDE 
 
 The Oratorio. 
 
 By H. E. Krehbiel. 
 
 AN oratorio is a musical composition for chorus and solo voices, with. 
 orchestral accompaniment, to a poem on a religious or sacred sub- 
 ject, generally in narrative form, though often with dramatic epi- 
 sodes, but without scenery, action, or costume. The origin of the oratorio is 
 to be found in the so-called mysteries and miracle-plays of the thirteenth and 
 fourteenth centuries, which enacted an important part in the life of the com- 
 mon people. These were sung and acted, and though, on account of abuses ; 
 that crept into them they were frowned upon by the Church, their popularity ,• 
 was never destroyed. The oratorio was brought into existence upon the ! ! 
 model of these religious plays by St. Philip of Neri (151 5-95), who rec- j : 
 ognised in them a means of opposing the influence of the Reformation upon /.* 
 the common people. In his chapel or oratory (whence the name oratorio) 
 in Rome he had spiritual songs sung after sermons and other devotions, to 
 "allure young people to pious offices." St. Philip induced capable Italian 
 poets to write the words, and the best composers to furnish the music. By 
 degrees the spiritual songs gave place to musical settings of sacred stories 
 sometimes in dialogue form. The invention of dramatic recitative at the end 
 of the sixteenth century had a marked influence on oratorio. The first to 
 use it was Emilio Cavaliere, whose allegory, "The Soul and the Body," 
 performed in a Roman Church, was the first oratorio corresponding to the 
 modern form. It was, however, intended to be acted in costume, and only 
 gradually did this feature fall into disuse. The later Italian composers, Caris- 
 simi, Stradella, Cesti and Alessandro Scarlatti, first developed the new form 
 on the lines in which it has come down to us. Carissimi greatly improved 
 the recitative, giving it more character and musical expressiveness than his 
 predecessors had done, and ventured more boldly into the field of broad 
 choral writing. Cesti and Stradella cultivated still further the natural : 
 sources of the chorus at a time when the general tendency in Italy was to' 
 ard the more obvious and pleasing forms of solo song, Alessandro Scarlati 
 who was one of the chief forces in this direction, also contributed to the devel-Uv 
 opment of the oratorio by the increased stress he put upon the solo arias in it. i 
 But on the whole, as Dr. Parry has remarked, the oratorio had to war 
 for representatives of more strenuous nations for its ultimate development] 
 ^That development was destined to come in Germany. While oratorio ha(| 
 thus been taking shape in Italy, there was an important movement going oii 
 in Germany by which the Passion was brought into existence. This cam^j 
 about, after a long line of tentative and experimental efforts, through thj 
 works of Heinrich Schiitz, who had received his training in Italy and carriei! 
 
 I 
 
DICTIONARY OF TERMS 221 
 
 thence to his native land some of the new ideals of music. His first Passion 
 was produced in 1645. The various attempts that followed this culminated 
 1 in the settings by J. S. Bach. These works were intended for performance 
 in church in Passion Week, as a religious service partly narrative, partly dra- 
 matic and partly reflective in character. The narrative was put into the 
 mouth of the Evangelist, usually the principal tenor, who related the Passion 
 of Christ ; the personages in the story spoke for themselves. The chorus 
 was often treated dramatically, representing the emotions of the onlookers, 
 while the solo airs were of a piously reflective character. There was a plen- 
 tiful interspersion of chorales in which the congregation joined. In the mid- 
 dle there was an intermission for the sermon. The Passion music was also 
 j an outgrowth of the medieval miracle-plays, but it soon fell into disuse and 
 displayed no vitality after the great creations of Bach, the " Passions accord- 
 ing to St. Matthew" and "St. John," respectively, composed in the first 
 quarter of the eighteenth century. German art was thenceforward turned 
 into the channels of the oratorio as it was developed in Italy ; and the form 
 was brought to its highest perfection by George Frederick Handel. As thus 
 perfected it was not, like the Passions, a part of religious exercises, nor a 
 direct expression of devotional feeling, but epic or narrative, with certain 
 quasi-dramatic traits and sometimes with the use of vivid local colour ; but 
 always with the most impressive use of the chorus as the most important 
 medium of expression. Handel's first oratorio " Esther" was written in 
 1720 and performed first in England in 1732, oratorio being then quite 
 unknown in that country. The long line of masterpieces he produced there- 
 after gave the final and definite character to the oratorio form which has 
 remained to this day. The greatest of them are "The Messiah," "Judas 
 Maccabaeus," "Israel in Egypt," and "Samson," Handel's strength lay 
 chiefly in broad choral writing, and it was natural that the oratorio should 
 develop mainly on this line, as affording a vehicle for more descriptive and 
 ' characteristic music, thus making up for a lack of pantomime, costume, and 
 scenery. ^For a considerable period after Handel's death, little of impor- 
 tance in the field of oratorio was produced. Haydn's "Creation" and 
 "The Seasons," written in 1795 and 1801 respectively, still retain some 
 : of their vitality and freshness. Beethoven's " Mount of Olives " does not, 
 ; Oratorios by Spohr and Schneider attained a great but transient popularity, 
 1 but the next really important works in this form were Mendelssohn's " St, 
 Paul," performed first in 1836, and " Elijah," in 1846. In both of these 
 the dramatic element is foremost, and the musical characterisation of the 
 various persons presented is perhaps more vivid than any previous attempts in 
 • this line. Works like Liszt's " St. Elizabeth " and Rubinstein's " Moses " 
 : are conceived as operas in which descriptive directions take the place of 
 r; 'Scenery, costume, and incident. 
 
222 
 
 THE MUSICAL GUIDE 
 
 orchesographie (or-ka'-z6-gra-fe), F. 
 The science and explanation of danc- 
 ing, orchestique (te!<), F. Relat- 
 ing to dancing. Orchestik (6r-kes- 
 tek), G. Art of dancing. 
 
 orchestra, E. (in /. or-kas-tra), Or- 
 chester (6r-kes -ter), C, orchestre 
 (6r-kestr), F. Literally " dancing- 
 place," that used in front of the stage 
 in Greek tragedy for the chorus ; the 
 name was given by the first opera- 
 writers (vide PERI, B. D.) to the place 
 occupied by the musicians, thence to 
 the musicians themselves. The word 
 now means the place and its occu- 
 
 pants, and the instrs. in general. The 
 modern o. may be (a) large, full, 
 grand, symphony ; (b) small. Parts 
 of the orchestra may be designated, 
 as string ore lustra, etc. Orchester- 
 verein (fer-In). An orchestral so- 
 ciety. 0-stimmen. Orchestral parts. 
 orchestral flute or oboe. A stop, 
 orchestra tion. The art or act of 
 arranging music for orchestra, or'- 
 chestrate, E., orchestrare (or-k^s- 
 trji-re), /., orchestri(e)ren(tre-r6n), 
 G., orchestrer (6r-kes-tra), F. To 
 write for orchestra. 
 
 The Orchestra and Orchestration. 
 
 By W. J, Henderson. 
 
 THE modern orchestra dates from the early part of the seventeenth , a 
 century. Previous to that no attempts at a systematic combina- i ;, 
 tion ofinstruments can be found. The original use of the orchestra ' ;• 
 was in the accompaniments of operas, and even here the earliest combinations 
 were fortuitous and without special purpose. The earliest writer who seemed 
 to have distinct ideas as to instrumental effects was Claudio Monteverde: \y_^^ 
 ( I 568-1643). His orchestra was the first in which a considerable body 1 ^^^^ 
 of strings, including two violins, figured. He invented some special instru-' !j^ 
 mental effects, and led the way toward the establishment of the string quartet; ! ^.^ 
 as the foundation of the orchestra. Alessandro Scarlatti (born 1659) wrote • 
 for a string quartet similar to that employed in the present orchestra, and used 
 oboes and flutes as his principal wind-instruments. ^[ Handel (1658-17 59) 
 used all the ordinary instruments of the present orchestra except the clarinet, 
 but not in the same combinations as those of to-day. The orchestra of hii 
 time contained a much larger number of oboes and bassoons than ours, be- 
 cause these instruments then were much less powerful. In the early part 
 the eighteenth century, when the seeds of symphonic music were just begin, j. .. 
 ning to sprout, the orchestra consisted of the same body of strings as nov u., 
 used, but the violoncello was not yet appreciated at its true value, trumpet 
 and tympani being added when brilliancy was needed. Clarinets had no 
 entered the orchestra, but flutes were common. The trombone was em 
 ployed only in the opera, where alone also the harp was heard. •[ Josep! 
 Haydn (1732— 1809) wrote his first symphony in 1759 ^°^ first and sec 
 ond violins, violas and basses, two oboes and two horns. Mozart (1756 
 91 ) introduced clarinets and Haydn learned their use from him, so that his ]• 
 major symphony, written in 1795, is scored for 2 flutes, 2 oboes, 2 clarinet! 
 
 ih 
 
DICTIONARY OF TERMS 223 
 
 2 horns, 2 kettle-drums, violins, violas, 'cellos and basses, adding in the 
 first movement 2 bassoons and 2 trumpets. In the •' Eroica " he introduced 
 a third horn, and in the fifth symphony a piccolo, a contra-bassoon and three 
 trombones. Four horns were used in the Ninth symphony, and this work 
 contains the entire modern orchestra, except such instruments as have since 
 been introduced for special effects. The operatic writers in their search after 
 dramatic colouring led the way in such introductions, and the romantic com- 
 posers of symphonic music, building up their great colour schemes, we're not 
 slow to accept every suggestion. ^ Nevertheless the orchestra as now con- 
 stituted is practically that of Beethoven. As ordinarily distributed it is com- 
 posed of a piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 
 trumpets, 3 trombones, 2 kettle-drums, first and second violins, violas, 'cellos, 
 and basses. The wood-wind instruments are now frequently used in triplets 
 instead of pairs, and the whole wind choir is extended at will by the use of 
 the English horn, the bass clarinet, the tuba, the saxophone or other less 
 common instruments. The harp is also employed at times. ^Orchestration, 
 the art of writing for orchestra, has developed rapidly in recent years, yet the 
 fundamental principles are those which guided Mozart and Beethoven. The 
 modern efforts have been in the direction of increased sonority and richness 
 of colour. These ends are obtained by writing for a larger number of instru- 
 ments and by dividing the old ones into a greater number of parts. The 
 orchestra naturally separates itself into three groups of melodic instruments 
 and one of merely rhythmic ones. The first three groups are the wood-wind, 
 the brass, and the strings, and the other is the "battery," as the group of 
 percussive instruments is called. In this last group only the kettle-drums 
 have musical pitch, except when bells are employed. ^jThe wood-wind is 
 divided into flutes, which have no reed mouthpieces ; oboes and bassoons, 
 which have mouthpieces with two vibrating reeds ; and clarinets, which have 
 mouthpieces with one reed. Flutes used in triplets are capable of indepen- 
 dent harmony, but all of a high pitch. Bassoons are the basses of the oboe 
 family, and hence with two oboes and two bassoons, composers can write in 
 fiill four-part harmony for this class of reed instruments, and let them play by 
 themselves when their peculiar thin, reedy quality is desired. The English 
 horn, the alto of the oboe, can be used as another part. Clarinets have a 
 ■ compass extending through the alto and soprano ranges of the human voice, 
 I while the bass clarinet covers the tenor and the bass. Here again the com- 
 ' poser can get a full harmony in one family of wood. Thus the wood alone 
 ' offers three distinct orchestral tints. But the instruments of the different 
 families combine to make new tints. Flutes go well with clarinets or oboes, 
 and clarinets combine admirably with bassoons. Furthermore, the whole 
 ' wood-band can be used at once with fine effect. The older composers 
 ! had conventional methods of writing for these instruments, almost always 
 
224 THE MUSICAL GUIDE 
 
 allotting the same parts of the harmony to the same instruments. The 
 moderns have learned to vary this practice with excellent results. All the 
 wood-wind instruments can be used profitably as solo voices. ^The brass 
 offers three groups, horns, trumpets and trombones, each of which is capable 
 of independent harmony, while each may be combined with the other, or 
 with any part of another to make variety of effects. All are useful for solo 
 effects, the horn being especially good for this purpose. The brass can also 
 be used in many combinations with the wood-wind. Horns, clarinets, and 
 bassoons, for example, are frequently combined. The foundation of the or- 
 chestra, however, is the string quartet, as it is called, though it is really a 
 quintet. Violins supply the soprano and alto parts of the harmony, violas 
 part of the alto and all of the tenor ; 'cellos run from bass up to low soprano, 
 and basses give the deepest notes. The older composers made but poor use 
 of the viola and the 'cello, but the moderns take every advantage of their 
 compass and their individuality of timbre. Furthermore, the moderns subdi- 
 vide the strings very often, writing at times for first and second violins in aSi 
 many as six parts, for violas in two parts, and 'cellos in the same way. In] 
 this way the harmony becomes many-voiced and extremely rich. ^Tb 
 essential requirements of good orchestration are solidity, balance of tone, coil' 
 trast and variety. Solidity is obtained by a proper distribution, among the; 
 instruments, of the notes of each chord, so that the proper sounds are mad^ 
 the more prominent. The foundation of solidity is good writing for thfc 
 strings, the mainstay of the orchestra. Balance of tone also depends on 
 proper dispersal of the harmony, so that the instruments which are providinj 
 the harmonic support will not drown out the voices of those which are si 
 ing the melody. A perfect understanding of the relative powers of the v; 
 ous instruments is necessary to success in these two matters. Especially m 
 the middle voices be skilfully treated to obtain solidity. If they are too lo 
 the effect is " muddy "; if they are too weak, the orchestra is *' all top ah; 
 bottom," as the musicians say. ^Contrast is obtained by transferring th 
 melodic ideas frequently from one of the three divisions of the orchestra ( 
 another, while variety is the result of mixing the tints. A theme is nev<j 
 confined to the strings, but is often handed over to the brass, or the woocj ij 
 wind. But even this would not be sufficient. Consequently the varioij si 
 effects of mingling the voices of the diff^erent instruments, flutes and horn! rf 
 or clarinets and 'cellos, or oboes and violas, are employed. The composiaj 
 must, of course, know his orchestral colours thoroughly before endeavouring I'li^ 
 mix them. Students of orchestral music will find the simplest and most soli ;; 
 colour schemes in the scores of the classic symphonists, while in the model ..o 
 operas and symphonic works of the romanticists he will hear all the results ! i 
 the most comolex treatment of orchestral tinting. i 
 
 I 
 
 i 
 
DICTIONARY OF TERMS 225 
 
 orchestrina (tre'-na), di ca'mera, /. A ordinario (6r-dI-na'-ri-6), /. Ordinary, 
 
 small free-reed key-board instr., imi- usual, common, tempo 0. i. The 
 
 tating some orchestral instr. Inv. by usual time. 2. 4-4 time. 
 
 W. E. Evans, i860. ordre (ordr), F. A suite. 
 
 orchestrino (tre'-no), /. A piano vio- orecchio (6-rek'-kl-6), /. Ear. orec- 
 
 lin, inv. by Pouleau, 1808. chiante (o-rek-kt-an'-te). Singing 
 
 orchestrion. i. A large automatic by ear. 
 barrel-organ with many imitative Oreille (o-ra'-yii), /^, Ear. 
 stops. 2. A chamber-organ devised organ, E., organo (6r-ga'-no), /., Gr- 
 and used on his tours by Abbe Vogler. gane (6r-gan), F. See below. 
 
 Organ. 
 
 By the Editor. 
 
 THOUGH many instruments are loosely called organs (such as the 
 mouth-organ, hand-organ, etc.), the word is generally given to 
 the pipe-organ, a microcosmic wind-instrument which contains in 
 ts forest of resources almost all the powers and qualities of almost all other 
 nstruments. In the course of time while its powers have grown ever 
 ;reater, their control -has become always easier and more centralised. 
 f[The History of the organ is, in any completeness, beyond the space of 
 his work. Its prototypes are the primeval Pan's pipes and the bagpipe. 
 The zd century b.c. finds it with a key-board, and pipes supplied by 
 icllows with air compressed by water. Ctesibius (170 B.C.) invented 
 Kis zuater-organ (Organon hydraulicon) which his pupil Heron described 
 1 Greek. There are many accounts and representations of organs from that 
 oint on. The mediaeval monks used organs abundandy, the pipes being 
 ■ to 1.5 in number and of no greater than 4-ft. length, the range being 
 sually one octave from middle c' downward, the key-board consisting of 
 ntered plates to be pressed. In the loth century there was at Winchester, 
 England, an organ with 2 manuals for 2 performers, 20 digitals each, and 
 pipes to each digital, 400 in all. In the 1 2th century the pipes began to 
 e divided into registers or stops (q. v.). For two centuries the action 
 ecame so clumsy that keys were struck with fists or elbows. Pedals were 
 wented about 1325. Till the 15th century, reed pipes were unknown, 
 ince that time the resources have been vastly increased, the variety of tone 
 endered almost illimitable, and the introduction of water, steam or electric 
 id to work the bellows has displaced the need of a man to serve as organ- 
 umper or bellows-treader. Electricity has also been called into play for 
 ringing remote parts of the organ into convenient control, till the performer 
 /ith his draw-knobs has almost as easy command as the conductor with his 
 - aton. "flThe Construction of the organ is too complicated for detail, but 
 lany of the terms following will be found more fully explained under their 
 
226 THE MUSICAL GUIDE 
 
 separate heads. When looking at an organ, in a church for example, thej 
 eye is first caught by the great array of pipes. These ornamental or display 
 pipes (some of which may be only for show, dummy-pipes') conceal many 
 plain pipes of wood or metal, which are of various shapes and sizes, ac- 
 cording to the quality and pitch of the tone of the pipe (q. v.). These pipes i I 
 are grouped together into registers or stops (q. v.), each being of uniform 
 quality of tone and furnishing a complete or partially complete scale (or series; 
 of pipes of graduated lengths). Though these pipes are merely colossal flutes, 
 oboes, trumpets, etc. (each pipe, however, sounding only one tone), theyj 
 are too large to be blown by human lungs, and an elaborate mechanism is, , 
 used. This is concealed from the eye, which sees only the series of key-jj) 
 boards for the hands and feet, and the multitude of little draw-knobs groupec] .q 
 within easy reach. ^Of these key-boards the numbers vary, those for th( 
 hands, the manuals, being from I to 5 in number and appearing in the follow 
 ing order counting from below, and giving both English and foreign names 1 
 
 ENGLISH. GERMAN. FRENCH. ITALIAN; i 
 
 Great (Gt.) organ Imanua Haupt\verk(Manuan.) Grand-orRue (ler clavier) Principale. ; ,-. 
 
 Choir " Unterwerk ( " H.) Positierif (2= " ) Organo di co], jj 
 
 Swell (Sw.) " Schwellwerk ( "IIL) Clav, de r<^cit " (36 " ) •' d'espre:in6|- 
 
 Solo " Soloklavier ( " IV.) " des bombardes (4e " ) " d'assoloi i!- 
 
 Echo " Echoklavier ( " V ) " d'<5cho (56 " ) " d'eco. 
 
 Each of these key-boards may be said to control a separate instrument c 
 partial organ ; and one often speaks of the choir-organ, swell organ, etcj ,j 
 ^The pedal-key-board, Pedalklaviatur (pa-dal'-kla-fi-a-toor'), G., or clavit\ 3' 
 ^^//f^^A'j(klav-ya-da-pa-dal') F/., or/>^<2'<2/A'r/j (pa-dal-la'-ra), /.,isworkci i 
 by the feet and is also a separate instrument with stops of its own (vide pedal'; j 
 ^By means of couplers, any two of these key-boards (manuals or jtedal;' 
 may be connected ; or they may all be combined into \.\\q full-organ. TJ 
 coupling-action is worked by draw-knobs. ^The organ as a whole, the^ 
 is divided into three chief parts: ( i ) The action (key-boards and stops). (:; 
 The pipe-work. (3) The wind-supply. The action we have examine; j 
 The pipes (vide pipe and stop) are set upright above the wind-chest, t; 1 
 cover of wliich is called the sound-board ,- the lower part of the pipe, passi; 
 through an upper-board, which grips its nose, sets 'm foot in i\\t pipe-rac ■ 
 below this is a slider (worked by a draw-knob), a thin strip of wood with 
 hole for each pipe of its particular stop. ^(4) The wind is collected frd 
 the outer air by bellozvs and led hy feeders into a storage-bellows, where is : 
 compressed by heavy weights ; it is next led by a wooden channel or zf/;i- 
 trunk into a wooden reservoir, or wind-chest, the top of which (thejca;- 
 board) is pierced by grooves closed by valves or pallets, and separated y 
 bars. *iyTo play the organ, we first pull out a draw-knob, which dr|s |v. 
 along a slider until its holes are beneath the feet of the pipes of its sti 1 
 
DICTIONARY OF TERMS 227 
 
 This stop is now said to be on (before being brought into play it was off^, 
 -laving also pulled out a draw-knob setting the wind-supply to work (or 
 laving signalled the person working the bellows), we next press down one of 
 he digitals on the key-board whose stop we have drawn. In pressing down 
 his digital lever we raise its opposite end, which lifts an upright rod (a 
 ticker), this in turn raising the front end of a horizontal lever (or back-fall) 
 vhose rear end is thus depressed and pulls down a thin upright strip of wood 
 a tracker') which in turn pulls a wire (a pull-dozvn or fallet-wire) fastened 
 a valve (or pallet) which opens and lets the air (which was waiting in 
 lie groove from the wind-chest) rush up through the slider into the pipe to 
 lake it sound or speak. {^Squares and roller-boards sometimes intervene 
 etween the stickers and trackers, while pneumatic or electric actions give 
 till more direct connection between digital and pallet.) This is the mech- 
 nism by which each tone is secured. By means of a multitude of stops 
 nd couplers, what would be a simple tone or chord on another instrument 
 lay become a vast group of tones of various pitches and colours. ^[By 
 leans of the szvell (q. v. ) the volume of sound may be gradually increased 
 r diminished while it is sustained. 
 
 rgan-bellows. A machine for sup- 
 plying wind, o.-blower. One who 
 works the bellows, o.-loft. The part 
 of the church where the organ is 
 placed, o. metal, A tin and lead 
 mi.xture used in pipes. o. tabla- 
 ture. Vide tablature. o. point. 
 Vide PEDAL POINT, o. tone. A 
 tone sustained with uniform power. 
 buffet 0. Very small organ, enhar- 
 monic, enharmonic organ. An 
 iVmerican instr. giving three or four 
 times the usual sounds within an oc- 
 tave, furnishing the precise intervals 
 for every key, the scale of each key 
 i being produced by pressing a pedal. 
 full organ. All the power of the 
 organ, hand-organ or barrel-o. A 
 'Cylinder turned by hand and acting 
 ! on keys to produce set tunes, harmo- 
 t nium o. A reed instr. voiced to im- 
 I itate organ-stops, organet'to, /. A 
 : small organ, organier (6r-gan-ya), 
 j F. Organ-builder, organique (or- 
 jg^n-ek), F. Relating to the organ, 
 korganista (6r-ga-nes'-ta), /. and Sp. 
 [i. An organ-player. 2. Formerly a 
 I composer. 
 
 organic. Old term for instrumental. 
 
 orga'nicen, L. Organ-player. 
 
 organis'trum, L. A hurdygurdy of 
 about rioo a.u. 
 
 organo (or-ga'-no), /. Organ (q. v.). 
 o. di campan'a. Organ with bells. 
 o. di legno (lan-yo). Xylophone. 
 o. pieno (pl-a'-no), or pleno (pla'-no). 
 Full organ, o. portatile (p6r-ta-te'- 
 le). Portable organ, organi voca- 
 li (or-ga'-ne-v6-ka'-le), /., pi. The 
 vocal organs. 
 
 organo, in, L. Vide organum. 
 
 orga'nochor'dium. A combination 
 of pf. and pipe-organ inv. by Abbe 
 Vogler. 
 
 organophonic. Name adopted by a 
 band of Polish performers imitating 
 various instrs. vocally. 
 
 organographie (gra-fe), F. The de- 
 scription of an organ, organologie 
 (zhe). The science of building and 
 playing the organ. 
 
 organum, Z., or ganon, Gr. i. Any 
 instrument, thence the organ. 2. 
 The earliest polyphonic music, a con- 
 tinual progression of two parts in 
 fourths or fifths (also called diapho- 
 
228 
 
 THE MUSICAL GUIDE 
 
 ny) ; later it developed into 3 parts 
 {triphd nid), the third part called tri- 
 plum, hence our term treble ; then 
 into 4 parts {tetraphd nia). 3. The 
 part added to another in 2 part orga- 
 num. in organo. Old term for m 
 more than two parts, o. hydraul- 
 icuni. Hydraulic o. o. pneumati- 
 cum. The ordinary wind o. o. sim- 
 plex, L. A mediseval term probably 
 meaning the unisonal accompaniment 
 of a single voice. 
 
 Orgell (6r'-gel), G. An organ. O.- 
 balge (belkh-e). Organ-bellows. 
 O.-bank (bank). Organist's seat. 
 O.-bauer (bow-er). Organ-builder. 
 O.-biihne (bii-ne), or -chor (kor), or 
 -platz (plats). Organ-loft. O.- ge- 
 hause (ge-hi'-ze). Organ-case. O.- 
 kasten (kiis'ten). i. Cabinet organ. 
 2. Organ-case. O.-klang. Tone of 
 an organ. 0,-kunst (koonst). The 
 art of playing, or constructing an 
 organ. O.-metall (ma-tal ). Organ- 
 metal. O.-pfeife (pfl'-fe). Organ- 
 pipe. O.-punkt (poonkt). Pedal- 
 point. O.-register (re-ges'-ter). 
 Organ - stop. O. - schule (shoo'le). 
 Organ-school or method. O.-spiel 
 (shpel). Playing the organ ; or the 
 piece played. O.-spieler (shpe-ler). 
 Organ - player. O. - stein (shtln). 
 Pan's pipes.' O. - stimmen (shtlm'- 
 men). Row of organ-pipes. O.- 
 stiicke (shtii'-ke). Organ-pieces. O.- 
 treter (tra'-ter). Organ-treader, bel- 
 lows-blower. O. -virtuose (fer-too- 
 o'-ze). Organ - virtuoso. O. - wolf 
 (volf). Ciphering. O.-zug (tsookh). 
 Organ-stop or row of pipes. 
 
 orgeln (6r'-geln). To play on the or- 
 gan. 
 
 orgue (org), F. Organ, o. de salon 
 (du sa-16h), orgue expressif. (a) 
 The harmonium, (b) The swell or- 
 gan, o. hydraulique (e-dro-lek). 
 Hydraulic organ, o. a percussion 
 (per-klis'-yoh). A reed o. made by 
 De Provins & Alexandre, Paris, o. 
 plein (plan). Full organ, o. por- 
 tatif (p6r-ta-tef). A portable organ. 
 o. de barbarie (du bar-ba-re). A 
 
 barrel-organ, hurdygurdy. o. posi- 
 tif (p6-zl-tef). I. The choir-organ. 
 2. A small fixed organ. 
 
 orguinette (6r-gl-net), F. A small 
 reed-organ played with a crank, the 
 music being perforated to admit air 
 to the reeds. 
 
 orificcio (6r-l-fTt'-ch6), /. Orifice (of a 
 pipe). 
 
 oris cus. Vide neume. 
 
 ornament, E., ornamen to, /., or- 
 nement (orn-mah), F. An embellish- 
 ment, as the turn, grace (q. v.), etc. 
 ornamental note. An accessory 
 note. 
 
 ornato (or-na'-to), ornatamen'te, /. 
 Ornate(ly). 
 
 orpha'rion,orph6or(e)on(6r-fa-6-r6ri), 
 
 F. A kind of cither. 
 
 Orph^on (6r-fa-6h). i. A piano-violin 
 2. A popular male singing society o' 
 enormous proportions in France (ir, 
 188 1 it had 60,000 members). orph6'! 
 oniste (nest). A member of sucl 
 society. 
 
 Orpheus (orf'-yus, or dr'-fe-iis). Fa 
 bled Greek lyre-player and singer 
 supernatural power. O.-harmo'nika 
 
 G. Pan harmonikon. 
 orthography. Spelling and gramma, . 
 
 are as necessary inmusic as in any othei , 
 written language. Bad spelling occuii 1 
 in music where, for instance, a chor 
 is written in sharps when the ke; 
 relationship shows it to belong in tl 
 enharmonic flat notes. Sometime 
 however, a note is mis-written intei; 1 
 tionally for the sake of easier reaij 1 
 ing- \ 
 
 oscillation, E., Oszillation (6s-ts 1 
 la-tsl-6n'), G. Beating, vibration. 
 
 osia (o'-se-a), ossia (6s'-sl-a), /. C 
 otherwise, or else. o. piu faci 
 (pT-oo' fa'-chl-le). Or else this mc 
 easy way. 
 
 osser'vanza (van'-tsa), /. Observatic 
 strictness, osservato (va -to). Stri 
 exact. 
 
 ostinato (6s-tl-na'-t6), /. i. Obstina, 
 continuous. 2. A ground-bass, sor- 
 times basso o. 
 
 otez (o-ta), F. " Off ! " (of a stop) 
 
 t 
 
 f 
 
DICTIONARY OF TERMS 229 
 
 sttava (6t-ta'-va), /. Octave, eighth. 
 0. alta (al'-ta). The octave above ; 
 an octave higher (abbreviated 8va.) ; 
 0. bassa (bas'-sa). The octave be- 
 low (abbreviated 8va. bassa). o. 
 supra (soo'-pra). The octave above. 
 coir o. To be played with the octave 
 added. 
 
 Dttavina (6t-ta-ve'-na), /. Vide OCTA- 
 
 VIANA. 
 
 attavino (6t-ta-ve'-n6), /. The pic- 
 colo. 
 
 ottemole (6t-te-m6'-le). A group of 
 eight equal notes. 
 
 attet'to, /. Octet. 
 
 DU (00), F. Or, or else. 
 
 DUgab (oo'-gab), Heb. Ancient reed- 
 instrument. 
 
 ouie (00-e), F. Soundhole. 
 
 outer voices. The highest and lowest 
 voices. 
 
 ouvert (oo-var'), F. Open. Vide 
 
 LIVRE. 
 
 ouverture (oo-var-tur), F., Ouverture 
 (oo'-fer-tii-re), G., overtura (5-ver- 
 too'-ra), /., overture (o'-ver-tur, not 
 toor). An elaborate prelude to an 
 opera, oratorio or play, often based 
 (in the concert o.) on the sonata 
 formula ; often (in the opera o.) a 
 mere medley of airs ; sometimes an 
 independent composition, o. di bal- 
 lo (de bal'-lo), /. An overture intro- 
 ducing dance melodies. 
 
 overblow, i. To blow with enough 
 
 i force to produce harmonics on a wind- 
 
 i instr. Vide acoustics and horn. 
 
 t This feat is constantly necessary in 
 
 ! playing many wind-instrs. 2. Of de- 
 
 I fective pipes, to sound a partial in- 
 
 1 stead of the fundamental. 
 
 [overchord. Vide phone. 
 
 overspun. Used of covered strings. 
 
 overstrung. Of a piano in which the 
 
 1 strings of two or more of the lowest 
 octaves are stretched diagonally under 
 
 ! other strings, the object being to 
 
 I economise space. 
 
 ;owero (6v-va'-ro), /. Or. 
 
 '0. W. ^ Abbr. for Oberwerk. 
 
 lOxypyc'ni. Church modes with a 
 pyknon high in the tetrachord. 
 
 PAbbr. of pedale ; piano ; piu, 
 2,% piu forte (pf.);/^(r^, asp. a. 
 p. , poco a poco ; parte (as colla 
 p.) ; pointe, F. (toe) ; and posi- 
 /?/ (choir-organ). 
 
 pad. Vide pianoforte. 
 
 padiglione (pa-del-yo'-ne), /. The 
 bell (of a wind-instr.). 
 
 Padovano (pa-do-va'-no), Padava'ne, 
 or, Paduane (pa - doo - a' - ne), /. 
 "From Padua." An Italian dance 
 in ternary rhythm. Perhaps the same 
 as Pavan. 
 
 paean (pe'-an), Gr. Hymn of invoca- 
 tion, usually to Apollo. 
 
 pair of organs. An organ with a 
 complete set of pipes. 
 
 paired notes. Thirds, sixths, etc., in 
 pf. -playing. 
 
 paisana (pa-l-za'-na), Sp. A country, 
 dance. 
 
 palalaika. Vide balalaika. 
 
 palco (pal'-ko), /. Stage of a theatre ; 
 box. 
 
 Palestrinastil (shtel), G. The style of 
 Palestrina (vide B. D.), i. e., a cap- 
 pella. 
 
 palettes (pal-et'), F. The white keys. 
 
 pallet, A spring valve in the wind- 
 chest of an organ. 
 
 palmadilla (pal-ma-del'-ya), Sp. A 
 dance. 
 
 pam be. Small Indian drum. 
 
 panathe'naea, Gr. An Athenian festival 
 at which musical contests were held. 
 
 Pandean pipes, Pan's pipes. A 
 primitive group of reeds or tubes of 
 different lengths, fastened together 
 and tuned, named for the god Pan. 
 
 pando ran, Gr., Pandore (pan-do'-re), 
 G., pandora, pandoura, pandura 
 (pan-doo'-ra), /., pandure (pahdiir), 
 
 F. Vide BANDORA. 
 
 Panflote (pan'-fla-te), G. Pandean 
 pipes. 
 
 panharmo'nicon. A kind of orches- 
 trion inv. by Maelzel. 
 
 panmelo deon. A key-board instr. of 
 wheels impinging on metal rods, inv. 
 i8io, by Leppich. 
 
230 
 
 THE MUSICAL GUIDE 
 
 panorgue (org), F. A little reed-organ 
 to be attached to a pf. inv. by J. 
 Jaulin. 
 
 pan sympho'nikon. An orchestrion 
 inv. by Peter Singer, 1S39. 
 
 pantaleone (pan-ta-le-o -ne), panta- 
 lon. An instr. inv. by Pantaleon 
 Hebenstreit, in the iSth century. It 
 was 9 ft. long, 4 ft. wide, and had 1S6 
 gut strings, played on with two small 
 sticks. P.-zug, G. A harpsichord- 
 stop. 
 
 pantalon (pah-ta-16n), F. First move- 
 ment of the quadrille. 
 
 Papagenoflote (pa-pa-ga-no-fla'-te), 
 G. Pan's pipes, from Mozart's Papa 
 geiio (vide " Magic Flute" in " Sto 
 ries of the Operas"). 
 
 papillons (pSp -e-yon), F. "Butter 
 flies.'' A frail and flitting composition 
 
 parallel. Of intervals, consecutive ; of 
 keys, related. Of motion, the pro 
 gression of two voices in the same 
 direction at a fixed interval. It re 
 quires care in handling. Parallelen 
 (pa-ral-la'-len), G. i. Sliilcrs. 2. 
 Consecutives. Parallelbewegung 
 (be - vakh' - oongk), G. Similar or 
 parallel motion. Parallel-tonarten 
 (ton-ar-ten), G. Related keys. 
 
 parame'se, parane te. \ide lyre. 
 
 par aphrase. Free or florid transcrip- 
 tion. 
 
 parfait (par-fe), F. Perfect (of inter- 
 vals), etc. 
 
 parlando, parlante (par-Ian -te), /. 
 "Speaking," in a recitative manner. 
 
 parhy pate. Vide lyre. 
 
 Parnassus. A mountain in Greece, 
 sacred to Apollo, the Muses, and in- 
 spiration generally. Gradus ad Par- 
 7!as'sum. Vide method. 
 
 parole(s) (pa-rol'), F. Word(s). 
 
 part, E. and G. i. The music of an 
 individual voice or instr. 2. A divi- 
 sion. 
 
 part-book. i. The music of any one 
 voice or instr. 2. In the I5th-i6th 
 cent, a book with separate parts on 
 facing pages. 
 
 part-song. A song for three or more 
 
 part-writing. Counterpoint. 
 
 parte (par -te), pi. i, /. Part(s). colla 
 p. With the part, i. e., adopting the 
 tempo of the singer or soloist, p. 
 cantan te. The vocal part, the lead- 
 ing voice, parti di ripieno (re-pl- 
 a - no). Supplementary parts, a p. 
 equale. With more than one voice 
 of leading importance. 
 
 partial, i. An harmonic. Vide acous- 
 tics. 2. Vide STOP. 3. Vide ilrn. 
 
 participating. Accessory. partici- 
 pa turn syste ma, L. Equal tem- 
 perament. 
 
 Partie (par-te), G. i. Variations. 2.i 
 Vide SUITE. 
 
 partie(s) (par-te), F. Parts, p. de rem-j 5^- 
 plissage (dii ran-pll-sazh), F. Ac-' 
 cessory parts. ,' 
 
 partimen to, /. i. An exercise. 2.. 
 Figured bass. ! 
 
 partita (par-te'-ta), /. i. Variations.! 
 2. Vide SUITE. ' 
 
 partitino (te-no). A small supple-; 
 nientary score. 
 
 partition, E. (in /-". par-tes-yon). Par-' 
 titur (par - tl - toor), G. , ' partiturcj 
 (par-tl-too-ra), partizione (par-te 
 tsI-6'-ne), /. A full score for voice: 
 or instrs. p. cancella ta. A set 
 staves with vertical lines for the bass 
 Partiturspiel (toor'-shpel), 6^. Play. 
 ing from the score. 
 
 partito (par-te'-to), /. Scored, di 
 vided. 
 
 pas (pa), F. I. Step, dance, p. ordij 
 naire (pii-zor-dl-nar). March timej 
 p. de charge (dCi sharzh). Doublj ,. 
 time. p. seul (sul). A dance fc; 
 one performer ; p. de deux (dii du." ■' 
 For two, etc. p. redouble (pa-ri; ;), 
 doo-bla). A quick-step. 2. Not, u 
 pas trop vite (pa tro vet). Not tcji 
 fast. ! 
 
 paspie (pas'-pl-a), Sp. A kind <J 
 dance. 
 
 pas'py. Vide passepied. ' 
 
 passacaglio (pas-sa-kal'-yo), /.. pa| 
 sacaille (pas-sa-ki-yu). ■^•. pass. ^, 
 col le, Sp., passagallo, /. 
 chaconne with a ground-bass in 3IJ 
 time, always in minor. 
 
.*' 
 
 DICTIONARY OF TERMS 231 
 
 passage (in F. pas-siizh). i. A phrase 
 or section. 2. A figure. 3. A run. 
 notes de p. Grace notes, passage- 
 boards. Boards on which an organ- 
 tuner may walk. 
 
 passaggio'(pas-sad'-j6), /. i. A pas- 
 sage. 2. Modulation. 
 
 passamezzo (pas-sa-med'-z6). A slow 
 Italian dance, in 2-4 time, resembling 
 the Pavan. 
 
 passant (pas-san), F. Slide (of a 
 
 i bow). 
 
 •lassepied (pas-p!-a), F. A lively old 
 French dance in 3-4, 3-8, or 6-8 time ; 
 a quick minuet with three or more re- 
 prises, the first of eight bars. 
 
 oasse-rue (pas-rU). Passacaglio. 
 
 )assing. Unessential, as a passing 
 modulation. A transient modulation. 
 passing tone, or note, a brief dis- 
 sonance on the weak beat, leading 
 from one consonant tone to another ; 
 it does not need to be prepared. 
 
 'assion, Passion-music. Oratorio, or 
 play. A dramatic or musical setting 
 of the "Passion " (suffering) of Christ. 
 It differs from the oratorio (q. v.) in 
 history and form only in the facts of 
 its being always concerned with the 
 one subject, and in the introduction 
 usually of spiritual reflections. 
 
 assionata or -o (pas-sl-6-na -ta), pas- 
 sionatamen'te, /. Passionate(ly). 
 
 assione (pas-sl-6'-ne). i. Passion, 
 feeling. 2. Vide passion. 
 
 'assionsmusik (pas-sl-ons-moo-zek), 
 G. Vide P.A.SSION. 
 
 as'so, /. Step. 
 
 as sy-measure. Old E. Passamezzo. 
 
 'astete (pas-ta'-te), G. Pasticcio. 
 
 asticcio (pas-te'-cho), /., pastiche 
 (pas-tesh), F. i. An opera, or other 
 work in which old airs are used to 
 new words. 2. A medley. 
 
 as'toral, pastorale (pas-to-ra'-le in 
 /. ,• in F. pas-to-ral). An opera, can- 
 tata, song or instrumental composi- 
 ■ ■ tion of rustic nature or subject, p. 
 f. I flute. Shepherd's pipe. p. organ- 
 point. Vide PED.VL-FOiNT. pasto- 
 rella, /., pastorelle (rel), F. A 
 iittle pastoral. 
 
 pastorita(e'-ta). i. A shepherd's pipe. 
 2. A stop, the Nachthorn. 
 
 pastourelle (pas-too-rel), F. i. A 6-8 
 movement of a quadrille. 2. A trou- 
 badour lyric. 
 
 patetica or -o (pa-ta -tl-ka), /., path6- 
 tique (pa-ta-tek), 7^. , pathetisch (pa- 
 ta'-tlsh), G. Pathetic ; a piano sonata 
 in C minor by Beethoven is so-called ; 
 and a symphony by Tchaikovski. 
 pateticamen'te, /. Pathetically. 
 
 patimen to, /. Grief, suffering. 
 
 patouille (pat-oo-e'-yii), F. Xylo- 
 phone. 
 
 patte (pat), F. I. A special clarinet 
 key. 2. A music-pen. 
 
 Pauke(n) (pow'-ke(n)), G. Kettle- 
 drum(s). 
 
 pause, E., pausa (pa'-oo-za), /., pause 
 (p6z), F. I. A rest of variable length ; 
 if very protracted called lunga (or 
 long) pausa. 2. A fermate. 3. F. 
 and G. A whole rest, demi-pause 
 (de-me'-poz), F. A half-rest. 
 
 pavan', ^., pavana (pa-va'-na), /., pa- 
 vane (pa-van'), F. A grave stately 
 dance in 3-4 time, generally in three 
 strains, each repeated ; once supposed 
 to be derived from pavo, peacock, 
 now from Paduna (q. v.). 
 
 paventato (pa-ven-ta'-t6), pavento'so, 
 /. Fearful, timid. 
 
 pavilion (pa-ve-yoh), F. The bell of a 
 wind-instr. p. en Fair (ah ISr). "The 
 bell upwards " (direction to horn- 
 players), flute a p. A stop with 
 flaring pipes, p, chinois (shen-wa). 
 Chinese hat, crescent. 
 
 peal. I. A chime. 2. A change, of 
 bells. 
 
 pean. A paean. 
 
 pearly (of runs, etc.). Bright, dis- 
 tinct. 
 
 ped. Abbr. of Pedal. 
 
 ped al, E. (in G. pa-dal), p6dale (pa- 
 dal), F., pedale (pa-da'-le), /. i. 
 Abbr. of Pedal-point (q. v.). 2. A 
 foot lever of various musical uses. 
 The piano has usually two pedals : 
 (a) The damper (open, loud, or ex- 
 tension) pedal, which raises all the 
 dampers from the strings, allowing 
 
23^ 
 
 THE MUSICAL GUIDE 
 
 the tones struck to be sustained and 
 broadened by sympathetic (q. v.) vi- 
 bration. The use of the damper- 
 pedal is indicated by Ped^nd its 
 cessation by the mark * or@. Wm. 
 H. Sherwood (vide B. D.) has intro- 
 duced a more accurate system of con- 
 tinuous lines r-^ to indicate just when 
 this pedal is to be pressed, how long 
 held and when released, (b) ine 
 soft pedal (petite (pa-tet), pedale) 
 in some cases merely lets a cloth fall 
 over the strings, but usually shifts 
 the action so that the hammers strike 
 only one of the two, or three strings 
 allotted each tone. Hence its use is 
 indicated by una corda (oo-na kor- 
 da, one string), or Verschiebung 
 (fer-she'-boongk), and its discontinu- 
 ance by " tre corde " (tra kor -da, 3 
 strings "). In the upright pf . this pedal 
 simply moves the hammers nearer 
 the strings. Some pianos are htted 
 with a (c) sustaining, or prolonga- 
 tion pedal. A damper-pedal holding 
 the dampers from only those strings 
 struck at the moment, until the pedal 
 is released, thus permitting the sus- 
 tention of a chord or tone while the 
 hands are busy elsewhere, (d) A H. 
 Chase has inv. an octave-pedal, or 
 octavo-attachment, sounding also 
 the higher octave. Both pedals (a 
 and b) mav be pressed together; this 
 is indicated by pedale doppio, or 
 
 Th?^hl*rp(q. V.) has 8 pedals, one 
 opening or closing a panel in the 
 sounding-case with loud or soft effec . 
 Reed-or|ans, etc., have double pedals 
 or treadles for working the bellows. 
 In the pipe-organ (and in the ped- 
 alier, q. v.) the pedals are of great 
 varies There is a pedal key-board, 
 Peda'lklaviatur (pa-dal -kla-ii-a- 
 toor), or Pedalklavier, G clavier 
 des pedales (da pa-dal), ^•, peda- 
 liera, /., with a compass of C-t, or, 
 counring stops, from C„ up. i his is 
 played by the feet (V over a note indi- 
 cating the right toe ; under it the left : 
 O similarly marking the heel). To this 
 
 part of the organ, called the pedal- 
 organ, many stops are often allotted ; 
 hence pedal - pipe, stop - sound- 
 board, etc. ; it is locked from sound- 
 ing by a pedal-check (worked by a 
 stop-knob), a bar running beneath it. 
 The pedal-stops may be made to sound 
 with any of the manuals by means of 
 mechanism, called pedal-couplers, 
 coupler - pedals, or reversible- 
 pedal. 
 
 The word pedal is also given to the 
 oro-an, to such foot-levers as the COtn- 
 bination, or composition pedals 
 (p6dales de combinaison), which if 
 single-acting draw out certain new, 
 or push in certain old, stops ; if 
 double-acting produce certain com- 
 binations regardless of the previous 
 registration. The forte-pedal draws 
 out all the stops of its key-board ; the 
 mezzo -p. the chief 4-8 ft- stops; 
 the piano-pedal leaving only the 
 softest on ; the crescendo-p. draws 
 out the full power gradually, the di- 
 minuendo withdraws it ; the stor- 
 zando produces a sudden fulness. 
 Vide also celeste. 
 The swell-pedal works the shutters 
 of the swell-box ; if it remains at rest! 
 where left, it is called a balance 
 swell-pedal. ' 
 
 Pedalflugel (flli'-ghel), G. Pedalier 
 Pedalharfe (pe-dal'-harfe), G., pedal- 
 harp. A double-action harp. 
 pedalier (ped-a-ler), £., pedalier (pa-; 
 dal-ya), F., pedal'ion. A pedal- 
 key-board attachable to a piano and. 
 playing the bass-strings. 
 pedal-note, or tone. A tone sus- 
 tained by the pedal or some voice.; 
 usually the bass, while the other part! 
 move independently. As the wore, 
 "point" originally meant " note, • 
 pedal-point (abbr.' to pedal) is syn 
 onvmous with pedal-note, but is nov 
 used rather of the phrase in whicl 
 the pedal-note occurs. It is displac 
 ing the word organ-point, derive, 
 not from organ, but from organui 
 (q. V.) and referring to the long note 
 of the cantiis firmus against whic 
 
 
 i 
 
DICTIONARY OF TERMS 233 
 
 the other voices moved, these notes 
 being called organici piiitcti, or or- 
 ganuDi notes. Pedal-point is then a 
 phrase in which one tone is sus- 
 tained through independent harmo- 
 nies. The tonic or the dominant is 
 usually the tone sustained. If both 
 are used at once it is called pastoral. 
 If the pedal-pt. occurs in other voices 
 than the bass it is inverted. It is 
 sometimes exterior, or interior. It 
 may be figurated, trilled, or florid. 
 
 peg. A tuning-pin ; in the violin, etc., 
 it is set in the head, in a space called 
 the peg-box. 
 
 pegli (pal-ye), /. For the (from per 
 gli). 
 
 pektis, Gr. A Greek lute. 
 
 pel, pel'lo, /. For the (from per il, 
 
 penil lion. A Welsh improvisation of 
 verses. 
 
 pennant. Hook. 
 
 pennata (pen-na-ta), /. Quilled (of 
 the spinet, etc.). 
 
 penor§on (pii-nor'-son), F., from pe- 
 nor'kon, Gr. An ancient guitar. 
 
 pensieroso (pen-se-a-ro' -so), pen- 
 soso, /. Pensive, thoughtful. 
 
 pentachium, Gr. A composition in 5 
 parts. 
 
 pentachord, i. A series of 5 diatonic 
 tones. 2. An instr. with 5 strings. 
 
 pen'tatone, £"., pen taton, Gr. i. 
 An interval of 5 whole tones, an aug- 
 mented sixth, pentaton'ic. Having 
 five whole tones, pentatonic scale. 
 A five-toned scale, the same as the 
 usual major scale, with the fourth and 
 seventh tones skipped ; called also 
 the Scotch scale. The black keys of 
 the piano represent a pentatonic 
 scale. 
 
 per, L. and /. For, -by, through, in, 
 -. , from. 
 
 ,|j percussion, E., percussione (per- 
 il ' koos - se - 6' - nS), /. i. The actual 
 sounding of a tone or chord (as op- 
 posed to its preparation or resolution). 
 2. Instrs. of percussion are those in 
 which the tone is secured by striking, 
 particularly the drums, cymbals, and 
 
 triangle, also the piano, and so forth. 
 percussion-stop. One in which the 
 reed is struck just as it is blown, to 
 emphasise its tone, percussive. An 
 instr. of percussion. 
 
 perden'do, perden'dosi, /. Dying 
 away in both speed and power. 
 
 perdu'na. Bourdon. 
 
 perfect, E., perfet to, /. i. Vide in- 
 terval, CADENCE, CHORD. 2. An 
 obsolete name for triple time, per- 
 fection. Vide NOTATION and liga- 
 ture. 
 
 P6rigourdine (pa-rt-goor-den), F. 
 Cheerful old French dance, in triple 
 time, so called from the province of 
 Perigord. 
 
 period, p6riode (pa-ri-6d), F., periodo 
 (pa-rl-o'-do), /. A passage contain- 
 ing two or more sections and some 
 form of cadence. Vide form. Perio- 
 denbau (pa'-rY-6d-en-bow), G. The 
 building of periods, or composition. 
 
 perpetual, perpetuo (per-pa'-too-6), /. 
 I. Vide CANON. 2. Perpetual mo- 
 tion, or perpet'uum mobile, L. A 
 piece of great rapidity and no pause 
 till the end. 
 
 pes, Z. Foot. A ground-bass to a 
 round. 
 
 pesante (pa-san'-te), pesantemen'te, 
 /. Heavy(ly), impressive(ly), forcibly. 
 
 peso, di (de pa'-s6), /. At once. 
 
 petit (pu-te'), petite (pu-tet), F. Small. 
 choeur p. A three-part chorus, p. 
 fiute. Piccolo, p. mesure a deux 
 temps. 2-4 time, petits notes (pu- 
 te' not). Grace notes, p. pedale. 
 Soft pedal. 
 
 petto, /. The chest, voce de p. 
 Chest voice, di p. From the chest. 
 
 peu (pu), F. Little, un p. A little. 
 p. a p. Little by little. 
 
 pezzo (ped'-zo), pi. i, /. A piece or 
 number, pezzi concertanti. Con- 
 certed numbers. 
 
 pf. Abbr. of, I. Pianoforte. 2. Poco 
 forte. 
 
 Pfeife (pfl'-fe), 6". i. A fife. 2. A pipe, 
 as of an organ. Pfeifendeckel. 
 The covering of a pipe. P.-werk, 
 The pipe-work. Pfei'fer. A fifer. 
 
234 
 
 THE MUSICAL GUIDE 
 
 Phantasie (fan-ta-ze'), G. Fantasy, 
 or fantasia. P.-bilder, P.-stucke. 
 Fanciful pieces of no strict form. 
 phantasieren (ze'-ren). To impro- 
 vise. Phantasier -maschine. A 
 melograph. phantasi(e)rte (zer'-te). 
 Improvised. 
 
 phirharmon'ic. Music-loving. 
 
 philomile (fe-15-mel). Vide zither. 
 
 phonas'cus, Z., from Gr. Singing- 
 teacher. 
 
 phisharmon'ica. An octagonal ac- 
 cordeon. 
 
 phonaut ogfraph. i. A name given first 
 to a melograph, inv. by Abbe Moig- 
 no, a pencil fitted to a vibrating mem- 
 brane. 2. An electric melograph for 
 key-board instrs. inv. by Fenby. 
 
 phone, Gr. i. Voice or tone. 2. 
 Sound, a term appropriated by Dr. 
 Th. Baker, to represent Riemann's 
 term " clang" (q. v.), hence homo- 
 phone, und'er phone, contro-phone, 
 and phonic. 
 
 phonetics, phonics. The science of 
 sounds. 
 
 pho'nikon. A metal wind-instr. with 
 globular bell inv. by Czerveny, 1848. 
 
 phonom'eter, E., phonom^tre (fon- 
 6-metr), F. A device for measuring 
 vibration. 
 
 phor'minx, Gr. An ancient lyre-like 
 instrument. 
 
 pho'tinx, Gr. An ancient crooked flute. 
 
 phrase, E. (in F. fraz, in G. fra'-ze). 
 1. A musical clause. Vide form. 2. 
 A short passage or figure, phrase- 
 mark. A long curve covering a 
 phrase ; or any musical punctuation- 
 mark. phrasi(t-)ren (ze'-ren), G. To 
 phrase. phras6 (fra-za), F., phras- 
 ing, £■., Phrasierung(ze'-roongk),G^. 
 (a) The act or art of delivering music 
 with due regard to its melodic and 
 rhythmic punctuation, relation and 
 contrast, (b) Signs for such phrasing. 
 
 Phrygian (frl'-jan), E., from Gr. phry- 
 gische (fre'-jlsh-e), G. Vide modes. 
 
 physharmo'nica. r. A small reed 
 and bellows attachment to a piano 
 key-board for sustaining and colour- 
 ing tones ; inv. by Hackel, Vienna, 
 
 1818 ; the forerunner of the harmo- 
 nium. 2. A free-reed-stop. 
 
 piacere, a (a pT-a-cha'-re), a piaci- 
 men'to, /. At pleasure, piacevole 
 (pl-a-cha'-v6-le), piacevolmen'te. 
 Pleasant(ly). piacevolezza (led'-za). 
 Suavity. 
 
 piagendo (pt-a-jen'-do), J. Plaintive. 
 
 piagnevole (pK-an-ya-vo-le), /. Sad, 
 mournful. 
 
 pianar tist, G. A mechanical attach- 
 ment for playing the piano. 
 
 pianente (pl-a-nen'-te), /. Gently, 
 softly, pianet'to. Very soft. 
 
 pianette (net'). A small piano. 
 
 piangevole (pl-an-ja'-v6-le), piange- 
 volmen'te, /. Doleful(ly). 
 
 pianino (ne'-no), /. An upright piano, 
 
 pianis simo, /. Very soft, pianis-! 
 sis'simo. Extremely soft. 
 
 pianist (pI-an'-Tst, not pe -an-Kst), .£,' 
 A piano-player. 1 
 
 pianista (ne'-sta), /. 1. A pianist. 2.i 
 A mechanical piano. 
 
 pianiste (pT-an-est'), F. Pianist of 
 either sex. ; 
 
 piano (pT-a'no), /. i. Soft, softly,;! 
 abbr. (/). hence piano-pedal. 2' 
 The common form of the word piano < 
 forte (q. v.) ; this shorter form is alto, 
 gether used in France, and commonl; 
 elsewhere. Many terms are used ti 
 indicate sizes and forms of the piano 
 as the concert grand and par'lou 
 grand or piano a queue (a-kiV; 
 the semi-grand or boudoir or p. . 
 queue ^court^e (a-koor-ta), c 
 baby-grand. Smaller form. Th 
 square or carr6 (car-ra) ; p, JL \i 
 volins ; the upright or cabinet, ( 
 p, a secretaire (sa-kru-tar), or dro 
 (drwii), oblique, or a pilastres, < 
 vertical, and still smaller sizes suo 
 as the cottage, or the piccol, 
 inv. by Wornum, of London, 182 
 For practice there are the dumb p,, 
 p. muet (mli), and the Virgil pra 
 tice-clavier, etc. electric p. 
 employing electro-magnets in pla 
 of hammers, p-quatuor, or p. 
 archet (a Sr-sha). Vide piano-vi 
 LIN. p. Pollen. Vide amen 
 
 W 
 
 bi'i 
 
 
 I 
 
DICTIONARY OF TERMS 235 
 
 CHORD. The p. harmon'icorde. A (ma-ka-nek). A mechanical or auto- 
 combination with an harmonium, inv. matic piano, p, organise (6r-ga- 
 by Uebain. the p. a claviers ren- nl-za). One with phys-harmonica at- 
 vers6s (a-kliv-ya ran-ver-sa). One tached. 
 
 with 2 key-boards, one above the pianoforte (pl-a'-no-for-te, or conimon- 
 
 other, the scale of the upper ascend- ly pl-a'-no-fort), E. and /. piano- 
 
 ing from right to left. p. m^chanique fort6 (for-ta), F. 
 
 Pianoforte. 
 
 By THE Editor. 
 
 PIANOFORTE (in G. usually restricted to the square piano). The 
 most used and most abused of instruments — a combination of the 
 strings of the harp with a key-board system derived from the organ 
 (in the 14th cent, there is mention of a " stringed instrument of the organ 
 family : the Exaquir, Sp., Eschiquier d' Jngleterre'' i.e., "English chess- 
 board," F. or Esquakiel, G. ). ^^ts History is obscure and owes much 
 possibly to the m'onochord and elaborations from it. In the monochord, 
 the hurdygurdy, or organistrum, etc., a single ^string produced various 
 tones by means of a movable bridge. So the early forms of the piano 
 show a few strings serving for many digitals. The word monochord was 
 kept even after the strings were increased in number, but was finally 
 changed to clavichord (c/avis=^\ieY) or clavier ; the movable bridge was 
 displaced by tangents which served both to divide the strings as with 
 frets and to sound them. ^Simultaneously with the fretted clavichord, in 
 which each string served for several tones (as a guitar-string does) prospered 
 a development from the dulcimer, a key-board dulcimer, or clavicymbal {^xom. 
 cymbal meaning dulcimer), called in France, clavecin ; mVA/ , clavi-cembalo 
 or arpicordo ; in England, harpsichord; in Germany, Fliigel, Kielfiiigel, 
 Steer tstiick or Schweinskopf. Small forms of this were the Firginal^s), the 
 couched harp or spinet (from spina = c[\i\\\^, etc. In this variety there was a 
 string for each tone, and the string was sharply plucked with a quill carried 
 at the end of a ■wood&n jack. In time the clavichord was also given a string 
 :o each tone and was now said to be "fret-free" (^bundfrei) instead of 
 ."fretted" {gebunden). The tone was capable of a beautiful trembling 
 jfFect {Bebung) and considerable virtuosity, but there was little possibility of 
 shading from loud to soft. The appearance of the elaborate dulcimer the 
 'Pantaleon seems to have set the clavichordists to thinking, and Cristofori, 
 n 171 I, invented the hammer-mechanism, which he called, from its power 
 sound loudly or %oi\\.y, piano forte, literally " loud-and-soft," (this name 
 lad been used as early as 1598). In Germany, Silbermann, the organ- 
 [Juilder, won Bach's approval for a Hammer-klavier of the same general 
 
236 
 
 THE MUSICAL GUIDE 
 
 idea. This idea, with many improvements in detail, but little fundamental 
 change, persists to-day in the magnificent instrument on which great gym- 
 nasts combine brute-force with legerdemain, ^The Construction of the 
 piano of our time shows the triumph of ingenuity over a total string-tension 
 of twelve to twenty tons. A powerful cast-iron /r/z»zi?, usually cast in one piece 
 and braced with trusses and cross-bars, braces the wooden soufid-board below, 
 on which is a raised bridge of hard wood, over which are stretched the 
 strings. The strings are of steel wire, the bass strings being covered with a 
 finely-wound copper wire. The lowest octave of the bass has one string to 
 each tone, the next octave or more has two strings to each tone, the rest of 
 the instrument has three strings tuned exactly alike as u?iisons for each note. 
 Some of the strings are generally carried back across the others to save space ; 
 this is called overstringing. The hammer of each tone strikes all three 
 strings at once, except when the soft pedal by shifting lets it strike only one 
 string (hence " tre corde " and " una corda "), ^The action of the piano 
 consists of a key-board of finger-levers or digitals (loosely called keys), the 
 white digitals forming the scale of C major, the black digitals fiirnishing the 
 necessary semitones to give the piano (by means of temperament, q, v.) a 
 command of all the major and minor keys — the fingering differing for each 
 key except with the Janko (q. v.) key-board. The pressure of a digital does 
 not, as in the old clavichord or harpsichord, immediately affect the string, 
 but reaches it by a complicated series of levers which bring the hammer into 
 position for a new stroke instantly, so that a tone can, in a proper action, be 
 repeated as rapidly as the fingers can strike the digital. (This is called the 
 repetition or double escapement — the double echappement of Erard being the ; 
 origin of the many forms of escapement.) The digital carries at the inner 
 end a vertical pilot which supports a nearly horizontal carrier, at about a 
 right angle to which is the rod called the hopper, which fits against the ham- 
 mer by a notch or projection. As soon as the hopper has forced the hammer 
 against the string, it slips loose from the hammer and is brought instantly, 
 back (by devices hard to describe briefly) into position so that the hammer 
 on rebounding from the strings finds the hopper ready for an immediate new 
 stroke. The hammer is hinged at the butt ; at the other end of its shatik is 
 the hammer-shaped head with z pad oifelt (or leather). The action whicb; 
 throws the hammer against the strings, and makes it rebound instantly, liftft 
 away from the strings the little damper, which muffles the strings when not ir: 
 use ; this damper remains off the strings as long as the digital is held down.; 
 ^By means of the damper-pedal (commoViXy cz\\c6i the "-loud pedal") all thtj 
 dampers may be lifted from all the strings, thus permitting sustained tone 
 and sympathetic vibrations while the hands play other chords. Some piano! 
 have also a sustaining as well as a piano, or soft pedal (vide Pedal)! 
 
 I 
 
DICTIONARY OF TERMS 237 
 
 ^The piano has a complete chromatic scale with a compass of about 
 seven octaves A^—i"". It is capable of a rapidity and clarity of utterance 
 of which the organ is incapable ; and no other instrument but the organ ap- 
 proaches its resources in chords, range, and brilliance. Except the organ, 
 it is the only self-supporting instrument ; it can furnish absorbing employ- 
 ment for the four hands of two performers. The chief lack is the inability 
 to swell a sustained tone, and some method of adding this final touch of 
 human interest will doubtless be devised in time by some ot the many minds 
 engaged upon the problem. 
 
 Piano Studies. 
 
 By James Huneker. 
 
 A CENTURY of experience in piano pedagogy has not been fruit- 
 less ; skilled masters of the instrument no longer burden their 
 pupils with futile finger exercises, and the precious morning hours 
 instead of being devoted to mere digital tortures are now utilised for the 
 memorising of a repertoire and the study of especial difficulties in a composi- 
 tion. Since Karl Tausig, the vast and useless etude literature has been sent 
 to Limbo ; for in the music itself may be studied the precise technical difficulty 
 to be overcome. Ij After the independence of the fingers, the scales in single 
 and double notes, arpeggios and octaves have been thoroughly mastered, the 
 following studies are generally employed for style, for endurance and the musi- 
 cal development of the scholar : Cramer — edited by Von Bulow ; Clemsnti 
 — edited by Tausig ; Kessler — a judicious selection ; Kullak's octave school ; 
 and the Chopin Etudes, opus 10 and opus 25. After these latter the studies 
 of Liszt and Rubinstein, and Schumann's Symphonic Etudes maybe essayed. 
 Of special studies, the Toccata of Czerny, the Schumann Toccata, the Ru- 
 bmstein Staccato study in C, and Thalberg's study in A minor, opus 45, 
 repeated notes, are recommended. For beginners. Heller's studies in phrasing 
 and later Czerny's finishing studies may be tried. But the Czerny school — 
 with the exception of his excellent special studies for the left hand — is obso- 
 lete. ^jAU the latter day writers of piano studies, Scharwenka, Moszkowski, 
 Scriabine, Godowsky, and Joseffy, build on the Chopin-Liszt technics. For 
 the quick grasp of the Brahms technique, study his fifty-one exercises. Isi- 
 dor Philipp, taking his cue from Tausig, has given us the marrow of Chopin's 
 technique in a volume of Daily Exercises. For pure polyphony, nothing is 
 better than Bach. For daily gymnastics, use Tausig' s studies, but in frugal 
 manner. ^For the rest, read all piano music from Alkan to Zaremski. 
 
238 
 
 THE MUSICAL GUIDE 
 
 piano score. An arrangement of vo- 
 cal or orchestral music for piano. 
 
 pian'ograph. A melograph, inv. by 
 Guerin. 
 
 pianoharp. Vide klavier harkk. 
 
 piano la. A detachable pneumatic at- 
 tachment by which a piano may be 
 played mechanically, the performer 
 controlling the speed, the force, and, 
 in a remarkable degree, also the ex- 
 pression ; inv. by E. S. Votey of New 
 York, in 1897. It has 65 felt-cov- 
 ered fingers brought into play by 
 air-power forced through perforated 
 music by treadle action. 
 
 piano-organ. Vide uarrel- organ 
 .(2). _ 
 
 piano'tist. A mechanical attachment 
 for playing the piano. 
 
 piano quatuor (kat-ii-or), F. Piano- 
 violin. 
 
 piano-violin. A numerous group of 
 instrs. endeavouring to combine the 
 fulness and range of the piano with 
 the violin's expression and power of 
 increasing the volume of a sustained 
 tone. In 1610 Hans Heydn of Nl'irn- 
 berg inv. the Gambenwerk, in which 
 catgut strings were pressed by resined 
 parchment rollers actuated by a 
 wheel (other authorities say that 
 Heydn's instr. was called Geigen- 
 werk, and had wire strings ; and 
 that the Gambenwerk, or Klavier- 
 gamba, was inv. by Reich or Gleich- 
 mann of Ilmenau, about 1750, and 
 had gut strings). In 1754 Hohlfeld 
 inv. the Bogenflugel or Bogen- 
 klavier, with a horse-hair bow ; von 
 Meyer in 1794 provided each string 
 with a bow. In 1800 Hl'ibner devised 
 the clavecin harmonique, which 
 Pouleau developed into the orcheS' 
 trin. Other instrs. of the same gene- 
 ral idea were the gambe-clavier, inv 
 by I-e Voirs, Paris, 1741 ; the Bo- 
 genklavier of Garbrecht, Konig' 
 berg, 1710; the Xanorphika t 
 Rollig, Vienna, 1797 ; the Bogen- 
 hammer-klavier, of Karl Greiner, 
 1779 ; the harmonichord of Kauf 
 man, 1785 ; the piano-violino, 1837 
 
 The most successful is the piano- 
 quatuor or piano-violin, inv. 1 865 by 
 H. C. Baudin, of Paris, consisting of 
 thick single strings to each of which 
 is attached at a nodal point a pro- 
 jecting piece of stiff catgut, which on 
 the pressure of the key, is brought 
 in contact with a linen roller turned 
 by pedals, the communicated vibra- 
 tion causing the string to sound ; the 
 general principle of these instrs. re- 
 sembles that of the hurdygurdy. 
 
 pian piano (pl-iin' pl-a -no), /. Very 
 softly. 
 
 piatti (pl-at'-te), /., pi. Cymbals. 
 
 pib (peb), pibcorn. A Welsh pipe. 
 
 pibroch (pe'-br6kh), Scotch. A war- 
 like composition for the bagpipes, 
 consisting of three or four variations 
 on a theme called the urlar ; they are 
 of increasing speed and close with a 
 quick movement called the crean- 
 luidh. 
 
 piccanteria (pTk-kan-ter-e'-a), /. Pi- 
 quancy. 
 
 picchetta'to, or picchiettato (plk-kt- 
 et-ta'-to), /. Staccato, in violin play- 
 ing made with a bounding bow, and 
 indicated by slur over dots. 
 
 picciolo (plt-cho'-lo), /. Small. 
 
 piccolo (pTk'-k5-lo), /. I. Small. Vide 
 PIANO. 2. The octave flute (q. v.). 
 3. A 2-ft. stop, piccolino (le'-no). 
 Very small. 
 
 pic CO, picco pipe. A small whistle 
 with 3 holes ; it was named after a 
 blind Sardinian peasant who played 
 it in London (1S56) with great brill- 
 iancy, securing a compass of 3 oc- 
 taves. 
 
 pick. I. A plectrum. 2. To pluck 
 (of strings). 
 
 Pic'kelflote, G. The octave flute. 
 
 piece. I. A composition. 2. An in- 
 strument (generally used in pi.). 
 
 piece (pl-^s'j, F. i. A piece ; a compo- 
 sition. 2. An opera, or dramatic 
 work, suite de pieces (swet du pi- 
 cs). A set of pieces. 
 
 pieno (pl-a'-n6), /. Full. p. coro, or 
 p. organo. Full chorus, or full or- 
 gan, pienamen'te. Fully. 
 
 V 
 
 itr.it. 
 
 ICKU 
 
 
 I 
 
DICTIONARY OF TERMS 239 
 
 pied (pl-a), F. Foot, avec les 
 pieds (la pl-a). With the feet (on an 
 organ). 
 
 pieta (pl-a-ta), /. Pity. pietoso, 
 pietosamen te. Tender(ly). 
 
 pierced gamba. Keraulophon. 
 
 pifara (pi-fa' -ra), /. A fife. 
 
 pifferare (ra -re), /. To play the fife. 
 piffero. I. A fife. 2. A primitive 
 oboe. 3. A stop, the bifara. pif- 
 fera'ro, A player on the fife. 
 
 pikieren (pl-ke'-ren), G. Vide piquer. 
 
 pilea'ta, L. " Capped " (of a covered 
 pipe). 
 
 pinc6 (pin-sa), or pincement (pifis- 
 mdih), F. "Pinched." i. Plucked (as 
 strings). 2. Pizzicato. 3. A mordent. 
 p. 6touff6. Acciaccatura. p. ren- 
 vers6. Inverted mordent, instru- 
 ments a cordes pinches. Instrs. to 
 be plucked, as guitar, etc., hence pin- 
 cer (pih-sa). To play such an in- 
 strument. pinc6 bemolis^ (or dife- 
 s6). Trill with a flattened (or sharp- 
 ened) note. 
 
 pipe. A tone-producing tube of reed, 
 wood or metal, i. One of the ear- 
 liest musical-instrs., a simple straw. 2. 
 The tone-producing tubes of an or- 
 gan, (a) flue-pipe, or lip-pipe. One 
 in which the column of air produces 
 tone by being forced through a small 
 opening with a sharp edge. The 
 lip-pipe may be compared to a great 
 flute standing on end (the flute is in 
 fact a lip-pipe). The foot rests on 
 the pipe-rack ; the lower part of the 
 body is the throat ; just above it is 
 an opening called the mouth, with 
 an upper and lower lip ; the upper 
 lip is bevelled to an edge called the 
 leaf. An ear projects on each side 
 of the mouth ; inside the mouth is a 
 projection called the block (if it is 
 very thin it is called the language). 
 The passage between lower lip and 
 block is the windway ; through this 
 the air is driven againt the leaf, which, 
 vibrating, produces a tone from the 
 air column that fills the upper part or 
 body of the pipe, flue-pipes may be 
 open at the top, or covered (stopped 
 
 or plugged), the stopped-p. sound- 
 ing an octave lower than the same 
 pipe open, flue-pipes are tuned, or 
 voiced, if metal, by flaps at the top 
 called tuners ; if wood, by small ad- 
 justable boards, (b) reed-pipe. One 
 depending upon a reed for its tone, 
 the body governing the quality of the 
 tone only. The lowest part of the 
 reed-p. is the boot ; it contains a 
 sheet of metal called the block, which 
 contains two apertures, one holding 
 an adjustable tuning-wire, the other 
 a reed, or conical tube (called a 
 shallot) with an opening giving play 
 to a vibrating tongue. 3. bent- 
 pipe. A rectangular bent tube con- 
 necting the bellows with the wind- 
 trunk ; also a secondary channel 
 from the wind-chest to the wind- 
 trunk. Speaking pipes may be bent 
 without altering their tone, to fit them 
 into smaller space. pipe-metal. 
 That of which organ-pipes are made, 
 usually an alloy of lead and tin. 
 
 pipe-organ. Vide organ. 
 
 pique (pek), F. Peg of a 'cello. 
 
 piqu6 (pe-ka ), F. Same as picchie- 
 tato. piquer (pe-ka), A, piquiren 
 (pe-ke'-ren), G. To play in such a 
 manner. 
 
 pirolino (pe-ro-le'-no), /. Button. 
 
 piston(s). Vide valve and cornet-a- 
 pistons, piston-solo, G. Solo for 
 cornet-a-pistons. 
 
 pitch. The height or depth of a tone 
 relatively to others, or its absolute po- 
 sition on the complete scale adopted as 
 the standard and divided into octaves 
 definitely named (see the chart ok 
 pitch). The vibration-number of a 
 tone also gives it an absolute pitch 
 according to the particular pitch ac- 
 cepted as the standard. The opinion 
 of the civilised races, with the chief 
 exception of England, has settled 
 on the International (low or 
 French) pitch adopted in France 
 in 1859,' and at the Vienna Con- 
 gress in 1887. This gives the tone 
 a 435 vibrations a second and c" 522 
 vibrations. An older pitch was the 
 
240 
 
 THE MUSICAL GUIDE 
 
 classical or mean pitch, in which 
 a lay between 415 and 429 vibrations 
 (apparently about the same as the 
 most ancient standards). The desire to 
 secure a more and more brilliant tone 
 led instrument-makers to raise the 
 pitch to outrageous heights. A con- 
 gress of physicists adopted in 1834 
 the Stuttgart Pitch with a at 440. 
 The high or concert or English 
 pitch gives a about 450, which is a se- 
 vere and needless strain and distortion. 
 For convenience of calculation a the- 
 oretical middle c has been given 256 
 vibrations, the number being a high 
 power of 2 ; this so-called philosoph- 
 ical pitch gives a about 427 vibra- 
 tions. 
 
 The subject of Pitch-relationships 
 is too abstruse for explanation here — 
 though important in the tuning and 
 temperament of instruments. The 
 old Pythagorean theorists did not 
 consider the third (as c to e) to be a 
 legitimate interval ; they reached it by 
 four steps of a fifth (ignoring octaves) 
 thus, c-g, g-d, d-a, a-e. This gives 
 it the ratio of 64:81. But we now 
 accept both the third and the fifth as 
 intervals, and the ratio of a third is 
 4 : 5, or in larger terms 64 : So. The 
 note e may then be considered a quint- 
 tone if reached by steps of a fifth ; or a 
 tierce-tone if reached by a step of 
 a third. But 64 : So differs from 
 64 : 81 by the ratio of So : 81, which 
 is called the comma syntonum. Start- 
 ing from c any tone may be reached 
 by quint or tierce steps up or down. 
 Every tierce step up is |^ less than a 
 quint step and the letter name of a 
 tone reached by a tierce step may be 
 marked with a line under it for ever)- 
 tierce step upward, or a line over it 
 for every tierce step downward, re- 
 quired to reach it. These lines there- 
 fore indicate the number of commas 
 by which it is lower or higher than^ 
 the same tone reached by quint 
 steps. 
 
 Relative pitches may also be e.K- 
 pressed in (a) fractions showing the 
 
 relative string lengths required to 
 produce them ; (b) in decimals show- 
 ing relative vibrations ; and (c) in 
 logarithms showing comparatively 
 the interval-ratios. 
 pitch-fork. A tuning-fork. 
 pitch-pipe. Small reed-pipe of fixed 
 
 pitch. 
 piil (pe-00'), /. More ; as p. mosso. 
 More speed ; piu tosto. Rather, as 
 p. t. allegro. Rather faster. 
 piva (pe-va), /. i. A bag-pipe. 2. A 
 
 composition in bag-pipe manner. 
 pizzican do, pizzicato (pld-zl-ka-to), 
 /. " Pinched," indicating that the 
 strings are not to be bowed, but 
 plucked with the fingers. 
 placido (pla'-che-do), placidamen'te, 
 
 /. Placid(ly). 
 placito (pla -che-to), /. Pleasure. A 
 bene p. At pleasure, same as ad li- 
 bitum. 
 pla'gal, E., pla'galis, Z., plagalisch 
 (pla-ga'-lish), G. Used of those 
 modes accessor)- to the authentic (vide 
 modes), and formed from them by 
 taking the fourth below as the new 
 tonic. Vide also cadence. 
 plagiau'los, Gr. Cross-flute. 
 plain-chant (in French pron. pl5n- 
 shafi), plain-song. The old Gre- 
 gorian Church-music, so-called from 
 its smooth progress in notes of equal 
 length. It employs 8 modes (q. v.), 
 and is written on four-line staves, em- 
 ploying 3 notes, the long, the breve 
 and semibreve, and two clefs. It is 
 still employed in the R. C. cantil- 
 lation of priests at the altar, and is 
 the basis of the Episcopal Church 
 ser\-ice. 
 plainte (plant), F. A lament, plain- 
 
 tif (plaii-tef). Plaintive, 
 plaisant (plez-ah), F. Pleasant. 
 plaisanterie (plez-an-tii-re), i^.,pleas'- 
 anterie. A cheerful harpsichord 
 piece. 
 plana (pla'-na), L. and /. Plain, musiea 
 
 p. plain = chant. 
 planchette(plah-shet),/^. i. A mechan- 
 ical piano. 2. A part of its mechan- 
 ism, a board fitted with pegs. 
 
 I 
 
 I 
 
DICTIONARY OF TERMS 241 
 
 plantation. The manner in which 
 the pipes of a stop are arranged on 
 the sound-board. 
 
 planx'ty. Literally, "lament," though 
 sometimes applied to lively melodies 
 used by Welsh harpers. 
 
 plaqu6 (pla-ka), F. Played simulta- 
 neously (as a chord) ; opposed to 
 " broken." 
 
 plec'toral, plec'tron, plectrum. A 
 small bit of ivory, metal or shell for 
 plucking the strings of mandolins, 
 etc. 
 
 plec'traphone. A piano attachment 
 imitating the mandolin. 
 
 play-house tune. Old name for 
 entr'act music. 
 
 plein-jeu (plaii-zhii), F. i. Full-organ. 
 2. A mixture-stop. 
 
 ple'no orga'no, L. Full-organ. 
 
 plet'tro, /. I. Bow. 2. Plectrum. 
 
 pli'ca, Z. " Fold." A neume, used 
 as a concluding ornament, indicated 
 by a stroke up or down on the last 
 note of a ligature. 
 
 plu'res ex una, L. "Many from 
 one." Old name for canon. 
 
 plus (plu), F. More. 
 
 pneuma (nii'-ma), Gr. " Breath." i. 
 Neume. 2. The exhausting vocali- 
 sation of the closing syllable of the 
 early Christian Alleluia. 3. A jubi- 
 lation. 
 
 pneumatic. i. Used of all wind- 
 instrs. 2. p. action, or lever. A 
 bellows attachment for lightening the 
 touch of an organ, inv. 1832, by Bar- 
 ker. 3. p. organ. The modern wind- 
 organ, so called originally in distinc- 
 tion to the hydraulic. 
 
 pocetta (p6-chet'-ta), /., poche (posh), 
 pochette (p6-shet), F. Pocket- 
 fiddle. 
 
 pochessimo (p6-kes'-sT-m6), /. As 
 little as possible, pochettino (p6- 
 ket-te'-no), pochet to, pochino (po- 
 ke'-no), /. Just a little. 
 
 poco (p6'-k6), /. A little ; rather ; 
 somewhat. poco a poco. Little 
 by little. 
 
 poggiato (p6d-ja-t6), /. "Leant" 
 on, dwelt upon. 
 
 poi (p6'-e), /. Then, afterwards, as 
 piano poi forte. Soft then loud. 
 poi segue, then follows ; poi a poi. 
 By degrees. 
 
 point. I. Old name for note. Vide 
 NOTATION. 2. A dot. 3. Staccato- 
 mark. 4. Head of a bow. 5. The 
 entrance of an important theme. 6. 
 To divide words for chanting, hence 
 pointing. 7. organ-point. Vide 
 
 PEDAL-POINT. 8. Vide SIGNS. (In* 
 French pronounced pwafi.) A dot. 
 p. d^tache (da-ta-sha). Staccato- 
 mark, sur tete(sUr-tet). Dot above or 
 below a note. p. d 'arret (dar-re'), 
 or p. de repos (du rii-po). A hold. 
 p. d'augmentation (dog-mah-tis- 
 yoh). A dot of augmentation, p. 
 final (fl-nal). Final pause. p. 
 d'orgue (dorg). i. A hold, hence 
 also a cadenza or flourish. 2. Pedal- 
 point. 
 
 pointe (pwaht), F. i. Toe, in organ- 
 playing. Abbr. p. or tp. Talon 
 pointe. 
 
 pointe (pwah-ta), F. Dotted, from 
 pointer (pwah-ta). To dot, or play 
 staccato. 
 
 poitrine (pwa-tren), F. Chest. 
 
 polacca (po-lak'-ka), /. Polonaise. 
 alia p. In the style of a polonaise. 
 
 polichinelle (p6l - 1 - shI - nSl'), F. 
 " Punch." A clown-dance. 
 
 pol'ka. A round dance in lively 2-4 
 time, originated in Bohemia about 
 1830. p. mazurka. A slower dance 
 in triple time with accent on the last 
 beat. p. redowa. Is faster than 
 the p. m., with accent on first beat. 
 
 pollice (p61'-ll-che), /. Thumb. 
 
 polonaise (pol-o-nez), /■"., Polonase 
 (p61-6-na'-ze), G. A Polish dance in 
 moderate 3-4 time ; strictly a march- 
 past. Its rhythm resembles that of 
 the bolero ; it begins with a sharply 
 accented 8th note followed by two 
 i6th notes, and four 8th notes ; its 
 
 • closing measure is an 8th and two 
 l6th notes ; a sharply accented quar- 
 ter note, an 8th note, and an 8th rest. 
 Also spelt polonoise (p61-6n-waz). 
 
 Vide CHART OF DANCE RHYTHMS. 
 
242 
 
 THE MUSICAL GUIDE 
 
 polska (p61s'-ka), S-uedish. A dance 
 in 3-4 time, usually in the minor. 
 
 poly-. A Greek prefix, meaning "many." 
 polychord. An instr. inv. by Fr. 
 Hillmer, of Berlin, resembling a 
 double-bass with 10 gut-strings and 
 movable finger-board. polymor- 
 phous. Used of counterpoint, with 
 a widely varied theme, polyphon'- 
 r ic, or polyph onous. i. Used of 
 compositions in which more than one 
 theme at a time is given individuality ; 
 loosely used of compositions of many 
 parts, but to be sharply distinguished 
 from a mere melody with an accom- 
 panying harmony. 2. Used of instrs. 
 that can produce more than one tone 
 at a time (compare homophonic, 
 andhomophonous), hence polyphony 
 (p51-T-f5 -nl or p6-llf'-6-n!). The 
 treatment of simultaneous parts each 
 independently, i. e., counterpoint. 
 
 Pommer (pom'-mer), G. Vide bom- 
 bard. 
 
 pompos (pom'-pas), G., pompo'so, 
 pomposamen'te, /. Pompous(ly). 
 Maiestic(ally). 
 
 ponctuation('p6hkt-u-as-y6h), F. Phras- 
 ing, from ponctuer (p6nk-tu-a). To 
 phrase. 
 
 ponderoso, /. Ponderous, heavily 
 marked. 
 
 ponticello(p6n-tI-cher-lo),/. i. Bridge. 
 sul. p. A direction for bow instrs., 
 "play near the bridge." (Abbr. s. 
 pont.) 2. The break in the voice. 
 
 pont-neuf (p6h-nuf), F. A bridge in 
 Paris, hence a street ballad. 
 
 poo gye. Hindoo nose-flute. 
 
 popolare (p6-po-la'-re), /. Popular. 
 
 porrec'tus. Gnomo. Vide neume. 
 
 port (por), F. i. Portamento. 2. Vide 
 
 CHUTE. . 
 
 portamento. The passage across an 
 interval by means of gliding with im- 
 perceptible gradations through all the 
 intermediate tones in one continuous 
 sound (such an effect as is gained by 
 sHding the finger along a string while 
 the bow presses it). Hence a legato 
 style ; so a singer is said to have a 
 true portamento. 
 
 portan'do, /. Carrying across, i. e., 
 producing iht portamento eUtci ; from 
 portare (p6r-ta'-re). To carrv. 
 
 portar (p6r-tar), /. Carry I p. la bat- 
 tuta. Follow the beat. p. la voce. 
 Sustain the tone. PI. portate. 
 
 portata (p6r-ta'-ta), /. Staff. 
 
 portatif, F., portativ, G. (p6r-ta-tef), 
 por tative. A portable organ. 
 
 portato (p6r-ta'-t6), /. Sustained. 
 
 port^e (p6r-ta'), /". Staff. 
 
 porter (p6r-ta), F. To carry, p. la 
 voix. Produce the portamento. 
 
 portunal flute. A flue-stop with 
 wide-top pipes. 
 
 Portunen (p6r-too'-nen), G. Bourdon. 
 
 Pos. Abbr. for Posaune. 
 
 posato (p6-za'-t6), /. Sedate. 
 
 Posaune (p6-zow'-ne), pi. -en, G. i. 
 Trombone. 2. A trumpet. Hence, 
 Posauner. A trombonist. 3. A reed- 
 stop. Posaunzug (tsookh). Sack- 
 but. 
 
 Poschette (p5-shet'-te), G. Pocket- 
 violin. 
 
 pose'ment (p6-za-man), F. Sedately. 
 
 poser (po-za), F. To poise, p. la 
 voix. To attack a tone exactly. 
 
 positif, F., positiv. G. (po-ze-tef), 
 positive. Stationary organ ; in 
 French choir-organ. 
 
 position, E. (pron. in F. p6-zes'-y6n), 
 posizione (p6-ze-tsI-o'-ne), /. i. 
 Vide CHORD. 2. Vide CLOSE. 3. The 
 place of the first finger of the left 
 i;and on the finger-board of violins, 
 etc. The first position is that in 
 which i.he fore-finger presses the first 
 semi-tone or tone of the open string ; 
 the half position that in which the 
 second finger presses the first semi- 
 tone of the opeO string. By making 
 a shift, the hand-feaches the second 
 position, that iti' which the first 
 finger presses at th " place occupied 
 by the second finder ' in the first posi- 
 tion ; in the third pi^sition the first 
 finger occupies the place held by the 
 third finger in the first ^"^osition ; and 
 so on. 
 
 possibile (p6s-se'-M-le), /• Possible, 
 3iS presto p., as fast as poi'Sible. 
 
DICTIONARY OF TERMS 243 
 
 posthorn. i. A straight valveless 
 bugle. 2. A piece or passage imi- 
 tating a postman's call. 
 
 posta, di (de p6s'-ta), /. At once. 
 
 posthume (p6s-tum), F. Posthumous, 
 pub. after the composer's death. 
 
 postlu'deum, L. A concluding phrase, 
 composition, or church voluntary. 
 
 potenza (po-ten'-tsa), /. i. Old name 
 for musical note or sign. 2. The 
 sound any instr. produces. 
 
 pot-pourri (p6-poor'-re), F. Medley. 
 
 pouce (poos), F. Thumb. In guitar 
 music a direction to sweep the strings 
 with the thumb. 
 
 poule, la (la pool), F. " The hen." A 
 quadrille figure ; the third. 
 
 pour (poor), F. For, in order to, as/. 
 finir, in order to close. 
 
 pouss6 (poos-sa), F. " Pushed." 
 The up-bow. 
 
 pp. Abbr. of pianissimo. 
 
 prachtig (prekh -tlkh), G. Pompous. 
 Prachtvoll (prakht'-fol), C. Full of 
 grandeur. 
 
 pracis (pra-tses'), G. Precise. 
 
 praecen'tor, L. Choir-leader. 
 
 praeam'bulutn, L. Prelude. 
 
 praefa'tio, L. The prayers said or sung 
 in the Mass before the Transubstan- 
 tiation. 
 
 praefec'tus cho'ri, L. Chorus-leader. 
 
 PraU'triller, G. Inverted mordent. 
 Vide GRACE. 
 
 praludiren (pra-loo-de'-ren), G. To 
 preludise. 
 
 Prastant (pra'-shtant), G. Principal 
 4-ft. stop. 
 
 precent'or. Choir-director in the An- 
 glican Church. 
 
 prichantre (pra-shahtr), F. Choir-di- 
 rector. 
 
 precipitare (pra-che-pl-ta'-re), /. To 
 hurry precipitately, hence precipi- 
 tate (ta-to). precipitan'do, preci- 
 pito'so. Hurried, precipitamen- 
 te. Hurriedly. precipitazione 
 (ta-tsI-6'-ng). Haste. 
 precisione (pra-che-zI-6'-ne), /. Pre- 
 cision, precise (pra-che'-so). E.\act. 
 preghiera (pra-gl-a'-ra), /. Prayer. 
 prelude (pre'-lud or prel'-ud), E., pre- 
 
 lude (pra-liid), F., preludio (pra- 
 loo'-dl-6), /. I. An introductory 
 phrase, section, or composition. 
 Hence, a composition of an impro- 
 vised manner, and brief length. 2. 
 As a verb, to improvise such an 
 introductory piece. 
 
 premier (prum-ya), premiere (priim- 
 yar), F. First, as premier dessus 
 (des-sli). First treble or soprano. 
 premiere fois (fwa). First time. 
 a premiere vue (vu). At first sight. 
 As a noun, premiere is used of a first 
 production. 
 
 preparation, preparation (pra-pa- 
 ris-yon), F., preparazione (pra-pa- 
 ra-tsI-6'-ne), /. A musical device for 
 softening a discord by preparing the 
 mind for it through the introduction 
 of the dissonant note in a previous 
 chord in which it is consonant. Vide 
 HARMONY. Custom has greatly 
 changed from the early period in 
 which no unprepared dissonance was 
 permitted, for now in free writing 
 almost any dissonance can appear 
 without warning. 
 
 preparative note. Appoggiatura. 
 
 prepared, i. Used of a note which 
 had preparation (q. v.). 2. Used of 
 a shake or trill which had two or 
 more introductory notes. 
 
 pr^s de (pre dii), F. Near. 
 
 presa (pra'-sa), /. Vide lead (2). 
 
 pressant (pres-sah), /'., pressante 
 (pres-sant), /"., pressan'do, /., pres- 
 sirend (pres-se'-rent), G. "Pressing," 
 accelerating. 
 
 pressez (pres-sa), F. Accelerate. 
 
 pressure note or tone. One marked 
 
 thus {^, and to be attacked softly and 
 
 suddenly increased in volume. 
 
 prestamen'te, /. Very rapidly. 
 
 prestant (pru-stafi), F. Principal, 4- 
 foot open stop. 
 
 prestezza (pres-ted'-za), /. Rapidity. 
 
 presto (pras'-t6), /. i. Fast, faster than 
 allegro, the fastest rate in music ex- 
 cept its own superlatives as prestis'- 
 simo and prestis'samente. 2. A 
 movement in very rapid time. 
 
244 
 
 THE MUSICAL GUIDE 
 
 prick. I. As a noun, the head of a 
 note, hence 2. as a verb, to write mu- 
 sic, prick-song. The first written 
 music, in contrast with improvised 
 music. 3. The counterpoint written 
 to a cantus firmus. 
 
 pri^re (prl-ar), F. Prayer. 
 
 prima (pre-ma), /. First, principal. 
 da p. From the beginning, p. buffa. 
 Leading woman in comic opera. 
 prima donna. "Leading lady" in 
 opera, chief soprano, p. vista. First 
 sight, p. volta. The first time (abbr. 
 ima. Volta), and used to mark 
 measures to be played before a repe- 
 tition, and to be skipped after that 
 repetition for the measures marked 
 seconda volta (2da. volta). 
 
 pri'mary. i. Used of an accent be- 
 ginning a measure. 2. Of a triad or 
 chord which constitutes one of the 
 three fundamental triads of a key, 
 viz., those on the tonic, dominant, 
 and the subdominant. 
 
 prime (prim), E. (in G. and F. prem). 
 
 1. The first tone of a scale, the tonic. 
 
 2. Used of that interval which is indi- 
 cated by two notes on the same line 
 or space, but separated by a chro- 
 matic distinction. Used also of two 
 notes in unison. Vide interval. 3. 
 Vide HOKA. 
 
 Primgeiger (prem'-gi-ger), G. First 
 violin, leader. 
 
 primo (pre'-mo), /. First, principal. 
 tempo p. At the original tempo, p. 
 buffo. Leading man in a comic opera. 
 p. uomo (oo-6'-m6). Old term for 
 first %iale soprano or tenor, primo 
 as a noun, is used of the leading part 
 of a duet. 
 
 Primtone (prem'-ta-ne), G. Funda- 
 mental tones. Primzither. Treble 
 zither. 
 
 primice'rio (pre'-mI-cha'-rI-6), /., 
 primicerius, L. Cantor. 
 
 prin'cipal, E. (pron. in G. pren-tsT- 
 pal', in F. pran-sl-pal). i. In France 
 and Germany used of the open diapa- 
 son ; in England used of an open 
 flue-stop of 4-ft. pitch, on the manual 
 (8 ft. on the pedal) an octave higher 
 
 than the open diapason. 2. Old name 
 for fugue subject. 3. Old name for 
 trumpet. 
 
 As an adjective. I. Vide PRIMARY. 2. 
 principal key. The predominant 
 key of the composition. 3. The p. 
 voices are the soprano and bass. 4. 
 p. close or cadence. One in the 
 principal key. 5. p. subject or 
 theme, one to which others are sub- 
 ordinate, principal-bass. An open 
 diapason stop on the pedals, princi- 
 pal-work. The flue-pipes of diapa- 
 son quality. Vide stop. 
 
 principale (pren-chT-pa'-le), /. i. Dia- 
 pason-stop. 2. Principal or leading, 
 as an adjective. 3. Old name for the 
 trumpet, principalino. 8-ft. stop. 
 
 principio (prIn-che'-pI-6), /. Begin- 
 ning. 
 
 prise, or p. du sujet (prez dii sii-zha), 
 F. Entry of the subject. 
 
 Probe (pro -be), G. Rehearsal. Gen- 
 eralprobe. Final rehearsal. 
 
 proc6der (pro-sa-da), F. To progress. 
 
 procella (prd-chel'-la), /. Storm. 
 
 proem. Ancient heroic song with cith- 
 ara accompaniment. 
 
 programme, F., program (pro'-grSm' 
 not pro-griim), E., program'ma, /., 
 Programm (pro-gram), 6'. A list of 
 compositions to be performed, pro- 
 gram - music, Programm - musik 
 (pro-gram' moo-zek'), G. Music with 
 a programme, i. e., with a more or less 
 definite description of events or 
 moods. It usually aims to present a 
 suggestion (rarely in decent music an 
 imitation) of some music of nature as 
 a brook, bird-improvisations, forest- 
 sounds, or of some narrative, though 
 its main effort is to deploy the emo- 
 tions arising from such scenes and 
 thoughts. Beethoven's ideal is ex- 
 pressed in his famous characterisation 
 of his Pastoral Symphony as inehr 
 Aiisdruck a Is iMalerei, " more an ex- 
 pression than a painting." So long as 
 the " descriptive" element is a mere 
 suggestion, music is capable of most 
 felicitous hints, and programme-mu- 
 sic has most ancient and venerablfc 
 
 I 
 
DICTIONARY OF TERMS 245 
 
 authority, traceable farther back even 
 than Bach (who wrote a musical sug- 
 gestion of a postilion), to Jannequin, 
 and others. When programme-music 
 stoops to imitation direct it either 
 grows ludicrously incompetent or 
 ceases to be music and becomes noise. 
 programmist. A devotee of pro- 
 gramme-music. 
 
 progrfes (pr5-gre), F. Progression. 
 
 progression, E., progressione (sT- 
 6'-ne), /. I. melodic progression. 
 The advance of the melody from one 
 tone to another. 2. harmonic p. 
 The advance of the harmony from one 
 chord to another. These two pro- 
 cesses, particularly the latter, are 
 hedged round with continual difficul- 
 ties and restrictions, some of them 
 based on human nature and acous- 
 tics, others deriving no sustenance 
 from either, but depending for their 
 existence in the text-books entirely on 
 tradition,'history, conservatism, fash- 
 ion, or a sense of hearing rendered 
 artificial by long pedantry. The sci- 
 ence of progressions constitutes the 
 greater part of the Theory of Music, 
 and of harmony and counterpoint 
 (q. v.). 
 
 progres'sio harmo'nica, /. A mixture- 
 stop. 
 
 Progressions-schweller (pr5-gres-st- 
 ons'-shvel-ler), G. A device inv. by 
 Abbe Vogler, for gradually calling in 
 play, then gradually closing off, the 
 
 ' stops of an organ, to produce a cres- 
 cendo, then a diminuendo. 
 
 progressive, i. Of* stop in which the 
 number of ranks increases with the 
 pitch. 2. Through-composed. 
 
 prola'tion, E., prola'tio, Z., prolazi- 
 one (pro-lii-tsl-o'-ne), /. I. The clas- 
 sification of the relative value of 
 the notes in mensurable (q. v.) mu- 
 sic, almost corresponding in its four 
 classes to our musical metre. 2. The 
 measurement of the semibreve, pro- 
 latio major, indicating that it is to 
 be divided into three minims ; p. 
 minor, indicating two minims. Vide 
 
 NOTATION. 
 
 prolongement(pr6-l6hzh-mah),/'. i. A 
 pedal, inv. by Debain, for holding 
 down harmonium keys. 2. That part 
 of the piano action which holds the 
 hammer from its place of rest ; a sus- 
 taining pedal. 
 
 promptement (pront-man), F., pron- 
 tamente, /. Promptly, quickly. 
 pron to, /. Prompt, quick. 
 
 pronunziato (pro-noon-tsl-a -to), /, 
 Enunciated, marked. 
 
 proper-chant. Old name for the key 
 of C major. 
 
 proper tio, Z., propor'tion, E. i. 
 The determination of time in mensur- 
 able music by means of fractions. 
 Vide NOTATION. 2. The second part 
 of i6th cent, dance-tunes. Vide sal- 
 
 TARELLA. 
 
 propos'ta, /. Subject of a fugue. 
 
 prosa'rium, Z. A book of prosae, the 
 prosa being the Sequence (q. v.), 
 sung between the gradual and the 
 Gospel in the R. C. Service. 
 
 propri'etas, Z. A ligature whose first 
 note is a breve, opposita p. One in 
 which the first two notes are semi- 
 breves, sine proprietate. Impro- 
 prietas. Vide notation. 
 
 proslambanom'enos. Vide modes. 
 
 Prospekt', G. Organ front, hence P.- 
 pfeife(n). Display pipe(s). 
 
 pro'teus. A key-board stringed inst. 
 inv. 1650 by Nigetti. 
 
 pro'tus. Middle-age term for the first 
 church mode. 
 
 pro'va, I. Proof, rehearsal, p. gen- 
 erale (jan-a-ra -le), or p. grande. 
 Final rehearsal. 
 
 Provenijales (proo-van-sSl'). Trouba- 
 dours from Provence. 
 
 pryc.ke. In Merbecke's notation of 
 1550 a minim. Vide prick. 
 
 psallette (sal-let), F. A maitrise. ^ 
 
 psalm (in E. sam, in G. psal-'m), 
 psaume (psom), F. From a Greek 
 word meaning to pluck a string, hence 
 a harp-song, taken from Jewish re- 
 ligion by the Christian and highly de- 
 veloped, in various manners. Psalm- 
 buch, G. A Psalter. Psalm- 
 gesang, G. Psalmody. P.-Iied (let). 
 
246 
 
 THE MUSICAL GUIDE 
 
 Psalm. P.-sanger, G. Psalm- 
 singer, psalmody, E., psalmo- 
 die(psal-m(")-de), F. The art or prac- 
 tice of psalm-singing. psalm'ista. 
 An order of clergy. 
 
 psalm-melo dicon. An instr. inv. by 
 Weinrich, in 1S28, with eight finger- 
 holes and 25 keys, giving it a com- 
 pass of 4 octaves, and the power of 
 producing chords of 6 tones. 
 
 psalter (sal t^r, in G. psal -ter), psau- 
 tier (ps6t-ya), F. A book of psalms. 
 
 Psalter (psal'-ter), G., psalt6rion 
 (psal-ta-rl-oii), F., psalte'rium, L., 
 psaltery (sal'-t^-rT), E. An ancient 
 stringed instr. with a sound-board, 
 the strings being plucked with the 
 fingers or a plectrum. 
 
 psalte'riae, L. Women who played 
 and sang during a feast. 
 
 psaiune. Vide isalm. 
 
 pulcha (pool'-cha), Rus., pul'ka, Bo- 
 hemian. Polka. 
 
 pulpit ium. I. A stage. 2. Motet. 
 
 pulsatile. Used of instrs. of percus- 
 sion. 
 
 pulsator organo rum, Z. Organ- 
 player. 
 
 punct'us, Z. I. A note, hence punc- 
 tus contra punctum. "Noteagainst 
 note," i. e., counterpoint. 2. A dot. 
 
 Punkt (poonkt). C, punto (poon'-to), 
 /. Dot. punktiert (tert), 6"., pun- 
 tato (ta'-to), /. Dotted, stacca- 
 to. 
 
 punta (poon'-ta), /. Point (of a bow). 
 p. d'organo (dor-ga'-no). Pedal- 
 point, p. per p. Note for note. p. 
 coronato. Fermate. 
 
 pupitre (pii-petr), F. Music-desk, p.- 
 improvisateur (pu-pet'-r&h-pr5-ve'- 
 za-tiir). A melograph inv. by F. A. 
 E. Keller, 1835. 
 
 purf'ling. The ornamental border of 
 violins, etc. 
 
 put'ti (poot'-te), Z Choir-boys. 
 
 pyk'na, Or. 1. Half and quarter tone 
 progressions, in Greek music. 2. 
 Close notes (q. v.). 3. A semi- 
 tone. 
 
 pyratn'idon. A 16 or 32 ft. stop, with 
 top 4 times as wide as the mouth. 
 
 py'rophon, Gr. "Organ of flames." 
 An instr. inv. by Fr. Kastner, 1875. 
 A key-board with electric attachment, 
 producing gas flames in tubes tuned to 
 the compass C-c '. 
 
 Pyrrhic, Pyrrich'ius. A Greek 
 dance. 
 
 Pythian. Games in honour of Apollo, 
 including musical contests. 
 
 Pythagore an. i. Used of the math- 
 ematical investigations in music made 
 by Pythagoras. 2. Used of a lyre, 
 said to have been inv. by him. 
 
 ^ 
 
 OThis letter inverted in 'cello 
 music indicates that the thumb 
 is to be laid across the strings 
 as a nut. 
 
 Quadrat (kva-drat), G., quad'rate, 
 E., quadra'tum, Z. "A square." 
 I. A natural sign (fl), in Z. B. quad- 
 ratum. 2. In mensurable music a 
 breve, hence Quadramusik (moo- 
 zek), G. Old music in square notes, 
 
 quad'rible. Quatrible. 
 
 quadricin ium, Z. A 4-voiced compo- 
 sition. 
 
 quadriglio (kwa-drel'-yo), Z, quadrille 
 (in E. kwa-drTl', in F. kSd-re'-yu). A 
 square dance in 6-8 and 2-4 time, in 
 five different figures : le pantalon. 
 "Pantaloon." 1*616 (la-ta). "Sum- 
 mer." la poule. "The hen." lapas- 
 tourelle, or la trenise ; and la 
 finale. 
 
 quadripar tite. "h four-voices compo- 
 sition. 
 
 quad ro, Z, quadrum, Z. i. A natural 
 
 sign (C). 2. Tableau. 
 quad'ruple. Four-fold. i. Vide 
 COUNTERPOINT. 2. Used of a quaver 
 with four tails, a 64th note. 3. Of 
 rhythm, that with four beats to the 
 measure. 
 
 quadruplet. A group of four equal 
 notes. 
 
 quad'riplum, Z. Vide triplum. 
 
 quan tity. The duration of a note or 
 syllable. 
 
DICTIONARY OF TERMS 
 
 H7 
 
 quart (in E. kwart, in F. kSr), quar'- 
 ta, L. and /. i. Tlie interval of 
 a fourth. 2. A fourth, quart de 
 mesure. A quarter rest, quart de 
 soupir (soo-per). A sixteenth rest. 
 quart de son, or ton. A quarter 
 tone, quarta modi, or toni. The 
 subdominant. 
 
 quart- (kvart), G. A prefix indicat- 
 ing that an inst. is a fourth higher 
 (as Quart-fiote, -geige, etc.), or 
 a fourth lower (as Q.-fagott, or 
 -posaune, etc.), than the normal 
 instr. 
 
 Quartsext'akkord, G. A 6-4 chord. 
 Vide CHORD. 
 
 Quarte (in F. kart, in G. kvar'- 
 \.€). The interval of a fourth, q. de 
 nazard (du na-zar'), F. A 15th, also 
 a 2-ft. organ-stop. q. de ton, F. 
 The subdominant. Quartenfolgen, 
 or parallelen, G. Consecutive 
 fourths. 
 
 quarter, or quarter note. A crotchet, 
 half of a half-note, quarter rest. 
 A rest of a quarter note's duration. 
 
 quarter tone. An interval less than a 
 semi-tone, the difference for example 
 between D sharp and E flat on the 
 violin. 
 
 quartet', Quartett', C, quartet'to, /. 
 I. A composition for 4 voices or 
 instrs. 2. A 4-part composition in 
 sonata form, as a string-quartet. 
 
 quarto, /. Fourth, q. d'aspet'to. 
 A i6th rest. q. dituono (too-5-no). 
 Quarter tone. 
 
 quasi (kwa'-se), L. and /. As if ; al- 
 most ; somewhat like, andante q. 
 lento = andante, nearly lento. q. 
 sonata. Almost (but not strictly) 
 in sonata form. 
 
 quatre (katr), F. Four. 
 
 quatorzi^me (ki-torz'-yem), F. A 
 fourteenth. 
 
 quat'rible. In old music a progression 
 in parallel fourths, a quinible, being 
 in parallel fifths. 
 
 quatricin'ium. Four-part composi- 
 tion. 
 
 quattricro'ma, /. 64th note. 
 
 quat'tro, /. Four. 
 
 quatuor (kat-ii-or), F. Quartet. 
 
 quaver. An 8th note. 
 
 quer- (kvar), G. Prefix meaning cross, 
 or transverse, as Q.-flote. The trans- 
 verse flute. Q.-pfeife. Swiss fife, 
 with 6 holes and with a compass of 
 two octaves. Q. -stand (shtant). 
 Cross or false relation. Q.-strich. 
 I. Ledger line. 2. The single thick 
 tail for a group of notes. 
 
 questo or -a (kwas'-to), /. This ; or 
 that. 
 
 queue (ku), F. Tail. i. Of notes. 2. 
 Tail-piece of vlns., and so forth. 
 piano a q. Grand piano. 
 
 quick-step. A rapid march. 
 
 quieto (kwe-a'-to), quietamen'te, /. 
 Calm(ly), serene(,ly). 
 
 quilis ma. Vide neume. 
 
 quindecima (kwen-da'-che-ma), /. A 
 15th. I. Interval. 2. Organ-stop. 
 a la q., or isma. = 2 octaves higher 
 or lower. 
 
 Quindezime (kven-da'-tse-m^), G. A 
 15th. 
 
 quin'ible. Vide quatrible. 
 
 quin'quegrade. Pentatonic. 
 
 quint (in E. kwint ; in G. kvent). i. A 
 5th. 2. A si-ft. stop, sounding a 
 fifth higher than the normal. 3. The 
 e string of the violin. q. stride. 
 Progression of a fifth. Q.-absatz, or 
 abschluss, G. Imperfect cadence. 
 Q.-fagott, G. A bassoon pitched a 
 fifth higher than the normal. Q.- 
 gedackt or Q.-stimme, G. Same 
 as 2. Q.-bass, G. A stop on the 
 pedal sounding a fifth above the 
 double diapason. Q.-fuge (foo-ge). 
 A fugue with the answer a fifth 
 above the subject. Q.-saite. A 
 treble string. Q.-tone. Quint tone. 
 Vide PITCH. Q. -viola. i. Quin- 
 ton. 2. A stop a fifth above the 
 gamba. 
 
 quin'ta, L. and /. A fifth ; vide also 
 QUINTUS. q. decima. Quindecima. q. 
 ed una or quintadena. Vide qiun- 
 TATON. q. falsa. The diminished 
 fifth formerly prohibited, q. modi or 
 toni. The dominant, alia q. At 
 the fifth. 
 
248 
 
 THE MUSICAL GUIDE 
 
 Quintaton (kven'-ta-t5n), G. A cov- 
 ered S-, 16-, or 32-ft. flue-stop sound- 
 ing the I2th as well as the funda- 
 mental. 
 
 quinte (in F. kant, in G. kven'-te). 
 Vide QUINT I, 2, 3. q. octaviante 
 (6k-tav-!-ant), F. The 12th. Quint- 
 en-folgen, or -parallelen, G. Par- 
 allel fifths. Quinten-zirkel (tser'- 
 kel), 6^. Circle of fifths. Vide tem- 
 perament, quinten-rein (rin), G. 
 " Pure in fifths," used of bow 
 instrs. 
 
 quinter (kSn-ta), F. To sing in qui- 
 nible. 
 
 quinter'na, /., quin'terne, E. Old 
 Italian lute with 3 or 5 pairs of gut- 
 strings, sometimes also 2 single 
 strings covered with wire. 
 
 quinti(e)ren (kven-te'-ren), G. To 
 overblow and sound the twelfth. 
 
 quintoier, or quintoyer (kwen-twa-ya), 
 /•". I. To sing in quinible. 2. To 
 overblow and sound the I2th. 
 
 quintet', E., Quintett', 6"., quin- 
 tette (kwen-tet), F., quinta'to, /, A 
 five-part composition. 
 
 Quintole (in E. quin'-tol ; in G. kven- 
 to'-le). Quintuplet. 
 
 quinton (kwen-toh), F: i. The 5- 
 stringed treble viol. 2. The tenor viol. 
 
 quintuor (kwen-tu-or), F. Quintet. 
 
 quintu'plum, Z. Vide triplum. 
 
 quintuple. Five-fold. 
 
 quintuplet. A group of five equal 
 notes. 
 
 quin'tus, Z., or quin'ta. A fifth part 
 in compositions ; as it occasionally 
 wandered from one voice to another 
 it was called q. vagans. 
 
 quinzi^me (kahz-yem), F. Fifteenth, 
 
 quire. Choir. qui'rister. Choris- 
 ter. 
 
 quodlibet, or quotlibet, Z. "What 
 (or " as many as ") you please." i. 
 A comic medley, without connecting 
 links. 2. A charivari. 
 
 Qui tollis, Z. " Who takest away (the 
 sins of the world)." Vide GLORIA.' 
 
 quitter (kit-ta), F. To leave. 
 
 Quo'niam tu solus, Z. " For Thou 
 only (art Holy)." Part of the Gloria. 
 
 RAbbr. for i. Right, as r. h., 
 right hand. 2. Responsorium 
 {r.g. = r. Graduak) in Catho- 
 lic music. 3. Ripieno. 4. 
 Clavier de r^cit (swell-manual). In 
 organ music. 
 
 raban', raban'na, Hindu tambourine. 
 
 rabbia (rab-be'-a). Mad rage, fury. 
 
 rab^ (ra-ba'), rabel', Sp. Rebec. 
 
 raccontan do, I. As if relating or de- 
 scribing. 
 
 Rackett , Rankett', G. i. An obsolete 
 bombard with many curves in its 
 tube, and a weak voice. Made in five 
 sizes, it was simplified as the R. fa- 
 gott by Denner. 2. A reed-stop, 
 obsolete. 
 
 raccourcir (rak-koor-ser), /". To 
 abridge. 
 
 racier (ra-kla), F. To saw, and 
 scratch, hence racleur (rS-klur). A 
 bad fiddler. 
 
 raddolcen do, raddolcente (rad-dol- 
 chen'-te). Growing softer and sweet- 
 er, raddolcito (che-to). Pacified. 
 
 raddoppiamen'to, I. i. Doubling, as 
 the notes of a chord. 2. Multiplying 
 copies. raddoppiato (pT-a'-to). 
 Doubled. 
 
 Radel (ra -del), G. A solo with chorus. 
 
 radiating. Used of a fan-shaped 
 pedal key-board. 
 
 radical. Fundamental. Vide ca- 
 dence. 
 
 Radleier (rat'-ll-er), G. Hurdygurdy. 
 
 Radlmaschine (ratl-ma-she'-ne). Valve 
 mechanism. 
 
 rag. The clog dance of the American 
 negro, perhaps related to the Spanish 
 verb raer, to scrape. The music 
 has some resemblance to the Aba- 
 nera in spirit and syncopation, but is 
 in 4-4 time and of an hilarious char- i I 
 acter, hence the verb to rag, and 5 
 rag-time music in this style. 
 
 raggione (rad-jo'-ne), L Proportion. )i 
 
 rago'ke. Small Russian horn. 
 
 rake. A 5-pointed device for ruling; 
 off staves. \ 
 
 rail. Abbr. of rallentando. 
 
DICTIONARY OF TERMS 249 
 
 rallentare (ta'-re). To become slower, 
 hence rallentan'do (abbr.;-;?//). With 
 gradually reduced speed, rallenta- 
 men'to. Retardation. rallentato 
 (ta-to). Retarded, rallenta'te. Re- 
 tard ! 
 
 rang (rah), F. Rank. 
 
 range. Compass, as of a voice. 
 
 rank. A row of pipes belonging to one 
 stop. 
 
 rant. An old country-dance ; a reel. 
 
 ranz des vaches (rah-da-vash), F. 
 " Calling of the cows." A Swiss tune 
 sung or played on long horns by 
 herdsmen. 
 
 rapido (ra'-pe-do), rapidamen'te, /. 
 Rapid(ly). rapidita (ra-pe-dl-ta). 
 Rapidity. 
 
 rapsodie (rap-s6-de), F. Rhapsody. 
 
 rappel', F. A military call. 
 
 rasch (rash), G. Fast, rascher. Faster. 
 
 rasend (ra'-zent), G. Raging, hence 
 Rasegesang, and Raselied (ra'-ze- 
 let). Dithyramb. 
 
 rasgado (ras-ga-dho), Sp. "Scrap- 
 ing," hence in guitar playing, sweep- 
 ing the strings with the thumb to 
 produce an arpeggio. 
 
 rast'ral, ras'trum. Vide rake.. 
 
 Rathselkanon (rat'-zel-ka-non), G. 
 Vide CANON. 
 
 ra'tio. Used of the relative value of 
 vibration-numbers. 
 
 rattenen'do, rattenuto (noo'-to), /. 
 Restraining, or restrained, i. e., re- 
 tarded. 
 
 rattezza (rat-t^d'-za), /. Speed. 
 
 rauco (ra-oo-ko), /., rauh (row), 6*., 
 rauque (rok), F. Harsh, hoarse, 
 rough, raucedine (ra-oo-che-de'-ne), 
 /. Harshness. 
 
 Rauscher (row'-sher), G. The rapid 
 repetition of a note. 
 
 rausch- (rowsh), G. Prefix denoting a 
 stop of 2 ranks sounding the twelfth 
 and fifteenth, or fifteenth and oc- 
 tave twelfth ; hence Rauschflote, 
 -pfeife, -quinte, -werk ; and also 
 Ruszpipe (roos'-pe-pe). 
 
 ravanas'tron. A primitive violin with 
 one or two strings, claimed by the 
 Ceylonese as the invention of a king 
 
 who reigned about 5000 B.C. It is still 
 used by the Buddhists. 
 
 rav(v)ivare (va'-re), /. To accelerate, 
 hence, ravivan'do. Accelerating. 
 ravivato (va'-t6). Accelerated. 
 
 ray. Name for re, in the Tonic-Sol-fa. 
 
 re(ra), /.. r6 (ra), v^. i. Vide solmi- 
 SATiON. 2. In France and Italy, the 
 note D. 
 
 rebab, Arab. Rebec. 
 
 re'bec(k), rebec' ca, re'bet, rebed, re- 
 bibe, re'bible. Old .£'. An early vio- 
 lin with 3 gut-strings. Its origin has 
 been credited to the Moors, who are 
 said to have brought it into Spain ; 
 it has been claimed that the Spanish 
 gave it to the Moors ; it has been 
 also derived from the British Chrotta, 
 or crwth. 
 
 re'al. Vide fugue. 
 
 recension (ra-sahs-yoh), F. An ana- 
 lytical editing. 
 
 rechange (rii-shahzh). "Change." 
 Hence, corps (kor) or tons (ton) de 
 r. Crooks. 
 
 recheat'. A hunting recall. 
 
 recht(e) (rekht(e)), G. Right, as r. 
 Hand. 
 
 r^cit (ra-se), i^. r.. Recitative. 2. A 
 solo part. 3. The chief of several 
 parts, clavier de r. (klav-ya du). 
 Swell manual on the organ. 
 
 recitado (ra-the-ta -dho), Sp. Recita- 
 tive. 
 
 recital. A musical performance given 
 entirely by one performer, or from 
 one composer's works. Said to have 
 been initiated by Liszt in 1840. 
 
 recitan do, recitan'te, recitato (ra- 
 che-ta'-to). In recitative style. 
 
 r^citant (ra-se-tah), Recitante (ra- 
 tse-tant), F. A man (or woman) soloist. 
 
 recitative (res-I-ta-tev), E., recitatif 
 (ra-se-ta-tef), /^, Recitativ (ra-tse- 
 ta-tef), G., recitativo (ra-che-ta- 
 te'-v5), /. Musical declamation or 
 recitation, as opposed to strict melo- 
 dy. It usually aims to be a sort of 
 musical colloquialism. In modern 
 form it began in the first operatic 
 works of Peri (vide B.D.), and the 
 others ; it was more or less a sing- 
 
250 
 
 THE MUSICAL GUIDE 
 
 song declamation with an accompa- 
 niment consisting of occasional chords 
 to keep the singer on the key ; it was 
 well-called " dry," or recitative sec- 
 co, or parlante, and the accompani- 
 ment was indicated merely by figured 
 bass. This accompaniment was grad- 
 ually elaborated into the recitative 
 stromentato. " Instrumented," or 
 accompagnato, or con accotnpa- 
 gnamento or obbligato (in F. ac- 
 compagn^, or oblig6). In later 
 opera, particularly Wagner's, the 
 whole musical structure is inclined to 
 be in recitative with a descriptive and 
 complicated orchestral background. 
 Recitative is usually delivered at the 
 singer's pleasure except when spe- 
 cially marked a tempo. 
 
 reciter (ra-se-ta), F. To perform a 
 recit, or solo. 
 
 reel ting note. That tone of a church- 
 mode on which most of the chanting 
 is done, usually the dominant. 
 
 rec ord. Old E. To play the rec- 
 ord'er. An obsolete flageolet with g 
 holes, one of them covered with gold 
 beater's skin, compass 2 octaves 
 f'-f". 
 
 recreation, r^cr^ation (ra-kra-as- 
 yoh), F. A light composition. 
 
 rec'te et retro, L. Forward and 
 backward. Vide canon. 
 
 rec tus, L. Similar (of motion). 
 
 reddi ta, redita (ra-de'-ta), /., redite 
 (ru-det), F. A repeat. 
 
 redondilla (ra-don-del'-ya), Sp. Roun- 
 delay. 
 
 redoubled. Compound (of an inter- 
 val). 
 
 redoublement (rii-doob-lu-mah), F. 
 Doubling. 
 
 red owa, redowak , redowazka (ra- 
 do-vats'-kii), Bohemian. A dance, in 
 lively 3-4 time ; in the Bohemian 
 form 2-4 time is also employed. 
 
 redublicato (ra'-doob-U-ka'-to), /. Re- 
 doubled. 
 
 reduciren, reduziren (ra-doo-tse'-ren), 
 C. , reduire (ra-dwer), F. To ar- 
 range or transcribe a composition in 
 a smaller form. Hence, such con- 
 
 densation is called reduction, E., 
 reduction (ra-duks-yoh), F., Re- 
 duktion (re-dook'-tsT-on), G., ridu- 
 zione (re-doo-tsI-6-ne), /. 
 
 reduc tio, L. Reduction (of a mode 
 to its original key). 
 
 red-note. Vide notation. 
 
 reed. Originally a thin and elastic strip 
 of cane, now made of other fibres and 
 of metal. It is fi.xed in an opening 
 by one end ; its free end is set in 
 motion by the breath or by a current 
 of air, and transmits this vibration 
 with musical effect to the column of 
 air in the main tube, to which it serves 
 as a sort of quivering valve. The 
 human larynx has a membranous 
 reed, and the lips of horn-players 
 serve the same purpose, the tone 
 being determined by the tension of 
 the lips and the length of the instru- 
 ment. Vide EMBOUCHURE, free- 
 reeds vibrate without striking the 
 edges of their sockets. Those which 
 strike the edges are called beating 
 (impinging, percussion, or strik- 
 ing) reeds. They are used in the 
 organ for brass effects. Some instrs., 
 as the oboe and bassoon, have 2 reeds 
 which strike each other, and are called 
 double. Reeds are usually tuned by 
 a sliding wire by which the vibrating 
 portion is shortened or lengthened. 
 
 reed-instruments. A general name 
 for those employing the reed mechan- 
 ism, particularly the oboe and clarinet 
 groups of the orchestra. 
 
 reed-pipe, r. stop, r. work. Refer to 
 the pipes and stops of an organ which 
 employ reeds. 
 
 reed-organ. Originally, a small port- 
 able organ called the regal, or a pair 
 of regals (if it had 2 pipes for each 
 digital). This small instr. which 
 could sometimes be folded up like a 
 book or Bible [hence Bibel-regall 
 (be'-bel-ra'-gal)], employed beating 
 reeds, in the pipes. In 18 10 Grenie 
 inv. what he called the orgue ex- 
 pressif, because he could swell and 
 diminish the tone. In 1843, Debain 
 developed the Harmonium, which 
 
DICTIONARY OF TERMS 
 
 possessed several stops. The air 
 pressure is usually applied by pedals 
 . worked by treadles ; with levers, 
 worked by the knees, to produce a 
 swell. The American Organ (q. v.) 
 employed a suction mechanism. The 
 Vocalion returns to the harmonium 
 style with elaborate improvements. 
 There are many other instrs. which 
 differ chiefly in name from the typical 
 reed-organ. 
 
 reel. A lively dance usually in 4-4 
 (sometimes 6-8) time, perhaps of 
 Scandinavian origin, but chiefly pop- 
 ular in Scotland. It is danced by 2 
 couples. The Virginia reel of 
 America is danced by 2 long facing 
 lines, the men on one side, and the 
 women on the other. 
 
 refrain'. A burden, or stanza, repeated 
 at the end of each new stanza of a 
 song. 
 
 Re'gal (in G. ra'-gal), rdgale (ra-gal), 
 
 F. I. Vide REED-ORGAN. 2. An 
 
 old sufiix indicating a reed-stop. 3. 
 An obsolete xylophone. 
 
 Kegel (ra'-gel), G. Rule. 
 
 re'genschori, Z. Choirmaster. 
 
 Regi na coe li, Z. " Queen of Heav- 
 en." A hymn to the Virgin. 
 
 Register (rej'-ls-ter in E.; in G. ra- 
 jes'-ter). i. The handle or draw- 
 knob which bears the name of a stop. 
 Hence, 2. A complete stop, or the 
 set of pipes controlled by a single 
 draw-knob. Accordingly' register- 
 ing and registration are the act or 
 art of bringing into play and com- 
 bination the different stops of an 
 organ. Register-knopf (knopf), G. 
 Draw-knob. R.-stange (shtang-e). 
 Stop-lever. R.-zug (tsookh). The 
 mechanism of the draw-stop. Speak- 
 ing stops (R.-stimmen, or tonende 
 R.) are distinguished from mechanical 
 stops, stumme (shtoom-me) R. 3. 
 A frame through which trackers run. 
 4. A distinct section of the tone-qual- 
 ity of a voice or instr. Vide voice. 
 
 registre (ru-zhest'r), F., registro (ra- 
 jes'-tro), /. I. A stop-knob. 2. Vide 
 REGISTER (4). 
 
 registri(e)ren (ra-jes-tre'-ren), G. 
 To register. Registri(e)ung (tre'- 
 roongk). Registration. 
 
 r^gle (r^gl), F., regola (ra'-go-la), /. 
 Rule. 
 
 reg'ula, L. i. Register. 2. Rule. 
 
 regular, i. Strict (of fugue). 2. Sim- 
 ilar (of motion). 
 
 regula tion. Adjustment of touch. 
 
 Reigen (rl'-gen), or Reihen (rl'-en), 
 G. A circular dance. 
 
 rein (rln), G. Pure, perfect (of inter- 
 vals), exact, hence reingreifen (grl- 
 fen). To play accurately. 
 
 Reiselied (rl -ze-let), G. Traveller's 
 or pilgrim's song. 
 
 Reitertrompete (ri'-ter-trom-pa'-te), 
 G. A clarion, obsolete straight trum- 
 pet 30 inches long. 
 
 related. Vide relation. 
 
 rela'tion (in F. ru-las-yoh), rela'tio, 
 Z., relazione (ra-lats-I-6-ne), /. The 
 aftrnity of keys based upon the sim- 
 ilarity or identity of certain chords. 
 Upon key-relationship the whole sub- 
 ject of harmony and modern counter- 
 point is largely based, and upon this 
 split hair more great theorists jostle 
 than there were angels dancing upon 
 the needle-point of the old monkish 
 dogmatists. In a liberal sense all 
 keys are closely related. For pur- 
 poses of distinction those keys are 
 said to be related(atlendant, accessory, 
 or auxiliary) which have one or more 
 chords in common. The most nearlv 
 related (or least remote) keys to any 
 key are those founded on its dom- 
 inant and subdominant (as the keys of 
 G and V are most nearly related to 
 the key of C), also the absolute and 
 relative major and minor (as c minor 
 is the absolute minor of C major 
 v.'hile the relative minor to C major is 
 a minor, which has the same signa- 
 ture) false-relation, or rela'tio non 
 harmonica. Vide false. 
 
 relative key, E , mode-relatif (mod- 
 riil-a-tef), Z"., tono relativo (te'-v6), 
 Z I. The relative key to a major is 
 the minor key whose tonic is a minor 
 third below. The relative major of a 
 
252 
 
 THE MUSICAL GUIDE 
 
 minor key has its tonic a minor third 
 above. Vide relation. 
 
 religio'so (ra-le-jI-6'-s6), /., religi- 
 osamen'te. Solemn(ly), devout(ly). 
 
 relish. An old grace (q. v.). 
 
 remote'. Unrelated. Vide relation. 
 
 remo'tus,-a, L. Remote ; open (as 
 harmony). 
 
 remplissage (rah-plts-sazh), F. i. 
 " Fining," as the inner parts of a har- 
 mony. 2. Padding. 3. Cadenzas, and 
 bravura passages. 
 
 rentr6e (rah-tra), F. Re-entrance (of 
 a part). 
 
 renverser (ran-ver-sa), F. To invert, 
 hence renvers6 (ran-ver-sa). In- 
 verted, renversement (vers-mah). 
 Inversion. 
 
 renvoi (ran-vwa), F. A repeat ; a 
 sign of repetition. 
 
 repeat. A sign indicating the repeti- 
 tion of certain measures — marked by 
 two or more dots in the spaces be- 
 tween the lines, before (or after) the 
 double bar, which indicates the end 
 (or beginning) of the portion to be 
 repeated. 
 
 repeating, i. Of action in which the 
 hammer rebounds quickly enough to 
 permit a rapid reiteration of the tone. 
 2. Of mixed stops whose overtones do 
 not keep always the same height 
 above the pitch, but sound an octave 
 lower, as the pitch rises. 
 
 repercus'sa {vox), L. A "repeated 
 tone." I. In neumes the notes called 
 bi-,di-,ox tri. 2. In Gregorian music, 
 the principal note of a mode. 
 
 repercus'sion, repercus'sio, L. i. 
 Repetition, of a chord or note. 2. 
 The reappearance of the subject of 
 the fugue after the exposition. 3. 
 The dominant of a church-mode. 
 
 repeti(e)ren(ra-pa-te'-ren), G. i. Vide 
 to BREAK (3). Hence repeti(e)ren- 
 de Stimme. A mixture-stop with a 
 break. 2. To repeat. 
 
 Repeti'tion (in G. ra-pa-te'-tsl-6n). i. 
 The rapid repeating of a note or 
 chord. 2. (In G. Repetions'me- 
 cha'nik). Vide repeating (i). 3. 
 Vide BREAK (3). 
 
 r6p6tition (ra-pa-tes-yon), F. i. Re- 
 hearsal. 2. Repetition. 
 
 r6p6titeur (ra'-pa'-te-tur'), F., repet- 
 itore (ra-pa-te-to'-re), /. Trainer of 
 an opera chorus ; the rehearser. 
 
 repetizione (ra-pa-te-tsI-6'-nc), re- 
 petimen'to, /. Repetition. 
 
 replica (ra'-ple-ka), /. A repeat ; rep- 
 etition, hence replicato (ka'-to). Re- 
 peated ; doubled. 
 
 rep licate. The octave of a tone. 
 
 Replik (ra-plek'). Complementary in- 
 terval. 
 
 r^plique (ra-plek), F. i. The octave 
 of a tone. 2. The answer of a 
 fugue. 3. Complementary interval. 
 4. Cue. 
 
 reply. Answer (of a fugue). 
 
 ripens (ra-p6h), F. Response (i). 
 
 r6ponse (ra-pohs), F. Answer. 
 
 report. Answer. 
 
 repos (ru-po), F. Point of repose, fol- 
 lowing a cadence. 
 
 reprise (re-priz'), E. The reappear- 
 ance of the first theme of a sonata or 
 symphony after the development. 
 
 reprise (ru-prez), F. i. Repetition. 2. 
 Vide REPRISE. 3. Reappearance of 
 a theme. 4. Vide break (3). 5. 
 Revival of a work. 
 
 reprendre (ru-prandr), F. To re- 
 sume. 
 
 Requiem (ra'-kw!-em), L. The first 
 word and title of the Mass for the 
 Dead {missa pro defunctis). Begin- 
 ning ''Requiem ceternatn dona eis, 
 domine" "rest eternal, grant them, 
 Lord." The requiem is divided into 
 the introit, kyrie, gradual (with tract- 
 us, "Absolve" and sequence " dies 
 ircr"). Offertory, " Domine Jesu 
 Christe " j Sanctus, and Benedictus ; 
 Agnus Dei; and Communion ^' Lux 
 (Eterna." 
 
 research'. An improvisation used 
 as a prelude to a composition and 
 made up of its chief theme. 
 
 reservoir. The portion of a bellows , ^ 
 in which wind is stored. 
 
 resin (rez'-Kn). A refined gum applied ,^ 
 to the hair" of the bow to improve its 
 grip on the strings. 
 
 ' 
 
 \ 
 
 
DICTIONARY OF TERMS 253 
 
 resolution, resolution (ra-zo-Itis-yoh), 
 F., resolu'tio, Z. , resoluzione (ra- 
 z6-loo-tsI-6'-ne), 7. i. Firmness, de- 
 termination. 2. The dissolving of 
 dissonance into concord ; the satis- 
 faction of the mental demand for that 
 partial repose found only in conso- 
 nance. Dissonant tones are generally 
 resolved by progressing half a tone or 
 a whole tone down or up. 
 
 resonance, E., Resonanz (ra-z6- 
 nants), G. The sympathetic response 
 of a vibrating body to its own partic- 
 ular tone or tones, under the impul- 
 sion of vibrations received from 
 another vibrating body sounding the 
 same tone or tones. Thus if one 
 sounds the note a' on a violin, a tun- 
 ing fork of the same pitch will give 
 forth the same tone spontaneously, as 
 also will a piano with the damper 
 pedal down ; a pane of glass or a 
 loose plate of metal of the proper nat- 
 ure will also reply ; furthermore each 
 partial tone will be afTected similarly. 
 This acoustic fact is used for the re- 
 inforcing of tones ; as cavities of air 
 and sheets of wood have this same 
 property of resonance to all the tones 
 and partials which they themselves 
 contain. The violin, etc., employ 
 a hollow space called the resonance 
 box, or Resonanzkasten, G. Cer- 
 tain old instrs. used a sympathetic 
 string or Resonanzsaite, G. The 
 piano, etc., use a resonance board, 
 OT sound-board, Resonanz'boden, G. 
 
 respiro (ra-spe'-ro), 7. "A breath"; 
 a sixteenth rest. 
 
 respond'. A psalm (or part of one) 
 sung between lessons at canonical 
 hours. 
 
 response, iT. ,respon'sum, L. , respon- 
 sio'ne, responso,7. r. The reply of 
 choir or congregation to a phrase read 
 or chanted by a priest or officiant, in 
 R. C. and Episcopal churches. 2. 
 Responsory. 3. The answer in fugue. 
 
 respon'sory, E., responso'rium, L. i. 
 The psalm or portion of one sung be- 
 tween Missal lessons. 2. The gradu- 
 ale. 3. A respond. 
 
 responsivo (ra-sp6n-se'-v6), 7. Re- 
 sponsive(ly). 
 
 resserreme'nt (rus-ser-man), F. Stret- 
 to. 
 
 ressort (rus-sor'), F. Bass-bar. 
 
 rest. I. A period of rhythmic silence, 
 the tempo continuing to be counted 
 passively. 2. A symbol indicating 
 such rest. The rests are usually 
 named according to the portion of a 
 measure they occupy, as ibth rest ; 
 sometimes being called after the note 
 which has the same duration, as 
 quarter-note rest, breve rest. They 
 may be augmented by dots and may 
 extend beyond the limits of one meas- 
 ure, as the four-measure rest. Vide 
 SIGNS AND SYMBOLS, large-rest, 
 long-rest. Vide notation. 
 
 restric'tio, L. Stretto. 
 
 resultant. Used of secondary tones 
 formed by the combined vibration 
 of two independent tones. Vide 
 ACOUSTICS. When sounded together 
 they produce a difference tone or dif- 
 ferential tofte whose vibration equals 
 the difference between theirs ; also a 
 summational tone whose vibration is 
 the sum of theirs. 
 
 Resurrex'it, 7. "And rose again." 
 Part of the Credo. Vide mass. 
 
 retard', i. To diminish the velocity. 
 2. To suspend and then resolve up- 
 wards, hence retarded progression, 
 or retarda tion, retarda'tio, 7. i. 
 A suspension resolving upwards. 2. 
 A decrease in velocity. 
 
 retraite (rii-tret'), F. Retreat, tattoo. 
 
 ret'ro, 7. Backwards. Vide canon. 
 
 retrograde, retrogra'dus, 7., retro- 
 grado (ra-tro-gra'-do), /. Vide imi- 
 tation. 
 
 ret'to, 7. Direct, similar. Vide mo- 
 tion. 
 
 r^veil (ra-ve'), F., reveille (ru-va'-yu, 
 in E. re-vel'-ye. In the American 
 army rev-e-le', in G. ra-fil'-le). 
 " Awakening," the first morning mili- 
 tary signal. In old E. reveil', or 
 revel'ly.. 
 
 rev'erie. A contemplative composi- 
 
254 
 
 THE MUSICAL GUIDE 
 
 reversed. Contrary (of motion), re- 
 ver'sion. Retrograde imitation. 
 
 revoice. To tune an organ-pipe. 
 
 rf., rfz. Abbr. for Rinforzando. 
 
 r. h. Abbr. for right hand. 
 
 rhapsodie (rap-so-de), F. and C, 
 rhap sody, E. " A song of patches." 
 In ancient music a fragment of an 
 epic poem, sung by a minstrel or 
 rhapsode, or rhapsodist. In modern 
 music a brilliant composition which 
 combines the idea of a medley with 
 the acquired idea of great joy or ec- 
 stasy. 
 
 rhythm, E., rhyth'mus, Z. (in G. 
 ret -moos), rhythme (redhm), /■. The 
 " flow " and undulation of progres- 
 sion, marked by the rise and fall of 
 stress and duration. The arrange- 
 ment of accented and unaccented, 
 and of long and short sounds. 
 Rhythm usually follows some pattern 
 which is repeated with more or less 
 variation through an entire movement 
 or composition. Rhythm might be 
 called the melody of monotone. It is 
 distinct from melodic or harmonic 
 progression, and can be vividly shown 
 on such an instr. as the drum, and it 
 can be written on a single line with- 
 out reference to pitch. The rhythm 
 sometimes is so complicated that it is 
 not completed in less than a musical 
 period, vide form ; but it is usually 
 based upon a fundamental series of 
 pulsations that can be expressed with- 
 in the limits of three or four or nine 
 beats. These are accordingly taken 
 as a unit and grouped within the 
 limits of a measure, and cut off 
 by two bars ; the first bar being 
 placed before the strongest accent of 
 the group, the second after the weak- 
 est. Time may be expressed by the 
 regular swing of a baton ; rhythm em- 
 bellishes this baton pulsation, and 
 usually coincides with it in accentua- 
 tion, e.xcept in a syncopated rhythm. 
 
 rhythmiqua (redh-mek), F., rhyth- 
 misch (ret'-mlsh), G. Rhythmical. 
 
 ribattuta (re-bat-too'-ta), 7. '" Restrik- 
 ing." The slow beginning of a trill. 
 
 ribe ba, ribeca (re-ba -ka), /. Rebeck, 
 ribbechino (ke -no). Small Rebeck. 
 
 ribs. The sides connecting back and 
 belly of violins, etc. 
 
 ricerca're, ricercata (re-cher-ka-ta), 
 /., ricercar (re-tser-kar), G. 
 "Searched out," cf. recherche. Used 
 of compositions or passages, usually 
 of fugal form, and employing all the 
 resources and learning of the com- 
 poser. Vide FUGUE. 
 
 richiamare (re-kT-a-ma'-re), /. To 
 imitate the Richia'mo or bird-call. 
 
 ricordanza (re-kor-dan'-tsa), /. Rec- 
 ollection. 
 
 riddo ne, /. A roundelay. 
 
 ridevolmente (re-da'-v5l-men'-te), /. 
 Laughingly. 
 
 ridicolosamen'te, /. Ridiculously. 
 
 rid die-canon. Vide c.\nox. 
 
 ridot to, /. I. Reduced (cf. reduciren). 
 2. .V reduction. 
 
 riduzione (re-doo-tst-o'-ne), 7. Ar- 
 rangement, reduction. 
 
 Riesenharfe (re'-zen-har-fe), G. yEo- 
 lian harp. 
 
 rifiormento (re-fl-or-men'-to), /. Or- 
 nament. 
 
 riga (re -ga), 1. Staff. 
 
 rigabello, /., rigabel lum, L. Regal. 
 
 rigadoon', E., rigaudon, rigodon (re- 
 go-don), F. A lively and humorous 
 dance of Provencal origin, and con- 
 sisting of three or four reprises, the 
 third in a lower position. The time 
 is usually 4-4, with an uptake of a 
 quarter note. 
 
 rigals, rigol(e)s. Regals. 
 
 rigore (re-go -re), /. Rigour, exact- 
 nes? of tempo, rigoro'so. Exact. 
 
 rilasciando (re-la-shan'-do), 7. Re- 
 laxing the speed. riiascian'te. 
 With reduced speed. 
 
 rikk. EgN-ptian tambourine. 
 
 rilch (rllsh), ril'ka. Russian lute. 
 
 rimett. Abbr. for riraettendo, 7. Re- 
 tarding. 
 
 rinforzare (rin-for-tsa'-re), 7. To re- 
 inforce, emphasise, rinforzamen'to, 
 rinforzo (for'-tso). Reinforcement. 
 rinforzando, -a'to. Suddenly em- 
 phasised and accented. 
 
DICTIONARY OF TERMS 
 
 55 
 
 Ringelpauke (ring'-el-pow-ke), G. A 
 rattle with rings on bars. 
 
 Ringeltanz (ring -el-tants), G. Circu- 
 lar dance. 
 
 ripercussio'ne, /. Repercussion. 
 
 ripetizione (re-pa-te-tsI-6'-ne), ripet- 
 itura (too'-ra), /. i. Repetition. 2. 
 Refrain. 
 
 ripieno, pi. -i (re-pe-a'-n6[e]), /. 
 " Filling." I. Used of a part or an 
 instr. which merely strengthens and 
 rounds out the harmony, as opposed 
 to solo or concertante. 2. Used in 
 scores to indicate the entrance of the 
 full band. One who plays a ripieno 
 (in G. Ripienstimme, re-pl-an- 
 shtlm-me) is called Ripienist, or ri- 
 pienis'ta. 3. A mixture-stop called 
 ripieno di due, tre, quattro or cinque, 
 according as it has 2, 3, 4, or 5 ranks. 
 
 ripienino (ne-no). 4-ft. stop. 
 
 ripigiiare (re-pel-ya-re), ripren'dere 
 (pren'-de-re), /. To resume, hence, 
 ripiglan'do, riprenden'do. Resum- 
 ing, ripiglio (re-pel'-yo). Reprise. 
 
 ripo'so, /. Repose, hence riposa'to 
 (za-to), reposatamen'te. Repose- 
 ful(ly). 
 
 ripresa (re-pra'-za), /. i. Reprise. 
 2. Repeat. 3. The repeat mark. 
 
 risentito (re-sen-te'-to), /. With en- 
 ergetic expression. 
 
 risoiuzione (re-z6-loo-tst-6'-ne), /. 
 Resolution, i and 2. risoluto (loo'- 
 to), risolutamen'te. Decided(ly), 
 energetic(ally). 
 
 risonanza, risuonanza (re-soo-o-nan'- 
 tsa), /. Resonance. 
 
 risposta (res-sp6'-sta), /. i. Conse- 
 quent. 2. Answer in fugue. 
 
 Riss, G. "Gap," between registers. 
 
 ristret'to, /. Stretto. 
 
 risvegliato (res-val-ya'-to), /, Ani- 
 mated. 
 
 rit, ritard. Abbr. for ritardando (re- 
 tar-dan'-do). Retarding gradually. 
 ritardato (da'-to). Retarded, ri- 
 ^ tar'do, -azio'ne. Retardation. 
 
 riten. Abbr. for ritenuto (re-ta-noo'- 
 to), /. Immediately slower, to be 
 distinguished from ritardando and 
 rallentando as well as from ritenen- 
 
 do, and ritenen'te, which refer to 
 gradual retardation. 
 
 ritmo (ret'-mo), /. Rhythm. r. di 
 due (tre) battute (de doo-a-bat-too'- 
 tJi). Rhythm in 2 (or 3) measures to 
 the beat, not in duple or triple time, 
 which means 2 (or 3) beats to the 
 measure, ritmico. Rhythmic. 
 
 ritornare(re-t6r-na -re), /. To return. 
 ritornan do. Returning, ritorna- 
 to (a'-to). Reverted. 
 
 ritornel, ritornello, /., ritour- 
 nelle (re-toor-nel), ritornelle, F. 
 I. A burden or repeated portion, such 
 as the instrumental prelude, inter- and 
 post-lude of a song, sometimes called 
 the symphony. 2. The tutti parts in 
 a concerto. 3. A repeat. 4. A 
 burden, or refrain. 
 
 river'so, riverscio (re-ver'-sho), /. 
 I Reversed. 2. Retrograde. 
 
 rivoglimento (re-vol-yl-men'-to), /. 
 Inversion or transposition, in coun- 
 terpoint, rivoltato (re-vol-ta-to), 
 rivolto (re-vol'-to). Inversion. 
 
 robusto (ro-boos'-to), /. Robust. Vide 
 TENOR, robustamen'te. Firmly. 
 
 roccoco, rococo (ro-ko'-ko), /. Old- 
 fashioned, eccentric. 
 
 rock-harmon icon. A graduated series 
 of rock crystals played with ham- 
 mers. 
 
 Roger de Coverley. Vide Sir R. de 
 C. 
 
 Rohr (ror), pi. Rohre (ra -re), G. i. 
 Tube. 2. Reed, usually R.-blatt. 
 reed of oboe, bassoon and clarinet. 
 R.-flote. "Reed-flute" a half-cov- 
 ered 4, 8 or 16 ft. flue-stop. R.- 
 SChelle (shel-le). The same stop in 
 I or 2 ft. pitch. Doppelrohrflote. 
 One with double mouth. R. -quint. 
 One sounding a fifth above. Rohr- 
 werk. The reed-stops. 
 
 roll(r5l), i?., rollo(r61'-l6), /. i. The 
 trill on drum or tambourine, produced 
 on the kettle-drum by rapid taps with 
 the two sticks ; on the side-drum with 
 two taps with the left stick, then two 
 with the right ; on the tambourine 
 with the knuckles. 2. long r. (a) 
 Battle or rally signal for troops, (b) 
 
256 
 
 THE MUSICAL GUIDE 
 
 Swift arpeggio on the organ, rollan'- 
 do. Rolling. 
 
 Rolle (rol'-le), G. Rapid up-and-down 
 passages of one figure. 
 
 roller, i. A 2-armed wooden bar on 
 gudgeons connecting two trackers, 
 one to a draw-stop, one to a valve, 
 usually roller-board. 2. Cylinder of 
 music-box or carillon. 
 
 Roman, i. Used of the school of 
 Rome from Goudimel and Palestrina 
 to the 19th century. 2. Of strings 
 made in Italy. 
 
 romance (in F. ro-maiis), romanza 
 (ro-man'-tsa), /., Romanze (ro-man - 
 tse), G., romaunt, Old E. i. A 
 composition of romantic character, as 
 r. sans paroles, a story without words. 
 2. In F. a love-song! 
 
 romanesca (ro-mji-nis'-ka), /., roman- 
 esque (ro-man-esk'). The galliard. 
 
 romantic, romantique (ro-maii-tek), 
 romanzesco (tsas'-ko). A term much 
 fought for and much evaded. In 
 general, it means the striving after 
 individuality, novelty, and personality 
 of musical expression as opposed to 
 the repetition of classic forms — the 
 reaction of the molten against the 
 mold. As ever>' generation tries to 
 modify, assimilate and re-spin the art 
 of the preceding, and always meets an 
 opposition from the schoolmen and 
 conservatives, the word really means 
 little more than " modern." 
 
 Rome.prix de (pre dii rom), F. i. A 
 stipend granting four years' study in 
 Rome, annually awarded by the 
 French government to competing 
 pupils of the Paris Conservatoire. 
 This is the grand prix (gran pre), 
 the second (su-koh) being a gold 
 medal. 2. Stipend awarded every 
 other year by the Brussels Cons. 
 
 romera (ro-ma -ra). A Turkish dance. 
 
 Roraanusbuchstaben (ro-ma'-noos- 
 bookh'-shta-ben), G. " Letters of 
 Romanus." Vide litter^e signifi- 
 
 CAT^. 
 
 ro'mischer Gesang', G. "Roman" 
 
 Catholic plain-song. 
 ron'da, /. Round. 
 
 i*ff 
 
 ronde (roiid), F. A whole note. 
 
 rondellus. An early form of strict 
 imitation. 
 
 rondeau (roh-do), F , rondo (ron'-do), 
 /. and E. i . A form originally based 
 on a dance with alternating solos 
 (couplets), and chorus (rondeau.x) ; th& 
 form is characterised by a cheerfi 
 humour. 2. In classic music a pri 
 cipal subject preceding and interleav- 
 ing two episodes, with much variation 
 of key and many bridge-passages. 3. 
 The more modern form consists of 
 three themes with the first recurrent, 
 thus A-B-A-C-A-B and coda. The 
 second theme appears in the dominant 
 at first, finally in the tonic, giving 
 the Rondo a close relation with the 
 sonata formula. Vide FORM. A small 
 or easy rondo is called variously, r. 
 mignon (men-yon), F., rondilet'- 1 
 ta, rondinet to, rondino (ron-de 
 no), rondolet to. 
 
 rondena (ron-dan'-ya), Sp. Fandango. ' 
 
 root. Fundamental tone of a chord 
 
 rosalia (ro-za'-li-a), Rosalie (r5-za-le'), 
 G. I. A sequence (q. v.) advancing 
 a whole tone each time. 2. Music, 
 consisting of cheap and trite sequencesi 
 and harmonies. 
 
 rose (in G. ro-ze), rosa (ro'-za), /. 
 rosette (ro-zet), F. The ornamental! 
 border of the sound-hole of guitars, etci 
 
 rosin (raz-Tn). Resin. 
 
 Rostral (ros'-tral), G. A music-pen 
 
 rote, E., rota, rot ta, /., Rot te, G, 
 "Wheel." I. Canon, round. 2. 
 Rondeau 3. Hurdygurdy. 
 
 rotondo (ro-ton'-do), /. Round, full. 
 
 rot to, /. Broken, interrupted. 
 
 rotula. A small round or carol. 
 
 roulade (roo-lad), F. A florid passagej 
 division, a grace. 
 
 roulement (rool-mah), F. A roll. 
 
 round, i. Popular form of canon in tb 
 unison or octave, v/ithout coda, ami 
 with a frequent harmonic support 
 pes. 2. A circle-dance, round ciljj; 
 A rondo. _ j ; 
 
 roundel, roun'delay. A ballad of th 
 fourteenth century with a recurrer 
 refrain. Also a ring-dance. 
 
DICTIONARY OF TERMS 257 
 
 rovesciamento (ro-va-sha-men'-to) /., 
 I. Reversion. 2. Inversion. 
 
 rovescio (ro-va'-sho), /. r. Retro- 
 grade. 2. Inverted. Hence, al r. 
 In inversion. 
 
 rua'na. Hindu violin. 
 
 rubato (roo-ba-to), /. " Robbed," 
 borrowed, used of a tempo whose 
 strict values are to be disregarded at 
 caprice, the long notes stealing time 
 from the short, etc. It should not de- 
 part so far from the tempo as to de- 
 stroy the sense of rhythm. 
 
 Ruckfall (riik'-fal), G. Back-fall. 
 Riick - positiv'. Vide positive. 
 Riick'gang. Return of the leading 
 theme. 
 
 Riickung (ruk'-oongk), G. i. Synco- 
 pation. 2. Change. 
 
 Riidenhorn (rii'-den-horn). Vide hief- 
 
 HORN. 
 
 Ruhrung(ru'-roongk), G. Emotion. 
 
 Ruhepunkt (roo'-e-poonkt), G. Rest. 
 R. stelle, -zeichen. A pause, a 
 rest. 
 
 ruhig (roo'-Kkh), G. Calm, gentle. 
 
 Riihrtrommel (rlir'-). An old-fash- 
 ioned drum. 
 
 rule. I. Old name for line. 2. In 
 music as in science, not an edict by 
 an authority, but a recorded observa- 
 tion by more or less qualified judges 
 of what has happened with some reg- 
 ularity before. It need not neces- 
 sarily happen always again. Vide 
 
 OCTAVE. 
 
 rullan'do, rullante (rool-lan'-te), /. 
 Rolling, tamburo r. Side-drum. 
 
 run. I. A rapid flight of notes usually 
 in scales, used in singing on one syl- 
 lable. 2. Of air in an organ, to leak 
 from the wind-chest into a groove, 
 where it causes certain pipes to give 
 a faint sound called running. 
 
 Rundgedicht (roont'-ge-dlkht), G. i. 
 Rondo. 2. Solo with chorus. Also 
 R.-gesang. 
 
 russe (riis), F. Russian, a la r. In 
 Russian style. 
 
 Russpfeife, Ruszpfeife (roos'-pfi-fe), 
 C, ruispipe (rois'-pe-pe), Dutch. 
 Vide RAUSCHQUINTE. 
 
 Russian bassoon. A deep-toned 
 
 military instrument. 
 Russian horn band. One in which 
 
 each horn plays but one tone. 
 rustico (roos'-tl-ko), /. Rural, rustic. 
 Rutscher (root'-sher), G. A galop. 
 ruvido (roo'-vl-do), ruvidamen'te, /. 
 
 Rough(!y). 
 ry'mour. Old E. Minstrel. 
 rythme, rythm6, F. Same as rkyth- 
 
 m(e). 
 
 SAbbr. (da/) segno; senza {pe- 
 dale) ; sinistra; solo; sordino; 
 {volti) siibito. 
 sab(b)'eca. Hebrew harp. 
 
 sabot (sa'-bo), F. i. A disk turned by 
 one of the pedals of a double-action 
 harp and carrying two studs which 
 engage and shorten the vibrating 
 portion of a string. 2. A cheap 
 tiddle. 
 
 saccade (sak-kad), F. A firm pressure 
 of the bow against two or more 
 strings. 
 
 sack'but, sag'but. i. An old instr. 
 resembling the trombone. 2. Trans- 
 lation of sabeca. 
 
 Sackpfeife (sak'-pfi-fe), G. A bag- 
 pipe. 
 
 sacque-boute (sak-boot), F. Sackbut. 
 
 sa'cring-bell. Small bell marking the 
 divisions of the Mass. 
 
 sac'rist. Music librarian, and copyist 
 of a church. 
 
 sa'cred music. Religious music. 
 
 Saite (zi'-te), pi. Saltan, G. String (s). 
 Sai'teninstrument. A stringed in- 
 strument. S.-chor. A group of 
 strings tuned in unison. S.-fessel, 
 or -halter. Tailpiece. S.-harmo'- 
 nika. A key-board instr. with diminu- 
 endo device, inv. by Stein, 1788. S.- 
 orgel. A trichord piano with a fourth 
 string for each note. This string is 
 fanned by a reed of the same pitch, 
 with leather head, thus obtaining a 
 sustained tone, capable of swell and 
 decrease. Treadles and bellows con- 
 trol this part of the instr., which may 
 
258 
 
 THE MUSICAL GUIDE 
 
 serve as piano, or organ, or both, or 
 part of either. This instr. was inv. 
 by a Prussian, Karl Giimbel, iSqo. 
 S.-klang, or -ton. The sound of a 
 string. S. -spieler. Player on a 
 stringed instr. saitig (zi'-tikh). 
 Stringed. 
 
 saint's bell. Vide sacking-bell. 
 
 sal'amie. Oriental flute. 
 
 salcional (sal-sI-6-nal). salicet (sa-ll- 
 sa). sali'cionell, salicional (sa-le'- 
 sI-6-nal), F. A reed-stop of stringy 
 tone. 
 
 Salm (salm), C, salmo (sal'-mo), pi. i, 
 /. A psalm. 
 
 salmi (sal'-me), F. Quodlibet. 
 
 Salon fiiigel, G. Parlour grand piano. 
 Salonmusik or -stiick. Music for 
 the drawing-room. 
 
 salpinx. Ancient Greek trumpet. 
 
 saltando (sal-tan' -do), /. i. Proceed- 
 ing by skips. 2. With bounding 
 bow. 
 
 saltarella or (0) (sal-ta-rel'-lo), /. i. A 
 very quick dance, in 2-4, 6-S, or 6-4 
 measure with wide skips. 2. The 
 triple -timed, second part of a i6th 
 century dance in duple time (also 
 called Hop'pellanz (tants). N'achtattz, 
 G., proportio, Z. , toiirdion, F. 3. A 
 jack. 4. A cantus firmus with ac- 
 companiment of sextuplets. 
 
 saltato (sal-ta'-to), /. Springing. Vide 
 
 SALTAN'DO. 
 
 salteret'to, /. i. A rhythmic figure in 
 6-8 time, the first and fourth quavers 
 dotted. 
 
 salter(i)'o (sal-ta-rt-6), /.. Salteire 
 (zal-tl'-re), Saltirsanch (zal-ters'- 
 ankh), G. i. Psaltery, s. tedesco. 
 Dulcimer. 
 
 salto (sal'-to), /. I. Leap, skip. 2. 
 Dance, di s. By skip. 
 
 Salve Regi'na, L.' " Hail Queen " ; 
 R. C hymn to the Virgin Mary. 
 
 salvar'(e) (sal-va'-re), /. To resolve. 
 
 salvation (sil-vas-yon), F. Resolu- 
 tion. 
 
 sambuca (sam-boo'-ka), /., Sambat', 
 Sambiut (zam'-bK-oot), G. Word used 
 variously and ambiguously for vari- 
 ous mediaeval instrs., bagpipe, hurdy- 
 
 gurdy, etc. sambucis'tria. One 
 who plays such an instrument. 
 
 Sammlung (zam'-loongk), G. Collec- 
 tion. 
 
 sampogna (sam-p6n'-ya), sampo'nia, 
 sarapu nia, /. i. A flageolet. 2. 
 Sambuca. 
 
 san'cho. A negro guitar. 
 
 Sanct us, L. " Holy." i. Fourth 
 movement of the Mass. 2. Vide 
 
 SACKING. 
 
 sanft (zanft), (7. Soft, mild. S.-ge- 
 dackt. A soft-toned stopped pipe. 
 S.-heit. Softness, smoothness, gentle- 
 ness, sanftig (zenf'-tikh), sanft'- 
 miithig. Soft, gentle. S.-muth, 
 S.-miithigkeit (mu-tlkh-kit). Soft- 
 ness. 
 
 Sang (zang), G. Song. 
 
 Sanger (zeng'-er), G. Singer(s). S.- • 
 bund (boont). A society or conven- 
 tion of singers. S.-verein (fer-In). , 
 Singers' union. 
 
 sanglot (saii-glo), F. "Sob." An 
 old grace in singing, an interjection. I 
 
 sans (sail), F Without. 
 
 santoral, Sp Choir-book. .j 
 
 santur'. A Turkish inst. , the psaltery, k 
 
 saquebute (sak-but), F. Sackbut. f; 
 
 saraband (sar-a-band), £"., sarabanda ' il 
 (sar-a-ban'-da), /.. sarabande (sar-a- k 
 band in F. ; in G. za-rii-ban'-de). A 
 stately Spanish dance, perhaps derived i^ 
 from the Saracens, and danced with it 
 castanets ; it is in slow 3-4 or 3-2 i 
 time, with the second note usually :■• 
 prolonged through the second and 
 third beats of the measure. 
 
 sarrus'ophone. A double-reed instr., i 
 inv. by Sarrus, Paris, 1863. It is J 
 ' made in 6 sizes besides a sopranino 1 
 and a contra-bass in Eb, and re-. ',' 
 sembles a bassoon in appearance, a 
 trombone in tone. 
 
 sartarella (or -o), /. A tarantella- 
 like dance in 6-8 time. 
 
 Sattel (zat -t'l). G. Nut. S.-machen. > 
 To use the thumb as a nut for pro- \ 
 ducing harmonics on the 'cello. S. 
 lage. Half-position. 
 
 Satz (zats), G. i. Theme or subject. 
 2. Phrase, half a period, the forme: 
 
 t. j|:^^ 
 
 I 
 
DICTIONARY OF TERMS 259 
 
 half being the Vordersatz, the sec- 
 ond, the Nachsatz. 3. Section of 
 a movement. 4. Movement. 5. A 
 composition. 6. Style, school, as 
 reiner S. Pure, strict style. 
 
 saun. Burmese harp. 
 
 saut (so), F. Skip. ' sauter (s6-ta). 
 To overblow, sautereau (so-te-ro). 
 Jack, sauterie, Old E. Psaltery. 
 
 sautill^ (s6-te'-ya), F. Springing bow. 
 
 sauver (s6-va). To resolve, sauve- 
 ment (sov-mah). Resolution. 
 
 saw'try. Psaltery. 
 
 Sax (zax). A prefix for the numerous in- 
 ventions or improvements of Adolphe 
 Sax, the Christopher Columbus of 
 metallic instruments, whose impor- 
 tance lies largely in the application of 
 a valve-mechanism to old natural 
 keyed instruments. saxhorn. An 
 improvement in various sizes on the 
 key-bugle and ophicleide, used chiefly 
 in military bands except the tuba 
 (q. v.). Saxhorns are made in the 
 following seven principal sizes (va- 
 riously named), and are also made a 
 semitone lower than each of the fol- 
 lowing, the compass of each being 
 given in brackets : 
 
 Bugles a Pistons : i. Sopranino sax- 
 horn (petit saxhorn, petit bugle a pis- 
 tons, piccolo in Es. or eO, [range 
 a-b" flat]). 2. Soprano saxhorn (con- 
 tralto saxhorn, bugle-tenor, Flugel- 
 horn in i9 or B flat) [g-b" flatj. 3. 
 Alto saxhorn (Althorn in Es.) E flat 
 [A-e"]. 4. Tenor saxhorn (baryton 
 en sib, Tenorhorn in B. Bassflilgel- 
 horn), in B flat [E-b' flat]. Tufias or 
 bombardons: I. Bass saxhorn (tuba- 
 basse en si^, Basstuba, Euphonium, 
 Baryton, Tenorbass in B) in B flat 
 [G-b' flat], also made in C. 2. Low 
 bass saxhorn (bombardon en mi b) in 
 E flat [G, flat-e' flat], also made in 
 F,. 3. Contrabass saxhorn (bombar- 
 don en si^ grave, Kontrabasstuba) 
 in B flat [E flat— b flat], also in C. 
 sax ophone. A keyed brass iiistr. 
 single-reeded and mouthed like a clar- 
 inet and combining in its tone that 
 of the 'cello, cor anglais and clarinet. 
 
 It is a transposing instr. written in 
 the G clef, made in six sizes with two 
 keys to each, the compass being near- 
 ly three octaves : i. Sopranino or 
 piccolo or aigu in /"and E^. 2. So- 
 prano in C and B\3. 3. Contralto in 
 /■ and E^. 4. Tenor in C and B^.. 
 5. Barytone in F and E^. 6. Bass 
 in 6" and B\). Also saxofo'nia, /. 
 sax'otromba. An instr. in seven 
 sizes standing in tone between the 
 key-bugles, or saxhorns, and the 
 horns, sax-tuba. Vide saxhorns; 
 ( Tubas). 
 saynete (sa-e-na'-te), Sp., saynete 
 (se-net), F. Comedietta for two sing- 
 ers. 
 sbalzo (sbal'-tso), /. Skip, sbalzato 
 
 (tsa'-to). Dashing. 
 sbar ra, /. Bar. s. doppia. Double-bar. 
 scagnello (skan-yel'-lo), /. Bridge. 
 scala (ska-la), /. Scale, gamut. 
 scald. Scandinavian poet-musician. 
 scale. From the Latin .r^a/a "a lad- 
 der," applied to the Aretinian syl- 
 lables, ut, re, mi, fa, sol, la. In 
 modern usage ; i. The tones of any 
 key (q. v.) taken in succession up or 
 down according to pitch ; according 
 to Riemann a chord of the tonic 
 with passing notes, as c, d, e, f, 
 ^, a, b, and r, those passing notes be- 
 ing chosen which lead most inevitably 
 to the next chord-note, chromatic, 
 diatonic, enharmonic, major, 
 minor, pentatonic, etc., scales, vide 
 the adjectives. Vide also modes. The 
 so-called German s. is a-h-c-d-e-f- 
 g; " b," being reserved for b*'. V^ide H. 
 natural or normals. That of the key 
 of C, which has no chromatics. 2. A 
 series of semitones in successive or- 
 der. 3. The series of tones belong- 
 ing to any instr. as a natural horn. 
 harmonic or natural s. The series 
 of over-tones (vide acoustics). 4. 
 A compass or range. 5 Dimensions 
 and proportions, as the s. of organ- 
 pipes, determined by the ratio of 
 diameter to height, a b''oad s. giv- 
 ing a broad, smooth tone, a narrow 
 S. giving a thin, sharp tone. 
 
26o 
 
 THE MUSICAL GUIDE 
 
 SCannet'to, scanel'la (ska-nel'-la), /. 
 Bridge. 
 
 SCemando (she-man'-do), /. Diminish- 
 ing. 
 
 scena (sha-nii), /., schne (sen), F., 
 scene (sen), £. The portion be- 
 tween the entrances of different actors, 
 hence a dramatic recitative usually fol- 
 lowed by an aria, often s. d'entrata 
 or d'entr^e (dafi-tra). Entry-song. 
 scenic music. Dramatic music. 
 
 Schablonen (shap-16'-nen), G. -Stencil- 
 patterns, hence S.-musik. Trite 
 and formal music. S.-haft (haft). 
 Academic. 
 
 Schafer (sha -fer), G. Shepherd. S.- 
 lied (let). Pastoral song. S.- 
 pfeife. Shepherd's pipe. S.-tanz. 
 Rustic dance. 
 
 SChalkhaft (shalk'-haft), G. Sportive, 
 roguish. 
 
 Schall (shal), G. Sound, ringing, res- 
 onance. S.-becher, S.-horn, S.- 
 stiick, or S.-trichter. Bell (of an 
 instr.). S.-becken, G. Cymbals. 
 S.-loch. Sound-hole, f.-hole. S.- 
 Stab (shtap). Triangle. 
 
 Schalmay, Schalmei (shal'-mi), 6^. i. 
 Shawm. 2. Chalumeau. 3. A reed- 
 stop. 
 
 Schanzune (shan-tsoo'-ne), G. Chan- 
 son. 
 
 scharf (sharf), G. i. Sharp. 2. Acute, 
 of a stop. 
 
 schaurig (show'-rKkh), G. Weird, 
 ghastly. 
 
 Schauspiel (show'-shpel). G. Dramatic 
 piece. Schauspieler. Actor. 
 
 Scheitholt (shit-holt), G. Marine 
 trumpet. 
 
 Schellen (shSl'-len), G. Bells, jingles. 
 S.-baum (bowm). "Jingle-tree"; 
 Crescent. 
 
 Scherz (sherts), pi. en, G., scherzo 
 (skgr'-ts6). pi. i, /. " Jest." i. A 
 style of instrumental composition in 
 which humour prevails (though those 
 of Chopin are merely moody and 
 whimsical;. Those of Beethoven, 
 the greatest master of this style, are 
 often hilariously funny and provoke 
 audible laughter. 2. A form devel- 
 
 oped from the Minuet and by Bee- 
 thoven and his successors generally 
 substituted as the 3d (or 2d) move- 
 ment of the, sonata (q. v.) or sym- 
 phony. The structure varies greatly, 
 but the time is usually triple, scher- 
 zan do, scherzan te, scherzevole 
 (tsa-v5-le), scherzo SO, /., scherz- 
 haft (sherts'haft), G. Sportive, mirth- 
 ful, scherzosamen te, /. Gaily. 
 
 schietto (skl-et'-to), schiettamen'te, 
 /. Simp(ly). schietezza (ted-za), 
 neatness. 
 
 schisma (sklz'-ma), Gr. A minute dif- 
 ference between intervals. In ancient 
 music, equal to the half of a comma, 
 or the 1 8th of a tone ; in modern 
 acoustics, the nth of a syntonic com- 
 ma (the difference between the 3d 
 tierce of the 8th quint and the octave 
 of a given tone). Vide temper- 
 
 ."VMENT, QUINT, and TIERCE. 
 
 Schlachtgesang ( shlakht- ge-zang ), 
 
 G. War-song. 
 Schlag (shlakh), G. i. Stroke, blow. 
 
 2. Beat, impulse, schlagen. To beat. 
 
 Schlagfeder(fa'-der). Plectrum. S.- 
 
 instrument. Inst, of percussion. 
 
 S.-mani(e)'ren. The strokes in 
 
 down-beating. S. -zither. The 
 
 common zither as opposed to the 
 
 bow-zither. 
 Schlagel (shla'-khel), G. Drumstick; 
 
 hammer. 
 schlecht (shlekht), G. Faulty, weak. 
 
 Schlechtertaktt(h)eil (shlekh-ter- 
 
 takt-til), G. The unaccented part 
 
 of a measure. 
 schleifen (sh!T'-f"n), G. To slide, 
 
 slur. Schleifbogen (bo-gen). Slur. 
 
 Schleifer (shli'-fer). i. Slurred note. 
 
 2. Slow waltz. Schleifzeichen. Slur., 
 schleppen (shlep'-pen), G. To drag. 
 
 schleppend. Dragging. 
 Schlummer-lied (shloom -mer-let), G. 
 
 Slumber-song. 
 Schluss (shloos), G. i. The end. 2.| 
 
 Cadence, also S.-fall, S.-kadenz (or! 
 
 note). Final cadence or note. 
 Schlussel (shliis'-sel), G. A clef. S. 
 
 fiedel. Nail-fiddle. S. G. The note 
 
 g' occupied by the G clef. S.-satz,' 
 
 SCC!-' 
 
 
DICTIONARY OF TERMS 261 
 
 A closing passage or movement. 
 S,-striche. Double bar. S.-zeich- 
 en. I. A firmate. 2. Double bar. 
 S.-reim (rim). Refrain. 
 
 schmachtend (shmakh-tent), G. Lan- 
 guishing. 
 
 schmeichelnd (shml'-khelnt), G. Coax- 
 ing, caressing. 
 
 schmelzend (shmel'-tsent), G. Melt- 
 ing. 
 
 Schmerz (shmerts), G. Grief, sorrow. 
 s.-shaft, s.-lich. Sorrowful. 
 
 Schnabel (shna-bel), G. "Beak," 
 mouthpiece. S.-flote. Vide flute. 
 
 schnarr(shnar),G'. Rattle. S.-pfeifen, 
 or -werk. i. Reed-pipes, reed-work. 
 2. Regal. S.-tone. A series of 
 rough under-tones exactly paralleling 
 and drowning the overtones as in 
 a tuning-fork vibrating loosely on a 
 box. 
 
 Schnecke (shnek'-g), G. " Snail," 
 scroll. 
 
 SChnell (shnel), G. Quick, rapidly. 
 Schnel'le, Schnelligkeit (shnel'- 
 llkh-kit). Rapidity, schnel'ler, G. 
 I. Quicker. 2. Inverted mordent. 
 Schnell'walzer. Quick waltz. 
 
 Schollrohr (shol'-ror). G. Brass wind- 
 instrument. 
 
 Schottisch (shot'-tTsh), C, schot- 
 tische(^. andi^.,sh6t'-tTsh). "Scot- 
 tish," rather slow 2-4 time round 
 dance. 
 
 SChrag (shrakh), G. Oblique. 
 
 Schreibart (shrip'-art), G. Style. 
 Schreiber. Music copyist. 
 
 schreiend (shri'-Snt), G. Screaming, 
 acute. Schreiwerk. Acute (mixt- 
 ure-stop). 
 
 Schrei'erpfeife. A sharp 3-rank mixt- 
 ure-stop in octaves. 
 
 Schryari (shre'-a-re), G. i. An obso- 
 lete wind-instr. 2. Schreierpfeife. 
 
 schrittmas'sig (shrlt'-mes-sikh), G. 
 Andante. 
 
 schub (shoop), G. Slide (of a bow). 
 
 Schuh (shooh), G. " Shoe" ; bridge of 
 a marine trumpet. S.-plattltanz, 
 An Austrian clog-dance. 
 
 schuiftrommpet (shwif- trom - pet), 
 Dutch. Sackbut. 
 
 Schule (shoo'-le), G. A school or 
 method, schulgerecht (ghg-r€kht). 
 Academic. 
 
 Schultergeige (shool-ter-gl'-khe), G. 
 Shoulder-violin. 
 
 Schusterfleck (shoos'-ter-flek), G. Ro- 
 salia. 
 
 SChwach (shvakh), G. Weak, 
 schwacher Taktteil. Weak beat. 
 schwacher (shve'-kher). Softer. 
 
 Schwarmer(shwer'-mer), G. Rauscher. 
 
 Schwebung (shva'-boongk), G. Wav- 
 ing. I. Tremulant. 2. Beat (of vi- 
 bration). 
 
 Schweige (shvl'-kh^), G. A rest. S.- 
 zeichen. Rest-mark. 
 
 Schwegel (shva'-khel). i. A wind-instr. 
 2. A Hue-pipe. S.-pfeife. A 4 or 
 8 ft. stop with tapering pipes. 
 
 Schweinskopf(shvins'-k6pf),6^. "Pig's 
 head. " Used of the profile of a grand 
 piano. 
 
 Schweizerflote (shvl'-tser-fia-te). 
 "Swiss flute." I.Fife. 2. 8-ft metal 
 flue-stop. S.-bass. The i6-ft. stop 
 on the pedal. Schweizerpfeife. i. 
 4-ft. stop. 2. Old name of cross flute. 
 
 schwellen (shvel'len), G. To swell, 
 increase. Schweller. The swell. 
 Schwellwerk. Swell - organ. 
 Schwellton. Messa di voce. 
 
 schwer (shvar), G. i. Heavy, pon- 
 derous. 2. Difficult. S.-mut(h)ig. 
 Melancholy. 
 
 Swiegel (shve'-gel), G. Schwegel. 
 
 Schwindend (shvln'-dent). Dying 
 away. 
 
 Schw'ingung (shvTng'-oongk), G. Vi- 
 bration. 
 
 scialumo (shal-oo-m6'), /. Chalu- 
 meau. 
 
 scintillant(e) (safi-te-yan(t) in F. ; 
 shen-ttl-lan'-te in /.). Brilliant. 
 
 scioltezza (shol - ted'-zii), /. Ease, 
 sciolto (sh6r-t5). I. Light. 2. Free 
 (of fugue), scioltamen'te. Easily. 
 
 scivolando (she'-v6-lan-d6), /. Gliss- 
 ando. 
 
 scolia (sko'-lK-a), Gr. Festive lyrics. 
 
 scordato (skor-da -to), /. r. Out of 
 tune. 2. Tuned in an unmusical ac- 
 cordature. 
 
262 
 
 THE MUSICAL GUIDE 
 
 scordatura (too'-ra), /. , scord'ature, 
 E. The unusual tuning of an instr. 
 for special effects, as a violin b-d -a- 
 e" (Paganini). 
 
 score. I. An arrangement of the parts 
 of a composition with bars drawn (or 
 "scored") across all the parts to 
 connect the simultaneous measures. 
 full or orchestral s. One with a 
 stave to each part, voice or instr. 
 close, compressed, or short s. («.) 
 One with more than one part on a 
 single stave, {b.) An abridged score 
 or sketch, piano s. A compression 
 of score to two staves for the instru- 
 ments with two additional staves for 
 the voice, also vocal s. The organ s. 
 has a 3d stave for the pedal, sup- 
 plementary S. Staves pasted on 
 when the parts are too numerous for 
 the page. 1. As a lerb, to arrange 
 for instrs., hence scoring is instru- 
 mentation ; score-reading or play- 
 ing, the mental transposition of the 
 different keys and clefs of a full score 
 into one key. 
 
 scorren'do, scorrevole (ra -v6-le), /. 
 Gliding, flowing. 
 
 Scotch scale. Vide pent.vtomc. 
 
 Scotch catch, or snap. A rhythmic 
 peculiarity in tunes ; as the placing 
 of an accented i6th note before a 
 dotted eighth note with a snapping 
 electric effect. It is a characteristic 
 of Scotch music and also of American 
 negro tunes. 
 
 scozzese (skod-za-se), /. Scotch. 
 alia s. In Scotch style. 
 
 scriva (skre'-va). Written, si s. As 
 written. 
 
 scroll. The curved head of violins, etc. 
 
 sdegno (sdan'-yo), /. Disdain, wrath, 
 sdegnan'te. Angrv. sdegnoso. 
 Disdainful. 
 
 sdrucciolare (sdroot-cho-la'-re), /. To 
 slide the fingers along the strings or 
 the keys of an instr., hence the noun 
 sdrucciolamen to, and the adjective, 
 sdrucciolato (a'-to). 
 
 se (sa), /. If, as, etc. se bisogna 
 (be-son'-ya). If necessarj-. se place 
 (pl-a-che). If it please (you). 
 
 sea-trumpet. Marine trumpet. 
 
 sec (sek), F., secco (sek'-ko), /. Dry, 
 unornamented, cold, sharp. Vide 
 RECiTATivo. a table sec (a tab'l 
 sek). Without accompaniment. 
 
 seccarara (sek-ka-ra -ra), /. Neapoli- 
 tan dance. 
 
 sechs (zekhs). Six. S.-achteltakt. 
 6-8 time. S.-vierteltakt. 6-4 time. 
 
 Sechs er, sechstaktiger (tak-tlkh-er), 
 Satz, G. A passage or period in 6 
 measures. sechstheilig (tl'-likh). 
 Si.\-fold, e. g. , in 6 parts. 
 
 sechszehn (zekhs'-tsan), G. Si.xteen. 
 S.-tel. i6th note. S.-telpause 
 (pow-ze). i6th rest. S.-fiissig 
 (fus-sikh). i6-ft. pipe. 
 
 second(e) (in F. sii-k6h(d)), seconda 
 or o (sa-kon-da), /., Secunde (za- 
 koon'-de), G. I. As a noun, (a) The 
 interval (q. v.) between a tone and 
 the ne.\t above or below, (b) Alto 
 voice or part. (c) secondo. 2d 
 part or player in a duet, (d) chord 
 of the second (Secund akkord). 
 6-4-2 chord. 2. As an adjective, 
 
 (a) Lower in pitch, as 2d string. 
 
 (b) Of lower rank or importance, as 
 2d violin. seconde dessus. 2d 
 soprano, secon da donna, etc. (c) 
 Higher, as the 2d space of a stave, 
 (d) Second in order, as seconde fois, 
 subject, etc. secondan'do. Following. 
 
 secondaire, temps (tan-sii-kon-dar), 
 F- Weak beat. 
 
 sec ondary. Subordinate (of chords 
 or themes), related (of keys). 
 
 sec tio can'onis, L. " The section of 
 the canon." The mathematical di- 
 vision of a string, upon a monochord. 
 
 section. Portion of a composition, 
 variously used as (a) Half a phrase, 
 (b) what is often called a phrase, (c) 
 a group of periods with a distinct 
 completeness. Vide form. 
 
 secular music. Music that is noi 
 sacred. 
 
 Secun de, G. Vide sfxond. 
 
 secun dum ar'tem, Z. According t( 
 art or rule. 
 
 sedecima (sa-da'-che-ma), 7. and L 
 Sixteenth, i. Interval. 2. Stop. , 
 
DICTIONARY OF TERMS 263 
 
 Seele (za'-le), G. i. Soul, feeling. 2. 
 Sound-post. Seelenamt (sa'-len- 
 amt) or -mes'se. Requiem. 
 
 seer. Bard or rhapsodist. 
 
 segno (san'-yo), /. A sign :S:. al s. 
 (return), " to the sign." dal s. (re- 
 peat) " from the sign," to the Fine. 
 
 segue (sa'-gwe), /. i. Follows, now 
 follows, as s. la finale. — The finale 
 now follows. 2. In a similar man- 
 ner, to that which precedes. 3. Go 
 on ; s. senza rit, go on without retard- 
 ing. 
 
 seguendo (se-gwen'-do), seguen te, /. 
 Following ne.Kt. seguenza (sa- 
 gwen'-tsa). A sequence. 
 
 iseguidilla (sa-gwe-del'-ya), Sp. Span- 
 
 ; ish dance in 3-4 time, usually slow 
 
 ! and in minor, with vocal and castanet 
 or guitar accompaniment. 
 
 ;Seguite (se-gwe'-ta), /. Plural of 
 segue. 
 
 seguito (se-gwe'-to), /. Followed, 
 imitated. 
 
 sehnlich (zan'-ltkh), G. Longing(ly). 
 
 Sehnsucht (zan'-zookht), G. Desire, 
 longing, s.-svoll. Full of longing, 
 sehnsiichtig (zan'-zukh-tlkh). Long- 
 ingly. 
 
 •'sehr (zar), G. Very much. 
 
 sei (sae), /. Six. 
 
 Seitenbewegung (zeit'-en-bS-va'- 
 goongk), G. "Side -wise," i. e., 
 oblique motion (q. v.). Seitensatz 
 (zats). A "side-piece"; episode, or 
 second subject. 
 
 seizi^me (sez-yem), F. Sixteenth. 
 
 Sekunde (ze-koon'-de), G. Second. 
 sekundi(e)ren (de'-ren). To play a 
 second part. 
 
 selah (sa'-la), Heb. A term used per- 
 haps to mark a pause or a place for 
 the priests to blow the trumpets. 
 
 sem(e)iog'raphy. Notation by signs 
 or notes. 
 
 semeiomelodicon (za-mT'-6-me-l6d'-t- 
 k5n). A device inv. by Fruh, 1820, 
 for aiding beginners; it consists of a 
 series of note-heads which the finger 
 presses, producing the corresponding 
 tone. 
 
 semi (sem'-T), L. and /. Half. s. bis- 
 
 croma. 32d note, semibreve rest. 
 Whole rest. s. chorus. A chorus 
 to be sung by half of the voices. 
 s. cro'ma. A i6th note, semi- 
 •demiseraiquaver (rest). 64th note 
 (or rest), s. diapa son, diapen te, 
 diates'seron, di'tonus (or di tone). 
 Diminished or minor octave, fifth, 
 fourth, third. semidi'tas. The 
 diminution due to a stroke through 
 the time-signature. semidi'tone, 
 semi-fusa, or semiquaver. i6th 
 note. semigrand. Small grand 
 piano, s. niin'im(a). Quarter note. 
 semipausa (pa-oo-za). Whole rest. 
 semiserio (sa'-rI-6). Serio-comic. 
 s. sus'pirium. Quarter rest. s. 
 trillo. Inverted mordent. 
 
 semitone, F., semito'nium, L., se- 
 mituono (se-mt-too-6'-n6), /. A 
 half-tone, smallest interval written. 
 
 semito'nium modi. The leading 
 note. s. fie turn (naturale). A 
 chromatic (diatonic) half-tone. 
 
 semi-tonique (to-nek), F. Chro- 
 matic. 
 
 semplice (sem'-plT-che), /. Simple. 
 semplicita (sem-ple-chl-ta'). Sim- 
 plicity, semplicemen'te. Plainly, 
 without ornament, semplicis'simo. 
 With utmost simplicity. 
 
 sempre (sem'-pre), /. Always, con- 
 tinually, throughout. 
 
 sen net. Old E. Repeating a note 
 seven times. 
 
 sensibile (sen-se'-bt-l^), /. Sensitive, 
 expressive, nota s. Leading note, 
 sensibilita (be-ll-ta'). Feeling, sen- 
 sibilmen'te. Expressively. 
 
 sensible (in F. san-sebl). Leading 
 note, usually note s. 
 
 sentence, i. An interlude strain in 
 the Anglican Church service. 2. Short 
 anthem. 3. Passage, or phrase. 
 
 sentimen'to, /. Feeling, sentiment. 
 
 senza (sen'-tsa), /. (Without, some- 
 times followed by the infinitive with 
 or without di, as s. (di) rallentare, 
 without retarding. 
 
 separa tion. i. A device for keeping 
 the great organ-stops from speaking. 
 2. A passing note in a tierce. 
 
264 
 
 THE MUSICAL GUIDE 
 
 sept-chord. Chord of the 7th. 
 
 Septdezime (zept-da'-tse-me), G. A 
 17th. 
 
 septet (sep-tet'), E., septet'to, /., 
 Septett (zep-tet'), G. Composition 
 for seven voices or instruments. 
 
 septi^me (set-yem), /"., Septime (zep'- 
 te-me), G. Interval of a seventh. 
 Sep'timenakkord. Chord of the 
 seventh. 
 
 septimole (mo'-le), septio'le, septo'- 
 le, sep'tuplet, L. and /. A group 
 of seven equal notes. 
 
 septuor (sep-tii-or). F. Septet. 
 
 sequence (in F. sa-kjihs), Sequenz (za- 
 kvents'), C, sequenza (se-kwen'- 
 tsa), /. I. The repetition at least 
 three times in succession of a musical 
 pattern, a melodic ox Ztrtrwcv/ic design, 
 it may proceed chromatically or by 
 whole tones. Vide rosalia. 2. A R. 
 C. Church poem (I'ro'sa) of the gth 
 century adopted to the long coda (or se- 
 quentia) of vocalising on the vowels 
 of the Hallelujah. In 1568 Pope 
 Pius V. abolished all but these five : 
 Victimae paschali laudes ; Veni 
 Sancte Spiritus ; Lauda sion Salva- 
 torem ; Stabat Mater ; Dies irae. 
 These are still in use (vide also the 
 separate titles). 
 
 ser'aphine (or -a). An early harmo- 
 nium. 
 
 serenade, E., serenade (sa-ra-nad), 
 F., serenata (sa-re-na'-ta), /. 
 "Evening music." i. An open-air 
 concert under the window of the per- 
 son addressed. 2. An instrumental 
 piece of like character. 3. A dramatic 
 cantata of the 18th cent. 4. A 
 composition in chamber-style of sev- 
 eral movements. 
 
 sereno (se-ra'-no), /. Serene. 
 
 s6rieusement (sa-rt-iiz'-mah), F. Seri- 
 ously. 
 
 serinette (sur-lt-net'), F. A bird- 
 organ used for training birds to sing 
 tunes. 
 
 seringhi (s^-ren'-ge), //in. Hindu 
 violin. 
 
 serio (-a) (sa'-ri-6), serio'so, /. Seri- 
 ous, grave. 
 
 ser'pent, serpente (ser-pen'-te), ser- 
 pento'no, /. i. Long curved wood- 
 instr. of coarse tone and compass of 
 2 octaves. It is practically obsolete, 
 having yielded to the tuba. The 
 serpentcleide is wooden but much 
 like the ophicleide. The contra- 
 serpent, descended to Eb. 2. A 
 reed-stop. 
 
 service. The music for a complete set 
 of the solo and chorus numbers used 
 in the Anglican Church ritual for 
 morning and evening prayer and 
 communion : Venite e.xultemus, Te 
 Deum, Benedicite, Benedictus dom- 
 inus, Jubilate, Kyrie, Credo, Sanctus, 
 Agnus Dei, Benedictus fui venit, 
 Gloria magnificat, Cantate Domino, 
 Nunc dimittis, Deus misereatur (vide 
 the separate titles). 
 
 sesqui (ses'-kwi), L. Latin prefix "a 
 whole, and a half " joined with al'te- 
 ra, ter'za, quar'ta, etc., it expresses 
 a kind of ratio, sesquialtera (ses- 
 kwT-al'-te-ra). I. The ratio of a per- 
 fect fifth which includes one and a 
 half to one (3 : 2). 2. A 2 to 5 rank 
 mi.xture-stop producing the 3d, 4th, 
 and sthpartials. sesqulno'na. Les- 
 ser, whole tone (ratio 9 : 10). S.-OC- 
 ta'va. Greater whole tone (8 : 9). 
 s.-tertia. Perfect 4th (3:4). s.- 
 quar'ta. Major 3d (4 : 5). s.-quin'- 
 ta, or s.-tone. Minor 3d (3 : 4). 
 
 sesto (ses'-to), /. Interval of a sixth. 
 
 sestet (ses-tet), E., sestet'to, /. Sex- 
 tet. 
 
 sestina (s^s-te'-na), sesto'la, /. A 
 sextole. 
 
 sette (set'-te), /. Seven. 
 
 settimo (set-tT-mo), /. Interval of a 
 seventh, settimo'la. A septimole. 
 
 Setzart (zets'-art), G. Style of compo- 
 sition. Setzkunst (koonst). Art of 
 composition. Setzstiick. Crook. 
 
 seul(e) (sul), F. " Alone," solo. 
 
 seventeenth', i. Two octaves plus a 
 tierce. 2. A tierce-stop. 
 
 sev'enth. Vide interval, chord. 
 
 severamente (se-var-a-men'-te), /. 
 Strictly, severita (se-va-rl-ta'). Ex- 
 actness, strictness. 
 
 I 
 
DICTIONARY OF TERMS 265 
 
 text, I. Interval of a 6th. 2, Vide 
 HORAE. 3. A compound stop with 2 
 ranks a 6th apart. 
 
 sex'ta, L. Sixth ; interval of a 6th. 
 
 Sexte (zex'-te), G. i. Sixth. 2. A 
 stop with two ranks. 
 
 sexquial'tera. Vide sesqui. 
 
 sextet', E., Sextett', C, sextuor 
 (sex-tu-or), /'. A composition for 
 six voice-parts, or instrs. Usually a 
 composition in sonata form for six 
 instruments. 
 
 sext'ole, sex'tolet, sex'tuplet, Z. A 
 group of six equal notes. The false 
 s. is a double triplet. 
 
 sex'tuple measure. Compound double 
 measure. 
 
 sex'tus, L. Sixth. 
 
 sf. Abbr. of Sforzando. 
 
 sfogato (sf6-ga'-t6), I. "Exhaled.' 
 A lightly executed note, soprano s. 
 A high voice. 
 
 sforza (sfor'-tsa), /. Force, sforzan'- 
 do, sforzato (a'-to). "Forced," of 
 a particular chord or note to be struck 
 with immediate emphasis. If followed 
 by a softer tone, it is sfp,, or fzp. sfor- 
 zare la voce. To overstrain the 
 voice, sforzatamen'te. Energet- 
 ically. 
 
 sfuggito (sfood-je'-to), I. Avoided. 
 
 Vide CADENCE. 
 
 sfumato (sfoo-ma'-to), /. Exhausted 
 (of breath). 
 
 sgallinacciare (sgal-lT-na-cha'-re), /. 
 To sing like a rooster (galinaccio). 
 
 shade. i. To place anything near 
 enough to the tip of a pipe to affect 
 its vibration. 2. To observe grada- 
 tions of force in executing music. 
 
 shake. I. Trill, double S. Simul- 
 taneous shakes as on sixths or thirds. 
 passing s. A short trill, prepared 
 s. A shake preceded by introduc- 
 tory notes, shaked graces. The 
 beat, backfall, cadent, elevation, and 
 double Relish. Vide grace. 
 
 shalm. Shawm. 
 
 sharp. I. A character (Jf) raising the 
 following note a half-tone ; if in the 
 signature, raising every note on the 
 line or space it occupies. The double 
 
 s. (x) marks an elevation of two 
 half-steps. 2. As an adj. (a) Too 
 high in pitch. (b) Augmented or 
 major (of intervals), (c) With sharps 
 in the key-signature, (d) Shrill (of 
 stops), (e) A black piano-digital ; 
 also any white digital regarded as a 
 semitone above another, to sharpen, 
 or sharp. To raise the pitch a sem- 
 itone. 
 
 shawm. i. Ancient Hebrew wind- 
 instr., supposed to be of the reed 
 class. 2. An early form of the oboe 
 with double reeds in a mouthpiece ; 
 it still persists in the chanter of the 
 bagpipe. 3. Vide chalumeau. 
 
 shem'inith, Heh. i. A stringed instr. 
 2. Species of music. 3. Section. 
 
 shepherd's flute. A short liute, blown 
 through a lip-piece at the end. 
 
 shift. I. A change of the left hand's 
 position on the violin, etc. (vide po- 
 sition), half-shift being the 2d 
 position, whole s. the 3d, the 
 double s. the 4th. 2. Any position 
 except the first, hence " on the shift" 
 and shifting. 
 
 shiv'aree. Corruption, probably of 
 charivari ; a grotesque discordant 
 serenade with an orchestra of tin 
 pans, cat-calls, etc., to bridal couples 
 or to other objects of general rid- 
 icule. Philip Hale quotes from Ga- 
 briel Peignot's " Histoire morale, 
 civile, politique, et litterairesur Chari- 
 vari, depuis son origine vers le iv* 
 siecle," the exact make-up of such an 
 orchestra for a town of 15,000 or 20,- 
 
 000 inhabitants ; "12 copper kettles, 
 10 saucepans, 4 big boilers, 3 drip- 
 ing-pans, 12 shovels, and 12 tongs, 12 
 dish covers for cymbals, 6 frying- 
 pans and pipkins, 4 warming-pans, 8 
 basins, 6 watering-pots, 10 hand- 
 bells and mule bells, 4 strings of 
 bells, 2 tambourines, i gong, i or 2 
 empty casks, 3 cornets-a-bouquins, 3 
 big hunting horns, 3 little trumpets, 
 4 clarinets (badly keyed), 2 oboes, 
 ditto, 2 whistles (these will be enough), 
 
 1 musette, 4 wretched violins to 
 scrape, 2 hurdygurdies, \ marine- 
 
266 
 
 THE MUSICAL GUIDE 
 
 trumpet (if you can find one), 4 rat- 
 tles, 10 screeching voices, 8 howling 
 voices, 3 sucking pigs, 4 dogs to be 
 well whipped. This is all that is 
 necessary. I can assure you that 
 when all this is vigorously set a-going 
 at the same time, the ear will experi- 
 ence all desirable joy." 
 
 sho far. A Heb. trumpet. 
 
 short. Vide meter, mordent, appog- 
 
 GI.\TURA, score, SHAKE, OCTAVE. 
 
 shut' ter. One of the blinds of a swell- 
 box. Vide organ. 
 
 si (se), F. and /. i. The note or key 
 of B. 2. Vide solmisation. 3. 
 One (cf. French on), almost equal to 
 " you," as si leva. One lifts, you 
 lift, si piace. One pleases, if you 
 please, etc. 
 
 sib'ilus, L. A little flute. 
 
 Siciliana (se-che-ll-a'-na), or -o, /., 
 Sicilienne (se-sel-yen), F. A Sicil- 
 ian peasant dance of slow pastoral 
 nature in 6-8 or 12-8 time, alia s. 
 In Siciliana style. 
 
 side-drum. Vide drum. 
 
 side-beards. Vide beard. 
 
 Sieb (zep), G. Sound-board. 
 
 sieben (ze-ben), G. Seven. S.- 
 pfeife. Pan's pipes. S.-klang. 
 Heptachord. Siebente (ze'-ben'-te). 
 Seventh. Siebenzehnte (ze'-ben- 
 tsan-te), G. Seventeenth. 
 
 Siegesgesang (zekh'-es-ge-zang). or 
 Siegeslied (let), G. Triumphal song. 
 Sieges marsch. A triumphal march. 
 
 si(e)ffl6te (zef'-fla-te), G. A i or 2 ft. 
 stop of the Hohlflute species. 
 
 sifflar (sif-fla), F. To whistle, sifflet 
 (sif-fla). I. A whistle, s. de pan. 
 (pah). Pan's pipes, s. diapa son. 
 I. Pitchpipe. 2. A cat-call. 
 
 Signalhorn (zekh-nal-horn), G. A 
 bugle. Signalist (lest). Trumpeter. 
 
 sign, musical. One of the numerous 
 de\ices for expressin,^ mu-.io \.^uaily. 
 Vide chart, signs and symbols. 
 
 signatur (zekh'-na-toor). pi. -en, C, 
 signature, j^. i. The tabulation at 
 the beginning of a compocition sec- 
 tion or stave, showing (a) the key of 
 the pi^ce {key-stgnature), with such 
 
 tones as are to be sharpened or flat- 
 tened unless otherwise marked, (b) 
 The governing time or rhythm {time- 
 signatiire). 2. In Germany a figured 
 bass sign. 
 
 signe (sen'-yu). F. Sign, as s. acci- 
 dental. An accidental, s. de silence 
 (du se-lahs). i. A rest. 2. Vide SEGNO, 
 
 signet. Sennet. 
 
 sig num, L. Sign. 
 
 siguidilla (se-gwe-del'-ya), Sp. Segui- 
 dilla. 
 
 Silbendehnung (zel'-ben-da-noongk), 
 G. Singing a syllable to more than 
 one note. 
 
 silence (se-lahs). F., silenzio (se-Ien'- 
 tsI-5), /. A rest. 
 
 sillet (se-ya), /'. Nut. petit s. The 
 nut at the neck of violins, etc. grand 
 S. That at the tailpiece. 
 
 silver trumpet. Chatsoteroth. Manyj 
 instrs. and strings are made of silver. 
 
 sim'icon, Gr. 35-stringed harp. 
 
 sim ilar. Vide motion. 
 
 simile (sem'-I-le), / , similiter, L. Si 
 ilarly. An indication that a certair 
 manner of pedalling or playing is tCi 
 be continued till otherwise indicated 
 
 simp la, low, L. Quarter note. 
 
 simple, F.. (in /'. sah-pl). i. Not com 
 pound (of intervals). Vide counter 
 
 POINT, imitation, RHYTHM, CtC. 
 
 Plain, easy. 3. Without valves, si 
 plement (siin-plu-man). Simply. 
 
 sin (sin), /. As far as. Vide sino. si 
 al. .As far as the. 
 
 sincopa (sln'-k6-pa), or -e, /. Sincop. 
 tion. 
 
 sinfonia(sTn-fr>-ne'-a), /., Sinfonie (it 
 G. zen-fo-ne' ; in F. sah-fo-ne). ] 
 Symphony. 2. In early operas, ovej^ 
 ture. s. pittor'ica. Descripti'l 
 symphony, s. concertan'te, con 
 certa'ta, concertate (ta'-te). Co, 
 certo for many instrs., a conceri 
 symphony, s. da cam'era. Chambi 
 quartet. 
 
 singen (zing'-en), G. To sing, tochai, 
 Singakademie (a-ka-de-me), -aw^ 
 stalt or -verein. Vocal society. 
 
 Singart (zTng-art). Vocal art. 
 chor. Choir. 
 
THE MUSICAL GUIDE 
 
 SIGNS AND SYMBOLS 
 
 (See also Graces and Notation,) 
 
 NUMERALS AND ACCENTS. 
 
 I, 2, 3, etc. See CHORD, METRONOME, 
 FINGERING, TEMPO and REST. 
 
 8, 8va. See ottava. 
 2', 4', 8', i6'. See foot. 
 
 (J)' (^' ^^^' ^^^ HARMONIUM. 
 
 1, i, % etc. See tempo. 
 
 h 
 
 See TRi plet.quartole. 
 etc. 
 
 4-tette, 5-tette, etc. Quartette, Quin- 
 tette, etc. 
 
 i-ma, 2-da, etc. Prima (Seconda, etc.) 
 volta. 
 
 Man. I. The Great Organ. 
 Man. 2. The Choir Organ. 
 
 See CHORD. 
 
 0, ^, etc. 
 
 1, II, II„ VIF, etc. 
 
 a', A', b' , B", etc. 
 
 or 
 
 alJb^ a», Ci, Cs, 
 a, a, etc. 
 
 See PITCH. 
 
 O. I. Open string. 2. See harmonic 
 3. Tasto solo. 4. The heel, in organ- 
 playing. See below. 
 
 DOTS, COMMAS, CURVES, LINES, ETC. 
 
 See DOT and notation. 
 
 ' Staccato. 
 
 TT^ Slightly staccato. 
 
 -^^^-^-^-^ .Slightly staccato and marcato. 
 
 F i Very staccato. Martellato. 
 
 — w Forte tenuto. 
 
 Placed under notes sung to one 
 
 or syllable; in Tonic Sol-fa, placed 
 under the letters. 
 
 •^ Fermate. 
 
 -i- or // Abbreviation indicating a repe- 
 tition of the figure preceding, 
 or of the previous measure(s) or part 
 of a measure. 
 
 'S' :Q: Presa. 
 
 yi %. ^ I Segno. 
 
 IB^I^l^fi Repeat. 
 X or + Thumb (pfte. -music). 
 IM Sharp, Flat, Natural, 
 
 X Double-sharp. 
 
 ' or // // or y y Breathing-place. 
 
 — Tenuto. Pesante. 
 
 _<:~^_ Mezzo legato. 
 
 -- — ^ Bind. Slur. Tie. 
 
 ^^^^ Sign of a measure where no bar 
 ~~~ is required. 
 
 > A V ■= I. Forte-piano (y^). 2. Rin- 
 forzando. 3. Sforzato (sf). 
 
 A V or o ^ or ^ V Heel and toe ; in 
 organ-playing placed above the notes 
 for the right foot ; below, for the left. 
 
 A ^ A Slide the toe to the next note. 
 
 V — A Change toes on the same note. 
 
 V V I. Up-bow. 2. Breathing place. 
 A Down-bow in 'cello music. 
 
 U n Down-bow on the violin. 
 
 I I I I I. In organ music, alter. 
 
 nately heel and toe f the same foot_, 
 2. Bind. ' •' 
 
DICTIONARY OF TERMS 
 
 r~ Notes thus connected are to be 
 I— played with the same finger or hand ; 
 or to be sung divisi. 
 
 I I Pesante. 
 
 ■j Brace. 
 
 ^-- or — — Notes so connected are to 
 be played with the same hand, or con- 
 tinue a melody or a resolution from 
 one staff to another. 
 
 '■''-"^ Sign of the continuation of a 
 TRILL (q.v.) or of all' ottava (q.v.). 
 
 \ Arpeggio. A chord preceded by this 
 } mark is to be played broken. 
 
 A\/ rvv or y Direct. 
 tvv Inverted Mordent. 
 ^ Mordent. 
 
 tr 
 
 etc. Trill. 
 
 Turn. 
 
 Release damper-pedal. 
 
 I— 1 or I 1 A recent improved sign 
 
 marking exactly the points where the 
 pedal is to be pressed and released. 
 
 i Thumb-position on the 'cello. 
 
 -=:^ Crescendo. 
 
 II^==- Diminuendo. 
 
 NOTES. RESTS, AND SIGNATURES. 
 
 Whole. 
 Note. Rest. 
 
 Half- Quarter- 
 
 Note. Rest. Note. Rest, or or 
 
 l^=^l^ll^^-=P 
 
 Below the 
 4th line. 
 
 Above or upon Turns to 
 
 the 3rd line. the right. 
 
 Eighth. Sixteenth Thirty-second. Rests of more than one measure. 
 
 Note. Rest. Note. Rest. Note. Rest. Two. Three. Four. Four. Six. 
 
 Turns to Like tail of Like tail of 
 
 the left. the note. the note. 
 
 Key Signatures,— Capital letters indicate Major keys; small letters, the relative 
 Minor keys which use the same signatures. White notes indicate the tonics of Majo: 
 keys ; black notes, the tonics of Minor keys. 
 
 C G D A E B F sharp C sharp 
 
 a e b f sharp c sharp g sharp d sharp a sharp I 
 
 [ix.ic 
 
 i^ii^i^^pE^i^^p^^^^ip 
 
 F Bflat 
 
 d g 
 
 Aflat 
 f 
 
 Dflat 
 b flat 
 
 G flat 
 e flat 
 
 C flat 
 aflat 
 
 l:i-*^^^zJ^gi^^^"^|%E^^^^^^^: 
 
DICTIONARY OF TERMS 267 
 
 singbar (ztng'-bar). Singable, sing- 
 end (zlng'-ent). Cantabile. Sing_(e)- 
 tanz (tants). Dance-song. Sing- 
 fuge. Vocal fugue. Singmarchen 
 (mar-khen). A ballad. Singma- 
 ni(e)ren (ma-ne'-ren). Vocal embel- 
 lishment. Singschauspiel (show- 
 shpel). Drama with songs. Sing- 
 schule (shoo-le). Vocal school or 
 method. Singspiel (shpel). i. The 
 original form of German opera in 
 the i8th cent. Simple tunes were 
 given to peasants, etc., florid songs 
 to the aristocracy. (Vide j. A. hillf.r 
 intheB. D.) Singstimme. Voice, 
 vocal part. Singstuck, Singweise. 
 Air, melody. 
 
 singhiozzando (stn-gl-6d-zan'-d6), /. 
 Sobbing. 
 
 single-action. Vide h.\rp. 
 
 single-chant. A simple melody to 
 one verse of a psalm. 
 
 siniestra (se-nl-as'-tra), Sp., sinistra 
 (stn'-Ts-tra), L. (in /. se-nes'-tra). Left 
 (hand). colla sinistra (mano). 
 With the left hand, sinis'trae, L. 
 Vide TIBIA. 
 
 sink'apace. A five-step dance. Cin- 
 quepace. 
 
 sino (se'no), /. To, as far as ; usually 
 sin'al. 
 
 si'ren, E. , Sirene (ze-ra -n^), G. , sir^ne 
 (se-ren'), F. i. A mythological be- 
 ing whose vocal powers captivated 
 the human beings on whom she 
 preyed ; hence, a prima donna. 2. 
 An instr. for counting vibrations. 
 
 Sir Roger de Coverley. An imaginary 
 gentleman of the old school described 
 by Addison ; hence an English coun- 
 try-dance in g-4 time. 
 
 sirventes (ser-vant), F. Troubadour 
 songs of homage. 
 
 sistema (ses-ta-ma), /. Staff. 
 
 Sister (zes-ter), G. Old 7-stringed 
 guitar. 
 
 sis'trum, L. An ancient inst., con- 
 
 sisting of an iron frame with a num- 
 ber of movable rings ; when shaken 
 or struck it sounded. 
 
 sit'ar. Hindu guitar. 
 
 sito'le. Citole. 
 
 Sitz (zlts), G. Position, place. 
 
 six (in /". ses). Six. Vide meter ; 
 6-8 time, that in which there are six- 
 eighth notes, the accent resting on 
 the first and fourth, six pour quatre 
 (poor katr). Sextuplet. 
 
 sixte (sekst), sixifeme (sez-yem), F. 
 A sixth. 
 
 sixteenth note. A semiquaver ; one- 
 fourth of a quarter note, sixteenth 
 rest. A pause of equal duration. 
 
 sixth. I. An interval (q. v.). 2. A 
 chord, chord of the s. or s. chord. 
 The first inversion of a chord (q. v.), 
 chord of the added s. (de la s. 
 ajout^e). Subdominant triad, with 
 sixth added as f-a-c-d. Vide altered. 
 little sharp s. The 2d inversion 
 of the seventh on the second degree. 
 extreme s. Vide extreme and 
 ALTERED, six-four, six-five, etc. 
 Vide CHORD. 
 
 sixtine (sex-ten'), F. Sextuplet. 
 
 sixty-fourth (note). A hemidemi- 
 semiquaver. s. rest. A pause of 
 equal duration. 
 
 Skalde (skal'-de), G. Vide scald. 
 
 skim'ming^on. A shivaree described 
 in Hardy's novel " The Mayor of Cas- 
 terbridge." 
 
 skip. A progression exceeding a whole 
 step. 
 
 Skizze (sktts'-z^), G. Sketch, a short 
 piece. 
 
 slancio (slan'-cho), /. Vehemence. 
 
 slargando (slar-gan'-do), slargan- 
 dosi, /. Enlarging, gradually slow- 
 er. 
 
 slentan'to, /. Becoming slower. 
 
 slide. I. A movable tvtW ip the shape 
 of a U, used in the 9:iide-trumpet, 
 slide-horn, and the trombone (q. v.). 
 2. A grace of two or more notes 
 moving diatonically. 3. A porta- 
 mento. 4. A sliding lath strip which 
 cuts off a rank of pipes from the wind, 
 also slider. 5. tuning-s. A sliding 
 pitch - pipe sounding thirteen semi- 
 tones, sliding-relish. 6. An old 
 grace, a slide (2>. 
 
 slogan. Highland war-cry or rallying 
 word. 
 
268 
 
 THE MUSICAL GUIDE 
 
 slur. I. A curved line above or be- 
 neath two or more notes, which are, 
 (a) to be played legato, (b) to be 
 sung to one syllable, hence slurred 
 as opposed to syllabic melody. 
 
 small octave. Vide pitch. 
 
 smaniante (sma-nT-an'-te), smaniato 
 (a'-t5), smanio'so, /. Frantic. 
 
 sminuendo (sme-noo-Sn'-do). Dimin- 
 ishing, siminuito (sme-noo-e'-to). 
 Softer. 
 
 smoran'do, /. Dying away. 
 
 smorfioso (sm6r-f!-5'-z6), /. Affected. 
 
 smorz. Abbr. of stnorzando (smor- 
 tsan'-do), /. Dying away. Extin- 
 guished. 
 
 snap. Vide scotch. 
 
 snare-drum. Side-drum. Vide drum. 
 
 snuff-box. I. A musical box com- 
 bined with a snuff-box. 2. A famous 
 waltz written for it. 
 
 soave (s6-a-ve), soavemen'te, /. 
 Suave(ly), sweet(ly). 
 
 sobb. Damping (on the lute). 
 
 sock'et. The round joint which holds 
 the mouthpiece of a clarinet. 
 
 soggetto (s6d-jet'-t6), /. Subject, 
 theme, motive, s. invariato (a'-to). 
 The invariable subject, s. variato 
 (va-rl-a'-to), /. Variable subject of 
 a counterpoint. 
 
 sognando (son-yan'-do), /. Dreamy. 
 
 soh. Tonic Sol-fa, for Sol. 
 
 sol (sol). I. Vide SOLMISATION. 2. 
 
 The note G in France and Italy. 
 
 sola (s6'-la), /. Alone, solo. 
 
 solem'nis, Z. Solemn. 
 
 solenne (s6-len'-ne), solennemen'te, 
 /. Solemn(ly). solennita (1-ta'). 
 Solemnity. 
 
 solfa (sol-fa), /. I. Gamut; scale. 2. 
 A baton. 3. Time, a bat'tere la s., 
 to beat time. 
 
 solfa, E. I. Solmisation (q. v.). 2. 
 Solfeggio. 3. To sing in solmisa- 
 tion or solfeggio. 4. Vide tonic 
 
 SOL-FA. 
 
 solf^ge (siil-fezh), /"., solfeggio (sol- 
 fed'-jo), /. Exercise for the voice in 
 solmisation or on one syllable, sol- 
 feggiare (s61-fed-ja'-re), /., solfeg- 
 gi(e)ren (zol-fed-je'-ren), G., sol- 
 
 fier (siil-fl-a), F. To sing a solfeg- 
 gio. 
 
 soli (s6-le), /. I. Plural of solo. 2. A 
 passage played by one performer to 
 each part. 
 
 sol'id. Of a chord not broken (q. v.). 
 
 so'list. Soloist, solo-player. 
 
 solito (s6-le'-t6), /. Usual, ai S. As 
 usual. 
 
 sollecito (s61-la'-che'-t6), /. Careful, 
 exact. 
 
 solmisation. " The singing of the syl- 
 lables da, re, sol, mi, etc." A vener- 
 able method of teaching and singing 
 scales and inten'als ascribed to Guide 
 D'Arezzo (or Aretinus). It is a con- 
 venient crutch for those who are not 
 going far ; but must soon be dis- 
 carded. 
 
 Greek music (Vide modes) divided the 
 complete scale into groups of four 
 consecutive degrees or tetrachords. 
 Guido or a disciple divided it into 
 groups of six degrees, or hexachords. 
 It happened that the initial syllables 
 of the six phrases of a certain fa- 
 miliar hymn to St. John formed the 
 ascending scale of one of these hexa- 
 chords (the one called naiurah). The 
 device was hit upon (as an aid for 
 weak memories) of using these sylla- 
 bles as names of the notes ; hence 
 the notes of this hexachord began to 
 be called ut, re, mi, fa, sol, la. (The 
 hymn ran as follows : ''' Ut queant 
 laxis, i^t'sonare fibris i7//ra gestorum 
 Fav[\vX\ tuorum Sohe. polluti Zabii 
 reatum, Sancte Johannes.") It was 
 later found convenient to use these 
 syllables for other hexachords, the ut 
 being movable. A crude form of 
 modulation was developed called w/«- 
 tation. When the modern scale 
 came into play early in the 17th cent, 
 it brought into use the heptachord 
 or scale of seven degrees. A new 
 syllable si was therefore devised 
 and the so-called Areti^iian syllables, 
 used for singing in all the keys ; ut, 
 being always the tonic, sol, the dom- 
 inant, etc. The syllables have per- 
 sisted for primary use and for vocal. 
 
DICTIONARY OF TERMS 269 
 
 exercises ever since. In many coun- 
 tries they have been since used as the 
 definite names of the notes of the 
 scale of C, except that the syllable 
 do (being more easily sung) has dis- 
 placed ut except in France, since its 
 first use (perhaps by Bononcini), in 
 1673. This is the only change that 
 has been accepted among the many 
 that have been advocated, such as 
 the bocedisation, or bodisation (bo, ce, 
 di, ga, lo, ma, ni) of Waelraut, 1550 
 (Pedro d'Urenna in 1620 proposing 
 hi for si), and the bebisation, or labe- 
 cidation (la, be, ce, de, me, fe, ge) — 
 satirically called labisation — of Hitz- 
 ler in 1628. The damenisatiott (da, 
 me, ni, po, tu, la, be) of Graun, 1750, 
 was not for solmisation but for use in 
 place of words in vocalising. 
 
 solo (s6'-16), /. I. As adjective, 
 " alone." 2. A passage or compo- 
 sition for a single voice or instr. 
 violino solo may mean either "vio- 
 lin only " ; or the solo (i. e., leading) 
 vln. solo-organ. A manual of the 
 organ (q. v.). solo pitch. A scor- 
 dature (q. v.) used by a soloist, solo 
 quartet. A group of four soloists ; 
 a composition for such a group ; a 
 solo with 3-part accompaniment, solo- 
 stop. Vide STOP. The word is used 
 in compounds of various languages, 
 as Solo-sanger, G. Solo-singer, etc. 
 
 SOlomanie (s6-16-ma-ne'). A Turkish 
 flute, without reed. 
 
 sombrer (son-bra), F. To give a som- 
 bre, veiled tone. 
 
 somma (s6m'-ma), /. Greatest, high- 
 est, extreme. 
 
 Sommer'ophone. A bombardon-like 
 instr. inv. by Sommer of Weimar, 1843 
 (also called <?«//«(?/«/('«, euphonic horn). 
 
 son (son), F., son (son), Sp. Sound. 
 s. harmonique (s6-nar-mo-nek). 
 Harmonic. 
 
 sonabile (s6-na -bl-l^), sonante (nan'- 
 i t^), /. Sounding, sonorous. 
 : BOnare (s5-na -re), /. To sound ; to 
 ring ; to play. s. alia mente. To 
 improvise. 
 
 sonata (so-na'-ta), /. , Sonate (in F. so- 
 
 nat, in G. z6-na'-te). Music " sound.- 
 ed or p.layedj' as opposed to music 
 sung {cantata^ Originally any in- 
 strumental piece, as s. da chiesa. 
 For church, s. da camera. For 
 the salon. Later the term was applied 
 to a group of three to five dance-tunes 
 of varied rhythms. The treatment 
 came to be less and less lyrical and 
 more and more thematic (q. v.). Such 
 were Bach's organ and violin sonatas. 
 The very human Haydn added a 
 lyric interest as contrast in the form 
 both of counter-themes to the princi- 
 pal theme and of separate movements 
 of melodious character. Mozart made 
 no formal change but added more 
 human interest and warmth. The 
 sonata now consisted of 3 or 4 move-_ 
 ments ; first an _allggra written bin 
 what is confusedly called the sonata- 
 form (the editor suggests "" sonata- 
 formula " (q. V.) as a substitute term 
 for describing the structure of this one 
 movement, retainingjiie word I'^sona- 
 ta-form " for the entire group of 
 movements); second, aslow rnove- 
 ment ; third a minuet ; fourth, a rojido^ 
 QT^nale'Dnlhe^ same formula as the 
 first movement. Beethoven substi- 
 tuted for the minuet a light and witty 
 gcherzo (q. v.) ; other composers have 
 made other substitutions. This gen- 
 eral group of varied movements and 
 moods is applied to many f<jrins, not- 
 ably the symphony, the classic oyer- 
 ture^ the concerto, the st:ring__quartft, 
 and chamber-music generally, which 
 are hence said to be "in sonata- 
 form." The sonata-formula, son- 
 ata-piece, or Sonatasatz (zats), 
 the structure of the first movement, 
 marks the highest period of classic 
 formalism. It is described under 
 Form (q. v.). The word is qualified 
 in many ways as grand, a highly 
 elaborate form, double, for two solo 
 instrs. A short easy composition with 
 few movements and little develop- 
 ment is called sonatina (s6n-a-te'- 
 na). sonatina, /., Sonatine (z6- 
 na-te'-ne), G. 
 
270 
 
 THE MUSICAL GUIDE 
 
 sonatore (to'-re), feminine sona- 
 trice (tre'-ch^), /. A man (or wom- 
 an) instrumentalist. 
 
 sonevole (s5-na -vo-le), /. Resound- 
 ing. 
 
 sonetto (s6-net'-t6), /. A composition 
 based on a poetic sonnet. 
 
 song. I. A melody for voice. 2. 
 Lyric piece for any instr. 
 
 song-form. A structure of 3 chief 
 sections, (a) a first theme, (b) a con- 
 trasting second theme, (c) a return 
 of the first theme. In poems of 
 many stanzas, the same air is com- 
 monly used for all the stanzas regard- 
 less of changed language and em- 
 phasis. This strophic treatment is 
 discarded by more conscientious com- 
 posers for a treatment in which each 
 stanza is individually set to music 
 with intelligent deference to its mean- 
 ing. This is th^ through-composed ov 
 durchkomponi(e)rt (doorkh-kom-po- 
 nert') style. 
 
 song without words. A lyric instru- 
 mental piece. 
 
 sonnante (son-naht), F. A scale of 
 hanging steel bars struck with a ham- 
 mer. 
 
 sonner (siin-na), F. To sound, s. le 
 tambour (Id tan-boor). To sound 
 the drum, used of a jarring G string 
 in the 'cello. 
 
 sonnerie (siin-re), F. i. Chime. 
 2. Military call. 
 
 sono (s6'-n6), /. Sound, tone. 
 
 sonomfetre (s6-no-metr), F., sono- 
 meter. I. A monochord inv. by 
 Loulis to aid piano-tuners. 2. A 
 sounding-board with two strings for 
 acoustic experiments. 
 
 sonore (so-nor), /'., sonoro (s6-n6'- 
 ro), /., sonoramen'te. Sonorous- 
 (ly). sonoridad (so-no-rl-dadh), 
 Sp., sonorita (so-no-rl-ta), /.,son- 
 orit6 (so-no-rl-ta), F. Sonority. 
 
 sonor'ophone. A form of bombar- 
 don. 
 
 sonorous (s6-no'-rous). Capable of 
 musical sound ; sounding. 
 
 so'nus, L. Sound, tone. 
 
 SO pra, /. Over, above, upon, before. 
 
 come s. As above, di s. Above. 
 s. una cor'da. On one string. 
 parte di s. Higher part. s. do- 
 minante. The dominant, s. quin- 
 ta. Upper dominant, s. to nica. 
 ■Supertonic. 
 
 soprano (s6-pra'-n5), /. (pi. -i), ■ 
 Sopran (zo-pran'), G. i. The high- ; 
 est kind of human voice, differing 
 from the alto in lying chiefly in the 
 "head-register"; this voice is typi- 
 cally a woman's voice, but is also 
 found in boys. It occurs naturally in 
 some men (called falsetti, alii nat- 
 urali, or tenorini), but was obtained 
 artificially in others (called cvirati, 
 castrati), particularly in the last cen- 
 tury when the eunuch "artificial" 
 sopranos achieved marvellous power 
 and agility. The soprano voice has 
 an average range from c'-a" (Vide 
 pitch), the tones from f up being 
 head-tones. The voice occasionally 
 reaches lower, and often higher than 
 this normal range, c'", being not un- 
 usual. A voice that reaches f" or g'" 
 is phenomenal (Agujari sang c"" 
 three octaves above mid-C). (Vide 
 also mezzo-soprano.) Soprano 
 voices are divided into the more 
 powerful or dramalic {drammat'ko), 
 and the flexible, and light or lyric 
 leggiero (led-ja'-ro) or h'gier (la-zha). 
 2. The part sung by the highest voice • 
 or the highest instrument. 3. The I' 
 instr. which is the highest of its class . 
 (sometimes an extra high instr. is 
 called sopranino). 4. The possessor 
 of a soprano voice, soprana chorda 
 (kor-dii). The E string of a violin. 
 sopran ist. A male soprano, so- 
 prano clef. The C clef on the first 
 line of the staff ; sometimes used of 
 the G clef. 
 
 sordo (s6r'-d6), /. Muffled, veiled- 
 tone, sordamen'te. Soft(ly). 
 
 sordellina (le'-na), /. A small 4-piped 
 bagpipe. 
 
 sordine, E., Sordino (s6r-de'-n6, pi. 
 -i, German pi. -en), /. i. A small 
 tone-softening device, damper or mute 
 to set against piano-strings, in the' 
 
 
DICTIONARY OF TERMS 271 
 
 mouth of a trumpet, or, on the 
 bridge of a violin. 2. A l<it. con 
 s. In piano-playing "use the soft 
 pedal" ; in playing violin, horn, etc., 
 " use the mute." senza (sen'-tsa), s. 
 or s. levato (le-va -to). " Remove 
 the mute or damper." 
 
 sordo'no, /. , sordone (sor-diin), F., 
 Sordun (zor-doon'), (7. i. Obs bom- 
 bard of 5 sizes, and 12 ventages. 2. 
 An old stop. 3. In G. a trumpet- 
 mute. 
 
 sorgfaltig (zorkh'-fel-tTkh), G. Care- 
 ful(ly). 
 
 sortita(s6r-te'-ta), /. i. Entrance aria. 
 2. Voluntary for close of service. 
 
 sospensione(sI-6'-ne), /. Suspension. 
 sospensivamen'te. Doubtfully. 
 
 sospiran do, sospirante (ran -te), sos- 
 pirevole (ra -v5-le), sospiro so, /. 
 I. Sighing, doleful. 2. A sobbing 
 catch in the breath. 
 
 jsostenendo, sostenen'te, /. Sus- 
 
 : taining the tone. 
 
 sostenuto (s6s-te-noo'-t6), /. i. Sus- 
 tained, prolonged, retarded. 2. Grad- 
 ually retarded. 3. Andante. 
 
 sostinen'te, /. Used of instrs. with 
 special device for sustaining tones. 
 
 sotto (s6t'-t6), /. Under, below, s. 
 voce (vo'-che). In an undertone, s. 
 
 i dorainan te. Sub-dominant. 
 
 isoubass (soo-bas), F. Sub-bass. 
 
 souf farah. Oriental reedless wind- 
 
 I instrs. in general. 
 
 soum. Burmese harp. 
 
 soufflerie (soof-fle-re), F The bellows 
 action, soufflet (soof-fla). Bellows. 
 soufifler (soof-fla). To blow, souf- 
 fleur (flur), fem. souffleuse (fluz). 
 I. Organ-blower. 2. Prompter. 
 
 sound. Vide acoustics. 
 
 sound-board, sounding-board, i. A 
 thin resonant board which by sym- 
 pathetic vibrations enlarges, enriches 
 and prolongs the tone of the strings 
 stretched across it (as in pianos, the 
 belly of violins, etc.). 2. The cover 
 of the wind-chest, sound-body or 
 box, a resonance box ; s. bowr, the 
 rim of a bell ; s. hole, a hole in the 
 resonance box to give communication 
 
 from the resonance chamber to the 
 air. s. post. Vide violin, s. reg- 
 ister. A sound-recorder inv. in 
 Paris, 1S58. s. waves. The alter- 
 nate condensation and rarefaction of 
 air in vibration (q. v.). 
 
 soupape (soo-pap), F. Valve. 
 
 soupir (soo-per), F. A quarter rest. 
 demi-s. Sth rest, quart de s. i6th 
 rest huiti^me (or demi quart) de 
 s. 32d rest, seizifeme. 64th rest. 
 
 sourdeiine (soor-de-len), F. Sordel- 
 lina. 
 
 sourdement (soord-man), F. In a sub- 
 dued manner. 
 
 sourdine (soor-den), F. i. Sordino. 
 2. A soft harmonium-stop. 3. Ce- 
 leste pedal. 4. An old spinet. 
 
 sous (soo), F. Under, below, s.- 
 chantre (shahtr). Subcantor. s.- 
 dominante. Sub-dominant. s.-m6- 
 diante. Sub-mediante. s.-tonique. 
 Leading note. 
 
 soutenir (soo-te-ner), F. To sustain. 
 
 souvenir (soo-ve-ner), /". Reminis- 
 cence. 
 
 Sp. Abbr. of Spitz. 
 
 space. The interval between 2 lines 
 of the staff, or between 2 ledger lines. 
 
 spagnuola (span-yoo-6 -la), /. The 
 guitar. 
 
 spalla (spal'-la), /. Vide vioi.. 
 
 spanisch (span-Ksh), G., spagnolesco 
 (span-yo-les-ko), /. Spanish, span- 
 ischer Reiter (rl'-ter), G. Tones 
 made by running. spanisches 
 Kreuz (kroits), G. Double sharp. 
 
 spar'ta, spartita (spar-te'-ta), or -o, /., 
 Sparte (spar'-te), G. Partitura. 
 
 spartire (te'-re), /. To score ; partic- 
 ularly to rescore an old work. 
 
 spassapensiero(pen-sl-a'-r6), /. Jew's 
 harp. 
 
 spasshaft (spass'-haft), G. Sportive(ly). 
 S.-tigkeit (tlkh-klt). Sportiveness, 
 playfulness. 
 
 spa'tium, Z., spazio (spa'-tsI-6), I. 
 A space. 
 
 species. Kind. Vide counter- 
 point. 
 
 Sperrventil, G. Vide ventil 2. 
 
 spezzato (sped-za'-to), /. Divided. 
 
272 
 
 THE MUSICAL GUIDE 
 
 spianato (spl-a-na-to). i. Legato. 
 2. Calm. 
 
 spiccato (splk-ka'-to), /. Separated, 
 pointed. Vide bow. 
 
 Spiel (shpel), G. Playing ; style of 
 playing. S.-art. i. Style of per- 
 formance. 2. Touch, s.-bar. Play- 
 able. S,-leute (loi-te). i. The 
 drummer and fifers of a band. 2. 
 Strolling players. S.-manieren 
 (ma-ne-ren). Ornaments, graces. 
 S.-oper. Light opera. S. -tenor, 
 etc. Light opera tenor, etc. 
 
 Spillflote, G. Spitzfiote. 
 
 spina (spe-na), L. " Thorn," jack ; 
 quill of a spinet (q. v.). 
 
 Spindelflote, G. Spitzflote. 
 
 spinet (spln-et orspl-net'), E., Spinett 
 (spl-net), C, spinet'ta, /. Obso- 
 lete and small square form of harpsi- 
 chord, originally called the couched 
 harp, later called spinet, from its 
 quills, or spinae. 
 
 spirito (spe'-rl-to), /. Spirit, energy. 
 spirituG so, spirito' so, spiritosa- 
 mente. Spirited(ly). 
 
 spirituale (spe-rl-too-a'-le), /., spirit- 
 uel (splr-i-too-el'), F. Spiritual. 
 
 spis si gravis'simi, L. Hypatoides — 
 the deep sounds of the Greek system. 
 
 spis'sus, L. "Thick;" full (of in- 
 tervals). 
 
 Spitz (shpTts), G. Point (of bow) ; toe 
 (of foot). S.-fiote (fla-te). A soft 
 stop with pointed pipes. S. -quint. 
 Its quint. S.-harfe (har'-fe). Pointed 
 harp. A small harp with strings on 
 each side of its sounding-board. 
 
 spondau'lium. Greek hj-mn with flute. 
 
 spread. Open. 
 
 springing bow^. Vide bow. 
 
 spressione (l-6'-ne), /. Expression. 
 
 Sprung (sproongk), G. A skip. s. 
 weise (vT-ze). By skip. 
 
 square. Vide org.a.x. square B. Vide 
 B. square piano. Vide piano. 
 
 squil'Ia, /. A little bell, squillan'te. 
 Tinkling. 
 
 srou'tis. The 22 degrees of the Hindu 
 scale. 
 
 sta (sta), /. " Let it stand ; " i. e., to 
 be played just as it stands. 
 
 Stab at Mater Dolorosa, L. " The 
 
 grieving Mother stood," a hymn on 
 the Crucifixion, written by Jacoponus, 
 14th cent. Vide sequence. 
 
 stabile (sta-bt-le), /. Firm. 
 
 stac. Abbr. of Staccato. 
 
 staccare (stak-ka'-re), /. To play 
 staccato. 
 
 staccato (stak-ka'-to), /. " Detached," 
 used of short, non-legato notes or a 
 touch which leaves the key or string 
 immediately. This crispness is marked 
 over the notes by round dots called 
 staccato marks ; it may be modi- 
 fied by a slur over the dots, or em- 
 phasised by small wedge-like dots. 
 staccatis simo. As staccato as pos- 
 sible. 
 
 Stadt (shtat), G. Town, city ; used 
 of a salaried municipal musician, as 
 S.-musikus, -pfeifer, etc. 
 
 staff, stave. The five horizontal par- 
 allel lines on, between, above and be- 
 low which the notes are placed, the 
 pitch of the note being determined by 
 the key-signature and the clef, from 
 which the s. takes its name. The 
 usual arrangement is a bass s. (with 
 F clef) under a treble s. (with G 
 clef) ; they form a continuous nota- 
 tion e.Kcept for the middle C, which is 
 sometimes given a line, making the 
 ii-line or great s. s. notation is , 
 opp. to alphabetical notation. The 
 Gregorian s. had 4 lines. 
 
 Stahlharmo'nika (shtal), G. Steel 1 
 bars played (a) with a bow, inv. by ; 
 Nobe, 1796, (b) with a hammer ; morel 
 commonly Stahlspiel (shtal-shpel). ; 
 
 Stamentienpfeife (shta-men'-tK-en- j 
 pfl'-fe), G. Vide schwegel. 
 
 Stamm (shtam), G. Stem, trunk. S.-j 
 akkord. A chord in root position,' 
 unaltered and uninverted. S.-ton.j 
 Natural tone. S.-tonleiter. Keyof| 
 C major. 
 
 stampita (stam-pe'-ta), /. A song. 
 
 Standchen (shtgnt'-kh^n), G. Sere 
 nade. 
 
 Standhaftigkeit (shtant'-haf-tlkh-kit), 
 G. Firmness. 
 
 stanghetta (stan-get'-ta), /. A bar. 
 
DICTIONARY OF TERMS 273 
 
 sta'ple. The tube which holds the 
 oboe's reed. 
 
 Stark(shtark), (7. Strong, loud, star- 
 ker (shter'-ker). Louder. 
 
 stave. Staff. 
 
 steam-organ. Calliope. 
 
 stec'ca, /. A choked and strained 
 tone-production. 
 
 Stecher (stekh'-er), G. Sticker. Vide 
 
 ORGAN. 
 
 Steg (stakh), G. Bridge. 
 
 Stellung (shtel'-loongk), G. Position. 
 
 stem. The thin stroke attached to the 
 head of a note. 
 
 stentan'do, /. Retarding, stentato 
 (ta-to). Slow and forced. 
 
 step. A progression to the adjoining 
 note or tone, hence whole-step, and 
 half-step or chromatic-step ; a 
 diatonic-step is a progression to 
 the next note of the key. 
 
 Sterbend (shter'-bent), G. Dying 
 away. Sterbelied (shter'-be-let). 
 Death-song. 
 
 Steso (sta'-s6), /. Extended, prolonged, 
 slow. 
 
 stes'so, /. The same. s. tempo. 
 Same time. 
 
 sth6nocire (sta-no-ser), F. A finger- 
 strengthener. 
 
 stibbacchiato (stTb-bak-kt-a'-to), /. 
 Retarded. 
 
 sticca'do, sticcato (stik-ka'-to), /. 
 Xylophone. 
 
 stick'er. Vide organ. 
 
 Stiefel (shte'-fel), G. Boot (of a pipe). 
 
 Stiel (shtel), C. i. Stem. 2. Neck. 
 
 Stift (shtlft), G. Jack (of violin). 
 
 Stil (shtel), 6-., stile (ste'-le), stilo 
 (ste-16), /., sti'lus, L. Style, s. 
 rigoro'so, or osservato (va-t6). 
 Strict style, s. rappresentativo 
 (te'-v6). Vide opera. 
 
 Still (shtll), G. Calm, quietly. S.- 
 gedakt. A stopped diapason. 
 
 Stimme (shttm'-me), pl.-en, C. i. The 
 voice. 2. Part, mit der S. Colla 
 parte. 3. Organ-stop. 4. Sound- 
 post. Stim'menssatz. Vocal 
 attack. Stimm'bander (bent-gr). 
 Vocal cords. S.-bildung. Voice- 
 building. S.-bruch (brookh). Change 
 
 of voice. Vide mutation. S.-buch. 
 Part-book. Stimmer. Tuner ; drone. 
 stimmen. To tune, or voice. 
 Stimmflote, or -pfeife. Pitch-pipe. 
 S.-fiihrer. Chorus-leader. S.-mit- 
 tel. Vocal capacity. S.-ritze (rlt- 
 ze). Glottis. S.-holz (holts), or 
 -holzchen (helts'-khen), or -stock. 
 Sound-post ; wrestplank. S.-werk- 
 zeuge (verk'-tsoi-khe). Vocal or- 
 gans. S.-fiihrung (fii-roongk). 
 Part-progression. S.-gabel (ga-bel). 
 Tuning-fork. S.-hammer (ham-mer). 
 Tuning-hammer. S.-horn. Tuning- 
 cone. S.-keil. Tuning-wedge. S.- 
 krucke. Tuning-wire. S.-zange. 
 Tuning-tongs. S.-umfang, S.-weite 
 (vT-te). Compass. 
 
 Stimmung (shtlm'-moongk), G. i. 
 Tune. 2. Accordature. 3. Pitch. 
 4. Mood. S. halten. To keep the 
 key. S.-bild. Tone-picture. 
 
 stinguendo (stin-gwen'-do), /. Dying 
 away. 
 
 stiracchiato (ste-rak-kt-a-to), stirato 
 (ste-ra -to), /. Retarded. 
 
 sti'va, L. Neuma. 
 
 Stock (shtok), G. Bundle of 30 strings. 
 S.-fagott. Rackett. S.-flote. i. 
 Bamboo flute. 2. A flute in a walk- 
 ing-stick. Stockchen (shtek'-khen). 
 Heel (of violin, etc.). 
 
 Stollen (shtol'-len), G., pi. Vide 
 
 STROPHE. 
 
 stolz (shtolts), G. Proud. 
 
 stonante (niin'-te), /. Dissonant. 
 
 stone-harmonica. Lapideon. 
 
 stop. I. Loosely used for (a) draw- 
 knob and stop-knob and draw-stop, 
 which only carry the label and, by 
 admitting wind, bring into play the 
 stop proper, (b) A mechanical stop, 
 which does not sound or speak, but 
 acts as a coupler, a bell-signal, a 
 tremulant, etc. Strictly, the sound- 
 ing, or speaking stop is a complete 
 graduated series of organ-pipes of 
 uniform quality. It is this quality 
 which gives the stop its individual 
 name (as dulciana, cremona, etc.). 
 Stops are divided into two chief class- 
 es, (a) those with flue-pipes, flue- 
 
274 
 
 THE MUSICAL GUIDE 
 
 work, or flue-stops, and (b) those 
 with reed-pipes (q.v.), reed-work, 
 or reed-stops, flue-work is again 
 divided, according to the character 
 of the pipes, into (a) the cylin- 
 drical open pipes that give the diapa- 
 son, or typical organ-quality, also 
 called principal-stops, or -work ; (b) 
 covered, plugged, or stopped pipes 
 (without chimneys), gedackt-work ; 
 (c) pipes too broad or too narrow of 
 scale to give diapason tone, 3 or 4 
 sided wooden pipes, and stopped 
 pipes with chimneys. 
 stops are further grouped according 
 to the length of their pipes as 2-ft., 
 4-ft., 8-ft., etc., the standard being 
 the 8-ft., or foundation-stops, which 
 are the basis of the organ, and to 
 which the other stops are tuned (vide 
 foot). 
 
 stops which do not produce the uni- 
 son or the octa\ e of the key-board, but 
 sound the third (tierce), tilth (quint) 
 and such of their octaves as the tenth 
 (double tierce), fifteenth, etc., are 
 called mutation-stops, 
 furniture, mixture, or compound 
 stops are composed 'of 2 or more 
 ranks of pipes and produce the oc- 
 tave of the key depressed and also 
 one or more of its other overtones. 
 A stop may have its pipes divided 
 between two draw-knobs. If it has 
 a pipe for every key of the key-board, 
 it is cotnplele ; otherwise it is an im- 
 perfect, incumplete, partial or half- 
 stop. 
 
 Some stops are given only to the 
 pedal ; or to only one of the manuals ; 
 these are said to be on the pedal, on 
 the swell, etc. A solo-stop is one 
 ' complete enough in itself to sound a 
 melody, stopped. Vide pipe. 
 stop. 2. A fret, or similar position 
 on an unfretted instr. 3. The press- 
 ure of the finger at a nodal point 
 of a string, double stop. The stop- 
 ping, hence sounding, of two or more 
 notes at once on the violin, etc. 4. 
 On a wind-instr. the closing with 
 key or finger of a ventage. 5. On 
 
 horns, etc., the inserting of the hand 
 in the bell to produce a raised tone of 
 muffled quality. Such a tone is said 
 to be stopped, as opposed to open or 
 natural. 
 
 Stop fen, G. To stop (of trumpet, etc.). 
 stopftbne (shtopf'-ta-ne). Stopped 
 tones. 
 
 stop-knob. Vide stop. 
 
 stor ta, /. A serpent, stortina (te'- 
 na). A small serpent. 
 
 Stosszeichen (shtos' - tsl - khen), G. 
 Staccato mark. 
 
 str. Abbr. for String(s). 
 
 straccicalando (strat-chl-ka-lan'-do), 
 /. Prattling. 
 
 straccinato (stra-chT-na'-to), /. Re- 
 tarded. 
 
 Strad., Stradivari, Stradivarius, etc. 
 A violin made by Stradivari (vide B. 
 D.), A.D. 1650. 
 
 strain. Section, motive, theme, air. 
 
 strascicando (stra-shl-kan'-do), stras- 
 cinan do, /. Dragging, playing 
 slowly, s. I'arco. Keeping the bow 
 of the violin close to the strings to slur 
 the notes, strascinato (a'-to). Slow. 
 strascino (stra-she'-no). A drag, a 
 slurring race, in slow vocal music. 
 
 strathspey. A lively Scotch dance, 
 in common time, employing the Scotch 
 snap freely. 
 
 stravagante (gan'-te), /. Extravagant, 
 odd. stravaganza (gan -tsa). Ec- 
 centricity. 
 
 straw flddle. Xylophone, because its 
 bars are often laid on straw cords. 
 
 straziante (stra-tsl-an'-te), /. Mock- 
 ing. 
 
 street-organ. Hand-organ. 
 
 Streich (strikh), G. Stroke (as of 
 a bow), hence S.-instrumente. 
 Stringed instrs. S.-quartett String 
 quartet. S.-orchester. The strings 
 of the orch. S. -zither. Bow-zither. 
 streichen. i. To draw the bow. 2. 
 To cut (as a scene), streichend. 
 "Stringy" (of the violin quality of 
 certain stops). Strei'cher. Bow- 
 instr. player(s). 
 
 strene. A breve. 
 
 streng(shtreng), G. Firm(ly), strict(ly). 
 
DICTIONARY OF TERMS 275 
 
 strepito (stra'-pl-to), /. Noise, stre- 
 pito'so, strepitosamen le. Bois- 
 
 terous(ly). 
 
 stretch. The interval covered by the 
 fingers of one hand. 
 
 stretta (stret'-ta), /. A concluding 
 passage, or finale, in an opera, taken 
 in quicker time to enhance the effect. 
 
 stret'to, sometimes stretta, /. , strette 
 (stret), F. I. "Compressed." In 
 fugue a closing treatment in which 
 subject and answer are so compressed 
 as to overlap, s. maestrale, orma- 
 jestrale. A strictly canonic stretto. 
 alia s. In strettostyle. andante s. 
 A slow agitato. 2. " Hastened." A 
 closing movement at increased speed. 
 
 Strich (strlkh), G. Stroke, i. A dash. 
 2. A cut. Strichart. Manner of 
 bowing. 
 
 strict. Used of a composition follow- 
 ing the most rigid and severe rules. 
 Vide CANON, FUGUE, etc. 
 
 strident (stre-dan), F., striden'te, 
 stridevole (da-v6-le), /. Sharp, 
 shrill. 
 
 striking reed. Vide reed. 
 
 string. A sonorous cord made of va- 
 rious materials, the strings of violins, 
 etc., being of gut, or cat-gut (so- 
 called, although made of the entrails 
 of sheep). Guitar, etc., strings are 
 of brass, copper, or a core of steel 
 wire or silk, sometimes f(7Z't';V(/ (wound 
 round with silver or other wire) ; pi- 
 ano strings are of drawn cast steel. 
 Strings are measured in thickness by 
 a string-gauge. " The strings " is 
 a general term for the stringed instru- 
 ments of an orchestra (also string- 
 band, etc., or string orchestra), 
 s. pendulum. A Weber chronome- 
 ter, s. quartet, i. A group of four 
 instrs. of the violin species, 1st and 
 2d violin, a viola, and 'cello. 2. All 
 the instrs. of these kinds in the or- 
 chestra. 3. A composition for these 
 4 instrs. s. quintet, sextet, etc., (a) 
 the string-quartet with addition of 
 some other stringed instr. (as double- 
 bass), or more of the same kind (as 
 an extra violin). 
 
 The strings of an instr. are numbered 
 beginning with the highest (or soprano 
 or chanterelle). stringy is used of 
 tone (such as that of an organ-stop), 
 which resembles a bow and string 
 instr.). open strings are those 
 which are not pressed with the finger, 
 or stopped. string-organ. Vide 
 
 SAITENORGEL. 
 
 stringendo (jen-d5), /. Accelerat- 
 ing. 
 
 Stroh- (shtro), G. Straw. S.-bass. 
 The husky lower tones of a bass voice. 
 S.-fiedel (fe-del). Xylophone. 
 
 stroke, i. Vide signs. 2. The rise 
 and fall of a pedal. 
 
 strombazzata (strom-bad-za -ta), 
 
 strombettata (bet-ta'-ta), /. Sound 
 of a trumpet, strombettare (ta-re). 
 To play on the trumpet, strombet- 
 tiere (tl-a'-re). Trumpeter. 
 
 stromentato (ta'-to), /. Instrumented. 
 
 Vide RECITATIVE. 
 
 stromen'to, strumen'to (pi. -i), /. In- 
 strument(s). s. da fiato (da fl-a'-to), 
 or s. di vento. Wind-instr. s. 
 d'arco (dar'-ko). Bow-instr. s. da 
 cor'da. String-instr. s. da tacto. 
 Key-board instr. s. di legno (di 
 metallo). Wooden (metal) instr. 
 s. di rinforzo (for'-tso). An instr. 
 used to support or strengthen an ef- 
 fect. 
 
 Stuben-orgel (shtoo'-ben-or-gel), G. 
 Chamber-organ. 
 
 Stuck (shtiik), pi. Stucke (shtiik-e), 
 G. Piece. S.-chen (khen). Little 
 tune. 
 
 Studie (stoo'-de), pi. -ien (t-en), G., 
 studio (stoo'-dl-o), /., stu'dium, L., 
 stud y, E. Vide etude and piano 
 
 STUDIES. 
 
 Stufe (stoo'-fe), pi. en, G. Step, de- 
 gree, stufenweise (vl-ze). By de- 
 grees. 
 
 stumm (shtoom), G. Dumb. S.-reg- 
 is'ter. Mechanical stop. 
 
 stiirmisch (shtiir'-mlsh), G. Stormy. 
 
 Stiirze (shtUr'-tse), G. Bell (of horns, 
 etc.). S. in der Hohe (ha-e). 
 " The bell turned upwards." 
 
 Stuttgart pitch. Vide pitch. 
 
276 
 
 THE MUSICAL GUIDE 
 
 Stuzfliigel (shtoots' - flli - gel), G. 
 
 " Babv " grand piano. 
 Styl (sh'tel), G. Style. 
 su (soo), /. Above, upon, arco in 
 
 su, Up-bow. 
 suabe-flute. A soft stop, 
 suave (soo-a'-ve), /., suave (swav), F. 
 
 Suave, suavita (soo-a-vl-ta'), /. 
 
 Suavity. 
 sub, L. Under, below, beneath. 
 Subbass (soop'-bas) C, subbour don. 
 
 A double-stopped 16 or 32 ft. stop. 
 subcan'tor. Assistant cantor. 
 subdiapen'te. The 5th below. 
 subdom inant. The fourth tone of a 
 
 scale or kev. 
 Subflote, G'. Sifflote. 
 subito (soo'-bl-t5), /. , subitamen te. 
 
 Sudden(ly), inimediate(ly). volti s. 
 
 Turn quickly, p. subito. A soft 
 
 touch immediatelv after a loud. 
 subject, E., Subjekt (soop-yekht), G. 
 
 A motive or theme for development 
 
 usually followed by an answer, or 
 
 second {secondary or subsidiary) 
 
 subject, or counter-subject. Vide 
 
 FORM. 
 
 subme'diant. The sixth tone of a 
 scale or key. 
 
 suboct'ave. i. The octave below. 2. 
 Coupler producing the octave below. 
 
 subordinate. Not principal or fun- 
 damental, used of chords on the 2d, 
 3d, 6th, and 7th degrees of a scale, 
 .and of all 7th chords except that on 
 the 5th degree. 
 
 subprin'cipai. Below the pedal dia- 
 pason, a double open bass 32-ft. stop. 
 
 subsemifu sa, Z. A 32d note. 
 
 subsem'itone, subsemito'nium mo'- 
 di, L. Leading note. 
 
 substitu'tion. The resolution of a dis- 
 sonance in some other part an octave 
 removed. 
 
 substitution (siib-stl - tus-yon), F. 
 Change of fingers. 
 
 subton'ic. Leading note. 
 
 succen'tor, L. i. Subcantor. 2. Bass- 
 singer. 
 
 succes'sion, i. Sequence. 2. Pro- 
 gression. 
 
 Sufflote (soof-fla-te), G. Sifflote. 
 
 sudden modulation. Modulation to a 
 remote key without intermediate har- 
 mony. 
 
 suffocato (soof-fo-ka'-to), /. " Suffo- 
 cated," muffled. 
 
 sugli (sool-ye), sui (soo-e), /. Vide sul. 
 
 suite (swet), F., or suite de pieces 
 (dii pl-es'). A set or series of pieces. 
 Originally a group of dances, the s. 
 has followed the line deserted by the 
 sonata. Strictly it is a cycle series of 
 classic dance-forms in one key. The 
 number varies from three to five, often 
 with a prelude. The dance-forms 
 are chosen from the following : alle- 
 mande, courante, sarabande, bouree, 
 gigue, gavotte, minuet, passepied, 
 loure, anglaise, polonaise, pavane. 
 The allemande is usually first, the 
 gigue last ; the first dances named 
 were the regular constituents, the 
 others being called intertnezzi. The 
 modern suite aims chiefly at lightness 
 even when extended to the orchestra, 
 and great liberty is now taken with 
 keys and forms. 
 
 suivez (swe-va), F. "Follow" (the 
 soloist) ; continue similarly. 
 
 sujet (sii-zha), F. Subject. 
 
 sul (sool), suir, sulla (sool'-la), /. On 
 the, near the, as sul a. On the a 
 string, sulla tastiera. Near the 
 finger-board (of bowing), sul ponti- 
 cello. Near the bridge. 
 
 suma'ra. A two-piped Turkish flute. 
 
 summational tones. Vide result- 
 ant. 
 
 sumpun'jah, Heb. Sambuca. 
 
 sumsen (zoom'-zen), G. To hum. 
 
 suonare (soo-o-na'-re), /. To play, 
 sound, ring, suonata (soo-o-na'-ta). 
 Sonata. suonatina (te'-na). So- 1 
 natina. 
 
 suono (soo-o'-no), /. Sound. suo'nlJ 
 armonichi (ar-mo'-nl-ke). Harmo-] 
 nics. 
 
 su'per, L. Over, above. 
 
 superano (soo-per-a'-no), Sp. Soprano, i 
 
 superdom'inant. The 6th tone in the! 
 scale. 
 
 superfluous, E., superflu (su-per-, 
 flu), F. Augmented. 
 
DICTIONARY OF TERMS 277 
 
 am 
 
 supe'rius, L. Higher, i. e., the high- 
 est part. 
 
 superoc'tave. i. The octave above, 
 2. A stop two octaves above the dia- 
 pasons. 3. Coupler producing the 
 octave above. 
 
 superton'ic, E., supertonique (sti- 
 per-ton-ek'), F. The second tone of a 
 scale. 
 
 supplican'do, supplichevole (soop- 
 pll-ka'-vo-le), supplichevolmen'te, 
 /. Pleading(ly), appealing(ly). 
 
 support'. Accompaniment, reinforce- 
 ment. 
 
 supposed bass. The lowest note of 
 an inverted chord (q. v.). 
 
 sur (soor), /. , sur (siir), F. On, upon, 
 over, sur une corde. On one string. 
 
 surabondant(es) (sur-a-b6n-dan(t)), F\ 
 Used of triplets, quintoles, etc. 
 
 suraigu (siir-e-gii), F. Over- acute. 
 
 surdelina (soor-da-le'-na), /. Small 
 bagpipe. 
 
 surprise, i. Vide cadence. 2. Name 
 of Haydn's 6th symphony with an un- 
 expected crash breaking in on a long, 
 soft movement. 
 
 susdominante (su-), F. Superdomi- 
 nant. 
 
 suspended cadence, i. Vide ca- 
 dence. 2. Vide SUSPENSION. 
 
 SUSpen'sion. i. The holding back of 
 one note of a chord with the result 
 that it causes, with the following 
 chord, a clash that earnestly demands 
 its progress to the destined note in 
 which it will find resolution (q. v.). 
 2. The note so suspended. A s. may 
 be unp}-epared, that is, it may be the 
 only note of a group that is not 
 proper to a sudden chord, s. may 
 be double or triple, by occurring in 
 more than one note of a group at 
 once. 
 
 suspir'ium, Z. i. A quarter rest. 2. 
 More anciently, a half-rest. 
 
 sUss (zus), G. Sweet(ly). Sussflote. 
 A soft flute-stop. 
 
 Su(s)surando (soo(s)-soo-ran'-d6) , 
 su(s)surante (ran'-te), 7. Whisper- 
 ing, murmur, sussura'tion, E. A 
 soft murmur. 
 
 sustain. To hold a note during its 
 full time-value ; to perform in legato 
 manner, vide also pedal-point. Vide 
 
 PEDAL. 
 
 svegliato (sval-ya'-to), I. Lively. 
 
 svelto (svel'-to), /. Light, easy. 
 
 sw. Abbr. of Swell-organ. 
 
 swell. I. Gradual increase (and de- 
 crease) of sound. 2. The device for 
 increasing and diminishing a sus- 
 tained tone on an organ, hence 
 swell-organ, and swell key-board. 
 Part of an organ (the swell-organ), 
 is surrounded by a swell-box, the 
 front of which is filled with Venetian 
 swell-blinds (Jalousie, C), opened 
 or closed by a lever worked by a 
 swell-pedal. In old organs, there 
 was but one shutter (nag's-head 
 swell) ; in harpsichords the cover 
 moved. 
 
 Sylbe (zel'-be), G. Syllable. 
 
 syllabic, E., syllabisch (zel-lap'- 
 Ish), (7., syllabique (sel-lab-ek), F. 
 Of an air in which each syllable has 
 its own note. 
 
 syllable-names. Do, re, mi, etc., as 
 opposed to letter-iia?)ies, C, d, e, etc. 
 
 Vide SOLMISATION. 
 
 sym'bal. Cymbal. 
 
 sympathetic. Of strings, etc., which 
 are made to sound by sympathetic 
 vibration (q. v.), and strengthen some 
 other tone by unison or by sounding 
 some overtone. 
 
 symphone'ta, L. Polyphony. 
 
 sympho'nia, Gr. i. Agreement. 2. 
 Hurdygurdy. 3. A symphony. 
 
 symphoii ic, E., symphonique (san- 
 fo-nek), 7"., symphonisch (zem-fo'- 
 nKsh), G. Pertaining to or relating to 
 the symphony, symphonic poem, 
 poeme s. (p6-em' san-fo-nek), F., 
 sympho'nische Dichtung (dlkh- 
 toongk), G. A composition of sym- 
 phonic demands on orchestra and in- 
 telligence, but not built on the sonata 
 form and rather descriptive than 
 thematic. The name was first given 
 by Liszt to some of his best works. 
 
 Symphonic (san-f6-ne in F., in G. 
 zem-fo-ne). i. Symphony. 2. Con- 
 
278 
 
 THE MUSICAL GUIDE 
 
 cord. 3. Instrumental accompani- 
 ment. 4. .String-band, 5. Orchestra. 
 Symphonie-Ode (6 -de), G. Choral 
 symphony. 
 
 sympho'nion. i. A combination of 
 flute-stop with piano, inv. by Kauf- 
 mann. 2. .\ music-bo.x with inter- 
 changeable disk in place of a cylin- 
 der. 
 
 sym'phonist, symphoniste (sah'-fo- 
 nest ), /•"., Sympho niker, sympho- 
 niensessr (zcm-fo'-ni-en-za -zer), G. 
 A composer of symphonies ; in F. 
 also a church-composer, or member 
 of an orchestra. 
 
 sympho nious. Harmonious. 
 
 sym phony, Symphonic (in F. sSn-fo- 
 ne , in G. zem-fo-ne). I. A sona ta 
 f or o rchestra with all the elaboratjan 
 gjiiLextensiun permitted by the larger 
 resources. Beethoven (and follow- 
 ers of him) even added a chorus, 
 hence choral symphony. Historically 
 founded on the overture, Ha ydn, t he 
 father of t fe sonata (q. v.), established 
 the form, which has survived with 
 minor substitutions (as in the sonata) 
 till now. 2. In E. and elsewhere the 
 instrumental pre-, inter-, and post- 
 ludes, of vocal composition. 3. Old 
 name for hurdygurdy, etc. 
 
 sympo sia. Convivial compositions. 
 
 syn copate. To perform syncopation. 
 
 syncopato (sln-k6-pa'-t6), /., Synco- 
 pated. 
 
 syncopation, E., syncopa'tio, Z., 
 syncope (san-kop in /•■., in G. 
 zen -ko-pe). A pleasantly confusing 
 rhythmic "intersection" caused by 
 suppressing a natural accent or 
 strong-beat, or moving it from its 
 natural place to a weak beat, usually 
 by means of tie-ing over a note 
 on a weak beat across the time 
 belonging to a strong beat. The 
 note so prolonged is said to be syn- 
 copated. In piano-music^ only one 
 hand usually has the syncopation. 
 
 Synkope (zeii'-ko-pe), G. Syncopation. 
 synkopi(e)ren (pe'-ren). To synco- 
 pate. 
 
 synnem enon. Vide modes. 
 
 synonyme (se-no-nem), F. Homo- 
 phone. 
 
 synton ic. Vide comma. 
 
 syntonolyd ian. Hypolydian. 
 
 syren. Siren. 
 
 syrinx, Cr., syringe (se-ranzh), F. 
 I. Pandean pipes. 2. A portion of a 
 hymn to .\pollo sung by candidates 
 for Pythian prizes. 
 
 sys tern (in G. zes'-tam). i. A group of 
 staves. 2. In G. a stafT. 
 
 syste ma, Gr. i. A tetrachord, or 
 other interval. 2. In /,. StafT. 3. 
 Hexachord series. Vide modes. 
 
 syst^me (ses-tem), F. i. All musical 
 tones. 2. Compass. 
 
 syzygia, Gr. and L. A chord, s. 
 perfecta, or simplex. Triad, s. 
 composita. Triad with a tone doub- 
 led, s. propin qua {remo to). Close 
 (open) chord. 
 
 szopelka (sho-pel'-ka). Russian oboe 
 with brass mouthpiece. 
 
 TAbbr. of Talon, Tasto, Tempo, 
 Teitor, Toe, Tre, Tutli. 
 tabal'lo, /. A kettle-drum. 
 tabar (ta-bar), /., tabarde, 
 tab'arte, Old E. A tabor. 
 
 tabl. Egyptian drum. 
 
 tablatura (tab-la-too'-ra), /., tabla- 
 ture (ta-bla-tlir), /=". , tablature (tab'- 
 la-tijr), E., Tabulatur (ta-boo-la- 
 toor ), G. I. The Tonic Sol-fa 
 notation. 2. The rules of poetic and 
 musical composition established by 
 the Meistersinger. Vide " stories of 
 THE OPERAS." 3. An early form of no- 
 tation from which our present system 
 got its vertical character, the bar and 
 the tails of its notes. Old tablature 
 had many forms. In lute-tablature 
 the French and English used letters, 
 the Italians, numerals, designating the 
 frets to be touched on the lute. 
 These were written on a staff with as 
 many lines as the instr. written for 
 had strings ; beneath were stems with 
 tails, indicating the time-value of th^ 
 
DICTIONARY OF TERMS 279 
 
 notes ; these tails represent our mod- 
 ern values except that our whole note 
 (their semibreve) had a stem like that 
 of our half-note ; our half-note (their 
 minima) had the tail of an eighth 
 note ; our % note (semiminima) a 
 double-hooked-stem, our ^g note (fusa) 
 three hooks, our --^f, note (semifusa) 
 the tail of a 64th note. The hooks 
 of consecutive notes were often run 
 together in thick lines as in our music. 
 organ (or German) t. was used 
 for key-board instrs., and employed 
 the letter-names of the notes, the 
 melody being marked on a staff with 
 chord-accompaniment in vertical rows 
 of letters beneath. 
 table d'harmonie (tab! dar-mo-ne), F. 
 
 1. A table of chords, intervals, etc. 
 
 2. Sound-board. 
 
 table d'instruraent (tibl dan-stru- 
 man), F. Belly. 
 
 table- music, i. Part-songs. 2. Music 
 printed so that singers at opposite 
 sides of a table could read it. 
 
 tabor, taboret',^., tabourin(ta-boo- 
 raii), F., tab ret. A small drum ; a 
 tambourine without jingles. 
 
 ta'cet, pi. fca'cent, Z., tace (ta'-che), 
 pi. taci (ta'-che), taciasi (ta-chl-a'- 
 sl), /. " Be silent ! " as oboe facet, let 
 the oboe be silent. 
 
 tac^tus, L. The stroke of the hand or 
 baton in conducting. 
 
 Tafel (ta'-fel), G. Table. T.-formiges 
 (fer-mlkh-es) klavier, or T.-kla- 
 vier. Square piano. T.-musik (moo- 
 zek). I. Music sung at a banquet. 
 
 2. Vide TABI.E-MUSIC. 
 
 tail. Stem, tail-piece. The wooden 
 brace which holds the strings of vio- 
 lins, etc., below the bridge. 
 
 taille (ti'-yii), A". I. Tenor. 2. Viola, 
 also t. de violin, t. de basson. Oboe 
 da caccia. 
 
 takigo'to. I. Japanese dulcimer. 
 
 Takt (takt), G. i. Time. 2. Measure. 
 
 . 3. Beat, im T. In time, ein T. 
 wie vorher zwei. Double the for- 
 mer time. T, -accent. Primary ac- 
 cent. T.-art. Species of time, as 
 duple or triple. T.-erstickung (er- 
 
 shtlk-oongk). Syncopation. T.-fach 
 (fakh). Space. T.-fest. Steady in 
 keeping time. T.-glied (glet). Meas- 
 ure-note. T.-fiihrer (fu'-rer). Con- 
 ductor ; leader. T.-halten. To 
 keep time. takti(e)ren (tjik-ter'-en) 
 or t.-schlagen. To beat time. T.- 
 linie (line), T.-strich (strlkh). 
 Bar-line, t.-massig (mes-slkh). In 
 time. T.-messer. Metronome. T.- 
 note. Whole note. T. -pause. Whole 
 rest. T. -stock. Baton, guter T.- 
 teil. Strong beat, schlechter T.- 
 teil. Weak beat. T.-vorzeichnung, 
 or Taktzeichen (tsT-khen). Signa- 
 ture. 
 
 talabalac'co, /. Moorish drum. 
 
 ta'lan. Hindu cymbals. 
 
 talon (ta-16n), Z'. Heel. i. Of a bow. 
 2. Of the foot. 
 
 tambour (tan-boor), F. i. Drum. 2. 
 Drummer, t. de basque (du bask). 
 Tambourine, t. chromatique. Tim- 
 balarion. t. roulante (roo-lant). 
 Long drum. t. major (ma-zhor). 
 Drum-major. 
 
 tamb(o)u'ra. An ancient instr., used 
 in the East, like a guitar, struck with 
 a plectrum. 
 
 tambouret (tan-boo-ra), F., tambou- 
 rine (tam'boo-ren), E., Tambourin 
 (tam-boo-ren'), G. i. A small drum, 
 with little bells (called jint^/es) pivoted 
 in the rim. Notes with waved stems 
 indicate a roll ; notes with vertical 
 lines above, call for the jingles. 
 tambourineur (nur), F. Tambou- 
 rine-player. 
 
 tambourin (taii-boo-ran), F. i. A tam- 
 bourine without jingles. 2. A lively 
 dance in 2-4 time with t. accompani- 
 ment. 
 
 tamburaccio (tam-boo-rat'-cho), /. A 
 large drum, tamburel'lo, tambu- 
 ret'to, /. I. Tabor. 2. Drummer. 
 
 tamburino (tjim-boo-re'-no), /. i. 
 Drummer. 2. Tambourine. 
 
 tamburo (tam-boo'-r5), /. Side-drum. 
 
 tamburone (tam-boo-r5'-ne), /. The 
 great drum. 
 
 tamis (ta-me'), F. Pipe-rack. 
 
 tamtam', i. Indian drum. 2. Gong. 
 
28o 
 
 THE MUSICAL GUIDE 
 
 Tanbur (tan-boor'), G. Tamburo. 
 
 tandelnd (ten'-delnt), G. Playful, tri- 
 fling. 
 
 tangent, E., Tangente (tan-jen'-te), 
 G. Vide CLAVICHORD. Tangen- 
 tenfliigel. A " wing-shaped " clav- 
 ichord. 
 
 tantino (tan-te'-no), /. A little. 
 
 tanto (tjin'-to), /. So much ; as much ; 
 but allegro non t. Not too quick. 
 allegro t. possibile. As fast as pos- 
 sible. 
 
 Tan'tum ergo, L. " So much there- 
 fore." A hymn sung at the Benedic- 
 tion in the R. C. service. 
 
 Tanz (tants), 6"., pi. Tanze (ten'-tse). 
 A dance. Tanzer (ten'-tser). A 
 dancer. Tanzerin (t^n'-tse-rln). A 
 female dancer. T.-lied (let). Dance- 
 song. T.-musik, or T.-stiick 
 (shtuk). Dance-tune. 
 
 tap. A single note on the drum. taps. 
 The last militar}' signal at night. It 
 is also used at the funeral of a 
 soldier. 
 
 tapada (ta-padh'-a), Sp. Stop, tap- 
 adillo (dhel'-yo). Ba.xoncillo. 
 
 ta'rabouk. Instr. used by Turks, a 
 parchment over the bottom of a large 
 earthen vessel. 
 
 tarantella (ta-ran-tel'-la), tarentelle 
 (tXr-ah-tel), F. Perhaps of Taren- 
 tine origin, but claimed to be derived 
 from the tarantula, two explanations 
 being given, one that the bite of the 
 spider incites a mania for dancing ; a 
 more probable one that the fatal ef- 
 fects of the poison find an antidote in 
 violent e.xercise. The dance is a wild 
 presto in 3-8 or 6-8 time, with increas- 
 ing frenzy and alternatingly major and 
 minor. 
 
 tarau, theyau thro. Burmese violin 
 with 3 silk strings. 
 
 tar'do, tardato (tar-da-to), tardan- 
 do, tardamen'te, /. Slow(ly). 
 
 Tartini's tones. Resultant tones, 
 first observed by Tartini. (Vide B. D.). 
 
 Taschengeige (tash'-^n-gl-khe), G. 
 Kit. 
 
 tasseau (tas-so), F. The mould on 
 which violins are built, 
 
 tastame (tas-ta'-me), /.,Tastatur(tas- 
 ta-toor), G., tastatura (tas-ta-too'- 
 ra), /., tastiera (tas-tl-a'-ra), /. Key- 
 board ; finger-board, sulla tastiera. 
 Near the finger-board (of a vln.). 
 
 Taste (tas'-tc), G. The touch, hence 
 a key. Tas'tenbreit. Key-board. 
 Tastenstabchen (step-khen). Fret. 
 Tastenschwanz (shvants). Ex- 
 tremity of key-board. Tastenwerk. 
 A keyed instrument. 
 
 tasto (tas'-to), /. I. Touch. 2. Key. 
 3. Fret. 4. Finger-board. sul t. 
 " Near the finger-board." t. solo. 
 " One key alone," a note to be played 
 without other harmony than the oc- 
 taves. 
 
 tatto (tat'-t5), /. Touch. 
 
 tattoo'. The drum-beat at night re- 
 calling soldiers to quarters for sleep. 
 It precedes taps (q. v.). 
 
 tche (che). A Chinese stringed instru- 
 ment. 
 
 te. Tonic Sol-fa name for the 7th tone 
 si. 
 
 te (ta), F. C sharp. 
 
 technic(s) (tek'-nTk(s)), E., Technik 
 (tgkh-nek), G., technique (tek-nek), 
 F. The mechanical side of musical 
 performance, including dexterity, ve- 
 locity, distinctness, shading as op- 
 posed to the poetical or interpreta- 
 tive side. The means, not the end, 
 of a properly balanced musical ambi- 
 tion. 
 
 tech'nicon. A device for training the 
 fingers, inv. by J. Brotherhood, 1889. 
 
 tech'niphone. First name of the Vir- 
 gil Practice-Clavier. 
 
 technisch (tekh'-ntsh), G. Technical, 
 used to indicate proficiency. 
 
 tedesco (-a) (te-des'-ko), /. German, 
 alia t. In the German style, in waltz- 
 rhythm, lira t. Hurdygurdy. 
 
 Te De um Lauda'mus, L. "Thee, 
 Lord, we praise," a hymn attributed 
 to St. Ambrosius. Vide MAS.S. 
 
 Teil (til), G. Vide theil. 
 
 tel'ephone-harp. An instr. for trans- 
 mitting music by telephone. 
 
 telltale. An indicator of wind-press- 
 ure. 
 
DICTIONARY OF TERMS 281 
 
 tema (ta'-ma), /. Theme; subject; 
 melody. 
 
 temperament, E., temperament 
 (tan-pa-ra-miin), F., temperamen- 
 to, /. A method of tuning, repre- 
 senting the triumph of practice over 
 theor)' ; of art over science. It is a 
 system of compromise, whereby, for 
 practical musical purposes, the octave 
 is divided into twelve intervals, none 
 of which is quite true. In the pres- 
 ent piano, and similar instrs. the 
 tones ct, and r/b, for example, are 
 identical, and are given the same 
 string and digital. As a matter of 
 acoustical fact there is a difference 
 between them. If they were given 
 different digitals and tuned exactly, 
 the present freedom of modulation 
 from one key to another would be 
 impossible without some elaborate 
 device, and the piano, organ, etc., 
 would need a greatly increased fin- 
 ger-board, with 53 digitals to the oc- 
 tave instead of 12 as now. The 
 present tuning was not reached with- 
 out a war of the bitterest sort ; but 
 since the iSth century began, only 
 12 degrees have been given to the 
 octave. The earliest method was 
 unequal temperament, the key of 
 C major being tuned true, and the 
 other tones forced to conform. In 
 the twelve-semitone system, the 
 octave was divided into twelve equal 
 parts, no interval being quite true. 
 The mean-tone system had the ma- 
 jor thirds tuned true, the intermediate 
 space being divided into two equal 
 intervals ; this system produced much 
 discord called the -luolf. equal tem- 
 perament is now generally em- 
 ployed ; it is the practice of tuning by 
 fifths. A series of twelve fifths be- 
 ginning with c lacks only 74/73 of form- 
 ing a perfect seven octaves ; by dividing 
 this slight discrepancy equally among 
 the 12 fifths, the circle of fifths is 
 tempered and made perfect ; thus in 
 major C-G-D-A-E-}>-F#- (or Gb)- 
 Db-Afe-El2-D& F- C (Btt); in minor 
 a-e-b-f«-c#-g#-cl# (or eb)-bk-f-c-g- 
 
 d-a ; and one can modulate by 
 means of dominant harmony (chords 
 on the fifths) through the whole suc- 
 cession of keys with almost imper- 
 ceptible acoustic falsehood. It is this 
 great convenience and simplicity of 
 Equal Temperament that has pre- 
 vented thus far the acceptance of any 
 of the many instruments invented 
 with the rival method of just intona- 
 tion. Nevertheless the music we 
 know and enjoy has no perfect inter- 
 vals except the octave ; the fifths are 
 a I2th of a comma flat ; the fourths a 
 I2th of a comma sharp ; the major 
 thirds ^th of a comma sharp, etc. 
 
 Temperatur (tam-pe-rii-toor'), G. 
 Temperament. 
 
 tempesto'so, tempestosamen'te. 
 Tempestuous(ly), furious(ly). 
 
 tempete (tiih-pet), F. "Tempest." 
 A boisterous quadrille in 2-4 time. 
 
 tempo, /. "Time." i. Rate of 
 speed, ranging from the slowest to 
 the fastest, thus Grave, largo, lento, 
 adagio, andante, moderato, allegro, 
 presto, prestissimo. 2. Rhythm, 
 measure. 3. Beat, a tempo. In exact 
 time (usually appearing after retarda- 
 tion), t. primo (or imo), or pri- 
 miero. Original speed. t. alia 
 breve (bra'-ve). Vide breve, t. a. 
 piacere, or senza t. The time at 
 pleasure, t. bina'rio (terna'rio). 
 Duple (triple) time. t. como'do. 
 Convenient, moderate time. t. de- 
 bole (da'-b5-le). Weak beat. t. di 
 ballo. Dance-time. t. di bolero, 
 gavot'ta, mar'cia, etc. In the time 
 of a bolero, gavotte, march, etc. t. 
 di cappel'la. In the Church-time. 
 Vide BREVE, t. di prima par'te. 
 In the same time as the first part. 
 t. forte. Strong beat. t. giusto 
 (joos'-to). In strict time. I'istesso 
 (or lo stesso), t. Continue at 
 "the same speed." t. maggiore 
 (mad-jo'-re). Vide breve. t. mi- 
 no're, or t. ordina'rio. i. Common 
 time, 4 beats to the measure. 2. 
 The original time of the piece, t. 
 perdu'to. " Lost," unsteady time. t. 
 
282 
 
 THE MUSICAL GUIDE 
 
 reggiato (red-ja-to), same as colla 
 parte, t. rubato. Vide rubato. 
 T. wie vorher (ve for-har), G. Same 
 time as before. 
 
 tempo-mark, Tempo-Bezeichnung 
 (be-tsTkh'-noongi<), G. A word or 
 phrase indicating the standard or unit 
 of time for a composition, as andante ; 
 or indicating some deviation from 
 this unit, as meno mosso. 
 
 temporiser (tah-por-I-za), F. In an 
 accompaniment, to follow the soloist's 
 time. 
 
 temps (tan), F. I. Time. 2. Beat, 
 t. faible (febl), or Iev6 (lu-va). 
 Weak beat. t. fort (for), frapp6 
 (frap-pa ). Strong beat. 
 
 tem'pus, L. Time, i. e., of the breve, 
 t. perfec'tum (marked O). That in 
 which the breve equalled 3 semi- 
 breves, t. im perfectum (marked 
 ( ). That in which it equalled 2 
 semibreves. t. bina rium (or terna- 
 rium). Duple or triple time. Vide 
 
 NOTATION. 
 
 tenete (te-na'-td), /. Hold. 
 
 Ten'ebrae, L. " Shadows, Darkness" ; 
 R. C. Evening Service, during Holy 
 Week, in commemoration of the 
 Crucifixion, the candles being extin- 
 guished one by one. 
 
 tenen'do, /. Sustaining (as the melody). 
 
 tenero (ta'-ne-ro), tenero'so, tenera- 
 men te, /. Tender(ly). tenerez- 
 za (ta-ne-red'-za). Tenderness. 
 
 teneur (tu-nur), F. Canttts Jirmus of 
 a hymn. 
 
 tenor (in G. ta-nor'), t6nor (ta-nor), F. 
 tenore (ta-no-re), /. i. The high- 
 est male voice produced "in the 
 chest." Vide soprano. (a) The 
 more powerful tenor is almost a 
 barytone and is called dramatic 
 (Heldentenor ), teno re robus'to, or 
 di mezzo carrattere (de med'-z6 ka- 
 rit-ta'-re), or di forza (de for'-tsa). 
 Compass c-b' (&). The more light 
 and flexile tenor is called lyric, 
 lyrischer (ler-tsh-er). T. tenore leg- 
 giero (led-ja-ro), 16gier (la-zha), or di 
 grazia (de grats'-ya). Compass d-c", 
 sometimes higher. 2. The part cor- 
 
 responding to the tenor voice in com- 
 pass. 3. The highest of a chime of 
 bells. 4. The viola, as tenor violin. 
 5. As a prefix for instrs. of tenor 
 range ; e. g., tenor trombone {Tenor- 
 posaune), etc. 6. tenor C is an oc- 
 tave below mid-c. 7. tenor-clef, 
 Tenor-schliissel or -zeichen, the 
 C clef on the fourth line. 8. The low- 
 est string of the viola. 9. In Grego- 
 rian music, the principal melody taken 
 by a medium male voice, above which 
 sang the counter- or contra-tenor, 
 or the alius or alto. 10. In mediae- 
 val music, (a) fermate, (b) ambitus, 
 (c) tone of a mode of the evovae. 
 tenorino (ta-no-re'-no), /. Falsetto 
 or castrato tenor. Tenorist (ten- 
 o-rest), C, tenorista (tan-o-res- 
 ta), /., t^noriste (ta-n5-rest), y^. A 
 tenor-singer. 
 
 tenoroon'. 1. Old tenor oboe, compass 
 downward to tenor C. 2. A stop 
 that does not go below E. 
 
 tensile. Applied to stringed instru- 
 ments. 
 
 tenth. I. An interval of an octave 
 and a third. 2. A stop a tenth above 
 the diapasons. 3. Decima. 
 
 tenu(e) (tu-nu), /'., tenuto (ta-noo'-to), 
 /. "Held." I. Sustained. 2. A 
 sustained note or pedal-point. 3. 
 Legato. 4. Constantly, as forte t. 
 PI. tenute (note). 
 
 t^orbe (ta-6rb), /'. Theorbo. 
 
 teoretico (ta-6-ra'-tI-k6), /. Theoret- 
 ical. 
 
 teoria (ta-6-re'-a), /. Theory. 
 
 tepidita (ta-pe-dl-ta), /. Indifference, 
 lukewarmth. tepidamen'te. Calmly. 
 
 teponaz'tli. An Aztec drum still used 
 in Central America ; a log about a 
 yard long, hollowed from below, then 
 cut through till two tongues of wood 
 are left. These sound an interval ; 
 when struck with padded sticks. 
 
 ter (ter), L. Thrice, three times (of a 
 passage to be repeated twice). ter 
 un'ca. "Three-hooked"; i6th note. 
 ter sanctus. " Thrice holy," refer- 
 ring to the "Holy, holy, holy," of 
 the Te Deum, 
 
DICTIONARY OF TERMS 283 
 
 terce. i. Tierce. 2. Vide hor,-e 
 
 CANONIC.C. 
 
 tercet (ter-sa), F. Triplet. 
 
 ternaire (ter-nar), F., ternario (t^r- 
 na'-rl-6), /., ternary, E. Triple, 
 three-fold, ternary form. Rondo- 
 form, ternary measure. Triple 
 time. 
 
 terpo'dion. i. An instr. inv. 1816 by 
 Buschmann, resembling the harmo- 
 nium, the tone being produced from 
 sticks of wood. 2. An 8-ft. stop. 
 
 Terpsichore (terp-slk'-6-re). The muse 
 of dance and song. 
 
 ter'tia, Z., Terzia (ter'-tsl-a), G. i. 
 Third, tierce, tertia modi. The 
 3d degree. 2. A stop sounding a 
 third or tenth above. 
 
 tertian Zweifach (ter-tsT-an tsvl'- 
 fakh), G. A stop combining tierce 
 and larigot. 
 
 Terz (terts) (pi. en), 6^..terzo(-a) (ter'- 
 ts5), /. I. Third, (a) the interval, 
 (b) in number. 2. Tierce, terzo 
 mano. Octave-coupler, terzadec- 
 ima, Terzde zime. A 13th. Terz- 
 quart akkord, or Terzquartsext- 
 akkord, 6-4-3 chord. (Vide chord.) 
 Terzquintsext'akkord, 6-5-3 
 chord. (Vide chord.) Terztone. 
 Tierce-tones. Terzflote. 1. Small 
 flute, a minor third above. 2. A 
 stop. 
 
 Terzdecimole (da-tsT-mo'-le). A group 
 
 ! of thirteen equal notes. 
 
 Terzett (ter-tset'), G., terzetto (ter- 
 tsSt'-td), /. A trio. 
 
 terzina (ter-tse'-na), /. A triplet. 
 
 tessitura (tes-st-too'-ra), /., tessiture 
 (tes-sl-tur), E. " The web." The 
 general " lie" of a song or phrase — 
 its average pitch, whether high or 
 low. 
 ".es'ta, I. Head, di t. In the head 
 
 as the voice, 
 ■.esto (tes'-to), /. "Text." i. Subject, 
 
 or theme. 2. The words of a song. 
 ;estu'do, Z. "Tortoise." The lyre. 
 ete (tet not tat), F. Head, of a note ; 
 of a vln., etc. 
 
 et'rachord, E., tetrachorde (tet-ra- 
 kord), F., tetracordo, /. i. A 4- 
 
 stringed instr. 2. The interval of a 
 fourth. 3. The 4 diatonic tones of 
 a perfect fourth. (Vide modes.) tetra- 
 chordal system. Original form of 
 Tonic Sol-fa. 
 
 tetrachor'don. A small piano-like i 
 
 instr. with a rubber cylinder, imping- 
 ing on strings. 
 
 tetrato'non, Gr., tet'ratone. An in- 
 terval of four whole tones. 
 
 tet'rad. Chord of the seventh. \ 
 
 tet'radiapa'son. Interval of 4 oc- 
 taves. 
 
 tet raphone. Tetratone. | 
 
 tetrapho'nia. Organum in 4 parts. ' 
 
 T(h)eil (til), G. Part. T.-ton. Partial I 
 
 tone. 
 
 the'ma, Gr., Thema (ta'-ma), G., 
 theme (tem), F., theme, E. Loosely, 
 the general idea of a composition. 
 Strictly, the structural molecule, of 
 which motive or subject and answer 
 are the component atoms. The 
 theme of a " theme with variations," 
 temacon variazioni, is an extended 
 air. Such a work as a sonata has 
 contrasting themes which are devel- 
 oped, themat ic treatment refers 1 
 to the contrapuntal handling of a ' 
 musical design as opposed to a lyric ' 
 treatment, though the theme itself 
 may be lyric in nature. 
 
 Theorbe (te-6r-be), C, th^orbe (ta- 
 
 orb), F., theorbo (the-6r'-bo), E. , 
 
 A large bass lute with two necks, 
 
 the longer carrying a set of bass | 
 
 strings. 
 
 Theoretiker (te - 6 - ra - tl - ker), G., 
 th6oricien (ta-6-res-yah), F. A 
 theorist. 
 
 theoria, Gr. and Z., th6orie (ta-5-re), 
 A, theory (the-o-rl), E. The 
 science of music, particularly of its 
 composition. 
 
 the sis, Gr. The accented downbeat. 
 
 Vide ARSIS. \ 
 
 Theur'gic hymns. Songs performed i 
 
 in Greek mysteries. ; 
 
 theyau. Vide tarau. 
 
 thin. Used of chords and harmonies 
 that lack support and fulness. 
 
 thior bo. Theorbo. 
 
 I 
 
284 
 
 THE MUSICAL GUIDE 
 
 third. I. Vide interval. 2. The medi- 
 ant, third-flute. Vide terzflote. 
 third-tones. Vide quint-tones. 
 
 thirteenth. An octave and a sixth. 
 
 thirty-second note. A demisemi- 
 quaver. 32d rest. A rest of equal 
 duration. 
 
 thorough-bass. Vide bass. 
 
 thorough-composed. Vide song. 
 
 three-eighth time. That in which 
 each measure contains three eighth 
 notes. 
 
 threefold. Used of triads. 
 
 three-lined. Vide pitch. 
 
 three-time. Triple time. 
 
 threno'dia, L. and Gr. A song. 
 threnody. Lamentation. 
 
 thrice-marked, or lined. Vide 
 
 I'lTCH. 
 
 thro. Vide tara. 
 
 through-composed. Vide song. 
 
 thumb-position. On the 'cello, a high 
 position where the thumb quits the 
 neck. 
 
 thumb-string. Banjo melody-string. 
 
 Thiirmer (ttir'-mer), G. Town-mu- 
 sician. 
 
 tib'ia (pi. tib'iae), Z. "Shin-bone." i. 
 Ancient name of all wind-instrs. with 
 holes, such as the flute, pipe and fife, 
 originally made from the human leg- 
 bone, tibiae pa' res, Z., pi. Two 
 flutes of the same length, t. impares. 
 Unequal flutes, one for the right hand 
 and the other for the left, which were 
 played on by the same performer ; 
 those for the right hand, t. dextrae, 
 being perhaps of higher pitch than 
 those for the left (sinistrae). t. ob- 
 li'qua, or vasca. Cross-flute. 2. 
 Name of various flute-stops, as t. 
 major, a i6-ft. covered stop. 3. t. 
 utric'ularis. The bagpipe. 
 
 tib'icen (pi. tibic'ines, feminine tibi- 
 ci'na), L. Flute-player, tibicin'ium. 
 _ Piping. 
 
 tie. A slur ; a curved line placed over 
 notes on the same degree which are 
 to be sustained as one tone. Vide 
 signs, tied-notes. i. Those thus 
 tied. 2. A series of notes (i6th notes, 
 etc.) with a single tail. 
 
 tief(tef), G. Deep, low. tiefer (te- 
 fer). Lower. 8va tiefer. Octave 
 below. tieftonend (tef-ta'-nSnt). 
 Deep-toned. 
 
 tier (ter). Rank (of pipes). 
 
 tierce (ters), E. i. A third, hence 
 tierce-tones, those reached by skips 
 of major thirds. Vide pitch. 2. The 
 4th in a series of harmonics. 3. A 
 mutation stop 2^j octaves above di- 
 apason. 4. Vide H0R.« CANONIC/E. 
 
 tierce (tl-ers'), F. i. A third. 2. Vide 
 HOR.E CANONIC.^, t. de Picardic 
 
 (du pe-kar-de), F. Tierce of Picardy; 
 a major third introduced in the last 
 chord of a composition in minor; 
 supposed to have originated in Picar- 
 dy. t. coulee (koo-la). A sliding 
 grace in thirds. Vide gr.vce. 
 
 timbalarion. A series of 8 drums 
 chromatically tuned and fitted with 
 pedals. 
 
 timbale (tah-bal), F., timbal'lo, /. A 
 kettle-drum, timbalier (tah-bal-ya). 
 A kettle-drummer. 
 
 timbre (tah-br), Z"., tim'bro, /. i. 
 Quality and color of tone. 2. A ball 
 struck with a hammer, jeux de 
 timbres (zhu-dii-tanbr). A chro- 
 matic series of small bells or metal 
 bars. 3. The snare of a drum. 
 
 tim'brel. Hebrew tambourine. 
 
 time. A word used loosely and inter- 
 changeably with its Italian equiva- 
 lent tempo, to indicate : i. Rate of 
 movement, or speed. 2. Rhythm. 
 Speed is indicated in various ways by 
 descriptive words, such as slow, an- 
 dante, langsam, etc., or by the me- 
 tronome mark. 
 
 Rhythm is generally indicated by a 
 fraction, as 2-4 or 3-S set at the be- 
 ginning of the composition or move- 
 ment. The denominator indicates the' 
 unit of note-value ; the numeratoi. 
 fixes the number of those unit-notes 
 in each measure. Thus 2-4 mean; 
 that the quarter-note is the standarc 
 of value, and that each measure con 
 tains two quarter notes or their equiv.^ 
 alents. 
 With the exception of such 
 
 \ 
 
CHART OF TIMES AND RHYTHMS 
 
 285 
 
 1. Duple, or Common Time, (mesures a deux ou quatre temps, F. 
 gerader Takt, G. tempi pari, /.) 
 
 A. Simple, (binaire, F. einfacher, G. semplice, /.) 
 
 
 No. of 
 
 gna- 
 
 beats to 
 
 
 
 
 
 .or| 
 
 2 
 
 \ 
 
 
 \ 
 
 
 s 
 
 
 or A 
 
 
 ♦ 
 
 
 ,v 
 
 
 * 
 
 
 English. 
 
 Two-t^vo (alia 
 
 breve). 
 Two-four. 
 Two-eight. 
 Four-two. 
 Four- four. 
 
 (common). 
 Four-eight. 
 Four-sixteen. 
 Eight-eight. 
 
 Deux-deux. 
 
 Deux-quatre. 
 Deux-huit. 
 Quatre-deux. 
 Quatre-quatre. 
 
 Quatre-huit. 
 Quatre-seize. 
 Huit-huit. 
 
 Zweizweiteltakt. 
 
 Zweivier " 
 
 Zweiach " 
 
 Vierzwei " 
 
 Viervier " 
 
 Viverach "' 
 Viersechzehn " 
 Achtach " 
 
 A cappella (alia breve). 
 
 Due-quarti (quarttro-due). 
 Due-ottavi (otto-due). 
 Quattro-mezzi (due-quattro). 
 Quattro-quarti (quattro-quattro, b 
 
 nario, ordinario). 
 Quattro-ottavi (otto-quattro). 
 Quattro-sedicesimi(sedici-quattro). 
 Otto ottavi (otto-otto). 
 
 
 B. Compound 
 
 . (ternaire, F. 
 
 zusammengesctzer, C composti, /.) 
 
 ;na- 
 res. 
 
 No. of 
 beats to 
 a meas. 
 
 English. 
 
 French. 
 
 German. 
 
 ItaUan. 
 
 \ 
 
 \ 
 
 X 
 
 8 
 
 Six-two. 
 
 Six-four. 
 
 Six-eight. 
 
 Si.x-sixteen. 
 
 Twelve-four. 
 
 Twelve-eight. 
 
 Twelve-si.\- 
 
 teen. 
 Twenty-four- 
 sixteen. 
 
 Six-deux. 
 
 Six-quatre. 
 
 Six-huit. 
 
 Six-seize. 
 
 Douze-quatre. 
 
 Douze-huit. 
 
 Douze-seize. 
 
 Vingt-quatre- 
 
 Sechszweiteltakt. 
 
 Sechsvier " 
 
 Sechsach 
 
 Sechssechzehn" 
 
 Zwolfvier 
 
 Zwblfach 
 
 Zwolfsechzehn" 
 
 Vierundzwan- 
 zigsechzehn " 
 
 Sei-mezzi (due-sei). 
 Sei-quarti (quattro-sei). 
 Sei-ottavi (otto-sei). 
 Sei-sedicesimi (sedici-sei). 
 Dodici-quarti (quattro-dodici). 
 Dodici-ottavi (otto-dodici). 
 Dodici-sedicesimi (sedici-dodici). 
 
 Ventiquattro-sedici. 
 
 i Triple time, (mesures a trois temps, F. ungerader, or Tripel Tajct, G, 
 tempi dispari, /.) 
 
 A. Simple. 
 
 Jna. 
 as. 
 
 No. of 
 beats to 
 a meas. 
 
 English. 
 
 French. 
 
 German. 
 
 Italian. 
 
 :ri 
 
 3 
 3 
 
 3 
 3 
 
 ! Mesure 
 Three-one. ; k trois-un. 
 Three-two. k trois-deux. 
 Three-four. i trois-quatre. 
 three-eight. 4 trois-huit. 
 
 Dreieinteltakt. 
 Dreizwei " 
 Dreivier " 
 Dreiach " 
 
 Uno-tre. 
 
 Tre-mezzi (due-tre). 
 Tre-quarti (quattro-tre). 
 Tre-ottavi (otto-tre). 
 
 B. Compound. 
 
 No. of 
 
 beats to English. 
 
 Nine-four. 
 
 Nine-eight. 
 
 Nine-sixteen. 
 
 Five-four. 
 
 Five-eight. 
 
 k neuf-quatre. 
 
 k neuf-huit. 
 [ a neuf-seize. 
 
 a cinq-quatre. 
 I k cinq-huit. 
 
 Neunvierteltakt, 
 
 Neunach 
 
 Neunsechzehn 
 
 Funfvier 
 
 Fiinfach 
 
 Nove-quarti (quattro-nove). 
 Nove-ottavi (otto-nove). 
 Nove-sedicesimi isedici-nove). 
 Cinque-quarti (quattro-cinque). 
 Cinque-ottavi (otto-cinque). 
 
 3TE.— Some English writers classify times also as quadruple and octuple, and indicate compound times 
 t>;he signatures oi the corresponding simple times with a dot added after the denominator. 
 
286 
 
 THE MUSICAL GUIDE 
 
 rhythms as the 5-8 time, all musical 
 time-patterns are divisible by 2 or 3, 
 and are called duple or triple. Thus 
 in 2-4 time there are two beats to 
 the measure, in 3-4 time there are 
 three. In more elaborate times the 
 beats may themselves be divided by 
 twos or threes. These are called 
 coDipound duple or compound triple 
 times. 
 
 The chart gives the various times in 
 various languages. (See also Accent 
 and Tempo.) 
 
 timido (te'-ml-do), /. Timid, timi- 
 dezza (te-ml-ded'-za). Timidity. 
 
 timoro so, timorosamen'te, /. Tim- 
 id (ly). timore (tl-mo'-re). Fsar. 
 
 timpano (tTm'-pa-nA) (PI. -i), /. Ket- 
 tle-drum, t, coper'to. Muffled 
 drum, timpanisto. Drummer. 
 
 tin'termell. An old dance. 
 
 tintinnab ulum, L., tintinnabolo, /. 
 (tln-tm-na-bo-lo), tintinna'bulo 
 
 (boo-16). I. A little bell. 2. A 
 small rattle of bells. 
 
 tintinnamen to, tintinnio (ne'-6), 
 tintin'no, /. Tinkling. 
 
 tin to, /. Shading. 
 
 tiorba (te-6r'-ba), /. Theorbo. 
 
 tipping. Vide double-tonguing. 
 
 tirade (te-rad), F. A slide across an 
 interval. 
 
 tiran'na, Sp. A national air with 
 guitar. 
 
 tirant (te-rafi), /'. Stop-knob. t. a 
 coupler (a-koo-pla). i. Coupler. 
 2. Button. 3. Drum-cord. 
 
 tirarsi, da (da te-rar'-se), /. " With a 
 slide," as tromba da t. 
 
 tirasse (tl-ras), F. i. A pedal-coup- 
 ler. 2. A pedal key-board acting 
 only on the manual pipes. 
 
 tirata (te-ra -ta), /. A group of equal 
 notes, moving in joint degrees. 
 
 tirato (te-ra'-to), /. i. Down-bow. 2. 
 P°dal-coupler. 
 
 tira tutto (te-ra toot-to), /. A pedal 
 mechanism controlling the full power 
 of an organ. 
 
 tir6 (te-ra), F. Drawn, pulled ; a 
 down-bow. tirez (te-ra). " Use the 
 down-bow." 
 
 Tischharfe (tTsh'-har-fe), G. "Dish 
 harp," an autoharp. 
 
 tlap anhuehue tl. Huehuetl. 
 
 tit ty. Hindu bagpipe. 
 
 tirolienne. Tyrolienne. 
 
 toccata (tok-ka'-ta), /. From toe- 
 care, to touch, to play. In its i6th 
 century form, a prelude made up of 
 runs and arpeggios. The modern 
 toccata develops with great thematic 
 hilarity and contrapuntal informality 
 a brilliant, swift and showy improvi- 
 sation, toccatina (te'-na), tocca- 
 tel'la. Short toccata. 
 
 toccato (tok-ka'-to), /. A fourth-trum- 
 pet part in place of kettle-drums. 
 
 tocsin. An alarm-bell. 
 
 To(d)tesgesang (tot' - es - ge - zang), 
 To(d)teslied (let), G. A dirge. 
 To(d)tengl6ckchen (glek'-khen). 
 Funeral - bell. To(d)tenmarsch 
 (marsh). Funeral (" dead ") march. 
 
 tombeau (ton-bo), F. " Tomb." Dra- 
 matic elegy. 
 
 tomb estere. Old E. A dancer with 
 tambourine. 
 
 tomtom. Hindu drums. 
 
 Ton (ton), pi. Tone (ta'-ne), G. i. 
 Tone. T.-bestimmung, or -mes- 
 sung. Calculation of tones. Ton- 
 gattung (gat'-toongk). The division 
 of the octave. The selection of tones. 
 Hence, mode. T.-rein. True in 
 pitch. T.-bildung. Tone-produc- 
 tion ; voice - training. T.-biihne. 
 Orchestra. T.-dichter. Tone-po^ 
 composer (also T.-setzer). T, 
 dichtung (dtkh-toongk) or satz. 
 Composition. T.-farbe (far-be) 
 Tone-colour, timbre. T.-folge. Series 
 of tones. T.-fiihrung. Melodic 
 progression, modulation. T.-fu 
 T.-fall (or -schluss). Caden 
 T.-setzung, or -verhalt. Rhythm,' 
 measure. T.-gang. Melody. T, 
 gebung. Intonation. T.-kunde. 
 Science of music. T,-kunst (koonst).^ 
 Music; the art of music. Tonkunst-* 
 schule. School of music. Toa 
 lehre (ton'-la-re). Acoustics. Ton- 
 leiter (ll-ter). Scale. T.-loch. 
 Ventage. T.-malerei. "Tone 
 
 krt 
 
DICTIONARY OF TERMS 287 
 
 painting," programme music. T.- 
 messer. Monochord, siren, sono- 
 meter. Tonschliissel (shlus'-sel). 
 Key-note. T.-runge. Fugue. T.- 
 setzkunst. Art of co'mposition. T.- 
 sprache. Music. T.-stiick or 
 -werk. Piece of music. T.-schrift. 
 Musical notes. T.-verwandschaft. 
 Relation of tones. T.-verziehung. 
 Tempo rubato. T.-veranderung. 
 Modulation. T.-'werkzeug. In- 
 strument (including the voice). T.- 
 system, or wissenschaft. Theory 
 of music. T.-zeichen. Note or 
 other musical sign. 
 
 2. Pitch, den T. angaben (hal- 
 ten). To give (keep) the pitch, T.- 
 hohe. Pitch. T.-lage. Register. 
 
 3. Key, octave-scale, mode, usually 
 Tonart (ton -art). T.-anverwand- 
 schaft (fer-vant -shaft). Key-rela- 
 tionship. T.-geschlecht (ge- 
 shlekht). Mode (i. e. , major or minor). 
 Tonabstand (ap-shtant). Interval. 
 T.-achtel. Eighth note. T.-stufe. 
 Degree. T.-umfang. Compass. 
 
 Fon (ton), F. I. Tone. t. bouch6 
 (boo-sha). Stopped tone of a horn. 
 t. entier (an-tT-a). Whole tone. t. 
 feint (fan). Old term for flatted tone. 
 t. ouvert (oo-var). Open tone, of 
 wind-instr. t. g6n6rateur (zha- 
 •na-ra-tur). Fundamental. 2. Pitch. 
 donner le t. Give the pitch. 3. Key, 
 scale, mode. t. majeur (mineur). 
 Major (minor) key. t. relatif. Re- 
 lated key. t. de I'^glise (du la- 
 glez). Church-mode. 4. Crook of a 
 horn. t. de r^change, or du cor. 
 Tuning-fork. 
 
 inadica (t5-na-de'-ka), tonadilla 
 (del'-ya), Sp. Cheerful song with 
 guitar. 
 
 )'nae fic'ti, Z. Transposed church- 
 modes. 
 
 inal. Relating to a tone, a key, 
 mode, etc. Vide FUGUE, and imita- 
 tion. 
 
 onalitat (ton-al-I-tat'), C, tonali- 
 ty (ton-ai-I-ta), F., tonal'ity, E. 
 The unity in key-relationship of a 
 phrase or composition. It may pass 
 
 out of the predominant key, but so 
 long as it does not stray beyond 
 the limits of easy return and constant 
 relationship with this key, the compo- 
 sition has not overstepped its general 
 tonality, 
 ton'do, /. Round, full (of tone). 
 tone. I. A sound of musical quality 
 and regular vibration as opposed to 
 noise. 2. A sound, (a) of definite 
 pitch, (b) of a definite quality. 3. A 
 full interval of two semitones. 4. A 
 mode. 5. Of aliquot, combinational, 
 differential, partial, resultant, sum- 
 mational, etc., tones or difference- 
 tones, overtones, cXc. Vide those words, 
 also ACOUSTICS. Oi fifth-tones, quint- 
 tones, third-tones. VideQUiNT-TONES. 
 bridge-tone. Vide tonic sol-fa. 
 tone-colour. The distinctive qual- 
 ity or timbre of a tone, tone-paint- 
 ing. Description by music, tone- 
 poem. A musical e.Kpression of 
 sentiment, determination of t. 
 The investigation of vibrations, or 
 tone-values, tone-relationship, etc. 
 tone-relationship. Tones which 
 concur in a major or minor chord are 
 said to be of the first degree of rela- 
 tionship ; c is so related tog, f, e, ab, 
 a, and et>, etc. 
 tonen (ta'-nen), G. To sound, tb'nend. 
 
 Sounding. 
 tongue. I. Reed ; or the vibrating 
 metal slip of a reed ; hence, tongue- 
 pipes. 2. As a verb, to use the 
 tongue in playing wind-instr. ; called 
 tonguing. Vide double-tonguing. 
 Triple-tonguing is the rapid iteration 
 by tongue-thrust with the consonants, 
 t-k-t, t-k-t, etc. 
 tonic, E., tonica (to'-ne-ka), /., To'- 
 nika, G., tonique (to-nek), F. i. 
 The key-note of a key, that on which 
 the scale begins and ends, the tone 
 from which a key takes its name, 
 as C. 2. The tonic-chord, the 
 diatonic chord built on the key-note. 
 t. -pedal. Pedal-point on the key- 
 note, t. section. One which closes 
 with a cadence to the tonic of the 
 chief key of the movement. 
 
 L 
 
288 
 
 THE MUSICAL GUIDE 
 
 Tonic Sol-fa. A system of teaching 
 singing-, inv. by Sarah Ann Glover, 
 of Norwich, and improved by Rev. 
 John Curwen, and his son John 
 Spencer Curwen. It consists, first, in 
 analysis with constant reference to 
 key-relations, or "tones in key"; 
 the second element is a notation modi- 
 fied from solmisation (q. v.), and con- 
 sisting of doh for do, raj for re, me 
 for mi, fah for fa, soh for sol, lah for 
 la, te for si. These take the place 
 of notes and are written on one line 
 by their initials, d, r, m, etc., an ac- 
 cent being affixed below or above the 
 letter to indicate an octave lower or 
 higher as d' r'. Sharps are sung de, 
 re, etc. ; flats da, ra, etc. In modu- 
 lation, bridge-tones are indicated by 
 the new key-value of the tone large 
 with its old key value small as ^d. 
 In notation, rhythm is expressed by 
 time-spaces, the number varying ac- 
 cording to the beats or pulses in the 
 bar ; a thick bar before a letter marks 
 a strong accent ; a colon a weak 
 accent ; a dot and a comma mark 
 half and quarter beats ; a dash indi- 
 cates prolongation of tone ; a rest is 
 marked by a vacant space. 
 
 to' no, /. I. Tone. 2. Key. 
 
 to'nos, Gr.^ tonus, L. i. A whole 
 tone. t. grav is, tris'tis, mys'ti- 
 cus, harmon icus, laet'us, devo'- 
 tus, angel'icus, perfect'us, respec- 
 tively the 1st, 2d, 3d, 4th, 5th, 6th, 
 7th, and Sth tones in church-music. 
 t. cur'rens. Reciting note. t. pe- 
 regri'nus. Foreign tone. 2. Mode. 
 
 toquet (to-ka), touquet, F. Tocca- 
 to. 
 
 toomour'ah. Hindu tambourine. 
 
 too'rooree'. Brahmin trumpet. 
 
 toph (tof), Heb. Hebrew tambourine. 
 
 torcelli (tor-chel'-le), /. Organs. 
 
 tosto (tos'-to). Quick, rapid, piii 
 tosto. Rather ; sooner. 
 
 touch. I. Act or style of pressing the 
 keys of a key-board instr. 2. The 
 response or resistance of the action. 
 
 touche (toosh), F. i. Touch. 2. A 
 digital. 3. A fret. 4. A iinger^board. 
 
 toucher (too-sha), F. i. As a noun, 
 touch. 2. As a verb, to touch, play, 
 touchette (too-shet'), F. Fret. 
 toujours (too-zhoor), /'. Always. Vide 
 
 SEMPRE. 
 
 touquet (too-ka), F. Toccato. 
 
 tourdion (toor-dl-6n), F, Saltarella 2. 
 
 tourment^ (toor-mah-ta), F. Over- 
 elaborated. 
 
 tourne-boute (toorn-boot), F. An 
 instr. Hke a flute. 
 
 tour de force (toor du fors), F. Bra- 
 vura passage, etc. 
 
 tourniquet (toor-nl-ka), F. Plug, cap. 
 
 touta'ri. Hindu bagpipe. 
 
 tout (too), pi. touts (too), or toutes 
 (toot), F. All. t. ensemble (too- 
 tan - sah' - bl). All ; the whole to- 
 gether ; the general effect. 
 
 toy. A trivial air or dance, toysym-: 
 phony. A comic work, particularly: 
 one by Haydn employing toy cuckoo,, 
 trumpet, etc. 
 
 tp. Abbr. of Timpani. ^ 
 
 tr. Abbr. for trumpet or trill. 
 
 trackers, E., Tractur (trak-toor'), G. 
 Vide ORGAN. 
 
 tract, E., trac'tus, Z. Solemn melo- 
 dies sung from the Psalms during 
 Lent in the Requiem Mass. Thf 
 words are taken from the Psalms. 
 
 tradolce (tra-dol'-che), /. Very sweet 
 
 tradotto (tra-dot'-to), /. Translated 
 arranged. 
 
 Tra'gen der Stim'me, G. Portamento 
 
 traine (tre-na), F. i. Slurred. 2. I 
 slow waltz. 
 
 trait (tre), F. i. Passage as t. d, 
 chant. Vocal run. 2. A phrasf 
 progression, t. d'harmonie. S( 
 quence. 3. Rule. t. d'octav< 
 Rate of the octave. 
 
 traits (tre-ta), F. A treatise. 
 
 Traktur (trak-toor'), G. Tracker 
 Vide ORGAN. ■' 
 
 tranquillezza (tran-kwTl-l^d'-za), trai: , 
 quillita (tran-kwTl-lI-ta), /. Tra- 
 quillity. tranquil'lo, tranquil!: 
 men'te. Calm(ly). 
 
 transcription (in F. tran-skreps-yor 
 A rearrangement of a compositi' 
 for a different instr. or instrs. 
 
 An 
 
 feo 
 
 
DICTIONARY OF TERMS 289 
 
 uniforme. The notation, common 
 in French bands, of writing all the 
 transposing instrs. in the G clef. 
 ran'sient. Used of notes, chords and 
 modulations that are merely passing 
 and secondary, the means, not the 
 end. 
 
 •an'sito, Z., transit'ion (in F. tran- 
 ses-yoiij. i. A modulation of tran- 
 sient value ; so also in Tonic Sol- 
 fa. 
 
 •an'situs, L. A passing note (usu- 
 ally t. re'gularis). t. irre'gularis. 
 Changing note. 
 
 ■ansponi(e)ren (p6-ne'-ren), G. To 
 transpose. transponi'rende In'- 
 strumente. Transposing instrs. 
 anspose, E., transposer (trah-sp6- 
 za), F. To change the pitch of a 
 composition to a key higher or lower. 
 Thus the tonic is replaced by the 
 tonic of the new key, the old domi- 
 nant by the new, etc. 
 ansposing. i. Used of instruments, 
 which are not written as they sound, 
 but always in the key of C major. 
 This is done so that the plaj'er's ease 
 and accuracy may be insured, by 
 keeping the fingering, etc., the same 
 :n all keys, the key of the instr. be- 
 ng changed by changing the instr. 
 entirely or merely changing a crook. 
 The extent of this transposition is the 
 nterval between the key of the instr. 
 ind the key of C major. So an instr. 
 ■n B, sounds a half-tone lower than 
 Ivritten ; an instr. in Ef? sounds a ma- 
 or 6th below or a minor 3d above 
 he actual note. 2. t. piano, etc., 
 me in which, by a mechanism, the 
 .ction is shifted to higher or lower 
 litch. t.-scale. Vide modes. 
 t.nspositeur (trans-p6-zl-tur'), F. r. 
 )ne who transposes. 2. A single- 
 alve inv. by Gautrot as a substitute 
 3r the series usually used. 3. A 
 ey-board instr., piano t., inv. by A. 
 Volff, 1873. 
 t nsposition (in G. trans-p6-ze'-ts^ 
 n). The changing of the key of a 
 composition. T.-skalen. Trans- 
 posing Scales. Vide modes. 
 
 transverse flute. Vide flute. 
 
 traquenard (trak-nar), F. A brisk 
 dance. 
 
 trascinando (tra-shl-nan'-do), /. Drag- 
 ging, retarding. 
 
 trascrit'to, /. Copied, transcribed. 
 
 trasportato (tra-sp6r-ta'-t6), /. Trans- 
 posed. ' chiavi trasportati. Vide 
 
 CHI.WETTE. 
 
 tratt. Abbr. of trattenuto. 
 
 trattato (trat-ta'-to), /. Treatise. 
 
 trattenuto (noo'-to), /. Retarded. 
 
 Trauergesang (trow-er-ge-zang), G. 
 Dirge. Trauermarsch (marsh). 
 Funeral-march, trauervoll. Sad. 
 traurig (trow'-rtkh). Heavy, sad. 
 
 travailler (tra-vl-ya), F. To work ; 
 to lead, play solo part. travaill6 
 (vi-ya). Worked up elaborately. 
 
 Travers'flote. i. A cross-flute. 2. 
 A 4-ft. stop. 
 
 traversiere (tra-vers-yar), F., traver- 
 se (tra-ver'-s6). Vide flute. 
 
 tre (tra), /. Three, a tre. For three 
 voices or instrs. tre cor'de. Loud- 
 pedal.. Vide PL\NO. tre volte. Three 
 times. 
 
 treble, i. The highest voice, soprano 
 (from triplum, q. v.). 2. Highest 
 part of a comp. 3. Highest regis- 
 ter. 4. The highest of a group of 
 instrs. t. clef. The G clef. t. 
 forte stop. A stop for cabinet or- 
 gans, increasing the treble at will, 
 while the bass remains soft. t. staff. 
 The staff on which the treble clef is 
 placed. 
 
 Tredezime (tra-da'-tse-me), G. Thir- 
 teenth. 
 
 treibend (tri'-bent), G. Hurrying, ac- 
 celerating. 
 
 treizieme (trez-yem), F. Thirteenth. 
 
 tremblant (trafi-blan), F., tremen'do, 
 /. Shaking, trembler (bla), F. 
 To trill. Vide tremulant, trem- 
 blement (traii-bl-mah), F. A trill, 
 shake. 
 
 tremolando (tram-o-lan'-do), tremo- 
 late (la'-te), tremolo (tra'-m6-l6), 
 tremulo (tra'-moo-l6), 7. Trembling, 
 trilling, quivering, reiterated with 
 great rapidity. 
 
290 
 
 THE MUSICAL GUIDE 
 
 trem'olant, tremulant. A stop which 
 gives to the tone a waving or tremb- 
 ling effect. 
 
 tremore (tra-mo'-re), tremoro'so, /. 
 Tremor(ous). 
 
 tremuli(e)ren (tra-moo-le'-r^n). To 
 trill. 
 
 trench'more. An old dance in triple 
 or compound duple time. 
 
 tr^nise (tra-nez), F. Vide qua- 
 drille. 
 
 trenodia (tra-no'-dl-a), /. A funeral- 
 dirge. 
 
 trfes (tre), F. Very. 
 
 tres'ca, trescone (tres-ko'-ne), /. A 
 country-dance. 
 
 Treter (tra'-tgr). G. Bellows treader. 
 
 triad, i?., triade (in F. tre-id ; in /. 
 tre-a'-de). A chord of three tones. 
 Vide CHORD, harmonic t. Major 
 triad. 
 
 triangle, E. (in F. tre-aiigl), Trian- 
 gel (tre'-ang-gl), G., triangolo (tre- 
 an'-g6-l6), /., triangulo (tre-an'-goo- 
 16), Sp., triang'ulus, L. A small 
 steel rod bent into a triangle and 
 tapped with a straight rod, for em 
 phasising rhythm. Triangular harp. 
 Vide HARP. 
 
 tri'as, L. Triad, t. defic'iens. Im- 
 perfect chord, t. harmo nica. Per- 
 fect chord. 
 
 trichord. The three-stringed lyre. t. 
 piano. One with three strings tuned 
 in unison for each note, trichord- 
 on. 3-stringed colachon. 
 
 Trichter (trikh'-tdr), G. i. Tube of a 
 reed-pipe. 2. Bell of horn, etc. 
 
 tricin'ium, L. An unaccompanied trio. 
 
 tricorde (tre-kor'-de), /. 3-stringed. 
 
 tridiapa'son, Gr. A triple octave. 
 
 tri'gon, trigo'num. A 3-stringed 
 lyre-like instrument. 
 
 trihemito'nium, Gr. Minor third. 
 
 trill, trille (tre'-yu), /"., Triller (trll'- 
 l^r), (7., rillo (trll'-lo), /. The rapid 
 alternation of a principal note with an 
 auxiliary, usually the major or minor 
 second above (a small chromatic sign 
 being set above the note when its 
 auxiliary is not to be diatonic). The 
 trill begins on the auxiliary note only 
 
 when the auxiliary is written as a 
 grace note before the principal, in 
 this case the trill ends on the prin- 
 cipal ; normally it ends on the aux- 
 iliary. A trill is long or short 
 (trillette (tre-y§t), F., trillet'ta, tril- 
 let'to, /.) according to the duration of 
 the principal, the short trill sometimes 
 amounting only to a mordent. A 
 series of trills on different notes is a 
 chain of trills (Trillerket te). A 
 mere rough rattle on one note instead 
 of two notes crisply trilled is called 
 goat-trill, Bockstriller, ch^vrote 
 ment, or trillo caprino. trillettinc 
 (te'no), /. A soft trill, imperfect t 
 One without a turn at the close. Ii 
 Caccini's Method, 1601, the trillo wa 
 the reiteration of a single note, ou 
 trill being called gruppo. trillandi 
 (trel-lan-do), /. i. Trilling. 2. i 
 succession, or chain, of shakes on dil 
 ferent notes, trillern (trll'-lgrn), Q 
 To trill. Vide graces and signs. 
 
 trine (tren). A triad, with 2 majc 
 thirds. 
 
 Trinkgesang (trKnk'-g^-zang), T.-lie 
 (let), G. Drinking-song. 
 
 trino'na. Open 8-ft. stop. 
 
 trio (tre'-6), /. i. A composition f< 
 three instrs. or voices, often in sona 
 form, pianoforte trio. pf.,vln., at 
 cello, string trio (vln., viola (or ; 
 vln.), and cello). (The name w 
 formerly used for 3 instrs., accomp , 
 nied by a fourth playing basso co b 
 tinuo.) organ trio. A strongly cc i; 
 trastedwork for 2 manuals and pec!>: 
 or for 3 manuals. 2. In the danc i, 
 form, the contrastingly quiet or lyrii ; i 
 second division. Gaining its na: j 
 from being once written in 3 pat; i 
 the word should now be laid aside ?L 
 meaningless and confusing, and ' 
 phrase second part, or second subj 
 used instead. 
 
 Triole (trl-o'-lf), G., triolet (in F. I- 1. 
 6-la). A triplet. 
 
 triomphale (tre-oii-fSl), F., trionfJir 
 (tre-6n-fa'-lg), /. Triumphal, trie 
 phant (tre-6n-fan), /"., trionfa:* 
 (tre-6n-fan't6), /. Triumphant. 
 
 
DICTIONARY OF TERMS 291 
 
 ripar'tite. In three parts. 
 
 ripel (tre'-pel), G. Triple, as T. 
 hige, triple fugue. T.-konzert, 
 Triple concerto, T.-takt. Triple 
 time. T.-zunge. Triple-tonguing. 
 
 riph'ony. Three sounds heard at 
 once, tripho'nia. Organum in 3 
 parts, triphonisch (tre-fo'-nlsh), G. 
 Triphonic, 3-voiced. 
 
 dpla (tre'-pla), /. Triple time. t. de 
 minima, i. 3-2 time. 2. Triplet. 
 
 -iple (in F. trep'-l). Threefold. Vide 
 
 COUNTERFOINT, TIME, etc. t.-CfOChc 
 
 (kvosh). 32d note. 
 
 ■ip'let. A group of three equal notes. 
 doublet. A sextole. 
 ip'lum, L. The third part in organ- 
 um, hence the highest ; in 4-part next 
 to the highest, the 4th being called 
 quadruplum; if there is a 5th it is 
 called quintuplum, etc. 
 ipola (tre'-po-la), /. Tripla. 
 risa'gion, Gr., Trisa gium, L. 
 " Thrice Holy," the Sanctus. 
 isemito'nium, L. Minor third. 
 istezza (trts-t^d'-za), /. vSadness. 
 . istro'pha, Gr. Triple square note of 
 the greater stress. 
 
 iton (tre-toii), F., tritone (tri'-ton), 
 E., tritono (tre-to'-no), /., tri'to- 
 lOUS, Z. (in G. tre-to-noos). An aug- 
 mented fourth ; long a forbidden 
 linterval in strict writing, since it was 
 augmented and was said to be hard 
 to sing, mi chord of the t. Third 
 inversion of the dominant seventh, 
 
 .vhich contains the tritone. Vide Ml. 
 rton a'vis, L. " 3-toned bird," a 
 
 West-Indian bird, capable of singing 
 
 1 note, and its twelfth and seven- 
 
 eenth, all at the same time, 
 'itt (trlt), G. Treadle, pedal. Tritt'- 
 . Jchuh (shoo). Place for the foot on 
 
 )ellows. Tritt'harfe. Pedal-harp. 
 \ rritt'bret or T.-holz. The board 
 
 in which the bellows-treader steps. 
 : ttus, Z. Lydian Church-mode. 
 t jmphirend' (tre-oom-fe'-rdnt), G. 
 . Triumphant. Triumphlied (let). 
 
 .iong of triumph, 
 t is (trwa), F. Three, mesure h 
 
 'ois-deux (trwa-du). 3-2 time. A 
 
 trois-huit (trwa zwet). 3-S time. 
 trois-qttatre (trwa kitr). 3-4 time. 
 
 troll. I. Round or catch. 2. As a 
 verb, to sing a catch. 
 
 tromba (trom-ba), /. i. A trumpet. 
 2. 8-ft. reed-stop. t. croma'tica, /. 
 Valve trumpet. t.-bas'sa, or di 
 basso, or spezzata (spgd-za-ta). 
 The bass trumpet, t. da tirar'si. 
 Old slide trumpet, perhaps a soprano 
 trombone, t.-marina (ma-re'-na), I. 
 Marine trumpet, spezzata (spSd-za- 
 ta), /. An obsolete name for the 
 bass trombone. t. sor'da. Muted 
 trumpet, trombadore (do'-r^), trom- 
 bacelloclyde. A Bl^ ophicleide. 
 trombet ta, trombettino (te'-no), 
 trombettatto're- or iere (I-a'-re). 
 
 1. Trumpet. 2. A small trumpet. 
 trombone (in E. tram'-bon ; in I. 
 
 trom-bo'-ne ; in F. troh-bun), /. , pi. 
 -i. I. A trumpet-like instr. with 
 valves ; or more anciently, with a tube 
 that may be lengthened or shortened 
 by means of a U-shaped portion to 
 bt pushed in or drawn out. This 
 slide moving by semitones has seven 
 positions, each of which virtually, 
 makes a separate instr. of it with a 
 distinct key, the partial tones of this 
 being obtained by variations of press- 
 ure (vide embouchure). The tone 
 of the instr., though suffering from 
 misuse in bad hands, is of the utmost 
 richness, dignity and humanity. Ber- 
 lioz calls it "epic." It is a non-trans- 
 posing instr. in four sizes, the tenor 
 being most used ; the tenor and alto 
 are written on the C clef ; the bass 
 and contrabass on the F clef ; com- 
 passes ; tenor, chromatic E-b'b (with 
 pedal-tones G-B, t^, and difficult 
 tones b -d") ; alto, A-e"l?; bass B -f. 
 
 2. A powerful 8, 16 or 32 ft. stop. 
 Trommel (trom'-mel), G. Drum. 
 
 gros'se T. Bass drum. Militar-t., 
 or Wirbel-t. Side drum. Roll-t. 
 Tenor drum. T.-bass. A bass note 
 thumped drum-wise. T.-boden (bo'- 
 den). Bottom of a drum. T.-kas'- 
 ten. The bodv of a drum. T.- 
 klopfel (klep-fe'l), or T.-schlagel 
 
292 
 
 THE MUSICAL GUIDE 
 
 (shla-gel). Drumsticks. T.-schla- 
 ger. Drummer, trom'meln. To 
 drum ; drumming. 
 
 TrommelstUck ( trom'-mel-shtiik), G. 
 Tambourine, tabor. 
 
 trompe (tronp), F. i. Hunt-horn. 2. 
 Reed-stop. t. de Beam (du ba-arn), 
 or a laquais (a iak-e). Jew's harp. 
 
 Trompete (trom-pa'-te), G. i. Trum- 
 pet. 2. A reed-stop. Trompeten- 
 geige. Marine trumpet. Trompe- 
 tenzug (tsookh). Trumpet-stop. 
 Trompeter (trom-pa'-ter), tromp6- 
 teur (troh-pa-tur), F. Trumpeter. 
 
 trompette (troh-pet), F. i. A trum- 
 pet. 2. Trumpeter. 3. A reed-stop. 
 t. a coulisse (a koo-les). SHde- 
 trumpet. t. a clefs (a kla). The 
 trumpet with keys. t. a pistons (a 
 pes-ton). Valve trumpet, t. d'har- 
 monie (dar-mu-ne). Orchestral t. 
 t. harmonieuse (ar-mon-yuz). Trom- 
 bone, t. marine. Marine trum- 
 pet, t. harmonique (Sr-mun-ek). A 
 reed-stop. 
 
 troop, I. A quick march for trooping 
 the colors. 2. The 2d drum-beat as 
 a march-signal. 
 
 trope, tro'pus. i. A Gregorian for- 
 mula for the close of the lesser doxol- 
 ogy. 2. Mode. 
 
 troppo (tr6p'-p5), /. Too, too much. 
 lento jna non t. Slow, but not too 
 slow. 
 
 troubadour (troo-ba-door), F., trova- 
 dor (tro-va-dhor), Sp., trovatore 
 (tro-va-to'-re), /. A poet musician, 
 usually of noble rank, skilled in sing- 
 ing, chiefly of love. The cult arising 
 in Southern France, flourished widely 
 from the nth Century. The t. 
 sometimes had hired minstrels (me- 
 nestrels, menetriers, or jongleurs) in 
 attendance on him. trouveres (troo- 
 var), F. A cult of poet-musicians 
 contemporary with and often con- 
 fused with the troubadours, but more 
 characteristic of the north of France, 
 and singing songs rather of war and 
 epic struggle than of love. 
 
 triib(e) (trfip or trii'-be), G. Sad. 
 
 Trug (trookh), G. Deception. T.- 
 
 fortschreitung. Progression of a 
 dissonance, not to its resolution, but 
 to another dissonance. T.-kadenz, 
 or -schluss. Vide cadence. 
 
 Trumbscheit (troomp'-shit), G. Ma- 
 rine trumpet. 
 
 trump. I. Trumpet. 2. Jew's harp, 
 
 trumpet, i. A metal wind-instr. with 
 a tube half as long as that of the horn, 
 but bent in longer folds, and with a 
 smaller bell. The tube is narrow and 
 cylindrical till near the bell ; the 
 mouthpiece is hemispherical and 
 cupped. It is a transposing instr. 
 written in the G clef (almost always), 
 and in the key of C. Its pitch is ar 
 octave higher than that of the horn 
 and it is used in fewer keys. Itisth< 
 most commanding of all brass instrs. 
 but its stopped tones are unpleasant 
 It should be written for in a distinct 
 ly vocal manner. It is fitted witl 
 crooks to give it any key, the ton 
 being produced by embouchure (q. v. 
 e.xcept in the valve; or chromatic, 
 trumpet; which is displacing the olde 
 form. Its extreme compass is d-b"[5J 
 In England the slide trumpet is useci 
 working like a trombone but wit 
 shorter slide. Trumpets of the saroi 
 key but sounding an octave apart ai) r, 
 called alto (high), and basso (low,. 
 2. An 8-ft. reed-stop. j 
 
 marine trumpet. An old insti 
 once used for signalling in the Enj 
 lish navy, hence its name ; also us( a 
 in convents, whence it was call(;> 
 " nun' s fiddled It was played chie,- ; 
 ly in harmonics, and had one thii; ;. 
 gut string, sometimes an octa . 
 string, and one or more drone-string • 1 
 The box was long and thin with she 
 neck and flat belly ; one foot of i 
 bridge rested loosely producing I 
 powerful resonance, harmo 
 Asackbut. reed-t, A trumpe 
 36 brass-reeded pipes inclosi 
 ranged in a circle, so that each 
 was brought in turn between-. 
 mouthpiece and the bell. 
 
 Trumscheit (troom'-shit), G. M; 
 trumpet. 
 
 
 CM,!. 
 J!', il 
 
 !.ll 
 
 Si 
 
DICTIONARY OF TERMS 293 
 
 s. Abbr. of Tasto Solo. 
 scheng (cheng). Cheng. 
 jChung (choong). Chinese gong. 
 iba (too-ba), /. I. The lowest of the 
 saxhorns (q. v.), an enormous brass 
 j horn with four pistons, a trombone- 
 I like mouthpiece, and a compass of 4 
 i octaves. It is a non-transposing instr. 
 (except in the case of a tenor-tuba in 
 I Bb, and a bass-tuba in F so written 
 I by Wagner), and is written in the G 
 I clef. It is usually made of 3 sizes, 
 i the bass or the euphonium, in B flat 
 j (compass available B,l^-f'), or in Eb; 
 the bombardon, a fifth lower ; and the 
 I contrabass tuba (or bombardon) 
 jinBban octave lower than the Eupho- 
 fnium. 2. The straight Roman trum- 
 pet, or t. communis ; the t. duc- 
 tilis, being curved. 3. t. curva. A 
 limited natural French trumpet of the 
 l8th Century. 4. A powerful S-ft. 
 ■ reed-stop. t. major, t. mirab ilis, t. 
 1 clarion. A 4-ft. stop. 
 ii'bicen, L. A trumpeter. 
 ick'et. A flourish of trumpets. 
 liau (twe-6), F. Tuyau. 
 ■imultuoso (too-mool-too-o'-s6), /. 
 .Agitated. 
 
 .n. Ancient Yucatan drum. 
 •ne. An air or melody, usually short 
 and simple. 
 
 .'ner. i. One who tunes instruments. 
 2. The flap or cut in the top of a 
 pipe by which it is tuned. 3. Tun- 
 jing-cone. 
 
 'ning. I. The correction of the tone- 
 production of an instr. 2. Accorda- 
 ture. t.-cone or horn. A cone of 
 horn or metal which can be inserted 
 in the top of an organ-pipe ; by 
 " coning out " or increasing its flare 
 and raising its pitch; by "coning 
 in" or pressing it, point upwards, 
 over the top of a pipe, it decreases 
 the flare and lowers the pitch, t.- 
 crook. Vide crook, t.-fork. A 
 small steel instr. with two prongs 
 which upon being struck sounds a 
 certain fixed tone. t. -hammer or 
 key. A hand-wrench. t. slide. 
 I. An English instr. for producing 
 
 thirteen semitones. 2. An adjustable 
 U-shaped portion of the tube of cer- 
 tain brass instrs. t. wire. Vide 
 REED and PIPE. 
 
 tuono (too-o'-no), /. I. Mode, as t. 
 ecclesias'tico. Church-mode. 2. 
 Tone. 
 
 tuorbe (tworb), F. Theorbo. 
 
 turba, pi. -ae, L. " Crowd, multi- 
 tude." The heathen or Jewish chorus 
 in Passion music. 
 
 turbinoso (toor-bl-no'-so), /. Tempes- 
 tuous. 
 
 turbo (toor'-bo), Gr. A seashell trum- 
 pet. 
 
 turco (toor'-k5), /. Turkish, alia 
 turca. In the style of Turkish music. 
 
 turdion (toor'-dI-6n), Sp., turchesco 
 (toor-ka'-sko), /. An old dance. 
 
 turkish (tiir'-klsh), G. Turkish. Turk- 
 isch-muzik. Janizary music. 
 
 turn. An embeliishment consisting of 
 a principal tone (struck twice) and 
 one higher and one lower auxiliary a 
 diatonic second removed, unless a 
 chromatic sign accompanies the sym- 
 bol ; if a sharp or flat is placed above 
 the turn-mark, it alters the higher 
 auxiliary ; if below, the lower. The 
 common, direct, or regular turn 
 usually begins on the upper auxiliary ; 
 the back or inverted t. begins with 
 the lower ; the rebounding or trilled 
 t. begins with a passing shake ; the 
 double t. affects two notes at once. 
 Vide GRACES. 
 
 turr. 3-stringed Burmese violin. 
 
 Tusch (toosh), G. A triple flourish of 
 trumpets and drums. 
 
 Tute (too'-te), G. Cornet. 
 
 tutta (toot'-taj, tutto, pi. tutte (toot'- 
 te), or tutti (toot'-te), /. All ; the 
 entire band or chorus ; in a solo or con- 
 certo it means that the full orchestra 
 is to come in. tutte corde (kor'-de). 
 " All the strings " ; i. e., release the 
 soft pedal, tutti. Full band or 
 chorus — the entire force, tutto ar'- 
 CO. With the whole bow. 
 
 tuyau (twe'-yo), F. i. Tube, as of a 
 horn. 2. Pipe. t. a anche. Reed- 
 pipe, t. a bouche. Flue-pipe. 
 
294 
 
 THE MUSICAL GUIDE 
 
 twelfth. I. An interval of an octave 
 plus a fifth. 2. A stop twelve tones 
 above the diapasons. 
 
 twenty-second. A triple octave. 
 
 twice-marked, or -accented. Vide 
 
 PITCH. 
 
 two-lined. Vide pitch, two-time. 
 Duple time, two-step. A dance 
 in 6-8 time, somewhat resembling 
 the waltz, but in duple accent. 
 
 tymb'estere. Vide tombestere. 
 
 tym'pan. i. Timbrel. 2. Drum. 3. Irish 
 instr., perhaps the crowd, tympani 
 (tTm'-pa-ne), /., pi. Kettle-drums. 
 tympanis'ta. Kettle-drummer. 
 
 tympanischi'za. Marine trumpet. 
 
 tympan'on (tem-pa-noii), F. i. Dul- 
 cimer. 2. Kettle-drum. 
 
 tym'panum, L. i. Ancient drum resem- 
 bling the kettle-drum. 2. Kettle- 
 drum. 3. The water-wheel in old 
 hydraulic organs. 
 
 ty'pophone. A piano-like instr., with 
 steel wands instead of strings, com- 
 pass c'-c'"". 
 
 tyrolienne (te-rol-y^n), F. i. Song, or 
 dance peculiar to the Tyrolese ; and 
 characterised by the jode'l. 2. Round 
 dance in 3-4 time. 
 
 tzeltze'lim, Heb. Cymbals. 
 
 tzet'ze. Abyssinian guitar. 
 
 tzi'ti. Hindu bagpipe. 
 
 V 
 
 UBELKLANG (U'-bel-klang) 
 or -laut (lowt), G. Discord. 
 iiben (u'-b6n), G. To prac- 
 tise. 
 iiber (ii'-ber), G. Over, above. U.- 
 einstimmung (Tn-shtlm-moongk). 
 Harmony, ii.-gefiihrt (ge-fUrt). Di- 
 vided (of stops), ii.-greifen (grl- 
 fSn). (a) To cross the hands ; (b) to 
 lift the thumb from the neck of a 
 'cello, ii.-greifendes System (zes- 
 tam). Hauptmann's plan of forming 
 a new key-system by adding to the 
 group of triads of one key, a triad in 
 its dominant or sub-dominant key. 
 ij.-blasen (bia-z6n). Overblowing, 
 
 to overblow. U.-gang., (gang). 
 Transition, modulation. U.-leitung 
 (li-toongk). Transition passage, ii.- 
 massig(mgs-slkh). Augmented, ii,- 
 schlagen (shla'-gen). (a) To cross ^;I^ 
 over (the hands), (b) To overblow, if^.]^' 
 (c) To break, ii.-setzen (zet'-z6n). i ;'..., 
 To pass a finger over the thumb ; or 
 one foot over the other, ii.-steigen 
 (shtl'-ghen). For a part to soar tem- 
 porarily higher than the part normally 
 
 ., above it. 
 
 tJbung (u-boongk), G. (pi. -en). Ex- 
 ercise ; a study. Ubungsabend. Pu- 
 pils' concert. 
 
 ugab (oo'-gab), Heb. An organ. 
 
 uguale (oo-gwa'-le), /. Equal, like. 
 ugualita (ll-ta). Equality, ugual- 
 men'te. Equality, alike. 
 
 umana (oo-ma-na), /. Human, vo- 
 ce u. (v6'-che). I. The human voice. 
 2. A stop. 
 
 Umfang (oom'-fang), G. Compass. 
 
 umgekehrt (oom-ge-kart'), G. Re- 
 versed, inverted. 
 
 Umkehrung(oom-ka-roongk), G. In- 
 version. 
 
 umore (oo-mo'-r^), /. Humour. Ijt'^ 
 
 um (00m), G. Prefix about, around.ifFiwt 
 
 umschlagen (sla'-gen). i. Tobreak'l-- i 
 to make a pronounced change of regi 'i'-'^^ta 
 ister. 2. To overblow. 3. To mak(: ;\^- 
 the goose. Um'stimmung (shtira ! iji^-^ 
 (a) Change, (b) Cordaj^^s 
 
 moongk) 
 
 ture, pitch or key 
 un. Abbr. of Unison. 
 un (uh), F., un (oon), una (oo'-na) 
 
 uno (oo'-no), /. A, an, one. 
 unaccented. Vide pitch. 
 unaccompanied. Without instrumen 
 
 tal accompaniment. 
 unacknowledged. Used of passing 
 
 or unessential notes. 
 un'ca, L. " Hooked " ; quarter note 
 
 bis unca. i6th note. 
 uncoupled. With coupler released. 
 und (oont). G. And. \ 
 
 un'da maris, Z. " Wave of the sea.: ; 
 
 A stop tuned sharp or flat and pre 7.1 
 
 ducing an undulating effect by mear' i 
 
 of beats ; sometimes a pipe with t\v^ 
 
 mouths, one higher than the other. ' „, 
 
 I Wf Ti 
 
 
DICTIONARY OF TERMS 295 
 
 indecima (oon-da-che'-ma), Z. and /. 
 An eleventh. 
 
 indecimole (oon-da-chK-mo'-le), /. A 
 group of eleven equal notes. 
 
 inderchord. The minor triad. 
 
 inderpart. That beneath, or subor- 
 dinate to others. 
 
 ndersong. A burden. 
 
 ,ndertone. A lower partial sometimes 
 produced by the simultaneous sound- 
 ing of two higher tones. (Vide 
 
 ACOUSTICS.) 
 
 Indezime (oon-da'-tse-m^), G. An 
 eleventh. Unde'zimo'le. Undeci- 
 mole. 
 
 adulation, E., undulazione (oon- 
 doo-la-tsI-6'-n^), /. Vibrato effect on 
 bow instruments. 
 oe (Un), F. A, an, one. 
 aeigentliche (oon-i'-gent-ltkh-e). Ir- 
 regular (of fugue). 
 
 nendlich(er) (oon-ent'-Hkh-(gr) ), G. 
 Endless (of canon). 
 aequal. i. Vide temperament. 2. 
 Of voices = mixed. 
 lessen'tial. Used of passing and 
 grace notes, etc. 
 ifret'ted. Vide fretted. 
 igar (oon'-gar), ungarisch (oon-ga'- 
 rlsh), G. Hungarian. 
 igebunden (oon-ge-boont'-^n), G. 
 I. Vide FRETTED. 2. Unconstrained. 
 igeduldig (oon-ge-dool'-dlkh), G. 
 Impatient. 
 
 igerade Takt (oon-g^-ra'-d^ takt), 
 G. Triple time. 
 
 tgestrichen (oon-gS-strlkh'-Sn). Un- 
 accented. Vide PITCH. 
 igestiim (oon'-g^-shtum), G. Impet- 
 uous. 
 
 igezwungen (oon-gS-tsvoong'-en), 
 G. Easy. 
 
 igleich (oon'-glikh). Unequal. Vide 
 COUNTERPOINT. unglcichschwc- 
 bende (shva-ben-d^). Unequal, of 
 temperament (q. v.). 
 harmo'nischer Querstand (kwar'- 
 shtant) or umstand (oom'-shtant). 
 False relation. 
 
 uichord, E., unichor'dum, L. i. 
 Monochord. 2. Marine trumpet. 
 • ion (lin-yoii), F. Union, u. des 
 
 r^gistres (da ra-zh^str). Blending 
 of registers. 
 unione (oo-nl-6'-n$), /. Coupler. 
 u nison (in G., oo-nl-zon), uniso'nus, 
 Z,., unisono (oo-ne-s6'-n6), /. ; unis- 
 son (u-nls-s6h), F. i. Identity of 
 pitch. 2. Any octave of a pitch. 3. 
 A tone of the same or octave pitch. 
 4. A prime, hence augmented uni- 
 son. 5. A group of 2 or 3 strings 
 tuned in the piano to one note, all' 
 unisono, a I'unisson, in unison, or 
 progressing in the unison or the oc- 
 tave. 
 unis'onant, unis'onous. In unison 
 
 or octave. 
 unito (oo-ne-to), unitamen'te, /. 
 United(ly). uniti cancels divisi 
 (q. v.). 
 unmeasured. Without definite meas- 
 ure. 
 uno (oo'-no), una (oo'-na), /. One ; 
 a, an. uno a uno. One by one; one 
 after another. 
 unrein (oon'-rin'), G. Impure ; out of 
 
 tune. 
 unruhig (oon-roo'-lkh), G. Restless; 
 
 uneasy. 
 unschuidig (oon-shool'-dikh), G. In- 
 nocent. 
 unsingbar (oon-ztng'-bar), G. Not 
 
 singable. 
 unstrung. Of strings (a) relaxed in 
 
 tension, (b) removed entirely. 
 unter (oon'-ter), G. Under, below, 
 sub. U.-bass (bas). Double bass. 
 U.-brechung (brSkh'-oongk). Inter- 
 ruption, u.-brochen (brokh-en). In- 
 terrupted. U.-dominante (do-mt- 
 nan'-t^). Subdominant. U.-halbton 
 (halp-ton). Half-step below. U.- 
 haltungsstiick (hal-toongs-shtuk). 
 Divertissement. U.-Ieitton (llt-ton). 
 Dominant seventh. U.-mediante 
 (ma-dr-ant'-g). Submediant. U.- 
 satz(zats). Supporter; a 32-ft. stop 
 on the pedal, u.-setzen (z^t'-z^n). 
 To pass the thumb under a finger ; or 
 one foot under another. U.-stimme. 
 Lowest voice, or part. U.-tasten 
 (tas-tSn). The white keys of the 
 piano or organ. U.-tone (ta-n«). 
 
 I 
 
296 
 
 THE MUSICAL GUIDE 
 
 Untertonreihe (n-e). Vide under- 
 tones. 
 
 unverziert (oon-fer-tsert'), G. Unor- 
 namented. 
 
 unvolkommen (oon'-fol-kom-men), G. 
 Incomplete. 
 
 uomo (00-6 -mo), /. A man. Vide 
 
 PRIMO. 
 
 up-beat. I. The raising of the hand 
 or baton, hence 2. An unaccented 
 part of a measure. 
 
 up-bow. Vide BOW. 
 
 upright. Vide piano. 
 
 ura nion. An instrument like the harp- 
 sichord or piano. 
 
 uhr-heen. Chinese violin. 
 
 upper-clang. Vide cl.\ng. 
 
 uscir di tuono (oo-sher de too-o-'no), /. 
 To get out of tune. 
 
 u'sus, L. I. The rules of music. 2. 
 Old synonym for neumes and the 
 neume system. 
 
 ut (ut in /'.,• in /. and Z. oot). i. In 
 France the key and note C, so used 
 also in indicating pitch, as ut 2. 2. 
 Vide SOLMISATION. 3. In Latin, as, 
 like that, ut supra. As above, as 
 before. 
 
 Ut que'ant lait is, Z. Vide solmisa- 
 
 TION. 
 
 F 
 
 VAbbr. for vide — see ; vio- 
 lin{s) ; volti ; voce. 
 va (va), /. Go on. va cres- 
 cendo (kre-shen'-do), I. Go 
 on increasing the volume. 
 vaccilando (vat-chl-lan'-do), vacci- 
 lante (lan'-te), /. Wavering, irreg- 
 ular. 
 va'gans, Z. Vague. Vide quintus. 
 vago (va'-g6), I. Vague, rambling. 
 valce (val'-che), I. Waltz. 
 valeur (va-lur), Z"., val or, Z., valore 
 
 (va-l6'-re), /. Duration (of a note). 
 valse (vals), F. Waltz ; used in E. 
 rather of a concert-piece (v. de sa- 
 lon), than of a strict dance-tune. 
 V. chant6e (shah-ta), vocal waltz. 
 V. a deux temps (du tan). A quick 
 waltz, with two steps in each measure. 
 
 value. Duration of a note or rest. 
 
 valve, valvola (val'-vo-la), I. i. The 
 device inv. by Claggett, 1790, and 
 Bluhmel, 1813, by which natural 
 brass instrs. are made chromatic. A 
 natural horn produces the funda- 
 mental tone naturally made by a col- 
 umn of air of its exact length ; it can 
 be made to produce a series of par- 
 tials of this tone by the method of 
 blowing. Vide emkouchlre and 
 acoustics. The key of the horn can 
 be changed by substituting for one 
 section of its tube a longer or shorter 
 section called a crook, which alters 
 the length of the horn, and the col- 
 umn of air, and alters therefore its 
 fundamental key and gives it a new 
 series of partials. Until the valve- 
 mechanism was invented a horn could 
 therefore play only in one key at a 
 time. Valve instrs. have auxiliar)' 
 tubes fitted to the main tube ; they 
 are, in fact, merely stationary crooks. 
 The pressure of a certain valve acts 
 as an instantaneous change of crook 
 by shutting off the air in one crook, 
 and turning it into another of differ- 
 ent length. This device permits the 
 sounding of a complete chromatic 
 scale along the instrument's whole 
 range. The valves are usually three 
 in number, the first lowering the 
 pitch a semitone, the second a tone, 
 the third three semitones, thus giving 
 a command of all keys ^cf. harp), 
 (a) the piston, or piston-valve, is 
 a plunger in an air-tight cylinder ; by 
 means of two holes the plunger at 
 rest carries the air through the main 
 tube ; when pressed it shuts off the 
 main tube and opens a side-tube, thus 
 changing the key ; a spiral spring re- 
 stores it after pressure to the natura 
 position, (b) the rotary valve is £ 
 stop-cock with four holes which pro- 
 duce the same effect. 2. organ- 
 valves are (a) suction-valves, 
 suckers, which admit the wind t( 
 the bellows and retain it there ; (b 
 joint-valves which regulate the air 
 density in the wind channels, (c, 
 
DICTIONARY OF TERMS 297 
 
 !l key-valves or pallets, which are 
 
 worked bv a draw-stop ; and (d) the 
 
 waste-pallet reHeving the bellows 
 
 of surplus air. 
 
 valzer (val-tsar), /. Waltz, v. a due 
 
 passi. Two-step. 
 vamp. I. To improvise an accompa- 
 niment or prelude. 2. Such an ac- 
 companiment or prelude. 
 variamento (vJi-rT-a-men'-to), /. Va- 
 riation, difference. variamen'te. 
 Varied, freely. 
 Variation, j5'. (in G. fa-rl-a-tsl-6n', pi. 
 -en ; in F. var-T-as-yon), variazione 
 (va-rT-a-tsl-6'-ne, pi. -i), /. The ma- 
 nipulation of a given theme or air. 
 In the old sense (called doubles), 
 and in cheap modern usage such as 
 " Home, sweet Home with varia- 
 tions," the air is simply smothered in 
 \ ornaments, arpeggios, etc. ; in the 
 1 better sense (character variations) 
 I the theme is subjected to as much re- 
 ! modelling, inversion, change of note- 
 value, etc. , as is possible without losing 
 • entire sight of its original meaning ; 
 sometimes merely the chord-relations 
 are preserved, variato (va-rl-a'-to), 
 /., varie (va-rt-a), F. Treated with 
 variation. 
 j-arsoviana (a'-na), /., varsovienne 
 \ (vl-en), F. " Warsaw dance." Slow 
 1 Polish dance in 3-4 time with an up- 
 1 take of a quarter note, and an ac- 
 I cented down-beat in every other meas- 
 j ure. 
 
 .audeville (v6d-vel), F. i. A coun- 
 ; try ballad or roundelay, usually satir- 
 1 ical. 2. Operatic or musical comedy. 
 iC, vcello. Abbr. for violoncello. 
 leemente (va-a-men'-tS), /. Vehe- 
 , ment. veemenza (men'-tsa). Force. 
 leiled, velato (va-la'-to), /. Marked 
 by a desirable softening of the metal- 
 lic quality of a tone ; usually acquired 
 by a slight escape of breath. 
 ellutato (vel-loo-ta-t5), /. Velvety, 
 ! smooth. 
 
 leloce(ve-lo'-che), velocemen'te, /. 
 I Swift(ly). velocis'simo. With ex- 
 ) treme rapidity, velocita (che-ta'). 
 i Rapidity. 
 
 veneziana (ve-na-tsl-a'-na), /. Ve- 
 netian. 
 
 ventage. A hole in flutes, etc., to be 
 stopped with finger or key. 
 
 Ventil (in G. fen-tll), ventile (ven- 
 te'-le), /. I. Valve, hence Ventil- 
 horn or -kornett. 2. Organ-valve. 
 
 vepres (vepr), F. Vespers. 
 
 venusto (va-noos'-to), /. Beautiful, 
 charming. 
 
 Veranderungen (fer-en'-der-oong-en), 
 ■ G., pi. Variations. 
 
 Verbindung (fer-bln'-doongk) G. 
 Binding, combination. V.-szeichen 
 (tsT-khen), G. Tie. 
 
 verdeckt (fer-dekt), G. Hidden. 
 
 verdoppelt (fer-dop'-pelt), G. Doubled. 
 Verdop pelung (oongk). Doubling. 
 
 Verengung(fer-eng'-oongk), G. Dimi- 
 nution of value or interval. 
 
 vergellen (fer-gel'-len), G. To di- 
 minish. 
 
 vergliedern (fer-gle'-dern), G. To 
 articulate. 
 
 vergniigt (fer-gniikht), G. Cheerful. 
 
 Vergrosserung (fer-gres'-ser-oongk), 
 G. Augmentation. 
 
 Verhaltniss (fer-helt'-nls), G. Ratio 
 or proportion. 
 
 verhallend (fer-hal'-lent), G. Dying 
 away. 
 
 ver'ilay. Vaudeville. 
 
 Verkehrung (fer-ka'-roongk), G. Imi- 
 tation in contrary motion, 
 
 Verkleinerung (fer-kll'-ner-oongk), G. 
 Diminution. 
 
 Verkiirzung (fer-kiir'-tsoongk), G. 
 Diminution of value. 
 
 Verlangerungszeichen (fer-leng'-er- 
 oongs-tsi'-khen), G. Dot of pro- 
 longation. 
 
 verloschend (fer-lesh'-ent), G. Dying 
 away. 
 
 vermindert (fer-mKn'-dert), G. Di- 
 minished. 
 
 Vermittelungssatz (fer-mtt'-tSl- 
 
 oongks-zats), G. Episode. 
 
 verrillon (ver-e-yon), F. Mouth-har- 
 monica. 
 
 Verschiebung (f^r-she'-boongk), G. 
 "Shift," soft pedal. ohneV. Without 
 soft pedal, mit V. With soft pedal. 
 
298 
 
 THE MUSICAL GUIDE 
 
 \^ 
 
 verschwindend (fer-shvln'-dent}, G. 
 Dying away. 
 
 verse, i. Portion of an anthem or ser- 
 vice to be sung by a soloist to each 
 part, and not by the full chorus ; 
 hence Verse-anthem, and Verse- 
 service for solo voices. 2. Line. 3. 
 Stanza. 
 
 verset' (in F. ver-sa), versetto (ver- 
 sgt'-to), /., Versette (fer-set'-t^), 
 G. I. Short piece for the or- 
 gan. 2. Versicle. versetzen (fer- 
 zgt'-s^n), G. To transpose. Ver- 
 set'zung (zoongk). Transposition. 
 Verset'-zungszeichen (tsT -khen). 
 The sharp, flat, and natural. 
 
 versicle, £., Versikel (f6r'-slk-el). G. 
 A short phrase or line, combining 
 with the response to form one sen- 
 tence. 
 
 versila're, L. To sing antiphonally. 
 
 verso (ver'-s6), /. i. Verse. 2. Air. 
 
 Verspatung (fer-shpa-toongk), G. 
 Retardation. 
 
 verstarkt (fer-shterkt'), G. Sforzando. 
 
 verstimmt (fer-shtlmt'), G. i. Out of 
 tune. 2. Depressed. 
 
 ver tatur, ver te, L. Turn over. v. 
 subito. Turn quickly. 
 
 vertical. Of piano-strings, in one 
 plane ; opposed to overstrung. 
 
 vertonen (fer-ta'-nen), G. To die 
 away. 
 
 verve (verv), F. Spirit, energy. 
 
 verwandt (fer-vant'). G. Related, rel- 
 ative. V.-schaft (shaft). Relation- 
 ship. 
 
 Verwechselung (fer-vekh'-sel-oongk), 
 G. Change, mutation, of key, etc. 
 
 verweilend (fer-vl'-lent), G. Retard- 
 ing. 
 
 Verwerfung (fer-verf'-oongk), G. 
 Transposing. 
 
 verzi(e)rt (fer-tsert'), G. Embellished. 
 Verzi(e)rung (tse'-roongk). Orna- 
 ment. Verzogerung (fer-tsakh'-g- 
 roongk), G. Retardation. 
 
 verzweiflungsvoll (f^r-tsvl'-floongs- 
 fol), G. Full of despair. 
 
 Vesper (fes'-pgr), (7., vespero (ves'- 
 pg-ro), vespro (ves'-pro), /., ves'- 
 perae, L. Vespers. Vide iiOR.t. 
 
 vesperti'ni psal'rai, /., pi. Evening 
 
 psalms. 
 vezzoso(ved-z5'-s6), /. , vezzosamen'- 
 
 te, /. Graceful(ly), tender(ly). 
 
 vi. Abbr. for violini. 
 
 vibrante (ve-bran'-te), /. Vibrating, 
 quivering. 
 
 vibrato (ve-bra'-to), /. i. Vibrating, 
 resonant. 2. A strongly tremulous 
 tone of distinct vibrations. 
 
 vibration (in F. ve-bras-yoh). The 
 regular oscillation of an elastic body, 
 as a string, sounding-board, etc., 
 contributing rapid periodic changes in 
 the density of the air, which conveys 
 the motion in sound-waves to the ear 
 (without the air the vibrations are not 
 conveyed to the air as sound ; in a 
 vacuum, a bell, for example, is not 
 audible). The strength of the tope 
 varies according to the amplitude or 
 breadth of vibrations (travelling-dis- 
 tance of the elastic body back and 
 forth) ; the pitch of the tone varies 
 directly with the rapidity of the vi- 
 brations. The vibration-numbers of 
 sounds vary in inverse ratio with the 
 length of their sound-wave. A single , 
 vibration is from the point of rest to 
 one extreme of motion, but is often 
 calculated from one extreme to the 
 opposite. A double vibration ismeas- ' 
 ured from one extreme to the oppo- 
 site and back again, sympathetic 
 V. is that which is set up in an object 
 (as a string, tuning-fork or even a 
 plate) when the tone to which it vi- 
 brates naturally is sounded by some 
 other instrument. Thus press the 
 loud pedal of a piano, to remove the 
 dampers, and sing or play on a violin 
 any note. This note will be heard at, 
 once sounding on the piano-string. 
 Furthermore, its partials will be simi- 
 larly heard. 
 
 vicar-choral. Lay vicar of a cathe- 
 dral choir. 
 
 vicenda (ve-ch^n'-da), /. Change. 
 vicendevole (da'v6-lS). Vacillating. 
 
 Victimae pas'chali lau'des, L. 
 " Praise the paschal offering." Vide 
 
 SEQL'E.NCE. 
 
 F«f 
 
 
 I 
 
DICTIONARY OF TERMS 299 
 
 vi'de, vi'di, L. See. vi- is often put 
 at the beginning of a passage to be 
 cut, and -de at the end. 
 
 vide (ved), F. "Empty"; open, of 
 strings, as corde a v. opp. to corde 
 a jouer, a string to be stopped. 
 
 Videl (fe-del), G. Fiddle. 
 
 viel (fel), G. Much, many, v.-chorig 
 (ka-rikh). For several choruses, v.- 
 facher (fakh-5r). Polymorphous. 
 v.-stimmig (shtlm-mikh). Poly- 
 phonic. 
 
 viM(l)e (vT-el), F., viella (vl-el'-la), /. 
 I. Hurdygurdy. 2. Old viol, viel- 
 
 ' leur (vl-el-lur), v^. Player of the viol. 
 
 ivier (fer), G. Four. V,-achteltakt. 
 4-8 time, v.-doppelt. Quadruple. 
 
 I v.-fach (fer'-fakh). With four ranks 
 
 ! of pipes, etc. v.-fiissig (fer'-fus- 
 slkh). Four-foot (of pipes). V.- 
 gesang. 4-part song, v.-gestri- 
 chene Note. 32d note, v.-ges- 
 trichene Oktave. Four-marked. 
 Vide PITCH. v.-handig(hen-dlkh). 
 
 : For four hands. V.-klang (fer'- 
 
 1 klang). Chord of four tones ; a 
 
 , seventh chord, v.-massig (fer-m^s- 
 slkh). Containing four measures. 
 v.-saitig. Four-stringed, v.-stim- 
 mig. In four-parts. V.-stiick. 
 
 : Quartet, vierte (fer'-te). Fourth. 
 
 :, viertel or viertelnote. Quarter 
 
 1 note. Viertelpause. Quarter rest. 
 Viertelton. Quarter note. Vierund- 
 sechzigstel (fer-oont-zekhs'-lkh- 
 shtei). 64th note. Vierviertel- 
 takt (fer-fer'-tel-takt). 4-4 time. 
 vierzehn(fer'-tsan). Fourteen, vier- 
 zehnte. Fourteenth. Vierzweitel- 
 tact (fer-zvl'-tel-takt). 4-2 time. 
 ietato (ve-a-tii'-to), /. Forbidden, 
 if (vef), F. Brisk, quick. 
 igoroso (ve-g6-r6'-s6), vigorosa- 
 men'te, /. Bold(ly). 
 iguela (ve-goo-a'-la), vihuela (ve- 
 _hoo-a'-la), Sp. A primitive guitar. 
 illageois (ve-lS-zhwa), villageoise 
 (zhwaz), F. Rustic. 
 tllancico (vel-yan'-the-ko), villancio 
 (vel-yan'-tht-6), Sp. i. A church 
 festival anthem. 2. A beginning 
 and ending with chorus. 
 
 villanella (vel-la-n^l'-la), /., villanelle 
 (ve-ya-nel), F. " Village song," 15th 
 cent. Italian folk-song of rustic tone 
 and artless grace. 
 
 villanesco (nes'-ko), villareccio (vel- 
 la-ret'-cho), /. Rustic. 
 
 villot'to, /. Secular song ; cf. villa- 
 
 NELLA. 
 
 vi'na. Ancient fretted 7-stringed Hin- 
 du instr. with body of bamboo, and 
 two gourds for resonance. 
 
 vinata (ve-na'-ta), /. A vintage-song. 
 vinet'ta. Little vinata. 
 
 viol, viola (ve-6'-la), /., viole (in F. 
 ve'-61 ; in G. fe-o'-le). i. The viola 
 in modern usage is the tenor or alto 
 violin, a little larger in size than the 
 normal violin, and tuned a fifth lower 
 c-g-d-a'. It is written on the C 
 clef (except high notes, which are 
 written in the G clef). Its tone is 
 more sombre (very richly melancholy 
 and elegiac indeed), and its harmon- 
 ics are more limited. 2. The proto- 
 type of the violin. A fretted bow- 
 instr. with 6 strings (sometimes 5 to 
 8) ; flat and tapering back ; belly usu- 
 ally flat ; sound-holes circular ; bridge 
 low to facilitate chords ; tuned in 
 fourths with one midway third. In 4 
 sizes treble {alto), alto {alt or tenore), 
 bass {basso), contrabass {violone). 
 The bass-viol still persists in Eng- 
 land. V. di bardone (bar-do'-n^), /. A 
 barytone viol, of the size cf the 'cello, 
 with 6 or 7 gut strings, and a num- 
 ber of wire resonance strings lying 
 along the belly and tuned diatoni- 
 cally. V. bastarda (bas-tar'-da), /. 
 " Bastard viol." Large viol da gam- 
 ba. V. da braccio (da brat'-cho). 
 "Arm-viol" as opposed to v. da 
 gamba, " Leg- viol." v. da spalla. 
 " Shoulder-viol," a larger arm-viol. 
 viola d'amore (da-mo'-re), /., viole 
 d'amour (da-moor), F. i. Richly 
 beautiful, but obsolete instr., larger 
 than the viola, furnished with frets 
 and more strings, some above, and 
 some below the finger-board. 2. A 
 stop. v. pic'cola or marina (ma- 
 re'-na). An instr. resembling the V. 
 
300 
 
 THE MUSICAL GUIDE 
 
 d'amore. v. pomposa {p6m-p6'-sa). 
 A large viol of the compass of the 
 'cello, but with a fifth string. Inv. 
 by J. S. Bach. • viol da gamba (da 
 gam' -ba), viol di (de) gamba. " Leg- 
 viol." A small obsolete violoncello, 
 with frets, and five or six strings. 
 viola alta. An enlarged viola inv. 
 by Hermann Ritter of Wismar, Ger- 
 many, 1S77. 
 
 violento (ve-o-len'-to), violentemen- 
 te(len-te-men'-te),/. Violently, vio- 
 lenza (len'-tsa). Fur>'. 
 
 vi'olin', E., Violine (fe-6-le'-ne), G., 
 violino (ve-6-le'-n6), /., violon (ve- 
 6-16h), F. I. " Small viol." A uni- 
 versally popular 4-stringed bow-instr. 
 Developed possibly from the Viol, it 
 has also been traced to the lira da 
 braccio ; it passed through many 
 changes from about 1480-1530, when 
 it assumed a shape little varied since. 
 Though the name usually applies to 
 one size, it may also be stretched to 
 include the whole string quartet 
 (which is the harmonic basis of the 
 modern orchestra) : the violin (or 
 treble), the tenor violin or viola, the 
 violoncello and the double bass. The 
 violin proper has four gut strings 
 with the accordature, g-d'-a'-e". 
 Its tone is capable of great variety, 
 sentiment and brilliance, its range ex- 
 tending from g to the highest note in 
 the orchestra, e"". It is rich in har- 
 monics, but its resources in chords 
 are limited and must be handled with 
 great care for the fingering. 
 
 Instrs. of the violin family consist 
 of a curved body, or resonance-box, 
 whose upper surface or belly is joined 
 to a vaulted back by ribs ; the body 
 is curved in at the waist, the incurving 
 being accented by bouts, whose cor- 
 ners are braced with triangular 
 blocks: the belly (on which the bridge 
 rests between sHts called sound-holes, 
 or from their shape /-/^c/c-.f) is braced 
 with a thin strip (under the G string) 
 called the bass-bar. A round prop 
 or soiindpost beneath the treble foot 
 of the bridge connects the back and 
 
 the belly. The finger-board is on the 
 tieck, which terminates in a head orna- 
 mented with a scroll and containing a 
 peg-box, in which are four movable 
 pegs from each of which a string 
 passes across a ridge called the nut, j 
 along the finger-board and over the ] 
 bridge to the flat tail-piece which is 
 fastened by a loop of gut to a button 
 in the lower end of the body. 2. A 
 2, 4, and 8 ft. stop. Viol'inbogen 
 (fe-o-len'-bo-khen), G. A vln.-bow. 
 Violin-clef, Violinschliissel or 
 -zeichen, G. The G clef, violi- 
 nier (hn-I-a), violiniste (nest), F., 
 violinista (nes'-tii), /., Violinspie- 
 ler, G. A violin-player, violino 
 alto, /. A small tenor viol, vio- 
 lino picciolo (plt'-ch6-l6), piccolo, 
 pochetto (ket'-to), /. A small vln. 
 tuned a fifth higher, v. pompo'so, 
 /. A viola with an additional higher 
 string, violin-principal. A 4, or 8 , 
 ft. stop. Violinsaite. Violin-string. 
 Violinsteg (stakh). Violin-bridge. 
 Violinstimme. Violin-part. Vio- 
 lin-tenor. A vln. of low tone, vio- 
 
 • Ion de fer (du fer). Iron fiddle, vio- i 
 linata. A piece for violin, or iiJ' 
 violin style, violinzo'li. 8-ft. sto|;f ' 
 on the swell. 
 
 Violon (fe-6-l6n'), G. The double-bass 1 
 
 violier (ve-61-ya), violiste (lest'), / / 
 Viola-player. 
 
 violonar(v€-6-15-nar'), F. Double-bass 
 violonaro (nar'-6). Octo-bass. .< 
 
 Violoncell (fe-o-lon-tsel'), G., violonil. 
 celle (ve-6-16n-sel), F., violoncell. |: 
 (ve-o-lon-chel'-lo), /. "Little vie' 
 lone." Commonly abbr. 'cello. Larg 1 
 4-stringed instr. of vln. -family (vie 
 violin) held between the knees ar 
 resting on a standard or peg. It 
 tuned an octave below the viola, ( 
 G, d, a. Its music is written chief 
 in the C clef, save high notes in the 
 clef, and low in the F clef (former 
 it was all written in the G clef, an 
 tave higher than it sounded). Chor 
 and harmonics are little used, exce 
 in solos. The 'cello is one of t 
 most important of orchestral instr 
 
 ;e ■ 
 t 
 
DICTIONARY OF TERMS 301 
 
 and one of the most expressive, espe- 
 cially of the graver or more yearning 
 
 i emotions, its gayety being rather sar- 
 donic. 
 
 j^iolone (ve-6-l6'-ne), violono (l6'-n6), 
 
 I ./. "Large viol." i. Double-bass. 
 
 ; 2. Pedal-stop. 
 
 violot'ta. A large viola devised by 
 Stelzner, Dresden, 1895, and tuned G, 
 d, a, e'. 
 
 vir'elay. Vaudeville (also from the 
 town of Vau.x de Vire). 
 
 vir'gil, L. A neume. 
 
 Virgil practice-clavier, A mechan- 
 ical piano inv. by A. K. Virgil, 1883, 
 for practice-purposes, the heaviness 
 of touch being adjustable in 6 grada- 
 tions ; a click answering the depression 
 of a key, and another click its release. 
 
 7ir'ginal(s). A small spinet-like instr. 
 
 : popular in the time of Queen EHza- 
 beth, and placed upon a table. 
 
 Virtues (fer-too-oz'), G., virtuoso 
 (ver-too-o'-s6), /., virtuose (vlr-tu- 
 6z), F. A performer of marked skill. 
 Virtuositat (o-zl-tat'), G. Virtuos- 
 ity. Remarkable execution. 
 
 ns-a-vis (ve-za-ve), F. " Face to 
 face." A large double piano with 2 
 opposite key-boards. 
 
 rista (ves'-ta), /. Sight, a prima v. 
 At (first) sight. 
 
 risto (ves'-to), vito (ve'-to), vi(s)ta- 
 
 :_men'te, /. Swift(ly). 
 
 I'ite (vet), vitement (vet-mah), F. 
 
 \ Quick(ly). 
 
 'itesse (ve-tes), F. Swiftness. 
 
 'ivace (ve-va'-che), /. Lively, faster 
 than Allegro, vivacemen'te. Brisk- 
 ly, quickly, vivacet'to (chet'-to). 
 Rather lively. vivacezza (ched'- 
 
 , za), vivacita (ve-va-chl-ta'). Vivac- 
 
 ! ity. vivacis'simo. Very fast, vi- 
 - ! vamen'te. Briskly. 
 
 'ive (vev), F. Brisk, quick. 
 
 iven dum, ad. Z. " To live" i. e., for 
 permanence. Written, as opposed to 
 improvised, counterpoint. 
 
 ivente (ve-ven'-te), vivido (ve'-vl-do), 
 vivo (ve'-v6), 7. Animated, vivezza 
 . (ve-ved'-za). Liveliness. 
 ^ la. Abbr. for viola. 
 
 vocal, vocale (vo-ka-le in /./ \nF. v6- 
 kai), voca'lis, L. Relating or ap- 
 propriate to the human voice, vocal 
 chords. The two membranes in the 
 larynx whose tensity is regulated at 
 will to produce desired pitches. Vide 
 GLOTTIS, rima vocalis. The open- 
 ing between the vocal chords. 
 
 vocalezzo (v6-ka-led'-zo), I. A vocal 
 exercise. 
 
 voca'lion. Vide reed-org.-vn. 
 
 vocalises (in F. v6-ka-lez'). Solfeg- 
 gio exercises for the voice. 
 
 vocaliser (v6-kal-I-za), F., vocaliz- 
 zare (v6-ka-lld-za-re), /., vo'calize, 
 E. To practise exercises for the 
 voice without words. 
 
 vocalisa'tion (in F. vo-kS-le-zas-yoh). 
 I. The practice of exercises for the 
 voice. 2. Display of vocal agility. 
 
 vocalizzo (lld'-z6, pi. -i), I. Vocal ex- 
 ercise. 
 
 voce (vo'-che), /. Voice, colla v. 
 " With the voice," i. e., adopting the 
 tempo of the solo part. v. an- 
 gelica (an-ja'-ll-ka). ' ' Angel voice. " 
 Delicate reed-stop. v. di bianca 
 (de bl-an'-ka), /. " White voice." 
 Applied to pale and colourless tones, 
 such as the voices of young women, 
 children and poorly trained adults. 
 V. di camera. A small voice for 
 the chamber, v. digo'Ia. A guttural, 
 throaty voice, v, di pet'to. The 
 chest voice, v. di testa. Head 
 voice, the falsetto, upper register, v. 
 granita (gra-ne-ta). A "granite" 
 or massive voice. mezza voce 
 (med'-za). Half the power of the 
 voice ; a moderate tone. v. pasto'sa. 
 A soft, flexible voice, v. principale 
 (pren-chl-pa'-le). Principal voice, v. 
 rauca (ra'-oo-ka). A hoarse, rough 
 voice. V. so'la. The voice alone, v. 
 spianata (spe-a-na'-ta). Drawn out ; 
 smooth, sustained voice, v. spiccata 
 (splk-ka-ta). A clear, distinct voice : 
 well articulated, v. umana (00-ma'- 
 na). The human voice. Vide vox 
 HU.MANA. vociaccia (v6-chT-at'-cha). 
 A bad, disagreeable voice, vocina 
 (v6-che'-na). Thin little voice. 
 
302 
 
 THE MUSICAL GUIDE 
 
 voces, L., pi. of vox. v. aequa'les. 
 
 Voices of the same kind. 
 Vogar (fo'-gar), G. Fugara. 
 Vogel (fo'-gdl), G. Bird. V.-flbte 
 or pfeife. A bird-whistle. V,-ge- 
 sang. " Singing of birds " ; stop in 
 old German organs, of small pipes 
 standing in water, through which the 
 wind passes ; a merula. 
 voglia (vol'-ya), /. Ardour. 
 voice. I. The sound produced by the 
 larynx of human beings or animals. 
 2. Part (for any instr.), often voice- 
 part. 3. The tuning and tone of 
 organ-pipes. 
 
 Of the human voice, these are the 
 following divisions : basso, tenor, 
 counter-tenor , contralto or alto, mezzo- 
 soprano, soprano (\'ide each of these 
 words). Each voice is also divided 
 into registers (or groups of tones of a 
 uniform quality) the transition from 
 one to another register being some- 
 times distinct enough to be called a 
 break ; there are usually two breaks 
 in a male, and three in the female 
 voice. The registers are chest, head 
 and falsetto (q. v.). 
 voicing. The adjustment of the pitch 
 
 and quality of a pipe. 
 voil6e (vwa-la), F. Veiled. 
 voix (vwa), F. I. Voice(s). 2. Part(s). 
 v. ang^lique (vwa-zaii-ja-lek). 
 Vox angelica, v. celeste (sa-lest), 
 F. "Celestial voice," a stop formed 
 of two dulcianas, one slightly sharp, 
 thus giving a vibrato, v. de poitrine 
 (dii pwa-tren), F. Chest voice. v. 
 de tete (dCitet). Head voice, fal- 
 setto voice. V. glapissante (gla-pe- 
 sSnt). A shrill voice, v. gr^le (vwa 
 grel). A sharp, thin voice, v. hu- 
 maine (ii-men). Vox humana. 
 vokal (fo-kal), G. Vocal. V.-stil 
 
 (shtel). Vocal style. 
 volante (v6-lan'-tg), /. "Flying," 
 
 light, swift, 
 volata (vo-la-ta), /., Volate (v5-la'-te), 
 C.,volatine(v6-la-ten), F. " Flight," 
 run, rapid series of notes, volatina 
 (v6-la-te'-na), /. A little volata. 
 vol6e (vo-la), F. A volata. 
 
 Volk (folk), G. Folk ; of the common 
 people. V. gesang (f61k'-g$-zang). 
 V. s-lied (slet), V. stiickchen (stuk'- 
 kh'n), V.s-weise. Folk-song or 
 folk-music, im Volkston' or Volks- 
 weise. In folk-tone or style. volks> 
 t(h)umliches (tum-Ukh-gs). Lied. 
 Popular folk-song. 
 
 VOll (fol), C. I. ¥n\\;mitvollem Werk, 
 Chore, Orchester, with the full organ, 
 chorus or orchestra. vbller {iiX- 
 \hx). Fuller, louder, voiles Werk 
 (fol'-l^s vdrk). Full organ. Vollge- 
 sang. Chorus. volIgriffig(grif-f!kh). 
 " Full-handed," with full chords. 
 vollkom'men. Perfect, complete. 
 vollstimmig. Full-toned, full-voiced. 
 Vollstimmigkeit. Fullness of tone. , 
 volltonend, G. Sonorous. 2. As a 
 suffix = full, as gedankenvoll. 
 Thoughtful. 
 
 volont6 (v6-16h-ta), F. Will, pleasure. 
 a V. At will. 
 
 volta (vol'-ta), /. I. Time. 2. A kind 
 of galliard. prima v. (pre'-ma). 
 First time, una V. One. due volte. 
 Twice. 
 
 voltare (v61-ta'-r$), /. To turn, to 
 turn over. 
 
 volte (vol'-t^, I.; in F. volt), i. An ob- 
 solete bounding dance in 3-4 time i 
 resembling the galliard. 2. PI. of 
 
 VOLTA. 
 
 volteggiando (v6l-ted-jan'-d6), /. 
 Crossing the hands, volteggiare. 
 To cross hands. 
 
 volti (vol'-te), /. Turn over. V. su-|( 
 bite. Turn quickly. 
 
 volubilita (v6-loo-be-lT-ta'), /. Vol-| 
 ubility. volubilmen'te. Fluently. 
 
 volume. Quality of tone. 
 
 voluntary, i. An introductory organ-l 
 piece often extemporaneous. 2. At; 
 introductory anthem. 3. A species' 
 of toccata in two or three movements 
 
 volver a la misma cancion (vol-vaii 
 a la mes'-ma kan'-thl-5n), Sp. T(J 
 return to the same (original) air. 
 
 vom (fom), G. = von dem. Fr 
 the. vom Anfang. From the beginj 
 ning. vom Blatte (blat'-t^). " Fr 
 the page," i. e., at first sight. 
 
 WfH, 
 
DICTIONARY OF TERMS 303 
 
 von (fon), G. By, of, from, on. 
 
 vor (for), G. Before, pre-. 
 
 Vorausnahme (for-ows -na-me), Vor- 
 greifung (for-grl'-foongk), Vorgriff 
 (for'-grlf), G. Anticipation. Vor- 
 bereitung (for'-be-rl-toongk). Prep- 
 aration. Vorberei tungsunterricht 
 (oon'-ter-rikht). Preparatory instruc- 
 tion. 
 
 Vor'dersatz (zats), G. First sub- 
 ject. 
 
 Vor geiger (gl-kher), G. First violin, 
 leader. 
 
 Vorhalt (for'-halt), G. i. Suspension. 
 Vorhaltslosung (la-zoongk). Its 
 resolution. 2. Syncopation. 
 
 vorher (for-har), G. Before, tempo 
 wie vorher, G. The time as be- 
 fore. 
 
 vorig (fo'-rikh), G. Former, preceding. 
 voriges Zeitmass. In the original 
 tempo. 
 
 Vorsang (for'-zang), G. Act of begin- 
 ning a song. Vorsanger (for'-zeng- 
 5r). Precentor. 
 ■ Vorschlag (for'-shlakh). Accentuated, 
 appoggiatura. 
 
 Vorsetzzeichen, G. Chromatic sign. 
 
 Vorspiel (for'-shpel), (7. Prelude; over- 
 ture. Vor' spieler (shpe-ler). Lead- 
 er, principal performer. Vortan- 
 zer. Chief dancer. Vorsteller. 
 Performer. 
 
 Vortrag (for'-trakh), G. Execution, 
 
 interpretation, Vortragsbezeich- 
 
 3" nung (be-tslkh-noongk). E.xpression 
 
 mark. vortragsstiick. Concert- 
 
 s piece. 
 
 rorwarts (for'-varts), G. " Forward," 
 i. e., faster. 
 
 /orzeichnung (tsTkh'-noongk). i. Sig- 
 nature. 2. Outline of a composi- 
 tion. 
 'OX (vox), L. Voice, v. acuta, i. 
 A shrill voice. 2. In ancient music, 
 the highest note in the bisdiapason. 
 V. angelica, L. " Angelic voice," a 
 4-foot stop of sweet tone, also v. 
 virgin'ea. " Girlish voice." v. ante- 
 ce'dens. The antecedent, v. con- 
 W ' sequens. The consequent, v. grav - 
 Fflii is. Low voice, v. huma'na. " Human 
 
 voice," 8-foot reed-stop usually with 
 tremulous effect, v. retu'sa. 'S-foot 
 stop. Plural voces, v. aequales. 
 Voices of the same kind, as male 
 voices, v. areti'niae. Aretinian syl- 
 lables. V. bel'gicas. The syllables 
 of bocedisation. 
 
 V. s. Abbr. of Volti subito. 
 
 vue (vii), F. Sight, a premier v. 
 (a priim-ya vii). At first sight. 
 
 vulgans (tibia), Z. A flute-stop. 
 
 vuide (vwed), F. Open (of a string). 
 
 vuoto (voo-6'-t6), /. I. Open (of a 
 string). 2. Empty (of a stage). 
 
 V. v. Abbr. for violini. 
 
 w 
 
 Wi. In F. =v. v., i.e.. Vi- 
 olins. 2. Vide the let- 
 Wachtel (vakht'-el), G. 
 "Quail." A toy pipe. 
 
 v/ahnsinnig (van'-zln-nlkh), G. Fran- 
 tic. 
 
 waits, E. I. Hautboys. 2. Players 
 on the hautboys. 3. Night-watch- 
 men. 4. Christmas carollers. 
 
 Wald (valt), G. Forest. Wald- 
 flote, G., or -pfeife. Forest-flute. 
 W.-quinte. A stop. W.-floten- 
 quinte. A stop a fifth higher. 
 Waldhorn (valt'-horn), G. " Forest- 
 horn " ; a winding- horn. (Vide 
 
 HORN.) 
 
 walnika (val-ne'-ka). Russian bag- 
 pipe. 
 
 wals (wals), Dutch. A waltz. 
 
 waltz, E., Walzer (val'-tser), G. i. 
 A popular modern round dance in 3-4 
 time, perhaps of Bohemian origin. 
 The speed and rhythm vary, the 
 Landler, or German, being slow; 
 the Vienna, or Schleif-walzer be- 
 ing quicker ; the Zweitritt, deux- 
 temps, or two-step, having but 
 two steps to the measure. 2. A con- 
 cert-piece in triple time, usually brill- 
 iant. 
 
 walynka (va-len'-ka). Russian bag- 
 pipe. 
 
304 
 
 THE MUSICAL GUIDE 
 
 Walze (val'-tse), G. "Roller." An 
 undulating figuration. 
 
 Tvankend (van'-kent), G. Wavering, 
 hesitating. 
 
 warble. A bagpipe grace. 
 
 Warme (ver'-me), G. Warmth. 
 
 Washington Post. In England a 
 dance (so called from J. P. Sousa's 
 march of that name) in which the 
 man dances behind the woman. 
 
 wassail. A convivial song. 
 
 Wasserorgel (vas'-ser-6r-khei), G. 
 Hydraulic organ. 
 
 waste-pallet. Vide valve. 
 
 water music. Handel's name for cer- 
 tain airs, performed on the water, for 
 the King. 
 
 water-organ. Hydraulic organ. 
 
 wayghtes. Old E. Waits. 
 
 Weber chronom'eter. Metronome, 
 inv. by Weber. A cord divided into 
 five inch-spaces, with a weight at the 
 lower end. Abbr. Web. Chron. 
 
 Wechsel (vekh'-sel), G. Change. W.- 
 chor (kor). Alternate choir. W.- 
 gesang. Antiphonal song. W.- 
 note (n5'-te). Changing note. 
 
 Wehmuth (va-moot), G. Sadness. 
 wehmiithig (va'-mu-tikh). Sad, sor- 
 rowful. 
 
 Weiberstimme (vi'-ber-shtTm'-me), G. 
 A female voice. 
 
 weich (vikh), G. i. Soft. 2. Minor. 
 
 weight of wind. Vide inch. 
 
 Weihnachtslied (vl'-nakhts-let), G. 
 Christmas hymn. 
 
 w^einend (vl'-nent), G. Weeping. 
 
 Weise (vl'-ze), G. i. Melody. 2. 
 Manner ; as a suffix= -wise. 
 
 weisse Note (vis'-se no'-tS), G. 
 " White" note ; half or whole note. 
 
 weit (vit), G. Dispersed, open (of har- 
 mony). 
 
 Welle (vel'-le), G. Roller of an organ. 
 Wellatur (toor'). Roller-system. 
 Wellenbrett. Roller-board. 
 
 well-tempered. In equal tempera- 
 ment, as in Bach's " Well-tempered 
 Clavichord," a series of clavichord 
 pieces ranging through all the 
 keys. Vide temperament. 
 
 Welsh-harp. Vide harp. 
 
 weltlich (velt'-likh), G. Secula' 
 
 wenig (va'-ntkh), G. Littk. ein we- 
 nig. A little, rather. 
 
 Werk (verk), G. i. Work. 2. Move- 
 ment. 3. Action. Vide haupt- 
 WERK and OBERWERK. 4. A stop. 
 5. The set of stops belonging to one 
 key-board. 
 
 Wert(h) (vert), G. Value, duration. 
 
 wesentlich (va-zent-llkh), G. Essen- 
 tial. wesentliche Dissonanz. A 
 dissonant chord-tone, opposed to 
 passing-note. wesentliche Sep- 
 time. Dominant seventh. 
 
 Wetter-harfe (vet'-ter-har-fe), G. 
 " Weather-harp." /Eolian harp. 
 
 Wettgesang (vet'-ge-zang), G. A 
 singing-match. 
 
 wheel. Refrain, burden. 
 
 whifHer. A fifer. 
 
 whipping bow. A swift and violent 
 violin attack. 
 
 whistle. A small, shrill wind-instr. 
 blown at the end, like an old English 
 flute. 
 
 whole note, rest, shift, step, tone, 
 etc. Vide the nouns. 
 
 wie (ve), G. As. wie aus der Fer- 
 ne. As from a distance, "wie oben. 
 Again as above, w^ie vorher (for 
 har). As before. 
 
 wieder (ve'-dgr), G. Again. W.- 
 gabe (gji'-be). Performance. W.- 
 herstellungszeichen (tsl'-khen), 
 The natural sign (11). w.-anfangen, 
 To begin again. W.-holung (ho- 
 loongk). Repetition. W. -hoi- 
 
 ungszeichen. Sign of repetition,! 
 W.-klang (klang), W.-schali' 
 (shal). Echo. 
 
 Wiegenlied (ve'-gen-let), G. Cradle 
 song. 
 
 wild (velt), G. Wild. 
 
 wind (wind). To blow, as a horn. ., 
 
 Wind (in G. vtnt). Air. w. band, i 
 A band of wind-instrs. 2. The instrs 
 or the music for them, windchesti 
 Vide ORGAN, w. instruments 
 general name for all instrs. whos 
 tone is produced by the breath or b' 
 bellows. windtrunk. A 
 conveying air from the bellows 
 
DICTIONARY OF TERMS 305 
 
 the wind-chest. Windmesser (mes- 
 ser), C, windgauge. Vide inch. 
 W.-harfe, G. .Eolian harp. Wind- 
 lade (la-de), (7. Wind-chest. Vide 
 ORGAN. Windstock (shtok), G. 
 Cover of organ-pipes. Windzunge 
 (tsoong-e), G. Tongue of a pipe. 
 W.-harmo'nika, G. /Eolodion. 
 
 winselig (vin'-ze-likh), G. Plaintive. 
 Winselstimme. Plaintive voice. 
 
 Wirbel (ver'-bel), G. i. Peg (of a 
 violin). Wirbelkasten. Peg-box. 
 
 2. Stopper of a pipe. 3. Drumstick. 
 4. Roll (on a drum). ' Wirbeltanz 
 (tants). A whirling dance. 
 
 wogend (vo'-gent), G. Waving. 
 
 wohl (vol), G. Well. Wohlklang 
 (vol'-klang), Wohllaut (lowt). Har- 
 mony, wohlklingend. Harmonious. 
 wohltemperi(e)rt (v5l-tem-pe-rert'), 
 G. " Well-tempered " (q. v.). 
 
 Wolf (in G. volf). I. The disagree- 
 able snarling of two pipes not quite in 
 
 . perfect tune. 2. Vide temperament. 
 
 3. In bow-instr. the roughness of cer- 
 tain tones due to faulty workmanship. 
 
 4. Vide ORGELWOLF. 5. The 12th 
 and most troublesome of the circle of 
 fifths. Vide temperament. 
 
 wood-wind. i. The whole group of 
 
 wooden instrs. in the orchestra. 2. 
 
 Organ-stops of wood. 
 working-out. Development. Vide 
 
 form. 
 Wortklang (vort'-klang), G. Accent, 
 
 tone. 
 wrest. A tuning-hammer, wrest- 
 
 pins. In a piano movable pins round 
 
 which one end of the string is wound ; 
 
 by turning this the instr. is tuned. 
 
 wrestplank. A plank of several 
 
 layers of wood in which the wrestpins 
 
 are driven. 
 wristguide. Vide chiroplast. 
 wuchtig (vookh'-tikh). Weighty, em- 
 
 W)hatic. 
 iirde (vur'-de), G. Dignity, wiir- 
 devoll, wtirdig (vUr'-dlkh). Digni- 
 fied. 
 Wut(h) (voot), G. Madness, wiithend 
 (vii'-tSnt), wiithig (tikh). Furi- 
 
 XyENORPHIKA (ksan'-6r-fr- 
 ka), G. A piano-violin with 
 a bow to each string, inv. by 
 Rollig, 1797 ; he also inv. 
 the somewhat similar orphika. 
 xylharmo'nica or -con, Gr. Utro's 
 improvement in 18 10 upon his xylo- 
 siston, inv. 1807 ; a euphonion with 
 wooden, instead of glass, rods. 
 Xylorganon (ksel-or'-ga-non), Gr. 
 
 Xylophone. 
 xylophone (zU'-6-f6n). A graduated 
 series of bars of wood upon bands of 
 straw or cord, played with wooden 
 mallets, compass 2 octaves. 
 
 YABAL (ya-bal), Heb. Trum- 
 pet blast. 
 yang kin. A Chinese dulcimer 
 with brass strings. 
 yo. Indian flute. 
 
 yodel, yod'ler. Vide jodel, jodler. 
 yue kin. Chinese guitar. 
 
 ZA (za). Formerly applied by the 
 French to B^ to distinguish 
 it from ^B or Si. 
 zahlen (tsa'-l^n), 6". To count. 
 zahle. "Count!" Zahlzeit (tsit). 
 A count. 
 
 zaleo (tha-la'-6), Sp. Vide jaleo. 
 
 zampogna (tsam-p5n'-ya), zampugna 
 (poon'-ya), /. i. Ancient bagpipe. 
 2. A shawm. Vide cornamusa and 
 chalumeau. zampognare (pon- 
 yji'-re). To play the pipes, zampo- 
 gnato're. A piper, zampognet'- 
 ta or -ina (p6n-ye'-na). A small 
 bagpipe. 
 
 za'ner. Egyptian bassoon. 
 
 zanze. Vide ambira. 
 
 zapateado (tha-pa-ta -a-dho), Sp. A 
 dance whose rhythm is emphasised by 
 stamping the heel. 
 
3o6 
 
 THE MUSICAL GUIDE 
 
 Zapfenstreich (tsa'-pfSn-strIkh), G. 
 The tattoo. 
 
 zarabanda (tha-ra-ban'-dha), Sp. Sa- 
 raband. 
 
 zaramel'Ia (tsa-ra-), /. Rustic double- 
 reed pipe with bell-mouth. 
 
 Zargen (tsar'-khSn), C, pi. Sides of 
 violin, etc. 
 
 zart (tsart), C, zartlich (tsart-likh). 
 Tender, delicate. »iit zarten Stivi- 
 men, with delicate stops. Zartflote. 
 A very soft 4-foot fiute-stop. 
 
 zarzuela (thar-thoo-a'-la), Sp. A 2-act 
 drama with music, something like the 
 vaudeville ; originating in the 17th 
 century at the royal castle Zarzuela. 
 
 Zauber (tsow'-ber), G. Magic. Z.- 
 lied (let). Magic song. 
 
 zefifiro'so (tsef), /. Zephyr-like. 
 
 zdhn (tsan), G. Ten. Zehnte (tsan'- 
 te). Tenth. 
 
 Zeichen (tsl'-khen), G. Sign(s). 
 
 Zeit (tsTt), G. Time. Z.-mass (tsit'- 
 miis), G. Tempo. Zeitmes'ser. 
 Metronome. Z.-werth. Time value. 
 
 z^le (zgl), /"., zelo (tsa'-l6), /. Zeal, 
 ardour. zelo'so, zelosamen'te. 
 Zealous(ly). 
 
 zeng (tsgng). Persian cymbals. 
 
 Zergliederung (tsgr-glet'-er-oongk), 6^. 
 Dissection, or analysis of a subject. 
 
 zerstreut (tser-stroit'), G. Dispersed. 
 
 z,^z&. An African guitar. 
 
 Ziehharmo'nica (tse), G. The ac- 
 cordion. 
 
 ziemlich(tsem'-llkh), G. Rather ; mod- 
 erately. 
 
 Zierathen (tse-ra-ten), C, pi. Orna- 
 ments. 
 
 zierlich (tser-llkh), G. Neat, graceful. 
 
 Ziffer (tstf'-fer), G. Figure, Arabic 
 numeral. 
 
 ziganka (cM-gan'-ka), Russian. Coun- 
 try-dance. 
 
 Zig'eunerartig (tse-goin'-er-ar-tikh), G. 
 In gypsy style. Z.-musik (moo- 
 zek'). Gipsy music. 
 
 zikrs. Dances of Egyptian dervishes. 
 
 zillo (tsll'-l6), /. Chirp, chirping. 
 
 zimbalon. Vide czimbalon. 
 
 Zimbel (tsem'-bel), G. Cymbal. Z.- 
 stern. A star hung with small bells 
 
 in front of an organ and sounded by a 
 current of air. 
 
 zingana (chen-ga-na). Bohemian song. 
 
 zingarese (tsen-ga-ra'-ze), /. Gipsy, 
 zmgaresca (res -ka). In the style of 
 gipsies, zingaro (tsen'-ga-ro). Gipsy. 
 
 Zinke (tsTnk'-e), pi. -en, G. Cornetto, 
 ancient or modern. Zinkblaser 
 (tsTnk'-bla-zer), G. Cornet-player. 
 
 zith'er(in G. tsTt'-er). i. The modern (or 
 Schlagzither) is a flat, shallow res- 
 onance-box without a neck, with 
 about thirty-six strings of various ma- 
 terial — wire and gut — some overspun. 
 Under some of the strings at one side 
 lies a fretted finger-board ; on these 
 the melody is stopped out with the 
 left hand. These strings, tuned a', 
 a', d', g, c, are plucked with a plec- 
 trum attached to the right thumb ; 
 the rest of the strings are tuned in 
 fourths, and plucked with the other 
 fingers of the right hand. It is made 
 usually in 3 sizes, the Treble or Prim 
 (prem) -z ; the concert ; and elegie 
 (el-e-je) (or Alt or Lieder) -z, which 
 is tuned a fourth lower. 2. bow- 
 zither or Strich- zither (strTkh), 
 G. Was originally heart-shaped, but 
 the philomfele now resembles a more 
 pointed viola with shallow bouts (the 
 viola-zither having a still closer re- 
 semblance). The bow-z. has a peg 
 in the head, which is rested upon a 
 table, the body being held in the lap. 
 It has four metal strings, g, d, a', e". 
 3. A cither. 4. An old German instr. 
 with a sound-box, a neck, a fretted 
 finger-board, and eight or more strings 
 tuned in unison two and two and 
 plucked with a quill. Z.-harfe. A 
 form of keyed auto-harp. Zither- 
 spieler (shpe'-ler), Zitherschlager 
 (shla-kher), G. Guitar-player, zit- 
 tera (ts!t'-te-ra), I. Zither. 
 
 zitternd (tstt'-ternt), G. Trembling. 
 
 zittino (ts!t-te'-no), /. Silence. 
 
 zogernd (tsa'-gernt), G. Retarding. 
 
 zolfa (tsol-fa), /. Vide solfa. 
 
 zoppa (ts6p'-pa), or -o, /. Lame, limp- 
 ing, alia z. Syncopated ; used also 
 of a jerky Magyar rhythm. 
 
DICTIONARY OF TERMS 307 
 
 zornig (tsor'-nlkh), G. Angry, 
 zoulou (zoo-loo), Z'. "Zulu." A pia- 
 nette. 
 
 zour'na. Oriental oboe. 
 
 zu (tsoo), G. To, at, by, in, unto. 
 
 Zufallig (tsoo'-fel-Ilkh), G. Accidental 
 (sharp, flat, or natural). 
 
 zufolo (tsoo' -f 6-16), /. Flageolet, small 
 bird-flute. zufolone (16 -ne). A 
 large whistle. 
 
 Zug (tsookh), pi. Zuge (tsii'-khe). i. 
 Draw-stop or register. 2. Slide. 
 Zugtrompete (trom-pa'-te), G. 
 Slide-trumpet ; the trombone. Zug- 
 werke (ver'-ke). Tracker-mechanism. 
 
 Zugeglockchen (glek-khen), G. The 
 passing bell ; a knell. 
 
 Zuklang (tsoo'-klang), G. Concord. 
 
 Zukunftsmusik (tsoo-koonfts'-moo- 
 zek'), G. " Music of the future." A 
 term applied satirically to Wagner's 
 work by L. F. C. Bischoff, 1850 ; but 
 later adopted as a watchword by the 
 Wagnerians. 
 
 zum (tsoom), G. — zu dem. To the. 
 
 zumma'rah. An Egyptian reed instr. 
 like a bassoon. 
 
 zunehmend (tsoo-na'-ment), G. In- 
 creasing. 
 
 Zunge (tsoong'-e), G. i. Tongue. 
 Dop'pelzunge. Vide tonguing. 
 2. Z.-pfeife. Reed-pipe. Z.-blatt. 
 Clarinet reed. Z.-stimme. Reed- 
 stop. Z.-werk. The reed-stops 
 collectively, auf- (or durch-) schlag- 
 ende Z. Beating (or free) reed. 
 
 zur'na. Turkish oboe. 
 
 zuriick (tsoo-rtik'), G. Back. 2..-%&- 
 hend (ga'-ent), G. Returning to the 
 original tempo, z.-halten. To re- 
 tard, z.-haltend. Retarding. Z.- 
 haltung (hal-toongk). Retardation. 
 z.-tonen (ta-nen) or z.-treiben (trl- 
 ben). To reverberate. Z.-schlag. 
 
 Vide RIB.^TTUTA. 
 
 zusammen (tsoo-zam'-men), G. To- 
 gether, z.-gesetzt. Combined, 
 compound (of time). Z.-klang, Z.- 
 laut(lowt). Harmony. Z.-schlag. 
 Vide AcciAccATURA. z.-streichen. 
 To slur. Z.-streichung (strl- 
 khoongk). Slurring. 
 
 zutraulich (tsoo-trow'-likh), G. Con- 
 fident(ly). 
 
 Zuversicht (tsoo'-fer-ztkht), G. Con- 
 fidence. 
 
 zwanzig (tsvan'-tsTkh), G. Twenty. 
 Zwanzigste (tsvan' - tslkh - ste). 
 Twentieth. 
 
 zwei (tsvi), G. Two. z.-chorig (kha- 
 rlkh). Two-choired, z.-fach (fakh), 
 z.-faltig (fel-tTkh). i. In two ranks 
 (organ-pipes). 2. Compound (of in- 
 tervals). 3. Double (of counterpoint). 
 z.-fiissig. Two-foot. Vide pipe and 
 PITCH. Z.-gesang. A duet, z.- 
 gestrichen. Twice-marked. Vide 
 PITCH. Z.'glied (glet). Sequence 
 of two chords. Z.-halbertakt. 2-2 
 time, z.-handige (hent'-lkh-e). For 
 two hands. Z.-klang. A chord of 
 two tones. z,-mal (tsvl-mal). Twice. 
 z.-stimmig. For two parts. Z.- 
 spiel (shpel). A duet. Zweite (tsvl'- 
 te). Second. Zweitel (-note). 
 Half-note. Z.-tritt. Vide waltz. 
 Z.-unddreissigstel (oont-drl-zikh- 
 shtel). 32d note. Z.-viertelnote 
 (fer'-tel-n6-te). Half-note. Z.- 
 viertelpause (pow-ze). A half rest. 
 Z.-vierteltakt. 2-4 time. Z.- 
 zahlighertakt (tsa-llfkh-er-takt). 
 Duple time. Z.-zweiteltakt (tsvl- 
 tsvl-tel-takt). 2-2 time. 
 
 zwerchflote (tsverkh-) or pfeife, G. 
 
 Transverse flute. 
 zwischen (tsvTsh'-en), G. Between. 
 Z.-akt. Intermezzo. Z.-gesang, 
 Z.-handlung, Z.-harmonie, Z.- 
 satz. The episode (in fugue). Z.- 
 raum (-rovvm). Space between the 
 lines. Z. -spiel. Interlude. Z.- 
 stille (shtil'-le). Pause. Z.-stim- 
 me (shtlm-me). Middle voice. Z.- 
 ton. Intermediate tone. 
 
 Zwitscherharfe (tsvItsh-Sr), G. Vide 
 
 SPITZHARFE. 
 
 zwolf (tsvelf), G. Twelve. Z.-ach- 
 
 teltakt (akh-tel-takt). 12-8 time. 
 
 Z.-saiter (zl-ter). " 12-stringed" 
 
 bisse.x. 
 zymbel (tsem'-bel), G. Vide cymbal. 
 zzxjoanw (shaw). Maori, i. Drum. 
 
 2. Fife. 3. Conclusion. 
 
The 
 
 torie0 
 
 of the 
 
 Operas 
 
 told by Acts, Entrances and Songs; with 
 the Casts of the Original Creators 
 
 BEETHOVEN, LVDJVIG VON. 
 
 Fidelio, oder die eheliche Liebe (fe- 
 
 dal'-yo, o'-der d§ a'-e-llkh-e le'-be). 
 
 Fidelio, or Conjugal Love. 
 
 Two-act opera. Book by Joseph 
 Sonnleithner and Treitschke after Bou- 
 illy's romance " Leonore, ou 1' Amour 
 Conjugal." 
 
 Produced in three acts, Vienna, Nov. 
 20, 1805, without success. Revised by 
 Breuning and produced as " Leo- 
 nore " in 2 acts without success. Re- 
 vised by Treitschke and produced as 
 "Fidelio," Vienna, May 23, 1814, with 
 success. For this work Beethoven com- 
 posed four overtures. That called "No. 
 I," was composed third, in 1807. The 
 " Leonore," or " No. 3 " was composed 
 second in 1806; the "No. 2" was 
 written first, in 1805 ; the " No. 4" or 
 " Fidelio," in 1814. 
 
 CHARACTERS AND THEIR CRE.\TORS. 
 
 Don Fernan'do, 
 
 Minister Weinkoff, bar. 
 
 Don Pizarro (don pe-tsar'-ro), 
 
 Governor of a State 
 
 Prison Meier, bar. 
 
 Florestan (flor'-es-tan), 
 
 A prisoner Demmer, tenor. 
 
 Roc'co, 
 
 Chief jailer Rothe. 
 
 jAfiuiNo (yak- we' -no), 
 
 Turnkey. Cache. 
 
 Captain of the Guard Meister. 
 
 Leonore (la-o-no'-re), 
 
 knozun as FiDELio, wife 
 
 of Florestan Frl. Milder. 
 
 Marzelline (mar-tsel -le'-ne), 
 
 Roccos daughter Frl. Muller. 
 
 Act I. — Scene. Courtyard of the 
 Prison. Marzelline ironing, worried 
 and beset by Jaquino, who makes love 
 to her, with interruptions of someone 
 knocking. Rocco calls him and he goes, 
 jealously mentioning Fidelio, who has 
 entered Rocco's service and whom Mar- 
 zelline loves, thinking her to be a man. 
 Left alone the girl rejoices in hope that 
 Fidelio will marry her (in an aria " Die 
 Hoff' nung "). Jaquino enters with Roc- 
 co. inquiring for Fidelio, who enters 
 in man's garb, laden with provisions 
 and a box of letters. Rocco and Mar- 
 zelline hint of marriage, and Fidelio se- 
 cretly expresses her uneasiness. In a 
 famous quartet (" Mir ist so wunder- 
 bar " — in canon-form) their varying feel- 
 ings find vent. Rocco tells of the 
 importance of money to wedded bliss. 
 Fidelio asks to be allowed to help him in 
 his prison duties, and he consents that 
 she shall have admittance to all but 
 the dungeon, where a certain wretch 
 has lain two years. The two women 
 depart on the announcement that Pizar- 
 ro is coming. He enters with a guard, 
 and Rocco gives him the letters. One 
 of them is a secret warning that Don 
 Fernando is going to make an unan- 
 nounced inspection of the prison, having 
 
 309 
 
310 
 
 THE MUSICAL GUIDE 
 
 heard that there are several prisoners 
 unjustly held. Pizarro plans to put his 
 old rival, F'lorestan, out of the way. He 
 sends an officer to watch from a tower 
 for Fernando's approach ; then orders 
 Rocco to kill F'lorestan. Rocco refuses, 
 and is ordered by Pizarro to dig the 
 doomed man's grave, while Pizarro 
 himself commits the murder. When 
 they have gone, Fidelio enters ; she has 
 overheard the plot, and pours out her 
 horror (in the great aria ' ' Abscheulich- 
 er ! "). Her rage changes to grief, then 
 to hope in God. When she has gone, 
 Marzelline and Jaquino enter, quarrel- 
 ling. Rocco appears, rebukes Jaquino 
 for hoping to marry his daughter, and 
 orders him to release the minor prisoners 
 for their breath of air. The prisoners 
 rejoice in the sun, and Rocco tells Fi- 
 delio that she may come and help him 
 dig the grave of the mysterious prisoner 
 whom Pizarro is going to kill. Fidelio 
 is overcome with horror at having to dig 
 her husband's grave. Marzelline and 
 Jaquino hurry in, saying that Pizarro is 
 coming in a rage. After them enters 
 Pizarro, storming at Rocco's letting the 
 prisoners out. They are ordered back 
 to their cells. 
 
 Act II. — Scene i. The dungeon. Flor- 
 estan, chained, bemoans his fate ; he 
 sees his wife in a vision, but sinks down 
 exhausted and oblivious of the entrance 
 of Rocco and Fidelio. She cannot see 
 the prisoner's face, but believes it is her 
 husband, and vows to save him in any 
 case. She gives feeble aid to Rocco in 
 digging the grave, and when Florestan, 
 waking, calls for drink, she lifts a pitch- 
 er of wine to his lips and gives him a 
 crust of bread. Pizarro enters and or- 
 ders Fidelio away. She does not obey, 
 but when Pizarro starts to stab Flores- 
 tan she protects him and declares herself 
 his wife. She draws a pistol and threat- 
 ens Pizarro. A trumpet is heard. Ja- 
 quino enters, announcing the coming of 
 Don Fernando. Pizarro hurries away, 
 and Rocco follows him, after pressing 
 the hands of the reunited lovers, who 
 join in a rapturous duet (" O Namen- 
 
 lose Freude "). Rocco returns, saying 
 that all the prisoners are to have a hear- 
 ing, and leads them out. Scene 2. The 
 square before the castle. The Minister 
 frees the rejoicing prisoners. Rocco 
 leads in Florestan and Fidelio, for whom 
 he pleads. Pizarro is sent away in dis- 
 grace, and all join in praise of the wife's 
 fidelity. 
 
 BELLINI, VINCENZO. 
 Norma. 
 
 Two-act lyric tragedy. Book by Ro- 
 mani. Produced in Milan, 1S32. 
 
 CHARACTERS AND THEIR CREATORS. 
 POLLIO NE, 
 
 A Roman Pro-Consul, Donzelli, tenor. 
 Flavio (fla'-vl-o). 
 
 His friend tenor. 
 
 Oroveso (6r-o-va'-so), 
 
 Druid Chief bass. 
 
 Nor ma, 
 
 His daughter, a Druidess sopr. 
 
 Adalgisa (a-dal-ge'-za), 
 
 A young priestess sopr. 
 
 Clotilde (klo-tel'-de), 
 
 A'ormas confidante sopr. 
 
 Two children of Norma and PoUione. 
 
 Act I. — Scene i. Night in the Sacred 
 Druid Forest in Gaul ; in the centre the 
 Oak of Irminsul. The Druids enter in 
 religious procession. Oroveso bids them 
 strike the bell thrice when the moon ap- 
 pears. They wait for Norma to cut the 
 sacred branch, and give the signal for 
 the defeat of the Roman invaders. 
 When they have passed on Pollione and 
 Flavio steal in. Pollione confesses that, 
 though he has loved Norma, who has 
 broken all her vows and borne him two 
 children, he has tired of her, and loves 
 Adalgisa, a priestess vowed to virginity. 
 He tells of a dream {" Meco all' altar 
 di Venere ") in which Norma blights his 
 vision of joy with Adalgisa. The sa- 
 cred shield resounds, calling the Druids 
 back, and the two Romans slip away, 
 Pollione vowing to wipe out their reli- 
 gion. The Druids welcome Norma, 
 
STORIES OF THE OPERAS 311 
 
 I 
 
 who enters with a retinue of priestesses, 
 but in place of calling them to fight the 
 impious Romans, she rebukes their 
 wrath and bids them keep peace (" Se- 
 diziose voci "), saying that Rome will 
 perish from its own vices. She cuts 
 the sacred mistletoe, and, kneeling, calls 
 on the moon's "chaste goddess" ("Casta 
 diva ") to shed peace upon them. They 
 demand Pollione's life, and she prom- 
 ises them revenge, but aside confesses 
 her love for him (" Ah bello a me ri- 
 torno"). When the Druids have left, 
 Adalgisa appears, dreaming of her love 
 for PoUione (" Sgombra e la sacra sel- 
 va"). In contrition she kneels before 
 the altar she has forgotten. Pollione, 
 appearing, reproaches her for praying to 
 the god (" Va, crudele "), and begs her 
 to go to Rome with him {" Dove e 
 amor "), and she consents. Scene 2. 
 Norma's dwelling. Norma and Clo- 
 tilde speak of the two children of her 
 secret and forbidden love. Hearing 
 someone approach, she has Clotilde 
 conceal the children. Adalgisa appears 
 and, prostrating herself, confesses her 
 unholy love. Norma grants her forgive- 
 ness and then asks her lover's name. 
 Adalgisa points to Pollione, who ap- 
 pears. Norma, in her rage, has no blame 
 for Adalgisa, but covers Pollione with 
 reproaches, and, hearing the temple bell, 
 leaves him. Adalgisa also repulses him. 
 Act II. — Scene i. Norma's dwelling. 
 Her children are asleep on a couch. 
 She enters with a dagger to kill her 
 children in revenge on Pollione. But a 
 revulsion of motherly feeling leads her 
 to embrace them. She sends Clotilde 
 to bring Adalgisa, who enters and is 
 asked to take the children to Pollione 
 (" Deh, con te li prendi ") and become 
 his wife, while Norma kills herself. 
 Adalgisa pleads with Norma to seek her 
 own happiness (" Mira, O Norma"). 
 Adalgisa and Norma pledge friendship. 
 Scene 2. A solitary place where the Gauls 
 chant of war. Oroveso says that Pol- 
 lione is to return to Rome and be re- 
 placed by a still more cruel pro-consul ; 
 he counsels delav, however, before they 
 
 take up arms. Scene 3. Temple and 
 altar of Irminsul. Norma is hopefully 
 waiting Adalgisa's mission begging Pol- 
 lione to return to the mother of his chil- 
 dren. Clotilde comes to say Pollione 
 has refused, and even vows to take 
 Adalgisa by force from the temple. 
 Norma, in high frenzy, strikes the shield 
 of Irminsul three times, and the Druids 
 and Gallic warriors assemble excitedly. 
 Norma cries for immediate war on the 
 Romans {" Guerra, guerra ! "). Clo- 
 tilde runs in to say that a Roman warrior 
 has been caught in the temple. Pollione 
 is brought in, and Norma is given the 
 sword to kill him for his impiety. Her 
 hand trembles, and she begs all to with- 
 draw while she questions the culprit. 
 Alone with Pollione, she tells him his 
 life is in her power (" In mia mano al- 
 fino tu sei "). She says Adalgisa will be 
 burned for breaking her vows. He 
 kneels and prays that she be spared. 
 Norma summons the Druids back and 
 says that one of the priestesses has 
 broken her vows and must be burned 
 alive. The Druids demand her name. 
 Pollione implores mercy, and is dumb- 
 founded when Norma announces herself 
 as the guilty one. In a sudden recru- 
 descence of his old passion he climbs 
 the funeral pyre with her ("Qual cor 
 tradisti "). Her last prayer is that her 
 father protect her children (" Deh, non 
 volerli "). The Druids throw over her 
 the black veil, and she and Pollione 
 look forward to bliss beyond this life. 
 
 BELLINI, VINCENZO. 
 
 La Sonnambula (la-s6n-nam'-boo-la). 
 
 The Somnambulist. 
 
 Two-act opera. Book by Felice 
 Romani, after a vaudeville by Scribe. 
 Milan, March 6, 1831. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Elvino (^l-ve'-no), 
 
 A rich fanner Rubini, tenor. 
 
 Rodol'fo, 
 
 A young lord incognito, 
 
 Mariano, bar. 
 
v^ 
 
 THE MUSICAL GUIDE 
 
 ^''Tpeasafit, in love with Lisa . . .bass. 
 Amina (a-me -na), ^ 
 
 -^«-^^-«'^^''"^i;Tpasta.sopr. 
 
 Teresa (ta-ra'-sa) 
 
 The miller's wife m.-sopr. 
 
 A ct I —Scene. In front of a mountain 
 inn The peasants gather, singing a 
 welcome to the bride Amina. Lisa, who 
 roves Elvino, the bridegroom, alone is 
 ellous amidst the joy (" Tutto e g.o- 
 r') Her lover, Alessio, cannot quiet 
 £r envy, though he speaks of his ov^ 
 aDoroaching marriage with her. Alter 
 Sa of Switzerland C In Elvezia non 
 v'ha r'osa"). Amina enters, grateful for 
 Jh^welcoL and her, serene future 
 (" Come per me sereno and Soxra u 
 ienlamanmiposa"). She embraces 
 her foster-mother and the grudging Lisa. 
 The notary comes, and then Elvino, 
 iSo had stopped to implore the Virgin 
 to send his wife perfect vir ue. He 
 g°ves her the ring e'Prendi.l'annel U 
 Tono •') and violets. He invites every- 
 body to be present at the wedding at 
 S the next morning. The noise of 
 post-horses is heard, and Rodolfo en- 
 ters to ask the way to the castle. He 
 recalls the familiar scenes ( ' M rawiso 
 ofuoghi ameni"), but he is not recog- 
 nised^ bv the others. He flatters the 
 bride's bright eyes (" 7^,^°^ ^fj^\ 
 quel begli occhi " , and Elvino feels a 
 ^ang of jealousy. The sunset makes it 
 dangerous to proceed up the mountam 
 to the castle, and Rodolfo is ^yarned of 
 the phantom that appears at mght ( A 
 fosco cielo"). He decides to stop at 
 Lisa's inn. Vhen he has gone, Elvino 
 jealously rebukes Amina. She tnes to 
 Llm his jealousy (" Son geloso dd ze- 
 firo amante"), and they are tenderly 
 reconciled (" Mai piu dubbi ). _ 
 ' \ct 11 --Scene i. A bedroom in the 
 inn . Lisa comes to welcome the Count 
 whom she has recognised. She slips into 
 a cabinet on hearing someone approach, 
 
 but leaves her shawl behind her. Amina 
 enters in a nightdress, walking m her 
 sleep Rodolfo realises her condition, 
 but Lisa, seeing her, hurries away scan- 
 dalised Amina lies down and sleeps 
 on Rodolfo's bed. while he leaves by 
 the window. The villagers come tip- 
 toeing in to welcome the Count, who has 
 been away so many years. Lisa leads 
 in Elvino and Teresa, who see Amina 
 and believe her guilty. She wakes and 
 is repulsed by Elvino. Teresa alone 
 believes her innocence. Scene 2. A 
 shaded valley. Peasants pass on their 
 way to the castle to plead with the Count 
 to clear Amina's good name. Amina 
 and Teresa enter, and, later, Elvino 
 who again covers her with scorn, though 
 he longs for the time of his old trust 
 (" \h perche non posso odiarti ). 
 
 Act' III— Scene. The village green . 
 mill in the distance. Alessio is pleading 
 with Lisa not to love Elvino, but she 
 scorns him. Villagers enter to say that 
 Lisa is chosen as bnde to Elvino . he 
 comes himself to tell her. Rodolfo ap 
 pears and explains Amina s presence m 
 his room, but Elvino refuses to hear him 
 Teresa comes, saying that the distraught 
 Amina has at last fallen asleep. She 
 brings Lisa's shawl, and accuses her o 
 vPsithig the Count. The Count will not 
 speak of her guilt, but persists m de 
 fending Amina, who is seen comnig out 
 of the mill. She is again walk ng in her 
 sleep and passes across a plank ovei 
 he very mill-wheel. All watch her m 
 suspense, but she crosses m safety 
 dreaming of Elvino's cruelty. He gives 
 her back the ring he took from her and 
 she wakes in his arms. She gives voice 
 to her rapture ("Ah non giungeuman 
 
 pensiero"), and all rejoice with her. 
 
 BIZET, GEORGES. 
 
 Carmen (kar-man). . 
 
 Four-act opera. Book by Hennj 
 Meilhac and Ludovic Hale%7 (after 
 Prosper Merimee's romance). 
 
 Produced, Paris Opera Comique^ 
 March 3, I375,^^'ith Mme. Galh-Mane 
 
STORIES OF THE OPERAS 313 
 
 as "Carmen," Mile. Chapuy as " Mi- 
 chaela." 
 
 CHARACTERS. 
 
 Don Jose (don zho-za ; in Spanish 
 hd-za), 
 
 A brigadier tenor. 
 
 ZvNiGA (tsii-ne'-ga), 
 
 An officer bass. 
 
 Morales (mo-ra'-les), 
 
 A brigadier bass. 
 
 EscAMiLLo (as-ka-mel -yo), 
 
 A toreador bar. 
 
 Il Dancairo (el-dan-kl'-ro), II 
 
 Remendado (el ra-raen-da-dho), 
 
 Smugglers tenor, bar. 
 
 LiLLAS Pastia (lel'-yas pas-te'-a), 
 
 Innkeeper 
 
 Carmen, 
 
 A cigarette girl m.-sopr. 
 
 MicHAELA (me-ka-a-la ), 
 
 A peasant girl sopr. 
 
 pRAsguiTA (fra-ske'-ta), Mer- 
 cedes (mer-tha'-des), 
 
 Cigarette girls m.-sopr. 
 
 Act I. — Scene. A crowded square 
 in Seville, in front of a cigarette factory 
 near a bridge. Michaela enters, looking 
 for Don Jose ; she is advised by Mo- 
 rales to wait inside the guard-house. 
 The guard is relieved (" Noi con la 
 gfuardia "), under command of Zuniga 
 and Jose, An officer chaffs Jose about 
 Michaela, and Jose says none of the 
 cigarette girls can compare with her. 
 T'le bell rings for the noon-hour and 
 the girls enter smoking and singing of 
 life as all one vanity of smoke (" Seguir 
 I'occhio in aria "). Carmen saunters in, 
 gay and impudent, teasing her loving 
 admirers with an old Spanish Habanera 
 (composed by Pradier and called "El 
 Aveglito") ("Amor, misterioso Ange- 
 lo"). The bell rings and as the cigarette 
 girls return to work, she tosses a flower 
 at the bewildered Jose. Michaela ap- 
 pears and timidly tells that his mother 
 has sent him by her a letter, some 
 money, and also — a kiss (' ' La madre 
 
 tua con me "). Jose is moved by mem- 
 ories of his mother (" Mia madre io la 
 rivedo"), and feels that her letter has 
 saved him from the tempter Carmen. 
 He gives Michaela loving messages 
 and the girl goes. A riot is heard in 
 the factory; thither all rush, in panic, 
 discussing a fight between Manuelita 
 and Carmen, who is brought out by 
 officers. She mocks their questions and 
 finally strikes one of them. They de- 
 cide to tie her hands with a rope and 
 leave Jose to guard her. On him she 
 practises all her wiles, and asks him to 
 meet her at Lillas Pastia's inn near the 
 bastion (a seguidilla, " Pressa il bastion 
 di Siviglia "). He at length unties her 
 hands, but she pretends, when the of- 
 ficer returns, that they are still tied. 
 When Jose starts to lead her across the 
 bridge, however, she pushes him down 
 and escapes. 
 
 Act II. — Scene. Lillas Pastia's inn, 
 two months later. Cigarette girls, gyp- 
 sies and others including Zuniga, are 
 making merry and Carmen sings and 
 dances with the rest (" Vezzi e anella 
 scintillar "). Frasquita brings word that 
 the inn must close ; Zuniga invites Car- 
 men to go, but seeing her sad, tells her 
 that Don Jose, who has suffered impris- 
 onment and reduction to the ranks for 
 conniving at her escape, is now free. A 
 procession in honour of the toreador Es- 
 camillo passes and the famous bull- 
 fighter is invited in. He sings of the 
 delights of the arena (" Toreador, at- 
 tento "). He flirts with Carmen, she 
 banters him, and Lillas Pastia clears 
 the inn of all except the gipsies and 
 Carmen and closes it up. The two smug- 
 glers appear and confess the usefulness 
 of women in their profession (a quintet 
 " Abbiam in vista"). Carmen declines 
 to join them, and they blame it to love. 
 Jose is heard singing (" Dragon d'Alca- 
 li ") and they decide that he would 
 make a good smuggler. Carmen con- 
 sents to tr\- to win him over, and the 
 others withdraw. Jose enters and she 
 levels all her witcher)- on him, dancing 
 and singing (" Voglio danzar per tuo 
 
SH 
 
 THE MUSICAL GUIDE 
 
 placer"). He hears the "retreat" 
 sounded at the distant barracks, but her 
 pouting coquetry restrains him; he shows 
 her the flower she gave him at their first 
 meeting (" II fior che avevi ") and she 
 pleads with him to give up the army 
 and lead a g>^psy life with her. He re- 
 coils at the thought of being a deserter, 
 and is rushing away when Zuniga re- 
 turns. He reproaches Carmen for prefer- 
 ring a private such as Jose to himself, 
 an officer ; and orders Jose back to the 
 barracks. Jose, infuriated, defies him 
 and draws his sword ; the gypsies enter, 
 cover Zuniga with their pistols and lead 
 him away. Jose has no resource but to 
 join the smugglers. 
 
 Act III. — Scene. The smugglers' lair 
 in the mountains. They are rejoicing at 
 their luck, but Jose is restless and thinks 
 of his mother. Carmen tells him he would 
 better go back home. He threatens her 
 with his knife. She turns her back on 
 him and the gypsies fall to telling fort- 
 unes with cards (" Mischiam ; alziam "). 
 Carmen finds always Death in her cards; 
 she takes the omen jauntily. The 
 smugglers move off followed by Jose. 
 Michaela enters in great fear (" lo dico 
 no"). She hides when a gun-shot is 
 heard and Escamillo enters with a bullet 
 hole through his hat. Jose appears and 
 challenges the toreador, who says he 
 comes to find his sweetheart Carmen 
 who is tired of her dragoon lover. The 
 rivals prepare to fight with knives, but 
 Carmen saves Escamillo in the nick of 
 time and he is sent away. Michaela 
 tells Jose that his mother is dying with 
 grief for him (" lo ti vengo a cercar"), 
 and Carmen advises him to go. He 
 jealously refuses at first to leave Car- 
 men, but finally goes, glaring threaten- 
 ingly at the fickle siren, who hears 
 with joy the distant song of the bull- 
 fighter. 
 
 Act IV. Scene. A square in Seville 
 outside the arena. A great crowd seethes 
 about the place. Dancers whirl (" Dan- 
 ziam. danziam ! "). The procession of 
 bull-fighters of all classes passes into 
 the arena with ceremony, and Carmen 
 
 accompanies the idolised Escamillo. 
 Frasquita and Mercedes warn Carmen 
 that Jose is looking for her, but she 
 pluckily waits for him after the crowd 
 has entered the arena. He begs her to 
 go away with him and threatens her 
 when she refuses ruthlessly. As she 
 taunts him with her weariness of his 
 love, the noise of the spectators roars 
 out from the arena. She wishes to enter 
 but he blocks the way, and when she 
 throws at him the ring he gave her, he 
 stabs her and she dies without a word. 
 The crowd pouring out of the arena 
 find him kneeling lovingly at her side. 
 
 BOITO, ARRIGO. 
 
 Mefistofele (ma-fe'-sto-fa-le). Mephis- 
 
 topheles. 
 
 Grand opera in prolog, four acts and 
 epilog. Book and music by Boito. La 
 Scala, Milan, 1868. 
 
 CHARACTERS. 
 
 Mefistofele bass. 
 
 Faust, later Henrico (fowst, §n-re'-k6), 
 tenor. 
 
 Wagner (vakh'-n^r) tenor. 
 
 Nereo (na'-ra-6) tenor. 
 
 Margherita sopr. 
 
 Marta, her mother contr. 
 
 Elena, Helen of Troy sopr. 
 
 Pan talis contr. 
 
 In the attempt to cover the scope of 
 Goethe's whole poem " Faust," the op- 
 era exchanges continuity for picturesque 
 episodes. It opens with a " Prologue in 
 the Heavens," a cloud-scene in which 
 Satan interrupts the songs of the invisi- 
 ble angel-choirs, and parleys with the 
 unseen Jehovah for the soul of Faust, 
 which he boasts he can win. 
 
 Act I. — Scene i. Holiday street-scene 
 in Frankfort. The Elector passes with 
 retinue. Faust and his friend Wagner 
 stroll about, followed by Mefistofele, 
 disguised as a gray friar, whom Faust 
 dreads, but Wagner ridicules. Scene 2. 
 
STORIES OF THE OPERAS 315 
 
 Faust's laboratory. The gray friar con- 
 ceals himself in an alcove ; Faust enters 
 and begins to read his Bible, the dread 
 of which betrays Mefistofele, who de- 
 clares himself and assumes the form of 
 a knight. He bargains for Faust's soul, 
 offering him all earthly pleasures. Faust 
 accepts, and steps on Mefistofele's cloak 
 to be spirited away. 
 
 Act II. — -Scene I. The garden of Mar- 
 gherita, who engages in amorous dal- 
 liance and promise with her lover, Faust 
 (Enrico), while her mother, Marta, 
 flirts ludicrously with Mefistofele. Scene 
 2. The wild gorge of the Brocken, where 
 evil spirits of all sorts hold the varie- 
 gated orgy appropriate to the witches' 
 Sabbath. Faust, under the guidance 
 of Mefistofele, is shown a vision of the 
 betrayed Margherita's sorrow, and .Me- 
 fistofele pictures the world in a declama- 
 tion over a globe of glass. 
 
 Act III. — Scene. The prison where 
 Margherita, who has killed the child of 
 her shame, is awaiting her execution. 
 Faust appears and begs her to fly with 
 him. With her dying breath she refuses, 
 and as the day breaks he is haled away 
 by Mefistofele, who declares Margherita 
 doomed. But the angelic chorus (given 
 to the orchestra) declares her to be for- 
 given and saved. 
 
 Act IV. — Scene i. The moonlit banks 
 of the river Peneus, on " The Night of 
 a Classical Sabbath." Pantalis and the 
 sirens sing of the moon, and Helen of 
 Troy describes the capture and pillage 
 of the old Homeric city. Faust wakens 
 from slumber and appears on his rest- 
 less pleasure hunt, and, watched by Me- 
 fistofele, finds in Helen a quick re- 
 sponse to his ardor. Scene 2. F'aust's 
 laboratory, in which he muses on his dis- 
 mal hunt for earthly pleasure, and longs 
 for Heaven. Mefistofele tries to per- 
 suade him to continue the hunt, but the 
 heavenly music is heard. Mefistofele 
 invokes seductive sirens to counteract 
 the better influence, but Faust clings 
 to his Bible, and, praying and redeemed, 
 dies in a shower of roses, which scorch 
 and foil Mefistofele. 
 
 CHARPENTIER, GUSTAV. 
 Louise. 
 
 Four-act opera. Book by the com- 
 poser. Produced, Opera Comique, 
 Paris, February 2, 1900. [The story 
 of this opera, by Annie C. Muirhead.] 
 
 PRINCIPAL CHARACTERS AND THF.IR 
 CREATORS. 
 JULIEN, 
 
 An artist Marechal, tenor. 
 
 The Father Fugere, bar. 
 
 Louise, 
 
 Mdlle. Marthe Rioton, dram. sopr. 
 The Mother, 
 
 Mme. Deschamps-Jehin, mez.-sopr. 
 
 Other Characters {all with singing 
 parts). 
 
 Men. 
 
 j The Night Walker and 
 
 \ Master of the Revels. 
 
 An old Bohemian. A Song-writer. 
 
 F^irst Philosopher. Second Philosopher. 
 
 A painter. A sculptor. A young poet. 
 
 A student. A ragpicker. ' A jack-of- 
 
 all-trades. First policeman. Second 
 
 policeman. An apprentice. A street 
 
 urchin. 
 
 IVonten. 
 Irma, "j 
 
 Camilla, I c • • 1 
 Gertrude, f Sewmg-girls. 
 Elise, j 
 
 Dressmaker's apprentice. 
 Dressmaker's forewoman. 
 Blanche, "v 
 Suzanne, , . , 
 
 Marguerite, h^vork-g.rls. 
 Madeleine, j 
 A ragpicker. A street-sweeper. A 
 milk-girl. A newspaper-girl. A ciga- 
 rette-gatherer. 
 
 The street-cries : Sellers of chick- 
 weed, green peas, potatoes, brooms, 
 barrels, old clothes. 
 
 Place of action : Paris. Time : the 
 present day. 
 
 Act I. — Scene. Room in a tenement. 
 
3i6 
 
 THE MUSICAL GUIDE 
 
 Louise at the window talking with Ju- 
 lien outside. He urges her to elope, 
 since her parents prevent their marriage. 
 She refuses to grieve them so. She asks 
 how he fell in love with her. He tells. 
 The mother, entering, listens angrily to 
 their mutual confidences, then pulls 
 Louise back and dismisses Julien. A 
 violent scene follows between Louise 
 and her mother, who talks of Julien's 
 alleged bad character. The father en- 
 ters, holding a letter, and tenderly greets 
 Louise. While he reads the letter, which 
 is from Julien, Louise anxiously scans 
 his face ; they embrace without a word 
 (the orchestra, during this pantomime, is 
 notably expressive). The family sup, 
 the father talking contentedly of his 
 lot, the mother making bitter allusions 
 to artists and idlers. After supper, 
 the parents discuss the letter. The 
 father sympathises, the mother fiercely 
 opposes. Then the father reasons with 
 Louise about her inexperience and Ju- 
 lien's bad reputation. He asks whether 
 she has ever spoken with him. Louise 
 says no. The mother ironically mimics 
 the talk she heard between the lovers. 
 The father makes Louise promise to 
 have no more dealings with Julien ; says 
 she will soon get over her pain, and 
 sets her to reading aloud the newspa- 
 per. She breaks down at the word 
 " Paris." 
 
 Act II. — Orchestral Prelude. " Paris 
 awakening." Scene i. On the Hill of 
 Montmartre. All sorts of workers be- 
 ginning their day's toil. The Night- 
 walker enters and talks beguilingly to 
 the girls. He throws off his cloak, ap- 
 pearing garbed as Spring ; explains that 
 he represents the Pleasures of Paris, 
 and runs off, knocking over an old rag- 
 picker as he goes. This old man tells, 
 weeping, how his daughter was formerly 
 tempted away by the Nightwalker. An 
 old street-sweeper tells how she once was 
 rich and gay^t was paradise. An ur- 
 chin asks for the address of her para- 
 dise. She points to Paris. Julien 
 enters with Bohemian friends, and de- 
 scribes how he means to abduct Louise. 
 
 The young men sing gaily of love and 
 a free life. Julien, left alone, sings pas- 
 sionately of his love and wonders whence 
 help will come. As he pauses, the 
 street-cries of Paris are heard. He list- 
 ens with growing emotion ; then breaks 
 out in praise of city life. Work-girls 
 pass chattering. Julien hides. Louise 
 and her mother appear and separate 
 for the day's work. Julien waylays 
 Louise and entreats her to go with him, 
 but she refuses. He sorrowfully de- 
 parts. Street - cries resound on all 
 sides. Scene 2. Interior of dressmaker's 
 shop. Girls sewing, and quarrelling. 
 Louise sits among them, pensive. The 
 others note her sadness and talk among 
 themselves, telling how severely her 
 parents treat her, even striking her. 
 Then they teasingly accuse her of being 
 in love. Gertrude, an old maid, talks 
 sentimentally (hurdygurdy in the dis- 
 tance). Camille moralises on the strong 
 attraction of men for girls. Irma de- 
 scribes enthusiastically the charms of 
 city life. Sounds of street-music are 
 heard. The girls fiock to the window 
 and recognise Julien singing to his gui- 
 tar. Each girl, thinking the serenade 
 is for her, is loud in praise, till Julien, 
 missing Louise, breaks his strings im- 
 patiently and sings in sadder vein ; then 
 the girls feign boredom. The pathos 
 of the singer moves Louise's heart. She ^^ 
 rises to go, pleading illness. As the : 
 girls watch from the window, they see 
 Louise walking away with Julien. 
 
 Act III. — Scene i. Julien and Louise 
 in the garden of a little house on the 
 summit of Montmartre. Panorama of 
 Paris in the background. Twilight, 
 Louise rejoices that her happiest dream 
 has come true. She regrets nothing — 
 at home, her father treated her as a 
 child, her mother with blows. Julien 
 calls them Mother Routine and Father 
 Prejudice. Louise tells how they wished 
 her to be guided by their experience in- 
 stead of by her heart. Julien declaims 
 against experience. He asserts that 
 everyone has a right to freedom and 
 love. Louise asks whether anyone has 
 
 ! 
 
STORIES OF THE OPERAS 317 
 
 the right to break another's heart. He 
 answers that her parents' selfishness 
 must be met with selfishness. He says 
 her character has been developed by 
 city life. They join in a rhapsody 
 over Paris. The city begins to light up. 
 The lovers exult in a pa;an of liberty, 
 echoed by voices from the city. Then 
 they sing ecstatically of love and 
 life. Scene 2. A crowd of their Bo- 
 hemian friends arrive, and with danc- 
 ing and ceremonies crown Louise "Muse 
 of Montmartre." The mother suddenly 
 appears. At her sad aspect, the revel- 
 lers scatter in dismay. She comes 
 humbly to tell of the Father's illness, 
 and beg Louise to return home. The 
 old ragpicker passes by, alluding to his 
 lost daughter. Julien, touched, lets 
 Louise go on the promise of her re- 
 turn. 
 
 Act IV. — Scene same as Act I. A 
 summer evening. The father seated, 
 broken down and sombre, gradually 
 rouses to talk bitterly of the injustice of 
 Fate ; of rearing children only to suffer 
 from their ingratitude. Louise at the 
 window merely looks out into the night. 
 Her Mother calls her to help in the 
 kitchen and argues with her, while the 
 Father eagerly listens, hoping she will 
 be convinced. Louise recalls their 
 promise that she should be free. The 
 Mother refuses to let her return to a life 
 of sin. Louise bids her father good- 
 night coldly. He draws her passion- 
 ately to him and rocks her on his knee 
 like a child, in forced gaiety singing a 
 lullaby, promising that if the child will 
 be good, she shall have wiiatever she 
 wants. Louise answers that if they 
 want her to be happy they must let her 
 go to her lover, and repeats Julien's 
 words of the individual's right to free- 
 dom of choice. Joyous voices heard 
 from the town increase her longing. 
 She declares Paris calls her. The Father 
 becoming infuriated chases her from the 
 house ; then immediately repents and 
 calls her back — in vain. He shakes his 
 fist at the city, ejaculating bitterly " O 
 Paris ! " 
 
 DELIBES, LEO. 
 Lakm6 (lak-ma). 
 
 Three-act opera. Book by E. Gon- 
 dinet and Ph. Gille. 
 
 Produced, Opera Comique, April 14, 
 1883. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Gerald (zha-ral), 
 
 English officer engaged 
 
 to Ellen M. Talazac, tenor. 
 
 Frederic (fra-da-rek), 
 
 English officer M. Barre, bar. 
 
 NiLAKANTHA (nc-la-kSn-ta), 
 
 A devout Brahman, 
 
 M. Cobalet, bass. 
 Hadji (ad-zhe), 
 
 A servant Chenneviere, 2d tenor. 
 
 Lakme (lak-ma). 
 
 Daughter of Nilakantha, 
 
 Mile. Van Zandt, sopr. 
 
 Ellen contr. 
 
 Rose Mile. Remy, sopr. 
 
 Mistress Bentson. .Mile. Mole, 2d sopr. 
 Mallika, 
 
 A servant.. . Mile. Frandin, m. sopr. 
 
 Act I. — Scene. A garden in India at 
 dawn. A chorus in morning homage 
 to Brahma. Nilakantha appears and 
 invokes maledictions on the English 
 conquerors, Lakme joins the prayers. 
 Her father tells her he must go to an- 
 other temple for the day, and leaves 
 Lakme in charge of Mallika and Hadji. 
 Lakme lays her jewels on a table, sings 
 of the beauty of the stream, and sets 
 forth with Mallika in a little boat. The 
 English enter laughing and chattering. 
 They talk of the Hindus and of Lak- 
 me 's beauty, and force their way 
 through the hedge. Frederic explains 
 that in trespassing on the garden of a 
 Brahman they commit sacrilege, and are 
 liable to a deadly revenge. The women 
 hurry away, leaving Gerald to copy the 
 design of Lakme 's jewels. He hides as 
 Lakme returns. She muses on love and 
 seeing Gerald gives a cry. The servants 
 
3<8 
 
 THE MUSICAL GUIDE 
 
 enter hastily but she says it was nothing 
 and sends them away. She upbraids 
 Gerald when they have gone, but he 
 wins her love by his flattery. Seeing 
 her father return, she makes him steal 
 away unseen. Her father finds the 
 hedge broken, however, and vows re- 
 venge on the trespassers. 
 
 Act II. — Scene. A market-place full 
 of people. The English enter, much 
 bothered by the merchants. The 
 bell for closing sounds ; and soldiers 
 clear the market-place. A fete begins, 
 and bayaderes dance. Nilakantha 
 and Lakme pass, he clothed as a peni- 
 tent. Frederic tells Gerald that their 
 regiment moves at dawn to put down an 
 uprising. The English leave, and Nila- 
 kantha explains to Lakme that he is dis- 
 guised searching for revenge. A crowd 
 gathers and Lakme sings to them a 
 legend of Vishnu and a Hindu maid. 
 The English ofiflcers return. Nilakan- 
 tha recognises them and orders Lakme 
 to sing the legend again. Gerald recog- 
 nises her, but she pretends not to know 
 him. The English soldiers pass and 
 the officers go. Nilakantha plots with 
 the other Hindus, leaving Lakme with 
 Hadji. Gerald returns. They exchange 
 vows ot love. The crowd returns for the 
 Brahmin rites, but soon withdraws again. 
 Nilakantha stabs Gerald and disappears. 
 Lakme bends over him and seeing that 
 he is not mortally wounded calls the 
 faithful Hadji to her aid. 
 
 Act III. — Scene. The heart of a for- 
 est. Gerald asleep, watched by Lakme. 
 Songs of lovers are heard in the distance, 
 Lakme goes to bring him sacred water. 
 Frederic appears ; he has followed Ge- 
 rald by the drops of blood. He re- 
 minds him of his betrothal to Ellen and 
 makes him promise to return to her. 
 He leaves, and when Lakme returns 
 with the consecrated water in a cup 
 she notes a change in Gerald's manner. 
 He hears the soldiers singing in the dis- 
 tance, and she eats the leaf of a poison 
 plant. Nilakantha returning finds them 
 embracing. Lakme tells her father that 
 Gerald, having drunk of the sacred 
 
 water, is consecrated. She offers her- 
 self as a sacrifice in his place and dies. 
 
 DONIZETTI, GAETANO. 
 
 La Favorita (la fa-v6-re'-ta). The 
 
 Favourite. 
 
 Four-act opera. Book by Royer and 
 Waetz (based on the play " Le Comte 
 de Commingues"). 
 
 Produced, Paris, Dec. 2, 1840. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Alfonso, King of Castile bar. 
 
 Baldassare (sa-re) Baroelhst, bass. 
 
 Fernando Duprez, tenor. 
 
 Don Gaspare (gas-pa'-re) 
 
 Leonora (la-o-no'-ra), Mme. Stolz, sopr. 
 
 Ines (e'-nes) contr. 
 
 Act I. — Scene i. Interior of a mon- 
 aster>-. Chorus of monks passing. Fer- 
 nando, in distraction, tells Baldassare 
 that he has fallen in love with a maid- 
 en, an angel of heaven (" Una vergine, 
 un angel di dio "). Baldassare is horri- 
 fied and bids him begone (" Deh, 
 vanne ! "). Scene 2. A flowery island. 
 Ines and other women gathering flowers. 
 A boat arrives with Fernando, blind- 
 folded. His bandage is removed, but 
 his questions are not answered. At 
 length Leonora enters, and the lovers 
 have a rapturous reunion. She shows 
 him a parchment which will lead him to 
 glory provided he gives her up. He re- 
 fuses passionately. Ines enters to say 
 that the King .-Mfonso has arrived. Le- 
 onora, in agitation, gives Fernando the 
 parchment and hurries away. Ines 
 warns him to be cautious. Left alone, 
 he finds the parchment to be a commis- 
 sion with a title, and he welcomes his 
 chance for military fame (" Si, che un 
 tuo solo accento"). 
 
 Act II. — Scene. The Palace of the Al- 
 cazar. The King is rejoicing with Don 
 Gaspaic in the victory over the Moors, 
 giving the credit to the brave Fernando, 
 
STORIES OF THE OPERAS 319 
 
 whom he is now waiting to load with 
 honours. An attendant announces a 
 message from the chief churchman, and 
 Gaspare retires. The King broods over 
 the plots of his courtiers, but swears 
 they shall never separate him from Le- 
 onora, his favourite (" Vien, Leonora, 
 a'piedi tuoi"). Don Gaspare returns, 
 and is sent to invite the court to the 
 fete. Leonora enters with Ines, who is 
 sent away. The King pours out his 
 love ("Ah, I'alto ardor"), but Leonora 
 reproaches him with betraying her 
 and decoying her from home on false 
 promises. He tries vainly to console 
 her with her rich surroundings. The 
 court gathers. Don Gaspare, in much 
 agitation, gives the King an intercepted 
 love-letter to Leonora. The King de- 
 mands the lover's name, which Leonora 
 withholds. Baldassare is led in. He 
 bears a mandate from the Pope, ordering 
 Alfonso to put away Leonora and return 
 to his queen. The King refuses fiercely, 
 but Baldassare's threats of excommuni- 
 cation terrify him, and Leonora flees. 
 
 Act III. — Scene. A room in the palace. 
 Fernando, dreaming only of Leonora, 
 sees the King and Don Gaspare enter. 
 The King has decided to yield to the 
 Pope, and sends for Leonora. He wel- 
 comes Fernando and offers him whatever 
 he may ask. He asks for Leonora. Leo- 
 nora enters, and the King reproaches 
 her ("A tanto amor"), but demands 
 that she marry Fernando at once. Le- 
 onora, left alone, is enraptured, and can- 
 not believe the truth (" Fia dunque ve- 
 ro?") that she is to possess her lover 
 ("O mio Fernando"), but she thinks it 
 dishonourable for her, disgraced as she 
 is, to wed him, and decides to die. She 
 leaves Ines to tell him the whole truth. 
 When she is gone, Ines is arrested and 
 led away. The courtiers gather. The 
 King gives Fernando a title and the 
 hand of Leonora, who, thinking Ines 
 has told Fernando of her past, consents 
 and is led to the altar. The courtiers, 
 overcome with the shame of making the 
 unknown Fernando a nobleman, and 
 then marrying him off to the King's dis- 
 
 carded mistress, treat him with contempt 
 on his return from the altar. He is in- 
 furiated, and challenges Gaspare. Bal- 
 dassare enters to make peace, and Fer- 
 nando embraces him. Baldassare tells 
 Fernando the truth, and he, in wild 
 rage, rebukes the King, who returns 
 with Leonora. Baldassare declares the 
 marriage null, and Fernando refuses to 
 keep his title and decorations. The 
 King orders him intoe.xile, and Leonora 
 learns that Ines is under restraint. 
 
 Act IV. — Scene (composed in four 
 hours). Convent cloisters. Monks dig- 
 ging their graves and chanting (" Sca- 
 viam I'asilo "). Fernando, in dejection 
 returns to the monastery. Baldassare 
 welcomes him, then leaves to console a 
 youth who, he says, has just come as a 
 novice. Fernando, alone, bewails his 
 trust in hope, the gentle zephyr (" Spirto 
 gentil"). He is led into the chapel. 
 Leonora, clad as a monk, appears when 
 he has gone, and scans the faces of 
 the other monks. She has come to im- 
 plore Fernando's forgiveness. Inside 
 the church he is heard taking his vows. 
 She sinks before the cross, and he, re- 
 turning, finds her and bids her leave 
 (" Ah, va, t'invola "). She tells him the 
 truth and begs his forgiveness (" Cle- 
 mente al par di Dio "). He takes her in 
 his arms (" Vieni, ah, vieni ") and offers 
 to fly the cloisters once more with her. 
 She dreads such a step, and dies be- 
 seeching him to be faithful to his vows. 
 The monks, entering, are bidden to pray 
 for the dead young novice. 
 
 La Figlia del Reggimento (la fel'-ya 
 del rgd-jl-men'-to), /., La fille du 
 Regiment, F., Marie, die Tochterdes 
 Regiments, G. The Daughter of the 
 Regiment. 
 Two-act opera. Book by Bayard and 
 
 St. Georges. 
 
 Produced, Paris, February ii, 1840. 
 
 CHARACTERS. 
 
 Maria, created by Mme. Anna 
 
 Thillon sopr. 
 
320 
 
 THE MUSICAL GUIDE 
 
 Marchesa di BiRKiNFELD (or Mag- 
 
 giorivoglio) m.-sopr. 
 
 To'nio, 
 
 A young Swiss tenor. 
 
 Orten'sio, 
 
 S/c7i'ard to the Marchesa bar. 
 
 Caporale bass. 
 
 SuLPizio (sool-pe'-tsl-6), 
 
 A sergeant. . . , bass. 
 
 Pesa'no. 
 
 Act I. — Scene. The Tyrolese moun- 
 tains during the French occupation. 
 Peasants gather for war ; women pray 
 to the Virgin. The Marchioness and 
 Ortensio are an.\iously waiting news. 
 Peasants enter to say the enemy are re- 
 treating. All withdraw. Sulpizio, a 
 French sergeant, enters, followed by 
 Maria, the "daughter" of the Regi- 
 ment and its vivandiere. She rejoices 
 in having first seen the light of day on a 
 battle-field (" Apparvi alia luce sul cam- 
 po guerrier "). Sulpizio proudly claims 
 credit for finding her on the battle-field 
 and adopting her. He speaks of the letter 
 he found with her ; she speaks of the 
 young Swiss who saved her life and 
 whom she has learned to love. This 
 very Swiss now enters as a captive. 
 The French are about to kill him, but 
 she saves him and he joins in a toast. 
 Maria sings the song of the Regiment, 
 which has no equal as " everybody says 
 and knows " (" Ciascun lo dice ; ciascun 
 lo sa "). A drum calling to roll-call is 
 heard and the soldiers hurry away, tak- 
 ing Tonio under guard. He returns, 
 however, having eluded the others. 
 Maria and he are on cordial terms, 
 she welcoming his ardent vows ("A 
 voti cosi ardente "). They stroll away 
 together and Sulpizio and the Marchio- 
 ness appear. She is reading the letter 
 found with Maria many years before. 
 It is addressed to her 'by the child's 
 father, and she recognises Maria as her 
 daughter by an early secret marriage 
 with Captain Roberto. But she tells 
 Sulpizio that Maria is her niece. The 
 soldiers return and Tonio enters, having 
 
 decided to enlist with the French for 
 Maria's sake. He asks the Regimental 
 fathers for her hand, and they grant it. 
 But Sulpizio tells them that her aunt 
 has appeared to claim her. Maria bids 
 her friends a fond farewell (" Convien 
 partir "), to the disgust of the Mar- 
 chioness. 
 
 Act II. — Scene. A salon. Sulpizio 
 wounded. Maria dressed as becomes 
 her new station, is mutinous against her 
 training. The Marchioness makes her 
 sing a romance by Caffariello(" Sorgeva 
 il di ") but Sulpizio prefers the regimen- 
 tal rataplan, in which Maria joins ; 
 the Marchioness leaves angrily. Or- 
 tensio calls Sulpizio away to see a sol- 
 dier who has come. Maria hears the 
 familiar music and the Regiment reap- 
 pears, Maria welcoming all, particularly 
 Tonio, now an officer. The soldiers 
 are sent to broach a cask of wine, and 
 the Marchioness finds Maria with Tonio 
 and says the girl is engaged to the Duke 
 of Krakenthorp. Tonio goes, vowing 
 he will have Maria, who withdraws 
 weeping. The Marchioness reads to 
 Sulpizio a confession of her own secret 
 marriage and begs him to aid her in 
 marrying Maria to the Duke without 
 telling the truth to the world. The 
 mother of the Duke appears, he being 
 unable to appear, and the contract is 
 about to be signed when Tonio leads the' 
 Regiment in to protest against the bar^ 
 tering of its daughter (" Ti rincorr 
 amata figlia "). Maria avows her grati- 
 tude to the soldier who saved her fron 
 death (" Quando il destino "). Th| 
 Marchioness relents and gives Maria ' 
 Tonio, to the joy of the Regiment. 
 
 Lucia di Lam'mermoor (loo-che' 
 
 de). Lucy, The Bride of Lammer^ 
 
 moor. 
 
 Three-act opera. Book, from Sirj| 
 Walter Scott's novel, by Cammara- 
 no. 
 
 Produced, Naples, 1835, with Persi-^| 
 ani as " Lucia " and Duprez as " Ed'j 
 gardo." 
 
STORIES OF THE OPERAS 321 
 
 CHARACTERS. 
 
 Enrico (en-re'-ko) bar. 
 
 Lord He7iry Ashlon of Lammer»iooy. 
 Edgard'o tenor. 
 
 Sir Edgar Ravenswood. 
 Raimondo (ra-e-m6n'-d5) bass. 
 
 Raymond Bide-the-Bcnt, Tutor. 
 Arturo (iir-too'-ro) tenor. 
 
 Lord Arthur Bucklaw. 
 Norman'no tenor. 
 
 Warrior-chief of Ravenszaood. 
 Lucia sopr. 
 
 Lucy, Ashton's sister. 
 Alisa (a-le'-sa) sopr. 
 
 Alice, her maid. 
 
 Time, Scotland, about 1670. 
 
 Act I. — Scene I. Avestibule. Norman 
 and others are searching the tower. 
 Henry enters brooding and tells Norman 
 that he has lost his fortune and that his 
 sister Lucy who can by marrying Arthur 
 restore the Lammermoor prestige, re- 
 fuses and spends her time mourning 
 her dead mother. Meanwhile his enemy 
 Edgar triumphs. Norman tells Henry 
 that Lucy is in love ; he tells how she 
 was saved from a furious bull by a shot 
 fired by Edgar, whom she now loves. 
 At this Henry is insane with rage 
 (" Cruda funesta smania "). A chorus 
 of hunters enter and tell (" Come vinti 
 da stanchezza ") how they had seen a 
 mysterious horseman stealing from the 
 tower. It was Edgar. Henry threat- 
 ens revenge (" La pietade in suo fa- 
 vore"). Scene 2. A Park. Lucy and 
 Alice. Lucy is longingly awaiting Edgar 
 (" Regnava nel silenzio"). Edgar en- 
 ters to say he is ordered to France as 
 an ambassador. He tells how Henry has 
 killed his father and robbed him of his 
 heritage ; he had sworn revenge on his 
 father's tomb ("Sulla tomba che rin- 
 serra " ), but Lucy's love has changed 
 his ideal. The act ends in a love- 
 duet. 
 
 Act II. — Scene. A room in the castle. 
 Henry and Norman are waiting for 
 
 Lucy. They speak of intercepting Ed- 
 gar's letters and poisoning Lucy's mind 
 against him. Henry asks Norman for 
 the forged letter and bids him sum- 
 mon Arthur. As Norman goes, Lucy 
 enters. Reproached for her gloom, she 
 accuses him of cruelty ; he shows her 
 the letter and she believes Edgar false ; 
 he begs her to marry Arthur, who is even 
 now coming with nuptial splendour. 
 They quarrel in a duet (" vSe tradirmi 
 tu portrai ") and he threatens to kill 
 Edgar if she persists. She prays for 
 death. She leaves as Arthur enters 
 with a great crowd, but is led back by 
 Henry ; intimidated by threats he utters 
 under his breath, she signs the marriage 
 contract. Suddenly Edgar appears and 
 there are mutual reproaches in a power- 
 ful sextet (" Chi mi frena"). Raymond 
 pleads that there be no bloodshed. 
 Edgar, seizing the marriage contract, 
 furiously upbraids Lucy for her faith- 
 lessness and will not listen to her ex- 
 planation. 
 
 Act III. — Scene i. A room in the 
 Castle on Wolf's Crag. Edgar alone 
 rejoices in the storm. Henry enters 
 and the men confront each other ; they 
 agree to fight at dawn, and pray for the 
 sun to rise (in a duet " O sole, piu ra- 
 pido "). Scene 2. The chorus sings a 
 song of jubilant victory (" D'immenso 
 giubilo"). Raymond bids them cease 
 their mirth, he tells how he had heard a 
 groan from the bridal-chamber (" Dalle 
 stanze ove Lucia ") and entering had 
 found Arthur dead and Lucy with 
 his bloody sword in her hand ; she 
 had gone insane. The mad girl now 
 appears, thinking she is about to wed 
 Edgar. She sings the famous mad-song 
 (" O gioja^ che si senti "). Henry enters 
 and sees her frenzy with bitter remorse. 
 Scene 3. Outside the castle at night. 
 Edgar alone before the tomb of his an- 
 cestors begs for speedy death from his 
 sorrows (" Tombe degli avi miei"). 
 People enter to say that Lucy has gone 
 mad : he determines to see her ; Ray- 
 mond enters with the news that she is 
 dead, and Edgar stabs himself. 
 
322 
 
 THE MUSICAL GUIDE 
 
 GLUCK, CHRISTOPH VON. 
 
 Orfeo e Euridice (or -fa-5 a a'-oo-re- 
 
 de -che), /., Orpheus et Eurydice, F. 
 
 Orph'eus and Eur>'d'ice. 
 
 Three-act opera. Book by Calzabigi. 
 
 Produced, Vienna, October 5, 1762, in 
 two acts. Revised and extended. Paris 
 Academie, August 2, 1774 (with the role 
 of Orfeo transposed for the tenor Le- 
 gros. In 1859 restored by Berlioz for 
 the alto Viardot-Garcia). 
 
 CHAR.^CTERS. 
 
 Orfeo (Orpheus) alto. 
 
 L'Ombra Felice ( The Happy Shade) 
 
 (lom'bra fa-le'che) sopr. 
 
 L'Amore (la-mo'-rg). The God of 
 
 Love sopr. 
 
 Euridice sopr. 
 
 Act I. — Scene i. A lonely wood with 
 the tomb of Eur}'dice and a statue of 
 Hymen. Rustics and nymphs dance 
 about, calling on Eurj-dice to come 
 back to life and her inconsolable hus- 
 band, Orpheus. Orpheus, lost in sor- 
 row, bids them leave him to his grief 
 (" Chiamo il mio ben cosi "). He muses 
 on his great loss ("Euridice! ombra 
 cara "). At length the God of Love enters 
 and offers his aid. Even Jupiter has been 
 moved to grant Orpheus the privilege 
 of descending into the abode of the 
 dead to bring back his wife, provided 
 he promises not to look back at her till he 
 has safely led her to the upper world. 
 The god bids Orpheus restrain his ar- 
 dour (" Gli sguardi trattieni ") and all 
 will be well. The god vanishes and 
 Orpheus sets forth boldly on his quest. 
 
 Act II. — Scene i. The gfetes of In- 
 ferno. Demons and furies gather and 
 the sound of Orpheus' lyre sets them to 
 dancing and crying out with wrathful 
 amazement at the hardy wanderer in 
 Erebus ("Chi mai dell' Erebo "). The 
 barking of the three - headed hound 
 Cerberus is hinted in the orchestra. 
 Orpheus begs them to be calm ; he tells 
 them of the thousand pangs that rend 
 
 his heart (" Mille pene ") ; and the 
 furies melt before him. They order the 
 gates to open and the minstrel enters. 
 Scene 2. Elysium and the blessed shades, 
 who wreathe a blissful dance under the 
 leadership of one of them. As they 
 withdraw Orpheus enters rejoicing in 
 the pure sky and peace of the region 
 ("Che puro ciel I "). When he cries 
 out for Eurydice, the happy shades tell 
 him she is there, and bid him come to 
 the realm of repose (" Vieni ai regni del 
 reposo "). They lead in Eurydice, veiled. 
 Act III. — Scene. A cavernous egress 
 from Inferno. Orpheus enters leading 
 Eurydice. She rejoices at the reunion, 
 but is distressed at his an.xiety and his 
 refusal to look at her. She is angered 
 at his mysteriousness, and deeply grieves 
 ("Che fiero momento"). At length he 
 turns and looks at her. She falls down 
 lifeless, and Orpheus in despair at the 
 thought of losing her, cries " What can 
 I do without Eurydice ! " (" Che faro 
 senza Euridice"). He determines to 
 kill himself that he may join her eter- 
 nally. The God of Love entering stay? 
 his hand and restores Eurydice to Ufe. 
 The two embrace amidst a chorus oi 
 rejoicing at Love's triumph (" Trionfi 
 amore "). 
 
 GOUNOD, CHAS. FRANCOIS. 
 
 Faust (fowst ; in F. fost), in German; 
 
 this opera is called Margarete (mar 
 
 ga-ra-te), in Italy, Faust e Mar 
 
 gherita (a mar-ga-re'-ta). 
 
 Five-act opera. Book from Goethe' 
 poem. Part 1, by Jules Barbier an^ 
 Michel Carre. 
 
 Produced, Theatre Lyrique, Paris; 
 March 19, 1859. 
 
 CH.\RACTERS AND THEIR CREATORS. 
 
 Faust, An old scholar. . . . Barbot, teno 
 Mefistofele (ma-fe-sto-fSl), Mephi 
 
 TOPHELES, 
 
 T/u- Evil Spirit Balanque, bas. 
 
 V.\LENTiN (vai-an-tan), Valentine, 
 Brother of Marguerite . .Regnal, ba' 
 
 J 
 
STORIES OF THE OPERAS 323 
 
 Wagner (vag-nSr), 
 
 [in the German version, 
 
 Brander] tenor. 
 
 SiEBEL (sT-eb-el), 
 
 A youth in love with Marguerite, 
 
 Mile. Faivre, m. sopr. 
 Marguerite (mar-gu-ret), 
 
 A village beauty, 
 
 Mme. Miolan-Carvalho, sopr. 
 Martha (mar-ta). . . Mme. Duclos, alto. 
 
 Act I. — Scene i. The study of the de- 
 crepit scholar Faust, who soliloquises 
 on the vanity of research (" Interrogo 
 invano ") ; he decides to kill himself 
 and pours out poison. Bursts of song 
 heard from peasant girls and men pass- 
 ing by, embitter his reflections on old 
 ; age, and in his rage he calls on Satan, 
 I who to his amazement, appears and 
 bargains for his soul, Faust asking for 
 youth and pleasure (" lo voglio il pia- 
 cer"). When Faust has signed, Meph- 
 : istopheles shows him in a vision Mar- 
 guerite at her spinning-wheel. Faust 
 drinks to her, and is transformed to a 
 richly dressed youth, who hurries away 
 with the Evil One. 
 
 Act II. — Scene. A Fair, or Ker- 
 messe. Students, soldiers, etc., sing of 
 wine, old men sing of peace, and young 
 girls of love. Valentine enters wearing 
 a medallion ("O santa medaglia ") given 
 by his sister ; he is about to go to the 
 wars and commends Marguerite to the 
 charge of Siebel. As Wagner is singing 
 a ballad of an old rat, Mephistopheles 
 appears and joins the fun with a song of 
 the calf of gold (" Dio del' or"). He 
 tells fortunes, saying that Wagner will 
 ,fall in battle, and that every flower Siebel 
 touches will wither ; he draws wine from 
 the sign of the inn and as the goblet flares 
 up, he drinks to Marguerite. Valentine 
 indignantly knocks down the glass, and 
 they draw swords. Mephisto draws a 
 circle about him and Valentine's blade is 
 shattered. When, however, the soldiers 
 hold up their sword-hilts as crosses (" Tu 
 .puoi la spada frangere ") the Evil One 
 icowers while they pass. Faust arrives 
 
 and asks to see Marguerite ; a bevy of 
 students and girls waltz in (" Come la 
 brezza")and Marguerite appears. Sie- 
 bel moves toward her but is kept away 
 by Mephisto, while P'aust offers her 
 his arm ; she declines it with meek- 
 ness and passes on. Faust and Mephis- 
 to follow her. 
 
 Act III. — Scene. The garden of Mar- 
 guerite. Siebel is plucking a bouquet for 
 his beloved Marguerite ("La parlate 
 d'amor ") ; each flower withers at his 
 touch till he dips his fingers in holy wa- 
 ter ; as he passes on in his search, Faust 
 and Mephisto look in and see him place 
 the flowers at Marguerite's window. 
 When he has gone, Faust apostrophises 
 the pure and lowly dwelling of his love 
 (" Salve ! dimora casta e pura," or 
 " Salut, demeure ! "). Mephisto reap- 
 pears with a casket of jewels which he 
 places on the steps, then draws Faust 
 back into the shrubbery. Marguerite 
 enters alone; she is humming a folk-song 
 (" Cera un re di Thule " — " Es war ein 
 Konig im Thule " in Goethe's Faust) 
 which she intermits with memories of 
 Faust. She spins awhile, then rises 
 wearily and sees Siebel's nosegay, but 
 drops it in ecstasy over the jewels, in 
 which she decks herself (" Ah, e strano 
 poter"). Martha, an old neighbour, 
 enters and tells her they were doubtless 
 left by a suitor. Mephisto and Faust ap- 
 pear and Mephisto by flirting desperate- 
 ly with the giddy crone leaves Faust a 
 chance to woo Marguerite, who tells 
 of her loneliness, the absence of her 
 brother (" Al campo e il fratel"), and 
 the death of her little sister. Siebel ap- 
 pears and Martha drives him away and 
 goes home. Mephisto watches the 
 crescent passion of the lovers (" Sem- 
 pre amar "). As night falls Marguerite 
 begs Faust to be gone, and enters her 
 home. Mephisto drives Faust back, and 
 when she opens her window to tell her 
 love to the night-wind (" Ei m'ama "), 
 Faust takes her in his arms, while 
 Mephisto chuckles in the shadow. 
 
 Act IV. — Scene i (often omitted). A 
 room in Marguerite's house. The be- 
 
324 
 
 THE MUSICAL GUIDE 
 
 trayed and deserted girl, taunted by 
 passers-by, reflects that her shame is due 
 to love alone (" Nascose eran "), but 
 when Siebel tries to console her with 
 promise of revenge (" Quando a te 
 lieta ") she determines to go to the church 
 and pray for her false lover and for her 
 unborn child. Scene 2. The square 
 before the cathedral. The soldiers re- 
 turned from war chant of victory and 
 peace (" Deponiam il brando "). Valen- 
 tine greets Siebel cordially, but is met 
 only with embarrassment and evasion, 
 and at last a plea that he forgive Margue- 
 rite. The soldiers pass on and Valen- 
 tine gloomily enters his house. Faust 
 appears full of remorse ; Mephisto tries 
 sardonically to win her forth with a bur- 
 lesque serenade to " Catterina " (" Tu 
 che fai I'addormentata "). Valentine 
 comes out and demands the cause of the 
 serenade, sends Mephisto's mandolin 
 flying with his sword, and falls to fight- 
 ing with the reluctant Faust. Valen- 
 tine throws away disdainfully his sister's 
 medallion and Faust with Mephisto's 
 aid wounds him mortally and flies. The 
 citizens gather excitedly and finally Mar- 
 guerite, on whom the dying Valentine 
 invokes maledictions (" Stammi adas- 
 coltar"). When his body is borne away 
 she prays for heavenly mercy, but Meph- 
 isto taunts her with despair and claims 
 her while a chorus of monks combat 
 with a chorus of demons. 
 
 Act V. — Scene i (often omitted). The 
 Walpurgis revel in the Brocken, with a 
 vision of Marguerite shown. Scene 2. 
 A prison. Marguerite lying asleep in a 
 heap of straw. Faust and Mephisto 
 enter and Mephisto, who has procured 
 the keys, urges Faust to waken, the girl 
 and make her fly with him. Faust is 
 torn with repentance and blames him- 
 self for Marguerite's fall and for the 
 madness in which she killed her new- 
 born child (" Penetrato e il mio cor "). 
 She wakes and greets him as her res- 
 cuer (" Pur fra il riso beffardo"). 
 Her mind wanders and she lives over 
 their first meetings. Mephisto tries to 
 drag Faust away before the dawn be- 
 
 trays his presence, and Faust tries to 
 lead Marguerite with him, but seeing 
 the Evil One, she falls on her knees 
 and prays (' ' O del ciel angeli "). She re- 
 pulses Faust with her dying breath and 
 a chorus of angels welcomes her re- 
 deemed soul to heaven. A tableau 
 (often omitted) shows her in Paradise ; 
 Faust, seeing her, prays and Mephisto 
 falls beneath an Archangelic sword. 
 
 Rom6o et Juliette (r6m-a-6 a zhiil- 
 yet), F., Romeo e Giulietta (ro'-ma-o 
 a jool-yet'-ta), /. Romeo and Juliet. 
 Five-act grand opera. Book by Bar- 
 bier and Carre, after Shakespeare. 
 
 Produced, Theatre Lyrique, Paris, 
 April 27, 1867. 
 
 Characters as in Shakespeare with the 
 addition of Stephano, Romeo's page 
 (played by a mezzo-soprano), and Gre- 
 gorio, a watchman. 
 
 Act I. — Scene. The masked ball at 
 Capulet's palace. Romeo disguised 
 a pilgrim meets and makes love to thef 
 young Juliet, who later confides heri 
 ecstasy in a famous waltz-song to h« 
 nurse. Her cousin Tybalt recognii 
 ing the presence of his family eneni 
 Romeo, is only restrained from intei 
 rupting the festivity by Capulet himseli 
 
 Act II. — Scene. Juliet's balcon] 
 where Romeo finds her, and though 
 terrupted by the impatience of the nurse 
 and the tour of Gregorio and his watch^ 
 men, plights his troth. 
 
 Act III. — Scene i. The cell of Fria 
 Laurence (or Lorenzo) who marries tb 
 young runaways. Scene 2. Street 
 fore Capulet's palace. Stephano in i 
 flippant serenade, provokes a str 
 brawl between the retainers of the 
 families, in which Tybalt kills Romeo'i 
 cousin Mercutio. Romeo coming fro 
 the church wishes to avoid a duel wit' 
 Tybalt, now his kinsman, but taunt 
 into a fight, kills him. Capulet appeal 
 ing cries for "justice" from the Duk< 
 who enters. Romeo, to his wild grief, ~ 
 banished, but determines to see Juliet.; 
 
STORIES OF THE OPERAS 325 
 
 Act IV. — Scene i. Juliet's chamber at 
 daybreak. Her husband Romeo is 
 bidding her farewell. When he has 
 stolen away, her father Capulet enters 
 with Friar Laurence and declares that 
 Juliet must marry Paris at once. The 
 Friar secretly gives her a potion to keep 
 her as one dead till Romeo can be sum- 
 moned to spirit her away. Scene 2 
 (usually omitted). The wedding cele- 
 bration, in the midst of which Juliet 
 swoons and is thought to have died. 
 
 Act V. — Scene. The tomb of the Cap- 
 ulets, where Juliet lies in state. Romeo, 
 ignorant of the plot, has come to die at 
 her side and takes poison. She wakens 
 to see him perish in helpless regret and 
 kills herself with his dagger. 
 
 HUMPERDINCK, ENGELBERT. 
 
 Hansel und Gretel (hen'-zel oont gra- 
 
 tel). 
 
 Fairy opera in Three " Pictures." 
 Book by the composer's sister, Frau 
 Adelheid Wette. 
 
 Produced, Weimar, 1893. 
 
 CHARACTERS. 
 
 Peter (pa'-ter), 
 A brootn-maker bar. 
 
 Gertrud (ger-troot), 
 
 His -wife m.-sopr. 
 
 Hansel, 
 
 Their son (played by a girl), .m.-sopr. 
 
 Gretel, Their daughter sopr. 
 
 Die Knusperhexe (knoos'-per-hex-e), 
 A witch m.-sopr. 
 
 Sandm^nnchen (zant'-men-khen). 
 
 The sandman, or sleep-fairy .. .so'pr. 
 
 Tausendm-innchen (tow'-z5nt-men- 
 khen), The dew man, or dawn- 
 fairy sopr. 
 
 Based on one of Grimm's stories, 
 
 this graceful opera imports Wagnerian 
 
 ideas into the nursery. 
 
 Act 1. — Scene. The home of Peter. 
 
 '; I His hungry children left alone bewail 
 
 'i^ ■ their'poverty, then fall to frolic. Their 
 
 mother finding them idle, in her eagerness 
 to punish them knocks over the only jug 
 of milk in the house. She sends them to 
 the woods to pick berries for supper and 
 falls asleep. Her husband returns slight- 
 ly tipsy but burdened with provisions. 
 On learning of the errand of the children 
 he is terrified lest they fall into the 
 clutches of the Witch who lives on the 
 Ilsenstein in a honey-cake house and 
 bakes into gingerbread all the children 
 she can capture. Peter and Gertrud 
 rush out to rescue their children. 
 
 Act II. — Scene i. The depths of a fir- 
 forest near the Ilsenstem. The chil- 
 dren, at first delighting in the woods 
 and their liberty, suddenly realise as it 
 grows dark that they are lost. At length 
 they fall asleep under the spell of the 
 Sandman after they have said their 
 prayers invoking the fourteen angels, 
 who appear coming down a Jacob's lad- 
 der to guard the children. 
 
 Act III. — Scene. The Witch's House. 
 The angels and the forest have van- 
 ished, and the Dew-fairy appearing 
 wakens Gretel by sprinkling her with 
 dew from a bluebell. She wakens Han- 
 sel by tickling him. They discover the 
 Witch's House with its oven and cage, 
 and a fence of gingerbread. They are 
 nibbling bits of this when the Witch 
 appears, takes the children captive and 
 gallops about on her broomstick weav- 
 ing incantations. She prepares the 
 oven and tells Gretel to crawl in and 
 see if the cakes are ready. The shrewd 
 Grete', however, has already used the 
 Witch's wand to release Hansel from 
 the spell, and now pretending stupidity, 
 begs the Witch to show her the way. 
 The Witch bends over the oven and 
 the children pop her into it and close 
 the door on her. The fire roars within 
 at such a rate as the children dance with 
 glee, that finally the oven falls to pieces. 
 The gingerbread figures now lose their 
 honey-crust and prove to be children 
 whom Hansel restores to life with the 
 wand. The jubilation is increased by the 
 entrance of Peter and Gertrud, and finds 
 its climax in the discovery that the 
 
326 
 
 THE MUSICAL GUIDE 
 
 Witch has been turned into a huge 
 gingerbread-cake. A hymn of gratitude 
 ends the quaint masterpiece. 
 
 LEONCAVALLO, RUGGIERO. 
 
 I Pagliacci (e pal-yat'-che), /. The 
 
 Strolling Players. Der Bajazzo (der 
 
 ba-yat'-s6), G. 
 
 Two-act drama ; text and music by 
 Leoncavallo. 
 
 Produced, Milan, May 21, 1892. 
 
 CHARACTERS. 
 
 Strolling Players : 
 
 Canio (ka'-nI-6) tenor. 
 
 To'nio bar, 
 
 Bep PE tenor. 
 
 Ned'da, Canto's wife sopr, 
 
 Silvio, A villager bar. 
 
 The scene is in Calabria on the Feast 
 of the Assumption, about 1865. It de- 
 velops a play within a play, a tragedy 
 within a farce, and concerns the domes- 
 tic crisis of a group of strolling players, 
 presenting the venerable story of Harle- 
 quin, Columbine & Co., to the peasants 
 of Italy. 
 
 After a brief orchestral flourish, To- 
 nio, a hunchback, the clown of the 
 troupe, sticks his head through the cur- 
 tain and begs permission to revive the 
 old Greek prologue. He steps forward 
 as Prologue and explains that the play 
 is a draught from real life, and shows 
 that actors have their genuine, as well 
 as their mimic tragedies. The pur- 
 port of this famous number may be ex- 
 pressed in an inversion of Shakespeare's 
 lines: "All the stage is a world, and 
 all the players merely men and women." 
 
 Act I. — At Tonio's signal the curtain 
 opens disclosing a cross-roads with a 
 rude portable theatre. The distant 
 sounds of a cracked trumpet and a be- 
 laboured drum call the peasants together 
 and they greet with joy the familiar 
 characters in whose costumes Canio, 
 Nedda and Beppe enter in a donkey- 
 cart. Silencing the crowd with his drum, 
 
 Canio announces the play for the even- 
 ing. Canio descends and boxes the 
 ears of Tonio who loves Nedda and 
 has hastened to assist her. The crowd 
 laugh at Tonio who wanders off angrily. 
 Beppe leads the donkey out and a villa- 
 ger invites the players to drink. Beppe 
 throws down his whip and goes to 
 change his clothes. Tonio says he must 
 stay to clean the donkey. The villager 
 hints that Tonio lingers to flirt with 
 Nedda. Canio takes it as a joke. He 
 says it is his place to play the hood- 
 winked husband on the stage, but off 
 the stage — the end of the joke would be 
 different (" Un tal gioca "). He loves 
 his wife. After kissingNedda, he goes 
 with the men. The other peasants stroll 
 away to Mass on hearing the church-bell. 
 Nedda left alone broods over the 
 fierce look Canio gave her. She won- 
 ders if he suspects her. The sunlight 
 thrills her with a vague ecstasy, and she 
 revels in the song and sport of the 
 birds (" Ballatella "). At the end of. 
 her rhapsody she finds that the hideou^ 
 Tonio is listening. He makes ardent 
 love (" So ben che difforme " — " I knov 
 I'm deformed "). She laughs him tol 
 scorn and advises him to save his love-j 
 making for the stage. He pursues her,* 
 however, and she, picking up Beppe'sl 
 whip, slashes him across the face with it. 
 He curses her, swears revenge, andj 
 stumbles away. Now her secret lover,' 
 Silvio, a villager, steals in over the wall. 
 In an ardent love-scene he pleads with| 
 her to leave her hateful life, and join! 
 him. She begs him not to tempt herj 
 (" Non mi tentar "), but promises toj 
 meet him that night after the play 
 over. Tonio, having seen them, hurriesi 
 away and returns with Canio. Silvio, 
 escapes, however, unrecognised in the 
 thicket, while Tonio taunts Nedda. 
 Canio returns and demands the lover'si 
 name. He threatens to kill Nedda, but 
 she will not speak. Beppe rushes in 
 and disarming Canio implores him tc 
 dress for the play as the people are ever 
 now approaching. Tonio hints that tht. 
 lover may appear at the play. Lefi 
 
STORIES OF THE OPERAS 327 
 
 alone, Canio bewaus his bitter fate 
 sardonically, "On with the motley! 
 ("Vesti la giubba ") the people pay 
 and want to laugh. If Harlequin steal 
 your Columbine — laugh, Punchinello, 
 and everyone will applaud. Laugh at 
 your own frenzied love ! laugh at the 
 Woe that is rending your heart." In 
 wild grief Canio gropes his way into the 
 theatre. 
 
 Act II. — Same scene in the evening, 
 Beppe and Tonio beat the drum and 
 blow the horn, and the people crowd 
 into their places. Nedda collects the 
 money and whispers a word of warning 
 and promise to Silvio. The crowd 
 grows impatient and at length the cur- 
 tain of the theatre opens showing a crude 
 little room. Nedda (as Columbine) is 
 restlessly waiting. The servant Taddeo 
 is away at market. She hears someone 
 tuning a guitar outside and the voice of 
 Beppe (as Harlequin) is heard outside 
 in a serenade (" O Columbina, il tenero 
 fido arlecchin "). As Columbine flut- 
 ters with delight, the loutish Taddeo 
 (played by Tonio) enters with a market- 
 basket and makes ludicrous love. Har- 
 lequin entering the window kicks him. 
 Taddeo finding a rival generously sur- 
 renders Columbine and promises to act 
 as sentinel. Columbine and Harlequin 
 feast gaily on the bird and wine fetched 
 by Taddeo. He gives her a sleeping 
 potion to mix with her husband's (Pun- 
 chinello's) drink. Taddeo enters to 
 warn the lovers, and Harlequin steals 
 out of the window. Punchinello (played 
 by Canio) enters the door just in time 
 to hear Columbine promise to meet Har- 
 lequin at midnight. Canio's self-pos- 
 session is shattered by the similarity of 
 these words with those he had heard in 
 real life a few hours before. He goes 
 on with increasing difficulty. Columbine 
 vows that no one has been with her, 
 and Taddeo substantiates her story. 
 : Tonio lays such an ironic stress on the 
 ", ; praise of Nedda's virtue that Canio 
 ■' , again forgets himself and frantic with 
 [t j jealous rage demands the name of her 
 '■.»j lover, Nedda tauntingly calls him 
 
 Punchinello, but he declares that he is 
 a man again, not a puppet ; and tells 
 how he had taken her up as a starving 
 orphan and loved her. He breaks down 
 and the audience is much affected by 
 the realism of the acting. Canio bursts 
 out again in furious denunciation of 
 Nedda's infidelity. The crowd ap- 
 plauds. Nedda volunteers to leave, but 
 Canio says she shall not get to her lover 
 so easily, and again demands the man's 
 name. Nedda tries to resume the play 
 with a flippant air (" Suvvia, cos'i terri- 
 bile "). Canio shrieks with rage at her 
 manner and once more demands her 
 lover's name, which she solemnly swears 
 on her mother's soul that she will not 
 tell. Tonio appears at the back of the 
 stage restraining Beppe. Nedda, de- 
 termined to escape, dashes toward the 
 audience, but Canio seizing her stabs 
 her. As she dies, she cries Silvio's 
 name, and he rushing forward is also 
 stabbed to death. Canio gasps to the 
 horrified crowd, "The comedy is fin- 
 ished." 
 
 MASCAGNI, PIETRO. 
 
 Cavalleria Rusticana (ka-val-le-re'-a 
 roos-tl-ka-na). Rural Chivalry. 
 One-act melodrama. Book by Tar- 
 gioni-Fozzetti and G. Menasci (based 
 on a story by Giovanni Verga). 
 Produced, Rome, May 20, 1890. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 TuRiDDu (too-rld'-doo), 
 
 A peasant Roberto Stagno, tenor. 
 
 Al'fio, a carrier bar. 
 
 Santuzza (san-tood'-za), 
 
 A peasant girl. 
 
 Gemma Bellinconi, sopr. 
 Lucia (loo-che'-a), 
 
 Turiddiis mother contr. 
 
 Lola, Alfios wife m.-sopr. 
 
 Scene. — A village-square in Sicily on 
 Easter Day. Before the curtain rises, 
 Turiddu is heard carolling a Siciliana 
 to Lola whom he loves, At rise of th^ 
 
328 
 
 THE MUSICAL GUIDE 
 
 curtain peasant men, women, and chil- 
 dren enter the church. There is a 
 chorus of May and love. The deserted 
 Santuzza enters and going to Lucia's 
 cottage asks where Turiddu is. Lucia 
 says he has gone to Francofonte, but 
 Santuzza says he was seen in the village. 
 She cannot enter Lucia's house, being 
 excommunicated. The'whip and bells 
 of the carrier are heard and Alfio ap- 
 pears singing of the joys of the road 
 (" II cavallo scalpita "), and also of the 
 fidelity of his wife. He asks Lucia for 
 wine. She says Turiddu has gone to 
 the next town to fetch it. Alfio says 
 he had seen him that very morning near 
 his own cottage. Lucia is curious but 
 Santuzza signs her to be silent. The 
 Easter h)-mn is sung and all enter the 
 church but Santuzza and Lucia. Lucia 
 asks why Santuzza warned her to keep 
 silent. Santuzza tells her, " Well, you 
 know, mother" (" Voi lo sapete, O mam- 
 ma "), how Turiddu, going to war had 
 plighted troth with Lola, returning to 
 find her wedded. He then won the 
 heart and the honour of Santuzza, only 
 to be reconciled with Lola, leaving San- 
 tuzza to despair. Lucia goes into the 
 church sadly. Turiddu comes and 
 when asked, says he has been to Fran- 
 cofonte. Santuzza gives him the lie, 
 she had seen him at dawn leaving Lola's 
 house. He denies that he loves her, 
 but scorns Santuzza. Lola is heard 
 singing a light flower-ballad (" Fior di 
 giaggolo "). Lola comes and finding the 
 two together, scornfully enters the 
 church. Turiddu reviles Santuzza for 
 awaking Lola's jealousy. She pleads 
 with him frantically but vainly (" No, 
 no, Turiddu "). He casts her off and en- 
 ters the church. In her fury she tells 
 A'.fio, who enters, that Turiddu has be- 
 trayed him. Alfio swears revenge. 
 
 After an instrumental Intermezzo, 
 the same scene. An Easter chorus of 
 people returning from church. Turiddu 
 speaks to Lola, but she is hurrying home 
 expecting her husband. Turiddu in- 
 vites all to join him in wine (" Viva il 
 vino spumeggiante "). Alfio comes. 
 
 Turiddu invites him to drink with them. 
 He says it would be poison to him. The 
 women in alarm lead Lola away. Tu- 
 riddu offers Alfio satisfaction and the 
 men embrace, Turiddu according to 
 custom biting Alfio's ear as a challenge. 
 Turiddu begs Alfio not to blame Lola 
 and thinks sadly of the lorn Santuzza, 
 Alfio moves on to await Turiddu, who 
 calls his mother and asks her blessing 
 and her care for Santuzza if he does not 
 return. He hurries away leaving her 
 mystified and anxious. Santuzza and 
 others appear. Confused voices are 
 heard, then a woman screaming, " Tu- 
 riddu is killed ! " Santuzza and Lucia 
 swoon. 
 
 MASSENET, JULES E. F. 
 
 Le Cid (lu ced). The Cid (Com- 
 mander). 
 Four-act opera. Book (after Cor- 
 
 neille) by Messrs. D'Ennery, Gallet, 
 
 and Blau. 
 
 Produced, Paris, November 30, 1885.; 
 
 CH.4RACTERS AND THEIR CREATORS. 
 
 Chimene (she-men). 
 
 Daughter of De Gormas, 
 
 Mme. Fides-Devries, sopr^ 
 
 The Infanta Mme. Bosman, sopr 
 
 RoDRiGUE (rod-reg'). Son of Don Diegue 
 
 M. Jean de Reszke, tenoi; 
 
 Don Diegue (don de-eg'), 
 
 M. Edouard de Reszke, bas 
 The King. . . Melchissedec, bar. or 1 
 The Comte de Gormas (kofit dii Gor-mas): 
 M. Plan9on, bass or baf 
 Saint James. ..M. Lambert, bass or bat 
 The Moorish Envoy, 
 
 M. Ballerory, bass or 
 Don Arias (don a-re-as), M. Girard,teno 
 Don Alonzo (don a-16n'-z6), 
 
 M. Sentein, bass 
 
 Act r. — Scene i. Hall in the Comt 
 de Gormas's palace. The Count an 
 his friends hear a trumpet fanfare sun" 
 moning them to be present at the knight' 
 
 I 
 
STORIES OF THE OPERAS 329 
 
 ing of the young Rodrigo. The friends 
 say flatteringly that while honours are 
 i| in the air, it were fitting the Count 
 were appointed tutor to the King's 
 son. The Count says how much he 
 should value the honour. Chimene 
 cannot contain her joy at the rejoic- 
 ings in honour of Rodrigo. Her father 
 smilingly accuses her of a tender in- 
 terest in the hero of the day, and ap- 
 I plauds her choice. Chimene, left alone, 
 j rejoices in being able to love openly. 
 The Infanta, coming to visit her, re- 
 veals her own love for Rodrigo ; but 
 seeing Chimene's consternation, bids 
 her love on untroubled, as a princess 
 has not the right of loving whom she 
 will. Scene 2. Gallery leading from 
 Palace to Cathedral. Priests and peo- 
 j pie intone a psalm of thanksgiving 
 for deliverance from the Moors. The 
 King announces his intention to knight 
 j Rodrigo, though his valour is yet un- 
 j proved, in compliment to Don Diegue. 
 Rodrigo enters, his noble bearing ad- 
 i mired by the assemblage. The King 
 !i ! administers the oath of knighthood and 
 I presents the sword. Rodrigo apostro- 
 j phises his sword, and invokes the aid of 
 i his patron St. James, and, gazing at Chi- 
 mene, of his guardian angel. Chimene 
 ,-: rejoices in this sign of his love for her. 
 The King dismisses Rodrigo to the ca- 
 thedral. As a further proof of his re- 
 gard for Don Diegue, appoints him tutor 
 to the Infanta. The friends of De Gor- 
 mas express dissatisfaction. The King 
 rebukes them, and goes. Diegue returns 
 to ask the hand of Chimene for his son. 
 The jealous Count repulses him, and 
 , ends by striking him. The old man, 
 drawing his sword to avenge the insult, 
 is easily disarmed by the Count, and 
 is taunted by the others. Left alone, 
 he bewails his age and dishonour. 
 Hearing the voice of Rodrigo taking 
 the oaths in the cathedral, he remembers 
 • that he has a champion in his son. 
 When Rodrigo appears, he is told of 
 -; the insult, which he angrily swears to 
 jiit at j avenge, and demands the offender's 
 ,,f *• name. He is horrified to hear the 
 
 name of Chimene's father. She ap- 
 pears from the church at that moment. 
 His struggle between love and filial 
 duty is fierce, but duty triumphs. He 
 joins with his father in swearing ven- 
 geance. 
 
 Act II. — Scene i. Moonlight street in 
 Burgos with the Count's palace. Rod- 
 rigo enters, bemoaning his cruel fate, 
 and meditating suicide ; but overcomes 
 his weakness, meets the Count, and 
 challenges him. The Count disdains so 
 untried a foe, but Rodrigo forces him 
 to fight, and kills him. Diegue enters 
 with friends and commends his son, 
 who, however, is distracted with grief. 
 Diegue sympathises with his distress. 
 Chimene enters and wildly inquires 
 her father's murderer, going from one 
 to another, till she sees by Rodrigo's face 
 that he is the guilty one. She swoons. 
 A Requiem is heard chanted within. 
 Scene" 2. Square in Burgos. Scene 
 of popular rejoicing. The Infanta goes 
 from group to group, distributing alms. 
 The King enters and is received with 
 acclamation, to his daughter's joy. Sud- 
 denly Chimene rushes in and calls ex- 
 citedly for justice ; followed by Don 
 Diegue and his friends who give their 
 explanation of the Count's death. All, 
 in chorus, express varied emotions ; in- 
 terrupted by a Moorish envoy, who 
 brings a defiant message from the 
 returning enemy. He is answered 
 proudly by the King and withdraws. 
 Then the King reproaches Rodrigo for 
 having deprived him of his best general 
 in this extremity. Diegue boldly sug- 
 gests that Rodrigo take the place of 
 leader, and is seconded by the crowd 
 and Rodrigo himself, who begs a chance 
 of proving his valour before he dies. 
 The King consents. 
 
 Act III. — Scene i. Chimene alone in 
 her chamber at night, mourning her 
 dead father and her lost lover (" Pleurez, 
 pleurez, mes yeux ! "). To her surprise, 
 Rodrigo enters. They sing sadly of the 
 bygone days of their happiness. Rod- 
 rigo, enraptured to find that Chimene 
 Still loves him, bids farewell before he 
 
330 
 
 THE MUSICAL GUIDE 
 
 goes to die. Chimene, reproaching him 
 for thinking of death, urges him to re- 
 turn victorious, so that his past may 
 be forgiven ; then shoci<ed with herself 
 at this disloyalty to her father, tries to 
 take it back, and flees, ashamed. But 
 Rodrigo, glorying in her love, feels 
 that no enemy can be too strong for 
 him. Scene 2. Rodrigo's camp. Sol- 
 diers amusing themselves. Rodrigo 
 entering reproaches them for frivolity in 
 the face of death, and announces that 
 an overwhelming army is upon them. 
 Some counsel flight; it is indignantly 
 repudiated by Rodrigo, who, however, 
 lets the cowards go. He thanks 
 the brave few who remain. Scene 3. 
 Rodrigo praying in his tent. St. 
 James appears and promises him vic- 
 tory. Scene 4. The battle-field at 
 sunrise. Rodrigo assures his soldiers of 
 victory. 
 
 Act IV.— Scene i. Hall in the pal- 
 ace at Grenada. The runaway soldiers 
 tell that Rodrigo has been overpowered 
 and slain and they alone escaped. 
 Diegue accuses them of cowardice, and 
 says he had rather see his son dead than 
 living as they. The ladies, entering, 
 hear the bad news and cry out in grief. 
 The Infanta tenderly consoles the old 
 father, Chimene mourns her twice- 
 broken heart, then publicly proclaims 
 that she still loves Rodrigo, and is glad 
 he knew it before he died. The King 
 entering inquires the meaning of their 
 distress when the town is joyful. Sounds 
 of acclamation are heard, and Chimene 
 understands at once that Rodrigo is 
 alive, and a conqueror. Scene 2. Court 
 of the palace. The King, etc., enter 
 and take their places, while the crowd 
 sings praises of the Cid. Procession of 
 soldiers, captives, etc., lastly Rodrigo 
 He proffers his sword to the King, who 
 tells him to keep it and name his re- 
 ward. Rodrigo sadly answers that the 
 only reward he craves is not in the 
 King's power to grant. The King, un- 
 derstanding, bids Chimene answer, and 
 is echoed by the people. Chimene com- 
 plains that she should be asked to reward 
 
 her father's murderer, and the people 
 fear she means to sentence him to 
 death ; but she can neither condemn nor 
 forgive. Rodrigo, to relieve her, pre- 
 pares to kill himself, but t^himene just 
 in time prevents him, and confesses her 
 love. General rejoicing. j 
 
 MEYERBEER, GIACOMO. \ 
 
 L'Africaine (laf-rl-ken), F., Die Afri- i, 
 kanerin (de af-rl-ka'-nSr-In), G. The ]. 
 African. 
 Five-act opera. Book by Scribe. The ! 
 
 Academic, Paris, April 28, 1865. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Selika (sa-le'-ka). An African 
 queen in slavery, 
 
 Mme. Marie .Sa.xe, sopr. ; 
 Inez (e-ngs). Daughter of Don I 
 
 Diego. . . .Mile. Marie Batte, sopr. 
 Anna, 
 
 Her attendant contralto. 
 
 Vasco Di Gama (ga -ma), 
 Portuguese naval officer, 
 
 Naudin, tenor. , 
 Nelusko (na-loos'-ko), { 
 
 A slave Faure, bass, j 
 
 Don Pedro (pa'-dro), President j 
 
 of the Royal Council. Bel val , bass. ; 
 
 Don Diego (de-a'-go), Member of 
 
 the Council and Admiral.. . . .bass.! 
 Don Alvar', Member of the 
 
 Council and Admiral bass.l 
 
 Gran Sacerdote di Brama (sa- 
 ch^r-do'-tg), //igh Priest of 
 
 Brama Obin, bass] 
 
 Grande Insuisitore (gran'-d^ en- 
 kwez-a-to'-re) and Inquisitors. 
 
 Begun in 1838 the opera was not finj 
 ished till 1863, nor produced till twi 
 years after Meyerbeer's death. 
 
 Act I. — Scene. Royal Council chan:! ; 
 ber. Inez and Anna appear ; Ine;i 
 who loves the absent Vasco, has bee] 
 summoned by her father, who comes 
 tell her that she is to marry Don Pedrc' 
 He tells her that Vasco is lost at se;' 
 
STORIES OF THE OPERAS 331 
 
 and she hurries away. The council as- 
 sembles to discuss further explorations. 
 Vasco appears. He has escaped alone 
 from the shipwreck at the Cape of 
 Storms, but begs a new ship to try the 
 passage again, explaining that he has 
 bought in Africa two slaves, members 
 of a race not conquered by the Span- 
 iards. Selika and Nelusko are brought 
 in. Questioned as to their country, 
 they refuse to tell. Vasco, persisting 
 in his request for a ship, is arrested, and 
 is condemned for impiety. 
 
 Act II. — Scene. The prison of the 
 Inquisition at Lisbon. Vasco asleep. 
 Selika declares her love for him, but 
 hides as Nelusko enters to kill him as a 
 .Christian and enemy. She intervenes 
 and pleads for him, but is forced to 
 wake him, whereupon Nelusko conceals 
 his dagger and leaves. Vasco studies 
 his map and she warns him against 
 dangerous capes. He expresses his 
 gratitude, just as Don Pedro and Inez 
 enter with his pardon. Inez suspects 
 that Vasco loves Selika ; to allay her 
 suspicions he presents Selika to her as a 
 slave. Don Pedro announces that he 
 has won the royal commission to make 
 the exploration Vasco planned. He 
 also announces that he is to wed Inez, 
 who has consented in order to secure 
 Vasco's freedom. The treacherous 
 Nelusko is to go as Pedro's pilot. Vasco 
 is left alone in despair. 
 
 Act III. — Scene. The "between- 
 decks"of a ship. Sailors' chorus and 
 prayer. Inez, now Pedro's wife, is with 
 him. Nelusko appears and gives com- 
 mands. Accused of treachery, he de- 
 nies it, but gleefully sings of Adamastor, 
 the god of the typhoon, whom he trusts 
 to destroy the Portuguese. A strange 
 ship is sighted and a boat puts out. 
 Vasco comes aboard and tells Pedro that 
 he is drifting into the same trap he him- 
 self fell into ; that the ship will fall prey 
 to the storm and to a horde of savages 
 from the shore. Pedro scornfully orders 
 him to be tied to a mast and shot. Se- 
 lika threatens to stab Inez if Vasco is 
 not released, She is hoodwinked, over- 
 
 powered and ordered to be scourged. 
 But now the hurricane dashes on 
 them, and in the panic, the ship is in- 
 vaded by savages who overpower the 
 crew. 
 
 Act IV. — Scene. Space between an 
 Indian temple and a palace. The cor- 
 onation ceremony of Selika. All the 
 Portuguese have been condemned to 
 death except Vasco, who had been 
 found in chains. When all have de- 
 parted, Vasco enters, guarded. He is 
 overcome with the beauty of the place, 
 an earthly Paradise. The Brahmans 
 and soldiers are about to kill him, when 
 Selika appears and rescues him, declar- 
 ing that she has been plighted to wed 
 him. Nelusko is overcome with grief 
 at losing his beloved Selika. Vasco, in 
 loving gratitude, consents gladly to the 
 marriage, and the rites begin, when the 
 mournful wails of Inez and her women 
 are heard in the distance. He attempts 
 to rush to her rescue, but the brides- 
 maids surround him and hale him to the 
 altar. 
 
 Act V. — Scene i. The queen's gar- 
 dens. Inez, under guard, is upbraided 
 by the enraged Selika, because Vasco 
 has found his way to her. Inez con- 
 fesses that she and Vasco are lovers 
 still, and begs to be killed ; but Selika's 
 anger subsides into anguish, and when 
 Nelusko enters with soldiers, she orders 
 Inez and Vasco to be put on board a 
 ship and sent home. Scene 2. A prom- 
 ontory on which is a large tree — the 
 manchineel, whose perfume produces an 
 ecstasy ending in death. The lone Se- 
 lika appears and, inhaling the odour, 
 breaks into a rapturous delirium of love 
 for Vasco, as she falls asleep. The 
 sound of a distant cannon awakens her. 
 Nelusko enters joyfully announcing that 
 Vasco has sailed. With a despairing 
 cry her soul departs, and Nelusko dies 
 of grief at her feet. 
 
 Les Huguenots (la-zUg'-no), F., Gli 
 Ugonotti (le oo-go-not'-te), /., Die 
 Hugenotten (de hookh'-e-not-ten), C, 
 The Huguenots, 
 
332 
 
 THE MUSICAL GUIDE 
 
 Four-act opera. Book by Scribe and 
 Deschamps. 
 
 Academic, Paris, February 29, 1836. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Valentine (val-an-ten), 
 Daughter of St. Bris, 
 
 Mile. Fal9on, sopr. 
 Marguerite de Valois (du val-wa), 
 Betrothed to Henry I V. , 
 
 Mme. Dorus-Gras, sopr. 
 Urbain (ur-ban). 
 
 Her page, Mile. Flecheux, sopr.; now 
 a contr. role. 
 Comte de St. Bris (san-bre), 
 
 Governor of the Louvre Leda. 
 
 Comte de Nevers (koht dii-nu- 
 
 ver) Derivis. 
 
 Raoul de Nangis (ra-ool dii nan- 
 
 zhe), A Protestant. .Nourrit, tenor. 
 Marcel (mar-sel). 
 
 His servant Levasseur, bass. 
 
 Maurevert (mo-ru-var). 
 Tavannes (ta-van). 
 De Retz. 
 Meru (mu-rii). 
 
 . Act I. — Scene i. A feast at the cas- 
 tle of De Nevers. The revellers per- 
 suade Raoul to tell of a beautiful stran- 
 ger he had once rescued from a crowd 
 of boisterous students, and had since 
 loved though he does not know her 
 name. His servant, a stern old Protes- 
 tant soldier, appears and is persuaded 
 to sing an anti-Popery song, which the 
 Catholic noblemen take good-naturedly. 
 A servant, followed by Valentine, heav- 
 ily veiled, whispers to De Nevers, who 
 leaves with the veiled woman. Raoul 
 recognises her as his mysterious love. 
 De Nevers returns. The page Urbain 
 appears and with much flourish delivers 
 to Raoul a letter, which he passes about ; 
 though not signed, it is recognised as 
 Marguerite's writing and is an invi- 
 tation to come blindfolded to Court. 
 The noblemen shower the puzzled Raoul 
 with congratulations. Scene 2. The 
 chateau and gardens of Marguerite. 
 
 Surrounded by her attendants, she is 
 rhapsodising over lo^■e, " A questa voce 
 sola." Valentine enters. She has be- 
 come a favourite of Marguerite and at 
 her request has asked De Nevers to 
 absolve her from the promise of mar- 
 riage arranged by her father. Urbain 
 laughingly announces that a cavalier 
 with eyes blindfolded is waiting. Raoul 
 is led in. Marguerite bids him remove 
 the veil, and he is overcome by her beau- 
 ty. She exacts of him a promise to do 
 as she bids. The Gentlemen of the 
 Court, including Valentine's father, St. 
 Bris and De Nevers enter. She makes 
 them all take an oath of peace and 
 friendship. Marguerite, who is eager 
 to reconcile the Catholics and Protes- 
 tants, who are already drifting toward 
 the St. Bartholomew massacre, an- 
 nounces that Raoul is to wed a lady of 
 her choice. St. Bris brings in his daugh- 
 ter, and Raoul recognising her as the 
 veiled woman who had called on De 
 Nevers, suspects her honesty, and firmly 
 declines to wed her. De Nevers and 
 St. Bris swear revenge, and Valentine is 
 overcome with humiliation. 
 
 Act II. — Scene. Two inns and a 
 chapel on the bank of the Seine. Cath- 
 olic students at one tavern and Hugue- 
 not soldiers at the other are making 
 holiday. A bridal procession appears, 
 leading De Nevers and Valentine, 
 and St. Bris and Maurevert. Valen- 
 tine remains at the chapel to pray. De 
 Nevers leaves. Marcel enters and de- 
 livers a letter to St. Bris, who finds in 
 it a challenge. He plots with Maure- 
 vert to assassinate Raoul, and is over- 
 heard by Valentine, who warns Marcel 
 and leaves. St. Bris and Raoul arrive 
 and prepare for the duel, when Marcel 
 seeing Maurevert appear with soldiers, 
 summons the Huguenot soldiers from 
 the inn. The Catholics hasten from 
 theirs and a riot is brewing. Margue- 
 rite and Urbain appear, and the com-, 
 batants begin recrimination. Valentine 
 appears and Marguerite explains to 
 Raoul the purpose of Valentine's visit 
 to De Nevers. He learns with grief 
 
STORIES OF THE OPERAS 
 
 333 
 
 that she has now become the wife of 
 De Nevers, who appears in a barge and 
 takes her away. 
 
 Act III. — Scene. The chateau of De 
 Nevers. Valentine, alone, bemoans her 
 lot ; wedded to De Nevers, loving 
 Raoul. Raoul appears. She conceals 
 him behind a curtain just before the en- 
 try of St. Bris, De Nevers and others, 
 who have met to plan the annihilation 
 of all the Huguenots. There is an im- 
 pressive scene, " The Blessing of the 
 Poignards." De Nevers refuses to stoop 
 to assassination ; he breaks his sword 
 and is led away. St. Bris bids them 
 await the signal of the bell for the gen- 
 eral massacre. Monks enter with a 
 basket of white scarves. They bless 
 the swords. When all have gone, Raoul 
 steps out, eager to warn his friends and 
 slay the conspirators. Valentine pleads 
 with him not to go lest her father and 
 her husband perish. She clings to him 
 lovingly and he echoes her passion till 
 the distant bell announces the slaugh- 
 ter ; they look out into the street and 
 see the St. Bartholomew massacre in 
 full course. She faints with terror for 
 him and he leaves by the window. [The 
 performance usually ends here.] 
 
 Act IV.— Scene. A cemetery and 
 church. Within the church are Hugue- 
 not women and children preparing to 
 die for the faith. Raoul meets Marcel, 
 who falls wounded. Little remains to 
 them but to die bravely. De Nevers 
 has been killed for interceding. Valen- 
 tine appears, dishevelled and breathless. 
 She begs Raoul not to die but to live 
 for her. Her husband is dead. Mar- 
 cel will Join them in marriage. The 
 religious hymns from the church are 
 interrupted by sounds of musketry and 
 the fury of the assassins. After a silence 
 the three begin to sing Protestant 
 hymns. The Catholics appear, St. 
 Bris leading a company of soldiers. 
 Though Valentine tries to restrain him, 
 Raoul declares that he is a Huguenot. 
 Valentine and Marcel cry, " And we 
 also." St. Bris gives the command to 
 fire, not seeing his daughter. She dies 
 
 declaring that she will intercede for her 
 father in heaven. 
 
 [In some versions there is a scene in 
 which Raoul makes wild but vain ap- 
 peals to Marguerite to put a stop to the 
 massacre.] 
 
 Le Prophete (lu.pro-fet), F., II Prof eta 
 (el pro-fa'-ta), /., Der Prophet (der 
 pro-fat), G. The Prophet. 
 Five-act opera. Book by Scribe. 
 Produced, Paris, April i6th, iS49,with 
 
 Mme. Viardot-Garcia as Fides, and 
 
 Roger as the Prophet. 
 
 CHARACTERS. 
 
 Jean de Levden (zhon dii led-an), 
 
 An innkeeper. The Prophet . . .tenor. 
 CoMTE d'Oberthal (koht d'6-ber- 
 
 tal). 
 Gio'na, Ma'thisen, Zacca'na, 
 
 Three Anabaptist Leaders of 
 the Revolt. 
 Fid\s (fe-des), 
 
 Mother of Jean alto. 
 
 Berta, 
 
 His betrothed. sopr. 
 
 Note. — The hero of the opera is John 
 of Leyden, an historical personage, who 
 led a religious revolt that succeeded for 
 a time in Holland, 1534. 
 
 Act I. — Scene. Dordrecht. Peas- 
 ants and millers are at breakfast. Berta 
 and Fides meet. Berta, a poor orphan, 
 is to be wed to Jean ; the bridegroom 
 even row waits her. Berta says she 
 cannot wed without the consent of Ober- 
 thal, the lord of the domain. They 
 start to ask this, but meet with three 
 Anabaptists, who enter, and by talk of 
 liberty arouse the peasants to attack the 
 Castle. Oberthal appears at the gates 
 and scornfully reviles Giona as his late 
 thievish cellar-keeper. This cools the 
 mob's fury. Berta and Fides interrupt 
 to ask Oberthal's consent to the girl's 
 marriage, but he, smitten with her 
 
334 
 
 THE MUSICAL GUIDE 
 
 beauty, refuses it, and has her and 
 Fides dragged into the Castle. In the 
 distance the hymn of the Anabaptists is 
 heard. 
 
 Act ll.^^Scene. Jean's inn at Ley- 
 den. A soldier and peasants drinking. 
 Jean serves them, but dreams of Berta's 
 return. The three Anabaptists enter. 
 They are struck by Jean's likeness to 
 the image of the patron saint of the city 
 of Mi'inster. They learn from a peasant 
 that he is also brave and versed in the 
 Scriptures. Left alone with Jean, they 
 question him. He tells them of dreams 
 that have disturbed him by showing 
 the people kneeling and hailing him 
 king, while he reads in blazing letters a 
 warning against drawing the sword ; 
 then a sea of blood envelops him and as 
 he tries to climb to the throne it is 
 swept away ; demon-voices roar round 
 him, but give way to a soft voice whis- 
 pering " Mercy." They hail him as 
 their leader, but he prefers Berta and 
 lowly peace, and they leave him. A 
 sound of horses is heard and Berta 
 rushes in in terror, hiding, just before 
 Oberthal and soldiers hasten after her. 
 Oberthal demands the delivery of Berta, 
 and vows otherwise to take the life of 
 Fides, who is dragged in and threatened 
 with a soldier's axe. Jean turns toward 
 Berta, who comes from concealment, 
 but cannot see his mother killed, and in 
 despair surrenders Berta to Oberthal, 
 who drags her away swooning. Fides 
 pours out her gratitude (in a famous air 
 "Ah, mon fils" or "O figlio mio ") 
 and leaves him to his misery. The Ana- 
 baptists enter and offer him the crown 
 and sword. He accepts with fire, but 
 when they tell him he must give up all 
 his family ties and depart without seeing 
 his mother again, he wavers ; at length, 
 however he follows them. 
 
 Act III. — Scene i. The Anabaptist 
 Camp, near a frozen lake in Westphalia. 
 A battle is heard in the distance, and 
 Anabaptist soldiers drag in a monk and 
 other prisoners whom they and their 
 women taunt. A band of skaters ar- 
 rive with food, for which the soldiers 
 
 barter spoils. Zaccana sends the vis- 
 itors away and sends the soldiers to 
 sleep. Scene 2. Zaccana's tent. He 
 and Mathisen meet. They decide to 
 assault Mlinster at once before Ober- 
 thal's father can bring up reinforce- 
 ments. Oberthal is brought in as a 
 prisoner. He is not recognised in the 
 dark and offers to join them, swearing 
 to help destroy the abbeys and the no- 
 bility. They declare that he must help 
 destroy his father, and he consents. 
 Giona strikes a light gaily and they all 
 recognise Oberthal. They order him at 
 once to the gallows, as Jean enters. He 
 is determined to see his mother, and 
 Zaccana says she will be killed if he at- 
 tempts it. Oberthal is led past, but 
 Jean demands his safety and, left alone 
 with him, learns that Berta had leaped 
 into the river to save her honour, and 
 had escaped to Munster. A mutiny is 
 threatened now by the soldiers chafing 
 at Jean's inaction, till he, after prayers 
 and e.xhortation and the seeing of a 
 heavenly vision, sets forth with them to 
 the assault. 
 
 Act IV. — Scene i. A square in Mlin- 
 ster. The citizens are paying tribute 
 of gold to the victorious Anabaptists 
 and secretly cursing the impostor Proph- 
 et, who is to be proclaimed Emperor of 
 Germany. Fides enters, disguised as 
 a beggar. The citizens give her alms 
 and depart ; Berta enters as a Pilgrim. 
 Recognising Fides by her voice, she 
 tells of her flight from Oberthal, her 
 rescue by a shepherd, her return to the 
 inn, where she learned Jean and Fides 
 had gone to Munster. Fides says that 
 Jean is dead ; she had found blood 
 stained clothes of his and she believed 
 the mysterious Prophet had killed him 
 Berta vows to kill the Prophet in re- 
 venge. Scene 2. Interior of the Ca- 
 thedral. The coronation procession of 
 Jean passes across. Fides kneeling, 
 has not seen him and prays for his de- 
 struction, unwitting who he is. Jean 
 re enters as all kneel, and takes the crown. 
 Fides and he recognise each other 
 Mathisen tells him that if he acknowl- 
 
SrORIES OF I HE OPERAS 335 
 
 edges her, she dies, and he disavows 
 her. When she proclaims herself his 
 mother, he says she is insane. She is 
 about to be killed, but he intervenes, 
 saying she has lost her reason. He then 
 declares that if she still calls him her 
 son, his followers must kill him. Faced 
 by this crisis, Fides denies him, and he 
 is hailed as a miracle-worker for restor- 
 ing the reason of Fides, who is made 
 prisoner. 
 
 Act V. — .Scene i. Prison in Miinster 
 Palace. The three Anabaptists meet ; and 
 learning that the true Emperor is march- 
 ing on the town to recapture it, discuss 
 a paper sent offering them clemency if 
 they surrender Jean. Soldiers lead in 
 Fides, who, left alone, broods bitterly 
 over her son's faithlessness to her. Jean 
 enters, and she makes him kneel to im- 
 plore her pardon. She demands that he 
 renounce his power and repent. He 
 consents. An offici-r enters to announce 
 that the city is betrayed to the Emperor, 
 and that a frantic woman was found 
 trying to set fire to the palace. Berta 
 is dragged in. I earning Jean's identity, 
 she is revolted by his bloody ambition, 
 and cursing him, stabs herself. Jean 
 sends his mother away to safety, and 
 determines to revenge himself on the 
 traitors. The scene changes to 2. The 
 Banquet Hall. Jean after sending two 
 officers secretly to close the gates as soon 
 as the Emperor's forces enter, joins 
 wildly in the revel. The three Ana- 
 baptists now rush in, leading the hostile 
 troops. They claim Jean as their pris- 
 oner. He cries that they are his. A 
 great explosion rends the wall and all 
 perish in the flames. Fides rushes in to 
 forgive her son, and dies with him. 
 
 Robert le Diable (ro-bar lu dl-Xbl), 
 F., Roberto il Dia'volo, /., Robert 
 der Teufel (toi-fel), C, Robert the 
 Devil. 
 
 Five-act opera. Book by Scribe and 
 Delavigne. 
 
 Produced, Paris, Academie, Novem- 
 ber 21. 1831. 
 
 CHARACTERS AND THEIR CREATORS. 
 Robert, 
 
 Duke of Normandy, Nourrit, tenor. 
 Bertram (bSr-traii), 
 
 his friend Levasseur, bass. 
 
 Raimbaut (riii-bo), 
 
 A Norman peasant. . .Lafont, tenor. 
 Albert, 
 
 A knight bar. 
 
 ISABELLE, 
 
 Princess of Sicily, 
 
 Mme. Cinti-Damoreau, sopr. 
 Alice, 
 
 A Norman peasant. Mile. Dorus, sopr. 
 The Abbess Signora Taglioni. 
 
 [Next to Die Zauberflote, probably 
 the worst libretto in existence.] 
 
 Act I. — Scene. A tented space near 
 the port of Palermo. The Sicilian 
 knights are drinking. Robert intro- 
 duces himself and joins the chorus. A 
 Norman minstrel (Raimbaut) appears 
 and being asked to sing, tells the his- 
 tory of Robert the young duke (" Reg- 
 nava un tempo "). According to this 
 the Princess Bertha was won and wed- 
 ded by a fiend in human disguise ; 
 their son was Robert called "the 
 fiend." Robert in rage, declares him- 
 self the subject of the song, and orders 
 his servants to hang the minstrel ; he 
 spares the man's life, however, when he 
 learns that Raimbaut's betrothed has a 
 message for him. Alice is shown in, 
 Robert's heart softens toward her and 
 he orders the boisterous knights away. 
 Alice, his foster-sister, tells him his 
 mother is dead, and dying had told her 
 to go to her son (" Vanne, disse, al fig- 
 lio mio ") and beg him to reform his 
 ways, and, on the day he felt worthy, to 
 read the scroll which Alice shows : 
 Robert feels unworthy to read. He 
 tells Alice he has fallen in love with the 
 Princess Isabelle, and in attempting to 
 carry her ofT, was set upon by the 
 knights of the court, and only saved by 
 Bertram. Alice advises him to write to 
 
33^ 
 
 THE MUSICAL GUIDE 
 
 the Princess, whom he has not since 
 seen. He dictates a letter and gives it 
 to Alice to deliver, promising to consent 
 to her marriage with Raimbaut. As 
 she goes, she meets Bertram, who terri- 
 fies her by his resemblance to a picture 
 of Satan she had seen. Robert con- 
 fesses to Bertram he thinks his influ- 
 ence evil, but is persuaded to join the 
 gambling knights, singing a Sicilian 
 luck -song (" Sorte arnica"). He 
 loses everything he possesses in the 
 game and receives only jeers from the 
 others. 
 
 Act II. — Scene. Alone the Princess 
 muses on her ill-fated love (" Dell' 
 umana grandezza "). Alice and others 
 enter with petitions, and Alice gives the 
 Princess Robert's letter, which she re- 
 ceives with delight ("Ah, vieni "). 
 She leaves just as Robert and Bertram 
 enter. Robert has challenged the 
 Prince to a bout at arms. A herald an- 
 nounces that the Prince desires the 
 combat to be mortal ; he leads Robert 
 away to the forest. Isabelle and the 
 King, Bertram, Alice, Raimbaut, and 
 others assemble. After dances and 
 song, the herald announces to Isabelle 
 that the Prince wishes her to arm him. 
 She gives his squires the arms, but se- 
 cretly wishes Robert success. Bertram 
 aside gloats over the fact that Robert 
 is lost in the woods and will not come. 
 The others wait anxiously for him, but 
 he does not appear, and the procession 
 moves away. 
 
 Act III. — Scene i. A gloomy place 
 with a ruined temple, a cavern and a 
 cross. Raimbaut has come to meet 
 Alice here, but Bertram appears and 
 giving him gold advises him not to be 
 hasty about marrying Alice. The min- 
 strel goes away in doubt. Bertram 
 alone gloats demon-like over the ap- 
 proaching doom of Robert, who is ac- 
 tually his son. The chorus of fiends is 
 heard (" Demoni fatali," the " Valse 
 Infernale") and Bertram enters their 
 fiery cave. Alice comes down the 
 mountain dreaming of Normandy 
 (" Nel lasciar la Normandia "). She is 
 
 terrified by the sounds from the cavern, 
 but hearing Robert's name called she 
 stops, embraces the cross and swoons. 
 Bertram enters in confusion ; the de- 
 mons have warned him that if he does 
 not win Robert's soul before midnight, 
 he loses him forever. Seeing Alice, 
 he threatens her and her betrothed and 
 all her friends with death if she dis- 
 closes what she has heard. Robert 
 comes gloomily and Bertram orders her 
 away. She goes reluctantly, and Ber- 
 tram tells Robert she is agitated with 
 jealousy of Raimbaut ; he tells Robert 
 that the Prince has used sorcery and must 
 be met with it. Scene 2. Mysterious 
 vaults. Bertram entering calls statues 
 of nuns to life and bids them entice 
 Robert when he comes, and make him 
 pluck the branch of magic power. When 
 he withdraws, the nuns dance a wild 
 Bacchanale and surround Robert, who 
 enters, but in terror seeks to fly. After 
 the ballets of "Intoxication," and 
 " Gaming," and " Love," he seizes the 
 branch. 
 
 Act IV. — Scene. Isabelle is in her 
 apartments surrounded by bridesmaids ; 
 she is to marry the Prince. As he en- 
 ters, Robert appears and with his mag- 
 ic branch puts all to sleep, then awak- 
 ens. Isabelle. She rebukes him for not 
 being present at the combat, and pleads 
 with him to throw off the infernal influ- 
 ence (" Roberto, o tu che adoro," or 
 "Robert, toi que j'aime "). He con- 
 sents, breaks the branch, and kneels at 
 her feet. The court awakens from its 
 sleep and Robert is seized and dragged 
 away. Alice prays for him and the 
 Princess swoons. 
 
 Act V. — Scene. Cloisters. A chorus 
 of monks. Robert enters, dragging 
 in the reluctant Bertram. Bertram 
 promises him success after all if he will 
 sign a scroll. As he is about to do so, 
 he hears a hymn sung in the chapel, 
 and his childhood faith wakes in him. 
 Bertram tries to win him away to de- 
 spair, and at last declares himself Rob- 
 ert's father. Alice enters and struggles 
 for Robert with the fiend-father ; as he 
 
STORIES OF THE OPERAS 337 
 
 finally produces a parchment and a sti- 
 letto, Alice presents the mother's will ; 
 in it Robert reads a warning not to trust 
 the counsels of the tiend. As he still hesi- 
 tates, the clock strikes twelve. Bertram 
 i vanishes in despair and a chorus of an- 
 gels and men sing a hymn of joy. 
 
 MOZART, WOLFGANG AMADEUS. 
 
 II Dissolu'to Puni'to ; ossia il Don 
 Giovanni (don j5-van'-ne), /., Don 
 Juan (don hwan in Sp., in F. doh- 
 zhwaii, in E. dan joo'-iin). 
 Two-act opera buffa. Book by To- 
 
 renzo da Ponte (from Tirso de Molina's 
 
 story, "El combidado de piedra "). 
 
 Composed in great haste and produced, 
 
 Prague, October 29, 1787. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 .Baghoni, tenor. 
 Luigi Bassi, bar. 
 
 Don Otta'vio. . . 
 
 Don Giovanni, . , 
 Leporel'lo, 
 
 //is servant. . .Felice Ponziani, bass. 
 Don Pedro (pa'-dro), ^ 
 
 // Commendatory {in Ger- J 
 
 man, Der Komthur), the > Loli, bass. 
 
 Commandant of Seville. 
 VIaset'to, a peasant. J 
 
 Donna Anna, 
 
 Daughter of Don Pedro, 
 
 Signora Teresa Saporitti, sopr. 
 Donna Elvira (el-ve'-ra) . , Micelli, sopr. 
 iERLiNA (tser-le'-na) Bondini, sopr. 
 
 Act I. — Scene i. Seville Square be- 
 ore the Commendatore's palace at 
 light. Leporello complains of working 
 or his master night and day (" Notto e 
 jiorno faticar"). Don Giovanni now 
 mters ; he has attempted outrage upon 
 Donna Anna, and being frustrated is 
 aking flight ; she clings to him to dis- 
 cover who he is and calls for help. Her 
 ather, the Commendatore, hurrying to 
 ler rescue, is killed by Don Giovanni, 
 vho slinks away undiscovered, followed 
 oyhis disgusted and terrified servant. 
 
 Ottavio, Anna's fiance, enters with ser- 
 vants and torches. He and Donna 
 Anna swear revenge against the murder- 
 er (" Fuggi crudele " ; Schwur-Duett). 
 Scene 2. A street. Don Giovanni en- 
 ters hastily. Leporello protests against 
 his master's mode of life, but is threat- 
 ened and cajoled, and told of a new 
 amour. Donna Elvira is seen coming 
 and the men withdraw to one side, 
 while she bewails her lost honour and 
 Don Giovanni's perfidy ("Ah chi mi 
 dice "). Not recognising her, the Don 
 comes forward flirtatiously, only to be 
 bitterly rebuked. The Don referring 
 her to Leporello, steals away. Leporello 
 tells her that she is only one of a long 
 list of victims to the Don's gallantry ; 
 he unrolls a catalogue of them (" Ma- 
 damina, il Catalogo " ; Register-Arie), 
 a thousand or more of all countries, 
 ages and conditions. When he has 
 gone, she breaks out into a prayer for 
 revenge (" Mi tradi quell' alma ingra- 
 ta"). Scene 3. The country near the 
 Don's palace. Zerlina and Masetto, 
 about to be married, make merry with 
 the other peasants (" Giovenette, che 
 fate "). The Don and his servant ap- 
 pear, and the Don questions Zerlina 
 and orders the others to his palace for 
 refreshment. Masetto, in spite of his 
 jealous dread, is dragged away by Le-: 
 porello. The Don promises the terri- 
 fied girl that he will marry her, and 
 after some fluttering she accepts the de- 
 coy (in a duet, " La ci darem "). They 
 are confronted by Donna Elvira, who 
 leads the girl away from danger. Ot- 
 tavio and Anna in deep mourning enter. 
 The Don now attempts to play the gal- 
 lant to Anna, and pretends he does not 
 know the cause of her mourning. El- 
 vira returns and denounces him (" Non 
 ti fider, O misera "), whereupon he de- 
 clares that she is insane. Ottavio and 
 Anna are deceived for the moment, but 
 when, after inviting them to his palace, 
 he follows Elvira away, Anna tells Ot- 
 tavio that she believes Don Giovanni to 
 be the mysterious man who had entered 
 her room at night, and in his flight had 
 
338 
 
 THE MUSiCAL GUIDE 
 
 killed her father. She describes the 
 scene in detail and declaring to Otta- 
 vio " Now you know the villain " (" Or 
 sai che I'indegno "), she bids him re- 
 venge her. When they have gone, 
 Leporello enters, deciding to quit his dis- 
 tasteful service, and when Don Giovan- 
 ni enters, he tells him how he has filled 
 Masetto and the others with food and 
 drink only to have Zerlina return with 
 Elvira, who had told the company of the 
 Don's misdeeds. Leporello tells how 
 he finally got her out of the house, and 
 the Don decides that a carousal with 
 the peasants will please him (" Finche 
 dalvino"). Scene 4. A garden. Zer- 
 lina is tr}'ing to console the indignant 
 Masetto, finally crying, " Beat me, 
 beat me " (" Batti, batti "). Just as he 
 is won over, the Don's voice is heard ; 
 Masetto and she hide and the Don en- 
 ters with the peasants ; they pass on 
 and the Don discovers Zerlina ; as he 
 pleads with her, he also descries Ma- 
 setto and with presence of mind invites 
 him to join them at the feast. When 
 they have gone Ottavio enters with 
 Anna and Elvira, all three in dominoes 
 and masks. In the " Mask-Trio" they 
 disclose their plan to learn the true 
 character of the Don who with Lepo- 
 rello appears and invites them in. 
 Scene 5. A great ball-room. The peas- 
 ants are revelling in the hospitality 
 of the Don, and the attentiveness of his 
 servant. Both master and man flirt 
 outrageously, and Masetto is in tor- 
 ment, as the Don drags Zerlina away. 
 Her voice is heard crying for help, and 
 the three masked people entering realise 
 the Don's blackness of heart. Zerlina 
 escapes and throws herself on their pro- 
 tection. The Don tries to throw the 
 blame on Leporello, but the three re- 
 move their masks and denounce his 
 crimes. Thunder is heard foreboding 
 his doom, but the Don laughs at 
 fate. 
 
 Act n. — Scene i. A street at even- 
 ing. Leporello is trying to get away 
 from his master, who finally bribes him 
 with money to carr)- out his plot. He 
 
 exchanges cloaks and hats with the re- 
 luctant servant, and when the love-lorn 
 Elvira appears at a window, the Don 
 from concealment implores her to for- 
 give him and come down. .She is over- 
 whelmed with joy at his return and de- 
 scends. Lepoiello imitates his master's 
 voice, and n.akes such love to her that 
 when the I on n akes a noise as if kill- 
 ing someone, she flees hastily with Le- 
 porello. 1 he coast is now clear for the 
 Don's plot against Zerlina, and he 
 sings a serenade to bring her to the 
 window (■' L'eh vieni alia finestra "). 
 But .Masetto enters with his friends 
 armed with cudgels and guns. Think- 
 ing the Don to be the servant, he tells 
 his plan to kill the libertine ; the Don 
 sends the villagers on a wild-goose 
 chase, beats the stupid Masetto and gets 
 safely away. Zerlina entering tries to 
 appease her distracted and aching lover 
 by her tenderness (" Vedrai carino"). 
 Scene 2. Portico of Donna Anna's 
 palace. Leporello and Elvira enter, he 
 wondering how to get rid of the tena- 
 cious servants and torches. Ottavio is 
 trying to comfort Anna. Leporello in 
 eluding Elvira comes upon Masetto and 
 Zerlina, but after pleading for pardon 
 escapes by running. Ottavio declares 
 himself convinced of the Don's guilt, 
 and promises to console Anna "his 
 treasure" ("II mio tesoro ") with 
 speedy revenge. Scene 3. A square 
 with a statue of the Commendatore. 
 The Don and Leporello groping along, 
 meet in the dark. The Don laughing- 
 ly tells of an amorous encounter he had 
 with some strange woman who thought 
 him to be Leporello. The statue speaks 
 warningly. Leporello is terrified, but 
 the Don only mystified ; he has Lepo- 
 rello read the inscription "On the im- 
 pious wretch who caused my death, 
 here I wait revenge." He laughs and 
 says : " Tell the old buffoon, that I ex- 
 pect him to dinner to-morrow even- 
 ing " ; he is greatly amused at Lepo- 
 rello's terror, and asks the statue itself, jj 
 "Will you come to dinner?" The jj 
 statue answers "Yes," and the Don, <J 
 
STORIES OF THE OPERAS 
 
 339 
 
 amazed, drags the trembling Leporello 
 home. Scene 4. A garden. Ottavio 
 is trying to pacify Donna Anna with 
 : hopes of speedy revenge, but when he 
 talks of love she bids him wait (" Non 
 mi dir"). Scenes. Banquet-hall in 
 Don Giovanni's palace. Musicians 
 play while the Don eats, served by Le- 
 porello, who steals many mouthfuls 
 meanwhile. (In this scene Mozart 
 alludes to and parodies an aria from his 
 ; rival Martin's opera, " La Cosa Kara," 
 and later parodies his own " Non piu 
 andrai " from " Le Nozze di Figaro.") 
 Elvira enters to plead with him to re- 
 ipent. the last proof of her love (" L'ul- 
 ;tima prova "), but he ridicules her and 
 jshe leaves him. As she goes, she gives 
 la scream of terror. The Don sends 
 JLeporello to learn the cause. He cries 
 {out and fastens the door. The musi- 
 ;cians take flight, and Leporello explains 
 as he shivers, that the statue has come. 
 Its knock is now heard, and the Don 
 ijoes to the door while Leporello crawls 
 ander the table. The Don ushers in 
 :he statue and orders Leporello to bring 
 pirn food, but the statue says he does 
 lot feed on mortal food ; he has come 
 :o invite the Don to sup with him. In 
 ipite of Leporello's pleading, the Don 
 auntily accepts. The statue takes his 
 Hand, and in this chill clutch the Don 
 jearns fear for the first time. He re- 
 luses the statue's pleading that he re- 
 j)ent, however, and is enveloped in 
 jlames and haled by demons down to 
 Iternal punishment. 
 
 -e Nozze di Figaro (la nod'-ze de 
 fe'-ga-ro), /., Die Hochzeit des Figaro 
 (de-hokh'-tsTt d^s fe'-kha-r5), C, Le 
 Mariage (or Les Noces) de Figaro 
 (lu mar-I-azh (or la nos) du F.), F. 
 The Marriage of Figaro. 
 
 Four-act opera buffa.^ Book by Lo- 
 ;nzo da Ponte (after the comedy by 
 
 ^eaumarchais). 
 
 j Composed, December, 1785 — April, 
 786. Produced, Vienna, May i, 1786. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 CoNTE Almaviva (kon'-ta al'-ma-ve-va), 
 Mandini, bar. 
 Figaro, 
 
 I/is valet Benucci, bass. 
 
 Dr. Barto lo Occheley, bass. 
 
 Basilio (ba-se'-lI-6), 
 
 A siiiging-niaster . . . .Bussani, tenor. 
 Antonio, 
 
 Gardener bar. 
 
 Don Curzio (don koor'-tst-6), 
 
 A magistrate tenor. 
 
 Cherubino (ka-roo-be'-no), 
 The Count's page, 
 
 Signora Mandini, sopr. 
 La Contes'sa, 
 
 The Countess (in German Die 
 Grafin) (de gra'-fin), 
 
 Signora Storace, sopr. 
 Susan'na, 
 
 Her fnaid Signora Laschi, sopr. 
 
 Marcellina (mar-chel-le'-na), 
 Dr. Bar told' s housekeeper, 
 
 Signora Bussani, m.-sopr. 
 Barbarina (bar-bji-re'-na), 
 Antonio's da ugh te r , 
 
 Frau Gottlieb, sopr. 
 
 [The story is really a sequel to that in 
 Rossini's " Barber of Seville."] 
 
 Act I. — Scene. A half-furnished room 
 in the Count's castle near Seville. Fi- 
 garo and Susanna talk of their coming 
 marriage. He thinks the room very 
 convenient ; " ding-ding ! " he can soon 
 answer his master's bell ; ' ' dong-dong ! " 
 she can soon answer that of her mis- 
 tress. Susanna suggests that the bell 
 may send him three miles away while 
 the Count comes in his place. She tells 
 the jealous Figaro of the Count's atten- 
 tion to herself. She is called away and 
 he fumes and threatens to lead the 
 Count a dance he will not like. When 
 he has gone, Bartolo and Marcellina 
 enter, she with a document, Figaro's 
 former agreement to marry her. She 
 is planning to break up the match be- 
 tween Susanna and Figaro, so that she 
 
340 
 
 THE MUSICAL GUIDE 
 
 can marry him herself ; Bartolo, in love 
 with Susanna, seeks revenge (" La Ven- 
 detta ") on his successful rival. He 
 goes and Susanna enters. The two 
 women cast aspersions on each other 
 ironically, and Marcellina leaves. Che- 
 rubino the page enters, and says the 
 Count has threatened to discharge him 
 for flirting with Barbarina ; he is really 
 in love with the Countess, and the Count 
 is jealous of him. He says that he is a 
 madman over love, and has written a 
 poem (he sings " Non so piu cosa 
 son "). The Count is heard coming 
 and he has just time to hide behind a 
 great chair. Basilio is next heard and 
 Susanna just manages to conceal the 
 Count behind the chair and Cherubino 
 in it. Basilio retails a deal of gossip 
 about the page and the Countess till 
 the Count rises angrily. Susanna pre- 
 tends to swoon, and the two men sup- 
 port her with great solicitude. The 
 Count tells how he discovered the page 
 hiding under the table at Barbarina's. 
 In illustration he lifts the cloth Susanna 
 had thrown over Cherubino, and again 
 discovers the page. The Count is first 
 consternated, then angry. Peasants 
 come in to deck the bridal-chamber, and 
 the Count declares that he will send 
 Cherubino to the war with a commission 
 as Captain. Figaro gloats over the ter- 
 rified boy, " No more you'll flit, amor- 
 ous butterfly," etc. (" Non piu an- 
 drai "). 
 
 Act II. — Scene. The Countess's cham- 
 ber. She is alone and sings a sad 
 love-wail (" Porgi, amor"). Susanna 
 enters, then Figaro, who tells a plan 
 to torment the Count with jealousy by 
 sending him a warning letter. He leaves 
 and Cherubino appears. He shows his 
 commission ; they make him sing his 
 poem, " Vou who know what love is" 
 ("Vol che sapete "). They then dress 
 him in women's clothes, Susanna bid- 
 ding him kneel (" Venite inginocchia- 
 tevi "). Suddenly the Count is heard 
 outside. Cherubino flies to the closet. 
 The Count is suspicious and shows his 
 letter ; he hears the page in the closet. 
 
 but his wife will not unlock the door. 
 He makes her go with him while he 
 hunts a crowbar. While they are gone 
 Cherubino steals forth and jumps out 
 of the window and Susanna takes his. 
 place in the closet. As the Count is 
 about to break the door in, the Count- 
 ess confesses that Cherubino is there and 
 is overcome with grief. Susanna walks 
 out to the astonishment of all. The 
 Countess taunts the apologetic Count, 
 and tells him Figaro wrote the letter. 
 Figaro enters and is accused of the let- 
 ter, but denies it. The gardener, half- 
 drunk, enters complaining that some 
 man had jumped out of the window and 
 ruined his flowers, then run away. 
 Figaro says it was he, in terror of the 
 Count. The gardener says that he 
 dropped some papers, among them Che- 
 rubino's commission. This is recog- 
 nised and the Count is frenzied. To 
 complete Figaro's discomfiture, MarceU 
 lina enters with his document promising 
 to marry her. Bartolo and Basilio 
 witnesses. All ends in confusion. 
 
 Act an. — Scene i. A large room 
 decorated for a wedding. The Count, 
 alone, plans to compel Figaro to marry 
 Marcellina. Susanna, overhearing, pre- 
 tends to have come for the Countess's 
 smelling-salts ; she says she has over- 
 heard the Count's scheme, but consents 
 to meet him in the garden at night. He 
 starts to go, and she tells Figaro, whc 
 enters, that he has won his cause. Thej 
 hurry out ; the Count, who has over- 
 heard her, ponders suspiciously ; ht 
 miserably asks " Shall I behold, while 
 sorrow, my servant happy?" ("Vedro: 
 mentr' io sospiro"). Don Curzio en 
 ters with Figaro, Marcellina, and Bai 
 tolo. He says that Figaro must marr 
 Marcellina or pay her a forfeit. Figar 
 proves that he is of good birth, 
 shows a mark on his arm by which Ma: ' 
 cellina recognises him as her own so 
 by Dr. Bartolo* They are all embrai 
 ing when Susanna enters with the mone ; 
 to buy Figaro's liberty. Her indign.]! 
 tion is soon assuaged and all leavi 
 Scene 2. The Countess enters alon! 
 
STORIES OF THE OPERAS 341 
 
 musing over the plan to disguise her- 
 self as Susanna and meet the Count in 
 the garden; she bewails the lost de- 
 votion of her husband who had wooed 
 her so ardently (see Rossini's opera 
 " The Barber of Seville "). She moans 
 "Where now are those blessed mo- 
 ments" (" Dove sono i bei momenti"). 
 Susanna enters and the Countess dic- 
 tates to her a letter (in a duet " The 
 Zephyr"), telling the Count to meet her 
 where the zephyr breathes in the pines. 
 Cherubino enters in girl's clothes, and a 
 chorus of country girls present the 
 Countess with flowers. Antonio and 
 ;the Count enter and recognise Cheru- 
 bino. Figaro tries to calm the Count, 
 the Wedding March is heard ; Figaro 
 ;ings (" Ecco la Marcia") and all leave 
 except the Count and Countess, who re- 
 main and wait coldly till the double 
 yedding-procession returns with Figaro 
 ind Susanna and Bartolo and Marcel- 
 ina. Susanna (observed by Figaro) 
 dips the note to the Count, who bids all 
 nake merry. 
 
 Act IV.— Scene. The garden. Ba- 
 iilio and Bartolo ponder the Count's du- 
 plicity and the folly of love. Basilio 
 :ells how " in those years when inexpe- 
 •ienced " (" In quegli anni "), love had 
 nade him mad, till finally age and ex- 
 perience protected him with the skin of 
 m old ass. They withdraw and Figaro 
 ■ntering grieves over Susanna's treach- 
 .■ry and woman's frailty ("Ah, che il 
 idarsi a donna "). He hides, but is ob- 
 served by Susanna, who enters with the 
 Countess and Marcellina. To torment 
 Figaro Susanna sings " Come, love, do 
 lot delay " (" Deh, vieni non tardar"), 
 md leaves ; Cherubino enters in regi- 
 nentals looking for Barbarina ; he sees 
 he Countess in Susanna's garb and 
 hinking her to be actually Susanna tries 
 flirt with her. He escapes into the 
 mvilion on the left as the Count enters, 
 ieeing Figaro, the Count whispers the 
 •upposed Susanna to hide with him in a 
 )avilion on the right. Susanna enters 
 n the Countess's gown and explains her- 
 elf to the delighted Figaro. The 
 
 Count reappears and seeing Figaro 
 kneeling before the supposed Countess 
 is infuriated and calls the servants. 
 Figaro and Susanna escape into a pa- 
 vilion on the left. Basilio and others 
 enter with torches. The Count entering 
 the pavilion on the left unearths Cheru- 
 bino and Barbarina, Marcellina and Bar- 
 tolo, and Susanna, who, pretending still 
 to be the Countess, hiding her face, 
 pleads for pardon, which the Count will 
 not grant. The Countess herself now 
 appears and the Count kneeling begs 
 her forgiveness. She grants it and a 
 chorus of general contentment (" Ah, 
 tutti contenti ") cuts the Gordian knot 
 of complications. 
 
 Die Zauberflote (de tsow'-ber-fla-tS), 
 
 II Flauto Magico (el fla'-oo-to ma-je'- 
 
 ko). The Magic Flute. 
 
 Two-act opera. Book by Emanuel 
 Schickaneder. Composed, 1791. 
 
 Produced, Vienna, September 30, 
 1 79 1, under the management of the 
 librettist, who also played the role of 
 Papageno. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Sarastro (sa-ras'-tro), 
 High-Priest of his. , 
 
 Schickaneder, sr., bass. 
 Papageno (pa-pa-ga'-no), 
 A bird-catcher. 
 
 Schickaneder, jr., bass. 
 Tamino (ta-me-no), 
 
 A fisher Schack, tenor. 
 
 MONOSTATOS, 
 
 A Auiian prince Gorl, tenor. 
 
 Bamboloda, 
 
 I/is slave. 
 Manes (ma'-nas), 
 
 And other priests of /sis. 
 KoNiGiN DER Nacht (ka'-nlkh-CH 
 der nakht). Queen of Night 
 
 Frau Hofer sopr. 
 Pamina (pa-me'-na), 
 
 //cr daughter, a net-worker, 
 
 Frl. Gotlieb, sopr. 
 
342 
 
 THE MUSICAL GUIDE 
 
 PaPAGE NA, 
 
 Sliivc of M^ottostalos. . .Yr2i.\x Gorl, — 
 Three Fairies, 
 
 Disguised as 'women and guides. 
 
 Note. — The opera is sadly compli- 
 cated by the vanity and gaucheiie of 
 the librettist and his desire to drag in 
 certain allusions to Freemasonry, in 
 which he and Mozart were enthusiasts. 
 
 Act I. — Tableau i. A rocky path 
 past a fairy cavern. Tamino in the 
 toils of a serpent (or in some versions 
 Gnomes) calls for help just as he falls 
 asleep under the spell. The Fairies res- 
 cue him and discuss how he, a tisher, 
 played his sweetheart such sweet tunes 
 that the Queen of Night herself loved 
 him. As her love is fatal, they plan to 
 save him by getting him into the Tem- 
 ple of Isis. They retire as Papageno 
 runs in ; he meets Papagena and tells 
 her who he is (" Der Vogelf anger bin 
 ich ja," or " Sono un gaio uccellator ") ; 
 she tells him she is in the power of Mon- 
 ostatos. Tamino wakes as from a 
 dream and asks the way to the Tem- 
 ple ; he tells of his beloved Pamina 
 and shows a miniature of her (" Dies 
 Bildniss ist bezaubernd schon " — " O 
 cara immagine "). Papagena tells him 
 that Monostatos has just bought Pamina 
 as a slave. They decide to hunt for 
 her, but cannot find the path ; as they 
 look for it, the Queen of Night appears 
 to Tamino and sings to him a love-song, 
 " Oh, fear not, dear youth " (" O zittre 
 nicht, mein lieber Sohn " — " (Jiovane 
 amato, non temer"). She pledges him 
 to rescue her daughter Pamina and van- 
 ishes. The three F"airies offer to show 
 the lost ones the path ; but the price 
 must be the power of speech or that of 
 memory. Papagena loses memory and 
 Papageno is rendered dumb, but later re- 
 stored on swearing never to lie again, and 
 given a magic bell, while Tamino is given 
 a flute of magic power. They are then 
 shown the path, after a quintet known as 
 the" Padlock." Tableau 2. The Harem 
 of Monostatos. Bamboloda drags Pap- 
 agena in ; in her absence Pamina has 
 
 escaped. Monostatos enters and the 
 recaptured Pamina is brought in and 
 chained. Papageno appears and fright- 
 ens iMonostatos away. They sing a 
 duet of love's power (" Bei Mannern, 
 welche Liebe fiillen " — "Del cor gli 
 arfanni ") ; he shakes his bell, the gates 
 open and they escape. Tableau 3. 
 An Avenue. The Fairies tell that Pa- 
 mina has fallen in .Sarastro's power ; 
 appearing to Tamino disguised as 
 Guides, they point him a path and leave 
 him. He is warned by voices and by 
 Manes, who tells him that he is moved 
 by desire for revenge on Sarastro, and 
 refuses to tell him where Pamina is. 
 Tamino plays on his flute and sirens 
 gather round ; he wanders sadly away, 
 searching. Papageno enters with Pa- 
 mina and answers Tamino's distant 
 flute with his own ; encountering Monos- 
 tatos and slaves, he compels them to 
 dance away to his magic bell. Saras- 
 tro enters with retinue, and welcomes the 
 two to his Temple. Monostatos drags 
 in Tamino, who embraces Pamina. Sa- 
 rastro orders Monostatos to be flogged 
 and Tamino and Papageno to be veiledi 
 and led in. 
 
 Act II.— Tableau 4. The Hall of In-I 
 itiations. Sarastro and the Priests in-' 
 voke Isis and Osiris (" O Isis undj 
 Osiris ! " — " Possenti Numi "). Taminc 
 and Papageno are brought in and asked 
 if they will undergo the rites ; they arf 
 advised by two priests to avoid falsti 
 beauty and they are left alone and find 
 that their flute and bell have beei ' 
 taken. The three Fairies appear an( 
 warn them not to undergo the rites, bu 
 they resist the blandishments of th 
 women, whose presence in the sanctuar 
 causes the fall of the altar. Tableau 5 
 A Tent in a garden. Monostatos steal 
 in, guided by Bamboloda. He is fur 
 ous at being beaten, but dreams of th 
 beloved Pamina (" Allesfuhlt der Lieb 
 Freuden " — " Regna amor"). Pamin 
 is discovered in the tent ; he tries to tak 
 her away, and she escapes only to t 
 confronted by the Queen of Night, h( 
 mother, who hates her for her devotic 
 
STORIES OF THK OPERAS 343 
 
 to the noble Sarastro, who is trying to 
 save the girl's soul. The Queen curses 
 her in tremendous fury (" Der Hblle 
 Rache kocht " — " Gli angui d'inferno "). 
 Sarastro enters and declares tiiat only 
 peace and love rule in these sacred pre- 
 cincts (" In diesen heil'gen llallen" — 
 "Qui sdegno "). Irle leads the girl 
 away and the Queen and Monostatos 
 plot the death of Famina. When they 
 have gone, the three Fairies enter ; 
 they have overheard the plot but decline 
 to aid it. Tamino and Papageno en- 
 ter ; the Fairies appear as the Guides 
 and restore the magic talismans in a 
 trio. Papageno shakes his bell and 
 calls for Papagena, only to see her flirt- 
 ing with Bamboloda. He shakes the 
 bell again and summons Pamina ; she 
 enters and embraces Tamino, but he is 
 under pledge and does not answer her. 
 She sings sadly that no joy is for her 
 ("Ach! ich fiihl's es ist verschwun- 
 den " — " Ah, lo so "). Sarastro enters 
 and removing the pledge reunites the 
 lovers ; he bids Tamino hasten across 
 the sacred forest to complete his rites. 
 There is a trio of farewell and Tamino 
 leaves. Tableau 6. The Sacred Forest. 
 Papageno alone sings a love-song (" Ein 
 Mjidchen oder VVeibchen " — " Colomba 
 tortorella "). Papagena enters, she 
 does not remember him, and he re- 
 proaches her. She flees, and the three 
 Fairies tell him of Tamino's ordeal. 
 He leaves, and Pamina enters with a 
 dagger ; she would kill herself, but the 
 Fairies prevent her. Tableau 7. The 
 Crypt of the Temple. Tamino is taking 
 his final vows ; Pamina is brought in, 
 and the two undergo the ordeal of fire 
 and water, the evil spirits being chased 
 by Tamino's flute. He is hailed by the 
 Priests as a victor. Tableau 8. The 
 Portal of the Temple. Papageno in de- 
 spair for Papagena is about to hang 
 himself ; the Fairies advise him to sum- 
 mon her with his bell. She appears 
 and they have a joyful duet (" Pa-pa- 
 pa-pa-geno "). When they have gone, 
 the Queen of Night and Monostatos 
 steal in to murder Sarastro before her 
 
 power vanishes with dawn. The gates 
 of the Temple open, revealing the vo- 
 taries kneeling, and the lovers united 
 before Isis. The Queen vanishes in 
 helpless rage before the dawn and the 
 chorus of reverent joy. 
 
 PADEREWSKI, IGNACE JAN. 
 Manru. 
 
 Three-act opera. Book by Dr. Al- 
 fred Nossig. Produced, Court The- 
 atre, Dresden, May 29, 1901. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Manru, 
 
 A gipsy Anthes, tenor. 
 
 Urok (oo'-rok), 
 
 A dzvarf Scheidemantel, bar. 
 
 Jagu (ya -goo), 
 
 A gipiy fiddler Rains, bass. 
 
 Orgs, 
 
 A gipsy chief Hopfl, bass. 
 
 Ulana (oo-lii'-na), 
 
 A Galician girl. . . .Frl. Krull, sopr. 
 Hedwig (hat'-vlkh), 
 
 I/er mother, 
 
 Frl. von Chavanne, m. sopr. 
 Asa (ji'-za), 
 
 A gipsy girl. . . . Frau Kammer, sopr. 
 
 The opera begins and ends with a 
 single voice. It has no overture at all, 
 and only seventeen measures of prelude. 
 
 The scene is the Tatra Mountains 
 between Galicia and Hungary. 
 
 Act I. — The widow Hedwig sits be- 
 fore her hut and bemoans in a folk- 
 song the fate of the dove that took no 
 heed of the hawk's approach till she 
 felt his sharp claws. The dove is Hed- 
 wig's daughter, Ulana ; the hawk, the 
 heathen gipsy who carried her off. As 
 she sings maidens dance about, adorn- 
 ing the village green for the festival. 
 The dwarf, Urok, appears. The maid- 
 ens call him " dragon's-egg, an adder, 
 monster, wood-dwarf, tadpole, and 
 horn-owl." Urok takes these as a great 
 joke. Then he asks Hedwig of her 
 
344 
 
 THE MUSICAL GUIDE 
 
 daughter. "She is dead to me," says 
 Hedwig. Urok tells of meeting the 
 " dead " Ulana. The maidens greet her 
 name with jeers ; the mother, with a vow 
 never to receive her until she gives up 
 her gipsy. Hedwig returns to her hut ; 
 Urok rebukes the maidens, and they 
 mock him as a rejected lover of Ulana. 
 Ulana herself now appears in great de- 
 jection and the villagers rail at her. 
 She says she still loves her gipsy, and 
 he her. But they taunt her with a pro- 
 verb : 
 
 " Ere the full moon starts to wane 
 Every gipsy goes insane, 
 Leaves his child and leaves his wife 
 And scoots for his dear life." 
 
 This jingle reappears all through the 
 opera. The maidens leave Ulana to 
 her grief. Against Urok's advice, she 
 knocks at her mother's door. Hedwig 
 comes. After some reproach she offers 
 to take Ulana and her child back if she 
 will give up Manru. Urok and Hed- 
 wig insist that Manru will leave her, 
 anyway, when the gipsies come again. 
 But Ulana refuses. Hedwig shuts her 
 door on her. Urok prophesies Manru's 
 perfidy and proffers his own love. But 
 she prevails on him to brew her a philter 
 to bring back Manru's wavering fancy. 
 The village men and maidens gather 
 and dance. They surround Ulana. 
 Manru appears and demands that they 
 let her go, but they scout him as a 
 heathen. Hedwig comes out of her 
 hut and a hush falls on the mob. She 
 bitterly denounces the pair as lepers, 
 and the people fall back from them. 
 
 Act II. — Scene. The curtain rises at 
 once on Manru's home in the moun- 
 tains, where the gipsy, turned black- 
 smith, is fighting a losing battle against 
 his Wanderlust. Ulana is singing a 
 lullaby to her baby in the hut. Manru 
 admires, but cannot imitate, her stead- 
 fastness. In a frenzy he belabours the 
 anvil with his sledge. Ulana hurries 
 out to calm his fury, but whispers un- 
 easily : 
 
 " Ere the full moon starts to wane 
 Every gipsy goes insane," 
 
 This brings down on her own head all| 
 his violence, and he is about to strikej 
 her when Urok appears and stays his] 
 hand. Both Manru and Ulana accuse] 
 him of being a sorcerer, but he claimsl 
 only a knowledge of the human heartl 
 and a few herbs. He admits that he| 
 can evoke a spell to carry Manru away. 
 Listen ! In the distance a Roman; 
 fiddler is heard. Manru breaks awa' 
 and flies toward the siren music. Uld 
 na would run after him, but Urok hold 
 her back, gives her a potion for Manru 
 and keeps her in hiding while Manr 
 returns with an old gipsy fiddler, Jagii 
 Jagu offers Manru the leadership of th 
 tribe. He refuses. Jagu mentions th 
 fair Asa, who longs for Manru butmus 
 soon wed Oros, his old rival, Manru 
 about to go, sees Ulana, and refuses 
 ordering the tempter away. Left alone 
 Manru and Ulana marvel at the travel 
 frenzy that spurs him. With a nobi 
 effort to return to his duty he takes u; 
 his sledge. But Urok teases him with, 
 vivid picture of Asa. Manru drive 
 him away and Ulana brings him a po 
 tion, which he drains. This rouses hir 
 to an ecstasy of love in which she: 
 joins. 
 
 Act III. has a long prelude. The 
 rise of the curtain reveals a summer 
 landscape of storm and night. Manru 
 is alone and stifling with restlessness. 
 " All is dark," he cries, " but I Jed the 
 moon which sweeps past behind the 
 clouds." Voices of gipsies are heard 
 in the distance and he sinks down 
 asleep. There follows an orchestral 
 nocturne. Now and then the full moor 
 breaks from the clouds and Mann 
 grows restless in his sleep, till it i; 
 veiled again. Gipsies troop in, among 
 them Asa. They discover Manru anc 
 sprinkle his face with water. When he 
 wakes, it is Asa that first welcomes, 
 him. Oros protests angrily that Mann 
 should be an outcast as he is a renegade 
 He quarrels with Asa ; but Manru in 
 sists that he cannot follow them. Asj' 
 pleads with him. The people fall 
 to dancing and Asa joins them to allur* 
 
STORIES OF THE OPERAS 345 
 
 Manru. Oros protests wrathfully and 
 the tribe are won to his wrath. Then 
 Jagu enters and turns the tide for Man- 
 ' ru, who is hailed as a repentant liins- 
 ' man. Oros, in a rage, throws down 
 ' his staff of office and goes. The revel 
 ' begins anew, but Manru refuses the 
 : chieftainship. Then the musicians un- 
 '■ der Jagu try their skill, and Manru's 
 '' last scruple melts in an outburst of joy. 
 \ Urok appears and gleefully reviles 
 ^' Manru's treason to his wife and child. 
 "_ He is driven away by the crowd. 
 ^' Manru's conscience gnaws him again, 
 i , but is smothered by Romany-rapture. 
 7 j He embraces Asa, and the tribe march- 
 ' es away (the stage remaining empty 
 
 * ; during most of a barbaric march-tune). 
 ™ Ulana follows, crying for her husband, 
 
 * I and Urok tells her of his perfidy. She 
 '5 ; cries to Manru to come back. She 
 J i sends Urok up into the hills to find him. 
 ^ ' He answers that he has gone past re- 
 
 ■ call. With a last shriek she leaps into 
 
 ' the lake. Later, upon a cliff, Asa 
 
 and Manru reappear in each other's 
 
 arms. Oros rushes upon Manru and 
 
 crying, " You rob me of Asa ; you'd 
 
 ' replace me as chief ! " hurls him into 
 
 „, the gorge. Asa screams. Urok laughs 
 
 .'fiendishly. Oros roars "The place is 
 
 ' ' mine ! " [In a later version it is Urok 
 
 who hurls Manru over the cliff.] 
 
 PUCCINI, GIACOMO. 
 
 La Boheme (la b5-em'), F., Die 
 Boheme (de bo-ha'me), G. Bohemia. 
 Four-act opera. Words by C Gi- 
 
 acosa (after Murger's " Scenes de la 
 
 Vie de Boheme "). 
 Produced, Regio Theatre, Turin, 
 
 February i, 1896. 
 
 CHARACTERS. 
 
 RuDOLPHE (rii-dolf). 
 Poet tenor. 
 
 Marcel (mar-sel), 
 
 1 Is j Painter bar. 
 
 pk t IScHAUNARD (sho-nar), 
 
 ;iiti" ' Musician bar. 
 
 CoLUNE (kii-len), 
 
 riiilosopher bass. 
 
 Bernard (ber-nar), 
 
 Landlord bass. 
 
 Parpignol (par-pen-yiil), 
 
 Toy-seller tenor. 
 
 Alcindor (al-san-dor) bass. 
 
 Sergeant at toll-house bass. 
 
 MiMi (me-me) sopr. 
 
 Musette (mii-zet) sopr. 
 
 Place of action, Paris. Time, about 
 1830. 
 
 Act I. — Scene. A bare and cold gar- 
 ret. Marcel and Rudolphe at their work. 
 Rudolphe brings a MS. tragedy of his to 
 burn in the stove for warmth. Colline 
 enters and assists. Then Schaunard 
 comes to the rescue with food and wine 
 and fuel, which they enjoy. The landlord 
 enters to demand rent. They make him 
 drink and chaff him about his flirtations ; 
 then, in simulated righteous indignation, 
 eject him. The young men go pleasure- 
 seeking, leaving Rudolphe to finish his 
 writing. Mimi, an embroiderer and fel- 
 low-lodger,, enters to ask for a light. 
 As the door opens to let her out again, 
 a gust of air extinguishes all the lights. 
 She drops her key and they both grope 
 for it in the dark. Rudolphe finds it, 
 but promptly pockets it and continues 
 groping till he catches Mimi's hand. 
 He engages her in talk, tells her he is a 
 poet, and she tells about herself and her 
 work. The others call impatiently from 
 below, where they wait. Rudolphe 
 opens the window to answer. The 
 moonlight streaming in irradiates Mimi's 
 beauty. Rudolphe and Mimi confess 
 their mutual love. 
 
 Act II. — Scene. Christmas Eve in 
 the Latin Quarter. A throng of holi- 
 day-makers, in front of the Cafe Momus, 
 buying, eating, etc. Rudolphe, Mimi 
 wearing a becoming pink hood. Marcel, 
 Schaunard, and Colline mix with the 
 crowd. A waiter brings out a table for 
 the young men. Rudolphe introduces 
 Mimi and they sit down together. Their 
 
346 
 
 THE MUSICAL GUIDE 
 
 orders to the waiter mingle with the out- 
 cry caused by the entry of Parpignol, 
 surrounded by eager children, whose 
 mothers try to lead them away. Mu- 
 sette, richly dressed, enters with the el- 
 derly and infatuated Alcindor. They 
 sit at an adjacent table. She is indig- 
 nant that Marcel, her former lover, 
 takes no notice of her, and talks loudly 
 for his benefit, while Alcindor vainly 
 tries to quiet her, thinking her talk is 
 meant for himself. Musette, seeing 
 that she has at last moved Marcel, pre- 
 tends her shoe hurts and sends Alcin- 
 dor to buy a new pair. Then she and 
 Marcel embrace and are reconciled. 
 The bill is presented, but none of the 
 party has money. Musette bids the 
 waiter add it to her bill and leaves it 
 for Alcindor to pay. A military pro- 
 cession marches across the scene. The 
 friends fall in line behind and e.xeunt ; 
 Musette having only one shoe, is car- 
 ried by Marcel and Colline, followed by 
 the rest keeping step. Alcindor return- 
 ing, is shown the bill and sinks horrified 
 into a chair. 
 
 Act III. — Scene. The Barriere d'En- 
 fer. Market-women, etc., paying toll. 
 Mimi enters, coughing, and asks for Mar- 
 cel at the inn where he lives with Mu- 
 sette. He comes out and she tells him Ru- 
 dolphe threatens to leave her, and asks 
 in despair what to do. As Rudolphe just 
 then comes out of the inn, she hides be- 
 hind a tree. Rudolphe tells Marcel he 
 means to leave Mimi. At first he pre- 
 tends it is on account of jealousy ; final- 
 ly he confesses it is because he sees she 
 is dying of consumption and, though he 
 still loves her, he has no money to keep 
 her in comfort. Marcel tries to lead 
 Rudolphe out of earshot, but Mimi, la- 
 menting, hears her death-sentence. A 
 fit of coughing betrays her hiding-place. 
 Rudolphe, startled, soothes and caresses 
 her. Musette is heard within, laughing 
 and flirting. Marcel, jealous, rushes 
 inside. Mimi bids Rudolphe farewell, 
 telling him to keep her pink hood as a 
 keepsake. Marcel and Musette emerge 
 quarrelling, and the four voices mingle 
 
 in contrasting colloquies. The disput- 
 ing lovers go in again, leaving the oth- 
 ers to end their pathetic farewell. 
 
 Act IV. — Scene. Same as Act I. Mar- 
 cel and Rudolphe at their work tell how 
 each has seen the beloved of the other 
 riding in a carriage, well-dressed, etc. 
 Both express contentment, but are in- 
 wardly jealous and cannot work. Mar- 
 cel takes out a ribbon M usette gave him, 
 and Rudolphe presses Mimi's hood to his. 
 heart, each concealing his emotion from 
 the other. Schaunard and Colline en- 
 ter with frugal provisions. They try to' 
 forget their woes in merrj'making. Sud- 
 denly Musette enters, saying that Mimi; 
 is close behind, and e.\plains that Mimii 
 has left her Count and returned to Ru- 
 dolphe to die. Mimi enters in the last, 
 stage of consumption. She says how 
 much better she feels to be back there, 
 but that her hands are cold and sh« 
 would like a muff. Rudolphe tries tc 
 warm them in his. The others an 
 overcome with compassion. Musetti 
 gives her jewels to Marcel to sell t( 
 get a doctor, etc., for Mimi ; then de 
 clares she must also get her a muff, anc 
 goes with him. Colline bids farewell t" >^ 
 his faithful old coat and carries it t\ •,». 
 pawn, taking Schaunard with him tha; 
 the lovers may be alone. Mimi, wh 
 had apparently been asleep, now rouses 
 and the two renew memories of thei 
 happy past. Mimi, rejoiced to see he 
 hood, makes Rudolphe put it on her 
 The others return and Mimi delights ii 
 the muff. Soon she falls asleep an! 
 dies. Rudolphe in despair throws hin- 
 self on her corpse. 
 
 ROSSINI, GIOACCHINO. , 
 
 II Barbiere di Siviglia (el bar-tj, 
 a'-re de se-vel'-ya), /. The Barber ( 
 Seville. .^K^ 
 
 Two-act lyric comedy. Book (froj^-^*^ 
 Beaumarchais's comedy) by Sterbir.'" 
 Composed in three weeks. Produce 
 Rome, Argentina Theatre, February ' 
 I8i6. 
 
STORIES OF THE OPERAS 347 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Figaro (fe'-ga-ro), 
 
 A barber Luigi Zamboni, bar. 
 
 1l Conte Almaviva (al-ma-ve'-va), 
 
 A young count Garcia, tenor. 
 
 DOTTORE BaRTo'lO, 
 
 Rosinas guardian . . . Botticelli, bass. 
 Basilic (ba-sel'-yo), 
 
 Music-master Vittarelli, bass. 
 
 FioRELLo (fe-o-rel'-lo), 
 
 A servant tenor. 
 
 RosiNA (ro-ze'-na), 
 
 Dr. Bartold's ward, 
 
 Signora Giogi Righetti, sopr. 
 Ber'ta, 
 
 Her governess (in Germany Marcel- 
 line) Signorina Rossi, sopr. 
 
 Note. — This opera is taken from the 
 
 ^" j and Mozart's " Nozze di Figaro." to 
 ' ! which it is precedaneous in action. It 
 'j was originally called "Almaviva, ossio 
 
 I'inutile precauzione," "The Useless 
 
 Precaution." 
 
 aij Act I. — Scene i. Dawn in a Se- 
 tUl } ville street. Fiorello leads along sev- 
 • I eral musicians for a serenade. The 
 Count enters and sings a serenade or 
 aubade under Rosina's window (" Ecco 
 ridente ilcielo"). He pays the musi- 
 cians liberally and drives them away, 
 vexed at their profuse thanks. Figaro 
 bustles gaily by to his work (singing 
 " Largo al factotum "), rejoicing in his 
 importance as the general factotum and 
 ,5 SI- go-between of the town. The Count 
 •Stops him, tells him he has fallen in 
 ilove with the ward of Dr. Bartolo, and 
 j is flirting with her desperately under the 
 ' iname of Lindoro. Rosina appears on 
 I the balcony to drop the Count a note, 
 but, Bartolo appearing, she pretends it 
 is a paper that has slipped out of her 
 hand, and asks him to go down and get 
 it. While he disappears in the house, 
 the Count gets the note and lets Figaro 
 read it. It reveals a Juliet-like desire to 
 know more of the stranger. Bartolo 
 comes out, then stops to call back in- 
 
 structions that none is to be admitted to 
 the house save Basilic ; he says he him- 
 self will marry Rosina that very day. 
 The Count offers Figaro a reward if he 
 can help him to win Rosina, and Figa- 
 ro, always prolific in schemes, bids him 
 disguise as a tipsy soldier. He tells the 
 Count how to find his shop (" La bot- 
 tega ") and after a duet on love ("A 
 che d'amore ") Figaro enters Bartolo's 
 house and the Count hurries away. 
 Scene 2. A room in Bartolo's house. 
 Rosina ponders how to get a letter past 
 her lynx-eyed guardians (in the brilliant 
 air " A voice has made my heart re- 
 sound," " Una voce poco fa "). Figaro 
 enters, but seeing Bartolo coming, post- 
 pones his message, and they leave in 
 opposite directions. Bartolo and Basilic 
 come in. Basilic tells the anxious Bar- 
 tolo that Rosina's unknown lover is the 
 Count Almaviva. They decide to efface 
 him with calumny ("La calunnia "), 
 whose growth from a whisper to a tem- 
 pest Basilic pictures vividly. They de- 
 part and Figaro steals in, soon meeting 
 Rosina, who questions him about the 
 Count, and persuades him to bear a 
 note to him. She has it already written; 
 he takes it and goes, after a duet (" E 
 il maestro ic faccic "). Bartolo comes in 
 and cross-questions her as to the note 
 she dropped from the balcony and the 
 one he suspects she has given Figaro. 
 She blames the ink on her finger to a 
 design she was drawing. They go their 
 ways and Berta, hearing loud knocking, 
 enters. The Count disguised as a sol- 
 dier bursts in, pretending to be drunk, 
 but anxiously looking for Rosina while 
 he embraces and worries Bartolo. Ro- 
 sina entering, the two steal a few words 
 surreptitiously ; he bids her drop her 
 handkerchief, while Bartolo angrily 
 hunts a paper giving him exemption 
 from soldierly visits. The Count lets 
 fall a note, Rosina drops her handker- 
 chief on it, but Bartolo observes the 
 ruse and snatches the note, only to find 
 it a mere list of names. He apologises, 
 but the Count jostles him about and 
 also Basilio and Berta, who enter. Fi- 
 
348 
 
 THE MUSICAL GUIDE 
 
 garo appears with a basin and is amazed 
 at the noise, which finally brings the 
 police. The Count shows his order of 
 nobility and avoids arrest. 
 
 Act II. — Scene. Bartolo is alone in a 
 room, and bitterly reflects that he is not 
 safe in his own house. The Count 
 enters disguised as a music-teacher. He 
 annoys Bartolo with over-effusive greet- 
 ings and says Basilio was too ill to 
 come, and sent him. He lets slip a 
 word about Rosina's note, and to cover 
 the slip tells Bartolo that he has hap- 
 pened on a note written to the Count by 
 Rosina, and he suggests that if he can 
 talk with Rosina he might convince 
 her that the Count is only a faithless 
 rake. Bartolo gladly brings in Rosina, 
 who recognises the alleged teacher and 
 sings for him. (The music written for 
 this place by Rossini was lost, and the 
 prima donna is at liberty to introduce 
 any song she prefers.) Figaro arrives 
 to shave Bartolo, who resists, but finally 
 sends Figaro to his room to get the 
 cloth, giving him the keys, one of which 
 Rosina whispers him is the key to the 
 balcony. Now Basilio enters, to the ex- 
 quisite confusion of the Count, who 
 tries to make Basilio think he is ill and 
 to send him home. A purse opens Ba- 
 silio's eyes to the plot and he goes. As 
 the Count and Rosina pretend to study 
 music and really plot an elopement, 
 Bartolo overhears in spite of Figaro's 
 efTorts to keep him engaged. He dis- 
 perses the group. Berta enters alone 
 complaining of the noisy house always 
 in uproar, and the old dotard's love 
 (" II vechietto cerca moglie" — based on 
 a Russian air, and called the "Aria di 
 Sorbetto," because the audiences chose 
 it as a good time to eat sherbets). She 
 leaves, and Bartolo brings on Basilio, 
 who tells him that the music-teacher was 
 the Count and there is to be a marriage 
 that night at Figaro's house. When he 
 has gone, Bartolo plans a bold coup, and 
 calls Rosina, whom he tells that the 
 Count is unfaithful to her ; showing her 
 the note she had written him as proof. 
 Rosina, infuriated, consents to marry 
 
 Bartolo at once, confessing to him herlj 
 plan to elope. Bartolo hurries away toil 
 find the police to arrest the Count when;|i 
 he comes. The Count and Figaro steal) 
 in from the balcony as soon as he hasi^' 
 gone, and Rosina is soon convinced of(i 
 his love. He reveals himself as thelj 
 Count Almaviva. They decide to elope, 
 and tip-toe stealthily with a " Hush,; 
 hush" {" Zitti, zitti"). They find the 
 ladder gone and see persons comingii 
 with a lantern. They conceal them-j 
 selves and Basilio enters with a notary.il 
 The Count, by softly threatening Basilic| 
 with death, gets himself married to Ro| 
 sina. Bartolo enters with soldiers, bu' 
 too late. He gives the two their blessij 
 ing and all ends happily. 
 
 Guglielmo Tell (gool-yel'-mo tel'jj 
 Guillaume (ge-yom), or Wilhek 
 (vel'-helm), or William, Tell. 
 Three -^(originally five-) act oper 
 Book by Etienne Jouy, revised by Hi| 
 polyte Bis, after Schiller's drar 
 The Academic, Paris, August 3, 182^ 
 
 CHARACTERS AND THKIR CREATORS.! 
 
 Mathilde von Hapsburg, . 
 
 Cfsskr's daughter, 
 
 Mme. Damoreau-Cinti, sopl 
 Hedwig, ; 
 
 TeWs wife Mile. Mori, m. sop? 
 
 Jem'my, I 
 
 Tell' s son Mme. Dabodie, soj 
 
 Gess'ler, 
 
 Austrian Governor of Switzerlarui, 
 Prevost, ba 
 
 Rudolf der Harras Massol, teni 
 
 Tell Dabodie, b. 
 
 Walther FiJRST Levasseur, ba 
 
 Melch'thal (meltch'-tal), 
 
 An old man Dupont, bal 
 
 Ar'nold, |I 
 
 His son Nourrit, b!i 
 
 Leuthold (loit'-holt), \ 
 
 A peasant Prevot, tJji 
 
 A Fisher tet "% 
 
STORIES OF THE OPERAS 349 
 
 Act I. — Scene. Switzerland, thirteenth 
 centur)-. Shore of a mountain-lake. 
 Peasants enjoying a wedding festival are 
 joined by Tell, who bemoans the tyran- 
 ny oppressing his country. Arnold, who 
 has loved Gessler's daughter since he 
 : saved her life, promises nevertheless to 
 , aid Tell in freeing Switzerland. The 
 1 peasant Leuthold appears. He has 
 !. killed an Austrian soldier who tried to 
 ^ abduct his daughter, and is now pur- 
 I sued by the soldiers. He begs to be 
 } rowed across the lake, but the rising 
 ii storm dismays the fishermen. Tell takes 
 ;■ the oars and puts out into the storm just 
 t before the soldiers enter, led by Rudolf, 
 :;^ who, finding no one who will reveal the 
 identity of Leuthold's rescuer, seizes 
 old Melchthal as an inciter of rebellion. 
 j Act II. — Scene. A forest. Huntsmen 
 ''iEnd shepherds meet and disperse. 
 "' Princess Mathilde passes, returning 
 from a hunt. She meets Arnold and 
 n reciprocates his love. She leaves him 
 .1:; ' when Tell comes up with Walther Furst, 
 1 who tells Arnold that his father has been 
 ii killed by the Austrian. Arnold, putting 
 aside his thoughts of love, joins the other 
 .jitwo men in an oath of dire revenge. 
 The deputies of three cantons appear 
 isuccessively and Tell persuades them to 
 jjoin the oath and free Switzerland. 
 ;,b(ifi Act III. — Scene i. A love-duet be- 
 itween Mathilde and Arnold. Scene 2. 
 „i;The market-place of Altdorp. Gessler 
 ' 'has set his hat up on a pole and the indig- 
 ,,i|iant citizens are compelled to salute it. 
 iPell and his son enter and scorn such 
 lumiHty. They are seized and the 
 ather ordered to prove his vaunted 
 irchery by shooting an apple from his 
 ■on's head. After an anxious prayer, he 
 . .ccomplishes this. Gessler seeing that 
 . le has another arrow, asks what it is 
 or. Tell declares that if he had missed 
 ^ lig|he apple and hurt his son, his second 
 -°" irrow would have been shot at Gessler. 
 , j'^or this defiance he is fettered, despite 
 .^''"jlathilde's plea. Scene 3. The Swiss 
 isvolutionists meet in a storm, Mathilde 
 'V'iMsks to be admitted to the band, and 
 .t^jives her hand to Arnold. Success fol- 
 
 lows the battles of the Swiss, and Tell 
 enters ; he has escaped from prison and 
 slain Gessler ; the country has now won 
 liberty, which is celebrated in a hymn 
 of freedom. 
 
 SPINELLI, NICOLLA. 
 
 A Basso Porto. At the Lower Har- 
 bour. 
 Three-act lyric drama of the slums. 
 
 Book by Eugenio Checchi. 
 
 CH.'V.RACTERS. 
 
 Mari'a, 
 
 A 7vido2u m. sopr. 
 
 Sesel'la, 
 
 //fr daughto- sopr. 
 
 LuiGiNo (loo-e-je'-no), 
 
 Maria s son, a gambler tenor. 
 
 CiciLLo (che-chll'-lo), 
 
 A govermnent spy bar. 
 
 Pasquale (pas-kwa'-le), 
 
 An innkeeper bass. 
 
 PiciLLo (pe-chtl'-lo) tenor. 
 
 Act I. — Scene. An open market- 
 place near the lower harbor of Naples ; 
 time i860. Maria and Sesella are wear- 
 ily at work on one side, on the other in 
 front of a tavern Luigino is gambling 
 away their hard earnings. Maria pleads 
 with him but ends by paying his gam- 
 bling debts. Cicillo appears. He is 
 posing as the leader of the Cammoristi, 
 an anarchistic society, but is really 
 spying on them and trying to foist on 
 another member the treachery that has 
 been betraying them. Luigino hates 
 Cicillo but Sesella loves him ; and he is 
 plotting to seduce her ; he takes an op- 
 portunity to ask her to elope vTith him 
 since the Cammoristi hate him. Luigino 
 sees her kiss him and tries to stab him, 
 but Maria intervenes and sends her 
 children away. She and Cicillo have a 
 bitter interview, in which it transpires 
 that, years before, Cicillo had betrayed 
 Maria and deserted her for another 
 woman, against whom Maria had con- 
 spired, securing the arrest of both. The 
 girl had been put to death, though Ci- 
 
350 
 
 THE MUSICAL GUIDE 
 
 cillo had escaped to vow vengeance 
 against Maria, who meantime had mar- 
 ried. Though she is now a widow, he 
 still plots to bring her son to the gutter 
 and her daughter Sesella to the streets. 
 Maria pleads and threatens for an end 
 to the feud, but Cicillo mocks her. The 
 Cammoristi rush in in excitement ; an- 
 other member has been arrested and 
 they swear to hunt out and kill the trai- 
 tor. Cicillo's momentary uneasiness is 
 seen by Maria. 
 
 Act 11. — Scene. A low tavern filled 
 with hilarious smugglers, girls, etc. Lui- 
 gino sings a gay song. Cicillo enters 
 and strikes him across the face. He 
 explains that he believes Luigino to be 
 the traitor. He is to meet Sesella and 
 will try to wring the truth from her. 
 They leave him alone and his remorseful 
 soliloquy is interrupted by Sesella's en- 
 trance. He poisons her mind against 
 her mother, and she consents to elope 
 with him at midnight. When he has 
 gone, Maria enters, and pleads with her 
 daughter, finally confessing her own 
 past and proclaiming Cicillo a spy. 
 Sesella is won back and determines to 
 betray Cicillo. She calls in the landlord 
 and the others and accuses the absent 
 Cicillo. Luigino, ho.vever, is brought 
 to trial by the Cammoristi, but Maria 
 saves him by swearing that she has seen 
 Cicillo take government pay. Cicillo is 
 condemned to die, and Luigino chosen 
 to assassinate him, in spite of Maria's 
 frantic appeals. 
 
 Act III. — Same scene as Act i. Night. 
 Maria, alone, prays heaven to save her 
 children. Cicillo enters and she warns 
 him that she alone can save him from 
 the Cammoristi and begs him to give up 
 his plot to ruin her children. He laughs 
 at her and says that in a moment he will 
 have the soldiers all about the place. 
 Singing and mandolin-playing in the 
 distance indicate the signal to kill him, 
 but he will not accept her offer, and 
 brushes past her to call the soldiers, 
 whereupon she stabs him, to save her 
 son from the blood-guiit. The Cam-- o- 
 risti rush in as he dies. 
 
 THOMAS, AMBROISE. 
 Mignon (men-yoh). 
 
 Three-act opera. Book by Barbie 
 & Carre (based on Goethe's " Wilheln 
 Meister "). 
 
 Produced, Opera Comique, Paris; 
 November 17, 1866. 
 
 CH.AR.ACTEKS AND THEIR CREATORS, j] 
 
 GuGLiELMo (gool-yel-mo), 
 
 in German, Wilhelm Meister 
 
 Achard, teno; 
 
 LoTARio (l6-ta'-rI-6) Bataille, bai 
 
 Federico (fa-de-re'-ko) teno, 
 
 Laerte (la-er'te) Conders, baj 
 
 GiARNo (jar'-no) bi 
 
 Antonio, 
 
 MiGNON. ...Mme. Galli-Marie, m 
 
 FiLiNA (fe-le'-na). . . . Mme. Cabel, so] 
 
 Act I. — Scene. Courtyard of a Gi 
 man inn. Townsfolk seated drinkir 
 The old minstrel Lotario enters i:t. 
 most distracted with grief at the loss it 
 his child, who has disappeared, af 
 whom seeking he wanders discon?i8 
 lately. A band of gipsies appear, aV 
 dance for pennies, watched from a bij 
 cony by two actors, Filina and Laer.* 
 The savage chief Giarno orders tf» 
 child Mignon to dance. When s'j 
 proudly rebels, he threatens her witli 
 cudgel, and the old minstrel tries i 
 protect her. He is pushed aside, It 
 Guglielmo entering cows the gipj, 
 Mignon gives flowers to both of f 
 rescuers. When the others withdnf 
 Filina admiringly sends Laerte f 
 scrape acquaintance with Guglieli| 
 She follows soon, and begins to ■$ 
 with great sophistication. Gugliel'i 
 gives her the flowers Mignon gave h"' 
 F'ilina and Laerte leave, and Mign 
 seeing that Giarno is asleep, steals 
 ward to pour out her gratitude, 
 tells Guglielmo that her childhood 
 mystery. She remembers being sto 
 When he asks her the name of her C( 
 try she can only ask, " Knowest t 
 the land where the citrons bloom '^ 
 Goethe's words, ' ' Kcnnst du das 1 
 
STORIES OF THE OPERAS 351 
 
 wo die Citroneii bliih'n "). lie judges 
 from her other phrases that her land 
 must be Italy. Giarno reappearing, 
 offers to sell Mignon for what he paid 
 for her. Guglielmo enters the inn to 
 close the bargain. Mignon tells the old 
 minstrel of her new freedom, and when 
 he says he must follow the swallows 
 northward, she sings a swallow-song 
 (" Leggiadre rondinelle "). They with- 
 draw and Filina appears, teasing Fede- 
 rico, her lover. Guglielmo returns, 
 having bought Mignon. Filina intro- 
 duces him to Federico. A letter comes 
 ordering the troupe of players to appear 
 at the castle of Federico's uncle ; and 
 Guglielmo is invited to go as poet. 
 Mignon seizes an opportunity to ask 
 what is to become of her, and begs to 
 follow Guglielmo in disguise as a page ; 
 though the old minstrel pleads for her, 
 Guglielmo consents to take her. She 
 notes with a pang that he has given her 
 flowers to Filina. The troupe set out 
 for the castle. 
 
 Act n. — Scene i. The boudoir of 
 Filina, who is gaily preparing her 
 charms for further conquest (" A mara- 
 viglia ! "). Laerte, and later Guglielmo, 
 enter. Laerte, about to leave, finds 
 Mignon jealously waiting ; Guglielmo 
 treats her with kindly impatience, and 
 she seems to fall asleep before the fire. 
 Guglielmo makes love to Filina. They 
 leave ; and Mignon, after brooding mo- 
 rosely, looks about with interest and 
 'alls to powdering and rougeing her face, 
 loping to captivate Guglielmo by her 
 )eauty ("Son io che mi specchio?" or 
 '1st das Mignon wohl?"). She disappears 
 ust as Federico enters at the window 
 inging a Rondo-Gavotte. Guglielmo, 
 oming back to seek Mignon, falls to 
 Itercation with Federico. They draw 
 ■ words, but Mignon rushes between. 
 •he is garbed in one of Filina's gowns, 
 nd Federico retires laughing. Gugli- 
 ; ,!mo sadly tells Mignon she must leave 
 im (" Addio, Mignon "). Filtna enter- 
 ig, Mignon fiercely tears off the gown 
 id rushes away. Laerte announces 
 latthe play is about to begin and they 
 
 leave, Mignon and Federico jealously 
 watching Guglielmo's devotion to Fili- 
 na. Scene 2. The park of the castle. 
 Mignon alone in her grief is about to 
 throw herself into the lake, when she 
 hears the harp of the minstrel. He ap- 
 pears and tries to console her. She 
 frantically wishes that the fires of 
 heaven would consume the hated castle, 
 and hurries away. The half-insane 
 minstrel ponders her wish and disap- 
 pears. The guests flock out from the 
 play, "The Midsummer Night's 
 Dream," and Filina rejoices in her suc- 
 cess as Titania (" Io son Titania bi- 
 onda"). Guglielmo searches for Mignon. 
 She appears, and the minstrel tells her 
 that he has set tire to the castle. She 
 represses her horror, and when Filina 
 asks her to get a bouquet which Gugli- 
 elmo had given her, and which she had 
 left in the castle, Mignon goes. The 
 flames break forth, while the old min- 
 strel chants to his harp. Guglielmo 
 rushes into the castle and rescues 
 Mignon against her will. 
 
 Act III. — Scene. Gallery of a manor- 
 house. A chorus of sailors is heard in 
 the distance. The minstrel appears; 
 later Guglielmo, and Antonio who ex- 
 plains that all the other houses of the 
 region are illuminated in honour of the 
 festival, but this house alone remains 
 dark since, ten years ago, the daughter of 
 the count who owned it was drowned. 
 The count has since been a wanderer, 
 and Antonio ofTers to sell the house to 
 Guglielmo, who plans to buy it. He 
 tells the minstrel, who, hearing the 
 name, seems to recall a forgotten past, 
 and enters a long-sealed door. Gugli- 
 elmo, alone, muses on the discovery he 
 has made that Mignon secretly loves 
 him (" Ah, non credea I'afflito "). A note 
 comes telling that Filina is following 
 him. He is not interested. Mignon ap- 
 pears, very pale and feeble ; she seems 
 to remember her surroundings vaguely. 
 Guglielmo tells her he has learned to 
 love her. Filina's voice is heard, and 
 she is terrified again. Now the min- 
 strel enters richly garbed. He has re- 
 
 i 
 
352 
 
 THE MUSICAL GUIDE 
 
 turned to his right mind. He welcomes 
 them to the house as his own. He 
 brings out a casket of jewels belonging 
 to his lost child. In it is a Prayer Book. 
 Mignon reads a few lines and, letting 
 the book fall, recites the rest of the 
 child's prayer by heart. The Count 
 recognises her as his child. She faints 
 with delight, but recovers and sings with 
 joy the last of the " Mignon's Song " of 
 Goethe, " Kennst du das Land." 
 
 VERDI, GIUSEPPJ. 
 Aida (ji-e-da). 
 
 Four-act opera. Book by A. Ghiz- 
 landoni, from de Lode's version of an 
 old Egyptian tradition. The opera was 
 composed on a commission from the 
 Khedive and first produced at Cairo, 
 December 27, 1S71. 
 
 CHAR.VCTERS. 
 
 Aida, 
 
 Ah Ethiopian princess in slavery, 
 
 sopr. 
 Amneris (am-na'-res), 
 
 Princess of Egypt, in love -with 
 
 Rad AMES contr. 
 
 Radames (ra'-da-mas), 
 
 Egyptian Captain in love u<ith 
 
 Kiv>K tenor. 
 
 AmON.\S RO, 
 
 Ethiopian King, father of K\v>a, bar. 
 Ramfis (ram'-fes), 
 
 High Priest of I sis bass. 
 
 King of Egypt. 
 Messenger. 
 
 Act I. — Scene i. Hall in the Palace. 
 Ramfis speaks to Radames of the hos- 
 tile movements of the Ethiopian king ; 
 he hints that Radames will lead the 
 Egyptian force. When he has gone, 
 Radames rejoices in the hope of win- 
 ning glor\', all for the sake of Aida (" Ce- 
 leste Aida "). Princess Amneris, enter- 
 ing, notes his joy and hopes it is for her. 
 Aida enters and the Princess greets her 
 kindly but suspects her of being Ra- 
 dames' sweetheart. Aida weeps for the 
 woes of her country. The King and 
 
 retinue appear and Ramfis and othe 
 Priests ; a messenger follows to spoa 
 of the Ethiopian incursion led by Amor 
 asro. The Priest declares Radame 
 the leader chosen of Isis, and after 
 chorus all leave except Aida, who 
 torn between love for her father and fc 
 Radames (" Retorna vincitor"), endin 
 in a prayer (" Numi, pieta "). Scene : 
 The Temple of Phthah at Memphi 
 Priests and Priestesses chant and dam 
 before the altar. Radames enters ar 
 is veiled and armed by Ramfis (tv 
 actual Egyptian themes are employe 
 in the harp music and the dance). 
 
 Act II. — Scene i. Amneris' apai 
 ments. Her slaves sing while shebroo 
 on love. Aida enters and the slaves i 
 tire. Amneris wrings from Aida t 
 secret of her love by saying that Rac- 
 mes is dead. She upbraids the g 
 with high fury. The army is heard » 
 turning in pomp (duet " Alia pompa . 
 Scene 2. An open place. The victc- 
 ous army returns loaded with trophi 
 and is welcomed with all ceremoi. 
 Aida, cowering at Amneris' feet, s^s 
 Radames triumphant ; among his c:- 
 tives she sees her father, who whisp.s 
 her not to tell his rank ; but he decis 
 to announce it himself, appealing r 
 mercy (" Questa assisa "). The Pries 
 and people demand his death but 1.- 
 dames wins clemency from the Ki ', 
 who releases the other prisoners but ;- 
 tains Amonasro. The act ends wil a 
 paean (" Gloria all' Egitto"). 
 
 Act III. — Scene. Shore of the ^J, 
 before a Temple of Isis, wherein le 
 worshippers are heard singing. R 1- 
 fis enters the Temple ; Amneris foll."S 
 to pray Isis for Radames' love. /la 
 steals in, veiled, to meet Radames ;(ie 
 muses on the beauty of the sky ancm 
 her far-off home (" O cieli azzun'). 
 Amonasro appears ; he tells Aida he as 
 discovered her passion for Radames .le 
 tells her she can see her home again id 
 have her lover too (" Rivedro le )r- 
 este"). She must win Radame; to 
 treachery, or at least learn from hin.he 
 name of the pass by which his tr ps 
 
STORIES OF THE OPERAS 353 
 
 i^^t 
 
 will march. When she protests, he 
 paints a wild picture of the havoc the 
 Eg)'ptians have wrought in Ethiopia 
 and threatens her with his curse. At the 
 height of her terror, Radames appears, 
 Amonasro hiding near by. Radames 
 tells Ai'da that the Ethiopians have 
 risen again, he intends to defeat them 
 again and then claim Aida's hand from 
 the King. Aida says Amneris would 
 seek vengeance, that only one course is 
 open to their love, and that is, flight 
 (" Fuggiam gli ardori "). He is horri- 
 fied, but she mentions Amneris and 
 says that she and her father will be put 
 to death. In an access of love he con- 
 sents to fly. She asks him the name of 
 the pass ; he tells her, and is over- 
 heard by Amonasro, who is discovered 
 by Radames. Amneris, who has over- 
 heard, charges Radames with being a 
 traitor. Amonasro is about to stab her, 
 but is prevented by Radames, who sur- 
 renders to Ramtis, while Aida and 
 .\monasro escape. 
 
 Act IV. — Scene i. A hall in the 
 palace. Amneris alone broods over 
 Aida's escape and Radames' trial for 
 treachery ; she wishes to save him. Ra- 
 dames is led in ; she pleads with him to 
 love her and be saved, but he is faith- 
 ful to Aida, though he learns that her 
 father has been killed. He will not re- 
 nounce her though Amneris demands it 
 i (" Chi ti salva "). He is led away and 
 Amneris gives way to despair (" Ohime, 
 Imorir mi sento "). She sees the Priests 
 'descending into the subterranean hall, 
 then hears their voices as they pray for 
 divine guidance ; she hears Ramtis call- 
 ing on Radames to speak, but he will 
 make no defence, and they condemn him 
 to be buried alive under the altar. As 
 the priests return, Amneris assails them 
 msanely. Scene 2. Same as Act i, 
 Scene 2, save that the vault below the 
 dtar is also shown. Radames is in 
 he crypt, dreaming of Aida. Suddenly 
 •he appears, saying that she foresaw 
 lis doom and stole into the crypt unob- 
 erved to die with him. They bid fare- 
 veil to life (" O terra addio "), while the 
 
 chant of the Priests and the dance of 
 the Priestesses goes on over them. Am- 
 neris, in black, enters the Temple to 
 pray Heaven to accept Radames into 
 bliss. 
 
 Otel'Io. Othello. 
 
 Four-act lyric drama. Book from 
 Shakspere's play by Arrigo Boito. 
 
 Produced at Milan, La Scala, Feb- 
 ruary 5, 1887. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Otello, 
 
 A A/ooris/i general in the Venetian 
 
 army Tamagno, tenor. 
 
 Iago, 
 
 His ensign Maurel, bar. 
 
 Cassio, Otello s lieutenant. 
 RoDERiGO (ro-de-re'-go), 
 
 A Venetian gentleman in love with 
 Desdejiiona. 
 LoDovico (lo-do-ve'-ko), 
 
 Venetian ambassador. 
 Monta'na, 
 
 Otello'' s predecessor as Governor of 
 Cyprus. 
 A Herald. 
 Desdemo'na, 
 Otello'' s wife, 
 
 Signorina Pantaleoni, sopr. 
 Emil'ia, logo's 7vife. 
 
 Act I. — Scene. A stormy quay. All 
 the men e.xcept Otello are present and 
 watching a storm-tossed ship. It is 
 Otello's. Women enter, and pray for 
 the ship's safety. The ship reaches the 
 harbour at length ; Otello lands with 
 news of a great victory, and passes 
 into the Castle. A bonfire is built, and 
 Iago talks to Roderigo of Desdemona, 
 saying she will soon weary of the Moor ; 
 he says he hates him for promoting 
 Cassio over him. The soldiers rejoice 
 in the tire (" Fuoco di gioia ") and in 
 wine. Iago plies Cassio with wine and 
 talks of Desdemona, bidding Roderigo 
 beware of Cassio as a rival. Iago sings 
 a wine-song, and Cassio grows drunk. 
 
354 
 
 THE MUSICAL GUIDE 
 
 He is easily provoked to a figiit by 
 Roderigo, and sets on Montana who 
 tries to be a peacemaker. At lago's 
 advice Roderigo steals away and rings 
 the alarm, bringing the people and 
 Otello, later Desdemona. Otello re- 
 duces Cassio to the ranks, and all dis- 
 perse save Otello and Desdemona ; they 
 have a love-scene and she praises him 
 as a great warrior (" Mio superbo guer- 
 rier "). He exclaims that death were 
 welcome in such bliss (" Venga la 
 morte "). 
 
 Act II. — Scene. Hall in the Castle ; 
 garden at the back. lago is promising 
 the despondent Cassio restoration, ad- 
 vising him to appeal to Desdemona ; 
 left alone, lago soliloquises over his 
 cynical creed of cruelty and deceit 
 ("Credo in un Dio crudel "). Later 
 Cassio finds Desdemona in the gar- 
 den and they talk together. Otello 
 enters and lago slyly provokes his jeal- 
 ousy. .Sailors, children, and others ap- 
 pear to load Desdemona with flowers 
 and gifts ; she dismisses them gracious- 
 ly, and comes forward to plead for Cas- 
 sio. Otello blames his uneasiness to 
 headache ; Desdemona is about to 
 bind his head with her handkerchief ; 
 he throws it away ; F-milia unobserved 
 picks it up, and lago snatches i*^, from her, 
 while Otello broods. When the women 
 have gone, Otello upbraids lago for in- 
 stilling suspicion in him, and finally 
 throttles him, then demands proof, 
 lago whispers that he heard Cassio 
 talking in his sleep of trysts with Des- 
 demona ; he mentions the handkerchief, 
 and says he saw it in Cassio's posses- 
 sion. Otello vows a terrible revenge. 
 
 Act III. — Scene. A large hall with 
 portico. The Herald announces the 
 arrival of ambassadors from Cyprus, 
 and goes. lago advises Otello to watch 
 Cassio's gestures when later lago talks 
 to him. He goes, and Desdemona en- 
 ters ; Otello asks for her handkerchief ; 
 she says it is mislaid ; he warns her 
 that it has a strange significance, but 
 she impatiently persists in pleading for 
 Cassio. He makes her swear she is 
 
 faithful, then drives her from him.i 
 Left alone he muses on his grief (" Dioi 
 mi potevi scagliar"). lago enters t('. 
 say Cassio has come, and Otello hides I 
 lago then talks softly to Cassio of Bi 
 anca, and he is moved to laughter ; h 
 speaks of finding a strangely broiderei 
 handkerchief mysteriously left at hi 
 lodgings and produces that of Desde 
 niona. Trumpets and a gun announc 
 the arrival of the ambassadors an 
 Cassio hastens away. The ambassr 
 dors enter to deliver official praises t' 
 Otello. Desdemona appears and Ote 
 lo sends for Cassio, bidding lago watc 
 how Desdemona looks when he come:, 
 He announces that Cassio is to stay i 
 Cyprus as its Governor, while Otello 
 recalled to Venice. He mistakes De- 
 demona's distress at her husband's ma: 
 ner, for grief at the loss of Cassio, ar 
 hurls her to the ground, where she co\ 
 ers. lago tells Otello that he will k 
 Cassio ; he then whispers Roderigo 
 kill Cassio so as to keep Otello at C 
 prus longer, when Roderigo may st 
 hope for Desdemona's favour. Ote! 
 rising in supreme wrath orders evei 
 one away, curses his wife, and swoo'. 
 with rage. As the cries of ' ' Long li 
 Otello " resound outside, lago gloj,. 
 over the prostrate " lion." 
 
 Act IV. — Scene. A bedroom. Di' 
 demona and Emilia. Desdemona i 
 deep sorrow as she undresses singsi 
 sad ballad ("Willow"), of a girl, B- 
 bara, whose lover had gone m;. 
 When Emilia is gone, she kneels a.l 
 prays to the Virgin, then lies down i 
 the bed and sleeps. Otello enters wi 
 a scimitar. He puts out the cane-, 
 and gazing at Desdemona kisses h ; 
 she wakes and he orders her to pr'. 
 He accuses her of unfaith with Cas:.', 
 saying that he has been killed ; w'n 
 she weeps, he thinks his suspicions v> 
 fied and smothers her. Knocking s 
 heard. Emilia enters to say Cassio s 
 killed Roderigo, and lives. Desdem a 
 with her dying breath says she is 
 killed herself. Emilia calls for h'J, 
 and the others enter. The truth of le ''»i 
 
STORIES OF THE OPERAS 355 
 
 handkerchief is explained. lago es- 
 capes. Otello tries to i<ill himself with 
 his scimitar, but Lodovico prevents 
 him. Gazing on Desdemona he draws 
 a dagger and kills himself. 
 
 Rigoletto (re-go-let'-to). 
 
 Three-act opera. Book by F. M. 
 Piave. (Based on Victor Hugo's " Le 
 roi s'amuse.") Produced, Venice, 
 March ii, 1851. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Il Duca di Manto'va... .Mirate, tenor. 
 Rigoletto, 
 
 His court fool Varesi, bar. 
 
 Sparafucile (foo'-chi-le), 
 
 A bravo Ponz, bass. 
 
 Il Conte di Montero'ne. . .Damini, bar. 
 Marul'lo, 
 
 A cavalier Kunerth, bar. 
 
 Bor'sa, 
 
 A courtier Zuliani, tenor. 
 
 Il Conte di Ceprano (che-pra'-n5), 
 
 Bellini, bass. 
 
 Court Usher Rizzi, tenor. 
 
 GiLDA (jei'-da), 
 
 Rigoletto' s (laughter, 
 
 Signorina T. Brambilla, sopr. 
 Maddalena (la'-na), 
 
 Sister of Sparafucile, 
 
 Casaloni, contr. 
 GiovANNA (jo-van' -na), 
 
 Gilda's nurse Saini, m. sopr. 
 
 La Contessa di Ceprano, 
 
 Marselli, m. sopr. 
 Page of the Duchess, 
 
 Modes Lovati, m. sopr. 
 
 Act I. — Scene i. A fete in the Duke's 
 palace. The Duke tells Borsa of his 
 infatuation for an unknown maiden 
 whom he has seen at church, and traced 
 :o her home where an unknown man 
 /isits her nightly. He sings of the 
 ickleness of his heart for this or that 
 TOman (" Questa o quella "). The 
 ^^ountess Ceprano appears and though 
 
 watched by her jealous husband per- 
 mits the Duke to lead her away. Rigo- 
 letto, the Duke's favourite and the go- 
 between of his intrigues, laughs at the 
 Duke's flirtations, and MaruUo says he 
 learns that even the hunchbacked Rig- 
 oletto has a sweetheart. The Duke 
 reappears and Rigoletto advises him to 
 elope with Ceprano's wife. He taunts 
 Ceprano, who plots with other courtiers 
 to put the hunchback out of the way. 
 The Count Monterone forces his way in 
 and denounces the Duke's crimes. 
 Rigoletto mocks him because he makes 
 such ado over the loss of his daughter's 
 honour ; but Monterone frightens the 
 hunchback by a father's curse before he 
 is led away. Scene 2. A dark, se- 
 cluded street at night. Rigoletto, steal- 
 ing in, is accosted by Sparafucile, who 
 offers to put any rival out of the way, 
 either by a single thrust in the street, or 
 by decoying the victim into his house 
 with the aid of his sister. Rigoletto 
 declines the man's service with thanks, 
 and in a soliloquy compares the bravo's 
 sword to his own wit as a weapon. He 
 enters the walled yard of his house, 
 out of which Gilda comes and embraces 
 her father. He keeps her in this seclu- 
 sion from the corruptions of court life, 
 and she does not even know his name. 
 She asks to know who her mother was. 
 He begs her not to ask (" Deh non par- 
 lare "). Gilda assures him she has never 
 left the house except for church, and 
 her nurse Giovanna corroborates her. 
 Father and daughter sing a loving duet 
 (" Veglia o donna "). The Duke in dis- 
 guise appears outside. Rigoletto goes 
 out to see who is there, and the Duke 
 manages to steal inside unobserved and 
 throw a purse to the nurse. Rigoletto re- 
 turning warns Gilda to let no one in dh 
 any account, and, not seeing the Duke, 
 locks the gate from the outside and 
 goes away. The Duke appears, motions 
 the nurse to retire, and kneeling before 
 Gilda, declares his love for her ("E il sol 
 deir anima "), pretending he is a poor 
 student named Gualtier Malde. She 
 promises him her love and he goes away. 
 
35^ 
 
 THE MUSICAL GUIDE 
 
 Left alone Gilda muses on his dear name 
 ("Caro noma") and enters the house. 
 Outside appear three courtiers to steal 
 Rigoletto's supposed mistress. Rigoletto 
 appears and is told they are going to 
 steal Ceprano's wife. His fears for his 
 own daughter thus set at rest, he enters 
 the plot with zest, and is given a mask, 
 which blindfolds him, and is set to hold 
 a ladder by which the courtiers ascend 
 his own wall to steal Gilda. Though 
 she manages to scream, he does not 
 recognise her voice. Tearing off the 
 bandaging mask, he discovers too late 
 that he has aided in the violation of his 
 own home, and remembering Count 
 Monterone's malediction, he swoons. 
 
 Act 11. — Scene. The Duke's pal- 
 ace. He is brooding over the abduc- 
 tion of Gilda whom he truly loves 
 (" Parmi veder "). The courtiers enter to 
 tell him of stealing Rigoletto's mistress 
 (" Scorrendo uniti remota "). The Duke 
 recognises from their story that it is 
 Gilda whom they have stolen, and ex- 
 claiming that the voice of love calls 
 him (" Possente amor "), hurries away. 
 Rigoletto enters, trying to conceal his 
 anxiety from the taunting courtiers. 
 The Duchess's page enters, asking for 
 the Duke. They try uneasily to explain 
 his absence. Rigoletto suspects that 
 Gilda is with the Duke and confessing 
 that she is his daughter tries vainly to 
 force his way through the courtiers. He 
 curses them bitterly (" Cortigiani, vil raz- 
 za dannata "), and breaks down weeping. 
 Gilda appears and rushes to her father. 
 The courtiers withdraw, and Gilda tells 
 of her humble lover and her abduction. 
 Rigoletto weeps with her (" Piange, 
 fanciuUa "). The Count Monterone 
 passes in chains, confessing that his curs- 
 ing of the Duke has been vain, but Rig- 
 oletto fiercely vows to administer the 
 curse, though Gilda pleads against his 
 frenzy (" No, vecchio, t'inganni "). 
 
 Act III. — Scene. An old weather- 
 worn house on the bank of the Mincio. 
 Inside, Sparafucile cleaning his belt. 
 Outside Gilda pleads with her father 
 who has plotted the death of the Duke. 
 
 She persists that the Duke is faithful to 
 her. The Duke, dressed as a soldier, 
 now appears inside the house, and calls 
 for wine. He sings recklessly of " fickle 
 woman" (" La donna e mobile "), and 
 when Maddalena, Sparafucile's sister, 31* 
 appears, makes violent love to her, not j 
 knowing that Gilda and her father art 
 watching through crevices in the walls 
 The varying emotions are combined ir 
 the famous quartet (" Bella figlia dell 
 amore "). Sparafucile steps out am 
 bargains with Rigoletto, who wants hin 
 to kill the Duke and put the body in ; 
 sack which Rigoletto will throw inti ^j, 
 the river at midnight. He pays hal 
 the sum agreed and promises more. H 
 has sent Gilda on ahead to don boy' 
 clothes to aid their flight, and now io. 
 lows her out. A storm rises, and th 
 Duke decides to spend the night whei 
 he is. He goes up to a room, an 
 Maddalena pleads with Sparafucile m 
 to kill him. Gilda, who has stolen bac 
 in boy's clothes, overhears the pie; 
 The assassin says he will spare the Dul 
 if he can get someone else to put j^ 
 
 the sack. Gilda, to save her faithle ^, . 
 
 lover, knocks at the door and asks lod, 
 ing. As she is admitted, the lights a 
 put out. Rigoletto appears ; the clo ,^ , 
 
 strikes twelve. Sparafucile comes .j, 
 with a heavy sack, receives the mone „^^ 
 and goes. As Rigoletto is dragging t 
 sack toward the river, he hears t 
 Duke pass in the distance singing 
 donna e mobile." In amazement he 
 open the sack and finds his daught^ 
 She asserts with dying breath her 
 votion to the Duke, and promises j 
 pray for her father in heaven (" La:J 
 in cielo "). She dies, leaving himi 
 frantic grief and loneliness, confess-^ 
 the fulfilment of Monterone's malec;- 
 tion. 
 
 La Traviata (la tra-vl-a-ta). '".t 
 
 Erring One. 
 
 Three-act opera. Book by Pis:. 
 after Dumas fils' " La Dame aux €;.!• 
 melias" or " Camille " (with names >f 
 
 m 
 
STORIES OF THE OPERAS 357 
 
 characters changed, and time placed 
 back in 1700). 
 
 First produced disastrously, Venice, 
 March 6, 1853, the failure being largely 
 due to the embonpoint of the soprano, 
 whose wasting away was not convinc- 
 ing. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 VioLETTA Valere (va-la'-rc), 
 
 Mme. DonatelH, sopr. 
 Flora Bervoix (ber-vwa). 
 
 Her friend sopr. 
 
 Georgio Germont (jer'-mont), 
 
 Vavesi, bar. 
 Alfredo Germont, 
 
 His son tenor. 
 
 Baron Dauphol (da-oo-fol) bass. 
 
 Gastone de Letorieres (gas-to' -ne 
 
 da la-to-rl-a'-res) tenor. 
 
 Dottore Grenvil (dot-to'-re gran'-vel), 
 
 bass. 
 Marsuis d'Obigny (do-ben'-ye) . . .bass. 
 
 Act I. — Scene. The rich apartments 
 of Violetta, a demi-mondaine doomed 
 to die of consumption. She is giving 
 a dinner-party. Gastone introduces 
 Alfredo, who has conceived a deep pas- 
 sion for her. He is prevailed on to 
 sing a wine- song, but shows deep sym- 
 pathy when, the dinner finished, she 
 faints on the way to the ball-room. 
 She gives him a flower and he departs, 
 followed soon after by the other guests. 
 Left alone she thinks that she has at 
 last found a sincere lover, and falls into 
 ecstatic revery(" Ah, fors e lui "), " Per- 
 chance 'tis he that my fancy has been 
 painting in its loneliness." 
 
 Act II. — Scene i. A countrj' house 
 near Paris. Alfredo enters, rejoicing in 
 the blissful seclusion in which he is liv- 
 ing with Violetta. Her maid returns 
 from Paris, and betrays the fact that 
 Violetta has been pawning her re- 
 sources to keep up the country place. 
 He is overcome with the humiliation of 
 his position, and leaves for Paris to se- 
 cure funds. Violetta enters, and re- 
 
 ceiving a letter from Flora inviting her 
 back to the old gaiety, laughs at the 
 thought. An elderly man is shown in. 
 He announces himself to be Alfredo's 
 father. He has come to plead with her 
 to give up Alfredo as otherwise the 
 lover of Alfredo's sister will break off 
 the match because of the scandal. After 
 a bitter struggle, she consents, and he 
 embraces her and goes into the garden. 
 She writes a letter and Alfredo sur- 
 prises her. She leaves him, in great 
 agitation. Soon a messenger appears 
 with a letter, and he learns that Vio- 
 letta has fled. In his grief, his father 
 appears and endeavours to console him, 
 reminding him of his home in sunny 
 Provence ; but Alfredo reading Flora's 
 letter determines to follow Violetta and 
 revenge himself. Scene 2. Flora's 
 mansion. Some of her guests are gam- 
 bling, others pass in masquerade as 
 gipsies. Gastone leads a group of bull- 
 fighters, and recites the romance of the 
 Matador Piguillo. Flora and her de- 
 voted but quarrelsome Marquis have 
 various disagreements. Alfredo ap- 
 pears, and dejectedly joins the card- 
 players. Violetta enters upon the arm 
 of the Baron. Alfredo as he plays 
 makes slighting references to the fickle- 
 ness of the broken-hearted Violetta. 
 Dinner is announced, and all leave the 
 room save Violetta, who calls Alfredo. 
 She warns him of the Baron's fury. 
 He says he will go if she will go with 
 him, but she refuses, and he summons 
 all the guests and furiously denounces 
 Violetta as a mercenary wretch ; to pay 
 his debt to her he flings a purse at her. 
 She faints in the arms of her Doctor. 
 Alfredo's father enters and leads him 
 away. 
 
 Act III. — Scene. Violetta's bedroom. 
 She is asleep and her maid Annina 
 sleeps near the fireplace. The Doctor 
 arrives and tells Annina that Violetta 
 has only a few hours to live. When he 
 has gone, Violetta sends Annina to give 
 ten of her remaining twenty louis to the 
 poor, who are making holiday outside. 
 Left alone she reads an old letter from 
 
358 
 
 THE MUSICAL GUIDE 
 
 Alfredo's father, who has been moved 
 by her suffering to send for his son to 
 return from the foreign countr\'. She 
 fears that he will be too late. Annina 
 enters hastily, tr}-ing to prepare her for 
 the coming of Alfredo. They have a 
 rapturous reunion and decide to flee 
 from "dear Paris "(" Parigi caro "). 
 But weakness overcomes her, and she 
 accepts her fate. The Doctor and 
 Alfredo's father enter, but can be of 
 no help. She gives a medallion of her- 
 self to Alfredo as a memorial, and dies. 
 
 II Trovatore (el tro-va-to -re). The 
 
 Troubadour. 
 
 Four-act opera. Book by S. Com- 
 marano, from a drama by Garcia de la 
 Vega. Produced, Rome, Januar)' 19, 
 1853- 
 
 CHAR.A.CTERS. 
 
 Il Conte di Luna bar. 
 
 Manrico (man-re'-ko) tenor. 
 
 Ferran'do bass. 
 
 Ruiz (roo'-ets) tenor. 
 
 An Old Zingaro (Gipsy) bass. 
 
 Un Messo .' tenor. 
 
 Leonora sopr. 
 
 Azucena (a-tsoo-cha'-na) m.-sopr. 
 
 Ines (e'-nes) sopr. 
 
 Act I. — Scene i. Vestibule to the 
 apartments of the Count. Ferrando 
 tries to keep awake the other servants 
 by telling them the stor\- of the Count's 
 younger brother, who had been be- 
 witched in his cradle by a gipsy. For 
 this the gipsy had been burned. Her 
 daughter, and the Count's baby brother 
 then simultaneously disappeared. It 
 was believed that he had been burned. 
 Ferrando hopes some day to meet this 
 younger gipsy. Scene 2. The gardens 
 of the Queen's palace. Leonora, her 
 maid of honour, tells her friend Ines 
 how she fell in love with a cavalier at a 
 tournament. He appeared again one 
 placid night (" Tacea la notte placida "), 
 and sang to her as a Troubadour. She 
 confesses her love for him (" Di tale 
 amor che dirsi "). The two women with- 
 
 draw, and the Count di Luna appears, 
 breathing love for Leonora. Outside he 
 hears the voice of a Troubadour singing. 
 Leonora rushes out and mistaking the 
 Count for the singer, embraces him. 
 The Troubadour appearing upbraids 
 Leonora's faithlessness, but she ex- , 
 plains her mistake. The Count chal- ; 
 lenges Manrico to combat, and the ' 
 men withdraw, Leonora fainting with 
 terror. 
 
 Act II. — Scene i. A ruined house at 
 dawn. Azucena, a gipsy, near a large . 
 fire ; near her Manrico. Gipsies gathered I 
 about. The men working with their 
 hammers sing the famous " Anvil cho- 
 rus" (" Vedi le fosche "). Azucena- 
 sings a fierce song of burning a woman . 
 at the stake ("Stride la vampa ! "). j 
 The others disperse to their tasks, leav- ; 
 ing Azucena and Manrico together. : 
 She tells him the dismal story of her 
 mother's death for sorcer)-, and how ' 
 she, mad for revenge, had seized the ' 
 Count's younger brother, as she 
 thought, and burned him to death, 
 only to find that she had burned her' 
 own child. Manrico e.xclaims, " Then i fj 
 I am not your son." But Azucena 
 denies her own words and says she 
 was raving. Manrico tells her that he 
 has once more met his old enemy the 
 Count, this time not in battle but in 
 duel ; he had defeated him, but had 
 spared his life. Azucena commands 
 him never again to spare the Count. A 
 messenger appears and summons Man- 
 rico to the command of the troops. He 
 bids Azucena farewell and goes. Scene 
 2. Convent cloisters at night. The 
 Count with his followers has come to 
 kidnap Leonora, whose beauty he 
 cannot resist ("II balen del sue 
 sorriso "). A chorus of nuns is heard. 
 Leonora and Ines appear, and Leonora 
 declares her intention to take the veil. 
 The Count seizes her, but .Manrico 
 appears and later some of his fol- 
 lowers. Leonora consents to go with 
 Manrico. 
 
 Act III. — Scene i. Camp of Count 
 di Luna, outside a besieged castle. 
 
 ifi 
 
 
STORIES OF THE OPERAS 359 
 
 Ferrando and chorus sing a martial 
 songC Squilli, eccheggi la tromba guer- 
 riera "). The Count appears and is told 
 that a spying gipsy has been captured. 
 Azucena is brought in. She says her 
 home is Biscay and the Count says his 
 younger brother was stolen there. Fer- 
 rando recognises her, she is seized, and 
 calls on Manrico her son to save her. 
 The Count rejoices at this double re- 
 venge. Scene 2. A room near a 
 : chapel in the castle. Leonora and Man- 
 j i rico together. He rejoices in her love 
 ! as an aid in battle (" Ah, se ben mio "). 
 They are about to be married in the 
 chapel when Manrico's friend Ruiz 
 , brings news that Azucena is taken, and 
 j is to be burned. Manrico in horror 
 I (" Di quella pirra ") rushes to rescue 
 ! her. 
 
 i Act IV. — Scene i. Outside a palace 
 j tower at night. Leonora and Ruiz 
 I enter. Manrico has been captured ; she 
 sends him hope and comfort " on love's 
 rosy wings " (" D'amor sull' ali rose"). 
 A death-knell is tolled and voices are 
 j heard chanting a" Miserere." She hears 
 Manrico bewailing his fate ("Ah, che la 
 morte ognora "), and she vows to save 
 him at all costs (" Tu vedrai che amore 
 in terra "). She withdraws as the Count 
 enters, then accosts him and begs for 
 Manrico's life with bitter tears (" Mira, 
 di acerbe lagrime "). She finally offers 
 ; herself as payment for Manrico's life. 
 i The Count gives the order to release 
 Manrico, and Leonora takes poison from 
 a ring, then follows the Count. Scene 
 2. A prison ; Azucena and Manrico. 
 Azucena sees in terrible vision her own 
 mother's death at the stake. She falls 
 asleep watched by Manrico. The Count 
 and Leonora enter. She offers him free- 
 dom and begs him to fly. He curses 
 her ; but she dies before him and he 
 understands her fidelity. The Count, 
 thus foiled, orders Manrico out to death. 
 He awakes Azucena and drags her to 
 the window, and shows her Manrico's 
 dead body. She exclaims, " He was 
 your brother ! Thus thou art avenged, 
 mother mine ! " 
 
 WAGNER, WILHELM RICHARD. 
 
 [Who wrote all of his own librettos.] 
 Der Fliegende Hollander (d^r fle- 
 gen-de h61'-lent-6r). The Flying 
 Dutchman. In French as " Le Vais- 
 seau Fantome" (le ves-s6 fah-tom). 
 In Italian, first as " L'Ollando'se 
 danna'to"then as " II Vascello Fan- 
 tas'ma " (el va-shel'-lo) or " The 
 Phantom Ship." 
 
 Three-act opera, book and music by 
 Wagner. Conceived during a very 
 stormy three-weeks sea-voyage in 1839. 
 Begun, 1841. Produced, Dresden, 
 January 2, 1843. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Daland (da-lant), 
 
 A^orccegian sea-captain bass. 
 
 Erik (a'-rek), 
 
 A huntsman tenor. 
 
 Das Steuermann (das shtoi'-er-man), 
 
 Daland' s pilot tenor. 
 
 The Hollander Wechter, bar. 
 
 Senta (zan'-ta), 
 
 Daland's daughter, 
 
 Frau Schroder-Devrient, sopr. 
 Mary (ma-re) m.-sopr. 
 
 Act I. — A rocky shore. Under. a 
 heavy storm a Norwegian ship has cast 
 anchor close to shore. The sailors are 
 heard singing as they furl the sails. 
 Daland on the rocks grumbles at being 
 driven inshore so near his port, so near 
 home and his dear old child .Senta. 
 The storm subsides and Daland (with 
 grand opera license) is able to step 
 aboard as easily as he stepped ashore. 
 He orders the sailors below to rest and 
 leaves the pilot to take the watch. Left 
 alone, the pilot sings a love-song of his 
 sweetheart (" Mein Miidel ") and the 
 southwind that brings him home. He 
 gradually falls asleep. The storm wak- 
 ens and a ship with blood-red sails and 
 black masts appears and drops anch- 
 or with a crash ; then the uncanny 
 crew furl the sails without noise, and 
 go below. The captain landing, ex- 
 claims that the seven-year terror is past 
 
36o 
 
 THE MUSICAL GUIDE 
 
 and he may come ashore a little while. 
 He bewails his lot, cursed to sail on 
 forever till the Day of Judgment unless 
 some woman perchance may love him 
 unchangingly. He feels the futility of 
 such hope and cries to heaven to de- 
 stroy him. On Daland's ship there is a 
 scene of excitement. Daland, coming 
 on deck, finds his pilot asleep and a 
 strange ship near ; he goes ashore and 
 meets the newcomer, who tells him of 
 his sad lot and begs a home for a time ; 
 he has a chest brought from his ship 
 and offers the pearls it contains for a 
 night's hospitality, and still greater 
 wealth for the hand of the daughter 
 Daland mentions. The canny Daland 
 accepts, and the two captains going 
 aboard cheerfully make sail for Da- 
 land's port. 
 
 Act II. — Scene. Interior of Daland's 
 home. Among charts, pictures, etc., on 
 the wall is a portrait of a pale, black- 
 bearded man in .Spanish garb. The 
 room is filled with girls at spinning 
 wheels. Senta and Mary are among 
 them. Senta alone of all is sad, and the 
 merry spinning chorus (" Summ' und 
 brumm' ") does not enliven her. Mary 
 rebukes .Senta for gazing at the por- 
 trarit. They finally persuade her to sing 
 the ballad of the " Flying Dutchman," 
 whose portrait it is. She sings of the 
 ship with blood-red sails and black 
 mast and her sleepless spectral captain, 
 who must sail on and on forever be- 
 cause in trying to round a cape in the 
 teeth of a gale he swore, " I will keep on 
 trying to all eternity." Satan heard him 
 and condemned him to sail eternally 
 till some maiden should love him faith- 
 fully. He may land once in seven years 
 to hunt for such a wife. At the end of 
 the ballad Senta e.xcitedly cries out 
 that she herself would be that faithful 
 woman. Her lover Erik enters, and, 
 hearing the words, is deeply hurt at her 
 resolve. When the spinners finish the 
 task and leave, he pleads for her love ; 
 but she puts him off, eager to welcome 
 her father, whose ship has been sighted. 
 Erik is jealous of the picture and tells 
 
 her that he has dreamed of seeing her 
 father coming home and bringing the 
 Flying Dutchman ; in the dream Senta 
 embraced the stranger and sailed away 
 with him. On hearing this dream, 
 Senta e.xclaims that she feels the Flying 
 Dutchman to be her destiny. Erik 
 rushes away in horror. Senta, remain- 
 ing gazing at the picture, suddenly sees 
 her father enter with — the Dutchman 
 himself ! Her father, amazed at her 
 stupor, tells her that the stranger has 
 come to find a home and a wife. Com- 
 mending each to each, he goes away, 
 leaving them together. The Dutchman 
 muses on her beauty and she on his 
 sorrow. He asks her to be his wife and 
 she vows to follow him through all. 
 Daland returning is rejoiced at the out- j 
 come. 
 
 Act III. — Scene. A bay at night ; 
 on shore, Daland's house ; in the bay 
 Daland's and the Dutchman's ships at 
 anchor. Daland's sailors are making 
 merry on deck singing " Pilot, leave the 
 watch" (" Steuermann, lass die 
 Wacht "). Girls come from the house 
 with food and drink for the sailors. 
 They are surprised at the unnatural 
 gloom and silence on the Dutch ship. 
 They can get no response to their 
 taunts. At length a strange blue flame 
 appears on the Dutch ship, and gradu- 
 ally a storm rocks the weird craft, leav- 
 ing the bay and the other ship calm. 
 The Dutch sailors now bestir themselves 
 and chant a sardonic song of the van- 
 ity of the Dutchman's hopes. The 
 Norwegian sailors and women are. 
 frightened and try to drown the uncanny 
 song with their own, but vainly, and 
 finally go below in terror, and silence 
 takes the Dutch ship again. Erik and 
 Senta come from the house, he pleading 
 with her frantically and imploring hei 
 to remember the dav of their young 
 love (" Willst jenes Tag's"). Tht; 
 Dutchman entering hears his plea and, 
 thinking .Senta false, cries out in despair.' 
 and orders his crew to set sail, weigl- 
 anchor and away. Senta pleads witf 
 him, in spite of Erik's prayer, but th« 
 
 ._UJ _ 
 
STORIES OF THE OPERAS 361 
 
 Dutchman mocks her. He proclaims 
 his identity and, going aboard his ship, 
 puts to sea. Senta is restrained from 
 following him by her father and others 
 who rush out. But she breaks away, 
 and with a last cry, " Here am I, faith- 
 ful unto death ! " leaps into the sea. 
 The Dutch ship sinks, and in the sun- 
 set glow Senta and the Hollander are 
 seen rising, transfigured in each other's 
 arms. 
 
 Die Meistersinger von Niirnberg 
 
 (de mi'-ster-zlng-er fon niirn'-berkh). 
 Les Maitres Chanteurs (la metr shah- 
 ttir). I maestri cantori di Norim- 
 burga (e ma-a'-stre kan-to'-re). The 
 Mastersingers of Nuremburg. 
 A 3-act Comic Opera. First sketched 
 in Vienna, 1845, the text finished and 
 published, Paris, 1862, music finished, 
 1867. 
 Produced, Munich, June 21, 1868. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Hans Sachs (hans zakhs), 
 
 A cobbler and fatuous writer, 
 
 Betz, bass. 
 Veit Pogner (fit pokh'-ner), 
 
 A goldsmith bass. 
 
 SixTus Beckmesser (ze.x'-toos bek'-mes- 
 ser), 
 
 To7vn clerk Holzel, bass. 
 
 Fritz Kothner (frits kot'-ner), 
 
 A baker bass. 
 
 Eight other tradesmen. 
 Walther von Stolzing (val -ter fon 
 shtol'-tslng), 
 A young Franconian Knight, 
 
 Nachbauer, tenor. 
 David (da -fet), 
 Apprentice to Hans Sachs, 
 
 Schlosser, tenor. 
 Eva (a'-fa), 
 
 Pogner' s daughter, in love with Wal- 
 ter, Frl. Mallinger, sopr. 
 Magdalene (makh-da-Ia'-ne), 
 
 Evas maid, in love with David, 
 
 Frau Dietz, m. sopr. 
 A Night Watchman. 
 
 Note. — This semi-historical opera 
 concerning the guild of Mastersingers 
 is a comic companion-piece to Tann- 
 hauser (q. v.. Note a), but without su- 
 pernatural personages. It is also a 
 satirical answer to Wagner's academical 
 critics. Hans Sachs is an actual figure 
 in early German literature. 
 
 Act I. — Scene. Interior of St. Kath- 
 erine's church. A service is just clos- 
 ing. Walter gazes at Eva, who flirts 
 with him, and when, as the congrega- 
 tion disperses, he speaks to her, she 
 gains time by sending her nurse back 
 for a scarf-pin, then her prayer-book. 
 The anxious nurse tells the ardent 
 lover that Eva must marry the vic- 
 tor in the next day's song-tourney. 
 David enters and busies himself draw- 
 ing curtains to shut off the nave. Eva, 
 comparing Walter to the painter Dii- 
 rer's picture of the Biblical David, is 
 misunderstood by Magdalene to refer 
 to the awkward apprentice. David 
 and other apprentices are preparing the 
 room for the Mastersingers ; they are 
 about to undergo the examination that 
 will admit them to the guild. Walter 
 decides to try the examination. David, 
 with his shoemaking companions, tells 
 him how a song must be cut, soled and 
 heeled to fit the rigid requirements of 
 the guild. With many interruptions 
 from the skylarking apprentices, David 
 tells Walter of the various steps ; first 
 the thirty-six musical tones and modes 
 must be learned, they make a long list 
 most arbitrarily named as "short, long, 
 crimson, luscious, nightingale, secret, 
 glutton, pelican, etc." Once these are 
 known, they must be sung with proper 
 voice production and correct embellish- 
 ment. Having thus become " a scho- 
 lar" and "a singer," one must pass the 
 examination as " Poet," manipulating 
 rimes adroitly but strictly within limits 
 of the rules. To become a "Master- 
 singer " one must sing both poetry and 
 music of his own composing, and do all 
 three feats without breach of the thirty- 
 three canons. A blackboard is brought 
 
362 
 
 THE MUSICAL GUIDE 
 
 in. On this one of the judges, called 
 the " Marker," chalks down each mistake 
 — seven are allowed ; if more are made 
 the candidate is declared " outsung and 
 outcast." I'ognerand Beckmesser enter, 
 the latter, a grotesque old pedant, beg- 
 ging Pogner to plead with his daughter 
 on his behalf, Pogner having declared 
 that though Eva is to be the prize, she 
 must add her consent before she will be 
 made to marry the victor. Walter an- 
 nounces himself as a candidate for 
 Mastership. Beckmesser is jealous, 
 but the rest welcome the young noble- 
 man. The roll is called, Pogner an- 
 nounces the prize he offers for the next 
 song contest — his daughter, who must 
 add her verdict to that of the judges. 
 Hans Sachs suggests that the public 
 also be given a voice in the decision. He 
 defends their right to be considered, 
 lest art grow too severe and hidebound. 
 He enrages Beckmesser by hinting that 
 only the young bachelors be allowed to 
 vie for the girl's hand. Walter is 
 brought forward, and asked who has 
 been his teacher. He says the books 
 of the old Minnesinger \\ alter von der 
 Vogelweide (vide Tannhauser) have 
 taught him poetry ; he has learned mu- 
 sic of the birds in the woods. His tui- 
 tion is received with scepticism save by 
 Sachs, and he prepares for the trial. 
 Beckmesser goes to the Marker's box. 
 Kothner summarises to him the rules, 
 and Walter begins a joyous song of 
 spring and love. Beckmesser is heard 
 scratching down the marks, and at the 
 end shows the blackboard quite cov- 
 ered. The other masters ridicule the 
 formless composition, and Walter is 
 allowed to sing his second stanza only 
 when Sachs has outwrangled Beck- 
 messer, who insults him as a poor 
 cobbler. The spontaneous lilt of the 
 second attempt Beckmesser finds guilty 
 of breaking every rule, and despite 
 Sachs' plea for genius unfettered, a vote 
 throws Walter out, and the meeting 
 disperses in confusion. 
 
 Act 11. — Scene. A Street, on one 
 side Hans Sachs' Shop ; on the other 
 
 Pogner's residence, in front of it a lime- 
 tree and shrubs. It is evening and the 
 apprentices are putting up the shutters, 
 and thinking of the next day's festival. 
 Magdalene enters with a basket of 
 sweets for David ; on learning of Wal- 
 ter's rejection, she snatches it away, 
 and hurries into the house. The ap- 
 prentices mock him, and Sachs, on his 
 way to his shop, stops an impending 
 brawl. Pogner and Eva enter ; he says 
 she must wed none but a master, and 
 enters the house. Eva and Magdalene, 
 after deciding to consult Hans Sachs, 
 follow Pogner. Sachs appears and sits 
 down at his bench to make shoes for 
 Beckmesser ; he falls to musing on the 
 strange, lawless charm of Walter's song. 
 Eva steals across to him, but being 
 timid of direct questioning, gets noth- 
 ing from him but vexation and banter 
 and reproval of the aristocrat, who 
 would not study the rules. He with- 
 draws to his shop, leaving his door slight- 
 ly ajar. Magdalene tells Eva to prepare 
 for a serenade from Beckmesser, who 
 hopes so to soften her heart to him. ' 
 Walter appears and tells Eva of his hu- 
 miliation. The watchman passes, or-, 
 dering all lights out. Eva slips into the 
 house, and \\'alter hides behind the 
 lime-tree. Hans Sachs has overheard, 
 and, fearing an elopement, turns a 
 bright light across the street. Eva 
 slips out in Magdalene's cloak, but she. 
 fears to cross the light. Beckmesser is, 
 now seen approaching, and the lovers 
 hide behind the shrubbery. Sachs, re-j 
 suming his work, sings lustily a song of; 
 Eve driven barefoot out of Paradise, 
 and needing the aid of a cobbler. The' 
 cunning allusion to Eva's own plan to 
 become an exile is not lost on the girl 
 hidden with her lover behind the shrub- 
 ben,-. Beckmesser, seeing Magdalene 
 at an upper window, sings to her his^ 
 idea of an artistic serenade, pretending; 
 to Sachs, whom he cannot get rid of, 
 that he is singing merely to get Sachs' 
 opinion. The cobbler now plays Mark- 
 er, noting each mistake with a thwaci 
 of his hammer on the shoe. Beck 
 
 t 
 
 I 
 
STORIES OF THE OPERAS 363 
 
 messer lays the stress on the wrong 
 syllables, adds tawdry flourishes, etc. 
 Sachs finds so many mistakes that 
 the shoe is finished before the song. 
 The neighbours now begin to com- 
 plain. David appears and cudgels 
 Beckmesser. The whole town falls 
 into a riot, and Walter decides to 
 clear a way through. He and Eva 
 make a dash, but Sachs seizes Wal- 
 ter, and Pogner appearing drags Eva 
 inside the house. Sachs drives David 
 in, and forces Walter also into his 
 house. And the watchman appearing 
 disperses the crowd. 
 
 Act III. — .Scene I. Interior of Sachs' 
 workshop. Sachs is reading. David en- 
 ters with a basket full of ribbons and 
 edibles, which he hides from his master. 
 He tells Sachs that he and 'Lena have 
 made up, but Sachs does not hear him. 
 At length he closes his book, and has 
 David rehearse his trial-song. David 
 begins with Beckmesser's tune, but cor- 
 r.ects himself. Sachs dismisses the ap- 
 prentice more gently than usual, and 
 falls into reverie on the troublesome lit- 
 tle things of life. Walter appears, hav- 
 ing slept ill. Sachs counsels him that 
 his passionate spring song was all very 
 well, but that life and wedlock demand 
 more serious art and science. In a long 
 .scene he now writes down and corrects 
 , and guides the composition of a song as 
 : Walter improvises it. Two sections or 
 " bars " being shaped, Sachs says Wal- 
 ter can fashion the third later, and goes 
 with him to dress for the festival. 
 Beckmesser limps in and, finding Sachs' 
 manuscript of Walter's song, slips it in 
 his pocket. Sachs re-enters only to be 
 reviled as a rival and conspirator against 
 Beckmesser. In proof he shows the 
 song. Sachs says he may keep it, and 
 use it. Beckmesser is overcome with 
 delight at having a poem by the gifted 
 Sachs, and hurries away to compose his 
 music. Eva enters, pretending to be 
 troubled by a tight shoe ; but she can- 
 not tell where it pinches. She is evi- 
 dently scheming to see Walter, who 
 5oon appears. Sachs draws off her shoe 
 
 and pretends to be busy with it, while 
 Walter sings to Eva the third bar of his 
 prize-song. As Sachs sighs ironically 
 of the miseries of his trade, Eva tells 
 him that she could have loved him had 
 not Walter appeared. But Hans Sachs 
 alludes to the fate of the old husband, 
 who intervened between Tristan and 
 Isolde (the love-motive of that opera 
 being quoted in the music). Magda- 
 lene and David enter. .Sachs says a 
 new mode of art has been created by 
 Walter, and with a box on the ear he 
 raises David to a journeyman. The 
 five unite in a song of hope for Walter's 
 success — this glorious quintet is well 
 known. Eva and Magdalene go home, 
 and the scene changes to 2. The banks 
 of the river Pegnitz ; a stage has been 
 erected for the contest, and the " Cor- 
 porations" arrive in the following or- 
 der : Shoemakers, Instrument makers, 
 Tailors and Bakers. The apprentices 
 gather. David waltzes with a girl till 
 someone mentions Magdalene. The 
 Masters gather, and Pogner leads in 
 Eva. .Sachs steps forward, but the af- 
 fectionate people break out into one of 
 his own songs. Sachs then tells of the 
 unusual prize of the contest. Beck- 
 messer is the first to sing, and is re- 
 ceived with laughter. He sings Wal- 
 ter's verses to his old serenade tune. 
 The words fit it so ill, that he becomes 
 confused, mixes his metaphors and 
 words and sings arrant nonsense. He 
 at length breaks down and, accusing 
 .Sachs of the fault, rushes away. .Sachs 
 says the song is not his, and only needs 
 good music. To prove it, he asks Wal- 
 ter to sing it ; Walter takes his place 
 and wins the enthusiasm of the throng 
 by his art. The people at last vote him 
 the prize. Pogner welcomes him as a 
 Master. Sachs gives him counsel in the 
 glory of German poetry and song, and 
 places the golden chain about his neck. 
 Eva takes the Master's wreath from 
 Walter's head and places it on that of 
 Sachs. Walter and she embrace the 
 cobbler, whom all hail with affectionate 
 homage. 
 
3^4 
 
 THE MUSICAL GUIDE 
 
 Lohengrin (lo'-en-gren). 
 
 Three-act opera. Begun in 1845. 
 Produced, Weimar, August 28, 1850 
 (Goethe's birthday). 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Lohengrin Beck, tenor. 
 
 Heinrich der Vogler (hin'-rlkh der 
 fokh'-ler) ("Henry the Fowler"), 
 
 Emperor Hofer, bass. 
 
 Friedrich von Telramund (fret'-rtkh fon 
 
 tel'-ra-moont) Millde, bar. 
 
 The Herald of the King bass. 
 
 Elsa von Brabant (el'-za fon bra -bant), 
 Frau Agathe, sopr. 
 Ortrud (or'-troot). 
 
 Wife of Count Telramund, 
 
 Frl. Fastlinger, alto. 
 
 Act I. — Scene. The banks of the 
 Scheldt in Brabant near Antwerp, 
 / Tenth Century. After the Herald's 
 
 message the Emperor Henry announces 
 that he has come to Brabant to gather 
 forces to repel the Hungarians ; he 
 learns that the people are in discord. 
 He calls on Telramund to explain, and 
 is told by him that the late Duke had 
 died, leaving two children in Telra- 
 mund's charge. The son and heir has 
 disappeared and he accuses the sister 
 Elsa of putting him out of the way. He 
 therefore claims the Duchy as next 
 kinsman. The accused is summoned 
 to trial, and she enters, answering the 
 King's questions by telling a dream she 
 had of an angelic knight and defender. 
 Telramund offers to undergo the ordeal 
 of battle (which was then the procedure 
 of the courts) and Elsa says she will 
 have no champion save the one she 
 dreamed of. Four trumpeters sound 
 North, South, East, and West, but no one 
 appears to champion her. She kneels 
 in prayer ; from the distance comes a 
 knight in a boat drawn by a swan. All 
 are amazed except Ortrud, who is ter- 
 ror-stricken. The knight (who is Parsi- 
 fal's son Lohengrin, one of the semi- 
 deified Knights of the Holy Grail period 
 of King Arthur) bids farewell to the 
 
 swan, which departs. He announces I 
 himself Elsa's champion, but makes one j 
 stipulation : that she shall ask no ques- ! 
 tions of who or what he is, or whence i 
 come. She promises and is embraced | 
 as his betrothed. The ground, is now 
 prepared for the fight and with due 1 
 ceremony the contest begins. Telra- I 
 mund is soon beaten down, but his life is 
 spared, and he and his wife are crushed 
 with shame, while the Knight is hailed 
 with joy by the others. 
 
 Act II. — Scene. Night outside the 
 palace. On the steps of the Minster 
 opposite, cower Telramund and his 
 wife. Under the ban of confiscation 
 and exile they linger in rags. He re- 
 viles her as the cause of his disgrace, 
 the lying accuser of Elsa and the source 
 of the whole plot. She promises in one 
 day to ruin Elsa by making her ask 
 Lohengrin the forbidden question. She ; 
 relies on witchcraft for success. Elsa 
 appears on the balcony in blissful rev- 
 erie. Ortrud with mock meekness ad- 
 dresses her, craving pity, which Elsa 
 bestows. She comes down to take into! 
 shelter the outcast noblewoman, prom-! 
 ising to add Lohengrin's forgiveness- 
 to her own. She invites her to attend 
 the wedding, and Ortrud, pretending 
 gratitude, says she would save Elsa 
 from impending ill, and hints thatj 
 Lohengrin may depart as easily as 
 he came. Elsa, ill at ease, takes heij 
 into the house, and Telramund watche<: 
 gloatingly. Day begins with th( 
 bustle of servants and the sounding o 
 trumpets to gather the people. Th< 
 Herald publishes Telramund's exile, Lo 
 hengrin's accession to his estates, hi 
 wedding to Elsa, and the departure th 
 next day of all the warriors to battle 
 Four noblemen, angry at being callc' 
 on for service, find Telramund and cor 
 ceal him. The wedding processio 
 forms, Elsa entering with Ortrud richl 
 garbed. As Elsa is about to ascend tb 
 Minster step, Ortrud angrily darts i' 
 front of her, demanding precedenc< 
 She casts aspersion on the mysterioi 
 Knight. The King and Lohengri 
 
 
STORIES OF THE OPERAS 365 
 
 press through the crowd, and Lohen- 
 grin, rebuking Ortrud as an evil sorcer- 
 ess, starts to lead Elsa up the steps. 
 Telramund confronts him, demanding 
 his name and station. Lohengrin sees 
 with grief that Elsa is disheartened and 
 afraid. Telramund whispers to her 
 that if the Knight but lose even a 
 finger-joint, he must tell all. Elsa 
 hesitating, finally falls on Lohengrin's 
 bosom and enters the Minster with him. 
 Act III. — Scene i. The bridal chamber. 
 The procession enters and Lohengrin 
 and Elsa are divested of their outer 
 robes. Left alone they exchange words 
 of bliss, and she says her only regret is 
 that she may not know and speak his 
 name. She persists in her questioning, 
 despite his entreaties. Suddenly Tel- 
 ramund and the four nobles rush in with 
 swords drawn. Elsa seizes Lohengrin's 
 sword and hands it to him quickly. He 
 kills Telramund with it and bids the 
 nobles, who yield, to take the body to the 
 King. Elsa swoons and he summons 
 her women and bids them take her also 
 before the King. He promises there to 
 give her the answer she has asked ; and 
 sadly departs. — The scene changes to 
 that of Act I. The armies gather and 
 the King promises them success in 
 battle. Telramund's body is brought 
 in, followed soon by the tottering and 
 dejected Elsa, then by the mournful 
 Lohengrin. He tells the King he can- 
 not go to the war with the armies : he 
 says that Telramund was slain as a 
 midnight assassin, and that Elsa has 
 been lured into breaking her vow. He 
 says he has no shame of birth to con- 
 ceal, and describes the Temple of the 
 Holy Grail (i.e., the second cup or grail, 
 from which Christ drank at the Last 
 Supper, which contained the blood He 
 shed on the cross, and which is preserved 
 and renewed yearly by the Holy Ghost, 
 as it is guarded by Knights chosen for 
 blameless life). Lohengrin declares that 
 heistheson of Parsifal (see the storj- of 
 that opera), and has been sent to rescue 
 the maiden. The swan reappears and 
 Lohengrin announces that the Grail is 
 
 recalling him. He says that Elsa's 
 brother will return to her, and gives 
 her for him his sword, horn, and ring, 
 which ensure her brother's success. 
 Ortrud exultantly confesses that Elsa's 
 brother is the swan, changed to that 
 shape ; if the Knight had remained, the 
 swan would have been freed of the 
 spell. Lohengrin listening kneels in the 
 boat to pray. A dove descends, Lohen- 
 grin joyfully removes the chain from the 
 swan, which sinks. In its place appears 
 Elsa's brother. Ortrud falls with a 
 shriek. Elsa greets the boy with such 
 delight that she does not see the dove 
 taking the chain and drawing the boat 
 away. The nobles kneel to the returned 
 boy, but Elsa seeing Lohengrin already 
 far in the distance, faints with a last 
 cry, "My husband ! " 
 
 Tristan und Isolde (tres'-tan oont 
 e-z61t'-e). Tristram et Yseult (tres- 
 trah a e-sul), F. Tristram and Isolde. 
 Three-act " Action." Composed 
 
 1857-59. Produced, Munich, June lO, 
 
 1865. 
 
 CHAR.\CTERS AND THEIR CREATORS. 
 Tristan, 
 
 Cornish A'nighi, 
 Ludwig Schnorr von Carolsfeld, tenor. 
 KuRWENAL (koor'-fe-nal), 
 
 His squire Mitterwurzer, bar. 
 
 KoNiG Marke (ka'-nTkh mar'-ke), 
 
 Zoltmayer, bass. 
 Melot (ma'-lot). 
 
 King of Cormvall tenor. 
 
 Steersman bar. 
 
 Young Sailor tenor. 
 
 Shepherd tenor. 
 
 Isolde, 
 
 Daughter of the king of Ireland, 
 Frau Schnorr von Carolsfeld. .sopr. 
 Brangane (brang-a'-ne). 
 
 Her attendant Frl. Deinet, sopr. 
 
 Act I. — Scene. A pavilion on the 
 forward deck of a ship ; a tapestry clos- 
 ing from view the portion aft. Isolde 
 reclining on a couch, Brangane gazing 
 
366 
 
 THE MUSICAL GUIDE 
 
 out over the sea. The voice of an un- 
 seen sailor singing of his Irish love. 
 Isolde starts up in a sudden fury. Bran- 
 gane is distressed. Isolde calls for air. 
 Isolde throws back the tapestry, show- 
 ing sailors and knights and Tristan look- 
 ing off seaward. Isolde speaks scornful- 
 ly of Tristan to Brangane, who defends 
 him. Sent to summon Tristan, Bran- 
 gane finds him reluctant to come ; he 
 says his only duty is to take the bride 
 Isolde, willing or not, to King Marke, 
 who awaits her. The devoted Kurwe- 
 nal emphasises this point, but is re- 
 proved by Tristan, while Brangane 
 draws the curtains again. The insulted 
 Isolde tells her of the first meeting when 
 once, years before, she had found Tristan 
 wounded in Ireland and had nursed him 
 to health, though she should have killed 
 him, since he had killed her kinsman 
 and betrothed lover Thorold. He had 
 made love to her and she had forgotten 
 the blood-feud between them ; then he 
 had sailed away, only to return to de- 
 mand her hand for his king and lead 
 her away as bride to another. She 
 curses Tristan. Brangane tries to calm 
 her, but at Isolde's order brings out a 
 coffer of medicines and poisons. Isolde 
 indicates a deadly draught. The crew 
 is heard greeting the land. Kurwenal 
 appears to bid them prepare to disem- 
 bark. She tells him to send Tristan to 
 her. Brangane pleads irantically, but is 
 silenced as Tristan enters. He explains 
 that honour has kept him far from her, 
 and she bitterly reminds him that she 
 should have slain him for killing Tho- 
 rold. He offers her his sword, but now 
 she pretends to have forgiven him and 
 asks him to seal the peace with a 
 draught ; she offers him the cup and he 
 drinks ; she snatches it away from him 
 and drains the rest. Instead of both dy- 
 ing as Isolde expects, the draught, which 
 Brangane has surreptitiously changed 
 to a love-potion, makes them lovers, 
 madly impassioned and blind to all that 
 goes on about them. They do not ob- 
 serve even the bustle of landing, and the 
 approach of King Marke from shore. 
 
 Act II. — Scene. A garden with steps 
 leading up to Isolde's chamber. A 
 torch burns. In the distance the horns 
 of far-away hunters are heard. Isolde is 
 awaiting Tristan. Brangane warns her 
 that Melot, her pretended friend, is 
 actually spying on them ; she bitterly 
 regrets her mixture of the love-potion, 
 but Isolde says it is destiny. She 
 quenches the torch as a signal, and 
 beckons to Tristan, who hurries in. 
 They have a long scene of unrestrained 
 ecstasy, the voice of Brangane, who 
 watches unseen from the tower, falling t 
 on their ears with unheeded warning. 1 
 At last she screams. Kurwenal rushes jl 
 in to warn Tristan, but King Marke, i " 
 and Melot and others appear and con- j 
 front the lovers. Tristan in a daze tries j 
 to conceal Isolde, who is overcome with j 
 shame. Melot is violent with accusa- i ; 
 tions, but King Marke is only bewil- j ; 
 dered and mystified. Tristan confesses j .': 
 equal bewilderment, is ready to die, 
 however, and asks Isolde if she will die i I 
 with him. She says she will follow him j 
 anywhere ; he kisses her. Melot draws j 
 his sword. Tristan rebukes him as a i 
 false friend, draws and attacks, but lets ' 
 himself be wounded, and falls in Kur- I 
 wenal's arms. Isolde throws herself on ; 
 his breast. I - 
 
 Act III. — Scene. A castle garden on H 
 the cliffs. The mortally wounded Tris-j ii 
 tan lies sleeping on a couch watched by 
 the anxious Kurwenal. A shepherd 
 playing a melancholy air on a pipe 
 pauses to inquire of Tristan's welfare. 
 He is watching for a ship — Isolde's, if 
 he sees it, he will pipe merrily. Tris-; 
 tan wakes drearily. Kurwenal explains 
 how he had carried the wounded Tris-' 
 tan away to his own long-deserted cas-i ^■ 
 tie. Tristan tells a dream he had of^ i 
 Isolde. Kurwenal says he has sent foi' ' 
 her to come and heal the wound. This 
 enraptures Tristan for a moment, but 
 he sinks back under the spell of the, 
 shepherd's wailing song. He waken; 
 again, however, and the shepherd play: 
 a brighter melody. A ship 
 Isolde leaps ashore, and 
 
 r 
 
 is sighted l 
 Kurwena j^ 
 
STORIES OF THE OPERAS 367 
 
 hastens down the steep to bring her up. 
 Tristan, left alone in a delirium of joy, 
 desires to meet Isolde again as when 
 she first saw him — with bleeding wounds. 
 He tears the bandage from his wound, 
 staggers toward her, and dies in her 
 arms with a last sigh " Isolde !" The 
 shepherd now warns Kurwenal that an- 
 other ship has landed with King Marke 
 and Melot. They barricade the gate. 
 Kurwenal kills Melot and resists Marke 
 and his followers, not heeding Bran- 
 gane's appeals, and is wounded to 
 death. Brangane tries to explain to 
 Isolde that she has told the story of the 
 love-potion. The King, understanding 
 all, has come to reunite the lovers. 
 Isolde, however, oblivious of everything, 
 falls into a state of exaltation and seems 
 to see Tristan rising in an apotheosis of 
 bliss. In a transhguration of rapture, 
 she sinks upon his body, and King 
 Marke invokes a blessing on the dead 
 lovers. This swan-song of Isolde is 
 called the " Liebestod " (le'-bes-tot), or 
 " Love's-death." 
 
 Tannhauser und der Sangerkrieg 
 auf Wartburg (tau-hii -e-zer oont 
 der zeng -er-krekh owf vart -boorkh). 
 Tannhaeuserand the Singer's Contest 
 at the Wartburg. 
 
 Three-act opera ; book and music by 
 Wagner. Produced, Dresden Royal 
 Opera, October 20, 1S45, with Frau 
 Schroder-Devrient and Niemann as 
 Elizabeth and Tannhauser 
 
 CH.\KACTERS. 
 
 Knights and Singers : 
 Hermann, 
 
 Landgrave of Thiiringia. . . .bass. 
 
 Tannhauser or Heinrich tenor. 
 
 Wolfram von Eschenbach (vol'-fram 
 
 fon esh'-en-bakh) bar. 
 
 Walter von der Vogelweide (val'-ter 
 
 fon der fo'-gel-vl-de) tenor. 
 
 BiTEROLF (be'-ter-olf) bar. 
 
 Heinrich der Schreiber (hin -rlkh der 
 
 shri'-ber) tenor. 
 
 Reinmar von Zweter (rin -mar f5n 
 
 tsva'-ter) bass. 
 
 Elizabeth (a-le'-za-bat), 
 
 A'iece of the Landgrave sopr. 
 
 Venus (fa-noos). 
 
 Goddess of love sopr. 
 
 A Young Shepherd sopr. 
 
 Note. — (a) Like " Die Meistersing- 
 er," this opera has a semi-historical 
 basis in the ancient contests between 
 Germanic singers. The Minnesanger 
 (mTn'-ne-zeng-er) or love-bards were 
 noblemen who sang poems and music of 
 their own in praise of pure love, to their 
 own harp accompaniment. They flour- 
 ished in the twelfth and thirteenth 
 centuries. The Mastersingers, usually 
 tradesmen, who succeeded them in the 
 fourteenth to the sixteenth centuries, 
 made more elaborate rules for composi- 
 tion, (b) The goddess Freia or Holda (v. 
 " Das Rheingold "), Goddess of Youth 
 and Spring, was believed to have been 
 driven by Christianity to take refuge in 
 the caverns of a mountain near Eise- 
 nach. She became confused, and finally 
 identified, with the Greek Venus of simi- 
 lar attributes, and the mountain came 
 to be called the Venusberg. This 
 mountain is not far from the castle of 
 the Wartburg, where the old landgraves 
 held vocal contests of the sort described 
 in this opera. 
 
 Act I. — Scene i. The subterranean 
 palace of Venus. Surrounded and be- 
 guiled by singing and dancing nymphs 
 and sirens, Venus reclines in voluptuous 
 languor, gazing wonderingly at Tann- 
 hauser, who is dreaming of the upper 
 air and homesick for the life he left for 
 her. At her insistence he sings in her 
 praise, but begs for his freedom. At 
 first resentful, she then tries to charm 
 his restlessness away, but grows furious 
 again and tells him that his Christian 
 God will never forgive him. She van- 
 ishes and he finds himself (scene 2) in a 
 sunny valley before a shrine of the 
 Virgin. A young shepherd pipes and 
 sings of Holda, the Goddess of Spring. 
 Seeing a file of elderly Pilgrims wan- 
 dering Rome-wards, he asks their bles- 
 
368 
 
 THE MUSICAL GUIDE 
 
 sing. Tannhauser himself kneels and 
 joins their chant (known as the Pilger- 
 chor, " The Pilgrims' Chorus"). They 
 disappear in the distance, and the Land- 
 grave, entering with his retinue of Bards, 
 on a hunt, finds his long-lost favorite and 
 welcomes him back. Tannhauser speaks 
 vaguely of travel in strange lands and 
 wishes to avoid them, but Wolfram 
 tells him that Elizabeth has been pining 
 for him and his all-surpassing minstrel- 
 sy. Tannhauser, at the memory of her, 
 gladly rejoins them and they set off for 
 the castle of the Wartburg. 
 
 Act II. — Scene. The Hall of Apollo 
 in the Castle. Elizabeth enters and 
 greets it with joy since now Tann- 
 hauser's voice is to glorify it again. 
 Wolfram ushers in Tannhauser and he 
 and Elizabeth are fervently reunited. 
 The Landgrave welcomes Elizabeth to 
 the hall she has shunned so long and 
 announces her as the queen of the con- 
 test. The court gathers with much 
 pomp. The Minnesingers enter. The 
 Landgrave announces that love is the 
 subject of the prize-songs. Four pages 
 collect the names of the Bards in a cup 
 and draw lots. Wolfram, the first 
 chosen, sings of the fountain of clean- 
 hearted love, to much applause. Tann- 
 hauser interrupts with a praise of pas- 
 sion, but is received in chill silence. 
 Walter sternly contradicts him, and is 
 applauded. Tannhauser reiterates his 
 view and Biterolf angrily rebukes him. 
 Tannhauser returns the abuse, and 
 Wolfram tries to calm the rising excite- 
 ment by imploring heaven's interven- 
 tion. Tannhauser madly declares that 
 Venus alone can teach love. The 
 women leave the Hall hastily and 
 the men advance against Tannhauser, 
 whom the Landgrave declares eternally 
 condemned, for his unholy life in the 
 Venusberg. The rash minstrel is about 
 to be cut to pieces by the infuriated 
 mob, but Elizabeth protects him and 
 pleads that he may have a chance to re- 
 
 pent. Tannhauser is now overcome 
 with shame and prays God to accept 
 him. The Landgrave bids him join a 
 band of young Pilgrims who seek absolu- 
 tion at Rome. He rushes away hope- 
 fully. 
 
 Act III. — Same as scene 2 of Act i. 
 Elizabeth is praying before the shrine. 
 Wolfram muses on her incessant prayer 
 that Tannhauser may return forgiven. 
 The returning elderly Pilgrims are heard 
 approaching and she rises. They pass, 
 singing joyfully, and she scans them 
 anxiously, but Tannhauser is not with 
 them. Crushed with grief, she sinks to 
 her knees begging to die. In an apo- 
 theosis of soul she departs. When 
 Wolfram offers her escort, she points 
 silently to heaven whither she now is 
 tending. The faithful Wolfram, left 
 alone, sings to the Evening-star to bless 
 and guide her. (Romance of the Even- 
 ing Star — "O du mein holder Abend- 
 stern.") In the thickening night, Tann- 
 hauser staggers by in tattered Pilgrim 
 garb. Wolfram asks him how he dares 
 return unshriven, and he declares wildly 
 that he is on his way to the Venusberg 
 again. He tells how the Pope had ab- 
 solved all the other Pilgrims, but had 
 likened him in his unholy acquaintance 
 with the Venusberg to the Pope's own 
 dead staff, which could never again put 
 forth leaf or flower. The excommu- 
 nicated Tannhauser can find shelter 
 nowhere but with Venus. She now 
 appears to him in a rosy cloud, but Wolf- 
 ram struggles to restrain the maniacal 
 Tannhauser and finally breathes Eliza- 
 beth's name. Tannhauser cries her 
 name wildly, and the goddess vanishes 
 frustrated. A funeral procession enters 
 bearing the dead Elizabeth. At sight of 
 her, Tannhauser, imploring her to pray 
 for him in heaven, dies of grief. The 
 younger Pilgrims now enter, chanting of 
 the miracle they have seen. The Pope's 
 staff has blossomed, showing heaven's 
 forgiveness of Tannhauser. 
 
STORIES OF THE OPERAS 369 
 
 Der Ring des Nibelungen (der ring: 1869) ; with the entire trilogy, Bayreuth, 
 
 das ne'-bel-oong-en). The Ring of August 13, 1876. 
 the Nibelung. 
 
 *> CHARACTERS AND THEIR CREATORS 
 
 " A Stage-festival for three days and (at Weimar). 
 
 a Fore-evening." Gods : 
 
 This great work is a trilogy with Wotan (vo'-tan) Betz, bar. 
 
 prologue, or rather a tetralogy, bearing Donner (don'-ner), 
 
 a close resemblance to Greek tragedies, Thunder Gura, bar. 
 
 which were groups of three plays set to Froh (fro), Joy Unger, tenor. 
 
 music by the author of the te.xt, and de- Loge (lo'-ge), 
 
 claimed with choral interspersions much Demi-god of fire and trickery, 
 
 after the manner of Wagnerian opera, Vogl, tenor, 
 
 except that the harmonic resources in Nibelungs : 
 
 which this latter is so rich were practi- Alberich (al'-be-rlkh) Hill, bar. 
 
 cally unknown in the music of the trage- Mime (me'-me) Schlosser, tenor. 
 
 dies of .■Eschylos, Sophokles, etc. 
 
 The stories of these four works have Gianis : 
 
 a continuity, but, though they were Fasolt (fa -zolt) Eilers, bar. 
 
 meant for performance on consecutive Fafner (faf'-ner), 
 
 evenings, they contain many repetitions. von Reichenberg, bass. 
 
 The plots are adapted with much license Goddesses : 
 
 from that great collection of German Fricka (frik'-a), 
 
 legend and mythology, the epic " Das IVotans jvife, 
 
 Nibelungenlied " or "Song of the Ni- Frau von Grlin-Sadler, m. sopr, 
 
 belungs," a race of hideous gnomes Freia (fri'-a), or Holda (holt'-a), 
 
 living in the heart of the earth in the Goddess of love and youth, 
 
 Nebelheim or " home of mists." Frl. Haupt, sopr. 
 
 The tetralogy follows the baleful effect Erda (er'-da), 
 
 of a piece of consecrated gold stolen The Earth-mother. .Yx\.\i:\6.2L,2i\to. 
 from the Rhine, made into a ring and 
 
 then fought for by gods, Nibelungs, Rhine Daughters : 
 
 and heroes, bringing disaster to all its Woglinde (v6kh'-lTn-d^), 
 
 possessors, until it finally returns to the * Frl. Lilli Lehmann, sopr. 
 
 Rhine after compassing the destruction Wellgunde (vel'-goon-de), 
 
 of the old dynasty of gods, with Wotan Frl. Marie Lehmann, m. sopr. 
 
 as their chief and Walhalla as their Flosshilde (fl6s'-hll-de), 
 
 home. There is much room for moral- Frl. Lammert, alto, 
 
 ising and allegory in the work, and ,. t^. u ^ 1 1 j 
 
 commentators have not lost sight of ^ ^""^ ^--^he orchestral prelude, 
 
 the opportunitv to confuse the complex ba^ed on a smgle musical pattern mdi- 
 
 with further ' obscurities. There is ^1^%^}^^ ^^°Tl ""^ f ^^ ^^P^^^ u^ 
 
 enough, however, in these librettos as ^?^^ ^"^^"f' ^}''''^ are disclosed on the 
 
 dramatic and poetic works to occupy "^'"^^ of the curtain. The Rhme 
 
 the interest and the attention. daughters or nymphs gather and disport 
 
 The Prologue or " Vorabend " (for- \^°^"^ ^ great central rock where rests 
 
 a'-bent), or Fore-Evening of the trilogy: "^^^ sleeping Rhine-gold, which their 
 
 ** *'■' father has set them there to sentinel. 
 
 I. Das Rheingold (das rln'-golt). Alberich appears from a chasm and 
 
 The Rhine-eold & / makes sensual love to them and tries to 
 
 clutch them. They make sport of him 
 
 One-act music-drama. Begun 1852, and decoy him to violent scrambHng 
 
 finished 1856. Produced (at public and wrath. Suddenly the Rhine-gold 
 
 dress-rehearsal, Munich, August 25, " awakes " and gleams. The fascinat- 
 
370 
 
 THE MUSICAL GUIDE 
 
 ed Alberich asks what it is, and the 
 Rhine-girls laughingly taunt him with 
 his ignorance of the fact that this gold 
 if seized and fashioned into a ring would 
 confer boundless power on the thief, 
 who must, however, they add tauntingly, 
 forswear love before he can take it. 
 Alberich's love is turned to hate by their 
 scorn, and climbing the rock he wrench- 
 es the gold loose. In the gloom that 
 follows, he laughs at their frantic pur- 
 suit and disappears into the earth. By 
 a scenic transformation, the first scene 
 is modulated skilfully, as are all the 
 scenes of this opera, into the next. 
 Scene 2. — An open space among cliffs, 
 one of which bears the new castle 
 Walhalla. Wotan and Fricka awake 
 from sleep. He revels in the beauty of 
 the vast achievement just finished in the 
 building of a fit home for the gods. She 
 reminds him that he must now pay the 
 builders, for he had promised the two 
 Giants his wife's sister Freia. Fricka 
 upbraids him for his ruthless ambitions 
 and his roving infidelity. He reminds 
 her that he gave one of his eyes to win 
 herself and that he will not give Freia 
 up to the Giants as he promised, but 
 trusts in Loge to slip him out of the 
 compact by trickery, since the whole 
 compact was Loge's idea. Freia now 
 hurries in, terrified with fear that the 
 Giants are to have her. The Giants fol- 
 low shortly. They say they have come 
 for their wages. Wotan tells them she 
 is not his to give. The Giants are furi- 
 ous, Fasolt saying they had counted on 
 her beauty, Fafner preferring the golden 
 apples of youth that grow in her garden. 
 They propose to seize Freia, but Froh 
 and Donner appear to shelter her. 
 Donner threatens them with his thun- 
 derous hammer, but Wotan intervenes. 
 The an.xiously awaited Loge now ap- 
 pears and all suspect him of trickery as 
 he flits flame-lilie about. He finally 
 tells how he has ransacked the earth for 
 a ransom for Freia, but nowhere could 
 he find anything rated so high as woman 
 and love — only one being in the uni- 
 verse has other preference, and that is 
 
 Alberich. He tells of the theft of the 
 gold and of the ring Alberich has made 
 from it. Wotan now covets the ring 
 and so do the Giants. Loge says the 
 ring can only be got by theft. The 
 Giants offer to accept it as ransom. 
 Meanwhile they take away the scream- 
 ing Freia as hostage. Immediately the 
 Gods grow wan and old and Loge says 
 that the apples of youth which renew 
 the universe and the gods, are wither- 
 ing in Freia's deserted garden ; a pallid 
 mist rises. Wotan resolves to wrest 
 the gold from Alberich, and Loge leads 
 him into a cleft of the earth whence sul- 
 phurous vapours spread, veiling the ! 
 transformation to Scene 3. A subter- t 
 ranean cavern. Alberich drags in the 1 
 squealing Mime, who pretends not to » 
 have finished his appointed task of mak- ; 
 ing the Tarnhelm (a helmet conferring 
 invisibility on the bearer). Inadvertently 
 he lets it fall. Alberich puts it on and 
 vanishes into mist ; invisible now, he 
 beats Mime, then is heard as he departs 
 to the forge-room beneath. Loge leads in 
 Wotan and they question the whimper- 
 ing Mime, who tells them that Alberich ; 
 has usurped a despotism over them all ' 
 and makes them slaves to his greed. He 
 tells of the new helmet of darkness and 
 the beating he had. Alberic'h comes in, 
 visible now, the Tarnhelm at his girdle, 
 he drives in a herd of Nibelungs who , 
 heap up gold ; he then scourges them i 
 back to their work. He gives his new ' 
 guests bitter greeting and says he will 1 
 soon have them all in his grasp, gods 
 and women. Loge hints that the gold 
 might be stolen in his sleep. Alberich 
 trusts in the Tarnhelm to hide him. 
 They question his power to change his 
 shape. To prove it he becomes a great 
 serpent. Loge hints that he cannot 
 change himself to anything small like a 
 toad. Alberich ingenuously makes this 
 change. Wotan puts his foot on the 
 toad, Loge snatches the Tarnhelm, thus, 
 bringing Alberich back to his natural 
 shape. They tie him up and drag him 
 back to the upper ir and to scene 4, 
 the same as scene 2. They offer him 
 
 i 
 
STORIES OF THE OPERAS 371 
 
 freedom for all his gold ; he murmurs 
 to his ring a summons to his dwarfs, 
 who appear and heap up the gold. Loge, 
 in spite of his protest, adds the Tarn- 
 helm to the heap. Wotan espies the 
 ring and wrenches it from Alberich's 
 finger. Alberich, released, curses the 
 ring and loads its power with a heritage 
 of death, misery, envy, sleeplessness, 
 and crime to its possessor. He then 
 returns to his forge. (The too-consist- 
 ent mind will wonder why a ring which 
 conferred "measureless might" on its 
 wearer, could not get him out of an 
 ordinary rope ; but myths, like meta- 
 phors, " must not be squeezed till thev 
 squeal ".) The Gods and the Giants as- 
 semble. The Giants demand that the 
 gold be heaped up to hide the beautiful 
 Freia whom they are so loth to surren- 
 der. They stick their staves in the 
 ground in front of her, and Loge and 
 Froh heap up the gold. The Giants 
 can still see her hair shining through 
 and the Tarnhelm must be added to the 
 heap. Even now they can see one of 
 her eyes, and demand the ring on Wo- 
 tan's finger. He furiously refuses it. 
 Now, in a rocky cleft appears the awe- 
 some Erda, mother of the three Norns 
 or Fates ; she implores Wotan to keep 
 his faith and yield the ring. She van- 
 ishes, and after some resistance he 
 throws the ring on the heap. Imme- 
 diately the Giants quarrel for it, and 
 Fafner kills Fasolt, places the treasure 
 in a sack, and stalks away. The Gods 
 watch him with horror and Wotan re- 
 solves to visit Erda again. Donner, 
 hating the mists that veil Walhalla, dis- 
 appears in storm clouds ; he swings his 
 thunder hammer and the lightning clears 
 the mists. Froh spans the gorge with 
 a rainbow bridge to Walhalla. The 
 Gods move toward the castle. Loge, 
 the flame demi-god, looks scornfully 
 after those whom he has saved, and is 
 tempted to turn against them, but fol- 
 lows for the nonce. The wail of the 
 forlorn Rhine daughters is heard from 
 the deeps of the valley, but the Gods 
 mock it with laughter. ' 
 
 2. Die Walkiire (de val-ku-re). The 
 Valkyrs. 
 
 Music-drama in three acts. Begun, 
 
 1852. Finished, 1856. 
 
 Produced at public dress-rehearsal, 
 Munich, June 24, 1870. With the 
 trilogy, Bayreuth, August 14, 1876. 
 
 CH.ARACTF.RS AND THEIR CREATORS 
 
 (at Munich). 
 Volsungs : 
 SiEGMUND (zekh'-moont), Vogl, tenor. 
 SiEGLiNDE (zekh-lln'-de). 
 
 His sister, Hioidings zoifc, 
 
 Frau \o%\, sopr. 
 HuNDiNG (hoont'-Ing), 
 
 A jVeiJimg Bauserwein, bass. 
 
 Gods : 
 
 Wotan (vo'-tan), Kindermann, bar. 
 Fricka (frik'-a), 
 
 Frl. Kauflmann, m. sopr. 
 Valkyrs : 
 Bruennhilde (brln-hll'-d^), 
 
 Frl. Stehle, sopr. 
 
 RosswEisE (ros'-vl-ze) sopr. 
 
 Grimgerde (grem'-ggrt-e) sopr. 
 
 Helmwige (helm'-ve-khe). . . .m. sopr. 
 
 Gerhilde (ger'-hll-de) m. sopr. 
 
 Ortlinde (6rt'-lln-de) m. sopr. ' 
 
 Waltraute (valt'-row-te) alto. 
 
 Siegrune (ze'-groo-ne) alto. 
 
 Schvvertleite (shvert'-ll-te)... , . .alto. 
 
 With this work, the trilogy proper 
 begins. As gradually transpires : since 
 the events of " Das Rheingold," the 
 fickle Wotan has bden wandering over 
 the now populated earth under the name 
 Walse (vel-ze). The children of his 
 roving amours have formed a tribe 
 called Walsungen, or Volsungs, who are 
 at war with the tribe of Neidungs (ni'- 
 doongs). A Volsung woman had borne 
 to Wotan the twins Siegmund and Sieg- 
 linde, but the children were soon sep- 
 arated. Over the conflicts of humanity 
 Wotan eagerly watches, and those who 
 prove heroes and are killed in battle are 
 
372 
 
 THE MUSICAL GUIDE 
 
 carried aloft to form a blissful garrison 
 for the defence of Walhalla. Over 
 every battlefield hover, for this purpose, 
 the heavenly horse-women, or Valkyrs, 
 who are all illegitimate daughters of 
 Wotan by Erda, whom he had seduced 
 with a love-potion. 
 
 Act I. — Scene. The interior of a 
 primitive hut built round a great tree in 
 which a sword has been thrust up to the 
 hilt. Siegmund breathlessly enters from 
 the storm outside. Sieglinde not know- 
 ing him, gives him a horn of mead, and 
 treats him kindly ; her husband Hund- 
 ing, one of the Neidungs, enters and 
 confirms her hospitality but with suspi- 
 cion. Siegmund, asked to tell who he 
 is, describes his vile life in the woods 
 with his father, a Volsung, his mother 
 and twin-sister having been carried off 
 by the Neidungs. To-day he has 
 fought single-handed in defence of a 
 woman. Hunding recognises him as 
 the wretch his tribe is hunting, and says 
 that on the morrow he must fight out 
 the feud. lie gives Siegmund sanctu- 
 ary for the night, but warns him to have 
 weapon and resolution for the morning. 
 Siegmund, left alone, broods over the 
 misfortune that hounds him, but remem- 
 bers that his father had said a sword 
 would be at hand in direst need. Sieg- 
 linde enters, having drugged her hus- 
 band, and tells him of the sword in the 
 tree, thrust there by a strange wanderer 
 (Wotan). No one has ever been able 
 to draw it out. She longs for someone 
 to unsheath it, and revenge her. The 
 door springs open, showing moon-lit 
 night outside. Siegmund says that the 
 mysterious visitor is the Spring itself, 
 and sings a rapturous idyll. Sieglinde 
 calls him the Spring she has longed for. 
 Not knowing that they are brother and 
 sister, they grow ardent in love. He 
 proclaims Walse (Wotan) as his father, 
 and with a mighty effort, plucks out the 
 sword, which is called " Nothung" (not- 
 oong), i.e., need. Sieglinde proclaims 
 herself his sister. He embraces her fer- 
 vently as both sister and bride for the 
 restoration of the Volsung lineage. 
 
 Act II. — Scene. A gorge in the 
 mountains. Wotan sends Briinnhilde 
 to watch an impending battle. Fricka 
 comes angrily in. She plays the Xan- 
 thippe. To her as goddess of wedlock, 
 Hunding had appealed to punish Sieg- 
 mund and Sieglinde, who have fled.. 
 After a bitter quarrel she compels Wo- 
 tan to swear that Siegmund shall die 
 under Hunding's sword, even if he must 
 intervene himself. When she has gone, 
 Briinnhilde reappears and tries to con- 
 sole her dejected father. He tells her 
 the story of the Rhine-gold ; of Fafner 
 who holds the ring, of his betraying 
 Erda for his purpose, and of his one 
 hope that some unaided hero shall of 
 his own volition and resource win the 
 world-power. He bewails his oath to 
 Fricka, but when Briinnhilde hints that 
 she will save Siegmund, he threatens her 
 wrathfully. When they have left in 
 opposite directions, Siegmund and Sieg- 
 linde enter, both overcome with fatigue, 
 and she also with shame at yielding to 
 him. In the distance the horses of their 
 pursuers are heard. She swoons in her 
 anguish. Briinnhilde appears and bids 
 Siegmund follow her to Walhalla, but 
 he refuses to be separated from Sieg- 
 linde. He even threatens to kill her 
 and himself first, and Briinnhilde pas- 
 sionately vows to preserve them both. 
 She disappears, and a great storm 
 arises. Siegmund leaves Sieglinde to i 
 meet Hunding. They fight. Briinn- ■ 
 hilde protects Siegmund with her shield ; ; 
 but Wotan appears, and with his spear' 
 shatters the sword of Siegmund whom- 
 Hunding slays. The disobedient Briinn-, 
 hilde, in terror, escapes with Sieglinde, 
 and Wotan after slaying Hunding with' 
 one scornful glance, follows her. 
 
 Act III. — Scene. A mountain peak 
 and cavern. The Valkyrs gather, each 
 with a slain hero across her horse. 
 They await Brunnhilde, who appears 
 finally in great panic with Sieglinde on, 
 her saddle. She tells what she has 
 done and begs shelter. Sieglinde pleads 
 to be allowed to die, but Brunnhilde 
 reminds her that in her womb she bears 
 
 i 
 
STORIES OF THE OPERAS 373 
 
 Siegmund's son, to be called Siegfried 
 (here first appears the motive ' ' Sieg- 
 fried and the sword "). Sieglinde now 
 wishes to live, and they decide that a 
 cave near Fafner's lair would be safe 
 from Wotan's discovery. She gives 
 Sieglinde the pieces of Siegmund's 
 sword, and bids her save them for her 
 son. Sieglinde hurries away, just be- 
 fore Wotan appears and denounces 
 BrQnnhilde bitterly. He disowns her, 
 and tells his plan to disgrace her by 
 making her a prisoner on this mountain. 
 The maidenhood which is the pride of 
 the Valkyrs, shall be the prey of who- 
 soever finds her. He sends the other 
 Valkyrs away, and Briinnhilde pleads 
 earnestly that she protected Siegmund 
 because she knew Wotan really loved 
 him and wished him to win; but she can- 
 not alter his resolve. She begs to be 
 surrounded with flames that only a fear- 
 less hero may reach her to make her his 
 own. Wotan grants this wish, and bids 
 her a tender farewell, kisses her divinity 
 away and lays her fast asleep with 
 closed helmet on a bank of moss. He 
 places her long shield over her, and in- 
 vokes Loge, who sends a circle of fire 
 to guard the sleeping Valkyr. He 
 vanishes after a last charm : "He who 
 feareth my spear, shall never fare 
 through this fire " (in which again the 
 " Siegfried and the sword " motive ap- 
 pears). 
 
 3. Siegfried (zekh'-fret). 
 
 Three-act music-drama. Begun, 1856, 
 finished, 1869. Produced, Bayreuth, 
 August 15, 1876. 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Siegfried. Unger, tenor. 
 
 Mime (me'-me) Schlosser, tenor. 
 
 Der Wanderer (der van'-der-er), 
 
 Betz, bar. 
 
 Alberich (al'-bgr-Ikh) Hill, bar. 
 
 Fafner (faf'-ner). Von Reichenberg, bar. 
 
 Erda (grt'-a) Frau Taida. alto. 
 
 Bruennhilde (brin-hU'-dC), 
 
 Frau Friedrich Materna, sopr. 
 
 Act I. — Scene. A cave-dwelling with 
 primitive forge and anvil. The dwarf 
 Mime is forging a sword, but grumbles 
 that the boy Siegfried breaks the strong- 
 est blade he can make. If he could 
 only forge the pieces of Siegmund's 
 sword Nothung, that would be un- 
 breakable ; with it Siegfried might 
 even slay Fafner who, shaped like a 
 dragon, guards the all-powerful Ring. 
 Mime would then possess himself of the 
 Ring. But he winces at his inability to 
 forge Nothung. The boyish Siegfried 
 romps in with a bear and terrifies the 
 dwarf, and breaks with a blow the 
 latest sword he has forged. Mime sobs 
 that all his fatherly care of the boy 
 meets only hate and rebuff. Siegfried 
 confesses an unconquerable repugnance 
 to the dwarf ; he only tolerates him for 
 the knowledge he has. He has learned 
 that all animals have father and 
 mother ; he asks who his mother was, 
 and Mime claims the double honour of 
 being both father and mother to the 
 boy. Siegfried has seen his own image 
 in a brook, and gives Mime the lie. He 
 chokes the dwarf into telling him of a 
 nameless woman who had come to the 
 cave and died in bearing a child. She 
 entrusted him to Mime after naming him 
 Siegfried. He tells over in little slices 
 the story of his devoted care for the boy, 
 and finally produces the broken sword. 
 Siegfried orders him to forge it anew 
 and dashes out into the woods. Mime, 
 despairing of hoodwinking the lad to 
 his own purposes, views with suspicion 
 the entrance of Wotan, who is disguised 
 as a wanderer. In a long colloquy, 
 which re-tells the stories of the previous 
 operas, they enter into a contest in 
 which each is to ask three questions ; 
 the one failing to answer forfeits his 
 head. Mime asks (i) What race dwells 
 in the earth? (2) What on the surface ? 
 (3) What in the clouds ? Wotan answers 
 (i) The Nibelungs, vhom Alberich sub- 
 jugated with the Ring. (2) The Giants, 
 of whom Fafner guards the Ring. (3) 
 The Gods, of whom Wotan is the chief, 
 ruling all with his spear. He strikes the 
 
374 
 
 THE MUSICAL GUIDE 
 
 spear on the ground and a thunder 
 rumbles. Wotan, recognised, asks 
 Mime three questions: (i) What race 
 does Wotan persecute though he loves 
 them? Mime answers correctly, "the 
 Volsungs." (2) What sword must Sieg- 
 fried use to slay Fafner? Mime an- 
 swers, " Nothung." (3) Who will forge 
 that sword anew? Mime can find no 
 answer. Wotan laughs and says that 
 only one who knows no fear can forge 
 it ; to that hero he bequeathes Mime's 
 head. When he is gone, Siegfried re- 
 turns to find Mime hysterical with fright, 
 lie tries to teach Siegfried fear, a thing 
 the boy has never felt ; as a last resort 
 he will show him the dragon. Siegfried 
 resolves to forge the sword himself and 
 with growing ecstasy works away. 
 Mime watches him and plans his own 
 ambitions, brewing the while a poison 
 for Siegfried when he has won the 
 Ring. The sword at length is made and 
 Siegfried exultantly splits the anvil in 
 twain with its resistless edge. 
 
 Act II. — Scene. The heart of a for- 
 est at night. Alberich lies brooding. 
 The Wanderer enters. The ancient 
 enemies quarrel. They speak of Sieg- 
 fried who is coming to slay Fafner. 
 Alberich calls to the dragon Fafner, 
 whose cave is near by, offering to pro- 
 tect him if he will give him the Ring. 
 Fafner yawningly declines. W'otan ad- 
 vises Alberich to trj' Mime next, and 
 vanishes. Alberich hides as in the 
 dawning light Mime enters with Sieg- 
 fried. His descriptions of the dragon 
 fail to terrify Siegfried, who finally 
 orders him away. The boy, alone, muses 
 on his father and his mother. The 
 bird-choir charms him. He cuts a reed, 
 fashions a pipe and tries to imitate 
 them on it and on his horn. Fafner 
 thrusts out his hideous head and gapes. 
 Siegfried laughs. After some banter he 
 closes to the attack and kills the fire- 
 breathing dragon, who with his dying 
 breath warns the boy against conspir- 
 acy. The dragon's blood on the boy's 
 hand burns him. He lifts it to his lips. 
 Instantly he understands the bird- 
 
 voices. A wood-bird tells him of the 
 Tarnhelm and the Ring and he enters 
 the cave. Mime and Alberich steal in ; 
 they wrangle, but retire when Siegfried 
 reissues with the ring and Tarnhelm. 
 The wood-bird tells him to beware of 
 Mime, whose hypocrisy he can see 
 through, thanks to the taste of dragon's 
 blood. Mime enters and while trj-ing 
 to dissemble, actually tells his basest 
 motives. Siegfried finally slays him 
 and, throwing the body in the cave, 
 calls again to the wood-bird for counsel. 
 The bird tells him that his future wife 
 sleeps on a lofty peak flame-girdled. 
 He bids the bird lead on and joyfully 
 hastens after. 
 
 Act III. — Scene i. The mouth of a 
 craggy cavern at night. Wotan ap- 
 pearing summons Erda to a long, but 
 bootless conference, in which he ex- 
 presses his resignation to his coming 
 doom. Erda vanishes and Siegfried 
 comes along the path. Wotan questions 
 him and is told all that has happened. 
 He reproaches the boy for his frank in- 
 solence and tries to check him, but has 
 his spear hewn in two for his counsel, 
 and vanishes. Siegfried, blowing his 
 horn, plunges into the mist and flames 
 and the scene is changed to the same as 
 Act III. of " Die Walkure," where 
 Briinnhilde still lies sealed in sleep 
 under her long shield. Siegfried, seeing 
 her, thinks her a man till he has opened 
 her helmet and lifted her breastplate. 
 He is overcome with an emotion which 
 he thinks may be fear, but at length 
 kisses her. She wakes and greets the 
 sunlight, and knows him to be Siegfried. 
 Her joy changes to fear and grief as 
 she remembers her lost Valkyr estate, 
 but his ardour and bravery win her back 
 to rapture in his arms. 
 
 4. Gotterdammerung (get'-ter-d^m'- 
 mer-oongk). The Gloaming (or Dusk 
 or Twilight) of the Gods. 
 
 Music-drama in three acts and Pro- 
 logue. Begun, 1867. Finished, 1876. 
 Produced, Bayreuth, August 16, 1876, 
 
STORIES OF THE OPERAS 375 
 
 CHARACTERS AND THEIR CREATORS. 
 
 Siegfried (zekh'-fret) Unger, tenor. 
 
 GuNTHER (goon'-ter) Oura, bar. 
 
 Hagen (ha'-geii), 
 
 Von Reichenberg, bass. 
 
 Alferich (al'-ber-lkh) Hill, bar. 
 
 Bruennhilde (brTn-hll'-de), 
 
 Frau Friedrich Materna, sopr. 
 GuTRUNE (goo-troo'-ne), Frl. Weckerlin. 
 WALTR.'iuTE (valt'-ro\v-te), Frau Jiiida. 
 The Three Norns, or Fates. 
 The Three Rhine-daughter& 
 
 Prologue. — Scene, on the Valkyrs' 
 rock, same as the last scenes of " Die 
 Walkiire " and " Siegfried." The three 
 Norns sit idle and gloomy under a fir- 
 tree. The first Norn fastens a gold- 
 en rope to the tree, and tells of the 
 coming of Wotan long before, and how 
 he had paid one of his eyes to drink at 
 the spring of wisdom, and broke a spear 
 from the World-ash tree ; thereafter the 
 tree and the spring failed. She throws 
 the rope to the second Norn, who winds 
 it round a rock and tells how Siegfried 
 shattered Wotan's spear, and Wotan 
 had sent his Walhalla heroes to chop 
 up the World-ash tree. She casts the 
 rope to the third Norn, who tells that 
 the Gods and heroes will gather in Wal- 
 halla round a fire made of the World- 
 ash boughs, and the fire will waste 
 Walhalla and leave the Gods in eternal 
 night. As the rope is passed forward 
 and back, they talk of Loge's plots 
 against Wotan and of Alberich ; the 
 sacred rope grows frayed and finally 
 parts. They wind the strands about 
 them and moaning that eternal wisdom 
 and wise counsel are lost forever to the 
 world, sink into the earth. Day dawns. 
 Siegfried comes from the cave, full- 
 armed, followed by Briinnhilde leading 
 her horse Grane, which had been pre- 
 served in sleep during her own long 
 , slumbers. Siegfried having made Briinn- 
 hilde his own, and learned from her the 
 story of the Gods and the meaning of 
 the holy runes, is now eager for new 
 
 deeds. He promises to remember her 
 faithfully, and gives her the Ring itself 
 as a pledge. She gives him the horse 
 to carry him back to the world, and 
 they part in mutual idolatry. 
 
 Act I. — Scene i. The Hall of the Gi- 
 bichungen (ge'-bikh-oong-en), on the 
 banks of the Rhine. Three of the 
 Gibichs or Gibichungs, a race of heroes, 
 are seated in earnest counsel : Gunther 
 (who is wifeless and longs for Briinnhilde, 
 whom he believes to be still surround- 
 ed by the terrifying flames which Sieg- 
 fried had pierced), his sister Gutrune 
 (who is husbandless and longs to wed 
 Siegfried, whose fame has reached 
 them), and their half-brother, the vi- 
 cious Hagen (whom their mother Grim- 
 hilde had borne when seduced by Al- 
 berich's gold). Hagen is suggesting 
 that they persuade Siegfried to marry 
 Gutrune, then ask him to bring Briinn- 
 hilde through the flames to wed Gun- 
 ther. .Siegfried's horn is heard and 
 they see him rowing on the river. The)' 
 invite him to land. He does so, and 
 they lead his horse Grane to a stall. 
 He tells them that he has left the use- 
 less gold of Alberich in the dead drag- 
 on's cave, and brought away only the 
 Tarnhelm and the Ring. Now, Hagen's 
 father Alberich had charged him to re- 
 cover the Ring (v. "Das Rheingold "), 
 and he learns that Siegfried has given 
 it to Briinnhilde. Gutrune brings in a 
 horn full of a magic liquor which effaces 
 all remembrance. Siegfried, draining 
 it, forgets Briinnhilde utterly, and be- 
 comes so infatuated with Gutrune that 
 he asks for her hand. Gunther tells of the 
 fire-guarded Briinnhilde, and Siegfried 
 promises to win her for Gunther by 
 means of the Tarnhelm. The two men 
 prick their arms with thei- swords, drop 
 blood into their wine-horn, and swear 
 blood-brotherhood, and Hagen cuts the 
 horn in two to complete the pact. 
 When asked why he has not joined the 
 two, he evades the question. Siegfried 
 and Gunther set forth to find Briinn- 
 hilde, while Hagen stays to guard the 
 house, and bide his time to seize the 
 
376 
 
 THE MUSICAL GUIDE 
 
 Ring. Scene 2, same as the Prologue. 
 Briinnhilde, alone, is visited by her sis- 
 ter Waltraute (v. "Die Walkt'ire"). 
 Asked why she had broken the ban their 
 father Wotan has put on Briinnhilde, 
 she says that she has fled from Wal- 
 halla in terror. The Valkyrs no longer 
 seek heroes slain on battlefields ; Wotan 
 has come home with his spear hewn 
 asunder ; the sacred ravens have flown 
 away ; Wotan has made a great pile of 
 logs from the shattered World-ash tree 
 and sits with his heroes waiting the 
 general doom. Waltraute has wrung 
 from him the word that if the Ring could 
 be found and flung back into the Rhine 
 whence it was stolen, and cursed by Al- 
 berich (v. "Das Rheingold ") the doom 
 would be averted. Briinnhilde, despite 
 Waltraute's frenzied pleading, sternly 
 refuses to throw back into the Rhine- 
 waves the pledge of love Siegfried has 
 given her, and Waltraute rushes away 
 in wild despair. Siegfried's horn is 
 heard, and he enters in Gunther's form 
 with the Tarnhelm hiding his face. 
 The terrified Briinnhilde threatens the 
 stranger with the Ring. Siegfried says 
 it shall be their wedding-ring, and takes 
 it from her after a struggle. He orders 
 her into the cave, and drawing his sword 
 Nothung to lay between them as a proof 
 of faith to Gunther, follows her in. 
 
 Act II. — Scene. The river-bank be- 
 fore the Hall of the Gibichungs. Hagen 
 is seated, asleep. Alberich, his father, 
 is talking to him in his dreams, urging 
 him on to revenge his ancient wrongs 
 on the ignorant Siegfried. Hagen vows 
 and Alberich vanishes. Siegfried enters 
 in the dawn and removes the Tarn- 
 helm. Hagen wakes, Gutrune enters, 
 and Siegfried tells how he had won 
 Briinnhilde, but kept the sword between 
 them till he gave her over to Gunther, 
 who was waiting at the foot of the 
 mountains. Siegfried had then willed 
 himself back to the Hall by his Tarn- 
 helm's power. Hagen summons the 
 vassals with his horn ; they come ex- 
 pecting a battle, but are told of the 
 wedding festivities. Gunther and Briinn- 
 
 hilde arrive in a boat. Briinnhilde is 
 dumbfounded at seeing Siegfried, and 
 swoons in his arms, but he still fails to 
 recognise her. Then she sees the Ring 
 on his finger. Gunthe. confesses he 
 had not given it to Siegfried. Hagen 
 tells Briinnhilde that Siegfried had won 
 the ring from Gunther by wiles, and 
 Briinnhilde in supreme rage accuses 
 Siegfried of having possessed her body 
 as well as her soul when he conquered 
 her. Siegfried swears to Gunther on ; 
 Hagen's spear that Briinnhilde's accu 
 sation is false. Brunnhilde on the same I 
 spear swears her own statement, and 
 hallows the point to pierce Siegfried's 
 heart in revenge. Siegfried tries to re- 
 assure Gunther, and embraces Gutrune. 
 Hagen promises the distracted Briinn- 
 hilde revenge, and she tells him that he 
 must stab .Siegfried in the back, his only 
 vulnerable point. Gunther, overcome 
 with his own position, and believing 
 that Siegfried has played him false, is 
 drawn into the plot. Hagen plans to 
 kill Siegfried out of Briinnhilde's sight 
 at a hunt. The three then vow the' 
 death of Siegfried, who enters, wreathed 
 as a bridegroom. 
 
 Act III. — Scene I. A valley through 
 which the Rhine sweeps. In the strean 
 the Rhine-daughters drift, waiting th< 
 hero who shall restore them the los 
 Rhine-gold. Siegfried appears ; he hai 
 lost his way, following a bear. Th( 
 Rhine-daughters tease him and try t( 
 win the Ring from him, but their prayer 
 are futile, and threats do not avail t( 
 frighten him, so they swim away. Th 
 hunters now gather with their booty 
 they drink, and Siegfried, under th 
 memory-waking spell of a herb Hage 
 has put in his drink, tells them th 
 whole story of his life, and how h 
 came to learn the language of birdf^ 
 and how he won Briinnhilde. The sacre 
 ravens fly past, .Siegfried starts up an 
 looks after them. Hagen thrusts h 
 spear into his back. Siegfried turninj' 
 swings his shield high to crush Hagei 
 but with sudden weakness, drops it, an 
 falls on it. Hagen stalks away. Siej 
 
 J 
 
STORIES OF THE OPERAS 377 
 
 fried, seeing Briinnhilde in a vision 
 welcoming him, dies in a rapturous de- 
 lirium. His body is raised and carried 
 homeward. Scene 2. The Hall of 
 the Gibichungs at night. Gutrune is 
 waiting for Siegfried. Hagen storms 
 in, announcing Siegfried's return, say- 
 ing that a wild boar has killed him. 
 (iutrune faints as the body is brought 
 in. Gunther declares Hagen's guilt. 
 Hagen admits it, and claims the Ring. 
 Gunther opposes him, and is killed. As 
 Hagen moves to take the Ring, the dead 
 Siegfried's arm rises threateningly and 
 all fall back in terror. Briinnhilde en- 
 ters. She proudly claims the dead hero 
 as her husband, and Gutrune now real- 
 ises for the first time the truth. While 
 a funeral pyre is being raised and 
 decked, Briinnhilde muses upon Sieg- 
 fried, and the tangled net of lies that has 
 ' enmeshed his pure soul and brought her 
 , shame. She understands all Fate now, 
 and taking the Ring from Siegfried's 
 hand, places it on her own. His body 
 is put upon the pyre. She calls to the 
 Rhine-maidens that they will find the 
 ring burned free of its curse in her own 
 ashes. She seizes a firebrand, and sets 
 the pyre ablaze. The ravens fly up 
 and disappear. She bids all look to the 
 north when she is dead, to see the burn- 
 ing of Walhalla. Her horse has been 
 brought in. Addressing him and bidding 
 him neigh gladly to rejoin Siegfried his 
 lord and her husband, she warns man- 
 kind to trust only to love and not to gain 
 or to treachery, and dashes into the 
 flames. In a great flash the Hall of the 
 . Gibichungs catches fire and is ruined. 
 The pyre dies out and collapses. The 
 Rhine overflows and comes rippling 
 across the Hall. The Rhine-daughters 
 ;\vim in on the waves. Hagen, who 
 rushes in to struggle for the Ring, is 
 iragged down to death by two of them 
 .vhile the third holds up exultantly the 
 Rhine-gold that has returned home at 
 ast from its devastating travels. In 
 he north a great glow appears. It is 
 he flash of the flames consuming Wal- 
 lalla. With the palace built by deceit 
 
 and broken faith, the fire destroys the 
 race of gods and heroes, and their mer- 
 ciless, honourless dynasty, leaving Free- 
 will and Love as the inspiration of man- 
 kind. 
 
 VON WEBER, CARL MARIA. 
 
 Der Freischiitz (der frl'-shiits), G., II 
 Franco Arciero (iir-cha'-ro), /. In 
 French first produced as " Robin des 
 Bois " ; later with recitatives by Ber- 
 lioz as " Le Franc Archer" (lu-fran- 
 kar-sha). The Free Shot. 
 Three-act Romantic opera. Book by 
 
 F'riedrich Kind. Produced, Berlin, June 
 
 i8, 1821. 
 
 CHARACTERS AND THEIR CRE.\TORS. 
 
 Graf Ot'tokar Rubinstein, bar. 
 
 KuNo (koo'-no). 
 
 His chief forester Waner, bass. 
 
 Kas'par, 
 
 A forester. . . .Heinrich Blume, bass. 
 Max (max), 
 
 A forester (in Italian, Giulio), 
 
 Karl Stumer, tenor. 
 Zamiel (zam-I-el'), 
 
 A demon. 
 
 A Hermit Gern, bass. 
 
 Kil'lian, 
 
 A peasant Wiedemann, tenor. 
 
 Agathe (a'-ga-te), 
 
 Knnd s daughter, 
 
 Frl. Karoline Seidler, sopr. 
 Aennchen (en'-khen). 
 
 Her friend, 
 
 Frl. Johanna Eunike, sopr. 
 
 Act I. — Scene. Before an inn. The 
 peasants are congratulating Killian, the 
 winner of a shooting-match ; he taunts 
 Max, who has lost. Kuno and Kaspar 
 enter and learn of Max's humiliation. 
 Kuno tells how his own grandfather 
 was made head-ranger to the prince by 
 a lucky shot that saved the life of a 
 man bound to a stag ; he will give his 
 own daughter to the best marksman, 
 and make him his successor. He hopes 
 Max may win. Killian speaks of a 
 certain enchantment with seven magic 
 
378 
 
 THE MUSICAL GUIDE 
 
 bullets of which he has heard. A trio 
 concerning the morrow's match is fol- 
 lowed by a hunting chorus, and the men 
 and women dance away. Max alone, 
 bewails his recent bad luck and his fear 
 of losing Agathe (" Durch die Waldes, 
 etc."), while Zamiel, the demon, hovers 
 about unseen. Kaspar appears and 
 persuades Max to drink, singing a 
 boisterous vine-song (" Hier im ird'- 
 schen Jammerthal "). He persuades 
 the sceptical Max to shoot at an eagle 
 almost invisible aloft ; the eagle falls 
 just as the clock strikes seven ; Kaspar 
 says that more of the magic bullets may 
 be had, and after winning from Max a 
 promise to meet him in the Wolf's Glen 
 at midnight, he sings a song of diabolic 
 triumph. 
 
 Act II. — Scene i. A room in Kuno's 
 house. Agathe preparing for her wed- 
 ding is gloomy with foreboding ; a pict- 
 ure had fallen from the wall and cut 
 her forehead just as the clock struck 
 seven. Aennchen teases her and sings 
 a little ballad of a young lover 
 (" Kommt ein schlanker Bursch gegan- 
 gen "). But Agathe speaks of a hermit 
 who frightened her with his prophecies. 
 Aennchen goes, and Agathe leaning 
 out into the moonlight has a blissful 
 reverie (" Leise, leise, fromme Weise "). 
 She sees her lover coming ; he enters, 
 and Aennchen returns. Max learns 
 with dread that Agathe's forehead was 
 cut by the picture just the moment he 
 killed the eagle with the magic bullet. 
 He tells her he must go to bring a slain 
 stag from the Wolf's Glen, and in spite 
 of her horror of the place he goes. 
 Scene 2. The wild ravine of the Wolf's 
 Glen. A chorus of invisible demons. 
 Kaspar appears and summons Zamiel. 
 The demon appears to him ; he appeals 
 to be released from his unholy compact 
 — he is to die the next day ; he offers as 
 a bribe to Zamiel to bring a new victim 
 who wishes the magic "free bullets." 
 Zamiel accepts, saying that six of the 
 bullets shall hit, but the seventh shall 
 betray. Kaspar asks that the seventh 
 may kill Agathe so that both her lover 
 and her father shall go mad and fall in 
 
 re- •! 
 ht- I 
 all I 
 
 Zamiel's power. Zamiel consents, say. 
 ing- " Thou or he to-morrow must be 
 mine." He vanishes. Max enters in 
 much terror. They set about casting 
 the bullets from unhallowed materials ; 
 as they count them an echo repeats their 
 words. After the fifth, the demons cry 
 out ; after the sixth the echo cries " Be- 
 ware," but Max summons Zamiel, who 
 appears as the seventh is cast. 
 
 Act III. — Scene i. Agathe's room. 
 The bride is still sad and praying. Aenn- 
 chen enters and Agathe tells of the 
 fierce storm that raged at midnight ; she 
 dreamed she was a dove ; a huntsman 
 appeared ; the dove vanished and an 
 eagle fell dead. Aennchen tries to re^ 
 assure her by telling comically a frigh 
 ful dream her grandmother had, 
 caused by the family dog getting into 
 her room. The bridesmaids appear and ' 
 sing (" Wir winden dir den Jungfern 
 Kranz "). When, however, the bridal 
 garland is produced, it proves to be a fu- 
 neral wreath ; but she remembers in her ' 
 gloom the roses left for her by the her- 
 mit and plucks up courage. .Scene 2. The ' 
 Forest. The Graf and others assembled. 
 A Hunters' Chorus (" Was gleicht wohl , 
 auf Erden dem Jagervergnugen "). Kas- 
 par watching from behind a tree. The 
 match has taken place and the Graf ac- 
 cepts the victorious Max as Kuno's 
 successor ; he asks Max as a last test 
 (this is his seventh shot) to bring down ■ 
 a white dove flitting about in the ' 
 branches. Agathe's sudden absence is 
 noted. Max calls on his last bullet to 
 find its mark, and Kaspar invokes Za- 
 miel. Agathe, standing near the tree 
 where Kaspar hides, cries, "I am the 
 dove ! " She is stunned but is saved by 
 the hermit's wreath ; Kaspar is killed 
 and dies cursing as Zamiel appears to 
 him. Max confesses his league with 
 Zamiel and the Graf banishes him in 
 spite of the entreaties of all. The her- 
 mit appears, however, and pleads for 
 him as it was his first sin ; he suggests' 
 the abolition of the trial-shot, a year's, 
 penance for Max, and then his wedding' 
 to Agathe. The opera ends in rejoicing! 
 and religious fervour. \ 
 
0art n 
 
I 
 
 il 
 
pronouncing Bictionar^ 
 
 of 
 
 Given Names, Titles, Epithets, 
 etc. 
 
 abbate (ab'-ba-te), /. abb6 (abba), F. 
 Abbot (often honorar}'). 
 
 I'aine (len-a), F. The elder, cadet 
 (ka-da), /'". The younger. Usually of 
 brothers. 
 
 camerlingo (ka-mer-len'-gd), /. Cham- 
 berlain. 
 
 cantab(rigiensis). Of Cambridge Uni- 
 versity. 
 
 cavaliere (ka-val-ya'-re), /. Knight, 
 sir. 
 
 chevalier (shti-val-ya), F. Knight. 
 
 cie, F. Company ; et cie (a se). & Co. 
 
 comte (kont), F. 
 
 conte (kon -te), /. Count. 
 
 detto or -a (det'-t5). " Called." 
 
 due (diik), F. duca (doo'-ka), /. 
 Uuke. 
 
 Edler von (at'-ler fon). Nobleman of. 
 
 fils (fes), F. Son. 
 
 Frau (frow), G. Mrs. Fraulein (fri'- 
 lin). Miss. 
 
 Freiherr (fri'-har), G. Baron. 
 
 Geheimrath (ge-hlm'-rat), G. Privy 
 counsellor. 
 
 Gesellschaft (ge-zel'-shaft), G. Asso- 
 ciation, society. 
 
 Graf (graf), t7. 'Count. Grafin (gra- 
 fln). Countess. 
 
 Herr (har), G. Mr. 
 
 Hauptkirche (howpt-ker'-khe), G. 
 Chief church. 
 
 Hofkapellmeister (mi-shter). Court- 
 conductor. Hofmusikintendant 
 (moo-zek'), G. Supt. of court-music. 
 
 le jeune (hi zhun), F. The younger. 
 
 Justizrath (yoos'-tets-rat), G. Coun- 
 sellor of justice ; often honorary. 
 
 Kammersanger(zengk-er), (7. Cham- 
 ber-singer (to the court). 
 
 maestro (ma-as'-tro), /. Master. 
 
 il maggiore (el mad-j5'-re), /. The 
 greater. 
 
 maistre (old French), or maitre 
 (metr), F. Master. 
 
 marchesa (mar-ka'-za), /. Marchion- 
 ess. 
 
 il minore (el-me-no'-re), /. The lesser. 
 
 mus. bach(elor) and mus. doc(tor). 
 Vide the D. D. 
 
 oxon(ensis). Of O.xford University. 
 
 pere (par), F. Father. 
 
 Reichsfreiherr (rikhs'-frl-har), G. 
 Baron of the empire. 
 
 Ritter (rlt'-ter), G. Knight, chevalier. 
 
 sieur (s'yiir), F. Sir, Mr. 
 
 und Sohn (oont zon), G. & Son. und 
 Sohne (oont za'-ne), G. & Sons. 
 
 van (viin), Dutch, von (fon), G. de 
 (du), F. di (de), /. and Sp. From, 
 of. 
 
 vicomtesse (ve-k6n-tes). Viscountess. 
 
 le vieux (lu v'yu), F. The elder. 
 
 y (e), Sp. " And," used in joining two 
 proper names somewhat as we use a 
 hyphen ; the Spaniard keeping his 
 mother's, as well as his father's, name. 
 
 zu (tsoo), G. To. 
 
 (Others will be found in the D. D.) 
 
 Note. — In the Biographical Diction- 
 ary, given names are regularly abbrevi- 
 ated as in the following list, the same 
 abbreviation serving for one name in its 
 different forms in different languages. 
 
 Abramo (a'-bra-mo), /. 
 
 Adam (a -dam), G. 
 
 Adalbert (a'-dal-bert), G. 
 
 Adelaide (a-da-la-e'-de), /. and G. 
 
 (Ad.) Adolf (a'-dolf), G. 
 
 (Ad.) Adolph, G. 
 
 (Ad.) Adolphe (ad-61f), F. 
 
 (Adr.) Adriano (a-drl-a -no), / 
 
 Adrian (ad-rl-iifi), F. 
 
 Agathon (a'-ga-ton), G. 
 
IV 
 
 THE MUSICAL GUIDE 
 
 (Ag.) Agostino (a-gos-te'-no), /. 
 
 Aimable (em-ab"l), F. 
 
 (Alb.) Albrecht (al-brekht), G. 
 
 (Ales.) Alessandro (a-les-san'-dro), /. 
 
 (Alex.) Alexander. 
 
 (Alex.) Alexandre (al-ex-andr'), F. 
 
 Alexis (al-ex-es), F. 
 
 Aloys (ji'-lois). 
 
 Aloysia (;i-loi'-zK-a), G. 
 
 Amadeo (am-a-da'-6), /. -deus (da- 
 
 oos), G. 
 Amalie (a'-mal-e), G. 
 Ambroise (an-bwaz), F. 
 Amed^e (am'-a-da), F. 
 Ani61ie (am'-a-le), F. 
 Anatole (an-a-tol), F. 
 Andr6 (aii-dra), F. 
 (And.) Andrea (an'-dra-a), /. 
 (Ands) Andreas (an'-dra-as), G. 
 Ange (iinzh), F. 
 Angelica (an-ja'-le-ka), /. 
 (Ang.) Angelo (an'-ja-lo), /. 
 (A. ur Ant.) Antoine (aiV-twan), F. 
 (Ant.) Anton (an'-ton), G. 
 (A. or Ant.) Antonio, /. 
 (Ap.) Apollon (ap-61-I6n), F. 
 Aristide (Ar-ls-ted), F. 
 Armin (ar'-men). G. 
 Arnaud (ar-no), F. 
 Arrigo (ar'-re-go), /. 
 Arsene (ar-sen), F. 
 Arthur (ar-tur), F. 
 Attilio (at-te-lI-6), /. 
 (Aug.) August (ow'-goost), G. 
 Auguste (o-glist), F. 
 Augustin (ow'-goos-ten, G.) (6-gus- 
 
 taii, F.). 
 (Aug.) August© (a-oo-goost'-6), /. 
 
 Baldassare (bal-das-sa'-re), /. 
 (Bal.) Balthasar (bal-ta-zar'), F. 
 (Bap.) Baptiste (bS-test), F. 
 (Bart.) Bartolommeo (bar-to-lom- 
 
 ma'-6), /. 
 (Bat.) Battista (bat-te'-sta), /. 
 Benedikt (ba'-ne-dekt), G. 
 Beniamino (ban-y^-me'-no), /. 
 (Bv.) Benvenuto (ban-ve-noo'-to), /. 
 (Bdo.) Bernardo (ber-nar'-do), /. 
 (Bd.) Bernhard (barn'-hart), G, 
 Bertrand (bar-tran), F. 
 Bianca (be-an'-ka), /. 
 
 Blasius (bla'-zl-oos), G. 
 Bonaventure (bon-iv-an-tiir), F. 
 Bonifacio (bo-ne-fa -cho), /. 
 Bonafazio (bon-e-fa -tsl-o), /. 
 Brigida (bre'-je-da), /. 
 
 Camille (kam-e'-yii), F. 
 
 Carlo (kar'-lo), /. 
 
 Casimir (kas-I-mer), F. 
 
 Catherino (kat-ter-re-no), /. 
 
 Caytan (ka'e-tan), Sp. 
 
 C^sar (sa-zar), F. 
 
 Cesare (cha-za'-re), /. 
 
 (Chas.) Charles (sharl), F. 
 
 Chrisostomus (kre-s6s'-t6-moos), G 
 
 (Chr.) Christian (krest'-I-an), G. 
 
 (Chp.) Christoph (kres'-toph), G. 
 
 Cinthie (san-te), F. 
 
 Claude (klod), F. 
 
 Clement (kla-man), F. 
 
 Clotilde (klo-tel'-de), G. 
 
 Colin (ko-lan), F. 
 
 Constanze (kon-stan'-tsS), G. 
 
 Cornelius (kor-na'-lt-oos). G. 
 
 Costanzo (ko-stan'-tso), /. 
 
 Damaso (da-ma'-s6), Sp. 
 
 (D.) David (da-ved), /'. 
 
 (D.) David (da'-fet), G. 
 
 Delphin (del-fan), F. 
 
 Dietrich (det'-rlkh), G. 
 
 Dieudonn6 (d'yu-diin-na), F. 
 
 Diogenio (de-6-ja-ne'-6), /. 
 
 Dioma (de-6'-ma), /. 
 
 (Dion.) Dionisio (de-6-ne'-s!-o), Sp. 
 
 Dionys (de'-o-nes), G. 
 
 (Dom.) Domenico (do-ma'-nl-ko), /. 
 
 (Dom.) Dominique (dom-I-nek), F. 
 
 Dufr^sne (du-fren), F. 
 
 (Edm.) Edmond (ed-moii), F. 
 (Edm.) Edmund (at'-moont), G. 
 (Edw.) Edward (ad-var), F. 
 Egidio (a-je'-dI-6), /. 
 Eleonore (a-Ia-o-no'-re), G. 
 El^onore (a-la-o-nor), /'. Also a ma* 
 
 culine name. 
 Elias (a-le'-as), G. 
 Eligio (a-le'-j5), /. 
 Eliodoro (a-lT-6-d6'-ro), /. 
 Eliseo (a-le'-za-6), /. 
 
 fr 
 
 
 LU_ 
 
PRONOUNCING DICTIONARY v 
 
 Eliza (a-le'-za), /. 
 
 (Em.) Emanuel (a-man-wel), F, 
 
 Emil (a-mel), G. 
 
 Emilie (a-ml-le), F. 
 
 (Em.) Emilio (a-mel'-yo), /. 
 
 (Emm.) Emmanuele (^m-man-oo-a'- 
 
 15), /. 
 (En^.) Engelbert (eng'-el-Wrt), G. 
 Enrico (en-re'-ko), /. 
 Erasmc vil-ras'-mo), /. 
 Ercole (ar-ko-la ), /. 
 (Erh.) Erhard (ar-hart), G. 
 Ernst (arnst), G. 
 Errico (er'-rl-ko), /. 
 (Et.) Etienne (at'-ygn), F. 
 (Eug.) Eugen (oi'-gan), G. 
 (Eug.) Eugene (u-zhen'), F. 
 (Eug.) Eugenio (a-oo-ja' ne-6), /. 
 Eustache (us-t5sh), F. 
 Evarista (a-va-re'-sta), /. 
 
 Fabio (fab'-yo), /. 
 
 (F.) Felice (fa-le'-che). 
 
 F^licien (fa-les-van), F. 
 
 (F.) F61ix (fa -I'ex), F. 
 
 (F.) Felix (fa-lex), G. 
 
 (Fd.) Ferdinand (far'-dl-nant, G) 
 
 (far-dT-niin, F.). 
 ;Fdo.) Ferdinando (f^r-de-nan'-do), /. 
 Ferencz (fer'-ens), Hting. 
 F6r6ol (fa-ra-61), F. 
 Fernandez (fer-nan'-deth), Sp. 
 Fernando (fer-nan'-do), /. 
 Ferruccio (fer-root'-cho), /. 
 Firmin (fer-man), F. 
 Florence (flor-afis), F. Commonly a 
 
 masculine name. 
 'lorian (flor-yan, F.) (flor'-I-an, G.). 
 
 Ft.) Fortunate (for-too-na'-to), /. 
 
 Fran.) Francesco (fran-chas'-ko), /. 
 
 'rancesco (fran-thas'-ko), Sp. 
 
 'rancisco (fran-thes'-k5), Sp. 
 
 Fran.) Francois (frafi-swa), F. 
 
 ''rantisek (fran'-tl-shek), Bohemian. 
 
 Fz.) Franz (frants), G. 
 
 Fr.) Fr6d6ric (fra-da-rek), F. 
 
 ,'ridolin (fre'-do-len), G. 
 
 Fr.) Friedrich (fret'-rikh), G. 
 
 labriele (ga-bri-a'-lg), G. 
 . ^aet.) Gaetano (ga-a-ta'-no), 7. 
 I jasp.) Gasparo (gas-pa'-ro), /. 
 
 Gellio (jel'-ll-o), /. 
 
 Geminiano (jem-en-T-a-no), /. 
 
 Gennaro (gen-na-ro), /. 
 
 (G.) Georg (ga-6rkh'), G. 
 
 (G.) George, E. 
 
 (G.) Georges (zhorzh). F. 
 
 (Ger.) Gerolamo (j5-ro'-la-mo), /. 
 
 (Geron.) Geronimo (je-r6'-nT-m6), /. 
 
 Gervais (zher-ve'), F. 
 
 Gesu (ha'-zoo), Sp. 
 
 Ghislein (ges-ldii), F. 
 
 Giacinto (ja-chen'-to), /. 
 
 Giacomo (jiik'-o-mo), /. 
 
 Gialdino (jal-de'-n6); I. 
 
 Gioacchino (jo-a-ke'-no), 7. 
 
 Giordano (j6r-da-n6), 7. 
 
 Gioseffo (jo-sef'-fo), /. 
 
 (Giov.) Giovanne (j6-van'-nS), 7. 
 
 Giuditta (joo-dKt'-ta), 7. 
 
 Giulia (jool'-ya), 7. 
 
 Giulio (jool'-yo), 7. 
 
 (Gius.) Giuseppe (joo-sep'-pe), I. 
 
 Gjula (gu'-la), Huui;. 
 
 Gotifredo (go-te-fra'-do), 7. 
 
 (Gf.) Gottfried (got'-fret), G. 
 
 Gotthard (got'-hart), G. 
 
 (Gh.) Gotthilf (got -hllf), G. 
 
 (Gl.) Gottlieb (got'-lep), G. 
 
 Gottlob (got'-lop), G. 
 
 Gregorio (gra-g6'-rI-6), 7. 
 
 Guido (goo-e'-do), 7. 
 
 (Guil.) Guillaume (ge-yom), F. 
 
 (Gv.) Gustav (goos'-taf), G. 
 
 (Gve.) Gustave (gus-tSv), F. 
 
 Hamish (ha -mesh), Gaelic. 
 
 Hans (bans), G. 
 
 (H.) Heinrich (hln'-rlkh). 
 
 (H.) Henri (an-re), F. 
 
 (H.) Henry. 
 
 (Hn.) Hermann (hSr'-man), G. 
 
 Hieronymus (he-5r-5n'-e-moos), G. 
 
 (Hip.) Hippolyte (ep-6-Iet), F. 
 
 Hugo (hoo'-go, G.) (ii-go, 7^.). 
 
 (Ign.) Ignace (en-ySs), F. 
 (Ign.) Ignazio (en-yat'-sl-o), I 
 (I.) Igraz (ekh'-rats), G. 
 Hitch (e'-Htsh). Riis. 
 Ilja (el'-jii), Rus. 
 Ingeborg (Ing'-g-borkh), G. 
 (Ipp.) Ippolito (ep-po-le'-to), I. 
 
y\ 
 
 THE MUSICAL GUIDE 
 
 Isidore (e-ze-dor), F. 
 Italo (et-a-16), /. 
 
 Jacob (yak'-op), G. 
 
 Jacopo (yak'-6-p6), 7. 
 
 (Jac.) Jacques (zhak), F. 
 
 Jan (yan), Dutch. 
 
 Jan (yan), Polish. 
 
 Javier (hav-var), Sp. 
 
 (J.) Jean (zhah), F. 
 
 Jefte (yef-te), /. 
 
 Jdrome (zha-rom), F. 
 
 (Joa.) Joachim (yo'-a-khem), G. 
 
 Joaquin (wa'-ken); Sp. 
 
 (Jn.) Johann (yo'-han), G. 
 
 (Jns.) Johannes (yo-han'-nes), G. 
 
 (J.) John. 
 
 Jos6 (ho-za'), Sp. 
 
 (Jos.) Josef, or Joseph (yo'-zef, G.) 
 
 (zho-zef, F.). 
 Josquin (zhos-kan), F. 
 Juan (hoo-an'), Sp. 
 Jules (zhun, /■. 
 Julie (zhii-le), F. 
 Julien (zhiil-vah), F. 
 Juliette (zhii'l-yet), F. 
 Julius (yoo-ll-oos), G. 
 Juste (z'hiist), /'. 
 Justin (zhiis-tafi), F. 
 
 Karl (kiirl), G. 
 Karoline (ka-ro-le'-ne), G. 
 Kasper (kas'-per), G. 
 (Kd.) Konrad (kon -rat), G. 
 (Konst.) Konstantin (kon-stan-ten), 
 G. 
 
 Ladislaw (lad'-ls-laf), Pol. 
 Laure (lor), /'. 
 Laurent (16-ran), F. 
 Leberecht (la'-be-rekht), G. 
 L6on (la-6n), F. 
 Leonard (la-6-nar), F. 
 L6once (la-6ns), F. 
 Leone (la-6'-ne). I. 
 (Ld.) Leopold (la-i.-p61d), F. 
 (Ld.) Leopold (la -6-polt), G. 
 Lopez (l6'-peth), Sp. 
 (Lor.) Lorenz (lo'-rents), G. 
 (L.) Louis (loo-e), F. 
 Louise (lOo-Cz), F. 
 
 Luca (loo'-ka), I. 
 Lucien (lUs-yan), F. 
 Lucrezia (lo'o-kra'-tse-a), I. 
 (Lud.) Ludovico (loo-do-ve'-ko), /. 
 (L.) Ludwig (loot'-vlkh), G. 
 (L.) Luigi (loo-e'-je), /. 
 Luigia (loo-e'-ja), /. 
 Luise (loo-e'-ze), G. 
 
 Manfredo (mjin-fra'-do), 7. 
 
 Manuel (man'-oo-el), G. 
 
 Marcello (mar-chel'-l5), I. 
 
 Marco (mar'-ko), 7. 
 
 Marguerite (mar-gCi-ret'), F. 
 
 (M.) Maria (ma-re'-a), G., I. and .^. 
 
 Commonly a masculine name. 
 Marie (ma-re), F. Commonly a mas« 
 
 CLilinc name. 
 Mathias (mii-te'-as), F. and G. 
 Mathieu (mat-yu), F. 
 (Mat.) Matteo' (mat-ta-6), 7. 
 Matthaus (mat-ta'-oos), G. 
 Mattia (miit-te'-a), 7. 
 Maturin (mat-u-ran), F. 
 Maurice (mo-res), F. 
 Max (max), G. 
 
 Maximilian (max-I-mel'-I-an), G 
 Melchior (mel-shl-6r), F. 
 Melchiore (mel-kl-6'-re), 7. 
 Michael (me'-ka-el), I. 
 Michel (mc-shel), F. 
 Michele (me-ka -k), 7. 
 Miroslaw (me-ro-slrif), Russian. 
 Modeste (mo-dest), F. 
 Moritz (mo'-rets), G. 
 Muzio (moo'-tsI-6), 7. 
 
 Napoleon (na-p6'-la-6n), F. 
 
 Natale (na-ta'-le), 7. 
 
 Nepomuk (na'-p6-mook), G. 
 
 Niccola (nek'-ko-la), 7. 
 
 (N.) Nicholas, 7\ 
 
 (N.) Nicolas (ne-ko-las), F. 
 
 (N.) Nicol6(ne-ko-l6'), 7. 
 
 Nikolai (ne'-ko-la), G. 
 
 (N.) Nikolaus (ne'-ko-lows), G. 
 
 Octave (6k-tav), F. 
 Orazio (6-ra'-tsl'-o), 7. 
 Otto (ot'-to), G. 
 Ottokar (6t-t6-kar), Pol. 
 
PRONOUNCING DICTIONARY vii 
 
 Pantaloon (piin-ta-la-on), F. 
 Paolo (pa'-o-lo), /. 
 Pascal (pas-kal), F. 
 Pasquale (pas-kwa-le), /. 
 Paul (pol), F. 
 Pedro (pa'-dhro), Sp. 
 Peregrine (pa-ra-gre'-no), /. 
 (P.) Peter. 
 
 (P.) Peter (pa'-ter), G. 
 Philibert (fe-ll-bar), F. 
 (Ph.) Philipp (fe'-Iip), G. 
 (Ph.) Philippe (fe-lep), F. 
 Pierluigi (pe-ar-loo-e'-je), /. 
 (P.) Pierre (pl-ar), F. 
 (P.) Pietro (pl-a -tro), /. 
 Polibio (p5-le'-be-o), /. 
 Pompeo (p6m-pa-6), /. 
 Primo (pre'-mo), /. 
 Prosper (pros'-par), F. 
 Prudent (prli-dan), F. 
 
 Rafael (ra'-fa-el), /. and Sp. 
 
 Regnault (ren-)'6), F. 
 
 Reichardt (rikh'-art), G. 
 
 Reinhold (rin'-holt), G. 
 
 Rene (ra-na), /". 
 
 (R.) Rob'ert, E. (in F. ro'-bar, in G. 
 
 ro'-bart). 
 Roberte (ro-bart), F. 
 (R.) Roberto, /. 
 Romano, /. 
 
 Romualdo (rom-oo-ar-do), /. 
 Rose (roz), F. 
 
 (Rud.) Rudolf (roo'-dolf), G. 
 Ruggiero (rood-ja'-ro), /. 
 Ruprecht (roo'-prekht), G. 
 
 Sabine (za-be'-ne), G. 
 
 (S.) Salvatore (sal-va-to'-re), /. 
 
 (Sml.) Samuel (zam'-oo-el), G. 
 
 Scipione (she-pl-6'-ne), /. 
 
 Sebald (za'-balt), G. 
 
 (Seb.) Sebastian (sa-bast-yafi), F. 
 
 (Seb.) Sebastian© (sa-bas-tl'-a'-no), / 
 
 and Sp. 
 Siegfried (zekh'-fret), G. 
 Siegmund (zekh'-moont), G. 
 Simon (ze'-m6n), G. 
 (Sim.) Simone (se'-m6-ne), /. 
 Spiro (spe'-ro). 
 Steffano (stef-fa -no), /. 
 Sy)v=iin (sel-van), F. 
 
 'Abd:ulo (ta-6-doo'-lo), I. 
 1 Besa (ta-ra'-sa), /. 
 Theobald (ta'-o-balt), G. 
 Theodor (ta'-o-dor), G. 
 (The.) Theodore (ta-ii-dor), F. 
 (T.) Thomas. 
 Thueskon (too-es'-kon), G. 
 (Tim.) Timothee (te-mo-ta'), F. 
 (T.) Tommasso (tom-mas'-so), /. 
 Traugott (trow'-got), G. 
 Turlogh (toor'-lokh), G. 
 
 (Val.) Valentin (val-afi-taii), F. 
 Venanzio (va-nan'-tsl-6), /. 
 (V.) Vincent (van-san), F. 
 (V.) Vincent (fen'-tsent), G. 
 (V.) Vincenzo (ven-chan'-ts6), /. 
 Vincesleo (ven-ches-Ia'-o), /. 
 Violante (ve-o-lan'-te), /. 
 
 Wendela (ven'-de-la), G. 
 Wenzel (ven'-tsel), G. 
 Werner (var-ner), G. 
 (Wm.) Wilhelm(ver-helm), G. 
 Wilhelmine (vel-hel-me'-ne), G. 
 Wilibald (ve'-ll-balt), G. 
 Willem (wll'-lem), Dutch. 
 (Wm.) William, E. 
 Woldemar (vol'-de-mar), G. 
 (Wg.) Wolfgang (volf-gang), G. 
 Wuif (voolf), G. 
 
 (X.) Xavier (ksav-va), F. 
 (X.) Xavier (za-fer'), G. 
 

35tog;rapj)ical Bicttonar^ 
 
 of 
 
 Musicians 
 
 N.B. The German modified vowels 
 a, 6, u, are often spelled ae, oe, ue. 
 For convenience they will here be ar- 
 ranged alphabetically as if a, o, u. 
 
 For the system on which given names 
 are abbreviated, and for their pronun- 
 ciation, see the pages devoted to them. 
 
 The word " Gerbert," or " Cousse- 
 maker " in a parenthesis means that 
 some of the composers works are in 
 the great collections of Gerbert or Cous- 
 semaker (q. v.). Where not otherwise 
 stated the man is a composer. 
 
 A ■ 
 
 Aaron (a'-ron), (i) d. Cologne, 1052 ; 
 abbot and theorist. (2) (or Aron), 
 Pietro, Florence, 1480 or '90 — bet. 
 1545-62 ; theorist. 
 
 Abaco (del a -ba-ko), E. Fel. dell", 
 Verona, 1662 — Munich, 1726, court- 
 conductor and composer. 
 
 Abba-Cornaglia (ab-ba' kor-nal'-ya), 
 Alessandria, Piedmont, 1851 — 1S94 ; 
 composed operas and church-music. 
 
 Abbadia (ab-ba-de'-a), (i) Natale, 
 Genoa, 1792 — Milan, ca. 1875; dram, 
 and ch. composer. (2) Luigia, daugh- 
 ter of above, b. Genoa, 1821 ; mezzo- 
 soprano. 
 ^ Abbatini(ab-ba-te'-ne), A. M., Castel- 
 lo, 1595? — 1677: composer. 
 
 Abbe (ab-ba), (i) Philippe P. de St. 
 Sevin, lived i8th cent.; "cellist. (2) 
 Pierre de St. Sevin, bro. of above ; 
 'cellist. 
 
 Abbey, J., Northamptonshire, 1785 — 
 Versailles, 1859; organ-builder. 
 
 Ab'bott, (i) Emma, Chicago, 1850— 
 New York, 1888 ; operatic soprano ; 
 toured America with great popular 
 success. (2) Bessie (Pickens), b. 
 America ; soprano ; pupil of Mrs. 
 Ashford, N. Y., and of Koenig, 
 
 Paris ; debut 1902 at the Opera there, 
 
 after singing in ballad concerts in 
 
 England. 
 Abd el Kadir (Abdolkadir) (ka -der), 
 
 Ben Isa, lived 14th cent. ; Arabian 
 
 theorist and collector. 
 Abd EI Mumin (or Abdolmumin). 
 
 Vide SSAFFIUDIN. 
 
 Abeille (a-bi'-lg), Jn. Chr. L., Bay- 
 
 reuth, 1761 — Stuttgart, 1838, com- 
 poser and court-conductor. 
 
 Abel (a-bei), (i) Clamor H., b. 
 Westphalia 17th cent.; court-mus. 
 (2) Chr. Fd., gambist at Kothen, 
 1720-37. (3) Ld. Aug., b. Kothen, 
 1720, son of above ; court-violinist. 
 (4) K. Fr., Kothen, 1725 — London, 
 1787 ; bro. of above and the last vir- 
 tuoso on the gamba. (5) L., Eckarts- 
 berga,Thuringia, Jan. 14, 1835 — Neu- 
 Pasing, Aug. 13, 1895 ; violinist. 
 
 Abela (a-ba'-la), (i) Don Placido 
 (don pla-the'-do), Syracuse, 1814 — 
 Monte Cassino, 1876 ; prior. (2) K. 
 Gl., Borne, Saxony, 1803 — Halle, 
 1841 ; cantor and composer. 
 
 Abel la, — singing-teacher; lived in New 
 York, 1S67. 
 
 Abeir, J., London, ca. 1660 — Cam- 
 bridge (?) ca. 1724; alto (musico) 
 and lutenist ; collector and composer. 
 
 Abenheim (a'-bSn-him), Jos., Worms, 
 1S04 — Stuttgart, 1891 ; conductorand 
 violinist. 
 
 Abert (a'-bert), Jn. Jos., b. Kocho- 
 witz, Bohemia, Sept. 21, 1832 ; 
 double-bass virtuoso and important 
 composer for the instr. ; also com- 
 posed operas, etc. 
 
 Abesser, Edm., Matgolitz, Saxony, 
 1837 — Vienna, 1889 ; dram, com- 
 poser. 
 
 Abos (a-bos) (or Avos, Avos'sa), 
 Gir., Malta, ca. 1700 — Naples, 
 1786 (?) ; composer of operas, etc. 
 
 379 
 
38o 
 
 THE MUSICAL GUIDE 
 
 A'braham, (i) John. Vide braham. 
 {2) (Dr.) Max. Vide peters, c. f. 
 
 A'brams, three Englisli sisters, 1775- 
 84. (i) Harriet, soprano and com- 
 poser. (2) Theodosia, contralto. 
 (3) Eliza. 
 
 Abranyi (a-bran'-ye), Kornel, b. Szent 
 Gyorgz Abranyi, 1822 ; Hungarian 
 nobleman ; editor and composer. 
 
 Abt (apt), (i) Franz, Eilenburg, Dec. 
 22, 18 19 — Wiesbaden, March 31, 
 1885 ; court-conductor at Bernburg, 
 Zurich and Brunswick ; visited Amer- 
 ica, 1872 ; immensely popular as a 
 writer in the folk-song spirit, of such 
 simple and pure songs as " When the 
 Swallows Hoiiie'ward Fly" etc. ; c. 
 500 works comprising over 3,000 num- 
 bers (the largest are 7 secular can- 
 tatas) and numerous choruses and 
 other cantatas. (2) Alfred, Bruns- 
 wick, 1855 — (of consumption) Ge- 
 neva, April 29, 1888 ; son of above ; 
 conductor. 
 
 Ab'yngdon, Henry, d. Wells, Eng- 
 land, 1497 ; composer. 
 
 Achard (a-shar), L^on, b. Lyons, Feb. 
 16, 1831 ; tenor. 
 
 Achenbach. Vide alvary. 
 
 Ack'ermann, A, J., b. Rotterdam, 
 April 2, 1836 ; composer. 
 
 Ac'ton, J. B., b. Manchester (?), 1863 ; 
 singing-teacher and composer. 
 
 Adam '(id-ah), (i) Louis, Mutter- 
 sholtz, Alsatia, 1758 — Paris, 1848 ; 
 teacher and composer. (2) Adolphe 
 Charles, Paris, July 24, 1802— May 
 3, 1856 ; son of above ; c. many suc- 
 cessful operas ; Pierre et Catherine 
 (1829), Le Chalet (1834), Postilion 
 de Longjnmeaii (1836), Le Fidele 
 Berger, Le Brasseur de Preston 
 (1838), Le Roi d'Yvetot (1842), La 
 Ponpde de Nuremberg, Cagliostro, 
 and Richard en Palestine (1844), the 
 ballets Giselle, Le Corsaire, Faust, 
 etc. ; in 1847 he founded the Thea- 
 tre National, but was made bank- 
 rupt by the revolution of 1848, and 
 entered the Conservatoire as prof, 
 of composition to succeed his 
 father. 
 
 Adam (at'-am), K. F., Zadel, 1806— 
 Leisnig, 1868 ; cantor and composer. 
 
 Adam de la Hale (or Halle) (ad-an 
 dii la al), Arras, ca. 1240 — Naples, 
 1287; called " Le bossu d'Arras " 
 (Hunchback of Arras) ; a picturesque 
 trouvere of great historical impor- 
 tance; c. chansons, jeux (operettas) and 
 motets; his works were pub. 1872. 
 
 Adam Von Fulda (at'-am fon fool'- 
 dii), ca. 1450 — ca. 1537. (Gerbert.) 
 
 Adamberger (at'-am-berkh-er), Valen- 
 tin (not Joseph), Munich, 1743— Vi- j 
 enna, 1804 ; dram, tenor ; assumed | 
 name "Adamonti"; Mozart wrote i 
 the role of Belmonte, etc., for him. 
 
 Adami da Bolsena (or da Volterra) \ 
 (a'-dii-me da bol-sa'-na), And., Bo- | 
 logna, 1664 — Rome, 1742 ; theorist. \ 
 
 Adamon'ti. Vide adamberger. j 
 
 Adamowski (ad-a-mof'-shkl), (i) ) 
 Timothee, b. Warsaw, March 24, < 
 1858 ; violinist and composer ; pupil 
 of Kontchi, Warsaw Cons, and Mas- 
 sart, Paris Cons. ; 1879 travelled to 
 America as soloist with Clara Louise 
 Kellogg, and later with a company! 
 of his own 1885-86 ; teacher. New 
 Engl. Cons., Boston ; organised the 
 Adamowski String-quartet (18S8). (2) 
 Joseph, bro. of above. ; 'ceUist ; 
 member of the same quartet ; married 
 Szumowska. 
 
 Ad'ams, (i) Th., London, 1785— 1858; 
 organist. (2) Charles R., Charleston, 
 Mass., ca. 1834 — July 3, 1900 ; tenor. 
 (3) Stephen. Vide maybrick, m. 
 
 Ad'cock, Jas., Eton, England, 177S— 
 Cambridge, i860; choir-master anc 
 composer. 
 
 Ad'dison, J., London, 1765 — 1S44 
 double-bass player, dram, composer. 
 
 Adelboldus (a'-del-bol-doos), d. 1027 
 Bishop of Utrecht ; theorist. (Ger 
 bert.) 
 
 Adelburg (fon a -del-boorkh), Aug. 
 Ritter von, Constantinople, 1830- 
 (insane) Vienna, 1873 ; violinist. 
 
 Adler (at'-ler), (i) G., b. Ofen, 1806* 
 violinist, pianist, teacher and corr) ■ 
 poser. (2) Guido, b. Eibenschiit;: 
 Moravia, Nov. i, 1855 ; pupil i [ 
 
 I 
 
DICTIONARY OF MUSICIANS 381 
 
 Academic Gym. in Vienna, and Vien- 
 na Cons.; ('78) Dr. jur., and ('So) 
 Ph. D.; 18S5 prof, of mus. science 
 Prague Univ.; (95) prof, of mus. 
 history, Univ. of Vienna (vice Hans- 
 
 ■ lick). (3) v., Raab, Hungary, April 
 3, 1S26 — Geneva, Jan. 4, 1871; son 
 of above ; teacher and composer. 
 
 Adlgasser (at'-'l-gas-ser), Anton Ca- 
 jotan, Innzell, Bavaria, 1728 — 1777 ; 
 organist. 
 
 Adiung (at'-loongk), or A'delung, Ja- 
 kob, Bindersleben, near Erfurt, 
 1699 — 1762 ; organist, teacher and 
 writer. 
 
 Adolfati (a-dol-fa-te), And., Venice, 
 1711 — Genoa (?) 1760; composer. 
 
 Adras'tos, lived Philippopolis ca. 330 
 B.C.; pupil of Aristotle, and theorist. 
 
 Adriano di Bologna. Vide ban- 
 
 CHIERI. 
 
 Ad Hansen (or Hadrianus), Eman- 
 uel ; lived Antwerp i6th cent. ; 
 lutenist and collector. 
 
 Adrien (ad-rt-an) or Andrien. (i) 
 Martin Joseph (called la Neu- 
 ville, or I'Ain^), Liege, 1767 — 
 Paris, 1832 ; bass and composer ; he 
 had two brothers. (2) Name un- 
 known, b. Liege, 1765. (3) Ferdi- 
 nand, chorus-master Paris Opera 
 (1799-1S01), composer. 
 
 ^gid'ius Zamoren'sis, Joannes, 
 Franciscan monk, Zamora, Spain, 
 1270 ; theorist. 
 
 ^gidius de Muri'no, 15th cent.; 
 theorist. (Coussemaker.) 
 
 iElsters (el-sters), Georges Jacques, 
 Ghent, 1770 — 1849. 
 
 ^rts (erts), (i) Egide, Boom, Ant- 
 werp, 1S22— Brussels, 1853. (2) 
 Felix, St. Trond, Belgium, 1827— 
 Nivelles, 1888 ('89?); violinist and 
 writer. 
 
 Affilard (laf'-fe-Iar'), Michel 1', 1683— 
 170S ; singer to Louis XIV. 
 
 Afranio (a-fra'-nI-6), b. Pavia, end of 
 15th cent. ; canon at Ferrara ; inv. 
 the bassoon. 
 
 Afzelius (af-tsa-li-oos), Arvid A., 
 Enkoping, Sweden, 1785 — 1871 ; col- 
 lector. 
 
 Agazza'ri (a-gad-za'-re), Ag., Siena, 
 157S — 1640; church-conductor, 
 
 Agelaos of Tegea, lived 559 b.c; 
 considered the first solo virtuoso on 
 the cithera. 
 
 Agnelli (an-yel'-le), Salv., b. Paler- 
 mo, 1817 ; pupil of Naples Cons.; 
 lived Marseilles and c. operas, can- 
 tata Apothdose de Napoleon /., 
 etc. 
 
 Agnesi (dan-ya'-se), (i) M. Theresia 
 d', Milan, 1724— 1780 (?) ; pianist and 
 dram, composer. (2) Luigi (right- 
 ly F. L. Agniez), Erpent, Namur, 
 1833 — London, 1875 ; bass. 
 
 Agniez (an-yez). Vide agnesi (2). 
 
 Agobar'dus, d. Saintonge, 840 ; arch- 
 bishop of Lyons ; theorist. 
 
 Agostini (ag-6s-te'-ne), (i) Lud. 
 Ferrara, 1534—1590; court-conduc- 
 tor. (2) Paolo, Vallerano, 1593 — 
 Rome, 1629 ; wonderful contrapun- 
 tist, some of his works being in 48 
 parts. (3) P. Simone, b. Rome, 
 ca. 1650. c. an opera, etc. 
 
 Agramonte (ag-ra-mon'-ta), Emilio, 
 
 b. Puerto Principe, Cuba, Nov. 28, 
 1844 ; eminent vocal teacher, lect- 
 urer, conductor, and friend of Amer- 
 ican music ; studied comp. under 
 Maiden in Spain, and David in 
 Paris ; piano in Paris ; singing under 
 Roger, Selva, and Delle Sedie ; 1865 
 LL.D. at Univ. of Madrid; taught 
 singing in Barcelona, 1865, Cuba, 
 1 866-68 ; lived since in New York ; 
 
 c. (in MS.) a Stabat Mater, etc. 
 Agrel (ji'-grel), J., Loth, Sweden, 1701 
 
 — Niirnberg, 1769; court-violinist and 
 conductor. 
 Agric'ola, (i) Alex.., Germany (?) 
 ca. 1470 — Valladolid, Spain, 1530 ; 
 court-singer and church-composer. 
 (2) Martin, Sorau, Saxony, i486 — 
 Magdeburg, June 10, 1556 ; emi- 
 nent writer and theorist. (3) jn., b. 
 Niirnberg ca. 1570; prof, and com- 
 poser. (4) Wolfgang Chp., Ger- 
 man composer (1651) ; (5) G. L., 
 Grossfurra, 1643 — Gotha, 1676 ; 
 conductor. (6) Jn. Fr., Dobitschen, 
 1720 — Berlin, 1774; court-cond. 
 
382 
 
 THE MUSICAL GUIDE 
 
 Agthe (akh'-te), K. Ch., (i) Hettstadt, 
 1762— Ballenstedt, 1797; composer. 
 (2) W. Jos, Albrecht, Ballenstedt, 
 lygo — ca. 1848 ; son of above ; teach- 
 er. (3) Fr. W., Sangershausen, 
 1794 — (insane) Sonnenstein, ca. 1828 ; 
 cantor. 
 Aguado (a-gwa'-dh5), Dionisio, Ma- 
 drid, 1784— 1849; performer and 
 composer for guitar. 
 Aguilar (a-gwe-lar), Emanuel, b. 
 
 1824 ; composer. 
 Aguiari, Lucrezia. Vide agujari. 
 Aguilera de Heredia (ii-gwt-la'-ra da 
 a-ra'-dhe-a), Seb., b. Sargossa. 17th 
 cent. ; monk and composer. 
 Agujari (a-goo-ha'-re), Lucrezia 
 (called La Bastardina, or Bastar- 
 della, being the natural daughter of 
 a nobleman), Ferrara, 1743 — Parma, 
 May 18, 1783; a phenomenal, singer; 
 Mozart remarked her "lovely voice, 
 flexible throat, and incredibly high 
 range," which reached from middle C 
 three octaves up ; she could shake on 
 f" (vide CHART OF pitch) ; she m. 
 Colla, 1780, and retired from the stage. 
 Agus (a-zhlis), H„ France, I749— 
 1798 ; singing-teacher and composer. 
 Able (a-lg), (i) Jn. Rud., Muhl- 
 hausen, 1625— 1673 ; theorist and 
 church-composer. (2) Jn. G., Mul- 
 hausen, 1650 — 1706; son of above; 
 organist, poet and theorist. 
 Ahlstrom (iil'-shtram), (i) A. J. R., 
 Stockholm, 1762— ca. 1827; organist. 
 (2) Johan Niklas, Wisby, Sweden, 
 June 5, 1805 — Stockholm, May 14, 
 1857 ; probably son of above ; dram, 
 composer. 
 Ahna. Vide de ahna. 
 Aibl (I'-bl), Jos., founded publishing 
 firm, Munich, 1824; later heads were 
 Eduard Spitzweg (1836) and his sons, 
 Eugen and Otto. 
 Aiblinger (T'-bllng-Sr), Jn. Kasper, 
 Wasserburg, Bavaria, 1779— Munich, 
 1867 ; court-conductor, collector and 
 composer. 
 Aichinger (i'-khtng-Sr), Gregor, Augs- 
 burg (?) ca. 1561— 1628 ; canon and 
 composer. 
 
 Aid€ (a-e-da), Hamilton, b. Paris, 
 1830, of Greek parents ; poet, com- 
 poser of pop. songs. 
 
 Aigner (ikh'-ner), Engelbert, Vienna, 
 1798 — ca. 1852 ; dram, composer. 
 
 Aimo (a'-e-mo). Vide haym, n. f. 
 
 Aimon(em-6n), Pamphile Ld. Fran., ! 
 b. L'Isle. near Avignon, 1779 ; 'eel- ,1 
 list, conductor, theorist. 
 
 Aireton (ar'-tun), Edw., London, '■ 
 1727 — 1807 ; violin-maker. 
 
 Ajolla. Vide layoi.le. 
 
 A Kem'pis, Florentine ; org. at Brus- ; 
 sels, 1650. 
 
 Akeroyde (ak'-e-roid), Samuel, b. : 
 Yorkshire ca. 1650 ; song-writer. j 
 
 Ala (a-la), Giov. Bat., Monza, 1580— ! 
 1612 (?) ; organist and composer. j 
 
 Alabieff (a-la-bl-ef), Alex., Moscow, i 
 1802 — 1852 ; composer. ' 
 
 Alard (ai-ar), (i) C^sar, b. Gosse- 1 
 lies, Belgium, May 4, 1837 ; 'cellist, 
 entered Brussels Cons, at 9, as vio- 
 linist ; took up the 'cello and won 
 prizes ; travelled as soloist. (2) J. 
 Delphin, Bayonne, March 8, 1815 — 
 Paris, Feb. 22, 1888 ; violinist, teach- 
 er and composer. 
 
 Alary (al-a-re), Giulio Eugenio 
 Abramo, Mantua, 1814— Paris, 1891; 
 flutist. 
 
 Al'ayrac. Vide dalayrac. 
 
 Albanese (al-ba-na -ze), Albano, 1729 
 — Paris, 1800; musico and com- 
 poser. 
 
 Albanesi (al-ba-na-ze). Carlo, b. Na- 
 pies, 1856— London, 1893 ; piano- 
 prof R. A. M. 
 Albani (al-bii' -nl) (stage name of Ma- 
 rie Louise Cecilia Emma La 
 Jeunesse), b. Chambly, near Mon- 
 treal, Nov. I, 1852; operatic soprano; 
 sang in Cn'-hedral, Albany, N. ¥., 
 whence her name was mistakenly 
 supposed to have been taken ; pupil 
 of Duprez, and of Lamperti ; debut 
 at Messina in 1870. 
 Albani, Mathias, Bozen, 1621 — 1673 ; 
 famous father of more famous son of 
 same name and trade, violin-making ; 
 the younger A.'s violins (1702-9) 
 rival Amati's. 
 
 i 
 
DICTIONARY OF MUSICIANS 383 
 
 Albeniz (al-ba'-neth), (i) Pedro, Lo- 
 groiio, 1795 — Madrid, 1855 ; court-or- 
 ganist. (2) Isaac, b. Camprodon, 
 Spain, May 20, 1S61 ; grandnephevv 
 of above ; lives in London as pianist ; 
 composed operas, etc. (3) Pedro, b. 
 Biscay, San Sebastian, 1S21 ; monk, 
 church-cond. and composer. 
 Albergati (dal-ber-ga-te), (i) Pirro 
 Capacelli, Conte d'. Lived in Bo- 
 logna, 17th cent. ; composer. (2) Al- 
 dobrandini, lived in Bologna, 17th 
 cent.; dram, composer. 
 Al bert, Prinz von Sachsen-Coburg 
 Gotha, Schloss Rosenau, 1819 — 1861; 
 consort of Queen Victoria, patron of 
 music and composer of an opera, 
 Jean Ic Fol (Bagnieres de Bigorre, 
 1S65), an operetta, masses, etc. 
 Albert (al'-bert), (i) H., Lobenstein, 
 Sa.xony, 1604 — Konigsberg, 1651 ; 
 poet, organist and composer ; called 
 the father of the German Lied, and, 
 as he alludes to a " Comodien-musik " 
 (1644), he must have been, with 
 Schiiltz, one of the founders of Ger- 
 man opera. (2) Max, Munich, 1833 
 — Berlin, 1882 ; zither-virtuoso and 
 inventor. (3) Charles L. N. d', 
 Nienstetten, near Hamburg, 1S09 — 
 London, 1866 ; dancing master and 
 composer. (4) Eugen d', rightly 
 Eugene (Francis Charles) (dal- 
 : bar, or dal'-bert), b. Glasgow, April 
 I 10, 1864 ; son and pupil of above; 
 ! pianist ; Newcastle scholar in the 
 ; London Nat. Training School, 1876; 
 i pupil of Pauer (pf.) and Stainer, 
 ' Proutand Sullivan (harm, and comp.); 
 1 1881, Mendelssohn scholar and pu- 
 . pil of Richter and Liszt, who called 
 \ him "the young Tausig " ; 1881, he 
 played the Schumann concerto at the 
 Crystal Palace, London ; Oct. 24, 
 a concerto of his own, at a Richter 
 concert ; he performed 5 Beethoven 
 sonatas (op. 31, 53. 90, 109, no) at a 
 Gewandhaus recital, 1893 ; he mar- 
 ried the pianist Carreno in 1892 (di- 
 vorced 1S95) ; first conductor at Wei- 
 mar, vice Lassen, but soon resigned ; 
 composed a symphony, 2 overtures, 
 
 (^Hyperion and Esther), 2 pf. -concer- 
 tos, libretto and music of the operas 
 De>- Rubin (Carlsruhe, Oct. 12, 1893), 
 Ghismonda (Dresden, 1895), Gemot 
 (Mannheim, 1897), i-act mus. comedy 
 Die Abreise (Frankfort, 1898), etc. 
 
 Albertazzi (al-bgr-tad'-ze), Emma 
 (neeHowson), London, 1814 — 1847 ; 
 operatic contralto. 
 
 Alberti(al-ber'-te),(i)Jn. Fr.,Tonning, 
 1642 — Merseburg, 1710 ; organist. 
 (2) Giuso Matteo, Bologna, 1685 — 
 1746; violinist and composer. (3) 
 Domenico, Venice, 1707 — Formio, 
 1740 ; singer then pianist ; in his 
 piano music he made use of the since- 
 called " Alberti bass " (vide D. D.). (4) 
 K. Edm. Robt., Danzig, 1801 — Ber- 
 lin, 1S74 ; writer. 
 
 Alberti'ni (iil-ber-te'-ne), (i) Gioac- 
 chino, b. 1751 — Warsaw, April, 
 181 1 ; conductor and dram, com- 
 poser. (2) Michael (called Momo- 
 let'to), soprano musico at Cassel, 
 i8th cent., where his sister (3) Gio- 
 vanna (called Romanina) was prima 
 donna. 
 
 Albicas'tro, Henrico (rightly, Weis- 
 senburg), b. Switzerland, 17th cent. ; 
 court-violinist. 
 
 Albino'ni, Tommaso, Venice, 1674 — 
 1745 ; violinist. 
 
 Alboni, Marietta, Cesena, Romagna, 
 March 10, 1S23 — Ville d'Avray, near 
 Paris, June 23, 1894; eminent dram, 
 contralto, compass %-^' (vide PITCH, 
 D. D.) ; pupil of Rossini ; debut La 
 Scala, Milan, 1843 ; m. Count Pe- 
 poli, 1854. 
 
 Albrecht (al'-br^kht), (i) Jn, Lor., 
 Gormar (Thuringia), 1732 — MiihU 
 hausen, 1773 ; writer. (2) Jn. Matt., 
 Osterbehringen, near Gotha, 1701 — 
 Frankfort, 1769; organist. (3) Karl, 
 Breslau, 18 17 (?) — Moscow, 1893 ; 
 court-conductor. (4) Eugen Maria, 
 St. Petersburg, 1842 — 1894 ; son of 
 (3) ; violinist and conductor. 
 
 Albrechtsberger(al-br^khts-b$rkh-er), 
 Jn. G., Klosternenburg, near Vi- 
 enna, Feb. 3, 1736 — Vienna, March 
 7, 1809 ; eminent composer, court- 
 
384 
 
 THE MUSICAL GUIDE 
 
 organist, theorist and teacher (Bee- 
 thoven was his unappreciated pupil). 
 
 Albri'ci (al-bre'-che), V., Rome, 1631 
 — Prague, 1696 ; court-conductor. 
 
 Alcarrot ti, Giov. Fran., lived in 
 Italy i6th cent. ; organist, 1740-91. 
 
 Al'cock, (i) John, London, 1715 — 
 Lichfield, 1S06 ; organist. (2) J., son 
 of above ; organist. 
 
 Alday (al-de), French family, (i) The 
 father (b. Perpignan, 1737), a man- 
 dolinist. His two sons (2) A. le 
 vieux (b. 1763) ; violinist. (3) A. 
 lejeiDie (b. 1764) ; violinist. 
 
 Alden, J, Carver, b. Boston, :Mass., 
 Sept. II, 1S52 ; pupil of Carl Fael- 
 ten, and of Paul, Plaidy, and Pap- 
 peritz in Leipzig ; teacher at the N. 
 E. Cons., later at Wollaston, Mass. ; 
 c. pf.-concerto, etc. 
 
 Aldovrandini (al-do-vran-de-ne), 
 
 Gius. A. v., b. Bologna, 1665 ; 
 court-conductor and dram, composer. 
 
 Al'drich, (i) H., Westminster, 1647 — 
 O.xford, 1710 ; theorist and composer. 
 (2) Richard, b. Providence, R. I., 
 July 31, 1S63 ; graduated Harvard, 
 1885, where he took several scholar- 
 ships and honours ; studied music 
 under J. K. Paine ; 1S85 he went on 
 the staff of the Providence Journal, 
 soon reaching an editorial position, 
 and being put in charge of the musi- 
 cal and other critical departments of 
 the paper ; iSSS he spent in study 
 abroad, chiefly of music ; 1889 to 
 1891, private secretarj' to U. S. Sena- 
 tor N. F. Di.\on ; 1891 joined the 
 staff of the Neiv York Tribune as 
 associate musical critic with H. E. 
 Krehbiel, and as collaborator in their 
 ''''History of the PhilharDionic Soci- 
 ety ; " author of various magazine ar- 
 ticles, and editor of a series of musical 
 biographies to be published in New 
 York, the volume on Schumann being 
 in preparation by him. 
 
 Alembert (dal-ah'-bar), J. Le Rond 
 d', Paris, 1717—1783 ; theorist. 
 
 Alessan'dri, (i) Giulio, c. an orato- 
 rio (ca. 1690). (2) Felice, Rome, 
 1742 — Berlin (?), 1811. 
 
 Alessan'dro Merlo (or Alless. Ro- 
 mano), called Delia Viola, b. 
 
 Rome (?) ca. 1530 ; monk, singer and 
 composer. 
 
 Alexander, John (or Joseph), 'cellist 
 at Duisburg, 1801. 
 
 Alfarabi (al-fa-ra'-be), or Alphara'- 
 bius, properly El Farabi (abbr. 
 Farabi) Farab (now Othrax,) 900 (?) 
 — Damascus, 950 ; Arabian theorist 
 who vainly advocated Greek theories. 
 
 Alfieri (al-fe-a'-re), Abbate Pietro, 
 Rome, 1801 — 1863 ; Camadulian 
 monk ; teacher and theorist. 
 
 Al'ford, J., lutenist at London, 1568. 
 
 Algarot ti, Count Fran., Venice, 1712 
 — Pisa, 1764; writer. 
 
 Aliani (al-l-ii'-ne), Francesco, b. Pia- > 
 cenza ; 'cellist, 1820 ; son and pupil of ; 
 a violinist. 
 
 Alipran'di, (i) Bdo., b. Tuscany, i 
 Bavaria, ca. 1730; his son (2) Bdo., j 
 'cellist at Munich, 1780. I 
 
 Alizard (al-l-zar'). Ad. Jos, L., Paris, j 
 1S14 — (of consumption) Marseilles,} 
 1S50 ; bass, later bar}-tone. 
 
 Alkan (al-kah), (i) Chas. H. Val. 
 {I'aitie), Paris, Nov. 30, 1813 — March 
 29, iSSS; pianist, teacher, and brilliant j 
 composer for piano. (2) Napoleon- 
 Morhange (mor-anzh) {le jeune), b. 
 Paris, Feb. 2, 1826 ; brother of above ; 
 pianist. 
 
 Allacci (al-lat'-che), Leone (or Leo" 
 Allatius), Chios, 15S6 — Rome, 1669; 
 writer. 
 
 Al'lanson, 1690 — 1705 ; EngHsh or- 
 ganist, and church-composer. 
 
 All chin; conductor Oxford Music S( 
 ciety, 1869-S1. 
 
 Allegran ti, Maddalena ; dram, so-! 
 prano ; debut, Venice, 1771. 
 
 Allegri (al-la'-gre), (i) Gregorio. 
 Rome, 15S4 — Feb. 18, 1662 ; pupi 
 of Nanini ; composed a celebratec, 
 Miserere in 9 parts, sung during 
 Holy Week at the Sistine Chapel 1 
 its publication was forbidden on pair 
 of excommunication ; but Mozar' 
 after twice hearing it, wrote it out 
 and it has since been frequently pub 
 blished. (2) Dom.; lived 1610-29 a 
 
 
DICTIONARY OF MUSICIANS 385 
 
 Rome ; one of the first to write in- 
 strumental accompaniments not in 
 mere unison with the voices. 
 
 Al'len, (i) H. R., Cork, 1S09— Lon- 
 don, 1S76 ; bass. (2) G. B., Lon- 
 don, 1822 — Brisbane, Queensland, 
 1897 ; singer, organist, conductor, 
 manager, and composer. (3) Na- 
 than H., b. Marion, Mass., 1848 ; 
 pupil of Haupt, Berlin ; organist and 
 teacher in Hartford, Conn.; compos- 
 er of cantatas, etc. 
 
 AUihn (al-len'), H. Max., b. Halle-on- 
 Saale, Aug. 31, 1841 ; writer on or- 
 gan-building. 
 
 Al'lison, (i) Richard, teacher at 
 London, 1592. (2) Robt., member 
 of Chapel Royal till 1609. 
 
 Al'litsen, Frances, English singer and 
 composer ; debut, London, 1882. 
 
 AU'woode, , English church- 
 composer, i6th cent. 
 
 Alma'gro, A. Lopez, b. Murcia, 
 Spain, Sept. 17, 1839 ; pianist and 
 composer. 
 
 Almeida (dal-ma'-e-dha), Fernando 
 d', Lisbon, ca. 1618 — 1660 ; monk 
 and church-composer. 
 
 Almenrader (al'-men-ra-der), Karl, 
 Ronsdorf, 1786 — Nassau, 1843; virtu- 
 oso and manufacturer of the bassoon. 
 
 Aloysius, Baini's name for palestrina 
 (q.v.). 
 
 Alphara'bius. Vide alfarabi. 
 
 Alquen (dal-kah or dal'-kwan), (i) P. 
 Jn. d', Arnsberg, Westphalia, 1795 
 — Mulheim-on-Rhine, 1863 ; com- 
 poser. (2) Fz. d', Arnsberg, 18 10 
 — London, 1887, bro. of above ; 
 pianist. 
 
 Al'sager, Thos. Massa, Cheshire, 
 1779 — 1846 ; English amateur and 
 patron. 
 
 Alshala'bi, Mohammed, 15th cent.; 
 Arabian theorist. 
 
 Alsleben (als'-la-ben), Julius, BerHn, 
 1832 — 1894 ; editor and writer. 
 
 Alsted(t) (al'-shtat), Jn. H., Herborn, 
 Nassau, 1588 — Weissenburg, 1638 ; 
 writer. 
 
 Altenburg (al'-ten-boorkh), (i) Mi- 
 chael, Alach, near Erfurt, 1584— Er- 
 
 furt, 1640 ; pastor and composer. (2) 
 Jn. Ernst, Weissenfels, 1734 — Bitter- 
 field, 1796 ; trumpet-virtuoso ; son of 
 (3) Jn. Kasper, do. 
 
 Alt^s (al-tes), (1) Jos. H., Rouen, 1826 
 — Paris. 1895 ; flutist. (2) Ernest- 
 Eugene, b. Paris, March 28, 1830, 
 bro. of above ; pupil Paris Cons.; 
 violinist and conductor ; 1871 deputy 
 conductor of the Opera ; 1879-87, 
 conductor. 
 
 Altnikol (alt'-ne-kol), Jn. Chp., d. 
 Naumberg, 1759 : son-in-law and pu- 
 pil of J. S. Bach ; organist and com- 
 poser. 
 
 Alvary I'al-va-re), Max (rightly 
 Achenbach), Hamburg (?) 1858— 
 Datenberg, Thuringia, Nov. 8, 1898 ; 
 eminent Wagnerian tenor ; debut at 
 Weimar. 
 
 Alvsleben, Melitta. Vide otto-alvs- 
 
 LEBEN. 
 
 Alyp'ios, lived ca. 360 b.c,- Greek 
 theorist. 
 
 Amade (am-a-da ), (i) Ladislaw, 
 Baron von, Kaschau, Hungary, 1703 
 — Felbar, 1764; poet and composer. 
 (2) Thaddaus, Graf von Pressburg, 
 1783 — Vienna, 1845 ; pianist. 
 
 Amadei (am-a-da-e), R., b. Loreto, 
 Italy, Nov. 29, 1840 ; succeeded his 
 father as organist and conductor. 
 
 Amalia (a-ma'-ll-a). the name of three 
 princesses who composed, (i) Anna 
 A., sister of Frederick the Great, 
 1723 — 1782. (2) Anna A., mother 
 of the Grand Duke Ernst August, 
 1739— 1S07. (3) Marie A. Fried- 
 erike, sister of King John of Saxony, 
 Dresden, 1794 — 1S70. 
 
 Amati (a-ma'-te), a family of famous 
 violin-makers at Cremona, Italy, (i) 
 Andrea, 1520 (?) — 1577 (?), evolved 
 the violin from the viol ; his younger 
 bro.,(2)Niccol6, made fine bass-viols, 
 1568-86. A.'s 2 sons, (3) Antonio, 
 1550 — 1635, and (4) Geronimo, d. 
 1638, produced violins of the same 
 style. The most ''amous was Gero- 
 nimo's son, (5) Ntccolo, Sept. 3, 
 1596 — Aug. 12, 1684, who built the 
 "Grand Amatis," large violins of 
 
386 
 
 THE MUSICAL GUIDE 
 
 powerful tone; his label is " Nico- 
 laus Amati Cremonens. Hieronimi 
 filius Antonii nepos. Fecit anno 
 i6-" ; he trained Andrea Guarneri 
 and Antonio Stradivari. (6) His son 
 Geronimo, the last of the family, was 
 inferior. (7) Giuseppe A., b. 17th 
 cent., Bologna, a violin-maker, may 
 have been of the same family. 
 (8) V. (called Amatus), Cimmina, 
 Sicily, 1629 — Palermo, 1670 ; con- 
 ductor and composer. (9) Antonio 
 and (10) Angelo, brothers, and ur- 
 gan-builders at Pavia, ca. 1S30. 
 
 Ambragetti (am-bra-jet'-te), G., 1S17 
 — 1S35; basso-buffo. 
 
 Ambros (am'-bros), Aug. W., Mauth, 
 near Prague, Nov. 17, 1816 — Vienna, 
 June 28, 1876 ; eminent historian 
 and critic. 
 
 Ambrose (Ambro'sius), Treves, .a.d. 
 333 — Milan, April 4, 397 ; Bishop of 
 Milan ; regulated (384), and devel- 
 oped Western church-music by intro- 
 ducing ritual as practised in the East- 
 ern Church ; the adoption of the four 
 authentic church-modes was probably 
 due to him ; he has been called " The 
 Father of Christian Hymnology," 
 though his authorship of the so-called 
 Ambrosian Hymn is discredited, fur- 
 ther than the translation of the te.vt 
 into the " Te Deum " ; U is improL 
 able that he was acquainted with the 
 use of letters for notation. 
 
 Ames, John Carlowitz, b. Bristol, 
 England, 1S60; composer of opera 
 The Last of the Incas (1S9S). 
 
 Ameyden (a-ml-den), Christ, i6th 
 century church-composer. 
 
 Am(m)erbach (iim'-er-bakh), Elias 
 Nikolaus, ca. 1540 — Leipzig, 1597; 
 organist, theorist, and composer. 
 
 Amiot (am-yo). Father, b. Toulon, 
 171S; Jesuit missionarj' and writer 
 on Chinese music. 
 
 Am(m')on (am'-mon), (i) Blasius, b. in 
 the Tyrol — d. Vienna, June, 1590 ; 
 court-sopranist, later Franciscan 
 friar ; composer. (2) Jn. Ands., 
 Bamberg, 1763 — Ottingen, 1825; vir- 
 tuoso on the Waldhorn. 
 
 Am'ner, (i) John, b. late i6th cent. 
 — d. 1641 ; organist. (2) His son 
 Ralph, bass at Windsor, 1623 — 1663. 
 
 Amphi on, the earliest traditional 
 Greek musician. 
 
 Amorevoli (a-mo-ra'-v5-le), Angelo, 
 Venice, 1716 — Dresden, 179S ; singer. 
 
 Anacker (a-nak-er), Aug. Fd., Frei- 
 berg, .Sa.xony, 1790 — 1S54 ; cantor 
 and composer. 
 
 Ancot (ah-k5), a family of pianists 1 
 and composers at Bruges, (i) Jean 
 (pere), 1779 — 1S48. His two sons, 
 
 (2) Jean(yf/j-), 1799 — Boulogne, 1829, 
 
 (3) Louis, 1S03 — Bruges, 1836. 
 Ander (an'-der), Aloys, Liebititz, Bo- 
 hemia, 1824 — Bad Wartenberg, 1864 ;; 
 tenor. 
 
 Anders, Gf. Eng., Bonn, 1795—, 
 Paris, 1866 ; writer. 
 
 Andersen, Joachim, b. Copenhagen, 
 April 29, 1S47 ; flute-virtuoso; soloist 
 at 14 ; toured widely ; 1S77, court- 
 musician, Petersburg ; iSSi, Berlin, 
 soloist court-opera ; from 1895 livec 
 in Copenhagen as court-conductor 
 composed notable flute-pieces, etc. 
 
 Anderson-Boker, Orleana, b. Xcm 
 York, 1S35 ; pianist and composer. 
 
 Anderson, (i) Lucy, nee Philpot 
 Bath, 1790 — London, 1S7S ; pianist 
 (2) Geo. Fr., King's bandmaster ii 
 England, 184S. (3) Angela, b 
 New York ; great-granddaughter o 
 da Ponte ; pianist, pupil of .Stojowsk, 
 and Paderewski ; debut, Paris. iSgg. 
 
 An'derton, Thos., b. Birmingham 
 England, April 15, 1836; organist 
 critic and composer. 
 
 An'ding, Jn. Michael, near Meining 
 en, 1810 — Hildburghausen, 1S79 
 teacher. 
 
 Andrade (dan-dra'-dhe), Fran, d', I 
 Lisbon, 1859 ; barytone ; studie 
 with Miraglia and Ronconi ; san 
 leading roles in many Europea 
 cities. 
 
 Andre (ah-dra), a musical family < 
 Offenbach, (i) Jn., 1741 — 1799; JduI 
 lisher and pianist ; he originated 
 1783 the dtirchkompotiirte Balla> 
 (vide D. D.). (2) Jn. Ant., 1^5- 
 
 1 
 
DICTIONARY OF MUSICIANS 387 
 
 1 
 
 1842 ; third son of above ; pianist, 
 publisher, theorist. (3) Karl" Aug., 
 1806 — Frankfort, 1887; publisher 
 and writer. (4) Julius, 1808 — 
 Frankfort, 1880 ; organist. (5) Jn. 
 Aug., 1817 — 1887; publisher; his 2 
 sons, (6) Karl (b. 1853) and (7) 
 Adolf (b. 18S5), are the present pro- 
 prietors. (8) Jean Baptiste (de St. 
 Gilles), 1823 — Frankfort, 1882 ; pian- 
 ist and composer. 
 
 Andreoli (an-dra-6'-le), (i) Evanga- 
 lista, iSio — 1875 ; organist at Mi- 
 randola ; his two sons, (2) Guglieno 
 (Modena, 1835 — Nice, i860) and (3) 
 Carlo (b. Mirandola, 1840), were 
 pianists, the latter also organist and 
 composer. (4) Giuseppe, Milan, 
 1757 — 1832 ; double-bassist and harp- 
 ist. 
 
 Andreozzi (an-dra-od'-ze), Gaetano, 
 Naples, 1763 — Paris, 1826 ; dram, 
 composer. 
 
 Andrevi (an-dra-ve), Fran., Sana- 
 buya, near Lerida, 1786 — Barcelona, 
 1853 ; critic and writer. 
 
 Andrien. Vide adrien. 
 
 An'dries, Jean, Ghent, 1798— 1872; 
 teacher and writer. 
 
 Andriessen. Vide stahmer. 
 
 Anerio (a-na -re-6), (i) Felice, Rome. 
 ca. 1560 — ca. 1630 ; successor to Pa- 
 lestrina. (2) Giovanni Fran., 
 Rome, ca. 1569 — 1620 (?), bro. of 
 above ; conductor and church-com- 
 poser. 
 
 Anet, Baptiste. Vide kai'Tiste. 
 
 Anforge (an'-forkh-e), Kd., b. Buch- 
 wald, near Liebau, Oct. 15, 1862 ; 
 pianist ; pupil, Leipzig Cons, and of 
 Liszt ; toured Europe and America ; 
 lives in Berlin ; composer. 
 
 Anfos'si, Pasquale, Taggia, near 
 Naples, 1727 — Rome, 1797; pupil 
 and rival of Piccinni ; composed 54 
 operas, etc. 
 
 Angelet (afi'-zhu-la), Chas. Fran., 
 Ghent, 1797 — Brussels, 1832. 
 
 Angelini (an-ja-le'-nl), Bontempi 
 Giov. And., Perugia, ca. 1624 — 
 1705 ; court-singer and dram, com- 
 poser. 
 
 Angeloni (an-ja-lo'-nl), Luigi, Frosi- 
 none, Papal States, 1758 — London, 
 1842 ; writer. 
 
 Anglebert (dah-glii-bar), J. Bapt. H. 
 d', 162S (?)— Paris, 1691 ; court-cla- 
 vicembalist to Louis XIV. 
 
 Animuccia (an-e-moot'-cha), (i) Giov., 
 Florence, ca. 1500 — Rome, March, 
 1571 ; wrote the first Laudi spirituali 
 for the lectures of Neri in the oratory 
 of S. Philippo, has hence been called 
 "Father of Oratorio"; he was Pa- 
 lestrina's predecessor as conductor at 
 the Vatican. (2) Paolo, d. Rome, 
 1563, bro. of above. 
 
 Ankerts, D'. Vide dankers, ghise- 
 
 LIN. 
 
 Anna Amalia. Vide amalia. 
 
 Annibale (an-ni-ba'-le), (i) (called II 
 Padova'no, or Patavi'nus, from 
 Padua, where he was born in the 
 15th cent.) organist and composer. 
 (2) Domenico, Italian sopranist in 
 London, 1756. 
 
 Ansani (an-sa'-ne) Giovanni, b. Rome, 
 iSth cent.; dram, tenor. 
 
 Anschutz (an'-shiits), (i) Jn. And., 
 Coblenz, 1772 — 1858 ; pianist. (2) 
 K., Coblenz, 1815 — New Vork, 1870; 
 son of above ; cond. and composer. 
 
 Anselm of Parma (Anselmus Par- 
 mensis), b. Parma, 1443 ; theorist. 
 
 Antegnati (an-tan-ya'-tl), Costanzo, 
 Brescia, ca. 1550 — ca. 1620; organ- 
 builder, etc. 
 
 An'tico, Andrea. Vide antiquus, 
 
 ANDREAS. 
 
 Antiquis (an'-te-kwes), Johannes (or 
 Giovanni) de, 1. 1574, Bari, Na- 
 ples ; composer. 
 
 Antiquus (an'-te-kwoos), Andreas (or 
 A. de Antiquiis Venetus, or 
 Andrea Antico), b. Montana 
 (Istria), 15th cent.; music-printer in 
 Rome. 
 
 Anton (an'-tdn), Konrad G., Lauban, 
 Prussia, 1746 — 1819; writer. 
 
 Antonio da Bologna (bo-l6n'-ya), 
 1543 ; organist and composer. 
 
 Antony (an'-to-ne), (i) Joseph, 1758 
 ■■ — 1836 ; writer and composer. (2) 
 Fr. Jos., Munster, Westphalia, 
 
388 
 
 THE MUSICAL GUIDE 
 
 1790 — 1836 ; son of above ; organ- 
 ist, conductor, and composer. 
 
 Apel (a'-pel), Jn. Aug., Leipzig, 1771 
 — 18 16 ; writer. 
 
 Apell (a-pel), Jn, D. von, Cassel, 
 1754 — 1833; conductor and dram, 
 composer. 
 
 Apollo, Greek sun-god, and god of 
 music. 
 
 Appel (ap'-pel), K., b. Dessau, 1812 ; 
 violinist, court-leader, composed 
 opera Die Raubet-bratit (Dessau, 
 1840), and humorous male quartets. 
 
 Appun (ap-poon), G. A. I., Hanau, 
 1816 — 1885 ; versatile performer on 
 nearly every instr. ; writer on and ex- 
 perimenter in acoustics ; made an 
 harmonium of 53 degrees to the oc- 
 tave. 
 
 Aprile (a-pre'-lg), Gius, Bisceglia, 
 1738 — Martins, 1814 ; celebrated con- 
 tralto musico and vocal teacher ; 
 writer and composer. 
 
 Ap thorp, W. Foster, b. Boston, 
 Mass., Oct. 24, 1848. Harvard, '69, 
 studied piano, harmony, cpt. with J. 
 K. Paine, and B, J. Lang ; teacher 
 of theory, and for many years distin- 
 guished critic and writer on music ; 
 anthor oi "//ecfor Bar /ioz' ; '■'Musi- 
 cians and Music-Lovers, and other 
 Essays"; " By the IVay, About Mu- 
 sic and Musicians" {lit^q); ^'Opera 
 and Opera Singers" (1901), etc. 
 
 Aptom'mas, (i) John, (2) Thomas, 
 brothers; b. Bridgend, England, 1S26, 
 and 1829 ; harp-players and teach- 
 ers. 
 
 Araja (a-ra'-ya), Fran., Naples, ca. 
 1700 — Bologna, ca. 1770; dram, 
 composer ; composed the first opera 
 written in Russian. 
 
 Aranaz (ar-a-nath'), Pedro, d. Cuen- 
 ca, Spain, 1825 ; priest and composer. 
 
 Aranda d' (da-ran'-dha), Pasha, b. 
 Spain ; contemporary court-conductor 
 to the sultan with rank of General de 
 Division. 
 
 Aranda (a-ran'-da), Matheo de, 
 Portuguese prof, of mus. (1544). 
 
 Arando (djir-an'-do), del Sessa d', 
 Italian composer, i6th cent. 
 
 Arauxo (a-ra-ooks'-5) (or Araujo (a- 
 ra-oo'-ho)), Francisco Correa de, 
 ca. 1581 — Segovia, 1663 ; bishop, the- 
 orist. 
 
 Arban (ar-bafi), Jos. J. Bap. Lau- 
 rent, Lyons, 1825 — Paris, 1889; 
 cornet-virtuoso ; teacher at Paris Con- 
 servatoire. 
 
 Arbeau, Thoinot (twa-no ar-bo). 
 
 Vide TABOUROT. 
 
 Ar'buckle, Matthew, 1828 — New 
 York, 1883 ; cornetist and bandmas- 
 ter. 
 
 Ar'cadelt, Jacob (or Jachet Arka- 
 delt, Archadet, Arcadet, Harca- 
 delt), 1541 — bet. 1570-75 ; distin- 
 guished Flemish composer and teach- 
 er ; 1540, singer in Paris ; 1557, 
 Regius musicus ; composed masses, 
 etc. 
 
 Arcais (dar-ka'-es), Fran., Marchese 
 d', Cagliari, Sardinia, 1830 — near 
 Rome, 1890 ; writer and composer. 
 
 Archadet (ar-cha-da'). Vide arca- 
 
 DELT. 
 
 Archambeau (dar'-shafi-bo), J. Mi- 
 chel d', b. Herve, Belgium, March 
 3, i8?3 ; organist and composer. 
 
 Archer, Fredk., Oxford, England, 
 June 16, 1838— Pittsburg, Pa., Oct. 
 22, 19O1 ; pupil of his father ; stud- 
 ied in London and Leipzig ; or- 
 ganist and opera-director in London; 
 1 88 1, organist of Plymouth Church, 
 Brooklyn, later in New York ; 1887. 
 conductor of Boston Oratorio Soc; 
 1895-98, Pittsburg (Pa.) Orchestra; 
 composed cantata, organ-pieces, etc. 
 
 Archy'tas, Tarentum, ca. 400 — 365, 
 B.C.; Greek mathematician. 
 
 Arditi (ar-de'-te), (i) Michele, Mar- 
 chese, Naples, 1745 — 1S38 ; com- 
 poser. (2) Luigi, b. Crescentino, 
 Piedmont, July 16, 1822 ; pupil of 
 Milan Cons.; violinist, then director 
 of opera, 1843, Milan, Turin, and 
 Havana. He visited New York with- 
 the Havana opera company ; has 
 since travelled widely. Composed 
 3 operas, vocal waltzes, // Bacio, 
 etc.; wrote "'My Reminiscences" 
 (London, 1896). 
 
 i 
 
 I 
 
DICTIONARY OF MUSICIANS 389 
 
 Arens (a'-r^ns), Fz. Xavier, b. near 
 the Mosel, Germany, Oct. 28. 1856; 
 came to America early in youth ; pu- 
 pil of .lis father, and of Rheinberger, 
 etc. ; conductor, organist ; composer 
 of symphonic fantasia, etc. 
 
 Arensky (a-ren'-shkl), Anton Step- 
 anovitch, b. Novgorod, Russia, 
 July 30, 1S62 ; composer and pianist; 
 pupil of Johanssen and Rimsky-Kor- 
 sakov ; Prof. Imp. Cons. Moscow, 
 and conductor Imperial Court Choir ; 
 composed a symphony, 4 suites for 
 orch., i-act opera Rafaello, string 
 quartets, concerto for piano, etc., in- 
 cluding " Essais siir des rythmes ou- 
 bli/s" f. pf. 4 hands. 
 
 Aretino. Vide guido d'arezzo. 
 
 Argine (dal ar'-je-ne), Constantino 
 dair, Parma, 1842 — Milan, 1877 ; 
 composed pop. operas and ballets. 
 
 Aria (a'-rl-a), Cesare, Bologna, 1820 — 
 1894 ; singing-teacher. 
 
 Aribo (a-re'-bo), Scholas'ticus, d. ca. 
 1078 ; probably from the Nether- 
 lands ; writer. (Gerbert.) 
 
 Arien'zo (dar-!-en'-tso), Nicola d', b. 
 Naples, Dec. 24, 1843 (or '42) ; 
 composed 5 operas in Neapolitan dia- 
 lect, Monzit Gnazio (Naples, i860), 
 and / Due Mariti (Naples, 1866), 
 the most successful, realistic and orig- 
 inal ; also an oratorio, a Pensie.ro 
 Sinfonico, overtures, etc.; wrote a 
 treatise (1879) advocating pure in- 
 tonation instead of temperament, and 
 a third mode (the Minor Second), be- 
 sides the usual major and minor. 
 
 A'rion, partly traditional Greek singer 
 and lyrist (7th cent., B.C.); hence, the 
 name of a vocal society. 
 
 Arios'ti, Attilio, Bologna, 1660 — ca. 
 1740; composed 15 operas; 1716 a 
 rival of Buononcini, and of Handel ; 
 in London in 1720, the three com- 
 posed the opera Muzio Scaevola. 
 
 Aristi'des Quintilia'nus, Greek teach- 
 er and writer on music, ca. 160. 
 
 Ar'istotle, (i) Stagyra, 384 B.C. — 
 322 B.C.; Greek philosopher, whose 
 works include valuable information 
 concerning Greek music. (2) Pseu- 
 
 donym of a writer on mensurable 
 music, I2th — 13th cent. 
 
 Aristox'enos, b. Tarentum, ca. 354 
 B.C. ; one of the first Greek writers on 
 music. 
 
 Armbrust (arm'-broost), K, F,, Ham- 
 burg, 1849 — Hanover, 1896 ; teacher 
 and critic. 
 
 Armbruster (arm'-broo-ster), K., b. 
 Andernach-on-Rhine, July 13, 1846 ; 
 pupil of Hompesch ; pianist and lect- 
 urer ; Hans Richter's assistant con- 
 ductor at the Wagner concerts, 1882- 
 84 ; later conducted at various Lon- 
 don theatres. 
 
 Armes, Philip, b. Norwich, England, 
 1836 ; Mus. Doc. Oxon, 1864 ; or- 
 gan composer. 
 
 Armingaud (ar-mSn-go), Jules, b. Ba- 
 yonne, May 3, 1820 ; was refused ad- 
 mission to the Paris Cons, at 19 since 
 he was "too far advanced"; leader 
 of a string quartet enlarged to the 
 Socie'te Classiqtte ; said to have intro- 
 duced Beethoven's quartets into Paris. 
 
 Arnaud (ar-n5), (i) Abbe Fran,, Au- 
 bignan, 1721 — Paris, 17S4; writer. 
 (2) J. Et. Guil., Marseilles, 1807— 
 Jan., 1863; composer. 
 
 Arne (arn), (i) Dr. Thomas Augus- 
 tine, London, March 12,1710 — March 
 5, 1778 ; by secret nightly practice he 
 learned the spinet and violin, his fa- 
 ther wishing him to study law ; 1736, 
 m. Cecilia Young, a favourite singer 
 of Handel's ; 1738, he was composer 
 to the Drury Lane Th. and set Dal- 
 ton's adaptation of Milton's Covins; 
 in his masque Alfred {\']\o) is " Rule 
 Britannia"; in Dublin (1742-44) he 
 produced two operas, Britannia and 
 Eliza, and a musical farce Iliomas 
 and Sally ; 1745, composer to Vaux- 
 hall Gardens, London ; set to mu- 
 sic the songs in As Yon Like It, 
 " Where the Bee Sucks," in The 
 Tempest, etc.; Mus. Doc. Oxon, 
 1759 ; he was the first to use female 
 voices in oratorio-choruses {Judith) ; 
 composed 2 oratorios, many masques, 
 orch. overtures, vln.-sonatas, organ- 
 music, harpsichord-sonatas, glees, 
 
390 
 
 THE MUSICAL GUIDE 
 
 catches, canons, etc. (2) Michael, 
 London, 1741 — Jan. 14, 1786 (not 
 1806) ; natural son of above ; con- 
 ductor and dram, composer. 
 
 Arneiro (dar-na -e-ro), Jose Aug. 
 Ferreira Veiga, Viscount d', b. 
 Macao, China, Nov. 22, 1838, of 
 Portuguese parents ; composed 2 
 operas. 
 
 Arnold (ar'-nolt), (i) G., b. Welds- 
 berg, Tyrol, 17th cent.; organist. 
 (2) Samuel, London, 1740 — 1802 ; 
 organist Westminster Abbey. (3) Jn. 
 Gottf., near Oehringen, 1773— 
 Frankfort, 1806 ; 'cellist, etc. (4) 
 Ignaz Ernst Fd., Erfurt, 1774 — 
 1S12 ; writer. (5) K., near Mergen- 
 theim, Wiirtemberg, 1794 — Christia- 
 nia, 1873 ; son of (3) J. G. ; pianist 
 and composer. (6) K., b. St. Peters- 
 burg, 1820 ; son of (5) ; 'cellist in 
 Royal Orch. ; studied Stockholm. 
 (7) Fr. W., near Heilbronn, 1810 — 
 Elberfeld, 1864 ; collector and com- 
 poser. (8) Yourij von, St. Peters- 
 burg, 181 1 — Simferopol, Crimea, 
 i8g8 ; singing-teacher and dram, 
 composer. (9) Richard, b. Eilen- 
 burg, Jan. 10, 1845 ; at 8 taken to U. 
 S.; pupil of Fd. David, 1869-76 ; ist 
 violinist of Theo. Thomas' orch., 
 1878 ; leader New York Philh. Club, 
 1891 ; 1897, organised a se.xtet. (10) 
 Maurice (real name Strothotte), b. 
 St. Louis, Jan. 19, 1865 ; pupil of 
 his mother ; then at the Cincinnati 
 Coll., 1883 ; Vierlingand Urban, Ber- 
 lin ; Cologne Cons, and Max Bruch, 
 Breslau ; lived St. Louis, then New 
 York as teacher in the Nat. Cons, and 
 pupil of D"orak ; composed notable 
 ^Plantation Dances" a ''Dramatic 
 Overture,'' 2 comic operas, etc. Wrote 
 " Some Points on Moderti Orchestra- 
 tion.^' (11) Hubert, talented violin- 
 ist ; lives in N. Y. 
 
 Ar'noldson, (i) Oscar, 1843 (?)— 
 Stockholm, 188 1 ; tenor. (2) Sigrid, 
 b. Stockholm, ca. 1865, daughter of 
 above ; operatic soprano ; pupil of 
 Maurice Strakosch ; debut, Moscow, 
 18S6 ; has sung in Europe and Amer- 
 
 ica with success, particularly in Rus- 
 sia ; m. Alfred Fischof ; lives in Paris, 
 singing at the Op. Com., 1901-2. 
 
 Arnould (Ir-noo), Madeleine Sophie, 
 Paris, 1744 — 1803 ; soprano, created 
 Gluck's '' Iphigenie." 
 
 Ar'nulf von St. Gillen, 15th cent.; 
 theorist. (Gerbert.) 
 
 Arquier (ar-kl-a'), Jos., Toulon, 1763 
 — Bordeaux, 1816 ; 'cellist and dram, 
 composer. 
 
 Arrhen (ar'-^n), V. K., Swedish song- 
 composer ; early part of 19th cent. 
 
 Arriaga y Balzola (dar-rl-a -gii e biil'- 
 tho-lji), Juan C. J. A. d'. Bilboa, 
 1806— 1825. 
 
 Arrieta (ar-rl-a -tii), J. Emilio, Puenta 
 la Reina, 1823 — Madrid, 1894 ; dram, 
 composer. ' 
 
 Arrigo (ar-re'-go), Tedesco (Henry 
 the German), pseud, of Isaac, in 
 Italy. 
 
 Arrigoni (ar-re-g5'-ne). Carlo, Flor- 
 ence, ca. 1705 — Tuscany (?) ca. 1743 ; 
 lutenist and composer, rival in Lon- 
 don to Handel. 
 
 Arrange (lar-rohzh), Adolf 1', b. 
 Hamburg, March 8, 1838 ; pupil of 
 Genee, and at Leipzig Cons.; 1874, 
 theatre-manager, Breslau ; composed 
 comic operas, " Singspiele" etc. 
 
 Artaria (ar-ta-re'-a), music publishing 
 house in Vienna, founded by Carlo 
 A., 17S0. 
 
 Artchibousheff (art-she'-boo-shef), 
 Nicholas Vassilievitch, b. Tsars- 
 koje-Sielo, Russia, March 7, I'^sS ; 
 lawyer, pianist and composer ; pupil 
 of Soloviev and Rimsky-Korsakov. 
 
 Arteaga (ar-ta-ag'-ii), Stefano, Ma- 
 drid (?), 1730 (?) — Paris, 1799 ; Span- 
 ish Jesuit ; theorist. 
 
 Ar'thur, Alfred, b. near Pittsburg, 
 Pa., Oct. 8, 1844; studied in Boston; 
 1S69-71, tenor; since 1S78 as choir- 
 master, Cleveland, O. ; conductor 
 since 1873 Vocal Society; director 
 Cleveland School of Music ; com- 
 posed three operas, etc. 
 
 Artot (ar-t5), (i) Maurice Montag- 
 ney (ancestor of a line of musicians 
 named Montagney), Gray (Haute- 
 
DICTIONARY OF MUSICIANS 391 
 
 Saone), 1772 — Brussels, 1829 ; band- 
 master. (2) J. D6sir6 M., Paris, 1S03 
 — St. Josse ten \oode, 1SS7 ; son of 
 above ; horn-player and teacher. (3) 
 Alex. Jos., son of Maurice, Brussels, 
 1815— Ville-d'Avray, 1845; notable 
 violinist and composer. (4) Margue- 
 rite Josephine D6sir6e, b. Paris, 
 July 21, 1835 ; daughter of (2) Jean- 
 Desire ; dram. -soprano, pupil of Viar- 
 dot-Garcia (1S55-57) ; debut Brus- 
 sels, 1S57 ; sang Grand Opera, Paris, 
 1858, etc., m. the Spanish baritone, 
 Padilla, in 1869. 
 Artschibuschew. Vide artschibous- 
 
 HEFF. 
 
 Artusi (ar-too'-ze), Giov. M., Bologna 
 ca. 1550 — 1613 ; canon and theo- 
 rist. 
 
 Asantchevski (Asantschewski, 
 
 Assantchevski) (a-sant-shef'-shkl), 
 Michael Pavlovitch, Moscow, 1838 
 — 188 1 ; composer. 
 
 Aschenbren ner (a'-shen-) Chr. H., 
 Altstettin, 1654 — Jena, 1732 ; violin- 
 ist and court-conductor. 
 
 Ascher(ash'-er), Jos., Groningen, Hol- 
 land, 1829 — London, 1869 ; pianist. 
 
 Ash'down, Edwin, London music- 
 publisher, succeeded (1884) Ashdown 
 & Parry, who succeeded (1S60) Wes- 
 sel & Co. 
 
 Ashe, Andrew, Lisburn, Ireland, ca. 
 1759 — London after 1822 ; flutist and 
 conductor ; 1799 married Miss Comer, 
 who, as Mrs. Ashe, was a public 
 singer ; their two daughters were harp- 
 ist and pianist. 
 
 Ash'ley, (i) John, b. 1805 ; bassoonist 
 and manager ; his three sons were (2) 
 General, d. 1S18, violinist. (3) 
 Chas. Jane, 1773 — 1843, 'cellist and 
 manager. (4) J. Jas., 1771 — 1815, 
 organist and singing teacher. (5) J., 
 "Ashley of Bath," 1780 — 1830, bas- 
 soonist. (6) Richard, 1775 — 1837, 
 London viola-player. 
 
 Ash'ton, Algernon Bennet Lang- 
 ton, b. Durham, England, Dec. 9, 
 1859 ; pupil of Leipzig Conservatory, 
 pf. teacher, R. C. M., London ; com- 
 poser. 
 
 Ash'well, Thos., i6th cent., organist 
 and composer in England. 
 
 Asioli (as-e-6-le), Bonifacio, Cor- 
 reggio, 1769 — 1832 ; at the age of 8 
 he had composed 3 masses, 20 other 
 sacred works, a harpsichord-concerto, 
 a vln. concerto, with orch., and 2 
 harp-sonatas for 4 hands ; pupil of 
 Morigi ; successful cembalist, impro- 
 viser ; his first opera buffa, La Volu- 
 bile (1785) was successful ; his opera 
 Cinna, favourably received in 1793 ; 
 prof, of cpt. at Milan Cons. 
 
 Asola (or) Asula (a-so-la), Giov. 
 Mat., Verona ca. 1560 — Venice, 
 1609 ; church-composer. 
 
 Aspa (as-pa), Mario, Messina, 1799 
 — 1868 ; composed 42 operas. 
 
 As'pull, G., 18 14 — (of consumption), 
 Leamington, England, 1833 ; pianist 
 and composer. 
 
 Assantsheffsky. Vide asantchevski. 
 
 Assmayer (as'-ml-er), Ignaz, Salz- 
 burg, 1790 — Vienna, 1862 ; conduc- 
 tor. 
 
 Astarit'ta, Gennaro, Naples, ca. 1749 
 — 1803 ; composed 20 operas. 
 
 Aston, Hugh, English organist and 
 composer in reign of Henry VIH. 
 
 Astorga (das-tor'ga), Emmanuele, 
 Baron d', Palermo, 168 1 — Prague, 
 1736 ; church-composer. 
 
 Attaignant (at-tln'-yah), Pierre (also 
 Attaingnant, Atteignant), i6th 
 cent, music-printer. 
 
 Attenhofer (at'-ten-hof-er), K., b. 
 Wettingen, Switzerland, May 5, 
 1837 ; pupil of Leipzig Cons.; cond., 
 organist, and teacher ; notable com- 
 poser of male choruses. 
 
 At'terbury, Luffmann, d. London, 
 1796 ; ct.-mus. and composer. 
 
 Aftey, J., d. Ross, England, ca. 1640 ; 
 composer. 
 
 Attrup (at'-troop), K., b. Copenhagen, 
 March 4, 1848 : pupil of Gade, whom 
 he succeeded as organ-teacher Copen- 
 hagen Cons.; composed studies for 
 organ and songs. 
 
 Att'wood, Thos., London, Nov. 23, 
 1765 — Chelsea, March 24, 1838 ; im- 
 portant English composer ; chorister 
 
392 
 
 THE MUSICAL GUIDE 
 
 and court-organist ; pupil of Mozart ; 
 1796 organist St. Paul's Cathedral, 
 composed 19 operas, anthems, sonatas 
 for piano, etc. 
 
 Auber (6-bar), Daniel Francois Es- 
 prit, Caen, Normandy, Jan. 29, 1782 
 — Paris, May 14, 1871 ; notable 
 opera-composer ; his father an art- 
 dealer in Paris, sent him to London 
 to learn the trade ; but in 1804 he re- 
 turned to Paris ; composed opera 
 Julie, produced by amateurs in 18 12 
 with an orch. of six stringed instrs. ; 
 Cherubini heard of it, recognised A.'s 
 talent and taught him ; 1842 dir. the 
 Cons, of Music, Paris, as Cherubi- 
 ni's successor; 1857 imperial conduct- 
 or to Napoleon III. A.'s first public 
 productions were 2 unsuccessful 
 operas ; La Bergere Chatelaine (1820) 
 was a success ; before 1869, he com- 
 posed over forty operas ; his one se- 
 rious opera, Masaniello on la Muette 
 de Portici (1828), with Meyerbeer's 
 Robert te Diable and Rossini's Gidl- 
 lawite Tell, established French grand 
 opera ; its vivid portrayal of popular 
 fury caused riots in Brussels ; his 
 comic operas (to Scribe's librettos) 
 are the best of France ; his last opera 
 Reves d' Amour, was produced when 
 he was 87 years old. Other operas 
 are : La Marquise de Brinvilliers 
 (1831 with eight other composers), 
 Le Dotnitio A^oir (1837), Zanetta 
 (1840), Les Diamaiits de la Couronne 
 (1841), La Sir hie (1S44), Hay dee 
 (1847), VEufant Prodigue (1850), 
 Zerline, Mano7i L.escaut (1856). 
 
 Aubert (5-bar), (i) Jac. ("levieux"), 
 b. 166S — Belleville, 1753 ; violinist. 
 (2) Louis, 1720 — after 1771 ; son of 
 above ; violinist, etc. (3) T. Fran. 
 Olivier, b. Amiens, 1763 ; 'cellist 
 and composer. 
 
 Aubery du Boulley (6-ba-re' dii bool- 
 le ), Prudent-L., Verneuii, Eure, 
 1796 — 1870 ; teacher and composer. 
 
 Audran (6-dran), (i) Marius-P., Aix, 
 Provence, 18 16 — Marseilles, 1S87 ; ist 
 tenor at the Paris Opera-Comique. 
 (2) Edmond, Lyons, April 11, 
 
 1842 — Tierceville, n. Gisors, Aug. 
 17, 1901 ; son of above ; pupil of 
 Ecole Niedermeyer, Paris; Marseilles, 
 1862, his first opera; produced 36 
 others, chiefly of a light character. 
 Among his most pop. works are. Oli- 
 vette, La Mascotte (1880), given over 
 1700 times ; Miss Helyett, La Poupt/e, 
 etc. 
 Auer (ow'-er), (i) Ld., b. Veszprem, 
 Hungary, May 28, 1845; vln. -virtuoso; 
 pupil of Khonetol at Pesth, of Dont, 
 Vienna, then of Joachim ; soloist to 
 the Czar, who conferred on him the 
 order of St. Vladimir, carrying hered- 
 itary nobility ; violin-Prof, at the St. 
 Petersburg Cons. (2) Carl, vide 
 
 FROTZLER. 
 
 Au'gener & Co., London firm of 
 
 music pub., founded by G. A., 1853. 
 
 Auletta (a-oo-let'-ta), (i) Dom., 
 dram, composer, Naples, 1760. (2) 
 Pietro, ct.-cond., 1728-52; prod. 11 
 operas. 
 
 Aulin (ow'-len), Tor, " b. Stockholm, 
 Sept. 10, 1866 ; violinist ; pupil of 
 Sauret and Ph. Scharwenka ; from 
 1889 Konzertmeister Stockholm, 
 court-opera ; 1887 organised the 
 Aulin Quartet. 
 
 Aulnaye, de 1'. Vide de l'aulnaye. 
 
 Aurelia'nus Reomen'sis, gth cent, 
 theorist. (Gerbert.) 
 
 Aurenhammer (ow-ren-ham-mer), 
 
 Josepha, 1776 — 1814; pianist. 
 
 Aus der Ohe (ows'-der o'-e), Adele, 
 contemporary pianist ; pupil of 
 Kullak and Liszt ; composed 2 piano 
 suites, concert etude, etc. Has toured 
 widely with great success. 
 
 Auspitz-Kolar (ow'-shplts-ko-lar), 
 Augusta, Prague, ca. 1843 — Vienna, 
 1878 ; pianist and composer. 
 
 Auteri-Manzocchi (a-oo-ta-rl miin- 
 ts6k'-ke), Salv., b. Palermo, Dec. 25, 
 1845 ; pupil of Platania at Palermo, 
 and Mabellini at Florence ; com- 
 posed successful operas, among them 
 Graziella (Milan, 1894) ; lives in 
 Trieste. 
 
 Auvergne (do-v^rn), A. d', Clermont- 
 Ferrand, Oct. 4, 1713 — Lyons, Feb. ; 
 
DICTIONARY OF MUSICIANS 393 
 
 12, 1797 ; violinist and dram, com- 
 poser. 
 
 Aventi'nus, Jns. (rightly Thurnmay- 
 er, or Turmair), Abensberg (whence 
 Aventinus), July 4, 1477 — Jan. g, 
 1534 ; writer. 
 
 A'very, J., d. England, 1S08 ; organ- 
 builder. 
 
 Av ison, Chas., Newcastle-on-Tyne, 
 1710 — May 9, 1770 ; organist, writer 
 and composer ; vide Robert Brown- 
 ing's " PARLEYINGS." 
 
 Avoglio (a-val'-yo), Italian so- 
 prano in England, 1741. 
 
 Aylward (al'-ward), Th., ca. 1730 — 
 1801 ; teacher and composer. 
 
 Ayrer (I'-rer), Jakob, lived in Ger- 
 many 1618 ; reformed the Singspiel. 
 (Vide D. D.) 
 
 Ayrton (ar'-tiin), (i) Edm., Ripon, 
 Yorks, 1734 — Westminster, 1808; 
 ■ composer. (2) W., London, 1777 — 
 I 1858 ; son of above , writer and ed- 
 itor. 
 'Ayton (a'-tun), Fanny, b. Maccles- 
 field, 1806 ; English dram, singer. 
 
 Azzopardi (iid-zo-piir'-de), Frances- 
 co, conductor and theorist at Malta, 
 1786. 
 
 (Vzvedo (ath-va'-dho), Alexis Jacob, 
 Bordeaux, 1813 — Paris, 1875 ; writer. 
 
 1 ^ 
 
 Ifi'Jaader (ba'-der), K., viola-player 
 lived in Vienna and Liverpool, re 
 '., tired 1869. 
 
 ;■; Jaban (ba'-ban), Gracian, cathe^ 
 dral conductor and composer, Valen 
 ,., cia, 1650-65. 
 
 .;' la'bell, Wm., ca. 1690 — Canonbury 
 England, 1723 ; organist, teacher and 
 ., composer ; son of a bassoon-player. 
 ; Ubbi (bab'-be), Christoph (or Cris 
 toforo), Cesena, 1748 — Dresden 
 18 14 ; violinist and composer. 
 . iabini (ba-be'-ne), Mat., Bologna 
 , ; 1754— 1816; tenor, debut, 1780. 
 
 iacchi'us (Senior), ca. 150A.D., Greek 
 .,, theorist. 
 1^^ {laccusi (bak-koo'-se), Ippolito, monk 
 
 composer and cathedral cond., Ve- 
 rona, 1590. 
 
 Bac fart (or Bacfarre), Valentin 
 (rightly Graew (grav)), Transylvania, 
 1515 — Padua, 1576; lutenist and 
 writer. 
 
 Bach (bakh), the name of a Thurin- 
 gian family prominent for two centu- 
 ries in music and furnishing so many 
 organists. Kapellmeisters and cantors 
 that town musicians were called " the 
 Bachs," after them. See the chart. 
 (19) Bach, Jn. Sebastian, Eisenach, 
 March 21, iGSs^Leipzig, July 28, 
 1750 ; youngest son of Jn. Ambro- 
 sius B. and Elizabeth (nee Lam- 
 merhit), of Erfurt (vide chart ok 
 backs) ; both parents died when he 
 was 10, his father having begun teach- 
 ing him the violin. He went to the 
 home of his brother Jn. Christoph, 
 who taught him the clavichord, but 
 forbade him inspection of a MS. vol. of 
 works by Frohberger, Bu.xtehude, etc., 
 obtaining it secretly B. copied it by 
 moonlight for 6 months, though near- 
 sighted, with results fatal to his eyes 
 in later life. This desire to study 
 other men's work characterised his 
 whole career. At 15 his fine soprano 
 voice secured him free tuition at St. 
 Michael's Ch. in Llineberg (he hav- 
 ing already attended the Ohrdruff 
 Lyceum). He went on foot on holi- 
 days to Hamburg to hear the great 
 Dutch organist Reinken, and at Celle 
 he heard the French instr. music used 
 in the Royal Chapel. He studied 
 also the work of Bohm, organist at 
 Li'ineberg, and practised violin, clavi- 
 chord and org. often all night ; 1703, 
 in the Weimar ct.-orch. ; 1704, or- 
 ganist at Arnstadt ; 1705, walked 50 
 miles to Liibeck to hear Buxtehude, 
 and stayed till a peremptory recall from 
 the Church at Arnstadt ; 1707, organ- 
 ist at Miihlhausen. On Oct. 17, he 
 m. Maria Barbara Bach, his cousin, 
 who bore him 7 children, of whom 
 4 died, leaving a daughter, Wm. 
 Friedemann, and K. P. E. (See 
 below.) 1708, he played before the 
 
394 
 
 THE MUSICAL GUIDE 
 
 Duke at Weimar, and was made ct.- 
 organist ; 1714 Konzertmeister. In 
 his vacations he made clavichord and 
 org. tours. 1714., he furnished the 
 organ-music for a service conducted 
 in the Thomaskirche, Leipzig, and 
 produced a cantata. Dresden, 1717, 
 he challenged Marchand, a French 
 organist of high reputation, who was 
 afraid to compete. 1717 Kapellmeis- 
 ter to Prince Leopold of Anhalt, at 
 Kothen, and composed much orch.- 
 and chamber-music. In 1719 he re- 
 visited Halle, to meet Handel, but he 
 had just gone to England. 1720. his 
 wife died. He applied for the organ of 
 the Jacobskirche, Hamburg. B. was 
 now famous, but a young rival offered 
 to pay 4,000 marks for the place and 
 got it. In 1 72 1 he m. Anna Magda- 
 lene Wiilken, daughter of the ct.- 
 trumpeter at Weissenfels. She bore 
 him 13 children, 9 of them sons, of 
 whom only 2 survived him : Jn., 
 Christoph, Fr., and Jn. Christian. 
 His second wife had a fine voice and 
 musical taste, and wrote out the parts 
 of many of his cantatas ; for her he 
 prepared 2 books of music. In May, 
 1723, cantor at the Thomasschule, 
 Leipzig, vice Jn. Kiihnau ; also or- 
 ganist and dir. of mus. at the Thom- 
 askirche and the Nicolaikirche, con- 
 tinuing as " Kapellmeister vom Haus 
 aus." to Prince Leopold. He was 
 made, 1736, hon. cond. to the Duke 
 of Weissenfels, and court-composer 
 to the King of Poland, and Elector 
 of Saxony. He kept his place at 
 Leipzig for twenty-seven years, and 
 there wrote most of his sacred music. 
 He often visited Dresden, where he 
 could hear the Italian opera, cond. by 
 Hasse. Frederick the Great having 
 asked to hear him, on May 7, 1747, 
 with his son Wilhelm Friedemann, B. 
 arrived at Potsdam He improvised 
 upon the various Silbermann pianos 
 in the palace, followed from room to 
 room by the king and his musicians. 
 The next day he tried the principal 
 organs in Potsdam, improvising a 6- 
 
 part fugue on a theme proposed by 
 the king. He afterward wrote a 3- 
 part fugue on this theme, a Ricercare 
 in 6 parts, several canons inscribed 
 " Thematis regii elaborationes canon- 
 icae,"and a trio for flute, violin, and 
 bass, dedicating the '' Miisikalisches 
 Opfer " to the king. 1749, two oper- 
 ations to restore his sight, weakened 
 by copying his own and other men's 
 works and engraving his " Art of 
 Fitgiic" left him totally blind and 
 ruined his previous vigour. His sight 
 was suddenly restored, July 10, 1750; 
 but ro days later he died of apoplexy. 
 He dictated the choral " Vor dei- 
 nen lltron tret' ich hie/nit, shortly 
 before his death. 
 
 Among his distinguished pupils were 
 Krebs, Homilius, Agricola, Kirnber- 
 ger, Goldberg, Marpurg; J. Kasper 
 Vogler ; Altnikol, his son-in-law, and 
 his sons, for whom he wrote the 
 ''KlavierbUchleiit"2.nA the " Kunsi 
 der Ftige." He engraved on copper : 
 invented the "viola pomposa " and 
 the " Lauten-Clavicembalum " ; hi 
 advocated equal temperament (vidfj 
 D. D.), tuning his own pianos and writj 
 ing "Z>(?j IVohltcmpcrirte K lavi er ,'' X.^ 
 further the cause. This work (knowr: 
 in English as " The well-temperec 
 Clavichord,'" or " The ^S-Fiigties" 
 is a set of 48 preludes and fugues 
 two of each to each key, major am 
 minor. The works are very chromati 
 and use the keys enharmonically 
 Some of his improvements in finger; 
 ing still survive. Bach was littl; 
 known as a composer during his life 
 and few of his works were publishC'l 
 then. He was not indeed establishe 
 on his present pinnacle till Mendel 
 sohn took up his cause 
 Franz was also an important 
 preparing his scores for general us( 
 In 1850, a hundred years after h 
 death, the Bach-Gf.sei.i,schaft b 
 gan to publish his complete work' 
 Many other Bach societies now exis 
 B's. enormous list of works includes. 
 Vocal, 5 sets of church Cantatas ft: l 
 
 Mendehi ,-,,^ 
 in 1829! j|^'- 
 t agent il '#*t r 
 
 I 
 
DICTIONARY OF MUSICIANS 393 
 
 Sundays and feast-days, " Gottes Zeit 6 " small " French suites ; 6 " large" 
 ist die beste Zeit" etc., secular be- English suites ; Preludes and Fugues, 
 trothal cantatas, 2 comic cantatas, the incl. "Das JVohlteinperirte Klavier" ; 
 "Batierii Cantate " and " Coffee-Can- pf. -sonatas with instrs. , incl. 6 famous 
 tate'' a protest against the excessive sonatas for pf. and vln. ; solo son- 
 use of the beverage, and Trauerode, atas for vln. and 'cello ; solos, trios, 
 on the death of the Electress of Sa.x- etc., for various combinations of 
 ony ; 5 Passions, incl. the St. A fat- instrs., concertos for i to 4 pfs., vln. 
 thew, the St. John, and the St. Luke and other instrs., concertos with orch. 
 (doubtful) ; a Christmas Oratorio, in overtures and suites, and fantasias, 
 5 parts ; 4 small masses and the toccatas, preludes, fugues, and chor- 
 Grand Mass in B min. ; motets ; 2 ale-arrangements for organ. The 
 Magnificats ; 5 Sanctus. Instru- best biography of B. is by Spitta 
 MKNTAL, numerous pieces for clav- (Leipzig, 1873-80, 2 vols.; Eng. 
 ichord : inventions in 2 and 3 parts ; transl., London, 1884-85). 
 
 The Art of Johann Sebastian Bach. 
 
 By Sir Charles Hubert H. Parry. 
 
 FOR more than a century before J. S. Bach came upon the scene, a 
 succession of exceptionally gifted and earnest composers had been hard 
 at work developing the methods and style of organ-music. Andrea 
 Gabrieli and his nephew Giovanni Gabrieli and Claudio Merulo in Venice 
 md Ian Pieterzoon Swelinck in Amsterdam had already done much to define 
 :ts true sphere and style before the era of pure choral-music was ended. The 
 ;arly years of the seventeenth century saw Frescobaldi in the zenith of his 
 "ame, and his pupil Froberger following worthily in his footsteps ; and through- 
 )ut the century rapid progress in the accumulation of artistic methods and the 
 ievelopment of true instrumental forms was made by such famous organists as 
 Kheidt, Scheidemann, Pachelbel, MufFat, Reinken, and Buxtehude. And 
 vhen it is considered that this branch of art already enjoyed an advantage 
 iver the new secular form of art which began to be cultivated at the end of 
 he sixteenth century, through having its foundation securely laid in the old 
 tyle of sacred choral-music, it seems natural that by the beginning of the 
 ighteenth century it should appear to be the most mature of all the branches of 
 rt then cultivated. ^These circumstances had profound and far-reaching 
 ifluence upon J. S. Bach's musical character. In unravelling the secrets of 
 rt he was naturally attracted by that branch which possessed methods most 
 illy developed for the formulation of the artistic impulses which were urging 
 im to utterance. But the attraction was enhanced by the fact that organ- 
 uisic had already become a kind of appanage of German composers, and 
 ad proved the one special form of art in which the fervent religion of Teutonic 
 rotestants found the highest artistic expression. ^ Hence it came about 
 
396 THE MUSICAL GUIDE 
 
 that, great as his powers were as a composer of choral-music and of suites 
 and secular instrumental music, he was first and foremost a writer of organ- 
 music, and inasmuch as organ-music was the only branch of art which was 
 even approximately mature in his youthful and most impressionable days, the 
 methods and diction of organ-music permeated and served as the foundation! 
 of his style in all branches of art which he attempted. In his earlier years! 
 he copied out and studied the works of great composers for the organ, and! 
 watched with critical appreciation the performances of great organists such as; 
 Reinken and Buxtehude. It is easy to trace in his own work the impressioni 
 made on him by the interlinked suspensions of Frescobaldi and Frobergeij 
 and by the vivacity of their fugue subjects ; by the treatment of chorale melo-j 
 dies with elaborate figuration of accompanying counterpoint in which Pachelbe' 
 excelled, by the copious picturesqueness of detail and the richness and emo. 
 tional force of the harmonisation of Buxtehude. ^ He brought all such special 
 ities of earlier composers into the sphere of his own operations, and fusei 
 them into consistency by the force of his personality, and this assimilation be 
 came the foundation of his life's work. Most of_his best organ-music, sue 
 as the sonatas, preludes, fugues, fantasias, canzonas and movements founde 
 on chorales, and the great passacaglio in C minor, belong to comparative! 
 early years, and his concentration on this branch of work was only relieve 
 by the production of a few church cantatas, which showed that he had begu 
 to consider other forms of art, in which in later years he attained such con 
 prehensive mastery. After many years spent in several organistships, can 
 the singular central episode of his life, when the appointment as Capellmeist' 
 to the Prince of Anhalt-Cothen caused him to apply his mind almost excli, 
 sively for some years to secular instrumental music, mainly of a domestic kin(i 
 ^He sought for his models and types of procedure in the suites and ordr, 
 of the French composers, such as Couperin and Dieupart ; and among {. 
 examples of the so-called French overture, which came into prominence 
 Lulli's operas, and had found such a brilliant imitator in Muffat. I 
 studied also the instrumental compositions of the Italians, such as the co 
 certos of Vivaldi, and the sonatas for stringed instruments of other Itali; 
 composers such as Albinoni and Legrenzi and even German imitations 
 such works like Reinken' s " Hortus Musicus'''' ,• and the outcome was 
 feet outpouring of suites and partitas for the domestic keyed instruments 
 sonatas for violin, flute, viole de gamba and concertos for strings and vari(ji 
 combinations of orchestral instruments ; and last and perhaps most notablejt 
 all, the collection of the twenty-four preludes and fugues in all keys, whji 
 he called — as a sort of manifesto of his belief in the system of equal tempej- 
 ment, which made all keys equally available for the purposes of the cc- 
 poser — " Das Wohltemperirte Clavier.'''' Underlying a very large p- piit 
 
 I'^ll" 
 
 ( 
 
DICTIONARY OF MUSICIANS 397 
 
 portion of the works of various kinds, even dance tunes or movements for a 
 solo instrument like the violin, fugue principles of procedure are predominant. 
 The lightest dance tunes have a contrapuntal texture, and in the more serious 
 and artistic examples it is so woven as to display beautiful combinations of 
 ornament and melodic designs, ingenious sophistications of accent and subtleties 
 of rhythm such as are only possible in the style of instrumental counterpoint 
 ivhich had sprung up in the development of the artistic requirements of organ 
 iigues. ^ In the famous collection of preludes and fugues, which he ultimately 
 ' ncreased to forty-eight by the addition of a second collection, the style of in- 
 strumental counterpoint which had been developed for organ-music found a 
 lew but most congenial sphere. As the works are written for the domestic 
 :eyed instruments such as the tender expressive clavichord, or the pict- 
 iresque harpsichord, they necessarily illustrated different artistic intentions 
 , rem such as characterised genuine organ-music. Large scope of design and 
 ' lowerful effects of tune were obviously out of place, and more subtle treat- 
 ,|hent and greater intrinsic interest of detail were inevitable. ^Thus the 
 'ligue became much more compact than the organ-fugues, and the treatment 
 ", f melodic line and expressive harmony more intimately human. The com- 
 oser deals with more variety of style than in his organ-compositions, and 
 lany of the fugues may be taken as studies in human moods, such a play- 
 ilness and gaiety, pathos and melancholy, contemplation and fervour, 
 = lerriment, dignity, and confidence. The adaptation of known principles of 
 dstic procedure to a purpose, at that time so novel, was characteristic of 
 ach's attitude toward art ; and this is as true of the preludes as of the 
 gues. The genealogy of the preludes may in some cases be traced back as 
 r as the figurate preludes and little fantasias of such early types as were 
 ' ' 'oduced by the Elizabethan composers of virginal music and their con- 
 ' imporaries in other countries ; though the form is enormously enhanced in 
 ''';;S. Bach's hands by the skilful use of more definite and attractive figures, 
 ||d a higher balance of organisation in each work. However, the forms of 
 ]' s preludes are extremely various. Some seem to be almost without prec- 
 ent. As, for instance, the rapturous instrumental song with solo part and 
 ■ i:ompaniment all combined for one instrument. ^Among the preludes are 
 '•'^ ijO a few of the rare anticipations of complete sonatas of the harmonic kind, 
 ^*Hii)vements with distinct contrast of key in the first half, " working out," 
 '<i modulation in the central part, and a recapitulation of the concrete 
 i.terial of the opening portion to conclude with. These occasional excur- 
 sns out of what seemed to be his most congenial ground, are often thoroughly 
 s:cessful, but all the same his venture into the Italian manner and the 
 Hian type of form prove rather that he grasped their artistic meaning fully 
 t n that he believed in their efHciency as vehicles for the highest aspirations 
 
398 THE MUSICAL GUIDE 
 
 of the composer. In the latter part of his life J. S. Bach dealt more in the 
 grand forms which bring into play the methods and resources of many 
 subordinate forms of art, both instrumental and vocal — such as the noble 
 settings of the Passion, the masses — especially the great one in B minor — the 
 work known as the ♦' Christ?nas Oratorio'''' and the immense collection ol 
 church cantatas written for Sundays and festivals in the churches in Leipzig 
 In all of these branches of art he had precursors, and the types of variou; 
 kinds had been explored. The Italian aria-form had been more or less 
 transformed for German purposes before he gave it his own exceptiona 
 character and high artistic organisation. ^ The peculiar form of expressive 
 recitative, so earnest and deeply emotional, which became a characteristic 
 feature of German music and prefigured much in its latest dramatic mani 
 festations, had found worthy exposition. The treatment of chorales witl 
 rich harmonisation and elaborate part-writing and the development of the so; 
 called motet choruses and choral fugues and even the peculiar contrapuntal 
 treatment of the accompanying instruments had all found characteristic Ger' 
 man exponents. Moreover, the form of Passion music had engaged the at' 
 tention of composers for nearly two hundred years and had arrived at \ 
 considerable degree of development recently in the hands of Kuhnau, Keis(i 
 and Handel himself But Bach's treatment of the scheme so immeasurabli 
 distanced all those who went before him that in later time his settings •' a. 
 cord'mg to St. Matthew " and *' St. John " seem to stand almost alone i 
 their pre-eminent glory. The same is the case with his church cantata 
 ^The best work even of such composers as Buxtehude and John Christopl; 
 Bach seems singularly bald by the side of the copious variety and the inve: 
 tive vigour of his work of this kind. True it is that in all such cases, ai 
 even in such mighty phenomena as the choruses in the B minor mass, . 
 built upon the foundation his predecessors supplied and with methods th 
 had helped to make available. ^[His peculiar quality was to divine how t 
 resources of art which he found in being could be applied to purposes 
 grand and comprehensive that it is difficult to realise that the methods w( 
 in truth the same as had been used by his forerunners. His artistic pow-i 
 and insight were at such an immeasurably higher plane than those who p- 
 ceded him that music seems at once to have stepped out of childishness ii' 
 maturity at his bidding. ^[In a sense his work is final and isolated. Ii 
 work stands alone as the summing-up of a long period of preparation ; al 
 the summing-up in his characteristically Teutonic direction seemed so co- 
 plete that nothing remained to be said in the lines which he had illustrate . 
 No composer followed in his footsteps. Those who understood him i'' 
 that they could not approach him ; and the world in general wanted a me 
 easy-going and accommodating standard of art. So the succeeding generatn 
 
DICTIONARY OF MUSICIANS 399 
 
 of composers cultivated the more plausible Italian manner and the easily manip- 
 ulated Italian form. ^[It was not for a century that his style and methods be- 
 gan to exert influence, and they came back to regenerate the world growing 
 stale with the overpersistency of harmonic forms of the sonata order. ^In- 
 deed it was the rise of what was called the romantic movement which 
 brought J. S. Bach back into the hearts of men, and made his ways of pro- 
 cedure suggestive of new developments. The foremost prophets of the 
 Romantic movement, Schumann and Chopin, were his most ardent admirers. 
 •[[To the Classicists the style of J. S. Bach had seemed somewhat archaic. 
 But as men began to long for human expression in art and the greater elasticity 
 of form which helps to closer characterisation of mood and feeling, the richness 
 of possibilities and the greater pliancy of the forms Bach used became more 
 and more apparent. At the same time the perfect adaptation of means to 
 ends which his perfect self-containment manifest may serve as a corrective 
 and a counterpoise in the turbulent times which follow the opening of the 
 floodgates of dramatic passion. Those who cherish a constant love of the 
 human art of John Sebastian Bach have still a guiding light which will not 
 betray them. 
 
 it 
 
 15) Karl Philipp Emanuel ("the 
 Berlin "or " Hamburg Bach "), Wei- 
 mar, March (S ?) 14, 1714 — Hamburg 
 (Sept. ?) Dec. 14, 178S. Son of above 
 (vide CHART OK BACHS). Studied phi- 
 losophy and law at Leipzig and 
 Frankfort ; cond. a singing society at 
 Frankfort, for which he composed. 
 1737 (38?) in Berlin. Chamber-mus. 
 and clavecinist to Frederick the Great, 
 1746-57 [or 1740-67?]. 1757 Ham- 
 burg as Ch.mus.-dir. ; 1767 as Musik- 
 director of the principal church there, 
 vice Telemann, a position held till 
 death. He was one of the chief vir- 
 tuosos of the day. He was the found- 
 er of the modern school of piano- 
 playing, and a pioneer of greatest 
 importance in the sonata and sym- 
 phony-forms and orchestration, his 
 works having a graceful modernity 
 not possessed even by most of his 
 father's. He wrote " Versuch iiber 
 die -iuahre Art das Clavier zu spie- 
 len " (2 parts, 1753-62), an impor- 
 tant work containing detailed expla- 
 nations concerning ornaments. His 
 very numerous comps. include 210 
 
 solo pieces ; 52 concertos with orch. ; 
 quartets, trios, duets, sonatas, son- 
 atinas, minuets, polonaises, solfeggi, 
 fugues, marches, etc., for clavier ; 18 
 symphonies ; 34 miscellaneous pieces 
 for wind-instrs., trios ; flute-, 'cello-, 
 and oboe-concertos ; soli for flute, 
 viola di gamba, oboe, cello, and harp, 
 etc., and 2 oratorios (" Die Israeliten 
 in der IVilste" and " Die A lifers teh- 
 ttng und Himmelfdkrt Jesit "), 22 
 Passions ; cantatas, etc. 
 (26) Aug. Wm., Berlin, 1796 — 1869 ; 
 organist, teacher, and composer. (27) 
 (Rightly Bak), Albert Ed., b. 
 Gyula, Hungary, March 22, 1S44 ; 
 teacher, critic, writer and dram, bass ; 
 debut, 1S71. (28) (Dr.) Otto, Vienna, 
 1S33 — Unter-Waltersdorf, 1893 ; con- 
 ductor and composer. (29) Leon- 
 hard Emil, b. Posen, March 11, 
 1849; pianist, pupil of Kullak, Wuerst 
 and Kiel ; 1874, court-pianist to 
 Prince George of Prussia ; ca. 1890, 
 London. Composed opera Irmen- 
 gard (London, 1892) ; succ. i-act 
 opera. The Lady of Longford (Lon- 
 don, 1894) ; succ. i-act comic opera, 
 
400 
 
 THE MUSICAL GUIDE 
 
 Des Konigs Garde (Cologne, 1895), 
 etc. 
 
 Bache (bach), (i) Francis Edw,, Bir- 
 mingham, 1833 — 185S ; violinist. (2) 
 Walter, Birmingham, 1842 — Lon- 
 don, iSSS, bro. of above ; pianist and 
 teacher. (3) Constance, b. Birming- 
 ham, sister and pupil of above ; pupil 
 of Klindworth and Hartvigson ; since 
 1883 teacher, translator, and com- 
 poser in London. 
 
 Bachmann (bakh'-man), (i) Anton, 
 1716 — iSoo ; court-musician at Ber- 
 lin, instr. -maker ; inv. the machine- 
 head. His son and successor, (2) 
 Karl L., 1743 — 1800, court-violinist, 
 plaver, married the pianist and singer 
 
 (3) Charlotte Karoline Wilhel- 
 mine Stowe, Berlin, 1757 — 1S17. 
 
 (4) Pater Sixtus, Ketterhausen, Ba- 
 varia, July iS, 1754 — Marchthal, near 
 Vienna, 1818 ; organist and pianist of 
 unusual precocity, and memory ; said 
 to have played by heart over 200 
 pieces at 9 ; at 12 equalled Mozart, 
 then 10 years old, in organ-competi- 
 tion, at Biberach ; became a Preraon- 
 strant monk, composed masses, etc. 
 
 (5) G. Chr., Paderborn, 1S04— Brus- 
 sels, 1842 ; clarinet-maker, soloist and 
 teacher. (6) Georges, ca. 1848 — 
 Paris, 1894. (7) Gottlob, Bornitz, 
 Saxony, 1763 — Zeitz, 1840, organ- 
 ist. 
 
 Bachofen (bakh'-of-en), Jn, Kaspar, 
 Zurich, 1692 — 1755 ; organist. 
 
 Bachrich (bakh'-rikh), Sigismund, b. 
 Zsambokreth, Hungary, Jan. 23, 
 1841 ; violinist, pupil and now teach- 
 er at Vienna Cons.; composed 4 
 comic operas incl. Der Fiuhs-Major 
 (Prague, 1SS9), etc. 
 
 Ba(c)ker-Grdndahl (bak'-er gr5n'-dal), 
 Agathe, b. Holmestrand, Norway, 
 Dec. I, 1847 ; pianist and composer ; 
 pupil of Kjerulf, Biilow and Liszt ; 
 she married 1875, Grondahl, singing- 
 teacher in Christiania. 
 
 Backers, Americus. Vide broad- 
 wood. , 
 
 Back ofen, Jn. G. H., Durlach, Baden, 
 1768 — Darmstadt, 1839; virtuoso 
 
 and manufacturer of wind-instrs. at 
 Darmstadt ; writer and composer. 
 
 Bacon, Richard Mackenzie, Nor- 
 wich, Engl., 1776 — 1844; teacher 
 and writer. 
 
 Badarczevska (ba-dar-chef'-shka), 
 Thela, \Yarsaw, 1838 — 1862 ; she 
 composed '' La priire d'line vierge" 
 etc. 
 
 Bader (ba'-der), K. Adam, Bamberg, 
 17S9 — Berlin, 1870; cathedral-organ- 
 ist, Bamberg (1807) ; later first tenor 
 Berlin court opera (1820-45). 
 
 Badia (ba-de -a), (i) Carlo Ag., Ven- 
 ice, 1672 — Vienna, 1738 ; court-com- 
 poser at Vienna. (2) Luigi, Tirano,: 
 Naples, 1822 — Milan, 1899; com-; 
 posed 4 operas. 
 
 Bagge (biig'-ge), Selmar, Coburg, 
 1S23 — Basel, 1896 ; editor and com-i 
 poser. 
 
 Bagnolesi (ban-yo-la'-ze). Italian con-; 
 tralto in London, 1732. 
 
 Bahn, Martin. Vide trautwein. 
 
 Bahr (of Bar, or Beer) (bar), Jn., St.; 
 Georg (Austria), 1652— 1770; court-j 
 conductor and writer of satiricoj 
 musical pamphlets signed " Ursu\ 
 7niirmt()-at," " Ursus triu7nphat^\ 
 etc. j 
 
 Bai (or Baj) (ba'-e), Tommaso, Cre' 
 valcuore, near Bologna, ca. 1660— 
 Rome, Dec. 22, 1714 ; tenor at th 
 Vatican; conductor, 1713 ; composei 
 a A/iserere, sung in the Papal Chap, 
 el, during Holy Week, alternatel. 
 with those by Allegri and Baini. 
 
 Baif (blf), Jn. A. de, Venice, 1532- 
 Paris, 1589 ; composer. 
 
 Baildon (bal'-dun), d. London, 177. 
 Gentleman of the Chapel Royal, an 
 composer. 
 
 Bailey, Marie Louise, b. Nashvilli 
 Tenn., Oct. 24, 1S76 ; Leipzig, Con 
 Pupil of C. Reinecke, winning 
 scholarship, and with Leschetizk) 
 debut, 1893, Gewandhaus, Leipzig 
 Chamber-virtuoso to King Albert ' 
 Saxonv ; now lives in Vienna. 
 
 Baillot'(bl'-yo), (i) P. M. Fran, c 
 Sales, Passy, Oct. 1,1771 — Pari 
 Sept. 15, 1842 ; eminent violinist, pu} 
 
 ^- 
 
 !^U 
 
DICTIONARY OF MUSICIANS 401 
 
 of Polidori, Sainte, Marie, and PoU- 
 ani ; later prof, of vin. at the Paris 
 Cons.; toured Europe ; 1821, leader at 
 the Grand Opera ; 1825, solo violinist, 
 RovalOrch. ; wrote famous ''LArt 
 dii 'Violon " (1834) and '' Me'thode du 
 Violon ;" composed 10 vln. concer- 
 tos, 3 string-quartets, 24 preludes in 
 all keys, etc. (2) R6n6 Paul, Paris, 
 1S13 — 1SS9 ; son of above. Prof, at 
 Paris Cons. 
 Baini (ba-e'-ne), Abbate, Gins., 
 Rome, 1775 — 1844; composer and 
 conductor at St. Peter's ; wrote famous 
 life of Palestrina. 
 3aj (ba -e). Vide bai. 
 Bajetti (ba-yet'-te), Giov., Brescia, ca. 
 1S15 — Milan, 1876; violinist, con- 
 ductor and dram, composer. 
 Baker., (i) G., E.xeter, England, 1773 
 — Rugeley, 1847 ; organist, violinist, 
 1 i and composer. (2) Benj. Franklin, 
 ' b. Wenham, Mass., July 10, 1811 ; 
 ; singer, teacher, and editor. 
 Jalakirew (ba-la-ke'-ref), Mily Al- 
 exejevitch, b. Nijni-Novgorod, 
 Russia, 1836 ; studied at Kasan 
 Univ., as a musician, self-taught; 
 debut as pianist in St. Petersburg, 
 1855 ; founded the " Free Music 
 School," 1862 ; 1866, opera-conductor 
 Prague ; 1867-70, conductor Imp. 
 Music Society^ St. Petersburg, re- 
 tired 1872 ; composed a symph. 
 poem " Tamara" ; music to '' Kitig 
 Lear " / Russian, Czech and Spanish 
 overtures ; an Oriental fantasia, 
 '' Islamci" for pf. , etc.; pub. 1866, a 
 coll. of Russian Folk-songs. 190 1, 
 r ; Symphony in C. 
 
 alart (ba-lart'), Gabriel, Barcelona, 
 1824 — i8g3 ; studied in Paris ; con- 
 ductor, later director Barcelona Cons.; 
 composed zarzuelas (Vide D. D.). 
 alat'ka, Hans, Hoffnungsthal, Mo- 
 ravia, 1827 — Chicago, 1899 ; studied 
 at Vienna ; 1849, America ; 1851, 
 founded the Milwaukee Musikverein ; 
 i860, conductor of Chicago Philh. 
 Soc; composed cantatas, etc. 
 , albatre or Balbastre (bal-batr), 
 Claude Louis, Dijon, 1729 — Paris, 
 
 1799 ; pupil and friend of Rameau ; 
 organist and composer. 
 
 Balbi (bal'-be), (i) Ludovico, com- 
 poser and conductor at S. Antonio, 
 Padua ; ca. 1606, Franciscan mon- 
 astery, Venice. (2) (Cav.), Melchi- 
 ore, Venice, 1796 — Padua, 1879, 
 church-conductor, theorist and com 
 poser. 
 
 Baldassari (bal-das-sa-re), Benedet- 
 to, Italian tenor in London, 1721. 
 
 Bal'denecker, (i) Nikolaus, b. 
 Mayence, 1782 ; violinist. (2) Kon- 
 rad, b. 1828 ; pianist. 
 
 Baldewin (bal-de-ven). Vide baul- 
 
 DEWIJN. 
 
 Balfe (balf), Michael Wm., Dublin, 
 May 15, 1808 — Rowney Abbey, Hert- 
 fordshire, Oct. 20, 1S70 ; operatic 
 composer ; pupil of O'Rourke, Ire- 
 land, and C. F. Horn, London ; 
 1824, violinist Drury Lane; also 
 sang in London ; went to Italy with 
 his patron Count Mazzara, and stud- 
 ied comp. with Frederic! at Rome, 
 and singing with F. Galli at Milan ; 
 his ballet La Perotise, prod, there 
 (1826) ; pupil of Bordogni, and first 
 barytone at the Ital. Opera, Paris 
 (1828), and elsewhere till 1835 \ com- 
 posed several Italian operas ; m. the 
 Hungarian singer Lina Rosen (1808 
 — London, 1888) ; he ret. to England, 
 1835, and prod. The Siege of Ko- 
 chelle (Drury Lane) ; failed as man- 
 ager ; went to Paris, returned 1843, 
 and prod. The Bohemian Girl, very 
 successful everywhere ; prod. Paris, 
 1856, in 5-act version as " Za Bohi- 
 mienne." In 1857. his daughter 
 Victorie made her debut in Italian 
 opera ; 1 864, he retired to his country- 
 seat, Rowney Abbey ; he composed 
 31 operas in all, including 7'he Rose 
 of Castile (1857) ; Satanclla (1858); 
 // Talisniano (1874) ; biog. by C. L. 
 Kenny (London, 1S78), and W. A. 
 Barrett (do. 1882). 
 
 Ballabene (bal-la-ba'-ne), Gregorio, 
 lived 1 8th cent. (?) ; composed a re- 
 markable Kyrie and Gloria in 48 leai 
 parts, performed at Rome, 1770. 
 
402 
 
 THE MUSICAL GUIDE 
 
 Ballazarini (bal-la-tsa-re'-ne) (or Bal- 
 tagerini), Italian violinist ; came 
 from Piedmont to Paris, 1577, and 
 was court-intendant to Catherine de 
 Medicis, who gave him the name " M. 
 de Beaujoyeulx " ; founder of the 
 ballet, and indirectly of French 
 opera. 
 
 Ballard (bil'-lir'), a family of French 
 music-printers ; founded 1552 by 
 Robert B., with a patent, from 
 Henri II., as " Seul imprimeur de la 
 musique de la chambre, chapelle et 
 menus plaisirs du roy." The patent 
 expired 1776 after being held by R., 
 and his brother-in-law, Adrien la 
 Roy ; by Pierre B., 1633 ; Robt. 
 Ed. Christophe, 1673 ; J. Bapt. 
 Christophe, 1695 ; Chp. J. Fran., 
 1750 ; P. Robt, Chp., 1763. 
 
 Baltagerini. Vide ballazarini. 
 
 Balthasar (called Balthasar-Flo- 
 rence) (bai-ta-zar flo-rahs), H. Mat., 
 b. Arlon, Belgium, Oct. 21, 1844; 
 pupil of Fetis ; m. (1863) a daughter 
 of the instr. -maker Florence; com- 
 posed operas, etc. 
 
 Baltzar (balt'-tsar), Thos., Lubeck, 
 ca. 1630 — London, 1663 ; eminent 
 court-violinist in England from 1656. 
 
 Balt'zell,WillardJ., b. Philadelphia, 
 U. S. A., d. 1900 ; teacher Ohio Wes- 
 leyan University, Ohio ; composed 
 songs. 
 
 Banchieri (ban-klt-a'-re), Adr., Bo- 
 logna, 1567 (?) — 1634; theorist and 
 organist. 
 
 Banck (bank), K., Magdeburg, 1809 — 
 Dresden, 1889 ; critic and vocal 
 teacher. 
 
 Banderali (ban-da-ra-le), Davidde, 
 Lodi, 1780 — Paris, 1849 ; buffo tenor, 
 then teacher at Paris Cons. 
 
 Bandini (ban-de'-ne), (1) Primo, b. 
 Parma, Nov. 29, 1857 ; pupil R. 
 School of Music there ; composed 
 successful operas Eufentio di Messi- 
 na (Parma, 187S), Fausta (Milan, 
 1886), Janko (Turin, 1897). (2) 
 Uberto Rieti, b. Umbria, March 
 28, i860 ; pupil of Giustiniani, Bol- 
 doni, Rossi Tergiani, and Sgambati ; 
 
 composed prize overture " Eleonora^ 
 symphony, etc. 
 
 Bandrowski (ban-drof'-shkl), Alex. 
 Ritter von, b. Lubackzon, Galicia, 
 April 22, i860 ; operatic tenor, stud- 
 ied Cracow University, then with San- 
 giovanni, Milan, and .Salvi, Vienna: 
 debut Berlin ; for some years leading I 
 tenor Cologne opera ; has sung also ; 
 in Russia, and oratorio in England ; 
 sang Paderewski's Manrii at Warsaw ' 
 and in New York 1902. 
 
 Banes (ba-nes), A. Anatole, b. Paris, ; 
 June 8, 1856; pupil of E. Durand;; 
 officer of pub. instruction ; composer' 
 of operettas ; lives in Paris. 
 
 Ban'ester, Gilbert, i6th cent.; Eng-; 
 lish composer of Flemish influences. ; 
 
 Banister, (i) J., London, 1630—; 
 1676(79 ?); court-violinist and compos-,' 
 er. (2) J. (Jr.), d. 1735 ; son of above ; 
 court-violinist. (3) Chas. Wm., 1768 
 — 1 83 1 ; composer. (4) Hy. Joshua, 
 London, 1803 — 1847. (5) Hy. Chas. 
 London, 1831 — 1897, son of (3) 
 pianist, teacher, and writer ; pub 
 " Lectures on Musical Analysis,'] 
 etc. 
 
 Banks, (r) Benj., vln. -maker, Lon 
 don, 1750 — 1795, succeeded by hi 
 son (2) Benj. (Jr.). Two other son; 
 (3) James, and (4) H., were also vln., 
 makers. 
 
 Bannelier (ba-nel-ya), Chas., Pari:; 
 1840 — 1899; writer. ; 
 
 Banti-Giorgi (ban'-te-j6r'-je), Bri 
 gida, Crema, Lombardy, 1759 — ^' 
 logna, Feb. 18, 1806 ; dram, sopran'; 
 first a chanteuse in a Paris cafe, lat; 
 engaged at the Grand Opera ; toun 
 Europe with great success ; her voi'' 
 was remarkable in compass and eve i 
 ness, but she was musically illiterat(i 
 m. the dancer Zaccaria Banti. 
 
 Ban'tock, Granville, b. London, Au| 
 7, 1S68 ; studied R. A. M., took i;i 
 Macfarren Prize for comp., hisfiv 
 work, dram, cantata " The Fire-Wi- 
 shippers," successfully prod., l88'i 
 successful i-act romantic opera Ca,- 
 mar (London, 1892) ; conductor f 
 Gaiety Theatre Troupe; compos! 
 
 'Hi 
 
DICTIONARY OF MUSICIANS 403 
 
 other operas (text and mus.), also 
 symph. overture " Saul" ; dram. 
 symphony in 24 parts, " The Curse 
 of Keha7)ia" etc. 
 
 Bap tie, David, b. Edinburgh, Nov. 
 30, 1822 ; Uves in Glasgow ; com- 
 posed anthems, etc. ; compiled hymn- 
 books. 
 
 Baptiste (rightly Baptiste Anet) 
 (bap-test-d-na), violinist at Paris, 
 1700, where he introduced Corelli's 
 works. 
 
 Barbaco'la. Vide barbireau. 
 
 Barbedette (barb-det), H., b. 1825 ; 
 writer and composer. 
 
 Barbaja (biir-ba -ya), Domenico, Mi- 
 lan, 177S — Posiiippo, 1841 ; impre- 
 sario. 
 
 Barbarieu. Vide barbireau. 
 
 Barbarini (bar-ba-re'-ne), Manfredo 
 
 Lupi ; lived i6th cent.; composed 
 
 motets under the name of " Lupi " 
 
 (q. v.). 
 
 Sarbel'la, Emanuele, d. Naples, 
 
 1773 ; violinist and composer. 
 Barbereau (bar-bu-ro), (r) Maturin- 
 Aug. Bal., Paris, 1799 — 1879; con- 
 ( ductor and theorist. (2) Vide bar- 
 I bireau. 
 
 i Barbier (barb-ya), (i) Fr. Et., Metz, 
 
 • 1829 — Paris, 1889 ; teacher and lead- 
 er ; composed over 30 operas. (2> 
 Jules Paul, Paris, 1825— Jan., 1901. 
 collaborator with Carre, in the lib- 
 retti of many operas, including Les 
 Noces de Jeannette (Masse) ; Le Par- 
 don de /'/is^Vw^/ (Meyerbeer) ; Faust 
 (Gounod) ; Philemon et Baucis (Gou- 
 nod) ; Romeo et Juliette (Gounod) ; 
 Hamlet (Ambr. Thomas). (3) Paul, 
 b. Paris, 1854, son of above, libret- 
 tist. 
 larbieri (bar-bt-a'-re), (i) Carlo 
 Emm. di, b. Genoa, 1822— Pesth, 
 
 j, ' 1867 ; conductor and dram, compos- 
 
 [ ; er. (2) Francisco Asenjo, Ma- 
 
 I drid, 1823 — 1894; very pop. com- 
 poser of Zarzuelas (Vide D. D.). 
 tarbireau (bar-bl-ro) (or Barbiriau, 
 Barbarieu, Barbyria'nus, Barbe- 
 rau, Barbingaut (bar-bih-go), or 
 Barbaco'la), d. Aug. 8, 1491 ; from 
 
 1448 choirmaster of Notre-Dame, 
 notable cptist., composed masses, etc. 
 
 Barbot (bar-bo), Jos. Th. D€sir6, 
 Toulouse, 1824 — Paris, 1897 ; tenor ; 
 created " Faust," 1859 ; 1S75, prof. 
 Paris Cons. 
 
 Bardi (bar'-de), Giov., conte del Ver- 
 nio, Florentine nobleman and patron 
 of the i6th cent., under whose influ- 
 ence the attempted revival of the 
 Greek • lyric drama led to modern 
 opera. At his house "Dafne " was 
 performed. ^Vide peri.) 
 
 Bargaglia (bar-gal'-ya), Scipione, 
 Neapolitan composer, said to have 
 first used the word " concerto " (1587). 
 
 Barge (bar'-ge), Jn. H. Wm., b. 
 Wulfsahl, Hanover, Nov. 23, 1836 ; 
 self-taught flutist ; 1867-95 first flute, 
 Leipzig Gewandhaus Orch., retired 
 on pension; teacher Leipzig Cons.; 
 wrote "Method for Flute"; com- 
 posed 4 orchestral flute-studies, etc. 
 
 Bargheer (bar'-khar), (i) K. Louis, b. 
 Buckeburg, Dec. 31, 1833 ; violinist ; 
 pupil of Spohr, David, and Joachim ; 
 1863, court-conductor at Detmold, 
 made concert-tours ; 1879-89, leader 
 Hamburg Phil. Soc, teacher in the 
 Cons.; later leader in Biilow orch. 
 (2) A., b. Buckeburg, Oct. 21, 1840, 
 brother of above, pupil of Spohr ; 
 court- violinist Detmold ; since 1866, 
 Prof. Basel Sch. of Music. 
 
 Bargiel (bar-gel), Woldemar, Ber- 
 lin, Oct. 3, 1828— Feb. 23, 1897 ; 
 important composer ; pupil, Leipzig 
 Cons. ; later Prof, in Cologne Cons.; 
 1865, dir. and cond. of the Mus. 
 Sch., Amsterdam; 1874 Prof. R. 
 Hochschule, Berlin ; 1882, Pres. 
 " Meisterschule fur musikalische 
 Komposition " ; composed 3 overtures 
 " Zu einem Trauerspiel (Romeo and 
 Juliet) " ''Prometheus " " Medea " ; a 
 symphony ; 2 psalms for chorus and 
 orchestra; pf.-pcs. , etc. 
 
 Baril'li, A., 1826— Naples, 1876 ; half- 
 brother of Adelina Patti. 
 
 Barker, Chas. Spackmann, b. Bath, 
 1806 — Maidstone, 1879 ; organ-build- 
 er ; invented the pneumatic lever. 
 
404 
 
 THE MUSICAL GUIDE 
 
 Barman (bar'-man), (i) H. Jos., Pots- 
 dam, 1784 — Munich, 1847 ; clarinet- 
 virtuoso and composer. His brother 
 
 (2) K., 1782 — 1842, was a bassoonist, 
 
 (3) K., (Sr.), son of H. J. B., was a 
 clarinettist ; his son (4) K., (Jr.), b. 
 Munich, July 9, 1839 \ pupil of Liszt 
 and Lachner ; teacher at Munich 
 Cons., lives in Boston, Mass., as 
 pianist and teacher ; composed piano 
 pieces. 
 
 Barnard, (i) Rev. Jn., canon St. 
 Paul's Cathedral, London ; pub. 1641 
 the first coll. of cathedral-music. (2) 
 Mrs. Chas. (nee Alington), 1830 — 
 Dover, 1869 ; composed popular 
 songs, etc., under name " Clari- 
 bel." 
 
 Barn'by, (i) Rob., York, England, 
 1821 — London, 1875 ; alto-singer, 
 Chapel Royal. (2) Sir Jos., York, 
 Engl., Aug. 12, 1838 — London, Jan. 
 28, 1896 ; choirboy at 7 ; at 10 taught 
 other boys; at 12 organist; at 15 
 music-master ; 1854 entered the R. A. 
 ^L, London ; then organist various 
 churches and cond. ; 1875, precentor 
 and dir. at Eton ; 1892 Principal of 
 Guildhall Sch. of Mus. ; knighted, 
 July, 1892 ; composed, " J?e6dka/i," 
 a sacred idyll (1870) ; Psalm 97 ; Ser- 
 vice in E, etc. 
 
 Barnes, Robt., violin-maker, London, 
 1760 — 1800. 
 
 Barnett, (i) J., Bedford, England, 
 July I, 1802— Cheltenham, April 17, 
 i8go," The father of English opera " ; 
 pupil of C. E. Horn, Price, and 
 Ries ; brought out his first opera 
 ''Before Breakfast" 1825; ''The 
 Mountain Sylph " (1834) ; the very 
 succ. " Tair Rosamond " (1837), and 
 " Farinelli " (London, 1838) ; 1841, 
 singing teacher at Cheltenham ; left 
 2 unfinished oratorios, a symphony, 
 etc. (2) Jos. Alfred, London, 18 10 
 — (?), 1898 ; bro. of above ; compos- 
 er. (3) J- Francis, b. London, Oct. 
 26, 1837, nephew of above ; studied 
 with Dr. Wylde (1849) ; and at R. A. 
 M. , and Leipzig Cons. ; debut as 
 pianist, 1853 ; 1883, prof, at R. Coll. 
 
 of Mus. ; composed oratorio " /"^^Jiif 
 Raising of Lazarus " (1876), sympho- 
 ny in A min., " Ouverture sympho- 
 nique " (1868), overture to Winter's 
 Tale (1871), cantatas, etc. 
 
 Baron (ba'-r5n), Ernst GI., Breslau, 
 1696 — Berlin, 1760; court-luteni 
 and theorbist ; writer and composer. 
 
 Barr^ (or Barra) (bar-ra or bar'-ra) 
 (i) Leonard, b. Limoges ; singer ii; 
 Papal Chapel (1537) and special mu 
 sical envoy to the Council of Tren 
 (1545) ; composed madrigal; 
 motets. (2) A., printer, etc., Romi 
 1555-70, later Milan. 
 
 Barret (bar-ra), A. M. Rose, 1804 
 Paris, 1879 ; oboist. 
 
 Barrett, (i) J., 1674 — London, 173; 
 (8 ?) ; organist. (2) Thos., violirJ 
 maker, London, 1710-30. (3) Wii| 
 Alex., Hackney, Middlesex, 1836-' 
 London (?), 1891 ; editor and writeij 
 co-editor with Sir John Stainer of j 
 " Diet, of Music. Terms." . 
 
 Barrien'tos, Maria, b. Barcelona 
 1884 ; singing with wonderful 
 cess in Rome at 11 years; took tw 
 medals for violin-playing. 
 
 Bar'rington, Daines, London, 17: 
 — 1800 ; lawyer and musical es: 
 ist. 
 
 Bar'ry, Chas. Ainslie, b. Lond 
 June 10, 1830 ; pupil of Coloj 
 Cons, and Leipzig Cons. ; editor 
 organist ; composed a symphony, 
 overtures, etc. 
 
 Barsanti (bar-san'-te), Fran., Luce 
 ca. 1690 — 1760 ; flutist, oboist, a; .: 
 composer; 1750, viola-player at Lei ■; 
 don. j : 
 
 Barsot'ti, Tommaso G. F., Fiji, 
 ence, 1786 — Marseilles, 1868 ; tea(|f* 
 er and composer. I . 
 
 Bartay (bar'-ta-e), (i) Andreilli 
 Szeplak, Hungary, 1798 — Mayeni* 
 1856 ; 1838 Dir. Nat. Th. Pes; . 
 composed Hungarian operas, «• 
 (2) Ede, Oct. 6, 1825— Sept., 19,; 
 son of above ; pupil Nat. Mus. Ac - 
 emy, Pesth ; founded pension-fund f 
 musicians ; composed overture, ' '/'< • . 
 cles" etc. . \ 
 
 J 
 
DICTIONARY OF MUSICIANS 4°? 
 
 Jartei (bar-ta'-e), Girolamo, general of 
 Augustinan monks at Rome ; pub- 
 lisher and composer (1607-1S). 
 Jartel (bar'-tel), (i) Aug., Sonders- 
 hausen, iSoo— 1876 ; son of (2) H. 
 B., trumpeter in the court-band ; and 
 brother to (3) Adolf, iSog— 1878, 
 member of the same band. Aug. 
 was an excellent teacher, and trained 
 as 'cellists, his sons, (4) Ernst, 1824 
 — Remschied, 1868, and (5) Gun- 
 ther, b. 1833 ; pupil also of Dehn ; 
 lives in Dusseldorf, as writer and 
 composer. 
 
 art (bart), (i) Chr. Samuel, Glau- 
 
 chen. Saxony, 1735 — Copenhagen, 
 
 1809 ; oboist. (2) F. Phil. K. 
 
 ■ Ant., b. Cassel, ca, 1773 ; son of 
 
 above ; composer. (3) Jos. Jn. Aug., 
 
 I: h, Grosslippen, Bohemia, 1781 ; 
 
 - 1810-30, tenor, Vienna. (4) Gus- 
 
 tav, Vienna, 1800 — Frankfort, 1897 ; 
 
 , son of (3) ; pianist and conductor. 
 
 (5) K. H., b. Pillau, Prussia, July 
 
 12, 1847 ; pianist, pupil of Von 
 
 Bulow, Bronsart, and Tausig ; 1871, 
 
 , '.eacher at R. Hochschiile fiir Musik, 
 
 conductor of the Philh. concerts at 
 
 Hamburg (vice von Biilow). (6) 
 
 : Richard, left-handed violin-virtuoso ; 
 
 Jniv. Mus. Dir. Marburg, till 1894 ; 
 
 ;ince then Dir. of Hamburg Philh. 
 
 Concerts. 
 
 i rthe, Grat-Norbert (gra-nor-ber- 
 )art), b. Bayonne, France, June 7, 
 828 ; pupil Paris Cons., 1854 : won 
 he Grand Prix de Rome ; wrote can- 
 ata " Francesca da Rimini " ; com- 
 osed operas ''Don Carlos" and 
 ' La Fianctfe d'Abydos " (1865) ; ora- 
 : ; jrio, '"Judith" etc. 
 , Erthel (bar'-tel), Jn. Chr., Plauen, 
 a.xony, 1776 — Altenburg, 1831 ; 
 i;;- ourt-organist. 
 B'thelemon (bar-ta-lu-mon) (in Eng- 
 5h Bar tleman), Fran. Hip., Bor- 
 ;aux, 1741 — London, 1808 ; violin- 
 it and composer. 
 B;tholdy (bar-tol-de), Jakob Salo- 
 on (of Jewish parents), Berlin, 
 '79 — Rome, 1825 ; diplomatist and 
 titer. 
 
 Bartholomew, Wm., London, 1793 — 
 1867 ; translator. 
 
 Bart'lett, (i) J., 17th century, English 
 composer. (2) Homer Newton, b. 
 Olive, N. Y., Dec. 28,1846; pupil 
 of S. B. Mills, Max Braun, Jacob- 
 son, etc. From 14 organist New 
 York churches ; now at Madison Av. 
 Bapt. Ch.; published a sextet, a can- 
 tata " The Last Chieftain" many 
 songs, etc.; opera, " Z« Valliere^'' 
 oratorio, " Samuel" etc., in MS. 
 
 Bartoli (bar-t5'-le), Padre Erasmo, 
 Gaeta, 1606 — Naples, 1656 ; church- 
 composer under the name ' ' Padre 
 Raimo." 
 
 Bartolini (le'-ne), V., Italian male so- 
 prano, in London, 1782. 
 
 Bartolo (bar-to'-lo). Padre Daniele, 
 F'errara, 1608 — Rome, 1685 ; Jesuit 
 theorist. 
 
 Baselt (ba'-zelt), Fritz (Fr. Gv. O.), 
 b. Gels, Silesia, May 26, 1863 ; pupil 
 of Kohler and Bussler ; music-dealer, 
 teacher and conductor Breslau, Essen 
 and Nurnberg ; since 1894, director 
 of Philh. Verein, and " Sangerver- 
 einigung" (ca. 1,200 voices), Frank- 
 fort-on-Main ; composed 9 operettas, 
 nearly 100 male choruses, etc. 
 
 Basevi (ba-sa'-ve), Abramo, Leghorn, 
 1818 — Florence, 1885; journalistand 
 composer. 
 
 Ba'sil (Saint), The Great, Caesarea, 
 329— Cappadocia, 379 ; bishop ; re- 
 puted introducer of congregational 
 (antiphonal) singing into the Eastern 
 Ch., preceding St. Ambrose in the 
 Western. 
 
 Basili (ba-ze'-le), (i) Dom. Andrea, 
 1720 — Loreto, 1775; conductor and 
 composer ; his son (2) Fran., Loreto, 
 1766 — Rome, 1850; prod. 11 operas, 
 and several dram, oratorios in Rome ; 
 1S37, conductor at St. Peter's, Rome ; 
 composed also symphonies, etc. 
 
 Basiron (ba'-sl-r5n), Giovanni, devel- 
 oped the motet, ca. 1430 — 1480. 
 
 Bassani (bas-sa'-ne), (i) Giov., ca. 
 1600 ; conductor at St. Mark's, Ven- 
 ice. (2) (or Bassiani), Giov. Bat., 
 Padua, ca. 1657 — Ferrara, 1716 ; vio- 
 
4o6 
 
 THE MUSICAL GUIDE 
 
 linist, conductor and composer. (3) 
 Geron., b. Padua, 17th cent.; singer, 
 teacher and composer. 
 
 Bassano (bas-sa'-no) , ; woman 
 
 pianist ; debut, London, Philh. So- 
 ciety, 1842. 
 
 Basselin (bis-ian), Olivier, lived at 
 Vire, France, 15th cent.; a fuller 
 whose songs were said to have been 
 first given the name " Vau de Vire," 
 whence, vaudeville. 
 
 Bassevi (bas-sa -ve), Giacomo. Vide 
 
 CERVETTO. 
 
 Bass'ford, Wm. Kipp, b. New York, 
 April 23, 1839; pupil of Samuel Jack- 
 son ; toured the U. S. as pianist ; 
 now organist at East Orange, N. J.; 
 also composer. 
 
 Bassi (bas'-se), Luigi, Pesaro, 1766— 
 Dresden, 1825 ; barytone and direc- 
 tor ; Mozart wrote the role of "Don 
 Giovanni " for him. 
 
 Bassiron (bas-sl-ron). Ph., 15th cent.; 
 Netherland contrapuntist ; composed 
 masses. 
 
 Bastardella. Vide agujari. 
 
 Bastiaans (bas'-te-ans), (i) J. G., 
 Wilp, 1812 — Haarlem, 1875 ; organist 
 and teacher at Amsterdam and at St. 
 Bavo's ; his son and successor (2) 
 Jn., 1854 — 1885; teacher and com- 
 poser. 
 
 Baston (bas-toh), Josquin, lived, 
 1556, Netherlands ; contrapuntist. 
 
 Batch'elder, J. C, b. Topsham, Vt., 
 1852 ; pianist and organist ; pupil of 
 Haupt, Ehrlich, Loeschhorn, Berlin ; 
 organ-teacher in Detroit (Mich.) 
 Cons. 
 
 Bates, (i) Joah, Halifax, 1741 — 
 London, 1799; conductor; promoter 
 and conductor of the famous " Han- 
 del Commemoration " festivals in 
 London (1784-91). (2) His wife was 
 a singer. (3) Wm., 1720 — 1790 (?) ; 
 English opera composer. 
 
 Ba'teson, T., England, ca. 1575 — 
 after 161 1 ; organist and composer 
 of madrigals. 
 
 Bathe (bath), Wm., DubHn, 1564— 
 Madrid, 1614 ; writer. 
 
 Batiste (ba-test), A. Ed., Paris, 1820- 
 
 1876 ; organist, teacher and com. 
 poser. 
 Batistin (ba-tes-tan). Vide struck, 
 
 J. B. 
 
 Baton (ba-toh). (i) H., i8th cent 
 musette-player. His brother (2) 
 Chas. (le jeune) performed on the 
 vielle ; also composer and writer, 
 1757- 
 
 Batta (bat'-ta), (i) Pierre, Maas- 
 tricht, Holland, 1795 — Brussels, 1876: 
 'cellist and teacher. His sons werfi 
 (2) Alex., b. Maastricht, July 9.! 
 1816 ; 'cellist and composer. (3) Jl 
 Laurent, Maastricht, 1817 — Nancyi 
 1880 ; pianist and teacher. (4) Jos. 
 b. Maastricht, April 24, 1824 ; 'cellist' 
 pupil of Brussels Cons., took 2( 
 Grand Prix for comp. in 1845 ; sine 
 1846 player at the Opera-Comiquf 
 Paris ; composed symphonies, etc. 
 
 Battaille (bat-tl'-yii), Chas. Aimabh 
 Nantes, 1822 — Paris, 1872 ; dran 
 bass. 
 
 Batanchon (bat-tah-shon), F., Pari 
 1814 — 1893; 'cellist; inv. (1846) 
 small 'cello, the "barytone." 
 
 Bat'tan, Adrian, ca. 1585 — ca. 1637J 
 English organist. 
 
 Bat tishill, Jonathan, London, 17 
 — Islington, 1801 ; conductor ai 
 dram, composer. 
 
 Battista (biit-tes'-ta), V., Naples, 18 
 — 1873 ; dram, composer. 
 
 Battistini (bat-tes-te'-ne), Mattia, 
 Rome (?) Nov. 27, 1857 ; dram, bai; 
 tone ; debut, Rome, 1878 ; sang 
 Buenos Ayres and principal theatij 
 in Europe. 
 
 Battmann (bat-man), Jacques I 
 Maasmiinster, Alsatia, 1818 — Dij( 
 1SS6 ; organist. 
 
 Batton (bat-ton), Desire Alex., Pai. 
 1797 — Versailles, 1855 ; teacher aji 
 dram, composer. ' 
 
 Battu (bat-til), Pantaloon, Pa, 
 1799 — 1S70 ; violinist and composi 
 
 Baudet (bo-da), Hubert Cyrille ; - 
 vented "piano-violin," or "pia- 
 quatuor," i86s. 
 
 Baudiot (b5d-y6), Chas. N., Nar', 
 1773 — Paris, 1849; 'cellist. 
 
 I 
 
DICTIONARY OF MUSICIANS 
 
 407 
 
 Baudoin (or Baudouyn) (bo-dwari). 
 
 Vide BAULDF.WIJN. 
 
 Bauer (bow'-er), (i) Chrysostomus, 
 
 iSth cent, organ-builder at Wurtem- 
 berg. (2) Harold, b. London, 1873, 
 of English mother and German father; 
 played violin in public at 9 ; studied 
 with Gorski, Paris ; then the piano, 
 in 1S92, under Paderewski ; debut 
 as pianist, Paris, 1893 ; has toured 
 Europe and, since 1900, America, 
 with great success. 
 3auldewijn (bod-wan) (or Baulduin, 
 Baldewin, Balduin, Baudoin, 
 Baudouyn), Noel (Natalis), Ant- 
 werp, 1 5 13 (or 15 18 ?) — 1529 ; conduc- 
 tor at Notre Dame ; and composer. 
 Jaumbach (bowm'-bakh), (i) Fr. 
 Aug., 1753 — Leipzig, 1813 ; con- 
 ductor and writer. (2) Ad., Ger- 
 many, 1830 (?) — Chicago, 1880; 
 : teacher and composer. 
 : '.aumfelder (bowm -felt-er), Fr., b. 
 Dresden, May 28, 1836 ; pianist ; pu- 
 r pil of J. Otto, and Leipzig Cons. 
 :aumgart(bowm-gart), E. Fr., Gross- 
 glogau, 1S17 — Warmbrunn, 1871 ; 
 editor. 
 
 aumgarten(bowm'-gart-en),(i)Gott- 
 hilf von, Berlin, 1741 — Gross-Stre- 
 litz, Silesia, 18 13 ; composed 3 operas. 
 (2) K. Fr., Germany, 1754 — Lon- 
 don, 1824 ; violinist and dram, com- 
 poser. 
 .,; lumgartner (bowm'-gert-ner), (i) 
 Aug., Munich, 1S14 — 1S62 ; writer on 
 " musical shorthand," etc. (2) Wm. 
 fGuillaume), 1S20 — Zurich, 1867 ; 
 _:omposer and mus. dir. at St. Gallen. 
 p; liiumker (bim'-ker), Wm., b. Elber- 
 . "eld, Oct. 25, 1842 ; chaplain and 
 ichool-inspector, Niederkrlichten ; 
 . vrote biogs. of Palestrina, Lassus,etc. 
 lusch (bowsh), (i) L. Chr. Aug., 
 Naumburg, 1805 — Leipzig, 1871 ; 
 naker of violins and bows. His 2 
 ons were also vln. -makers : (2) 
 . -udwig(i829 — Leipzig, 1871); lived 
 sew York, then in Leipzig ; and (3) 
 )tto, 1841— 1874. 
 Eusznern (bows'-nern), Waldemar 
 on,b. Berlin, Nov. 29, 1866 ; studied 
 
 at Kronstadt, Pesth, Vienna and with 
 Bargiel and Fr. Kiel at the Berlin 
 Hochschule ; since 1894 lives in Dres- 
 den, as dir. Singakademie and Leid- 
 ertafel ; composed a symphony, over- 
 tures, a Zigeuner suite, a music-drama 
 '' Dichter »tid /fVA " (Weimar, 1897), 
 etc. 
 
 Bayer (bl'-er), Josef, b. Austria, ca. 
 1851 — 1871 ; 2d violinist. Court 
 Opera, Vienna, 18S2, ballet-director, 
 composed operettas, etc. 
 
 Bay ly. Rev. Anselm, 17 19 — 1792 ; 
 English writer. , 
 
 Bazin (ba-zah), Fran. Em. Jos., Mar- 
 seilles, 1816 — Paris, 1S78 ; dram, 
 composer. 
 
 Bazzini (bad-ze'-ne). A., Brescia, 
 March 11, 1818 — Milan, Feb. 10, 
 1897 ; violinist ; pupil of Camisani ; 
 at 17 conductor Church of S. Filippo, 
 where he prod, masses and vespers, 
 and 6 oratorios with full orch., and 
 gave successful concert-tours through 
 Europe. 1873, prof, of comp., 1882, 
 dir. of Milan Cons. In his compo- 
 sitions his native melodiousness gained 
 unusual value from a German solidity 
 of harmony. 
 
 Bazzino (bad-ze'-no), (i) Fr. M., 
 Lovere (Bergamo), 1593 — Bergamo, 
 1660 ; theorbo virtuoso. (2) Natale, 
 d. 1639 ; composed masses. 
 
 B6, Le. Vide le be. 
 
 Beach, Mrs. H. H. A. (nee Amy 
 Marcy Cheney), b. Henniker, N. 
 H., Sept. 5, 1867 ; pianist and com- 
 poser; pupil of E. Perabo and K. 
 Baermann (pf.), and Junius W. Hill 
 (harmony) ; self-taught in cpt., comp. 
 and orchestration, having transl. 
 Berlioz and Gevaert for her own use ; 
 Pres. Board of Councillors, N. E. 
 Cons., Boston; composed ''Gaelic" 
 symphony, Mass with orch., songs, 
 etc. 
 
 Beale, (i) Wm., Landrake, Cornwall, 
 1784 — London, 1854 ; famous glee- 
 composer. (2) J., London, ca. 1796 ; 
 pianist. (3) Thos. Willert, b. Lon- 
 don, 1828 ; a lawyer and pupil of 
 Roeckel ; one of the founders of the 
 
4o8 
 
 THE MUSICAL GUIDE 
 
 New Philh. Soc. ; composed operettas ; 
 used pen-name "Walter Maynard." 
 
 B6anoii (ba-a-non), Lambert 'de, con- 
 ductor at Sistine Chapel, Rome, be- 
 fore Josquin des Pres. 
 
 Beard, J., England, ca. 1717 — Hamp- 
 ton, 1791 ; eminent tenor for whom 
 Handel wrote the tenor roles in his 
 chief oratorios. 
 
 Beauchamps (bo-shah), P. Fran. 
 Godard de, Paris, ca. 16S9 — 1761 ; 
 writer. 
 
 Beaujoyeulx (b5-zhwa-yu), de. Vide 
 
 BALLAZARIM. 
 
 Beaulieu (rightly Martin) (b5l-yu', or 
 mar-tah), M. Desire, Paris, 1791 — 
 Niort, 1863 ; patron, writer and com- 
 poser. 
 
 Beaumavielle (bo-mav-yel), d. Paris, 
 16SS ; barytone ; he sang in the hrst 
 French opera, 1671. 
 
 Beauquier (bok-ya), Chas., b. ca. 
 1830 ; writer of " Philosophic de mu- 
 sique" (1S65), and librettist. 
 
 Beaz'ley, Jas. Chas., b. Ryde, Isle 
 of Wight, 1S50 ; lives there as com- 
 poser ; pupil of R. A. M. 
 
 Beccatel'li, Giov. Fran., d. Florence, 
 1734 ; cond. at Prato and writer. 
 
 Becher (bekh-er), (i) Alfred Julius, 
 Manchester, 1803 — Vienna, 1848 ; 
 editor. (2) Jos., b. Neukirchen, Ba- 
 varia, Aug. I, 1821 ; composed over 
 60 masses, etc. 
 
 Bechstein (bekh'-shtln), Fr. Wm. K., 
 b. Gotha, June i, 1826 ; 1856, worked 
 in German factories ; later established 
 the well-known piano factory in 
 Berlin. 
 
 Beck, (i) David, Germany, ca. 1590 ; 
 organ-builder. (2) Reichardt K., 
 lived in Strassburg, ca. 1650 ; com- 
 poser. (3) Jn. Philip, 1677 ; editor. 
 
 (4) Michael, b. Ulm, 1653 ; writer. 
 
 (5) Gf. Jos., Podiebrad, Bohemia, 
 1723 — Prague, 1787 ; Dominican 
 (later Provincial) friar ; organist. (6) 
 Chr. Fr., b. Kirchheim, ca. 1755 ; 
 composer. (7) Fz., Mannheim, 1730 
 — Bordeaux, 1809 ; court-violinist. 
 (8) Fr. Ad., pub. at Berlin, ''Dr. 
 M, Luther's Gedanken iiber die 
 
 Musik,'' 1825. (9) K., 1814— Vi 
 enna, 1S79 ; tenor; created "■ Lohen 
 grin.'' (10) Jn. Neporauk, Pesth 
 1828 — Vienna (?) 1S93 ; dram, bary 
 tone. (11) Jos., b. June 11, 1850 
 son of above ; barytone, sang i: 
 Austria, Berlin (1876), and Frankfor 
 (1S80). (12) Johann Heinrich, t 
 Cleveland, Ohio, Sept. 12, 1856 1 
 violinist ; pupil Leipzig Cons. ; livei 
 Cleveland ; founded the " Schubei; 
 Quartet " ; composed overtures t' 
 Byron's ''Lara" to "Romeo an. 
 Juliet ;'' cantata "Deiikalion" (Ba;' 
 ard Taylor), etc. 
 
 Becke (bek'-a), Jn. Baptist, b. Nun 
 berg, 1743 ; court-flutist, in Miinic" 
 1776. 
 
 Beck'el, James Cox, b. Philadelphia 
 Dec. 20, 1811; pupil there of Tr 
 jetta ; later music-publisher in Phih 
 and editor of " Musical Clipper 
 composed cantatas, etc. 
 
 Becker, (1) Dietrich (1668), co 
 poser at Hamburg. 1668. (2) Ji 
 Helsa, near Cassel, 1726 — i8c, 
 court-organist. (3) K. Fd., Leipz. 
 1804 — 1877 ; organist and writ 
 (4) Konstantin Julius, Freibe, 
 Sa.\ony, 18 11 — Oberlossnitz, 18;; 
 editor. (5) Val. Ed., Wurzbu, 1 
 1814 — Vienna, iSgo ; dram, cc- j 
 poser. (6) Georg, b. P>ankentl, j 
 Palatinate, June 24, 1824 ; piait : 
 and writer ; lives in Geneva ; p.. 
 " La Mnsique en Suisse " (1874), ■:. 
 (7) Albert Ernst Ant., Qued> 
 burg, June 13, 1834 — Berlin, Jan.), 
 1899; pupil of Bonicke and De; 
 1881, teacher of comp. at Scl'- 
 wenka's Cons. ; also conductor Be n 
 cathedral choir; composed a n;- 
 worthy symphony, a Grand Mas jn 
 Bt' min. (1878), and oratorio "J'/ 
 aus Gnade,'' etc. (8) Jean, M;ni- 
 heim, May 11, 1833— Oct. 10, l!i; 
 violinist, leader Alannheim on.; i 
 after concert-tours, lived in Flor ce ■ 
 and founded the famous "Floreine 
 Quartet"; toured with his chile n. 
 (9) His daughter Jeanne, b. M Ji* > 
 heim, June 9, 1859 ; pianist, pupof ; 
 
DICTIONARY OF MUSICIANS 409 
 
 Reinecke and Bargiel. (ro) Hans., 
 b. Strassburg, May 12, i860; viola- 
 player, pupil of Singer. (11) Hugo, 
 b. Strassburg, Alsatia, Feb. 13, 1833; 
 noted 'cellist, son and pupil of (8), pu- 
 pil of Kundiger, then of Griitzmacher ; 
 1SS4, soloist at opera, Frankfort ; since 
 1894, Prof, at the Hoch Cons, there ; 
 toured, U. S. 1900-1901. (12) Rhein- 
 hold, b. Adorf, Sa.xony, 1S42 ; vio- 
 linist ; lives in Dresden ; composed 
 succ. operas Fratienlob (Dresden, 
 1S92), and Ratbold (Mayence, 1896), 
 j l-act ; symph. poem Der Prinz von 
 \ Hombtirg, etc. (13) K., b. Kirr- 
 ; weiler, near Trier, June 5, 1853 ; 
 teacher at Neuwied ; pub. song- 
 i books. (14) Jakob, founder (1841) 
 of large Russian pf. -factory ; present 
 head (since 1871), Paul Petersen. 
 Jeck'mann, Jn. Fr, GI., 1737 — Celle, 
 1792 ; organist, harpsichord-virtuoso, 
 and dram, composer. 
 Jeck'with, J. Christmas, Norwich, 
 England, 1750 — 1809 ; organist and 
 writer. 
 
 tecquie (bek-ya), (i) Jean Marie (?), 
 Toulouse, ca. 1800 — Paris. 1825 ; 
 flutist. His brother (2) (" De Peyre 
 Ville "), Jean Marie, Toulouse, 
 1797 — Paris, 1876 ; violinist. 
 ledvarovsky (bech'-var-shof'-shkt), 
 Ant. F., Jungbunzlau, Bohemia, 
 , 1754 — Berlin, 1823 ; organist and 
 1 composer. 
 ed'ford, Mrs. H. Vide lehmann, 
 
 LIZA. 
 
 edos de Celles (bii-do' du sel), Caux, 
 near Bezieres, 1706 — St. Maur, 1779; 
 I Benedictine monk and writer. 
 eechgard (or Beehgard) (bakh'- 
 gart), Julius, b. Copenhagen, Dec. 
 19, 1843 ; pupil Leipzig Cons., and 
 of Gade ; lives at Copenhagen ; com- 
 posed operas '''' Frode" " Frau 
 Inge" (Prague, 1894), etc. 
 eecke (ba'-ke), Ignaz von, ca. 1730 
 — Wallerstein, 1803 ; captain of dra- 
 goons, then " Musikintendant " to 
 Prince of Otting-Wallerstein ; harp- 
 sichordist ; composer of 7 operas, 
 etc. 
 
 Beellaerts (bal-larts), Jean. Vide 
 
 BELLERE. 
 
 Beer (bar), (i) Jacob Liebmann, 
 
 Vide MEYERBEER. (2) Joscf, Gruu- 
 wald, Bohemia, 1744 — Potsdam, 
 1811 ; player of the clarinet, for which 
 he invented the fifth key. (3) Jules, 
 b. ca. 1833 ; lives in Paris ; com- 
 posed 5 comic operas, etc. (4) Max 
 Josef, b. Vienna, Aug. 25, 1851; 
 pianist ; pupil of Dessoff ; lives in 
 Vienna ; composed 4 operas, incl. the 
 succ. "i9fr Striek der Schmiede" 
 (Augsburg, 1897), etc. (5) Anton, b, 
 Kohlberg, June 29, 1864; studied 
 with Rheinberger ; leader in Regens- 
 burg orch.; later lived in Munich; 
 composed an opera " Su/iiw," etc. 
 
 Beeth (bat), Lola, b. Cracow, 1864; 
 soprano ; pupil of Dustman, Viardot- 
 Garcia, and Desiree Artot ; debut, 
 1882, at Berlin Court Opera, then 
 Vienna, after various tours ; sang in 
 New York ; engaged at Vienna, 1897, 
 for 5 years. 
 
 Beethoven (bat'-ho-fen, not ba-to'-ven), 
 Ludwig van, b. Bonn-on-Rhine, 
 Dec. 16 (baptised, Dec. 17, 1770) 
 (Beethoven said Dec. 16, 1772), d. 
 Vienna, March 26, 1827; grandson of 
 Ludwig van B. (a native of Maes- 
 tricht, bass singer, opera composer, 
 and conductor to the P^lector Clemens 
 August, at Bonn), 2d child of Jn. 
 van B. (a tenor singer in the Elec- 
 toral choir), who had m. a widow, 
 Magdelena Laym (nee Keverich), a 
 daughter of the chief cook at Ehren- 
 breitstein. B. studied at the public 
 schools at Bonn till 14. From his 
 fourth year, his father taught him 
 music with great severity till 1779. 
 He played the vln. well at 8 ; at 11 
 he knew Bach's " Wohlteniperirtc 
 Clavier.'" Became pupil of I^feiffer, 
 a music-dir. and oboist ; and Van der 
 Eeden, court-organist, who predicted 
 that he would be "a second Mo- 
 zart"; 1785, studied vln. with Franz 
 Ries ; 1787, took a few lessons of Mo- 
 zart ; 1792, Haydn, passing through 
 Bonn, praised a cantata of his (now 
 
410 
 
 THE MUSICAL GUIDE 
 
 lost). The Elector sent B. to Vienna, 
 where he studied cpt. with Haydn, 
 who seemed to neglect him, so that 
 he secretly studied with Schenck ; 
 later he went to Albrechtsberger, who 
 said " he has learnt nothing, and will 
 never do anything in decent style " ; 
 he studied the vln. with Schuppanzigh 
 and consulted Salieri and Aloys For- 
 ster; 1781, he is believed to have 
 written a Funeral Cantata in memory 
 of the English charge d'affaires at 
 Bonn, who had advanced money 
 to the family; 1781 (1782?), his first 
 publication, 3 pf.-sonatas ; 1782, 
 deputy organist ; 1783, cembalist for 
 rehearsals of the opera-orch., without 
 compensation ; 1784-92, asst. organ- 
 ist at an annual salary of 150 florins 
 (about $63)'; from 1788 also 2d vio- 
 la of the theatre orch. Visited Vien- 
 na, 1787, and made a sensation by 
 extemporising, Mozart exclaiming 
 " He will make a noise in the world 
 some day." In July his tender- 
 hearted mother died of consumption ; 
 his father lost his voice and became a 
 sot. B.'s only home was in the fam- 
 ily of the widow von Breuning, to 
 whose daughter and son he gave les- 
 sons. Here he acquired his passion 
 for English literature. He now made 
 acquaintance of young Count Wald- 
 stein, who became his life-long pa- 
 tron, and in 1792 sent him to Vienna, 
 where he henceforward lived. The 
 decade 1782-92 does not show much 
 fertility in composition : half a dozen 
 songs, a rondo, a minuet, and 3 pre- 
 ludes for pf., 3 pf. -quartets, a pf.- 
 trio ; a string-trio, op. 3 ; 4 sets of 
 pf . variations ; a rondino for wind ; 
 the " Ritter Ballet" with orch. (pub. 
 1872); ''The Bagatelles" op. 33; 
 2 vln. -rondos, op. 51; the " Serenade 
 Trio" op. 8 ; the lost cantata, a lost 
 trio for pf., flute, and bassoon, and 
 an Allegro and Minuet for 2 flutes. 
 1792, he was sent to Vienna by the 
 Elector, who paid him his salary for 2 
 years ; he had growing royalties from 
 his comps., also 600 florins annually 
 
 from Prince Lichnowsky, his .warmest 
 admirer. March 29, 1795, he played 
 his C major pf. -concerto in the Burg- 
 theater, his first public appearance ; 
 1796, he played before King F"r. Wm. 
 II.; 1798, at Prague, he gave 2 sen- 
 sational concerts and met two piano- 
 virtuosi : Steibelt, who challenged' 
 B. to extemporise and was sadly 
 worsted, and Wolfil, who became his 
 friend. 1800 ends what is called 
 (after von Lenz's book '' B. et ses troi^ 
 styles ") his " first period," of compo- 
 sition ; the "second period," extend- 
 ing to 1815 ; the "third" to 1827, 
 This first period includes op. 1-18 i 
 pf. and string-trios, string-quartets i- 
 9 pf.-sonatas, 7 variations on '' Goc 
 Sa7'e the Queen" and 5 on " A'«/, 
 Britannia " ihe. ana. '' Ah per/ido,' 
 etc. Now a severe and early vene - 
 real trouble affected his liver, and be , 
 gan to ruin his hearing, which b; 
 1822 was entirely gone. Though h 
 had always been brusque (especiall 
 with the aristocracy, among whom h 
 had an extraordinarily long list c 
 friendships and love-afl'airs), his foi 
 mer generosity and geniality speedil 
 developed into atrocious suspicious 
 ness and violence toward his be; |(^' 
 friends. The wild life of a nephe^ It^ 
 whom he supported, brought hii; \,. 
 great bitterness. Until the begir 1' 
 ning of the "third period," howeve 
 he had large stores of joy in lif 
 open-air Nature, and the details 1 
 his compositions, which were work( 
 up with utmost care from "sketc 
 books," always carried with him, ar' 
 still extant as a unique examp, 
 of genius at work. In the arbitra 
 but somewhat convenient von Le 
 classification, the 2d period includ 
 the symphonies III — VIII; t 
 opera ''Fidelia" \ the music to "£ 
 viont" \ the ballet "Prometheus, 
 the Mass in C, op. 86 ; the orato ' 
 " Christus am Oelberg" {i?>02,) \ t 
 " Coriolanus" overture; 2 pf.-C( 
 certos ; i vln, -concerto ; 3 quarte 
 4 pf. -trios, and 14 pf.-sona 
 
DICTIONARY OF MUSICIANS ^n 
 
 (among them op. 27, op. 28, 31, No. 
 2, 53, 57, and 81); the '^ Lieder- 
 kreis" etc. The "third period" 
 incl. the five pf. sonatas, op. loi, 
 III; the " Afi'ssa solt-niiis" the 
 Ninth Symphony. the overture 
 ^'^ Ruins of Athens"; the overtures 
 op. 115, 124; the grand fugue for 
 string-quartet, and the string-quar- 
 tets op. 127, 130, 131, 132, 135 (F). 
 ^^ Fidelio" first named "' Lconore" 
 was prod. Nov. 20, 1805, just a week 
 after the French army entered Vien- 
 na. It was withdrawn after three 
 consecutive performances ; revised 
 and prod. March 29, 1806, but with- 
 drawn by B. after two performances. 
 Once more revised, it was revived in 
 18 14, very successfully ; the present 
 overture is the result of various ver- 
 sions known as the Leonore overtures 
 I, 2, and 3. The '" Eroica" sym- 
 phony (No. 3) was called " Shtfonia 
 grande Napoleon Bonaparte " in hon- 
 our of his advocacy of "liberty, 
 equality, and fraternity." When 
 Napoleon proclaimed himself em- 
 peror, B. tore up the title-page in 
 wrath and changed the name to 
 " Sinfonia eroica coniposta per fes- 
 teggiare il sovvenirc d'un gran 
 uomo " (Heroic symphony, com- 
 posed to celebrate the memory of a 
 great man). In the Ninth Sym- 
 phony, a choral Finale is used as 
 the final addition to the orchestral 
 clima.x of ecstasy (the words from 
 Schiller's "Hymn to Joy"). In 1809 
 Jerome Bonaparte invited B. to be- 
 come conductor at Cassel with a 
 salar)' of 600 ducats (about $1,500) ; 
 but his Viennese patrons Archduke 
 Rudolf, and the Princes Lobkowitz 
 and Kinsky, settled on him an annu- 
 ity of 4,000 florins ($2,000). Dec, 
 1826, a violent cold resulted in pneu- 
 monia ; dropsy followed, B. saying 
 to the doctors who tapped him three 
 times and drew out the water, " Bet- 
 ter from my belly than from my pen." 
 Alter an illness of 3 months he took 
 the Roman Catholic sacraments, a 
 
 two-days' agony of semi-consciousness 
 followed and he died, just after shak- 
 ing his clenched fist in the air, during 
 a terrific thunderstorm, the evening 
 of March 26, 1827. 20,000 persons 
 attended his funeral. 
 His complete works comprise 138 
 opus-numbers, and about 70 unnum- 
 bered comp. The following are 
 those pubHshed. Instrumental. — 
 9 Symphonies. — No. i, op. 21, in C ; 
 2, op. 36, in D; 3, op. 55, in Ef? (the 
 "Eroica") ; 4, op. 60, in Bl>; 5, op. 
 67, in C min.; 6, op. 68, in F (" Pas- 
 toral ") ; 7, op. 92, in A ; 8, op. 93, in 
 F ; 9, op. 125, in D min. (" Choral"). 
 " The Battle of Vittoria" (op. 91); 
 music to the ballet "Prometheus" 
 (op. 43), and to Goethe's " Egmont" 
 (op. 84), both with overtures, besides, 
 nine overtures — " Coriolanus"; " Leo- 
 nore" (Nos. I, 2, and 3); " Fidelio"; 
 "King Stephen"; "Ruins of Ath- 
 ens" ; " Namensfeier" op. 115; 
 " IVeihedes Hauses " (op. 124). Also 
 for orch. : Allegretto in Ej? ; March 
 from " Tarpeia" in C ; Military 
 March, vaU; " Ritter-Ballet" ; 12, 
 Minuets; 12, " deutsche Tanze"; 
 12, Contretanze ; violin - concerto, op. 
 61. Five pf. -concertos, the last 
 op. 73, in E {" Eviperor") ; also a 
 pf. -concerto arranged from the vio- 
 lin-concerto. A triple-concerto, op. 
 56, for pf., vln., 'cello and orch.; a 
 " Choral Fantasia" for pf., chorus 
 and orch.; a Rondo in B, for pf. and 
 orch.; cadences to the pf. -concertos. 
 Two Octets for wind, both in £[>. 
 Septet for strings and wind. Sextet 
 for strings and 2 horns. One sextet 
 for wind, Ef?. Two quintets for 
 strings ; fugue for string-quintet ; 
 also quintet arr. from pf.-trio in C 
 min. Sixteen string-quartets: Op. 
 18, Nos. 1-6 in F, G, D, C min., A and 
 B[7 (first period) ; op. 59, Nos. 1-3 ; 
 op. 74, in E|7(the " H arfenquartett"); 
 op. 95 (second period) ; op. 127 ; op. 
 130 ; op. 13T ; op. 132 ; op. 135. A 
 grand fugue for string-quartet, op. 133, 
 in Bp (third period). One pf. -quartet 
 
412 
 
 THE MUSICAL GUIDE 
 
 (arr. from the pf. -quintet) ; 3 juvenile 
 pf. -quartets ; five string-trios ; eiglit 
 pf. -trios, that in £[? being juvenile ; 
 an arr. of the '' Eroica" symphony. 
 Grand trios for pf., clar. and 'cello 
 op. II ; in Bb and in £[? (arr. from 
 septet, op. 20) ; trio for 2 oboes and 
 cor ai2glais, in C op. 87. 
 Ten sonatas for pf. and violin, incl. 
 op. 47 {'' Kreittzer") ; rondo for pf. 
 and vln. ; 12 variations for do. Hve 
 sonatas and 31 variations for pf. and 
 'cello. Sonata for pf. and horn. So- 
 nata for pf., 4 hands. 
 38 Sonatas for piano, incl. op. 27, 
 Nos. I and 2 {''Quasi Fantasia"), 
 op. 2?) {'' Pastorale ") in D; op. 53 
 (" IValdstein" ) in C ; op. 57 (" Appas- 
 sionata ") in F min. ; op. 81 (" Carac- 
 i/ristique" — '' Les adicux, V absence, 
 le j-etour'') in E\). Also 6 easy so- 
 natas, 3 of them composed at age of 
 10 ; 21 sets of variations for pf. ; 3 
 sets of bagatelles ; 4 rondos ; fantasia 
 in G min. ; 3 preludes ; polonaise ; 
 andante in F (" Favori "); 7 minuets ; 
 
 13 Landler. for 4 hands ; 3 marches ; 
 
 14 variations. 
 
 Vocal. — Opera ^'' Fide Ho," in 2 acts, 
 op. 72. 2 Masses, in C and D 
 {" So/ennis"). Oratorio '''' Christiis 
 
 am Oelberg," o^. 85. Cantata *' Der 
 glorreiche Aiigenblick," op. . 136 
 (18 14) ; also arr. as Preis der Ton- 
 kunst. Mecrcsstille und Gliickliche 
 Fahrt, op. 112 (poem by Goethe), 
 Scena and aria for soprano, ''Ah 
 Perjido,'" with orch., op. 65. Trio 
 for soprano, tenor and bass, " Tre- 
 mate, Empi, Treinate," o^. 116. " Op- 
 ferlied'" for soprano solo, chorus and 
 orch. "Biiiideslied" for 2 solo voices. 
 3-part chorus and wind. " Elegischer 
 Gesang " for 4 voice-parts and strings. 
 66 songs with pf.-accomp. ; one duet, 
 " Gesang der MiUiche " ; 3 voice-parts 
 acapp. 1 3 vocal canons. 7 books of. 
 English, Scotch, Irish, Welsh and ; 
 Italian songs, with pf., vln. and 'cello, i 
 The best biography is Alex. W. j 
 Thayer's " L. van Beethoven! s Le-\ 
 ben," 2 vols, in German, transl. fromi 
 the English MS. by H. Deiters ; lastj 
 vol. in preparation. Partial collec-j 
 tions of Beethoven's letters are pub. 
 and his sketch-books are discussed in 
 Ignaz von 'Seyined's " Liuhuig van, 
 Beethoven' s Stiidien ini Generalbass^. 
 Kontrapiinkt und in der Komposi-'' 
 tionslehre." Biogs. also by Schindler, 
 Nohl, Crowest, etc. Wagner wrote 
 an estimate. 
 
 lerj 
 
 Beethoven : A Study of Influences. 
 
 Bv H. E. Krehbiel. 
 
 IN one respect Beethoven stands alone in the history of music. Th< 
 influence of all his fellows, from Bach to Wagner and Brahms, can b( 
 determined in matter as well as manner, and set down in plain terms' 
 his full significance is yet to be grounded. Beethoven was a gigantic reser^ 
 voir into which a hundred proud streams poured their waters ; he is a mights 
 lake out of which a thousand streams have flowed through all the territorie 
 which the musical art has peopled, and from which torrents are still pourin 
 to irrigate lands that are still terrae incognitae. ^In some respects his geniu 
 is an enigma. Whence came his profound knowledge of the musical art as : 
 existed before him ? He was not precocious as Mozart was. He was 
 diligent pupil, but not an orderly one. Except in childhood he was unruly 
 and impatient of discipline. The sternness and cruelty of a dissipated fathf 
 
 _.ha_ 
 
DICTIONARY OF MUSICIANS 413 
 
 made his earliest studies a suffering and an oppression. In later years he 
 performed his duties toward Albrechtsberger, but refused to yield himself to 
 that teacher's domination as he had already refused to bow to the authority of 
 Haydn — an authority which he felt was too carelessly exercised. Yet the world 
 knows how conscious he was of the potency of the learned forms into which 
 Albrechtsberger strove to induct him, and the charm of romantic expression 
 exemplified in Haydn. ^He refused to acknowledge these men as his teachers, 
 while they returned the compliment by refusing to own him as their pupil. 
 Haydn condemned his first trios ; Albrechtsberger advised his other pupils to 
 have nothing to do with him because, as he said, "he had never learned 
 anything, and would never do anything in decent style." Yet Beethoven 
 was proud of his ability in the department of study for which he had gone to 
 this teacher of counterpoint. In his old age he considered Cherubini the 
 greatest of his living contemporaries, and Handel the greatest of the great 
 dead. Note the significance : both were masters in the severe forms. 
 Taking no account of the canons, fugues, and variations which occur incident- 
 ally in his syrn_phonies, sonatas, and quartets, we find that Beethoven left an 
 extraordinarily large number of compositions in these forms behind him — no 
 less than thirty-fiye canons, five independent fugues and thirty-two sets of 
 variations for different instruments. Could there be a more convincing dem- 
 onstration of his devotion to the scientific side of his art ? ^But he was no 
 more and no less an iconoclast in these forms than in the romantic. Proof 
 of another kind I found in an anecdote recorded in Mr. Thayer's note-book 
 as related to him by the nephew of the observer of the incident. ^In i 809 
 Wilhelm Rust sat in a coffee-house in Vienna with Beethoven. A French 
 officer happening to pass, Beethoven doubled up his fist and exclaimed : " If 1 
 were a general and knew as much about strategy as I know about coun- 
 terpoint, being a composer — I'd cut out some work for you fellows." 
 ^The great difference between him and his teachers was one of conception 
 touching the uses to which counterpoint and fugue should be put. To 
 Albrechtsberger the sciences existed for their own sake ; for Beethoven they 
 existed only as a medium of expression. There was nothing sacrosanct about 
 them. As he himself said, it was a good thing to learn the rules in order 
 afterward to know what was contrary to them, and, he might have added, 
 also to know how to violate them when musical expression could thereby be 
 promoted. ^Yet Beethoven's greatest significance as an influence is not as a 
 destroyer of forms and contemner of rules, as so many would have us believe 
 who justify all manner of lawlessness to-day and quote Beethoven as an excuse ; 
 but as a widener ofjorms a^nd a_cre_ator. ojLrules_for the development of 
 expression, which is and must ever remain the aim of musical art. He was 
 the prototype of Wagner's Hatis Sachs , who wished due respect paid to the 
 
414 THE MUSICAL GUIDE 
 
 laws of the poet's craft so that poetical creation might go on within the lines 
 of beauty, but who also wished spontaneous creative impulse to have its rights. 
 Where he differed from the pedants who sought to stem the original flow of 
 his utterance, was in realising better than they, that art-works are the source 
 of rules quite as much as their outcome. He felt, with Faust, that "In the 
 beginning was the Deed," neither the "Word," nor the "Thought," nor 
 the "Power," but the "Deed," ; from that can be deduced the other 
 potencies. ^ " Beethoven was not only the embodiment of all that was; 
 before him, but also of that which was yet to come. In his works music 
 returned to its original purpose with its power raised a hundred-fold." I 
 have said this before and elsewhere, but as I cannot say it better and want it 
 said again, I say it again, and here. It is easy rhetoric to descant upon the 
 tremendous strides which music has made in the last half century, the trans- 
 formation of forms, the augmentation of expressive potencies (rhythmic, i 
 melodic, harmonic, instrumental), the widening of the horizon of the things f 
 proper to musical expression and much else ; but he has not yet learned his ! 
 Beethoven who does not see all that has yet appeared to be essential in these 
 things distinctly foreshadowed in the music of the master who, in a larger, ; 
 more comprehensive, more luminous sense than was dreamed of before oi ; 
 since, was priest, king, hero, and seer. A priest unceasing in his offerings ii i 
 the Temple Beautiful ! A king whose dominion is over the despotic ruler 
 in man's emotional nature ! A hero who knew his mission and subordinate 
 to it himself, his longings, his loves, his very life ! A seer, as Ruskin say 
 of Imagination, "in the prophetic sense, calling the things that are not a 
 though they were, and forever dehghting to dwell on that which is no 
 tangibly present." ^jLike Faust he ever heard the dread words ringing in hi 
 ears : " Entbehren soils t du, soils t entbehren .' " His art asked^Jijs all 
 he knew it and gave his all ; and then the Gottheit which he was wont t 
 invoke, hushed the noises of the material world that he might the better hea 
 the whisperings of the spirit pervading it ; and raised a barrier between hir 
 and mankind to force him to be a witness and historian of the struggl 
 between the human and the divine reflected in his own soul. All the mis 
 anthropy which filled his later years could not shake his devotion to an ide; 
 which had sprung from truest artistic appreciation and been nurtured b 
 enforced introspection. This is the key to Beethoven's music. ^ But 
 will not serve the purposes of this study merely to generalise. If the cor 
 tention set forth is to be maintained, there must be some martialling ( 
 evidence. Confining ourselves to the cyclical form, the symphony, we noi 
 that Beethoven introduced a wider range and a freer use of keys than wei 
 employed by his models, Haydn and Mozart ; abolished much of vvh 
 sounds like mere remplissage in the connecting portions between theme 
 
 
DICTIONARY OF MUSICIANS 415 
 
 substituting therefor phrases developed out of the themes themselves ; intro- 
 duced original episodic matter ; extended the^ free fantasia, and coda ; devel- 
 oped the old minuet into the scherzo, which could better carry on the psycho- 
 logical story which he wished to tell in the four chapters of his instrumental 
 ^ poem ; infused unity into his works, not only by bringing the spiritual bonds 
 = between the movements more clearly before our percipience, but also by 
 « making the materiaLbonds obvious and incontrovertible. This last achieve- 
 ■■ ment has its simplest as well as most eloquent illustrations in the community 
 i of rhythms between the firs_tj. third, and last movements of the Fifth Sym- 
 ; thony, and all the movements of the Seventh ; the recurrence of themes 
 
 ■ in different movements of the Fifth and Ninth ; the family likenesses, 
 
 • physiognomical resemblances, between the principal melodies of the Ninth ; 
 '■ Enally the programmatic conceit back of the Stxth. ^The acceptance and 
 
 ■ :ontinuation of the hints contained in these innovations is published in the 
 
 • ibolition of pauses between the movements in the "Scotch" symphony of 
 i Mendelssohn, the adoption of the same device by Schumann, together with 
 '^ :ommunity of theme in the symphony in D minor, the invention of" Z^iiiee 
 S'fjrf" by Berlioz for his " Symphonie Fantastique"" and the successive 
 "recapitulation of material already used in the second, third, and fourth move- 
 s' nents in the symphony, " From the New World,''' by Dvorak. ^ It has 
 ^t lot been necessary to go far afield for examples ; the proofs are surely con- 
 's nncing and come down to our own day. Moreover we find an illustration 
 
 ■ )f the same principle, coupled with an exposition of Beethoven's system of 
 hematic, instead of melodic, development — another form of variation, in brief 
 
 - —in all the symphonic poems of Liszt and his imitators down to Richard 
 ■' )trauss. ^Beethoven's license may have degenerated into lawlessness, but he 
 \ pointed a way that has been followed in all the particulars enumerated, and 
 '■■■' ilso broke down the barriers between voices and instruments in the symphonic 
 
 • ! brms to the delight of many successors. His revolutionary proceeding in the 
 Kf^inth symphony found imitation by Mendelssohn in his " Hymn of Praise,''^ 
 ioy Berlioz in his ''Romeo and Juliet,''' by Liszt in his ''Faust''' and 
 Sf !' Dante'" symphonies, by Nicode in ♦' Das Meer," and by Mahler in his 
 mi- ymphony with contralto solo. 
 
 ii i ■ 
 
 it'Jeffara (bef'-fa-ra), Louis Frangois, Begnis (ban'-ves), (i) Gius or Wm. 
 
 ;. ; Nonancourt, Eure, 1751— Paris, de, Lugo, Papal States, 1793— Bath(?) 
 
 1838; 1792-1816, commissaire de England, 1849 ; buffo singer ; in 1816, 
 
 police, at Paris ; musical historian. he m. (2) Signora Ronzi, Paris, 
 
 : Jeffroy de Reigny (bef-frwa dti ren' - 1800 (?)— Italy, 1853; comic so- 
 
 ;, ' ye), Louis Abel (called "Cousin prano. 
 
 ,jj. I Jacques"), Laon, Nov. 6, i757— Begrez (ba'-gretz), Pierre Ignace, 
 
 , ■ Paris, Dec. iS, 1811 ; composed very Namur, 1783 — Brunswick, Ger. : 
 
 succ. operettas. 1863, dram, tenor. 
 
4i6 
 
 THE MUSICAL GUIDE 
 
 Behm (bam), Eduard, b. Settin, April 
 8, 1S62 ; studied with Paul, Weiden- 
 bach, Reinecke, Hartel, Raif and 
 Kiel ; pianist and teaclier in various 
 cities, then at Berlin as dir. Schwan- 
 tzer Cons. ; composed an opera, 
 " Scheltn von Bergen " (Dresden, 
 iSgg), a symphony, pf. -concerto, etc. 
 
 Behnke (ba'n'-ke), Emil, Stettin, 1836 
 — Ostend, 1892 ; teacher and writer. 
 
 Behr (bar), (i) Fz., b. Lubtlieen, 
 Mecklenburg, July 22, 1837 ; com- 
 posed pf. -pieces, under pseud, of 
 "William Cooper," "Charles Mor- 
 ley," or "Francesco d'Orso." (2) 
 Therese, b. Stuttgart, Sept. 14, 
 1876 ; alto ; pupil of J. Stakhausen, 
 of Schulz Demberg and of Etelka 
 Gerster ; lives in Mainz. 
 
 Behrens (ba'-rens), Konrad, 1835 — 
 New York, 1898 ; operatic bass. 
 
 Beier (bl'-er), Dr. Fz., b. Berlin, April 
 18, 1857 — Cassel, 1889, son of a mil- 
 itary band-master ; pupil Stern and 
 Kullak Cons. ; cond. at the Royal 
 Theatre; composed succ. opera " Der 
 Posaunist von Scherkingen " (Cassel, 
 1889), a parody on Nessler's well- 
 known " Der Trompetcr von Sdk- 
 kingen; " succ. comic operetta " der 
 Gaunerkonig'' (Cassel, 1890), etc. 
 
 Belce. Vide reuss-belce. 
 
 Belcke (bel'-ke), (i) Fr. Aug., Lucka, 
 Altenburg, 1795 — 1S74; the tirst trom- 
 bone virtuoso. (2) Chr. Gl., Lucka, 
 1796 — 1875 ; bro. of above ; flutist. 
 
 Beldoman'dis (or Beldeman dis, Bel- 
 deman'do), Prosdo cimus de, b. 
 Padua, 14th cent. ; prof, of philoso- 
 phy, ca. 1422 ; theorist. 
 
 Beliczay (ba'-li-cha-e), Julius von, 
 -Komorn, Hungary, 1835 — Pesth, 
 1893 ; violinist. 
 
 Belin (or Bellin) (bu-lah), (i) Guil., 
 ca. 1547 ; tenor Chapelle Royale, 
 Paris. (2) Julien, b. Le Mans', ca. 
 1530 ; lutenist. 
 
 Beliso'nius, Paul, a canon said to 
 have inv. quills for harpsichords, i6th 
 centurv. 
 
 Bella (d'el'-la bel'-la), Dom. della, 'cel- 
 list, Venice, 1704. 
 
 Bella, Jn., Ld., b. St. Nicholan, Up- 
 per Hungar\', 1843 ; canon at Neu- 
 sohl ; composed church-music, etc. 
 
 Bellamy, (i) Richard, d. London (?) 
 1S13 ; church-composer. (2) His son, 
 Thos. Ludford, ^Yestminster, 1770 
 — London, 1843, bass. 
 
 Bellasio (bel-la'-sI-6), Paolo, 1579- 
 95 ; pub. madrigals, etc., at Venice. 
 
 Bel lasis, Edw., b. Jan. 28, 1852 ; 
 English writer and composer. 
 
 Bell'avere (or Bell'haver) (bel-a-va'- 
 re), v., Venice, 1530 (?)— 15S8 (?) ; 
 organist and composer. 
 
 Bellazzi (bel-lad'-ze), Fran. C, at 
 Venice, 1618-28. 
 
 Bellere (bel-lar) (or Belle'rus, rightly 
 Beellaerts) (bal-larts), (i) Jean, d. 
 Antwerp, ca. 1595 ; publisher. His 
 son and successor was (2) Balthasar.-: 
 
 Bel'lermann, (i) Konstantin, Er- 
 furt, 1696 — Miinden, 1763 ; rector 
 and composer. (2) Jn. Fr., Erfurt, 
 1795 — Berlin, 1S74 ; writer on Greek 
 music. His son (3), Jn. Gf. H., b.j 
 Berlin, March 10, 1832 ; pupil R.: 
 Inst, for Ch. -music, 1866 ; prof, ol' 
 mus. Berlin U. (vice Marx.); theorist; 
 and composer. * 
 
 Belletti, Giov. Bat., b. Sarzana.i 
 18 15 ; barytone; pupil of Pilotti at, 
 Bologna ; debut, 1838, Stockholm i 
 sang with Jenny Lind on tour 
 tired, 1862. 
 
 Belleville-Oury (bel-ve'-yii-oo 
 Emilie, Munich, 1808 — 1880 ; plan- 
 
 Hi 
 
 pianji 
 
 Bell'haver, V. Vide bell'avere. I : 
 
 Belli (bel-le), (i) Gir., pub., _I586-J-: 
 94, madrigals, etc. (2) Giulio, b| i 
 Longiano, ca. 1560; ch.-compose rq; 
 and cond. (3) Dom., 1616 ; courtjx 
 musician at Parma. j 
 
 Bellin, G. Vide bellx. 
 
 Bellincioni (bel-lln-cho'-ne), Gemmai m 
 notable Italian soprano ; toured U. S 
 in opera, 1S99 ; lives in Florence. 
 
 Bellini (bel-le'-ne), (i) Vincenzo, Cata 
 nia, Sicily, Nov.3,1802 — Puteau.x,nea 
 Paris, Sept. 23, 1835 ; opera compo; 
 er ; son and pupil of an organist ; 
 nobleman sent him (1819) to 
 
 
DICTIONARY OF MUSICIANS 417 
 
 Cons, at Naples ; studied under 
 Furno, Tritto, and Zingarelli, until 
 1S27 ; privately studied with Haydn 
 and Mozart, and chiefly Pergolesi ; 
 as a student composed a symphony, 2 
 masses, several psalms, a cantata, etc. ; 
 his first opera, "'Adelson e Sahini" 
 was performed by Cons, pupils, 1825, 
 whereupon the manager of La Scala, 
 Milan, commissioned him to write an 
 opera; 1826, '' Bianca e Fernando" 
 was prod, with suae, 1827, "■ II Pi- 
 rata ;" i^2q, "■ La Stranier." The 
 librettist of the latter 2 was Felice 
 Romani, who wrote the books of all 
 B.'s operas, except " / Puritani." 
 " Za?Va " (1829) was a failure; "/ 
 Capuleti e Monteccht " written in forty 
 days (1830), was a great succ. ; " La 
 Sonna?nbitla" and ''Norma" (1S31), 
 with Malibran in the title-role, estab- 
 lished his fame ; ' ' Beatrice di T'tvz- 
 </a" (Venice, 1833) failed ; "/ Puri- 
 tani" (libretto by Count Pepoli), 
 written to order 1834, for the Theatre 
 Italien, Paris, was a great success, 
 and his last finished work. B.'s work 
 is a compendium of all the virtues 
 and vices of Italian opera, passionate 
 and eminently vocal lyrics with empty 
 and slovenly accompaniment. He 
 died youngest of all prominent com- 
 posers — at the age of 33, from dysen- 
 tery due to overwork. Biog. by 
 Scherillo (Milan, 1885), Pougin 
 (Paris, 1868), etc. (2) Carmelo, 
 Catania, 1802 — 1884; brother of 
 above ; composed Church-music. 
 
 Bellman, (i) Carl Mikael, Stock- 
 holm, 1740 — 1795 ; Swedish poet who 
 set his own burlesques to music. (2) 
 K. Gf., Schellenberg, Saxony, 1760 
 — Dresden, 1816 ; pf.- and bassoon- 
 maker. (3) K. Gl., Muskau, 1772, 
 Schleswig, 1862 ; organist. 
 
 3elloc (bei-lok), Teresa (G. Trom- 
 
 i bet'ta-Belloc), San Begnino, Can- 
 avese, 1784 — S. Giorgio, 1855; mezzo- 
 soprano ; repertoire of 80 operas. 
 
 Jelloli (bel-l6'-le), (i) Luigi, Castel- 
 franco, Bologna, 1770 — Milan, 1S17 ; 
 horn-player and composer. (2) Ag., 
 
 b. Bologna ; first horn (1819-29) at 
 La Scala, Milan, and dram, composer. 
 
 Bemberg (bah-berg), Hermann, b. 
 Paris, March 29, 1S61 ; pupil of 
 Dubois, Franck and Massenet, Paris 
 Cons. ; 1SS7 took Rossini prize ; 
 composed i-act opera " Le Baiser de 
 Suzon " (Paris, Op. -com., 1888), mod. 
 succ. ; opera Elaine (London, 1892 ; 
 New York, 1894), and songs. 
 
 Bemetzrieder (ba'-mets-re-der), T., b. 
 Alsatia, 1743 ; Benedictine monk ; 
 then composer and writer. 
 
 Ben'da, (i) Franz, Alt-Benatek, Bo- 
 hemia, Nov. 25, 1709 — Potsdam, 
 March 7, 1786 ; court-violinist to 
 Frederick II., whom he accompanied 
 for 40 years in flute-concertos ; 
 composed symphonies, etc. His 3 
 brothers (2) Jn., Alt-Benatek, 1713 
 — Potsdam, 1752 ; violinist. (3) G., 
 Jungbunzlau, Bohemia, 1722 — Koes- 
 tritz, Nov. 6, 179- ; court-cond., 1748 
 (Gotha) ; 1764-66, Italy ; prod, at 
 Gotha 10 operas in which he orig- 
 inated the idea of spoken words with 
 orchestral accompaniment, literal 
 " melodrama." (4) Jos., 1724 — Berlin, 
 1804 ; violinist. His sister, (5) Anna 
 Frangiska, b. 1726 — Gotha, 1780 ; 
 singer. (6) Fr. Wm. H., Potsdam, 
 1745 — 1814 ; son and pupil of (i) ; 
 composed operas, etc. (7) Fr. L., 
 Gotha, 1746 — Konigsberg, 1793 ; son 
 of (3) ; cond. and composer. (8) K. 
 Hermann H., Potsdam, 1748 — 
 1836 ; son of rich father ; court. - 
 violinist and composer. 
 
 Ben'dall, Wilfred Ellington, b. 
 London, April 22, 1850 ; pupil of 
 Lucas, Silas and Leipzig Cons. ; com- 
 poser. 
 
 Ben'del, Fz., Schonlinde, northern 
 Bohemia, March 23, 1833 — Berlin, 
 July 3, 1874 ; pianist ; composed 
 symphonies, 4 masses, songs, etc., and 
 piano pieces of great lusciousness of 
 harmony and fervour of melody. 
 
 Ben'deler, Jn. Ph., Riethnordhausen, 
 near Erfurt, 1660 — QuedHnburg 
 1708 ; clavecinist, organist and 
 writer. 
 
4i8 
 
 THE MUSICAL GUIDE 
 
 Ben'der, (i) Jakob, Bechtheim, 1798 
 — Antwerp, 1844 ; dir. Antwerp wind- 
 band ; clarinettist and composer. (2) 
 Jean Val., Bechtheim, near Worms, 
 1801 — Brussels, 1873 ; bro. of above ; 
 clarinet-virtuoso and band-master. 
 
 Ben'dix, (i) Otto, b. Copenhagen, 
 1850 ; pupil of Ree and Gade, Kul- 
 lak and Liszt ; pf. -teacher in Copenh. 
 Cons, and oboist in theatre-orch. ; 
 lives in Boston, Mass., since 1880, as 
 teacher and composer. (2) Victor 
 E., b. Copenhagen, 1851 ; pianist, 
 pupil and protege of Gade ; lives in 
 Copenh. as pf.-teacher and cond. ; 
 composed 3 symphonies, incl. " Zitr 
 Hoke,'" in C (1891) (also named 
 " Felsensteigung") ; and " Somt?ier- 
 kliinge aus Siidrussland'' in D. 
 
 Ben'dl (bent'-'l), K., Prague, April 16, 
 1838 — Sept. 20, 1897; important 
 Czech composer ; pupil of Blazokand 
 Pitsch, at Prague ; chorus-master, 
 Amsterdam (1864) ; 1866, cond. 
 Prague choral society, " Hlahol" ; 
 composed Czech operas incl. ''Diie 
 Tdbora" (Child of the Camp), 1892, 
 (3 acts) ; still given at Prague ; 3 
 masses, cantatas, an overture, a 
 '' Dithyra>nl>" ''Slavonic Rhap- 
 sody" for orch., etc. 
 
 Bendler (bent'-ler), Salmon, QuedHn- 
 burg, 16S3 — 1724 ; singer. 
 
 Benedict, (i) Sir Julius, Stuttgart, 
 Nov. 27, 1804 — London, June 5, 
 1885 ; son of ajewish banker ; pupil of 
 Abeille, Hummel, and Weber, iS25at 
 Naples, where his first opera was 
 prod. 1829, without success ; his next 
 (Stuttgart, 1830) was not a success ; 
 settled in London as pf.-teacher and 
 concert-giver ; 1836, cond. opera 
 buffa ; 1837 at Drury Lane, there his 
 first English opera, " The Gypsy's 
 IVarfiing" was prod. (1838) ; he ac- 
 companied Jenny Lind to America, 
 then cond. at Her Majesty's Th., and 
 Drury Lane; 1859 at Covent Garden ; 
 and "Monday Popular Concerts"; 
 cond. also Norwich festivals, and 
 (1876-80) the Liverpool Philhar- 
 monic ; knighted in 1871 ; composed 
 
 II operas; 2 oratorios, " St. Cecilia" 
 (1866), and " St. Peter " (1870) ; 2 
 symphonies, 2 pf. -concertos, etc. ; 
 wrote a biog. of Weber. (2) Milo 
 Ellsworth, b. Cornwall, June 9, 
 1866 ; pupil of C. Petersilea (pf.), J. 
 K. Paine (theory); 1883-84 in Europe, 
 spending 3 mos. with Liszt ; lives in 
 Boston, as pf.-teacher and composer. 
 
 Benedic'tus Appenzelders (iip'-pen- 
 tsglt-ers) (B. of Appenzell), b. Ap- 
 penzell, Switzerland ; choir-master in 
 Brussels (1539-55) and composer; 
 often confused with Benedictus 
 Duels. 
 
 Benel'li, (i) Alemanno. Vide bot- 
 TRiGARi. (2) A. Peregrino, Forli, 
 Romagna, 1771 — Bornichau, Saxony, 
 1830 ; tenor. 
 
 Benes (ba-n^sh) {Ger. Benesch), 
 Josef, b. Batelov, Moravia, 1793; 
 conductor, violinist and composer. 
 
 Benevoli (ba-na'-v6-le), Orazio, Rome, 
 1602 — 1672 ; natural son of Duke 
 Albert of Lorraine, but lived in pov- 
 erty ; cond. at the Vatican (1646) 
 remarkable contrapuntist ; in writ- 
 ing chorals with instrs. he was a 
 pioneer ; his Salzburg mass being 
 written on 54 staves. 
 
 Benfey (ben-fl'), Theodor, Norton 
 near Gottingen, 1809 — 188 1 ; writer. 
 
 Benini (ba-ne'-ne), Signora, Italiai 
 singer in London, 1787, comic opera 
 exquisite sweetness but little power. 
 
 Beninco'ri, Ang. M., Brescia, 1779— 
 Paris, 182 1 ; dram, composer. 
 
 Ben'nat, Fz., b. Bregenz, Aug. 17 
 1844; 'cellist; studied Munich Cons 
 and with Servais ; since 1864 i) 
 Munich court-orch.; since 1888 in th 
 Walter Quartet, chamber-mus. 
 
 Ben'net, (i) J., English compose 
 (1599). (2) Saunders, d. i8og 
 English organist and composer. (; 
 Theodore. Vide th. ritter. 
 
 Bennett, (i) Wm., b. Teignmoutl^ 
 ca. 1767 ; organist. (2) Thos., c£ 
 1774— 1848 ; organist. (3) Alfre<' 
 180S — 1830 ; English organist. (* 
 Sir "Wm. Sterndale, Sheffield, Apr 
 13, 1816— London, Feb. i, 1875 
 
 i 
 
DICTIONARY OF MUSICIANS 419 
 
 son of an organist (who died 1819) ; 
 at 8 entered the choir of King's Col- 
 lege Chapel ; at 10 pupil of R. A. M.; 
 at 17 played there an original pf.- 
 concerto, later pub. by the Academy; 
 sent 1837 by the Broadwoods to Leip- 
 zig for one year ; friend of Schumann 
 and Mendelssohn ; 1844 m. Mary 
 Anne Wood, founded the Bach So- 
 ciety, 1849 '. cond. Philh. Society, 
 1S56-66; 1856, Mus. Doc. Cam- 
 bridge and prof, of mus. there ; 1866, 
 IVincipal there; 1871, knighted; 
 buried in Westminster Abbey ; com- 
 posed I symphony, an oratorio " The 
 IVoman of Sciwaria," music to So- 
 phokles' ''AJax" y 5 overtures, " Pa- 
 ri'sina," " TAe A^aiads" " The 
 ]Vood-ity77iph" ''^Paradise and the 
 Peri,'' ''Merry Wives of Windsor," 
 sonatas, etc. (5) Jos., b. Berkeley, 
 Gloucestershire, Nov. 29, 1831; or- 
 ganist of Westminster Chapel ; then 
 music critic for various London news- 
 papers ; finally The Telegraph ; 
 wrote various libretti ; pub. "Letters 
 from Bayreuth" {\^li); "'The 
 Musical Year" (1883), etc. 
 Bennewitz (b^n'-n^-vets), (i) Wm., 
 Berlin, 1832 — 1871 ; dram, composer. 
 (2) Anton, b. Privat, Bohemia, 
 March 26, 1833 '. violinist ; 1882, dir. 
 of Prague Cons. 
 Benois (bun-wa), Marie, b. St. Peters- 
 burg, Jan. I, 1861 ; pianist ; pupil of 
 Leschetizky (1876), won gold medal 
 St. Petersburg Cons. ; toured with 
 success ; (1878) m. her cousin Wassi- 
 ly Benois. 
 Benoist (biin-wa), Francois, Nantes, 
 1794 — Paris, 1878 ; organ-prof. Paris 
 Cons. ; composed operas, etc. 
 Benoit (bun-wa), Pierre Leonard 
 Ld., Harlebecke, Belgium, Aug. 17, 
 1834 — Antwerp, Mar. 4,1901; Flemish 
 composer and writer ; pupil Brussels 
 Cons., 1851-55 ; at same time prod. 
 a small opera and wrote music for 
 « Flemish melodramas ; 1856, cond. 
 Park Th. ; 1857, won the Prix de 
 Rome, with the cantata " Le Mcurtre 
 d'Abel" ; studied at I-eipzig, Dres- 
 
 den, Munich, and Berlin, and wrote a 
 thesis for the Brussels Academy 
 " L' ecole de niusiqiie fiaDiande et son 
 avenir." In 1861 his opera " Le Poi 
 des Aulnes" was accepted by Theatre 
 Lyrique, Paris, but not given ; cond. 
 at the Bouffes-Parisiennes ; from 
 1867, dir. Antwerp Cons. ; 1882, 
 member of the R. A., Berlin ; com- 
 posed Messe solennclle (1862) ; Te 
 Deum (1863); Requiem (1863); 2 
 oratorios "Lucifer," and " De 
 Schelde" ; 2 operas "Net Dorp int 
 Gebergte " and " /.crt " ; " Drama 
 Chris ti," a sacred drama in Flemish ; 
 a cantata " De Oorlog War " ; " Chil- 
 dren's Oratorio " ; a choral sym- 
 phony, " De Maaiers" (The Reap- 
 ers) ; music to "Charlotte Cor day," 
 and to " Willem de Z'unjger" (1876) ; 
 the "Rubens cantata" " Flanderens 
 kunstroem " ; "Antwerpen," for triple 
 male chorus (1877) ; vocal works 
 with orch. incl. ' Joncfrou Kathe- 
 lijne," scena for alto (1879) ; " ^I^'^e 
 der Geschiednis " (1880) ; and " Hue- 
 bald," " Trioinfmarsch" (1880); 
 grand cantata " De Rhyn" (1889) ; a 
 mass, etc. Wrote " De xdaamsche 
 Musiek-school van Antwerpen " 
 (1873), " Verhandeluttg over de na- 
 tionale Toonktinde" (2 vols., 1877- 
 79), etc. 
 
 Benson, Harry, b. Birmingham, Eng- 
 land, Dec. 14, 1848 ; pupil of Dea- 
 kin and Browning in England and 
 at N. E. Cons., Boston, where he 
 was for years instructor ; since 1891 
 with Boston Training School of Mu- 
 sic ; cond. of various choral societies ; 
 active devotee of Tonic Sol-fa. 
 
 Benvenuti (ben-va-noo'-te), Tomma- 
 so, b. Venice, 1832 ; dram, com- 
 poser. 
 
 Berardi(ba-rar'-de), Ang., b. Bologna, 
 168 1 ; conductor and theorist. 
 
 Berat (ba-ra), Fr., Rouen, 1800 — 
 Paris, 1855 ; composer. 
 
 Berbiguier (ber-bTg-ya), Benoit 
 Tranquille, Caderousse, Vaucluse, 
 1782 — near Blois, 1838; flute-vir- 
 tuoso and composer. 
 
420 
 
 THE MUSICAL GUIDE 
 
 Berchem (or Berghem) (berkh'-em), 
 Jachet de (also Jaquet, Jacquet, 
 and Giachetto di Mantova), Ber- 
 chem (?) near Antwerp, ca. 1500 — 
 1580 ; contrapuntist and conductor. 
 
 Berens (ba'-rens), (i) Hermann, 
 Hamburg, 1825 _(?)— Stockholm, 
 1880; son and pupil of (2) K. B. 
 (1801 — 1857) ; court-conductor and 
 composer. 
 
 Beret'ta, Giov. Batt, Verona, 1819 — 
 Milan, 1876 ; theorist, editor, and 
 composer. 
 
 Berg (berkh), (i) Adam, 1540 — 1599; 
 music-printer, Alunich. (2) Jn. von, 
 1550 ; music-printer, Ghent, Nurn- 
 berg. (3) G., German composer in 
 England, 1763-71. (4) Kon. Mat., 
 Colmar, Alsatia, 1785 — Strassburg, 
 1852 ; violinist, pianist, and writer. 
 
 Berger (ber' ger\ (i^ L., Berlin, 
 1777 — 1839; ^rom IS15 pf. -teacher 
 and composer. (2) Francesco, b. 
 London, June 10, 1834 ; pupil of 
 Ricci and Lickl (pf.), Hauptmann 
 and Plaidy ; pf.-prof. R. A. M., and 
 Guildhall Sch. of Mus.; for years 
 dir., now sec, Pliilh. ; composed an 
 opera, a mass (prod, in Italy), etc.; 
 wrote ''First Steps at the Piauo- 
 forte." (3) Wm., b. Boston, Mass., 
 U. S. A., Aug. 9, 1861 ; taken by 
 parents to Bremen ; pupil of Kiel, 
 etc. ; lives Berlin as teacher and com- 
 poser ; 1898 won a prize of 2,000 
 marks, with a setting of Goethe's 
 '' Meine Gottin" {op. 72); composed 
 " Gesang der Geister iiber den Was- 
 sern" mixed choir and orch. in over- 
 ture form, a dram, fantasy, etc. (4) 
 Siegfried. Vide chelius. (5) Otto, 
 Machau, Bohemia, 1873 (?) — 1S97 ; 
 'cellist. 
 
 Berggreen (berkh'-gran), Andreas P., 
 Copenhagen, 1801 — 1880 ; teacher. 
 
 Berghem. Vide berchem. 
 
 Bergmann (berkh'-man), K., Ebers- 
 bach, Saxony, 1S21 — New York, Aug. 
 16, 1876; in America, 1850, with 
 ' ' Germania " Orch. , later its cond. , till 
 1854 ; cond. " Handel and Haydn" 
 Soc, Boston, 1852-54; in 1855 alter- 
 
 nate cond. Philh. Soc, New York ; 
 1862-76, sole cond ; also cond. 
 " Arion" Society ; active in introduc- 
 ing Wagner, Liszt, etc., to America. 
 
 Bergner (berkh'-ner), Wm., b. Riga, 
 Nov. 4, 1837 ; organist ; founded a 
 Bach Society and a cathedral choir. 
 
 Bergonzi (ber-gon'-tse), (i) Carlo, 
 1716-1755 ; vln. -maker at Cremona, 
 best pupil of Stradivari. His son (2) :: 
 Michelangelo, and his 2 nephews, . 
 (3) Niccolo and (4) Carlo, were less i 
 important. (5) Benedetto, Cremona, •- 
 1790 — 1840; horn-player and invent- 
 or. 
 
 Bergson (berkh'-z6n), Michael, b. . 
 Warsaw, May, 1820 ; pianist and 
 composer ; pupil of Schneider, Run- 
 genhagen, and Taubert, Paris (1840); 
 Italy, 1846, where his opera 'Louisa 
 di Montfort" was succ. (Florence, 
 1847) ; Paris, 1859, prod, a i-act op- i 
 eretta ; 1863, ist pf. -teacher and] 
 soon dir. Geneva Cons. ; later in Lon- 1 
 don as teacher. j 
 
 Bergt (berkht), Chr. Gl. Aug., b. 
 Oderan, Saxony, 1772 — Bautzen, 
 1S37 ; organist, violinist and con- 
 ductor. 
 
 Beringer (ba-ring-er), (i) Robert, b. 
 Furtwangen, June 14, 1841 ; 1861 
 pianist at the Crystal Palace ; cond. ( 
 of societies, and lecturer. (2) Oscar, 1 1 
 b. Furtwangen, July 14, 1844 ; bro. of: j 
 above; pupil of Plaidy, Moscheles,! j 
 Leipzig Cons., 1864-66; later of 
 Tausig, Ehrlich, and Weitzmann, 
 Berhn ; teacher there, 1869 ; London, ^ 
 1871 ; since 1873 pf.-prof. in R. A.' 
 M. ; composed Technical Exercises,, 
 etc. 
 
 B^riot (du bar-yo), (i) Chas. Auguste 
 de, Louvain, Feb. 20, 1802 — Brus- 
 sels, April 8, 1870; vln. -virtuoso: 
 pupil of Viotti and Baillot, but chiefly 
 of his guardian, Tiby ; at 9 he playec 
 a concerto ; 1821, made a brilliani 
 debut, Paris ; chamber-violinist tc. 
 the King of France, solo-violinist tc 
 the King of the Netherlands (1826-30) 
 1830-35 toured Europe with Mme 
 Garcia-Malibran, whom he 
 
 m. ii 1^ 
 
 1 
 
DICTIONARY OF MUSICIANS 4^1 
 
 1836 ; from 1843-52, prof, at Brussels 
 Cons.; became blind and paralysed 
 in left arm ; pub. method and 7 con- 
 certos, etc., for vln. (2) Chas. Vil- 
 fride de, b. Paris, Feb. 12, 1835 ; son 
 of above ; pupil of Thalberg ; prof, 
 of pf., Paris Cons. ; composed sym- 
 phonies, etc. ; wrote with his father 
 a " MJthodt- d'actoinpagiiement." 
 
 Berlijn (or Berlyn) (bar'-Ien), Anton 
 (or Aron Wolf (?), Amsterdam, 1817 
 — 1S70 ; conductor. 
 
 Berlin (bar'-len), Jn. Daniel, Memel, 
 1710 — Drontheim, Norway, 1737 ; 
 organist and writer. 
 
 Berlioz (bar-ll-6s not bar-l!-6). Hec- 
 tor (Louis), Cote-Saint-Andre, near 
 Grenoble, France, Dec. 11, 1803 — 
 Paris, March 9, 1869; "Father of 
 modern orchestration " ; conductor, 
 critic, writer of verse and electric 
 prose ; sent to Paris to study med- 
 icine, he accepted disinheritance and 
 took up music, though he could never 
 play any instr. save the guitar and 
 flageolet ; while pupil at the Cons., he 
 earned a bare living ; joined the chorus 
 of the Gymnase Dramatique ; left the 
 Cons, in disgust with Reicha's forma- 
 lism, and plunged with characteristic 
 energy — or rather fury — into the cause 
 of romanticism ; 1825, an" orchestral 
 mass given at St. Roch brought the 
 ridicule he usually had in France 
 where he was little thought of as a 
 composer though admired as a writer ; 
 1828 saw the production of two over- 
 tures " IVaverley''' and " Les Francs- 
 Juges,'' and a Symphonic fantastique, 
 "Episode de la vie d'lin artiste" ; 
 1829, his " Concerts des Sylphes" 
 publicly produced at 26, show him 
 an ardent believer in programme- 
 music (vide D. D.) and a marvellous 
 v-irtuoso in instrumentation. He re- 
 entered the Cons, under Lesueur, in 
 spite of Cherubini, who fought his ad- 
 mission ; 1830, he took the Prix de 
 Rome with a' cantata, " Sardana- 
 pale " ; after 18 months in Italy 
 he returned to Paris and took up 
 journalism with marked success. His 
 
 symphony " Harold en Italie " (1834), 
 the " Messe des Morts" {i?>2,l), the 
 dram, symphony ''Romeo ei Juli- 
 ette" with vocal soli and chorus 
 (1839), ^^'^ the overture " Carneval 
 romaiii" were well received, but the 
 2-act opera semi-seria " Benvennto 
 Cellini " failed both in Paris and in 
 London, 1838. In 1830 he was made 
 Conservator of the Cons. ; librarian, 
 1852, but was never made professor 
 as he desir,ed. Concert tours through 
 Germany and Russia, 1843-47, were 
 very successful and are described in 
 his book " Voyage musical. " London 
 (1852) he co'nd. the "New Philh. 
 Concerts "; prod, comic opera " Beat- 
 rice et Benedict" (1862, Baden-Ba- 
 den) ; 1865, member of the Academic, 
 and decorated with cross of Legion 
 of Honour. He m. Henrietta Smith- 
 son, an Irish actress who made a sen- 
 sation in Paris in Shakespearian 
 roles, but later was hissed off, and 
 became a peevish invalid. His opera, 
 ''Les Troy ens a Carthage" (1863) 
 was a failure. His son Louis died 
 1867. "Les Troyens" in two 
 parts ; La Prise de Troie, 3 acts, 
 and Les Troyens a Carthage, in 5 
 acts was given complete for the first 
 time, at Carlsruhe, 1897. His most 
 succ. work was his "oratorio," "La 
 Damnation de Faust" (1846). His 
 ' ' Traite d' instrumentation " is a clas- 
 sic in orchestration, though its then 
 sensational modernity is lost. B. 
 strangely despised Wagner, who, how- 
 ever, confessed his large indebtedness 
 to B. Other books are " Soirees 
 d'orchestre" (1853), "Grotesques de 
 la musique" (1859), "A travers 
 chants" (1862), and an autobiogra- 
 phy, " Memoires" from 1803-65. 
 In original verse are the text to the 
 sacred trilogy " L Enfaytce du Christ " 
 {Part /., Lesonge d' LI erode ; LL.,La 
 fuite en Egypte ; LIL., LArrive'ea 
 Sais) ; and his operas "Les Troy- 
 ens " and " Beatrice et Benedict." He 
 composed also a. " Te Deum" for 3 
 choirs, orch. and org. ; a " Grande 
 
422 
 
 THE MUSICAL GUIDE 
 
 symphonic funebre et triotnphale" for 
 full military band, with strings and 
 chorus ad lib. ; overture to " Z^ 
 
 Corsaire" ; '' Le Cinq Mai" for 
 chorus and orch. (on the anniversary 
 of Napoleon's death), etc. 
 
 Berlioz. 
 
 By Ernest Newman. 
 
 BERLIOZ'S early influences were as much literary as musical. His 
 reading was mjinly romantic ; his musical gods were Beethoven, 
 Weber, and Gluck, whose orchestral works influenced him most. 
 He knew little of Beethoven's piano writings, and did not like Bach. ^ Into 
 the intellectual world of" the Beethoven symphony and the operas of Gluck 
 and Weber he breathed the newer, more nervous life of the French Roman- : 
 ticists. Colour and sensation became as important as form and the pure idea. 
 ^[ These influences and his literary instincts led him to graft the programme ■ 
 form on the older symphony. All his music aims at something concrete. 
 Instead of the abstract world of the classical symphonists he gives us definite 
 emotions, or paints definite scenes. Colour, passion, and veracity were the 
 prime needs ; form had to follow their guidance. Hence both his suc- 
 cesses and his failures. His virtue is truth and vivacity of expression ; his- 
 defect the pursuit of these to the detriment of the musical interest. ^All; 
 modern programmists have built upon him — Liszt, Richard Strauss, and| 
 Tschaikowsky. Wagner felt his influence, though he beHttled it. ^|His; 
 own words, ** I have taken up music where Beethoven left it," indicate his 
 position. He is the real beginner of that interpenetration of music and the' 
 poetic idea which has transformed modern art. 
 
 Berlyn, Anton. Vide berlijn. 
 
 Bermudo (ber-moo'-dho), Juan, As- 
 torga, ca. 1510; writer. 
 
 Bernabei (ber-na-ba'-e), (i) Gius. Er- 
 cole, Caprarola, ca. 1620 — Munich, 
 1687 ; 1672 cond. at the Vatican ; 
 1674 cond. at Munich ; composed 
 three operas (prod, in Munich), etc. 
 (2) Gius. A., Rome, 1659 — Munich, 
 1732 ; son of above and his successor 
 at Munich. 
 
 Bernacchi (ber-nak'-ke). A., Bologna, 
 ca. 1690 — 1756 ; soprano-musico, en- 
 gaged by Handel for London, 1729, 
 as the greatest living dram, singer ; 
 1736 founded a singing-school at Bo- 
 logna. 
 
 Bernard (b^r-nir, in F.), (i) Emery, b. 
 Orleans, France, i6th cent.; wrote 
 method of singing. (2) (bdr'-nart, in 
 G.), Moritz, Kurland, 1794 — St.' 
 Petersburg, 1871; pianist and teacher.' 
 (3) Paul, Poitiers, 1S27— Paris, 1879: 
 composer and writer. (4) Daniel, 
 1841 — Paris, 1883 ; writer. (5" 
 £mile, b. Marseilles, Aug. 6, 1845 
 organist of Notre-Dame-des-Champs 
 Paris ; important composer of vln. 
 concerto ; concert-stuck for pf. witl 
 orch.; overture ''Beatrice" ; 2 can. 
 tatas ; much chamber-music, etc. 
 
 Bernardel. Vide lupot. 
 
 Bernar'di, (r) Steffano, ca. 1634 
 canon at Salzburg ; theorist and com 
 
 I 
 
DICTIONARY OF MUSICIANS 423 
 
 poser. (2) Francesco. Vide sene- 
 SINO. (3) Enrico, b. Milan, 1838— 
 1900 ; conductor and dram, com- 
 poser. 
 
 Bernardini (bgr-nar-de'-ne), Marcello 
 (" Marcello di Capua"), b. Capua, 
 ca. 1762 ; dram, composer. 
 
 Bernasco'ni, (i) Andrea, Marseilles, 
 1712 — Munich, 1784 ; court-conduc- 
 tor. (2) P., d. Varese, May 27, 
 1895 ; organ-builder. 
 
 Berneli'nus, lived in Paris, 1000; 
 probably a Benedictine monk ; theo- 
 rist and writer. 
 
 Ber'ner, Fr. Wm,, Breslau, 1780 — 
 1827 ; organist. 
 
 Bernhard (ber-nir), (St.), Fontaines, 
 Burgundy, 1091 — 1153 ; abbot and 
 theorist. 
 
 Bernhard (b^m'-hart), (i) der 
 Deutsche (der doit'-she) ; organist, 
 Venice, 1445-59 '■> known as " Ber- 
 nado di Steffanino Murer" ; perhaps 
 inv. , certainly introduced, into Italy, 
 the organ-pedal. (2) Chr., Danzig, 
 161 - — Dresden, 1692; court-con- 
 ductor and notable contrapuntist. 
 
 Bernicat (ber-nl-ka), Firmin, 1841 — 
 Paris, 1883 ; dram, composer. 
 
 Ber'no, Augien'sis, d. Riechenau, 
 1048 ; abbot and theorist. 
 
 Bernouilli (bar-noo-e'-ye), (i) Jn., 
 Basel, 1667— 1747. His son (2) 
 Daniel, Groningen, 1700 — Basel, 
 1782, also was prof, and writer on 
 acoustics. 
 
 Berns'dorf, Eduard, Dessau, March 
 25, 1825 — 1901 ; Leipzig critic and 
 composer. 
 
 Bernuth (bSr-noot), Julius von, b. 
 Rees, Rhine Province, Aug. 8, 1830; 
 studied law and music at Berlin, 
 1854 ; studied at Leipzig Cons, till 
 1857; founded the " Aufschwung 
 Society," and 1859 "Dilettante's Or- 
 chestral Society " ; also cond. 3 other 
 societies ; later cond. at Hamburg ; 
 1873, dir. of a cons, there; 1878, 
 "Royal Prussian Professor." 
 
 Berr (ber), Fr., Mannheim, 1794 — 
 Paris, 1838 ; bandmaster ; 1831, prof, 
 of clar., Paris Cons.; 1836, dir. School 
 
 of Military Music ; writer and com- 
 poser. 
 
 Berr6 (ber-ra), F., b. Ganshoren, near 
 Brussels, Feb. 5, 1843 ; composed 
 operas. 
 
 Bersel li, Matteo, Italian tenor ; 
 London, 1720-21. 
 
 Bertali (b^r-ta-Ie), Ant,, Verona, 
 1605 — Vienna, 1669 ; court-conductor 
 and dram, composer. 
 
 Bertani (bgr-ta'-ne), Telio, i6th cent.; 
 court-conductor. 
 
 Ber'telmann, Jan. G., Amsterdam, 
 1782 — 1854; prof, and composer. 
 
 Bertelsmann, K. Aug., Glitersloh, 
 Westphalia, 181 1 — Amsterdam, 1861; 
 director and composer. 
 
 Berthaume (ber-tom), Isidore, Paris, 
 1752 — St. Petersburg, 1802 ; violinist 
 and conductor. 
 
 Berthelier (ber-tel-ya), H., solo-violin- 
 ist, Paris Opera, 1894. 
 
 Berthold (ber'-tolt), K. Fr. Theodor, 
 Dresden, 1815 — 1882 ; court-organist. 
 
 Berti (ber-te), M. A., Vienna, 1721 — 
 1740; barytone-player. 
 
 Bertin (ber'-taii), Louise Ang^lique, 
 Roches, near Paris, 1805— Paris, 
 1877 ; singer, pianist and dram, com- 
 poser. 
 
 Bertini(b^r-te'-ne), (i) AbbateGius., 
 Palermo, 1756 — 1849(7); court-cond. 
 and lexicographer. (2) Benoit 
 Auguste, b. Lyons, 1780 ; writer. 
 (3) H. Jerome, London, 1798 — 
 Meylau, near Grenoble, 1876 ; bro. 
 and pupil of above ; pianist and 
 composer ; at 12, toured the Nether- 
 lands and Germany ; retired, 1859 ; 
 wrote technical studies. (4) Dom., 
 Lucca, 1829 — Florence, i8go ; teach- 
 er, critic, theorist and director. 
 
 Bertinot'ti, Teresa, Piedmont, 1776 — 
 Bologna, 1854 ; operatic soprano ; m. 
 Felix Radicati, a violinist and 
 composer. 
 
 Bertolli (tol'-ll), Fran., Italian singer 
 in Handel's operas, London, 1729- 
 37- 
 
 Berton (b^r-tofi), (i) P. Montan, 
 Paris, 1727 — 1780; conductor grand 
 opera and dram, composer. (2) H. 
 
424 
 
 THE MUSICAL GUIDE 
 
 Montan, Paris, 1767 — 1844 ; son of 
 above ; composer. (3) Frangois, 
 Paris, 1784 — 1832 ; natural son of 
 (2) ; pupil, later prof, of singing, at 
 Cons. ; composed operas and songs. 
 
 Berto'ni, Fdo. Giu., Venice, 1725 — 
 Desenzano, 1813 ; organist and dram, 
 composer. 
 
 Bertram (bSr'-tram), Th., b. Stutt- 
 gart, Feb. 12, 1869; barytone; 
 studied with his father ; sang in various 
 German cities lately with his wife, 
 Fanny Moran Olden. 
 
 Bertrand (ber-tran), J. Gv., Vaugi- 
 rard, near Paris, 1834 — Paris, 1880 ; 
 writer and critic. 
 
 Berwald (ber'-valt), (i) Jn. Fr., Stock- 
 holm, 1788 — 1861 ; precocious violin- 
 ist, etc. ; pupil of Abbe Vogler ; com- 
 posed a symphony at 9. (2) Fz., 
 Stockholm, 1796 — 1868; nephew of 
 above ; dram, composer. 
 
 Berwillibald (bgr'-vil-ll-balt), G. G., 
 German smger in London, 17 16. 
 
 Berwin (ber'-ven), Adolf, Schwersenz, 
 near Posen, 1847 — iN-ome, 1900 ; dir. 
 Cecilia Academy, Rome ; writer. 
 
 Besard (bu-ziir), Jn. Bap., b. Besan- 
 fon, ca. 1576 ; writer. 
 
 Beschnitt (be-shnlt), Jns., Bockau, 
 Silesia, 1825 — Stettin, 1880 ; con- 
 ductor. 
 
 Besekirsky (ba-ze-ker'-shkt), Vasil 
 Vasilevitch, b. Moscow, 1836 ; con- 
 cert violinist and composer. 
 
 Besler (bas'-ler), (i) Samuel, Brieg, 
 Silesia, 1574 — Breslau, 1625 ; rector 
 and composer. (2) Simon, cantor 
 at Breslau, and composer, 1615-28. 
 
 Besozzi (ba-s6d'-ze), the name of 4 
 brothers, all oboists except (3). (i) 
 Ales., Parma, 1700 — Turin, 1775. 
 (2) Antonio, Parma, 1707 — Turin, 
 1781 ; (3) Hieronimo, Parma, 1713 
 — Turin (?), bassoonist. (4) Gaeta- 
 no, b. Parma, 1727. (5) Carlo, b. 
 Dresden, 1745 ; oboist, son of (2). 
 (6) Hieronimo, d. 1785 ; son of (3) ; 
 oboist. His son (7) Henri was a 
 flutist, and father of (8) Louis De- 
 sir6, Versailles, 1814 — Paris, 1879; 
 teacher and composer. 
 
 5| 
 
 ; vln- 
 of rJ 
 
 Bessems (bes'-sams). A., Antwerp, 
 1809 — 1868 ; violinist and composer. 
 
 Besson (bus-soii), Gv. Aug., Paris, 
 1820 — 1875 : improver of valves in 
 wind-instruments. 
 
 Best, Wm. T., Carlisle, Engl., Aug. 
 13, 1826 — Liverpool, May 10, 1897 ; 
 org. -virtuoso ; pupil of Young ; or- 
 ganist at various ch.,and the Philh. 
 Society ; in 1880, declined knight- 
 hood, but accepted Civil-List pen- 
 sion of ^100 per annum ; 1894, j 
 retired ; 1890 went to Sydney, Aus- i 
 tralia, to inaugurate the organ in the 
 new Town Hall ; composed overtures, 
 sonatas, preludes, etc., for organ, 
 also 2 overtures and march for orch 
 and pf. -pes. ; wrote " The Artof Or- 
 gan-playing" etc. 
 
 Betts, J. & Edward, London ; vln. 
 makers ; pupils and successors 
 Duke, 1760-80. 
 
 Betz (bets), Fz., Mayence, March 19, 
 1835 — Berlin, Aug. 12, 1900 ; bary^ 
 tone ; created " Wotan, " and "Hansi 
 Sachs." I 
 
 Beuer (boi'-er), Elise, b. Carlsbad; 
 soprano, studied in 1S92 at Vienna;}; 
 City-Theatre, Leipzig ; 1899, Ham-ji 
 burg City Theatre. 
 
 Beunter (boin'-ter), Benj., Miihl- 
 hausen, 1792 — 1837 ; organist andli 
 composer. 
 
 Bev'an, Fr. Chas., b. London, July 3,! 
 1856; pupil of Willing and Hoyteji 
 organist various churches ; then stud- 
 ied singing with Schira, Deacon andj. 
 Walker ; 1877 Gentleman of thej 
 Chapel Royal ; composed pop. songs.jj 
 
 Bevignani (ba-ven-ya'-ne), Cavaliere 
 Enrico, b. Naples, Sept. 29, 1841;]^ 
 pupil of Albanese, Lillo, etc., isti 
 opera, " Caterina Bloom " succ. ; 
 Czar made him Knight of the Ordei 
 of St. Stanislas, which gives nobilitj 
 and a life-pension ; chiefly noted a; 
 cond. in London, Moscow and New 
 York. 
 
 Bev'in, Elway, Wales, i56o(-7o?' 
 — 1640 (?) ; Gentleman of the Chape 
 Royal ; organist, writer and com 
 poser. 
 
 1 
 
DICTIONARY OF MUSICIANS 425 
 
 Bex'field, Wm. Rd., Norwich, 1824 
 — London, 1853 ; organist and com- 
 poser. 
 
 Beyer (b!'-er), (i) Jn. Samuel, 
 Gotha, 1669 — Carlsbad, 1744 ; direc- 
 tor. (2) Rudolf, Wiltlier, 1828— 
 Dresden, 1853 ; composer. (3) Fd., 
 Querfurt, 1S05 — Mayence, 1863; 
 composer. 
 
 Biaggi (be-ad'-je), Gir. Ales., Milan, 
 1815 — Florence, 1897; prof., dram. 
 composer, writer under pseudonym 
 "Ippolito d'Albano." 
 
 Bial(be'-al),(i) Rudolf, Habelschwerdt, 
 Silesia, 1834 — New York, 1881 ; vi- 
 olinist, writer and cond. (2) K., 
 Habelschwerdt, 1833 — vSteglitz, near 
 
 I Berlin, 1892 ; bro. of above ; pianist. 
 f'Bianchi (be-an'-ke), (i) Fran,, Cre- 
 mona, 1752 — Bologna, 181 r: organist; 
 composed 47 operas. (2) Valentine, 
 Wilna, 1839— Candau, Kurland, 
 1884 ; dram, soprano ; debut, 1855. 
 (3) Bianca (rightly Schwarz), b. in 
 a village on the Neckar, June 27, 
 1S58 ; dram. -soprano ; pupil of Wil- 
 czek and Viardot-Garcia ; Pollini 
 paid her tuition and then engaged 
 her for 10 years ; debut Carlsruhe, 
 1873. (4) Eliodoro, composed 
 operas; " Gar a d' A more" (Bari, 
 1S73) ; "Sarah" ; '' Aliiianzor."' 
 
 Sianchini (be-an-ke'-ne), P., b. Ven- 
 
 ; : ice, Oct., 18, 1828; violinist, cond., 
 
 1878-87, teacher at Trieste, then dir. 
 
 School of the Padri Armeni, Venice ; 
 
 composer. 
 
 3iber (be'-ber), (i) H. Jn. Fz. von, 
 Wartenberg, Bohemia, 1644 — Salz- 
 burg, May 3, 1704 ; vioUnist, and 
 one of the founders of the German 
 school of vln. -playing ; Leopold I. 
 ennobled him. (2) Aloys, Ellingen, 
 1804 — Munich, 1858 ; piano-maker. 
 3ibl (beb'-'l), (i) Andreas, Vienna, 
 1797 ; organist and composer, as was 
 his son (2) Rudolph, b. 1832. 
 
 Biedermann (be'-der-man), (i) , 
 
 about 1786 tax-receiver at Beichlingen, 
 ;;:■ i Thuringia ; a real virtuoso on, and 
 ^A \ improver of, the hurdygurdy. (2) 
 
 • i Edw. Julius, b. Milwaukee, Wis., 
 
 Nov. 8, 1849 (son and pupil of (3) 
 A. Julius) ; studied in Germany ; 
 since 1888 organist St. Mary's R. C. 
 Church, New York. 
 
 Biehl (bel), Albert, b. Rudolstadt, 
 Germany, Aug. 16, 1833 ; writer of 
 valuable works on finger technic ; and 
 composer. 
 
 Bierey (ber'-T), Gl. Benedikt, Dres- 
 den, 1772 — Breslau, 1840 ; conductor 
 and dram, composer. 
 
 Biese (be'-ze), Wm., b. Rathenow, 
 1822 : piano-maker, I>erlin. 
 
 Bigaglia (be-gjil'-ya). Padre Dio- 
 genio, 1725 ; Benedictine monk and 
 composer. 
 
 Bignami (ben-ya-me), (i) Carlo, Cre- 
 mona, Dec. 6, 1808 — Voghera, Aug. 
 2, 1848; cond., violinist and dir., 
 Cremona ; Paganini called him " the 
 iirst violinist of Italy." (2) Enrico, 
 1842 (?) — Genoa, 1894; violinist, 
 dram, composer. 
 
 Bignio (ben'-yo), Louis von, b. Pesth, 
 1839; lyric barytone ; Vienna Court- 
 Opera ; pensioned, 1883. 
 
 Bigot (be-g5), M. (nee Kiene), Col- 
 mar, Upper Alsatia, 1786 — Paris, 
 1820 ; pianist. 
 
 Bilhon (or Billon) (be-yon), J. de, 
 i6th cent. ; composer and singer in 
 the Papal Chapel. 
 
 Billema (bel-la'-ma), (i) Carlo (b. 
 Naples, ca. 1822) and (2) Raffaele 
 (Naples, 1820 — Saintes, Dec. 25, 
 1S74), brothers ; pianists, and com- 
 posers. 
 
 Billert (bel'-lert), K. Fr. Aug., Alt- 
 stettin, 1821 — Berlin, 1875 ; painter 
 and writer. 
 
 Billet (be-ya), Alex. Ph., b. St. 
 Petersburg, March 14, 18 17 ; pianist 
 and composer. 
 
 Billeter (be-yu-ta), Agathon, Manne- 
 dorf. Lake of Zurich, Nov. 21, 1834; 
 organist, conductor and composer of 
 pop. part-songs. 
 
 Billings, Wm., Boston, Mass., 
 Oct. 7, 1749 — Sept. 29, 1800; com- 
 posed hymns ; introduced the pitch- 
 pipe and .the 'cello into American 
 church-choirs, and is said to have 
 
426 
 
 THE MUSICAL GUIDE 
 
 given the first concert in New Eng- 
 land. 
 Bil'lington, (i) Th., pianist, harp- 
 ist and composer, latter part of iSth 
 cent. (2) Elizabeth (nee Weichsel), 
 London, ca. 1768 — near Venice, Aug. 
 23, 1818 ; pupil of her father, a clar- 
 inettist ; then of J. Chr. Bach ; hand- 
 some operatic soprano, had a compass 
 of 3 octaves, a-a" (Vide pitch, d. d.), 
 1784, Dublin ; 1786, Covent Garden ; 
 retired, 1818. 
 
 Billrot(h) (bel'-rot), (i) Jn. Gv. Fr., 
 Halle, near Lubeck, 1808— Halle, 
 1836; composer and writer. (2) 
 Theoflor, Bergen, Isle of Rugen, 
 1829— Abbazia, 1894; surgeon and 
 writer. 
 
 Bilse (bel'-se), Benj., b. Liegnitz, Aug. 
 17,1816; " Stadtmusikus " at Lieg- 
 nitz, and trained a remarkable or- 
 chestra ; retired 1894 as " Hofmusi- 
 kus." 
 
 Binchois (Gilles de Binche, called 
 Binchois) (bahsh-wa), Binche, in 
 Belgian Hainault, ca. 1400 — Lille, 
 1460 ; one of the early Netherland 
 composers ; 3-part chanson, ron- 
 deaux, etc., of his are extant. 
 
 Binder (btnt'-er), (i) K. Wm. Fd., 
 b. Dresden, 1764 ; harp-maker at 
 Weimar, ca. 1797. (2) K., Vienna, 
 1816— 1860; conductor and dram, 
 composer. 
 
 Bini (be'-ne), Pasqualino, b. Pesaro, 
 ca. 1720 ; violinist. 
 
 Bioni (be-6'-ne). A., b. Venice, 1698 ; 
 composed 26 operas. 
 
 Biordi (be-6r'-de), Giov., Commis- 
 sioned by Pope Benedict XIIL to 
 supplement Palestrina's service ; this 
 was used till 1731. 
 
 Birch, (i) C. Anne, b. ca. 1815 ; pop. 
 singer; retired 1856. (2) Eliza, ca. 
 1830 — 1857 ; sister of above ; sopra- 
 no. 
 
 Birch'all, Robt., d. 1819 ; music-pub- 
 lisher, London. 
 
 Birckenstock (ber'-ken-shtok), Als- 
 feld, 1687 — Eisenach, 1733 ; con- 
 ductor. 
 
 Bird, (i) Wm. Vide byri>. (2) Arthur, 
 
 b. Cambridge, Mass., July 23, 1856; 
 pupil of Haupt, Loschhorn, and 
 Rohde, Berlin, 1875-77 ; organist and 
 teacher at Halifax, N. S.; founded 
 the first male chorus in N. S., i83i ; 
 studied comp. and orchestration with 
 Urban, Berlin ; 1885-S6 with Liszt at 
 Weimar ; 1886, gave a successful 
 concert, and has lived since, in Berlin, 
 Griinewald ; composed symphony and 
 3 suites for orch.; various pieces for 
 piano ; comic opera " Daphne " (New 
 York, 1897) ; and a ballet, " Rube- 
 zahir 
 
 Birkler (ber'-kler), G. Wm., 1820— 
 1S77 ; composer and writer. 
 
 Birnbach (bem'-bakh), (i) K. Jos., 
 Kopernick, Silesia, 1751 — Warsaw, 
 1805 ; conductor. (2) Jos. Benj. 
 H., Breslau, 1795 — Berlin, 1S79 ; 
 pianist and composer ; son and pupil 
 of above. 
 
 Bisaccia (be-sat'-cha), Giov., 1815 — 
 Naples, 1897 ; singer, conductor and 
 dram, composer. 
 
 Biscaccianti (bes-kat-chan'-te), Eli- 
 za (nee Ostinelli), Boston, Mass., 
 1824 (7?) — 1896; sang in America 
 and Europe, in opera and concert ; 
 teacher in Rome and elsewhere ; m. 
 Marquis B. 
 
 Bischoff (besh'-6f), (i) G. Fr., Ellrich, 
 Harz Mts., 17S0 — Hildesheim, 1841 ; 
 conductor ; founded the German mus. 
 festivals. (2) L. Fr. Ch., Dessau, 
 1794 — Cologne. 1867; translator; 
 son of (3) K. B., court-mus. , Dres- 
 den. (4) Kasper Jakob, Ansbach. 
 1823 — Munich, 1893 ; teacher and 
 composer. (5) Hans, Berlin, 1852— 
 Niederschonhausen, near Berlin, 1889; 
 pf. -teacher, conductor and editor. 
 
 Bishop, (i) Sir H. Rowley, London, 
 Nov. 18, 1786 — April 30, 1855 ; noted 
 Engl, composer ; pupil of Bianca ; hif 
 first opera, " The Circassian Bride'' 
 was prod. Drury Lane, when he was 
 20; i8ia-ii comp. and cond. at Co- 
 vent Garden ; 1813 alternate cond. 
 Philh. Soc; 1825 cond. at Drur> 
 Lane ; 1830 musical dir. at Vauxhall 
 1841-43, prof, music, Edinburgh 
 
 { 
 
DICTIONARY OF MUSICIANS 4^7 
 
 knighted, 1842 ; 1848 prof, of music 
 at Oxford ; 1S53, Mus. Doc. (Oxon); 
 prod, over 80 operas, farces, ballets, 
 an oratorio, cantata, etc. (2) J., 
 b. Cheltenham, 1814 ; organist, editor 
 and compos'er, 
 
 Bispham (blsp'-ham), David, b. Phil- 
 adelphia, ca. i860 ; dram, barytone ; 
 sang in church and oratorio ; 18S5-87 
 pupil of Vannuccini and Wm. Shakes- 
 peare ; from i8gi in opera at Covent 
 Garden, and America, with much 
 success and versatility; and also in re- 
 citals, in both of which fields his high 
 dramatic intelligence plays an unusual 
 part ; is brilliant in comic or tragic 
 : situations ; knows more than 40 roles. 
 
 Bitter, K. Hermann, 8chwedt-on- 
 , Oder, 18 13 — Berlin, 1855 ; Prussian 
 : Minister of Finance, and writer. 
 
 Bitto'ni, Bdo., Fabriano, 1755— 1829 ; 
 organist. 
 
 Bizet (be-za), G. (Alex. C^sar Leo- 
 pold), Paris, Oct. 25, 1838— Rougi- 
 val, June 3, 1875 ; brilliant pianist 
 and distinguished composer. At 9, 
 pupil at Paris Cons, of Marmontel 
 (pf.), Benoist (org.), Zimmerman 
 (harm.), and Halevy (whose opera 
 "A'W" he finished, and whose 
 daughter Genevieve he m.) ; 1857, 
 
 took Offenbach ist prize for an opera 
 buffa, " Lc Docti-ur Miracle " prod, 
 at Bouffes Parisiens, 1863 ; also won 
 the Grand Prix de Rome. In place of 
 the /Mass prescribed he sent from 
 Rome a 2-act Ital. opera buffa ''Don 
 Procopio " _,• 2 movements of a sym- 
 phony, " La Chasse D Ossian" an 
 overture; and " Z« Gusla de r E- 
 jiiii-" A comic opera. 1836, his grand 
 opera '' Les Pecheurs de Ferles" 
 was prod. Paris (Th. Lyrique) ; it 
 failed, as did "La Jolie Lille de 
 Perth " (1867), and the i-act " DJa- 
 mileh " (1872). In all his music B. 
 revealed a strong leaning toward 
 Wagner, then so unpopular in 
 France; but 1872, his overture ''Pa- 
 Irie," the 2 symphonic movements, 
 and incidental music to Daudet's 
 L Arlcsicnne, brought him success ; 
 and " Carmen " (Opera-Com., March 
 3, 1875) brought him a fame, which 
 he hardly knew, as he died three 
 months later of heart disease ; he com- 
 posed also 2 operas, " Nnma " (1871) 
 and ''Ivan le Terrible''' ; 150 pf. -pes., 
 songs, etc.; collaborated with De- 
 libes, Jonah and Legouix in opera 
 " Malbrotigh, se)i va-t-eti-gi4erre." 
 Biog. by Pigot, 1886. 
 
 Bizet. 
 
 By Edward E. Ziegler. 
 
 AS Bizet's last work was his best, it is logical to argue that his un- 
 timely death has cheated us of compositions more valuable than 
 '^Carmen ;'''' but beyond mere conjecture such an estimate can 
 have no value and his rank among opera-composers must be determined by 
 Carmen. That the stage was his real field, is proven clearly by the per- 
 sistency with which he composed for it, and a study of his different efforts 
 [proves the wisdom of his choice, for there are no masterpieces among his 
 ■songs, or among his piano-compositions, and even his most successful orches- 
 :;ral number is the " First Suite " compiled for his incidental music to 
 'Daudet's " Z'y//-AV/V;//;^." ^His early letters confess his musical creed: 
 Mozart and Beethoven, Rossini and Meyerbeer ; this is catholic, to say 
 :he least, but later he acknowledged his preference for the Germans in gen- 
 
428 
 
 THE MUSICAL GUIDE 
 
 eral and Beethoven as the master of all. But Bizet was a stranger to the 
 larger forms in music — for two years he toiled intermittingly at a symphony 
 and produced only the " Roman Suite ^^ as a result — and his work shows 
 more tendency to follow Gounod' s teaching than that of his high ideals. 
 He was bitterly accused of being a follower of Wagner ; Paris, knowing so 
 lamentably little of Wagner's music, then condemned that of Bizet's, which lii} 
 it did not like or could not understand, by labelling it " Wagnerian," and 
 thus put it hopelessly beyond the possibility of discussion. As a matter oi 
 fact there is no trace of Wagner to be found in Bizet's music, and the only;f 
 resemblance between the two is that both were innovators who presentedii 
 their theories about dramatic art in practical forms, proving them by theii!: 
 operas. ^ Bizet realised the sorry state of the French operatic stage, but 
 contented himself with an effort at reforming the minor stage of the Opera- 
 Comique, and it is doubtless due in a great measure to the precedent o: 
 " Car men ^^ that to-day the Opera-Comique is on a higher artistic plane 
 than the Opera. ^[A direct musical influence it would be difficult to tract 
 to Bizet. As an orchestral colourist he had been outdone and outdared b} 
 even his contemporaries ; nor did he bequeath to us a new art-form. Bu 
 because he demanded a more sincere libretto than any of those with whicj: 
 that maker of marionette opera-books. Scribe, had conjured all Paris, anc 
 because in his music he did not fear contact with throbbing life, he com 
 mands our respect. His work shows a musical sincerity foreign to FrencJ 
 composers generally, and he deserved a better fate than a sequence of failure 
 ending with an early death. 
 
 Blaes (bias), (i) Arnold Jos,, Brus- 
 sels, 1814 — 1892 ; clarinettist. (2) 
 M. Elisa, Antwerp, 1820, wife of 
 above ; teacher. 
 
 Bla'grove, (i) H. Gamble, Notting- 
 ham, 181 1 — London, 1872 ; violinist. 
 (2) Richard Manning, Notting- 
 ham, 1827 — London, 1895 ; bro. of 
 above ; viola prof. R. A. M. 
 
 Blahag (bla'-hakh) (or Blahak), Jo- 
 sef, Raggendorf, Hungary, 1779 — 
 Vienna, 1846 ; tenor, conductor, and 
 composer. 
 
 Blahet'ka (or Plahet'ka), Marie- 
 L€opoldine, Guntramsdorf, near 
 Vienna, 1811 — Boulogne, 1887 ; pi- 
 anist and dram, composer. 
 
 Blainville (blan-ve'-yu), Chas, H., 
 near Tours, 171 1 — Paris, 1769; 'cel- 
 list, writer and composer. 
 
 Blake, (i) Rev. Ed., b. Salisbury, d 
 1765. (2) Chas. Dupee, b. Walpole 
 RIass., Sept. 13, 1847 ; pupil of J. C 
 D. Parker, J. K. Paine, etc.; organic 
 Union Ch., Boston, and composer. 
 
 Blamont (bla-moii), Fran. Colin df 
 Versailles, i6go — 1760; supt. of th 
 King's music and composer. 
 
 Blanc (blan), Adolphe, b. Manosqu* 
 Basses-Alpes, June 24, 1828 ; pup 
 Paris Cons, and of Halevy ; con 
 posed 3 operas. 
 
 Blanchard (blan-shar), H. L., Bo 
 deaux, 1778— Paris, 1858 ; violini 
 and critic. 
 
 Blanckenburgh (blank'-en-boorkh 
 Gerbrandt van, organist at Goud. 
 17th century. Vide blankenburgi, 
 
 Blancks, Edw., English compose 
 i6th cent. 
 
 I 
 
DICTIONARY OF MUSICIANS 429 
 
 Bland (blant), (i) Maria Theresa 
 (ne'e Romanzini), 1769 — 1S3S; pop. 
 Italian singer in England ; married 
 an actor, Bland, and had two sons. 
 (2) Chas., tenor. (3) James, 1798 — 
 1S61, bass. 
 
 Blangini (blan-je'-ne), Giu. Marco, 
 M. Felice, Turin, 1781 — Paris, 
 1841 ; organist. 
 
 31ankenburg (blank-en-boorkh), (i) 
 Quirin van, Gouda, Holland, 1654 
 — The Hague, 1749; probably son 
 of Gerbrandt van Blancken- 
 BrRGH(q. V.) ; organist and writer. (2) 
 Chr. Fr. von, Kolberg, Pomerania, 
 1744 — Leipzig, 1796; Prussian offi- 
 cer and composer. 
 
 31aramberg (bla-ram-berkh), Paul I., 
 b. Orenburg, Russia, Sept. 26, 1841 ; 
 
 i pupil of ISalakirew ; lawyer, then ed- 
 
 ; itor ; composed succ. operas, ''Maria 
 Ttidor" (St. Petersburg, 1882); " The 
 First Russian Cot?iediafi" ; " Tusch- 
 iiisky" (Moscow, 1895). 
 
 Jlas. Vide blaes. 
 
 Jlasius (blaz'-yiis), Mathieu Fr., 
 Lauterburg, Alsatia, 1758 — Ver- 
 sailles, 1829 ; cond. Op. Comique, 
 Paris ; composer. 
 
 Jlassmann (bliis'-man). Ad. Jos. M., 
 Dresden, 1823 — Bautzen, 1891 ; pi- 
 anist, court-conductor and writer. 
 
 Jlatt (blat), Fz. Thaddaus, Prague, 
 1793 — (?) ; clarinettist and writer. 
 
 Uauwaert (blow'-vart), Emil, St. 
 
 .Nicholas, Belgium, 1845 — Brussels, 
 1891 ; barytone. 
 
 tlauvelt (blou'-felt), Lillian, b. Brook- 
 
 ' lyn, N. v., 1870(7) ; soprano ; studied 
 Nat. Cons., N. ¥., and in Paris; af- 
 
 : ter years of success at home, toured 
 
 ' Europe since rgoo ; decorated in Italy 
 with the order of St. Cecilia ; m. Royal 
 Smith (189S divorced) ; m. again 1901. 
 
 ■laze (blaz), (i) (Called Castil-Blaze) 
 Fran. H. Jos., Cavaillon Vaucluse, 
 1784— Paris, 1857; "The father of 
 modern French musical criticism " ; 
 son and pupil of Henri Sebastian B. ; 
 wrote scathing " L' Opera en France " 
 (1820) ; was made critic on ''Journal 
 des De'dats," where his articles were 
 
 signed " XXX" ; transl. libretti of 
 German and Italian operas ; com- 
 posed 3 operas, several "pastiches," 
 etc. (2) H., Baron de Bury, Avig- 
 non, 1813— Paris, 1888 ; son of above ; 
 writer. 
 
 Bletzacher (blat'-tsakh-er), Jos., 
 Schwoich, Tyrol, 1835 — Hanover, 
 1895 ; bass. 
 
 Bleuer (bloi'-er), L., Buda-Pesth, 1863 
 — Berlin, 1S97 ; violinist ; 1883-93, 
 leader of Philh. orch., Berlin ; 1894, 
 of Philh. Club, Detroit (Michigan). 
 
 Blew'itt, (i) Jonathan, London, 
 1782 — 1853 ; organist and director ; 
 son and pupil of (2) Jonas, organist 
 aiid writer. 
 
 Blied (blet), Jacob, Bruhl-on-Rhine, 
 1844 — 1884; teacher and composer. 
 
 Blitheman, Wm., d. 1591; organist, 
 etc., at Oxford. 
 
 Bloch (blokh), G., b. Breslau, Nov. 2, 
 1847 ; pupil of Hainsch, J. Schubert, 
 Taubert, and F. Geyer ; teacher in 
 Breslaur's Cons., Berlin; founded 
 Opera Society, 1879 ; composer. 
 
 Blockx (blox), Jan., b. Antwerp, Jan. 
 25, 1851 ; pianist and composer; pu- 
 pil, Flemish Mus. School ; from 1886, 
 teacher of harm, there ; 1901 suc- 
 ceeded Benoit, at Antwerp cons. ; 
 composed succ. operas, incl. " Mattre 
 Martin " etc. 
 
 Blodek (bl6d-ek), (i) P. Aug. L., Paris, 
 17S4 — 1856 ; viola-player and dram, 
 composer. (2) Wm., Prague, 1834 — 
 1S74 ; prof, and dram, composer. 
 
 Bloom field-Zeisler (tsis'-ler), Fanny, 
 b. Bielitz, Austrian Silesia, July 16, 
 1866 ; pianist ; at 2 was brought to 
 Chicago, where she still lives ; played 
 in public at 10 ; was pupil of Ziehn 
 and Karl Wolfsohn, and 1876-81 of 
 Leschetizky ; from 1883 has toured 
 America with distinction ; from 1893, 
 Germany, Austria, England and 
 France with great success. 
 
 Blow, John (Mus. Doc. Oxon.),' Col- 
 lingham, Nottinghamshire, 1648 — 
 Westminster (London), Oct. i, 1708 ; 
 organist Westminster Abbey, 1680; 
 was superseded by Purcell, whom he 
 
430 
 
 THE MUSICAL GUIDE 
 
 in turn succeeded ; he is buried in 
 the Abbey ; 1674, organist and (1699) 
 composer to the Chape! Royal ; be- 
 ginning to compose as a boy, he 
 achieved a vast amount of church- 
 music. 
 
 Blum (bloom), K. L., Berlin, 1786— 
 July 2, 1844; actor, singer, poet, or- 
 ganist, 'cellist, cond., and composer; 
 chamber-musician to the Prussian 
 Ct., 1822 ; stage mgr. ; prod, nearly 
 30 operas, ballets, songs, etc.; also 
 vaudevilles, which he introduced to 
 the German stage. 
 
 Blumenfeld (bloo'-men-felt), F., b. 
 Kovalevska, Russia, April 7, 1863 ; 
 pianist, pupil of Th. Stein ; took gold 
 medal at St. Petersburg Cons.; com- 
 posed ''Allegro de Concert" with or- 
 chestra, etc. 
 
 Blumenthal (bloo'-men-tal), (i) Jos. 
 von, Brussels, 1782 — Vienna, 1850; 
 violinist and dram, composer. (2) 
 Jacob (Jacques), b. Hamburg, Oct. 
 4, 1826 ; pupil of Grund, Bocklet, 
 and Sechter (Vienna), and 1846 of 
 Herz and Halevy ; after 1848 in Lon- 
 don ; pianist to the Queen, and com- 
 poser. (3) Paul, b. Steinau-on- 
 Oder, Silesia, Aug. 13, 1843 ; pupil 
 of R. A., Berlin, 1870; organist, 
 Frankfort-on-Oder ; from 1870, " R. 
 mus. dir. " ; composed masses, mo- 
 tets, etc. 
 
 Blumner (bloom'-ner), (Dr.) Mi.rtin, 
 Furstenberg, Mecklenburg, Nov. 
 21, 1827 — Berlin, Nov. 6, 1901 ; pupil 
 of S. W. Dehn ; 1876, cond. of Berlin 
 Singakademie ; titles " R. Musik-dir." 
 and " Prof." ; composed 2 oratorios, 
 ''Abraham" (i860), and '■' Der Fall 
 Jerusalems" (1881) ; cantata Colum- 
 bus {i?,S2,); Te Deum. etc. 
 
 Bluthner (bllit'-ner), Julius Fd., b. 
 Falkenhain, near Merseburg, March 
 II, 1824; piano-maker, Leipzig, 
 from 1853. 
 
 Boccabadati (bok-ka-ba-da'-te), Lui- 
 gia, Parma — Turin, 1850 ; soprano. 
 
 Boccherini (bok-ke-re'-ne), Luigi, 
 Lucca, Italy, Feb. 19, 1743 — Madrid, 
 May 28, 1805; 'cellist; toured with suc- 
 
 cess ; 1797, made chamber-composer 
 to Friedrich Wilhelm IL, of Prussia, 
 in return for a dedication ; after the 
 king's death B.'s fortune left him, and 
 he died in dire poverty. His prolific 
 and often fascinatingly graceful com- 
 positions include 20 symphonies, an 
 opera, an orchestral suite, a 'cello- 
 concerto, 2 octets, 16 sextets, 125 
 string-quintets, 12 pf. -quintets, 18 
 quintets for strings and flute (or oboe), 
 91 string-quartets, 54 string-trios, 42 
 trios, sonatas and duets for vln., etc.; 
 biog. by Picquot (Paris, 185 1), and 
 Schletternd (ileipzig). 
 
 Boch (bokh), Fz. de, b. Potenstein, 
 Bohemia, Feb. 14, 1808 ; 'cellist. 
 
 Bochkoltz-Falco'ni (bokh'-kolts), An- 
 na (rightly Bockholtz), Frankfort, 
 1820 — Paris, 1870 ; singer and com- 
 poser. 
 
 Bochsa (bokh'-sa), (i) K., Bohemia- 
 Paris, 1821 ; oboist; music-seller. 
 (2) Rob. Nic. Chas., Montmedy, 
 Meuse, Aug. 9, 1789 — Sydney, Aus- 
 tralia, Jan. 6, 1856 ; son and pupil of 
 above ; composed a symphony at g, 
 an opera at 16 ; pupil of Fr. Beck ; 
 harpist to Napoleon and to Louis 
 XVin.;he eloped with Sir Henry 
 Bishop's wife, made tours in Europe 
 and America, and iinally to Australia ; 
 composed 9 French operas, prod, ir 
 Lyons (1804), and in Paris (1813-16) ; 
 4 ballets ; an oratorio, etc. ; wrote z, 
 standard method for harp. 
 
 Bockeler (bek'-e-ler), H., b. Cologne 
 July II, 1836— 1862 ; cond. at Aix 
 le-Chapelle ; editor and composer. 
 
 Bockh (bekh), Aug., Carlsruhe, 178; 
 — Berlin, 1867; writer. 
 
 Bocklet (bok'-let), K. M. von, Prague; 
 1801 — Vienna, 188 1 ; violinist. 
 
 Bockmuhl (bok'-mul), Robt. Emil 
 Frankfort, 1820 — 1881 ; 'cellist. 
 
 Bockshorn (boks'-horn) (" Capricoi 
 nus "), Samuel, Germany, 1629- 
 Stuttgart, 1669 (?) ; composer an 
 conductor. 
 
 Bocquillon-Wilhem (bok'-e-yon-vi 
 ah), G. L. Vide wilhem. 
 
 Bode (bo'-de), Jn. Jos. Chp., Barun 
 
 «53 
 
DICTIONARY OF MUSICIANS 431 
 
 Brunswick, 1730 — Weimar, 1793 ; 
 oboist, publisher and composer. 
 Bodenschatz (bo'^d'n-shats), Erhard, 
 Lichtenberg, Saxony, 1570 — Gross- 
 Osterhausen, near Querfurt, 163S ; 
 publisher. 
 Boedecker (ba -dek-er), Louis, Ham- 
 burg, 1S45 — 1899; teacher, critic, 
 and composer. 
 Boehm, Boehme. Vide bohm (e). 
 Boekelman (ba'-kel-man), Bernar- 
 dus, b. Utrecht, Holland, 1838 ; pu- 
 pil and son of A. J. B. ; director, 
 studied with Moscheles, Richter and 
 Hauptmann, at Leipzig Cons. ; von 
 Biilow, Kiel, and Weitzmann, at 
 Berlin ; from 1866, lives in New 
 York ; founded and cond. (till 1888) 
 the N. Y. Trio Club ; 1883-97, mus. 
 dir. Miss Porter's School, Farming- 
 ton, Conn. ; later pianist and teacher 
 in New York; composed orch.-pcs., 
 etc. ; ed. an analytical edition of 
 Bach's " Well-tempered Clavichord" 
 in colours, etc. 
 
 Joellmann (bwel'-man), L€on, Ensi- 
 sheim, Alsatia, 1862 — Paris, 1897 ; 
 composer and teacher. 
 
 loely (bwel-e), Alex. P. Fran., 
 Versailles, 1785 — Paris, 1858 ; pian- 
 ist and composer. 
 
 Joers (boors), Jos. Karel, Nymwe- 
 gen, Holland, 1812— Delft, 1896 ; 
 cond. and writer. 
 
 toesset (bw6s-sa), (i) A., Sieur de 
 Villedieu, ca. 1585 — 1673 ; intendant 
 of musicto Louis XIH. (2) J. B., 1612 
 — 1685 ; son and successor of above ; 
 and in turn succeeded by his son. (3) 
 C. J. B., b. ca. 1636. 
 
 ioe'tius (or Boethius), Ani cius 
 Manlius Torqua'tus Severi nus, 
 Rome ca. 475 — executed 524(7) ; em- 
 
 ■ inent poet and writer on music. 
 
 iiohlmann (bol'-man), Th. H. Fr., b. 
 
 ' Osterwieck am Harz, Germany, June 
 23, 1865 ; pianist ; pupil of " Dr. 
 
 : Stade, Barth, Klindworth, Tiersch, 
 
 ' d'Albert, and Moszkowski ; debut 
 
 ' Berlin, 1890 ; toured Germany ; since 
 1890 pf. - prof. Cincinnati Cons. 
 U. S. A. 
 
 Bohm (b5m), K., b. Berlin, Sept. ir, 
 1844 ; pupil of Loschhorn, Reiss- 
 mann and Geyer ; pianist and com- 
 poser in Berlin. 
 
 Bohm (bam), (i) G., Goldbach, 
 Thuringia, 1661 — Llineburg, 1734 ; 
 organist andclavichordist ; composed 
 important organ preludes and suites. 
 (2) Elizabeth Riga, 1756 — 1797 ; 
 soprano, m. the actor B. (3) Theo- 
 bald, Munich, April 9, 1794 — Nov. 
 15, 1881 ; inv. the "Bohm flute" 
 (vide D. D.) ; flutist and composer for 
 flute ; " Hofmusikus," and player in 
 royal orch. (4) Jos., Pesth, 1795 — 
 Vienna, 1876 ; son and pupil of above ; 
 violinist and prof. (5) Heinrich, b. 
 Blassia, Bohemia, 1836 ; composed 
 35 operas in Bohemian. (6) Jos., 
 Kuhnitz, Moravia, 1841 — Vienna, 
 1S93 ; organist, cond. and director. 
 
 Bohme (ba'-me), (i) Jn. Aug., 1794 ; 
 founder of pub. house at Hamburg. 
 His son, (2) Justus Eduard, suc- 
 ceeded him in 1839 ; and his grand- 
 son, (3) August Eduard, in 188';. 
 
 (4) Aug. Julius Fd,, Ganderheim, 
 Brunswick, 18 15 — 1883 ; conductor. 
 
 (5) Fz. Magnus, Wellerstedt, near 
 Weimar, 1827 — Dresden, 1898; 
 teacher, Dresden, later prof. ; com- 
 poser, writer and collector. 
 
 Bohmer (ba'-mer), K. (Hermann 
 Ehrfried), The Hague, 1799 — Ber- 
 lin, 1884 ; dram, composer. 
 
 Bohn (bon), Emil, b. Bielau, near 
 Neisse, Jan. 14, 1839 ; organist, 1884, 
 founded the Bohn Choral Society, 
 giving historical concerts ; lecturer, 
 writer, critic and composer ; R. Prof, 
 of Music. 
 
 Bohner (ba'-n^r), Jn. L., Tottelstedt, 
 Gotha, 1787 — near Gotha, i860; 
 composer ; led a roving life of drunk- 
 enness and talent ; said to be the 
 original of Hofmann's '' Kreisler" 
 [vide Schumann] ; composed opera, 
 etc. 
 
 Bohrer (b5'-rgr), (i) Anton, Munich, 
 1783 — Hanover, 1852 ; violinist ; 
 composer for vln. ; a co-member of 
 the Bavarian Court-orch. and concert- 
 
432 
 
 THE MUSICAL GUIDE 
 
 giver with his brother, (2) Max, 
 Munich, 1785— Stuttgart, 1867 ; 'cel- 
 list. 
 
 Boie (boi'-e), (i) John, b. Altona, 
 March 8, 1822 ; violinist. (2) H., 
 Altona, Sept. 16, 1825 ; bro. of 
 above ; violinist and dram, composer. 
 
 Boieldieu (bo-eld-yu'), (i) Fran. 
 Adrien, Rouen, Dec. 16 (not 15), 
 1775 — Jarcy, near Grosbois, Oct. 8, 
 1834 ; son of secretary of Archp. 
 Larochefoucauld and a milliner ; ap- 
 prenticed to the intemperate, brutal 
 cathedral organist Broche, he ran 
 away, at 12, and walked to Paris, 
 but was brought back. He is not 
 known to have had other teaching. 
 At 18, he prod. succ. " La fille 
 coHpable " (Rouen, 1793) ; 1795, ''Ro- 
 salie et Afyrza,'" text of both by his 
 father. Discouraged in a planned 
 Cons, at Rouen, he again walked to 
 Paris, and subsisted as teacher and 
 piano-tuner to Erard. The tenor 
 Garat sang his still pop. songs, in 
 public, and won him a publisher. 
 1796, " Zrt! Dot de Suzette" in one 
 act, was prod, with succ. (Opera- 
 Com.) ; 1797, "La famille Suisse" 
 (ran 30 nights at the Th. Feydeau) ; 
 179S, he pub. sonatas, and a pf. -con- 
 certo, etc. ; 1800, prof, of piano, Paris 
 Cons. " Zoraime et Zulnare" (1798), 
 " Beniowski" and " Le Calif e de 
 Bagdad" (1800) were succ. and 
 ended his first period, one of light 
 gracefulness. He now studied cpt. 
 seriously, probably with Cherubini, 
 who had criticised him. After 3 
 years' silence, he reappeared with en- 
 larged powers, succ. in " Ma Tante 
 Atirore" (Th. Feydeau, 1803). In 
 1802 he m. Clotilde Mafleuroy, a 
 ballet-dancer; 1803, he went to St. 
 Petersburg, partially perhaps (but not 
 surely) because of domestic unhappi- 
 ness, and became cond. of the Im- 
 perial Opera, writing by contract 
 3 operas annually, and a number of 
 marches. He returned to Paris, 
 181 1 ; had immense succ, particularly 
 with " y><J!« de Paris" 1812; 1817 
 
 prof, of comp. at the Cons, and 
 member of Institut ; 1821, Chevalier 
 of the Legion of Honour ; 1818, " Zf 
 Petit Chaperon rouge" was succ, fol- 
 lowed, after 7 years' silence, by " La 
 Dame Blanche" his masterpiece. His 
 last opera, " Les Deux Nuits" 
 (1829), failed. His wife d. 1825, and 
 1827 he m. Mile. Phillis, a sing- 
 er, who was a devoted wife. The 
 poverty of their last years was re- 
 lieved by Thiers, minister of Louis 
 Philippe, who made him an annuity 
 of 6,000 francs. He died at his 
 country-home, of pulmonary trouble. 
 B.'s work has great vivacity and 
 vitality combined with musical sweet- 
 ness, and rhythm without jingle. His 
 large gifts in the construction of 
 ensembles are seen in the septet and. 
 chorus at the end of the 2d act of 
 "La Dame Blanche" which up to 
 1875 had been performed 1340 times 
 at the same theatre ; its libretto is ai 
 combination of 2 of Scott's novels;] 
 "The Monastery " and "Guy Man-l' 
 nering." He collaborated with Che- 
 rubini in "La Prisonjiiire" (1799); 
 with Mehul, Kreutzer, and others, 
 in " Zi? Baiscr etla Quittance " (1802); 
 with Cherubini, Catel, and Niccolc 
 Isouard, in "Bayard a M^ziires" , 
 with Kreutzer in " Llenri LV. er. 
 Voyage" (1814); with Mme. Gail, 
 in Angela (1814) ; with Herold ir 
 "Charles de France" ; with Cheru 
 bini, Berton, and others, in " Lt 
 Cour des FJes " (1821) and " Phara 
 viotid" ; with Auber, in " Les Troi 
 Genres " ; with Berton, and others 
 in " La Marquise de Brinvilliers. 
 Biog. by A. Pougin, 1875. (2) Adri 
 en L. v., b. Paris, 1816 — near Pari? 
 1883 ; son and pupil of above ; drarr 
 composer. 
 
 Boisdeffre (bwii-defr), Chas. H. R^n 
 de, b. Vesoul (Haute-Savoie), 1838 
 Chev. of Legion of Honour ; con 
 poser of religious and chamber musii, 
 the latter taking Chartier prize, 1882 
 lives in Paris. 
 
 Boise (bois), Otis Bardwell,b.Oberlii 
 
 - 
 
 fe:: 
 
 Wf*. 
 
 I 
 
DICTIONARY OF MUSICIANS 433 
 
 Ohio, Aug. 13, 1845 ; organist ; i86i 
 pupil of Hauptmann, Richter, Mos- 
 cheles, etc., Leipzig ; 1864, of Kuilak, 
 at Berlin ; 1864-70 organist and 
 teacher in Cleveland ; 1870-76, in 
 New York ; 1876-78, spent in Eu- 
 rope ; for some years prominent in 
 Berlin as a teacher ; igoi, settled in 
 Baltimore ; composed symphonies, 
 overtures, pf. -concertos, etc., wrote 
 "Music and Its Masters " (1902), etc. 
 Joisselot (bwas-16), (i) J. Louis, 
 Montpellier, 17S5 — Marseilles, 1S47 ; 
 piano-maker at Marseilles ; his eldest 
 son, (2) Louis (1S09 — 1850), was 
 the manager. His grandson, (3) 
 ' Fran9ois, is the present proprietor. 
 : (4) Xavier, Montpellier, 18 11 — Mar- 
 seilles, 1893 ; second son of above ; 
 composer. 
 ioito (b5-e'-t6), Arrigo, b. Padua, 
 
 . I Feb. 24, 1S42; poet, soldier, novel- 
 \ ist, editor, essayist, librettist, and 
 
 : j composer ; son of an Italian painter 
 
 ; I and a Polish woman. Pupil, 1853- 
 
 . (62, of Milan Cons., almost dismissed 
 for mus. incompetence (cf. verdi) ; 
 composed 2 cantatas, 'Ml 4 di Giug- 
 no" (i860), and 'Me Sorelle d' Ita- 
 lia" {i'Sit2), in collab. with Faccio ; 
 I they met with such great succ. that 
 •the Govt, gave F. and B. funds for 2 
 
 ^ lyears in Paris and Germany. B.had 
 already taken up Goethe's " /^awj-^," 
 :long before Gounod, at the suggestion 
 of his bro. Camillo, an eminent ar- 
 chitect. B. brought back from Ger- 
 many a passion for Beethoven, then 
 little heeded in Italy. 1S67 at Paris, 
 as journalist ; then Poland, where he 
 
 ;: sketched out text and music of ''Mef- 
 istofeles," which was prod, at Milan, 
 ■1868 {La Scala), after 52 rehearsals, 
 and with great hopes ; but it was 
 
 3: 'then in a rather shapeless state, and 
 iGounod's ''Faust''' having mean- 
 while been prod, at Milan with succ, 
 iB.'s work was hissed by some, and 
 having provoked riots and duels was 
 iivithdrawn by order of the police. It 
 
 jj' |was remodelled with more attention 
 ko stage requirements and prod, with 
 
 great succ. at Bologna, Oct. 4, 1875. 
 An earlier opera, " E}-o e Leandro,'^ 
 was never prod., B. lending his own 
 libretto to I>ottesini, and later to 
 Mancinelli. Other libretti of his are, 
 Ponchielli's " Gioconda" Verdi's 
 " Otello" and " Falstaff" Faccio's 
 " Amleto" and Coronaro's " Un Tra- 
 monto." Two operas diligently pre- 
 pared but still refused to the public 
 are " Nerone" and " Orestiade." He 
 has translated 2 of Wagner's libretti 
 into Italian, and writes often under 
 the pseud. " Tobios Gorria." The 
 King made him " Cavaliere," and 
 " Commendatore " ; 1892, Inspector- 
 Gen, of Technical Instruction in the 
 Italian Cons, and Lyceums ; 1895 
 Chevalier of the Legion of Honour. 
 He lives in Milan. 
 
 Boick (bolk), Oskar, Hohenstein, 
 1837 — Bremen, 1888 ; dram, com- 
 poser. 
 
 Bol'la, , Italian prima buffa so- 
 prano ; last of i8th centurv. 
 
 Bolsetti (bol-set'-te), 1789; buffo; 
 with his wife played principal roles in 
 comic operas, London. 
 
 Bolte (bol'-te), Jns,, contemporary 
 German writer. 
 
 Bomtempo (b6m-tam'-p6), Joao Do- 
 mingos, Lisbon, 1775 — 1842 ; pian- 
 ist, director and writer. 
 
 Bona (bo'-nii), Giov., Mondovi, 1609 — 
 Rome, 1674 ; cardinal and composer. 
 
 Bonawitz (bo'-na-vets) (or Bonewitz), 
 Jn. H., b. Durkheim-on-Rhine, Dec. 
 4, 1839 ; pupil Liege Cons, till 1852, 
 then brought to America ; 1872-73 
 cond. " Popular .Symphony Concerts," 
 New York; 1873, toured U'. S.; prod. 2 
 operas in Philadelphia ; 1876, ret. to 
 Europe ; lives in Vienna and London. 
 
 Bond, Hugh, d. England, 1792 ; or- 
 ganist. 
 
 Bonicke (ba'-nT-ke), Hermann, En- 
 dorf, 1821 — Hermannstadt, Transyl- 
 vania, 1879; conductor, composer 
 and writer. 
 
 Boniventi (bo-nT-ven'-te) (or Bone- 
 venti), Gius, b. Venice, ca. 1660 ; 
 conductor and dram, composer. 
 
434 
 
 THE MUSICAL GUIDE 
 
 Bonnet (bun-na), (i) Jacques, Paris, 
 1644 — 1724 ; writer. (2) J. Bap., 
 b. Montauban, 1763 ; organist and 
 composer. 
 
 Bonno (bon'-no) (or Bono), Jos., Vi- 
 enna, 1710 — 17S8 ; court-cond. and 
 dram, composer. 
 
 Bonomet'ti, Giov. Bat., Italian com- 
 poser ; pub. motets, Venice, 1615. 
 
 Vide BUONAMENTE. 
 
 Bononcini (bo-non-che'-ne), (t) Giov. 
 M., Modena, 1640 — Nov. ig, 1678 ; 
 conductor, composer and writer of Bo- 
 logna. (2) Wlio usually wrote it Buo- 
 noncini (boo-o-non-che'-ne), Giov. 
 Bat., Modena, 1660 — Venice (?), 
 1 7 5*3 0) ! son and pupil of above ; 
 studied with Colonna and Buoni 
 ('cello), at Bologna ; 1685-91, pub. 7 
 vols, masses and instr. mus. ; in 
 1690, court 'cellist of Vienna ; 1694, 
 Rome, prod. 2 operas " Tu//o Osti- 
 /io" and '' Serse" / 1699-1701 prod. 
 2 operas at Vienna; 1703-5, at Ber- 
 lin as court-composer ; prod. " Po/t- 
 femo" (1703) ; ret. to Vienna, where 
 6 new operas were prod. In 17 16, 
 invited to London as cond. and com- 
 poser for the new King's Theatre, 
 and to rival Handel ; this provoked a 
 famous and bitter war with some suc- 
 cess for B., who prod. 8 operas, 1702- 
 27; but in 173 1 he was caught in a 
 plagiarism from A. Lotti (a crime of 
 which Handel was by no nieans guilt- 
 less himself) ; 1733 an alchemist 
 swindled him from affluence to bank- 
 ruptcy. Later he appeared in Paris 
 and prod, a motet for the " Chapelle 
 royale," playing the 'cello-accomp. 
 before the King ; 1737 his opera 
 " Alessandro in Sidone" and an ora- 
 torio, " Ezcchia" were prod, in Vien- 
 na ; 1748, he was called to Vienna to 
 write peace-festival music and later 
 went to Venice as theatre-composer, 
 a post retained at least till he was 90. 
 (3) Marco An., Modena, 1675 (?)— 
 1726 ; bro. of above ; court-cond. 
 there; prod. 11 operas highly rated 
 by Padre Martini ; also composed an 
 oratorio, 
 
 Bonporti (bon-por'-te), F. A., Trient, 
 ca. 1660 ; Imperial Counsellor and 
 composer. 
 
 Bontempi (bon-tem'-pe) (surnamed 
 Angelini), Giov. Andrea, Perugia, 
 ca. 1624 — Bruso, near Perugia, 1705; 
 dram, composer and writer. 
 
 Bonvin (boh-van), L., b. Siders, Switz- 
 erland, Feb. 17, 1850; mainly self- 
 taught ; studied medicine, Vienna ; 
 entered Jesuit novitiate in Holland ; 
 became organist and choirmaster; 
 from 1887, mus. dir. Canisius College, 
 Buffalo, N. v.; pub. 3 masses, etc. 
 
 Boom (bom), (i) Jan. E. G. van 
 (Senior), b. Rotterdam, April 17, 
 1783 ; flutist and composer for flute. 
 (2) Jan. (Jns.) van, Utrecht, 1807— 
 Stockholm, 1872 ; son of above ; pian- 
 ist, professor and dram, composer. (3) 
 Hermann M. van, Utrecht, 1B09— 
 1883 ; son and pupil of (i) ; flutist. 
 
 Boorn (born), Eduard van den, 1831 
 — Liege, i8g8 ; pianist and critic. 
 
 Boo'sey, Thos. (1825), founded the 
 London pub. house of Boosey & Co. 
 
 Boott, Francis, b. Boston, Mass., 
 June 21, 1813 ; pupil of L. Picchi- 
 anti, in Florence ; lived in Cam- 
 bridge, Mass.; composed under pseud. 
 "Telford." 
 
 Bord(b6r), Antoine, Toulouse, 1814— 
 Paris, 1888 ; pf. maker and inventor. 
 
 Bordese (bor-da-ze), Luigi, Naples, 
 1815 — Paris, 18S6 ; singing teacher 
 and dram, composer. 
 
 Bordier (b6rd-ya),(i) L. Chas., Paris, 
 1700 — 1764; abbe, conductor, com- 
 poser and writer. (2) Jules, 1846 (?' 
 — Paris, 1896 ; dram, composer. 
 
 Bordogni (bor-don'-ye), Giulio Mar- 
 co, Gazzaniga, Bergamo, 1788— 
 Paris, July 31, 1856 ; distinguishec 
 tenor and singing teacher ; prof 
 Paris Cons. ; pub. standard ''Vocal 
 ises." 
 
 Bordo'ni, Faustina. Vide hasse, fau 
 
 STINA. 
 
 Borghi (bor'-ge), Luigi, Italian violin 
 ist, came to London, ca. 1780 ; pub 
 symphonies, excellent music for vln 
 etc. 
 
 
 kia 
 
 
DICTIONARY OF MUSICIANS 433 
 
 iorghi-Marao (ma-mo), (i) Adelaide, 
 
 Bologna, 1S29 — 1901; mezzo-soprano; 
 debut, 1846, at Urbino, where she 
 was engaged ; then in \'ienna and 
 Paris ; later lived in Florence ; her 
 daughter (2) Erminia, soprano ; de- 
 but 1875, Bologna; sang in Italy and 
 Paris. 
 
 orjon (b6r-zh6n),C. E., 1633 — Paris, 
 1691 ; musette-virtuoso and compos- 
 er. 
 
 orodin (bo'-ro-den), Alex. Porphyr- 
 jevitch, St. Petersburg, Nov. 12, 
 I 1834— Feb. 27 (28?), 1887 ; composer 
 lOf the neo-Russian school; Prof, at 
 the St. P. medico-surg. Institute ; 
 Counsellor of State ; Knight ; pres. 
 of Mus. Soc. of Amateurs ; at Balaki- 
 rev's suggestion studied music ; com- 
 posed opera, ''Prime Igor" (fin- 
 jished after his death by Rimsky- 
 iKorsakov, and prod. succ. i8gi) ; 
 :3 symphonies; symphonic poem; 
 '.scherzo for orch., 2 string-quartets, 
 pf. pes., etc.; biog. by A. Habets, 
 in English, London, 1S95. 
 Dfoni (bo-ro'-ne) (or Buroni), A., 
 Rome, 1738 — 1797 ; court-conductor. 
 Drtnianski (bort-nyan'-shkl) (or 
 Bartnansky), Dimitry Stefano- 
 vitch, Gluchov, Ukraine, 1752— St. 
 Petersburg, Sept. 28 (Oct. 9), 1825 ; 
 !choir dir. and dram, composer, called 
 l"Xhe Russian Palestrina ; " pupil of 
 iGaluppi, under patronage of Empress 
 Catherine , 1779-96 dir. of her choir; 
 then of her orchestra. 
 hr'wick, Leonard, b. Walthamstow, 
 Essex, Engl., 1868 ; London pian- 
 j^st ; pupil H. R. Bird, and Clara 
 Schumann, B. Scholtz, and Ivan 
 Knorr at Frankfort Cons.; debut, at 
 London Philh. Concert, 1890 ; toured 
 Germany, 1895-96. 
 
 l>s (bos), Coenraad V., b. Leiden, 
 Dec. 7, 1875 ; studied Amsterdam 
 Cons.; played in Berlin, a member 
 }f the " Dutch Trio" with J. M. van 
 ^''een and J. van Lier. 
 Jischi (bos'-ke), (i) Gius, celebrated 
 )asso, i8th cent.; his wife was (2) 
 Franceska Vanini, contralto. 
 
 Bosendorfer (ba -zen-dorf-er), firm of 
 Vienna pf. -makers founded by (r) 
 Ignaz B., Vienna, i795— 1859 ; later 
 managed by his son (2) Ludwig, b. 
 Vienna, 1835. 
 
 Bosio (b6'-zl-6), Angiolina, Turin, 
 1830 — St. Petersburg, 1859 I mezzo- 
 soprano. 
 
 Bos' si (bos'-se), (i) Pietro B., Mor- 
 begno, 1834 — 1896 ; organist. (2) 
 Marco Enrico, b. Salo, Brescia, 
 Italy, April 25, 1861 ; son and pupil 
 of above ; 1881-91, conductor and 
 organist at Como Cath.; then till 
 1895, prof, of org. and harm. Naples ; 
 since 1896, dir. and prof. Liceo Ben- 
 edetto Marcello, Venice ; member of 
 the permanent govt, commission for 
 musical art ; Chevalier of the Italian 
 Crown and of the Spanish order of 
 Isabella la Catolica ; composed 2 
 l-act operas, '' Paquita" and " // 
 Vcggente " ; 4-act melodrama '' L' An- 
 gela Delia A'otte " (Como) ; symph. 
 poem " // Cieco" (1897), with tenor 
 solo, and chorus; " Westminster 
 Abbey" Inno di Gloria^ for chorus 
 and organ ; Requiem Masses, etc. ; 
 wrote important '" Metodo di Studio 
 per VOrgano moderno" with G. Te- 
 baldini (Milan, 1893). 
 
 Bote und Bock (bo'-tg oont bok), 
 firm of mus. pubs., Berlin, est. 1838 
 by Eduard Bote and Gustav Bock. 
 (2) Hugo Bock, present head. 
 
 Botel (ba'-tel), H., b. Hamburg, May, 
 1858; tenor; as cab-driver was " dis- 
 covered " by Pollini ; now leading 
 lyric tenor, Hamburg City Thea- 
 tre. 
 
 Botgorschek (bot-gor'-shek), Fz., 
 Vienna, 1812 — The Hague, 18S2 ; 
 teacher, flutist, and composer. 
 
 Bott (bot), Jean Jos., Cassel, March 
 9, 1826 — New York, April 30, 1895 ; 
 violinist ; son and pupil of a court- 
 musician ; 1852, court-conductor ; 
 1878 pensioned ; 1885 came to New 
 York ; composed 2 operas, etc. 
 
 Bottee, de Toulmon (dii toomoh bot- 
 ta), Aug., Paris, 1797— 1850; 'cel- 
 list and writer. 
 
43^ 
 
 THE MUSICAL GUIDE 
 
 Bottesini (bot-te-se'-nc), Giov., Cre- 
 ma, Lombardy, 1823 — Parma, 1889 ; 
 double-bass virtuoso ; conductor and 
 dram, composer. 
 
 Bot'tomley, Jos., b. Halifax, York- 
 shire, 1786 ; organist, violinist and 
 writer. 
 
 Bottrigari (b6t-tre-ga'-re), Ercole, 
 Bologna, Aug. 1531 — S. Alberto, 
 Sept. 30, 1612 ; wrote 3 learned theo- 
 retical treatises, each called by the 
 name of a friend (a) Patrizio, (b) De- 
 siderio, and (c) Melone. 
 
 Boucher (boo-sha), Alex J., Paris, 
 April ir, 1778 — Dec. 29, 1861 ; vln.- 
 virtuoso ; a charlatan but amazing in 
 technic ; played before the court at 6; 
 composed vln. -concertos ; his wife 
 was a clever harpist, also eccentric, 
 playing duets with one hand on harp 
 and one on a piano. 
 
 Bouichfere (bwe-shar), Emile, i860 
 (?)— Paris, Sept. 4, 1895 ; pupil of G. 
 Lefevre's Acad. ; est. a vocal acad. 
 1892 ; composed valuable sacred and 
 chamber music. 
 
 Boulanger (boo-lah-zha), (i) Marie 
 Julie (nee Halliger), 17S6— 1S50; 
 dram, singer. (2) Henri Alex. An- 
 dr6 Ernest, b. Paris, Dec. 16, 1S15. 
 Son of above. Pupil of Lesueur and 
 Halevy at the Cons., taking Grand 
 Prix de Rome, 1835 ; prof, there 
 1871. Composed many operettas for 
 Opera Comique. Legion of Honour, 
 1S6S. 
 
 Bourgault-Ducoudray (boor-go-dii- 
 koo-dre), Louis-Albert, b. Nantes, 
 Feb. 2, 1840. Pupil of Thomas at 
 Paris Cons., taking Grand Prix de 
 Rome, 1862 ; prof, of mus. hist, at 
 the Cons. 1S78 ; wounded as volun- 
 teer at siege of Paris ; later visited 
 Greece and wrote on Oriental music. 
 
 Bourgeois (boor'-zhwa), (i) Loys 
 (Louis), Paris, ca. 1510 — ?; disciple 
 of Calvin ; 1545-57, Geneva; one of 
 the first to harmonise the French 
 melodies ; wrote " Le droict chemin 
 de musique" proposing the naming 
 the tones after solmisation-syllables, 
 a system since prevalent in France. 
 
 (2) Louis Thomas, Fontaine I'fi- 
 veque, 1676 — Paris, 1750; tenor and 
 composer ; d. in poverty. 
 
 Bourges (boorzh), (i) Clementine de, 
 d. 1561 ; notable woman-composer. 
 (2) J. Maurice, Bordeaux, 1812 — 
 Paris, 1881 ; critic and dram, compos- 
 er. 
 
 Bousqu^ (boos-ka), G., Perpignan, 
 18 18— St. Cloud, 1854 ; conductor at 
 the Paris Opera (1S47) ; critic and 
 dram, composer. 
 
 Bovdry (b5-va-re), Jules (rightly 
 Bovy (bo ve), A. Nic. Jos.), Liege, 
 1808— Paris, 186S ; self-taught violin- 
 ist, conductor and dram, composer. 
 
 Bovicelli (bo-vl-chel'-le), Giov. Bat., 
 b. Assisi ; writer at Milan, 1594. 
 
 Bovy (b5'-ve), (i) Chas. Sml. (known 
 under pseud. Lysberg), Lysberg,, 
 near Geneva, 1S21 — Geneva, 1873;' 
 composer. (2) Vide boverv. 
 
 Bow'ley, R. K., London, 1813 — 1870;. 
 conductor and composer. 
 
 Bowman, Ed. Morris, b. Barnard, 
 Vt., Julv 18, 1848 ; pupil Wm. Ma- 
 son, and J. P. Morgan, at New York, 
 1866 ; 1867-70, organist St. Louis, 
 Mo. ; studied in Berlin and Paris. 
 1873; 1874, St. Louis; 1881 studiec 
 under Bridge, Macfarren, Turpin, anc 
 Guilmant ; was the first American tc | 
 pass the examination of the Londoi ' 
 R. Coll. for Organists ; 1884, one 
 the founders of Amer. Coll. of Mu 
 sicians ; organist, Brooklyn, N. Y. 
 1891-95, prof, of music Vassar Coll. 
 1S95 founded the " Temple Choir,' 
 Brooklyn (200 voices); cond. alsoth 
 Newark Harmonic Soc. and the Ce 
 cilian Choir. 
 
 Boyce (bois), Wm., London, 1710- ■ 
 Kensington, 1779 ; organist and coir ■ 
 poser. 
 
 Boyer (bwa-ya) (L. Jos. Victor 
 Georges, b. Paris, July 21, 185c 
 won Prix Rossini, with libretto c 
 "" Herode" (vide chaumf.t), wrol 
 libretti for " Le Portrait de Manon . 
 (Massenet), etc. 
 
 Brad bury, Wm. Batchelder, Yor! 
 Me.. 1816— Montclair, N. J., 1868 
 
DICTIONARY OF MUSICIANS 437 
 
 teacher, conductor, piano-maker, and 
 editor. 
 
 {fade (bra-de), Wm., b. England, 
 lived and died at Frankfort, 1647 ; 
 player of the viol., etc. 
 >radsky (brat'-shke), Wenzel Th., 
 Rakovnik, Bohemia, 1833 — 18S1 ; 
 dram, composer. 
 
 raga (bra'-ga), Gaetano, b. Giulia- 
 nova, Abruzzi, June g, 1829 ; 'cellist, 
 pupil of C. Gaetano (1841-52) ; lived 
 at Florence, Vienna, Paris, and Lon- 
 don and toured Europe ; dram, com- 
 poser ; also wrote ' ' JMetodo di Vio- 
 loii cello." 
 
 iraham (rightly Abraham), J., b. 
 London, 1774— Feb. 17, 1856 ; noted 
 tenor ; compass 3 octaves ; composed 
 pop. ballads. 
 
 rahmig (bra'-mikh), Julius Bd., 
 Hirschfeld (Merseburg), 1S82— Det- 
 nold, 1S72 ; teacher and writer. 
 rahms (brams), Jns., Hamburg, 
 May 7, 1833 — Vienna, April 3, 1897; 
 son and pupil of a double-bass 
 player in the Hamburg City Theatre, 
 ilater studied with j\Iar.\sen of Altona ; 
 !debut Hamburg, at 14, playing his 
 bwn variations on a folk-song; 1853, 
 Itoured with Remenyi. Joachim heard 
 .lim and sent him to Schumann, at 
 Diisseldorf. Schumann, with charac- 
 iieristic openness of mind and enthusi- 
 asm, pub. an article in the A'eue 
 Zeitschrift fiir Miisik, greeting B. as 
 :he new Messiah of music, a welcome 
 ::hat was a mi.xture of blessing and 
 iiane, embarrassing the young Brahms 
 {.vith a mission that was a white ele- 
 )hant on his hands ; for he forsook 
 he romanticism which Schumann, 
 >nd later Liszt expected of him, and 
 00k up a determined classicism in the 
 >natter of form, in which, howe\'«r, 
 '.le made many modifications to suit 
 [lis enormous intellectuality and tech- 
 jiical resource. This early welcome 
 jlso gave him over to be bandied be- 
 iween believers like Hanslick who 
 Vere frantic to find an opponent to 
 he progress of Wagner, and sceptics 
 .•ho would not have him praised for 
 
 any quality. Schumann's advocacy did 
 not save B.'s publication and concert 
 performance of his 3 pf. -sonatas and 
 3 books of songs from failure. After 
 serving for a time as cond. to the 
 Prince of Lippe-Detmold, he retired 
 for study to Hamburg, 1858-62. 1862 
 Vienna ; 1863-64 cond. of the Sing- 
 akadeinie there ; 1864-69 Hamburg, 
 Zurich, Baden-Baden, etc., and 
 made tours with Stockhausen ; 1869, 
 Vienna, which was afterward his 
 head-quarters. In 1871-74, cond. 
 " Gesellschaft der Musikfreunde." 
 In 1877 Cambridge University offered 
 him the degree of Mus. Doc, which 
 offer he ignored, accepting, 1881, Dr. 
 phil. from Breslau and writing in 
 acknowledgment the '' Akadeviische 
 Festoiivcrtiire ; " 1886, a knight of the 
 Prussian Ordre pour le Merite, with 
 voting privilege, and a member of 
 the Berlin Acad, of Arts. 1889 pre- 
 sented with the freedom of Hamburg. 
 His " German Requiem" op. 45 (the 
 first 3 choruses given in Vienna, 1867), 
 was given complete in the Bremen 
 cathedral, April, 1868, and estab- 
 lished him on a peak where he has 
 since remained while the storms of 
 debate rage below him. He wrote in 
 almost every form but opera (he had 
 considered that at one time) but ad- 
 mitted he "knew nothing about the 
 theatre." He valued Wagner's 
 scores, and owned several Wagner 
 autographs ; Wagner, however, said 
 "Brahms is a composer whose im- 
 portance lies in not wishing to create 
 any striking effect." His first sym- 
 phony, on which he had spent 10 
 years, made a sensation when prod. 
 1876. His vln. -concerto when first 
 shown to Joachim was so impossible 
 to the vln. that J. laughed at it till 
 tears poured down his cheeks ; he is 
 said to have materially assisted in its 
 revision. Brahms was a brilliant pian- 
 ist in his youth ; in his 20th year, at a 
 concert with Remenyi, the piano was 
 discovered to be a semitone below 
 concert-pitch ; B., playing without 
 
438 
 
 THE MUSICAL GUIDE 
 
 notes, transposed the accompaniment 
 to Beethoven's " Kreutzer" sonata, a 
 semitone higher throughout. [Beet- 
 hoven similarly transposed his own 
 concerto in C to Of at a rehearsal.] 
 Biog. by H. Deiters (Leipzig, 
 1880, Part II., 1898, in Engl., Lon- 
 don, 1888) ; B. Vogel (Leipzig) ; 
 Widmann (Berlin, 1898) ; A. Dietrich 
 (Leipzig, 1898). 
 
 Compositions (exclusive of Songs for 
 one voice with pf.). For orch. 
 Symphonies, Op. 68, in C minor, Op. 
 73, D, op. 90, F, op. 98, E minor; 
 overtures, op. 80, Akadeniische Fest- 
 over litre ; op. 81, Pragische Ouver- 
 tiire ; op. 11 — 16, serenades ; op. 56, 
 variations on a theme of Haydn's. 
 Chamber Music. Op. 8, trio for 
 pf., vln., 'cello ; 18, 36, sextet for 
 strings ; 40, trios, pf., vln., horn ; 114, 
 pf. , clar. and 'cello; 51, two string- 
 quartets; 67, string-quartet ; 88, III, 
 string-quintet ; 115, quintet for clar. 
 and strings. 
 
 For Piano, op. i, 2 and 5, sonatas ; 4, 
 scherzo ; 9, variations on a theme by 
 Schumann ; 10, four ballads ; 15, 83, 
 concertos ; 21, 35, variations ; 24, 
 variations and fugue on theme by 
 Handel; op. 76, 8 pes.; 79, 2 Rhap- 
 sodies ; 116, Fantasien ; 117, 3 Inter- 
 mezzi ; 118, 6 Clavierstlicke (3 Inter- 
 mezzi, Ballades, Romanze) ; 119, 4 
 Clavierstiicke (3 Intermezzi, Rhapso- 
 
 die ; — unnumbered — Cluck's gavotte, 
 and 2 studies). P'or piano, 4 hands, op. 
 23, variations on a theme by Schu- 
 mann ; 34, sonata arr. from op. 34 ; 
 39, 16 waltzes; op. 25, 26, 60, pf.- 
 quartets ; 34, pf. -quintet ; 87, loi, pf.- 
 trios. For piano and 'cello, op. 38, 
 and 99 ; sonatas; for vln., 77, con- 
 certo ; 78, 100 — 108, sonatas pf, 
 and vln ; for vln. and 'cello, op. 
 102, concerto ; for clarinet (or 
 viola) and pf., op. 120, 2 sonatas ; for 
 organ. Prelude and fugue, and fugue 
 (unnumbered). For voices, op. 50, 
 '^ Rinaldo" cantata (Goethe); 63, 
 Rhapsodic (from Goethe's " Harz. 
 reise "), for alto solo, male chor. and 
 orch.; 54, " Schicksahlied" (Song of 
 Destiny), for chor. and orch.; 55, 
 " Triumphlied" (Revelations, chap. 
 XIX.), for 8-part chor. and orch.; 82, 
 ''' Ndnie" (Schiller), for chor. and 
 orch.; 89, " Gesang der Parzen" 
 (Goethe), for 6-part chor. and orch.; 
 op 12, ''Ave A/aria" female chor. 
 with orch. (or org.) ; 13, funeral 
 hymn, 109. Deutsche Fest-und Ge- 
 denkspruche, for double chorus, also 
 numerous works for choruses of all 
 sorts accompanied or a cappella. 
 Brahms' songs are generally ad- 
 mired even by those opposed to him ; 
 they are very numerous and are pub. 
 in sets, op. 121 being his last pub- 
 lished work. 
 
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 it 
 
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 iliiie 
 
 ilieiii 
 
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 BJlcr 
 
 38,11 
 
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 EtTi 
 
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 sieiii 
 
 Johannes Brahms. 
 
 By ]t 
 
 HUNI 
 
 SCHUMANN, in his much-discussed article *' New Paths," called, 
 Brahms the true successor to Beethoven, His prediction was veri- 
 fied. To-day Johannes Brahms stands for the ultra-classic in sym- 
 phonic music, though singularly enough he is really a hardy romanticist, 
 who has widened and deepened the symphonic form. The career ; 
 Brahms compared to Wagner's was a quiet, scholarly, uneventful one. 
 severe student and self-critic, he made his way slowly, for the Wagner 
 furor was at hand, and the modest writer of chamber-music, of songs and 
 symphonies, was completely eclipsed by the glory of his so-called rival. ^I' 
 
DICTIONARY OF MUSICIANS 439 
 
 .vas 
 
 Von Billow's audacious epigram, " The three B's, — Bach, Beethoven, 
 
 ind Brahms," that drew down upon the head of the innocent composer the 
 
 re of the Wagner camp. As a matter of record Brahms never posed as an 
 
 jpponent, much less as a rival of the Bayreuth hero ; indeed he was an ad- 
 
 nirer, and knew his scores as only he could know a score — absolutely. 
 
 But he was not in the least affected by Wagner — how could he be, working 
 
 is he did in such a totally different genre ? This genre, however, was not the 
 
 )ut-worked vein it was so contemptuously christened by the new men. 
 
 To-day Brahms is a modern among the moderns — indeed his has also been 
 
 ailed the music of the future. ^To old forms like the symphony, to the 
 
 mailer forms, he has brought an abounding invention, a vitality in execu- 
 
 ion, and a musical intellect the most profound since Beethoven's. To 
 
 he complex symphonic structure of Beethoven he had superadded a poly- 
 
 hony almost Bachian in its mastery of intricate voicing and the weaving of a 
 
 larvellous contrapuntal web. The dignity of his themes, the depth and 
 
 ikveetness of his cantitena, the massiveness of his musical architecture — he is 
 
 1 music the born builder — combined with a fecund fantasy, a grim but 
 
 '.astic humour, and no little susceptibility, mark Brahms as one of the elect, 
 
 master among masters. His control of the orchestra is absolute in its elo- 
 
 laence, though he is no painter, no seeker after the unique word, the only 
 
 olour. ^He has been reproached for a colour monotone by those critics 
 
 ho are easily moved by brilliant and showy externals. But that reproach 
 
 lis to earth when the adaptability of the garb to the musical idea is dis- 
 
 )vered. Brahms never erred in this matter ; his taste was impeccable. 
 
 He had a message and he delivered it in tones that befitted its weight, its 
 
 [iportance. He is a symphonist primarily ; his themes as if carven from 
 
 ianite are symphonic and not dramatic themes, and in his development of 
 
 i.em he is second only to Beethoven. A philosopher, he views his subject 
 
 )m every possible side, and the result is an edifice of tone comparable to a 
 
 othic Cathedral. In his songs he is the sweet-voiced, the tender German 
 
 rist, deep in feeling, capricious, noble and moving as Schumann or Schu- 
 
 rt. He will rank with these song writers. In chamber-music, in the 
 
 aiable conjunction of piano and strings, trios, quartettes, quintettes, horn-trio 
 
 id two clarinet-quintettes, Brahms is supreme. He has written a sterling 
 
 Vlin-concerto dedicated to Joachim and played first by him. His two piano- 
 
 <incertos in D minor and B flat major, introduced here by Rafael JosefFy, 
 
 «:: masterpieces ; though pianists complain of the dearth of display passages, 
 
 t:y are sincere in feeling and perfect concertos in the balance of the solo 
 
 i trument with the orchestra. ^[The Brahms solo piano-music is a new and 
 
 ilependent literature. He wrote three sonatas ; of these the last is the most 
 
 ipular ; its andante and scherzo are beautiful specimens of piano-writing. 
 
440 
 
 THE MUSICAL GUIDE 
 
 The solo scherzo in E flat minor, opus 4, was a great favourite with Liszt, 
 who saw in it trace of Chopin. The little pieces written during the clos-; 
 ing years of the composer's life are exquisite and poetic gems, conceived 
 by a poet, executed with all the dainty cunning of a lapidary. These 
 miniatures are Brahms in his most genial mood. The forger of thunderbolts 
 was now resting and plotting lovely little gardens of fragrant flowers. ^[His 
 extraordinary technical invention is nowhere better evidenced than in his 
 Paganini variations for the piano, the Ultima Thule of pianists. These 
 variations are paralleled in his St. Anthony variatipns for orchestra, a noble 
 disapproval of the assertion that Brahms had no intimate feeling for the- 
 orchestra. His German Requiem written in 1868 is tremendous in its! 
 scope and elemental power. It is the apotheosis of a nation's grief ^He; 
 was not uniformly successful — little wonder, for his published works numbei 
 130. But if this Titian stumbled, was intermittent in his inspiration, the 
 main body of his work stands out marmoreal, of overwhelming grandeur, 
 truly German, and withal, sounding the big note as no one has sounded ii 
 in music since Beethoven. 
 
 Brah-Muller (bra-mul'-ler) (rightly 
 Miiller), K, Fr. Gv., Kritschen, 
 Silesia, 1839— Berlin, 1878 ; 1867, 
 dramatic composer. 
 
 Brambach (bram'-bakh), (i) Kas- 
 par Jos., b. Bonn, July 14, 1833 ; 
 pupil in Comp. of A. zur Nieden, 
 then of Cologne Cons.; won Mozart 
 scholarship, and studied under Fd. 
 Hiller, Frankfort; 1858-61, teacher 
 Cologne Cons.; 1861-69, dir. at Bonn, 
 where he composed important secular 
 cantatas; also an opera ''Ariadne" ; 
 concert - overture '' Tasso" ; pf.- 
 concerto, etc. (2) Wm., b. Bonn, 
 Dec. 17, 1841 ; since 1872, librarian 
 Carlsruhe ; writer. 
 
 Brambilla (bram-bel'-la), (i) Paolo, 
 Milan, 1786 — (?); dram, composer. 
 (2) Marietta, Cassano D'Adda, 
 1807 — Milan, 1875 ; singer, teacher, 
 and composer ; contralto and eldest 
 of five singers. (3) Teresa, Cassano 
 d'Adda, 1813 — Milan, 1895 ; sister of 
 above, soprano; she created "Gil- 
 da" in " Rigoletto" 1851. 
 
 Branca (bran'-ka), Guglielmo, b. Bo- 
 logna, April 13, 1849 ; pupil of A. 
 Busi, Bologna Cons.; composed succ. 
 
 operas " Za Catalana" (Florence, 
 1876) ; " Hertnosa" (Floreaice, 1883)- 
 and "Zfl Figlia di Jorio" (Cremonaj 
 1897). 
 
 Brancaccio (bran-kiit'-cho), A., Na' 
 pies, 1813— 1846 ; dram, composer. 
 
 Brandeis (bran'-dls), Fr., Vienna 
 1835 — New York, 1899 ; toured th< 
 U. S., then lived in N. Y., late 
 Brooklyn, as organist and prolifi( 
 composer. 
 
 Brandenburg (bran'-den-boorkh), Fd. 
 b. Erfurt — d. Rudolstadt, 1850 
 violinist and dram, composer. 
 
 Brandes (bran'-des), Emma, b. nea 
 Schwerin, Jan. 20, 1854 ; pianist 
 pupil of Aloys Schmitt and Goiter 
 mann ; m. Prof. Engelmann, Utrecht 
 
 Brandl (brant'-'l), (i) Jn., Kloster 
 Rohr, near Ratisbon, 1760 — Carls 
 ruhe, 1S37 ; dir. and dram, composer 
 (2) Jn., composer of operettas, livinj 
 in Vienna ;. has prod. 15 or 20 pop' 
 works since 1S69. 
 
 Brandstetter. Vide garbrfxht. 
 
 Brandt (brant), Marianne (rightl] 
 Marie Bischof), b. Vienna, Sept. 12 
 1842 ; dram, contralto ; pupil Frai 
 Marschner and of Viardot-Garcia 
 
 i 
 
DICTIONARY OF MUSICIANS 44^ 
 
 1868-86 at Berlin Ct. Opera ; created 
 *' Kundry " in Parsifal at Bayreuth, 
 18S2 ; 18S6 sang in New York. 
 Brandt-Buys (brSat-bois), (i) Corne- 
 lius Alex., b. Zalt-Bommel, April 3, 
 1812 ; from 1S40 lived in Deventer as 
 organist and cond. His sons are (2) 
 Marius Adrianus (b. 1S40) ; (3) L. 
 F. (1S47), organist and conductor at 
 Rotterdam; (4) H. (185 1), conduc- 
 tor at Amsterdam and dram, com- 
 poser. 
 Brandus, Dufour et Cie, Paris firm 
 of mus.-pubs. founded 1S34, by M. 
 Schlesinger, and bought in 1840 by 
 the brothers Louis (d. 18S7) and 
 Gemmy B. (d. 1S73). 
 Brant (brant), Jobst (or Jodocus) 
 vom, Jtinior, i6th cent, captain 
 and gov. of Liebenstein ; cptist. 
 Brassin (bras-san), (i) Louis, Ai.x- 
 la-Chapelle, 1840— St: Petersburg, 
 1884 ; pianist. (2) Ld., Strassburg, 
 1843 — Constantinople, i8go ; bro. 
 and pupil of above ; pianist. (3) 
 ':; Gerhard, b. Ai.>c-la-Chapelle, June 
 , ' 10, 1844 ; leader ; teacher at Stern 
 *ii' Cons., Berlin; 1875-80, cond. of 
 I , Tonkiinstlerverein in Breslau ; since 
 : then, St. Petersburg. 
 Bratsch (bratsh), Jn. G., Zell, 1817— 
 Aschaffenburg, 1887 ; director. 
 ■ 3rauer(brow'-er), Max, b. Mannheim, 
 May 9, 1855 ; pupil of V. Lachner, 
 Hiller, Jensen and De Lange ; from 
 ■i I 1880-88, dir. Kaiserslautern ; since 
 \ 1888, dir. court-church at Carlsruhe ; 
 - prod. '' Der Loise," sncc. i-act opera, 
 Carlsruhe, 1SS5. 
 Jrebos, Gilles. Vide gii.i.es. 
 »ree (bra) (Jn, Bernardus), J. Ber- 
 nard van, Amsterdam, 1801— 1857 ; 
 violinist; 1840, founded the "Ce- 
 cilia." 
 
 Ireidenstein (brl'-den-shtin), H. 
 , ■ K., Steinau, Hesse, 1796— Bonn, 
 1876 ; dir., composer and writer. 
 •reitkopf und Hartel (brlt'-kopf 
 oont hert''-l), mus.-publishers, found- 
 ed (as a printing-office) 1719 by B. 
 C. Breitkopf; Klausthal, Harz, 
 1695—1777. His son, J. G. Im- 
 
 manuel Breitkopf (1719 — 1794), suc- 
 ceeded and revived Petrucci's inven- 
 tion of movable types and took up 
 music printing. 1795, Gottfr, Chr. 
 Hartel (Schneeberg, 1763 — 1827), 
 added a piano-factory, founded the 
 "Allg. musikalische Zeitung " (179S) ; 
 later heads were Florenz Hartel 
 (1827-35), Dr. Hermann Hartel (d. 
 1882), and his bro. Reimund (d. 
 1888) ; two nephews, Wm. Volkmann 
 (1837— 1893?) and Dr. Oskar von 
 Hase (b. 1846). 
 
 Breitner (brit'-ner), Ludovic, b. 
 Triest, March 22, 1S55 ; pianist and 
 composer ; studied Milan Cons., and 
 with Rubinstein and Liszt ; toured, 
 Germany ; Chev. of the Legion of 
 Honour, officer of Public Instruction, 
 etc., composed music to " IVil/wl/u 
 J/e'is/t'r," song cycles, etc. 
 
 Breraa (bra'-mji), Marie, b. of German 
 parents, in England ; notable dra- 
 matic soprano in pop. concerts Lon- 
 don ; debut in opera, Shaftesbury 
 Theatre, 1891 ; sang in New York 
 in frequent seasons ; 1897 at Bay- 
 reuth. 
 
 Brem'ner, Robt., Scotland, 1720— 
 Kensington, 17S9 ; teacher. 
 
 Brendel (brent'-'l), K. Fz., Stolberg, 
 1811 — Leipzig, 1868; critic, prof, 
 and writer. 
 
 Brenet (brii-na), Michel, b. France, 
 1SS2 ; wrote " Histoire de la syin- 
 phoiuc a orchesire depuis ses orig- 
 iiifs " (prize-essav), etc. 
 
 Brenner (bren-neV), L., Ritter von, 
 Leipzig, 1833—1902 ; pupil of the 
 Cons. ; toured the Continent ; 15 years 
 member of the Imp. orch. ; 1872-76, 
 cond. Berlin .Symphony Orch.; 1897, 
 cond. Meyder's Concert Orch., Bres- 
 lau ; composed 4 grand masses ; sym- 
 phonic poems. 
 
 Brent, Charlotte, d. 1802, Engl. ; 
 soprano ; m. Pinto, a violinist, 1766. 
 
 Breslaur (bras'-lowr), Emil, b. Kott- 
 bus, May 20, 1836 ; pupil Stern 
 Cons., Berlin ; 1868-79, teacher Kul- 
 lak's Acad. ; since 1883 choirm., Re- 
 formed Synagogue ; founder and dir. 
 
442 
 
 THE MUSICAL GUIDE 
 
 Piano - Teachers' Seminary ; ed. 
 '" A'lavierlehrer" ; wrote technical 
 works, etc. 
 
 Brethol. Vide pierson-bkethol. 
 
 Breuer (broi'-er), Hans, b. Cologne, 
 1869 ; tenor ; studied at the Cons, at 
 Stolzenberg. Sang "Mime" and 
 " David " at Bayreuth. 
 
 Breuning(broi -nlng), Fd., Brotterode, 
 Thuringia, 1830 — Aix-la-Chapelle, 
 18S3 ; pf. prof., Cologne Cons. ; 
 1865, director. 
 
 Br^val (bra-vai), (i) J. Bap., Dept. 
 of I'Aisne, France, 1765 — Chamouille, 
 1825 ; 'cellist and teacher. (2) Lu- 
 cienne, b. France, 1870 (?) ; notable 
 dramatic soprano at Grand Opera, 
 Paris, for years ; debut there in L'Af- 
 ricaine, iSg2 ; created Brunnhildc 
 in French ; has sung at Covent Gar- 
 den, and 1900 in New V'ork. 
 
 Brew er, (i) Thos., 1609 — 1676 ; vioL- 
 olayer, " father of the glee." (2) J. 
 Hyatt, b. Brooklyn, N. Y., 1856 ; for 
 7 years boy-soprano ; studied with 
 Dudley Buck and others; since 1871 
 organist various churches, since 1881 
 at the Lafayette Av. Presby. Ch. ; 
 cond. various vocal societies ; com- 
 posed cantatas, etc. 
 
 Briccialdi (bret-chal'de), Giulio, 
 Terni, Papal States, 1818 — Florence, 
 iSSi ; flutist. 
 
 Bridge, (i) Sir J. Fr., b. Oldbury, 
 Worcestershire, Engl., Dec. 5, 1844; 
 son and pupil of J. Bridge, lay- 
 clerk ; pupil later of J. Hopkins and Sir 
 J. Goss ; organist i86g Manchester 
 cathedral ; 1S82 of Westminster Ab- 
 bey ; 1S68 Mus. Bac. (O.xford), with 
 the oratorio ''Mount Moriak''; 
 now prof, of harm, and cpt. R. A. 
 M.; cond. Western and the Madrigal 
 Societies ; 1S97, knighted ; composed 
 cantatas, overtures, etc. ^(2) Jos. 
 Cox, b. Rochester, Engl.*, 1853 ; 
 pupil and bro. of above ; since 1877 
 organist of Chester cathedral ; Mus. 
 Bac. O.xon., 1876 ; Mus. Doc, 1884 ; 
 composed oratorios, etc. 
 
 Bridge'tower, G. A. P., Poland, 1779 
 — ca. 1845 ; son of an African fathei 
 
 and European mother ; brilliant vi 
 linist. I 
 
 Briegel (bre'-gel), Wg. K., Gci 
 many, 1626 — Darmstadt, 17 
 ductor and composer. , i 
 
 Brighenti (or Brighetti) (bre-get'-t€' 
 Mana (nee Giorgi), b. Bologn 
 1792; soprano; created " Rosina; 
 in " Bar bit-re di Siviglia.'" 
 
 Brind, Richard, d. 1718 ; organist S' 
 Paul's Cathedral from 1707. 
 
 Brink, Jules Ten (tan brenk), Ar 
 sterdam, 1838 — Paris, 1889; direct 
 and dram, composer. 
 
 Brins'mead, (i) J., b. North Devo 
 Oct. 13, 1814; 1835, founded plan 
 factory, London ; inv. " Perfe'i 
 Check Repeater Action"; in 18(1 
 his sons (2) Thomas and (3) Edg;! 
 were taken in partnership. 
 
 Brissler (bres-ler), Fr. Fd., Instej; 
 burg, 1818 — Berlin, 1893; pianiii 
 and dram, composer. i 
 
 Brisson (brls'-soh), Fr., b. Angoij; 
 Icme, Charente, 1821 — Orleans, igod' 
 teacher and dram, composer. • 
 
 Bris tow, (i) W. R., England, i8cjr 
 — N. Y., 1867 ; cond. in New Yon 
 (2) G. Fr., Brooklyn, N. Y., Deji 
 19, 1825 — New York, Dec. 13, i%gi.'< 
 son of above ; violinist N. Y. Phil 
 .Soc; cond. of the Harmonic Soc 
 later of the Mendelssohn Union ; o^ . 
 ganist various churches ; compose^ 
 operas, oratorios, etc. I 
 
 Brito (bre'-to), Estdban de, ca. 162!" 
 Portuguese director and composer. ; 
 
 Brit'ton, Thos., 1651 — 1714 ; calh) 
 "Musical Small-coal Man," becau;]' 
 he earned his living by hawking coal.' 
 gave concerts in a room over his sho]] - 
 which were patronised by the aristo} ' 
 racy ; Handel and Pepusch were pej i 
 formers at these concerts. I 
 
 Brixi (bre.\'-e), Fz. Xaver, PragU': . 
 1732 — 177 1 ; conductor and con' 
 poser. 
 
 Broad wood & Sons, firm of Londci ! 
 pf. -makers; est. 1730 by the Swii! ' 
 harpsichord-maker BurkhardTschi' i 
 di (or Shudi), succeeded by his soi 
 in-law J. Broadwood (1732 — 1812 
 
 812; s 
 
 J 
 
DICTIONARY OF MUSICIANS 443 
 
 later by James and Thos. Shudi ; 
 they by H. Fowler Broadwood (d. 
 
 London, 1893). 
 Brock way, Howard A., b. Brooklyn, 
 N. Y., Nov. 22, 1870; studied pf. 
 with Kortheuer ; 1890-95, Berlin ; 
 pupil of Barth (pf.) and O. B. Boise 
 (comp.) ; since 1S95, 1. N. Y. teach- 
 ing and touring ; his symphony in D 
 succ, prod. Berlin; composed also 
 cantata. Ballade and Scherzo for 
 orch., etc. 
 
 Brod (bro), H., Paris, 1801— 1839 ; 
 oboist and conductor. 
 
 Brode (bro'-de), Max, b. Berlin, Feb. 
 25, 1850 ; studied with Paul Mendels- 
 sohn and at Stern Cons., Leipzig 
 Cons, and Berlin Hochschule ; de- 
 but Frankfort-on-Main ; prof, and 
 teacher at Konigsberg. 
 
 Bro'derip, (i) Wm., Fngland, 1683— 
 1726; organist, etc.. Wells Cathe- 
 dral. (2) J., d. 1770; son of above 
 organist ; (3) Robt., d. 1808 ; bro. of 
 above ; writer and composer. 
 
 Brodsky (brod'-shkl), Adolf, b. Ta- 
 ganrog, Russia, March 21, 1851 ; vio- 
 linist ; pupil of J. Hellmesberger and 
 Vienna Cons.; member Hellmes- 
 berger Quartet ; 1868-70 Imp. Opera- 
 orch.; pupil of Laub, Moscow, later 
 prof, at the Cons.; 1879, cond. sym- 
 phony concerts at Kiev ; toured, 1881 ; 
 1883, vln.-prof. at Leipzig Cons.; 
 18QI-94, N. Y.; 1894 in Berlin; 
 1895, prof, of vln., later dir. R. C. 
 M., Manchester, England. 
 
 Broekhoven (brak'-h6-fen), J. A., b. 
 Holland, 1852 ; prof, of harm, and 
 comp, Cincinnati Coll. of Mus.; com- 
 posed grand overture "Co/ttmdia" etc. 
 
 Bror (brar), Ernst, Silesia, 1809— 
 Tarnopol, 1886 ; 'cellist, organist, and 
 singing teacher. 
 
 Bronsart (bron'-zart), (i) von Schel- 
 lendorf, Hans (Hans von Bron- 
 sart), b. Berlin, 1830 ; pupil. Dehn, 
 KuUak, Liszt ; concerts in Paris ; 
 1867, intendant R. Th. at Hanover ; 
 1887 " Hofmusikintendant," Berlin ; 
 composed opera, cantata, symphony 
 " /« den A//>e/i,"ctc. (2) Ingeborg, 
 
 von (nee Starck), b. St. Petersburg, 
 1840 ; wafe (since 1862) of above ; 
 pupil of Liszt ; composed 3 operas, 
 etc. 
 
 Brooks, Walter M., b. Birmingham, 
 March 19, 1861 ; pupil of King Edw. 
 School, later of Prout ; lives in Lon- 
 don as writer and teacher ; composed 
 Allegro for orch. (prize at Belfast, 
 1891), etc. 
 
 Bros (bros), Juan, Tortosa, Spain, 
 1776 — Oviedo, March 12, 1852 ; con- 
 ductor ; composed important masses, 
 etc. 
 
 Brosig (br5'-zrkh), Moritz, Fuchs- 
 winkel. Upper Silesia, 1815 — Bres- 
 lau, 1887 ; organist and theorist. 
 
 Brossard (du bros-sar), (i) S^bastien 
 de, 1660 — Meux, France, 1730 ; con- 
 ductor, lexicographer, and composer. 
 (2) Noel Matthieu, Chalon-sur- 
 Saone, Dec. 25, 1789 — after 1853 ; 
 magistrate and theorist. 
 
 Brouck (brook), Jakob de (or de 
 Prugg). collector, Antwerp, 1579. 
 
 Broustet (broo-sta), Ed., b. Toulouse, 
 April 29, 1836; pupil of Stamaty, 
 Litolfif and Ravina ; pianist and com- 
 poser ; toured Russia, etc.; lives in 
 Toulouse. 
 
 Brown, (i) Dr. J., Northumberland, 
 1715— 1766; writer. (2) Obadiah 
 Bruen, b. Washington, D. C, July 
 2, 1829; pupil of Zerrahn, Parker, 
 Kreissmann, Hause and D. Paine, 
 and of Lobe and Plaidy, Leipzig, 
 1S69; teacher and organist; pub. 
 school-songs, etc. 
 
 Browne, Lennox, Dr., b. London, 
 1S41; prominent throat-specialist and 
 writer on the voice ; lives in London. 
 
 Brown'smith, J. Leman, Westmin- 
 ster, 1809 — i8fc6 ; organist. 
 
 Brozel', Philip, b. in Russia ; tenor ; 
 studied at R. A. M., London ; de'but 
 i8g6 at Covent Garden in I Pagliac- 
 ci J 1901 in New York. 
 
 Bruch (brookh), Max, b. Cologne, 
 Jan. 6, 183S ; Jewish pianist and 
 composer; at first, pupil of his moth- 
 er (nee Almenrader), a singer ; later 
 with Breidenstein, Bonn.; i''53 he 
 
444- 
 
 THE MUSICAL GUIDE 
 
 gained the four-year scholarship of 
 the Mozart Foundation at Frankfort, 
 and studied with Hiller, Reinecke, 
 and Breuning ; at 14, prod, a sj-m- 
 phony, Cologne ; 1S58, his first dram. 
 work, Goethe's Singspiel, '' Scherz 
 List und Rac/ie'" (op. i) ; 1S64, prod, 
 opera '' Lore ley," etc.; male chorus 
 '' Frithjof" \ \%b^~b-i, at Coblenz, 
 composed his first pop. vln. -concerto 
 (G minor) ; 1S67-70, court-cond. at 
 Sondershausen ; in 1S78 cond. Stern 
 Choral Union, Berlin ; in 18S0, 
 cond. Liverpool Philh. Soc; 1883, 
 dir. Breslau Orchestral Soc; 188 1, 
 m. Frl. Tuczek, of Berlin, a 
 singer ; lived in Breslau till 1890 ; 
 1S92, with K. Hochschule in Berlin ; 
 prod. 1S72, opera " Hcrmione" based 
 on " Whiter s Tale"; 1873-78, 
 prod, the chorals '' Arminius" and 
 '^'^ Lied von der Glocke" and the 2d 
 vln. -concerto ; 1883, came to U. S. 
 and prod, his ''' Arminius" Boston. 
 The epic cantata is his special field ; 
 among his works of this sort, are 
 " Odysseus, Armiiiitis, Lied von der 
 Glocke, and Achilleus" ; for male 
 chorus, '' FritJijof, Salamis, Nor- 
 mannenzitg a.rvA Leonidas" (op. 
 66). He arranged the old Hebrew 
 melody Kol Nidre, and composed 
 a cantata ''Das Feuerkreuz" (op. 
 52, 18S8); three symphonies; ora- 
 torio, '"Moses" (1S95) ; 3 vln.- 
 concertos. 
 
 Bruck (brook) (or Brouck), Arnold 
 von (a German Swiss (?) ), d. 1545 ; 
 conductor and composer. 
 
 Briickler (bruk'-ler), Hugo, Dresden, 
 1S45 — 1S71 ; composer. 
 
 Bruckner (brook'-ner), Anton, Aus- 
 felden, Upper Austria, Sept. 4, 1S24 
 — Vienna, Oct. il, 1896; mainlyself- 
 taught as organist ; 1S67, court-or- 
 ganist at Vienna ; prof, of org., harm, 
 and cpt. at Vienna Cons. ; 1875, 
 " Lektor " of music at Vienna Univ.; 
 1891, Dr. hon. causa; one of the 
 chief contemporary organ-virtuosi, and 
 a disciple of Wagner ; he composed 
 9 symphonies, the 4th called " Jio- 
 
 mantic." Biog. by Fz. Brunm 
 (Linz-on-Danube, 1895). 
 
 Bruckner (brlik-ner), Oscar, b. Ed 
 furt, Jan. 2, 1857 ; 'cellist ; pupil o 
 Griitzmacher and Draeseke ; tourec 
 Germany, Russia, etc. ; Ducal cham- 
 ber-virtuoso at Strelitz ; since i88c 
 teacher in the Wiesbaden Cons., anc 
 composer. 
 
 Bruhns (broons), Nikolaus, Schwab-f 
 stadt, Schleswig, 1665 — Husum, 
 1697 ; organist and violinist. 
 
 Briill (brll), Ignaz, b. Moravia, Nov. 7 
 1S46 ; pianist ; pupil of Epstein, Ru- 
 finatscha and DessofT ; 1872-78, pf.- 
 prof. Horak Institute, Vienna ; his 
 first opera "Die Bettler von Sam- 
 markand" (1864) was not succ, but 
 "Das Goldene Kreuz" (Berlin), ;ip 
 1875) was very pop. ; followed by 6 ^ 
 other operas and the succ. comui 
 opera " Der Husar" (Vienna, Marct \ 
 2, 1S98) ; composed also hunting! 1 
 overture " /w IValde," etc. 
 
 Bruniel(broo'-mel), Anton, ca. 1480 — ( i 
 ca. 1520; Flemish cptist. :' 
 
 Bruneau (brii-no) (Louis Chas.ji 
 Bonaventure), Alfred, b. Paris,; f 
 March 3, 1857 ; pupil of Franchommel | 
 at the Cons. ; took first 'cello prizeJK 
 1876 ; studied with Savart and Mas- 
 senet ; 1881, took first prize with can- 
 tata " &/«/^ Genevieve"; composed 
 operas "Kerim" (Opera-Populaire, 
 1SS7), " Le Reve" (Paris, 1892), and; 
 the verj' succ. drame lyrique " L'At- 
 taque dii Moulin " (Opera-Comique, 
 Paris, 1893) ; unsucc. drame lyrique 
 " Messidor" (Paris, Gr. Opera, Feb. 
 19, 1S97) ; the last three are on texts 
 from Zola, some of the music being 
 set to plain prose, as also in the songs 
 set to CatuUe Mendes' " Lieds en 
 prose"; 1893-95, critic of " Gii 
 Bias," 1895 of 'Le Figaro," Chev. 
 of Legion of Honour ; composed also 
 Heroic overture; legende " Pen-' 
 thesilee, Reine des Amazones," 
 etc. 
 
 Brunelli (broo-nel'-le), A., 17th cent.; 
 conductor to Duke of Florence J 
 writer and composer. 
 
DICTIONARY OF MUSICIANS 445 
 
 '■ 'Brunetti(broo-net'-te), Gaetano, Pisa, 
 1753 — Madrid, 1808 ; composer. 
 
 E Bruni (broo'-ne), A. Bart., Coni, Pied- 
 mont, 1759 — 1823 ; violinist, cond. 
 
 ■>" and dram, composer. 
 
 - Brunner (broon -ner), Chr. Trau- 
 gott, Briinlos, 1792 — Chemnitz, 
 
 • 1S74 ; organist and conductor. 
 Bruyck (broik), K. Bebroid van, b. 
 
 'I ' Brlinn, March 14, 182S ; studied law, 
 
 f Vienna, 1S50; and theory with Rufi- 
 natscha ; writer on Bach, etc. 
 Bry cison Bros., London ; organ- 
 builders. 
 Bryennius, Manuel, lived ca. 1320 ; 
 last Greek theorist. 
 
 ' Bryne, Albertus, ca. 1621 — after 1677; 
 organist St. Paul's and Westminster 
 
 = Abbey, London. 
 
 ' iBuchholz (bookh'-holts), (i) Jn. Si- 
 
 ' meon, Schlosswippach, 1758 — Berlin, 
 
 ■' 1825 ; founded firm of organ-builders ; 
 
 succeeded by his son (2) K. Aug. 
 
 (1796— 18S4), whose son (3) K. Fr., 
 
 d. Feb. 17, 1885. 
 
 Biichner (biikh'-ner), Emil, b. Oster- 
 
 li field, near Naumburg, iJec. 25, 1826; 
 pupil of Leipzig Cons.; 1865, court- 
 conductor ; composed 2 operas, etc. 
 Buck, (i) Zechariah, Norwich, Eng- 
 land, 1798 — Newport, Essex, 1879 ; 
 organist Norwich Cathedral ; teacher 
 and composer. (2) Dudley, b. Hart- 
 ford, Conn., March 10, 1839; pupil 
 W. J. Babcock (pf.), then of Plaidy 
 and Moscheles (pf.) ; Hauptmann 
 (comp.) and J. Reitz (instrumenta- 
 tion), Leipzig Cons. ; later Dresden, 
 under Reitz and Johann Schneider 
 (organ); and 1861-62 in Paris; 1862, 
 organist of the Park Ch., Hartford, 
 U. S. A. ; St. James, Chicago, 1872, 
 St. Paul's and of the Music Hall As- 
 sociation, Boston ; 1875, organist 
 Cincinnati May Festival ; then, asst. 
 ', cond. to Th. Thomas, New York ; 
 I since organist of Holy Trinity Ch., 
 ' Brooklyn ; director Apollo Club ; 
 composed comic opera "' Deserei" 
 (prod. 1880) ; symphonic overture 
 i " Marmion " (1880) , many cantatas ; 
 the 46th Psalm ; " TAe Christian 
 
 Year" a series of 5 cantatas ; wrote 
 2 books of Pedal-phrasing Studies, 
 and ''Illustrations on Choir-acconipa- 
 niiiient, with Hints on Registration "; 
 pub. " T/ie Organist's Repertoire" 
 . (with A. P. Warren) ; " The Influ- 
 ence of the Organ in History " (1882) ; 
 and a ''Dictionary of Musical 
 Terms." 
 
 Biihler (bii'-ler), Fz. P. Gregorius, 
 Schneidheim, 1760 — Augsburg, 1824 ; 
 Benedictine monk, 1794 ; conductor 
 at Botzen ; dram, composer and theo- 
 rist. 
 
 Bull, John, Dr., Somersetshire, Eng- 
 land, 1563 — Antwerp, March 12, 
 1628 ; 1582, organist ; 1592, Mus. 
 Doc. Oxon.; 1596, Prof, of music at 
 Gresham Coll. on Queen Elizabeth's 
 recommendation ; resigned on his 
 marriage, 1607 ; 16 17, organist Notre 
 Dame, Antwerp ; an early English 
 composer whom Oscar Bie credits 
 with remarkable originality in the 
 midst of over-ornamentation. 
 
 Bull (bool), Ole (Bornemann), Ber- 
 gen, Norway, Feb. 5, 18 10 — Lysoen, 
 Aug. 17, 1880 ; enormously popular 
 and brilliant violin-virtuoso, a whit 
 charlatanic ; pupil of Paulsen ; then 
 self-taught, using a bridge almost 
 level and a flat fingerboard ; studied 
 theology, but failed in examinations ; 
 1828, dir. Philh. and Dram. Soc, 
 Bergen ; 1829, studied with Spohr 
 briefly; 1832, debut, Paris, after liv- 
 ing there a year observing Paganini's 
 methods ; toured Europe frequently, 
 and North America 5 times (1843- 
 79): he died at his country-seat. He 
 played his own comps. almost alto- 
 gether ; wrote 2 concertos, and charac- 
 teristic solos ; biog. by Sara C. Bull, 
 his second wife, Boston, 1883, and by 
 Vlik (Bergen, 1890). 
 
 Bul'lard, Fred. F., b. Boston, Mass., 
 Sept. 21, 1864. 1888-92, studied 
 comp. under Rheinberger, Munich ; 
 teacher of comp., critic and composer, 
 Boston ; has pub. many successful bal- 
 lads and four-part songs for male 
 voices, also sacred music. 
 
446 
 
 THE MUSICAL GUIDE 
 
 Billow (fon bii'-lo), Hans Guido von, 
 
 Dresden, Jan. 8, 1830 — Cairo, Egypt, 
 Feb. 12, 1S94 ; versatile and influen- 
 tial musician ; pianist and conductor 
 of remarkable accuracy and memory, 
 popularising the custom of conducting 
 without score ; often called the best 
 interpreter of Beethoven, but rather 
 cold as a pianist ; at 9, studied pf. 
 with Fr. Wieck ; harmony with Ebe- 
 wein ; 1848, entered Leipzig Univ. 
 as law-student, but studied cpt. with 
 Hauptmann ; 1849, Wagner's "'Die 
 Kunst und die Revolution " stirred 
 him deeply, and having heard 
 ''Lohengrin" at Weimar under 
 Liszt's direction, he joined Wagner, 
 then e.\iled at Zurich, 1S50-51 ; stud- 
 ied conducting with him, and acted as 
 cond. in theatres at Zurich and St. 
 Gallen, and later with Liszt ; 1S53 
 and 1855 toured Germany and Aus- 
 tria, with success ; 1855-64, hrst pf.- 
 teacher Stern Cons., Berlin. 1S57, 
 m. Cosima, Liszt's natural daughter, 
 whom he later surrendered to his 
 friend Wagner (q.v.); 1858, court- 
 pianist ; 1863, Dr. Phil. /ion. causa, 
 Univ. of Jena ; 1864, court-pianist. 
 Mynich ; 1867-69, court-conductor 
 and dir. School of Music ; 1869-72, 
 teacher and pianist in J"lorence ; 
 1875-76, gave 139 concerts in Amer- 
 ica ; 1878-80, court-conductor at 
 Hanover; then till 1885, Hofmusik- 
 intendant, Sa.xe-Meiningen ; 1882, 
 m. Marie Schanzer ; 1885-88, teach- 
 er Raff Cons., Frankfort, Klindworth 
 Cons., Berlin, and dir. Berlin Fhilh. 
 Concerts; in 188S, founded the succ. 
 "Subscription Concerts." Composed 
 music to "Julius Caesar" (op. 10) ; a 
 Ballade for orch., " Des Siingers 
 Fluch" (op. 16); " iVirwana" a 
 symphonic Stimmungsbild (op. 20) ; 
 4 Charakterstiicke for orch. (op. 23) ; 
 a few pf.-pcs. and songs ; also many 
 piano arrangements. His critical ed. 
 of Beethoven's sonatas, and Cramer's 
 etudes, are standard ; biog. by his 
 2d wife (Leipzig, 1S95). 
 Bulss (bools), Paul, Birkholz Man- 
 
 or, Priegnitz, Dec. 19, i847-^TemeS2! 
 var, Hungary, March 20, 1902; pupil! 
 of G. Engel ; barytone at Dresd< 
 (1876-89), later at Berlin court opei 
 
 Bulthaupt (boolt -howpt), H, 
 Bremen, Oct. 26, 1849 ; wrote a valu- 
 able " Dramaturgie der Oper " (Leip- 
 zig, 1887). 
 
 Bungert (boong'-ert), August, b. 
 Muhlheim-on-Ruhr, March 14, 1S46; 
 pupil of Kufferath (pf.), later at Co- 
 logne Cons. ; for 4 years at Paris 
 Cons.; then (1869) with Mathias; 
 lived (1873-81) at Berlin, and stud- 
 ied cpt. with Kiel ; since lives near 
 Genoa. His life-work has been 
 " Das Homerische Welt" in 2 Ho- 
 meric opera-cycles, occupying 6 
 "evenings" (Abende), each with a 
 " Vorspiel ; " The Iliad {"Die /lias") 
 is unfinished : (a) Achilles ; (b) JCly- 
 temnestra. The Odyssey {"Die 
 Odyssee") consists of Circe; Nau- 
 sikaa ; Odysseus' Neitnkehr (Berlin, 
 March 31, iSq8 ; succ), and Odys- 
 seus' Tod (Dresden, 1902). Other 
 comp. are (comic opera) " Die Stu- 
 denten von Salamanca " (Leipzig, 
 1884); symph. poem, " Auf der IVart- 
 burg" ; " Hohes Lied der Liebe," 
 with orch.; overture, " Tasso" pf, 
 quartet, op. 18 ; Florentine quartet 
 (prize, 1878) ; " Ltalienishe Reise- 
 bilder" etc., for pf.; songs to Car- 
 men Sylva's " Lieder einer Konigin" 
 etc. 
 
 Bun nett, Edw., b. Norfolk, England, 
 1834 ; articled to Dr. Buck, 1849 ; or- 
 ganist various churches, Mus. Doc. 
 O.xon, 1869; 1871-92, cond. Nor- 
 wich Mus. Union ; since 1S72 organ- 
 ist of the Norwich Festivals ; com- 
 posed cantata, etc. 
 
 Bun ning, Herbert, b. London, May 
 2, 1863 ; pupil of V. Ferroni ; c. 
 Italian scena, " Ludovico il Mora" 
 (prod, with succ, 1892), also 2 sym- 
 phonic poems, opera " The Last 
 Days of Pompeii " (MS.), etc. 
 
 Bun ting, Edw., Armagh, Feb., 1773 
 —Belfast, 1843 ; historian and col- 
 lector of Irish music. 
 
 ^ 
 
DICTIONARY OF MUSICIANS 447 
 
 Buonamente (boo-6-na-men'-te), Giov. 
 Bat., cond. Franciscan monastery at 
 Assisi ; early and important composer 
 for violin, also cornetti (1623-36) ; 
 confused by Fetis with Bonometti. 
 
 Buonamici (boo-5-na-me -che), Giu., 
 b. Florence, 1846 ; pianist ; pupil of 
 his uncle Ceccherini, and of Biilow 
 and Rheinberger at Munich ; 1873, 
 cond. Florentine Choral Society 
 "Cherubini"; founded the Flor. 
 " Trio Society" ; pub. etudes, etc. 
 
 Buononcini. Vide bononcini. 
 
 Burbure de Wesembeck (biir-biir dii 
 va-ziin-bek), L^on Ph. M., Chevalier 
 de, Termonde, 18 12 — Antwerp, 1889; 
 Flemish nobleman ; writer and com- 
 poser. 
 
 Burde-Ney (biir'-de-nl'), Jenny, 
 Graz, 1826 — Dresden, 1886 ; so- 
 prano ; 1855, m. the actor E. 
 Biirde. 
 
 Burette (bii-ret), P. J., Paris, 1665— 
 1747 ; Prof, of Medicine, Paris Univ. ; 
 writer on Greek music. 
 
 Biirgel (biir-gel), Konstantin, b. 
 Silesia, June 24, 1837 ; pupil of Bro- 
 sig and Kiel ; 1869-70 pf. teacher in 
 Kullak's Acad., now private teacher ; 
 composer. 
 
 Biirger (biir'-ger), Sigmund, b. Vien- 
 na, 1856; pupil of Popper; 'cel- 
 list ; since 1887 soloist at R. Opera, 
 Pesth, and teacher in the Cons. 
 
 Burgle (boorkh), Joachim Moller (or 
 Miiller), called Joachim A. Burgk 
 (or Burg, or Burck), Burg, near 
 Magdeburg; ca. 1541 — Miilhausen, 
 Thuringia, May 24, 1610 ; organist 
 and eminent composer of Protestant 
 music. 
 
 Burgmein, J., pen-name of " Giulio 
 Ricordi." 
 
 3urgmiiller (boorkh'-miil-ler), (i) Jn. 
 Fr. Fz., Ratisbon, 1806— Beaulieu, 
 1874 ; composer. (2) Norbert, Diis- 
 seldorf, 1810— Ai.x-la-Chapelle, 1836; 
 pianist and composer. 
 
 Jurgstaller (boorkh'-shtal-ler), Alois, 
 b. Holzki'.chen, Sept. 27, 1871 ; 
 
 ' tenor ; studied with Bellurth and 
 Kniese ; sang small roles at Bayreuth 
 
 from 1894, "Siegfried" (1897); 
 " Siegmund " (1899). 
 
 Burke, Jos., Ireland, 1818— New 
 York, Jan. 19, igo2 ; came to Amer- 
 ica at 12 as prodigy violinist ; pupil 
 of de Beriot ; retired about 1855. 
 
 Burkhard (boorkh'-hart), Jn. Andreas 
 Chrn., Pastor, Leipheim, Swabia ; 
 theorist and editor. 
 
 Burmeister (boor'-mi-shter), (i) Rich- 
 ard, b. Hamburg, Dec. 7, ig6o; pian- 
 ist ; pupil of Liszt, accompanying him 
 as he travelled ; teacher Hamburg 
 Cons.; for 12 years head of pf. dept., 
 Peabody Inst., Baltimore; 1898, dir. 
 N. Y. Scharwenka Cons.; c. pf.-con- 
 certo(op. i), " The Chase after Fort- 
 une " ('"Diejagd nach dem Gliick "), 
 a symphonic fantasy in 3 movements ; 
 rescored Chopin's F minor concerto, 
 and wrote orch. accomp. for Liszt's 
 '''Pathetic" concerto. (2) Dory 
 (nee Peterson), b. Oldenburg, 1S60 ; 
 pianist ; wife of above. 
 
 Burmester (boor'-ma-shter), Willy, b. 
 Hamburg, 1869 ; violin-virtuoso ; 
 studied with his father and Joachim ; 
 toured with his sister, a concert-pian- 
 ist. Von Biilow aided him and brought 
 public attention to his abilities ; has 
 toured Europe, and 1899, America. 
 
 Bur'ney, Chas., Shrewsbury, Eng- 
 land, 1726 — Chelsea, 1814 ; toured 
 Europe; Mus. Doc. Oxon, 1769; 
 pub. very interesting and gossipy 
 " The Pre sett t State of Music itt 
 France and Italy " etc. (1771) ; 
 "do. in Gertnany, the A'etherlands,'' 
 etc. (1.773) ; " General History of 
 Music" (4 vols., 1776-89), etc. 
 
 Burr, Willard, b. Ohio, Jan. 17, 1852 ; 
 graduated Oberlin Cons. ; pupil of 
 Haupt, Berlin ; lives in Boston, Mass. ; 
 composed grand sonata for pf. and 
 vln., etc. 
 Bur'rowes, J. Freckleton, London, 
 1787 — 1852 ; organist, pianist and 
 writer. 
 Burton, (i) Avery, composer in reign 
 of Henry VIII. (2) J. Yorkshire, 
 1730 — 1785; harpsichord. (3) Fred- 
 erick R., graduated at Harvard ; 1. 
 
448 
 
 THE MUSICAL GUIDE 
 
 Yonkers, N. Y. ; founded there, 1896, 
 a choral society ; c. pop. cantata 
 " Hiawatha" etc. 
 
 Bur'tius (or Burci (boor'-che)) or Bvtr- 
 zio (boor'-tsl-o), Nicolaus, Parma, 
 1450 — ca. 1520; wrote the earliest 
 specimen of printed mensural music. 
 
 Busby, Thos., Westminster, Eng- 
 land, 1755 — London, 1S38 ; Mus. 
 Doc. ; composer and writer. 
 
 Busi (boo -ze), (i) Giu., Bologna, 1808 
 — 1S71 ; Prof. (2) Alessandro, Bo- 
 logna, 1S33 — 1S95 ; son of above ; 
 'cellist and conductor. 
 
 Busnois (blin-wa), A. (rightly de 
 Busne (du bun)), d. 1481 ; Nether- 
 land contrapuntist. 
 
 Busoni (boo-s6 -ne), Ferruccio Ben- 
 venuto, b. Empoli, near P'lorence, 
 April I, 1S66 ; pianist ; pupil of his 
 father (Fdo.), clarinettist, and his 
 mother {ace Weiss), a pianist ; at 8, 
 debut at Vienna ; then studied with 
 W. A. Remy ; 18S1, toured Italy ; at 
 15, elected a member of the Reale 
 Accademia Filarmonica, Bologna ; 
 i836, Leipzig, where he c. a fantastic 
 opera, a string-quartet (D min.), sym- 
 phonic suite, etc. ; 1SS8-S9, Prof. 
 Helsingfors Cons.; 1890, won Rubin- 
 stein prizes for comp. and pf. -play- 
 ing, with a Concertstiick for pf. and 
 orch., op. 31a ; sonata for pf. and 
 vln. ; pf. arr. of Bach's Eb Organ 
 Prelude, and Fugue ; and other pf. 
 pes. incl. 2 Cadenzas to Beethoven's 
 Concerto in G ; 1890, Prof, in the 
 Moscow Imp. Cons.; 1891-93 at New 
 England Cons., Boston, IJ. S. A.; 
 1S95, toured ; now lives in Berlin ; 
 edited Bach's " Well-tempered Clavi- 
 chord" with etudes ; other comps., 
 '' Lustspiel OuvertUre" ; 4 choruses 
 with orch. ; 2 suites for orch. ; a 
 "' Symphonisches Tongedicht" for 
 orch., etc. 
 
 Busser (bus-sa), H. Paul, b. Tou- 
 louse, 1872 ; pupil of Guiraud and 
 Gounod ; took first Grand Prix de 
 Rome, with cantata ''Antigone" ; 
 since 1892, organist at St. Cloud ; c. 
 succ. i-act pastorale '' Daphnis et 
 
 Chloe" (Paris, Op. Com.), 1897 ; can 
 tata '' Amadis de Cattle" 1892 (tak 
 ing 2d Grand Prix de Rome); orches 
 tral suite ''A la Villa Medicis" ; 
 lyric drama " Colomba" and opera |; 
 " Le Miracle des Perles." 
 
 Busshop (biis-shop), Aug. Guil., 
 Paris, 1810 — Bruges, 1896; self 
 taught; c. prize-cantata, "' Le Dra\\ 
 peau Beige" 1834, etc. I 
 
 Bussler (boos'-ler), L., Berlin, Novh 
 26, 1838 — Jan. 18, 1900; theorist I c 
 son of the painter-author, Rober; 1 
 Bussler ; pupil of von Hertzberg; 
 Dehn, Grell, and Wieprecht ; 1865! 
 teacher of theory, Ganz School oj 
 Music ; from 1879, at the Stern Cons.l u 
 Berlin ; critic and writer of variouj i 
 treatises. j 
 
 Bussmeyer (boos'-ml-er), (i) Hugo, b; -i. 
 Brunswick, 1842 ; pianist ; pupil o( 1 
 K. Richter, Litolff (pf.), and Methi i 
 fessel (comp.) ; 1S60, toured in Soutl ; 
 America ; i860, N. Y. ; compose \ 
 and writer. (2) Hans, b. Brunswick' 
 1853 ; bro. of above ; pianist ; pupi 
 of Royal School of Music at Munich 
 and teacher there since 1874; als^ 
 studied with Liszt ; toured S. Amei 
 ica, 1872-74 ; 1879, founded Munic i 
 Choral Society. J 
 
 Bustini (boos-te'-ne), Aless. ; youni; M 
 Italian composer, prod. succ. oper' t^. 
 " Maria Dulcis" Rome, 1902 ; 1; 
 bretto by Luigi Ilica. 
 
 Buths (boots), Julius, b. Wiesbaden 
 May 7, 1851 ; pianist; pupil of hi 
 father (an oboist), also of Gernshei-ii 
 Ililler and Kiel ; 1871-72, cond. th 
 " Cecilia," at Wiesbaden ; 1873, wo 
 Meyerbeer Scholarship, and lived i 
 Milan and Paris; 1875-79, cond. i 
 Breslau ; in Elberfeld, 1S79-90; sine 
 cond. Mus. Soc. at Elberfeld ; c 
 concerto, etc., for pf. 
 
 Butt, Clara, Eng. contralto ; won 
 scholarship at London R. C. M.; df 
 but, London, 1892 ; toured America 
 1899 ; m. Kennerly Rumford, bar) 
 tone, 1900. Her great success ha 
 been emphasised by her imposin 
 beauty (she is 6 ft. 2^ inches tall). 
 
 J 
 
DICTIONARY OF MUSICIANS 449 
 
 Buttstedt (boot'-shtet), Jn. H,, Bin- 
 dersleben, 1666 — Erfurt, 1727 ; writer 
 of a famous defence of sol-mi-sa-tion ; 
 also organist and composer. 
 
 Buus (boos), Jachet (Jacques) de, 
 b. Bruges (?), 1510; Flemish cptist ; 
 1541, asst. organist, San Marco. 
 
 Buxtehude (boox'-te-hoo-de), Die- 
 trich, Helsingor (Elsinore), Den- 
 mark, 1639 — I.iibeck, 1707; organist; 
 1673, he established the " Abend- 
 musiken," which J. S. Bach walked 
 50 miles to hear ; great composer of 
 fugues and suites. 
 Buzzola (bood-z6'-la), A., Adria, 1815 
 — Venice, 1871 ; conductor at San 
 Marco and dram, composer. 
 Jyrd (Byrde, Bird, or Byred), Wm. ; 
 according to his will, discovered in 
 1897, he was born London, 1542, or 
 1543 (not 1538 or 1546, as stated) ; d. 
 July 4, 1623 ; organist and notable 
 English composer, in whose work there 
 
 t is much modernity; 1554, organist ; 
 
 ji ■ 1563, choirmaster and organist Lin- 
 
 • coin Cathedral ; 1575, procured with 
 Tallis, his former teacher, an exclu- 
 sive patent for the privilege of print- 
 
 . • ing music and selling music-paper. 
 
 aballero (ka-bal-la'-ro), Manuel 
 Fernandez, b. Murcia, March 14, 
 1835 • pupil of Fuertes (harm.) and 
 Eslava (comp.), Madrid Cons. ; c. 
 pop. Zarzuclas (v. D.D.) and church- 
 music. 
 
 abel (ka-bel), rightly Cabu, (i) Ed., 
 singer Op. Com., Paris. (2) Marie 
 Josephe (nee Dreulette), Liege, 
 1827 — 1SS5 ; sister-in-law, or perhaps 
 mother, of above ; soprano. 
 abo (ka -bo), Francisco Javier, b. 
 Naguera, near Valencia, 1832 ; or- 
 ganist, conductor and composer. 
 accini (kat-che-ne), Giulio (called 
 Romano), Rome, ca. 1546 — Flor- 
 ence, ca. 1615 ; a Revolutionary com- 
 poser well called ' ' The father of a new 
 style of music " ; studied singing and 
 flute-playing with Scipione della Pal- 
 
 la. Wrote and sang '''Musica in Stile 
 Jiapprt'seiitativo"a.ViA c. '' II Rapii- 
 viento di Cefalo " (Oct. 9, 1600), the 
 first opera ever publicly prod. ; he 
 had also set to music other works by 
 Bardi (q. v.), and collaborated with 
 Peri (q. V.) in '' Daftie" the first 
 opera ever composed. He c. also 
 a novel set of madrigals justly called 
 "Z^ miove mtisichc" and other 
 works of notable originality and im- 
 portance to progress. 
 
 Cadaux (ka-do), Justin, Albi, France, 
 1813 — Paris, 1874 ; dram, composer. 
 
 Cadiac (kad-yak), P., choirmaster at 
 Auch, France, and composer (1543- 
 58). 
 
 Cadore (ka-do'-re), Arturo, young 
 Italian composer, prod, comic opera 
 " / Vespri " (Milan, 189S ?) and succ. 
 i-act " Jl Xatale" (Milan, 1902). 
 
 Caesar, Julius, RLD., b. Rochester, 
 England ; amateur composer, 17th 
 cent. 
 
 Cafaro (ka-fa -ro), Pasq. (called Caf- 
 fariel'lo), San Pietro, Galatina, Italy, 
 1706 — Naples, 1797 ; noted composer; 
 c. operas, oratorios, a notable " Stabat 
 mater," etc. 
 
 Caffarelli (rightly Gaetano Majora- 
 no) (kaf-fa-rel'-ll), Bari, April 16, 
 1703 — Santo-Dorato, near Naples, 
 Nov. 30, 1783 ; famous male so- 
 prano ; discovered as a peasant boy, 
 by Caffaro, a musician, he took the 
 name Caffarelli out of gratitude ; he 
 studied 5 years with Porpora ; was a 
 skilful sight-reader and harpsichord- 
 ist, a marvellous singer of florid mu- 
 sic, and also gifted with pathos ; had 
 most successful debut, Rome, 1724, 
 in a female role, and sang with enor- 
 mous success everywhere except Lon- 
 don ; made money enough to buy a 
 dukedom. 
 
 Caffl (kaf'-fe), Fran., Venice, 1786— 
 Padua, 1874 ; writer. 
 
 Caffiaux (kaf-ft-6), Dom. Phillippe 
 Jos., Valenciennes, 17 12 — Paris, 
 1777 ; abbe and writer. 
 
 Cagniar de la Tour (kin'-yar dii la 
 toor'), Baron, Chas , Paris', 1777— 
 
450 
 
 THE MUSICAL GUIDE 
 
 1859; improved the " Svren " (v. 
 D. D.). 
 
 Cagnoni (kan-yo'-nT), A., Godiasco, 
 1828 — Bergamo, 1896; conductor and 
 dram, composer. 
 
 Cahen (ka-an), (i) Ernest, Paris, 
 1828 — 1893 ; pianist and dram, com- 
 poser. (2) Albert, b. Paris (?), Jan. 
 8, 1846 ; pianist ; pupil of \Ime. 
 Szarvady and Cesar Franck ; c. 
 ''Jean le Pri'cttrseur" biblical poem 
 (1874); com. opera '' Le Bois" (1880, 
 Op. Com.) ; fairy opera " La Belle au 
 Bois Dormant" (Geneva, 1886); 4- 
 act opera " Le Vt'nitien" (Rouen, 
 1890) ; unsucc. opera " La Fern me de 
 Claude'' (Paris, Op. Com., 1896); 
 lives in Paris. 
 
 Caillot (kl-yo), Jos., Paris, 1732 — 
 18 16 ; tenor-barytone. 
 
 Cain (kin), Henri, b. Paris, 1859; 
 painter ; and librettist to Massenet, 
 etc. 
 
 Caimo (ka'-e-mo), Joseffo, b. Milan, 
 ca. 1540 ; composer. 
 
 Cal'ah, J., 1758 — 1798, English organ- 
 ist. 
 
 Caldara (kal-da'-ra). A., Venice, 1678 
 — Vienna, Dec. 28, 1763; court-con- 
 ductor and noted composer, Vienna ; 
 c. operas, 70 sacred dramas, etc. 
 
 Caldicott, Alfred Jas., Worcester, 
 England, 1842— near Gloucester, Oct. 
 24, 1897 ; organist of St. Stephen's 
 Church, Worcester, and Corporation 
 organist; 1883, prof, at R. C. M., 
 London ; from 1885, cond. at the 
 Albert Palace ; c. cantatas, 13 oper- 
 ettas, etc. 
 
 Calegari (kal-a-ga -re), (i) (or Calle- 
 gari) Fran. A., d. Padua, 1742; 
 a Franciscan monk, 1702-24 ; con- 
 ductor and writer at Venice, then 
 Padua. (2) A., Padua, 1758— 1828 ; 
 dram, composer and writer. 
 
 Cal kin, J. Bapt., b. London, March 
 16, 1827 ; pianist, organist and com- 
 poser ; prof. Guildhall School of 
 Mus. ; pub. services, etc. 
 
 Call, Leonard de, 1779 — Vienna, 
 1815 ; guitar virtuoso and compos- 
 
 Callaerts (kiil'-larts), Jos., b. Ant 
 werp, Aug. 22, 1838 ; pupil at Brusj 
 sels Cons, of Lemmens ; organist a'l 
 Antwerp Cathedral, and teacher 
 the Music School from 1867 ; c. 
 prize symphony and pf. trio, comiil 
 opera ; ' Le Retottr Imprevu " (Ant 
 werp, 1889), etc. 
 
 Call'cott, (i) J. Wall, Kensingtoni 
 Nov. 20, 1766 — May 15, 1821 ; main 
 ly self-taught; organist; 1789 h 
 won all the prizes offered by th 
 " Catch Club; " 1790, pupil of Haydn 
 1800, Mus. Doc. (Oxon) ; 1806, led 
 ured at the Royal Institute ; ovei 
 work on an unfinished music; 
 dictionary destroyed his reason ; h .' -. 
 ''Grann)tar of Music" (1806) ;■ 
 standard. (2) Wm. Hutchins, Ken;- ,i 
 ington, 1807 — London, 1882; son i\m 
 above ; organist and pianist. j j|. 
 
 Calliope (kal-li'-6-p§ or kal-le'-o-paj Ir 
 the Greek muse of heroic verse. ; J 
 
 Calo'ri, Angiola, Milan, 1732 — 179CI \ 
 soprano. 
 
 Calsabigi (kal-sa-be'-je), Ranierod 
 Livorno, 1715 — Naples, 179; 
 Gluck's librettist and aide in oper 
 reformation. 
 
 Calv6 (kal-va), Emma (de Roquei 
 b. Madrid, 1864 ; eminent operal 
 actress and soprano ; pupil of Ms 
 chesi and Pugets ; 1882, debut 
 Massenet's " ILtfrodiade" Th. de 
 Monnaie, Brussels ; 1884, Paris 1 
 Italien ; 1885, Op. Com. ; has su 
 constantly in New York, London, et 
 she is an Ofificier d' Academic, and liv 
 in Paris. 
 
 Calvis'ius, Sethus (rightly Se 
 Kallwitz(kar-vets)),Feb. 21, 1556 
 Leipzig, Nov. 24, 161 5 ; son of 
 peasant ; singer for alms, then as 
 teacher obtained funds to stud 
 (1581) mus. dir. ; writer of import.' 
 treatises and composer. 
 
 Calvor (kal'-far), Kaspar, Hildeshei; 
 1650 — Clausthal, 1725 ; theorist. 
 
 Cambert (kah-bar), Rob., Paris, '. 
 1628 — London, 1677 ; first compojr 
 of French operas ; organist at 
 Honore; 1659, " Za Pastorale" \ 
 
DICTIONARY OF MUSICIANS 451 
 
 succ. prod, at the Chateau d'Issy ; 
 and followed by others on the texts of 
 Perrin, who received letters patent for 
 establishing the " Academic royale de 
 musique " (new the Gr. Opera) ; with 
 Perrin he also wrote the first genu- 
 ine opera, '' Ponttnie" prod. 1671, 
 before Lully, who later took the pat- 
 ent for himself ; he went to England 
 where he died as Master of the Music 
 to Charles II. 
 
 Cambini (kam-be'-ne), Giov. Giu., 
 
 ■ Leghorn, 1746 — Bicetre, 1825 (?); 
 cond. at Paris, and prolific but cheap 
 composer of over 60 symphonies, 144 
 string-quartets, several operas, etc. ; 
 he died in the almshouse. 
 
 Camerana (kam-a-ra'-na), Luigi, b. in 
 Piedmont, 1S46 ; theatre - cond. in 
 Savona ; dram, composer. 
 
 Cam idge, (i) J., ca. 1735 — York, 
 Engl., 1S03 ; organist York cath., 47 
 years ; composer. (2) Mat., York, 
 I 1758 — 1844 ; son and successor of 
 above. (3) J., York, 1790 — 1859; 
 son and successor of (2). 
 
 Campagnoli (kam-pan-yo-le), Bart., 
 Cento, 1751 — Neustrelitz, 1S27 ; vio- 
 linist and court-conductor. 
 
 Campana (kam-pa-na), Fabjo, Leg- 
 horn, 1S19 — London, 1882 ; singing- 
 teacher and dram, composer. 
 
 Campanari (kam-pa-na-re), (i) Lean- 
 dro, b. Rovigo, Italy, Oct. 20, 1S57 ; 
 pupil at Milan Cons. ; toured Europe 
 2 years ; America, 1S79 ; lived in 
 Boston ; organised " C. String-quar- 
 tet"; 18S3 1st prof, of vln. in N. 
 E. Cons. ; 1890. ist prof, of vln. 
 and head of orch. dept. Cincinnati 
 Cons. ; since 1897 conductor at 
 Milan ; writer and composer. (2) 
 Giuseppe, eminent dram, barytone, 
 bro. of above, sings at Met. Op., N.Y. 
 
 Campanini (kam-pa-ne'-ne), Italo, 
 Parma, 1S45 — Vigatto, near Parma, 
 Nov. 22, 1S96 ; operatic tenor, a 
 blacksmith when discovered ; debut, 
 1869, at Odessa, without much suc- 
 cess ; then studied with Lamperti, 
 and reappeared, Florence, 1S71, as 
 " Lohengrin," with great succ. ; 
 
 toured Europe and U. S. with Nils- 
 son, Patti, etc. 
 
 Campbell, Alex., organist, editor, 
 and publisher, i8th century. 
 
 Campenhout (kam'-pen-oot), Fran- 
 cois van, Brussels, 1779 — 1848 ; vio- 
 linist, then tenor, then dram, com- 
 poser. 
 
 Campioli A. Gualandi, called Cam- 
 piole, b. Germany, of Sp. parents ; 
 male contralto ; debut Berlin, 1708. 
 
 Cam'pion, (i) Thos., d. London, Feb. 
 1619 ; English physician, poet, dram- 
 atist and noteworthy writer and 
 composer ; pub. two books of Ayres, 
 etc. (1610); 2 more (1612). (2) Fran., 
 1703-19, theorbist, Paris Gr. Opera. 
 
 Campio'ni, Carlo A., Leghorn, ca. 
 1720 — Florence, 1793; court-conduc- 
 tor. 
 
 Camporese (kam-p6-ra'-ze). Violante, 
 
 b. Rome, 1785 ; operatic sopr. of 
 Napoleon's private music ; debut, 
 London, 1S17 ; retired. 1S29. 
 
 Campos (kam -pos), Joao Ribeiro de 
 Almeida de, b. Vizen, Portugal, ca. 
 1770; cond., and professor. 
 
 Campra (kan-pra), (i) Andr6, Dec. 4, 
 1660 — Versailles, July 29, 1744 ; cond. 
 at Notre Dame ; prod. 2 succ. operas 
 under his bro's name and gave up 
 church-mus. ; cond. Royal Orch. and 
 
 c. 18 operas. (2) Jos., bro. of above ; 
 double-bass player. 
 
 Camps y Soler (kamps e s6'-lar), Os- 
 car, b. .\le.\andria, Egypt, Nov. 21, 
 1S37; Spanish pianist ; pupil of Dohler 
 and Mercadante ; played in public at 
 13; lives in Madrid ; writer and theo- 
 rist. 
 
 Candeille (kan-de'-yu). (i) P. Jos., 
 Estaires, 1744 — Chantilly,_ 1827; 
 dram, composer. (2) (Simons- 
 Candeille) Am61ie Julie, Paris, 
 1767 — 1834 ; operatic sopr., actress, 
 and composer ; daughter of above ; 
 lived in Paris as teacher ; she wrote 
 libretto and music of the succ. oper- 
 etta " Z-rt Belle Fermih-e" {\-q2) \ 
 she played the leading role and sang 
 to her own ficcomp. on piano and 
 harp. 
 
452 
 
 THE MUSICAL GUIDE 
 
 Cange (dti kafizh), Chas.-Dufrfesne, 
 sieur du, Amiens, 1610 — Paris, 166S ; 
 lawyer and lexicographer. 
 
 Cannabich (krin'-na-blkh), (i) Chr., 
 Mannheim, 1731 — Frankfort, 1798 ; 
 noteworthy violinist and conductor, 
 a pioneer in orchestral diminuendo ; 
 son of (2) Mathias, a flutist in the 
 Electoral Orch, at Mannheim of 
 which Chr, C. became leader in 1765, 
 and cond. 1775. (3) K., Mannheim, 
 1769 — Munich, 1805 ; son of (i) ; 
 court-conductor. (4) Rose, b. about 
 1762 according to Mozart, whose pu- 
 pil she was ; daughter of (i) ; notable 
 pianist. 
 
 Canniciari (kan-ne-chji'-rg), Don 
 Pompeo, Rome, 1670 — 1744; con- 
 ductor and composer. 
 
 Canthal (kan'-tal), Aug., b. Lubeck (?); 
 flutist 1832 Hamburg Th. ; 1847, succ. 
 concerts, Copenhagen ; 1848, band- 
 master, Leipzig ; composer. 
 
 Cantor, Otto, Engl, song-writer, lives 
 in London. 
 
 Campella Martianus Minucius 
 (Mineus), Felix, 5th cent., Latin 
 scholar at Carthage ; writer. 
 
 "Capelli," pen-name of Jn. D. von 
 . Apell. 
 
 •Capocci (ka-p6t'-che), (i) Gaetano, 
 
 - Rome, Oct. 16, 1811 — Jan. ii, 1-S98 ; 
 notable teacher ; pub. much sacred 
 music. (2) Filippo, b. Rome. May 
 II, 1840 ; son of above ; Italian or- 
 ganist, perhaps the best living ; since 
 1875 organist of San Giovanni in 
 Laterano ; c. for organ. 
 
 Caporale (ka-p5-ra'-ie), Andrea, d. 
 London, ca. 1756 ; 'cellist. 
 
 Capoul (ka-pool) (Jos. Am6d6e), Vic- 
 tor, b. Toulouse,. .Feb. 27,. 1S39 ; 
 tenor; pupil of Revial and Mocker, 
 Paris Cons. ; 1861-72 at the Op. 
 Com. ; 1892 prof, of operatic singing 
 in Nat. Cons., New York; asst. dir. 
 Gr. Opera, Paris, 1899 ; 1902 (?) di- 
 rector Op. Com., Paris. 
 Caraccio (ka-rat'-ch5) (or Caravac- 
 cio), Giov., Bergamo, ca. 1550 — 
 Rome, 1626 ; conductor. 
 Caraccioli (ka-rat-cho'-le), Luigi, 
 
 lies! I 
 
 Adria (Bari), 1849 — London, 1887 ; 
 dram, composer. 
 
 Carado ri-Allan, Maria C. R. (nee 
 de Munck), Milan, 1800 — London, 
 1865 ; soprano. 
 
 Carafa de Colobrano (ka-ra-fa da 
 k6-l5-bra'-n5),« Michele Enrico, 
 Naples, Nov. 17, 1787 — Paris, July 
 26, 1872 ; son of Prince Colobrano 
 while very young c. an opera, 2 can 
 tatas, etc., with much success ; 183 
 member of the Academy ; 1840, pn 
 of comp. at Cons. ; c. also ballei 
 cantatas, and good church-music 
 
 Caramuel' de Lob kowitz (vets) 
 Juan, Madrid, 1606 — Vigevano, Italy, 
 1682 ; bishop and writer. 
 
 Cardon (kir-doh). (i) Louis, Paris, 
 1747 — Russia, 1805 ; harpist. (2) 
 P., b. Paris, 175 1 ; 'cellist and singer. 
 
 Cardoso, Manuel, Fronteira, 1569 ;t i 
 Spanish priest and composer. 
 
 Caresana (kar-a-sa-na), Cristoforo,] j 
 
 b. Tarentum, 1655 ; lives in Napli 
 as composer. * 
 
 Carestini (ka-ras-te'-ne), Giov. (stage 
 name Cusanino), Mente Filatrano 
 (Ancona), ca. 1705 — 1760; male so- 
 prano (musico). 
 
 Ca'rey, Henry, 1685 (?) — London, Oct. 
 4, 1743 ; a reputed natural son of 
 Marquis of Halifax, and disputed 
 composer of " God save the King" ; 
 
 c. the song ''Sally in our Alley"; 
 ballad operas, etc. 
 
 Cario (ka-rl-o), Jn. H., Eckernforde, 
 Holstein, 1736 — after 1800 ; trum- 
 peter. 
 
 Carissimi (ka-rts'-se-me), Giacomo, 
 Marino, near Rome, ca. 1604 — Rome, 
 Jan. 12, 1674 ; ca. 1624, church- 
 conductor at Rome ; important ch.- 
 composer and writer ; many of his 
 MSS. are lost ; 5 oratorios and other 
 pieces remain. 
 
 Carl, Wm. Crane, b. Bloomfleld, N. 
 J., March 2, 1S65 ; pupil of S. P. 
 Warren (org. and theory), Mad. 
 Schiller (pf.) and Guilmant, Paris; 
 since 1892, organist First Presby. 
 Ch., N. Y. ; cond. of N. Y. " Gamut 
 Club " ; tours as concert-organist. 
 
 ^5^ 
 
 
DICTIONARY OF MUSICIANS 453 
 
 Car'michael, Mary Grant, b. Birken- 
 head, Engl. ; pupil of O. Beringer, 
 W. Bache, and F. Hartivigson (pf.) 
 and E. Prout (comp.) ; accompanist ; 
 c. operetta, ''The Snow Queen'' ; 
 a pf. -suite ; and many pop. songs. 
 
 Car naby, Wm., London, 1772 — 1839 ; 
 m i«°''g?" composer. 
 ,jj( Carnicer (kar-ne-thar), Ramon, Tar- 
 egge, Catalonia, Oct. 24, 1789 — 
 Madrid, March 17, 1855 ; cond. 
 Royal Opera, Madrid, i83c^54, prof. 
 of comp. Madrid Cons.; one of 
 the creators of the Zarzuela (v. 
 D. D.). 
 
 Caron (ka-roh), (i) Firmin, 15th cent., 
 cptist. of Netherlands ? (2) Rose, 
 noted soprano Gr. Opera, Paris. 
 
 Carpani (kar-pa'-ne), Giu. A., b. Vil- 
 albese (Como), 1752— Vienna, 1S25 ; 
 writer. 
 
 Carpentras (II Carpentrasso). 
 
 Vide El.EAZEK GENET. 
 
 Carr, Frank Osmond, b. Yorkshire, 
 ca. 1S57 ; 1882 Mus. Bac. Oxon ; 
 i8gi, Mus. Doc. ; c. farces, bur- 
 lesques, and comic operas ; ''Joan of 
 Arc" (1891), "Blue-Eyed Susan" 
 (London, 1892), "hi Town" (i8g2), 
 "Bis Excellency" (1894, libretto by 
 W. Gilbert), etc. 
 
 Carre (kar-ra), (i) Louis, Clofontaine 
 Brie, 1663 — Paris, 171 1 ; writer. (2) 
 Albert, b. Strassburg, June 22, 1852; 
 1898, dir. Op.-Com., Paris; lib- 
 rettist. 
 
 Carreno (kar-ran'-y6), Teresa, b. Ca- 
 racas, Venezuela, Dec. 22, 1853 ; 
 pupil of L. >L Gottschalk, and G. 
 Mathias ; notable pianist ; played in 
 public at 12 ; at 22 toured the U. S. ; 
 1889-go toured Germany with much 
 success; for some years wife of E. 
 Sauret ; then of Giov. Tagliapietra ; 
 1892-95, wife of Eugen d'Albert ; 
 1902, m. Arturo Tagliapietra, bro. of 
 Giov. T. ; c. a string-quartet and pf. 
 salon pieces. Her daughter Teresita 
 : , Tagliapietra is a pianist. 
 ^. iCarro'dus, J. Tiplady, Keighley 
 (Yorkshire), 1836 — London, 1895; 
 violinist. 
 
 Carter, (i) Thos., Ireland, ta. 1735— 
 London, 1804; composer. (2) H., 
 b, London, March 6, 1837 ; organ- 
 ist ; pupil of Haupt (org.), Pauer (pf.), 
 Kiel and liiller (comp.) ; at 9, church 
 organist ; later at Quebec, Boston, 
 etc.; 1880, prof, in Coll. of Music, 
 Cincinnati ; 1883 organist Brooklyn, 
 later N. Y. ; composer. 
 
 Cartier (kart-ya), J. Bap., Avignon, 
 1765 — Paris, 1841; violinist and dram, 
 composer. 
 
 Carulli (ka-rool'-le), (i) Fdo., Naples, 
 1770 — Paris, 1841 ; self-taught gui- 
 tar-virtuoso and teacher ; c. 400 
 concertos. (2) Gustavo, Leghorn, 
 1880 — Boulogne, 1877; son of above; 
 teacher and dram, composer. 
 
 Caruso (ka-roo'-z6), Luigi, Naples, 
 1754 — Perugia, 1821 ; conductor; c. 
 69 operas. 
 
 Carvalho (kar-val'-S) (rightly Car- 
 vaille), (i) Leon, in a French colony, 
 1825 — Paris, 1897; from 1875 dir. 
 Op. Com. (2) Carvalho-Miolan 
 (me-6-lah), Caroline M. -Felix, 
 Marseilles, 1827 — Puys, near Dieppe, 
 1895 ; soprano ; wife of above ; de- 
 but 1849. 
 
 Ca'ry, Annie Louise, b. Wayne (Ken- 
 nebec County, Me.), Oct. 22, 1S42 ; 
 distinguished operatic and concert 
 contralto ; studied in Boston and 
 Milan, and with Viardot-Garcia, etc.; 
 debut 1S68, at Hamburg ; later 
 Stockholm, Copenhagen, Brussels, 
 London, New York (1870), St. Pet- 
 ersburg (1875) ; 1882, m. C. M. Ray- 
 mond, Cincinnati. 
 
 Casali (ka-sii'-le), Giov. Bat., d. 1792; 
 conductor and dram, composer. 
 
 Casamorata (ka-sa-mo-ra'-ta), Luigi 
 Fdo., Wiirzburg, 1807 — Florence, 
 188 1 ; editor, writer, and compos- 
 er. 
 
 Casarini (or -a) (ka-sa-re'-ne), Italian 
 soprano in Handel's operas, London, 
 1748. 
 
 Casel'la, P., Pieve (Umbria), 1769— 
 Naples, 1843 ; dram, composer. 
 
 Caser ta, Philippe de, Neapolitan 
 theorist, 15th century. 
 
454 
 
 THE MUSICAL GUIDE 
 
 Casini (ka-se'-ne), G. M., b. 1675 (?) ; 
 Florentine priest ; he tried to revive 
 Greek modes. 
 
 Cassell , Guillaume, Lyons, 1794 — 
 Brussels, 1836 ; singer and teacher. 
 
 Cassiodo rus Magnus Aurelius, b. 
 Syllaceum (Lucania), ca. 470 ; writer. 
 
 Castel (kas-tel), Louis Bertrand, 
 Montpellier, 168S — Paris, 1757 ; a 
 Jesuit writer who attempted without 
 success to construct a "Clavecin 
 oculaire," to prod, colour harmonies. 
 
 Castellan (kis-tel-lah), Jeanne A., b. 
 Beaujeu, Oct. 26, 1819; retired, 
 1859; singer. 
 
 Castelli, (i) Ignaz Fz., Vienna, 1781 
 — 1862 ; editor. (2) , so- 
 prano in London, 1825-28. 
 
 Castelmary (kas-tel-ma-re) (stage 
 name of Comte Armand de Cas- 
 tan), Toulouse, Aug. 16, 1834 — 
 New York, Feb. 9, 1897 ; barytone ; 
 died on the stage of the Met. Op., 
 N. Y., just after the first act of 
 ''Martha." 
 
 Cas'tro, Jean de, played Lyons, 1570; 
 composer and lutist. 
 
 Castil-Blaze. Vide blaze, f. h. j. 
 
 Castrucci (kas-troot'-che). P., Rome, 
 1689 — London, 1769; violinist; lead- 
 er of Handel's opera-orch. ; inv. and 
 played the violeita marina. His 
 bro. (2) Prospero (d. London, 1769); 
 violinist and composer. 
 
 Catalani (kat-a-la -ne), Angelica, 
 Sinigaglia, Oct., 1779 — Paris, June 
 12, 1849 ; famous operatic soprano of 
 great beauty ; her voice was notably 
 flexible and reached to g" (v. chart 
 OF PITCH) ; in 1806, at London, she 
 earned over ;^i6,ooo ($80,000) in one 
 year; 1814-17, she took up manage- 
 ment of the Th. Italien, Paris, without 
 succ. After final appearance, York 
 festival, in 1828, she retired to her 
 country-seat, near Florence. 
 
 Catalini (ka-ta-le'-ne), Alfredo, Luc- 
 ca, July 19, 1S54 — Milan, Aug. 7, 
 1S93 ; pupil of his father a musician 
 at Milan ; gained admission without 
 exam, to Paris Cons. ; 1S86 prof, of 
 comp., Milan Cons. ; c. 6 operas, of 
 
 which the most succ. were, '' Deja- 
 nire" " LoreUy" and " La JFa//y." 
 
 Catel (ka-tel), Chas. Simon, L'Aigle, 
 Orne, 1773 — Paris, 1830; dram, 
 composer and writer. 
 
 Catelani (kat-a-la'-ne), Angelo, Guas- 
 talla, 1811 — S. Martino di Mugnano, 
 1866 ; dram, composer and writer. 
 
 Catenhausen (ka-ten-how'-zen), 
 
 Ernst, b. Ratzeburg, 1841 ; conduc- 
 tor and composer. 
 
 Cat'ley, Anne, London, 1745 — 1789; 
 soprano, debut, 1762 ; m. Gen. Las- 
 celles. 
 
 Catrufo (ka-troo'-fo), Giu., Naples, 
 1 77 1 — London, 185 1 ; dram, com- 
 poser, ■mlk? 
 
 Caurroy (kor-wa), Fran. Eustachejy 
 du, sieur de St.-Fremin, Gerberoy, 
 1549 — Paris, i6og ; singer and con- 
 ductor. 
 
 Causton, Thos., d. Oct. 28, 1569; of 
 the Chapel Royal ; English com- 
 poser. 
 
 Cavaccio (ka-vat'-cho), Giovanni, 
 Bergamo, ca. 1556 — Rome, 1626;' 
 conductor. 
 
 Cavaille-Coll. (ka-vl'-ya-kol) (Doni' 
 Hyacinthe), Aristide, Montpellier, 
 1811 — Paris, 1899; son of famous 
 org. -builder ; 177 1 — 1862, org. -build- 
 er and inv. of separate wind-chests 
 with different pressures, etc. 
 
 Cavalieri (del ka-val-ya'-re), (i) Emilio' 
 del, Rome, ca. 1550 — Florence (?), 
 1599 (?) ; " Inspector-Gen. of Art and 
 Artists" to the Tuscan court; ad-' 
 vocated non-polyphonic music; his' 
 " Rappresentazioiie di Aiiinia e di 
 Corpo" (Rome, 1600) is the first ora- 
 torio. (2) Katherina, Vienna, I76i| 
 — iSoi ; singer, whom Mozart wrotej 
 for and praised. (3) Lina, b. Rome,! 
 Dec. 24, 1S74, daughter of a laun-1 
 dress ; won notoriety as beauty and 
 singer in cafes chantants ; then^ 
 studied with Mme. Mariani-Marsi ; 
 succ. debut in '' Pagliacci" Lisbon, 
 1900 ; sang Naples, Warsaw, and 
 1902, engaged at Dal Verme Th., 
 Milan. 
 
 Caval'li, Fran., Crema, ca. 1600— 
 
 
DICTIONARY OF MUSICIANS 455 
 
 Venice, Jan. 14, 1676 (rightly Pier 
 Francesco, Caletti-Bruni), son of 
 Giambatt. Caletti, called Bruni, 
 Maestro at Crema. A Venetian 
 nobleman, Federigo Cavalli, had him 
 taught and he took his name. He sang 
 at S. Marco, 1665 ; first organist 
 there ; 166S, conductor ; he was a pu- 
 pil of Monteverde and developed M.'s 
 principles, composing 41 operas, the 
 most succ. being " Giasoiie ' (Venice, 
 1649); " Sffse" (1654); '' Ercole 
 Ainante" (Paris, 1662) ; he c. also a 
 notable requiem, and other church- 
 music. 
 
 Cavallini(le'-ne), Ernesto, Milan, 1807 
 — 1873 ; clarinettist and composer. 
 
 Caval'lo, Peter, Munich, 1819— Paris, 
 1892 ; organist. 
 
 Cavendish, Michael, English com- 
 poser, 1599. 
 
 Cavos (ka-v6s), Catterino, Venice, 
 1775 — iit. Petersburg, 1840 ; 1799, 
 court-conductor; c. 13 Russian operas; 
 also others. 
 
 Caylus (ke'-liis), Anne Claude Phi- 
 lippe de Tubieres, comte de, Paris, 
 1692 — 1765 ; writer. 
 
 Cazzati (kad-za -te), Maurizio, Man- 
 tua, 1625 — 1677 ; composer and con- 
 ductor. 
 
 Cecil'ia (Saint), d. Rome, a.d. 230, in 
 Christian martyrdom ; her feast-day 
 is Nov. 22d ; legendary inventor of the 
 organ, and patron saint of Christian 
 music. 
 
 Celestino (cha-les-te'-n6), Eligio, 
 Rome, 1739 — Ludwigslust, 1812; 
 violinist and conductor. 
 
 Celler, Ludovic. Vide leclerq. 
 \ Cellier (sel'-yer), Alfred, Hackney, 
 London, Dec. i, 1844 — Dec. 28, 
 1891 ; conductor in London, etc. ; c. 
 15 operettas, incl. the very succ. 
 ''Dorothy'' (1886) ; " The Mounte- 
 
 ^banks" (London, 1892), etc. 
 
 Cernohorsky (or Czernohorsky), 
 (cher-no-hor'-shkl), Bohuslav, Nim- 
 burg, Bohemia, 17th cent. — Italy, 
 1740 ; a Minorite monk ; conductor ; 
 his comps. are still sung in Bohemian 
 churches. 
 
 Cerone (cha-ro'-ng), Dom. P., b. Ber- 
 gamo, ca. 1566 ; theorist. 
 
 Cerreto (cher-ra-to), Scipione, Na- 
 ples, 155 1— ca. 1632; lutist and the- 
 orist. 
 
 Certon (ser-toh). P., i6th cent., con- 
 trapuntist ; choirm. Sainte Chapelle, 
 Paris. 
 
 Ceru (cha-roo'). Dom. Ag., b. Lucca, 
 
 ^ Aug. 28, 181 7 ; engineer and writer. 
 
 Cerveny (char'-va-ne), V. F. (Wen- 
 zel Fz.), Dubec, Bohemia, 1819 — 
 Koniggratz, Jan. 19, 1896 ; maker 
 and improver of brass instrs. and inv. 
 of the important "roller" cylinder 
 mechanism, also of the contrabass 
 (1845), metal contrafagotto ('56), alt- 
 horn obbligato ('59), primhorn ('73), 
 and the complete waldhorn quartet 
 (primhorn, Ec alto, waldhorn in F, 
 tenor in Bb, basso, 11 in D^?), sub- 
 contrabass and subcontrafagotto ; im- 
 proved the family of cornets, the eu- 
 phonion, the screwdrum, and the 
 church-kettledrum, etc. 
 
 Cervera (ther-va'-ra), Fran., b. Val- 
 encia, i6th cent. ; theorist. 
 
 Cervetti. Vide gelinek. 
 
 Cervetto (ch^r-vet'-to), (i) Giacomo 
 (rightly Bassevi), Italy, ca. 1682 — 
 London, Jan. 14, 1783 ; 'cellist. (2) 
 Giacomo, d. Feb. 5, 1837 ; son of 
 above ; 'cellist and composer. 
 
 Cesbron (se -broh), Suzanne Cathe- 
 rine, b. Paris, May 29, 1879, soprano; 
 pupil of the Cons., taking prizes 1899, 
 1900, 1901 ; debut, X901, Opera Co- 
 mique as Griseldis in Massenet's op- 
 era. 
 
 Cesi (cha'-ze), Beniamino, b. Naples, 
 Nov. 6, 1845 ; pupil of Naples Cons, 
 under Mercadante and Pappalardo, 
 pf. -pupil of Thalberg ; since, 1866, 
 prof. Naples Cons. ; c. an opera, 
 " Vittor Pisani" (not prod.), etc. 
 
 Cesti (chas'-te). Marc A., Arezzo, 
 1620 — Venice, 1669 ; Franciscan 
 monk ; conductor and tenor singer ; 
 first opera, " Orontea," succ. at Ven- 
 ice, 1649 ; wrote 10 other operas 
 mainly succ; all lost now except "Za 
 Dori " (Venice, 1663) ; his cantatas 
 
456 
 
 THE MUSICAL GUIDE 
 
 are better preserved ; he wrote them 
 for the stage. 
 
 Cevallos (the-val'-los), Fran., 1535 — 
 1572 ; Spanish composer. 
 
 Chabrier (shab-rl-a), Alexis Emm., 
 Auvergne, Jan. 18, 1842 — Paris, Sept. 
 13, 1894 ; studied law in Paris, then 
 music ; 1881, choirm. under Lamou- 
 reux ; c. operettas, a rhapsodic " Es- 
 pafii " fororch., etc. 
 
 Chad'wick, G. Whitfield, b. Lowell, 
 Mass., Nov. 13, 1S54 ; studied organ, 
 etc., under Eugene Thayer at Boston; 
 1876 head of mus. dept. of Olivet 
 Coll., Mich.; 1877-78 studied Leipzig 
 Cons. (Reinecke, Jadassohn), his 
 graduation piece being an overture to 
 ''Rip Van Winkle;" studied at 
 Munich with Rheinberger ; 1880, or- 
 ganist Boston and teacher of harm., 
 comp. and instrumentation at the N. 
 E. Cons., of which he is dir. ; cond. 
 the Worcester Mus. Festivals, re- 
 signed, 1902 ; c. 3 symphonies ; 4 
 overtures, ''Rip Van IVinkle" {^"jq), 
 " Thalia " ('83), " Melpomene" ('87), 
 " The Miller's Daughter" ('88); 3 
 symphonic sketches for orch. ; comic 
 opera "Tabasco" (New York, '94); 
 many choral works ; " The Colum- 
 bian Ode" (Chicago, '93), etc.; wrote 
 a text-book on " Harmony" (Boston, 
 1898). 
 
 Challier (shal'-lT-er), Ernst, b. Berlin. 
 July g, 1843; music-publisher, Berlin. 
 
 Chamberlain, Houston Stewart, b. 
 Portsmouth, England, Sept. 9, 1855 ; 
 son of a British Admiral, took doc- 
 tor's degree in Germany, and lived at 
 Vienna because of his health ; pub. 
 famous book "Richard Wagner" 
 (Leipzig, 1892), followed by others. 
 
 Chambonniferes (shah-biin-yar), 
 Jacques Champion (called *' Cham- 
 pion de Chamb."), d. ca. 1670; first 
 chamber cembalist to Louis XIV. 
 
 Chaminade (sham'-I-nad), C^cile 
 (Louise St6phanie), b. Paris, Aug. 
 8, 1861 ; pianist and composer of 
 unusual spirit and originality ; pupil 
 of Lecouppey, Savard, Marsick and 
 Godard ; she lives in Paris ; c. the 
 
 succ."ballet-symphonie" "Callirhoe \ 
 (Marseilles, 1888) ; the " symphonic; 
 lyrique " " Les Amazones " (An vers,; 1 
 1888) ; 2 suites for orch. ; " Concert-i % 
 stuck " for pf. with orch. and many; ti 
 pop. songs and pf . -pieces ; opera inj ', 
 MS., book by A. Silvester. ' 
 
 Champein (shah-pah), Stanislas,; ^ 
 Marseilles, 1753 — Paris, 1830; dram.| t, 
 composer. i ^i 
 
 Champion (shaap-yoh), Jacques.j)|j 
 
 Vide CHAMBONNIERES. > | 
 
 Champ'ington, J., English organ-i * 
 builder ; 1597. 
 
 Channay (shan-ng), Jean de, i6th 
 cent, music-printer, Avignon. 
 
 Chanot (sha-n6), Fran., Mirecourt, 
 1787 — Brest, 1823; retired as a navali 
 engineer ; designed a violin which' 
 the Academy pronounced equal tO' Ji 
 Stradivari's ; his bro., a Paris luth-j It 
 ier, manufactured it, but found it im- i 
 practicable. j 
 
 Chapman, Wm. Rogers, b. Hano-! i 
 ver, Mass., Aug. 4, 1855; lives irj 
 New York as chorus- leader, conduc-j i 
 tor and composer. ! 
 
 Chap'pel & Co., music-publishers 
 London; founded 1812 by (i) Sam- 
 uel C, the pianist, Cramer, and F 
 T. Latour (1809— 1888). (2) Wm 
 C. became the head of the firm ; ir 
 1840 he founded the " Antiquariai 
 Society," and pub. colls, of Old Engl 
 music. His brothers, (3) Thomas 
 founded, and (4) Arthur, conducted 
 the Monday and Saturday Pop. Con 
 certs. 
 
 Chap'ple, Samuel, Crediton (Devon) 
 1775 — Ashburton, 1833 ; organist am 
 pianist, blind from infancy ; compos 
 er. 
 
 Chapuis (shap-we), Aug. Paul J 
 Bap., b. Dampierre - sur - Salon 
 France, April 20, 1862 ; pupil o 
 Dubois, Massenet, and Cesar Franck 
 Paris Cons., took first prize in harm. 
 1st prize for org., and the Rossin 
 prize ; organist at Saint-Roch.; fron 
 1894, prof, of harm, at the Cons, 
 since 1895, inspector-gen. of musi 
 instruction in Paris schools ; c. un 
 
 In 
 
DICTIONARY OF MUSICIANS 457 
 
 succ. lyric drama, '' Enguerrande" 
 (Op. Com., 1892) ; lyric drama 
 " Tancred" (Op. Com., 1S98?); an 
 oratorio ; a pf. -suite " on the oriental 
 scale," etc.; pub. a treatise on harm. 
 
 Char (khar), Fr. Ernst (" Fritz "), b. 
 Cleve-on-Rhein, May 5, 1865 ; pupil 
 of C. Kistler, Wullner and Neitzel ; 
 cond. opera at Zwichau, Stettin, and 
 St. Gallen ; now at Ulm ; wrote book 
 and music of succ. opera '' Der 
 ScheliH von Bergen" (Zwickau, 1S95); 
 c. cantata 'Spielmann," etc. 
 
 Chard, G. W., ca. 1765— May 23, 
 1849 ; English organist and compos- 
 er. 
 
 Charpentier (shar-paht-ya), (i) Marc 
 A., Paris, 1634 — March, 1702 ; con- 
 ductor to the Dauphin ; c. 16 operas 
 for the stage and many ' ' tragedies 
 spirituelles " for the Jesuits, masses, 
 etc. (2) Gustave, b. Dieuze, Lor- 
 raine, June 25, i860 ; pupil of Mas- 
 sart, Pessard, and Massenet, Paris 
 Cons. ; 1887, took grand prix de 
 Rome; c. orch. suite "'Impressions 
 d'ltalie" ; scene lyrique "Didon"; 
 symphonic drama (or concert opera) 
 ^'La Vie du Poete " (Grand Opera, 
 1892), and " Italien " (Hamburg, 
 1902); symph. poem '' Napoli" 
 (1891) ; book and music of succ. op- 
 era Louise (Op. Com., 1900) ; also c. 
 '''Marie" '' Orphe'e" and " Tete 
 Rouge" unprod. ; and songs, " Les 
 Fleurs du Mai" " Quinze pohnes" 
 some of them with chorus and orches- 
 tra. 
 
 Chat'terton, J. B., Norwich, 1810 — 
 London, 1S71; court-harpist and com- 
 poser. 
 
 Chaulieu (shol-yti), Chas., Paris, 
 1788 — London, 1849 ; pianist, teacher 
 and composer. 
 
 Chaumet (sho-ma), J. B. Wm., b. 
 Bordeau.x, April 26, 1842 ; won the 
 Prix Cressent, with the comic opera 
 '' Bathyle" (prod. 1877), also the Prix 
 Rossini ; c. comic operas ; lyric drama 
 Mauprat (MS.), etc. 
 
 Chauvet (sh6-va), Chas. Alexis, 
 Marnes, June 7, 1837 — Argentan, 
 
 Jan. 28, 1871; organist; c. noteworthy 
 org. -music. 
 
 Chavanne (sha-van'-ne), Irene von, 
 b. Gratz, ca. 1867 ; contralto ; pupil, 
 Vienna Cons., 1882-85 ; since 1885 at 
 the Dresden court-Opera. 
 
 Cheese, G. J., organist, London, 
 
 1771 ; writer. ! 
 
 Chelard (shu-lar), Hippolyte Andr6 ; 
 
 J. Bap., Paris, Feb. i, 1789— Wei- \ 
 
 mar, Feb. 12, 1861 ; X815, prod, his 
 first opera, " La Lasa a Vendere" ' 
 
 Naples ; entered the Paris Operatic j 
 
 orch. as violinist ; in 1827 his op- 
 era ''Macbeth" (text by Rouget de 
 Lisle), was prod., but failed; he 
 went to Munich, and 1828 prod, a 
 revised version of "Macbeth" with 
 such succ. that he was made court- { 
 
 conductor ; he returned to Paris, i 
 
 1829, and failed with 3 other operas ; \ 
 
 conducted the German Opera in Lon- 
 don, which failed ; returned to Mu- ■ 
 nich, and prod, his best work, "Die \ 
 HerDiannsschlacht" . 1835 ; 1836, 
 court-conductor at Weimar, where he 1 
 prod. 2 comic operas. 1 
 
 Chelleri (kel'-le-re). Fortunate (right- 
 ly Keller), Parma, 1686— Cassel, '\ 
 1757 ; court-conductor and dram, 
 composer. 
 
 Cheri (sha-re), Victor (rightly Cizos), j 
 
 Auxerre, 1830 — suicide, Paris, 1882 ; \ 
 
 cond. and dram, composer. 
 
 Cherubini (ka-roo-be'-ne) (M.) Luigi j 
 
 (Carlo Zenobio Salvatore), Flor- j 
 
 ence, Sept. 14, 1760 — Paris, March ' 
 
 15, 1842 ; one of the greatest masters 
 of counterpoint ; pupil of his father, ; 
 
 (cembalist, at the Pergola Th.), then | 
 
 of B. and A. I'elici, Bizarri and Cas- ' 
 
 trucci ; 1779 sent (under patronage of 
 the future Emperor Leopold III.) to 
 Milan, to study cpt. with Sarti ; at 13, '■■ 
 
 had c. a mass and an intermezzo for a 
 society theatre ; at 15, another inter- 
 mezzo ; 1780, " Quinto Fabio" was ; 
 prod, without succ. though with better 
 results in a revised version (1783) ; he 
 had succ. with 6 other operas, and ; 
 was in 1784 invited to London, where 
 he prod, an opera buff a, with some ' 
 
4J8 
 
 THE MUSICAL GUIDE 
 
 success, and another with none ; he 
 was court composer for one year ; 
 1788 he prod. " Ifigenia in Aulide" 
 at Turin ; and then hved in Paris, 
 where his French opera " l^^^mophon " 
 
 . (Grand Opera, 17S8) failed ; he then 
 cond. at a small opera house, until 
 1792. His opera '" Lodo/sia" 1791, 
 showed a new style of emotional 
 strength, powerful ensemble, and 
 novel orchestral colour that founded 
 a school of imitators. 7 other op- 
 eras and a ballet followed, incl. his 
 masterpiece (iSoo), '' Les deux jour- 
 uJes" (in Germany called " Der 
 PVassertrdger" ; in England, "The 
 Water-carrier"). 1795 he had been 
 made one of the inspectors of the new 
 Cons , Paris, but was not liked by 
 Napoleon, whose musical opinion he 
 had not flattered. On invitation he 
 wrote for Vienna " Faniska" a great 
 succ. (1806) ; an invitation to write 
 a mass for the Prince of Chimay, re- 
 sulted in the. famous 3-part mass in 
 F. He wrote 4 more operas, but 
 found church-music more satisfactory. 
 18 1 5, visited London ; wrote a sym- 
 phony, an overture, and a Hynnn to 
 Spring, for the Philh. Soc. After 
 many vicissitudes he became in 18 16 
 prof, of comp. at the Cons., Paris, 
 and 1821-41 dir. His enormous list 
 of works includes 15 Italian and 14 
 French operas, 17 cantatas, 11 sol- 
 emn masses, 2 requiems, i oratorio ; 
 I symphony, i overture ; 6 string 
 quartets ; 6 pf.-sonatas, and a mass 
 of smaller works, mus. for pf., etc. 
 The best biog. is by Bellasis (Lon- 
 don, 1874). 
 
 Chev6 (shu-va), Emile Jos, Maurice, 
 Douarnenez, Finistere, 1804 — 1864 ; 
 a physician ; wrote pamphlets attack- 
 ing the methods at the Paris Cons. His 
 wife (nee Matiine, Paris) collaborat- 
 ed with him. 
 
 Chevillard (shii-ve-yar), Camille, b. 
 Paris, Oct., 1859; pupil of G. Ma- 
 thias ; took 2d pf. prize at Cons.; till 
 1897, asst.-cond. of the Lamoureux 
 Concerts ; then cond. ; c. a symph. 
 
 ballade, " I,e chene et le roseau " ; a 
 symph. poem, a symph. fantasie, etc. 
 
 Ch'iabran (sha-brah) (or Chabran or 
 Chiabrano), Fran., b. Piedmont, 
 ca. 1723 ; violinist and composer. 
 
 Chiaromonte (ke-ar-o-mon'-tf), b. 
 Castrogfovanni, Sicily, 1809 — Brus- 
 sels, It5rf6 ; tenor ; prof, of singing 
 and dram, composer. 
 
 Chic (shek), L6on, b. April 28, 1819; 
 son and pupil of army musician, di- 
 rector of marine and military bands ; 
 c. various pieces. 
 
 Chick'ering & Sons, American firm of 
 pf.-makers, est. 1823, by (i) Jonas 
 Chickering (New Ipswich, N. H., 
 1798 — Boston, 1853); his son (2) 
 Col. Thos. E, C. (Boston, 1824— 
 1871), was named Chev. of the Le- 
 gion of Honour, and took first pL- 
 prize at the Paris Exposition, 1867 ; 
 he was in turn succeeded by his sons, 
 the present firm. 
 
 Chilcot (chrl'-kot), Thos., organist, 
 Bath, 1733, till end of century. 
 
 Child, Wm., Bristol, 1606— Windsor, 
 1697 ; organist. 
 
 Chilesotti (ke-la-s6t'-te), Oscare, b. 
 Bassano, Italy, July 12, 1848 ; law 
 graduate Padua Univ. ; flutist and 
 'cellist ; self-taught in harm.; lives in 
 Milan ; wrote important historical 
 works. 
 
 Chimenti (ke-men'-te), Margarita 
 (called la Dragherina), sang in 
 London, 1737. 
 
 Chipp, Edm. Thos. (Mus. Doc), 
 London, 1823— Nice, 1886 ; organist, 
 
 Chladni (khlat'-ne), Ernst Florens 
 Fr,, Wittenberg, Nov. 30, 1756— 
 Breslau, April 3, 1827 ; prof, of law 
 and investigator in physics and acous- 
 tics ; discovered the sound-figures 
 which sand assumes on a vibrating 
 plate, and which bear his name ; inv. 
 the euphonium and clavicylinder (v. • 
 D.D.). 
 
 Chollet (shol-la), J. B. M., b. Paris, 
 May, 1798 ; violinist and singer in 
 opera. 
 
 Chopin (sho-pafi) (Francois) Fr6d6-: 
 ric, Zelazowa Wola (Jeliasovaya Vo- 
 
DICTIONARY OF MUSICIANS 459 
 
 lia), near Warsaw, March i, 1S09 
 (Natalie Janotha declares it to be 
 Feb. 22, iSio) — Paris, Oct. 17, 1S49; 
 eminent composer for the piano ; son 
 of Nicholas C. (a native of Nancy, 
 France, who was at first bookkeeper 
 in a cigar factory, then teacher in the 
 Warsaw Gymnasium), and a Polish 
 woman (nee Justine Kryzanowska). 
 C. studied at his father's private school, 
 among young Polish noblemen ; Al- 
 bert Zwyny taught him pf. and Jo- 
 seph Eisner, harm., etc. At 9 he 
 played in public a pf. -concerto and 
 improvisations ; c. polonaises, ma- 
 zurkas, and waltzes ; in 1825, pub, 
 as op. I a rondo ; op. 2 a fantasie 
 with orch. He played in German 
 cities and had at 19 an individual 
 style of comp., having written his 2 
 pf. -concertos, mazurkas, nocturnes, 
 rondos, etc. He started for London, 
 and played in Vienna, 1829, with such 
 success that a critic called him " one 
 of the most remarkable meteors blaz- 
 ing on the musical horizon " : and at 
 Paris he had such succ. in his first 
 concert, 1831, that he settled there 
 for life as a teacher of the pf. and 
 occasional giver of concerts. His 
 pupils were of the most aristocratic, 
 and his friends included Liszt, Ber- 
 lioz, Meyerbeer, BeUini, Balzac, and 
 Heine. Schumann with typical spon- 
 taneity (cf. BRAH.Ms) was moved in 
 1831 by Chopin's op. 2, to say," Hats 
 off, gentlemen : — a genius " ; and in 
 1839, ii^ reviewing certain of his prel- 
 udes, mazurkas, and valses, to say 
 " He is and remains the keenest and 
 staunchest poet-soul of the time." 
 C.'s liaison with Mme. Dudevant 
 (" George Sand "), begun in 1836 and 
 ended in 1844, has caused endless 
 controversy. In 1838 an attack of 
 
 bronchitis drove him to Majorca, 
 where she seems to have been a de- 
 voted nurse, but the peevishness and 
 weakness due to his developing con- 
 sumption caused bitter quarrels, and 
 she is believed to have caricatured 
 him as Prince Karol in her novel 
 '^ Lucrezia I'loriani." Concert tours 
 and social life in England and Scot- 
 land in 1841-49 destroyed his 
 strength. A collection of his letters 
 was pub. (Dresden, 1877). His many 
 biographers include Liszt, M. Kara- 
 sowski (Dresden, 1877), INI. A. Aud- 
 ley, Fr. Niecks (Leipzig, 1889). The 
 latest, in many ways the best balanced, 
 estimate of C. and his works, is 
 James Huneker's " Chopin " (New 
 York, 1900). His comps. include 
 beside those mentioned (74, with opus- 
 number 12 lacking) : " Don Ciovan- 
 tii,'' fantasia, op. 2; '" Krakoviak" 
 rondo, op. 14 ; E^ Polonaise, op. 22 ; 
 and a fantasia on Polish airs for pf. 
 with orch ; duo concertant on themes 
 from "Robert le Diable"; an introd. 
 et Polonaise, op. 3, and a sonata, op. 
 65 for pf. and 'cello ; pf. trio, op. 8 ; 
 and a rondo for 2 pfs. op. 73. for 
 PF. solo: Allegro de concert; 4 
 ballades ; barcarolle, op. 60 ; ber- 
 ceuse, op. 57 ; bolero, op. 19 ; 3 ecos- 
 saises, op. 72 ; 12 grandes etudes, op, 
 10 ; 12 etudes, op. 25 ; 3 etudes ; 4 
 fantasies ; 3 impromptus ; marche 
 funebre, op. 72 ; 52 mazurkas. 
 " Jilorceau de concert sur la Alarche 
 des Puritains de Bellini " / 19 noc- 
 turnes, II polonaises; 24 preludes, 
 op. 28 ; prelude, op. 45 ; 3 rondos ; 
 4 scherzos ; 3 sonatas ; tarantelle, 
 op. 43 ; 13 valses ; variations on "' Je 
 vends des scapulaires" op. 12 ; 
 " Variation dans rUexame'ron" ; 16 
 Polish songs op. 74. 
 
46o THE MUSICAL GUIDE 
 
 
 Frederic Francois Chopin. 
 
 By James Huneker. 
 
 CHOPIN'S home education doubtless preserved in him a certain femi- 
 nine delicacy which never deserted him. ^ At the age of nine 
 he played a Gyrovvetz concerto in public and improvised, but 
 seemed more solicitous about the impression his new collar made on the 
 audience, than for the success of his music. ^As a composer of nineteen he 
 was remarkable and far in advance of his critics and audiences. The dis- 
 turbed political atmosphere of Poland coupled with an unsuccessful love 
 affair — he vainly adored the singer Constantia Gladowska — decided him on a 
 residence in Vienna. There his playing did not create any enthusiasm, and 
 in the fall of the year he went to Stuttgart en route for Paris. It was in the 
 German city that he heard of the downfall of Warsaw and of his patriotic 
 hopes ; for Chopin was a fierce patriot, but because of his slender physique, a 
 non-combatant. He journeyed at once to Paris and settled there. ^[ His 
 intimacy with the famous novelist George Sand lasted ten years, and her 
 influence, hurtful according to some, and valuable according to others, was 
 most potent and enduring. His sensitive nature was subject to many rude 
 shocks during his companionship with the coarser-fibred and more intellectual 
 woman. Yet it cannot be denied that from his most ardent pangs, he, 
 artist-like, contrived to wring some of his sweetest and most subtle music. 
 The shock of the separation, a separation that was inevitable, shatter 
 Chopin's bruised spirit, and two years later he died, if not of a broken hea 
 partially of disappointment, chagrin, and spleen. His lungs, always weak, 
 became hopelessly diseased, and after a profitless tour in England and Scotland, 
 where he was really too weak to play, he died of consumption and was 
 buried in Pere-Lachaise, near the graves of Cherubini and Bellini. His 
 funeral, an imposing one, called out the representative artistic spirits of the 
 city. Seldom has genius been so accompanied to its last resting-place. 
 ^ During his lifetime Chopin was the centre of a circle of wit, talent, and 
 fashion. Balzac, Delacroix, Liszt, Meyerbeer, Heine, Bellini, Berlioz, 
 Mendelssohn, were a 'iz\N among his mtimate associates. His spiritual and 
 original piano-playing admitted him into the inner circle of aristocracy, and 
 he was sought for persistently until his life was sapped by sorrow and constant 
 social duties. ^Chopin played but seldom in public, for he was unfitted by 
 nature to cope with the audiences of the larger concert halls. That task he 
 gratefully resigned to Liszt. But in the twilight of the salon among the 
 favoured choice souls, his playing took on almost unearthly qualities. His 
 touch, light in weight, was exquisite in timbre ; his tone ranged (rom forte to 
 a feathery pianissimo, while his style was absolutely unique. Tender, martial, 
 
DICTIONARY OF MUSICIANS 461 
 
 ironical, capricious, gay, and sad, this young Pole held in bondage the entire 
 emotional gamut. Never had the piano sounded so before, sounded so 
 aerial, so witty, so passionate ; and it may be doubted if it has sounded thus 
 since ; for, while Liszt, Rubinstein, Tausig, JosefFy, Heyman, DePachmann, 
 EssipofF, Rosenthal, and Paderewski were, and are, remarkable interpreters, 
 yet those who heard Chopin the pianist despair in their efforts to describe his 
 spiritual performances. His light, finely articulated hand explains some of 
 the characteristics of his technics ; the wide-spread harmonies, the changeful 
 play of inner voices ; the novel figuration ; and the lovely melodic life. 
 ^ Chopin is the poet of his instrument, the musical poet of Poland. He 
 caught up and treasured the folk-songs of his country, and gave them to the 
 world in an idealised form. His mazurkas are tiny poems full of caprice, 
 wounded pride, ecstatic moments ; his four ballads are epical in scope, con- 
 taining noble melodies, the form absolutely original ; the four scherzos are 
 evidences of Chopin's creative powers, for here the form is again novel ; the 
 content startling. Bitterness, frantic and cruel, followed by rapturous out- 
 bursts of melody arouse in the listener the most vivid emotions. It is Chopin 
 at the apex of his power. The polonaises are passionate and patriotic, or 
 else fantastic and graceful, but always wonder-breeding. His waltzes are for 
 the salon, and for the soul — like the mazurkas. Of the three sonatas, the 
 one in B flat minor is the most satisfactory. Without organic unity it never- 
 theless astonishes by its originality and depth. Its slow movement is the 
 funeral march, now a banal concert number. In his four Impromptus Chopin 
 is full of charm, while in the Barcarolle and in the Fantaisie, Opus ^g he 
 almost achieves perfection. The nocturnes and Cradle Sotig, now for the 
 most part war-worn from repetition, contain much beautiful music. The 
 Studies, opus lo and 25 with the Preludes, opus 28 are Chopin in all his 
 dazzling invention, his never-failing fancy, poetry, daring harmonic innova- 
 •ions and moving melodic richness. ^He changed the modern map of 
 Tiusic by his subtle and profound experimentings with the possibilities of 
 -hromatic harmonies, and for this ranks among the great composers. Within 
 lis range he is the most perfect lyrist that ever sang, and the ethereal sono- 
 ities of his style, his discreet and original use of the tempo rubato, make him 
 I forerunner of all that is free, individual and exotic in latter-day music. 
 ^Chopin was not happiest in writing for ochestra or for piano in conjunction 
 vith violin or violoncello. His two concertos contain charming episodes, but 
 io not cohere, do not make the eloquent appeal of the smallest o^ his 
 nazurkas. He was not fashioned for the epic, this master of intimate moods. 
 ie wrote variations, fantasies, a 'cello-sonata, a piano-trio and bolero, a tar- 
 ntelle and songs. ^We have forgotten them ; but never so long as the piano 
 emains the piano, will Chopin be forgotten. He is, as Rubinstein said, its 
 oul. 
 
462 
 
 THE MUSICAL GUIDE 
 
 Chor'ley, H. Fothergill, Blackley 
 Hurst, Lancashire, 1808 — London, 
 1872 ; critic and widely travelled 
 writer. , 
 
 Choron (sho-ron), Alex. Et., Caen, 
 Oct. 21, 1772 — Paris, June 29, 1834; 
 an ardent student of musical theory 
 and practice, historian and benefactor 
 who devoted his fortune to the ad- 
 vance of the art. 
 
 Choudens (shoo-dafis), A., b. Paris, 
 1S49 ; son of a music publisher ; c. 
 2 operas, " Graziella" (Paris, 1S77) ; 
 and '' La Jennesse de Don Juan,'' 
 etc. 
 
 Chouquet (shoo-ka). Ad. Gv., Havre, 
 1819 — Paris, 1886 ; teacher and writer 
 of historical works. 
 
 Christiani (kres-tl-ii'-ne), (i) Ad. Fr., 
 Cassel, 1836— Elizabeth, N. J., 1885 ; 
 pianist and writer ; lived in Lon- 
 don, then America. (2) Elise, Paris, 
 1827 — Tobolsk, 1853 ; remarkable 
 'cellist ; debut, Paris. 1845. 
 
 Christ'mann, (i) Jn. Fr., Ludwigs- 
 burg, Wurtemberg, 1752 — Heuting- 
 sheim, 1S17; composer and writer. 
 (2) Fz. X., Austrian organ-builder, 
 d. Rottenmann, Styria, 1875. 
 
 Chrysander (kre'-zant-gr), Fr., Lub- 
 theen, Mecklenburg, July 8, 1S26 — 
 1902 ; editor and writer of the stand- 
 ard biography of Handel, etc. 
 
 Chrysan'thos of Madyton ; writer 
 19th century ; teacher of church sing- 
 ing, Constantinople, later Archbishop 
 of Durazzo in Albania. 
 
 Church, J., Windsor, 1675 — Jan. 5, 
 1741 ; composer. 
 
 Chwatal (khwa-tal), (i) Fz. Xaver, 
 Rumburg, Bohemia, 180S — Elmen 
 (Soolbad), 1S79; teacher and com- 
 poser. (2) Jos,, b. Rumburg, Jan. 
 12, i8li, bro. of above; org. -builder 
 in Merseburg ; inv. minor improve- 
 ments. 
 
 Ciaja (cha -ya), Azzolino Bdo. della, 
 b. Siena, 167 1 ; organist, amateur 
 org. -builder, and composer. 
 
 Ciampi (cham'-pe), Legrenzio V., 
 b. Piacenza, 1719; dram, composer. 
 
 Cianchettini (chan-ket-te'-ne), (i) Ver- 
 
 onica (nee Dussek), Czaslau, Bohe- 
 mia, 1779; composer and teacher. 
 (2) Pio, London, 1799 — 1849; son of 
 above ; composer and pianist ; first 
 appearance at 5 years ; at 10 per- 
 formed an original concerto in public. 
 
 Cibber (slb'-ber), Susanna M. (nee 
 Arne), 1714 — 1766; great English 
 actress and notable singer, sister of 
 Dr. Arne. 
 
 Cieutat (s'yu-ta), H. Maurice, b. 
 Paris, July 15, 1861 ; pupil of S. 
 Rousseau ; c. vaudevilles and com. 
 ops. from 1885. 
 
 Cifra (che'-fra). A., Rome, ca. 1575—. 
 Loreto, ca. 1636 ; important com- 
 poser of the Roman School ; pupil 
 of Palestrina and B. Nanini ; court- 
 conductor. 
 
 Cimador (che'-ma-dor), Giambattis- 
 ta, Venice, 1761 — London, ca. 1808; 
 violinist, 'cellist, pianist and com- 
 poser. 
 
 Cimarosa (che-ma-ro'-sa), Domenico, 
 Aversa, near Naples, Dec. 17, 1749— 
 Venice, Jan. 11, iSoi ; the orphan ol 
 a poor mason ; studied at Minoritf 
 charity-school, his first teacher beinj 
 Polcano, monastery organist ; when 12 
 years old was given a scholarship ii 
 the Cons, di S. Maria di Loreto 
 where he studied singing with Mann: 
 and Sacchini, cpt. with FenaroU, am 
 comp. with Piccinni. 1770 his ora 
 torio ''Giiiditta " was prod, in Rome 
 1772, his first opera, '' Le Strava 
 game del Conte" at Naples, withou 
 succ, which was won, however, nex 
 year by ''La Finta Farigina." 
 phenomenal facility, he c. 76 operas i 
 29 years. Pie lived alternately i 
 Rome and Naples. 1781, he proc 
 two operas in Naples, one in Rom« 
 and two in Turin ; invited 1789 to t 
 court-composer at St. Petersbur 
 (vice Paesiello), he spent 5 months ( 
 triumphal progress thither, beir 
 lionised at various courts ; he staye 
 there 3 years, prod. 3 operas and wro 
 500 pieces of music for the cour 
 but he could not tolerate the climat 
 and was reluctantly released, beir 
 
 I 
 
DICTIONARY OF MUSICIANS 463 
 
 engaged as cond. to Emperor Leo- 
 pold at Vienna, with a salary of 12,- 
 000 florins. He prod. 3 operas incl. 
 his masterpiece " // Matrittionio Se- 
 greto" (1787), which won an all- 
 effacing success. 1793, he returned to 
 Naples. 1799, he took part in the 
 Neapolitan revolutionary demonstra- 
 tion on the entrance of the French 
 army, and was condemned to death 
 by King Ferdinand, but banished in- 
 stead ; he died suddenly at Venice. 
 It being everywhere claimed that he 
 had been poisoned by order of Queen 
 Caroline of Naples, the Pope's phy- 
 sician made an examination, and 
 swore that he died of a gangrenous 
 abdominal tumour. Particularly in 
 comic, but at times also in serious 
 opera, C. almost challenges compari- 
 son with Mozart for fluency of melo- 
 dy and orchestral richness. His best 
 operas are "Za Fittta' (Naples, 1773), 
 "L'/taliana inLondra" (Rome, 1774), 
 "// Fanaticoper gli A title hi Koniani " 
 (Naples, 1777), in which were intro- 
 duced dramatically vocal-trios and 
 quartets, "Za Ballerina Ainante" 
 (Naples, 17S2), " Z(? Tratne Dehtse'* 
 (Naples, 1786), " L' Impresario in A n- 
 gtistie" (Naples, 1786), " Giannina e 
 £ernadone" {Is a.p\ts, 1788), "Lal'er- 
 gine del Sole" (St. Petersburg, 1791), 
 " // Alatrimotiio Segreto" (Vienna, 
 1792), ''Le Astusie Fetuminile" (Na- 
 ples, 1794). He also prod. 2 orato- 
 rios, 7 symphonies, several cantatas ; 
 masses, etc. 
 
 Cipollini (che-p61-le'-ne), Gaetano, b. 
 Tropea, Italy, Feb. 8, 1857; pupil of 
 Francesco Coppa ; now lives at Mi- 
 lan as dram, composer. 
 
 Cipollone (che-p61-16'-ne), Alfonso, b. 
 Fara S. Martino (Chieti), Nov. 25, 
 1843 ; pupil of M. Rute ; lives at 
 Terano as teacher and composer. 
 
 Ciprandi (che-pran'-de), Ercole, ca. 
 1738 — after 1790 ; tenor. 
 
 Claassen (kliis'-sen), Arthur, b. Star- 
 gard, Prussia, Feb. 19, 1859 ; grad- 
 uated from Danzig Gym. ; 1S75, 
 studied under Mtiller-Hartung, Gott- 
 
 schalk and Sulze, Weimar Music 
 School ; 1880-84, cond. Gottingen 
 and Magdeburg; 1884, cond. " Ari- 
 on " and other societies of Brooklyn, 
 N. Y. ; est. the " Claassen Mus. 
 Inst."; c. choruses, incl. '"Der Kam- 
 erad " (prize) ; and symph. poem 
 " //o/ien/riedi>erg," etc. 
 
 Clag'get, Chas., London, 1755 — 
 1820 ; violinist and inventor. 
 
 Clapisson (kli-pls-soh), Antoine L., 
 Naples, 1808 — Paris, 1866 ; violinist, 
 professor and dram, composer. 
 
 Clari (kla'-re), Giov. M., Pisa, 1669 — 
 Pistoia, ca. 1745 ; conductor and 
 composer. 
 
 Clar ibel. Vide mrs. chas. baknard. 
 
 Clark(e), (r) Jeremiah, London, 1670 
 — (?), ca. 1707 ; organist and dram, 
 composer ; a suicide for love. (2) 
 Richard, Datchet (Bucks), 1780— 
 London, 1856 ; composer and writer. 
 (3) Vide scoTSON clark. 
 
 Clarke, (i) Jas. Peyton, Scotland, 
 1 80S — Toronto, Canada, 1877 ; or- 
 ganist and professor. (2) Hug^h 
 Archibald, b. near Toronto, Can- 
 ada, Aug. 15, 1839; son and pupil of 
 above ; organist in Philadelphia 
 churches ; 1S75, prof, of music in the 
 Univ. of Pennsylv.; made Mus. Doc. 
 (18S6) by the Univ. when his music 
 to Aristophanes' " Ae/iarnians" was 
 prod. ; also c. an oratorio, "Jeru- 
 salem" (Phila.. 1891), etc. (3) 
 J. (Whitfield-Clarke), Gloucester, 
 England, 1770 — Holmer, 1836; or- 
 ganist, professor and editor. (4) 
 James Hamilton Smee, b. Bir- 
 mingham, England, Jan. 25, 1840; at 
 12 organist; 1866 at Queen's College, 
 Oxford; Mus. Bac, 1867; cond. 
 various theatres ; 1893, cond. Carl 
 Rosa Opera Co.; c. operettas, 2 sym- 
 phonies, etc. (5) Wm. Horatio, b. 
 Newton, Mass., March h, 1840; 1878- 
 87, organist at Tremont Temple, 
 Boston, then retired to Reading, 
 Mass., where he has an estate and a 
 chapel of music, Clarigold Hall, con- 
 taining a large 4-manual organ with 
 100 stops ; wrote 15 instructive works 
 
464 
 
 THE MUSICAL GUIDE 
 
 " Outline of the Structure of the 
 Pipe-Organ" (1877), etc. (6) Ma- 
 ria Victoria (Cowden-Clarke). 
 Vide NOVELLO. 
 
 Clarus (kla-roos), Max., b. Miihl- 
 berg-on-Elbe, March 31, 1S52 ; pu- 
 pil of his father, the municipal mus. 
 dir. there, and of Haupt, Schneider, 
 and Loschorn, Berlin ; cond. in va- 
 rious German, Austrian and Hunga- 
 rian theatres ; 1S90, mus. dir. Bruns- 
 wick court ; from 1884 cond. the 
 "Orpheus," and from 1890 the "Chor- 
 gesangverein"; c. " Patriotic spectac- 
 ular" opera, "Z>4?j Grossen Konigs 
 Rekrut" (Brunswick, 1889) ; succ. 
 romantic opera ''Use" (Brunswick, 
 1895) ; ballets, etc. 
 
 Clasing (kla'-zing), Jn. H., Hamburg, 
 1779 — 1829 ; teacher and dram, com- 
 poser. 
 
 Claudin (kl5-dah), (i). Vide sermisy. 
 (2) Le Jeune. Vide lejkune. 
 
 Claudius (klow'-dl-oos). Otto, Ka- 
 menz. Saxony, 1793 — Naumburg, 
 1877 ; cantor and dram, composer. 
 
 Claussen (klows'-sen), Wm., Schwe- 
 rin, 184.3 — 1S69 ; composer. 
 
 Clausz-Szarvady (klows'-shar-va-de), 
 Wilhelmine, Prague, 1834. — Paris, 
 1882 ; pianist. 
 
 Clay, Fr. (of English parents), Paris, 
 1840 — Great Marlow, near London, 
 1889 ; dram, composer. 
 
 Cleaver, Mrs. Eleanor (nee Beebe), 
 b. Detroit, Mich. ; alto ; sang two 
 years as soprano in New York ; after 
 short stage career, studied with Delle 
 Sedie, and Bertin (acting), Paris ; 
 concert debut, London, 1900 ; has 
 sung there frequently with much suc- 
 cess ; 1902, sang in New York. 
 
 Cleeman (kla-man), Fr. Jos. Chp., 
 Kriwitz, Mecklenburg, 1771 — Par- 
 chim, 1827 ; writer. 
 
 Clegg, J., Ireland (probably), 1714 — 
 Nisane, 1742 ; remarkable violinist 
 and composer. 
 
 Clem ens, Jacob (called " CI. Non 
 Papa " ) (i. e., " not the Pope" Clem- 
 ent VIL) ; d. ca. 1557 (?) ; played 
 several instrs. and composed. 
 
 Clement (kla-ment), Fz., Vienna, 
 
 17S4 — 1S42 ; violinist and dram, com- 
 poser. 
 
 Clement (kla-man), (i) Chas. Fran., 
 b. in Provence, ca. 1720 ; lived in 
 Paris as pf. -teacher, writer and dram, 
 composer. (2) Felix, Paris, 1822 — 
 1885 ; organist. 
 
 Clementi (kla-men'-te), Muzio, Rome, 
 1752 — near Evesham, England, 
 March 10, 1832 ; son of a goldsmith 
 and musical amateur who had him 
 taught by A. Buroni, then by the 
 organist Condicelli. At 9 he was 
 chosen as an organist in competition 
 with older players ; until 14, studied 
 under G. Carpani (comp.) and Sar- 
 tartelli (voice); 1766, an Englishman 
 named Beckford secured permission to 
 educate him in England, and till 1770 
 he lived and studied in Dorsetshire ; 
 then made a sensation as pianist in 
 London. 1773, pub. pf. -sonatas ded- 
 icated to Haydn, and highly praised 
 by Emmanuel Bach ; 1777-80, cem- 
 balist at the Italian Opera ; 1781 
 toured the continent, meeting Mozart 
 in " friendly" rivalry, without victory 
 for either ; lived in London, 1782- 
 1802 ; he amassed a fortune as a 
 teacher, pianist and composer in spite 
 of losses from the failure of Long- 
 man and Broderip, instr. -makers ; he 
 estab. a succ. piano-factor}' and pub. 
 house (now Collard's). 1802, he 
 made a brilliant tour with his pupil 
 Field ; he taught other famous pupils, 
 incl. Moscheles, Kalkbrenner, Meyer- 
 beer. His comps. incl. symphonies 
 and overtures; 106 pf. -sonatas (46, 
 with vln., 'cello, or flute) ; fugues, 
 preludes and exercises in canon form, 
 toccatas, etc. His book of etudes, 
 the " Gradiis ad Parnassutn" 1S17, 
 is a standard ; biog. by Giov. Frojo 
 (Milan, 1878) ; O. Chilesotti (Milan, 
 1SS2), and Clement (Paris, 1878). 
 
 Clement y Cavedo (kla'-ment e ka- 
 va'-dho), b. Gandia, Spain, Jan. I, 
 1810; organist at Valencia; 1840- 
 52, at Gueret, France ; lived in Mad* 
 rid as composer. 
 
DICTIONARY OF MUSICIANS 465 
 
 Clarice (kla-res), Justin, b. Buenos 
 Ayres, Oct. i6, 1S63 ; 1882, pupil of 
 Delibes and Pessard, Paris Cons. ; 
 lives in Paris ; prod. 4 comic operas, 
 etc. 
 
 Clicquot (kle-ko), Fran. H., Paris, 
 1728 — 1791 ; organ-builder. 
 
 Clifford, Rev. Jas., Oxford, 1622— 
 London, 1698 ; composer. 
 
 Clif ton, J. Chas,, London, 1781 — 
 Hammersmith, 1841 ; teacher, con- 
 ductor and dram, composer ; inv. the 
 Eidomusicon (v. D. D.). 
 
 Clive, Catherine (nee Raftor) (called 
 " Kitty Clive "), London, 1711 — Dec. 
 6, 1785 ; famous actress, also singer. 
 
 Clu'er, J., d. London, .1729, English 
 publisher, reputed inventor of engrav- 
 ing on tin plates. 
 
 Cobb, Gerard Francis, b. Nettle- 
 stead, Kent, Oct. 15, 1S38 ; Fellow 
 Trinity Coll., Cambridge, 1S63 ; 
 studied music, Dresden ; 1877-92, 
 chairman Board of Music Studies, 
 Cambridge ; c. Psalm 62, with orch., 
 etc. 
 
 3occhi (kok'-ke), Gioacchino, Padua, 
 
 1720 — Venice, 1804; dram, composer. 
 
 ^occia (kot'-cha), Carlo, Naples, 
 
 1782 — Novara, 1S73; cond. and dram. 
 
 composer. 
 
 ])occius (kok'-tslt-oos), Th., Knaut- 
 
 hain, near Leipzig, 1824 — Leipzig, 
 
 1897 ; pf.-teacher. 
 
 'occon (kok-kon), Nicold, b. Venice, 
 
 Aug. 10, 1S26; pupil of E. Fabio ; 
 
 1856 organist, 1873 conductor at San 
 
 Marco ; c. over 450 numbers, an 
 
 oratorio, " Saul," 8 requiem masses, 
 
 30 " messe da gloria," 2 operas, 
 
 etc. 
 
 ochlaus (kokh'-le-oos), Jns. (rightly 
 Jns. Dobnek, pseud. "Wendel- 
 stein "), 1479 — Breslau, 1552 ; writer; 
 opponent of Luther. 
 ocks, Robt., & Co., firm of London 
 mus. publishers, founded, 1827, by 
 (i) Robt. C, succeeded by his sons, 
 (2) Arthur Lincoln C, and (3) 
 Stroud Lincoln C, d. 1868; (4) 
 Robt. Macfarlane C. is now in 
 charge. 
 
 Coclico (ko'-kle-ko) (Co'clicus), Ad- 
 rian Petit, b. in the Hennegau 
 (Hainaut), ca. 1500 ; singer and com- 
 poser. 
 
 Coenen (koo'-nen), (i) Jns. Meinar- 
 dus, b. The Hague, Jan. 28, 1824 ; 
 bassoonist, pupil of Liibeck Cons. 
 1S64, cond. at Amsterdam; later 
 municipal mus. dir. ; c. ballet-mus., 2 
 symphonies, cantatas, etc. (2) Fz., 
 b. Rotterdam, Dec. 26, 1826 ; violin- 
 ist; pupil of Vieuxtemps and Molique; 
 lived in Amsterdam, 1895, dir. of the 
 Cons, and prof, of vln. and comp. ; 
 solo violinist to the Queen ; leader of 
 a quartet ; and composer of a notable 
 symphony, cantatas, etc. (3) Wil- 
 lem, b. Rotterdam, Nov. 17, 1837 ; 
 bro. of above ; pianist, toured S. 
 America, and \V. Indies ; since 1862, 
 concert-giver in London ; c. oratorio, 
 "Lazartis" (187S), etc. (4) Corne- 
 lius, b. The Hague, 1S38 ; violinist ; 
 1859, cond. at Amsterdam ; i860 
 bandm. Garde Nationale, Utrecht ; c. 
 overtures, etc. 
 
 Coerne (ker'-ne), Louis Adolphe, b. 
 Newark, N. J., 1870; 1876-80 
 studied at Stuttgart and Paris, then 
 entered Harvard College and studied 
 with Paine and Kneisel. Boston, U. 
 S. A.; 1890 studied with Rheinberger 
 and Hieber, Munich ; 1893 organist 
 at Boston, also at the Columbian 
 Exposition ; 1893-96 dir. Liedertafel, 
 Buffalo ; c. an opera " T/ie Maid of 
 Marblehead" symph. poem " Hia- 
 wat/ta," etc. 
 
 Co'gan, Phillip, b. Cork, 1750; or- 
 ganist, teacher and composer. 
 
 Cohen (kow'-en or ko'-en), (i) H., 
 Amsterdam, 1808 — Brie-sur-Marne, 
 1880; writer. (2) Leonce, b. Paris, 
 Feb. 12, 1829 ; violinist and dram, 
 composer ; pupil Leborne Cons.; 
 1 85 1 Gjand prix de Rome. (3) 
 Jules Emile David, b. Marseilles, 
 Nov. 2, 1835 ; pupil of Zimmerman, 
 Marmontel, Benoist. and Halevy, 
 Paris Cons. ; won first prize for pf., 
 organ, cpt. and fugue ; 1870, teacher of 
 ensemble singing at the Cons. ; since 
 
L 
 
 466 
 
 THE MUSICAL GUIDE 
 
 1877 Chef lie Chant, and chorus- 
 master Gr. Opera ; prod. 4 operas ; 
 C. 3 cantatas, several symphonies, 
 masses, oratorios, etc. (4) K. Hu- 
 bert, b. Laurenzkirg (near Ai.\), Oct. 
 18. 185 1 ; a priest, studied at Ai.\ 
 and Raliston, 1879-S7 cond. Bam- 
 berg ; now at Cologne Cath. ; c. 
 masses, etc. (5) Isidore. Vide 
 
 LAR.'V, DE. 
 
 Colasse (ko-las), Pascal, Rheims (or 
 Paris), 1639 ( ?) — Versailles, 1709; 
 cond. and dram, composer. 
 
 Col'bran, (i) Gianni, court-musician 
 to King of Spain, iSth centurj'. (2) 
 Isabella A., Madrid, 1785— Bou- 
 logne, 1S45, daughter of above; singer 
 and composer. 
 
 Cole, Blanche, d. London, 1SS8, con- 
 cert-singer ; 1S6S, m. Sidney Naylor. 
 
 Co leridge-Taylor, Samuel, b. Lon- 
 don, Aug. 15, 1875 (of African de- 
 scent ; his father a native of Sierra 
 Leone, his mother, English) ; one of 
 the leading living English composers; 
 pupil (vln.) of the R. A. .\L, 1890; 
 won composition-scholarship in 1893; 
 until 1896 pupil of V. Stanford ; 1892 
 pub. an anthem ; c. a nonet for pf. , 
 strings, and wind (1894) ; a sympho- 
 ny (1896) ; a quintet for clar. and 
 strings (1897), a string-quartet, and a 
 Morning and Evening Service ; pub. 
 a ballade for viola andorch., operetta 
 " Dream Lovers " 4 waltzes for orch. ; 
 succ. cantata '' Hiaruatha," etc. 
 
 Colin (ko-lan), P. Gilbert (Colinus, 
 Colinaus, Chamault), singer and 
 notable composer, Paris, 1532. 
 
 Colins (ko-ians), Jean Bapt., b. 
 Brussels, Nov. 25, 1S34 ; pupil of 
 Wery; from 1863 teacher at the Cons , 
 from 1888 also at Antwerp school of 
 music. 
 
 Col'la, — cond. at Parma, 1780, when 
 he m. Agujari, who preferred his 
 compositions to all others. 
 
 CoUard (kol-lir'), a London familv of 
 pf.-makers. (i) Fr. W. Coll'ard 
 (1772 — 1860), in partnership with 
 Clementi, bought out Longman & 
 Broderip, 1798, then C. bought out 
 
 Clementi ; he inv. variou* devices; 
 the firm name now Collard & Collard, 
 (2) Chas. Lukey C. being the head. Jf?*^ 
 
 Collins, (i) Isaac, 1797— London, 
 1871 ; violinist, gave concerts with 
 his 5 children, (2) Viotti (violin- 
 ist) and (3) G. ("cellist, d. 1869)- 
 being the best known. 
 
 Colman, (i) Chas.,d. in Fetter Lane, 
 London, in 1664 ; teacher and com- 
 poser. (2) Edward, d. Aug. 19, 
 1669, son of above ; teacher, com- 
 poser and singer. 
 
 Colombani (k6-16m-ba'-ne), Orazio, 
 monk, conductor, and cptist. at Vero-: 
 na, 1576-92. 
 
 Colom bi, Vincenzo, Italian organ-, 
 builder, Rome, 1549. 
 
 Colonna (k6-16n-na), Giov. Paolo, 
 Bologna (or Brescia), ca. 1640 — Bo-, 
 logna, 1695 ; organist, conductor,, 
 and dram, composer. 
 
 Colonne (ko-liin). ^douard (rightly] 
 Judas), b. Bordeaux, July 23, 1838 ; 
 pupil of Girard and Sauzay (vln.)' 
 Elwart, and A. Thomas (comp.); 
 Paris Cons. ; 1874, founded the fai. 
 mous " Concerts duChatelet"; 1878* 
 cond. official Exposition concerts 
 1892 cond. at the Gr. Opera ; cond a 
 often in London, and 1902, Vienna. 1 
 
 Coltellini (le -ne), C61este, b. Leg ^ 
 horn, 1764 — retired, 1795 ; celebrate, i( 
 mezzo-sopr. ; m. Melicofre. : 'j 
 
 Combs, Gilbert Raynolds, b. Phil: i 
 delphia, Jan. 5, 1863, son and pup -^ 
 of a pianist, organist and composer 
 organist and conductor in Philade 
 phia ; 1885 founded the Broad S' 
 Cons, of Mus. 
 
 Comes (ko'-mas), Juan Baptista, V 
 lencia, ca. 1560 ; conductor and coi 
 poser. ; 
 
 Comettant (kom-et-taii). (J. P.) 0; 
 car, Bordeaux, Gironde, 1819 j 
 Montvilliers, 1S9S ; writer and corj 
 poser. 
 
 Commer (kom'-mer), Fz., Cole 
 18 1 3 — Berlin, 1887 ; editor and ccl 
 poser. 
 
 Compenius (kom-pa'-nt-oos), (i) I };• 
 b. Nordhausen, 1540 ; organ-build «r. 
 
 
DICTIONARY OF MUSICIANS 467 
 
 etc. His bro. (?), (2) Esajas, organ- 
 builder, inv. the " Duiflote " pipe. 
 
 Compere (koii-par), Louis (diminutive, 
 Loyset), Flanders, 15th cent. — St. 
 Quentin, Aug. 16, 15 18 ; famous con- 
 trapuntist. 
 
 Co nacher & Co., organ-builders, 
 Huddersfield, since 1854. 
 
 Concone (kon-ko'-ne), Giu., Turin, ca. 
 1810 — June, 1861 ; organist, famous 
 singing-teacher in Paris, 1832-48, 
 later court-organist Turin; c. 2 operas 
 and famous vocal exercises. 
 
 3on'dell, H., d. June, 1824 ; English 
 violinist and composer. 
 
 "onforti (kon-for'-te), Giov., b. near 
 Mileto, 1560; singer. 
 
 ^onfrerie de St. Julien, a musical 
 
 society, Paris, 1 330-1 761. 
 ;^o ninck, (i) Jacques F61ix de, Ant- 
 werp, lygT — Schaerbeck-les-Brux- 
 elles, 1866; conductor at Berlin, and 
 composer. (2) Fran, de, b. Leb- 
 beke, Belgium, Feb. 20, 1810; pian- 
 ist ; pupil of Pixis and Kalkbrenner, 
 Paris ; . teacher and composer, at 
 Brussels. (3) Jos. Bernard de, b. 
 Ostend, March 10, 1827 ; dram, com- 
 poser ; son of (i) ; pupil of de Leun, 
 Antwerp, and Leborne, Paris Cons. ; 
 lived in Paris. 
 
 !onradi (kon-ra'-de), (i) Jn. G., 17th 
 cent. ; conductor ; one of the first 
 composers of German opera, his 
 works prod, at Hamburg. (2) Jo- 
 han G., Norway, ca. 1820 — Christi- 
 ania, 1896 ; composer. (3) Aug., 
 Berlin, 1821 — 1S73 ; organist and 
 dram, composer. (4) Jules, b. Liege, 
 Jan. 27, 1834 ; pupil of Decharneux 
 and of Daussoigne-Mehul at Liege 
 Cons, (comp.) ; he won second grand 
 prix de Rome at Brussels ; 1864, prof, 
 of solfeggio at the Cons. ; c. 5 i-act 
 comic operas, etc. 
 
 onstantin (koh - stah - tan),- Titus 
 Chas,, b. Marseilles, Jan. 7, 1835 ; 
 pupil of Thomas, Paris Cons., i860; 
 cond. of the "Fantasies Parisi- 
 ennes"; 1875, Op. Com.; c. a 
 comic - opera, ''Dans la ForH" 
 (1872), etc. 
 
 Conti (kon'-te), (i) Fran. Bart., Flor- 
 ence, 1681^ — 1732; court - theorbist 
 and dram, composer. (2) (" Conti- 
 ni ") Ignazio, Florence, 1699 — 
 Vienna, 1759 ; son and successor of 
 above ; composer. (3) Gioacchino 
 (named Gizziello, after his teacher 
 Dom. Gizzi), Arpino, Naples, 1714 — 
 Rome, 1761 ; famous male soprano; 
 1739, iri London with Handel ; re- 
 tired to Arpino in 1753. (4) Carlo, 
 Arpino, Naples, 1797 — Naples, 1868 ; 
 prof, and dram, composer. (5) Gia- 
 cinto, Brescia, 1815 — 1895 ; violin- 
 ist and composer ; son and pupil of 
 (6) Defendente, theatre -dir. at 
 Brescia. 
 
 Continue (k5n-te'-noo-6), Giov., d. 
 Mantua, 1556 ; conductor and con- 
 trapuntist. 
 
 Con verse, Chas. Crozat (pen-names, 
 K. Redan, C. Nevers, etc.), b. 
 Warren, Mass.. Oct. 7, 1832 ; pupil 
 of Richter, Plaidy, Leipzig Cons. ; 
 lawyer, Erie, Pa. ; pub. Amer. Con- 
 cert-overture, ''Nail Columbia" for 
 orch. (Paris, 1869) ; Fesl-Ouvertiire 
 (1870) ; cantata (on the 126th Psalm) 
 for soli, chorus and orch. (1888), 
 "Jesus, lover of iny soul" (very 
 pop.) ; in MS. 2 symphonies, 2 ora- 
 torios, etc. 
 
 Cooke, (i) H., d. July 13, 1672 ; buried 
 Westminster Abbey ; court-composer 
 and teacher. (2) Nathaniel, b. 
 Bosham, 1773; organist. (3) Benj., 
 London, 1734 — 1793; conductor and 
 composer. (4) Thos. Simpson, 
 Dublin, 1782 — London, 1848 ; con- 
 ductor, later tenor, then prof, at the 
 R. A. M.; prod, nearly 20 operas at 
 Drury Lane. (5) H. Angelo Mi- 
 chael (called Grattan), son of above; 
 oboist and bandmaster. 
 
 Coombe, Wm. Francis, b. Plymouth, 
 1786 ; son of a singing teacher ; com- 
 poser. 
 
 Coombs, (i) Jas. Morrison, Salis- 
 bury, 1769 — 1820 ; organist and com- 
 poser. (2) Chas. Whitney, b. 
 Bucksport, Maine, Dec. 25, 1859; 
 pupil of Speidel (pf.) and Max Sei- 
 
468 
 
 THE MUSICAL GUIDE 
 
 friz, Draeseke (comp.), Hermann 
 John, P. Janssen, and Lamperti ; 
 1887-91, organist Amer. Cli, in 
 Dresden; returned as organist Church 
 of the Holy Communion, New York, 
 still there ; pub. ' ' The Vision of St. 
 John," cantata with orch. and org., 
 songs, etc. 
 
 Cooper, (i) H. Christopher, Bath, 
 Engl., iSig — Glasgow, 1881, con- 
 ductor. (2) G., Lambeth, London, 
 1820 — London, 1876 ; organist and 
 composer. 
 
 Coote, Chas., England, 1809 — Lon- 
 don, 1880 ; bandmaster, etc. 
 
 Coperario (ko-per-a'-rt-o) (rightly J. 
 Cooper), famous English lutenist 
 and viola-da-gambist, i6th century. 
 
 Coppola, (i) Giu., singer in London, 
 1777. (2) P. A. (Pierantonio), 
 Castrogiovanni, Sicily, 1793 — Canta- 
 nia, 1877 ; dram, composer and con- 
 ductor. 
 
 Coquard (ko-kar), Arthur, b. Paris, 
 1846 ; pupil of Cesar Franck ; mus. 
 prof. Nat. Inst, of the Young Blind ; 
 critic for " Z^ A/onJf" ; c. operas 
 '' TEpc'e du Roi" (Angers, 1884); 
 " Z^ Marl d'un Jour" (Paris, 
 1886); lyric dramas, ^'L'oiscau bleu" 
 (Paris, 1894) ; ''La Jacquerie" (Monte 
 Carlo and Paris, 1895), etc. 
 
 Corbet (kor-ba), Francisque, Pavia, 
 ca. 1630 — Paris, 1700; guitar virtu- 
 oso and composer. 
 
 Cor'bett, Win., 1669 (?)— London 
 (?), 1748 ; Engl, violinist and com- 
 poser, 
 
 Cordans (kor-dans), Bart., Venice, 
 1700 — Udine,i757; Franciscan monk, 
 then conductor and dram, composer. 
 
 Cordelia, Giacomo, Naples, 1786 — 
 1S46 ; dram, composer. 
 
 Corder, Fr., b. Hackney, London, 
 Jan. 26, 1S52 ; pupil of R. A. M. ; 
 1875, won the Mendelssohn Scholar- 
 ship ; 1875-78, pupil of Ferd. Hiller ; 
 1880, cond. of Aquarium Concerts 
 at Brighton where he lives as a transl. 
 and critic, and composer of operas, 
 cantatas, etc.; wrote " The Orchestra 
 and how to write for it" etc. 
 
 Cordier (kord-ya), Jacques, Lorraine, 
 ca. 1580 — Paris, ca. 1629 ; violin- 
 ist. 
 
 Corel'li, Arcangelo, Fusignano, near 
 Imola, Italy, Feb. i, 1653 — Rome, 
 Jan. 13, 1713 ; pupil of Bessani and 
 Simonelli ; toured Germany, then 
 lived under patronage of Cardinal 
 Ollobone ; one of the founders of 
 vln. -style, systematiser of bowing and 
 shifting, introducer of chord-playing ; 
 a composer for the vln. whose works 
 still hold favour. On invitation from 
 the King of Naples he gave a succ. 
 court-concert, but at a second made 
 various blunders and returned to 
 Rome, in chagrin, increased with 
 fatal results on finding or imagining 
 himself supplanted there by a poor 
 violinist named Valentini. His mas- 
 terpieces ' ' Concerti grossi" were pub. 
 just before his death. Many spuri- 
 ous comps. were issued under his 
 name. 
 
 Corfe, (i) Jos., Salisbury, 1740 — 1820; 
 organist and composer. (2) Arthur < 
 T., Salisbury, 1773 — 1S63 ; son of 
 above ; pianist, organist and writer. 
 (3) Chas, W., son of above ; organ-: 
 ist Christ Church, Oxford. 
 
 Cornelius (kor-na'-ll-oos), Peter, Ma-i 
 yence, Dec. 24, 1824 — Oct. 26, 1874,! 
 unsucc. actor; then studied cpt. withj 
 Dehn at Berlin, and joined the Wag-i 
 nerian coterie at Weimar. His operai 
 " Der Bar bier von Bagdad" was al 
 failure through organised opposition* 
 which led Liszt to leave the town 
 but in 1886-S7 it succeeded. C. 
 wrote his own libretti and transl 
 others. 1886-87, ^t Dresden, andBi^T 
 other cities; 1859, with Wagner al 
 Vienna, and Munich, where he be-- 
 came reader to King Ludwig, anci 
 prof.; prod, the opera ''Der Cid,'- 
 W'eimar, 1865 ; he left " Gunlod' 
 unfinished ; Lassen completed it, ant' 
 it was prod., Strassburg, 1892; h<j 
 pub. many songs. Biog. by Sand; 
 berger (Leipzig, 1887). | 
 
 Cornell', J. H., New York, i828-'i 
 1894 ; organist, composer and wri 
 
 UioBt 
 
 
 i 
 
DICTIONARY OF MUSICIANS 469 
 
 Cor'nyshe, ''i) Wm., d. before 1526; 
 English teacher and composer. (2) 
 Wm., son of above ; composer. 
 
 Cornet (kor'-nat), (i) Julius, S. Can- 
 dido, Tyrol, 1792— Berlin, i860 ; 
 tenor and dir. His wife, (2) Franz- 
 iska (1S06 — 1S70) was also a singer. 
 
 Coronaro (ko-ro-na'-ro), (i) Gaetano, 
 b. Vincen/^a, Italy, Dec. 18, 1852; vio- 
 linist ; till 1S73, pupil, Milan Cons., 
 then in Germany ; prod, the succ. 
 opera " £/« Tramonto" (Milan Cons. 
 Th., 1S73) ; 3-act ''La Creola" 
 (Bologna, 1878); "' II Malacarne'" 
 (Brescia, 1894) ; for several years 
 prof, of harm., and since 1894, 
 prof, of comp., Milan Cons. (2) 
 Gellio Bv., b. Italy, ca. 1863 ; pian- 
 ist (protege of Sonzogno) ; debut at 8 ; 
 at 9, organist in Vincenza ; at 13, th. 
 cond., Marosteca ; at 15, chorusm. ; 
 at 16, pupil Bologna Cons., graduat- 
 ing with first prizes ; c. a symphony ; 
 opera., "/o/ii/ida" (1889?); unsucc. 
 " Claudia'' (Milan, 1895). 
 -orri (kor'-re), Dom., Rome, 1744 — 
 London, 1825 ; dram, composer and 
 writer. 
 'or'si, Jacopo, b. ca. 1560 ; Florentine 
 nobleman, in whose house and in 
 Bardi's, Peri, Caccini, Emilio del 
 Cavaliere, Galilei, Rinuccini, and 
 others met and inaugurated modern 
 opera (v. peri) ; C. was a skilful gra- 
 vicembalist. 
 
 lorteccia (kor-tet'-cha), Fran, Bdo. 
 di, Arezzo, i6th cent., Florence, 
 1571 ; organist, conductor and com- 
 poser. 
 
 oss'mann, B., b. Dessau, May 17, 
 1822 ; 'cellist ; pupil of Espenhahn, 
 Drechsler, Theo. Miiller and Rum- 
 mer ; 1840, member of Gr. Opera 
 Orch., Paris ; 1S47-48, solo 'cellist at 
 Gewandhaus, Leipzig ; then studied 
 comp. under Hauptmann ; 1850, at 
 Weimar, with Liszt ; 1866, prof. Mos- 
 cow Cons.; 1870-78 at Baden-Baden ; 
 since prof, of 'cello, Frankfort Cons.; 
 composer. 
 
 os'ta, (i) Sir Michael (rightly 
 Michele), Naples, Feb. 4, 18 10 
 
 (1807 ?) — Brighton, England, April 
 29, 1884; son and pupil of (2) Pas- 
 quale C. (composer ch.-mus.) ; pupil 
 also of Tritto, Zingarelli (comp.), 
 and Crescentini (singing) at the 
 Naples Cons.; prod. 4 succ. operas 
 at Naples, was sent to Birmingham, 
 England, to cond. a psalm of Zin- 
 garelli's, but through a misunder- 
 standing, had to sing the tenor part ; 
 he thereafter lived in England as dir. 
 and cond. of King's Th. , London, 
 where he prod, three ballets ; 1846, 
 cond. of the Philh. and the new Ital. 
 Opera ; 1848, Sacred Harmonic So- 
 ciety ; from 1849, cond. Birmingham 
 festivals; from 1857, the Handel festi- 
 vals ; knighted in 1869; 1871 dir. of 
 the music and cond. at H. M.'s 
 Opera ; c. 3 oratorios, 6 operas, 3 
 symphonies, etc. (3) Andrea, b. 
 Brescia, settled London, 1825 ; com- 
 poser and teacher. (4) Carlo, Naples, 
 1826 — 1888 ; teacher Naples Cons. 
 (5) P. Mario, b. Taranto, July 26, 
 1858, nephew of above ; c. cham- 
 ber-music and pop. songs in Neapoli- 
 tan dialect ; also 2 pantomimes, " Le 
 Modele Reve" and the succ. ' L' His- 
 toire d'un Pierrot " (Paris, 1894?). 
 
 Costantini (te'-ne), Fabio, b. Rome, 
 ca. 1570; composer and teacher. 
 
 Costanzi (ko-stan'-tsi), Juan (or Gio- 
 annino), Rome, 1754 — 1778 ; con- 
 ductor. 
 
 Coste (kost), Gaspard, composer at 
 Avignon, 1530. 
 
 Cost eley, Wm., Scotland, 1531 — Er- 
 reux, 1606 ; organist and writer. 
 
 Cotta (kot'-ta), Jn., Ruhla, Thuringia, 
 1794 — Willerstet, near Weimar, 1868; 
 pastor and composer. 
 
 Cot'to (Cotto'nius), Jns., nth to 
 1 2th cent. ; writer. 
 
 Cottrau (kot-tro, or kot-tra'-oo), (i) 
 Guillaume (Guglielmo), Paris, 1797 
 — Naples, 1847 ; composer. His 
 sons (2) Teodoro (pen-name Euta- 
 lindo Martelli) (Naples, 1827 — 
 1879) and (3) Giulio (Jules), also 
 song-composers ; the latter c. 2 
 operas. 
 
470 
 
 THE MUSICAL GUIDE 
 
 Cotumacci (ko-too-mat'-che), Carlo, 
 Naples, 1698 — 1775 ; organist and 
 composer. 
 
 Coucy (du koo-se), Regnault, Chate- 
 lain, de, d. Palestine, 1192; trouba- 
 dour to Richard Coeur de Lion ; a 
 poem of ca. 1228 tells that he begged 
 that his heart be sent to his love, 
 whose husband intercepted it, and 
 had it roasted and served up to his 
 wife, who died broken-hearted on be- 
 ing told of her menu ; his songs are in 
 MSS. in the Paris Librar)', and have 
 been re-published. 
 
 Couperin (koo-pu-rah), a family of 
 French musicians, famous for two 
 centuries. The first known were 
 three brothers : (i) Louis, 1630 — 
 1665 ; organist of St. Gervais and 
 composer. (2) Fran. (Sieur de 
 Crouilly), 1631 — 1701 ; organist and 
 composer. (3) Chas., 1638 — 1669 ; 
 organist ; his son, (4) Fran, (called 
 Le Grand), Paris, 1668— 1733 ; the 
 first great composer to write exclusive- 
 ly for the harpsichord (or clavecin); 
 pupil of Thomelin, and successor of 
 his uncle Fran9ois, at St. G., 1698 ; 
 1701, clavecinist and organist to the 
 King ; c. brilliant and fascinating mu- 
 sic pub. at Paris, and wrote "Z'yir^ 
 de toucher du Clavecin" (171 1). (5) 
 His son Nicholas, Paris, 16S0 — 
 1748, was organist. (6) Armand 
 Louis, Paris, 1721 — 1789, son of (5), 
 a remarkable org. -virtuoso. His wife 
 (7) Elisabeth Antoinette (nee 
 Blanchet), b. 1721, was an organist 
 and clavecinist, and played in public 
 at 81. They had 2 sons (8) P. Louis 
 (d. 1789), his father's asst. organist, 
 and (9) Gervais Fran., his father's 
 successor. 
 
 Courtois (koor-twa), Jean, i6th cent., 
 French contrapuntist ; conductor and 
 composer. 
 
 Courtville (koort'-vll), (i) Raphael, 
 d. 1675 ; of the Chapel Royal. (2) 
 d. ca. 1735 ; organ-composer, son of 
 above. (3) Raphael, d. 1771, son 
 of (2) ; organist and writer. 
 
 Courvoisier (koor-\^as-ya, or koor'- 
 
 foi-ser), K., b. Basel, Nov. 12, 1846; 
 violinist ; pupil of David, Rontger'; 
 and Joachim ; 1871, a member of the. 
 Thalia Th., orch., Frankfort; then,.i 
 till 1875, cond. of singing with Gus-i 
 tav Earth ; '76, cond. Dusseldori' 
 Th., orch., and choral societies 
 since 1SS5 singing-teacher at Liver 
 pool ; c. a symphony, 2 concert-over 
 tures, a vln. -concerto (MS.), etc. 
 wrote "Z>/<f Violintechnik" (transl 
 by H. E. Krehbiel ; N. Y., i8g6) 
 an '■' ^cole de la velocity' and a '"Ml 
 tkode" (London, 1892). 
 
 Coussemaker (koos-mi-kir'), Chas 
 Ed. H,, Bailleul, Nord, April ic 
 1805 — Bourbourg, Jan. 10, 1S76 ; 
 remarkable sight-reader, studied cp 
 with V. Lefebvre ; while serving as 
 judge he made musical research h 
 avocation, and pub. important wor! 
 on Hucbald and mediaeval instr 
 ments, theory and composers, incl. h 
 " Scripiores de musica medii ei 
 nova series" (1864-76, 4 vols.), j 
 great collection intended as suppl 1 
 ment to Gerbert. ; J 
 
 Cousser. Vide kusser. ; : 
 
 Coverley (kuv'-er-ll), Robert, A 
 Oporto, Portugal, Sept. 6, 1863, 'l 
 Scotch father and aristocratic Por'' | 
 guese mother; studied cpt., orch. a| 
 vln. with Hill, Ludwig, and Jacqi- 
 not, in London ; lived in New Yi«' 
 many years, since 1898 in Londc,; 
 pub. many graceful and succ. son;, 
 orch. and pf. -pieces ; c. the immerj- 
 ly succ. march " The Passing R*,-; 
 ment" and a comic opera (MS.). ■ 
 
 Cow'ard, (r) Jas., London, 182- 
 18S0 ; organist, conductor and o?- 
 poser. (2) H., b. Liverpool, K'. 
 26, 1849 ; grad. Tonic-sol-fa CL. 
 1889 Mus. Bac; 1894 Mus. 
 Oxon ; singing-teacher and con 
 Sheffield. 
 
 Cow'en, Frederic Hymen, b. Kis^^, 
 ton, Jamaica, Jan. 29, 1852 ; .' 4 "' "'<^ 
 brought to London to study, pupof ■ \ , 
 Benedict and Goss, then of Ha)t- 
 mann, Moscheles, Reinecke, Ricl:''i 
 and Plaidy, Leipzig ; and Kiel, J"* " 
 
 
 i 
 
DICTIONARY OF MUSICIANS 471 
 
 lin ; 1882, dir. Edinburgh Acad, of 
 Music ; 1887, cond. London Philh. ; 
 i888-g, mus.-dir. Melbourne Centen- 
 nial Exhibition ; 1896, cond. Liver- 
 pool Phil., and the Manchester 
 Concerts ; prod, four operas ; two 
 oratorios, The Deluge (1878), and 
 Rtith (1887) ; 7 cantatas ; 6 sympho- 
 nies (No. 3 " Scattdinavian " (1880), 
 4 " Welsh," 6 " Idyllic ") ; four or- 
 chestral suites, " The Language of 
 Flo7uers," ''In the Olden Tifne" 
 "In Fairyland" Suite de Ballet ; 
 Sinfonietta in A for orch. ; 2 over- 
 tures ; pf.-concerto ; pf.-trio ; pf.- 
 quartet ; pf.-pcs. ; over 250 songs. 
 
 Cramer (kra-mgr or kra-mer), (i) 
 Wm., Mannheim, 1745 (1743?) — 
 London, 1799 (1800?); violinist and 
 conductor. (2) K. Fr., Quedlinburg, 
 1752 — Paris, Dec. 1807; professor. (3) 
 Jn. Bap., Mannheim, Feb. 24, 1771 
 —London, April 16, 1858 ; eldest son 
 and pupil of (i). Brought to London 
 when a year old ; pupil of Benser, 
 Schroeter, then of Clementi; in comp. , 
 chiefly self-taught ; toured as concert- 
 pianist at 17 ; in 1828 est. a mus.- 
 pub. firm (now Cramer & Co.) in 
 partnership with Addison ; managed 
 it till 1842 ; 1832-45, lived in Paris ; 
 pub. "a Method for pf. (" Crosse 
 praktische Pfte-Schule"), in 5 
 parts," the last containing the cele- 
 brated " 84 Studies " (op. 50), still a 
 standard; c. 7 concertos, 105 sonatas, 
 quartet, quintet, and many pf.-pcs. 
 (4) Fz., b. Munich, 1786 ; nephew of 
 (i), first flute in the Munich orch., 
 and composer. (5) Josef Hubert, 
 b. Wageningen, Holland, Feb. 29, 
 1844 ; violinist ; studied with Graven- 
 stein and van Bree, Leonard and 
 David ; at 12 played in public at 
 Amsterdam where he now lives as 
 teacher in the Cons., and com- 
 poser. 
 rane, Helen, American composer ; 
 
 ; pupil of Ph. Scharwenka, Berlin, for 
 3 years; c. symphonic poem "The 
 Last Tournament," suite and sere- 
 nade for orch. , etc. 
 
 Crang & Hancock, organ-builders in 
 London during i8th cent. 
 
 Cranz (kriints), August, Hamburg, 
 mus.-pub. firm, founded 1813 by A. 
 H. Cranz (1789-1870). His son Al- 
 win (b. 1834), is now the head. 
 
 Craywinckel (kri'-vlnk-el), Fd. Ma- 
 nuel Martin Louis Barth^lemy 
 de, b. Madrid, Aug. 24, 1820 ; pupil 
 of Bellon ; cond. St. Bruno, at Bor- 
 deau.x, where he lived from 1825 ; c. 
 e.xcellent masses and other church- 
 mus. 
 
 Cre(c)quillon (krek-we-yon), Thos., 
 n. Ghent, (?) — Bethune, 1557 ; ca. 
 1544-47 conductor and compos- 
 er. 
 
 Crescentini (kra-shSn-te'-ne), Giro- 
 lamo, Urbania, near Urbino, Feb. 2, 
 1766 — Naples, April 24, 1846; fa- 
 mous male soprano and composer. 
 
 Crespel (kres-pel), Guillaume, Bel- 
 gian composer 15th cent. 
 
 Cressent (kr6s-sah), Anatole, Argen- 
 teuil, 1824 — Paris, 1870; lawyer and 
 founder of the triennial prize " prix 
 Cressent," endowed with 120,000 
 francs, to be equally divided between 
 the librettist, and the composer of the 
 best opera; first awarded to Chaumet, 
 1875- 
 
 Creyghton (kra'-tun), Rev. Robt., b. 
 ca. 1639 ; English composer. 
 
 Cristofo'ri, Bart, (wrongly Cristo- 
 fali and Cristofani), Padua, May 4, 
 1653 — Florence, March 17, 1731; inv. 
 the first practical hammer-action to 
 which he gave the name "piano- 
 forte" (v. D. D.) ; in 1711 he substi- 
 tuted for the plucking quills "a row 
 of little hammers striking the strings 
 from below," the principle adopted by 
 Broadwood, and called the " English 
 action." 
 
 Crivel'li, (i) Arcangelo, Bergamo, (?) 
 — 1610; tenor and composer. (2)Giov. 
 Bat., Scandiano, Modena (?) — Mo- 
 dena, 1682 ; organist and conductor. 
 (3) Gaetano, 13ergamo, 1774 — Bres 
 cia, 1836 ; famous tenor. (4) Dom., 
 b. Brescia, 1794- son of above, dram, 
 composer. 
 
472 
 
 THE MUSICAL GUIDE 
 
 Croce (kr6'-ch6), Giov. dalla (called 
 " II Chiozzotto "), Chioggia, ca. 1560 
 — Venice, 1609 ; conductor and com- 
 poser. 
 
 Croes (kroos), H. Jas. de, Antwerp, 
 1705 — Brussels, 1786 ; violinist and 
 conductor. 
 
 Croft(s), Wm., Nether-Eatington, 
 Warwickshire, Engl., 1678— Bath, 
 1727 (buried Westm. Abbey) ; 1704, 
 joint organist, 1707, sole organist 
 Westm. Abbey; pub. "■ Musica 
 sacra " (the first English church-music 
 engraved in score on plates). 
 
 Crogaert (kro'-gart), J. Ed., b. Ant- 
 werp ; pupil of Benoit ; 1882 cond. 
 at Antwerp, since 1882 lives in Paris; 
 writer of treatises. 
 
 Croisez (krwa-sa), Alex., b. Paris (?), 
 18 16 ; composer and writer. 
 
 Cros'dill, J., London, 1751 — Escrick, 
 Yorkshire, 1825 ; 'cellist. 
 
 Cross, Michael Hurley, Philadelphia, 
 1833 — 1897 ; composer and director. 
 
 Cross' ley, Ada, Australian soprano ; 
 debut, Melbourne as a girl ; has sung 
 with succ. in London for many years, 
 also in Paris, etc. 
 
 Crotch, Wm., Norwich, Engl., July 5, 
 1775 — Taunton, Dec. 29, 1847 ; at 
 the age of 2^^ he played on a small 
 organ, built by his father, a master- 
 carpenter ; at 10 played in public at 
 London ; at the age of 11 asst. or- 
 ganist of Trinity and King's Colleges 
 Cambridge ; at 14 c. an oratorio, 
 " TAe Captivity of Judah" (perf. 
 1789), became organist of Christ Ch., 
 Cxford; 1797, prof, of mus. Oxford ; 
 1799, Mus. Doc. there; 1822 principal 
 of the new R.A.M., c. 2 oratorios. 
 
 Crouch, (i) Mrs. Anna M. (nee Phil- 
 lips), 1763 — Brighton, 1805 ; Engl, 
 operatic singer. (2) Fr. Nicholls, 
 London, July 31, 1808 — Portland, 
 Me., Aug. 18, 1896 ; basso, 'cellist 
 and singing-teacher ; c. 2 operas, and 
 songs, incl. " Kathleen Mavoin-neen." 
 
 Crow, Ed. J., b. Sittingbourne, Engl., 
 Sept. II, 1841 ; organist Leicester, 
 1861-73 ; since, at Ripon Cath. ; 1882, 
 Mus. Doc. Cantab. ; c. oratorio, 
 
 ''Harvest-time"; Psalm CXLVI, 
 for orch. and chorus, etc. 
 
 Cro'west, Fr. F., b. London, 1850 ; 
 organist Christ's Church, Kilburn ; 
 writer and composer. 
 
 Cro'ziar, Wm., b. Upper Norwood, 
 Dec. 20, 1870 ; celebrated Engl, 
 oboist. 
 
 Criiger (krii'-ger), Jns., Gross-Breesen, 
 near Guben, 1598 — Berlin, 1662 ; 
 organist. 
 
 Crussel (kroos'-sel), Bernhard, Fin- ■ 
 land, 1775 — 1838; composer. 
 
 Cruvel'li (rightly Criiwell) (krU'-vel), : 
 (I) Friederike M., Bielefeld, West-! 
 phalia, 1824 — 1868 ; contralto in Lon-i 
 don, but lost her voice and died of a; 
 broken heart. (2) Jne. Sophie Char-- 
 lotte, b. Bielefeld, Mar. 12, 1826,1 
 sister of above ; also contralto, and; 
 ill-trained, but had enormous successj 
 Paris Gr. Opera, 1854, at a salary ofj 
 100,000 francs ; in 1856 m. Comtej 
 Vigier, and left the stage. 
 
 Cud'more, Richard, Chichester, 1787 
 — Manchester, 1840 ; organist, vio- 
 linist and conductor. 
 
 Cui (kwe), C^sar Antonovitch, b 
 Vilna, Russia, Jan. 6, 1835 ; one o 
 the most important of Russian com 
 posers ; pupil of Moniuszko and Ba 
 lakirev ; a military engineer ; Prof 
 of fortification at the St. Petersbur; 
 Engineering Acad. ; from 1864-8 
 critic of the St. P. ''Gazette" 
 1878-9, pub. articles in Paris, 
 " La mtisiqiie en Rtissie" ; c. 5 op 
 eras, " William Ratcliffe" (St. P 
 1869); " The Prisoner in the Cat 
 casus" (1873); "Angela" (1876]; 
 " The Mandaritt's Son" {liii) ; 1; 
 ric comedy, " Le Filibiistier" (Pari; 
 1894) ; the very succ. " Sarazin" (S 
 P., 1899) ; symphonies, etc., 2 sche 
 zos and a tarantella for orch. ; sui 
 for pf. and vln. ; pf.-pcs. ; 50 song 
 " Esquisse critique " on Cui and \- 
 works by the Comtesse de Merc 
 Argenteau. 
 
 Cum'mings, Wm. Hayman, b. Su 
 bury, Devon, Eng., Aug. 22, 183 
 organist Waltham Abbey ; prof. ■• 
 
 U 
 
DICTIONARY OF MUSICIANS 473 
 
 singing R. Coll. for the Blind, Nor- 
 wood ; 1896, principal of Guildhall 
 Sch. of Mus. ; founded the Purcell 
 Society, edits its pubs. ; wrote biog. 
 of Purcell (London, 18S2) ; has also 
 pub. a music ''Primes-,'' iSj-j ; and 
 a ''Biog. Dictionary of Musicians''' 
 (1892) ; c. a cantata, " The Fairy 
 Ring" etc. 
 
 'urci (koor'-che), Giu., Barletta, 1808 
 —1877 ; singing teacher and dram, 
 composer. 
 
 ^urioni (koo-rT-o'-ne), (i) ( ), so- 
 prano in London, 1754, perhaps the 
 mother of (2) Alberico, b. ca. 1790, 
 Italian tenor. 
 
 ^urschmann (koorsh'-man), K. Fr., 
 Berlin, 1805 — Langfuhr, near Dan- 
 zig, 1841 ; singer, dram, composer 
 and pop. song-writer. 
 
 *urti (koor'-te), Fz. (or Francesco), 
 Cassel, 1854 — Dresden, 1898 ; dram, 
 composer. 
 
 '.urtis, Dr. H. Holbrook, b. New 
 York, Dec. 15, 1856; grad. Yale, 
 1877 ; 1880, M.D. ; vice-pres. Am. 
 Social Science Assn., prominent throat 
 specialist and writer on the voice, 
 pub. "Voice Building and Tone 
 Placing," 1898. 
 
 ur'wen, (i) Rev. J., Heckmondwike, 
 Yorkshire, Engl., 1816 — near Man- 
 chester, 1880 ; 1862, resigned his pas- 
 torate, and founded a college, also a 
 pub. -house, to exploit Tonic-sol-fa. (2) 
 J. Spencer, b. Plaistow, 1847 ; son 
 and pupil of above ; pupil also of G. 
 Oakeyand R.A.M.; writer, and since 
 1880 pres. Tonic-sol-fa Coll. 
 iisani'no. Vide carestini. 
 asins (kuz'-!ns), SirWm. G., London, 
 1833 — Remouchamps (Ardennes), 
 1893; pf.-prof. R.A.M. ; knighted 
 1892 ; conductor and composer. 
 iteir, Richard, English writer of 
 15th century. 
 
 Ut'ler, Wm. H., b. London, 1792 ; 
 organist and singer. 
 Uvillon (kii-ve-yoh), J. Bapt. Phil 6- 
 mon de, b. Dunkirk, 1809 ; pupil, 
 ater prof. Paris, Cons.; notalsle vio- 
 inist and teacher. 
 
 Cuzzoni (kood-z6'-ne), Fran., Parma, 
 1700— Bologna, 1770 ; debut 1719 ; 
 m. the pianist Sandoni ; very success- 
 ful contralto till her latter days, when 
 it is said she earned a pittance by 
 covering silk buttons. 
 
 Czartoryska (char-to-re'-shka), Mar- 
 celline (nee Princess Radziwill), 
 b. Vienna, 1826 ; pianist ; lives since 
 1848 in Paris ; pupil of Czerny. 
 
 Czarwenka (char-ven'-ka), Jos., Be- 
 madek, Bohemia, 1759 — Vienna, 
 1835 ; oboist and professor. 
 
 Czerny (Cerny) (char'-ne), Karl, Vi- 
 enna, Feb. 21, 1791 — July 15, 1857 ; 
 pupil of his father Wenzel C, later 
 of Beethoven ; and had advice from 
 dementi and Hummel ; made an 
 early reputation as pianist and was an 
 eminent teacher from his i6th year ; 
 Liszt, Dohler, and Thalberg were 
 among his pupils; pub. over 1,000 
 works, his pf. -studies, still standard, 
 incl. many such works as " Die Schule 
 der Gelciufigkeit " (School of Velocity) 
 (op. 299) ; c. also masses, sympho- 
 nies, overtures, etc. 
 
 Czersky (char-shkT). Vide TSCHIRCH. 
 
 Czibulka (che-bool'-ka), Alphons, 
 Szepes-Varallya, Hungary, May 14, 
 1842 — Vienna, Oct. 27, 1894 ; pianist 
 and conductor ; c. 5 operettas, incl. 
 "■Der. Bajazso" (Vienna, 1892), 
 waltzes, etc. 
 
 D 
 
 Daase (da-ze), Rudolf, b. Berlin, 
 Feb. 21, 1822 ; pupil of A. W. Bach, 
 Marx and Wilsing ; lives in Berlin as 
 conductor and teacher ; c. orch. and 
 choral-pieces, etc. 
 
 Dachs (dakhs), Jos., Ratisbon, 1825 
 — Vienna, 1896 ; teacher and pianist. 
 
 Dachstein (djikh'-shtln), Wolfgang, 
 e.K-priest and composer at Strass- 
 burg, 1554. 
 
 Dalayrac (or D'Alayrac) (dal-e-rak), 
 Nicolas, Muret, Haute-Garonne, 
 June 13, 1753 — Paris, Nov. 27, 1809 ; 
 prod, about 60 operas. 
 
474 
 
 THE MUSICAL GUIDE 
 
 Dalberg (dal'-barkh), Jn, Fr. Hugo, 
 
 Reichsfreiherr von, Aschaffenburg, 
 1752 — 1812 ; writer and composer. 
 
 D'Albert, Eugen, Vide albert, d'. 
 
 Dall (dal), Roderick, lived at Athol, 
 1740 ;- the last of the Scotch "wan- 
 dering harpists." 
 
 Dal'lam, Engl, family of organ-build- 
 ers 17th cent, (also spelled Dallans, 
 Dallum, Dalham). 
 
 Dal'lery, organ-builders i8th cent, at 
 Amiens. 
 
 Dair Argine (dal-ar'-zhe-na), Const,, 
 Parma, 1S42 — Milan, 1877 ; dram, 
 composer, 
 
 Dalvimare (dal-ve-ma'-r^) or d'Alvi- 
 mare (dai-vI-mSr), Martin P,, 
 Dreux, Eure-et-Loire, 1772 — Paris, 
 1839 ; composer. 
 
 Damascene (da-ma-sha'-ne), Alex., 
 Italian, b. in France ; d. July 14, 
 1719 ; alto singer and song-writer in 
 England. 
 
 Damcke (dam'-ke), Berthold, Han- 
 over, 1812 — Paris, 1875; conduc- 
 tor. 
 
 Damm (dam), (r) Fr., b. Dresden, 
 March 7, 1831 ; pianist and compos- 
 er ; pupil of Kragen, J. Otto, and 
 Reichel ; lived in North Germany, 
 then in the U. S., then in Dresden. 
 
 (2) G., v. STEINGRABER. 
 
 Damoreau (d^m-o-ro), Laure-Cinthie 
 (nee Montalant, first known as 
 "Mile. Cinti"), Paris, 1801— Chan- 
 tilly, 1863 ; soprano, later prof, of 
 singing, Paris Cons. ; wrote M^thode 
 de chant." 
 
 Damrosch (dam'-rosh), (i) Dr. Leo- 
 pold, Posen, Prussia, Oct. 22, 1832 
 —New York, Feb. 15, 1885 ; 1854, 
 M.D. ; took up music as solo-violin- 
 ist ; then as cond. at minor theatres ; 
 1855, solo violinist Grand Ducal 
 Orch., at Weimar ; here he m. Hel- 
 ena von Heimburg, a singer; 1859- 
 60 cond. Breslau Phil Soc, etc.; 
 1871, invited to New York to con- 
 duct the Arion Society, made his 
 first appearance as conductor and 
 composer and violinist ; 1873, found- 
 ed the Oratorio Society ; 1878 the 
 
 Symphony Society ; 1880 Mus. DcJ 
 Columbia Coll.; 1884, cond. Germ 
 opera at Met. Op. ; c. 7 cantats 
 symphony; music to Schiller's "y<? 
 of Arc " etc. (2) Frank, b. Bresl; 1 
 June 22, 1859; son and pupil ': 
 above ; pupil of Pruckner, Jean Vo 
 and von Inten (pf.), Moszkowi 
 (comp.) ; 1882-85, cond. Den - 
 (Col.) Chorus Club; 18S4-S5, sup- 
 visor of music in public schools, a) 
 organist in various churches ; 18 - 
 91, chorusm. Met. Op.; till i;. 
 cond. the Newark Harmonic Socie.;^ 
 1892 organized the People's Singa 
 Classes ; 1897, supervisor of mu<,ii 
 N. Y. City public schools; now cct 
 the " Musurgia," Oratorio Soci '.^ 
 and Mus. Art Soc. (N. Y.), Orato^ 
 Soc, Bridgeport (Conn.) "Orphe"i 
 and "Eurydice" Phila., etc.; pu a 
 few songs and choruses, and a mi- 
 od of sight - singing. (3) Wa:f 
 (Johannis), b. Breslau, Silesia, 1. 
 30, 1862 ; son and pupil of (i) ; J-|i 
 pil of Rischbieter and Drae<«K 
 (harm.), von Inten, Boekelman, idj" 
 Rlax Pinner, (pf.), von Billow {^l 
 ducting) ; 1885-99 cond. N. Y, a-f 
 torio and Symphony Societies ; 9J| 
 founded the N. Y. Symphony O) 
 1894, organized and cond. the Ijili~«. 
 rosch Opera Co. ; 1899, cond'i 
 Philadelphia ; 1902, cond. N." 
 Philh. (vice Paur) ; prod. o\ a, | 
 " T/ie Scarlet Letter " (Boston, i %\- 
 text by Geo. Parsons Lathrop c 
 MS. opera " Cyrano de Berger," 
 text by W. J. Henderson ; " M.ilfr- 
 Te Deum " / " Danny Deever" c.< 
 
 Da'na, (i) Chas. Henshaw, estj 
 Newton, Mass., 1846 — Worcier,|:i 
 1883 ; pianist, organist and corbs-i 
 er. (2) Wm. H., b. Warren 3.f 
 June 10, 1846 ; pupil of Hauptn(l 
 Kullak's Cons., also R.A.M., Jn-,;, 
 don ; dir. Dana's Mus, Inst., Wjen,. 
 Ohio ; wrote text-books ; c. Dt 
 Profiindis " for ch. and orch. , 1 
 
 Danb6 (dan-ba), Jules, b. '«"» 
 France, Nov. 15, 1840; viol st ; 
 pupil of Paris Cons.; till iSgJjndv,. 
 
 a-f:: 
 
 'I- 
 
DICTIONARY OF MUSICIANS 475 
 
 dir. of the Cons. Concerts ; 1895, 
 cond. Op. Com., Paris ; composer. 
 
 Dan'by, J., 1757 — London, May 16, 
 1798 ; English organist and compos- 
 er. 
 
 Dance, Wm,, 1755 — 1840, musician ; 
 one of the founders of the Phil. 
 Soc, London. 
 . Dan'do, Jos. H. B., b. Somers Town, 
 London, 1806 ; violinist. 
 
 Dancla (dah-kla), (i) J. Bap. Chas., 
 b. Bagneres-de-Bigorre, Dec. 19, 
 1818 ; 1828 pupil of Baillot, Halevy, 
 and Berton, Paris Cons.; 1834, 2nd 
 solo vln. Op. -Com.; 1857, prof, of vln. 
 at the Cons., giving famous quartet 
 soirees ; c. four symphonies, over 130 
 works for vln., etc.; wrote 5 techni- 
 cal books, " Les compositeurs chefs 
 d'orchestre" etc. (2) Arnaud, Bag- 
 neres-de-Bigorre, 1820 — 1862, bro. of 
 above ; 'cellist and writer. (3) L60- 
 IV pold, Bagneres-de-Bigorre, 1823 — 
 Paris, 1895, bro. of above ; compos- 
 er. 
 , Danel (da-nel), L. A. J., Lille, 17S7 
 — 1875 ; a printer who inv. a nota- 
 tion. 
 
 Danhauser (dan-how'-zer or dah-6- 
 za), Ad. Ld., Paris, 1835— 1896 ; 
 prof, of solfeggio at Cons, and dram, 
 composer. 
 
 )anican. V. philidor. 
 
 Daniel, (i) Hn. Adalbert, b. Cothen, 
 1812; theologian and writer. (2) 
 Salvador, for a few days dir. Paris 
 Cons., under the Commune; killed 
 in battle, May 23, 1871 ; writer. 
 
 )anjou (dah'-zhoo), J. L. F., Paris, 
 1812 — Montpellier, 1866 ; 1840, or- 
 .^, , ganist and erudite historian. 
 
 )an'kers (or Danckerts), Ghiselin, 
 b. Tholen, Zealand ; chorister in Pa- 
 pal chapel, 1538-65 ; composer and 
 writer. 
 
 •anks. Hart Pease, b. New Haven, 
 Conn., April 6, 1834 ; bass and mus. 
 dir. in various churches ; pupil G. E. 
 Whiting ; c. over 1200 hymns and 
 songs, and operetta '' Paulijte" 
 (1872). 
 anneley (din'-lr), John Feltham, 
 
 Oakingham, Berkshire, England, 1786 
 — London, 1836 ; organist and pub- 
 lisher. 
 Dannreuther (dan'-roi-ter), (i) Ed- 
 ward, b. Strassburg, Nov. 4, 1844 ; 
 at 5 taken to Cincinnati, where he 
 studied with F. L. Ritter ; later, pupil 
 of Richter. Moscheles, Hauptmann, 
 Leipzig Cons.; 1863, London, as 
 pianist ; 1872 founded and cond. 
 London Wagner Society ; wrote 
 '" Richard Wagner, His Tendencies 
 and Theories'' (London, 1873); also 
 composer. (2) Gustav, b. Cincin- 
 nati, July 21, 1853 ; pupil of de 
 Ahna and Joachim (vln.) and Heitel 
 (theory), Berlin ; lived in London till 
 1877; joined Mendelssohn Quintet 
 Club of Boston, where in 1880 he 
 settled as a member of the newly 
 formed Symphony Orch. ; 1882-84 
 dir. Philh. Soc. Buffalo, N. Y. ; 
 founded the "Beethoven String- 
 Quartet" of N. Y. (called " Dannr. 
 Q." from 1894); for 3 years leader 
 Symphony and Oratorio Societies, 
 N. Y. ; wrote " Chord and Scale 
 Studies for Voting Players" 
 Danzi (dan'-tse), (i) Fz., Mannheim, 
 May 15, 1763 — Carlsruhe, April 13, 
 1826 ; dram, composer ; son and pu- 
 pil of (2) Innocenz D., 'cellist to the 
 Elector. (3) Franziska. Vide le- 
 
 BRUN. 
 
 Da Ponte (da p6n'-te), Lorenzo, Cen- 
 eda, near Venice, March 10, 1749 — 
 New York, Aug. 17, 1838 ; of Jew- 
 ish race ; poet- laureate to Joseph II. 
 at Vienna, until 1792 ; wrote text of 
 Mozart's " Don Giovanni " and " Cosi 
 Tan Tutte"; London, 1803, teacher 
 of Italian and poet to the Italian 
 Opera ; made a failure of different 
 pursuits in the U. S. A., and was 
 finally teacher of Italian at Columbia 
 College, N. Y. ; pub. '' A/emorie" 
 (Memoirs). There is a sketch of his 
 life in KvehhieVs " A/usic and A/an- 
 ners'' (N. Y., 1899). 
 
 Daquin (dS-kah), L. Claude, Paris, 
 1694 — 1772 ; notable organist and 
 composer. 
 
476 
 
 THE MUSICAL GUIDE 
 
 Darcours (dSr-koor), Charles, Vide 
 
 RETY. 
 
 Dargomyzsky (dar - go - mesh' - shke), 
 Alex. Sergievitch, Toula, Feb. 2, 
 1S13 — St. Petersburg, Jan. 29,1869; 
 pianist and composer ; pupil of Scho- 
 berlechner ; his opera. " £swt'ra/Ja" 
 (c. 1839) was prod. 1847 with succ; 
 his best opera " Russalka" followed 
 in 1856 ; in 1867, at Moscow, an 
 opera-ballet, " TheT7-iu»iph of Bac- 
 chus" {wniien 1847), was instrument- 
 ed ; left an unfinished opera, ''' Kam- 
 mennoi Cost " (" The Marble 
 Guest ") (finished by Rimsky-Korsa- 
 kov). ' Rogdana" z fantasy-opera, 
 was only sketched ; it follows the 
 latest operatic creeds ; c. also pop. 
 orch. works. 
 
 Da(s)ser (da-ser), (Dasserus) Lud- 
 wig, until 1562 conductor and com- 
 poser at Munich, predecessor of Las- 
 sus. 
 
 Daube (dow'-be), Fr., Cassel (Augs- 
 burg ?), 1730 — Vienna, 1797; com- 
 poser and writer. 
 
 Daublaine et Callinet, Paris firm of 
 org. -builders, founded 1838. 
 
 Daucresme (do-krem), Lucien, El- 
 beuf, Normandy, 1826 — Paris, 1892 ; 
 dram, composer. 
 
 Dau'ney, Wm., Aberdeen, 1800 — 
 Demerara, 1843 ; writer. 
 
 Dauprat (do-pra), L. Fr., Paris, 1781 
 — July 16, 1S68 ; notable horn-player 
 and composer. 
 
 Daussoigne-M6hul (dos'-swan-ma- 
 iil). L. Jos., Givet, Ardennes, 1790 — 
 Liege, 1S75 ; dram, composer. 
 
 Dauvergne (do-vern). Ant. C, Fer- 
 rand, 17 13 — Lyons, 1797 ; violinist 
 and dram, composer. 
 
 Davenport, Francis W., b. Wilders- 
 lowe, near Derby, England, 1847 ; 
 pupil of Macfarren, whose daughter 
 he m. ; 1879, prof. R. A. M., and 
 1882 Guildhall Sch. of Music ; c. two 
 symphonies (the ist winning ist prize 
 at Alexandra Palace, 1876), and 
 other comps. ; wrote text-books. 
 
 David (da'-fet), (i) Fd., Hamburg, Jan. 
 19, 1810 — near Klosters, Switzerland, 
 
 July iS, 1873 ; pupil of Spohr and 
 Hauptmann ; at 15 played in the Ge- 
 wandhaus, Leipzig ; 1827, in Konig- 
 stadt Th. orch., Berlin; at 19, ist 
 vln. in the private quartet of the 
 wealthy Baron von Liphardt, at Dor- 
 pat, whose daughter he m. ; gave 
 concerts till 1835 in Russia ; at 26 
 leader of the Gewandhaus Orch. at 
 Mendelssohn's invitation ; his rigor- 
 ous precision of drill is still a terrify- 
 ing tradition. In the composition off 
 Mendelssohn's vln. -concerto he was 
 almost a collaborator (cf. Joachim and] 
 Brahms). The Cons, was estab. in 
 1843, and D.'s unsurpassed gifts asj 
 a teacher had a large influence in] 
 making its reputation, among his pu-j, 
 pils being Wilhelmj and Joachim ; asi 
 a leader he had a wonderful facult)i 
 of inspiring the players with his owrj 
 enthusiasm. His student editions oi 
 classical works embrace nearly al' 
 compositions of standard vln. literal 
 ture ; edited many classics, includinj' j 
 the '' Hohe Schitle des ViolinspielsJ \ 
 His comp. include an opera, "Han ' 
 IVackt" (Leipzig, 1852) ; 2 symphc ] 
 nies ; 5 vln. -concertos, etc. ; wrote \ 
 standard meth. for vln. (2) Pete { 
 Paul, b. Leipzig, Aug. i, 1840, so j 
 of above; violinist; 1S62-65, lead<- J 
 Carlsruhe orch.; then teacher at U|' «, 
 pingham, England. • j. 
 
 David (da-ved), (3) F^licien C6sai 1" 
 Cadenet, Vaucluse, April 13, 1810-; [." 
 St. Germain-en-Laye, Aug. 29, i87( 
 at 7 a pupil and chorister in the ma' 
 trise of Saint-Sauveur at Aix ; 
 hymns, motets, etc.; 1825-2S studii 
 in the Jesuit college, but ran away 
 continue his music, and became ass 
 cond. in the theatre at Aix, and 
 19 cond. at Saint-Sauveur; 18 
 Paris Cons., under Benoist (org 
 Reber and Millot, (harm.), Fetis (cj' 
 and fugue). 183 1, his rich uncle wil 
 drew his allowance of 50 francs 
 month, and he took up Saint- Simc- 
 ism, composing hymns for this soci; 
 istic sect, which coming under ban 
 the law in 1833, he went with ot' 
 
 il 
 
DICTIONARY OF MUSICIANS 477 
 
 members on a tour through Turkey, 
 Egypt, etc.; he returned in 1835 with 
 a fund of Oriental musical impres- 
 sions, resulting in an unsucc. volume 
 of '' Alt'lodies Orientales.''' He re- 
 tired to the country home of a friend 
 and c. 2 symphonies, 24 string-quin- 
 tets, etc. 183S his first symphony 
 was prod. ; and 1844, his ode-sym- 
 phonie '''' Le Desert" had a "deliri- 
 ous succ." ; the oratorio, ''Aloisc au 
 Sinai" 1846 ; a second symphonic- 
 ode '' Christopke Colo?)ibe" and 
 '^ L'Eden" a " mystery " in 2 parts 
 (Grand Opera, 1848) had no succ; 
 his opera " La Perk dii Brt'siV (Th. 
 Lyrique, 1851), is still popular; the 
 opera "Za Fin du Monde" was re- 
 jected by the Gr. Opera, and put in 
 rehearsal, but not produced, by the 
 Th. Lyrique, and in 1859 produced 
 at the Gr. Opera as " Herculaneum" 
 the great state prize of 20,000 francs 
 being awarded it in 1867; '''' Lalla 
 Rookh" {i'S,b2) was a decided succ, 
 but "Z^ Saphir" (1865) also at the 
 Op. Com., failed, and he now aban- 
 doned dram, comp., withdrawing " Za 
 Captive" 1S69, Academician and li- 
 brarian of the Cons. Biog. by Aze- 
 vedo (Paris, 1863). (4) Samuel, 
 Paris, 1838 — 1895 ; professor, direc- 
 tor and dram, composer. (5) Ad. 
 Isaac, Nantes, 1842— Paris, 1897 ; 
 dram, composer. (6) Ernst, Nancy, 
 1844 — Paris, 1886 ; writer. 
 
 Davide (da-ve'-de),(i) Giacomo (called 
 le pere), Presezzo, near Bergamo, 
 1750 — Bergamo, 1830 ; famous tenor. 
 (2) Giovanni, 1789, St. Petersburg, 
 ca. 185 1 ; son of above ; tenor of 
 remarkable range Pt^-b". 
 
 5avidoff(da'-vI-d6f), Karl, Goldingen, 
 Kurland, 1838 — Moscow, 1889; solo 
 'cellist to the Czar ; 1876-87, dir. St. 
 Petersburg Cons. ; c symph. poem, 
 " The Gifts of Perek" etc. 
 avies (da'-vis), (i) Ben, b. Ponadawz, 
 near Swansea, Wales, Jan. 6, 1858 ; 
 operatic and concert tenor ; 1880-3 
 pupil of Randegger at R. A. M. ; 
 won bronze, silver, and gold medals, 
 
 and the Evill prize for declamatory 
 Engl, singing ; 3 years with Carl 
 Rosa Opera-troupe ; most prominent 
 in oratorio; since 1S93 has often sung 
 in U. S. (2) David Ffrangcon, b. 
 Bethesda, Carnarvonshire, Dec. ir, 
 i860 ; barytone ; M. A. Oxford ; pu- 
 pil of Shakespeare ; debut Manches- 
 ter, 1890 ; sang with Carl Rosa Op- 
 era Co., then oratorio ; toured U. S. 
 (3) Fanny, b. Guernsey, June 17, 
 1861 ; pianist ; pupil of Reinecke, 
 Paul and Jadassohn, Leipzig Cons. ; 
 later of Frau Schumann and Dr. 
 Scholz ; debut Crystal Palace, Lon- 
 don, 1885 ; has toured in England, 
 Germany and Italy. (4) Henry Wal- 
 ford, b. Oswestry, Engl., Sept. 6, 
 1869 ; pupil and asst. of Sir Walter 
 Parratt ; 1898 organist of the Temple 
 Church ; 1898, Mus. Doc, Cantab. ; 
 1895 prof, of cpt. R. C. M.; c Sym- 
 phony in D, cantata '' Hcrve Riel" 
 etc. 
 
 Davison, (i) Arabella. Vide god- 
 DARD. (2) J. W., London, 1815 — 
 Margate, 1885 ; pianist, critic and 
 composer. 
 
 Da'vy, (i) Richard, Engl., comp. i6th 
 century. (2) John, Upton-Helion, 
 Exeter, 1765 — London, 1824 ; violin- 
 ist. 
 
 Day, Dr. Alfred, London, 18 10 — 1849; 
 physician and theorist. 
 
 Dayas (di'-as), W. Humphries, b. 
 New York, Sept. 12, 1864 ; pupil of S. 
 Jackson, Warren, S. B. Mills and 
 Joseffy ; organist of various churches ; 
 then studied with Kullak, Haupt, 
 Erlich, Urban, and Liszt ; made 
 concert-tour 1888 ; 1890 pf. -teacher 
 Helsingfors Cons. ; in Dlisseldorf 
 (1894), Wiesbaden Cons., and Co- 
 logne Cons. ; c. organ and piano 
 sonatas, etc. 
 
 De Ahna (da-a -na), (i) H. K. Her- 
 mann, Vienna, 1835 — BerHn, 1892 ; 
 violinist, teacher and composer. His 
 sister (2) Eleonore, Vienna, 1838 — 
 Berlin, 1865 ; mezzo-soprano. 
 
 De Angelis (da an'-ja-les), Girolamo, 
 b. Civita Vecchia, Jan. i, 1858 ; pupil 
 
478 
 
 THE MUSICAL GUIDE 
 
 of Bazzini, Milan Cons. ; 1881, prof, 
 there of vln. and via. ; 1S79-97, solo 
 violinist at La Scala ; 1897 teacher 
 Royal Irish Acad, of Music, Dublin ; 
 c. (te.Kt and music) '' LInnocente" 
 (Novi Ligure, 1896). 
 
 Deane, Thos., English organist, vio- 
 linist and composer, 17th cent. 
 
 Debain (dii-ban), Alex. Fran., 
 Paris, 1S09 — Dec. 3, 1877 ; 1834 
 made pianos and organs in Paris ; 
 inv. the harmonium 1840, also " anti- 
 phonel" and " harmonichorde " ; im- 
 proved the accordion. 
 
 Debillemont (dii-be'-yu-moh), J. 
 Jacques, Dijon, 1S24— Paris, 1879 ; 
 dram, composer. 
 
 Debois (du-bwa), F., Brunn, 1834 — 
 1893 ; cond. and composer. 
 
 Debussy (du-bus-se), Achille Claude, 
 b. Paris {?), 1862, French composer of 
 much individuality: prod. " Pellcas et 
 Melisande," libretto based on Maeter- 
 linck's play. Op. Comique, Paris, 
 Apr. 30, 1902, with sensational ef- 
 fect ; he was a pupil of Guiraud, Paris 
 Cons., took grand Pri.x de Rome, 
 1884, with cantata '' L' Enfant pro- 
 digue" ; began " Pellcas et M." in 
 1893 ; c. also orch. prelude " VApres- 
 niidi d'jin Faiine ;" pf. suite for 4 
 hands; ''Chansons de Bilitis" 
 " Proses lyriques" etc. 
 
 Dechert (ddkh'-ert), Hugo, b. Pots- 
 chappel near Dresden, Sept. 16, i860 ; 
 'cellist ; studied with his father, then 
 with H. Tiets, and at the Berlin 
 Hochschule ; toured ; since 1894 solo- 
 ist court-chapel, Berlin. 
 
 Decker, Konst., Furstenau, Bran- 
 denburg, 1 8 10 — Stolp, Pomerania, 
 1878 ; pianist and dram, composer. 
 
 Dedekind (da-de-klnt), (i) Henning, 
 abt. 1590 cantor, theorist and com- 
 poser at Langensalza, Thuringia. (2) 
 Konst. Chr., Reinsdorf, Anhalt- 
 Kothen, 1628 — ca. 1697 comp. 
 
 Dedler Wat'-ler), Rochus, Oberam- 
 mergau, Jan. 15, 1779 — Vienna, Oct. 
 15, 1822 ; c. music still used in the 
 Passion-Play. 
 
 De(e)r ing, Richard, b. Kent, d. Lon- 
 
 violinist. \ 
 
 '., b. Toulouse, 1 
 
 of Halevy and | 
 is., took Grand fj 
 ntata " L'Angem. 
 om.-op. " I'An-lif' 
 
 don (?), 1630 ; studied in Italy ; court- 
 organist ; pub. the oldest extant 
 comp. with basso continue, etc. 
 
 Defesch (da-fesh), Wm., d. ca. 1758 
 Flemish organist and violinist 
 
 Defies (duf-fes), L. P., b. Toulouse 
 July 25, 1S19 ; pupil 
 Barbereau, Paris Con 
 pri.x de Rome for cantata 
 et Tobie" ; his i-act com 
 neau d' argent" was prod. Paris,|i 
 1S55 ; 14 others since, the last veryl / 
 succ. , ''Jessica" (Toulouse, i" -"^ • 
 now dir. of the Toulouse branch ol 
 the Cons. ; c. also masses, etc. 
 
 Degele (da'-ge-le), Eugen, Munich. 
 1S34 — Dresden, 1866; barytone ant 
 composer. 
 
 De Ciosa (da j6'-sa), Nicola, Barij 
 1820 — 1885 : cond. and composer. ; 
 
 De Haan, (i) Willem, b. Rotterdam! 
 Sept. 24, 1849; pupil of Nicolai, dj 
 Lange, and Bargiel, also at Leipzig 
 Cons. ; 1873 dir. at Bingen ; condj 
 " Mozartverein " at Darmstadlj 
 1876 ; 1895 court-conductor therej 
 c. 2 operas ' ' Die Kaiserstochter " an! 
 the succ. "Die Inkasohne" (Darnj 
 stadt, 1895) ; 3 cantatas. (2) Man|; 
 farges, A. Pauline, b. Rotterdam 
 April 4, 1872 ; concert and orator 
 alto, pupil of Julius Stockhausen. 
 
 Dehn (dan), Siegfried Wm., Altoni 
 Feb. 25, 1796 — Berlin, April 12, 185' 
 noteworthy theorist and teache 
 among his pupils Rubinstein, Ki 
 lak. Glinka, Kiel, Hofmann, etc. 
 
 Deiters (di'-tSrs), Hermann, b. Bon 
 June 27, 1S33; 1858, Dr. jur., ai 
 Dr. phil.,at Bonn; dir. of gymnas 
 at Bonn, 1858, and other cities ; 18. 
 of the "Provincial Schulrath " 
 Coblentz ; writer and translator. 
 
 De Ko'ven (Henry Louis) Reginai 
 b. Middletown, Conn., April 3, 18; 
 educated in Europe, took degree , 
 O.xford, Engl., 1879; pupil of 
 Speidel (pf.) at Stuttgart, Leb: 
 (pf.), and Pruckner (harm.), 1 
 Hauff (comp.), Vanuccini (singin, 
 Genee (operatic comp.) ; 1902 org.- 
 ised and cond. Philharmonic Orch t 
 
 iil 
 
DICTIONARY OF MUSICIANS 479 
 
 com 
 
 Washington, D. C, where he has 
 lived since 1900 ; c. many succ. 
 comic operas, incl. " Robin Hood''' 
 (Chicago, 1890) ; " The Fencing 
 Master " (Boston, 1892) ; " The High- 
 wayman " (New Haven, 1897) ; 
 
 ' " Alaid Marian" (1901) ; also many 
 
 : songs ; an orch. suite, and a pf.- 
 sonata in MS. 
 
 Delaborde (dii-la-bord), (i) J. Benj., 
 Paris, 1734 — guillotined, 1794; dram, 
 composer and writer. (2) 6lie Mi- 
 riam, b. Chaillot, France, Feb. 8, 
 1839 ; pupil of Alkan, Liszt, and Mo- 
 scheles ; pf.-prof. at Paris Cons, and 
 dram, composer. 
 
 Delacour (dii-la-koor'), Vincent Con- 
 rad F61ix, Paris, 1808 — 1840: harp- 
 ist and composer. 
 
 Delatre (du-lat'r), (i) Olivier, Belgian 
 music-pub. Antwerp, (1539-55). (2) 
 Claude Petit Jan., conductor and 
 composer at Liege, 1555. 
 ^ De Lattre (du-iatr), Roland. Vide 
 
 LASSO, DI. 
 
 De I'Aulnaye (du-l6l-na), Fran. 
 Stanislas, Madrid, July 7, 1739 — 
 Chaillot, 1830 ; writer and theor- 
 ist. 
 
 Deldevez (diil-du-v^s), Ed. Ernest, 
 
 Paris, 1817 — 1897 ; 1859, asst.-cond. 
 
 -, : Gr. Opera and Paris Cons. , dram. 
 
 ®ll composer and writer. 
 
 ,**beledicque (d^l-dek), Ld., b. La 
 
 Haye, Feb. 7, 1821 ; violinist and 
 
 teacher ; pupil Paris Cons. ; founder 
 
 and cond. " Soc. des Symphonistes," 
 
 1861-83 ; c. vln. pieces, etc. 
 
 De Leva (da-la'-va), Enrico, b. 
 Naples, Jan. 19, 1867 ; pupil of Pan- 
 nani and Rossomandi (pf.) ; Puzzoni 
 and d'Arienzo (harm.) ; his Canzo- 
 netta Napoletana " E Spingole Fran- 
 gese," was very succ, as are many of 
 his songs ; c. opera " La Carmargo " 
 (not prod.). 
 
 Delezenne (dii-lu-zen), Chas. Ed. 
 Jos., Lille, 1776— 1866; writer. 
 
 Delhasse (del-as), F^lix, b. Spaa, 
 Jan. 8, 1809 ; lives in Brussels ; 
 writer. 
 
 Delibes (du-leb), Clement Philibert 
 
 L60, St. Germain-du-Val, Sarthe, 
 Feb. 21, 1836 — Paris, Jan. 16, 1891 ; 
 a composer of fascinating grace and 
 polish ; entered the Paris Cons, in 
 1848, Le Couppey, Bazin, Adam, and 
 Benoist being his chief teachers ; 1853 
 organist at the Ch. of St. -Jean et St.- 
 Francois ; his first operetta "'Deux 
 Sacs de Char/'on," was followed by 12 
 more ; 1865, 2nd chorus-master Gr. 
 Opera ; his first ballet " Za Source" 
 was prod, here 1866, later in Vienna 
 as " A^ai/a" y the second, '^ Coppe- 
 lia" (Gr. Opera, 1870), is still popu- 
 lar, as is " Sylvia " (1876) ; 1881, 
 prof, of comp. at the Cons. ; c. 
 also the succ. opera "■' Lakmf (v. 
 STORIES OF operas), and others. 
 
 Delicati (da-ll-ka-te), Margherita, 
 Italian soprano in London with her 
 husband, 1789. 
 
 Delioux (De Savignac) (diil-yoo du 
 s&v-en-ySk), Chas., b. Lorient, Mor- 
 bihan, April, 1830 ; self-taught as 
 pianist; studied harmony with Barbe- 
 reau, and comp. with Halevy ; 1846 
 took Grand Prix for cpt.; prod, i-act 
 comic opera " Yvonne et Loie" {Gym- 
 nase, 1854); c. pf. -pes and wrote tech- 
 nical works. 
 
 Delia Maria (del'-la ma-re'-a), Do- 
 minique, Marseilles, 1768— Paris, 
 March 9, 1800 ; son of an Italian 
 mandolinist ; played mandolin and 
 'cello ; at 18 prod, a grand opera ; 
 studied comp. in Italy, and c. 7 operas, 
 incl. the very succ. " Le Prisonnier'^ 
 (1798). 
 
 Delle Sedie (del-le sad -ye), Enrico, 
 b. Leghorn, June 17, 1826 ; pupil of 
 Galeffi, Persanola, and Domeniconi ; 
 1848, imprisoned as a Revolutionist ; 
 then studied singing ; debut, Flor- 
 ence, 185 1 ; later prof, of singing 
 Paris Cons. ; has lived in Paris since 
 as singing teacher. 
 
 Dellinger (del'-llng-er), Rudolf, b. 
 Graslitz, Bohemia, July 8, 1857; 
 1883, conductor at Hamburg ; 1893, 
 Dresden Ct. Opera ; c. operettas, incl. 
 succ. " Capita n Fracasse" (Hamburg, 
 1889), and " Die Chansanette " (Dres- 
 
480 
 
 THE MUSICAL GUIDE 
 
 den, 1894); Prague, 1895, ''Die Sang- 
 er in." 
 Deir Orefice (del 5-ra-fe'-che), Giu., 
 Fara, Abruzzio, Chietino, 1S4S — 
 Naples, 18S9 ; cond. and dram, com- 
 poser. 
 Del Mela (del ma -la), Don Domeni- 
 co, an Italian priest; 1730, inv. the 
 " upright " piano. 
 Delmotte (del-mot), Henri Florent, 
 Mons, Belgium, 1799 — 1S36 ; writer. 
 Delprat (dul-prii' ), Chas., 1803— Pau, 
 Pyrenees, 1888 ; singing-teacher and 
 writer there. 
 Delsarte (dul-sart), Fran. Alex. 
 Nicholas Ch^ri, Solesme, Nord, 
 1811 — Paris, 1871; tenor; teacher of 
 a well-known physical culture; 1S55 
 inv. the Guide-Accord, or Sonotype, 
 to facilitate piano-tuning. 
 Del Valle de Paz (del val-la da pitz), 
 Edgardo, b. Alexandria, Egypt, 
 Oct. 18, i86r ; pf.-pupil at Naples 
 Cons., of Cesi (pf.), and Serrao 
 (comp.) ; at 16 toured in Italy and 
 Eg)'pt, now prof, in Florence Cons. ; 
 pub. pf. -method, etc.; c. orchestral 
 suites, etc. 
 Demantius (da-man'-tst-oos), CHr., 
 Reichenberg, 1567 — Freiburg, Sax- 
 ony, 1643 ; prolific composer of 
 church-music and songs ; wrote a 
 vocal method. 
 Demelius (da-mi'-U-oos), Chr.,Schlet- 
 tau. Saxony, 1643 — Nordhausen. 
 171 1 ; composer. 
 Demeur (du-milr), (i) Anne Arsfene 
 (nee Charton), Sanjon, Charente, 
 1827 — Paris (?), 1892 ; soprano ; m. 
 (2) J. A. Demeur, flutist and com- 
 poser. 
 Demol (dCi-mol), (i) Pierre, Brussels, 
 1825 — Alost, Belgium, 1899 ; dir. 
 and composer. (2) Fran. M., Brus- 
 sels, 1844 — Ostend, 1S83 ; nephew of 
 above ; cond., prof., and dram, com- 
 poser. 
 Demunck', (i) Francois, Brussels, 
 1815 — 1854 ; 'cellist and prof. (2) 
 Ernest, b. Brussels, Dec. 21, 1840; 
 son and pupil of above ; pupil of 
 Servais : lived in London, then Paris ; 
 
 IBI 
 
 1870, 'cellist Weimar Court orch.; 
 1879 m. Carlotta Patti ; 1893, prof. 
 R.A.M., London. 
 Demuth (da-moot), Ld., b. Brunn, 
 Nov. 2, 1861 ; barytone ; studied 
 Vienna Cons., with Gansbachers, 
 sang at Halle, etc., later Hamburg 
 and Vienna. 
 Denefve (du-nuf), Jules, b. Chimay, 
 
 1S14 ; 'cellist and dram, composer. 
 Denn^e (den-na), Chas., b. Oswego, j 
 N. v., Sept. I, 1863 ; studied with 
 Emery, Boston ; lives there as teacher 
 and composer of comic operas, etc. 
 Dengremont (dan-gru-moh), Maurice, 
 b. of French parents, Rio de Janeiro, 
 1866 — Buenos Ayres, 1S93 ; violinist; 
 at II played with succ. in Europe. 
 Den'ner, Jn. Chp., Leipzig, 1655- 
 Niirnberg, 1707 ; maker of win 
 insts. ; inv. 1690 or 1700 the clarinet,B*i* 
 perhaps also the Stockfagott and the 
 Rackettenfagott. 
 Denza (den-tsa), Luigi, b. Castellai 
 mare di Stabbia, Feb. 24, 1846 ; pu- 
 pil of Naples Cons.; c. opera " Wal 
 lenstein " (Naples, 1876), many pop 
 songs (some in Neapolitan dialect) 
 inch " Funiculi-Funicula." 
 Deppe (dep'-pe), Ludwig, Alverdissen 
 Lippe, 182S — Pyrmont, Sept. 5-6 
 1890; notable pf.-teacher and con 
 ductor. 
 Deprfes (or Despres) (du-pre' or da 
 pra), Jesse (known as Josquin) 
 Conde (?) in Hainault, Burgundy, ca 
 1450 — Conde, Aug. 27,1521. [Hisepi 
 taph reads " Joss6 Despres "; othe 
 spellings are Despres, De(s)pre2 
 Depret, De(s)pret(s), Dupre, and b 
 the Italians, Del Prato, Latinized a 
 a Prato, a Pratis, Pratensis, etc. 
 Josquin appears as Josse, Jossier 
 Jusquin, Giosquin, Josquinus, Jacc 
 bo, Jodocus, Jodoculus, etc.] On 
 of the most eminent of musicians an. 
 the chief contrapuntist of his day 
 pupil of Okeghem ; 1471-84 a sing< 
 in the Sistine Chapel, and aboi 
 1488 in Ferrara ; he was already no 
 accepted as " princeps musicorum 
 and had international vogue. He 
 
 HewJ I 
 
DICTIONARY OF MUSICIANS 481 
 
 1 
 
 received with honour by various 
 princes, and was court-musician to 
 Louis XII., many amusing anecdotes 
 of his musical humour being told. He 
 finally returned to Conde as Frovost 
 of the Cathedral Chapter. Burney 
 called him "the father of modern 
 harmony." The florid and restless 
 opt. of his church-works and the sec- 
 ular canttis firinns (v. D.D.) that was 
 the basis of most of them, brought 
 his school into disfavour and disuse 
 when the revolutionary Palestrina ap- 
 peared. But he was at least the culmi- 
 nation of his style, and his erudition 
 was moulded into suave and emo- 
 tional effects, so that Ambros says 
 that he was the " first musician who 
 impresses us as being a genius." His 
 period coinciding with the uge of 
 movable types for music, his works 
 are preserved in large quantities in 
 volumes and in the collections of Pe- 
 trucci and Peutinger. His French 
 chansons were pub. by T. Susato, 
 1545, P. Attaignant, 1549, and Du 
 Chemin, 1553 ; excerpts in modern 
 notation are in the '' Bibliothek filr 
 Kircheninusik" 1844 ; in Commer's 
 " Collectio" Rochlitz' " Samnihivg 
 vorziiglicher Gesangstiicke" 1838, 
 Choron's " Collection,'' and in the 
 histories of Ambros, Burney, Haw- 
 kins, etc. 
 
 Deprosse (de-pros' -se), Anton, Mu- 
 nich, 1838 — Berlin, 1878 ; dram, com- 
 poser. 
 
 De Reszke (du resh'-ka), (i) Jean, b. 
 Warsaw, Jan. 14, 1852 ; perhaps the 
 chief tenor of his generation, great in 
 opera of all schools ; pupil of Ciaf- 
 fei, Cotogni, etc. ; 1874, debut as 
 barytone at Venice, as Alfonso in 
 " La Favorita" under the name " De 
 Reschi " ; after singing in Italy and 
 Paris and studying with Sbriglia, he 
 made his debut as tenor in '^' Robert 
 le Diable" (Madrid, 1879) i 1884, Th. 
 des Nations ; 1885 at the Gr. Opera, 
 Paris, creating Massenet's " Le Cid" ; 
 since '87 has sung constantly in Lon- 
 don, and since '95 in New York. (2) 
 
 Edouard, b. Warsaw, Dec. 23, 1855, 
 bro. of above ; pupil of his broth- 
 er, of Ciaffei, Steller, and Coletti ; 
 debut, Paris, April 22, 1876, as the 
 King in"^/^rt"(Th. des Italiens), 
 sang there two seasons, then at Tu- 
 rin and Milan ; 1880-84 at the Italian 
 Opera, London ; since then, Paris, 
 London, America ; a magnificent 
 basso of enormous repertory and 
 astonishing versatility as an actor ; 
 a master in tragic, comic, or buffa 
 opera. His sister, (3) Josephine, 
 was a soprano of greatest promise, 
 but left the stage on her marriage. 
 
 Dering, v. deering. 
 
 De Sanctis (da sank'-tes), Cesare, b. 
 Allbano, Rome, 1S30 ; 1876, prof, of 
 harm, in the Liceo ; c. overture. 
 Requiem Mass, " 100 fugues," a cap- 
 pella in strict style ; pub. treatises. 
 
 D^saugiers (da-s6-zha), Marc Ant., 
 Frejus, 1742 — Paris. 1793; prod, nu- 
 merous succ. short operas. 
 
 Deshayes (duz-ez). Prosper Didier, 
 prod., 1780, oratorio " Les Rtacha- 
 bt'es " ; c. operettas and ballets, etc. 
 
 Desmarets (da-ma-ra), H., Paris, 1662 
 — Luneville, 1741 ; dram, composer. 
 
 Desormes (da-z6rm), L. C, Algiers, 
 1845 — Paris, 1898 ; composer and 
 conductor. 
 
 Dessau (des'-sow), Bd., b. Hamburg, 
 March i, 1861 ; violinist; pupil of 
 Schradieck, Joachim, and Wieni- 
 awski ; leader at various theatres ; 
 1898 Konzertmeister at the court- 
 opera, BerUn, and teacher Stern cons. 
 
 Dessauer (des'-sow-er), Jos., Prague, 
 May 28, 1798 — Modling, near Vien- 
 na, July 8, 1876 ; c. 5 operas and 
 many pop. songs. 
 
 Dessoff (des'-sof), Felix Otto, Leip- 
 zig, 1835 — Frankfort, 1892 ; court- 
 cond. at Carlsruhe. 
 
 Destinn (da'-shtin), Eminy, b. Prague, 
 Feb. 26, 1878 ; soprano ; studied 
 with Loewe-Destinn ; 1898 court 
 opera, Berlin. 
 
 Destouches (da-toosh), (i) Andr6 
 Cardinal, Paris, 1672 — 1749; dram, 
 composer. (2) Franz Seraph von, 
 
 31 
 
482 
 
 THE MUSICAL GUIDE 
 
 b. Munich, 1772 — 1844; dram, com- 
 poser. 
 
 Desvignes (da-ven-yu), Frai., Trier, 
 1S05 — ^Metz, 1853 ; violinist ; founded 
 conservatory at Metz ; dram, com- 
 poser. 
 
 Deswert (da-var), (i) Gaspard Isi- 
 dore, Louvain, 1S30 — .Schaerbeck, 
 near Brussels, 1896 ; 'cellist ; prof. 
 Brussels Cons. (2) Jules, Louvain, 
 1843 — Ostend, 1891, brotherof above; 
 conductor and dram, composer. 
 
 Deszczynski (dfish-chen -shkl), Jos., 
 b. Wilno, 1781 ; Polish composer. 
 
 Dett mer, Wrn., b. Breinum, near 
 Hildesheim, 1808 ; operatic bass ; 
 son of a peasant ; joined a troupe of 
 players ; sang minor roles at Han- 
 over ; 1842 engaged for leading roles 
 Dresden ; retired 1874. 
 
 Deutz (doits). Vide magnus. 
 
 Devienne (duv-yen), Fran., Joinville, 
 Haute - Marne, Jan. 31, 1759 — 
 (insane), Charenton, Sept. 5, 1803 ; 
 flutist and bassoonist ; important in 
 improving wind instr. ; prof., com- 
 poser and writer. 
 
 Dewey, Ferdinand, Montpelier, Vt. , 
 U. S. A., 1S5 1— Beverley, U. S. A., 
 1900 ; pianist, composer, and teacher. 
 
 Dez^de (or Dezaides) (dii-zed) , 
 Lyons (?) 1740 — Paris, 1792 ; prod. 
 15 pop. operas and operettas. 
 
 Diabelli (de-a-bel'-le), Antonio, 
 Mattsee, near Salzburg, Sept. 6, 
 1781 — Vienna, April 8, 1858 ; pf.-and 
 guitar-teacher ; partner of Cappi, the 
 music-publisher ; c. opera and pop. 
 sonatinas, etc. 
 
 Diamandy. Vide xrovixv. 
 
 Diaz (de la Pena) (de'-ath du-la-pan- 
 ya), Eugene 6mile, Paris, Feb. 27, 
 1S37 — Oct., 1901 ; son of the painter; 
 pupil of Paris Cons. (Halevy, Reber); 
 prod, the com. opera '" Le Roi Can- 
 daule" (1865, Th. Lyrique) ; 1867 
 won the prize for opera, " Za Coupe 
 dii Roi de Thule " (Grand Opera) ; 
 1890 prod, lyric drama " Benvenuto " 
 (Op. -Com.) , pub. many songs. 
 
 Dib din, (i) Chas., Dibdin, near 
 Southampton, 1745 — London, 1814 ; 
 
 composer, smger, accompanist, actor, 
 manager and writer. (2) Henry Ed- 
 ward, Sadlers Wells, 1813— 1866; 
 harpist, organist, violinist and com- 
 poser ; youngest son of above. 
 
 Dick, Chas. Geo. Cotsford, b. 
 London, Sept. i, 1S46 ; law-student 
 at Worcester Coll., O.xford ; later 
 musician ; produced succ. operettas, 
 and 2 comic operas, a "children's 
 opera," etc. 
 
 Dickons, Mrs. (nee Poole), London,' 
 ca. 1770 — May 4, 1833 ; soprano. 
 
 Didymus, b. Alexandria, Egypt, 63 
 B.C. ; wrote 4,000 works in all, incl.; 
 a treatise on harmony. Vide tetrA' 
 CHORDS and comma (d. d.). 
 
 Diehl (del), Louis, b. Mannheim, 1838^ F 
 1863, m. Alice Mangold ; composer! J 
 
 Diem (dem), Jos., Kellmunz, nea)| 
 Memmingen, 1836 — Constance, i894ifl 
 'cellist. 11 
 
 Dimmer (d'ya-ma), Louis, b. Parisil 
 Feb. 14, 1843; pianist; pupil at Cons' 'i 
 of Marmontel ; took ist pf. -prize a; jj 
 13, later ist harm., 2nd org. and is! \ 
 cpt. -prizes ; pupil Ambr. Thoma' ,( 
 and Bazin ; 1887 pf.-prof. at tl:' ^ 
 Cons, (vice Marmontel) ; besidt' ■: 
 brilliant concerts of modern musl 
 he has organised most delightful co: 
 certs of ancient music played on a: 
 cient instrs. ; c. pf. -concerto, char 
 ber-music, etc., ed. collections. I 
 
 Dienel (de'-nel). Otto, b. Tiefenfurtj 
 Silesia, Jan. 11, 1839; pupil Gorlil 
 Gym., Bunzlau Seminary, R. In- 
 for church music, Berlin, and 
 Academy , organist Marienkircl 
 Berlin ;'i88i "Royal Musikdin 
 tor." 
 
 Diener (de'-ner), Fz., Dessau, 1849 
 1879 ; tenor. 
 
 Dierich (de'-rlkh), Carl, b. Heinrii- 
 au, March 31, 1852; tenor in cc 
 cert, opera and oratorio ; studied wi 
 Graben- Hoffman. 
 
 Dies (de-es), Albert K., Hanov, 
 1755 — Vienna, 1832 , writer. 
 
 Diet (de-a), Edmond M., b. Pa, 
 Sept. 25, 1854 ; pupil of Cesar Fran , 
 and Guiraud ; officier of the Acader ; 
 
 
 i 
 
DICTIONARY OF MUSICIANS 483 
 
 elEil 
 
 prod. 3 operas, incl. '' Stratonice" 
 (1887), many ballets and pantomimes, 
 etc. 
 
 Diet(t)er (de'-ter), Chr. L., Ludwigs- 
 burg, 1757 — Stuttgart, 1822 ; dram- 
 composer. 
 
 Dietrich (de'-trlkh) (or Dieterich), (i) 
 Sixtus, Augsburg (?) 1490 (95)— St. 
 (fallen, Switzerland, 1548 ; composer. 
 (2) Albert Hn„ b. Golk, near Meis- 
 sen, Aug. 28, 1829 ; important com- 
 poser ; pupil of J. Otto, Moscheles, 
 Reitz and Schumann ; 1855-61, con- 
 cert-cond., 1859, principal mus.- 
 dir. at Bonn ; 1861, court-cond. at 
 Oldenburg; 1894 Leipzig; c. succ. 
 opera ''Robin Hood" (Frankfort, 
 1879) ; ^ notable symphony ; over- 
 ture, '' Norniannenfahrt'' ; cantatas 
 with orch., 'cello- and vln. -concertos, 
 etc. (3) Marie, b. Weinsberg ; 
 studied Stuttgart and with Viardot- 
 Garcia ; colorature soprano at Stutt- 
 gart court-opera ; then at Berlin. 
 
 Dietsch (detsh), Pierre L. Ph., Di- 
 i jon, 1808 — 1865 ; composer and con- 
 ductor. 
 
 Dietz (dets), (i) Jn. Chr., Darmstadt, 
 1788 — in Holland, 1845 ; instr.-mak- 
 er; inv. melodeon (1805), etc.; his 
 son and assistant (2) Chr., a famous 
 pf.-maker. inv. the Polyplectron. 
 
 Dieupart (d'yii-par), Chas., iSthcent., 
 violinist and harpsichordist. 
 
 Diez (dets), Sophie (nee Hartmann), 
 Munich, 1820 — 1887 ; soprano. 
 
 Dig'num, Chas., Rotherhithe, 1765— 
 1837 ; Engl, singer and composer. 
 
 Dil'liger, Jn., Eisfeld, 1590— Coburg, 
 1647 , cantor and composer. 
 jDin^elstedt (ding'-el-shtet), Jenny 
 (nee Lutzer), Prague, 1816 — Vienna, 
 1877 ; a colorature singer ; m. the poet 
 Fz. D. 
 
 Dippel (dip'-pel), Andreas, b. Cassel, 
 Nov. 30, 1866; notable tenor; stud- 
 ied with Hey, Leoni and Rau ; 1887- 
 92, Bremen opera, then in New York 
 for several seasons, also in Breslau, 
 Vienna; 1889 at Bayreuth, from 1897, 
 at Covent Garden. 
 
 Diruta (de-roo'-ta), (i) Gin, b. Perugia, 
 
 ca. 1560; organist; pub. technical 
 books on org., cpt., etc. (2) Ag., b. 
 Perugia, 1622 ; Augustine monk ; 
 composer. 
 
 Distin, (i) John, 1793— 1863 ; Engl, 
 trumpeter, inv. key-bugle. (2) Theo- 
 dore, Brighton, FIngland, 1823 — Lon- 
 don, 1893 ; son of above ; barytone ; 
 later bass singer and composer. 
 
 Difson, (i) Oliver, 1811— 1888 ; 
 founder of the music-pub. firm O. 
 Ditson Co., at Boston, Mass.; 1867, 
 his eldest son, (2) Chas., took charge 
 of N. Y. branch (C. H. Ditson & 
 Co.). Since 1875 (3) J. Edward 
 Ditson has cond. Philadelphia branch 
 (J. E. D. & Co.). A branch for the 
 importation of instrs., etc., was est. at 
 Boston in i860 as John C. Haynes & 
 Co. ; and since 1864 a Chicago 
 branch, Lyon cS: Healv. 
 
 Ditters (dlt'-ters) (vori Dittersdorf), 
 Karl, Vienna, Nov. 2, 1739 — Neu- 
 haus, Bohemia, Oct. 24, 1799; note- 
 worthy as forerunner of Mozart, and 
 early writer of programme-music (v. 
 D. 13.) ; pupil of Konig and Ziegler, 
 of IVani (vln.), and Bono (comp.); he 
 played in the orch. of his patron 
 Prince Joseph of Hildburghausen, 
 1759, and then in the ct.-Th. at Vienna 
 (1761) ; toured Italy with Gluck, and 
 made great succ. as violinist ; 1764- 
 69 conductor to the Bishop of Gross- 
 Wardein, Hungary. Prod, his first 
 opera, '"Amove in Musica," ijbj ; 
 followed by various oratorios, and 
 much orchestral and chamber-music. 
 Later conductor to the Prince-Bishop 
 of Breslau ; built a small theatre and 
 prod, several pieces. 1770 the Pope 
 bestowed on him the Order of the 
 Golden Spur ; 1773 the Emperor en- 
 nobled him as "von Dittersdorf." 
 Prod. 28 operas; '' Doctor unci Apo- 
 tlieker" (Vienna, 1786), still pop.; 
 several oratorios and cantatas , 12 
 symphonies on Ovid's ''Metamor- 
 phoses'" (Vienna, 1785) (noteworthy 
 as early attempts at programme-mu- 
 sic) ; 41 other symphonies ; a " Con- 
 certo grosso" for n concerted instrs. 
 
4% 
 
 THE MUSICAL GUIDE 
 
 with orch. ; 12 vln. -concertos, etc. 
 Autobiography (Leipzig, 1801). 
 
 Divitis (de'-vl-tes), Antonius (rightly 
 Antoine Le Riche), French contra- 
 puntist and singer, i6th century. 
 
 Dizi(de-ze), Fran. J., Namur, France, 
 Jan. 14, 1780 — Paris, Nov., 1847 ; 
 composer and harpist. 
 
 DIabacz (dla'-bach), Gottf. J., Boh- 
 niisch-Brod, Bohemia, 1758— Prague, 
 1820; pub. a biog. diet., etc. 
 
 Djemil, Bey (jem'-el ba), b. Constan- 
 tinople ca. 1S58 ; court-'cellist to the 
 Sultan. 
 
 Dobrzynski (do-brti-tsen'-shklf), Igna- 
 cy F61ix, Romanoff, Volhynia, Feb. 
 25, 1807 — Oct. 9, 1867 ; pupil of 
 Eisner ; pianist and dram, composer. 
 
 Doebber (dep'-ber), Js., b. Berlin, 
 March 28, 1866 ; pupil of Radecke, 
 Bussler and Agghazy, Stern Cons.; 
 taught the ist pf.-class in Kullak's 
 Cons. ; then conductor at Kroll's 
 Th.; at Darmstadt ct.-Th.; since 1895 
 cond. at the ct.-Th. in Coburg-Gotha, 
 and tutor to Princess Beatrice ; c. 
 succ. operas, " Die Strasseiisdnge- 
 rjM"(Gotha, 1890); '' Der Schmied 
 von Gretna-Green" (Berlin, 1893); 
 burlesque-opera " Doketta" (Bran- 
 denburg, 1894) ; " Die Rose von Gen- 
 zand" (Gotha, 1895) ; "■ Die Grille" 
 (Leipzig, 1897), etc. 
 
 Dohler (da'-ler), Th., Naples, 1814— 
 Florence, 1856 ; pianist and dram, 
 composer. 
 
 Dohnanyi (do-nan'-ye), Ernst von, b. 
 Pressburg, Hungary, July 27, 1877 ; 
 notable pianist and promising com- 
 poser ; first lessons from his father, 
 an amateur 'cellist ; later studied with 
 Foerstner, Kessler, Thoman, and 
 Eugen D'Albert ; debut, Vienna ; 
 1898, won prize there with his pf.- 
 concerto. 1900 and 1901 toured in 
 America with great succ. ; began com- 
 posing early and was favorably no- 
 ticed by Brahms ; c. also symphony, 
 pf.-quintet, pf.-pcs., etc. 
 
 Doles (do'-les), J. Fr., Steinbach, 
 Saxe-Meiningen, 1 7 15 — Leipzig, 1 797 ; 
 director and composer. 
 
 Dominiceti (do-me-ne-cha'-te), Ce- 
 sare, Desenzano, Lago di Garda, 
 1821— Sesto di Monza, 1888 ; prof, 
 of comp. at Milan Cons., and dram, 
 composer. 
 
 Dom'mer, Arrey von,b. Danzig, Feb. 
 9, 1828 ; pupil of Richter and Lobe 
 (comp.), and Schallenburg (org.) ; 
 1863 Hamburg as a lecturer, critic, 
 and (1873-79) sec. to the Town Li- 
 brary ; 1892, Dr. phil. hon. causa 
 (Marburg Univ.) ; writer and com- 
 poser. 
 
 Donati (do-nji'-te), (i) Ignazio, Casal- 
 maggiore, near Cremona, i6th cent., 
 composer and conductor. (2) Bal- 
 dassaro, d. Venice, 1603 ; cond. and 
 composer. 
 
 Done (dOn), Wm., Worcester, 1815^ 
 1895 ; Engl, organist and conductor. 
 
 Doni (do'-ne), (i) A, Fran., Florence, 
 1519 — Monselice, near Padua, 1574; 
 pub. a "■Dialogue on Music" (2) 
 Giov. Bat., 1593 — 1647 ; Florentine 
 nobleman of great learning and re- 
 search in ancient music ; inv. the 
 Lyra Barberina or Amphichord. 
 
 Donizetti (do-ne-tset'-te), (i) Gaeta- 
 no, Bergamo, Nov. 25, 1797 — April 8, 
 1848 ; son of a weaver; pupil of Sa- 
 lari (voice), Gonzales (pf. and ac- 
 comp.), and Mayr (harm.) ; Pilotti 
 and Padre Mattel (cpt.) ; his father 
 opposing his making mus. a profes- 
 sion, he entered the army, was posted 
 at Venice, where he c. and prod, with 
 succ. " Eyirico di Borgogna " (1819) ; 
 " // Falegname di Livonia " (Venice, ! 
 1820), first given as " Pietro il 
 Grande" also succeeded ; " Le Nozze- 
 in Villa" (Mantua, 1820) failed;' 
 " Zoraide di Granata" (1822) suc- 
 ceeded and he left the army ; 1823 he 
 m. Virginie Vasselli (d. 1837) ; 1822- 
 29 he c. 23 operas, none of them of 
 great originality or importance. With 
 "Anna Bolena" (Milan, 1830), he 
 began a better period, incl. the 
 great successes " L-' Eli sir d'Amore", 
 (Milan, 1832), " Lucrezia Borgia" 
 (La Scala, Milan, 1833), " Lucia di\ 
 Lammermoor " (Naples, 1835). 1835: 
 
DICTIONARY OF MUSICIANS 485 
 
 at Paris he prod. " Marino Faliero." 
 1837 dir. Naples Cons. The censor 
 forbade his " Poliiito " (it was prod. 
 at Naples after his death, 1848), and 
 in wrath he left for Paris, where he 
 prod, with much succ. " La Fille dti 
 Regiment'" (Op.-Com., 1840), " Z^j 
 Mat-tyrs " (a new version of Poliutd) 
 (Opera, 1840)? and " Za Favorita" 
 (Opera, 1840). Returned to Italy, 
 and succ. prod. " Adelasia" {^oxa^, 
 1841), and " Maria Padilla " (Milan, 
 1841). At Vienna, 1842, c. and prod, 
 with great succ. "Linda di Chamou- 
 nix." The Emperor made him Court 
 Composer and Master of the Imperial 
 Chapel ; c. a Miserere and an Ave 
 Maria in strict style. "Don Pas- 
 quale" was prod, in Paris, 1843. 
 Violent headaches and mental depres- 
 sion now assailed him, but he contin- 
 ued to write and prod. " Cater ino 
 Cornaro" (Naples, 1844), his last 
 work ; he was found stricken with 
 paralysis, never recovered, and died 
 in 1848 at Bergamo. Besides 67 
 operas, all of them produced, he c. 6 
 masses, a requiem; cantatas; 12 
 string-quartets ; pf.-pcs. and songs. 
 Biog. by Cicconetti (Rome, 1864). 
 (2) Alfredo, b. Smyrna, Sept. 2, 
 1867 ; pupil of Ponchielli and Domi- 
 niceti, Milan Cons., graduating with 
 a noteworthy " Stabat Mater" with 
 orch. ; lives at Milan as cond. and 
 teacher of cpt. ; c. i-act operas 
 "N'ana" {W\\a.x\, 1889), and. " Dopo 
 VAve Maria" (Milan, 1897), very 
 succ, "La Locandiera" (comedy in 
 3 acts), a symphony, etc. 
 
 Dont (dont), (i) Jos. Val., Georgen- 
 thal, Bohemia, 1776 — Vienna, 1833; 
 'cellist. (2) Jakob, Vienna, 1815 — 
 1888; son of above; violinist and com- 
 poser. 
 
 Dongelli (don-jel'-le), Dom., Berga- 
 mo, 1790 — Bologna, 1873 ; tenor. 
 
 Door (dor), Anton, b. Vienna, June 
 20, 1833 ; pupil of Czerny and Sech- 
 ter ; court pianist at Stockholm ; 1859 
 teacher at the Imp. Inst., Moscow; 
 1864 prof, at the Cons. ; 1869 ist 
 
 prof. Vienna Cons., resigned 1901 ; 
 has edited classical and instructive 
 works. 
 
 Dopp'ler, (i) Albert Fr., Lemberg, 
 182 1 — Baden, near Vienna, 1883 ; 
 flutist, conductor, professor, and 
 dram, composer. (2) Karl, b. Lem- 
 berg, 1S26 ; bro. of above ; flutist, 
 and conductor; c. operas, inch " Er- 
 zebeth " in collab. with his bro. and 
 Erkel. (3) Arpad, b. Pesth, June 
 5, 1857 ; son and pupil of (2) ; pupil 
 of Stuttgart Cons., later pf. -teacher ; 
 1S80-83 New York ; returned to 
 Stuttgart Cons., also since 1889 
 chorusm. at the ct.-Th. ; c. opera 
 " Viel Lcirin tim Nichts" (Leipzig, 
 1896) ; suite, Festonvertiire, etc. 
 
 Dorffel (derf'-fel), Alfred, b. Walden- 
 burg, Saxony, Jan. 24, 1821 ; pupil 
 at Leipzig of Fink, Muller, Mendels- 
 sohn, etc. ; mus.-libr. Leipzig City 
 Library ; critic and editor ; 1885 Dr. 
 phil. h. c, Leipzig U. 
 
 Do'ria, Clara, (i) v. mrs. c. k. 
 
 ROGERS. (2) V. KLOUS, A. 
 
 Doring (da'-ring), (i) G., Pomeren- 
 dorf, near Elbing, 1801 — 1869 ; can- 
 tor ; pub. choral books and historical 
 essays. (2) Karl, b. Dresden, July 
 4, 1834 ; pupil Leipzig Cons. ; 1858, 
 Dresden Cons. ; 1S75, prof. ; c. suites 
 for string-orch.. Grand Mass, etc. 
 
 Dorn, (i) H. (L. Edm.), Konigsberg, 
 Nov. 14, 1S04 — Berlin, Jan. ID, 1892; 
 pupil of Berger, Zelter, and Klein, 
 Berlin; ct.-cond. at Konigsberg; 
 cond. Cologne ; founded the " Rhein- 
 ische Musikschule," which, 1850, be- 
 came the Cologne Cons.; cond. Royal 
 Opera, Berlin ; teacher and critic ; 
 notable composer of 12 operas, sym- 
 phonies, etc. (2) Julius Paul, b. 
 Riga, June 8, 1833 ; son and pupil of 
 above ; pianist ; teacher in Poland, 
 Cairo, and Alexandria ; 1865-68 
 cond. the Crefeld " I>iedertafel " ; 
 since pf. -teacher at the R. Hoch- 
 schnle, Berlin, with title "Royal 
 Prof." ; c. over 400 works, incl. 3 
 masses with orch. (3) Otto, b. Co- 
 logne, Sept. 7, 1848 ; son and pupil 
 
486 
 
 THE MUSICAL GUIDE 
 
 of (i) ; studied at Stern Cons., took 
 the Meyerbeer scholarship (ist prize), 
 1873 ; lives in Wiesbaden ; c. succ. 
 opera '' Afraja" (Gotha, 1891); 
 symphony, ' ' Prometheus " / over- 
 tures, ''' Herinannsschlacht," and 
 " Sappho," etc. (4; Edward, 
 Pen-name of J. L. Rockel. 
 
 Dorner (der-ner), Armin W., b. 
 Marietta, Ohio, June 22, 1852 ; 
 studied in Berlin, Stuttgart and Paris ; 
 pf.-prof. Cincinnati Coll. of Music ; 
 pub. " Technical Exercises." 
 
 Dornheckter (dorn'-hek-ter), Robert, 
 Franzburg, Pomerania, 1839— Stral- 
 sund, 1890 ; conductcr. organist and 
 composer. 
 
 Dorus - Gras (do-rU-gras), Julie 
 Aim^e Jos^phe (rightly) Van 
 Steenkiste (Dorus, stage-name) ; 
 Valenciennes, 1805 — Paris, i8g6 ; 
 operatic soprano ; created important 
 roles. 
 
 Doss (dos), Adolf von, Pfarrkirchen, 
 Lower Bavaria, 1825 — Rome, 1886 ; 
 Jesuit priest and dram, composer. 
 
 Dbtssch (detsh), Aug., 1858— Wies- 
 baden, 1882 ; 'cellist. 
 
 Dotzauer (d6t'-tsow-6r), (i) Justus J. 
 Fr., Hasselrieth, near Hildburghau- 
 sen, 1783 — Dresden, i860 ; 'cellist, 
 and dram, composer. (2) Justus B. 
 Fr., Leipzig, 1808 — Hamburg, 1874; 
 son of above ; teacher. (3) K. L. 
 ("Louis"), b. Dresden, Dec. 7, 
 1811 ; son and pupil of (i) ; 'cel- 
 list. 
 
 Douay (doo-e'), Georges, Paris, Jan. 
 7, 1840 ; pupil of Duprato ; amateur 
 composer of operettas, etc. 
 
 Dourlen (door-iah), Victor Chas. 
 Paul, Dunkirk, 1780 — Batignolles, 
 near Paris, 1864 ; prof, and dram, 
 composer. 
 
 Dow'land, (i) John, Westminster, 
 London, 1562 — London, April, 1626 ; 
 lutenist and composer to Christian 
 IV. of Denmark. (2) Robert, 1641 ; 
 son of above ; lutenist and editor. 
 
 Draeseke (dra'-ze-ke), Felix Aug. 
 Bhd,, b. Coburg, Oct. 7, 1835 ; im- 
 portant composer ; pupi! of Rietz, 
 
 Leipzig Cons., and of Liszt at Wei- 
 mar ; 1864-74 Lausanne Cons., ex- 
 cept 1868-69, in the R. M. S. at Mu- 
 nich ; 1875 Geneva, then Dresden as 
 teacher ; 1884 prof, of comp. at the 
 Cons.; c. 4 operas; '"Sigurd" 
 " Gudrun" (Hanover, 1884), '' Ber- 
 trand de Born " (book and music), 
 and the succ. '' Her rat" (Dresden, 
 1892) ; 3 symphonies (op. 40" Trag- 
 ica" in C) ; Grand Mass with orch. ; 
 " Akademtsche Festouverture " ; sym- 
 phonic preludes to Calderon's " Ztyif 
 a Dream" Kleist's '' Penthesilea" 
 (both MS.), etc.; wrote treatises and 
 a " Harmony " in verse. 
 
 Draghi (dra'-ge), (i) Antonio, Ferrara, 
 1635 — Vienna, 1700 ; c. 87 operas, , 
 87 festival plays, etc. (2) Gio. Bat., j 
 1667 — 1706, harpsichordist, organist' 
 and composer, London. I 
 
 Dragonnet'ti, Dom., Venice, April! 
 7. 17&3 — London, April 16, 1846;! 
 called " the Paganini of the contra- j 
 basso " ; composed, played and 
 taught. 
 
 Drath (drat), Th., b. Winzig, Silesia, 
 June 13, 1828 ; pupil of Marx ; can-, 
 tor at Bunzlau Seminary ; Royal 
 " Musikdirector" ; composer and the-; 
 orist. 
 
 Draud (drowt) (Drau'dius), Georg' 
 Davernheim, Hesse, 1573 — Butzbach; 
 1635 ; pub. " Bibliotheca Classica': 
 and other musical works of great in 
 formational value. 
 
 Drechsler (drgkhs'-ler), (i) Jos., Wall; 
 isch-Birken (Vlachovo Brezi), Bohe 
 mia, 1782 — Vienna, 1852 ; organist' 
 conductor and dram, composer. (2 
 Karl, Kamenz, 1800 — Dresder 
 1873 ; 'cellist teacher. 
 
 Dregert (dra'-gert), Alfred, Fran! 
 fort-on-Oder, 1836— Elberfeld, 1893 
 conductor, dir. and composer. 
 
 Dresel (dra-z^l). Otto, Andernacl 
 1826 — Beverly, Mass., 1890 ; con 
 poser. 
 
 Dressier, (i) Louis Raphael, b. Ne 
 Vork, 1861 ; son and pupil of ( 
 Wm. (a conductor at N. Y .) ; liv 
 there as pianist and composer. 
 
 i 
 
DICTIONARY OF MUSICIANS 487 
 
 ifgatiS 
 
 Silesii 
 r,m 
 Roil 
 and tin 
 
 Geoij 
 
 utzbaii , 
 
 Dreszer (dresh-gr), Anastasius W., 
 
 b. Kalisch, Poland, April 28, 1845 ; a 
 brilliant pianist at 12 ; studied with 
 Doring, Krebs, and Friih, Dresden 
 Cons.; lived in Leipzig ; 1868, Halle ; 
 founded a music-school of which he is 
 still dir. ; c. 2 symphonies, opera 
 " I'^almodn," etc. 
 
 Dreyschock (dri'-shok), (i) Alex., 
 Zack, Bohemia, Oct. 15, 181S— Ven- 
 ice, April I, 1869 ; one of the most 
 dextrous of pf. -virtuosi ; c. an opera, 
 etc. (2) Raimund, Zack. 1824 — 
 Leipzig, 1S69, br. of above ; leader. 
 His wife (3) Elisabeth (nee Nose), 
 Cologne, 1832, a contralto. (4) Felix, 
 Leipzig. Dec. 27, i860; son of (i) ; 
 pianist ; student under Grabau, Ehr- 
 lich, Taubert, and Kiel at the Ber- 
 lin Royal Hochsohule ; prof. Stern 
 Cons., Berlin; c. a vln. -sonata (op. 
 16), etc. 
 
 Drieberg (dre'-berkh), Fr. J. von, 
 Charlottenburg, 1780— 1856; writer 
 on Greek music ; dram, composer. 
 
 Drobisch (dro'-blsh), (i) Moritz W., 
 b. Leipzig, Aug. 16, 1802; from 1842 
 prof, of phil., Leipzig Univ. ; pub. 
 important treatises on the mathemat- 
 ical determination of relative pitches. 
 (2) Karl L., Leipzig, 1803— Augs- 
 burg, 1854 ; bro. of above ; c. 3 ora- 
 torios. 
 
 Drobs (dreps), J. And,, near Erfurt, 
 1784 — Leipzig, 1825 ; organist. 
 
 Drouet (droo-a), L. Frang. Ph., Am- 
 sterdam, 1792-— Bern, Sept. 30, 1873; 
 flutist and composer. 
 
 Dubois (dii-bwa) (i) (Clement Fran.) 
 Th., b. Rosnay, Marne, Aug. 24, 
 1837 ; studied at Rheims, then under 
 Marmontel, Benoist, Bazin, and 
 Thomas (fugue and cpt.) at Paris 
 Cons. ; took Grand pri.x de Rome 
 with the cantata " A fa/a"; also first 
 prizes in all departments ; sent from 
 Rome a Solemn Mass (perf. at the 
 Madeleine in 1S70), a dram, work, 
 " La Prova d'un Opera Seria" and 
 2 overtures ; returned to Paris as a 
 teacher ; cond. at Saint-Clotilde ; 
 since organist at the Madeleine ; 
 
 1871 prof, of harm, at the Cons. ; 
 1891 prof, of comp. ; [894, elected to 
 Acad. ; 1896, dir. of the Cons., and 
 officier of the Legion of Honour ; c. 
 4 operas ; oratorios : " Les Se/ts Pa- 
 roles dii Christ" (1867), " Z^ Para- 
 dis Perdu" (1878) (city of Paris 
 prize), and " iVotre Datne de la Aler" 
 (1897) ; cantatas ; masses, etc. ; 3 
 overtures, incl. '^ Frit hi off." (2) 
 L^on, b. Brussels, Jan. 9, 1849 I pupil 
 of the Cons., took Grand pri.x de 
 Rome. Since 1890 second cond., 
 Th. de la Monnaie, Brussels ; c. 3 
 operas, ballet, symphonic poem, 
 " Atala" etc. 
 
 Duburg, Matthew, London, 1703 — 
 1767 ; violinist and conductor. 
 
 Ducange. Vide cange, du. 
 
 Ducis (dii-se), Benoit (Benedictus 
 Ducis), b. Bruges, 1480 ; important 
 composer ; not to be confused with 
 Benedictus of Appenzell. ' 
 
 Dufay (du-fe'), Guill., ca. 1400— Cam- 
 brai, Nov. 27, 1474 ; a canon ; said 
 to have inv. white (open) notes. 
 
 Dugazon (dii-ga-z6ri), Louise-Rosa- 
 lie (nee Lef^vre), Beriin, 1753 — 
 Paris, 1821 ; untrained singer in light 
 opera, so charming in both young 
 and old roles as to give rise to the j 
 
 descriptive terms " Jeunes Duga- 1 
 
 zon," and " Meres Dugazon." I 
 
 Dug'gan, Jos. Francis, b. Dublin, 
 July ID, 1S17 ; opera-conductor and 
 teacher in various cities in America, 
 also Paris and London ; c. succ. 
 operas, ''Pierre" and '' Ltfonie" 
 and 3 not produced ; 2 symphonies, 
 etc. 
 
 Duiffopruggar (rightly Tieffenbriick- 
 er) (dwef'-fo-proog -gar or tef'-fen- 
 briik-dr), (i) Caspar, P^eising, Ba- 
 varia, 1514 — Lyons, 1572; long con- 
 sidered the first vln. -maker ; went to 
 Lyons in 1553, naturalised in 1559, 
 and made violas da gamba and lutes. 
 Other instr. -makers of the same sur- 
 name were (2) Wendelin, (3) Leon- 1 
 hard, (4) Leopold, (5) Ulrich, and 1 
 (6) Magnus. The latest made lutes ; 
 at Venice, 1607. 
 
488 
 
 THE MUSICAL GUIDE 
 
 Dulcken (dool'-k^n), (i) Louise (nee 
 David), Hamburg, 1811 — London, 
 1850, a sister of Fd. David ; pianist. 
 (2) Fd. Quentin, London, June i, 
 1837 — Astoria, N. Y., 1902 ; son of 
 above ; pupil of Mendelssohn, Mo- 
 scheles, Gade, Hauptmann, Becker 
 and F. Hiller ; prof. Warsaw 
 Cons. ; toured in Europe ; lived for 
 years in New York ; c. an opera, 
 " IVieslav" ; a mass, etc. 
 
 Dulon (doo'-lon), Fr. L., Oranienburg, 
 near Potsdam, 1769 — ■■ Wiirzburg, 
 1826 ; a blind flutist and composer. 
 
 Dulong (doo'-longk), (i) Fz, Henri 
 von, b. Hamm, Westphalia, Feb. 26, 
 1861 ; tenor, studied with Vannucini 
 in Florence ; toured as concert-singer. 
 (2) Magda von (nee John), b. Ilalle, 
 Feb. 29, 1872 ; wife of above ; con- 
 cert-alto ; studied with Ilromada, 
 Frau Joachim, and Gerster ; first 
 sang as Magda Lossen. 
 
 Dun, Finlay, Aberdeen, 1795 — 1853 ; 
 viola-player, singing-teacher, editor 
 and composer. 
 
 Dunham, H. Morton, b. Brockton, 
 Mass., July 27, 1853 ; pupil N. E. 
 Cons., and Boston Univ. Coll. of 
 Mus. ; has taught in both places 
 since; pub. ''Organ Sc/iool"; 2 or- 
 gan-sonatas, etc. 
 
 Duni (doo'-ne), Egidio Romualdo, 
 Matera, near Otranto, Feb. 9, 1709 
 — Paris, June 11, 1775 ; pupil of Du- 
 rante ; his first opera, " jVcrotte," 
 prod. Rome, 1735, with great succ, 
 triumphing over Pergolesi's last ope- 
 ra " Olimpiado" which the generous 
 Duni said was too good for the pub- 
 lic, declaring himself " frenetico 
 centre il pubblico Romano " ; he c. 
 French operettas with such succ. that 
 he settled in Paris, where he is con- 
 sidered the founder of French opera- 
 bouffe ; c. 13 Italian operas and 20 
 French. 
 
 Dunk'ley, Fd. (Louis), b. London, 
 England, July 16, 1869 ; pupil of G. 
 A. Higgs, Bainbridge, J. Higgs (cpt.), 
 and E. H. Turpin (comp.) ; and at 
 R. A. M. (Scholarship), under Parry, 
 
 Bridge, Martin, Gladstone, Sharpe 
 and Barnet ; 1893, dir. at St. Agnes' 
 School, Albany, N. Y. ; also organ- 
 ist since 1897 at Trinity M. E. Ch. ; 
 pub. " The IVreck of the Hesperus " 
 ballade for soli, chor., and orch., 
 etc. ; 1889 took prize of 50 guineas 
 with orch. suite. 
 Dunoyer (dun-wa-ya'). Vide gauc- 
 
 QUIF.R. 
 
 Dunstable (Dunstaple), John, Dun- 
 
 stable, Bedfordshire, England, 1400 
 (?) — Walbrook, Dec. 24, 1453 ; called 
 by Tinctor one of the "fathers "of 
 counterpoint. 
 
 Dupont (dii-poh), (i) Pierre, Roche- 
 taillee,^near Lyons, April 23, 1821 — 
 Saint-Etienne, July 25, 1870; c. the 
 words and tunes of popular and 
 political songs which Reyer wrote 
 out ; provoked such riots that Napo- 
 leon banished him, 1851. (2) Jo- 
 seph (aine), Liege, 1821 — 1861 ; vio- 
 linist ; prof, and dram, composer. 
 (3) J- Fran., Rotterdam, 1822 — 
 Niirnberg, 1S75 ; violinist and dram, 
 composer. (4) Aug., Ensival, near 
 Liege, 1828 — Brussels, 1890; com- 
 poser. (5) Alex., Liege, 1833 — 1888; 
 bro. of above; pub. a ''Repertoire 
 dra/natique Beige." (6) Jos. (le 
 jeune), b. Ensival, near Liege, Jan, 
 3, 1838 ; bro. of (3), pupil at Liege 
 and Brussels Cons., took Grand prix 
 de Rome at Brussels ; 1867 cond. at 
 Warsaw; 1871, in Moscow; 1872, 
 prof, of harm., Brussels Cons. ; cond. 
 Th. de la Monnaie, the Society of 
 Musicians, and the Popular Concerts. 
 (7) Jos. D., d. The Hague, June 26, 
 1867; bro. of above; dir. German 
 Op. at Amsterdam. 
 
 Duport (dii-por), (i) J. P., Paris, 1741 
 —Berlin, 1S18 ; 'cellist. (2) J. L., 
 Paris, 1749 — 1819; more famous 
 bro. of above ; also 'cellist ; composei 
 and writer. 
 
 Duprato (dii-pra'-to), Jules Laurent. 
 Nimes, 1827 — Paris, 1892 ; prof, c 
 harm, and dram, composer. 
 
 Duprez (dii-pra'), L. Gilbert, Paris 
 1806 — 1896 ; tenor and composer. 
 
 J 
 
DICTIONARY OF MUSICIANS 489 
 
 JlllDffl 
 
 OiDiii. 
 
 I'l, ntn 
 ,,dlBl 
 tiers" (i 
 
 Roc'b 
 
 , lS2!- 
 
 ;c,tii 
 Jar aij 
 am 
 
 Dupuis (dii-pwe), (i) Jos6 (Joseph 
 Lambert), Liege, 1833 — Nogent- 
 sur-Marne, 1900; opera-bouffe singer. 
 (2) Sylvain, Liege, Nov. g, 1856 ; 
 pupil Liege Cons., 18S1 Prix de Rome; 
 now teacher of cpt. and cond. of a 
 singing-society ; c. 3 operas, incl. 
 the succ. com. opera " Uidylle" 3 
 cantatas, symphonic poem, '"Mac- 
 beth" etc. 
 
 Dupuy (dii-pwe). Vide puteanus. 
 
 Durand (rightly Duranowski) (dQ- 
 ran or doo-ran-of'-shkl), (i) Auguste 
 Frederic, b. Warsaw, 1770 ; violin- 
 ist and cond., son of a court-mus. (2) 
 £mile, b. St.-Brieue, Cotes du Nord, 
 Feb. 16, 1830 ; while still a pupil at 
 the Paris Cons, he was appointed 
 teacher of an elementary singing- 
 class ; 1871 prof, of harm ; dram, 
 composer and writer. (3) Marie 
 Auguste, Paris, July 18, 1830; pu- 
 pil of Benoist, 1849-74 organist at 
 various churches ; 1870 est. mus.-pub. 
 business of " Durand et Schone- 
 werk," later "Durand et Fils " ; a 
 critic and composer. 
 
 Durante (doo-ran'-te), Fran., Fratta 
 Maggiore, Naples, March 15, 1684 — 
 Naples, Aug. 13, 1755 ; director and 
 conductor, with salary of less than 
 $100 per annum ; he is an important 
 teacher and composer of the " Nea- 
 politan School " ; c. 13 masses, etc. 
 
 Durastanti (doo-ra-stan'-te), Mar- 
 garita, ca. 1695 Italian prima don- 
 na, of wonderful popularity in Lon- 
 don. 
 
 D'Ur'fey, Thos., Exeter, ca. 1649 — 
 Feb. 26, 1723 ; operatic composer 
 and editor. 
 
 Durrner (dTr'-ner), Ruprecht Jns. 
 Julius, Ansbach, Bavaria, 1810 — Ed- 
 inburgh, 1859 ; composer, writer, ed- 
 itor. 
 
 Durutte (du-riit), Fran. Camilla 
 Ant., Ypres, East Flanders, 1803 — 
 Paris, 188 1 ; wrote a new but errone- 
 ous system of harm.; c. operas, etc. 
 
 Du(s)sek (Dusek, Duschek) (doos'- 
 sek or better doo'-shek), (i) Fz.,Chot- 
 iborz, Bohemia, 1736 — Prague, 1799 J 
 
 composer, pianist and teacher. (2) 
 Josephine, b. Prague, 1756 ; pianist, 
 composer, singer. (3) J. Ladislaus, 
 Caslav (Tschaslau), Bohemia, Feb. 
 9, 1761 — Saint - Germain - en Laye, 
 March 20, 1812 ; a boy-soprano at 
 Iglau, pupil of Father Spenar at the 
 Jesuit College ; organist Jesuit 
 Church, Kuttenburg, for 2 years ; 
 studied theology at Prague Univ., 
 also music ; became organist of Saint- 
 Rimbaut's, Mechlin ; lived Bergen- 
 op-Zoom ; Amsterdam ; The Hague, 
 1783 ; studied with C. P. E. Bach, 
 Hamburg ; became famous pianist 
 and performer on Hessel's " Har- 
 monica," Berlin and St. Petersburg; 
 lived in Lithuania a year at Prince 
 Radziwill's Court ; lived Italy, 
 Paris, London ; 1792 m. (4) Sofia 
 Corri (b. Edinburgh, 1775 ; a singer, 
 harpist and composer). He entered 
 a mus. -business with his father-in- 
 law, 1800, failed and fled to Ham- 
 burg to escape creditors. He was in 
 the service of various Princes, and 
 (1808) of Prince Talleyrand in Paris. 
 A pioneer among Bohemian and Po- 
 lish virtuosi and composers he dis- 
 puted with Clementi the invention of 
 the " singing-touch." Prod. 2 English 
 operas in London with success, and 
 pub. a Mass (comp. at the age of 13), 
 oratorios and church - music ; pub. 
 nearly 100 works for pf. , incl. 12 con- 
 certos, 80 sonatas with vln. ; 53 so- 
 natas for pf.-solo, etc. ; pub. a 
 ■''Method:'' 
 
 Dustmann (doost'-man), Marie Luise 
 (ne'e Meyer), Aix-la-Chapelle, 1831 
 — 1899 ; soprano. 
 
 Dutch (dlitsh), b. Denmark — d. Frank- 
 furt-on-Main, 1863 ; prominent Rus- 
 sian composer. 
 
 Duval (du-vil'), Edmond, b. Enghien, 
 Hainault, Aug. 22, 1809 ; pupil Paris 
 Cons., 1828-32, when he was dis- 
 missed for irregular attendance ; at 
 Mechlin became interested in Jans- 
 sen's studies of Gregorian music ; 
 was commissioned by the Bishop to 
 revise the church-ritual, and visited 
 
490 
 
 THE MUSICAL GUIDE 
 
 Rome; he pub. "revised version," 
 etc., of ecclesiastical song, which Fe- 
 tis declares altogether wrong. 
 
 Duvernoy (or Duvernois) (dli-vern- 
 wii), (i) Fr., Montbeliard, 1765 — 
 Paris, 1838 ; prof, at the Cons.; com- 
 poser. (2) Charles, Montbeliard, 
 1766 — Paris, 1845 ; bro. of above ; 
 clarinettist ; prof, and composer. (3) 
 Chas. Fran., Paris, 1796 — 1872; 
 singer. (4) H. L. Chas., b. Paris, 
 Nov. 16, 1S20 ; son of (3) ; pupil 
 of Halevy and Zimmermann, Paris 
 Cons.; 1839, assist. -prof.; 1848, prof, 
 there of solfeggio ; composer. (5) 
 Victor Alphonse, Paris, Aug. 31, 
 1842 ; pupil of Bazin and Marmontel 
 Paris Cons.; took first pf. prize ; now 
 teacher of piano at the Cons. ; a 
 Chev. of the Legion of Honour, and 
 ofhcier of public instruction ; 1892 
 prod, the succ. opera " Sardanapale" 
 (Lyons), also opera '' Helle" (Gr. 
 Opera, 1896) ; his symph. poem, " La 
 Tempete" won the City of Paris prize. 
 (6) J. Bapt., composer and pf.- 
 teacher, Paris, 1825. 
 
 Duysen (doi'-sen), Jes Lewe, b. Flens- 
 burg, Aug. I, 1820; i860 founded a 
 pf. factory at Berlin. 
 
 Dvorak (dvor'-shak), Antonin.b. Miihl- 
 hausen, Bohemia, Sept. 8, 1841 ; 
 chief of Bohemian composers ; son of 
 an inn-keeper, who wished him to be 
 a butcher, but he learned the vln. 
 from the schoolmaster, and at 16 en- 
 tered the Prague Org.-Sch. under 
 Pitzsch, earning a livelihood as vio- 
 linist in a small orchestra ; graduated 
 in 1862, became via. -player at the 
 Nat. Theatre. He was 33 before an 
 important comp. was prod., a hymn for 
 male chorus and orch., which attract- 
 ed such attention that 1875 he re- 
 ceived a government stipend and de- 
 voted himself to composition. i8gi 
 Mus. Doc. Cambridge Univ.; 1892- 
 95 dir. Nat. Cons., New York ; since 
 has lived at Prague ; 1901, director 
 of the Prague Cons ; 1902, prod, opera 
 '' Armida" Pilsen Nat. fh. He is a 
 strong believer in nationalism in mu- 
 
 sic, and provoked much controversy by 
 advising American composers to found 
 their school on the harmonic and mel- 
 odic elements of plantation-music. 
 In his 5th symphony, op. 95, " From 
 the New World" he made some use 
 of such a manner. His other comp. 
 are : Bohemian operas " The King 
 and the Charcoal-Btirner " (Prague, 
 1874); "fFaWa" (1876); '' Selma 
 Sedldk" (1878); '' Turde Paliee" 
 (1881); '' Dimitrije'' (1882); 'T/i^f! 
 Jacobins" (1889); '' Rusalka, the 
 U-'atcr Nixie" (Nat. Th. Prague,) 
 1901) ; oratorio ''St. Ludmila"' 
 (Leeds Mus. Fest., 1886); Requiem 
 Mass, op. 89, with orch. (Birming-j 
 ham Fest., 1891) ; cantatas ''The] 
 Spectre's Bride," op. 69, with orch. | 
 (Birmingham Fest., 1885), and " TAel 
 American Flag" (N. Y., 1895); 
 Hymti of the Bohemian PeasantsX 
 for mixed ch. ; hymn for mixed ch.i 
 and orch.; "■ Stahat Mater" withj 
 orch. (London, 1883) ; Psalm 149I 
 with orch.; 5 symphonies; 3 or-; 
 chestral ballades, '' Der Wasser-^. 
 77iann," ''Die Mittagshexe," and; 
 " Das goldene Spinnrad"; 2 sets o) 
 symphonic variations for orch. ; over- 
 tures, " JA'zw Heim," " ffusitska,' 
 "In der Natur," "Othello" "Car. 
 neval" ; concertos for 'cello, pf. , vln. 1 
 " Slavische Tdnze," and " Slavischr 
 Rhapsodien " ; scherzo cappriccios( 
 for orch. ; string-sextet ; 2 string 
 quintets ; pf. -quintet ; 6 string-quar: 
 tets ; 2 pf. -quartets ; a string-trio ; :, 
 pf. -trios; mazurek for vln. wit); 
 orch. ; serenade for wind with 'celli; 
 and double-bass ; notturno foi 
 string-orch. ; pf. music, " Legenden, 
 " Dutnka" (Elegy), " Fiiriatite 
 (Boh. natl. dances); " Kldnge au 
 Mahren," and " Silhonetten" for pf 
 4-hands ; violin-sonata, op. 57, 
 songs, etc. 
 Dwight, J, Sullivan, Boston, Mass. 
 1813 — 1893 ; editor and critic ; on 
 of the founders of the Harvard Mus: 
 cal Association ; was a member c 
 the Brook Farm Community ; 1852 
 
 M 
 
 I 
 
DICTIONARY OF MUSICIANS 491 
 
 Si, edited '' D2vighi's Journal of 
 J/usic-r 
 
 Dykes (Rev.), J. Bacchus, Kingston- 
 upon-Hull, Eng. , 1823 — St. Leon- 
 ard's, 1876 ; conductor. 
 
 Dyne, John, suicide, Oct. 30, 1788; 
 English alto singer and composer. 
 
 Eager, John, b. Norwich, 1782 ; violin- 
 ist and teacher. 
 
 Eames (amz), Emma, b. (of American 
 parents) at Shanghai, Aug. 13, 1867 ; 
 at 5 went with her mother, her first 
 teacher, to Bath, Maine ; pupil of 
 Miss Munger at Boston ; 1 886-88 at 
 Paris, of Madame Marchesi (voice), 
 and Pluque (acting, etc.) ; 1888, en- 
 gaged at the Op. -Com. , but made de- 
 but with succ. at the Gr. Opera, 
 March 13, 1S89, as Juliette in Gou- 
 nod's " Romt'o et Juliette" a role pre- 
 viously sacred to Patti ; sang at the 
 Opera for 2 years, creating " Co- 
 lombe " in St.-Saens' '' A scaur a" and 
 as "Zaire" in De La Nux's opera; 
 1891, Covent Garden in ''Faust " m. 
 the painter Julian Story the same year, 
 and in Oct. appeared in New York ; 
 since then she has sung regularly in 
 N. Y. and London, except 1892-93, 
 at Madrid, and 1895-96, during ill- 
 health ; her " Sieglinde " is perhaps 
 her best role. 
 
 East'cott, Richard, Exeter, 1740 — 
 Livery Dale, Devonshire, 1828 ; writ- 
 er and composer. 
 
 Eb'den, Thos., Durham, 1738— 1811 ; 
 organist and composer. 
 
 Ebeling (a'-be-ling), (i) J. G., Lime- 
 burg, ca. 1620— Stettin, 1676 ; prof, 
 and composer. (2) Chp. Daniel, 
 Garmissen, near Hildesheim, 1741 
 — Hamburg, 1817 ; prof, and writer. 
 
 Ebell (a-bel), H. K., Neuruppin, 
 1775 — Oppeln, 1S24 ; conductor and 
 dram, composer. 
 
 Eberhard (i) von Freisingen (a'-ber- 
 hart fon frT'-z!ng-6n), Eberhar dus 
 Frisengen'sis, Benedictine monk, 
 lith cent. ; wrote on the scale of 
 
 pipes and bell-founding. (2) J. 
 Aug., Halberstadt, 1739 — Halle, 
 1809 ; professor. 
 
 Eberl (a'-berl), Anton, Vienna, June 
 13, 1766 — March 11, 1807; famous 
 pianist, conductor and dram, com- 
 poser. 
 
 Eberlin (a'-b6r-len), (i) Daniel, Niirn- 
 berg, ca. 1630 — Cassel, 1691 ; con- 
 trapuntist and violinist ; famous as a 
 composer in his day. (2) (or Eber- 
 le) J. Ernst, Jettenbacht, Swabia, 
 1702 — Salzburg, 1762; conductor and 
 composer. 
 
 Ebers (a'-bers), K. Fr., Cassel. 1770 
 — Berlin, 1836 ; conductor and dram. 
 composer. 
 
 Eberwein (a'-ber-vin), (i) Traugott 
 Maximilian, Weimar, 1775 — Rudol- 
 stadt, 1831 ; dram, composer. (2) 
 Karl, Weimar, 1786— 1868, bro. of 
 above ; dram, composer. 
 
 Eccard (ek-kart), J., Mtihlhausen, 
 Thuringia, 1553 — Berlin, 1611 ; im- 
 portant composer of church-music. 
 
 Eccles (gk'-kels), (i)John, London (?), 
 1668 — Kingston, Surrey, 1735 ; son 
 and pupil of the violinist, (2) Solo- 
 mon E. C. His brother (3) Henry, 
 was violinist and composer. (4) 
 Solomon Thomas, bro. of above, 
 also violinist. 
 
 Eck (6k), ( I) J. Fr., Mannheim, 1766— 
 Bamberg (?), 1809 (1810?); violinist 
 and composer. (2) Fz., Mannheim, 
 1774 — insane, Strassburg, 1804 ; bro. 
 and pupil of above ; violinist. 
 
 Eckelt (ek'-elt), J. Val., Wernings- 
 hausen, near Erfurt, i63o — Sonders- 
 hausen, 1734 ; writer. 
 
 Ecker (ek'-Sr), (r) K., Freiburg, Bad- 
 en, 1813 — 1879; composer. (2) 
 Wenzel, pen-name of W. Gericke. 
 
 Eckert (ek'-6rt), K. Ant. Florian, 
 Potsdam, 1820 — Berlin. 1S79; ^^ 10 
 c. an opera, at 13 an oratorio ; court- 
 conductor and dram, composer. 
 
 Eddy, Clarence H., b. Greenfield, 
 Mass., June 23, 1851 ; pupil of J. G. 
 Wilson and Dudley Buck ; 1871 of 
 Haupt and Loschhorn (pf.) ; toured 
 in Germany, Austria, Switzerland, 
 
492 
 
 THE MUSICAL GUIDE 
 
 and Holland ; 1S74, organist, Chica- 
 go ; 1876, dir. Hershey School of 
 Musical Art ; later m. its founder 
 Mrs. S. B. H. ; toured America and 
 Europe, 1879 gave 100 recitals at 
 Chicago without repeating a number; 
 for some years cond. Chicago Philh. 
 Vocal Soc. ; c. organ and church 
 music, etc.; pub. " The Church and 
 Conce7-t Organist,''' " The Organ in 
 Church " (18S7), and transl. Haupt's 
 " C/>(. and Fugue'" (1876). 
 
 Ed'son, Lewis, Bridgewater, Mass., 
 1748 — Woodstock, N. Y,, 1820 ; pub. 
 a coll. of hymns, etc. 
 
 Ed'wards, Julian, b. Manchester, 
 England, 1S55 ; pupil Sir H. Oakley, 
 Edinburg, then of Alacfarren, Lon- 
 don ; 1875, pianist to Carl Rosa Opera 
 Co.; 1877, cond. Royal Eng. Opera 
 Co. and prod. " Victorian" Covent 
 Garden. 1880, prod. " Corinne" at 
 St. James's Hall, London ; cond. 
 Engl. Opera at Covent Garden, and 
 prod. 2 operas, '''Corinne" and 
 ''Victorian" at Sheffield, 1883; 
 came to the U. S., 1889, and prod, 
 with success various comic operas, 
 incl. "Madeleine or the Magic Kiss " 
 (Boston, 1894), and " Brian Boru " 
 (N. Y., 1896); "The Wedding 
 Day" " The Jolly Musketeer " 
 " Princess Chic" {i^qq), "Dolly Var- 
 den" (N. Y., 1902), and "When 
 Johntiy Comes Marching Home"; 
 prod, also romantic opera "King 
 Rt^nhs Daughter" ; c. gr. opera "j5'//f- 
 nella" (MS.), symphonies, overtures, 
 etc. 
 
 Eeden (a'-den), Jean Baptiste van 
 den, b. Ghent, Dec. 26, 1842 ; pupil of 
 Ghent and Brussels Cons.; ist prize 
 for comp. (1869) with the canta- 
 ta "Faust's Laaste A^acht" ; 187S 
 dir. of Cons, at Mons.; c. opera, "TVm- 
 mance" (Antwerp, 1897), 4 orato- 
 rios and the trilogy "Judith" 2 can- 
 tatas with orch.,a symph. poem, "La 
 Lutte au XVI. Siecle" etc. 
 
 E'gan, Eugene, Irishman, less than 
 four feet tall ; 1740 built organ in 
 Lisbon Cathedral. 
 
 Egenolff (or Egenolph) (a'-gen-61f), 
 Chr., ca. 1485 ; a slovenly and pirat 
 ical German mus. -printer. 
 
 Eggeling (gg'.ge-ling), (Eduard 
 Brunswick, 1813— Harzburg, 1885 
 pf. -teacher, writer and composer. 
 
 Egghard (eg -hart), Julius (pen-name 
 of Count liardegen), Vienna, 1834— 
 1867 ; composer. 
 
 Egli (al'-ye or a'-gle), Johann Hein- 
 rich, Seegraben, canton Zurich, 1742, 
 — 1810 ; c. " Odcn" etc. 
 
 Ehlert (a'-lert), Louis, Konigsberg, 
 1825 — Wiesbaden, 1884; teacher and 
 critic ; conductor and composer. 
 
 Ehmant (a'-mant), Anselm, 1832— i 
 Paris, 1895 ; conductor, teacher and 
 writer. 
 
 Ehnn-Sand (an'-zant), Bertha, § 
 Pesth, i84S('45 ?) ; dramatic sopran® 
 pupil of Frau Andriessen. 
 
 Ehrlich (ar'-likh), (i) Chr. Fr., Mag V 
 deburg, iSio — 1887 ; conductor, sing 
 ing-teacher, and dram, composer. (2 
 Alfred H., b. Vienna, Oct. 5, 1822 
 pupil of Henselt, Bocklet, Thalberj 
 (pf.), and Sechter (comp.) ; court 
 pianist to King George V.; 1864-7 
 pf.-teacher Stern Cons., and 1866-9^ 
 critic in Berlin ; composer and editoij 
 
 Eibenschiitz (I'-ben-shtits), (i) Albertj 
 b. Berlin, April 15, 1857 ; pianist ; pu; 
 pil of Reinecke and Paul, Leipzij 
 Cons., won the Diploma of Honoui* 
 1876-80, prof, in Charkoff (Russia)- 
 iSSo-84 at Leipzig Cons., then C( 
 logne Cons.; 1893, dir. Cologne Li( 
 derkranz ; 1896, ist pf.-prof. Ster 
 Cons., Berlin ; c. pf. -sonatas, et' 
 (2) Ilona, Pesth, May 18, 1S7: 
 cousin of above ; pianist ; at 5 si 
 played in a concert with Liszt ; 1S75 
 85;'pupil of Hans Schmitt ; 1885-81 
 studied with Frau Schumann ; livi 
 in Vienna and makes tours thence. 
 
 Eichberg (Ikh'-berkh or ich'-biirg), ( 
 Julius, b. Dusseldorf, June 13, 1824-, 
 Boston, Mass., Jan. 18, 1S93 ; violi 
 ist and notable teacher ; c. 4 opere 
 tas, etc. (2) Oskar, Berlin, 1845- 
 1898 ; singing-teacher, conductc 
 critic, editor, and composer. 
 
 1 
 
^ 
 
 DICTIONARY OF MUSICIANS 493 
 
 Eichborn (ikh'-bom), H. L., b. Bres- 
 lau, Oct. 30, 1847 ; studied pf., flute, 
 trumpet, horn, etc., at an early age ; 
 at 14 pupil of the trumpeter Ad. 
 Scholz ; studied theory with Dr. E. 
 Bohn ; became a Waldhorn virtuoso; 
 1882 inv. the Oktav (or soprano) 
 Waldhorn ; wrote musical essays, 
 etc. ; cond. at Gries, near Bozen ; 
 editor, writer and composer. 
 
 Eichhorn (Ikh'-horn), (i) J. Paul E., 
 1787 — 1833 ; court-musician, Coburg; 
 his sons (2), J. G. Ernst, 1822-44, 
 and (3) J. K. Ed., 1823-97, per- 
 formed on the vln. respectively at 6 
 F and 7. 
 
 Eilers (I'-lers), Albert, 1831— Darm- 
 ■- stadt, 1896 ; basso cantante. 
 ;: Eisfeld (Ts'-felt), Th., Wolfenbiittel, 
 » I April II, 1816 — Wiesbaden, Sept. 
 r,|)ll 16 (?), 1882 ; important figure in New 
 .lb I York music ; 184S-66 previously con- 
 ductor at Wiesbaden ; then of " Con- 
 certs Viviennes," Paris. 
 
 iissler (Is'-ler), (i) Marianne, b. 
 Briinn, Nov. 18, 1865 ; violinist, pu- 
 pil of Hessler ; her sister, (2) Emma, 
 is a pianist. 
 
 iitner (it'-ner), Rob., b. Breslau, Oct. 
 22, 1832 ; pupil of Brosig ; 1853, 
 teacher at Berlin ; est. a pf.-sch., 
 1863 ; important for work in musical 
 literature, and research in i6th and 
 17th centuries, Dutch music, etc. ; c. 
 "Biblical opera," ''Judith"; over- 
 
 ^ture to "■ Der Cid" y'etc. 
 
 ilandi (a-lan'-de), Rita, b. Cincinnati, 
 0. ; soprano ; pupil of Marchesi, 
 Paris ; sang in Italy, Spain, and Ger- 
 many ; created " Santuzza " in "/ 
 Pagliacci" in English with Carl Rosa 
 Opera Co.; 1900, in N. Y. with Amer- 
 ican Opera Co. 
 U'dering, Bram, b. Groningen, 
 Holland, July 8,' 1865 ; violinist ; 
 studied with Poortmann, Hubay, and 
 Joachim ; Konzertmeister Berlin 
 Philh. ; then do. in Meiningen ct.- 
 chapel. 
 
 ^lers (a-lers) (called El'erus), Fz., 
 Uelzen, ca. 1500— 1590, Hamburg ; 
 teacher, director, and composer. 
 
 Elewyck (van a -lii-vek), Xavier Vic- 
 tor (Chevalier) van, Lxelles les Brux. 
 elles, Belgium, 1825 — in an insane 
 asylum, Zickemont, 1888 ; writer. 
 
 El'gar, Edw. Wm., b. Broadheath, 
 Worcester, Engl., June 2, 1857; im- 
 portant English composer, violinist, 
 and organist ; cond. Worcester In- 
 strumental Soc, 1882-S9 ; 1885-89, 
 organist at St. George's ; 1S91, lived 
 in Malvern ; c. oratorio, " The Light 
 of Life" (1S96) ; " 7'he Dream of 
 Geroiitius" (1900); 2 cantatas; a 
 choral suite ; concert - overtures, 
 ^'Froissart" anA "'Cockaigne" (igoi); 
 6 Scenes from the Bavarian High- 
 lands, for chorus and orch. (1896) ; 
 Spanish serenade for ch. and orch. ; 
 romance for vln. and orch. ; church- 
 music ; pes. for vln. and pf. ; organ- 
 sonata ; songs, etc. 
 
 Elias (a-ll-as), Salomonis, monk at 
 Saint-Astere, Perigord, wrote in 1274 
 the oldest extant book of rules for im- 
 provised counterpoint. 
 
 Elisi (a-le'-ze), Filippo, Italian tenor 
 in London, 1765. 
 
 El'Ia, John, Thirsk, Yorkshire, 1802— 
 London, 1888 ; violinist, lecturer and 
 writer. 
 
 El'ler, Louis, Graz, i8ig— Pau, 1862; 
 vln. -virtuoso; c. " Valse Diabolique" 
 a "Rhapsodic Hongroise" etc., for 
 vln. 
 
 El'lerton, J. Lodge, Chester, 1807 — 
 London, 1873 ; dram, composer. 
 
 Elliott, Jas. Wm., Warwick, Engl., 
 Feb. 13, 1833 ; pupil of Macfarren ; 
 organist various churches; since 1874 
 at St. Mark's, London ; c. 2 operet- 
 tas, etc. 
 
 Ellis, Alex. J., London, 1814 — Ken- 
 sington, 1890 ; writer on musical 
 science. 
 
 Elmblad (glm'-blat), Jns., b. Stock- 
 holm, Aug. 22, 1853 ; bass ; studied 
 with Stockhausen and Garcia ; 1876, 
 Wagner chose him for " Donner " 
 (Rheingold), but his father, a prof, of 
 theology, objected; 1880, he went into 
 opera and sang in various cities, as 
 well as in London and America ; 
 
494 
 
 THE MUSICAL GUIDE 
 
 1896, sang "Fafner" at Bayreuth ; 
 since 1897 at ct.-Th., Stockholm. 
 
 Elmenreich (el'-men-rlkh), Albert, 
 1856, actor in the Court Th. at 
 Schwerin. 
 
 Elsenheimer (el'-zen-hl-mer), Nicho- 
 las J., b. Wiesbaden, 1S66 ; pupil of 
 his father and of Jakobsthal, Strass- 
 burg, LL.D., Heidelberg; 1890, 
 America ; 1891, prof, at Coll. of Mu- 
 sic, Cincinnati ; c. cantata " Vale- 
 rian" with orch. '' Bels/iazzar," etc. 
 
 Eisner (els'-ner), Jos. Xaver, Grott- 
 kau, Silesia, 1769 — Warsaw, 1854; 
 writer and coniposer of 19 operas. 
 
 El'son, Louis Chas., b. Boston, April 
 17, 1848 ; writer and teacher ; pupil of 
 Kreissmann (singing), Boston, and 
 Gloggner-Castelli (theory), Leipzig ; 
 edited the Vox Humana ; then on 
 the Music Herald ; for years critic 
 of the Boston Courier, now of the 
 Advertiser ; since 1881 prof, of theo- 
 ry and lecturer on the orch. and musi- 
 cal history at N. E. Cons. ; has lect- 
 ured on music with much success ; 
 pub. " Curiosities of Music " " The 
 History of German Song" " The 
 Theory of Music" " llie Realm of 
 Musicy" " German Songs and Song- 
 7vriters,'^ " European Reminis- 
 cences" " Syllabus of Musical His- 
 tory" and " Great Composers and 
 Their IVor k " (iSgg), '' The National 
 Music of America (1900), ''Home 
 and School Songs "y c. operettas, 
 songs, and instr. -works ; transl. and 
 arranged over 2,000 songs, operas, 
 etc. 
 
 El'terlein, Ernst von. Vide gott- 
 
 SCHALD. 
 
 El'vey, (i) Stephen, Canterbury, 1805 
 — O.xford, i860 ; organist. (2) Sir 
 George (Job), Canterbury, 1816 — 
 Windlesham, Surrey, 1893 ; bro. of 
 above ; c. oratorios. 
 
 Elwart (gl'-vart), Antoine Aimable 
 Elie, Paris, 1808 — 1877 ; vioHnist 
 and dram, composer. 
 
 Emerson, Luther Orlando, b. Par- 
 sonsfield, Mass., Aug. 3, 1820 ; cond. 
 and composer. 
 
 Emery, Stephen Albert, Paris, 
 Maine, Oct. 4, 1841 — Boston, April 
 15, 1891 ; prof, of harm, and opt.; 
 asst.-ed. Musical Herald ; graceful 
 composer and pop. theorist. 
 
 Emmerich (em'-mer-lkh), Robt., 
 Ilanau, 1836 — Stuttgart, 1891 ; com- 
 poser. ; 
 
 Encke (enk'-e), H., Neustadt, Bava- i 
 ria, 1811 — Leipzig, 1859; pianist) 
 and composer. . 
 
 Enckhausen (enk'-how-zen), H. Fr., i 
 Celle, 1799 — Hanover, 1885; court-l 
 organist, pianist and director. 
 
 Engel (,eng'-el), (i) Jn. Jakob, Par-i 
 chim, Mecklenburg, 1741— 1802 ; dir. 
 and composer. (2) David Hn.,; 
 Neuruppin, 1816 — Merseburg, 1877;: 
 organist, writer and dram, composer. 
 (3) K., Thiedenweise, near Hanover,; 
 18 18 — suicide, London, 1882 ; organ-( 
 ist and writer. (4) Gv. Ed., K6-! 
 nigsberg, 1823 — Berlin, 1895 ; sing-l 
 ing-teacher, composer and theorist, j 
 (5) Pierre Emile, b. Paris, Feb. 15,; 
 1847; tenor; studied with Duprez j 
 debut, Th. Italien, 1869; then sanj 
 in New 'Orleans, Brussels, and sinc<' 
 1889 at Paris. 
 
 En'na, Aug., b. Nakskov, Denmark 
 May 13, i860; grandson of an Italia! 
 soldier in Napoleon's army ; son of 1 
 shoemaker ; self-taught in pf. and ini 
 strumentation, and had almost n^' 
 teaching in vln. or theory ; went wit 
 a small orch. to Plnland (1880) 
 played various insts., even a drum hi- 
 fore a circus-tent; returned to Coper, 
 hagen ; prod, the operetta "^ Vi 
 lage Tale" (18S0) in provincial th( 
 atres ; played at dancing-lessons, an 
 gave pf. -lessons at 12 cents an hour 
 1883, cond. for a small provinci; 
 troupe, for which he wrote act-tune 
 and 10 overtures ; pub. songs, pf 
 pes., an orchl. suite, and a symphon;, 
 this gained him, through Gade's ii 
 terest, the Ancker scholarship, enal 
 ling him to study in Germany (i88f 
 89). After producing an operet 
 '' Areta" be prod, with unequalk 
 succ. for a Dane, the opera " T, 
 
 t 
 
 i 
 
DICTIONARY OF MUSICIANS 495 
 
 I 
 
 JVitch," 1892, at the R. Opera House, 
 Copenhagen. The opera " C/tv/a- 
 //■(Z " (Copenhagen, 1894) failed, but 
 1895, with new cast, was succ. as 
 also " Aucassin and jVicoktte" (Co- 
 penhagen, i8g6 ; Hamburg, 1897). 
 Opera '' Ai^laia," in MS. Pub. a 
 vln. -concerto, etc. 
 
 E noch & Co., London music-pub. 
 , firm, est. 1869. 
 
 Epine (de-la-pe'-ne), Francesca Mar- 
 garita de 1'., extremely popular 
 Italian singer and harpsichordist in 
 London, from ca. 169S — 1718, when 
 she m. Dr. Pepusch ; her sister sang 
 in London from 1 703-1 74S as Maria 
 Gallia. 
 
 Epstein (ep'-shtin), (i) Julius, b. 
 Agram, Aug, 14, 1832 ; pupil of 
 Lichtenegger, Halm (pf.), and Ruti- 
 natscha (comp.) ; from 1867 prof, of 
 pf. Vienna Cons. His two daugh- 
 ters, (2) Rudolfine ('cellist), and (3) 
 Eugenie (violinist), toured Austria 
 
 , and Germany, 1876-77. 
 
 Erard (a'-rir), (i) S^bastien, Strass- 
 burg, April 5, 1752 — near Paris, Aug. 
 5, 1831 ; notable piano-maker and in- 
 ventor; inv. a "Clavecin Mecan- 
 ique " ; the "Piano organise," fin- 
 ally the double-action mechanism, 
 which made a new instr. of the harp 
 (v. D. D.) ; perfected in 1811 his 
 greatest achievement, the repetition 
 action of the piano (v. D. d.). His 
 successor as a piano-maker was 
 his nephew, (2) Pierre (1796 — 1S55), 
 succeeded by Pierre Schaffer(d. 1S7S); 
 the present head is the Count de 
 Franqueville. 
 
 Eratosthenes, Cyrene, 276 — Alex- 
 andria, Egypt, 195 B.C. ; writer. 
 
 Erb (erp), M. Jos., b. Strassburg, 
 Oct. 23, i860 ; pupil of St.-Saens, 
 Gigout, and Loret, Paris ; now lives 
 in Strassburg as teacher and or- 
 ganist at the Johanniskirche and 
 the Synagogue ; c. a symphony ; 
 a symphonic suite ; sonatas and 
 "dram, episode" " Der letzte Ruf" 
 (Strassburg, 1895), with some succ. 
 etc. 
 
 Er'ba, Don Dionigi, nobleman and 
 composer at Milan, 1694 ; Handel 
 appropriated some of his best works. 
 
 Erbach (er -bakh), Chr., Algesheim, 
 Palatinate, ca. 1560 — Augsburg, 
 1628 ; composer and organist. 
 
 Er'ben, Robert ; 1894, conductor at 
 Frankfort-on-^L; 1896, at Mann- 
 heim ; prod, the succ. i-act opera 
 '"Enoch A)-den" (Frankfort-on-^L, 
 1895), and a "fairy comedy," ''Die 
 Heinzelmiinuchen'' (Mayence, 1896). 
 
 Erdmannsdorffer (ert'-mans-derf-fer), 
 (i) Max, b. Nurnberg. June 14, 
 1848 ; pupil Leipzig Cons., and in 
 Dresden of Rietz ; 1871-80, ct.-cond., 
 Sondershausen ; 1882, dir. Imp. 
 Mus. Soc. at Moscow, and prof, at 
 the Cons. ; 1885, founded a students' 
 orch. society ; returned to Germany, 
 cond. the Bremen Philh. Concerts till 
 1895 ; 1896, cond. Symphony Con- 
 certs St. Petersburg ; i8q6, cond. at 
 the ct.-Th., Munich ; c. " Prinzessin 
 Use" "a forest-legend"; and other 
 works for soli, chor. and orch.; over- 
 ture to Brachvogel's " Narciss" etc.; 
 1874 he m. (2) Pauline Fichtner 
 Oprawik, b. Vienna, June 28, 1847 
 (1851 ?) ; pupil of Pirkhert and Liszt ; 
 court-pianist. 
 
 Erhard (gr'-hart) (called Erhar'di), 
 Laurentius, b. at Hagenau, Alsatia, 
 1598 ; cantor at Frankfort-on-Main, 
 1640, etc. 
 
 Erk (erk), (i) Adam Wm., Herpf, 
 Saxe-Meiningen, 1 779 — Darmstadt, 
 1820 ; organist and composer. (2) 
 Ludwig (Chr.), Wetzlar, 1807— Ber- 
 lin, 1883 ; son of above ; conductor. 
 (3) Fr. Albrecht, Wetzlar, 1809— 
 Dusseldorf, 1879 ; bro. of above ; 
 pub. the " Lehrer Comniersbiich" 
 etc. 
 
 Erkel (er'-kel), (i) Franz (or Ferencz), 
 Gyula, Hungary, Nov. 7, 18 10 — 
 Pesth, June 15, 1893 ; the father of 
 Hungarian opera , conductor and 
 prof., composer of operas incl. 
 " Hunyddy Ldzld" and "Bank 
 Ban." (2) Alexander (or Alexius), 
 Pesth, 1846 — rgCK), son of above ; 
 
496 
 
 THE MUSICAL GUIDE 
 
 dir. of Philh. Cone, Pesth, 1S75-93 ; 
 1896, dir. Royal Opera, Pesth ; prod. 
 opera " Tempefoi" (Pesth, 1883). 
 (3) Gyula, son of (i), prof, at Acad, 
 of Mus., Pesth; conductor for many 
 years at R. Opera. 
 
 Erlanger (er-lafi-zha), (i) Camille, b. 
 Paris, May 25, 1863 ; pupil of Delibes, 
 Paris Cons. ; 1SS8 took Grand pri.v 
 de Rome with cantata " Velleda''; c. 
 symphonic piece, "Za Chasse Fan- 
 tastiqtie" ; dram, legend, " Saini 
 Julien r Hospitaller"" {Vslxis, 1896); 
 the succ. lyric drama '' Kfnna)-ia" 
 (Paris, Op. -Com., 1897), etc. (2) 
 Baron Fr6d6ric d' (pen-names Fr. 
 Regnal or Federico Ringel), son 
 of a banker; prod. succ. opera "_/if- 
 han de Saintrif " Hamburg (1894), 
 and mod. succ. opera "Inez Alendo" 
 (London, 1897). 
 
 Er'ler, (i) Hermann, b. Radeberg, 
 near Dresden, June 3, 1844; 1873 
 est. a mus. -pub. business (now Ries 
 and Erler) ; editor and critic. (2) 
 Ernst II., Duke of Saxe-Coburg- 
 Gotha, Coburg, 1818 — Keinhards- 
 brunn, 1893 ; dram, composer. (3) 
 Fz. Anton, Georgenthal, Bohe- 
 mia, 1745 — Gotha, 1805 ; violinist 
 and orch. -leader. (4) H. Wm., 
 Brunn, 18 14 — Nice, 1865 ; vln. -vir- 
 tuoso ; toured, then lived in London ; 
 composer. (5) Heinrich, b. Dresden, 
 Sept. 19, 1846; nephew of above; 
 pupil of Pesth Cons., 1872 ; bar>'tone 
 Leipzig Th., then studied with Reb- 
 ling and became tenor ; 1875. Royal 
 Opera, Berlin. (6) Alfred, ca. 1855 
 — Paris, 1898 ; writer. 
 
 Errani (er-ra-ne), Achille, Italy, 1823 
 — New York, 1897 ; operatic tenor 
 and notable singing-teacher in N. Y. 
 
 Errera (er-ra'-ra), Ugo, b. Venice, Oct. 
 25, 1843 ; composer. 
 
 Ert'mann, Baroness, ca. 1778 — Vien- 
 na, 1848 ; pianist ; intimate friend of 
 Beethoven. 
 
 Eschmann (esh'-man), Jn. K., Win- 
 terthur, Switzerland, 1826 — Zurich, 
 1882 ; pianist, teacher and composer 
 at Leipzig. 
 
 Escudier (es-kiid-ya), two brothers, 
 of Castelnaudary, Aude, (i) Marie, 
 1819 — 1880, arid (2) L6on, 1821— 
 Paris, 1881 ; journalists. 
 
 Eslava (es-la-va), Don Miguel Hi- 
 lario, Banlada, Navarra, 1S07 — Ma- 
 drid, 1878 ; court-conductor, editor 
 and theorist. 
 
 Espagne (es-pakh'-ne), Fz., Munster, 
 Westphalia, 1S28 — Berlin, 1878 ; di-. 
 rector and editor. 
 
 Es'ser, H., Mannheim, 1818 — Salz-t 
 burg, 1872 ; court-conductor. ' 
 
 Es'sipoff (or Essipova) (es-sl-pof'-a),! 
 Annette, b. St. Petersburg, Feb. i,; 
 1851 ; pianist; pupil of Wielhorski; 
 and Leschetizky, whom she m. 1880 j 
 debut, 1874, St. Petersburg; tourec 
 Europe with great succ. ; tourec 
 America (1876) ; 18S5, pianist to th( 
 Russian Court ; 1893, pf.-prof. St 
 Petersburg Cons. 
 
 Este (or Est, East, Easte), (i 
 Thomas, London music-printer 
 ca. 1550— 1625. (2) Michael, soi 
 of above ; 17th cent, composer. 
 
 Esterhazy (esh'-ter-ha-ze), Coun 
 Nicholas, 1839— Castle Totis, Hun' 
 gary, 1897 ; generous patron of mi; 
 sic. 
 
 Estwick, Rev. Sampson, D.D. 
 1657 — 1739; English composer. 
 
 Ett (et), Kaspar, Erringen, Bavarij 
 1788 — Munich, 1S47 ; court-organi; 
 and composer. 
 
 Eulenburg (tsoo oi'-len-boorkh), Ph 
 Graf zu, b. Konigsberg, Feb. i; 
 1847 ; Royal Prussian Ambassado 
 Stuttgart; c. songs (words and music 
 
 Eulenstein (oi'-len-shtin), Chas 
 b. Heilbronn, Wiirtemberg, 1802 
 virtuoso on the Jew's harp and guita 
 
 Euler (oi'-ler), Leonhardt, Base 
 1707 — St. Petersburg, 1783 ; acoust 
 cian. 
 
 Euter'pe, patroness of flute-playei , 
 the Muse of Music. . | 
 
 Evans, Chas. S., 1778—1849; En | 
 lish alto and composer. 
 
 Everard (ev-u-rar), Camille Frai 
 b. Dinant, Belgium, Nov. 15, 182. 
 basso ; pupil of Liege Cons., Pa 
 
DICTIONARY OF MUSICIANS 497 
 
 OH, B 
 
 iiposei. 
 :n,Baf 
 
 jlllt-OIJ 
 
 wtkll 
 .. FA 
 
 Cons. (Ponchard), and of Rossi and 
 Manzini, Naples ; sang Naples, 1847- 
 50 ; studied with I,amperti ; sang in 
 various cities ; 1S70-90, prof, of sing- 
 ing St. P. Cons. ; 1890, Kiev Conser- 
 vatoire. 
 
 Evers (a'-vers), K., Hamburg, 18 19 — 
 Vienna, 1875 ; pianist and composer. 
 
 Evesham (evz'-am). Monk of. Vide 
 
 ODIN'GTON. 
 
 Ew' er & Co., London mus. -publish- 
 ers ; founded 1820 by J. J. Ewer, 
 succeeded by E. Buxton ; i860, W. 
 Witt ; 1S67, became Novello, Ewer 
 &Co. 
 
 iweyck (a'-vik), Arthur van, b. Mil- 
 waukee, U. S. A., May 27, 1866; 
 studied with Felix Schmidt, Berlin, 
 where he lives as concert and oratorio 
 barytone. 
 
 iximenio (ex-!-ma'-n!-6). Ant,, Bal- 
 bastro, Aragon, 1732 — Rome, 1798 ; 
 Jesuit priest ; had historical contro- 
 versy with Padre Martini. 
 ybler (i'-bler), Jos. (later, in 1834, 
 Edler von Eybler), Schwechat, near 
 Vienna, 1765 — Schonbrunn, 1846 ; 
 conductor and composer. 
 
 iyken (T'-ken), (i) Simon van (or 
 Eycken ; du Chesne). Vide quer- 
 cu. (2) (Eijken), Jan Albert van, 
 Amersfoort, Holland, 1822 — Elber- 
 feld, 1868 ; organist and composer ; 
 c. valuable chorals, etc. (3) Gerard 
 Isaac van, bro. of above ; organist 
 and teacher at Utrecht from 1855. 
 ;ymieu (em'-yii), Henri, b. Saillans 
 Drome, France, May 7, i860 ; a law- 
 yer, but studied with E. Gazier 
 (theory) and Widor (comp.) ; now 
 lives in Paris as writer and critic for 
 "Z^ Mhtestrel" etc. ; c. a stage- 
 piece, " Un Mariage sous Ne'ron" 
 (Paris, 1898), and an oratorio, " Alar- 
 theet Marie '\A.smh.xes, 1898), etc. 
 
 
 aber (fa'-bgr), (i) Nikolaus (Nicol), 
 priest at Halberstadt, 1359-61, built 
 there what is considered the first 
 
 
 organ made in Germany. (2) Niko- 
 laus (II.), a native of Botzen, Tyrol ; 
 pub. '' Rudimenta miisicae," Augs- 
 burg, 1516. (3) Heinrich, " Magis- 
 ter," d. Lichtenfels, Oelsnitz, Saxony, 
 1552 ; rector of a school, whence he 
 was expelled for satirical songs 
 against the Pope ; then rector of 
 Brunswick ; pub. a pop. book of ru- 
 diments. (4) Benedikt, Hildburg- 
 hausen, 1602 — Coburg, 1631 ; com- 
 poser. 
 
 Fabozzi (fa-bod'-ze), Genaro, b. 
 Italy ; blind pianist ; court-pt. to 
 Dowager Queen, prof, at Inst, for 
 Blind, Naples. 
 
 Fabio. Vide ursillo. 
 
 Fabri (fa'-bre), (i) Stefano {il mag- 
 gioi-e), b. Rome, ca. 1550; 1599 — 
 1601, conductor. (2) Stefano (il 
 minore), Rome, 1606— 1658 ; conduc- 
 tor and composer. (3) Annibale Pio 
 (called Balino), Bologna, 1697 — Lis- 
 bon, 1760 ; tenor, etc. 
 
 Fabricius (fa-bre'-tst-oos), ( i) Werner, 
 Itzehoe, 1633 — Leipzig, 1679 ; com- 
 poser. (2) J. Albert, Leipzig, 1668 — 
 Hamburg, 1736, son of above ; pro- 
 fessor. 
 
 Faccio (fat'-cho). Franco, Verona, 
 March 8, 1841— Monza, July 23, 
 1891 ; an important composer; criti- 
 cised as Wagnerite ; -notable cond. ; 
 prof, at Milan Cons, (harmony, later 
 cpt.) Vide BOITO. 
 
 Faelten (fel'-ten), K., b. Ilmenau, 
 Thuringia, Dec. 21, 1846; studied as 
 a school-boy with Montag ; for 6 
 years orchestra-violinist ; 1867 studied 
 with J. Schoch, Frankfort, and was 
 for 10 years friend of Raff ; 1868-82 
 Frankfort ; 1878 Hoch Cons. ; 1882- 
 85 Peabody Institute, Baltimore, 
 U. S. A. ; 1885-97 N. E. Cons., 
 Boston ; dir. 1890-97 ; 1897 founded 
 the Faelten Pf. -School (Teachers' 
 Seminary), at Boston ; pub. text- 
 books. 
 
 Fago (fa -go), Nicola (called " II Ta- 
 rentino"), Tarento, 1674 — 1730 (?) ; 
 c. oratorio, masses ; prod, several 
 very succ, operas. 
 
498 
 
 THE MUSICAL GUIDE 
 
 Fahrbach (far'-bakh), (i) Jos., Vienna, 
 1804 — 1883 ; flutist, conductor, and 
 composer. (2) Ph. (Sr.), Vienna, 
 1815 — 1885 ; conductor and dram, 
 composer. (3) Wm., Vienna, 183S 
 — 1806 ; conductor and composer. 
 (4) Ph. (Jr.), Vienna. 1843— 1894 ; 
 son of (2); conductor. 
 
 Faignient (fln-yan), Noe, b. Antwerp, 
 ca. 1570, Flemish contrapuntist. 
 
 Fair lamb, J. Remington, b. Phil- 
 adelphia, Jan. 23, 1837 ; studied in 
 Paris and Florence ; 4 years in Zurich 
 as consul ; organist Phila., etc., and 
 from 1884 New York, St. Ignatius ; 
 c. grand opera " VaUrie" (MS.), 
 etc. 
 
 Faiszt (fist), Immanuel G. Fr., Es- 
 sligen, Wiirtemberg, 1823 — Stutt- 
 gart, 1894 ; organist. 
 
 Falcke (falk), Henri, Paris, 1866— 
 May, 1901; pupil of Saint-Saens, 
 Massenet, Dubois, and Mathias, Paris 
 Cons. ; won ist prizes in pf. and 
 harm. ; studied in Germany ; pub. a 
 useful text-book on arpeggios. 
 
 Falcon (fal-koh), M. Corn61ie, Paris, 
 18 12 — 1897 ; soprano singer. 
 
 Faliero (fal-T-a'-ro), Nina, b. Naples, 
 April 10, 1878 ; studied with Mme. 
 Kraus ; toured widely in concert ; 
 lives at Geneva. 
 
 Falk Mehlig(falk ma'-ltkh), Anna, b. 
 Stuttgart, June 11, 1846; studied at 
 the Cons., also with Liszt ; toured as 
 concert pianist throughout Germany, 
 England, and America ; court-pianist 
 to the king of Wiirtemberg. 
 
 Faltin (fal'-ten), R. Fr., b. Danzig, 
 Jan. 5, 1835 ; pupil of Markell, 
 Schneider, and Leipzig Cons. Since 
 1869 lives at Helsingfors, Finland, as 
 cond.; pub. ''Finnish Folk-Songs" 
 and a " Finnish Song-Book." 
 
 Faminzin (fa-men'-tsen), Alex. Ser- 
 gievitch, Kaluga, Russia, 1841 — 
 Ligovo, near St. Petersburg, 1896 
 critic and dram, composer. 
 
 Fan'ing, Eaton, b. Helston, Cornwall 
 May 20, 1850 ; pupil of the R. A. M. 
 took Mendelssohn Scholarship it 
 1873 and the Lucas Medal in 1876 
 
 1894 Mus. Bac, Cantab.; since 1885 
 dir. music at Harrow School ; c. 3 
 operettas, cantata for female voices, 
 symphony in C minor, overture, " The 
 Holiday" etc. 
 
 Farabi. Vide alfarabi. 
 
 Fargas y Soler (far -gas e s6-lar'), 
 Antonio, Spanish writer, pub. '' Bi- 
 ograjias de los liliisicos" etc. (issued 
 since 1866, in parts), etc. 
 
 Farinel'li, (i) Carlo Broschi (bros'- 
 ke), Naples, June 24, 1705 — Bologna, 
 July 15, 1782 ; famous male soprano; 
 debut 1722 at Rome ; he sang with 
 the utmost brilliancy and success, be- 
 ing only once overcome by a rival 
 (Bernacchi) from whom he immedi- 
 ately took lessons ; he joined the op- 
 position to Handel in London, and 
 Handel went into bankruptcy and 
 took to oratorio. He amassed great 
 wealth and became the chief adviser 
 of Philip V. of Spain ; biog by 
 Sacchi (Venice, 1784). (2) Giu., 
 Este, 1769 — Trieste, 1836 ; org. ; c. 
 60 operas. 
 
 Farkas (far'-kash), Edmund (Hung., 
 Odon), b. Puszta-Monostor (Heves), 
 Hungary, 1852 ; important figure in 
 national Hungarian music ; of noble 
 family, intended to be a civil engi- 
 neer ; but studied 3 years at the R. 
 Mus. Acad., Pesth ; next year be- 
 came dir. at the Cons, at Klausen- 
 burg, Transylvania ; was for a time 
 op. cond. and wrote mus. articles; 
 1876, while still studying engineering, 
 he prod, a i-act opera ' Bayad^r" 
 (Pesth) ; won the Haynald prize of 
 300 florins with a mass ; c. also 
 mixed choruses, and the orch. works : 
 '' Daivn" {Virradat), ''Evensong" 
 {Estidal), " Tivilight" {Alkony),' 
 and " Dies irce" ; a pop. symphony 
 and 5 string-quartets ; a prize " Fest-' 
 onverttire" ; and the operas " Fairy ^ 
 fountain" {Tilnderhorrds), i-act, 
 (Klausenburg, 1892); "The Peni- 
 ient"{Vesekldk) (Pesth, 1893); " Ba- 
 lassa Balint" comic (Pesth, 1896); 
 and " The Blood-ordeal" {Tetemre 
 Hit'ds) (not prod.). 
 
 ■n 
 
 rn 
 
DICTIONARY OF MUSICIANS 
 
 499 
 
 Far'mer, (i) H., Nottingham, England, 
 1819 — 1891 ; violinist and organist. 
 (2) J., Nottingham, Aug. 16, 1836— 
 July, igoi; nephew of above; pupil of 
 Leipzig Cons, and of Spath; teach- 
 er in Zurich for some years ; 1862-85 
 mus. -master at Harrow School, then 
 organist at Balliol Coll., O.xford, 
 where he founded a mus. society ; 
 edited song-books, etc.; c. an orato- 
 rio ; a fairy opera ; comic cantata ; a 
 requiem, etc. 
 
 Far'naby, Giles, English composer, 
 1580-98. 
 
 Far'rant, (i) John, English organist, 
 
 ca. 1600. (2) John, English organist, 
 
 '^^' [ Salisbury cath., ca. 1600. (3) Rich- 
 
 ^ Jj ard, d. Nov. 30, 1580; English or- 
 
 . J- i ganist and notable composer of 
 
 church-music. 
 
 Farrenc (far-rank), Jacq. Hipp, 
 Aristide, Marseilles, i 794 — Paris, 
 P 1865 ; teacher and composer. (2) 
 Jeanne Louise (nee Dumont), 
 Paris, 1804 — 1875 ; wife of above, 
 pf. -professor. 
 
 Harwell, Arthur, American composer; 
 pupil of H. A. Norris, Boston, and of 
 Humperdinck ; founded at Newton 
 Center, Mass., 1901, the " Wawan 
 Press " for the artistic pub. of supe- 
 rior comps. by Americans ; c. ballade 
 for vln. and pf., and songs, etc. 
 
 'asch (fash), (I) Jn. Fr., Buttlestadt, 
 near Weimar, 1688— Zerbst, 1758 (?); 
 court-conductor, composer. (2) K. 
 Fr, Chr., Zerbst, 1736 — Berlin, 
 1800 ; cembalist ; son of above ; con- 
 ductor. 
 
 'auchey (fo-she), Paul, former "chef 
 du chant," Op. Com. Paris ; prod, 
 comic opera, 1897. 
 
 'augues, Vincent (or Fauques, Fa'- 
 gus, La Fage) (fog;, fok, la fazh), 
 15th cent, contrapuntist. 
 
 •aure (foi), J. Bapt,, b. Moulins, 
 Alher, Jan. 15, 1830 ; 1841, Paris 
 Cons.; choir-boy at the Madeleine, 
 and studied with Trevau.x ; took ist 
 prize for comic opera ; 1852-76, at 
 the Op Com. as leading barytone 
 with great succ; 1857, teacher in the 
 
 Cons.; since 1876 sang in concert ; 
 pub. " L'Ari du Chant." 
 Faure (fo-ra), Gabriel Urbain, b. Pa- 
 
 miers, Ariege, May 13, 1845 ; pupil 
 of Niedermayer, Dietsch, and Saint- 
 Saens ; 1866, organist at Rennes, 
 then at St.-Sulpice and St.-Honore ; 
 1885 took Pri.\ Chartier for chamber- 
 music ; 1896 organist at the Made- 
 leine, and prof, of comp., cpt., and 
 fugue at the Cons, (vice Massenet) ; 
 c. i-act opera '' L Organiste" (1S87); 
 " La Naissance de VeJius" for soli, 
 chorus, and orch.; '' Chaur de 
 Djinns " / requiem; symphony ; vln.- 
 concerto ; ^orchestral suite ; 2 pf.- 
 quartets ; Ele'gie, for 'cello ; Berceuse 
 and Romance, for vln. and rch., a 
 vln. -sonata (1878), etc. 
 
 Faust (fowst), K., Neisse, Silesia, 
 1825 — Bad Cudowa, 1892 ; bandm. 
 and composer. 
 
 Faustina. Vide hasse, Faustina. 
 
 Favarger (fa-var-zha), Rene, Paris, 
 1815 — Etretat, 1868; composer. 
 
 Favre (favr), Jules. Vide v. m. wat- 
 
 SON. 
 
 Faw'cett,(i) J., Kendal, England, 1789 
 — Bolton, Lancashire, 1867 ; teacher 
 and composer. (2) J. (jr.), Bolton, 
 1824 — Manchester, 1887, son of above; 
 organist and composer. 
 
 Fay, Amy, b. Bayou Goula, Miss., May 
 21, 1844 ; pianist and teacher, Chica- 
 go ; pupil of Tausig, Kullak, Liszt ; 
 wrote the popular " Music-Study in 
 Germany" (Chicago, 188 1). 
 
 Fayolle (fl-yol), Fran. Jos. M., Paris, 
 1774 — 1852 ; mus. biographer and 
 lexicographer. 
 
 Fayr'fax, Robt,, Mus. Doc, Cantab 
 and Oxon, 1 504-11 ; organist and 
 composer. 
 
 Fechner (fekh'-ner), Gv. Th., Gross- 
 Sarchen, Niederlausitz, 1801 — Leip- 
 zig, 1S87 ; writer. 
 
 Fedele (fa-da'-le). Vide treu. 
 
 Federici (fa-da-re'-che), V., Pesara, 
 1764 — Milan, 1827; went to London, 
 where he became cembalist ; returned 
 to Italy in 1S03 and prod, many succ. 
 operas. 
 
500 
 
 THE MUSICAL GUIDE 
 
 Federlein (fa -d^r-lln), G. (H.), b. 
 Neustadt-an-der-Aisch, near Nlirn- 
 berg, Nov. 5, 1835 ; pupil of Munich 
 Cons.; lives in New York; singing- 
 teacher, composer and writer. 
 
 Felstein (fel'-shtin) (called Felsti- 
 nen'sis), Sebastian von, ca. 1530; 
 church-conductor and composer, Cra- 
 cow. 
 
 Feltre (du fel'tr), Alphonse Clarke, 
 Comte de, Paris, 1806 — 1850 ; dram, 
 composer, etc. 
 
 Fenaroli (fa-na-ro'-le), Fedele, Lan- 
 ciano, Abruzzi, 1730 — -Naples, 1818; 
 teacher and composer. 
 
 Fen'ton, Lavinia, d. Greenwich, 1760 ; 
 singer and actress at London. 
 
 Feo (fa -6), Francesco, b. Naples, ca. 
 1685 ; composer and teacher. 
 
 Ferlen dis , b. Rome, ca. 1778 ; 
 
 operatic contralto. 
 
 Fer(r)abosco (fer-ra-bos'-ko), (i) Al- 
 fonso, Italy, 1515; c. madrigals. (2) 
 Dom. M., Rome, i6th cent., mem- 
 ber Papal Choir ; composer. (3) 
 Costantino, court-musician and 
 composer at Vienna, 159 1. (4) Al- 
 fonso, Greenwich, England, ca. 1580 
 — 1652 ; probably son of (i) ; com- 
 poser. (5) John, d. 1682, son of 
 (4) ; organist Ely Cathedral. 
 
 Ferrari, (i) Benedetto (called del- 
 la Tiorba "the theorbist ") (fer- 
 ra'-re del-la te-6r'-ba), Reggio d'Emi- 
 lia, 1597 — Modena, 168 1 ; court-con- 
 ductor and dram, composer. (2) 
 Domenico, Piacenza, (?) — Paris, 
 1780 ; violinist, conductor and com- 
 poser. (3) Carlo, Piacenza, ca. 
 1730 — Parma, 17S9, bro. of atjove ; 
 'cellist. (4) Giacomo Gotifredo, 
 Roveredo, Tyrol, 1759 — Eondon, 
 1842 ; cembalist, writer, teacher, and 
 composer. (5) Francisca, Chris- 
 tiania, ca. 1800 — Gross-Salzbrunn, 
 Silesia, 1S2S ; harpist. (6) Sera- 
 fino Amadeo de', Genoa, 1824 — 
 1885 ; pianist and dram, composer. 
 (7) Carlotta, b. Lodi, Italy, Jan. 27, 
 1837 ; pupil of Strepponi and Panzi- 
 ni (1844-50) of Mazzucato at Milan 
 Cons.; wrote text and music of succ. 
 
 operas " Ugo" (Milan, 1857); " iim 
 Jia" (Lodi, 1866); ''Eleanora d'- 
 Arborea" (Cagliari, 1871) ; also 
 masses ; a Requiem for Turin, 1868, 
 etc. 
 
 Ferreira (fer-ra'-e-ra), Da Costa, Rod- 
 rigo, d. 1834(37?); Portuguese writer. 
 
 Fer(r)et ti, Giov., b. Venice, ca. 1540; 
 composer. 
 
 Ferri (fer'-re), (i) Baldassare, Peru- 
 gia, 1610 — Sept. 8, 16S0; one of the 
 most gifted and successful of singers ; 
 through a boyhood accident became 
 a male soprano ; possessed extraor- 
 dinary endurance of breath, flexibil- 
 ity of voice, and depth of emotion 
 at 65 returned to Perugia ; on hi: 
 death left 600,000 crowns for a pioui 
 foundation. (2) Nicola, Mola d 
 Bari, Italy, 1831 — London, 18S6 
 Naples, singing teacher and dram 
 composer. 
 
 Ferrier (fer-rl-a), Paul Raoul Mi 
 chel M., b. Montpelier, March 28 
 1843 ; c. light operas for Paris. 
 
 Ferron (fer'-ron), Ad., 1892, conduc 
 tor Th. Unter den Linden, Berlin' 
 1897 at Carl Th., Vienna; prod. £ 
 Berlin the burlesque '^ Adam tin 
 Eva" (1891), and other operettas. 
 
 Ferro'ni, V, Emidio Carmine, 1 
 Tramutola, Italy, Feb. 17, 1858 ; pup 
 Paris Cons.; ist prize in harm, an 
 comp., 1880-83 ; 1881, asst.-prof. < 
 harm, at the Cons. ; since 1888 pro 
 of comp. at Milan Cons., and mu 
 dir. of the " Famiglia Artistica 
 1897, Chevalier of the Ital. Crowr, 
 c. operas '' Hudello" (Milan, 1892 
 and (text and mus. of) '' Etlore Ft 
 ramosca" (Como, 1896). 
 
 Fes'ca, (i) Fr. Ernst, Magdebur 
 1789 — Carlsruhe, 1826; violinist ai 
 composer. (2) Alex. Ernst, Car 
 ruhe, May 22, 1S20 — Brunswick, Fe 
 22, 1859 ; son of above ; brilliant ], 
 anist and dram, composer. 
 
 Fes'ta, (i) Costanzo, Rome, ca. 14 
 — April 10, 1545 ; singer and cont; 
 puntist. (2) Giu. M., Trani, 1771 
 Naples, 1839 ; violinist, conduc ' 
 and composer. (3) Frances* 
 
 I 
 
DICTIONARY OF MUSICIANS 50] 
 
 Naples, 1778 — St. Petersburg, 1836 ; 
 operatic singer ; m. Maffei. 
 est ing, Michael Christian, Lon- 
 don (?) 16S0 — 1752 ; son of a flutist, 
 of same name ; conductor, violinist, 
 and composer. 
 
 eszler (fesh'-ler), Eduard, b. Neu- 
 berg, Bavaria, Oct. 5, 1841 ; oper- 
 atic bary-tone ; studied with Fz. 
 Hauser, Munich. 
 
 6tis (fa-tes), (i) Fran9ois Joseph, 
 Mons, Belgium, March 25, 1784 — 
 Brussels, March 26, 187 1 ; indefatig- 
 able scholar and historian ; he worked 
 16-18 hours a day ; his father, organ- 
 ist and conductor at the Cathedral, 
 was his first teacher ; he learned the 
 vln., and c. at 9 a concerto for vln. 
 and orch. ; the same year became or- 
 ffanist to the Noble Chapter of Saint 
 Waudra ; 1800-03 in the Paris Cons.; 
 1803, Vienna, for study of fugue, and 
 master-work of German music ; here 
 began an investigation of Guido 
 d'Arezzo's system and the history of 
 notation. 1804 he started a short-lived 
 mus. periodical. 1806 he began the 
 30 years' task (still unpub.) of revis- 
 ing the plain-song and entire ritual of 
 the Roman Church. He m. a wealthy 
 woman, and was enabled to pursue 
 his studies comfortably till 1811, 
 when her fortune was lost. He re- 
 turned to the Ardennes and made re- 
 searches into harmony, which led to 
 his formulating the modern theor}- of 
 tonality. 18 1 3, organist and teacher 
 at Douai ; wrote " La Science de 
 r Organist" and " Me'tkode (/le'men- 
 taire d'harmonie et d'accompagne- 
 inent." 1818, Paris, where he prod, 
 various operas with succ. 182 1, 
 prof, of comp. at the Cons., later li- 
 brarian. 1827-35 founded and edit- 
 ed " Za Revue Musicale." In 1832 
 began historical lectures and concerts. 
 1833, cond. to King Leopold L, 
 Brussels, and for 39 years dir. of the 
 Cons. Cond., and 1845 member of, 
 the Belgian Academy. On his wed- 
 ding-jubilee a Mass of his was sung, 
 and his bust was unveiled. In 1806, 
 
 he began collecting and preparing for 
 his great ^' Biograp/iie totiTerselle des 
 musiciens et bibliographic ge'ne'rale de 
 la mttsique " in 8 volumes (1837-1844). 
 This invaluable monument is, hke 
 everj'thing else of its kind, bristling 
 inevitably with error, bias, and excess ; 
 yet is a standard of highest repute. 
 Pub. many treatises and c. 6 operas 
 (1820-32); 2 symphonies, an overture 
 for orch.; masses, a requiem, motets, 
 etc. Biog. in his Dictionary by I-. 
 Alvin (Brussels, 1874) ; and Gollmick 
 (Leipzig, 1852). (2) Ed. L. Fran., 
 b. Bouvignes, near Dinant, May 16, 
 1812 ; son of above ; editor ; for 
 years libr., Brussels Library; pub. 
 '' Les tiiKsicictis Beiges" (1848). (3) 
 Adolphe L. Eugene, Paris, 1820 — 
 1873 ; son and pupil of (1) ; pianist, 
 teacher and dram, composer. 
 Feurich (foi'-rlkh), Julius, Leipzig, 
 1 82 1 — I goo; founded pf. factory, 
 1851. 
 Fevin (fu-vah). Ant. (Antonius) de, 
 ca. 1490 (?)— 1515 (?) ; Netherlandish 
 (?) contrapuntist ; contemporary with 
 Josqum Despres, and rated second 
 only to him. (2) Robert (Robertus), 
 Cambrai, 15th cent. ; c. masses. 
 Fiala (fe'-a-la), Lobkowitz, Bohemia, 
 1749 — Donauschingen, 1816; oboist, 
 "cellist, composer, and conductor. 
 Fibich (fe'btkh), Zdenko, Seborschitz, 
 Bohemia, Dec. 21, 1850 — Prague, 
 Oct. 1900 ; pupil at Prague, Leipzig 
 Cons. (1865), and of Lachner ; 1876 
 asst. cond. at the National Th., 
 Prague ; 1878, dir. Russian Church 
 Choir ; notable Czech dram, com- 
 poser. Prod, at Prague 6 operas incl. 
 '■' Sarka" (1898); c. the symphonic 
 poems ''Othello" " ZaboJ and Sla- 
 voj" " Toman and the N'ymph" 
 and ''Vesna"; " I.ustspiel Ouver- 
 tiire" etc. "^ Alight on Kaarl- 
 stein" and other overtures. 
 Fiby (fe'-be), Heinrich.b. Vienna, May 
 15, 1834; pupil of the Cons.; from 
 1857 city mus. dir., Znaim ; founded 
 a music-school and a society ; c. 3 
 operettas ; pop. male choruses, etc. 
 
502 
 
 THE MUSICAL GUIDE 
 
 Ficher (fekh'-er), Fd., Leipzig, 1821 
 — New York, 1865 ; pianist and com- 
 poser. 
 
 Fiedler (fef -ler), August Max, b. Zit- 
 tau, Dec. 3, 1859 '< piano pupil of his 
 father, and studied organ and theory 
 with G. Albrecht ; 1877-80 Leipzig 
 Cons. ; won the Holstein Scholarship ; 
 since 1882 teacher, Hamburg Cons.; 
 c. a symphony, etc. 
 
 Field, (i) John, Dublin, July 16, 1782— 
 Moscow, Jan. i r, 1837 ; a great though 
 gentle revolutionist of music, to whom 
 much of Chopin's glory belongs, for 
 Field developed the more lyric manner 
 of pf.-playing and carried it into his 
 ccmposition, in which he gave the 
 piano-song or poem its first escape 
 from the old stiff forms. He created 
 the Nocturne, and many of hiscomps. 
 in this form have practically every 
 quality and mannerism characteristic 
 of those of Chopin, who excelled him 
 in passion, resource, and harmonic 
 breadth. He was the son of a violinist, 
 and grandson and pupil of an organ- 
 ist, who compelled him to practise 
 so hard that he ran ^way, but was 
 brought back and later was appren- 
 ticed to Clementi as a salesman. He 
 also had lessons from C, and went 
 with him to Paris in 1802, making a 
 great stir with his interpretation of 
 Bach's and Handel's fugues ; he was 
 kept at his salesman's tasks till 1804, 
 when he settled at St. Petersburg as 
 a teacher and pianist of great vogue. 
 After touring Russia, in London, 1832, 
 he played a concerto of his own at 
 the Philh.; then to Paris ; 1833 Bel- 
 gium, Switzerland, Italy, where he 
 was not a succ. Intemperance and 
 fistula kept him nine months in a Na- 
 ples hospital; whence he was rescued 
 by a Russian family Raemanow and 
 taken to Moscow, playing in Vienna 
 with greatest succ. ; but his health 
 was lost and he died a few years later 
 and was buried in Moscow. Besides 
 20 nocturnes (of which only 12 were 
 so named by Field) he c. 7 concertos 
 (No. 4 in E flat the most popular) ; 
 
 
 4 sonatas ; ''Air russe" ; "Air 
 russe vari/" {^ hands) ; " Chanson 
 russe varitf," in D min. ; polonaise ; 
 '' Reviens, reviens," Romanza and ; 
 Cavatina in E ; 4 romances ; 7 ron- ' 
 deaux ; rondeau with 2 vlns., viola, i 
 and bass ; variation in C ; 2 diver- / 
 tissements with 2 vlns., viola, and .| 
 bass ; 2 fantasias ; and pf. -exercises i 
 in all keys. (2) Henry, "Field of | 
 Bath," Dec. 6, 1797 — May 19, 1848 ; 
 pianist and teacher. 
 
 Fielitz (fon fe'-llts), Alexander von, 
 b. Leipzig, Dec. 28, i860; pupil in 
 Dresden of J. Schulhoff(pf.)and Kret- 
 schmer (comp.) ; he became opera- 
 cond. in Zurich, Liibeck, and I,eipzig 
 (City Th.) ; a nervous disorder com- 
 pelled his retirement ; lives in Italy 
 as a composer of sacred choruses, 
 orch. pes., songs, etc. His song! 
 have attained much solid popularity 
 
 Filippi (fe-Up'-pl) (i) Giu. de, Milan 
 1825 — Neuilly, near Paris, 1887 
 writer. (2) Filippo, Vicenza, i83( 
 — Milan, 1887 ; critic, writer, am 
 composer. 
 
 Fillmore, J. Comfort, Franklin 
 Conn., 1843 — i8g8 ; studied at Ober 
 lin (O.) Coll., and Leipzig Cons. 
 i884-<)5 founder and dir. of Sch. o 
 Mus. in Milwaukee ; then mus. dir; 
 Pomona Coll., Claremont, Cal ; pub' 
 " A Study of Omaha Indian Music 
 (with Miss Fletcher and F. L. 
 Flesche ; Peabody Museum, 1893), < 
 etc. 
 
 Filtsch (feltsh), Karl, Hermannstadt' \ 
 Transylvania, 1831 — Vienna, 1845 
 pianist ; pupil of Chopin and Liszt ! 
 died at 15. 
 
 Finck (fink), (i) Heinrich, 14S2, cor , 
 ductor to John Albert I., Cracow ( 
 eminent contrapuntist. (2) Hermann it 
 Pirna, Saxony, 1527 — Wittenburg 'a\ 
 1558, grand-nephew of above ; coir, j 
 poser and writer. (3) Henry Th^ 'I 
 ophilus, b. Bethel, Missouri, Sep' 
 22, 1S54 ; prominent American criti j 
 and essayist ; influential advocate c j 
 Wagner; lived in Oregon, then (i87(: J 
 graduate of Harvard, having studie 
 
 (i87(:,y 
 tudie A- 
 
 J 
 
DICTIONARY OF MUSICIANS 503 
 
 theory and hist, of mus. with J. K. 
 Paine ; 1876, attended the first Bay- 
 reuth festival, and studied at Munich; 
 pub. the valuable " IVagner and His 
 IVor/cs" (N. Y., 1893, 2 vols., Germ, 
 transl., Breslau, 1S97) ; 1877-78, 
 studied anthropology at Harvard ; re- 
 ceived a Fellowship and spent 3 years 
 at Berlin, Heidelberg, and Vienna, 
 studying comparative psychology and 
 sending mus. letters to N. Y. N'ation; 
 has since been mus.-ed. of the N. Y. 
 Evening Post ; pub. " Chopin, and 
 other Mus. Essays" '' Paderewski 
 and his Art" " Songs and Song- 
 Writers " (1901) ; 3 books of travel : 
 ''''Pacific Coast Scenic Tour" "Lo- 
 tos-time in Japan" " Spain and Mo- 
 rocco " / and 2 important books on 
 the psychology of love, "Romantic 
 Love and Personal Beauty" having 
 reached 4 editions ; " Primitive Love 
 and Love Stories " (1900). 
 
 Fincke (fink'-e), Fritz, b. Wismar, 
 May I, 1846; pupil Leipzig Cons.; 
 theorist and violinist, Frankfort, then 
 organist at Wismar ; 1879, teacher of 
 singing, Peabody Inst., Baltimore; 
 writer and composer. 
 
 Findeisen (fint'-l-zen), Otto, 1890, 
 conductor Wilhelm-Th., Magdeburg, 
 prod. succ. operetta " Der Alte Des- 
 sauer" (Magdeburg, 1890); and the 
 succ. folk -opera " Heninsrs von 
 Treffenfeld" (ib. 1891). 
 
 Finger (fing'-er), Gf., b. Olmiitz, Ba- 
 varia ; in England, 1685-1701 ; then 
 chamber-mus. to Queen of Prussia, 
 till 1717. 
 
 Fink, Gf. Wm., Suiza, Thuringia, 
 1783 — Halle, 1846 ; editor, writer, 
 and composer. (2) Chr., b. Detting- 
 en, Wiirtemberg, Aug. 9, 183 1; pupil 
 Esslingen Seminary ; Leipzig Cons., 
 and Schneider, Dresden ; till i860 
 lived as organist and teacher, Leip- 
 zig ; then teacher and organist, Ess- 
 lingen, and prof, in 1862 ; composer. 
 
 Fink'enstein (shtin), Jettka, b. Seni, 
 Russia, March 22, 1865 ; alto; stud- 
 ied at Berlin Hochschule, and with 
 Viardot Garcia ; ist. alto at Darm- 
 
 stadt ct. -theatre till 1891, then 
 toured ; lives in Breslau. 
 
 Fioravanti (fe-6r-a-van'-te), (i) Valen- 
 tino, Rome, 1764 — Capua, June 16, 
 1837 ; opera-cond. and composer. 
 (2) Vincenzo, Rome, 1799 — Naples, 
 1877, son of above ; conductor and 
 dram, composer. 
 
 Fiorillo (fe-o-rll'-Io), (i) Ignazio, 
 Naples, 1715 — Fritzlar, near Cassel, 
 1787 ; court-conductor and composer. 
 (2) Federigo, b. Brunswick, 1753 (?); 
 son and pupil of above ; viola player 
 and composer. 
 
 Fiqu6 (fe-ka), Karl, b. Bremen, 1861 ; 
 pupil of Leipzig Cons. ; lives in Brook- 
 lyn, N. Y.; pianist and composer. 
 
 Fischel (flsh'-el), Adolf, b. Konigs- 
 berg, 1810; pupil of Spohr ; cigar- 
 dealer in Berlin ; violinist and com- 
 poser. 
 
 Fischer (flsh'-^r), (i) Chr. Fr., Lii- 
 beck, 1698 — Kiel, 1752 ; cantor and 
 writer. (2) Jn. Chr., Freiburg,Ba- 
 den, 1733 — London, 1800 ; oboist and 
 composer. (3) Chr. Wm., Konrads- 
 dorf, near Freiburg, 1789 — Dresden, 
 1859 ; basso buffo. (4) Ludwig, 
 Mayence, 1745 — Berlin, 1825 ; oper- 
 atic bass, of great range (D - a'). (5) 
 Michael Gotthard, Alach, near 
 Erfurt, 1773 — Erfurt, 1829 ; cond. 
 and composer. (6) Anton, Ried, 
 Swabia, 1777 — Vienna, 1808 ; com- 
 poser. (7) Ernst Gf., Hoheneiche, 
 near Saalfeld, 1754 — Berlin, 1831 ; 
 prof, and acoustician. (8) Gf. Emil, 
 Berlin, 1791 — 1841, son of above; 
 singing-teacher and writer. (9) K. 
 L., Kaiserslautern, Bavaria, 1816 — 
 Hanover, 1877 ; court-conductor and 
 composer. (10) Ad., Uckermunde, 
 Pomerania, 1827 — Breslau, 1893 ; or- 
 ganist and composer. (11) K. Aug., 
 Ebersdorf, Saxony, 1828 — Dresden, 
 1892 ; organist. (12) Fz., b. Munich, 
 July 29, 1849; 'cellist, pupil of H. 
 Muller ; 1S70 soloist National Th., 
 Pesth, under Hans Richter ; later at 
 Munich and Bayreuth with Wagner ; 
 1877-79, court-conductor at Mann- 
 heim, then Munich. (13) Paul, 
 
504 
 
 THE MUSICAL GUIDE 
 
 Zwickau, 1834 — Zittau. 1894 ; cantor 
 and writer. (14) Ad., Brussels, 1847 
 — insane in Brussels, 1S91 ; 'cellist. 
 (15) Ignaz, 1828— Vienna, 1877 ; 
 conductor ct. -opera, Vienna. (16) 
 Josef, 1828— Stuttgart, 1885 ; com- 
 poser. (17) Emil, b. Germany, ca. 
 1835; notable German basso in Wag- 
 nerian roles ; debut 1849 ; sang at 
 Met. Op. N. Y. many years ; 1899 m. 
 Camille Seygard ; divorced 1902. 
 
 Fischhof (fTsh-6f), Jos., Butschowitz, 
 Moravia, 1804 — Vienna, 1857; prof., 
 composer and writer. 
 
 Fish, Wm., Norwich, 1775 — ca. 1863; 
 violinist and oboist. 
 
 Fisher, (i) John A., b. Dunstable, 
 1774, pf.-and organ-virtuoso ; violin- 
 ist and composer. (2) Wm. Arms, 
 b. San Francisco, April 27, 1861 ; pu- 
 pil of J. P. Morgan (org. and pf.), 
 H. W. Parker, and Dvorak, New 
 York ; also studied singing in Lon- 
 don ; lives in Boston as teacher, 
 composer of songs, and editor. 
 
 Fissot (fis-so) Alexis Henri, Air- 
 aines (Somme), 1S43 — Paris, 1896 ; 
 pf. and organ-virtuoso and com- 
 poser. 
 
 Fitzenhagen (ftts'-en-hakh-en), Wm. 
 K. Fr., Seesen, Brunswick, 1848 — 
 Moscow, 1890 ; 'cellist. 
 
 Fitzwilliam, Edward F., 1824 — Jan. 
 30, 1857 ; English composer. 
 
 Fladt (flat), Anton, b. Mannheim, 
 1775 ; oboist and composer. 
 
 Flagler, Isaac van Vleck, b. Albany, 
 N. Y., May 15, 1S44 ; pupil of Beale 
 at Albany, Batiste in Paris, etc. ; 
 organist various churches, then (1899) 
 a publisher and concert-organist ; 
 Chautauqua-lecturer for 13 years ; 
 teacher at Syracuse and Cornell Uni- 
 versities and Utica Cons. ; composer. 
 
 Flaxland (fla.x-lah), Gve. Alexandre, 
 Strassburg, 1821 — Paris, 1895 ; pub., 
 Paris. 
 
 Fl^gier (fla-zha), Ange, b. Marseilles, 
 Feb. 25, 1846 ; pupil of Marseilles 
 Cons, and Paris Cons. 1S70 ; returned 
 to Marseilles ; c. i-act comic opera, 
 ^* fatima" (Mars. 1875), " Ossian," 
 
 and " Fran^oise de Rinmti,'" cantata, 
 with orch., etc. 
 
 Fleischer (fli'-sher), (i) Reinhold, b 
 Dansau, Silesia, April 12, 1842 
 pupil of the R. Inst, for Church-j 
 music, and R. Akademie, at Berlin ; 
 1870, organist at Gorlitz and dir. 
 Singakademie ; 1885, Royal Mus,- 
 Dir. ; c. a cantata, "//o/da," etc. {2 ' 
 Oskar, b. Zorbig, Nov. i, 1856 
 studied in Italy on govt, stipend : .s 
 pupil and, since 1896, successor o:' f 
 Spitta as Prof. E.xtraordinary, at thii 
 Berlin Univ., also custodian 
 Royal Coll. of Mus. Instrs 
 teacher of histor}' at the Hochschulij 
 fiir Musik ; pub. a studv of neumes. i 
 1895, etc. (3)Fleischer-Edel(a-dgl)- .. 
 Katharina, b. Miilheim, Sept. 27 .! 
 1873; soprano; studied with Iflert;6 
 sings at court-opera, Dresden 
 
 Flem ming, Fr. Fd., Neuhauser 
 Saxony, 1778 — Berlin, 1813; c. pop 
 " Integer vita,'' etc. 
 
 Floersheim (flars'-him). Otto, b. Au 
 la-Chapelle, March 2, 1853 ; pupil < 
 Fd. Hiller, Cologne; 1875, Nel 
 York; 1880, edited The Mtisici j$\ 
 Courier, since 1894 manager of r 
 Berlin Branch ; c. " Prelude an 
 Fugue" ''Scherzo" for orch., etc. 
 
 Floridia (flo-red'-ya), (Napolino) Pif 
 tro, b. Modica, Sicily, March 5, i86<i 
 pianist, pupil of S. Pietro a MajelL 
 Naples ; while there he pub. sue 
 pf.-pcs. ; prod. succ. comic ope 
 " Carlotta Clepier " (Naples, 1882 
 later burned the score, retired f 
 3 years to Sicily ; toured 1885-81 
 1888-90, prof, of pf. Palermo Cons 
 1889, his grand symphony won i 
 prize of the Soc. del Quartette, M 
 an ; w. text and music of succ. ope 
 " .<l/ar?/2sa " (Venice, 1894); lives 
 Milan ; c. (with Luigi Illica) " La C 
 Ionia Libera" ; also "'Fesiouvertiir,, 
 serenata, etc. 
 
 Florimo (flo'-rT-mo), Fran., San Gi< 
 gio Morgeto, Calabria, 1800 — Napli 
 1888 ; writer, teacher, and composi 
 
 Flo'rio, Caryl, pen-nameof Wm. J« 
 Robjohn. 
 
 5bur o:' K 
 at thii j 
 of thii I 
 >., ancjl 
 hschuli.;! 
 
 i 
 
 I 
 
DICTIONARY OF MUSICIANS 505 
 
 Flor'izel. Vide reuter. 
 
 Flotow (fl5'-to), Friedrich, Freiherr 
 von, Teutendorf, Mecklenburg, April 
 27, 1812 — Darmstadt, Jan. 24, 1883; 
 composer of 2 extremely popular and 
 melodious, also extremely light, op- 
 eras ; son of a landed nobleman ; 
 studied composition with Reicha, 
 Paris ; he fled from the July Revolu- 
 tion to Mecklenburg, where he c. 2 
 operettas ; returning to Paris, he 
 prod. "■" St'raphine" 1836, ''Rob 
 ^<y," and the succ. '' Le Naufrage 
 de la Mi/duse" 1839, (given Ham- 
 burg, 1845, as " Die Matrosen "), in 
 which he collaborated with Paloti and 
 Grisar ; 3 later works failed, incl. the 
 ballet '■'■Lady Harriet" (Opera, 
 1843) ; afterwards rewritten with 
 great succ. 2iS" Martha" (Vienna, 
 1847). " Alessandro Stradella "(Ham- 
 burg, 1844 ; rewritten from a "piece 
 lyrique, "Stradella" Paris, 1837), 
 made his name in Germany. He ffed 
 from the March Revolution (1848), 
 and prod. " Die Gross-fiirstiii " (Ber- 
 lin, 1853), and " Indra" (Berlin Op- 
 era, 1850) ; 3 later works failed. 
 1856-63, he was intendant of court- 
 music, Schwerin, and c. a " Torch- 
 Dance " and excellent music to Shake- 
 speare's " Winter's Tale" ; 1863-68, 
 he prod. 2 operettas, 2 operas, and 2 
 ballets, without succ. ; 1868, he re- 
 tired to one of his estates, near Vien- 
 na, made visits to Vienna, Paris, It- 
 aly ; 1870, 'T Ombre" (Paris, Op. 
 Com., 1870 ; prod, in London, 1878, 
 as the "Phantom") was very succ. ; 
 " Naida" (Milan, 1873) and " // 
 Fior d" Harlem " (Turin, 1876) were 
 revisions, and he rewrote " Indra " as 
 "TEjichanteresse" (Paris and London, 
 1878); Italy, "AlmaVlncancatrice"; 
 Germany "Die Hexe''; after his 
 death " JRose liana" " Der Graf 
 Saint-M^grin" (Cologne, 1884), and 
 " Die Musikanten" (Hanover, 1887) 
 were produced. 
 
 Flow'ers, Geo. French, Boston, Eng- 
 land, 181 1— 1872, organist, teacher, 
 composer, and writer. 
 
 Fliigel (flii'-gel), (i) Gustav,Nienburg. 
 on-Saale, July 2, 1812 — Stettin, 1900; 
 cantor, organist, writer, and compos- 
 er. (2) Ernest Paul, b. Stettin, Aug. 
 31,1844; son and pupil of above; 
 studied at the R. Inst, for Church- 
 music, and the Akademie, Berlin ; 
 private pupil of von Billow; 1867, 
 organist and teacher at the Prenzlau 
 Gymnasium ; in 1879, cantor, Bres- 
 lau, and founded the " Fliigel verein " ; 
 writer and composer. 
 
 Fo'dor, (i) Jos., Vanlos, 1752 — 1828 ; 
 violinist and composer. (2) Jo- 
 sephine, b. Paris, 1793 ; soprano ; 
 retired, 1833; daughter of above; 
 m. the actor Mainvielle. 
 
 Foerster (fer'-shter). Ad. Martin, b. 
 Pittsburg, Pa., Feb. 2, 1S54 ; impor- 
 tant American composer ; pupil of his 
 mother and of Leipzig Cons.; 1875- 
 76, teacher at Ft. Wayne (Ind.), 
 Cons., then Pittsburg, Pa., where he 
 still lives as a teacher of singing and 
 pf.; c. "Faust" overture; march- 
 fantasia ; festival music, 2 suites (No. 
 I, " The Falconer"), festival march 
 (May festival, 1891, under Seidl) ; 
 " Symphonic Ode to Byron" and 
 " Dedication March " (Carnegie Hall, 
 Pittsburg) ; " Thnsnclda" etc. 
 
 Foggia (fod'-jii), Fran., Rome, 1604— 
 1688, composer and conductor. 
 
 Fogliani (fol-ya'-ne), Ludovici, Mo- 
 dena, 15th cent.— ca. 1540; theorist 
 and composer. 
 
 Foignet (fwcin'-ya), (i) Chas. Gabriel, 
 Lyons, ca. 1750— Paris, 1823; teach- 
 er. (2) Fran., Paris, ca. 1780— 
 Strassburg, 1845 ; tenor, later bary- 
 tone and dram, composer. 
 
 Foldesy (ftil'-de-she), , b. Hun- 
 gary ; young 'cellist, succ. in London, 
 1902 ; son of a military bandman at 
 Budapest ; pupil of Becker. 
 
 Fo ley (" Signor Foli "), Allan Jas., 
 Cahir, Tipperary, Ireland, 1842 — 
 Southport, England, Oct. 20, 1899 ; 
 concert and operatic bass. 
 
 Folville (fol-ve'-yii), (Eugenie Emi- 
 lie) Juliette, b. Liege, Jan. 5, 1870; 
 brilliant pianist, violinist, teacher, 
 
 I 
 
5o6 
 
 THE MUSICAL GUIDE 
 
 conductor and composer ; pupil of 
 her father, a distinguished lawj^er ; 
 studied vln. with Malherbes, Musin, 
 and Cesar Thomson ; in 1879, debut 
 at Liege as concert-violinist ; fre- 
 quently directs her own orchestral 
 works ; annually conducts at Liege 
 Cons, a concert of ancient music, and 
 gives clavecin-recitals ; prod. 1893, 
 very succ. opera " A la la" (Lille, 
 1892 ; Rouen, 1893) ; 189S, pf. prof, 
 at Liege Cons.; c. 3 orchestral suites : 
 " Scenes (a) champetres, (b) de la 
 nier, (c) d hiver" etc. 
 
 Fonda, (Mrs.) G. A., 1837 — Louis- 
 ville, 1897 ; wrote " Li/e of Cott- 
 schalk," etc., under pseud., " Octavia 
 Hensel." 
 
 Fontaine (fon'-ten), (i) Mortier de, 
 V. MORTiF.R. (2) Hendrik, b. Ant- 
 werp, April 5, 1S57 ; concert-bass ; 
 pupil of the Cons, and singing-teach- 
 er, 1883. 
 
 Fontana (fon-ta'-na), Giov. Bat., d. 
 Brescia, 1630 ; composer. 
 
 Foote, Arthur Wm., b. Salem, Mass., 
 March 5, 1S53 ; prominent American 
 composer; pupil of B. J. Lang (pf.), 
 S. A. Emery, and J. K. Paine (comp.) 
 1875, A. M. Harvard (for mus.) ; 
 since 1878, organist of the first Uni- 
 tarian Ch., Boston ; pub. overture, 
 " In the Mountains " symphonic pro- 
 logue, '' Francesca da Hhnini" 'cel- 
 lo concerto ; orch. suite and choral 
 works, " Farewell of Hiawatha" 
 " The Wreck of the Hesperus" and 
 The Skeleton in Armour" ; pf.- 
 quintet, quartet in C ; pf.-trio in C 
 min.; sonata for pf. and vln.; 2 
 string-quartets ; pes. for vln. and 
 'cello, and pf.-pcs.; 2 suites, and 
 songs. 
 
 Forberg (for'-berkh), Robt., Lutzen, 
 1833 — Leipzig, 18S0 ; mus. pub. at 
 Leipzig. 
 
 Forbes, H., 1804 — 1S59; Engl, organ- 
 ist, pianist, and dram, composer. 
 
 Forchhammer (forkh-ham-mer), Th., 
 b. Schiers, Gray Cantons, July 29, 
 i8.j7 ; pupil of Stuttgart Cons.; 1S85, 
 organist at Magdeburg Cath. ; 18S8 
 
 Royal Mus. Dir.; writer and com- 
 poser. 
 
 Ford, (i) Thos., England, ca. 1580 — 
 164S ; composer and writer. (2) 
 Ernest A. C, b. London, Feb. 17, 
 1858 ; pupil of Sullivan and Lalo ; 
 cond. Empire Th., London ; prod. 2 
 operas ; comic-opera, 'fane Annie" ; 
 a cantata; motet '' Domine Deus" 
 (for 250th anniv. of Harvard Univ.),.' 
 etc. 
 
 For kel, Jn. Nikolaus, Meeder, near} 
 Coburg, 1749 — (;<)ttingen, i8i8;j 
 historian, organist, harpist, andl 
 teacher. 
 
 For mes, K. Jos., Miilheim-on-Rhine.j 
 1 8 16 — San Francisco, 1SS9 ; opera-; 
 bass. His wife (2) a notable con 
 tralto in N. Y. (3) Theodor, Mill 
 heim, 1S26 — Endenich, near Bonn, 
 1S74 ; tenor, bro. of above. 
 
 Formschneider (form'-shnl'-der). Vide 
 
 GRArHAUS. 
 
 Fornari (for-na-re), V., b. Naples, 
 May II, 1848; pupil of Sira (pf.)j^. 
 and Battista (comp.) ; c. operas,jki 
 ''A/aria di y^rrt- " (Naples, 1872) Jdj: 
 '' Salavimbo" '' Zuiiia" (Naples.fliji 
 1881), and i-act opera-seria " UrS» 
 Dramma in Vendemniia " ( Florence,}* j 
 1896), succ. ' ' 
 
 Fornasari (for-na-sji'-re), Luciano 
 Italian bass ; debut ca. 1S28 ; tourei 1 
 widely and retired 1846. 
 
 Forner (fer-ner), Chr., Wettin, i6i( 
 — 167S : organ-builder ; ca. 1675, inv 
 the " wind-gauge." 
 
 Forqueray (fork-re), fits, contempo, j 
 rarv French composer. ' 
 
 Fors'ter (for'-shter), G., (i) Amberg(?' I 
 — Nurnberg, 1568 ; editor and coll 
 (2) G., (11), d. Dresden, 1587 
 double-bass ; conductor. (3) Niko< 
 laus (called Fortius), 1499 — 1535 
 contrapuntist. (4) (or Forster) Kas 
 par, Danzig, 16 17 — 1673 ; composer 
 theorist and conductor. (5) Wm' 
 (Sr.), Brampton, Cumberland, 1739- 
 London, iSoS ; vln. -maker ; his so: 
 and successor was (6), Wm., Lon 
 don, 1764 — 1S24. 
 
 For ster (fer'-shter), (i) v. forste 
 
DICTIONARY OF MUSICIANS 507 
 
 (4). (2) Chr., Bebra, Thuringia, 
 1693 — Rudolstadt, 1745 ; organist, 
 conductor and composer. (3) Eman- 
 uel Aloys, Neurath, Austrian Sile- 
 sia, 1748 — Vienna, 1823 ; theorist 
 and composer. (4) Jos., b. Osojnitz, 
 Bohemia, Feb. 22, 1833 ; Prague 
 School of Organists; organist in various 
 churches; since 1887, Prague Cath. ; 
 prof.of theory, Prague Cons.; c. masses 
 and requiems, org. -pes ; wrote a trea- 
 tise on harmony. (5) Vide fokrster. 
 (6) Alban, b. Reichenbach, Saxony, 
 Oct. 23, 1849 ; violinist ; pupil R. 
 Blume, later of Dresden Cons.; lead- 
 er at Carlsbad, Breslau, Stettin; 1871, 
 court mus., and cond. Neustrelitz, 
 1881, teacher in Dresden Cons., 
 cond. of the Liedertafcl ; since 1882, 
 court-cond. at Neustrelitz, 1875 ; c. 
 comic operas, ballet pantomime, orch. 
 and chamber music, etc. 
 orsyth', Bros., mus. publishers, 
 London and Manchester. 
 orti (for'-te), Anton, Vienna, 1790 — 
 1859 '• barytone. 
 
 ortlage (fort'-la-ge), K., Osnabruck, 
 1806 — Jena, 1881; writer. 
 ortsch (fertsh), Jn. Ph., Wertheim, 
 Franconia, 1652 — Eutin, 1732 ; con- 
 ductor, singer, and dram, composer. 
 os'ter, (i) Stephen Collins, Law- 
 renceville (Pittsburg), Pa., July 4, 
 1826— New York, Jan. 13, 1864 ; 
 chiefly self-taught as flageolet-play- 
 er and composer ; a writer of words 
 and music of genuine American folk- 
 song ; he enjoyed enormous vogue, 
 receiving $500 for the privilege of 
 singing "Old Folks at Home" (or 
 " Suwanee River") before its publi- 
 cation ; c. 160 songs, incl. " My Old 
 Kentucky Home," " Nellie was a 
 Lady," and many war-songs ; his 
 melody, though simple, was rarelv 
 banal and has elements of immortal- 
 ity. (2) (Myles) Birket, b. London, 
 Nov. 29, 185 1 ; organist and com- 
 poser ; pupil of Hamilton Clarke, and 
 at R. A. M. of Sullivan, Prout, and 
 Westlake ; 1873-74, organist at Ha- 
 weis' Church ; 1880-92, at the Found- 
 
 ling Hospital ; then mus.-ed. for 
 Boosey & Co.; c. 2 Evening Ser- 
 vices ; symphony, " Isle of Arran " y 
 overtures, etc. 
 Fouque (foo-ka), P. Octave, Pau, Bas- 
 ses-Pyrenees, 1844— 1883; libr., Paris 
 Cons. ; critic and writer. 
 Fourneaux (foor-no). Napoleon, 
 Leard, 1808 — Aubanton, 1846 ; im- 
 prover of the reed instruments. 
 
 Fournier (foorn-ya), (i) P, Simon, 
 Paris, 1712 — 1768 ; introduct;r of 
 round-headed notes, and writer on 
 history of music-types. (2) l^mile 
 Eugene Alex., Paris, 1864— Join- 
 ville-le-Pont, 1897 ; pupil of Delibes 
 and Dubois at Cons.; 1891 took 2d 
 Grand prix de Rome, and 1892 Prix 
 Cressent, for i-act opera '' Str atonic e " 
 (Gr. Opera, Paris, 1892) ; c. opera 
 " Carlo7nan" etc. 
 
 Fox, Geo., b. 1854, Eng. (?) ; bary- 
 tone, with various opera troupes in 
 London and the provinces and c. pop. 
 operettas, '"Robert Macaire" 1887; 
 " The Corsican Brothers" 1888, and 
 " Nydia" 1892 — all prod, at the Crys- 
 tal Palace ; c. cantatas, songs, etc. 
 
 Fradel (fra-del), Chas. (Karl), b. 
 Vienna, 1821 ; music-teacher New 
 York, then London ; composer. 
 
 Framery (fram-re), Nicolas Et., 1745 
 — Paris, 1810; writer. 
 
 Francesco. Vide landing. 
 
 Francesina (la fran-cha-se'-na). La 
 (rightly Elizabeth Duparc), French 
 singer in Italy, and, 1738-45, London, 
 where she created Handelian roles. 
 
 Franchetti (fran-ket'-te), (i) Alberto 
 (Baron) ; b. Turin, Sept. 18, 1850 ; 
 pupil of N. Coccon and F. Magi ; 
 then of Draeseke, and at the Munich 
 Cons.; prod. "dram. legend" 
 '' Asraele" (Brescia, 1888); opera, 
 " Cristpforo Colombo" (Genoa, 1892), 
 '' Fior d'Alpe" (Milan, 1894),"// 
 Signor di Pourceaugtiac" (Milan, 
 1807), allsucc; c. a symphony, etc, 
 (2) Valerio, b. Italy ; violinist ; 
 nephew of above ; opposed by his 
 family he made succ. as " Oliveira " ; 
 played with succ. Berlin, 1S92. 
 
5o8 
 
 THE MUSICAL GUIDE 
 
 Franchinus (fran-ke'-noos). Vide 
 
 GAFORI. 
 
 Franchi - Verney (fran'-ke-ver'-na), 
 Giu. Ip.jConte della Valetta ; b. Tu- 
 rin, Feb. 17,1848 ; 1 8 74 gave up law for 
 music ; 1S75-77 under the pen-name 
 " Ippolito Valetta " contributed to 
 various papers ; 1893 (?), m. Teresina 
 Tua ; c. succ. lyric sketch " // Val- 
 dese'' (Turin, 18S5), and succ. ballet, 
 " // Mu/ai/o" (yiaples, 1896). 
 
 Franchomme (fran-shum), Auguste, 
 Lill«, April 10, 1S08 — Paris, Jan. 
 21, 1884 ; 'cellist ; teacher at the 
 Cons, and composer. 
 
 Franck (frank), (i) Melchior, Zittau, 
 ca. 1580 — Coburg, June i, 1639 '> 
 from 1603 court-cond. at Coburg ; a 
 prolific and important c. of secular 
 and church- music, a pioneer in im- 
 proving instrumental accompaniment; 
 two of his chorales '''^Jernsalem, das 
 hochgebaute Stadi" and " Wenn ich 
 Todt'S7idthen bin," are still sung ; he 
 is said to have written the text for 
 many hymns. (2) Jn. W., Hamburg, 
 1641 — Spain, 16S8 (or later) ; opera- 
 cond.; c. 14 operas. (3) (frah), C6- 
 sar Auguste, Liege, Dec. 10, 1822 
 — Paris, Nov. 8, 1890 ; important 
 and influential French composer ; 
 pupil Liege Cons., then of Paris 
 Cons., where he took ist prize for 
 piano, and 2d for comp., also suc- 
 ceeding his organ-teacher, Benoist, as 
 prof, there in 1872, and as organist 
 at Ste. Clothilde; c. a notable symph. 
 poem with choms " Les be'aiitudes," 
 symph. poem " Le chasseur maudit" 
 a symphony in D minor, a succ. com. 
 opera " Hulda " (Monte Carlo, 1894), 
 2 oratorios, an unfinished opera 
 '"Ghisella" a sonata for pf. and 
 vln.; pf.-pcs. ; chamber-music, songs, 
 etc. ; biog. by Derepas (Paris, '97), 
 and by Destranges. (4) Eduard, 
 Breslau, 1817 — Berlin, 1893 ; pro- 
 fessor and composer. (5) Jos., b. 
 Liege, ca. 1820 ; bro. of (3) ; organ- 
 ist and teacher, Paris ; pub. Ode to 
 St. Cecilia (with orch.) ; cantatas, 
 etc. 
 
 Francke (frank'-S), Aug. Hn., 1865 
 founded Leipzig pf.-factorj-. 
 
 Fran CO, a name honoured in mensura 
 music and probably belonging to two 
 perhaps three, men : (i) F. of Paris 
 (the elder), cond. at Notre-Dame 
 Paris, ca. iioo (?) a.d.; and (2) F 
 of Cologne, Dortmund and prior o] 
 the Benedictine Abbey at Cologne ii! 
 1 190, author of 2 treatises. j 
 
 Francceur (frah-ktir), (i) Frangois 
 Paris, 1698 — 17S7 ; violinist amj 
 dram, composer. (2) Louis Jos.i 
 Paris, 1738 — 1804 ; nephew of above: 
 violinist, conductor and dram, ci 
 poser. 
 
 Frank (i) Melchior. Vide fran 
 (2) Ernst, Munich, 1S47 — (insane ^ 
 Oberdobling, near Vienna, 1889 
 court-organist and dram, composer. 
 
 Franke (friink'-e), Fr. W., b. 
 men, June 21, 1862 ; studied Berlii 
 Hochschule ; organist at Stralsu 
 later at Cologne, also teacher in 
 Cons. 
 
 Frankenberger (frank'-en-berkh-gr 
 H,, Wiimbach, Schwarzburg-Sonderi 
 hausen, 1824 — Sondershausen, i88f 
 conductor, violinist, and dram, con 
 poser. 
 
 Franklin, Benj., Boston, Mass 
 1706 — Philadelphia, 1790 ; the en: 
 nent philosopher ; inv. the harmonic 
 (v. D. D.), and wrote wittily c 
 Scotch and contemporary music, et 
 
 Franz (frants), (i) K., Langenbiela 
 Silesia, 173S — Munich, 1802 ; virt 
 oso on the waldhorn, and the bar 
 ton. (2) J. H., pen-name of Cou 
 B. von Hochberg. (3) Robt., Hal! 
 June 28, 1815 — Oct. 24, 1892 ; 184 
 changed his family-name Knaut 
 by royal permission ; long oppos 
 by his parents, he finished his mu 
 cal studies 1S35-37, under Fr. Schn 
 der, Dessau ; returned to Halle, a 
 spent si.x years studying Bach, et' 
 1843, his first album of 12 songs 3: 
 peared, and was cordially rec'd 
 Liszt and Mendelssohn, and by Scl 
 mann, who wrote about him in 
 periodical. He became organist 
 
DICTIONARY OF MUSICIANS 509 
 
 ; aensiin 
 
 '.of Pa 
 
 '^re-Dai 
 
 'i prioi 
 Cologne 
 
 Franjoi 
 
 oiiisji 
 
 the Ulrichskirche, and later cond. of 
 the Singakademie, and mus. dir. at 
 Halle Univ., which made him Mus. 
 Doc, 1861. In 1868, deafness at- 
 tacked him, and nervous disorders 
 prevented his writing further. His 
 distress was relieved by the receipt of 
 $25,000, from a series of concerts or- 
 ganised 1872, in Germany, byHelene 
 Magnus, Joachim, Liszt, and in 
 America, by Dresel, Schlesinger, and 
 B. J. Lang. His wife (4) Marie (nee 
 Hinrichs, 1828-91), pub. many ex- 
 cellent songs. His supplementing of 
 
 the old musical shorthand of Bach 
 and Handel, by full scores with mod- 
 ern instrumentation has been of in- 
 valuable service. He also pub. es- 
 says and "open letters" to Hanslick 
 on Bach and Handel. He pub. 257 
 songs; the 117th Psalm, for double 
 chorus a cappella ; Kyrie for soli and 
 4-part chorus, a cappella, a liturgy for 
 6 chorals, 6 part-songs for mi.xed 
 chorus, and 6 do. for male chorus. 
 Biog. sketches, by Ambros, Liszt, 
 Dr. W. Waldmann (Leipzig, 1895), 
 etc. 
 
 Robert Franz. 
 
 By Henry T. Finck. 
 
 NEXT to Schubert, Robert Franz is undoubtedly the most original of 
 German song-writers. Unlike Schubert, he was a specialist, con- 
 fining himself almost entirely to the field of art-songs, of which he 
 wrote 279. These short songs represent, however, multum in parvo. As 
 he himself once remarked, they are " like a mirror reflecting the development 
 of music from a to z." By their simple strophic structure they remind one 
 of the early folk-song. Many of them are as stately and majestic as the Prot- 
 estant chorals of the time from Luther to Bach. ^Like Bach's music, the 
 pianoforte parts of Franz's songs are polyphonic ; that is, the melody is not 
 confined to the voice, but each part of the instrumental accompaniment is a 
 melody, too, and these diverse melodies are interwoven with magic art. At 
 the same time his harmonies and tone-colours are as modern as Chopin's, espe- 
 cially in the use of chords widely extended with the aid of the pedal. ^ Franz 
 admitted he could never have become what he was, had it not been for Schu- 
 mann and Schubert ; yet his style is entirely different from theirs. He was 
 also more critical than any of his predecessors, retaining in his desks all songs 
 that did not please him ; hence the proportion of good ones is greater in his 
 case than in any other. His songs are a happy blending of the romantic 
 spirit and the classical style, of the modern declamatory style and a genuine 
 bel canto. 
 
 Franzl (fr^nts'l), (i) Ignaz, Mann- 
 heim, 1734 — 1803 ; violinist, conduc- 
 tor and composer. (2) Fd., Schwet- 
 zingen. Palatinate, 1770 — Mannheim, 
 1833 ; son and pupil of above ; con- 
 ductor and dram, composer. 
 
 Frauenlob (frow'-en-lop). Vide von 
 
 MEISSEN. 
 
 Frauscher (frow'-sher), Moritz, b. 
 Mattighafen, Austria, i86r; studied 
 with Jn. Ress, sang Pogner {"■ Meis- 
 
510 
 
 THE MUSICAL GUIDE 
 
 tersinger"), Bayreuth, 1892; since 
 1899, Vienna, ct.-opera. 
 
 Frasi (fra-ze), Giulia, Italian singer in 
 England, 1743-5S in Handel's works. 
 
 Frederick II. (the Great), of Prussia ; 
 Berlin, 1712 — Potsdam, 17S6 ; flute- 
 player and composer of remarkable 
 skill — for a king. 
 
 Frederix (fra-da-rex), Gv., Liege, 
 1S34 — Brussels, 1S94 ; critic. 
 
 Frege (fra'-ge), Livia (nee Gerhard), 
 Gera, b. June 13, 1818 ; singer; pu- 
 pil of Pohlenz ; debut at 15 with 
 Clara Wieck, who was then 13, at the 
 Gewandhaus, Leipzig. 
 
 Freiberg (fri'-berkh), Otto, Naum- 
 burg, April 26, 1846 ; studied, Leip- 
 zig Cons.; from 1865, violinist in 
 court-orch., Carlsruhe ; studied with 
 V. Lachner ; became mus. dir. Mar- 
 burg Univ.; 18S7, mus. dir. and prof. 
 Gottingen. 
 
 Frene (fren), Eugene H., Strassburg, 
 1S60 (?) — Paris, 1896; conductor. 
 
 Frere (frar). Marguerite Jeanne 
 (called Hatto), b. Lyons, Jan. 30, 
 1879; soprano; pupil of the Cons., 
 took 2 opera prizes, 1899 , debut Ope- 
 ra, 1S99 ; created " Floria " in Saint- 
 Saens' " Zt-j Barbares" ; sang at 
 Monte Carlo, etc. 
 
 Freschi (fres-ke), Giov. Dom., Vi- 
 cenza, 1640 — 1690 ; conductor and 
 dram, composer. 
 
 Frescobaldi (fres-ko-bal'-de), Girola- 
 mo, Ferrara, 1583 — (buried) Rome, 
 March 2, 1644 ; the greatest organist 
 of his time, a revolutionist in harmo- 
 ny and important developer of fugue 
 and notation ; he was so famous 
 that 30,000 people attended his first 
 performance as organist of St. Peter's, 
 Rome (1610, or -14) ; pupil of Luz- 
 zacchi ; organist at Mechlin probably 
 1607 ; c. org. -pes., fugues, double- 
 choir church-music, etc.; biog. by 
 Haberl. 
 
 Freudenberg (froi'-den-berkh), Wm., 
 b. Raubacher Hiitte, Prussia, March 
 II, 1838; studied in Leipzig; th.- 
 cond. in various places ; 1865, cond. 
 of the Cecilia Singing Society, and the 
 
 Synagogenverein, Wiesbaden ; 1870, 
 founded a Cons , and till 1886, cond. 
 the Singakademie ; later opera-cond. 
 at Augsburg and (1889) Ratisbon ; 
 c. manyoperas, chiefly comic ; symph. 
 poem, etc. 
 
 Freund (froint), Robt., b. Buda-Pesth, 
 April 7, 1S52 ; pianist; studied with 
 Moscheles, Tausig, and Liszt ; lives 
 in Zurich. 
 
 Frey (fri), M., d. Aug. 10, 1832 ; vio- 
 linist, court-cond. at Mannheim, and 
 dram, composer. 
 
 Freystatter (fri'-shtet-ter), Wm., 
 1836 — Munich, 1892, critic. 
 
 Frezzolini (fred-z6-le'-ne), Erminia, 
 
 b. Orvieto, 1818 ; soprano; debut, 
 1838. 
 
 Friberth (fri-bert), K., Wullersdorf, 
 Lower Austria, 1736 — Vienna, 1816; 
 tenor ; conductor. 
 
 Frick (or Frike) (frik, or fre'-ke), 
 Ph. Jos., near Wiirzburg, 1740 — 1 
 London, 1798 ; organist and com- 
 poser. 
 
 Fricke (fnk-e), Aug. Gf., Brunswick, 
 1829 — Berlin, 1S94 ; bass. 
 
 Frickenhaus (frlk'-en-hows), Fanny 
 (nee Evans), b. Cheltenham, Eng- 
 land, June 7, 1849 : pianist ; pupil 
 of G. Mount, Aug. Dupont (Brussels 
 Cons.), and Wm. Bohrer ; 1869, de- 
 but, London. 
 
 Friedheim (fret'-hlm), Arthur, b. St. 
 Petersburg, Oct. 26, 1859 ; pianist 
 and conductor ; pupil of Rubinstein 
 one year, and of Liszt, 8 years ; c. 
 concerto, etc. 
 
 Friedlander (fret'-lent-er). Max., b. 
 Brieg, Silesia, Oct. 12, 1852 ; concert- 
 bass and editor ; pupil of Manuel 
 Garcia and Stockhausen ; debut, 
 1880, London; 1881-83, Frankfort ; 
 since in Berlin ; 1SS2, Dr. Phil. h. 
 
 c. (Breslau). 
 
 Friedrich II. Vide Frederick. 
 
 Fries (fres), Wulf (Chr. Julius),' 
 Garbeck, Ilolstein, Ger. Jan. 10, 
 1825 — Ro.xbury, Mass., April 29. 
 1902 ; self-taught 'cellist ; at 17 ii 
 the Bergen Th. orch. and Ole Bull'i 
 concerts; 1847, Boston, Mass., om 
 
DICTIONARY OF MUSICIANS 51 
 
 of the founders of the Mendelssohn 
 Quintet Club ; later a member of the 
 Beethoven Q. Club. 
 
 Frike. Vide frick. 
 
 Frimmel (frim'-mel), Th., b. Amstet- 
 ten, Lower Austria, Dec. 15, 1853 ; 
 M. D. (Vienna) ; writer. 
 
 Fritze (frlt'-ze), Wm., Bremen, 1S42 
 — Stuttgart, iS8r ; conductor, writer, 
 and composer. 
 
 Fritzsch (fritsh), Ernst Wm., b. 
 Liitzen, Aug. 24, 1840 ; pupil Leip- 
 zig Cons. ; acquired the music-pub. 
 business of Bomnitz in Leipzig ; 
 since 1S70, ed. the radical " Miisi- 
 kalisches IVochenhlatt" and 1875 
 started the "' I\Iiisikalische Hatisbldt- 
 ter " ; is a member of the Gewand- 
 haus Orch. ; pub. the works of Wag- 
 ner, Grieg, etc., and aided progress. 
 
 ="roberger (fro'-berkh-er), Jn. Jakob, 
 1605 (?) — Hericourt, France, May 
 7, 1667 ; chief German organist of 
 the 17th cent. ; son of a cantor at 
 Halle ; studied in Rome with Fresco- 
 baldi ; court organist at Vienna ; trav- 
 elled, and in England, being robbed, 
 became a beilows-treader ; he over- 
 blew during Chas. IFs marriage and 
 was beaten by the organist Gibbons ; 
 he fell to improvising shortly after, 
 and was recognised by a pupil who 
 presented him to the king. 
 
 'ro(h)lich (fra-likh), (i) Jos., Wurz- 
 burg, 1780 — 1862 ; musical director ; 
 writer and dram, composer. (2) The 
 
 ; name of three sisters b. Vienna, (a) 
 
 j Nanette (Anna), 1793—? pianist, 
 ^j I teacher, and singer, (b) Barbara, 
 
 ;. 1697 — ?, contralto and painter, m. F. 
 Bogner. (c) Josephine, 1803—1878, 
 notable singer and teacher. 
 
 I'romm (from), Emil, b. .Spremberg, 
 
 I Niederlausitz. Jan. 29, 1835 ; pupil 
 
 ' of R. Inst, for Church-music, Berlin ; 
 1866, Royal Mus. Dir. ; 1869, organ- 
 ist and conductor at Flensburg ; c. 2 
 Passion cantatas, an oratorio, etc. 
 rontini (fron-te'-ne), F, Paolo, b. 
 Catania, Aug. 6, i860 ; pupil of P. 
 Platania, and Lauro Rossi ; now 
 dir. Catania Mus. Inst. ; c. succ. 
 
 opera '' Afalia'" (Bologna, 1893); 
 oratorio " Sansone" (1882), etc. 
 Froschauer (frosh'-ow-er), Jn., printer 
 at Augsburg ; said to have printed 
 the first music with movable type in 
 1498. ■ 
 Frost, (i) Chas. Jos., b. Westbury- 
 on-Tyne, Engl., June 20, 1848; son 
 and pupil of an organist at Tewkes- 
 bury, also pupil of Cooper, Goss, and 
 Steggall ; organist various churches ; 
 1882, Mus. Doc. Cantab. ; iSSo prof, 
 of organ Guildhall Sch. of Mus. ; 
 c. oratorio, " Nathan s Parable " 
 (1878) ; a symphony, etc. (2) H. Fr., 
 London, March 15, 1848 — June,i90i ; 
 studied organ with Seb. Hart. ; 1865- 
 91, organist of the Chapel Royal, 
 Savoy; 1880-88, pf.-prof. Guildhall 
 Sch. of Mus. ; from 1877 critic of 
 " T/ie Academy "later oi '' The Atlie- 
 ncRum" and '' Tlie Standard" ; pub. 
 biog. of Schubert, and the " Savoy 
 Hymn-tunes and Chants." 
 
 Frotz'Ier (frots'-ler), Carl (" Auer "), 
 b. Stockerau, Lower Austria, April 
 10, 1873 ; pupil of his father ; at 15, 
 had c. a grand mass, an offertory, 
 etc. ; then entered Vienna Cons, 
 studying under Krenn ; 1887-93, or- 
 ganist at the Pfarrkirche, Stockerau, 
 and chamber-pianist to Prince Hein- 
 rich Reuss IV ; 1893-97, cond. to 
 Count Esterhazy at Totis, Hungary ; 
 since, cond. City Th., Linz-on-Dan- 
 ube ; c. operas '' Arnelda" (Totis, 
 1894 ; took Philh. Ger.-Amer. Opera 
 Society's prize) ; " Der Liebesring" ; 
 '' Mathias Corvinus " (Festh, Royal 
 Opera, 1896) ; 3 masses ; a symphony, 
 etc. 
 
 Frugatta (froo-gat'-tji), Giu., b. Ber- 
 gamo, May 26, i860 ; pianist ; pupil 
 of Bazzini (comp.) and Andreoli (pf.) 
 at Milan Cons.; became prof, there; 
 also at the " Collegio reale delle Fan- 
 ciulle " ; composer. 
 
 Fruh (frii), Armin Lebrecht, Muhl- 
 hausen. Thuringia, Sept. 15, 1820— 
 Nordhausen. Jan. 8, 1894; dram, 
 composer ; inv. 1887, of the " Semeio- 
 melodicon " (vide p. p.), 
 
^12 
 
 THE MUSICAL GUIDE 
 
 Fruytiers (froi'-ters), Jan., Flemish 
 composer at Antwerp i6th century. 
 
 Fry, Wm. H,, Philadelphia, 1813 — 
 Santa Cruz, 1864 ; dram, composer ; 
 critic N. Y. T^-ibune. 
 
 Fuchs (fookhs), (i) G. Fr., Mayence, 
 1752 — Paris, 1821 ; clarinettist and 
 bandm. (2) Aloys, Raase, Austrian 
 Silesia, 1799 — Vienna, 1853 ; col- 
 lector and writer. (3) K. Dorius, 
 Jn., b. Potsdam, Oct. 22, 1838 ; pupil 
 of his father and v. Bulow, Weitz- 
 mannand Kiel ; Dr. phil., Greifswald; 
 1871-75, concert pianist, teacher and 
 critic, Berlin ; 1875-79, Hirschberg ; 
 1879, Danzig ; since '86, organist at 
 the Petrikirche, there . Pub. numerous 
 valuable musical treatises. (4) Jn. 
 Nepomuk, Frauenthal, Styria, May 
 5, 1842— Vienna, Oct. 5, 1899; from 
 1893, dir. of Vienna Cons. ; dir. and 
 dram, composer. (5) Robt., b. Frau- 
 enthal, Feb. 15, 1847 ; bro. of above ; 
 pupil, since 1875 prof., at Vienna 
 Cons. ; pub. a symphony, 3 valuable 
 serenades, etc.; prod. 2 operas : succ. 
 "Spieloper" "'Die 7\-ii/elsglocke" 
 (Leipzig, 1893) and the succ. com. 
 opera " Die Koiiigsbraut" (Vienna, 
 18S9). (6) Albert, b. Basel, Aug. 6, 
 1858 ; pupil of Leipzig Cons. ; 1880, 
 nius. dir. at Trier; 1889, owner and 
 manager Wiesbaden Cons. ; composer. 
 (7) Anton, b. Munich, Jan. 29, 1849 \ 
 barytone ; studied with Hey and 
 Milner ; sang at the court-opera ; 
 since 1882 at Bayreuth, first as singer 
 then as manager. 
 
 Fuchs (ffiks), Fd. K,, Vienna, i8ri— 
 1848 ; dram, composer. 
 
 Fuentes (foo-an'-tes), (i) Don Pas- 
 quale, b. Albayda, Valencia, d. there 
 1768 ; conductor and composer. (2) 
 Francisco De Santa Maria de, 
 Franciscan monk and writer at Ma- 
 drid, 1778. 
 
 Fuertes, M. S. Vide soriano. 
 
 Fuhrer(fu'-rer), Robt., Prague, 1807 — 
 Vienna, Nov., 1861 ; organ-com- 
 poser. 
 
 Fuhrmann (foor'-man), (i) G. Ld., 
 wrote work on the lute, Niirnberg, 
 
 1615. (2) Martin H., ca. 1670 — ca. 
 1736 ; theorist and writer. 
 
 Fulda, Adam von. Vide adam. 
 
 Fulsztynski (foolsh-ten'-shkt), Se- 
 bastian, Polish theorist, i6th c. 
 
 Fumagalli (foo-ma-gal'-le), name of 
 four bros. b. at Inzago, Italy : (i) 
 Disma, 1826— Milan, 1893 ; profes- 
 sor and composer. (2) Adolfo, 1828I 
 — Florence, May 3, 1856 ; pianist. 
 (3) Polibio, b. Oct. 26, 1830; pia- 
 nist and composer. (4) Luca, b. 
 May 29, 1837 ; pupil Milan Cons. ; 
 concert-pianist; prod, opera '' Luigi 
 XI " (Florence, 1875). 
 
 Fumagal'lo, Mario Leon, b. Milan, 
 Sept. 4, 1864; studied with Ceina ;| 
 barytone of wide travel. i 
 
 Fumi (foo'-me), Vinceslao, Monte-j 
 pulciano, Tuscany, 1823 — Florence, 
 1S80 ; conductor, violinist, dram, 
 composer and collector. 
 
 Fur'ker, one of the best vln. -makers, 
 London, 1780 — 1840. 
 
 Furlanetto (foor-la-net'-to). Bona- 
 Ventura (called Musin), Venice 
 173S — 1817 ; singing-teacher, con 
 ductor and composer. 
 
 Furno(foor'-n6), Giov., Capua, 1748— 
 Naples, 1837 ; professor and dram 
 composer. 
 
 Fursch-Madi (foorsh'-ma-de), Emmy 
 Bayonne, France, 1847 — Warrenville 
 N. J., Sept. 20, 1894 ; pupil of Pari 
 Cons., debut Paris; came to America 
 1874, with the New Orleans Frencl' 
 Opera Company ; 1879-81, Coven; 
 Garden, London ; her final appear 
 ance was as " Ortrud," N. Y., 1894 
 
 Fiirstenau (fiirsht'-e-now), (i) Kas 
 par, Mllnster, Westphalia, 1772 — 01 
 denburg, 1819 ; flute-virtuoso; com 
 poser. (2) Anton B.,Munster, 179 
 — Dresden, 1852 ; son and pupil c 
 above ; flutist and composer. (3 
 Moritz, Dresden, 1S24 — 1889 ; so 
 and pupil of (2) ; flutist and writer. ' 
 
 Fiirstner (fUrsht'-ner), Ad., b. Berlir 
 Jan. 2, 1835 ; founded (186S) a mus. 
 pub. house, Berlin. 
 
 Fux (foox), Jn. Jos., Hirtenfelc 
 Upper Styria, 1660 — Vienna, Fet 
 
 i 
 
proio 
 io,iSi 
 
 DICTIONARY OF MUSICIANS 513 
 
 14, 1741 ; eminent theorist, organist, 
 and court-conductor and writer ; c. 
 405 works (few pub.), incl. i8 operas, 
 10 oratorios, 50 masses, incl. /nissa 
 canonica. He wrote the famous 
 treatise on cpt. " Gradus ad Parnas- 
 stttn " in dialogue form ; it is based 
 on the church-modes. Biogr. by 
 Kochel (Vienna, 1872). 
 
 G. 
 
 Gabler (gap'-ler), Jn,, d. ca. 1784 ; or- 
 gan builder at Ulm. 
 
 Gabriel (i) (ga'-brl-el), Mary Ann 
 Virginia, Banstead, Surrey, Engl., 
 1825 — London, 1877 ; c. cantatas, 
 operas, etc. (2) (ga'-brl-gl). Max, 
 1890, cond. Residenz Th., Hanover; 
 prod, the succ. 3-act operettas, 
 " Steffen Langer " (Magdeburg, 
 1889); " De>' Freiwerber " (Hanover, 
 1890); " Der Garde- Uhlan" (Bres- 
 lau, 1892; Berlin, 1893, as '' Der 
 Gar-de-Hnsar "). 
 
 Gabrieli (ga-brl-a'-le), (i) Andrea, 
 Venice, ca. 15 10— 1586 ; eminent or- 
 ganist and teacher and composer of 
 the first " real" fugues (v. d.d.). (2) 
 Giov., Venice, 1558 — Aug. 12, 1613 
 (ace. to his monument) ; nephew and 
 pupil of above, and equally famous ; 
 an extraordinary contrapuntist, his 
 " symphonije sacrse " employing 3 
 simultaneous choirs independently 
 handled; he has been called "the 
 father of the chromatic style " be- 
 cause of his bold modulations. (3) 
 Dom. (called " Menghino del violon- 
 cello "), Bologna, ca. 1640 — ca. 1690; 
 'cellist, conductor, and composer. 
 
 Gabrielli (ga-brl-el'-le), (i) Catterina, 
 Rome, Nov. 12, 1730 — April, 1796; 
 daughter of Prince G.'s cook (and 
 hence called " La Cochetta," or 
 " Cochettina ") ; one of the most 
 beautiful and brilliant of singers ; her 
 extraordinarily flexible voice had a 
 "thrilling quality" (Burney) ; her 
 caprices and her high-handed treat- 
 ment of the nobility and royalty ena- 
 moured of her make her a most pict- 
 
 uresque figure ; she sang with great- 
 est succ. all over Europe and retired 
 wealthy. Her sister (2) Francesca 
 (called " La Gabriellina," or " La 
 Ferrarese "), Ferrara, 1755 — Ven- 
 ice, 1795, was a celebrated prima 
 donna buffa. (3) Conte Nicolo, 
 Naples, 18 14 — 1891 ; prod. 22 operas 
 and 60 ballets. 
 
 Gabriels'ki, (i) Jn. Wm.. Berlin, 1791 
 — 1846 ; flutist and composer. (2) 
 Julius, Berlin, 1806 — 1878 ; bro. and 
 pupil of above ; flutist. (3) Ad., 1st 
 flutist, Berlin Royal orch. , son of (2). 
 
 Gabrilowitsch (ga-bre-l6'-vltsh), Os- 
 sip, b. St. Petersburg, Jan. 26, 1878; 
 studied at the Cons, with Tolstoff 
 and Rubinstein ; at 16 took the Ru- 
 binstein prize ; studied with Les- 
 chetizky at Vienna, 1894-96 ; 1896 
 began touring with success ; 1900-02 
 America ; c. pf.-pieces. 
 
 Gabussi (ga-boos'-se), V., Bologna, 
 1800 — London, 1846 ; teacher and 
 composer. 
 
 Gade (ga-de), Niels Wm., Copen- 
 hagen, Feb. 22, 1817 — Dec. 21, 1890; 
 son of an instr.-maker ; at 15 refused 
 to learn his father's trade, and be- 
 came pupil of Wexschall (vln.) Berg- 
 green (theory); at 16 a concert-violin- 
 ist. His overture, '' iVachklauge 
 von Ossian," took first prize at the 
 Copenhagen Mus. Soc. competition 
 (1841) and won for him a royal stipend. 
 In 1842 the C min. symphony, and 
 1846 the cantata "Ct'Wrt/«," were prod, 
 by Mendelssohn at the Gewand- 
 haus. He travelled in Italy ; then, 
 1844, lived in Leipzig as sub-cond. to 
 Mendelssohn, and regular cond. at 
 his death (1847) ; 1848, he returned 
 to Copenhagen as cond. of the Mus. 
 Soc. and as organist ; 1861, court- 
 cond., made Prof, by the King, and 
 Dr. Phil. /i. c. by the Univ. ; 1886, 
 Commander in the Order of Dane- 
 brog ; 1876 the govt, voted him a 
 life-pension. Autobiog. '' Aufzeich- 
 nungen und Brief-' " (Basel, 1893). 
 Pub. 7 symphonies (D minor. No. 5 
 with pf.); 5 overtures, '' Nach- 
 
5H 
 
 THE MUSICAL GUIDE 
 
 kliinge von Ossian,"' " /;« Hoch- 
 lande" ^'Hamlet" '^Michelangelo" 
 octet, sextet, and quartet for strings ; 
 8 cantatas, " Elver s kind" S^x\-YJv!\'gs, 
 daughter), " Friihlingsbotschaft" 
 ''Die Heilige iVacht," " Zion," 
 " Kalanus" " Die Kreuzfahrer" 
 ''Psyche" etc.; 2 vin. -concertos ; pf. 
 sonata and pes., songs, etc. 
 
 Gadsby, H. Robt.,b. Hackney, Lon- 
 don, Dec. 15, 1842 ; pupil of Wm. 
 Bayley, but mainly self-taught ; or- 
 ganist at St. Peter's, Brockley ; 1884, 
 prof, of harm. Queen's Coll. London; 
 also at Guildhall Sch. of Mus. ; c. 
 " Festival Service " ; 3 symphonies ; 
 3 overtures, " Andromeda," " The 
 Golden Legend" and " The Witches^ 
 Frolic" etc. 
 
 Gad'sky, Johanna, b. Anclam, Prus- 
 sia, June 15, 1871 ; soprano, edu- 
 cated at Stettin ; 1892, m. H. Pausch- 
 er ; sang in U. S. A. for many years, 
 1899 Covent Garden and as " Eva " 
 {Meistersinger), at Bayreuth. 
 
 Gaforio (ga-f6'-rl-6) (orGafori, Gafu- 
 ri, Gaffurio), Franchino (Latinized 
 " Franchinus Gafurius," or " Fran- 
 chinus "), Lodi, Jan. 14, 145 1 — 
 Milan, June 24, 1522 ; priest, emi- 
 nent theorist, choirmaster and singer. 
 
 Gagliano (gal-ya-n5), (i) Marco di 
 Zanobi da, b. Florence ; d. there, 
 Feb. 24, 1642 ; conductor and com- 
 poser. (2) A family of Naples vln.- 
 makers, (a) Alessandro, pupil of 
 Stradivari, worked ca. 1695 — 1725. 
 His sons, (b) Nicol6 (170c -40), and 
 (c) Gennaro (1710-50), and his 
 grandson, (d) Ferdinand© (1736-81) 
 succeeded him ; later descendants est. 
 factory of strings, still famous. 
 
 Gahrich (ga -rlkh), Wenzel, Zercho- 
 witz, Bohemia, 1794 — Berlin, 1S64 ; 
 violinist, ballet-master, and dram, 
 composer. 
 
 Gail (ga-el), Edmee Sophia (nee 
 Garre), Paris, Aug. 28, 1775 — July 
 24, 1819; singer and dram, com- 
 poser. 
 
 Galeazzi (ga-la-ad'-ze), Fran., Turin, 
 175S — Rome, 1819; violinist. 
 
 Galerat ti, Catterina, Italian contral- 
 to, in London 1714-21. 
 
 Galilei (ga-ll-la'-e), V., Florence, ca. 
 1533 — ca. 1600 ; lulenist, Nnolinist 
 and theorist ; father of the astrono- 
 mer. 
 
 Galin (ga-lan), P., Samatan Gers, 
 France, 17S6 — Paris (?), 1821 ; wrote 
 pop. method " MelopListe " (v. D. D.), 
 
 Galitzin (ga-le'-tshen), (i) Nicolas 
 Borissovitch, d. Kurski, 1S66; a 
 Russian prince, to whom Beethoven 
 dedicated an overture, and 3 quartets; 
 he advanced Beethoven liberal sums 
 for his dedications ; a skilful 'cellist. I 
 (2) G. (Prince), St. Petersburg, 1823J 
 — 1872 ; son of above ; composer) 
 and cond. ; maintained in Mos-j 
 cow (1S42) a choir of 70 boys ; lateij 
 an orchestra. ' 
 
 Gallay (gal-le), (i) Jacques Fran.,i 
 Perpignan, 1795 — Paris, 1S64; horn-; 
 virtuoso and composer. (2) Julesi 
 Saint-Quentin, 1S22 — Paris, 1897 j 
 amateur 'cellist of wealth ; made rei 
 searches and pub. valuable treatises' 
 
 Gallenberg (gal-len-berkh), Wenze. 
 Robt., Graf von, Vienna, 1783— 
 Rome, 1S39 ; c. ballets. 
 
 Galle tius, Fran, (rightly Fran^oi 
 Gallet (gal-la)), b. Mons, Hainauh. 
 i6th cent.; contrapuntist. 
 
 Gal li, (i) Filippo, Rome, 1783 — Pari;; 
 June 3, 1S53 ; first most successft,' 
 as a tenor ; illness changed his voic(' 
 and he achieved great success as : 
 
 bass. (2) , d. 1S04 ; Italia 
 
 mezzo-soprano in London from I74;i 
 
 Gallia. Vide epine. ' 
 
 Galliard (gal'-li-art), Jn. Ernst, Cell! 
 Hanover, 16S7 — London, 1749; o'^'' 
 and organist. ; 
 
 Gal lico, Paolo, b. Trieste, May i; 
 1 863 ; at 15 gave a pf. -recital ■ 
 Trieste ; then studied Vienna Con; 
 with Julius Eppstein ; at 18 gradus' 
 ing with first prize and " Gese^ 
 schafts " medal ; toured Europ 
 since 1892 pianist and teacher, N< 
 Vork. 
 
 Gallic'ulus, Jns., contrapuntist 
 Leipzig, 1520-48. 
 
DICTIONARY OF MUSICIANS s^s 
 
 astrotu 
 
 Nicoii 
 
 ral 
 
 ,i 'cea 
 lirj, i: 
 com 
 
 Galli-Marie (gal-li mar-ya), Celes- 
 tine (nee Marie de I'lsle), b. 
 Paris, Nov., 1840 ; mezzo-soprano; 
 daughter of an opera-singer ; debut 
 Strassburg, 1859 ; sang Toulouse, 
 iS6o, Lisbon, 1S61, Rouen, 1862 ; 
 1S62-7S, and 1S83-85, Paris Opera 
 Comique ; she created " Mignon " 
 (1S66), " Carmen " (1S75), etc. 
 
 Gal'lus, (t) Jacobus (rightly Jacob 
 Handl, Handl or Hahnel) ; Carnio- 
 la, ca. 1550 — Prague, 1591 ; compos- 
 er and conductor. (2) Jns. (Jean le 
 Cocq, Maitre Jean, or Mestre 
 Jhan), d. before 1543 ; a Dutch con- 
 trapuntist, conductor and composer. 
 
 (3) Vide MEDERITSCH, JN. 
 
 Galuppi (ga-loop'-pi), Baldassare 
 (called II Buranel'lo), Island of Bu- 
 rano, near Venice, Oct. 18, 1706 — 
 Venice, Jan. 3, 1784 ; harpsichord 
 virtuoso ; organist 1765-6S ; conduc- 
 tor ; c. 54 comic operas. 
 
 Gambale (gam-ba'-le), Emm., music- 
 teacher, Milan ; pub. " La ri forma 
 JHitsicale" (1S40), etc., advocating a 
 scale of 12 semitones. 
 
 Gambini (gam-be'-ne), Carlo Andrea, 
 Genoa, 1819 — 1865 ; c. operas, etc. 
 
 Gam'ble, John, English violinist and 
 composer, 17th century. 
 
 Gamucci (ga-moot'-che), Baldassare, 
 Florence, 1S22 — 1S92 ; pianist and 
 writer. 
 
 Ganassi (ga-nas'-se), Silvestro, b. 
 Fontego, near \'enice, ca. 1500 
 (called " del Fontego ") ; editor and 
 writer on graces. 
 
 Gand (gah), Ch. Nicolas Eugene, 
 ca. 1S26 — Boulogne-sur-Seine, 1S92 ; 
 vln. -maker. V. lupot. 
 
 Sandillot (gah-de-yo), L6on, b. Paris, 
 Jan. 25, 1862 ; writer of comedies 
 and composer of Parisian vaudevilles. 
 
 jandini (gan-de'-ne), (i) A., Modena, 
 1786 — Formigine, 1842 ; conductor 
 and dram, composer. (2) Alessan- 
 dro, Modena, ca. 1807 — 1871 ; son, 
 pupil (1842) and successor of above ; 
 dram, composer and writer. 
 
 Sanne (gan), L. Gaston, b. Buxieres- 
 les-Mines, xVllier, April 5, 1862; pupil 
 
 of Dubois and Franck, Paris Cons. ; 
 c. comic opera " Rabelais " (1892), 
 vaudeville operetta, ballets, etc. 
 
 Gansbacher (gens'-bakh-er), Jn., 
 Sterzing, Tyrol, 1778 — Vienna, 1844; 
 conductor and composer. 
 
 Gan'tenberg (-berkh), H., b. Berlin, 
 Nov. 29, 1823 ; flutist ; studied with 
 Gabrielsky; from i860 chamber-mus. , 
 pensioned 1S93 ; from 1872 teacher 
 at the Hochschule. 
 
 Gantvoort (gant'-v6rt), Arnold J., 
 b. Amsterdam, Dec. 6, 1S57 ; 1876, 
 in America as teacher in various col- 
 leges ; 1894, Coll. of Mus., Cincin- 
 nati ; pub. school music-readers. 
 
 Ganz (gants), (i) Ad., Mayence, 1796 
 — London, 1870 ; violinist and cond. 
 his 2 brothers were, (2) Moritz 
 Mayence, 1806— Berlin, 1868 ; 'cel- 
 list ; (3) Ld., Mayence, iSio — Ber- 
 Hn, 1869 ; violinist and composer 
 Adolf's 2 sons were, (4) Eduard, 
 Mayence, 1827 — 1S69 ; pianist. (5' 
 Wilhelm, b. Mayence, Nov. 6, 1833 
 pianist, professor, conductor. 
 
 Garat (^a-ra), P. J., Ustaritz, Basses- 
 Pyrenees, April 25, 1764 — Paris 
 March i, 1823 ; most remarkable 
 French singer of his time, a barytone 
 of great compass and amazing mem 
 ory and mimicry ; professor and com 
 poser. 
 
 Garatade (gir-o-da), Alexis de, Nan- 
 cy, 1779 — Paris, 1852 ; professor 
 composer and writer. 
 
 Garbini (gar-be -ne), Edoardo, b 
 Parma ; stable-boy there, when dis- 
 covered ; now pop. tenor in opera. 
 
 Garbrecht (gar'-brekht), Fr. F. W, 
 (d. 1875), founded at Leipzig (1862; 
 a music engraving establishment 
 owned since 1880 by Os. Brandstetter 
 
 Garcia (gar-the'-a), a notable family of 
 Spanish vocal teachers. (i) Don 
 Fran. Saverio (Padre Garcia, called 
 "lo Spagnoletto "), Nalda, Spain, 
 1731 — Saragossa, 1809 ; conductor 
 and composer. (2) Manuel del Po- 
 polo Vicente, Sevilla, Jan. 22, 1775 
 — Paris, June 2, 1S32 ; eminent as 
 tenor, teacher, and progenitor of sing- 
 
5.6 
 
 THE MUSICAL GUIDE 
 
 ers ; successful as manager, cond. 
 and composer; took his family, his 
 wife, son (3), and daughter (5) and 
 others to America for a v. succ. opera 
 season, iS 25-26. Produced 43 ope- 
 ras and c. others. (3) Manuel, b. 
 Madrid, March 17, 1805 ; son of 
 above ; bass (in Paris) ; he was a scien- 
 tific investigator, and inv. the laryn- 
 goscope, receiving Dr. Phil. h. c. 
 Konigsberg Univ.; 1847, prof, at the 
 Cons., 1850, London, R.A.M. Jenny 
 Lind was one of his pupils; pub. 
 " Traits complct de Vart du chant," 
 1847. (4) Eugenie (nee Mayer), 
 Paris, 1818 — 1880; wife and pupil of 
 (3) ; soprano and teacher. (5) M. 
 Fdicit6, v. MALI13R.A.N. (6) PauHnc, 
 V. viARDOT GARCi.\. (7) Maflano, 
 b. Aoiz, Navarra, July 26, 1809 ; not 
 related to the others ; dir. of the 
 Pampeluna School of Music ; com- 
 poser of church-music. 
 
 Garcin (gar-sah), Jules Aug. Salo- 
 mon, Bourges, 1830 — Paris, 1896 ; 
 violinist, conductor and professor, 
 
 Gardano (gar-da'-no), (i) A. (till 1557 
 called himself Gardane), ca. 1500 — 
 Venice, 1571 (?) ; early Italian mus.- 
 printer, succeeded by sons, (2) Ales- 
 sandro and (3) Angelo. 
 
 Garden, Mary, b. Aberdeen, Feb. 
 20, 1S77; soprano; as a child 
 brought to America ; pupil of Mrs. 
 Duff ; (1896), Paris with Trabadello 
 and Fugere ; debut, 1900, Paris Op. 
 Com. ; has created various roles there, 
 including " Meiisande" in Debussy's 
 " PelUas et Mdlisande" 1902 ; sang 
 at Covent Garden, 1902. 
 
 Gardo'ni, Italo, b. Parma, 1821 ; re- 
 tired, 1S74 ; operatic singer. 
 
 Gargiulo (gar-joo'-l6), (i) Chevalier 
 Enrico, b. Bari, Italy, March 31, 
 1865 ; mandolinist ; son and pupil of 
 a dram, barytone (2) Eugenio. 
 
 Garibol'di, Giu., b. Maccerato, Italy, 
 March 17, 1833 ; flutist and compos- 
 er of operettas. 
 
 Garlan'dia, Johannes de, ca. 1210- 
 32 ; French theorist. 
 
 Gamier (g^rn-ya), Fran. Jos., Lauris, 
 
 Vaucluse, 1759 — ca. 1825 ; oboist and 
 composer. 
 
 Garrett, Geo. Mursell, Winchester, 
 England, 1834 — Cambridge, 1897 ; 
 pianist, conductor, composer and lect- 
 urer. 
 
 Gartner (gert'-n5r), Jos., Tachau, 
 Bohemia, 1796 — Prague, 1863 ; org.- 
 builder and writer, Prague. 
 
 Gas'par van Weerbeke (var'-bS-ke), 
 b. Oudenarde, Flanders, ca. 1440; 
 eminent contrapuntist and teacher. 
 
 Gaspari (gas-pa'-re), Gaetano, Bo- 
 logna, 1807 — 188 1 ; librarian, pro- 
 fessor and composer. 
 
 Gasparini (or Guasparini) (gas-pa-re'- 
 ne), (i) Fran., Camaiore, near Lucca, 
 1668 — Rome, 1737 ; director, con- 
 ductor and theorist. (2) Michelan- 
 gelo, Lucca, 1685 — Venice, 1732; 
 male contralto and dram, composer. 
 (3) Don Quirino, 'cellist at Turin ; 
 1749-70 ; conductor and composer. 
 
 Gasparo da Salo (gas-pa'-ro da sa'-16) 
 (family name Bertolot'ti), Salo, 
 Brescia, Italy, ca. 1542 — Brescia (?), 
 1609 ; famous maker of , viols. 
 
 Gassier (gSs-ya), L. Ed., France, 
 1822 — Havana, 1871 ; barytone. 
 
 Gassmann (gas'-man), Florian L., 
 Bru.x, Bohemia, 1723 — Vienna, 1774; 
 court-conductor and dram, composer. 
 
 Gass'ner, F. Simon, Vienna, 1798— 
 Carlsruhe, 185 1 ; violinist, teacher, 
 editor and composer. 
 
 Gast, Peter. Vide koselitz. 
 
 Gastaldon (gas-tal'-don), Stanislas, 
 b. Turin, April 7, 1861 ; at 17 pub, 
 nocturnes, ballabili, songs, etc. , somt 
 of them v. pop.; c» succ. i-act opera- 
 seria, '' II Pater" (Milan, 1894), etc 
 
 Gastinel (gis-tl-ngl), Leon G. Cyp- 
 rien, b. Villers, near Auxonne, Aug. 
 15, 1823 ; pupil of Halevy, Pari: 
 Cons. ; took first Or. prix de Rom( 
 with cantata ''Velasquez"; prod 
 comic operas; ballet "Z^ Rive' 
 (Gr. Opera, 1890), etc. 
 
 Gastoldi (gas-tol'-de), Giov. Giaco 
 mo, Caravaggio, ca. 1556 — Milan (?) 
 1622 ; conductor, contrapuntist ani 
 composer. 
 
DICTIONARY OF MUSICIANS 517 
 
 Tacian 
 
 •M-k] 
 1. 1* 
 acki, 
 no, Bo 
 
 L-pa* 
 
 Gatayes (gi-t^z'), (i) Guill. P. A., 
 
 Paris, 1774 — 1846; guitar-player and 
 composer. (2) Jos. L^on, Paris, 
 1S05 — 1877 ; son of above ; harpist, 
 critic and composer. (3) F61ix, b. 
 Paris, 1809 ; bro. of above ; pianist, 
 chiefiy self-taught ; for 20 years 
 toured Europe, America and Austra- 
 lia ; c. excellent symphonies and over- 
 tures ; military music, etc. 
 
 Gathy (ga-te), Aug., Liege, 1800 — 
 Paris, 1858 ; editor, teacher and com- 
 poser. 
 
 Gat'ty, Alfred Scott, b. Ecclesfield, 
 Yorks., April 25, 1847; 1880 Pour- 
 suivant of Arms, Heralds' Coll. Lon- 
 don ; c. 2 operettas, many pop. songs, 
 particularly in imitation of American 
 Plantation songs, pf. -pieces. 
 'Gaucquier (gok-ya), Alard (rightly 
 Dunoyer, Latinized Nuceus), called 
 du Gaucquier and Insulanus from 
 Lille-l'isle, court-bandm. to Ma.\i- 
 milian II. ; famous i6th cent, contra- 
 puntist. 
 
 Gauden'tios, a Greek writer, 1652. 
 
 Gaul (gol), Alfred Robt.,b. Norw^ich, 
 England, April 30, 1837 ; at 9 a 
 cath. chorister articled to Dr. Buck ; 
 1863, Mus. Bac. Cantab.; 1887, cond. 
 Walsall Philh.; later teacher and 
 cond. at the Birmingham and Mid- 
 land Inst., etc.; c. oratorio '' Heze- 
 kiah " (1861); cantatas, incl. " Ruth " 
 and " TAf Holy City,'' etc. 
 
 Gau(I)tier (got-ya), (i) Jacques (G. 
 d'Angleterre, or Vancieti), Lyons, ca. 
 1600 — Paris, ca. 1670 ; lutenist. (2) 
 Denis (le jeune, or Villustr^), Mar- 
 seilles, i6oo(-io ?) — d. Paris ; cousin 
 of above, and his partner in a lutenist 
 school ; famous lutenist and collector 
 of lute-music. (3) Pierre, b. Orleans , 
 0. suites for lute (1638). (4) Enne- 
 mond, Vienne, Dauphine, 1635 — be- 
 fore 1680 ; son of (i) ; lutenist. (5) 
 Pierre, Cioutat, Provence, 1642 — 
 drowned, Cette, 1697 ; dram, com- 
 poser. (6) Aloysius Ed. Ca- 
 mille, (Abbe) Italy, ca. 1755 — Paris, 
 18 18 ; wrote a method for teach- 
 
 Gaunflett, H. J,, Wellington, Shrop- 
 shire, 1805 — London, 1876 ; organ- 
 ist and composer. 
 
 Gauthier (got-ya), Gabriel, b. in 
 Soane-et-Loire, France, 1808 ; be- 
 came blind when 11 months old ; was 
 pupil and (1S27-40) teacher Paris 
 Inst, for the Blind, then organist of 
 St. Etienne-du-Mont, Paris ; pub. 
 treatises. 
 
 Gautier (got-ya), (i) v. gaultier. (2) 
 J. Fran. Eug., Vaugirard n. Paris, 
 1822 — Paris, 1878 ; conductor and 
 dram, composer. 
 
 Gaveaux (ga-v6). P., Beziers, He- 
 rault, Aug., 1761 — insane, Paris, 1S25 ; 
 tenor; c. operas, incl. '''' Lconore" 
 (1788), the same subject afterwards 
 used in Beethoven's ^'Fidelia." 
 
 Gavinifes (ga-ven-yes). P., Bordeaux, 
 1726 — Paris, 1800 ; violinist, pro- 
 fessor and dram, composer. 
 
 Gaztambide (gath-tam-be'-dhe), (i) 
 Joaquin, Tudela, Navarra, 1822 — 
 Madrid, 1870 ; composer, teacher 
 and conductor. (2) Xavier, a young 
 relative, also c. zarzuelas (see D. D.). 
 
 Gazzaniga (gad-zan-e'-ga), Giu., 
 Verona, 1743 — Crema, 1819; con- 
 ductor and dram, composer. 
 
 Gear (ger), Geo. Fr,, b. London, May 
 21, 1857; pianist; pupil of Dr. Wylde 
 and J. F. Barnett ; 1S72 scholarship 
 London Acad, of Mus., now prof, 
 there ; 1876-92 mus.-dir. German- 
 Reed Company ; composed scena for 
 sopr. solo and orch. , etc. 
 
 Gebauer (zhii-bo-a), (i) Michel Jos., 
 La Fere, Aisne, 1763 — 18 12, on the 
 retreat from Moscow ; oboist, violin- 
 ist and viol-player ; also extraordi- 
 nary virtuoso on the Jew's harp. He 
 had 3 brothers, (2) Francois Rene, 
 Versailles, 1773 — Paris, 1845 ; bas- 
 soonist, prof., writer, and composer. 
 (3) P. Paul, b. Versailles, 1775 ; died 
 young ; pub. 20 horn-duets. (4) Et. 
 Fran., Versailles, 1777 — Paris, 1823; 
 flutist and composer. (5) (ge-bow'- 
 er), Fz. X., Eckersdorf, near Glatz, 
 1784 — Vienna, 1822 ; 'cellist, con- 
 ductor, teacher and composer. 
 
5.8 
 
 THE MUSICAL GUIDE 
 
 Gebel (ga -bel), (i) Georg (Sr.), Bres- 
 lau, 16S5 — 1750; organist; inv. 
 clavichord with quarter tones and 
 clavicymbalum with pedal-keyboard ; 
 composer ; he had 2 sons, (2) Georg 
 (Jr.), Brieg, Silesia, 1709 — Rudol- 
 stadt, 1753 ; son of above ; conduc- 
 tor, organist and composer. (3) 
 Georg Sigismund, d. 1775; organ- 
 ist and composer. (4) Fz. X., Fiir- 
 stenau, near Breslau, 17S7 — Moscow, 
 1843 ; conductor, pf. -teacher, and 
 composer. 
 
 Gebhard (gep'-hart), Martin Anton, 
 
 b. Bavaria, 1770 ; Benedictine monk, 
 then, 1 83 1, a priest at Steinsdorf ; 
 theorist. 
 
 Gebhar'di, Ludwig Ernst, Nottleben, 
 Thuringia, 1787 — Erfurt, 1862 ; or- 
 ganist, composer and teacher. 
 
 Gedalge (zha-dalzh), Andr6, b. Paris, 
 Dec. 27, 1856 ; pupil of Guiraud at the 
 Cons.; took 2nd Grand prixde Rome, 
 1885 wrote lyric drama " ///AW / 
 
 c. pantomime " Le Petit Savoyard" 
 (Paris, 1891) ; a succ. r-act opera- 
 boufife ' Pris au Pikge" (Paris, 
 1895) ; 2 symphonies, etc. 
 
 Gehring (ga -ring), F., 1838 — Pen- 
 zing, near Vienna, 1884; writer. 
 
 Geijer (gl'-er), Erik Gustaf, Ran- 
 satter, Wermeland, 1783 — Upsala, 
 1847 ; coll. of Swedish folk-songs. 
 
 Geisler (gls'-ler), (i) Jn. G., d. Zittau, 
 1827 ; writer. (2) Paul, b. Stolp, 
 Pomerania, Aug. 10, 1S56 ; grandson 
 and pupil of a mus.-dir. at Mecklen- 
 burg ; studied also with K. Decker ; 
 1881-S2 chorusm. Leipzig City Th., 
 then with Neumann's Wagner Co. ; 
 1883-85 at Bremen (under Seidl) ; 
 then lived in Leipzig ; prod. 5 ope- 
 ras ; c. 12 symphonic poems, incl. 
 " Der Rattenfiinger von Hameln" 
 (1880), " Till Ettlenspiegei;' etc. 
 
 Geistinger (gis'-tlng-er), Maria 
 (" Marie ") Charlotte Cacilia, b. 
 Graz, Styria, July 26, 1S36 ; soprano, 
 etc. 
 
 Gelinek (ga-ll-nek), (i) Hn. Anton 
 (called Cervetti), Horzeniowecs, 
 Bohemia, 1709 — Milan, 1779 ; ^^" 
 
 priest, violinist and composer. (2) 
 Joseph, Abbe ; Selcz, Bohemia, 
 175S — Vienna, 1825 ; teacher and 
 composer. 
 
 Geller-Wolter (gel'-ler-vol-ter), Lu- 
 ise, b. Cassel, March 27, 1863 ; op- 
 era and concert alto ; studied with 
 Frau Zottmayer and Mme. Marchesi. 
 
 Geminiani (jem-e-nt-a'-ne), Fran., 
 Lucca, 16S0 — Dublin, Dec. 17, 1762; 
 brilliant and eccentric violinist of 
 great importance in English progress, 
 and the author of the first vln. method 
 pub. (1740). 
 
 Gemiinder (g^-miint'-er), Ingelfingen, 
 Wtirtemberg, March 22, 18 14 — New 
 York, Sept. 7, 1895 ; a maker whose 
 vlns. were of the very highest per- 
 fection ; his sons succeed him. 
 
 Genast (ge-nast), Ed,, Weimar, 1797 
 — Wiesbaden, 1866 ; barytone and 
 composer. 
 
 Gen6e (zhii-na), Franz Friedrich 
 Richard, Danzig, Feb. 7, 1823— 
 Baden, near Vienna, June 15, 1895 ; 
 pupil of Stalleknacht, Berlin; theatre- 
 conductor various cities ; a student, 
 then conductor and operatic composer; 
 1868-78 at Th. an der Wien, Vienna; 
 wrote libretti for many of his own 
 works and for Strauss and others ; 
 c. light operas with succ, incl. " Der 
 Geiger aus Tirol" "jVanon" etc. 
 
 Generali (ja-ne-ra'-le), Pietro (rightly 
 Mercandet'ti), Masserano, Pied- 
 mont, 1783 — Novara, 1832 ; conduc- 
 tor and dram, composer. 
 
 Genet (zhu-na), Eleazar (called il 
 Carpentras'so, or Carpentras (kar- 
 pafi-tras)), Carpentras Vaucluse, ca. 
 1745 — Avignon (?), ca. 1532 ; singer, 
 then cond., then bishop; his ad- 
 mired masses, etc., were the first 
 printed in round notes without liga- 
 ture. 
 
 Gengenbach (geng'-en-bakh), Niko- 
 laus, b. Kolditz, Saxony ; cantor at 
 Zeitz, and writer, 1626. 
 
 Genss (gens), Hermann, b. Tilsit, 
 Jan. 6, 1S56 ; pianist ; pupil of the 
 Royal Hochsch. fiir Mus., Berlin; 
 teacher in various cities ; 1893, co- 
 
DICTIONARY OF MUSICIANS 519 
 
 
 dir. Scharwenka-Klindworth Cons., 
 Berlin ; c. orch. works, etc. 
 
 Georges (zhorzh), Alex., b. Arras, 
 France, Feb. 25, 1850; pupil, now 
 prof, of harm., Niedermeyer Sch., 
 Paris; c. operas " Le Frintemps'''' 
 (1888) and '' Pohues d' Amour" 
 (1892) ; " Charlotte Corday" (1901) ; 
 2 oratorios, a mystery " Za Passion " 
 (1902) ; symph. poem, etc. 
 
 G6rard (zha-rar), H. P., Liege, 1763 — 
 Versailles, 1848 ; teacher and writer. 
 
 G6rardy (zha-rar-de), Jean, b. Liit- 
 tich, Dec. 6, 187S ; notable 'cellist; 
 studied with Bellmann ; a pupil of 
 Griitzmacher ; played as a child in 
 England ; at 13 in Dresden ; 1899, 
 etc., toured America ; lives at Spa. 
 
 Ger'ber, (i) H. Nikolaus, Wenigen- 
 Ehrich, near Sondershausen, 1702 — 
 Sondershausen, 1775 ; organist and 
 composer. (2) Ernst L., Sonders- 
 hausen, 1746 — i8ig ; son, pupil and 
 successor (1775) of above ; 'cellist, 
 organist, lexicographer and compos- 
 er. 
 
 Gerbert (ger'-bert), (von Hornau) 
 Martin, Hor-bon-Neckar, Aug. 12, 
 1720 — St. Blaise, May 13, 1793 ; col- 
 lector of the invaluable ' ' Scriptorcs 
 ecclesiastici de finisica sacra potis si- 
 mum" noteworthy treatises of the 
 Middle Ages, reproduced exactly (the 
 compilation was continued by Cousse- 
 maker). The work is briefly referred to 
 in this book as " Gerbert." He be- 
 came in 1736 cond. at St. Blaise ; 
 when he died, the peasants erecting a 
 statue to him ; pub. also other very 
 important works, and c. offertories, 
 etc. 
 
 Gericke (ga'-rT-ke), Wilhelm, b. Graz, 
 Styria, April 18, 1845 ; pupil of Des- 
 soff, Vienna, Cons., then cond. at 
 Linz ; 1874, 2d. cond. Vienna ct.- 
 opera (with Hans Richter) ; 1880, 
 cond. of the " Gesellschaftsconcerte " 
 (vice Brahms) ; also cond. the Sing- 
 erverein ; 1884-S9, cond. Boston 
 (Mass) Symphony Orch., resuming 
 the post 1S98 (vice Emil Paur) after 
 being dir. " Gesellschaftsconcerte " at 
 
 Vienna until 1895 ; pub. several cho- 
 ruses, pf.-pcs. and songs ; also c. 
 operetta " Schoti Hannchen" {lAnz, 
 1865) ; a Requiem ; a concert-over- 
 ture, etc. 
 
 Gerlach (ger'-lakh), (i) Dietrich, d. 
 Nurnberg, 1574 ; music - printer, 
 1566-1571. (2) Theodor, b. Dres- 
 den, June 25, 1861 ; pupil of Wull- 
 ner ; at 22 prod, a notable cantata, 
 ^'Luther's Lob der Musica" 1S84 ; 
 Italy, 1885 ; cond. Sondershausen 
 Th. , then of German Opera in Posen ; 
 his ''Epic Symphony" caused his ap- 
 pointment as ct.-cond. in Coburg, 
 1891; 1894, cond, at Cassel ; c. succ. 
 opera (book and music) " Matteo Fal- 
 cone'" (Hanover, '98, Berlin, 1902), 
 orch. pieces, etc. 
 
 Gerle (ger'-le), (i) Konrad, d. Niirn- 
 berg, 1521 ; lute-maker. (2) Hans, 
 d. Nurnberg, 1570 ; probably son of 
 above ; violinist and vln. -maker. 
 
 German, J. Edw., b. Whitchurch, 
 Shropshire, England, Feb. 17, 1862 ; 
 violin pupil of R. A. M. ; 1889, dir. 
 Globe Th., London ; 1901 completed 
 Arthur Sullivan's unfinished opera 
 " The Emerald Isle," prod, with 
 succ. London, 1901 ; c. operetta ; 2 
 symphonies ; various suites, including 
 the "Gipsy" suite, chamber-music, 
 songs, etc. His incidental music to 
 Shakespeare's plays is especially no- 
 table. 
 
 Germer (ger'-mer), H., b. Sommers- 
 dorf. Province of Saxony, Dec. 30, 
 1837 ; pupil Berlin Akademie ; teach- 
 er, pianist and writer. 
 
 Gem, August, organ-builder, London. 
 
 Gernsheim (gerns'-him), Fr., b. 
 Worms, July 17, 1839, of Hebrew 
 parents ; pupil of Rosenhain and 
 Hauff, Frankfort, and Leipzig Cons.; 
 1865, teacher of comp. and pf. Co- 
 logne Cons.; 1872, Prof.; 1874, dir. 
 of the Cons, at Rotterdam and cond. 
 "Winter Concerts"; since 1890 at 
 Stern Cons., Berlin ; c. 4 symphonies, 
 overtures, etc. 
 
 Gero (ga'-ro), Jhan (Johann) (called 
 Maister Jan or Jehan, or Joannes 
 
520 
 
 THE MUSICAL GUIDE 
 
 Gallus), conductor and composer at 
 Orvieto Cath., i6th cent. 
 
 Gersbach (gers'-bakh), (i) Joseph, 
 Sackingen, Baden, 1787 — Carlsruhe, 
 1830 ; teacher and composer. (2) 
 Anton, Sackingen, 1801 — Carlsruhe, 
 184S ; bro., pupil and successor of 
 above. 
 
 Gerson (ger-son), J. Charlier de, 
 Gerson, near Rethel, 1363 — Lyons, 
 1429 ; writer. 
 
 Gerster (ger'-shter), Etelka, b. Ka- 
 schau, Hungary, June 16, 1S57; one 
 of the most remarkable coloratura- 
 sopranos of her time ; 1874-75, a 
 pupil of Marchesi, Vienna Cons.; v. 
 succ. debut Venice, Jan. 8, 1876 ; m. 
 her impresario Dr. Carlo Gardini and 
 toured Europe and America ; lost 
 her voice suddenly and opened (1896) 
 a singing-school, in Berlin. 
 
 Gervasoni (jer-va-s6'-ne). Carlo, Mi- 
 lan, 1762-1819; writer and theor- 
 ist. 
 
 Gervinus (ger-ve'-noos), Georg Gf., 
 Darmstadt, 1805— Heidelberg, 1871 ; 
 professor and writer. 
 
 Geselschap (ge-zel'-shap), Marie, b. 
 Batavia, Java, 1874 (?) ; pianist ; pu- 
 pil of X. Scharwenka, Berlin ; played 
 in America, etc.; 1S95 in London. 
 
 Gesius (rightly Goss) (ga-st-oos ; 
 ggs), Bartholomaus, Miincheberg, 
 ca. 1555 — Frankfort-on-Oder, 1613; 
 cantor and composer. 
 
 Gesualdo (ja-zoo-al'-do), Don Carlo, 
 Prince of Venosa, d. 1614 ; one of 
 the most intellectual and progressive 
 mus. of his time ; wishing to revive 
 the chromatic and enharmonic genera 
 of the Greeks, he strayed out of the 
 old church-modes and, becoming one 
 of the " chromaticista," wrote almost 
 in modern style. 
 
 Gevaert (zhu-vart'), Frangois Au- 
 guste, b. Huysse, near Oudenarde, 
 July 31, 1828 ; pupil of Sommere (pf.) 
 and Mengal (comp.) at Ghent Cons., 
 taking Gr. prix de Rome for comp. ; 
 1843, organist at the Jesuit church ; he 
 prod. 2 operas ; lived in Paris (1849- 
 50) ; then went to Spain and c. 
 
 " Fantasia sobre motivos espanoles" 
 still pop. there, for which he was 
 given the order of Isabella la Catolica ; 
 he sent back reports on Spanish mu- 
 sic (pub. by the Academy, 185 1) ; he 
 returned to Ghent 1S52, prod. 9 ope- ' 
 ras, 2 of them, " Georgette" and "Z^ ' 
 billet de Marguerite" with much sue- , 
 cess ; in 1857 his festival cantata ' 
 " De Natiofiale Verjaerdag" brought 
 him the Order of Leopold ; 1867-70 . 
 chef de chant Gr. Opera, Paris ; 1871, ' 
 dir. Brussels Cons, (vice Fetis) ; pub. 
 colls, of Italian music, also the valu- 
 able fruits of much research in old: 
 plain-song. His " Tr ait eW instrumen- 
 tation" (1863) revised as '' Nouveau^ 
 traits" etc. (18S5), threatens to sup-, 
 plant Berlioz' great work ; he prod, 
 also 3 cantatas, '' Missa pro Defunc- 
 tis" and ''Super Flumina Baby., 
 lonis" for male chorus and orch.; 
 overture " Flandre au Lion" etc. 
 
 Geyer (gl'-er), Flodoard, Berlin, 181I: 
 — 1872 ; prof., critic, theorist and' 
 dram, composer. 
 
 Gheyn (gen), Matthias van den, Tirle-' 
 mont, Brabant, 1721 — Louvain, 1785; 
 one of a Flemish family of bell found- 
 ers; organist. Of his 17 children his 
 son Joss6 Thos. (b. 1752) was his 
 successor as organist. 
 
 Ghiselin(g) (ge-ze-hlng) (or Ghise-i 
 linus), Jean, Netherlandish ; contra' 
 puntist i5-i6th cent. 
 
 Ghislanzoni (ges-lan-ts6'-ne), A., Lee 
 CO, 1824 — Caprino-Bergamasco, 1893: 
 barytone and writer. 
 
 Ghizeghem. Vide heyne. 
 
 Ghizzolo (ged'-z6-l6), Gio., b. Bres 
 cia, 1560 (?) ; monk and composer. 
 
 Ghymers (ge'-mers), Jules Eugene 
 b. Liege, May 16, 1835 ; pupil o 
 Liege Cons.; pianist and critic. 
 
 Gys (ges), Joseph, Ghent, 1801— St 
 Petersburg, 1848 ; violinist, teache 
 and composer. 
 
 Giacche (jak'-kS). Vide berchem 
 Giacchet'to. Vide buus. 
 
 Giacomelli (jak-o-mel'-le), Geminiano 
 Parma, 1686 — Naples, 1743 ; dram 
 composer. 
 
DICTIONARY OF MUSICIANS 521 
 
 Gialdini (jal-de'-ne), Gialdino, b. Pes- 
 cia, Nov. 10, 1843 ; pupil of Mabel- 
 lini, Florence; his first opera, '' J^os- 
 munda" won prize offered by the Per- 
 gola Th., Florence, but was unsuc. ; 
 1868, prod. 2 "opere buffe " in 
 collaboration, then devoted himself to 
 cond. with great succ; prod, opera 
 "/ Due Soci" (Bologna, 1892) and 
 "Za Ptipilla" (Trieste, 1896) with 
 success. 
 
 Gianelli (ja-nel'-le), Pietro, (Abbate) 
 Friuli, Italy, ca. 1770 — Venice, 1822 
 (?) ; lexicographer. 
 
 Gianettini ^a-net-te'-ne) (or Zanet- 
 tini), A., Venice, i649^Modena, 
 1721 ; dram, composer. 
 
 Gianotti (ja-n6t'-te). P., Lucca — 
 Paris, 1765 ; double-bassist, composer 
 and writer. 
 
 Giardini (jar-de'-ne), Felice de, Tu- 
 rin, 1 7 16 — Moscow, 1796 ; violinist 
 and dram, composer. 
 
 Gibbons, (i) Rev. Edw., ca. 1570— 
 ca. 1650; organist. (2) Ellis G., d. ca. 
 1650 ; bro. of above ; organist Salis- 
 bury cath. (3) Orlando, Cambridge, 
 England, 1583 — Canterbury, June 5, 
 1625 ; bro. of above ; one of the 
 foremost of Engl, organists and com- 
 posers ; Mus. Doc. Oxon ; 1604, or- 
 ganist Chapel Royal ; 1623, organist 
 Westminster Abbey. (4) Chris- 
 topher, London, . 16 15 — 'Oct. 20, 
 1676 ; son of (3), organist and com- 
 poser. 
 
 Gibel (ge'-bel) (or Gibe'lius), Otto, 
 Island of Fehmarn (Baltic), 1612 — 
 Minden, 1682 ; composer. 
 
 Gibellini (je-bel-le'-ne), Eliseo, b. Osi- 
 mo, Ancona, ca. 1520; until 1581 
 composer and conductor. 
 
 Gibert (zhe-bar), Paul C^sar, Ver- 
 sallies, 1717— Paris, 1787; dram, 
 composer. 
 
 Gibert (he'-bert) (or Gisbert, Gispert), 
 Francisco Xavier, Granadella, 
 Spain — Madrid, 1848 ; priest, cond. 
 and composer. 
 
 Gibso'ne, Guillaume Ignace, b. Lon- 
 don, ca. 1826 ; pianist ; pupil of 
 Moscheles ; also dram, composer. 
 
 Gide (zhed), Casimir, Paris, 1804 — 
 
 1 868 ; composer. 
 Gigout (zhe-goo), Eugene, b. Nancy, 
 France, March 23, 1844 ; organ-virt- 
 uoso, critic, etc.; pupil in the mat- 
 trise of Nancy cath.; at 13 entered 
 Niedermeyer Sch., Paris, and was 
 later teacher there for over 20 years ; 
 studied also with Saint-Saens ; 1863^ 
 organist at the Ch. of St. Augustin ; 
 succ. concert organist throughout 
 Europe ; 1885, founded an organ- 
 sch. subsidized by the govt.; com- 
 mander of the order of Isabella la 
 Catolica ; 1885, officier of pub. in- 
 struction ; 1895, Chev. of the Legion 
 of Honour ; pub. over 300 Gregorian 
 and plain-song compositions. 
 
 Gil (hel), Francisco Assis, b. Cadiz, 
 1829 ; pupil of Fetis ; prof, of har- 
 mony, Madrid ; writer, theorist and 
 dram, composer. 
 
 Gil y Llagostera (hel e la-gos-ta'-ra), 
 Caytan, b. Barcelona, Jan. 6, 1807 ; 
 first flute at the theatre and cath.' 
 Barcelona ; c. symphonies, etc. 
 
 Gilchrist, W. Wallace, b. Jersey 
 City, N. J., Jan. 8, 1846; pupil of 
 H. A. Clarke at the U. of Penn.; 
 from 1S77 organist and choirm. Christ 
 Ch., Germantown ; from 1882 teach- 
 er Phila. Mus. Acad.; cond. of vari- 
 ous choral societies ; c. prize Psabn 
 xlvi. for soli, chorus, orch. and org. 
 (Cincinnati Festival, 1882), " Song of 
 Thanksgivino " for" chorus and orch.; 
 a cantata " T/ie Pose" (1887), etc. 
 
 Giles (jllz), Nathaniel, near Wor- 
 cester, Engl., ca. 1550 — Windsor, 
 Jan. 24, 1633 ; organist ; Mus. Doc. 
 Oxon ; writer and composer. 
 
 Gille (gel'-le), Karl, 1897 conductor 
 at Hamburg City Th.; previously con- 
 ductor at the Ct.-Th., Schwerin. 
 
 Gilles (rightly, G. Brebos) (zhel bru- 
 bo), called Maitre G., or " Mase- 
 giles," d. 1584 ; organ builder at 
 Louvain and Antwerp. 
 
 Gillet (zhe-ya), Ernest, b. Paris, 
 Sept. 13, 1856 ; pupil Niedermeyer 
 Cons.; solo 'cellist Gr. Opera ; then 
 lived in London ; c. " Loin du bal " 
 
522 
 
 THE MUSICAL GUIDE 
 
 and other pop. and graceful pf.- 
 pieces. 
 
 Gillmeister (gtl'-ml-shter), Carl, b. 
 Schonebeck, Dec. 25, 1856 ; bass ; 
 studied at the Hochschule, Uerlin ; 
 debut at Augsburg ; 1SS8 at Bay- 
 reuth, 1900 at Hanover. 
 
 Gilmore, Patrick Sarsfield, near 
 Dublin, Dec. 25, 1820 — St. Louis, 
 Mo., Sep. 24, 1892 ; an immensely 
 popular conductor, some of whose 
 influence went to the popularising of 
 good music ; on occasions he cond. 
 an orch. of 1,000 and a chorus of 
 10,000, also an orch. of 2,000 and a 
 chorus of 20,000, reinforced with can- 
 non fired by electricity, an organ, an- 
 vils, chimes, etc. (cf. Sarti) ; he c. 
 pop. military and dance music' 
 
 Gilson (zhel-soii), Paul, b. Brussels, 
 i86g ; self-taught ; his cantata " ^7- 
 nai " won the Grand prix de Rome, 
 1892; 1896 prod, opera " Ahar" 
 Brussels ; completed Ragghianti's 
 opera '"'' Jean-Marie" ; c. symph. 
 sketches " La Mer" etc. 
 
 Ginguen^ (zhari-gii-na), P. L., Rennes, 
 174S — Paris, 1816; writer. 
 
 Giordani (jor-da'-ne), name of a family, 
 father, 3 sisters and 2 brothers, all 
 singers in comic opera at Naples, till 
 1762 when they came to London (ex- 
 cept Giuseppe) ; one of the brothers 
 wrote the still pop. song " Caro inio 
 ben." (i) Tommasa (rightly Car- 
 mine), Naples, ca. 1740 — Dublin 
 after 18 16 ; dram, composer. (2) 
 Giuseppe (called Giordanello), 
 Naples, 1744 — Fermo, 1798 ; bro. of 
 above ; conductor ; c. 30 operas. 
 
 Giordano (j6r-da'-n6), Umberto, b. 
 Foggia, Aug. 27, 1867 ; studied 
 with Paolo Cerraos at the Naples 
 Cons. ; notable neo-Italian, living at 
 Milan; c. operas; very succ. ''An- 
 drea ChJnier " (La Scala, Milan, 
 1896 ; also in Berlin, 1898, and U. S.); 
 also ''Marino" unsucc, " Regina 
 Diaz " (Naples, 1894) ; and succ. 3- 
 act melodrama "Mala Vita " (Rome, 
 1892, prod, as " // Voto" Milan, 
 1897) ; " Fedora " and " Siberia." 
 
 Giorgi (j6r'-je). Vide banti. 
 
 Giornovichi. Vide jarnovic. 
 
 Giorza (j6r'-tsa), Paolo, b. Milan, 
 1838 ; son and pupil of an organist 
 and dram, singer ; studied cpt. with 
 La Croix ; lived New York some 
 years, later London ; prod, unsucc. 
 opera " Corrado " (Milan, 1869), and 
 many very succ. ballets at La Scala. 
 
 Giosa, Nicola de. Vide de giosa. 
 
 Giovanelli (ja-va-nel'de), Ruggiero, 
 Velletri, ca. 1560 — Rome, ca. 1620; 
 1599 successor of Palestrina as con- 
 ductor at St. Peter's, Rome ; an im- 
 portant composer. 
 
 Giraldoni (zhe-rai-do'-ne), Leone, 
 Paris, 1824 — Moscow, 1897 ; bary- 
 tone. 
 
 Girard (zhe-rar), Narcisse, Nantes, 
 France, 1797 — Paris, i860; conduc- 
 tor and violin professor. 
 
 Girardeau (zhe-rar-do), Isabella, 
 called la Isabella, Italian singer in 
 London, ca. 1700. 
 
 Girelli-Aguilar, , Italian singer 
 
 in Vienna and London, ca. 1771. 
 
 Gismonde (zhes-mohd). Celeste, d. 
 1735 ; mezzo-soprano. 
 
 Giuglini (jool-ye'-ne), Antonio, d. in- 
 sane, Pesaro, 1S65 ; Italian tenor. 
 
 Gizziello (g!d-zl-gl -16), Gioacchino. 
 Vide CONTI. I 
 
 Glad stone, Francis Edw., b. Sum-J 
 mertown, near-Oxford, May 2, 1845 ;■ 
 pupil of S. Wesley; one of chief Engl, 
 contemporary organists; organist vari- 
 ous churches, then became a Catholic; 
 and was until 1894 choir-dir. St. Mar); 
 of the Angels, Bayswater; 1879 Mus ' 
 Doc, Cantab; 188 1, prof, of cpti 
 Trinity Coll., London ; prof, o 
 harm, and cpt. R.C.M.; c. an over 
 ture, chamber-music, etc. 
 
 Glarea'nus, Henricus (rightly Hein- 
 rich Lo'ris, Latinised, Lori'tus)' 
 Glarus, 1488 — Freiburg, Badenj 
 March 28, 1563 ; poet and impor; 
 tant theorist. i 
 
 Glasenapp (gla'-ze-nap), Karl Fr.' 
 b. Riga, October 3, 1847 ; studie: 
 philosophy at Dorpat ; since 187 
 head-master at Riga ; wrote on Wag 
 
 ■ 
 
 I 
 
DICTIONARY OF MUSICIANS 523 
 
 Milai 
 
 I ife; 
 as TO 
 
 Leoot, 
 
 ; bail' 
 
 ner, a biography in 3 vols., a lexi- 
 con, and a Wagner Encyclopaedia, 
 etc. 
 
 Glaser (gla-zer), (i) K. G., Weissen- 
 fels, 1784 — Barmen, 1S29 ; mus. din 
 and later dealer, composer and 
 writer. (2) Fz., Obergeorgenthal, 
 Bohemia, 1798 — Copenhagen, r86i ; 
 conductor, violinist, and dram, com- 
 poser. 
 
 Glaz(o)unow (gla-tsoo-nof), Alex., 
 
 b. St. Petersburg, Aug. 10, 1865 ; 
 studied till 1883 at Polytechnic Inst., 
 then took up music ; studied witii 
 Rimsky - Korsakov ; 1881 his first 
 symphony was produced, repeated 
 under Liszt in 1884 at Weimar ; he 
 cond. his second symphony in Paris, 
 1889 ; his fourth symphony, London 
 Phil., 1896-97, with Rimsky-Korsa- 
 kov and Liadov, cond. Russian Sym- 
 phony Concerts at St. P.; c. 5 sym- 
 phonies, 2 overtures on Greek themes ; 
 overture " Carnava/"y Elegie '"A la 
 mifmoire d'un he'ros "y symphonic 
 poem " Stenka Rasine" ; symphonic 
 picture " The Forest" ; " Chopiui- 
 ana " orch. suite ; and other orchl. 
 pes., string-quartets, pf.-pcs., suite 
 on S. A. C. H. A. (his nickname) for 
 pf., etc. 
 
 Gleason (gle'-sun), Fr. Grant, b. 
 Middletown, Conn., Dec. 17, 184S ; 
 pupil of Dudley Buck and at Leip- 
 zig Cons. ; later at Berlin, of Loesch- 
 orn, Weitzmann and Haupt ; later 
 with Beringer (pf.) in London ; 1875 
 organist Hartford ; 1877, teacher 
 Hershey Sch. of Music, Chicago ; 
 critic for years of Chicago Tribune ; 
 
 c. (te.xt and music) grand operas 
 "Otko Visco7jti" and "Montezuma" ; 
 cantata " The Culprit Fay" with 
 orch.; "Praise-song to Harmony," 
 symphonic cantata ; " Auditorium 
 Festival Ode," symph. cantata with 
 orch.; op. 21, '' Edris" symphonic 
 poem (after the prologue to '' Ar- 
 dath " by Marie Corelli), etc. 
 
 Gleich (glikh), Ed., Erfurt, 1816— 
 Lani,rebriick, near Dresden, 1898 ; 
 critic and writer ; c. symphonies. 
 
 Gleichmann (ghkh'-man), Jn. G., 
 Steltzen, near Eisfeld, 1685 — Ilme- 
 nau, 1770 ; organist. 
 
 Gleissner (glls-ner), Fz., Neustadt- 
 on-the-Waldnab, 1760 — Munich, after 
 1815 ; printed songs of his own by 
 lithographic process, the first music 
 so printed. 
 
 Gleits (gilts), K., b. Hetzerode, near 
 Cassel, Sept. 13, 1862 ; studied Leip- 
 zig Cons, and Munich Music School, 
 and in Berlin ; c. symph. -poem ''Fa- 
 ta Morgana" (played by Nikisch at 
 the Berlin Philh. concerts, 1898) ; 
 " Ahasuerus" " Venus and Bellona" 
 etc., for orch. ; "■Hafbur and Signild" 
 for chorus ; " Inlichter" a pf. -fanta- 
 sy with orch.; vln. -sonata, etc. 
 
 Glinka (gUnk-a), Michail Ivan- 
 ovitch, Novospasko'i, near Smolensk, 
 Russia, June i (new style), 1804 — 
 Berlin, Feb. 15, 1857; piano-virtuoso 
 and composer, father of the new na- 
 tionalistic Russian Musical School ; 
 of noble birth ; pupil of Bohm 
 (vln.), Mayer (theory and pf.), John 
 Field (pf.). Of very weak health, he 
 studied vocal composition in Italy ; 
 1S34 with Dehn in Berlin ; prod, at 
 St. Petersburg, 1836, the first Russian 
 national opera ".4 Life for the Czar" 
 {Zarskaja Skisu ox Ivan 'Sussanina), 
 with succ. still lasting ; the next 
 opera "■Russian and Ludiiiilla " (St. 
 P., 1842) was also succ. (book by 
 Pushkin) ; 1844 in Paris he gave orch. 
 concerts strongly praised by Berlioz ; 
 1845-47, Madrid and Seville, where 
 he c. " Jota Aragonese" a " Capriccio 
 brillante" for orch., and " Souvenir 
 d'une nuit d'e'te a Madrid" for 
 orch.; 1851, Paris; 1854-55, near 
 St. Petersburg writing his autobiog- 
 raphy, planning a never-attempted 
 opera ; he visited Dehn at Berlin in 
 1S56, and died there suddenly ; Glin- 
 ka's other comp. inch 2 unfinished 
 symphonies; 2 polonaises for orch.; a 
 fantasia, "La Kamarinskaja" ; u 
 septet ; 2 string-quartets ; trio for 
 pf., clan and oboe ; dramatic scenf;S ; 
 vocal-quartets, songs and pf.-pcs, 
 
524 
 
 THE MUSICAL GUIDE 
 
 Gloggl (glSg'-gl), (I) Fz. X., Linz- 
 on-Danube, 1764 — after 1832 ; con- 
 ductor, mus. dir. ; writer. (2) Fz., 
 Linz, 1797 — Vienna, 1872 ; son of 
 above ; est. music business, 1843 ; 
 writer and mus. director. 
 
 Glover (gltiv'-er), (i) Sarah Ann, Nor- 
 wich, Engl., 1785 — Malvern, 1867; 
 inv. the Tonic Sol-fa system of nota- 
 tion and wrote about it. (2) Chas. 
 W., Feb., 1806 — London, 1S63 ; 
 violinist, etc. (3) Stephen, Lon- 
 don, 1812 — Dec. 7, 1870; teacher 
 and composer. (4) W. Howard, 
 London, i8ig — New York, 1S75 ; 
 violinist and critic ; sang in opera. 
 (5) William, b. London, 1822 ; or- 
 ganist, etc. 
 
 Gluck (glook), Christoph Wilibald 
 (Ritter von), Weidenwang, near Neu- 
 markt, Upper Palatinate, July 2, 
 1714 — Vienna, Nov. 25, 1787; son of 
 head-gamekeeper to Prince Lobko- 
 witz ; at twelve sent to the Jesuit 
 Coll. at Komotau (1726-32), where he 
 learnt the violin, clavecin, and or- 
 gan, and was chorister in the Ch. of 
 St. Ignaz ; at eighteen he went to 
 Prague, earning a living by playing 
 at rural dances, giving concerts and 
 singing and playing in various 
 churches ; under the tuition of Fa- 
 ther Czernohorsky he mastered sing- 
 ing and the 'cello, his favourite instr.; 
 1736 entered the service of Prince 
 Melzi, Vienna, who took him to Mi- 
 lan and had him study harm, and cpt. 
 with Sammartini. After four years' 
 study he prod. '' Artaserse" (La 
 Scala, 1741) with great succ. and was 
 commissioned to c. for other thea- 
 tres; prod. 8 operas 1742-45. On in- 
 vitation he went to London 1745 ^s 
 composer for the Haymarket, in op- 
 position to Handel. " Z« Cadtica 
 dei Giganti " was given on the defeat 
 of the Pretender, i~i\b,"' Artamene" 
 followed by " Piramo e Tisbe," a 
 pasticcio of his best arias had no succ. 
 and led Handel to say that the music 
 was detestable, and that Gluck knew 
 no more counterpoint than his cook. 
 
 The operas G. had written up to this 
 time were thoroughly Italian. The in- 
 fluence of Handel and Rameau's works 
 heard at Paris awakened him, and 
 led him to that gradual reform which 
 made him immortal, though it 
 brought on him the most ferocious 
 opposition. " La Semi)-amide Rico- 
 nosciuta " (Vienna, 1748) began the 
 change to more serious power. 1750- 
 62 he prod. '" Tekmaco" (Rome, 
 1750), "Za Clemenza di Tito" (Na- 
 ples, 175 1), and 4 others. 1754-64 
 he was dir. court-opera Vienna and 
 prod. 6 more works. He made great 
 succ. in spite of opposition with 
 " Orfeo ed Euridice" (1762), " ^A ; 
 ceste" (1767), '' Pa ride ed Elena" ^ 
 (1769), libretti by Calzabigi. 2 other' 
 inferior works were performed by; 
 membersof the royal family (1765). Inj 
 the dedicatory prefaces to " Alceste"^ 
 and '' Paride ed Elena" G. ex-< 
 pressed his protest against the ItalianI 
 school, and declared for dramatic con-j 
 sistency unhampered by rigid formu-J 
 Ik for arias, duets, etc., and inter-l 
 polated cadenzas. He had such' 
 harsh criticism at home and such en- 
 couragement from du RoUet of the 
 French Embassy at Vienna in 177J 
 that he went to Paris. But here also h< 
 met such opposition, that all hisdiplo 
 macy and all the power of his forme;- 
 pupil. Queen Marie Antoinette hard 
 ly availed to bring about the presenta 
 tion of '' Iphige'nie en Aiilide" (1774) 
 its great succ. was repeated in " Or 
 //^('/j" (Aug., 1 774), '\4lceste" {i77(>) 
 and Armide (1777). Piccinni wa 
 brought to Paris as a rival, and prod 
 " Roland" while Gluck was preparin: 
 the same subject. Gluck burned hi 
 score and published a letter whic 
 precipitated an unimaginably fierc 
 war of pamphlets. Both men no' 
 set to composing " fp/iigJnie en Tat. 
 ride " ; here Gluck forestalled his riv; 
 by two years (1779), and Piccinni 
 work on appearing was not a succ 
 while Gluck's succeeded enormousl; 
 His last opera, '' Echo et Narcisse. 
 
DICTIONARY OF MUSICIANS 525 
 
 ,,u|, ; wasnotsucc. (Sept. 21, 1779); 17S0, he an incomplete cantata, '' Das Jiingste 
 
 |,|ij,^ retired to Vienna and lived on his well- Gericht" finished by Salieri, and 7 
 
 <^^^ earned wealth, till apoplexy carried odes for solo voice and pf. Biog. by 
 
 im, 
 
 him off. He wrote a De profundis A. Schmidt (1854) ; Marx (1863) ; 
 
 for chorus and orch., 6 overtures and Desnoiresterres (1872). 
 
 etocii! 
 
 T 
 
 Gluck. 
 
 By Ernest Newman, 
 
 AKEN up in his twenty-second year by an amateur of Italian music, 
 and put under Sammartini at Milan, Gluck' s earliest models were 
 Italian. Though his iirst works showed slight, unconscious traces of 
 Northern origin, he probably thought, for twenty years, of little more than 
 producing opera after opera in the Italian style. The intellectual changes 
 that led to the reform of the opera with Orfeo were perhaps due in part to 
 the influence of Rameau and Handel. The French light opera, also, and 
 his own attempts in it, seem to have taught him something of direct, con- 
 temporary expression, as distinguished from the conventional operatic mouth- 
 ing of antique sentiments. Apart from these musical influences, he was 
 strongly swayed by the general esthetics of the eighteenth century, whose 
 ideal of art was the veracious imitation of Natiire. He had probably read 
 Algarotti's book on the Opera (1763), which advocates many of the reforms 
 he afterwards carried out. \ Three rich currents intercrossed in him when 
 he came to consciousness of himself. His Italian practice had given him ease 
 and grace of style ; his Northern nature and training made him at home in the 
 world of grave and dignified passion ; from the French opera he had learned 
 to seek in musical tones the natural correlatives to the verbal idea. To these 
 three musical qualities he added the power of penetrating reflection upon the 
 essence of his art. •[[ The opera, when he took it up, was the laughing-stock 
 of Europe. It left his hands a serious form of art, carefully thought out in 
 all its details, with a new method and unity of purpose. The overture was 
 made to throw light on the coming drama ; the libretto was kept on as high 
 a level as the taste and subjects of those days would permit ; the old distinc- 
 tion of aria and recitative was undermined, the aria becoming more dramadc 
 while not ceasing to be lyrical when required, and the recitative being raised 
 fi"om its previous conventional lines into a living, organic musical speech ; the 
 orchestra no longer merely accompanied the singer, but helped in the expres- 
 sion of the emotions of the actor ; the senseless vocal ornaments of the Italian 
 opera were discarded, and the singers taught to exist for the opera instead of 
 ■he opera existing for them ; in a word, brains and a purpose occupied the 
 leld hitherto filled only by vanity and imbecility. ^ Had Europe not under- 
 gone such startling changes at the end of the last century, Gluck's influence 
 
526 
 
 THE MUSICAL GUIDE 
 
 would have borne great fruit. But the new social and intellectual life brought 
 in a new world, for which a new music had to be found ; while elsewhere his 
 influence was lost sight of in the dazzling artificiality of the later Italian opera. 
 Still, all the serious dramatists — Beethoven, Wagner, Weber, Berhoz — had 
 their way made easier by the labour of Gluck. ^ Like Wagner and Bach, 
 he stands in a category of his own, seeming almost to be without ancestors 
 and without descendants. His place is among the masters of dramatic grip | 
 and veracious poetic expression. Even yet, indeed, some of his work is j 
 incomparable in these respects. 
 
 Gmeiner (g'mi'-ner), Lula, b. Kron- 
 stadt, Aug. i6, 1876 ; alto ; studied 
 vin. with Olga Grigorourcz ; then 
 studied voice with Gr. Walter and 
 Emilie Herzog ; lives in Berlin. 
 
 Gnecco (n'yek'-ko), Francesco 
 Genoa, 1769 — Milan, 1810 ; dram, 
 composer. 
 
 Gobbaerts (giib'-barts), Jean Louis, 
 Antwerp, 1S35 — Saint Gilles, near 
 Brussels, 1886 ; pianist and com- 
 poser. 
 
 Gobbi (gob'-be), (i) Henri, b. Pesth, 
 June 7, 1842 ; pupil of R. Volkmann, 
 and Liszt ; music-teacher and critic, 
 Pesth ; c. a festival cantata celebrat- 
 ing Liszt's public career, etc. (2) 
 Aloys, b. Pesth, Dec. 30, 1844; bro. 
 of above ; violinist and teacher. 
 
 Gobel (ga'-bel), K. H., Berlin, 1815— 
 Bromberg, 1S79; pianist, conductor, 
 and dram, composer. 
 
 Gockel (gok-el), Aug., Willibadessen, 
 Westphalia, 1831 — 1861 ; pianist and 
 composer. 
 
 Godard (go-dar), Benjamin (Louis 
 Paul), Paris, Aug. 18, 1849 — Cannes, 
 Jan. II, 1895 ; studied vln. with 
 Hammer and played in public at 9 ; 
 then studied with Reber (comp.) and 
 Vieuxtemps (vln.), Paris Cons.; 1865 
 pub. a vln. -sonata, later other cham- 
 ber - compositions ; rec'd the Pri.\ 
 Chartier from the Institut de France 
 for merit in the department of cham- 
 ber-music ; prod. 5 operas, inch '' Jo- 
 cclyn' (Brussels, 1888), and the very 
 succ. posthumous " Z^ Vivandiere" 
 (Paris Op. -Com., 1895), the last 2 
 
 acts orchestrated by Paul Vidal ; 2 
 operas not prod.; he c. also incid. 
 mus. and 6 symphonies; " Le Tasse" 
 (Tasso), dram, symphony with soli 
 and chorus took the city of Paris 
 prize in 1S78 ; concerto for vln. ; a 
 pf. -concerto, songs and pf.-pcs. 
 
 God dard (Davison), Arabella, b. St, 
 Servan, near Saint .Malo, Brittany, 
 Jan. 12, 1838 ; at 4 played in public, 
 at 6 studied with Kalkbrenner at 
 Paris, at 8 played to Queen Victoria 
 pub. 6 waltzes and studied with Mrs, 
 Anderson and Thalberg ; at IJ 
 played at the Grand National Con^ 
 certs ; 1850-53 pupil of J. W. Davi' 
 son, whom she m. (i860) ; tourec' 
 Germany and at 17 played at Leip 
 zig Gewandhaus 1855; 1873 -7*' 
 toured the world ; retired 1880 am 
 lived in Tunbridge Wells. 
 
 Godebrye. Vide j.^cotin. j 
 
 Godefroid (god-fwri), (i) Jules Jo; 
 seph, Namur, Belgium, 18 11 — Paris) 
 1S40; harpist and dram, composer 
 (2) Dieudonn6 Jos. Guil. Fells' 
 Namur, 1818 — Villers-sur-mer, 1897 
 bro. of above ; harpist and dran 
 composer. 
 
 God'frey, (i) Chas., Kingston, Surre;i 
 1790 — 1863 ; bassoonist and coi; 
 ductor. (2) Daniel, b. Westminstei 
 Engl, Sept. 4, 1831 ; son of above 
 pupil R.A.M., later Fellow and Pre' 
 of Military- Mus.; 1856 bandm. 
 the Grenadier Guards ; 1S72 ai 
 1898 toured the U. S. with his bam 
 composer. (3) Adolphus Free 
 b. 1837, son of (i) ; conductor. ( 
 
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 liSSo 
 
 DICTIONARY OF MUSICIANS 527 
 
 [839, son of (i) ; con- 
 
 , Wei- 
 1890 ; 
 Karl 
 
 1859; 
 cond. 
 
 Charles, b. 
 
 ductor. 
 
 Godowski (go-dof -shke), Leopold, 
 b. Wilna (Vilno), Russian Poland, 
 Feb. 13, 1870 ; pianist ; debut and 
 tours at 9; pupil of Wilna, and iS8i- 
 84 R. Hochschule, Berlin ; at 14 
 toured America ; 18S7-90 studied 
 with Saint-Saens ; 1890-91 toured 
 America again; 1894 dir. pf.-dept.. 
 Broad St. Cons., Phila.; 1S95-99 
 head of pf.-dept., Chicago Cons.; 
 then toured Europe ; since 1902 lives 
 in Berlin ; began first comp. at 7 ; 
 pub. Moto Perpetuo, Polonaise in C.; 
 elaborations of Chopin, etc. 
 
 Goepfart (gep'-fiirt), (i) Chr. H. 
 mar, 1835 — Baltimore, Md., 
 organist and composer. (2) 
 Eduard, b. Weimar, March 8, 
 son of above ; since 1891 
 Baden-Baden Mus. Union ; c. " Sa- 
 rastro," a. sequel to Mozart's " Magic 
 Flute" etc. (3) Otto Ernst, b. 
 Weimar, July 31, 1864; bro. of 
 above ; since 1888 Weimar town can- 
 tor and composer. 
 
 Goering (ga'-ring), Th., b. Frankfort- 
 on-Main, Oct. 2, 1844 ; critic, iSSo- 
 83 Paris, then Munich ; now music 
 correspondent Cologne ZeiUing. 
 
 Goes (go'-es), Damiao de, Alemquer, 
 Portugal, 1501 — Lisbon, 1573 ; am- 
 bassador, theorist and composer. 
 
 Goethe (ga'-te), Walther Wg. von, 
 Weimar, 181S — Leipzig, 1885; grand- 
 son of the poet ; c. 3 operettas, etc. 
 
 Goetschius (get'-shl-oos), Percy, b. 
 Paterson, N. J., Aug. 30, 1853; pupil 
 Stuttgart Cons.; 1876 teacher there ; 
 1885 Royal Prof.; critic for various 
 German music papers ; 1890-92 prof. 
 Syracuse (N. Y.) Univ. and Mus. 
 Doc. ; 1892-96, taught comp. and 
 lectured on mus. hist., etc., N. E. 
 Cons., Boston ; since i8g6 private 
 teacher Boston, and essayist ; since 
 1897 organist First Parish Ch. , Brook- 
 line ; pub. important and original 
 treatises ; c. 2 Concert-Fugues, etc. 
 
 Goetz (gets), Hn., Konigsberg, Prus- 
 sia, 1840— Hottingen, near Zurich, 
 
 1876 ; 1863, organist and conductor ; 
 c. operas, songs, etc. 
 
 Gogavi'nus, Ant. Hn., Dutch phy- 
 sician at Venice 1552 ; writer. 
 
 Goldbeck (golt'-bek), Robert, b. 
 Potsdam, April 19, 1S39 ; pupil of 
 Kohler and H. Litolff ; gave v. succ. 
 concerts in London and prod, oper- 
 etta ; 1857-67 in New York as teach- 
 er; 1868 founded a Cons, at Chicago; 
 dir. till 1873 ; cond. the Marmonic 
 Society, and co-dir. Beethoven Cons., 
 St. Louis ; New York, 1885 ; c. 2 
 operas; cantata, Burger's '' Leouo^-e" 
 etc. 
 
 Goldberg (golt'-berkh), (i) Jn. G. 
 (Theophilus), Konigsberg, ca. 1730 
 — Dresden (?), 1760 (?) ; organ and 
 clavichord player. (2) Jos. Pas- 
 quale, Vienna, 1825 — 1S90; vln. -pupil 
 of Mayseder and Seyfried, then oper- 
 atic bass and teacher. His 2 sisters, 
 (3) Fanny G.-Marini and (4) Cath- 
 erine G.-Strossi, are singers. 
 
 Golde(g6r-de). (i) Ad., Erfurt, 1830— 
 1880 ; son and (1872) successor of (2) 
 Joseph G., dir. SoUer Singing-So- 
 ciety, Erfurt. 
 
 Goldmark (golt'-mark), (i) Karl, b. 
 Keszthely, Hungary, May 18, 1830 
 (not 1832, as usually stated); violinist 
 and pianist, pupil of Jansa (vln.), 
 later of Bohm (theory) at the Vienna 
 Cons. , then mainly self-taught ; de- 
 but 1858, Vienna, with his own pf.- 
 concerto ; the popular overture '" Sa- 
 kttntala " (op. 13); and a Scherzo, 
 Andante, and Finale for Orch. (op. 
 19) won him success strengthened by 
 his opera ' ' Die Konigin von Saba " 
 (Vienna, 1875); c. also operas ''Mer- 
 lin " (Vienna, 1886) v. succ. ; " Das 
 Heivichen am Herd" based on Dick- 
 ens' " Cricket on the Hearth" (Vi- 
 enna, 1896) ; " Die Kriegsgefangene" 
 (Vienna Ct. - opera, 1899); "' Der 
 Fremdling" (not prod.) and "■ Gotz 
 von Berlic/iingeji ;" c. also 2 sympho- 
 nies, incl. '' Ldndliche Hochzeit" ; 
 overtures," hn Friihling" " Prome- 
 theus Bound" and " Sappho" etc. 
 (2) Rubin, b. New York City, 1872 ; 
 
528 
 
 THE MUSICAL GUIDE 
 
 composer ; nephew of above ; at 7 
 began to study with A. M. Livonius, 
 with whom he went to Vienna, 1889 ; 
 studied there also with Door and 
 Fuchs ; later in New York with Jo- 
 se ffy and Dvorak ; since 1892 lives 
 in Colorado Springs, Colorado ; 
 founder and dir. of a Coll. of Mus. 
 there. At 19 c. " Theme and Varia- 
 tions " for orch. (performed by Seidl, 
 1895) ; c. a pf.-trio, cantata with 
 orch. " Pilgrimage to Kevlaar" over- 
 ture " Hiawatha" (played by Boston 
 Symph. Orch.), vln. -sonata, etc. 
 
 Goldner (golt'-ner), Wm., b. Ham- 
 burg, June 30, 1839 ; pupil Leipzig 
 Cons. ; lives in Paris as a pianist and 
 composer. 
 
 Goldschmidt (golt-shmtc), (i) Sigis- 
 mund, Prague, 1815 — Vienna, 1877, 
 pianist and composer. (2) Otto, b. 
 Hamburg, Aug. 21, 1829 ; pianist ; 
 pupil of Jakob Schmitt and F. \V. 
 Grund, Mendelssohn, and Chopin ; 
 1849 London with Jenny Lind, whom 
 he accompanied on her American 
 tour and m. (Boston, 1852) ; 1852-55 
 Dresden; 1S58-87 London; 1863 
 vice-principal of the R.A.M., 1875 
 founded Bach Choir, also cond. mus, 
 festivals at Diisseldorf (1S63) and 
 Hamburg (1866); c. oratorio " Kuth " 
 (Hereford, 1867) ; pf.-concerto and 
 trio, etc. (3) Adalbert von, b. 
 Vienna, 1853; pupil Vienna Cons.; 
 amateur composer ; prod, with great 
 succ. cantata " Die Sieben Tod- 
 siinden" (Berlin, 1875), and succ. 
 opera " Hclianthiis" (Leipzig, 1884); 
 prod, trilogy '' Gaea" 1889. (4) 
 Hugo, b. Breslau, Sept. 19, 1859 ; 
 1884 Dr. jur. ; studied singing with 
 Stockhausen (1887-90) ; 1893 co-dir. 
 Scharwenka-KHndworth Cons., Ber- 
 lin ; writer. 
 
 Gold win, John, d. Nov., 1719 ; Engl, 
 organist and composer. 
 
 Golinel li, Stefano, b. Bologna, Oct. 
 26, 1818 ; pianist ; pupil of B. Do- 
 nelli and N. Vaccai ; pf.-prof. Liceo 
 Musicale till 1870 ; c. 5 pf. -sonatas, 
 etc. 
 
 Gollmick (gol'-mtk), (i) Fr. K., Ber- 
 lin, 1774 — Frankfort-on-Main, 1852; 
 tenor. (2) Karl, Dessau, 1796 — 
 Frankfort-on-Main, 1866 ; son of 
 above ; theorist and writer. (3) 
 Adolf, Frankfort-on-M., 1825 — Lon- 
 don, 1883 ; pianist ; son and pupil of 
 (2) ; studied also with Riefstahl, 
 1S44 ; c. comic operas, etc. 
 
 Goltermann (gol'-ter-man), (i) G. 
 Ed., Hanover, 1824 — Frankfort-on- 
 AL, 1898; 'cellist and composer. (2) 
 Jn. Aug. Julius, Hamburg, 1825— 
 Stuttgart, 1876 ; 'cellist. (3) Aug., 
 1826 — Schwerin, 1890 ; court pianist. 
 
 Gombert (gom'-bert), Nicolas, Bru- 
 ges, ca. 1495 — ^^ter 1570; a most im- 
 portant i6th cent, composer, one of 
 the first to take up secular music 
 seriously ; a lover of Nature and 
 writer of descriptive and pastoral 
 songs of much beauty ; his motet 
 " Paster Noster " was prod, at Paris 
 by Ft'tis with impressive effect. 
 
 Gomes (or Gomez) (go'-mas), Anto-i 
 nio Carlos, Campinas, Brazil, July 
 II, 1839 — Para, Sept. 16, 1896; pu-j 
 pil of Rossi, Milan Cons. ; Dir. ot, 
 Para Cons.; c. succ. operas " Salt 
 tor Rosa," '' Lo Schiavo" '' Marii 
 Tudor " etc. 
 
 Good'ban, (i) Thos., Canterbury 
 17S0 — 1863 ; writer and cond. Hi 
 3 sons were (2) Chas., (3) Henr 
 Wm., 'cellist, and (4) Thos., violin 
 ist. (5)Jas. F., nephew of (i), violin 
 ist and organist. 
 
 Good'groome, (i) John, b. ca. 1630 
 composer. (2) John, probably son c 
 above ; organist, 1735. (3) Thec, 
 dore, Pepys' teacher ; probably brc 
 of (I). 
 
 Good rich, (i) Alfred John, b. Chil< 
 Ohio, May 8, 1847; eminent theorist! 
 except for a year's instruction froi; 
 his father, wholly self-taught ; teachi 
 theory Grand Cons., N. Y., i87f' 
 voice, pf. and theory Fort Wayr 
 Cons. , Ind. ; dir. vocal-dept. Beethovf : 
 Cons., St. Louis; 2 years at Marti! 
 Washington Coll., Va.; lived in CY 
 cago, now in New York as teache; 
 
 ,J 
 
DICTIONARY OF MUSICIANS 529 
 
 m 1 
 
 r. { 
 j-Loi 
 pupil 
 
 '1)5 
 fort' 
 
 pub. theoretical essays and books of 
 radical and scholarly nature, the im- 
 portant products of research and in- 
 dividuality, incl. " Complete Musical 
 Analysis" (rSSg), '' Analytical Har- 
 mony" (1S94), " Theory of Inter- 
 pretation" (1S9S), '' Coutiterpoint." 
 (2) John Wallace, b. Boston, 
 1870 (?) ; notable organist ; studied 
 Boston, Munich and with Widor, 
 Paris ; teacher N. E. Cons., Boston ; 
 tours in concert ; igo2 chorusmaster 
 . Worcester Festival. 
 f*"?; Good'son, (i) Richard, d. 1718 ; or- 
 ^ ganist and professor at Oxford. (2) 
 "" Richard, d. 1741; son and successor 
 ™-"l of above ; organist. 
 
 Sood'win, Amina Beatrice, b. Man- 
 chester, Engl.; pupil of her father; 
 at 6 played in public, then studied 
 with Reinecke, Jadassohn, Delabord, 
 Liszt and Frau Schumann ; 1895 
 founded a pf.-coll. for Ladies, Lon- 
 don ; m. an American, W. Ligram- 
 Adams ; pub. a work on technic and 
 c. pf. -pieces. 
 
 oovaerts (go'-varts), Alphonse, J. 
 M. Andre, b. Antwerp, May 25, 
 1847 ; 1S66, assist, librarian, Ant- 
 werp ; founded an amateur cathedral 
 choir to cultivate Palestrina and the 
 Netherland cptists ; 1S87 royal ar- 
 chivist, Brussels; writer and composer. 
 Jopfert (gep'-fert), (i) K. And., Rim- 
 par, nearWurzburg, 1768 — Meining- 
 en, 1818 ; clarinetist and dram, com- 
 poser. (2) K. G., Weesenstein, near 
 Dresden, 1733 — Weimar, 1798 ; vln. 
 ^ virtuoso ; conductor and composer. 
 rordigiani (gor-ded-ja'-ne), (i) Giov. 
 Bat., Mantua, 1795 — Prague, 1871; 
 son of a musician ; dram, composer. 
 (2) Antonio, a singer. (3) Luigi, 
 Modena, 1806 — Plorence, i860 ; bro. 
 of (i); dram, composer. 
 ror'don, (i) John, Ludgate, 1702 — 
 1739; Prof. (2) W., Swiss flutist 
 of Engl, descent ; 1826 began im- 
 provements on the flute, which later 
 Bohm carried to success, though W. 
 G. went insane 1836 from discourage- 
 ment. 
 
 34 
 
 He: ;> 
 
 Goria (go-re'-a), Alex. Ed., Paris, 
 
 1S23 — r86o; teacher and composer. 
 Gorno (gor'-no). Albino, b. Cassalmo- 
 rano (Cremona), Italy; pupil Milan 
 Cons. , graduating with 3 gold medals ; 
 pianist and accompanist to Adelina 
 Patti on Amer. tour 1S81-1882 ; then 
 pf.-prof. Cincinnati Coll. of Music ; 
 c. opera, cantata " Garibaldi " etc. 
 Goroldt (ga'-rolt), Jn. H., Stempeda, 
 near Stolberg (Harz), 1773 — after 
 1S35 ; mus. dir., writer and com- 
 poser. 
 Gorria, Tobio. Vide boito, arrigo. 
 Gorter (gor'-ter), Albert, b. Niirnberg, 
 Nov. 23, 1862 ; studied medicine ; 
 then music at R. Mus. Sch., Mu- 
 nich ; took 3 prizes for composition ; 
 studied a year in Italy ; assist, cond. 
 Bayreuth Festivals ; cond. BresJau, 
 etc.; 1894-99 assist, cond. Carlsruhe 
 Ct.-Th., then cond. Leipzig City Th.; 
 c. (te.xt and mus.) opera " A^ar^/^" 
 and comic opera '" Der Schatz des 
 Rhainpsinnit" (Mannheim, 1894); 2 
 symphonic poems, etc. 
 Goss, (i) John Jeremiah, Salisbury, 
 1770— 1817; alto. (2) Sir John, 
 Fareham, Hants, England; 1800 — 
 London, 1880 ; organist ; knighted, 
 1872 ; composer and writer. 
 Gossec (gos'-sek) (rightly Goss6, Cos- 
 set or Gossez) (gos-sa), Francois 
 Joseph, Vergniers, Belgium, Jan. 
 17, 1734 — Passy, near Pans, Feb. 16, 
 1829; 1741-49 chorister Antwerp 
 cath.; for 2 years he then studied vln. 
 and comp. ; 175 1 Paris, cond. private 
 orch. of La Popeliniere ; then fer- 
 7nier-general ; 1754 he pub. his first 
 symphonies (5 years before Haydn's); 
 1759 his first string-quartets 'which 
 became pop.; 1769 his '' Messe des 
 Marts" made a sensation (the '' Tnba 
 minim" being written for 2 orch., 
 one for wind, instrs., concealed, a new 
 effect he repeated in his first oratorio); 
 1762 cond. of Prince Conti's orch. 
 at Chantilly ; from 1764 prod. 3-act 
 operas '' Le Faux Lord " etc., incl. 
 succ. '' Les Pecheurs" (Comedie It., 
 1766) ; 1770 founded Concerts des 
 
530 
 
 THE MUSICAL GUIDE 
 
 Amateurs; 1773 reorganised and 
 cond. the Concerts Spirituels till 
 1777 ; 1780-S2 assist, cond. Acade- 
 mic de Musique (later Gr. Opera) ; 
 17S-I. founded and dir. Ecole Royale 
 de Chant, the beginning of the Cons, 
 of which (1795) he was an inspector 
 and prof, of comp.; c. 26 symphonies, 
 3 symphonies for wind, " Symphonic 
 concei-taiite" iov II insts., overtures, 
 3 oratorios, etc.; masses with orch. ; 
 string-quartets, etc. 
 Gost ling, Rev. John, d. 1733 ; bass, 
 famous for his range ; Purcell wrote 
 for him a song ranging from D-e' (v. 
 
 PITCH, D. D.). 
 
 Gottschald (got'-shiilt), Ernst, b. El- 
 terlein, Sa.xony, Oct. 19, 1826 ; a ju- 
 rist and writer under pen-name 
 "von Elterlein." 
 
 Gottschalg (got-shalkh), Alex. W., 
 b. Mechelrode, near Weimar, Feb. 
 14, 1827; pupil Teachers' Seminary, 
 Weimar ; succeeding Gopfer there 
 later ; court organist, teacher, editor 
 and writer. 
 
 Gottschalk (gots'-cholk), (i) Louis 
 Moreau, New Orleans, La., May 8, 
 1829 — Rio de Janeiro, Dec. 18, 1S69; 
 brilliant and original pianist and com- 
 poser ; studied in Paris ; began c. at 
 10 ; c. operas, etc., and 90 pf.-pcs. of 
 distinct and tropical charm. (2) 
 Gaston, bro. of above, singer and 
 for vears teacher in Chicago. 
 
 Gotze (ga'-ze), (I) Jn. Nik. K., Wei- 
 mar, 1791 — 1S61 ; violinist and dram, 
 composer. (2) Fz., Neustadt-on- 
 Orla, 1814 — Leipzig, 18SS ; tenor, 
 teacher and composer. (3) Karl, 
 Weimar, 1S36 — Magdeburg, 1SS7 ; 
 pianist and dram, composer. (4) H., 
 b. Wartha, Silesia. April 7, 1836 ; 
 studied singing with (2) ; lost his 
 voice ; .teacher in Russia and Bres- 
 lau ; 1885 Ziegenhals, Silesia ; 1889 
 Royal Mus. Dir.; wrote 2 technical 
 books ; c' a mass with orch., etc. 
 (5) Auguste, b. Weimar, Feb. 24, 
 1840 ; daughter of (2) ; teacher Cons., 
 Dresden ; founded a school there ; 
 1891 taught at Leipzig Cons. ; wrote 
 
 under name "Auguste Weimar." 
 
 (6) Emil, b. Leipzig, July ig, 1856 ; 
 pupil of Scharfe, Dresden ; 187S-S1, 
 tenor Dresden Ct.-Th., then at Co- 
 logne Th., then toured as " star," 
 1900 lived in Berlin as court-singer, ij 
 
 (7) Otto, 1SS6, conductor at Essen-on- ? 
 Ruhr; prod. succ. opera " A'iscaUo" 
 (Sondershausen, 1S96). (8) Fz., 1892, 
 prod. Volksoper " Utopia'' (Stettin, 
 1892) and i-act opera " Die Rose von 
 Thiesso'v " (Glogau, 1895). (g) 
 Marie, b. Berlin, Nov. 2, 1865 ; 
 alto, studied Stern Cons, and with 
 Jenny Meyer and Levysohn ; sang 
 Berlin opera, then at Hamburg City 
 Th. ; 2 years in America; 1892 Berlin 
 ct. -opera. 
 
 Goudimel (goo-dK-mel), Claude, Vai- 
 son, near Avignon, ca. 1505 — killed in 
 St. Bartholomew massacre, Lyons, 
 Aug. 24, 1572 ; pupil perhaps of J 
 quin Despres ; est. a school and 
 formed Palestrina and other pupils, 
 winning name ; " Father of the Ro- 
 man School " ; a music printer for s 
 time; his important comp. incl. " TAi 
 Psalms of David" complete. 
 
 Gould, Nathaniel Duren, Chelms 
 ford, Mass., 17S1 — Boston, 1S64 
 conductor an 1 writer. 
 
 Gounod (goo-no), Charles Fratt 
 9ois, Paris, June 17, 1818 — Oct. 17 
 1893 ; son of a talented painter an* 
 engraver ; his mother taught him th 
 pf. and he entered the Lycee Sain 
 Louis ; 1836 studied at the Paril 
 Cons, with Reicha (harm.), Halev 
 (cpt. and fugue), Lesueur and Pae' 
 (comp.); took 2nd Prix de Ro 
 with cantata " Marie Stuart et Rii\ 
 zio" \n 1837; his cantata '' Fernar., 
 da " won the Grand Prix de Rome 
 1839, and he studied church music J 
 Rome ; 1841 his orch. mass was pe 
 formed ; in 1S42 he cond. his R 
 qiiiem at Vienna with great succ 
 returned to Paris as precentor and oj 
 ganist of the Missions Etrangei 
 studied theology 2 years, intended 
 take orders and was called I'AM 
 Gounod by a publisher in 1846; aft 
 
DICTIONARY OF MUSICIANS 531 
 
 5 years of seclusion, parts of his 
 iMesse Soknnelle were played with 
 profound succ. in London ; he prod. 
 a symphony, but his opera "Sapp/io" 
 failed (Gr. Opera, 1851) ; revised 
 1884, it failed again ; a gr. opera, 
 '' La Nointe Sa/ig/a/!fe " (18^4), and 
 a comic opera, " Le Medecin Alalgre 
 Lui" (played in London as "The 
 Mock Doctor") (185S), both failed; 
 1852-60 cond. the " Orpheon," Paris, 
 and c. choruses and 2 masses. The 
 opera ''Faust" (Th. Lyrique, 1859) 
 was and still is a great succ. " Fhilif- 
 mcn ct Baucis " (i860); " La Reine de 
 Saba" (in London as " Irene ") (1862); 
 " Mireille" (1S64), " Za Colombe" 
 (1866), were not great works, but 
 "Romeo et Juliette " (1867) still holds 
 the stage ; 1866 member of the Insti- 
 tut de France and commander of the 
 Legion of Honour. In 1870, during 
 the war he lived in London ; founded 
 Gounod's Choir. In 1871 he prod. 
 *' Gallia" a cantata based on " Lam- 
 entations " ; 1875 returned to Paris, 
 prod."C/«(7 Mars " (Opera Comique, 
 
 \i-n):'PolyeHctc " (Gr. Opera, 1878), 
 and " Le Tribiit de Zamora" (1881), 
 none succ. The sacred trilogy " /,<? 
 RAiemptioii" (Birmingham, 1882) 
 (music and French words), and "Mors 
 et Vita " (Birmingham, 1885) (Latin 
 text arranged by Gounod) are stand- 
 ard. He also c. " Messe Solennelle a 
 Ste. Cecile" ; ma.s,ses\ '' AiiQvli ctisto 
 des " (1882) ; ''Jeanne d' Arc " (1SS7) ; 
 a Stabat Mater with orch.; the orato- 
 rios " Tobie" " Les Sept I^aroles de 
 Jesus " " Je'sus sur le Lac de Tib^- 
 riade" ; the cantatas "A la Fron- 
 tiere" (1870, Gr. Opera), " Le Vin 
 des _ Gaulois" and " La Danse de 
 I'Epee," the French and English 
 songs, etc. He left 2 operas, " Mai- 
 tre Fierre" (incomplete) and 
 " Georges Dandin " (said to be the 
 first comic opera set to prose text, 
 cf. Bruneau). He wrote " Methode 
 de cor a pistons," essays, etc. Biog. 
 by Jules Claretie (Paris, 1875); Mme. 
 Weldon (London, 1875) ; Paul Voss 
 (Leipzig, 1895) ; " Mei/ioires " (Paris, 
 1895)- 
 
 Gounod. 
 
 By Vernon Blackburn. 
 
 OUNOD'S music belongs entirely to a world of its own. In a 
 
 word, he made that world, and then he set his music in it. You 
 
 would not say that it was first-rate by any means, and you would not 
 
 lave the heart to say that it was second-rate. But, just as the old writers con- 
 
 lived a condition after death in which man received neither reward nor pun- 
 
 Ihment, a sort of midway house where the dross of the flesh had not been 
 
 punged and where the fire of the spirit had not entirely departed, so Gounod 
 
 kind of mingled spirit in music. He is the idol of gold with the feet of 
 
 |ay. ^Yet he had one note, one separate characteristic in his music which 
 
 aes certainly divide him from every other musician in the world. None 
 
 sounded as he has sounded the peculiar note of eroticism which is absolutely 
 
 t'xual. Instance it by one example (the song of Marguerite at the end of 
 
 te second act of" Faust, ''^ when she throws open the window to give ex- 
 
 sion to her emotion) as a creation of sexualness which no other song in 
 
 ife world has probably possessed. I have heard it said that the performance 
 
532 
 
 THE MUSICAL GUIDE 
 
 of Gounod's masses in Paris used to be regarded by ladies of fashion and 
 quality as something in the light of an orgy. For this was Gounod's dom- 
 inant note, his dominant quahty. ^He was not a master of melody, but he 
 wrote quite beautiful melodies. He was not a master — and in each case I 
 am using the word ** master " in the superlative sense — of technique, but he 
 had a mystic-second-rate mystic, but, all the same, rriystic, quaUty in his 
 work. He was not really dramatic ; '^Philemon et Baucis,^'' "Faust,^^ and 
 Romeo, ^^ are there to prove so much ; but he was charming in just not the 
 great way. As a song-writer, though, he often achieved something like 
 greatness. The much-hackneyed " Ouand tu chantes," "Nazareth,^^ but, 
 above all, "Le Juif Erranty'' prove that in little flights of emotion, separate 
 swingings into the sky, as it were, Gounod could do as well as anybody. : 
 But he was not a great master ; he was a great contemporary, as I have said , 
 elsewhere, and his death was mourned by contemporaries. Whether future' 
 generations will rank him any higher than Emanuel Bach, time alone can; 
 prove. ^Gounod's personality can scarcely be said to have made any im-i 
 pression upon the world, and his influence died like a bright " exhalation of j 
 the evening." You can prove it to-day only in mediocre song- writers. 
 
 Gouvy (goo-ve), Louis Theodore, 
 
 Goffontaine, Rhenish Prussia, 1819 — 
 Leipzig, 1898 ; pianist and composer. 
 
 Gow, (i) Niel, Strathband, 1727 — 
 Invar, Scotland, 1807 ; violinist and 
 composer. (2) Nathaniel, 1766 — 
 183 1 ; son of above, also violinist and 
 composer. (3) Donald, brother of (i), 
 was a 'cellist. And (4) Niel, Jr., 
 1795 — 1823, son of (2), was violinist 
 and composer. (5) George Cole- 
 man, b. Ayer Junction, Mass., Nov. 
 27, i860 ; studied with Blodgett, 
 Pittsfield and Story (Worcester) ; 
 graduate Brown Univ., 1884, and 
 Newton Theol. Seminary, 1889 ; then 
 teacher of harm, and pf. Smith Col- 
 lege ; studied with Bussler in Berlin ; 
 1895 prof, of music Vassar Coll.; 
 composer and writer. 
 
 Graan (gran), Jean de, Amsterdam, 
 1852 — The Hague, 1874; violinist. 
 
 Graben-Hoffmann (gra-ben hof- 
 man), Gustav (rightly Gustav Hoff- 
 mann), Bnin, near Posen, March 7, 
 1820 — Potsdam, May 21, 1900 ; sing- 
 ing teacher, w^riter and composer. 
 
 Grabert (gra'-bert), Martin, b. Arm 
 walde. May 15, 1868 ; studied wit- 1 
 Bargiel and Bellerman, Berlin, R. I ' 
 for church-music, 1891 winning Me} 
 erbeer-stipend, 1S94 Mendelssoh i 
 prize; lived in Berlin as organist, cho 
 dir. and composer of choruses, etc. 
 
 Grabu(t) (gra-bii), Louis (or Lewis 
 French operatic composer at the Eni 1 
 lish court, 1666-90. 
 
 Gradener (gra'-de-ner), (i) K, G. F 
 Rostock, 1812 — Hamburg, 188; ; 
 dir., conductor, writer, and drai I 
 composer. (2) Hermann (Th. Ott<: i 
 b. Kiel, May 8, 1S44 ; son and pu 
 of above; later studied Vienna Con 
 1873 teacher harmony Horak's 1 
 Sch., later Vienna Cons.; from iS, ' 
 lecturer on harm, and cpt. Vien 
 Univ. ; cond. Singakademie ; c. ( 
 priccietta and Sinfonietta for or 1 
 (op. 14), etc. 
 
 Graew (grav). Vide bacf.\rt. 
 
 Graffigna (graf-fen'-ya), Achille, Ji i 
 Martino Dal I'Argine, Italy, i8ir 
 Padua, 1S96 ; conductor, teaciii 
 and dram, composer. ' Plfc 
 
DICTIONARY OF MUSICIANS 533 
 
 Gra'ham, Geo. F., Edinburgh, 1790 
 
 — 1867 ; composer and writer. 
 Crrammann (gram'-man), Karl, Lu- 
 beck, 1S44 — Dresden, 1S97 ; dram, 
 composer and writer. 
 3randi (gran'-de). Ales, de, Venice (?) 
 — Bergamo, 1630 ; singer and com- 
 poser. 
 jrandval (gran-val), Mme. Marie 
 Felicia Clemence de Reiset, 
 Vicomtesse de, b. Saint-Remy-des- 
 Monts (Sarthe), France, Jan. 20, 
 1S30 ; pupil of Flotow and Saint- 
 Saens (comp.) ; prod, the operas 
 " Piccolmi " (Op. -Com., 1S68), " Les 
 Fiances des Rosa" (Th.-Lyr., 1863), 
 "Atala" (Paris, 1888), '' Mazeppa" 
 (Bordeaux, 1892) and others ; won 
 the Prix Rossini with oratorio " La 
 Fille de Ja'ire." " drame sacre," 
 " Sainie-A^iies" in MS.; has prod, 
 symph. works and songs ; sometimes 
 wrote under pen-names *' Tesier, 
 Valgrand, Jasper, Banger," etc. 
 
 n inger, Chas. Alb., b. Cincin- 
 nati, Jan. 2, 1S61 ; pupil Coll. of 
 Mus. ; dir. several mus. societies; 
 prof, in the College for Music. 
 ranjon (grah-zhoh), Robert, music- 
 printer, Paris, Lyons and Rome, 15S2. 
 ranom, Louis C. A., English com- 
 poser, 1 75 1. 
 
 raphaus (gra'-fe-oos), Hieronymus, 
 d. May 7. 1556 ; music-printer Niirn- 
 berg from 1533. 
 
 rassini (gras-se'-ne), Josephina, 
 Varese, Lombardy, 1773 — Milan, 
 1850 ; Italian soprano of remarkable 
 talent and beauty. 
 
 ■as (dorii-gras), Mme. Julia Aimee 
 Dorus, Valenciennes, 1807 — retired, 
 1850; operatic singer Paris and Lon- 
 don. 
 
 <asse (gras), Edwin, b. New York 
 "ity, 1874 ( ?) ; blind violinist ; pupil 
 )f Carl Hauser, N. Y.; at 13, of 
 "esar Thomson, Brussels, then at 
 he Cons., taking ist prize ; 1901 
 ook "Prix de Capacite " ; debut 
 krlin, Feb. 22, 1902, with great 
 ucc. 
 (asset (gras-sa), J. Jacques, Paris, 
 
 ca. 1767 — 1839 ; violinist, conductor, 
 
 professor, etc. 
 Gratiani. Vide graziani. 
 Graumann (grow'-man), Mathilde. 
 
 Vide MARCHESI. 
 
 Graun (grown), (i) Aug. Fr., 1727- 
 71, tenor, cantor. (2) Jn. Gl., 1698 
 — Berlin, 1771 ; bro. of above; vio- 
 linist ; pupil of Pisendel and Tartini; 
 in service of Fredk. the Great and 
 cond, of Royal band ; c. 40 sympho- 
 nies, etc. (3) K. H., Wahrenbrlick, 
 Prussian Saxony, INIay 7, 1701 — Ber- 
 lin, Aug. 8, 1759 ; bro. of above ; or- 
 ganist, singer, court-conductor, and 
 composer. 
 
 Graupner (growp'-ner), Chp., Kirch- 
 berg, Saxony, 1683 — Darmstadt, 
 1760 ; dram, composer. 
 
 Graziani (gra-tse-a'-ne), (i) (Padre) 
 Tommaso, b. Bagnacavallo, Papal 
 States ; conductor and composer of 
 i6th cent. (2) (or Gratiani) Boni- 
 face, Marino, Papal States, ca. 1606 
 — Rome, 1664 ; cond. and composer. 
 (3) Ludovico, Fermo, Italy, 1S23 — 
 18S5 ; tenor. (4) Francesco, Fer- 
 mo, April 16, 1829 — Fermo, June 30, 
 1901, bro. of above ; barytone, sang 
 in Italy, Paris, New York. 
 
 Grazzini (grad-ze'-ne), Reginaldo, 
 b. Florence, Oct. 15, 1848 ; studied 
 R. Cons, with T. Mabellini ; op.- 
 cond. in Florence, later prof, of mus. 
 theor)' and artistic dir. Liceo Bene- 
 detto Marcello, Venice ; c. sympho- 
 nies ; a mass with orch., etc. 
 
 Great'orex, Thos., North Wingfield, 
 Derby, Engl., 1758 — Hampton, near 
 London, 1S31 ; organist, teacher, and 
 composer (1789-93) ; then conductor. 
 
 Greco (gra'-ko) (or Grecco), Gaetano, 
 b. Naples, ca. 16S0 (?) ; composer 
 and teacher. 
 
 Greef (graf), (i) Wm,, Kettwig-on- 
 Ruhr, 1809 — Mors, 1875 ; organist 
 and singing teacher. (2) Greef-An- 
 driessen. Vide stahmer, a. 
 
 Green, Samuel, London, 1730 — Isle- 
 worth, 1796; organ-builder. 
 
 Greene, (t) Maurice, London, 1696 
 (1695 ?) — 1755 ; teacher and compos- 
 
534 
 
 THE MUSICAL GUIDE 
 
 er. (2) (Harry) Plunket, b. Old 
 Connaught House, Co. Wicklow, 
 Ireland, June 24, 1865 ; basso ; stud- 
 ied with Hromada and Goetschius, 
 Stuttgart, 1883-86, and 6 months 
 with Vannuccini of Florence ; later 
 with J. B. Welch and Alf. Blume, 
 London; debut, Jan. 21, 18S8, in 
 '"Messiah" ; debut in opera at Cov- 
 ent Garden, 1.890; excels in recitals; 
 has sung frequently in America. 
 
 Greeting, Thos., teacher of flageo- 
 let, London, latter half 17th cent. ; 
 tau;4ht Pepys. 
 
 Grefinger (or'Grafinger) (gra'-flng-er), 
 Jn. W., Vienna, i6th cent, com- 
 poser. 
 
 Gregh (greg), Louis, Paris music-pub- 
 lisher; 1S94 prod, pantomime ; vaude- 
 ville operettas, etc. 
 
 Gregoir (grug-war), (i) Jacques Ma- 
 thieu Joseph, Antwerp, 1817 — Brus- 
 sels, 1876 ; teacher and dram, com- 
 poser. (2) 6d., Turnhout, near 
 Antwerp, Nov. 7, 1822 — Wyneghem, 
 June 28, 1890 ; bro. and pupil of 
 above ; pianist, dram, composer and 
 writer. 
 
 Gregoro'vitch, Charles, b. St. Pet- 
 ersburg, Oct. 25, 1867 ; violinist ; 
 pupil of Wieniawski, Dont and Joa- 
 chim ; 1896-97 toured Europe and 
 America. 
 
 Gregory I. ("The Great"), Rome, 
 54i:>-6o4 ; Pope from 590 ; reformer 
 and reviser of Roman Catholic ritual. 
 
 V. GRKGORIAX and MODES'(D.D.). 
 
 Grell, Ed. Aug., Berlin, 1800— Steg- 
 litz, near Berlin, 1886 ; organist, con- 
 ductor, prof, and" composer. 
 
 Grenie (grfin-ya), Gabriel Jos., Bor- 
 deaux, 1757 — Paris, 1837 ; inv. of 
 the orgue expre/sif (v. H.A.RMO.MU.M, 
 D. D.), which Erard improved. 
 
 Gresnich (gren-Tsh), Ant. Frederic, 
 Liege, 1755 — Paris, 1799 ; conductor 
 and dram, composer. 
 
 Gr6ta (gra-ta), Jeanne (nee Greta 
 Hughes), b. Lancaster, Mo.; colora- 
 tura soprano ; studied with Gott- 
 schalk, Chicago, Agramonte, New 
 York, Mme. La Grange, Critikos, 
 
 and Dubulle, Paris ; debut St. James' 
 Hall, London, 1897 ; toured Englan' 
 and Scotland with great success, whe: 
 at a concert before the Princess 
 Teck she caught a severe cold, nece: 
 sitating a long retirement ; now sing- 
 ing again in Xev,' York ; 1899, m. 
 Herbert Witherspoon. 
 Gretry (gra-trwe), (i) Andre Ernesti 
 Modeste, Liege, Feb. 9, 1741 
 Montmorency, near Paris, Sept. 24, 
 18 13 ; dram, composer ; son of a vid-l 
 linist. Chorister at 6, but dismi 
 for incapacity at 11, then pupil d<| 
 Leclerc and Renekin. R. failing tcj 
 keep him to the strict course of cpt 
 Moreau later tried with equal failure 
 
 1758 he prod. 6 symphonies at Liege 
 
 1759 '^ mass for which the Canon di.i] 
 Harlez sent him to study in Romeia 
 to which he walked ; he studied cptl" 
 and comp. with Casali and Martii ' 
 for 5 years, but was again dismisse 
 as impossible ; a dramatic intermezzi 
 
 " Z^ Vendeinmiatrice" was sue! ' 
 1765, but reading Monsigny's " Ro\ 
 et Colas" he decided that his restlej 
 dramatic longings were best adaptij 
 for French opera comique. He wasi 
 long time finding a fit librettist (V(' 
 taire declining his invitation). I 
 reached Paris slowly via Gene\ 
 where he taught singing a year a 
 prod, the succ. i-act "' Isahellc ' . 
 Gertrmle." In Paris after 2 yer ' 
 hardships his '' Les Afariagcs So- . 
 nitt's " was rehearsed, and though ;t j 
 prod., won him a patron in Co t j 
 Creutz, the Swedish Minister, \'j | 
 secured him as libretto Marmont s ,; 
 comedy " Le Huron." This s J 
 prod. (Op. -com., 1768) with a g»t 
 succ, enjoyed also in e.xtraordirfy 
 degree by an astounding seriesjf 
 works, mostly comic and mostly 13- 
 cessful, the best of which are "|«: 
 cile" " Le Tableau Parlant" (i^j), 
 "Z« Deux Avares" " Ze'mirjei 
 Azor" {1771), '\Le MagiiifitM^ 
 ' ' La Rosii're de Salem 
 
 (1773); ^^ 
 Le Jitgeinent de Midas" (inw^i 
 
 (1774) .''La Fausse Ma^ie " (l'i)i 
 
DICTIONARY OF MUSICIANS 535 
 
 he satirised tlie old French music 
 and its rendition at the Academic), 
 and '' LAniani Jaloux" (1778); 
 the grand opera '' Andromaque" 
 (1780) (in which the chief role is ac- 
 companied by, 3 flutes throughout) ; 
 "La Double Epreuve" (or " Coli)iet- 
 te a la cow ") (1782) ; ," Theodore et 
 Pauline" (or ''L Epreuve villa- 
 geoise") \ and ''Richard Civur de 
 Lion" {his best work, still played in 
 Paris); the gr. opera ''La Caravatie 
 du Ca'ire" (1785, performed 506 times; 
 (libretto bv the Comte de Provence, 
 later Louis XVIII.); " Za Rosiere 
 Reptiblicaine" (1793); "La Fete de 
 la Raison" (prod. 1794 during the 
 Revolution) ; " Lisbeth " ; " A nacre- 
 en chez Polycrate" (1797); c. 50 
 operas in all, remarkable for sponta- 
 neity, grace and fervour of melody, 
 dramatic effect and general charm, 
 but open to serious criticism as 
 works of formal art. He was called 
 "the Moliere of music." Mozart and 
 Beethoven wrote Variations on themes 
 of his. Once launched, his progress 
 was a triumph of honour of all kinds; 
 in 1802 Napoleon made him Chev- 
 alier of the Legion of Honour with 
 a pension of 4,000 francs. He bought 
 Rousseau's former residence at Mont- 
 morency and retired there ; wrote 
 Memoirs, etc. He had several chil- 
 dren, including the gifted Lucille (v. 
 infra), all of whom he outlived. He 
 left 6 unprod. operas and c. also 6 
 symphonies ; 6 pf. -sonatas, 6 string- 
 Vjj, I (quartets, church-mus., etc. IJiog. by 
 .■';,,■,{. his nephew, A. J. G. (18 15); Gregoir 
 flia-KiSSs); Brunet (1884), etc. (2) Lu- 
 ,,'jji cille, Paris, 1773-93; daughter of 
 '*;'^ J above, who instrumented her opera 
 ■"'.jjjjr'Z^ Mariage d' Antonio" written 
 ■'^^^..j,. and prod, at the Op. -Com., with 
 •"ate" f^^^- when she was only 13 ; the next 
 ^^'ji" year her opera " Toinette et Louis" 
 ''"/■'iiir r *^ not a success ; she married un- ' 
 „';^,;jmppily and died at 20. 
 
 ;^'.\,i;Veulich (groi'-iikh), (i) K. W., 
 
 ' ■ tKunzendorf , Silesia, 1796 — 1837 ; 
 
 :eacher and composer. (2) Ad., 
 
 ■iliotl!. t 
 • vj Genii 
 ■jveaif 
 
 Posen, 1819 — Moscow, 1868 ; teach- 
 er and composer. (3) Ad., Schmiede- 
 berg, Silesia, 1S36 — Breslau, 1890 ; 
 conductor, bass., organist and com- 
 poser. 
 Grieg (greg), Eduard Hagerup, 
 b. Bergen, June 15, 1S43 ; pupil of 
 his mother, a pianist ; at 15 entered 
 Leipzig Cons.; pupil of Hauptmann 
 and Richter (harm, and cpt.) ; Rietz 
 and Reinecke ^comp.) ; Wenzel and 
 Moscheles (pf.) ; then with Gade. 
 Copenhagen. With the young Nor- 
 wegian composer Rikard Nordraak, 
 he conspired, as he said, "Against 
 the effeminate Mendelssohnian-Gade 
 Scandinavianism, turning with enthu- 
 siasm into the new, well-defined path 
 along which the Northern School is 
 now travelling." 1867 Grieg founded 
 a Musical Union in Christiania and 
 was cond. till 1880 ; 1S65 visited 
 Italy, again in 1870, meeting Liszt in 
 Rome. 1879 he performed his pf.- 
 concerto at the Gewandhaus, Leipzig. 
 Since 1880 lives chiefly in Bergen ; 
 lately cond. the Christiania Phil.; 
 1888 played his concerto and cond. 
 his 2 melodies for string-orch. at Lon- 
 don Phil. 1894 Mus. Doc. Cantab. 
 C. concert-overture "In Autumn" ; 
 op. 20, " Vor der Klosterpforte" iox 
 solo, female voices and orch.; 
 " Landerkennung" for male chorus 
 with orch. ; " Der Einsame " for bary- 
 tone, string orch. and 2 horns ; op. 
 35, " Norwegische Tanze," for orch.; 
 op. 40, " Aus Holzberg's Zeit" suite 
 for string orch.; " Bergliot" melo- 
 drama with orch.; "Peer Gynt" 
 suites I and 2 for orch.; op. 50, 
 "Olav Trygvason" for solo, chorus, 
 and orch.; " Sigurd Jorsalfar" for 
 orch., etc.; op. 22, 2 songs for male 
 voices and orch.; various pes. for 
 string orch., string-quartet in G min.; 
 pf. -concerto ; pf. -sonatas, 3 vln. -so- 
 natas, a 'cello-sonata, also for pf.- 
 " Poetische Tonbilder," Romanzen 
 and Balladen ; several sets of " Ly- 
 rische Stiicke" " Symphonische 
 StUcke" (4 hands), "Norwegische 
 
536 THE MUSICAL GUIDE 
 
 Volkslieder und Tdnze" '' Bildcr incl. song-cycle to Garborg's " y%M^. 
 
 aiis dem Volkslebeti," Peer Gynt snxie. iussa." Biog. by Ernest Clossonj 
 
 No. I (4 hands), and many songs, (Fischbacher, Paris, 1S92). 
 
 Eduard Grieg. ; 
 
 By Henry T. Finck. 
 
 WHEN Hans von Biilow called Grieg the Norwegian Chopin h 
 doubtless had in mind the melodic fertility, the harmonic origi 
 nality and boldness, the eloquence of style, and the almost exclu 
 sive devotion to the shorter forms of composition, which these two mastei 
 have in common. There is another point of resemblance. For a long tim 
 musicians believed that the striking peculiarities of Chopin's music were du 
 to the influence on him of the Polish folk-music, whereas, in truth, they aii 
 only the product ofhis own genius. The same must be said of Grieg will 
 reference to the Norwegian folk-songs, which are generally supposed to haij 
 been the sources ofhis inspiration. It is only necessary to study these folk-son 
 of Norway to see how utterly erroneous this idea is. He caught their spirit-i; 
 half melancholy, half wild — but his melodies and harmonies are his own, ai 
 they are more beautiful than any folk-music. ^ As a youth he came und 
 the influence of Schubert, Schumann, Chopin, and Wagner, but in his son: 
 (beginning with the third Grieg Album in the Peters edition) he is all Gricj ) 
 and the same is true ofhis pianoforte and other instrumental pieces. Api 
 from a concerto for the pianoforte, three sonatas for piano and violin, one r 
 piano and 'cello, a few choruses, an overture and a few orchestral suij ; -^ 
 (among which the two Peer Gy7it are best known), he has written only so^ 
 (120 up to date), and a large number of short pianoforte pieces, HaU 
 dozen ofhis songs have been arranged with pianoforte accompaniments. [ 
 As a harmonist Grieg is even bolder than Wagner and Liszt ; he has spo^a \ 
 the last word in modulation. His best productions are still far too lie 
 known. His music has influenced nearly all the younger Scandinavian c<i- j 
 posers, and not a few others, who sometimes help themselves to his ideajn 
 the innocent belief that they are simply copying Norwegian folk-melocs. 
 A kindred spirit to Grieg is the most original of American composers, Edv.'d 
 MacDowell. 
 
 Griepenkerl (gre-penk-erl), (i) F. Windsor, 179S — London, iS75;od 
 
 K., Peine, Brunswick, 1782 — Bruns- of tlie 'cellist. (2) J. C. G., piiSt, 
 
 wick, 1849 ; Prof. (2) W. Rob., 'cellist, dir. and writer. 
 
 Holwyl, 1810 — Brunswick, 1S6S ; son Griesinger (gre'-zlng-er), G. Auj.d- 
 
 of above ; teacher and writer. Leipzig, 182S ; writer. 
 
 Griesbach (gres'-bakh), (i) John Hy., Griffin, (i) Thos., English oin-| 
 
 
DICTIONARY OF MUSICIANS 537 
 
 builder i8th cent. (2) George Eu- 
 gene, 1781 — London, 1863; Engl, 
 pianist and composer. 
 _ Grill, (i) F., d. Odenburg, Hungary, 
 ca. 1795 ; composer, etc. (2) Leo, 
 
 b. Pesth, Feb. 24, 1S46 ; pupil of F. 
 Lachner ; since 1S71 teacher of cho- 
 ral singing and theory Leipzig Cons. ; 
 
 c. overture "' Hilarodia" 1S92. 
 Grillet (gre-ya), Laurent, b. Sancoins. 
 
 Cher, France, May 22, 1851 ; pupil of 
 A. Martin ('cello), E. Mangin (harm.), 
 and Ratez (cpt. and fugue); cond. 
 various theatres ; 1S86 Nouveau- 
 Cirque, Paris ; writer ; c. comic opera 
 " Graciosa " (Paris 1892), ballets, etc. 
 , jarimm, (i) Fr. Melchior, Baron von, 
 |°'j Ratisbon, 1723— Gotha, 1S07 ; one 
 ".?!'• I of the advocates and controversial- 
 ists for the Ital. o/>£?'a biiffa. (2) 
 Karl, Hildburghausen, 1819 — Frei- 
 burg, Silesia, iSSS ; 'cellist and com- 
 poser. (3) K. Konst., lived in Ber- 
 lin, 1820 — 18S2 ; harpist. (4) Ju- 
 lius Otto, b. Pernau, Livonia, March 
 6, 1827 ; pianist ; pupil of Leipzig 
 Cons. ; founded vocal society at 
 Gottingen, then R. Mus. Dir. Mun- 
 ster Academy and cond.; c. a sym- 
 phony, 2 suites in canon-form, etc. 
 jrim'mer, Chr. Fr., Mulda, Sa.xony, 
 
 iSoo — 1S50 ; composer. 
 Jrisar (gre-zar), Albert, Antwerp, 
 Dec. 26, 1808 — Asnieres, near Paris, 
 June 15, 1869; proHlic dram, com- 
 poser ; biog. by Pougin, Paris. 
 irisart (gre-zar), Chas. J. Bapt,, 
 prod, light operas in minor theatres, 
 the last "Z<? /•<?/// j9(7/.f" (1893) and 
 " Voila le Roi" (1894). 
 rrisi (gre'-ze), (i) Giuditta, Milan, 
 July 28, 1805 — near Cremona, May i, 
 1840 ; famous mezzo-soprano ; pupil 
 of Milan Cons. ; m. Count Barni, 
 1S34. (2) Giulia, Milan, July 28, 
 ^^' iSii — Berlin, Nov. 29, i86g ; sister 
 and pupil of above ; famous dra- 
 matic soprano ; pupil of Giacomelli, 
 Pasta and Marliani ; m. Count Mel- 
 cy, later m. ]Mario. 
 
 •ritzinger (grits'-lng-er), L6on, b. 
 Bojan, Austria, Sept. 20, 1856 ; 
 
 tenor ; studied in Vienna and sang 
 10 years at the opera house there ; 
 then in various cities, 1900 Bruns- 
 wick court-theatre. 
 
 Groninger (gro'-nlng-er), S. van, b. 
 Deventer, Holland, June 23, 185 1 ; 
 pupil of Raif and Kiel, Berlin ; pian- 
 ist ; teacher in ZwoUe, The Hague ; 
 now at Leyden ; composer. 
 
 Grosheim (gros'-him), G. Chr., Cassel, 
 1764 — 1847 ; dram, composer. 
 
 Grosjean (gro-zhan), (i) J. Romary, 
 Rochesson, Vosges, France, 18 15 — 
 St. Die, 1888 ; org. composer and 
 writer. (2) Ernest, b. Vagney, Dec. 
 18, 1S44 ; nephew of above ; organist 
 at Verdun. 
 
 Gross (gros), Jn. Benj., Elbing, West 
 Prussia, 1809 — St. Petersburg, 1848 ; 
 'cellist and composer. 
 
 Gros'si (gros'-se), (i) G. F. Vide si- 
 face. (2) Carlotta (rightly Char- 
 lotte Grossmuck), b. Vienna, Dec. 
 23, 1849 ; coloratura singer ; studied 
 in the Cons, there ; 1869-78 at the 
 Berlin Opera. 
 
 Grossman, Louis, b. Kalisz, Po- 
 land, 1835; c. overtures ''Lear" 
 and " Marie " and succ. operas 
 " Fisherman of Palermo " (Warsaw, 
 1866) and " Woyewoda's Ghat" 
 (1872). 
 
 Grove, Sir George, Clapham, Surrey, 
 Aug. 13, 1820 — London, May 28, 
 1900 ; civil engineer ; Sec. to the So- 
 ciety of Arts ; 1852, Sec, and 1873 a 
 member of the Board of Directors, 
 Crystal Palace ; edited Alacmillans 
 Magazine ; later dir. of the Royal 
 Coll. of Mus.; 1883, knighted; 1875 
 D.C.L. Univ. of Durham; 1885 
 LL.D., Glasgow; wrote important 
 book ' ' Beethoven and His A^ine 
 Symphonies" (1896), etc., and was 
 the editor-in-chief 1879-89 of the mu- 
 sical dictionary known by his name. 
 
 Grua (groo'-a), (i) C. L. P., court- 
 conductor at Mannheim and com- 
 poser, 1700 — 1755. (2) Paul, Mann- 
 heim. 1754 — Munich, 1833 ; son ot 
 above ; conductor and dram, com 
 poser. 
 
538 
 
 THE MUSICAL GUIDE 
 
 Gruber (groo'-ber), Jn. Sigismund, 
 
 Niirnberg, 1759 — 1805 ; lawyer and 
 writer. 
 
 Gruenberg (griln'-berkh), Eugene, b. 
 Lemberg, Galicia, Oct. 30, 1854 ; 
 violinist ; pupil at Vienna Cons. ; for 
 10 years member Leipzig Gewand- 
 haus Orch.; then (till 1898) Boston 
 Symph. Orch. ; for 3 years vln.-teacli- 
 er at the Boston Cons.; later at the 
 N. Engl. Cons.; pub. " Theory of Vio- 
 lin Playing " ; studies, essays, etc. ; c. 
 a symphony (performed at the Ge- 
 wandhaus), etc. 
 
 Griin (griin), Friederike, b. Mannheim, 
 June 14, 1836; soprano, at first in 
 the opera-chorus, then sang solo parts 
 at Frankfort, later (1863) at Cassel 
 and 1S66-69 Berlin ; 1869 m. Russian 
 Baron von Sadler ; studied with Lam- 
 perti at Milan and continued to sing 
 with success. 
 
 Grunberg(grun'-bgrkh), (i) Paul Emil 
 Max, b. Berlin, Dec. 5, 1852 ; vio- 
 linist ; leader at Sondershausen, later 
 at Prague ; now teacher in Berlin. 
 
 (2) Vide GRUENBERG. 
 
 Grunberger (griin'-berkh-er), Lud- 
 wig, Prague, 1839 — 1896 ; pianist 
 and composer. 
 
 Grund (groont), Fr. Win., Hamburg, 
 1791 — 1874; conductor and dram, 
 composer. 
 
 Grunfeld (grlin'-felt), (i) Alfred, b. 
 Prague, July 4, 1852 ; pianist and 
 composer ; pupil of Hoger and Krej- 
 ci, later at Kullak's Academy, Berlin ; 
 1873, chamber-virtuoso, Vienna ; 
 toured Europe and the U. S. (2) 
 Heinrich, b. Prague, April 21, 1855 ; 
 bro. of above ; 'cellist ; pupil of 
 Prague Cons.; 1876, teacher in Kul- 
 lak's Academy ; 1886 'cellist to the 
 Emperor. 
 
 Gruning (grU'-nTngk), Wilhelm, b. 
 Berlin, Nov. 2, 1858 ; tenor, studied 
 Stern Cons.; sang in various thea- 
 tres ; toured America ; then 1889-97 
 at Bayreuth as Parsifal, Siegfried, 
 etc.; 1900 Berlin court-opera. 
 
 Grus (grus), Leon, 1835— Paris, July, 
 1902. Publisher ; also c. under name 
 " Elsen." 
 
 rti 
 ClA- 
 
 eim 
 
 Grutzmacher (griits'-makh-er), (i) 
 Fr. Wm. L., b. Dessau, March i. 
 1832 ; eminent 'cellist ; son and pu- 
 pil of a chamber-musician at Dessau 
 later studied with Drechsler ('cello 
 and Schneider (theory) ; at 16 joinec 
 a small Leipzig orch.; was " discovJ 
 ered " by David, and at 17 made isj 
 'cello, Gewandhaus orch. and teach^ 
 er at the Cons.; i86g Dresden, late! 
 Cologne ; 1902 Philadelphia ; c. con 
 certo for 'cello, orch.- and chambei 
 music, pf.-pcs., songs, etc. (2) Ld 
 b. Dessau, Sept. 4, 1835 ; bro. an 
 pupil of above ; studied with Drech? 
 ler ('cello) and .Schneider (theory) 
 played in the Gewandhaus orch 
 Leipzig ; then ist 'cello Schweri 
 court-orch. ; 1876 chamber virt 
 oso at Weimar. (3) Friedrii 
 son and pupil of (2) ; ist 'eel 
 Sondershausen court-orch. , then Pes 
 (1890) ; 1892-94 prof, at the Con; 
 Pesth ; 1894 in the Giirzenich (Jrc 
 and teacher at the Cons., Cologne. 
 
 Guadagni (goo-a-dan'-ye), (i) Gaet 
 no, Lodi, 1725 (?)— 1785 (97 ?) ; im 
 contralto (later a soprano) of 18 
 cent.; Gluck wrote " Teleinaco" I 
 
 him. (2) ; sister of above; sang 
 
 London ; m. F. Alessandri. 
 
 Guadagnini (goo-a-dan-ye'-ne), fam 
 of vln. -makers of the Cremona scho. 
 (i) Lorenzo and (2) John Baptis 
 worked 1 690-1 740. (3) J. B., 
 younger (son of Lorenzo), also mr 
 e.xcellent violins. 
 
 Guarducci (goo-ar-doot'-che), Mor,- 
 tiascone, ca. 1720 (?); Italian sin'r 
 in London, 1766-71. 
 
 Guarneri (goo-ar-na-re) (LatiniJ 
 Guarne'rius), family of famous v - 
 makers at Cremona, (i) Pietro./- 
 drea, b. ca. 1630 ; worked 1650- I 
 pupil of N. Amati ; his label Audi s 
 Guarneritis Cremo7icB stib titolo S;- 
 tcE Theresia i(> — . (2) Giuseppe >. 
 1660 ; son of above ; worked \t- 
 1730; his IsAisX Joseph Guartw/s 
 filitis Andreas fecit Cremonce suti' 
 tolo St. There si re 16—. (3) P., b.?. 
 1670 ; son of (i) ; worked 1690-1 ^ 
 
DICTIONARY OF MUSICIANS 539 
 
 (4) p., son of (2) ; worked 1725-40. 
 
 (5) Giuseppe Antonio (known as 
 Guarneri del Gesu, i.e., "the Je- 
 sus," from the " I II S "on his labels), 
 June 8, 16S3 — ca. 1745 ; the best of 
 the family, nephew of (i) ; his label, 
 
 Joseph Guarnerius Andrea A'epos 
 
 'Cremona 17 — , I H S. 
 
 >udehus (goo'-de-hoos), H., b. Alten- 
 hagen, Hanover, March 30, 1S45 ; tenor, 
 son of a village schoolmaster ; pupil 
 of Frau Schnorr von Karolsfeld at 
 Brunswick ; 1870-73 engaged for the 
 court opera, Berlin ; 1872, studied 
 with Louise Ress, Dresden ; reap- 
 peared 1875 ; 1880-90 at Dresden 
 ■« on ct-opera, creating " Parsifal " at Bay- 
 j ^ji^ reuth, 1882; in New York 1890-91, 
 j'jff j^ later at Berlin ct. -opera. 
 Friei M^'ii" (ga-nah), Marie Alex., Mau- 
 . 15(1 ipeuge (Nord), France, 1744 — Paris, 
 ' i^jj] fSSig ; violinist and composer. 
 .',jjj(; Uercia (goo-ar-che'-a), Alphonso, b. 
 ^[ Naples, Nov. 13, 1S31; pupil of Mer- 
 QuIj. cadante ; dram, barytone for a time ; 
 j^MQl since 1859 vocal teacher, Naples ; 
 ^J.')), jc. succ. opera ''Rita" (Naples, 1875), 
 
 "^Jj u6rin (ga-ran), Emmanuel, b. Ver- 
 
 ' g sailles, 1779; 'cellist. 
 
 y ' uerrero (ger-ra'-r5), Francisco, Se- 
 
 'i*'., [i villa, Spain, 1528 — 1599; conductor, 
 
 ■ '■ '„ singer and composer. 
 
 Jjr, lest, (i) Ralph, Basely, Shropshire, 
 
 ^, I 1742 — 1S30 ; organist p.Ad composer. 
 
 \£ ^^^ George, Bury St. Edmunds, 
 
 * 1771 — Wisbeach, 1831 ; organist and 
 
 ., ^( composer. 
 
 i*™' . leymard (ge'-mar), (i) Louis, Chap- 
 
 ;"*" )onay (Isere), France, 1822 — Cor- 
 
 ., j )eil, near Paris, 1880 ; tenor, 1848- 
 
 «M';^ 58 at the Gr. Opera. (2) Pauline 
 
 Mf"?J ne'e Lauters), b. Brussels, Dec. i, 
 
 . *" ,| [834 ; wife of above ; mezzo-soprano ; 
 lorteai'lbupil of the Cons.; debut 1855, Th. 
 
 5 
 
 
 ynque, Paris ; later at Gr. Opera. 
 ■. jwglielmi (gool-yel'-me), (i) Pietro, 
 ,.,&« ;ond. to Duke of Modena. His son 
 .:T0tW|2) p., Massa di Carrara, Italy, 1727 
 1720 ?) — Rome, Nov. 19, 1804 ; con- 
 juctor, teacher and composer of over 
 !00 operas. (Perhaps the (3) Signora 
 
 G. who sang in London 1770-72 was 
 the wife he treated so shamefully.) 
 Rival of Passiello and Cimarosa ; 
 1793 cond. at the Vatican, composed 
 only church-music. (4) Pietro Car- 
 lo (called Guglielmini), Naples, ca. 
 1763 — Massa di Carrara, 1827 ; son 
 of above ; dram, composer, teacher 
 and conductor. 
 
 Guicciardi (goo-et-char'-de), Giuliet- 
 ta (or Julie), Countess (or Grafin), 
 Nov. 24, 1784 — March 22, 1855 ; pi- 
 anist ; pupil of Beethoven and his 
 enamoured inamorata ; a Viennese 
 woman, m. Count Gallenberg, 1803. 
 
 Gui de Chalis (ge du shiil-es) (Gui- 
 do), end of the 12th cent.; writer. 
 
 Guidetti (goo-e-det'-te), Giov., Bo- 
 logna, 1532 — Rome, 1592 ; pupil and 
 assistant of Palestrina ; conductor 
 and composer. 
 
 Guido d'Arezzo (goo-e'-do dar-red'- 
 z6) (Latinised Areti'nus),Arezzo, Ita- 
 ly, ca. 995 — Avellano (?), May 17 (?), 
 1050 (?) ; eminent revolutionist in 
 music ; a Benedictine monk at 
 Pomposo, near Ferrara, later per- 
 haps at Arezzo ; his abilities as 
 a singing-teacher and musician led 
 Pope John XIX. to summon him 
 to Rome ; he was later probably 
 a Prior at Avellano ; though he 
 is being stripped of many of his 
 early honours, it seems true that he 
 introd. the 4-line staff, and ledger- 
 lines and Solmisation (v. aretinian ; 
 
 GAMUT and SUI.MISATION, D. D.). 
 
 Guido de Chalis. Vide gui de 
 
 CUAI.IS. 
 
 Guignon (gen-yoh), J. P., Turin, 1702 
 — Versailles, 1775 ; violinist and 
 composer. 
 
 Guilmant (gel-man), (i) Alex. F61ix, 
 b. Boulogne, March 12, 1837 ; son 
 and pupil of the org. (2) Jean Bap- 
 tiste G. (Boulogne, 1793 — 1800); 
 later pupil of Lemmensand G. Carul- 
 li (harm.) ; at 12 substituted for his 
 father at the church of St. Nicolas ; 
 at 16 organist at St. Joseph ; at iS 
 prod, a solemn mass ; at 20 choirm. 
 at St, Nicholas, teacher in Boulogne 
 
540 
 
 THE MUSICAL GUIDE 
 
 Cons, and cond. of a mus. soc; 1S71 
 organist of Ste. Trinite ; 1893 chev. 
 of Legion of Honour ; 1S96 org.- 
 prof., I'aris ■ Cons. ; 1893, 1897-98 
 toured Europe and U. S. with much 
 succ; 1901 resigned from Ste. Tri- 
 nite ; c. symphony for organ and 
 orch.; "lyric scene" '' Belsazar'" ior 
 soli, chorus and orch.; '' Christtts 
 Vincit" hymn for chorus, orch., 
 harps and org. ; 4 org. sonatas, etc. 
 
 Guindani (goo-en-dii'-ne), Ed., Cre- 
 mona, 1S54 — 1897 ; dram, composer. 
 
 Guiraud (g€-r6), (i) Ernest, New 
 Orleans, June 23. 1837 — -Paris, May 
 6, 1892 ; son of (2) Jean Baptiste 
 G. (Pri.'cde Rome, Paris Cons., 1827), 
 at 12 in Paris ; at 15 prod, opera 
 " Zf roi David'" aX New Orleans; 
 studied Paris Cons., and took Grand 
 prix de Rome ; later prof, of accom- 
 paniment Paris Cons, and dram, com- 
 poser. 
 
 Gulbranson (gool'-bran-zon), Ellen, 
 b. Stockholm ; notable soprano ; 
 studied with Marchesi, sang in con- 
 cert ; 1889 entered opera, singing 
 Briinhilde, 1S99 Kundry at Bayreuth 
 and other roles in other cities ; lives 
 on her estate near Christiania. 
 
 Gumbert (goom'-bert), Fd., Berlin, 
 18 18 — 1896; tenor and barj-tone ; 
 also critic and dram, composer. 
 
 Gumpeltzhaimer(goom'-pelts-hT-mer), 
 Adam, Trostberg, Bavaria, 1559 — 
 .\ugsburg, 1625 ; composer and theo- 
 rist. 
 
 Gumpert (goom'-pert), Fr. Ad., b. 
 Lichtenau, Thuringia, April 27, 
 1841; pupil of Hammann ; from 1864 
 1st horn Gewandhaus Orch., Leipzig; 
 writer and composer. 
 
 Gumprecht (goom'-prekht), Otto, b. 
 Erfurt, April 4, 1823 ; studied law, 
 Dr. jur. ; 1S49 critic and writer. 
 
 Gungl (or Gung'l) (goong'-l), (r) Jo- 
 seph, Zsambek, Hungary, Dec. i, 
 iSio — Weimar, Jan. 31, 1S89; oboist, 
 bandmaster and composer of pop. 
 dance-music. (2) Virginia, daughter 
 of above; opera-singer; debut ct.- ope- 
 ra, Berlin, 1871 ; later at Frankfort. 
 
 (3) Jn„ Zsambek, 1828— Pecs, Hun- 
 gary, 1883 ; nephew of (i) ; com- 
 poser. 
 
 Gunn, (i) Barnabas, d. 1743; Engl. 
 organist. (2) Barnaby, 1730-53, 
 organist. (3) John, Edinburgh (?), 
 17^5 (') — ca. 1824; Chelsea Hos- 
 pital, 1730-53 ; 'cello-teacher and 
 writer. 
 
 Giinther (glin'-ter), (i) Hermann, 
 Leipzig, 1S34-71 ; a physician; c. • 
 opera under name " F. Hesther." (2)' 
 Otto, Leipzig, 1822 — 1897; bro. of ' 
 above ; dir. (3) Giinther-Bach- 
 mann, Karoline, Diisseldorf, 1816 
 — Leipzig, 1S74; singer. 
 
 Gunz (goonts), G., Gaunersdorf, Low-i 
 er Austria, 1831 — Frankfort, 1894; 
 tenor. ! 
 
 Gura (goo'-ra), (r) Eugen, b. Pressem,; 
 n. Saatz, Bohemia, Nov. 8, 1842:; 
 barytone ; pupil of Polytechnic anc. 
 the Akademie, Vienna ; then Municll 
 Cons., debut 1865, Munich, 1867-7(1 
 Breslau ; 1870-76 Leipzig with grea 
 succ; 1876-83 Hamburg, Munich' 
 18S3-95. His son (2) Hermann is : 
 barytone. 
 
 Gurli'tt (goor'-llt), Cornelius, Alto 
 na, near Hamburg, Feb. 10, 1820- 
 Berlin, 1901 ; pupil of the elder Rei 
 necke and ^Yeyse ; army mus. dir. i: 
 the Schleswig-Holstein campaigni 
 prof. Plamburg Cons.; 1S74 RoyJ' 
 Mus. Dir.; c. 3 operas, incl. "Z>- 
 romische Matter" (Altona, i860 
 etc. 
 
 Giirrlich (giir'-likh), Jos. Augustii 
 Munsterberg, Silesia, 1761 — Berlii 
 1S17 ; organist, bass, court-conduc 
 or and dram, composer. 
 
 Gusikow (goo'-zl-kof), Michael Jos 
 Sklow, in Poland, Sept. 1806 — Ai.x-1: 
 Chapelle, Oct., 1837; remarkable vir 
 uoso on the .xylophone. 
 
 Gutmann (goot'-man). Ad., Heide, 
 berg, 1S19 — .Spezia, 18S2 ; compose 
 
 Gyrowetz (ge'-ro-vets), Adalbet 
 Budv.-eis, Bohemia, Feb. 19, 1763 
 Vienna, March 19, 1850 ; son ai 
 pupil of a choirm.; c. symphonic 
 operettas, etc.; court-conductcr. 
 
 f 
 
 [| 
 
DICTIONARY OF MUSICIANS 54 
 
 i;3(Kj 
 
 leriu 
 
 " ; bra. 
 ler-Bai 
 
 }ib 
 
 Presst 
 3, a 
 
 'M 
 
 H 
 
 Habeneck (ab'-g-nek), Fran5ois 
 Ant., Mezieres (Ardennes), France, 
 June I (Jan. 25?), 17S1 — Paris, Feb. 
 8, 1849 ; son and pupil of a German 
 musician ; studied Paris Cons.; later 
 cond. of its concerts and vln.-prof. ; 
 introd. Beethoven's symphonies to the 
 French pubHc ; composer. 
 
 Haberbier (hii'-ber-ber), Ernst, Ko- 
 nigsberg, Oct. 5, 1813 — Bergen, Nor- 
 way, March 12, 1S69 ; son and pupil 
 of an organist ; court-pianist at St. 
 Petersburg ; later toured with great 
 success ; composer. 
 
 Haberl (ha'-berl), Fz. X., b. Oberel- 
 lenbach, Lower Bavaria, April 12, 
 1840 ; took orders 1862 ; 1862-67 
 cath. cond. and mus, dir. Passau 
 Seminary ; 1S67-70 organist, Rome ; 
 1871-82 cath. -cond. at Ratisbon ; 
 1875 founded famous sch. for church- 
 music; edited Palestrina's works, etc.; 
 1SS9, Dr. Theol. A. c, Univ. of WUrz- 
 burg ; 1SS3, Pope Leo XIIL in- 
 trusted him with the cataloguing of 
 the invaluable archives of the Sistine 
 Chapel, of which he published a no- 
 table bibliography and thematic cata- 
 logue ; his pub. works are of the 
 greatest importance in the history of 
 church-music. 
 
 Habermann (ha-ber-man), Fz. Jn., 
 Konigswarth, Bohemia, 1706 — Eger, 
 17S3 ; conductor, teacher and com- 
 poser. 
 
 Habert (ha -bert), Jns. Evangelista, 
 Oberplan, Bohemia, 1S33 — Gmunden, 
 1896 ; editor and collector. 
 
 Hackel (ha'-kel), Anton, Vienna, 1779 
 — 1846 ; composer. 
 
 :Hackh (hak), Otto (Chp.), b. Stutt- 
 
 1 gart, Sept. 30, 1852 ; pupil of Stutt- 
 gart Cons, and of A. de Kontski (pf.), 
 at New York ; 1S72-75 teacher at 
 the Cons.; 1877-78 toured; 1878 
 teacher in London ; in 1880-89 ^r. 
 Cons. , New York ; later private 
 teacher and composer. 
 ad'ley, Henry K., b. Somerville, 
 Mass., U. S. A., 1871 ; notable com- 
 
 poser, son and pupil of a music- 
 teacher ; also studied with Chadwick, 
 Heindl and Allen, Boston ; 1894-96 
 at Vienna with Mandyczewski ; 1S96 
 in charge of music St. Paul's school. 
 Garden City, N. Y.; c. 2 symphonies 
 " Voi/^/i aud Life" (prod, by Seidl, 
 1897), and " The Seasons" a ballet, 
 suite, cantata ; 2 comic operas, etc. 
 
 Had'ow, Wm. H., b. Ebrington, 
 Gloucestershire, Dec. 27, 1859; com- 
 poser, lecturer and writer of " Sitidies 
 in Modern Altaic " etc. 
 
 Hadria'nus. Vide adriansf.n. 
 
 Haffner (hef'-ner), Jn. Chr. Fr., Ober- 
 schonau, near Suhl, 1759 — Upsala, 
 Sweden, 1833 ; organist, court-con- 
 ductor, dram, composer and collec- 
 tor. 
 
 Hagemann (ha'-ge-man), (i) Fran- 
 cois Willem, b. Zutphen, Holland, 
 Sept. 10, 1827 ; 1846 royal organist 
 Appeldoorn; 1848 cond. at Nijkerk ; 
 studied 1852 Brussels Cons.; organist 
 and composer at Batavia. (2) Mau- 
 rits Leonard, b. Zutphen, Sept. 23, 
 1829 ; bro. of above ; violinist and 
 pianist ; pupil of Brussels Cons.; 
 ^865-75 dir. Cons., Batavia; 1875 
 founder and dir. of a Cons., Leu- 
 warden ; c. oratorio ''Daniel" etc. 
 
 Hagen (ha'-gen), (i) Fr. H. von 
 der, Schmiedeberg, Ukraine, 1780 — 
 Berlin, 1856 ; prof, and writer. (2) 
 Jn. Bapt., Mayence, 1818 — Wies- 
 baden, 1870 ; conductor and com- 
 poser. (3) Ad., b. Bremen, Sept. 
 4, 1851 ; son of above ; violinist ; 
 1879-82 cond. Hamburg Th.; 1883, 
 court cond. Dresden, and 1884 man- 
 ager of the Cons.; c. comic op- 
 era " Zivei Komponisten" Hamburg, 
 1882, etc. (4) Theodor, Hamburg, 
 1823 — New York, 1871 ; teacher, 
 critic and composer. 
 
 Hager, Jns. Vide hasslinger-h.a.s- 
 
 SINGEN. 
 
 Hague (hag), (i) Chas., Tadcaster, 
 1769 — Cambridge, 1821 ; prof, and 
 composer. (2) Harriet, 1793 — 1816 ; 
 daughter of above ; pianist and com- 
 poser. 
 
542 
 
 THE MUSICAL GUIDE 
 
 Hahn (hrin), (r) Bd., Leubus, Silesia, 
 1780 — Breslau, 1852; cath. -conduct- 
 or and writer. (2) Albert, Thorn. 
 West Prussia, 1828 — Lindenau, near 
 Leipzig, 1830 ; teaclier. (3) Rey- 
 naldo, b. Caracas, Venezuela, Aug. 
 9, 1874 ; pupil of Massenet, Paris 
 Cons.; lives in Paris ; c. 3-act " idylle 
 polynesienne " " Z'//(? du Rcve " 
 (Paris, Op. -com., 1S98); opera, " La 
 Carmelite" (MS.) ; songs of remark- 
 able beauty and originality, etc. 
 
 Hahnel (ha'-nel). Vide g.a.i.lus, j. 
 
 Haigh, Thos., b. 1769 ; Engl, violin- 
 ist, pianist and composer. 
 
 Haines, Napoleon J., London, 1S24 
 — New York, 1900 ; founder of 
 Haines Bros. Piano Mfrs., X. V. 
 
 Hainl (anl), Georges Francois, Is- 
 soire, Puy-de-D6me, 1S07 — Paris, 
 1873 ; "cellist ; conductor, writer and 
 composer. 
 
 Haizinger (hl'-tsTng-er), Anton, Wilf- 
 ersdorf, Lichtenstein, 1796 — Vienna, 
 1869 ; tenor. 
 
 Hale (i), Philip, b. Norwich, Vt., 
 March 5, 1854 ; notable American 
 critic and essayist ; as a boy, organ- 
 ist Unit. Ch., Northampton, Mass.; 
 1876 grad. Yale Univ.; 1880 ad- 
 mitted to the Albany bar ; pupil of 
 D. Buck, 1876 ; 1SS2-S7 studied or- 
 gan and comp. with Haupt, Faiszt, 
 Rheinberger and Guilmant, Urban, 
 Bargiel, Raif and Scholz ; 1879-82 
 organist St. Peter's, Albany ; 18S7- 
 89 St. John's, Troy ; since 1889 of 
 First Religious Soc, Roxbur\', Mass. ; 
 18S7-89 also cond. of Schubert Club 
 at Albany; 1S89-91 critic successively 
 of the Boston Home Journal, Post ; 
 1891, Journal; 1897-1901 edited 
 Mas. Record ; 1901, Ed. Musical 
 World ; lecturer on mus. subjects ; 
 1884 m. at Berlin (2) Irene Baum- 
 gras, b. Syracuse, N. Y., U. S. A. ; 
 pupil Cincinnati Coll. of Mus.; tak- 
 ing gold medal 1S81 ; then studied 
 with Moszkowski and Raif, Berlin ; 
 ruined her health by overwork ; lives 
 in Boston; c. songs and pf.-pcs. 
 under pen-name "Victor Ren6." 
 
 Hale (or Halle), Vide .vdam de lajB* 
 
 HADC. 
 
 Halevy (a-la-ve), Jac. Frang. Fro-| 
 mental Elie, Paris, May 27, 1799— 
 of consumption, Nice, March 17, 
 1862 ; of Jewish parentage ; pupil of! 
 Cazot, Lambert (pf.), and Berton 
 (harm.), Cherubini (cpt.); Paris Cons.Jl 
 winning 2nd harmony prize ; i8iqi 
 and 1817, 2nd Prix de Rome; i8icj 
 won Pri.K de Rome ; 1827 prof, ol; 
 harmony and accomp. at the Cons. 
 1833 prof, of cpt. and fugue ; 182c 
 prod. 2 succ. operas ; 1830 succ. bal 
 let " Manon Lescaut " ; 1830-46 f/i(f 
 de chant at the Opera ; 1832 he com 
 pleted Herold's '' Ludovic" will 
 succ. ; 1835 he wrote and prod. 2 grea 
 successes, his master - piece 
 Jiiive " (Gr. Opera) and a comic open 
 " L' Eclair " ; Chevalier of the I^ 
 gion of Honour ; 1836 member of th 
 Academic ; 1854, secretary for life 
 In 1836 Meyerbeer appeared, and 
 efforts to rival his prestige H. wrot 
 too much with inferior libretto: 
 among his works being (1841) " Z 
 Reine de Chypre." He collaborat 
 with Adam, Auber and Carafe in 
 operas ; he left 2 unfinished opera; 
 " Vanina d'Ornano" (completed I 
 Bizet) and " Zt- Deluged Biogr. t 
 his brother Leon (1862), etc. 
 
 Halir (ha-ler), (i) Karl, b. Hohe: 
 elbe, Bohemia, Feb. i, 1859; violi 
 ist ; pupil of Bennewitz, Prague Co: 
 and Joachim in Berlin ; 18S4 lead| 
 of the ct.-orch., ^Veimar ; 181, 
 toured the U. S. His wife (2) Th 
 resa (nee Zerbst), b. Berlin, No] 
 6, 1859, and m. in 1S88 ; soprani 
 pupil of Otto Eichberg. 
 
 Hall, (i) Henry, Windsor, ca. 1655; 
 1707 ; organist and composer. 1 
 Henry, Jr., d. 1763; son of abovj 
 organist and composer. (3) Wn, 
 i7th cent, violinist and compost 
 (4) Chas. King, London, 1845 (?),' 
 Sept. I, 1895 ; organist, dram, co 
 poser. (5) Glen, b. Chicago (?), 18: 
 tenor ; pupil of Plenschel, etc. 
 
 Halle (al). Vide ada.m de la h. 
 
 11 
 
DICTIONARY OF MUSICIANS 543 
 
 
 Halle (hal'-Ie), Jn. Samuel, Barten- 
 stein, Prussia, 1730 — iSio ; prof, 
 and writer. 
 
 Halle (al-la), Sir Charles (rightly 
 Karl Halle), Hagen, Westphalia, 
 April ir, iSig — Manchester, Oct. 25, 
 1895 ; pianist and conductor, Paris, 
 1836-4S ; later pop. cond. at Man- 
 chester and dir. of "Gentlemen's 
 Concerts " there ; also closely con- 
 nected with London Popular Con- 
 certs; 188S m. Mme. Neruda (q. 
 v.). 
 
 Hallen (hal'-len), Anders, b. Goten- 
 burg, Dec. 22, 1846 ; pupil of Rei- 
 necke, Rheinberger, and Rietz ; cond. 
 of the Mus. Union, Gotenburg ; 1892 
 cond. Royal Opera, Stockholm ; c. 3 
 operas, '' Harald der Viking" (Leip- 
 zig, 1S81 ; Stockholm, 1883); v. succ. 
 ' Hexfallen " (" Der Hexenfang ") 
 (Stockholm, 1896); '^ IValdemar" 
 (Stockholm, 1899) ; 2 Swedish Rhap- 
 sodies ; ballad cycles with orch. ; sym- 
 phonic poem '' Eiii Soinmermar- 
 clien'' \ romance for vln. with orch.; 
 German and Swedish songs, etc. 
 
 Haller (hal'-ler), Michael, b. Neusaat 
 (Upper Palatinate), Jan. 13, 1840; 
 1S64 took orders ; studied with 
 Schrems ; 1S66 cond. " Realinsti- 
 tut " ; teacher of vocal comp. and 
 cpt. at the Sch. of Church-music ; 
 writer and composer ; completed the 
 lost 3rd-choir parts of si.K 12-part 
 comps. of Palestrina's. 
 
 Hallstrom (hal'-stram), Ivar, Stock- 
 holm, June 5, 1826 — 1901 ; dram, 
 composer ; librarian to the Crown 
 Prince, now King of Sweden ; 1861 
 dir. of Sch. of Music. His first opera 
 failed — having 20 numbers in minor 
 keys ; his 2d also ; but others were 
 succ, incl. " Ay aga" (1S85 ; book 
 by " Carmen Sylva "). 
 
 ^alm (halm), Anton, Altenmarkt, 
 Styria, 17S9 — Vienna, 1S72 ; pianist 
 and composer. 
 
 :lambourg (ham'-boorg), Mark, b. 
 ('■ogutschar-Noronez, Russia, June 
 T, 1S79 ; notable piano-virtuoso ; 
 studied with his father (now a teacher 
 
 in London), and with Leschetizky ; 
 has toured widely with brilliant suc- 
 cess ; igoo, America ; lives in Lon- 
 don. 
 
 Ham'boys. Vide hanboys. 
 
 Hamel (a-mel), (i) M. P., Auneuil 
 (Oise), France, 1786 — Beauvais, after 
 1870 ; amateur expert in organ-build- 
 ing ; writer. (2) "Eduard, b. Ham- 
 burg, 1811; violinist and pianist; ; 
 Grand Opera orch., Paris ; from 1846 i 
 at Hamburg as teacher and com- '' 
 poser. (3) Margarethe. Vide ! 
 
 SCHICK. ] 
 
 Ham'erik, Asger, b. Copenhagen, j 
 
 April 8, 1843 ; pupil of Gade, Mat- ' 
 
 thison-Hansen and Haberbier; 1862 
 of von Billow ; c. two operas ; 1870 at 
 Milan prod, an Ital. opera " Z« Ven- 
 detta"; 1871 dir. of the Cons, of the i 
 Peabody Institute and of the Pea- 
 body symphony concerts, Baltimore, 1 
 Md.; 1890 knighted by the King of j 
 Denmark ; c. 1866 a festival cantata 
 to commemorate the new Swedish j 
 constitution, ''Der Wanderer" j 
 (1872); 1883 '' Oper ohne IVorte" ; \ 
 a choral work " Christliche Trilo- i 
 gie" (a pendant to a " Trilogie ju- 
 daiqiie " brought out in Paris) ; 5 , 
 symphonies, etc. 
 
 Ham'erton, Wm. H., b. Nottingham, 
 
 1795 ; singing-teacher and composer. 1 
 
 Hamilton, Jas. Alex., London, 1785 
 — 1S45 ; writer. 
 
 Hamma (ham'-ma), (i) Benj., b. \ 
 
 Friedingen, Wtirtemberg, Oct. 10, 
 1S31 ; studied with Lindpaintner I 
 
 (comp.) at Stuttgart ; then at Paris j 
 
 and Rome; till 1870 cond. and teach- I 
 
 er at Konigsberg ; now dir. sch. of : 
 
 mus. at Stuttgart ; dram, composer. 
 (2) Fz. X., b. Wehingen, Wtirtem- 
 berg, Dec. 3, 1835 ; bro. of above ; 
 organist at Basel ; then at Obersta- j 
 
 dion ; now teacher at Metz ; com- 
 poser. 
 
 Hammerschmidt (ham'-mer-shmTt), 
 Ands., Briix, Bohemia, 161 1 — Zit- 
 tau, Oct. 29, 1675 ; organist, 1639, 
 at Zittau ; c. important and original 
 concertos, motets, madrigals, etg. 
 
544 
 
 THE MUSICAL GUIDE 
 
 Hampel (ham'-pel), Hans, Prague, 
 1822 — 18S4; organist and composer. 
 
 Han'boys (or Hamboys), John, Eng- 
 lish theorist ca. 1470. 
 
 Hand (hant), F. G., b. Plauen, Sax- 
 ony, 17S6 — [ena, 1S51 ; writer. 
 
 Handel (or Handel, Handl). (i) Vide 
 
 GALl.US. (2) Vide HANDEL 
 
 Handel (hent'-l) (Hendel, Hendeler, 
 Handeler or Hendtler), Georg 
 Friedrich (at first spelt Hendel in 
 England ; later he anglicised it to 
 George Frederic Handel (han - 
 del, the form now used in England), 
 Halle, Feb. 23, 1685 — London, April 
 14, 1759 ; son of a barber (afterwards 
 surgeon and valet to the Prince of 
 Saxe- Magdeburg) and his second wife 
 Dorothea Taust. Intended for a 
 lawyer ; in spite of bitter opposition 
 he secretly learned to play a dumb 
 spinet. At 7 on a visit to his elder 
 step-brother, valet at the court of 
 Saxe-Weissenfels, Handel while play- 
 ing the chapel-organ, was heard by 
 the Duke, who persuaded the father 
 to give the boy lessons. Zachau, or- 
 ganist of Halle, taught him cpt., ca- 
 non and fugue, and he practised the 
 oboe, spinet, harpsichord and organ ; 
 he soon c. sonatas for 2 oboes and 
 bass, became assist, organist, and for 
 3 years wrote a motet for every Sun- 
 day. In 1696 his skill on organ and 
 harpsichord won him at Berlin the 
 friendship of Ariosti, and the jealousy 
 of Bononcini. The Elector offered to 
 send him to Italy ; but his father 
 took him back to Halle ; the next 
 year his father died, and he went to 
 Halle Univ. (1702-03) to study law, 
 at the same time serving as organist 
 at the cathedral at a salary of $50 a 
 year. 1703 he went to Hamburg as 
 violino di ripicno. He fought a duel 
 with Mattheson, later his friend and 
 biographer, and was saved by a but- 
 ton. When Keiser the dir. fled from 
 debt, H. was engaged as clavecinist. 
 He c. a " Passion" and prod. 2 op- 
 eras, '' Ab?iira" (succ.) and " Nero" 
 (1705) ; he was also commissioned to 
 
 1 
 
 write "^Floritido und Daphne " (1708), ; 
 an opera filling two evenings. In 
 1706, with 200 ducats earned by 
 teaching, he went to Italy and made 
 success and powerful acquaintances, 
 incl. the Scarlattis. In P'lorence 
 (1707) he prod, with succ. '' Rodrigo" 
 (Venice, 1708), and '' Agrippina" 
 with great succ. In Rome he prod. 
 2 oratorios, and in Naples a serenata, 
 "Ac/, Galatea s PoUfemo" in which) 
 is a bass solo with a compass of 2 oc-f 
 taves and a fifth. 1709, in Germany! 
 as cond. to the Elector of Hanover ;■ 
 1 7 10 visited England on leave of ab-' 
 sence. In 2 weeks he c. the opera 
 '" Jiinaldo" a pasticcio of his older 
 songs. It was prod, at the Haymarket 
 Th. with great succ; 1712 he returned 
 to London on leave ; but stayed. | 
 His first two operas were not succ. 
 but an ode for the Queen's birthday, 
 and a Te Deum and Jubilate in cele^ 
 bration of the Peace of Utrecht woe 
 him royal favour and an annuity o) 
 ;^200 ; 1714 his Hanover patror 
 became George I. of England, and 
 only the good offices of Baron Kil 
 manseck and the production of the 2\ 
 pieces called the " IVater-Micsic" a 
 a royal aquatic fete, restored him t( 
 favour. 1716-18 he went to Hanove, 
 with the King. He there c. his onl;i 
 German oratorio, the '' Passion" \ 
 1 718 cond. to the Duke of Chandoj 
 and c. the English oratorio '^Esther, \ 
 the secular oratorio ''Acis and Gala] 
 tea" and the ChandosTe Deums an^j 
 Anthems. He taught the Prince c; 
 Wales' daughters, and c. for Princes' 
 Anne " Suites de Pieces" for harpsij 
 chord {The Lessons) including " Th, 
 Harmonious Blacksmith." ! 
 
 He was dir. of new R. A. of M, 
 1720 prod, the succ. opera " T^a^/c 
 ;«/j-/<? " (prod. 1721 in Hamburg a; 
 '' Zenobia"). Now Bononcini an 
 Ariosti appeared as rivals and a fi' 
 mous and lasting feud arose round tlj 
 three after they had prod, one openT 
 " 3fuzio Scaevola" in which eac' 
 wrote an act. B. had rather the be 
 
DICTIONARY OF MUSICIANS 545 
 
 ter of it, when he was caught in 
 a plagiarism (a crime not unknown 
 in Handel's works (v. lotti). B. 
 left England without reply (1731). 
 Up to this time H. had prod. 12 
 operas. 
 
 1726 he was naturalised. 1729-31 
 he was in partnership with Heidegger, 
 proprietor of the King's Th., where 
 he prod. " Lofario" followed by 4 
 more operas. 1732 he prod, his two 
 oratorios revised ; 1733 the oratorios 
 " Deborah'' a.nd "At/ialiak" at Ox- 
 ford, when he was made Mus. Doc. /;.£:. 
 1733 he began a stormy management 
 of opera, quarrelled with the popular 
 singer Senesino, and drove many of 
 his subscribers to forming a rival 
 troupe " The Opera of the Nobility," 
 with Porpora and afterwards Hasse 
 as composer and conductor; 1737 the 
 companies failed, H. having prod. 5 
 operas; the ode " Alexander's Feast" 
 (Dryden), and the revised " Trionfo 
 del Tempo e della Verita." Over-ex- 
 ertion brought on a stroke of paraly- 
 sis in one of his hands and he went 
 to Aix-la-Chapelle, returning to Lon- 
 don with improved health. He now 
 prod., under Heidegger, 5 operas, 
 incl. '''' Farainoudo" " 6Vv'j^ " (1738), 
 and " Deidaiiiia" (1741). 
 
 Now he abandoned the stage and 
 turned to oratorio, producing " Saul" 
 tand '^Israel in Egypt" (1739) ; the 
 " Ode for St. Cecilia s Day" and in 
 [740 " D Allegro and II Penseroso" 
 (Milton), and a supplement " // Alo- 
 derato" written by Chas. Jennens, who 
 also wrote the text of the Messiah. 
 
 1 74 1 he visited Dublin and prod, 
 there his masterpiece the " Messiah" 
 April 13, 1742. This re-established 
 him in English favour and raised him 
 from bankruptcy. It was followed by 
 " Samson" the "' Dettingen Te De- 
 tim" " Semele" ''''Joseph " (1743), 
 " Belshazzar," and '''Heracles" 
 (1744). His rivals worked against 
 him still, and in 1745 he was again 
 bankrupt, writing little for a year and 
 a half, when he prod, with renewed 
 success and fortune his " Occasional 
 Oratorio," and "Judas Alaccabaeus" 
 (1746); "Joshua" (1747), "Solo- 
 mon " (1748) ; " Susannah " (1748) ; 
 "Theodora" (1749); "The Choice 
 of Hercules" (1750); and " Jeph- 
 thah" {i-ji-z), his last. During the 
 comp. of " Jephthah" he underwent 
 three unsuccessful operations for cat- 
 aract. He was practically blind the 
 rest of his life, but continued to play 
 org. -concertos and accompany his ora- 
 torios on the organ up to 1759. He 
 was buried in Westminster Abbey. 
 His other comp. incl. the "Forest 
 Miisick" (Dublin, 1742), etc., for 
 harps.; the "Fireworks Miisick" 
 (1749) for strings; 6 organ-concertos; 
 concertos for trumpets and horns ; 
 and for horns and side drums (MS.) ; 
 sonatas for vln., viola and oboe, etc. 
 A complete edition of his works in 
 100 vols, was undertaken in 1856 for 
 the German Handel Soc. by Dr. 
 Chrysander as editor. Biog. by Mat- 
 theson (1740) ; Mainwaring (1760) ; 
 Forstemann (1844); Scholcher (1857); 
 Rockstro (1883). 
 
 Handel. 
 
 By John F. Runciman. 
 
 IF Handel cannot be called the greatest of the musicians, he is without 
 doubt the greatest man who ever wrote music. The resource and 
 energy of the man and the splendour of his personality altogether threw 
 into the shade the magnificence of his music. The man eclipses the music as 
 the sun eclipses the moon j the music indeed seems merely to reflect a small 
 
546 THE MUSICAL GUIDE 
 
 part of the light issuing from that miraculous sun, the man. Had he devoted 
 the whole of his life to music, his music would have been a wonderful 
 achievement ; had he devoted his whole life to his business enterprises 
 and to fighting the aristocracy, it would still seem a life wonderfully and 
 greatly lived ; and when one remembers that he wrote most of the glorious 
 music the same time that he was fighting aristocracy and trying to run opera 
 in England, he does indeed appear as one of the most astounding phenomena 
 the world has produced and stared at. ^ Born in Germany towards the end 
 of the seventeenth century (1685), he promptly entered upon an infantile 
 struggle on the question of whether or not he should become a musician. 
 His father, a doctor, thought it a more honourable — it was everywhere 
 thought a more respectable — proceeding to earn a livelihood by sending 
 people slowly or swiftly to the next world than by making them miserable in 
 this, through playing on instruments tuned according to the old " natural " 
 temperament. The fact that the child Handel found a means of carrying his 
 point, is characteristic of the man. He was apprenticed after the old-world 
 German fashion to an old-world German organist, Zachau, and learned to 
 play the organ and a few other instruments, studied all the music in use at! 
 his master's church or known to his master, and was taught to write anthems! 
 at a moment's nodce. When he considered the time ripe he set out on his; 
 travels to learn all that could be learned elsewhere. He was for a timcj 
 attached to an opera-house ; he visited Italy, and finally came to England i 
 He returned to Germany for a short time after his first English trip, bu 
 returned and made England his permanent home. ^ He acquired the con- 
 trol of opera, at first having the aristocracy at his back. The aristocracy 
 quarrelled with him and tried to crush him. They started a rival opera 
 house ; and the result was that the two enterprises failed for want of sufficien 
 support. Handel became bankrupt and lost his health. He took a tri' 
 abroad and returned to try his luck with opera once more. His aristocrati; 
 rivals never tried again. They were wise. Even Handel, without comj 
 petitors, was not able to succeed. '* The Beggar'' s Opera^^ was all th; 
 rage. All the world rushed night after night to hear it. Italian opera (olc^ 
 fashioned Italian opera, of course) was in pretty much the same condition i' 
 London, as Middle- Victorian Italian opera is in to-day in London ani 
 America. People were sick of its inanities and went to something not, pe:i 
 haps, much more reasonable, but at any rate more interesting and intelligibl<: 
 ** The Beggar'' s Opera " was not a very stimuladng concoction ; but con' 
 pare the libretto with the perfectly idiotic drivel that Handel had to set-; 
 drivel of which the bulk of his audiences understood nothing save that it w 
 drivel — and one can easily see why all the world gave it the preferenc: 
 So Handel, beaten, not by the aristocracy, but by the changing taste of t' 
 
DICTIONARY OF MUSICIANS 
 
 547 
 
 time, reluctantly relinquished opera, and, going in for oratorio, immediately 
 became once again a popular favourite and made a fortune, ^[ It is neces- 
 sary to consider these roughly selected details of his life. As has been 
 indicated, no estimate of Handel can afford to leave out the man. Moreover 
 his purely artistic development is very hard to understand if we forget the 
 life led by the man as apart from the life led by the composer. In his youth 
 he acquired the German technique of his day. The same technique as John 
 Sebastian Bach acquired. That is the foundation of all his art. But whereas 
 Bach remained in Germany, an obscure and all but unknown schoolmaster 
 and organist, and evolved his perfected mode of expression out of the German 
 technique, Handel immediately went to Italy and learned something that 
 could be added to it. He learned, that is, the value of Italian song ; and 
 the lesson immediately bore splendid fruit. ^ No one ever wrote more 
 magnificently for the voice than Bach ; but Handel learned to write beauti- 
 fully, simply^ plausibly. His first Italian operas are full of wonderful tunes. 
 Italian melodic outlines grafted on German harmony, and shaped so as to 
 become infinitely more dignified and expressive than any Italian music save 
 Palestrina's had ever been. Then he came to London, where Purcell's 
 music was all the vogue, and it was from Purcell that he learned the art of 
 handling the chorus and of writing picturesque music for chorus or solo voice 
 Dr orchestra. ^ Had he never come to England, had he never known Pur- 
 rell's music, his name might indeed have lived as the author of a few divinely 
 nspired songs, but it is safe to say that Handel, the gigantic chorus writer, 
 ivould never have been heard of ^] There is scarcely a thing in the later 
 Handel, in the Handel all England knows and adores, that does not derive 
 rom Purcell. His method of painting musical pictures, as used throughout 
 ;uch portions of *' Israel in Egypt " as are his own, as used in such " Mes- 
 lah'''' choruses as *' All zve like sheep have gone astray,'''' is simply a more 
 elaborate development of Purcell's plan of writing a chorus. His trick, 
 tlways certain of its effect, of hurling enormous tone-masses at his hearers had 
 ilso been extensively used by Purcell. ^[ His music may be said to be made 
 ip of the old German technique or trickery in writing flowing parts, of Italian 
 ingable melody, of Purcell, and of Handel. Not that — apart from his 
 indeniable thefts — he can be called a thief These thefts — after all, only so- 
 alled — need not detain us more than a moment. ^ All his life, as has been 
 )ointed out, Handel was greatly occupied by other matters than the writing 
 t music ; he had again and again to throw together an oratorio at a few days' 
 lotice ; he did it and probably never thought of " immortality " or any of 
 •^i pieces d^ occasion being regarded a century later as masterpieces. If in his 
 lurry he put in a few choruses by this, that, or the other German or Italian 
 jrgotten no- or little- body, he did it quite openly. Of course, as Handel 
 
548 
 
 THE MUSICAL GUIDE 
 
 has turned out to be so much vaster a genius than he himself suspected, it is 
 well that we should know precisely how much of his music really is his ; and 
 now that Dr. Chrysander has finally settled the whole question it might be 
 dropped. ^ Handel never stole. What he learned from Italv he assimi- 
 lated and made his own ; he assimilated and made his own Purcell's methods ; 
 and what he brought into music was a very notable thing. It was a splendid 
 radiant spiritual robustness, a magnificent sense of the sublime, and a tender- : 
 ness that is not surpassed even bv the tenderness of Mozart, Beethoven, or j 
 Wagner. There is also a quality of electric speed in many of his choruses, j 
 and a power of heaping climax on cHmax until one's very nerves yield to the j 
 strain put on them. Two very familiar choruses, " For u?ito us a child is \ 
 born'''' and " Worthy is the Lamb,^'' exemplify this power in an astounding! 
 way. His tenderness, his sheer strength, his sublimity, may all be found in f 
 the well-known oratorio. ^ But one cannot but believe that in the long runji 
 Handel will be better known by his songs than by anything else. It was in j 
 the writing of these songs — of strings of them called Italian operas — that hej 
 found his most congenial occupation, and he only gave it up when he wasj 
 fairlv driven out of it. Great as his choruses are, they are not greater than}; 
 his songs. There are hundreds of them only waiting to be sung once again 
 to be appreciated. Beyond what may be called the strictly personal qualities 
 that Handel brought to music, Handel added nothing. Consequently he 
 left no field unworked for any successors. Consequently, also, English, < 
 musicians ever since have gone on imitating his successes without any success 
 whatever. He killed for many generations any chance there ever was of ar 
 Englishman becoming an original composer. Nevertheless, he was a great 
 man and even an Englishman may forgive him. ; 
 
 Handle, Robert de, Engl, theorist of 1S12 — 1892; organist, teacher am 
 
 14th century. composer. 
 
 Handrock, Julius, Naumburg, 1830 Hanke (hank'-e), K., Rosswalde 
 
 — Halle, 1S94 ; teacher and compos- Schleswig, 1754— Hamburg, 1S35 
 
 er. conductor and composer. 
 
 Hanel von Cronenthal (ha'-nel fon Hans'com, E. W.,b. Durham, Maim 
 
 kro'-nen-tal), Julia, b. Graz, 1839 ; U. S. A., Dec. 28, 1848 ; studie , 
 
 wife of the Marquis d'Hericourt de there and in London, Berlin, an j 
 
 Valincourt ; studied in Paris ; c. 4 Vienna; organist and composer : \ 
 
 symphonies, 22 pf. -sonatas, etc. Auburn, Maine. j 
 
 Hanfstangel (hanf'-shteng-el), Marie Kanslick (hans'-llk), Eduard, I, 
 
 (nee Schroder), b. Breslau, April Prague, Sept. 11, 1825 ; emine: 
 
 30, 1848; soprano ; pupil of Viardot- critic and writer; Dr. Jur., i84ci 
 
 Garcia ; debut, 1S67, Paris ; studied studied piano under Tomaschek i 
 
 1878 with Vannucini ; 1882-97 Stadt- Prague 1S4S-49 ; critic for the Wie\ 
 
 theatre, Frankfort. er Zeitung ; among his many boo; 
 
 Hanisch (ha'-ntsh), Jos., Ratisbon, his first is most famous, " Vom M' 
 
 \ 
 
DICTIONARY OF MUSICIANS 549 
 
 pkiiS 
 
 Mniid 
 dtoi 
 Mi 
 ;oanfj 
 U 
 
 itwaii 
 
 -ui 
 
 1 lie« 
 mi 
 nee J 
 
 invsuca 
 ivaiof' 
 
 Rossi 
 
 botg, 
 
 IJ48 
 Berk 
 comix* 
 
 Edtati, 
 
 (ortte» 
 
 jtiaZ/j-c/^-A-Z/tJ^^w "(Leipzig, 1854); a 
 somewhat biassed, yet impressive plea 
 for absolute music as opposed to pro- 
 gramme (v. D. D.) or fallaciously 
 sentimental music ; he has been a 
 bitter opponent of all Wagnerianism 
 and an ardent Brahmsite ; 1855-64 
 mus. ed'ilor /'rt's St' ; since, of the Alette 
 freie Presse ; lecturer on mus. hist, 
 and aesthetics Vienna Univ.; 1861 
 prof, extraordinary, 1870 full prof. ; 
 1895 retired. 
 
 Hanssens (hiins'-sens), (i) Chas. L. 
 Jos. (aine), Ghent, 1777 — Brussels, 
 1852 ; conductor and composer. (2) 
 Chas. L. (cadet), Ghent, 1802 — 
 Brussels, 1S71 ; conductor, professor, 
 'cellist and composer. 
 
 d'Hardelot (ge-dard'-l6), Guy (Mrs. 
 Rhodes), b. Chateau d'Hardelot, 
 near Boulogne, France ; lives in Lon- 
 don ; c. operetta " Elle et Lui " and 
 many pop. songs. 
 
 Har'ington, Henry, Kelston, Eng- 
 land, 1727— 1816; composer. 
 
 Hark'nes. Vide senkrah. 
 
 Harms'ton, J. Wm., London, 1823 — 
 Liibeck, 1881 ; teacher and compos- 
 er. 
 
 Harp'er, (i) Thos., Worcester, 1787— 
 London, 1853 ; trumpet virtuoso. 
 His 3 sons were (2) Thomas, his 
 successor. (3) Charles, horn-player. 
 (4) Edward, pianist. 
 
 Har'raden, Samuel, Cambridge, 
 Engl., 1821 (?) — Hampstead, Lon- 
 don, 1897 ; org. -professor. 
 
 Harriers-Wippern (har'-r!-ers vtp'- 
 pern), Louise (nee Wippern), Hil- 
 desheim, 1837 — Grobersdorf, Silesia, 
 1878 ; soprano. 
 
 Har'ris, (i) Jos. M., London, 1799 — 
 Manchester, 1869 ; organist and com- 
 poser. (2) Augustus (Sir), Paris, 
 1852 — Folkestone, Engl., June 22, 
 1896 ; an actor, debut as Macbeth in 
 Manchester, 1873 ; then stage man- 
 ager ; 1879 leased Drury Lane Th. 
 for spectacle ; 1887 he took up 
 opera and controlled successively H. 
 M.'s Th., the Olympia, etc., finally 
 Covent Garden. (3) (Wm.) Victor, 
 
 b. New York, April 27, 1869 ; pupil 
 of Charles Blum (pf.), Wm. Court- 
 ney (voice), Fredk. Schilling (harm, 
 and comp.), Anton Seidl (cond.) ; 
 1889-95 org. various churches; 1892- 
 95 r/petiteiir and coach at Met. 
 Op.; 1893-94 cond. Utica Choral 
 Union ; 1895-96 asst.-cond. to Seidl, 
 Brighton Beach Concerts ; now lives 
 as vocal teacher and accompanist, 
 N. v.; c. a pf.-suite, a cantata, an 
 operetta ''Mile. Mai et M. de Sem- 
 bre" songs, etc. (4) Chas. Albert 
 Edw., b. London, Dec. 15, 1862 ; 
 (son and pupil of (5) Edwin H., or- 
 ganist) ; Ouseley scholar St. Michael's 
 Coll., Tenbury, 1875 ; 1881 private 
 organist to the Earl of Powis ; since 
 1883 he lives with his father at Mon- 
 treal, Canada, as organist ; c. an op- 
 era, a cantata, etc. 
 
 Harrison, (i) Wm., London, 1813 — 
 London, 1868 ; tenor. (2) Annie 
 Fortescue (wife of Lord Arthur 
 Wm. Hill), contemporary English 
 composer ; c. operetta (London, 
 1SS4), a cantata, songs, etc. 
 
 Hart, (i) James, d. 1718 ; Engl, bass 
 and composer. (2) Philip, d. ca. 
 1749; Gentleman of Chapel Royal; 
 son of above (?) ; organist and com- 
 poser ; wrote music for " The A/orn- 
 iiig Hyniin " from Book V. of Milton's 
 ''Paradise Lost." (3) J. Thos., 
 1805 — London, 1874 ; vln. maker. 
 (4) George, London, 1839 — 1891 ; 
 son of above ; writer. 
 
 Hartel (her'-tel), (i) Vide breitkopf 
 UND HARTEL. (2) G. Ad., Leipzig, 
 1836 — Homburg, 1876 ; violinist, 
 conductor and dram, composer. (3) 
 Benno, b. Jauer, Silesia, May i, 
 1846 ; pupil of Hoppe (pf.), Jappsen 
 (vln.), Kiel (comp.) ; 1870 teacher of 
 theory, Berlin Royal High Sch. for 
 Music ; c. an opera, over 300 canons, 
 etc. (4) Luise (nee Hauffe), Dtiben, 
 1837 — Leipzig, 1882 ; pianist ; wife 
 of (5) Hermann H. Vide breit- 
 kopf. 
 
 Hart'mann, (i) Johan Peder Emili- 
 us, Copenhagen, May 14, 1805 — 
 
5SO 
 
 THE MUSICAL GUIDE 
 
 Copenhagen, March lo, igoo ; or- 
 ganist and dram, composer ; grand- 
 son of a German court-cond. (d. 
 1763) ; son of an organist at Copen- 
 hagen. (2) Emil (jr.) Copenhagen, 
 1836 — 189S ; son and pupil of above, 
 ajid court-organist ; composer. (3) 
 Ludwig, b. Xeuss-on-Rhine, 1836 ; 
 pianist, composer and critic (son and 
 pupil of (4) Friedrich, song-com- 
 poser, b. 1805) ; also studied at Leip- 
 zig Cons, and with Liszt ; lives in 
 Dresden ; prominent Wagnerian 
 champion ; c. an opera, etc. (5) 
 Arthur, b. Philadelphia, July 23, 
 1SS2 ; violinist. (6) Ferdinand, 
 clarinettist ; lives in Munich as court- 
 musician. (7) Peter, Franciscan 
 monk of Hochbrunn-on-the-Lahn, 
 prod. succ. oratorio " S:7nii Fran- 
 ziskus" (Munich, 1902). 
 
 flar tog, (i) Edouard de, b. Amster- 
 dam, Aug. 15, 1S26 ; pupil of Hoch, 
 Bartelmann, Litolff, etc.; 1S52 in Paris 
 as teacher of pf., comp., and harm. ; 
 decorated with the orders of Leopold 
 and the Oaken Crown ; c. operas, the 
 43rJ psalm with orch., etc. (2) 
 Jacques, b. Zalt-Bommel, Holland, 
 Oct. 24, 1S37 ; pupil of Wilhelm and 
 Fd. Hiller ; prof. Amsterdam Sch. 
 of Music. 
 
 Hartvigson (hart'-vlkh-z6n), (i) Frits, 
 b. Grenaa, Jutland, May 31, 1841 ; 
 pianist ; pupil of Gade, Gebauer, 
 Ree, and von Billow; since 1864, 
 London ; 1873 pianist to the Princess 
 of Wales ; 1875 prof, at the Norwood 
 Coll. for the Blind ; 1887 pf.-prof. 
 Crystal Palace. (2) Anton, b. Aar- 
 hus, Oct. 16, 1S45 ; bro. of above ; 
 pianist ; pupil of Tausig and Xeu- 
 pert : lives in London. 
 
 Har'wood, Edw., Hoddleson, 1707 — 
 Liverpool, 17S7 ; composer. 
 
 Hase (Dr.), Oskar von. Vide brkit- 
 
 KOPF U\D HARTEL. 
 
 Haser (ha'-zer), (i) Aug. Fd., Leip- 
 zig, 1779 — Weimar, 1844; theorist, 
 conductor, writer and composer. (2) 
 Charlotte Henriette, b. Leipzig, 
 1784; sister of above; singer; m. a 
 
 lawyer Vera. (3) Heinrich, b. Rome, 
 Oct. 15, 1811 ; bro. of above ; prof, 
 of med. at Jena ; writer. 
 
 Hasert (ha -zert), Rudolf, b. Greifs- 
 wiild, Feb. 4, 1826 ; studied with KuU 
 lack (pf.), and Dehn (comp.); i860 
 Berlin as teacher ; 1873 pastor at 
 Gristow. 
 
 Has(s)ler (has'-ler), (i) Hans Leo' 
 von, Xiirnberg, 1564 — Frankfort, 
 June 5, 1612 ; the eldest of 3 sons of 
 ((2) Isaac H., town-mus., XUrnberg) ; 
 pupil of his father ; organist and com- 
 poser. (3) Jakob, Nurnberg, 1566 
 — Ilechingen (?), 1601 ; bro. of (i),; 
 conductor, organ virtuoso and com-, 
 poser. (4) Kaspar, Xiirnberg, i57Ci 
 — 1618 ; bro. of above ; organist. \ 
 
 Haslinger (has'-llng-er), (i) Tobias; 
 Zell, Upper Austria, 1787 — Viennaj 
 1842 ; conductor and publisher. (2j 
 Karl, Vienna, 18 16 — 1868 ; son an, 
 successor of above ; pianist ; (■ 
 opera " IFanda," etc. j 
 
 Hasse (has'-se), (i) Nikolaus, c: 
 1650 ; organist and writer at Ro' 
 tock. (2) Jn. Ad., Bergedorf, ne:' 
 Hamburg, March 25, 1699 — Venicj 
 Dec. 16, 17S3 ; famous tenor and j 
 succ. operatic cond. ; rival of Porpon' 
 0. over 100 operas, etc. (3) FaustiiJ 
 (nee Bordoni), Venice, 1693 (1700)1 
 1783 ; of noble birth ; one of t 
 most cultivated mezzo - sopr. ; 1 
 the above 1730, a happy union, s 
 collaborating in his success. 1 
 Gustav, b. Peitz, Brandenburg, Ser 
 4, 1S34 ; studied Leipzig Cons., aft, 
 ward with Kiel and F. Krc 
 settled in Berlin as teacher and co- 
 poser. 
 
 Has'selbeck, Rosa. Vide sucher 
 
 Hasselt-Barth (has'-selt-bart), An 
 Maria Wilhelmine (nee van H.- 
 selt), b. Amsterdam, July 15, 18:'; 
 soprano; debut Trieste (1S31). , 
 
 Hassler (hes -ler), (i) Jn. Wm., > 
 furt, March 29, 1747 — Mosc% 
 March 25 (29?), 1S22 ; organist 'd 
 composer ; important link betwn 
 Bach and Beethoven. (2) Sopl!| 
 wife of above ; singer. 
 
 I 
 
DICTIONARY OF MUSICIANS 
 
 551 
 
 msli 
 
 Frankfct 
 
 [andtd 
 ra. ol (i 
 
 SHil 
 
 •.rani,M 
 
 Hasslinger-Hassingen (hiis'-llng-er 
 has'-slng-en), Jos,, " Hofrath " Frei- 
 herr von Vienna, 1822 — 1898 ; dram, 
 composer. Used pen-name "Jos. 
 Hager." 
 
 Hastings, Thos., Washington, 
 Conn., 1787 — New York, 1S72 ; 
 editor and composer. 
 
 Hastreiter (hast'-rl-ter), Helene, b. 
 Louisville, Ky., Nov. 14, 1S58 ; op- 
 eratic contralto, popular in Italy ; 
 pupil of Lamperti, Milan ; m. Dr. 
 Burgunzio ; lives in Genoa. 
 
 Hatto. Vide frere. 
 
 Hat'ton, J. Liphot, Liverpool, Oct. 
 20, 1809 — Margate, Sept. 20, 1886 ; 
 cond. and dram, composer. 
 
 Hattstadt (hat'-shtet), J. J,, h. Mon- 
 roe, Mich., Dec. 29, 185 1; studied in 
 Germany ; pf.-teacher and writer in 
 Detroit, St. Louis, and for 11 years, 
 Chicago Coll. of Mus.; 1886, dir. 
 Amer. Cons., Chicago. 
 
 Hau(c)k (howk), Minnie, b. New 
 York, Nov. 16, 1852 (53 ?) ; notable 
 soprano ; pupil of Errani and Moritz 
 Strakosch ; debut 1869, N. Y., as 
 "Norma"; 1S68-72 Vienna ct-opera; 
 1875, Berlin ; has sung with great 
 succ. in Europe and America. She 
 is court-singer in Prussia, Ofiflcier 
 d'Academie, Paris, and member of 
 the Roman I\Ius. Academy. 
 
 Hauer (how'-er), K. H. Ernst, Hal- 
 berstadt, 182S — Berlin, 1892 ; organ- 
 ist and composer. 
 
 Hauff (howf), Jn, Chr,, Frankfort, 
 181 1 — 1 89 1 ; founder and prof., 
 Frankfort School of Music ; writer 
 and composer. 
 
 Hauffe (howf'-fe), Luise. Vide har- 
 
 TEL, LUISE. 
 
 Haupt (howpt), K. Aug., b. Kunern, 
 Silesia, Aug. 25, 18 10 — Berlin, July 
 4, 1891; pupil of A. W. Bach, Klein, 
 and Dehn ; famous as organist and 
 teacher at Berlin ; composer. 
 
 Hauptmann (howpt'-man), Moritz, 
 Dresden, Oct. 13, 1792 — Leipzig, 
 Jan. 3, i863 ; violinist ; pupil of 
 Spohr ; famous as theorist and teach- 
 er ; from 1S42 prof, of cpt. and 
 
 comp. Leipzig Cons., and dir. Tho- 
 masschule. His canon was "unity 
 of idea and perfection of form," 
 exemplified in his comps., enforced 
 upon his many eminent pupils 
 and exploited in many essays and 
 standard works, incl. " £>h' A^attir 
 dcr Harmoiiik unci Met?-ik" {i%2>3) \ 
 the posthumous, " Die Lehre von der 
 Harmoiiik" 1868, etc., c. opera, 
 '' Mathilde" (Cassel, 1826); quar- 
 tets, masses, etc. 
 
 Hauptner (howpt'-ner), Thuiskon, 
 Berlin, 1825 — 1889 ; conductor and 
 composer. 
 
 Hauschka (howsh'-ka),Vincenz, Mies, 
 Bohemia, 1766 — Vienna, 1840; 'cel- 
 list and barytone player ; composer. 
 
 Hause (how'-ze), Wenzel, b. Bohe- 
 mia, ca. 1796 ; prof, of double-bass, 
 Prague Cons.; writer. 
 
 Hausegger(hows'-eg-ger), (i)Fr. von, 
 b. Vienna, April 26, 1837 ; pupil of 
 Salzmann and Dessoff ; barrister at 
 Graz ; 1872 teacher of history and 
 theory, LTniv. of Graz ; writer. (2) 
 Siegmund von, German composer of 
 notable symphony '' Barbarossa" 
 (Munich, 1900) ; 2d cond. Munich 
 Kaim orch.; 1902, cond. Frankfort 
 Museum (vice Kogel) , 1903, ist 
 cond. Munich Kaim orch. 
 
 Hauser (how'-zer), (i) Fz., b. Craso- 
 witz, near Prague, 1794 — F'reiburg, 
 Baden, 1S70 ; bass-barytone ; teach- 
 er. (2) Miska (Michael), Press- 
 burg, Hungary, 1S22 — Vienna, 1887; 
 vln. -virtuoso ; composer. 
 
 Hauser (hi'-zer), Jn. Ernst, b. Dit- 
 tchenroda, near Quedlinburg, 1803 ; 
 teacher, Q. Gymnasium ; writer. 
 
 Hausmann (hows'-man), Valentin, 
 the name of five generations, (i) V. 
 I., b. Nilrnberg, 1484; a friend of 
 Luther ; composer and conductor. 
 His son (2) V. II., organist and 
 composer. His son (3) V. III., or- 
 ganist at Lobejiin, expert in org.- 
 building. His son (4) V. IV., or- 
 ganist and court-conductor at Koth- 
 en ; writer. His son (5) V. V. Vide 
 BARTHOLOMAUS ; Lobejun, 1678— 
 
ss^ 
 
 THE MUSICAL GUIDE 
 
 Lauchstadt, after 1740 ; cath. organ- 
 ist and theorist. (6) Robt., b. Rot- 
 tleberode, Harz Mts., Aug. 13, 1S52 ; 
 'cellist ; pupil of Th. Miiller, and 
 Piatti in London ; teacher, Berlin 
 Royal " Hochschule " ; since 1879, 
 member Joachim quartet. 
 
 Hau(l)tin (o-tah). P., La Rochelle, 
 ca. 1500 — Paris, 1580 ; first French 
 founder of musical types. 
 
 Hav ergal, Rev. Wm. H., Bucking- 
 hamshire, 1793 — 1S70 ; composer. 
 
 Haweis (ho.-.), Rev. H. R., Egham, 
 Surrey, 1838 — London, Jan. 30, 1901; 
 amateur violinist and popular writer 
 on music. 
 
 Hawes (hoz), Wm., Engl., London, 
 17S5 — 1846 ; conductor and com- 
 poser. 
 
 Hawkins (Sir), J., London, March 
 
 30, 1719 — Spa, May 14, 1789 ; an at- 
 torney ; eminent historian of music ; 
 knighted, 1772. 
 
 Hawley, Chas. B., b. Brookfield, Con- 
 necticut, U. S. A., Feb. 14, 1858; 
 organist at 13 there ; studied with G. 
 J. Webb, Revarde, Dudley Buck, 
 Mosenthal, etc., N. Y.; bass singer, 
 organist and composer of e.xcellent 
 songs. New York. 
 
 Hay'den, Geo., Engl., organist and 
 composer, 1723. 
 
 Haydn (hid'-'n), (2) (Fz.) Josef, Roh- 
 rau-on-Leitha, Lower Austria, March 
 
 31, 1732 — Vienna, May 31, 1S09 ; sec- 
 ond son of a wheelwright who was the 
 sexton and organist of the village 
 church, and a fine tenor, and whose 
 wife, Maria Koler, had ser\-ed as 
 cook for Count Harrach. She sang 
 in the choir. At 5, H. was taken to 
 the home of a paternal cousin, Frankh, 
 who taught him Latin, singing, the 
 vln. and other instrs. He was en- 
 gaged as a chorister for St. Stephen's, 
 and taught by Reutter the cond., who 
 gave him no encouragement and dis- 
 missed him in 1748. At 8, he went 
 to Vienna, and studied singing, vln. 
 and clavier, with Finsterbusch and 
 Gegenbauer. He studied harmony 
 chiefly from Fux' '' Gradus ad Parnas- 
 
 suin" and Mattheson's " Volkomme- 
 tier Kappelli/ieister." At 13 he c. a 
 mass. He obtained a few pupils, 
 and a Viennese tradesman lent him 
 150 florins, with which he rented an 
 attic-room and an old harpsichord. He 
 practised C. P. Bach's first 6 sonatas 
 and the vln. ; Metastasio taught him 
 Italian, and recommended him to a 
 Spanish family as teacher for their 
 daughter, who was studying with 
 Porpora. From Porpora, in return 
 for menial attentions, H. received 
 some instruction in comp. and a rec- 
 ommendation to the Venetian ambas- 
 sador for a stipend of 50 francs a 
 month. At 20, he had c. 6 trios, 
 sonatas, his first mass, and a comic 
 opera '' Der iieiie krumme Teufel" 
 (Stadttheater, 1752), a satire on the 
 lame baron Affligi the ct. -opera dir.; 
 this work was suppressed but revived 
 afterwards, and he received 24 ducats 
 for it. He began to make powerful 
 friends, and became Musikdirektor 
 and Kammercompositeur to Count 
 Fd. Maximilian Morzin. 1759 Prince 
 Paul Anton Esterhazy heard his ist 
 symph. and 1760 took him into his 
 service as 2d (later ist) conductor ; the 
 same year H. m. Maria Anna, the 
 elder sister of the girl whom he loved 
 and who had entered a convent.' 
 This marriage was as unhappy as' 
 one would expect. Prince Nikolaus 
 Esterhazy, who succeeded his bro. inj 
 1762, retained H. as conductor and! 
 in his service H. c. 30 symphonies,) 
 40 quartets, a concerto for French 
 horn, 12 minuets, most of his operas 
 etc. He was soon verj' pop. through 
 Europe, and royalty sent him gifts 
 1 78 5 commissioned to write a mass 
 " The Seven Words on the Cross,' 
 for the Cath. of Cadiz ; in I79( 
 Prince Nikolaus was succeeded by hi;, 
 son Anton, who kept H. as cond 
 and increased his stipend of 1,000 fio 
 rins to 1,400. In 179 1 on a pressing 
 invitation brought by Salomon, hi 
 went to England and was for i! 
 months the lion of the season. Ox 
 
 I 
 
 J 
 
3 k 
 «• pap^ 
 km la 
 realed 
 mii 
 'jsoi 
 
 4i 
 
 'm to: 
 iortlu 
 
 anamM 
 , bts 
 c. fitrii 
 iacoi 
 
 DICTIONARY OF MUSICIANS 553 
 
 ford made him Mus. Doc; and he c. 
 the so-called " Salomon Symphonies,'" 
 for his concerts. On his way home, 
 he visited his native place to witness 
 the unveiling of a monument erected 
 in his honour by Count Harrach. In 
 this year Beethoven became his pu 
 pil. 1794, he revisited London, with 
 renewed triumph, the King urging 
 him to stay, but, at the invitation of 
 a new Prince Esterhazy, he returned. 
 1797, he c. the Austrian national 
 Anthem. At 65, he prod, his great 
 oratorio "'The Creatio)i" {''Die 
 Sckopfung") ; in 1801 " The Sea- 
 sons" {''Die Juhreszeilen "). His 
 health failing he went into retire- 
 ment, appearing in public only once 
 in 1808, when he was carried in a 
 chair to hear a special performance 
 of the " Creation." His agitation 
 was so great that he had to be taken 
 away after the first half ; the throng 
 giving him a sad farewell, and Beet- 
 hoven bending to kiss his hands and 
 forehead. In 1S09, his death was 
 hastened by the shock of the bom- 
 bardment of Vienna by the French. 
 His astounding list of works in- 
 cludes besides those mentioned, 125 
 
 symphonies and overtures, incl. the 
 " Farewell " (" Abschiedssymphonie" 
 1772), the " Fire S." (" Fiiersymph., 
 1774). the "Toy S." {'• Kinder- 
 syiiiph.), "La Chasse" (1870), the 
 "Oxford' (1788), the "Surprise" 
 (" 5". 7ni/ dtni Pankenschlag" 1791) ; 
 " S. Ti'ith the drum-roll" {" S. viit 
 dem Fauken-ivirbel" 1795); 51 con- 
 certos for harpsichord, vln., 'cello, 
 lyre, barytone, double-bass, flute and 
 horn; 77 string-quartets; 175 num- 
 bers for barytone ; 4 vln. -sonatas ; 
 38 pf.-trios ; 53 sonatas and diverti- 
 menti ; an oratorio ' ' // Ritorno di 
 Tobia "; 14 masses ; 4 operas ; 4 
 Italian comedies ; 14 Ital. opere 
 buffe, and 5 marionette-operas ; mu- 
 sic to plays ; 22 arias ; cantatas, incl. 
 " Ariana a Naxos" " Deutschlands 
 Klage auf den Tod Friedrichs des 
 Grossen" " The 10 Coniiiiandiuents" 
 in canon-form ; 36 German songs ; 
 collections of Scotch and Welsh folk- 
 songs, etc. Biog. by S. Mayr, 1809; 
 K. F. Pohl (Leipzig, 1875, 1882 ; 
 completed by E. von Mandyczewski). 
 Haydn's diary is quoted from ex- 
 tensively in Krehbiel's "Music and 
 Manners " (New York, 1S98). 
 
 fflliel 
 
 
 iW 
 
 HILE the relative station in musical history of Bach, Handel, 
 Gluck, Mozart, and Beethoven is universally and definitely agreed 
 upon, various opinions may still be entertained of the merits and 
 lusii|i! ibsequent influence of Joseph Haydn's work as a composer. ^ This is all 
 e more remarkable as he never met with much opposition. Only at one time 
 uring his life, a k\w rather inferior critics earnestly tried to belittle him; bow- 
 lder, these were insignificant attempts, wholly unworthy of the closer attention 
 
 
 
 Joseph Haydn. 
 
 By August Spanuth. 
 
 , ia f the historian. Nowhere has the musical public been slow in acknowledg- 
 jbW| ig Haydn's genius. Even at the dme when he was Kapellmeister in the remote 
 A\i» town of Eisenstadt, his fame spread all ever Europe, and his compositions 
 
 gipiC 'cre loved, played, and sung in all the big and small cides. Nor has there even 
 :en a violent pardsanship pro and contra Haydn. All of which is easy enough to 
 )mprehend, inasmuch as he did not offend anybody's taste, even where he was 
 
554 THE MUSICAL GUIDE 
 
 most progressive in his compositions, and remained with his feet on the grounc 
 when his ideals were ever so lofty. ^] The source of his musical inventions wa 
 the song and the dance of the people, yes, one might say, the children's song 
 and his artistic development was as slow as it was steady, thus allowing hi 
 admirers time to grow with him. Even where he reaches the very summit o , 
 his art, his melodic invention bears the ear-mark of childlike naivete. ^ Anc '' 
 yet it seems impossible to have any two musicians determine the value 
 Joseph Haydn for the development of music, both entirely alike. Was he ; ; 
 reformer? The one will answer, *'Yes," and point out that there was n( 
 real symphony before Haydn ; that the old Italian symphony was nothinjij 
 else but an introduction to, or an interlude during, the opera ; that what then if 
 was of instrumental music before Haydn, was either in the way of fugues, anc. ^ 
 in the style of the concerto, or purely descriptive music. He will, further i 
 more, assert that Haydn created a thoroughly novel oratorio, doing awa; ;; 
 almost entirely with the old Italian st\Ie, and holding up his individuality ii i 
 spite of the tremendous influence of the Handel oratorio. ^[ The other on \ 
 will deny him the exalted title of a reformer, and, while he may readil; tj 
 admit that Haydn has added the JVIenuetto to the symphony, and fortunatel; -■{ 
 got rid of the clavicembalo, that he, moreover, succeeded in giving the solo 
 sonata and the string-quartette a concise and plastic shape, he will probabl; 
 insist that Haydn has done only very little that was essentially new, and that 
 in musical history, he can only rank as the man who paved the way for th 
 giant Beethoven. ^[ But no matter how opinions may differ on this point 
 one must own of Haydn, that he was the first great musician to introduce a 
 element of subjectiveness into instrumental music. And in so far one cannc 
 deny him the instinct of a reformer, though he hardly was conscious of it 
 He never abandoned traditions just because he had decided to create a ne\' 
 musical language; he simply followed the inner voice of his genius. •[ An 
 he could do so all the more freely, since he had never enjoyed a thorough an 
 severe musical education. He learned from here and there, he had mode 
 like Philipp Emanuel Bach, or Porpora, and Handel, etc., but he follower 
 none of them so closely as to restrict his own individuality in the least. O. 
 the other hand, there was no trace of the spirit of revolt in his system. H 
 very life is a strong proof for his peaceful and benevolent nature. When h 
 sweetheart took the veil, he allowed himself to be persuaded to marry hi 
 older sister, who was three years his senior, and a Xantippe. This, and tl 
 fact that he lived with her for more than forty years, stamps the man as of £ 
 almost angelic character. 
 
 Haydn (hid'-'n), (2) Jn. Michael, Roh- chorister, with compass of 3 octave 
 
 rau, Sept. 14, 1737 — Salzburg:, Au?. at St. Stephen's, Vienna, replacing h 
 
 10, tSo6 ; bio. of above; sjprano brother Josef. Studied \dn. and 
 
 i 
 
DICTIONARY OF MUSICIANS 555 
 
 : vaiiic 
 Waik 
 
 rewai 
 1; notli 
 •iviattl 
 
 ; tkS 
 
 iJualiii 
 ■otkn 
 ;ay ra 
 
 jsksi 
 
 !1 prals rj 
 ■,aD(li! 
 
 ■Ml} 
 
 
 gan, and became asst. - organist ; 
 1757, cond. at Grosswardein ; 1762, 
 dir. to Archbishop Sigismund, Salz- 
 burg; 1777, organist of the Cath. 
 and St. Paul's Ch. He m. Maria 
 Magdalena Lipp, an excellent sopra- 
 no ; iSSo he lost his property, by the 
 French occupation, but was aided by 
 his bro. and 2 others, and the Em- 
 press Maria Theresa rewarded him 
 for a mass c. at her command, in 
 which she sang the soprano solos. He 
 founded a school of composition, and 
 had many pupils, inch Reicha and 
 Weber. Frince Esterhazy twice 
 offered to make him vice-cond.; but 
 H. refused, hoping to reorganise the 
 Salzburg Chapel. His best works 
 were sacred music, which his brother 
 esteemed above his own. He declined 
 publication, however ; c. 360 church- 
 comps., inch oratorios, masses, etc., 
 30 symphonies ; operas, etc. Biog. 
 by .Schinn and Otter (Salzburg, iSoS). 
 ayes(haz), (r) Wm., Hanbury, Wor- 
 cestershire, Dec, 1706— Oxford, July 
 27, 1777 ; organist, conductor and 
 writer. (2) Philip, Oxford, April, 1738 
 —London, March ig, 1797 ; son and 
 pupil of ab(ive, and his successor as 
 Univ. Prof, of Mus. at Oxford ; also 
 organist there; c. oratorio ; a masque; 
 6 concertos, etc. (3) Catherine, 
 Ireland, 1S25 (or6) — S3^denham, 1861; 
 singer. 
 
 Haym (him), (i) (or Hennius), Gilles, 
 Belgian composer i6th cent. (2) 
 Italian composer, Aimo (a -e-mo), (3) 
 Niccolo Franc, Rome, ca. 167Q — 
 London, 1729 ; 'cellist and librettist. 
 
 Haynes, Walter B., b. Kempsey, 
 Engl., 1859; studied Leipzig Cons. ; 
 organist various churches ; prof. 
 of harm, and comp., R. A. M. 
 iays, Wm. Shakespeare, b. Louis- 
 ville, Ky., July 19, 1837; pub. nearly 
 300 pop. songs. 
 
 eap, Chas. Swinnerton, Birming- 
 ham, Engl., April 10, 1S47 — June 11, 
 1900 ; won the Mendelssohn scholar- 
 ship and studied at Leipzig Cons. ; also 
 organ with Best ; Mus. Doc. Cam- 
 
 bridge, 1872 ; cond. Birmingham 
 PhiL (1870-86), and other societies ; 
 c. an oratorio " 7yie Captivity "y can- 
 tatas, etc. 
 
 Hebenstreit (hab'-'n-shtrit), Pantale- 
 on, Eisleben, 1660 (9?) — Dresden, 
 1750; conductor; improved the dul- 
 cimer as the " Pantalon " (v. D. D.). 
 
 Hecht (hekht), Ed., Durkheim, Rhine 
 Palatinate, 1832 — Didsbury, near 
 Manchester, 1887 ; pianist ; prof, 
 and composer. 
 
 Heckel (hek'-el), Wolf, lutenist at 
 .Strassburg, i6th cent. 
 
 Heckmann (hek'-man), (i) G. Julius 
 Robt., ^Lannheim, 1848 — Glasgow, 
 189 1 ; violinist. His wife (2) Marie 
 (nee Hartwig), Greiz, 1843 — Co- 
 logne, 1S90 ; pianist. 
 
 Hedge land, Wm., organ - builder, 
 London, 1851. 
 
 Hedouin (ad-wah), P., Boulogne, 
 1789 — Paris, 1868 ; lawyer, writer, 
 librettist and composer. 
 
 Heermann (har'-man), Hugo, b. Heil- 
 bronn, March 3, 1844; violinist; 
 studied with J. Meerts Brussels Cons, 
 since 1865 ; lives in Frankfort as so- 
 loist and teacher at the Hoch Cons. 
 
 Heerimgen (ha'-rlng-en), Ernst von, 
 Grossmehlza, near Sondershausen, 
 1810 — Washington, U. S. A., 1855 ; 
 unsuccessful innovator in notation 
 and scoring. 
 
 Hegar (ha'-gar), (i) Fr., b. Basel, 
 Oct. II, 1841; studied Leipzig Cons., 
 1861 ; from 1863 cond. Subscription 
 Concerts, and of the Choral Soc, 
 Zurich ; 1875 founded Cons, at 
 Ziirich ; c. vln. -concerto in D ; succ, 
 dram, poem, " Manasse" for soli, 
 chorus and orch.; '' Festouvertiire" 
 etc. (2) Emil, b. Basel, Jan. 3, 1843; 
 bro. of above ; pupil, later 'cello- 
 teacher at Leipzig Cons. , and ist 
 'cello Gewandhaus Orch. ; then stud- 
 ied singing, now vocal-teacher Basel 
 Sch. of Mus. (3) Julius, bro. of 
 above ; 'cellist at Zurich. 
 
 Hegedus (heg-e-dush), Ferencz, b. 
 Hungary, 1872 (?) ; vioHnist ; succ, 
 debut, London, 1901. 
 
S5(> 
 
 THE MUSICAL GUIDE 
 
 Hegner (hakh'-n^r), (i) Anton, b. 
 Copenhagen, March 2, iS6i ; 'ceUist; 
 studied Copenh. Cons. ; at 14 played 
 with great succ; now teacher N. Y.; 
 c. 4 quartets ; 2 concertos for 'cello, 
 etc. (2) Otto, b. Basel, Nov. 18, 
 1876 ; pianist ; pupil of Fricker, Ru- 
 ber, and Glaus ; made debut very 
 early at Basel (1S88), England and 
 America, at the Gewandhaus, Leip- 
 zig, 1890 ; c. pf.-pcs. 
 
 Heide, von der. Vide von der h. 
 
 Heidingsfeld (hi'-dings-felt), L., b. 
 Jauer, Prussia, March 24, 1854; pu- 
 pil, later teacher Stern Cons., Berlin; 
 composer. 
 
 Height ington, Musgrave, i63o — 
 Dundee, 1774 ; organist and com- 
 poser. 
 
 Heinefetter (hl'-ne-fet-ter), (i) Sa- 
 bine, Mayence, 1805 (iSog?) — (in- 
 sane) lUenau, 1872 ; noted soprano ; 
 m. Marquet; her five sisters also sang 
 with succ. : (2) Clara (Mme. Stock- 
 el), Mayence, 1S16 — (insane), Vienna, 
 1857. (3) Kathinka, 1S20 — 1858. 
 (4) Fatima, m. a nobleman, Miklo- 
 witz. (5) Eva, and (6) Nan- 
 ette. 
 
 Heinemeyer (hl'-ne-mi-er), (i) Chr. 
 H,, 1796 — 1872; flutist at Hanover; 
 composer. (2) Ernst Wm,, Han- 
 over, 1S27 — Vienna, 1869 ; son of 
 above ; flutist and composer. 
 
 Heinichen (hl'-nlkh-en), Jn. D., Kros- 
 suln, near Weissenfels, 1683 — Dres- 
 den, 1729 ; dram, composer and 
 writer. 
 
 Heinrich (hin'-rlkh), (i) Jn. G., 
 Steinsdorf (Silesia), 1807 — Sorau, 
 18S2 ; organist, writer and composer. 
 (2) Heinrich XXIV., Prince Reuss 
 j. L., b. Dec. 8, 1S55 ; pianist ; c. a 
 symphonv, a pf.-sonata, etc. 
 
 Heinrichs' (h!n'-rlkhs), (i) Jn. Chr., 
 b. Hamburg, 1760; lives in St. Pet- 
 ersburg; writer on Russian music. 
 (2) Anton Ph., Schonbiichel, Bohe- 
 mia, 1781 — New York, 1S61 ; known 
 as " Father H." ; composer. 
 
 Heinroth (hin'-rot), (i) Chp. GL, for 
 62 years organist at Xordhausen. (2) 
 
 Jn. Aug. Giinther, Nordhausen, 
 1780 — Gottingen, 1846; son c 
 above ; director and composer. 
 
 Heintz (hints), Albert, b. Eberswaldfl 
 Prussia, March 21, 1882 ; organis! 
 " Petrikirche," Berlin; writer oj 
 Wagner ; composer. I 
 
 Heinze (hints -e), (i) Wm. H. H., H 
 1790 ; clarinettist in the Gewandhaij 
 Orch. (2) Gv. Ad., b. Leipzig, Oci 
 I, 1820 ; son and pupil of above ; :; 
 15 clarinettist in the Gewandhausj 
 1844, 2d cond. Breslau Th., an, 
 prod. 2 operas (of which his wi)| 
 wrote the libretti) ; 1S50, Amsterda: 
 as cond. ; c. 5 oratorios, 3 masses, 
 overtures, etc. (3) Sarah (nee Maj 
 nus), b. Stockholm, 1839 ; pianisf 
 pupil of KuUak, Al. Dreyschock, ai 
 Liszt ; lives in Dresden. 
 
 Heise (hi -ze), Peder Arnold, Cope! 
 hagen, 1830 — 1S79 't teacher aij 
 dram, composer. 
 
 Heiser (hi'-zer), Wm., Berlin, iSifr 
 Friedenau, 1S97; singer, bandmastc 
 and composer. ! 
 
 Hek king, Anton, 'cello virtuoso aij 
 teacher at the Stern Cons. i 
 
 Heller, Stephen, Pesth, May i| 
 1S15 — Paris, Jan. 14, 1SS8 ; notat} 
 composer who, like Chopin, confinj 
 his abilities to the pf. Lacking t| 
 breadth, passion and colour of Ch; 
 pin's, his music has a candour a.., 
 vivacity and a fascinating quaintm 
 that give it peculiar charm ; ] 
 etudes, simpler than Chopin's, are j 
 well imbued with art and person/ 
 ity. Studied piano with F. Brauf' 
 at 9 played in pub. with succ. ; ttt 
 studied with Czerny and Halm ; ; 
 12, gave concerts in Vienna, a'. 
 toured ; at Pesth studied a lit} 
 harmony with Czibulka ; at Au:» 
 burg, fell ill, and was adopted b)f 
 wealthy family, who aided his studi; 
 1838, Paris. Schumann praised i 
 first comp. highly. 1S49, Lond<^ 
 he played with succ. though inf,» 
 quently because of ner\^ousne; 
 thereafter lived in Paris. C. sevel 
 hundred pf.-pcs., incl. 4 sonatas ii 
 
 r- 
 
 4" 
 
_ DICTIONARY OF MUSICIANS 557 
 
 I abow; 
 Ewandl 
 Tl 
 a his 
 .•teai 
 
 ]W 
 
 ail, 18 
 
 the famous fitudes. Biogr. by H. 
 Barbadette (1876;. 
 
 Hellmesberger (hel'-mes-berkh-er), 
 (i) G, (Sr.), Vienna, -iSoo — Neuwal- 
 degg, 1873 ; violinist, conductor and 
 composer. (2) G. (Jr.), Vienna, 
 1830 — Hanover, 1852 ; son and pupil 
 of above ; violinist and dram, com- 
 poser. (3) Rosa, daughter of (2), 
 was a singer, debut 1SS3, ct. -opera, 
 Vienna. (4) Jos. (Sr.), Vienna, 1829 
 — 1893 ; son of (i) ; conductor, vio- 
 linist and professor. (5) Jos. (Jr.), 
 b. Vienna, April 9, 1855 ; son of (4); 
 violinist and composer of operettas, 
 ballets, etc. 1902, cond. Vienna 
 Philh. Orch. (6) Fd,, b. Vienna, 
 Jan. 24, 1863 ; bro. of above ; 'cellist 
 in ct. -orch. from 1879; from 1883 with 
 his father's quartet ; 1S85 teacher at 
 the Cons. ; 1886, solo 'cellist, ct. -opera. 
 
 lellwig (hel'-vlkh), K, Fr. L., Kli- 
 nersdorf, 1733 — Berlin, 1838; con- 
 ductor and dram, composer. 
 elm, Theodor, b. Vienna, April 9, 
 1843 ; studied law, entered govt, 
 service ; since 1867 critic for various 
 Ti journals, and writer; 1874, teacher of 
 mus. hist, and testhetics, Morale's 
 School of Music. 
 
 ielmholtz (helm'-holts), Hermann L. 
 Fd., Potsdam, Aug. 31, 1S21 — 
 Charlottenburg, Sept. 8, 1894 ; emi- 
 nent scientist ; pub. famous treatises 
 such as " Sensations of Tone as a 
 Physiological Basis for the Theory of 
 Music " {Lehre von den Tonempfin- 
 dungen als physiologische Griindlage 
 fiir die Theorie dcr Musik) (Bruns- 
 wick, 1863 ; English trans, by Ellis, 
 1S75) ; this work, the result of much 
 e.xperiment, is the very foundation of 
 modern acoustics, though Riemann, 
 who was in some opposition to H., 
 says his conclusions are not infallible, 
 and attacks are increasing upon him. 
 H. inv. also a double harmonium 
 with 24 vibrators to the octave ; this 
 lacks the dissonant 3rds and 6ths of 
 equal temperament (v. D. D.) and 
 permits the same modulation into ail 
 keys. 
 
 Hel'more, Rev. Thos., b. Kidder- 
 minster, May 7, 1811 ; composer. 
 
 Henderson, Wm. Jas., b. New- 
 ark, N. J., Dec. 4, 1855 ; prom- 
 inent American critic and writer ; 
 graduated Princeton Univ., 1876; 
 mainly self-taught in music ; 1883 re- 
 porter, from 1887 critic, N. V. Times; 
 lecturer on mus. hist. N. Y. Coll. of 
 Mus.; c. various light operas, songs, 
 etc.; pub. a " Story of Music,"'"' Prel- 
 tides and Studies," " What is Good 
 Music?"' (1898), ''How Music De- 
 veloped" (New York, 1899), " The 
 Orchestra and Orchestral Music" 
 (1899), " Wagner " (1902). 
 
 Henkel (henk'-el), (i) Michael, 
 Fulda, 1780 — 1851 ; composer. (2) 
 G. Andreas, Fulda, 1805 — 1871 ; 
 organist and composer. (3) H., b. 
 Fulda, Feb. 14, 1822 ; son and pupil 
 of (i), also studied with Aloys 
 Schmitt, and theory with Kessler and 
 Anton Andre ; 1849, teacher, etc., 
 Frankfort. (4) K., son of (3) ; stud- 
 ied in Berlin Hochschule ; lives in 
 London, as violinist. 
 
 Henley, Rev. Phocion, Wooten Ab- 
 bots, 1728 — 1764 ; English composer. 
 
 Henneberg(hen'-ne-berkh), Jn.Bapt., 
 Vienna, 1768 — 1822 ; organist, con- 
 ductor and composer. 
 
 Hen'nen, (i) Arnold, b. Heerlen, Hol- 
 land, 1820 ; pianist ; 1845 took first 
 pf. -prize, Liege Cons.; lives at Heer- 
 len ; composer. (2) Fr., b. Heerlen, 
 Jan. 25, 1830; bro. of above ; 1846 
 took first vln. -prize Liege Cons.; 
 1847, medal 1850-71, soloist in va- 
 rious London orchestras ; then re- 
 tired to Strythagen, near Heerlen ; 
 composer. (3) Chas., b. Dec. 3, 
 1861 ; son of (2) ; violinist at Ant- 
 werp. (4) Mathias, b. Heerlen, 
 1828 ; bro. of (i) ; 1852, first pf.- 
 prize Liege Cons.; since 1S60 teacher 
 at Antwerp, and prof, at the Cons. ; 
 composer, etc. 
 
 Hennes (h^n'-nes), (i) Aloys, b. Aix- 
 la-Chapelle, 1827 — Berlin, 1889; 
 pf. -teacher at various places ; com- 
 poser. (2) Therese, his daughter, b. 
 
558 
 
 THE MUSICAL GUIDE 
 
 Dec. 21, iS6i ; pianist ; studied with 
 KuUak. 
 
 Hennig (hen'-nikh), (i) K., Berlin, 1S19 
 — 1S73 organist, dir. and composer. 
 (2) K. Rafael, b. Jan. 4, 1845 ; son 
 of above ; pupil of Richter and Kiel; 
 1869-75, organist Posen ; 1873, 
 founder of "Hennig" Vocal Soc; 
 1883, Royal Mus. Dir. ; 1S92, R. 
 Prof. ; composer and writer. 
 
 Hen'nius. Vide haym, gilles. 
 
 Henschel (hen'-shel), (i) (Isidor) 
 Georg, b. Breslau, Feb. 18, 1850; 
 jiromineat barytone, pianist, and 
 teacher ; pupil of Wandelt and 
 Schaeffer, Breslau ; of Leipzig Cons, 
 also Kiel and Ad. Schulze (singing); 
 Berlin ; 1877-S0, lived in London ; 
 1881-84, cond. Boston (U. S. A.) 
 Symph. Orch. ; since 1885, London ; 
 founded the " London Symphony 
 Concerts" ; 1886-88, prof, of singing 
 R. C. Mus.; c. operas, ''' Friedrich der 
 Schone" and "A^ndia"; operetta, "A 
 Sea Change, or Love's Castaway "/ 
 an oratorio, etc. (2) Lillian (nee 
 Bailey), Columbus, Ohio, Jan., 1S60 
 — London, Nov. 4, 1901 ; pupil and 
 188 1 wife of above ; also studied 
 with C. Hayden and Viardot-Garcia ; 
 concert-soprano ; she and her hus- 
 band gave recitals with great art and 
 success. (3) Helen ; daughter of 
 above, soprano ; sang N. Y. 1902. 
 
 Hensel (hen'-zel), (1) Fanny Cacilia 
 (nee Mendelssohn), Hamburg, Nov. 
 14, 1805 — Berlin, .May 14, 1847 ; 
 eldest sister of feli.n: m., whose de- 
 voted companion she was, and who 
 died six months after her sudden 
 death. He said she was a better 
 pianist than he, and six of her songs 
 are pub. under his name : viz., his op. 
 8 (Nos. 2, 3, 12), and op. 9 (7, 10, 
 12); she pub: under her own name 
 " Gartenliedef-,'" part-songs and 
 songs; 0. also pf. -trios and pes. (2) 
 Octavia. Vide fonda. 
 
 Henselt (hen'-zelt). Ad. von. Schwa- 
 bach, Bavaria, May 12, 18 14 — ^Warm- 
 brunn, Silesia, Oct. 10, 1889 ; eminent 
 pianist who played with remarkable 
 
 sonority and emotion ; to obtain his 
 remarkable reach he c. and prac- 
 tised incessantly very difficult studies; 
 he c. a famous pf. -concerto, etudes, 
 etc. 
 
 Hentschel (hent-shel), (i) Ernst Ju- 
 lius, Langenwaldau, 1804 — Weissen- 
 fels, 1875. (2) Fz., Berlin, 1814— 
 1 889 ; teacher and dram, composer. 
 (3) Theodor, Schirgiswalde, Upper 
 Lusatia, 1S30 — Hamburg, 1892; 
 conductor, pianist and dram, cotn-j 
 poser. 
 
 Herbart (her'-bart), Jn. Fr., Olden- 
 burg, 1776 — Gottingen, 1841; writer. 
 
 Herbeck (her'-bek), Jn. Fz,' von, Vi-( 
 enna, Dec. 25, 1831 — Oct. 28, 1877 
 important cond., mainly self-taught ; 
 dir. 1866, ct.-cond. at Vienna and 
 prof, at the Cons. 
 
 Herbert, Victor, b. Dublin, Ireland, 
 Feb. r, 1S59 ; a grandson of Samuel 
 Lover, the novelist ; at 7, sent tc 
 Germany to study music ; ist 'cellc 
 ct.-orch. Stuttgart, and elsewhere 
 1886 solo 'cellist, Metropolitan Orch 
 New York ; later Theodore Thomas 
 and Seidl's orchs. (also associate 
 cond.) ; 1894, bandm. 22d Regt.,.vic' 
 Gilmore ; 1898, cond. of Pittsburg 
 (Pa.) Orch. (70 performers); c. spiritei 
 pes. for orch. and 'cello ; a 'cello, 
 concerto ; an oratorio, " The Cap. 
 tive " (Worcester Festival) ; and nt" 
 merous comic operas, incl. " Prim' 
 Ananias," a failure, " The IVizar, 
 of the Nile" v. succ, " The Ser,. 
 nade" " The IdoVs Eye" " Tt 
 Fortune Teller" and '■'The Singir^ 
 Girl" all v. succ, in which the ui 
 usual combination of Irish music: 
 humour and German scholarlines 
 iustifies their great success. ; 
 
 Hering (ha -ring), (i) K. GL, Scha:' 
 dau, Saxony, 1765 — Zittau, 1853; 
 teacher, editor and composer. ( 
 K. E., b. Oschatz, Saxony, iSog* 
 Bautzen, 1879 i son and pupil 
 above and successor as editor ; al 
 dram, composer. (3) K. Fr. Aug 
 Berlin, 1819 — Burg, near Magdebui 
 if'^o : violinist and composer. 
 
 I 
 
DICTIONARY OF MUSICIANS 559 
 
 erion (ha'-ri-6n), Abraham Adam, 
 
 Schonau, Odenwald, 1807 — Dresden, 
 1S93 ; pf. -teacher. 
 
 eritte - Viardot (ur-Gt-v'yar-du), 
 Louise Pauline Marie, b. Paris, 
 Dec. 14, 1 84 1 ; daughter of Viardot- 
 tkircia ; vocal-teacher St. Petersburg 
 Cons.; later at F'rankfort, and Ber- 
 lin ; m. Consul-Cleneral Ileritte ; c. 
 opera '' L'uulora" (Weimar, 1879), 
 and cantatas. 
 
 ermann (her'-man), (i) Matthias, 
 
 called Verrecoiensis, or Verreco- 
 
 rensis, from his supposed birthplace, 
 
 Warkenz or Vs'arkoing, Holland ; 
 
 Netherland cptist. i6th cent. (2) 
 
 Jn. D., (iermany, ca. 1760 — Paris, 
 
 1846 ; pianist and composer. (3) 
 
 Jn, Gf. Jakob, Leipzig, 1772 — 1848 ; 
 
 writer. (4) Fr., b. Frankfort, Feb. 
 
 I, 1S28 ; pupil of Leipzig Cons.; 
 
 1846-75, viola-plaj'er, Gewandhaus 
 
 and theatre orchs.; 1848, vln. -teacher 
 
 at the Cons. ; 1883 Royal Saxon Prof.; 
 
 c. symphony, etc.; editor and coDec- 
 
 tor. (5) Rheinhold L., b. Prenz- 
 
 lau, Brandenburg, Sept. 21, 1849 ; 
 
 pupil of Stern Cons., Berlin ; 187S-81 
 
 ;lir. of it ; 1871-78 singing-teacher 
 
 and cond. New York ; 1884, cond. 
 
 N. Y. " Liederkranz " ; 1887, prof. 
 
 f sacred history at the Theol.- Semi- 
 
 ary ; 1898, cond. ILandeland Haydn 
 
 Boston ; 1900 returned to Ber- 
 
 c. 4 operas incl. '' Viiteta" 
 
 Breslau, 1895), and " Wulfrin' (Co- 
 
 ogne, 1896) ; 5 cantatas, overtures, 
 
 ;tc. (6) Robt., b. Bern, Switzer- 
 
 nd, April 29, 1869 ; studied Frank- 
 
 ort Cons ; previously self-taught in 
 
 ither, pf., comp. and had c. works 
 
 »f much originality in which Grieg 
 
 tncouraged him ; 1893, studied with 
 
 iumperdinck, then went to Leipzig 
 
 md Berhn, where (1895) his sym- 
 
 hony, and a concert-overture were 
 
 irod. at the Philh., provoking much 
 
 ritical controversy ; now lives in 
 
 "■' 'g ; c. also ''Petites variations 
 
 our rire" for pf. and vln.; etc. 
 
 J7) Hans, b. Leipzig, Aug. 17, 1870; 
 
 ntrabassist and composer ; left an 
 
 orphan, he had a struggle with pov- 
 erty ; studied with Rust, Kretz, Scho- 
 ner and von Herzogenberg ; lives in 
 Berlin, and c. string-quartets, pf.- 
 pcs., etc., and many notable songs. 
 (S) J. Z. Yide zennkr. (9) Vide 
 
 HERRMANN. 
 
 Herman'nus (called Contractus or 
 " der Lahme," for his lameness), 
 Graf von Vehrihgen, Sulgau, Swabia, 
 July iS, 1013 — Alleshausen, near Bi- 
 "bcrach, Sept. 24, 1054 ; important 
 w riter and theorist. 
 
 Hermes (her'-mes), Ed., b. Memel, 
 I\Iay 15 (?), 1818 ; merchant, and com- 
 poser in Konigsberg, Prussia. 
 
 Hermesdorff(her'-mes-d6rf), Michael, 
 Trier (Treves), 1833 — 1885 ; organ- 
 ist, composer and editor. 
 
 Hermstedt (herm'-shtet), Jn. Simon, 
 Langensalza, near Dresden, 1778— 
 Sondershausen, 1S46 ; composer. 
 
 Hernandez (er-nan'-dcth), Pablo, b. 
 Saragossa. Jan. 25, 1S34 ; pupil of 
 Madrid Cons.; organist and (1863) 
 auxiliary prof, there; c. zarzuelas ; 
 a mass, symphony, etc. 
 
 Hernando (er-nan-do), Rafael Jos6 
 M., b. jNIadrid, May 31, 1822 ; pu- 
 pil of R. Carnicer, Madrid Cons., 
 1848-53, he prod, several succ. zar- 
 zuelas, some in collab.; later dir. 
 and composer to Th. des Varietes ; 
 1852, secretary, later prof, of harm., 
 Madrid Cons.; founded a Mutual 
 Aid Mus. Soc. 
 
 Herold (a-rol), (i) Louis Jos. Fd., 
 Paris, Jan. 28, 1791 — (of consumption) 
 Themes, near Paris, Jan. 19, 1833 ; 
 son of (2) Fran, Jos. H. (d. 1802 ; 
 pf. -teacher and composer, pupil of 
 P. E. Bach), who opposed his study- 
 ing music, though Fetis taught him 
 solfege and L. Adam, pf. After his 
 father's death (1802), he studied piano 
 with Louis Adam, Paris Cons, (first 
 prize, 18 10) ; harmony with Catel 
 and (from 1811) comp. with Mehul ; 
 [812 won the Prix de Rome, with 
 cantata "Mile, de la Valliere" ; 
 studied at Rome and Naples, where 
 he was pianist to Queen Caroline, 
 
560 
 
 THE MUSICAL GUIDE 
 
 and prod, opera "Za Giovcntu di 
 Enrico Quinfo " (iSls) ; Paris, 1815, 
 finished Boieldieu's " Charles de 
 France" (prod, with succ. 1816, Op. 
 Com.); "Z^j Rosieres" and "Za 
 Clochette" followed 1817, both v. 
 succ; others followed; the last (1S20) 
 failing, he imitated Rossini in several 
 operas, but recovered himself in the 
 succ. "i]/(7r?V" (1826) ; 1824, pianist, 
 later chorusm. at the Ital. Opera, 
 but soon relinquished. 1827 Chef du 
 Chant, at the Gr. Opera, for which 
 he wrote several succ. ballets, inch 
 " La So7nnambule" which gave a 
 suggestion to Bellini ; 1828, Legion of 
 Honour. ^'Zampa" (1831) gave him 
 European rank and is considered his 
 best work by all e.xcept the French, 
 who prefer his last work " Le Pre 
 aiix Clercs" (1832) ; he prod, also 
 '" LAuberge d'Airey" (1830) (with 
 Carafa), " Za Marquise de Brinvil- 
 liers" (1831), with Auber, Boieldieu, 
 Cherubini, and 5 others; and "Za 
 Mt'dicine sans MJdecin " (1832) ; he 
 left '"Liidovic" unfinished, to be com- 
 pleted by Halevy with succ. ; c. also 
 much pf.-mus. Biogr. by Jouvin 
 (Paris, 1868). 
 
 Herrmann (her'-man), (1) Gf.,Sonders- 
 hausen, 1808 — Llibeck, 1878; violin- 
 ist, pianist, organist and dram, com- 
 poser. (2) K., d. Stuttgart, 1S94.; 
 'cellist. (3) Klara, daughter of (2) ; 
 pupil of Leipzig Cons.; pianist ; lives 
 in Llibeck. 
 
 Herschel (her-shel), Fr. Wm. (Angli- 
 cised, Sir William Herschel, K.C. 
 H.,D.C.L.), Hanover, 1738 — Slough, 
 near Windsor, 1S22 ; oboist ; organ- 
 ist at Bath ; astronomy, in which he 
 won such fame, was till 17S1 only his 
 diversion. 
 
 Hertel (her'-t'l), (i) Jn. Chr., Oetting- 
 en, Swabia, 1699 — Strelitz, 1754 ; sing- 
 er, viola da gambist, violinist and 
 composer. (2) Jn. Wm., Eisenach, 
 1727 — Schwerin, 1789; son and pu- 
 pil of above ; violinist, conductor 
 and composer. (3) K., 1784-1868 ; 
 violinist. (4) Peter L., Berlin, 
 
 1817 — 1899; son of above; com- 
 poser. 
 
 Herther (her'-ter), F., pen-name of 
 H. Gunther. 
 
 Hertz (hertz), Alfred, b. Frankfort-on- 
 ALiin, July 15, 1872 ; studied Raff 
 Cons.; from 1895 2d-cond. various 
 cities; 1S99 cond. city theatre Breslau;i 
 1S99 London ; 1902 Met. Op., N. Y.: 
 
 Hertzberg (herts'-berkh), Rudolph 
 von, Berlin, 1S18 — 1893; conductot: 
 and editor. | 
 
 Herv6 (rightly Florimond Rongeji 
 (er-va or roh-zha), Houdain, neai 
 Arras, June 30, 1825 — Paris, Nov. 4 
 1892; singer, then organist, con 
 ductor ; in Paris acting as librettist 
 composer and actor, and producinj 
 flippant but ingenious little works ii 
 which French operetta finds a rea 
 origin ; c. over 50 operettas, als« 
 heroic symphony " The Ashank 
 War" and ballets. (2) Gardel, so 
 of above, prod. 1871 operetta "A", 
 «?', c'est fini." 
 
 Hervey (har'-vK), Arthur, b. of Iris 
 parents, Paris, Jan. 26, 1855 ; pup 
 of B. Tours (harm.) and Ed. Mario 
 (instr.) ; intended for the diplomat 
 service, till 1880 ; critic of " Vanii 
 Fair" ; from 1892, London " Post' 
 c. a i-act opera, a dram, overtu; 
 " Love and Fate" etc. 
 
 Herz(hertsorers), (i) Jacques Simo]; 
 Frankfort, Dec. 31, 1794 — Nic 
 Jan. 27, 1880; of Jewish parentag( 
 studied at Paris Cons, with Pradhe; 
 pianist and teacher in Paris ; thi 
 London; 1857, acting-prof. Pai 
 Cons.; c. vln. -sonatas, etc. ( 
 Henri, Vienna, Jan. 6, 1S06 — Par 
 Jan. 5, 1888 ; ist prize pf.-pu] 
 Paris Cons. ; very popular as touri: 
 pianist ; succ. as mfr. of pianos ; c 
 tained extravagant prices for 1 
 comps. ; prof, at the Cons. ; writer 
 
 Herzberg (herts'-berkh), Anton, 
 Tarnow, Galicia, June 4, 1825 ; p 
 nist; pupil of Bocklet and Preyi 
 Vienna ; toured Europe, and receivi 
 many decorations ; 1866, pf.-tead 
 Moscow ; composer. 
 
 1 
 
II DICTIONARY OF MUSICIANS 561 
 
 lerzog (her'-tsokh), (i) Jn. G., b. 
 
 Schmolz, Bavaria, Sept. 6, 1822 ; 
 pupil of Bodenschatz, and at Altdorf 
 Seminary ; 1842, organist at Munich ; 
 1S48, cantor ; 1S50, organ - prof, 
 at the Cons.; 1854, mus. dir. Er- 
 langen Univ.; 1S66, Dr. Phil.; 
 later prof. ; retired 188S ; lives in 
 Munich; composer. (2) Emilie, b. 
 Diessenhofen, Thurgau, ca. 1S60 ; 
 soubrette coloratura - singer ; pupil 
 ; Zurich Sch. of Mus., then of Glogg- 
 ner, and Ad. Schimon, Munich ; de- 
 but, Munich (1879?); 1889, Berlin 
 ct. -opera. 
 
 erzogenberg (her'-ts6kh-en-berkh), 
 (i) H. von, Graz, Styria, June 10, 
 1843 — Wiesbaden, 1900; prof, at 
 Berlin, etc. ; director, professor and 
 composer. (2) Elizabeth (ne'e von 
 Stockhausen) (?) 1848— San Remo, 
 1892 ; pianist, wife of above. 
 f't ies'eltine, Jas., d. 1763; English or- 
 ''" Iganist and composer. 
 
 less, (i) Joachim, organist, writer and 
 carillonneur, Gouda, Holland, from 
 1766 — 1810. (2) A. H., organ-builder 
 at Gouda ; bro. of above. (3) Willy, 
 b. Mannheim, July 14, 1859 ! violin- 
 ist, pupil of his father and Joachim ; 
 it ig Konzertmeister at Frankfort, 
 1SS6 at Rotterdam, then England ; 
 1895 rst vln.-prof. Cologne Cons., 
 ■ md 1st vln. Glirzenich Quartet. 
 l;sse (hes'-se), (i) Ernst Chr., 
 jrossen-Gottern, Thuringia, 1676 — 
 Darmstadt, 1762 ; viola-da-gambist, 
 :onductor. (2) Ad. (Fr.), Breslau, 
 [809 — 1863 ; org. -virtuoso and com- 
 poser. (3) Julius, Hamburg, 1823 — 
 ' 3erlin, 188 1 ; introduced the present 
 neasurement for pf.-keys ; and pub. 
 . method. (4) Max, b. Sonders- 
 lausen, Feb. 18, 1S58 ; 1880 founded 
 ,aus. pub. house in Leipzig ; in 1883, 
 ■}.\' bunded H. und Becker. 
 .WH Htsch (hetsh), K. Fr. L., Stuttgart, 
 '■:■ '806 — Mannheim, 1872; pianist, 
 iolinist and dram, composer. 
 Fuberger (hoi'-berkh-er), Richard 
 •"z. Jos., b. Graz, Styria, June 18, 
 ^50; a civil engineer ; in 1876 took 
 
 36 
 
 up music, which he' had previously 
 studied; chorusm., Vienna academi- 
 cal Gesangverein; 1878 cond. Sing- 
 akademie ; c. operas " Abenteuer 
 einer Ncttjahrsnacht " (Leipzig, 
 1886); ''Manuel Venegas" {Ao., 1889), 
 remodelled as " Mirjam " (Vienna, 
 '94) ; 2 operettas ; overture to Byron's 
 " Cain," etc. 
 
 Heubner (hoip'-ner), Konrad, b. 
 Dresden, i860; pupil of the " Kreuz- 
 schule" there; 1878-79, at Leipzig 
 Cons, and writer ; with Riemann, lat- 
 er Nottebohm, Vienna ; Wiillner, 
 Nicode and Blassmann, Dresden ; 
 1882, cond. Leipzig Singakademie ; 
 1884, asst. cond. Berlin Singakade- 
 mie ; 1890, dir. Coblenz Cons, and 
 Mus. Soc. ; c. a symphony, overtures, 
 etc. 
 
 Heugel (u-zhel), Jacques Ld., La 
 Rochelle, 1815 — Paris, 1883; editor 
 and publisher. 
 
 Heumann (hoi-man), Hans, b. Leip- 
 zig, Aug. 17, 1870 ; at 18, double- 
 bass in orch. at Cassel ; studied with 
 W. Rust, at Leipzig Cons, and 
 Kretschmer at Dresden ; later with 
 von Herzogenberg at Berlin ; lives in 
 Berlin ; pub. a suite in sonata-form 
 for vln. and pf.; over 100 songs of 
 all kinds, etc. 
 
 Hew'itt, J. H., b. New York, 1801; 
 from 1845 lived in Baltimore ; c. 
 oratorios, incl. '' Jepktha" operas, 
 etc. 
 
 Hey (hi), Julius, b. Irmelshause, 
 Lower Franconia, April 29, 1832 ; 
 studied with Lachner (harm, and 
 cpt.), and F. Schmitt (singing) ; later 
 with von Billow at the Munich Sch. 
 of Mus. (estab. by King Ludwig 
 n. on Wagner's plans); attempted a 
 reform in the cultivation of singing, 
 but resigned at Wagner's death 
 (1883), and pub. important vocal 
 method, '' Deutscher Gesangsiinter- 
 richt" (4 parts, 1886), exploiting 
 Wagner's views. Wagner called him 
 "the chief of all singing-teachers." 
 1887, Berlin; later Munich; com- 
 poser. 
 
562 
 
 THE MUSICAL GUIDE 
 
 Heyberger (hi-berkh-er), Jos., Hett- 
 stadt, Alsatia, 1831— Paris, 1892 ; 
 organist, composer and conductor. 
 
 Heyden (hi'-d'n), (r) Sebald, Xurn- 
 berg, 1498 (1494?) — 1561; cantor, 
 writer. (2) Hans, Xurnberg, 1540 — 
 1613 ; son of above ; organist ; inv. 
 the " Geigenclavicimbal." 
 
 Heydrich (hi'-drlkh), Bruno, b. Leu- 
 ben, near Lommatzsch, Saxony, 1865; 
 pupil of Dresden Cons.; 1879-82, 
 took prizes as double-bass player, 
 pianist and coniposer ; for a year in 
 von Billow's Weimar orch.; 4 years 
 Dresden ct.-orch.; also studied sing- 
 ing with Scharfe, Hey and v. Milde ; 
 succ. debut as tenor at Sonders- 
 hausen theatre ; prod. v. succ. i-act 
 opera-drama, with pantomimic pro- 
 logue, ''Amen" Cologne, 1895; c. 
 songs. 
 
 Heyniann (hl'-man), (i) Karl, pianist, 
 b. Filehna, Posen, Oct. 6, 1854. Son 
 of (2) Isaac H. (cantor) ; pupil of 
 Hiller, Gernsheim, Breunung and 
 Cologne Cons, and of Kiel ; ill-health 
 ended his promising career as virtu- 
 oso ; till 1S22, mus. dir. at Bingen ; 
 court-pianist to the Landgrave of 
 Hesse, 1877-80, Hoch Cons., Frank- 
 fort ; c. concerto '' ElfcnspicV 
 " .ITuinmeiischanz" " Phantasie- 
 
 stiicke," etc., for piano. 
 
 Heymann-Rheineck (hl'-man-rl'-nek) 
 (K. Au^. Heymann), b. Burg-Rhei- 
 neck on Rhine, Nov. 24, 1852 ; pian- 
 ist ; pupil Cologne Cons., and R. 
 Hochsc'iule, Berlin; since 1S75, 
 teacher there ; composer. 
 
 Hayne VanGhizeghem (also Hayne, 
 or Ayne, "Henry"); Netherland 
 contrapuntist and court-singer, ca. 
 145s. 
 
 Hiebsch (hepsh), Josef, Tyssa, Bohe- 
 mia, 1854— Carlsbad, 1S97; teacher 
 aid writer in Vienna. 
 
 Hiedler (het'-ler), Ida, b. Vienna, 
 Aug. 25, 1S67; soprano ; studied with 
 Ress ; debut, Berlin ct. -opera, 1887. 
 
 Kientzsch (hentsh), Jn. Gf., Mo- 
 krehna, near Torgau, 17S7 — Berlin, 
 1856 ; teacher, composer and writer. 
 
 Hieron'ymus de Morvia, ca. 1260, 
 Dominican friar, Paris; writer. 
 
 Hignard (en-yar) (J. L.), Aristide, 
 Nantes, 1822 — Vernon, 1S98 ; the 
 preface to his "Hamlet" writter 
 1868, not prod, till Nantes, 1888 
 shows him to have attempted a new 
 and serious manner, but he founc 
 production only for comic opera; 
 which were usuallv succ. 
 
 Hildach (hll'-dakh),' (i) Eugen, b. Wit 
 tenberg-on-the-Elbe. Nov. 20, 1849!, 
 barytone ; pupil of Frau Prof. El' 
 Dre'yschock. (2) Anna (nee Schi 
 bert, b. Konigsberg, Prussia, Oct. 5 
 1852; wife of above; mezzo-sopranc! 
 teacher Dresden Cons., 1880-86. 
 
 Hildebrand (hel'-de-brJint), (i) Z 
 charias, Saxony, 1680 — 1743 ; org. 
 builder. His son, (2) Jn. Gf., w 
 equally eminent. 
 
 Hiles (hilz), (i) J., Shrewsbury, 18 
 — London, 1882 ; organist, 
 and composer. (2) H., b. Shre 
 bury, Dec. 31, 1826; bro. and pU] 
 of above ; organist various church( 
 1867, Mus. Doc. Oxon ; 1876, lecl 
 urer ; later, prof. R. Manchest' 
 Coll. of Music ; 1885, editor ai 
 writer ; c. 2 oratorios, 3 cantatas, : 
 historic opera, etc. 1 
 
 Hilf (helf), (i) Arno, b. Bad Elsbl 
 Saxony, March 14, 1858 ; vln.-virli 
 oso ; son and pupil of (2) Wm. CI' 
 H. ; from 1872 he also studied vr 
 David. Rontgen, and Schradie( 
 Leipzig Cons.; second concertr 
 1878, and teacher at Moscow Con 
 (i883) Sondershausen ; 1878, leac 
 Gewandhaus orch. , Leipzig ; 1st v 
 prof, at the Conservatorium. 
 
 Hill, (i) Wm., London, iSoo— i8-l 
 org.-builder. (2) Wm, Ebswor, 
 London, 1817 — Hanlev, t>-q5 : vl- 
 maker. (3) Thos. H'. Weist, L.- 
 don, 1828 — iSgi; \nolinist. cond- 
 tor and composer. (4) Uroli *i 
 New York, 1S02 (?)— 1875 ; violini- 
 (5) Wm., b. Fulda, March 28, iSJ; 
 pianist ; pupil of H. Henkel Id 
 Hauff ; since 1S54 lives in Frankf-', 
 c. prize-opera " Alona"; vln.-s(^= 
 
 J 
 
DICTIONARY OF MUSICIANS 563 
 
 tas, etc. (()) Junius Welch, b. 
 Hingham, Mass., Nov. iS, 1S40; pu- 
 pil of J. C. D. Parker, Boston, and 
 of Leipzig Cons.; organist various 
 churches ; till 1S97, prof, of Mus. 
 at Wellesley Coll. ; now teacher and 
 editor. (7) K., Idstein, Nassau, 
 1840 — insane asylum, Sachsenberg, 
 Mecklenburg, 1S93 ; barytone ; cre- 
 ated " Alberich" at Bayreuth. 
 
 :Hille (hll-le), (i) Ed., Wahlhausen, 
 Hanover, 1822 — Gottingen, 1891 ; 
 cond. and teacher, (c) Gv., b. Jeri- 
 chow-on-EIbe, near Berlin, May 31, 
 1S51; violinist; pupil of R. Wiierst 
 (theory), KuUak's Acad., 1869-74 w. 
 Joachim (vln.) ; lives in Berlin, as a 
 solo -player; 1879, invited to the 
 -Mendelssohn Quintet Club, Boston, 
 Mass.; toured; then teacher at Mus. 
 Acad., Phila.; c. 5 vln. -concertos 
 with orch., etc. 
 
 Hillenmacher (hH'-len-makh-er, or el- 
 ah-ma-sha), two brothers, (i) Paul 
 Jos. Wm., b. Paris, Nov. 25, 1852. 
 (2) Lucien Jos, Ed., b. Paris, June 
 10, 1S60 ; both studied at the Cons., 
 and took the first Grand Prix de 
 Rome, (i) in 1876 ; (2) in 1880. 
 They write all their scores in collab- 
 oration. C. symph. legend '' Lore- 
 /v"(i882, City of Paris prize) ; succ. 
 opera " St. Megrin " (Brussels, 
 1SS6), etc.; " Orso/a" (Gr. Opera, 
 Paris, 1902). 
 
 filler (Hiiller) (hll'-ler), (i) Jn. 
 Adam, Wendisch-Ossig, near Gor- 
 litz, Dec. 25, 1728— Leipzig, June 
 16, 1S04 ; pupil of Hornilius (Kreuz- 
 schule) and U. of Leipzig ; flutist in 
 concerts, and teacher; 1754 tutor to 
 the son of Count Briihl ; 1758, ac- 
 companied him to Leipzig, where he 
 lived thereafter; -^1763, revived, at 
 his own expense, the subscription 
 concerts, which developed into the 
 famous "Gewandhaus" concerts, of 
 which he was cond.; 1771, founded a 
 singing-school ; 1789-1801, cantor 
 and dir. Thomasschule. He founded 
 the " Singspiel,'' from which German 
 " comedy-opera " developed, contem- 
 
 poraneously with oprra biiffa and 
 opi'ra comiqiie. In his dram, works 
 the aristocratic personages sing arias, 
 while the peasants, etc., sing simple 
 ballads, etc. His Singspicle, all 
 prod, at Leipzig, had immense vogue, 
 some of the songs being still sung ; 
 1766-70, he wrote, edited collections, 
 etc. ; c. also a Passion cantata, funer- 
 al music (in honour of Hasse), sym- 
 phonies and partitas, the looth 
 Psalm, etc. Biog. by Carl Peiser 
 (Leipzig, 1895). (2) Fr. Adam, 
 Leipzig, 1768 — Konigsberg, Nov. 23, 
 1812 ; violinist and tenor; son and 
 pupil of above ; mus. dir. of Schwe- 
 rin Th. ; 1803, cond. of Konigsberg 
 Th.; c. 4 operettas, etc. (3) Fd. 
 von, Frankfort, Oct. 24, 181 1 — Co- 
 logne, May 12, 1S85 ; of wealthy Jew- 
 ish parentage ; a pupil of Hofmann 
 (vln.), Aloys Schmitt (pf.) and \'oll- 
 weiler (harm, and cpt.) ; at 10 played 
 a Mozart concerto in public, at 12 
 began comp. ; from 1825 pupil of 
 Hummel ; at 16 his string-quartet 
 was pub. Vienna ; at 15, he saw Beet- 
 hoven on his death-bed; 1828-35, 
 taught Choron's School, Paris ; then 
 independently giving occasional con- 
 certs ; 1836, he returned to F" rank- 
 fort, and cond. the Cacilien-Verein ; 
 1S39, prod. succ. opera '' Roinilda" 
 at Milan; oratorio, ''Die Zerslor- 
 ung Jerusakms " (Gewandhaus, 
 1840) ; 1 84 1, studied church-music 
 with Baini, Rome ; 1843-44 he cond. 
 the Gewandhaus ; prod, at Dresden, 
 2 operas ; 1847, municipal cond. at 
 Di'isseldorf ; 1850 at Cologne, where 
 he organised the Cons. ; cond. Giirze- 
 nich Concerts, and the Lower Rhine 
 Festivals ; 1852-53, cond. Opera Ita- 
 lien, Paris ; 1868, Dr. Philh. h. c. 
 Bonn Univ. ; 1884 he retired. He 
 was a classicist in ideal of the Men- 
 delssohn type and his comp. are of 
 precise form and great clarity. He 
 was also a lecturer and writer on 
 music. Hec. 3 other operas, 2 orato- 
 rios, 6 cantatas, 3 overtures, 3 sym- 
 phonies, a ballad ''■Richard Lowen^ 
 
564 
 
 THE MUSICAL GUIDE 
 
 herz"' with orch. (1883), etc. (4) 
 Paul, b. Seifersdorf, near Liegaitz, 
 Nov., 1830; 1870, asst. -organist, 
 and since 1881 organist St. Maria- 
 Magdalena, Breslau ; composer. (5) 
 Emma, b. Ulm ; studied with Sit- 
 tard and Hromada ; court-singer at 
 Wiirtemberg. 
 
 Hill mer, (i) Fr., Berlin, ca. 1762 — 
 184.7 '> viola-player ; a son of his (2) 
 was a singing-teacher in Berlin. 
 
 Hil'pert, W. Kasimir, Fr., Nurn- 
 berg, 1841 — Munich, 1896 ; "cellist. 
 
 Hilton, J., d. 1657 ; English organist 
 and composer. 
 
 Him'mel, Fr. H., Treuenbrietzen, 
 Brandenburg, 1765 — Berlin, 1814; 
 court-cond. and dram, composer. 
 
 Hind'le, J., Westminster, 1761 — 1796; 
 composer. 
 
 Hine, Wm., Oxfordshire, 1687 — 1730; 
 composer and organist. 
 
 Hings'ton, J., d. 1683 ; Engl, organ- 
 ist to Chas. I. ; and composer. 
 
 Hinke (Mnk'-g), (i) Gv. Ad., Dresden, 
 1844 — Leipzig, 1893 ; oboist. Son of 
 (2) Gf. H., d. 1851. 
 
 Hinrichs (hin'-rtkhs), Fz., Halle-on- 
 the-Saale, ca. 1820 — Berlin, 1S92 ; 
 composer and writer on music. His 
 sister (2) Maria, Vide franz. 
 
 Hip kins, Alfred Jas., b. West- 
 minster, June 17, 1S26 ; writer ; an 
 authority on ancient instrs., etc. ; 
 was for a time in business with 
 Broadwood ; wrote many articles for 
 the " Encyclofxvdia Britaitnica" and 
 " Grove's Dictionary of Music ," also 
 books on old instr. and pitch. 
 
 Hirn (hern), Gv. Ad., Logelbach, near 
 Colmar(AIsatia), i8i5^Colmar, 1890; 
 writer. 
 
 Hirsch (hersh), (i) Dr., Rudolf, Napa- 
 gedl, Moravia, 18 16 — Vienna, 1872 ; 
 critic, poet and composer. (2) Karl, 
 b. Wemding, Bavaria, March 17, 
 1858 ; studied in Munich ; 1885-87, 
 church mus.-dir., Munich; 18S7-92, 
 Mannheim ; then Cologne ; since 
 1893, dir. various societies, etc. ; c. 
 numerous pop. a cappclla choruses, 
 cantatas ; " Werinher^' a dram. 
 
 poem with orchestration (op. 119) 
 etc. 
 
 Hirschbach (hersh'-bakh), H., Berlin 
 1S12— Gohlis, 1888 ; editor and con- 
 poser. 
 
 Hirschfeld (hersh'-felt), Robt., b. Mc 
 ravia, 1S58 ; studied Vienna Cons, 
 later lecturer there ; 1884 teacher ( 
 musical :\;sthetics ; took Dr. Phi: 
 with dissertation on ''Johannes i\ 
 Maris "/ he wrote a pamphlet again 
 Hanslick in defence of ancient a cuj 
 pella music, and founded the "R 
 naissance-Abende" to cultivate it. 
 
 Hitz'ler, Daniel, Haidenheim, Wu 
 tenberg, 1756 — Stuttgart, 1635; write 
 
 Hobrecht (ho'-brekht) (or Obrech 
 Obreht, Ober'tus, Hober'tus), J 
 kob, Utrecht, ca. 1430 — Antwer 
 ca. 1506 ; church composer of gre 
 historical importance. 
 
 Hobbs, J. Wm., Henley, 1799 — Crc 
 don, 1877 ; tenor and composer. 
 
 Hochberg (hokh'-berkh), Bolko, Gi 
 von (pseud. J. H. Franz), b. Furste 
 stein Castle, Silesia, Jan. 23, 184' 
 maintained the H. quartet at Dresdt, 
 1876 founded the Silesian music if- 
 vals ; 1886, general intendant Pr 
 sian Ct. Th.; prod. 2 operas; 
 symphonies, etc. 
 
 Hod ges, (i) Edw., Bristol, Engl., i; 1 
 — Clifton, 1867 ; organist and writ' 
 (2) Faustina Hasse, daughter .• 
 above, d. New York, Feb., iSr; 
 organist and composer. (3) Rev.l 
 Seb. Bach, D.D., son of abo- ; 
 rector St. Paul's Ch., Baltimore; • 
 ganist. 
 
 Hoffmann (hof'-man), (i) Euchari , 
 b. Heldburg, Franconia, cantor t 
 Stralsund ; writer and compo . 
 1577-84. (2) Ernst Th. (At; 
 deus) Wm. (he added Amadeusfm 
 love of Mozart), Konigsberg, 177- 
 BerUn, 1822; gifted poet, caricatui;, 
 and dram, composer. (3) H. A> 
 (called H. von Fallersleben), ' i- 
 lersleben, Hanover, 1798 — Ca e 
 Korvei, 1874; writer. (4) Richil. 
 b. Manchester, Engl., May 24, li ; 
 pianist and teacher ; pupil of s 
 
DICTIONARY OF MUSICIANS 565 
 
 father, and de Meyer, Pleyel, Mosch- 
 eles, Rubinstein, Dohler, Thalberg, 
 and Liszt; since 1847, New York ; 
 solo pianist witli Jenny Lind on 
 tours, etc.; also with von Billow, 
 in N. Y. (1875) ; c. anthems, pf.- 
 pcs., etc. (5) Karl, b. Prague, Dec. 
 12, 1S72 ; violinist ; studied Prague 
 Cons.; founder and ist vln. the fa- 
 mous "Bohemian String-quartet." 
 (6) Baptist, b. Garitz, July 9, 1S64 ; 
 bar}'tone ; studied with Tipka and 
 Stockhausen ; 1888-94 at Cologne ; 
 1897 ct. -opera, Berlin. 
 loffmeister (hof'-ml-shter), Fz, An- 
 ton, Rotenburg-on-Neckar, 1754 — 
 Vienna, 1812 ; conductor and dram, 
 composer, etc. 
 
 Iofhaimer(h6f'-hT-mer) (Hoffheimer, 
 Hoffhaimer, Hoff haymer), Paulus 
 von, Radstadt, Salzburg, 1459 — Salz- 
 burg, 1537 ; eminent organist ; luten- 
 ist, composer and teacher. 
 i [ofmann (hof-man), (i) Chr., ca. 
 1668 ; cantor at Krossen : writer. 
 (2) H. (K. Jn.), Berlin, Jan. 13, 
 1842 — July 19, 1902; pupil of Wiirst, 
 KuUak's Academy ; famous pf. -vir- 
 tuoso and teacher ; prod. succ. op- 
 eras '' Ca7-touche'' (Berlin, 1869) 
 and " Donna Diana" and 4 others ; 
 and succ. orch. works, "' Hmigarian 
 Suite " (1873) and '' Frithjof" symph. 
 (1874) ; is a Prof., and a member of 
 the Berlin R. Acad, of Arts ; c. 6 
 other operas, "secular oratorio" 
 ''Prometheus" (1896); cantatas; 
 " Sckauspier' overture ; " Trauer- 
 marsch" Qtc, for orch.; a vln.-so- 
 ':;: nata, etc. (3) Richard, b. Delitzsch, 
 Prussian Sa.Kony, April 30, 1844 ; son 
 of municipal mus.-dir.; pupil of 
 Ti I Dreyschock and Jadassohn ; lives in 
 Leipzig as teacher ; pub. a valu- 
 able " Praktische Instrunientations- 
 ;,'. \schide" (Leipzig, 1893), a catechism 
 j.jB.: of instrs., etc. (4) Casimir (rightly 
 ■ile'jK Wyszkowski) (wesh-kof'-shkl), b. 
 - Cracow, 1842 ; pianist ; prof, of 
 harm, and comp. at Cons., and cond. 
 of opera, Warsaw. (5) Josef, b. 
 Cracow, Jan. 20, 1S77. Son and 
 
 (till 1892) pupil of (4) ; at 6 played in 
 public ; at 9 toured Europe ; at 10 
 gave 52 concerts in America ; then 
 studied 2 years with Rubinstein and 
 made new debut in Dresden, 1894, and 
 has toured Europe since and (1899) 
 America ; from being a sensational 
 prodigy, he has developed into a solid 
 artist of great power, virtuosity and 
 charm ; lives in Berlin ; c. concerto, 
 etc. 
 
 Hofmeister (hof'-ml-shter), (i) Fr., 
 17S1 — 1S64 ; publisher; his son and 
 successor (2) Ad. H,, ca. 1818 — Leip- 
 zig, 1S70 ; was succeeded by Albert 
 Rothing, b. Leipzig, Jan. 4, 1845. 
 
 Ho'garth, G., Carfrae Mill, near Ox- 
 ton, Berwickshire, 1783 — London, 
 1S70 ; 'cellist and composer; his 
 daughter m. Charles Dickens. 
 
 Hohlfeld (hol'-felt), Otto, Zeulenroda, 
 Voigtland, 1S54 — Darmstadt, 1895 ; 
 vln. -virtuoso and composer. 
 
 Hohnstock (hon'-shtok), Carl, Bruns- 
 wick, 1828 — 1889 ; teacher, violinist, 
 pianist and composer. 
 
 Hoi, Richard, b. Amsterdam, July 23, 
 1S25 ; pupil Martens (org.) and of 
 Bertelman (harm, and cpt.) ; teacher 
 at Amsterdam ; 1862, city mus.-dir., 
 Utrecht ; 1S69, cath. -organist ; 1875, 
 dir. Sch. of Mus.; also cond. " Dili- 
 gentia " Concerts at The Hague, Clas- 
 sical Concerts at Amsterdam; 1878, 
 officer of the French Academy ; c. 
 oratorio ''David" (op. 81) ; 2 operas ; 
 2 symphonies, etc. 
 
 Hoi'borne, Antony and Wm., Eng- 
 lish composers, 1597. 
 
 Hol'combe, (i) H., Salisbury, ca. 
 1690 — ca. 1750 ; singer, teacher and 
 composer. (2) Josephine, soprano, 
 N. Y., and (3) Philip G., harp- 
 maker, London, both descendants 
 of (I). 
 
 Hol'den,* Oliver, Charlestown, Mass.; 
 before 1792, publisher ; composer, 
 his comp. incl. the hymn-tune " Cor. 
 onation." 
 
 Holder, (i) Rev. Wm., Nottingham- 
 shire, ca. 1614 — Amen Corner, 1697 ; 
 writer, editor and composer. (2) 
 
566 
 
 THE MUSICAL GUIDE 
 
 Jos. Wm., St. John's Clerkenwell, 
 1764 — 1S23 ; organist and composer. 
 
 Holdrich, Geo. M., English org.- 
 builder, 183S. 
 
 Hollander (hol'-lant-er), (i) Jans (de 
 Hollandere), or Jean de Holland, 
 Xetherland contrapuntist (1543-58). 
 (2) Chr. Janszone, Dordrecht (?), 
 Holland, ca. 1520— Munich, ca. 
 1570 ; son of above ; conductor and 
 composer. 
 
 Hollander (hoi -lent-er), (i) Alexis, 
 1). Katibor, Silesia, Feb. 25, 1840; 
 pianist ; pupil of Schnabel and Hesse 
 at Breslau ; cond. of the Gymnasium 
 Singing Society; 1858-61, studied 
 with Grell and A. W. Bach, and K. 
 Bohmer, Berlin, R. Akad.; 1861, 
 teacher at Kullak's Acad.; 1864, 
 cond.; 1870, cond. the " Cacilien- 
 verein"; 188S, professor; c. 6 pf. 
 Intermezzi for left hand, etc. (2) 
 Gv., b. Leobschlitz, Upper Silesia, 
 Feb. 15, 1855 ; played in public very 
 early ; pupil of David, of Joachim 
 (vln.), and Kiel (theory) ; 1874, prin- 
 cipal teacher Kullak's Acad, and 
 royal chamber-mus. ; toured Austria 
 with Carlotta Patti ; 1S81, teacher at 
 the Cons., Cologne; 1884, leader at 
 the Stadttheater ; 1894, dir. Stern 
 Cons., Berlin; 1S96, concertmeister 
 of a new orch., Hamburg; c. vln. 
 and pf.-pcs. (3) Victor, b. Leob- 
 schiitz, April 20, 1866 ; pupil of Kul- 
 lak ; c. the succ. i-act comic operas 
 " Carmosinella " (Frankf. -on - M., 
 1SS8) ; " The Bey of Morocco " (Lon- 
 don, 1S94) and piano-pieces. 
 
 Hollangue. Vide monton. 
 
 Hollmann (hol'-man), Josef, b. Maes- 
 tricht, Holland, Oct. 16, 1S52 ; not- 
 able 'cellist ; studied with Gervais ; 
 toured Europe, England and Amer- 
 ica ; court-mus. , Holland, and wears 
 many decorations. • 
 
 Holly, Fz, Andrs., Luba, Bohemia, 
 1747 — Breslau, May 4, 1783; dir. 
 and writer at various theatres ; com- 
 poser. 
 
 Holmes (homz), (i) Edw., near Lon- 
 don, 1797 — U. S,, 1859 ; pf.-teacher, 
 
 editor and critic. (2) Wm. H,, 
 Sudbury, Derbyshire, 1812 — London, 
 1885 ; pianist and professor. (3] 
 Alfred, London, 1837 — Paris, 1876 
 son of above ; dram, composer. (4] 
 Hy., b. London, Nov. 7, 1839 ; bro, 
 of above ; vln. -prof. R. C. ^I.; c. 4J 
 symphonies, etc. 
 
 Holmes (ol'-mes) (rightly Holmes) 
 Augusta Mary Anne, b. (of Iris? 
 parents) Paris, Dec. 16, 1847 ; a: 
 first a pianist ; studied comp. witl 
 Lambert, Klose and Cesar Franck 
 1S73, prod, a psalm, " In Exiiu" 
 1874, a i-act symphony " Ht'ro e 
 Leandre " (Chatelet) ; the sympho 
 nies " LuUce" and " Les Argo 
 nautes" 1883 ; symph. " Irlande^ 
 1885 ; unsucc. drama " La Montagn 
 Noire" (Gr. Opera), 1895 ; symphoni< 
 poems, ''Roland,'' '' Pologne" " Ai 
 Fays Bleu"; 2 operas, etc.; sb 
 sometimes uses pseud. ''Herman, 
 Zenta." 
 
 Hoist (hoist), Edvard, Copenhag( 
 1S43— N. Y., 1899; lived in N. Y. 
 was an actor, stage-dancer, dancing 
 master and playwright ; also com 
 poser of pop. song and pf.-pcs., ove 
 2,000 works in all. 
 
 Holstein (hoi -shtln), Fz. (Fr.) voc 
 Brunswick, 1826 — Leipzig, 1878 
 dram, composer. 
 
 Holten (hol'-ten), K. von, b. Hair 
 burg, July 26, 1836 ; pianist ; pup^ 
 of J. Schmitt, Ave-Lallemant 
 Gradener, and at Leipzig Consi 
 since 1874, teacher Hamburg Cons| 
 c. a Kindersvmphonie, etc. 
 
 Holy (6'-le), Alfred, b. Oporto, Auj 
 5, 1866 ; harp-virtuoso ; son and pi 
 pil of a cond. and teacher froi 
 Prague ; studied at Prague Cons 
 and lived there till 1896, when 1 
 went to the Berlin ct. -opera. 
 
 Holyoke (hdl'-ydk), Samuel, Bo: 
 ford, Mass., 1771 — Concord, N. H, 
 1S16 ; teacher. j 
 
 Holz (holts), K., Vienna, 1798—185^=. 
 violinist and composer. 
 
 Holzbauer (holts'-bow-er), Ignaz, \ 
 enna, 1711— Mannheim, 1783: com 
 
 
DICTIONARY OF MUSICIANS 567 
 
 conductor and dram, composer ; high- 
 Iv praised by Mozart, 
 (dlzel (hel'-tsel), (i) K., Linz-on- 
 Donau, iSoS — Pesth, 1S83; composer. 
 (2) Gustav, Pesth, 1813— Vienna, 
 1SS3 ; bass and composer. 
 iolzl (hel'-ts'l), Fz. Severin, Malacz- 
 ka, Hungary, iSoS — Funikirchen, 
 1SS4; conductor and composer. 
 omeyer (h5'-mi-er), name of a mu- 
 sical family. Tlie most prom, of 
 them is (r) Paul Joseph M,, b. Os- 
 terode, Harz, Oct. 26, 1S53 ; famous 
 organist at the Gewandhaus, and 
 teacher Leipzig Cons. (2) Jn. Just. 
 Adam, editor. His son (3) H. H. 
 (1S32 — 1S91), was organist at Lam- 
 springe ; St. Leipzig Cons. ; and also 
 with his uncle (4) J. M. H. (d. Oct. 5, 
 1S94), organist at Duderstadt. 
 omilius (ho-me'-li-oos), Gf. Aug., 
 Rosenthal, Saxony, 17 14 — Dresden, 
 17S5 ; eminent organist and com- 
 poser. 
 
 ood, Helen, b. Chelsea, ]\Iass., June 
 23, 1863 ; pupil of B. J. Lang (pf.) 
 and Chadwick (comp.), Boston ; and 
 Moszkowski (pf.) ; lives in Boston; 
 composer. 
 
 00k, Jas., Norwich, 1746 — Boulogne, 
 1827 ; organist and composer, 
 oop'er, Edmond, Halberton, De- 
 von, ca. 1553 — 1621 ; composer. 
 ope'kirk, Helen, b. near Edinburgh; 
 studied with Lichtenstein and A. C. 
 Mackenzie ; for 2 years at Leipzig, 
 later with Leschetizky ; debut as 
 pianist at Gewandhaus, Leipzig, 
 1878 ; gave concerts in Great Britain 
 and (1883-84) U. S.; 1897-igoi, 
 teacher N. E. Cons.; now private 
 teacher, Boston, Mass.; c. Concert- 
 stuck for pf. and orch.; 1894, orch. 
 pes.; a pf. -concerto ; sonata for pf. 
 and vln., and songs. 
 opffer(h6p'-fer), L. Bd., Berlin, 1840 
 — Xiederwald, near Rudesheim, 1S77; 
 Iram. composer. 
 
 op kins, (i) Edw. J., Westminster, 
 June 30, iSiS— London, Feb. 4, 
 1901 ; self-taught organist at various 
 churches; 1843-1898, to the Temple 
 
 Ch., London; wrote " The Organ ; 
 its History ami Construction " (Rim- 
 bault) ; contributed to Grove's Diet, 
 of Mus. ; c. 3 prize anthems, hymn- 
 tunes, chants and church - services. 
 
 (2) Edw. Jerome, Burlington, Vt., 
 1S36— Athenia, N. J., 1898; self- 
 taught in harmony ; began composing 
 at 4 ; organist, editor and lecturer. 
 
 (3) Harry Patterson, b. Baltimore ; 
 graduated Feabody Inst.. i8g6 ; 
 studied with Dvorak in Bohemia ; 
 lives in New York ; c. a symphony, 
 songs, etc. 
 
 Hoplit. Vide pohl, r. 
 
 Horak (ho'-rak), (i) Wenzel (Vaclav) 
 Emanuel, Mscheno-Lobes, Bohe- 
 mia, iSoo — Prague, 1871 ; organist, 
 teacher and composer. (2) Ed., Ho- 
 litz, Bohemia, 1S39 — Riva, Lake of 
 Garda, 1892 ; teacher and writer. (3) 
 Ad., b. Jankovic, Bohemia, Feb. 
 IS, 1850 ; bro. of above and co- 
 founder, "Horak" Pf.-School, V^i- 
 enna ; writer. 
 
 Horn, (i) K. Fr., Nordhausen, Saxony, 
 1762 — Windsor, Engl., 1830 ; organ- 
 ist, writer and theorist. (2) Chas. 
 Edw., London, 17S6 — Boston, 
 Mass., 1849; son of above; singer, 
 teacher, cond., and composer. (3) 
 Aug., Freiberg, Saxony, 1825 — 
 Leipzig, 1893 ; dram, composer. 
 
 Horneman (h6r'-ne-man\ (i) Johan 
 Ole Emil, Copenhagen, 1S09 — 1870; 
 composer. (2) Chr. F. Emil, b. 
 Copenhagen, Dec. 17, 1841 ; son and 
 pupil of above ; studied at Leipzig 
 Cons. ; dir. of sch. of mus. in Copen- 
 hagen ; covertures " A iaddin" and 
 '' HelLicnleben" ftXc. 
 
 Hornstein (hom'-shtln), Robt. von, 
 Stuttgart, 1833 — Munich, 1890; 
 dram, composer. 
 
 Hors'ley, (i) Wm., London, 1774 — 
 1858 ; organist, theorist and com- 
 poser. (2) Chas. Edw., London, 
 1822 — New York, 1876 ; son and pu- 
 pil of above ; organist, writer and 
 composer. 
 
 Horwitz (hor'-vlts), Benno, b. Berlin.. 
 March 17, 1855 ; violinist and com' 
 
568 
 
 THE MUSICAL GUIDE 
 
 poser ; pupil of the Rl. Hochschule, 
 and of Kiel and Albert Becker ; c. 
 symph. poem '' Dionysos" etc. 
 
 Hostinsky (ho-shten'-shkt), Ottokar, 
 b. Martinoves, Bohemia, Jan. 2, 
 1847; Dr. Phil., Prague; writer. 
 
 Hoth'by (or Hothobus, Otteby, Fra 
 Ottobi), John (or Johannes), d. 
 London, Nov., 14S7; English Carmel- 
 ite monk ; famous for science. 
 
 Hotteterre (6t'-tar), (i) Henri, d. 
 1683 ; instr. -maker, musette player, 
 ct. -musician. (2) Louis (called " Le 
 Remain," having lived in Rome) ; 
 son of above ; notable flutist and 
 writer. (3) Nicolas, d. 1695 ; noted 
 bassoonist and oboist ; bro. of (2). 
 
 Ho'ven, J., pen - name of V. von 
 Putt-Lingen, 
 
 Howard, (i) Samuel, 1710 — 1782 ; 
 English organist and composer. (2) 
 G. H., b. Norton, Mass., Nov. 12, 
 1843 > pupil of J. Tufts (theory), and 
 B. F. Baker (singing), also at Leip- 
 zig Cons.; teacher in Boston; 1891, 
 founder and dir. School for Teach- 
 ers ; composer. 
 
 How'ell, (i) Jas., b. Plymouth, Eng- 
 land, d. 1879 ; singer and double-bass 
 player. His 2 sons : (2) Arthur, d. 
 1885 ; double-bass player and bass 
 singer. (3) Edw., 'cellist. 
 
 How'gill, Wm., Engl, organist and 
 composer, 1794. 
 
 Hoy'land, (i) J., Shefheld, 1783— 1827 ; 
 organist and composer. (2) Wm., d. 
 1857 ; son of above ; organist. 
 
 Hrimaly (h'rlm'-ii-le), Adalbert, b. 
 Pilsen, Bohemia, July 30, 1842 ; vio- 
 linist ; pupil of Mildner, Prague 
 Cons., 1861; cond. Gothenburg orch., 
 1868; National Th., Prague; at the 
 German Th., there in 1873, and 
 at Czernov^ritz, Bukowina, in 1875 ; 
 his succ. opera '' Der Verzaiibcrte 
 Prinz " (1871) is still played at 
 Prague. 
 
 Hromada (h'ra'-mii-du), A., Kladno, 
 Bohemia, Dec. 23, 1841 — 1901 ; not- 
 able bass-barytone ; pupil of Pivoda, 
 Stockhausen and Fra Lamperti; debut 
 Ct.-opera, Stuttgart, 1866 ; has sung 
 
 there since ; has also toured and is( 
 heavily decorated. 
 
 Hubay (hoo'-ba-e) (or Huber), (i) 
 K., Varjas, Hungary, 1828— Pesth,| 
 18S5 ; vln.-prof. , Pesth Cons.; con- 
 ductor and dram, composer. (2) 
 Jend (known as Eugen Huber iri 
 Germany), b. Budapesth, Sept. 15,^ 
 1858 ; vioUnist ; son and pupil ol: 
 above, and 1886 his successor as 
 prof.; also studied with Joachim 
 gave succ. concerts in Hungar)' 
 and at Paris ; 1882 principal vln, 
 prof., Brussels Cons.; 1894, m. 
 Countess Rosa Cebrian ; c. succ, 
 opera ' ' Der Geigettmacher von Cre 
 w^««" (Pesth, 1893); opera "Alie- 
 nor" (Pesth, 1S92) ; succ. Hungariai 
 opera " A Falu Rossza " (The Town 
 loafer) (Budapesth, 1896) ; a sym 
 phony, etc. 
 
 Huber (hoo'-ber), (i) F., d. Berne 
 Feb. 23, 18 ro; poet and song-com 
 poser. (2) Fd., 1791 — St. Gallen 
 1863 ; Swiss song-writer. (3) K 
 Vide HUB.w. (4)jos., Sigmaringen 
 1837 — Stuttgart, 1886 ; violinist ano 
 dram, composer. (5) Hans 
 .Schonewerd, Switzerland, June 28 
 1852; pupil Leipzig Cons.; teache 
 at Wesserling for 2 years, then 
 Thann (Alsatia), later Basel Musi 
 School ; 1892, Dr. Phil. h. c, 
 Univ. ; 1896, dir. of the Mus. Sch. 
 c. succ. operas " Weltfriihling 
 (Basel, 1894) ; and " Gudrun 
 (Basel, 1896) ; cantatas, sonatas 
 concertos, overtures '' Lnsispiel, 
 symph. " Tell" etc. (6) Eugen; 
 
 Vide HUBAY, JENO. 
 
 Hu bermann, Bronislaw, PoHsh vie 
 linist ; succ. debut as prodigy ; re 
 tired for five years' study ; reap 
 peared, Bucharest, 1902. 
 
 Hubert (hoo'-bert), Nikolai Alberto 
 vitch, 1840 — 1888 ; prof, and writei 
 at Moscow. 
 
 Huberti (u-ber'-te), L6on Gve., t 
 Brussels, April 14, 1843 ; pupil Brui 
 sels Cons. ; 1865, won Pri.x de Romt 
 1874-78, dir. of Mons. Cons. ; i88c 
 89, Antwerp ; since prof, at Brusse 
 
 ^ 
 
DICTIONARY OF MUSICIANS 569 
 
 Cons., and dir. of the Mus. -School of 
 St. Josse - ten - Noode - Schaerbeek ; 
 1891, member of the Belgian Aca- 
 demy ; 1893, chevalier of ■ the 
 Legion of Honour. C. 3 oratorios, 
 the dram, poem " Ver/ichditg" 
 (" Fiat lux "), with orch. ; symphonic 
 poem " Kinderlust en Leed" chorus 
 and orch., etc.; symphonie funebre, 
 festival marches, etc. 
 iucbald (hook'-balt, oriik-bal) (Hug- 
 baldus, Ubal dus, Uchuijaldus) 
 deS.Amand(o), ca. S40 — St. Amand, 
 near Tournay, June 25 (or Oct. 21), 
 930 (or June 20, 932). He is perhaps 
 credited with some works belonging 
 to a monk of the same name living a 
 century later , pupil of his uncle, 
 Milo, a mus. -dir., whose jealousy 
 drove him to Nevers, where he taught 
 singing ; S72 he succeeded his uncle ; 
 ca. 893, the Archbishop of Rheims 
 invited him to reform the music of 
 the diocese. His works (Gerbert) 
 contain the first known notation 
 showing difference of pitch on lines. 
 iudson, (i) Robt., 1731 — Eton, 
 1815 ; singer, organist and composer. 
 (2) Mary, daughter of above ; organ- 
 ist and composer, 1801. 
 ilue (ii), Georges Ad., b. Versailles, 
 \ May 6, 1858; pupil of Paris Cons., 
 ; took 1st Grand pri.x de Rome ; later 
 Prix Cressent ; 1. Paris as teacher ; 
 c. op. com. '' Les Pantins" (Op.- 
 Com., 1881) ; "■Rubcza/il" symphonic 
 legend in 3 parts (" Concerts Co- 
 lonne," 1S86) ; succ. " Feerie drama- 
 tique " "Z<7 Belle au Bois Dormant" 
 (Paris, 1894); "episode sacre " 
 , "Ressttrrection'' ; a symphony, a 
 symphonic overture ; 2 operas " Va- 
 zanftr," and " Le Roi de Paris " (not 
 prod.), etc. 
 jlueffer (hlif'-fer), Francis, Munster, 
 I 1843 — London, Jan. ig, 1899; 1869, 
 ■ lived in London ; from 1878, critic of 
 
 TJu Times ; librettist and writer. 
 lugo von Reutlingen (hoo'-go fon 
 roit'-llng-en) (called " Spechzhart "), 
 1285 (1286?)— 1359 (1360?) ; writer. 
 luguenet (ug-na). Vide girard. 
 
 Huhn (hoon), Charlotte, b. Liineburg, 
 Sept. 15, 1 868 ; alto ; studied with 
 Hoppe, Hey, and Marianne Brandt ; 
 sang 2 years at the New York Opera, 
 then at Cologne; 1895 Dresden; 1900 
 Vienna ct. -opera. 
 
 Hul lah, John Pyke, Worcester, June 
 27, 1812 — London, Feb. 21, 18S4 ; 
 professor, conductor, writer and 
 dram, composer. 
 
 Hiiller, J. A, Vide hiixer. 
 
 Hiillmandel (hll'-mant-'l), (i) Nicho- 
 las Jos., Strassburg, 1751 — Lon- 
 don, 1823 ; pianist and harmonica- 
 player. (2) Rodolphe, famous horn- 
 virtuoso and composer , uncle of 
 above. 
 
 Hullweck (hll'-vek), (i) Fd., Dessau. 
 1824 — Blasewitz, 1887 ; concert-vio- 
 linist and composer. (2) K., b. Dres- 
 den, April 15, 1852 ; son of above ; 
 pupil of Fr. Grutzmacher ('cello) ; 
 Reichel and Merkel (harm, and cpt.); 
 1877-82 'cellist Dresden ct.-orch. ; 
 'cello-teacher, Dresden Cons. ; com- 
 poser. 
 
 Hiilskamp (htls'-kamp), Henry (or 
 Gv. Heinrich), b. Westphalia ; 1850 
 established a factory at Troy, N. Y. ; 
 1866, N. Y. 
 
 Hume, Lobias, Engl, viol da gambist, 
 etc., 17th cent. 
 
 Hum'frey (Humphrey, Humphrys), 
 Pelham, London, 1647 — Windsor, 
 July 14, 1674 ; important English 
 composer. Charles IL sent him to 
 Paris to study with Lully ; 1672 
 master Chapel Royal children and 
 with Purcell ct. -composer. 
 
 Hummel (hoom'-mel), (i) Jos., music- 
 master Wartberg Military Acad. ; 
 1786, conductor at Vienna. (2) Jn. 
 Nepomuk, Pressburg, Nov. 14, 1778 
 — Weimar, Oct. 17, 1837; son of above; 
 a famous pianist and improviser, and 
 a composer of once popular pieces in 
 which ornament outweighs matter ; 
 and form, interest ; protege of Mo- 
 zart ; debut 1787 ; toured Europe fre- 
 quently; 1793 studied with Albrechts. 
 berger ; asst.-cond. to Haydn, 1804- 
 l\ \ 1830 and 1833 cond. German 
 
J70 
 
 THE MUSICAL GUIDE 
 
 opera in London ; c. operas, canta- 
 tas, ballets, 3 masses, sonatas; he pub. 
 a notable pf. -method ; c. dram, pes., 
 concertos, sonatas, septet in D minor, 
 etc. (3) Elisabeth (nee Rockl), 
 1783 — Weimar, 1S83 ; wife of above; 
 opera-singer. (4) Jos. Fr., b. Inns- 
 bruclc, Aug. 14, 1841 ; pupil Munich 
 Cons., 1861-80 ; th.-cond. Vienna, 
 since 1880 dir. Mozarteum at Salz- 
 burg, and cond. Liedertafel. (5) 
 Fd., b. Berlin, Sept. 6, 1855 ; son 
 and pupil of a musician ; at 7 a harp 
 virtuoso; 1864-67 toured Europe, 
 and received a royal grant for study 
 at Kullak's Akademie, Berlin ; 187 1- 
 75, studied R. High Sch. of Mus., 
 then at Akademie; c. succ. operas, 
 ''Mara" (Berlin, 1893); '' Ein 
 Treuer Schelm " (Prague, 1894) ; 
 " Assar/>(7i" (Gotha., 1898); a sym- 
 phony, sonatas, etc. 
 Humperdinck (hoom'-pgr-dlnk), En- 
 gelbert, b. Siegburg, near Bonn, 
 Sept. I, 1854 ; studied architecture, 
 Cologne, then mus. at the Cons. ; 
 won Mozart scholarship at Frank- 
 fort ; studied 2 years with Franz 
 Lachner, Munich, also with Rhein- 
 berger and Barmann at the Cons. ; 
 pub. Humoreske for orch. and " Z)/> 
 Wallfahrt nach Kevclaar" for cho- 
 rus ; 1S78 won the Mendelssohn 
 prize (3,000 marks), 1880 the Meyer- 
 beer prize (7,600 marks) ; 1885-86, 
 prof. Barcelona Cons.; 1881-82, a 
 special protege of R. Wagner in Bay- 
 reuth ; made pf. -scores, and aided in 
 the preparation of " Parsifal^ Re- 
 turned to Cologne, 1887, went to 
 Mayence in the employ of Schott & 
 Co. ; 1890 teacher Hoch Cons., 
 Frankfort. Critic on the Frankfort 
 Zeitung, since lives at Boppard-on- 
 Rhine. His first international succ. 
 was the graceful 2-act fairy-opera 
 " Hiinsel tind Gretel" Munich, 
 1893 (prod, at Milan, 1897, as Miuo 
 e Rita); c. also '' Doniroschen" ; 
 ''Die' Konigskinder " (1896); " Saint- 
 Cyr ,-" " Die 7 Geieslein " (" March- 
 enspiel fur die Kleinen ") ; symph. 
 
 incid. mus., " Moorish Rhapsodie" 
 for orch., etc. 
 
 Huneker (hu'-nek-er), Jas. (Gibbons), 
 b. Philadelphia, Jan. 31, i860; 
 prominent critic and writer ; at first 
 intended for the priesthood ; pupil of 
 Michael Cross (pf.) at Philadelphia, 
 1878, with Th. Ritter and Ld. Dou- 
 treleau, Paris ; since 1888 lives in 
 New York as pf. -teacher at the Nat. 
 Cons. ; for some time mus. and dram, 
 critic of the Com/nercial Advertise* 
 and The Recorder; 1901 of the N. Y. 
 Sun ; has for many years written the 
 brilliant " Raconteur" department of 
 the Mus. Courier. Many of his es- 
 says were reprinted with gieat succ 
 3iS " Afezzotints in Modern Music' 
 (New York, 1899) ; his biogr. anc 
 critical "Chopin, the Man and his 
 Music" (N. Y., 1900) is an impor- 
 tant book ; and his " Melonianiacs'" 
 (1901), studies of musical personalities 
 and moods in the form of short sto- 
 ries, is a work of unique insight and 
 ingenuity. He is preparing a life of 
 Liszt. 
 
 Hungar (hoong'-ar), Ernst, b. Schon- 
 bach, Aug. 5, 1854 ; barytone ; pupil 
 of Stockhausen ; teacher at Dresden 
 and Cologne Cons.; sangat Schwerin 
 ct. -opera ; lives in Leipzig. ; 
 
 HunkS (hoon'-ke), Jos., josephstadt,; 
 Bohemia, 1801 — St. Petersburg, 1883;' 
 choirm. Russian ct. -chapel ; com-, 
 poser. 1 
 
 Hunten (htn'-ten), (i) Fz., Coblenz.. 
 1793 — 1S78 ; c. pop. pf.-pcs. , etc 
 His brothers, (2) Wm., pf. -teacher! 
 Coblenz, and (3) Peter Ernst, aj 
 Duisburg, also c. pop. pieces. 
 
 Hurel de Lamare (u'-rel-dCi-la-mar)! 
 Jacques Michel, Paris, 1772 — Caen' 
 1S23 ; 'cellist and composer; hi 
 friend Auber pub. some comp. unde 
 H.'s name. 
 
 Huss (hoos), (i) G. J., b. Roth, nea' 
 Niirnberg, Sept. 25, 1S2S ; son am 
 pupil of (2) Jn. Michael (pianist) 
 also studied org. with Lambrecht 
 1848, America as organist variou 
 churches. 1S56, New York, org. pf. 
 
DICTIONARY OF MUSICIANS 571 
 
 teacher and composer. (3) H. Hold- 
 en, b. Newark, N. J., June 21, 1S62 ; 
 concert-pianist and teacher ; son and 
 pupil of (i) ; studied with O. B. 
 Boise (cpt. and comp.), also at Mu- 
 nich Cons.; lives in N. Y. as teacher 
 of pf., comp. and instr. ; pub. pf.- 
 concerto, ballade '" Haidenrdslein,'' 
 etc.; he has also works in MS., but 
 performed with succ. : rhapsody for 
 pf. and orch. , ''Festival Sanctiis" 
 for chorus and organ, with orch. ; a 
 vln.-concerto ; romanze and polonaise 
 for vln. with orch.; a pf.-trio, ''Cleo- 
 patra's Death" etc. 
 lutch inson, (1) J., organist and com- 
 poser Durham cath., 17th cent. (2) 
 I Francis, English composer under 
 ( pseudon\'m ' ' Francis Ireland, " 
 
 \ i-ni. 
 
 lutschenruijter (hoot'-shen-roi-ter), 
 (i)Willem, Rotterdam, 1796 — 1878 ; 
 horn- and trumpet-virtuoso ; profess- 
 or, conductor, director and dram, 
 composer. (2) Willem, b. March 
 22, 1828 ; son of above ; horn-virtu- 
 oso. 
 
 Bttenbrenner (htt' - ten - bren - ner), 
 Anselm, Graz, Styria, 1794 — Ober- 
 Andritz, 1868 ; pianist, conductor 
 and dram, composer. 
 
 lykaert (or Ycaert) (e-kart), Bd., 
 cantor in Belgium, ca. 1480 ; theorist 
 and composer. 
 
 lyllested (hfd'-le-stadh), Aug., b. (of 
 Danish parents) Stockholm, June 17, 
 185S ; violinist ; at 5 played" in pub- 
 lic ; studied with Holger Dahl till 
 1869, and then made succ. tour 
 through Scandinavia ; entered the 
 Royal Cons, at Copenhagen ; 1876, 
 organist of the Cath., and dir. of a 
 mus. soc; 1879, studied with Kullak, 
 Kiel, and later Liszt ; 1885, toured U. 
 S.; 1886-91, asst.-dir. Chicago Mus. 
 Coll.; 1891-94, Gottschalk Lyric 
 Sch.; 1S94-97, toured Europe ; prod, 
 in London, symph. poem " Eliza- 
 hcth" with double chorus ; 1897, 
 Chicago; c. romantic play "Die 
 Rheinnixe" orch. "suite roman- 
 
 I tique,'' etc. 
 
 / 
 
 Ibach (e-bJikh), (i) Jns. Ad., 1766— 
 1848; pf. and organ-builder. His son 
 (2) C. Rudolf (d. 1862), and (3) 
 Richard, joined the firm ; a third 
 son (4) Gustav J., founded another 
 business 1869. (5) Rudolf (d. Herren- 
 alb, Black Forest, July, 1892), son of 
 (2), continued the pf. -factory, and 
 Richard, the organ-factory. 
 
 Iliffe (I'-llf), Fr., b. Smeeton-Westerby, 
 Leicester, Engl. , Feb. 21, 1847; since 
 1883, organist and choirm. St. John's 
 Coll., Oxford ; cond. of Queen's 
 Coll. Mus. Soc. 1873, Mus. Bac. 
 Oxon. ; wrote "Critical Analysis of 
 BacJCs Clavichord" (London, 1896 ; 
 4 parts) ; c. oratorio, " The Visions 
 of St. John the Divine"; cantata 
 with orch. " Lara" etc. 
 
 Ilinski (e-lln'-shkl). Count Jan Stanis- 
 law, b. Castle Romanov, 1795 ; 
 composer. 
 
 Im'myns, (i) J., 1700 (?)— London, 
 1764; lutenist. (2) J., d. 1794; son 
 of above ; organist. 
 
 Incledon, Chas., Bery St. Kevern, 
 Cornwall, 1763— 1826 ; tenor, called 
 " The Wandering Melodiste." 
 
 Indy (daii-de), Paul M. Th. V. d*, 
 b. Paris, March 27, 1851; pupil of 
 Cesar Franck (comp.) and at the 
 Cons., 1875, chorusm. with Co- 
 lonne ; played drum-parts for 3 years 
 to learn instrumentation ; he is pres. 
 of various concert-societies; mus.- 
 inspector of Paris schools ; chev. of 
 the Legion of Honour ; c. a 3-part 
 symph. poem " Wallenstein" (Part 
 IL, "/ Piccoloinini" ^xoA. 1874 by 
 Pasdeloup) ; symphonies (i) "On a 
 French fuountaineer-song" and (2) 
 "Jean Htinyadi" symphonic legend 
 "La forct enchante'e" ; overture to 
 "Antony and Cleopatra" ; "La Che- 
 vauche'e du Cid" for orch. ; sym- 
 phonic pf. -concerto ; prod, i-act com- 
 ic opera, "Attendez-nioi sous VOrme" 
 (Op. -com., 1882); c. te.xt and mus.; 
 succ. mus. drama, " Fervaal" (Brus- 
 sels, 1897); "VEtranger" (do. 1902). 
 
572 
 
 THE MUSICAL GUIDE 
 
 Ingegneri (en-gan-ya'-re), Marco A., 
 Venice (or Cremona), ca. 1540 — Fer- 
 rara (?), 1603 ; conductor, composer 
 and publisher. 
 
 Ing'lott, Wm., 1544 — 1621 ; Eng. 
 organist. 
 
 Insanguine (en-san-gwe'-na), Giaco- 
 mo (called Monopoli), Monopilo, 
 1744 — Naples, 1795 ; teacher and 
 dram, composer. 
 
 Ireland, Francis. Pen name of Hutch- 
 inson (2). 
 
 Irgang(er'-gang),Fr. Wm.,b. Hirsch- 
 berg, Schleswig, Feb. 23, 1836 ; pu- 
 pil of Grell and A. W. Bach, R. 
 .\cad., Berlin, 1856-59; then teacher 
 in Proksch's Sch., Prague; 1863, 
 founded sch. at Gorlitz ; also organ 
 composer. 
 
 Isaak (e'-zak), H. (or Isaac, Izak, 
 Yzac, Ysack ; in Italy Arrigo Te- 
 desco, Henry the derman ; Low; 
 Lat. Arrighus), ca. 1450 — ca. 1517 
 famous contrapuntist doubtless of 
 Netherlandish birth ; conductor and 
 organist. 
 
 I'sham, J., d. London, 1726; organist 
 and composer. 
 
 Isido'rus (Hispalen'sis), Saint, Car- 
 tagena, ca. 570 — 636; writer (Gerbert). 
 
 Isnardi (es-nar'-de), Paolo, b. Ferrara, 
 ca. 1525 ; conductor and composer. 
 
 Isouard (e-zoo-ar), Niccolo (called 
 Niccolo de Malte), Malta, 1775 — 
 Paris, March 23, 1S18 ; pupil of 
 Amendola, Sala, and Guglelmi ; or- 
 ganist, conductor and prolific dram, 
 composer. 
 
 Israel (es'-ra-el), K., Heiligenrode, 
 Electoral Hesse, 1841 — Frankfort- 
 on-M., 188 1; critic and bibliographer. 
 
 I'van(h)off, Nicholas, b. 1809 ; Rus- 
 sian tenor. 
 
 Ives, Simon, d. London, 1662 ; Engl, 
 singer and composer. 
 
 Ivry (dev-re), Paul Xavier Desire, 
 Marquis Richard d', b. Beaune, 
 Cote D'Or, Feb. 4, 1829 ; pupil of 
 A. Hignard and Leborne ; since 1854 
 lives in Paris as amateur ; c. operas, 
 " Fatma;' " Qiientin Metzys^ " (1854). 
 " Z<7 Maisoii da Docteur" (Dijon, 
 
 1855), " Omphale et Pt'ne'lop^" ''Les 
 Amants de Ve'rone'' (1S67), under 
 the pen-name "Richard Irvid;" 
 revised as "Romeo et Juliette," 
 1878; ''Perseverance U Amour" 
 (MS.) ; concert-overture, songs, etc. 
 Izac. Vide isaak. 
 
 Jachet. Vide berchem. 
 Jachmann-Wagner (yakh'-man). Vide 
 
 WAGNER, JOHANNA. 
 
 Jack'son, (i) Wm., Exeter, 1730— 
 1803 ; organist, writer, and dram, 
 composer. (2) Wm., Masham, 
 Yorks, Engl., 1S15— Bradford, 1866; 
 organist, conductor, writer and com- 
 poser. (3) Samuel P., Manchester, 
 Engl., 1818— Brooklyn, N. Y., 1885; 
 composer ; son of (4) James J., or- 
 gan-builder. (5) Edwin W., Eng- 
 lish justice of the peace, pub. in 
 German (Leipzig, 1866) a valuable 
 manual of finger-gymnastics. (6) J, 
 P., English writer ; pub. books anc 
 transl. of Wagner's operas. 
 
 Ja'cob, (i) Benj., London, 1778 — 1829 
 organist, conductor and composer. 
 (2) F. A. L. , Vide jakob. 
 
 Jacobs (zha-ko), Edouard,b. Hal, Bel: 
 gium, 1851 ; pupil of Servais, Brus- 
 sels Cons.; 'cellist Weimar ct. orch.. 
 for some years; 1885 prof. Brussel 
 Cons. 
 
 Jacobsohn (yak'-6p-z6n), Simon E. 
 b. Mitau, Kurland, Dec. 24, 1839 
 violinist ; pupil Leipzig Cons. ; i86i' 
 leader Bremen orch.; 1872, of Theo 
 dore Thomas's orch., N. Y. ; teache 
 Cincinnati Cons., then Chicago. 
 
 Jacobsthal (yak'-6ps-tal), Gv., b. P} 
 ritz, Pomerania, March 14, 1845 
 1872, lecturer on music Strassbur 
 Univ.; 1875 professor e.xtraordinar) 
 writer. 
 
 Jacotin (rightly Jacques Godebrye 
 (zhak-6-tan) (or god-bre), ca. 1445" 
 March 24, 1529; famous Flemif 
 cptist.; singer and composer at An 
 werp. 
 
DICTIONARY OF MUSICIANS 573 
 
 Jacquard (zhak-kar), Leon J., Paris, 
 
 1S26 — 1886 ; 'cellist ; composer. 
 Jadassohn (ya -das-z6n), Salomon, 
 Breslau, Aug. 13, 1831 — Leipzig, Feb. 
 I, 1901 ; eminent theorist ; pupil of 
 Hesse (pf.), Lustner (vln.) and Bro- 
 sig (harm.) ; later Leipzig Cons., then 
 with Liszt, and Hauptmann (comp.); 
 from 1852 lived in Leipzig ; 1S66 
 cond. " Balterion" choral soc; 1867- 
 69 cond." Euterpe"; from 1S71, prof. 
 of pf., harm., cpt., com.p. and instru- 
 mentation at the Cons. 1S77, Dr. 
 Phil., h. c.\ 1893 Royal Prof. He m. 
 a singing-teacher. Wrote occasion- 
 ally under name " Liibenau " (lii'- 
 be-no\v). Pub. very succ. text-books 
 all trans, in English. '^ Harmonie- 
 lehre" (Leipzig, 1883); "" Kontra- 
 punkf' (1884) ; " Kanon unci Fiige" 
 (1884); "■ Die Formen in den Werk- 
 cu de?- Tonkitnst" (1SS9) ; '' Lehr- 
 huch der Instrumentation " (18S9) ; 
 '' Allgemeine Miisiklehre" (1895). 
 His comps. are notable for form, par- 
 ticularly his many works in canon 
 incl. serenade for orch. (op. 35), and 
 ballet-mus.; which have won him the 
 name *' Musical Krupp " ; c. also 
 4 symphonies ; 2 overtures ; a pf.- 
 concerto ; The icx)th Psalm, for 
 double chorus with orchestration, 
 etc. 
 
 adin (zha-dan), (i) Louis Emman- 
 uel, Versailles, 1768 — Paris, 1853 ; 
 prof., conductor and dram, compos- 
 er. Son and pupil of (2) Jean J., 
 violinist. (3) Hyacinthe, Versailles, 
 1769 — Paris, 1802 ; prof, and com- 
 poser ; bro. and teacher of (i). 
 
 aell (yal), (i) Alfred, Trieste, March 
 5, 1832— Paris, Feb. 27, 18S2 ; noted 
 touring pianist and composer, son of 
 (2) Eduard J. (d. Vienna, 1849). (3) 
 Jaell-Trautmann, Marie, b. Stein- 
 seltz, Alsatia, 1846; wife of (i) ; 
 pianist, composer and writer. 
 
 aff^ (yaf'-fa), Moritz, b. Posen, Jan. 
 3. 1835; violinist; pupil of Ries Boh- 
 mer (harm.), of Maurin and Massard, 
 Laub, Wuerst and Bussler ; c. ope- 
 ras, etc. 
 
 Jahn (yan), (i) Otto, Kiel, June 16, 
 1813 — Gottingen, Sept. 9, 1869; 
 prof, of archreolog}', Bonn Univ. ; 
 wrote a model biog. of Mozart (1856- 
 59, 4 vols.), etc., also composed. (2) 
 Wm., Hof, Moravia, Nov. 24,1835 — 
 Vienna, April 21, 1900 ; 1854 con- 
 ductor ; dir. ct. -opera, Vienna, etc. 
 
 Jahns (yans), Fr. Wm., Beriin, 1S09 
 — 1888 ; singer, composer and writer. 
 
 Jakob (ya-kop), Fr. Auff. Lebe- 
 recht, Kroitzsch, 1803 — Liegnitz, 
 1S84 ; collector. 
 
 Jakubowski (yak-oo-bof-shkl), Sam- 
 son, b. Kowno, iSoi ; Polish com- 
 poser; inv. and played the xylophone. 
 
 James, (i) J., d. 1745 ; Engl, organ- 
 ist and composer. (2) W. N., Eng. 
 flutist and writer, 1824. 
 
 Janiewiecz (yan'-e-vech), Felix, Wil- 
 na, 1762 — Edinburgh, 1S48 ; violinist 
 and composer. 
 
 Jan (yan), (i) Maistre. Vide cal- 
 lus,' J. (2) K. von, b. Schweinfurt, 
 1836 ; Dr. phil., Berlin, 1859 ; writer. 
 
 Jankd (yang'-ko), Paul von, b. Totis, 
 Hungary, June 2, 1S56 ; pupil Poly- 
 technic, Vienna, and at the Cons. 
 with Hans Schmitt, Krenn, and 
 Bruckner; 18S1-82, mathematics at 
 Berlin Univ., pf. with Ehrlich ; inv. 
 in 1882 the admirable keyboard 
 known by his name (v. D. D.) ; 
 taught in Leipzig Cons., etc. 
 
 Jan(n)akoni (yan-na-ko'-ne), Gius., 
 Rome, 1741 — March 16, i8r6 ; emi- 
 nent church-composer ; conductor at 
 St. Peter's ; pupil of Rinaldini and 
 Carpani. 
 
 Jannequin (or Janequin, Jennekin) 
 (zhan-kari), Clement, a French (or 
 Belgian) contrapuntist of the i6th 
 cent. ; nothing is known of him ex- 
 cept that he lived to be old and poor ; 
 c. genuine " programme" music. 
 
 Janotha (yri-no'-ta), Nathalie, b. 
 Warsaw ; pupil of Joachim and Ru- 
 dorff, Clara Schumann, Brahms, and 
 Princess Czartoryska, F. Weber 
 (harm.) and Bargiel ; debut at the 
 (iewandhaus, Leipzig, 1874 ; 1885, 
 ct. -pianist to the German Emperor, 
 
574 
 
 THE MUSICAL GUIDE 
 
 and decorated with many orders ; 
 pub. a trans, with additions of Klec- 
 zynski's " Chopin "; c. " Ave Maria " 
 (dedicated to Pope Leo), ''Moun- 
 tain Seems " (to Frau Schumann), 
 gavottes, etc., for piano. 
 
 Janowka (ya-nof -ka), Thos. Baltha- 
 sar, b. Kuttenberg, Bohemia ; or- 
 ganist and writer at Prague ca. 1660. 
 
 Jansa (yan'-sa), Ld., Wildenschwert, 
 Bohemia, 1794 — Vienna, 1875 ; vio- 
 linist, teacher and composer. 
 
 Jansen (yiin'-zen), F. Gv., b. Jever, 
 Hanover, Dec. 15, 1831; pupil of 
 Coccius and Riccius ; teacher at 
 Gottingen ; 1855, organist Verden 
 Cath.; 1861, Royal Mus. Dir. ; com- 
 poser and writer. 
 
 Janssen (yans'-zen), (i) N. A., Car- 
 thusian monk ; organist and writer at 
 Louvain, 1S45. (2) Julius, b. Ven- 
 lo, Holland, June 4, 1852 ; studied 
 Cologne Cons.; 1876, cond. Mus. 
 .Soc, Minden ; later cond. at Dort- 
 mund ; 1890, city mus. dir. ; cond. 
 the ist and 2d Westphalian Mus. 
 Festivals ; pub. songs. 
 
 Janssens (yans'-zens), Jean Fran. 
 Jos., Antwerp, iSoi — insane, 1835 ; 
 dram, composer. 
 
 Januschowsky (yan-oo-shof'-shkl), 
 (Frau) Georgine von, b. Austria, ca. 
 1859; 1875, soprano in operetta at 
 Sigmaringen ; 1877, soubrette, Th. 
 an der Wien, Vienna ; 1S79-S0, Leip- 
 zig ; 1880, Germania Th. , New York ; 
 1892, at Mannheim and Wiesbaden ; 
 1893-95, prima donna, Imp. Opera, 
 Vienna ; sang Wagner, etc., as well 
 as leading soubrette-roles in over 60 
 comic operas and operettas ; m. Ad. 
 Neuendorff. 
 
 Japha (ya'-fa), (i) G. Jos., Konigs- 
 berg, 1835— Cologne, 1892 ; violin- 
 ist. (2) Louise, b. Hamburg, Feb. 
 2, 1826 ; pianist and composer ; pu- 
 pil of Warendorf (pf.). Gross and 
 Grund (comp.) and Robt. and Clara 
 Schumann ; 1858, she m. W. Lang- 
 hans, with whom she gave v. succ. 
 concerts ; since 1874, Wiesbaden ; 
 c. an opera, etc. 
 
 Jarnefelt, b. Finland, 1869 ; stud- 
 ied with Massenet, Paris ; composer. 
 
 Jaquet (zha-ka). Vide Buus. 
 
 Jarecki (yji-rets'-ke), Henri, b. War- 
 saw, 1846 ; dir. at Lemberg ; c. 
 operas, inch " IP'anda," etc. 
 
 Jarnowic (or Giornovi(c)chi) (yiir -no- 
 vek, or j6r-no-ve'-ke), Giov. M., Pa- 
 lermo, 1745 — St. Petersburg, J^ov. 
 21, 1804; violinist and composer; 
 pupil of Sully whose intolerable ec- 
 centricities and immorality, as well as 
 virtuosity, he adopted with disastrous 
 results; J. B. Cramer challenged him, 
 but he would not tight. 
 
 Jar vis, (i) Stephen, 1834 ?— London, 
 18S0; composer. (2) Chas. H.,j 
 Philadelphia, 1837 — 1895 ; pianist 
 and conductor. 
 
 J3.y, Jm Esse.x, 1770 — London, 1849; 
 violinist. 
 
 Jean le Coq, or Jehan. Vide callus, 
 
 JOHANNES. 
 
 Jedliczka (yat-lech'-ka), Ernest, b. 
 Poltawa, Russia, June 5, 1855; pia- 
 nist ; pupil of Moscow Cons.; teachei 
 there till 18S8, then teacher Berlin 
 Stein Cons. 
 
 Jefferies, (i) G., organist to Chas 
 L, 1643. Had a son (2) Chris 
 topher, organist and composer. (3 
 Stephen, 1660 — 17 12 ; Engl, organ 
 ist and composer. 
 
 J6hin (zha-an), L6on, b. Spa, Bel 
 gium, July 17, 1853; violinist; pu 
 pil of Leonard, Brussels Cons.; cond 
 at Antwerp and Vau.xhall, Brussels j 
 1879-89, asst.-prof. of theory, Bru=i 
 sels Cons.; since cond. at Monaco 
 composer. j 
 
 Jehin (J^hin-Prume) (zha-ah-prtim' 
 Fz. H., Spa, Belgium, April i^ 
 1839 — ^iontreal, May 29, 1899 ; on 
 of the most eminent violinists of Be 
 gian sch. ; composer. 
 
 Jelensperger (ya' - len - shperkh 
 Daniel, near Miihlhausen, Alsatij 
 1797 — 1831; writer. 
 
 Jelinek (ye -U-nek), Fz. X., b. Kai 
 rins, Bohemia, 1S18— Salzburg, iSSf 
 oboist and composer. 
 
 Jenk'ins, (i) J., Maidstone, 1592 
 
DICTIONARY OF MUSICIANS 575 
 
 Kimberley, Norfolk, 1678 ; court-lu- 
 tist and lyra-violist to Chas. I. and 
 II.; composed. " /^ Sonatas for 2 
 Vlns. and a Base, with a Thorough 
 Base for the Organ or Theorbo" the 
 first Engl. comp. of the sort ; the 
 pop. " The Lady Katherine Aiidleys 
 Bells, or The Five Bell Consort" 
 etc. (2) David, b. Trecastell, Bre- 
 con, Jan. I, 1849; pupil of Dr. Jos. 
 Parry; 1878, Mus. Bac. Cantab.; 
 1885, cond. America ; now prof. Univ. 
 Coll. of Wales ; c. operetta, 2 ora- 
 torios, 3 cantatas, A Psalm of Life, 
 etc. 
 
 Jennekin (zhen-kah). Vide j.'^nne- 
 
 f QUIN. 
 
 Jensen (yen'-sen), (i) Ad., Konigs- 
 berg, Jan. 12, 1837 — of consumption, 
 Baden-Baden, Jan. 23, 1879 ; one of 
 the most original and poetical of com- 
 posers for piano and voice ; his pf.- 
 pcs. have an unexcelled lyricism, al- 
 most an elocution. Self-taught, but 
 advised by L. Ehlert and Fr. Mar- 
 burg ; before 20 had c. overtures, a 
 string-quartet, sonatas and songs. 
 1856, teacher in Russia ; then studied 
 with Schumann ; 1857, cond. Posen 
 City Th.; 1858-60, studied with 
 Gade ; i860, returned to Konigs- 
 berg ; 1866-68, teacher at Tausig's 
 Sch. in Berlin ; compelled by ill- 
 health to retire to Dresden, 1870 to 
 Graz, finally to Baden-Baden. C. 
 opera '" Tiirandot" (finished by 
 Kienzl) ; '^ Nonnengesang," and 
 " Braiitlicd" for solo and chorus with 
 2 horns, harp and a piano, '\Jcphthas 
 Techier" and '' Adonis-Feier," 
 "Donald Caird ist ivieder da," 
 and other vocal works with orch.; 
 concert-overture ; " Geistliches Ton- 
 slikk"; '' Hochzcitsmusik," "■ Abe)id- 
 miisik," " Lebenshilder," 6 '' Si I ho net- 
 ten," and " LJindliche Festninsik," 
 for pf. (4 hands); and " Lnnere Stiin- 
 men," '' IVanderbilder," a. sonata; 6 
 German Suites, '' Idyllen," '' Eroti- 
 kon " (7 pes.), a scherzo, " Wald- 
 Ldylle," op. 47, ''Scenes carnava- 
 ksqiics," for pf.-solo ; and 160 solo 
 
 songs. Biog. by Niggli. (2) Gus- 
 tav, Konigsberg, 1843 — Cologne, 
 1895 ; pupil of Dehn (comp.) and 
 Laub and Joachim (vln.) ; violinist | 
 
 Konigsberg Th.; 1872-75, prof, of ' 
 
 cpt., Cologne Cons.; c. symphony, 
 etc. 
 
 Jewitt, R., d. 1675 ; Engl, organist 
 and composer. 
 
 Jimmerthal (ytm'-mer-tal), Hn., Ltt- j 
 
 beck, 1809 — 1886 ; organist, org.- ] 
 
 builder and writer. : 
 
 Joachim (yo'-a khem), (i) Jos., b. 
 Kittsee, near Pressburg, June 28, 
 1831 ; eminent violinist ; studied at j 
 
 5 with Szervacinski, Pesth, with 
 whom he appeared in public at 7; 
 from 1841, at Vienna Cons, with 
 Bohm ; at 12, played in Leipzig, and 
 soon after at the Gewandhaus, with | 
 
 much succ; frequently leader of the ! 
 
 Gewandhaus Orchestra ; 1844, made 
 his first of many appearances in Lon- j 
 
 don ; 1849, Concertmeister of the 
 Weimar orch.; 1854, cond. and solo- J 
 
 violinist to the King of Hanover ; I 
 
 1863 m. Amalie Weiss (v. infra); 1868 j 
 
 head of the new " Hochschule fiir 
 auslibende Tonkunst," Berlin ; later ; 
 
 artistic dir. ; 1895, dir.; 1877, Mus. 
 Doc. h. c, Cambridge Univ.; has 
 had many degrees from German Uni- j 
 
 versities, and various orders of j 
 
 knighthood ; holds undisputed pre- < 
 
 eminence as a classicist and solo-per- j 
 
 former; his famous J. Quartet includes 
 De Ahna, Wirth and Hausmann. He 
 c. the notable ' ' Hungarian " concerto, 
 and 2 others, and famous variations 
 with orch., also overture to "//«;«- 
 let"; 4 overtures incl. '" Dem Anden- j 
 
 ken Ivleists" ; Hebrew Melodies, for j 
 
 via. and pf. ; Op. 14, '' Szene der 
 Marfa " (from Schiller's Demetrius'), 
 for contralto solo with orch.; three 
 cadenzas to Beethoven's vln.-concer- j 
 
 to, etc. (2) Amalie (nee Weiss, 
 rightly, Schneeweiss), Marburg, 
 Styria, May 10, 1839 — Berlin, Feb. 
 3, 1899; eminent concert and oper- 
 atic soprano ; then contralto and \ 
 teacher ; wife of above. 
 
576 
 
 THE MUSICAL GUIDE 
 
 Joao IV. (zhowfi), King of Portugal, 
 Villa-Vicosa, 1604 — Lisbon, 1656 ; 
 theorist and composer. 
 
 Jocher (yekh'-er), Chr. Gk, Leipzig, 
 1694 — 175S ; professor and writer. 
 
 Johannes, (i) Cotto. Vide lotto. 
 
 (2) Damasce nus (rightly Jns. Chry- 
 sorrhoos), of Damascus, ca. 700 — 
 ca. 760; composer, editor and writer. 
 
 (3) De Garlan dia. Vide garlan- 
 DiA. (4) De Mu ris. Vide muris. 
 (5) Callus. Vide gallus. 
 
 Johns, Clayton, b. New Castle, Del., 
 Nov. 24, 1S57 ; pupil of J. K. Paine, 
 and \V. H. Sherwood, Boston ; later 
 with Kiel, Grabow, Raif, and Rum- 
 mel (pf.) in Berlin ; since lives in 
 Boston, Mass., as a concert-pianist 
 and teacher ; c. a Berceuse and 
 Scherzino for string-orch. (played by 
 Boston Symph. orch.) ; many pop. 
 songs, etc. 
 
 Johnson, (i) Edw., English composer, 
 1594. (2) Robert, Engl. i6th cent, 
 ecclesiastic and church composer. 
 (3) Robert, lutenist and prominent 
 composer, 1573 — 1625. 
 
 Jommelli (yom-mel-ll), Niccolo, 
 Aversa, near Naples, Sept. 11, 1714 
 — Naples, Aug. 28, 1774 ; eminent 
 operatic and church-composer ; pupil 
 of Canon Mozzillo, Durante, Feo, 
 Leo, Prato and Mancini. C. ballets 
 and songs, then dram, cantatas ; at 
 23 prod, opera " LErrore Amoroso" 
 (Naples, 1737), under the name 
 " Valentino " ; its succ. relieved his 
 anxiety and removed his anonymity 
 and he followed it with other succ. 
 works in various cities under various 
 patronage. He was made Dir. of 
 the Cons, del Ospedaletto, Venice ; 
 174S-54 asst. Maestro at St. Peter's, 
 Rome, until 1754 ; cond. to the Duke 
 of Wlirtemberg. Lived in Germany 
 15 years and made great succ. He 
 profited artistically by German influ- 
 ence, but when the Stuttgart opera 
 was disbanded and he retired to Italy 
 his style was too serious and perhaps 
 his best works '' ArmiJa Ahbando- 
 nata " (1770), " Dcmofodnte " (1770), 
 
 
 z.n6. '' IJigenia in Tauride" {ijjj), 
 were failures when prod, at Naples. 
 The humiliation after such long tri- 
 umph brought on apople.xy (1773),; 
 from which he recovered only long|. 
 enough to write a cantata on thei 
 birth of a prince, and his masterpiece,' 
 a. '' Misere)-e." The King of Portu-^ 
 gal commissioned him to write 2|. 
 operas and a cantata ; but he didnotj 
 live to finish them ; he c. over 5c 
 known operas and divertissements,! 
 and equally fine sacred mus., incl. 41 
 oratorios, a magnificat, with echo, etc. : 
 
 Jonas (zh5-nas), (i) Emile, b. Paris,; 
 March 5, 1827 ; pupil of Carafa at- 
 the Cons. ; from 1S47 teacher there j 
 also mus. -dir. Portuguese synagogue; 
 (2) (ho'-nas), Alberto, b.' Madrid! 
 June 8, 1S68; pf. pupil of Olave anc: 
 Mendizabal ; also at the Cons.; at i{ 
 with Gevaert, Brussels Cons.; woii 
 1st prize for pf. , and later 2 firs} 
 prizes in harm. ; debut, Brussels] 
 1880 ; 1890, studied St. Petersburji 
 Cons, under Rubinstein's tuition i 
 since toured Europe and America j 
 1S94 head of the pf.-dep. Univ. oj 
 Michigan ; composer and writer. ! 
 
 Joncieres (zhofi-sl-ars), F. Ludge.: 
 Victorin de, b. Paris, April 12, 1839. 
 studied painting, then mus. with El; 
 wart at the Cons.; an ardent Wagnej 
 rian, he left the Cons, because of El,: 
 wart's adverse opinion ; he is pres: 
 " Soc. des Compositeurs de mu 
 sique," Chev. of the Legion of Hon 
 our, and officer of public instructior 
 since 1871 critic of La Liberie, etc. 
 prod. 4 operas, incl. '' Le Chevalie 
 Jean" (Op.-com., 1885), a sympt 
 ode, " La Mer " y a " Symphonie n 
 mantique" ; '''Li Tsiii," a Chines! 
 theme for soli and orch, etc. 
 
 Jones, (i) Robt., Engl, lutenist an.] 
 composer, 1601-16; one of his sonj 
 ''Farewell deere love" is alluded 
 in " T7velfth Night." (2) Wff 
 (" of Nayland "), Lowick, Northamp 
 tonshire, 1726 — Nayland, SuflfoU' 
 1800; writer and composer. (3) J 
 1728 — London, 1796 ; organist an 
 
 i 
 ^ 
 
DICTIONARY OF MUSICIANS 577 
 
 composer. (4) (Sir) Wm., London, 
 1746 — Calcutta, 1794; writer. (5) 
 Edw. ('* Brady Brenin "), Llander- 
 fel, Merionethshire, April 18, 1752 — 
 London, April 18, 1S24 ; Welsh 
 harpist, writer and composer. (6) 
 Griffith Rhys (or Caradog), b. 
 Trecynon, Wales, Dec. 21, 1S34 ; 
 Welsh conductor ; as a youth cond. 
 the choir " Cor Caradog," whence his 
 sobriquet ; 1872-73, cond. the succ. 
 choir in the Crystal Palace competi- 
 tions. (7) GriMth, British writer, 
 pub. " A History of the Origin and 
 Progress of Theoretical and Practi- 
 cal Music,'' 1819. (8) Arthur Bar- 
 clay, b. London, Dec. 16, 1869; pupil 
 of Wingham and Banister ; and at 
 Guildhall Sch. .of Mus., won a schol- 
 arship ; 1889, Associate ; 1892, prof, 
 of pf.; c. symphony, concert-over- 
 ture, etc. (g) Sidney, Engl, compos- 
 er of the succ. operetta " The Gaiety 
 Girl" (London, 1893); ''An Artist's 
 Model" (Daly's Th., London, 1895); 
 " The Geisha" (ibid., 1896), etc. 
 
 or'dan, Jules, b. Willimantic, Conn., 
 Nov. 10, 1850 ; studied singing with 
 Osgood, Boston, Shakespeare, Lon- 
 don, and Sbriglia, Paris ; for 13 
 years choirm. of Grace Ch., Provi- 
 dence ; since 1880 cond. Arion 
 Club; c. comedy-opera ''Rip Van 
 IVinkle" (pub. 1898); cantata with 
 orch. ; songs, etc. 
 
 oseffy (yo-zef'-fl), Rafael, b. Mis- 
 kolcz, Hungary, July 3, 1853 ; emi- 
 nent pianist ; pupil of Moscheles, 
 Leipzig Cons., and Tausig ; toured 
 Europe with succ; lived in Vienna ; 
 for many years at New York; since, 
 teacher Nat. Cons.; c. pf.-pcs. 
 
 osquin. Vide dkspres. 
 
 ouret (zhoo-ra), (i) Th., Ath, Belgi- 
 um, 182 1 — Kissingen, 18S7; critic and 
 dram, composer. (2) L6on, b. Ath, 
 Oct. 17, 1828 ; bro. of above ; pupil 
 Bnissel Cons, and since 1874 vocal 
 teacher there ; c. 2 operas, cantatas, 
 etc. 
 
 Durnet (zhoor'-na), Marcel, b. Paris, 
 1869; bass; pupil of the Cons.; debut 
 
 37 
 
 Th. de la Monnaie, Brussels ; has 
 sung often at Covent Garden ; and 
 since 1900 at Met. Op., N. Y. 
 
 Jousse (zhoos), J,, Orleans, France, 
 1760 — 1837 ; teacher and writer. 
 
 Judenkunig (yoo' - den - koo - nikh), 
 Hans, b. Schwabisch-Gmund ; luten- 
 ist, violist and composer at Vienna, 
 1523. 
 
 Jue (zhii), Edouard, b. Paris, 1794 
 (?) ; violinist and writer. 
 
 Jul(l)ien (zhul-yah), (r) Marcel Bd., 
 Paris. 1798 — 1881 ; writer. (2) Jean 
 Lucien Ad., b. Paris, June i, 1845 ; 
 son of above ; prominent critic and 
 writer. (3) Louis Ant., Sisteron, 
 Basses-Alpes, April 23, 1S12 — insane, 
 Paris, March 14, i860 ; pop. con- 
 ductor and composer of dance music, 
 etc. (4) Paul, Brest, France, F'eb. 
 12, 1841 — at sea, 1866 ; violinist ; 
 pupil Paris Cons., took ist prize ; 
 toured America, 1853-66. 
 
 Jumilhac (zhii-mel-yak), Dom P. Be- 
 noit de, near Limoges, 161 r — St.- 
 Germain-des-Pres, 1682 ; writer. 
 
 Junck (yoonk), Benedetto, b. Turin, 
 Aug. 24, 1852 ; pupil of Bazzini and 
 Mazzucato ; lives in Milan ; c. string- 
 quartet, etc. 
 
 Jungmann (yoong'-man), (i) Albert, 
 Langensalza, Prussia, 1824 — Pan- 
 dorf, near Vienna, 1892 ; professor 
 and composer. (2) Ludwig (or 
 Louis), Weimar, 1832 — 1892; teacher 
 and composer. 
 
 Jiingst (ylnkst), Hugo, b. Dresden, 
 Feb. 26,' 1853 ; studied at Cons, there; 
 founded the Julius Otto Soc; and 
 cond. Male Choral Soc. ; 1898 made 
 prof, by King of Saxony ; c. male 
 choruses. 
 
 Junker (yoonk'-er), K. L., Ohringen, 
 ca. 1740 — Kirchberg, 1797 ; writer 
 and composer. 
 
 Jupin (zhii-paii), Chas. Fran., Cham- 
 bery, 1805 — Paris, 1839; violinist, 
 professor, conductor, and dram, com- 
 poser. 
 
 JUrgenson (ylir'-gen-z5n), Peter, b. 
 Reval, 1836 ; founded mus. -pub. 
 house, Moscow, 1861. 
 
578 
 
 THE MUSICAL GUIDE 
 
 K 
 
 Kaan (kan) ("Albest-Kahn "), H. 
 von, b. Tarnopol, G-ilicia. May 29, 
 1852 ; pianist ; pupil of Bloiek and 
 Skuhersky, Prague ; since 1S90, prof, 
 at tlie Cons, tliere ; c. ballets, sym- 
 phonic poem " Sakuntala " ; etc. 
 
 Kade (ka-de), Otto, Dresden, 1825— 
 Schwerin, 1900; ct. -conductor, writer 
 and composer. 
 
 Kaff'ka (or Kawka) (kaf-ka). Jn. 
 Chr., b. Ratisbon, 1759 ; dram, com- 
 poser. 
 
 Kafka (kaf-ka), Jn. Nepomuk, Neu- 
 stadt, Bohemia, 1819 — Vienna, 18S6; 
 composer. 
 
 Kahl (kJil), H., Munich, 1840— Ber- 
 lin, 1S92 ; conductor. 
 
 Kahlert (ka-lert), K. Aug. Timo- 
 theus, Breslau, 1807 — 1864 ; writer 
 and composer. 
 
 Kahn (kan), Robt., b. Mannheim, 
 July 21, 1865 ; pianist ; pupil of 
 Ernst Frank and V. Lachner, Kiel, 
 and Jos. Rheinberger (Munich, 1885); 
 1891 founded Ladies' Choral Union, 
 Leipzig ; 1S93 teacher of pf. Berlin 
 Hochschule fiir Musik ; c. serenade 
 for orch., etc. 
 
 Kahnt (kant), Chr. Fr,, 1823— Leip- 
 zig, 1897 ; mus. -publisher. 
 
 Kaiser (kl-zer), (i) K., Leipa, Bohe- 
 mia, 1837 — Vienna, 1890 ; founded 
 sch. continued by his son (2) Rudolf. 
 (3) Fr. Emil, b. Coburg, Feb. 7, 
 1850 ; regimental bandm. Prague ; 
 prod. 5 operas, incl. " Der Trompeter 
 von Siikkingen" (<d\vsv<.\\.7., 1882). 
 
 Kajanus (ka-ya-noos), Robt,, con- 
 temporary cond. Philh. Orch. of Hel- 
 singfors, Finland. 
 
 Kal'beck, Max, b. Breslau, Jan. 4, 
 1850 ; studied Munich Sch. of Mus. ; 
 1875, writer, critic at Breslau ; now 
 on the Wiener Montags-Revue, and 
 the ^Teues Tageblatt. 
 
 Kalisch (ka-lTsh), Paul, b. Berlin, 
 Nov. 6, 1855 ; tenor ; studied with 
 Leoni ; sang Berlin ct. -opera ; m. 
 Lilli Lehmann ; sang at Cologne and 
 6 times in America. 
 
 Kalischer (kii'-llsh-er), Alfred, b. 
 Thorn, March 4, 1S42 ; Dr. Phil., 
 Leipzig U. ; studied with Blirgel and 
 Bohmer ; lives in Berlin, as a writer 
 and teacher ; editor N'eue Berliner 
 Mnsikzeitung ; pub. '' Lessing ah 
 Musikasthetiker" ; ^^ Musik und 
 Moral" etc. 
 
 Kalkbrenner(kalk'-brcn-ner),(i)Chr., 
 Minden, Hanover, 1755 — Paris, 1806; 
 writer and dram, composer. (2) Fr. 
 Wm. Michael, b. on a journey from 
 Cassel to Berlin, 178S — d. of cholera 
 Enghien-les-Bains, near Paris, June I 
 10, 1849; son and pupil of above; 
 very succ. pianist and teacher ; de- 
 veloped modern octave-playing, left- 
 hand technique and pedalling ; wrote 
 valuable etudes and other comps.; 
 also studied Paris Cons, and with 
 Clementi and Albrechtsberger. (3) 
 Arthur, d. near Paris, 1869 ; son of 
 (2) ; composer. 
 
 Kalliwoda (kal' -II- vo- da), (i) Jn.j 
 Wenzel, Prague, 1801 — Carlsruhe,] 
 1866 ; pianist, conductor and dram.l 
 composer. (2) Wm., Donaueschin- 
 gen, 1827 — Carlsruhe, 1893 ; son and) 
 pupil of above ; dir. , ct. -conductor, 
 pianist and composer. 
 
 Kallwitz, or Kalwitz. Vide calvi 
 
 SlUS. 
 
 Kaltenborn, Fz., violinist, conductor 
 member Seidl's and other orchestra? 
 at New York ; asst.-cond. of Seid 
 Soc, Brooklyn, N. Y.; 1894 foundecj 
 Kaltenborn quartet ; 1899 foundec? 
 the succ. K. orchestra, which giveij 
 summer concerts in N. Y. ^ 
 
 Kamienski (kam-I-en'-shkl), Mathiasj 
 Odenburg, Hungary, 1734 — Warsaw? 
 182 1 ; teacher and composer of thj 
 first Polish Opera " The Wretche,\ 
 Made Happy" (ipS), etc. 
 
 Kammerlander (kam'-mer-lant-er), K. 
 Weissenhorn, Swabia, 1828 — Augs 
 burg, 1892; conductor and composei 
 
 Kandler (kant'-ler), Fz. Sales, Klos' 
 terneuberg. Lower Austria, 1792- 
 Baden, 1831 ; writer. 
 
 Kaps (kaps), Ernst, Dobeln, Saxon} 
 1826 — Dresden, 1887 ; est. pian 
 
 fa 
 
 
DICTIONARY OF MUSICIANS 579 
 
 factory, Dresden, 1S59 ; succeeded 
 by his sons. 
 
 Kapsberger (kiips' - berkh - er), Jn. 
 Hieronymus von, b. of noble Ger- 
 man family, d. Rome, ca. 1650 ; 
 virtuoso on theorbo, chitarrone, lute, 
 and trumpet ; notable composer. 
 
 Karajan (ka'-ra-yan), Th. G. von, 
 Vienna, iSio — 1873 ; writer. 
 
 Karasowski (ka-ra-shof'-shkl), Mo- 
 ritz, Warsaw, 1823 — Dresden, 1892; 
 'cellist, writer and composer. 
 
 Karganoff (kar-gan-yof), Genari, 
 Kashetin, Caucasus, 1858 — Rostroff- 
 on-Don, i8go ; pianist and composer. 
 
 Karl, Tom, b. Dublin, Jan. 19, 1846 ; 
 tenor; studied with H. Phillips, San- 
 giovanni and Trivulzi ; sang in Ital- 
 ian opera for years, went to .Vmerica 
 with Parepa-Rosa, then with " 1 he 
 Bostonians " in comic opera many 
 years ; retired 1896 ; now vocal 
 teacher, N. Y. 
 
 Karow (ka'-rof), Karl, Alt-Stettin, 
 1790 — Bunzlau, Silesia, 1863 ; teach- 
 er and composer. 
 
 Kaskel (kas'-kel), P>eiherr K. von, 
 
 b. Dresden, Oct. 10, 1866 ; studied 
 law at Leipzig, also mus. in the Cons, 
 with Reinecke and Jadassohn (1S86- 
 87), and later with Wullner and Jen- 
 sen, Cologne ; now lives in Dresden ; 
 
 c. succ. i-act opera "' Hochzeitstnor- 
 .^ch" (Hamburg, 1893); v. succ. 
 opera " SJuca" (Cologne, 1895), etc. 
 
 Kassmeyer (kes'-ml-er), Moritz, Vi- 
 enna, 1831 — 1885 ; violinist ; c. 5 
 string-quartets, some of them hu- 
 morous. 
 
 S<:astner (kast'-ner), (i) Jn. G., Strass- 
 burg, March 9, 18 10— Paris, Dec. 19, 
 1867; pupil of Maurer and Romer : 
 at 10, organist; at 20, bandm.; at 
 25 had prod. 4 operas, and was sent 
 by the town council to Paris, to study 
 with Berton and Reicha ; 1837, 
 pub. treatise " 0;i Instrttmentation''' 
 among others ; also methods adopted 
 at the Paris Cons. ; lived there- 
 after at Paris as teacher ; wrote 
 learned essays and an " Eucvclopi'die 
 de la mttsiijHe" C. 3 later operas, 
 
 incl. '■'■ Le dernier roi de Juda" his 
 masterpiece, also 3 symphonies, 5 
 overtures, 10 serenades for wind ; 
 " Livres-partitions " (symphony-can- 
 tatas, prefaced by brilliant historical 
 essays, inci. '' Les dances des morti'), 
 a vol. of 310 pages; "Zrt harpe 
 d'e'ole " (1856) ; " Les voix de Paris" 
 followed by " Zfj cris de Paris" 
 grande symphonic humoristique voc. 
 et instr. (1857); " Z.-j Sirenes" 
 etc. Biogr. by Jan (Leipzig, 1886). 
 (2) G. Fr. Eugen, Strassburg, 1852 
 — Bonn, 1882; son of above; inv. 
 the pyrophone (v. D. I).), and pub. 
 work on it. (3) Emmerich, b. Vi- 
 enna, March 29, 1S47; editor and 
 wrifer. 
 
 Kate (ka'-te), Andrd Ten, Amster- 
 dam, 1796— Haarlem, 1858 ; 'cellist 
 and dram, composer. 
 
 Katzmayr (kats'-mir), Marie, b. Vi- 
 enna, March 6, 1869 ; colorature so- 
 prano; pupil Frau Niklass-Kempner ; 
 sang in Holland, then at Berlin, etc. 
 
 Kauders (kow'-ders), Albert, critic in 
 Vienna, and composer of comic opera. 
 
 Kauer (kow'-er), Fd., Klein-Thaya, 
 Moravia, Jan. 8, 175 1 — Vienna, 
 April 13, 1 831; prolific c. of Sing- 
 spiele ; organist, conductor, 'cellist ; 
 c. 2,000 operas and operettas. 
 
 Kauffmann (kowf'-man), (i) Ernst 
 Fr., Ludwigsburg, 1S03 — Stuttgart, 
 1856; pianist and composer. (2) Emil, 
 b. Ludwigsburg, Nov. 23, 1S36; violin- 
 ist ; son of above ; pupil of Stuttgart 
 Cons.; since musical dir. Tubingen 
 Univ.; Dr. phil., 1885. (3) Fritz, b. 
 Berlin, June 17, 1855; a druggist, 
 Leipzig and Hamburg; took up mu- 
 sic, 187S, entered the Akademische 
 Hochschule at Berlin, won Mendels- 
 sohn prize for comp. 1881; till 18S9, 
 lived in Berlin as a teacher and cond. 
 of the " (iesellschaftsconcerte " at 
 Magdeburg; 1893, Royal Musik-Di- 
 rector ; c. comic opera, ''Die Herz- 
 krankheit"; symphony, etc. 
 
 Kaufmann (kowf'-man), (i) G. Fr., 
 Ostramondra, Thuriugia, 1679— Mer- 
 seburg, 1735 ; organist, director, 
 
58o 
 
 THE MUSICAL GUIDE 
 
 writer and composer. (2) Jn, Gf., 
 Siegmar, Saxony, 175 1 — Frankfort, 
 1818 ; maker of musical clocks. (3) 
 Fr., Dresden, 17S5 — 1S66 ; son of 
 above; inv. the " Belloneon," etc. 
 His son (4) Fr. Theodor, Dresden, 
 1S23 — 1872, developed the " Orches- 
 trion." (5) Robert, b. Basel, and 
 later there studied with Rossi, Du- 
 prez and Stockhausen ; oratorio tenor ; 
 has sung in many capitals. 
 
 Kayser (ki'-zer), (i) Ph. Chr,, Frank- 
 fort, 1755 — Zurich, 1S23 ; pianist. 
 (2) H. Ernst, Altona, 1S15 — Ham- 
 burg, 1 338, violinist and teacher. (3) 
 Fr. Emil. Vide k.visf.r. 
 
 Kazynski (ka-zen'-shki), Victor, b. 
 Wilna, Lithuania, Dec. iS, 1812 ; pu- 
 pil of Eisner, Warsaw ; prod. 3 op- 
 eras ; 1843, cond. Imp. Th. St. Peters- 
 burg. 
 
 Kearns (karnz). Win. H., Dublin, 
 1794 — Kennington, 1846 ; violinist 
 and composer. 
 
 Keck von Giengen (kek fon geng'-en), 
 Jn., Benedictine monk at Tegernsee, 
 Upper Bavaria, ca. 1450 ; writer. 
 (Gerbert.) 
 
 Kee'ble, J., Chichester, 1711—1786; 
 organist, teacher and composer. 
 
 Kee ley, Mrs. M. A.,b. Ipswich, 1805; 
 English soprano. 
 
 Keinspec (or Keinsbeck, Kiin- 
 
 speck, and wrongly Reinspeck) 
 
 (kin'-shpek), Michael, of Xurnberg ; 
 
 ■pub. one of the first theoretical works 
 
 printed at Basel, 1496. 
 
 Keiser (kl'-zer), Reinhard, Teuchern, 
 near Weissenfels, Jan. 9, ' 1674 — 
 Hamburg, Sept. 12, 1739; ^^e father 
 of German opera, the first to employ 
 popular subjects and to leave the 
 Italian and French pattern ; also note- 
 worthy for his instrumentation and 
 dramatic force ; pupil of his father ; c. 
 116 operas at Hamburg from 1694; 
 mgr. the opera there, ct. cond. and 
 later canon and cantor ; c. also orato- 
 rios, masses, etc. 
 
 Keler Bela (rightlv Albert von Ke- 
 ler) (ka'-ler ha-lk), Bartfeld, Hun- 
 gary, Feb. 13, 1820 — Wiesbaden, 
 
 Nov. 20, 1882 ; violinist, conductor 
 and composer. 
 
 Keller, (i) Gottfried (called God- 
 frey), b. in Germany ; teacher and 
 writer in London, 1707. (2) Max, 
 Trostberg, Bavaria, 1770 — Altotting, 
 1S55 ; organist and composer. (3) 
 K., Dessau, 1784 — Schaffhausen, 
 1S55 ; ct. -flutist, conductor and com- 
 poser. (4) F. A. E., inv., 1835, the 
 unsucc. "pupitre-improvisateur " (v. 
 D. D.), and pub. a method. 
 
 Kel'lermann, (i) Berthold, b. Niirn- 
 berg, March 5, 1S53 ; pianist ; pupil 
 of his parents and of Liszt ; 1878-81 
 Wagner's secretary ; 1882, teacher 
 Munich R. Mus. Sch. ; conductor and 
 ct. -pianist. (2) Chr., Randers, Jut- 
 land, 1815 — Copenhagen, 1866; 'cel- 
 list and composer. 
 
 Kel'ley, Edgar Stillmari, b. Sparta, 
 Wis., April, 14, 1S57 ; one of the 
 most original and brilliant of Amer- 
 ican composers ; pupil of F. W. 
 Merriam, Clarence Eddy, and N. 
 Ledochowski (Chicago), and 1S76-S0 
 of Seifriz (comp.), Kriiger and Spei- 
 del (pf.) and Fr. Finck (org.), at 
 Stuttgart ; organist at Oakland and 
 San Francisco, Cal.; cond. comic 
 opera, 1890-gi ; teacher pf. , org., 
 and comp. in various schools ; lately 
 N. V. Coll. of .Mus.; critic for the 
 Examiner, San Francisco, 1893-95 ; ' 
 and essayist for various periodicals ; 
 since 1S96 lecturer on music for the 
 Univ. of New York; 1901-02 at 
 Yale University; c. ''Gulliver" 
 humorous symph.; Chinese suite, 
 '' Aladdin" iox orch. ; comic opera, 
 '■'■ Ptiritania" (Boston, 1892); succ. 
 incid. music to Macbeth and to Ben 
 Hur, both for chorus and orch.; 
 string-quartet, op. i (MS.) ; " U'lid- 
 din,s;-Ode,'" for tenor solo, male chorus 
 and orch. (MS.) ; 6 songs, " Phases 
 of Love" ; notable songs, '■'Eldo- 
 rado " and " Israfel" and others. 
 
 Kel'lie, Lawrence, b. London, April 
 3, 1862 ; tenor and composer ; stud- 
 ied at R. A. M. and with Randegger; 
 debut Covent Garden, 18S6. 
 
 I 
 
DICTIONARY OF MUSICIANS 581 
 
 Kell'ner, (i) David, dir. German ch. 
 and Th. at Stockholm, 1732. (2) 
 Jn. Peter, Grafenroda, Thuringia, 
 1705 — 1788 ; organist and composer. 
 (3) Jn, Chp., Grafenroda, 1735 — 
 Cassel, 1803; son of above; ct. -or- 
 ganist and dram, composer. (4) G. 
 Chr., d. Sept., 1S08 ; teacher and 
 writer at Mannheim. (5) Ernst 
 Aug., Windsor, England, 1792 — 
 London, 1839 ; probably a grandson 
 of (3); barytone, pianist and organist. 
 
 Kellogg, Clara Louise, b. Sumter- 
 ville, S. C., July, 1842 ; noted so- 
 prano ; 1856-61, studied in New 
 York; debut Acad, of Mus. (1861) ; 
 debut, London, at H. M's. Th. 
 (1867), as Margherita, with great 
 succ; sang in many capitals. 
 
 Kelly, Michael, Dubhn, 1762— Mar- 
 gate, 1826 ; tenor and dram, compos- 
 er ; friend of Mozart ; wrote musical 
 " Reminiscences." 
 
 Kel'way, (i) Thos., d. 1749 ; Engl, 
 organist and composer. (2) Joseph, 
 d. 17S2 ; bro. of above ; organist, 
 harpsichordist, and composer. 
 em'ble, Adelaide, b. 1814; retired 
 1843 ; daughter of the actor Chas. 
 Kemble ; operatic singer. 
 
 Kemp, (i) Jos., Exeter, 1778— Lon- 
 don, 1824 organist and composer. 
 (2) Robert (called " P'ather Kemp"), 
 Wellfleet, Mass., 1820 — Boston, 
 1897 ; organised and cond. pop. 
 " Old Folks' Concerts " ; wrote auto- 
 biography. 
 
 Kemp'is, Nicholas A., organist and 
 composer at Brussels, 1644-50. 
 
 Kempter, (i) K., Limbach, Bavaria, 
 1819 — Augsburg, 1871 ; conductor. 
 
 (2) Lothar, b. Lauingen, Bavaria, 
 Feb. 5, 1844; cond., professor, and 
 dram, composer ; son and pupil of 
 
 (3) Fr. K. (music-teacher) ; studied 
 Munich Univ., then with Rhein- 
 berger; chorus-dir.; since 18S6 prof, 
 of mus. theory, Zurich Mus. Sch. 
 
 Ken'dall, J., organist and composer, 
 
 London, 1780. 
 Kenn, P., German horn- virtuoso and 
 
 composer; 1782 at Paris. 
 
 Ken'nedy, David, Perth, 1825 — 1886; 
 singer. 
 
 Kent, Jas., Winchester, Engl., 1700— 
 1776 ; organist and composer. 
 
 Kepler (ka'-pler), Jns., Weil, Wtirtem- 
 berg, 1571 — Ratisbon, 1630; astron- 
 omer ; writer. 
 
 Kerle (kerl), Jacques de, b. Ypres, 
 Flanders, i6th cent. ; conductor and 
 composer. 
 
 Kerl(l) (Kherl, Cherl), Jn. Caspar, 
 Gaimersheim, near Ingolstadt, 1621 
 — Munich, Feb. 13, 1693 ; organist, 
 ct. -conductor, teacher, and notable 
 composer of the " Missa nigra " (all 
 in black notes), etc. 
 
 Kes (kas), Willem, b. Dordrecht, 
 Holland, Feb. 16, 1856 ; violinist ; 
 pupil of Bohm, etc., then of David, 
 and, under royal patronage, of Wien- 
 iawski, and Joachim ; 1876, leader 
 Park Orch. and Felix Mentis Soc, 
 Amsterdam; then cond. "Society" 
 concerts, Dordrecht ; 1883-95 cond. 
 at Amsterdam ; 1895 Glasgow orch.; 
 1898 cond. Philh. and dir. Moscow 
 Cons. 
 
 Kes'sel, Fz., th.-cond., i88g, at Frei- 
 burg-in-the-Breis;gau ; c. a symph. 
 and succ. opera, ''Die Scku'esterti" 
 (Trier, 1895). 
 
 Kess'ler, (i) Fr., preacher and writer. 
 (2) Fd., Frankfort-on-Main, 1793 — 
 1856 ; violinist and composer. (3) 
 (rightly Kotzier) (kets'-ler), Jos. 
 Chp., Augsburg, 1800 — Vienna, 
 1872 ; teacher, organist and compos- 
 er. 
 
 Ket'ten, H., Baja, Hungary, 184S— 
 Paris, 18S3 ; pianist and composer. 
 
 Kettenus (ket-ta'-noos) (or ket-niis), 
 Aloys, Verviers, 1823 — London, 
 1896 ; violinist and dram, composer. 
 
 Ketterer (ket-tu-ra), Eugene, Rouen, 
 1S31 — Paris, 1S70 ; pianist and com- 
 poser. 
 
 Keurvels (kur'-vels), Edw. H. J., b. 
 Antwerp, 1853 ; pupil of Benoit ; 
 till 1S82, chorusm. Royal Th.; since 
 cond. Nat. Flemish Th., .Antwerp; 
 c. operas, cantatas, etc. 
 
 Kewitsch (Kiewics) (ka'-vTtsh or 
 
582 
 
 THE MUSICAL GUIDE 
 
 ke'-vech), (Karl) Theodor, b. Po- 
 
 silge, W. Prussia, Feb. 3, 1834 ; son 
 and pupil of an organist ; studied 
 with Maslon ; oboist, then teacher 
 and organist in different towns ; pen- 
 sioned 1887, then editor, etc. 
 
 Kiel (kel), Fr,, Puderbach, near Sie- 
 gen (Rh. Prussia), Oct. 7, 1821— 
 Berlin, Sept. 14, 1885 ; notable 
 teacher and composer of classic sch. ; 
 self-taught as pianist and composer ; 
 vln.-pupil of Prince Karl von Wittgen- 
 stein and later, on stipend from Fr. 
 Wm. IV., studied with Dehn ; lives 
 in Berlin ; 1868 " Royal Prof." ; c. 
 oratorios, etc. 
 
 Kiene (ke'-ne). Vide buiot. 
 
 Kienie (ken'-le), Ambrosius, b. Sieg- 
 maringen, May 8, 1852 ; Benedictine 
 monk and writer. 
 
 Kienzl (kents'-'l), Wm., b. Waizen- 
 kirchen. Upper Austria, Jan. 17, 
 1857 ; pupil of Buwa, Uhl, Remy, 
 Mortier de Fontain, Jos. Krejci, and 
 later, Liszt; 1879 Dr. Phil, at Vienna; 
 18S0 lectured at Munich; 1881-82 
 toured as pianist; 1883-84 chief cond. 
 of German Opera, Amsterdam; 1886 
 m. the concert-singer Lili Hoke ; 
 i886-go dir. Styrian Musikverein at 
 Graz and cond.; 1890-92, ist cond. 
 Hamburg Opera ; 1892-93, at Mu- 
 nich ; 1899-1901 at Graz as com- 
 poser. His first opera " Urvasi" 
 (Dresden, 1886) was succ, as was 
 "■ Ht'ilr?iar, der Narr" (Munich, 
 1892), and still more so " Der Evan- 
 gelimann " ; c. also " Heilmann the 
 Fool" ''Don Quit- hole," a "musical 
 tragi-comedy " ; he finished Jensen's 
 " Turandot" and c. also 90 songs, 
 etc. 
 
 Kiesewetter (ke'-ze-vet-tSr), Rapha- 
 el G. (Edler von Wiesenbrunn), Hol- 
 leschau, Moravia, 1773 — Baden, near 
 Vienna, 1850; important coll. of 
 mus. MSS. and historian of many ob- 
 scure periods, etc.: later ennobled. 
 
 Kiewics. Vide kewitsch. 
 
 Kimball, Josiah, Topsfield, Mass., 
 1761 — 1826; teacher and composer 
 of psalm-tunes, etc. 
 
 Kind (kTnt), J. F., Leipzig, 1768— 
 Dresden, 1843; librettist of ''Der 
 Freischiitz" afterwards composer. 
 
 Kindermann (klnt'-er-man), (i) Jn. 
 Erasmus, b. NUrnberg, 1616 — after 
 1652 ; organist and composer. (2) 
 Aug., Potsdam, 1817 — Munich, i8gi; 
 barytone. (3) Hedwig, daughter of 
 above. Vide reicher, k. 
 
 King, (i) Wm., 1624— 1680 ; Engl. 
 organist and composer. (2) Robt., 
 d. after 1711 ; Engl, composer. (3) 
 Chas., Bury St. Edmunds, 1687— 
 London, 1748; composer. (4) Mat- 
 thew Peter, London, 1773— 1823; 
 theorist and dram, composer. (5) 
 Oliver A., b. London, 1855; pianist; 
 pupil of W. H. Holmes, and Rei- 
 necke, Leipzig Cons. ; pianist to the 
 Princess Louise, 1879; toured Can- 
 ada and New York; 1899 pf.-prof. at 
 R. A. M.; c. cantatas, 147th Psalm, 
 with orch. (Chester Festival, 1888), 
 a symphony, " Nii^ht." (6) Julie. 
 
 Vide RlVE-KING. 
 
 Kink el, Johanna (nee Meckel, di- 
 vorced Matthieux), Bonn, 1810; 
 London, 1858 ; writer and dram, 
 composer. 
 
 Kipke (kTp'-ke), K., b. Breslau, Nov. 
 20, 1850 ; editor. 
 
 Kip'per, Hn., b. Coblenz, Aug. 27, 
 1826 ; pupil of Anschiitz and H. 
 Dorn ; teacher and critic at Cologne; 
 c. operettas. 
 
 Kircher (kerkh'-er), Athanasius, 
 Geisa (Buchow?), near Fulda, 1602 — 
 Rome, 1680 ; Jesuit archaeologist and 
 coll. of airs, some of them supposed 
 to have curative effects. 
 
 Kirchl (kerkh'-'l), Ad., b. Vienna, 
 June 16, 1858 ; choirm. " Schubert- 
 bnnd," Vienna ; c. male choruses, 
 etc. 
 
 Kirchner (kerkh'-ner), (i) Fz., b. Pots- 
 dam, Nov. 3, 1840 ; pianist ; pupil 
 Kullak's Acad., where he taught 
 1864-89, then in the Madchenheim 
 sch., Berlin ; c. pf.-pcs., etc. (2) 
 Hn., b. Wolfis, Thuringia, Jan. 23, 
 1861 ; concert-tenor, and composer at 
 Berlin. (3) Theodor, b. Neukirchen, 
 
DICTIONARY OF MUSICIANS 583 
 
 
 In^i 
 
 near Chemnitz, Saxony, Dec. lo, 
 1824 ; pupil of J. Knorr (pf.), K. F. 
 Becker (org.), Jn. Schneider, and at 
 Leipzig Cons.; 1843-62, organist 
 Winterthur ; 1862-72, teacher Zurich 
 Mus. Sch., and cond.; 1S73-75, dir. 
 Wurzburg Cons., Leipzig ; 1883, 
 Dresden ; 1S90, Hamburg ; c. 90 pf.- 
 pcs., etc. 
 
 Kirk'mann, (i) Jacob (rightly Kirch- 
 raann), d. London, 1778 ; founder 
 (before 1740) of the firm of harpsi- 
 chord-makers, K. & Son, the " son " 
 being his nephew, (2) Abraham K. 
 (3) Jan., b. Holland, d. Norwich, 
 1799 ; organist and composer, Lon- 
 don, 1782. 
 
 Kirnberger (kern'-berkh-er), Jn. Ph., 
 Saalfeld, Thuringia, 1721 — Berlin, 
 1783 ; eminent theorist, conductor 
 and composer. 
 
 Kist (kest), Florent Corneille (Flo- 
 rens Cornelius), Arnheim, 1796 — 
 Utrecht, 1863 : horn-player and flut- 
 ist ; editor, conductor and composer. 
 
 Kist'ner, (i) Fr., Leipzig, 1797 — 1844; 
 pub. His son (2) Julius succeeded 
 him. (3) Cyrill, b. Grossaitingen, 
 near Augsburg, March 12, 1848 ; 
 school-teacher ; studied with Wiill- 
 ner, Rheinberger, and Fr. Lachner ; 
 1883 teacher Sondershausen Cons.; 
 since 1885 lives in Bad Kissingen as 
 principal of a sch., pub. of text-books, 
 inch " A Harmony, based on Wag- 
 ner," etc.; c. 2 operas; a succ. 
 " musical comedy " " EulenspiegeV 
 (Wiirzburg, 1S93) ; etc. 
 
 Kitch'iner, Wm., London, 1775 — 
 1827 ; a wealthy physician ; writer 
 and dram, composer. 
 
 Kittel (kit'-tel), Jn. Chr., Erfurt, Feb. 
 12, 1732 — May 9, 1809; J. S. Bach's 
 last pupil; organist in Erfurt; famous 
 but ill-paid virtuoso and teacher. 
 
 Kittl (kit'-'l), Jn. Fr., b. Schloss, Wor- 
 lik, Bohemia, 1806 — Lissa, 1868 ; 
 conductor and dram, composer. 
 
 Kitzler (kits'-ler). Otto, b. Dresden, 
 March 16, 1834 ; pupil of Schneider, 
 Otto, and Kummer ('cello), later of 
 Servais and Fetis, Brussels Cons. ; 
 
 ■d 
 
 'cellist in opera-orchs. at Strassburg 
 and Lyons; cond. at various theatres; 
 1868 dir. Brunn Mus. Soc. and Mus. 
 Sch., also cond. of the Mannerge- 
 sangverein; pub. orch.-mus., pf.- 
 pcs., etc. 
 
 Kjerulf (k'ya-roolf), Halfdan, Sept. 
 17, 1818 — Christiania, Aug. 11, 1868; 
 teacher and composer ; gave up the- 
 ology for music ; studied at Leipzig ; 
 settled in Christiania ; c. songs and 
 pf.-pcs. 
 
 Klafsky (Lohse-Klafsky) (klaf- 
 shkl), Katharina, St. Johann, Hun- 
 gary, 1855 — Hamburg, 1896; sopr. ; 
 pupil of Mme. Marchesi ; sang in 
 comic opera chorus, later leading 
 Wagnerian roles in Europe and Amer- 
 ica ; m. Otto Lohse. 
 
 Klauser (klow'-z^r), (i) K., b. of 
 Swiss parents, St. Petersburg, Aug. 
 24, 1823 ; chiefly self-taught ; 1850, 
 New York ; 1856, Mus. -Dir. Far- 
 mington Cons.; editor. (2) Julius, 
 b. New York, July 5, 1854 ; pupil of 
 Wenzel, Leipzig Cons.; mus. -teacher, 
 Milwaukee ; pub. " The Septonate 
 and the Centralization of the Tonal 
 System " (1890). 
 
 Klauwell (klow'-vel), (i) Ad.,Langen- 
 salza, Thuringia, 1818 — Leipzig, 
 1879 ; teacher, writer, etc. (2) Otto, 
 b. Langchsalza, April 7, 1851 ; 
 nephew of above ; pupil of Schulp- 
 forta, and at Leipzig Cons. ; Dr. 
 Phil. ; 1875 P^'o^- Cologne Cons. ; 
 since 1885, dir. Teachers' Seminar}' ; 
 writer and dram, composer. 
 
 Klee (kla), L., b. Schwerin, April 13, 
 1846 ; pupil of Th. Kullak, and until 
 1875, teacher Kullak's Acad. , then dir. 
 of his own sch.; " Musik-Direktor," 
 writer and editor. 
 
 Kleeberg (kla-bar), Clotilde, b. Paris, 
 June 27, 1866 ; pianist ; pupil of 
 Mmes. Retz and Massart at the Cons., 
 won 1st prize ; debut, at 12, with 
 Pasdeloup orch.; toured Europe with 
 great succ; 1894, Ofificier de I'Acad- 
 emie. 
 
 Kleemann (kla'-man), K., b. Rudol- 
 stadt, Sept. 9, 1842 ; pupil of M Idler; 
 
j84 
 
 THE MUSICAL GUIDE 
 
 1878, studied in Italy ; then 2nd 
 opera cond. and ct. mus.-dir. Des- 
 sau ; c. 2 symphonies, etc. 
 
 Kleffel (klef'-fel), Arno, b. Possneck, 
 Thuringia, Sept. 4, 1840 ; studied 
 Leipzig Cons., and with Hauptmann ; 
 1863-67, dir. Riga Mus. See; then 
 th. cond. in Cologne ; later teacher of 
 theory. Stern's Cons., Berlin; 1895, 
 professor ; c. opera, Christmas le- 
 gend, overtures, etc. 
 
 Klein (kiln), (i) Jn. Jos., Arnstadt, 
 1740 — Kahla, near Jena, 1823 ; writ- 
 er. {2) Bd., Cologne, 1793 — Ber- 
 lin, 1832 ; teacher and composer. 
 (3) Joseph, 1S02 — 62, bro. of above ; 
 lived as composer in Berlin and Co- 
 logne. (4) Bruno Oscar, b. Osna- 
 brlick, Hanover, June 6, 1858 ; son 
 and pupil of (5) "Carl K. (organist 
 OsnabriickCath.); (4) studied at Mun- 
 ich Cons.; 1878, gave concerts in 
 America; 1883, New York; 1884, chief 
 pf. -teacher Convent of the Sacred 
 Heart ; also, 18^4-94, organist St. 
 Francis Xavier, and 1887-92, prof, 
 of cpt. and comp. Nat. Cons.; 1894- 
 95. gave concerts in Germany; prod, 
 succ. gr. opera, " Keniliuorth " 
 (Hamburg, 1895), vln. -sonata, etc. 
 (6) Hermann, b. Norwich, Eng. ; 
 critic and teacher : studied law ; 1874 
 singing with .Manuel Garcia ; 188 1- 
 1901, critic London Sunday Times ; 
 1887, prof, of singing at Guildhall ; 
 1896, dir. opera-class (vice Weist 
 Hill) ; 1902, New York. 
 
 Kleinmichel (klln'-mlkh-'l), (r) Her- 
 mann; (?) 1S16 — Hamburg, 1894; 
 bandmaster. (2) Richard, Posen, 
 Dec. 31, 1846 — Sept., 1901; son and 
 pupil of above ; studied also at Ham- 
 burg and at Leipzig Cons. ; teacher, 
 Hamburg ; 1S76, Leipzig; 1882, mus. 
 dir. City Th. ; c. 2 operas ; 2 sym- 
 phonies ; chamber-music, valuable 
 etudes, etc. ; m. a dramatic soprano, 
 (3) Clara Monhaupt. 
 
 Klengel (kieng'-el), (i) Aug. Alex. 
 (" Kanon-Klengel "), Dresden, 1784 
 — 1852 ; organist and composer of an 
 attempt to rival Bach's ' ' Well-tem- 
 
 pered Clavichord," etc. (2) Paul, b. 
 Leipzig, May 13, 1854 ; pianist and 
 violinist; Dr. phil., Leipzig; 1881- 
 86, cond., Leipzig, " Euterpe" con- 
 certs ; 1888-93, 2nd ct.-cond., Stutt- 
 gart; cond. " Arion," Leipzig; 1898, 
 New York. (3) Julius, b. Leipzig, 
 Sept. 24, 1859 ; bro. of above ; 'cel- 
 list, pupil of Emil Hegar ('cello) and 
 Jadassohn (comp.); ist 'cello in Ge- 
 wandhaus Orch., and teacher at the 
 Cons.; composer. 
 
 Kliebert (kle'-bert), K., b. Prague, 
 Dec. 13, 1840 ; pupil of Rheinbergei- 
 and WiUlner, Munich; 1876, dir. R.' 
 Sch. of Mus., ^Vurzburg. ' 
 
 Klinck'erfuss (-foos), Johanna, b.' 
 Hamburg, March 22, 1856; pupil ol 
 Beer and Liszt ; notable ct.-pian-, 
 
 ist. ; 
 
 Klindworth (kllnt'-vort), K., b. Hanj 
 over, Sept. 25, 1830 ; pianist, emi-j 
 nent teacher and editor ; self-taugh ' 
 pianist ; at 6 played in public ; at 17 j 
 cond. of an opera-troupe; 1849 
 teacher at Hanover ; 1852, a Jewisl 
 woman advanced him money to studj 
 with Liszt ; 1854, music-debut, Lonl 
 don ; Wagner admired him, and the;' 
 became friends. 1854-68, he gay., 
 concerts and lessons, London ; thei| 
 pf.-prof. Imp. Cons. Moscow ; whil ! 
 here he completed two monument, 
 al works, his pf. -scores of Wagner' 
 "'Ring des Nibeliingen" and a rev' 
 ed. of Chopin. 1882-92, cond. aj 
 Berlin the Wagnerverein and (wit 
 Joachim and Wiillner) the Philharm' 
 Concerts. Est. a " Klavierschule j 
 (Sch. of Pf. -playing), later unite' 
 with the Scharwenka Cons., 189;! 
 when he retired to Potsdam ; coxr; 
 posed piano-pieces. 
 
 Kling, H., b. Paris, Feb. 17, 1842 
 prof. Geneva Cons, and teacher i 
 city schools ; writer and dram, con' 
 poser. 
 
 Klingenberg (khng-en-berkh), Fi' 
 Wm., b. Sulau, Silesia, June 6, i8og 
 1S40-85, cantor, Peterskirche, Go: 
 iitz : c. a symphony, etc. 
 
 Klitzsch (klitsh), ' K. Emanue 
 
 I 
 
|i DICTIONARY OF MUSICIANS 58^ 
 
 :ello) 
 lloM 
 itrali 
 
 .Pr, 
 
 Ak 
 
 Schonhaide, Saxony, 1S12 — Zwickau, 
 18S9 ; writer and composer. 
 
 Clos6 (k-16-za), Hyacinthe E16onore, 
 Isle of Corfu, iSoS — Paris, 1880; 
 clarinettist and prof., Paris Cons.; 
 composer. 
 
 Clous (kloos), Augusta (stage-name 
 Doria) ; b. Boston, U. S. A. ; con- 
 tralto ; pupil of Hey, Berlin, 1895, 
 Vannuccini, Plorence, and Bax, 
 Paris ; debut, Monte Carlo, 1899, 
 taking name " Doria " ; has sung at 
 Brussels and Rouen. 
 ^j^'lpotz (klots), family of Bavarian vio- 
 ' lin-makers at Mittenwald. The first 
 (i) iEgidius, sen., the best; his son 
 (2) Matthias (ca, 1660— 96). Mat- 
 thias's sons were (3) Sebastian and 
 (4) Joseph, and their sons (s) Georg, 
 (6) Karl, (7) Michael, and (8)^gi- 
 dius, Jr. 
 
 [lughardt (klookh'-hart), Aug. (Fr. 
 Martin), b. Kothen, Nov. 30, 1847 ; 
 pupil of Blassmann and Reichel, 
 Dresden ; ct.-cond. at Neustrelitz and 
 later at Dessau ; prod. 4 operas, the 
 notable symphonic poem, "Lc'onore"; 
 3 symph. (i. '' JValdzuebi-n"), over- 
 tures " /w Friihliiig" ; '^ Sophoiiis- 
 be," "' Siegesoicverture" and "' Fest- 
 ouvey-tilre" etc. 
 
 Inabe (k'na-be), (i) Wm., Kreuz- 
 burg, Prussia, 1803 — Baltimore, 1864; 
 founder of pf. -factory at Baltimore, 
 Md.; succeeded by his sons (2) Will- 
 iam (1841— 89) and (3) Ernest, and 
 they by (4) Ernest J. (b. July 5, 1869) 
 and (5) Wm. (b. March 23, 1872). 
 
 inauth (knowt). Vide franz, robt. 
 
 :necht (knekht), Justin H., Biberach, 
 Wurtemberg, Sept. 30, 1752 — Dec. i, 
 1817; rival of Vogler as organist, and 
 important theorist, conductor and 
 composer. 
 
 :neisel (knl'-zel), Fz., b. of German 
 parents in Roumania, 1865 ; violin- 
 ist ; pupil of Grun and Hellmesberg- 
 er, Vienna ; Konzcrtmeister, Ilofburg 
 Th.-Orch.; then of Bilse'sOrch., Ber- 
 lin ; since 1885, leader and soloist, Bos- 
 ton Symphony Orch.; 1887, founded 
 the " Kneisel Quartet," which has 
 
 played with greatest succ. in Amer- 
 ica and Europe ; 1902, cond. Worces- 
 ter (Massachusetts) Festival. 
 
 Kniese (kne'-ze), Julius, b. Roda, near 
 Jena, Dec. 21, 1848 ; pianist and or- 
 ganist ; pupil of Stade, at Altenburg, 
 Brendel and C. Riedel, Leipzig ; 
 1884-S9, mus.-dir. at Aix ; 1882, 
 chorusm. at Bayreuth, where he lived ; 
 18S9, dir. Preparatory Sch. for Stage- 
 Singers ; c. opera, '■'■ Konig Witti- 
 c/iis"; symphonic poem, '' Fritk- 
 jof" etc. 
 
 Knight (nit), Jos. Philip, Bradford- 
 on-Avon, 1812 — Great Yarmouth, 
 1S87 ; organist and composer of 
 songs incl. '' Rocked in the Cradle of 
 the Deepr 
 
 Knorr (knor), (i) Julius, Leipzig, 1805 
 — 1861 ; pf. -teacher and deviser of 
 standard rudimentary exercises ; pub. 
 " Methods " Gic. (2) Ivan, b. Mewe, 
 West Prussia, Jan. 3, 1853 ; studied 
 Leipzig Cons, with Richter, Rein- 
 ecke ; 1S83, prof, of theory, Hoch 
 Cons. Frankfort-on-Main ; c. 2 suites, 
 etc. 
 
 Kny'vett, (i) Chas., England, 1752— 
 London, 1S22 ; tenor and organist. 
 (2) Chas., 1773 — 1852 ; son of above ; 
 organist and teacher. (3) Wm., 
 1779 — Ryde, 1856; bro. of above; 
 composer and conductor. 
 
 Kobbe (kob-ba), Gustav, b. New 
 York, March 4, 1857 ; studied pf. 
 and comp. with Adolf Hagen, Wies- 
 baden ; later with Jos. Mosenthal, 
 New York ; 1877, graduated Colum- 
 bia Coll.; 1879, Sch. of Law; lives 
 in Morristown, N. J.; pub. essays in 
 leading magazines and newspapers ; 
 also " IVat^ner's Life and IForhs" 
 (N. Y., 1890), " The Ring of the Ni- 
 belling" (1889), ''Plays for Ama- 
 teurs" (1892), ''My Rosary and 
 other Poems" (1896), "New York 
 and its Environs " (1891) ; teacher ; 
 pub. a few songs. 
 
 Kobelius (ko-ba-ll-oos), Jn. Augus- 
 tin, Wahlitz, near Halle, 1674 — Wei- 
 senfels, 1731; ct.-cond. and dram, 
 composer. 
 
^86 
 
 THE MUSICAL GUIDE 
 
 Koch (kokh), (i) H. Chp., Rudolstadt, 
 1749 — 1816 ; violinist; writer and 
 composer. (2) Eduard Emil, 
 Schloss Solitude, near Stuttgart, 1809 
 —Stuttgart, 1871; writer. (3) Em- 
 ma, b. Mayence ; pianist ; pupil of 
 Liszt, Moskowski, etc.; since 1898, 
 teacher Stern Cons. (4) Fr., b. Ber- 
 lin, 1862; pupil of the Hochschule ; 
 conductor, 'cellist and c. of 2 operas, 
 ''Die Halliger" and ''Lea" (Co- 
 logne, 1896), etc. 
 
 Kochel (kekh'-'l), L. Ritter von, 
 Stein-on-Danube, Lower Austria, 
 1800 — Vienna, 1877 ; writer. 
 
 Kocher (kokh'-er), Conrad, Ditzingen, 
 near Stuttgart, 17S6 — Stuttgart, 1872 ; 
 mus.-dir. and dram, composer. 
 
 Kocian (ko'-tsl-un), Jaroslav, b. 
 Wildenschwert, Bohemia, Feb. 22, 
 1S84 ; violinist, son and pupil of a 
 school-teacher ; studied violin at 3^ 
 years ; at 12, Prague Cons, under 
 Sevcik (vln.), and Dvorak (comp.) ; 
 debut, 1901 ; has toured Europe with 
 much succ; 1902, America. 
 
 Koczalski (ko-chal-shkl), Raoul (Ar- 
 mand G.), b. Warsaw, Jan. 3, 18S5 ; 
 studied pf. with his mother ; then 
 with Godowski at Warsaw ; at 4 
 played in public with great succ; at 
 7, played at Vienna, St. Petersburg, 
 etc., 600 concerts up to 1892 ; ct.- 
 pianist to the Shah of Persia, with 
 annuity of 3,000 francs ; c. i-act op- 
 eras, " Hagar" " Ryinond" etc. 
 
 Koemmenich (kem'-mS-nIkh), Louis, 
 b. Elberfeld, Germany, Oct. 4, 1866 ; 
 pupil of Anton Krause, Barmen and 
 at Kullak's .\cad. 1890, New York, 
 as conductor and teacher ; since 1894, 
 cond. Brooklyn Sangerbund ; 1898, 
 organised an Oratorio Soc. ; c. a can- 
 tata, male choruses, etc. 
 
 Koenen (ka-nen), Fr., Rheinbach, 
 near Bonn, 1829 — Cologne, 1S87; 
 conductor and composer. 
 
 Kofler (kof'-ler), Leo, b. Brixen, Aus- 
 trian Tyrol, March 13, 1837; from 
 1877, organist and choirm. of St. 
 Paul's Chapel, New York ; writer 
 and composer. 
 
 t 
 
 Kogel (k5'-gel), Gv., b. Leipzig, Jan'' 
 16, 1849; pupil of the Cons.; th, 
 cond. various cities; 1891-1902,001 
 Museum Concerts, Frankfort ; edii 
 and composer. 
 
 Kohler(ka'-ler), (i) Ernst, Langenbie 
 lau, Silesia, 1799 — Breslau, 1847 
 organist and composer. (2) (Chr, 
 Louis (H.), Brunswick, 1820 - 
 Konigsberg, 18S6 ; pianist, teache 
 and dramatic composer, also notabi 
 critic. 
 
 Kohut (ko-hoot'). Ad., b. Mindszen' 
 Hungary, Nov. 10, 1847 ; lives i 
 Berlin ; writer. 
 
 Kohout (ko-hoot'), Fz., b. Hostir 
 Bohemia, May 5, 1858 ; pupil of Skt 
 hersky, Prague Org.-Sch.; now cor 
 ductor " Deutsches Th." at Pragu 
 and organist Weinberger synagogU( 
 c. v. succ. i-act (German) ope 
 " Stella" (Prague, 1S96), etc. 
 
 Kolbe (kol'-be), Oskar, Berlin, 1836-! 
 i'*78 ; composer and writer. ; 
 
 Kolff (kolf), J. Vkn Santen, Rottej 
 dam, 1843 — Berlin, 1S96 ; writer, i 
 
 Kolling (kol'-ling), K. W. P., I 
 Hamburg, Feb. 28, 183 1; teachcj 
 and composer of v. succ. operett 
 " Schinetterlinge" (1891, Hamburg' 
 
 Kollmann (kol'-man), Aug. Fr, Ki 
 Engelbostel, Hanover, 1756 — Lcj 
 don, 1824; organist, theorist aj 
 composer. ! 
 
 Kompel (kem'-pel), Aug., Bruckenaj 
 183 1 — Weimar, 1891; violinist. I 
 
 Konigslow (ka'-nlkhs-lav), (i;Jn.W* 
 Cornelius von, Hamburg, 1745 
 1833 ; organist and composer. 
 Otto Fr. von, b. Hamburg, Nov. 
 1824 ; pupil of Fr. Pacius and 
 Hafner, and at Leipzig Cons.; tou! 
 for 12 years; 1858-81, leader Gur 
 nich Orch., Cologne; vice-dir. a 
 vln. -prof, at the Cons.; Royal Pre 
 retired to Bonn. 
 
 Koning(k6-n!ng), David, Rotterds' 
 1820 — Amsterdam, 1876; pian 
 conductor and composer. 
 
 Konradin (kon'-rat-en), K. Fd., ■ 
 Helenenthal, near Baden, 1833 — 
 enna, 1884 ; dram, composer. 
 
 I 
 
DICTIONARY OF MUSICIANS 587 
 
 lontski (kont'-shke), (i) Antoine de, 
 b. Cracow, Oct. 27, 1S17 ; pianist; 
 pupil of Markendorf and Field ; 
 made v. succ. tours ; teacher, Lon- 
 don ; lived in Buffalo, N. Y. ; at 80 
 toured round the world ; c. an opera, 
 an oratorio ; symph. ; very florid and 
 pop. pf.-pcs., incl. " Z^ Reveil (ill 
 Lion" etc. (2) Chas., 1815 — Paris, 
 1867 ; violinist. (3) Apollinaire de, 
 Warsaw, 1825— 1879 ; violinist ; bro. 
 and pupil of (2). (4) Stanislas, 
 b. Cracow, Oct. 8, 1S20 ; bro. of 
 above ; vln. -teacher and composer, 
 Paris. 
 
 opecky (ko-p^t'-ske), Ottokar, b. 
 Chotebor, Bohemia, April 29, 1850 ; 
 violinist ; pupil of Prague Cons. ; 
 leader Philh. Orch., cond. " Shaeffer" 
 Orch., and teacher in the Cons., 
 Hamburg ; now ct.-cond. to King of 
 Greece. 
 
 opylow (k5'-pe-16f), Alex, b. St. 
 Petersburg, 1854; studied in the Imp. 
 Chapel, where he is now vocal teach- 
 er ; c. orch.- and pf.-pcs., etc. 
 orbay (kor'-ba-e), Francis Alex, 
 b. Pesth, Hungary, May 8, 1846; 
 tenor ; pupil of Roger, and pf. -pu- 
 pil of Liszt ; 1865-68, Hungarian 
 Opera, Pesth ; toured as pianist ; 
 since 1871 New York as teacher of 
 voice and pf . ; composer. 
 orn, Mrs. Clara A., teacher and 
 composer ; lives Orange, New Jersey, 
 U. S. A. 
 
 orner (ker'-ner), (i) Chr. Gf., Leip- 
 zig. 1756— Berlin, 1831 ; composer. 
 [2) Gotthilf Wm,, Teicha, near 
 Halle, 1809 — Erfurt, 1865 ; pub- 
 lisher. 
 
 oschat (ko'-shat), Thos., b. Vik- 
 tring, near Klagenfurt, Aug. 8, 1845; 
 studied science at Vienna ; joined the 
 ;t. -opera chorus, soon became leader; 
 1874, joined cath. -choir ; 1878, the 
 Hofkapelle. 1871, he began the pub. 
 jf original poems in Carinthian dia- 
 ect, which he set to music for male 
 quartets ; these have had great pop- 
 ilarity. 1875, founded the famous 
 "Kamthner Quintett " ; prod. 4-act 
 
 " Volksstlick mit Gesang," ''Die Ro- 
 senthaler Nachtigall," and succ. 
 " Singspiel " Der Burgermeister von 
 St. Anna " (Prague, 1S93), etc. 
 
 Koselitz (ka'-ze-llts), H., b. Annaberg, 
 Saxony, 1854 ; pupil of Richter, 
 Leipzig Cobs, and Nietzsche, Basel, 
 lived in Italy ; under the name 
 "Peter Oast" prod, opera, ''Die 
 He' ill! lie he E he" (Danzig, 1891). 
 
 Kosleck (kos'-lek), Julius, b. Neu- 
 gard, Pomerania, Dec. 3, 1835 ; 
 trumpet- and cornet-virtuoso ; mem- 
 ber of the royal band, Berlin; teacher. 
 
 Kossak (kos'-sak), Ernst, Marien- 
 werder, 1814 — Berlin, 1S80 ; writer. 
 
 Kossmaly (kos'-ma-le), Karl, (?) 1812 
 — Stettin, 1893 ; teacher, conductor 
 and writer. 
 
 Kostlin (kest'-lGn), (i) K. Rheinhold, 
 Urach, Wtirtemberg, 1819 — 1894; 
 prof, and writer. (2) H. Ad., b. 
 Tubingen, Oct. 4, 1846 ; preacher ; 
 1875 he united the choirs of three 
 towns, which became in 1877 the 
 Wtirtemberg Evangelical " Kirchen- 
 gesangverein," and which he cond.; 
 1891, Darmstadt ; writer. 
 
 Kotek (ko'-tek), Jos., Kamenez-Po- 
 dolsk. Govt, of Moscow, 1855 — 
 Davos, Switz., 1885 ; violinist, teach- 
 er and composer ; c. vln. -pes. 
 
 Kothe (ko'-te), (i) Bd., Grobnig, Sile- 
 sia, 1821 — Breslau, 1897; teacher 
 and composer. (2) Aloys, b. Grob- 
 nig, 1828 — Breslau, 1868 ; bro. of 
 above ; teacher and composer. (3) 
 Wm., b. Grobnig, Jan. 8, 1831; bro. 
 of above; pupil of R. Orgel-Inst., 
 Berlin, since 1871 ; teacher, writer 
 and composer, Habelschwerdt, Sile- 
 sia. 
 
 Kotthoff (kot'-hof), Lawrence, b. 
 Eversberg, Dec. 11, 1862; pupil of 
 Breslaur, Grunike, and Buchholz, 
 Berlin ; 1886, St. Louis, U. S. A. ; 
 critic and teacher. 
 
 Kottlitz (ket'-lTts), (i) Ad., Trier, 
 1820 — Siberia, i860; dir. and com- 
 poser. His wife (2) Clothilde (nee 
 Ellendt), 1822-67, was an excellent 
 singing-teacher. 
 
588 
 
 THE MUSICAL GUIDE 
 
 Ko(t)ze'luch (kot'-ze-lookh or ko'-zhe- 
 lookh), (I) Jn. A. (rightly Jan An- 
 tonin), Wellvvarn, Bohemia, 1738 — 
 Prague, 1814; mus.-dir. ; conductor 
 and dram, composer. (2) Ld. An- 
 ton, Wellwarn, 1752 — Vienna, 1811 ; 
 pupil and cousin of above ; conduct- 
 or, teacher and composer. 
 
 Kotzolt (kot'-tsolt), H., Schnellewalde, 
 Upper Silesia, 1814— Berlin, 1881 ; 
 conductor and composer. 
 
 Kotzschmar (kotsh'-mar), Hn., b. 
 Finsterwalde, Germany, July 4, 1829; 
 his father taught him various instrs. ; 
 studied also with his uncle Hayne 
 and Jul. Otto, Dresden; in the opera- 
 orch.; 1848, America, witli Saxonia 
 Band ; since 1849 ^^vcs Portland, 
 Me.; cond. " Haydn Assoc," etc. 
 
 Kotzwara (kots-va -ra), Fz., b. 
 Prague — suicide, Ireland, 1791; tenor- 
 player and composer of " Battle of 
 Pra'^ue" etc. 
 
 Kowalski (ko-val'-shkl), H., b. Paris, 
 1841 ; pianist and composer ; pupil 
 of Marmontel (pf.) and Reber 
 (comp.) ; composer. 
 
 Kraft (kraft), (i) Anton, Rokitzan, 1752 
 — Vienna, 1820 ; 'cellist and compos- 
 er. (2) Nicolaus, Esterhaz, Hun- 
 gary, 1778 — Stuttgart, 1853 ; 'cellist 
 and composer ; son and pupil of 
 above ; became a member of the 
 famous " Schuppanzigh Quartett." 
 (3) Fr., b. Feb. 12, 1807 ; son of 
 above ; for years 'cellist Stuttgart 
 ct.-orch. 
 
 Krdl (kral), Jn. Nepomuk, (?) 1826— 
 TuUn, near Vienna, 1895 (?) ; band- 
 master. 
 
 Krantz (kriints), Eugen, Dresden, 
 1844 — 1S9S ; pianist and critic, 
 teacher and composer. 
 
 Krause (krow'-ze), (i) Chr. Gf., Win- 
 zig, 1719 — Berlin, 1770; writer. (2) 
 Karl Chr. Fr., Eisenberg, Alten- 
 berg, 17S1 — Munich, 1S32 ; writer. 
 (3) Theodor, b. Halle, May i, 1833; 
 rector at Berlin; cond. Seiffert Soc; 
 R. Mus.-Dir., 1887; composer. (4) 
 Anton, b. Geitham, Saxony, Nov. 9, 
 1834 ; at 6 pupil of cantor Dietrich ; 
 
 % 
 
 then of Fr. Wieck, Reissiger, and 
 Spindler. Dresden, later Leipzig 
 Cons., debut, as pianist, Geitham, 
 1846 ; 1853-59, teacher and cond, 
 Leipzig Liedertafel ; 1859-97, dir. 
 Singverein and the ConcertgeselV- 
 schaft (retired) ; 1877 Royal Mus..i 
 Dir.; prof. ; c. '''' Prinzes sin Jlse.' 
 •• Rtibezahl Legend." (5) (Prof. Dr.; 
 Eduard, Swinemunde, 1S37 — Berlin 
 1892 ; pianist, teacher and composer 
 (6) (Dr.) Emil, Schassburg in Tranl 
 sylvania, 1840 — Hamburg, 1889) 
 barytone. (7) Emil, b. Hamburg!' 
 July 30, 1840; pupil of Leipzijj 
 Cons.; since i860, teacher of pf. amj 
 theory at Hamburg ; since 1885 a'- 
 the Cons.; c. an Ave Maria at i\ 
 etc. (8) Martin, b. Lobstedt, neaj 
 Leipzig, June 17, 1853 ; pianist an 
 teacher ; son and pupil of a canto; 
 then studied with Fuchs Borna Teacl 
 ers' Sem., and at Leipzig Cons. ; tourej 
 Holland and Germany, then haj 
 nervous prostration 2 years ; had th! 
 friendship and advice of Liszt f(. 
 years; 1885, with Siloti and other: 
 founded the Leipzig " Lisztverein ; 
 1892, professor; 1901, Munich Con' 
 
 Kraushaar (krows'-har). Otto, Casst 
 1812 — 1866; writer and composer. 
 
 Krauss (krows), (i) Dr. Felix, 
 Vienna, Oct. 3, 1870 ; bass ; pupil 
 Stockhausen ; sang Hagcn and Gu- 
 nemanz at Bayreuth, 1899. (2) Gj 
 brielle Marie,' b. Vienna, March 2! 
 1842 ; soprano; pupil of Vienna Ci^! 
 and Marchesi ; 1860-67, Vienna \ 
 opera; 1867 Th. des Italiens, Pari 
 1875-86, Gr. Opera, Paris; since th 
 a teacher at Paris and ofificier d'A 
 demie. 
 
 Krebs (kraps), (i) Jn. L., Buttelstai 
 Thuringia, 1713 — Altenburg, 178 
 organist and composer. (2) Kj 
 Aug. (rightly, Miedcke, chang 
 after adoption by his teacher t 
 opera-singer J. B. Krebs), Nii 
 berg, 1804 — Dresden. 1880 ; c. oj 
 ras. (3) Marie (Frau Brennin 
 Dresden, Dec. 5, 1851 — June 
 1900; daughter of above, piar 
 
 .1; 
 
 1 
 
DICTIONARY OF MUSICIANS 589 
 
 and teacher. (4) K., b. near Hanse- 
 berg, Wiirtemberg, Feb. 5, 1857 ; 
 studied R. Hochschule, Berlin ; lives 
 in Berlin as critic and writer. 
 
 [recman. Vide kkeischmann. 
 
 [rehbiel (kra'-bel), H, Edw., b. Ann 
 Arbor, Mich., March 10, 1854; prom- 
 inent American critic ; studied law at 
 Cincinnati, but entered journalism ; 
 1874-78, mus.-critic Cincinnati Ga- 
 zette ; later editor New York Mus. 
 Review, and since then critic of the 
 Tribune; pub. manysucc. books, incl. 
 " Studies ill the IVagiierian Drama" 
 (1891); '" Hotu to Listen to Music" 
 (1896) ; " Annotated Bibliography 
 of Fine Art" with R. Sturgis (1897); 
 " Music and Manners in the i8th 
 century" (1898), etc. 
 
 Irehl (kral), Stephen, b. Leipzig, July 
 5, 1864 ; studied Leipzig Cons, and 
 Dresden Cons., 1889; teacher of pf. 
 and theory, Carlsruhe Cons. ; c. Char- 
 akterstucke, sonata, etc., for piano. 
 
 '.reipl (kri'-pl), Jos., 1805 — Vienna, 
 1866 ; tenor. 
 
 ireisler (kris'-ler), (i) Jns. Vide e. 
 
 T. A. HOFFMANN. (2) Ffitz, b. 
 
 Vienna, Feb. 2, 1875 ; violinist; pupil 
 of Massart and Delibes ; debut 
 Paris; toured Europe and U. S.; 
 lives in Vienna. 
 
 reissle von Hellborn (kris'-le fon 
 hel'-born), H., Vienna, 1803 — i86g ; 
 writer; wrote '' Biog. of Schubert." 
 rejci (kra'-che), Josef, Milostin, 
 Bohemia, 1822 — Prague, 18S1 ; or- 
 ganist and composer. 
 rempelsetzer (krem'-p'l-zets-er), G., 
 Vilsbiburg, Bavaria, 1827 — 1871 ; 
 coud. and dram, composer. 
 remser (krem'-zer), Eduard, b. Vi- 
 enna, April ig, 1838 ; from 1869, 
 chorusm. the Vienna " Mannerge- 
 sangverein" ; c. operettas, a cantata, 
 with orch., famous '' Altniederlan- 
 dische Volkslieder" and other part- 
 songs, etc. 
 
 renn (krSn), Fz., Dross, Lower 
 Austria, 18 16— St. Andra vorm Ha- 
 genthal, 1897 ; organist, composer 
 and conductor. 
 
 Kretschmann (or Krecman) (kretch'- 
 man), Theobald, b. Vinos, near 
 Prague, 1850 ; solo 'cellist, Vienna 
 ct. -opera. 
 
 Kretschmer (kretsh'-mer), (i) Ed- 
 mund, b. Ostritz, Saxony, Aug. 31, 
 1830 ; pupil of Otto and Schneider, 
 Dresden ; ct. -organist ; founder and 
 till 1897 cond. the Cacilia Singing- 
 Soc, etc.; teacher in the R. " Ka- 
 pellknaben-Institut," where his son 
 (2) Fz. succeeded him; E. K. c. text 
 and music of 2 important operas, 
 ''Die Folkunger" (Dresden, 1874) 
 and " Heinrich der Lowe " (Leipzig, 
 1877); operetta, ''Der Fliichtling" 
 (Ulm, 1881); a romantic opera 
 " Schon Rohtraut" (Dresden, 1887); 
 " Geisterschlacht" (prize, Dresden, 
 1865) ; 3-part mass for male chorus 
 (Brussels Acad, prize, 1868) ; an orch. 
 suite " L/ochzeitsfnusik" etc. 
 
 Kretzschmar (kretsh'-mar) (Aug. 
 Ed.), Hermann, b. Olberhau, Sa.x- 
 ony, Jan. ig, 1848 ; organist and 
 conductor ; pupil of Otto at the 
 Kreuzschule, Dresden, and at Leip- 
 zig Cons.; 1871 Dr. Phil, at Leipzig, 
 with a thesis on notation prior to 
 Guido d' Arezzo; then teacher of org. 
 and harm, at the Cons, and cond. 
 several societies; 1887, mus.- dir. of 
 Leipzig Univ. and cond. " Paulus." 
 1888-97, cond. of the " Riedel-Ver- 
 ein," retired because of ill-health; 
 iSgo, prof., critic, lecturer and 
 writer ; c. org. -pes. and part-songs. 
 
 Kreube (kru-ba), Chas. Frederic, 
 Luneville, 1777 — at his villa, near St. 
 Denis, 1S46 ; cond. at Paris Op, 
 com.; c. 10 comic operas. 
 
 Kreu(t)zer (kroi'-tser), (i) Conradin, 
 Mosskirch, Baden, Nov. 22, 1780 — 
 Riga, Dec. 14, 1849 ; pupil of Rie- 
 gard, Weibrauch and Albrechtsber- 
 ger ; toured as pianist; ct.-cond. ; c. 
 30 operas, mc\." Das Nachtlage von 
 Granada" (1834) and "Jerry und 
 Bdtely" still played, etc. His daughter 
 
 (2) Cacilie was an operatic singer. 
 
 (3) (pron. in France, krilt-zar), Ro- 
 dolphe, Versailles, Nov. 16, 1766; 
 
590 
 
 THE MUSICAL GUIDE 
 
 — Geneva, Jan. 6, 1831 ; famous vio- 
 linist to whom Beethoven dedicated 
 the '' Kreutzer Sonata"; son and 
 pupil of a German violinist and of 
 Stawitz ; prof, at the Cons.; ct. -vio- 
 linist to Napoleon and to Louis 
 XVIII., 1802-26; prod, at Paris 
 over 40 operas, incl. " Lodoiska" 
 also collaborated with Rode and Bail- 
 lot in a standard method and c. 
 famous vln. -etudes, etc. (4) Aug., 
 Versailles, 1781 — Paris, Aug. 31, 
 1832 ; bro. of above, and 1826, his 
 successor as vln. -prof, at the Cons. ; 
 composer. (5) L6on (Chas. Fran,), 
 Paris, 1817— Vichy, 1868. Son of 
 (3) ; writer and composer. 
 
 Krieger (kre'-ger), (i) Adam, Drie- 
 sen, Neumark, 1634 — 1666 ; ct. -or- 
 ganist and composer. (2) (Jn.) Phil- 
 lip, Niirnberg, 1649— Weissenfels, 
 1725 ; ct. -organist, ct.-cond., and 
 dram, composer. (3) Jn., Niirnberg, 
 Jan. I, 1652 — Zittau, July 18, 1736 ; 
 famous contrapuntist ; bro. and pupil 
 of above, and his succ. as ct.-cond. 
 (4) Fd., b. Waidershof, Franconia, 
 Jan. 8, 1S43; studied Eichstatt Teach- 
 ers Seminary and Munich Cons. ; from 
 1867, teacher Normal Sch. at Ratis- 
 bon ; writer and composer. 
 
 Kriesstein (kres'-shtln), Melchior, 
 printer at .\ugsburg (1545). 
 
 Krigar (kre'-gar), (Julius) H., BerUn, 
 1819 — 1880 ; pianist, conductor and 
 composer. 
 
 Krisper (kre'-shper). Dr. Anton L., b. 
 Graz, 1882 ; writer. 
 
 Krizkowsky (kresh-kof'-shkt), Paul, 
 1820 — Brunn, 1885 ; Czech composer. 
 
 Kroeger (kra'-ger), Ernest R., b. 
 St. Louis, U. S. A., Aug. 10, 1862 ; 
 at 5 studied pf. and vln. ; lives St. 
 Louis as teacher ; c. a symph., 5 
 overtures, a fugue, etc. 
 
 Kroll (krol), Fz., Bromberg, 1820— 
 Berlin, 1877 ; pianist and composer. 
 
 Krolop (kro'-lop), Fz., Troja, Bohe- 
 mia, 1S39 — Berlin, 1897 ; bass. 
 
 Krommer (krom'-mer), Fz., Kame- 
 nitz, Moravia, 1760 — Vienna, 1S31 ; 
 violinist, organist and conductor. 
 
 Kronach. Vide klitzsch. 
 
 Kronke (kronk-e), Emil, b. Danzig 
 Nov. 29, 1865 ; pianist ; pupil c 
 Reinecke and Paul, Nicode and Th 
 Kirchner, Dresden ; 1886 won pf, 
 prize, Dresden Cons.; 1887, diplom 
 of honour ; editor of an edition c 
 Liszt's complete works ; also con 
 poser. 
 
 Kru(c)kl (kriik'-'l), Fz., Edispitz, M(j 
 ravia, Nov. 10, 1841 — Strassburj 
 Jan. 13, 1899 ; barytone, teacher arj 
 composer. 
 
 Krug (krookh), (i) Fr., Cassel, i8i2-' 
 Carlsruhe, 1892 ; op. barytone ail 
 dram, composer. (2) Dietrich, Hat 
 burg, 1821 — 1880; pianist and coif 
 poser. (3) Arnold, b. HamburJ! 
 Oct. 16, 1849; son and pupil 
 above ; studied also with Gurlitt a| 
 Reinecke ; won Mozart scholarsh'j 
 1869; studied with Kiel and Er 
 Franck, Berlin; 1872-77, pf.-tea(|. 
 er, Stern Cons.; won Meyerbeer sch i W: 
 arship, and studied in France a) '■ 
 Italy ; 1885, ct.-cond. at the Hal 
 burg Cons.; pub. a symph., sym|' 
 prologue " Otello" and orch. sui; 
 choral works, etc. (4) (Wenz) 
 Jos. (called Krug-Waldsee), 
 Waldsee, Upper Swabia, Nov. 
 1858 ; chiefly self-taught until i8i, 
 then studied vln., pf., singing ;ll 
 comp. with Faiszt, at Stuttg!t , 
 Cons.; 1882-89, cond. at Stuttgj;; jf • 
 1889, chorusm., mus.-dir. Municjl '|*: 
 Th., Hamburg; 1892, th. -cond. v - 
 ous cities; 1889, Munich; ic, 
 Nurnberg ; 1901, Magdeburg;:, 
 important concert-cantatas, "Z>(- 
 roschi'ii,'^ " Hochzeitslied" '''' Ge r 
 zii Gmund" and '' Seebilder'" ; s :. 
 opera '' Asiorre" (Stuttgart, 18' ; 
 " secular oratorio " ''Konig Roth ' 
 etc. 
 
 Kriiger (krii'-ger), (i) Eduard, L -'- 
 burg, 1807 — Clottingen, 1885 ; pf- 
 and writer. (2) Wm., Stutt^ t, 
 1820 — 1883 ; pianist, teacher 'd 
 editor. (3) Gl., Stuttgart, 18- 
 1895 ; bro. of above ; harpist. 
 
 Kruis (krls), M. H. van, b. e- 
 
 ■:f 
 
DICTIONARY OF MUSICIANS 59 
 
 ' water, Holland, March 8, 1S61; pu- 
 pil of Nikolai at The Hague ; 1884, 
 organist, teacher and writer, Rotter- 
 dam ; 1886, founded monthly " Het 
 Orgel " ; c. an opera " De Blocni Van 
 Island" 3 symph., 8 overtures, etc. 
 
 ([rumpholtz (kroomp'-holts), (i) Jn. 
 
 I Bap., Zlonitz, near Prague, ca. 1745 
 
 1 — Feb. iq, 1790; harpist and com- 
 poser ; he m. his 16-year old pupil, 
 Frl. Meyer, a brilliant harpist ; they 
 gave concerts together, until her elope- 
 ment, when he drowned himself in 
 the Seine. (2) Wenzel, 1750 — Vi- 
 enna, 1817; bro. of above; violinist 
 and composer. 
 
 iruse (kroo'-ze), Jn. S., b. Mel- 
 bourne, Australia, xMarch 31, 1859; 
 violinist ; pupil of Joachim ; leader 
 of the Fhilh. Orch., Berhn ; 1892, 
 leader, Bremen orchestra. 
 
 iubelik (koo'-be-lik), Johann, b. 
 Michle, near Prague, July 5, 1880 ; 
 prominent violinist ; son and pupil of 
 a Bohemian gardener ; pupil for 6 
 years of .Sevcik, Prague Cons. ; studied 
 later at Vienna ; debut there 1898; 
 then toured Europe, played at Milan, 
 
 ; London, 1900, and 1901 America 
 
 [with great success; 1902, London 
 
 I Philh. Society awarded him its Bee- 
 
 ithoven medal. 
 
 uchar^ (koo'-charzh), Jn. Bap., 
 Chotecz, Bohemia, 1751 — Prague, 
 1829 ; organist and conductor. 
 ucken (kik'-'n), Fr. Wm., Bleck- 
 ede, Hanover, 1810 — Schwerin, 1882 ; 
 composer of operas and pop. songs ; 
 for some time cond. at Stuttgart. 
 uczynski (koo-chen'-shkl), Paul, 
 li. 1S46 ; Polish composer ; pupil of 
 von Bulow ; c. succ. cantata '•Ari- 
 adne." 
 
 udelski (koo-del'-shkt), K. Mat., 
 lierHn, 1805— Baden-Baden, 1877 ; 
 violinist, composer and conductor. 
 ufferath (koof'-fer-at), (i) Jn. Hn., 
 Miihlheim-on-the-Ruhr, 1797— Wies- 
 baden, 1864; conductor. (2) Louis, 
 Miihlheim, 18 11— near Brussels, 1882; 
 pianist, teacher and composer. (3) 
 Hubert Fd., Muhlheim, June 11, 
 
 1818— Brussels, June 23, 1896 ; noted 
 pianist ; bro. and pupil of above ; 
 writerand composer. (4) Maurice, b. 
 Brussels, Jan. 8, 1852. Son and pu- 
 pil of (3) ; studied with Servais (pere 
 and fils) 'cello ; 1873, editor " Guide 
 miisicah-" later, proprietor; writer 
 and translator under the name 
 " Maurice Reymont." 
 Kiiffner (klf'-ner), Jos., Wiirzburg. 
 
 1776 — 1856 ; dram, composer. 
 Kugelmann (koo'-gel-man), Hans, d. 
 Konigsberg, 1542; trumpeter and 
 composer. 
 Kuhe (koo'-e), Wm., b. Prague, Dec. 
 10, 1823 ; pianist ; pupil of Proksch, 
 Tomaschek and Thalberg ; 1845, 
 London ; from 1886 prof, the R. A. 
 M.; composer. 
 Kuhlau (koo'-low), Fr., Ulzen, Han- 
 over, Sept. II, 1786 — Copenhagen, 
 March 13, (18?). 1832; ct. -flutist, 
 dram, composer, teacher and com- 
 poser of important technical pf.-pcs., 
 etc. 
 Kuhmstedt (kiun-shtet), Fr., Oldis- 
 leben, Saxe-W'eimar, 1809 — Eise- 
 nach, 1858 ; theorist, composer, writ- 
 er and teacher. 
 Kuhnau (koo'-now), Jn., Geysing, 
 Saxony, April, 1667 (?) — Leipzig, 
 June 5, 1722 ; pupil of Henry, Al- 
 brici and P'delmimn ; organist at the 
 Thomaskirche, Leipzig, and 1700 
 cantor, before Bach ; pub. the first 
 sonata for harpsichord, of which he 
 was a noted player ; also famous Bib- 
 lical sonatas ; composer and writer. 
 Kiihner (kii'-ner), Konrad, b. Markt- 
 streufdorf, Meiningen, March 2, 
 185 1 ; pupil Stuttgart Cons. ; lives in 
 Brunswick as teacher, writer and 
 composer. 
 Kulenkampf (koo'-l'n-kampf), Gus., b. 
 Bremen, Aug. 11, 1849; concert 
 pianist and teacher ; pupil of Rein- 
 thaler, Barth and Bargiel, Berlin 
 Hochschule , organised the succ. 
 " Kulenkampscher Frauenchor " ; dir. 
 Schwantzer Cons, at Berlin for a few 
 years ; c. succ. comic operas " Der 
 Page" (Bremen, 1890) and '''Der 
 
 / 
 
592 
 
 THE MUSICAL GUIDE 
 
 Mohrenf first'' (Magdeburg, 1892); 
 " Die Brant von Cypern " (Schwerin, 
 1807) ; male choruses, etc. 
 
 Kullak (kool'-lak), (I) Theodor, Kro- 
 toschin, Posen, Sept. 12, 1818 — Ber- 
 lin, March i, 18S2 ; eminent teacher; 
 Prince Radziwill had him taught by 
 the pianist Agthe ; at 11 he played at 
 a ct. -concert; studied with Dehn, 
 Czerny, Sechter and Nicolai ; then 
 teacher to the royal family ; 1846, ct.- 
 pianist, Berlin; 1850, founded (with 
 Julius Stern and Bern. Marx) the 
 Berlin (later Stern) Cons.; 1855, re- 
 signed, established his famous "Neue 
 AkademiederTonkunst ; " 1861, royal 
 prof. ; wrote standard works, " .SV7/. 
 of Octave-playing" " Seven Studiis 
 in Octave-playing" etc. ; c. a concerto, 
 sonata and other brilliant pf.-pcs., 
 etc., inch '' Kinderlehen." (2) Ad., 
 Meseritz, 1823— Berlin, 1862 ; bro. 
 of above ; writer and composer. (3) 
 Fz., Berlin, April 12, 184.2 ; son and 
 pupil of (i) ; studied with Wieprecht 
 and Liszt ; 1867, pf. -teacher and dir. 
 orch. -class in Acad, of his father, on 
 whose death he became dir. in 1890 ; 
 writer ; c. an opera " Ines de Castro " 
 (Berhn, 1877). etc. 
 
 Kummer (koom -m'r), (i) Kaspar, 
 Erlau, 1795 — Coburg, 1870 ; flute- 
 virtuoso. (2) Fr. Aug., Meiningen, 
 Aug. 5, 1797 — Dresden, May 22, 
 1S79 ; notable 'cellist and composer 
 for 'cello ; wrote method. (3) Alex., 
 b. Dresden, July ro, 1850; son of 
 above ; pupil of Leipzig Cons., vln.- 
 virtuoso ; lives in England. 
 
 Kiimmerle (klm -mer-le), Salomon, 
 Malmsheim, near Stuttgart, 1838 — 
 Samaden, 1896; prof, and compos- 
 er. 
 
 Kundinger (kin'-dtng-er), (i) G. 
 Wm., b. Konigshofen, Bavaria, 
 Nov. 28, iSoo ; 1831 Stadtcantor at 
 Nordlingen ; 1838, Niirnberg ; com- 
 poser of church music. His 3 sons, 
 (2) Alex, b. Kitzingen, Feb. 13, 
 1827 ; ct. -violinist and composer, St. 
 Petersburg. (3) Kanut, b. Kitzingen, 
 Nov. II, 1830; 'cellist, since 1849 in 
 
 Munich ct.-orch.; and (4) Rudolf, b. 
 Nordlingen, May 2, 1832 ; pianist ; 
 pupil of his father and Blumroder; , 
 since 1850 lives in St. Petersburg; i 
 teacher at the court and to the Em- I 
 press ; 1879 prof, at the Cons. ; com- I 
 poser. 
 
 Kunkel (koonk-'l), (i) Fz. Jos., Drie- 
 burg, Hesse, 1804 — Frankfort-on- 
 Main, 18S0; theorist and composer. 
 (2) K. Bros., music publishers, St. 
 Louis, Mo. , 
 
 Kuntze (koon'-tse), K., Trier, 1817— I •' 
 Delitzsch, Saxony, 1883 ; teacher and ' , 
 composer. 
 
 Kunz (koonts), Konrad Max, Schwan- 
 dorf, Bav. Palatinate, 1S12 — Munich, 
 1S75 ; conductor and composer. 
 
 Kunzen(koonts'-'n),(i) Jn. Paul, Leis- 
 nig, Saxony, 1696 — Ltibeck, 1770; 
 organist and composer. (2) Ad. K., 
 Wittenberg, 1720 — Ltibeck, 1781; or- 
 ganist, pianist and composer. (3) 
 Fr. L. iEmilius, Ltibeck, 1761—; 
 Copenhagen, 1817; ct. -conductor and; 
 composer. 
 
 Kupfer-Berger (koop'-f'r-berkh-'r), 
 Ludmilla, b. Vienna, 1850; pupil of 
 the Cons.; debut Linz-on-Danube, 
 1868, then at the Berlin Ct. -opera ; 1 
 m. the BerHn merchant Kupfer; latei 
 at Vienna, ct. -opera as alternate with 
 Materna. 
 
 Kurpinski (koor-ptn'-shkt), Karl (Ka-i 
 simir), Luschwitz, Posen, 1785— 
 Warsaw, 1857 ; conductor and dram 
 composer. 
 
 Kurth (koort), (Martin Alex.) Otto 
 b. Triebel, Brandenburg, Prussia 
 Nov. II, 1846; pupil of Haupt 
 Loschhorn, and Jul. Schneider, Ber 
 lin ; i,ince 1871, teacher Teachen 
 Seminary, Ltineburg ; 1885, R. Mus. 
 Dir.; c. 3 operas, oratorio, adven 
 cantata, with orch., symph., etc. 
 
 Kus ser (or Cous ser), Jn. Sieg 
 mund, Pressburg, ca. 1657 — Dublin, 
 1727 ; conductor and dram, composei 
 
 Kiister (kTs'-ter), Hn., Templir 
 Brandenburg, 1817 — Herford, Wesi 
 phalia, 1878 ; ct.-organist, theorisi : 
 and composer. 
 
,| DICTIONARY OF MUSICIANS 593 
 
 Cwast (kwast), Jas., b. Nijkerk, Hol- 
 land, Nov. 23, 1852 ; pianist ; pupil 
 of his father and Fd. Bohme ; Rei- 
 necke and Richter, Kullak and 
 Wuerst, Brassin and Gevaert, Brus- 
 sels ; 1S74 teacher Cologne Cons.; 
 18S3, Hoch Cons., Frankfort; com- 
 poser. 
 
 .abarre (la-bar), Th., Paris, 1805— 
 I 1870 ; harpist and dram, composer. 
 ,abatt (la-bat), Leonard, Stockholm, 
 1838 — 1897 ; tenor. 
 
 Iabitzky (la-blt'-shkl), (i) Jos., Schon- 
 feld, near Eger, 1802 — Carlsbad, 
 188 1 ; violinist. Two sons (2) Aug., 
 b. Petschau, Sa.xony, Oct. 22, 1832 ; 
 ' pupil of Prague Cons., of David and 
 Hauptmann, Leipzig ; 1S53, cond. 
 and composer at Carlsbad. (3) Wm., 
 violinist ; lives in Toronto, Canada. 
 ablache (la-blash), Luigi, son of 
 French father and Irish mother, 
 Naples, Dec. 6, 1794 — Jan. 23, 1858; 
 eminent bass, with powerful and flex- 
 ible voice with compass (El? -e') ; pu- 
 pil of VaJesi, pupil Cons, della Pieta ; 
 debut Naples as buffo ; later in heroic 
 roles throughout Europe ; wrote 
 " Methode de chant." 
 ibor (Iji'-bor), Josef, b. Horowitz, 
 Bohemia, June 29, 1842 ; a blind 
 pianist and organist ; pupil of Sechter 
 ind Pirkjer, Vienna Cons.; chamber- 
 pianist and teacher of the princess of 
 Hanover; c. a Paternoster with orch.; 
 in Ave Maria in canon-form for 
 "emale voices, etc. 
 Jiborde. Vide delaborde. 
 lichaume (la-shom), Aime, b. Paris ; 
 lianist and composer ; came to New 
 /ork, 1890 (?) ; lives there as teacher, 
 iccompanist, cond. and composer of 
 )antomimes, incid. mus., etc. 
 I.chmund (Ijikh'-moont), Carl V., b. 
 5oonevilIe, Mo., U. S. A., 1854; at 
 3 studied in Cologne with Heller, 
 ensen and Seiss ; then Berlin, also 4 
 ears with Liszt at Weimar ; c. trio 
 played by Berlin Philh. orch.), 
 38 
 
 '■'Japanese" overture (perf. by 
 Thomas and Seidl), etc.; lives in 
 New York as teacher, conductor and 
 composer. 
 
 Lachner (lakh'-ner), (i) Theodor, b. 
 1798; son of a poor organist at Rain, 
 Upper Bavaria ; organist at Munich. 
 (2) Thekla, b. 1803; sister of above, 
 organist at Augsburg. (3) Christi- 
 ane, b. 1805 ; sister of above ; or- 
 ganist at Rain. (4) Fz., Rain, April, 
 2, 1804 — Munich, Jan. 20, 1890; 
 half-brother of above ; studied with 
 Eisenhofer (comp.), and with Ett ; 
 1882, organist Protestant Church, 
 Vienna, and studied with Stadler, 
 Sechter, and Weigl ; a friend of 
 Schubert and Beethoven; 1826, cond. 
 Karthnerthor Th.; 1834, Mannheim; 
 1836, the production of his D minor 
 symph. at Munich won him the ap- 
 pointment of ct.-cond.; from 1852, 
 was gen. mus. dir.; 1868 retired with 
 pension in protest against the growing 
 Wagnerianism at court ; his eight 
 orch. suites are his best work, show- 
 ing his contrapuntal gifts at their 
 best ; he prod. 4 operas, 2 oratorios, 
 8 symphs., incl. the '' Appassioiiata" 
 chamber-music, etc. (5) Ignatz, 
 Rain, Sept. 11, 1807 — Hanover, Feb. 
 24, 1895. Bro. of (4) and his successor 
 as organist, 1825. 2d cond. of court- 
 opera, later ct. -mus. -dir., Stuttgart ; 
 1858, ct.-cond., Stockholm; c. ope- 
 ras, pop. Singspiele, etc. (6) Vin- 
 cenz, Rain, July 19, 181 1 — ^Carls- 
 ruhe, Jan. 22, 1893 ; bro. of above ; 
 his successor as organist and later 
 successor of Fz., as ct.-cond.; teach- 
 er and composer. 
 
 Lacknith (lak'-nlt), L. Wenzel, b. 
 Prague, 1746 ; horn-player, and de- 
 ranger of famous works. 
 
 Lack (lak), Theodore, b. Quimper, 
 France, Sept. 3, 1846 ; pupil of Mar- 
 montel (pf.) and Bazin (harm.) Paris 
 Cons.; teacher at Paris ; 1881 officier 
 of the Academic; ofificier of public in- 
 struction ; c. much light and grace- 
 ful pf. -music. 
 
 Lackowitz (lak'-6-vIts), Wm., Treb- 
 
5:94 
 
 THE MUSICAL GUIDE 
 
 bin, near Berlin, Jan. 13, 1837; pupil 
 of Erk, Kullak, and Dehn ; editor. 
 
 Lacombe (la-koiib), (i) Louis 
 (Brouillon - Lacombe), Bourges, 
 France, Nov. 26, iSiS — St. Vaast-la- 
 Hougue, Sept. 30, 18S4; pianist; pupil 
 of Paris Cons. ; writer and dram, com- 
 poser. (2) Paul, b. Carcassonne, 
 Oude, France, July 11, 1837; studied 
 with Teysseyre, but mainly self- 
 taught ; iSSo won the Prix Chartier, 
 for chamber-mus., in which field he is 
 most famous ; c. also 3 symphs. , a 
 symph. overture, etc. 
 
 Lacome (la-kum), Paul (P. J. Jac. 
 Lacome de L'Estaleux), b. Hou- 
 ga, Gers, France, March 4, 1838 ; 
 lives since 1S60, Paris ; essayist and 
 composer of many light operas, incl. 
 ^'Jeanne, Jeannette et Jeanneton'' 
 (1376); orchestral suites; songs, incl. 
 " L'Estudiantina," etc. 
 
 Lacy, (i) J., bass, at London, i8i8. 
 His wife (2), Mrs. Bianchi Lacy, was 
 a soprano. (3) Michael Rophino, 
 Bilbao, 1795 — Pentonville, 1867 ; 
 English violinist and composer. 
 
 Ladegast (la-de-gast), Fr., b. Hoch- 
 hermsdorf, near Leipzig, Aug. 30, 
 iSi3 ; org.-builder. 
 
 Ladurner (la-door'-ner), Ignaz Ant. 
 Fz., Aldein, Tyrol, 1766— Villain 
 (Massy), 1839 '■> pianist and compos- 
 er. 
 
 Lafage (la-fazh), Juste Adrien Le- 
 noir de, Paris, 1801— Charenton In- 
 sane Asylum, 1862 ; singing-teacher, 
 conductor, composer and writer. 
 
 Lafont (lii-foh), Chas. Philippe, Paris, 
 1 78 1 — near Tarbes, 1839 ' violinist 
 and composer. 
 
 La Grange (la grahzh), Mme. Anna 
 (Caroline) de, b. Paris, July 24, 
 1S25 ; colorature soprano of remark- 
 able range and flexibility ; pupil of 
 Bordogni and Lamperti ; debut 1S42, 
 at Varese ; m. the wealthy Russian 
 Stankowich, has since lived in Paris as 
 teacher. 
 
 La Harpe (la-arp), J. Fran, de, Paris, 
 1739 — 1S03 ; critic. 
 
 Lahee', H., b. Chelsea, England, April 
 
 II, 1826; pupil of Bennett, Potter 
 and J. Goss (comp.) ; concert-pian- 
 ist ; lives in Croydon as teacher ; c. 
 5 cantatas, etc. 
 
 Lahire (la-er ), Ph. de, Paris, 1640— 
 1719 ; writer. 
 
 Laid law, Anna Robena (Mrs. 
 Thomson), Bretton, Yorkshire, April 
 30, 1819 — May, 1901; successful con- 
 cert-pianist until her marriage, 1852. 
 
 Lais. Vide l.vys. 
 
 Lajarte (Iji-zhart), Th. Ed. Dufaure 
 de, Bordeaux, 1826 — Paris, 1890; 
 writer and dram, composer. 
 
 Lajeunesse, M. Vide .\lbaxi. 
 
 Lalande (la-laiid), (i) Michel Rich-! 
 ard de, Paris, 1657 — 1726 ; organ-' 
 ist, conductor and composer. (2)' 
 (Meric-Lalande) Henriette Cle- 
 mentine, Dunkirk, 1798 — Paris, 
 1867 ; brilliant soprano. * K 
 
 Lalo (la-16), Ed. (V.), Lille, Jan. 27 
 1823 — Paris, April 22, 1892 ; violinis'^ 
 and viola. -virtuoso ; c. 2 vln.-concer 
 tos ; ''' Sytfiphoiiie espaonole^ ; rhap 
 sody for orch., opera ' Le Roi d' Ys^ \ 
 chamber-music, etc. 
 
 Lamb, Benj., Engl, organist i8t 
 cent. 
 
 La Mara. Vide lipsius, marie. 
 
 Lambert (lah-bar), (i) Michel, V ! 
 vonne, Poitou, 1610 — Paris, 1696 '• 
 conductor and composer. (2) Li 
 cien, b. Paris, Jan., i86i ; pupil c 
 Paris Cons.; 1S83, took Prix Rossi 
 w. cantata " Promethe'e Enchainc' 
 c. lyric dram. " Z^ Spahi" (Op 
 com., 1897), overture, etc. j 
 
 Lambert (lam'-bert), (i) Jn. H., Mlil' | 
 hausen, Alsatia, 1728 — Berlin, 177" 
 writer. (2) Geo., b. Beverley, 179 
 organist there, succeeded by his S' 
 (3) Geo. Jackson in 1818'; retire J-- 
 1S74. (4) Alex., b. Warsaw, _F IJftat 
 land, Nov. i, 1862 ; son and pupil! 45f, 
 (5) Henry L. ; (4) studied at Vien 
 Cons.; graduated at 16 ; studied w 
 Urban, Berlin ; toured Germany a , 
 Russia ; studied some months at W j - 
 mar with Liszt ; 1884, Americ 
 since 1888, dir. N. Y. Coll. of Ml 
 composer. 
 
 1 
 
DICTIONARY OF MUSICIANS 595 
 
 amberti (lam-ber'-tc), Gius., Cuneo, 
 Italy, 1S20 (?) — Turin, 1S94 ; dram, 
 composer. 
 
 ambeth, H. A,, b. Hardway, near 
 Gosport, 1822 ; organist, 
 arabillotte (laii-bl-yot). Fere Louis, 
 Ciiarleroi, Hainault, 1797 — Vaugi- 
 rard, 1S55 ; organist, conductor and 
 composer. 
 
 ammers (lam'-mers), Julius, Leip- 
 zig, 1S29 — 1888; composer and teach- 
 er. 
 
 amend', (i) Fr. A., b. Glasgow, Jan. 
 28, 1868 ; concert-pianist (pupil of 
 his bro. (2) David) ; 1882 at Raff 
 Cons., Frankfort ; later with von 
 Billow and Liszt ; debut, Berlin, 
 18S5 ; toured Europe; 1902, America; 
 :. symph., overture '' A us dem schot- 
 tischeii Hochlande" etc. 
 limothe (la-mot), G., France, 1837 — 
 Jourbevoie, 1894 ; composer. 
 limoureux (lam-oo-rii), Chas., Bor- 
 ieaux, Sept. 28, 1834 — Paris, 1900; 
 eminent conductor ; pupil of Girard, 
 Paris Cons.; later with Tolbecque, 
 Leborne and Chauvet ; co-founder of 
 I soc. for chamber-mus.; 1872, or- 
 :;anist " Societe de musique sacree ; " 
 S76, assist. -cond. Paris Opera ; 
 :S7S, first cond.; 1872-78, also 
 issist.-cond. the Cons. Concerts ; re- 
 igned from the Opera, 1881, and est. 
 he celebrated " Concerts Lamou- 
 eux" (Nouveaux Concerts). 
 Impada'rius, (i) Jns., chapel-singer, 
 it. Sophia, Constantinople, 14th 
 ent.; writer. (2) Petrus, b. Tripo- 
 tza, Morea, ca. 1730; composer. 
 Impadius (lam-pa'-dl-oos), Wm. 
 
 id,, tSi2 — Leipzig, 1892 ; writer. 
 Lmpe (lam'-pe), J. F., Saxony, 1703 
 -Edinburg, 175 1; bassoonist and 
 peratic composer. 
 Lmperen (lah'-pe-rah), Michel 
 an, b. Brussels, Dec. 6, 1826 ; 1859, 
 br. Brussels Cons.; composer. 
 Lmpert (lam'-pert), Ernst, Gotha, 
 SiS — 1879; pianist, violinist, ct.- 
 "jnductor and dram, composer. 
 Lmperti (lam-per'-te), Fran., Sa- 
 ona, Italy, March 11, 1813 — Como, 
 
 May I, 1892 ; eminent singing-teach- 
 er ; pupil of Milan Cons, and teacher 
 there, 1850-76 ; pub. treatises. 
 
 Lampugnani (lam-poon-ya'-ne), Giov. 
 Bat., Milan, 1706 — ca. 1780; dram, 
 composer. 
 
 Land (lant), Dr. Jan Pieter Nico- 
 laas, Delft, 1834— Arnhem, 1897 ; 
 professor ; pub. important results of 
 research in Arabian and Javanese 
 mus. , etc. 
 
 Landgraf (lant'-graf), J. Fr. Bd., 
 Dielsdorf, Weimar, 1816 — Leipzig, 
 1885 ; clarinettist. 
 
 Landi (liin'-de), Stefano, Rome, ca. 
 1590 — ca. 1655 ; conductor, com- 
 poser and singer. 
 
 Landino (lan-de'-no), Fran, (called 
 Francesco Cieco "the blind," or 
 Degli Organi), Plorence, ca. 1325 — 
 1390 ; notable organist and composer. 
 
 Landolfi (lan-dol'-fe) (or Landul'- 
 phus), (i) Carlo Fdo., 1. Milan, 
 1750-60 ; maker of 'cellos, etc. (2) 
 Pietro, instr. -maker at Milan ca. 
 1760, probably son or bro. of above. 
 
 Lang (lang), (i) (Lang-Kostlin), Jo- 
 sephine, Munich, 1815 — Tubingen, 
 1880 ; composer. (2) Benj. John- 
 son, b. Salem, Mass., Dec. 28, 1S37 ; 
 prominent pf. -teacher and conductor; 
 pupil of his father and of F. G. Hill 
 at Boston, Jaell and Satter, later in 
 Berlin, and with Liszt ; since 1852, 
 organist various churches, Boston ; 
 for over 25 years organist Handel and 
 Haydn Soc. and cond. since 1895 ; 
 also cond. the Apollo Club and the 
 Cecilia, etc.; c. an oratorio ''David" ; 
 symphs., etc. (3) Margaret Ruth- 
 ven, b. Boston, Nov. 27, 1867 ; 
 daughter and pupil of above ; studied 
 also with Schmidt of Boston, Drechs- 
 ler and Abel (vln.) and Gluth (comp.) 
 in Munich ; pub. many original and 
 important songs and pf.-pcs. (4) 
 Karl, b. Waiblingen, June 24, i860 ; 
 tenor at Schwerin ; pupil of Dr. 
 Ciunz. 
 
 Langbecker (lang'-bek-er), Emanuel 
 Chr. Gl., Beriin, 1792 — 1843 ; writ- 
 
596 
 
 THE MUSICAL GUIDE 
 
 Lang'don, Richard, Exeter, Engl, 
 ca. 1729 — 1803 ; organist and com- 
 poser. 
 
 Lange (lang'-e), (i) Otto, Graudenz, 
 1815 — Cassel, 1879; editor and writ- 
 er. (2) Gustav, Schwerstedt, near 
 Erfurt, 1830 — Wernigerode, 1889 ; 
 pianist and composer. (3) Samuel 
 de, Rotterdam, Feb. 22, 1840; son 
 and pupil of the organist, (4) Sam- 
 uel de L. (iSii— 1884); later stud- 
 ied witli Winterberger, Vienna, and 
 Uamcke and Mikuli, Lemberg; 1863 
 organist and teacher Rotterdam 
 Mus. Sch., often touring Europe; 
 1876 teacher Cologne Cons., also 
 cond. ; 1885-93, cond. at The Hague, 
 later teacher and vice-dir. Stuttgart 
 Cons., and since 1895, cond. ; c. 
 oratorio ''Moses" (The Hague, 
 1889), a symph., etc. (5) Daniel 
 de, b. Rotterdam, July 11, 1841 ; 
 bro. of above ; studied with Ganz 
 and Servais ('cello), Verhulst and 
 Damcke (comp.), at Lemberg Cons. 
 1860-63, then studied pf. with Mme. 
 Dubois at Paris ; chiefly self-taught 
 as organist ; 1895, dir. Amsterdam 
 Cons., and cond.; also critic; c. 
 opera " />£' Val P'an Kuilejjbtirg" ; 
 two syniphs. ; overture, " Willem van 
 Holland:' etc. (6) Aloysia. Vide 
 
 WEBER (4). 
 
 Langer (!ang'-er), (i) Hn., Hocken- 
 dorf, near Tharandt, Saxony, 1819 — 
 Dresden, i88g ; organist, conductor 
 and teacher. (2) Fd., b. Leimen, 
 near Heidelberg, Jan. 21, 1839 ; 'cel- 
 list at Mannheim ct.-Th., and later 
 2nd cond.; prod, there 5 succ. operas. 
 (3) Victor, b. Pesth, Oct. 14, 1842 ; 
 pupil R. Volkmann, and Leipzig 
 Cons.; lives in Pesth as teacher, th.- 
 cond. and editor ; pub. under the 
 name of " Aladar Tisza " very pop. 
 songs, etc. 
 
 Langert (lang'-ert), (i) (Jn.) Aug. 
 (Ad.), b. Coburg, Nov. 26, 1836 ; 
 dram, composer; th.-cond. Coburg; 
 
 1872, teacher of comp. Geneva Cons.; 
 
 1873, ct.-cond., Gotha, reappointed 
 1893 ; prod. 7 operas. 
 
 \ 
 
 Langhans (lang'-hans), (Fr.) Wm., 
 Hamburg, 1S32 — Berlin, 1892; writer 
 
 Langl6 (liih -la). Honors Fran. M., 
 Monaco, 1741 — Villiers-le-Bel, neai 
 Paris, 1807; mus. -dir., theorist anc 
 composer. 
 
 Lang'shaw, (i) J., d. 1798; Engl, orj 
 ganist. (2) J., London, 1763 ; or| 
 gaiiist ; son and successor of above, 
 
 Laniere (Lanier or Lanieri) (lan-y^r 
 lan-er', or lan-!-a'-re), (i) Nichola: ' 
 Italy (?), ca. 1588— London, 166 
 (1668?); son of (2) Jos., and nephev 
 of (3) Nicholas. (2) and (3) came t 
 England, were mus. to Queen Eliza 
 beth. (i) was ct. -musician to Charle 
 L ; a prolific composer and sing^ 
 who introduced the recitative sty! 
 into England. 
 
 Lanner (lan'-ner), (i) Jos. (Fz. K.i 
 Oberdobling, near Vienna, i8or 
 1843 ; violinist, composer and coi] 
 ductor. (2) Aug. (Jos.), 1834 — 185 
 son of above ; violinist, conduct! 
 and dance-composer of prominence. 
 
 Lans (Michael), J. A., b. Haarler 
 July 18, 1S45 ; a R. C. priest, fro 
 i86g teacher in Voorhout Seminar 
 from 1887, pastor at Schiedam ; 18; 
 founded church-mus. periodical, ai 
 1878, the Gregorian Soc. ; c. a maEj 
 
 Lapicida (la-pl-che -da), Erasmii; 
 iCth cent, composer. \ 
 
 Laporte (la-p6rt), Jos. de, Befo' 
 1713 — Paris, 1779; Jesuit abb; 
 writer. > 
 
 Lara (la'-ra), Isidore de (rightly C| 
 hen), b. in Ireland, 1862, of Engli) \ 
 father and Portuguese mother; studij 
 at Milan Cons.; took ist prize i; 
 comp. at age of 17; has written sor! 
 and the following operas : "Za Zsj 
 delV Asia," founded on Sir Edvl 
 Arnold's poem (London, 189:] 
 '" Amy Robsart" (1893); "■Maim 
 (1897); '"Messaline" Monte Caj 
 (1899), very successful. 
 
 Laroche (IS-rosh), (i) Jas. (cal 
 "Jemmy"), ca. 1680 — singer, L' 
 don. (2) Hermann Augustovit' 
 b. St. Petersburg, 1845 ; studied 
 
I DICTIONARY OF MUSICIANS 597 
 
 the Cons.; since 1866 teacher of 
 theory and history at jNIoscow Cons. ; 
 writer and composer. 
 
 ,;, . ^a Rue (la-ri'i), Pierre de (Latinised 
 Petrus Platensis ; also called 
 Perisone, Pierchon, Pierson, 
 Pierzon, or Pierazon de la Ruel- 
 lien), eminent i6th cent. Netherland 
 contrapuntist and composer ; fellovv- 
 
 ; ;,. pupil (with Despres) of Okeghem ; 
 ct. -singer and favourite of Margaret of 
 Austria. 
 ,aruette (la-ri'i-et), J. L., Toulouse, 
 
 1731 — 1792 ; composer. 
 ,a Salette (lii-sa-let'), Joubert de, 
 Grenoble, 1762 — 1S32 ; writer. 
 ,asner (las'-ner), (i) Ignaz, Brosau, 
 Bohemia, 1815 — Vienna, 1883; 'cellist. 
 (2) K., b. Vienna, Sept. 11, 1S65 ; son 
 ' of above; 'cellist Laibach I'hilh.Orch. 
 .assalle (las-sal), Jean, b. of French 
 parents, London, 1S47 ; studied 
 Paris Cons.; notable barytone ; debut, 
 Brussels, 187 1 ; sang at Paris opera, 
 in America, etc. 
 
 assen (las-sen), Eduard, b. Copen- 
 hagen, April 13, 1830; at 2 was 
 taken to Brussels and at 12 studied in 
 the Cons, there ; won first pf. -prize, 
 1844 ; harm, prize, 1847 ; 2nd prize 
 in comp. and 1851 Prix de Rome; 
 travelled in Germany and Italy and 
 made a long stay in Rome; 1858, ct.- 
 mus.-dir. at Weimar ; Liszt procured 
 the prod, of his opera '" La)id:^raf 
 Liidwigs Braiitfahrt" (Weimar, 
 1S57) ; 1861-95, Liszt's successor as 
 ct.-cond. at Weimar; then pensioned; 
 c. operas '' Fraiioilob" (Weimar, 
 i860) ; " Z^ Captif" (Brussels, 1865; 
 in German, Weimar, 1868) ; 11 char- 
 acteristic orch.-pcs.; Bible-scenes with 
 jrch. ; cantatas, 2 symphs., pop. songs, 
 etc. 
 
 isserre (las-sar), Jules, b. Tarbes, 
 July 29, 1838 ; pupil Paris Cons. ; 
 :00k 1st and 2nd prize as 'cellist ; 
 1S69 Engl, composer. 
 asso (las'-s5), (i) Orlando di (rightly 
 Roland de Lattre, Lat. Orlan'dus 
 Las'sus), Mons (Hainault), 1520 — 
 Munich, June 14, 1594 ; most emi- 
 
 nent of Netherland, and (except Pal- 
 estrina) of i6th cent., composers and 
 conductors. C. 2,500 compositions, 
 many of which are still beautiful to 
 modern ears, as his melodic suavity 
 was not smothered by the erudition 
 which gave him even among contem- 
 poraries the name " Prince of Music." 
 Befriended by various noblemen and 
 given much Italian travel, he became 
 1541-48 cond. at S. Giovanni in La- 
 terano at Rome ; then visited Mons 
 and ca. 1554, England, settling in 
 Antwerp the same year ; 1557 joined 
 on invitation the ct. -chapel of Albert 
 v., Duke of Bavaria ; from 1562 he 
 was cond. there, full of honours. His 
 complete works (in course of pub. by 
 Breitkopf & H artel) include his fa- 
 mous " Psalnii Davidis poeniienti- 
 alfs" masses, psalms, and secular 
 compositions of occasionally humor- 
 ous vein. Biogr. by Dehn (1837), 
 Baumkehr (1878), and Sandberger. 
 (2) Fd. di, d. Munich, Aug. 27, 1609, 
 eldest son of above ; ct.-cond. (3) 
 Rudolf di, d. Munich, 1625 ; second 
 son of (i) ; organist and composer. 
 (4) Fd. di, d. 1636 ; son of (2) ; con- 
 ductor and composer. 
 
 Latilla (la-tll'-la), Gaetano, Bari, 
 Naples, 1713 — Naples, 1789; con- 
 ductor, teacher and composer. 
 
 Latrobe, (i) Rev. Chr. I., Fulnes, 
 Leeds, 1758 — Fairfield, near Liver- 
 pool, 1836 ; composer. (2) J. Antes, 
 London, 1792 — Gloucester, 1787; son 
 of above ; organist and composer. 
 
 Lattre, de. Vide lasso. 
 
 Laub (lowp), Fd., Prague, 1.832 — 
 Gries, Tyrol, 1875 ; vln. -virtuoso ; 
 teacher and composer. 
 
 Laubner (lowp'-ner), Julius, 1896, 
 cond. Municipal Th., Stettin, prod, 
 there succ. i-act opera " Gtinare." 
 
 Laurencin (low'-ren-sen), Graf Fd. 
 P., Kremsier, Moravia, 1819 — Vien- 
 na, 1890 ; writer. 
 
 Laurens (16-rahs), Edmond, b. Berge- 
 rac, France, Sept. 2, 185 1 ; pupil of 
 E. Guiraud, Paris Cons. ; c. operas; 
 a suite japonaise, etc. 
 
598 
 
 THE MUSICAL GUIDE 
 
 Laurent de Rille (lo-riiii du re'-yu), 
 Fran. Anatole, b. Orleans, France, 
 182S; pupil of Comoghio and Elwart; 
 inspector of vocal instruction, Paris 
 pub. schools, etc. ; wrote a mus. nov- 
 el ''Olivier Vorphconiste'' ; prod, 
 about 25 operettas, male choruses 
 (chreurs orpheoniques), etc. 
 
 Laurenti (la-oo-ren'-te), (i) Bart. 
 Gir., Bologna, 1644 — 1726 ; violin- 
 ist and composer. (2) Gir. Nicold, 
 b. Bologna, Dec. 26, 1752 ; son of 
 above ; violinist and composer. 
 
 Lauska (la-oos'-ka), Fz. (Seraphinus 
 Ignatius), Briinn, Moravia, 1764 
 — I'.L-rlin, 1S25 ; teacher and com- 
 poser. 
 
 Lauterbach (low'-ter-bakh), Jn. Chr., 
 b. Culmbach, Bavaria, July 24, 1832; 
 pupil Wurzburg Mus. Sch., and of 
 Fetis and de Beriot at Brussels (1850), 
 won gold medal for vln. -playing, 
 185 1 ; 1853 .Munich Cons.; 1860-77 
 Dresden Cons. ; 1889, pensioned ; 
 composer. 
 
 Lavall^e (la-vSl-la), Calixa, Ver- 
 cheres, Canada, 1842 — Boston, 
 Mass., 1891 ; concert-pianist; toured 
 U. S., singing, giving frequent con- 
 certs of American composers' works, 
 1SS6-S7 ; c. 2 operas, an oratorio, a 
 symph., etc. 
 
 La'venu, Louis H., London, 181S — 
 Sydney, 1859 ; 'cellist and dram, 
 composer. 
 
 Lavigna (la-ven'-ya), V., Naples, 
 1777 — Milan, ca. 1837 ; teacher and 
 dram, composer. 
 
 Lavignac (la-ven-yak), Albert, prof, of 
 harmony, Paris Cons. ; writer ; pub. 
 a " Coiirs coinplet theorique et pra- 
 tique de dictee musicale" 1882, which 
 led to the general adoption in mus. 
 schs. of courses in mus. dictation ; 
 also " Z(7 musique et les viiisiciens^' 
 (Paris, 1S95, Engl, ed., i3(;9!.^ 
 
 Lavigne (la-ven), (i) Jacques Emile, 
 Pau, 1782— 1855 ; tenor. (2) A. 
 Jos., b. Besancon, France, March 
 23, 1816 ; oboist ; pupil Paris Cons.; 
 from 1841 in Drury Lane Promenade 
 Concerts, later in Halle's Manchester 
 
 orch. ; he partially adapted Bohn 
 system to the oboe. 
 
 Lavoix (la-vwa), H. M. Frai 
 Paris, 1846 — 1897; writer and coi 
 poser. 
 
 Law, Andrew, Cheshire, Conn., 171 
 — 1S21 ; singing-teacher, writer 
 composer of hvmn-tunes, etc. 
 
 Lawes (loz), (i)'Wm,, Salisbury, W: 
 shire, 15S2 — killed at the siege 
 Chester, 1645 ; composer. (2) I 
 Dinton, near Salisbury, Dec. 1595 
 London, Oct. 21, 1662 ; bro, 
 above ; one of the most original 
 important of song-writers, forestall); 
 in his principles those of Franz, e 
 in that he made his music respect 
 poetry he was setting ; Milton, F 
 rick and others accordingly prai 
 him. Pupil of Coperario. i( 
 Epistler and Gentleman, Chi 
 Royal ; on Charles I.'s e.xecutior 
 lost his places but re-found ther 
 the Restoration in 1660 ; buriec 
 Cloisters of Westminster .\bbey :; 
 the music to Milton's " Comus," ~. 
 
 Lawrowskaja (or Lavrovskaja if- 
 rof-shka'-ya)), Elizabeth An 5- 
 jevna( Princess Zeretelev), b. Ka;!, 
 Russia, Oct. 12, 1S45 ' sopr. ; pup of 
 Fenzi and of Mme. Nissen-Saloin, 
 St. Petersburg Cons.; debut as^- 
 pheus, 1867. (' 
 
 Layol(l)e (or dell'Aiole, Ajolla ii- 
 yol', or a-yo'-le), Fran., Flore ne 
 composer i6th cent. 
 
 Lays (rightly Lay) (le(s)). Fa., 
 Gascony, 175S — Angers, 1831 ; i,ed 
 singer and teacher. 
 
 Lazare (la-zar), Martin, Bruik, 
 1S29 — 1897 : pianist. I 
 
 Lazarus, H., London, 1815— )Si 
 clarinettist. 
 
 Lazzari (lad-za'-re), (i) Sylvi:b. 
 Bozen, 1S5S ; studied with 'sar 
 Franck, Paris Cons. ; liv^ed in ^s 
 as a teacher; c. opera " Ar ^'t 
 pantomimic ballets, etc. (2) 1«" 
 faele, c succ. opera " La Cofsi" 
 d' Egtjiont" (Trieste, 1902). 
 
 Lazzarini (lad-za-re'-ne), GuS'Wi 
 b. Padua, or Verona, 1765; sii^r- 
 
DICTIONARY OF MUSICIANS 599 
 
 each, Jas., Yorkshire, 1762 — 1797 ; 
 tenor and composer, 
 e Be (lu-ba), Guil., i6thcent. French 
 tvpe-founder. 
 
 e Beau (lu-bo), Louise Adolpha, 
 b. Rastatt, Baden, April 25, 1850 ; 
 concert-pianist ; pupil of Kalliwoda, 
 Frau Schumann, Sachs, Rheinberger 
 and Fr. Lachner ; lives since 1890 in 
 Berlin; c. choral works "//«</«- 
 moth " (1894), etc. 
 
 ebeau (lu-bo), Fran., b. Liege, Aug. 
 4, 1S27 ; pupil of Michelot (pf.) and 
 Rosselet (harm.) ; Sec. administra- 
 tion commission Brussels Cons. ; c. 
 opera ''Esmeralda" text by Victor 
 Hugo (Liege, 1856). 
 ;;begue (lu-beg), Nicolas A,, Laon, 
 1630 — Paris, 1702 ; ct. -organist and 
 :omposer. 
 
 l;bert (ia'-bert) (rightly Levy), Sieg- 
 
 mund, Ludwigsburg, near Stuttgart, 
 
 c322 — Stuttgart, 1884 ; teacher, 
 
 .vriter and composer ; co-founder of 
 
 >tuttgart Cons. (1856-57). 
 
 Ibeuf (lu-buf), Abbe Jean, Auxerre, 
 
 ;6S7 — 1760 ; writer. 
 
 hblanc (lii-blah). Georgette, b. 
 
 \.ouen; pupil of Bax ; debut Op. Com. 
 
 'aris, 1893, in '" L Attaqiie de Mou- 
 
 in" 1895, Th. de la Monnaie, Brus- 
 
 els ; then gave song recitals in cos- 
 
 unie with much effect. 
 
 Iborne (lii-born), (i) Aim6 Am- 
 
 roise Simon, Brussels, 1797 — Paris, 
 
 S66 ; teacher and writer. (2) (or Le 
 
 Jorne), Fd., b. Paris, March 10, 
 
 862 ; pupil of Massenet, Saint-Saens, 
 
 nd Franck, Paris Cons.; lives in Paris 
 
 s critic ; c. pastoral dramas, "■ Hed- 
 
 ^a,"a symph. legende; symphs., etc. 
 
 '.30UC (lu-book), Chas. Jos., Besan- 
 
 l Dn, 1822— Hyeres, 1893 ; 'cello-virt- 
 
 pso. 
 
 )run (le-broon), (i) L. Aug., 
 Ilannheim, 1746 — Berlin, 1790 ; 
 _, j«il. (reatest oboist of the i8th cent. ; com- 
 '«»'■ j li'^^''- (2) (nee Danzi), Franciska, 
 ^jtc. I' punheim, 1756 — Berlin, 1791 ; wife 
 ^ "[(» f above ; soprano. Their two 
 ■ .,: ■ liughters, (3) Sophie and (4) Ro- 
 ne, were distinguished singers. 
 
 Lebrun(lu-brun),(i) Jean, Lyons, 1759 
 — suicide, Paris, 1809; horn-virtuoso. 
 (2) Louis Sebastien, Paris, 1764 — 
 1S29 ; tenor and teacher. (3) Paul 
 H. Jos., b. Ghent, April 21, 1861 ; 
 pupil of the Cons, there; 1891 won the 
 Prix de Rome for composition and the 
 Belgian Academie ist prize for a 
 symphony. 
 
 Le Carpentier (lii kar-pant-ya). Ad. 
 Clair, Paris, 1809 — 1869 ; pianist 
 and composer. 
 
 Lechner (lekh'-ner), Ld., b. The 
 Etschthal, Switzerland (?) — Stuttgart, 
 1604 ; ct.-cond. and composer. 
 
 L^clair (la-klar), J. M., Lyons, 1697 
 — assassinated, Paris, 1764 ; violin- 
 ist ; c. operas, 48 notable vln. -sona- 
 tas, etc. ; his wife, a singer, engraved 
 his compositions. 
 
 Leclerq (lu-klar), L., b. Paris, 1828 ; 
 wrote under pen name " L. Celler." 
 
 Lecocq (lu-kok), (Alex.) Chas., b. 
 Paris, June 3, 1832 ; studied at the 
 Cons., won rst prize for harm., and 
 2d prize for fugue ; his first work, 
 " Z^ Docteur Miracle" \n conjunc- 
 tion with Bizet (prod., 1857), won a 
 prize offered by Offenbach for opera 
 buffa ; smaller succ. culminated in 
 " Fleur de TkJ" (1868) ; followed 
 by the sensational succ. " La Fille de 
 Mnie.Angot" (Brussels, 1872 ; Pa'is, 
 1873), which ran uninterruptedly 
 over a year ; its succ. was equalled 
 by '' Girojl^-Girojla" (1874), 1894, 
 chev. of the Legion of Honour ; 
 prod, over 40 operas-bouffes, comic 
 operas and operettas, written with 
 scholarship and brilliant instrumenta- 
 tion ; sacred and other songs, etc. 
 
 Le Couppey (lii koop'-pe'), F^lix, 
 Paris, April 14, 1814— July 5, 1887; 
 prof., pf. -teacher and composer. 
 
 Ledebur (la'-de-boor), K. Freiherr 
 von, b. Schildesche, near Bielefeld, 
 April 20, 1806 ; Prussian cavalry offi- 
 cer and lexicographer. 
 
 Ledent (lii-dah), F. fet., Li^ge, 1816 
 — 1886 ; pianist and composer. 
 
 Lederer(la'-dg-rer), Georg, b. Marien- 
 burg, May 2, 1843 ; notable tenor ; 
 
6oo 
 
 THE MUSICAL GUIDE 
 
 pupil of Mantius and Louise Ress ; 
 sang in various cities ; 1891-99, Zu- 
 rich, then at Riga. 
 
 Leduc (lu-diilc), Alphonse, Nantes, 
 1804 — Paris, 1 863 ; pianist, bassoon- 
 ist and composer. 
 
 Lee (la), (i) G. Alex., 1802— 185 1 ; 
 tenor and composer. (2) Sebastian, 
 Hamburg, 1805—1887 ; 'cellist and 
 composer. (3) Louis, b. Hamburg, 
 Oct. 19, 1819 ; bro. of above ; 'cell- 
 ist ; pupil of J. N. Prell ; at 12 gave 
 concerts ; 'cellist in the Hamburg 
 Th.; lived several years in Paris; or- 
 ganist, chamber-mus. soirees, Ham- 
 burg ; until 1884, teacher in the Cons, 
 and 1st 'cello ; c. symphonies, over- 
 tures, etc. (4) Maurice, Hamburg, 
 1821 — London, 1895 ; bro. of above ; 
 pf. -teacher, and composer. (5) (le) 
 Geo. Alex., d. 1851, English mgr., 
 tenor and composer. 
 
 Leeves, Rev. Wm., 1748 — Wrighton, 
 1828; probable composer of '' Aiild 
 Robin Grey" etc. 
 
 Lef^bure (iu-fa-biir), L. Fran. H., 
 Paris, 1754 — 1840 ; composer and 
 writer. 
 
 Lefebure-Wely (lu-fa-biir-va-le), L. 
 Jas. Alfred, Paris, 1817—1869; 
 noted organist ; c. opera, masses, 
 
 Lefebvre (lu-fev'-r) (i) (Le Febvre), 
 Jacques (called Jacobus Faber), 
 also Stapulensis, from his birth- 
 place, Etaples, near Amiens (?) — 
 Nerac, 1537 (47?); writer. (2) 
 Chas. ^douard, b. Paris, June 19, 
 1843 ; pupil of Ambr. Thomas, Paris 
 Cons.; 1870, Grand prix de Rome; 
 1873, after touring the Orient settled 
 in Paris; c. succ. opera, ''Djelina" 
 (1894); "Za/>v" (1887), etc. 
 
 Lef^vre (lii-fev'-r), J. X., Lausanne, 
 1763 — Paris, 1829 ; clarinettist, com- 
 poser and professor. 
 
 Leff ler, Adam, 1808— 1857 ; Engl, 
 bass. 
 
 Lefort (lu-for), Jules, 1821 — Paris, 
 1898 ; tenor-barytone. , 
 
 Legouix (lu-gvvex), Isidore Ed., b. 
 Paris, A^ril i, 1834 • pupil of Reber 
 
 and Thomas at the Cons.; prod. 4 op i 
 eras, etc. I 
 
 Legrenzi (la-gren'-tse), Giov., Ch ' 
 sone, near Bergamo, ca. 1625 — V< 
 nice, i6go ; organist, conductor an 
 dram, composer. 1 jj 
 
 Lehmann (la-man), (i) T. Mari« 
 (I.) prima donna at Cassel und< 
 Spohr ; (2) Lilli, b. Wiirzburg, Ma 
 15, 1848 ; daughter and pupil 
 above ; eminent soprano ; debut 
 Prague as " First Boy " in " Die Za: 
 bej-Jlote" ; 1868, at Danzig, and Leij 
 zig, 1870 ; in the same year obtainc 
 a life-engagement at the Royal Oper 
 Berlin, with the title (1876) of Im 
 Chamber-singer; she sang "Wo; 
 linde,',' " Helmwige " and the " Bird : 
 at their first performance, 187 | 
 1885, broke her contract, and sang- 
 the U. S., etc. (3) Geo., New Yoi 
 July 31, 1865 ; violinist ; pupil 
 Leipzig Cons, and of Joachim ; w 
 the Helbig prize at the Gewar 
 haus, 1883 ; 1886-89, leader of 1 
 Cleveland Symph. Orch. ; lives 
 New York as soloist and teacbj 
 pub. " True Principles of the Aril 
 Violin-Playing" (New York, iSgi 
 (4) Marie'(II.), b. Hamburg, IVr, 
 15, 1851, daughter and pupil of (i 
 at 16 sang in Leipzig City Th.; 
 many years, till 1897, Vienna ct.- 
 era ; lives in Berlin. (5) Liza (^. 
 Herbert Bedford), b. in Lond(:; 
 concert-soprano ; pupil of Randegf. 
 and Raunkilde at Rome (voice) ; 1 i 
 of Freudenberg (Wiesbaden), -.^i, 
 Hamish MacCunn (comp.) ; de'l 
 Nov. 23, 1885, at a Monday P 
 Concert; 1887, sang at the Norvji 
 Festival; 1894, m. and retired; 
 many songs incl. the very pop. scf- 
 cycle from Omar Khayyam, ''If 
 Persian Garden" also " /« Mtf- 
 riam" etc. 
 
 Leibrock (iTp'-rok), Jos. Ad., Br.i- 
 wick, 1808— Berlin, 1886 ; writer d 
 composer. 
 
 Leidesdorf (li'-des-dorf). Max. J ., 
 d. Florence, 1840; 1804-27 mer^ 
 of the mus.-pub. firm of Saue* 
 
- ^ 
 
 DICTIONARY OF MUSICIANS 601 
 
 iL., which published Schubert's 
 livorks. 
 
 J;ighton (la'-tun), Sir Wm., Engl, 
 ■omposer, 164 1. 
 
 liisinger (h-zlng-er), Elisabeth, b. 
 
 Stuttgart, May 17, 1S64 ; sopr. ; 
 
 tudied at the Cons., and later with 
 
 ,'iardot-Garcia, Paris ; 1884, Berlin 
 
 t. -opera. 
 
 lite (II -te), Antonio da Silva, 
 
 787 — 1826 ; cond. Oporto Cath., 
 
 nd composer. 
 
 litert (ll -tert), Jn. G., Dresden, Sept. 
 
 9, 1852 — 1901 ; pianist ; pupil of 
 
 vragen and Reichel (pf.) and Risch- 
 
 ieter (harm.) ; debut Dresden, 1865; 
 
 tudied with Liszt ; 1879-81 teacher 
 
 lorak Mus. Sch., Vienna; composer. 
 
 Litgeb. Vide leutgeb. 
 
 L Jeune (lu-zhun), Claudin, Valen- 
 
 iennes, ca. 1530 — 1598 or 1603 ; 
 
 rench contrapuntist and composer. 
 
 Lkeu (lu-ku), Guillaume, Belgium, 
 
 S69 — 18S4 ; composer whose early 
 
 eath cut short a promising career ; 
 
 adagio in C minor for orch. etc. 
 
 Luaire (or Le Maire) (lu-mar), (i) 
 
 , French musician, i6th-i7th 
 
 ?nt.; believed to have advocated the 
 
 doption of a seventh syllable of sol- 
 
 lisation (v. D. D.). (2) Theophile, 
 
 Essigny-le-Grand, Aisne, March 
 
 :, 1820; pupil of Paris Cons.; sing- 
 
 y:-teacher and writer. ' 
 
 LMaistre (Ifi-metr) (or Le Maitre), 
 
 lattheus, d. 1577 ; Netherland 
 
 intrapuntist ; ct. -conductor and 
 
 >niposer. 
 
 Lniere de Corvey (liim-yar dii kor- 
 
 • ), J. Fr. Aug., Rennes, 1770 — 
 
 iris, 1832; French officer and dram. 
 
 'mposer. 
 
 Limens (lem'-mens), Jacques Nic- 
 
 as, Zoerle-Parwys, Belgium, 1823 
 
 I'astle Linterport, near Malines, 
 
 Si ; organist, professor and com- 
 
 ser. 
 
 Ldoine (lum-wan), (i) Ant. Marcel, 
 
 ris, 1763 — 1817 ; publisher, ct.- 
 
 I'luctor and writer. (2) H., Paris, 
 
 ^f^i — 1854 ; son of above and his suc- 
 
 ;sor in business ; writer. (3) Aim6, 
 
 b. ^ 1795 (?) ; pub. " Methode du 
 Meloplaste"; teacher. 
 
 Lemoyne (lum-wan) (rightly Moyne) 
 (mwan), J. Bap., Eymet, Ferigord, 
 1751 — Paris, 1796 ; conductor and 
 dram composer. 
 
 Lenaerts (lu-narts), Constant, b. 
 Antwerp, March 9, 1852 ; pupil of 
 Benoit ; at 18 dir. Flemish National 
 Th., now teacher Antwerp Cons. 
 
 Lenepveu (lu-nup'-vu), Chas. Fd,, b. 
 Rouen, Nov. 4, 1840 ; studied with 
 Servais, in 1861 won ist prize at 
 Caen ; studied with Thomas at the 
 Cons. , 1865 took Grand prix de Rome, 
 rt. from Rome ; won a prize with opera 
 " Zf Floreiitiii" (Op. -com., 1874) ; 
 prod. gr. opera " Velleda" (Covent 
 Garden, 1882) ; 1891 harm. -prof, in 
 the Cons, and 1893 prof, of comp. ; 
 1896, Academic des Beau.x-Arts ; is 
 Chev. of the Legion of Honour, and 
 officer of pub. instruction ; c. lyric 
 drama 'Jeanne iVArc" (Rouen 
 Cath., 1886); '" Hyinne funehre et 
 trioinp/ial" (V. Hugo) (Rouen, 1889), 
 etc. 
 
 Len'ton, J., d. after 1711; band-mu- 
 sician and composer, London. 
 
 Lenz (lents), Wm. von, Russia, 1804 
 — St. Petersburg, Jan. 31, 1883; pian- 
 ist ; wrote genial and enthusiastic 
 studies of musicians, " i?£Y//i^z't';/ ft 
 ses irois styles " (1852), etc., being the 
 first so to divide B.'s art. 
 
 Leo (la'-6), Leonardo, Brindisi, 1694 
 — Naples, 1746; eminent pioneer in 
 the Neapolitan Sch. and noted teach- 
 er, conductor and organist ; pupil of 
 Aless. Scarlatti, Fago, and Pitoni ; 
 ct. -organist ; c. 60 operas, also re- 
 ligious mus., incl. a noble 8-part 
 " Miserere" a cappella. 
 
 Leonard (la-o-nar), Hubert, Bellaire, 
 near Liege, April 7, 1819 — Paris, 
 May 6, 1890 ; eminent violinist; pub. 
 technical studies. 
 
 Leoncavallo (la-on-ka-val'-lo), Rug- 
 giero, b. Naples, March 8, 1858 ; 
 studied Naples Cons., and at 16 
 made a tour as pianist ; his first 
 opera " Tommaso Chatterton," failed 
 
6o2 
 
 THE MUSICAL GUIDE 
 
 at first but was succ. revived at Rome, 
 1896 ; a disciple whom Wagner per- 
 sonally encouraged, he spent 6 years 
 in researches, resulting in an " his- 
 toric " trilogy " Crepusculum " 
 ("Twilight"), I.Medici, \l. Giro- 
 lamo Savonarola, III. Cezare Bor- 
 gia ; toured as pianist through Egypt, 
 Greece, Turkey, etc.; lived in Paris 
 some years and had an opera " Songe 
 d'une Niiit d'^t/" privately per- 
 formed, and many songs published ; 
 he prod. 2-act opera seria " / Fagli- 
 acci" (Milan Dal Verme Th., 1892, 
 in Germany 1893, as ''Der Bajazzo ") 
 of which he wrote the masterfully 
 constructed libretto as well as the 
 strenuous music that made it a uni- 
 versal succ. The first part of the 
 trilogy, the 4-act "/ Medici " was not 
 succ. (La Scala, Milan, 1893); the 4- 
 act opera "La Bokhne" (Venice) 
 was a succ. (cf. puccini); and he c. 
 also a symph. poem, " Serajitus — 
 Serafita" ; c. operas "La Tosca" 
 and " Trilby'''; " Zaza" (Antwerp, 
 1902) succ. ; in preparation, opera 
 " Roland'' libretto by Emperor Wil- 
 helm II. of Germany. 
 
 Leonhard (la'-5n-hart), Julius Emil, 
 Lauban, 1810 — Dresden, 1S83 ; pro- 
 fessor and composer. 
 
 Leoni (la-6'-ne), (i) Leone, cond. Vi- 
 cenza Cath., 1588 — 1623, and com- 
 poser. (2) Carlo, Italian composer ; 
 prod. 3-act operetta "Per tin 
 Bacio" (Siena, 1894), and text and 
 music of succ. comic opera " Urba- 
 no " (Pienza, 1896). (3) Franco, prod, 
 cantata " Sardanapalns" (London, 
 1896) and romantic opera "Rip V "n 
 Winkle " (London, 1897). 
 
 Leonowa (or Leonova) (la-6-n6'-va), 
 Dapya Mikailovna, Russia, 1825— 
 St. Petersburg, 1S96 ; contralto. 
 
 Leroux (lu-roo), X. H. Napoleon, b. 
 Velletri. Papal States, Oct. 11, 1863; 
 pupil of Paris Cons., took Grand Prix 
 de Rome, 1885; c. opera " Cle'opatre " 
 (1890), IjTic drama " £vangeline," a 
 dramatic overture "Harold'' and 
 operas ''• William Ratcliff" and 
 
 ii ^ .: 
 
 " L'Epavo " (not prod.) ; " Astart 
 (Gr. Opera, 1901), " La Reiiie Riai. 
 ette" (1902), a mass, etc. 
 
 Le Roi (h1r-wa), Adrien, 17th centj 
 partner of Ballard (q. v.). 
 
 Lesage de Richee (lu-sazh-dii-| 
 sha), Philipp Fz. ; lutenist j 
 composer. 
 
 Leschetizky (le-she-tlt'-shkl), Th 
 dor, b. Langert, Austrian Pola 
 1830; eminent pfs. teacher; son; 
 pupil of a prominent teacher in 
 enna ; studied with Czerny (]] 
 and Sechter (comp.) ; at 15 beji 
 teaching; 1842 made succ. tot 
 1852 teacher in the St. Petersbl 
 Cons.; 1878 toured; 1880 m 
 former pupil Annette Essipoff, 
 settled as a teacher in Vienna ; c. si 
 opera, "Die Erste Falte" {^xz\ 
 1867), etc. 
 
 Leslie, (i) H. David, London, 
 — Wales, 1896 ; 'cellist, cond 
 composer. (2) Ernest, pen-narat 
 Brown, O. B. 
 
 Les'sel, Fz., Warsaw, ca. 17? 
 Petrikow, 1839 ; composer. 
 
 Lessman (W. J.), Otto, b. Riid;- 
 dorf, near Berlin, Jan. 30, lE ; 
 critic and composer; teacherit 
 Stern's Cons. ; then at Tausig's A 1. 
 until 187 1 ; organised a piano-scl>f 
 his own ; since 1882 proprietor d 
 ed. Allgm'. Musik-Zeitiing. 
 
 Le Sueur (lu-sur) (or Lesueur),.- 
 Fran., Drucat-Plessiel, near A a- 
 ville, France, Jan. 15, 1764 — Pfr 1. 
 Oct. 6, 1837; chiefly self-taujjafc. 
 1786 cond. at Notre Dame, Vkfrn^ 
 where he drew crowds and critini ' • 
 by his progammatic mus. ; he 0. 
 pamphlets defending " dramatic id 
 descriptive " church-mus.; the o,b-'|j^ 
 sition prevailed, however, and hf&'A. 
 tired to the country for 4 years; '^J v 
 he prod. succ. opera " l.a Cavet ," 
 followed by others ; 1804 Napc'W 
 raised him from distress to the 'St 
 of ct.-cond. 
 
 Leuckart (loik'-art), F. Ernst d-i 
 founded mus. business at BreU, 
 1782, bought 1856 by C. Sander 
 
 J 
 
DICTIONARY OF MUSICIANS 603 
 
 .eutgeb (Leitgeb) (lit'-gap), Josef, 
 d. Vienna, iSii ; horn-player; friend 
 of Mozart. 
 evasseur (lu-vas-siir), (i) P. Fran., 
 
 b. Abbeville, France, 1753 ; 'cellist, 
 Paris Grand Opera ; composer. (2) 
 J. H., Paris, 1765— (?): a -cellist. 
 (3) Rosalie, soprano, Paris Opera, 
 1766-S5. (4) Nicholas Prosper, b. 
 in Picardy, March 9, 1781 ; dram.- 
 bass and professor. 
 
 evens (lii-vahs), , church-cond. 
 
 and mathematician and theorist at 
 Bordeaux (1743). 
 
 av'eridge, Richard, 1670— 175S; 
 Engl, bass singer. 
 
 jv'ey, Wm. Chas., Dublin, 1837 — 
 London, 1894 ; dram, composer. 
 ;vi (la'-ve), (i) Hermann, b. Gies- 
 -on, Nov. 7, 1839 ; eminent conduc- 
 or ; pupil of V. Lachner and of 
 Leipzig Cons. ; 1S59-61, mus.-dir., 
 -^aarbrucken ; 1861-64, cond. Ger- 
 nan Opera at Rotterdam ; 1864-72, 
 :t.-cond. at Carlsruhe ; from 1872, 
 :t.-cond. at Munich ; 1894, Gen. mus. 
 lir. Munich ; 1896, pensioned. (2) 
 Levi (or Levy, Lewy). Vide le- 
 ;ert. 
 I:wandowski (la-van-dof'-shki), 
 
 Louis, Wreschen, Posen, 1823 — 
 krlin, 1894; singing-teacher and com- 
 poser. 
 
 I;w'is, Thos. C, org. -builder, Lon- 
 ilon, 1 86 1. 
 
 I'wy (la'-ve), (i) Eduard Constantin, 
 >aint-Avold, Moselle, 1796— Vienna, 
 S46 ; horn-virtuoso and prof. (2) 
 OS. Rodolphe, Nancy, 1804 — Ober- 
 ssnitz, near Dresden-, 1881; bro. and 
 upil of above ; horn-virtuoso. (3) 
 'has., Lausanne, 1823 — Vienna, 
 "83 ; son of (i) ; pianist and com- 
 "ser. (4) Richard Levy, Vienna, 
 !S27 — 1883; sonof(i); horn-player, 
 iinging-teacher. (=;) Vide lf.bert. 
 Lybach (h'-bjikh), Ignace, Gambs- 
 eim, Alsatia, 1817 — Toulouse, 
 ■^gr; pianist, teacher and composer. 
 Lidoff (or Liadow) (le'-a-dof), Ana- 
 ole, b. St. Petersburg, April 29, 
 S55 ; pupil Johansen (cpt. and 
 
 fugue) and Rimsky-Korsakov (form 
 and instr.)at St. P. Cons.; since 1878, 
 prof, of harmony there ; also at the 
 Imp. Chapel ; since 1894, cond. 
 Mus. Soc; c. brilliant and original 
 pf.-pcs., etc. 
 
 Liapunov (or Liapounow) (le-a'-poo- 
 nof), Serge Michailovitch, b. Jaro- 
 slavi, Russia, Nov. iS, 1859 ; pupil, 
 Kliiuhvorth and I^abst (pf.) and Hu- 
 bert (comp.) Moscow Cons.; sub-dir. 
 Imp. Ciioir, St. Petersburg, and a 
 member of the Imp. Geographical 
 Soc, which 1893 commissioned him 
 to collect the folk-songs of Vologda, 
 Viatna and Kostroma, which he pub. 
 1897 ; since 1894, mus.-master to the 
 Grand Duke ; pub. concerto, a 
 symph., etc. 
 
 Libe'lius, incorrect form of Sibelius. 
 
 Lich'fild, H., Engl, composer, 1614. 
 
 Lichner (llkh'-ner), H., Harpersdorf, 
 Silesia, 1829 — Breslau, 1898 ; organ- 
 ist and conductor. 
 
 Lichtenberg (hkh'-t'n-berkh), b. San 
 FVancisco, Cal., Nov. 22, 1861 ; vln.- 
 virtuoso ; pupil of Beaujardin ; at 8 
 played in public ; at 12 pupil of Wie- 
 niawski, and his aide on a U. S. 
 tour ; studied 6 months with Lambert 
 in Paris, then studied again with 
 Wieniawski 3 years ; won first prize of 
 honour at the " National concourse"; 
 toured America and Europe ; mem- 
 ber of Boston Symph. Orch.; 1899, 
 vln. prof. Nat. Cons., New York 
 
 Lichtenstein (llkh'-t'n-shtin), K. 
 Aug., P'reiherr von, Lahm, Franco- 
 nia, 1767 — Berlin, 1845 ; c. operas. 
 
 Lichtenthal (hkh'-t'n-tal), Peter, 
 Pressburg, 1780 — Milan, 1853 ; dram, 
 composer and writer on mus. 
 
 Lie (le), Erica (Mme. Nissen), b. 
 Kongsvinger, near Christiania, Jan. 
 17, 1845; pianist, pupil of Kjerulf, and 
 of Th. Kullak ; teacher at the Kul- 
 laks' Acad., toured Germany, etc.; 
 member R. Acad., Stockholm. 
 
 Liebau (le'-bow), (i) Julius, b. Lun- 
 denburg, Feb. 19, 1857; tenor-buffo; 
 studied with Gansbacher ; won Wag- 
 ner's praise as "Mime"; i88z, ct.- 
 
6o4 
 
 THE MUSICAL GUIDE 
 
 opera, Berlin. (2) Liebau-Globig, 
 Helene, b. Berlin, March 31, 1S66 ; 
 soprano ; sang " Yum- Yum " in '"Der 
 Mikado," Berlin, 1889; since 1898 at 
 ct. -opera. 
 
 Liebe (le'-be), Ed. L., Magdeburg, 
 Nov. 19, 1819 — Coire, Switz., igcjo ; 
 pianist, organist and dram, com- 
 poser. 
 
 Liebich (le'-blkh), Ernst (Jn. Gott- 
 lob), Breslau, 1830— 'I884 ; eminent 
 vln. -maker. 
 
 Liebig (le'-blkh), (r) K., Schwedt, 
 1808 — Berlin, 1872; staff oboist in a 
 Regt.; 1S43, est. Berlin " Sympho- 
 niekapelle"; i860, R. Mus. Dir. 
 (2) Julius, 1838 — 1885, son of 
 above ; cond. at Ems. 
 
 Liebling (lep'-llng), (i) Emil, b. Bless, 
 Silesia, April 12, 1851 ; concert-pian- 
 ist ; pf. -pupil of Ehrlich and Th. 
 Kullak, Berlin ; Dachs, Vienna, Liszt 
 and Dorn ; since 1867, America, and 
 since 1S72, Chicago, as reviewer and 
 concert-pianist, teacher and writer. 
 Co-ed. in a " Dictionary of Terms " ; 
 pub. pf.-pcs. and songs. (2) G., b. 
 Berlin, Jan. 22, 1865 ; pupil of Th., 
 and Fr. Kullak, and Liszt (pf.), H. 
 Urban and H. Dorn (comp.) ; 1880- 
 85, teacher in Kullak's Acad.; 1881- 
 89 toured Oermany and Austria, with 
 success ; 1890, ct. -pianist to Duke of 
 Coburg. (3) Leonard, pianist ; stud- 
 ied in Germany ; also writer and hu- 
 morist on musical topics. 
 
 Lienau (le'-now), Robt., b. Neustadt, 
 Holstein, Dec. 28, 1838; mus.-pub., 
 Berlin. 
 
 Liliencron (le'-ll-en-kron), Rochus, 
 Freiherrvon, b. Plon, Holstein, Dec. 
 8, 1820; prof.; commissioned by the 
 Historical Commission of Munich to 
 collect the medifeval German folk- 
 songs, and pub. them. 
 
 Lillo (lll'-lo), Gius., Galatina, Lecce, 
 Italy, 1 8 14— Naples, 1863 ; teacher 
 and dram, composer. 
 
 Limnan'der de Nieuwenhove (na'- 
 ven-ho-ve), Armand Marie Ghis- 
 lain, Ghent, 1814 — Moignanville, 
 1892 ; dram, composer. 
 
 Lim'pus, Richard, 1824 — 1875 ; Enj 
 organist and composer. 
 
 Lincke (llnk'-e), Jos., Trachenber 
 Silesia, 17S3 — Vienna, 1837 ; 'celli; 
 
 Linc'oln, H. C, 1739 — 1864 ; orj 
 builder, London. 
 
 Lind (Itnt), Jenny, Stockholm, Oct, 
 1820— at her villa, Wynds Poii; 
 Malvern Wells, Nov. 2, 1887 ; " T| 
 Swedish Nightingale," one of 
 most eminent and pop. of sopranc 
 had a remarkably sympathetic yo 
 of great compass (d' -e", v. Cha 
 OF pitch), remarkable puri 
 breath, endurance and flexibilil 
 studied with Berg and Lindblad, 
 the court where she made her 
 succ. debut, 1838, in '' Der Fi 
 sc/iiitz"; 1841, studied with Man? 
 Garcia, in Paris, for nine montl 
 1842, sang at the Opera, but was ■ 
 engaged ; 1844, studied German 
 Berlin, and sang with greatest Si 
 in Germany and Sweden ; 1847,111!. 
 a furore in London ; 1849, ^^e p 
 the operatic stage, and created ell 
 greater sensations in concert; 18 [• 
 52, under the management of P.j. 
 Barnum, she toured the U. S., eij- 
 ing $120,000; 1852, she m. OttoQi;- 
 Schmidt in Boston ; lived in Dresd,; 
 1856, London, appearing especiy 
 with the Bach Choir which her ]>• 
 band cond. Her last pub. app'- 
 ance was in his oratorio " J?u." 
 Diisseldorf, 1870. Her private e 
 was unusually serene, impecca", 
 and generous. Her bust is in Wj> 
 minster Abbey. Biogr. by A.;. 
 Becher (1847). ' 
 
 Lindblad (Imt'-blat) Ad. Fr., ri- 
 vingsborg, near Stockholm, i8( - 
 1S7S ; teacher of Jenny Lind; ex- 
 cellent Swedish songs and an ope 
 
 Linden (Imt'-'n), K. van der, b. Ir- 
 drecht, April 24, 1839; promint 
 Dutch cond.; pupil of Kwast ,.) 
 and F. Bchme (theory) ; i860 c'i 
 Dordrecht ; later bandm. the t. 
 Guard (1875); cond. Nether id 
 Musicians' Assoc; c. cantatas th 
 orch., 2 operas, etc. 
 
 i 
 
 U 
 
DICTIONARY OF MUSICIANS 605 
 
 '.inder (Iln'-der), Gf., b. Ehingen, July 
 22, 1842; pupil Stuttgart Cons.; 
 from 1868 teacher there ; 1879 P™- 
 fessor ; c. 2 operas; overture '' Aiis 
 nordischer Heldenzeit" etc. 
 ind'ley, (i) Robert, Rotherham, 
 Yorkshire, 1777 — London, 1S55 ; 
 'cellist. (2) Wm., 1S02 — Manchester, 
 1869 ; son of above ; 'cellist. 
 indner (llnt'-ner), (i) Fr., Liegnitz, 
 ca. 1540 — Nurnberg ; composer. (2) 
 
 , Lobenstein, 1808 — Leipzig, 
 
 1867 ; horn-player. (3) Ernst Otto 
 Timotheus, Breslau, 1820 — Berlin, 
 1867 ; conductor and writer. (4) 
 Aug., Dessau, 1820 — Hanover, 1878; 
 'cellist and composer. 
 indpaintner (lint'-pTnt-ner), Peter 
 Jos. von, Coblenz, Dec. S, 1791 — 
 Nonnenhorn, Aug. 21, 1856 ; emi- 
 nent conductor, ct. -conductor and 
 dram, composer. 
 
 ind'say, M. (now Mrs. J. W. Bliss), 
 English composer of pop. songs, 
 in'ley, (i) Thos., Sr., Bath, 1725 — 
 London, 1795 ; conductor and dram, 
 composer ; owner with Sheridan of 
 Drur)' Lane Th., 1776 ; he had 3 
 daughters and 3 sons. (2) Thos., 
 Jr., Bath, 1756 — drowned at Grims- 
 "thorpe, Lincolnshire, 1778 ; violinist 
 and composer. (3) Eliza Ann, 
 1754 — Bristol, 1792 ; brilliant sopra- 
 no. (4) Mary, d. 1787 ; singer. 
 
 (5) Maria, d. Bath, 17S4 ; singer. 
 
 (6) Ozias, 1765— 1831 ; organist and 
 composer. (7) Wm., ca. 1767 — 1835; 
 composer and editor. (8) Francis, 
 Doncaster, 1774 — 1800 ; organist and 
 composer. (9) G., Leeds, 1798— 
 London, 1865; writer and dram, 
 composer. 
 
 innarz (Im'-narts), Robt., b. Pots- 
 dam, Sept. 29, 185 1 ; pupil of Haupt, 
 Berlin ; teacher in Bederkesa semi- 
 nary ; do. at Alfeld ; wrote methods, 
 etc.; c. a festival cantata '' All- 
 •Deutschland" etc. 
 
 intermans (iTn'-ter-mans), Fran. 
 Jos._, Brussels, 1808— Ixelles, 1895 ; 
 singing-teacher and composer. 
 ipinski (It-pln'-shkt). K. Jos., Rad- 
 
 zyn, Poland, Nov. 4 (Oct. 30?), 1790 
 — Urlow, near Lemberg, Dec. 16, 
 1861 ; noted violinist and composer; 
 pupil of Paganini ; lived in Dresden, 
 1839-59- 
 
 Lipsius (Itp'-st-oos), Marie, b. Leip- 
 zig, Dec. 30, 1837 ; wrote under pen- 
 name *' La Mara." 
 
 Lirou (le-roo), J. Fran. Espic, 
 Chev. de, Paris, 1740 — 1806 ; writer 
 and composer; pub. a '■'Harmony" 
 (17S5), the first French book to de- 
 sert Rameau for the modern laws of 
 tonality. 
 
 Lischin' (lesh'-ta), Grigory Andree- 
 vitch, 1853 — St. Petersburg, June 
 27, 1888 ; c. operas, incl. ''Don Cd- 
 sar de Bazan." 
 
 Lissmann (les'-man), (i) H. Fritz, 
 Berlin, 1847 — Hamburg, 1894 ; bary- 
 tone ; m. the sopr. (2) Anna 
 Marie Gutzschbach. 
 
 Listemann (Us -te-man), (i) Fritz, b. 
 Schlotheim, Thuringia, March 25, 
 1839; violinist; pupil of his uncle 
 Ullrich, and of David, Leipzig Cons., 
 1858, chamber-virtuoso to the Prince 
 of Rudolstadt ; 1867 lived in New 
 York ; 1S71, ist vln. Thomas Orch.; 
 from 1878, ist vln. Philh. Orch. ; 
 1881-85 Symph. Orch.; since 
 taught and* toured with " Liste- 
 mann Concert Co." ; c. 2 vln. -con- 
 certos, etc. (2) Bernhard, b. Schlot- 
 heim, Aug. 28, 1841 ; bro. of above; 
 pupil of Ullrich, and David, Vieux- 
 temps and Joachim. 1859-67, ist. 
 vln. in Rudolstadt ct.-orch.; came to 
 America with his bro., lived in Bos- 
 ton ; 1871-74, leader Thomas Orch.; 
 1874 founded the " Philharm. Club," 
 and toured the country; 1878 founded 
 Boston Philh.-Orch. ; cond. till 1881, 
 then 4 yrs. leader of the New 
 " Symph. -Orch." ; founded "Liste- 
 mann Quartet " ; 1883 - 93, dir. 
 of the " Listemann Concert Co."; 
 from 1893, prof. Chicago Coll. of 
 Mus.; pub. a ''Method." (3) Paul, 
 b. Boston, Oct. 24, 1^71 ; son and 
 pupil of (2) ; studied also with (i) 
 and was a member of the Quar- 
 
6o6 
 
 THE MUSICAL GUIDE 
 
 tet and Concert Co., iSgo - 93 ; 
 studied with Brodsky and Hilf, Leip- 
 zig, and witli Joachim, at Berlin; 
 leader of the Pittsburg (Pa.) Orch. ; 
 i8g6, of the " American Orch.," N. 
 Y.; since soloist of the " Redpath 
 Concert Co." (4) Fz., b. New York, 
 Dec. 17, 1873 ; bro. of above ; "cel- 
 list ; pupil of Fries and Giese at Bos- 
 ton, of Julius Klengel, Leipzig ; and 
 Hausmann, Berlin ; ist 'cello Pitts- 
 burg Orch. for a year, since lives in N. 
 Y. as teacher and concert-performer. 
 Liszt (Itst), Franz (originally Fer- 
 encz), Raiding, near Odenburgh, 
 Hungary, Oct. 22, 181 1 — Bayreuth, 
 July 31, 1886; in many ways the 
 most brilliant of all pianists, and a 
 composer whose poorest works are 
 too popular, while he is not granted 
 the credit due his more solid achieve- 
 ments ; as great a patron of art, also, 
 as he was creator. .Son and pupil of 
 an amateur ; at nine played in public, 
 at Oedenburg, Ries' Ep concerto. A 
 group of Hungarian counts sub- 
 scribed a 6 years' annuity of 600 flor- 
 ins, and the family moved to Vienna, 
 where L. studied with Czerny (pf.), 
 and Salieri (theory) for 18 months. 
 Beethoven hearing .lim play his trio 
 op. 97, embraced him. At 12 he gave 
 V. succ. concerts in Vienna and his 
 father took him to Paris, where he 
 was refused as a foreigner because 
 of Cherubini's objections to " infant 
 phenomena ; " hereafter L. was his 
 own teacher, except in comp. which 
 he studied with Paer and Reicha. At 
 14, his i-act operetta, ''Don San- 
 cfio " had 5 performances at the Acad, 
 royale de musique. On his father's 
 death in 1827 he supported his 
 mother by teaching, soon becoming 
 the salon-idol he always remained. 
 He was strongly influenced by Cho- 
 pin, von Weber, Paganini and Ber- 
 lioz. He had a brilliant series of 
 heart-affairs, beginning with the lit- 
 erary Countess d'Agoult ("Daniel 
 Stern "), with whom he lived in 
 Geneva (1835-39). She bore him a 
 
 son and three daughters ; Cosim 
 the youngest, became the wife 
 von Billow, later of Wagner. 183 
 he successfully undertook to earn I 
 concerts money enough for the coi 
 pletion of the Beethoven monume 
 at Bonn. 1849, ct.-cond. at Weima.J,.. 
 with royal encouragement to aid mu: 
 progress. He made himself tl ' 
 greatest patron among creative artist 
 aiding Wagner materially by pr 
 ductions of his works at Weimar 
 by pf. - transcriptions, aiding al 
 Raff, Schumann, and Berlioz, final 
 resigning before the opposition t 
 and failure of, an opera by Corneli 
 (q. v.). 1859-70, he lived chiefly 
 Rome, where in 1866 the Pope, Pi 
 IX., made him an abbe. 1870 i; 
 was reconciled with the Wei 
 Court. 1S75 pres. of the new Aca 
 of Mus. at Pesth ; he spent hi 
 last years at Weimar, Pesth, ai 
 Rome, followed by a large retinue 
 disciples and pupils whom he taug 
 free of charge. He died during 
 Bayreuth Festival. C. 2 symph; 
 " Z?(?«/^ " (after the " Divina Co 
 media " with female chorus) ; " Ei 
 Faustsymphonie'''' ("Faust," " Gn 
 chen," " Mephistopheles," with m: 
 
 chorus) ; Symph. Poems: " Ce qu 
 entend sitr la montagne " (Vi 
 
 Hugo) ; " Tasso, /amenta e trionfo\ 
 '' Les Pi-t'ludes" ; ''Orpheus' 
 '''Prometheus"; "Mazeppa"; "Fe 
 kldnge " / " H^ro'ide ftmhbre 
 " Huiii^aria"; "Hamlet"; " Hn 
 nenschlacht" ; "Die Ideale" (Scli' 
 ler) ; and " Von der Wiege bis z\ 
 Grabe" (Michael Zichy) ; ALSO F 
 ORCH. " Zivei Episoden atis Lent 
 Faust" (Der nachtliche Zug, 2 J 
 phisto-walzer), etc. For Pia> 
 2 concertos ; " Danse macabre" w, 
 orch. ; " Concerto pathiHiqtie" ; > 
 Rhapsodies hongroises" ; " Rh\ 
 sodie espagnole"; "Sonata in 1 
 Min"; "Fantasia and Fugue ^ 
 B-A-C-H" ; variations on a the? 
 from Bach's B-min. mass ; lo"JiY 
 monies poetiques et r/ligieusei\ 
 
DICTIONARY OF MUSICIANS 607 
 
 '' Annecs de pi'ler'uiage" ; 3 ''Ap- 
 paritions,'" 2 ballades; 6 " Coiisola- 
 lioiis"; 2 elegies; 2 legendes {Si. 
 Francois U Assise and St. Fraiifois 
 de Paul); /' Liebestrdurne^' (Not- 
 turnos) ; "Etudes d' execution tran- 
 sccjidante "y '' Ab irato, etude dc per- 
 fectionnement "_,• concert-etudes, 
 
 " Waldesrauscheti " and " Gnovien- 
 reigen" ; " Technische Studien" (12 
 books), etc., and many transcriptions 
 of symphs., overtures, 50 songs by 
 
 Schubert, etc. Vocal comps. : 4 
 masses, incl. Jl/issa solennis (the 
 " Graner " Festival Mass) ; requiem ; 
 3 oratorios, ''Die Legende von dcr 
 Heiligen Elisabeth" " Stanis/aus," 
 and "Christies" ; Psalms 13th, i8th, 
 etc., with orch. and other church- 
 music ; 3 cantatas with orch. ; male 
 choruses, 60 songs, etc. Wrote life 
 of Chopin, of Franz, etc. Complete 
 ed. of his writings in 6 vols. Biogr, 
 by L. Ramann, 18S0. 
 
 Franz Liszt. 
 
 By Henry T. Finck. 
 
 rHERE are two great paradoxes in the career of Liszt. The first is 
 that just as Rossini, the most popular opera composer of his day, 
 ceased writing operas thirty-nine years before his death, so Liszt, 
 e greatest and most adored pianist of all times, ceased playing in public (ex- 
 pt for an occasional charitable purpose) about the same number of years 
 'tore his end came. He had, with his inimitable art, familiarised concert- 
 lers with nearly all the best compositions for the piano, created by other 
 isters. He had transcribed for the same instrument a large number of songs, 
 eratic melodies and orchestral works ( the number of these transcriptions at his 
 ath was 371), thereby vastly increasing their vogue. He also wrote al- 
 jgether 160 original compositions for the pianoforte, many of them as new 
 fform as in substance ; unique among them being the fifteen Hungarian 
 •'apsodies — collections of Magyar melodies with gypsy ornaments, moulded 
 him into works of art, after the manner of epic poets. But — and here 
 s the second paradox — Liszt, the greatest of all pianists, was not satisfied 
 iih the piano. In many of his pieces for it, he endeavours to impart to it 
 chestral power and variety of tonal effect ; and finally, when he became 
 nductor at Weimar (1849), he transferred his attention chiefly to the or- 
 estra. ^ Of his thirty-four orchestral works, the most important are the 
 Faust^^ and ''Dti?ite'' symphonies, and thirteen symphonic poems, in 
 hich he deviated from the old symphonic form in a spirit similar to Wag- 
 r's operatic reforms — abolishing the mosaic of unconnected movements and 
 owing the underlying poetic idea (programme) to shape the form of the 
 -isic. Of great importance and beauty also are fis sixty songs, which rep- 
 >cnt the climax of the tendency to mirror in the music, not only the general 
 irit of the poem, but everv line and word. The last period of his life was 
 • gely given up to the writing of sacred compositions. Among these, the 
 
6o8 
 
 THE MUSICAL GUIDE 
 
 most original in substance is the *' Legend of St. Elizabeth,'''' the most origii, 
 in form "Christus," in which the last remnants of the opera (the aria a| 
 recitative ) are eliminated from the oratorio, and little remains besides choru;] 
 and instrumental numbers. Liszt's genius in early life was shaped largely t 
 Schubert, Chopin, Berlioz, and Wagner. His own influence on the piani 
 and orchestral writers of Germany, France, and Russia, can hardly be ov<; 
 estimated. 
 
 Litolff (le'-tolf), H, Chas., London, 
 Feb. 6, 1818— Paris, Aug. 5, 1S91; 
 prominent pianist, conductor, pub- 
 lisher and composer. 
 
 Litta (llt'-ta), Duca Giulo, Visconte 
 Arese, Milan, 1822 — Veciano, near 
 Monza, i8gi; dram, composer. 
 
 Litvinne (iet'-vin), Felia, b. Russia ; 
 soprano ; pupil of Mme. Barth-Ban- 
 deroli and Maurel ; debut Th. des 
 Italians, Paris ; later sang Wagner 
 at .Met. Op., N. V.; then in St. Peters- 
 burg ; sister-in-law of Ed. de Reszke. 
 
 Litzau (let'-tsow), Jns. Barend, Rot- 
 terdam, 1822 — 1893 ; pianist, organ- 
 ist and composer. 
 
 Liverati (le-ve-ra'-te), Giov., Bologna. 
 1772 — after 1817; noted tenor, con- 
 ductor and dram, composer. 
 
 Lloyd (loid), (i) Edw., b. London, 
 .March 7, 1845 ; noted concert tenor; 
 choir-boy, Westminster Abbey, with 
 Jas. Turle, till i860 ; from 1874, 
 first tenor, Leeds Festival ; sang at 
 Cincinnati Festival 1888, and has 
 toured the U. S.; gave farewell con- 
 cert, London, 1900. (2) Chas. 
 Harford, b. Thornburv', Gloucester- 
 shire, Engl., Oct. 16, 1849; 1891, 
 Mus. Doc. Oxford ; 1876, organist 
 Gloucester Cath.; 1892 precentor and 
 mus. -teacher Eton Coll.; founded 
 O-xford Univ. Mus.-Club ; 1877-S0, 
 cond. Gloucester Festivals ; now Ox- 
 ford Svmph. Concerts ; c. 7 cantatas, 
 mus. to Alcestis (Oxford, 1887) ; full 
 cath. service, etc. 
 
 Lobe (lo'-be), Jn. Chr., Weimar, May 
 30, 1797 — Leipzig, July 27, 1881 ; 
 flutist, via. -player, and dram, com- 
 poser ; wrote important treatises. 
 
 Lobkowitz. Vide car.\muel de 
 
 Lo bo (or Lopez) (l5'-pes) (orLupn 
 
 Duarte, Portuguese composer ' 
 
 Lisbon, 1600. ■' 
 
 Locatel li, Pietro, Bergamo, 169.1 
 Amsterdam, 1764 ; vln. -virtuoso, 
 garded as marvellous for his dout 
 stopping and effects procured a 
 changed accordature (v. d. d.) t 
 which Paganini imitated him. | 
 
 Locke, Matthew, Exeter, Engia: 
 1632 (33?) — London, 1677; cc 
 poser. 
 
 Lock'ey, Chas., succ. Engl, ten 
 retired, 1859. j 
 
 Lo der, (i) J. Fawcett, 1812— i8|j 
 violinist and conductor. (2) Edl 
 Jas., Bath, 1813— London, rSit 
 dram, composer. (3) J., violinti 
 d. ca. i860 (?). (4) Wm., 'cellis 
 d. ca. 1S60 ; bro. of above. \ 
 Emily Woodyat, wife of above.' 
 
 Loeb (lap), Jules, b. Strassburg, iSj; 
 pupil of Chevillard, Paris Cons., vt 
 1st prize ; solo 'cellist at the Op<|. 
 and the Cons. Concerts ; membe:;f 
 the .Marsick Quartet, and the " t- 
 ciete pour instrs. a vent et a (; 
 des." 
 
 LoefHer (lef'-ler), Chas. Martin T^ 
 nov, b. Muhlhausen, .Msatia, lEj; 
 violinist and notable composer ; pi J 
 of Massart, Leonarti Joachim ill 
 Guiraud (comp.) ; played in Pa5- 
 loup's orch.; later in Prince Dervi^ 
 orch.; now 2d leader and soloist I- 
 ton (U. vS. A.) Symph. Orch.;|. 
 symph. poem " Zrt niort de Tii'r 
 giles " (after Maeterlinck), with v 
 d'amore obbligato ; suite " Les V- 
 lees de I' Ukraine" (after Gogol) 
 
DICTIONARY OF MUSICIANS 609 
 
 vln. and orch.; concerto in i move- 
 ment for orch.; divertimento for vln. 
 with orch.; string quartet; songs 
 with viola obbl., etc. 
 oeiilet (hva-ya'), J. Bap., Ghent — 
 London, 1728; noted virtuoso on 
 te and harp ; composer. 
 we. Vide lowk. 
 Ogier (l6'-jer), Jn. Bd., Cassel, 
 1777 — Dublin, 1846 ; flutist, writer 
 and composer; invented the " chiro- 
 plast." 
 
 ogroscino (16-gro-she'-n6), Nicola, 
 Naples, ca. 1700 — 1763; professor of 
 cpt.; composer; pupil of Durante; 
 1747, prof, of cpt. at Palermo, then 
 lived in Naples and prod, some 20 
 light operas ; he was brilliantly suc- 
 cessful, and was the first to close acts 
 with an ensemble. 
 
 ohmann (l6'-man), Peter, b. 
 Schwelm, Westphalia, April 24, 1S33 ; 
 since 1S56, lives in Leipzig ; 1S58-61, 
 writer for A^eiie Zeitschrift fiir iMii- 
 sik ; he believes that the drama 
 should be of universal appeal without 
 localism, patriotism or other alleged- 
 ly narrowing influence ; wrote trea- 
 tises and several dramas set to music 
 bv Huber, Goebel, etc. 
 :jhr (lor), Jn., b. Eger, May 8, 1828 ; 
 org. -virtuoso and teacher ; pupil of 
 his father, and of Pitsch ; 1858, or- 
 ganist, Szegedin, Hungary ; lives in 
 Pesth ; plaved with succ. in London, 
 1S71. 
 
 lihr (lar), (i) G. Augustus, Norwich, 
 Engl., 1821 — Leicester, 1897 ; or- 
 .canist and conductor. (2) Richard 
 H., Leicester, Engl., June 13, 1856 ; 
 ■tudied R. A. AL won two medals; 
 irganist, London ; since 1882, con- 
 :ert-pianist ; c. oratorios ; wrote 
 ' Primer of Jl/iisic," etc. 
 Mise (lo'-ze). Otto, for years cond. 
 riamburg City Th., 1895-96, Dam- 
 osch Op. Co., in which the prima 
 ionna was his wife Klafsky (q. v.); 
 :ond. Covent Garden, 1901 ; now 
 ond. City Th., Strassburg ; prod, 
 ■ucc. opera '' Der Prinz Wider 
 WiUm " (Cologne, 1898). 
 39 
 
 Lolli (lol'-ll). Ant., Bergamo, ca. 1730 
 (40?) — Palermo, 1802; violinist and 
 leader ; composer and writer. 
 
 Lomagne, B. de. Vide soubies. 
 
 Long hurst, (i) Wm. H., b. Lam- 
 beth, Engl., Oct. 6, 1819; chorister 
 in Canterbury Cath.; later asst. -or- 
 ganist, master of the choristers and 
 lay-clerk; 1873, organist; 1875, 
 Wus. Doc. and mus. -lecturer ; c. ora- 
 torios, cath. service, etc. (2) J. 
 Alex., 1809 — 1855 ; operatic and 
 concert-singer ; bro. of above. 
 
 Loo mis, Harvey Worthington, b. 
 Brooklyn, U. S. A., P^b. 5, 1865 ; 
 notable composer ; pupil of Dvorak 
 at the National Cons., New York, 
 1892, winning a 3-years' scholarship ; 
 lives in New York ; c. several excel- 
 lent pantomimes and notable pro- 
 gramme music in the form of "mu- 
 sical backgrounds " to poems ; original 
 pf.-pcs. and songs. 
 
 Loose'more, (i) H., d. 1667 ; organist 
 at Cambridge, and composer. (2) 
 G., son of above ; organist. (3) J., 
 d. 1681; son of (i), org.-builder. 
 
 Lopez. Vide lobo. 
 
 Lorenz (l6'-rents), (i) Fz., Stein, Lower 
 Austria, 1805 — Vienna, 18S3 ; writer. 
 (2) Karl Ad., b. Koslin, Pomerania, 
 Aug. 13, 1837 ; c. quartets, etc., as a 
 sch.-boy ; studied with Dehn, Kiel 
 and CJehrig, Berlin, and at Berlin 
 Univ.; 1861, Dr. Phil.; 1866, Munic- 
 ipal Dir., Stettin, cond. symph. 
 Concerts, etc.; teacher in two gym- 
 nasiums; founded the " Stettin Mu- 
 sikverein " (for oratorio) ; 1885, pro- 
 fessor : c. 2 succ. operas, overtures, 
 etc. (3) Julius, b. Hanover, Oct. 
 I, 1862 ; from 1S84, cond. Singaka- 
 demie, Glogau ; 1S95, of the "Arion," 
 New York; c. an opera ''Die Re- 
 kruten" and overtures. 
 
 Lo'ris, Lori'tus. Vide glareanus. 
 
 Lortzing (lort'-tsing) (Gv.), Albert, 
 "Berlin, Oct. 23, 1803 — Jan. 21, 1851; 
 an actor, son of actors, and m. an 
 actress, 1S23. Had a few lessons 
 with Rungenhagen ; chiefly self- 
 taught ; 1826, actor at Detmold ; 
 
6io 
 
 THE MUSICAL GUIDE 
 
 prod. 2 vaudevilles with succ; 1833- 
 44, tenor at Leipzig th. ; prod. succ. 
 '"Die beiden Schiitzen'" ; 1837 and 
 1839, ''''Czar und Zimmerman"; 4 
 others followed, then '' Der IVild- 
 schiitz" 1842 ; cond. at Leipzig Op., 
 then travelled, producing 6 more op- 
 eras, incl. "Undine" (1845); " Der 
 IVaffensckmied" (1846) ; his melo- 
 dious unction keeps those works men- 
 tioned still popular, and his '' Jiegina " 
 was posthumously prod. Berlin, 1899, 
 with succ; he Hved in poverty in 
 spite of his succ, and a benefit was 
 needed for his family after his death ; 
 c also an oratorio, etc.; biogr. by 
 Duringer (Leipzig, 1851). 
 
 Loschhorn (lesh'-horn), Albert, b. 
 Berlin, June 27, 1S19; pupil of L. 
 Berger, KoUitschgy, Grell and A. W. 
 Bach at the R. Inst, for Church-mu- 
 sic ; 1851, as pf.-teacher there ; 1859, 
 professor ; noted teacher also ; writer 
 and composer. 
 
 Lossen, Magda. Vide dulong. 
 
 Los'sius, Lucas, d. Luneberg, 1852 ; 
 writer and composer. 
 
 Lett, Edwin M., b. St. Helier,Jersey, 
 Jan. 31, 1S36 ; at 10 yrs. organist ; 
 later various London churches ; c 
 sacred mus. 
 
 Lotti (16t'-te), Ant., Hanover (?), ca. 
 1667 — Venice, Jan. 5, 1740; son of 
 the ct.-cond. at Hanover ; pupil of 
 Legrenzi ; at 16 prod, an opera at 
 Venice ; 1697 organist there ; prod. 
 20 operas with general succ. ; was 
 noted as an organist, and more 
 famed as a composer of church-music 
 
 Lotto (lot' -to), Isidor, b. Warsaw, 
 Dec. 2, 1840 ; pupil of Massart (vln.) 
 and Reber (comp.), Paris Cons. ; 
 1862, solo-violinist, Weimar ; 1872, 
 teacher Strassburg Cons., later at 
 Warsaw Conservatorium. 
 
 Lotze (16t'-tse), Rudolf Hn., Bautzen, 
 1S17 — Berlin, 188 1 ; professor and 
 writer. 
 
 Louis (loo'-es), Fd., Friedrichsfelde, 
 near Berlin, 1772 — .Saalfeld, 1806 ; 
 Prince of Russia, nephew of Frede- 
 rick IL ; composer. 
 
 Louli6 (loo-ya), 6t., 17th cent. ; in 
 the " chronometre " (forerunner 
 the metronome) and a " sonometre. 
 
 Lovattini (-te'-ne), Giov., Ital. ten 
 in London, 1767. 
 
 Lov'er, Samuel, DubJin, 1797 — Ji 
 sey, 1 868 ; famous novelist ; al 
 composer. 
 
 Low (lav), Jos., Prague, Jan. 23, 18 
 — Oct., 1886 ; pianist and compos 
 of light pf.-pcs. 
 
 Lowe (16), Edw., Salisburj', Eng 
 1610 (-15?)— Oxford, 1682 ; organi 
 professor and composer. 
 
 Lowe (la'-ve) (Jn.) Karl (Gf.), Lot. 
 jiin, near Halle, Nov. 30, 1796 
 Kiel, April 20, 1869 ; son and pu 
 of a cantor ; studied with Tiirk on 
 royal stipend ; 1821-66 town mu 
 dir. at Stettin ; toured Europe sir 
 ing his own fine " ballades" or d 
 matic solos ; also c 5 operas, 
 oratorios, etc, wrote a " Selbst-b 
 graphic (1870)." 
 
 Low'thian, Caroline (Mrs. Cyril 
 Prescott), English composer. 
 
 Liibeck (lii'-bek), (i) Vincentius, P: 
 dingbiittel, near Bremen, 1654 — Ha ■ 
 burg, Feb. 9, 1740 ; famous organ 
 (2) Jn. H., Alphen, Holland, 179c 
 The Hague, 1S65; violinist and c 
 conductor. (3) Ernst, The Hag, 
 1829 — Paris, 1S76 ; son of abc ; 
 pianist. (4) Louis, b. The Hag, 
 1838; bro. of above; pupil of J- 
 quard ; 1863-70, 'cello-teacher, Li - 
 zig Cons. ; then in Frankfort. 
 
 Lii'benau, L. Vide Jadassohn, s 
 
 Lubrich (loo'-bnkh), Fritz, b. B - 
 dorf, July 29, 1862 ; 1890 cantor t 
 Peilau, Silesia ; editor and o- 
 poser. 
 
 Lucantoni (loo-kan-to'-ne), Giov., • 
 Rieti, Italy, Jan. 18, 1825 ; pupil f 
 Milan Cons.; 1S57 lived in Yih 
 then London as vocal teacher ; c li 
 opera, a symph., etc. ' 
 
 Lu'cas, (i) Chas., Salisbury, i8c- 
 London, 1869; 'cellist and compc". 
 (2) Stanley, since 1861 secretar 
 the R. Soc. of Mus.; and i866-8of 
 the Philh. Soc. (3) Clarence, b. O- 
 
 
DICTIONARY OF MUSICIANS 611 
 
 ada, 1866; studied Paris Cons.; c. 
 opera, " Anne Hathaiuay" etc. 
 Lucca (look'-ka), Pauline, b. Vienna, 
 April 25, 1841 ; soprano ; studied 
 with Uschmann and Lewy ; in chorus 
 Vienna Op.; 1859 won attention as 
 First Bridesmaid in '' Der Frei- 
 sckiitz" engaged at Olmiitz, for 
 leading roles ; Meyerbeer chose her 
 to create " Selika " in '' L'Africaiiie" 
 at Berlin, where she was engaged as 
 ct. -singer for life ; sang in London 
 annually, and broke her Berlin en- 
 gagement to sing in the United 
 States for two years ; 1869 m. Baron 
 von Rhaden (divorced, 1872) ; m. von 
 Wallhofen in America ; lives in Vi- 
 enna. 
 -ucchesma (look-kas'-ma), Maria A. 
 M., Ital. mezzo-soprano, London, 
 
 1737- 
 
 ,iick (Ilk), Stephan, Linz-on-Rhine, 
 1806 — Trier, 1883 ; reformer in Cath- 
 olic church-music. 
 
 .udwig (loot'-vlkh). Otto, Eisfeld, 
 Thuringia, 1813 — Dresden,^ 1865; 
 dram, composer. 
 
 uhrsz (loorsh), K., Schwerin, 1834 — 
 Berlin, 1S82 ; composer. 
 ully (rightly Lulli) (lul-le, or lool'-ll), 
 (i) J. Bap. de, Florence, 1633— 
 i'aris, March 22, 1687. A Franciscan 
 monk taught him the violin and gui- 
 tar. His parents were noble but 
 poor ; the Chev. de Guise took the 
 boy in 1646 to France to entertain 
 Mile, de Montpensier, but he was 
 set to work in the scullery, where 
 Count de Nogent heard him play 
 the vln. and placed him in the 
 private band. L., however, set to 
 music a satirical poem on Mile, de 
 M. and she dismissed him. He stud- 
 ied the harps, and comp. with Metri, 
 Roberdet, and Gigault, and became 
 a member of the King's private or- 
 chestra ; 1652, he became head of the 
 " 24 violins" ; he organised a second 
 poup, " les petits violons," of 16 
 instrs. and made it the best orchestra 
 in France. 1653, ct. -composer and 
 prod, masques and ballets in which 
 
 Louis XIV. took part and LuUy as 
 " M. Baptiste," danced and acted. 
 1672, the king held him in such favour 
 that he gave him letters patent for 
 an " Academic royale de musique " 
 (now the Gr. Opera) ; a rival theatre 
 was closed by the police (v. campra). 
 With this opportunity /cf. Wagner's 
 Bayreuth, Theatre) the transplanted 
 Italian proceeded to found French 
 opera — idiomatic mus. to texts in the 
 vernacular, and free of the super- 
 ornamentation of the Italian Sch. He 
 held the vogue till Gluck put him in 
 eclipse. L. was dir., stage-manager, 
 conductor, and even at times machin- 
 ist, as well as composer. He was 
 fortunate in his librettist, Quinault. 
 He developed the overture, and intro- 
 duced the brass into the orch. He 
 was famous for his temper and once 
 while cond. furiously struck his own 
 foot with the baton, producing a 
 fatal abscess. His works, mainly on 
 classical subjects, include ''Les Fetes 
 de I' Amour et de Bacchus''' ; a pas- 
 toral pasticcio (1672); " Cadmus et 
 Hermione "/ '' Alceste" ; " The's^e"; 
 "Z^ Carnaval" opera-ballet ; ''Atys, 
 /sis, Psyche" ; " Belle'rophou" ; ''F7-0- 
 serpine " y " Z^ Triomphe de 
 n Amour''' ; ^'Ferse'e''' ; " Fhaeton" ; 
 '' Amadis de Gaule" ; '' Foland" ; 
 '■' Armide et Renaud" ; '' Acis et 
 Galatee" historic pastoral (1686), 
 etc., also symphs., a mass, etc. (2) 
 Louis de, Paris, 1664 — after 1713 ; 
 son of above ; dramatic com- 
 poser. 
 
 Lum'bye, Hans Chr., Copenhagen, 
 1 8 10 — 1874; conductor and compos- 
 er of pop. dance-mus. His son and 
 successor (2) G., c. opera " The 
 IVitch's Flute." 
 
 Lum'ley, Benj., 1812 — 1875 ; London 
 operatic manager. 
 
 Lu'pi. Vide lupus. 
 
 Lupi (loo'-pe), Italianised form of 
 " Wolf"; frequent i6th cent, surname 
 worn by Lupus Lupi, Didier, Jo- 
 hannes (Jean), and Manfred Lupi, 
 of whom nothing remains except their 
 
6l2 
 
 THE MUSICAL GUIDE 
 
 works (detached motets for the 
 greater part). Also see lobo. 
 
 Luporini (loo-po-re'-ne), Gaetano, b. 
 Lucca, Italy ; pupil of Primo Quilici, 
 graduating from the Pacini Mus. 
 Inst.; c. opera '' Marcclla" succ. 
 lyric comedy, '^ I Dispetti Amorosi" 
 (Turin, 1S94); v. succ. opera ""La Col- 
 liiiia di Pasqua " (Naples, i6g6), etc. 
 
 Lupot (lu-po), (I) Nicolas, Stuttgart, 
 175S — Paris, 1S24 ; chief of a French 
 family of vln-makers, inch his great 
 grandfather (2) Jean; his grandfather 
 
 (3) Laurent (b. 1696), his father 
 
 (4) Fran9ois, his bro. (5) Francois 
 (d. 1S37), and his son-in-law, Chas. 
 Fr. Gand of Gand & Bernardel, 
 Paris. 
 
 Lupus (loo'-poos) (Christian name fre- 
 quently occurring among i6th cent, 
 composers). Among those who wore 
 it are, (i) L. Hellinck, (2) L. Lupi. 
 
 Lusci'nius (Latin form of Nachtgall 
 or Nachtigall (nakht'-(l)-gal), 
 " Nightingale "), Ottomar, Strass- 
 burg, 1487 — ca. 1536 ; organist, theo- 
 
 . rist and composer. 
 
 Lussan (du lus-sah), Z61ie de, b. New 
 York, 1S63 ; pupil of her mother ; de- 
 but in concert and stage, 18S6 ; iSSg 
 Carl Rosa Co., London; from 1894, 
 Met. Op. N. v., also in Spain, etc. 
 
 Lussy (loos-se), Mathis, b. Stans, 
 Switz., April 8, 1S28 ; pupil of Bu- 
 singer and Nageli; pf. -teacher, Paris, 
 and writer. 
 
 Liistner (llst-n'r), (i) Ignaz P., 
 Poischwitz, near Jauer, 1792 — Bres- 
 lau, 1873 ; violin teacher. His five 
 sons were (2) K., b. Breslau, Nov. 
 10, 1834 ; pianist and 'cellist ; since 
 1872 teacher in Wiesbaden. (3) Otto, 
 Breslau, 1839 — Barmen, 1889 ; town 
 mus.-dir. at Barmen. (4) Louis, b. 
 Breslau, June 30, 1840 ; violinist, 
 and since 1S74 cond. at Wiesbaden. 
 
 (5) G., b. Berlin, 18S7 ; 'cellist; ct.- 
 cond. at Berlin. (6) Richard, b. 
 Breslau, Sept. 2, 1854; harpist and 
 violinist. 
 
 Luther (loo'-ter), Martin, Eisleben, 
 Nov. 10, 14S3 — Feb. iS, 1546; the 
 
 -■ 
 
 great reformer concerned himself also 
 with church-mus., issuing '"Formula 
 viissae" (1523), and a new ord^> 
 for the German mass. He wrote the: 
 words of at least 36 chorals, and is 
 generally believed to have c. 13 cho-' 
 ral-tunes (incl. the famous "' Einfestt 
 -Burg ist unser Gott," and "" Jesaia 
 den Propheten das gescha "), his meth-i 
 od being to play them on the flute' 
 (which he played well) while hisi 
 friends and assistants, the cond. Kon-I ^ 
 rad Rupfl and cantor Jn. Walther, 
 wrote them out. 
 
 Lutschg (litshkh), Waldemar, b. St. 
 Petersburg, May 16, 1877; pianist; 
 pupil of his father a prof, at the Cons. 
 there ; after his father's death he 
 toured Germany ; lives in Berlin. 
 
 Lutz (loots), Wm. Meyer, b. Man- 
 nerstadt, 1S29 ; pianist and dram, 
 composer ; from 184S, conductor at 
 London. 
 
 Lutzel (lut'-tsel), Jn. H., Iggleheim. 
 near Speyer, 1823 — Zweibrucken 
 1S99 ; writer and composer. 
 
 Lutzer, Jenny. Vide di.ngelstedt. 
 
 Lux (looks), Fr., Ruhia, Thuringia 
 1820 — Mayence, 1S95 ; conductor 
 organist, pianist and dram, composer 
 
 Luzzi (lood'-ze), Luigi, Olevano d 
 Lomellina, 1S28 — Stradella, 1876 
 dram, composer. 
 
 Lvoff (or Lwoff) (I'vof), Alex, von 
 Reval, 1799 — on his estate, Govt. 
 Kovno, 1S70; violinist and conduc 
 tor ; c. the Russian national hymn am 
 4 operas. 
 
 Lwowezyk (I'vo'-ve-zek), Martii 
 (Leopolitas), d. 1589, Polish com 
 poser. 
 
 Lynes (linz), Frank, b. Cambridge 
 Mass., May 16, 1858; pupil N. E 
 Cons, and Leipzig Cons.; lives i 
 Boston as organist, conductor an 
 composer. 
 
 Lyra (le -ra), Justus W., OsnabrQck 
 1S22 — Gherden, 1SS2 ; composer. 
 
 Lysberg (Ics -berkh) (rightly Bovy 
 Chas. Samuel, Lysberg, near & 
 neva, 182 1 — Geneva, 1S73 ; piani: 
 and dram, composer. 
 
DICTIONARY OF MUSICIANS 613 
 
 M 
 
 ^aas (mas), (i) Jos., Dartford, 1S47 — 
 1886; tenor. (2) Louis (Ph. O.), 
 
 Wiesbaden, 1S52— Boston, 1889 ; 
 pianist, conductor and composer. 
 ^abellini (ma-bel-le'-ne), Teodulo, 
 Pistoia, Ital)', 1817— Florence, 1S97 ; 
 ct. -conductor and dram, composer. 
 /labillon (ma-be-yon), Jean, St. 
 Pierremont, 1632 — .St. Germain-des- 
 Pres, 1707 ; writer and editor. 
 Macbeth', Allan, b. Greenock, Scot- 
 land, March 13, 1S56 ; pupil of Leip- 
 zig Cons. ; organist in Glasgow ; 
 since 1S90, principal sch. of mus., 
 Glasgow Athenaeum ; c. an operetta, 
 2 cantatas, chamber-mus. , etc. 
 laccherini (mak-ke-re'-ne), Bologna, 
 1745 — 1825, soprano, wife of An- 
 sani. 
 
 lacCunn', Hamish, b. Greenock, 
 Scotland, March 22, 1S68 ; notable 
 British composer ; pupil of Parry, R. 
 A. M., having won a scholarship for 
 jComp. ; at 19, several of his orch.- 
 [pcs. were prod, by Manns; at 20 
 ! commissioned to c. a cantata for the 
 'Glasgow Choral Union ; gave con- 
 certs at the studio of John Pettie, 
 whose daughter he m., 1889 ; 1888- 
 94, prof, of harm. R. A. M.; 1898, 
 cond. Carl Rosa Op. Co.; c. operas, 
 '" Jeanie Deans'' (Edinburgh, 1894), 
 " Diarmid and Ghrine" (Covent 
 Garden, 1897); 5 cantatas incl. ''The 
 Death of Parry Reed" (male chorus 
 and orch.), overtures " Cior Mhor" 
 " The Lajid of t/ie Mountain and the 
 Flood" ballad overture, " The Doiuie 
 \pem d" Yarrow"; ballade, ''The 
 \Ship d the Fiend" with orch.; 8th 
 iPsalm with orch., etc. 
 iacDow'ell, Edw. Alex., New York, 
 P>ec. 18, 1861; eminent American 
 :omposer and one of the most orig- 
 nal and virile of contemporary cre- 
 itors, having given the sonata a 
 lew enlargement and spontaneity, 
 ind written programme-mus. of espe- 
 :ia' dignity ; pupil of J. Ruitrago, P. 
 Desvernine and Teresa Carrerio, N. 
 
 Y.; 1S76, Paris Cons.; 1879, with 
 Heymann (pf.) and Raff (comp.), 
 Frankfort ; 1 88 1-82, chief pf.- 
 teacher at Darmstadt Cons.; at 21, 
 Raff (who was deeply interested 
 in his progress) and Liszt pro- 
 cured the performance of his works 
 at the annual festival of the " Allge- 
 meinerdeutscher Musikverein " ; lived 
 in Wiesbaden ; 1888, Boston ; 1896, 
 prof, of mus. in Columbia Univ., 
 New York; Mus. Doc. h.c, Prince- 
 ton Univ. and 1902, Penn. U. 
 also ; he gives frequent pf. -recitals, 
 and has played his concertos with 
 the Boston Symph. and other 
 orchs. Orchestral Compositions : 
 
 2 poems "Hamlet" and " Ophelia"; 
 symph. poems, "Lancelot and 
 Elaine" "Lamia" and "Roland" 
 op. 35, romance for 'cello with orch.; 
 
 3 orch. suites incl. " In October" and 
 "Indian Suite." For pi.-^no : 4 
 sonatas " Tragica" " Eroica" 
 i," Flos regum Arthurus"), "Scan- 
 dinavian" and "Celtic"; prelude 
 and fugue, modern suite ; forest 
 idyls, 3 poems, "Moon-pictures" 6 
 poems after Heine, 4 "Little Poems" ; 
 technical exercises (3 books), and 12 
 virtuoso-studies, etc., and many songs 
 of great charm and individuality. 
 
 Mace, Thos., 1613— after 1675 ; Engl. 
 lutenist, inventor and writer. 
 
 Macfar'ren, (i) Sir G. Alex., Lon- 
 don, March 2, 1813 — Oct. 31, 1S87 ; 
 notable English composer and schol- 
 ar ; son and pupil of the playwright 
 G. Macfarren ; also studied with Ch. 
 Lucas and C. Potter, R. A. M.; 
 1834, prof, there, even after blindness 
 overtook him ; from 1875 prof, at 
 Cambridge Univ., Mus. Doc. there 
 1876 ; from 1876, also principal of 
 the R. A. M.; 1883, knighted; c. 13 
 operas, 9 of them prod.; 4 oratorios, 
 6 cantatas, 8 symphonies, 7 over- 
 tures, incl. "Chevy Chase "^ "Don 
 Carlos" " Hamlet" and "Festival" 
 concertos, sonatas, etc.; wrote text- 
 books, articles; ed. old texts, etc.; 
 biog. by Banister (London, '91). (2) 
 
6i4 
 
 THE MUSICAL GUIDE 
 
 Natalia, b. Liibeck, wife of above ; 
 contralto, translator and writer. (3) 
 Walter Cecil, b. London, Aug. 2S, 
 1S26 ; bro. and pupil (in comp.) of 
 (i) ; studied with Turle, Holmes (pf.) 
 and Potter (comp.) ; from 1S46, pf.- 
 prof. at the R. A. M., of which he is 
 a Fellow ; 1S73-80, cond. Acad. Con- 
 certs ; dir. and treasurer Philharm. 
 Soc. ; pianist, lecturer, editor, and 
 composer of a symph., 7 overtures, a 
 cantata ''The Song of the Sunbeam," 
 services, etc. 
 
 Machault (or Machau, Machaud, 
 Machut) (ma-shd), Guillaume 
 (Gulielmus) de Mascandio, .Ma- 
 chau in the Champagne (?) ca. 12S4 — 
 1370 ; troubadour ; composer. 
 
 Machtig (mekh'-tikh), K., Breslau, 
 1S36 — 1S81; organist and composer. 
 
 Macirone (ma-che-ro'-ne), Clara An- 
 gela, b. London, Jan. 20, 182 1; pi- 
 anist ; pupil of R. A. M.; later teach- 
 er there and elsewhere ; c. " Te 
 Deuin" and '^Jubilate," anthem 
 " By the Waters of Babylon ," etc. 
 
 Macken zie, Sir Alex. Campbell, b. 
 Edinburgh, Aug. 22, 1S47 ; notable 
 British composer ; pupil of Ulrich 
 (pf.) and Stein (comp.),Sondershausen 
 Cons. ; at 14 a violinist in the Uucal 
 Orch.; 1862, won the King's schol- 
 arship, R. A. M., and studied with 
 Sainton, Jewson, and Lucas ; from 
 1865 teacher and cond. Edinburgh ; 
 1888 of Cambridge ; 1S96 of Edin- 
 burgh U.; 1894 knighted; since iSSS, 
 principal R. A. M. (vice Macfarren); 
 1892 cond. Philh. Soc; c. operas, 
 ' Colomba" (Drury Lane, 1S83), 
 " The Troiibadou7- " (\h\d. 18S6), and 
 " His Majesty, or the Court of I'in- 
 golia" (1897; comic), ''Cricket on 
 the Hearth" (MS.); oratorios, " The 
 Rose of Sharon " (Norwich Festival, 
 18S4), and " Bethlehem " (1894); 
 cantatas, Jason (Bristol Festival, 
 18S2), " The Bride," " The Storv of 
 Sayid" (Leeds Festival, '86), "'The 
 New Covenant," " The Dream of Ju- 
 bal," " The Cotter's Saturday Night," 
 and " Veni, Creator Sfiritus" ; 2 
 
 Scottish rhapsodies, a ballad, witl 
 orch., "La belle dame sans merci" 
 overtures " Cervantes," " To a com 
 edy," " Tetnpo di hallo" " Twelft. 
 Alight" "Britannia" \ a vln.-con 
 certo, a " Pibroch" for vln. am 
 orch.; "Scottish Concertos" for pf. 
 etc. 
 
 Mackintosh (i) J., 1767— 1S40 (?)| 
 bassoonist. (2) Alphonso, son 
 above ; violinist. 
 
 McGuckin, Barton, b. Dublin, Jul 
 28, 1852 ; pupil of Turle and Tn 
 vulsi ; pop. oratorio and operati 
 tenor. 
 
 McLean, Alick, b. Eton, Engl., Jul 
 20, 1S72; c. opera " Quentin Dut 
 7./rtr</" (London, 1S95) ; i-act opei 
 " Fetruccio" (Covent Carden, 1S95 
 Moody Manners prize of ^^loo), etc 
 
 McMur die, Jos., London, 1792- 
 Merton, Surrey, 1878 ; composer an 
 director. 
 
 Mader (ma'-der), Raoul (M.), b. Pres} 
 burg, Hungary, June 25, 1856 ; stU'! 
 ied Vienna Cons.; took ist prize fj 
 pf. and comp., and the great silv 
 medal and the Liszt prize as bei 
 pianist in the Cons. ; 1S82-95, ij 
 "coach" for solo singers, Vieni, 
 ct. -opera, also asst.-cond. From 18' 
 cond. Royal Opera, Pesth; c. 2 conrj 
 operas, 4 ballets, incl. " Die Sirene\ 
 insel," and " She " (after Rider HaJ 
 gard), parody on Ixlascagni's CaVi\ 
 leria Rusticana (Th. an der Wiej 
 1892), choruses, songs, etc. ' 
 
 Mag(g)ini (mad-je -ne) (or Magin! 
 Giov. Paolo, Botticino - Marii, 
 Italy, 1580 — Brescia, ca. 1631 ; vl 
 maker, rivalling Stradivari and Gu' 
 neri ; his double-basses particula' 
 good : label, " Gio. Paolo Maggi 
 Brescia." 
 
 Magnus, D6sire (rightlv Magr. 
 Deutz), Brussels, 1828— Pa 
 1^84 ; teacher, composer and critii 
 
 Mahillon (ma-e-yon), Chas. Vict , 
 b. Brussels, March 10, 1S41 ; si ■ 
 1877 custodian of mus. instrs., Br • 
 sels Cons.; editor and writer; m 
 ager wind-inst. factory of his fathe 
 
 
DICTIONARY OF MUSICIANS 615 
 
 Mahler (mii'-Ier), Gus,, b. Kalischt, 
 Bohemia, July 7, i860 ; studied with 
 Bruckner at Vienna Cons.; cond. at 
 Cassel, 1885-S6, Leipzig, 1888-91 ; 
 dir. Royal Opera, Pesth, 1891-97, 
 cond. Hamburg City Th.; 1897, ct.- 
 cond. Vienna Ct. -Opera, later dir.; c. 
 opera ''Die drei Fi7itos" (after 
 Weber's sketches) (Leipzig, 1888) ; 
 cantata ''Das klagende Lied," iahy 
 play, 3 notable symphonies, etc. 
 
 \^ahu (ma -00), Stephan, b. Germany, 
 ct. -singer and composer, 1538. 
 
 Vlaier (mi'-er), (i) Jos. Fr. Bd. Cas- 
 par, cantor at Schwabish Hall 1718- 
 41. (2) Julius Jos., Freiburg, 
 Baden, 1821 — Munich, 1889 ; teacher 
 and writer. 
 
 vlailhac (mll'-ak), Pauline, b. Vienna, 
 May 4, 1858 ; pupil of Ufifmann, so- 
 prano at Carlsruhe many years. 
 
 /laillart (m! - yar), Louis (called 
 Aime), Montpellier, Herault, France, 
 1817 — Moulins, Allier, 1871 ; dram, 
 composer. 
 
 ^ailly (mi-ye), Alphonse J. Ernest, 
 D. Brussels, Nov. 27, 1833 ; pianist, 
 and organ virtuoso ; pupil of Girsch- 
 ner, Brussels Cons.; 1861 pf. -teacher 
 there ; 1868 organ-teacher ; com- 
 poser. 
 
 lainzer(mln'-tser), Abb6 Jos., Trier, 
 1807 — Manchester, 185 1 ; singing- 
 teacher, writer and dram, composer. 
 
 laitland (mat'-land) (J. Alex.), Ful- 
 ler, b. London, April 7, 1856 ; 1882, 
 ^LA. Trinity Coll., Cambridge; 
 lecturer and critic for various papers, 
 now of London Times ; ed. the Ap- 
 pendi.x to Grove's Diet.; pianist at 
 the Bach choir concerts ; wrote 
 " Masters of German Music " (1894), 
 ind many authoritative works. 
 
 lajo (ma -yo), Fran, di (called Cic- 
 cio di Majo), Naples, 1745 (?)— 
 Rome, 1770; organist and noted 
 composer of operas and church-mus. 
 
 lajorano. Vide cakfarelli. 
 
 tal'colm, Alex., British writer, 1721. 
 
 [alder (mal-der), Pierre van, Brus- 
 sels, 1724—1768 ; violinist and com- 
 poser. 
 
 Malherbe (mal-arb), Chas, Theo- 
 dore, b. Paris, April 21, 1863 ; at 
 first a lawyer, then studied with Dan- 
 hauser, Wormser, and Massenet ; 
 also pub. some original comps., and 
 transcriptions ; Danhauser's sec. ; 
 1896, asst. -archivist, Gr. Opera ; 
 Officer of the Acad, and of Pub. In- 
 struction ; Chev. of various orders. 
 Ed., Le M/nestrel, and is prolific 
 writer on Wagner, etc.; owns what is 
 probably the best private coll. of mus.- 
 autographs in the world ; ed. Ra- 
 meau's complete works. 
 Malibran (mal-!-bran), (i) M. Feli- 
 cita (nee Garcia), Paris, March 24, 
 1808 — Manchester, Sept. 23, 1836 
 (from singing too soon after being 
 thrown and dragged by a horse). In 
 some respects the greatest of all 
 women vocalists ; she had a contralto 
 voice with an additional soprano reg- 
 ister and several well - concealed 
 "head tones " between ; she impro- 
 vised frequently on the stage, and 
 also c. ; at 5 she played a child's 
 part and one evening broke out sing- 
 ing the chief role to the amusement 
 of the audience ; at 7 studied with 
 Pauseron ; at 15 studied with her 
 father (v. garcia) ; debut, London, 
 1825 ; she had a personality that 
 compelled extraordinary homage. 
 She m. Malibran ; when he became 
 bankrupt she divorced him, and 1836 
 m. de Beriot, ct. -violinist with whom 
 she had lived since 1830. (2) Alex., 
 Paris, 1823 — 1867; violinist and com- 
 poser. 
 Mallinger (mal'-llng-er), Mathilde 
 (nee Lichtenegger), b. Agram, 
 I-'eb. 17, 1847 ; soprano ; pupil of 
 Giordigiani and Vogl, Prague Cons., 
 and Lewy, Vienna ; debut, Munich, 
 1866; 1868, created "Eva" in the 
 Meistersiuger ; m. Baron von Schim- 
 melpfennig; since 1890 singing-teach- 
 er, Prague Cons. 
 Malten (mal'-ten), Therese, b. In- 
 sterburg, East Prussia, June 21, 1855; 
 soprano ; pupil of Engel (voice), and 
 Kahle (action), Berlin ; at 18 debut, 
 
6i6 
 
 THE MUSICAL GUIDE 
 
 Dresden as Pamina, and engaged 
 there for life ; created " Kundry " 
 {Parsifal) at Bayreuth, 18S2 ; 189S, 
 ct. -chamber singer. 
 Malzel (mel'-tsel), Jn. Nepomuk, Rat- 
 isbon, 1772 — on a voyage, July 31, 
 1838; mus-teacher ; inv. "panhar- 
 monion" (a sort of orchestrion), an 
 automaton-trumpeter, and an auto- 
 matic chess-player; while experiment- 
 ing with his " chronometer," a sort of 
 metronome (v. d.d.), he saw Wink- 
 el's invention, adopted its chief feat- 
 ures and patented the result as Mael- 
 zel's metronome (v. d.d.). 
 
 Mancinelli (man-chl-nel'-ll), Lulgi, 
 b. Orvieto, Papal States, Feb. 5, 
 184.8 ; intended for commerce, self- 
 taught on the pf., and ran away from 
 home ; was brought back, but per- 
 mitted to study at \\ with .Sbolci 
 (Florence, 'cello); at 15, 3rd 'cellist 
 Pergola Th., earning his living the 
 ne.xt 8 years; studied with Mabellini 
 (comp.j ; 1870 in the orchestra of the 
 opera at Rome ; 1874, 2nd cond. ; 
 1875, cond. ; iSSi, dir. Bologna 
 Cons., which he made one of the best 
 in Italy ; 18S6-S8, cond. at Drury 
 Lane, London; 188S-95, Royal Th. 
 Madrid ; since at Covent Garden, 
 London, and Met. Op., New York ; 
 in Italy called " il Wagnerista " for 
 his advocacy ; c. opera " Isora di 
 Provenza " (Bologna, 1884) ; succ. 
 '' Ero e Leaftdro" (Madrid, 1897, 
 New York, 1899) ; an oratorio, etc. ; 
 overture and entr'acte-mus. to Cos- 
 sa's Cleopatra. 
 
 Mancini (man-che'-ne), (i) Fran., 
 Naples, 1674 — 1739 ; cond. and dram, 
 composer. (2) Giambattista, As- 
 coli, 1716— Vienna, 1800 ; writer. 
 
 Mancio (man'-cho), Felice, Turin, 
 1840— Vienna, 1897; singer and 
 publisher. 
 
 Mangeot (mafi-zho), Ed. Jos., Nantes, 
 France, 1S34 — Paris, 1898 ; pf.- 
 maker and editor ; inv. piano " k 
 double clavier renverse." 
 
 Mangold (man'-golt), (i) G. M., 1776 
 — 1S35 ; violinist. (2) (Jn.) Wm., 
 
 Danustadt, 1796 — 1875 ; conducto 
 and dram, composer. (3) K. (L 
 Amand), Darmstadt, 1813 — Oberst 
 dorf, .\lgau, 1SS9 ; bro. of above 
 dir., conductor and composer. (4, 
 K. G., 1812 — London, 1887; pianist'[ 
 composer and teacher. 
 
 Mann, (i) Arthur Henry, b. Noif 
 wich, Engl., May 16, 1850; chorister 
 at the cath. with Dr. Buck ; organisj 
 various churches ; since 1876, Kii^'ji 
 Coll., Cambridge ; 1S71, F. C. O. 
 1882, Mus. Doc, Oxford; Hand* 
 scholar ; with Prout discovered th. 
 original wind-parts of the Messiah 1 
 ed. the Fitzzvilliam Catalogue witi 
 Maitland, etc.; c. ^' Ecce Homo'i 
 withorch.; '* Te Deum'' ''Evening 
 Service," for orch., etc. (2) Jn. G! 
 Hendrik, b. The Hague, July i;i 
 1S58 ; pupil R. Sch. of Mus. there| 
 bandm., Leyden ; comprser. i 
 
 Man'ney, Chas. Fonteyn, b. Broolj 
 lyn, 1872 ; studied with \Vm. Arni 
 Fisher and J. Wallace Goodricli 
 Boston ; composed a cantata, songj 
 etc. ; 
 
 Manns (mans), Aug. (Fr.), b. Stoize' 
 berg, near Stettin. jMarch 21, i82f! 
 noted conductor; son of a glas, 
 blower, who with his sons formed 
 quintet (vlns., 'cello, horn, and Rxxit 
 at 15, apprenticed to Urban, of IJ 
 bing; later 1st clar. of a regiment 
 band, Dantzig ; 1S48, at Pose; 
 Wieprecht got him a place as ist vl . 
 in Gungl's orch. at Berlin ; 1849-5' 
 cond. Kroll's Garden ; regiment' 
 bandm. Konigsberg and Colog:. 
 (1854) ; joined Crystal Palace ban 
 London as asst.-cond. to Schalle 
 who pub. as his own M.'s arrang 
 ment of certain quadrilles; whei 
 upon M. resigned, publicly statii. 
 the reason ; 1859 he succeeded S 
 he later made the band a full orcb 
 giving famous and verj- popular Sj 
 urday Concerts till 1900, when t 
 public ceased to support it ; 
 has also cond. 7 Triennial Hanc 
 Festivals, concerts of the Glasgc 
 Choral Union, i879-=92, etc. 
 
DICTIONARY OF MUSICIANS 617 
 
 Mannsfeldt (mans'-felt), Hn., Erfurt, 
 i833^Ems, 1S92 ; conductor. 
 
 Mannstadt (man'-shtet), (1) Fz., b. 
 Hajjen, Westphalia, July 8, 1852 ; 
 pupil Stern Cons., i5erlin ; 1874, 
 cond. at Mayence ; 1876, Berlin 
 Symph. Orch. ; 1879, pf.-t. Stern 
 Cons.; 1893-97, cond. Berlin Philh.; 
 then returned to Wiesbaden, where 
 he had been as conductor and teacher 
 1883-97. (?) (2) Wm., b. Bielefeld, 
 May 20, 1837 ; bro. of above ; con- 
 ductor and stage manager, Berlin 
 Th.; editor; c. (text and music) 
 farces and operettas. 
 
 Mansfeldt, E. Vide pikkson, h. h. 
 
 Mantius (man'-tsr-oos), Ed., Schwe- 
 rin, 1806 — Bad Ilmenau, 1874 ; tenor. 
 
 Mantovano, Al. Vide riia. 
 
 Manzuoli (man-tsoo-6'-le), Giov., b. 
 Florence, ca. 1725 ; famous soprano- 
 musico. 
 
 Ma'pleson, Col. Jas. H., London, 
 May 4, 1830 — Nov. 14, 1901 ; fa- 
 mous impresario; studied R. A. M., 
 London ; a singer, and via. -player 
 in an orch.; 1861, managed Italian 
 Opera at the Lyceum ; 1862-68, was 
 at FI. M.'s Th.; 1869, Drury Lane; 
 1877, reopened II. M.'s Th.; gave 
 opera at Acad, of Mus., New York, 
 with varying succ. in different seasons. 
 
 Mara (ma-ra), Gertrud Elisabeth, 
 (nee Schmeling), Cassel, Feb. 23, 
 1749— Keval, Jan. 20, 1833 ; phe- 
 nomenal soprano, with compass, 
 g-e'" (v. PITCH, D.D.), who reached a 
 high pinnacle of art over difficulties 
 (ranging from rickets to the Moscow 
 fire) not surpassed in the wildest fic- 
 tion ; she m. in 1773, the 'cellist 
 Mara, divorced him 1799 ; teacher. 
 
 Mara, La. Vide lipsius, marie. 
 
 Marais (ma-re'), (i) Marin, Paris, 
 March 31, 1656— Aug. 15, 1728; the 
 greatest viola-da-gambist of his time ; 
 c. symphonies, etc. (2) Roland, 
 son of above ; solo gambist ; pub. 
 pes. for gamba. 
 
 Mar'beck, J. (or Merbecke), 1523— 
 ca. 1 581; Engl, organist and com- 
 poser. 
 
 Marceau (mar-so), Jas. Herbert, b. 
 
 Napierville, Canada, Oct. 31, 1859; 
 studied singing with Willard, N.Y., 
 and with de I'adilla and Ch. Doual- 
 lier, Paris; teacher Mansion Sch., 
 Wollaston, Mass. 
 
 Marcello (mar-chel'-lo), Benedetto, 
 Venice, Aug. i, 1686 — Brescia, July 
 24, 1739 ; noted composer, pupil of 
 Gasparini and Lotti ; held gov't po- 
 sitions ; pub. satires, and c. 50 psalms, 
 etc. 
 
 Marchand (mar-shan), Louis, Lyons, 
 1669— in poverty, Paris, 1732 ; an 
 org. -virtuoso whose fame wilted be- 
 fore his failure to meet J. S. Bach in 
 a duel of virtuosity. 
 
 Mar'chant, Arthur Wm.,b. London, 
 Oct. 18, 1850; organist in several 
 English churches ; 1880-82, St. 
 John's Cath., Denver, Col.; since 
 1895, organist, Dumfries, Scotland ; 
 wrote text-books ; c. Psalm 48, with 
 orch.; " J Morjiing Service" and an 
 '" Evoiing Service," etc. 
 
 Marchesi (mar-ka-ze), (i) Luigi 
 (" Marchesi'ni "), Milan, 1755 — In- 
 zago, Dec. 14, 1829 ; soprano mu- 
 sico. (2) Salvatore, Cavaliere De 
 Castrone (da-kiis-tro'-ne) (Mar- 
 chese Delia Rajata), b. Paler- 
 mo, Jan. 15, 1S22 ; studied mus. 
 with Raimondi, Lamperti and Fon- 
 tana ; exiled after the Revolution of 
 1848, and debut as barytone, N. Y.; 
 then studied with Garcia, London ; 
 a succ. concert-singer ; 1852 m. Ma- 
 thilde Graumann (v. infra), and 
 they sang together in opera, later 
 taught together at Vienna Cons., 
 1865-69, Cologne Cons.; 1869-81, 
 Vienna, since then in Paris ; pub. a 
 vocal method, translations, etc.; c. 
 songs. (3) Mathilde (nee Grau- 
 mann), b. Frankfort-on-M., March 
 26, 1S26 ; famous singing-teacher; 
 pupil of Nicolai, Vienna, and Garcia, 
 Paris ; sang in concert ; wife of above 
 (q. v.) ; pub. a vocal method, vocal- 
 ises, and autobiog. ''Marchesi and 
 Music," enlarged from "'Ausmeinem 
 Leben " (Dusseldorf, 1887 ?). 
 
6i8 
 
 THE MUSICAL GUIDE 
 
 Marchetti (mar-ket'-tl), Filippo, Bo- 
 lognola, Italy, Feb. 26, 1835 — Rome, 
 Jan. 18, 1902 ; pupil of Lillo and 
 Conti, Royal Cons. , Naples ; at 21 
 prod. succ. opera, " Gentile da Vara- 
 fio" (Turin), " Za jDemente" (1857); 
 singing-teacher, Rome ; went to Mi- 
 lan and prod. succ. " Giulietta e 
 Romeo" {1865), and '' Ruy-Blas" 
 (La Scala, 1869). From 188 1, dir. 
 R. Accad. di Santa Cecilia, Rome ; 
 prod. 3 other operas, symphonies, 
 and church-music. 
 
 Marchet tus of Padua (Marchetto 
 da Padova), lived in Cesena, ca. 
 1270 — ca. 1320 ; learned theorist. 
 (Gerbert.) 
 
 Marchi (mar'-ke), Emilio de, Cheva- 
 lier (rightly Peano), b. Voghera, 
 Piedmont, 1866 ; prominent tenor ; 
 son of Italian general ; entered army 
 and served with distinction in Africa 
 as lieutenant, then studied voice with 
 Landi, Florence ; debut, Milan, 
 1866, as Alfredo in " Zrt Traviata "/ 
 sang with great success throughout 
 Europe ; 1S96-97 and 1901-02 in the 
 U. S. 1900 created " Cavardossi " 
 in Puccini's " La Tosca." 
 
 Marcolini (-le'-ne). Marietta ; Italian 
 soprano, 1805-18 ; created Rossini 
 roles. 
 
 Marechal (mar-a-shal), H. Chas., b. 
 Paris, Jan. 22, 1842 ; pupil of Cons., 
 1870, won Grand prix de Rome ; 
 prod, i-act op. -com. "' Les Aitiottreux 
 de Cathh-ine" (Op.-Com., 1876); also 
 3-act op. -com. " Za Traverne des 
 Ti-abans " (ibid., '81) ; " De'idatnie " 
 (Or. Opera, '93) ; "Calendar^ (Rouen, 
 '94); c. sacred drama " Le Miracle 
 de A^aivi " ('91), etc. 
 
 Marek', Louis, Galicia, 1837 — Lem- 
 berg (?); pianist, pupil of Liszt. 
 
 Marenco (ma-ren'-ko), Romualdo, b. 
 Novi Ligure, Italy, March i, 1841; 
 violinist ; then 2d bassoon, Doria Th., 
 Genoa, where he prod, a ballet ; 
 studied opt. with Fenaroli and Mat- 
 tel ; 1873, dir. of ballet at La Scala, 
 Milan ; has prod. 4 operas, and over 
 20 ballets. 
 
 Marenzio (ma-ren'-tsl-6), Luca, Coc- 
 caglio, near Brescia, ca. 1550 — ("of 
 love disprized ") Rome, Aug. 22, 
 1599 ; famous composer of madrigals, 
 also of motets, etc. 
 
 Mares (ma'-resh), John A., Chotebor, 
 Bohemia, 1719 — St. Petersburg, 1794; 
 invented the Russian "hunting-horn 
 mus.," each horn sounding one tone. 
 
 Maretzek (ma-ret'-shek). Max, 
 Brunn, Moravia, June 28, 1S21 — 
 Pleasant Plains, Staten Island, N. Y., 
 May 14, 1897; well-known impresa- 
 rio ; also dram, composer and teacher. 
 
 Mariani (ma-rl-a -ne), Angelo, Raven- 
 na, Oct. II, 1822 — Genoa, June 13, 
 1S73 ; famous conductor. 
 
 Marimon (ma-re-moh), Marie, b. 
 Liege, 1839 ; pupil of Duprez ; de- 
 but, 1857; soprano. 
 
 Marin (ma-rah), M. Martin Mar- 
 celle de, b. Bayonne, France, Sept. 
 8, 1769; harpist and composer. ' 
 
 Marini (ma-re'-ne), (i) Biagio, Bres- j 
 cia — Padua, ca. 1660 ; violinist and j 
 composer. (2) Carlo A., b. Berga-j 
 mo ; violinist and composer, 1696. 
 
 Mario (ma'-rl-6), Giuseppe, Conte di ! 
 Candia, Cagliari, Sardinia, Oct. 17, i 
 1 8 10 — Rome, Dec. 11, 1883; trcA-' 
 nent tenor ; pupil of Bordogni and 
 Poncharde ; debut, Paris Opera, . 
 1838 ; toured Europe and America* 
 with greatest success ; m. Giulia Grisi. * 
 
 Ma'rius, clavecin-maker, Paris, lythj 
 cent. 
 
 Mark, Paula, b. ca, 1870; soprano;' 
 pupil Vienna Cons., debut, Leip-j 
 zig, 1890 ; in 1897 m. the physician, 
 Neusser (who had cured her of a 
 throat trouble), and retired from the 
 stage. 
 
 Markull (mar-kool'), Fr. Wm., Reich- 
 enbach, near Elbing, 1816— Danzig. 
 1887 ; pianist, critic and dram, com 
 poser. 
 
 Markwort (miirk'-vort), Jn. Chr. 
 Riesling, near Brunswick, 1778— 
 Bessungen, 1S66 ; tenor and writer. 
 
 Marmontel (mar-mofi-tel). Ant 
 Fran., Clermont-Ferrand, Puy-de 
 Dome, July 18, 1816— Paris, Jan. 17 
 
 : 
 
DICTIONARY OF MUSICIANS 619 
 
 1S98 ; pupil Paris Cons., 1S4S ; pf. - 
 teacher there, noted for famous pu- 
 pils ; writer of historic and didactic 
 treatises ; composer. 
 
 Mar'ny, Elsa ; contralto ; pupil of 
 Marchesi ; at S sang in concert, later 
 in opera ; igoo in New York. 
 g,iJ.UVIarpurg (mar'-poorkh), (i) Fr, Wm,, 
 Seehausen, Altmark, Oct. i, 1718 — 
 Berlin, May 22, 1795 ; important 
 theorist ; wrote treatises of great his- 
 toric and theoretic value, much trans- 
 lated. (2) Fr., Paderborn, 1825 — 
 Wiesbaden, 18S4 ; great-grandson of 
 above ; violinist, pianist, cond. and 
 dram, composer. 
 
 Marschner (marsh'-ner), (i) H. (Au- 
 gust), Zittau, Saxony, Aug. 16, 1795 
 (not 1796) — Hanover, Dec. 14, i86r; 
 eminent opera-composer of Weber's 
 school but great modernity, and re- 
 markable brilliance of instrumenta- 
 tion ; studied piano from age of 6 ; 
 sang as a boy, then pupil of Bergt 
 (org.); studied law Leipzig U. 1813, 
 then turned to mus. entirely ; pupil 
 of Schicht ; the Graf von Amadee be- 
 came his patron, and he went to Vi- 
 enna ; later taught at Pressburg ; c. 3 
 operas, the last prod. 1820 at Dres- 
 den by C. M. von Weber ; 1823, he 
 became co.-dir. of opera there with 
 von W. and Morlacchi ; 1826, cond. 
 Leipzig Th. and prod. " Z?t-r Vai?i- 
 /j'r" (182S) and ''Dei- Tetnpler und 
 die Jiidin /" both widely succ. and still 
 heard , 1B31-59, ct.-cond. Hanover, 
 when he was pensioned ; while ct. - 
 cond. he prod. ''Hans Her ling " (Ber- 
 lin, i833),also very succ. and still alive; 
 he prod. 8 other operas ; c. incidental 
 music, choruses, etc. (2) Fz., b. 
 Leitmeritz, Bohemia, March 26, 1855; 
 pupil Prague Cons., and Bruckner, 
 Vienna ; since 1886, teacher Female 
 Teachers' Seminary, Vienna ; pub. a 
 
 j treatise on piano-touch. 
 
 Warsh, J., Dorking, 1750 — 1828; com- 
 
 [ poser and violinist. 
 
 /lar'shall, V/m., Cxford, 1806 — 
 Handsworth, 1875 ; organist, writer 
 and editor. 
 
 Marsick (mar-sTk), Martin P. Jos., b. 
 
 Jupille, near Liege, Belgium, March 
 9, 1848 ; prominent violinist ; pupil 
 of Desire Haynberg, Liege Cons. ; at 
 12 organist of the cath., and a vocal- 
 ist ; pupil of Leonard, Brussels 
 Cons., later of Massenet at Paris 
 Cons, (taking ist vln. prize) ; and of 
 Joachim at Berlin ; debut, Paris, 
 1873 ; toured Europe and (1895-96) 
 U. S.; 1892, vln. -prof., Paris Cons.; 
 c. 3 vln. -concertos, etc. 
 
 Mar'ston, George W., Sandwich, 
 Mass., U. S. A., 1840— Feb., 1901 ; 
 studied with Tufts at Portland ; 1. 
 Boston as teacher and composer of 
 pop. songs and pf.-pcs. 
 
 Marteau (mar-to), H., b. Rheims ; 
 excellent violinist ; pupil Paris Cons. ; 
 
 1892, took 1st prize ; toured U.S., 
 
 1893, 1898 ; Russia, 1899 ; then 
 compelled to spend a year in the 
 French army; founded "Marteau 
 Prize for vln. -sonata c. by a na- 
 tive-born American " ; 1900 toured 
 America. 
 
 Martelli, E. Vide cottrau, t. 
 
 Martin (mar-tan), (i) Jn. Blais^, 
 Paris, 1769 — 1837; barytone. (2) 
 P. Alex, d. Paris, Dec, 1879 ; org.- 
 builder, and inv. of the "percussion" 
 action in the harmonium. (3) (mar'- 
 tln), Jonathan, 1715 — London, 1737; 
 organist and composer. (4) G. Win., 
 182S — Wandsworth, 18S1 ; Engl, 
 composer, editor and publisher. (5) 
 Sir George Clement, b. Lambourne, 
 Berks, Sept. 11, 1844; organist vari- 
 ous churches ; teacher in R. Coll. of 
 Mus.; c. anthems ; knighted, Easter, 
 1889. 
 
 Martin y Solar (mar-ten'-e-s6-lar'), 
 Vicente, Valencia, Spain, 1754 — St. 
 Petersburg, May, 1810; organist at 
 Alicante ; prod, operas in Italy in 
 succ. rivalry with Cimarosa and Pai- 
 siello and in Vienna with Mozart; his 
 best work was " La Cosa Rara," 
 1785 ; 17S8-1801, dir. Italian Op. at 
 St. Petersburg ; then teacher ; c. 10 
 operas, ballets, etc. 
 
620 
 
 THE MUSICAL GUIDE 
 
 Martines (mar-te'-nes) (or Martinez) 
 (mar-te'-neth), Mariannedi. Vienna, 
 1744 — 1S12; singer, pianist and com- 
 poser. 
 
 Martini (mar-te'-ne), (i) Giambat- 
 tista (or Giov. Bat.) (known as 
 Padre M.), Bologna, April 25, 1706 
 — Aug. 3, 17S4; son and pupil of a 
 %-iolinist ((2) Antonio Maria M.), he 
 studied with Predieri and Riccieri 
 Zanotti and Perti ; took orders 1729; 
 cond. from 1725 at church of San 
 Francisco, Bologna ; as a composer 
 of church-mus., a theorist and teacher 
 he won European fame ; he also pub. 
 a history of ancient mus., and trea- 
 tises. (3) (rightly Schwarzendorf) 
 (shvarts'-en-dorf),' Jean Paul Egide, 
 Freistadt, Palatinate, 1741 — Paris, 
 i8r6; dram, composer. 
 
 Martucci (mar-toot'-che), Gius., b. 
 Capua, Jan. 6, 1856 ; son and pupil 
 of a trumpet-player ; debut as pianist 
 Naples, 1S67 ; studied at the Cons.; 
 1874, prof- there ; cond. the orch. 
 and concerts estab. by Prince d'Ar- 
 dore, and dir. of the Societa del Quar- 
 tette ; from 1875, toured with succ. 
 as pianist ; 1SS6-1902, dir. Bologna 
 Cons.; 1902, Naples; c. symph., pf.- 
 concerto, etc. 
 
 Marty (mar-te), G. Eugene, b. Paris, 
 May 16, i860; studied at the Cons. 
 1882 ; won the Grand Pri.\ de Rome 
 with cantata ''Edith"; since 1894, 
 prof, for ensemble singing there ; 
 1895-96, chorusm. and cond. of the 
 Concerts de I'Opcra ; 1901, dir. con- 
 certs of the Cons. ; c. several suites 
 for orch., pantomime, " Le Due de 
 Ferrare" 3-act opera (1896), etc. 
 
 Marx (marx), Ad. Bd., Halle, May 
 15' 1799 — Berlin, May 17, 1866; 
 eminent theorist ; founded with 
 Schlesinger, " Berliner allgemeine 
 musikalische Zeituug" ; editor, prof, 
 and mus. -dir., 1832 ; c. opera ; 
 wrote V. succ. and important treatises. 
 
 Marxsen (marx'-zen), Eduard, Nien- 
 stadten, near Altona, 1S06 — Altona, 
 1SS7 (8?) ; organist and teacher. 
 Marzials (mar tsT-als'), Theodor, b. 
 
 Brussels, Dec. 21, 1850 ; pupil of M. 
 L. Lawson, London ; studied later 
 in Paris and Milan ; since 1S70, supt. \ 
 mus.-dept. British Museum ; bary- 
 tone and composer of pop. songs. 
 
 Marzo (miir'-tso), Ed., b. Naples ; pu- ; 
 pil of Nacciarone, Miceli and Pappa- ' 
 lardo ; 1S67, New York, as boy- 
 pianist ; became opera and concert- . 
 cond., and accompanist to Carlotta ; 
 Patti, Sarasate, etc.; organist at St. ' 
 Agnes' Church, N. Y.; later at All, 
 Saints ; 1884, knighted by the King 
 of Italy ; 1S92, member of the R. 
 Acad, of S. Cecilia ; 1. N. Y. and 
 teaches singing ; pub. 6 masses (3 
 with orch.), etc. 
 
 Mascagni (mas-kan'-ye), Pietro, b. , 
 Leghorn, Dec. 7, 1863. Son of a; 
 baker who wished him to study law ; • 
 he secretly studied the piano, later at • 
 Soffredini's Mus.-Sch.; studied pf., 
 harm., cpt., and comp.; his father, 
 finding him out, locked him in the . 
 house, whence he was rescued atj 
 14 by an uncle ; upon the uncle's 
 death he was befriended by Count i 
 Florestan, while studying with Pon-| 
 chielli and Saladino, at Milan Cons, j 
 He was cond. of various small troupes, , 
 finally cond. of the mus.-soc. at Cerig- 
 nola ; he won the prize ofTered by the | 
 mus. -pub. Sonzogno, for a i-actj 
 opera, with " Cavalleria RtisHcana," \ 
 which had a sensational succ. (Cos-' 
 tanzi Th., Rome, 1890) and has been 
 universally performed ; while fiercely 
 assailed by the critics it has produced: 
 a school of short operas showing a^ 
 tendency to excessive realism and 
 strenuousness, yet offering a much-' 
 needed relief from the eternal classic, 
 mythologic or costume-play plots and 
 bringing serious opera as close home 
 to real life as comic opera ; 1895, 
 dir. of the Rossini Cons, at Pe-' 
 saro. M.'s later operas have not^ 
 fared so well as his " Cavalleria Rus- 
 ticana"; they include: '' LAmicc\ 
 Fritz" (Rome and Berlin, 1891), 
 ''I Rantzau" (Florence, 1892). fairlj 
 succ. • " Gui^liehno Rat cliff" (Milan, 
 
 i- 
 
DICTIONARY OF MUSICIANS 621 
 
 La Scala, 1895), "■' Silvano" (ibid., 
 1S95) ; i-act " bozzetto " " Zanetto" 
 (Pesaro, 1896) ; and the fairly succ. 
 ''Iris" (Rome, 189S ; revised La 
 Scala, Milan, 1899); " Le Maschere"' 
 simultaneously prod, without succ. 
 in 6 cities in Italy, Jan., 1901, thus 
 killing six opportunities with one 
 stone ; he c. also (previously to Cav. 
 Rust.) 2-act opera " // Filanda" 
 and Schiller's " Hymn to Joy " ; also 
 a " Hvinn in Honor of Admiral 
 Dewcy] U. S. .V." (July, 1S99), etc. 
 1902, toured America with his own 
 opera-troupe. 
 
 Maschek (ma-shak'), (i) Vincenz, 
 Zwikovecz, Bohemia, 1755 — Prague, 
 1831 ; pf. and harmonica-virtuoso ; 
 organist and dram, composer. (2) 
 Paul, 1761 — Vienna, 1826 ; bro. of 
 above ; pianist. 
 
 Masetti (ma-set'-te), Umberto, b. 
 Bologna, Feb, 18, 1869 ; studied at 
 the Cons., and since 1895 prof, of 
 singing there ; member of the R. 
 Phil. Acad.; c. the succ. " J^indice" 
 (Bologna, 1S91) ; a requiem with 
 orch., etc. 
 
 Masini (ma-se'-ne), Fran., Florence, 
 1804 — in e.Ktreme poverty, Paris, 
 1S63 ; c. songs. 
 
 Mason, (i) Rev. Wm., Hull, Engl., 
 1725 — Aston, 1797 ; writer and com- 
 poser. (2) Lowell, Boston, Mass., 
 Jan. 24, 1792 — Orange, N. J., Aug. 
 II, 1872 ; pioneer in American comp. 
 and teaching ; c. v. succ. and remu- 
 nerative colls., principally of sacred 
 music. (3) Wm., Boston, Mass., Jan. 
 24, 1829; prominent American teacher 
 and technician; son of above; studied 
 with Henry Schmidt (pf.) in Boston ; 
 at 17, debut as pianist there ; 1S49, 
 studied with Moscheles, Hauptmann 
 and Richter, at Leipzig ; with Drey- 
 schock at Prague; and Liszt, at Wei- 
 mar ; he played in Weimar Prague, 
 and Frankfort, London, and 1854-55 
 in American cities; since 1855 lives 
 in New York as teacher ; 1872, Mus. 
 Doc. h. c, Yale ; pub. the important 
 and influential " Touch and Tech- 
 
 ttic, a Method for Artistic Piano- 
 playing'"; '"A Method for the Pf." 
 with E. S. Hoadley (1867); ''Sys- 
 tem for Beginners" (1871) ; "Ma- 
 son's Pf. -Technics" (1878); and 
 " Memoirs'" (New York, 1901); c. a 
 serenata for 'cello and many pf.-pcs. 
 in classical form. (4) Luther Whit- 
 ing, Turner, Maine, 1828 — Bucklield, 
 Maine, 1896 ; devised the v. succ. 
 "National System" of mus. -charts 
 and books ; wrote " Die neue Ge- 
 sangschule." 
 
 Massa (mas'-sii), Nicolo, Calice, Li- 
 gure, Italy, 1854 — Genoa, 1S94 ; c. 
 operas. 
 
 Massaini (mas-sa-e'-ne), Tiburzio, b. 
 Cremona, i6th cent. ; Augustine 
 monk ; cond. and composer. 
 
 Massart (mas-sar), (i) Lambert Jos., 
 Liege, July 19, 18 11 — Paris, Feb. 13. 
 1892 ; violinist and prof. Paris Cons. 
 (2) Louise Aglae (nee Masson), 
 Paris, 1827 — 1887; wife of above; 
 pianist and, 1875, teacher at the 
 Cons. 
 
 Mass6 (mas-sa), Felix M. (called 
 Victor), Lorient, Mar. 7, 1822 — Paris, 
 July 5, 1884 ; pupil Paris Cons. ; won 
 Grand prix de Rome, prof, of cpt. 
 there 1872 ; c. 18 operas, 13 prod., 
 incl. the still succ. " Les noces de 
 Jeannette " (Op. Com. 1853). , 
 
 Massenet (mas-na), Jules /Emile 
 Fr.), b. Montreaux, near St. Etienne, 
 France, May 12, 1842 ; eminent 
 French opera - composer ; pupil of 
 Laurent (pf.), Reber (harm.), Savard 
 and Ambr. Thomas (comp.) at the 
 Cons. ; took first prizes for piano and 
 fugue ; 1863, the Grand prix de Rome 
 with cantata " David Rizzio "; 1878- 
 96 prof, of comp. at the Cons. ; 
 1878, member of the Academie, Com- 
 mander of the Legion of Honour. C. 
 operas, almost all of them succ. and 
 constantly in the repertory of the 
 Paris Opera and Op. Com., i-act 
 comic opera "La Grand Tanta" 
 (1867); the operas, "Don Ce'sar de 
 Bazan " (1872) \" Le Roi de Lahore " 
 (1877); " HJroiade" (1884); " Ma- 
 
622 
 
 THE MUSICAL GUIDE 
 
 non Lcscant " (one of the greatest 
 successes in the history of the Op.- 
 Com.), '' LeCid" (1885); fairy-opera 
 (1889) '■'■ Esclarmonde" ; " Le Magt'" 
 (1891); " IVeri/ier" (1892); lyric 
 comedy, "T/iais" (1894); i-actcom.- 
 op. " Le Portrait cie Manon " (1894); 
 lyric episode, " La N^avarraise" 
 (London, 1894 ; Paris, 1895) ; " Sa- 
 Pho'' (Op. -Com., 1897); '' Ccndril- 
 lon" (Op. -Com., 1899); also 4-act 
 drama '" Marie-Magdekine" (Odcon 
 Th., 1873); "-£"z'i?," a mystery, 1875; 
 oratorio, " Za Vierge" 1880; conte 
 lyrique " Griseldis" (Op. - Com., 
 1901) ; opera, " Le Jongleur de 
 Ndtre-Dame " (Monte Carlo, 1902) ; 
 orch. suites; overtures incl. '' P/ie- 
 dre" ,• pf.-pcs., songs, etc. 
 
 Massol (mas-sol), J. Etienne A. 
 Lod^ve, Ilerault, 1802 — Paris, 1887; 
 tenor. 
 
 Mas'son, Elizabeth, 1806 — 1865 ; 
 English mezzo-soprano ; teacher, and 
 composer. 
 
 Masutto (ma-soot'-t5), (i) Giov., Tre- 
 viso, 1830 — Venice, 1894 ; critic, and 
 writer. (2) Renzo, b. Treviso, April 
 25, 1858 ; son of above ; bandm. 
 27th Italian Infantry regiment ; con- 
 cert-pianist, violinist and dram, com- 
 poser. 
 
 Maszkowsky (mash-kof'-shkt), Ra- 
 phael, b. Lemberg, 1838 ; pupil of 
 the Vienna and Leipzig Cons. ; 1885, 
 cond. at Schaffhausen ; 1889, mus.- 
 dir. Coblenz ; 1890 cond. of Orch. 
 Soc. Breslau. 
 
 Materna (ma-t^r'-na), Amalie, b. St. 
 Georgen, Styria, July 10, 1847; noted 
 soprano; daughter of a sch.-master ; 
 sang in church and concert at Graz ; 
 debut 1865 in opera as soubrette ; m. 
 an actor, K. Friedrich, and sang with 
 him in operetta at the Carl Th., Vien- 
 na ; 1869-96 prima donna, Vienna, 
 ct. -opera ; toured America later ; she 
 created " Briinnhilde," at Bayreuth, 
 1876, and "Kundry" in ''Parsi- 
 fal," 1882. 
 
 Math'er, (i) Wm , 1756— 1808 ; or- 
 ganist St. Paul's, London. (2) Sam- 
 
 uel, 1783 — 1824; organist and com- 
 poser. 
 Mathews, Wm. Smyth Babcock, 
 
 b. New London, N. H., May 8, 1837; 
 prominent teacher and writer ; studied 
 at New London ; later at Lowell and 
 Boston ; 1860-63, pf. -teacher Macon, 
 Ga.; 1867-93, organist Chicago; 1868- 
 72, ed. ''Musical Lndt-poident ;" 
 1878-86, critic of Chicago " Times,'' 
 ' ' Alorniiig A^e'ws," and ' ' Tribune ; " 
 1891, founded and since ed. the mag- 
 azine ' ' Music ; " pub. many books of 
 educational value. 
 
 Mathias (ma-te'-as), Georges (Am6- 
 d6e St. Clair), b. Paris, Oct. 14, 
 1826 ; pupil of Kalkbrenner and 
 Chopin (pf.) and of Paris Cons.; 1862, 
 pianist and prof, there ; c. symph., 
 overtures, etc. 
 
 Mathieu (mat-yu), (i) Adolphe Chas. 
 Ghislain, b. Mons, Belgium, June 
 22, 1S40; custodian of MSS., ^Brus- 
 sels Library ; writer. (2) Emile 
 (Louis v.), b. of Belgian parents, 
 I.ille, France, Oct. 18, 1844 ; studied 
 Louvain Mus. Sch. and Brussels 
 Cons.; won ist harm, prize, and ist 
 pf. prize, 1869, and 187 1, won 2nd 
 Grand prix de Rome ; 1867-73, prof. 
 pf. and harm., Louvain Mus. Sch.; 
 1881-98, dir. Louvain Mus.-Sch.; , 
 since 1898, dir. R. Cons, at Ghent; 
 
 c. 7 operas, mostly comic, a ballet, 4 
 cantatas and 2 children's cantatas, 3 
 (text and music) ' ' Poenws lyriques et 
 synnphoniques," 3 symph. poems, etc. 
 
 Mattei (mat-ta'-e), (i) Abbate Stan- ' 
 islao, Bologna, 1750 — 1825 ; profes- 
 sor, conductor and writer. (2) Tito, 
 b. Campobasso, near Naples, May 
 24, 1841; pianist to the King of Italy; 
 pupil at ir and later " Professore," 
 Accad. di Santa Cecilia, Rome; re- 
 ceived a gold medal from Pius IX. ; 
 toured Europe ; 1865, cond. at H. 
 M.'s Th., London ; c. 3 operas incl. 
 ''Maria, di Gaud'' (H. M's . 
 Th., i38o) ; ballet, pop. songs, etc. 
 
 Matteis (mat-ta'-es), (i) Nicola, Ital- 
 ian violinist, 1672, London. (2) Ni- 
 cola, d. 1749, son of above; teacher.) 
 
DICTIONARY OF MUSICIANS 623 
 
 Matthai (mat-ta'-e), H. Aug., Dres- 
 den, 1 78 1 — Leipzig, 1S35 ; violinist 
 and composer. 
 
 Mat(t)heson (mat'-te-z5n), Jn., Ham- 
 burg, Sept. 28, i68r — April 17, 1764; 
 an "admirable Crichton " of music ; 
 a singer, composer and player on the 
 org. and harps. ; operatic tenor ; im- 
 portant in the development of the 
 church cantata afterward advanced 
 by Bach; the first to introduce women 
 into church-service ; pub. valuable 
 and controversial and progressive 
 treatises. 
 
 Matthias (or Mattheus), Le Mai- 
 tre. Vide le maistre. 
 
 Matthieux, Jna. Vide kinkel. 
 
 Matthison-Hansen (mat'-ti-zon-hiin'- 
 zen), (i) Hans, Flensburg, Den- 
 mark, 1S07 — Roeskilde, i8go; organ- 
 ist and composer. (2) Godfred, b. 
 Roeskilde, Nov. 30, 1S32 ; son of 
 above ; 1859, organist German Frie- 
 drichskirche, Copenhagen ; 1862, 
 won the Ancker scholarship, and 
 studied at Leipzig ; 1867, organist at 
 St. John's and organ-teacher Copen- 
 hagen Cons.; from 1877, asst. -organ- 
 ist to his father ; later organist of 
 Trinity Ch.; c. vln. sonata, 'cello 
 sonata, etc. 
 
 Mattiolo (mat-ti-6'-lo), Lino, b. Par- 
 ma, Italy, 1S53 ; graduated from the 
 Cons, with high honours ; 'cellist and 
 singing-teacher at Cincinnati, U. S. 
 A.; c. songs. 
 
 i^aurel (m6-rel), Victor, b. Mar- 
 seilles, June 17, 1S48 ; eminent bary- 
 tone ; studied Marseilles and with 
 Vauthrot at the Paris Cons., gaining 
 1st prizes in singing and opera ; de- 
 but, 1S69 (?), at the Gr. Opera as " de 
 Nevers" in " Lcs Huguenots" ; 1870, 
 sang at La Scala, Milan, then in 
 New York, Egypt, Russia with Patti, 
 London, etc.; 1883, co-director Th. 
 Italien, Paris, without succ; has sung 
 in all the capitals as the supreme dra- 
 matic artist of his operatic generation ; 
 his splendid impersonation and vocal 
 art carrying conviction after his voice 
 lost its youth; he created "lago" 
 
 in Verdi's " Otello," 1887, and has 
 stamped " Don Giovanni" and other 
 roles with his own personality as a 
 criterion. ' 
 
 Maurer (mow'-rer), L. Wm., Pots- 
 dam, Feb. 8, 1789 — St. Petersburg, 
 Oct. 25, 1S78 ; distinguished violinist 
 and dram, composer. 
 
 Maurin (mo-rah), Jean Pierre, Avi- 
 gnon, 1822 — Paris, 1894; violinist 
 and teacher. 
 
 May, (i) Edw. Collett, Greenwich, 
 i3o6 — London, 1887; vocal teacher 
 and writer. (2) Florence, pianist, 
 London ; daughter of above. 
 
 May'brick, Michael (pseud. Ste- 
 phen Adams), b. Liverpool, 1844 ; 
 opera and concert barytone ; pupil of 
 Best (org.) and of Leipzig Cons.; 
 vocal pupil of Nava, Milan ; 1884, 
 toured the U. S. and Canada ; c. 
 popular songs, including ""Nancy 
 Lee." 
 
 Mayer (mi'-er), (i) Chas., Konigsberg, 
 1799 — Dresden, 1862 ; pianist and 
 composer. (2) Emilie, b. Fried- 
 land, Mecklenburg, May 14, 1821; 
 pupil of Lowe, Marx and Wieprecht; 
 lives in Berlin ; c. 7 symphonies, 12 
 overtures, an operetta, '"Die Fisch- 
 er! n" etc. (3) Wm. (pseud. W. 
 A. Remy), Prague, 1831— Graz, 
 1S98 ; excellent teacher of cpt. and 
 comp. ; composer. (4) Vide mayer. 
 (5) Karl, b. Sondershausen, March 
 22, 1852 ; concert barytone ; pupil of 
 Gotze ; lives in Schwerin. 
 
 Mayerhoff (mi'-er-hof), Fz., b. Chem- 
 nitz, Jan. 17, 1864 ; pupil Leipzig 
 Cons. ; theatre-cond. various cities ; 
 from 1885, Chemnitz ; 1888, cantor 
 Petrikirche, and cond. Mus. Soc; c. 
 sacred choruses, etc. 
 
 Mayerl (or Maierl) (ml'-erl), Anton 
 von, Botzen (?)— Innsbruck, 1839; 
 pupil of Ladurner and Ett ; c. a Sta- 
 bat Mater, etc. 
 
 Maylath (mi'-lat), H., b. Vienna, Dec. 
 4, 1S33 ; pupil of his father (pf.); 
 toured, 1865 ; lived in Russia till 
 1867 ; then New York ; teacher and 
 composer. 
 
624 
 
 THE MUSICAL GUIDE 
 
 May'nard, Walter. Vide beale, 
 
 IH. W. 
 
 Mayr (or Mayer) (mir), (Jn.) Simon, 
 Mandorf, Bavaria, June 14, 1763 — ■ 
 blind, Bergamo, Dec. 2, 1S45 ; fa- 
 mous teacher and dram, composer ; 
 pupil of Lenzi and Bertoni ; lived in 
 \'enice as church-composer ; 1794 
 prod. V. succ. opera '' Saffo" followed 
 by 70 more ; 1802, cond. Santa Maria 
 Alaggiore, Bergamo, and 1805, dir. 
 Mus. Inst.; wrote a life of Haydn, 
 treatises and verse ; he is said to have 
 been the first to use the orchestral 
 crescendo in Italy ; biogr. by Albor- 
 ghetti and Galli (Bergamo, 1S75). 
 
 Mayrberger (mir'-berkh-er), K., Vien- 
 na, 1S28 — Pressburg, 1S81 ; conduct- 
 or and dram, composer. 
 
 Mayseder (mi'-za-der), Jos., Vienna, 
 Oct. 26, 1789 — Nov. 21, 1S63 ; emi- 
 nent violinist, teacher and composer ; 
 2nd vln. of famous " Schuppanzigh 
 Quartet." 
 
 Mazas (mS-zas), Jacques F6r6oI, 
 Beziers, France, 1782 — 1849 ! violin- 
 ist, writer and dram, composer. 
 
 Mazzinghi (mad-zen'-gl), Jos., of 
 noble Corsican family, London, 1765 
 — Bath, 1844 ; organist, teacher and 
 dram, composer. 
 
 Mazzocchi (mad-z6k'-kT), Dom., 
 Civita Castellana, Rome, ca. 1590 — - 
 ca. 1650 ; composer. 
 
 Mazzucato (mad-zoo-kat'-to), Alber- 
 to, Udine, 1813 — Milan, 1877 '< vio- 
 linist, teacher, editor and composer. 
 
 Mead, Olive, b. Cambridge, Mass., 
 Nov. 22, 1874 ; concert-violinist ; 
 pupil of J. Eichberg and Fr. Knei- 
 sel. 
 
 Mear(e)s, Richard, d. London, ca. 
 1743 ; son and successor of instru- 
 ment-maker and publisher. 
 
 Mederitsch (ma -de-rltsh), Jn. (called 
 Gallus), b. Nimburg, Bohemia, ca. 
 1765 — after 1830, Lemberg ; pianist 
 and composer. 
 
 Meerens (ma-rans), Chas., b. Bruges, 
 Dec. 16, 1831 ; 'cellist and acousti- 
 cian. 
 
 Meerts (marts), Lambert (Jos.), Brus- 
 
 sels, 1800 — 1S63 ; violinist, professor 
 and composer. 
 
 Mees (maz), Arthur, b. Columbus, 
 Ohio, Feb. 13, 1850 ; pupil of Th. 
 Kullak (pf.), Weitzm mn (theory), and 
 H. Dorn (cond.), Berlin; cond. Cin- 
 cinnati May Festival Chorus ; asst.- 
 cond. various societies in New York, 
 Albany, etc.; i8g6, asst.-cond. Thom- 
 as Orch., Chicago ; since 1901, cond. 
 Mendelssohn Glee Club, New York ; 
 writes analytical programmes, and c. 
 pf. -studies ; pub. " Choirs and Cho- 
 ral Music,'" igoi. 
 
 Mehlig (ma-likh), Anna, b. Stuttgart, 
 June II, 1843; pianist, pupil of Le- 
 bert and Liszt ; m. Antwerp mer- 
 chant Falk. 
 
 Mehrkens (mar'-kens), Fr. Ad., b. 
 Neuenkirchen, near Otterndorf-on- 
 Elbe, April 22, 1840 ; pupil, Leipzig 
 Cons.; lives in Hamburg as pianist, 
 teacher and conductor ; from 1871, 
 cond. of the Bach-Gesellschaft ; c. a 
 symph., a Te Deum, etc. 
 
 M^hul (ma-ul), Etienne Nicolas, 
 (Henri), CHvet, Ardennes, June 22, 
 1763 — of consumption, Paris, Oct.j 
 18, 1817; one of the great masters of 
 French opera, a student of orch. 
 effects, and a special master of the 
 overture ; son of a cook ; pupil of an 
 old blind organist ; at 10, studied 
 with Wm. Hauser; at 14, his asst. ,i 
 1778, taught in Paris and studied' 
 with Edelmann (pf. and comp.) j 
 Gluck's advice and assistance turnecl 
 him to dram. comp. , after a succ 
 cantata with orch. (17S2). He c. ;' 
 operas, never prod., and now lost, r 
 4th was accepted but not performec 
 until after the succ. of the op. -com 
 '' Enphrosyue et Coradin" (Th. Ita 
 lien, 1790) ; 15 other operas followet 
 with general succ. incl. '' Straionice 
 (1792), " Le Coiigres des Rois " (1793 
 with II collaborators; 1705, inspect 
 or of the new Cons., and a membc 
 of the Academic; 1797, '''' Le Jeun 
 Llenri " was hissed off f.s irreverer' 
 toward Henri IV., though the fin 
 overture had been demanded thre 
 
DICTIONARY OF MUSICIANS 625 
 
 times; the opera buffa '' L'irafo, on 
 Vemportt!" (iSot) made great succ. 
 and lightened the quality of later op- 
 eras ; his best work was ^'Joseph " 
 (1807) ; for four years he wrote only 
 ballets ; he left 6 unprod. operas incl. 
 " VaL-ntinc dc Milan " completed by 
 Daussoigne-Mehul, and prod. 1822 ; 
 he c. also inferior symphs. and pf.- 
 sonatas, and very pop. choruses 
 ^' Chant du depart,'" "C. de victoire'' 
 " Chant dc rctoiir,"' etc. Biogr. by 
 Vieillard, 1859, and A. Pougin, 
 18S9. 
 
 Meibom (mi -bom) (or Meibomius), 
 Marcus, Tonning, Schleswig, 1626 
 (?) — Utrecht, 1711; theorist and col- 
 lector ; his great work is a valuable 
 historical coll. of old composers. 
 
 Meifred (me-fra), Jos. J. P. Emile, 
 Colmars, Basses-Alps, 1791 — Paris, 
 1867 ; horn-virtuoso, professor and 
 writer. 
 
 Meiland (ml'-lant), Jakob, Senften- 
 berg. Upper Lusatia, 1542 — Celle, 
 1577 ; important contrapuntist. 
 
 Meinardus (ml-nar'-doos), L. Sieg- 
 fried, Hooksiel, Oldenburg, 1827— 
 Bielefeld, 1896 ; writer and dram, 
 composer. 
 
 Meiners (mi'-ners), Giov. Bat., Milan, 
 1826 — Cortenova, Como, 1897 ; con- 
 ductor and dram, composer. 
 
 Meissen (mls'-sen), H. von (called 
 Frauenlob, "woman-praise"); 14th 
 cent. German singer, poet, and re- 
 puted founder of the Meistersinger 
 (v. D. D.)at Mainz, 1311. 
 
 Meister (mi'-shter), K. Severin, Ko- 
 nigstein (Taunus), 1S18 — Montabaur, 
 (Westervvald), 1881 ; teacher and 
 mus. director. 
 
 Mel (mel), Rinaldo del, Flemish 
 musician, i6th cent. 
 
 Mela (ma -la), (i) del M. Vide del 
 MKLA. (2) Vincenzo, Verona, 182 1 
 — Cologna, Vaneta, 1897 ; dram, 
 composer. 
 
 Melani (ma-la' -ne), Amelia, b. Pistoia, 
 1876 ; soprano ; pupil of Galetti ; 
 debut, Florence, i896(?); has sung 
 elsewhere with success. 
 40 
 
 Melba (mel'-bii), Nellie (rightly Mit- 
 chell, " Melba" being a stage-name 
 from her birthplace), b. Melbourne, 
 Australia, 1865 ; one of the chief 
 colorature-sopranos of her time, with 
 a voice of great range, purity and 
 flexibility ; pupil of Mme. Marchesi ; 
 debut Th. de la Monnaie, Brussels, 
 18S7, as "Gilda" in "" Rigoletto" ; 
 has sung in Europe and America with 
 greatest succ. in both opera and con- 
 cert. 
 
 Melcer (mel'-tser), H. von, b. Warsaw, 
 Oct. 25, 1869; pianist and composer ; 
 1895 won Rubinstein prize with Con- 
 certstiick for pf. and orch. 
 
 Melchior (mel-kr-or), Edw. A., b. 
 Rotterdam, Nov. 6, 1S60 ; teacher 
 and le.\icographer. 
 
 Melchiori (mel-kl-6'-re), Ant., Parma, 
 1827 — Milan, 1897; violinist and 
 composer. 
 
 Melgunow (mel'-goo-nof), Julius von, 
 b. Kostroma, Russia, 1846 ; pupil of 
 Henselt and the Rubinsteins ; also 
 of Moscow Cons, and R. Westphal, 
 whose system he adapted to Bach's ; 
 pub. a coll. of folk-songs. 
 
 Mell, Davis, English violinist and 
 composer, 1657. 
 
 Melone. Vide bottrigari. 
 
 Meluzzi (ma-lood'-ze), Salvatore, 
 Rome, July 22, 1813 — April 17, 1897; 
 eminent organist, composer and con- 
 ductor. 
 
 Membr^e (man-bra), Edmond, Valen- 
 ciennes, 1820 — Chateau Damont, near 
 Paris, 18S2 ; dram, comooser. 
 
 Mendel (men'-del), Hn., "Hatte, 1834 
 — Berlin, 1876 ; writer and lexicogra- 
 pher. 
 
 Mendelssohn, (i) (Jakob Ludwig) 
 Felix (rightly Mendelssohn-Bar- 
 tholdy) (men'-d'l-zon-bar-t6r-de), 
 Hamburg, Feb. 3, 1809 — Leipzig, 
 Nov. 4, 1847 ; eminent composer of 
 remarkably early maturity. Great- 
 grandson of a Jewish sch. -master, 
 Mendel, who adopted Christianity 
 and had his children reared in the 
 Christian faith ; grandson of the 
 prominent philosopher Moses ; son of 
 
626 
 
 THE MUSICAL GUIDE 
 
 the banker Abraham M. Pf. -pupil 
 of his mother, Lea Salomon-Bar- 
 tholdy, as was also his elder sister 
 Fanny (v. hensel). The family-life 
 of the Mendelssohns is almost unique 
 in history for its happiness and mutual 
 devotion. M. studied also with L. 
 Berger, Zelter (theory), Hennings 
 (vln.) and Alme. Bigot (pf.)- At lo 
 he entered the Singakademie, as an 
 alto ; the same year his setting of the 
 19th Psalm was performed by the 
 Akademie. Every Sunday a small 
 orch. performed at his father's house, 
 and his comps. were heard here early 
 and often ; he usually cond. these 
 concerts even as a child. 1S25 his 
 father took him to Paris to consult 
 Cherubini, who offered to teach him, 
 but the father preferred to have him 
 at home. At 12 he began the series 
 of 44 vols., in which he kept copies of 
 his comps. This year he c. bet. 50 
 and 60 pes., incl. a cantata, a mus. 
 comedy, a pf.-trio, 2 pf. -sonatas, a 
 vln. -sonata, songs, etc. At 9 he had 
 played the pf. in public ; at 12 he 
 was a notable improviser (while play- 
 ing a Bach-fugue at Goethe's request 
 he extemporised the Development 
 which he had suddenly forgotten). 
 At 17 he c. the remarkably original, 
 beautiful and (in advance) Wagnerian 
 overture to " ^ Midsuviiner Alight' s 
 Dream" and the superb octet for 
 strings (op. 20). This same year he 
 matriculated at Berlin Univ. with a 
 translation of Terence, said to be 
 the first German attempt to render 
 Terence in his own metres. He 
 also painted, and was proficient in 
 gymnastics and billiards. At 18 
 he prod, the succ. opera " Die Hoch- 
 zeit dcs Camacho" at the Berlin 
 Opera, in which he used the leit- 
 motif (v. D. D.). At 20 he com- 
 pelled and conducted the first per- 
 formance since the composer's death 
 of the Bach '''Passion according to St. 
 Matthew " at the Singakademie. This 
 was the first step in the great crusade 
 he waged, taking Bach out of obso- 
 
 lescence into the pre-eminence he 
 now keeps. 1830, M. declined the 
 chair of mus. at the Berlin Univ. 
 The year before he had made the 
 first of nine voyages to England, 
 where he has stood next to Handel in 
 popularity and influence. He cond. 
 his symph. in C minor, at the London 
 Philh., which gave him his first offi- 
 cial recognition as a composer. The 
 same year he was invited (in vain) to 
 c. a festival hymn for the anniversary 
 of the emancipation of the natives of 
 Ceylon, and in his letters (in which his 
 sunny nature finds free play) he re- 
 ferred to himself as " Composer to 
 the Island of Ceylon." He appeared 
 also with brilliant succ. as pianist and 
 organist. He now travelled in Scot- 
 land, Switzerland, and elsewhere, and 
 returning to London, conducted the 
 '"Hebrides" overture, played his 
 G min. concerto and B min. Capric- 
 cio brillant, and pub. his first 6 
 ' ' Songs without Words " (c. in Ven- 
 ice, 1830). His race and his amazing 
 energy and succ. made him much op- 
 position at Berlin, and he was re- 
 fused the conductorship of the Sing- 
 akademie in 1833, although he had 
 arranged a series of concerts for the 
 benefit of the Orch. Pension Fund. 
 1833, he cond. the Lower Rhine ; 
 ISIus. Festival at Diisseldorf, and be- ■ 
 came Town Mus. Dir. of the ch.- 
 mus., the opera, and two singing-so- 
 cieties, for a salary of 600 Thaler 
 (about $450). 1835, he became cond. 
 of the Gewandhaus Orch., Leipzig, 
 which (with Fd. David as leader) he 
 raised to the highest efficiency ; the 
 Univ. made him, in 1836, Dr. Phil., 
 //. c. ; 1836, he cond. his oratorio 
 '' Pauhts" the Lower Rhine Festival, 
 Diisseldorf, in 1837 also at the Bir- 
 mingham Festival. 1837, he m. , 
 Cecile Charlotte Sophie Jeanrenaud 
 of Frankfort, daughter of a French 
 Protestant clergyman. She bore him 
 five children, Karl, Marie, Paul, Fe- 
 lix, and " Lili" (Elisabeth). In \ii,i 
 Friedrich Wilhelm IV. invited him to 
 
DICTIONARY OF MUSICIANS 627 
 
 take charge of the grand orch. and 
 choral concerts at Berlin. The hostil- 
 ity to him was however so general 
 that he wished to resign, but at the 
 King's request organised the cath. 
 mus., later famous as the " Dom- 
 chor " (cath. choir). He was made 
 R. Gen. Mus. Dir. With Schumann, 
 Hauptmann, David, Becker, and 
 Pohlenz, in the faculty, he organised 
 the since famous Conservatorium of 
 Mus. at Leipzig (since 1876 the " R. 
 Cons."); he again cond. the Gewand- 
 haus Concerts. 1845 he cond. " Eli- 
 jah " at Birmingham. He resigned the 
 Gewandhaus conductorship to Ciade, 
 and the plano-dept. to Moscheles, 
 whom he invited from London. Upon 
 hearing the news of the sudden death 
 of his idolised sister, Fanny Hensel, 
 he fell insensible and lived only 6 
 months. 
 
 M. was kept from opera by inabil- 
 ity to hnd a satisfactory libretto. 
 Besides " Die- Hochzeit des Camacko" 
 he left an unfinished opera " Lorelei " 
 an operetta " Son and Stranger " 
 and 5 small unpub. operas. He c. 
 3 oratorios, '' Paulus" (St. Paul), 
 " j^//rtj" (Elijah), and '' Christits" 
 (unfinished), the symph. cantata 
 '' Lobgesang" op. 52; the ballade, 
 with orch. " Die erste IValpiirgis- 
 nacht" op. 60; 2 '' Festgesdnge" 
 ''An die Kilnstler " (for male chorus 
 and brass), and " Zur Sdcularfeier 
 der Biichdruckerkunst " (" Gutenberg 
 Cantata"), with orch.; mus. to the 
 ^Xa.-^?,'" Antigone" (op. 55), '' Atha- 
 lie" {op. 74), '' (Edipus in Colonos" 
 (op. 93), and ''A Midsummer 
 Night's Dream " (op. 61) ; c. also 
 vocal works with orch., hymn, " Tti 
 es Petrus^" VsaXms 114, 115, and 95, 
 prayer " Verleih' uns Frieden," and 
 sopr. concert-aria "■ Infelice" (op. 
 94). 
 
 4 Symphonies, in C min.; A 
 min. (or '' Scotch ")\ A (or ''Ital- 
 ian"); D (or "Reformation"). 
 Overtures, " Sommemachts- 
 traum" ("A Midsummer Night's 
 
 Dream"), op. 21; "Hebrides" 
 "Die Fingalshohle" (or " Fingal's 
 Cave"), op. 26; " Meerstille iind 
 gliickliche Falirt" {" Q^Xxa. Sea and 
 Prosperous Voyage"), "Die Schone 
 Melusine" (" The lovely Melusine ") 
 (op.^ 32), "Ray Bias" (op. 95), 
 " Trumpet" overture, and an over- 
 ture for wind-band (op. 24) ; c. also 
 andante, scherzo, capriccio, and 
 fugue, for string-orch. (op. 81), funer- 
 al march (op. 103), and march (op. 
 108) ; 2 pf. -concertos, in G min. and 
 D min.; capriccio brillant ; rondo 
 brillant, and serenade and allegro 
 giojoso, for pf. with orch.; vln. -con- 
 certo in E min. (op. 64) ; a string 
 octet, quartets, 2 quintets, a pf.-sex- 
 tet, 7 string-quartets, 3 pf. -quartets, 
 2 pf. -trios, 2 trios for clar. , basset 
 horn, and pf. ; 2 'cello-sonatas, a so- 
 nata for vln., variations concertantes 
 (op. 17) and "Lied ohne J Forte" 
 (op. 109), for 'cello with pf. , relig- 
 ious and secular choruses, 13 vocal 
 duets, and 83 songs. For piano — 3 
 sonatas ; capriccio ; CharakterstUcke; 
 rondo capriccioso ; 4 fantasias, incl. 
 " The Last Rose of Summer"; 
 " Lieder ohne Worte " (" Songs wit'n- 
 out Words ") in 8 books; " Sonate 
 e'cossaise" 6 preludes and fugues, 
 
 Variations st'rieuses" etc.; 6 Kin- 
 derstucke, 3 preludes and 3 studies, 
 op. 104; "■ Albumblatt" " Perpctu- 
 um mobile" etc. 4-hand variations ; 
 4-hand allegro brillant ; duo con- 
 certant (with Moscheles), for 2 pfs. 
 on the march - theme in Weber's 
 " Preciosa." FoR ORG.\N, 3 preludes 
 and fugues ; 6 sonatas, op. 65 ; prel- 
 udes in C min. 
 
 Biogr. by his eldest son Karl 
 (1871); by Hiller(i874); S. Hensel 
 (1879) ; Eckardt (1S88) ; an extended 
 article by Grove (in his Dictionary), 
 etc. Numerous editions of his letters 
 are published. See also next page. 
 
 (2) Arnold, b. Ratibor, Dec. 26. 
 1855 ; grand-nephew of above ; stud- 
 ied with Haupt, Kiel, Grell, Tau- 
 bert ; organist and teacher in the 
 
628 THE MUSICAL GUIDE 
 
 Univ. at Bonn; then teacher at Co- City Th., 1894), and '' Der Bdren- 
 
 logne Cons.; then at Darmstadt pro- hiiuier" " Der Hagestolz "for chorus 
 
 fessor. C. operas " Z?/.f/" (Cologne and orch. 
 
 Mendelssohn. 
 
 By Vernon Blackburn. 
 
 iELIX MENDELSSOHN BARTHOLDY almost rivalled Mozart 
 the precocity of his genius. Music came to him, as it were. 
 
 F' 
 straight out of the skies. He played with it from boyhood, and at 
 the age of nineteen wrote his greatest work. I refer, of course, to the over- 
 ture to ^^A Midsummer Night's Dream.''' It would be difficult to say 
 exactly whence Mendelssohn derived the leading motives of his musical ten- 
 dency. Mozart, of course, did much for him, but he was a brilliant, though, 
 I should imagine, a superficial, student of the great John Sebastian and of the 
 train of German and Austrian composers, including Haydn, which succeeded 
 the period of that great master, Beethoven, with whom, of course, he was 
 intimate from his childhood. One remembers the story of his playing one 
 of the symphonies to Goethe ; but I doubt if Beethoven had a very serious \\:h 
 influence over this gay, companionable, brilliant musician to whom music ■:( 
 was not so much a spiritual as a pantheistic influence, ^j The external world 
 to him fired his brain, and his delicate genius responded to the influence. 
 His personality was neither commonplace nor profoundly interesting. There 
 is a certain class of German youth which makes a point of exuberance, of 
 high spirits and somewhat boisterous asserdveness of the bright side of life. 
 Such a temperament is usually accompanied by a certain shallowness of spirit, 
 and by a certain naif outlook which is just a trifle irritating to the serious 
 man. ^His place in the art of music has not, I should imagine, been quite 
 definitely settled even at this day. While Sir George Grove would place 
 him among the archangels of musical creation, there are others who prefer to 
 rank him as quite in the front rank of the second class. On the whole, my 
 judgment ranges with the latter, although there are times, of course, when he 
 strayed into the reallv great things of his art, as for example in the " Watch- 
 man,'' from the ** Hymn of Praise," or ♦♦ How Lovely are the Messengers," 
 from "5/. Paul." There will be none, however, I imagine, not even Sir 
 George Grove himself, to rank Mendelssohn with Mozart, John Sebastian 
 Bach, and Handel, and that alone may be taken as a test as to whether he , 
 really may be placed among the great gods. ^If I were asked to assign his 
 position, in the flash of a phrase, I should call him the Ganymede, the cup- 
 bearer of Jupiter's table. He was in the company of the gods, and he served 
 them, he pleased them well ; and his dwelling-place was in the palace of 
 
DICTIONARY OF MUSICIANS 629 
 
 Jove ; but he was not of royal rank, though he wore the livery of the great 
 kings of art. And his influence has been confined chiefly to the more elegant 
 song- writers of the time, to the composers of graceful and forgotten oratorios, 
 and to the brilliant comic opera record of Sir Arthur Sullivan. And this, 
 though Mendelssohn, after arriving at man's estate, never wrote a note that 
 indicates him as possessing one flash of genuine humour. The disciple has 
 here indeed outstripped the master. 
 
 Mendes (man-des), Catulle, b. Bor- 
 deaux, May 22, 1841. I'oet ; libret- 
 tist of pop. poems and operettas. 
 
 Mengal (mari-gal), Martin Jos,, 
 Ghent, 17S4 — 1851 ; horn-virtuoso 
 and dram, composer. 
 
 Mengelberg (meng'-el-berkh), Wm. 
 Jos., b. Utrecht, May 28, 1870; 
 pupil of Umland, Hoi, Wurff, and 
 Petre at Amsterdam, then at Cologne 
 Cons., i8gi, dir. at Lucerne, 1895, 
 Amsterdam ; at 8 began to compose. 
 
 Mengewein (meng'-e-vin), K., b. 
 Zaunroda, Thuringia, Sept. 9, 1852 ; 
 from 1881-86, teacher at Freuden- 
 berg's Cons. Wiesbaden ; co-founder 
 of a Cons, at Berlin, 1886 ; c. orato- 
 rio, festival cantata, operetta, over- 
 ture " Dornroschen" etc. 
 
 Mengozzi (men-god'-ze), Bdo., Flor- 
 ence, 1758 — Paris, March, 1800 ; 
 tenor, writer and composer of 13 op- 
 eras. 
 
 Menter (men'-ter), (i) Jos., Deuten- 
 kofen, Bavaria, 1808 — Munich, 1856; 
 'cellist. (2) (Menter-Popper) So- 
 phie, b. Munich, July 29, 1848; 
 daughter of above; eminent pianist; 
 pupil of Schonchen, Lebert and Niest; 
 debut, 1863; in 1867, studied with 
 Tausig ; i86g, with Liszt; 1872, m. 
 the 'cellist Popper (divorced 1886) ; 
 ct. -pianist to the Emperor of Austria; 
 1878-S7, prof. St. Petersburg Cons. ; 
 lives at her country-seat. Castle Itter, 
 in the Tyrol. 
 
 Merbecke, J. Vide marbeck. 
 
 Mercadante (mer-ka-dan'-te), Fran. 
 Saverio, Altamura, Sept. 17, 1795^ 
 Naples, Dec. 17, 1S70 ; pupil of Zin- 
 garelli and in 1840 his successor as 
 
 dir. of Naples Cons.; in 1819 prod, 
 an opera with great succ. and fol- 
 lowed it with 60 others, incl. " Elisa 
 e Claudia " (Naples, 1866), " // Giu- 
 ramento " (Milan, 1837) ; he lived in 
 various cities ; 1833 cond. at Novara 
 Cath.; 1862 he went blind ; he c. also 
 2 symphonies, 4 funeral symphonies, 
 20 masses, etc. 
 
 Mercadier (mer-kad-ya), J. Bap., Bel- 
 esta, Ariege, France, April 18, 1750 
 — Foix, Jan. 14, 1815 ; theorist. 
 
 Merck, Louis, Landau, 1832 — Brus- 
 sels, April 15, 1900 ; horn-virtuoso. 
 
 Mer cy (or Merci), Louis, Engl, virt- 
 uoso on the beak-flute, 1735 ; com- 
 poser. 
 
 Mereaux (ma-ro), (i) J. Nicolas 
 Am6d6e Lefroid de, Paris, 1745 — 
 1797 ; C)rganist and dram, composer. 
 
 (2) Jos. N. L. de, b. Paris, 1767; 
 son of above ; organist, and pianist. 
 
 (3) J. A. L. de, P'aris, 1803 — Rouen, 
 1874 ; son of above ; pianist, com- 
 poser and writer. 
 
 Merian (ma'-rl-an), Hans, d. Leipzig, 
 1902 ; writer. 
 
 Mdric (ma-rlk). Vide lalande. 
 
 Meriel (ma-rt-el), Paul, Mondoubleau, 
 1818 — Toulouse, 1897 ; violinist, 
 cond. and dram, composer ; dir. Tou- 
 louse Cons. 
 
 Merighi (ma-re'-ge), Antonia, Italian 
 contralto profondo in Handel's op- 
 eras, London, 1729-38. 
 
 Merk (mark), Jos., Vienna, 1795 — 
 Ober-Dobling, 1852 ; violinist and 
 composer. 
 
 Merkel (mar'-kel), (i) Gustav (Ad.), 
 Oberoderwitz, Saxony, Nov. 12, 1827 
 — Dresden, Oct. 30, 1885 ; org. and 
 
630 
 
 THE MUSICAL GUIDE 
 
 composer. (2) K. L., wrote treatises 
 on throat, etc. • 
 
 Merklin (mar'-klen), Jos., b. Oberhau- 
 sen, Baden, Jan. 17, 18 19 ; org.- 
 builder at Brussels ; son of an org.- 
 builder ; took his brother - in - law, 
 F. Schiitze, into partnership, as 
 " Merklin-Schlitze," 1858 ; in 1855, 
 est. a branch in Paris. 
 
 Mersenne (mer-sen), Marie, Oize 
 (Maine), France, Sept. 8, 158S — 
 Paris, Sept. i, 1648 ; writer of mus. 
 treatises. 
 
 Mertens (mar'-tens), Jos., Antwerp, 
 Feb. 17, 1S34 — Brussels, July, 1901; 
 1st vln. at the opera there and teach- 
 er at the Cons.; 1878-79, cond. 
 Flemish Opera, Brussels ; later, dir. 
 at Royal Th., The Hague; prod, 
 succ. Flemish and French operettas 
 and operas, incl. " Z't' Zwarte Kapi- 
 iein " (The Hague, 1877). 
 
 Mertke (mert -ke), Ed., Riga, 1833 — 
 Cologne, 1S95 ; pianist, violinist, 
 composer and collector. 
 
 Mertz (marts), Jos. K., Pressburg, 
 Hungary, 1806 — Vienna, 1856 ; gui- 
 tar-virtuoso. 
 
 Merula (ma-roo'-la), Tarquinio, b. 
 Bergamo ; violinist and composer, 
 1623-40. 
 
 Merulo (ma-roo'-l6) (rightly Merlot ti), 
 Claudio (called "Da Coreggio"), 
 Coreggio, April 8, 1533 — Parma, 
 May 4, 1604 ; eminent organist, 
 dram, composer and famous teacher ; 
 pupil of Menon and G. Donati ; he 
 was a leader of the Venetian sch. and 
 bordered on the new tonality. 
 
 Merz (marts), K., Bensheim, near 
 Frankfort-on-Main, 1836 — Wooster, 
 Ohio, 1890; teacher and writer. 
 
 Messager (m6s-sa-zha), Andre (Chas. 
 Prosper), b. Montlucon, Allier, 
 France, Dec. 30, 1853 ! pi-ipil of Nie- 
 dermeyer .School and of Saint-Saens ; 
 1874, organist of the choir, St. Sul- 
 pice; cond. at Brussels; organist at St. 
 Paul-Saint-Louis ; Paris, cond. at 
 Sainte Marie des Batignolles ; 1898, 
 cond. Op. Com. ; Chev. of the Legion 
 of Honour ; 1901, mus. -dir. Covent 
 
 Garden, London ; completed Berni- 
 cat's unfinished score, " Franfois les 
 Bas Bleiis " (Folies - Dramatiques, 
 1883), following it with about 20 
 other comic operettas, and operas, 
 incl. the succ. " Le Chevalier d'llar- 
 tuental" (Op. -Com., 1896) ; "/,« 
 Basoihe" (Op. -Com., 1890, Bremen, 
 1892, as Z7Vti A'onige) ; m. Hope 
 Temple (q. v.). 
 
 Messerschmidt - Griinner (mes'-ser- 
 shmit-grln'-ner) (Frau), Vienna, ca. 
 1847 — 1S95 ; founded at Vienna the 
 first " Ladies' Orchestra." 
 
 Mestrino (mas-tre'-no), Niccolo, Mil- 
 an, 174S — Paris, 1790; violinist, con- 
 ductor, and composer. 
 
 Metastasio (ma-tas-ta'-zI-6) (rightly 
 Trapassi, but changed to M., a 
 pun. on T. to please his patron Gravi- 
 na), P. Ant. Dom. Bonaventura, 
 Rome, Jan. 3, 169S — Vienna, April 
 12, 1782 ; poet and dramatist ; wrote 
 librettos set to mus. by Gluck and 
 Mozart. 
 
 Methfessel (maf-fes-sel), (i) Albert 
 Gl., Stadtilm, Thuringia, 1785 — 
 Heckenbeck, 1869 ; dram, composer. 
 (2) Fr., Stadtilm, 1771 — 1807 ; bro. 
 of above ; composer. (3) Ernst, 
 Miilhausen, 1802 — Berne, 1878, rel- 
 ative of above; conductor. (4) 
 Ernst M., iSii — 1886, conductor. 
 
 Metra(ma-tra), (Jules Louis) Olivier, 
 Rheims, 1830 — Paris, 1889 ; violinist 
 and double-bass player, conductor 
 and dram, composer. 
 
 Mettenleiter (met-ten-lT-ter), (i) Jn. 
 G., studied Ulrich, near Ulm, 1812 — 
 Ratisbon, 1858; organist and compos- 
 er. (2) Dominicus, Tannenhausen, 
 Wiirtemberg. 1822 — Ratisbon, 1868; 
 brother of above; writer and compos- 
 er. (3) Bernhard, cousin of above ; 
 composer at Kempten, Bavaria. 
 
 Metzdorff (mets'-dorf), Richard, b. 
 Danzig, June 28, 1844 ; pupil of Fl. 
 Geyer, Dehn, and Kiel, Berlin ; cond. 
 at various cities; c. opera "' Hosa' 
 miinde " (Weimar, 1875); succ." I/ag 
 dart und Signe " (Weimar, 1893) ; c 
 also 3 symph. incl. " Tragic " ; over 
 
 L 
 
DICTIONARY OF MUSICIANS 631 
 
 ture " Kiug Lear " ; " Frau Alice" 
 ballade, with orch., etc. 
 
 Metzler (mets'-ler), (i) & Co., Lon- 
 don, mus.-pubs. , founded by Valen- 
 tine M., 1790. (2) Metzler-Lowy 
 (mets'4er-la'-ve), Pauline, b. The- 
 resienstadt, iS5o(?) ; contralto; 1875- 
 87, Leipzig City Th.; iSSi, m. the 
 pf. -teacher, (3) Fd M. 
 
 Meurs, de. Vide muris, de. 
 
 Meursius (mur'-sl-oos), Jns., Looz- 
 duinen, near The Hague, 1579 — 
 Denmark, 1639 ; prof, and writer. 
 
 Meusel (moi-zel), Jn. G., Eyrichshol, 
 1743 — Erlangen, 1820; writer and 
 editor. 
 
 Meyer (mi'-er), (i) Joachim, Perle- 
 berg, Brandenburg, 166 1 — Gottingen, 
 1732 ; prof, and writer. (2) Ld. von 
 (called " De Meyer"), Baden, near 
 Vienna, 18 16 — Dresden, 1S83 ; pia- 
 nist and composer. (3) Julius Ed., 
 Altenburg, Germany, 1822 — Brook- 
 lyn, U. S. A., 1899; vocal-teacher, 
 
 . from 1852, at Brooklyn. (4) Jenney, 
 Berlin, 1834 — 1894; concert-singer; 
 1865 teacher, 1888 proprietress Stern 
 Cons. Berlin. (5) Felix, b. Berlin, 
 Feb. 5, 1850 ; son of (6) Bernard 
 (mus. -director) ; pupil of David ; vio- 
 linist in ct. chapel, Berlin. (7) Wal- 
 demar, b. Berlin, Feb. 4, 1853 ; vio- 
 linist, pupil of Joachim; 1873-81, 
 member of the Berlin ct. orch. (8) 
 Gustav, b. Konigsberg, Prussia, 
 June 14, 1859 ; pupil of Leipzig 
 Cons.; cond. various cities; 1895, 
 Leipzig City Th.; c. 4-act farce, bal- 
 let-pantomime, etc. 
 
 Meyerbeer (mi'-er-bar), Giacomo 
 (rightly Jakob Liebmann Beer; 
 by adding the name " Meyer" he se- 
 cured a large inheritance from a 
 wealthy relative ; he then Italianised 
 "Jacob " as "Giacomo"), Berlin, Sept. 
 5, 1791 (94?) — Paris, May 2, 1864; 
 son of a Jewish banker ; a precocious 
 and remarkable pianist ; pupil of 
 Lauska and Clementi ; at 7 played in 
 public ; studied with Zelter, Anselm, 
 Weber; 1810, was invited by Abbe 
 Vogler to live in his house as a son 
 
 and pupil ; did so for 2 years, one of 
 his fellow-pupils being his devoted 
 friend C. M. von Weber. Here he 
 c. an oratorio and 2 operas '' Jepk- 
 thas Geliibde" (Ct.-Op., Munich, 
 1813) and "■ Abitnilek" (Munich, 
 18 1 3), the first a failure, the latter 
 accepted for Vienna, whither he went 
 and made a great succ. as pianist 
 though his opera was not a succ. In 
 his discouragement Salieri told him 
 he needed only to understand the 
 voice, and advised an Italian jour- 
 ney. He went to Venice in 18 15 
 and, carried away with Rossini's 
 vogue, c. 6 Italian operas which had 
 succ, especially " IlCrociato in Egit- 
 to" (Venice, 1824). While writing 
 this last he went to Berlin hoping to 
 prod. 3-act German opera, ''Das 
 Brandenbuiger Thor"; though he 
 found no hearing, Weber begged him 
 not to give himself up to Italian in- 
 fluences. In the 6 years of silence 
 that followed, occurred his marriage, 
 his father's death, and the death of 
 his two children. In 1826, he went to 
 Paris to live, and made a profound 
 and exhaustive study of French op- 
 era from Lully down, forming his 
 third style, in which ace. to Mendel 
 " he united to the flowing melody of 
 the Italians and the solid harmony of 
 the Germans the pathetic declama- 
 tion and the varied, piquant rhythm 
 of the French." He made a coali- 
 tion with the sophisticated librettist. 
 Scribe, and his first French opera, 
 "Robert le Diable" (Gr. Opera, 
 1S31), was an enormous succ, finan- 
 cially establishing the Opera itself, 
 though M. had had to pay the man- 
 ager Veron a large sum to secure its 
 production. Less pop. succ. at first, 
 but more critical favour attended 
 "Z« Huguenots" {liiit); its prod, 
 at Berlin, 1842, led KingFr. Wm. IV. 
 to call him there as Gen. Mus.-Dir. 
 His opera " Das Feldlager in Schle- 
 sien" (1843), had only mod. succ. 
 until Jenny Lind sang it in 1844. 
 1847, he visited Vienna and London; 
 
632 
 
 THE MUSICAL GUIDE 
 
 returning to Berlin he prod. Wagner's 
 new work "'Riciizi"; later he ob- 
 tained '^ The Flying Dutchman'^ 
 performance, after its rejection else- 
 where. The extent to which he be- 
 friended Wagner is matter of bitter 
 controversy, some claiming that he 
 gave only formal assistance while 
 Wagner was obscure, and fought him 
 with underhanded methods and a 
 "press-bureau," when Wagner at- 
 tained power. At any rate Wagner 
 despised and publicly assailed the 
 music of Meyerbeer. Yet, wheth- 
 er or no Wagner borrowed money 
 from M., he certainly borrowed num- 
 berless points of artistic construction 
 from him. In 1849, " Zt' Proplicte" 
 (finished 1S43) was prod, at the Paris 
 Gr. Opera (1849) followed by the 
 successes '' L'Etoile du N^ord" (Op.- 
 Com., 1854), some of.it taken from his 
 " Das Feldlager in Schlesien " ; and 
 "■' Dinorah, ou le Pardon de Ploh-- 
 meV (Op. Com., 1S59). '' L'Afri- 
 caine " (worked on with constant and 
 characteristic changes from 1838) was 
 prod, at the Paris Gr. Opera, 1S65, a 
 year after his death. M. left by will 
 10,000 thaler ($7,500) for the founda- 
 tion of a Meyei beer Scholarship, for 
 which only Germans under 28, and 
 pupils of the Berlin " Hochschule," 
 the Stern Cons., and the Cologne 
 Cons., are eligible. Competitors 
 must submit a vocal fugue a 8 (for 
 double chorus), an overture for full 
 
 orch., and a dram, cantata (J j, with 
 orch. (te.xt of cantata, and text and 
 theme of fugue being given). The 
 fund gives six months in Italy, six in 
 Paris, and six more in Vienna, Mu- 
 nich and Dresden together. M. c. 
 also incid. music to " Struensee" (the 
 tragedy by his brother, Michael Beer; 
 Berlin, 1846), choruses to ^schylus' 
 "' Eumenides" ; festival-play ''Das 
 Iloffest von Ferrara "/ monodrama 
 " Thcvclindens Liebe" for sopr. solo, 
 chorus with clar. obbJigato (Vienna, 
 1S13); cantatas, " Gutenberg" and 
 ''Maria und ilir Genius" (for the 
 silver wedding of Prince and Princess 
 Carl of Prussia); " Der Genitts der 
 JMiisik am Grabe Beethoven "y sere- 
 nade ' 'Braittgcleiie aus der Heimath " 
 (for the wedding of Princess Louise of 
 Prussia) ; ode to Rauch (the sculptor), 
 with orch.; 7 sacred odes a cappella ; 
 Festhynimis (for the King of Prus- 
 sia's silver wedding); 3 " Fackel- 
 tiinze," for wind-band, also scored 
 for orch. (for the weddings of the 
 King of Bavaria, and the Princesses 
 Charlotte and Anna of Prussia) ; 
 grand march for the Schiller Centen- 
 ary (1859); overture in march-form 
 (for opening of London Exhibition, 
 1S62) ; coronation march for King 
 Wilhelm I. (1S63) ; church-music; 
 pf.-pcs., etc. Biog. by A. de La- 
 salle (1864); H. Blaze de Bury 
 (1865); Ella (i£6S); H. Mendel 
 (1868), and J. Schucht, 1S69. 
 
 Meyerbeer. ■ 
 
 By Irenaeus Prime-Stevenson. | 
 
 WITHIN a decade or so, especially since the Wagnerian measuring-' 
 rule was applied right and left, up and down, to almost all the 
 lyric drama, more in enthusiasm than in good judgment, and 
 also since opera-making has come to be talked of as a sort of exact' 
 science — Meyerbeer has been ungraciously handled by a certain school oi 
 criticism. This school is rich in Podsnaps. If we can believe these arbi- 
 ters and observers, Meyerbeer was a feeble charlatan in French opera, or \t 
 
DICTIONARY OF MUSICIANS 633 
 
 any kind of opera, a vulgar and bawdy melodist and a commonplace orches- 
 
 trator. Moreover, we must, by such critics, believe that the public as well 
 
 as the critics have so thoroughly " found him out," that the popular interest in 
 
 his works is over ; that •* The Huguenots,'''' " U Africa'ine,^^ and ** Le Pro- 
 
 pbete^' are works that bore everybody of true musical intelligence — '* the souls 
 
 of them fumed forth, the hearts of them torn out." ^Unfortunately for 
 
 these undiscerning prophets, their premises are obviously wrong, and their 
 
 results are short-sighted. Meyerbeer is a composer full of faults. His 
 
 inconsistencies are a continual irritation. His shortcomings are plain to 
 
 the ear. His superficial, emotional side, too, is indisputable. He was 
 
 never sure of himself, or rarely so ; and that is fatal often to artistic strength. 
 
 But when all is counted against him, Meyerbeer is still a great composer, an 
 
 operatic master to be reckoned with for a long operatic time to come ; and 
 
 as for the world in general it is far from setting him aside when his best 
 
 scores are the question. ^His splendid subtler mastery of true dramatic effect 
 
 is, after all, as emphatic as his cheaper method of making a point. He does 
 
 not, alas ! sustain his melodies. He does not work out good themes as 
 
 iif j they deserve, over and over. He gives-out, he resorts to noise and clap- 
 
 :«'■ i trap. His favourite rhythm k^^ 1 is tedious. ^But notwithstanding all, 
 
 ,'j( 1 he is a genius in dramatic, pathetic melody. He is constantly able to 
 
 move us legitimately by his beautifiil art as an orchestral colourist. He 
 
 writes for the operatic actor as a singer, perfectly and consistently, as well 
 
 as for the operatic artist as a declaimer. He is a king at great musical 
 
 ■pj' j phrases, words and music so linked that we cannot think of them as not 
 
 jtf I together. And as a merely French composer Meyerbeer is of the first 
 
 ''i j rank. A sincere and learned musician himself, especially influenced by 
 
 , ' I the greatest and even severest German and Italian musicians, he is disdnctly 
 
 [g.\ a descendant in artistic speech of no less than Gluck. One often finds 
 
 1! a Gluck-like nobility of phrase in Meyerbeer's dialogue, a Gluck-like out- 
 
 - ' start of melody, to atone for all that is savoury of Offenbach or worse. ^As 
 
 for Meyerbeer's influence on not only the French opera but in far wider range, 
 
 that is undeniable. French opera since his day has never set his monitions 
 
 aside, from Halevy to Reyer : and Wagner (heretical as it sounds to say so) 
 
 never quite drew away from the French principles in dramatic opera that he 
 
 I I often most repudiated — exactly as he repudiates his eternal practical debts to 
 
 :, Meyerbeer for no vague kindness. ^Meyerbeer is the Scott, the Jokai, of 
 
 ■ ' (»era, forever. Just as we forgive technical error or error of sentiment in both 
 
 ;■' ' here and there, so must we forgive Meyerbeer : and in admiring his best 
 
 scenes much indeed is to be forgot ! ^Personally, he was a large-souled and a 
 
 [ good man as well as a man of finest cultivation and polish. His charities 
 
 °'l were numberless and his large bequests have continued them. Take him 
 
634 
 
 THE MUSICAL GUIDE 
 
 all in all, he is a creator and an influencer of, we may say, permanent' 
 dignity and honour in the general gallery of the really great, not merely the-| 
 pseudo-great, operatic sovereigns. 
 
 Meyer-Helmund (mi'-er-hel-moont), 
 Erik, b. St. Petersburg, April 13 
 (25 new style), 1861; pupil of his father 
 and of Kiel and Stockhausen ; prod. 
 3 comic operas, incl. the succ. '' Der 
 Liebeskampf" (Dresden, 1892) ; succ. 
 ballet '' Riibezahr'' {ov '' Der Berg- 
 geist") (Leipzig, 1893) ; i-act bur- 
 lesque " Tischka" (Riga, 1894) ; and 
 pop. songs. 
 
 Meyer-Lutz (ml'-er-loots), Wm., b. 
 Mi'innerstadt, near Kissingen, 1829; 
 pupil of Eisenhofer and Keller, 
 Wiirzburg ; 184S, in England, organ- 
 ist at Birmingham, then Leeds, later 
 St. George's R. C. Ch. , London; 
 1869, cond. at Gaiety Th.; c. 8 op- 
 eras, masses, etc. 
 
 Meyer-Olbersleben (ml'-er-ol'-bers- 
 la-ben), Max, b. Olbersleben, near 
 Weimar, April 5, 1S50 ; pupil of his 
 father, of Muller-IIartung and Liszt, 
 on whose recommendation he was 
 given a stipend by the Duke, and 
 studied with Rheinberger and WtUl- 
 ner ; 1877, teacher of cpt., and comp. 
 R. Cons, of Mus., Wurzburg ; 1S79, 
 cond. the '' Licderiafel" ; 1SS5, 
 "Royal Prof." ; 1896, dir. "'Detitsch- 
 er SdngerbioiJ" and co-dir. the Fifth 
 National Sdngerfest, Stuttgart ; c. 
 succ. romantic opera ' ' Clare Dettin " 
 (Wurzburg, 1896), and a comic op- 
 era "■ Ddr Ilatibni Krieg" (Munich 
 Opera); overtures, '' Feierkldnge" 
 and " Festouverliire"; fine choruses ; 
 chamber-mus. , etc. 
 
 M^zeray (maz-re), L. Chas. Lazare 
 Costard de, I'runswick, iSio — As- 
 nieres, near Paris, April, 1887; bary- 
 tone and dram, composer. 
 
 Miceli (me-cha'-le), Giorgio, Reg- 
 gie di Calabria, 1836 — Naples, 1895 ; 
 c. 6 operas, 2 biblical operas, etc. 
 
 Michaelis(me-kiia'-a-li;s),(i)Chr. Fr., 
 Leipzig, 1770 — 1834; writer. (2) 
 
 Gustav, Ballenstedt, 1S28— Berlin, 
 1S87 ; cond. and composer. (3) 
 Theodor, Ballenstedt, 1831— Ham- 
 burg, 1SS7 ; bro. of above ; organist. 
 
 Micheli (me-ka'-le), Romano, Rome, 
 ca. 1575 — ca. 1660 ; conductor, writer 
 and composer of notable canons, etc. 
 
 Mickwitz (mlk'-vlts), Harald von, b. 
 Helsingfors, May 22, 1859; pianist; 
 pupil of Brassin and Rimsky-ICorsa- 
 kov, St. Petersburg Cons., and of 
 Leschetizky, Vienna ; 1886, pf.-prof. 1 
 Carlsruhe Cons. ; 1893, Wiesbaden 
 Cons. ; composer. 
 
 Mierzwinski (mTrzh-vTn'-shkl), La- ■ 
 dislas, b. Warsaw, Oct. 21, 1850;! 
 untrained tenor of short-lived fame. 
 
 Mihalovich (me-hii -16-vich), Edmund , 
 von, b. Fericsancze, Slavonia, Sept. ■ 
 13, 1842 ; pupil of liauptmann and : 
 von Bulow ; dir. R. Acad, of Mus.,: 
 Pesth ; c. romantic opera '' Hagbarih' 
 tniii Sigiie"' {Y)rtsdtn, 1SS2) ; succ.' 
 opera ''" Toldi" (Pesth, 1893); bal- 
 lads for full orch. {''Das Geister- 
 schiff" ''Hero und Leaiider" "La 
 roude du sabbat," "Die A^ixe"), a, 
 symph., etc. , 
 
 Miksch (meksh), Jn. Aloys, Georg-' 
 enthal, Bohemia, 1765 — Dresden, 
 1S45 ; barytone and celebrated 
 teacher. : 
 
 Mikuli (me'-koo-le), Karl, Czernowitz,, 
 Bukowina, 1821 — Lemberg, 1897; 
 pupil of Chopin and ed. of standard 
 edition of his works ; composer. 
 
 Milanollo (niT-lan-ol'-lo), (i) Teresa, 
 b. Savigliano, near Turin, Aug. 28, 
 1827 ; at 4 hearing a vln. at church 
 she became so frantic for one that 
 she was given lessons : studied with, 
 Ferrero, Gebbaro, and Mora, at Tu- 
 rin, and played in public at 6 ; after-i 
 wards touring with great succ. till in 
 1S57 she m. military engineer, Par- 
 mentier ; lived in Toulouse. Hei 
 
 I 
 
DICTIONARY OF MUSICIANS 635 
 
 companion on her tours was her sis- 
 ter (2) Maria, 1S32 — (of consump- 
 tion) Paris, 1S4S. Also a violin- 
 ist. 
 
 Milchmeyer (mllkh'-mi-er), Ph. Ja- 
 kob, Frankfort- on - Main, 1750 — 
 Strassburg, 1813, pf. -teacher ; inv. a 
 3-manual pf.; composer. 
 
 Milde (mel'-de), (i) Hans Feodor 
 
 . von, b. Petronek, near Vienna, April 
 13, 1821 ; pupil of Hauser and Man- 
 
 . uel Garcia ; created " Telramund " in 
 Lohengrin, Weimar, 1850 ; life-mem- 
 ber of the Weimar ct. -opera. (2) 
 Rosa (nee Agthe), b. Weimar, 
 June 25, 1827 ; wife of above ; cre- 
 ated " Elsa," sang at Weimar till 
 1S76. (3) Fz. von, b. Weimar, 
 March 4, 1S55 ; son and pupil of (i) 
 and (2) ; barytone, since 187S at Han- 
 over ct.-th. (4) Rudolf von, b. Wei- 
 mar, Nov. 29, 1859 ; son and pupil 
 of (i) and (2) ; barytone ; debut 1883 
 at the ct.-th. and sang there till 1886, 
 then in the New York Opera till 1888 ; 
 teacher Stern Cons, till 1894, then 
 sang at Dessau ct. -opera ; 1897 sang 
 " Gunther " at Bayreuth. 
 
 Milder-Hauptmann (mel'-der-howpt- 
 man), Pauline Anna, Constantino- 
 ple, 17S5 — Berlin, 1838 ; soprano ; 
 Beethoven wrote the role of " Fide- 
 lio " for her. 
 
 Mildner (melt'-ner), Moritz, Turnitz, 
 Bohemia, 1812 — Prague, 1865 ; vln.- 
 teacher. 
 
 Mililotti (me-le-16t -te), (i) Leopoldo, 
 b. Ravenna, Aug. 6, 1835 ; studied 
 at Rome and lives there as singing- 
 teacher ; pub. songs and writes. His 
 brother (2) Giuseppe, 1833 — 1883, 
 prod. 2 operettas. 
 Millard', Harrison, b. Boston, Mass., 
 Nov. 27, 1830; studied in Italy; 
 tenor concert-singer ; toured Great 
 Britain ; lived in New York from 1856, 
 as singer and teacher ; c. an opera, 
 grand mass; and many pop. songs, 
 incl. " Waiting." 
 
 Miller, Edw., Norwich, 1735 — Don- 
 caster, 1807 ; organist, composer, and 
 writer. 
 
 Milleville (mll-le-vil'-le), (i) Fran., b. 
 Ferrara, ca. 1565 ; conductor and 
 composer ; son and pupil of (2) Ales- 
 sandro M., organist, and composer 
 to the Ducal Court. 
 
 Millico, Giuseppe, b. Modena, 1739; 
 male soprano, and dram, composer. 
 
 Millocker (mll'-lek-er), K., b. Vienna, 
 March 29, 1842 ; pupil of the Cons.; 
 1S64, th.-cond. at Graz ; 1866, Har- 
 monie-Th., in Vienna ; from 1869, 
 Th. an der Wien ; c. many graceful 
 and succ. operettas, and comic op- 
 eras, incl. 2 prod, at 23, " Der 
 todte Gast" and " Diepeiden Binder " 
 (Pesth, 1865); " Das veriuiinschene 
 Schloss " (1878), with songs in Upper 
 Austrian dialect ; the widely pop. 
 ''Der Bettelstudent" (Dec. 6, 1881 ; 
 in Italian as " // Giiitarrera" in 
 English " The Beggar Student ") ; 
 " Die siehen Schwaben " (1887, in 
 Engl. "The 7 Swabians"); "Der 
 arme Jonathan" (1890, in Engl. 
 "Poor Jonathan"); ''Das Sonn- 
 tagskind" (1892); " Nordlicht" 
 (1S97) ; c. also pf.-pcs. 
 
 Mills, (i) Sebastian Bach, Cirences- 
 ter, England, March i, 1838 — Wies- 
 baden, Dec. 21, 1898 ; organist ; pf.- 
 teacher. New York. (2) Watkin, b. 
 Painswich, Engl., ca. 1861 ; oratorio 
 and concert basso cantante, range 
 E&-/' (v. PITCH, D.D.) ; pupil of Ed- 
 win Holland at the R. A. M., and of 
 F. Blasco, Milan ; of Sir J. Barnby, 
 Randegger, and Blume ; debut. Crys- 
 tal Palace, 1SS4 ; in America, 1894- 
 95- 
 
 Milon (me-16h). Vide trial. 
 
 Milton, J., d. 1646(7?); father of the 
 English poet ; a scrivener in London, 
 and an excellent musician and com- 
 poser. 
 
 Mingotti (men-got'-H), Regina (nee 
 Valentini) ; b. Naples, 1728 ; so- 
 prano. 
 
 Minoja (me-no'-ya), Ambrosio, Ospe- 
 daletto, 1752 — Milan, 1825 ; singing- 
 teacher and composer. 
 
 Mirande (me-rahd), Hippolyte, b. 
 Lyons, May 4, 1862 ; pupil of Du- 
 
636 
 
 THE MUSICAL GUIDE 
 
 bois and Guiraud, Paris Cons.; 1886- 
 90, prof. Geneva Cons.; iSgo, Sec- 
 Gen. Gr. Th., Lyons, and prof, of 
 mus. histor}', Lyons Cons.; critic ; 
 organist at the synagogue ; c. v. succ. 
 ballet, " Une Fete Di7-ectoire" (Ly- 
 ons, 1895); overtures, ^' Jiodogune" 
 ' ' Frithjof, " " Macbeth,'" ' ' Fromif- 
 the'e" and " La mart de Roland," etc. 
 
 Mirus (me'-roos), b. Klagenfurt, 1856; 
 studied in Italy ; barytone and com- 
 poser ; since 1891, lives in Vienna. 
 
 Miry (me'-re), Karel, Ghent, 1823 — 
 1SS9 ; professor and dram, composer. 
 
 Missa (mis' - sa), Edmond Jean 
 Louis, b. Rheims, June 12, 1861 ; 
 pupil of Massenet, Paris Cons. ; won 
 Prix Cressent ; lives in Paris, as 
 teacher ; c. an op. -com., ''Jtige et 
 Fat-lie" (Op.-Com., 1886), followed 
 by others, also pantomimes, revieus, 
 Ninon deLenclos, lyric episode (1895), 
 etc. 
 
 Mitterwurzer (mlt' - tSr - voor - tser), 
 Anton, Sterzing, Tyrol, 18 18 — Dob- 
 ling, near Vienna, 1S72 ; barj'tone. 
 
 Mizler (mlts -ler), Lorenz Chp. (en- 
 nobled as M. von Kolof ), Heiden- 
 heim, Wlirtemberg, 171 1 — Warsaw, 
 1778 ; writer, editor and composer. 
 
 MIynarski (m'le-nar'-shkl), Emil, b. 
 Poland, 1850; violinist; dir. opera, 
 Warsaw. 
 
 Modernus (mo-der'-noos). Jacobus 
 (rightly Jacque Moderne ; called 
 Grand Jacques, or J. M. de Pin- 
 g^ento, because of his stoutness) ; 
 cond. at Notre Dame, Lyons ; pub. 
 and composer. 1732-58. 
 
 Moffat,. Alfred E., b. Edinburgh, 
 Dec. 4, 1866 ; pupil of L. Bussler, 
 Berlin ; c. cantatas. 
 
 Mohr (mor), Hn., Nieustadt, 1830 — 
 Philadelphia, 1S96 ; composer. 
 
 Mohring (ma'-rlng), Fd., Alt-Ruppin, 
 1S16 — Wiesbaden, 1SS7 ; organist, 
 teacher, and dram, composer. 
 
 Moir, Frank Lewis, b. Market Har- 
 borough, Engl., April 22, 1852 ; 
 studied painting at S. Kensington, 
 also mus. ; won scholarship Nat . 
 Training Sch. (1876) ; c. a comic 
 
 opera, church - services, madrigal 
 " When at Chloes Eyes I Gaze" 
 (Madr. Soc. prize, 1881), many pop. 
 songs, etc. 
 
 Mol, de. Vide demol. 
 
 Molique (mol-ek), Wm. Bd., Ntirn- 
 berg, Oct. 7, 1802 — Cannstadt, May 
 10, 1869 ; eminent violinist ; son and 
 pupil of a town-musician ; studied 
 with Rovelli on royal stipend ; 1820, 
 successor of R. as leader of Munich 
 orch.; studied with Spohr ; 1826, 
 " Musik-direktor " at Stuttgart; 1S49- 
 66, London ; also toured with great 
 succ; c. an oratorio. 6 famous vln.- 
 concertos, etc. 
 
 Mollenhauer (mol'-len-how-^r), three 
 brothers, b. at Erfurt, (i) Fr., 1818— 
 1901; violinist and composer. (2) H., 
 1825 ; 'cellist. (3) Ed., April 12 
 1827; violinist; pupil of Ernst, and of 
 Spohr; 1853, New York, founded a 
 vln.-sch. ; one of the originators of 
 the " Conservatory System " in 
 America ; c. 2 operas ; 3 symphonies, 
 incl. the '' Fassion" string-quartets, 
 vln.-pcs., etc. (4) Emil, b. Brook-i 
 lyn, U. S. A., 1855 ; son of (i) ; vio-' 
 linist at 9, then with Boston Symph. 
 Orch., now cond. Boston Handel 
 and Haydn Societies. 
 
 Moller (or Moller) (mol'-lgr, or mel- 
 ler), Joachim. Vide burgk. 
 
 Molloy', Jas. Lyman, b. Comolore, 
 Ireland, 1837 ; c. operettas ; pub. 
 Irish melodies with new accompani- 
 ments and c. pop. songs. 
 
 Moraigny (rao-men'-ye), Jerome Jos. 
 de, Philippeville, 1762 — ? ; organist, 
 theorist and dram, composer. 
 
 Momolet'to. Vide .-vlbertini, >r. 
 
 Monasterio (m6-nas-ta'-rl-6), Gesii 
 b. Botes, Spain, March 21, 1836 
 violinist ; debut at 9, then pupil o; 
 De Beriot, Brussels Cons.; made y 
 succ. tours ; 1861 founded Quarte 
 Soc, Madrid; ct.-vioHnist, prof., anc- 
 (1894) dir. Madrid Cons.; c. pop 
 vln.-pcs. 
 
 Monbelli (mon-bel'-le), Marie, b 
 Cadiz, Eeb. 13, 1843 ; soprano ; pu 
 pil of Mme. Garcia, Paris. 
 
 i 
 
DICTIONARY OF MUSICIANS 637 
 
 Mondonville (moii-don-ve'-yfl), J. 
 Jos. Cassanea de (de M. being his 
 wife's maiden name), Narbonne, 
 171 1 — Belleville, near Paris, 1772 ; 
 violinist, conductor and dram, com- 
 poser. 
 
 Moniuszko (mo-nl-oosh'-ko), Stanis- 
 law, Ubiel, Lithuania, May 5, 1813 
 — Warsaw, June 4, 1872 ; pupil of 
 Freyer and Jiungenhagen ; 1. Berlin, 
 then at Wifria ; c. 15 notable Polish 
 operas, also masses, songs, etc.; or- 
 ganist, director, professor. Biogr. by 
 A. Walicki (Warsaw, 1S73). 
 
 Monk, (i) Edwin G., b. Frome, 
 Engl., December 13, 1819; pupil of 
 G. A. Macfarren ; Mus. Doc. Oxon, 
 1856; 1S59-83, organist York Minster; 
 ed. choral books, etc.; c. 2 odes, 
 
 • unison service, etc. (2) Wm. H., 
 London, 1823 — Stoke Newington, 
 London, 1889 ; organist, professor of 
 vocal mus.; editor. 
 
 Monpou (moh-poo) (Fran. L.) Hip., 
 Paris, 1S04 — Orleans, 1841 ; c. of 
 light operas and songs. 
 
 Monro', H., b. Lincoln, 1774 ; Engl, 
 organist and composer. 
 
 Monsigny (moh-sen-ye), P. Alex., 
 Fauquembergue, near St.-Omer, Oct. 
 17, 1729 — Paris, Jan. 14, 1817 ; ill- 
 trained but melodious French comic 
 opera writer of noble birth but left 
 poor on his father's death ; became a 
 clerk, later steward to the Duke of 
 Orleans ; he had studied the vln. as 
 a child and now studied harm, for 5 
 months with Gianotti ; at 30 prod. 
 a succ. i-act op., followed by 12 
 others, the last, " Felix, oit V enfant 
 irotivJ" {iT]-;), the greatest succ. of 
 all ; immediately m., ceased to write; 
 his stewardship and his royalties had 
 brought him riches, which the Revo- 
 lution swept away ; he was gi\en a 
 pension of 2,400 francs ($480) a 
 year by the Op. Com.; 1800-02, in- 
 spector at the Cons. ; 18 13, member 
 01 the Acad.; 18 16, Legion of Hon- 
 our. Biogr. by Alexandre (i8ig), 
 and Hedouin, 1820. 
 
 Montaubry (mofi-to-bre), Achille F., 
 Niorte, Nov. 12, 1816 — Angers, 1898; 
 tenor. 
 
 Monte (mon'-te), Filippo (or Philip- 
 pus de) (Philippe de Mons) (dii- 
 mohs), probably at Mons (or Ma- 
 lines), 1521 — Vienna, July 4, 1603; 
 conductor and celebrated composer. 
 
 Mont Eclair (moh-ta-kiar), Michel 
 Pignolet de, Chaumont, 1666 — 
 Saint - Denis, n. Paris, Sept., 1737 ; 
 double-bass player ; dram, composer 
 and writer of methods. 
 
 Monteverde (mon-ta-ver'-de) (he 
 signed his name, Monteverdi), Clau- 
 dio (Giov. A.), Cremona (bapt.. 
 May 15), 1567 — Venice, Nov. 29, 
 1643 ; eminent composer ; when 
 young, via. -player in the orch of Duke 
 Gonzaga, Mantua, and studied cpt. 
 with Ingegneri. At 17 and at 20 
 pub. Canzonette a 3, and madrigals, 
 in which appeared (among many un- 
 intentional or unbeautiful effects) the 
 harmonic innovations for which he is 
 famous and which led Rockstro to 
 call him " not only the greatest mu- 
 sician of his own age, but' the in- 
 ventor of a system of harmony which 
 has remained in uninterrupted use to 
 the present day." His progressions 
 include the unprepared entrance of 
 dissonances, the dominant seventh 
 and the ninth (v. D. D., CHORD, pro- 
 gression, SUSPENSION, PREPARA- 
 TION, etc.). He was bitterly assailed 
 in pamphlets, particularly by Artuso, 
 and he replied in kind. The outcome 
 was his complete triumph and the es- 
 tablishment of the new school of 
 song and accompaniment. His vic- 
 tory, while salutary for art in general 
 and dramatic song in particular, was 
 too complete ; for the bigoted defend- 
 ers of polyphonic music dragged 
 down with them in their ruin the 
 splendid edifice of church-mus. built 
 to perfection by Palestrir.a and 
 others. 1603, M. became his teach- 
 er's successor as Maestro to the 
 Duke and c. for the wedding of the 
 Duke's son to Margherita of Savoy 
 
638 
 
 THE MUSICAL GUIDE 
 
 the opera." Aria fifie," in which Ari- 
 adne's erief moved the audience to 
 tears. In 160S he prod, his opera 
 " Orfco " with the unheard-of orches- 
 tra of 36 pieces (Riemann states that 
 " Arja/me" was the 2d work and 
 Orfeo the first). Orfeo was pubHshed 
 in 1609 and in 1615, and the score 
 shows g^reat modernity, Rockstro 
 comparing its preludes with one bass- 
 note sustained throughout to the In- 
 troduction to "Das Rheitigold" and 
 its continual recitative also to that of 
 Wagner. 
 
 In 160S appeared his mythological 
 spectacle " Ballo deile Itigrate.''' 
 Vespers and motets (pub. 1610) gave 
 him such fame that he was in 1613 
 made Maestro di Cappella at San 
 Marco, Venice, at the unprecedented 
 salary of 300 ducats (the usual salary 
 had been 200), but it was raised to 
 500 in 1616, and a house and travel- 
 ling expenses given him. 1621, his 
 very romantic Requiem was given with 
 effect. In 1624, he introduced the 
 theii startling novelty of an instru- 
 mental tremolo (which the musicians 
 at first refused to play) into his 
 Dramatic Interlude; " // Combat- 
 timento di Tancredi e Cloriyida "/ 
 1627 he c. 5 dramatic episodes incl. 
 " Bradamante " and " Dido" for the 
 court at Parma ; 1630, opera " Pro- 
 serpiiie Rapita "; in 1637 in the first 
 opera-house opened at Venice, the 
 Teatro di S. Cassiano, operas having 
 hitherto been performed at the pal- 
 aces of the nobility (v. peri), M. 
 prod, the operas " Adone" (Venice, 
 1639) ; " Le Nozze di Eneta con La- 
 vinia " (1641), " // RHorno di Ulisse 
 in Patria " (1641), and " L' Incorona- 
 zione di Poppea " (1642). He earned 
 the title of " the father of the art of 
 instrumentation" ; was the most pop- 
 ular and influential composer of his 
 time. 
 
 In 1663 he joined the priesthood 
 and is heard of no more. C. masses, 
 psalms, hymns, magnificats, motets, 
 madrigals, etc. 
 
 Monticelli (mon-tl-chel'-le), Angelo 
 Maria, Milan, 1710 — Dresden, 1764, 
 soprano musico. 
 
 Montigny-Remaury (ni6h-ten-ye-ra- 
 mo-re), Caroline, b. Pamiers, Jan.21, 
 1843 ; sister and pupil of Mnie. Ani- 
 broise Thomas ; studied at the Cons, 
 and took 3 prizes ; one of the best 
 French pianists of her time ; 1S66, ni. 
 Leon M., a journalist. 
 
 Moore, (i) Thos., Dublif, 1779 — "ear 
 Devizes, 1S52 ; famous poet ; pianist 
 and singer. (2) Homer, b. America ; 
 teacher at St. Louis, Mo.; prod, 
 there 1902, opera " T/w Puritans." 
 
 Moorehead, J., b. Ireland — d. 1S04 , 
 composer. 
 
 Mooser (m5'-zer), Aloys, Fribourg, 
 1770 — 1829; Swiss org. -builder. 
 
 Morales (m6-ral -as) (Cristotero), 
 Cristofano, b. Sevilla ; entered the 
 Papal chapel ca. 1540; emment 
 Spanish contrapuntist and composer. 
 
 Moralt (mo'-riilt), the name of four 
 brothers famous at Munich as a quar- '■ 
 tet. (i) Jos., Schwetzingen, neai 
 Mannheim, 1775 — Munich, 1828 ; j£ 
 1st violinist. (2) Jn. Bpt., Mann- I 
 heim, 1777 — Munich, 1S25 ; 2d vio- a 
 linist ; composer. (3) Philipp, Mu- 
 nich, 1780 — 1829 ; 'cellist. (4) G., 
 Munich, 1781 — 18 18 ; via. -player. 
 
 Moran-Olden (rightly F. Tappen- 
 horn) (mo'-ran-6l -den), Fanny, b. 
 Oldenburg, Sept. 28, 1855 ; pupil of 
 Haas and Gotze ; debut as " Fanny 
 Olden" at the Gewandhaus, 1877; 
 1878, leading sopr., Frankfort ; 18S8- 
 89, New Vork ; ni. in 1879 the tenor' 
 K. Moran ; 1897, m. Bertram, ct.- 
 singer at Munich. 
 
 Morel (mo-rel), Auguste Fran., Mar- 
 seilles, 1809 — Paris, 1881; dir. of the 
 Marseilles Cons, and dram, compos- 
 er. 
 
 Morelli (mo-rel'-le), (i) Giacomo, 
 Venice, 1745 — 1819; librarian, San' 
 Marco. (2) Giov., Italian bass, in 
 London, 1787. 
 
 Morelot (ni6r-16), Stephen, b. Dijon, 
 Jan. 12, 1820 , from 1845, co-ed. 
 " Revue de la Miisique " ; 1847, seni 
 
 [ 
 
DICTIONARY OF MUSICIANS 639 
 
 by the ^Ministry of Pub. Instruction 
 to study church-mus. in Italy ; wrote 
 a woriv on plain-chant, an attempt to 
 revive ancient harmonisation, etc. 
 
 Morret'ti, Giov., Naples, 1807 — Ceg- 
 lie, near Naples, 1884 ; cond. and 
 dram, composer. 
 
 Morgan, (i) G. Washbourne, Glou- 
 cester, Engl. , 1S22 — Tacoma, U. S. 
 A., 1892 ; organist and conductor. 
 (2) J. Paul, Oberlin, Ohio, 1841 — 
 Oakland, Cal., 1879; organist and 
 composer. 
 
 Mori (m5'-re), (i) Nicolas, London, 
 1793 — 1839 ; violinist. (2) Frank, 
 d. Aug., 1873 ; son of above; com- 
 poser. 
 
 Moriani (m5-rl-a'-ne). Napoleon, 
 Florence, 1806 — 1878 ; tenor. 
 
 Morichelli (mo-rT-kel'-le), Anna Bo- 
 sello, Reggio, 1760 ; violinist ; after 
 1794, opera-singer. 
 
 Morja, pen-name of Moriz Jaffe 
 (q. v.). 
 
 Morlacchi (mor-Iak'-ke), Fran., Peru- 
 gia, June 14, 1784 — Innsbruck, Oct. 
 28, 1841; pupil of Zingarelli, Padre 
 Martini, etc., from 1810 cond. of Ital- 
 ian opera, Dresden ; c. many succ. 
 operas, also church-music, incl. Tuba 
 Mirum, inspired by Michelangelo's 
 ^^ Last Z'udginent"; biog. by Count 
 Rossi-Scotti (1870). 
 
 Mor'ley, (i) Thos., i5s7 — 1604; pu- 
 
 . pil of Byrd ; 1588, Mus. Bac, O.x- 
 ford ; 1592, Gentleman of the Chapel 
 Royal ; also Epistler and Gospeller ; 
 c. the only contemporary Shakespear- 
 ean song extant, " // IVas a Lover 
 and His Lass" from ".4 j You Like 
 Ll" pub. 1600 in one of his very 
 numerous colls. ; he wrote the first 
 P2nglish treatise on mus. (1597) still 
 valuable, and ed. (1599) a curious 
 treatise on ensemble playing ; some of 
 his madrigals and melodious ballets 
 are still heard. (2) Wm., d. 1731 ; 
 Mus. Bac. Oxford, 1713 ; 1715, Gent, 
 of the Chapel Royal ; c. one of the ear- 
 liest known double-chants, songs, etc. 
 Morn ington, Garret Colley Welles- 
 ley, Earl of ; Dangan, Ireland, 1735 
 
 — 1 781; father of the Duke of Wel- 
 lington ; prof, of music at Dublin U. 
 and composer. 
 
 Morse, Chas. H., b. Bradford, Mass., 
 Jan. 5, 1853 ; 1873, graduate New 
 Engl. Cons.; studied with Perabo, 
 and Baermann, 1879; 1873, teacher N. 
 E. Cons.; 1875-84, Mus. Dir. Wel- 
 lesley Coll.; from 1891, organist 
 Plymouth Church, Brooklyn ; pub. 
 collections of organ-pieces and com- 
 posed. 
 
 Mortier de Fontaine (mort-ya dii 
 foh-ten), H. Louis Stanislas, Wis- 
 niewiec, Russia, 18 16 — London, 
 1883 ; pianist. 
 
 Mortimer, Peter, Putenham, Surrey, 
 1750— Dresden, 1828 ; a Moravian 
 brother ; writer. 
 
 Mosca (mos'-kii), (i) Giuseppe, Na- 
 ples, 1772 — Messina, 1839 ; conduc- 
 tor and dram, composer. (2) Luigi, 
 Naples, 1775 — 1824 ; bro. of above ; 
 prof, of singing. 
 
 Moscheles (mo'-she-les), Ignaz, 
 Prague, May 30, 1794 — Leipzig, 
 March 10, 1870; son of a Jewish mer- 
 chant ; at 10 pupil of Dionys Weber, 
 Prague Cons.; at 14 played publicly 
 a concerto of his own ; studied with 
 Albrechtsberger and Salieri while 
 earning his living as a pianist and 
 teacher ; at 20 was chosen to prepare 
 the pf. -score of "Fidelia" under 
 Beethoven's supervision ; as a pianist 
 a succ. rival of Hummel and Meyer- 
 beer ; he could not comprehend or 
 play Chopin or Liszt, but had large 
 influence on subsequent technic ; 
 after tours, he lived in London 1821— 
 46, when Mendelssohn, who had 
 been his pupil, persuaded him to join 
 the newly founded Leipzig Cons., of 
 which he became one of the pillars ; 
 c. 8 pf. -concertos, incl. '' fantas- 
 tiqtie" '' pathtftiqiie" and ''pastor' 
 al" ; ''Sonata" and "Senate sym- 
 phonique" for pf. 4 hands, and 
 " Sonate caracteristique" " Sonate 
 iiielancoliqne" and many standard 
 studies ; biog. (1872) by his wife 
 Charlotte (nee Embden). 
 
640 
 
 THE MUSICAL GUIDE 
 
 Mosel (mo'-zSl), Ignaz Fz., Edler 
 von, Vienna, 1772 — 1844; conduc- 
 tor, writer and dram, composer. 
 
 Mosenthal (mo'-zen-tal), Jos., Cassel, 
 Nov. 30, 1834 — New York, Jan. 6, 
 1896 ; from 1867, cond. Mendelssohn 
 Glee Club, New York, also violinist, 
 organist and composer. 
 
 Moser (mo'-zer), (i) K., Berlin, 1774 — 
 185 1 ; violinist and conductor. (2) 
 Aug., Berlin, 1825 — (while touring 
 America) 1859 I so'^ ^f above ; com- 
 poser and violinist. 
 
 Mosewius (m6-za -vl-oos), Jn. Th., 
 Kcinigsberg, 178S — Schaffhausen, 
 185S ; opera-singer and writer. 
 
 Mosonyi (rightly Michael Brandt), 
 Boldog-Aszony, Hungary, 1814 — 
 Pesth, 1870 ; pf. -teacher and com- 
 poser. 
 
 Mos'sel, Jan., b. Rotterdam, April 22, 
 1870 ; 'cellist ; pupil of Kohler and 
 Eberle ; i836 toured ; since 1888 lives 
 in Amsterdam as soloist and teacher 
 in the Cons. 
 
 Moszkwa (moshk'-va). Prince de la 
 (Jos. Napoleon Ney), Paris, 1803 
 — St. Germain-eu-Laye, 1857 ; eldest 
 son of Marshal Ney ; a senator. Brig- 
 adier Gen. under Napoleon III., also 
 a finished musician ; cond. and dram, 
 composer. 
 
 Moszkowski (mosh-kof'-shkl), (i) 
 Moritz, b. Breslau, Aug. 23, 1854; 
 son of a wealthy Polish gentleman; 
 pupil of Dresden Cons., Stern and 
 Kullak Cons.; teacher Stern Cons, for 
 years ; later debut with succ. as pi- 
 anist, Berlin, 1873 ; until 1S97 Ber- 
 lin then Paris, as a composer, prod, 
 succ, opera, " Boabdil der Maiiren- 
 konig" (Berlin, 1882); symph. poem 
 ''Jeanne d'Arc " / " Phantastischer 
 Zug" for orch. ; 2 orchestral suites and 
 a vln. -concerto ; c. many pop. pf.- 
 pcs., incl. " Ahs. alien Herren Liin- 
 der" and " Spanische Tdnze." (2) 
 Alex., b. Pilica, Poland, Jan. 15, 
 185 1 ; bro. of above ; critic, editor 
 and writer at Berlin. 
 
 Mottl (mot'-'l), (i) Felix, b. Unter-St. 
 Veit, near Vienna, Aug. 24, 1856 ; 
 
 prominent conductor ; as a boy-so- 
 prano, entered Lowenberg " Kon- 
 vikt," then studied at the Vienna 
 Cons., graduating with high honours ; 
 cond. the Academical Wagnerverein 
 for some time; 1S80, ct.-cond. at; 
 Carlsruhe, also, until 1892, cond. 1 
 Philh. Concerts; 1893 the Grand | 
 Duke app. him Gen. Mus. Dir. ; 1886,! 
 cond. -in-chief, Bayreuth ; invited to 
 be ct.-cond. but he declined ; 1898; 
 declined a similar call to Munich ;j 
 gives succ. concerts London and; 
 Paris ; 1892, he m. (2) Henriettel 
 Standhartner (b. Vienna, Dec. 6,. 
 1866, now ct. opera singer at Weimar 
 and Carlsruhe). He c. succ. operas, 
 " Agnes Bernaner " (Weimar, 1880); 
 and the i-act '' Fiii-st und Sanger" 
 (Carlsruhe, 1893), prod, also a " Fest- 
 spiel," '' Eberstein" songs, etc. 
 
 Moun'sey, (i) Ann Shephard, b.; 
 London, 181 1 ; composer, teacher, 
 and organist. (2) Elizabeth, b. Lon- 
 don, 1819; organist, pianist, guitar- 
 player and composer. 
 
 Mount-Edg'cumbe, Richard, Earl 
 of, 1764 — Richmond, Surrey, 1S39: 
 wrote ''Reminiscences of an Am- 
 atenr'" ; c. opera " Zenobia." 
 
 Mouret (moo-ra), J. Jos., Avignon, 
 1682 — insane asylum, Charenton, 
 1738 ; conductor and composer. 
 
 Moussorgsky. Vide mussorgski. 
 
 Mouton (moo-ton) (Jean de Hollin- 
 gue (fM-lang) (called " Mouton ")) 
 Holling(?), near Metz — St. Wuentin 
 Oct. 30, 1522 ; important contrapun- 
 tist. 
 
 Mouzin (moo-zSn), P. Nicolas (callec 
 ^douard), b. Metz, July 13, 1822 
 studied at Metz branch of the Pari; 
 Cons. ; 1842, teacher there, 1854 
 dir.; 1S71, teacher at the Paris Cons, 
 writer; c. 2 operas, symphs. , etc. 
 
 Mozart (mo'-tsart) (originally Mot- 
 zert), (i) (Jn. G.) Ld., Augsburg' 
 1719 — Salzburg, 1787; father of W 
 A. M.; dram composer. (2) (Maria 
 Anna (called " Nannerl "), Salz 
 burg, 1751 — 1829; daughter and pa 
 pil of above ; pianist ; c. org. pes. 
 
 I 
 
DICTIONARY OF MUSICIANS 641 
 
 (3) Wolfgang Amadeus (bap- 
 tised Jns. Chrysostomus Wolf- 
 gangus Theophilus), Salzburg, 
 Jan. 27, 1756 — Vienna, Dec. 5, 1791 ; 
 son of (i), and bro. of (2) ; one of 
 the major divinities of music. Of un- 
 rivalled precocity in performance, 
 composition, and acoustic sensitive- 
 ness ; at 3 his talent and his discov- 
 ery of thirds (v. d.d.), led his father 
 to teach him. He began at once to 
 compose little minuets which his fath- 
 er and later he himself noted down. 
 He and his sister made a joint debut 
 at Munich, when he was barely 6, 
 though he had appeared as a per- 
 former 4 months before in a comedy 
 at the Univ. at Salzburg. He ap- 
 peared the same year in Vienna, fas- 
 cinating the court. He now learned 
 the vln. and org. without instruction. 
 At 7 he was in Paris, where his lirst 
 works were pub., " // Senates poui- le 
 clavecin." The next year he was in 
 London, delighting royalty, winning 
 the honest praise of musicians and 
 coming victoriously out of remark- 
 able tests of his ability as sight-read- 
 er and improviser. During his fath- 
 er's illness, while silence was required, 
 he c. his first symph. Here his 6 
 sonatas for vln. and harps, were 
 pub. and his first symph. performed 
 frequently. He won the friendship 
 of J. Chr. Bach, and was given sing- 
 ing lessons by Manzuoli. Before 
 leaving England he wrote a motet to 
 English words in commemoration of 
 a visit to the British Museum. The 
 family stopped at various cities on 
 the way home, the children playing 
 at courts with constant succ, a con- 
 cert being given at Amsterdam in 
 1766, at which all the instrumental 
 music was M.'s. At Biberuch he 
 competed as organist without result 
 against a boy 2 years older, Sixtus 
 Bachmann. Returning to Salzburg, 
 in 1766, M, was set to studying Fux, 
 etc. 1767 he c. an oratorio, 1768, an 
 opera. " Za Finta Semplice" at the 
 Emperor's request. Its production 
 
 41 
 
 was postponed by the now jealous 
 musicians till 1769. Meanwhile a 
 German opera "' Bastien und Basti- 
 enne " had been performed, and M. 
 made his debut as cond. in 176S ((^ged 
 12), with his solemn mass. The Arch- 
 bishop made him Konzertmeister, 
 with salary, but his father wished him 
 to enjoy study in Italy. His concerts 
 were sensations, the Pope gave him 
 the order of the Golden Spur (also 
 given to Gluck), and at his father's 
 iaehest he signed a few compositions 
 by his new title Signor Cavaliere 
 Amadeo, but soon dropped this. 
 After tests he was elected a member 
 of the Accademia F'ilarnionica of Bo- 
 logna. At 14 he gave a concert at 
 Mantua in which according to the 
 programme he promises to play "a 
 Symphony of his own composition ; 
 a Clavichord-concerto, which will be 
 handed to him, and which he will im- 
 mediately play at sight ; a Sonata 
 handed him in like manner, which he 
 will provide with variations, and after- 
 wards repeat in another key ; an 
 Aria, the words for which will be 
 handed to him, and which he will im- 
 mediately set to music and sing him- 
 self, accompanying himself on the 
 clavichord ; a Sonata for clavi- 
 chord on a subject given him by the 
 leader of the violins ; a Strict Fugue 
 on a theme to be selected, which he 
 will improvise on the clavichord ; a 
 trio, in which he will execute a violin- 
 part a//' improvviso ; and finally, the 
 latest Symphony composed by him- 
 self." In Rome, after twice hearing 
 AUegri's famous '' H/isercre" long 
 kept secret, he correctly wrote out the 
 entire score from memory. At Milan 
 he prod. 3-act opera seria " Miiridaie, 
 re di Pontc " (1770), which had 20 con- 
 secutive performances under his di- 
 rection. 1 77 1, he brought out a 
 dramatic serenade, '' Ascanio in 
 Alba,'' for the wedding of Archduke 
 Ferdinand. 1772 his friendly protec- 
 tor, the Archbishop of Salzburg, died ; 
 his successor, Hieronjmous, Count of 
 
642 
 
 THE MUSICAL GUIDE 
 
 Colloredo, treated M. with the great- 
 est inappreciation, compelling him to 
 sit with the servants (though M. was 
 frequently entertained at the houses 
 of the nobility with great distinction); 
 and when M. demanded his discharge 
 in 1781, he had him kicked out by a 
 servant. It was for his installation 
 that M. had c. the dramatic "// 
 Sogno di Scipione" (1775), '' Litcio 
 Silla" {1-J12), and " Za Fiiita Giar- 
 diniera" prod, at Milan, under his 
 own direction. 1775 ; later " // Re 
 Fastore" at Salzburg during Arch- 
 duke Maximilian's visit. 177S he went 
 with his mother to I'aris, where he 
 won little attention in the struggle 
 between Gluck and Piccini. At length 
 after his mother's death he returned 
 to Salzburg as Konzertmeister, and 
 ct. -organist ; but settled in Vienna, 
 after prod, the opera '" Idomeneo" 
 (Munich, Jan., 1781). On commis- 
 sion for the Emperor he wrote {"Bel- 
 vionte iind Constance, oder) Die Ent- 
 fuhrung aus dem Serail" prod, with 
 great succ, despite the machinations 
 of the theatrical clique, 17S2 ; a 
 month later he ra. Constance Weber 
 (the sister of Aloysia, whom he had 
 loved in Mannheim). She bore him 
 six children, four sons and two daugh- 
 ters. The small receipts for compo- 
 sitions and concerts were quickly 
 spent 0:1 hi.xuries beyond their means, 
 and as neither was a good manager 
 of resources, many hardships fol- 
 lowed. .\fter two unfinished operas 
 he prod, a mus. comedy, '' Der 
 Schauspieldirector " (Schonbrunn, 
 1786). May I, ia Vienna, his opera 
 buffa " Le Nozze di Figaro " (" Mar- 
 riage of Figaro ") was rescued from 
 intrigues into a very great succ. The 
 then famous librettist Da Ponte next 
 wrote the book for " Djn (iiovanni" 
 (Don Juan), which made a very great 
 succ. at Prague (1787), and led the 
 Emperor to appoint M. "chamber 
 composer," at 800 gulden ($400) a year 
 (Gluck, just deceased, had 2,000 guld- 
 en). 1789 he accompanied Prince Karl 
 
 Lichnowski to Berlin, playing for the 
 Dresden court, and at the Thomas- 
 kirche, Leipzig. King Er. Wm. II., 
 hearing him at Potsdam, offered him 
 the post of 1st Royal cond. with 
 3,000 thaler ($2,250) a year, but 
 M. would not abandon his "good 
 Kaiser ;" still Fr. Wm. II. ordered 
 three quartets, for which he paid well. 
 Hearing this, the Emperor ordered 
 the opera buffa "■Cost fan Futie" 
 (Vienna, 1790). Soon after its produc- 
 tion the Emperor died ; his successor 
 Ld. II. cared little for M., leaving [ 
 him in greatest hardship. His de- : 
 voted friend Jos. Haydn now went to j 
 London. M. made a tour, pawning 
 his plate to pay the expenses. For 
 the coronation of Leopold II., as 
 King of Bohemia, at Prague, he was 
 invited to write the festival opera 
 " Zrt! Clenienza di Fito" performed 
 1791. He returned to Vienna and c. 
 ' Die Zanberjlote" ("Magic Flute," 
 Vienna, Sept. 30, 1791), a work in 
 which are e.xploited the allegories ot 
 the Masonry of which M. was a mem- 
 ber. It made a decided succ. He 
 was, however, growing weaker and 
 suffering from fainting fits, claiming 
 that he had been poisoned. A mys- 
 terious stranger had commissioned 
 him to write a requiem, and M. be- 
 gan it with a superstitious dread that 
 the messenger had come from the i 
 other world to announce his death. 1 
 It has since been learned that he was ; 
 Leutgeb, the steward of Count von i 
 Walscgg, who gave the work out as j 
 his own, not, however, destroying the ! 
 MS. The work was not quite com- i 
 pleted by Mozart, who had his pupil I 
 Sussmaycr fill out the incomplete ! 
 portions, Mozart died of malignant; 
 typhus. A violent rain-storm coming 
 up in the midst of the funeral, the party 
 turned back leaving the body to be, 
 interred in some spot, never after dis- 
 covered, in the ground allotted tc 
 paupers in the St. Mary cemetery. 
 The profits of a Mus. Festival given 
 by the Frankfort " Liederkranz "' 
 
 
DICTIONARY OF MUSICIANS 643 
 
 June 25, 1S38, were devoted to found- 
 ing a Mozart Scholarship, the interest 
 amounting in 1S96 to 1500 marks, 
 applied quadrennially to the aid of 
 talented young composers of limited 
 means. At ^^Izhurg the A/ozar/eia/i, 
 a. municipal musical institute founded 
 in his memory, consists of an orch. soc. 
 pledged to perform his church-music 
 in the 14 churches of the town, to 
 give 12 concerts yearly, and to sus- 
 tain amus.-sch. in which the musicians 
 of the orch. give instruction. 
 
 A complete ed. of M.'s works pub. 
 by Breitkopf e\: Hartel (1876-86), con- 
 tains much church-mus. inc. 15 masses, 
 cantatas '' Davidde penitente" (ma- 
 sonic), '' Alaurerfrende" and '' Kleine 
 Freimatirrercantate," etc. ; stage- 
 works, besides those mentioned, " Die 
 Schiddigkeit dcs crsten Gclwts" (only 
 partially his own), " Apollo et Ilyacin- 
 thiis" (Latin comedy with mus.) ; 
 "' Zai'dc'" (unfinished); '' Thamos, 
 A'd)iig in Aegyptcn" (choruses and 
 entr'actes ; Berlin, 1786) ; " Ido- 
 tiieiico, re di Crcta, ossia Ilia ed Ida- 
 7>tante." Orch. Works: 4isymph.; 
 2 symph. movements ; 31 diverti- 
 menti, serenades, and cassations ; 9 
 marches; 25 dances, '" Masonic Fu- 
 neral-Music " ; ''A Musicaljest " for 
 string-orch. and 2 horns ; a sonata 
 
 for bassoon and 'cello ; phantasie for 
 Glockenspiel ; andante for barrel-or- 
 gan, etc.; 6 vln. -concertos, bassoon- 
 concerto, a concerto for flute and 
 harp, 2 flute-concertos, horn-concer- 
 tos, a clarinet-concerto, 25 pf. -con- 
 certos, a double concerto for 2 pfs., a 
 triple concert for 3 pfs. Chambkr- 
 Music : 7 string-quintets ; 26 string- 
 quartets ; " Nachtmusik " for string- 
 quintet ; 42 vln. -sonatas, etc. Pf.- 
 Music : for 4 hands ; 5 sonatas, and 
 an andante with variations ; for 2 
 pfs., a fugue, and a sonata ; 17 solo 
 sonatas ; a fantasie and fugue ; 3 
 fantasias ; 36 cadenzas to pf. -con- 
 certos ; rondos, etc.; 17 organ sona- 
 tas, etc. Vocal Music : 27 arias, and 
 I rondo for sopr. with orch.; German 
 war-song ; a comic duet ; 34 songs , 
 a song with chorus and org. ; a 3-part 
 chorus with org. ; a comic terzet with 
 pf.; 20 canons. 
 
 The best of many biographies 
 is by Otto Jahn (1S56-59, 4 vol- 
 umes in English, London, 1S82), 
 etc. 
 
 His letters have aJso been published 
 and translated in two volumes. One 
 of his two overtures was found at the 
 Paris Cons. 1901. Six unpublished 
 sonatas were found in Buckingham 
 Palace, 1902. 
 
 Mozart. 
 
 By Vernon Blackburn. 
 
 JOHN CHRYSOSTOM WOLFGANG AMADEUS MOZART, 
 the son of a tolerably good musician, by name Leopold, from his ear- 
 liest years displayed the most extraordinary sense of musical precocity. 
 At the age of three years he was able to pick out harmonies on the 
 harpsichord ; by the time he was seven, he had already burdened his young 
 soul with the responsibility of various compositions which are more interesting 
 than such compositions might be expected to be. The darling of courts in his 
 childhood (for his father took him early on his travels for purposes of exhibi- 
 tion as a musical prodigy), the intensely industrious youth, the creator of a 
 dramatic art in music, separate and by itself in the world, the greatest master 
 
644 THE MUSICAL GUIDE 
 
 of melody that this earth has ever seen, the writer of innumerable symphonies, 
 innumerable songs, innumerable sonatas, the possessor of a musical memory 
 such as had never been conferred on the son of man before, he was the brill- 
 iant artist of high spirits, the man who lived life to the very last drop of the 
 glass, ^yin a word, a genius, in art and in living, of the highest flower. He 
 went down to his grave before he was forty years of age^ buried no man 
 knows where, deserted of friends, deserted even in his last journey to the 
 Vienna cemetery by his wife ; abjectly poor, with not a soul to weep for 
 him, not a soul to care what became of these sacred relics. Here was, in- 
 deed, a combination of glory and the darkest tragedy which can scarcely be 
 found outside the Attic drama. ^Yet, from the critical point of view, it can 
 scarcely be said that Mozart was in any sense a revolutionary ; he was the 
 glorious link which combined the music of the last century with the music of 
 this. The strictest formalist, the impeccable master of counterpoint, the 
 respecter in every way of traditions, you can see him, as it were, on the 
 tiptoe of the future, bearing on his brilliant soul, and bearing it lightly, all the 
 burdens of the past. ^But it is as a writer of opera that his fame is. like to last 
 longest, for it is here that he brought the brilliant qualities of the consummate 
 musician to combine with the scarcely less brilliant qualities of the dramatist. 
 Many men who might have written music equally noteworthy could not have 
 touched the dramatic significance of it. *'Doti Giovanni,^'' that glory of our 
 blood and state, "L^ Noxze di Figaro,''^ "Cost Fan Tutte,''^ "Die Zauber- 
 fiote,^'' these remain as noble a testimony of his great genius in the musico- 
 dramatic world as the centuries are likely to bring forth. Then consider the 
 G minor symphony — so different in qualitv from the quality of Beethoven at 
 his best, and therefore not comparable to the great nine, but in its way the 
 very flower of musical genius. Then again, such work as he brought into 
 the Requiem declares him to be, as a master of the emotions, of supernatural 
 terror, unsurpassed ; I wou d almost say unsurpassable. In a word, here 
 was the golden child of music, adding to the simplicity of his childishness the 
 complex wisdom of the serpent. ^Poor Mozart ! Yet, who is ordinary man 
 that he should say *'poor" of such an immortal creature? Poor ac. it seems 
 to us, yet it is not likely that he would have given up one golden moment ot 
 his glorious inspiration in exchange for the comforts of a Sultan. He was an 
 artist, every inch of him. 
 
 (4) Wolfgang Amadeus, Vien- Muck (mock), K., b. Darmstadt, Oct. 
 
 na, July 26, 1791 — Carlsbad, July 22,1859; Dr. Philh., Leipzig; pupil of 
 
 30, 1844; son of above; pianist, Leipzig Cons., cond. at various cities ; 
 
 teacher and composer of pf.-concer- since 1892, ct.-cond. Royal Op., Ber- 
 
 tos, sonatas, etc. lin. . 
 
 _L 
 
DICTIONARY OF MUSICIANS 645 
 
 Mu'die, Thos. Molleson, Chelsea, 
 1809 — London, 1876 ; teacher, or- 
 ganist and composer. 
 
 Muffat (moof'-fat), (i) G., b. Passau, 
 1704 ; organist, conductor and com- 
 poser. (2) Aug. Gl., 1683 — Vienna, 
 1770 ; son of above ; organist and 
 composer. 
 
 Muhldorfer (mlll'-dgrf-er), (i) Wm., 
 1S03 — Mannheim, 1897 ; ct. -inspector 
 of theatres, Mannheim. (2)Wm. K., 
 b. Graz, Styria, March 6, 1837 ; son 
 of above ; studied at Linz-on-Dan- 
 ube and Mannheim; actor; 1855, th.- 
 cond., Ulm ; 1867-S1, 2d cond. at 
 Cologne ; c. 4 operas, incl. success- 
 ful '■'■ lolanthe" (Cologne, 1S90), over- 
 tures, etc. 
 
 Muhlfeld (miil'-felt), Richard, b. 
 Salzungen, Feb. 28, 1856 ; clarinet- 
 tist for whom Brahms c. a trio and 
 
 * sonata ; studied with Buchner at 
 Meiningen, where he lived since 1873, 
 also 1875-96, 1st clarinet at Baj-- 
 reuth. 
 
 Miihling (mil'-llng), Aug., Raguhne, 
 1786 — Magdeburg, 1847; organist 
 and composer. 
 
 Miihlberger-Leisinger (ll'-zlng-gr), 
 Elizabeth, b. Stuttgart, May 17, 
 1863 ; colorature-soprano ; studied 
 with Viardot-Garcia : debut, R. op- 
 era, Berlin ; sang in Paris, 1887. 
 
 Miiller (mul'-ler), (i) Chr., org.-builder 
 at Amsterdam, ca. 1720-70. (2) 
 Wm. Chr., Wassungen, Meiningen, 
 1752 — Bremen, 1S31; mus. director 
 and writer. (3) Aug, Eberhard, 
 Nordheim, Hanover, 1767 — Weimar, 
 1817; son and pupil of an organist ; 
 organist, ct. -conductor and dram, 
 composer. (4) Wenzel, Tyrnau, 
 Moravia, 1767 — Baden, near Vienna, 
 1835 ; conductor and composer of 
 200 operas. (5) Fr., Orlamunde, 
 1786— Rudolstadt. 1871; clarinettist, 
 conductor and composer, (6) Ivan 
 (I wan), Reval, 1786 — Buckeburg, 
 1854 ; inv. of the clarinet with 13 
 keys, and altclarinet ; finally ct.-mus. 
 (7) Peter, Kesselstadt ; Hanau, 1791 
 — Langen, 1877; c. operas, and id^- 
 
 moMS '' Jiigc-ndliedtr" eic. (8) Two 
 famous German quartet parties, (a) 
 The bros. K. Fr. (1797— 1873), 
 Th. H. Gus. (1799— [855), Aug. 
 Th. (1802 — 1875), and Fz. Fd. 
 G. (1808— 1855), sons of (9) Aegi- 
 dius Chp. M. (d. 184 1, Hofmus. 
 to Duke of Brunswick), all b. Bruns- 
 wick, and in the orch. there — K. 
 as Konzertmeister, Th. ist 'cello, 
 Gv. symph. -director, and G. con- 
 ductor, (b) The four sons of the 
 Karl Fr. above, who organised 1S55 
 a ct. -quartet. Hugo, 2d vln. (1832 
 — 1SS6); Bd., b. Feb. 24, 1825, 
 viola ; Wm., b. June i, 1834, 'cello; 
 Karl, jr., b. April 14, 1829, ist vln. 
 Since 1823 this last lives in Stutt- 
 gart and Hamburg; m. Elvina Berg- 
 haus and took name Miiller-Berg- 
 haus, under which he has c. a symph., 
 etc. (10) (Rightly Schmidt) Ad. 
 Sr., Tolna, Hungary, 1801 — Vienna, 
 1S86 ; singer, conductor and dram, 
 composer. (ri) Ad., Jr., Vienna 
 1839 — 1901, son of above; 1875, 
 cond. German opera at Rotterdam;- 
 prod. 4 operas and 5 operettas, inel. 
 the succ. " Der Blondin von N^amur" 
 (Vienna, 1898). (12) Jns., Coblenz, 
 1801— Berlin, 1858 ; writer. (13) 
 Fz. K. Fr., Weimar, 1806— 1S76 ; 
 one of the first to recognise Wagner ; 
 pub. treatises on his work. (14) 
 Aug., 1810— 1S67, eminent double- 
 bass. (15) K., Weissensee. near 
 Erfurt, 1S18— Frankfort, 1894; con- 
 ductor and composer. (16) Bd., 
 Sonneberg, 1824 — Meiningen, 1883 ; 
 cantor. (17) K. Chr., b. Saxe- 
 Meiningen, July 3, 1831; pupil of 
 F. W. and H. Pfeiffer (pf. and org.), 
 Andreas ZoUner (comp.) 1854, New 
 York; since 1879, prof, of harm. N. 
 Y. Coll. of Mus.; translator, etc. 
 (t8) Richard, b. Leipzig, Feb. 25, 
 1830 ; pupil of Zollner, Hauptmann 
 and Reitz ; until 1893, cond. 
 "Arion," then the " Hellas," and the 
 " Liedertafel ; " teacher singing, Ni- 
 kolai Gvmnasium ; c. motets, etc. 
 (19) Jos'., 1839— Berlin, 1880 ; writer. 
 
646 
 
 THE MUSICAL GUIDE 
 
 (20) Wm., b. Hanover, Feb. 4, 
 1845 ; tenor at the ct. -opera, Berlin. 
 
 (21) Hans, Cologne, 1854— Berlin, 
 1S97; prof, and writer. (22) Gus- 
 tav. Vide brah-muller. 
 
 Muller-Hartung, K. (Wm.), b. Sui- 
 za, May 19, 1834 ; pupil of Kuhm- 
 stedt, Eisenach ; mus.-dir. and teach- 
 er at the Seminary; 1864, prof.; 
 1869, opera-cond. Weimar; 1872, 
 founder and dir. Or. Ducal " Or- 
 chester-und-Musikschule ; " wrote a 
 system of music theory (vol. i. ^' Har- 
 vionielchre" appeared in 1879); com- 
 poser. 
 
 Miiller-Reuter (roi-t^r), Theodor, 
 b. Dresden, Sept. i, 1858 ; pupil of 
 Fr. and Alwin Wieck (pf.) ; J. Otto 
 and Meinardus (comp.) ; and the 
 Hoch Cons., Frankfort; 1S79-87, 
 teacher Strassburg Cons.; 1887, 
 cond. at Dresden; 1892, teacher in 
 the Cons.; c. 2 operas, Paternoster, 
 with orch ; ' ' Hackelberend 'j Funeral" 
 for chorus and orchestra (1902), 
 etc. 
 
 Muiler von der Werra (rightly Fr. 
 Konrad Miiller), Ummerstadt, 
 Meiningen, 1S23 — Leipzig, 1S81 ; 
 popular poet and ed., founded 
 " Deutscher Sangerbund." 
 
 Miinchhoff (mlnsh'-hof), Mary, b. 
 Omaha, U.S.A.; colorature soprano ; 
 studied in Germany 1897 ; sang in 
 Austria, etc.; 1902, U.S.A. 
 
 Munck, de. Vide demunck. 
 
 Munzinger (moonts'-tng-^r), Edgar, 
 
 b. Olten, Switz., Aug. 3, 1847; stud- 
 ied Leipzig Cons, and with Kiel and 
 Ehrlich, Berlin, where he is pf. -teach- 
 er, and 1893-98 dir. Eickelberg Cons. ; 
 
 c. 3 symphonies: No. i " /« de7- 
 Nacht" No. 3 " Nero" an opera, 2 
 symphonic poems, etc. 
 
 Muris (dCi mii-res), Jns. de (or de 
 Meurs) (dii miirs), eminent theorist ; 
 wrote treatise " Sptciilum Musicae" 
 (probably ca. 1325) (Coussemaker). 
 
 Murschhauser (moorsh'-how-a^r), Fz. 
 X. Anton, Zabern, near Strassburg, 
 ca. 1670 — Munich, 1724 ; conductor 
 and theorist. 
 
 Murska (moor'-shka), lima di, Croa- 
 tia, 1836 — Munich, Jan. 16, 1889 ; 
 famous dramatic soprano, with re- 
 markable compass of nearly 3 octaves. 
 
 Musard (mii-zar), (i) Philippe, Paris, 
 1793 — 1859 ; c. pop. dances. (2) 
 Alfred, 1828 — 1881 ; orch. -cond., 
 and composer ; son of above. 
 
 Musin (moo-zen), Bonaventura. 
 
 Vide FURl.ANETTO. 
 
 Musin (mii-zan), Ovide, b. Nandrin, 
 n. Liege, Sept. 22, 1854 ; violinist ; 
 pupil of Liege Cons.; at 11 took ist 
 vln. -prize ; studied then at Paris 
 Cons.; at 14 won the gold medal for 
 solo and quartet playing ; taught a 
 year at the Cons, then toured Europe 
 with great succ; later organised a 
 concert-troupe and toured America, 
 then the world ; 1897, returned to 
 Liege as vln. -teacher at the Cons.; 
 1898, vln. -professor. 
 
 Musiol (moo'-zl-5l), Robt. Paul Jn., 
 b. Breslau, Jan. 14, 1846; from 1873- 
 91 teacher and cantor at Rohrsdorf, 
 Posen ; pub. mus. le.xicons ; c. part- 
 songs, etc. 
 
 Mussorgski (moos-sorg'-shkl). Mo- 
 dest Petrovitch, Toropetz, Russia, 
 March 28, 1839 — St. Petersburg, 
 March 28, 1881 ; army officer, then 
 pupil of Balakirev; c. operas, '"Boris 
 Godunoff" (ImT^.O^era., 'it. P., 1874), 
 " Chovanstchina " (1893) ; c. pf.- 
 pcs., etc. 
 
 Mustel (mus-tel), Victor, b. Havre, 
 1815 ; mfr. and improver of the har- 
 monium. 
 
 Muzio (moo'-tsT-6), Emanuele, b. 
 Zibello, near Parma, Aug. 25, 1825 ; 
 pupil of Provesi and Verdi, and (for 
 pf.) of Verdi's first wife. Margherita 
 Barezzi ; 1852, cond. It. Opera, 
 Brussels; later, London, New Vork 
 (Acad, of Mus.) ; 1875 noted singing 
 teacher, Paris ; c. 4 operas, etc. 
 
 Myrzwinski (mersh-vln'-shkl), ; 
 
 tenor in Paris. 
 
 Mysliweczek (me-sle'-va-chek), Jos. 
 (called " II Boemo," or " Venatori- 
 ni"), near Prague, March 9, 1737 — 
 Rome, Feb. 4, 1781 ; prod, about 30 
 
DICTIONARY OF MUSICIANS 647 
 
 pop. operas in Italy; c. syniphs., pf.- 
 sonatas praised by Mozart, etc. 
 
 N 
 
 Naaff (naf), Anton E. Aug., b. Wei- 
 
 tentrebelitzsch, Bohemia, Nov. 28, 
 1850; mus. editor and poet at Vi- 
 enna. 
 
 Nachbaur (nakh'-bowr), Fz., Schloss 
 Giessen, near Friedrichshafen, March 
 25, 1835 — Munich, March 21, 1902 ; 
 pupil of Pischek ; sang at theatres in 
 Prague and other cities ; 1S66-90, 
 " Kammersanger," Munich. 
 
 Nachez (na'-ches) (Tivadar (Theo- 
 dor) Naschitz (na'-shlts)), b. Pesth, 
 May I, 1S59 ; vln. -virtuoso ; pupil of 
 Sabatil, Joachim and Leonard ; 
 toured the continent ; lived in Paris 
 and (1889) London; c. 2 concertos for 
 vln., 2 Hungarian Rhapsodies, requi- 
 em mass, with orch., etc. 
 
 Nadaud(na-d6), Gv., Roubaix, France, 
 Feb. 20, 1820 — Paris, 1893 ; cele- 
 brated poet, composer of chansons ; 
 also c. 3 operettas. 
 
 Nadermann (na'-der-man), Francois 
 Jos., Paris, 1773— 1835 ; harpist, 
 teacher and composer. (2) H., b. 
 1780 ; bro. of above and his asst.- 
 harpist in the King's music, and asst.- 
 professor. 
 
 Nagel (na -gel), (i) Julius, Gotha, 
 1837 — St. Petersburg, 1892 ; 'cellist, 
 teacher and composer. (2) Dr. Wil- 
 libald, German writer ; pub. " Ge- 
 schichte der Alusik in England" 
 (1897). 
 
 Nageli (na'-gel-e), Jn. Hans G., 
 Wetzikon, near ZUrich, 1773 — 1836; 
 mus. -publisher, writer and composer. 
 
 Nagiller (na'-gtl - ler), Matthaus, 
 Miinster, Tyrol, 1815 — Innsbrtick, 
 1874; conductor and dram, composer. 
 
 Naldi (nal'-de), (i) Giuseppe, Bologna, 
 1770 — Paris, ca. 1820 ; actor, singer, 
 pianist, 'cellist and composer. (2) 
 
 daughter of above singer ; 
 
 •iebut, 18 19 ; retired, 1824 ; m. Conte 
 ii Sparre. 
 
 Nal'son, Rev. Valentine, d. 1722 ; 
 
 Engl, composer. 
 Nanini (na-ne'-ne) (incorrectly Nani- 
 no), (i) Giov. M., Vallerano, Italy, 
 ca. 1540 — Rome, March 11, 1607 ; 
 noted Italian composer ; pupil of 
 Goudimel ; cond. at Vallerano, 
 1571-75, at Santa Maria Maggiore, 
 Rome (vice Palestrina); 1575 founded 
 a pub. mus.-sch. in which Palestrina 
 was one of the teachers ; 1577- papal 
 singer ; 1604 cond. Sistine Chapel ; 
 his 6-part motet '' Ilodie nobis calo- 
 rmn rex " is still sung there every 
 Christmas morning. (2) Giov. Ber- 
 nardino, Vallerano, ca. 1560 — Rome, 
 1624; younger bro. (Riemann says 
 nephew) and pupil of above ; con- 
 ductor and notable composer. 
 Nantier - Didi^e (naht-ya ded-ya), 
 Constance Betsy R., He de la Re- 
 union, 1S31 — Madrid, 1867 ; v. succ. 
 mezzo-soprano. 
 Napoleon, Arthur, b. Oporto, March 
 6, 1843; pianist and cond.; at g 
 made a sensation at the courts of 
 Lisbon, London (1852), and Berlin 
 1854), then studied with Halle, at 
 Manchester ; toured Europe, and N. 
 and S. America. 1868 (1871 ?) settled 
 in Rio de Janeiro as mus. -seller, etc. 
 Napravnik (Ndprawnik), (na-praf- 
 nek) Eduard, b. Bejst, near Konig- 
 gratz, Aug. 24, 1839 ; pupil Prague 
 Org.-Sch. ; from 1856 teacher Maydl 
 Inst, for Mus., Prague; 1861, cond. 
 to Prince Yussupoff at St. Peters- 
 burg ; then organist and 2nd cond. 
 Russian Opera ; from 1869 ist cond.; 
 1870-82, cond. the Mus. Soc; c. 4 
 operas, incl. the succ. '' Dubroffsky' 
 (St. P., 1895); symph. poem " 'J'/ii 
 Demon" overtures, incl. " Vlasta " 
 (1861), etc. 
 Nardini (nar-de'-ne), Pietro, Fibiana, 
 Tuscany, 1722 — Florence, May 7, 
 1793 ; noted violinist ; pupil of Tar- 
 tini ; ct. -musician at Stuttgart and 
 Florence ; composer. 
 Nares (narz), Jas., Stanwell, Middle- 
 sex, 1715— London, Feb. 10, 1783; 
 organist and composer. 
 
648 
 
 THE MUSICAL GUIDE 
 
 Naret-Koning (nii'-ret-ko-nlng), Jn. 
 Jos. D., b. Amsterdam, Feb. 25, 
 183S ; violinist ; pupil of David, 
 Leipzig: from 1878 leader City Th., 
 Frankfort ; pub. songs, etc. 
 
 Nasolini (na-s6-le'-ne), Sebastiano, 
 Piacenza, ca. 1768 — (?); prod. 30 
 operas in Italy. 
 
 Natale (na-ta'-le), Pompeo, choir- 
 singer and composer at S. Maria 
 Maggiore, Rome, 1662. 
 
 Nathan, Isaac, Canterbury, 1792 — 
 Sydney, Australia, 1S64 ; writer. 
 
 Natorp (nii'-torp), Bd. Chr. L., 
 Werden-on-Ruhr, Nov. 12, 1774 — 
 Munster, Feb. S, 1846 ; reformer of 
 church and sch.-mus. ; writer. 
 
 Nau (na'-oo), Mana Dolores Bene- 
 dicta Josefina, b. of Spanish par- 
 ents, New York, March 18, 1818 ; 
 soprano ; pupil of Mme. Damoreau- 
 Cinti, Paris Cons., taking ist prize in 
 1834 ; debut at the Opera, 1S36 ; 
 sang minor roles there 6 years, etc. ; 
 1844-48 and 1851-53, leading roles, 
 singing in other cities ; retired, 1856. 
 
 Naubert (now'-bert), Fr. Aug., 
 Schkeuditz, Saxony, 1839 — Neubran- 
 denburg, 1897 ; organist and singing- 
 teacher. 
 
 Naudin (na -oo-den), Emilio, b. Par- 
 ma, Oct. 23, 1823 ; tenor ; pupil of 
 Panizza, Milan ; debut, Cremona. 
 Meyerbeer in his will requested him 
 to create the role of " Vasco " in 
 " L Africaine" (1865), which he did. 
 
 Naue (now'-e), Jn. Fr., Halle, 1787 — 
 1 868 ; organist and composer. 
 
 Nauenburg (now'-en-boorkh), Gv., b. 
 Halle, May 20, 1803 ; barytone and 
 singing-teacher ; writer and com- 
 poser. 
 
 Naumann (now'-man), (i) Jn. Gl. 
 (Italianised as Giov. Amadeo), 
 Blasevvitz, near Dresden, .-Vpril 17, 
 1741 — Dresden, Oct. 23, iSoi; pupil 
 of Tartini and Padre Martini ; 1764, 
 ct.-cond., Dresden; 1776, cond.; 
 prod. 23 operas and excellent church- 
 music. (2) Emil, Berlin, Sept. 8, 
 1827 — Dresden, June 23, 188S ; 
 grandson of above ; court church 
 
 mus.-dir., Berlin ; c. an opera, a fa- 
 mous oratorio " Christiis der Frie- 
 dcnsbote " ; pub. many valuable trea- 
 tises. (3) K. Ernst, b. Freiberg, 
 Saxony, Aug. 15, 1832 ; grandson of 
 (i), studied with Hauptmann,Richter, 
 Wenzel and Langer, Leipzig (1850), 
 Dr. Philh. at the Univ., 1S58 ; stud- 
 ied with Joh. Schneider (org.) in 
 Dresden ; mus.-dir. and organist, 
 Jena ; prof., 1877; pub. many valu- 
 able revisions of classical works, for 
 the Bach-Gesellschaft ; c. the first so- 
 nata for via., much chamber-mus.,etc. 
 
 Nava (na'-va), (i) Ant. Maria, Italy, 
 1775 — 1826; teacher and composer 
 for guitar. (2) Gaetano, Milan, 
 1802 — 1875 ; son and pupil of above ; 
 prof, at the Cons, and composer. 
 
 Naval (na-val), Fz., b. Laibach, Aus- 
 tria, Oct. 20, 1865 ; tenor at Vienna ; 
 pupil of Gansbacher. 
 
 Nawratil (na-vra'-tel), K., b. Vienna, 
 Oct. 7, 1836; pupil of Nottebohm 
 (cpt.) ; excellent teacher ; pub. Psalm 
 XXX with orch., an overture, cham- 
 ber mus., etc. 
 
 Nay'lor, (i) J., b. Stanningly, near 
 Leeds, 1838 — at sea, 1897 ; organist 
 and composer. (2) Sidney, Lon- 
 don, 1S41 — 1893 ; organist. ' 
 
 Neate (net), Chas., London, 1784 — 
 Brighton, 1877 ; pianist, 'cellist and 
 composer. 
 
 Nebe (na'-be), Karl, bass ; pupil of 
 Jahn at Wiesbaden ; 1890, at Carls- 
 ruhe ; sang " Alberich" and " Beck- 
 messer " at Bayreuth and London ; 
 1900, Berlin. 
 
 Ned'bal, Oscar, b. Tabor, Bohemia, 
 March 25, 1874; via. -player in the 
 " Bohemian " string-quartet ; studied 
 Prague Cons. (comp. with Dvorak) ; 
 c. a scherzo-caprice for orch., etc. 
 
 Neeb (nap), H., Lich, Upper Hesse, 
 1807 — Frankfort, 1878 ; conductor 
 and dram, composer. 
 
 Needier, H., London, 1685 — 1760; 
 pianist, violinist and composer. 
 
 Neefe (na'-fe). Chr. Gl., Chemnitz, 
 1748 — Dessau, 1798 ; mus. -director 
 and conductor. 
 
DICTIONARY OF MUSICIANS 649 
 
 Nef (naf), (Dr.) K., Swiss writer; pub. 
 a treatise on the amateur musical as- 
 sociations of the 17th and iSth cen- 
 turies. 
 
 Neff, Fritz, notable composer, lives at 
 Munich; c. "Chorus of the Dead" 
 with orch. (1902), etc. 
 
 Nehrlich (nar-likh), Chr. Gf., Ruh- 
 land, Upper Lusatia, 1802 — Berlin, 
 1868 ; teacher and writer. 
 
 Neidhardt (nit-hart), Jif. G., d. Ko- 
 nigsberg, 1739; writer. 
 
 Neidlinger (nlt'-lIng-Sr), Wm. Ha- 
 rold, b. Brooklyn, N. Y., July 20, 
 1863 ; pupil of Dudley Buck and 
 Miiller ; teacher of singing in Paris, 
 then Chicago; c. a mass, etc., pop. 
 songs and valuable books of mus. 
 for children. 
 
 Neithardt (nlt'-hiirt), Aug. H,, 
 Schleiz, 1793 — Berlin, 1861; oboist, 
 teacher of singing, conductor and 
 dram, composer. 
 
 Neitzel (nit'-tsel), Otto, b. Falken- 
 burg, Pomerania, July 6, 1852 ; pu- 
 pil of Kullak's Acad. , Berlin ; Dr. 
 Philh., 1875, at the Univ.; toured as 
 pianist; 1879-81, teacher Moscow 
 Cons.; then Cologne Cons.; since 
 1887, also critic ; prod. 3 operas : 
 " Angela " (Halle, 18S7), text and mu- 
 sic of, ''Dido" (Weimar, 1888) and 
 '' Der Alte Dessauer" (Wiesbaden, 
 1889). 
 
 Nel'li, Romilda, b. Italy, i882(?) ; 
 colorature and operatic soprano ; pu- 
 pil of Galletti. 
 
 Nen'na, Pomponio, b. Bari, Naples ; 
 pub. madrigals, 1585 — 1631. 
 
 Neri (na'-re), Filippo, Florence, July 
 21, 1515 — Rome, May 26, 1595 ; 
 preacher in the oratory (It. oratorio) 
 of San Girolamo. From the music c. 
 for illustrations by Animuccia and 
 Palestrina arose the term "oratorio." 
 
 Neruda (na-roo'-da), (r) Jakob, d. 
 1732 ; violinist. (2) Jn. Chrysos- 
 tom, Rossiez, 1705 — 1763; violinist; 
 son of above. (3) Jn. Baptist G., 
 Dresden, 1707 — 1780; composer, son 
 of Jakob. (4) (Normann-Neruda) 
 (or Lady Hall 6) Wilma Maria 
 
 Fran., b. BrUnn, March 29, 1839; 
 noted violinist (daughter of (5) Josef, 
 an organist) ; she studied with Jansa ; 
 at 7 played in public at Vienna with 
 her sister (6) Amalie (a pianist) ; 
 then toured Germany with her 
 father, sister and bro. (7) Fz. (a 'cel- 
 list) ; 1864, in Paris, she m. L. Nor- 
 mann ; since 1869 has played annu- 
 ally in London ; she m. Halle (q.v.), 
 1888, and toured Australia with him, 
 1890-91; 1899, America. 
 
 Ness'ler, Victor E., Baldenheim, Al- 
 satia, Jan. 28, 1841 — Strassburg, May 
 28, 1S90 ; studied with Th. Stern at 
 Strassburg ; 1864, prod. succ. opera, 
 '' Fleiirelte" ; studied in Leipzig, be- 
 came cond. of the " Sangerkreis " 
 and chorusm. City Th., where he 
 prod, with general succ. 4 operettas 
 and 4 operas, incl. two still pop. '' Der 
 Rattenfdnger von Havteln" (1879), 
 '' Der Trompeter von Scikkiiigcn" 
 (1884) ; c. also " Der Bhuncn Rache," 
 ballade, with orch.; pop. and comic 
 songs, etc. 
 
 Nesvad'ba, Jos., Vyskef, Bohemia, 
 1824 — Darmstadt, 1876 ; conductor 
 and dram, composer. 
 
 Nesvera (nesh-va'-rii), Jos., b. Pros- 
 koles, Bohemia, Oct. 24, 1842 ; now 
 cond. Olmfitz Cath. ; c. succ. opera 
 '' Perdita" (Prague, 1897); masses, 
 De Profundis, with orch., etc. 
 
 Netzer (net'-tser), Jos., Imst. Tyrol, 
 1808 — Graz, 1864; teacher, con- 
 ductor and dram, composer. 
 
 Neubauer (na'-oo-bow-er), Fz. Chr., 
 Horzin, Bohemia, 1760 — Buckeburg, 
 1795 ; violinist, conductor and com- 
 poser. 
 
 Neuendorff (noi'-en-dorf), Ad., Ham- 
 burg, June 13, 1843 — New York, 
 Dec. 4, 1897 ; at 12 taken to Ameri- 
 ca ; pianist, concert-violinist, promi, 
 nent conductor and composer of comic 
 operas. 
 
 Neukomm (noi'-kom), Sigismund, 
 Ritter von, Salzburg, 1778 — Paris, 
 1858 ; organist, conductor and com, 
 poser. 
 
 Neumann (noi'-man), Angelo, b. Vi- 
 
650 
 
 THE MUSICAL GUIDE 
 
 enna, Aug. 18, 1838 ; studied sing- 
 ing witli Stilke-Sessi, debut as lyric 
 tenor, 1859 ; 1862-76, Vienna ct.- 
 opera ; 1876-S2, Leipzig opera; as 
 manager of a travelling company 
 prod. Wagner operas ; 1882-85, man- 
 ager Bremen opera ; then German 
 opera, Prague. 
 Neumark (noi'-mark), G., Langensalza, 
 
 1621 — Weimar, 16S1 ; composer. 
 Neusiedler (noi -zet-ler) (or Newsid- 
 ler), (i) Hans, b. Pressburg, Niirn- 
 berg, 1563 ; lute-maker. (2) (or 
 Neysidler) Melchior, d. Numberg, 
 1590 ; lutenist and composer at Augs- 
 burg ; 2 books of lute mus. (Venice, 
 1566), etc. 
 Nevada (ne-va -da) (riglitly Wixon), 
 Emma, b. Austen, Nevada, U. S.A., 
 1862 ; eminent colorature-soprano ; 
 pupil of Marchesi in Vienna ; debut 
 London, 1880; sang in various Italian 
 cities; 1883 and 1S98 Paris, Op.- 
 Com. ; 1885 sang Opera Festival 
 Chicago, and again in i88g ; 1898, 
 Op.-Com., Paris; 1885 m. Dr. Ray- 
 mond Palmer; sang " Mignon " a 
 whole year in Paris; 1900 America. 
 Nevin (nev'-tn), (i) Ethelbert (Wood- 
 bridge), Edgeworth, Penn. , Nov. 
 25, 1862 — New Haven, Conn., Feb. 
 17, 1901 ; prominent American com- 
 poser ; pupil of von der Heide and 
 E. GUnther (pf.) at Pittsburg; of 
 von Bohme (voice), at Dresden, 1877- 
 78 ; of Pearce (N. Y.), B. J. Lang 
 and Stephen A. Emery (Boston) ; 
 von Billow, Klindworth, and K. Bial, 
 Berlin ; lived in Florence, Venice, 
 Paris, and New York as teacher and 
 composer ; after igoo at Sewickley, 
 near Pittsburg, Pa.; c. a pf. -suite ; 
 song-cycles "In Arcady," and a 
 posthumous " The Quest of Heart's 
 Desire " ; highly artistic piano pieces 
 and many song albums of well-de- 
 served popularity. His songs are 
 genuinely lyrical, with an exuberance 
 of musical passion, and accompani- 
 ments full of colour, individuality and 
 novelty. (2) Arthur, b. Sewickley, 
 Pa., 187 1 ; bro. of above ; from 1891 
 
 studied Boston, then at Berlin witl 
 Boise and Klindworth ; lives in Ne\ 
 York ; c. songs, etc. 
 
 Newman, Ernest, b. Liverpool, Nov 
 30, 1868 ; prominent critic ; studiec 
 for the Indian Civil Service, but hi 
 health broke down from over-study [ 
 engaged in business in Liverpoc' 
 where he has since lived ; in iSS* 
 wrote " Gluck and the Opera", whicl 
 was published in 1S95 ; "^ Study o_ 
 Wagner" 1899. Has contributed nu, 
 merous scholarly essays on musici: 
 and other topics to various magazine; 
 
 Newsidler, Neysidler. Vide nei 
 
 SIEDLER. 
 
 Ney. Vide moszkva. 
 
 Niccold de Malta, Vide isquard. 
 
 Nichelmann (n!kh'-el-man), Chp 
 Treuenbrietzen, Brandenburg, 171 
 — Berlin, 1762 ; cembalist and write 
 
 Nicholl (nlk'-61), Horace Wadhan 
 b. Tipton, near Birmingham, Engl 
 March 17, 1848 ; notable contempt 
 rary contrapuntist ; son and pupil ( 
 a musician John N.; studied wit 
 Samuel Prince ; 1867-70 organist ; 
 Dudley ; 1S71 organist at Pittsburj 
 Pa., U. S. A.; 1878 editor New Yorl 
 1888-95 prof, at Farmington, Conn 
 contributed to various periodical; 
 pub. a book on harmony ; his mo 
 notable compositions are his 12 syr 
 phonic preludes and fugues for orga- 
 displaying his remarkable contrapu: 
 tal ability (i in quadruple cpt., i 
 triple, 4 in double) ; he c. also 
 suite for full orch. (op. 3) ; a cycle 
 4 oratorios with orch.; symph. poe 
 " Tartarus" ; 2 symphonies ; a ps 
 chic sketch ''Hamlet" etc. 
 
 Nicholson, Chas., Liverpool, 1795 
 London, 1837 ; flutist and compose 
 
 Nick'lass-Kempt'ner, Selma, 
 Breslau, April 2, 1849 ; noted color 
 ture soprano and teacher ; studied 
 Stern Cons.; debut, 1867; sang 
 Rotterdam 10 yrs. ; then teach 
 Vienna Cons.; 1893, Berlin ''Prof, 
 soria" 
 
 Nicode (ne'-ko-da), Jean Louis, 
 Jerczik, near Posen, Aug. 12. iSs 
 
DICTIONARY OF MUSICIANS 651 
 
 pupil of his father and the organist 
 Hartkas, and at Kullak's Acad.; Hves 
 in Berlin as a pianist and teacher,; 
 1878-85 pf. -teacher Dresden Cons.; 
 1897, cond. Leipzig " Riedel Verein"; 
 c. symph. poem ''Maria Stuart"; 
 ^' Faschitigsbilder" " Sinfonische 
 Variationen" op. 27; " Das Meer" 
 symph. ode, for full orch.; " Erbar- 
 men," hymn for alto with orch., etc. 
 
 Nicolai (ne'-k5-ll), (i) Otto, Konigs- 
 berg, June 9, 18 10 — of apoplexy, 
 Berlin, May 11, 1849 ; son and pupil 
 of a singing-teacher ; studied with 
 Zelter and Klein, later with Baini at 
 Rome, where he was organist at the 
 embassy chapel; 1837-38 theatre- 
 cond. at Vienna ; again in Rome ; 
 1841-47 ct.-cond. at Vienna and 
 founded the Phil., 1842 ; 1847 cond. 
 of the opera and cath. -choir, Berlin; 
 prod. 5 V. succ. operas, incl. " // 
 Templario" {TviXXVi, 1840; known in 
 Germany as '■'■ Der T^'w/ZtT," based 
 on Scott's '"Ivanhoe") ; and the unct- 
 uous and still popular opera " Die 
 lustigen Weiher von Windsor" based 
 on and known in English as " The 
 Merry Wives of Windsor " (Berlin, 
 1849); he c. also a symph., etc.; biog. 
 by Mendel (Berlin, 1868) ; his diary 
 (" Tagebucher ") was pub. Leipzig, 
 1893. (2) Wm. Fr. Gerard, Ley- 
 den, Nov. 20, 1829 — The Hague, 
 April 25, 1896; professor; notable 
 conductor and composer. 
 
 Niccolini (nek-ko-le'-ne), (i) Giusep- 
 pe, Piacenza, Jan. 29, 1762 — Dec. 
 18, 1842 ; conductor and operatic 
 composer. (2) (Rightly Ernest 
 Nicholas) Tours, France, Feb. 23, 
 1834— Pau, Jan. 19, 1898 , tenor ; 
 1886 m. Adelina Patti. 
 
 Nic'olson, Richard, d. 1639 ; Engl, 
 organist. 
 
 Niecks (neks), Frederick (Friede- 
 rich), b. Diisseldorf, March 3, 1845 ; 
 lecturer, critic, etc.; pupil of Lang- 
 hans, Grtinewald, and Auer (vln.) ; 
 debut at 12 ; 1868, organist, Dum- 
 fries, Scotland, and viola-player in a 
 quartet with A. C. Mackenzie ; stud- 
 
 ied in Leipzig Univ. (1877), ^nd 
 travelled Italy; critic, London; 1891, 
 Ried Prof, of Mus. , Edinburgh Univ. ; 
 pub. notable biog. of " Frederic 
 Chopin as a Man and a Musician " 
 (1888); a ''Diet, of Mus. Terms" 
 etc. 
 
 Nieden, Zur. Vide zur nieden. 
 
 Niedermeyer (ne'-der-mi-er), Louis, 
 Nyon, Switzerland, 1802 — Paris, 
 1861 ; dramatic composer and theo- 
 rist. 
 
 Niedt (net), Fr. Erhardt, d. Copen- 
 hagen, 1717 ; writer. 
 
 Niemann (ne'-man), (i) Albert, b. 
 Erxleben, near Magdeburg, Jan. 15, 
 1831 ; 1849, without study sang in 
 minor roles at Dessau ; then studied 
 with F. Schneider, and the bar. 
 Nusch ; sang at Hanover, then stud- 
 ied with Duprez, Paris ; 1860-66, 
 dram, tenor, Hanover, since at the 
 ct. -opera, Berlin ; Wagner chose him 
 to create " TannhJiuser " (Paris, 
 1861), and " Siegmund " (Bayreuth, 
 1876) ; retired 1889. (2) Rudolf 
 (Fr.), Wesselburen, Holstein, 1838— 
 Wiesbaden, 1898 ; pianist and com- 
 poser. 
 
 Nietzsche (net'-she), Fr., Rocken, 
 near Lutzen, Oct. 15, 1844 — (insane) 
 Aug., 1900; prof, at Basel Univ. ; 
 notable, if eccentric, philosopher ; as 
 a partisan of Wagner he pub. " Die 
 Geburt der Tragodie aus don Geiste 
 der Musik" "Richard Wagjier in 
 Bayreuth" ; while "Der Fall Wag- 
 ner" and " Nietzsche contra Wag- 
 ner" attack Wagner as violently as 
 he once praised him ; his philosophi- 
 cal work " Also sprach Zarathustra " 
 provides the title of R. Strauss' 
 symph. poem. 
 
 Niggli (nlg'-gle), Arnold, b. Aarburg, 
 Switzerland, Dec. 20, 1843 ; since 
 1875 sec. to the Aarau town council; 
 writer. 
 
 Nikisch (nTk'-tsh), Arthur, b. Szent, 
 Miklos, Hungary, Oct. 12, 1855 ; 
 eminent conductor ; son of the 
 head-bookkeeper to Prince Lichten- 
 stein ; pupil of Dessoff (comp.) and 
 
652 
 
 THE MUSICAL GUIDE 
 
 Hellmesberger (vln.), Vienna Cons., 
 graduating at 19 with prizes for vln., 
 and for a string-sextet ; violinist in 
 the ct.-orch.; then 2nd cond. Leipzig 
 Th. ; 1S82-S9, ist. cond.; 18S9-93, 
 cond. Symph. Orch., Boston (tj. S. 
 A.) ; 1S93-95, dir. Royal Opera, 
 Pesth, and cond. Philh. Concerts ; 
 since 1895 cond. Gewandhaus Con- 
 certs, Leipzig (vice Reinecke), also 
 Phil, concerts, Berlin ; he conducts 
 usually without score ; 1902, dir. 
 Leipzig Cons. 
 
 Nikita (nt-ke'-ta) (stage-name of 
 Louisa Margaret Nicholson), b. 
 Philadelphia, Aug. 18, 1872 ; colora- 
 ture-soprano ; pupil of ^L Le Roy, 
 Washington ; sang in various cities, 
 with an opera-troupe, then studied 
 with Maurice Strakosch, Paris ; sang 
 in concerts with much succ; 1894, 
 prima donna soprano, Paris Opera. 
 
 Nikom'achus (called Gerasenus), b. 
 Gerasa, Syria ; Greek writer on mus., 
 2nd century, A. D. 
 
 Nilsson (nels'-s5n), Christine, b. on 
 the estate Sjoabel, near We.xio, 
 Sweden, Aug. 20, 1843 ; eminent so- 
 prano, compass 2^ octaves (g-d") ; 
 pupil of Baroness Leuhausen and 
 F. Berwald, Stockholm ; later, in 
 Paris, of Wartel ; debut, 1864, Th.- 
 Lyrique, Paris, engaged for 3 years • 
 there ; 1868-70, Opera ; toured 
 America and Europe ; 1S72, she m. 
 Auguste Rouzaud (d. 1S82) ; 1887, 
 m. Count Casa di Miranda. 
 
 Nini (ne'-ne). Ales., Fano, Romagna, 
 1805 — Bergamo, 1880; cond. and 
 dram, composer. 
 
 Nisard (ne-zar), Theodore (pen-name 
 of Abbe Theodule Eleazar X. 
 Norman), b. Quaregnon, near Mons, 
 Jan. 27, 1812 ; chorister at Cambrai ; 
 studied in Douay ; 1839, dir. En- 
 ghien Gymnasium, and 1842, 2d chef 
 de chant and organist St. -Germain, 
 Paris; then confined himself to writ- 
 ing valuable treatises on plain-chant, 
 etc. 
 
 Nissen (nls'-sen), (i) G. Nicolaus 
 von, Kardebsleben, Denmark, 1761 
 
 I 
 
 — Salzburg, March 24, 1826 ; coun 
 cillor of State ; m. the widow of Mo- |i 
 zart, 1S09, and aided her in preparing 
 his biog. (1828). (2) (Nissen-Salo- 
 man) Henriette, Gothenburg, Swe- 
 den, March 12, 1819 — Harzburg, 
 Aug. 27, 1879 ; great singer and 
 teacher ; pupil of Chopin and Ma- 
 nuel Garcia ; debut Paris, 1843; 
 1850, m. .Siegfried Saloman, from 
 1859 teacher St. Petersburg Cons. 
 (3) Erica. Vide lie. 
 
 Nivers (ne-vars), Guillaume Gabriel, j 
 Melun, 1617 — after 1701; organist,! 
 singer and composer. 
 
 Nixon, (i) H. G., Winchester, 1796 — 
 1849 ; organist and composer. (2) 
 Jas. Cassana, 1823 — 1842 ; violin- 
 ist ; son of above. (3) H. Cotter, 
 b. 1-ondon, 1842 ; organist and com- 
 poser at St. Leonard's. : 
 
 Nob (nap), Victorine. Vide stoltz.J 
 
 Nohl (nol), (K. Fr.) L., Iserlohn.j 
 1 83 1— Heidelberg, 1885 ; 1880, pro-) 
 fessor and writer ; wrote biogs. of' 
 Beethoven, Mozart, etc., and pub- 
 lished many colls, of the letters of 
 composers. 
 
 Nohr (nor), Chr. Fr., Langensalza, 
 Thuringia, 1800 — Meingen, 1875 
 violinist and dram, composer. 
 
 Norblin (nor-blih), (i) Louis Pierrt 
 Martin, Warsaw, 1781 — Chateau 
 Conantre, Marnp, 1854 ; 'cellist anci 
 professor. (2) Emile, 1821 — 1880 
 son of above ; 'cellist. 
 
 Nor dica, Lillian (stage-name o 
 Mrs. Lillian Norton (Gower 
 Doeme), b. Farmington, Me., 1859, 
 pupil of John O'Neill and of N. E 
 Cons., Boston ; concert-debut. Bos 
 ton, 1876 ; 1878, toured Europe witli 
 Gilmore's Band ; studied opera witl 
 San Giovanni, Milan ; debut a 
 Brescia, 1880; 1881, Gr. Opera 
 Paris ; 1882, m. Frederick A. Gower 
 1885, he made a balloon ascensioi, 
 and never returned ; she retired til 
 1887, then sang Covent Garden, Lon 
 don, 1893 ; since then has sung reg 
 ularly in U. S., England, etc.; 189 
 chosen to sing " Elsa" at Bayreuth 
 
 ( 
 
DICTIONARY OF MUSICIANS 653 
 
 1S96, m. Zoltan F. Doeme, Hunga- 
 rian singer. 
 
 Norman. Vide nisard. 
 
 Nor'man(n), L., Stockholm, 1831 — 
 1884 ; conductor, professor and com- 
 poser. Vide NERUDA. 
 
 Nor'ris, (i) Wm., d. ca. 1710; Eng- 
 lish composer. (2) Thos., ca. 1745- 
 1790 ; English male soprano, organist 
 and composer. (3) Homer A,, b. 
 Wayne, Maine, U. S. A.; notable 
 theorist ; studied with Marston, Hale, 
 Chadwick and Emery, Boston ; lives 
 there as teacher ; also studied 4 
 
 . years in Paris with Dubois, Godard, 
 Gi'gout and Guilmant ; c. overture 
 ^''Zoroaster" cantata ''Nain" and 
 songs; pub. "Harmony" and 
 "Counterpoint" on French basis. 
 ndwiNorth, (i) Francis, Lord Guilford, 
 Rougham. Norfolk, ca. 1640 — 1685 ; 
 siom amateur musician and writer. (2) 
 Hon. Roger, Rougham Lane, 1650 
 — 1733 ; bro. of above ; writer. 
 
 Noszkowski (nosh-kof'-shk!), Sigis- 
 mund (Zygismunt von), b. Warsaw, 
 May 2, 1846 ; pupil of Warsaw Mus. 
 Inst.; inv. a mus. -notation for the 
 blind, and was sent by the Mus. Soc. 
 
 ■ to study with Kiel and Raif, Berlin ; 
 1876. cond,; 1881, dir. of the Mus. 
 
 . Soc, Warsaw, and (1888) prof, at the 
 Cons.; prod. succ. opera '' Livia" 
 (Lemberg, 1898) ; c. symph., over- 
 ture ''Das Meerauge" etc. 
 
 Noszler (nosh'-l^r), K. Eduard, b. 
 Reichenbach, Saxony, March 26, 
 1S63 ; pupil of Leipzig Cons.; 1888- 
 93, organist Frauenkirche, Bremen ; 
 since 1887. cond. Male Choral Union; 
 also (since 1893) organist Bremen 
 Cath., and since 1896, cond. Neue 
 Singakademie ; c. symph., " Lust- 
 spiel-OuvcrtUre,"etc. 
 
 Motker (not'-kgr) (Called Balbulus, 
 "the stammerer"), 840 — 912, monk 
 at St. Gallen ; important writer and 
 composer of sequences, (V. D. D.) 
 
 ^otot (nu-to), Jos., b. Arras, Pas de 
 Calais. 1755 ; d. in England ; pupil 
 of Leclerc, Paris, noteworthy organ- 
 ist there and at Arras ; c. important 
 
 doll 
 
 BJSJ 
 
 \\ pit 
 
 symphonies, pf.-concertos, sonatas, 
 etc. 
 Nottebohm (not'-te-bom), Martin 
 Gv., Ludenscheid, Westphalia, 1817 
 — Graz, 1882 ; teacher and writer 
 chiefly of valuable Beethoven works 
 and discoveries ; also composer. 
 Nourrit (noor-re), (i) Louis, Mont- 
 pellier, 17S0 — Brunoy, 183 1 ; leading 
 tenor Gr. Opera, Paris. (2) Ad., 
 Paris, 1802 — suicide, Naples, 1839 \ 
 eminent tenor ; son and successor 
 (1825) of above ; pupil of Garcia and 
 teacher at the Cons. ; also composer. 
 Novello (no-vel'-lo), (i) Vincent, Lon- 
 don, Sept. 6, 1781 — Nice, Oct. 9, 
 1861 ; son of Italian father and Eng- 
 lish mother ; founded, 181 1, the pub. 
 firm Novello & Co. (now Novel- 
 lo, Ewer & Co., London); no- 
 table organist, pianist and com- 
 poser. (2) Mary Sibilla, London, 
 1809 — Genoa, 1S98 ; daughter of 
 above ; m. Cowden Clarke ; transl. 
 treatises into English ; wrote Shake- 
 speare Concordance, etc. (3) Jos. 
 Alfred, London, iS"io — Genoa, July 
 17, 1896; son of (i) ; bass singer 
 and organist. (4) Clara Anasta- 
 sia, b. London, June 19, 1818 ; 4th 
 daughter of (i) ; pupil Paris Cons., 
 succ. operatic debut Padua, 1841, 
 but made her best succ. in oratorio ; 
 1843, "I- Count GigHucci ; retired 
 i860. 
 Noverre (no-var), J. G., Paris, April 
 29, 1727 — St. Germain, Nov. 19, 
 1810; solo-dancer at Berlin; ballet- 
 master at the Op. -Com., Paris; inv. 
 the dramatic ballet. 
 Nowakowski (no-va-kof'-shkl), Jozef, 
 Mniszck, 1805 — Warsaw, 1865 ; pf.- 
 teacher, professor and composer. 
 Nowowiejski (no-vo-ve'-shkt), Felix, 
 b. Poland ; 1902, won Berlin Meyer- 
 beer prize with oratorio " Die Riick- 
 kehr des verlorenen Sohnes." 
 Nuceus. Vide gaucquier. 
 Nux (niix), Paul V^ronge de la, b. 
 Fontainebleau, June 29, 1853 ; pupil . 
 of V. Bazin, Paris Cons.; took 2d 
 Grand prix, 1876 ; prod. succ. 2-act 
 
654 
 
 THE MUSICAL GUIDE 
 
 grand opera " Zaire" (Opera, 1889; 
 Stuttgart, 1895); c. music-drama 
 '' Labdacides" etc. 
 
 
 
 Oakeley (6k -IT), Sir Herbert Stan- 
 ley, b. Ealing, Middlesex, July 22, 
 1S30 ; while at Oxford, studied with 
 Elvey (harm.), later at Leipzig Cons., 
 with Schneider, Dresden, and Brei- 
 denstein, Bonn.; 1865-91, Ried 
 Prof, of Mus., Edinburgh Univ., 
 developing the annual Ried Concerts 
 into a 3-days' Festival ; his org. -reci- 
 tals had a large influence ; knighted 
 1876; Mus. Doc, Cantab., 1871; 
 Oxon., Dublin, 1887; 1892, Emeritus 
 Professor ; composer to the (^ueen in 
 Scotland, and since 1887, Pres. , 
 Cheltenham Mus. Festival ; pub. a 
 cantata " /«Aj7fc Lyric,'' ''Suite in 
 the Olden Style" '' Pastorale" Festi- 
 val March, and a Funeral March (op. 
 23) for orch.; pf. -sonata, etc. 
 
 Oberthiir (o'-ber-tllr), K., Munich, 
 1819 — l^ondon, 1895 ; harpist, teach- 
 er and dramatic composer. 
 
 Obin (6-bah), Louis H., Ascq., near 
 Lille, 1820 — Paris, 1895 ; basso can- 
 tante. 
 
 O'Carolan, Turlough, Newton, 
 Meath, 1670 — Roscommon, 1738 ; 
 Irish harpist. 
 
 Ochs (okhs), (i) Traugott, b. Alten- 
 feld, Schwerin-Sondershausen, Oct. 
 19, 1854 ; pupil of Stade, Erdmanns- 
 dorfer, Iviel, and the R. Inst, for 
 Church-mus. ; 1899, artistic dir. Mus.- 
 Union and the Mus.-Sch., Briinn ; c. 
 '" Deutsches Aiifgcbot" for male cho- 
 rus and orch. ; requiem, etc. (2) 
 Siegfried, b. Frankfort-on-Main, 
 April 19, 1858 ; studied R. Hoch- 
 schule flir Musik, Berlin, later with 
 Kiel and Urban, and von Biilow, 
 who brought into publicity a small 
 choral union, the " Philharmonischer 
 Chor," of which he was cond., and 
 which is now the largest singing-so- 
 ciety in Berlin ; he is also a singing- 
 teacher and writer, 1901, Munich ; c. 
 
 succ. comic opera (text and music]!, 
 "/»i Nanten dcs Gesetzes " (Hamburg, 
 1888) ; 2 operettas ; etc. 
 
 Ochsenkuhn (6kh'-zan-koon), Sebas-| 
 tian, d. Heidelberg, Aug. 2, 1574 
 lutenist and composer. 
 
 Ockenheim. Vide okeghem. ; 
 
 Odenwald (o -den-viilt), Robt. Th. 
 b. Frankenthal, near Gera, May 31 
 1838 ; since 1882 teacher Hambui 
 and cond. a succ. church-choir ; 
 Psalms and part-songs. 
 
 O'dington, Walter de ("Monk ( 
 Evesham "), b. Odington, Gloucest( 
 shire ; d. ca. 1316 ; important theorii 
 (Coussemaker.) . 
 
 O'do de Clugny (du klUn'-ye) (Saini 
 became in 927 abbot of Clugny, wheri 
 he d. 942 ; writer. (Gerbert.) 
 
 Oeglin (akh'-len), Erhard, i6th cent 
 German printer of Augsburg, the fin 
 to print figured mus. with types. 
 
 Oelschlagel (al'-shla-gel), Alfred, t 
 Anscha, Bohemia, Feb. 25, 18471 
 Prague Org.-Sch.; th.-cond. at Han; 
 burg, etc., and Karltheater, Vienna, 
 later bandm. Klagenfurt ; c. opere; 
 tas '' Prinz und Maurer" (Klagei; 
 furt, 1884) ; succ. ''Die Raubrittev 
 (Vienna, 1888) ; succ. Der Lam^ 
 stretcher (Magdeburg, 1893). 
 
 Oelsner (els'-ner), (Fr.) Bruno, I 
 Neudorf, near Annabergij Saxon 
 July 29, 1861; pupil of Leipzig Cons 
 solo-vla., ct.-orch. Darmstadt ; stu^ 
 ied with de Haan (comp.) ; sin^ 
 1882, vln. -teacher Darmstadt Cons 
 with title Grand Ducal Chambe 
 mus.; prod, at Darmstadt i-act o 
 eras, incl. succ. " Der Brautgang 
 (1894); also a cantata with orch., et 
 
 Oesten (a-shten), Theodor, Berli 
 1813 — 1870; pianist and composer. 
 
 Oesterle (as-ter'-le). Otto, St. Lou 
 Mo., 1861 — Darien, Conn., 189. 
 1st flute Thomas Orch., the Philh. 
 New York and Brooklyn, and Se-, 
 Orch.; teacher the Nat. Cons., N. 
 
 Osterlein (a-shter-lln), Nikolai 
 1840 — Vienna, 1898; maker of t: 
 coll. known as the " Wagner M- 
 
DICTIONARY OF MUSICIANS 655 
 
 Oettingen (et'-tlng-en), Arthur Joa- 
 chim von, b. Dorpat, March 2S, 
 1S36 ; 1866, prof, of physics in ordi- 
 nary there ; pres. of the Dorpat Mus. 
 See, and cond. an amateur orch.; 
 theorist. 
 Offeabach (6f'-fen-bakh), Jacques, 
 Cologne, June 21, 1819 — Paris, Oct. 
 5, iSSo ; eminent writer of light op- 
 era ; studied 'cello at the Cons., then 
 joined Op.-Com. orch., Paris; c. 
 chansonnettes (parodying La Fon- 
 taine), played the 'cello in concerts, 
 and c. 'cello-pcs.; 1849, cond. Th.- 
 Fran9ais , prod, unsucc. i-act oper- 
 etta '' Pepito" (Op.-Com., 1853); 
 others followed till 1S55-66 he had a 
 theatre for his own work ; 1872-76, 
 manager Th. de la Gaite ; 1S77, 
 toured America with little succ. de- 
 t scribed in his "'Notes d'un tnusicien 
 I en voyage" (1S77) ; his 102 stage- 
 ■ works include the ballet-pantomime 
 " Le Papillon" and the v. succ. 
 operas, ""Orphee anx Eitfers" 1858 ; 
 "Z(Z BeJle Helene,'' 1864; '' Barhe- 
 1 Bleu" and ''La Vie Parisienne,'" 
 I 1866; "Za Grande Due lies se de Ge- 
 \ rohtein" \%bi\ "Madame Fava7-t" 
 I 1879. 
 
 [Oginski (6-gen -shkl), (i) Prince Mi- 
 chael Cl^ophas, Guron, near War- 
 saw, 1765 — Florence, 1833 ; com- 
 poser. (2) Michael Casimir, War- 
 saw, 1731 — 1803 ; uncle of above ; 
 said to have inv. the pedals of the 
 harp. 
 keghem (or Okekem, Okenghem, 
 Ockegheim, Ock enheim), Jean de 
 (or Joannes), probably Termonde, 
 East Flanders, ca. 1430 — Tours (?), 
 1495 — 1513; eminent contrapuntist; 
 the founder of the Second (or New) 
 Netherland Sch. Chorister, Antwerp 
 cathedral ; studied with Dufay ; 1454, 
 ct.-cond. and composer to Charles 
 [ VII. at Paris ; 1467, royal cond. to 
 Louis XL; toured Spain and Fland- 
 I ers on stipend ; c. masses, motets, 
 I canons, etc. 
 
 (O'Leary (6-la'-rI), (i) Arthur, b. n. 
 Killarney, Ireland, 1834 ; pianist and 
 
 composer. (2) Rosetta, wife of 
 above ; composer. 
 Olib'rio, Flavio Anicio. Vide j. f. 
 
 AGRICOLA. 
 
 Ol'iphant, Thos., Condie, Perthshire, 
 1799 — London, 1873 ; theorist and 
 collector. 
 
 Olitz ka, Rosa, b. Berlin, Sept. 6, 
 1873; contralto; studied with Artot 
 and Hey ; sang at Briinn, Hamburg, 
 then Covent Garden and New York 
 opera ; then in Russia, etc. 
 
 Oliver, H. Kemble, Beverley, Mass., 
 1800 — Boston, 1885 ; boy soprano ; 
 organist, mus. dir. and composer. 
 
 Olsen (ol'-zen), Ole, b. Hammerfest, 
 Norway, July 4, 185 1 ; c. symph. 
 poem " Asgaardsreien" 1891, etc. 
 
 Ondriczek (6n'-drl-chek), Fz., b. 
 Prague, April 29, 1859 ; violinist ; 
 pupil of his father, and at 14 member 
 of his small orch. for dance mus.; 
 then studied Prague Cons, and with 
 Massart, Paris Cons., took first prize 
 for vln. -playing ; toured Europe and 
 America ; lives in Boston. 
 
 Onslow, G., Clermont-Ferrand, 
 France, 1784 — 1852 ; grandson of the 
 first Lord Onslow; amateur 'cellist 
 and pianist ; prod. 4 succ. comic op- 
 eras ; 34 string-quintets ; 36 quar- 
 tets ; and other chamber-music. 
 
 Opelt (o'-pelt), Fr. Wm., Rochlitz, 
 Saxony, 1794 — Dresden, 1863; writer. 
 
 Ordenstein (or'-den-shtln), H., b. 
 Worms, Jan. 7, 1856 ; pianist ; pupil 
 of Leipzig Cons., also in Paris ; 1879- 
 81, teacher at Carlsruhe ; 1S81-82, at 
 KuUak's Acad., Berlin ; 18S4, founded 
 Carlsruhe Cons.; made prof, by 
 Grand Duke of Baden. 
 
 Orefice, dell'. Vide deli.' orefice. 
 
 Orgeni (or-ga'-ne) (Orgenyi) (6r-gan'- 
 ye), Anna Maria Aglaia, b. Tis- 
 menice, Galicia, Dec. 17, 1843 ; 
 colorature soprano ; pupil of Mme. 
 Viardot-Garcia ; debut, 1865, Berlin 
 Opera ; 1886, teacher Dresden Cons. 
 
 Orlando, or Orlandus. Vide lasso. 
 
 Orlow (6r'-16f), Count Gregor Vladi* 
 mir, 1777 — St. Petersburg, 1826, 
 writer. 
 
656 
 
 THE MUSICAL GUIDE 
 
 
 Ornithopar'cus (Greek form of Vogel- 
 sang) (fo'-gel-zang), Andreas, b. 
 Meiningen ; early i6th cent, theorist. 
 
 Orpheus (orf'-yoos), mythical Greek 
 singer ; son of Apollo, and best of 
 singers to the lyre, 1350 B. c. 
 
 Or'ridge, Ellen Amelia, London, 
 iS55~Guernsey, 1883 ; contralto. 
 
 Ortigue (6r-teg), Jos. Louis de, Ca- 
 villon Vaucluse, 1802 — Paris, 1866; 
 writer. 
 
 Orto (6r'-to), Giov. de (Italian form of 
 Jean Dujardin) (du-zhar'-dah); Lat- 
 inised as de Hor'to (called " Mar- 
 briano ") ; contrapuntist and com- 
 poser 15th and i6th centuries. 
 
 Osborne, (i) G. Alex., Limerick, 
 Ireland, 1806— London, 1893; com- 
 poser. (2) (rightly Eisbein (Ts'-bin)), 
 Adrienne, b. Buffalo, N. Y.; pupil 
 of Auguste Gotze and Max Stage- 
 mann in Leipzig ; dram, soprano ; 
 now at Leipzig City Th. ; has sung 
 at the Gewandhaus. 
 
 Osgood, Geo. Laurie, b. Chelsea, 
 Mass., April 3, 1844; graduated 
 Harvard, 1886 ; dir. of the Glee Club, 
 and the orch. there ; studied singing 
 with Sieber and Haupt, and German 
 song and chorals with R. Franz ; 
 studied with the elder Lamperti in 
 Italy 3 years ; made a succ. tour of 
 Germany ; then, under Thomas, of 
 America; since 1872, lived Boston as 
 vocal-teacher and conductor ; pub. 
 " Guide in the Art of Singing" (8 
 editions); c. anthems, etc. 
 
 Osiander (6'-ze-ant-er), Lucas, Niirn- 
 berg, 1534 — Stuttgart, 1604; writer 
 and composer. 
 
 Othmayer (6t'-mT-er), Kaspar, Am- 
 berg, 1515 — Niirnberg, I553 ; com- 
 poser. 
 
 Otho. Vide odo. 
 
 Ott(o) (or Ottl), Hans, ca. 1533— 
 1550; pub. in Niirnberg. 
 
 Ottani (6t-ta-ne), Abbate Bernardi- 
 no, Bologna, 1735 — Turin, 1827 ; 
 dram, composer. 
 Otto (6t'-t6), (i) Vide ott. (2) 
 (Ernst) Julius, Konigstein, Saxony, 
 Sept. I, 1804 — Dresden, March 5, 
 
 1877 ; notable composer of cycles for 
 male chorus, songs, operas, etc. (3) 
 Fz., Konigstein, Saxony, i8og — 
 Mayence, 1841; c. pop. songs. (4) 
 Rudolph K. Julius, b. Berlin, April 
 27, 1829; solo boy-soprano at the, 
 Domchor, Berlin ; from 1848, tenor 
 there ; 1852, teacher singing Stern 
 Cons.; 1873 at R. Hochschule flir 
 Musik. 
 
 Otto-Alvsleben (6t'-t5-alf'-sla-bgn), 
 Melitta (nee Alvsleben), Dresden, 
 1842 — 1S93 ; soprano ; married, 1866. 
 
 Oudin (00-dah), Eugene (Espd-i 
 ranee), New York, 1858 — London, 
 1894; barytone, pianist and com- 
 poser. 
 
 Oudrid y Segura (oo-dredh' e sa-goo'- 
 ra), Cristobal, Badajoz, 1829 — Mad-: 
 rid, March 15, 1877; conductor and 
 dram, composer. 
 
 Oulibichef. Vide ulibishkv. 
 
 Oury. Vide belleville-oury. 
 
 Ouse ley, Sir Fr. Arthur Gore, Lon-i 
 don, Aug. 12, 1825 — Hereford, April 
 6, 1889; notable theorist and com-: 
 poser ; pianist and organist remark-; 
 able for fugal improvisation ; wrot< 
 important treatises, etc.; c. an oper£l 
 at 8 ; M. A. Oxford, 1840, Mus. Doci 
 there, 1854 ; also from Durham anc 
 Cambridge, 1862 ; from 1855 Prof, o 
 Music at Oxford, vice Sir H. R 
 Bishop; c. 2 oratorios incl. "//a 
 gai'y 
 
 O verend, Marmaduke, d. 1790 
 Engl, organist and composer of ser 
 vices, 70 anthems, 18 organ prelude 
 and fugues, etc.; biog. by Joyci 
 (London, 1896). 
 
 Owst, Wilberfoss G., b. London 
 June 13, 1861; pupil of Eaton Fan! 
 ing and H. Gadsby, and of Stuttgai 
 Cons., 1893-95 ; organist, Baltimore 
 U. S. A.; pub. Communion Service 
 anthems, etc. 
 
 Pabst (papst), (i) Aug., Elberfelc 
 May 30, 18 1 1— Riga, July 21, 1885 
 director and composer of opera: 
 
DICTIONARY OF MUSICIANS 657 
 
 (2) Louis, b. Konigsberg, July 18, 
 1846 ; son of above ; pianist and 
 composer. From 1899, head pf.- 
 teacher Moscow Philh. Sch. (3) 
 Paul, Konigsberg, 1854 — Moscow, 
 1897; son of (i); pf.-prof. ; direc- 
 tor. 
 
 Pacchiarotti (pak-kr-a-r6t'-te), Gas- 
 pare, Fabriano, Ancona, 1744 — Pad- 
 ua, Oct. 28, 1821; one of the great- 
 est and most succ. of i8th cent, sing- 
 ers ; soprano-musico. 
 
 Pachelbel (pakh'-el-bel), (i) J., Nilrn- 
 berg, Sept. r, 1653 — March 3, 1706; 
 org. -virtuoso and composer. (2) 
 Wm. Hieronymus, b. Erfurt, 1685 ; 
 son of above ; organist and com- 
 poser. 
 
 Pacher (pakh'-er), Jos. Adalbert, 
 Daubrawitz, Moravia, 18 16 — Gmun- 
 den, 1871 ; composer. 
 
 Pachmann (pakh'-man), Vladimir de, 
 b. Odessa, July 27, 1848 ; notable 
 pianist especially devoted to Chopin's 
 mus.; son and pupil of a prof, at Vi- 
 enna Univ. ; a good violinist ; studied 
 also with Dachs, Vienna Cons.; 1869 
 toured Russia with a great succ. that 
 has followed him throughout Europe 
 and America ; in Denmark he re- 
 ceived the Order of the Danebrog 
 from the King ; since 1896, lives in 
 Berlin. 
 
 Pachulski (pa-khool'-shkl), Henry, b. 
 Poland, Oct. 4, 1859 ; Pupil Warsaw 
 Cons., now prof. Moscow Cons.; c. 
 pf.-pcs., etc. 
 
 Pac(c)ini (pa-che'-ne), (r) Andrea, b. 
 Italy, ca. 1700; male contralto. (2) 
 A. Fran. Gaetano Saverio, Na- 
 ples, 1778— Paris, 1866; singing- 
 teacher, conductor and composer of 
 comic operas. (3) Giov., Catania, 
 Feb. 17, 1796— Pescia, Dec. 6, 1867; 
 son of a tenor ; pupil of Marchesi, 
 Padre Mattel and Furlanetto ; 1813- 
 35, prod. 40 operas, the last failing, 
 he established a sch. at Viareggio, 
 later Lucca, wrote treatises, etc.; 
 1840, the succ. of " Saffo " set him to 
 work again, and he turned out 40 
 more operas, also oratorios, a symph. 
 42 
 
 ''Dante'' etc. (4) Emilio, 1810 — 
 Neuilly, near Paris, Dec. 2, 1898 ; 
 bro. of above ; librettist of " // Tro- 
 vatore," etc. 
 Pacius (pa'-tsT-oos), Fr., Hamburg, 
 March ig, 1809 — Helsingfors, Jan. 9, 
 1891; violinist; c. the Finnish Na- 
 tional Hymn, operas, etc. 
 
 Paderewski (pad-g-ref'-shkl), Ignace 
 Jan, b. Podolia, Poland, Nov. 6, 
 1S59; eminent pianist and composer; 
 pupil of Raguski (harm, and cpt.) 
 Warsaw Cons. , of Urban and Wuerst, 
 Berlin ; of Leschetitzky, Vienna. 
 1878-83, pf.-teacher,- Warsaw Cons.; 
 has toured Europe and America with 
 unprecedented succ. financially and 
 with high artistic triumph. His first 
 wife, who died young, bore him a 
 son. 1899, m. Mme. Gorski. 1896 
 he set aside $10,000 as the Paderew- 
 ski fund, the interest to be devoted to 
 triennial prizes "to composers of 
 American birth without distinction as 
 to age or religion ; " 1. $500 for best 
 orchestral work in symph. form ; 2. 
 $300 for best comp. for solo instr. 
 with orch. ; 3. $200 for best chamber- 
 music work. Lives in Paris and Switz- 
 erland ; c. succ. opera " Manru " (Ct.- 
 Th., Dresden, 1901); Polish fantasia 
 forpf. with orch. op. 19, '' Lc'ge7tde No. 
 2" for pf. op. 20, and many original 
 and brilliant pf.-pcs. incl. '' Chants du 
 voyageur" a vln. sonata ; vars. and 
 fugue on original theme ; op. 14, 
 '' Humoresqiies de concert for pf." 
 {Book I ; Mennet, Sarabande, Ca- 
 price; Book 2, Burlesque, Inter- 
 mezzo polacco, Cracovienne fantas- 
 tique) ; ''Dans le desert, toccata"; 
 v. pop. Minuet (op. 1); songs, etc. 
 
 Padilla y Ramos (pa-del'-ya e ra- 
 mos), b. Murcia, Spain, 1842 ; pupil 
 of Mabellini, Florence ; barytone at 
 Messina, Turin, etc., St. Petersburg, 
 Vienna and Berlin ; 1869, m- Desiree 
 Artot. 
 
 Paer (pa'-ir), Ferdinando, Parma, 
 June I, 1771— Paris, May 3, 1839. 
 1807, ct.-cond. to Napoleon and 
 cond. Op.-Com; 1812, cond. Th.- 
 
658 
 
 THE MUSICAL GUIDE 
 
 Italien (vice Spontini); violinist and 
 c. 43 operas. 
 
 Paesiello, Vide I'AISiello. 
 
 Paganini (pag-a-ne'-ne), Niccolo, 
 Genoa, Oct. 27, 17S2 — Nice, May 27, 
 1S40 ; tiie pre-eminent violin-virtu- 
 oso. Studied with G. Servetto and 
 G. Dosta ; at 8 he c. a vln. -sonata ; 
 at 9 he played in public with greatest 
 succ. ; from 1795 he studied with Ghi- 
 retti and Aless. RoUa (though P. 
 denied this), at Parma. 1798, he ran 
 away from his severe father after a 
 concert at Lucca, and played at Pisa 
 and other places. At 15 he was a 
 passionate gambler, and very dissi- 
 pated. Fits of gambling alternated 
 with periods when he practised 10 
 hours a day, the result being a ruined 
 constitution. He pawned his violin 
 to pay a gambling debt, but a M. 
 Levron presented him with a Joseph 
 Guarnerius, which P, willed to Ge- 
 noa. In 1804 he went home, and 
 practised till 1805, when he had ex- 
 traordinary succ. making a sensation 
 by brilliant performances on the G 
 string alone ; soon ct. - soloist at 
 Lucca ; then to 1827 he toured Italy, 
 crushing all rivalry with an extraordi- 
 nary technic ; 1827, Pope Leo XII. 
 conferred on him the Order of the 
 Golden Spur ; he played at Vienna, 
 receiving from the municipality the 
 great gold medal of St. Salvator ; 
 from the Emperor the honorary title 
 of ct. -virtuoso. 1829, Berlin; 1831, 
 Paris; 1831, London. 1833-34, 
 Paris ; then retired to his villa at Par- 
 ma. He lost 50,000 francs on a 
 scheme to establish a gambling house 
 with concert-annex at Paris, the gam- 
 bling-license being refused. Though 
 his earnings were enormous, he was 
 not generous except spasmodically ; 
 he gave Berlioz $4,000 as a compli- 
 ment for his " Syiiphoiiie Fantas- 
 tiqtie"' (B. had wr'ittten "" Harold in 
 Italy" for P.'s Stradivari viola). He 
 m. the singer Antonia Bianchi, and 
 he left his son Achille $400,000 (^80,- 
 000). He died of phthisis of the lar- 
 
 ynx. His technic was never equalled, 
 and it provoked superstitious dread 
 among his auditors, his ghoulish ap- 
 pearance aiding the impression. He 
 was sometimes the charlatan and 
 some of his effects were due to spe- 
 cial tunings (scordatures), but his: 
 virtuosity has never been rivalled. 
 C. 24 caprices for violin-solo ; of 
 which pf. -transcriptions were made 
 by Schumann and Liszt ; 12 sonatas| 
 for violin and guitar (op. 2) ; do (op. 
 3) ; 3 gran quartetti ; concerto in Eb 
 (solo part in D, for a vln. tuned a 
 semitone high) ; concerto in B min.;. 
 " Zrt Campanella" with Rondo a la- 
 clochette (op. 7) ; variations on man) 
 themes, '' Le Streghe" '' God save (lu 
 King" "'The Carnival of Venice,' 
 etc.; concert Allegro '' Moto per 
 petuo" (op. 12); a sonata with acj 
 comp. of vln., 'cello orpf., andstudiesj 
 etc. Biog. by Fetis (Paris, 1851; Engll 
 London, 1852); A. Niggli (1882)) 
 O. Bruni (Florence, 1873). j 
 
 Page, (i) J., England, ca. 1750 — Lor' 
 don, 1812; tenor. (2) Nathan Cliii 
 ford, b. San Francisco, Oct. 2( 
 1866; pupil of E. S. Kelley ; at 2 
 c. an opera (prod, at San Francisco 
 incid. mus. for "Moonlight Blossom 
 (London, 1898), using Japane; 
 themes ; c. also an opera " Villiers, 
 a " Caprice " developing one 8-mea' 
 ure theme through 5 movements 1 
 an orch. suite; a ''Village Suite- 
 for orch., etc. 
 
 Paine (pan), J. Knowles, b. Portlan' 
 Me., Jan. 9, 1839; the first Ame' 
 ican composer of importance ; pu], 
 of Kotzschmar, at Portland, Hau 
 (cpt.), Fischer (singing), and W' 
 precht (instr.), Berlin ; gave orj 
 concerts in Berlin and Americ 
 cities, then lived in Boston as orga 
 ist West Church ; 1862, teacher 
 mus. Harvard Univ., and organist ■: 
 Appleton Chapel, Cambridge ; sir; 
 1876, prof, of mus. and organist : 
 Harvard ; c. an opera (text and mu) 
 "Azara": oratorio "St. Pete. 
 "Centennial Hymn" with orch. ) 
 
 
 \ 
 
DICTIONARY OF MUSICIANS 659 
 
 open the Philadelphia Exposition, 
 1S76) ; " Columbus March and 
 Hvmu " (to open the Columbian Ex- 
 position, Chicago, 1893) ; mus. to 
 Sophokles' "CEdi/>us Tyrannus" for 
 male voices and orch. (prod, at Har- 
 vard, 1 881) ; 3 cantatas with orch. 
 " The Realm of Fancy,'' " The Na- 
 tivity" '' Song of Promise," 2 symphs. 
 op. 23, in C min., and op. 34 in A 
 (" Spring symph") ; 2 symph. poems, 
 " The Tempest" and ''An Island 
 Fantasy"; overture to ''As You 
 Like It " ; Domine Salvum with orch. ; 
 mass, with orch.; chamber-mus., vln.- 
 sonata, etc. 
 Paisiello (pa-e-sl-el'-lo) (or Paesiello) 
 (pa-a-sl-gl'-lo), Taranto, Italy, May 
 g, 1741 — Naples, June 3, 1816. At 
 5 studied at Jesuit sch. in Taranto 
 with a priest Resta ; later studied 
 with Durante, Cotumacci and Abos, 
 Cons, di S. Onofrio, at Naples ; 
 teacher there, 1759-61. He c. 
 masses, etc., till a comic intermezzo 
 (Cons. Theatre, 1763) won him a 
 commission to c. an opera for the 
 Marsigli Th., at Bologna, where his 
 comic opera " La Pupilla^ ossio il 
 Mondo alia Rovescia" was prod. 
 1764. (Grove calls this work 2 op- 
 eras.) In 12 years he prod. 50 operas 
 mainly succ, though in rivalry with 
 Piccinni and Cimarosa ; these include 
 " II Marchese di Tulipano" (Rome, 
 1766); " L Idolo Cinese" (Naples, 
 1767) and "La Serva Padrona" 
 (Naples, 1769). He was notable also 
 for his jealousy and devotion to in- 
 trigue. 1776-84, St. Petersburg, with 
 a splendid salary and on invitation 
 from Empress Catherine. Here he 
 prod. 1776 " // Barbiere di Sivig- 
 lia" gaining such succ. that the later 
 and better opera by Rossini was re- 
 ceived as a sacrilege with great hos- 
 tility at first ; on his return from 
 Russia he prod, at Vienna one of his 
 best works, " // Re Teodoro" and 12 
 symph. for Joseph II. 1784-99, 
 cond. to Ferdinand IV. of Naples ; 
 and prod, various works incl. 
 
 " L'Olitnpiade" (1786) and "Nina, 
 la Pazza per Amore" (1789), "La 
 Molinara" and " Izingariin Fiera." 
 During the revolution 1799-1801, he 
 won the favour of the Republican 
 govt., also regained the favour of 
 royalty at the Restoration, till Napo- 
 leon who had always admired him 
 called him to Paris, 1802-03, ^^ cond. 
 Here P. lived in magnificence, lord- 
 ing it over Cherubini and Mehul. 
 1803-15, he was in Naples again as 
 ct.-cond. In 1815, on the return of 
 Ferdinand IV., he was reduced to a 
 small salary ; soon his wife died, and 
 he shortly after. A composer of great 
 prolificity, melodic grace and sim- 
 plicity, his works are rarely heard 
 now. He c. 100 operas, a Passion 
 oratorio (Warsaw, 1784) ; 3 solemn 
 masses, Te Deum for double chorus 
 and 2 orch.; requiem with orch. 
 (performed at his own funeral) ; 30 
 masses with orch., 40 motets, 12 
 symphs., and other things in pro- 
 portion. Biog. by Le Seuer (18 16), 
 Quatremere de Quincy (1817), Schiz- 
 zi (Milan, 1833), Villarosa (Naples, 
 1840). 
 
 Paix (pa -ex), Jacob, Augsburg, 1550 
 — after 1590; organist and composer. 
 
 Paladilhe (pal -a- del), l^mile, b. 
 June 3, 1844 ; studied with Mar- 
 montel (pf.), Benoit (org.) and Hale- 
 vy (cpt.), Paris Cons.; won ist prize 
 for pf. and org., 1857; i860. Grand 
 prix de Rome, with the cantata " Le 
 Czar Ivan IV." (Opera, i860); from 
 Rome, he sent an Italian opera buffa, 
 an overture and a symph.; 1872, prod, 
 the i-act comic opera " Le Passant" 
 (Op. -Com.) followed by 5 operas incl. 
 the still pop. " Patrie" (Opera, 1886; 
 1889, Hamburg, as " Vaterland" ; 
 1895, Milan, as " P atria") \ and c. 
 also 2 masses, a symph., etc. 
 
 Palestrina (pa-les-tre'-na) (rightly 
 Giovanni Pierluigi Sante, called 
 da Palestrina, from his birthplace), 
 Palestrina, near Rome, probably 15 14 
 or 1515 (some say 1528 or 9) — Rome, 
 Feb. 2, 1594. One of the most revered 
 
66o 
 
 THE MUSICAL GUIDE 
 
 names in music; he was b. of poor par- 
 ents, little is known of his early life ; 
 he is said to have earned his living 
 first as a church-singer ; probably 
 studied in Goudimel's sch., 1540, and 
 was, 1544-51, organist at Palestrina, 
 then magister puerorum (master of 
 the boys), in the Cappella Giula, with 
 title " maestro della cappella della Ba- 
 silica Vaticana." He dedicated a book 
 of masses to Pope Julius III., who, 
 Jan., 1554, admitted him to the Pon- 
 tifical Chapel as a singer, against the 
 rules, P. having a wife and no voice. 
 July 30, 1555, Paul IV. dismissed 
 him with a pension of 6 scudi per 
 month. This blow afTected him so 
 deeply (he had 4 children to support) 
 that he suffered nervous prostration. 
 On Oct. I, however, the Pope ap- 
 pointed him cond. at the Lateran. 
 1560, he prod, his famous '' Impro- 
 peria " (v. D. D.) for Holy Week, 
 with such succ, that the Pope se- 
 cured them for the Sistine Chapel, 
 where they have been performed on 
 every Good Friday since. 1561, he 
 took the better-salaried post of cond. 
 at Santa Maria Maggiore. The 
 Pope was determined to rid church- 
 mus. of its astonishing secular quali- 
 ties : first, the use of street-ballads, 
 even when indecent, as canti fer- 
 iiii, many of the choir actually sing- 
 ing the words ; and second, the riot- 
 ous counterpoint with which the 
 sacred texts and the secular tunes 
 were overrun. The Council of Trent 
 and a committee of 8 cardinals, con- 
 sidering the matter seriously, decided 
 not to revolutionise church-music en- 
 tirely, and in 1564 commissioned Pal- 
 estrina, by this time famous, to write 
 a mass which should reform, without 
 uprooting, ecclesiastical polyphony. 
 He wrote three, all noble, the third, 
 the '' Missa papa; Maireili" win- 
 ning the most profound praise. He 
 was called "the saviour of music," 
 and appointed composer to the Pon- 
 tifical Chapel. 1571, he became and 
 remained till death maestro of St. 
 
 led to re-i J 
 and AntijA,. 
 XIII.; h«J^" 
 
 Peter's. He also composed for the 
 " Congregazione del Oratorio" (v. 
 NERi) ; taught in Nanini's sch. , and 
 was from 1581 maestro concertatore 
 to Prince Buoncompagni. Pope Six-, 
 tus V. wished to appoint him maestrc 
 of the Sistine Chapel, but the singers: 
 refused to serve under a layman. Ht| 
 was, however, commissioned to re-i 
 vise the Roman Gradual 
 phonal, by Pope Gregory 
 pub. the " I^irectorium chori " (1582)! 
 the offices of Holy Week (1587), am! 
 the Prcrfatioiies (15S8), but on thd 
 death of his pupil and assist. Giudetti) 
 he was compelled to leave the worl; 
 unfinished. A complete ed. of hij 
 works is pub. by Breitkopf and Har! 
 tel : Vols, i.-vii. contain 262 moj 
 tets ; Vol. viii., 45 hymns ; Vol. 'w. 
 68 offertories; Vols, x.-xxiv., 9 
 Masses; Vol. xxv., 9 Lamentation 
 each in various arrangements in 3, ^j, 
 5, 6, or 8 parts; Vol. xxvi., 17 Litsi 
 nies. Motets and Psalms in 3-ii 
 parts ; Vol. x.xvii., 35 Magnificatsi , 
 
 Vol. xxviii., about 90 Italian (secij I 
 
 lar) Madrigals ; Vol. xxix., 56 Churcl-| i 
 Madrigals (Latin); Vol. xxx. (froi' 
 colls, of i6th-i7th cent.), 12 Car 
 tiones sacrre, 12 Cant, profana, an 
 14 Cant, sacrse ; Vol. xxxi. (froi, 
 archives of the Pontifical Chapei 
 etc.), 56 miscellaneous numbers, mar.' 
 doubtful, inch 11, " Esercizi sopra 1; 
 scala " ; Vol. xxxii., 60 miscellaneoij 
 comp. inch 8 Ricercari, Response- 
 Antiphones, etc.; Vol. xxxiii., Docij 
 nients. Index, Bibliography, etj 
 Among his best masses are "yEtert. 
 Christi muuera," ''Dies sanciific, 
 ttis," " sacrum convivium" in 
 parts ; " Assurnpta est Maria in cc 
 lu»i" '' Dilexi quoniavi,'^ '' Ecce el-\ 
 Joannes" ''Papa Marcelli'" in j 
 parts ; "' Tti es Petrus " in 6 part;' 
 these, the Motet " Pxaudi Doinine\ 
 3 Lamentations, also selected M 
 drigals, Canzonets, etc., are pub. se 
 arately. Biog. by Baini (Rome, 1828' 
 A. Bartolini (Rome, 1870) ; Baur 
 ker (1877) ; Cametti (Milan, 1895). 
 
DICTIONARY OF MUSICIANS 661 
 
 Palestrina. 
 
 By W. J. Henderson. 
 
 PALESTRINA'S work in musical history was bringing order out of 
 chaos in church-music, and setting the model for the loftiest purity of 
 .style. The music of the Church had become too complex through 
 :he extreme development of rigidly canonic writing. Palestrina, following 
 :he lead of some of his predecessors, who had begun to write in free counter- 
 Doint, showed how this new style could be made to yield the finest possible 
 ■esults in the composition of music for the mass, and other parts of the 
 Roman ritual. By adhering to the ecclesiastical scales and avoiding chro- 
 •natic progressions, by clinging to purely religious thought and excluding any- 
 :hing like passion, Palestrina produced works which have remained to this day 
 :he perfect model of church-music. ^ The contrapuntal skill in his writing 
 s masterly, but it never parades itself Its most beautiful effects are produced 
 vith apparent spontaneity, and frequent chord harmonies of enchanting love- 
 iness seem to be accidental. The Roman school of church-composers was 
 bunded by Palestrina, and his influence is even yet perceptible in the music of 
 he Holy City. He has universally been accorded the position of the greatest 
 )f all church-composers. 
 
 •: ''alf fy, Count Fd. von Erdod, Vien- 
 na, 1774-1840 ; amateur musician 
 ■ and operatic manager. 
 IK i*allavicini (pal-la-ve-che'-ne), (r) (or 
 uF I Pallavicino) Benedetto, Cremona 
 s ' — Mantua (?), after 1616 ; conductor 
 J' and composer. (2) Carlo, Brescia, 
 1630 — Dresden, 1688; conductor and 
 dram, composer. 
 : 'allo'ni, Gaetano, b. Camerino, Italy, 
 Aug. 4, 1 831; pupil of Cellini, Fer- 
 mo ; organist there, 1854 ; studied 
 with Mabellini, Florence, where he 
 lived as a singing-teacher and com- 
 poser. 
 
 *alme (pal-mg), Rudolph, b. Barby- 
 on-Elbe, Oct. 23, 1834 ; pupil of A. 
 I- I G. Ritter ; organist ; R. Mus. Dir. 
 -I'U I and organist at Magdeburg ; c. con- 
 1 ■ 1 * cert-fantasias with male chorus, so- 
 natas, etc. , for org. 
 
 *alm'er, Horatio Richmond, b. Sher- 
 burne, N. Y., April 26, 1834; pupil 
 of his father and sister, and studied in 
 
 New York, Berlin and Florence ; at 
 18, began composing ; at 20 chorus- 
 cond.; 1857, teacher at Rushford 
 Acad.; after the Civil War, Chicago; 
 ed. " Concordia "y cond. various so- 
 cieties from 1S73, cond. New Church 
 Choral Union, giving concerts, some- 
 times with 4,000 singers ; since 1877, 
 Dean of the Chautauqua Sch. of Mus. ; 
 Mus. Doc. (Chicago Univ. and Alfred 
 Univ.); pub. colls, and treatises. 
 
 Paloschi (pa-16s'-ke), Giov., 1824— 
 1892, member of the Milan firm of 
 Ricordi. 
 
 Palot'ta, Matteo, Palermo, 1680— 
 Vienna, 1758 ; ct. -composer and 
 writer. 
 
 Paminger (pa'-mtng-^r) (or Pammi- 
 gerus, Panni'gerus), Leonhardt, 
 Aschau, Upper Alsatia, 1484 — Pas- 
 sau, 1567; composer. 
 
 Pan, one of the Greek gods ; said to be 
 inventor of the pipe. 
 
 Pan'ny, Jos., Kolmitzberg, Lower 
 
662 
 
 THE MUSICAL GUIDE 
 
 Austria, 1794 — Mayence, 1838; vio- 
 linist, teacher and composer. 
 
 Panofka, H., Breslau, 1807 — Flo- 
 rence, 1887 ; violinist, writer and 
 composer. 
 
 Panseron (pan-sii-roh), Aug. Ma- 
 thieu, Paris, 1796 — 1859 I writer of 
 vocal methods, etudes, etc.; com- 
 poser. 
 
 Paolucci (pa-6-loot'-che), Giu., Siena, 
 1727 — 1777; conductor, theorist and 
 composer. 
 
 Panthes (pan-tes'), Marie, b. of 
 French parents, at Odessa ; pupil of 
 Fissot, Paris Cons., taking ist prize 
 at 14. 
 
 Panzner (pants'-ner), K., b. Teplitz, 
 Bohemia, March 2, 1866 ; pupil of 
 Nicode and Draeseke ; cond. at Son- 
 dershausen th.; 2 years later at El- 
 berfeld ; 1893 ; ist cond. Leipzig 
 city th.; 1899, cond. Philh. concerts, 
 Bremen. 
 
 Pape (pii'-pe), Jn. H., Sarstedt, near 
 Hanover, July i, 1789 — Paris, Feb. 
 2, 1875 ; distinguished maker and 
 improver of the piano ; he inv. a 
 transposing piano, introd. padded 
 hammers, etc. 
 
 Papier (pa-per), (i) Louis, Leipzig, 
 1829 — 1878 ; organist, singing-teach- 
 er and composer. (2) Rosa, b. 
 Baden, near Vienna, 1858 ; mezzo- 
 soprano ; Imp. Op., Vienna; 1881, 
 m. Dr. Hans Paumgartner. 
 
 Papillon de la Fert6 (pa-pe-yofi dii 
 la fer-ta'), (1) guillotined, Paris, 
 1793- 1777. Intendant of the " Menus 
 plajsirs," of Louis XVL ; Inspector 
 " Ecole royale de chant"; dir. of 
 Opera. (2) His son was, 1814, Mus. 
 Intendant-in-chief. 
 
 Papini (pa-pe'-ne), Guido, b. Cama- 
 giore, near Florence, Aug. i, 1847 ; 
 violinist ; pupil of Giorgetti ; debut at 
 13; toured Europe ; composer. 
 
 Papperitz (pap'-pe-rets), Benj, Robt,, 
 b. Pirna, Sa.xony, Dec. 4, 1826 ; pu- 
 pil of Hauptmann, Richter and Mo- 
 scheles, Leipzig Cons., 185 1; teach- 
 er of harm, and cpt. there ; from 
 1868-69, also organist of Nikolai- 
 
 kirche there; 1882, R. Prof.; comil 
 poser. 
 
 Paque (pak), Guil., Brussels, 1825- 
 London, 1876 ; 'cello-virtuoso ami 
 teacher. 
 
 Paradies (or Paradisi) (pa-ra-de'-esf^ 
 or de'-se), P. Dom., Naples, 1710-I1 
 Venice, 1792 ; pupil of Porpora 
 harps. -player and teacher, also dram 
 composer. 
 
 Paradis (pa-ra-des'), Maria There 
 sia von, Vienna, May 15, 1759- 1 
 Feb. I, 1824; a skilful blind orgar 
 ist and pianist for whom Mozai 
 wrote a concerto ; daughter of a 
 Imperial Councillor; teacher of p 
 and voice ; c. an opera. J 
 
 Parent (pa-rah), Charlotte Francej 4 
 Hortense, b. London, March 2 li 
 1837 ; pianist ; pupil of Mme. ^Faj .;i 
 renc, Paris Cons.; founded " Ecoj f | 
 preparatoire au professorat," Paris Ii 
 wrote a pf. -method (1872), etc. } , 
 
 Parepa-Rosa (pa-ra'-pa-ro'-za) (n 
 Parepa de Boyescu), Euphrosyn d 
 Edinburgh, May 7, 1836 — Londo id 
 Jan. 21, 1874 ; daughter and pu] | 
 of Elizabeth .Seguin, a singer ; en| 1 
 nent soprano in opera and oratorii 
 her strong and sympathetic voice h; 
 a compass of 2^ octaves reaching 
 d'" (v. PITCH, D.D.) ; debut at 1. 
 Malta ; 1865 m. Carl Rosa ; tourj 
 Europe and America. 
 
 Par'ish-Al'vars, Elias, Teignmoul 
 Engl., Feb. 28, 18 10— Vienna, Js 
 25, 1849 ; of Jewish descent ; not; 
 harp-virtuoso and composer. 
 
 Parisini (pa-rl-se'-ne), Federico, l\ : 
 logna, 1825 — Jan. 4, 1891 ; theoi^ 
 and dram, composer. ■ 
 
 Parke, (i) J., 1745— 1829; Engl, olj- : 
 ist and composer. (2) Wm. Thoj, 
 London, 1762— 1847 ; bro. of aboj 
 oboist, composer and writer. i) 
 Maria Hester, 1775— 1822 ; dauj;- 
 ter of ( i), singer, composer and writ. 
 
 Parker, (i) Jas. Cutler Dunn, 1. 
 Boston, Mass., June 2, 1828; studl 
 Leipzig Cons.; lives in Boston si 
 Brookline ; 1862, organist "Parr 
 Club," vocal soc; 1864-91, orgait ^; 
 
 I 
 
DICTIONARY OF MUSICIANS 663 
 
 Trinity Ch., and for years organist 
 Handel and Haydn Soc; prof. Bos- 
 ton Univ. Coll. of Mus., and Exam- 
 iner N. E. Cons. ; writer and transl.; 
 c. " Redemption Hymn " (1S77) ; can- 
 tata ''The Blind King" {18S6) ; 
 " St. John" with orch. ; oratorio, 
 " The Life of Man"; church-ser- 
 vices, etc. (2) H., b. London, Aug. 
 4, 1S45 ; pupil of Leipzig Cons., and 
 of Lefort, Paris ; singing-teacher and 
 cond. London ; wrote treatise " The 
 ]'oice" ; c. comic opera ''■ Migno- 
 velle" (London, 1889); "Jertisa- 
 lti>i" for bass-solo and chorus (Albert 
 Hall, 1S84); gavottes, etc., for orch.; 
 pf.-pcs. (3) Horatio Wm., b. Au- 
 burndale, Mass., Sept. 15, 1863; 
 prominent American composer ; pupil 
 of his mother, later of Emery (theo- 
 r,), J. Orth (pf.), and Cliadwick 
 (comp.), Boston ; organist Dedham 
 and Boston ; studied 1882-85 with 
 Rheinberger (org. and comp.) and L. 
 
 J ; Abel (cond.), Munich ; organist and 
 
 ''' prof, of mus. St. Paul's Sch., Gar- 
 den City, New York ; 1886, organist 
 St. Andrew's, Harlem; 1888, Ch. 
 of the Holy Trinity, N. Y.; since 
 1894, prof, of mus., Yale Univ.; 
 1899, cond. his notable oratorio 
 '' Hora Novissivia" at Worcester 
 (Engl.) Festival with great succ. 
 (first given at Worcester (U. S. A.) 
 Festival, 1893). Pub. coll. of org.- 
 pcs.; c. oratorios, '' Ilora ypvissi- 
 ^Wrt"(i893), and " 6V. Christopher" 
 (1896); cantatas ''King Trojan" 
 (Munich, 1885), " The Holv Child," 
 
 <■"' " The Kobold" and " I/arold Har- 
 fager" prize-cantata, " Dream 
 King" (1893); symph. in C; con- 
 
 -, cert-overture; heroic-overture " Reg- 
 • tilus " ; overture to " Count Robert of 
 Paris " " Cohal Mahrf for bar.- 
 solo and orch. (1893); "Commence- 
 ment Ode" Yale Univ. (1895) ; Mc- 
 Cagg prize chorus a cappella (1898) ; 
 
 y'- "A A'orthern Ballad" for orch. 
 
 ■ (1899). etc. 
 
 irk'inson, Elizabeth, b. Missouri ; 
 pupil of Mrs. Lawton, Kansas City, 
 
 and Miolan Carvalho and de la Nux, 
 Paris; debut as " Dinorah," 1896; 
 engaged at Opera Comique, 1887 ; 
 has sung there since and elsewhere. 
 
 Par'ratt, Sir Walter, b. Huddersfield, 
 Feb. 10, 1841 ; at 7 sang in church ; 
 at 10 knew Bach's " IVell-tempered 
 Clavichord" by heart; at 11, organ- 
 ist Armitage Bridge; 1872 Magdalen 
 Coll., Oxford; 1882, St. George's 
 Chapel, Windsor Mus. Bac. O.xon., 
 1873; 1883, organ-prof. R. C. M. ; 
 knighted 1892; 1893, Master of Mus. 
 in Ordinary to the Queen ; wrote ar- 
 ticles ; c. mus. to " Agame?nnon" 
 and "Orestes" "Elegy to Patro- 
 cius" (1883). anthems, org.-and pf.- 
 pcs., etc. 
 
 Par'ry, (i) J., Ruabon, N. Wales— 
 Wynnstay, Oct. 7, 1782; Welsh bard, 
 harper, and composer. (2) J. (called 
 " Bardd Alaw," i. e., master of song), 
 Denbigh, Feb. 18, 1776 — London, 
 April 8, 1851 ; clarinettist; cond. of 
 the Eisteddfod for years; critic, teach- 
 er and composer in London ; pub. 
 colls., etc. (3) J. Orlando, London, 
 18 10 — E. Molesey, 1879 ; son of 
 above ; pianist, harpist, singer and 
 composer. (4) Jos., b. Merthyr 
 Tydvil, Wales, May 21, 1841 ; the 
 son of a labourer ; at 10 worked in a 
 puddling-furnace ; 1854 emigrated to 
 America with his family, but returned 
 to Britain, won Eisteddfod prizes for 
 songs, 1868 studied R. A. M. on a 
 fund especially raised by Brinley 
 Richards ; 1S71, Mus. Bac. Cambr. ; 
 prof, of music, Univ. Col., Abervst- 
 with; 1878, Mus. Doc; 1888, AIus. 
 Lecturer at Cardiff ; also Fellow R. 
 A. M. C. 4 operas, cantatas " The 
 Prodigal Son" " N'ebttchadnezzar" 
 and " Cambria " ; " Druids' Chorus"; 
 an orchestral ballade, overtures, etc. 
 (5) Sir Chas. Hubert Hastings, b. 
 Bournemouth, England, Feb. 27, 
 1848 ; eminent English composer ; 
 from 1861, while at Eton, pupil of 
 G. Elvy (comp.), was pianist, organ- 
 ist, singer, and composer at the con- 
 certs of the Musical Soc. At 18, 
 
664 
 
 THE MUSICAL GUIDE 
 
 while still at Eton, he took " Mus. 
 Bac. " at Oxford, wrote a cantata, 
 " O Lord, Thott hast cast us ottt" ; 
 1867, Exeter Coll., Oxford; founded 
 " Univ. Mus. Club" ; 1874, M. A. ; 
 studied with Bennett and Macfarren, 
 and Dannreuther (pf.), and Pierson, 
 Stuttgart. At 26 prod. " Inter mezzo 
 religioso," for strings (Gloucester 
 Festival) ; 1883, Choragus of Ox- 
 ford and Mus. Doc. Cantab.; do. 
 Oxon, 18S4, do. Dublin, 1891 ; 1894 
 dir. R. C. M.; iSgS, knighted; 1902 
 made a baronet ; active as lecturer 
 and writer of essays and books incl. 
 the notable ''Evolution of the Art 
 0/ Jl/usie"{iSg6). C. also 4 symphs.; 
 symph vars. ; overtures, " To an 
 Unwritten Tragedy'' and " Guillem 
 de Cabestanh "y oratorios ''Judith," 
 "Job," "King Saul"; mus. to 
 Aristophanes' "Birds" (1883), and 
 " Frogs " (1892) ; and to " Hypatia " 
 (1893) ; the following were prod, at 
 prominent festivals : scenes from 
 Shelley's " Prometheus Unbound," 
 with orch. (Gloucester festival, 1880); 
 " The Glories of our Blood and 
 State"; " Suite moderne" "Ode on 
 St. Cecilia s Day," " L Allegro ed II 
 Penseroso" " De profufidis," with 3 
 choirs and orch. ; chamber-mus.; vln.- 
 and pf. -sonatas, songs, etc. ; " Invoca- 
 tiojt to Music " ; Magnificat, in Latin. 
 Par'sons, (1) Robt., Exeter, 1563— 
 drowned Newark, 1569 (-70?) ; com- 
 poser. (2) J., d. 1623 ; probably son 
 of above ; organist and composer. 
 (3) Sir Wm., 1746— 1S17 ; master of 
 King's Band and teacher. (4) Albert 
 Ross, b. Sandusky, O., Sept. 16, 
 1847 ; noteworthy American teacher; 
 pupil of F. K. Ritter, N. Y., and at 
 Leipzig Cons.; later of Tausig, Kul- 
 lak, Weitzmann and Wiirst, BerUn ; 
 1871, New York ; organist since 
 1885, Fifth Av. Presb. Ch.; translat- 
 or, editor, and writer of various 
 works ; c. vocal quartets, songs, etc. 
 (5) E, A., pianist ; from 1894 organ- 
 ist, Ch. of the Divine Paternity, N. 
 v.; c. pf. -concerto, etc. 
 
 Pasch (pash), Oskar, b. Frankfort-on- 
 Oder, March 28, 1844 ; pupil of R. 
 Inst, for Church-mus. and the Acad, 
 for Comp., Berlin ; 1874, won the 
 Michael Beer prize ; wrote Psalm 130 
 with orch.; 18S4, Royal Mus. Dir., t, 
 organist and singing-teacher at Ber- ' 
 lin ; c. a symph., oratorios, etc. 
 
 Pascucci (pjis-koot'-che), Giov. Ce-|! 
 sare, b. Rome, Feb. 28, 1841; c. 
 comic operas and operettas in Roman 
 dialect, 2 oratorios, etc. 
 
 Pasdeloup (pa-du-loop), Jules!' 
 Etienne, Paris, Sept. 15, 1819 — Fon-i 
 tainebleau, Aug. 13, 1887; eminent! 
 cond.; pianist; pupil Paris Cons. 
 1847-50; pf. -teacher, and 1855-68, 
 teacher of ensemble there ; 1851, 
 cond. famous concerts (known froi 
 1861 as " concer^3 populaires ") 
 succ. till 18S4, when they fell bef« 
 the popularity of Colonne and 
 moureux ; a benefit festival broughl 
 him 100,000 francs ($20,000). 
 
 Pash'aloff, Victor Nikandrovitch; 
 SaratofT, Russia, 1841 — Kasan, 1885 
 composer. 
 
 Pas'more, H. Bickford, b. Jackson 
 Wis., June 27, 1857; pupil of J. P 
 Morgan (org. and harm.), of Jadas 
 sohn, Reinecke (pf.), Frau Ungei 
 Haupt (voice), Leipzig and of W 
 Shakespeare and R. H. Cummings 
 London ; lives in San Francisco a/ 
 organist and prof, of singing; ( 
 " Conclave " march, overture fororcl 
 "Miles Standish" masses, etc. 
 
 Pasquali (piis-kwa-le), Nicold, \ 
 Itah- — Edinburgh, 1757; writer an, 
 composer. 
 
 Pasqu6 (pas-ka), Ernst, Cologm 
 1821 — Alsbach, 1892; barj-tone ; d. 
 rector and writer. 
 
 Pasquini (pas-kwe'-ne), Bdc, Mas; 
 di Valdinevole, Tuscany, Dec. 
 1637 — Rome, Nov. 22, 1710; nott 
 organist at San Maria Maggiore ; p, 
 pil of Vittori and Cesti ; teacher ar 
 composer of 2 operas, an oratori 
 etc. 
 
 Pasta (pas'-ta) (nee Negri), (i) Gi 
 ditta, Como, April 9, 1798 — villa* 
 
DICTIONARY OF MUSICIANS 665 
 
 Lake Como, April i, 1S65 ; a noted 
 Jewish singer ; pupil of Asioli ; de- 
 but, 1815, but had no succ; studied 
 with Scappa, and reappeared with 
 greatest succ. Her powerful voice 
 (range a-d", v. pitch, D. D.) had 
 always some irregularities, but her 
 dramatic power was great and she 
 invented embellishments with much 
 skill ; m. the tenor (2) Pasta, be- 
 fore 1816; she created "La Son- 
 nambula " and " Norma" and earned 
 a fortune. 
 'astou (pixs-too), Etienne J. Bapt., 
 Vigan, France, 17S4 — Ternes, near 
 Paris, 185 1 ; singing-prof, and writer. 
 'a'tey, Janet Monach (nee Why- 
 tock), London, 1842 — Sheflield, 1894; 
 alto. 
 'aton, Mary Ann (Mrs. Wood), 
 Edinburgh, 1802 — Bucliffe Hall, near 
 Wakefield, 1S64 ; prominent soprano ; 
 m. tenor Jos. Wood, 1831. 
 
 f 'atti (pjit'-te), (i) Carlotta, Florence, 
 ; 1840 — Paris, June 27, 1889 ; eminent 
 ( concert colorature-soprano ; pupil of 
 
 ■ : her father, (2) Salvatore P., a tenor, 
 
 and her mother, (3) Caterina (nee 
 
 Chiesa), a soprano. (4) Adelina 
 
 (Adela Juana Maria), b. Madrid, 
 
 ; Feb. 10, 1S43 •. one of the most emi- 
 
 ■'■ ' nent colorature-singers in history ; 
 
 ' ; sister of (i), and like her a pupil of 
 
 her parents ; sang in public as a mere 
 
 child ; then studied with Ma.x Stra- 
 
 kosch (husband of her sister Amelia); 
 
 ' ! debut, at 16, New York, Nov. 24, 
 1859, as " Lucia" (under the stage- 
 name "the little Florinda"); 1861, 
 
 ' London, Covent Garden ; 1862, 
 Paris Th. Italien ; 1868, m. the Mar- 
 quis de Caux. After making the 
 world her own, she now sings only in- 
 frequently in concerts, and lived till 
 recently at her villa Craig y Nos, in 
 ■ ; Wales. 1886, m. and toured with 
 
 ; : the tenor Nicolini (d. 1898) ; 1899, 
 m. a Swedish nobleman, Baron Ce- 
 
 , j depstrom. (3) Carlo, Madrid, 1842 
 I —St. Louis, Mo., March, 1873; bro. 
 
 " of above ; violinist. 
 
 Pat'tison, J, Nelson, b, Niagara 
 Falls, N. Y., Oct. 22, 1845 ; pianist ; 
 pupil of Liszt, Thalberg, Henselt 
 and von Bulow (pf.), and Haupt 
 (harm.) ; toured U. S. as pianist with 
 Parepa Rosa, etc.; c. symph. for 
 orch. and military band ''Niagara''; 
 concert overture, etc. 
 
 Patzold (pat'-tsolt), Hn., Neudorf, 
 Silesia, 1822— Konigsberg, 1861 ; 
 conductor and composer. 
 
 Pauer (pow'-er), (i) Ernst, b. Vienna, 
 Dec. 21, 1S26 ; noted pianist; son of 
 a prominent Lutheran clergyman ; 
 pupil of Th. Dirza, W. A. Mozart, 
 Jr. (pf.), and Sechter (comp.), later 
 of Fr. Lachner, Munich; 1847-51, 
 dir. mus. societies at Mayence ; 185 1, 
 London; 1859, prof, at the R. A. 
 M.; in 1861, gave historical perform- 
 ances of clavecin and pf.-mus. ; 
 
 1866, pianist to Austrian Court ; 
 
 1867, prof, at the Nat. Training Sch.; 
 1883, R. C. M.; since 1870, lecturer; 
 toured U. S.; ed. the classics; pub. 
 mus. primers, colls, of old clavier- 
 works, and many didactic works ; c. 
 a quintet, vln. arrangements of 
 symphs., etc. (2) Max., b. Lon- 
 don, Oct. 31, 1866 ; son and pupil of 
 above ; then studied with Lachner, 
 Carlsruhe ; 18S7, pf.-prof. Cologne 
 Cons.; 1893, chamber-virtuoso to the 
 Grand Duke of Hesse ; since 1897, 
 prof. Stuttgart Cons.; 1898, made 
 prof, by the King of Wiirtemberg ; 
 pub. pf. -pieces. 
 
 Paul (powl), Oscar, Freiwaldau, 1836 
 — Leipzig, 189S ; professor and theo- 
 rist. 
 
 Paumann (pow'-man), Konrad, b. 
 (blind) Ntirnberg, ca. 1410 — Munich, 
 Jan. 25, 1473; c-' the oldest extant 
 book of org. -pes. 
 
 Paumgartner (powm'-gartner). Dr. 
 Hans, 1844 — Vienna, May 23, 1S93; 
 pianist ; critic and composer. 
 
 Paur (powr), (i) Emil, b. Czernowitz, 
 Bukovina, Aug. 29, 1855; noted con- 
 ductor ; pupil of his father ; at 8 he 
 played vln. and pf. in public ; stud- 
 ied with Dessoff (comp.) and Hell- 
 
666 
 
 THE MUSICAL GUIDE 
 
 mesberger (vln.) Vienna Cons, (fel- 
 low pupil with Nikisch and Mottl) ; 
 graduated with first prizes ; 1870, 
 first vln. and assist. -soloist in ct. -op- 
 era orch.; 1876, cond. at Cassel ; 
 later Konigsberg ; 1880, istct.-cond, 
 Mannheim; 1S91, cond. Leipzig Citv 
 Th.; 1893-9S, cond. Boston (U. .S. 
 A.) symph. Orch. (vice Nikisch); 
 1898, ' New York Thilh. Concerts 
 (vice Seidl); 1899, dir. of the Nat. 
 Cons., N. Y. (vice Dvorak); 1900, 
 cond. German opera of the Met. Op. ; 
 c. a vln. -concerto, string-quartet, vln.- 
 sonata, pf.-pcs. , songs. (2) Maria 
 (nee Burger), Gengenbach, Black 
 Forest, 1S62 — New York, 1899; wife 
 of above ; pianist ; pupil Stuttgart 
 Cons., Leschetizky and Essipoff, Vi- 
 enna. 
 
 Pauwels (pow'-vels), Jean Engelbert, 
 Brussels, 1768 — 1804 ; violinist, con- 
 ductor and dram, composer. 
 
 Pavesi (pa-va'-se), Stefano, Crema, 
 1779 — 1850; dram, composer. 
 
 Paxton, Stephen, d. 1787; Engl, 
 composer. 
 
 Payer (pi-er), Hieronymus, Meidling, 
 near Vienna, 1787 — Wiedburg, near 
 Vienna, 1845 I conductor and dram, 
 composer. 
 
 Peace, Albert Lister, b. Hudders- 
 field, Engl., Jan. 26, 1844 ; promi- 
 nent organist ; pupil of Horn and 
 Parratt ; 1875, Mus. Doc. Oxon ; 
 1873, organist Glasgow cath.; 1897, 
 of St. George's Hall, Liverpool (vice 
 Best); c. Psalm 138 with orch., org.- 
 music. 
 
 Pearce, (i) Stephen Austen, Lon- 
 don, Nov. 7, 1836 — April 9, 1900 ; 
 pupil of J. L.Hopkins; Mus. Doc. 
 O.xford, 1864, same year U. S. and 
 Canada; then organist 2 London 
 churches; 1872, vocal-teacher, Co- 
 lumbia Coll., N. Y., and lecturer 
 Peabody Inst, and Johns Hopkins 
 Univ., Baltimore; 1879-85, organist 
 Collegiate Church, N. Y.; writer and 
 composer of a 3-act opera, a children's 
 opera, an oratorio and a church-can- 
 tata in strict fugal style (prod, at Ox- 
 
 ford), overture, etc. (2) Chas. Wm.,, 
 b. Salisbur}', England, Dec. 5, 1856 
 pupil of Ayluard, Hoyte, Read anc 
 Pront ; i88r, Mus. Bac, 1884 Musj 
 Doc, Cambridge. From 1871 or 
 ganist various London churches. i88;l 
 Prof, of Trinity College ; co-editor 
 organist and choir-master ; wrot 
 various text-books, and c. an orato 
 rio. 
 
 Pear'sall, Robt. Lucas De, Clifton 
 Engl., 1795 — Schloss Wartensee al 
 Lake of Constance, 1856 ; writer an 
 composer. 
 
 Pearson. Vide pierson. 
 
 Pease (pez), Alfred Humphries 
 Cleveland, U. S. A., 1838— St. Louis 
 1882 ; pianist and composer. 
 
 Pedrell (pa-dhrel), Felipe, b. Spairj 
 ca. 1835 ; lives in Madrid ; 189-:; 
 prof, of Mus. History and .Esthetic: 
 Royal Cons., Madrid ; editor, critiii 
 lexicographer and writer ; c. 2 opij 
 ras, symphonic ''Scent'" a mass, et! 
 
 Pedrotti (pa-drot'-te). Carlo, Veron:| 
 Nov. 12, 1817 — suicide, Oct. i< 
 1893 ; conductor and composer of 1 
 operas, etc. 
 
 Pellegrini (pel-la-gre'-ne), (i) Felic 
 Turin, 1774 — Paris, 1832; bass, 
 buffo and composer. (2) Giuli 
 Milan, 1806 — Munich, 1858 ; bass 
 serio. 
 
 Pelletan (pel-tan), Fanny, Paris ( ' 
 1S30 — 1876 ; singer and writer. 
 
 Pembaur (pam'-bowr), Jos., b. Inr 
 bruck. May 23, 1848 ; studied ^ 
 enna Cons., later at Munich R. Sc 
 of Mus.; since 1875 dir. and hea 
 master, Innsbruck Mus. Sch.; pre, 
 V. succ. opera '' Zigenncrlebet!, 
 (1898), choral works with orcH 
 symph. " Im Tyrol" etc. 
 
 Penay Goni (pan'-ya e go'-ne), Ant 
 nio, San Sebastian, Spain, 1846- 
 Madrid, 1896 ; critic and compose! 
 
 Penfield, Smith Newell, b. Oberl 
 Ohio, April 4, 1837; pupil of J. 
 Flint, New York, and of Leip;; 
 Cons.; also studied in Paris; found 
 Savannah (Ga.) Cons., and MozC 
 Club ; also " Arion " Cons., Broi- 
 
 ir 
 
DICTIONARY OF MUSICIANS 667 
 
 Ivn, N. v.; since 1882, lives in New 
 York ; organist Broadway Taber- 
 nacle ; 1S84, Mus. Doc. Univ. of the 
 City of N. Y.; 1885, pres. of the 
 M. T. N. A.; c. psalm 18, with 
 orch.; overture, etc. 
 Pen'na, Lorenzo, Bologna, 1613 — 
 Imola, 1693 ; conductor and compos- 
 er. 
 Pentenrieder (pen'-ten-re-der), Fz, 
 X., Kaufoeuren, Bavaria, 18 13 — 
 Munich, 1867; organist and dram. 
 composer. 
 Pepusch (pa'-poosh), John Chr. (Jn. 
 Chp.), Berlin, 1667 — London, July 
 '" ' 20, 1752 ; violinist, composer and 
 writer ; pupil of Klingenberg and 
 (Irosse ; held a position at the Prus- 
 sian Court, but 1697 seeing the king 
 ' kill an officer without trial he went 
 to London. 17 10 founded the fa- 
 mous "Academy of Antient Music ;" 
 1712 organist and composer to Duke 
 of Chandos (succeeded by Handel), 
 dir. Lincoln Inn's Theatre, for which 
 he c. 4 masques, the music to the 
 enormously pop. '\Brggars Opera,'" 
 etc.; 1730 m. de I'Epire, the singer. 
 e'l; .^erabo (pa'-ra-bo), (Jn.) Ernst, b. 
 ;'; Wiesbaden, Germany, Nov. 14, 
 ''* •< 1845 ; at 7 brought to New York ; 
 ' pupil of his father ; then of Mosche- 
 les and Wenzel (pf.), Papperitz, 
 Richter, and Hauptmann (harm.), 
 and Reinecke (comp.), Leipzig Cons.; 
 returned to America, 1865; succ. con- 
 -- ' cert-pianist ; lives in Boston as teach- 
 er and pianist ; c. arrangements, etc. 
 ^er'cy, J., d. 1797 ; Engl, composer 
 of ballads, incl. "' VVapping Old 
 Stairs." 
 'ereira (pa-ra-era), (i) Marcos 
 Soares, Ciminha, Portugal — Lisbon, 
 A- ' Jan. 7, 1655 ; c. a mass, etc. (2) Do- 
 !-• i mingos Nunes, Lisbon — Camarate, 
 : near Lisbon, 1729; cond. and com- 
 poser. 
 'erepelitzin (pa-re-pe-let'-shen), Po- 
 lycarp de, Odessa, Dec. 14, 1818 ; 
 Russian colonel ; pupil of Lipinski 
 (vln.) ; writer and composer. 
 *erez (pa'-reth), Davide, of Spanish 
 
 parents, Naples, 171 1 — Lisbon, 1778; 
 cond. at Palermo Cath.; 1752, ct.- 
 cond., Lisbon ; rival of Jomelli as c. 
 of operas, incl. '" Dcmofoonte" ; c. 
 also notable church-mus. 
 
 Perfall (per'-fiil), K., Freiherr ant, b. 
 Munich, Jan. 29, 1824 ; studied mus. 
 with Hauptmann, Leipzig; 1854-64 
 founded and cond. the still succ. 
 " Oratorio .Soc." ; in 1864, Intendant 
 ct.-mus. ; 1867-1893, Litendant Ct.- 
 Th.; writer and composer of 4 op- 
 eras, 3 fairy cantatas, etc. 
 
 Perger (per'-ger), Richard von, b. Vi- 
 enna, Jan. 10, 1854; pupil of Brahms ; 
 1890-95, dir. and cond. Rotterdam 
 Cons.; 1895, cond. " Gesellschafts- 
 concerte," Vienna ; prod, (text and 
 mus.) succ. comic opera '' Der 
 Kichtfr von Granada " (Cologne, 
 1889), a vaudeville, vln. -concerto, etc. 
 
 Pergolesi (per-go-la'-se), Giov. Bat., 
 Jesi, Papal States, Jan. 4, 1710 — (of 
 consumption) Pozzuoli, near Naples, 
 March 16, 1736; eminent composer. 
 At 16 entered the Cons, dei Poveri 
 di Gesii Cristo, Naples, and studied 
 with de Matteis (vln.), Greco (cpt.), 
 Durante, and P^eo (cpt.). He speed- 
 ily won attention by novel harmonies 
 and threw off contrapuntal shackles 
 early. His last student-work, the 
 biblical drama " San Gtiglielmo 
 n Aqtiitania " (prod, with comic 
 intermezzi at the convent of S. Ag- 
 nello Maggiore, Naples, 1731) shows 
 the beginnings of vivid and original 
 fancy. He prod, at Naples in 173 1, 
 the e.xcellent and novel opera " 6"^/- 
 hesti a," and the intermezzo ''Amor 
 Fa r (Jomo Cieco" which had no 
 succ, while the opera seria " .A'/V/- 
 7>iero" was a distinct failure. But he 
 found a patron in the Prince of Stig- 
 liano, for whom he wrote 30 terzets 
 for vln. with bass ; he was commis- 
 sioned to compose a solemn mass for 
 Naples, which was performed after 
 the earthquake of 1731, as a votive 
 offering to the patron saint of the 
 city. It brought him immediate 
 fame. After four stage-works, prod. 
 
668 
 
 THE MUSICAL GUIDE 
 
 in 1732 the intermezzo " Zi? Scrva 
 Padrotia" (Naples, 1733); '^^on him 
 note as a dramatic composer and has 
 served as a model of comic operas 
 since ; it has only 2 characters and 
 the accompaniment is a string-quar- 
 tet with occasional support of horns. 
 His subsequent 6 operas were re- 
 ceived without interest (except for 
 the intermezzo to '' Adriano" first 
 given as " ZmV^/a e Tracollo'" and 
 later as " La Contadiiia Asfteia)," 
 though after his death they were re- 
 vived with immense enthusiasm, and 
 their harmonic novelty, sweetness, 
 delicacy and melodic charm were 
 recognised, " La Serva Padrona " 
 and " // Maestro di HTusica" be- 
 coming standards in France. Of the 
 failure of '' LJ O/iwpiadc" v. DUNI. 
 Irregulai- habits due to regular dis- 
 appointments undermined Pergolesi's 
 constitution, and he died of con- 
 sumption at the baths of Pozzuoli, 
 finishing five days before his death 
 his masterpiece, the celebrated " Sta- 
 bat Mater" for soprano and alto 
 with string orch. and org. He c. 
 also 3 masses with orch. ; Dixit for 
 double chorus and orch.; a Kyrie 
 cum gloria ; a Miserere, and a Lau- 
 date with orch., etc.; an oratorio, 
 " La A'attTJita," a cantata " Or/eo" 
 for solo voice and orch.; a cantata, 
 " Ciasone"; 6 cantatas with string- 
 accomp. ; 30 trios, etc. Biog. by Bla- 
 sis (1817) ; Villarosa (183 1). 
 Peri (pa'-re), (i) Jacopo (called "II 
 Zazzerino," i.e., the long-haired), 
 Florence, ca. 1560 — ca. 1630; of 
 noble birth ; pupil of Malvezzi ; 
 court-cond. at 3 successive courts ; 
 an enthusiast in ever)-thing classic, 
 he haunted the salons of Count Bar- 
 di and Corsi, where he joined the at- 
 tempt at revival of Greek musical rec- 
 itative, with Caccini and Corsi ; he 
 set to mus. Rinuccini'stext of " Da/- 
 ne"; this was doubtless the first op- 
 era ever written ; its effort at repro- 
 ducing the supposed manner of 
 yEschylos, Sophokles, etc. , was called 
 
 "stile rappresentativo " ; the oper 
 was given only once, and privately a 
 Bardi's house, but it won Peri a com 
 mission to set Rinuccini's text "Eu 
 ridice " for the wedding of Maria d( 
 Medici and Henry IV. of Franc 
 (1600) ; an ed. of his works was put 
 1603, incl. madrigals, etc. (i 
 Achille, Reggie d'Emilia, Ital) 
 18 12 — 1880; conductor and dran 
 composer. 
 
 Perisine. Vide la rue. 
 
 Perkins, (i) Wm. Oscar, Stocl 
 bridge, Vt., j\Iay 23, 1831 — Bostor 
 1902 ; pupil of Wetherbee, Bostoi 
 and of G. Perini, Milan ; 1879, Mui 
 Doc, Hamilton Coll.; lives in Bosto 
 as teacher and composer. (2) K 
 Southwick, b. Stockbridge, Vt 
 March 20, 1833 ; bro. of above 
 graduate, 1861, Boston Mus. Sch 
 1890, founded Chicago Nat. Coll. < 
 Mus.; cond. many festivals and coil 
 ventions ; 1875, studied with Wartj 
 at Paris and Vannuccini, Florence; 
 ed. colls, and composed. (3) JuHii 
 Edson, Stockbridge, 1845 — Maij 
 Chester, Engl., 1875 ; bro. of abovfi 
 bass ; 1S74, m. Marie Roze (lat 
 Mrs. ?.Iapleson). 
 
 Perne (parn), Fran. L., Paris, 1772- 
 May 26, 1832 ; pupil of Abbe d'Ha 
 dimont (harm, and cpt.); 1792, ch 
 rus-singer at the Opera ; 1799, dou 
 le-bass player in the orch.; 180 
 prod, a grand festival mass ; the ne 
 year he c. a triple fugue to be sui 
 backwards on reversing the pag 
 1811, prof. harm, at the Cons,; 181 
 Inspector Gen.; 1819, libr.; 182 
 retired to an estate near Laon ; 
 returned to Paris a few weeks befc 
 he died ; he was indefatigable in 1 
 search, and an authority on Gre 
 notation, the troubadours, etc.; writ 
 and composer. 
 
 Perosi (pa-ro'-se), Don Lorenzo, 
 Tortona, Italy, Dec. 23, 1872 ; 
 young priest and organist who t 
 attracted much attention by his ; 
 cred mus., though critics are divid 
 as to its value ; it aims to use mc 
 
 »l 
 
DICTIONARY OF MUSICIANS 669 
 
 ern resources and ancient principles ; 
 pupil of Saladino, Milan Cuns.; 1S94, 
 of liaberl's Domchorschule, Ratis- 
 bon ; 1895, cond. at Imola ; from 
 1S97, at San Marco, Venice; his sa- 
 cred trilogy "Z(2 Fassione di Crista" 
 (a, " Zfl Cena del Signore"; b, 
 " L'Orazione al Monte"; c, ''La 
 MortedelRedentore"), Milan, 1897, at 
 the Ital. Congress for Sacred Mus. , 
 created a sensation, and has been 
 widely performed ; 1898, Pope Leo 
 XIII. made him honorary rnaestro of 
 the Papal Choir ; c. also 15 masses ; 
 c. also oratorios, " Z« Tra^isfigu- 
 razione del Nostra Signore Gesh 
 Crista" (1898), " Za Risurrezione di 
 Lazara" (Venice, July 27, 189S, in 
 La Fenice Th., by special permission), 
 " // Natale del Redentore" (Como, 
 iSgg) ; " Mosl- " (Rome, 1902). 
 Perotinus, Magnus, Magister ; 12th 
 cent, composer ; conductor at Notre- 
 Dame, Paris. (Coussemaker.) 
 Perotti (pa-rot'-te), Giov. Ag., Ver- 
 ceUi, 1760 — Venice, 1855 ; writer and 
 composer. 
 Perrin (per-rah), Pierre (called TabbJ, 
 though never ordained), Lyons, ca. 
 1620 — Paris, 1675 ; librettist of the 
 first French operas. 
 Perron (per'-ron), Karl, b. Franken- 
 thal, June 3, 1858 ; barytone ; stud- 
 ied with Hey and Hasselbeck and 
 Stockhausen ; concert-debut, 18S0; 
 1S84-91, Leipzig City th.; then at 
 Dresden ct. -opera. 
 Perry, (i) G., Norwich, 1793— Lon- 
 don, 1S62 ; director and composer. 
 (2) Edw. Baxter, b. Haverhill, 
 Mass., Feb. 14, 1S55 ; pianist; blind 
 from an early age ; pupil of J. W. 
 Hill, Boston ; later of KuUak, Clara 
 Schumann, Pruckner and Liszt , 
 played before the German Emperor ; 
 in 10 years he gave 1,200 concerts in 
 America; originated the "lecture-re- 
 cital" ; c. fantasia " Loreley" " The 
 Lost Lsland" etc., for piano. 
 Persiani (per-sl-a'-ne), (i) (nee Tac- 
 chinardi) (tak-kl-nar'-de), Fanny, 
 Rome, Oct. 4, 1812— Passy, near 
 
 Paris, May 3, 1867; daughter and pu- 
 pil of the tenor-singer Nicola T. ; 
 one of the most noted and succ. colo- 
 rature-sopranos of the century ; lack 
 ing in appearance and possessed of a 
 faulty voice, she compelled homage 
 by her perfect technic ; in 1830 she m. 
 (2) Giuseppe Persiani (1804 — 1869), 
 a composer of operas. 
 Persuis (per-swes), Louis Luc Loi- 
 seau de, Metz, 1769 — Paris, 1819; 
 violinist, conductor, prof, and comp. 
 Perti (per'-te), Jacopo A., Bologna, 
 June 6, 1661 — April 10, 1756; one of 
 "the chief 17th cent, composers of op- 
 eras ; pupil of Padre Franceschini ; 
 at 19 prod, a mass; church-conductor 
 and composer of oratorios, etc., also 
 21 operas. 
 Pescetti (pa-shet'-te), Giov. Bat., Ve- 
 nice, 1704 — (probably) 1766; organ- 
 ist and dram, composer. 
 Peschka-Leutner (pesh'-ka-loit'-nSr), 
 Minna, Vienna, 1839 — Wiesbaden, 
 1890 ; soprano. , 
 Pessard (pes-sar), Emile Louis For- 
 tune, b. Montmatre, Seine, May 
 28, 1843; pupil of Paris Cons.; won 
 1st harm, prize ; 1866, Grand Pri.x de 
 Rome, with cantata " Dalila" (Opera, 
 1867) ; 1878-80, inspector of singing, 
 Paris schools; 18S1, prof, of harm, 
 at the Cons. ; dir. of mus. instruction 
 in the Legion of Honour ; since 
 1895, critic ; prod. 10 comic operas 
 and operettas, incl. " Le Capitaine 
 Fracasse" (Th. Lyr., 1878) ; c. also 
 masses, etc. 
 Pes'ter-Pros ky, (i) Bertha, b. Frank- 
 fort-on-Main, March, 1866 ; soprano 
 there, then Berlin in operetta; studied 
 with Frau Dreyschockand reappeared 
 as dramatic soprano ; 1894 m. the 
 harpist (2) Reinhold Pester and 
 toured with him ; 1899 at Cologne 
 City Theatre. 
 Peters (pa -ters). (1) Carl Fr., Leipzig 
 pub. firm, founded 1814 by C. F. 
 Peters ; 1893, a large library was 
 opened to the public as the " Biblio- 
 thek Peters." (2) Max Abraham, is, 
 since 1S63, sole proprietor 
 
670 
 
 THE MUSICAL GUIDE 
 
 Petersen (pa -ter-zen), (i) Peter 
 Nikolaus, Bederkesa, 1761 — Ham- 
 burg, 1830; player on, improver of, 
 and composer for, the flute. (2) 
 Margarete, b. Amager, near Copen- 
 hagen, Oct. I, 1869; alto; pupil of 
 Geistingers and Schytte ; toured and 
 lives in Copenhagen. 
 
 Petersilea (pa'-ter-se'-la-a), Carlyle, 
 b. Boston, Mass., Jan. 18, 1844; 
 pianist and teacher ; pupil of his 
 father, and at Leipzig Cons., winning 
 the Helbig prize for pf. -playing ; 
 toured Germany with succ. ; lives in 
 Boston; est. 1871 "The Petersilea 
 Acad, of Mas." ; 1886, teacher New 
 Engl. Cons.; 1884 studied with Liszt 
 at Weimar, and gave a concert at the 
 Singakademie, Berlin ; pub. pf.- 
 studies. 
 
 Petit, Adrien. Vide coclicus. 
 
 Petrejus (pa-tra'-yoos), Jns., Langen- 
 dorf, Franconia — Niirnberg, 1550; 
 mus. -printer. 
 
 Petrella (pa-trel-lii), Errico, Paler- 
 mo, Dec. 10, 1813 — in poverty, 
 Genoa, April 7, 1877 ; v. succ. 
 Italian composer of operas, rivalling 
 Verdi's popularity, " Marco Visconti" 
 and " Za Contessa d'AmalJi" most 
 succ; pupil of Saverio del Giudice 
 (vln.) and Naples Conservatorium. 
 
 Petri (pa -tre), (i) Jn. Samuel, Sorau, 
 1738 — Bautzen, ,1808; cantor and 
 writer. (2) H., b. Zeyst, near 
 Utrecht, April 5, 1856 ; violinist ; 
 pupil of David ; 1882 - 8g leader 
 Gewandhaus Orch. with Brodsky, 
 then leader Dresden Ct. -orch.; com- 
 poser. 
 
 Petrini (pa-tre'-ne), Fz., Berlin, 1744 
 — Paris, 1819 ; harpist and theorist. 
 
 Petrucci (pa-troot'-che), Ottaviano 
 dei, Fossombrone, June 18, 1466 
 — May 7, 1539 - inv. of mus. -print 
 ing with movable types ; in 1498 
 received from the Council of the Re- 
 public of Venice a 20 years' monopoly 
 of mus. -printing by his method ; 
 151 1-23 at Fossombrone with a 15 
 years' privilege for the Papal States ; 
 his method, which required 2 impres- 
 
 sions, one of the lines, one of the 
 notes, was beautifully managed and 
 specimens are valuable ; he publ. 
 many of the most important comps. 
 of his time and of previous compos- 
 ers. 
 
 Petrus de Cruse (Pierre de la 
 Croix) (pa-troos du kriiz or pl-ar du 
 la krwa), of Amiens ; a 13th cent 
 writer. (Coussemaker.) | 
 
 Petrus Platen'sis. Vide la rue. 
 
 Petschke (petsh'-ke). Dr. Hn. The 
 bald, Bautzen, 1806 — Leipzig, 188) 
 director and composer. 
 
 Petsch'nikoff, Alex., b. Jeletz, Rus 
 sia, Feb. 8, 1873 ; violinist ; pupil i 
 Moscow Cons.; at 10 entered Mos-; 
 cow Cons, and took prize ; touredi 
 Europe with great succ, 1895-96;! 
 America, 1899 ; lives in Berlin. : 
 
 Pet'tit, Walter, b. London, March! 
 14, 1836; pupil R. A.M.; 'cellist,! 
 Philh. orch. and in the court band, j 
 
 Petzmayer (petsh'-ml-er), Jn., b. Vi-j 
 enna, 1803 ; zither virtuoso. j 
 
 Petzold (pet'-tsolt), (i) Chr., Konig-j 
 stein, 1677 — Dresden, 1733 ; ct.-or-i 
 ganist and composer. (2) (or Petz-j 
 hold), Wm. Leberecht, b. Licht-! 
 enhain, Sa.xony, 1784; piano-maker.! 
 (3) Eugen K., Ronneburg, Alten-i 
 burg. 1813 — Zofingen, Switz., 1S89 : 
 director and organist. 
 
 Pevernage (pu-ver-nazh), Andr6 (01 
 Andreas), Courtray, Belgium, 1542' 
 — Antwerp, 1591 ; choirm. Notre-j 
 Dame and composer. ; 
 
 Pezel (pa'-tsel) (Pezelius Jn.), town- 
 musician at Bautzen and Leipzig 
 writer and composer 1674. 
 
 Pezze (ped'-ze). Ales., b. Milan 
 1835 ; 'cellist ; in London from 1857 
 pupil Merighi. 
 
 Pfeiffer (pflf'-fer), K., 1833 (?)— Vi 
 enna, 1897 ; dram, composer. (2 
 (pfef-fa), Jean Georges, b. Ver- 
 sailles, Dec 12, 1835 ; pianist ; pupi' 
 of Maleden and Damcke ; 1862 de 
 but ; won Prix Chartier for chamber- 
 mus.; critic; member of the firm oi 
 Pleyel, Wolff et Cie., Paris; c. a 
 symph., a symph. poem, ' Jeannt 
 
 I 
 
 I 
 
DICTIONARY OF MUSICIANS 671 
 
 ^\ 
 
 if Arc"; pf. concertos, 3 operettas, 
 oratorio " //agar," etc. 
 
 Pfeil (pfTl), H., b. Leipzig, Dec. 18, 
 1S35 ; since 1862, ed. " Sdn^erhalle" 
 (the organ of the Sangerbund) ; c. 
 male choruses. 
 
 Pfitzner (pflts'-ner), Hans Ehrich, b. 
 Moscow, May 5, 1869 ; pupil of 
 Hoch Cons., Frankfort; 1892-93, 
 teacher of pf. and theory, Coblenz 
 Cons.; 1894-95, asst. -cond. City 
 Th., Mayence ; and prod, his succ. 
 mus. drama '' Der artne //einrich" 
 (Mayence, 1895) ; also incid. mus. to 
 Ibsen's " Festival on Solhaiig" ; 
 1897-9S, teacher in Stern Cons., Ber- 
 lin ; c. scherzo for orch.; ballad 
 " Herr Oluff" for bar. and orch. 
 (Crefeld, 1902) ; pf.-trio, etc. 
 
 Pflughaupt (pflookh'-howpt), (i) 
 Robt., Berlin, 1S33 — Aix-la-Cha- 
 pelle, 1871 ; pianist and composer. 
 (2) Sophie (nee Stschepin), Utin- 
 aburg, Russia, 1837 — Aix-la-Chapelle, 
 1867 ; pianist. 
 
 Pfohl (pfol), Fd., b. Elbogen, Bohe- 
 mia, Oct. 12, 1863 ; critic ; studied 
 mus. at Leipzig (1885) ; c. an orch. 
 suite, etc. 
 
 Pfundt (pfoont), Ernst Gotthold 
 Benj., Dommitzsch, near Torgau, 
 1806 — Leipzig, 187 1 ; tympanist ; 
 inv. the ' ' machine-head ; " wrote 
 method for kettle-drum. 
 
 Phalfese (fa-lez), P. (Petrus Phale'- 
 sius), b. Louvain, ca. 1510 ; 1545, est. 
 a mus. -publishing business; 1579 re- 
 moved to Antwerp, as " Pierre Phal- 
 ese et Jean Bellere." 
 
 Phelps," Ellsworth C, b. Middle- 
 town, Conn., Aug. 11, 1827; self- 
 taught; at 19 organist; from 1857, 
 Brooklyn ; teacher in pub. schools 
 for 30 years ; c. 2 comic operas ; 
 symphs. " //iaivatha" and ''Eman- 
 cipation ; " 4 symphonic poems ; 
 Psalm 145, with orch., etc. 
 
 Philidor (rightly Danican) (fe-ll-dor 
 or da-nl-kah). A famous French 
 family called usually Danican-Phil- 
 idor, the name Philidor being taken 
 from a remark of the King comparing 
 
 Jean D. with his favourite oboist 
 Philidor. There seem to have been 
 two named Michel, (i) the first, 
 b. Dauphine — d. Paris, ca. 1650, the 
 oboist whom the King praised ; the 
 other (2) Michel, d. 1659, ct.-mus. 
 
 (3) Jean, d. Paris, Sept. 8, 1679, in 
 the King's military band. (4) An- 
 dr6 D.-P. (I'aine), b. Aug. 11,1730; 
 cromorne-player, and composer. He 
 had 16 children. (5) Jacques (le 
 cadet), Paris, 1657 — Versailles, 1708 ; 
 bro. of (4), oboist, etc., favourite of 
 Louis XIV.; c. military music, etc.; 
 he had 12 children, four of whom 
 were musicians, the best known being 
 (6) Pierre, 1681— 1731 ; flutist ; c. 
 suites, etc., for flutes. (7) Anne, 
 Paris, 168 1 — 1728 ; eldest son of 
 
 (4) ; flute-player, and conductor ; be- 
 fore he was 20, prod, operas at court. 
 (8) Michel, b. Versailles, 1683, 2nd 
 son of (4); a drummer. (9) Fran., 
 Versailles, 16S9 — 1717(18 ?), 3rd son 
 of (4); oboist and bass-violist ; c. flute- 
 pcs. (10) Fran. Andr6, Dreux, 
 Sept. 7, 1726 — London, Aug. 31, 
 1795 ; last and greatest of the family, 
 the youngest son of (4) ; remarkable 
 chess-player of European fame ; mu- 
 sical pupil of Campra. At 30 he sud- 
 denly began to prod, operas with 
 great succ, his best works being the 
 following (among 25 notable for orch. 
 and harm, brilliance): " Z^ Viable h. 
 quatre" (Op. -Com., 1756); " Zif 
 Marshal" (1761), performed over 
 200 times ; '' Le Border" and " Tom 
 Jones" (only 8 weeks apart, in 1704 ; 
 the latter containing the then novelty 
 of an unaccompanied quartet) ; the 
 grand opera, his best work, '' Erne- 
 linde" \-l(i-l (revised, 1769, as " Sando- 
 mir"). Biog. by Allen (Philadelphia, 
 1863). He had four sons all ct. mus. : 
 (II) Pierre, Paris, 1681— i74o(?) ; 
 oboist, flutist and violist ; c. suites and 
 prod, a pastorale at court. (12) 
 Jacques, 1686— 1725, oboist. (13) 
 Francois, 1695 — 1726, oboist. (14) 
 Nicolas, 1699 — 1769; played the 
 serpent, etc. 
 
 \ 
 
672 
 
 THE MUSICAL GUIDE 
 
 Phil'ipp, Isidor (Edmond), b. Pesth, 
 Sept. 2, 1863 ; pianist ; a naturalised 
 French citizen ; came to Paris as a 
 child ; at 16 pupil of Georges Ma- 
 thias, at the Cons.; won ist. pf.-prize, 
 in 1883 ; studied with Saint-Saens, 
 Stephen Heller, and Ritter ; played 
 with succ. in European cities ; est. 
 concerts (with Loeb and Berthelier), 
 producing modern f'rench chamber- 
 comps.; reorganised the " Societe des 
 instr. a vent " ; cofounder and pres. 
 of the " Soc. d'Art " ; pub. a " Suite 
 fantastiqiie" a '"Reverie tinHanco- 
 lique" a " Serenade kn/noristiijue" 
 for orch., etc. 
 Philippe, (i) de Caserte. Vide ca- 
 SERTA. (2) de Mons. Vide monte. 
 (3) deVitry. Vide vitry. 
 Philipps, (I) Peters (or Petrus 
 Philip'pus, Pietro Filip'po), Eng- 
 land, ca. 1560 — April, 1625 ; organist 
 and composer. (2) Arthur, b. 1605, 
 organist at Oxford, prof., and com- 
 poser. (3) Henry, Bristol, 1801 — 
 Dalston, 1876 ; bass-barytone. (4) 
 Wm. Lovell, Bristol, 1S16— 1S60; 
 'cellist and composer. (5) Adelaide, 
 Stratford-on-Avon, 1S33 — Carlsbad, 
 1882 ; noted contralto, taken to 
 America as a child ; pupil of Garcia ; 
 debut, Milan, 1854. 
 Philomath es, Wenzeslaus (called 
 " de Novadomo," because born at 
 Neuhaus, Bohemia), pub., 15 12, 
 a treatise. 
 Philp (flip), Elizabeth, Falmouth, 
 1827 — London, Nov. 26, 1SS5 ; sing- 
 er and writer. 
 Phil'pot, Stephen Rowland, living 
 Engl, composer ; pupil of Macfarren, 
 R. A. M., c. operas (not prod.), etc. 
 Piatti (pe-at'-te), (i) Carlo Alfredo, 
 Bergamo, Jan. 8, 1S22 — Bergamo, 
 July 19, 1901 ; 'cello-virtuoso (son 
 of a violinist, (2) Antonio P., d. 
 Feb. 27, 1878) ; pupil of his grand- 
 uncle, Zanetti, and of jNIerighi, Milan 
 Cons.; debut, Milan, 1838; at 7 had 
 played in an orch., 1849, ist 'cello 
 It. opera, London ; from 1859 at 
 Monday and Saturday Pop. Concerts 
 
 of chamber-mus. ; pub. a method for 
 'cello, 2 'cello-concertos, vocal mus. 
 with 'cello obbligato, etc. 
 Piccinni (or Piccini or Picinni) (ptt- 
 chm'-ne), (i) Nicola, Bari, Jan. 16, 
 1728 — Passy, near Paris, May 7, 
 iSoo; operatic composer, famous 
 as a rival of Gluck. Son of a mu- 
 sician who opposed his tastes. The 
 Bishop of Bari recognising his talent 
 and irrepressible passion for music 
 overcame opposition, and at 14 he 
 entered the Cons, di San Onofrio, 
 Naples, remaining for 12 years, as 
 favourite pupil of Leo and Durante.! 
 lie entered into competition with the' 
 popular Logroscino, and prod, the; 
 V. succ. opera-buffa " Le Donne Dis-i 
 pettose" (1754), followed by (i755)| 
 " Gelosia per Gelosia " and "// Ctiri-\ 
 oso del siio propria Datino " / whichi 
 had the unprecedented run of fouij 
 years, '■' Alessandro nelle Jndie'" 
 (Rome, 175S), and " Cecehina Zitel-: 
 la, o La Buona Figliuola " (Rome,; 
 1760), the most success, work of its, 
 kind in Europe, though written in 2\ 
 weeks, were hailed as masterworks.j 
 His new dramatic fervour and his ex- 
 tended duets and varied finales gavd 
 him such prestige that he is said tci 
 have c. 133 dramatic works, incl. " /; 
 Re Pastore "(17M ; " VOUmpiade 'j 
 (1761) previously though less succ' 
 set by Pergolesi, Galuppi and Jomel; 
 li ; revised 1771 ; '■'Berenice " (1764) '■ 
 '' Le Cecehina Maretata" (1765)1 
 " Didone abbandonata "{ilb-j) ; " An] 
 tigone" {ilTi^). I773. the Romai 
 public favoured his pupil Anfossi, anc; 
 hissed one of P.'s operas, which pros 
 trated him with grief ; on recovering 
 he regained favour with ' / Viaggi 
 atori." In response to flattering in 
 vitations in 1776 he removed with hi 
 family to Paris, spent a whole yea 
 learning the tongue and writing hi 
 first French opera, " Roland" (Opera 
 177S), which had a sacc. said to b' 
 due largely to the necessity the anti 
 Gluck faction was under to find a ri 
 val. The war betwen the ' ' Gluck 
 
DICTIONARY OF MUSICIANS 673 
 
 ists" and "' Piccinists " was violent 
 and incessant, though P. regretted 
 his position and made a vain effort 
 after Gluck's death, to raise a fund 
 for annual concerts in his memory. 
 He had succ. with the following 
 French operas, " Le fat tueprise" 
 (1779), '' Atys" (1780), '' Didoii," 
 " Le dormeur eveillJ" and " Le faux 
 Lord'' (all 3 in 17S3). In 177S, as 
 dir. It. Opera, whose performances 
 alternated with the P'rench company 
 at the Opera, he produced his best 
 Italian works with succ. The man- 
 agement simultaneously commissioned 
 both Gluck and P. to set the opera 
 " IpJiigetiie en Tauride "/ P. had 
 his libretto rewritten by Ginguene, 
 and his version was delayed till 
 after Gluck had made a triumph 
 and left Paris. P.'s opera, though 
 usually called a failure, ran 17 nights 
 in spite of having an intoxicated 
 prima donna on the first night to start 
 the joke " Iphigeiiie en Champagne" . 
 Half a dozen others failed or were 
 never performed. A new rival, Sac- 
 chini, now appeared When this sec- 
 ond succ. rival died, the large-hearted 
 Piccinni delivered a glowing funeral- 
 eulogy over him. 1784, he was Mai- 
 tre de chant at the new " Ecole roy- 
 ale de musique et declamation." His 
 last operatic attempts in French were 
 unsucc. At the outbreak of the Rev- 
 olution he lost his positions, and re- 
 tired to Naples, on a pension. But 
 his daughter m. a young French rad- 
 ical, and P., suspected of republican- 
 ism, was kept a prisoner in his own 
 house for four years, in extreme pov- 
 erty. 1798, he returned to France, 
 was feted at the Cons., presented 
 with 5,000 francs and small irregular 
 pension. He was prostrated for some, 
 months by paralysis ; a sixth inspec- 
 torship was created at the Cons, for 
 him, but he soon fell ill and died. 
 (2) Luigi, Naples, 1766— Passy, 
 July 31, 1S27 ; son and pupil of above; 
 ct.-cond. at Stockholm and dr. com- 
 poser. (3) Louis Alex., Paris, 1779 
 43 
 
 — 1850 ; grandson and pupil of (i) ; 
 conductor and dram. -composer. 
 
 Piccolomini (plk-k6-l6'-me-ne), Ma- 
 ria, b. Siena, 1836 ; mezzo-soprano 
 of "hardly one octave and a half- 
 compass" (Chorley), but so excellent 
 an actress, that she became a great 
 rage ; pupil of Mazzarelli and Rai- 
 mondi, Florence ; debut there 1S52, 
 with great succ, sang in Italy, Lon- 
 don, Paris and New York '(1S58) ; 
 1863, m. the Marquis Gaetani, and 
 retired from the stage. 
 
 Pichel (or PichI) (pesh'-'l), Wenzel, 
 Bechin, Bohemia, 1741 — Vienna, 
 1805 ; violinist ; c. 700 works. 
 
 Picinni Vide piccinni. 
 
 Piel (pel), Peter, b. Kessenich, near 
 Bonn, Aug. 12, 1835 ; from 1S68, 
 teacher Boppard-on-Rhine ; 1887, 
 R. Mus.-Dir. ; wrote a harm.; c. 8 
 Magnificats (in the church-modes), 
 etc. 
 
 Pieragon, or Pierchon. Vide la 
 
 RLE. 
 
 Pierne (p'yer-na) (H. Constant) Ga- 
 briel, b. Metz, Aug. 16, 1863 ; pu- 
 pil of Marmontel, Cesar Franck and 
 Massenet, Paris Cons.; won 1st prize 
 (1879), (^lo- for cpt. and fugue (1S81), 
 do. for organ (18S2) and Grand prix 
 de Rome (1SS2); 1890, organist Ste. 
 Clothikle (vice Cesar Franck); 1893, 
 prod, spectacle '' Bonton d'or" ; op- 
 era, "/s///" (1804) ; succ. ''Vendue" 
 (Lyons, 1897); a hymn to the Russian 
 visitors, 'La Fraternelle" 1893, 
 etc. 
 
 Pierre (pK-ar'), Constant, b. Passy, 
 Aug. 24, 1855; pupil of Paris Cons.; 
 bassoon-player ; assist, sec. at the 
 Cons.; ed. ' Le Monde niusicaV ; 
 wrote a history of the Opera orches- 
 tra (for which the " Soc. des compos- 
 iteurs" awarded a prize, 1889), etc. 
 
 Pier'son, (r) or Pier'zon. Vide i.A 
 RUE. (2) (rightly Pearson), Henry 
 Hugo (early pen-name " Edgar 
 Mansfeldt "), Oxford, 1815— Leip- 
 zig, 1873; prof, of mus. ; prod, in 
 Germany 4 operas. (3) Pierson- 
 Brethol (bra -tol), Bertha, b. Vienna, 
 
67+ 
 
 THE MUSICAL GUIDE 
 
 L 
 
 July 15, 1861; soprano; studied with 
 Laufer, Varesi and Lamperti ; debut, 
 Graz; toured U. S. 1882-84; 1S84- 
 88 in Italy singing Wagner, etc.; 
 then Berlin 18S2 ; retired 1897 ; wife 
 of (4) Henry, 1S51 ?— Berlin, Feb. 
 17, 1902 ; opera-director; from 1889, 
 court-dir. at Berlin. 
 
 Pieterez (pe'-te-ras), Adrian, b. 
 Bruges, early 15th cent.; first known 
 org. -builder in Belgium. 
 
 Pidton (pl-a-ton), Loyset, French 
 contrapuntist, 1531. 
 
 Pig'gott, (i) Francis, d. 1704; Engl, 
 organist at O.xford ; composer. (2) 
 Francis, Jr., d. 1736 ; son and succ. 
 of above. 
 
 Pilk ington, Francis, Engl, lutenist 
 and composer, 1595-1614. 
 
 Pilotti (pe-lot-te), Giuseppe, Bo- 
 logna, 1784— 1S38 ; son and succ. of 
 an org. -builder ; professor, writer and 
 dram, composer. 
 
 Pinelli, Ettore, b. Rome, Oct. 18, 
 1S43; violinist; pupil of Ramaciotti 
 and Joachim ; 1866, founded (with 
 Sgambati) soc. for classical chamber- 
 mus.; 1874, the " Societa Orchestrate 
 Romana," which he cond. ; since 
 1877, in the Liceo Musicale ; also 
 cond. ct. -concerts alternately with 
 Sgambati; c. overture '' Rapsodia 
 italiana," etc. 
 
 Pinner, Max, New York, 185 1 — Da- 
 vos, Switzerland, 1887; pupil Leip- 
 zig Cons, and of Tausig ; pianist and 
 teacher. 
 
 Pinsuti (pm-soo'-te). Giro, Sinalunga, 
 Florence, 1829 — Florence, 1888 ; fa- 
 mous vocal teacher at the R. A. M., 
 London, from 1856; composer of op- 
 eras and very popular songs. 
 
 Pintt, (I) Thos., b. Engl., d. Ireland, 
 1773 ; remarkable pianist. (2) G. 
 Fred., Lambeth, 1786— Little Chel- 
 sea, 1806 ; grandson of above ; vio- 
 linist, pianist, singer and composer. 
 
 Piozzi(pe-6d'-ze), Gabriel, b. Florence; 
 d. Engl., 1809; teacher and composer; 
 immortal chiefly for having married 
 Dr. Samuel Johnson's Mrs. Thrale, 
 1784. 
 
 Pipegrop (pe'-pe-grop) (called Bary- 
 phonus), H., Wernigerode, 1581 — 
 (^uedlinburg, 1655 ; town-cantor and 
 theorist. 
 
 Pipelare (pe-pe-la'-re), Matthaeus, 
 i6th cent. Belgian composer. 
 
 Pirani (pe-ra'-ne), Eugenio, b. Bo- 
 logna, Sept. 8, 1852 ; pianist ; pupil 
 of Golonelli, Bologna Liceo Musicale, 
 and of Th. Kullak (pf.) and Kiel 
 (comp.); 1870-80 in Kullak's Acad.; 
 lived in Heidelberg till 1895, then 
 Berlin ; wrote essays ; c. symph. 
 poem, '^ Heidell>e7-g" etc. 
 
 Pisa (pe'-za), Agostino, wrote earliest 
 known treatise on conducting, etc. 
 (2d ed., Rome, 1611). 
 
 Pisari (pe-sa'-re), Pasquale, Rome, 
 1725 — 1778 ; bass-singer and com- 
 poser, whom Padre Martini called 
 the " Palestrina of the i8th cent." 
 
 Pisaroni (pe-sa-ro'-ne), Benedetta 
 Rosamonda, Piacenza, 1793 — 1872; 
 high soprano ; after an illness became 
 a contralto. 
 
 Pischek (pe'-shgk), Jn. Bap., 
 Mscheno, Bohemia, 18 14 — Sigma- 
 ringen, 1873 ; barytone. 
 
 Pisendel (pe'-zent-el), Jn. G., Karls- 
 burg, 1687 — Dresden, 1755 ; violinist 
 and composer. 
 
 Pistocchi (pes-tok'-ke), Fran. Ant., 
 Palermo, 1659 — Bologna, after 1717; 
 founder of famous Sch. of Singing at 
 Bologna ; c. operas. 
 
 Pitoni (pe-to'-ne), Gius. Ottavio, Ri- 
 eti, Italy, March 18, 1657 — Rome, 
 Feb. I, 1743 ; an eminent teacher 
 and composer ; pupil of Xatale and 
 Froggia ; from 1677 cond. Coll. of 
 San Marco, Rome ; c. a Dixit in 16 
 parts for 4 choirs, etc. 
 
 Pitt'man, Josiah, 1816 ; organist, i 
 composer, writer and lecturer. 
 
 Pittrich (pit'-trikh), G. Washingtoi 
 b. Dresden, Feb. 22, 1870 ; studied ' 
 Dresden Cons., graduating with high 
 honours ; from 1890, chorusm. Dres- . 
 den ct. -opera, also cond. operas, bal- 
 lets, etc.. and taught chorus-singing 
 in the Cons.; 1898, cond. Hamburg 
 opera ; 1S99, ist cond. Cologne op- 
 
 J 
 
DICTIONARY OF MUSICIANS 675 
 
 era ; c. i-act opera " Marga " (Dres- 
 den, Feb. 8, 1894) ; incid. mus., a 
 clarinet-concerto, etc. 
 
 Piutti (pe-oot'-te), (1) K., Elgersburg, 
 Thuringia, April 30, 1846 — Leipzig, 
 June 17, 1902; notable organist ; pu- 
 pil, and from 1875, teacher Leipzig 
 Cons.; 18S0, also organist Thomas- 
 kirche ; wrote a harm. ; c. 6 fugal 
 fantasias, 8 preludes, '\Veddi)ig So- 
 nata^" etc., for organ. (2) Max., 
 Luisenhall, near Erfurt, 1852 — Jack- 
 son, Mich., 1SS5 ; brother of above; 
 writer, teacher and composer. 
 
 Pixis (pex'-es), (i) Fr. Wm., Mann- 
 heim, 1786 — Prague, 1842 ; violinist 
 and conductor. (2) Jn. Peter, 
 Mannheim, 1788 — Baden - Baden, 
 1874; bro. of above; pianist, teach- 
 er and dram, composer. 
 
 Pizzi (pld'-ze), Emilio, b. Verona, 
 Feb. 2, 1S62 ; pupil of Ponchielli and 
 Bazzini, Milan Cons., graduating 
 1884; took 1st prize Milan, 1885, for 
 i-act opera '' Liiia" ; ist and 2d 
 prize, Florence, for 2 siring quartets ; 
 prize of 5,000 francs, Bologna, 1889, 
 for succ. grand opera '"Guglielnw 
 Ratcliff" (Bologna, 1889) ; 1897, dir. 
 of mus.-sch. at Bergamo and at church 
 of S. Maria Maggiore ; c. also 2 
 I-act operas ''Gabriella" and ''Ro- 
 salba " (written for Adelina Patti, 
 1893-96), etc. 
 
 Plaidy (pll'-de), Louis, Huberts- 
 burg. Saxony, Nov. 28, 1810 — Grim- 
 ma, March 3, 1874 ; eminent pf.- 
 teacher ; pupil of Agthe and Haase ; 
 at first a violinist ; 1843, invited by 
 Mendelssohn to teach at the then new 
 Leipzig Cons., and did so till 1865 ; 
 wrote text-books. 
 
 Plank (plank), Fritz, b. Vienna, Nov. 
 7, 1S48 ; studied with Fr. Schmitt 
 and (lansbacher ; sang at Carlsruhe 
 and lives there ; sang at Bayreuth 
 since 1884, " Hans Sachs," etc. 
 
 Planquette(plaii-ket), (Jean) Robert, 
 b. Paris, July 31, 1850; studied 
 comp. with Duprato, Paris Cons., c. 
 chansons and '' Saynetes" for "ca- 
 fes-concerts " ; prod. succ. i-act op- 
 
 eretta " Faille d'Avoine" (1874), fol- 
 lowed by others inch the still pop. 
 comic opera, "' Les Cloches de Corne- 
 ville" (Folies- Dramatiques, 1877), 
 given over 400 times, consecutively, 
 and widely popular elsewhere (known 
 in Engl, as "Chimes of Normandy"); 
 later works incl. '" Mam'zelle Quaf 
 sous" (Gaite, 1897) and for London 
 " The Old Guard" (1887), and 
 ''Paul /ones" (1889). 
 
 Plantade (plah-tad), (i) Chas. H., 
 Pontoise, 1764 — Paris, 1839 ; prof, of 
 singing at Paris Cons.; ct. -conductor 
 and dram, composer. (2) Chas. 
 Fran., Paris, 1787— 1870; son of 
 above ; composer. 
 
 Plante (pliin-ta), Fran,, b. Orthez, 
 Basses Pyrenees, March 2, 1839 ; pi- 
 anist ; pupil of Marmontel at Paris 
 Cons. ; won ist prize after 7 months' 
 tuition ; pupil of Bazin (harm.) then 
 self-taught for 10 years ; reappeared 
 with succ. ; c. transcriptions. 
 
 Plantania (plan-ta-nl-ii), Pietro, b. 
 Catania, April 5, 1828 ; pupil of P. 
 Raimondi, at the Cons, there ; 1863, 
 dir. Palermo Cons.; later cond. Mi- 
 lan (1888), dir. R. Coll. of Mus. at 
 Naples ; wrote a treatise on canon 
 and fugue ; c. 5 operas ; a symph. 
 '' L Italia" ; funeral symphony in 
 memory of Pacini, festival symph. 
 with choruses to welcome King Hum- 
 bert in 1878, etc. 
 
 Platel (pla-tel), Nicolas Jos., Ver- 
 sailles, 1777 — Brussels, 1835 ; 'cellist; 
 prof, and composer. 
 
 Pla'to, eminent Greek philosopher, 429 
 — 347 B.C.; formulated in his " 7"?- 
 maeus" a system of harm., ^interpret- 
 ed in Th. H. Martin's '' Mtudes sur 
 les Timee de Platon" etc. 
 
 Play'ford, (i) John, 1623 — 1693 ; 
 London mus. -publisher. (2) Henry, 
 his son and successor, 1657 — 1710. 
 
 Ples'ants, Thos., 1648 — 1689; or- 
 ganist at Norwich. 
 
 Pleyel (plT'-el, or ple'-yel), (i) Ignaz 
 Jos., Ruppertshal, near Vienna, 
 June I, 1757 — at his estate near Paris, 
 Nov, 14, 1831 ; pianist, ct. cond.; 
 
676 
 
 THE MUSICAL GUIDE 
 
 founded, 1797, at Paris a piano factory 
 still known as Pleyel, Wolff & Co.; c. 
 2g symphs., sonatas, etc. (2) Ca- 
 mille, Strassburg, 1788 — Paris, 1855; 
 son, pupil and successor of above ; a 
 pianist and composer ; his successor 
 in business was August Wolff. (3) 
 Marie F61icit6 Denise, Paris, 
 1811 — St.-Josse-ten-Noode, 1875 ; 
 wife of (2) ; pianist and teacher. 
 
 Pliiddemann (plut'-de-man), Martin, 
 Kolberg, 1854 — Berlin, 1897 ; con- 
 ductor and singing teacher, writer 
 and composer. 
 
 Plutarch (Plutar'chos) (ploo'-tark), 
 Chaeronea, Boeotia, ca. 50 a.d. — 
 120 (131 ?) ; the Greek biographer ; 
 wrote treatises ^' De inusica," con- 
 taining important data. 
 
 Poenitz (pa'-nltsh), Fz., b. Bischofs- 
 werda, Aug. 17, 1850; harpist; 
 studied with Weitzmann, Berlin ; 
 since 16 at the ct. opera ; composer. 
 
 Pohl (pol), (i) K. Fd., Darmstadt, 
 1819 — Vienna, 1887 ; writer. (2) 
 Richard, Leipzig, 1826 — Baden- 
 Baden, 1896 ; ed. and writer (pen- 
 name " Hant "). (3) Bd. Vide 
 
 POLLINl. 
 
 Pohlenz (po'-lents), Chr. Aug., Saal- 
 gast, Niederlausitz, 1799 — Leipzig, 
 1843 ; organist, conductor and com- 
 poser. 
 
 Poise (pwaz), Jn. Alex. Fd., Nimes, 
 1828 — Paris, 1S92 ; dram, composer. 
 
 Poisot (pwa-zo), Chas, femile, b. 
 Dijon, France, July 8, 1822; pianist; 
 pupil of Paris Cons.; co. -founder 
 " Soc. des Compositeurs"; founder 
 and dir. Dijon Cons., also from 1872 
 cond. Soc. for Sacred and Classical 
 Mus. ; dram, composer and wriler. 
 
 Poiszl (poish'-'l), Jn. Nepomuk, 
 Freiherr von, Haukenzell, Bavaria, 
 1783 — Munich, 1865; dram, com- 
 poser. 
 
 Polchau (pel'-khow), G., Cremon, 
 Livonia, 1773 — Berlin, 1S36 ; libra- 
 rian and collector. 
 
 Pole, Wm., b. Birmingham, Engl., 
 April 22, 1 8 14 ; Mus. Doc. Oxon., 
 1864 ; 1876-90, examiner in Mus. 
 
 London Univ. ; writer ; c. Psalm 100 
 in cantata-form, etc. 
 
 Polidoro (p5-ll-do'-ro), (i) Giuseppe, 
 d. Naples, 1873; singing- teacher, 
 Naples Cons. (2) Federico, b. 
 Naples, Oct. 20, 1S45 ; son and pu- 
 pil of above ; studied with Lillo, 
 Conti and d'Arienzo, essayist and 
 historian under pen-name " Acuti." 
 
 Polko (p61'-k6) (nee Vogel), Elise, 
 Wackerbarthsruhe, near Dresden, 
 1826 — Munich, 1899 ; mezzo-soprano 
 and writer of romantic musical es- 
 says. 
 
 Pollarolo (p61-la-r6'-l6), (i) Carlo} 
 Fran., Brescia, 1653 — Venice, 1722 ; 
 organist and dram, composer. (2),' 
 Ant., Venice, 1680 — 1750; son and 
 successor of above, and dram, com- 
 poser. 
 
 Polledro (p61-la-dr6), Giov. Bat.,; 
 Piova, n. Turin, 1781 — 1853 ; violin-! 
 ist, cond. and composer. j 
 
 Pollini (p61-le'-ne), (i) Fran., Laibach,! 
 Carniola, 1763 — Milan, Sept. 17,1 
 1846 ; pianist and pf.-prof., 1809, Mi- 
 lan Cons. ; perhaps the first to write 
 pf. -music on 3 staves. (2) Ed. (rightly 
 Pohl), Cologne, Dec. 18, 1838- 
 Hamburg, Nov. 27, 1897 ; tenor 
 later barytone ; but more famous a: 
 manager; his second wife was Biancj 
 Bianchi. (3) Cesare, Cavaliere de 
 b. Padua, July 13, 1858 ; studiec 
 with Bazzini, Milan ; 1883-85 dir. o 
 a Cons, at Padua ; resigned to writi 
 and compose. 
 
 Pollitzer (p61'-hts-er), Ad., b. Pesth, 
 1832 ; violinist ; pupil of Bohm (vin.' 
 and Preyer (comp.), Vienna ; tourc' 
 Europe, then studied with Alard a 
 Paris; 1851 leader H. AL's Th. 
 London ; later New Philh. Soc. 
 prof, of vln., London Acad, of Mus. 
 since 1890, director. 
 
 Polonini (p5-15-ne'-nt), (i) Entimic, 
 Italian bass ; debut, London, 184; 
 (2) Aless., d. 1880; son of above 
 barytone. 
 
 Ponchard (pofi-shar), (i) L. Ani 
 fel^onore, Paris, 1787 — 1866; tenc 
 and prof, at the Cons. (2) Chas 
 
DICTIONARY OF JVIUSICIANS 677 
 
 Paris, 1S24 — i8qi ; son of above ; 
 teacher at the Cons. 
 
 Ponchielli (pon-kl-el'-le), Amilcare, 
 Paderno Fasolaro, Cremona, Aug. 
 31, 1S34 — Milan, Jan. i6, r886 ; op- 
 era composer ; pupil Milan Cons. ; 
 organist, then bandmaster, i88i;cond. 
 Piacenza Cath. from 1856; c. 10 op- 
 eras, incl. " Za Giacoiida" widely 
 popular ; 1902 his son discovered a 
 MS. opera "7 Mori Ji Valenza" 
 (composed, 1878-79). 
 
 Poniatowski (po-nl-a-tof -shkl), Jozef 
 (Michal Xawery Franciszek 
 Jan), Prince of Monte Rotondo, 
 Rome, 1816 — Chiselhurst, Engl., 
 1873 ; tenor and dram, composer. 
 
 Ponitz (pa'-nits), Fz,, b. Bischofs- 
 werda, W. Prussia, Aug. 17, 1850 ; 
 pupil of L. Grimm ; from 1866, 
 harpist Berlin roj'al orch.; 1891 
 " chamber-virtuoso ;" c. opera " Cle- 
 opatra" etc. 
 
 Pons (pons), Jos6, Gerona, Catalonia, 
 1768 — Valentia, 1818 ; composer. 
 
 Ponte, Lorenzo da. Vide da poxte. 
 
 Pontecoulant (p6h-ta-koo-lah), L. 
 Ad. le Doulcet, Marquis de, Paris, 
 1794 — Bois Colombe, near Paris, 
 1S82 ; writer. 
 
 Pontoglio (pon-tol'-yo), Cipriano, 
 Grumello- del -Piano, Italy, 183 1 — 
 Milan, 1892; dir. ; c. operas. 
 
 Poole, Elizabeth, b. London, April 
 5, 1S20 ; mezzo-soprano and violin- 
 ist. 
 
 Popper (pop'-per), David, b. Prague, 
 June 18, 1845 ; prominent 'cellist ; 
 pupil of Goltermann, Prague Cons.; 
 a member of Prince von Hechingen's 
 orch., at Lowenburg ; since 1863 has 
 toured Europe with greatest succ. ; 
 1868-73, 1st 'cello, Vienna ct.-orch.; 
 1872 m. Sophie Menter (divorced, 
 18S6) ; c. excellent and pop. 'cello- 
 pcs., a concerto, etc. 
 
 Porges (por'-ges), H., b. Prague, 
 Nov. 25, 1837 ; pupil of Miiller (pf.), 
 Rummel (harm.) and Zwonar (cpt.) ; 
 1863 co.-ed. " N'eue Zeitschrift fur 
 Miisik " ; friend and champion of 
 Wagner ; lived in Vienna; 1867 was 
 
 called to Munich by King Ludwig 
 IL; pf. -teacher R. Sch. of Mus. and 
 since 1871 R. Musikdirector ; writer 
 and composer. 
 
 Por'pora, Niccold A. (wrote his name 
 " Niccola," printed it as here), 
 Naples, Aug. 19, 1686 — 1766 (or 67); 
 eminent vocal teacher at London, 
 1729-36 ; ct.-conductor ; as dram, 
 composer, rival of Handel, c. about 
 50 operas. 
 
 Porporino (-re'-no). Vide uberti. 
 
 Porta (p6r'-ta), (i) Padre Costanzo, 
 Cremona, ca. 1530 — Padua, 1601 ; 
 writer and composer. (2) Fran, 
 della, Milan, ca. 1590 — 1666 ; com- 
 poser. (3) Giov., Venice, ca. 1690 — 
 Munich, 1755 ; ct.-cond. and dram, 
 composer. 
 
 Por'ter, (i) Walter, d. London, 1659; 
 tenor and composer. (2) Samuel, 
 Norwich, 1733 — iSiO ; organist and 
 composer. (3) Frank Addison, 
 b. Dixmont, Maine, Sept. 3, 1859; 
 graduate, N. E. Cons., Boston, later 
 piano prof, there ; studied later at 
 Leipzig; since 1892 also supt. Nor- 
 mal Course for pf.; pub. a pf. -meth- 
 od, etc. ; c. prelude and fugue, etc. 
 
 Port'mann, (i) Richard, organist 
 Westminster Abbey, 1633, etc. (2) 
 Jn. Gl., Oberlichtenau, Saxony, 1739 
 — Darmstadt, Sept. 27, 1798 ; singer 
 and theorist. 
 
 Portugal (Portogallo) (por-tii-gal' or 
 por-to-gal'-lo), i.e., " The Portu- 
 guese"), Marcos A. (ace. toVascon- 
 cellos, rightly "Portugal da Fon- 
 seca," not M. A. Simao as in Fetis), 
 Lisbon, March 24, 1762 — of apoplexy, 
 Rio de Janeiro, Feb. 7, 1S30 ; the 
 most eminent of Portuguese compos- 
 ers ; studied Italy and prod. 3 operas 
 there ; 1790 ct.-cond. Lisbon, also 
 theatre cond. and produced 20 operas ; 
 18 10 followed the court to Rio and 
 prod, operas ; 1813 dir. of a Cons, 
 at Vera Cruz. 
 
 Pothier (p6t-ya), Dom Jos., b. Bouze- 
 mount, near Saint-Die, Dec. 7, 1835 ; 
 1866, prof, of theology Solesmes 
 monastery ; writer and theorist. 
 
\^ 
 
 678 
 
 THE MUSICAL GUIDE 
 
 Pott, August, b. Nordheim, Hanover, 
 Nov-. 7, 1806 ; violinist and composer; 
 pupil of Spohr. 
 
 Potter, Philip Cipriani Hambly, 
 London, Oct. 2, 1792 — Sept. 26, 
 187 1 ; pianist, writer and composer. 
 
 Pougin, Fran. Aug. Arthur (Pa- 
 roisse), b. Chateauroux, Indre, 
 France, Aug. 6, 1834 ; pupil Paris 
 Cons.; 1856-59, asst.-cond. Folies- 
 Nouvelles ; till 1863, violinist at Op.- 
 Com., then important critic, essayist 
 and biographer ; ed. the supplement 
 to '' Fc'tis" (1878). 
 
 Pow'ell, Walter, (i) Oxford, 1697— 
 1744 ; counter-tenor. (2) Maud, b. 
 Illinois, 1S68 ; first notable American 
 woman violinist ; pupil of Lewis, 
 later in Paris and of Schradieck, 
 Leipzig, and of Joachim ; has toured 
 widely with success Europe and 
 ' America. 
 
 Pradher (rightly Pradere) (prad-a. or 
 pra-dir'), Loiiis Bartheletny, Paris, 
 1781 — Gray, Haute-Saone, 1S43 ; 
 noted teacher at the Cons, and the 
 court ; pianist, and dram, composer. 
 
 Prager (pra'-ger), (i) H. Aloys P., 
 Amsterdam, 1783 — Magdeburg, 1854; 
 violinist and conductor. (2) Fd. 
 Chr. Wm., Leipzig, Jan. 22, 1S15 — 
 London, Sept. I, 1891 ; son and pu- 
 pil of above ; 'cellist, later pianist 
 and writer; c. symph. poem ''Life 
 and Lot e. Battle and Victory" over- 
 ture " Ahellino" etc. 
 
 Pratorius (pra - to' - r I- 00s) (Latin- 
 ised form of Schulz(e)), (i) Gott- 
 schalk, Salzwedel, 152S — Witten- 
 berg, 1573; writer. (2) Chp., b. 
 Siiesia(?) ; pub. a funeral song on 
 Melanchthon (1560). (3) Hieron- 
 ymus, Hamburg, 1560 — 1629 ; son 
 of an organist ; organist ; c. church- 
 mus., etc., with his son (4) Jakob, 
 d. 1651 ; organist. (5) Bartholo- 
 maus, composer, P.erlin, 1616. (6) 
 (or Praetorius), Michael, Kreuz- 
 berg, Thuringia, Feb. 15, 1571(72) — 
 Wolfenbiittel, Feb. 15, 1621 ; conduc- 
 tor and ct. -organist. Eminent as a 
 composer of church- and dance-mus.; 
 
 wrote valuable historical " Syntagma 
 musicum." 
 
 Pratt, (i) J.., Cambridge, Engl., 1772 — 
 1855 ; organist and composer. (2) 
 Chas. E., Hartford, Conn., 1841 — 
 New York, 1902 ; pianist, cond. and 
 composer. (3) Silas Gamaliel, b. 
 Addison, Vt., Aug. 4, 1846; Promi- 
 nent American composer for orch. ; 
 at 12 thrown on his own resources, 
 became a clerk in mus. -houses ; stud- 
 ied with Bendel, and KuUak (pf.), 
 Wuerst and KieI(comp.); 1871 or-! 
 ganised Apollo Club, Chicago ; 1875, 
 returned to Berlin, and studied with ! 
 H. Dorn ; prod. " Anniversary 
 Overture" there 1876; 1877, Chica- 
 go ; gave symph. concerts, 1878, and 
 prod, his opera '' Zenohia" 1882; 
 1885, gave concerts of his own 
 comp. Crystal Palace, London ; since 
 1890, pf.-prof. N. Y. Metropolitan 
 Cons.;c. lyric opera " Lticille" (Chi- 
 cago, 18S7) ; " The Last Inca" can- 
 tata with orch. which ran for three • 
 weeks ; 2 symphs. (No. 2 the notable 
 ''Prodigal Son"}; " Magdalena's 
 Lament " (based on Murillo's picture) 
 for orch.; an excellent symph. suite, 
 " The Tempest" ; a grotesque suite 
 " The Brownies" ; cantata ''Co- 
 lumbus" etc. 
 
 Prat'ten, (i) Robt. Sidney, Bristol, ; 
 1S24 — Ramsgate, 1868; flutist and ; 
 composer. (2) Fr. S., d. 1873 ; bro. 
 of above ; contrabassist. 
 
 Predieri (pra-dl-a'-re), (i) Giacomo; 
 Cesare, d. after 171 1 ; from 1696 
 cond. at Bologna Cath. ; c. orato- ' 
 rios, motets, etc. (2) Luca Ant., Bo- 
 logna, 1688 — 1769 ; ct.-cond. and 
 dram, composer. 
 
 Preindl (print' '1), Jos., Marbach, Low- 
 er Austria, 1756 — Vienna, 1823;! 
 conductor, writer and collector. 1 
 
 Preitz (prTts), Fz., b. Zerbst, Aug. 
 12, 1856 ; concert-organist ; pupil of' 
 Leipzig Cons., singing-teacher, Zerbst 
 Cymnasium, and cantor at the ct.- 
 church , pub. a requiem, etc. 
 
 Prell (prel), (i) Jn, Nicolaus, Ham- 
 burg, 1773 — 1849; 'cellist and teacher. 
 
DICTIONARY OF MUSICIANS 679 
 
 (2) Aug. Chr., b. Hamburg, Aug. i, 
 1805 ; son and pupil of above ; from 
 1822, 2nd 'cello at Meiningen ; from 
 1825 1st 'cello, Hamburg ; pensioned 
 1869. 
 
 Prelleur (prel'-lur), Peter, d. before 
 175S ; Engl, organist, writer and 
 composer. 
 
 Prentice, Thos. Ridley, Paslow 
 Hall, Ongar, Essex, 1842 — Hamp- 
 stead, 1895 ; teacher, pianist and 
 writer. 
 
 Pres'sel, Gv Ad., Tubingen, 1827 — 
 Berlin, 1890 ; dram, composer. 
 
 Pres'ser, Theodore, b. Pittsburg, 
 Pa., July 3, 1848 ; Philadelphia pub- 
 lisher ; 1883, founded and has since 
 ed. " The Etude" transl. text-books, 
 etc.; c. instructive pf.-pcs., etc. 
 
 Prevost (pra-vo), Eugene Prosper, 
 Paris, Aug. 23, 1809 — New Orleans, 
 Aug. 30, 1872 ; conductor and sing- 
 ing-teacher ; prod, operas in Paris 
 and New Orleans. 
 
 Prevosti (pra-v6s'-te), Franches- 
 china, b. Livorno, 1865 ; her mother 
 was English ; she studied with Ron- 
 coni at iVIilan and debut at La Scala ; 
 toured widely ; from i8go in Germany 
 winning especial succ. in " Za Tra- 
 viata." 
 
 Preyer (pri'-er), (i) Gf., Hausbrunn, 
 Lower Austria, May 15, 1S09 — Vien- 
 na, 1901 ; organist ; pupil of Sechter ; 
 1838, prof, of harm, and cpt. at the 
 Cons.; 1844-48, dir. ; 1844, also 
 vice ct.-cond. ; 1846, ct. -organist ; 
 1853, con. at St. Stephen's ; 1876, 
 pensioned as "' Vice-Hofkapellmeis- 
 ter"; prod. 3 operas, masses, etc. (2) 
 Wm. Thierry, b. Manchester, Engl., 
 July 2, 1841 ; studied Bonn Univ. ; 
 1869-94 prof, of physiology, Jena ; 
 acoustician. 
 
 Prilipp (pre'-llp), Camille, mus. sell- 
 er at Paris; c. 400 pf.-pcs., some 
 very pop. under pen-name C. " Schu- 
 bert. 
 
 Prill (pril), K., b. Berlin, Oct. 22, 
 1864 ; son and pupil of a mus.- 
 dir., and pupil of Helmich, Wirth, 
 and Joachim (at the Hochschule) ; 
 
 vioHnist ; 1883-85 leader Bilse's 
 orch.; 1885 at Magdeburg; from 
 1 89 1, of the Gewandhaus Orch., 
 Leipzig; later at Nfirnberg ; igoi, 
 at Schwerin (vice Zumpe). 
 Prime-Stevenson (originally Steven- 
 son), Edw. Irenaeus, b. Madison, 
 N. J.; prominent writer and critic ; 
 grad. Freehold Inst., N. J., 1881 
 book reviewer and critic N. Y. " /«- 
 dependent"; also from 1895 of 
 '''Harpers Weekly"; 1899, because 
 of an inheritance added " Prime " to 
 his name and lives abroad, chiefly at 
 Vienna ; writer of mus. novels, "A 
 Matter of Temperainent,'^ '"Sylvester 
 Saf/d"; also " M'hite Cockades, "^Ic, 
 and a coll. of sketches, " Some Men 
 and Women, and Music." 
 
 Pring, (i) Jacob C, Lewisham, Eng., 
 1771 — 1799 ; organist and composer. 
 His 2 brothers were (2) Jos., Ken- 
 sington, 1776 — Bangor, 1842; organ- 
 ist, writer and composer. (3) Isaac, 
 Kensington, 1777 — Oct. 18, 1799 ; 
 organist. 
 
 Printz (prints), W. Caspar, Wald- 
 thurn. Upper Palatinate, 1641 — So- 
 rau, 1717 ; cantor and theorist. 
 
 Proch (prokh), H., Bohmisch-Leipa, 
 June 22, 1809 — Vienna, Dec. 18, 
 1878 ; noted vocal teacher and con- 
 ductor ; c. comic opera and famous 
 vocal variations. 
 
 Prochaska (pro-khas'-ka), Ludwig, 
 Prague, 1835 (?)— July 18, )8S8; 
 singing teacher and composer of pop. 
 Bohemian dances and songs. 
 
 Proksch (proksh), (i) Josef, Reichen- 
 berg, Bohemia, 1794 — Prague, 1864; 
 pianist, writer and composer; founded 
 a pf. -school ; his children and suc- 
 cessors were (2) Theodor, 1843 — 
 1876 ; and (3) Marie. 
 
 Prony (pr6-ne), Gaspard Claife 
 Fran M. Riche, Baron de, Chame- 
 lot, France, 1755 — Paris, 1839 ; 
 harpist and writer. 
 
 Proske (pr6sh'-ke). K., Grobnig, Up- 
 per Silesia, 1794 — Ratisbon, 1861 ; 
 canon, conductor, publisher, editor 
 and composer. 
 
68o 
 
 THE MUSICAL GUIDE 
 
 Prout (prowt), (i) Ebenezer, b. 
 Oundle, Northamptonshire, March 
 I, 1835 ; prominent theorist and com- 
 poser. Sav'e for a few piano lessons 
 as a boy, and with Chas. Salaman, 
 wholly self - taught. B.A. London 
 Univ., 1S54 ; 1859 took up music ; 
 1861-73, organist Union Chapel, Is- 
 lington ; 1861-85, pf.-prof. at the 
 Crystal Palace Sch. of Art ; from 
 1876 prof, of harm, and comp. at the 
 Nat. Training Sch.; 1879, at the R. 
 A. M. (vice A. Sullivan), also cond. 
 1876-go. the Hackney Choral Assoc; 
 1874 Critic on the " Acad." ; 1879, 
 on the "Athenaeum." Contributed 
 53 articles to Grove's " Dictionary.''' 
 
 1894, prof, of mus., Dublin Univ.; 
 
 1895, Mus. Doc. /i. c. Dublin and 
 Edinburg Univ. Has pub. many 
 valuable and original treatises, incl. 
 '■'Harmony" (1889, 10 editions); 
 '■'Counterpoint, Strict and Free" 
 (1890); "Double Counterpoint and 
 Canon " (1891) ; " Fugue" (1891) ; 
 " Fugal Analysis" (1892) ; " Musi- 
 cal Form " (1893); " Applied Forms " 
 (1895); " T/ie Orchestra" (1898- 
 1900); c. 4 svmphs. . 2 overtures, 
 '' Truelfth Night" and " Rokeby ■" 
 suite de ballet for orch. ; suite in D ; 
 cantatas ; a Magnificat, Evening 
 Service, Psalm 126 (St. Paul's, 1891) ; 
 Psalm 100 " The Song of Judith " 
 (Norwich, 1867), "Freedom" (1885), 
 all with orch., 2 organ-concertos, 2 
 prize pf. -quartets, etc. (2) Louis 
 Beethoven, b. London, Sept. 14, 
 1S64 ; son of above ; from 1888, 
 prof, of harm. Crystal Palace Sch. of 
 Art ; pub treatises ; c. Psalm 93. 
 
 Pruckner (prook'-ner), (i) Dionys, 
 Munich, May 12, 1834 — Heidelberg, 
 Dec. I, 1S96; pianist and teacher. 
 (2) Caroline, b. Vienna. Nov. 4, 
 1832 ; succ. operatic soprano ; 1855, 
 suddenly lost her voice ; 1870 opened 
 a Sch. of Opera; pub. a vocal treatise 
 (1872) for which she was made Prof. 
 
 Prudent (prii-dah) (Beunie-Prudent), 
 Emile, Angouleme, 1S17 — Paris, 
 1863 ; pianist and composer. 
 
 Prume (priim), (i) Fran. Hubert, 
 
 Stavelot, near Liege, 1816 — 1849 '> 
 ct.-prof. and composer. (2) Fz. H., 
 nephew of the above. Vide jehin- 
 
 PRUME. 
 
 Prumier (priim-ya), (i) Ant., Paris, 
 1794 — 186S ; harpist ; prof, at the 
 Cons., and composer. (2) Ange 
 Conrad, 1821 (?) — Paris, 1884 ; son, 
 pupil and successor of above. 
 
 Psellos (psel'-los), Michael, theorist 
 at Constantinople, ca. 105O. 
 
 Ptolemy (tol -ii-me), Claudius, the 
 celebrated astronomer in the 2nd 
 century ; wrote treatise on mus. 
 
 Puccini' (poot-che'-ne), (i) Giacomo, ' 
 b. Italy, 1712 ; pupil of Padre Mar- : 
 tini ; organist ; c. church-music. (2) : 
 Antonio, b. 1747 ; son of above ; c. • 
 church-music and (ace. to Fetis) ope- ; 
 ras ; m. di capp. to Republic of Sao j 
 Lucca ; his son and successor (3) Do- ! 
 menico, 1771 — 1815 ; c. church-music j 
 and many comic operas ; his son (4) ; 
 Michele, 1812 — 1864 ; pupil of Mer- ! 
 cadante ; lived at San Lucca as j 
 church and opera-composer ; his son J 
 (5) Giacomo, b. Lucca, Italy, 1858 ; i 
 pupil of Angeloni at Lucca ; then of 
 A. Ponchielli, Milan Cons., graduat-' 
 ing with a " Capriccio sinfonico ;" 
 1893, prof, of comp. there; prod, i-act i 
 opera 'Le T////" (Milan 1884); ex-j 
 tended later to 2-acts and prod. at. 
 La Scala ; succ. ' ' Edgar " (La Scala, 
 Milan, 1889) ; succ. lyric drama 
 "A/anon Lescaut" (Turin, 1863);; 
 widely popular opera seria "La Bo- 
 heine" (Turin, 1896); succ. "La 
 Tosca " (London, Covent Garden. 
 1900) ; " Madame Butterfly." 
 
 Pucitta (poo-chIt -ta), V., Civitavec- 
 chia, 1778 — Milan, i86t ; cembahst 
 and dram, composer. 
 
 Puchat (poo'-khat), Max, b Breslau, 
 1859 ; pianist, pupil of Kiel, at Ber- 
 lin ; 18S4, Mendelssohn prize; c' 
 symph. poems " Euphorion " (18S8),; 
 and " Tragodie eines Kiinstlers' 
 (1S94) ; overture ; a pf. -concerto, etc 
 
 Puchtler (pookh'-tler), Wm. M.. 
 Holzkirchen, Franconia, 1848 — Nice 
 
DICTIONARY OF MUSICIANS 68) 
 
 1881 
 
 teacher, conductor and com- 
 
 poser. 
 
 Pudor (poo'-dor), (i) Jn. Fr., De- 
 litzsch, Saxony, 1835 — Dresden, 
 1887 ; from 1S59 proprietor Dresden 
 Cons. (2) Dr. H., b. ca. i860 ; son 
 and successor of above in the Cons., 
 which he sold i8go to E. Krantz ; 
 wrote many essays. 
 
 Puente (poo-en'-te), Giuseppe del, 
 Naples, April, 1845 — Philadelphia, 
 U. S. A., May 25, 1900 ; operatic 
 barytone and teacher. 
 
 Puget (pii-zha), Paul Chas. M., b. 
 Nantes, June 25, 1848 ; pupil of 
 Paris Cons., took Grand Pri.x de 
 Rome ; prod, comic opera "Z^ Sig- 
 nal" (Op. Com., 1886) ; mod. succ. 
 opera '' Bt-aitcoiip de Bruit Pour 
 Rien " (" Much Ado about Nothing ") 
 (ibid., 1899) ; incid. mus. to '' Loren- 
 zaccio" etc. 
 
 Pugnani (poon-yji'-ne), Gaetano, Tu- 
 rin, Nov. 27, 1731 — July 15, 1798 ; 
 famous violinist, dram, composer 
 and conductor. 
 
 Pugni (poon'-ye), Cesare, Milan, 
 1805 — St. Petersburg, 1S70 ; dram, 
 composer. 
 
 Pugno (pun-yo), Raoul, b. Montrouge, 
 Seine, France, June 23, 1852 ; prom- 
 inent pianist; st. Paris Cons.; 1866 
 took 1st pf. -prize, 1867, ist. harm.- 
 prize ; 1869, ist org. -prize ; organist 
 and cond. Paris ; from 1896, prof, of 
 piano at the Cons. 1897-98, toured 
 U. S. with succ; Officer of the Aca- 
 demic ; prod, an oratorio, " La Re- 
 surrection de Lazare " (1879) I comic 
 opera " Ninetta" (1882); 2 operas 
 boufles ; 3 i-act vaudev. -operettas 
 " La Petite Poucette " (1891 ; Berlin, 
 1893, as '' Der Talisman") \ pan- 
 tomime, etc.; 1902 toured U. S. 
 again with increased success. 
 
 Puliti (poo-le'-te), Leto, Florence, 
 1818 — 1875 ; composer. 
 
 Punto, G. Vide STicH. 
 
 Puppo (poop'-p6), Gius., Lucca, June 
 12, 1749 — in poverty, Florence, April 
 19, 1827 ; an eccentric violinist, con- 
 ductor and composetc 
 
 Purcell (pur'-sel), (i) H., d. London, 
 1664 ; gentleman of the Chapel 
 Royal, and Master of the Choristers 
 at Westminster Abbey. (2) Henry 
 (called "the younger"), London, 
 1658 — of consumption. Dean's Yard, 
 Westminster, Nov. 21, 1695 ; son of 
 above. Most eminent of strictly Eng- 
 lish composers. Chorister Chapel 
 Royal, and studied with Cooke, Hum- 
 frey, and Dr. Blow ; at 18 c. mus. 
 for Dryden's imgedy,'' Aurungzelie" 
 and Shadwell's comedy ''Epsom 
 IVells "/ pub. a song ; at 19 an over- 
 ture, etc., to Aphra Behn's tragedy, 
 '' Abdelazor" and an elegy on Mat- 
 thew Locke ; at 20 c. music to Shad- 
 well's version of " Ti?Hon of Athens" ; 
 1680, incid. mus., and a short opera 
 " Dido and ^-Eneas " written to order 
 for Josias Priest for his "boarding 
 sch. for young gentlewomen " ; c. 
 also the " Ode or IVelcome Song for 
 his Royal Highness" Duke of York, 
 and 'A song to IVelcotne home His 
 Majesty from IVindsor." From 
 1680 organist Westminster Abbey, 
 where he is buried. 1682, organ- 
 ist Chapel Royal ; 1683, composer-in- 
 ordinary to the King. His first pub. 
 chamber-mus. is dated the year 1683. 
 He c. ''Odes" to King Charles 
 1684, and to King James in 1685, 28 
 in all. He c. mus. for 35 dram, 
 works of the time. 1695 he pub. his 
 first real opera, " Dioclesian." The 
 Purcell Society (organised, 1876) 
 has issued many of his works and 
 given frequent performances of them 
 in London. The Mus. Antiq. Soc. 
 has pub. others ; his widow pub. in 
 1697 "A Collection of Ayres Com- 
 posed for the Theatre and upon other 
 Occasions "; also songs for 1-3 voices, 
 from his theatrical works and odes ; 
 and the " Orpheus Brittanicus" in 2 
 parts (Part i, 1698, Part ii, 1702). 
 Playford's ' Theatre of Musick " 
 (1687), and other colls, contain many 
 of his works; '' PurceWs Sacred 
 Music " is pub. in 6 vols. (Novello). 
 (3) Edw., 1689 — 1740; son of above; 
 
682 THE MUSICAL GUIDE 
 
 organist and composer. (4) Daniel, his bro. as dram, composer ; c. incid. 
 
 London, 1660 — Dec. 12, 1718 ; bro. mus. to ten dramas ; odes, inch fu- 
 
 of above; 1688, organist; 1695, succ. neral ode for his brother, etc. 
 
 Purcell. 
 
 By John F. Runciman. 
 
 MODERN English musicians scarce count, and by their achievements 
 up to the present can scarce hope to count, in the history of the 1 
 world's music. When, however, the world was younger and 
 the English race was fresher, things went differently. Before the rest of 
 Europe had produced anything worth long consideration to-day, the English 
 had brought forth a strong race of musicians ; and while the rest of Europe 
 was striving hard to catch up with the English, the English school was reach- 
 ing a magnificent culmination in Purcell. Many influences went to the shap- 
 ing of him. Behind was the contrapuntal English school, of which Tallis and . 
 Byrde were exemplars ; more immediately behind was Pelham Humphries, 
 who brought to England all that France knew ; and it is as good as certain | 
 that he knew what the Italians, with Correlli at their head, had accomplished. ' 
 That is to say, he must have learned how to handle many parts in a chorus! 
 or orchestral movement ; learned how to write recitative and expressive song ; j 
 learned what could be done in the way of chamber-music ; and such orches- j 
 tral colouring as was possible at that day . ^J To these acquired masteries he ' 
 brought a native ear for miraculous colour in music — as witness his Tempests 
 music, written for the worst libretto that the world has not listened to ; a ; 
 glorious invention of expressive or picturesque melody, though chiefly pictu- ; 
 resque ; a fine instinct for the dramatic, and for expressing it in music ; and^ 
 the most noble sense of the splendid effects to be gained by throwing about 
 masses of vocal tone in the manner afterwards appropriated and made entirely 
 his own by Handel. ^ Those who have studied Purcell' s scores will be as-i 
 tonished by the extent to which Handel took his themes and modes of using' 
 them. In that lies his sole contribution to what must be called the "prog- 
 ress" of music. Later English composers, to their shame, and certainly to 
 their utter confusion, copied Handel instead of developing on Purcell's lines. 
 They profited nothing ; and Purcell remains as the last of the tribe of the 
 genuinely creative English musicians. He was determined to excel in every- 
 thing he touched ; and he excelled in everything. His forms are at once, 
 broad and flexible; his harmonies are as daring as Sebastian Bach's; his 
 themes have a great dignity and vigour ; and on everything he wrote there rests 
 an early morning freshness. No music has preserved its freshness better ; the 
 dew is still on it. ^ Born just before the Restoration, he felt to the full: 
 
 1 
 
DICTIONARY OF MUSICIANS 683 
 
 the anti-Puritan reaction ; he shared in the revival of the sheer joy of being 
 alive ; and his music is filled with a cheerful health such as one finds in no 
 music written since his day. But he experienced the deeper emotions ; and 
 one may find in his works profound utterances of grief and sorrow, of the 
 mystery and terror of all life. He was entirely pagan, and WTOte no real re- 
 ligious music — religious as we use the word when we speak of Sweelinck, 
 Palestrina, or Byrde. But power is there, and delicacy, and marvellous 
 beauty ; and above all that external freshness and picturesque quality 
 which give his music the character that stamps and marks it off as his 
 own. 
 
 Putea'nus, Ericius (Latinised form of 
 H. Van de Putte) (poot -te) (Galli- 
 cised to Dupuy), Venloo, Holland, 
 1574 — Louvain, 1646 ; professor and 
 writer. 
 
 Pye, Kellow J., Exeter, Feb. 9, 1812 
 — Exmouth, Sept. 22, 1901; pianist 
 and composer. 
 
 Pyne(pTn), (i)Geo., 1790—1877. Engl. 
 male alto. (2) Jas, Kendrick, d. 
 1857; Engl, tenor. (3) Louisa 
 Fanny, b. England, 1832 ; soprano, 
 daughter of (2) ; pupil of Sir Ci. 
 Smart ; debut, Boulogne, 1849; 1868, 
 m. P>ank Bodda, a barytone. 
 
 Pythag'oras, .Samos, Greece, ca. 582, 
 B. C. — Metapontum, ca. 500 B. c; 
 famous philosopher and mathemati- 
 cian ; developed an elaborate sys- 
 tem of musical ratios. 
 
 Quadri (kwa'-dre), Dom., Vicenza, 
 
 1801 — Milan, 1843 ; teacher and 
 
 theorist. 
 Quadrio (kwa'-drt-6), Fran, Saverio, 
 
 Ponte, Valtellina, 1695 — Milan, 1756; 
 
 theorist. 
 Quagliati (kwal-ya'-te), Paolo, d. 
 
 Rome, ca. 1660; cembalist ; c. one 
 
 of the earliest mus. dramas (161 1). 
 Quandt (kviint), Chr. Fr., Herrnhut, 
 
 Saxony, 1766 — Niesky, near Gorlitz, 
 
 Tan. 30, 1806 ; writer. 
 
 Quantz (kvants), Jn. Joachim, Ober- 
 scheden, Hanover, 1697 — Potsdam, 
 1773 ; noted flutist ; inv. the second 
 key and sliding top for tuning the 
 flute ; taught Frederick the Great ; c. 
 500 flute pes. 
 
 Quaranta (kwa-ran'-ta), Fran., Na- 
 ples, 1848 — Milan, 1897 ; singing- 
 teacher and dram, composer. 
 
 Quarenghi (kwa-ran'-ge), Guglielmo, 
 Casalmaggiore, 1826 — Milan, 1882 ; 
 'cellist, professor, conductor and 
 dram, composer. 
 
 Quarles (kwarls), Chas., d. 1727; or- 
 ganist at York Minster and com- 
 poser. 
 
 Quatremere de Quincey (kat-ru-mar'- 
 dii-kan-se), Ant, Chrysostome, 
 Paris, 1755 — 1849 ; writer. 
 
 Quef (kef), Ch., French organist ; igoo, 
 choir-org. at La Trinite, Paris ; 1902, 
 organist (vice Guilmant). 
 
 Queisser (kv!s'-ser), Carl T., Doben, 
 n. Leipsic, 1800 — 1846 ; noted trom- 
 bonist. 
 
 Quercu (kver'-koo), Simon de (Latin- 
 ised from Van Eycken or Du 
 Chesne), b. in Brabant ; theorist and 
 ct. -chapel-singer, Milan, ca. 1500. 
 
 Quidant (ke-dah), Alfred (rightly Jos.), 
 Lyons, France, 1S15 — Paris, 1893; 
 pianist. 
 
 Quinault (ke-no), (i) Philippe, Paris, 
 
 1635 — 1688 ; Lully's librettist. (2) 
 
 • J. Bap. Maurice, d. Gien, 1744; 
 
 singer, actor and composer of ballets, 
 
 etc. 
 
684 THE MUSICAL GUIDE 
 
 R 
 
 Ra(a)ff (raf), Holzem, 17 14— Munich, 
 
 1797; tenor. 
 Rachmaninoff (rakh-ma-ne-nof), Ser- 
 gei Vassilievitch, b. Novgorod, 
 Russia 1873; pianist and composer ; 
 pupil of Siloti (pf.) and Arensky 
 (theory), Moscow Cons.; 1891, took 
 great gold medal ; c. succ. i-act op- 
 era "AL-ko" (Moscow, 1893), pf.- 
 concerto ; a popular " Prelude: and 
 other notable pf. -pieces. 
 Radecke (ra-dek-e), (i) Rudolf, Ditt- 
 mannsdorf, Silesia, 1829— Berhn, 
 1893 ; conductor, teacher and com- 
 poser (2) (Albert Martin), Rob- 
 ert, b. Dittmannsdorf, Oct. 31, 1830; 
 bro. of above ; pupil of Leipzig Cons.; 
 ist vln.in Gewandhaus ; then pianist 
 and organist, Berhn ; later mus.-dir. 
 ct.-th.; 1871-84, ct.-cond.; 1883-88, 
 artistic dir. Stern Cons.; 1892, dir. 
 R Inst, for Church-mus., Berlin ; c. 
 i-act '' Lieder spiel" ''Die Monk- 
 guter" (Berhn, 1B74); a symph., 2 
 overtures, etc. (3) Ernst, b. Ber- 
 lin Dec. 8. 1866 ; son of above ; Dr. 
 Phil, at Berhn U., 1891; 1893. town 
 mus.-director and teacher, Winterthur, 
 Switzerland. (4) Luise, b. Celle, 
 Hanover, June 27, 1847; soprano; 
 pupil of Marchesi ; debut, 1867, Co- 
 logne ; 1876, m. Baron von Brum- 
 mer. ^ 
 
 Radoux (ra-doo), Jean Theodore, 
 b Liege, Nov. 9, 1835 ; pupil at the 
 Cons.; 1856, teacher of bassoon 
 there ' 1859, won Prix de Rome with 
 cantata '' Le Jidf Erranr ; studied 
 with Halevy, Paris ; 1872, dir. Liege 
 Cons.; pub. biog. of Vieuxtemps 
 (1891); prod. 2 comic operas, orato- 
 rio "a/«" (1877). cantata "La 
 Fille de Jephtf' with orch., 2 symph. 
 tone-pictures, symph. overture, Te 
 Deum, etc. 
 Radziwill (rat-tse-vll). Prince Anton 
 H.,Wilna, 1775— Berlin, 1833; sing- 
 er and composer ; patron of Beet- 
 hoven and Chopin. 
 
 Raff (raf), (i) Vide raaf. (2) Jos. 
 Joachim, Lachen, Lake of Zurich, 
 May 27, 1822 — Frankfort-on-Main, 
 June 25, 1882 ; eminent composer, 
 particularly in the field of program- 
 matic romanticism. Son of an organ- 
 ist ; too poor to attend a Univ. he 
 became a sch.-teacher ; was self- 
 taught in comp. and vln.; 1843 he 
 sent some comps. to Mendelssohn, 
 who recommended them to a publish- 
 er. R. accompanied Liszt on a con- 
 cert-tour as far as Cologne (1846), 
 where he lived for a time, writing re- 
 views ; later von Bulow played his 
 ''Concertsiiick" ; his g^^x^ '' Konig 
 Alfred" was accepted at the ct.-th., 
 but forestalled by the Revolution of 
 1848 ; it was prod, in revised form at 
 Weimar by Liszt. He pub. (1854)^ 
 a pamphlet ''Die Wagner f rage." 
 1854, m. the actress Doris Genast, 
 and obtained vogue at Wiesbaden as 
 a pf. -teacher. 1863, his first symph.,, 
 "An das Vaterlaud" won the prir" 
 of the Viennese •' Gesellschaft d 
 Musikfreunde ; " 1870, his comic 
 era "Dame Kobold" was prod, at 
 Weimar. 1877, dir. Hoch Cons, at 
 Frankfort. He was a very prolific 
 and uneven composer. The Raft 
 Memorial Soc. pub. at Frankfort 
 (1S86), a complete list of his works 
 which incl. 11 symphs.: No. i, " A^ 
 das Vaterlaud"; famous No. 3 
 F, "/;;/ IValde" (1869); No. 5. 
 177 in E, the noted "Lenore" ; No. -6, 
 op. 189 in D min., " Gelebt, gestrebt- 
 S-elitten, gestritten-gestorben, nmwor- 
 ben"; No. 7, op. 201 in W, " In den 
 Alpen"; No. 8, op. 205, A, " Friih- 
 lingsklange" ; No. 9, op. 208, H. 
 min., "/w Sommer"; No. 11, op. 
 214, A min., " Der Winter" (post- 
 humous); a sinfonietta ; 4 suites, 
 No. 2, "In nngarischer Weise ; 
 No. 3, '" Italienisch" ; No. 4- "'Thii- 
 ringer" ; 9 overtures, the " Jnbel- 
 Fest" and ' ' Concert - ouvertiire " ; 
 '' Festouverture" for wind; '' Etn 
 feste Burg" "Romeo and Juliet,^ 
 
 Othello . 
 
 Macbeth" and " The 
 
 J 
 
DICTIONARY OF MUSICIANS 685 
 
 Tempest ; " festival cantata ' ' Deutsch- 
 lands Atiferstehung"; De profundis 
 in 8 parts, op. 141; " /w Kahn" 
 and "/?£■;- Tanz"; for mixed chorus 
 '^ Morgenlied" and " Einer Ent- 
 scklafem-n" ; ''Die Tageszeiten" ; 
 '' Die Jagerbraut und die Hirtin," 2 
 scenes for solo voice ; all with orch ; 
 the oratorio " IVeltende, Gericht, 
 Netu Welt" (Revelations) (Leeds, 
 1882); ''Die Sterne" and " Dorji- 
 roschen" (MS.); 4 unperformed op- 
 eras, "Die Eifersiichtigen " (text and 
 music); "Die Parole" "Benedetto 
 Marcello " and " Savison " ; mus. to 
 Genast's "Bernard von Weimar" 
 (1858); " Ode au printemps" iox pf. 
 and orch. ; " La fete d' Amour '" suite 
 for vln. with orch. ; 2 'cello-concertos ; 
 much chamber-mus. , incl. op. 192 (3 
 nos., "Suite alterer Form," "Die 
 schone Mullerin," " Suite in canon- 
 form"); 5 vln. sonatas; 'cello- sona- 
 ta ; 2 pf. -sonatas, suites, sonatinas ; 
 "Homage an nco-romantisme" "Mes- 
 sagers du printemps" "Chant d'On- 
 dine" (arpeggio tremolo etude), Un- 
 garische Rhapsodie, Spanische Rhap- 
 sodic, 2 etudes melodique, op. 130 
 ("Cavatina," and the famous "La 
 Fileuse "), many paraphrases ; many- 
 songs, incl. 2 cycles, " Maria Stuart " 
 and " Blondel de Nesle " ; 30 male 
 quartets, etc. 
 
 Ragghianti (rag-gl-an'-te), Ippolito, 
 Viareggio, near Pisa, 1866 — 1894 ; 
 violinist. 
 
 Raif (rif), Oscar, The Hague, 1847— 
 Berlin, 1899 ; pianist, teacher and 
 composer. 
 
 Raillard (ri-yar), Abbe F., b. Mon- 
 lormentier, France, 1804 ; teacher of 
 science. 
 
 Raimondi (ra-e-mon'-de), (i) Ignazio, 
 Naples, 1733 — 1802 ; violinist and 
 composer. (2) P., Rome, Dec. 20, 
 1786— Oct. 30, 1853 ; extraordinary 
 contrapuntist, rivalling the ancient 
 masters in ingenuity ; prof, of cpt., 
 and cond. at St. Peter's ; prod. 54 
 operatic works and 21 ballets, 4 
 masses w. orch. and 5 oratorios, be- 
 
 sides the monumental trilogy " Giu- 
 seppe " {Joseph) consisting of 3 ora- 
 torios {" Fotifar" "Giuseppe" 
 " Giacobbe"), performed at Rome, 
 1S52 separately, then all at once by 
 400 musicians, producing such frantic 
 excitement that the composer fainted 
 away ; he c. also an opera buffa and 
 an opera seria performable together; 
 4 four-voiced fugues which could be 
 combined into one fugue a 16, etc., 
 incl. a fugue for 64 parts in 16 choirs; 
 he wrote essays explaining his meth- 
 ods. 
 
 Rain'forth, Elizabeth, 1814 — Red- 
 land, Bristol, 1877, Engl, soprano. 
 
 Raraann (rii'-man), Lina, b. Main- 
 stockheim, near Kitzingen, June 24, 
 1S33 ; pupil of Franz and Frau Bren- 
 del, Leipzig ; 1858, founded a mus.- 
 sem.inary for female teachers, 1865, a 
 mus.-sch. at Niirnberg ; pub. trea- 
 tises and composed. 
 
 Rameau (ra-mo), (i) J. Philippe, Di- 
 jon, Sept. 25, 1683 — of typhoid, Paris, 
 Sept. 12, 1764 ; eminent as theorist, 
 composer and organist. At 7 he 
 could play at sight on the clavecin 
 any music given him ; from 10 to 14 
 he attended the Jesuit Coll. at Dijon; 
 but taking no interest in anything but 
 music was dismissed and left to study 
 music by himself. He was sent to 
 Italy, 1 70 1, to break off a love affair, 
 but did not care to study there, and 
 joined a travelling French opera- 
 troupe as violinist. Later he became 
 organist at two churches in Paris, 
 1717. He studied org. with Louis 
 Marchand, who found his pupil a 
 rival, and in a competition favoured 
 his competitor, Daquin, as organist 
 of St. Paul's ; R. went as organist to 
 Lille, later to Clermont (where lived 
 his brother (2) Claude, a clever or- 
 ganist, and his father (3) Jean Fran., 
 a gifted but dissipated organist and 
 poet). After 4 years he returned 
 to Paris, and pub. a treatise on harm, 
 which attracted some attention. He 
 became organist Sainte-Croix-de-la- 
 Bretonnerie ; and c. songs and 
 
686 
 
 THE MUSICAL GUIDE 
 
 dances for pieces by Piron, at the 
 Op. -Com.; 1726, he pub. his epoch- 
 making " iVt;«z'£?a« systeme de mu- 
 sique thc'orique" based on his own 
 studies of the monochord (v. D. D.) ; 
 in this work among many things in- 
 consistent, involved and arbitrary 
 (and later modified or discarded) was 
 much of remarkable even sensational, 
 novelty, such as the discovery of the 
 law of chord-inversion. He founded 
 his system on (i) chord-building by 
 thirds ; (2) the classification of chords 
 and their inversions to one head each, 
 thus reducing the consonant and dis- 
 sonant combinations to a fi.xed num- 
 ber of root-chords ; (3) a fundamental 
 bass (" basse fondamentale," not our 
 thorough-bass), an imaginary series 
 of root-tones forming the real bases 
 of all the chord - progressions of a 
 composition. His theories provoked 
 much criticism, but soon won him pu- 
 pils from far and wide and the pre- 
 eminence as theorist that he enjoyed 
 as organist. He followed his first 
 theoretic treatises with 5 other trea- 
 tises. He now obtained the libretto 
 " Samson " from Voltaire (whom he 
 strikingly resembled in appearance) 
 but the work was rejected on account 
 of its biblical subject. " Hippolyte et 
 Aricie" libretto by Abbe Pelegrin, 
 was prod, at the Opera, 1733, with so 
 little succ. that he was about to re- 
 nounce the stage, but his friends pre- 
 vailed and he prod., 1735, the succ. 
 ballet-opera " Les Indes Galanies," 
 and at the age of 54 his masterpiece 
 " Castor ^t Pollux," a great succ. as 
 were most of his later works for 23 
 years, '' Les Fetes d' He'bi" (1739), 
 " Dardanus " (1739), " ■^'^ Princesse 
 de Navarre" " Les Fetes de Polhym- 
 nie," and '' Le Temple de la Gloire" 
 (1745), " Les Fetes de F Hymen et de 
 r Amour, ou les Dieux d'Egypte " 
 (1747), "Zats" (1748), ''Pygmali- 
 on" (1748), " Plate'e ou Junon ja- 
 louse" " Neis " and " Zoroastre " (the 
 " SafHson " music with another li- 
 bretto) (1749), " Acanihe et Cdphise," 
 
 ''La Guirlande," and "La A'ais- 
 sance d'Osiris" (1751), " Daphnis 
 et Egle'," " Lycis et D^lie " and " Le 
 Retour d'Astre'e" (1753), " Anacr/- 
 on," "Les Surprises de I' Amour," 
 and " I^es Sybarites" (1757), "Les 
 Paladins " (1760). He c. also others 
 not prod. His mus. is full of rich- 
 ness, novelty and truth, though he 
 wrote only fairly for the voice. He 
 said himself that were he younger he 
 would revolutionise his style along 
 the lines of Pergolesi. 1745 the King 
 made him chamber-composer. His 
 patent of nobility was registered, just 
 before his death. He c. also many 
 books of mus. for clavecin, etc.; of j 
 these a complete ed. is pub. by Stein- 
 graber. Biog. by du Charger (1761), 
 Nisard (1S67), Grique (1S76). 
 
 Ramm (ram), Fr., b. Mannheim, 1744; 
 eminent oboist. 
 
 Ramsey, Robt., organist and com- 
 poser at Cambridge, 1628-44. 
 
 Randall, (i) J., 1715— 1799; singer, 
 professor at Cambridge and compos- 
 er. (2) Richard, 1736 — 1828 ; tenor 
 in Handel's oratorios. 
 
 Randegger (ran-ded-jer), Alberto, b. 
 Trieste, April 13, 1832 ; pupil of La- 
 font (pf.), and Ricci (comp.) ; at 20 
 prod. 2 ballets and an opera, "//; 
 Lazzarone," in collab. with 3 others, 
 at Trieste ; then th.-cond. at Fiume, 
 Zara, Sinigagli, Brescia and Venice, 
 where he prod, grand opera " Bianca 
 Capello" (1S54) ; ca. 1854, London, 
 as a singing-teacher ; 1S68 prof, of 
 singing, R. A. I\L; later dir. and a 
 member of the Committee of Manage- 
 ment ; also prof, of singing R. CM.; 
 1857 cond. It. Opera, St. James's Th.; 
 1879-85, Carl Rosa company ; and 
 from 1 88 1, the Norwich Triennial 
 Festival. Wrote " Primer on sing- 
 ing." C. comic opera " The Rival 
 Beauties " (London, 1864) ; the 150th 
 Psalm with orch. and org. (Boston 
 Jubilee, 1872) ; dram, cantata " Fri- 
 dolin" (1873, Birmingham); 2 dram, 
 scenes " Medea " (Leipzig, 1869) and 
 " Saffo" (London, 1875); cantata, 
 
 
DICTIONARY OF MUSICIANS 687 
 
 " IVertlicr's S/iado7o" (Norwich, 
 1902), etc. 
 
 Randhartinger (rant-hart'-Ing-er), 
 Benedikt, Ruprechtshofen, Lower 
 Austria, 1S02 — Vienna, 1894 ; at 10 
 soprano ; conductor and composer 
 of over 600 worlvS. 
 
 Ransford, Edwin, Gloucestershire, 
 1S05 — London, 1S76 ; barytone. 
 
 Raoul de Coucy. Vide coucy. 
 
 Rappoldi (rap-p61'-de), (i) Eduard, 
 b. Vienna, P"eb. 21, 1839 ; pupil at the 
 Cons.; 1854-61, violinist ct. -opera ; 
 then leader at Rotterdam, then teach- 
 er Hochschule, Berlin ; then leader 
 opera-orch., Dresden, and since 1S93 
 head vln. -teacher at the Cons.; c. 
 chamber-mus., etc. (2) Laura Rap- 
 poldi-Kahrer (ka'-rer), b. Mistel- 
 bach, near Vienna, Jan. 14, 1S53 ; 
 wife of above ; pianist ; pupil of 
 \'ienna Cons, and of Liszt. 
 
 Rastrelli (ras-trel'-le), (i) Jos., Dres- 
 den, 1799 — 1843 ; ct. -conductor and 
 dram, composer ; son and pupil of 
 (2) Vincenzo, 1760 — 1839. 
 
 Ras(o)umovski (ra-zoo-mof'-shkl), 
 Count (from 1815 Prince) Andrei 
 Kyrillovitch, Nov. 2, 1752 — Sept. 
 23, 1836 ; Russian ambassador at 
 Vienna, 1793-1809 ; to whom Bee- 
 thoven dedicated the 3 quartets, op. 
 
 Ratez (ra-tes), Emile P., b.Besan9on, 
 Nov. 5, 185 1 ; pupil of Bazin and 
 Massenet at Paris Cons.; via.- play- 
 er, Op. -Com.; chorusm. under Colon- 
 ne ; 1891, dir. the Lille branch of the 
 Paris Cons.; prod. 2 operas ''Ruse 
 d' Amour " (Besan9on, 1886), and 
 succ. " Zj'i/tvvV " (Lille, 1895); c. a 
 symph. poem with soli and chorus, 
 " Scenes hJroiques,'" etc. 
 
 Rathgeber (rat-ga-ber), Valentin, ca. 
 1691) — after 1744, Benedictine monk 
 at Banz, Franconia ; composer. 
 
 Ratzenberger (rat'-sen-berkh-er), Th., 
 Grossbreitenbach, Thuringia, 1840 — 
 Wiesbaden, 1879 '< teacher and comp. 
 
 Rauchenecker (row'-khe-nek-er), G. 
 Wm., b. Munich, March 8, 1844; 
 pupil of Th. Lachner, Baumgartner 
 
 and Jos. Walter (vln.) ; dir. Avignon 
 Cons.; then 1873, mus.-dir. at Win- 
 terthur ; 1874, prod, prize cantata, 
 " A^iklatts von der Fliie " (Zurich 
 Music Festival) ; for one year cond. 
 Berlin Philh. Concerts ; 1889, mus. 
 dir. at Elberfeld, where he prod. 
 3 succ. operas, "Die letzten Tage 
 von Thule" (1S89), " Ingo'' (1893), 
 and " Stmjia" (i-act, 1893); c. also 
 " Le Florentin" (not prod.); a 
 symph., etc. 
 
 Ra'uscher (row'-sher). Max, b. Wett- 
 stetten, Bavaria, Jan. 20, i860; 
 1884, took holy orders; from 1885, 
 cond. Ratisbon Cath. 
 
 Rauzzini (ra-ood-ze'-ne), (i) Venan- 
 zio, Rome, 1747 — Bath, Engl., 1810; 
 tenor and dram, composer. (2) Mat- 
 teo, d. 1791; bro. of above; dram, 
 composer. 
 
 Ra'venscroft, (i) Thos., 1582 (?) — 
 London, 1635 (?) ; prominent early 
 English composer and writer. (2) 
 John, d. 1740; violinist, London. 
 
 Ravera (ra-va'-rii), Niccolo Teresio, 
 b. Alessandria, Italy, Feb. 24, 185 1; 
 pupil Milan Cons.; won first prizes 
 for pf., organ and comp.; now cond. 
 Th.-Lyrique de la Galerie-Vivienne, 
 Paris ; c. 4 operas. 
 
 Ravina (ra-ve'-na), J. H., b. Bordeaux, 
 May 20, 1818 ; pianist; pupil of 
 Zimmermann (pf.) and Laurent 
 (theory) at Paris Cons., won first 
 pf.-prize, 1834 ; ist harm. -prize, 
 1836 ; asst. -teacher there till 1837, 
 and also studied with Reicha and Le- 
 borne ; made tours; 1861, chev. of 
 the Legion of Honour ; c. a concerto, 
 etc. 
 
 Raw'lings, (i) Thos., 1703— 1767; 
 Engl, organist. (2) Robt., 1742 — 
 1 8 14; son of above; violinist. (3) 
 Thos. A., 1775 ; violinist, teacher 
 and composer. Son of (2). 
 
 Raymond (re'-moh), G. M., Cham- 
 bery, 1769 — 1839; acoustician. 
 
 Rea (ra), Wm., b. London, March 25, 
 1827; articled pupil of Josiah Pitt- 
 mann ; at 16, organist ; studied with 
 Sterndale Bennett (pf., comp. and 
 
688 
 
 THE MUSICAL GUIDE 
 
 instr.), then at Leipzig and Prague ; 
 returned to London, and gave cham- 
 ber-concerts ; 1856, founded the Poly- 
 hymnian Choir ; organist at various 
 churches; since 1878, at St. Hilda's, 
 South Shields ; c. anthems, etc. 
 
 Read, Daniel, Rehoboth, Mass., 
 1757 — New Haven, Conn., 1836; 
 mus. -teacher and composer. 
 
 Reading (red'-lng), (i) John, 1645 — 
 Winchester, Engl., 1692; organist and 
 co:nposer of " Dulce domum," etc. 
 
 (2) John, 1677 — London, Sept. 2, 
 1764 ; son of above ; organist and 
 composer; the '^ Portuguese Hymn'' 
 '' Adeste Fideles" is credited to him. 
 
 (3) John, 1674 — 1720 ; organist. 
 
 (4) , singer at Drury Lane, 
 
 1695. (5) Rev. John, Prebendary of 
 Canterbury Cath. ; pub. ''A Sernion, 
 concerning Church Miisick " (1663). 
 
 Reay (ra), Samuel, b. Hexham, Engl., 
 March 17, 1822 ; a pupil of Hen- 
 shaw and Stimpson ; 1841, organist 
 St. Andrew's, Newcastle ; since song- 
 schoolmaster, Newark Parish Ch. 
 and cond. Philh. Soc. ; c. Psalm 102, 
 with string-orch. ; Communion Ser- 
 vice, etc. 
 
 Rebel (ru-bel), (i) J. Ferry, Paris, 
 1669— 1747 ; conductor and com- 
 poser. (2) Fran., Paris, 1701 — 
 1755 ; violinist and dram, composer. 
 
 Rebello (ra-bel'-lo), Joao Lourengo 
 (Joao Soares), Caminha, 1609 — 
 San Amaro, Nov. 16, 1661, eminent 
 Portuguese composer. 
 
 Reber (ru-ba). Napoleon H., Miihl- 
 hausen, Alsatia, Oct. 21, 1807 — Paris, 
 Nov. 24, 1880; 1851, prof, of comp., 
 Paris Cons.; pub. one of the best 
 French harm, treatises (1862); c. 
 comic operas, etc. 
 
 Rebicek (ra-bl-tsek), Josef, b. 
 Prague, Feb. 7, 1S44 ; violinist ; pu- 
 pil Prague Cons.; 1861, Weimar ct.- 
 orch.; 1863, leader royal th., Wies- 
 baden; 1875, R. Mus.-Dir.; 1882, 
 leader and op.-dir. Imp. Th. War- 
 saw; 1891, cond. Nat. Th., Pesth ; 
 1893, at Wiesbaden ; 1897, cond., 
 Berlin Philh. Orch. 
 
 Rebling (rap'-llng), Gv., b. Barby, 
 Magdeburg, July 10, 1821; pupil of 
 Fr. Schneider at Dessau ; 1856, R. 
 Mus.-Dir.; 1858, organist Johannis- 
 kirche ; 1846, founded, and cond. a 
 church choral soc; 1897, c. Psalms, 
 " a cappella" 'cello-sonata, etc. (2^ 
 Fr,, b. Barby, Aug. 14, 1835 ; pupi: 
 of Leipzig Cons, and of Gotz (sing.j 
 ing); 1865-78, tenor at various thea- 
 tres ; from 1S77, singing-teacher Leip. 
 zig Cons. 
 
 Reckendorf (rek'-en-dorf), Alois, b 
 Trebitsch, Moravia, June 10, 1841 
 studied Leipzig Cons.; since 1877; 
 teacher of pf. and theory there 
 composer. 
 
 Redan, K. Vide c. converse. 
 
 Redeker (ra'-dek-er), Louise Dorettr 
 Auguste, b. Duingen, Hanover 
 Jan. 19, 1853 ; contralto ; studiec 
 Leipzig Cons.; debut, Bremen, 1873 
 
 Red'ford, J., organist and compose 
 St. Paul Cath., 1491-1547. 
 
 Redhead, Richard, Harrow, Engl. 
 1820 — May, 1901 ; studied at Mag 
 dalen Coll., Oxford; organist of St 
 Mary Magdalene's Ch., London 
 ed. colls.; c. masses, etc. 
 
 Ree (ra), Anton, Aarhus, Jutland 
 1820 — Copenhagen, 1886 ; pianist 
 teacher and writer. 
 
 Reed, (i) Thos. German, Bristol, i8r 
 — Upper East Sheen, Surrey, 1888 
 pianist and singer. In 1844 he m. (2 
 Priscilla Horton (1818— 1895), : 
 fine actress and contralto. T hei 
 entertainments were continued b 
 their son (3) Alfred German (d 
 London, March 10, 1895). (4) Robt 
 Hopk6, and (5) Wm., bros. of (i) 
 'cellists. 
 
 Reeve, Wm., London, 1757— 1815 
 c. operettas. 
 
 Reeves, (i) (John) Sims, Woolwich 
 Sept. 26, '818 (ace. to Grove 
 Shooters Hill, Oct. 21, 1822)— Lon 
 don, Oct. 25, 1900; noted tenor; 
 14 organist of North Cray Ch 
 learned the vln., 'cello, oboe andbas 
 soon ; and studied with J. B. Crame 
 ;,pf.) and W. H. Callcott (harm.) 
 
 Lonj f*r 
 Ch.l |?v 
 
 
DICTIONARY OF MUSICIANS 689 
 
 debut as barytone, 1839; studied 
 with Hobbs and Cooke, and sang 
 minor tenor parts at Drury Lane ; 
 then studied with Bordogni, Paris, 
 and Mazzucato, Milan , sang at La 
 Scala, 1846, Drury Lane, 1S47, with 
 great succ; debut in Italian opera, 
 1848, at H. M.'s Th., also in orato- 
 rio at the Worcester and Norwich 
 Festivals, the same year ; retired in 
 189 1, but on account of reverses, re- 
 appeared in 1893 ; and 189I made 
 succ. tour of South Africa; pub. "Zzyi? 
 and Recollections" (London, 1888); 
 he m., 1850, (2) Emma Lucombe, 
 opera and concert soprano. (3) 
 Herbert, his son and pupil , studied 
 at Milan ; concert-debut, 1880. 
 
 Regan, Anna. Vide schimon-regan. 
 
 Reger (ra'-ger), Max, b. Brand, Ba- 
 varia, March 19, 1873 ; pupil of 
 Lindner and H. Riemann ; c. 'cello- 
 sonata, etc. 
 
 Regibo (ra -zhe-bo), Abel B. M., b, 
 Renaix, Belgium, April 6, 1835 ; or- 
 ganist, pianist, and composer. 
 
 Regino (ra-je'-no) (Prumiensis), d. 
 915 ; .\bbot of Prum monastery, near 
 Trier, 892; writer. (Gerbert. ) 
 
 R^gis (ra'-zhes), Jns., Belgian cptist.; 
 contemporary of Okeghem. 
 
 Regnal, Fr. Vide fr. d'erlangkr. 
 
 Regnart (or Regnard) (rekh'-nart), (t) 
 Jacob, Netherlands, 1540 — Prague, 
 ca. 1600 ; imp. vice-cond. ; popular 
 composer. His brothers (2) Fz., (3) 
 K., and (4) Pascasius, also c. songs. 
 
 Regondi (ra-gon'-de), Giulio, Geneva, 
 1822 — Engl., 1S72 ; guitar, and con- 
 ceitina-virtuoso ; composer. 
 
 Rehbaum (ra-bowm), Theobald, b. 
 Berlin, Aug. 7, 1835; pupil of H. 
 Ries (vln.) and Kiel (comp.), 1. Wies- 
 baden ; c. 7 operas incl. " Turan- 
 dot" (BerHn, 18S8), etc. 
 
 Rehberg (ra'-berkh), (i) Willy, b. 
 Morges, Switz., Sept. 2, 1863; pian- 
 ist ; son and pupil of (2) Fr. R. (a 
 mus. -teacher) ; later studied at Zurich 
 Mus.-Sch. and Leipzig Cons.; pf.- 
 teacher there till 1890 ; 18S8-90, 
 cond. at Altenburg ■ since 1890, head 
 44 
 
 pf -teacher Geneva Cons.; since 1892, 
 also cond. Geneva Municipal Orch.; 
 c. vln. -sonata, pf. -sonata, etc. 
 
 Rehfeld (ra-felt), Fabian, b. Tuchel, 
 W. Prussia, Jan. 23, 1842 ; violinist ; 
 pupil of Zimmermann and Grlinwald, 
 Berlm , 1868, royal chamber-mus.; 
 1873, leader ct.-orch. 
 
 Reicha (rl'-kha), (i) (rightly Rejcha, 
 ra'-kha), Jos., Prague, 1746 — Bonn, 
 1795; cellis', viclinist, and cond. at 
 Bonn. ( ,) Anton (Jos.), Prague, 
 Feb. 27, 1770— Paris, May 28, 1836; 
 nephew and pupil of above ; flutist, 
 via. -player, and teacher. Notable in 
 his day as a theorist and an ingenious 
 and original contrapuntist ; c. an op- 
 era, etc. 
 
 Reichardt (rl'-khart), (i) Jn. Fr., 
 Konigsberg, Nov. 25, 1752 — Giebich- 
 enstein near Halle, June 27, 1814 ; 
 cond., editor and dram, composer; 
 pupil of Richter and Veichtner , 1775, 
 ct.-cond. to Frederick the Great, 
 later to Fr. Wm. IL and IIL, then 
 to Jerome Bonaparte ; he prod, many 
 German and Italian operas and influ- 
 ential Singspiele ; also c. 7 symphs., a 
 passion, etc., and notable songs. (2) 
 Luise, Berlin, 1788 — Hamburg, 
 1826 ; daughter of above ; singing- 
 teacher. (3) Gv., Schmarsow, near 
 Demmin, 1797 — Berlin, 18S4 ; con- 
 ductor ; c. pop. songs. (4) Alex., 
 Packs, Hungary, 1825 — Boulogne- 
 sur-Mer, 18S5 ; tenor. 
 
 Reichel (n'-khel), (i) Ad. H. Jn., b. 
 Tursznitz, W. Prussia, 1816 ; pupil of 
 Dehn and L. Berger ; Berlin ; pf.- 
 teacher, Paris; 1857-67, taught comp. 
 at Dresden Cons.; 1867, municipal 
 mus.-dir. Berne, Switz. ; c. pf. -con- 
 certos, etc. (2) Fr., Oberoderwitz, 
 Lusatia, 1833 — Dresden, 1889; can- 
 tor and org. -composer. 
 
 Reicher-Kindermann (rl'-kher-kln'- 
 der-man), (i) Hedwig, Munich, 1853 
 — Trieste, 1883 ; soprano ; daughter 
 of the barytone, A. Kindermann ; m. 
 (2) Reicher, an opera singer. 
 
 Reichert (rl'-khert), Mathieu Andr6, 
 b. Maestricht, 1830 ; flute-virtuoso ; 
 
690 
 
 THE MUSICAL GUIDE 
 
 pupil Brussels Cons., took ist prize 
 in 1847 ; toured Europe and Ameri- 
 ca ; composer. 
 
 Reichmann (rikh'-man), Th., b. Ros- 
 tock, March 18, 1849 ; barytone , 
 pupil of Mantius, Elsler, Ress and 
 Lamperti ; 1882-89, ct. -opera Vi- 
 enna ; 1882, created ' Amfortas " in 
 ''Parsifal," Bayreuth ; 1889-90, 
 New York ; then Vienna. 
 
 Reid (red). General John, Straloch, 
 Perthshire, r72i(?) — London, 1807 ; a 
 musical amateur, founded a chair of 
 mus. Edinburgh Univ. 
 
 Reijnvaan (or Reynwaen) (r^n'-van), 
 Jean Verschuere, LL.D.; Middle- 
 burg, Holland, 1743 — Flushing, May 
 12, 1809 ; organist and composer. 
 
 Reimann (r!'-man), (i) Mathieu 
 (Matthias Reymannus), Lowen- 
 berg, 1544— 1597; composer. (2) 
 Ignaz, Albendorf, Silesia, 1820 — 
 Rengersdorf, 1885 ; composer. (3) 
 H., b. Rengensdorf, March 14, 1850 ; 
 son and pupil of (2) ; since 1887 
 asst.-libr., R. Library, Berlin; or- 
 ganist to the Philh. Soc; teacher of 
 organ and theory, Scharvvenka-Klind- 
 worth Cons., and (since 1895) organ- 
 ist at the Gnadenkirche ; prominent 
 critic and writer ; c. sonatas and 
 studies for organ. 
 
 Reinagle (rl'-na-ggi), (i) Jos., b. Lon- 
 don ; son of a German mus., horn- 
 player and composer, 1785. (2) Hugh, 
 d. young at Lisbon ; bro. of above ; 
 'ceUist. (3) Alex. R., Brighton, 1799 
 — Kidlington, near Oxford, 1877; or- 
 ganist and composer ; son of (i). 
 
 Reinecke (ri'-nek-e), (i) Ld. K., 
 Dessau, 1774 — Glisten, 1820 ; leader 
 and dram, composer. (2) K. (H. 
 Carsten), b. Altona, June 23, 1824; 
 noteworthy pianist and teacher ; son 
 and pupil of a music-teacher; at 11, 
 played in public ; at 19 toured Den- 
 mark and Sweden ; at Leipzig ad- 
 vised by Mendelssohn and Schu- 
 mann ; ct. -pianist at Copenhagen ; 
 1851 teacher Cologne Cons.; 1854- 
 59 mus.-dir. Barmen ; 1859-60 mus.- 
 dir. and cond. Singakademie, Bres- 
 
 lau ; 1860-95 cond. Gewandhaus 
 Concerts, Leipzig ; also prof, of pf.- 
 playing and free comp., Leipzig 
 Cons. ; 1897 ' ' Studiendirektor " there; 
 Dr. Phil. /i. c, Leipzig Univ.; Royal 
 Professor ; toured almost annually 
 with great succ, c. 2 masses, 3 
 symphs., 5 overtures ''Davie Ko- 
 bold" " Aladin" " Friedensfeier" 
 " Festouverture'' "In memoj-iam" 
 (of David), " Zetiobia," inirod. and 
 fugue with chorus and orch ; funeral 
 march for Emperor William L; con- 
 certos for vln., 'cello and harp.; prod, 
 grand opera " Konig Manfred" 
 (Wiesbaden, 1867) ; 3 comic operas ; 
 fairy opera "Die Teiifelchen atif 
 der Himmelswiese" (Glarus, 1899); 
 mus. to Schiller's " Tell" ; oratorio 
 " Belsazar" ; 2 cantatas " Hakon 
 farl" and "Die Flucht nach 
 ^Fgypten" with orch.; 5 fairy canta- 
 tas, 4 concertos, many sonatas ; '''Aus 
 der Jugetidzeit" op. 106; " Neues 
 Notenbuch fur Kleine Leute" op, 
 107 ; concert-arias, 20 canons for 
 female voices, and excellent son] 
 for children. 
 
 Reiner (rl'-ner), (r) Jacob, Altdorf,! 
 Wurtemberg, ca. 1560 — 1606; com- 
 poser. (2) Ambrosius, Altdorf-Wein- 
 garten, 1604 — 1762 ; ct. -conductor 
 son of above. 
 
 Reinhard (rin'-hart), B. Fran., Strass 
 burg, mus. -printer, iSoo ; the first tc 
 scereotype music plates. 
 
 Reinhold (rin'-holt), (i) Thos., Dres 
 den, 1690 — Soho, 175 1 ; singer. (2 
 Chas. Fred., 1737 — Somers Town 
 1815 ; Engl, bass and organist. (3 
 Hugo, b. Vienna, March 3, 1854 
 composer. 
 
 Reinholdt (rln'-holt), Th. Christ 
 lieb, d. Dresden, March 24, 1755 
 cantor, teacher and composer. 
 
 Reinke(n) (rin'-ken) (or Reinicke) 
 Jn. Adam, Deventer, Holland, Apr' 
 27, 1623 — Hamburg, Nov. 24, 1722 
 noted organist and composer. 
 
 Reinsdorf (rins'-dorf). Otto, K6selit2 
 1848 — Berlin, i8go ; editor. 
 
 Reinthaler (rin'-tal-er), K. (Martin; 
 
 i"J 
 
 a 
 
DICTIONARY OF MUSICIANS 691 
 
 T;^. 
 
 Erfurt, 1832 — Bremen, 1896 ; sing- 
 ing-teacher, organist, conductor and 
 dram, composer. 
 
 Reisenauer (ri'-ze-now-er), Alfred, b. 
 Konigsberg, Nov. i, 1863; pianist; 
 pupil of L. Kohler and Liszt ; debut, 
 iSSr, Rome, with Liszt; toured, 
 composer. 
 
 Reiser (rl'-zer). Aug. Fr., b. Gammer- 
 tingen, Wiirtemberg, Jan. 19, 1S40 ; 
 1S80-S6. ed Cologne '' Neue Mii- 
 sikzeitung" , c 2 symphs., choruses, 
 incl. "■' Barbarossa," for double ch., 
 etc. 
 
 Reiset. Vide de grandval. 
 
 Reiss (rTs).(i) K. H. Ad., b Frankfort- 
 on-Main, April 24, 1829 ; pupil of 
 Hauptmann, Leipzig ; chorus-master 
 and cond. various theatres ; 1854, 
 1st cond. Mayence ; 1856, 2d., later 
 1st cond. at Cassel (vice Spohr). 
 1881-86, ct.-th., Wiesbaden; prod, 
 opera, ""Otto der Sckiitz" (Mayence, 
 1856). (2) Albert, b. Berlin ; Wag- 
 nerian tenor ; studied law, then be- 
 came an actor, discovered by Pollini; 
 pupil of Liebau and Stolzenberg ; 
 debut in opera at Konigsberg, later 
 at Posen and Wiesbaden ; famous as 
 "Mime " and " David." 1902-3, N. Y. 
 
 Reissiger (ris'-sTkh-er), (i) Chr. Gl., 
 c. 1790; comp. (2) K. Gl., Belzig, near 
 Wittenberg, Jan. 31, 179S — Dresden, 
 Nov. 7, 1859 ; son of above ; pupil 
 of Schicht and Winter ; singer, pi- 
 anist and teacher ; 1826, on invita- 
 tion, organised at The Hague the still 
 succ. Cons.; ct.-cond. Dresden (vice 
 Weber); c. 8 operas, 10 masses. (3) 
 Fr. Aug., Belzig, 1809— Frederiks- 
 hald, 1883 ; bro. of above ; military 
 bandm.; composer. 
 
 Reissmann (rls'-man), Aug., b. 
 Frankenstein, Silesia, Nov. 14, 1825; 
 studied there and at Breslau ; 1863- 
 80, lectured at Stern Cons., Berlin ; 
 then lived in Leipzig (Dr. Phil., 
 1875), Wiesbaden and Berlin ; writer 
 of important historical works, and 
 lexicographer ; c. 3 operas, 2 dram, 
 scenes, an oratorio, etc. 
 
 Reiter (n'-ter), Ernst, Wertheim, 
 
 Baden, 1814 — Basel, 1875; vln.-prof. 
 and dram, composer. 
 
 Relfe (relf), (i) Lupton, d. 1803; for 
 50 years organist Greenwich Hospi- 
 tal. (2) John, Greenwich, 1763— 
 London, ca. 1837; son of above; 
 noted teacher ; theorist. 
 
 Rellstab (rel'-shtap), (i) Jn. K. Fr., 
 Berlin. 1759 — 1813 ; son and suc- 
 cessor of owner of a printing-estab- 
 lishment ; critic, teacher, and com- 
 poser. (2) (H. Fr.) L., Berlin, 1799 
 — 1860; the noted novelist, son of 
 above; wrote biog., libretti and criti- 
 cisms which got him twice impris- 
 oned ; c. part-songs. (3) Karoline, 
 b. 1793 (or '94); sister of above; 
 singer of unusual compass. 
 
 Remenyi (rem - an - ye), Eduard, 
 Heves. Hungary, 1S30 — on the stage, 
 of apoplexy, San Francisco, Cal., 
 May 15, 1898 ; noted violinist ; pu- 
 pil of Bohni, Vienna Cons. ; banished 
 for his part in Hungarian Revolu- 
 tion : toured America ; 1854, solo 
 violinist to Queen Victoria ; i860, 
 pardoned by Austrian Emperor and 
 made ct. -violinist ; toured widely, 
 1866 round the world ; c. a vln. -con- 
 certo, transcriptions, etc. 
 
 Remi d'Auxerre (ra-me do-sar) (Re- 
 migius Altisiodorensis), monk at 
 Rheims, 893 ; writer. 
 
 Remmers (rgm'-mers), Jn., Jever, 
 1805 — The Hague, Jan. 28, 1847 ; 
 violinist. 
 
 Rem mert, Martha, b. Gross-Schwe- 
 rin, near Glogau, Sept. 13, 1854 ; pi- 
 anist ; pupil of Kullak, Tausig and 
 Liszt ; lives in Berlin. 
 
 Remusat (Remuzat) (ra-mu-za), (i) 
 Jean, Bordeaux, 1815 — Shanghai, 
 1880; flute-virtuoso; writerand com- 
 poser. (2) Bd. Martin, b. Bor- 
 deaux, 1822 ; bro. of above ; flutist. 
 
 Reray, W. A. Vide mayer, wm. 
 
 R^nard (ra-nar), Marie, b. Graz, Jan- 
 18,1864 ; soprano ; debut, Graz, 1882; 
 1885-88, Berlin ct. -opera ; then Vi- 
 enna ct. -opera. 
 
 Renaud (rii-no), (i) Albert, b. Paris, 
 1855 ; pupil of Franck and Delibes ; 
 
692 
 
 THE MUSICAL GUIDE 
 
 organist St. Fraiifois-Xavier ; critic, 
 " Za Pairie"; c. 4-act " feerie," 
 '' Aladin" (1891) ; opera comique 
 "■A la Hoiizaide" ('91); operetta 
 "Z,? Soleil de Ulinuii" (1S98) ; bal- 
 lets, etc. (2) Maurice, b. Bordeaux, 
 1862 ; notable bass ; pupil of Paris 
 Cons.; 1883-90, at R. Opera, Brus- 
 sels; 1890-91, Op. -Com., Paris; from 
 1891-1902, Gr. Opera; equally fine in 
 comic and serious works ; has a rep- 
 ertory of 50 operas. 
 
 Rendano (ren-dii'-no), Alfonso, Caro- 
 lei, Calabria, April 5, 1S53 ; pianist ; 
 pupil of Naples Cons., Thalberg ^nd 
 Leipzig Cons. (1871); toured ; c. 
 piano-pcs. 
 
 Rentier, Josef, Schmatzhausen, Ba- 
 varia, 1S32 — Ratisbon, 1S95 ; editor. 
 
 Reszke. Vide de keszki5. 
 
 R^ty (ra-te), Chas,, ca. 1S26— Paris, 
 1895 ; under the pseud. "Chas. Dar- 
 cours," critic for twenty-five years. 
 
 Reubke (roip'-ke),(i) Ad., Halberstadt, 
 1805 — 1S75 ; org.-builder at Hausen- 
 dorf, near Quedlinburg. (2) Emil, 
 Hausneindorf, 1836 — 1885 ; son and 
 successor of above. (3) Julius R., 
 Hausneindorf, 1834 — Pillnitz, 1858 ; 
 bro. of above ; pianist and composer. 
 (4) Otto R., b. Nov. 2, 1842 ; bro. 
 of above ; pupil of von Billow and 
 Marx ; mus. -teacher and conductor, 
 Halle ; 1892, mus.-dir. at the Uni- 
 versity. 
 
 Reuling (roi'-ltng), (L.) Wm., Darm- 
 stadt, 1802 — Munich, 1879 ; con- 
 ductor and dram, composer. 
 
 Reuss (rois), (i) Eduard, b. New York, 
 Sept. 16, 1 851; pupil of Ed. Kri'iger 
 and of Liszt ; 1880, teacher at Carls- 
 ruhe. His wife, (2) Reuss-Belce 
 (-bel'-tse) Louise, b. Vienna ; sopra- 
 no ; pupil of Gansbacher ; debut as 
 " Elsa," Carlsruhe, 1884 ; later at 
 Wiesbaden, and Bayreuth as one of 
 the "Norns" and " Walkiire " for 
 years ; 1900 sang Wagner in Spain, 
 1901, Met. Op., N. Y. (3) H. 
 XXIV., Prince of Reuss- Kostritz ; 
 b. Trebschen, Brandenburg, Dec. 8, 
 1855 ; pupil of Herzogenberg and 
 
 Rust, Leipzig ; c. 2 symphs. , a mass, 
 etc. 
 
 Renter (roi'-ter), Florizel (known as 
 *' Florizel ") ; b. 1890 (?) ; boy vio- 
 linist ; pupil of Bendix, Chicago, and 
 of Marteau, in Europe ; has toured 
 America with popular success. 
 
 Reutter (roit'-ter), (i) G. (Senior), 
 Vienna, 1656 — Aug., 1738 ; theorb- 
 ist, ct. -organist and conductor. (2) 
 (Jn. Adam), G. (Junior), Vienna, 
 1708 — 1772; son and (1738) succes- 
 sor of above as ct. -conductor ; c. 
 opera, etc. 
 
 Rey (re), (i) J. Bap., Lauzerte, 1734 
 — Paris, 18 10; conductor, professor 
 of harm, and dram, composer. (2) 
 L. Chas. Jos., bro. of above ; for 
 40 years 'cellist, Gr. Opera. (3) J, 
 Bap. (II.), b. Tarascon, ca. 1760; 
 from 1795 till 1822, 'cellist, Gr 
 Opera, and theorist. (4) V. F. S., b. 
 Lyons, ca. 1762 ; theorist. (5) Vide 
 
 REYEU. 
 
 Reyer (re-ya) (rightly Rey), L. Eti- 
 enne Ernest, b. Marseilles, Dec. i, 
 1823 ; prominent French composer ; 
 studied as a child in the free munic- 
 ipal sch. of mus. ; while in the Govt, 
 financial bureau at Algiers, c. a sol- 
 emn mass and pub songs ; the Revo- 
 lution of 1848 deprived him of his 
 position and he retired to Paris, 
 where he studied with his aunt, Mme. 
 Farrenc ; librarian at Opera (vice 
 Berlioz); 1876, Academie ; critic 
 ''Journal dis Dcbats" ; 1862, Chev. 
 of the Legion of Honour ; 1886, 
 Officier. Prod, a symph. ode with 
 choruses " Le Selam " (Th. Italien 
 1850); i-act comedy-opera "A/at' 
 tre Wolfram " (Th.-Lyrique, 1854) , ' 
 a ballet-pantomime ' ' Saconntala " i 
 (Opera, 1858); comedy-opera "La 
 Statue" (Th.-Lyr., 1 861, revived ac 
 the Opera 1878 without succ); unsucc. 
 opera " E rostrate" (Baden-Baden,' 
 1862); the still pop. opera " Sigurd" 
 (Brussels, 1884), and " Salaminhd" 
 (Brussels, 1890). C. a cantata " Vic- 
 toire" (1859); ^ hymn, " L Union 
 des Arts" (1S62), a dram, scene. 
 
DICTIONARY OF MUSICIANS 693 
 
 I;i9<! 
 
 "Z« Madeleine au Deserf' {l%-]J,) \ 
 male choruses ; also some church- 
 mus. Pub. a volume of essays, 1875. 
 
 Reznicek (rez'-nl-tsek), Emil Nico- 
 laus, Freiherr von, b. Vienna, May 
 4, 1861 ; studied Leipzig Cons.; th.- 
 conductor various cities ; i8g6, ist 
 cond. ct.-th., Mannheim; prod, at 
 Prague operas ' ' Die Jimgfrau von 
 Orleans " (18S7)," Satanella " (1888), 
 "■ Etnerich Fortunat" (1889), comic 
 opera (text and music), '"Donna 
 Diana" (1894), all very succ. ; Volks- 
 oper, " Till Eulenspiegel" (Berlin, 
 1903). C. also a requiem (1B94), a 
 symph. suite, etc, 
 
 Rhaw(Rhau) (row), G., Eisfeld, Fran- 
 conia, 14S8— Wittenberg, 1548; mus.- 
 printer and composer. 
 
 Rheinberger (rin'-berkh-er), Jos. 
 (Gabriel), Vaduz, Lichtenstein, 
 March 17, 1837— (of nerve and lung 
 troubles) Munich, Nov. 25, 1902; 
 eminent teacher and composer. At 
 5 played the piano ; at 7 a good or- 
 ganist ; studied R. Sch. of Mus., 
 Munich ; 1859, teacher of theory 
 there ; also organist at the ct.- 
 church of St. Michael, and cond. 
 Oratorio Soc. 1865-67, "■ Repetitor" 
 ct.-opera ; Royal Prof, and Inspector 
 of the Sch. of Mus.; from 1877 ct. -cond. 
 Royal Chapel-Choir ; m. Franziska 
 von Hoffnas, a poetess (1822 — 1892); 
 prod, romantic opera " Die 7 Raben " 
 (Munich, 1869); comic opera '' Des 
 Thiirmers Tochterlein" (Munich, 
 1873) ; " Christophorus," a mass for 
 double choir (dedicated to Leo X 1 1 1 .) ; 
 mass, withorch.; requiem for soldiers 
 of the Franco- Prussian war ; 2 Sta- 
 bat Maters; 4 cantatas with orch.; 
 2 choral ballades; '^ Florentine" 
 symph.; symph. tone-picture " IVal- 
 lenstein " ; a symphonic fantasia ; 3 
 overtures " Z't'WtVr/wj." " The Tarn- 
 ing of the Shrew" " Triumph" ; 2 
 organ - concertos ; pf. - concertos , 
 chamber-music ; vln. -sonatas ; pf.v 
 sonatas (" symphonique"; op. 47 ; 
 "romantic," op. 184), etc., notably 
 iS important org.-sonatas ; left un- 
 
 finished mass in A minor (finished by 
 his pupil L. A. Coerne). 
 
 Riccati (rlk-ka'-te), Count Giorda- 
 no, b. Castelfranco, 1709 — T revise, 
 1790 ; theorist. 
 
 Ricci (rit'-che), (i) Luigi, Naples, 
 1805 — insane, in asylum, Prague, 
 1859 '> conductor and dram, com- 
 poser ; m. (2) Lidia Stoltz, who 
 bore him two children, of whom (3) 
 Adelaide sang at Th. des It., Paris, 
 1867, and died soon after. (4) Fed- 
 erico, Naples, 1809 — Comeghano, 
 1877 ; bro. of (i) and collaborator in 
 4 of his operas ; also c. others. 
 
 Riccius (rek'-tsl-oos), (i) Aug. Fd., 
 Bernstadt, Saxony, 1819 — Carlsbad, 
 1886; conductor, critic, singing-teach- 
 er and composer. (2) K. Aug., 
 Bernstadt, July 26, 1830 — Dresden, 
 July 8, 1893; nephew of above ; con- 
 ductor, violinist and composer of 
 comic operas, etc. 
 
 Rice, Fenelon B., Green, Ohio, Jan. 
 2, 1841 — Oberlin, Ohio, Oct. 26, 1901; 
 studied Boston, Mass., later Leipzig ; 
 for 3 years organist, Boston ; from 
 1871, dir. Oberlin (Ohio) Cons, of 
 Mus.; xMus. Doc. Hillsdale (Mich.) 
 Coll. 
 
 Richards, (H.) Brinley, Carmarthen, 
 Wales, Nov. 13, 1817 — London, 
 May I, 1885 ; pop. composer and 
 pianist. 
 
 Richardson, (i) Vaughan, d. 1729 ; 
 organist and composer, London. (2) 
 Jos., 1S14 — 1862 ; flutist and com- 
 poser, London. 
 
 Richault (re-sho), (i) Chas. Simon, 
 Chartres, 1780 — Paris, 1866; mus.- 
 publisher, succeeded by his sons (2) 
 Guillaume Simon (i8o6 — 1877) 
 and (3) Leon (1839— 1895). 
 
 Riche, A. Le. Vide divitis. 
 
 Richter (rlkh'-ter), (i) Fz. X., Hole- 
 schau, Moravia, 1709 — 1789 ; cond., 
 writer and composer. (2) Jn. Chr. 
 Chp., Neustadt-am-Kulm, 1727 — 
 Schwarzenbach - on - Saale, 1779 ; 
 Father of Jean Paul R.; organist. 
 (3) Ernst H. Ld., Thiergarten, 
 Prussian Silesia, 1805 — Steinau-on- 
 
694 
 
 THE MUSICAL GUIDE 
 
 Oder, 1876 ; notable teacher ; c. an 
 opera, etc. (4) Ernst Fr. (Edu- 
 ard), Gross Schonau, Saxony, Oct. 
 24, 1808— Leipzig-, April g, 1879; 
 eminent theorist ; pupil of Weinlig, 
 and self-taught ; 1S43 teacher at 
 Leipzig Cons, newly founded ; 1843- 
 47, conductor Singakademie ; or- 
 ganist various churches , 1863 mus.- 
 dir. Nikolaikirche ; 1868 mus.-dir. 
 and cantor Thomaskirche ; Prof. ; 
 wrote a standard ' ' Lehrbuch der Har- 
 monie" (1853), and '" Lehrbuch der 
 Fuge "; c. an oratorio, masses, etc. 
 
 (5) Alfred, b. Leipzig, April i, 1846 ; 
 son of above ; teacher at the Cons., 
 1872-83 ; then lived in London ; 1897, 
 Leipzig ; pub. supplement to his 
 father's "' Harmonie" and " Koiitra- 
 
 puiikt" ; also " Das Klavierspicl fiir 
 Miisikstudierende" (Leipzig, 1898). 
 
 (6) Hans, b. Raab, Hungary, April 
 4, 1843; eminent conductor; son of the 
 cond.ofthe local cath.; his mother was 
 a prominent sopr. and later a distin- 
 guished teacher ; choirboy in the ct.- 
 chapel, Vienna ; studied with Sech- 
 ter (piano-playing), and Kleinecke 
 (the French horn), at the Cons. ; horn- 
 player in Karnethor Th. orch.; then 
 with Wagner, 1866-67 in Lucerne, 
 making a fair copy of the " Mcister- 
 singer" score. On W.'s recommen- 
 dation, 1867, chorusm., Munich 
 Opera. 1868-69 ct.-cond. under von 
 Biilow. Cond. first performance of 
 "■Lohengrin" (Brussels, 1870); again 
 at Lucerne with Wagner, making fair 
 copy of the score of the " Nibelungen 
 Ring" ; 1871-75, cond., Pesth Na- 
 tional Th.; then cond. of the Imp. 
 Opera, Vienna ; 1893, ist cond. ; 
 since 1875 also cond. " Gesellschaft 
 der Altisikfreunde " excepting 1882- 
 83. Selected by Wagner to cond. 
 X\\Q.''Ring dcs N'icbehtvgen" (Bay- 
 reuth, 1876), and alternate cond. 
 with Wagner at the Wagner Concerts, 
 Albert Hall, London, 1877 ; chief- 
 cond. Bayreuth Festivals, and since 
 1879, annually cond. Philh. concerts at 
 London. Cond. several Lower Rhe- 
 
 nish Festivals and (since 1885) the 
 Birmingham Festivals. In 1885, 
 Mus. Doc. h. c, Oxford Univ. In 
 1S98 the freedom of the city of Vi- 
 enna was given him. 
 Ricieri (re-cha'-re), Giov. A., Venice, 
 1679 — Bologna, 1746 ; male soprano 
 and composer. 
 Ricordi (re-kor'-de), (i) Giov., Milan,-, 
 1785 — 1853 ; founder of the mus..^: 
 publishing firm in Milan ; violinist 
 and conductor ; succeeded by his son 
 (2) Tito (1811— 18S8); the present 
 head is (3) Giulio (b. Milan, Dec. 19, 
 1S40); also ed. of the '"Gazetta Mit- 
 sicale." 
 Riechers (re'-khers), Aug., Hanover, ; 
 1836 — Berlin, 1893 ; maker and re- ; 
 pairer of vlns. ; writer. 
 Riedel (re'-d'l) (i) Karl, Kronenberg, ; 
 Oct. 6, 1827— Leipzig, June 3, 1888; j 
 pupil Leipzig Cons.; 1S54, founded 
 the noted social society Riedelve- t 
 rein ; prcs. Wagnerverein, etc. ; 
 pub. colls. (2) Hn., b. Burg, near 
 Magdeburg, Jan. 2, 1S47; pupil Vi- 
 enna Cons.; ct.-cond. Brunswick; 
 composer. (3) Furchtegott Ernst 
 Aug., b. Chemnitz, May 22, 1855 I 
 pupil Leipzig Cons.; from 1890, 
 town cantor, Plauen, Sa.xony, also 
 cond. ; c. cantatas, etc. 
 Riedt (ret), Fr. Wm., Berlin, 1712 — 
 1784; flute-virtuoso; writer and com- 
 poser. 
 Riehl (rel), Wm. H. von, Biebrich, 
 1823 — Munich, 1897; director, writer 
 and composer. 
 Riem (rem), Fr, Wm., Kolleda, Thu- 
 ringia, 1779 — Bremen, 1857; organ- ' 
 ist, conductor and composer. 
 Riemann (re-man), (i) Jakob, at Cas- , 
 sel i8th cent.; ct. -composer. (2) ] 
 Aug., Blankenham, Thuringia, 1772 ji 
 — Weimar, 1826 ; ist violinist ct.- J. 
 orch. (3) Hugo, b. Grossmehlra, \ 
 near Sondershausen, July 18, 1849; 
 notable theorist. Son of a farmer 
 who taught him the rudiments of 
 mus., and who had prod, an opera 
 and choral pes. at Sondershausen, 
 but opposed his son's mus. ambi- 
 
DICTIONARY OF MUSICIANS 695 
 
 tions ; the youth, however, studied 
 theory with Frankenberger, and piano 
 with Barthel and Ratzenberger, at 
 Sondershausen. Studied law, then 
 philosophy and history, at Berlin and 
 Tubingen ; after serving in the cam- 
 paign of 1870 — 71, entered Leipzig 
 Cons.; 1S73, Dr. Phil. Gottingen ; 
 wrote dissertation " Musikalische 
 Logik"; until 1878, a cond. and 
 teacher at Bielefeld, then lecturer 
 Leipzig Univ.; 1880-81, teacher of 
 mus. at Bromberg ; then till i8qo, 
 Hamburg Cons., then the Wiesbaden 
 Cons. ; 1895, lecturer at Leipzig 
 Univ. ; m. in 1876. Notable at times 
 under pseud. *' Hugibert Ries " 
 as an essayist, writer of theoretical 
 treatises of much originality, also an 
 important historian and lexicographer; 
 mus.-ed. of Meyer's '' Konversations- 
 Uxikon" and ed. a valuable '" Mu- 
 sik-Lexikon" (1882; Engl. ed. 1893); 
 c. chamber-mus., vln. -sonata, etc. 
 
 Riemenschneider (re'-men-shnl-der), 
 G., b. Stralsund, April i, 1848; pu- 
 pil of Haupt and Kiel ; th.-cond. Lu- 
 beck (1875) and Danzig; later cond. 
 Breslau concert-orch. ; c. operas 
 ^^ Mondeszauber" (Danzig, 1887), 
 and ''Die Eisjungfrau" (symphonic 
 picture), '' Julinacht" etc. 
 
 Riepel (re'-pel), Jos., Ilorschlag, Up- 
 per Austria, 1708 — Ratisbon, 1782 ; 
 chamber-musician, theorist and com- 
 poser. 
 
 Ries (res), (i) Jn., Benzheim, 1723— 
 1786 (7) ; ct. -trumpeter and violinist 
 to the Elector of Bonn ; also con- 
 ductor (2) Anne Maria, daughter 
 of above ; ct. -soprano, Bonn, 1764- 
 1794 ; m. a violinist Fd. Drewer. 
 (3) Fz. (der alter), Bonn, 1755 — 
 Bremen, 1846 ; bro. of above ; lead- 
 er, later ct.-mus. dir., Bonn. (4) 
 Fd., Bonn, Nov. 29, 1784 — Frank- 
 fort-on-Main, Jan. 13, 1838 ; noted 
 pianist ; pupil of Beethoven (of whom 
 he wrote a valuable sketch) and Al- 
 brechtsberger ; toured, 1813-24, 
 London ; m. an English woman ; 
 from 1830, 1. Frankfort as cond.; c. 8 
 
 operas, 6 symphs., etc. (5) Peter 
 Jos., 1790 — London, 1882 ; bro. of 
 above ; Royal Prussian Prof. (6) 
 Hubert, Bonn, April i, 1802 — Ber- 
 lin, Sept. 14, 1886 ; bro. of above ; 
 violinist, teacher and composer of 
 valuable method, studies, etc., for vln. 
 (7) Louis, b. Berlin, Jan. 30, 1830; 
 son of (6), vln. -teacher, London. (8) 
 Ad., b. Berlin, Dec. 20, 1837; bro. 
 of above ; pf. -teacher, London ; com- 
 poser. (9) Fz., b. Berlin, April 7, 
 1846 ; son and pupil of (6); studied 
 with Massart at Paris Cons, and with 
 Kiel (comp.) ; concert-violinist till 
 1S75 when he retired because of ner- 
 vousness, and entered mus. -publishing 
 (Ries & Erler, Berlin) , c. excellent 
 orch. and chamber-mus., etc. (10) 
 Hugibert. Vide hugo riemann. 
 
 Rieter-Biedermann (re'-ter-be'-der- 
 man), J. Melchior, 181 1 — Winter- 
 thur, Switz., 1876 ; founded pub.- 
 house, 1849; 1862, branch at Leipzig. 
 
 Rietz (rets), (i) Jn, Fr. R., d. Berlin, 
 1828 ; via. -player, royal chamber- 
 mus. (2) Eduard, Berlin, 1802 — 
 1832 ; son of above ; violinist and 
 tenor ; founded the Berlin Philh. 
 Soc, 1826; was its cond. till death. 
 (3) Julius, Berlin, Dec. 28, 1812 — 
 Dresden, Sept. 12, 1877; son of (i) ; 
 'cellist and cond.; pupil of Schmidt, 
 Romberg and Ganz ; 1834, asst.- 
 cond. to Mendelssohn, Dusseldorf op- 
 era ; 1835, his successor ; 1847, cond. 
 Singakademie, Leipzig, later also 
 cond. Gewandhaus and prof, of comp. 
 at the Cons.; i860, ct.-cond. at Dres- 
 den ; later dir. of the Cons. ; editor 
 of scores; c. 4 operas, 3 symphs., 
 various overtures, masses, etc. 
 
 Riga (re'-ga), Frantz (Francois), 
 Liege, 183 1 — Schaerbeek, near Brus- 
 sels, 1892 ; conductor and composer 
 of male choruses, etc. 
 
 R'&by» Geo. Vernon, b. Birming- 
 ham (?), Jan. 21, 1840; notable oper- 
 atic and concert tenor ; toured Engl., 
 Ger. and Italy. 
 
 Righini (re-ge'-ne), V., Bologna. Jan. 
 22, 1756 — Aug. 19, 1812 ; tenor, 
 
696 
 
 THE MUSICAL GUIDE 
 
 singing-teacher and court-cond. at 
 Mayence, later Berlin ; c. 20 operas, 
 etc., inch vocalises. 
 
 Rille. Vide Laurent de rille. 
 
 Rimbault (rim'-bolt), (i) Stephen 
 Francis, organist and composer, 
 1773 — 1837. (2) Edw. Fran., Lon- 
 don, June 13, 1816— Sept. 26, 1876; 
 son and pupil of above ; organist and 
 noted lecturer, editor, essayist and 
 writer of numerous valuable historical 
 works basc<l on research. 
 
 Rimsky-Korsakov (rlm'-shkT-kor'-sa- 
 kof), Nikolas Andrejevitch, b. 
 Tikhvin, Novgorod, May 21 (new 
 style), 1844 ; notable Russian com- 
 poser ; studied at the Naval Inst., 
 Petersburg ; also took pf.-lessons ; 
 1861, took up mus. as a profession 
 after study with Balakirev; at 21 prod, 
 his first symph.; 1871, prof, of comp. 
 and instr. at Petersb. Cons., also 
 1873-84 inspector of Marine Bands ; 
 1874-87, dir. Free Sch. of Mus., and 
 until 1881, cond. there ; 1883, asst. 
 cond. (to Balakirev) of the Imp. 
 Orch.; from 1886, cond. Russian 
 Symph. Concerts ; 1889, cond. 2 
 Russian concerts at tJie Trocadero, 
 Paris. He orchestrated the posthu- 
 mous operas : Dargomyzsky's "'Com- 
 modore" Mussorgsky's '' Khovanst- 
 chyna" and Borodin's ''Fri?tce 
 Igor"; pub. coll. of Russian songs 
 and a harmony. C. operas " Fsko- 
 vitjanka" ("The Girl from Pskov") 
 (St. Petersburg, Imp. Th. 1S73) ; ".4 
 May Night" (do. 1880); " Snegorotch- 
 ka" ("The Snowy Princess") (do. 
 1882); '"Mozart und Salieri" (Mos- 
 cow); opera ballet " Mlada " (Peters- 
 burg, 1892); opera ''Christmas Eve" 
 (1895); 3 symphs. incl. "Antar" 
 (188 1), sinfonietta; " Russian " over- 
 ture ; Servian fantasia , mus. tableau 
 " Sadko " (1876) : pf. concerto, etc. ; 
 opera " Zarskaja Ne-ivjesta " (1901). 
 
 Rinaldi (re-nal'-de), Giov., Reggiolo, 
 Italy, 1840 — Genoa, 1895 ; pianist. 
 
 Rinck (rink), Jn. Chr. H., Elgersburg, 
 Thuringia, Feb. 18, 1770— Darm- 
 stadt, Aug. 7, TS46 famous organ- 
 
 ist, writer and composer ; pupil of 
 Kittel, etc.; town organist Giesen, 
 then, 1805, at Darmstadt, where he 
 also taught in the seminary ; 1813 
 ct. -organist there ; autobiog. (Bres- 
 lau, 1833). 
 Ringel, Federico. Vide f. d'erlan- 
 
 GER. 
 
 Ringler (ring'-ler), Eduard, b. Niirn- 
 berg, Jan. 8, 1838 ; pupil of Hoh- 
 niann; but did not adopt mus. till 30, 
 then studied with Grobe, and Dupont 
 at Niirnberg ; cond. the " Singver- 
 ein " ; from 1883 choir-dir. in the 
 synagogue, and from 1890, cond. the 
 e.xcellent " Verein fur klassischen 
 Chorgesang " ; singing-teacher and 
 critic; c. succ. " Volksoper " " Ep- 
 pclein von Gailigen " (Niirnberg, 1896), 
 grand opera " Frithjof" songs, etc. 
 
 Rinuccini (re-noot-che'-ne), Ottavio, 
 Florence, 1562 — 1621 ; the librettist 
 of the first opera ever performed, 
 Peri (q. v.) and Caccini's " Z>rt/;/^ " 
 (1594), also of Peri's " Eitridice" 
 (1600), and Monteverde's " Arianna 
 a Nasso " (1608). 
 
 Riotte (rl-ot), Phillip J., St. Mendel, 
 Treves, Aug., 1776 — 1856; conduct- 
 or and dram, composer. 
 
 Ripa (re'-pa), Alberto de (called Al- 
 berto Mantovano), b. Mantua — d. 
 ca. 1580 ; lutist and composer. 
 
 Rischbieter (rish'-be-ter), Wm, Al- ; 
 bert, b. Brunswick, 1834 ; pupil of 
 Hauptmann, theory ; violinist in i 
 Leipzig and other cities ; from 1862 i 
 teacher harm, and cpt., Dresden 1 
 Cons., pub. treatises, etc.; c. symph., ! 
 overtures, etc. . ! 
 
 Risler (res'-ler), Edouard, b. Baden-; 
 Baden, Feb. 23, 1S73 ; notable pia- i 
 nist ; pupil of Diemer and d'Albert, \ 
 Stavenhagen, etc.; lives in Paris. 
 
 Ristori (res-to'-re), Giov. Alberto,; 
 Bologna, 1692 — Dresden, Feb. 7, 
 1753 ; organist and conductor; c. 2' 
 of the earliest comic operas, also 
 church-music. 
 
 Rit'ter, (;) G. Wenzel, Mannheim, j 
 April 7, T748 — Berlin, June 16, 1808; • 
 bassoonist, Berlin ct.-orch.; compos- 
 
DICTIONARY OF MUSICIANS 697 
 
 w| 
 
 er. (2) Aug. Gf., Erfurt, Aug. 25, 
 i8n— Magdeburg, Aug. 26, 1885; 
 organ-virtuoso, editor and composer. 
 (3) Alex, Narva (or Reval), Russia, 
 June 27 (new style), 1833 — Munich, 
 April 12, 1896 ; violinist ; c. succ. 
 operettas, etc. (4) Frederic Louis, 
 Strassburg, June 22, iS34^x\nt\verp, 
 July 22, iSgr ; prof, of mus. and 
 conductor at Loraine ; 1856, Cincin- 
 nati (U. S. A.), organist Philh. orch. 
 and Cecilia Soc; 1S61 New York, 
 cond, the Arion ; 1867 prof. Vassar 
 Col.; wrote " Music in England," 
 and '"Music in Amei-ica" (both N. 
 Y., 1883); and other Jiistorical 
 works; c. 5 symphs.. etc. (5) (Ray- 
 mond-Ritter), Fanny, b. Philadel- 
 phia, 1S40 ; wife of above ; writer 
 and translator. (6) (rightly Bennet) 
 Theodore, near Paris, 1841 — Paris, 
 1SS6 ; pianist and composer. (7) 
 Hermann, b. Wismar, Sept. 16, 
 1849 ; violinist ; studied Berlin with 
 Joachim, etc. ; invented and played a 
 viola alta ; for 20 yrs. teacher at 
 Wurzburg. (8) Josef, b. Salzburg, 
 Oct. 3, 1859 ; barytone at Vienna, (g) 
 Ritter-Gotze (get-'tse), Marie, b. 
 Berlin, Nov. 2, 1865; mezzo-sopr.; 
 pupil of Jenny Meyer and Levysohn ; 
 debut R. Opera, Berlin ; later Ham- 
 burg for 4 years ; sang at Met. Op. 
 and in concert U. S. A. 1890-02 ; 
 then Berlin R. Opera. 
 ?iye-King (re'-va-king), Julie, b. 
 Cincinnati, Ohio, Oct. 31, 1857; 
 noteworthy pianist ; toured the world 
 with great succ; c. pop. pf.-pcs. 
 ?ivifere (rev-yar), Jules, 1809 — Paris, 
 
 Dec. 26, 1900 ; conductor. 
 Robinson, (i) J., 1682 — 1762 ; Eng- 
 lish organist and composer. (2) Ann 
 I (ijiee Turner), d. 1741 ; singer; wife 
 ' o^above. (3) Anastasia, 1750; Engl, 
 dinger ; m. Earl of Peterborough. 
 (4> Margaret, sister of (i) ; singer 
 in Handel's oratorios. (5) Francis, 
 prpfessor at Dublin, 18 10. His four 
 ; spns were (6) Francis, tenor ; (7) 
 Wm., bass ; (8) J., tenor and organ- 
 ist ; (9) Jos., b. Aug., 18 16 ; famous 
 
 cond. and composer ; his wife, (10) 
 Fanny Arthur, 1831— 1879, was a 
 singer and composer. 
 Roberts, J. Varley, b. Stanningly, 
 near Leeds, Sept. 25, 1841 ; organist 
 and composer; from 1868 at HaHfax; 
 1876 Mus. Doc. O.xford ; c. cantata 
 " [onah" etc. 
 Rob'john, Wm. Jos., b. Tavistock, 
 Devon, Nov. 3, 1843 ; self-taught 
 mus.; at 14 went to America; has 
 been organist various churches ; c. 
 various operettas, etc.; wrote under 
 pen-name Caryl Florio. 
 Robyn (rS'-bln), (r) Alfred G., b. St. 
 Louis, Mo., April 29, i860 ; son of 
 (2) Wm, R. (who organised the first 
 symph. orch. west of Pittsburgh) ; at 
 10 A. succeeded his father as organist 
 at St. John's Church ; at 16 solo-pianist 
 with Emma Abbott's Co. ; prod, comic 
 opera "y(Z««/a " (1894) ; c. pf. -con- 
 certo, etc., also very pop. songs (incl. 
 " Answer "), etc. 
 Rochlitz (rokh'-IIts), Jn. Fr., Leipzig, 
 Feb. 12, 1769— Dec. 16, 1842 ; com- 
 poser, editor and prominent writer of 
 essays, biog. and librettos. 
 Rock, Michael, d. March, 1809 ; 
 
 English organist and composer. 
 Rockel (rek'-el), (i) Jos. Aug., 
 Neumburg-vorm-\Vald, Upper Pala- 
 tine, 17S3— Anhalt-Cothen, 1870; 
 singer, prof, and operatic dir. at Aix; 
 1829-32, of a German co. at Paris ; 
 1832, London. (2) Aug. Gratz, 
 1814— Buda-Pesth, 1S76 ; joint-con- 
 ductor at Dresden opera (with Wag- 
 ner) ; 1848, abandoned mus. for poli- 
 tics. (3) Edw., b. Treves, Nov. 20, 
 18 16 ; pupil of his uncle, J. N. Hum- 
 mel ; toured as pianist ; from 1848 
 lived Bath, Eng. ; c. pf.-pcs. (4) 
 Jos. (Ld.), b. London, April 11, 
 1838 ; bro. of above ; pupil of Eisen- 
 hofer, Gotze, and of his father and 
 bro. Eduard (pf.) ; lives in Bristol, as 
 teacher and pianist ; c. cantatas, 
 pf.-pcs., pop. songs, etc. 
 Rock'stro (rightly Rackstraw), Wm. 
 Smyth, North Cheam,, Surrey, Jan. 
 5, 1823 — London, July 2, 1895 ; no- 
 
698 
 
 THE MUSICAL GUIDE 
 
 table historian; pupil Leipzig Cons. ; 
 pianist and teacher, London ; 1891, 
 lecturer R. A. M. and R. C, M.; 
 wrote treatises, biog. and " General 
 History of Music" (1886); c. over- 
 ture, cantata " Ilie Good Shepherd," 
 etc. 
 
 Roda (ro'-da), Fd. von, Rudolstadt, 
 1815 — near Kriwitz, 1876; mus.-dir. 
 and composer. 
 
 Rode (rod), (Jacques) P. (Jos.), Bor- 
 deaux, Feb. 16, 1774 — Chateau- 
 Bourbon, near Damazon, Nov. 25, 
 1830 ; notable violinist ; pupil of Fau- 
 vel and Viotti ; debut, Paris, 1790 ; 
 toured ; prof, at the Cons.; 1800, so- 
 loist to Napoleon, later to the Czar ; 
 c. 13 concertos, famous etudes, etc. ; 
 wrote a method (with Baillot & Kreut- 
 zer). 
 
 Rode (ro'-de), (i) Jn. Gf., Kirch- 
 scheidungen, Feb. 25, 1797 — Pots- 
 dam, Jan., 1857; horn-virtuoso; c. 
 tone-pictures, etc. (2) Th., Pots- 
 dam, 1821 — Berlin, 18S3 ; son of 
 above ; singing-teacher and writer. 
 
 Roder (ra'-der), (i) Jn. Michael, d. 
 ca. 1740 ; Berlin org. -builder. (2) 
 Fructuo'sus, Simmershausen, March 
 5, 1747 — Naples, 1789 ; notable or- 
 ganist. (3) G. v., Rammungen, 
 Franconia, 17S0 — Altotting, Bavaria, 
 1848 ; ct.-cond. and composer. (4) 
 Carl Gl., Stotteritz, near Leipzig, 
 1812— Gohlis, 18S3 ; 1846, founded 
 the largest mus. and engraving estab- 
 lishment in the world ; in 1872, his 
 sons-in-law, C. L. H. Wolf and C. E. 
 M. Rentsch, became partners. (5) 
 Martin, Berlin, April 7, 1851 — Bos- 
 ton, Mass., June 7, 1895; pupil R. 
 Hochschule ; conductor and teacher 
 of singing in various cities, incl. Dub- 
 lin and Boston ; critic and writer un- 
 der pseud. " Rare Miedtner " ; 
 wrote essays, librettos, etc.; c. 3 op- 
 eras, a symph. , 2 symph. poems, etc. 
 
 Rodio (ro'-dl-o), Rocco, b. Calabria, 
 ca. 1530 ; famous Neapolitan con- 
 trapuntist and theorist. 
 
 Rodolphe (ro'-dolf) (or Rudolph), 
 Jean Jos., Strassburg, Oct. 14, 1730 
 
 — Paris, Aug. r8, 1812 ; horn-virtu- 
 oso and violinist ; pub. treatises ; 
 prod, operas. 
 
 Rogel (ro'-hel), Jos6, b. Orihuela, Ali- 
 cante, Dec. 24, 1829 ; conductor and 
 composer of 61 zarzuelas, etc. 
 
 Roger (ro-zha), Gve. Hip., La Cha- 
 pelle St. -Denis, near Paris, Dec. 17, 
 1S15 — Paris, Sept. 12, 1879; noted 
 tenor; created ''Le Prop h tie"/ 1868, 
 prof, of singing at the Cons. (2) 
 Victor, b. Montpcllier, France, July 
 21, 1854; pupil Ecole Niedermeyer; 
 critic of "La France"; prod, about 
 20 operettas, etc., incl. "La Petite 
 I'dche" (^1898); succ."Po2t/e Blanche" 
 (1899); and succ. "Mile. Georges" 
 (1900). 
 
 Rogers (ra'-jers), (i) Benj., Windsor, 
 1614 — Oxford, 1698 ; organist at 
 Dublin ; later at Windsor ; c. the 
 hymn sung annually at 5 A. M., May 
 I, on the top of Magdalen tower, 
 Oxford. (2) John, d. Aldersgate. 
 ca. 1663; lutenist to Chas. IL (3)! 
 Sir John Leman, 17S0 — 1S47; com-; 
 poser; pres. Madrigal .Soc. (4)! 
 Clara Kathleen (nee Barnett), b. 
 Cheltenham, Engl., Jan. 14, 1844; 
 daughter and pupil of John Barnett ; 
 pupil of Leipzig Cons.; studied also 
 singing with Ciotze and Sangiovanni, 1 
 at Milan ; debut Turin, 1863 (under) 
 name "Clara Doria"); sang in 
 Italy, then in London concerts; 
 1871, America with Parepa-Rosa Co.; 
 1872-73, also with Maretzek Co.; 
 since then lived in Boston as singer 
 and teacher ; 1878, m. a Boston law- 
 yer, Henr\' M. R.; pub. " The Phi- 
 losophy of Singing" (New York, 
 1893) ; c. songs, sonata for pf. and 
 vln., etc. (5) Roland, b. West 
 Bromwich, Staffordshire, Nov. 17, 
 1847; at II, organist at St. Peter's 
 there ; 1871-91, organist a Bangor 
 Cath. and cond. of the Penrhyn and 
 Anonic Choirs ; teacher in Wales; 
 1875, Mus. Doc. Oxford; c. canta- 
 tas "Prayer and Praise " (with orch.), 
 "The Garden" (piize, Llandudno, 
 1S96); and " Florabel" ; Psalm 1 30, 
 
 Wa 
 
 fc<; 
 
 ! 
 
DICTIONARY OF MUSICIANS 699 
 
 for soli, chorus and strings ; a symph., 
 etc. (6) James H., b. Fair Haven, 
 Conn., U. S. A., 1857; at 18 studied 
 in Berlin with Loschorn, Haupt, Ehr- 
 lich and Rohde, and at Paris with 
 Firsot, Guilmant and Widor ; lives in 
 Cleveland, Ohio, as organist, pianist 
 and composer of notable songs. (7) 
 Delia, b. Denver, Colorado, ca. 
 1S69 ; soprano ; pupil of Mine, de la 
 Grange and Leon Jancey (French 
 diction) ; debut, St. Petersburg ; has 
 sung at La Scala, Milan, in Rouma- 
 nia, Turkey, etc. 
 
 Jognone (r6n-y5'-ne), (i) Riccardo, 
 a Milanese violinist. His son (2) 
 Fran., pub. a vln. method, 16 14, 
 etc. 
 
 iohde (ro'-de), Eduard, Halle-on- 
 Saale, 1828— BerUn, March 25, 1883 ; 
 writer of pf.-method ; singing teacher 
 and composer. 
 
 lohleder (ro'-la-der), (i) Jn,, pastor at 
 Friedland, Pomerania ; pub. a trea- 
 tise, 1792. (2) Fr. Traugott, Pas- 
 tor at Lahn, Silesia ; pub. articles on 
 church-mus. (i829-3f3). 
 
 lokitansky (ro-kl-tan'-shkl), Victor, 
 Freiherr von, Vienna, 1836 — 1896 ; 
 pub. treatises on singing. 
 
 lolandt (ro'-lant), Hedwig (stage- 
 name of Hedwig Wachutta), b. 
 Graz, Sept. 2, 1858 ; soprano ; pu- 
 pil of Frau Weinlich-Tipka, Graz ; 
 debut, Wiesbaden, 1877; 1883, ^■ 
 the merchant Karl Schaaf. 
 
 llol'la, Ales., Pavia, April 22, 1757 
 
 } — Milan, Sept. 15, 1841 ; violinist 
 
 I and teacher ; prof, of vln. and via.: 
 Paganini was his pupil. 
 
 ioUe (rol'-le), Jn. H., Quedlinburg,, 
 Dec. 23, 1718 — Magdeburg, Dec. 29, 
 1785 ; son and successor of the town 
 mus.-dir. of Magdeburg ; 1741-46, 
 via. -player, Berlin ct.-orch.; c. 4 
 Passions, 20 oratorios, etc. 
 
 ^ollig (rel'-llkh;, K. Ld., Vienna, 
 1761— March 4, 1804 ; harmonica- 
 player ; inv. of the " Orphika " and 
 "Xanorphika" (v. D. D.) ; wrote 
 treatises on them ; c. comic opera. 
 
 lomaniello (r6-man-I-el'-l6), (i) Lui- 
 
 gi, b. Naples, Dec. 29, i860 ; pian- 
 ist ; pupil of his father, his broth- 
 er (2) Vincenzo, and at Naples 
 Cons.; graduating with highest hon- 
 ours ; dir. of the pf.-dept. there, 
 later member of the Soc. del Quar- 
 tetto, also pianist Ferni Quartet ; in- 
 structor in the R. " Educandato di 
 San Marsellino " and critic ; Chev. of 
 the Italian Crown ; has made tours 
 and pub. a pf.-method (prize at Na- 
 ples, 1886) ; c. 3 operas, symphonic 
 poems " Corsair " and " Manfred" 
 2 symphs., etc. 
 
 Romanina. Vide albertini, g. 
 
 Romanini (ro-ma-ne'-ne), Romano, b. 
 Parma, 1864 ; pupil of Mandovani 
 (vln.) and Dacci (comp.)at the Cons. ; 
 1st vln. Teatro Regio ; then cond. 
 concert and theatre-orch. at Savigli- 
 ano ; 1890, prof, of vln.; since 1897, 
 director " Instituto Venturi," Bre- 
 scia ; c. succ. opera ".4/ Campo" 
 (Brescia, 1895), symph., etc. 
 
 Romano, (i) Alessandro (q. v.). (2) 
 Giulio. Vide caccini. 
 
 Romberg (rom'-berkh), (i) Anton (a) 
 and (2) H., two brothers, lived in 
 BerHn, 1792. (3) Anton (b), West- 
 phalia, 1745— 1812 (1742 — 1814, 
 ace. to Riemann) ; bassoonist. (4) 
 Gerhard H., b. 1748 ; clarinettist 
 and mus.-dir. at Munster. (5) Bd., 
 Dincklage, near Munster, Nov. n, 
 1767 — Hamburg, Aug. 13, 1841; the 
 head of the German sch. of 'cellists ; 
 prof.; ct.-cond., 1815-ig ; c. many 
 operas, incid. mus. ; 9 excellent con- 
 certos. (6) Andreas (Jakob), 
 Vechta, near Munster, 1767 — Gotha, 
 1821 ; vln. -virtuoso ; son of (7) Ger- 
 hard H., b. 1748 ; dir. and clarinet- 
 tist. (8) Cyprian, Hamburg, 1807 
 — 1865 ; son of (6) and pupil of (5), 
 'cellist and composer. (9) Anton (c), 
 b. 1777; bassoonist ; son of (3). (10) 
 Therese, b. 1781; pianist; sister of 
 (6). 
 
 Ro'mer, Emma, 1814 — Margate, 1868; 
 Elngl soprano. 
 
 Ronchetti - Montevjti (ron-ket'-te 
 mon-ta-ve'-te), Stefano, Asti, 1814— 
 
 i. 
 
yoo 
 
 THE MUSICAL GUIDE 
 
 Casale Monferrato, 1882; pupil of 
 B. Neri, Milan ; 1850, prof, of comp. 
 at the Cons. ; 1877, dir. ; c. an opera, 
 a motet, etc. 
 
 Ronconi (r6n-k5'-ne), (i) Dom., Len- 
 dinara, Rovigo, July 11, 1772 — Mi- 
 lan, April 13, 1S39 ; singer and fa- 
 mous vocal-teacher; tenor; 1809, 
 dir. of the ct. -opera, Vienna ; 1819- 
 29 ; singing-master to the princess, 
 Rlunich ; 1829, founded a singing- 
 sch. at Milan ; pub. vocal exercises. 
 (2) Giorgio, Milan, 1810 — 1S90 ; 
 son of above ; barytone; 1S63, teach- 
 er at Cordova, Spain ; from 1867, 
 New York ; composer. (3) Felice, 
 Venice, 181 1 — St. Petersburg, 1875 ; 
 singing-teacher and writer. (4) Se- 
 bastiano, b. Venice, 1814; barytone, 
 violinist and teacher, Milan. 
 
 Rong (rong), Wm. Fd., d. Berlin ; 
 said to have been living in 1821, 
 aged 100 ; chamber-musician of Prus- 
 sia ; mus. -teacher, writer and com- 
 poser. 
 
 Ronisch (ra'-nlsh), K., Goldberg, Sile- 
 sia, 18 14 — Blasewitz, 1894; piano- 
 manufacturer at Dresden. 
 
 Rontgen (rent'-gen), (i) Engelbert, 
 Deventer, Holland, 1829— Leipzig, 
 1S97 ; violinist. (2) Julius, b. Leip- 
 zig, May 9, 1S55 ; pianist ; son of 
 above ; pupil of Hauptmann and E. F. 
 Richter, Plaidy, Reinecke and Fr. 
 Lachner ; at 10 began to c; at 17 
 pub. a vln. -sonata ; debut as pianist, 
 1878; teacher mus.-sch., Amster- 
 dam ; i886-g8, cond. to the Soc. for ^ 
 the Promotion of Mus., also Felix 
 Meritis Soc; co-founder (1885) of 
 the Cons. ; c. " Toskaiiische Rispetti" 
 an operetta for voices and pf. ; a pf.- 
 concerto, etc. 
 
 Rooke, ^Vm. M., DubHn, 1794 — Lon- 
 don, 1847 ; teacher, pianist, violinist 
 and dram, composer. 
 
 Root, (i) G. Ed. Fr., Sheffield, Mass., 
 Aug. 30, 1820 — Barley's Island, Aug. 
 6, i8g5 ; teacher of singing and con- 
 ductor ; pupil of Webb, Boston ; 
 studied Paris, 1850 ; c. "Battle-cry 
 0/ Freedom,'"' " Tramp, Trat?ip, 
 
 Tramp" ''Just before the BattU l^.' 
 Mother" etc. (2) Fr. Woodmarl «r 
 b. Boston, Mass., June 13, 184M 
 son and pupil of above ; pupil < . 
 Blodgett and Mason, New York ; 
 ganist ; 1869-70, studied in Europe - 
 later lecturer, writer and teacher . 
 large vocal classes. 
 
 Rooy, van. Vide van rooy. , 
 
 Roquet (r6-ka), Ant. Ernst, Nante; 
 1827 — Paris, 1894 ; amateur, who u;i( 
 der pen-name " Ernest Thoinans 
 (twa-nah) pub. valuable historic) 
 works based on research. : 
 
 Rore (r5'-re), Cipriano de, Mechli; 
 1 5 16 — Parma, 1565 ; eminent cori 
 poser of Venetian sch.; pupil of W) 
 laert, 1550, and his successor, 156;- f 
 ct. -conductor. 
 
 Rorich (ro'-rlkh), Carl, b. Number 
 Feb. 27, 1S69 ; pupil of R. Sch. 
 Mus., Wurzburg ; from 1892, teach 
 Gr. Ducal Sch. of Mus., Weimar; 
 an overture '' Marc hen,'" . a si 
 " Waldleben" etc. 
 
 Ro'sa, (i) Salvato're, Aranella, Ni «' 
 pies, 1615 — p.ome, 1673; famoj «!J 
 painter and poet ; wrote a satire \ %. 
 mus., etc.; composer. (2) Ce '< 
 (rightly Carl Rose), Hamburg, 18 ,\ 
 — Paris, 1889; violinist; 1867, \'y\ 
 Parepa-Rosa, and with her organisj .j 
 an English opera-company ; tourJ 1 
 with great frequency, especially " \ 
 head of an Engl, opera syndicate. 1 
 
 Rose (r5'-za), Arnold Josef, b. Jas;! 
 Oct. 24, 1863 ; pupil of Heissler, 'f 
 enna Cons.; ist vln. Rose Quarti^ I. 
 since 1881, soloist, Vienna ct.-orci.i 
 and since 1888, leader Bayreuth Fj-t; 
 tivals. i 
 
 Roseingrave (roz'-In-grav), Tho^ ' 
 Dublin — London, 1750; 12 ye; 
 organist at St. George's, Hano r 
 Square ; composer and writer. 
 
 Rosel (ro'-zel), Rudolf Arthur, ,. 
 Munchenbernsdorf, Gera, Aug. , 
 1859; pupil of Weimar Mus.-Sc, 
 later of Thomson ; 1877-79, ist \j. 
 various cities ; from 1888 in the M^ 
 mar ct.-orch.; also teacher at Mii- 
 Sch. ; c. fairly succ. "lyric sta- 
 
DICTIONARY OF MUSICIANS 701 
 
 play " " Halimah " (Weimar, 1895) , 
 syniph. poem " Friihlingsstiirnie" a 
 notturno for horn with orch., a not- 
 turno for oboe with orch., etc. 
 'osellen (ro-zel-lafi), H., Paris, 1811 
 
 I' — 1876 ; pf. -teacher, writer and com- 
 j poser, 
 iiosenhain (ro'-zen-hln), (i) Jacob 
 
 ' (Jacques), Mannheim, 1813 — Baden- 
 Baden, 1S94 ; pianist and dram, com- 
 poser. (2) Eduard, Mannheim, 
 1818 — Frankfort, 1861; bro. of above; 
 pianist, teacher and composer. 
 
 iosenmiiller (ro'-zen-mll-ler), Jn., 
 1615 — Wolfenbiittel, 1682; mus. -di- 
 rector and composer. 
 
 tosenthal (ro -zen-tJil), Moriz, b. 
 Lemberg, 1862 ; brilliant pianist ; at 
 8 his ability enlisted the aid of Miku- 
 li ; at 10, pupil of R. Joseffy ; at 14, 
 gave a concert Vienna ; Royal Pian- 
 ist ; 1876-86, pupil of Liszt ; from 
 1887, toured America and Europe ; 
 1896-97, tour of U. S. interrupted 
 by illness ; pub. (with L. Schytte) 
 " Technical Studies for the Highest 
 Degree of Development^'' 
 
 loses (ro'-zes), Jose, Barcelona, 1791 
 — 1856; organist, composer and 
 teacher. 
 
 losetti (ro-set'-te), Fran. Ant. 
 (Fz. Anton Rossler, res-ler), Leit- 
 meritz, Bohemia, 1750 — Ludwigslust, 
 1792 . ct. -conductor and composer. 
 
 hosier (ras'-ler), Gv., 1819 — Dresden, 
 1882 ; teacher and dram, composer ; 
 prod. succ. opera (^Dessau). 
 
 loss, J., b. Newcastle-on-Tyne 1764, 
 organist and composer. 
 1, ,. iiossaro (ros-sa'-ro). Carlo, Crescen- 
 tj tino, VercelH, 1828— Turin, 1878, 
 P( pianist and dram, composer. 
 ■'■ '^os'setor, Phillip, Engl, luttnist and 
 composer, 16 16. 
 
 .lossi (ros' se). (i) Giov. Bat., Gen- 
 oese monk ; theorist, ca. 161 8. (2) 
 Abbate Fran., b. Bari, Italy, ca. 
 1645 , canon and dram, composer, 
 (3) Gaetano, Verona 1780— 1855 • 
 librettist. (4) Luigi Felice, Bran- 
 dizzo. Piedmont 1804 — Turin, 1863 , 
 essayist and translator, (5) Lauro, 
 
 Macerata, 1812 — Cremona, 1885; 
 wrote a harmony and c. operas. (6) 
 Giov. Gaetano, Borgo, S. Donino, 
 Parma, 1828 — Genoa, 1886 ; c. 4 
 operas. 
 Rossini (ros-se'-ne), Gioacchino A,, 
 Pesaro, Feb. 29, 1792 — Ruelle, near 
 Paris, Nov. 13, 1868; eminent Italian 
 opera-composer. His father was in- 
 spector of slaughter-houses and also 
 horn - player in strolling troupes in 
 which the mother (a baker's daugh- 
 ter) viSiS prima donna biiffa. Left in 
 charge of a pork-butcher, R. picked 
 up some knowledge of the harpsichord 
 from a teacher, Prinetti ; 1802 stud- 
 ied with Angelo Tesci ; this began 
 his tuition ; he made rapid progress, 
 and sang in church, and afterwards 
 joined his parents as a singer, horn- 
 player and accompanist in the theatre. 
 At 14 he studied comp. with Padre 
 Mattel, and 'cello with Cavedagni at 
 the Bologna Liceo. At 15 he prod, 
 a cantata " // Pianto d' Armenia per 
 la Morte d'Orfeo" which won a 
 prize. Mattel soon told him that, 
 though he had not enough cpt. to 
 write church-mus., he knew enough 
 to write operas, and he ceased to 
 study. At 17 he prod, a succ. i-act 
 opera buffa ' La Cambiale di JMatri- 
 ntonio" {\'(tn\ce, 1810); next year, a 
 succ. 2-act opera buffa '' L Eqnivoco 
 Stravagante" Bologna. He received 
 various commissions, writing 5 operas 
 during t8i2. 1813, his '' Tancredf 
 (Fenice Th., Venice) was an im- 
 mense succ. and '' Lltaliana in Al- 
 ger i" an opera buffa (San Benedetto 
 Th.), was also succ. Two failures 
 followed with disheartening effect, 
 but '' Elisabetta" (its libretto curi- 
 ously anticipating Scott's " Kenil- 
 ■worth'") was a succ. (Naples, 1813), 
 and in it he dropped recitativo secco. 
 A failure followed and on the first 
 night of the next work the public re- 
 sentment at his daring to set to mus. 
 the text of one of Paisiello's operas 
 led to its being hissed. This work 
 '' Almaviva" (Rome, 1816) was 
 
702 
 
 THE MUSICAL GUIDE 
 
 better received the second night and 
 gradually est. itself in its subsequent 
 fame under the title " 11 Barbiere di 
 Seviglia" ; iS 15-23 he was under 
 contract to write two operas yearly 
 for Barbaja, manager of La Scala at 
 Milan, the Italian opera, Vienna, and 
 Neapolitan theatres. His salary was 
 12,000 lire (about $2,400). During 
 these S years he c. 20 operas, travel- 
 ling from town to town and working 
 under highest pressure. 1S21 he m. 
 Isabella Colbran (d. 1S45), who had 
 sung in his operas. The ill-succ. of 
 his most carefully written " Semirain- 
 ide" (Venice, 1823) and an offer 
 from Benelli, amgr., led him to Lon- 
 don where he was lionised and in 5 
 months earned £-j,oo(i. For iS 
 months he was mgr. of the Th. Ital- 
 ien at Paris, and prod, several operas 
 with artistic, but not financial succ. 
 He was however " Premier composi- 
 teur du roi" and " Inspector-general 
 du chant en France," sinecures with 
 a salar)' of 20,000 francs ($4,000). 
 He lost these in the Revolution of 
 1830, but afterwards on going to law 
 received a pension of 6,000 francs. 
 
 At the Gr. Opera he prod, with succ. 
 revisions in French, of earlier Italian 
 succs. 1S29 he gave there his greatly • 
 succ. masterpiece " Guglielvio Tell." \ 
 At the age of 37, having prod, under ' 
 his direction Meyerbeer's first opera ji 
 and having heard " Les Huguenots," ) 
 R. foreswore opera and never wrote 
 again anything more dramatic than his 
 famous " Stabat Mater" (1832), not 
 performed entire till 1842; ''Petite 
 messe soUiuielle'' with orch.; a can- 
 tata for the Exposition of 1S67 ; and 
 pf.-pcs. with burlesque names. He 
 retired to Bologna and Florence, re- 
 turning to Paris in 1855. 1847 he m. ; 
 Olympe Pelissier. He c. 35 operas, 
 16 cantatas, canzonets and arias.^ltaci 
 '''Gorgheggi e solfeggi per soprano per 
 reiulere la voee agile" " Chant des 
 Titans " for 4 basses with orch. ; 
 " Tantuvt ergo" for 3 male voices 
 with orch.; " Quoniam " for solo bass 
 with orch.; "6* salutaris" for solo 
 quartet, etc. Biog. by Stendhal )| 
 (1823), Azvedo (1865), H. S. Ed- 
 wards (London, 1S69), Zanolinij 
 (1875), Struth (Leipzig), Dr. A. Ko-, 
 hut (Leipzig, 1892). 
 
 ciiii 
 
 Rossini. j 
 
 By Irenaeus Prime-Stevenson. r 
 
 IT is like a page of goldenest sunshine in the volume of musical personalia 
 to review the brief, brilliant, artistic story of Rossini's activity or tc 
 glance at his long and happy life. Almost from the first came to him' 
 fame, fortune, and opportunity for that amazing fecundity of mind which waf 
 so curiously sorted with his indolence of body. Few men of genius have 
 lived and worked and rivalled and succeeded, of whom so litde is curreni 
 that is ungracious or discreditable. ^["As to Rossini's place in art, albeit i 
 huge fraction of his operas are empty to our ears, and bore us with theii 
 flowery ornamentation and feeble dramatic substructure, we have no right tc. 
 predict that thorough neglect will soon deliver to darkness and dust sucl" 
 scores as " U Italiana in Algeri,''* ^'11 Barbiere di Seviglia, ^^ " Gugli- 
 elmo Tell,''^ — and possibly '* Semiramide^' ; for the world will have los 
 too completely a natural irresistible feeling for melody, for restrained eleganc< 
 
 i 
 
DICTIONARY OF MUSICIANS 703 
 
 oreiict, 
 
 ■ iOpB 
 
 I. 
 
 of orchestral diction, and above all for the perfect expression of true comedy 
 in music. Only in one other master, Mozart, to whom Rossini felt that he 
 owed so much, and to whom he declared himself so far inferior, do we meet 
 equal sincerity, taste, and eloquence as prolifically put into operatic song and 
 orchestration. ^ And as to '* TV//," with that noble and serious work, a 
 striking variant from the old Italianistic Rossini, a work by a mature and 
 serious-minded composer of the first order, all the great and the little musical 
 world will long have to reckon. ^ The great influences on Rossini were 
 two : Mozart, whose greatest successor in Italian operatic comedy Rossini 
 certainly is ; and a mixture of French form and French dramatic spirit with 
 German importance in every detail of the orchestra. •[[ It cannot be said 
 that Rossini founded a school. He " said it all himself," as the phrase goes ; 
 and his imitators either gave over copying (often with most happy and sig- 
 nificant advantages to great individualities for themselves, as in the instances 
 of Meyerbeer and Donizetti and Verdi), or else they were not of substance 
 in their efforts to eclipse the dazzling master of Pesaro. His effect upon the 
 whole operatic public of Europe was for a time almost demoralising, paralys- 
 ing to all other music. ^Immediately after the striking renunciation of his 
 career, at only thirty-seven years of age, came the Wagner movement, which 
 is showing not unwelcome signs of sluggishness and eventual disappearance. 
 
 '■A.I 
 
 person 
 aiefflli 
 
 Rossler, F. A. Vide rosetti, f. a. for vln.; studied comp. at Leipzig 
 
 Rest (rost), (r) Nicolas, pastor at Cons., then with Joachim, Berlin. 
 
 Kosmenz, Altenburg ; composer, 1893-94, leader Covent Garden ; 
 
 1583-1614. (2) Fr. Wm. Ehren- toured Europe ; decorated by King 
 
 fried, Bautzen, 1768 — Leipzig, 1835; of Hungary, King of Servia, Prince 
 
 writer. of Bulgaria and the Sultan ; pub. a 
 
 Roth (rot), (i) Ph., Tarnowitz, Sile- few songs ; c. also sonatas for vln. 
 
 sia, 1853— Berlin, 1898 ; 'cellist. (2) and piano, etc. 
 
 Bertrand, b. Degersheim, St. Gal- Rotoli (ro-to'-le), Augusto, b. Rome, 
 len, Feb. 12, 1855 ; pianist ; pupil of Jan. 7, 1847; pupil of Lucchesi ; 
 Leipzig Cons, and Liszt; teacher founded and cond. " Societa corale 
 Hoch Cons., Frankfort, co-founder. de' concerti sagri," 1876, singing- 
 Raff Cons., 1882 ; 1885-90, Dresden master to Princess Margherita ; 1878, 
 Cons.; then opened a private mus.- maestro, Capella reale del Sudario ; 
 sch. there. 1885, invited to Boston, Mass., as 
 
 Rothmiihl (rdt'-mul), Nikolaus, b. teacher in the N. E. Cons.; Chev. of 
 
 Warsaw, March 24, 1857: tenor; pu- the Ital. Crown, etc. C. mass for the 
 
 pil of Gansbacher ; debut, Dresden funeral of Victor Emmanuel, 1878; 
 
 ct. -theatre, then Berlin, etc.; toured "■ Salino ckgiafo" with orch. (1878), 
 
 widely, incl. America ; then at Stutt- etc. 
 
 gart ct. -opera. Rot'tenberg (-berkh). Dr. Ludwig, b. 
 
 Roth-Ronay (rot-ro'-na-e), Kalman, Czernowicz, Oct. 11, 1864; studied 
 
 b. Veszprein, Hungary, July 20, 1869; vln. and piano with Fuchs, and theo- 
 
 I jjj notable violinist ; pupil Grun, Vien- ry with Mandyczewski ; debut as 
 
 ' '*' na Cons., took ist prize gold medal pianist; 1888, director; 1891, cond. 
 
704 
 
 THE MUSICAL GUIDE 
 
 [ 
 
 k » 
 »»« 
 
 pi il 
 
 EJf, »1 
 
 ixiina 
 
 at Brunn, then ist opera cond. at 
 Frankfort. 
 
 Rotter (rot'-ter), L., Vienna, 1810 — 
 1895 ; pianist, conductor, theorist and 
 composer. 
 
 Rottmanner (rot'-man-ner), Ed., Mu- 
 nich, iSog — Speyer, 1843 ; organist. 
 
 Rouget de I'lsle (roo-zha du-lel), 
 Claude Jos., Lons-Ie-Sauhiier, Jura, 
 May 10, 1760 — Choisy-le-Roy, June 
 27, 1836; composer of the '' /Mar- 
 seillaise, " military engineer, poet, li- 
 brettist, violinist and singer ; wrote 
 "Za Marseillaise" picking out the 
 air on his vln.; he called it ''Chant 
 de Guerre " but it grew popular first 
 in Marseilles, and was brought to 
 Paris by Marseillaise volunteers in 
 1792 ; R. was imprisoned for refus- 
 ing to take an oath against the crown, 
 but was released, and lived in Paris 
 in great poverty. 
 
 Rousseau (roos-s6), (i) Jean Jacques, 
 Geneva, June 28, 1712 — Ermenon- 
 ville, near Paris, July 3, 1778. The 
 great writer ; mainly self-taught in 
 mus , but aiming to reform nota- 
 tion by the substitution of numerals 
 for letters and note-heads, read before 
 the Academie, 1742, a ''Dissertation 
 siir la musiqiie moderne" (1743); 
 his opera, "Les Muses Gala7ites," had 
 one private representation (1745); his 
 revision of the intermezzo " La J^eine 
 de Navarre " (by Voltaire and Ra- 
 meau) was a failure ; but his opera 
 "Le Devin du Village" (Gr. Opera, 
 1752) was succ. for 60 years. He 
 wrote mus. articles for the " Encyclo- 
 pedie" which were roughly handled 
 by Rameau and others, but revised 
 and re-pub. as " Dictionnaire de iitu- 
 sique" {lib's). In 1752 he partici- 
 pated in the "Guerre des Bouffons," 
 between the partisans of French and 
 Italian opera, R. siding with the 
 Italianists and declaring that a 
 • French national music was impossible 
 and undesirable ; for which the mem- 
 bers of the opera burned him in 
 effigy. " Fyginalion" {iT]2)) was v. 
 succ. being a novelty — a melodrama. 
 
 all the dialogue spoken, the orch. 
 furnishing interludes and background. 
 Si,\ new arias for " Le Devin du Vil- 
 lage" and a coll. of 100 romances 
 and duets "Les consolations des mi- 
 seres de ma vie" {i^Si), and frag- 
 ments of an opera, " Daphnis ei 
 Chloe" were pub. (1780). (2)J ean, 
 violinist in I'aris ; pub. valuable text- 
 books (167 8-8 7) ; composer. (3) 
 Samuel Alex., b. Neuvemaison, 
 Aisne, June 11, 1853; pupil of Paris 
 Cons., 1S78, won the Pri.x Cressent, 
 and 2d Grand Pri.x de Rome ; prod, 
 i-act comedy-opera " Dianorah" 
 (Op. -Com., 1S79) ; 1891, won the. 
 Prize of the City of Paris, with opera; 
 " Merowig" ; 1S92, ist cond. Th.: 
 Lyrique ; 1S98, prod, fairly succ.i 
 lyric drama "La Cloche du Rhin";\ 
 c. also a solemn mass, etc. 
 
 Roussier (roos-st-a),^ Abbe P. Jos.,! 
 Marseilles, 17 16 — Ecouis, Normandy,) 
 ca. 1790; canon and theorist. ; 
 
 Rovel'li, (i) Giu., Bergamo. 1753—' 
 Parma, 1806 ; 'cellist. (2) P., Ber- 
 gamo, 1793 — 1838 ; nephew of above 
 violinist and composer. 
 
 Rovet'ta, Giov., d. Venice, 1668 ; pu- 
 pil of Monteverde, and his successoi 
 (1644) at San Marco ; c. operas, etc 
 
 Row'botham, John F., b. Edinburgh; 
 April 18, 1854 ; studied O.N.fordi 
 Berlin, Paris, Vienna, Dresden ■ 
 wrote numerous histories of mus. 
 biogs. , etc. 
 
 Roze (roz). Abbe Nicolas, Bourg. 
 Neuf, near Chalons, 1745 — St. -Man, 
 de, near Paris, 1819 ; composer anc 
 writer. _ j 
 
 Rozkosny (roz'-kosh-ne), Josef Richi 
 ard, b. Prague, Sept. 21, 1833, 
 pianist ; pupil of Jiranek, Tomasche'' 
 and Kittl ; toured, then lived i:; 
 Prague ; prod, there 9 Bohemian op. 
 eras : c. also overtures, 2 masses, etc, 
 
 Rubini (roo-be' ne), Giov. Bat., Re 
 mano, Bergamo, April 7, 1795 — s 
 his castle, near Romano, March i; 
 1S54 ; famous tenor, said to hav 
 been the first to use the vibrato an 
 the sob, both since abused ; his rang 
 
DICTIONARY OF MUSICIANS 705 
 
 was from E-b' (with a falsetto regis- 
 ter to f'. V. PITCH, D.D.); Bellini 
 wrote many operas for him ; toured 
 with Liszt, earning by one concert 
 over $10,000 ; had one of the largest 
 fortunes ever amassed by a singer. 
 
 Rubinstein (roo'-bln-shtln). (i) Anton 
 Gregorovitch, of Jewish parents, 
 Wechwotynecz, Bessarabia, Nov. 30, 
 1S30 — Peterhof, near St. Petersburg, 
 Nov. 20, 1S94 ; one of the greatest 
 of the world's pianists. Early taken 
 to Moscow, where his father est. a 
 pencil factory, he was at first a pupil 
 of his mother ; at 7, of Alex. Vil- 
 loing, who was his only pf. -teacher. 
 At 9 he made a tour with Villoing as 
 far as Paris, where, in 1840, he played 
 before Chopin and Liszt, who ad- 
 vised him to study in Germany. He 
 toured further and returned to Mos- 
 cow in 1S43. His brother, Nikolai 
 (v. below), was also musical, and 
 in 1844 both were taken to Berlin, 
 where Anton studied comp. with 
 Dehn. Returning to Russia after a 
 tour through Hungar}', with the flut- 
 ist Heindl, he lived in Petersburg 
 under the patronage of the Grand 
 Duchess Helen ; he prod. 2 Russian 
 operas ; 1S54-58, with the assistance 
 of Count Wielhorski and the Grand 
 Duchess, he made a wide tour, finding 
 himself now well known as composer 
 and pianist ; 1858, ct. -pianist and 
 cond. of ct. - concerts, Petersburg ; 
 1859, dir. Russian Mus. Soc; 1S62, 
 founded the Imp. Cons, at Peters- 
 burg, and was its dir. until 1S67 ; 
 1865, he m. Vera Tchekuanoff. 
 1867-70, he toured Europe, with 
 greatest imaginable succ; 1872-73, 
 he gave in America 215 concerts, from 
 which he earned $40,000 (;!f8,ooo) ; 
 but he could never be induced to 
 cross the ocean again, though offered 
 $125,000 (;^25,ooo) for fifty con- 
 certs. 1S87-91, again dir. Petersburg 
 Cons., then lived in Berlin; 1891, in 
 
 ■ Dresden. The Czar bestowed on 
 him the Order of Vladimir, carrying 
 
 j with it nobility, and the title ot Imp. 
 
 \ 45 
 
 Russian State Councillor ; he was an 
 officer of the Legion of Honour, a 
 Knight of the Prussian Ordre pour le 
 merite, etc. He instituted the Rubin- 
 stein prizes of 5,000 francs each for 
 pf. -playing and composition open 
 every 5 years to men between 20 and 
 26 of any nationality. 
 
 He wrote his " A/einoirs" also 
 ''Die JMtisik unci ihre Meister" 
 (1892), " Gedankenkorl" (1S92). 
 
 As a pianist R. is second only to 
 Liszt, whom he perhaps excelled in 
 fire and leonine breadth. He was, 
 however, frequently inaccurate in his 
 performance. He chiefly wished to 
 be remembered as a composer and 
 placed great hope in the creation of 
 what he called " Sacred Opera " (ora- 
 torio to be enacted with costume and 
 scenery). In this " new form " he c. 
 " The Tower of Babel" " Paradise 
 Lost" '' Afoses" " Christiis." Be- 
 sides the noteworthy operas ' ' Nero " 
 (Hamburg, 1879)," The Demon" (Rus- 
 sian. P., 1875), and '"Die Mak~ 
 kahcier " (German, Berlin, 1875), he c. 
 II other operas, a ballet " La Vigne " 
 {Die Rebe), and 2 cantatas with orch. 
 C. also 6 symphs. (incl. the famous 
 " Ocean" op. 42, in C, in 7 move- 
 ments) ; op 95, in D min. {"Dra- 
 matic ) ; op. 107, in G min. (in 
 memory of Gr. Duch. Helen). 
 " Character - pictures " " Faust" 
 "Ivan /v.," and " Don Quixote"/ 
 3 concert-overtures, incl. op. 43 
 (" Triomphaie"), and op. 116 {"An- 
 thony and Cleopatra ") ; a Suite in 6 
 movements, op. 119 (his last work) ; 
 symph poem " La Russie"; 5 pf.- 
 concertos ; fantasia eroica with orch.; 
 vln. -concerto ; romance and caprice 
 for vln. with orch.; 2 'cello-concertos; 
 vln. -sonatas ; vln.-sonata (arr. for 
 vln. by David), etc. For piano 
 SOLO : suite ; 4 sonatas, 6 preludes, 
 6 etudes, 5 barcarolles; " Kamenoi- 
 Ostro'w " (" Isle of Kainenoi " in the 
 Neva, a series of 24 " pictures ") ; 
 " Soirtfes de St. P." " Miscellanies," 
 " Le Bal" 10 pes. op. 14 ; "Album 
 
7o6 
 
 THE MUSICAL GUIDE 
 
 de Peit'ihof" etc. For pf. 4 hands, 
 sonata, " Bal Costittne" 6 Charakt- 
 erbilder, fantasia for 2 pfs. ; over 100 
 songs, 18 duets, choruses, etc. 
 
 Autobiog. "'Memoirs''' (St. P. 
 1889 ; Leipzig, 1893). Biogr. by 
 MacArthur (London, 1889). 
 
 (2) Nikolai, Moscow, June 2, 
 1835 — (of consumption), Paris, March 
 23, 1S81; bro. of above, who declared 
 N. to be the better pianist of the two; 
 founder Moscow Mus. Soc; dir. 
 Moscow Cons, from its foundation. 
 1864; c. pf.-pcs. etc. (3) Jos., Staro- 
 Constantinow, Russia, Feb. 8, 1847 — 
 (suicide) Lucerne, Sept. 15, 1884; 
 pianist for rehearsals at Bayreuth ; 
 composer. (4) Jacques, Russia, 
 1S74 — Paris, 1902 ; son of (i). 
 
 Rubner (roop'-ner), Cornelius, b. Co- 
 penhagen, Oct. 26, 1853; pianist; 
 pupil of Gade and Reinecke ; 1892, 
 cond. Carlsruhe Phiih. Soc; c. a 
 symph. poem ; " Festouvertiire" etc. 
 
 Ruckers (rook'-ers), family of clavecin- 
 makers at Antwerp, superior to all 
 others, (i) Hans (Senior), d. ca. 
 1640 ; father of (2) Fz., b. 1776. (3) 
 Hans (Junior), b. 1578. (4) An- 
 dries (senior), h. 1579. (s) Anton, 
 b. 15S1 ; the last mfr. was (6) An- 
 dries (Junior), 1607-67. 
 
 Rucsicska. Vide ruzicka. 
 
 Rudersdorff (roo'-ders-dorf), Her- 
 mine, Ivanowsky, Ukraine, Dec. 
 12, 1.S22 — Boston, Mass., Feb. 26, 
 1882 ; noted soprano and teacher. 
 
 Rudolph, Jn. J. R., Arch-duke of 
 Austria, Florence, 1788 — Baden, 
 Vienna, 183 1 ; pianist and composer; 
 pupil and intimate friend of Bee- 
 thoven. 
 
 Rudorff (roo'-dorf), Ernst Fr. K., b. 
 Berlin, Jan. 18, 1840 ; pupil of Bar- 
 giel (pf.), and Leipzig Cons.; pri- 
 vate pupil of Hauptmann and Rei- 
 necke ; 1865, pf. -teacher, Cologne 
 Cons.; 1867 founded the Bacli-verein; 
 1869 head pf. -teacher Berhn Hoch- 
 schule ; 1S80-90 cond. Stem Gesang- 
 verein ; c. 2 symphs., 2 overtures, 
 etc. 
 
 Ruegger (rug'-ger), Elsa, b. Lu- 
 cerne, Dec. 6, 188 1 ; 'cellist ; studied 
 with Jacobs and Anna Campowski at 
 the Cons, there, taking ist prize at 
 13 ; began touring widely America 
 and Europe. 
 
 Riifer (ru-far), (i) Ph. (Barth616- 
 my), b. Liege, June 7, 1844 ; son of 
 a German organist. (2) Philipp R,, 
 pupil of Liege Cons.; 1869-71, mus.- 
 dir. at Essen ; pf. -teacher Stern's 
 Cons., Kullak's Cons., and from 
 1 88 1 Scharwenka's, Berlin , c. ope- 
 ras ''Merlin" (Berlin, 1887); succ, 
 " Ingo" (Berlin, 1896); symph. in 
 F. ; 3 overtures, etc. 
 
 Ruffe (roof'-fo), v., b. Verona; maes- 
 tro of the Cath.; composer (1550- 
 88). 
 
 Rufinatscha (roo'-fl-nat-sha), Jn., 
 Tyrol, 1812 — Vienna, May 25, 1893; 
 composer. 
 
 Ruggeri (Ruggieri) (rood-ja'-re), a 
 Cremonian family of vln. -makers, (i) 
 Fran., flourished, 1668 — 1720. (2) 
 Giov. Bat. (1700 — 1725), and (3) 
 P. (1700 — 1720), probablv his sons. 
 (4) Guido and (5) V., both of Cre- 
 mona in iSth cent. R. violins re- 
 semble Amatis. (6) Giov. M., Ve- 
 netian composer ; prod, operas there 
 1696 — 1712. 
 
 Ruggi (rood'-je), Fran., Naples, 1767 
 — 1845 ; conductor, professor and 
 dram, composer. 
 
 Riihlmann (riil'-man), (Ad.) Julius, 
 Dresden, 1817 (16?)— 1877; court- 
 trombonist ; professor, writer and 
 composer. 
 
 Rum'ford, R. Kennedy, b. London, 
 Sept. 2, 187 1 ; concert barytone ; 
 studied in Frankfort, Berlin and 
 Paris ; m. Clara Butt, 1900. 
 
 Rummel (room'-mel), (i) Chr. (Fz. L., 
 Fr. Alex.), Brichsenstadt, Bavaria, 
 1787 — Wiesbaden, 1849 ; clarinettist,^ 
 and composer. (2) Josephine, Man- 
 yares, Spain, 1812 — Wiesbaden, 1877;' 
 daughter of above; ct. -pianist. (3) 
 Jos., Wiesbaden, 1818 — London, 
 1880 ; son and pupil of (i) ; ct. -pian- 
 ist and composer. (4) Franziska,: 
 
 1 
 
DICTIONARY OF MUSICIANS 707 
 
 Wiesbaden, 1821 — Brussels, 1873; ct.- 
 singer ; sister of above; m. Peter 
 Schott, the pub. (5) Aug., Wies- 
 baden, 1824 — London, 1886; pian- 
 ist. (6) Fz., London, Jan. 11, 1853 
 — May, 1901 ; pianist ; son of (3) ; 
 pupil of Brassin, Brussels Cons., win- 
 ning 1st prize, 1872 ; 1877-7S, toured 
 Holland with Ole Bull; toured Amer- 
 ica 3 times; teacher Stern's Cons., 
 then Kullak's, Berlin; 1897 " Profess- 
 or" from the Duke of Anhalt. 
 
 Run'ciman, John F., b. England, 
 1866 ; prominent critic. Educated 
 at the science school (now Rutherford 
 College), Newcastle-on-Tyne ; or- 
 ganist from childhood ; 1887, took 
 position in London ; from 1894 musi- 
 cal critic " Saturday Review" ; later, 
 until 1898 also acting editor and man- 
 aging director ; also editor of the quar- 
 terly " The C/ion/" and oi the " A/u- 
 sician's Libra>y " ; for some years 
 correspondent Boston " Afusical Rec- 
 ord" ; 1901, of New York " Afusical 
 Courier'''; some of his essays were 
 published as " Old Scores and New 
 Readings" (1899) ; has also written a 
 biographical study of Purcell. 
 
 Rung (roongk), Henrik, Copenhagen, 
 1807 — 1871 ; conductor and dram, 
 composer. 
 
 Rungenhagen (roong - en - ha - gen), 
 K. Fr,, Berlin, 1778— 185 1; Profess- 
 or, conductor and dramatic compos- 
 er. 
 
 Rupff. Vide LUTHER, M. 
 
 Russell, (i) Wm., London, 1777 — • 
 1813 ; pianist. (2) Henry, Sheer- 
 iiess, 1813 — London, Dec. 6, 1900 
 V. pop. Engl, song-composer. (3) 
 Louis Arthur, b. Newark, N. J 
 Feb. 24, 1854 ; pupil of S. P. War- 
 ren, G. F. Bristow, and C. C. Mul 
 ler, New York; also studied, London 
 1878-95; organist and choirm., New 
 ark ; since 1879, cond. Schubert 
 Vocal Soc. ; since 1885, Easton (Pa.) 
 Choral Soc; 1885, founded the New- 
 ark Coll. of Mus., of which he is dir. 
 and teacher; 1893, organised Newark 
 Symph. Orch. ; wrote various books ; 
 
 c. cantata with orch., "A Pastoral 
 Rhapsody" etc. 
 
 Rust (roost), (i) Fr. Wm., Worlitz, 
 near Dessau, July 6, 1739 — Dessau, 
 Feb. 28, 1796; violinist; bro. and pupil 
 of an amateur violinist in J. S.Bach's 
 orch. at Leipzig ; ct.-mus. director: 
 c. stage pieces, etc. (2) Wm. K., 
 1787 — 1855 ; son of above ; pupil of. 
 Tiirk ; organist and composer. (3) 
 Wm,, Dessau, Aug. 15, 1822 — 
 Leipzig, May 2, 1892 , nephew of 
 above ; composer ; notable organist 
 and teacher ; cond. Berlin Bach- 
 Verein and editor of Bach's text. 
 
 Ruta (roo'-ta), Michele, Caserta, 1827 
 — Naples, Jan. 24, 1896 ; theorist 
 and dram, composer. 
 
 Ruthardt (root'-hiirt), (i) Fr., 1800 — 
 1862 ; oboist and composer. (2) 
 Julius, b. Stuttgart, Dec. 13, 1841 ; 
 son of above; violinist, th. -conductor 
 since 1885 at Bremen ; c. incid. mus. 
 songs. (3) Ad., b. Stuttgart, Feb. 
 9, 1849 ; bro. of above ; pupil of the 
 Cons.; 1868-85, teacher in" Geneva, 
 then Leipzig Cons.; writer and com- 
 poser. 
 
 Ruzicka (Rucsicska, Rutschitsch- 
 ka, etc.) (root-shetsh'-ka), Wenzel, 
 Jaumentz, Moravia, 1758 — Vienna, 
 1823 ; bandm. and dram, composer 
 and ct.-organist ; Schubert was his 
 pupil. 
 
 Ryan, (i) Michael Desmond, Kil- 
 kenny, 1816 — London, 1868 ; from 
 1836 critic and librettist in London. 
 (2) Thos,, b. Ireland, 1827 ; at 17 
 went to the U. S. ; studied Boston, 
 1849 ; co-founder " Mendelssohn 
 Quintet Club," with which he toured 
 America ; clarinet and via. -virtuoso ; 
 c. quintets, quartets, songs, etc.; 
 wrote ^'Recollections of an old Mu- 
 sician " (New York, 1890). 
 
 Ryba (re'-ba), Jakob Jan., Przestitz, 
 Bohemia, 1765 — Roczmittal, 1815 ; c. 
 6 comic operas, etc. 
 
 Ryder, Thos. Philander, b. Cohas- 
 set, Mass., June 29, 1836; pupil of 
 Gv. Satter ; organist Tremont 
 Temple, Boston ; c. pf. -pieces. 
 
7o8 
 
 THE MUSICAL GUIDE 
 
 - 
 
 Saar (zar), (Louis) Victor Fz., b. 
 
 Rotterdam, Dec. lo, 1868 ; studied 
 with Rheinberger and Abel, Munich 
 Cons.; then with Brahms ; 1891 took 
 the Mendelssohn composition prize 
 for a pf. -suite and songs ; 1892-95, 
 opera-accompanist. New York ; 1896- 
 98, teacher, comp. and cpt., National 
 Cons., N. Y.; 1898, Coll. of Mus.; 
 critic and composer for piano. 
 Sabbatini (sab-bii-te'-ne), (i) Gale- 
 azzo, b. Pesaro ; ct. -maestro and 
 composer (1627-39). (-) Luigi A., 
 Albano Liziale, Rome, 1739 — Padua, 
 1809 ; maestro, writer and composer. 
 Sacchi (sak'-ke), Don Giovenale, Bar- 
 fio, Como, 1726 — Milan, 1789; writer. 
 Sacchini (sak-ke'-ne), A. M. Gaspa- 
 re, Pozzuoli, near Naples, June 23, 
 1734 — Paris, Oct. 8, 1786 ; eminent 
 Neapolitan opera composer, son of a 
 poor fisher. Discovered and taught by 
 Durante and others; 1756, prod. succ. 
 intermezzo " Fra Donaia" followed 
 by others in Neapolitan dialect ; 1762- 
 66, at Rome in a keen rivalry with 
 Piccini ; 1772-82, London, succ. as 
 composer but not as financier. Fled 
 from creditors to Paris where he had 
 succ. and prod, many works, incl. 
 " (Edipe a Colone" his best work. 
 He c. over 60 operas, 6 oratorios, etc. 
 Sachs (zakhs), (i) Hans, Nurnberg, 
 Nov. 5, 1494— Jan. 19, 1576 ; a 
 cobbler ; chief of the ISIeistersinger 
 (v. D.D.) and hero of Wagner's opera 
 of that name ; he wrote over 4,000 
 poems, 1, 700 tales and 200 dramatic 
 poems ; alsoc. melodies. (2) Julius, 
 Waldhof, Meiningen, 1830 — Frank- 
 fort-on-Main, 1888 ; pianist. (3) 
 Melchior Ernst, b. Mittelsinn, 
 Lower Franconia, Feb. 28, 1843 ; 
 pupil Munich Cons, and of Rhein- 
 berger ; 1868-72, cond. " Lieder- 
 kranz " ; 1871 , teacher of harm. Sch. 
 of Mus.; founded and still cond. 
 " Tonkiinstlerverein " concerts; c. 
 opera, ballade with orch., etc. 
 Sachse-Hofmeister (zakhs'- e - hof- 
 
 m!-shter), Anna, b. Gumpolds- 
 kirchen, near Vienna, July 26, 1852 ; 
 soprano. 
 
 Saffieddin', Abdolmumin, Ben Fa- 
 chir el Ormeve el Bagdadi, chief 
 Arabic and Persian theorist of the 
 13th and 14th cents., author of the 
 standard work " Sheieffie.'"' 
 
 Saf'onoff, W., b. Istchory, Caucasus, 
 f^eb. 6 (new style), 1852 ; pupil of 
 Leschetizki and Zaremba ; then of 
 Brassin, Petersburg Cons., taking 
 gold medal, 1881-85, teacher there ; 
 1885, Moscow; 1889, dir. of the Cons, 
 there, and since 1890 conductor. 
 
 Sagh (siikh), Jos., b. Pesth, March 13, 
 1852; Hungarian lexicographer; 1885, 
 founder and editor of mus. paper 
 " Zenclap." 
 
 Sagitta rius. Vide schutz. 
 
 Sahla (za'-la), Richard, b. Graz, Sept. 
 17. 1S55 ; violinist ; pupil of David, 
 Leipzig Cons.; debut, Gewandhaus, 
 1873; 1888, ct.-cond. Biickeburg; 
 founded an oratorio-soc. there ; c. a 
 Roumanian Rhapsody, etc. 
 
 Saint-Amans (sah-ta-man), L. Jos.,, 
 Marseilles, 1749 — Paris, 1820; con- 
 ductor at Brussels and dram, com 
 poser. 
 
 Saint Aubin (sah-t5-bah), (i) Jeanne: 
 Charlotte (nee Schroeder), Paris 
 1764 — 1850; notable operatic singer; 
 Her three children : (2) Jean Denis; 
 Lyons, 1783 — Paris, 1810 ; violinisi 
 and composer. (3) C^cile, b. Lyons] 
 1785 ; retired, 1820; singer. (4; 
 Alexandrine, b. Paris, 1793; re! 
 tired, 1812 ; sister of above ; singej 
 of great promise. 
 
 Saint-Georges (sah-zhorzh), (i) 
 
 Chev. de, Guadeloupe, 1745 — Paris 
 1799 (oJ" 1801) ; mulatto violinist anv 
 composer. (2) Jules H. Vernoy 
 Marquis de, Paris, 1801 — 1875 ; li 
 brettist of many works, especially i 
 collaboration with Halevy. 
 
 Saint-Huberty (sah-tii-ber-te), Antoi; 
 nette C6cile Clavel (called St.-Ht 
 berty,rightlyClavel),Toul, ca. I75( 
 — London, 1812, noted soprano, G: 
 Optfra, Paris, 1777-89; 1790, m. tb 
 
 I 
 
DICTIONARY OF MUSICIANS 709 
 
 Count d'Entraigues ; they were assas- 
 sinated at their country seat, near 
 London, 1S12 (probably from political 
 motives). 
 
 Saint-Lambert (san-lan-bar), Michel 
 de, Parisian harpsichord - teacher ; 
 wrote methods (1680- 1700). 
 
 Saint-Lubin (san-lu-ban), L6on de, 
 Turin, 1805 — Berlin, 1S50 ; violinist 
 and dram, composer. 
 
 Sainton (sdn-ton), (i) Prosper (Ph. 
 Catherine), Toulouse, 1813 — Lon- 
 don, iSgo ; violinist and composer. 
 (2) Sainton-Dolby, Charlotte He- 
 len (nee Dolby), London, 1821 — 
 1885 ; contralto-singer. 
 
 Saint-Saens fsan-san), Chas, Ca- 
 milla, b. Paris, Ott. 9, 1S35 ; emi- 
 nent French composer. Began to 
 study the piano before 3 ; at 5 played 
 a Gretry opera from the score ; at 7 
 entered the Cons., pupil of Stamaty 
 (pf.), Maleden and Halevy (comp.), 
 and Benoist (org.); ist org.-prize, 
 1851; at 16, prod, a symph.; 1853, 
 organist Saint-Mery; 1858, the Ma- 
 deleine ; also till 1870 pf. -teacher 
 Niedermeyer Sch.; made frequent 
 tours. He is a writer of unusual gifts. 
 1894, Commander of the Legion of 
 Honour. C. operas: i-act "Zrt Prin- 
 cessejaufie" {Op. -Com., 1872); "Z^ 
 Timbre d' Argent,'^ 4-acts (Th.-Lyr., 
 1877) ; the very succ. " Samson et 
 Dalila" (Weimar, 1877, often sung 
 as an oratorio) ; " Proserpine " (Op.- 
 Com., 1S87) ; ''Ascanio" (Opera, 
 1890) ; comic '' Phryne" (Op. -Com., 
 1893) ; " Parisatis " (Beziers, 1902) ; 
 wrote the last 2 acts of Guiraud's un- 
 finished "Fre'd/gonde" (Opera, 1895). 
 C. ballets, music to ''Antigone" (Com- 
 edie-Fran9aise) ; and Gallet's " Dcja- 
 nire" (Beziers, 1898, with orch. of 
 250, chorus of 200, and ballet of 60 
 in open air). C. also a Christmas 
 oratorio; the " Biblical opera" " Z(? 
 Deluge"; 2 masses ; ode " Za Lyre 
 et la Ha7-pe" (Birmingham Fest., 
 1879); " Zfl jota aragonese" for 
 orch.; 5 pf. -concertos ; 3 vln. -con- 
 certos ; 'cello-concerto ; cantata ' 'Les 
 
 Noces de Promethec'' (1867); Psalm 
 19, with orch. (London, 1S85) ; 5 
 symphs., 4 symphonic poems, " Z^ 
 rouet d'Omphale,''' " Phaeton" 
 "■Danse macabre" "■'La jeunesse 
 d' Ilercule" ; 2 orch. suites, the first 
 " Algerienne,'" etc. 
 
 Sala (sii'-la), Nicola, near Benevento, 
 Italy, 1701 — Naples, 1800; Maestro, 
 theorist and dram, composer. 
 
 Sal'aman, Chas. Kensington, Lon- 
 don, March 3, 1S14 — July, 1901 ; 
 pianist ; pupil of Rimbault and Chas. 
 Neate ; debut 1828, then studied with 
 H. Herz, Paris; 1831, teacher in 
 London ; 1840, founded a choral soc; 
 1858, founded the Mus. Soc. of Lon- 
 don ; also the Mus. Assoc, 1874; 
 critic and essayist ; c. orch. pes., etc. 
 
 Sal'blinger (Salminger) (zal'-mlng- 
 er), Sigismund, monk, at Augsburg; 
 composer, 1545. 
 
 Saldoni (sal-do'-ne), Don Baltasar, 
 Barcelona, 1807 — 1890 ; organist, 
 singing-teacher, writer and dram, 
 composer. 
 
 Sale (sal), (i) Fran., Belgian ct.- 
 tenor and composer, 1589. (2) (sal), 
 John, London, 1758 — 1827; bass, 
 conductor and composer. (3) John 
 B., Windsor, 1779 — 1856; organist, 
 bass, teacher and composer ; son of 
 above. (4) Geo. Chas., Windsor, 
 1796 — 1S69 ; organist ; son of (2). 
 
 Saleza (sal-a-za), Albert, b. Bruges, 
 Beam, 1867; notable tenor; pupil 
 Paris Cons.; ist prize in singing, 2d. 
 in opera; debut Op. -Com., 1888; 
 1889-91, at Nice ; from 1892, en- 
 gaged at the Opera, Paris; 1898, 
 Met. Op., New York. 
 
 Salieri (siil-I-a -re), (i) Ant., Legnago, 
 Verona, Aug. 19, 1750 — Vienna, May 
 7 (12?), 1825; noted operatic com- 
 poser and organist ; pupil of his 
 brother (2) Francesco (violinist) and 
 of vSimoni, Pascetti and Pacini ; 
 taken to Vienna by Gassman ; his suc- 
 cessor as ct. -composer and cond. of 
 Italian opera ; he prod, many operas 
 there, then one at Paris under Gluck's 
 name, G. kindly confessing the ruse 
 
710 
 
 THE MUSICAL GUIDE 
 
 when the operawasa succ; 17S8, ct.- 
 cond. Vienna ; was a rival of Mozart 
 and unjustly accused of poisoning 
 him ; c. 40 operas, 12 oratorios, etc. 
 
 Salimbeni (sal-lm-ba'-ne), Felice, 
 Milan, ca. 1712 — Laibach, 1751; so- 
 prano-musico. 
 
 Salinas (sa-le'-nis), Fran., Burgos, 
 Spain, ca. 1512 — 1590; professor. 
 
 Sallantin (sal-lari-tan). A., Paris, 1754 
 — after 1813; oboe-virtuoso, teacher 
 and composer. 
 
 Salminger. Vide salbi.inger. 
 
 Salmon (sam'-un), Eliza, Oxford, 
 1787 — Chelsea, 1849; soprano. 
 
 Sal 6, Gasparo da. Vide g.xsparo. 
 
 Saloman (za'-15-man), Siegfried, 
 Tondern, Schleswig, 1818 — Stock- 
 holm, 1S99 ; violinist, lecturer and 
 dram, composer. 
 
 Salome (sai-6-ma), Th. Cesar, Paris, 
 1S34 — St. -Germain, 1896 ; composer 
 and organist. 
 
 Salomon (za-l6-m6n), (i) Jn. Peter, 
 Bonn, Jan., 1745 — London, Nov. 
 28, 1815 ; vln. -virtuoso ; from 1781, 
 London ; 1786, organised famous 
 Salomon concerts for which Haydn, 
 whom he brought over, c. special 
 works. (2) Moritz, mus.-dir. at 
 Wernigerode, Harz ; pub. a treatise 
 against Natorp, 1820, and mus. 
 novels. (3) M., Besanjon, 1786 — 
 183 1 ; guitar-player ; composer, inv. 
 the "harpolyre." (4) Hector, b. 
 Strassburg, May 29, 1838 ; pupil of 
 Jonas and Marmontel (pf.), Bazin 
 (harm.) and Halevy (comp.); in 1870, 
 2d chorusm., later chef de chant, Gr. 
 Opera ; c. operas, etc. 
 
 Salter (sol'-ter), Sumner, b. Burling- 
 ton, Iowa, June 24, 1856 ; studied at 
 Amherst Coll. and music in Boston ; 
 organist and mus.-dir., N. Y.; ed. 
 " The Musician" ; c. church-mus. 
 
 Salvayre (sal-var) (Gervais Bd.), 
 Gaston, b. Toulouse, June 24, 1847; 
 studied at the cath.-maitrise, then at 
 Toulouse Cons.; later Paris Cons., 
 taking the Grand prix de Rome, 
 1872, with cantata " Calypso"; 1877, 
 chorusm. at the Opera-Populaire ; 
 
 1894 in Servia ; later critic of " Gil 
 Bias"; Chev. of the Legion of 
 Honour; c. operas '' Le Bravo" 
 {1S-J7), ''Richard III." (Peters- 
 burg, 1S83), '' Egmont" (Op. -Com., 
 1886), " Za Dame de Montsoreau" 
 (Opera, 1888), etc.; c. also Biblical 
 symph., "Za Resurrection" 113th 
 Psalm with orch., etc. 
 
 Samara (sa-ma -ra), Spiro, b. Corfu, 
 1S61; pupil of Enrico Stancampiano 
 in Athens ; later of Delibes, Paris 
 Cons.; prod. v. succ. opera, ''Flora 
 Mirabilis" {ViWden, 1886); "Hedge" 
 (Rome, 1888); " Lionella" (Milan, 
 1891) ; "La Martire" (Naples, 
 1S94; Paris, 1898); " La Furia Do- \ 
 mata" (Milan, 1895); " Histoire 
 d'ainour " (Paris, 1902). 
 
 Sammartini (sam-miir-te'-ne), (i) 
 Pietro, ct.-mus. at Florence, etc. 
 (1635-44). (2) Giov. Bat., Milan, 
 ca. 1705 — ca. 1775 ; organist, con- 
 ductor and composer. (3) Giu., d. \ 
 London, 1740 ; oboist ; bro. of above, j 
 
 Samuel (sam-wel). Ad., Liege, 1824 — j 
 Ghent, 1898 ; theorist and dram, 
 composer. 
 
 Sanctis, de. Vide de Sanctis. I 
 
 Sandberger (zant'-berkh-er). Ad., b. j 
 \Viir7.burg, Dec. 19, 1864 ; studied at ■ 
 the R. Sch. of Mus. there, and at ' 
 Munich, also with Spitta ; 1887, Dr. ; 
 Phil.; mus. libr., Munich Library, '. 
 and lecturer at the Univ.; 1898 prof, 
 of mus. at Prague Univ.; ed. Orlando i 
 di Lasso's complete works ; wrote .. 
 biog. , hist., essays, etc.; c. v. succ. ' 
 opera " Ludwig der Springer" (Co- ( 
 burg, 1895), overture, etc. 
 
 Sanders, C. Vide lkuckart. 
 
 Sanderson, (i) Jas., Workington, 
 Durham, 1769 — ca. 1841 ; violinist, 
 teacher and composer. (2) Lillian, 
 b. Sheboygan, Wis., U. S. A., Oct. 
 13, 1867 ; concert mezzo-soprano ; 
 pupil of Stockhausen, Frankfort-on- ■ 
 Main ; debut Berlin, 1890 ; toured 
 Europe ; m. Fz. Rummel ; lives in 
 Berhn. (3) Sibyl, b. Sacramento, 
 Cal., 1865; soprano, opera-singer; 
 pupil of de la Grange and Massenet ; 
 
DICTIONARY OF MUSICIANS 71 
 
 succ. debut, Op. -Com., 1889; sang 
 there for years ; 1898 in New York 
 Met. Op., and variously in Europe. 
 
 Sandoni. Vide cuzzoni. 
 
 Sandow (zan'-d6), (i) Eugen, b. Ber- 
 lin, Sept. II, 1856; violinist; pupil 
 Rohne, W. Muller, and K. Hoch- 
 schule ; from 1879 court chamber- 
 mus. His wife (2) Adelina (nee 
 Herms), b. Friesack, Oct. 14, 1862 ; 
 singer and teacher. 
 
 Sandt (zant), Max van de, Rotter- 
 dam, Oct. 18, 1863 ; pianist ; pupil 
 of his father and Liszt ; toured 
 Europe ; 1889, pf.-teacher Stern 
 Cons., Berlin. 
 
 Sandys (sands), Wm., 1792 — 1874 ; 
 English writer on music. 
 
 Sanger-Sethe (zeng'-er-za-te), Irma, 
 b. Brussels, April 28, 1876 ; notable 
 violinist ; daughter of Dutch father 
 and German mother ; began violin at 
 5 ; pupil of her mother, of Joachim, 
 Wilhelmj, and Ysaye, took ist prize 
 at the Cons.; debut London, 1895; 
 toured Europe with great success ; m. 
 Dr. Sanger, 1897, and Hves in Berlin. 
 
 Sangiovanni (san-j6-van'-ne), A., 
 Bergamo, 1831 — Milan, 1892 ; prof. 
 of singing. 
 
 Santini (san-te'-ne), Abbate Fortu- 
 nate, Rome, 1778 — ?; coll. a no- 
 table mus. -library. 
 
 Sant'ley, (i) Chas., b. Liverpool, 
 Feb. 28, 1834 ; noted operatic and 
 concert barytone ; pupil Nava, Mi- 
 lan ; Garcia, London ; debut, 1857 ; 
 won pre-eminence in England at 
 festivals, etc. ; operatic debut, Co- 
 vent Garden, 1859 '< 1875 with Carl 
 Rosa Co. ; 1871 and 1891, America ; 
 retired 1900 ; also a painter ; c. a 
 mass with orch.; a berceuse for orch. 
 (1890) ; songs (pub. under the pseud. 
 " Ralph Betterton "), etc. His wife, 
 (2) Gertrude Kemble (Charles 
 Kemble's granddaughter) (d. 1882). 
 was a soprano ; their daughter (3) 
 Edith was a successful soprano, till 
 her marriage in 1S84 with the Hon. 
 R. H. Lyttleton. 
 
 Santucci (san-toot'-che), Marco, 
 
 Camajore, 1762 — Lucca, 1843; con- 
 ductor and composer. 
 Sapell'nikoff, Wassily, b. Odessa, 
 Oct. 21, 186S ; pianist ; pupil of Fz. 
 Kessler, and then (with a stipend from 
 the city of Odessa) of L. Brassin and 
 Sophie Menter, Petersburg Cons.; 
 
 1858, debut Hamburg ; toured. 
 Saran (zii'-ran), Aug, (Fr.), b. Alten- 
 
 plathow, Province of Saxony, Feb. 
 28, 1836 ; pupil of Fr. Ehrlich and 
 of R. Franz ; teacher, army-chap- 
 lain (1873) ; 1885 cond. of a church- 
 choral soc. at Bromberg ; writer and 
 composer. 
 Sarasate (sa-ra-sa'-te), Pablo (Mar- 
 tin Meliton Sarasate y Navas- 
 cuez) de, b. Pamplona, Spain, 
 March 10, 1844 ; eminent violinist ; 
 at 10 played before the Queen, who 
 presented him with a Stradivari ; 
 after succ. concerts in Spain he stud- 
 ied with Alard (vln.) and Reber 
 (comp.), Paris Cons., taking ist vln.- 
 prize 1857, and a pi'emier accessit, 
 
 1859, in harm.; he has made very 
 wide and very succ. tours ; 1889, 
 America. For him Lalo c. his ist 
 vln. -concerto and the " Symph. es- 
 pagnole " ; Bruch, his 2nd concerto 
 and the Scotch Fantasia ; A. C. 
 Mackenzie, the "Pibroch" Suite. S. 
 has pub. '' Zigeunerweisin" for vln. 
 and orch.; '' Spanische Tdnze" lor 
 vln. and pf. , fantasias, etc. 
 
 Sarmiento (sar-mi-en'-to), Salvatore, 
 Palermo, 18 17 — Naples, 1869 ; con- 
 ductor and dram, composer. 
 
 Saro (sa -ro), J. H., Jessem, Saxony, 
 1827 — Berlin, 1891 ; bandmaster and 
 writer. 
 
 Sarrette (sar-ret), Bd., Bordeaux, 
 1765 — Paris, 1858 ; founder and di- 
 rector till 18x4 of the Paris Cons, 
 which he gradually developed from 
 a sch. started by the band of the 
 Paris National Guard. 
 
 Sarri (sar'-re), Dom., Trani, Naples, 
 167S — after 1741 ; conductor and 
 dram, composer. 
 
 Sarti (sar'-te), Giuseppe (called II 
 Domenichino) (el do-men-I-ke'-no), 
 
712 
 
 THE MUSICAL GUIDE 
 
 Faenza, Dec. i, 1729 — (of gout) Ber- 
 lin, July 28, 1802 ; pupil of eitherVal- 
 lotti or Padre Martini ; 1 748-50 organ- 
 ist F"aenza Cath. ; 175 1 he prod, at 
 Faenza, succ. opera '' Poinpeo in Anne- 
 ««fl," followed by"// Re Pas tore" 
 (Venice, 1753) and others so succ. 
 that at 24 he was called to Copen- 
 hagen as dir. Italian opera and court- 
 cond.; he was summarily dismissed 
 for political reasons; 1775-99, dir. 
 Cons, deir Ospedaletto, Venice ; in 
 competition (with Paisiello and others) 
 he won the position of cond. at Milan 
 Cath.; he prod, from 1776-84, 15 
 operas ; he also prod, grand canta- 
 tas and several masses, etc. Cathe- 
 rine II. invited him to Petersburg. 
 As he passed Vienna, he was received 
 by the Emperor, and met Mozart, 
 complaining, however, of the " bar- 
 barisms" in M.'s quartets and find- 
 ing 19 mortal errors in 36 bars. Lived 
 at Petersburg 18 years, excepting 
 a brief period of disgrace, due to 
 Todi, during which exile he founded 
 a fine sch. at Ukraine. 1793 he was 
 restored to the Empress' favour, and 
 placed at the head of a Cons. He 
 raised the Italian opera to high effi- 
 ciency, inv. a very accurate machine 
 for counting vibrations and was en- 
 nobled in 1795. In a Te Deum (on 
 the taking of Otchakow by Potemkin) 
 the music was reinforced by fire- 
 works and cannon. He set the li- 
 bretto " Hega " by the Empress. He 
 c. 40 operas, masses, some still per- 
 formed, etc. 
 
 Sartorio (sar-to'-rt-o). A., Venice, ca. 
 1620 — ca. 1681; conductor and dram, 
 composer. 
 
 Sass (sas) (at first sang under the name 
 Sax), Marie Constance, b. Ghent, 
 Jan. 26, 1838 ; a chansonette-singer 
 in a Paris cafe, found and taught by 
 Mme. Ugalde ; debut Th.-Lyrique, 
 1859, as soprano, 1860-71, at the 
 Opera, then in Italy ; 1864, m. 
 Castelmary, divorced 1867. 
 
 Satter (zat'-ter), Gustav, b. Vienna, 
 Feb. 12, 1S32 ; pianist ; studied Vi- 
 
 enna and Paris ; 1854-60 toured the 
 U. S. and Brazil; returned to Paris, 
 where Berlioz warmly praised his 
 compositions ; lived in various cities ; 
 c. opera " Olanthe" overtures " Lore- 
 lei" ''Julius Cesar" ''An die 
 Freude" 2 symphs., a symph. tone- 
 picture " JVasJiiitgton" etc. 
 
 Sattler (zat'-ler), H., Quedlinburg, 
 r8ii — Brunswick, 1891 ; writer and 
 composer. 
 
 Sauer (zow'-er), (i) Wm., b. Fried- 
 land, Mecklenburg, 1831 ; org.- 
 builder from 1857 at Frankfort-on- 
 Oder. (2) Vide leidesdorf. (3) 
 femil, b. Hamburg, Oct. 8, 1862 ; 
 notable pianist ; pupil of his mother; 
 of N. Rubinstein at Moscow, 1881, 
 and of Liszt at Weimar ; from 1882 
 toured Europe and 1898-99 U.S. with 
 great succ. ; 1901, head of pf.-dept. , 
 Vienna Cons. ; c. suite moderne, "Aus 
 lichten Tagen" 2 piano concertos,! 
 concert-etude, etc. ; 
 
 Saurel (sa-oo-rel), Emma, b. Paler-) 
 mo, 1850; opera - singer ; debut,! 
 Pisa ; has toured widely. i 
 
 Sauret (s6-ra), 6mile, b. Dun-le-Roi, i 
 Cher, France, May 22, 1852; notable 
 violinist ; pupil of Paris Cons, and of 
 de Beriot, Brussels Cons.; at 8 began, 
 succ. European tours ; America 1872,: 
 and frequently since ; 1880-81, t.i 
 Kullak's Acad., Berlin ; lived in^ 
 Berlin till 1890, then prof. R. A. M.,! 
 London ; wrote " Gradtts ad Parnas-' 
 sum du violuniste" (Leipzig, 1894) ; 
 c. 2 vln. -concertos, etc. 
 
 Sauter (zow'-ter), Severin S., Ger- 
 many, 1822 — St. Louis, Mo., March 
 24, 1901; cond.; came to America as 
 refugee, 1848. 
 
 Sauveur (s6-vur), Jos., La Fleche ! 
 1653 — Paris, 1716 ; a deaf-mute, whc I 
 learned to speak at 7, and became i | 
 notable investigator in acoustic;, j 
 (which word in fact he invented) ; h< : 
 was the first to calculate absolute vi ; 
 bration- numbers, and to explain over \ 
 tones; pub. many treatises (1700-13) 
 
 Sauzay (so-ze), Chas.) Eugene 
 Paris, July 14, 1809 — 1901 ; violinist ' 
 
DICTIONARY OF MUSICIANS 7^3 
 
 pupil of Vidal; later of Baillot at the 
 Cons. ; won ist and 2nd vln. -prize, and 
 prize for fugue ; 2nd vln. and after- 
 wards via. in Baillot's quartet, and m. 
 B. 's daughter (a pianist) ; 1840 solo vio- 
 linist to Louis Philippe ; later leader 
 of 2nd vlns. Napoleon III.'s orch.; 
 1S60 vln. -prof, at the Cons.; pub. a 
 treatise; c. a string-trio, '' Etudis 
 harinoniqnes" etc. 
 
 Savard (sa-var), M. Gabriel Aug., 
 Paris, 1814 — 1881 ; prof, of harm. 
 and thorough-bass at the Cons.; pub. 
 treatises. 
 
 Savart (sa-var), F., Mezieres, 1791— 
 Paris, 1841 ; acoustician. 
 
 Savile (sav'-Il), Jeremy, English com- 
 poser, 1653. 
 
 Sax (sax), (i) Chas. Jos., Dinant-sur- 
 Meuse, Belgium, 1791 — Paris, 1865 ; 
 studied flute and clarinet, Brussels 
 Cons.; from 1815 managed an instr.- 
 factory at Brussels, making a spe- 
 cialty of brass instrs. ; he made many 
 improvements ; 1853 he joined his 
 son Ad. in Paris. (2) (Ant. Jos). 
 Adolphe, Dinant, Nov. 6, 1814 — 
 Paris, Feb. 9, 1894 ; son of above ; 
 eminent maker and inv. of instrs. ; he 
 inv. the family of instrs. called the 
 saxophone (v. d. d.) ; in Paris he con- 
 tinued to make improvements invent- 
 ing the saxhorns, saxotromba, etc.; 
 1857 teacher of the sa.xophone, Paris 
 Cons, and pub. a saxophone method; 
 he had much litigation over the prior- 
 ity of his inventions, but always won. 
 (3) Alphonse, bro. and co-worker of 
 above. (4) Marie. Vide s.\ss. 
 
 Sbolci (s'bol'-che), Jefte, Florence, 
 1833 — 1895 ; 'cellist and teacher. 
 
 Scacchi (skak'-ke), Marco, b. Rome ; 
 ct.-conductor 1618-48 ; writer and 
 composer. 
 
 Scalchi (skal'-ke), Sofia, b. Turin, 
 Nov. 29, 1850 ; alto or mezzo-sopra- 
 no of unusual range f-b" (v. pitch 
 D. D.) ; pupil of Boccabadati ; debut 
 Mantua (1866); she has sung through- 
 out Europe, often in North and South 
 America with much succ; 1S75 m. 
 Signor LoUi. 
 
 Scaletta (ska-let'-ta), Orazio, Crema 
 
 — Padua, 1630 ; conductor and com- 
 poser. 
 
 Scandel'li, Ant., Brescia, 1517 — Dres- 
 den, 1580 ; conductor and composer. 
 
 Scaria (ska'-rl-a), Emil, Graz, 1840 — 
 Blasewitz, 1SS6 ; bass ; created 
 "Wotan" at Bayreuth, 1876 and 
 " Gurnemanz" {Fai-sifal), 1882. 
 
 Scarlatti (skar-lat'-te), (i) Aiessan- 
 dro, Trapani, Sicily, 1659 — Naples, 
 1725 ; founder of the " Neapolitan 
 Sch."; noted teacher and an impor- 
 tant innovator in opera (he prod, over 
 115) ; in 1680 he is first heard of as 
 conducting his own opera ; he intro- 
 duced the innovation of the orchestral 
 ritornello, and a partial rccitativio 
 obbligato (v. D.D.); 1684 court-cond.; 
 1703, 2nd cond. S. Maria Maggiore, 
 Rome; 1707-09, ist. cond.; teach- 
 er at 3 conservatories, San Onofrio ; 
 de' Poveri di Gesu Christi, and the 
 Loreto. (2) Domenico (Girolamo), 
 Naples, 1683 (5 ?) — 1757 ; son and 
 pupil of above ; studied also with 
 Gasparini ; eminent virtuoso and 
 composer for harpsichord ; founded 
 modern pf.-technic ; devised many 
 now familiar feats ; the first to com- 
 pose in free style without contra- 
 puntal elaboration and mass ; in a 
 competition with Handel he proved 
 himself equal as a harpsichordist, but 
 confessed himself hopelessly defeated 
 as an organist ; he was thereafter a 
 good friend, almost an idolater, cross- 
 ing himself when he mentioned Han- 
 del ; 1715-19 he was maestro at St. 
 Peter's, 1720 at London ; 1720 court- 
 cembalist Lisbon ; his gambling left 
 his family destitute; from 17 10 he prod, 
 operas, inch the first setting of " Am- 
 Icto" (1715). (3) Giuseppe, Naples, 
 1712 — Vienna, 1777; grandson of (i); 
 dram, composer. (4) Fran., c. a 
 melodrama in MS. at Rome. (5) 
 Pietro, c. opera " Clitarro" with 
 intermezzi by Hasse. 
 
 Schaab (shap), Robt,, Rotha, near 
 Leipzig, 1817 — 1887 ; organist and 
 composer. 
 
714 
 
 THE MUSICAL GUIDE 
 
 Schachner (shakh'-ner), Rudolf Jos., 
 
 Munich, 1821 — Reichenhall, 1896 ; 
 pianist, teacher and composer. 
 
 Schacht (shakht), Matthias H., Vi- 
 borg, Jutland, 1660 — Kierteminde, 
 1700 ; lexicographer. 
 
 Schack (Cziak) (shak or chak), Ben- 
 edikt, Mirowitz, Bohemia, 1758 — 
 Munich, 1826 ; tenor and dram, com- 
 poser. 
 
 Schad (shat), Jos., b. Steinach, Bava- 
 ria, 1812 — Bordeaux, 1879; pianist 
 and composer. 
 
 Schade (sha-de), (i) (Schadaus) 
 Abraham, pub. a valuable coll. of 
 384 motets (1611-16). (2) Carl, 
 singing-teacher and writer (1828-31). 
 
 Schaffer (shef'-fer), (i) Aug., Rhein- 
 berg, 1814 — Berlin, 1879; dram, 
 composer. (2) Julius, b. Crevese, 
 Altmark, Sept. 28, 1823 ; studied 
 with Dehn, Berlin ; 1855 mus. dir. to 
 the Grand Duke at Schwerin ; found- 
 ed and conducted the " Schlosskirch- 
 enchor ; " i860 mus.-dir. at the 
 Univ. and cond. Singakademie, Bres- 
 lau; 1871, " R. Mus.-Dir."; 1878 
 prof.; Dr. Phil. h. c. (Breslau), 1872 ; 
 wrote defence of his friend Franz' 
 accompaniments to Bach and Han- 
 del ; composer. 
 
 Schafhautl (shaf'-hl-tl), K. Fz. Emil 
 von, Ingolstadt,i8o3 — Munich, 1890; 
 professor and theorist. 
 
 Schalk (shalk), Josef, b. Vienna and 
 studied at the Cons. ; notable cond., 
 first at Graz, then ist cond. at the 
 Prague Opera and Philh. concerts ; 
 since 1S99 ist cond. ct. -opera, Ber- 
 lin; 1898 at Covent Garden, 1899 
 gave the complete Wagner Ring- 
 cycle in New York. 
 
 Scharfe (shar'-fe), , Grimma, Sax- 
 ony, 1835 — Dresden, 1892; barytone, 
 teacher and composer. 
 
 Scharfenberg (shar'-fen-berkh), Wm., 
 Cassel, Germany, 1819 — Quogue, 
 N. Y., 1895; pianist, teacher and 
 editor. 
 
 Scharnack (shar'-nak), Luise, b. 
 Oldenburg, ca. i860 ; mezzo-soprano ; 
 
 pupil of von Bernuth, Hamburg | 
 Cons.; debut, Weimar. .. 
 
 Scharwenka (shar-ven'-ka), (i) (L.) J 
 Philipp, b. Samter, Posen, Feb. 16, ] 
 1S47; pupil of Wiirst and Kullak's ;D 
 Acad., Berlin, also of H. Dorn ; ij 
 1S70, teacher of theory and comp. at \ \ 
 the Acad.; 1880 founded (with his J 
 bro. Xaver) the " Scharwenka Cons."; ,> 
 1891, accompanied his bro. to New il 
 York ; returned, 1892, as co-dir. of 
 the Cons., later, 1893, merged in the 
 Klindworth Cons. ; he is also a carica- 
 turist and illustrated a satire by Alex. 
 Moskowski (Berlin. 188 1) ; 1902, 
 R. Professor; c. "Ilerbsifeie?-" and 
 " Saktintala" for soli, chorus and 
 orch., 2 s.ym^'hs., ''Arkadische Suite"} 
 and '" Serenade" for orch., festival} 
 overture. Trio in G, op. 112, etc. (2)| 
 (Fz.) Xaver, b. Samter, Jan. 6,{ 
 1850 ; bro. of above ; distinguished 
 pianist and composer; pupil of Kul- 
 lak and Wiirst, Kullak's Acad.; 1868, 
 teacher there ; at 19 gave public con- 
 cert at the Singakademie, with succ; 
 for 10 years he gave annually 3 cham- 
 ber-concerts there (with Sauret and 
 H. Grlinfeld) ; cond. of subscription 
 concerts ; 1874, toured Europe and 
 America ; 1880, co-founder the " Ber- 
 lin Scharw. Cons.," dir. till 1891, 
 then founded a Cons, in New York .'. 
 1898, BerHn, as dir. Klindworth- 
 Scharwenka Cons.; ct. -pianist to the 
 Emperor of Austria, " Prof." fron 
 the King of Prussia ; c. succ. oper^. 
 '•' Matasu'intha" (Weimar, 1896); 
 symph., 3 pf. -concertos, etc. 
 
 Schauensee (show'-en-za), (Fz. Jos 
 Leonti) Meyer von. Lucerne, i72( 
 — after 1790 ; organist and dram 
 composer. 
 
 Schebek (sha'-bek), Edmund, Peters; 
 dorf, Moravia, 18 19 — Prague, 1895 i 
 amateur authority on vln.-construcj 
 tion, etc. j. 
 
 Schebest (sha'-best), Agnes, Viennaj 
 1813 — Stuttgart, 1869; mezzo-so 1 
 prano. 
 
 Schechner-Waagen (shek'-ner-vii 
 gen), Nanette, Munich, 1806— 1860 
 
DICTIONARY OF MUSICIANS 715 
 
 noted soprano; 1S32, m. Waagen, a 
 painter. 
 
 Scheibe (shl-be), (i) Jn., d. Leipzig, 
 1748 ; celebrated org. -builder. (2) 
 Jn. Ad., Leipzig, 1708 — Copen- 
 hagen, 1776 ; son of above ; organ- 
 ist, editor and composer. 
 
 Scheibler (shi-bler), Jn. H., Montjoie, 
 near Aix-Ia-Cliapelle, 1777 — Crefeld, 
 1S38 ; acoustician and inventor. 
 
 Scheidemann (shl'-de-man), (i) Hein- 
 rich, Hamburg, ca. 1596 — 1663 ; or- 
 ganist ; pupil and successor of his 
 father (2) Hans S., organist Kathe- 
 rinenkirche. 
 
 Scheidemantel (shi -de-man-tel), K., 
 b. Weimar, Jan. 21, 1859; pupil of 
 Bodo Borchers ; sang at the ct.-th., 
 1878-86 ; pupil of Stockhausen ; 
 
 1885, " Kammersanger " ; since 
 
 1886, Dresden ct. -opera ; 1886, sang 
 " Amfortas" in '"Parsifal" at Bay- 
 reuth. 
 
 Scheidt (shit), Samuel, Halle-on- 
 Saale, 1587 — 1654 ; famous organist 
 and composer ; pupil of Sweelinck ; 
 organist of Moritzkirche and ct. -con- 
 ductor ; c. notable chorals, etc. 
 
 Schein (shin), Jn. Hermann, Griin- 
 hain, Saxony, 1586 — Leipzig, 1630; 
 soprano ; ct. -conductor and com- 
 poser. 
 
 Schelble (shel'-ble), Jn. Nepomuk, 
 Hufingen, Black Forest, 1789 — 
 Frankfort-on-Main, 1837 ; notable 
 cond. and singing-teacher ; tenor ; c. 
 operas, etc. 
 
 Schelle (shel'-le), (i) Jn., Geisingen, 
 Saxony, 1648 — Leipzig, 1701; can- 
 tor Thomaskirche. (2) K. Ed., 
 Biesenthal, near Berlin, 1816 — Vien- 
 na, 1882 ; critic, lecturer and writer. 
 
 Scheller (shel-ler), Jacob, b. Schettal, 
 Bohemia, 1759 ; vln. -virtuoso. 
 
 iSchelper (shel'-per). Otto, b. Rostock, 
 April 10, 1844 ; an actor, later bary- 
 tone in opera, at Bremen ; 1872-76, 
 Cologne, then sang leading roles, 
 Leipzig City Theatre. 
 
 Schenck (shenk), (i) Jean (Johann), 
 gamba-player and dram, composer, 
 1688-93, Amsterdam. (2) Jn., 
 
 Wiener-Neustadt, Lower Austria, 
 1761 (1753 ?) — Vienna, 1S36 ; c. op- 
 erettas. (3) Hugo, 1852 (?) — Vien- 
 na, 1896 ; conductor and composer. 
 
 Scherer (sha-rer), Sebastian Anton, 
 organist at Ulm Minster and com- 
 poser, 1664. 
 
 Scherzer (sher'-tser), Orto, Ansbach, 
 1S21 — Stuttgart, 1886; violinist and 
 organist. 
 
 Schetky (shet'-ke), Chp., Darmstadt, 
 1740 — Edinburgh, 1773 ; 'cellist and 
 composer. 
 
 Schicht (shikht), Jn. Gf., Reichenau, 
 Saxony, 1753 — Leipzig, 1823 ; pupil 
 of an uncle (org. and pf.) ; pianist, 
 conductor and writer ; c. 4 oratorios, 
 chorals, etc. 
 
 Schick (shik) (nee Hamel), Marga- 
 rete Luise, Mayence, 1773 — -Berlin, 
 1809 ; soprano ; pupil of Steffani and 
 Righini ; debut, Mayence, 1791; from 
 1794, Royal Opera, Berlin. 
 
 Schiedermayer (she'-der-ml-er), Jos. 
 Bd., d. Linz-on-Danube, Jan. 8, 
 1S40 ; cath. -organist ; wrote a text- 
 book on chorals and a vln. -method ; 
 c. symphs., sacred mus., org. -pes., etc. 
 
 Schiedmayer (shet'-mi-er) & Sohne, 
 Stuttgart firm of piano-makers, 
 founded in Erlangen, 1781. (i) Jn. 
 D., removed to Stuttgart 1806. The 
 present head is (2) Ad. (b. 1847), 
 a great-grandson of (i). 
 
 Schikaneder (she'-ka-na-der), Eman- 
 uel Jn., Ratisbon, 1751 — Vienna, 
 18 12, the librettist of Mozart's "Zaw- 
 berjidte" in which he created " Papa- 
 geno"; a manager, actor and singer. 
 
 Schildt (shilt), Melchior, Hanover (?), 
 1592 — 1667 ; organist. 
 
 Schiller (shll'-ler), Madeline, b. Lon- 
 don, Engl.; pianist and teacher; a 
 pupil of Isaacs, Benedict and Halle, 
 but mainly self-taught ; debut, Ge- 
 wandhaus, with great succ, repeated 
 in London ; toured Australia ; m. M. 
 E. Bennett of Boston, Mass., where 
 she lived several years making many 
 tours, incl. Australia and Europe ; 
 later lived in New York. 
 
 Schilling (shll-ling), Gv., Schwiegers- 
 
7i6 
 
 THE MUSICAL GUIDE 
 
 hausen, near Hanover, 1803 — Ne- 
 braska, U. S. A., 18S1; wrote text- 
 books and treatises, etc. 
 
 Schil'lings, Max, b. Dliren, April 19, 
 1868 ; notable composer ; studied 
 with Brambach and von Konigslow ; 
 1892, stage-manager at Bayreuth ; 
 1890 while studying law, at Munich, 
 c. the opera '" Inguelde" (prod, by 
 Mottl, Carlsruhe, 1894) ; played in 
 many other cities ; c. also opera 
 " Z)('r /yi'/f;7tf^" (Schwerin, 1901); 2 
 symph. fantasias " yJ/^t';-_fr?<j- J-, " 1895, 
 and " Seemorgen" etc. 
 
 Schitnon (she'-mon). Ad., Vienna, 
 1820 — Leipzig, 1887 ; singing-teach- 
 er, accompanist and dram, com- 
 poser, etc.; 1872, m. the soprano (2) 
 Anna Regan, Bohemia, 1842 — Mu- 
 nich, 1902 ; pupil of Manuel Garcia 
 and Stockhausen ; sang in Italy and 
 Germany ; court-singer in Russia ; 
 1874, teacher of singing Leipzig 
 Cons. ; 1877-86, R. Sch. of Mus., 
 Munich; again at Leipzig Cons.; 
 also after death of her husband, 
 singing-teacher at Munich. 
 
 Schindelmeisser (shTn'-del-mls-ser), 
 L., Konigsberg, 18 11 — Darmstadt, 
 1864 ; ct. -conductor and dram, com- 
 poser. 
 
 Schindler (shint'-ler), Anton, Medl, 
 Moravia, 1796 — Bockenheim, near 
 Frankfort, 1864 ; violinist and con- 
 ductor ; friend and biographer of 
 Beethoven. 
 
 Shintlocker (shTnt'-lek-er), (i) Phil- 
 ipp, Mons, Hainault, 1753 — Vienna, 
 1827 ; 'cellist. (2) Wolfgang, b. 
 Vienna, 1789; 'cellist and composer ; 
 nephew and pupil of above. 
 
 Schira (she'-ra), Fran., Malta, 1809 
 — London, 1S83; professor, conduct- 
 or and dram, composer. 
 
 Schirmacher (sher'-makh-er), Dora, 
 b. Liverpool, Sept. i, 1862 ; pianist ; 
 pupil of Wenzel and Reinecke, Leip- 
 zig Cons., winning Mendelssohn 
 prize ; debut Gewandhaus, 1877 ; c. 
 a suite, sonata, etc. 
 
 Schirmer (sher'-mer), (i) Gustav, 
 Konigsee, Saxony, 1829 — Einsbach, 
 
 Thuringia, 1893 ; son and grandson 
 of court piano-makers at Sonders- 
 hausen ; 1837 came to New York ; 
 founded pub. firm. Beer & Schirmer, 
 1866 S. obtained the entire business 
 since known as G. .Schirmer ; since 
 1893 incorporated under management 
 of (2) Rudolf E. and (3) Gustav, 
 sons of above. 
 
 Schladebach (shla-de-bakh), Julius, 
 d. Kiel, 1872 ; wrote treatise on the 
 voice. 
 
 Schlager (shla'-ger), Hans, Fils- 
 kirchen. Upper Austria, 1830 — Salz- 
 burg, 1885 ; conductor and dram, 
 composer. 
 
 Schlecht (shlekht), Raimund, Eich^ 
 stadt, 1811 — 1891 ; priest and writer. 
 
 Schleinitz (shll'-nTts), H. Conrad, 
 Zechanitz, Saxony, 1807 — Leipzig, 
 1881 ; dir. Leipzig Cons, (vice Men- 
 delssohn). 
 
 Schlesinger (shla'-zlng-Sr), two mus.- 
 pub. firms, (a) at Berlin, founded 
 1810 by (i) Ad. Martin, from 1858 
 managed by his son (2) Heinrich 
 (d. 1879) ; since 1864 under R. Lie- 
 nau. (b) at Paris, founded 1834 by 
 (3) Moritz Ad., son of (i) ; under 
 Louis Brandus in 1846. (4) Sebas- 
 tian Benson, b. Hamburg, Sept. 
 24, 1837 ; at 13 went to U. S.; stud- 
 ied at Boston with Otto Dresel ; for 
 17 years Imp. German Consul at 
 Boston ; now lives in Paris ; pub. 
 many pop. songs and piano-pieces. 
 
 Schletterer (shlet'-ter-er), Hans 
 Michel, Ansbach, 1824 — Augsburg, 
 1S93; mus. -dir., writer and composer. 
 
 Schlick (shllk), (i) Arnold, ct. -organ- 
 ist to the Elector Palatine, and com- 
 poser, 15 1 1. (2) Jn. Konrad, MUn- 
 ster (?), Westphalia, 1759 — Gotha, 
 1825 ; 'cellist and composer. 
 
 Schlimbach (shHm'-bakh), G. Chr. 
 Fr., b. Ohrdrof, Thuringia, 1760 ; 
 organist, writer on org. -building, etc. 
 
 Schlosser (shles'-ser), (i) Louis, 
 Darmstadt, 1800 — 1886 ; ct. -conduct- 
 or and dram, composer. (2) (K. 
 Wm.) Ad., b. Darmstadt, Feb. i, 
 1830; son and pupil of above; pianist; 
 
 I 
 
DICTIONARY OF MUSICIANS 717 
 
 debut Frankfort, 1847 ; toured; from 
 1S54, teacher in London ; c. pf.- 
 quartet and trio, etc. 
 
 Schlottmann (shlot'-man), Louis, b. 
 Berlin, Nov. 12, 1826 ; concert- 
 pianist, pupil of Taubert and Dehn ; 
 lived in Berlin as teacher ; 1875, R. 
 Mus.-Dir. ; c. overture to ''^ Romeo 
 and Juliet" " Trauermarsch" for 
 orch., etc. 
 
 Schmedes (shma -des), Erik, b. Co- 
 penhagen, 1868 ; pianist ; then stud- 
 ied singing with Rothmlihl ; sang as 
 barytone in various theatres ; studied 
 with Iffert and, 1898, sang tenor roles 
 at Vienna ; 1899 " Siegfried " and 
 " Parsifal " at Bayreuth. 
 
 Schmeil (shmil), , teacher at 
 
 Magdeburg, inv. "notograph." 
 
 Schmelzer(shnier-tser),Jn.H., Prague, 
 1655 — d. after 1695 at Vienna ; ct.- 
 cond. and composer. 
 
 Schmid(t) (shmTt), (r) Bd., organist at 
 Strassburg, 1560. He was succeeded 
 by (2) Bd. Schmid, the younger. 
 (3) Anton, Pihl, Bohemia, 17S7 — 
 1857 ; mus. libr. Vienna Library ; 
 writer. 
 
 Schmidt (shmKt), (i) Jn. Phil. Samuel, 
 Konigsberg, 1779 — Berlin, 1S53 ; 
 Govt, official, critic, writer and dram, 
 composer. (2) Jos., Biickeburg, 1795 
 — 1865 ; violinist, ct. -conductor and 
 composer. (3) Hermann, Berlin, 
 1810 — 1845 ; ballet-conductor and 
 ct.-composer ; c. operetta. (4) Gus- 
 tav, Weimar, 18 16 — Darmstadt, 
 1882 ; ct. -conductor and dram, com- 
 poser. (5) Arthur P., b. Altona, 
 Gar., April i, 1846; est. mus. -pub. 
 business, Boston and Leipzig, 1876. 
 
 Schraitt (shmit), (i) Jos., 1764— 
 Frankfort-on-Main, 1818 ; writer, 
 violinist and composer. (2) Niko- 
 laus, b. Germany ; bassoonist and 
 composer; from 1779, chef de iiiit- 
 sique of the French Guards at Paris. 
 (3) Aloys, Erlenbach, Bavaria, 1788 
 — Frankfort-on-Main, 1S66 ; eminent 
 teacher, pianist, writer and dram. 
 composer. (4) Jacob (Jacques), 
 Obernburg, Bavaria, 1803 — Ham- 
 
 burg, 1853 ; bro. and pupil of above ; 1 
 
 wrote a method and c. (5) (G.) I 
 
 Aloys, Hanover, Feb. 2, 1S27— Dres- ' 
 
 den, Oct., 1902 ; pianist and cond.; ! 
 
 son and pupil of (3) ; pupil Voll- \ 
 
 vveiler (theory), Heidelberg ; toured ; 
 then th.-cond. at Aix-la-Chapelle, 
 etc.; 1857-92, ct.-cond. at Schwerin ; 
 from 1893^ dir. " Dreyssig'sche Sing- 
 akademie," Dresden. He c. 3 op- 
 eras, incl. ''Trilby'' (Frankfort, 
 1845) ; incid. music ; overtures, etc. 1 
 
 He arranged the fragments of Mo- ■ 
 
 zart's C minor mass into a complete 
 work ; died of an apoplectic stroke ' 
 
 while conducting his own " In Mem- \ 
 
 oriam." (6) Hans, b. Koben, Bo- 
 hemia, Jan. 14, 1835 ; piano-teach- ; 
 er and oboist ; pf. -pupil of Dachs, 
 Vienna Cons., taking the silver medal; ■ 
 later, teacher there ; wrote a vocal 
 method ; c. important instructive 
 pes., etc. 
 
 Schmolzer (shmel'-tser), Jakob Ed., 
 Graz, 1812 — 1886; teacher and com- 
 poser. 
 
 Schnabel (shna-bel), (i) Jos. Ignaz, 
 Naumburg, Silesia, 1767 — Breslau, 
 1S31 ; conductor and composer. (2) J 
 
 Michael, Naumburg, 1775 — Breslau, j 
 
 1S42 ; bro. of above ; founded at \ 
 
 Breslau (18 14) a piano factory, car- 1 
 
 ried on by his son (3) K. (1809 — 
 18S1) ; pianist and composer. 
 
 Schnecker (shnek'-er), Peter Aug., 
 
 b. in Hessen- Darmstadt, 1850 ; pupil i 
 
 of Oscar Paul, Leipzig ; came to 
 America ; lives in New York as i 
 
 teacher and organist ; pub. collec- \ 
 
 tions ; c. pf.-pcs. and much pop. j 
 
 church-mus. j 
 
 Schneegass (shna'-gas) (Snegas- 
 sius), Cyriak, Buschleben, near Go- 
 tha, 1546 — 1597 ; theorist and com- 
 poser. : 
 
 Schneevoigt (shna'-foikht), Georg, 
 
 b. Wiborg, Nov. 8, 1872 ; Finnish \ 
 
 'cellist ; studied with Schroder, \ 
 
 Klengel and Jacobs ; lives in Hel- \ 
 
 singfors as teacher in the Cons., etc. i 
 
 Schneider (shnl'-der), (i) Jn., Lauder, j 
 
 near Coburg, 1702 — Leipzig, ca. j 
 
7i8 
 
 THE MUSICAL GUIDE 
 
 1775 '. famous improviser and organ- 
 ist. (2) G. Abraham, Darmstadt, 
 1770 — Berlin, 1839 ; horn-virtuoso ; 
 conductor, composer of masses, etc. 
 (3) Louis, Berlin, 1805 — Potsdam, 
 1878 ; son of (2); writer. (4) (Jn. G.) 
 Wm., Rathenow, Prussia, 1781 — 
 Berlin, 1811 ; pianist, teacher, com- 
 poser and writer. (5) Wm., Neu- 
 dorf, Saxony, 1783 — Merseburg, 
 1843 ; organist and writer. (6) Jn. 
 Gottlob, 1753 — Gernsdorf, 1840; 
 organist. (7) (Jn. Chr.) Fr., Alt- 
 Waltersdorf, Saxony, Jan. 3, 1786 — 
 Dessau, Nov. 23, 1853 ; son and pu- 
 pil of (6) ; at 10 c. a symphony ; 1821 
 ct. -conductor at Dessau ; wrote text- 
 books and c. 15 oratorios, incl. fa- 
 mous "Das IVeltgfricJit" ; biog. by 
 F. Kempe. (8) Jn. (Gottlob), Alt- 
 Gersdorf, Oct. 28, 1789 — Dresden, 
 April 13, 1864 ; bro. of above ; emi- 
 nent organist and teacher. As a boy 
 a soprano of remarkable range (to f ' 
 ace. to Riemann, v. pitch, d.d.); 
 later, tenor ; 1825 ct. -organist, Dres- 
 den, also conductor ; made tours ; c. 
 fugues, etc. , for organ, (g) Jn. Gott- 
 lieb, Alt-Gersdorf, 1797 — Hirsch- 
 berg, 1856 ; bro. of above ; organ- 
 ist. (10) Theodor, b. Dessau, May 
 14, 1827 ; son and pupil of (7) ; pupil 
 of Drechsler ('cello) ; 1S45, 'cellist, 
 Dessau ct.-orch.; 1854 cantor and 
 choir-dir. court and city churches ; 
 1 860-96 cantor and mus.-dir. Jakobi- 
 kirche, Chemnitz; also cond. (11) 
 (Jn.) Julius, Berlin, 1805— 1885 ; 
 pianist, organist and mus. -director ; 
 and c. operas ; son of (12) Jn. S., 
 pf.-mfr. at Berlin. (13) K., Streh- 
 len, 1822 — Cologne, 1882 ; tenor. 
 (14) K. Ernst, Aschersleben, 18 19 — 
 Dresden, 1S93 ; writer. 
 
 Schnitger (shnlt'-ger), (i) Arp., Gods- 
 warden, Oldenburg, 1648 — Neuen- 
 felde, ca. 1720; org. -builder. His 
 son, (2) Fz. Caspar (d. 1729), and 
 an elder bro. , worked at Zwolle, Hol- 
 land. 
 
 Schnorr von Karolsfeld (shnor fon 
 ka-rols-felt), (i) L., Munich, 1836— 
 
 Dresden, 1865 ; noted tenor ; created 
 Wagner's "Tristan"; c. opera at 
 Munich (1865), his wife, (2) Malwi- 
 na (nee Garrigues), creating " Isol- 
 de"; she took a fatal chill on this 
 occasion. 
 
 Schnyder von Wartensee (shne'-der 
 fon var'-ten-za), X., Lucerne, 1786 — 
 Frankfort-on-Main, 1868 ; teacher, 
 writer and composer. 
 
 Schoberlechner (sho'-ber-lekh-ner), 
 Fz., Vienna, 1797 — Berlin, 1843 ; 
 pianist, conductor and dram, com- 
 poser. 
 
 Schoberlein (sha'-ber-lln), L., Kolra- 
 berg, Bavaria, 1813 — G6ttingen,i88i; 
 writer. 
 
 Schobert. Vide schubart (3). 
 
 Schoenefeld (sha-'ne-felt), H., b. Mil- 
 waukee, Wis., Oct. 4, 1857; son and 
 pupil of a musician ; later studied 
 Leipzig Cons. ; winning a prize for a 
 chorus with orch. performed at th^ 
 Gewandhaus ; then studied with "" 
 Lassen (comp.), Weimar ; tou 
 Germany as a pianist ; from 1879; 
 Chicago, as pianist and teacher, also 
 cond. the " Germania Mannerchor." 
 C. " The Three Indians " ode with 
 orch.; 2 symphs. (" A'ural," " Spri _ 
 time ") ,• 2 overtures, " In the Sunny 
 South " (a notable work based on [ 
 Ethiopian themes) and ''The Amer- \ 
 ican Flag"; vln. -sonata (Henri Mar- 1 
 teau prize, 1899), pf.-pcs., etc. 
 
 Schoffer (shef'-fer), Peter (the young- 
 er), mus.-printer at Mayence and 
 Strassburg, 1530-39. 
 
 Schoelcher (shel-shar), Victor, Paris, 
 1804 — 1893 ; writer, statesman and 
 biographer of Handel. 
 
 Scholtz (sholts), Hn., b. Breslau,) ;.. 
 June 9, 1845; pianist and teacher ji 
 pupil of Brosig, of C Riedel and! 
 Plaidy at Leipzig, and v. Biilow, and] 
 Rheinberger, R. Sch. of Mus., Mu-' 
 nich ; 1870-75, teacher there ; then 
 in Dresden ; 1880 " R. Saxon cham 
 ber-virtuoso " ; ed. Chopin's works ;] 
 c. pf. -concerto, sonata, etc. 
 
 Scholz (sholts), (i) F., important com 
 poser of Russian music, taught comp. 
 
DICTIONARY OF MUSICIANS 7^9 
 
 Moscow, 1830. (2) Bd. E., b. May- 
 
 ence, March 30, 1835 ; pupil of Ernst 
 Pauer, Mayence, and of Dehn, Ber- 
 lin ; 1856 teacher R. Sch. of Mus., 
 Munich; 1859-65, ct. -conductor Han- 
 over Th. ; 1871-78, cond. Breslau 
 Orch. Soc; 1883, dir. of the Hoch 
 Cons., Frankfort (vice RafI) ; Dr. 
 Phil. h. c. (Breslau Univ.), " Royal 
 Prussian Professor," etc.; pub. es- 
 says " IVokin treiben wir?" (Frank- 
 fort, 1S97) ; prod. 5 operas incl. succ. 
 '' Jitgo" (Frankfort, 1898). C. ''Das 
 Sieges f est" and ''Das Lied von de}- 
 Glocke" ior soli, chorus and orch.; 
 symph. poem "Malinconia " ; symph. 
 overtures " Iphigenia" and " Im 
 Freioi" etc. 
 Schon (shan), Moritz, Kronau, Mo- 
 ravia, 1808 — Breslau, 18S5 ; violin- 
 ist, conductor and writer. 
 Schonberger (shan'-berkh-er), Benno, 
 b. Vienna, Sept. 12, 1863 ; pianist ; 
 pupil of Vienna Cons., studied also 
 with Liszt ; toured ; 1885 teacher, 
 Vienna ; later in Sweden (1886), then 
 London ; 1894 toured America; c. 3 
 pf. -sonatas, 3 rhapsodies, etc. 
 Schondorf (shon'-dorf), Jns., b. Re- 
 bel, Mecklenburg, 1833 ; pupil of 
 Stern-KuUak Cons., BerHn ; since 
 1S64 organist Pfarrkirche, Gtistrow ; 
 singing-teacher Cath. Sch., and con- 
 ductor ; c. " Vaterldndische Ge- 
 siinge" " Kaiser hymne" etc. 
 Schonfeld (shan'-felt), Hermann, b. 
 Breslau, Jan. 31, 1829; cantor and 
 R. Mus. -Dir. there; c. cantatas, a 
 symph. ; 3 overtures, etc. 
 Schorg (sherkh), Fz., b. Munich, Nov. 
 15, 1S71 ; violinist; pupil of Ysaye ; 
 toured ; lives in Brussels. 
 Schott (shot), (i) Bd., d. 1817; found- 
 ed (Mayence, 1773) the mus. -pub. 
 I firm of B. Schott, carried on by his 
 sons (2) Andreas (1781 — 1840) and 
 (3) Jn. Jos. (1782 — 1855), under the 
 firm-name of " B. Schott's Sohne ; 
 the present manager at Mayence and 
 the London branch are Fz. von Land- 
 wehr and Dr. L. Strecker. (4) An- 
 ton, b. Schloss Staufeneck, Swabian 
 
 Alp, June 25, 1846; tenor; 1865-71 
 an artillery officer in the French cam- 
 paign ; then studied with Frau Sche- 
 best-Strauss ; 1871, Munich opera ; 
 1872-75 Berlin opera ; leading tenor 
 at Schwerin and Hanover, made 
 concert-tours ; 1882 in Italy with 
 Neumann's Wagner troupe. 
 
 Schradi(e)ck (shra-dek), Henry, b. 
 Hamburg, April 29, 1846 ; noted 
 vioHnist ; pupil of his father and of 
 Leonard, Brussels Cons., David, 
 Leipzig; 1864-68 teacher Moscow 
 Cons., then leader Philh. Concerts, 
 Hamburg ; 1874-82, co-leader, Ge- 
 wandhaus Orch. and theatre-orch., 
 Leipzig, also teacher for a time at the 
 Cons. 1883-89, prof, oif vln., Cin- 
 cinnati Cons., U. S. A.; returned to 
 Germany as leader of the Hamburg 
 Philh. Soc; afterward head vln.- 
 prof. Nat. Cons., N. Y., and later 
 Broad St. Cons., Philadelphia; pub. 
 excellent technical studies for vln. 
 
 Schramm (shram), Melchior, German 
 organist and contrapuntist, 1595- 
 
 Schreck (shrek), Gustav, b. Zeulen- 
 roda, Sept. 8, 1849 ; pupil of Leipzig 
 Cons.; 1885 teacher of theory and 
 comp., Leipzig Cons.; 1892, mus.- 
 dir. and cantor, and cond. of the 
 " Thomanerchor " ; prod, concert- 
 cantatas, oratorio, " Chris tus der 
 Atcferstandene " (Gewandhaus,i892), 
 church-music, etc. 
 
 Schrems (shrems), Jos., Warmen- 
 steinach. Upper Palatinate, 1815 — 
 Ratisbon, 1872 ; conductor, editor 
 and teacher. 
 
 Schroder (shra -der), (i) Hermann, b. 
 Quedlinburg, July 28, 1843 ; violin- 
 ist, writer and composer ; pupil of A. 
 Ritter, Magdeburg; from 1885, 
 teacher R. Inst, for Church-mus., 
 Berlin, and at a mus. -sch. of his 
 own. (2) Karl, b. Quedlinburg. 
 Dec. 18, 1848 ; bro. of above ; 'cel- 
 list and composer ; pupil of Drechs- 
 ler, Dessau and Kiel, Berlin ; at 14, 
 1st 'cello ct.-orch. at Sondershausen, 
 and teacher in the Cons.; 1873, 'cel- 
 lo, Brunswick ct.-orch.; 1874, solo 
 
720 
 
 THE MUSICAL GUIDE 
 
 'cellist Gewandhaus Orch., and th.- 
 orch., Leipzig, also teacher at the 
 Cons., and made tours ; 1881, ct.- 
 cond., Sondershausen ; cond. German 
 Opera at Amsterdam ; until 1888, 
 Berlin ct. -opera ; till 1890, the Ham- 
 burg Opera ; returned to Sonders- 
 hausen as ct.-cond. and dir. " Fiirst- 
 liches Conservatorium ; " wrote 'cello- 
 method, catechism on conducting and 
 the 'cello. C. succ. opera ''Aspasia" 
 (Sondershausen, 1892) ; a succ. i-act 
 opera '' Der Asket" (Leipzig, 1893) ; 
 succ. operetta '' Malajo" {V>\i\'\z\hm, 
 1887) ; 1871, founded the "Schroder 
 Quartett," with his brothers (i) 
 Hermann (3) Fz. and (4) Alwin, 
 b. Neuhaldensleben (Magdeburg), 
 June 15, 1S55; pupil of his fa- 
 ther and brother Hermann, also of 
 Andre (pf.), and De Ahna (vln.), W. 
 Tappert (theory) ; self-taught as a 
 'cellist, as which he has won his 
 fame; 1875, ist 'cello in Liebig's 
 " Concert-Orchester," later under 
 Fliege and Laube (Hamburg) ; 1880, 
 Leipzig, as asst. of (i), whom he suc- 
 ceeded, 1881, in the Gewandhaus, 
 theatre and Cons.; 1886, Boston, as 
 first 'cellist Symph. Orch. ; member 
 of the " Kneisel Quartet." (5) Kon- 
 rad (Gv. Fd.), b. Marienwerder, W. 
 Prussia, July 7, 1850; pupil of Kul- 
 lak's Acad., Berlin, also of O. Kolbe 
 (comp.); teacher in the Acad.; 
 pf. - teacher, Berlin. C. the first 
 "Low German" opera (after Fritz 
 Renter), the v. succ. i-act comic op- 
 era " Z?« droggst de Pajin 7t'e°" 
 (Schirenn, 1897); pub. 50 songs. (6) 
 Fr., d. 18 18; barytone, the first to 
 sing Mozart's "'Don Giovanni''' in 
 German. 
 Schroder - Devrient (shra - der - da'- 
 frl-ent), Wilhelmine, Hamburg, 1S04 
 — Coburg, 1S60 ; eminent soprano ; 
 daughter of (6) above, and of a cele- 
 brated actress, Antoinette Sophie 
 Burger Devrient (divorced 1828, af- 
 ter bearing him 4 children; married 
 twice afterward) ; pypil of Mazatti ; 
 debut, Vienna, 1821 ; m. the actor 
 
 Karl D. ; she created the role of "Adri- 
 ano Colonna" in the '■'■Rienzi" of 
 Wagner, whose style she deeply af- 
 fected. 
 Schroder-Hanfstangl. Vide hanf- 
 
 STANGL. 
 
 Schroter (shra -ter), (i) Leonhard, 
 Torgau, ca. 1540 — Magdeburg, after 
 1580 ; eminent contrapuntist. (2) 
 Chp. Gl., Hohenstein, Saxony, 1699 — 
 Nordhausen, 1782 ; noted organist ; 
 claimed in a pamphlet (1763) to have 
 invented, 1717, the pianoforte, but 
 was forestalled by Cristofori ; com- 
 poser. (3) Corona (Elisabeth Wil- 
 helmine), Guben, 1751 — Ilmenau, 
 1S02 ; celebrated soprano ; pupil of 
 her father, (4) Joh. Fr. S., cham- 
 ber-singer. (5) Joh. Samuel, War- 
 saw, 1750 — London, 1788, son of 
 (4) ; pianist. (6) Joh, H. (b. War- 
 saw, 1762), son of (4) ; violinist, 
 
 Schubart (shoo'-bart), (i) (Chr. Fr.) 
 Daniel, Sontheim, Swabia, 1739 — 
 Stuttgart, 1791 ; poet ; organist and 
 composer. (2) L,, son of above ; 
 editor of his father's " Ideen zu einer 
 ALsthetik der Tonktmst" (1806), 
 (3) (also Schobert, or Chobe: 
 (sho'-bert) ( ), first name un- 
 known), Strassburg, 1720 — Paris, 
 1768; a relative of above; organist 
 at Versailles ; 1760, chamber-mus. to 
 Prince de Conti ; very pop. pianist 
 and composer. 
 
 Schubert (shoo'-bert), (i) Jos,, Warns- 
 dorf, Bohemia, 1757 — Dresden, 1812 ; 
 violinist, and dram, composer. (2) 
 Jn. Fr,, Rudolstadt, 1770— Cologne, 
 1811; violinist, writer and composer. 
 (3) Fd., Lichtenthal, near Vienna, 
 1794 — Vienna, 1859; elder bro. 1 
 the great composer (4) and passioi 
 ately devoted to him ; dir. Norm: 
 Sch. , Vienna; c. church-mus., a re- 
 quiem for his brother, etc. 
 
 (4) Franz (Peter), Lichtenthal, 
 near Vienna, Jan. 31, 1797 — of ty- 
 phus, Vienna, Nov. 19, 1828 ; one of 
 the most eminent of the world's com- 
 posers. One of the 14 children of a 
 schoolmaster at Lichtenthal, who 
 
 i 
 
 n- I ~ 
 
DICTIONARY OF MUSICIANS 72 
 
 taught him the vln. ; also studied with 
 Holzer there ; at lo, first soprano in 
 the church-choir, and c. songs and 
 little instrumental pes. 1808, a sing- 
 er in the Vienna court choir, and also 
 in the " Convict " (the training-sch. 
 for the court singers). He played in 
 the sch. -orchestra, finally as first 
 vln., and studied theory with Rucziz- 
 ka and Salieri. His earliest extant 
 composition is a 4-hand fantasia of 
 12 movements written when he was 
 13. He had a frenzy for writing, and 
 a fellow-pupil, Spaun, generously fur- 
 nished him with mus. -paper, a lu.Kury 
 beyond the means of Schubert. At 
 15 he had written much, incl. an 
 overture ; at 16 he c. his first symph. ; 
 1813, his voice broke and he left the 
 "Convict," where the unrestrained 
 license allowed him in his composi- 
 tions accounts for the crudeness of 
 some of his early works and the faults 
 of form that always characterised 
 him, as well as for his immediate and 
 profound individuality ; at 17 he c. 
 his first mass. In order to escape 
 military conscription he studied a few 
 months at the Normal Sch. and took 
 the post of elementary teacher in his 
 father's sch. He taught there until 
 1816, spending his leisure in studying 
 with Salieri, and in comp. particularly 
 of songs, of which he wrote as many 
 as 8 in one day — 144 in his i8th year 
 (1815), including "' Der Erlkonig''; 
 1814-16, he also c. 2 operettas, 3 
 Singspiele and 3 incomplete stage- 
 pieces, 4 masses. 18 16, he applied, 
 without succ. , for the directorship of 
 the new State mus. -sch. at Laybach 
 (salary $100 (^20) a year). From 
 1817 he lived in Vienna, except two 
 summers (1818 and 1824), spent at 
 Zelesz, Hungary, as teacher in Count 
 Esterhazy's family. How S. existed 
 is a matter of mystery, except for the 
 help of such friends as Fz. von Scho- 
 ber, who aided him with the utmost 
 generosity. The famous tenor Mi- 
 chael Vogl, popularised his songs. 
 By his 2 1st year (18 18) S. had c. six 
 46 
 
 of his symphs. and a great mass of 
 work. His mus. farce ''Die Zwil- 
 lingsbrilder " was prod. (Karnthner- 
 thor Th., 1820, but ran only six 
 nights). 182 1, after he had written 
 over 600 compositions, \wi'' Erlko- 
 nig" was sung at a public concert of 
 the " Musikverein " and elsewhere, 
 with a wide sale that attended most 
 of his subsequent publication of songs 
 and pf.-pcs.; though he was sadly 
 underpaid by his publishers, some- 
 times receiving only a gulden (20 
 cents, less than a shilling) for them. 
 In 1S22 he declined the post of organ- 
 ist at the court chapel ; but could 
 never obtain a salaried position, 
 though many efforts were made. At 
 31 he gave his first concert of his own 
 works, with good succ. (1828). In 
 1822, he had finished a grand opera 
 "'Alfonso unci Estrella" the libretto 
 bad, the scoring too difficult for the 
 musicians at Graz, where it was put 
 in rehearsal ; it was withdrawn, not 
 to be prod, till 1854 under Liszt and 
 in 18S1 when Jn. Fuchs rewrote the 
 libretto and prod, it at Carlsruhe 
 with great succ. In 1825 a work, 
 " Rosainunde" was prod, at the Th. 
 an-der-Wien, with applause for the 
 music, but it was withdrawn after a 
 second performance. Other works of 
 his had not even productions, his 
 stubborn refusal to alter a note pre- 
 venting the profitable performance of 
 dram, scenes, etc. His health finally 
 broke under the strain of composi- 
 tion all day on a little food and rev- 
 elry till late at night. He died of 
 typhus and was buried, at his own 
 request, in the " Ostfriedhof " at 
 Wahring, near Beethoven. 
 
 A complete critical edition of his 
 works is pub. by Breitkopf & Hartel. 
 These inch, besides those mentioned, 
 an opera " ^^/raj/ " (unfinished), 3- 
 act operettas '' Der Teufels Lust- 
 schloss" and '' Der Spiegelritter"; 
 Singspiele: '' Der Vierjdhrige 
 Fasten" ''Fernando"; " Claudine 
 von Villabella" (unfinished); "Die 
 
722 
 
 THE MUSICAL GUIDE 
 
 Freunde von Salamaiica " and " Der 
 Minnesdngt'r"; all written 1814 — 
 1816; none performed; 3-act melo- 
 drama, "/?/> Zauberharfe" (Aug. 
 19, 1820); 3-act opera, ' Sakontala" 
 (not finished or performed) ; i-act op- 
 eretta, "Z>/V Versch7V07-eneu, oder 
 der hdnsliche Krieg'' (Vienna, 1861); 
 3-act opera, '' Fierabras" (Vienna, 
 1861) ; '' Die Burgsc haft " ysict op- 
 era (c. 1816; prod, by Fz. Lachner, 
 Pesth, 1827); unprod. operas ''Der 
 Graf von Glcichen "(1827) and ''Die 
 Salzbergwerke'" ; 6 masses; "Deutsche 
 Messe" ; unfinished oratorio '•'"Laza- 
 rus" 2 " Tan turn ergo" (withorch.); 
 2 " Stabat Mater" etc. Choral 
 Works with Orch., or Instrs. : 
 "Miriams Siegesgesang" ; prayer, 
 " Vor der Schlacht" ; hymn, " Fferr 
 unser Gott" " Hymne an den Heili- 
 gen Geist" " Morgengesang im 
 Walde" " Nachtgesang im Walde" 
 and " Nachthelle" " Schlachtlied" 
 "Glanbe, Hoffming und Liebe" sev- 
 eral cantatas and part-songs. Orch. 
 AND Chamber-Mus. : 10 symphs., 
 No. 8 the " unfinished" in B min., 7 
 overtures (Nos. 2 and 5 " in the Ital- 
 ian style ") ; vln. -concerto ; rondo for 
 vln. with orch.; octet; pf. -quintet 
 C'^orif//^;/^?^/;//'^/, "with double-bass); 
 string-quintet with 2 'celli ; 20 string- 
 quartets ; 2 pf. -trios ; 2 string-trios ; 
 
 rondo brilliant, phantasie in C, sona- 
 ta, 3 sonatinas, nocturne for 'cello 
 and pf. ; introd. and vars. for flute 
 and pf. ; 17 pf. -sonatas (incl. op. 78, 
 fantasia), 3 grand sonatas, posthu- 
 mous ; 8 impromptus, 6 moments 
 musicals ; many variations, many 
 waltzes, incl. " Valses sentimentales," 
 "Homage aiix belles Viennoises" 
 " Valses nobles" \l"GrdtzerWdlzer" 
 " Wanderer-Fantasie" ; For pf., 4 
 hands : 2 sonatas, " Divertissement h 
 V hongroise" " Grand rondo " "Notre 
 amitie'" rondo in D, " Lebensstiirme" 
 fugue, polonaises, variations, waltzes, 
 4 Landler ; marches, incl. " Trauer- 
 marsch " and "heroique." 
 
 Songs with piano : " Frlkonig," 
 op. I ; " Gretchen am Spinnrade" 
 op. 2; " Heidenroslein," op. 3; 
 "Der Wanderer " and "Der du von 
 dem Himmel hist" op. 4 ; Suleika 
 songs, Mignon's songs, 2 song cycles 
 by Wilhelm Miiller, "Die Schone 
 Miillcrin" and " Die IVinterreise,'" 
 containing 20 and 24 numbers ; 7 
 songs from " Frdulein vom See" 
 (Scott's "Lady of the Lake"), 9 songs 
 from "Ossian"; 6 songs by Heine in 
 the " Schwanengesang" etc. 
 
 Biog. by von Hellborn (Vienna, 
 1861, 1865); Reissman (Berlin, 1873); 
 A. Niggli (1880) ; Barbedette (Paris, 
 1866) ; Max Friedlander. 
 
 fctK 
 
 Mtof 
 
 loCCB 
 
 fJStrn 
 
 la 
 
 Schubert. 
 
 By H. a. Scott. 
 
 FRANZ SCHUBERT was very nearly the greatest of all composers. 
 If he had lived longer, been more carefully trained when young, 
 and received greater appreciation in his lifetime — three very reason- 
 able "might-have-beens" — who shall set hmits to the heights which h 
 might have won '>. He died at thirty-one. If others of the masters had b 
 cut off at this age what treasures the world would have lost ! — in the case," 
 say of Handel, every one of his oratorios ; in that of Beethoven, his seven 
 greatest symphonies ; in that of Wagner, all his operas after ** Tatinhduser^'' 
 and " Lohengrin ^^ ; in that of Brahms, the " German Requiem ^^ and all 
 
DICTIONARY OF MUSICIANS 7^3 
 
 his symphonies. ^1 It does not follow that Schubert would necessarily have 
 developed in any like manner. But, at least, there are reasons for thinking 
 that he might have done so. We know that in the last year of his life he 
 contemplated taking lessons in counterpoint, that on his death-bed he spoke 
 of " entirely new harmonies and rhythms" running through his head, and 
 that he had the loftiest of ambitions. As it was, and taking his works as 
 they stand, certain weaknesses distinguish them which there is no overlooking. 
 That fabulous fertility which could beget six of the '* Wint err else " songs at 
 a single sitting, three of the pianoforte sonatas in as many weeks, and eight 
 operas in a year, was not counterbalanced by a like faculty in the matter of 
 self-criticism and concentration. Too many of his bigger works lack form 
 and proportion. He did not trouble sufficiently to work out and make the 
 ; most of the inspired thoughts which came to him in such unparalleled abun- 
 ; dance. He was a stupendous genius, it might almost be said, with an infi- 
 nite capacity for not taking pains — whose *'proflise strains of unpremeditated 
 art " were at once too profuse and too unpremeditated. \ But even so only 
 one or two of the very greatest names can stand before his in music' s history. 
 He occupies a position only one degree short of the very highest. In the 
 actual quality of his inspiration indeed perhaps there is not one who could be 
 ranked before him. No composer in the whole history of music was more 
 wondrously endowed by nature, whether one considers either the surpassing 
 beauty of his ideas or the profusion of their supply. ^ In Schubert's music 
 at its best there is a haunting and unutterable loveliness, an exquisite blending 
 of tenderness, sweetness, and purity, with strength, nobility, and grandeur, 
 to which, for the true Schubertian, there is perhaps no equivalent in the works 
 of all the other masters put together. And this applies, it should be said, 
 not less to his instrumental pieces than to his songs. •[[ The notion that 
 Schubert is great only in his songs is one of those stock judgments which, once 
 accepted, it seems almost impossible to eradicate. In point of fact nothing could 
 be wider of the mark than this belief. Schubert left imperishable works in 
 nearly every branch of music. His songs comprise no doubt his most char- 
 acteristic and distinctive achievements, inasmuch as nothing like them had 
 ever been so much as attempted before. But, so far as concerns the specific 
 quality of their music, they were equalled, if not surpassed, by such works 
 as the symphonies, his chamber compositions, and those exquisite one-move- 
 ment pieces for the pianoforte, the ''Impromptus''^ and " Moments Musicals,^* 
 which in their way, be it said, were only a degree less epoch-making than 
 the songs. ^ What then is the distinctive place in music of this divinely- 
 . , gifted tone-poet ? His distinction is twofold : he created the song as we 
 know it, and more than any other composer he influenced the development 
 of the romantic movement. As the greatest of all song- writers, Schubert's 
 
724 THE MUSICAL GUIDE 
 
 position is assured. It seems safe to say that his noblest achievements under 
 this head will never be surpassed. The Schubert song, of which the text 
 throughout is mirrored in the accompaniment, in which every bar of the 
 music is conditioned by the words, thoughts, and dramatic or emotional 
 content of the poem illustrated, was a distinctive creation in its way not one 
 whit less wonderful than, say, the Beethoven symphony or the Wagnerian 
 music-drama. Such songs as '' Dcr Erlkotiig,^^ "Die ju?ige Nonne,''* 
 " Der To J und das M'adchen,^^ " Der Atlas,'"'' " Der Doppelgiinger,'^ or 
 *• Gruppe aus dem Tartarus,'''' to name but half-a-dozen almost at random from 
 his more descriptive examples, were a totally new thing in music, the influ- 
 ence of which upon all succeeding composers, not only of songs but of every 
 kind of dramatic or illustrative music, not excluding opera, it would be 
 hard to over-esteem. ^ And more remarkable still perhaps is the fact that 
 this superb emotional and dramatic expressiveness was attained without the 
 smallest sacrifice of qualities specifically musical — nay, took shape in music 
 of the greatest beauty, richness, variety and charm, as music alone and with- 
 out reference to the text. Schubert's creation of the song in truth partakes 
 almost of the miraculous, for he not only invented an absolutely new kind of 
 song, but developed its utmost possibilities, one might almost say, at a blow 
 — in a word did this new thing at the first time of asking and did it supremely 
 well. ^ Schubert's influence as song-writer it would be hardly possible to 
 exaggerate. It was truly not a reform which he introduced but a revolution. 
 As to his influence on the composers of the romantic school one has only to 
 consider in general the whole character of his music with its all-pervading 
 poetry, and emotional expressiveness, and in particular such works as those 
 already named, his '^Impromptus'''' and " Moments Music aW'' to wit, to 
 realise the character of the connection. Here also, in these last-named 
 works, he did that which no one before him had attempted, inventing new 
 forms for the expression of moods too delicate, too intimate, and too personal 
 for treatment in the larger movements of established type, and once again left: 
 behind him creations of an entirely novel kind, which later composers have 
 striven in vain to improve upon. ^Perhaps in the whole range of pianoforte ■ 
 music there are no passages more ravishingly beautiful — more enchanting to j 
 the ear, regarded from the purely sensuous standpoint — than some co be found , 
 in these inspired works. Had Schubert left nothing furtner than this slender 
 volume oi ''Impromptus^'' and " Moments Musicals*'' for the pianoforte his : 
 name would live forever in the records of the art. .^ If Schubert's essays in \ 
 the larger forms — the symphony and the sonata — are to a certain extent i 
 impaired by the qualities alluded to, this is by no means to deny their enor- 
 mous significance and importance. Schubert in these larger works may have 
 been diffuse at times, may not aiwavs liave developed to the full the won- 
 
 
DICTIONARY OF MUSICIANS 725 
 
 drous ideas which came to him in such abundance, his works may sometimes 
 lack proportion ; but what qualities are theirs by way of comparison ! — what 
 wealth of melody ! what intoxicating harmonies ! what irresistible rhythms ! 
 what magical modulations ! Recall such creations as the C major and the 
 B minor symphonies, the quintet in C major, the D minor, A minor, and G 
 major quartets, and the sonatas in A minor, B flat, and G among his larger 
 piano works, and of what account seem the dry-as-dusts' and analysts' strict- 
 ures in the face of such imperishable compositions as these ? Nor should it 
 be overlooked that in these larger works also, Schubert's methods, if he kept 
 within the recognised forms, were all his own, and as such were full of 
 influence upon his successors. Apart from such technical matters as his 
 harmonies, modulations, instrumentation, and the like, under all of which 
 heads he made striking advances, he breathed into these established forms also 
 a spirit of romance, a yearning, wistful, personal note of lyric tenderness 
 and fervour, whereby they are distinguished from all earlier compositions 
 of their kind. ^Well might it be said by Grove of Schubert that "there 
 never has been one like him and there never will be another" ; by Liszt 
 that he was " le musicien le plus poete que jamais " ; and by the inscription 
 on his tomb that *' Die Tonkunst begrub hier einen reichen Besitz aber noch 
 viel schonere HofFnungen." 
 
 (5) Fz. Anton, 1768 — 1824 ; vio- 
 Knist ; R. Konzertmeister. (6) Fz., 
 Dresden, 1808 — 187S ; son and pupil 
 of (5) ; violinist, Konzertmeister R. 
 orch. and composer. (7) Maschin- 
 ka, wife of (6) and daughter of G. 
 A. Schneider, 1815— Dresden, 1882; 
 soprano. (8) Georgine, Dresden, 
 1840 — Potsdam, 1878 ; daughter and 
 pupil of (7) ; pupil also of Jenny Lind 
 and Garcia ; sang in many European 
 cities. (9) Louis, Dessau, 182S — 
 Dresden, 1884 ; violinist ; singing- 
 teacher and composer. (10) Oskar, 
 b. Berlin, Oct. 11, 1849; clarinettist; 
 in America 2 years ; since at Berlin. 
 (11) Camille, pen-name of Camille 
 Prilipp. 
 Schuberth (shoo'-bert), (i) Gottlob, 
 Karsdorf, 1778 — Hamburg, 1846 ; 
 oboist and clarinettist. (2) Julius 
 (Fd. G.), Magdeburg, 1804 — Leip- 
 zig, 1875 ; son of above; founded firm 
 of " J. Schuberth & Co.," Hamburg, 
 1826 ; Leipzig branch, 1832 ; New 
 
 York, 1850. His brother (3) Fr. 
 Wm. (b. 1817), took the Hamburg 
 house, 1853 (under firm-name " Fritz 
 Schuberth"); 1872, at Weimar 
 founded the mus.-library " Liszt - 
 Schuberth Stiftung" ; 1891 succeeded 
 by Felix Siegel ; New York branch 
 now owned by J. H. F. Meyer. (4) 
 L., Magdeburg, 1806 — St. Petersburg, 
 1850; son and pupil of (i) and von 
 Weber ; at 16 dir. Stadt Th. at Mag- 
 deburg ; conductor Oldenburg, 1845; 
 cond. German opera, St. Petersburg; 
 c. operas, symphs. , etc. (5) K., 
 Magdeburg, 1811 — Zurich, 1863; 
 bro. of above ; noted 'cellist ; pupil 
 of Hesse and Dotzauer ; toured 
 widely ; soloist to the Czar; ct.-cond., 
 dir. at the U.; c. 2 'cello-concertos. 
 
 Schubiger (shoo'-blkh-er), Anselm, 
 Uznach, Canton of St. Gallen, 1815 
 — 1888 ; important writer. 
 
 Schuch (shookh), (i) Ernst von, b. 
 Graz, Styria, Nov. 23, 1847 ; pupil of 
 E. Stoltz and O. Dessoff ; 1872, cond.. 
 
726 
 
 THE MUSICAL GUIDE 
 
 Pollini's It. Op.; from 1S73 ct.-cond. 
 Dresdeiij then R. Ct. -Councillor and 
 Gen. - Mus. - Dir. (2) Clementine 
 Proska, b. Vienna,. Feb. 12,1853; 
 wife of above ; 1873, colorature-sopr., 
 Dresden ct -theatre. 
 
 Schucht (shookht), Jean F., Holz- 
 thalleben, Thuringia, 1832 — Leipzig, 
 1894 ; critic and composer. 
 
 Schiicker (shik'-er), Edmund, b. Vi- 
 enna, ca. 1S56 ; harpist ; pupil of 
 Zamara, Vienna Cons.; 1884, teacher 
 Leipzig Cons., and harpist Gewand- 
 haus Orch.; 1890, ct. -harpist to Duke 
 of Saxe-Altenburg ; 1891, Chicago 
 Orchestra. 
 
 Schulhoff (shool'-hof), Julius, Prague, 
 1825 — Berlin, 1S9S ; notable pianist ; 
 pupil of Kisch, Tedesco and Toma- 
 schek ; debut, Dresden, 1842 ; lived in 
 Paris as teacher, then Dresden and 
 Berlin ; c. pf.-pcs., etc. 
 
 Schultesius (shool-ta-zt-oos), Jn. 
 Paul, Fechheim, Saxe-Coburg, 1748 
 — Leghorn, 1S16 ; theorist and com- 
 poser. 
 
 Schultheiss (shoolt'-hls), Benedict, 
 d. 1693 ; organist and composer, 
 Nurnberg. 
 
 Schultz (shoolts), Edwin, b. Danzig, 
 April 30, 1827 ; barytone ; pupil of 
 Brandstatter, Berlin ; singing-teacher 
 there ; also cond. the " Monstre Con- 
 certe" given 1864 — 71, for the ben- 
 efit of wounded soldiers ; in iSSo 
 the Prussian Ministr)' of War com- 
 missioned him to compile songs ; c. 
 7 prize male choruses, etc. 
 
 Schultze (shoolt'-tse), (i) Jn., organ- 
 ist and composer, Dannenberg, 
 Brunswick, 1612. (2) Chp., cantor, 
 etc., Delitzsch, Saxony (1647 — 1668). 
 (3) Dr. Wm. H., Celle, Hanover, 
 1827 — Syracuse, N. Y., 1888 ; violin- 
 ist and professor. (4) Ad., b. Schwe- 
 rin, Nov. 3, 1S53 ; pianist ; pupil of 
 Kullak's Acad., Berlin; teacher 
 there; 1886-90 ct.-cond., Sonders- 
 hausen and dir. of the Cons. ; later in 
 Berlin ; c. a pf. -concerto, etc. 
 
 Schulz (shoolts), (i). Vide pratori- 
 us. (2) Jn. Abraham Peter, Lune- 
 
 burg, March 30(31 ?),I747 — Schwedt, 
 June 10, iSoo ; important predeces- 
 sor of Schubert as a song-writer ; 
 pupil of Kirnberger, Berlin ; teacher 
 there. 1780, ct.-cond. at Rheinsberg ; 
 17S7-94, ct.-cond. Copenhagen ; and 
 theorist ; c. operas, oratorios, etc. 
 (3) Jn. Ph. Chr., Langensalza, Thu- 
 ringia, 1773 — Leipzig, 1827 ; cond. 
 and composer. (4) K., Subrector at 
 Fiirstenwalde ; wrote pop. text- 
 books, 1812 and 1816. (5) Otto K. 
 Fr. Wm., b. Gortz, Brandenburg, 
 March 25, 1S05 ; pupil of Klein and 
 Zelter, BerUn ; organist at Prenz- 
 lau ; R. Mus.-Dir. ; pub. methods 
 and c. sacred music, etc. (6) Ad., 
 Berlin, 1817 — 1884; violinist and 
 composer. (7) Fd. , Kossar, 1821 — 
 Berlin, 1897 ; 1856 conductor, mus.- 
 dir. , singing-teacher and composer. 
 (8) August, b. Brunswick, June 15, 
 1S37 ; violinist ; pupil of Zinkeisen, 
 Leibrock, and Joachim ; leader of 
 the Ducal Orch. there ; c. pop. male 
 quartets. 
 Schulz-Beuthen (shoolts-boi'-ten), H,, ' 
 
 b. Beuthen, Upper Silesia, June 
 19, 1838 ; pupil of Leipzig Cons., 
 and of Riedel ; since 18S1, pf. -teach- 
 er, Dresden Cons. ; c. 3 operas, 6 
 symphonies, " Haydn" " Friihli^igs- 
 feier" £^, " Schon Elizabeth" 
 "■ Reformation- S." (with organ); 
 '' Konig Lea)-," and a '' Kitider-Sin- 
 fonie" ; symph. poem, " Die Todten- 
 insel"; 3 overtures, incl. '' hidian- 
 ischer Kriegstanz " ; cantatas with 
 orch., '' Befreiungsgesang der Ver- 
 hannten Israels" and " Harald" re- 
 quiem and Psalms 42, 43, and 125 
 with orch. Psalm 13 a cappella male 
 choruses, etc. 
 
 Schulz-Schwerin (shoolts-shva'-ren), 
 K., Schwerin, Jan. 3, 1845 ; pianist ; 
 pupil of Stern Cons., Berlin ; ct.-' 
 pianist to Grand Duke of Mecklen 
 burg ; since 18S5 lived in Berlin 
 
 c. a symph., overtures " Torquato 
 Tasso" " Die Braut von Alessina," 
 and " Triotnphale" ; Sanctus, Bene- 
 dictus, etc., with orch., etc. 
 
 
 i-M 
 
DICTIONARY OF MUSICIANS 727 
 
 Schulze (shoolts'-e), (i) Jn. Fr., Mil- 
 bitz, Thuringia, 1793 — Paulinzelle, 
 1858 ; org.-builder with his sons at 
 Muhlhausen. (2) Ad., b. Mannhagen, 
 near Molln, April 13, 1835 ; concert- 
 bass ; pupil of Carl Voigt, Hamburg, 
 and Garcia, London ; head-prof, of 
 singing R. Hochschule, Berlin. 
 
 Schumacher (shoo'-makh-er), (Peter) 
 Paul (H.), Mayence, 1848— 1891 ; 
 conductor, critic, teacher and com- 
 poser. 
 
 jchumann (shoo'-man), (i) Robert 
 (Alex.), Zwickau, Saxony, June 8, 
 1810 — insane, Endenich, near Bonn, 
 July 29, 1856 ; one of the most in- 
 dividual and eminent of composers. 
 Youngest son of a book-seller (of lit- 
 erary taste and author of a biog. 
 gallery to which R. contributed at 14). 
 Pupil of a local organist, Kuntzsch 
 (pf.), who prophesied immortality for 
 him ; at 6 he began to compose, at 
 II, untaught, he c. for chorus and 
 orch. At 17 he set poems of his own 
 to mus. 1820-28, attended Zwickau 
 Gymnasium ; then matriculated at 
 Leipzig Univ. to study law and phi- 
 losophy. 1829 Heidelberg, where he 
 also studied mus., practising the piano 
 7 hours a day ; played once in public 
 with great succ. 1830, Leipzig, 
 where he lived with Friedrich Wieck, 
 with whom he studied the piano ; he 
 also studied comp. with H. Dorn. 
 In trying to acquire independence of 
 the fingers by suspending the fourth 
 finger of the right hand in a sling 
 while practising with the others he 
 crippled this finger and foiled his am- 
 bition to be the chief virtuoso of his 
 time. He now made comp. his first 
 ambition. In 1833, his first symph. 
 was performed with little succ, the 
 first movement having been played in 
 public by Wieck's 13-year old daugh- 
 ter, Clara, with whom S. fell in love. 
 The father liked S. as a son, but not 
 as a son-in-law, and put every ob- 
 stacle in his way, until in 1840, after a 
 year's law-suit, 'the father was forced 
 " to consent and the two lovers, both 
 
 now distinguished, were united in one 
 of the happiest marriages known in 
 art ; she giving his work publicity in 
 her very popular concerts ; he de- 
 voted to her and dedicating much of 
 his best work to her. 1834 he found- 
 ed the " Neue Zeitschrift fiir Musik," 
 and was its editor till 1844. His 
 essays and criticisms (signed Flores- 
 
 TAN, EUSEBIUS, MeISTER RaRO, 2, 
 
 12, 22, ETC., Jeanquirit, etc.) are 
 among the noblest works in the his- 
 tory of criticism, particularly in the 
 matter of recognising new genius and 
 heralding it fearlessly and fervently. 
 (Chopin, Berlioz, and Brahms, profit- 
 ed by this quality. Of Wagner he 
 did not altogether approve.) In his 
 writings he constructed an imaginary 
 band of ardent young Davids attack- 
 ing the Goliath of Philistinism. He 
 called this group the " Davidsbiind- 
 ler." His pen-name " Eusebius," 
 represents the vehement side of his 
 nature, " Florestan," the gentle 
 and poetic side. His paper had 
 some succ, which was not bettered 
 by a removal to Vienna, 1838-39, and 
 a return to Leipzig. 1840, Dr. Phil., 
 Jena. 1840 was mainly devoted to 
 his important song-composition; 1841 
 to symph. work ; 1842 to chamber- 
 mus., incl. his pf.-quintet (op. 44) 
 which gave him European fame. 
 1843 was choral, " Das Paradies und 
 Peri " (from Moore's " Lalla Rookh"), 
 ha\ing a great succ. ; he also began 
 his choric mus. for " Faust." The 
 same year, on the invitation of his 
 warm personal friend Mendelssohn, 
 he became teacher of pf. and comp., 
 and of playing from score at the 
 newly founded Leipzig Cons.; 1844, 
 after going with his wife on a con- 
 cert-tour to Russia, he removed to 
 Dresden and resigned the editorship 
 of the ''Neue Zeitschrift" ; lived at 
 Dresden until 1850 teaching and com- 
 posing such works as the great C- 
 major symph, 1846, and the opera 
 '' Geiioveva" (1848; prod. 1850 
 without succ; its exclusion of recita- 
 
728 
 
 THE MUSICAL GUIDE 
 
 tive displeasing the public). 1847 
 cond. of the " Liedertafel" ; 1848 
 organised the " Chorgesangverein." 
 1850, Diisseldorf as town mus.-dir. 
 (vice Fd. Hiller). 1S53, signs of in- 
 sanity, first noted in 1833 and more 
 in 1845, compelled him to retire. 1854 
 he threw himself into the Rhine, 
 whence he was rescued by some 
 boatmen ; he was then taken to an 
 asylum at Endenich near Bonn, where 
 he remained in acute melancholia, 
 varied by intervals of complete lucid- 
 ity, when he composed as before. A 
 complete ed. of his comps. is edited 
 by Clara Schumann and publ. by 
 Breitkopf & Hartel. It includes, be- 
 sides the works mentioned, mus. to 
 Byron's "■' Alanfred" Goethe's 
 "Faust," cantatas, ' Der Rose Pil- 
 gerfahrt'' withorch. ; "■ Adveiitlied" 
 for sopr., chorus and orch.; " Ab- 
 schiedslied,'" chorus with wood-wind 
 or pf.; requiem for " A/ig/to/i"; 
 " Nachtlied" for chorus and orch.; 
 ballades "' Det Konigssohn" '' Des 
 Sanger's Finch" (op. 139), " Vo>n 
 Pagen taid der Konigstochter" "Das 
 Gluck vpit Fdenhall," and " Neu- 
 jahrslied" ; Missa sacra, and requiem 
 mass, with orch.; 4 symphs. (No. 3, 
 op. 97, in Eb the " Rheiniscke,'" ov 
 " Cologne" symph.) ; " Onvcriiire, 
 Scherzo und Finale" op. 52 ; 4 con- 
 cert overtures " Die Braut von Mes- 
 sina," " Festouvertiire" "Julius 
 Ccesar " and ' ' Hermann und Doro- 
 thea" ; pf. -concerto ; Concertstiick, 
 and concert-allegro, 'cello-concerto ; 
 fantasia for vin. with orch., etc. 
 
 Much remarkable chamber music : 
 incl. pf. -quintet in Efe op. 44 ; 3 pf.- 
 trios, etc. ; 6 org. -studies in canon- 
 form,' ' Skizzenfiir den Pedal-Jliigel"; 
 6 org. -fugues on B-A-C-H, op. 60. 
 
 For pf. : Op. i, Variations on 
 
 S' 
 
 A-B-E-G-G (the name of a young 
 woman) ; op. 2 " Papillons" ; op. 3, 
 " Studies after Paganini's Caprices"; 
 op. 5, "Impromptus on theme by CI. 
 Wieck" ; op. 6, " Davidshiindler- 
 tcinze"; op. 9, " Carnaiml" ; op. ID, 
 " Studies on Paganini's Caprices"; 
 op. 15. thirteen " Kinderscenen" ; op. 
 16, "Kreisleriana" ; op. 21, "A'ovel- 
 letten " (4 books), 3 sonatas (No. 
 3 "Concert sans orchestre "), and 
 3 sonatas for the young ; op. 23 
 " Nachtstikke" ; op. 26 " Faschings- 
 schwank aus Wien" ; op. 68, "Al- 
 bum far die Jugcnd" a canon on 
 " An Alexis" FOR PF. 4 HANDS: Op. 
 66, " Bilder aus Osten^" after Rtick- 
 ert, 12 " Clavierstiicke fiir kleine und 
 grosse Kinder"; op. 109, " Ball- 
 scenen." Many choruses a cappella ; 
 many songs and duets, incl. ten Spa- . 
 nische Liebeslieder, with 4-hand ac- 
 comp., op. 138 ; Liederkreis (Heine), 
 song-cycle, op. 24, and Liederkreis 
 (12 poems by Eichendorff), op. 39 ; 
 " Alyrthcn," op. 25 ; Lieder und Ge- 
 sange, 5 sets; 12 poems (Korner) 
 op- 35 ; 6 poems (Riickert), in collab 
 oration with his wife, op. 37 ; 
 " Frauenliebe und Leben," op. 42 ;< 
 " Dichterliebe" op. 48; " LiederaU 
 bum fur die Jugend," op. 79 ; 6 
 songs from Byron's" Hebre^v Melo- 
 dies" op. 95 (with pf. or harp) ; nine t, i;: 
 Lieder und Gesange from " Wilhelm-. 
 Meister" op. 98a, etc. 
 
 His writings are pub. in 4 vols.,| 
 1854 ; 4 vols, in English, London,'; 
 1875 ; and his letters ed. by his wifcl 
 (1885) and (^iSSo) by Jansen. 
 
 Biogr. by von Wasielewski (1858) 
 Reissmann (1865), Ambros (i860) 
 L. Mesnard (Paris, 1876), H. Reii 
 mann (1887), H. Erler (1887), S 
 Bagge (1879), Waldersee (1880), am 
 by Ph. Spitta (1882). 
 
 
 Jsi 
 
 I 
 
 1^, 
 
DICTIONARY OF MUSICIANS 729 
 
 Schumann. 
 
 By Richard Aldrich. 
 
 SCHUMANN'S music falls into three groups or periods as easily as 
 Beethoven's. There is first, the product of his early, exuberant 
 style, those wonderful series of short piano pieces, slight in form, but 
 soaring into imaginative power; saying little, but vaguely hinting at much. The 
 second period is one of more self-centred activity, of greater poise, of more 
 conservative methods ; his ideal had expanded, and was leading him to com- 
 pose in a larger mould, with a broader sweep of imagination, and with a 
 greater regard for form as itself an element of beauty. And, in his last period, 
 we must group those of his works that show the failing powers, the exhausted 
 imagination of an intellect already overshadowed by its approaching doom. 
 ^ Schumann's beginnings in music were as nearly the spontaneous outpour- 
 ings of himself as can well be thought of. It is difiicult to derive the sources 
 of even his first attempts from the music of his predecessors. He studied 
 some of Hummel's works, and greatly admired Moscheles, and, the critics 
 say, that the " Abegg^^ variations. Opus i, are in the Hummel- Moscheles 
 style. He was devoted to Schubert from his early years, and played his Httle 
 piano pieces, especially the dances, with great love ; perhaps the traces of this 
 may be found in the Papillons, Opus 2. But even here, the influence, if there 
 be any, related more to the concise and sententious form, the poetic content, 
 than to the fibre of the music itself It is not the kind of resemblance that 
 you will find to Mozart and Haydn all through the earliest works of Beetho- 
 ven. Bach, too, formed a part of young Schumann's musical daily bread; 
 we may perhaps discern that influence in the instinctive feeling for contra- 
 puntal movement — though of a very free, and, as it were, untechnical sort — 
 in those earliest piano pieces ; but here again comparison of the specifically 
 musical style reveals nothing. ^There is one influence, however, that cannot be 
 overlooked in computing the forces bearing on Schumann's formative period ; 
 that is Jean Paul Richter. All readers of Schumann's letters know how steeped 
 he was in the spirit of this singular German fantastic, this overwrought romantic 
 symbolist, a story-teller, philosopher, and poet in one. He was all in all to 
 Schumann ; not only the young man's literary style — he was already a copi- 
 ous writer — but his very ideals in music, were moulded on Jean Paul's, and 
 thickly overlaid with his mannerisms. For, in these early years of Schumann's 
 life_, music and poetry seem to meet on common ground, and to take their 
 infpuise from one and the same starting-point. In Jean Paul, all that charm- 
 ing crew of •' Davidites,''^ with "Florestan'" and "Eusebius " as their fore- 
 
[ 
 
 ^,1 
 Itvoiii: 
 
 isif!!!l 
 
 730 THE MUSICAL GUIDE 
 
 front, have their prototypes ; and their appearance in the early Zeitschrift 
 articles is no more characteristic of this influence than their appearance in the 
 "CarnevaT' and the "D^2vidsbutidlert'anze.'" ^ With his attainment of 
 his heart's desire in his marriage with Clara Wieck, in 1840, there seems to 
 have come a mellowing, a ripening force in Schumann's musical inspiration — 
 if you will, a conservative force that led him to see the significance and value 
 of those musical forms to which he had at first been indifferent. Some of his 
 ardent companions in the revolutionary parties of the earlier years saw in this 
 a backsliding from his professions. But the fact that he parted company with 
 ** Florestati " and " Eusebius,'^ and erased their names from the reissues ol 
 musical works once signed by them, can be for us naught but an indication ol 
 intellectual growth. We enjoy those romantic and engaging figures, but we 
 see greater things than they were concerned with in the symphonies, the 
 piano-quintette, the string-quartettes, the piano-concerto, the third part ol 
 ** Faust,'''' and '* Paradise and the Peri.^^ ^[ The contributions of Schu- 
 mann to the development of the art are important and permanent. What he 
 did to develop the expressive power of the pianoforte is all his own. He 
 wrote for the instrument in a new way, calling for new and elaborate advances 
 in technique — not the brilliant finger-dexterity of Chopin and Liszt, but a 
 deeper underlying potency of expression through interlacing parts, skilfully 
 disposed harmonies, the inner voices of chords, and through new demands as 
 to variety of tone quality, contrasts of colour and the enrichment of the whole 
 through pedal effects. It has been called a crabbed style, but it is no less 
 idiomatic of the piano than the more open and brilliant manner that was 
 developed at the same period by the virtuoso-school of pianoforte-playing and 
 composition. ^[Schumann's use of short pieces, in connected series, as an ex- 
 position of what is really a single poetic idea running through them all, is his 
 own creation, and one that succeeding composers have made the most of. 
 So is his idealised form of programme-music — music, that is, expressing some 
 definite, concrete, external idea. But his wise judgment on music of this 
 kind must always be kept in mind, that it must always be beautiful and intel- 
 ligible as music without the need of explanation through titles, in which he saw 
 only an aid or stimulus to the hearer's imagination. Space is lacking to dis- 
 cuss his later experiments in modifying or developing the classical or sonata 
 form to increase its unity and its emotional potency, such as are to be found 
 in the D-minor and C-major symphonies, and the piano-quintette. Schu- 
 mann added something peculiarly his own to the Lied, in his enhancement of 
 the accompaniment's significance, increasing its power of expression in co- 
 operation, sometimes almost on equal terms with the voice, and, in many 
 instances, giving its ritournelles or instrumental postludes an independent elab- ■ li 
 oration and meaning of their own. ^ Schumann came of a well-to-do [jj« «. 
 
 
DICTIONARY OF MUSICIANS 731 
 
 family, and his early genera, education and sociai surroundings had been far 
 beyond those of most musicians. The tact that he was not only well read, 
 but a writer himself of peculiar charm and individuality, a critic of quickening 
 insight and generous discernment, reacted, as it needs must, on his music. 
 Though he was, early in his youth, of a lively character, he was always dis- 
 posed toward moodiness ; and by the time he reached manhood he had fallen 
 into a state of remarkable taciturnity and introspection. Wrapped in his own 
 thoughts, he would, when in the company of friends or fellow-musicians, sit 
 silent hour after hour, with his head leaning on his hand, often with an incip- 
 ient smile upon his face, and with his lips pursed, as though to whistle. 
 His letters show him to have been of a sweet and affectionate nature toward 
 his family and intimates ; kindly and generous in his estimate and treatment 
 of others, yet roused to anger by a wrong, and capable of deep and glowing 
 resentment. ^ Schumann's place in modern music was slowly won, both 
 in his native land and elsewhere, but there is little sign yet, of its being shaken. 
 His symphonies suffer unduly, through their unskilful orchestration, in the 
 estimation of a generation to whom fine feeling for orchestral colour is essential, 
 but the magnificent elegance of the two great overtures (to *' Manfred'''' and 
 " Ge?ioz'eva'" ) is little discounted in this way ; the string-quartettes and the 
 piano-quintette and quartette seem to lose none of their beauty as they recede in 
 historical perspective ; the piano concertos, and a great number of the songs are 
 heard repeatedly, every year, with unremitted joy. His solo piano-pieces 
 appeal less and less to the taste of the latter-day piano-virtuoso who cannot utilise 
 music calling so little for nimbleness of finger and brilliancy of effect ; but it 
 is impossible to deny that these pieces are still competent, as few others are, 
 to serve deep and sincere music lovers **for the enjoyment of god at home." 
 Schumann will always have a commanding hold, a commanding place in the 
 nineteenth century, the century of evolution, the century that struck off the 
 academic bonds from art. In the noble band of romantic adventurers into 
 new and unexplored realms of music, Schumann was a leader, but he never 
 failed in his bold and chivalrous championship of the rectitude of his art. 
 
 (2) Clara (Josephine), nee Wieck, 
 
 Leipzig-, Sept. 13, 18 ig — Frankfort- 
 on-Main, May 20, 1896 ; eminent 
 pianist ; wife of above (q. v.). She 
 played in public at 9 ; at 1 1 at the 
 Gevvandhaus ; toured from 1832 ; 
 Vienna (1836) received the title of 
 Imp. Chamber-virtuoso. On Sept. 12, 
 1840, m. Schumann (q. v.). After he 
 died she went with her children to 
 Berlin ; 1863 to Wiesbaden, resum- 
 
 ing her public career as a concert- 
 pianist ; 1878-92 pf.-teacher Hoch 
 Cons., Frankfort. Besides editing 
 Schumann's works, his early letters 
 and finger-exercises from Czerny, 
 she c. pf. -concerto, preludes and 
 fugues, pf.-trio, Vars. on a theme 
 by Schumann, many songs, incl. 3 
 in Schumann's op. 37 (Nos. 2, 4, 
 and 11). Biog. by Litzmann, 1902. 
 (3) Georg (Alfred), b. Konigstein, 
 
732 
 
 THE MUSICAL GUIDE 
 
 Saxony, Oct. 25, 1866 ; pianist , son 
 and pupil of the city mus.-dir., pupil 
 of his grandfather, a cantor, and of 
 K. A. Pischer, B. RoUfuss, and Fr. 
 Baumfelder, Dresden, then of Leip- 
 zig Cons., where he c. 2 symphs., a 
 serenade for orch., a pf. -quintet, a 
 vln. -sonata, etc., taking the Bee- 
 thoven prize, 18S7 ; lived 2 years in 
 Berlin; 1892-96, cond. at Danzig, since 
 then Bremen Philh. Orch. and cho- 
 rus; c. also choral work, " Amor uiid 
 Psyche" (Leipzig, 1888), orch. -suite 
 " Zur Kanu'Z'alszeit" etc. 
 
 Schumann-Heink (shoo'-man - hink), 
 Ernestine (nee Rossler), b. Lieben, 
 near Prague, June 15, 1S61 ; contral- 
 to ; pupil of Marietta von Leclair, 
 Graz ; debut Dresden, 1878, in " // 
 Trovatore " sang there 4 years ; 1883 
 Hamburg City Th.; 1896, sang 
 " Erda," " Waltraute," and the First 
 Norn at Bayreuth ; m. Herr Heink, 
 1883; m. Paul Schumann, 1893 ; from 
 1898, in America with Met. Op. 
 troupe. 
 
 Schund (shoont), Joachim, org. -build- 
 er, Leipzig, 1356. 
 
 Schunke (shoonk'-e), (i) K., Magde- 
 burg, 1801 — suicide, Paris, 1839 ; 
 pianist ; son and pupil of a horn-virt- 
 uoso. (2) Michael S., composer. (3) 
 L., Cassel. 1810 — Leipzig, 1834 ; 
 pianist and composer ; pupil of his 
 father, the horn-virtuoso. (4) Gott- 
 fried S. 
 
 Schuppanzich (shoop'-pan-tstkh), Ig- 
 naz, Vienna, 1776 — 1830 ; violinist, 
 conductor and teacher. 
 
 Schiirer (shu'-rer), Jn. G., Raudnitz, 
 Bohemia, ca. 1732 — Dresden, 1786; 
 dram, composer. 
 
 Schurig (shoo'-rlkh), (Volkmar) Ju- 
 lius (Wm.), Aue, Saxony, 1802 — 
 Dresden, 1899 ; composer and teach- 
 er. 
 
 Schuster (shoo'-shter), Jos., Dresden, 
 1748 — 1812 ; ct. -conductor ; c. pop. 
 operas, symphs., etc. 
 
 Schutt (shut), Eduard, b. Peters- 
 burg, Oct. 22, 1856 ; pianist ; pupil 
 of Petersen and Stein, Petersb. Cons. ; 
 
 studied at Leipzig Cons.; now cond. 
 Akademischer Wagnerverein, Vienna; 
 c. fairly succ. comic opera " Signor 
 Formica " (Vienna, 1892) ; c. pf.- 
 concerto, etc. ; 
 
 Schiitz (shuts), (Sagittarius) H., 
 " The father of German music," 
 Kostritz, Saxony, Oct. 8, 1585 — Dres- 
 den, Nov. 6, 1672 ; in 1607 entered 
 Marburg Univ. to study law, but, 
 1609, was sent to Venice by Land 
 grave Moritz of Hesse-Cassel to study 
 with Giov. Gabrieli; 1612 returned to 
 Cassel as ct. -organist ; 1615 cond. to, 
 the Elector of Saxony at Dresden;! 
 he frequently revisited Italy, whence; 
 he brought much to modify and 
 large German mus. ; also made long 
 visits to Copenhagen as ct.-cond, 
 1627, on royal invitation for the wed- 
 ding of Princess Sophie of Saxony.he 
 c. the first German opera, the libretto 
 being a transl. from the '' Dafne' 
 of Peri (q. v.) ; this work is lost, as i; 
 also the ballet, " Orpheus unci Eury 
 dice,'" 1638, for the wedding of Jn 
 Georg IL of Saxony. Carl Riede 
 revived interest in S. by pub. anc 
 producing " Die 7 Worte Christi an 
 JiTreus," and a. '■'Passion." A com 
 plete ed. of S's works is pub. 
 Breitkopf and Hartel in 16 vols.; t 
 include sacred and secular mus. 
 great historical importance as 
 predecessor whom Handel and Bad; 
 rather developed than discarded ; h' 
 was born just a hundred years be' 
 fore them and shows great dramati 
 force and truth in his choral work 
 combining with the old polyphoni 
 structure a modern fire that make 
 many of his works still beautiful 
 Biog. by Ph. Spitta, and Fr. Spitt 
 (1886). 
 
 Schwab (shvap), Fran. M. L., Stras; 
 burg, 1S29 — 1882 ; conductor an' 
 dram, composer. 
 
 Schwalm (shvalm), (i) Robt., b. E- 
 furt, Dec. 6, 1S45 ; pupil of Pflu{ 
 haupt and Leipzig Cons.; cond. ; 
 Konigsberg ; c. opera, male chorust 
 with orch. , oratorio, etc. (2) Osca: 
 
 
 ICHf I 
 
 I 
 
DICTIONARY OF MUSICIANS 733 
 
 Erfurt, Sept. ii, 1S56; pupil of Leip- 
 zig Cons.; 1886-SS, proprietor of 
 Kahn's pub. -house in Leipzig ; also 
 critic for the " Tageblatt" etc.; c. an 
 overture; pf.-pcs., etc. 
 
 Schuyler, Wm., b. St. Louis, U. S. 
 A., May 4, 1855 ; lives there as ama- 
 teur composer, largely self-taught ; c. 
 excellent songs, notably to Stephen 
 Crane's ''Black Riders." 
 
 Schwanberg (shvan'-berkh), Jn. Gf., 
 Wolfenblittel, 1740 — Brunswick, 
 1804 ; ct. -conductor and dram, com- 
 poser. 
 
 Schwantzer (shvan'-tser), Hugo, 
 Oberlogau, 1829 — Berlin, 1886 ; or- 
 ganist, teacher and composer. 
 
 Schwarbrook (shvar'-brook), Thos., 
 Ger. org. -builder in England, 1733- 
 1752. 
 
 Schwarz (shvarts), (i) Ands. Gl., 
 Leipzig, 1743 — Berlin, 1S04; bassoon- 
 ist in London. (2) Chp. Gl., b. 
 1768 ; son of above ; bassoonist. (3) 
 Wm., Stuttgart, 1825— Berlin, 1878; 
 singer and teacher. (4) Max, b. 
 Hanover, Dec. i, 1856; son of above; 
 pupil of Bendel, Billow, and Liszt ; 
 pianist ; 1880-83, teacher Hoch 
 Cons., Frankfort ; then co-founder, 
 after Raff's death, of the Raff 
 Cons.; since 1885 its dir. (5) Bi- 
 anca. Vide bianchi. (6) Wenzel, 
 b. Brunnersdorf, Feb. 3, 1830 ; pu- 
 pil Prague Cons. ; from 1864 lived in 
 Vienna, proprietor of a mus.-insti- 
 tute ; writer. 
 
 Schwedler (shvat'-ler), (Otto) Maxi- 
 milian, b. Hirschberg, Silesia, March 
 31, 1853 ; flutist; pupil of Fr. Meinel, 
 Dresden ; in Leipzig municipal and 
 Gewandhaus Orch.; since 1895, 1st 
 flute; inv. the "Schwedler flute"; 
 wrote a pamphlet on it and c. tran- 
 scriptions, etc. 
 
 Schweitzer (shvit'-tser), , Coburg, 
 
 1737 — Gotha, 1787 ; conductor and 
 composer. 
 
 Schweizer (shvlt'-tser). Otto, b. Zu- 
 rich, May 26, 1846 ; pianist ; pupil 
 of Moscheles and Wenzel, Leipzig 
 Cons. ; since 1870 Edinburgh, also 
 
 pf. -teacher at Athenaeum Sch., Glas- 
 gow ; c. 2 pf.-suites, etc. 
 
 Schwencke (shvenk'-e), (i) Jn. Gl., 
 1744 — 1823 ; bassoonist. (2) Chr. 
 Fr. Gl., Wachenhausen, Harz, 1767 
 — Hamburg, 1S22 ; son of above ; 
 cantor and mus.-dir. (3) Jn. Fr., 
 Hamburg, 1792— 1852 ; son and pu- 
 pil of (2) ; composer. (4) K., Ham- 
 burg, 1797 — ?; pianist; son of (2). 
 (5) Fr. Gl., Hamburg, 1823— 1896 ; 
 virtuoso on the pf . and organ ; com- 
 poser. 
 
 Schytte (shet'-te), L. (Th.), b. Aar- 
 hus, Jutland, April 28, 1850 ; drug- 
 gist, then studied with Ree, Neupert, 
 Gebauer, Gade, Taubert, and Liszt 
 (comp.) ; 1887-S8 teacher Horak's 
 Institute, Vienna ; lived in Vienna as 
 concert-pianist and teacher ; c. 2 
 comic operas ; pf. -concerto ; panto- 
 mimes for 4 hands, sonata, etc. 
 
 Scontrino (sk6n-tre'-n6). A., b. Tra- 
 pani, 185 1 ; pupil of Plantania, Pa- 
 lermo ; lived in Milan as teacher ; 
 since 1S97 prof, of cpt. at Florence 
 Cons.; c. 5 operas, incl. succ. i-act 
 '' Gringoire" (1890), and " Za Cor- 
 iigiana" (Milan, 1896); c. '' Sinfonia 
 marinaresca " (Naples, 1S97). 
 
 Scot'son Clark, the Rev., London, 
 Nov. 16, 1840 — 18S3 ; pupil of his 
 mother (a pupil of Chopin) ; then 
 at Paris ; at 14 organist ; studied 
 with J. Hopkins and at R. A. M.; after 
 serving as organist various places, he 
 studied at Leipzig and Stuttgart ; 
 1873, returned to London as teacher, 
 organist and composer of many pop. 
 works. 
 
 Scott, John, England, ca. 1776 — 
 Jamaica, 1815. 
 
 Scotto (skot'-to), (i) Ottaviano, and 
 his son (2) Girolamo, mus.-printers 
 at Venice, 1536-39, and 1539-73, re- 
 spectively ; the latter was also a com- 
 poser. 
 
 Scriabine (skre'-a-be-ne), Alex, b. 
 Moscow, Jan. 6 (new style), 1872 ; 
 brilliant pianist ; pupil of Safonoff 
 (pf.) and Tanejev (comp.) at the 
 Cons. ; toured Europe from 1895 ; c. 
 
734 
 
 THE MUSICAL GUIDE 
 
 sonata, prelude and nocturne for left 
 hand alone ; pf. -impromptus, pre- 
 ludes, etc. 
 
 Scribe (skreb), Eugene, Paris, 1791— 
 1S61 ; most prolific of French drama- 
 tists, and wrote over 100 librettos, 
 incl. " Fra Diavolo," " Profhete,'" 
 '' L'Africaine." 
 
 Scuderi (skoo-da'-re), Salvatore, b. 
 Terranova, Italy, Jan. 3, 1845 ; c. 
 pop. songs. 
 
 Scudo (skoo'-do), Paolo, Venice, 1806 
 — insane, Blois, 1864 ; writer. 
 
 Sebald (za-balt), (i) Frau von (nee 
 Schwadke) ; contralto, Berlin, 
 1791 ; her daughters (2) Amalie, 
 soprano ; for some time the object of 
 Beethoven's affections; (3) Auguste, 
 sister of above ; also soprano. 
 
 Sebastian! (sa-bas-tt-a'-ne), Jn., b. 
 Weimar, 1622 ; conductor and com- 
 
 V poser. 
 
 Sebor (sha'-bor), K. (Karel), b. Bran- 
 deis, Bohemia, July 18 (Aug. 13?), 
 [843 ; pupil PraguS Cons, and of 
 Kittl; 1864-67, cond. Nat. Opera ; 
 from 1871 military bandm., Vienna; 
 prod, at Prague 5 Czech operas ; c. 
 symphs. , overtures, etc. 
 
 Sechter (zekh'-ter), Simon, Friedberg, 
 Bohemia, Oct. 11, 1788 — Vienna, 
 Sept. 10, 1867 ; eminent contrapunt- 
 ist and teacher, ct. -organist, prof, of 
 harm.; wrote valuable treatises; c. 
 burlesque opera " AH Hitch-Hasch." 
 
 Sedlmair (zat'l-mlr), Sofia Offeney, 
 b. Hanover, Jan. 25, 1863 ; soprano 
 in various cities. ^ 
 
 Seeling (za'-ling), Hans (Hanus), 
 Prague 1828 — 1862 ; piano-virtuoso 
 and composer. v 
 
 Seger(t) (za'-gert), Jos., Repin, Bo- 
 hemia, 1716 — Prague, 1782 ; organist 
 and composer. 
 
 Seghers (sii-gars'), Fran. J. Bap., 
 Brussels, 1801 — Margency, near 
 Paris, 1881 ; violinist and conductor. 
 
 Segond (sCi-goh), L. A., a physician 
 at Paris ; studied singing with Man- 
 uel Garcia, and wrote '"Hygiene du 
 chanteur" (1846), etc. 
 
 Segouro'la, Andres Perello de, b. 
 
 Spain ; studied law Madrid Univ.; 
 practised a year at Barcelona ; then 
 took up singing with success. 
 
 Seguin (seg'-win), (i) Albert Edw. 
 S., London, 1809 — New York, 1852; 
 bass. (2) Elizabeth, his sister, '• 
 mother of Parepa Rosa. (3) Ann 
 Childe, wife of (i) ; operatic sing- 
 er ; debut, 1828 ; retired and lived 
 New York, 1880. (4) Wm. H., 1814 
 — 1850 ; bro. of (i) ; bass. 
 
 Seibert (z!'-bert), Louis, b. Cleeberg, 
 near Wiesbaden, May 22, 1S33 ; pf.- 
 teacher Wiesbaden Cons.; c. cham- 
 ber-mus., etc. 
 
 Seidel (zl'-del), (i) Fr. L., Treuen- 
 brietzen, Brandenburg, 1765 — Char- 
 lottenburg, 1831 ; organist and dram, 
 composer. (2) Jn. Julius, Breslau, 
 1810 — 1856 ; organist and writer. 
 
 Seidl (z!t'-'l), (i) Anton, Pesth, May 
 7, 1850 — New York, March 28, 1898 
 eminent cond., particularly of Wag 
 nerian mus.; pupil Leipzig Cons. 
 1870 chorusm. Vienna opera : 1872- 
 79, assisted Wagner in score of " Ni- 
 behingen Ring" ; 1879-83 cond. for 
 Neumann's Wagner-troupe ; 1883-85 
 cond. Bremen opera (m. there the f 
 soprano (2) Frl. Krauss) ; 1885-91 
 Met. Op., N. Y., also from 1895-97 
 cond. N. Y. Philh. Orch.; 18S6 and 
 1897 cond. at Bayreuth ; 1897 cond. \ 
 Covent Garden, London. (3) Ar- 
 thur, b. Munich, June 8, 1863; pupil 
 R. Sch. of Mus. at Ratisbon and of 
 Paul, Stade, Spitta, and Bellermann; 
 Dr. Phil., Leipzig, 1887; lives in :■ 
 Dresden ; writer. 
 
 Seifert (zl'-fert), Uso, b. Romhild 
 Thuringia, Feb. 9, 1852 ; pupil o\ 
 Dresden Cons.; teacher there and 01 
 ganist ; wrote pf. -method, pf.-pcs, 
 etc. 
 
 Seifriz (zi'-frTts), Max, Rottwe 
 Wiirtemberg, 1827— Stuttgart, 1885 ^ 
 violinist, ct.-cond. and composer. 
 
 Seiler (zl'-ler), Jos., Lugde, near Pyr- ; 
 mont, 1823— 1877 ; organist, writer i 
 and composer. j 
 
 Seiss (zTs), Isidor (Wm.), b. Dresden, I 
 Dec. 23, 1840 ; pianist ; pupil of ' 
 
 I 
 
DICTIONARY OF MUSICIANS 735 
 
 Leipzig Cons.; since 1871 pf. -teacher 
 Cologne Cons.; 1878 Prof.; con- 
 ductor Musikalische Gesellschaft ; c. 
 studies in bravura, etc. 
 
 Seitz (zits), (i) Robt,, Leipzig, 1837— 
 1889 ; mus. -publisher and editor. (2) 
 Fr. (Fritz), b. Giinthersleben, Go- 
 tha, June 12, 1848; violinist; pupil 
 of Uhlrich ; since 1884 leader Dessau 
 ct.-orch. 
 
 S^jan (sa-zhafi), Nicolas, Paris, 1745 
 — 1819; famous organist; 1772, 
 Notre Dame; 1783, St. Sulpice ; 1783, 
 royal chapel ; teacher and composer. 
 
 Sekels (za'-kels), Bd., pupil, now t. of 
 comp. Hoch Cons., Frankfort; c. 
 songs. 
 
 Sel'by, Bertram Luard, b. Kent, 
 Engl., Feb. 12, 1853 ; organist, 
 Salisbury Cath.; then of St. Barna- 
 bas, London ; c. 2 operas ; a i-act 
 operetta ("duologue"), successful 
 " Weather or No" (London, 1896), 
 Berlin as *' Das Wetierhduschen" 
 1896; org-sonatas, etc. 
 
 Seligmann (za-llkh-man), Hippolyte 
 Prosper, Paris, 1817 — Monte Carlo, 
 1882 ; 'cellist and composer. 
 
 Selle (zel'-le), Thos., Zorbig, Saxony, 
 1599 — Hamburg, 1663 ; cantor and 
 composer. 
 
 Sellner (zel'-ner), Jos., Landau, Ba- 
 varia, 1787 — Vienna, 1S43 ; oboe- 
 virtuoso, teacher, writer and compos- 
 er. 
 
 Sembrich (zem'-brtkh), Marcella 
 (rightly Praxede Marcelline Ko- 
 chanska, Sembrich being her moth- 
 er's maiden name), b. Wisnewszyk, 
 Galicia, Feb. 15, 1858 ; eminent col- 
 orature soprano ; pupil (later the 
 wife) of Wm. Stengel (piano), Lem- 
 berg Cons.; studied with Epstein at 
 Vienna, and singing with Victor Ro- 
 kitansky. and with G. B. Lamperti, 
 Jr., at Milan; debut, May, 1877, at 
 Athens ; studied German opera at 
 Berlin with Lewy; sang for iS months 
 Dresden ct.-th.; from June, 1880, 
 London, and, 1883-84, toured Eu- 
 rope and America ; 1884, studied 
 with Francesco Lamperti, Sr.; from 
 
 1S9S has sung at Met. Op. and in 
 concert in America with greatest 
 succ; 1900, managed her own opera 
 CO. in Germany. 
 
 Semet (sii-ma), Th^ophile (Aim6 
 femile), Lille, 1824 — Corbeil, near 
 Paris, 1S88 ; drummer and dram, 
 composer. 
 
 Semler(zem'-Ier), Fz. X., 1772—1859; 
 via. -soloist in Berlin. 
 
 Senesino (san-e-se'-n6), Bernardi 
 Francesco (called the Sienese), Siena, 
 1680 — ca. 1750; male contralto or 
 mezzo-sopr. ; sang in Handel's operas 
 till 1729, where he quarrelled with 
 H. and went over to Bononcini; made 
 a fortune and returned to Siena. 
 
 Senff(zenf), Bartholf, Friedrichshall, 
 near Coburg, 18 18 — Leipzig, 1895 ; 
 founder Leipzig mus. -pub. house 
 (1S50), also editor. 
 
 Sen(f)fl (zenf'l) (or Senfel), L., Basel- 
 Augst, 1492 — Munich, ca. 1555". 
 eminent contrapuntist, ct.-cond. and 
 composer. 
 
 Senkrah(zan'-kra)(rightlyHark'ness), 
 Arma Leorette, New York, 1864 
 — suicide, Weimar, Aug. 4, 1900; vio- 
 linist ; pupil of Arno Hilf, Leipzig; 
 Wieniawski, and Massart, Paris 
 Cons. ; toured with succ. 
 
 Serafino (sa-ra-fe'-no), (i ) Santo, vln.- 
 maker at Venice, 1730-45 ; his label 
 is " Sanctus Seraphin Utinensis fecit 
 Venetiis, Anno, 17 — ". (2) Grego- 
 rio, his nephew, also was a vln.- 
 maker, label " Georgius Seraphin 
 Sancti nepos fecit Venetiis, 17 — ." 
 
 Serassi (sa-ras'-se), Italian family of 
 org. -builders at Bergamo. The foun- 
 der (i) Giuseppe (// vecckio), Gor- 
 dano, 1694 — Crema, 1760. His son 
 (2) Andrea Luigi, 1725— 1799. (3) 
 Giuseppe (il giovane), Bergamo, 
 1750 — 1817; succeeded by his sons (4) 
 Carlo and (5) Giuseppe. 
 
 Sering (za'-rTng), Fr. Wm., Fursten- 
 walde, near Frankfort-on-Oder, Nov. 
 26, 1822 — 1901; from 1871 teacherat 
 Strassburg, where he organised a Ge- 
 sangverein ; pub. treatises, also an 
 oratorio, male choruses, etc. 
 
73^ 
 
 THE MUSICAL GUIDE 
 
 Sermisy (ser-me-se), Claude de 
 (called Claudin, not Claudin Le- 
 jeune), ca. 1530-60; French ct.-cond. 
 and composer. 
 
 Serov (or Sjeroff, Syeroff (s'ya-rof)); 
 Alex. Nikolajevitch, Petersburg, 
 May II, 1820 — Feb. i (new style), 
 187 1 ; important Russian composer 
 and critic ; a lawyer, studied 'cello 
 with Karl Schuberth ; 1863 prod, 
 grand opera (text and mus.) ''Ju- 
 dith" and the Czar granted him a 
 pension ; he was a lecturer on mus. 
 at Moscow and Petersb. Universities 
 and wrote his own librettos ; 1865 
 prod. '' JiogneJa" with succ. ; laid 
 aside 2 unfinished operas to finish 
 " Wrazyiasiela" but died before it 
 was done. Soloviev finished it and 
 it was prod, with succ. 
 
 Serpette (ser-pet), (H. Chas. A.) 
 Gaston, b. Nantes, Nov. 4. 1846 ; 
 pupil of Thomas, Paris Cons.; 1871, 
 taking ist Grand prix de Rome, 
 wrote cantata '' Jeanne d'Arc"; 1874, 
 prod, opera-boufle " Za Branche 
 Cassee" (Bouffes-Parisiens), followed 
 by 30 other light works. 
 
 Serrao (ser-ra-o), Paolo, b. Filadelfia, 
 Catanzaro, in 1S30 ; pupil of Naples 
 Cons.; political troubles prevented 
 the prod, of his opera *' L' Iinpos- 
 tore" in 1852, and another in 1857, 
 but he prod. '" Fergolesi" and " Za 
 Duchessa di Guisa" (1865), and "Z/ 
 Figlinol prodigo" (1868) ; c. also an 
 oratorio, a requiem, a funeral symph. 
 (for Mercadante), etc. 
 
 Servais (ser-ve), (i) Adrien Fran., 
 Hal, near Brussels, 1807 — 1866; emi- 
 nent 'cellist and teacher ; pupil of his 
 father and of Platel ; debut Paris, 
 1834; 1848, Prof. Brussels Cons, and 
 soloist to the King ; toured widely ; 
 c. 3 concertos for 'cello, etc. (2) 
 Jos., Hal, 1850 — 1885 ; son and pu- 
 pil of above ; 'cellist and prof. Brus- 
 sels Cons. 
 
 Sestini (ses-te'-ne), Giovanna, prima 
 bufTa in London, 1783. 
 
 Sevcik (sev'-tsTk), Pan; notable Bo- 
 hemian violin teacher. 
 
 Sev'ern, Thos. H., London, 1801 — 
 Wandsworth, 1881; conductor, pub- 
 lisher and dram, composer. 
 
 Seward, Theodore Frelinghuysen, 
 d. New York, Oct. 30, 1902 ; teach- 
 er, ed. and composer of slave songs 
 and " spirituals." 
 
 Seydelmann (zl'-del-man), Fz., Dres- 
 den, 1748 — 1806 ; cembalist, con- 
 ductor and dram, composer. 
 
 Seyffarth (zif'-fart), Ernst Hn., b. 
 Crefeld, 1859 ; pupil of Cologne 
 Cons, and of Kiel ; from 1S92, con- 
 ductor Neuer Singverein, Stuttgart ; 
 c. dram, scene " Thusnelda" " 7'rau- 
 erfeier bcim Tode einer Jungfrau" 
 symph., sonatas, MS. opera " The 
 Bells of Plurs" etc. 
 
 Seyfried (zi'-fret), Ignaz X. Ritter 
 von, Vienna, 1776 — 1841; conductor, 
 writer and dram, composer. 
 
 Seygard (sa'-gard), Camille, b. Eng- 
 land ; went early to Russia ; pupil of 
 her father and of Marchesi ; debut, 
 1888, Covent Garden as "Zerlina"; 
 sang at Opera Comique, later in Am- 
 sterdam ; has sung in concert and 
 opera in Europe, and since 1896 in 
 America. 
 
 Sgambati (sgam-ba'-te), Giovanni, b. 
 Rome, May 18, 1843 ; important pi- 
 anist and conductor ; pupil of Alde- 
 ga, Barbieri and Natalucci, later of 
 Liszt ; at 6 played in public, sang in 
 Church and cond. small orchestras; 
 later he toured Italy and Germany ; 
 1877, head-teacher Accad. di S. Ce- 
 cilia, Rome; 1896, founded " Nuova 
 Societa Musicale Romana " ; admirer' 
 and friend of Wagner ; c. requiem 
 with orch. (1896), 3 symphs., over- 
 tures, pf. -concerto, an octet, 2 pf.-i 
 quintets, a string-quartet (op. 17) and] 
 piano pes., etc. i 
 
 Shakespeare, Wm., b. Croydon, 
 Engl., June 16, 1849; choir-boy; at 
 13 organist ; pupil of Molique (comp.)," 
 1866, won King's scholarship R. A. 
 M., and studied there with Bennett; 
 187 1, took Mendelssohn Scholarship 
 for pf. -playing and comp. ; studied 
 withReinecke, Leipzig ; 1872, singing 
 
 
DICTIONARY OF MUSICIANS 737 
 
 at Milan; from 1875, concert and ora- 
 torio-singer ; 1878, prof, of singing, 
 R. A. M.; in 1880, 1886, cond. of 
 the concerts there ; resigned ; has 
 won high reputation as a singing- 
 teaclier ; c. overtures, a symph., pf.- 
 . concerto, etc. 
 
 Sharpe, Herbert Francis, b. Hali- 
 fax, Yorkshire, March i, 1861 ; 
 Queen's Scholar, Nat. Training Sch., 
 London ; gave pf. -concerts ; 1884, 
 prof. R. C. M.; i8go, examiner; 
 wrote ''Pianoforte Sch." (with Stan- 
 ley Lucas) ; c. comic opera, etc. 
 
 Shaw, (i) Oliver, b. Middleboro', 
 Mass., d. 1848; a Wind singing- 
 teacher and public singer. (2) 
 Mary, London, 1814 — Suffolk, 1876, 
 contralto and teacher. 
 
 Shed'lock, John South, b. Reading, 
 Engl., 1843; graduate, London, 
 Univ., 1864; pupil of E. Llibeck 
 (pf.) and Lalo (comp.), Paris ; teach- 
 er and concert-pianist, London, 1879; 
 critic for the "'At/wna-uin" ; also lect- 
 ured at the R. A. M.; pub. articles, 
 "The Pianoforte Sonata, Its Origin 
 and Development" (London, 1895); 
 editor and translator ; c. string-quar- 
 tet, etc. 
 
 Shelley, Harry Rowe, b. New 
 Haven, Conn., June 8, 1858; pupil 
 of Stoeckel at Yale, Dudley Buck, 
 Vogrich and Dvorak (New York) ; 
 organist various churches, also teach- 
 er of theory and comp. Metropolitan 
 College, N.Y.; c. " The Inheritance 
 Divine," sacred cantata, 2 symphs. 
 (the first E[7, performed, N. Y., 1897), 
 vln. -concerto (1891), cantata " Vexil- 
 la Regis" (N. Y., 1894), and suite 
 "■^ Baden-Baden" etc., for orch.; 
 church-mus., pf. and org.-pcs. and 
 songs, many very pop. 
 
 Shep'ard, (i) Thos. Griffin, b. Madi- 
 son, Conn., April 23, 1848 ; pupil of 
 G. W. and J. P. Morgan; organist 
 various churches in New Haven ; in- 
 structor, Yale Glee Club and cond. 
 Oratorio Soc, also dir. Apollo Club 
 (male voices) ; teacher and critic ; c. 
 comic opera, Christmas cantata, etc. 
 47 
 
 (2) Frank Hartson, b. Bethel. 
 Conn., Sept. 20, 1863; pupil of 
 Thayer, Boston ; organist various 
 towns; 1886-90, studied Leipzig, 
 i883, organist English Chapel there ; 
 1891, est. a sch. at Orange, N. J.; 
 organist there ; writer of text-books 
 and treatises. 
 
 Sherrington, Jose., b. Rotterdam, 
 Oct. 27, 1850; sister of Mme. Lem- 
 mens - Sherrington ; concert - soprano 
 with remarkable range (a-e'"). 
 
 Sherwood, (i) Edgar Harmon, b, 
 Lyons, N.Y., Jan. 29, 1845 ; pianist ; 
 served in the Union Army 1S62-65, 
 and then took up mus. ; lives in Roch- 
 ester, N. Y., as pianist, teacher and 
 composer. (2) Wm. Hall, b. Lyons, 
 N. Y., Jan. 31, 1854; noteworthy 
 pianist and teacher, bro. of (i) ; son 
 and pupil of Rev. L. H. Sherwood, 
 founder of Lyons Mus. Acad.; pupil 
 also of Heimberger, Pychowski and 
 Wm. Mason ; studied 5 years un- 
 der Th. Kullak, Weitzmann, Wuerst 
 and Deppe (BerUn), Richter (Leip- 
 zig), K. Doppler and Scotson Clark 
 (Stuttgart) and Liszt (Weimar); de- 
 but with succ, Berlin ; returned 1876 
 to the U.S., and has toured with great 
 succ; teacher N. E. Cons., Boston, 
 later, New York ; 1889, Chicago, as 
 head of the pf. -section of the Cons.; 
 1897, founded "Sherwood Piano 
 Sch."; 1887 he m. his pupil, Es- 
 tella F. Adams, also pianist ; pub. 
 pf.-pcs. (3) Percy, b. of English 
 parents, Dresden, May 23, 1866 ; pu- 
 pil of Hermann Scholtz (pf.) ; later 
 of Dresden Cons. ; concert-pianist and 
 teacher, Dresden Cons.; c. pf.-pcs. 
 
 Shield, Wm., Whickham, Durham, 
 1748 — London, 1829; violinist, writer 
 and composer. 
 
 Shin'ner, Emily, Cheltenham, July 7, 
 1862 — Aug., 1901; concert violinist, 
 England. 1889, m. Capt. Liddell ; 
 founded S. Quartet (female). 
 
 Shore, (i) Matthias, d. 1700, Eng- 
 lish ct. -trumpeter ; reputed inventor 
 of the tuning-fork. (2) Wm,, d. 
 1707, son and successor of above. 
 
738 
 
 THE MUSICAL GUIDE 
 
 (3) Catherine, ca. 1668 — ca. 1730; 
 sister of above ; stage-singer, 1693, 
 m. Colley Gibber. (4) John, 1660 — 
 1 750 ; bro. and successor of (2). 
 
 Shudi. Vide broadwood. 
 
 Shut tleworth, Obadiah, d. ca. 1735; 
 Englisli organist and violinist. 
 
 Sibelius (se-ba'-ll-oos), Jean, b. Ta- 
 vastehus, Finland, Dec. 8, 1865 ; 
 studied Mus. Inst. Helsingfors ; and 
 with Becker and Goldmark ; since 
 1893, teacher theory, Mus. Inst, and 
 the Orch. Sch., Helsingfors; c. The 
 first Finnish opera " Tornissa Olija 
 Impi " (Helsingfors, 1896) ; also for 
 orch. " The Swan of Tuenela " and 
 " Lemmin Kainen." 
 
 Siboni (se-bo'-ne), (i) Giu., Forli, 
 17S0 — Copenhagen, 1839; tenor. (2) 
 Erik (Anton Waldemar), Copen- 
 hagen, 1S28 — 1S92 ; pianist, organ- 
 ist, teacher and dram, composer. (3) 
 Johanna Frederika (nee Crull), b. 
 Rostock, Jan. 30, 1839 ; pianist ; 
 pupil of Moscheles ; 1S66 ni. above. 
 
 Sicard (se-kar), Michel de, b. of 
 French parents, Odessa, 1868 ; vio- 
 linist, pupil of Cons, at Kiev ; debut 
 at 9; 1884, pupil Paris Cons.; 18S6, 
 1st. vln-prize, then pupil of Joachim 
 (vln.), and Bargiel (comp.) ; has 
 toured Europe. 
 
 Sieber (ze'-ber), Fd., Vienna, 1S22 — 
 Berlin, 1895; famous singing-teacher. 
 
 Siegel (ze-gel), (i) E. F. W., d. 
 1869 ; founded, 1846, mus. -pub. firm 
 at Leipzig, now owned by R. Linne- 
 mann. (2) F. Vide schuberth, j. 
 
 Siehr (zer), Gv., 1847— Munich, 1896; 
 bass ; created " Hagen," Bayreuth, 
 1876. 
 
 Sieveking (ze'-ve-kYng), Martinus, b. 
 Amsterdam, March 24, 1867; notable 
 pianist ; pupil of his father, of J. 
 Rontgen, Leipzig Cons., and Coenen 
 (harm.) ; 1S90 played in London ; 
 made v. succ. tours ; 1895 Boston ; 
 1896-97 American tour ; c. a suite 
 (played by Lamoureux, Paris), etc. 
 
 Siface (se'-fa'-che) (rightly Grossi), 
 Giov. Fran., robbed and mur- 
 dered in Northern Italy, ca. 1699 ; 
 
 soprano-musico ; ca. 1675 member 
 Papal Chapel. 
 
 Sighicelli (se-g!-chel'-le), family of 
 violinists, (i) Filippo, San Cesario, 
 Modena, 1686 — Modena, 1773 ; 
 violinist. (2) Giu., Modena, 1737 — 
 1S26 ; son of above ; violinist. (3) 
 Carlo, Modena, 1772 — 1806 ; son of 
 (2), also attached to court. (4) A., 
 Modena, 1802 — 1883 ; son of (3) ; 
 eminent violinist and conductor. (5) 
 v., b. Cento, July 30, 1830 ; son and 
 pupil of (4); pupil of Hellmesberger, 
 Mayseder, and 1849 solo-violinist and 
 2nd ct.-cond. Modena ; since 1855, 
 teacher Paris ; c. vln. -fantasias, etc. 
 
 Sigismondi (se-jis-mon'-de), Giu., 
 Naples, 1739 — 1826; singing-teachei 
 and dram, composer. 
 
 Silas (se'-las), Eduard, b. Amsterdam, 
 Aug. 22, 1827 ; pianist ; debut Am. 
 sterdam, 1837; pupil of Neher, Kalk- 
 brenner, etc.; later of Benoist and 
 Halevy, Paris Cons.; winning ist^ 
 prize for org. playing, 1849, in com- 
 petition with Saint-Saens and Cohen; 
 since 1890 lives in England as or- 
 ganist ; 1866 Assemblee generale des 
 Catholiques en Belgique awarded him 
 1st prize (gold medal and 1,000 
 francs) for a mass ; later prof, of ) 
 harm. Guildhall Sch. and the London , 
 Acad, of Mus.; c. oratorio '^'Joash" i 
 (Norwich Fest., 1S63), Kyrie Eleison, i 
 with orch., 3 symphs., 3 overtures, , 
 
 etc. ; 
 
 Silbermann (zel'-ber-man), (i) Andre- i 
 as, Klein-Bobritzsch, Saxony, 1678 J 
 — Strassburg, 1734; org.-builder at i 
 Strassburg. (2) Gf., Klein-Bo- ; 
 britzsch, 16S3 — Dresden, 1753; bro. of 1 
 above and his apprentice; the first Ger- , 
 man to manufacture pianofortes, but ' 
 preceded by Cristofori ; inv. cenibal 
 d' amour (v. D. D.). (3) Jn, Andre- . 
 as, Strassburg, 1712 — 1783 ; son of i 
 (i) ; org.-builder. (4) Jn. Daniel, 
 1717 — Leipzig, 1766; son of (i), suc- 
 cessor of (2). (5) Jn. H., Strassburg, 
 1727 — 1799 ; son of (i) ; pf. -maker. 
 (6) jn. Fr., 1762 — 1817 ; son of (5), 
 org.-builder, organist and composer. 
 
DICTIONARY OF MUSICIANS 739 
 
 Silcher (zU'-kher), Fr., Schnaith, 
 Wlirtemberg, 1789 — Tubingen, i860; 
 noted song-composer ; pupil of his 
 father and of Auberlen ; teacher at 
 Stuttgart, 1817; mus.-dir. at Tubin- 
 gen Univ. ; pub. a text-book and 
 collected and c. chorals, etc. 
 
 3iloa (se'-l6-a), Giulio, pupil of Acad, 
 of St. Cecilia, Rome ; c. " Carmen 
 Seculare " for soli, chorus and orch. 
 (1902). 
 
 Siloti (se'-l6-te), Alex., b. Charkov, 
 Russia, Oct. 10, 1863 ; pianist ; pupil 
 of Zwereff and of N. Rubinstein and 
 
 I Tchaikovsky, Moscow Cons. ; win- 
 ning a gold medal ; debut, Moscow, 
 1880 ; studied with Liszt 3 years ; 
 
 I 1887-90, prof. Moscow Cons.; since 
 
 I in Paris ; has made v. succ. tours 
 
 i 1898-90, America ; c. pf. -pieces. 
 
 Silva (zel'-va), (i) Andreas de, r6th 
 cent, contrapuntist ; c. motets, etc. 
 (2) David Poll de, St. Esprit, near 
 Bayonne, 1834 — Clermont, Oise, 
 1875 ; blind ; pupil of his mother 
 who c. operas, oratorios, etc. ; wrote 
 out his comp. by dictation. 
 
 Silver (sel-var), Chas., Paris, April 16, 
 1868 ; pupil of Dubois and Massenet 
 at the Cons.; won Grand prix de 
 Rome with cantata " L Interdit" ; c. 
 operetta, elegiac poem ''Hat's" ; 4- 
 act fairy opera " Zrt Belle au Bois 
 Dormant" (Paris, 1895), oratorio 
 " Tobie" etc. 
 
 iimandl (ze'-mant'l), Fz., ist double- 
 bass Vienna court orch.; since 1869 
 teacher at the Cons.; pub. method 
 for contra-bass. 
 
 Simao. Vide Portugal. 
 
 Jimon (ze'-mon). (i) Jn. Kaspar, Can- 
 tor and organist at Nordlingen, 1750- 
 54 ; composer. (2) Chr., Schern- 
 berg, 1809 — Sondershausen, 1872 ; 
 double-bass. 
 
 )imon (se'-moh), (i) Jean Henri, Ant- 
 werp, 1783 — 1861 ; violinist. (2) 
 Simon - Girard, Julie Josephine 
 Caroline (nee Girard), b. Paris, 
 1859; pupil of Cons.; debut 1877, 
 creating Offenbach's "Colinette," 
 
 ' 1878, " Mme, Favart,' and many 
 
 other roles ; m. Simon ; later m. 
 Hugenette. 
 
 Simons-Candeille. Vide candeille. 
 
 Simpson (or Sympson), (i) Chp., 
 d. London, ca. 1677 ; player on the 
 viola da gamba ; pub. text-books. 
 (2) Thos., b. England ; from ca. 
 161 5, violinist in Germany; composer. 
 
 Sim'rock, (i) Nicolaus, b. Bonn, 
 1755 ; founded there 1790 mus.-pub. 
 house; 1805 Berlin branch founded 
 by his son (2) Peter Jos.; since 1870 
 in Berlin under (3), Fritz, 1841 — 
 Lausanne, Sept., igoi. 
 
 Sina (se-na), Louis, 1778 — Boulogne, 
 1859 ; violinist. 
 
 Sin'clair (sink'-ler), J., near Edin- 
 burgh, 1790 — Margate, 1857 ; tenor. 
 
 Sinding (zlnt'-^ng), Chr., b. Kong- 
 bery, Norway, Jan. 11, 1856; notable 
 composer ; pupil of Reinecke, Leip- 
 zig Cons., later with Royal Scholar- 
 ship, studied at Dresden, Munich, 
 and Berlin ; 1. Christiania as organist 
 and teacher; c. symph., 2 vln. -sona- 
 tas, chamber-mus., a pf. -concerto, pf.- 
 pcs., and songs. 
 
 Singel^e (sanzh-la), J. Bap., Biussels, 
 1812 — Ostend, 1875 ; violinist and 
 composer. 
 
 Singer (zTng'-er), (i) Peter, Hafelgehr 
 (Lechthal), 1810 — Salzburg, 1882; 
 monk; inv. (1839) the " Pansym- 
 phonikon " (v. D. D.) ; composer. (2) 
 Edmund, b. Totis, Hungary, Oct. 
 14, 1831 ; violinist; pupil of Ellinger, 
 at Pesth, then of Kohne; toured, then 
 studied with Jos. Bohm, Vienna, and 
 at Paris Cons.; 1853-61 leader at 
 Weimar; then leader at Stuttgart, 
 and prof, at the Cons. (3) Otto, 
 Sora, Saxony, 1833 — New York,i894; 
 pianist, conductor, teacher and com- 
 poser. (4) Otto, Jr., b. Dresden, 
 Sept. 14, 1863 ; violinist ; studied in 
 Paris, in Berlin under Kiel, and in 
 Munich under Rheinberger ; 1890 
 teacher in Cologne Cons., and con- 
 ductor ; since 1892 lives in Leipzig; 
 c. vln.- Concertstuck, etc. 
 
 Sinn (zin), Chp. Albert, wrote trea- 
 tise on ''Temperament " 1717. 
 
740 
 
 THE MUSICAL GUIDE 
 
 Sir'men (Syrmen), (i) Luigi, violin- 
 ist and cond. at Bergamo; his wife, 
 (2) Maddalena Lombardini de, b. 
 Venice, 1735 — d. towards end of 
 cent.; prominent violinist; pupil of 
 Tartini ; later singer and composer. 
 
 Sistermanns (zlst'-er-mans), Anton, 
 b. Herzogenbusch, Holland, Aug. 5, 
 1867; bass ; pupil of Stockhausen ; 
 1899, sang " Pogner " at Bayreuth ; 
 lives in Frankfort. 
 
 Sitt (zlt), Hans, b. Prague, Sept. 21, 
 1850; violinist ; studied Prague Cons. ; 
 1867, leader theatre-orch., Breslau ; 
 1869, cond. there, later in Prague, 
 etc.; 1883, teacher of vln. Leipzig 
 Cons, and via. -playerBrodsky Quartet; 
 cond. of various societies ; c. 3 vln.- 
 concertos, a via. -concerto, a 'cello- 
 concerto, etc. 
 
 Sittard (slt-tar), Josef, b. Aix-la-Cha- 
 pelle, June 4, 1846 ; pupil, Stuttgart 
 Cons., later teacher of singing and 
 pf . there ; lecturer on mus. ; since 
 1885, critic ; 1891, prof. ; writer and 
 composer. 
 
 Sivori (se-vo'-re), Ernesto Camillo, 
 b. Genoa, 1815 — 1894; famous vio- 
 linist and composer ; debut at 6 ; pu- 
 pil of Costa and Paganini ; toured 
 widely. 
 
 Sjogren (shakh'-ren), (Jn. Gv.) Emil, 
 b. Stockholm, 1853 ; pupil of the 
 Cons, there ; later of Kiel (cpt.) and 
 Haupt (org. at Berlin) ; since 1890, 
 organist Johankirke, Stockholm ; c. 
 sonatas, etc. 
 
 Skroup (or Skraup) (shkroop or 
 shkra-oop), (i) Fz. (Frantigek), 
 Vosic, Bohemia, 1801 — Rotterdam, 
 1862 ; conductor and dram, compos- 
 er. (2) Jan Nepomuk, Vosic, 181 1 
 — Prague, 1892 ; bro. of above ; con- 
 ductor, singing-teacher, writer and 
 dram, composer. 
 
 Skuhersk^ (skoo'-her-shke), Fz. 
 (FrantiSek) Sdenko, Opocno, Bo- 
 hemia, 1830 — Budweis, 1892 ; or- 
 ganist, conductor, theorist and com- 
 poser. 
 
 Slatinn (sla-ttn), Ilja Hitch, b. Bel- 
 gorod, Russia, July 7, 1845 ; pupil 
 
 St. Petersburg Cons, and of Th. Kul- 
 lak and Wuerst, Berlin ; dir. Char- 
 kow section, Imp. Russian Mus. 
 Soc. 
 
 Slaughter (sl6t'-er), A. Walter, cho- 
 rister at St. Andrew's, Wells St., 
 London ; pupil of A. Cellier and 
 Jacobi ; cond. Drury Lane and St. 
 James's Th.; prod, comic operas 
 (i8go), and a succ. mus. -comedy 
 " The French Maid" (1897), etc. 
 
 Slavik (sla'-vek), Jos., Jince, Bohe- 
 mia, 1806 — Pesth, 1833 ; violinist. 
 
 Slivinski (sll-ven'-shkl), Jos. von, b. 
 Warsaw, Dec. 15, 1865; pianist; 
 pupil of Strobl, Leschetizky and An- 
 ton Rubinstein ; debut, 1890; Amer- 
 ica, 1893 ; toured with Leipzig Philh. 
 orch. ; lives Paris. 
 
 SIoper(Edw. Hugh), Lindsay, Lon- 
 don, 1826 — 1887 ; pianist, teacher, 
 writer and composer. 
 
 Smallwood, Wm., b. Kendal, Engl., 
 1831 — 1897; organist; writer and 
 composer. 
 
 Smareglia (sma-ral'-ya), A., b. Pola, ; 
 Istria, May 5, 1854; studied Vienna; 
 and at the Milan Cons., graduating; 
 with a symph. work '' Eleanora" ; 
 prod. 6 operas, incl. "■ Freziosa" 
 (Milan, 1879), '' Bia^tca da Cervia" . 
 (Milan, La Scala, 1882), " // Vassal- 
 lodi Szigeth" (Vienna, 1889, as '"Der 
 Vasall von Ssigeih," New York,,' 
 1890), and "Za Faletia" (Venice, 
 1897. 
 
 Smart, (i) Sir G. (Thos.), London, 
 1776 — 1867; noted conductor; pupil 
 of Dupuis and Arnold ; knighted, ^ 
 1811 ; cond. Phil. Soc, 1813-44.^ 
 (2) Henry, Dubhn, 1778— 1823 : 
 bro. of above ; violinist ; leader Dru-i 
 ry Lane, 1812-21 ; piano-manufac- 
 turer. (3) Henry, London, Oct. 26 
 1813— (blind) July 6, 1879 ; son anc 
 pupil of (2) ; studied with Kearns 
 organist in London from 1836 ; c. ar 
 opera ''Bertha" (1855); many canta 
 tas, etc. 
 
 Smetana (sma'-ta-na), Fr. (Bedrich) 
 Leitomischl, Bohemia, 1824 — insane 
 Prague, 1884 , noted composer an< 
 
DICTIONARY OF MUSICIANS 741 
 
 pianist ; pupil of Proksch and Liszt ; 
 1848, organised a sch. at Prague ; 
 1866-74, cond. Nat. Theatre Prague. 
 Deafness caused his resignation and 
 the eternal ringing of one note in his 
 head brought on insanity. He made 
 this note the motif of a prophetic 
 composition. C. a string-quartet, 7 
 operas, incl. ''Prodand nevesta" 
 (''The Bartered Bride"), 1866; 9 
 symph. poems, incl. a cycle of 6 
 "J/(/ Vlast" d' My Country"), 
 symph. of " Triumph," etc. 
 
 Smeth'ergell, Wm., pianist,, organist, 
 writer and composer, London, 1794. 
 
 Smith, .(i) Bd. (Bd. Schmidt) (called 
 "Father Smith"), Germany, ca. 
 1630 — London, 1708 ; ct. org. -build- 
 er. (2) Robt., Cambridge, 16S9 — 
 1768 ; acoustician. (3) J. Chris- 
 topher (Johann Chr. Schmidt), 
 Ansbach, 1712 — Bath, 1795 ; dram, 
 composer. (4) Johann Stafford, 
 Gloucester, Engl., ca. 1750 — Lon- 
 don, 1836; organist and composer. 
 (5) Edw. Woodley, 1775 — 1849, 
 lay-vicar at Windsor. (6) Geo. 
 Townshend, Windsor, 1813 — Here- 
 ford, 1877; son of above ; composer. 
 
 (7) Montern, bro. of above ; singer. 
 
 (8) Samuel, b. Eton, 1821; bro. of 
 above ; organist. (9) John, Cam- 
 bridge, 1795 — 1861; composer and 
 prof. (10) Robt. Archibald, Read- 
 ing, 1780 — 1829; composer and vio- 
 linist. (11) Alice Mary (Mrs. Mead- 
 ows White), London, 1839 — 1884 ; 
 composer. (12) Sydney, Dorchest- 
 er, Engl., 1839 — London, 1889 ; pi- 
 anist, teacher, writer, etc. (13) Wil- 
 son G., b. Elyria, Ohio, Aug. 19, 
 1855; notable composer; pupil of 
 Otto Singer, at Cincinnati ; at Ber- 
 lin, 1880-82, of Kiel, the Scharwen- 
 kas, Neumann, Moszkowski and 
 Raif ; since 1882, lives in Cleveland 
 as teacher of pf., voice and comp. ; 
 pub. numerous graceful pf.-pcs. and 
 songs, also " Octave Studies" and 
 other valuable technical works. (14) 
 Gerrit, b. Hagerstown, Maryland 
 Dec. II, 1859; graduate (M. A. and 
 
 Mus. Doc.) Hobart College, Geneva, 
 N. Y.; pupil of Stuttgart Cons.; then 
 of S. P. Warren, New York ; organ- 
 ist, Buffalo ; also studied with Eu- 
 gene Thayer (org.), and W. H. 
 Sherwood (pf.), and one year in Ber- 
 lin with Haupt and Rohde ; then 
 organist, Albany ; since 1885, at the 
 South Ch., N. Y. ; music-prof.; prof. 
 Union Theol. Seminary ; c. cantata 
 '' A'i)ig David" choruses, graceful 
 pf.-pcs. and songs. 
 
 Smolian (shmo'-ll-an), Arthur, b. 
 Riga, Dec. 3, 1856; pupil of Munich 
 Cons. ; cond. at various theatres ; 
 teacher, Wiesbaden ; 1890, teacher 
 Carlsruhe Cons. ; and critic ; compos- 
 er. 
 
 Smyth, Ethel, b. England ; c. text 
 and music of opera " The Forest" 
 [Der IVald), prod. Berlin, 1902, and 
 London, 1902. 
 
 Snel (snel), Jos. Fran., Brussels, 1793 
 — Koekelberg, near Brussels, 1861; 
 violinist, conductor and dram, com- 
 poser. 
 
 Snetzler (shnets'-ler), John, Passau, 
 1710 — London, end of i8th cent.; 
 org. -builder, England. 
 
 Snow, (i) Moses, d. 1702 ; member 
 of the Chapel Royal. (2) Valen- 
 tine, d. 1772 ; English trumpeter in 
 Handel's works. 
 
 Scares, Joao. Vide rebello. 
 
 So'binof, — 
 
 favourite Russian 
 
 tenor at I'etersburg. 
 
 Sobolevsky (so-bo-lef'-shkl), . 
 
 prof, at St. Petersburg ; ed. Russian 
 folk-songs (1895). 
 
 Sodermann (sa -der-man), August 
 Johan, Stockholm, 1832 — 1876; 
 theatre-conductor there ; pupil of 
 Hauptmann and Richter ; c. Swedish 
 operetta, a notable mass with orch., 
 etc. 
 
 Soffredini (s6f-fre-de'-ne), Alfredo, 
 from 1896, ed. -in-chief, Milan "Caz- 
 zetta Musicale" ; prod, (text and 
 mus.) 2-act children's opera '^'^ II Pic- 
 colo Haydn " (Pavia, 1893), etc. 
 
 Sokolov (s6'-k6-16f), Nicholas, b. 
 Petersburg, 1858 ; pupil at the Cons.; 
 
742 
 
 THE MUSICAL GUIDE 
 
 taught harm, in the Imp. Chapel ; c. 
 an elegy (op. 4), and intermezzo for 
 orch., etc. 
 
 Soldat (zol'-dat), Marie (Frau Soldat- 
 Roger), (b. Graz, March 25, 1S64; 
 violinist ; pupil of Pleiner and Pott, 
 and of Joachim, 1889 ; m. Herr 
 Roger (Vienna). 
 
 Soli6 (s6l-ya) (rightly Soulier), (i) J. 
 P., Nime's, 1755 — Paris, 1S12 ; bary- 
 tone ; c. comic operas, many pop. 
 (2) Chas., son of above ; conductor ; 
 prod, a comic opera (Nice, 1S77). 
 
 Solle (zol'-le), Fr., Zeulenroda, Thu- 
 ringia, 1806 — 1884 ; cantor and 
 writer. 
 
 Soloviev (or Solowiew) (so'-16-vef), 
 Nicolai Feopometovitch, b. Petro- 
 savodsk, Russia, April 27 (May 9), 
 1S46 ; pupil of N. J. Zaremba (theo- 
 ry), Imp. Cons, at Petersburg ; 
 since 1S74 prof, there ; also critic, 
 editor and Councillor of State ; c. 
 comic opera " Vakula, The Smith" 
 (Petersb., 1875), and grand opera 
 " Conic- It a" (Petersb., 1S83, in Ger- 
 man, Prague, 1890) ; finished Seroff's 
 opera " YVie Demon's Power"; c. 
 symph. picture, " Russia and the 
 Aloni^ols" (Moscow, 1882); prize 
 chorus " Prayer for Russia " (Imp. 
 Russ. Mus. Soc, 1S76), cantata 
 " The Death of Samson " (1870). 
 
 Som erset, Lord H. (Richard Chas.), 
 b. Dec. 7, 1849; amateur composer. 
 
 Som ervell, Arthur, b. Windermere, 
 Engl. ; pupil Berlin Hochschule and 
 of Stanford and Parr}', R.C.M.; c. 
 mass, with orch. (Bach Choir, 1891), 
 ''A Song of Praise" (iSgi), " The 
 Forsaken Merman" (Leeds Fest., 
 1895), " The Power of Sound" 
 (1895), elegv' for alto with orch,, 
 suite for small orch. " /;; Arcady" 
 song cycle on Tennyson's ''Maude" 
 etc. 
 
 Somis (so'-mes), Giov. Bat., Pied- 
 mont, 1676 — Turin, 1763 ; violinist, 
 teacher and conductor. 
 
 Sommer (z6m'-mer), (i) Dr. Hans 
 (rightly Hans Fr. Aug. Zincke) 
 (tsmk'-e), b. Brunswick, July 20, 1837; 
 
 pupil of Meves and J. O. Grimm ; 
 graduate, later prof, at Gottingen 
 Univ.; from 1888 lived in Weimar; 
 c. succ. opera ''Lorelei" (Brunswick, 
 1891), i-act " Biihnenspiel" " Saiftt 
 Foix" (Munich, 1S94), i -act " Z)^r 
 Meerman" (Weimar, 1896), " Rube- 
 zahl" (1902). (2) Karl, singer at 
 ct. -opera, Vienna. 
 
 Sonnleitner (z6n'-lTt-ngr), (i) Chp. S., 
 Szegedin, 1734 — Vienna, 1786; dean 
 of jurisprudence, Vienna ; composer. 
 (2) Jos., Vienna, 1765 — 1835 ; son of 
 above ; 1S27, discovered the famous 
 9th cent. Antiphonary of St. Gallen 
 in neume-notation. (3) Ld, von, 
 Vienna, 1797 — 1873; nephew of 
 above ; devoted friend of Schubert. 
 
 Sontag (zon -tiikh), Henriette (Ger- 
 trude Walpurgis), Coblenz, Jan. 
 3, 1804 — of cholera, Mexico, June 
 17, 1854 ; famous colorature-sopra- 
 no, her voice taking e " easily; daugh- 
 ter of two actors ; operatic singer ; 
 1823 created von Weber's " ^wrj- 
 anthe." 
 
 Sontheim (zon'-tim), H., b. Beben- 
 hausen, Feb. 3, 1820 ; notable tenor; 
 debut Carlsruhe, 1839 I 18/2. pen- 
 sioned. 
 
 Sor (rightly Sors) (sor), Fdo., Barce- 
 lona, 1778 — Paris, 1839; guitar-virt- 
 uoso and dram, composer. 
 
 Sorge (z6r'-ge), G. Ands., Mellen- 
 bach, Schwarzburg, 1703 — Loben- 
 stein, 1778 ; famous organist and 
 theorist ; ct. -organist and composer. 
 
 Soriano, (i)Fran. Vide sl'ri.a.no. (2) 
 Soriano - Fuertes (s6-rI-a'-no-foo- 
 er'-tes), Don Mariano, Murcia, 1817 
 — Madrid, 1880 ; son and pupil of the 
 dir. royal chamber-mus. (1841) ; prod, 
 several zarzuelas, aiming to estab. 
 national opera ; conductor and writer 
 of historical works. 
 
 Sormann (z6r'-man), Alfred (Richard 
 Gotthilf), b. Danzig, May 16, 1861; 
 pianist ; pupil of R. Hochschule, 
 Berlin, and of Liszt ; debut 1886 ; 
 1S89, ct. -pianist to Grand Duke of 
 Mecklenburg-Strelitz ; c. concerto, 
 etc. 
 
DICTIONARY OF MUSICIANS 743 
 
 Soubies (soo-bt-es), Albert, b. Paris, 
 May lo, 1846 ; mus. -historiographer 
 and critic ; a lawyer, then pupil of Sa- 
 vard and Bazin (harm, and comp.) at 
 the Cons.; 1874 he revived the fa- 
 mous '' Ahnaiiach des spectacles. 
 Aim. Duchesne"; for this the Aca- 
 demie, 1893, awarded him the Prix 
 Voirac ; 1876, critic for " Z.? Soir" 
 under name " j9. de Lomagiie"; 
 officer of public instruction, and Le- 
 gion of Honour, also of the Russian 
 order Stanislas ; writer of valuable 
 historical works, etc. 
 
 Soubre (soobr), Etienne Jos., Liege, 
 1813 — 1871; director and dram. comp. 
 
 Souhaitty (soo-et-te), J. Jac, Fran- 
 ciscan monk at Paris, the first to use 
 figures for popular notation, 1665-78. 
 
 Soulier (soo-ya). Vide solie. 
 
 Sousa (soo'-sa), John Philip, b. 
 Washington, D. C, Nov. 6, 1856; 
 son of a Spanish trombonist in the 
 U. S. Marine Corps band. Pupil of 
 John Esputa and G. F. Benkert 
 (harm, and comp.) ; at 17 cond. of 
 travelling theatrical troupes ; 1877, 
 violinist in Offenbach's orch. in Amer- 
 ica ; dir. " Philadelphia Church-choir 
 Pinafore Co."; 1880-92, bandm. 
 U. S. Marine Corps ; resigned and 
 organised the military band bearing 
 his own name, which has toured 
 America and Europe with greatest 
 succ. ; (igoo), Paris, Exposition. 
 Compiled, by Govt, order, 'National 
 Patriotic and Typical Airs ofallCoun- 
 tries " ; wrote instruction-books for 
 trumpet and drum, and for vln. C. 7 
 comic operas incl. v. succ. " ElCapi- 
 tan" succ. (text and music) " The 
 Bride Elect" " The Charlatan" and 
 "Chris and the Wonderful Lamp" 
 a symph. poem " The Chariot Race " 
 (from " Ben Hur") ; 3 suites, " The 
 Last Days of Pompeii " ''Three Quo- 
 tations" and " Sheridan's Ride " ; 
 and many immensely succ. marches 
 popular throughout the world, 
 " Washington Post" " High School 
 Cadets " " Stars and Stripes For- 
 ever" " Imperial Edward" etc. 
 
 Sovinsky (s6-vtn'-skl), Albert (Czyli 
 Wojech), Ladyzyn, Ukraine, 1803 
 (1805 ?) — Paris, March 5, 1880 ; pian- 
 ist, teacher and dram, composer. 
 
 Soyer (swa-ya), Berthe, b. Chalon- 
 sur-Saone, May 12, 1877; contralto ; 
 pupil of Paris Cons., took 1st prize 
 Paris Cons., 1S99 ; debut same year 
 at Opera as " Amneris." 
 
 Spangenberg (spang'-en-berkh), (i) 
 Jn., Ilardeisen, near Gottingen, 1484 
 — Eisleben, 1550; theorist and com- 
 poser. (2) Cyriak, Nordhausen, 
 1528 — Strassburg, 1604 ; son of 
 above ; writer. 
 
 Spark, Dr. Wm., Exeter, Engl., Oct. 
 28, 1823 — Leeds, June 16, 1897; 
 noted organist and editor ; wrote au- 
 tobiography and memoirs; composer. 
 
 Spataro (spa-ta'-ro) (or Spat'arus, 
 Spada'ro, Spada'rius), Giov,, Bo- 
 logna, ca. 1460 — 1541 ; conductor 
 and theorist. 
 
 Spazier (shpa-tser'), Jn. Gl. K., Ber- 
 lin, 1761 — Leipzig, 1805 ; theorist 
 and composer. 
 
 Speer (shpar), Daniel, cantor at Wai- 
 blingen, 1692 ; composer. 
 
 Speidel (shpl'-del), (i) Konrad, d. 
 Ulm, Jan. 29, 18S0 ; singer and con- 
 ductor. (2) Wm., Ulm, 1826 — 
 Stuttgart, 1899; son of above; pianist, 
 conductor and composer. (3) Ma- 
 ria, b. Stuttgart, Oct. 13, 1872 ; 
 daughter of above ; singer ; pupil of 
 Pollini and Nicklass-Kempner. 
 
 Spengel (shpeng'-el), Julius H., b. 
 Hamburg, June 12, 1853 ; pupil of 
 Cologne Cons, and Berlin Hoch- 
 schule, taught in Hamburg, and 
 studied with Gradenerand Armbrust; 
 1878, cond. Cacilienverein ; singing- 
 teacher and organist ; c. symph., 
 'cello-sonata, etc. 
 
 Spenser, Willard, b. Cooperstown, 
 N. Y., July 7, 1856; self-taught; 
 prod. V. succ. operettas, text and 
 music, " The Little 7>ft;^« " (Philadel- 
 phia, 1886), and "Princess Bonnie." 
 
 Speyer (Speier) (shpl'-er), Wilhelm, 
 Frankfort, 1790 — 1878 ; violinist and 
 composer. 
 
744 THE MUSICAL GUIDE 
 
 Spicker (shplk'-er), Max, b. Konigs- 
 berg, Prussia, Aug. i6, 1S58 ; pupil 
 of Louis Kohler, then of Leipzig 
 Cons.; theatre conductor various 
 cities; 1882-88, cond. "Beethoven 
 Mannerchor," New York; 1888-95 
 Dir. Brooklyn Cons.; since teacher 
 Nat. Cons., New York ; c. orch. 
 suite, cantata with orch., etc. 
 
 Spiering (shpe'-rlng), Theodor, b. 
 St. Louis, Missouri, 1871 ; violinist ; 
 pupil of H. Schradieck, Cincinnati ; 
 then of Joachim, Berlin; founder and 
 1st vln. " Spiering Quartet," Chi- 
 cago. 
 
 Spies (shpes), Hermine, Lohnberger 
 P^oundry, near Weilburg, 1857 — 
 Wiesbaden, 1S93 ; concert-contralto. 
 
 Spiess (shpes), (i) jn. Martin, organ- 
 ist and composer (1745-61). (2) 
 Meinard, Honsolgen, Swabia, 1683 
 — Yrsee Monastery, 1761 ; prior, 
 theorist and composer. 
 
 Spindler (shplnt-ler), Fritz, b. Wlirz- 
 bach, near Lobenstein, Nov. 24, 
 1817; pianist; studied mus. with 
 Fr. Schneider at Dessau ; from 1841, 
 lived in Dresden as teacher ; c. 3 
 symphs., pf. -concerto, v. pop. salon- 
 pcs., etc. 
 
 Spinelli (spl-nel'-ll), Nicola, b. Tu- 
 rin, 1865 ; notable neo-Italian; pupil 
 of Naples Cons.; 1890 took 2nd Son- 
 zogno prize with i-act opera "Co- 
 billa" Mascagni winning ist prize ; 
 prod. V. succ. 3-act lyric drama "^ 
 Basso Porto " (1894, New York, 
 1899), vide " Stories of the Operas." 
 
 Spinney, English family of musicians, 
 (i) Thos. Edw., b. June 24, 1824 ; 
 pupil of Sir Henry Bishop ; organ- 
 ist St. Edmund's, Salisbury, and cond. 
 Orpheus Soc. ; c. cantata, church- 
 mus., etc. (2) Mattie (Mrs. Bees- 
 ley), daughter of above ; pianist ; 
 pupil of Benedict, Bennett, and von 
 Biilow ; debut, London, 1875; or- 
 ganist, at Banbury. Her four broth- 
 ers, (3) Eugene, 1845— 1867 ; 1862, 
 organist, Banburj'. (4) Frank, 1850 
 — 188S ; organist, conductor and 
 composer. (5) Walter, 1S52— 1894 ; 
 
 organist various cities; c. org. -pes., 
 etc. (6) Rev. T. Herbert, b. Jan. 
 13- 1857 ; pupil of Arnold and 
 Bridge ; won harm. -prize. Trinity 
 Coll., London, 1S76 ; at 16 organ- 
 ist, Salisbury, later at Exeter Coll., 
 O.xford ; F.R.C.O.; 1882, ordained 
 priest ; 1885, vicar, Burton-on-Trent ; 
 composer. 
 
 Spiridio (spe-re'-dl-o), Berthold, 
 monk, organist and composer, Bam- 
 berg, 1665-91. 
 
 Spirid ion. Vide xyndas. 
 
 Spitta (shptt'-ta), (i) (Julius Aug.) 
 Philipp, Wechold, near Hoya, Han- 
 over, Dec. 27, 1841 — Berlin, April 13, 
 1894; teacher and prof, musical his- 
 tory ; wrote many essays and a not- 
 able life of J. S. Bach (2 vols., 1873- 
 80), etc. (2) Fr., b. Wittingen, Han- 
 over, Jan. 10, 1852 ; bro. of above ; 
 prof, of theology, Strassburg Univ.; 
 ed. works of Schtitz and pub. valu- 
 able treatises. 
 
 Spof forth, (i) Reginald, Nottingham, 
 Southwell, 1769 — Kensington, 1827 ; 
 c. glees, etc. (2) Samuel, 1780 — 
 1864 ; bro. of above ; organist and 
 composer. 
 
 Spohr (shpor), Ludwig (in his auto- i 
 biography he calls himself Louis), 
 Brunswick, April 5, 1784 — Cassel, 
 Nov. 22, 1859 ; eminent violinist and 
 conductor ; notable composer and 
 teacher. Son of a physician who re- 
 moved to Seesen, 1786; pupil of his 
 mother, and at 5 studied with Rie- 
 menschneider (vln.) and Dufour ; 
 then with Kunisch, Hartung and 
 Maucourt, Brunswick ; at 14 he 
 played a concerto of his own at court. 
 He became a member of the Ducal 
 Orch.; 1802 pupil of Fz. Eck, whom 
 he accompanied to St. Petersburg; 
 1803, returned to the Ducal Orch. ; 
 1804 toured with great succ. ; 1805, 
 leader Duke of Gotha's orch.; m. 
 Dorette Scheidler (d. 1834), the harp- 
 player and toured with her, 1807 and 
 1809. 1S36 he m. the pianist Mari- 
 anne Pfeiffer (d. 1892) ; 18 12, after 
 brilliant concerts at Vienna, leader at 
 
 
DICTIONARY OF MUSICIANS 745 
 
 the Th. an der Wien ; 1815, toured 
 Italy (playing a concertante of his 
 own with Faganini at Rome) ; 18 17- 
 19, opera-cond. at Frankfort ; prod, 
 here succ. opera ''Faust"; 1820, 
 visited England with his wife, played 
 at Philharm. Concerts, and prod, 
 there two symphs.; introducing into 
 England the habit of conducting with 
 a baton. Gave concerts at Paris 
 with little succ. From 1822 ct.-cond. 
 at Cassel ; 1857, retired for political 
 reasons on a reduced pension. Dur- 
 ing his period as a cond. he prod. 
 Wagner's " Fliegendc Hollander " 
 (1842), and *' Tannhciuser" (1853), 
 but could not overcome the oppo- 
 sition to a production of " Lohen- 
 grin.'* He soon recognised Wagner 
 as the greatest living dramatic com- 
 poser, but did not care for Beethoven 
 or Weber. He is among the first of 
 the second-best composers, his high- 
 est attainments being the opera"/*'-*'- 
 sonda " (Cassel, 1823), the oratorio 
 " Die Letzten Dinge " (Cassel, 1826 ; 
 in England as " The Last Judg- 
 metit'') ; the grand symph. ''Die 
 Weihe der Tone" {" The Consecra- 
 tion of Tone,'' 1832) and the clas- 
 sic vln.- concertos. His " Violin- 
 School'" (1831 in 3 parts), is a stand- 
 ard. He c. II operas in all; dram, 
 cantata, " Das Befreite Deutsch- 
 latid"; a mass, etc., with orch.; 9 
 symphs.; No. 4 op. 86 in F (" Weihe 
 der Tone ") ; No. 6 op. 116, G {"His- 
 torical"; dedicated to the London 
 Philh. Soc); 7 op. 121, C (" Irdisch- 
 es und Gottlisches im Menschen- 
 leben ") for 2 orchs. ; 8 op. 137, G 
 min. (ded. to the London Philharm.) ; 
 9 op. 143, B min. ('* Die Jahreszeit- 
 en"), 8 overtures, and 15 vln. -con- 
 certos ; No. 8 (op. 47. in A min., 
 "in viodo d'una scena cantante") 
 "quartet-concerto" for 2 vlns., via., 
 and 'cello with orch. ; 2 concertantes 
 for 2 vlns. with orch.; grande polo- 
 naise for vlns. with orch.; 2 clar.- 
 concertos ; much chamber - mus. 
 Autobiogr. (Cassel, i860, '61. 2 vols.); 
 
 Biogr. by Malibran (Frankfort, i860); 
 by H. _M. Schletterer (iSSi). 
 Spontini (sp6n-te'-ne), Gasparo 
 (Luigi Pacifico), Majolati, Ancone, 
 Nov. 14, 1774 — Jan. 24, 1851; note- 
 worthy cond. and dram, composer. 
 Son of poor peasants, who intended 
 him for the church, he ran away, and 
 an uncle, at San Vito, provided him 
 with teaching. At 17 entered the 
 Cons, della Pieta de' Turchini at Na- 
 ples. 1796, commissioned to write 
 an opera for the Teatro Argentina at 
 Rome, its director having heard some 
 of his church-mus. in Naples, he left 
 the Cons, without permission and 
 prod. succ. opera, "/ Funtigli delle 
 Donne"; Piccinni secured his rein- 
 statement and gave him valuable ad- 
 vice. He prod, operas with succ. in 
 various cities and in Palermo, where 
 he was cond. to the Neapolitan court 
 which had fled before the French. 
 After having produced 16 light Ital- 
 ian operas, he went to Paris (1803), 
 where three successive failures and 
 a study of Mozart's works, led him 
 to change his style. After support- 
 ing himself as a singing-teacher he 
 won succ. with his substantial i-act 
 opera "Milton" (Th. Feydeau, Nov. 
 27, 1804); the Empress Josephine, to 
 whom he had dedicated the score, ap- 
 pointed him " chamber-composer." 
 He c. a cantata "Heccelsa Gar a" 
 celebrating the victory of Austerlitz. 
 The Empress's power secured a hear- 
 ing for his opera "La V e stale, " \s\i\z\i 
 after three years of delay and polish- 
 ing, was prod, with greatest succ. 1807; 
 by a unanimous verdict of the judges, 
 Mehul, Gossec and Gretry, Napo- 
 leon's prize for the best dram, work 
 of the decade was awarded to it. It 
 was followed with equal succ. by the 
 grand opera " Fernand Cortez" 
 1809. iSio, dir. It. opera; dis- 
 missed for financial irregularity ; 
 1814, Louis XVIII. appointed him 
 ct.-composer. He c. 2 stage-pieces 
 in glorification of the Restoration. 
 The opera " Olym^ii" was prod. 
 
746 
 
 THE MUSICAL GUIDE 
 
 1819 without succ, though when re- 
 vised and prod. 1S26 it prospered. 
 1S20, he became ct. -composer and 
 gen. mus.-dir. at Berlin ; he prod, 
 his old operas with succ, and c. the 
 festival play '' Lalla Jiiikh" (1821), 
 remodelled as " Nurviahal" (1822) ; 
 *' Akidor''' (1825) and "Agnes von 
 Hohen Stan fen'" (1829), none of 
 which were widely succ. A period of 
 violent jealousies and quarrels with 
 the Intendant Brlihl, and virulent in- 
 trigues, culminated after a score of 
 stormy years in his being royally rep- 
 rimanded, and finally driven out of 
 the theatre by a hostile audience. 
 He retired in 1841 on full pay. He 
 went to Paris, then to Italy. 1844 
 the Pope gave him the rank and title 
 of "Conte di Sant' Andrea"; he 
 was a knight of the Prussian " Ordre 
 pour le merite," member of the Ber- 
 lin Akademie (1839), and Paris Aca- 
 demic, and Dr. Phil., Halle Univ. 
 Biog. by L. de Lomenie (1841) ; 
 Montanari (1S51) ; Raoul-Rochette 
 (18S2). 
 
 Spor'le (rightly Burnett), Nathan J., 
 i8i2 — 1S53 ; English tenor and com- 
 poser. 
 
 Squire, Wm. Henry, b. Ross, Here- 
 fordshire, Aug. 8, 1871; 'cellist; son 
 and pupil of an amateur violinist ; 
 debut at 7 ; won scholarship at the 
 R. C. M., and studied with Powell 
 and Parry; second debut, 1891; c. 
 'cello-concerto. 
 
 Stabile (sta-be-le), Annibale, d. 
 Rome, ca. 1595 ; conductor and 
 composer. 
 
 Stade (shta'-de), (i) H. Bd., Ettisch- 
 leben, 1S16 — Arnstadt, 1882 ; organ- 
 ist and composer. (2) Fr. Wm., b. 
 Halle, Aug. 25, 1817; organist, pu- 
 pil of Fr. Schneider, Dessau ; mus.- 
 dir. and Dr. Phil. h. e. Jena Univ.; 
 1860-1891, ct. -organist and cond. at 
 Altenburg; c. 2 symphs.; Festouver- 
 tiire , music to " Orestes" ; cantatas, with 
 orch.; choral works; vln. -sonata ; 
 •* Kindersonate " (4 hands), etc. (3) 
 Dr. Fritz (L, Rudolf), b. Sonders- 
 
 hausen, Jan. 8, 1844; pupil of Riedl 
 and Richter, Leipzig, and teacher 
 there ; pub. an answer to Hanslick's 
 "Fern Musikalisck-Schonen" etc. 
 
 Staden (shta'-den), (i) Jn., NUrnberg, 
 ca. 1579 — 1634 ; organist and com- 
 poser. (2) Sigismund Gl., son and 
 successor of above ; c. " Seeleivig" 
 the earliest extant German opera (cf. 
 H. SCHUTZ' opera "Da/ne"). 
 
 Stadler (shtat'-ler). Maximilian, 
 Melk, Lower Austria, 174S — Vienna, 
 1833 ; composer and writer. 
 
 Stadlmayer (shtat'-'l-ml-er), Jn., Frei- 
 sing, Bavaria, 1560 — Innsbruck, after 
 1646 ; conductor and composer. 
 
 Stadtfeldt (shtat'-felt), Alex., Wies- 
 baden, 1S26— Brussels, 1853 , dram, 
 composer. 
 
 Stagemann (shta-ge-man). Max, b. 
 Freienwalde-on-Oder, May 10, 1843; 
 pupil of Dresden Cons.; barytone 
 and "chamber-singer" at Hanover; 
 1877, dir. of Konigsberg Th.; later, 
 manager Leipzig City Th. 
 
 Stag'gins, Nicholas, d. 1705 ; Eng- 
 lish composer and professor. 
 
 Stagno (stan'-y5), Alberto, Palermo, 
 1836— Genoa, 1897 ; tenor. 
 
 Stahlknecht (shtal-k'nekht), two broth- 
 ers, (i) Ad., Warsaw, 1813 — Berlin, 
 1887; violinist and dram, composer. 
 (2) Julius, Posen, 1817 — Berlin, 
 1892 ; 'cellist royal orchestra. 
 
 Stahmer-Andriessen (shta' -mer-an'- 
 dres-sen), Pelagie (now Greef-A.) b. 
 Vienna, June 20. 1862 ; pupil of the 
 Cons., and of Frau Dreyschock ; so- 
 prano in Neumann's troupe ; 1S84-90, 
 Leipzig town-theatre ; 1890, m. arch- 
 itect Ende ; later m. Greef. 
 
 Stainer (or Steiner) (shti-ner), Jakob, 
 Absam, Tyrol, 1621— 1683 ; inventor 
 and manufacturer of instrs. (2) 
 Markus, his brother, also vln.- and 
 via. -maker. 
 
 Stainer (sta -ner), Sir John, London, 
 June 6, 1840 — Verona, April, 1901 ; 
 chorister at St. Paul's ; studied with 
 Bayley (harm.) and Steggal (cpt.), 
 and later Cooper (org.) ; 1854-60, or- 
 ganist various places, then Univ. or- 
 
DICTIONARY OF MUSICIANS 747 
 
 tRia 
 
 ganist at Oxford; (1859) Bac. Mus., 
 and (1865) Mus. Doc; 1866, Exam- 
 iner for mus. degrees ; 1872-S8, or- 
 ganist of St. Paul's, resigning on 
 account of his eyesight ; 1876, prof. 
 of org. and harm. Nat. Training 
 Sch. for Mus. ; 1881, principal in 
 R. C. M.; 1883, again at Oxford; 
 
 1882, Govt. Inspector of Mus. in 
 the Training-Sch. ; 1878, Chev. of 
 the Legion of Honour ; knighted, 
 1888 ; 1S89, prof, of mus. at Oxford 
 Univ.; pub. treatises and (with Bar- 
 ret) a " Diet, of Mus. Terms" 1875; 
 c. oratorio " Gideon" cantatas ''The 
 Daughter of fair us" (Wore. Fest., 
 1878), ''St. Mary Magdalene" 
 (Gloucester, 1883), and " The Cruei' 
 
 fixion " (London, 1887), 4 services, 
 etc. 
 
 Stair, Martha Greene (" Patty "), 
 b. Cleveland, O.; pianist ; pupil of 
 F. Bassett, there ; lives there as con- 
 cert pianist, organist and composer. 
 
 Stamaty (sta-ma-te), Camille M., 
 Rome, 1811— Paris, 1870; pianist 
 and composer. 
 
 Stamitz (shta-mlts), (i) Jn. K., 
 Deutsch - Brod., Bohemia, 1717 — 
 Mannheim, 1761 ; notable violinist 
 and composer. (2) Anton Thad- 
 daus, Deutsch-Brod., 1721 — Altbunz- 
 lang, 1768 ; bro. of above ; canon ; 
 'cellist, Mannheim. (3) K., Mann- 
 heim, 1746 — Jena, 1801 ; violinist 
 and viole d'amour- performer, con- 
 ductor and composer. (4) Anton, 
 Mannheim, 1753 — Paris, bro.of above; 
 violinist and composer. 
 
 Stanford, Chas. Villiers, b. Dublin, 
 Sept. 30, 1852 ; pianist and notable 
 composer ; pupil of Sir Robt. Stew- 
 art and Arthur O'Leary (comp.), and 
 Ernst Pauer (pf.), London ; 1870 won 
 organ scholarship at Queen's Coll., 
 Cambridge ; 1873-92, organist of 
 Trinity Coll., Cambridge, also cond. 
 Univ. Mus. Soc. (till 1893) ; 1875- 
 76, studied comp. with Reinecke at 
 Leipzig, and Kiel, Berlin, M.A., 
 Cantab., 1878; Mus. Doc, Oxford, 
 
 1883, Cambridge, 1888; 1883, prof. 
 
 of comp. and cond., R.C.M.; 1885, 
 cond. Bach Choir ; 1S87, prof, of 
 Mus. at Cambridge ; 1897, cond. 
 Leeds Philh. Soc. C. operas," The 
 Veiled Prophet of Khorassan "(Han- 
 over, 1881) ; '■'■Savonarola" (Ham- 
 burg, 18S4) ; "The Canterbury Pil- 
 gri?ns " (London, Covent Garden, 
 1884) ; v. succ. " Shamns O'Brien" 
 (London, 1896) ; " Much Ado about 
 Nothing" (Covent Garden, 1901, 
 Leipzig, 1902); incid. mus.; orato- 
 rio, " The Resurrection " (1875) » 
 " The Three Holy Children" (Bir- 
 mingham, 1885) ; Psalm 96 (1877) ; 
 "Elegiac Ode" (Norwich, 18S4) ; 
 "The Revenge" (Leeds, 1S86) ; 
 "Jubilee Ode" (1887), etc. " The 
 Bard" (Cardiff, 1895); " Phaudrig 
 Crochoore" (Norwich, 1896); re- 
 quiem, 3 Morning and Evening 
 Services; a Communion Service, etc.; 
 5 symphs. "Elegiac" in D min. 
 (No. 3) " Irish" (No. 4) " Thro* 
 Youth to Strife, Thro' Death to 
 Life"; and No. 5 " V allegro ed il 
 penseroso"; 2 overtures, a pf. -con- 
 certo ; "Irish Rhapsody '' (1902), etc. 
 
 Stange (shtang'-e), Hermann, b. Kiel, 
 Dec. 19, 1S35; pupil of Leipzig Cons.; 
 organist at Rossal College, Engl.; 
 since 1878, mus.-dir,, and since 1887 
 prof. Kiel Univ. 
 
 Stanhope, Chas., Third Earl of. 
 1753 — London, 1816; writer. 
 
 Stanley, (i) (Chas.) John, London, 
 1713 — 1786 ; organist and conduct- 
 or. (2) Albert Augustus, b. Man- 
 ville, Rhode Island, May 25, 1851 ;' 
 studied in Providence, and at Leip- 
 zig ; organist. Providence ; 1888, 
 prof, of mus. Univ. of Michigan, C. 
 "The City of Freedom" ode, with 
 orch. (Boston, 1883); Psalm 21 (Prov- 
 idence, 1892), and Commemoration 
 Ode " Chorus triumphalis" with 
 orch ; symph. " The Awakening of 
 the Soul"; symph. poem ^^Altis," 
 etc 
 
 Stans'burg, Geo. F., Bristol, 1800 — 
 1845 ; pianist, violinist, flutist, singei 
 and composer. 
 
748 
 
 THE MUSICAL GUIDE 
 
 Starck, Ingeborg. Vide broksart. 
 Stark (shtark), L., Munich, 1831— 
 
 Stuttgart, 1 884 ; teacher, editor and 
 
 composer. 
 Starke (shtark'-e), Fr., Elsterwerda, 
 
 1774 — Dobling, near Vienna, 1835 ; 
 
 bandm. , writer and composer. 
 Stasny (shtas'-ne), (i) L., Prague, 
 
 1823 — Frankfort, 1883 ; conductor 
 
 and dram, composer. (2) Vide sri- 
 
 ASTNY. 
 
 Staudigl (shtow'-dekh-'l), (i) Josef, 
 Wollersdorf, Lower Austria, 1807 — - 
 (insane), Michaelbeuerngrund, near 
 Vienna, 1861 ; bass and ct. -conduct- 
 or. (2) Josef, b. Vienna, March 18, 
 1850 ; son of above ; barytone; pupil 
 of Rokitansky at the Cons. ; chamber- 
 singer to the Grand Duke at Carls- 
 ruhe and a member of the ct. -opera. 
 His wife (3) Gisela, singer ; pupil 
 of Marchesi, 1899 Wiesbaden ct.- 
 opera. 
 
 Stavenhagen (shta-fen-ha-gen), (i) 
 Bd., b. Griez, Reuss, Nov. 24, 1862; 
 pianist ; pupil of Kiel, at the Mei- 
 sterschule, and of RudorfT, at the 
 Hochschule, Berlin ; 1880, won the 
 Mendelssohn prize for pf.; pupil of 
 Liszt, 1S85 ; toured Europe with 
 succ. and the U. S. (1894-95) ; 1890, 
 ct. -pianist and ct. -conductor at Wei- 
 mar ; Knight of the White Falcon 
 order ; from 1898 ct.-cond. at Mu- 
 nich ; c. pf.-pcs. (2) S. Denis Ag- 
 nes, b. Winsen, Sept. 3, 1862 ; so- 
 prano ; pupil of Frau Prof. Schultzen 
 and Frau Jachmann- Wagner ; cham- 
 ber-singer. 
 
 Stcherbatcheff(stcher'-bat-chef), Nic- 
 olas de, b. Russia, Aug. 24, 1853 ; 
 prominent figure in the neo- Russian 
 sch.; c. '''^ Deux idylles pour orches- 
 tre" ; '' F^ei-ies et pantomimes,'* 
 " Mosaique, album pittoi-esque,'" etc., 
 for pf.; songs *'^i< soir tovibant" 
 etc. 
 
 Stecker (shtek'-er), K., b. Kosmanos, 
 Bohemia, Jan. 22, 1S61 ; pupil of 
 Prague Org.-Sch. ; 1885-89, teacher 
 of org. there ; then prof, of cpt., and 
 history at the Cons.; from !S88 also 
 
 lecturer at the Univ.; pub. treatises; 
 c a Missa solemnis, etc. 
 
 Steffani (stef-fa'-ne), Abbate Agosti- 
 no, Castelfranco, Venetia, 1655 — 
 Frankfort-on-Main, 1730 ; eminent 
 composer of daring originality and 
 great power both in instrumentation 
 and general construction ; ct.- and 
 chamber-musician and ct. -organist ; 
 prod. 20 operas. 
 
 Steffens (shtef'-fens), Julius, Stargard, 
 Pomerania, 1831 — Wiesbaden, 1882 ; 
 'cellist and composer. 
 
 Steffkins, (i) Theodore, prof, lute 
 and viol, in London, 1672; his broth- 
 er (2) Dietrich was in the ct.-band, 
 1641 ; (3) Fr., and (4) Chr., sons of 
 (i) ; violinists. 
 
 Steg'gall, (i) Chas., London, June 3, 
 1826; pupil of Bennett, R. A. M., 
 1S51; prof, of org. and harm, there; 
 Mus. Bac. and Mus. Doc. , Cambridge; 
 from 1864, organist Lincoln's Inn 
 Chapel ; wrote method for org.; ed. 
 colls., and c. Psalms 105, and 33 
 with orch. ; services, etc. (2) Regi- 
 nald, b. London, April 7, 1867 ; son 
 and asst. -organist of above ; pupil, 
 R.A.M.; from 1895, prof, of org. 
 there ; c. mass with orch. and organ, 
 ''Festival Evening Service" with 
 orch., a symph., 3 overtures, etc. 
 
 Stegmann' (stakh'-man), K, David, 
 Dresden, 1751 — Bonn, 1826; tenor, 
 cond. and dram, composer. 
 
 Stegmayer (shtakh'-mT-er), Fd., Vien- 
 na, 1S03 — 1863 ; conductor, singing- 
 teacher and composer. 
 
 Stehle (shta'-le), Gv. Ed., b. Stein- 
 hausen, WUrtemberg, Feb. 17, 1839 ; 
 cond. at St. Gallen Cath.; c. symph. 
 tone-picture " Saul" for org. 
 
 Steibelt (shtl'-belt), Daniel, Berlin, 
 1765 — St. Petersburg, 1823 ; a most 
 unvirtuous virtuoso. Under patron- 
 age of the Crown Prince, a pupil of 
 Kirnberger ; early debut; 1790, fa- 
 vourite pianist, teacher and com- 
 poser at Paris ; prod. v. succ. opera 
 '' Ronu'o et Juliette" (1793). He 
 seems to have suffered from klepto- 
 mania and general dishonesty, which. 
 
 L 
 
DICTIONARY OF MUSICIANS 749 
 
 with his insolence, snobbery, and his 
 debts, forced him to leave Paris in 
 1797, for London, where he was 
 equally succ. ; the ''Storm Rondo" 
 (or the finale of his 3rd concerto 
 ''L'Orage, pr/ct'de d' tin rondeau pas- 
 toral"), rivalling the notorious 'Bat- 
 tle of Prague" by Koczwara. I799, 
 he toured Germany, challenging 
 Beethoven at Vienna with disastrous 
 results. He carried Haydn's "Crea- 
 tion " back to Paris and prod, it, 
 1800, with great succ, with himself as 
 cembalist ; but had to leave Paris 
 again, remaining in London, until 
 1805, when he revisited Paris for 3 
 years ; 1808 toured and settled in 
 Petersburg; 1810, Imp. ct. - cond. 
 and cond. of French Opera ; here 
 prod. 2 new operas, as well as earlier 
 ones. In spite of his odious personal- 
 ity, his virtuosity was remarkable, 
 and his compositions show much orig- 
 inality in modulation and scoring. 
 He wrote a pop. pf. -method ; c. 6 
 operas, 5 ballets, and much piano- 
 mus., including 50 etudes, many 
 programme - pes. of extraordinary 
 vogue. 
 Stein (shtin), (i) Jn. Andreas, Heide- 
 sheim. Palatinate, 1728 — Augsburg, 
 1792; inv. " German (Viennese) pf.- 
 action " ; organist and famous pf.- 
 maker. Succeeded by son (2) Mat- 
 thaus Andreas (Augsburg, 1776 — 
 Vienna, 1842), who 1802 set up for 
 himself in Vienna. (3) Maria Anna 
 (or Nanette Streicher), Augsburg, 
 1769 — Vienna, 1835 ; daughter of (i); 
 a devoted friend of Beethoven ; also 
 a manager of the pf. -factory. Her 
 son (4) Jn. Bapt. (b. Vienna, 1795), 
 was her successor. (5) Fr., Augs- 
 burg, 178 1 — (of consumption) Vienna, 
 1808 ; bro. of above ; prominent pi- 
 anist. (6) Karoline (nee Haar), 
 pianist and teacher. (7) K. An- 
 dreas, Vienna, 1797 — 1863 ; son and 
 successor of (2) ; pupil of Forster, 
 ct.-pf. -maker and composer. (8) 
 Eduard, Kleinschirma, Saxony, 1818 
 — Sondershausen, 1J64 ; ct. - con- 
 
 ductor and composer. (9) Theodor, 
 b. Altona, 1819; pianist; debut at 
 12 ; since 1872, pf.-prof. Petersburg 
 Cons. (10) Gertrude May, b. Al- 
 bany, U. S. A. ; pupil C. A. White ; 
 1891, toured with the Juch Opera 
 Co. ; prominent American contralto ; 
 1901 m. L. A. Bailey. 
 
 Steinbach (shtln'-bakh), (i) Emil, b. 
 Lengenrieden, Baden, Nov. 14, 1849; 
 pupil Leipzig Cons.; 1877, cond. 
 Mayence town-orch ; c. orch. and 
 chamber-mus. , etc. (2) Fritz, b. 
 Grunsfeld, Baden, June 17, 1855 ; 
 bro. and pupil of above ; also pupil 
 Leipzig Cons. ; won Mozart Scholar- 
 ship ; 1880-86, 2nd cond. at Ma- 
 yence ; since 1886 ct.-cond. Meining- 
 en ; pub. a septet, 'cello-sonata, 
 songs. 
 
 Steindel (shtln'-del), (i) Bruno, b. 
 Zwickau, Saxony, ca. 1864 ; ist 'cel- 
 lo, Berlin Philh.; later in the Chicago 
 Orch. (2) Bruno, b. Munchen- 
 Gladbach, Germany, 1890 ; pianist ; 
 son and pupil of mus.-dir. in that 
 town ; played in pubHc at 6 ; has 
 played since in Germany and Lon- 
 don. 
 
 Steiner. Vide stainer. 
 
 Steingraber (shtln'-grap-er), Theo- 
 dor, b. Neustadt-on-the-Orla, Jan. 
 25, 1830; founder of Hanover mus.- 
 pub. firm ; since 1890 in Leipzig ; 
 wrote a pf. -method under the pseud. 
 " Gustav Damm." 
 
 Stein way & Sons, firm of pf .-makers. 
 New York and Hamburg ; founded 
 by (i) H. Engelhard Steinweg 
 (shtin'-vakh), Wolfshagen, Harz, 
 1797 — New York, 1871 ; journeyman 
 org. -builder, Seesen, ca. 1820 ; he 
 worked at night on his first piano, 
 which combined the good points of 
 Old English and recent German 
 instrs.; it made immediate succ; after 
 the Revolution of 1848, he emigrated 
 to New York in 1850 with four sons, 
 (2) Chas., Seesen, 1S29— 1865. (3) 
 H., Seesen, 1829— New York, 1865. 
 (4) Wm., Seesen, 1836— New York, 
 1896 ; (5) Albert, Seesen, 1840 — 
 
750 
 
 THE MUSICAL GUIDE 
 
 New York, 1877 ; leaving the busi- 
 ness in charge of (6) Theodor (See- 
 sen, 1825 — Brunswick, 1889). Fa- 
 ther and sons worked in different 
 factories till 1853, when they com- 
 bined as Steinway & Sons. In 1865 
 Theodor, who had moved to Bruns- 
 wick, sold the business to the tirm 
 Grotrian, Helferich & Schulz, Theo- 
 dor Steinwegs Nachfolger (i. e. " suc- 
 cessors") (v. STEiNWEG), and be- 
 came a partner in the N. Y. firm, 
 now the largest of its kind in the 
 world. 
 
 Steinweg, Original form of " Stein- 
 way " (q. V. No. 6). 
 
 Stelzner (shtelts'-ner). Dr. Alfred, b. 
 Wiesbaden ; lives in Dresden ; inv. 
 the violotta and cellone, etc. (v. 
 D.D.) ; they were used in the orch. of 
 his fairy opera '' KUbezahV (Dres- 
 den, 1902). " He was diflident as a 
 performer, but his compositions for 
 the 'cello must render his name im- 
 mortal, for though the list of his 
 works only amount to 13, the origi- 
 nality and purity of them entitle him 
 to rank among the very first writers. 
 He is often called the Beethoven of the 
 violoncello, nor can that be consid- 
 ered too high praise" (George Her- 
 bert). 
 
 Stephens, (i) Dr. John, d. 1780; or- 
 ganist Salisbury Cath.; composer. 
 
 (2) Cathenne,' London, 1791 (94?) 
 — 1SS2 ; opera and concert-soprano. 
 
 (3) Chas. Edw., London, 1821 — 
 1892 ; nephew of above ; pianist ; 
 teacher, organist and composer. 
 
 Sterkel (shter'-kel). Abbe Jn. Fz. X., 
 Wlirzburg, 1750 — Mayence, 1817 ; 
 conductor, organist and composer. 
 
 Sterling, (i) Antoinette, b. Ster- 
 lingville, N. Y., Jan. 23, 1850; con- 
 cert and oratorio contralto, range 
 e flat—/" (v. PITCH, D. D.) ; pupil 
 of Mme. Marchesi, Viardot-Garcia 
 and Manuel Garcia ; sang for a time 
 in Henry Ward Beecher's Ch., at 
 Brooklyn ; from 1873, London ; 1875, 
 m. John MacKinlay. (2) Win- 
 throp S., b. Cincinnati, 1859; pupil 
 
 of Coll. of Mus. and Leipzig Cons., 
 also under R. Hoffman (comp.) and 
 Frau Unger-Haupt (voice), later in 
 London under Turpin, Behnke and 
 Shakespeare ; organist W' est London 
 Tabernacle ; from 1887, prof. Cin- 
 cinnati Coll. of Mus. 
 
 Stern (shtern), (i) G. Fr. Th^ophile, 
 Strassburg, 1803 — 1886; organist 
 and composer. (2) Julius, Breslau, 
 1820 — Berlin, 1883 ; cond., teacher 
 and composer. (3) Margarethe 
 (nee Herr), b. Dresden, Nov. 25, 
 1857 ; pianist ; pupil of Karl Kragen, 
 Liszt and Frau Schumann ; 1881, she 
 m. the poet Dr. Adolph Stern, Dres- 
 den. (4) Leo, b. Brighton, Engl., 
 1870 ; 'cellist ; pupil of Piatti and of 
 Klengel and Davidoff, Leipzig ; first 
 tour, 1888 (with Piatti) ; made succ. 
 tours in P'rance ; 1897, America ; c. 
 'cello pieces, etc. 
 
 Sternberg (stern'-berkh), Constantin 
 (Ivanovitch), Edler von, b. St. 
 Petersburg, July 9, 1852; pianist; 
 pupil of Leipzig Cons., Berlin Aka- 
 demie, and of Liszt ; conductor va- 
 rious churches ; from 1877, toured 
 widely ; 18S0, United States ; from 
 1890, dir. "Sternberg Sch. of Mus.," 
 Philadelphia; c. 2 pf. -trios, '' Danses 
 cosaques" for vln., 'cello-fantasia, 
 etc. 
 
 Stevens, (i) Richard J. Samuel, 
 London, 1757 — 1837; organist, com- 
 poser and prof. (2) Kitty. Vide 
 STEPHENS (2). 
 
 Stevenson, (i) Sir J. Andrew, Dub- 
 lin, ca. 1762 — 1833; Mus. Doc; c. 
 Irish operas ; son of (2) John (vio- 
 linist in the State-Band at Dublin). 
 (3) E. Irenaeus. Vide prime-stev- 
 
 ENSON. 
 
 Stewart, Sir Robt. Prescott, Dub- 
 lin, 1825— 1894; organist, professor, 
 conductor^and composer. 
 
 Stiastny (Stastny) (sht'yast'-ne), (i) 
 Bd. Wenzel, Prague, 1760— 1S35 ; 
 'cellist, professor and composer. (2) 
 Fz. Jn., Prague, 1764 — Mannheim, 
 ca. 1820 ; bro. and pupil of above , 
 'cello-virtuoso and composer. 
 
DICTIONARY OF MUSICIANS 75' 
 
 Stich (stlkh), Jan Vaclav (or Jn. 
 Wenzel) (Italianised as " Giovan- 
 ni Punto "), Zchuzicz, Bohemia, 1748 
 — Prague, 1S03 ; eminent horn-virtu- 
 oso, writer and composer. 
 
 Stiehl (shtel), (r) H. (Fz. Daniel), 
 Liibeck, 1829 — Reval, 1886 ; organ- 
 ist, conductor and dram, composer. 
 (2) K. Jn. Chp., b. Liibeck, 1826 ; 
 bro. of above ; organist and compos- 
 er ; from 1878, conductor and critic 
 Liibeck ; and mus.-custodian in the 
 library ; pub. historical works on 
 Liibeck. 
 
 Stiehle (shte'-le), L. Maximilian 
 Ad., b. Frankfort, Aug. 19, 1850; 
 violinist ; pupil of Vieuxtemps, Her- 
 mann and Joachim ; lives at Basel. 
 
 Stigelli (rightly G. Stiegele) (stl-gel'- 
 le, or shte'-ge-le), Giorgio, Ingstet- 
 ten, 18 19 — at his villa n. Monza, 
 Italy, 1868 ; tenor and composer. 
 
 Stimp'son, Jas., b. Lincoln, 1820; 
 organist various churches in Engl.; 
 prof, of mus. Blind Inst.; editor, or- 
 ganist and composer. 
 
 Stirling, Elizabeth, Greenwich, 1819 
 — London, 1895 ; organist and com- 
 poser. 
 
 Stobaus (shto'-ba-oos), Jn., Graudenz, 
 W. Prussia, 1580 — Konigsberg, 1646; 
 bass, conductor and composer. 
 
 Stockhausen (shtok'-how-zen), (i) 
 Fz., 1792— 1868; harpist and com- 
 poser. His wife (2) Margarethe 
 (nee Schmuck), Gebweiler, 1803 — 
 Colmar, 1877; pupil of Cartruffo, 
 Paris ; concert-soprano ; toured with 
 her husband. (3) Julius, b. Paris, 
 July 22, 1826 ; barytone and eminent 
 teacher ; son of above ; pupil of 
 Paris Cons, and of Manuel Garcia ; 
 succ. concert-singer; 1862-67, cond. 
 Philh. Concerts and Singakademie, 
 at Hamburg ; 1S69-70, chamber- 
 singer at Stuttgart; 1878-79 and 
 1882-98, teacher of singing, Hoch 
 Cons., Frankfort: since private 
 teacher; pub. a Method. (4) Fz,, 
 b. Gebweiler, Jan. 30, 1839 ; pupil of 
 Alkan and of Leipzig Cons.; 1868- 
 79, cond. at Strassburg ; from 1871, 
 
 teacher Strassburg Cons.; 1892, R. 
 Prof. 
 
 Stojowski (sto-yof'-shkl), Sigismund, 
 b. Strelce, Poland, May 2, 1S70 ; pi- 
 anist ; pupil of L. Zelenski at Cra- 
 cow, and at Paris Cons., winning ist 
 prizes for pf. and comp.; studied 
 with Paderewski ; lives in Paris, as 
 teacher ; comp. pf. -concerto, suite 
 and variations for orch., songs, pf.- 
 pcs., etc. 
 
 Stokes, Chas., b. 1784, Engl.; or- 
 ganist, pianist, teacher, composerand 
 theorist. 
 
 Stoltz, (i) Rosine (rightly Victorine 
 Nob) (shtolts or nap), Paris, Feb. 13, 
 1S15 — (?) ; pupil of Choron's Sch.; 
 mezzo-soprano ; 1837-47, Gr. Opera, 
 Paris ; other stage-names " Mme, 
 Ternaux," " Mile. H61oise," 
 " Rose Niva " ; m. successively a 
 baron and 2 princes ; c. 6 songs. (2) 
 Therese, Trieste, _ 1838 ?— -Milan, 
 1902 ; soprano ; debut. La Scala, 
 1865 ; created " Ai'da " in Italy ; in- 
 timate friend of Verdi ; married after 
 1875 and retired. 
 
 Stoltzer (shtolts'-er), Thos., Silesia, 
 ca. 1490 — Ofen, 1526; ct.-conductor 
 and composer. 
 
 Stdlz(e)l (shtelts'-el), Gf. H., Grun- 
 stiidtl. Saxony, 1690 — Gotha, 1749 ; 
 ct.-conductor and dram, composer. 
 
 Stolzenberg (shtol'-tsen-berkh), Ben- 
 no, b. Konigsberg, Feb. 25, 1829; 
 tenor; pupil of Mantius and H. 
 Dorn ; debut, Konigsberg, 1852 ; 
 dir. Danzig City Th.; teacher, Ber- 
 lin ; 1885, Cologne Cons. ; from 1896, 
 dir. of a vocal sch. at Berlin. 
 
 Stopel (shta'-pel), Fz. (David Chp,), 
 Oberheldrungen, Saxony, 1794 — 
 Paris, 1836 ; theorist. 
 
 Sto'nard, Wm., d. 1630 ; organist 
 and composer at Oxford. 
 
 Stor (shtar), K., Stolberg, Harz, 1814 
 — Weimar, 1889 ; violinist, cond. 
 and dram, composer. 
 
 Sto'race, (i) Stephen, London, 1763 
 — (of gout) 1796, prod. iS stage- 
 works, son and puipil of (2) Stefano 
 S., an Italian double-bass-player. 
 
752 
 
 THE MUSICAL GUIDE 
 
 (3) Anna Selina (1766 — 1817), fa- 
 mous colorature-soprano ; daughter 
 and pupil of (2) ; sang in public at 8; 
 then debut, Florence, 1780; created 
 "Susanna" in Mozart's "Figaro." 
 
 Storch (storkh), M. Anton, Vienna, 
 1 8 13 — 1888 ; conductor and com- 
 poser. 
 
 Stowe (shta'-ve), Gv., Potsdam, 1835 — 
 1 891; dir. and composer. 
 
 Stradella (stra-del -la), Alessandro, 
 probably Naples or Venice, ca. 1645 
 — Genoa, after 168 1 (the date of his 
 last cantata) ; important Italian com- 
 poser, of whom little is actually 
 known, though he is the hero of an 
 extraordinarily melodramatic legend 
 of jealous nobility, paid assassins, 
 and love pursued. In a work by 
 Bonnet-Bourdelot (1715), it is said 
 that his name was Stradel and being 
 engaged to write an opera for Venice, 
 he eloped with the mistress of a 
 nobleman who sent paid bravi to as- 
 sassinate him in Rome. These men 
 were overcome by the beauty of an 
 oratorio of his and warned him of his 
 danger. He fled to Turin with the 
 woman who passed for his wife, and 
 after being followed here and there, 
 and recovering from numerous 
 wounds, was finally slain in Genoa. 
 Flotow made an opera of this story, 
 in which there is much that is in- 
 credible. S. was also credited with 
 being a singer and poet, ar,d a wonder- 
 ful harpist. In any case, 148 of his 
 works exist in MS. in the Modena 
 Library, and others elsewhere, incl. 
 8 oratorios, many cantatas, madri- 
 gals, duets, etc. The church-aria 
 '' Fieta, Signore" and the arias " O 
 del mio dolce ardor" and " & i niiei 
 sospiri" are probably wrongly at- 
 tributed to him. Monographs by P. 
 Richard, "A. Stradella" (1S66), and 
 Calelane. 
 
 Stradivari (Stradivarius) (strad-K-va- 
 re, or -va -rl-oos), (i) Antonio, Cre- 
 mona, 1649 (1650?) — Dec. 17 (18?), 
 1737 ; maker of vlns., vlas. , 'cellos, 
 etc., who established a type and pro- 
 
 portion never improved ; his tone is 
 also supreme among vlns. (with the 
 possible exception of those of Jos. 
 Guarneri) ; he probably worked" foi 
 Niccolo Amati, 1667-79 ; 1680, he 
 purchased the house in which his 
 workshop thereafter was situated ; 
 1700-25, is his best period, but he 
 worked to 1736; his label reads " An- 
 tonius Stradivarius Cremonensis. 
 Fecit Anno . . . (A f S)." 01 
 his eleven children, 2 sons, (2) Fran. 
 (1671 — 1743) and (3)Omobono (167C1 
 — 1742), were his assistants. Mono- 
 graphs, by Lombardini (1872), Fetis 
 (1856) ; Wasielewski, and Riech- 
 ers. 
 Straeten, van der. Vide vander- 
 
 STKAETEN. 
 
 Strakosch (shtra'-kosh), (i) Moritz, 
 Lemberg, Galicia, 1825 (1830?) — 
 Paris, Oct. 9, 1887 ; pianist and im- 
 presario ; c. operas ; teacher of Ade- 
 lina, and husband of Carlotta, Patti. 
 (2) Max, d. New York, 1892 ; bro. 
 of above and equally famous as im- 
 presario. (3) Phoebe ; soprano 
 niece of above ; debut in opera, 
 Trieste, iSg6; has sung at Coveni 
 Garden, Met. Op., etc. 
 
 Stratton, Geo. W., Swanzey, N. H 
 U. S. A. — Berlin, 1901 ; lived BostO] 
 as composer. 
 
 Straube (strow'-be), C. ; pupil of Rie 
 mann, Rufer, and A. Becker ; 1902 
 organist Thomaskirche (vice C 
 Piatti). 
 
 Strauss (shtrows), (i) Jos., Briinn 
 1793 — Carlsruhe, Dec. i (2?), 1866 
 violinist, mus. -director, ct.-conduct-| 
 or ; c. operas. (2) Jn. (Sr.), Vienna, 
 March 14, 1804 — (of scarlet fever^ 
 Sept. 25, 1849, " The Father of the 
 Waltz " ; son of proprietor of a beei 
 and dance-hall ; conductor and com- 
 poser of 152 waltzes all more or lessff 
 famous. (3) Jn. (Jr.), Vienna, Oct,]' 
 25, 1825 — June 3, 1899; " Tht'': 
 Waltz-King"; son of above, whoop-' 
 posed the mus. tastes of the three 
 sons, for whom the mother secureci 
 secret instruction. In 1844 conduct- 
 
 fe 
 
 F 
 
 1 
 
DICTIONARY OF MUSICIANS 753 
 
 or of court - balls and very succ. 
 orch. concerts. He had c. a waltz 
 at 6, and his later comps. eclipsed 
 the success of those of his father, 
 after whose death he united the two 
 orchestras. 1S62, he m. the singer 
 Henriette Treffz (d. 1878), and later 
 the singer Angelica Dittrich ; c. 400 
 pes. of dance-music ; his waltzes 
 " The beautiful blue Danube" 
 '''' Kiinstlerleben" " IViener Bhct" 
 " The 100 1 Nights" " Wine, Wom- 
 en and Song^" etc., a.Te. dance-rhap- 
 sodies whose verve and colour have 
 deserved and won the highest praise 
 of severe musicians. His light operas 
 rival his waltzes in charm and succ. 
 and incl. the v. succ. " Die Fleder- 
 maus" ('74). (4) Jos., Vienna, April 
 25, 1827 — July 22, 1870; bro. of 
 above, during whose illness in 1853 
 he served as cond.; later formed an 
 orch. of his own and learned the vln.; 
 on a tour to Warsaw he was mal- 
 treated by Russian officers for whom 
 he had refused to play, and died in 
 the arms of his wife (whom he had 
 m. in 1857) ; he c. 283 dances. (5) 
 Eduard, b. Vienna, Feb. 14, 1835 ; 
 bro. and succ. of Johann as cond. of 
 the ct. -balls and orch.; took his orch. 
 to America 1892 and 1900 ; c. dance- 
 mus. (6) Ludwig, b. Pressburg, 
 March 28, 1S35 — Cambridge, Engl., 
 1899 ; violinist. (7) Victor von, 
 Royal opera conductor, Berlin, 1902. 
 (8) Richard, b. Munich, June 11, 
 1864 ; composer ; daring and brilliant 
 musical adventurer ; son of (8) Fz. 
 S. (chamber-mus. and horn-player) ; 
 studied also with W. Meyer. At 4 
 
 he c. a polka. He took a regular 
 Gymnasium course 1874-82, and spent 
 two years at the univ. At 17 his 
 first symph. was prod, by Levi ; his 
 " Serenade" for 13 wind-instrs. had 
 much succ. with the Meiningen orch. 
 under von Billow, to whom S. be- 
 came asst., and (1885) successor as 
 ct.-mus. dir. at Meiningen ; 1886, 
 3rd cond. at Munich ; 1889, ct.-cond. 
 at Weimar under Lassen; 1894, cond. 
 at the ct. -opera, Munich, also 1894, 
 cond. Berlin Philh., and from 1898, 
 cond. at Berlin Royal Opera. He 
 m. the soprano, Pauline de Ahna, 
 who created " Freihilde " in his opera 
 " Guntram " (Weimar, 1894, Munich, 
 '95). His i-act opera " Feuers- 
 noth" ("Fire-Famine"), libretto by 
 Wolzogens, was prod. Dresden, Nov. 
 21, 1901, with much success. He has 
 also cond. with great succ. in various 
 cities. C. symph. op. 12 ; symphonic 
 fantasie ''A us Italien" " Wanderers 
 Sturmlied" (Goethe), for 6-part cho- 
 rus, and full orch.; tone - poems, 
 '"Don Juan" op. 20; ''Macbeth" 
 op. 23; " Tod und Verkldrung" op. 
 24, the symph. poems " Also sprach 
 Zarathustra " (after Nietzsche), "^i« 
 Heldenleben" {op. 40), and ''Don 
 Quixote " ; op. 28, Orchester-Rondo 
 " Till EulenspiegeV s lustige Streiche" ; 
 chamber-mus.; vln. -concerto ; 5 
 " Stimmungsbilder " for pf. ; concer- 
 to for Waldhorn ; " Enoch Arden" 
 melodrama for pf. and recitation, 
 and songs. 1 6-part a cappella chorus 
 " Der Abend" (1902), ballad for 
 chorus and orch. "Taillefer" (1902). 
 Biog. by Dr. Arthur Seidl (Prague). 
 
 Richard Strauss. 
 
 By James Huneker. 
 
 THAT Richard Strauss was the son of the famous horn-player, may 
 explain his predilection for the beautiful instrument. ^At Meiningen 
 he met Alexander Ritter, a pupil of Wagner, and this friendship, 
 with Von Billow's daily coaching, decided Richard Strauss's tendency in 
 
754 THE MUSICAL GUIDE 
 
 i]£ 
 
 ■i ^ 
 
 art. He became a composer of the future, a man of the new school. He 
 travelled much — he went to Greece, Italy, and Egypt for incipient lung- 
 trouble — and on "guesting" tours, on which he was received with en- 
 thusiasm, for he is a modern conductor in all the implications of the phrase. 
 A man of good physique, Scandinavian in appearance, Strauss is widely 
 cultured and well read in classical and modern literature. ^In music he is a i 
 true descendant of Berlioz, Liszt, and Wagner, though early in his career hei 
 showed marked traces of a devotion to Brahms. This is more noticeable in 
 his piano and orchestra Burleske in D minor, in the solo sonata and in the 
 " Wanderer' s Sturmlied,'" opus 14, for six-voiced chorus and orchestra. 
 But the Richard Strauss we know to-day stands for all that is revolutionary] 
 in the art. ^He has in his symphonic forms pushed to the verge of thej 
 sublime — or the ridiculous, — or both — the poetic programme (Vide D. D.,f W 
 " program music ") . Yih " Don Juan, ^' '^Macbeth,'"'' '■'Death and Trans- 
 figuration,'''' "Till EulenspiegeV s Merry Pranks,'''' "Thus Spake Zarathus- 
 tra,^' " Don Quixote," and " Bin Heldenleben " are tokens of labours; 
 almost Balzacian in their intensity. An emotional strenuousness, a marvel-j 
 lous mastery of the orchestral apparatus, an abnormal colour and rhythmic! 
 sense, combined with poetic feeling, bizarre, even grotesque methods of ut 
 terance, an utter defiance of formalism either classic or romantic, and 
 thematic invention not commensurate with his other gifts — all these quali- 
 ties jumbled in amazing juxtaposition and flavoured by a powerful individu- 
 ality, easily made Richard Strauss the leader of the New German School anc 
 a formidable figure in the musical arena. ^Since his flaming utterances ir 
 '♦ Don Quixote'"'' and " A Hero'' s Career " the faith of some of his mos 
 ardent disciples has been rudely shaken. " Either retreat or madness " i; 
 the critical cry, and Strauss is not a man to be moved by prayer or assault 
 So we find his two new solos for barytone and orchestra, sung at the Lowe] 
 Rhine Festival, June, 1900, in Aix-la-chapelle, more eccentric than ever 
 ^A brilliant composer, a strikingly intellectual man, Richard Strauss to-da} 
 may be fairly called the leader of the musical Decadence. As a song-write 
 his various collections have met with the greatest success, for he has a happ^ 
 method of welding music and poem into a perfect, if somewhat startling] 
 whole. Form he abandons utterly, striving to capture the idea as he per; 
 ceives it, in its full bloom. Opera 10, 15, 17, 127, 29, 32, are favourites 
 the newer songs are very difficult and almost cryptic in sentiment and execu 
 tion. Richard Strauss is the greatest living master of the orchestra. 
 
 Streabbog. Vide gobbaerts. of Bizet and Damcke, Paris ; criti 
 
 Street (shtrat), G. Ernest, b. of there; since 1S9S, of ''L Eclair" 
 
 French parents, Vienna, 1S54 ; pupil c. operettas, i-act mimodrain 
 
 l 
 
DICTIONARY OF MUSICIANS 755 
 
 "Fides" (Op.-Com., 1894), 3-act 
 opera " Mignonette" parody of 
 Thomas's '' Alignon" {iZ()b), ballet, 
 " Scaramouche "with Messager.iSgi, 
 etc. 
 
 Streicher (shtri'-kher), (i) Jn. Andre- 
 as, Stuttgart, 1761 — Vienna, 1S33 ; 
 piano-maker and professor ; 1793 inv. 
 the pf.-action which drops the ham- 
 mer from above ; succeeded 1S32 by 
 his son (2) Jn. Bapt., 1794 — 1871, 
 who ' was succeeded by his son (3) 
 Emil. 
 
 Strelezki (stre-let'-shkt), Anton (pen- 
 name of a Mr. Burnand (?)), b. 
 Croydon, Engl., Dec. 5, 1S59 ; pupil 
 of Leipzig Cons., and of Frau Schu- 
 mann ; c. popular songs, and pf.- 
 pcs. 
 
 Strepponi. Vide ve'rdi. 
 
 Striggio (strld'-j6), Ales.,b. Mantua, 
 ca. 1535; lutenist, composer and 
 conductor. 
 
 Strinasacchi (stre-nji-sak'-ke), Regi- 
 na, Ostiglia, near Mantua, 1764 — • 
 1823 ; violinist. 
 
 Stro'gers, Nicholas, English organ- 
 ist and composer, 1685. 
 
 Strohmeyer (shtro'-ml-er), d. Weimar, 
 1845 ; bass. 
 
 Strong, G. Templeton, b. New 
 York, ca. 1855 ; pupil of Leipzig 
 Cons., and lives in Berlin ; c. symph. 
 " In den Bergen " ; symph. poem 
 " Undine" (op. 14) ; " Gestrebt — • 
 Gewonnen — Gescheitert" ;{. orch. with 
 vln.-obbligato; choral works with 
 orch.; pf.-pcs., etc. 
 
 Stroud, Chas., 1705 — 1726; Engl, 
 organist and composer. 
 
 Strozzi (strod'-ze), (i) Pietro, b. Flor- 
 ence, i6th cent.; co-founder of the 
 stile rappresentativo (v. peri) ; set 
 to music Caccini's " Iai Mascarada 
 degli Accecati" 1595. (2) Abbate 
 Gregorio, apostolic protonotary at 
 Naples ; composer, 1683. 
 
 Strube (shtroo'-be), Gustav, b. Ballen- 
 stedt, Harz, March 3, 1867 ; violin- 
 ist ; pupil of his father ; at 10 in 
 Ballenstedt orch.; at r6 pupil of Leip- 
 zig Cons.; played in the Gewand- 
 
 haus Orch. ; later prof, at Mannheim 
 Cons.; 1889, Boston, Mass., in 
 Symph. Orch.; c. symph., etc. 
 
 Struck (shtrook), Jn. Bapt. (called 
 Batistin), Florence, ca. 1680 — Paris, 
 1755 ; 1st 'cellist that ever played in 
 Paris Opera orch.; c. operas. 
 
 Strungk (or Strunck) (shtroonk), Ni- 
 kolaus Adam, Celle, Hanover, 1640 
 — Leipzig, 1710; violinist, organist 
 and dram, composer. 
 
 Struss (shtroos), Fz., b. Hamburg, 
 Nov. 28, 1847 ; violinist ; pupil of 
 Unruh, Auer, and Joachim ; 1870, 
 member Berlin ct. - orch.; 1885, 
 "chamber-virtuoso"; 1887, ct.-Con- 
 zertmeister; also teacher Klindworth- 
 Scharwenka Conservatorium. 
 
 Stumpf(f) (shtoompf), (i) Jn. Chr., 
 bassonist at Paris, ca. 1785 ; com- 
 poser. (2) K., b. Wiesentheid, Lower 
 Franconia, April 21, 1848 ; lives in 
 Munich ; theorist. 
 
 Stuntz (shtoonts), Jos. Hartmann, 
 Arlesheim, near Basel, 1793 — Munich, 
 1859 ; dram, composer. 
 
 Sturmer (shtTr'-mer), Heinrich, 1811 
 — Leipzig, igo2 ; operatic bass. 
 
 Succo (zook'-ko), Reinhold, Gorlitz, 
 1837 — Breslau, 1897; organist, 
 teacher and composer. 
 
 Such (zookh), Percy, b. June 27,1878; 
 'cellist ; studied with Robt. Haas- 
 manns ; toured ; lived in Berlin. 
 
 Sucher (zoo'-kher), (i) Josef, b. Dor- 
 bor, Hungary, Nov. 23, 1844 ; emi- 
 nent cond.; studied singing and the 
 vln., Vienna; pupil of Sechter 
 (comp.) ; vice-cond. of the acad. Ge- 
 sangverein; coach for solo singers 
 at the ct. -opera ; 1876, cond. Leipzig 
 City Th. ; 1877, m. the distinguished 
 Wagnerian soprano, (2) Rosa 
 Hasselbeck (b. Velburg, Upper 
 Palatinate) ; 1878-88 they were en- 
 gaged by Pollini at Hamburg ; later 
 as cond. of the Royal Opera at Ber- 
 lin (retired 1899), and prima donna 
 (retired 1898). Frau S. was daugh- 
 ter of a musician and sang small roles 
 at Munich and elsewhere at first ; 
 later prominent in Wagner opera, 
 
756 
 
 THE MUSICAL GUIDE 
 
 which she sang at Bayreuth and in 
 America. 
 
 Sudds, Wm., b. London, Engl., 
 March 5, 1843 ; at 7 moved with 
 his parents to a farm in Gouverneur, 
 N. Y. ; self-taught; a bandm. dur- 
 ing the Civil War, and later pupil of 
 Eugene Thayer (org.), and J. Eich- 
 berg (vln. and comp.), Boston Cons. 
 of Music ; lives in Gouverneur as 
 teacher and pub. of various methods ; 
 c. 4 overtures, many dances, marches, 
 church mus., etc., for pf., incl. can- 
 tata " The Star of Bd hie hem." 
 
 Suk (sook), Josef, b. Kre6ovic, Bo- 
 hemia, Jan. 4, 1874; violinist ; pupil 
 and son-in-law of Dvorak at Prague 
 Cons., 1S96, 2nd vln. "Bohemian 
 String-Quartet " ; c. a dramatic over- 
 ture " Winter s Tale," symphony in 
 E ; suite for orch. op. 16 " Ein 
 Mdrchen " (1898), etc. 
 
 Sullivan, Sir Arthur Seymour, Lon- 
 don, May 14, 1842 — Nov. 22, igoo ; 
 eminent composer of national Eng- 
 lish comic opera ; v. succ. in church- 
 mus. also; at 12 a chorister under 
 Helmore, Chapel Royal ; at 13 pub. 
 a song ; 1856, the first Mendelssohn 
 Scholar at the R. A. M.; studied also 
 at Leipzig Cons., etc. At 18 cond. 
 his overture '' Lalla Rookh" ; at 20 
 prod, his mus. to " The Tempest" 
 (Crystal Palace) ; at 22 his notable 
 cantata ^' Kenihuorth" (Birmingham 
 festival) ; cond. of the London Phil- 
 harm. (1885-87); and from 1880, 
 the Leed's Festivals. 1876-81, prin- 
 cipal, and prof, of comp. at the 
 Nat. Training Sch. for Mus. ; Mus. 
 Doc. h.c, Cambridge (1876), and 
 Oxford (1879) ; Chev. of the Legion 
 of Honour, 1878 ; grand organist to 
 the Freemasons, 1887 ; knighted, 
 1883. C. symphony (played at the 
 Gewandhaus, Leipzig, etc.) overtures 
 " In Memoriam " (on his father's 
 death), " Marmion" ''Di ballo," and 
 " Sapphire Necklace"; oratorios and 
 cantatas, incl. ''The Golden Legend" 
 (1886); "^ Festival Te Deum" 
 (1872), Ode " / Wish to Tune my 
 
 Quivering Lyre" with orch., and 
 succ. incid. mus. to 8 of Shake- 
 speare's plays and others ; c. much v. 
 succ. church-mus. of all kinds. His 
 operas include the grand opera, 
 '' Ivanhoe" (1891), the romantic 
 opera, ''Rose of Persia" (1900), 
 neither a succ. 
 
 His chief contribution to music, 
 was his brilliant series of truly Eng- 
 lish comic operas, with the equally 
 brilliant librettos of W. S. (iilbert. 
 Some of these had a world-wide 
 succ, and " /"(///fwf^ " was a satire 
 of equal effectiveness with Moliere's 
 ' ' Les P red e uses Ridicules." Among 
 16 comic operas were the following 
 great successes: "Cox and Box" 
 (1867), " Trial by Jury" (1875), 
 " H. M. S. Pinafore" (1878), " The 
 Pirates of Penzance" (1880), "Pa- 
 tience" (1S81), "lolanthe" (1882), 
 "The Mikado " (1885), "Ruddigore " 
 (1887), " The Yeomen of the Guard" 
 (1888), " The Gondoliers" " Utopia 
 {Limited)" (1893); " Contrabandis- 
 ia" (1867, revised 1894 as "The 
 Chieftain"), " The Emerald Isle" \ 
 (1901), finished by Edw. German ; 
 libretto by Basil Hood. 
 
 Sulzer (zool-tser), (i) Jn. G., Winter-^ 
 thur, 1719 — Berlin, 1779; writer and 
 professor. (2) Salomon, of Jewish; 
 parents, Hohenems, Vorarlberg, 1804; 
 — Vienna, 1890 ; prof, of singing andi 
 composer. (3) Julius, Vienna, 18341 
 — 1891 ; son of above ; violinist and- 
 conductor, and c. operas. His sisters 
 (4) Marie and (5) Henriette [are 
 singers. 
 
 Sunderland, Mrs. , b. Bright- 
 house, Yorkshire, 1 8 19; soprano ; re- 
 tired, 1864. 
 
 Suppd, Fz. von (fon-zoop'-pa), Spala- 
 to, Dalmatia, 1820 — Vienna, May 
 22, 1895 ; very popular operetta-com- 
 poser ; pupil of Padua, Cigala, and 
 Ferrari ; at first unpaid cond. at the 
 Josephstadter Th.; then at Pressburg 
 and Baden and at Vienna ; he c. 2 
 grand operas, a symph., a Missa Dal- 
 matica, a requiem, " Lestremo giudi- 
 
 1 
 
DICTIONARY OF MUSICIANS 757 
 
 zio" overtures (incl. the immensely 
 pop." Dichter und Batter'' pub. for 
 59 combinations). Of his Singspiele, 
 comediettas, etc., some (like " Tan- 
 tienkauser" and "■ DinoraW) are 
 parodies, of the others the most succ. 
 are '' Fatinitza" (Vienna, 1876), and 
 " Die Afrikareise " (18S3). 
 
 Surette (su-ret), Thos. Whitney, b. 
 Concord, Massachusetts, Sept. 7, 
 1862 ; graduated Harvard, 1891 ; 
 pupil there of Arthur Foote (pf .), and 
 J. K. Paine ; organist, Baltimore ; 
 then University Extension lecturer 
 (Phila., Pa.) ; wrote treatises, etc.; 
 pub. 2 - act operetta '■' Priscilla" 
 (given over 500 times), etc. 
 
 Suriano (or Soriano) (soo'- (or so') 
 
 . rl-a-no), Fran., Rome, 1549— Jan., 
 1620 ; conductor and notable com- 
 poser ; pupil of Nanini and Palestri- 
 na ; cond. S. Maria Maggiore, and 
 1603, at St. Peter's, Rome. 
 
 Sur'raan, Jos., 1803 — 1871 ; English 
 tenor, conductor and composer. 
 
 Susato. Vide tvlman susato. 
 
 Siissmayer (zus'-mi-er), Fz. X., 
 Steyr, Upper Austria, 1766 — Vienna, 
 1803 ; conductor and dram, com- 
 poser. 
 
 Svendsen(svent'-zen), (i) 01uf,Christi- 
 ania, 1832 — London, 1888 ; flutist. 
 (2) Johan (Severin), b. Christiania, 
 Sept. 30, 1840; important, though 
 eclectic composer ; son of a bandm.; 
 at II c. vln.-pcs. ; at 15 enlisted in 
 the army and was soon bandm., and 
 played flute, clarinet, and vln.; with 
 a stipend from Charles XV., he 
 studied vln.; at 23 he became pupil 
 of David and Hauptmann, Richter, 
 and Reinecke, Leipzig Cons.; toured 
 1868-69, in Musard's orch. ; and at 
 the Odeon, Paris ; 1869, Leipzig ; 
 187 1, m. an American in New York ; 
 1872-77, and 1880-83, cond. Christi- 
 ania Mus. Assoc; 1883, ct.-cond. at 
 Copenhagen ; from 1896, cond. 
 Royal Th. there. C. 2 symphonies, 
 overture to Bjornson's " Sigurd 
 Slembe" ; " Romeo and Juliet," fune- 
 ral march for Charles XV., corona- 
 
 tion march (for Oscar IL), wedding- 
 cantata, etc., with orch.; op. 16, 
 " Car naval des artistes ttorv/giens " 
 humorous march ; 4 " Norwegian 
 Rhapsodies" for orch.; vln. and 
 'cello concertos, chamber-music and 
 songs, etc. 
 
 Swan, Timothy, Worcester, Mass., 
 1758 — Northfield, 1842 ; teacher and 
 composer. 
 
 Sweelinck (or Swelinck, the best 2 
 of the 7 spellings) (sva'-link), (i) 
 Jan Pieter (called Jan Pieters- 
 zoon), Amsterdam, 1562 — Oct. 16, 
 162 1 ; chief of Dutch organists. Son 
 and (1577-81) successor, probably also 
 pupil, of (2) Pieter (d'. 1573), who 
 had won pre-eminence as the org.- 
 virtuoso and teacher of his own time; 
 (i) was the first to employ the pedal 
 in a real fugal part, and originated 
 the org. -fugue. 
 
 Sweet'hand, W., org. -builder, Bath, 
 Engl., 19th cent. 
 
 Swert, Jules de. Vide desw^ert. 
 
 Swieten (sve'-ten), Gf., Baron von, 
 1734 — Vienna, 1803; eminent patron, 
 but unimportant composer, of music; 
 c. 6 symphs. 
 
 Swinnerton, Heap. Vide heap. 
 
 Swoboda (sv6-b5'-da), August, d. 
 1901 ; teacher in Vienna ; pub. text- 
 books (1826-32). 
 
 Sylva (sel'-va), Eloi, b. Geeraerds- 
 bergen, Belgium, Nov. 29, 1847 ; 
 noted tenor ; studied Brussels Cons., 
 and with Duprez ; debut, Nantes ; 
 sang 7 years Paris Opera, then in 
 Russia, England and America ; 1889 
 Berlin. 
 
 Sympson. Vide simpson. 
 
 Szalit (sha-let), Paula; b. 1886 (?); 
 pianist ; pupil of Leschetizki. 
 
 Szarvady. Vide clausz-szarvady. 
 
 Sz6kely (sha'-ke-le), Imre (Emeric), 
 b. Malyfalva, Hungary, May 8, 
 1823 ; pianist ; studied in Pesth ; 
 toured 1846 ; from 1852 teacher 
 Pesth ; c. Hungarian fantasias on 
 national airs ; pf. -concertos, etc. 
 
 Szumowska (shoo-mof'-'shka), Antoi- 
 nette, b. Lublin, Poland, Feb. 22. 
 
758 
 
 THE MUSICAL GUIDE 
 
 1868 ; pianist ; pupil of Strobel and 
 Michalowski at Warsaw, and of 
 Paderewski at Paris ; has played 
 with great succ. at London, Paris, 
 New York, Boston, etc. ; m. Joseph 
 Adamowski ; lives in Boston. 
 Szymanowska (she-ma-nof'-shka), 
 Maria (nee Wolowska), Poland, 
 1790 — (of cholera), Petersburg, 1831 ; 
 pianist ; pupil of Field at Mos- 
 cow ; ct. -pianist at Petersburg ; 
 Goethe was infatuated with her 
 and she with him ; c. 24 mazurkas, 
 etc. 
 
 Tabourot (ta-boo-ro), Jean, Dijon, 
 15 19 — Langres, 1595 (?) ; a priest and 
 writer under the pseud. " Thoinot 
 Arbeau." 
 
 Tacchinardi (tak-kt-nar'-de), (i) Nico- 
 la, Florence, 1772 — 1859 ; at 17 a vio- 
 linist ; later a tenor of greatest Euro- 
 pean popularity, even singing " Don 
 Giovanni " (transposed) with succ, 
 though he was hideous and a hunch- 
 back. His daughter (2) Fanny Tac- 
 chinardi-Persiani (v. persiani). 
 His daughter (3) Elisa was a 
 pianist. 
 
 Tadolini (ta-do-le'-ne), (i) Giov., Bo- 
 logna, 1793 — 1872 ; dram, composer; 
 m! (2) Eugenia Savorini (b. Forli, 
 1809), a singer. 
 
 Taffenel (taf'-fii-nel), Claude Paul, 
 b. Bordeaux, Sept. 16, 1844; flutist, 
 pupil of Dorns (flute) and Reber 
 (comp.) ; 3rd cond. Grand Opera, ' 
 Paris; 1892, dir. Paris Cons, con- 
 certs — resigned, 1901 ; 1893, prof, of 
 flute there. 
 
 Tag (takh), Chr. Gotthilf, Bayerfeld, 
 Saxony, i735 — Niederzwonitz, iSli; 
 composer. 
 
 Tagliafico (tal-ya-fe'-ko), (i) Jos. 
 Dieudonn6, b. Toulon, Jan. i, 1821; 
 operatic singer and stage-manager in 
 
 London ; married (2) Cottis, 
 
 a singer. 
 
 Tagliana (tal-ya-na), Emilia, b. Mi- 
 lan, 1854 ; pupil of the Cons, there. 
 
 also of Lamperti ; colorature-soprano 
 in various cities; 1873-77, Vienna; 
 pupil of Hans Richter; 1881-82, 
 chamber-singer, Berlin. 
 
 Taglichsbeck (takh' - llkhs - bek), 
 
 Thos., Ansbach, 1799— Baden-Ba- 
 den, 1867; violinist, conductor and 
 dram, composer. 
 
 Taglioni (tal-yo'-ne), Fdo., b. Naples, 
 Sept. 14, iSio; son of the famous 
 ballet-master Salvatore T. (1790 — 
 1868). 1842-49, cond. at Laziano ; 
 till 1852, leader San Carlo Th., Na- 
 ples ; editor and conductor ; founded 
 a sch. for choral singing ; pub. 
 pamphlets and sacred songs. 
 
 Talexy (ta-lex-e), Adrien, Paris, 1820 
 — 1881; pf. -teacher and composer. 
 
 Tal(l)ys (or Tallis), Thos., ca. 
 (1520-29) — London, Nov. 23, 1585 ; 
 an early English composer whose re- 
 markable contrapuntal ability and 
 harmonic richness place him close to 
 Palestrina. His training is not known; 
 1540, he ceased to be organist at Wal- 
 tham Abbey and joined the Chapel 
 Royal ; he was co-organist with Byrd 
 and shared his monopoly of mus.- 
 paper and printing ; he c. notable 
 church mus. for both Catholic and 
 English services, also a song in 40 
 parts, etc. 
 
 Tamagno (ta-man'-yo), Fran., b. Tu- 
 rin, 1851; robust tenor; debu.i, Paler- 
 mo ; sang with great succ at Laj 
 Scala, Milan, 1880. Has sung throughli 
 out Europe and in both Americas. 
 18S7, he created Verdi's " Otello." 
 
 Tamaro (ta-mii'-ro), Josef, Barcelona, 
 1824 — New York, March 3, 1902 ; 
 noted tenor ; pupil of Lamperti ; 
 from 1876 teacher in America. 
 
 Tam'berlik, Enrico, Rome, 1820^ 
 Paris, 1889 ; famous tenor ; pupil of 
 Borgna and Guglielmi ; debut, Na- 
 ples, 1841; he had a powerful high . 
 c'". 
 
 Tamburini (tam-boo-re'-ne), A., Faen- 
 za, March 28, 1800 — Nice, Nov. 9, [ 
 1876. Next to Lablache, perhaps 
 the most succ. of male singers ; 
 lyric bass with compass of 2 octaves 
 
 t 
 
 It - 
 
 I 
 
DICTIONARY OF MUSICIANS 759 
 
 the son and pupil of a bandm. A 
 horn-player first, then pupil of Boni 
 and Asioli ; debut, Centi, 1818. 
 
 Tanaka (ta-na-ka), Shoh6, Japanese 
 theorist ; pupil of Spitta ; inv. the 
 enharmonium with just intonation. 
 
 Tanejeff (ta-na-yef), Sergei, b. Rus- 
 sia, Nov. 13, 1856 ; pupil of N. Ru- 
 binstein and Tchaikowski ; prof, of 
 theory and comp. Moscow Cons.; 
 prod. 3-act opera '' Oresteia" (St. 
 Petersburg, 1S95). 
 
 Tansur (tan'-sCir), Wm., Dunchurch 
 or Barnes? ca. 1700 — St. Neots, 
 17S3 ; organist, teacher, writer and 
 composer. 
 
 Tappert (tap'-pert), Wm,, b. Ober- 
 Thomaswaldau, Silesia, Feb. 19, 
 1830 ; important theorist ; a school- 
 master, then 1856, studied with Dehn 
 theory; Kullak's Acad.; lived in 
 Berlin from 1866 as a writer, editor 
 and composer. 
 
 Tarchi (tiir'-ke), Angelo, Naples, 
 1760 — Paris, 1814; dramatic com- 
 poser. 
 
 Bi'rl( Tarditi (tar-de'-te). Orazio, d. after 
 1670 ; from 1648, maestro Faenza 
 Cath.; composer. 
 
 Tartini (tar-te'-ne), Giuseppe, Pirano, 
 Istria, Aprils, 1692 — Padua, Feb. 16, 
 1770; eminent violinist, composer and 
 ■ scientist ; at first he studied for the 
 priesthood at his father's wish ; then 
 law, finally mus.; apparently self- 
 taught as a violinist. A charge of 
 abduction, due to his secret marriage 
 with a niece of Cardinal Cornaro, led 
 him to take refuge in the Franciscan 
 monastery at Assisi, where for two 
 years he practiced the vln. and stud- 
 ied comp. After a reconcihation he 
 returned to Padua. Later he heard 
 the violinist Veracini at Venice, and 
 sending his wife to relations, retired 
 to Ancona for further study. 17 14, 
 he discovered the combinational tones 
 (v. D, D.. "resultant") and util- 
 ised them in perfecting intonation; 
 1721, solo-violinist and cond at St. 
 Antonio, Padua ; 1723-25, chamber- 
 mus. to Count Kinsky, Prague; 1728, 
 
 founded a vln. -school at Padua ; 
 pub. treatises on harm, and acoustics; 
 c. over 200 vln. -concertos, 50 sona- 
 tas with bass, etc., incl. the famous, 
 posthumous "// Trillo del Diavolo" 
 an effort to reproduce a sonata played 
 to him by the devil in a dream. Biog. 
 Fanzago (Padua, 1770); J. A. Hiller 
 (1784), Fayolle (1810). 
 
 Tasca (tas'-ka), P. Ant., neo-Italian ; 
 c. opera "^ Santa Lucia" succ. in 
 Germany, 1902. 
 
 Taskin (tas-kah), (i) Pascal, Theux 
 (Liege), 1723— Paris, 1795 ; cele- 
 brated instr. -maker in Paris ; introd. 
 the piano-pedal worked by the foot 
 instead of the knee ; inv. leather tan- 
 gents for clavichord, the armandine, 
 etc. (2) Jos. Pascal, 1750 — 1829; 
 nephew of above ; keeper of the 
 King's Instruments. (3) H. Jos., 
 Versailles, 1779 — Paris, 1S52 ; son of 
 above ; organist. (4) (Emile) Alex., 
 Paris, 1853 — 1897 ; grandson of (3) ; 
 barytone. 
 
 Taubert (tow'-bert), (i) (K. Gf.) Wm., 
 Berlin, 181 1 — 1891 ; noted pianist 
 and composer of operas, incid. mus. 
 to Shakespeare, etc.; pupil of Neidt- 
 hardt, Berger and Klein; ct.-cond. at 
 Berlin. (2) Otto, b. Naumburg-on- 
 Saale, June 26, 1833 ; pupil of O. 
 Claudius and " prefect" of the cath.- 
 choir ; 1863, prof., cantor and cond. 
 at Torgau ; pub. treatises ; com- 
 poser. (3) Ernst Eduard, b. Re- 
 genwalde, Pomerania, .Sept. 25, 1838; 
 studied at the Stern Cons., Berlin ; 
 Prof., 1898 ; pub. chamber-mus., 
 etc. 
 
 Taudou (to-doo), A. (Antonin Bar- 
 thel6my),b. Perpignan, France, Aug. 
 24, 1846 ; violinist ; pupil of Paris 
 Cons., winning Grand prix de Rome, 
 1889; member of the Opera-orch.; 
 from 1883, prof, of harm, at the 
 Cons.; c. vln. -concerto, etc. 
 
 Tausch (towsh), (i) Fz., Heidelberg, 
 1762 — Berlin, 1817; clarinettist and 
 composer. (2) Julius, Dessau, 1827 — 
 Bonn, 1895 ; pianist, conductor, com- 
 poser and writer. 
 
760 
 
 THE MUSICAL GUIDE 
 
 Tausig (tow'-zlkh), (i) Aloys, 1820— 
 1885 ; pianist and composer, pupil 
 of Thalberg. (2) Karl, Warsaw, Nov. 
 4, 1841 — (of typhoid fever), Leipzig, 
 July, 1871 ; remarkable piano-virtu- 
 oso ; son and pupil of above; and of 
 Liszt; debut, Berlin, 1S58; lived Dres- 
 den and Vienna as notable cond.; 
 1865 founded a sch. at Berlin ; c. 
 brilliant exercises, transcriptions, etc. 
 
 Tauwitz (tow'-vUs), Eduard, Glatz, 
 Silesia, 1812 — Prague, 1894; con- 
 ductor ; c. more than 1,000 comps. 
 incl. 3 operas. 
 
 Tavecchia (ta-vek'-kT-a), Luigi ; no- 
 table buffo ; debut in concert Milan ; 
 in opera at La Scala ; has sung in 
 Europe and America. 
 
 Tav'erner, (i) John, d. Boston, Eng- 
 land; organist and composer at Ox- 
 ford, 1530. (2) Rev. J., d. Stoke 
 Newington, 1638; organist and com- 
 poser. 
 
 Tayber. Vide teyber. 
 
 Taylor, (i) Edw., Norwich, Engl., 
 1784 — Brentwood, 1863 ; bass, con- 
 ductor, critic, lecturer and writer. (2) 
 Franklin, b. Birmingham, Engl., 
 Feb. 5, 1843 ; pianist and teacher ; 
 pupil of C. Flavell (pf.) and T. Reds- 
 more (org.) ; also of Leipzig Cons.; 
 1876-82, prof. Nat. Training Sch., 
 and from 1883, at the R. C. M.; 
 Pres. of Acad, for the' Higher Devel- 
 opment of pf. -playing; writer and 
 translator. 
 
 Tchaikovsky (or Tschaikowski, 
 etc.) (tsha-e-kof'-shkl), Peter II- 
 jitch, Wotinsk, in the Government 
 of Wiatka, Dec. 25, 1840 — (of chole- 
 ra) Petersburg, Nov. 6, 1893; emi- 
 nent Russian composer. Studied 
 law, and entered the government 
 civil ser^'ice ; did not take up mus. 
 seriously till 22 ; then entered the 
 newly founded Petersburg Cons., 
 under Zaremba and A. Rubinstein, 
 
 1865, winning a prize medal foil 
 Schiller's ode "An die Freude'\ 
 (also used in Beethoven's 9th symph.) ; 
 1866-77, instructor of harm.' there i 
 then lived Petersburg, Italy, Switzj 
 eriand, as composer. He visited Engj 
 land and appeared at Phil. Concerts! 
 18S8 and '89 ; visited New York fo;j 
 the dedication of the new Carnegiij 
 Music Hall, and cond. his own comi 
 positions. 1893, Mus. Doc. k.c. 
 Cambridge. Writer, and translator o 
 harm, text-books. C. 11 Russian op 
 eras, incl." The Voyevode" (Moscow 
 1 869), " Opritchnuyk " ( Petersb. , 1 8 74) 
 " Vakula, the Smith" (Petersb. 
 1876); ''Jevgeujie Onegin" ; 1879 
 " Eugene Onegin" in Germai 
 (Hamburg, 1892), and posthumou 
 ''Pique Dame "(Vienna ct.-th., 1902) 
 3 ballets, " Le Lac des Cygnes " (op 
 20), "La Belle au Bois Dormant 
 (1890), and "Le Casse-Noisette " (op^ 
 71); a coronation cantata with orch. ; 
 masses ; 6 symphs., incl. No. 6 in ] 
 minor, the famous " Pathetique" ; 
 symph. poems, " The Tempest, 
 '' Francesca da Rimini" "Man 
 /red" " Romeo and Juliet" (a fantf 
 sy-overture) ; "Hamlet" " Fatum, 
 and " Le Voyevode" (symph. ba! 
 lad) ; 4 orch. suites incl. " Mozaj 
 tiana ;" 3 overtures " 1812" (op. 49. 
 " Triomphale" on the Danish naf 
 hymn; "L'Orage" ; " Marche slave, 
 coronation march ; 3 pf. -concertos ; 
 pf. -fantasia with orch.; vln.-concert( 
 capriccio for 'cello with orch.; strinj, 
 sextet " Souvenir de Florence " 
 string-quartets, a pf.-trio, pieces fc' 
 vln. and 'cello; and pf.-pcs., inc 
 " Souvenir de Hapsal" sonata " 7/ 
 Seasons," 12 characteristic pes 
 " Kinder Album " ; 6 duets, Russia 
 songs, etc. Also pub. a harmony ; h 
 " Erinnerungen " and translations v 
 Gevaert, etc. 
 
DICTIONARY OF MUSICIANS 761 
 
 luS Tschaikowsky. 
 
 By Ernest Newm/ 
 
 IF I T T-^L^ French in his ancestry, Tschaikowsky' s prenatal influences 
 
 I 1 ^^^^^ * blend of East and West. While Westerns regard him as 
 
 M. JL typically Russian, his compatriots think him less "native" than 
 
 (' other Russian composers. Like most Slavs, he drew sustenance more from 
 
 France than Germany. Brahms he thought dull ; Wagner he never really 
 
 '', understood. He loved music, he said, that came from the heart, that ex- 
 
 : pressed " a deep humanity," like Grieg's. To the delicate brain and nerves 
 
 of the modern man he added the long-accumulated eruptive passions of his 
 
 L race. He takes the language made by the great Germans, and uses it to 
 
 ;,jj^ express the complex pessimism of another culture. The colour of life in his 
 
 .ermaij music ranges from pale grey to intense black, with here and there a note of 
 
 ™*[ angry scarlet tearing through the mass of cloud. Almost all his work, like 
 
 ' TourgenielTs, lies within the one scale of emotions ; but from relatively few 
 
 ,; elements he evokes an infinite variety and complexity. In his songs, for ex- 
 
 '[ ample, though melancholy is the dominant note of nine .out of ten, each 
 
 paints a different shade of the generic mood. ^More interested in personal, 
 
 dramatic emotion than in music of abstract beauty, he worked his way 
 
 ;, through and beyond the ordinary symphonic form, to the symphony with a 
 
 > human significance or the symphonic poem pure and simple. His phrases, 
 
 ''^•^ sabring his general conceptions, are vital, emotional, intimate. Music, he 
 
 ' y] hpld, must always interest in the first place ; and so he avoids the cold dis- 
 
 r plays of technical artifice which Brahms, for example, so often gives us, 
 
 • preferring rather to repeat the old matter with variations of ornamentation. 
 
 ' "[['His real contribution to the history of music, apart from the general beauty 
 
 , and expressiveness of his work, is the modification of the symphonic form in 
 
 ' obedience to a poetic idea. He takes up the suggestions bequeathed by 
 
 ' Berlioz and Liszt, and turns them into accomplished realities. 
 
 Tebaldini (ta-bal-de'-ne), Giovanni, bossi) ; c. opera. " Fantasia Araba" 
 
 %'■ b. Brescia, 1864 (?); pupil of Paolo " Tl/^jj-a /««,?(Jr^ " with Bossi, etc. 
 
 pS, 
 
 Ghimeri ; at 15 organist of Brescia Tedesca (ta-des'-ka), Fernanda, near 
 Russet Gath., and chorusm. Guillaume Th.; Baltimore, U. S. A., i860 — August, 
 
 later studied at Milan Cons.; ex- 1885; violinist. 
 
 pelled 1886 for criticising a mass Tedesco (ta'-des'-ko), Ignaz (Ama- 
 written by a prof.; after wandering deus), Prague, 1817 — Odessa, Nov. 
 
 a^^ organist and journalist, studied at 13, 1882; brilliant pianist ("the 
 
 Ratisbon ; maestro, " Schola Canto- Hannibal of octaves") ; composer, 
 
 rum," San Marco, Venice; 1894, Telemann (,ta'-le-man), (i) G. Philipp, 
 maestro, Padua Cath.; 1897, dir. Magdeburg, March 14, 1681 — Ham- 
 
 Parma Cons. ; wrote org.-method (v. burg, July 23, 1767 ; mainly self' 
 
762 
 
 THE MUSICAL GUIDE 
 
 taught; conductor; 1709, ct.-cond.; 
 he overshadowed J. S. Bach in con- 
 temporary esteem and was one of the 
 most prolific and facile composers 
 ever known ; c. opera ; autobiog., 
 1731. (2) G. Michael, Plon, Hol- 
 stein, 174S — Riga, 1831 ; grandson 
 of above ; cantor, theorist and comp. 
 
 Telle (tel'-le), K,, 1826— Klosterneu- 
 burg, 1895 ; ballet-composer. 
 
 Telford. Vide Francis boott. 
 
 Teliefsen, Thos. Dyke Acland, 
 Trondheim, Norway, 1823 — Paris, 
 1874 ; pianist and composer. 
 
 Temple, Hope, b. 19th cent, of Eng- 
 lish parents, Dublin; pupil of J. F, 
 Barnett, and E. Silas, London, and 
 of A. Messager, whom she m. ; c. 
 operetta " The Wooden Spoon," and 
 numerous pop. songs. 
 
 Tem'pleton, J., Riccarton, Scotland, 
 1S02 — New Hampton, near London, 
 1886; tenor. . 
 
 Tenaglia (ta-nal'-ya), Anton Fran., 
 b. Florence ; conductor at Rome ; c. 
 the first known opera using an aria 
 da capo, " Clearco^^ 1661. 
 
 Ten Brink. Vide brink, ten. 
 
 Tenducci (ten-doot'-che), Giusto F., 
 
 b. Sienna, 1836 ; famous male opera- 
 tic soprano. 
 
 Ten Kate. Vide k.ate ten. 
 
 Ternina (tar-ne'-nS), Milka, b. Be- 
 gisse, Croatia, Dec. 19, 1864; no- 
 table dramatic soprano ; studied with 
 Gansbacher ; debut Leipzig, 1883; 
 then sang Graz and Bremen ; 1890 
 Munich, named "court-singer"; sang 
 in Bayreuth and in America from 
 1899. 
 
 Terpan'der, b. Antissa, Lesbos, 7th 
 cent. B.C.; called the "Father of 
 Greek music." 
 
 Terradellas (Terradeglias) (ter-rji- 
 del'-las or dal'-yas), Domingo (Do- 
 menico), Barcelona, Spain (bap- 
 tised, Feb. 13, 171 1) — Rome, 1751 ; 
 dram, composer. 
 
 Terschak (ter'-shak). Ad., Prague, 
 April 21, 1832 — 1901 ; flutist ; pu- 
 pil of Zierer, Vienna Cons. ; toured ; 
 
 c. flute-pcs. 
 
 Terziani (ter-tsl-a'-ne). Eugenic 
 Rome, 1825 — 1889; prof., conduc 
 or and dram, composer. 
 
 Teschner (tesh'-ner), Gv. Wm 
 Magdeburg, 1800 — Dresden, 1883 
 teacher, composer and editor. 
 
 Tesi-Tramontini (ta'-ze-tra-ni6n-tt 
 ne), Vittoria, Florence, ca. 1695- 
 Vienna, 1775 ; famous contralto. 
 
 Tessarin (tes'-sa-ren), Fran., b. Ve 
 ice, Dec. 3, 1820 ; pianist and teac 
 er ; pupil of A. Fanno and G. 
 Ferrari; c. opera '' L Ultimo Abe 
 cerragio " (Venice, 1858) ; a cantat 
 etc. 
 
 Tessarini (tes-sa-re'-ne), Carlo, 
 Rimini, 1690; famous violini 
 writer and composer. 
 
 Testori (tes-to'-re), (i) Carlo Gi', 
 vln. -maker at Milan, ca. 1687 — 17;, 
 with his sons (2) Carlo A. and | 
 Paolo A. 
 
 Teyber (or Tayber) (tl'-ber), (i) h' 
 ton, Vienna, 1754 — 1822; conduct;, 
 cembalist and composer. (2) F;, - 
 Vienna, 1756 — 1810; bro. of abo^i; 
 organist and dram, composer. \ 
 
 Thadewaldt (ta'-de-valt). Hermai, 
 b. Bodenhagen, Pomerania, April , 
 1827 ; 1850-51, bandm. at Diis: - 
 dorf ; 1893-95, cond. at Diepj ; 
 1857 at Berlin. 
 
 Thalberg (tal'-berkh), Sigismul, 
 Geneva, Jan. 7, 1812 — Naples, Ail 
 27, 1871 ; famous piano-virtuoso ;d 
 composer. " Being the son of rri:e 
 Dietrichstein, who had many w-:s 
 without being married, T. had sev',il 
 brothers of different family nam '' • 
 (Grove). His mother was the Bai'|- ; ^^ 
 ess von Wetzlar. Both of the par(||s Ijg 
 took the greatest interest in his (d- r- 
 cation. He was intended for a 'p- ; 
 lomatic career, but after his succ. a 
 pianist at 14, gave himself upto ■ 
 mus. He had some tuition fjin 
 Hummel (pf.) and Sechter (con*^, 
 but chiefly from Mittag. a bassuB- 
 ist. At 16 three florid compositns 
 appeared; at 18 a pf. -concerto, he 
 same year he toured Germany :th 
 much succ. 1834, ct. -pianist at \ai- 
 
 r 
 
DICTIONARY OF MUSICIANS 763 
 
 na ; 1835, he conquered Paris, and 
 later the rest of Europe. 1843, he 
 m. Mme. Boucher, daughter of La- 
 blache ; 1851, his first opera ''Flo- 
 rida" failed in London, and 1S55, 
 '' Cristina di ^'cvs/a " failed in Vi- 
 enna. He then toured Brazil (1855), 
 and 1S56, United States ; retiring in 
 1858 to his villa at Posilippo, near 
 Naples. 1862, Paris and London ; 
 1863, second Brazilian tour; 1864, 
 retired again. He was remarkable 
 for his legato effects and for the sing- 
 ing-tone, Liszt saying " Thalberg is 
 the only artist who can play the vio- 
 lin on the keyboard." He originated 
 the subsequently abused scheme of 
 dividing a central melody between 
 the two thumbs, and enveloping it in 
 arpeggiated ornament. His comps. 
 include many florid transcriptions of 
 
 ■ opera-tunes, also a grand concerto, 
 6 nocturnes, " La Cadence" and 
 " Marc he fiinebre variee" etc. 
 
 Thal'lon, Robt., b. Liverpool, March 
 18, 1852 ; taken to New York at 2 ; 
 studied in Stuttgart, Leipzig, Paris, 
 and Florence ; lives in Brooklyn, N. 
 Y., as organist and mus. -teacher. 
 
 Thayer (tha-cr), (i) Alex. Whee- 
 lock, South Natick, Mass., Oct. 22, 
 1817 — Trieste, July 15, 1897 ; grad- 
 uated Harvard, 1S43 , was librarian 
 there for some years ; 1849 went to 
 Europe and began materials for life 
 of Beethoven ; 1S62, America as 
 journalist ; 1854 returned to Germany 
 and frequently afterwards as his means 
 permitted; 1S62, U. S. consular agent 
 at Vienna ; later, till death, consul at 
 Trieste ; besides many articles he 
 wrote a great but unfinished life of 
 Beethoven ; though written in Eng- 
 lish it has been pub. only in a German 
 trans, by H. Deiters, in 3 vols. (Ber- 
 lin, 1866-1879). Though incomplete, 
 his biog. of Beethoven is his monu- 
 ment. (2) (Whitney) Eugene, Men- 
 don, Mass., 1838 — Burlington, Ver- 
 mont, 1889; organist, editor, lecturer 
 and composer. (3) Arthur Wilder, 
 b. Dedham, Mass., Aug. 26, 1857 , 
 
 pupil of Guilmette and Adams (sing- 
 ing), Chadvvick and Zerrahn ; cond. 
 choral societies in Lowell, Worcester, 
 etc.; 1882 at Dedham, 1885 at Mil- 
 ton; then mus.-dir. Eliot Ch., New- 
 ton ; c. part-songs, etc. 
 
 Theile (t!'-le), Jn., Naumburg, 1646 — 
 1724 ; conductor and composer. 
 
 Theo'deri'cus, Sixtus. Vide Die- 
 trich. 
 
 Them (tarn), (i) Karl (Karoly), Iglo, 
 Upper Hungary, 1817 — Vienna, 1886; 
 conductor, professor and dram, com- 
 poser. His sons and pf. -pupils (also 
 pupils of Moscheles and Reinecke), 
 (2) Willi (b. Ofen, June 22, 1847), 
 and (3) Louis (b. Pesth, Dec. 18, 
 1848), were teachers. 
 
 Thibaud (te'-bo), (i) Jos., b. Bor- 
 deaux, Jan. 25, 1875 ; pianist ; pupil 
 of L. Diemer, Paris Cons., taking 
 1st prize for pf. -playing, 1892; 1895- 
 96, accompanied Marsick to America. 
 (2) Jacques, b. 1880; French pian- 
 ist. 
 
 Thibaut IV. (te-bo-katr), King of 
 Navarre ; Troycs, 1201 — Pamplona, 
 1253 ; composer. 
 
 Thibaut (te -bowt), Anton Fr. Jus- 
 tus, Hameln, 1774 — Heidelberg, 
 1840 ; professor and writer. 
 
 Thiele (te'-le), (i) Ed., b. Dessau, 
 Nov. 21, 1S12 ; mus.-dir. at Kothen, 
 organist and prof, at the Seminary ; 
 1855, Dessau; i860, Hofkapell- 
 meister , c. a mass, etc. (2) K. L., 
 Harzgerode, near Bernburg, 1816 — ■ 
 Berlin, 1S48 ; organist and composer. 
 
 Thieme (called Thi6me) (te'-me, or 
 t'ya'-ma), Fr., Germany (?) — Bonn, 
 1802 ; publisher of te.Kt-books, and 
 composer. 
 
 Thierfelder (ter'-felt-er). Dr. Albert 
 (Wm.), b. Muhlhausen, April 30, 
 1846; pupil of Leipzig Univ. and Dr. 
 Phil.; studied with Hauptmann, 
 Richter and Paul ; cond. various 
 cities ; from 1887 mus.-dir. and prof. 
 Rostock Univ.; writer of important 
 treatises ; prod. 5 operas, incl. succ. 
 ■' Der Heirathstein " (text and music) 
 (Rostock, 1898), '' Zlatorog," and 
 
764 
 
 THE MUSICAL GUIDE 
 
 " Frau Holde" for soli, chorus, and 
 orch., and 2 symphs., etc. 
 
 Thieriot (te'-rT-6t), (i) Paul Emil, 
 Leipzig, 1780 — Wiesbaden, 1831 ; 
 violinist. (2) Fd., b. Hamburg, 
 April 7, 1838 ; pupil of E. Marxsen, 
 and Rheinberger; mus.-dir. at Ham- 
 burg, Leipzig, and Glogau ; lives in 
 Hamburg; c. syniph. fantasy " Loch 
 LafHond,'" vln. -concerto, etc. 
 
 Thillon (te-yon), Anna (nee Hunt), 
 b. London, 1819; very succ. soprano; 
 pupil of Bordogni, Tadolini, and 
 Thillon, marrying the last named at 
 15 ; debut, Paris, 1838 ; 1844, Au- 
 ber's ' ' Cro7vn Diamonds " was writ- 
 ten for her; 1850-54, in America, the 
 first to produce opera in San Fran- 
 cisco ; retired 1867 to Torquay. 
 
 Thimus (te'-moos), Albert, Freiherr 
 von, Cologne, 1806 — 1846 ; writer. 
 
 Thirl'wall, (i) J. Wade, Shilbottle, 
 Northumbria, 1809 — 1875 ; critic, 
 conductor and composer. (2) Annie, 
 daughter of above ; soprano. 
 
 Thoinan, E. Vide roquet. 
 
 Thoma (to'-ma), Rudolf, b. Lehse- 
 witz, near Steinau-on-Oder, Feb. 22, 
 1829; pupil of R. Inst, for Church- 
 mus., Berlin ; 1857, cantor, Hirsch- 
 berg, then Breslau, 1870, " R. Music 
 Dir." ; founder of a singing-soc, dir. 
 of a sch.; c. 2 operas, 2 oratorios, 
 etc. 
 
 Thomas (to-mas), Chr, Gf., Wehrs- 
 dorf near Bautzen, 1748 — Leipzig, 
 1S06 ; writer. 
 
 Thomas (to-mas) (Chas. Louis), 
 Ambroise, Metz, Aug. 5, 1811 — 
 Paris, Feb. 12, i8g6; pupil of Paris 
 Cons.; winning ist pf. -prize, 1829; 
 harm., 1S30 ; Grand prix de Rome 
 (1832), with cantata "" Hermann et 
 Kettyy After 3 years in Italy, re- 
 turned to Paris, and up to 1843, prod, 
 nine stage-pcs., at the Opera and 
 Op. -Com. with fair succ. The fail- 
 ure of the last was retrieved after a 
 silence of 5 years by "Zs" C2V/"(i849), 
 " Zf Songe d' Une Nuit d'£te'" 
 (1850, both at the Op. -Com.). 1851 
 elected to the Academic. The next 6 
 
 operas were only moderately succ. ;; 
 but '' Mignon" (Op. -Com., 1866) 
 made a world-wide succ. and ''Ham-' 
 let" (Opera, 1868) a lasting succ. in 
 Paris, where it is still sung. " Gille ei 
 Gillotin" {li-]^), '' d'ranfoise de Jvi- 
 mini" {1SS2), and the ballet, "La 
 Tempete" (Opera, i88g), were his lasl; 
 dram, works ; 187 1, dir. of the Cons. , 
 1845, Chev. ; 185S, Officier ; i868,i 
 Commander of the Legion of Hon-, 
 our. C. also cantatas; messe solen-' 
 nelle (Notre-Dame, 1S65) ; man) 
 excellent " choeurs orpheoniques ' 
 (3-part male choruses), etc. 
 Thomas (tam'-iis), (i) J., b. Brigend.: 
 Glamorganshire, March i, 1826 . 
 1861 made " Pencerdd Gwalia," i.e. 
 Chief Bard of Wales ; pupil at the 
 R. A. M.; 1851, harpist, R. It. Op, 
 era ; toured Europe, 1852-62 played 
 at the Gewandhaus, etc. 1862, cond: 
 of the first annual concert of Welsli 
 mus., with a chorus of 400, and 2<j 
 harps ; 1871, harpist to the Queen ; 
 leader in the Eisteddfodau, and harp; 
 prof. R. C. M. C. dram, cantat;' 
 " Z/^wt'/yw " (1863) ; a Welsh scenr 
 " The Bride of Neath Valley " (i866)i 
 patriotic songs, with harp ; 2 harp 
 concertos, etc. (2) Lewis Wm. 
 Bath, April, 1S26 — London, 1896, 
 concert-bass, editor and critic. Hii 
 sons are : (3) W. Henry (b. Bath 
 May 8, 1848), prof, of singing, Guild 
 hall and R. A. M.; and (4) Franl 
 L., conductor and organist a 
 Bromley. (5) Harold, b. Chelten. 
 ham, July 8, 1834 ; pianist ; pupil 
 Sterndale Bennet, C. Potter, an' 
 Blagrove ; debut 1850 ; pf.-prol; 
 R. A. M. and Guildhall Sch., Lor 
 don ; c. overtures, etc. (6) Theo 
 dor(e), b. Esens, East Frieslanc 
 Oct. II, 1835 ; eminent cond., edi 
 cator and stimulator of mus. taste i, 
 America; son and pupil of a violinis' 
 at 6 played in public ; at 10 wa 
 brought to New York, where he soo 
 entered an orch.; 185 1, toured a 
 soloist, later with Jenny Lind, Ciris 
 etc.; 1855, began the Mason anl 
 
DICTIONARY OF MUSICIANS 765 
 
 Thomas Soirees (with Dr. Wm. Ma- 
 son) ; 1864-69 cond. " Symph, Soi- 
 rees" ; 1869 made concert-tour with 
 an orch. of 54 ; 1876 at Philadelphia 
 Centennial with ill-succ. leading to 
 disbandment ; 1S78-80, pres. Cin- 
 cinnati Coll. of Mus.; 1880, cond. 
 New York, Philh. Orch.; from 1888, 
 dir. Chicago Cons., also cond. Chi- 
 cago Orch. (7) Arthur Goring, 
 Ralton Park, near Eastbourne, Sus- 
 sex, Nov. 21, 1850 — London, March 
 20, 1892 ; too^k up music at 24 and 
 studied with Emile Durand, later with 
 Sullivan and Prout R. A. M., Lon- 
 don, winning Lucas Prize, 1879; lived 
 in London. C. 2 operas, v. succ. 
 " Esmeralda " (Drury Lane, 1883, 
 New York, 1900); '' .Vadeskda" 
 (1883); " The Golden Web'' (score 
 finished by Waddington, Liverpool, 
 1893); a choral ode, " The Sun 
 Worshippers" (Norwich, 1881), v. 
 succ. cantata, " The Swan and the 
 Skylark" (Birmingham, 1894, instru- 
 mented by C. V. Stanford) ; psalm 
 with orchestra (1S78) ; 3 vocal 
 scenes, ''Hero and Leander " (i88o), 
 etc. 
 
 ff.jThomas Aqui'nas (Saint Thomas of 
 ':^f • Aquino), Rocca Sicca, near Aquino, 
 
 %| Italy, 1225 (27?) — Fossa Nuova, 
 M near Terracina, 1274 ; famed theolo- 
 "''' gian and philosopher ; he c. a no- 
 table communion service. 
 Thoni6 (to-ma), Francis (rightly 
 Francois Luc. Jos.), b. Port Louis, 
 ^L1uritius, Oct. 18, 1850; pupil of 
 ^Llrmontel (pf.), and Duprato (theo- 
 ry), Paris Cons.; lives in Paris as 
 teacher and critic ; c. " Rome'o et fu- 
 liette" {i2,()o)\ a mystery, "V Enfant 
 Jesus" (1891) ; symph. ode ''Hyinne 
 h la Nuit" and many pop. songs 
 and pf.-pcs. 
 Thomson (tam'-stin), (i) Geo., Lime- 
 kilns, Fife, 1757 — Leith, 185 1 ; not- 
 able coll. and pub. of Scotch, Welsh 
 and Irish melodies, to which he had 
 special instrumental accompaniments 
 written by Beethoven, Pleyel, etc. 
 (2) J., Sproutson, Ro.xburgh, 1805 — 
 
 Edinburgh, 1841; conductor and 
 dram, composer. 
 
 Thomson (ton-son), C6sar, b. Li^.ge, 
 March 17, 1857; notable violinist; 
 from 7 pupil of Liege Cons.; at 11, 
 winning the gold medal ; then pupil 
 of VMeu.xtemps, Leonard, Wieniaws- 
 ki and Massart ; 1873-83, chamber- 
 mus. to Baron von Derwies at Luga- 
 no, and a member of Bilse's orch., 
 Berlin ; 1883-97, teacher at Liege 
 Cons. ; 1898, vln.-prof. Brussels Cons, 
 (vice Isaye) ; has toured widely ; 1894, 
 United States. 
 
 Thorndike, Herbert Elliot, b. Liver- 
 pool, April 7, 185 1 ; concert-bass; 
 debut, Cambridge, 1S78 ; 18S7, Dru- 
 ry Lane. 
 
 Thorne (thorn), (i) Edw. H,, b. Cran- 
 borne, Dorset, May 9, 1S34 ; pianist 
 and org. ; chorister under Elvey ; or- 
 ganist various churches; from 1S91, 
 at -St. Anne's, Soho, London ; cond. 
 St. Anne's Choral and Orch'l Soc. 
 C. Psalm 57, with orch. (1S84) ; Mag- 
 nificat and Nunc dimittis with orch. 
 and organ ; an overture ; " Sonata 
 elegia " for pf. (2) Thos. Pearsall, 
 American composer of comic operas, 
 '' Leandro" (New York, 1898), 
 etc. 
 
 Thuille (too-e'-le), L. (Wm. Ands. 
 M.), b. Bozen, Tyrol, Nov. 30, 1861; 
 pupil of Jos. Pembaur (pf., cpt.), at 
 Innsbruck; Baermann (pf.) and 
 Rheinberger (comp.) Munich Mus.- 
 .Sch.; from 1883, teacher of pf. and 
 theory there; also cond. '' Lieder- 
 hort" ; 1891, R. Prof, of Mus.; c. 
 succ. opera '' Thenerdank" (Munich, 
 1897, Luitpold Prize), opera '' Lohe- 
 tanz" (Carlsruhe and Berlin, 189S) ; 
 "Romantic" overture, sextet for 
 piano and wind, sonatas, etc. 
 
 Thunder, H. G., near Dublin, 1832 — ■ 
 New York, 1891 ; pianist, organist 
 and composer. 
 
 Thurlings (tur'-llngks). Ad., since 
 1877, prof, of Old-Catholic theology 
 at Bonn ; Dr. Phil., Munich, with 
 dissertation, " Die beiden Tonge- 
 schlechter und die neuere iniis. Theo- 
 
766 
 
 THE MUSICAL GUIDE 
 
 rie" (1877) (advocating harmonic 
 dualism). 
 
 Thru nam, Ed., Warwick, 1825— 188-; 
 organist and composer. 
 
 Thurner (toor'-ner), Fr. Eugen, 
 Montbeliard, 1785 — Amsterdam, 
 1S27; oboe-virtuoso ; composer. 
 
 Thurnmayer. Vide avf.ntinus. 
 
 Thurs by, Emma, b. Brooklyn, N. Y., 
 Nov. 17, 1857; famous concert-so- 
 prano ; pupil of Meyer (Brooklyn), 
 Errani (New York) and IMme. Ru- 
 dersdorff (Boston), then of Lamperti 
 and San Giovanni, Milan ; concert- 
 debut, America, Plymouth Church, 
 Brooklyn, 1S75 ; sang in concert and 
 oratorio, and with Gilmore (1875) ; 
 frequently toured Europe and Amer- 
 ica with great succ; compass c'-e' ' 
 (v. PITCH, D. D.). 
 
 Tichatschek (tekh'-at-shek), Jos. 
 Aloys, Ober-Weckelsdorf, Bohen^-a, 
 1S07 — Dresden, 18S6 ; tenor ; cre- 
 ated Wagner's ''Jiienzi" and " Tann- 
 Adi/sc'r." 
 
 Tieffenbriicker. Vide duiffoprug- 
 
 GAR. 
 
 Tiehsen (te'-zen). Otto, Danzig, 1817 
 — Berlin, 1849 ; c. comic opera. 
 
 Tiersch (tersh). Otto, Kalbsrieth, 
 Thuringia, 1838 — Berlin, 1892 ; sing- 
 ing-teacher and theorist. 
 
 Tiersot (tl-er-so), (J. Bapt. Eli- 
 see) Julien, b. Bourg, Bresse, 
 France ; pupil of Franck, Paris Cons. ; 
 from 18S3, asst. libr. there ; pub. 
 essays, inch " Histoire de la chan- 
 son populaire en France," Bordun 
 Prize, 1SS5 ; c. " Hellas'' for soli, 
 chorus and orch.; rhapsodies on pop- 
 ular airs, etc. 
 
 Tietjens (rightly Titiens) (tet'-yens), 
 Therese johanne Alex., of Hun- 
 garian parents, Hamburg, July 17, 
 1831— London, Oct. 3, 1877; famous 
 soprano ; teachers unknown ; debut, 
 Hamburg, 1849 ; from 1858, chiefly 
 in London in grand and comic opera. 
 
 Til'borghs, Jos., b. Nieuwmoer, Sept. 
 28, 1830 ; theorist ; pupil of Lemmens 
 (org.) and Fetis (comp.), Brussels 
 Cons. ; from 1882, prof, of org., 
 
 Ghent Cons.; and of cpt. Antwerj 
 Mus.-Sch. ; comp. organ-pieces anc 
 motets. 
 
 Tilman (tel'-man), Alfred, Brussels % 
 1848 — 1895 ; composer and pianist. »( 
 
 Tilmant (tel'-mah), (i) Th^ophilf ic 
 Alex., Valenciennes, 1799 — Asnieresi if 
 1878; conductor. His brother (2 •: 
 Alex., 1808— Paris, 1880; 'cellist, t^ 
 
 Timanoff (te'-man-6f). Vera, b. Ufajlj 
 Russia, Feb. 18, 1855 ; pianist ; pu! ^ 
 pil of L. Nowitzky, A. Rubinsteini .'I 
 Tausig and Liszt; lived in Petersi r 
 burg, Prague (187 1) and Vienn:i • 
 (1872). 
 
 Timm (tlm), Henry Christian, Ham 
 burg, Germany, 18 11 — New York 
 1S92 ; pianist and org. -composer. 
 
 Timm'ner, Christian, b. 1S60 ; DutcJ 
 violinist ; pupil of Wirth ; toured 
 then retired 1S94 for eight yearj 
 practice ; reappeared in Berlin, 19021 
 
 Tinc'toris, Johannes (called John 
 Tinctor; or Giov. Del Tintore 
 rightly Jean de Vaerwere (var'-wa. 
 re)), Poperinghe, 1434 (or 35, some sa ■ 
 1450) — Nivelles, 151 1 ; canon ; wrote, 
 1477, the earliest known diet, of mus 
 (ca. 1475), etc.; composer. 
 
 Tinel (te-nel), Edgar, b. Sinay, Bel 
 gium, March 27, 1S54 ; pianist am 
 composer ; son and pupil of a poo 
 school-teacher and organist ; pupi 
 also of Brussels Cons.; ist pf. -prize 
 1873, and pub. op. i, 4 nocturne 
 for solo-voice with pf.; 1877, woi 
 Grand prix de Rome w. cantat. 
 '' Klokke Roeland" (op. 17); 1881 
 dir. Inst, for Sacred Mus. at Ma' 
 lines ; 1SS8, prod, very succ. oratorio 
 '' F?-anciscHs" (op. 36); 1889, in 
 spector State mus. schs. ; 1896, prof 
 of cpt. and fugue, Brussels Cons, 
 pub. a treatise on Gregorian chant 
 and prod, a "Grand Mass of th 
 Holy Virgin of Lourdes," for 5 part 
 (op. 41), Te Deum, Alleluia, motet' 
 and sacred songs, iscid. mus., pf. 
 pes., etc. 
 
 Tiraboschi (te-ra-bos'-ke), Girolamc 
 Bergamo, 1731 — Modena, 1797 
 writer. m 
 
DICTIONARY OF MUSICIANS 767 
 
 Tirindelli (te-rtn-der-le), P. Adolfo, 
 
 b. Conegliano, Italy, 1858 ; violinist; 
 pupil Milan Cons., then of Boniforti; 
 cond. at Gorizia 3 years, then stud- 
 ied with Griin and Massart ; 18S7, 
 vln.-prof. Liceo Benedetto Marcello, 
 Venice ; 1893, dir., also cond. " Ver- 
 di Orchestra "; made Cavaliere, 1894; 
 played with the Boston Symph. 
 Orch. in 1895 ; c. i-act opera 
 '' VAtenaide" (Venice, 1892), etc., 
 now prof. Cincinnati Cons. 
 
 PetflTitl (tet'-'l), Anton Emil, Bernstein. 
 Moravia, 1809 — Vienna, 1882 ; con- 
 ductor and dram, composer. 
 Titoff (te'-tof), Nicolai Alexeije- 
 vitch, St. Petersburg, 1801— 1876 ; 
 
 c. songs. 
 Ti(e)tze (tet'-tse), L., 1797— 1850 ; 
 
 tenor at Vienna. 
 
 Todi (to'-de), Luiza Rosa (nee de 
 Aguiar), Setubal, Portugal, Jan. 
 9, 1753— Lisbon, Oct. i, 1833; fa- 
 mous mezzo-soprano ; an actress at 
 15, then pupil of Perez ; sang Lon- 
 don, 1712 ; 1777 V. succ. at Madrid ; 
 1783 provoked a famous rivalry with 
 Mara ; 1780 ct. -singer, Berlin. When 
 she died she left her 2d husband and 
 her 8 children $80,000 and much 
 jewelry. 
 
 Todini (to-de'-ne), Michele, b. Saluz- 
 zo, ca. 1625 ; musette-player and 
 instr. -maker, at Rome. 
 
 Toedt (tat), Theodore J., b. New 
 York, Feb. 4, 1853 ; choir-boy. Trin- 
 ity Parish, 1861-71 ; pupil of Mrs. 
 liorn - Rust ; singer in oratorio, 
 church, and concert ; lives in New 
 York as a vocal teacher ; blind from 
 
 Toeschi (t5-as'-ke) (in German ta'- 
 she), (i) Carlo Giu. (rightly Toesca 
 della Castella-Monte), Romagna, 
 1724 — Munich, 1788, ct.-mus., direc- 
 tor and composer. (2) Jn. Bapt., 
 Mannheim, ca. 1745 — Munich, May, 
 1800 ; son and successor of above ; 
 noted violinist ; c. 18 symphs., etc. 
 
 Tofts, Mrs. Katherine, first English- 
 woman to succeed in Italian opera ; 
 most successful soprano ; accumu- 
 
 U 
 
 lated a fortune, lost her reason 1709, 
 and d. after 1735 ; m. Jos. Smith. 
 Tolbecque (tol'-bgk), four Belgian 
 brothers, (i) Isidore Jos., Han- 
 zinne, 1794 — Vichy, 187 1 ; conductor 
 and composer. (2) Jean. Bapt. 
 Jos., 1787 — Paris, 1869 ; violinist 
 and conductor. (3) Aug. Jos., 1801 
 — Paris, 1869 ; violinist. (4) Chas. 
 Jos., Paris, 1806 — 1835 ; violinist 
 and conductor. (5) Aug., b. Paris, 
 March 30, 1830 ; 'cellist ; pupil of 
 the Cons., and 1849 took ist prize ; 
 1865-71, teacher Marseilles Cons. ; 
 later 'cellist in the Paris Cons, con- 
 certs ; pub. " Za Gymnastiqiie du 
 Violoncelle" (op. 14) ; prod. succ. I- 
 act comic opera " ^/;vj- la Valse" 
 (Niort, 1895). His son (6) Jean, b. 
 Niort, Oct. 7, 1857 ; 'cellist ; pupil 
 Paris Cons. ; 1873, took ist 'cello- 
 prize. 
 Toilet, Thos., English pub. and com- 
 poser, 1694. 
 Tomaschek, Jn. Wenzel (rightly 
 Jan Vaclav Tomaiek) (tam'-a- 
 shek), Skutsch, Bohemia, April 17, 
 1774 — Prague, April 3, 1850; notable 
 pianist, organist ; also c. operas and 
 pf.-pcs. _ ^ 
 
 Tomasini (to-ma-se'-ne), (i) Luigi 
 (Aloysius), Pesaro, 1741 — Esterhaz, 
 1808 ; violinist and director ; he had 
 two daughters who sang in opera at 
 Eisenstadt and 2 sons, (2) Luigi, Es- 
 terhaz, 1779 — after 1814; violinist. 
 (3) Anton, Eisenstadt, 1775—1824, 
 viola-player and leader. 
 Tombelle (toh-bel), Fd. de la, b. 
 Paris, Aug. 3, 1854 ; pupil of Guil- 
 mant and Dubois, Paris Cons. ; his 
 quartet and symph. won ist prize of 
 the " Societe des compositeurs " ; Of- 
 ficer of Pub. Instruction, Paris ; c. 
 orch. -suites, etc. 
 Tomeoni (to-ma-o'-ne), (i) Florido, 
 Lucca, 1757 — Paris, 1820; teacher 
 and theorist. (2) Pellegrino, b. 
 Lucca, ca. 1729; bro. of above; 
 teacher and writer in Florence. 
 Tom kins, (i) Rev. Thos., Engl, com- 
 pose"-, Gloucester, 1600. His son 
 
768 
 
 THE MUSICAL GUIDE 
 
 (2) J., d. 1638 ; organist and com- 
 poser. (3) Thos., d. 1656 ; organ- 
 ist at Worcester cath. ; composer ; 
 son of (i). (3) Giles, d. 1668 ; bro. 
 and succ. of above. (4) Robt., son of 
 (2): 1641 one of the King's musicians. 
 
 Tom lins, Wm. Lawrence, b. Lon- 
 don, Feb. 4, 1844 ; pupil of Macfar- 
 ren, and Silas ; 1S69, America, from 
 1S75 singing-t. and cond. Apollo Glee 
 Club, Chicago ; pub. " Children's 
 Songs, and How to Sing Thetn " 
 {1885?). 
 
 Tommasi (tom-mas'-se), Giu. M., 
 Cardinal, Alicante, Sicily, 1649 — 
 Rome, 1713 ; writer. 
 
 T6pfer(tep'-fer), Jn. Gl., Niederrossla, 
 'ihuringia, 1791 — Weimar, 1870; or- 
 ganist, writer and composer. 
 
 Torchi (tor'-ke), Luigi, b. Mordano, 
 Bologna, Nov. 7, 1S53 ; graduate, 
 Bologna Cons., 1876, then studied 
 with Serrao (comp.) at Naples Cons, 
 and at Leipzig Cons, where he c. a 
 sympli., an overture, a string quartet; 
 1885-91, prof, of mus. histon,-, Liceo 
 Rossini, Pesaro ; then at Bologna 
 Cons., since 1S95 also prof, of comp.; 
 has begun a great 34-vol. coll. of the 
 chief Italian works of the 15-18 cen- 
 turies, " Larte tmisicale in Italia." 
 
 Torelli (to-rel'-le), Giu., Verona, ca. 
 1660 — Ansbach, 1708 ; violinist and 
 composer; originator of the "con- 
 certo grosso." 
 
 Tor'rance, Rev. G. Wm., b. Rath- 
 mines, near Dublin, 1835 ; chorister, 
 Dublin ; organist at St. Andrew's, 
 and St. Anne's ; studied at Leipzig, 
 1856; 1866, priest; 1869, Melbourne, 
 Australia; since 1895, incumbent at 
 St. John's there ; Mus. Doc, k. c. 
 Dublin, 1879 ; c. succ. oratorios, 
 ''Abraham" (Dublin, 1855), " T/^j- 
 Captivity " (1S64), and " The Reve- 
 lation" (MeXhonrnG., 1882), services, 
 an opera, etc. 
 
 Torri (tor'-re), Pietro, ca. 1665 — Mu- 
 nich, 1737; court - conductor and 
 dram, composer. 
 
 Tor'rington, Fr. Herbert, b. Dud- 
 ley, Engl., Oct. 20, 1837; pianist 
 
 and conductor ; articled pupil of Jas. 
 Litzgerald ; at 16 organist at Bewd- 
 ley ; 1856-68, organist, Great St. 
 James's Church, Montreal, Canada ; 
 also solo-violinist, cond. and band- 
 master; his orch. represented Canada 
 at the Boston Peace Jubilee, 1869 : 
 then teacher New Engl. Cons.; isl 
 vln. Handel and Haydn, and othei 
 socs. ; from 1873, organist Metro- 
 politan Ch. , Toronto, Canada, anc 
 cond. Toronto Philh. Soc. ; 1886, or- 
 ganised the first Toronto mus. festi- 
 val ; 18S8, founded Toronto Coll. ot 
 Mus.; c. services, etc. 
 
 Toselli, Enrico, b. Florence, 1S77 
 pianist ; pupil of Sgambati and Mar 
 tucci ; debut Monte Carlo, 1896 f 
 played in London and America, 1901I 
 
 Tosi (to'-zt). Pier Fran., Bologna; 
 1647 — London, 1727 ; celebratec 
 contralto musico and singing-teacher 1 
 
 Tosti (tos'-te), Fran. Paolo, b. Orto, 
 na, Abnizzi, April 9, 1846 ; pupil o;' 
 the R. C. di S. Pietro a Majella, 
 Naples; sub-teacher there till 1869 • 
 then ct. -singing-teacher at Rome 
 1875 sang with great succ. London 
 and has since lived there as a teacher 
 1S80, singing-master to the Roya 
 family; 1894, prof. R. A. M. ; pub 
 a coll. of " Canti popolari abrnzzesi ' 
 (Milan), and c. pop. songs. 
 
 Tottmann (tot-man), Carl Albert, b 
 Zittau, July 31, 1837; studied Dres 
 den, and with Hauptmann, at Leip 
 zig Cons.; violinist in the Gewand 
 haus Orqh.; teacher of theory am 
 history at Leipzig, also lecturer 
 1873, Prof., for his valuable compen 
 dium of vln. -literature ; pub. alsi 
 essays, etc.; c. a melodrama " Dorn 
 roschen" Ave Maria, etc. 
 
 Toulmouche (tool-moosh), Fr., b 
 Nantes, Aug. 3, 1850 ; pupil of Vic 
 tor Masse ; 1S94, dir. theatre " Me 
 nus-Plaisirs"; since 1S82, prod. man. 
 operettas. 
 
 Tourj^e (toor-zha). Dr. Eben, Wai 
 wick, Rhode Island, 1834— Bostor 
 1890 ; organist, teacher and founde 
 of N. E. Cons. 
 
DICTIONARY OF MUSICIANS 769 
 
 Tours (toors), Berthold, Rotterdam, 
 Dec. 17, 1838 — London, March ii, 
 1897; violinist, composer and editor; 
 pupil Brussels and Leipzig Conserva- 
 tory. 
 
 Tourte (toort), Fran., Paris, 1747 — 
 1835 ; famous maker of vln.-bows ; 
 est. the standard since followed. 
 
 Towers, J., b. Salford, Feb. 18, 1836 ; 
 pupil of R. A. M. and of Marx, Ber- 
 lin ; conductor and organist, Man- 
 chester, England. 
 
 Tracy, Minnie, b. New York ; so- 
 prano ; sang with Hinrich's Opera 
 Co., Philadelphia; later at Geneva 
 and elsewhere ; igoo with Am. Op. 
 Co., Met. Op., N. Y. 
 
 Traetta (tra-et'-tii) (not Trajetta), (i) 
 Tommaso (Michele Fran. Save- 
 rio), Bitonto, Naples, March 30, 1727 
 — Venice, April 6, 1779 '< pupil of 
 Durante; 175S, maestro to Duke of 
 Parma ; 1765, given a life-pension by 
 the Spanish King; 1768, ct.-com- 
 poser at Petersburg ; he prod. 37 op- 
 eras, many of them v. succ. ; c. also 
 an oratorio, masses, etc. (2) Filip- 
 po, Venice, 1777 — Philadelphia, 1854; 
 son of above ; from 1799 in America 
 as an e.xile ; wrote a vocal method ; 
 c. opera, oratorios, etc. 
 
 Trasuntino (tra-soon-te'-no), Vito, 
 harps. -maker and inv., Rome, 1555 — 
 1606. 
 
 Trautmann, Marie, Vide jakl, .-Al- 
 fred. 
 
 Trautwein (trowt'-vin), Traugott, 
 founded (1820) mus.-pub. business, 
 at Berlin, transferred in 1840 to J. 
 Guttentag, and by him to Martin 
 Bahn (1858). 
 
 Travenol (tra-vvVnol), Louis, d. 1783 ; 
 vln. -maker and writer, Paris. 
 
 Trav'ers, J., d. 1758 ; English organ- 
 ist and composer. 
 
 Trebelli (tra-bel'-le), Zella ^rightly 
 Guillebert), Paris, 1S3S— Etretat, 
 Aug. 18, 1892 ; noted mezzo-soprano; 
 pupil of Wartel ; debut, Madrid, 
 1859;. 1863, m. Bellini; sang in 
 Europe and (1884) U. S. with great 
 succ. 
 
 49 
 
 Tree, Anna M., London, 1802 — 1862, 
 mezzo-soprano. 
 
 Treiber (tri'-ber), Wm., Graz, 183S— 
 Cassel, 1899 ; pianist. 
 
 Tren'to, Vittorio, b. Venice, 1761 (or 
 1765) ; d. after 1826 ; mus.-dir. and 
 dram, composer. 
 
 Treu (Italianised Fedele) (troi, or fa- 
 da-le), Daniel Gl., b. Stuttgart, 
 1695 ; violinist, conductor and dram, 
 composer. 
 
 Tr^ville (tra-ve-yu), Yvonne de 
 (rightly Le Gierce), b. Texas, of 
 French father and American mother ; 
 notable soprano; pupil of Marchesi ; 
 debut, New York, in "La Fa/ote," 
 later for years with Castle Square 
 Opera Co.; 1890 went abroad for 
 rest and study ; 1901 sang in Spain ; 
 June, 1902, at Paris Opera Comique. 
 
 Trial (tri-al), (i) Jean Claude, Avig- 
 non, 1732 — Paris, 1771 ; dir. Paris 
 Opera and dram, composer. (2) An- 
 toine, 1736 — suicide, 1795 ; bro. of 
 above ; tenor ; his wife (3) Marie 
 Jeanne (nee Milon) was a colora- 
 ture-sopr. Their son (4) Armand 
 Emmanuel, Paris, 1771 — 1803 ; 
 dram, composer. 
 
 Triebert (trl'-a-bar), (i) Chas. L., 
 Paris, 1810 — July 1867; oboist and 
 professor and manufacturer of instrs. 
 (2) Frederic, 1813 — 1878 ; bro. and 
 partner of above, and maker of bas- 
 soons. (3) Fr^d^ric, son of (2) ; 
 oboist. 
 
 Trito'nius, Petrus, German com- 
 poser, Augsburg, 1507. 
 
 Trit'to, Giacomo, Altamura, Naples, 
 1735 — Naples, 1824; professor of cpt. 
 and dram, composer. 
 
 Tromboncino (trom-bon-che'-nd) , 
 
 Bartholomaeus, c. at Verona, 1504- 
 10. 
 
 Tromlitz (trom'-llts), Jn. G., Gera, 
 1726 — -Leipzig, 1805; flute-player, 
 maker and teacher. 
 
 Trotter (Trotere)(tro-tar'), Henry, b. 
 London, Dec. 24, 1855 ; c. pop. songs. 
 
 Trout'beck, Rev. J., Blencowe, Cum- 
 berland, 1832 — London, 1899; pub. 
 psalters and transl. libretti. 
 
770 
 
 THE MUSICAL GUIDE 
 
 Y 
 
 Troyers (troi'-ers), Fd., Count von, 
 amateur clarinettist and patron, Vi- 
 enna, 1821-47. 
 
 Troyte (troit), Arthur H. D., Devon, 
 iSn— 1S57; composer. 
 
 Truhn (troon), Fr. Hieronymus, Elb- 
 ing, 1811 — Berlin, 1SS6 ; conductor, 
 writer and composer. 
 
 Tschaikowsky. Vide tch.mkovsky. 
 
 Tschirch (tsherkh), si.\ brothers, (i) 
 Hermann, Lichtenau, Silesia, 180S — 
 Schmiedeberg, 1829 ; organist. (2) 
 K. Ad., Lichtenau, 1815 — Lkiben, 
 Silesia, 1S75 ; writer. (3) Fr. Wm,, 
 Lichtenau, 1S18 — Gera, 1892; ct.- 
 conductor and dram, composer. (4) 
 Ernst Lebrecht, Lichtenau, 1819 — 
 Berlin, 1854; conductor and dram, 
 composer. (5) H. Julius, Lichte- 
 nau, 1820 — Hirschberg, Silesia, 1867; 
 R. Mus.-Dir. and composer. (6) 
 Rudolf, Lichtenau, 1825 — Berlin, 
 1872; mus.-dir. and composer. 
 
 Tschudi. Vide hkoadwood. 
 
 Tua (too'-ii), Teresina, b. Turin, May 
 22, 1867; violinist; pupil of Massart, 
 Paris Cons., took ist prize 1S80 ; 
 toured Europe, and, 1887, America, 
 with great siicc. 1891 (?), m. Count 
 Franchi-\'ernev della Valetta. 
 
 Tubbs, (i) Frank Herbert, b. 
 Brighton, .Mass., Nov. t6, 1853 ; pu- 
 pil of Leavitt, Petersile?. and W. F. 
 Apthorp, Boston ; and (in singing) of 
 Davis and Wheeler, Boston, Manuel 
 Garcia, E. Behnke, and Shakespeare, 
 London, San Giovanni and Lamperti 
 in Italy ; choirm. various churches ; 
 founded N. V. Vocal Inst.; writer of 
 essays and books on the voice. (2) 
 Jas., head of a family of vln. bow- 
 makers in London, 1890. 
 
 Tucher (too'-kher), (i) GI., Freiherr 
 von, Xtirnberg, 1798 — 1S77 ; writer. 
 (2) Rev. Wm., d. 1675 ; Engl, com- 
 poser. 
 
 Tuck erman, Samuel Parkman, 
 Boston, Mass., 1819 — Newport, 1890; 
 organist, editor and composer. 
 
 Tuczek (toots -zek), Fz., Prague, ca. 
 1755 — Pesth, 1820; tenor; conductor 
 and dram, composer. 
 
 Tud way, Thos., England, ca. 1660 
 — London, 1730 ; organist and pro- 
 fessor, Cambridge, 1704-26 ; Mus. 
 Doc. there, 1705 ; made a coll. of 
 contemporary services, also c. ser- 
 vices, etc. 
 
 Tulou (til-loo), J. L., Paris, Sept., 
 17S6 — Nantes, 1S65 ; chief flutist of 
 his time ; at 14 at the Opera ; 1826- 
 56, flute-prof, at the Cons.; compos- 
 er. 
 
 Tuma (too'-ma), Fz., Kostelecz, Bo- 
 hemia, 1704 — Vienna, 1774; gamba- 
 virtuoso and composer. 
 
 Tunder (toon'-der), Fz., 1614 — Lii- 
 beck, 1667 ; organist Marienkirche, 
 as predecessor of Bu.xtehude. 
 
 Tunsted(e) ^tun'-sted) (or Dunstede), 
 Simon, b. Norwich, Bruisyard, Suf- 
 folk, 1369 ; writer. (Cousseniaker.) 
 
 Turini (too-re-ne), (i) Gregorio. 
 Brescia, ca. 1560 — Prague, ca. i6uo 
 singer, cornet-player and composer.] 
 (2) Fran., Brescia, ca. 1590 — 1656 
 son of above ; organist and comp. 
 
 Tiirk (tiirk), Daniel Gl., Claussnitz 
 Sa.xony, Aug. 10, 1756 — Halle, Aug. 
 26, 1813 ; eminent organist and teach- 
 er, theorist and composer. 
 
 Turle (turl), (i) Jas., Somerton, Engl. 
 1S02 — London, 1SS2 ; organist, con 
 ductor, editor and composer. (2 
 Robt., 1S04 — 1877 ; bro. of above 
 organist. (3) Wm. Taunton, b. 1795 
 cousin of above ; organist. 
 
 Turley (toor -li), Jn. Tobias, Treuen 
 brietzen, Brandenburg, 1773 — 1829 
 org. -builder. 
 
 Turner, (i) Wm., 1651 — 1740; Eng 
 lish Mus. Doc. Cambridge ; com 
 poser. (2) Austin T., b. Bristol 
 1823, cond. and composer; fror 
 1854 in Australia. (3) Alfred Dud 
 ley, St. Albans, Maine, 1S54 — 1888 
 pianist, teacher and composer. 
 
 Turnhout (tirn-hoot), (i) Gerard d 
 (rightly Gheert Jacques), Turr 
 hout, Belgium, ca. 1520 — Madric 
 15S0; cond. at Antwerp Cath. an 
 to the Court at Spain 1572 ; con- 
 poser. (2) Jean, son of above ; ct 
 conductor and composer, ca. 1595- 
 
 I 
 
 I 
 
DICTIONARY OF MUSICIANS 771 
 
 Tur'pin, Edmund Hart, b. Notting- 
 ham, May 4, 1S35 ; concert-organist; 
 lecturer, editor and writer ; pupil of 
 HuUah and Pauer, London ; organist 
 various London churches ; from i8S8 
 at St. Bride's; in 18S9 Mus. Doc; 
 then c. masses, 2 oratorios, cantatas, 
 symph." The Monastery " O'V&rtmGS, 
 etc. 
 
 Turtshaninoff (toort-sha'-n!-n6f), Pe- 
 ter Ivanovitch, St. Petersburg, 1779 
 — 1S56 ; composer. 
 
 Tye (tl), Christopher, d. Westminster, 
 1572 ; 1554-61, organist Ely cathe- 
 dral and composer. 
 
 Tyiman, Susato (also Tilman, Tiel- 
 man, Thieleman) (tel'-man), mus.- 
 printer at Antwerp from 1543 ; com- 
 poser. 
 
 Tyn'dall, J., Leighlin Bridge, Ireland, 
 1820— Haslemere, Engl, 1893; fa- 
 mous scientist and acoustician. 
 
 u 
 
 Ubaldus. Vide hucbald. 
 
 Uber (oo-ber), (i) Chr. Benj., Bres- 
 lau, 1746 — 1S12 ; dram, composer. 
 (2) Fr. Chr. Hermann, Breslau, 
 17S1 — Dresden, 1S22; son of above; 
 opera-conductor and composer. (3) 
 Alex., Breslau, 1783 — Carolath, Si- 
 lesia, 1824 ; bro. of (2) ; 'cellist, con- 
 ductor and composer. 
 
 Uberti (oo-ber-te) (Hubert) A., Ve- 
 rona, 1697 (?)^Berlin, 1783; brilliant 
 soprano-musico and teacher of Mali- 
 bran, Grisi, etc. 
 
 Uccellini (oo-chel-le'-ne), Don Mar- 
 co, conductor and composer at Flor- 
 ence, 1673. 
 
 Ugbaldus, Uchubaldus. Vide huc- 
 bald. 
 
 Ugalde (ii-gald), Delphine (nee 
 Beauce), b. Paris, Dec. 3, 1829; 
 soprano at Op. -Com., etc.; 1866, also 
 managed the Bouffes-Parisiens; twice 
 m.; c. an opera. 
 
 Ugolini (oo-go-le'-ne), V., Perugia, ca. 
 1570 — 1638 ; teacher and important 
 
 composer ; pupil of Nanini ; 1620-26 
 inaertro at St. Peter's. 
 Ugolino (oo-go-le'-no), Biagio, monk 
 
 in Venice ; pub. treatise, 1744. 
 Uhl (ool), Edmund, b. Prague, Oct. 
 25, 1853 ; pupil of Leipzig Cons., 
 winning Helbig pf.-prize, 1878; since 
 teacher at the Freudenberg Cons., 
 Wiesbaden ; organist at the Syna- 
 gogue ; and critic ; c. Romance for 
 vln. with orch., etc. 
 Uhlig (oo'-likh), Th., Wurzen, Sax- 
 ony, 1822 — Dresden, 1853 ; violinist, 
 theorist and composer. 
 Ulibisheff (in French OuHbischeff) 
 (oo-le'-bT-shef), Alex, d', Dresden, 
 1795 — Nishnij Novgorod, 1858 ; 
 diplomat and writer of biographies. 
 Ulrich (ool-rikh), Hugo (Otto), Op- 
 peln, Silesia, 1827 — Berlin, 1872 ; 
 teacher and dram, composer. 
 Umbreit (oom'-brlt), K.Gl., Rehstedt, 
 near (iotha, 1763— 1829; org.-virtu- 
 oso and composer. 
 Umlauf (oom-lowf), (i) Ignaz, Vien- 
 na, 1756 — Meidling, 1796; music di- 
 rector ; asst.-conductor to Salieri. 
 (2) Michael, Vienna, 17S1— 1842; 
 son of above ; conductor and dram, 
 composer. 
 Umlauft (oom'-lowft), Paul, b. Meis- 
 sen, Oct. 27, 1853: pupil Leipzig 
 Cons., with Mozart scholarship 1879- 
 83 ; c. succ. i-act opera "" Evanthia" 
 (Gotha, 1893) (won Duke of Coburg- 
 Gotha's prize) ; dram, poem '" A,i^an- 
 decca," with orch. (iS92)__; '' Mittel- 
 hochdetitsches Liederspiel" etc. 
 Unger (oong'-er), (i) Jn. Fr., Bruns- 
 wick, 1716— 1781; inventor. (2) (in 
 Ital. Ungher) Caroline, Stuhlweis- 
 senburg, Hungary, 1S03 — at her 
 villa, near Florence, 1877; soprano; 
 1840, m. Sabatier. (3) G., Leipzig, 
 1837 — 1887 ; tenor. 
 Up ton, G. Putnam, b. Boston, Mass., 
 Oct. 25, 1835 ; graduate Brown 
 Univ., 1854 ; 1861-85, on the edito- 
 rial staff, Chicago " Tribune'' ; found- 
 er (1872) and first pres. Apollo Club; 
 translator and writer of valuable 
 essays, incl. ''Standard O.^era^" 
 
772 
 
 THE MUSICAL GUIDE 
 
 (1890); '■'■ Standard Oratorios" (1S91); 
 " Standard Symphs." {i?>()2), etc. 
 
 Urban (.oor'-biin), (i) Chr., b. Elbing, 
 1778 ; mus. -director, theorist and 
 composer. (2) H., Berlin, Aug. 27, 
 1837 — Nov. 24, 1901; pupil of Ries, 
 Laub, Helman, etc.; violinist and the- 
 orist; 1S81, teacher at KuUak's Acad.; 
 c. symph. " Friihling" overtures to 
 " Fiesco " (Schiller), ''Scheherazade" 
 and " Zii eineni Fastnachtsspiel" etc. 
 (3) Fr. Julius, b. Berlin, Dec. 23, 
 1838 ; bro. of above ; solo boy-so- 
 prano in the Domchor ; pupil of H. 
 Ries, and Helmann (vln.), Grell (theo- 
 ry), Eisner and Mantius (singing) ; 
 singing-teacher, Berlin ; wrote vocal 
 methods and songs. 
 
 Urbani. Vide valentini. 
 
 Urfey (dur'-fT), Thos. d', Exeter, 
 ca. 1649 — London, 1723 ; pop. play- 
 wright, whose plays'were set by Pur- 
 cell ; also a singer and composer. 
 
 Urban (iir-aii), Chretien, Montjoie, 
 1790 — Paris, 1845 ; eccentric and 
 gifted player on stringed instrs., an- 
 cient and modern ; organist and com- 
 poser. 
 
 Urich (oo'-rtkh), I., b, Alsace ; pupil 
 of Gounod; prod, operas '' Der 
 Lootse" " Hermann und Dorothea" 
 and 2-act " Z^ Carillon" (Berlin, 
 1902). 
 
 Urio (oo'-rt-6), Fran. A., b. Milan, 
 1660 ; writer and composer. 
 
 Urquhart (ur'-kart), Thos., vln. -mak- 
 er, London, 1675. 
 
 Ursillo (oor-sll'-lo), Fabio (or simply 
 Fabio), 1 8th cent, archlute virtuoso 
 and composer at Rome. 
 
 Urso (oor'-so), (i) Camilla, Nantes, 
 France, 1842— New York, Jan. 20, 
 1902 ; vln. -virtuoso (daughter of (2) 
 Salvator, organist and flutist); pupil 
 of Massart ; she played in America 
 with great succ. at 10 ; toured the 
 world; m. Fr. Lucres. 
 
 Urspruch (oor'-sprookh), Anton, b. 
 Frankfort-on-Main, Feb. 17, 1850; 
 pupil of Ignaz Lachner and M. Wal- 
 lenstein. Raff and Liszt ; pf. -teacher 
 Hoch Cons.; from 1887 at Raff 
 
 Cons.; c. opera '' Der Sturm 
 (based on Shakespeare's " 7\-iiipest" ! 
 Frankfort, 1888), comic opera (text 
 and music) " Das Unmoglichste von 
 Allem " (Carlsruhe, 1897), a symph., 
 pf. -concerto, etc. 
 
 Ursus. Vide bahr. 
 
 U(u)tendal (or Utenthal, Uuten- 
 dal) (ii'-ten-dal), Alex., d. Inns- 
 bruck, May 8, 1581 ; Flemish con- 
 ductor and composer. 
 
 V 
 
 Vaccai (vak-ka'-e), Niccold, Tolen- 
 tino. Papal States, 1790 — Pesaro, 
 1848 ; noted singing-teacher ; prof, 
 of comp. Milan Cons.; wrote vocal 
 method ; c. an opera, funeral can- 
 tata, etc. 
 
 Vaet (vat), Jacques, d. Vienna, 1567; 
 Flemish conductor and composer. jt 
 
 Valentini (va-len-te'-ne), (i) Giov., 1 1 
 ca. 1615 ; organist and composer. I 
 (2) Giov., Naples, 1779 — 1788; dram, h 
 composer. (3) P. Fran., Rome, ca. i 
 1570 — 1654; eminent contrapuntist;) 
 pupil of Nanini. (4) (Rightly Va-;. 
 lentino Urbani) (oor-ba'-ng), cele- i 
 brated contralto-musico ; later a ten- it 
 or; London, 1707. (5) Giu., b. | 
 Florence, ca. 1690; violinist andl 
 composer. | 
 
 Valentino (val-an-te'-no), Henri Jus- i 
 tin Armand Jos., Lille, 1785 — Ver- ; 
 sailles, 1865; conductor Paris Opera, ^ 
 1820-31, then at Op. Com. till 1837.I 
 
 Valefta, Ippolito. Vide franchi-I 
 
 VERNEV. i 
 
 Valle'ria, Alwina (rightly A. V. Loh- ' 
 mann), b. Baltimore, U. S. A. ,1848; 
 soprano ; pupil R. A. M., London, , 
 and of Arditi ; debut, 1871 ; from; 
 1882 in oratorio, England ; toured v 
 Europe and America (range b flat — ' 
 d'", v. riTCH D. D.). 
 
 Vallotti (val-lot'-te), Fran, A., Ver- 
 celli, June 11, 1697 — Padua, Jan. 16, 
 17S0; noted organist, theorist and 
 composer 
 
 Van Bree (van bra), Jn. B,, Amster- 
 
 A t 
 
DICTIONARY OF MUSICIANS 773 
 
 dam, 1801 — 1S57 ; violinist, conduct- 
 or and composer. 
 
 Van Cleve, J. Smith, b. Maysville, 
 Ky., Oct. 30, 185 1 ; pianist and 
 teacher, pupil of Nothnagel (Colum- 
 bus, O.), Langand Apthorp (Boston), 
 and W. Steinbrecher (Cincinnati) ; 
 1879-97 as teacher, critic, writer and 
 lecturer Cincinnati Cons, and the 
 Coll. of Mus. ; then Chicago ; later 
 returned to Cincinnati ; composer. 
 
 Van den Eeden(a'-den), (i) Gilles, d. 
 1792 ; first teacher of Beethoven; son 
 or nephew of (2) Heinrich ; ct.-mus. 
 to the Elector of Cologne. 
 
 Van der Heiden (hT'-den), d. Besan- 
 con, 1902 ; noted Belgian 'cellist. 
 
 Vanderlinden (viin'-der-ien-den), C, 
 
 b. Dordrecht, 1839 ; pupil of Eiohme 
 (harm, and cpt.) and Kwast (pf.) ; 
 conductor Dordrecht Philh. Soc, 
 National Guard band, and societies ; 
 
 c. 2 operas, overtures, etc. 
 
 Van der Straeten (stra-ten), Ed- 
 mond, Oudenaarden, Belgium, 1826 
 — 1895; writer of valuable treatises 
 based on research and c. an opera, etc. 
 
 Van der Stucken (van'-der-shtook - 
 €n), Frank (Valentin), b. Frede- 
 ricksburg, Gillespie Co., Texas, 
 Oct. 15, 1858, of Belgian father and 
 German mother; notable composer and 
 conductor ; at 8 taken by his parents 
 to Antwerp, studied with Benoit, later 
 with Reinecke, Sanger and Grieg ; 
 1881-82, cond. at Breslau City Th. ; 
 1883, in Rudolstadt with Grieg, and 
 in Weimar with Liszt ; prod, opera 
 " Fhsda " (Paris, 1S83) ; 1884, 
 called to be mus.-dir. of the " Arion," 
 New York ; from 1895 dir. Cincin- 
 nati Cons., and ist cond. Cincinnati 
 Symph. Orch.; c. symph. prologue 
 " William Ratcliff" (Cincinnati, 
 1899); orch. episode, '' Pagiiia d'a- 
 niore" with choruses and songs; 
 '^ Festival March" for orch., "Fax 
 Triumphans " (Antwerp, 1902), etc. 
 
 Van Duyze (van doi'-ze), Florimond, 
 b. Ghent, Aug. 4, 1853 ; lawyer and 
 amateur ; pupil of Cihent Cons., win- 
 ning Grand pri.\ de Rome, 1873, 
 
 with cantata '^ l'or<]uato Tasso's 
 Dood" ; prod. 7 operas, Antwerp and 
 Ghent ; c. also ode-symphonie " Die 
 Xacht." 
 
 Van Dyck (van dik), Ernest (Marie 
 Hubert), b. Antwerp, April 2, 1861 ; 
 noted tenor; studied law, was then a 
 journalist at Paris ; studied singing 
 with St. Yves ; debut Paris, 18S7, as 
 " Lohengrin "; 1892 sang " Parsifal " 
 at Bayreuth ; 1888 engaged for the 
 Vienna ct. -opera ; has sung in the 
 chief capitals, London, and 1899, 
 New York. 
 
 Van Hal. Vide wanhal. 
 
 Vanneo (viin-na'-o), Stefano, b. Re- 
 canati, Ancona, 1493 ; monk and 
 writer. 
 
 Van Os (van os), Albert, earliest known 
 org.-builder called "A. the Great," 
 at Utrecht, 1120. 
 
 Van Rooy (van r5'-I), Anton, b. 
 Rotterdam, Jan. 12, 1870 ; notable 
 barytone ; pupil of Stockhausen at 
 Frankfort ; sang in oratorio and con- 
 certs ; later at Bayreuth, 1897 ; then 
 at Berlin ct. -opera ; sang with succ. 
 London (1898), from 1898 in New 
 York annually ; his greatest role is 
 " Wotan." 
 
 Van Westerhout (wes'-ter-howt), Nic- 
 colo (of Dutch parents), Mola di Bari, 
 1862 — Naples, 1898 ; dram, compos- 
 er. 
 
 Varney (var-ne), (i) P. Jos. Alphonse, 
 Paris, 1811 — 1879; conductor and 
 composer of operettas. (2) Louis, 
 b. Paris (?) ; son and pupil of above ; 
 lives in Paris, and has since 1876 
 prod, over 30 operettas, comic operas, 
 " revues," etc. 
 
 Vasconcellos (vas-kon-sel'-los), Joa- 
 quim de, contemporary Portuguese 
 lexicographer and historian. 
 
 Vasseur (vas-sur), L6on (Felix Aug. 
 Jos.), b. Bapaume, Pas-de-Calais, 
 May 28, 1844; studied Ecole Nieder- 
 meyer ; from 1S70 organist Versailles 
 Cath.; cond. Folies-Bergeres and the 
 Concerts de Paris (1882) ; since 1872 
 prod, over 30 light operas ; c. also 
 masses, etc. 
 
774 
 
 THE MUSICAL GUIDE 
 
 Vaucorbeil (v5-k6r-be ), Aug. Eman- 
 uel, Rouen, 1S21 — Paris, 1SS4; 18S0, 
 dir. the Opera ; c. comic-opera, etc. 
 
 Vaughan (von), Thos., Norwich, 1782 
 — liirmingham, 1843 ; tenor. 
 
 Vavrinecz (vii -vrc-nets), Mauritius, 
 
 b. Czegled, Hungary, July 18, 1858 ; 
 studied Pesth Cons. , and with R. 
 Volkmann; cath. cond. at Pesth ; c. 
 4-act opera "A'aic/iJ^" (rrague, 1895), 
 succ. i-act opera " /Cosamum/a" 
 (Frankfort-on-Main, 1895), oratorio, 
 5 masses, a symph., etc. 
 
 Vecchi(i) (vdk'-ke-(e) ), (i) Orazio, 
 Modena, 1551 (?) — Feb. 19, 1605; 
 noted composer; from 1596 maestro 
 Modena cath. ; his " mus. -comedy " 
 ""Amjiparuasso," in which the chorus 
 joined in all the mus., even the mono- 
 logues, appeared the same year as 
 rERl's (q. V.) '' Dafiie" ; c. also 
 madrigals, etc. (2) Orfeo, Milan, ca. 
 1540 — 1 613 ; maestro, and composer. 
 
 Veit (vTt),^Wenzel H. (Vaclav Jin- 
 drich), Repnic, near I.eitmeritz, Bo- 
 hemia, 1806 — Leitmeritz, 1S64 ; com- 
 poser. 
 
 Velluti (vel-loo'-te),Giov. Bat., Mon- 
 terone, Ancona, 17S1 — San Burson, 
 1 86 1 ; the last of the great male so- 
 prani. 
 
 Venatorini. Vide mysliweczek. 
 
 Venosa, Prince of. Vide gesualdo. 
 
 Ven'to, (i) Ivo de, b. Spain; ct. -or- 
 ganist at Munich and composer (i 561- 
 91). (2) Mattia, Naples, 1739— 
 I.ondon, 1777 ; c. operas. 
 
 Venturelli (ven-too-rel-le), V., Man- 
 tua, 1S51 — (suicide) 1895; essayist 
 and dram, composer. 
 
 Venzano (ven-tsii'-no), Luigi, Genoa, 
 ca. 1S14 — 1878 ; 'cellist and teacher ; 
 
 c. opera, pop. songs, etc. 
 Veracini (va-ra-che'-ne), (i) A., vio- 
 linist at Florence (1696). (2) Fran. 
 Maria, Florence, ca. 1685 — near 
 Pisa. ca. 1750 ; nephew and pupil of 
 above ; notable violinist, the greatest 
 of his time : composer. 
 
 Verdelot (vard-l6) (Italianised, Verde- 
 lofto), Philippe, d. before 1567 ; 
 famous Flemish madrigal-composer 
 
 and singer at San Marco, Venice ; 
 between 1530-40 in Florence. 
 Verdi (ver -de), (Fortunio) Giuseppe 
 (Fran.), Le Roncole, near Busseto, 
 Duchy of Parma, Oct. 9, 1813 — 
 Milan, Jan. 27, 1901 ; eminent Ital- 
 ian opera composer. Son of an inn- 
 keeper and grocer ; pupil, and at 
 10 successor of the village organist, 
 Baistrocchi, for three years pupil of 
 Provesi at Busseto ; 1831 with the 
 aid of his father's friend, Barezzi, 
 he went to Milan, where he was re- 
 fused admission to the Cons, by Ba- 
 sili, who thought him lacking in 
 mus. talent. He became a pupil of 
 Lavigna, cembalist, at La Scala ; 
 1833, cond. Philh. Soc, and organ- 
 ist at Busseto ; 1836 m. Barezzi's 
 daughter Margherita. 1839, his o^i- 
 trsi '" Ol'erto" was prod, with fair 
 succ. at La Scala, Milan, He was 
 commissioned by Merelli, the man- 
 ager, to write three operas, one every 
 eight months, at 4,000 lire ($800 or 
 ;^i6o) apiece, and half the copy- 
 right. The first was a comic opera 
 " Un Giorno di Regno," which failed 
 (1840), doubtless in part because his 
 two children and wife had died with- 
 in three months. V.'s combined dis- 
 tress drove him to rescind his agree- 
 ment and renounce composition for 
 over a year, when he was persuaded 
 by Merelli to set the opera "' A'ahuc- 
 co" {" Nebuchadrezzar "), prod, at La 
 Scala, 1S42, with great applause, the 
 chief role being taken by Giuseppina 
 Strepponi (1815-97), whom he m. in j 
 1844. "/ Lojubardi alia pritna 
 Crociata" (La Scala, 1843) was still 
 more succ. and is still played in Italy 
 (in Paris as ''Jerusalem"). ''Et 
 nani'' (Venice, 1844) was prod. baJ 
 15 different stages in 9 months. Sf 
 unsucc. works followed, incl. " I due< 
 Fosca ri " (Komt 1S44), "Macbeth''"' 
 (Florence, 1847; revised Paris, 1865), 
 and •' I Masnadieti ' (after Schiller's j 
 '•Robbers" London, H. M. Th.J 
 1847). " Lidsa Miller" (Naples,; 
 1849) ^^'^s ■^^'^l^ received and is still ! 
 
DICTIONARY OF MUSICIANS 775 
 
 seppe 
 
 sung in Italy. " 5//^^//^ " (Trieste, 
 1850) ; later as " Gtiglielmo IVe ling- 
 rode " ; also with another libretto as 
 '\Arnoldo" (1857), was three timesa 
 failure. ''■ Rigolrtto" c. in 40 days 
 (Venice) (also given as " Viscardel- 
 lo"), began a three years' period of 
 universal succ, it was followed 
 by the world-wide successes " // 
 Trovatore" (Rome, 1853) and " La 
 Traviafa" {Venice Th., 1853; also 
 given as " Fioletta"), a fiasco at 
 first because of a poor cast; '' Les 
 Vepres Siciliennes " (Paris Opera, 
 1855; in Italian "/ Vespri Sicili- 
 ani"; also given as '' Giovanna di 
 Guzman ") was fairly succ. ; " Simon 
 Boccanegra " (Venice, 1857.; succ. 
 revised, Milan, 1881), " C/n Ballo in 
 Maschera" (Rome, 1859), ''La For- 
 za del Destino" (Petersburg, 1862), 
 and ''Don Carlos" (Paris, Opera, 
 1867), made no deep impression, 
 though they served as a schooling and 
 marked a gradual broadening from 
 mere Italian lyricism to a substantial 
 harmony and orchestration. ' ' A ida " 
 
 (written for the Khedive of Egypt) 
 was prod. Cairo, 1871, at La Scala, 
 Milan, 1872, and has had everywhere 
 a great succ. The Khedive gave him 
 ;^3,ooo for it. His " Manzoni Re- 
 quiem " (1874) made a sensation in 
 Italy; " OUllo" (Milan, 1887) was a 
 work worthy of its composer, and in 
 his last opera " Falstaff" written at 
 the age of eighty, he showed not 
 only an unimpaired but a progressive 
 and novel style. Me also c. 2 symphs., 
 6 pf. -concertos, ''Inno delle Nazi- 
 oni" for the London Exhibition 
 (1862), songs, etc. 
 
 In I Sg3 he was given the title" Mar- 
 chese di Busseto." He lived at his 
 villa Sant' Agata, near Busseto. His 
 funeral brought 100,000 witnesses, 
 though his will ordered that it should 
 be simple and quiet. He left the 
 bulk of his fortune to the home for 
 aged and outworn musicians. 
 
 Biog. bv Gino Monaldi (only in 
 German, t'ransl. by L. Holthof, Leip- 
 zig, 1898) ; Checchi, 1887 ; Blanche 
 Roosevelt (London, 1887). 
 
 ddisB 
 
 V 
 
 Giuseppe Verdi. 
 
 By W. J. Henderson. 
 
 ERDI has been the representative Italian opera composer of his time 
 and his personal development in art is that of his country, which has 
 followed his dominating influence. He began to write in the prev- 
 alent style of the old Italian school, but even in his early works, which had 
 striking resemblances to those of Donizetti and Bellini, he showed a rude 
 vigour not possessed by either of them. ^ This vigour came conspicuously 
 into notice in his ^'Erriani,^' though the most familiar example of his style 
 in this period of his development is ' ' Rigoletto. ' ' The early works show fecun- 
 dity of melodic invention, but a close adherence to the elementary dance 
 rhythms used by the Neapolitan school. The dramatic element and the virile 
 power of the man, however, continually pressed toward the front till in 
 "A'ida,^' in which the Egyptian subject lured him away from conventions 
 into originality of colour, he entered upon a new field and established himself 
 as a new individuality in music. He idealised the old aria, employed all the 
 resources of modern instrumentation in the orchestral part, and sought for 
 
776 
 
 THE MUSICAL GUIDE 
 
 truthful dramatic expression as none of his predecessors had. "Aula'''' has 
 been the model of the younger Italian school and its influence can be traced 
 through the works of such writers as Mascagni, Leoncavallo, and Puccini. 
 ^ In "0/^//(?" Verdi left the old .Italian patterns still further behind him, yet 
 without ceasing to be Italian in style or individual in ideas. The voice parts 
 are dominant and essentially melodious at all times, but the determination of 
 the composer to be faithful to the spirit of the text is more manifest than ever 
 before. The work is a monument of genius. In his "Fahtaff'" Verdi 
 produced a comic opera which stands next to Mozart's "Nozze di Figaro " 
 and Wagner's *'i)/V Mc'istersinger.'''' The freshness and spontaneity of the 
 score, the marvellous eloquence of the orchestral details and the infinite sig- 
 nificance of the recitative make this work one of the masterpieces of modern 
 times. The advance of Verdi from the "drum and trumpet" operas of his 
 youth to the highly organised, subtly significant and opulent scores of his old 
 age, is the feature of his artistic career, and where he has led, Italy has fol- 
 lowed. He was the master and the moulder of Italian musical thought for 
 half a cent\;ry. 
 
 \in.J 
 
 Verdonck', Cornelius, Turnhout, Bel- 
 gium, 1564 — Antwerp, 1625 ; com- 
 poser. 
 
 Vere-Sapio (vir-sa-pl-o), Clemen- 
 tine (Duthene) de, b. Paris; sopra- 
 no ; daughter of a Belgian nobleman, 
 and an ICnglish-woman ; pupil of 
 Mme. Albertini-Baucarde, Florence ; 
 debut there at 16, sang at leading 
 theatres, Europe, later in concert, 
 also in the United States ; 1896, she 
 returned to opera; 1899, toured U. S. 
 with an opera troupe of which her 
 husband, Signor Sapio, was mgr. ; 
 1900-1901 at Metropolitan, N. Y., 
 and Covent Garden. 
 
 Verhulst (ver-hoolst'), Jns. (Josephus 
 Herman), The Hague, 1816 — i8gi ; 
 cond. ; famous composer ; pupil of 
 Volcke at the Cons, there, later R. 
 mus.-dir.; cond. many societies, etc.; 
 intimate friend of Schumann ; c. 
 symphony, 3 overtures, etc. 
 
 Vernier (vern-ya), Jean Aim6, b. 
 Paris, 1769 (?); harpist and com- 
 poser. 
 
 Ver'non, Jos., d. South Lambeth, 
 1782 ; male soprano ; then tenor ; 
 composer. 
 
 V6ron (va-ron), D6sir6, Paris, 179S— 
 1867; critic, writer and manager of 
 the Opera. 
 
 Verovio (va-r6'-vl-o), Simone, the 
 hrst copper-plate mus. -printer, Rome, 
 ca. 1586 — 1604. 
 
 Vertov'ski, c. the first Russian opera 
 ''A skald's Grave" {Askoldova Mo- 
 gila), based on folksongs. 
 
 Vesque von Piittlingen (vesk fon 
 pit'-llng-en), Jn., Opole, Poland, 
 1S03 — Vienna, 1883 ; pianist of Bel- 
 gian parentage ; c. 6 operas ; used 
 pen-name " J. Hoven. " 
 
 Ves'trio, Lucia E., London, 1797 — 
 Fulham, 1856 ; opera-singer. 
 
 Viadana (ve-a-da'-nji), Ludovico (da) 
 (rightly L. Grossi), Viadana, near 
 Mantua, 1564 — Gualtieri, 1645; 
 noted church-composer ; maestro at 
 Mantua cath.; important early figure 
 in the development of basso continuo 
 (v. D. D.). 
 
 Vian'na da Mot'ta, Jos6, b. Isle of 
 St. Thomas, Africa, April 22, 1868 ; 
 Portuguese pianist ; st " Lisbon and 
 Scharwenka Cons., Berlin; later with 
 Schaffer, Liszt and von Btilow: 
 toured Europe; lives Paris, 
 
 \\ iipl. 
 
 \ i hi 
 
 I 
 
DICTIONARY OF MUSICIANS 777 
 
 Vianesi (ve-a-na -ze), Auguste Chas. 
 Leonard Frangois, b. Leghorn, 
 Nov. 2, 1837; studied in Paris 1859, 
 cond. Drury Lane, London ; then at 
 New York, Moscow and Peters- 
 burg ; 12 years cond. at Covent Gar- 
 den ; also in other cities ; 18S7, ist 
 cond. Gr. Opera, Paris ; cond. New 
 York, 1S91-92. 
 
 Viard-Louis (vt-ar-loo-e), Jenny, b. 
 Carcassonne, Sept. 29, 1831; con- 
 cert-pianist and teacher, London. 
 
 Viardot-Garcia (vl-ar'-do-gar-the'-ii), 
 (i) (Michelle Fde.) Pauline, b. 
 Paris, July 18, 1821; famous mezzo-so- 
 prano and teacher ; d:wjghter of Man- 
 uel Garcia (q.v.), studied pf. with Vega 
 at Mexico Cath., then with Meysen- 
 berg and Liszt, and Reicha (harm.) ; 
 and singing with her father and 
 mother ; concert debut, Brussels, 
 1837; opera debut, London, 1839, 
 engaged by Viardot, dir. Th. Italien, 
 Paris, and sang there until 1841, 
 when she m. him and made Europe- 
 an tours with him. In 1849 she cre- 
 ated "Fides" in '^ Le Prophete" 
 Paris, " Sapho " (Gounod's opera), 
 185 1 ; 1863, retired to Baden-Baden; 
 from 187 1 lived in Paris as teacher. 
 Her voice had the remarkable com- 
 pass of more than 3 octaves from bass 
 c-f". Wrote a vocal method and c. 
 3 operas, 60 songs, and also 6 pes. 
 for pf. and vln. Biogr. by La Mara. 
 (2) Mme. Louise H^ritte Viardot, 
 b. Paris, Dec. 14, 1841; daughter of 
 above ; singing-teacher Hoch Cons., 
 Frankfort (till 1886) ; then est. a 
 sch. at Berlin ; c. 2 comic operas, a 
 pf.-quartet, etc. (3) Mme. Chame- 
 rot, and (4) Marianne V., daughters 
 of (i) were concert-singers. (5) Paul, 
 b. Courtavent, July 20, 1857; violin- 
 ist , son of (i). pupil of Leonard; 
 1893, temporary cond. Paris Opera. 
 
 Vicentino (ve-chen-te'-no), Nicola, 
 Vicenza, 1511 — Milan, ca. 1576; 
 conductor, theorist and composer ; 
 inv. ' • archiorgano. " 
 
 Victorio. Vide vittoria. 
 
 Vidal (ve-dai), (i) B., d. Paris, 1880 ; 
 
 guitar-virtuoso, teacher and com- 
 poser. (2) Jean Jos,, Soreze, 1789 
 — Paris, 1867 ; violinist. (3) Louis 
 A., b. Rouen, July 10, 1820 ; 'cellist 
 and writer ; pupil of Franchomme ; 
 pub. important historical works. (4) 
 Francois, b. Ai.x, July 14, 1832 ; 
 poet and writer. (5) Paul Antonin, 
 b. Toulouse, June 16, 1863 ; pupil of 
 Paris Cons., winning first Grand 
 prix de Rome, 1881; 1894, taught 
 solfege there ; from 1896, cond. at 
 the Opera ; prod. 3-act lyric fantasy 
 " Eros " (1892), a ballet " Za Mala- 
 detta" (1893), 2 i-act opereitas ; 
 lyric drama " Guernica" (Op. Com., 
 1895); orch. suite, "■ Les mysteres 
 d'Elfiisis," etc. 
 
 Vierdank (fer'-dank), Jn., organist 
 and composer at Stralsund 1641. 
 
 Vierling (fer'-ling), (i) Jn. Gf., Metz- 
 els, near Meiningen, 1750 — Schmalk- 
 den, 1813 ; organist and composer. 
 
 (2) Jacob v., 1796 — 1867, organist. 
 
 (3) Georg, Frankenthal, Palatinate, 
 Sept. 5, 1820 — "Wiesbaden, June, 
 1901 ; son and pupil of above, also 
 of Rinck (org.), Marx (comp.); 1847, 
 organist at Frankfort-on-Oder ; 1852- 
 53, cond. Liedertafel, Mayence ; 
 then lived in Berlin, founder and for 
 years cond. Bach-verein ; prof, and 
 R. Mus.-Dir. ; c. notable secular 
 oratorios, " Der Raiib der Sabitie- 
 rinnen" (op. =0), ^'Alarichs Tod" 
 and ^^ Konsiantin"; Psalm 137, with 
 orch. ; and other choral works ; a 
 symph.; 5 overtures, incl. " /;« 
 Friihling"; capriccio for pf. with 
 orch., etc. 
 
 Vieuxtemps (v'yu-tiin), (i) Henri, Ver- 
 viers, Belgium, Feb. 20, 1820 — Mus- 
 tapha, Algiers, June 6, 1881 ; emi- 
 nent violinist and composer ; son and 
 pupi.l of a piano-tuner and instr.- 
 maker, then pupil of Lecloux, with 
 whom he toured at 8 ; then pupil of 
 de Beriot (vln.), Sechter (harm.), 
 Reicha (comp.) ; he toured Europe 
 with great succ, and three times 
 America (1844, 1857 and 1870) ; 1845, 
 m. Josephine Eder, a Vienna pianist ; 
 
778 
 
 THE MUSICAL GUIDE 
 
 1S46-52, solo-violinist to the Czar 
 and prof, at the Petersburg Cons.; 
 1871-73, prof, at the Brussels Cons.; 
 then paralysis of his left side stopped 
 his playing. He c. 6 concertos, sev- 
 eral concertinos, an overture on the 
 Belgian national hymn (op. 41), fantai- 
 sie-caprice, with orch.; fantaisies on 
 Slavic themes, '' Ilomage a Paguiiitii," 
 caprice, sonata, vars. on " Yankee 
 Doodle" 2 'cello-concertos, a grand 
 solo duo for vln. and 'cello (with Ser- 
 vais), etc. Biog. by Randoux (1891). 
 (2) Jules Jos. Ernest, Brussels, 
 March 18, 1832— Belfast, March 20, 
 1896 ; bro. of above ; solo-'cellist It. 
 Opera, London; also in Halle's orch. 
 at Manchester. 
 
 Vigand (ve-ga-n5'), Salvatore, 
 Naples, 1769 — Milan, 1821 ; ballet- 
 dancer and succ. composer of bal- 
 lets. 
 
 Viibac(k) (vel-bak),(Alphonse Chas.) 
 Renaud de, Montpellier, 1829 — 
 Paris, 1884 ; pianist and organist; c. 
 comic operas. 
 
 Villanis (vel-la'-nes), Luigi Alberto, 
 b. San Mauro, near Turin, June 20, 
 1863; LL.D. Turin Univ., 1887, 
 then pupil of Thermignon, and Cra- 
 vero (comp.); 1890 prof, of mus. 
 aesthetics and history, Turin Univ.; 
 critic and writer. 
 
 Villarosa (vel-la-ro'-sa), Carlantonio 
 de Rosa, .Marchese di, Naples, 1762 
 — 1847; Royal Historiographer, 1823, 
 and writer on music. 
 
 Villars (ve-yars), Fran, de. He Bour- 
 bon, 1825 — Paris, 1879 ; critic and 
 historian. 
 
 Villebois (ve'-yii-bwa), Constantin 
 Petrovitch, Warsaw, 1S17— 1882 ; 
 composer. 
 
 Vil'loing, Alex, b. Petersburg, d. there 
 1878 ; pf. -teacher ; wrote method 
 and c. pf.-pcs. 
 
 Villoteau (ve-y6-t6), Guillaume An- 
 dr6, Belleme, 1759 — Tours, 1S39 ; 
 tenor and writer. 
 
 Vincent (van-safi), (i) Alex. Jos. Hy- 
 dulphe, Hesdin, Pas - de - Calais, 
 1797 — Paris, 1868; pub, treatises 
 
 claiming that the Greeks used harm., 
 etc. 
 
 (fin'-tsent), (2) H. Jos., Theilheim, 
 nearWiirzburg, Feb. 23, 18 19 — 1901; 
 gave up theology and law and became 
 a tenor in theatres at Vienna (1S49), 
 Halle and Wlirzburg ; from 1872, 
 singing-teacher and conductor ; lived 
 at Czernowitz, Bukowina and later in 
 Vienna ; pub. treatises advocating 
 the " Chroma " (v. D.D.) Theory; c. 
 operas, operettas, and pop. songs. 
 
 (vln'-sent), (3) Chas. John, b. 
 Houghton-le-Spring, Durham, Engl., 
 Sept. 19, 1852 (son and pupil of (4) 
 Chas. J., organist at St. Michael's); 
 studied Leipzig Cons.; Mus. Doc. 
 0.\on, 1885; 1883-91, organist Christ 
 Ch., London; ed., writer; c. over- 
 ture " The Storm "; oratorio ^' Ruth" 
 3 cantatas with orch.; choral fugue 
 in 8 parts, etc. (5) G. Fr., b. March 
 27, 1S55 ; bro. of above ; pupil of 
 Leipzig Cons. ; from 1882, organist at 
 St. Thomas's, Sunderland, also cond. 
 societies there ; c. operettas, a can- 
 tata with orch. " Sir Humphrey Gil- 
 bert" etc. 
 
 Vinci (ven'-che), (i) Pietro, b. Nicosia, 
 Sicily, 1540 ; maestro and composer. 
 (2) Leonardo, Strongoli, Calabria, 
 1690 — Naples, 1732; maestro and 
 dram, composer. 
 
 Vi'ning, Helen Sherwood, b. Brook- 
 lyn, N. Y., July 4, 1855 ; wrote text- 
 books, etc. 
 
 Vin'ning, Louisa, Newton (?), Devon; 
 harpist and singer in London ; m. J. 
 S. C. Heywood, 1865. 
 
 Viola (ve-6'-la), (i) Alfonso della, ct.- 
 composer at Ferrara, 1541-63 to 
 Ercole II. (2) Fran., pupil of Wil- 
 laert ; maestro at Ferrara, and com- 
 poser, 1558-73- 
 
 Viole (fe'-6-le), Rudolf, Schochwitz, 
 Mansfeld, 1815 — Berlin, 1867 ; pia- 
 nist and composer. 
 
 Viotta (fe-6t'-ta), Henri, b. Amster- 
 dam, July 16, 1848 ; studied Cologne 
 Cons.; also a lawyer, 1883; founder 
 and cond., Amsterdam Wagner Soc, 
 etc.; i88g, ed. '' Maandblad voof 
 
 I 
 
 I 
 
DICTIONARY OF MUSICIANS 779 
 
 Muziek "y 1896, dir. Cons, at The 
 Hague ; publ. a " Lexicon der Toon- 
 kunst" (1889). 
 
 Viotti (ve-6t'-te), Giov. Bat,, Fonta- 
 neto da P6, Vercelli, Italy, May 23, 
 1753 — London, March 10 (?), 1S24 ; 
 son of a blacksmith ; at first self- 
 taught , then , under patronage of Prince 
 della Cisterna, studied with Pugnani 
 at Turin ; soon entered the ct. -orches- 
 tra ; 1780 toured with Pugnani, was 
 invited to become ct. -violinist to 
 Catherine II., but went to Paris, then 
 London, playing with greatest succ; 
 1783 an inferior violinist drew a larger 
 audience, and in disgust he retired 
 from concerts and became a teacher 
 and accompanist to Marie Antoinette 
 and cond. to the Prince de Soubise. 
 Failing to be dir. of the Opera, 1787, 
 he joined Leonard, the Queen's hair- 
 dresser, and est. It. Opera, 1789; 
 prospering till the Revolution. He 
 went to London as a violinist and 
 played with great succ. I795. mgr- 
 It. Opera and dir. Opera Concerts 
 there ; failing he went into the wine- 
 trade. Later returned to Paris, and 
 became dir. of the Opera, 1819-22, 
 then pensioned with 6,000 francs. 
 He pub. 29 vln. -concertos (the first 
 written in the modern sonata-form, 
 and supported with broadened or- 
 chestration). C. also 2 Concertantes 
 for 2 vlns., 21 string-quartets, 51 vln.- 
 duos, 18 sonatas, etc. Biogr. by 
 Fayolle (Paris, 1810) ; Baillot (1825), 
 etc. 
 
 Virdung (fer'-doongk), Sebastian, 
 priest and organist at Basel, 15 n ; 
 writer and composer. 
 
 Visetti (ve-set'-te), Alberto Ant., b. 
 Spalato, Dalmatia, May 13, 1846 ; 
 pupil of Mazzucato, Jvlilan Cons., 
 concert-pianist at Nice ; then Paris, 
 cond. to the Empress Eugenie ; on 
 the fall of the Empire, vocal teacher 
 in the R C. M., London; pub. a 
 " History of the Art of Singing," 
 and translations. 
 
 Vitali (ve-ta'-le), (i) Filippo, b. Flor- 
 ence , singer and composer, 163 1. (2) 
 
 Giov. Bat., Cremona, ca. 1644^ 
 Modena, Oct. 12, i6g2 ; 2d ct.-cond. 
 and composer of important sonatas, 
 ballets, etc. (3) Tomaso, b. Bo- 
 logna, middle of 17th cent. ; leader 
 there, and c. a chaconne. 
 
 Vitry (ve-tre), Philippe De (Philip- 
 pus di Vitria'co), b. Vitry, Pas-de- 
 Calais ; d. 1 3 16, as Bishop of Meaux; 
 theorist. 
 
 Vittori (vTt-to'-re), Loreto, Spoleto, 
 ca. 1588 — Rome, 1670 ; composer. 
 
 Vittoria (vTt-t5'-rI-a), Tomaso Ludo- 
 vico da (rightly Tomas Luis De 
 Victoria), Avila(?), Spain, ca. 1540 — 
 Madrid, (?) ca. 160S; went to Rome 
 early; 1573 maestro Collegium "Ger- 
 manicum ; 1575, of S. ApoUinaris ; 
 friend and disciple of Palestrina ; 
 1589-1602 vice ct. -conductor, Ma- 
 drid ; c. notable works inch a re- 
 quiem for the Empress Maria, 1605. 
 
 Vivaldi (ve-val'-de), Abbate Ant., Ven- 
 ice, ca. 1675- — 1743 ; celebrated vio- 
 linist ; from 17 13 dir. Cons, della 
 Pieta ; c. notable vln. -concertos and 
 sonatas. 
 
 Vivier (vev-ya), (i) Albert Jos., b. 
 Huy, Belgium, Dec. 15, 1816 ; pupil of 
 Fetis ; c. opera and wrote a har- 
 mony. (2) Eugene L^on, b. Ajac- 
 cio, 182 1 ; remarkable horn-virtuo- 
 so ; he always refused to tell how he 
 produced three or four notes at once, 
 making it possible to play the parts 
 for three horns on one ; pupil of Gal- 
 lay, then joined orch. at Paris Opera ; 
 made many tours, was a favourite of 
 Napoleon III., then retired to Nice ; 
 a great wit and a composer of excel- 
 lent songs. (3) Albert Jos., b. Huy, 
 Belgium, Dec. 3, 1816 ; theorist and 
 composer. 
 
 VIeeshouwer (flas'-hoo-ver), Albert 
 de, b. Antwerp, June 8, 1863 ; pupil 
 of Tan Blockx ; prod. 2 operas, 
 '' n&cole dcs Peres" (1892) and 
 '"Zryni" (Antwerp, 1895), sympho- 
 nic poem, "De wilde fiiger" etc. 
 
 Vockerodt (fok'-e-rot), Gf., Miilhau- 
 sen, 1665 — Gotha, 1727; theorist. 
 
 Vogel (fogel), (i) Jn. Chr., Nlirn. 
 
78o 
 
 THE MUSICAL GUIDE 
 
 berg, 1756 — Paris, 1788 ; dram, com- 
 poser. (2) L., flutist and composer. 
 Paris, 1792 — 1798. (3) Fr. Wm. 
 Fd., b. Havelberg, Prussia, Sept. 
 9, 1807; pupil of Birnbacli, Berlin ; 
 toured as organist ; from 1852, at 
 Bergen, Norway ; pub. a concertino 
 for org. with trombones; symph., 
 overture, 2 operettas, etc. (4) (Chas. 
 Louis) Ad., Lille, 1808— Paris, 
 1892 ; violinist and dram, composer. 
 (5) (Wm.j Moritz, b. Sorgau, near 
 Freiburg, Silesia, July 9, 1846; pian- 
 ist; pupil of Leipzig Cons.; teacher, 
 critic and conductor of choral socs., 
 Leipzig ; pub. pf. method, c. rondos, 
 etc. (6) (Ad.) Bd., Plauen, Sa.\ony, 
 1847 — Leipzig, i8g8 ; journalist, 
 writer and composer. (7) Emil, 1). 
 Wriezen-on-Oder, Jan. 21, 1859 ; Dr. 
 Phil., Berlin, 1887; 1883, sent to 
 Italy by the govt, as Haberl's asst. 
 in studying Palestrina's works ; from 
 1893, lib. Peters Mus. Library, Leip- 
 zig ; pub. monographs, etc. 
 
 Voggenhuber (fog'-gen-hoo-ber), Vil- 
 ma von (Frau V. Krolop), Pesth, 
 1845 — Berlin 1888 ; dram, soprano 
 at Berlin ct. -opera 1868-88. 
 
 Vogl (fokh'-'l), (I) Jn. Michael, Steyr, 
 1763 — Vienna, 1840 ; tenor and con- 
 ductor (v. FZ. SCHUBERT). (2) Hcill- 
 
 rich, Au, Munich, Jan. 15, 1845 — 
 on the stage, Munich, April 21, 1900; 
 famous tenor ; debut Munich ct. -op- 
 era, 1865; sang there thereafter; 
 eminent in Wagnerian roles at Bay- 
 reuth ; prod, an opera '' Der Fremd- 
 liiig" (Munich, 1899). (3) The- 
 rese (nee Thoma), Tutzing, Lake of 
 Starnberg, Nov. 12, 1845 ; from 
 1868, wife of above, and like him, 
 eminent in Wagner opera ; dram, 
 soprano ; pupil of Hauser and Merg- 
 er, Munich Cons.; 1S64, Carlsruhe ; 
 1865-92, Munich, then retired. 
 Vogler (fokh'-ler), Georg Jos. ("Abb6 
 Vogler "), Wiirzburg, June 15,1749 
 — Darmstadt, May 6,1814; famous 
 organist ; theorist and composer; pupil 
 of Padre Martini and Vallotti ; took 
 orders at Rome ; 1786-99, court-con- 
 
 ductor Stockholm ; 1807, ct.-cond. at 
 Darmstadt ; he was eminent as a 
 teacher of radical methods ; toured 
 widely as a concert organist with his 
 "orchestrion"; he wrote many trea- 
 tises ; c. 10 operas, a symphony, etc. 
 
 Vogrich (f5'-grlkh), Max (Wm. 
 Carl), b. Szeben (Hermannstadt), 
 Transylvania, Jan. 24, 1852 ; pianist : 
 at 7 he played in public, then pupil 
 of Leipzig Cons.; 1870-78, toured 
 Europe, Me.xico and South America ; 
 then U. S. with Wilhelmj ; 1882-86, 
 in Australia, where he m. ; since 
 1886, lives in New York ; c. 3 grand 
 operas (te.xt and music) incl. " JVanda" 
 (Florence, 1875) ; c. also an oratorio 
 '' T/ie Ca/>ti7'ity" {18S4: Met. Op. 
 1891); 2 cantatas, Missa Solemnis ; 
 2 symphs., vln. -concerto, etc. 
 
 Vogt (fokht), (i) Gustave, Strass- 
 burg, 1781 — Paris, 1879 ; oboist, 
 professor and composer. (2) Jn. 
 (Jean), Gross-Tinz, near Leignitz, 
 1823 — Eberswalde, 1888; pianist and 
 composer. 
 
 Voigt (foikht), (i) Jn. G. Hermann, 
 Osterwieck, Saxony, 1769 — 18 11; or- 
 ganist and composer. (2) K., Ham- 
 burg, 1808 — 1879 ; conductor. (3) 
 Henriette (nee Kunze), 1809 — Oct. 
 15, 1839 ; distinguished amateur mu- 
 sician at Leipzig ; intimate friend of 
 Schumann. 
 
 Volckmar (folk-mar), Wm. (Valen- 
 tin), Hersfeld. Cassel, 1812— Ilom- 
 berg, near Cassel, 1887; mus. -teach- 
 er, organist, writer and composer. 
 
 Volkert (fol'-kert), Fz,, Heimersdorf, 
 Bohemia, 1767 — Vienna, 1S45 ; or- 
 ganist and conductor ; c. over 100 
 comic operas, Singspiele, etc. 
 
 Volkland (folk'-lant), Alfred, b. 
 Brunswick, April ID, 1841; pupil 
 Leipzig Cons.; ct. -pianist at Sonders- 
 hausen ; from 1867, ct.-cond. there; 
 1869-75, cond. Leipzig Euterpe, also 
 co-founder the Bach-Verein ; since 
 1875, cond. at Basel; 1889, Dr. 
 Phil. //. c: (Basel Univ.). 
 
 Volkmann (folk'-man), (Fr.) Robt., 
 Lomrftatzsch, Saxony, April 6, 1815 
 
DICTIONARY OF MUSICIANS 781 
 
 — Pesth, Oct. 30, 1SS3 ; notable 
 composer ; son and pupil of a cantor ; 
 studied with Friebel (vln. and 'cello), 
 Anacker (comp.) and K. F. Becker, 
 at Leipzig ; 1839-42, taught mus. at 
 Prague ; thereafter lived in Pesth, 
 excepting 1854-58, Vienna ; for years 
 prof, of harm, and cpt. at the Nat. 
 Acad, of Mus., Prague ; c. 2 symphs. ; 
 3 serenades for strings ; 2 overtures, 
 incl. '' Richard III." ; concerto for 
 'cello, Concertstiick for pf. and 
 orch.; 2 masses with orch. ; Christmas 
 Carol of the 12th cent.; old German 
 hymns for double male chorus ; 6 
 duets on old German poems ; 2 wed- 
 ding-songs ; alto solo with orch., 
 ''An die A^acht" ; dram. -scene for 
 soprano with orch., " Sappho" ; pf.- 
 pcs. and songs. Biog. by Vogel 
 (Leipzig, 1875). 
 
 VoUhardt (fol'-hart), Emil Rein- 
 hardt, b. Seifersdorf, vSaxony, Oct. 
 16, 1858; pupil of Leipzig Cons.; 
 cantor Marienkirche and cond. at 
 Zwickau ; c. motets and songs. 
 
 Vollweiler (fol'-vT-ler), K., Offenbach, 
 1813 — Heidelberg, 1848; piano- 
 teacher and composer. 
 
 Volumier (v5-lam-ya), J. Bapt., Spain, 
 1677 — Dresden, 1720; ct. -violinist 
 and ball-cond., Berlin and Dresden. 
 
 Vonderheide (fon'-der-hl'-de), J. Fr., 
 b. Cincinnati, Feb. 28, 1857; public 
 singer and violinist at 10 ; at 17 he 
 knew nearly all instrs. of the orch.; 
 taught 3 years in Pittsburg ; studied 
 voice-culture and piano in Cincinnati 
 and Europe ; 1882-84, dir. Buffalo 
 Sch. of Mus.; 1885-91, N. Y. Con- 
 servatory. 
 
 Vopelius (fo-pa'-ll-oos), Gf., llerwigs- 
 dorf, n. Zittau, 1645 — Leipzig, 1715; 
 cantor and composer. 
 
 Voretzsch (vo'-retsh), Jns. Felix, b. 
 Altkirchen, July 17, 1S35 ; pianist 
 and conductor. 
 
 Voss, (i) (Vos'sius) Gerhard Jn., 
 Heidelberg, 1577 — Amsterdam, 1649; 
 writer on mus. (2) Isaak, Leyden, 
 1618 — Windsor, Engl., 16S9 ; son of 
 above; canon and writer. (3) Chas., 
 
 Schmarsow, Pomerania, 181 5 — Vero- 
 na, 1882 ; pianist and composer. 
 
 Vo'wles (volz), W. G., succ. J. Smith, 
 org.-builder, est. Bristol, 1814. 
 
 Vredemann (fra'-de-man), (i) Jakob, 
 teacher and composer, Leuwarden, 
 ca. 1600 — 1640. (2) Michael, 
 teacher and theorist, Arnheim, 1612. 
 
 Vroye (vrwa), Th. Jos. De, Villers-la- 
 Ville, Belgium, 1804 — Liege, 1873 ; 
 canon and theorist. 
 
 Vuillaume (vwe-y5m), family of French 
 vln. -makers, (i) Claude (1771 — 
 1834); had 4 sons who followed him, 
 the most famous (2) Jean Baptiste, 
 Mirecourt, Dept. of Vosges, France, 
 Oct. 7, 1798 — Paris, March 19, 1879; 
 1821-25, in partnership with Lete ; 
 he was v. succ. and a remarkable 
 imitator of Stradivari; inv. 185 1, 
 "octobasse" (v. D. D.); 1855, a larger 
 viola " contre-alto" ; in 1S67 a mute, 
 the " pedale sourdine" ; also a ma- 
 chine for manufacturing gut-strings 
 of unvaried thickness, etc. His 
 brothers were : (3) Nicolas (1800 — 
 1871), (4) Nicolas Fran. (1802— 
 1S76), and(5) Claude Fran. (b. 1807), 
 also an org.-builder. (6) Sebastian 
 (1835 — 1875), vln. -maker. 
 
 Vulpius (fool -pl-oos), Melchior, Wa- 
 sungen, ca. 1560 — Weimar, 1616 ; 
 cantor and composer. 
 
 /// 
 
 Wach (vakh), K. Gf. Wm., Lobau, 
 1755 — Leipzig, 1833 ; double-bass 
 player. 
 
 Wachs (wash), Paul, b. Paris, Sept. 
 19, 185 1 ; pianist, pupil of Paris 
 Cons.; won ist prize for organ, 1872; 
 c. pf. -pieces. 
 
 Wachsmann (vakhs'-man), Jn. Ja- 
 cob, early igth cent, mus.-director, 
 Magdeburg Cath.; composer, writer 
 of methods, etc. 
 
 Wachtel (vakh'-tel), (i) Theodor, 
 Hamburg, 1S23 — Frankfort-on-Main, 
 1893 ; noted tenor ; son and successor 
 of a livery-stable keeper, then "dis- 
 covered "; studied with Frl. Grand- 
 
782 
 
 THE MUSICAL GUIDE 
 
 jean. His son (2) Th. (d. Dessau, 
 1875) was for a time a tenor. 
 
 Wachter (vakh'-ter), Ernst, b. Muhl- 
 hausen, May 19, 1S72 ; bass; studied 
 with iiis father and Goldberg ; 1894, 
 Dresden opera; from 1896 Bayreuth, 
 as " Fasolt," etc. 
 
 Wade, Jos. Augustine, b. Dublin — 
 d. London, 1845 ; violinist, conduct- 
 or and composer. 
 
 Waelput (val'-poot), Hendrik, Ghent, 
 1845 — 1885 ; cond., professor and 
 dram, composer. 
 
 Waelrant (wal'-rant), Hubert, Ton- 
 gerloo, Brabant, ca. 1517 — Antwerp, 
 1595; a mus.-pub. and teacher; in- 
 troduced " Bocedisation " (v. D.D.) ; 
 c. motets, etc. 
 
 Wagenseil (va'-gen-zil), (i) Jn. 
 Chp., Niirnberg, 1633 — Altdorf, 
 170S ; writer. (2) G. Chp., Vienna, 
 1715 — 1777 ; teacher and composer. 
 
 Wagner (vakh'-ner),(i) Gotthard, Er- 
 ding, 1697 — I?enedictine monastery, 
 Tegernsee, 1739; composer. (2) 
 G. Gf., Miihlberg, Sa.xony, 169S— 
 Plauen, 1760; cantor and composer. 
 (3) Jn. Joachim, iSth cent, org.- 
 builder at Berlin. (4) Bros. Jn. and 
 (5) Michael, org. -builders at Schmie- 
 defeld, i8th cent. (6) Two bros. Chr. 
 Salomon and (7) Jn. GI., harpsi- 
 chord-makers Dresden, 1774. (8) 
 K. Jakob, Darmstadt, 1772 — 1S22 ; 
 horn-virtuoso, concert-conductor ; c. 
 operas. (9) Ernst David, Dram- 
 burg, Pomerania, 1806 — Berlin, 1S83; 
 cantor, organist, mus. -director and 
 composer ; pub. essays. 
 
 (10) (Wm.) Richard, Leipzig, 
 May 22, 1813 — (of eyrsipelas) Venice, 
 Feb. 13, 1883 ; eminent opera com- 
 poser ; son of a clerk in the city 
 police-court, who died when W. was 
 six months old ; the mother m. an 
 actor and playwright, Ludwig Geyer 
 of Dresden. W. attended the Dres- 
 den Kreuzschule until 1827 ; he 
 transl. 12 books of the Odyssey, and 
 at 14 wrote a bombastic and bloody 
 Shakespearean tragedy; 1S27, he 
 studied at the Nikolai Gymnasium, 
 
 Leipzig, where the family lived while 
 his sister Rosalie was engaged at the 
 City Theatre there. Wagner was 
 impelled music-ward by hearing a 
 Beethoven symph. and took up 
 Logir's "Thoroughbass." He then 
 studied theory with the organist Gott- 
 lieb M tiller and c. a string-quartet, a 
 sonata and an aria. 1830, after ma- 
 triculation at Leipzig Univ., he 
 studied six months with Th. Weinlig 
 (comp.) and c. a pf. -sonata, and a 4- 
 hand polonaise. He studied Beetho- 
 ven's symphs. very thoroughly. At 
 19 he c. a symph. in 4 movements, 
 prod, at the Gewandhaus, Leipzig, 
 1833. He wrote the libretto for an 
 opera, " Die Hochzeit" an intro- 
 duction, septet, and a chorus 1832, 
 but his sister Rosalie thought it im- 
 moral and he gave it up ; 1833 his 
 brother Albert, stage-manager and 
 singer at the Wurzburg Theatre in- 
 vited him to be chorusm. there. He 
 c. a romantic opera in 3 acts " Die 
 Feeii" to his own libretto (after " La 
 Donna serpentc," by Gozzi) ; it was 
 accepted but never performed, by the 
 Leipzig th.-dir. Ringelhardt (given at 
 Munich, 188S). 1834, he became 
 cond. at the Magdeburg Th. Here 
 he c. (text and music) " Das Liehes- 
 verbot (after Shakespeare's '' Measttre 
 for Measure''), performed by a bank- 
 rupt troupe, 1836. Th.-cond. at 
 Konigsberg, and m. (1836) an ac- 
 tress Wilhelmine Planer, who d. 1866, 
 after they had separated in 1861. 
 
 He c. an overture " Rule Britan- 
 7tia." 1837 cond. Riga opera. Moved 
 by Meyerbeer's triumphs at the Gr. 
 Ope'ra at Paris, W. went there, July, 
 1839, by sea. The voyage lasted 3^- 
 weeks and was very stormy ; the ex- 
 perience suggested to him the opera 
 " Flying Dutchman. " Meyerbeer 
 gave him letters to musicians and 
 Rubs. in Paris ; here he suffered pov- 
 erty and supported himself by song- 
 writing, arranging dances for piano 
 and cornet, preparing the pf.-score 
 of Halevy's '' Reine de C/iypre," and 
 
DICTIONARY OF MUSICIANS 783 
 
 writing articles. His operas were 
 scornfully rejected and he could get 
 no hearing till the v. succ. " Kienzi " 
 was prod., Dresden, 1842, and '' Z>er 
 Fliegende Hollander^'' Jan. 2, 1843. 
 The novelties in this work provoked 
 a furious opposition that never ceased. 
 1843-49 hs ^^'^^ cond. of Dresden 
 Opera, also cond. Dresden Lieder- 
 tafel, for which he wrote a biblical 
 scene, "Z>(7J- Liehesmahl der Apostel" 
 for 3 choirs, a cappella, later with full 
 orch. "" Tannhiiuser" was prod., 
 Dresden, 1845, with succ. in spite of 
 bitter opposition. In 1S48 " Lohen- 
 grin " was finished ; but the mgr. of 
 the Opera did not care to risk the 
 work. He now wrote out a little 
 sketch " Die Nibehmgen, IVeltge- 
 schichte aus der Sage "/ a prose study 
 on ''Der Niebelungen-Mythus a Is 
 Entwurf zu einem Drama" (1848), 
 and a 3-act drama with Prologue, 
 written in alliterative verse, " Sieg- 
 fried's Tod," preparations for the 
 great work to follow. A rashly ex- 
 pressed sympathy with the revolution- 
 ary cause (1849) made flight neces- 
 sary ; he went to Weimar with Liszt, 
 but had to go on to Paris to escape the 
 order for his arrest. 1849 he pro- 
 ceeded to Zurich, were he wrote a 
 series of remarkable essays : " Die 
 Kunst und die Revolution" (1849), 
 " Das Kunstwerk der Zukiinft" 
 " Kunst und Klitna" " Das Juden- 
 ikum in der Musik" (1850), " Oper 
 und Drama" '' Erittneriingen an 
 Spontini" a prose drama " Wieland 
 der Schmiedt," and the 3 poems of the 
 Niebelungen trilogy (privately printed 
 1853). ihe music of ''Das Rhein- 
 gold" was finished 1854, "Die Wal- 
 kiire" 1856. He cond. orch. concerts 
 with much succ, lectured on the 
 mus. drama, prod. " Tannhduser " 
 (Zurich, 1855) ; 1855 he cond. 8 con- 
 certs of the London Philh. Soc. 1857 
 he left " 5/ t'^o-y";7></" unfinished and c. 
 " Tristan und Isolde." i860 he gave 
 concerts of his own works, winning 
 many enthusiastic enemies and some 
 
 valuable friends. The French Empe- 
 ror ordered " Tannhduser" to be 
 prod, at the Gr. Opera, March 13, 
 1 861. It provoked such an elaborate 
 and violent opposition (for omitting 
 the ballet) that it was withdrawn after 
 the third performance. 
 
 W. was now permitted to return 
 to Germany ; " Tristan " was accept- 
 ed at the Vienna ct. -opera, but after 
 57 rehearsals the singers declared it 
 impossible to learn. In 1863, he 
 pub. text of the " Nibelung Ring" 
 despairing of ever completing the 
 mus. When his financial state was 
 most desperate. King Ludvvig II. of 
 Bavaria (1864) invited him to Mu- 
 nich and summoned von Btilow as 
 cond. to prod. " Tristan ttnd Isolde" 
 (June ID, 1865) ; but opposition was 
 so bitter that W. settled at Trieb- 
 schen. Lucerne, and completed the 
 scores of "Die Meistersinger" (prod. 
 Munich, 1868) and "Der Ring des 
 N^ibelungen" "Siegfried " (1869) and 
 " Gdfterdd>nniernng " (1874). 
 
 1870 he m. Cosima, the divorced 
 wife of von Billow and natural 
 daughter of Liszt. Since his death 
 she has had charge of the Bayreuth 
 Festivals. Though King Ludwig's 
 scheme for a special Wagner Thea- 
 tre in Munich was given up, there 
 were by this enough Wagner-lovers 
 and societies throughout the world, 
 to subscribe funds for a theatre at 
 Bayreuth, where the corner-stone was 
 laid in 1872, on his 60th birthday. 
 In August, 1876, complete perform- 
 ances of "Der Ring des A^ibehingen " 
 were given there under most splendid 
 auspices, but with a deficit $37,500, 
 paid off by a partially succ. festival 
 in London, 1S77, and by the setting 
 aside of the royalties from perform- 
 ances at Munich. He now set to 
 work on the " Bilhnenweihfestspiel" 
 (Stage - consecrating - festival - play). 
 "Parsifal" finished, and prod, in 
 1882. The same year ill-health sent 
 him to Venice, where he d. suddenly. 
 His writings (extravagantly praised 
 
784 
 
 THE MUSICAL GUIDE 
 
 and condemned) are pub. in various 
 eds. There is an English transla- 
 tion in 8 volumes, by Wm. Ashton 
 Ellis. Besides his operas and the 
 other works mentioned he c. a symph. 
 (1832) ; 6 overtures, incl. ''Konzert- 
 oiivertilre ziemlich ftigirt" " Polo- 
 nia," '"Columbus " "'Rule Britan- 
 nia"; '' New Year s Cantata" ; incid. 
 mus. to Gleich's farce ^'Der Berg- 
 geist" (Magdeburg, 1836); '' Hul- 
 di^ungsinarsch" (1864, finished by 
 Raff); " Siegfried Idyll" (187^0, for 
 his son then a year old), " Kaiser- 
 marsch " (1870), " Festival March " 
 (for the Centennial E.xposition Phil- 
 adelphia, 1876), " Gelegenheits-Can- 
 tata " (for unveiling a statue of King 
 Friedrich, August, 1843), " Grtiss an 
 den Kiniig" (1843, pf.), ".4« Weber s 
 Grabe" (Funeral March for wind- 
 instrs. on motives from Weber's '' Eu- 
 ryanthe" and double quartet for 
 voices, 1844). For Pf.: sonata ; po- 
 lonaise, for four hands ; fantaisie,".-^/- 
 
 buinsonate, fiir Frau Mathilde We- 
 sendonck " (1853) ; ''Ankunft bei den 
 Sch-ivarzen Schwanen" (1861); "iim 
 A Ibumblatt fiir Fiir s tin Metternich " 
 (1861), "-Albumblatt fur Frau Betty 
 Schott" (1875). Songs: " Carna- 
 valslied" from ''Das Liebesverbot" 
 (1835-36); "■Dors, man enfant" 
 " Mignonne" "Attente" (1839-40), 
 "Lesdeux Grenadiers " (1839); "Der 
 Tannenbaum" (1840); " Kraftlied- 
 chen" (\%-]\\"Funf Gedichte ;" I, 
 " Der Engel" ; 2, " Stehe still"; 3, 
 "/;« Treibhaus" ; ^, "■ Sckinerzen" ; 
 5, "Trdume" (1862). 
 
 Biog. by C. F. CUasenapp (1876) ; 
 F. Hueffer(i88i); R. Pohl (1883); 
 W. Tappert (1883) ; H. v. Wolzoger. 
 (1883) ; Ad. Jullien (1886) ; H. T. 
 Finck (1893) ; H. S. Chamberlain 
 (1897); E. Dannreuther, F. Prager 
 (1893); G. Kobbe ; Glasenapp and 
 Ellis (1900). There are many trea- 
 tises on his works. His letters have 
 also been published in various forms. 
 
 Wagner. 
 
 By Henry T. Finck. 
 
 WHEN Richard Wagner was living as a political remgee in Switzer- 
 land, at the age of thirty-six, he elaborated his theory of the "art- 
 work of the future" in a long essay. Reduced to one sentence, 
 this theory was, that music, poetry, painting, sculpture, and architecture had 
 run their course as separate arts, and that the art-work of the fliture was to 
 be a combination of them. At a later period he tried to make Beethoven re- 
 sponsible for this theory, so far at least as the union of poetry and music is 
 concerned. Beethoven, he argued, wrote his first eight symphonies for in- 
 struments alone, but when he composed the Ninth, the greatest of them all, 
 he reached a point in the last movement, where the orchestra no longer suf- 
 ficed for his purposes, so he called in the aid of the human voice and poetry 
 — Schiller's "Ode to Joy.''^ This symphony thus became "the gospel of 
 the art- work of the future"; and beyond it, Wagner maintained, progress 
 was possible only in the direction of the genuine music-drama; " the key to 
 which was thus forged bv Beethoven." And when the corner-stone for the 
 Bayreuth Theatre — in which the "art-work of the future" was to be pre- 
 
 
DICTIONARY OF MUSICIANS 785 
 
 sen 
 
 ted to the world — was laid, Wagner significantly made it the occasion for 
 the performance of this epoch-making Ninth Symphony. \ Undoubtedly it 
 was a stroke of genius on the part of Wagner thus to turn the tables on his 
 enemies who had decried him as a heretic and a foe to music — by claim- 
 ing their very idol as the sire of his new doctrine. In truth, however, it is 
 not at all probable that Beethoven had in mind any such purpose as Wagner 
 imputes to him. There is no reference to anything of the kind among the 
 biographic documents, whereas, it is known, on the other hand, that Bee- 
 thoven had been intending nearly all his life to set to music Schiller's " Ode 
 to Jo'^y According to Czerny, he subsequently even pronounced this ex- 
 periment of incorporating the Ode in his symphony a mistake {Missgrif). 
 The voice, in truth, was never congenial to him. " Songs I do not like to 
 write," he said to Rochlitz, in 1822, the very time when he was at work 
 on the "Ninth Symphony.'' In both this work and the " Miss a Solennis,''^ 
 of the same period, Beethoven, moreover, uses the human voice like an in- 
 strument, and it is probable that in each case his object in employing it was 
 not so much to secure an alliance with poetry as to increase the power of his 
 musical forces, and to enlarge the variety of tone-colours by adding to the 
 orchestra the human voice, alone, concerted, and in massive choral combina- 
 tion. ^ Wagner's musical pedigree must therefore be sought elsewhere. 
 His ancestry might be traced back as far as Peri and the other originators of 
 Italian opera who (strange as it may seem to us who know only the later 
 Italian opera which Wagner reviled) represented a protest in favor of poetry 
 against the tyranny of music in the marriage of these arts. Wagner's whole 
 art was such a protest, and his more immediate progenitor in this respect was 
 Gluck, who found that Italian opera had gradually become ridiculous through 
 the " vanity of singers and the unwise compliance of composers ; " and who, 
 therefore, endeavoured to reduce operatic music to its proper function ; that of 
 seconding the poetry and deepening the feeling it arouses. Gluck' s idea that 
 the relation of poetry to music was much the same as that of a sketch to the 
 colour, "which animates their figures without altering their outlines " was cor- 
 dially endorsed and adopted by Wagner. ^ The next step in the evolution 
 of Wagnerism is represented by Weber, his indebtedness to whom Wagner 
 frankly acknowledged in several places. He declared that the last scenes in 
 Weber's "Euryanthe'' realised the ideal of musico-dramatic art, as here the 
 orchestra " interpenetrates the recitatives as the blood does the veins of the 
 body," What Weber himself wrote about this opera : " 'Euryanthe' is a 
 purely dramatic work, which depends for its success solely on the co-opera- 
 tion of the sister arts, and is certain to lose its effect if deprived of their as- 
 sistance," shows that his ideal was the same as Wagner's. Had he lived 
 longer, and had he possessed Wagner's pugnacity and iron will, he might 
 50 
 
786 THE MUSICAL GUIDE 
 
 have been the man to annihilate the old-fashioned opera and triumphantly es- 
 taWish the modern music<drama. He even made use of leading motives [vide 
 D. D.]. His early opera '^Abu Hassan " has a melody which is afterwards 
 repeated in a reminiscent way. The ''Freyschiitz'' has eleven recurring 
 melodies, and " Euryanthe " has eight. ^ While the germs and main 
 principles of Wagnerism may thus be found in Peri, Monteverde, Gluck, and 
 Weber, it remained for Wagner's genius to develop and apply them. Gluck's 
 operas were still far from being perfect works of art. To cite Wagner's 
 own words : " In Gluck's operas we find the aria, the recitative, the ballet 
 still placed side by side without any connection ; ' ' while opera in general 
 remained after him, as before, a mere variety show, with here a pretty tune, 
 there a graceful skip of a dancer or a brilliant feat of vocalisation, here a daz- 
 zling scenic effect, there a volcanic outburst of the orchestra, and the whole 
 without artistic coherence. If a painter put on a canvas a number of human 
 figures and diverse objects totally unrelated to each other, no one would call 
 it a work of art, however well done each figure might be in itself. The 
 opera before Wagner was such a canvas. He was the first who made a gen- 
 uine picture of it — an art-work organically united in all its parts. He did 
 this by means of the leading motives — the typical melodies and charac- 
 teristic harmonies which accompany each of the dramatis pcrson^e throughout 
 the score, just as their social and moral character accompanies them, with 
 such modifications as the situation calls for. Weber had used leading motives 
 as we have seen, but only in an elementary way. It remained for Wagner 
 to make them the very framework of the music-drama. He thus taught 
 music to speak a definite language, so that we can almost tell by listening to 
 the orchestra alone what is going on on the stage. ^ His whole aim and 
 desire was to make the drama impressive and intelligible. For this reason he 
 discarded the tuneful style of vocalism in vogue in Italian opera and developed 
 a new vocal style — a sort of melodious declamation or "speech-song." 
 This led to the ridiculous accusation that there was " no melody " in his 
 operas, whereas the orchestral score usually bubbles over with melodies — often 
 two or more at a time. After the singers had begun to master the new vocal 
 style, it was found, moreover, that an artist like Lilli Lehmann or Jean de 
 Reszkecan make this speech-song sound smooth, and melodious, too — as smooth 
 and melodious as the bel canto of Rossini and Mozart. And after the singers 
 had learned how to act, and to enunciate distinctly, opera-goers learned that 
 Wagner had written stage- works which were quite as impressive poetically as 
 they were musically. He had an immense advantage over all other com- 
 posers in being able to write his own poems. His best ten operas — " The 
 Fl-^ing Dutchman,'' " Tannhduser,'' "Lohengrin,'' " Rheingold,'* 
 "Walkiire," "Siegfried," "Gotterddmmerung," "Tristan," " Meister- 
 
DICTIONARY OF MUSICIANS 787 
 
 singer,'" and " ParsifaP'' — apart from the music, rank among the best plays 
 ever written in Germahy ; though to be sure they must not be judged apart 
 from the music any more than the music must be judged apart from the poems. 
 The ludicrous opinions on these works formerly expressed by so many pro- 
 fessional musicians and critics were due chiefly to the fact that they did not 
 bear this in mind, though Wagner protested on every possible occasion that 
 he must not be judged from the stand-point of the separate arts, but of the 
 combined arts. The greatest defects in the present-day performances oi his 
 operas is owing to this, that few stage-managers have yet learned that he 
 expects them to be artistic, too, familiar with every detail of the work, so that 
 they can show how every incident on the stage is mirrored and emphasised 
 in the orchestral score. There is much delightful pantomimic music in these 
 operas, the meaning of which is lost if the stage-manager is a bungler, and the 
 singers poor actors. ^ With all these reforms and innovations, Wagner 
 never could have become the most commanding figure in the modern music- 
 world had he not been endowed at the same time with the faculty for creat- 
 ing an extraordinary abundance of ideas, melodic and harmonic. Wilhelm 
 Tappert has truly observed that there is more melody in Wagner's " Meis- 
 ter singer'" than in all the operas of the melodious Mozart. In the field of 
 harmony and modulation Wagner was an innovator of unprecedented origi- 
 nality. There can be no tragic expression without discord, and he was the 
 greatest of all masters of discord — the musical tragedian par excellence. In 
 orchestration, too — the art of clothing his ideas in beautiflil garbs ot various 
 colours — he was without a rival. ^| As Schubert influenced all song-writers 
 after him, Chopin all the pianoforte-composers, and Beethoven all the sym- 
 phonists, so Wagner has cast his spell on every writer for the stage. ♦' Wag- 
 ner is the oxygen, the atmosphere which modern opera breathes," writes 
 Ferdinand Pfohl ; and he hardly exaggerates when he adds that " modern 
 opera, apart from Wagner's art is an empty word, a phantom. It does not 
 exist. ' ' The minor composers of all countries have been indulging for nearly 
 half a century in a very bacchanal of plagiarism at his expense, while even the 
 greatest of living masters — Dvorak, Grieg, Saint-Saens, Richard Strauss-— 
 have honestly profited by his example in various branches of music. Rubin- 
 stein committed suicide by trying to swim against the current. The German 
 school of opera, the French, and even the Italian have followed Wagner in 
 abandoning colorature song and elaborate arias, in giving greater coherence 
 to their scores, and in showing a decent regard for their texts. In these 
 respects even Verdi, greatest of the Italians, has in his last period, paid homage 
 to Wagner's genius. 
 
788 
 
 THE MUSICAL GUIDE 
 
 (ii) Siegfried, b. Triebschen, 
 Lucerne, June 6, 1S69; only son 
 of above ; attended a polyteclinic 
 sell., but took up mus. as pupil of 
 Kniese and Humperdinck ; since 
 1893, a concert-cond. in Germany, 
 Austria, Italy and England ; he con- 
 ducts with his left hand; lives at Bay- 
 reuth ; cond. at the Festivals ; c. a 
 symph. poem " Sf/insiec/ii" {Sch'Mcr), 
 text and music of mod. succ. comic- 
 romantic opera " Der Bdrenhauter" 
 (Munich Ct. Th., iSgg), unsucc, 
 '' Herzog IViUfang" (1901). (12) 
 (Jachmann - Wagner), Johanna, 
 near Hanover, Oct. 13, 1828 — Wiirz- 
 burg, Oct. 16, 1S94 ; niece of (10) ; 
 dram, soprano; created "Elizabeth," 
 1845 ; m. a judge Jachmann. (13) 
 Paul Emil, b. Neise, June 28; teach- 
 er at Paderborn ; c. operettas, orch.- 
 pcs., etc. 
 
 Wain Wright, (i) J., d. 176S ; organ- 
 ist, Manchester. (2) Robt., 174S — 
 1782 ; son of above ; organist and 
 composer, Liverpool. (3) Richard, 
 1758 — 1825 ; bro. and succ. of above. 
 (4) Wm., d.1797; double-bass vir- 
 tuoso and singer ; bro. of above. 
 
 Waissel (vTs'-sel), (Waisse lius) 
 Matthias, b. Bartenstein, Prussia ; 
 lutenist and composer at Frankfort, 
 1573- 
 
 Walcker (val'-ker), (i) Eberhard Fr., 
 Cannstadt, 1794 — Lud\vigsburg,iS72; 
 son of a skilled org. -builder ; himself 
 a noted org. -builder ; succeeded by 
 his five sons, (2) H. (b. Oct. 10, 
 1828), (3) Fr. (b. Sept. 17, 1829), (4) 
 K. (b. March 6, 1845), (5) Paul (b. 
 May 31, 1846), and (6) Eberhard (b. 
 April 8, 1850). 
 
 Waldersee (viil-der-za), Paul, Count 
 von, b. Potsdam, Sept. 3, 1831; a 
 Prussian officer from 1S48-71, then 
 took up mus. ; co-editor of Beethoven 
 and Mozart. 
 
 Wa'ley, Simon, London, 1827 — 1875 ; 
 pianist and composer. 
 
 Walkeley (\v6k'-li), Antony, 1672 — 
 1717(18) ; Engl. org. and composer. 
 
 Walker (w6k'-er), (i; Jos. Cooper, 
 
 Dublin, 1760 — St.-Valery, France, 
 1810; writer. (2) Jos. and Sons, 
 org. - builders, London. (3) Fr. 
 Edw., b. Marylebone, London, Jan. 
 17. 1835 ; tenor ; chorister Chapel 
 Royal; prof, of singing, R. A. M.; 
 1S83. cond. Brixton Philh. Soc. (4) 
 Edith, b. New York ; contralto ; 
 studied Dresden Cons, with Orgeni ; 
 engaged at the Vienna opera for 4 
 years as ist alto ; sings also in con- 
 cert. 
 
 Wallace, Wm. Vincent, Waterford, 
 Ireland, June i, 1814 — Chateau de 
 Bages, Haute Garonne, Oct. 12, 
 18C5 ; violinist ; wandered over the 
 world ; c. very pop. pf.-pcs. and c. 6 
 operas includ. the very succ. '''Mari- 
 /(7«a " (London, 1845); and " Lur- 
 line" (do. i860). 
 
 Wallaschek (val'-la-shek), Richard, 
 lecturer at Lemburg Univ.; pub. 
 1 886, valuable treatise ''.'Estheiik 
 dcr Toukiinst." 
 
 Wallenstein (val'-len-shtTn), Martin, 
 Frankfort-on-Main, 1843 — 1896 ; pi- 
 anist ;■ c. comic opera. 
 
 Wallerstein (val'-ler-shtm), Anton, 
 Dresden, 18 13 — Geneva, 1892 ; vio- 
 linist and composer. 
 
 Wall'is, J., Ashford, Kent, 1616— 
 London, 1703 ; acoustician. 
 
 Walliser (val'-ll-zer), Chp, Thos., 
 Strassburg. 1568 — 1648; mus.-dir., 
 theorist and composer. 
 
 Wallner (val'-ner), Leopold, b. Kiev, 
 Russia, Nov. 27, 1S47 ; writer and 
 mus. -teacher in Brussels. 
 
 Wallnofer (val'-na-f^r). Ad., b. Vien- 
 na, April 26, 1854; pupil of Wald- 
 miiUer, Krenn and Dessoff (comp.), 
 Rokitansky (singing) ; barytone at 
 Vienna ; 1882, with Neumann's 
 troupe; 1897-98, N. Y.; c. succ. 
 op. " Eddv stone "{Vx2i%Vi^, 1889), etc. 
 
 Walmisley (wamz'-ll), (i) Thos. 
 Forbes, London, 1783 — 1866; or- 
 ganist and composer. (2) Thos. 
 Attwood, London, 1814 — Hastings, 
 1856 ; son of above ; professor and 
 composer. 
 
 Wa'lond, (i) Wm., organist and com- 
 
 I 
 
DICTIONARY OF MUSICIANS 789 
 
 poser, Oxford, 1759. (2) Wm,, d. 
 1836 ; son of above ; organist, Chi- 
 chester, 1775. 
 
 Walsh, John, d. London, 1736 ; mus.- 
 publisher. 
 
 Walter (vril'-ter), (i) Ignaz, Rado- 
 witz, Boliemia, 1759 — Ratisbon, ca. 
 1830 ; tenor and composer. (2) Ju- 
 liane (nee Roberts), wife of above ; 
 a singer. (3) G. Anton, b. Ger- 
 many ; pupil, R. Kreutzer ; 1792, 
 opera conductor at Rouen ; compos- 
 er. (4) Albert, b. Coblentz ; from 
 1795, clarinettist and composer in 
 Paris. (5) Aug., Stuttgart, 1821 — 
 Basel, Jan. 22, 1896 ; mus. -director 
 and composer. (6) Jos., Neuberg- 
 on-Danube, 1S33 — Munich, 1875; 
 vin. -teacher. (7) Gustav, b. Bilin, 
 Bohemia, Feb. 11, 1836; tenor; 
 pupil of Prague Cons. ; debut in 
 Brunn, 1856-87, principal lyric tenor 
 at Vienna ct. -opera. (S) Behno, Mu- 
 nich, June 17, 1847 — Oct. 23, 1901 ; 
 bro. and successor of above ; violin- 
 ist ; pupil of Munich Cons. ; from 
 1863 member of the ct.-orch. (q) 
 (wol'-ter), Wm. H., b. Newark, N. 
 J., July I, 1825 ; organist as a boy ; 
 from 1856, organist Columbia Coll., 
 N. v.; Mus. Doc, 1864; c. 2 masses. 
 (10) Geo. Wm., New York, b. Dec. 
 16, 1851; son and pupil of (9), also 
 pupil of J. K. Paine (Boston), S. P. 
 Warren (New York) ; 1. Washing- 
 ton since 1869. (11) K., b. Crans- 
 berg, Taunus, Oct. 27, 1862 ; pupil 
 of Meister and Schmetz ; later Ratis- 
 bon Sch. for Church-mus. ; then 
 teacher and organist at Biebrich-on- 
 Rhine ; from 1893, mus. -teacher at 
 Montsbaur Seminary ; wrote essays ; 
 c. motets, a prize triple fugue, etc. 
 (12) Fr. Wm., b. Mannheim, Sept. 
 3, 1870; Dr. Phil., Heidelberg, 
 1892 ; lives in Mannheim as writer 
 and critic. 
 
 Walther von der Vogelweide (vjil'- 
 ter fon dgr fo'-gel-vT-de), in the Ty- 
 rol (?), ca. 1 160 — Wurzburg, after 
 1227; the chief Minnesinger and 
 lyric poet of medieval Germany. 
 
 Walther (val'-ter), (i) Jn., Thuringia, 
 1496 — Torgau, 1570; singer and 
 composer ; ct. -conductor. (V. mar- 
 tin LUTHER.) (2) Jn. Jakob, b. 
 Witterda, near Erfurt, 1650 ; ct.- 
 musician, publisher and composer. 
 
 (3) Jn. Gf., Erfurt, 1684— Weimar, 
 174S ; organist, writer and composer. 
 
 (4) Jn. Chp., Weimar, 1715 — 71; 
 organist and composer. 
 
 Walzel (vel'-tsel), Camillo, Magde- 
 burg, 1829 — Vienna, 1895 ; librettist, 
 (pseud. F. Zell). 
 
 Wambach (vam'-bakh), Emile (X.), 
 b. Arlon, Luxembourg, Nov. 26, 1S54; 
 pupil of Antwerp Cons.; c. symph. 
 poem, ''Aan de hoorden van de 
 Schelde" orch. i fantasias, Flemish 
 drama "A'athaiis PaiabeV ; 2 ora- 
 torios , a hymn for chorus and orch., 
 etc. 
 
 Wangemann (vang'-e-man). Otto, b. 
 Loitz-on-the-Peene, Jan. 9, 1848 ; 
 pupil of G. Fliigel, Stettin and Fr. 
 Kiel at Berlin ; since 1878, organist 
 and singing-teacher Demmin Gym- 
 nasium ; wrote org. treatise. 
 
 Wanhal (Van Hal) (van -hiil), Jn. 
 Bapt., Neu-Nechanitz, Bohemia, 
 1739 — \'ienna, 1813 ; composer. 
 
 Wanski (van'-shki), (i) Jn. Nepo- 
 muk, b. ca. 1800 (?); son of (2) Jan 
 (a pop. Polish song-composer) ; vio- 
 linist ; pupil of Baillot ; toured wide- 
 ly, then lived at Aix ; wrote a vln. 
 method and c. etudes, etc. 
 
 Ward, (i) J., d. before 1641 ; English 
 composer. (2) J. Chas., b. Upper 
 Clapton, London, March 27, 1835 ; 
 1846, soloist on the concertina ; since 
 1852, organist at several London 
 churches ; c. a motet, and a Sanctus 
 for double-choir ; cantata " The 
 Wood"; "^ Psahn of Life,' with 
 orch.; orch. fugue on '^The Sailors 
 Hornpipe''' etc. 
 
 Warlamoff (var'-la-mof), Alex. Jego- 
 rovitch, Moscow, 18 10 — 1849 ; sing- 
 ing-teacher and composer 
 
 Warnots (var-no), (i) Jean Arnold, 
 (1801 — 1861). (2) Henri, Brussels, 
 1832 — 1893 ; opera-tenor ; son and 
 
790 
 
 THE MUSICAL GUIDE 
 
 pupil of above ; c. operetta. His 
 daughter and pupil (3) Elly, b. 
 Liege, 1862 ; soprano ; debut, Brus- 
 sels, 1879; sang there, then at Flor- 
 ence, Paris Op. -Com., etc. 
 
 Warren, (i) Jos., London, 1804 — 
 Kent, 188 1 ; organist, pianist, violin- 
 ist, composer and writer. (2) G. 
 Wm., Albany, N. Y. , Aug. 17, 
 1828 — New York, 1902 ; self-taught 
 organist ; from 1870, organist St. 
 Thomas's Ch., New York; prof. 
 Columbia Univ.; c. church-mus. (3) 
 Samuel Prowse, b. Montreal, Can- 
 ada, Feb. 18, 1841; organist; pupil 
 of Haupt, Gv. Schumann (pf.) and 
 Wieprecht (instr.) ; 1S65-67, organ- 
 ist of All Souls' Ch., New York; 
 later at Trinity Ch. ; c. church-mus., 
 org.-pcs., etc. Richard Henry, Al- 
 bany, N. Y., Sept. 17, 1859; son and 
 pupil of (2), also studied abroad ; 
 from 1886 org. at St. Bartholomew's, 
 N. Y.; founder and cond. of church 
 choral soc, which gave many im- 
 portant works their first hearing ; 
 Parker's "Horn Novissiina" was 
 written for this society. C. anthems, 
 services, a comic opera, songs, etc. 
 
 Wartel (var-tgl), (1) Pierre Fran., 
 Versailles, 1806 — Paris, 1S62 ; tenor. 
 (2) Atala Tli^rese (nee Adrien),b. 
 Paris, July 2, 1814 ; wife of above; 
 1831-3S, prof, at Paris Cons.; c. pf.- 
 studies, etc. (3) Emil, son of above ; 
 sang for years Th. Lyrique, then 
 founded a sch. 
 
 Wasielewski (va-ze-lef'-shki), Jos. 
 W. von, Gross - Leesen, Danzig, 
 1822 — Sondershausen, 1S96 ; violin- 
 ist, conductor, critic, composer, and 
 important historical writer. 
 
 Wassermann (vas -ser-man), H. Jos., 
 Schwarzbach, near Fulda, 179I — 
 Richen, n. Basel, 1838 ; violinist and 
 composer. 
 
 'Wassmann (vas'-man), K., vln.- 
 teacher, Carlsruhe Cons.; pub. tech- 
 nical works. 
 
 Wat'son, (i) Thos., Eng. composer, 
 1590. (2) Wm. Michael, New- 
 castle-on-Tyne, 1840 — E. Dulwich, 
 
 London, 1889 ; teacher and compos- 
 er under pen-name Jules Favre. (3) 
 John Jay, Gloucester, Mass., Sept. 
 23, 1830 — Boston, Aug. 5, 1902; 
 very succ. vt. and cond. 
 
 Webb, (i) Daniel, Taunton, 1735 — 
 Bath, 1815; writer. (2) G. Jas., 
 Rushmore Lodge, near Salisbury, 
 Engl., 1803— Orange, N. J., 1887; 
 organist and editor, (3) Frank 
 Rush, b. Covington, Indiana, Oct. 
 8, 1851; pupil of N. E. Cons., Bos- 
 ton ; organist ; since 1883, teacher 
 at Staunton, Va.; c. 200 pes. for 
 military bands, etc. 
 
 Webbe (web), (i) Samuel, Sr., Min- 
 orca, 1740 — London, 1816; ed. colls., 
 etc. (2) Samuel, Jr., London, 1770 
 — 1S43 ; son of above ; writer and 
 composer. 
 
 Weber (va-ber), (i) Fridolin (b. 
 Zelli, 1733 — d. 1764), and his bro. 
 (2) Fz. Anton (b. 1734 ?), were vio- 
 linists in the orch. of the Elector K. 
 Theodor Fz. became cond. of 
 Eutin town orch. His four daughters 
 were (3) Josepha (d. 1820), soprano ; 
 m. the violinist Hofer, 17S9, later m. 
 a bass, Meyer. For her Mozart c. 
 "The Queen of the Night" in 
 the ''Magic Flute." (4) Aloysia, 
 1750 — Salzburg, 1839. Mozart's first 
 love ; she m. an actor, Lange, 1780, 
 and toured as a singer. (5) Con- j 
 stanze, Zell, 1763— Salzburg, 1842, i 
 Mozart's wife (1782); 1809, m. ) 
 Nissen. (6) Sophie, i764^Salz- i 
 burg, 1843 ; m. the tenor Ilaibl. (7) j 
 Fr. Aug., Heilbronn, 1753 — 1806; I 
 physician and c. (8) Bd. Anselm, j 
 Mannheim, April 18, 1766 — Berlin, i 
 March 23,1821; pianist, conductorand , 
 dram, composer. (9) (Fr.) Dionys, t 
 Welchau, Bohemia, Oct. 9, 1766 — 
 Prague, Dec. 25, 1842 ; dir. Prague ! 
 Cons. ; c. operas, etc. (10) Gf., J 
 theorist and composer, Freinsheim, [ 
 near Mannheim, 1779 — Kreuznach, I 
 Sept. 21, 1839 ; amateur pianist, flut- i 
 ist and 'cellist, also cond.; wrote es- \ 
 says and valuable treatises ; c. 3 
 masses, a requiem and a Te Deura 
 
 I 
 
DICTIONARY OF MUSICIANS 79' 
 
 with orch. and pf. -sonata, (ii) Fri- 
 dolin (II.), b. 1761; son of (2), and 
 step-broth, of (12) ; pupil of Haydn ; 
 singer and mus. -director. 
 
 (12) K. Maria (Fr. Ernst), Frei- 
 herr von, Eutin, Oldenburg, Dec. 
 18, 1786 — (of consumption) London, 
 June 5, 1826 ; son of the second wife 
 of (2) and cousin, by marriage, of 
 Mozart ; the founder of German 
 national opera (Wagner shows his in- 
 fluence deeply), and of the Romantic 
 Sch.; perhaps the most widely influ- 
 ential German composer of the cent. 
 More important, in cold fact, as a 
 path-finder, and an influence, than 
 as an artistic individuality ; he was 
 also a notable pianist (he could 
 stretch a I2th), and a pioneer in 
 modern pianistic composition. At 
 first a pupil of his step-bro. (11). 
 His mother, Genoveva (d. 1798, of 
 consumption), was a dram, singer, 
 and the family led a wandering life. 
 At 10 he became pf. -pupil of J. P. 
 Heuschkel. As a chorister in the 
 cathedral at Salzburg,. 1797, he had 
 gratuitous lessons in comp. from Mi- 
 chael Haydn, to whom he dedicated 
 his first published comps. , si.x f ughet- 
 tas (179S). 1798-1800, at Munich, 
 he studied singing with Valesi, and 
 comp. with Kalcher. At 12 he c. an 
 opera (the MS. lost or burned). He 
 also appeared as concert-pianist. He 
 met Aloys Senefelder, the inv. of 
 lithography, and engraved his own 
 op. 2, 1800, and made improvements 
 in the process. At 13 he c. and prod, 
 with succ. the opera "Das IVald- 
 vtddchen"' (Freiberg, also played at 
 Chemnitz, Prague, Vienna and St. 
 Petersburg). In 1801, he c. a third 
 opera " Peter Schmoll und seine 
 A^«f///'a;-«" (Augsburg, 1803?); 1803, 
 in Vienna, he became a pupil of Abbe 
 Vogler. 1804, cond. Breslau City 
 Th.; resigned 1S06 ; supported him- 
 self by lessons, then mus.-intendant 
 to Duke Eugen of WUrtemberg ; 
 1807, private secretary to Duke Lud- 
 wig at Stuttgart, and mus. -master to 
 
 his children. In a turmoil of intrigue 
 and dissipation he forgot his art, until 
 he became involved in a quarrel lead- 
 ing to his banishment in 1810. This 
 sobered him and awoke his better 
 self. Going to Mannheim, he prod, 
 his first symph. ; then rejoined Abbe 
 Vogler, at Darmstadt. His opera 
 '' Si /viuia" was prod. (Frankfort-on- 
 Main, 1810), and ''Adu Hassau," a 
 comic Singspiel (Munich, 181 1). He 
 made a concert-tour to various cities. 
 1813, cond. of the Landstandisches 
 Th. at Prague, where he reorganised 
 the opera, and won such note that in 
 1 8 16 the King of Saxony called him 
 to Dresden to reorganise the Royal 
 Opera. At 20 he began " Dei- Frei- 
 schiitz" but gave it up till later 
 (the incid. mus. to Wolff's '' Precio- 
 sa" took 3 weeks). In 1817, he m. 
 the singer Karoline Brandt, a mem- 
 ber of his company to whom he 
 had long been engaged. They 
 toured together as pianist and singer. 
 "/?('/' Freischiitz" was prod, with 
 tremendous succ, Berlin, 1821 ; its 
 strong nationalism provoking a frenzy 
 of admiration. But '' Euryanthe'" 
 (Vienna, 1823) had much less succ. 
 1824, he was commissioned to write 
 ''Oberon" for Covent Garden, Lon- 
 don, but consumption delayed its 
 completion ; it was prod. (London, 
 1826) with much succ. He lived 
 only eight weeks longer ; his body 
 was taken to the family vault at Dres- 
 den. [See also pages 785 and 786.] 
 
 Dr.'XMatic Works : Besides the 
 operas already mentioned he c. " P/i- 
 bezahV (begun 1804, not completed); 
 "'Die Drei Pintos'' (completed by 
 G. Mahler, written and prod. Leip- 
 zig, 1888). Incid. mus. to Schiller's 
 '' Turandoi" Milliner's '' Konig Yn- 
 gurd" Gehe's ''Heinrich IV" and 
 Houwald's ''Der Leuchtthurm." C. 
 also cantatas, incl. '' Der erste Ton " 
 (1808) ; and " Kampf laid Sieg'" (on 
 the battle of Waterloo), with orch. 
 (1S15); '■'■ Natur und Lieie," 1S18 ; 
 hymn, " /« seiner Ordnung sckaff 
 
792 
 
 THE MUSICAL GUIDE 
 
 der Herr" with orch.; (iSl2), 2 
 masses and 2 offertories, with orch. ; 
 some ver)' pop. songs, four scenes 
 and arias for soprano with orch.; 2 
 scenes and arias for tenor, chorus 
 and orch.; 19 part-songs, some very 
 pop.; and children's songs ; 6 canons 
 a 3-4 ; duets (op. 31) ; 2 symphs. 
 (both in C) ; Jubel-Ouverture ; 2 
 clarinet-concertos ; bassoon-concerto; 
 adagio and rondo ungarese for bas- 
 soon with orch.; variations for many 
 instrs.; chamber-mus.; 2 pf. -concer- 
 tos, Concertstuck with orch., 10 so- 
 natas, a 4-hand sonata, the famous 
 waltz "Aiifforderiing ziim Tanze" 
 {"Invitation to the Dance"), op. 65 ; 
 12 Allemandes ; 6 Ecossaises ; 18 
 " Valses favorites de timpdratrice de 
 France" ; several sets of Variations, 
 etc. The so-called " Weber s Last 
 Waltz " ( Thought or Fareruell) was 
 written by Reissiger ; a MS. copy 
 of it being found in W.'s papers. 
 Biog. by Barbedette (Paris, 1862, 
 Leipzig, IS64-68)' Jahns (Leipzig, 
 1873) ; Carl v. Weber (W.'s grand- 
 son) pub. his beautiful letters to his 
 wife (1886); Th. Hell (1S28). An 
 almost ideal biog. is that of W.'s son 
 the Baron Max Maria von W. (in 3 
 vols., 1866-6S). 
 
 (13) Edmund von, Hildesheim, 
 1786 — Wurzburg, 1828 ; mus. -direc- 
 tor and composer. (14) Ernst H., 
 Wittenburg, June 24, 1795 — Leipzig, 
 Jan., 1878, with his brother (15) 
 Wm. Ed. (1804— 1891), prof, at 
 Gottingen ; writer on acoustics, etc. 
 (16) Fz., Cologne. 1805— 1876 ; or- 
 ganist, conductor and composer. (17) 
 Eduard W., town-musician, Frank- 
 enberg. (18) K. H., b. Franken- 
 berg, Aug. 9, 1S34 ; son of above ; 
 pupil of Leipzig Cons., 1S66-70 ; 
 from 1S77. dir. Imp. Russian Mus. 
 Soc. at Saratov ; pub. a pf. -method. 
 (19) G. Victor, b. Ober-Erlenbach, 
 Upper Hesse, Feb. 25, 1838 ; pupil 
 of Schrems, Ratisbon ; took orders ; 
 since 1866, cond. at Mayence Cath., 
 expert and writer on org. -building ; 
 
 composer. (20) Gustav, Miinchen- 
 
 buchsee, Switzerland, 1845 — Zurich, 
 1887; organist, conductor and com- 
 poser. (21) Miroslaw, b. Prague, 
 Nov. 9, 1854 ; violinist ; pupil of his 
 father ; at 10 played before the Aus- 
 trian Emperor, and toured ; pupil of 
 Blazek, Prague ; also of the Cons. ; 
 Konzertmeister, royal orch. at Wies- 
 baden, and 2nd cond. at the opera 
 (resigned, 1S93) ; 1889, R. Mus.- 
 Dir. C. incid. mus. to ballet ''Die 
 Rheinnixe" (Wiesbaden, 1SS4), 2 
 string quartets (the 2nd taking prize 
 at Petersburg, 1891), etc. (22) Con- 
 stantine Otto, Germany, 1847 (?) — 
 New Orleans, La., Nov. 13, 1901; 
 pupil Leipzig Cons.; from i860 in 
 New Orleans as org., dir., teacher 
 and composer. 
 
 Web ster, Jos. Philbrick, Manches- 
 ter, N. H., 1819— Elkhorn, Wis., 
 1875 ; composer. 
 
 Weckerlin (vek-er-lan), Jean Bapt. 
 Th., b. Gebweiller, Alsatia, Nov. 9, 
 1S21; entered his father's business of 
 cotton-dyeing; in 1844, studied sing- 
 ing with Ponchard and comp. with Ha- 
 levy at the Paris Cons., prod, heroic 
 choral symph. ''Roland" 1S47; gave 
 mus. -lessons ; 1853, prod. succ. i-act 
 opera, ' 'L Organiste dans Vembarras" 
 (100 performances, Th.-Lyrique), 
 followed by several privately per- 
 formed operettas, 2 comic operas in 
 Alsatian dialect, i-act opera "Aprh 
 Fontenot" (Th.-Lyrique, 1877); 
 1869, asst.-libr. Paris Cons.; 1876, 
 libr.; wrote bibliogr. and other ar- 
 ticles and treatises, and ed. valuable 
 colls. C. " Symphonie de la foret" 
 an oratorio "Le Jugement Dernier" 
 2 cantatas, incl. "Paix, Charity, 
 Grandeur" (Opera, 1866); the ode- 
 symphonie " Les Poemes de la Mer,'" 
 etc. 
 
 Weelkes (weks), Thos., organist 
 Chichester Cathedral ; c. notable 
 madrigals, etc., 1597. 
 
 Wegeler (va'-ge-ler), Fz. Gerhard, 
 Bonn, 1765 — Koblenz, 1848, physi 
 cian and biographer of Beethoven. 
 
 _tlj_ 
 
DICTIONARY OF MUSICIANS 793 
 
 Wedekind (va'-de-kint), Erica, b. 
 Hanover, Nov. 13, 1S72 ; soprano ; 
 pupil of Dresden Cons, and Fr. Or- 
 geni ; debut Dresden ct. -opera, 1894, 
 sang- there 5 years, then toured widely 
 in concert and opera ; 1898, m. Herr 
 Oschwafd. 
 
 Wegelius (va-ga'-U-oos), Martin, b. 
 Helsingfors, Nov. 10, 1846 ; pupil of 
 Bibl, Vienna, and I-lichter and Paul, 
 Leipzig : 1878, opera cond. and dir. 
 of the Cons, at Helsingfors ; pub. 
 te.xt-books ; c. overture ^'Daniel 
 Hjort" ; a ballade with orch; " Mig- 
 )ion " for sopr. with orch., etc. 
 
 Wehle (va'-le), K., Prague, 1825— 
 Paris, 1SS3 ; pianist and composer. 
 
 Weichler (vikh'-ler), Maximilian, 
 flutist, Gewandhaus orch., Leipzig; 
 pub. a flute text-book (1S97). 
 
 Weidenbach (v! -den-bakh), Jns., b. 
 Dresden, Nov. 29, 1847 ; pupil of 
 Leipzig Cons.; since 1873 pf. -teacher 
 there. 
 
 Weidt (vlt), K., b. Bern, March 7, 
 1857; 1889 cond. at Klagenfurt; lives 
 in Heidelberg ; c. male choruses. 
 
 Weigl (vTkh'-'l), (i) Jos., Eisenstadt, 
 Hungary, 17G6 — Vienna, 1846 ; ct.- 
 conductor and dram, composer. (2) 
 Taddaus, Vienna, 1774 (?) — 1844; 
 bro. of above ; c. operettas. 
 
 Weinberger (vln'-berkh-er), (i) K. 
 Fr., b. Wallerstein, 1883 ; teacher 
 and cath. cond. at Wiirzburg. (2) 
 Kad. b. Vienna, April 3, 1861; lives 
 there ; c. g succ. operettas, incl. 
 *' Die Ulatten" (Vienna, 1891), 
 '" Lachende Erbett" (1S92), "'Die 
 Bliii!ie?!-Mary" {yh.., 1897), ''Adam 
 und Eva" (ib., 189S). 
 
 Weingartner (vTn'-gart-ner) (Paul) 
 Felix, b. Zara, Dalmatia, June 2, 
 1863 ; notable conductor ; pupil of 
 W. A. Remy; later of Leipzig Cons., 
 winning Mozart prize ; friend of 
 Liszt at Weimar, where his opera 
 " Sakimtala " was prod. 1884 ; until 
 iSSg, theatre cond. at Konigsberg, 
 Danzig, and Hamburg, Mannheim ; 
 1891-97, 2nd cond. Berlin ct. -opera, 
 
 j also cond. symph concerts at the 
 
 Royal orch.; from 1S98 lives in Mu- 
 nich as cond. Kaim concerts as well 
 as the R. Orch. Berlin ; wrote 
 treatises " Uher das Dirigieren'' (Ber- 
 lin, 1896), etc. C. operas " .Sfl/C'//;?- 
 tal " (1884), " Malawika " (Munich, 
 1S86), "Genesius" (Berlin, 1893), 
 withdrawn by the author because of 
 press attacks and revived with succ. 
 at Mannheim and elsewhere ; " Ores- 
 ies" (Berlin, June 15, 1902); c. a 
 symph. ; symph. poems " Konig 
 "Das Gejilde der Seligen," 
 
 Lear 
 
 etc. 
 
 Weinlig (or Weinlich) (vTn'-llkh), (i) 
 Chr. Ehregott, Dresden, 1743— 
 1S13 ; organist and composer. (2) 
 (Chr.) Th., Dresden, 1780 — Leipzig, 
 1S42 ; nephew and pupil of above ; 
 cantor, theorist and composer. 
 
 Weinwurm (vla'-voorm), Rudolf, b. 
 Schaidldorf - on - the - Thaja, Lower 
 Austria, April 3, 1835 ; chorister, ct.- 
 chapel, Vienna ; 1858, studied law 
 and founded the Univ. Gesangverein; 
 mus.-dir. ; iS8o mus.-dir. of the Univ. ; 
 pub. treatises and composer. 
 
 Weinzierl (vln-tserl). Max, Ritter 
 von, Bergstadl, Bohemia, 1841 — 
 Modling. near Vienna, 189S ; con- 
 ductor and dram, composer. 
 
 Weis (vTs), Karl, notable contempo- 
 rary composer ; prod, with succ. 2- 
 act opera ''The Polish Jew" (Berhn, 
 1902); comic opera "77/6- T^viiis" 
 (Frankfort, 1903 ?). 
 
 Weisheimer (vIs'-hT-mer), Wende- 
 lin, b. Osthofen, Alsatia, 1836; pupil 
 of Leipzig Cons.; 1S66, theatre-cond. 
 at Wiirzburg, later Mayence; teacher 
 at Strassburg ; wrote essays ; c. 
 grand opera " T/ieodor Korner" 
 (Munich, 1872), and " Meisier Mar- 
 tin und seine Gesellen" (Carlsruhe, 
 1879). 
 
 Weiss (vis), (i) K., Miihlhausen, ca. 
 1738 — London, 1795 ; composer. (2) 
 K., b. 1777, son and pupil of above ; 
 writer and composer. (3) K., bro. 
 of above ; prod, the opera " Tivelfth 
 Night" (Prague, 1892). (4) Fz., 
 Silesia, 1778 — Vienna, 1830 ; viola- 
 
794 
 
 THE MUSICAL GUIDE 
 
 virtuoso and composer. (5) Julius, 
 b. Berlin, July iq, 1814 ; violinist ; 
 pupil of Henning ; teacher, writer 
 and critic ; pub. instructive works 
 for vln. (6) Amalie. Vide amalie 
 JOACHIM. (7) Josef, b. Kaschau, 
 Hungar)', Nov. 5, 1S64 ; pf. -virtu- 
 oso ; c. a concerto, etc. 
 
 Weissbeck (vls'-bek), Jn, Michael, 
 Unterlaimbach, Swabia, 1756 — 1S08; 
 cantor and organist ; writer of satiri- 
 cal pamphlets ; composer. 
 
 Weist-Hill, H., b. London, 1830; 
 violinist; pupil R. A. M.; cond. va- 
 rious concerts with much hospitality 
 to novelties ; 1880 principal Guild- 
 hall Sch. 
 
 Weitzmann (vTts'-man), K. Fr., Ber- 
 lin, iSoS — 1880 ; eminent theorist ; c. 
 operas, etc.; wrote valuable treatises. 
 
 Welch, J. Bacon, b. Northampton , 
 1839 ; prominent Engl, singing-teach- 
 er. 
 
 Welcker von Gontershausen (vel- 
 k6r fon gon'-ters-how-zen), H., Gont- 
 ershausen. Hesse, 181 1 — Darmstadt, 
 1S73 ; ct.-pf. -maker and writer. 
 
 Weldon, (i) J., Chichester, Engl., 
 1676 — London, 1736 ; organist and 
 composer. (2) Georgina, b. Clap- 
 ham, May 24, 1837 ; singer and 
 composer. 
 
 Wels (vels), Chas., b. Prague, Aug. 
 24, 1825, pupil of Tomaschek; 1847, 
 ct. -pianist; 1849, New York as con- 
 cert-pianist and teacher ; c. concert- 
 overture and suite for orch.; a pf.- 
 concerto, etc. 
 
 Welsh (i) Thomas, Wells, Somerset, 
 1770 — Brighton, 1S48; bass and sing- 
 ing-teacher. (2) Mary Anne (nee 
 Wilson), 1802— 1867 ; wife and pu- 
 pil of above ; v. succ. soprano, earn- 
 ing /■lo.ooo ($50,000) the first year 
 of her short career. 
 
 Wenck (venk), Aug. H., violinist ; 
 pupil of G. Benda ; lived in Paris 
 (1786), and Amsterdam (1806) ; inv. 
 a metronome ; c. pf.rsonatas, etc. 
 
 Wenckel (venk'-el), Jn. Fr, Wm,, 
 Niedergebra, 1734 — Ulzen, 1792 ; 
 organist and composer. 
 
 Wendling (vent'-ling), (i) Jn. Bapt., 
 
 from 1754 - 1800 flutist in Mann- 
 heim ; band composer. His wife (2] 
 Dorothea (nee Spurni), Stuttgart 
 1737 — Munich, 1809, was a singer 
 (3) K., d. 1794 ; violinist in Mann 
 heim band. His wife (4) Augustf 
 Elizabethe, was a singer. (5) K. 
 
 b. Frankenthal, Rhine Palatinate 
 Nov. 14, 1857 ; pianist ; pupil Leip 
 zigCons. ; performer on Janko key 
 board ; teacher of it from 1887 a' 
 Leipzig Cons.; ct. -pianist to Princ( 
 of Waldeck. 
 
 Wendt (vent), (i) Jn. Gl. (Amadeus) 
 Leipzig, 1783 — Gottingen, 1836. (2 
 Ernst Ad., Schwiebus, Prussia 
 1806 — Neuwied, 1850; composer. (3 
 Ed., Berlin, 1S07— Magdeburg, 1890 
 violinist and composer. 
 
 Wennerberg(ven'-ner-berkh),Gunnar 
 Linkoping, Sweden, 18 17 — (?); 
 poet, critic, statesman, and composer' 
 
 c. an oratorio and pop. psalms am; 
 songs. 
 
 Wenzel (ven'-tsel), (i) Ernst Fd.j 
 Walddorf, near Lobau, 1S08 — BacI 
 Kosen, 1880; pf. -teacher and writeii 
 (2) Leopold, b. Naples, Jan. 23 
 1S47 ; pupil of the Cons. S. Pietro : 
 Majella ; at 13 toured as violinist 
 1866 joined Metra's orch. at Mai 
 seilles ; 1S71, conductor ; later cond^ 
 of the Alcazar, Paris ; 1883, Londor' 
 from 1889 cond. at the Empire Th. 
 prod, operettas, many ballets, etc. ; 
 
 Werbecke, Gaspar van. Vide gas! 
 
 PAR. , 
 
 Werckmeister ( vSrk '- mi - sht^r ; - 
 Ands., Beneckenstein, 1645 — Halt; 
 erstadt, 1706 ; organist, importarl 
 theorist and composer. 
 
 Werkenthin (vir'-ken-ten), Alberi 
 b. Berlin, March 6, 1842 ; pianist 
 pupil of von Billow, Weitzmann, U 
 rich and Stern ; pub. a method ; <■ 
 pf.-pcs. and songs. 
 
 Wermann (vir'-man), Fr. Oskar, I 
 Neic'ien, near Trebsen, Saxon; 
 April 30, 1840 ; pianist and organis 
 pupil of Leipzig Cons.; 1868, teach* 
 R. Seminary, Dresden ; 1876, mu: 
 
DICTIONARY OF MUSICIANS 795 
 
 j'l Bap 
 
 dir. 3 churches and cantor at the 
 Kreuzschule there; c. '' Rffo7tna- 
 —^ tions-Caiitate," mass in 8 parts, etc. 
 
 SVerneburg (var'-ne-boorkh), Jn. Fr. 
 Chr., Gymnasium teacher at W'eimar; 
 theorist and composer, 1796. 
 
 Werner (var-ner), (i) Georgius Jos., 
 i6q5 — Eisenstadt, 1766 ; conductor 
 and composer. (2) Jn, Gottlob, 
 Hoyer, Saxony, 1777 — Merseburg, 
 1822; organist, mus. -director, teacher 
 and composer. (3) H., near Erfurt, 
 1800 — Brunswick, 1833 ; composer. 
 (4) K., Breslau, 1822 — 18S4 ; organ- 
 ist. {5) K. Ludwig, b. Mannheim, 
 Sept. 8, 1862 ; pupil of Haniein and 
 Fischer ; organist at Baden-Baden. 
 (6) Josef, b. Wurzburg, June 25, 
 1837 ; 'cellist ; pupil of the Cons, 
 there ; teacher Munich School of 
 Music; pub. a method ; c. pes. for 
 'cello, etc. 
 
 iVerstovski (ver-shtof'-shkt), Alexei 
 Nikolajevitch, Moscow, 1799 — 
 1862 ; dram, composer. 
 
 IVert (vart), Jacob van, b. Nether- 
 lands, 1536 — Mantua, 1596; con- 
 ductor and composer. 
 '""liV^ry (va-re), Nicolas Lambert, 
 
 W.: XJ.... T ;,' ,»o„ i>„„j_ 
 
 ;^ Wile 
 
 hiaiia 
 
 to Pa 
 
 imaileE 
 
 fi 
 
 0111 poi! 
 
 jstFI 
 
 Huy, near Liege, 1789 — Bande, 
 Luxembourg, 1867 ; solo-violinist, 
 
 F' teacher and composer. 
 A^esembeck. Vide hurbure de \v. 
 
 , iVes'ley, (i) Chas., Bristol, Engl., 
 Dec. II, 1757 — London, May 23, 
 1834; nephew of the evangelist John 
 W. ; teacher, organist and composer. 
 (2) Samuel, Bristol, Engl., 1766 — 
 London, 1837; bro. and pupil of 
 above ; organist and composer. (3) 
 Samuel Sebastian, London, Aug. 
 24, 1810 — Gloucester, April 19,1876; 
 
 I! son of above ; organist. 
 
 ■ iVessel (ves'-sel), Chr. R., Bremesia, 
 
 1797 — Eastbourne, 1885; mus.-pub- 
 
 (lisher, London. 
 |Wesselack (ves'-se-lak), Jn. G., Sat- 
 i telpeilestein. Upper Palatinate, 1828 
 — Ratisbon, 1866 ; editor and com- 
 poser. 
 iVessely (ves'-se-le), (i) Jn., Frauen- 
 
 ■ burg, Bohemia, 1762 — Ballenstedt, 
 
 1814 ; violinist ; c. comic operas. (2) 
 (K.) Bd., Berlin, 1 768— Potsdam, 
 1826 ; dram, composer. 
 West, J. Ebenezer, b. South Hack- 
 ney, London, Dec. 7, 1863 ; concert- 
 organist and pianist ; pupil of Bridge 
 and Prout, R. A. M.; since 1891, or- 
 ganist S. Hackney Parish Ch.; c. 2 
 cantatas ; Psalm 130 ; services, etc. 
 West brook, Wm. Jos., London, 
 1S31 — Sydenham, 1894 ; organist, 
 conductor and composer. 
 West'lake, Fr., Romsey, Hampshire, 
 
 1840 — London, 1898 ; composer. 
 Westmeyer (vesht'-mT-er), Wm., 
 Iburg, near Osnabriick, 1832 — Bonn, 
 1880 ; c. operas. 
 Westmoreland, J. Fane, Earl of, 
 London, 17S4 — Apthorpe House, 
 1S59; dram, composer. 
 Westphal (veshi'-fal), Rudolf (G. 
 Hn.), Oberkirchen, Lippe-Schaum- 
 burg, 1826 — Stadthagen, 1892; 
 writer. 
 West'rop, H. J., Lawenham, SufTolk, 
 1812 — 1879 ; pianist, violinist, singer, 
 organist and composer . 
 Wetzler (vets'-ler), Hermann Hans, 
 b. Frankfort-on-Main, Sept. 8, 1870; 
 pupil of Frau Schumann (pf.), B. 
 Scholz (comp.), Ivan Knorr (cpt.), 
 H. Heerman (vln.), and Humper- 
 dinck (orchestration) ; 1893, New 
 York, as pianist and teacher; asst.- 
 org. Trinity Ch.; from 1902 cond. 
 his own symphony orch. 
 Wexschall (vex'-shal), Fr. Forkild- 
 son, Copenhagen, 1798 — 1845 ; pu- 
 pil of Spohr, teacher and solo-violin- 
 ist in royal band. 
 Weyrauch (vl'-rowkh), Aug. H. von, 
 composer of whom nothing is known 
 except that he c. and pub. 1824 the 
 song ''Adieu" wrongly attributed to 
 Schubert from 1840. 
 Weyse (vl'-ze), Chp. Ernst Fr., Al- 
 tona, 1774 — Copenhagen, 1842; 
 dram, composer. 
 Wheat'stone, Chas., inv. the con- 
 certina, 1829. 
 Whelp'ley, Benj. Lincoln, b. East- 
 port, Maine, U. S. A., Oct. 23, 1865 ; 
 
796 
 
 THE MUSICAL GUIDE 
 
 studied with B. J. Lang, etc., at 
 Boston, 1890 in Paris ; lives in Bos- 
 ton as teacher and composer. 
 
 Whistling (wist -ling), K. Fr., boolt- 
 seller and lexicographer in Leipzig. 
 
 Whit'aker, J., 1776 — 1847 ; organist 
 antl composer, London. 
 
 White, (i) Robt., d. Westminster, 
 Nov. 7 (11 ?), 1574; organist at Ely 
 Cath. (1562-67) ; noted in his day as 
 organist and composer. Often con- 
 fused with (2) Wm. (c. fantasias or 
 " fancies" for org., etc.) and (3) Rev. 
 Matthew, Mus. Doc. 1629; c. an- 
 thems and catches. (4) Alice Mary, 
 Meadows (nee Smith), 1S39 — i>S4; 
 pupil of Bennett, and Macfarren, Lon- 
 don; c. symphs., cantatas, etc. (5) J., 
 W. Springfield, Mass., March 12, 
 1855 — Bad Neuheim, Germany, July 
 18, 1902 ; pupil of Dudley Buck ; then 
 of Haupt (org. and cpt.),l\heinberger; 
 gave org. -concerts in various Oerman 
 cities ; 1S87-96, organist, New York ; 
 from 1897 lived in Munich ; pub. Missa 
 Soleninis ; O salutaris ; c. an oratorio 
 '•'•Alpha ami Oi/W'^a" etc. (6) Maude 
 Val6rie, b. of English parents, 
 Dieppe, June 23, 1S55 ; pupil of O. 
 May and W. S. Rockstro, and of R. 
 A. M,, Mendelssohn Scholar, 1879, 
 also studied in Vienna ; now lives in 
 London ; c. mass (1S88) ; 14 pf.-pcs.; 
 '' Pictures from Abroad" and pop. 
 songs, etc. 
 
 White'hill, Clarence, b. America; 
 bass; debut in " Roiiii'o ct Juliette''' 
 Brussels, 1S99 ; engaged for Paris Op. 
 Com. ; 1900 at Met. Op. , N. Y. 
 
 Whi ting, (i) G. Elbridge, b. Hollis- 
 ton, Mass., Sept. 14, 1S42 ; organist at 
 Worcester when 13 : later at Hart- 
 ford, Conn, (where he founded the 
 Beethoven Soc); later organist in vari- 
 ous Boston churches ; studied with G. 
 W. Morgan, New York, and Best, 
 Liverpool ; Haupt and Radecke, Ber- 
 lin ; till 1879, teacher at the N. E. 
 Cons., Boston ; then till 1882, at the 
 Cincinnati Coll. of Mus.; since at 
 the N. E. Cons.; c. masses with 
 orch. and organ (1872), cantatas. 
 
 ballade with orch., '' Henry of Na- 
 varre" pf. -concerto, etc. (2) Arthur 
 Battelle, b. Cambridge, Mass., June 
 20, 1861 ; nephew of above ; pf. -pu- 
 pil of W. H. Sherwood ; debut at 19, 
 Boston ; studied with Chadwick and 
 J. C. D. Parker ; then with Rhein- 
 berger, in .Munich ; lived in Boston, 
 now New York, as teacher of pf. and 
 comp. ; c. fantasy with orch., con- 
 cert-overture, concert-etude, church- 
 service, concerto, song cycles, etc. 
 
 Whit'more, Chas. S., Colchester, 
 1S05 — 1877 ; amateur Engl, com- 
 ]50ser. 
 
 Whitney, Samuel Brenton, b. Wood- 
 stock, Vermont, June 4, 1S42 ; or- 
 ganist ; pupil of Chas. Wells and J. 
 K. Paine ; since 1871, organist, Ch. 
 of the Advent, Boston ; conductor of 
 church-choir festivals ; org.-jjrof. 
 and lecturer, Boston U. and N. E. 
 Cons.; c. anthems, org. -sonatas, etc. 
 
 Whyt'horne (or Whitehorne),Thos., 
 b. 1528 ; Engl, composer. 
 
 Wiborg (ve'-borkh), Elisa, b. Kra- 
 gero, Norway ; soprano ; studied 
 with Natalie Hanisch and Erau Har- 
 lacher ; engaged at Schwerin, then 
 other cities; sang "Elisabeth" at' 
 Bayreuth ; 1900 at Stuttgart ct.-, 
 theatre. 
 
 Wichmann (vikh'-mrin), Hermann, b.j 
 Berlin, Oct. 24, 1824 ; studied at R.; 
 Akademie ; also with Taubert, Men- 
 delssohn and .Spohr ; then lived inj 
 Berlin ; c. svmphs., sonatas, etc. 
 
 Wichtl (vIkhV-'l), G., Trostberg, Ba- 
 varia, 1S05 — Bunzlau, Silesia, 1877: 
 violinist, conductor and dram, com- 
 poser. 
 
 Wickede (vik'-e-de), Fr. von, b. Do- 
 mitz-on-Elbe, July 28, 1S34 ; arm}[ 
 officer, then post-office official ; pu 
 pil of J. V^ieth ; lived in Munich ; c 
 opera '' Iiigo" overture " Per asperc 
 lid astra" (1S75), songs, etc. 
 
 Widmann (vet'-man), "(i) Erasmusi 
 poet-laureate, organist and conductoi 
 at Weikersheim ; publisher and comp 
 poser (1607). (2) Benedikt, b' 
 Brauntlingen, March 5, 1S20; recto 
 
DICTIONARY OF MUSICIANS 797 
 
 Artliiii 
 
 ■-..Jim 
 ; if 
 
 \y. Of 
 
 JhDsJ 
 
 ;, K 
 
 Irisn' 
 
 at Frankfort ; theorist and composer. 
 (3) Jos. Victor, b. Nennowitz, Mo- 
 ravia, Feb. 20, 1842 ; at 3 taken to 
 Switzerland ; _\vrote librettos and 
 biog. of Brahms. 
 
 Widor (ve-dor), Chas. (M.), b. Lyons, 
 Feb. 22, 1S45 ; distinguished organ- 
 ist ; son of an Alsatian of Hungarian 
 descent (organist at Lyons) ; studied 
 with Lemniens (org.) and Fetis 
 (comp.), Brussels ; at 15 organist 
 at St. Franfois, Lyons, and since 
 i86g, organist at St. Sulpice, Paris ; 
 1890, teacher at the Paris Cons.; 
 from i8g6 prof, of cpt., fugue and 
 comp.; critic (under pen-name " Au- 
 letes ") and dir. of the soc. "La Con- 
 cordia," c. V. succ. ballet "Za A'orri- 
 gane" (Opera, 1880); music to 
 ''Conte d'Avril" (Odeon, 1885); 
 " Les Jacobites" (Odeon, 1885) ; un- 
 succ. lyric drama '' Alaitre Ainbros" 
 (Op. -Com., May 6, 1S96) ; 3 panto- 
 mimes; a mass for 2 choirs and 2 orgs. ; 
 Psalm 112, with orch. and org.; "Za 
 nuit de Walpurgis" for chorus and 
 orch.; 2 symphs.; 10 org. symphs. 
 incl. ''Gotique" a concerto for vln., 
 'cello, and pf., org. -sonatas, etc. 
 
 Wieck (vek), (i) Fr., Pretzsch, near 
 Torgau, 1785 — Loschwitz, near Dres- 
 den, 1873 ; est. a pf. -factory and li- 
 brary at Leipzig ; eminent pf. -teach- 
 er ; also singing-teacher and compos- 
 er; teacher also of his daughter (2) 
 Clara. (Vide Schumann.) (3) AI- 
 win, Leipzig, 1821 — 1885 ; son of 
 (i) ; pupil of David ; violinist at St. 
 Petersburg ; later pf. -teacher at Dres- 
 den. (4) Marie, b. Leipzig, Jan. 
 17. 1S35 ; pianist ; daughter of (i) ; 
 played in public at 8 ; 1858, ct. -pian- 
 ist to the Prince of Hohenzollern ; 
 toured ; est. a sch. in Dresden. 
 
 Wiedemann (ve'-de-man), Ernst Jn., 
 Hohengiersdorf, Silesia, 1797 — Pots- 
 dam, 1873 ; organist, teacher and 
 composer. 
 
 Wiederkehr (ve'-der-kar), Jacob Chr. 
 Michael, Strassburg, 1739 — Paris, 
 1823 ; 'cellist, bassoonist, tambourin- 
 ist and composer. 
 
 Wiegand (ve'-gant), Josef Anton H., 
 
 Frankisch-Crumbach in the Oden- 
 wald, 1842 — Frankfort, 1899 ; bass. 
 
 Wielhorski. Vide wilhokski. 
 
 Wiener (ve'-ner), Wm., Prague, 1838; 
 violinist and leader. 
 
 Wieniawski (v'ya-ne-af'-shkl), (i) H., 
 Lublin, Poland', July 10, 1835— Mos- 
 cow, March3l, iSSo ; eminent violin- 
 ist and composer ; debut, at Peters- 
 burg, at 13 ; studied with Clavel and 
 Massart, and Colet (harmony) Paris 
 Cons.; won ist vln. -prize, 1846; i860, 
 solo-violinist to Czar, and 1862-67, 
 teacher at the Petersburg Cons.; 
 1875-77, vln. -prof. Brussels Cons, 
 (vice Vieuxtemps) ; toured widely, 
 1872 U< S. with Rubinstein ; c. 2 
 concertos, etc. (2) Jos., b. Lublin, 
 May 23, 1837; famous pianist ; at 10 
 pupil of Paris Cons.; at 13 toured 
 with his brother, then studied with 
 Marx at Berlin ; 1866, teacher at the 
 Moscow Cons.; est. a pf.-sch, of his 
 own ; later teacher in Brussels Cons. ; 
 c. 2 overtures, suite romantique for 
 orch., pf. -concerto, etc. 
 
 Wieprecht (ve'-prekht), Fr. Wm., 
 Aschersleben, 1802 — Berlin, 1S72 ; 
 famous trombonist and violinist ; inv. 
 the bass tuba (1835). 
 
 Wi6trovetz (ve-a-tr6-vetsh), Ga- 
 briele, b. Laibach, Jan. 13, 1S69 ; 
 violinist; pupil of Joachim andWirth. 
 Toured and lives in Berlin. ^ 
 
 Wihan (ve'-han), Hans (Hanus), b. 
 Politz, near Braunau, June 5, 1S55 ; 
 'cellist ; pupil of Prague Cons.; 1873, 
 prof, of 'cello, Mozarteum, Salzburg ; 
 1877-80, chamber-virtuoso to Prince 
 Schwarzburg- Sondershausen ; 1880, 
 1st solo-'celHst Munich ct.-orch.; 
 1S88, prof, at Prague Cons., a mem- 
 ber " Bohemian String Quartet." 
 
 Wihtol (ve'-tol), Jos,, b. Wolmar, 
 Livonia. 1863 ; studied at Mitau ; 
 then with Johansen (harm.) and 
 Rimsky-Korsakov (comp. and instru- 
 mentation) Petersburg Cons.; since 
 1886, prof, of harm, there; c. " Z.z 
 fete Ligho'" symph. picture, "-'Dram- 
 atic " overture, etc. 
 
798 
 
 THE MUSICAL GUIDE 
 
 Wilbye (wll'-bl), J.; lutenist and teach- 
 er, London, 1598 ; most brilliant com- 
 poser of madrigals. 
 
 Wild (velt), Fz,, Niederhollabrunn, 
 Lower Austria, 1792— Oberdobling, 
 near Vienna, i860; tenor. 
 
 Wilder (vel-dar), Jerome Albert Vic- 
 tor van, Wettern, near Ghent, 1S35 
 — Paris, 1892 ; writer and translator. 
 
 Wilhelm (vel'-helm), K., Schmalkal- 
 den, 1815 — 1873; " R. Prussian Mus. 
 Dir."; c. ''Die Wacht am Rhein," 
 etc. 
 
 Wilhelm von Hirsau (fon her'-zow), 
 d. June 4, 1091; abbott and theorist 
 at Hirsau, Schwarz-wald. 
 
 Wilhelmj (vel-hel-me), ^(i) Aug. 
 (Emil Daniel Fd.), b'. Usingen, 
 Nassau, Sept. 21, 1845 ; eminent vio- 
 linist ; pupil of Fischer at Wies- 
 baden ; played in public at 8 ; at 16 
 recommended to David by Liszt as a 
 young Paganini ; he studied 1861-64, 
 with David (vln.), Hauptmann and 
 Richter, Leipzig Cons.; 1862, the 
 Gewandhaus ; 1S64, studied with 
 Raff at Frankfort ; from 1865, toured 
 the world ; 1S76, leader of Bayreuth 
 orch. ; lived for years at Biebrich-on- 
 Rhine, where he est. (with R. Nie- 
 mann) a " Hochschule ■' for vln.; 
 1886, lived at Blasewitz, near Dres- 
 den ; 1S94, head-prof. Guildhall Sch. , 
 London ; 1895, he m. the pianist 
 Miss Mausch ; c. "■' Hochzeits-Can- 
 tate" with orch., vln. -pes., etc. His 
 son (2) Anton, i8g8, vln. -prof, at 
 Belfast Cons. (3) Maria (nee Gas- 
 tell), b. Mayence, July 27, 1856; 
 sister-in-law of (i) ; concert-soprano, 
 pupil of Viardot-Garcia. 
 Wilhem (rightly Bocquillon) (vel-an 
 or bok-e-yoh)', Guillaume Louis, 
 Paris, 1 77 1 — 1842 ; dir. -gen. ot all 
 Paris schools ; founder of the great 
 system of popular singing societies or 
 " Orpheonistes " (v. D. D.); pub. 
 many treatises on his method of 
 " mutual instruction " and a 10- vol. 
 coll. of comps. 
 Wi(e)lh6rski (vel-hor'-shkT), (i) Count 
 Matv6i Jurjevitch, Volhynia, 1787 
 
 — Petersburg (?), 1S63 ; 'cellist. 
 His brother (2) Count Michail Jur- 
 jevitch, Volhynia, 1788 — Moscow, 
 1S56 ; composer. 
 Wilke (vel'-ke). Chr. Fr. Gl., Span- 
 dai, 1769 — Treuenbrietzen, 1848; 
 organist and govt, expert on org.- 
 building. 
 Willaert (wll'-lart) (Wigliar'dus, 
 Vigliar, Vuigliart), Adrian (called 
 Adriano), Flanders, ca. 14S0 — 
 Venice, 1562 ; eminent composer and 
 teacher ; called the founder of the 
 Venetian Sch.; a very prolific com- 
 poser ; pupil of Mouton and Jos- 
 quin Despres ; 1516 at Rome, later 
 at Ferrara ; then mus. to the King 
 of Bohemia ; Dec. 12, 1527, maestro 
 at San Marco, Venice, where he or- 
 ganised a famous sch.; c. 5 masses, 
 many motets, psalms, madrigals, etc. ; 
 the first to write for two choirs. 
 Willent-Bordogni (ve-yjih - bor-don- 
 ye), Jean Bapt. Jos., Douai, i8og— 
 Paris, 1852 ; bussoon-virtuoso, teach- 
 er, writer and dram, composer. 1834 
 m. the daughter of Bordogni. 
 Williams, \i) G. E., 1784— 1819; 
 organist and composer. (2) Anna, 
 b. London ; debut, 1872 ; soprano. 
 Also two sisters b. at Bitterley, 
 England. (3) Anne (b. 18 18), so- 
 prano and (4) Martha, b. 1853, con- 
 tralto. 
 Willing (vTl-Ung), (i) Jn. L., Kuhn- 
 dorf, 1755 — Nordhausen, 1805 ; or- 
 ganist and composer. (2) (wll'-llng) 
 Chr. Edwin, b. London, Feb. 28, 
 1830 ; organist various London 
 churches, conductor and teacher. 
 Willis, (i) H., b. England, April 27, 
 1821; prominent org. -builder and im- 
 prover. (2) Richard Storrs, Bos- 
 ton, Mass., Feb. 10, 18 19— Detroit, 
 May 7, 1900 ; bro. of N. P. Willis 
 the'poet ; critic and editor in N. Y., 
 later Detroit ; composer. 
 Willman, (i) Thos. Lindsay, d. 
 Engl., 1840; famous clarinettist. (2) 
 (vll'-man), Maximilian, b. Forcht- 
 enberg, near Wiirzburg, 1S12; 'cel- 
 list. (3) , oldest daughter of 
 
 LeiDCf 
 
DICTIONARY OF MUSICIANS 799 
 
 oscoi 
 
 above ; pianist. (4) Magdelena, d. 
 1801 ; famous soprano ; her brother, 
 (5) K., violinist. (6) iMme. Tribolet 
 2nd wife of (i), d. 1812; opera-singer. 
 (7) Caroline, debut, 181 1; daugliter 
 of (6) ; pianist and singer. 
 
 Willmers (vll -mers), H. Rudolf, 
 Berlin, 1821 — Vienna, 1878 ; pianist 
 and composer. 
 
 Wil'ly, J. L., London, 1812— 1885 ; 
 violinist. 
 
 Wilm (vllm), Nicolai von, b. Riga, 
 March 4, 1834 ; pianist ; studied 
 Leipzig Cons.; 1857, 2nd cond. Riga 
 City Th. ; then Petersburg, i860; 
 teacher of pf. and theory Imp. Nico- 
 lai Inst.; 1875, Dresden; 1878, 
 Wiesbaden ; c. pop. string-sextet, 
 'cello and vln. -sonatas, male-cho- 
 ruses, etc. 
 
 Wilms (vtlms), Jan Willem, Witz- 
 helden, Schwarzburg-Sondershausen, 
 1772 — Amsterdam, 1S47; teacher and 
 org. -composer. 
 
 Wilsing (vll'-zing), Daniel Fr. Ed., 
 b. Horde, near Dortmund, Oct. 21, 
 1809; 1829-34, organist in Wesel, 
 then Berlin; c. oratorio ''Jesus 
 Christus" in 2 parts (Bonn, 1889) ; 
 a Ue profundis a 16 (gold medal for 
 Art, Berlin) ; pf.-sonata, etc. 
 
 Wil'son, (i) J., Faversham, Kent, 
 1594 — London, 1673 ; famous luten- 
 ist and composer. (2) J., Edin- 
 burgh, 1800 — (of cholera) Quebec, 
 1849 ; tenor. (3) Mary Ann, 1802 ; 
 pupil of Thos. Welsh (q. v.). 
 
 Winderstein (vln'-d^r-shtin), Hans 
 (Wm. Gv.), b. Liineburg, Oct. 29, 
 1S56 ; violinist ; pupil of Leipzig 
 Cons.; also playing in Gewandhaus 
 Orch.; 1880-84, leader in Baron von 
 Derwies' orch. at Nice ; till 1887, 
 vln. -teacher at Winterthur (Switzer- 
 land) Cons., then cond. at NUrnberg; 
 i89>-96, dir. Philh. Orch., at Mu- 
 nich, and at the Kaim Concerts ; 
 1896, organised and conducted the 
 "Winderstein Orch."; 1898, cond. 
 Leipzig Singakademie ; c. Trauer- 
 marsch, Valse-Caprice and Standchen 
 for orch. ; orch. suite, etc. 
 
 Winding (vin'-ding), Aug. (Henrik) 
 
 b. Taaro (Laaland), Denmark, March 
 24, 1825 ; pianist ; pupil of Reinecke, 
 Ree, Dreyschock and Cade ; dir. 
 and prof. Copenhagen Cons. ; c. vln.- 
 concerto, sonatas, etc. 
 Wing'ham, Thos., London, 1846 — 
 1893 ; organist and composer. 
 
 Winkel (vlnk'-el), Dietrich Niko- 
 laus, Amsterdam, ca. 1780 — 1826; 
 a mechanician; inv. the " compo- 
 nium " and "metronome," which 
 later Malzel (q. v.) appropriated. 
 
 Winkelmann (vlnk'-gl-man), Her- 
 mann, b. Brunswick, 1845; tenor; 
 pupil of Koch at Hanover ; debut 
 Sondershausen, 1875 ; sang at Alten- 
 burg, Darmstadt and Hamburg ; 
 then at ct. -opera, Vienna ; 1882, 
 created " Parsifal " at Bayreuth. 
 
 Winn, (i) Wm., Bramham, Yorkshire, 
 May 8, 1828 ; bass and teacher. (2) 
 Florence, 1857, daughter of above ; 
 contralto. 
 
 Winner, Septimus, Philadelphia, 
 1826 — Nov. 23, 1902 ; writer of pop. 
 songs and methods ; said to have 
 written 200 technical books on instru- 
 ments and to have c. and arranged 
 over 2,000 pes. for vln. and piano ; 
 also wrote for Graham's Mag., when 
 Poe was editor. His songs include 
 '■'Listen to the Mocking Bird" and 
 " Give us Back our old Commander"; 
 founder of Musical Fund Soc. 
 
 Winogradsky (ve - no - grat' - shkT), 
 Alex., b. Kiev, Russia, Aug. 3 (new 
 style), 1854; noted cond.; pupil of 
 Soloviev, Petersb. Cons.; 1884-86, dir. 
 Imp. Sch. of Mus. at Saratov ; since 
 1888, of Imp. Soc. of Mus. at Kiev; 
 in Paris, 1894, he cond. Russian pro- 
 grammes at the concerts " d'Har- 
 court " and " Colonne," 1896. 
 
 Winter (vTn'-ter), Peter von, Mann- 
 heim, 1754 — Munich, 1825 ; studied 
 with Abbe Vogler, but mainly self- 
 taught ; violinist and ct. -conductor ; 
 composer of v. succ. operas, 38 in 
 all ; c. 9 symphs. incl. "Die Schlacht" 
 and much church-mus. 
 
 Winterberger (vln' - t^r - berkh - ^r). 
 
8oo 
 
 THE MUSICAL GUIDE 
 
 Alex., b. Weimar, Aug. 14, 1834 ; 
 pianist ; pupil of Leipzig Cons, and 
 of Liszt. 1861, pf.-prof. at Peters- 
 burg Cons. ; 1S72, lived in Leipzig; 
 c. pf.-pcs. and songs. 
 Winterfeld (vin'-ter-felt). K. G. Aug. 
 Vivigens von, Berlin, 1784 — 1852 ; 
 libr. and writer of valuable historical 
 works. 
 Wippern ( vTp'-pern), Louise (Har- 
 riers- Wippern), Hildeshiem (or 
 Biickeburg), 1835(7)— Gorhersdorf, 
 Silesia, 187S ; operatic singer. 
 Wirth (vert), Emanuel, b. Luditz, 
 Bohemia, Oct. 18, 1842 ; vioHnist ; 
 pupil of Prague Cons., 1S64-77 ; 
 teacher at Rotterdam Cons., and 
 orch. -leader ; then via. -player in the 
 Joachim Quartet, Berlin, and vln.- 
 prof. at the Hochschule ; Royal Prof. 
 Wise, Michael, England, '164S ?— 
 in a street brawl, Salisbury, 1687 ; 
 tenor and notable early composer of 
 anthems, etc. 
 Wit (vet), Paul de, b. Maesticht, 
 Jan. 4, 1852 ; 'cellist and viola da 
 gambist ; coll. of ancient instrs. 
 Witasek (ve'-ta-shek), Jn. Nepomuk 
 Aug., Horzin, Bohemia, 1771— 
 Prague, 1S39 ; conductor, director 
 and pianist. 
 Witek (ve'-tek), Anton ; concert- 
 master and soloist, Berlin Philh. orch., 
 igo2. 
 With erspoon, Herbert, b. New 
 Haven, Conn. ; notable basso can- 
 tante ; graduated Yale Univ pupil of 
 J. W. Hall, N. Y., and DubuUe, 
 Paris ; sang in opera. Castle Square 
 Co., N. Y., and with Boston Symph. 
 and other orchs. throughout U. S.; 
 V. succ. debut in recital, N. Y. , 1902. 
 Witt (vlt), (i) Fr., Halten-Bergstetten, 
 1771 — Wlirzburg, 1837; violinist, 
 conductor and dram, composer. (2) 
 Julius, b. Konigsburg, Jan. 14, 
 18 19 ; singing-teacher there, and c. 
 pop. male choruses. (3) Theodor 
 de, Wesel, 1823— (of consumption) 
 Rome, 1855 ; organist and composer. 
 (4) Wm., Hamburg, 1826 — London, 
 1900 ; violinist and publisher. (5) 
 
 Fz., Walderbach, Bavaria, 1834— 
 Schatzhofen, 1888; editor and writer. 
 (6) Jos. von, Prague, 1843 — Berlin, 
 18S7 ; tenor. 
 
 Witte (vit'-te), (i) Chr. Gl. Fr., d. 
 1873 ; org. -builder. (2) G. H., b. 
 Utrecht, Nov. 16, 1843; son of above; 
 pupil of R. Mus. Sch. at The Hague, 
 then of Leipzig Cons.; teacher in 
 Leipzig till 1867, then in Alsatia, 1871; 
 cond. at Essen, 1882; R. Mus. Dir.; 
 c. pf. -quartet (prize at Florence), 
 grand Elegv for vln. and orch., etc. 
 
 Wittekopf (vlt'-te-kopf), Rudolf, b. 
 Berlin, Dec. 11, 1863 ; studied Stern 
 Cons.; debut, Ai.\,i8S8; sang Leipzig, 
 1889-96; later in other cities, incl. 
 London in the " Nihehingcn Ring." 
 
 Wittich (vit'-tlkh), Marie, b. Giessen, 
 May 27, 1868 ; soprano ; studied 
 with Frau Otto-Ubridy; sung various 
 cities ; 1901 Dresden ct. -opera. 
 
 Wohlfahrt (vol'-fart), (i) H., Koss- 
 nitz, near Apolda, 1797 — Connewitz, 
 1883; noted teacher, writer and com- 
 poser. His sons (2) Fz., Frauen- 
 priesnitz, 1S33 — Gohlis, 18S4. (3) 
 Robt., b. Weimar, Dec. 31, 1826; 
 violinist, teacher and writer of text- 
 books. 
 
 Woika (voi'-koo), Petresou, b. Rou- 
 mania, 1885 (?) ; violinist ; pupil of 
 Barmas, Stern Cons., Berlin, for 5 
 vears. 
 
 Woldemar (v61-du-mar) (rightly Mi- 
 chel), Orleans, 1750 — Clermont-Fer- 
 rand, 1S16; conductor and composer; 
 wrote methods; inv. a mus. -stenogra- 
 phy " Tableau me'lotachigraphiqiie" 
 and mus. -correspondence '' Notogra- 
 phie." 
 Wolf (volf), (i) Ernst Wm., Gross- 
 heringen, 1735 — Weimar, 1792 ; ct.- 
 conductor; c. 42 pf. -sonatas. (2) G. 
 Fr., Hainrode, 1762— Wernigerode, 
 1814; conductor, theorist and com- 
 poser. (3) Fd., Vienna, 1796 — 1866 ; 
 writer. (4) L., Frankfort-on-Main, 
 1804 — Vienna, 1859; pianist, violin- 
 ist and composer. (5) Max, Mora- 
 via, 1840 — Vienna, 1SS6 ; c. operet- 
 ■ tas. (6) Wm., b. Breslau, April 22, 
 
 I, 
 
DICTIONARY OF MUSICIANS 801 
 
 1838 : pupil of Kullak, teacher of 
 mus. -history, Berlin, also writer and 
 composer. (7) Hugo, Vienna, March 
 13, i860 — 1902 ; composer ; already 
 there is in Berlin a II. W.-verein ; at 
 5 studied vln. and piano with his 
 father; at 8 studied at Vienna Cons. ; 
 prod. succ. comic opera " Der Cor- 
 regidor " (Mannheim, i8g6) ; c. cho- 
 ric works with orch. ''Die Chri st- 
 riae ht" and ''Der Fenerreiter" ; 
 male choruses and about 500 songs, 
 many of them importantly original. 
 
 Wolff (volf), (i). Vide wolf (4). (2) 
 Edouard, Warsaw, i8r6— Paris, 1880; 
 pianist and composer. (3) Auguste 
 Desire Bd., Paris, 1821 — 18S7; pia- 
 nist, pf. -teacher and maker ; head of 
 firm " Pleyel- Wolff." (4) Hermann, 
 Cologne, 1845 — Feb. 3, igo2 ; pupil 
 of Fz. KroU and Wurst ; editor, con- 
 cert-agent and mgr. at Berlin ; c. pf.- 
 pcs. and songs. 
 
 Wdlf(f )1 (velf-'l)(Woelfel, Woelfle), 
 Jos., Salzburg, 1772 — London, 1S12; 
 composer; his enormous hands and 
 great contrapuntal skill made him a 
 pf. -virtuoso whose rivalry with Bee- 
 thoven divided Vienna into factions ; 
 but the rivals had mutual respect and 
 W. dedicated his op. 6 to B.; c. light 
 operas (1795-98). 
 
 Wolfram (vol'-fram), (i) Jn. Chr., 
 d. 1835; organist and writer at Gold- 
 bach, near Gotha. (2) Jos. Maria, 
 Dobrzan, Bohemia, 1789 — -Teplitz, 
 1839; conductor and dram, composer. 
 
 Wolfrum (vol'-froom), Philipp, b. 
 Schwarzenbach - am -Wald, Bavaria, 
 Dec. 17, 1855; pupil Munich Sch. of 
 Mus.; mus.-dir. Heidelberg Univ.; 
 Dr. Phil. h. c. (Leipzig, 1S91); c. 
 " Grosses Halleluja" and other cho- 
 ruses, pf.-pcs., etc. 
 
 Wollanck (vol'-lank), Fr., Berlin, 1782 
 — 1831; amateur composer of anopera. 
 
 Wollenhaupt (vol'-len-howpt), H. 
 Ad., Schkeuditz, near Leipzig, 1827 
 — New York, 1863; pianist, teacher 
 and composer; from 1845 in New 
 York. 
 
 WoUick (vol'-lTk) (Volli'cius, Bolli'- 
 
 cius), Nicolas, b. Bar-le-Duc; 
 teacher and writer at Metz, 1 501-12. 
 
 Wolzogen (und Neuhaus) (v6i'-ts6- 
 %^\\ oont noi-hows), (i) K. Aug. 
 Alfred, Freiherr von, Frankfort, 
 1833 — San Remo, 1883; writer. (2) 
 Hans (Paul), Freiherr von, b. Pots- 
 dam, 1848; son of above; lived as 
 writer at Potsdam till 1877. Wagner 
 made him editor of the "Baireuther 
 Blatter r 
 
 Wonneger (or Vuonnegger (v6n'-ne- 
 ger) ), Jn. L., friend of Glarean ; 
 pub. an epitome of G.'s " Dodeka- 
 chordon " (1557). 
 
 Wood, (i) Mrs. Mary Ann. Vide 
 p.vroN. (2) Henry J., b. London, 
 1869; prominent cond.; pupil of his 
 father ; at 10 an organist ; 18S3-S5, 
 gave org. -recitals ; then st. at R. 
 A. M. with Prout and others; then 
 cond. societies; 1891-92, Carl Rosa 
 Op. Co.; 1894, Marie Roze Co.; 
 1895-1902, Queens Hall Prom. Con- 
 certs, London. C. oratorio "Doro- 
 thea" (1889). operettas, masses, 
 songs, etc.; wrote treatise on singing ; 
 1900, cond. a concert in Paris. Flis 
 wife, (3) a Russian, is a singer, debut 
 London, 1900. (4) Mary Knight, 
 b. Easthampton, Mass., April 7, 
 1S57; pianist; pupil of B. J. Lang, 
 A. R. Parsons, J. H. Cornell, and 
 H. H. IIuss ; lived in New York; pub. 
 about 30 songs, many very popular. 
 
 Woodman, Raymond Huntington, 
 b. Brooklyn, N. Y., Jan. 18, 1861 ; 
 pf. -pupil of his father, of Dudley 
 Buck, and Cesar Franck ; 1S75-79, 
 asst. -organist to his father, at Flush- 
 ing, L. I.; 1894-97, mus. -editor 
 " N. Y. Evangelist"; since 1880, 
 organist First Presb. Ch., Brooklyn ; 
 since 1889. head of org.-dept. Metr. 
 Coll. of Mus., N. Y., etc. ; c. pf.- 
 and org. -pes., etc. 
 
 Woolf, Benj. Edw., London, Feb., 
 1836 — Boston, Feb., 1901 ; at 3 
 taken to America by his father 
 who taught him various instrs. ; 
 studied with G. R. Bristow (org.) ; 
 cond. theatre-orchs. in various cities ; 
 
802 
 
 THE MUSICAL GUIDE 
 
 critic Boston " Globe" later " Sat. 
 Evening Gazette "; prod, operatic 
 comedietta, comic operas " Pounce 
 6r» Cf." (Boston, i^%'>,),'' Westward 
 Ho!" (Boston, 1S94), overture to 
 " Comedy of Errors" (1SS7), etc. 
 
 Wormser (vorm-zar), Andr^ (AI- 
 phonse Toussaint), b. Paris, Nov, 
 I, 1S51; pupil of Marmontel (pf.) and 
 Bazin, Paris Cons, taking ist pf.- 
 prize, 1872 ; Grand prix de Rome, 
 1875 ; lives in Paris ; c. the operas- 
 comique ''^ Adele de Ponthieu" (Aix- 
 les-Bains, 1877), "■ Rivoli" (Paris, 
 1896); V. succ. pantomime '^ L En- 
 fant Prodigue" (Paris, 1890, Lon- 
 don, 1891, New York, 1893); panto- 
 mime '' L'Idifal" (London, 1896); 
 ballet, '' LEtoile" (Paris, 1897), etc. 
 
 Worgan, (i) Jas., d. 1753; Engl, or- 
 ganist. (2) J., d. 1794; bro, and 
 succ. of above; also composer. 
 
 Work, H. Clay, Middletown, Conn., 
 1832 — Hartford, 18S4; c. " Grand- 
 father's Clock" " Marching through 
 Georgia" and other pop. songs. 
 
 Wof ton, (i) Wm., org. -builder, 15th 
 cent., Engl. (2) Wm. B., Torquay, 
 Sept. 6,1832; bassoonist, saxophonist, 
 oboist. 
 
 Wouters (voo'-tars), (Fran.) Adolphe, 
 b. Brussels, May 28, 1841; pupil, and 
 since 187 1, pf.-prof. at the Cons.; 
 1886, organist Notre-Dame de Finis- 
 tere, and cond. at Saint-Nicolas ; c. 3 
 masses solennelles (under pseud. 
 "Don Adolfo "), a grand Te 
 Deum, overture, etc. 
 
 Woycke (voi-ke), Eugen (Adalbert), 
 b. Danzig, June 19, 1843 ; pianist ; 
 pupil Leipzig Cons.; lived in Edin- 
 burgh as teacher ; pub. 7 pf. -sonatas. 
 He married in 1S71, (2) Emily 
 Drechsler (nee Hamilton), concert- 
 violinist, playing in public since 11. 
 (3) Victor, b. Edinburgh, 1872 ; son 
 and pupil of above ; debut as violin- 
 ist, 1S89; 1S92, teacher at the Nat. 
 Cons., New York. 
 
 Woyrsch (voirsh), Felix von, b.Trop- 
 pau, Austrian Silesia, Oct. 8, 1S60; 
 studied with A. Chevallier, Ham- 
 
 burg, but mainly self-taught ; since 
 1895, organist and conductor at Al- 
 tona ; c. 4 comic operas incl. succ. 
 " Wikingerfahrt" {^ixxxAi&x^, 1896), 
 4 choral works with orch. ; symph.; 
 symph. prologue to ''Divina Co/nme- 
 dia" etc. 
 
 Wranitzky (fra-net'-shkl), (i) Paul, 
 Neureusch, Moravia, 1756 — Vienna, 
 1808; violinist, conductor and dram, 
 composer. (2) Anton, Neureusch, 
 1761 — Vienna, 1819 ; violinist; bro. 
 and pupil of above ; conductor and 
 composer. 
 
 Wrede (vra'-de), Hanover, 182S — 
 Frankfort-on-the-Oder, 1899; pian- 
 ist, conductor, singing-teacher and 
 composer. 
 
 Wright'on, W. T., 1816— Tunbridge 
 Wells, 1880 ; English song-com- 
 poser. 
 
 Wiierst (vii'-grst), Richard (Fd.), 
 Berlin, 1S24 — 1881; teacher, critic 
 and dram, composer. 
 
 Wiillner (vll-ner), (i) Fz., Mun- 
 ster, Jan. 28, 1832 — Cologne, Sept. 
 8, 1902 ; noted conductor ; studied 
 Mtinster, later at Berlin, Brussels, Co- 
 logne, Bremen, Hanover and Leip- 
 zig, and gave concerts as pian- 
 ist ; 1854, pf. -teacher Munich Cons.; 
 1858, town mus.-dir. at Aix-la- 
 Chapelle; 1861, " R. Mus. - Dir." 
 1864, 18S2, 1886 and 1890 he 
 conducted the Lower Rhine Mus. 
 Fest. ; cond. the ct. -chapel, Mu- 
 nich ; 1867, dir. choral classes in 
 the Sch. of Mus.; in 1869, cond. 
 ct. -opera and the Acad. Concerts 
 (vice von Bulow), giving Wagner's 
 ' ' Rheingold" and ' ' IVa Ikiire ' ' their 
 first hearing. 1870, ist ct.-cond., 
 R. Prof. 1875 ; in 1877, ct.-cond. 
 at Dresden, and artistic dir. of 
 the Cons.; 1883-84, cond. Berlin 
 Philh.; 1884, dir. Cologne Cons.; 
 was Dr. Phil. Leipzig U.; c. cantata 
 '^Heinrich der Finkler" with orch. 
 (ist prize, Aix-la-Chapelle " Lieder- 
 tafel " 1864); new arrangement 
 (with added recitatives) of von We- 
 ber's '"Oheron"; Psalm 125, with 
 
 i 
 
DICTIONARY OF MUSICIANS 803 
 
 orch.; Miserere and Stabat Mater, 
 for double chorus, masses, chamber- 
 mus., etc. (2) Ludwig, b. Miin- 
 ster, Aug. 19, 1858 ; son of above ; 
 Dr. phil., then studied Cologne Cons. ; 
 1888, dir. a church choir ; became 
 an actor in spite of a vocal impedi- 
 ment, then a tenor singer in concert, 
 also in opera (as " Tannhauser," 
 etc.). 
 
 Wunderlich (voon'-der-likh), Jn. G., 
 Bayreuth, 1755 — Paris, 1819 ; flute- 
 virtuoso and prof. Paris Cons. ; also 
 composer. 
 
 Wurfel (viir'-f^l), Wm., Planian, Bo- 
 hemia, 1791 — Vienna, 1852 ; pianist, 
 prof., conductor and dram, composer. 
 
 Wurm (voorm), (i) Wm., b. Bruns- 
 wick, 1826 ; virtuoso on the cornet-a- 
 pistons ; from 1847, lived in Pe- 
 tersburg, from 1862 teacher at the 
 Cons., and from i86g bandm. -in- 
 chief of the Russian Guards ; c. cor- 
 net-pcs. (2) Marie, b. Southamp- 
 ton, Engl., May 18, i860; pianist; 
 pupil of Pruckner and Stark, Anna 
 Mehlig, Mary Krebs, Jos. Wieniaws- 
 ki. Raff and Frau Schumann ; 1884, 
 won the Mendelssohn Scholarship ; 
 studied with Stanford, Sullivan, 
 Bridge and Reinecke ; played with 
 succ. Leipzig, Berlin, etc.; c. an 
 overture; a pf. -concerto ; sonatas, 
 etc. 
 
 Wylde (wild), H., Bushy, Hertford- 
 shire, 1822 — London, 1890; pianist, 
 organist and teacher. 
 
 Wy'man, Addison P., Cornish, N. H. 
 (U. S. A.), 1832 — Washington, 
 Penn., 1872 ; teacher of vln. and com- 
 poser. 
 
 Wynne (win), Sarah E., b. Holy- 
 well, Huntingdon, March 11, 1842; 
 singer, held Westmoreland scholar- 
 ship R. A. M. ; debut, London, 1862 ; 
 m. Aviet Agabeg, 1875, and since 
 then teacher. 
 
 Wyns (vens), Charlotte F^licie, b. 
 of Flemish parents, Paris, Jan. 11, 
 1868; mezzo-sopr. ; pupil Paris Cons. , 
 taking in 1S92 3 first prizes, singing, 
 opera and opera comique ; engaged 
 
 at the opera, but debuted Op. Com. 
 as '"Mignou" J later at Th. de la 
 Monnaie, Brussels, returning to Op. 
 Com. in 1899 ; m. Ed. de Bruijn. 
 1899. 
 Wyszkowski. Vide hofman. c. 
 
 X 
 
 Xanrof (ksah-rof) (rightly Leon Four- 
 neau), b. Paris, Dec. 9, 1867 ; lawyer, 
 critic and amateur composer of songs 
 for Yvette Guilbert, also of light 
 stage-pcs. 
 
 Xylander (rightly Holtzmann) (kse'- 
 lant-er or holts-man), Wm., Augs- 
 burg, 1532 — Heidelberg, 1576; 
 writer. 
 
 Xyndas (ksen'-das), Spiridion, Corfu, 
 1812 — (in poverty) Athens, 1896; 
 Greek composer of succ. ballad-op- 
 eras. 
 
 Yonge (yiing). Vide young. 
 
 Yost (yost), Michel, Paris, 1754 — 
 1786; celebrated clarinettist and 
 composer. 
 
 Young, (i) (or Yonge), Nicholas, b. 
 Lewes, Sussex ; d. 1619 ; pub. "J/«- 
 sica Transalpina, " colls, of Italian 
 madrigals, 1597. (2) Rev. Mat- 
 thew, Roscommon, 1750 — 1800 ; 
 acoustician. (3) Thos., Canter- 
 bury, 1809 — Walmouth, 1872 ; the 
 last prominent male altoist. (4) J. 
 Matthew Wilson, Durham, Engl., 
 1S22 — W. Norwood, 1897 ; organist 
 and composer. 
 
 Yradier (e-radh'-I-ar), Sebastian, b. 
 Vittoria, 1865 ; Spanish song-com- 
 poser. 
 
 Yriarte (e-rt-ar'-te), Don Tomas de, 
 Teneriffe, ca. 1750 — Santa Maria, 
 near Cadiz, 1791; writer. 
 
 Ysaye (e-sl'-yii), Eugene, b. Liege, 
 July 16, 1858 ; prominent violinist, 
 son and pupil of a cond. and violin- 
 ist, then pupil of Liege Cons., and of 
 
8o4 
 
 THE MUSICAL GUIDE 
 
 Wieniawski and Vieuxtemps ; later 
 with govt. -stipend studied in Paris ; 
 till 1 88 1, leader in Bilse's orch., Ber- 
 lin, since has made v. succ. tours 
 throughout Europe and N. America ; 
 from 1 886, head prof, of vln. Brus- 
 sels Cons., and leader " Ysaye Quar- 
 tet"; 1893, Chev. of the Legion of 
 Honour ; his quartet played in Lon- 
 don 1900-01; c. 6 vln. -concertos ; 
 variations on a theme by Paganini ; 
 Poeme elegiaque for vln. with orch. 
 (or pf.), etc. 
 
 Yussupoff (yoos'-soo-pof). Prince Ni- 
 colai, b. Petersburg, 1S27 ; vio- 
 linist ; pupil of Vieuxtemps ; writer 
 of treatises, and c. a programme- 
 symph. ''Gonzalvo de Cordova," with 
 vln. obbligato ; "Concerto syinpho- 
 niqne'' for vln., etc. 
 
 Yzac (e'-zak). Vide ISAAC. 
 
 Zabalza y Olaso (tha-bal'-tha e 6-la'- 
 s6), Don Damaso, Irurita, Navarre, 
 1833 — Madrid, 1894 ; pianist and 
 teacher ; prof. Madrid Cons. ; c. 
 studies. 
 
 Zabel (tsa'-bSl), Karl, Berlin, 1822— 
 Brunswick, Aug. 19, 1883 ; cond. 
 and composer. 
 
 Zacconi (tsak-ko'-ne), Ludovico, b. 
 Pesaro, 1540 — ca. 1600; monk and 
 important theorist. 
 
 Zacharia (tsak-ji-re'-a), Eduard, b. 
 Hoizappeler-Hiitte, Nassau, June 2, 
 1828; pastor at Mazsayn; inv. 
 " Kunstpedal " (v. D.D.). 
 
 Zachau (tsakh'-ow), (i) Peter, town- 
 musician, Lubeck, composer for viola 
 da gamba, 1693. (2) Fr. Wm., 
 Leipzig, 1663 — Halle, 1712; Han- 
 del's teacher ; organist and composer. 
 
 Zajic (za'-yech), Florian, b. Un- 
 hoscht, Bohemia, May 4, 1853; vio- 
 linist ; son of poor parents; on a 
 stipend studied at Prague Cons.; 
 member theatre-orch., Augsburg; 
 1 88 1, leader at Mannheim and Strass- 
 burg; 1889, at Hamburg ; 1891, 
 
 teacher Stern Cons., Berlin; later at 
 Klindworth-Scharwenka Cons. ; has 
 toured widely and was made cham- 
 ber-virtuoso 18S5 and given Russian 
 order of Stanislas. 
 Zamminer (tsam'-me-ner), Fr., Darm- 
 stadt, 1818 (?) — Giessen, 1856; acous- 
 tician. 
 Zanardini (tsa-nar-de'-ne), Angelo, 
 Venice, 1820 — Milan, 1S93; c. opera, 
 also writer and translator of libretti. 
 Zandt van (fiin-tsant), Marie, b. 
 New York, Oct. 8, 1861 (daughter 
 of (2) Jeanie van Z., singer formerly 
 in Royal and Carl Rosa Compa- 
 nies); pupil of Lamperti, Milan; de- 
 but, Turin, 1879 ; sang in London, 
 then from 1S80 at Op. -Com., Paris, 
 with great succ; 18S4, temporary 
 loss of voice due to prostration 
 brought on her such violent criticism 
 that she took a leave of absence and 
 sang with succ. at St. Petersburg, 
 etc.; on her return, 1885, she met the 
 same opposition and sang thereafter 
 in England, etc.; compass «-/'". 
 
 Zanettini. Vide giankttini. 
 
 Zang (tsang), Jn. H., Zella St. Blasii, 
 1733 — Mainstockheim, 1811; cantor; 
 pianist. 
 
 Zange (tsang'-e) (Zang'ius), Nico- 
 laus, d. Berlin, before 1620; con- 
 ductor and composer. 
 
 Zani de Ferranti (dsa-ne da fer-ran'- 
 te), Marco Aurelio, Bologna, 1800 
 — Pisa, 1878; guitar-virtuoso. 
 
 Zanobi. Vide gagi.iano. 
 
 Zarate (thji-ra'-te), Eleodoro Ortiz 
 de, b. Valparaiso, Dec. 29, 1865 ; 
 pupil of Collegio di San Luis there ; 
 1885 won 1st govt, prize, and studied 
 Milan Cons, with Saladino; won prize 
 1886, for opera " Giovanna la Paz- 
 sa "/ studied in Italy; 1895, prod, 
 the first Chilian opera, the succ. "Z(Z 
 Fioraia de Litgano " (Santiago, Chili, 
 Nov. 10). 
 
 Zaremba (tsa-ram'-ba), Nicolai Ivan- 
 ovitch de, 1824 — Petersburg, 1879: 
 teacher. 
 
 Zarembski (tsa-remp'-shkt), Jules de, 
 Shitomir, Russian Poland, 1854— 
 
 larliM 
 Zarid 
 
 Zanyck 
 
 i 
 
DICTIONARY OF MUSICIANS 805 
 
 18S5; pianist, pf.-prof. and com- 
 poser. 
 Zarlino (dsar-le'-no), Gioseffo (called 
 Zarlinus Clodiensis), Chioggia, 
 March 22, 1517 — Venice, Feb. 14, 
 1590; eminent theorist, conductor 
 and composer ; a Franciscan monk ; 
 pupil of Willaert at Venice; from 
 1565 cond. at San Marco, also chap- 
 lain at San Severo ; his comps. are 
 almost all lost; he was commissioned 
 by the Republic to write mus. in cel- 
 ebration of Lepanto, a mass for the 
 plague of 1577 and in welcome of 
 Henri III., 1574, on which occasion 
 he also c. a dram, work " Orfeo"; 
 his theoretical ability is shown by the 
 great work '" Instituzioni harmo- 
 nic he" {iSS?>). 
 Zarzycki (zar-zek'-e), Alex, Lem- 
 berg, Austrian Poland, 183 1 — War- 
 saw, 1895; pianist, conductor and 
 dram, composer. 
 Zav(e)rtal (tsa'-ver-tal), Bohemian 
 family, (i) Josef R., b. Folep, Nov. 
 5, iSiq; horn-player and leader. (2) 
 Wenceslas H., Polep, Aug. 31, 
 182 1 ; clarinettist and composer. (3) 
 Ladislas, b. Milan, Sept. 29, 1S49 ; 
 son of above; conductor; 1871 t. at 
 Glasgow, 1 88 1 at Woolwich; prod, 
 operas " Una notte a Firenze" and 
 " Afyrrha" both at Prague, 1886. 
 Zaytz (dsa'-ets), Giovanni von, b. 
 Fiume, 1834; pupil of Lauro Rossi, 
 Milan Cons.; since 1870 theatre-con- 
 ductor and singing-teacher at the 
 Cons, at Agram; c. the first Croa- 
 tian opera '"Nicola Subic Zrinjski" 
 (1876), also 20 German Singspiele, 
 masses, etc. 
 Zeckwer (tsek'-var), Richard, b. 
 Stendal, Prussia, April 30, 1850; pian- 
 ist; pupil Leipzig Cons.; from 1870 
 organist at Philadelphia, U. S. A. ; 
 1870 teacher Phila. mus. acad.; since 
 1876 director, composer. 
 Zeelandia (tsa-lan'-dl-a), Henricus 
 de, Netherland theorist and composer 
 ca. 1400. 
 Zeldenrust (tsel -den-roost), Eduard, 
 b. Amsterdam, June 5, 1865; pianist; 
 
 pupil of Robert Collin ; at 13 entered 
 Cologne Cons, under Fd. von Heller 
 for 5 yrs. ; then studied with Kwast 
 and Gernsheim in Rotterdam ; later 
 with Marmontel, Paris Cons.; toured 
 Europe and America. 
 Zelenka (ze-len'-ka), Jan Dismas, 
 Lannowicz, Bohemia, 1679 — Dres- 
 ^ den, 1745; conductor and composer. 
 Zelenski (zhe-len-shkl), Ladislas, b. 
 on the family estate Gradkowice, Ga- 
 Hcia, July 6, 1837; pupil of iNlirecki 
 at Cracow, Krejci at Prague, and 
 Damcke at Paris; prof, of comp., 
 later din, Warsaw Cons.; c. a symph., 
 2 cantatas, etc. for orch.; succ. opera 
 " Goplaua " (Cracow, 1S96), etc. 
 Zell, F. Vide walzel. 
 Zellner (tsel'-ner), (i; Ld. Alex., 
 Agram, 1823 — Vienna, 1894; son and 
 pupil of an organist ; editor, profes- 
 sor, writer and composer. (2) Julius, 
 Vienna, 1832 — Wurzzuschlag, Styria, 
 1900 ; c. 2 symphs., etc. 
 Zelter (tsel'-ter), Karl Fr., Berlin, 
 Dec. II, 1758 — May 15, 1832; son of 
 a mason; studied with Kirnberger and 
 Fasch, to whom he was assistant and 
 1800 successor as cond. of the Sing- 
 akademie ; 1809 he founded the 
 " Liedertafel " from which grew the 
 great " Deutscher Sangerbund " of 
 50,000 members, for which he c. 
 famous male choruses; 1819, founder 
 and dir. R. Inst, for church-mus. ; 
 friend of Goethe, whose songs he set; 
 c. also oratorios, etc. 
 Zemlinsky (zem-lln'-shkt), Alex., b. 
 of PoHsh parents, Vienna, 1S77; pu- 
 pil of Fuchs, Vienna Cons.; took 
 " Gesellschaft der Musikfreunde" 
 prize with a symph. 1897; his opera 
 " Sarenia" took a 2nd prize, 1894, 
 and was prod, with succ, Munich, 
 1897. 
 Zenger (ts^ng'-er), Max, b. Munich, 
 Feb. 2, 1837 ; pupil of Stark, and 
 Leipzig Cons.; i860, cond. at Ratis- 
 bon; 1869 mus.-dir. Munich ct, -op- 
 era; 1878-85, Munich Oratorio Soc, 
 etc.; Dr. Phil. h. c, 1897; c. 3 op- 
 eras; succ. oratorio '' Kain" (after 
 
8o6 
 
 THE MUSICAL GUIDE 
 
 Byron, Munich, 1867), cantatas with 
 orch., " tragic " symph., etc. 
 
 Zenta. Vide augusta holmes. 
 
 Zeretelev. Vide l.vwrowskaja. 
 
 Zerr (ts^r), Anna, Baden-Baden, 1822 
 — on her estate, near Oberkirch, 1S81; 
 singer. 
 
 Zerrahn (tser-ran'), K., b. Malchow, 
 Mecl^lenburg, July 28, 1826; distin- 
 guished conductor; studied with Fr. 
 Weber and at Hanover and Berlin ; 
 184S, America, as a member of Ger- 
 mania Orch.; 1854-95, cond. Handel 
 and Haydn Soc, Boston; also cond. 
 Harvard Symph. Concerts, and prof, 
 of harm., instr. and singing, N. E. 
 Cons. 
 
 Zeugheer (tsoikh'-har), Jakob (known 
 as J. Z. Hermann). Zurich, 1805 — 
 Liverpool, 1865 ; violinist and con- 
 ductor. 
 
 Zeuner (tsoi'-ner), K. Traugott, 
 Dresden, 1775 — Paris, 1841; pianist, 
 teacher and composer. 
 
 Ziani (dse-a-ne), (i) P. Andrea, Ven- 
 ice, ca. 1630 — Vienna, 171 1 ; organ- 
 ist and dram, composer. (2) Marco 
 A., Venice, 1653 — Vienna, 1715; 
 nephew of above; ct. conductor and 
 dram, composer. 
 
 Zichy (tse'-she). Count G6za, b. Szta- 
 va, Hungary, July 22, 1849 ; noted 
 left-handed piano-virtuoso ; having 
 at 17 lost his right arm ; pupil of 
 Mayrberger, Volkmann and Liszt ; 
 holding high legal positions ; also 
 made tours for charity. 1890-94, In- 
 tendant Nat. Th. and Opera, Pesth. 
 C. succ. operas, "^A/r" (Pesth, 
 1896) ; '■'Meister Roland" (Pesth, 
 1899, Magdeburg, 1902), cantata, 
 etc.; pf.-pc3. , for the left-hand and 
 studies (with preface by Liszt), etc. 
 
 Zimmer (tslm'-mer), (i) Fr. Aug., 
 HerrengosserstJidt, Thuringia, 1826 — 
 Zehlendorf, 1899; mns. -director and 
 writer. (2) Otto, Priskorsine, Sile- 
 sia, 1827 — Breslau, 1896 ; organist 
 and editor. (3) Robt., Berhn, 1828 
 — 1857 ; writer and teacher. 
 
 Zimmermann (tstm'-mer-man), (i) An- 
 ton, Pressburg, 1741 — 1781; con- 
 
 ductor, composer and organist. (2) 
 Pierre Jos. Guillaume, Paris, 
 March 19, 1785 — Oct. 29, 1853; fa- 
 mous pf.-teacher ; pupil, later, 1816- 
 48, prof., at Paris Cons.; c. comic 
 opera and many pf.-pcs. (3) Agnes, 
 b. Cologne, July 5, 1847; pianist; 
 at 9 pupil of London R. A. M., win- 
 ning King's Scholarship twice, and 
 also silver medal ; debut, Crystal Pal- 
 ace, 1863; toured with great succ: 
 has ed. scores and c. a pf.-trio, etc. 
 
 Zingarelli (tsln-ga-rel'-le), Nicola A., 
 Naples, April 4, 1752 — Torre del 
 Greco, near Naples, May 5, 1837; 
 violinist, teacher and eminent com- 
 poser ; the succ. of his operas and 
 the greater succ. of his grand op- 
 eras throughout Europe was almost 
 equalled by his noble and de- 
 vout sacred mus. ; pupil of Fenarolo 
 and Speranza ; his first opera was 
 prod, at 16, and followed by another 
 at 21, but he had no succ. till ''Al- 
 sinda, " written in 7 days (La Scala, 
 Milan, 1785); he followed this with 
 many others, inch his best, ''Giulietta 
 e Romeo" (ibid., 1796); 1792, cond. 
 at Milan Cath.; 1794, at Loreto ; 
 1804 at St. Peter's, Rome ; 18 11, im- 
 prisoned for refusal to conduct a ser- 
 vice in honour of the King of Rome, 
 the son of Napoleon, who took him to 
 Paris, released him, and paid him well 
 for a mass ; 1813, dir. Naples Cons.; 
 1816, cond. at the cath.; he was a 
 notable teacher ; c. 31 operas, masses 
 of all kinds in a series ''Anmialedi 
 Loreto " for every day in the year, 80 
 magnificats, etc. 
 
 Zinkeisen (tstnk'-I-zen), Konrad L. 
 Dietrich, Hanover, 1779 — Bruns- 
 wick, 1838 ; violinist, conductor and 
 composer. 
 
 Zipoli (dse'-p6-le), Dom., organist, 
 Jesuit Church, Rome ; pub. important 
 clavier-sonatas, treatises, etc. (1726). 
 
 Zoeller (tsel'-ler), Carl, Berlin, 1849 
 — London, 1889 ; writer and notable 
 composer. 
 
 Zoilo (dso'-e-l6), Annibale, conducta( 
 at Laterano, Rome, 1561-70; 1571, 
 
DICTIONARY OF MUSICIANS 807 
 
 singer, Papal Chapel ; c. madrigals, 
 etc. 
 
 Zollner (tsel'-ner), (i) K. H., Oels, 
 Silesia, 1792 — Wandsbeck, near 
 Hamburg, 1836 ; org. -virtuoso, writer 
 and dram, composer. (2) K. Fr., 
 Mitteihausen, Thuringia, March 17, 
 iSoo — Leipzig, Sept. 25, i860; fa- 
 mous composer of male choruses; 
 pupil of Schicht, Thomasschule, Leip- 
 zig ; vocal-teacher there, founded a 
 Liedertafeln " ZoUner-verein," other 
 sees, of similar nature, organised 1859 
 to form a " Z-band." (3) H., b. Leip- 
 zig, July 4, 1854 ; son of above ; pu- 
 pil Leipzig Cons.; 1878, mus.-dir. 
 Dorpat Univ.; 1885, Cologne Cons, 
 and conductor various vocal socs.; 
 1889, toured Italy with a male cho- 
 rus ; from 1840, cond. New York 
 " Deutscher Liederkranz"; 1898, 
 mus.-dir. Leipzig University and 
 cond. " Paulinerchor"; c. 4 operas, 
 3 choral works with orch., cantata 
 '■'Die neue Welt" (won international 
 prize, Cleveland, Ohio, 1892), a 
 symph., oratorio, male choruses, etc. 
 (4) Andreas, Arnstadt, 1804 — Mein- 
 ingen, 1S62 ; mus.-dir. and comp. 
 
 Zopff (tsopf), Hermann, Glogau, 1826 
 — Leipzig, 1S83 ; editor, writer and 
 dram, composer. 
 
 Zschiesche (tshe'-she), Aug., Berlin, 
 1800 — 1876; dram. bass. 
 
 Zschocher (tshokh'-er), Jn,, Leipzig, 
 1821 — 1897 ; pianist. 
 
 Zuccalmaglio (dsook - kal - mal' - yo), 
 Anton Wm. Florentin von, Wal- 
 drol. 1803 — Nachrodt, Westphalia, 
 1869 ; contributor to Schumann's 
 periodicals. 
 
 Zumpe (tsoom'-pe), Hermann, b. 
 Taubenheim, Upper Lusatia, April 
 9. 1850 ; grad. Seminary at Bautzen ; 
 
 taught a year at Weigsdorf ; from 
 1871 at Leipzig; also studied with 
 Tottmann ; 1S73-76, at Bayreuth, as 
 copyist and asst. to Wagner ; there- 
 after th. cond. various cities ; i8gi, 
 ct.-cond. at Stuttgart; 1895, ct..- 
 cond. Munich ; later at Schwerm 
 igoi, Meiningen ; c. 2 operas ; v. 
 succ. operettas '''Farinelli" (Vienna 
 1886), ''Karin" (Hamburg, 1888). 
 and "'Polnische Wirthschaft" (Ber- 
 Hn, 1891) ; overture " Wallenstein^s 
 Tod," etc. 
 
 Zumsteeg (tsoom'-shtakh), (i) Jn. 
 Rudolf, Sachsenflur, Odenwald, 1760 
 — Stuttgart, 1802 ; 'cellist and ct.- 
 conductor ; c. operas and important 
 " durch-kompgnirten " ballads, before 
 Lowe (q. v.). His daughter (2) 
 Emilie, Stuttgart, 1797 — 1857, was 
 a pop. song-composer. 
 
 Zur Miihlen (tsoor-mii'-len), Rai- 
 mund von, b on his father's estate, 
 Livonia, Nov. 10, 1854 ; concert- 
 tenor ; studied at Hochschule, Ber- 
 lin, with Stockhausen at Frankfort, 
 and Bussine at Paris. 
 
 Zur Nieden(tsoor ne'-den), Albrecht, 
 Emmerich -on- Rhine, 18 19 — Duis- 
 burg, 1872 ; mus. -director, conductor 
 and composer. 
 
 Zvonar (tsvo'-narzh), Jos. Ld., Kub- 
 lov, near Prague, 1824 — Prague, 
 1865 ; teacher, theorist and dram, 
 composer. 
 
 Zweers (tsvars), Benhard, b. Amster- 
 dam, and lived there as composer of 
 4 symphs. , sonatas, etc.; studied with 
 Jadassohn. 
 
 Zwintscher (tsvint'-sher), (i) Bruno, 
 b. Ziegenhain, Saxony, May 15, 1838 ; 
 pianist ; pupil of Julius Otto, then of 
 Leipzig Cons. ; 1875-98, teacher there; 
 writer. (2) Rudolf, pianist in London. 
 
o! tf)t (Operas 
 
errata* 
 
 (Not corrected in the supplement.) 
 
 Page 379, col b Ssafiddin should be Safieddin. 
 
 Page 381, col. b Agrel should be Agrell. 
 
 Page 442, col. a Breuning should be Breunung. 
 
 Page 444, col. b., line 34 Kerim should be Kdrim. 
 
 Page 445, col. a., line 9 Bebroid should be Debrois. 
 
 Page 449, col. a., line 30 ka-bal-la-ro should be ka-vil-la'-ro. 
 
 Page 453, col. a., line 16 Firmin should be Philippe. 
 
 Page 454, col. a., line 30 London should be Dublin. 
 
 Page 459, col. a., line 3 February 22, 1810 is correct. See 
 
 supplement. 
 
 Page 459, col. a., line 12 Zwyny should be Zywny. 
 
 Pafe 464, col. a., line 31 1882 should be September 2, 1907. 
 
 Page 481, col. b., line 46 Eminy should be Emmy. 
 
 Page 507, col. b., line 48 1807 should be 1897. 
 
 Page 563, col. a., Hillenmacher should be Hillemacher, 
 
 Page 582, col. a., line 38 omit " Helmann the Fool." 
 
 Page 595, col. a., line 24 1900 should be December 21, 1899. 
 
 Page 601, col. a., line 24 1884 should be 1894. 
 
 Page 603, col. a., line 39 1804 should be 1802. 
 
 Page 603, col. a., Une 50 Le-a-dof should be L'ya'-dof. 
 
 Page 610, col. a., line 26 1852 should be 1582. 
 
 Page 619, col. b., line 42 Solar should be Soler. 
 
 Page 619, col. b., line 44 May, 1810, should be March 3, 1806. 
 
 Page 630, col. a., line 15 July should be June 30. 
 
 Page 653, col. b., line 23 1898 should be January 8, 1904. 
 
 Page 656, col. b., line 4 Mayence, 1841, should be Mannheim, 
 
 April 30, 1842. 
 
 Page 680, col. b., line 37 1863 should be 1893. 
 
 Page 710, col. b., line 18 1818 should be 1816. ^ 
 
 Page 736, col. a., line 29 Serrao should be Serrao. 
 
 Page 738, col. a., line 39 1847 should be 1837. 
 
 Page 755, col. b., line 10 1710 should be 1700. 
 
 Page 760, col. a., line 40 December 25 should be April 25 (or 
 
 May 7, N. S.). 
 
 Page 763, col. b., line 36 K. L. should be J. F. L. 
 
 Page 770, col. b., line 27 1756 should be 1750. 
 
 Page 806, col. a., Une 48 1827 should be 1822. 
 
 Tbj:! 
 
Supplementary Stories 
 of t|)e d^peras 
 
 MASSENET, JULES. appears laughing with two slave girls, 
 
 Crobyle and Myrtale. He welcomes 
 
 Thais fta es) Athanael as an old friend. Athanael 
 
 A three-act lyric comedy. Book by f^P^^^s of Thais, for whom Nicias has 
 
 Louis Gallet (based on the novel by bankrupted himself . He warns Athan- 
 
 Anatole France). f^^ agamst her, but consentsto arrange 
 
 Produced at the Opera, Paris, 1894. ^^^'^ meetmg In fact she is expected 
 
 ' ^ for supper this night. Athanael asks 
 
 CHARACTERS. fo^ decent raiment, and the slave girls 
 
 , , ^,, , laughingly adorn and perfume him, 
 
 Athanael (a-ta-na-gl) bar. ^^^^^^ ^j^^y ^^^ ^^^ beautiful as a young 
 
 Nicias (ne -si-as) . ._ .ten. g^j ^ ^^^^^ ^l^rong of reveUers and 
 
 Palemon (pa-la-m6n) bass. philosophers pour m, preceding Thais. 
 
 Thais sopr. ghe arrives for her last visit with Nicias 
 
 Albine (ai-ben) after "one whole long week of con- 
 
 Crobyle (kro-bel) stancy." She meets Athanael and 
 
 Myrtale (mer-tal) demands why he is so severe {Qui tefait 
 
 Place of action: Egypt, in the early ^i ^f^ere) She swears that nothing is 
 
 Christian Era. ''^^' "^^ love, and invites him to wreathe 
 
 his head with roses and watch her pos- 
 
 Act I. — Scene i. A settlement of turing again as Aphrodite. But he 
 
 hermit Cenobites on the Nile. Twelve flees in horror. 
 
 holy men are eating their frugal meal, Act n. — Scene. The home of Thais, 
 among them Palemon. They are await- She dismisses her friends wearily, and, 
 ing the return of Athanael. ~ He returns left alone, begs her faithful mirror to 
 from Alexandria fagged and dejected, reassure her that she will always be 
 and describes the power of a priestess of beautiful (Dis-moi que je sttis toujours 
 Venus named Thais, whom he had belle). She sees Athanael, who declares 
 known in his youth and whom now he that he loves her, but not as she under- 
 wishes to save. Palemon and the stands. A duel between sacred and 
 others warn him not to meddle with profane love ensues, and each begins to 
 such evil, and Athanael falls asleep. In influence the other strangely. Thais 
 a vision he beholds a crowded theatre sprinkles incense on the altar of Venus, 
 where the half-naked Thais postures. and Athanael trembles. But he tears 
 As the vision vanishes, he awakens with away his gorgeous robe and reveals him- 
 horror and vows to save her, praying for self as a monk, cursing her hfe and bid- 
 aid to the God of Pity {Toi qui mis la ding her forsake it. She throws herself 
 pitie dans nos dmes) . The Cenobites at his feet and the voice of Nicias heard 
 anxiously bid him farewell. in the distance fills her with loathing. 
 
 Scene 11. The terrace of the palace Athanael tells her that he will wait for 
 
 of Nicias. Athanael with difficulty her on her doorstep until dawn, but she 
 
 persuades a slave to summon his master. turns against him and drives him out; 
 
 While he waits, he contemplates the then falls weeping on her pillows, 
 
 panorama of the terrible city {Voilci After a sjonphonic interlude in the 
 
 done la terrible cite). He calls upon the form of religious meditation, the scene 
 
 angels to purify its corruption, as Nicias changes to a square before her house. 
 
 81J • 
 
8l2 
 
 THE MUSICAL GUIDE 
 
 In the moonlight Athanael is seen lying 
 on the steps. In the distance, the 
 home of Nicias is brilliant and noisy 
 with revelry. 
 
 Thais appears and Athanael promises 
 to lead her to a monastery in the desert. 
 But first she must destroy all the monu- 
 ments of her shame. She must burn 
 her house and her goods. She consents, 
 but asks only to save one little ivory 
 image of Cupid, for "Love is a virtue 
 rare" {U amour est tine vertu rare). 
 She wishes to take this image to the 
 convent; it was a gift from Nicias. 
 Athanael hurls the statuette to the 
 ground. Thais meekly submits and 
 they go within to bum the palace. 
 Nicias and a crowd of revellers fill the 
 square. The two slave girls sing of a 
 new charmer, who is more beautiful 
 than the Queen of Sheba {Celle qui 
 lient est plus belle). At the end of this 
 duet and during the dance, Athanael 
 appears with a lighted torch, leading 
 Thais meanly clad and followed by her 
 sorrowful slaves. While the palace 
 bums, the crowd tums on Athanael 
 and Thais and would stone them, but 
 Nicias saves them from violence by 
 throwing gold into the mob. 
 
 Act ni. — Scene i. The oasis, with 
 the white cells of the retreat of the nuns 
 of Albine. Thais and Athanael, greatly 
 fatigued, struggle in. He is rough with 
 her until she swoons; then a change 
 comes over him and his heart bleeds for 
 her bleeding feet, which he kisses, hail- 
 ing her as a saint. He goes to the well 
 for water, and she blesses him as a mes- 
 senger from God {0 messager de Dieii). 
 He brings her water and fmits while 
 the white nuns of Albine appear sing- 
 ing a Latin hymn. Athanael greets 
 Albine and presents Thais to her. 
 Thais bids Athanael farewell forever. 
 The word shocks him, and as he sees 
 her led away in Albine's arms, a cr>' of 
 anguish escapes him. 
 
 Scene ii. The Cenobite settlement 
 again with a night of storm coming on. 
 Athanael has returned and spent twenty 
 
 days of fasting. He comes out of his 
 hut and asks Palemon to confess him. 
 In saving the soul of Thais, he has lost 
 his own. His mind is filled with visions 
 of Aphrodite. He falls asleep and sees 
 her again in all her fleshly charms. The 
 vision vanishes in strident laughter, 
 giving place to a new vision, the 
 Monastery of Albine, where Thais, all 
 in white, is dying, surrounded by the 
 kneeUng nuns. Athanael awakens in a 
 frenzy of revolt and dashes out to re- 
 claim her. 
 
 The scene changes to the Convent 
 garden, where Albine and the nuns 
 moan over the saintly Thais, who has 
 saved her soul, but worn out her life 
 with her penances. Athanael appears 
 and is greeted with respect as a vener- 
 able saint. He drags himself on his 
 knees to the side of Th^s, who weakly 
 reminds him that his promise of Heaven 
 and redemption are fulfilled. She sees 
 the angels and God. But Athanael 
 protests that nothing is true but life and 
 love. And when she dies, he falls to 
 the ground with a terrible cry. 
 
 SMETANA, FRIEDRICH 
 The Bartered Bride. Prodana 
 
 Nevesta (pro'-da-na ngv-yes'-ta) B. 
 
 Die Verkaufte Braut (de fer-kowf'-t6 
 
 browt) G. 
 
 A comic opera in three acts. Book 
 by Karl Sabina. 
 
 Produced, National Theatre, Prague, 
 May 30, 1866. 
 
 CHARACTERS 
 
 Hans ten. 
 
 Wenzel (ven'-tsel) ten. 
 
 Kezal (ka'-tsal) bar. 
 
 KRUscHiNA(kroo-she'-na) bass. 
 
 Springer bar. 
 
 Muff 
 
 MiCHA (me-kha) 
 
 Marie sopr. 
 
 Kathinka (ka-teenk'-a) .... mez-sopr. 
 
 Esmeral'da 
 
 Agnes 
 
STORIES OF THE OPERAS 813 
 
 Act I.— Scene. The Square of a 
 Bohemian village during a Spring 
 Church Festival. The chorus is rejoic- 
 ing in the coming of Spring, but Marie 
 is sad. Hans, her lover, asks her why, 
 and is told that she is to be the bartered 
 bride of the son of Micha. She is puz- 
 zled at the calmness of Hans, and asks 
 him to explain the mystery of his origin. 
 He tells her that he is the son of a rich 
 man, but he left home on the death of 
 his mother. He bids her to be of good 
 cheer and goes. She hides as her father 
 and mother, Kruschina and Kathinka, 
 come in with the marriage broker, Kezal. 
 Kezal has arranged a marriage for 
 Marie with the son of Micha, whose 
 elder son has disappeared. Kezal sings 
 the praises of the younger son, Wenzel. 
 Marie appears and refuses the match 
 declaring her love for Hans. Kezal 
 shows the agreement with Micha, but 
 Marie knocks it out of his hand. Kezal 
 promises to talk to Hans, and the act 
 ends with a country dance, called " the 
 hen." 
 
 Act II. — Scene. A room in the inn, 
 Hans at one table, Kezal at another. 
 A beer-chorus is sung and Hans toasts 
 love, while Kezal toasts cash. After a 
 wild dance called a "furiant" the scene 
 is emptied, and Wenzel enters stut- 
 tering a song about his mother's ad- 
 vice to her "Dear Son" (T^a*' . . . 
 theurer Sohn). Marie appears and is 
 amused at her prospective bridegroom, 
 but Wenzel does not suspect her iden- 
 tity. She persuades him that Marie 
 wiU be a wretched wife, and promises 
 to find him another. He repeats her 
 oath that he will forswear Marie, and 
 follows her when she runs away. Kezal 
 drags Hans in and begs him not to 
 interfere with the wedding. Kezal 
 described love as a folly {Wer in Lieb' 
 entbranni). He promises to get Hans 
 another bride and to give him three 
 hundred gulden. Hans consents on one 
 condition, that Marie shall marry no 
 one but Micha's son. The duped Kezal 
 hurries away in delight to draw up the 
 
 contract, and Hans rejoices in the 
 happiness awaiting him {Es muss 
 gelingen). Kezal returns with the 
 others and reads the marriage contract 
 by which Hans gives up all claims to 
 Marie in favour of the son of Micha. 
 Hans signs the paper while the villagers 
 revile him for selling his bride. 
 
 Act ni. — Scene. The same room. 
 Wenzel is grieving that Marie has 
 escap)ed him, when Springer, a circus 
 man, arrives with his troupe, including 
 Esmeralda, the tight-rope walker, a 
 wild Indian chief and a great trained 
 bear. A brief performance is given 
 and Wenzel falls in love with Esmeralda. 
 The Indian chief tells Springer that 
 the actor who plays the trained bear 
 is drurik. In his desperation Springer 
 appeals to Wenzel to join the troupe 
 and promises him a Hfe of joy with 
 Esmeralda, who teaches him how to 
 dance as a bear. His mother, Agnes, 
 his father, Micha, and Kezal arrive to 
 lead him to the ceremony; but he 
 declines the marriage. Marie rushes 
 in in an agony of grief because Hans has 
 betrayed her and sold her. Left alone, 
 she broods upon her sorrow {Wie 
 fremd und todt ist Alles iiniher). Hans 
 rushes to her, but is repulsed, and she 
 announces that she will marry Wenzel. 
 Kezal appears and Hans still appeals 
 for trust (Gesegnet, wer da liebt und 
 anch vertratd!) The others return and 
 Hans is recognized by his father and 
 mother. Marie, understanding his plot 
 rushes to his arms, and Kezal dashes 
 away from the general ridicule. Loud 
 cries are heard that the bear has 
 escaped and there is a general panic, but 
 the bear exclaims "Don't be afraid! 
 I'm only We-We-Wenzel!" and the 
 opera ends in cries of "Long life to the 
 Bartered Bride. " 
 
 STRAUSS, RICHARD. 
 
 Salome (sal-o-ma') F. (sS-lo'-me) E. 
 
 Drama in one act. German text by 
 
 Frau Hedwig Lachmann (founded on 
 
8i4 
 
 THE MUSICAL GUIDE 
 
 the drama written in French by Oscar 
 Wilde). 
 
 Produced, Dresden, Dec. 9, 1905; 
 New York, 1907, the subscribers de- 
 manding its withdrawal. 
 
 CHARACTERS 
 
 Her'od An'tipas ten. 
 
 IoKANAA^f (yo-kan'-an) bar. 
 
 Nar'raboth, 
 
 A young Syrian; Captain of the 
 
 Guard ten. 
 
 Tigelli'ntjs, 
 
 A young Roman 
 
 A Cappado'cian bass. 
 
 A Nubian 
 
 The Page contr. 
 
 Naaman (na'-man), 
 
 The executioner 
 
 Heroidias mez-sopr. 
 
 Salome sopr. 
 
 The story is based upon the account 
 in the New Testament. Salome is the 
 daughter of Herodias by her first hus- 
 band, Herod Phillip. The second hus- 
 band, Herod Antipas, has imprisoned 
 lokanaan (John the Baptist) in a well 
 because he denounced Herod for marry- 
 ing his own brother's wife. 
 
 Scene. A terrace of Herod's palace 
 above the banquet hall. At the back, 
 an old cistern. Soldiers are leaning 
 over the balcony and watching the 
 banquet, discussing the beauty of 
 Salome, the quarrelsomeness of the 
 Jews and the gloom of Herod. Narra- 
 both, a young Syrian, Captain of the 
 Guard, stares with idolatry at Salome. 
 The voice of lokanaan is heard from the 
 well, prophes}-ing the coming of a 
 mightier than he. The Cappadocian 
 thinks that the cistern is a strange 
 prison for a man, but a soldier tells him 
 that Herod kept his elder brother, the 
 first husband of Herodias, imprisoned 
 there for twelve years, and then sent his 
 ring to the executioner, Naaman, who 
 strangled him. Narraboth exclaims 
 that Salome is leaving the table, and 
 
 Salome enters, complaining that she 
 could not endure the strange stare of 
 Herod. She is glad to be in the garden 
 away from the crowds; she hears the 
 voice of lokanaan, and asks about him. 
 A slave comes from Herod to beg her to 
 return, but she refuses, and insists that 
 the soldiers bring lokanaan forth from 
 the cistern. They are afraid, but she 
 beguiles Narraboth into disobeying 
 Herod's orders, and the Prophet is 
 brought fon\'ard, denouncing Herod 
 and Herodias. He terrifies, yet fascin- 
 ates, Salome, and she speaks to him. 
 He denounces her and her mother, but 
 she grows all the more amorous of him. 
 Again he rebukes her as a daughter of 
 Babylon. She turns upon him in 
 fury, only to grow ardent again. She 
 longs to caress and to kiss him. Narra- 
 both's heart breaks with jealousy and he 
 slays himself and falls between Salome 
 and lokanaan. The young page of 
 Herodias, who had foreseen omens in 
 everything on this fateful evening, be- 
 wails the death of Narraboth, but 
 Salome does not even see the body, so 
 fiercely is she pleading for the lips of 
 lokanaan. He reviles her, and bids her 
 go seek One whom she will lind by the 
 Sea of Galilee, but she will not cease 
 demanding his love, and he curses her ; 
 and returns to the well. 
 
 Herod and Herodias and the Court 
 appear, Herod demanding why Salome 
 had not returned to the banquet as he 
 commanded. He notes that the moon 
 has a strange look like a mad woman. 
 Herod calls for torches and wine that 
 he may do honour to Tigellinus, the 
 Ambassador of Caesar. He slips on the 
 blood of Narraboth, and finds that an 
 ill omen. He sees the corpse of Narra- 
 both and learns that he has slain him- 
 self. Herod remembers that Narraboth 
 looked too much at Salome. Herodias 
 says that Narraboth is not the only one 
 who looked too much at Salome, and 
 bids him go within. But he calls again 
 for ^\'ine which Caesar himself sent him, 
 and asks Salome to sip from his cup. 
 
 I 
 
STORIES OF THE OPERAS 815 
 
 She refuses, and he calls for fruit, but 
 she will not eat. Herodias in fury de- 
 nounces Herod as the son of a camel 
 driver. He invites Salome to share his 
 throne. The voice of the Prophet 
 comes from the well denouncing Herod. 
 The Jews ask that lokanaan be de- 
 livered into their hands, but Herod 
 answers that lokanaan is reputed to be 
 the prophet Elias returned. lokanaan 
 predicts the coming of the Saviour of 
 the World. Tigellinus protests that 
 this is a title of Caesar's. Other Jews 
 describe the miracles of Christ, and 
 Herod wishes Jesus apprehended and 
 forbidden to raise the dead. The 
 Prophet's voice still thunders from the 
 well, and Herodias demands his life, but 
 Herod refuses it. He stares always at 
 Salome and begs her to dance. She 
 refuses. He commands her. She re- 
 fuses. He pretends indifference and 
 loudly declares himself happy and con- 
 tent. But again he begs Salome to 
 dance away his gloom, promising her 
 whatsoever she may ask, even to the half 
 of his kingdom. Salome takes off her 
 sandals in spite of her mother's pro- 
 tests. Herod warns her that she will 
 dance upon the blood on which he has 
 slipped: but she dances "The Dance of 
 the Seven Veils." 
 
 Herod, overjoyed, now asks her her 
 fee, and she, to her mother's delight, 
 calls for the head of lokanaan on a silver 
 charger. Herod is aghast and protests 
 and pleads, but Herodias and Salome 
 remind him of his oath. He offers 
 jewels and fifty white peacocks, but she 
 is immovable. He warns her of the 
 evil omens and promises her all manner 
 of gifts, even to the Veil of the Sanctu- 
 ary, but she repeats, " Give me the head 
 of lokanaan. " At last he yields. He 
 draws from his hand the ring of death 
 and gives it to a soldier who bears it to 
 the executioner. The executioner, with 
 a look of terror, descends into the cis- 
 tern. Salome leans over the edge and 
 describes what she sees. The execu- 
 tioner is afraid and will not strike. But 
 
 at last, his huge black arm comes forth 
 from the cistern, bearing on a shield the 
 head of lokanaan. Salome seizes it as 
 Herod hides his head in his cloak. 
 
 Herodias smiles and the Nazarenes 
 kneel in prayer. 
 
 Salome gloats over the head, and 
 taunts it with having retused the kisses 
 she demanded. She kisses the helpless 
 lips of the dead lokanaan, and cries out 
 her love for him. 
 
 Herod sickens and cries out against 
 her as a monster. He orders the 
 torches quenched, and as the cloud hides 
 the moon and the hideous courtship of 
 Salome, Herod cries, "Kill that 
 woman!" The soldiers hurl their 
 shields upon her. 
 
 STRAUSS, RICHARD 
 
 Elek'tra 
 
 Tragic opera in one act. Book by 
 Hugo Hoffmannsthal. 
 
 Produced, Dresden, January 25, 
 1909; New York, February i, 1910. 
 
 CHAIIACTERS 
 
 Elek'tra sopr. 
 
 Chrysothemis (kre-s6th'-a.-mis) .sopr. 
 Klytaemnestra (kle-tem-ngs'-tra) 
 
 mez-sopr. 
 
 Aegisthus (e-jis'thus) ten. 
 
 Ores'tes bar. 
 
 Foster Father of Orestes bass. 
 
 A Young Servant ten. 
 
 An Old Servant bass. 
 
 The Confidant sopr. 
 
 Overseer of the Servants sopr. 
 
 Trainbearer sopr. 
 
 Five Serving Women 
 
 The story is based upon the Greek 
 legends somewhat as treated in the 
 tragedies by Sophokles and Euripides. 
 
 Elektra was the daughter of King 
 Agamemnon and his wife, Klytaemnes- 
 tra. During the absence of Agamem- 
 non at the Trojan war his wife carried 
 on an intrigue with Aegisthus. When 
 Agamemnon returned home he was 
 slain in his bath by his wife and her 
 
8i6 
 
 THE MUSICAL GUIDE 
 
 paramour. The Queen treated her 
 children, Elektra and Orestes, with 
 great cruelty, and they finally conspired 
 to murder her and her lover. 
 
 The German author has introduced 
 the character of Chrysothemisas a sister 
 of Elektra. 
 
 Scene. A courtyard of the palace 
 showing the servants' quarters and a 
 well. Five serving maids are grouped 
 about the well under the direction of 
 the Overseer. They are discussing the 
 ferocious and uncanny behaviour of 
 Elektra, who is a veritable wildcat. 
 Some of the maids have sympathy for 
 her because she is beaten and treated 
 like a beast. When they have gone, 
 Elektra appears, brooding over the 
 murder of her father, which s'le sees 
 enacted before her. She longs for the 
 day when her father shall be revenged, 
 and when she shall dance over the 
 bodies of her guilty mother and the 
 wicked Aegisthus. Her sister, Chry- 
 sothemis,appea.rs and warns Elektra that 
 she is to be thrown into a dungeon. 
 Chrvsothemis longs for a life of love and 
 motherhood, but Elektra rebukes her 
 for her weakness and sends her away, as 
 Klytaemnestra appears with torches 
 and retinue. Klytaemnestra is worn 
 out with guilt and sleeplessness, and 
 asks Elektra if there is no rest for her. 
 Elektra answers in riddles which imply 
 that Klytaemnestra's repose shall only 
 come when the right blood shall flow 
 under the axe; when a certain woman 
 and a certain man shall be slain by 
 another man. Elektra asks if Orestes 
 may not be allowed to return from his 
 years of exile, and accuses her mother 
 of trying to have him murdered. Elek- 
 tra warns her that she will die for her 
 crime. 
 
 As the two women confront each 
 other, the Queen's confidant hurries in 
 and whispers news to her which gives 
 her great joy. As she hurries away, 
 Chrysothemis comes in screaming that 
 Orestes is dead, and that two strangers, 
 an old man and a young man, have 
 
 brought word that he had been 
 trampled to death by his horses. 
 
 A young servant darts in demanding 
 a horse, as he must carry a message 
 quickly. Elektra pleads with Chry- 
 sothemis to join her in the vengeance 
 which the dead Orestes should have 
 wreaked. She praises the younger sis- 
 ter for her strength and beauty, and 
 offers to be her slave if she will aid her. 
 Chrysothemis is afraid and reluctant, 
 and flees. Elektra creeps toward the 
 house to do the slaughter herself, but 
 meets Orestes himself, who enters. 
 Brother and sister do not recognize each 
 other at first, because he has grown to 
 manhood and she has lost her beauty. 
 An old servant prostrates himself before 
 Orestes' feet, and Elektra embraces him 
 with joy. Orestes' foster-father hurries 
 in to warn the brother and sister not to 
 betray themselves. A ser\'ant appears 
 to invite Orestes to the presence of 
 Klytaemnestra, who does not suspect 
 him. Orestes enters the palace and 
 shortly afterward the wild shrieks oJ 
 Klytaemnestra are heard as she is being 
 slain. Elektra braces herself against 
 the door and keeps out the servants, 
 who are in a panic. Aegisthus arrives 
 hastily and Elektra, taking a torch, 
 invites him to enter, and pays him 
 ironical homage, dancing before him. 
 Much puzzled, Aegisthus enters the 
 house and is heard crying for help. He 
 appears at the window, struggling and 
 tearing down the curtain. He is 
 dragged away and his cries are silenced. 
 Chrysothemis speaks to Elektra and 
 tells her that the palace is in an uproar, 
 the retainers of Orestes having attacked 
 the partisans of Aegisthus. Elektra 
 crouches by the door brooding with 
 uncanny rapture over the great revenge. 
 She tries to dance, but falls prostrate. 
 
 HUMPERDINCK, ENGELBERT 
 
 Konigskinder (ka'-nikhs-kint-er) 
 
 A fairy opera in three acts. Book by 
 Ernest Rosmer. 
 
 
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 >3«X 
 
 'Ilk 
 
 Ar»6 
 
STORIES OF THE OPERAS 817 
 
 Produced, Metropolitan Opera 
 House, New York, Dec. 28, 1910. 
 
 CHARACTERS AND THEIR CREATORS 
 
 Der Koenigssohn (ka'-nikhs-zon). 
 The King's Son 
 
 Hermann Jadlowker, ten. 
 Die Gaensemagd (gen'-ze-makht). 
 
 The Goose-girl, Geraldine P'arrar, sopr. 
 Der Spielmann (shpel'-man). 
 
 The Fiddler Otto Goritz, bar. 
 
 Die Hexe (hex'-e), 
 
 The Witch Louise Homer, contr. 
 
 Der Holzhacker (holts'-hak-er), 
 
 Tlie Wood-cnttcr . Adamo Didur, bass. 
 Der Beseneinder (ba'-zen-blff-der). 
 
 The Broom-maker . .Albert Reiss, ten. 
 ZwEi Kinder 
 Two Children 
 
 Edna Walter, Lottie Engel, 
 Der Ratsaelteste (rats'-el-tes-te). 
 The Senior Councillor 
 
 Marcel Reiner, bar. 
 Der Wirt (vert), 
 The Inn-keeper 
 
 Antonio Pini-Corsi, bass. 
 Die Wirtstochter (verts'-tokh-ter), 
 The Inn-keeper's Dattghter 
 
 Florence Wickham, mez-sopr. 
 Der Schneider (schnl'-der). 
 
 The Tailor Julius Bayer, ten. 
 
 Die Stallmagd (shtal'-makht), 
 The Stable-maid 
 
 Marie Mattfeld, contr. 
 The Two Gate-keepers 
 
 Herbert Witherspoon, 1 u > 
 William Hinshaw, ^ 
 
 The action takes place in the Hella 
 Forest, and in the neighbouring town 
 of Hellabrunn. 
 
 Act I. — Scene. A glade near tne 
 Witch's hut. The Goose-girl is neglect- 
 ing her flock, and idly humming to her- 
 self, when the Witch pops her head out, 
 berates her for letting her geese stray, 
 then calls her into make a poisoned 
 pasty of acorns. The Goose-girl stares 
 at a stunted lily and wonders why her 
 flowers will not grow as others do. She 
 
 asks of her own childhood, begs her 
 " Grandmother" to let her go forth into 
 the world, but the Witch tells her she 
 has cast a spell over bush and briar, and 
 she cannot escape. The girl, left alone, 
 sings to the beloved linden tree (0 licbe 
 Lifide) and to her own reflection in the 
 water. The King's son appears in a 
 shabby hunting costume, with a bundle 
 on his shoulders. She questions him 
 ignorantly, and he finds her beautiful. 
 She asks what a King is, and he tells her 
 that a King guards his people as she 
 guards her geese; but that he, being 
 youthful, has found the life of a Prince 
 too gloomy and fettered and has fled 
 {Fort! Hinaus!) She longs to go with 
 him, and he takes her in his arms, ask- 
 ing her, "Wilt thou go maying with 
 me?" (Willst dii inein Maienhuhle 
 sein?) The wind blows the wreath 
 from her hair, and he puts it in his 
 doublet as a token. He unties his 
 bundle and takes out a golden crown, 
 but she refuses it and he tosses it aside. 
 He takes her hand to lead her away, but 
 she feels the charm and is frightened. 
 He is angry and finds her unworthy 
 with her ijeggar's blood {Konigshliit 
 nnd Bettelbliit). He dashes away and 
 leaves her weeping. She hears the 
 Witch calling, and fearing lest the crown 
 betray her, begs one of the geese to hide 
 it, and hangs it on the goose's neck. 
 The Witch quizzes her closely, and she 
 confesses that she has seen a man. 
 The Fiddler is heard singing, "Three 
 fools went out one day for an egg that 
 a cock did lay" {Drei Narren zogen 
 aus). The Witch drives the girl into 
 the house and follows her in. The 
 Fiddler, the Wood-cutter and the 
 Broom-maker appear. They knock at 
 the door loudly, and when the Witch 
 finally appears, the Fiddler sings an 
 ironical love song to her beautiful red 
 eyes {Dcine schoncn rotcn Augcn). 
 He and his friends have come to say 
 that the King of Hcllabnmn had died 
 and his heir had disappeared. They 
 ask her whom thev shall choose to rule 
 
8i8 
 
 THE MUSICAL GUIDE 
 
 over them. The Witch says that at the 
 Hella feast the next day, when the noon 
 strikes, the gate of the city must be 
 open, and whosoever enters the to^vn 
 must wear the crown. The Broom- 
 maker and the Wood-cutter go back to 
 the city, but the Fiddler, having caught 
 a glimpse of the Goose-girl, demands 
 that she be given her liberty. When 
 she appears, he questions her. He 
 thinks that she is of royal blood, but the 
 Witch sneers that she is the shameful 
 child of a hangman's daughter. Never- 
 theless, the Fiddler hails her as royal, 
 and she calls to the gray goose to bring 
 back the cro\\'n. She puts it upon her 
 head as she kneels in prayer and the 
 light of a star falls upon the stunted 
 lily, which opens wide in full bloom. 
 Crying that she is free, the Goose-girl 
 darts away, followed by her geese and 
 the Fiddler. The Witch knocks dov^-n 
 the lily with her staff. 
 
 Act n. — Scene. A square near the 
 gate of the city. The Gate-keepers are 
 on guard and the Inn-keeper's daughter 
 is quarrelling with the Stable-maid, as 
 the King's son comes out of the inn 
 ya^\Tiing. He has slept ^\'ith the swine, 
 and the girls treat him with contemptu- 
 ous familiarity. The Inn-keeper's 
 daughter brings him food, but it is too 
 coarse for his palate. She makes love 
 to him and advises him to marrj', but he 
 asks if it is a linden tree under which 
 they sit. She embraces him, but he 
 pushes her hands away and she boxes 
 his ears. He turns to leave the hateful 
 town, when he finds in his doublet the 
 Goose-girl's wreath. The leaves seem 
 to whisper to him, " Do not go. " The 
 townspeople appear, and the Gate- 
 keepers keep them from the gates lest 
 one of them claim the cro^\•n. There is 
 a Spring dance. The King's son asks 
 the Inn-keeper for emplo>Tnent. He 
 is offered the post of swineherd and 
 reluctantly accepts. The Broom-maker 
 appears, followed by his thirteen 
 daughters, each of the children riding a 
 broom and trying to sell it. The 
 
 youngest child of the Broom-maker 
 asks the King's son to play with her, 
 and they dance a ring-around-a-rosy. 
 The Councillors and the rich Burghers 
 with their families arrive and seat them- 
 selves in the Tribune. The Wood-cut- 
 ter describes for them his journey to 
 the Witch's hut, which he dresses up 
 with dangers and wild animals. He 
 announces that at the opening of the 
 gates the King will arrive in glory upon 
 a golden car. The King's son asks if 
 the King might not come in rags, but 
 everj'body laughs at the idea. He de- 
 scribes what a true King should be, but 
 they njock him; the Inn-keeper demands 
 pay for the food which the King's 
 son could not eat. He is about to be 
 roughly handled by the crowd, when 
 the first bell rings. The crowd is hushed 
 with awe. At the twelfth stroke the 
 Gate-keepers throw open the gates, and 
 the Goose-girl enters with her flock, 
 followed by the Fiddler. The King's 
 son hails her as his Queen, and she him 
 as her King, but the crowd bursts into 
 derisive laughter at her bare feet and 
 his rags. The King's son draws his 
 sword and protects the girl, and the 
 Fiddler proclaims them King and 
 Queen, but the mob drives them out 
 all three with sticks and stones. The 
 Broom-maker's littlest daughter weeps. 
 The Senior Councillor asks her if she 
 weeps because her broom has vanished. 
 She answers, "No, it was the King and 
 Queen you banished." 
 
 Act m. — Scene. The same as the 
 first act, but it is now bleak winter. 
 The water trough is frozen and the lin- 
 den tree is bare. The \\'itch's hut is 
 dilapidated, for she has been burned at 
 the stake on account of her prophecy. 
 The Fiddler has been jailed and broken 
 on the rack for defending the two pre- 
 tenders. He is living alone in the hut, 
 hoping for the return of the two chil- 
 dren. He feeds the doves that gather, 
 and questions them for knowledge of the 
 outcast royal children, but they flutter 
 away. The Wood-cutter and the 
 
STORIES OF THE OPERAS 819 
 
 Broom-maker appear, shivering with 
 the cold. The Broom-maker brings his 
 httlest daughter, and the Fiddler greets 
 her with gratitude because when he was 
 perishing in jail she was the only one to 
 bring him bread. The Wood-cutter 
 brings word that the town has forgiven 
 the Fiddler, and the children, who have 
 followed, beg him to come back and 
 play for them, promising him cakes and 
 kisses, but he has sworn an oath not to 
 revisit the hateful town. The Broom- 
 maker describes the desolation that has 
 fallen upon the city, the hostility of the 
 children toward their parents. The 
 little child tells the Fiddler that the 
 children know the King and Queen were 
 driven away. They want them brought 
 back. The Fiddler says he hopes that 
 when the Spring comes he can go forth 
 and find them. The child says that 
 May is a hundred years away, and the 
 Fiddler, taking up his fiddle limps off 
 into the wood with the children. The 
 Wood-cutter and the Broom-maker 
 remain and search the hut, while the 
 Fiddler is heard singing, "Whither hast 
 thou wandered, oh, my Royal Maid" 
 {Wohin hist du gegangen). His voice 
 dies out, and the King's son and the 
 Goose-girl enter, starved and chilled. 
 The King's son goes to the door of the 
 hut and knocks. The Wood-cutter 
 opens the window, but slams it shut 
 when the King's son asks for bread. 
 The Goose-girl regrets that they have 
 left the cave where they have been in 
 hiding, but the King's son explains that 
 hunger was their compulsion, and that 
 he was lured back to his rightful realm. 
 He contrasts the gayety with which he 
 ran away from home and the sorrow of 
 his exile. To cheer him, she throws off 
 her fatigue, and dropping her cloak and 
 tearing her furs from her feet, she dances 
 barefooted in the snow until she drops 
 at the foot of the linden tree. He wraps 
 her in her cloak and in his own robe. 
 He resolves to sell the useless crown for 
 bread, but breaks it in two lest any one 
 else should wear it. He knocks at the 
 
 hut door and the Wood-cutter and the 
 Broom-maker, who have found nothing 
 in the hut but the poisoned pasty, 
 greedily exchange it for the gold. The 
 King's son takes it to the Goose-girl, 
 and they quarrel lovingly over which 
 shall have the larger share. They eat, 
 and as the poison fills their veins they 
 dream of Spring and happiness. 
 Wrapped in each other's arms and 
 kissing, they fall asleep. The snow be- 
 gins to fall more heavily and gradually 
 covers them over. 
 
 The Fiddler comes back with the 
 chilchren, and the Wood-cutter and the 
 Broom-maker shows the pieces of the 
 crown and describe the ragged outcast 
 from whom they had taken it. The 
 Fiddler calls wildly into the woods, 
 "Konigskinder!! Konigskinder!" A 
 dove circles about the Fiddler, and flies 
 to the hnden tree, where the Fiddler 
 finds the royal children in the sleep of 
 death. The children from the town 
 gather about and place the two bodies 
 on a bier of pine branches, on which 
 they are borne away to a royal grave 
 on the mountain, the Fiddler vowing to 
 sing them one last song, then fling away 
 his fiddle forever. 
 
 WAGNER, WILHELM RICHARD 
 
 Parsifal (par[-si-fal) 
 
 "A consecration festival-drama" in 
 three acts. 
 
 In 1848 Wagner made plans for a 
 work, "Jesus von Nazareth," which 
 were gradually modified into the proj- 
 ect for "Parsifal," on which he was 
 engaged as early as 1854. But the 
 poem was not finished until 1877, in 
 which year it was published. Fie be- 
 gan the music the next year at the age 
 of 65. The prelude was privately per- 
 formed at Bayreuth, Christmas, 1878, 
 but the work was not completed until 
 January 13, 1882. The first perfor- 
 mance was at Bayreuth, July 28, 1882; 
 sixteen performances were given during 
 the following month. 
 
820 
 
 THE MUSICAL GUIDE 
 
 It was Wagner's earnest wish that 
 the work should never be given except 
 in the theatre to which it was sacred, 
 though it was performed almost entire 
 in concert form in London in 1884, 
 under Sir Joseph Barnby. After much 
 controversy and an effort at legal 
 prevention, the work was performed at 
 the Metropolitan Opera House, under 
 Conried's management, with Burgstal- 
 ler as Parsifal, Blass as Gurnemanz, 
 Van Rooy as Amfortas, and Temina as 
 Kundry. In 1905 it was produced at 
 Amsterdam. 
 
 At its original production there were 
 alternating casts as follows: 
 
 CHARACTERS 
 
 Parsifal. Winkelmann, Gudehus, 
 
 Jaeger ten. 
 
 Amfor'tas. Reichmann, Fuchs . . . bar. 
 Gurnemanz (goor'-ne-mants). Scaria, 
 
 Siehr bass. 
 
 Klingsor (klink'-zor). Hill, Degele, 
 
 Plank bar. 
 
 Titurel (tee'-too-rel). 
 Knights of the Grail 
 Four Squires 
 Kundry (koon'-dre). Matema, 
 
 Marianne Brandt, Malten . . . .sopr. 
 Flower Maidens 
 
 The story concerns the legend of the 
 Holy Grail (the chahce from which 
 Jesus drank at the Last Supper, and in 
 which blood from His wounded side 
 was caught and kept). The Grail and 
 the spear that pierced Christ's side fell 
 to the care of the Knights Templars, 
 whose chief, Titurel, built the castle 
 Montsalvat for their sanctuary. The 
 power of the Grail was renewed an- 
 nually by the Holy Ghost, in the form of 
 a dove, from which the Knights also 
 received miraculous virtues. 
 
 The Knight Klingsor, failing to 
 obtain admission to the circle, laid 
 violent hands on himself, and avowed 
 undying enmity to the Grail Knights 
 In the wilderness near Montsalvat he 
 
 established, by evil magic, a garden: 
 filled with flower- women of infernal I 
 charm. Among his enchantresses was) 
 Herodias, who laughed at Christ on Hisf 
 way to crucifi-xion and was cursed. 
 She now exists as Kundry, only partly 
 under the spell of Klingsor. At his 
 behest she works evil sorceries, for 
 which she tries to atone when she is 
 free. 
 
 The Knights know her only as the 
 wild Kundr>', but it was she who, under 
 Klingsor's spell, once enchanted Am- 
 fortas, the son of Titurel, who had 
 abdicated in Amfortas' favour. During 
 Amfortas' enchantment Klingsor had 
 robbed him of the sacred spear, and with 
 it inflicted on him a wound which could 
 not be cured save by the same spear, 
 which should be recaptured by a pure- 
 souled fool. Meanwhile, Klingsor has 
 continued to entice away the Knights 
 one by one, and the Castle of the Grail 
 is the home of despair. 
 
 Act I. — Scene i. A forest near a 
 lake, in the demesne of IMontsalvat, the 
 castle of the Keepers of the Holy Grail. 
 The elderly Gurnemanz is asleep at the 
 foot of a tree and two squires are asleep 
 at his feet. A reveille of trombones 
 wakes them; they kneel in prayer. Two 
 Knights enter and Gurnemanz asks 
 after Amfortas' health. He is about to 
 be brought to his bath though 
 Gurnemanz says that his only hope is 
 in one man. 
 
 Kundry enters like a witch, bringing 
 a small flask of balsam which she has 
 fetched from Arabia. Amfortas is 
 brought in on a litter, bewailing his 
 wound. He thanks Kundr>- for her 
 gift and is carried on to his bath. The 
 squires revile Kundrj^, but Gurnemanz 
 defends her, and outlines to the squires 
 the whole previous history' as described 
 above, and the prophetic dream of the 
 guileless fool {der reine Thor). 
 
 A commotion is heard from the lake, 
 and a wounded swan flutters djing to 
 the ground. Other squires drag in the 
 half-witted Parsifal, whose arrow has 
 
STORIES OF THE OPERAS 821 
 
 slain the swan. Gurnemanz reproaches 
 him for the wanton cruelty. Parsifal, 
 now first realizing what he has done, 
 weeps and breaks his bow and arrows. 
 The swan is borne away in state. 
 Gurnemanz, questioning Parsifal, learns 
 that, though he has no name himself, 
 his mother was called Heart's-Grief 
 (Hcrzeleide) . Kundry hoarsely explains 
 that he was born after his father, 
 Gamouret, had been slain in battle, and 
 was reared in solitude by his timorous 
 mother. Parsifal says that he was 
 lured from home by seeing a glittering 
 company of Knights ride by, and had 
 had to defend himself from wolves and 
 robbers. 
 
 Kundry says that she saw his mother 
 die. At this news Parsifal, in a frenzy, 
 seizes Kundry by the throat. Gurne- 
 manz takes him away and rebukes him. 
 He turns faint and Kundry restores 
 him with water from a brook; then 
 Kundry, unnoticed, struggles in vain 
 against the slumber that marks 
 Klingsor's spell, and falls behind a 
 thicket. 
 
 The Knights return with Amfortas 
 and pass on. Gurnemanz, half-hoping 
 that Parsifal is indeed the pure-souled 
 fool, invites him to the castle; magically 
 the woods flow back beneath their feet, 
 till they arrive in Scene ii, a lofty cathe- 
 dral, on whose shrine stands the Holy 
 Grail. Parsifal, overawed, stands in 
 motionless wonder throughout the long 
 ceremony of the Eucharist. Knights 
 and squires gather at tables singing, 
 and Amfortas is brought in. From an 
 unseen crypt comes the voice of the 
 aged Titurel ordering his son to cele- 
 brate the feast. Amfortas in an agony 
 • of pain and remorse reluctantly con- 
 sents, crying aloud for forgiveness or 
 death. The Grail is unveiled and 
 placed before him, and, in a shaft of 
 light from heaven, Amfortas elevates 
 the Host. 
 
 The cups of the Knights are seen to be 
 filled with wine. Gurnemanz motions 
 Parsifal to sit by him and partake of 
 
 the Communion, but Parsifal does not 
 move. At the end of the repast Am- 
 fortas' pain breaks out afresh and he 
 is carried out, and the others withdraw. 
 Gurnemanz, finding Parsifal still stupe- 
 fied, asks him if he understands what he 
 saw. Parsifal shakes his head. Gur- 
 nemanz in disgust orders him off, with a 
 warning to leave the swans alone and 
 seek the geese, since he is one. 
 
 Act II. ~- Scene. Klingsor's Magic 
 Castle, In the inner keep of a tower, 
 Klingsor stands amid his magic imple- 
 ments, and with necromancy summons 
 Kundry. Her form rises from the 
 earth, resisting vainly and protesting. 
 Klingsor exultantly commands her to 
 change her form and enchant Parsifal, 
 whom he sees approaching. The other 
 enchanted Knights are heard resisting 
 him, but in vain. With triumphant 
 hopes of possessing the very Grail itself, 
 Klingsor sends Kundry to her task, and 
 sinks into the earth with his tower, 
 revealing Scene n: the flowery terraces 
 of the palace, and Parsifal staring into 
 the garden. From all sides beautiful 
 women rush upon him with caresses and 
 laughter, each proffering him her love. 
 At first fascinated, he grows colder, and 
 is about to flee when he hears Kundry's 
 voice call him by the name "Parsifal." 
 The word reminds him of his mother's 
 voice and he pauses. 
 
 Kundry in the form of a beautiful 
 woman on a flowery couch dismisses the 
 other enchantresses. Parsifal asks her 
 how she came to call him, the nameless 
 one, "Parsifal." She tells him of his 
 mother, her loneliness for her son, and 
 his death. Thus she brings Parsifal to 
 his knees at her side. Then she offers 
 him the consolation of her own love, 
 and kisses him. Her lips bum him, 
 and he remembers Amfortas' pain and 
 his outcry against the enchantress whose 
 charms ensnared him. He denounces 
 Kundry as the destroyer of Amfortas. 
 
 Kundry tries all her wiles, appealing 
 for pity because of her ancient suffer- 
 ings since she laughed at Christ, and 
 
822 
 
 THE MUSICAL GUIDE 
 
 can only be healed by the returning 
 Christ. She begs Parsifal to take her 
 to his arms and redeem her, but he cries 
 that her love would only make him 
 share her damnation. She seizes him, 
 but he breaks from her. She curses his 
 pathway and calls for help, and the 
 enchantresses rush out. Klingsor also 
 appears on the castle wall. He raises 
 the sacred spear and hurls it at Parsifal. 
 But it pauses in air over his head. 
 Parsifal, reaching upward, grasps it, 
 makes the sign of the cross, and the 
 palace and garden fall into instant ruins. 
 Parsifal calls to the prostrate Kundry, 
 "Thou knowest where alone thou see'st 
 me again. " 
 
 Act in. — Scene i. A meadow and 
 grove in Montsalvat. A hut wherein 
 dwells Gurnemanz, now much older and 
 in hermit's garb. Hearing groans, he 
 comes out and finds Kundry lying 
 among brambles. He restores her to 
 life with difficulty, and her only answer 
 is the words "To serve! To serve!" 
 As she brings water from the spring, 
 she sees a strange warrior approaching 
 in complete black armour, with visor 
 down. The mysterious Knight will not 
 answer Gurnemanz' questions save by 
 noddings of the head. Gurnemanz in- 
 forms, him that the day is Good Friday, 
 and that he should disarm. He does so 
 slowly and in silence, kneeling before his 
 own spear. Gurnemanz tells Kundry 
 softly that the stranger is the fool he 
 had banished long ago. Parsifal rises, 
 recognizes Gurnemanz, and tells him of 
 his long, long wanderings. Kundry's 
 curse upon his pathway had kept him 
 from finding his way back till now. He 
 shows the sacred spear which he has 
 carried undefiled. Gurnemanz wel- 
 comes him with rapture, and tells him 
 that since the day of his departure 
 Amfortas would no more elevate the 
 Host, and the Grail has remained un- 
 revealed. Lacking its aid, the Knights 
 have grown old and weak, and Titurel 
 has died. 
 
 Parsifal, blaming himself for his long 
 
 delay to return, grows faint. Kundry, 
 like a Magdalen, washes his feet and 
 anoints them, and dries them with her 
 hair, while Gurnemanz, like a John the 
 Baptist, baptizes him, and at Parsifal's 
 behest anoints his head, for Parsifal is to 
 be the King. Parsifal now baptizes 
 Kundry and redeems her. 
 
 Seeing how fair the landscape is, Parsi- 
 fal wonders that nature should not 
 grieve on the day of agony, but Gur- 
 nemanz answers that everything glows 
 with gratitude to the Saviour. (This 
 scene is known musically as The Spell 
 of Good Friday and the Flowering 
 Meadow intermezzo.) Parsifal kisses 
 the brow of Kundry, and the peal of 
 bells in the distance calls him. Gur- 
 nemanz brings out armour and a mantle 
 of the Grail Knights, and he and Kun- 
 dry fasten them on Parsifal. Once 
 more the landscape flows magically be- 
 neath their feet, but in the opposite 
 direction from Act i. Once more they 
 arrive in the Hall, Scene ii: but now the 
 Communion tables are missing. 
 
 The Knights bring in Titurel's body 
 in its coffin, and Amfortas in his litter, 
 preceded by the covered shrine of the 
 Grail. Amfortas has consented once 
 more to reveal the Grail. He blames 
 himself now for his father's death and 
 implores the dead body to mount to 
 heaven and pray: "Saviour, give my 
 son peace." 
 
 The Knights demand the uncovering 
 of the Grail, but he asks them rather 
 to slay him. Baring his wound, he begs 
 them to thrust in their swords and slay 
 him. They shrink back, but Parsifal, 
 advancing with the sacred spear, puts it 
 forth and touches Amfortas' wound, 
 saying that only the weapon that made 
 the wound can heal it. Amfortas, re- 
 leased from pain, thrills with ecstasy as 
 Parsifal announces that he himself will 
 reign thereafter. The Grail glows and 
 a halo of glory streams down from 
 heaven, in which a white dove descends 
 and hovers over Parsifal's head. He 
 rises and elevates the Grail. Kundry 
 
STORIES OF THE OPERAS 823 
 
 sinks slowly into a blissful death. 
 Amfortas and Gurnemanz kneel in 
 homage to the guileless fool. 
 
 PUCCINI, GIACOMO 
 
 Madama Butterfly 
 
 A Japanese tragedy in two acts. 
 Libretto by L. Illica and G. Giacosa 
 (after the book and play by John 
 Luther Long and David Belasco) . 
 
 Produced La Scala, Milan, 1904, 
 in two acts and hooted off the stage. 
 Withdrawn after one performance and 
 revised in three acts. Produced again 
 at Brescia with an immediate success. 
 Repeated at Covent Garden, 1905, and 
 throughout the world. 
 
 characters 
 
 Madama Butterfly 
 
 (Cho-Cho-San) sopr. 
 
 SuztJKi, 
 
 Eer Servant mez-sopr. 
 
 Kate Pinkerton mez-sopr. 
 
 B. F. Pinkerton, 
 
 Lieutenant in the United States 
 
 Navy ten. 
 
 Sharpless, 
 
 United States Consid at Nagasaki .bar. 
 
 GORO, 
 
 A Marriage Broker ten. 
 
 Prince Yamadori bar. 
 
 The Bonze, 
 
 Cho-Cho-San' s Uncle bass. 
 
 Yakuside bar. 
 
 The Imperial Commissioner bass. 
 
 The Official Registrar bar . 
 
 Gho-Cho-San's Mother . . . mez-sopr. 
 
 The Aunt mez-sopr. 
 
 The Cousln *. sopr. 
 
 Trouble, 
 
 Cho-Cho-S art's Child 
 
 Place of action at Nagasaki, Japan. 
 
 Act I. — Scene. A Japanese house 
 and garden, with the harbour in the 
 background. A United States naval 
 officer, Lieutenant B. F. Pinkerton, has 
 hired a Japanese marriage broker, Goro, 
 
 to procure for him the pretty Japanese 
 girl, Cho-Cho-San, with whom he has 
 become infatuated. The broker has 
 arranged the contract and leased this 
 house — both leases for nine hundred 
 and ninety-nine years, and both break- 
 able at will. At the rise of the curtain, 
 Goro is e.xplaining to Pinkerton the con- 
 veniences of the little house and the 
 conveniences of Japanese marriage-law. 
 The two servants come in and prostrate 
 themselves, but are dismissed with scant 
 courtesy by Pinkerton. Goro explains 
 that the bride's relatives must be 
 present in large numbers at the cere- 
 mony. Sharpless, the American Con- 
 sul, comes in, out of breath with the 
 climb. Refreshments afe served and 
 Pinkerton gayly exalts the Yankee 
 spirit, but Sharpless warns him that his 
 course is dangerous. Pinkerton de- 
 scribes his infatuation — "love or 
 whim" {Amore grillo)? Sharpless 
 begs Pinkerton not to crush this butter- 
 fly. Pinkerton laughs at his old-fogy 
 notions, and drinks to the day when 
 he will marry "in true marriage an 
 American." 
 
 Butterfly enters singing of the breath 
 of Spring (Spira sul mare) . She kneels 
 and orders her friends to kneel. Sharp- 
 less asks her of her people, and learns 
 that she comes of a wealthy family 
 whose sudden poverty drove her to the 
 life of a geisha. Her father is dead, but 
 she has two uncles; one of them is a 
 toper; the other is the Bonze, a great 
 man. She is fifteen years old. 
 
 The High Commissioner and the 
 official Registrar and the relations now 
 arrive. Pinkerton laughs at the farce 
 (Che burletta) . Refreshments are served 
 and the papers are drawn up. Mean- 
 while, Butterfly takes from her big 
 sleeves her possessions. She throws 
 away her jar of paint at his protest. 
 She has brought also the sword the 
 Emperor had sent to her father with 
 instructions to commit hara-kiri; brings 
 out the images of the souls of her an- 
 cestors; to please him she has gone to 
 
824 
 
 THE MUSICAL GUIDE 
 
 the mission, forsworn her religion and 
 taken his; and now she throws the 
 images away. 
 
 The marriage bond is signed, and 
 the guests are dispersing, when the 
 Bonze enters in a rage and demands of 
 his niece what she was doing at the 
 mission. Learning that she has re- 
 nounced her reHgion, he curses her and, 
 gathering the relatives together, leads 
 them all away, renouncing her. But- 
 terfly weeps. Pinkerton consoles her 
 tenderly, the servants close the sliding 
 walls, and Butterfly, aided by her maid, 
 Suzuki, prepares her toilet. Pinkerton 
 muses on her ways of a little squirrel 
 {Con moti di scojattolo), her chUdlike 
 charms (Bimba dagli occlii). She com- 
 pares herself to the moon-goddess {La 
 piccola Dea della liina), tells of her fear 
 of him when the marriage-broker pro- 
 posed marriage to a foreign barbarian, 
 and now of her love. She begs him to 
 be good to his butterfly and not to thrust 
 a needle through her heart, as Ameri- 
 cans do ^^•ith butterflies. She points 
 to the star-filled night {Dolce noite! 
 Quante stelle!) and he leads her to the 
 marriage chamber. 
 
 Act n. — Scene. Three years later. 
 Inside the same house. Suzuki is 
 prajing and ringing a prayer-bell. But- 
 terfly says that the God of her hus- 
 band must have overlooked them, for 
 they are near to star\-ation and Suzuki 
 has only a few coins left. Butterfly is 
 sure that her husband will return, and 
 quotes his promise to come back when 
 the robins nest. "Some fine day we'll 
 see the smoke of his ship" {Un hcl di, 
 vedremo). Sharpless and Goro appear. 
 The Consul brings a letter from Pinker- 
 ton. She asks when robins nest in 
 America. "They have already nested 
 thrice in Japan; perhaps they nest less 
 often in America." Goro laughs and 
 Butterfly explains that as soon as 
 Pinkerton left her, Goro tried to bribe 
 her to marry the Prince Yamadori, who 
 enters now and declares his love. 
 They insist that Butterfly is already 
 
 divorced through her husband's deser- 
 tion. Goro whispers that Pinkerton's 
 ship is alreadj^ signalled. Sharpless 
 has had a letter asking him to break the 
 news to Butterfly that Pinkerton is 
 married and does not want to see her. 
 Yamadori rejected again, goes away 
 dejected and Sharpless reads the letter 
 to Butterfly, tr>-ing to prepare her. 
 But she is furious and orders him out, 
 then begs his forgiveness, and to prove 
 that she could not be forgotten, brings 
 in her baby, born after Pinkerton left 
 her. Surely the mother of so wonderful 
 a child could not go back to the geisha 
 life. 
 
 Sharpless rises in despair, kisses the 
 child and asks its name. Butterfly 
 says his name is " Trouble" till his father 
 returns; then it shall be "Joy. " When 
 Sharpless goes, Suzuki drags in Goro, 
 sajing that he has been spreading a 
 scandal that nobody knows who is the 
 baby's father. Butterfly is about to 
 kill him with her father's sword, but 
 spurns him and he slinks away. A 
 cannon is heard from the harbour. 
 Butterfly mad with joy, gets her tele- 
 scope and reads the name of Pinkerton's 
 ship, the Abraham Lincoln. 
 
 Flowers are gathered and scattered 
 everj-Avhere. She is made beautiful, 
 and her wedding obi donned. They 
 make three little holes in the waU to 
 watch for Pinkerton. The vigil is pro- 
 longed till Suzuki and the child fall 
 asleep, but Butterfly stands like 
 statue. The slow passage of the mghj 
 is indicated by the orchestral inteti 
 mezzo, accompanied by the hui 
 of an unseen chorus. 
 
 Dawn comes, sailors are heard 
 distance, Suzuki wakens and begs But- 
 terfly to rest. She takes the child up 
 the stairs, crooning to it {Dormi amor 
 mio). Sharpless arrives -nith Pinker- 
 ton. Pinkerton will not let Suzuki call 
 Butterfly. She sees a woman in the 
 garden. It is Pinkerton's American 
 wife. Sharpless explains that she is 
 willmg to adopt the child and rear it.^ 
 
STORIES OF THE OPERAS 825 
 
 Suzuki refuses to carry the proposal to 
 Butterfly. Pinkerton looks about at 
 the flowers, in remorse {Ohl ramara 
 fragranza). He cannot face Butterfly, 
 but gives the Consul money for her and 
 hurries away. 
 
 His wife, Kate, comes in and Butter- 
 fly returns, hearing voices. Kate ex- 
 plains the situation. Butterfly is ma- 
 jestic in her grief, and promises that 
 Pinkerton shall have his child if he will 
 come for it himself in half an hour. 
 Sharpless and Mrs. Pinkerton go, and 
 Butterfly, driving out the heartbroken 
 Suzuki, prays to Buddha, takes her 
 father's sword and reads the legend on 
 the blade, "With honour die whoso 
 cannot with honour live." She is 
 about to kill herself when Suzuki thrusts 
 the child into the room. She embraces 
 the child frantically {Tu, tii,^ piccolo Id- 
 dio) and tells him that she is dying for 
 his sake, that he may cross the ocean. 
 She begs him to remember her, then 
 seats him with an American flag and a 
 doll, and bidding him play, goes behind 
 the screen. The sword is heard to drop, 
 and she comes from behind the screen 
 with a white veil wrapped around her 
 throat. She falls at the child's side, 
 and as Pinkerton rushes in with the 
 Consul, she points to the child and dies. 
 
 PUCCINI, GIACOMO 
 La Tosca 
 
 "A melodrama" in three acts. 
 Libretto by L. Illica and G. Giacosa. 
 (After the play by Sardou.) 
 
 Produced Costanzi Theatre, Rome, 
 January 14, 1900. 
 
 characters 
 
 Floria Tosca, 
 
 A Celebrated Songstress sopr. 
 
 Mario Cavaradossi, 
 
 A Painter ten. 
 
 Baron Scarpia, 
 
 Chief of Police bar. 
 
 Cesare Angelotti bass. 
 
 A Sacristan bar 
 
 Spoletta, 
 
 Police Agent ten. 
 
 Sciarrone, 
 
 Gendarme bass. 
 
 A Gaoler bass. 
 
 A Shepherd Boy contr. 
 
 ROBERTI, 
 
 Executioner 
 
 The action takes place at Rome, 
 June, 1800, and concerns the activities 
 of the Baron Scarpia, Chief of the Police 
 in his efi'orts to recapture Angelotti, the 
 Consul of the fallen Roman Republic. 
 Just before the rise of the curtain 
 Angelotti has escaped from the prison 
 of San Angelo, and has made his way to 
 the Church of Sant' Andrea alia Valle, 
 where his sister has concealed in the 
 Attavanti Chapel a woman's costume to 
 aid his escape. It happens that a 
 painter, Mario Cavaradossi, who has 
 been painting frescoes in this chapel, 
 has made a sketch of Angelotti's sister 
 as she has knelt at prayer. This hasty 
 portrait is the cause of a quarrel with 
 Mario's sweetheart, the celebrated 
 singer, Floria Tosca; and her jealousy 
 is the weapon which Scarpia uses for 
 the eventual destruction of everybody 
 concerned. 
 
 Act I. — Without any overture, the 
 curtain rises with the first music from 
 the orchestra. Angelotti in convict 
 garb steals into the empty church, finds 
 a key at the foot of the Madonna's 
 statue, and lets himself into the Atta- 
 vanti Chapel, just as the Sacristan, who 
 is cleaning Mario's paint brushes, 
 comes in followed by the painter, who 
 ascends the dais and uncovers the 
 picture of Mary Magdalen, which is 
 the portrait of Angelotti's sister. The 
 Sacristan recognizes the likeness and 
 Mario confesses that he has made 
 the sketch without the model's 
 knowledge. As he paints, however, 
 he takes out a miniature of La Tosca 
 and, comparing the two, avows his 
 heart's fidelity to La Tosca (Recondita 
 armonia). The Sacristan points out 
 
826 
 
 THE MUSICAL GUIDE 
 
 to him the basket of food, but 
 Mario tells him to leave it and go. 
 
 Later Angelotti, thinking the church 
 empty, comes from concealment and is 
 discovered by Mario, to whom he tells 
 his storj'. Mario gives him the basket 
 of food and he hurries back into hiding 
 as La Tosca enters, jealously insisting 
 that she heard voices. Mario only 
 partially convinces her, but she tells 
 him to meet her at the stage door after 
 the performance that they may retreat 
 together to their villa in the country 
 {Ohalhio fianco sentire). She catches 
 sight of the portrait, recognizes it, and 
 her jealousy is again suppressed with 
 difficulty. He swears he prefers her 
 black eyes to the blue ej'es in the por- 
 trait {Quale occliio al mondo), and she 
 departs after a duet of love. Angelotti 
 returns from the chapel with the 
 woman's costume his sister has left for 
 him, but Mario thinks it unnecessary^ 
 for him to put it on and offers the pro- 
 tection of his o\\'n villa. A cannon shot 
 is heard announcing the prisoner's 
 escape, and the two men hurry away as 
 the Sacristan and the choir-boys enter 
 with the glorious news that Napoleon 
 has been defeated. Their joy is silenced 
 by the unexpected entrance of Scarpia, 
 with his aide, Spoletta. Scarpia finds 
 that the Attavanti Chapel has been 
 opened with a new key, and inside he 
 finds a fan with the family coat of arms. 
 He recognizes also the portrait on the 
 easel, and discovers that the basket of 
 food brought for IMario has been emp- 
 tied, although the Sacristan insists that 
 IMario refused to eat it. Tosca returns, 
 and Scarpia, who loves her, devises a 
 scheme to play upon her jealousy for a 
 double purpose: to make her betray 
 Mario and to bring her into his own 
 power. He shows her the fan, which he 
 claims to have found upon the easel, 
 and convinces her that the blue-eyed 
 woman has been meeting Mario secretly. 
 She swears revenge and hurries out, 
 and Scarpia, giving instructions to 
 Spoletta to follow her in a closed car- 
 
 riage, remains to exult over his triumph 
 and then to kneel in prayer. 
 
 Act n. — Scarpia's apartments in the 
 Farnese Palace. Scarpia is dining 
 alone and rejoicing over the assured 
 capture of Mario and Angelotti. He 
 has sent word to Tosca, who is to si: 
 for Queen Caroline in the Palace, that 
 she must come to his apartments at 
 once "for the sake of her Mario." 
 His gendarme, Sciarrone, is sent to 
 bring Spoletta, who comes to say that 
 he has arrested Mario, and searched his 
 villa, but has been unable to find 
 Angelotti. Scarpia orders Mario 
 brought into his presence, and stands 
 listening to the music which is being 
 sung for the Queen, and in which 
 Tosca's voice is audible. 
 
 Mario is brought in with Roberti, the 
 executioner, and a judge. Mario is 
 indignant at his arrest and denies all 
 knowledge of Angelotti. Tosca' is 
 brought in in great alarm and, as she 
 embraces Mario, he warns her to say 
 nothing. Scarpia orders him taken 
 away, and murmurs to the executioner 
 that he is to be tortured. Then he 
 turns to Tosca with suave politeness 
 and questions her about what she has 
 learned at IMario's villa. She says that 
 her jealousy about the fan was un- 
 founded and that jMario was entirely 
 alone when she arrived at his villa. 
 Unable to move her otherwise, he tells 
 her that Mario is being tortured with a 
 steel band about his temples. He is 
 heard groaning and she calls to him, 
 but he warns her to keep silence. At 
 last, however, Scarpia permits her to 
 look into the torture chamber and she 
 is overcome by what she sees. She 
 confesses that Angelotti is concealed in 
 an old well in the garden. IMario is 
 brought in swooning, and Spoletta is 
 ordered to go search the well in the 
 garden. Mario, overhearing, accuses 
 Tosca of treachery and repulses her. 
 Sciarrone brings word that Napoleon j 
 has won the battle of Marengo and the 
 royal troops have been defeated. 
 
STORIES OF THE OPERAS 827 
 
 This brings a cry of joy from Mario. 
 Scarpia orders him hanged. He is 
 dragged away, and Tosca remains to 
 plead for his life. Scarpia will save it 
 if she will pay the price — herself. He 
 pours out his love for her with ardour 
 that she detests. She repulses him 
 until she hears the drums of the death 
 march, and is told that the gallows 
 awaits her lover outside the window. 
 Spoletta enters to say that Angelotti 
 took poison when captured, and Scarpia 
 orders Mario shot. Tosca consents 
 with a silent nod to pay Scarpia's price, 
 and he promises that there shall be a 
 mock execution with blank cartridges. 
 He instructs Spoletta that Mario's 
 execution is to be conducted "like that 
 of Pafmieri. " Spoletta, understanding 
 his duplicity, hurries away. Tosca 
 insists that Scarpia must write a safe 
 conduct to take her and Mario out of 
 the country. While Scarpia is writing 
 it she picks up a sharp knife, and when 
 Scarpia moves to take her in his arms, 
 she stabs him to death. As soon as he 
 is dead she forgives him, and finding the 
 safe conduct clenched in his fingers, 
 takes it from them, and puts out all the 
 lights, except two candles, which she 
 places on either side of him. She 
 removes also a crucifix from the wall, 
 and, placing it on his breast, slinks out 
 of the room. 
 
 Act m. A platform of the castle with 
 a trap-door and a flight of steps. It is 
 almost daybreak and the voice of a 
 shepherd leading his flock to the hills 
 is heard d>'ing in the distance. Mario 
 is brought in under guard. The jailer 
 records Mario's name and grants his 
 request for the privilege of writing a 
 letter of farewell. As he begins to 
 write he muses upon Tosca coming into 
 his garden under the starlight {E luce- 
 van le stcllc). He breaks down and 
 weeps as Spoletta appears, followed by 
 Tosca, who rushes to him and shows 
 him the safe conduct. Perceiving the 
 signature of Scarpia, he demands what 
 price she paid. She says that he de- 
 
 manded "your blood or my love," and 
 describes how she had killed him. He 
 wonders at such a deed at such gentle 
 hands (0 dolci mani). She explains 
 the plan of escape and informs him that 
 he must simulate death after the volley. 
 There is a love duet (Amaro sol pertc). 
 The firing party enters. Mario is led 
 to one side. He refuses to have his 
 ej'es bandaged. The soldiers fire. 
 Mario falls. The soldiers are led away, 
 leaving Tosca alone. She hurries to 
 Mario bidding him to make haste. 
 She finds that he is actually dead, 
 Scarpia has duped her after all; she 
 throws herself upon his body in agony of 
 grief. Spoletta and others return, 
 exclaiming that Scarpia has been as- 
 sassinated by Tosca. As Spoletta 
 nishes to seize her, she springs upon the 
 parapet and leaps to her death. 
 
 PUCCINI, GIACOMO 
 
 La Fanciulla (fan-chool'-la). 'Del 
 West. /. The Girl of the Golden West. 
 
 An opera in three acts. Book by C. 
 Zangarini and G. Civinini (after the 
 drama by David Belasco). 
 
 Produced, INIetropolitan Opera House 
 New York, December lo, 1910. 
 
 CHARACTERS AND THEIR CREATORS 
 
 Minnie 
 
 . .Emmy Destinn, sopr. 
 
 Jack Rance, 
 
 Sheriff Pasquale Amato, bar. 
 
 Dick Johnson, 
 
 Ramerrez Enrico Caruso, ten. 
 
 Nick, 
 
 Bartender Albert Reiss, ten. 
 
 ASHBY, 
 
 Agent of the Wells-Far go Transport Co 
 
 Adamo Didur, bass 
 
 SONORA ^ 
 
 Dinh Gilly, bar 
 
 Trin 
 
 ten. 
 
 Sid 
 
 bar. 
 
 Handsome . . . 
 Harry 
 
 U"-:::;:;:::le" 
 
 Joe 
 
 Glen Hall, ten 
 
 : Iappy 
 
 . . .A. Pini-Corsi, bar 
 
 Larkens . . . . j 
 
 bass 
 
828 
 
 THE MUSICAL GUIDE 
 
 Billy Jackrabbit, 
 
 An Indian. . . Georges Burgeois, bass. 
 
 WOWKLE, 
 
 Billy's Squaw, 
 
 Marie Mattfeld, mez-sopr. 
 Jake Wallace, 
 
 Travelling camp-minstrel, 
 
 A. de Segurola, bar. 
 
 Jose Castro bass. 
 
 A Greaser from Ramerrez' gang 
 
 A Postilion ten. 
 
 Men of the Camp 
 
 Place of action, California in the days 
 of the gold fever, 1849-1850. 
 
 Act I. — Scene. Interior of the 
 "Polka," a barroom and dance hall. 
 On the wall a placard offering a reward 
 of five thousand dollars for the stage- 
 robber, Ramerrez. The room is full of 
 miners gambling and drinking. From 
 the distance comes the homesick voice 
 of Jake Wallace, singing his song of 
 "Way Back Yonder" (La lontano). 
 Larkens, another miner, breaks down 
 with homesickness and a subscription is 
 taken up for him. Sid is caught cheat- 
 ing at faro. Jack Ranee, the Sheriff, 
 saves him from being lynched, but pins 
 a badge on him in token of dishonour 
 and has him kicked out. Ranee and 
 others play poker as Ashby, the Wells- 
 Fargo agent enters. Ashby tells them 
 that he is hard on the track of Ramerrez 
 and expects to catch him soon. Nick 
 enters with whiskey and glasses, telling 
 the boys that Minnie has sent it to 
 them. They all join in drinking to 
 Minnie. Ranee impressively tells them 
 that Minnie will be Mrs. Ranee shortly. 
 Sonora bursts out with rage that Min- 
 nie is only fooling Ranee, whereupon 
 ensues a fight, which is stopped by 
 Minnie's entrance. She separates and 
 subdues them all. 
 
 The boys gather around her, giving 
 her presents. Sonora hands her a little 
 bag of gold to clear up his debt to the 
 bar, and Minnie signs for it and places 
 it in the barrel. She then takes out her 
 
 Bible and holds her school for the boys, 
 treating them all as little children. 
 The pony-express boy enters with let- 
 ters, and tells Nick that a greaser has 
 been seen hanging around, and to be 
 on his guard. Ashby asks him if he 
 knows an adventuress by the name of 
 Nina Micheltorena. Minnie interposes 
 that she has heard of this creature, who 
 tries to make love to all the boys. 
 Ashby tells the Sheriff that he will catch 
 Ramerrez that night, as Nina has 
 betrayed his movements. 
 
 As the boys read scraps of their home 
 letters aloud. Ranee makes love to 
 Minnie and asks her to marry him. 
 Minnie asks him what will become of 
 the wife he already has. He tells her 
 that for her sake he will desert his' wife. 
 Minnie, drawing a pistol, warns Ranee 
 to cease his dishonourable proposals. 
 Ranee goes angrily to the faro table, 
 and Minnie follows to say that she has 
 only done what she was taught down 
 at her home in Soledad (Laggiu nel 
 Soledad). 
 
 Nick reenters with Ramerrez, alias 
 Dick Johnson, whom Minnie greets and 
 seems to remember. They recall to 
 each other their meeting on the road to 
 ^Monterey and vow that neither ever 
 would or ever could forget. He asks 
 her to dance with him; some of the 
 others follow. Sounds of shots are 
 heard and Ashby enters dragging Jos6 
 Castro. Castro, seeing Johnson's sad- 
 dle, believes that his master is captured, 
 but when he is questioned by Ranee 
 concerning Ramerrez he gives them a 
 false scent; and they decide to follow it. 
 The door opens and Castro meets the 
 eyes of Johnson and secretly tells him 
 that Johnson's following are near at 
 hand and will give the signal when they 
 are ready to come to him. Ranee and 
 the others gallop away on the false 
 scent, taking Castro. Nick goes into 
 the dance hall to put out the lights. 
 Minnie and Johnson talk together. A 
 whistle is heard and Johnson realizes 
 it is the signal of his men. Minnie is 
 
STORIES OF THE OPERAS 829 
 
 frightened and tells Johnson that the 
 gold, representing all the labour of the 
 boys, is in the barrel under her care, 
 but she will fight for it with her life. 
 Johnson is so moved that he cannot 
 take the gold as he intended. He tells 
 her that he wants to come and see her 
 in her cabin by the hillside, and that she 
 has the face of an angel. He goes, and 
 Minnie is left alone, repeating as the 
 curtain falls, "The face of an angel." 
 
 Act II. — Scene. The interior of 
 Minnie's cabin. The act opens with 
 Wowkle, the Indian woman, singing to 
 her baby (// niio bimbo). Billy, the 
 Indian, enters and they discuss mar- 
 riage till Minnie appears and makes 
 preparation to receive Johnson. John- 
 son enters and they have a love-scene. 
 Minnie sings "You should see my little 
 pony" {Ho un piccolo poUedro). Wow- 
 kle enters with candles and Minnie 
 sends her home, telling Johnson that 
 he may stay for an hour longer. Dur- 
 ing their further love-scene, the snow- 
 storm increases, till Minnie tells Johnson 
 that it will be impossible for him to go 
 at all. Minnie sends him to rest on 
 her bed, while she wraps herself in a 
 blanket to sleep by the fire. 
 
 Nick is heard knocking and calling at 
 the door. Minnie forces Johnson to 
 hide, as she fears the jealous Ranee has 
 come and brought the others. As she 
 opens the door, Ranee, Nick, Ashby, 
 and Sonora enter. They tell Minnie 
 that they feared for her safety, and that 
 Johnson is in reality Ramerrez, who 
 had come to the "Polka" to rob it. 
 Ranee convinces Minnie that Johnson is 
 Ramerrez, and has been betrayed by 
 his woman, Nina Micheltorena, show- 
 ing her the picture of Johnson given 
 them by Nina. Minnie, conceahng her 
 jealous agony, sends them away, and 
 then orders Johnson to come out of hid- 
 ing. She accuses him violently, and 
 Johnson bursts out in self-defence, con- 
 fessing "I am Ramerrez, vagabond by 
 birth," {Sono Ramerrez: nacqui vaga- 
 bondo). Minnie, moved at the story of 
 
 his life, says that she could forgive him 
 anything but his having taken her first 
 kiss: that she cannot forgive; she sends 
 him out into the blizzard. He goes and 
 immediately after, shots are heard. 
 Minnie opens the door and Johnson 
 staggers in wounded. He struggles to 
 go away again, but Minnie helps him to 
 hide in the loft, declaring that she loves 
 him. Ranee, knocking excitedly, Min- 
 nie runs to admit him, feigning surprise 
 as Ranee declares he has tracked 
 Ramerrez to her cabin. Minnie denies 
 having seen Johnson, and Ranee makes 
 violent love to her. As she repulses 
 him, a drop of blood falling on his hand 
 from above leads to the discovery of 
 Johnson. Minnie helps Johnson down 
 the ladder, and as he faints, she bargains 
 to gamble with Ranee — she is to have 
 Johnson's life if she wins; she gives 
 herself to Ranee if she loses. During 
 the game, Minnie contrives to exchange 
 her cards for others hidden in her stock- 
 ing. Ranee, believing that she has fairly 
 won, goes and Minnie is left sobbing 
 on the inert body of her lover. 
 
 Act in. — Scene. Early dawn on the 
 edge of the great California forest. 
 Nick and Ranee talk of Johnson, curs- 
 ing his love for Minnie, Men come and 
 go on horseback and there is pursuit. 
 Sonora rides in with the news of John- 
 son's capture. Ranee exulting, sings 
 "Your turn to weep now Minnie" 
 (Minnie, ora piangi tu)l The men dance 
 and sing pointing to the tree where Billy 
 is preparing the noose for hanging. 
 Johnson appears in the midst of a crowd 
 of horsemen. Ashby hands him over to 
 Ranee and demands that justice be done 
 without delay. The men insult John- 
 son. He tells them that he does not 
 fear to die, but only begs that Minnie 
 shall not know. He sings " Let her be- 
 lieve me free and far away" (Ch'ella mi 
 creda libera e lontano). As they take 
 him to the tree where Billy holds the 
 noose, Minnie rides in wildly crying, 
 followed by Nick. She throws herself 
 in front of Johnson, holding a pistol 
 
830 
 
 THE MUSICAL GUIDE 
 
 toward the men, who close in threaten- 
 ingly. She pleads with them: "I claim 
 this man as mine" {Ora quest' nonio e 
 m io) . So appealing to them each in turn 
 for some favour or service she has 
 rendered in the past she melts their 
 hearts. Sonora frees Johnson, and to- 
 gether Johnson and Minnie take up the 
 trail toward the mountains singing 
 "Good-bye, My California." 
 
 DEBUSSY, CLAUDE ACHILLE 
 
 Pellcaset Mclisande (pel'-la-as 
 a. ma-le-sahd 
 
 L}Tic drama in five acts. From the 
 play by Maurice Maeterlinck. 
 
 Produced Opera Comique, Paris, 
 April, 30, 1902. 
 
 CHARACTERS 
 
 Arkel, King of AUemonde bass. 
 
 Prince Golaud (go-lo). 
 
 His grandson bar. 
 
 Pelleas, 
 
 Half-brother of Golaud ten. 
 
 Melisande sopr. 
 
 Genevieve (zhun— \'>'ev), 
 
 Pelleas' mother mez-sopr. 
 
 Y^^OLD (en-yol'), 
 
 Golaud's soti. 
 A Physician 
 
 Act I. — Scene i. A forest in AUe- 
 monde. Melisande is seated by a foun- 
 tain weeping. Prince Golaud, who is 
 hunting and has lost his way, asks her 
 why she weeps. She shrinks from him. 
 She has dropped into the fountain her 
 crown, but will not let him regain it. 
 He persuades her to let him lead her 
 away, as the night is coming on. 
 Scene n. A room in the castle. King 
 Arkel is listening to a letter read to him 
 by his queen. It is Golaud's letter to 
 his half-brother, Pelleas, telling how he 
 had found JNIelisande and later married 
 her, and now fears to bring her home 
 lest Arkel refuse to receive her. Go- 
 laud has been a %\idower devoted to his 
 little son, Yniold. Pelleas enters to say 
 that he is called away by the illness of 
 
 his friend Marcellus. Arkel tells him he 
 must await Golaud's arrival. Scene 
 in. In front of the castle. Mehsande 
 is complaining to Genexneve of the 
 gloom of the surrounding forests. 
 Pelleas appears and they watch a ship 
 putting out with the coming storm. 
 Genevieve leaves them and Pelleas 
 helps Melisande to descend. She hopes 
 that he will not go away. 
 
 Act n. — Scene i. A fountain in the 
 park. Pelleas and Melisande enter, and 
 Melisande tries to reach down into the 
 dark depths. She plays with the ring 
 Golaud gave her. It falls and is lost. 
 She is afraid and wonders what to tell 
 Golaud. Pelleas says "The truth, the 
 truth, the truth!" Scene n. An 
 apartment. Golaud is ill; his horse has 
 thrown him. Melisande stands by his 
 bed, she begins to weep. She is not 
 happy at the castle. She wants Golaud 
 to take her awa}^ He questions her 
 closely of Pelleas. He notes that his 
 ring is gone. She is confused and tells 
 him she lost it in the sea while gathering 
 shells for Yniold. He bids her go hunt 
 for it. She is afraid of the dark. He 
 tells her to take Pelleas with her; she 
 goes weeping. Scene m. Before a 
 grotto. Pelleas would lead Melisande 
 within so that she may describe it as 
 the place where she lost the ring. The 
 moon reveals three poor old men asleep. 
 She is afraid and will not enter. 
 
 Act in. — Scene i. A tower. Mehs- 
 ande at a window sings as she combs 
 her long hair {Mes longs cheieux des- 
 coident). Pelleas appears and praises 
 her hair. He tells her he must leave 
 on the morrow, and would kiss her 
 hand. As she bends over, her hair falls 
 about him; he embraces and kisses it. 
 It "inundates" him, it "loves" him. 
 To hold her prisoner, he ties it to a 
 willow. Two doves are frightened by 
 her outcry and fly off. Golaud appears 
 and calls them mere children. He leads 
 Pelleas away. Scene 11. A vault un- 
 der the castle. Golaud leads Pelleas in, 
 speaking of the odour of death and the 
 
STORIES OF THE OPERAS 831 
 
 deep abyss. Pelleas feels suffocated 
 and they go. Scene iii. A terrace. 
 Pelleas comes gasping from the vaults. 
 Golaud warns him that there must be 
 no more of these games of children. 
 Scene iv. In front of the castle under 
 Melisande's window. Golaud takes his 
 little son Yniold on his knees, cjuestions 
 him of his stepmother, ]\Ielisande. 
 The child says that Pelleas is alwaj's 
 with her. Golaud's grasp makes the 
 child cry. Golaud promises him toys. 
 Yniold says that Pelleas and Melisande 
 do not send him away. They are 
 afraid not to have him there. They 
 are always afraid. Did they ever kiss? 
 Once when it was raining. Now a light 
 appears in the window above. Golaud 
 lifts the child so that he can see into 
 Melisande's room. He sees Pelleas 
 , there, but the two are apart, just gazing 
 at one another. 
 
 Act rv. — Scene i. A corridor. Pel- 
 I6as meets Melisande. He has just come 
 from talking with Arkel, who has ad- 
 vised him to set out on his voyage. He 
 has made up his mind to go. Arkel 
 enters and speaks tenderly to the sor- 
 rowful Melisande. Golaud appears. 
 His forehead is bleeding. He says he 
 tore it on a thorn. He repulses Melis- 
 ande and demands his sword. He 
 seizes Melisande by the hair and drags 
 her about; then strides away. Melis- 
 ande sighs "He loves me no more. I 
 am not happy. " Scene ii. A dark ter- 
 race. Yniold is trying to lift a rock 
 behind which his ball has rolled; he 
 pauses to watch a flock of sheep driven 
 by in a panic. Scene iii. A fountain. 
 Pelleas broods over the snares of destiny. 
 Melisande comes. She is fearsome, 
 but he suddenly seizes her in his arms 
 and she confesses her love. In the 
 midst of their mutual rapture they hear 
 the noise of the castle gates closing. 
 They hear some one approaching. 
 They kiss as Golaud rushes upon them 
 with drawn sword. Pelleas falls and 
 Melisande flees in wild terror with 
 Golaud in pursuit. 
 
 Act v. — Scene i. An apartment. 
 Melisande lies in a bed. A physician 
 tells Golaud and Arkel that she should 
 not die from so little a wound. Golaud 
 is bitterly remorseful, "They were 
 embracing like little children — and I 
 did it in spite of myself. I did it in 
 spite of myself." Melisande wakens. 
 Arkel tells her she has been a little 
 delirious for days, and she has borne a 
 child. She asks Golaud to come close. 
 He asks the others to withdraw and 
 begs her forgiveness. As she is about to 
 die, he implores her to tell him truth- 
 fully if she loved Pelleas. She says that 
 she loved him, but there was no guilt in 
 them. Golaud cannot believe her. 
 The servants gather unbidden with an 
 ominous prescience. Golaud begs again 
 to question her; but Arkel tells him not 
 to disturb her, "The human soul is very 
 silent. The human soul loves to steal 
 away alone." He leads the sobbing 
 Golaud from the room. "It was a little 
 being, peaceful, so timid, so taciturn. 
 It was a poor little mysterious thing, 
 like everybody else. She lies there as 
 if she were the elder sister of her child. 
 It must live in her place. It is the 
 little one's turn now." 
 
 WOLF-FERRARI, ERMANNO 
 I GiojelH Del'la Madon'na 
 (ej6-yel'-le) /. The Jewels of the 
 Madonna. 
 
 Three-act opera. Book by the com- 
 poser. Lyrics by C. Zangarini and E. 
 Golisciani. 
 
 Produced Berlin, December 23, 1911. 
 
 CHARACTERS 
 
 Gennaro (gen-na'-ro), 
 
 A blacksmith ten. 
 
 Carmela (kar-ma'-la). 
 
 His mother mez-sopr. 
 
 Maliella (mal-ygl'-Ia), 
 
 Her foster-child sopr. 
 
 Rafaele (ra-fa-a'-l6), 
 
 Head of the Camorra bar. 
 
 Biaso (be-a'-s6) 
 
 .1 scribe buf-ten. 
 
832 
 
 THE MUSICAL GUIDE 
 
 CicciLLO (che-cha'-l6) J Caw- ten. 
 
 Roc'co I orrists bass. 
 
 Stella ") sopr. 
 / Friefids 
 
 CONCETTA 
 
 ft6n-ch«'-.S)V "/«; 
 
 sopr. 
 
 contr. 
 
 imor- 
 Serena I rists 
 
 (sa-ra'-na) ) 
 Grazia (grats'-ya) 
 
 Known as "la biondina" 
 Toton'no, 
 
 A young man of the peasant class . . ten. 
 
 Place of action: Naples. Time: 
 The present day. 
 
 Act I. — Scene. A small open square 
 by the sea; Carmela's house, Gennaro's 
 workshop, Biaso's hut and tavern. It 
 is the afternoon of the festival of the 
 Madonna, and the square is crowded 
 with merrymakers of all sorts. The 
 Children of St. John and others pass by 
 in procession. When the crowd is 
 somewhat dispersed, Gennaro works at 
 his anvil on a wrought-iron candela- 
 brum. Totonno quizzes him for being 
 so serious. When he is gone, Gennaro 
 kneels before the anvil as at an altar and 
 pledges the gift to the Madonna {Ma- 
 donna, con sospiri). Maliella rushes 
 out of the house in disarray, re- 
 buked by her foster-mother, Carmela. 
 Gennaro, her foster-brother, protests 
 against her recklessness, and she accuses 
 him of jealousy. Biaso, the scribe, 
 gives her a paper cap and she sings the 
 "Canzone di Cannetella, " while a chorus 
 of Camorrists come over the bay. 
 Then Maliella dashes out followed by a 
 crowd of young men; and Gennaro pours 
 out to his mother, Carmela, his jealous 
 anguish. The mother tells how, when 
 Gennaro was a sick baby about to die, 
 she vowed to adopt an infant girl begot- 
 ten in sin if the Madonna would spare 
 Gennaro's life (T'eri mi giorno ammalalo 
 bambino). Maliella has turned out 
 badly, but Carmela hopes that mar- 
 riage with an honest man will reform 
 her. Gennaro goes out with his candel- 
 
 abrum, as the Camorrists chase Biaso 
 and threaten him because he has pro- 
 tested against their pursuit of Maliella. 
 Among them is Rafaele, their chief. 
 He seizes the girl in his arms with a 
 song of love {Si, perche t' amo, bella 
 assassina). She tries to escape, but 
 they surround her and sing a mock 
 serenade {Old Flam, Plam!) She de- 
 fends herself with a sharp hatpin, and 
 stabs Rafaele in the hand. He kisses 
 the wound made by her "kiss of steel" 
 {Bacio di lama), and thrusts a flower in 
 her bosom. She throws the flower down. 
 
 The crowd now appears to watch the 
 procession of children in white, pre- 
 ceding the image of the Madonna. Dur- 
 ing the procession Rafaele pours out his 
 love and asks her if she wishes to be 
 adored kneeling {Adorarti in ginocchio) 
 and if she wishes him to steal the Jewels 
 of the Madonna for her. Gennaro ap- 
 pears and warns her against Rafaele. 
 When Maliella defends him, Gennaro 
 orders her into the house, and is about 
 to attack Rafaele; but the procession 
 reappears, and all must kneel. Rafaele 
 throws a flower to Maliella. She picks 
 it up, puts it in her lips and hurries into 
 the house. 
 
 Act n. — The garden of Carmela's 
 house in the evening a few hours later. 
 Maliella stands near the railing looking 
 longingly toward the sea. She is still 
 holding the flower. Carmela bids them 
 good-night and goes in. Maliella turns 
 on Gennaro sajdng that she is sick of 
 this gloom and is going away. She 
 goes inside and can be seen at her win- 
 dow packing her things, as she sings a 
 popular love song {E ndringhete, 
 ndranghete). She comes out with her 
 bundle and Gennaro checks her, lovingly 
 embraces her and pours out his devotion 
 {Si, perche t'amo, t'adoro). She is 
 astounded, but says she could love only 
 a man of reckless courage like the one 
 who had offered to steal for her the 
 Jewels of the Madonna. Gennaro is 
 horrified, but when she starts to go, 
 prevents her, and she storms back to her 
 
 I 
 
STORIES OF THE OPERAS 833 
 
 room in a rage, leaving him alone with 
 a sacrilegious temptation. At last, he 
 goes to a tool chest and taking out 
 skeleton keys and files, steals away like 
 a thief. 
 
 A group of serenading Camorrists, 
 among them Rafaele, appear and call 
 upon Maliella to open her window 
 {Aprila, o bella, La fineslrella). Mal- 
 iella appears, and Rafaele makes love 
 to her, and promises to make her queen 
 of his band. At last she embraces him 
 through the bars of the gate just as a 
 warning is given that Gennaro is return- 
 ing. Rafaele disappears as Gennaro 
 conies back in a mood of horror. He 
 carries a bundle, which he opens at 
 :Maliella's feet. It contains the Jewels 
 of the Madonna. Maliella is terrified, 
 but Gennaro, with mystical passion 
 declares "The Madonna knows that I 
 am guiltless" {No, la Madonna sa die 
 Hon Vofesi). Irresistibly fascinated, 
 Maliella takes up the necklace and notes 
 that it smells of incense. She puts on 
 the diadem and the bracelets, wishing 
 t hat Rafaele might see her so. Gennaro 
 embraces her with wild fervour and she, 
 almost in a trance of horror, thinking 
 him to be Rafaele yields herself to him. 
 Act ni. — Scene. The headquarters 
 of the Camorra. Among the crude and 
 vulgar ornaments is a fresco of the 
 ^Madonna, and a little altar behind a 
 curtain. The Camorrists are drinking 
 stupidly, and three women join in their 
 revel. When Rafaele appears, the girls 
 twit him with his infatuation for 
 Mahella, but he sings in her praise. 
 •'You don't know Maliella's charm" 
 (Non sapete — di Maliella). A curtain 
 is drawn in front of the fresco of the 
 Madonna, and a wild orgy begins. In 
 the midst of it Maliella pounds on the 
 door and rushes in, appealing for help 
 against Gennaro and revenge. She 
 faints in Rafaele's arms, and he orders 
 the Camorrists to bring him Gennaro 
 aUve or dead. "Were you his? " Rafaele 
 demands. She covers her face and 
 sobs. The others ridicule him. He 
 
 turns against Maliella, crying, " You 
 belong to Gennaro, go to him," and 
 hurls her to the ground. As she falls, 
 her shawl falls open and exposes the 
 jewels. The other women surround 
 Maliella in amazement, not knowing 
 whence the jewels had come. In the 
 distance Gennaro is heard bewailing 
 his sin. Then the noise of the attack 
 upon him is heard and he bursts into the 
 room pursued by the Camorrists. He 
 bares his breast, calling on them to kill 
 him. Rafaele rushes upon him in a 
 rage, but is dragged away. Gennaro, 
 seeing Maliella, moves toward her with 
 a despairing cry, but she looks on him 
 with loathing, tearing off the jewels and 
 flinging them at his feet, crying to all the 
 crowd that Gennaro had stolen them 
 from the Madonna. The men recoil, 
 and the women drop to their knees 
 mumbling the Litany. Rafaele cries 
 out that MalieUa's soul is damned, and 
 she dashes out to drown herself. Ra- 
 faele protects Gennaro from the at- 
 tacks of the Camorrists, saying that he 
 shall be left to die there like a dog. In 
 the distance the church bells ring the 
 alarm, showing that the theft is dis- 
 covered. The women flee in terror; 
 the men, bowing before the Madonna's 
 fresco, retreat backward, leaving Gen- 
 naro alone. He gathers up the jewels, 
 kisses them with reverence and staggers 
 to the altar, where he lays them before 
 the portrait of the Madonna begging her 
 pity. A ray of light from the rising sun 
 shines through the window and falls on 
 the jewels. Gennaro takes it for a sign 
 of forgiveness and in his delirium seems 
 to hear the angels of paradise. Finding 
 a knife on the ground, he calls aloud for 
 his mother not to weep for him, and in 
 a mystical ardour, slowly presses the 
 knife into his breast. As he falls, he 
 sees Maliella's scarlet wrap on the 
 ground. He kisses it, and pillows his 
 dying head on it as the birds break out 
 into song. The angry mob appears at 
 the door, but h<ilts on the threshold 
 seeing Gennaro dead. 
 
834 
 
 THE MUSICAL GUIDE 
 
 WOLF-FERRARI, ERMANNO 
 
 Le Donne Curiose (la don'-na. 
 koo-ri-o'-sa). I. Inquisitive Women. 
 
 A musical comedy in three acts. 
 Book by Luigi Sugana (based upon 
 Carlo Goldoni's comedy). 
 
 First produced in Munich, 1903, as 
 Die Neugierigen Frauen (de noi-ge'-ri- 
 gen f row'- en). 
 
 CHARACTERS 
 
 Ottavio (6t-tav'-yo) bass. 
 
 Beatrice (ba-a-tre'-che) mez-sopr. 
 
 RosAURA (ro-za-oo'-ra) sopr. 
 
 Florin'do ten. 
 
 Pantalone (pan-ta-lo'-ne) . . . .buf-bar. 
 
 Lelio (la'-li-o) bar. 
 
 Lean'dro ten. 
 
 Colombi'na sopr. 
 
 Eleono'ra sopr. 
 
 Arlecchino (ar-lek-ke'-no) . .buf-bass. 
 
 AsDRUBALE (az-droo-ba'-le) ten. 
 
 Almo'ro ten. 
 
 Alvise (al-ve'-ze) ten. 
 
 Lunar'do bass. 
 
 Mo'molo bass. 
 
 Menego (me-na'-go) bass. 
 
 The action concerns a men's club in 
 Venice, whose mottoes are "No Women 
 Admitted" and "Friendship" (L'anii- 
 cizial) and the efforts of the wives and 
 sweethearts of the members to discover 
 what goes on in the club. 
 
 Act I. — Scene i. A room in the club- 
 house. The members are variously 
 engaged at chess and arguments. 
 Florindo is sighing like a furnace for his 
 sweetheart, Rosaura, the daughter of 
 Ottavio. The members describe the 
 efforts of their wives and daughters to 
 find out the secrets of the organization, 
 but Florindo sings of his sweetheart 
 {Ma, allor ch'io vedo trcmulo) . Leandro, 
 who is a bachelor, suggests a dinner for 
 the evening, and they all agree to allow 
 old Pantalone to pay for it. He comes 
 in and falls into the trap. His ser\'ant, 
 Arlecchino appears and is told to order 
 a fine supper for that evening at ten 
 
 o'clock. Pantalone reminds him that 
 the club's secrets must be kept from the 
 women. 
 
 Scene n. A room in the home of 
 Ottavio, who is late for dinner, detained, 
 of course, at his horrid club. His wife, 
 Beatrice, and his daughter, Rosaura, 
 are complaining. Beatrice is sure 
 they gamble there. Rosaura's theory is 
 that they meet women there. Eleonora 
 a neighbour, appears, and she is positive 
 that the men are alchemists trying to 
 discover the philosopher's stone. She 
 sings o£ her tragic experience with the 
 dressmaker (A irovarc la mia sarta). 
 Colombina, a maid, runs in breathlessly 
 and announces that she has discovered 
 that the club is engaged in digging for 
 buried treasure [Ne ha di belle) . And 
 now Arlecchino, who is secretly court- 
 ing Colombina, comes in. The women 
 pounce on him with their theories as to 
 the object of the club and he agrees to 
 all of them. They turn upon him in a 
 rage and he runs out, leaving the women 
 as mystified as ever, but each still posi- 
 tive of her own theory. Ottavio comes 
 home and announces that Florindo will 
 dine with him. He is figuring out some 
 accovuits in his notebook, and his wife 
 tries to wheedle from him the secrets of 
 the club. He leaves in a hufi" and she 
 follows him. Florindo appears, but 
 Rosaura will not give him her heart un- 
 til he tells her the secret of the club. He 
 pleads for mercy {lo scnio, ahime). 
 Colombina returning, suggests to Ros- 
 aura that she should try the effect of 
 swooning. She pretends to faint. 
 Florindo is frantic and Colombina ad- 
 vises him that the only way to regain 
 Rosaura's afl'ections is to tell her the 
 secrets of the club. She manages to 
 v-'heedle from him the rule of the club 
 that no women shall be admitted, the 
 motto "Friendship," the fact that 
 there is to be a supper at ten 
 o'clock, and that every member has 
 his own key. Colombina then gets 
 rid of him and speedily resuscitates 
 Rosaura. 
 
STORIES OF THE OPERAS 835 
 
 Act u. — Scene i. A room in the 
 house of Leiio. His wife is going 
 through the pockets of his clothes 
 {Che bestion di mar it o). She finds two 
 new keys with a letter from Pantalone 
 saying that the locks have just been 
 changed. She cries "Victory! Vic- 
 tory!" and restores the letter, but not 
 the keys. Lelio comes in and she asks 
 him if he is going back to the alchemist's 
 furnace. He is furious at her quizzing, 
 and they storm out at opposite doors. 
 
 Scene ii. A room in Ottavio's house. 
 Colombina announces all that she has 
 learned. Only one thing is lacking — 
 the key to get in with. Ottavio and 
 Florindo appear and Beatrice tries to 
 get her husband to change his coat so 
 that she may search the pockets of it, 
 and Colombina, as if by accident, spills 
 coffee on Ottavio's coat. And now 
 Ottavio takes it off to have the spots 
 removed. Ottavio begins to sneeze 
 while waiting for another coat. Colom- 
 bina brings back the things she has 
 found in the pockets, but secretly in- 
 forms Beatrice that she has substituted 
 the cellar keys for the club keys, and 
 Ottavio goes with Florindo leaving the 
 women rejoicing in their triumph. 
 Beatrice seizes the keys and tells 
 Rosaura that she is too young to go to a 
 men's club. Rosaura, left alone, muses 
 over Florindo {Ah, tiiUo per te, mio bene). 
 He steals back . but she refuses to relent 
 unless he gives her the keys. He pours 
 out his despair {Vol lacerate il mio povero 
 cuore), but finally yields to her determin- 
 ation, and they are reconciled in a duet 
 {II cor nel coiitcnto). 
 
 Act III. — Scene i. A street in Venice 
 before the clubhouse. At the back is a 
 canal. Pantalone comes out of the club- 
 house looking for Arlecchino, who ap- 
 pears with bottles, but has forgotten the 
 candles. Arlecchino goes inside to un- 
 load before he returns for them, and 
 Pantalone follows him in. A gondola 
 draws up to the landing and Eleanora 
 steps from it as Arlecchino comes from 
 the clubhouse. Eleonora in her terror 
 
 drops her keys and nms. Arlecchino 
 pockets them and goes on his way, as 
 Colombina, disguised as a man, enters 
 with Beatrice from a side street. 
 Beatrice hides as Pantalone comes out, 
 and seeing Colombina gives the pass- 
 word, "Friendship." He soon dis- 
 covers that Colombina is only a dis- 
 guised woman, and snatches the kej's 
 from her. She runs off, leaving Panta- 
 lone to wonder who is the traitor who 
 has given up the club keys into women's 
 keeping. Pantalone goes back into the 
 club. Lelio and Ottavio come up. 
 Lelio is puzzled at not finding his keys 
 in his pocket. Florindo appears. Ot- 
 tavio twits him about his love for the 
 capricious Rosaura {Bravo mio genero). 
 Ottavio, about to open the club door, 
 finds that he has the cellar keys instead. 
 He turns to Florindo for his. Florindo 
 in some confusion says that he left them 
 at home. The three locked out mem- 
 bers knock, and Pantalone comes to the 
 door in a bad temper and shows the keys 
 that have been found. Lelio and 
 Ottavio follow him into the club, but 
 Florindo remains, seeing a servant with 
 a lantern preceding a woman. He con- 
 ceals himself and Rosaura, masked, 
 follows her servant in. The servant is 
 about to put the key in the door when 
 Florindo snatches it from him. Ros- 
 aura drops her mask and the servant 
 runs away. Florindo reproaches Ros- 
 aura for trying to betray him, and enter- 
 ing the Club, slams the door behind him. 
 Arlecchino, who has seen this quarrel, 
 catches Rosaura as she faints. While he 
 is wondering what to do with his burden, 
 Beatrice and Eleonora appear. Bea- 
 trice, recognizing her daughter, faints 
 in Arlecchino's other arm. Colom- 
 bina runs and prepares to faint also, but 
 Arlecchino reminds her that he has not 
 arms enough for three. The women 
 recover and begin to cry, reviHng the 
 door that will not open. They now 
 turn upon Arlecchino. Colombina tries 
 to bribe him with caresses. Beatrice 
 offers him money: Rosaura offers him 
 
836 
 
 THE MUSICAL GUIDE 
 
 earrings; Colombina offers him a dinner 
 and kisses. But he refuses them all. 
 Then they turn upon him with their 
 finger-nails, and he surrenders the keys. 
 They open the club door and enter 
 while Arlecchino picking up the lantern 
 looks up and down the street, ironically 
 calling out, "Are there any others who 
 want to get in? " 
 
 Scene n. A room in the clubhouse, 
 with an opaque door leading to the 
 dining room. The members of the 
 club are saluting Pantalone, who warns 
 them not to give to a woman the keys 
 to a door or to their hearts. Arlecchino 
 announces supper and the members 
 enter the banquet room. When the 
 door is closed the four women steal 
 from their hiding places, somewhat sur- 
 prised to find that the mysterious activ- 
 ity of the club consists of a simple stag 
 supper. The men are heard laughing 
 and the women, taking turns at the 
 keyhole, describe what is going on. 
 They grow hungr>' at the sight of the 
 banquet, and when Arlecchino comes 
 in at a side door with a dish of tarts, 
 they rob him of them. They begin 
 now to struggle so frantically for the 
 privilege of peeping through the key- 
 hole, that they push the door open. 
 The club members arise in amazement 
 from the table, and Pantalone exclaims 
 that he has heard of showers of frogs and 
 showers of larks, but never before 
 showers of women {Pi ova de sorzi). 
 The women apologize for their suspi- 
 cions and are forgiven. One of the 
 members begins to play the spinet and 
 Pantalone chucks Colombina under 
 the chin. Arlecchino protests that her 
 hand belongs to him, and she givTS it 
 to him — over the ear. A minuet is 
 begun, and it gradually develops into a 
 livelier and livelier dance, during 
 which Pantalone gives Arlecchino a 
 clip over the head and sends him face 
 downward into a large dish of whipped 
 cream. The dance breaks up with a 
 general cry of the club's motto, 
 "Friendship" {Amicizia). 
 
 MASSENET, JULES 
 
 Man on 
 
 An opera in five acts. Book by H. 
 Meilhac and Ph. Gille, (after the 
 romance by the Abbe Prevost). 
 
 Produced Opera Comique, Paris, 
 January 19, 1S84. 
 
 CHARACTERS 
 
 The Chevalier Des Grieux (shu- 
 
 vai-ya' da gre-u') ten. 
 
 The CotJNT Des Grieux, 
 
 His father, 
 Lescaut (les-ko), 
 
 Of the Royal Guards, cousin of 
 
 Manon bar. 
 
 GuiLLOT Morfontain (m6r-f6n-t2,h), 
 
 Minister of finance, an old beau, 
 De Bretigny (du bra-ten-ye'), 
 
 A nohletnan 
 An Innkeeper 
 
 Manon (ma-n6n) sopr. 
 
 Pousette, (poo-set), | 
 Javotte (zha-vot), > Actresses 
 Rosette. ) 
 
 Place of action, Amiens in the year 
 1721. 
 
 Act I. — Scene. Courtyard of an Inn. 
 Morfontain, the old Minister of Fi- 
 nance, and Bretigny with three actresses 
 are demanding food and drink. The 
 host appears and they order dinner. 
 The landlord leads them to a pavilion. 
 A bell rings and the tOAvnsfolk gather to 
 see the coach arrive. Among them is 
 Lescaut, who has come to meet his 
 cousin, Manon. The coach appears 
 and the passengers descend and wrangle 
 with the porters. Manon is among 
 them and greets her cousin with a kiss. 
 She describes her impressions of the 
 voyage and tells how one moment she 
 wept and another she laughed {Je suis 
 encore tout etourdie). Her cousin goes 
 in search of her luggage, and Morfon- 
 tain, seeing Manon, starts an immediate 
 flirtation. She is amused rather than 
 offended. His companions join in the 
 
 1 
 
STORIES OF THE OPERAS 837 
 
 merriment. As Morfontain in a low 
 voice states that his carriage is at her 
 service, Lescaut returns. He advises 
 her to be prudent and good {Ne bronchez 
 pas, soyez gentille) and returns to his 
 brother officers. Manon resolves to go 
 to the convent and have done with her 
 dreams {Voyons, Manon, plus de 
 chimeres). Suddenly she sees in the 
 pavilion Morfontain and the actresses, 
 and she envies their jewels and their 
 splendours, their life of pleasure. The 
 young Chevalier Des Grieux appears on 
 his way to meet his father. Seeing 
 Manon, he is greatly struck with her 
 and makes her acquaintance with little 
 difficulty. She explains that she is only 
 a simple maid, not wicked, but longing 
 for happiness and now on her way to a 
 convent. He cannot endure the thought 
 of her being so entombed, and offers 
 her his protection. She accepts and 
 they decide that they will live in Paris 
 together {Nous vivrons a Paris tons les 
 deux). At her suggestion they will 
 elope together in the carriage that 
 Morfontain has placed at her disposal. 
 They hurry away, leaving Morfontain 
 and Lescaut to amazement and wrath. 
 Act n. — Scene. An apartment in 
 Paris. Des Grieux is writing at his 
 desk. He reads his letter to her. It 
 is a description of her charms written 
 to his father. He goes to mail the 
 letter, but notices some flowers, and 
 she explains quickly that they were 
 thrown in at her window. He promises 
 not to be jealous. The maid enters to 
 announce that two officers are present. 
 One of them is Lescaut and the other 
 De Bretigny. They come in and 
 Lescaut denounces Des Grieux for dis- 
 honouring his family. He demands that 
 Des Grieux marry Manon, and is shown 
 the letter just written. As the men 
 read it together at the window, De 
 Bretigny warns Manon that her lover 
 is to be kidnapped that evening by his 
 father's order, and advises her to let 
 him be taken, lest poverty engulf them. 
 Once she is free, he will make her the 
 
 Queen of Beauty. The two visitors 
 depart and Manon is troubled, though 
 Des Grieux is full of rapture and love. 
 He goes to post the letter and she makes 
 up her mind that for his sake she must 
 sacrifice him, especially as she is not 
 worthy of him. She hears a voice 
 which calls her (/' enkiids cette voix qui 
 m' eniraine). He returns and tells her 
 of a dream he had, seeing a little cot- 
 tage {Enfertnant les yeuxje vols la-bas). 
 A loud knock is heard at the door and 
 he is about to answer it, but she is 
 overcome with fear for him and tries to 
 restrain him. He releases himself and 
 going to the door is gagged and dragged 
 away. She runs to the window crying, 
 "Oh, my poor Chevalier!" 
 
 Act in. — Scene. The promenade 
 of the Cours la Reine. It is a holiday 
 and there are booths and a dancing 
 pavilion, where the three actresses 
 beckon to youths to join them. Les- 
 caut appears singing of his Rosalinda. 
 Morfontain sees the actresses and greets 
 them, complaining that not one of the 
 three is faithful to him. De Bretigny 
 ironically begs him not to rob him of 
 ]VIanon. Morfontain says that he has 
 heard that De Bretigny refused Manon 
 a favour, and steals away. Later 
 Manon appears on the arm of De 
 Bretigny and receives much homage. 
 She is delighting in her conquests, and 
 advises everybody to heed the call of 
 love and youth. As she moves on, the 
 Count Des Grieux, father of the Cheva- 
 lier appears and tells De Bretigny that 
 his son has taken holy orders and be- 
 come an Abbe. Manon seizes an 
 opportunity to speak to the Count and 
 is told that her lover has learned his 
 lesson and forgotten her She deter- 
 mines to see him and orders her chair 
 to take her to the Seminary of Saint 
 Sulpice. 
 
 Scene ii. The pariour of the Semi- 
 nary. The Count congratulates his 
 son on the eloquence of his sermons, 
 but begs him not to take final orders; 
 rather to find some worthy maiden 
 
838 
 
 THE MUSICAL GUIDE 
 
 and marry her, especially as the next 
 day he will receive a fortune from 
 his mother. Des Grieux, left alone, is 
 tormented by the image of Manon 
 {Ah, fuyez, douce image). Soon she 
 appears and hearing the choir within, 
 says a praj-er. On seeing Des Grieux, 
 she appeals for his forgiveness. He 
 warns her that she cannot speak of 
 love in such a place, but she clings to 
 him, and at length he throws his arms 
 about her, defjdng heaven's vengeance. 
 
 Act rv'. — Scene. A fashionable gam- 
 bUng house. Lescaut is plajing and 
 winning, but the sharpers are watching 
 him hopefully. The three actresses 
 appear, and he tells them that his 
 s\\eetheart is the queen of spades 
 (Cest ici que celle que j'aime). Des 
 Grieux and jNIanon appear, and Des 
 Grieux teUs her that he both hates and 
 loves her. She has brought him here 
 to recoup their squandered fortunes. 
 Lescaut encourages him to play. Mor- 
 fontain challenges Des Grieux to a 
 game, and as they gamble Manon 
 revels in the excitement, which is life 
 to her (A tious les amours et les roses). 
 Morfontain accuses Des Grieux of 
 cheating, and the crowd turns against 
 him just as the place is raided by the 
 police. Morfontain denounces Des 
 Grieux and ISIanon as accomplices. 
 The Count enters and orders his son 
 and Manon arrested. He tells his son 
 that he shall be released at once, but 
 that IVIanon must "go where many of 
 her sort have gone. " 
 
 Act v. — Scene. The road to Havre. 
 Des Grieux is seated by the roadside to 
 watch IVIanon pass by under guard; for 
 she is to be transported to a penal 
 settlement. Lescaut appears and Des 
 Grieux discusses with him their plan to 
 release Manon. The soldiers are heard 
 singing {Capitaine, 6 gue, es-tu fatigue.') 
 Des Grieux is desperate enough to 
 attack the guard single handed, but 
 Lescaut drags hira behind some bushes, 
 promising him that he shall see Manon. 
 The soldiers appear and Lescaut leads 
 
 one of the sergeants aside. The 
 soldiers move on, dragging with them 
 the women who are prisoners. Later 
 Manon comes down the path greatly 
 exhausted. She is remorseful for her 
 fickleness and feels at last a pure flame 
 in her heart (Ah! je se)is une pure 
 flamme). The evening stars appear To 
 her coquettish heart they are jewels. 
 "You know I was always fond of 
 jewels. " She grows weaker and weaker, 
 and dies of exhaustion murmuring 
 "This is the story of Manon Lescaut." 
 
 MASSENET, JULES 
 
 Le Jongleur De Notre Dame 
 (lu zh6h-gler' du not-rii dam) F. The 
 Juggler of Notre Dame. 
 
 A "miracle" in three acts. Book by 
 IMaurice Lena (based on an old miracle 
 play). 
 
 Produced, Monte Carlo, February 
 i8, 1902. 
 
 CHARACTERS 
 
 Jean (zhah), 
 
 The juggler ten. or sopr. 
 
 Boniface (bon-e-fas), 
 
 Cook of the abbey bar. 
 
 The Prior bass. 
 
 The Musician Monk 
 The Sculptor Monk 
 The Poet Monk 
 The Painier Monk 
 
 The part of the Juggler, though 
 originally sung by a tenor, was taken 
 by Miss Mary Garden on its production 
 at the Manhattan Opera House in New 
 York. 
 
 Place : Paris. Time of action : Four- 
 teenth Century. 
 
 Act I. — Scene. The Place Cluny, 
 in front of the abbey with a statue of 
 the Madonna over the door. It is 
 market day and the Square is filled with 
 merchants, and with merry-makers who 
 dance in honour of the Madonna and 
 the " Dauphin, Jesus. " The sound of a 
 vieUe is heard approaching. It is 
 
 
STORIES OF THE OPERAS 839 
 
 recognized as the music of a Juggler 
 Joyous anticipations are quenched by 
 the appearance of the meagre and 
 poverty-stricken Jean. He is hailed 
 as "His Majesty, King Famine." He 
 plays for them to dance, holding out his 
 cup with little success. They ridicule 
 him, and when he suggests the various 
 songs that he knows, they refuse to hear 
 any of them. They demand a drinking 
 song, and he consents to sing "The 
 Hallelujah of Wine," first praying the 
 Virgin to pardon his sacrilege, for though 
 his heart is Christian, his stomach 
 is pagan. As he is singing reluctantly, 
 the Prior rushes out of the abbey, and 
 all flee except the Juggler, who drops 
 to his knees craving pardon. This the 
 Prior refuses, declaring that the gate of 
 hell is yawning for him. Jean weeps in 
 terror, and the Prior, relenting, tolls 
 him he can save himself, but only by 
 taking holy orders. Jean recoils at the 
 thought of renouncing Liberty, his 
 heart's mistress [Cest die que mon coeur 
 pour maitresse a choisie). The Prior 
 warns him that Liberty will let him 
 starve, while the convent will feed both 
 soul and body. He points to Boniface, 
 the cook, who arrives on a donkey 
 laden with flowers, food and wine. The 
 cook sings of the three: the flowers for 
 the Virgin, the food and the wine for 
 her servants {Pour la Vierge d'abord). 
 The breakfast bell rings in the abbey, 
 and the monks are heard reciting 
 the Benedicite in the refectory. The 
 Prior invites Jean to the feast, and he 
 enters taking with him the Juggler's 
 outfit. 
 
 Act n. — Scene. Study room and 
 garden of the abbey. Among the 
 monks is a Sculptor who has finished a 
 statue of the Virgin, which the Painter 
 is colouring. A Musician monk is 
 rehearsing the others in a hymn to the 
 Virgin, which he has composed for the 
 occasion; Assumption morning {Ave 
 coeleste lilium). Jean is bemoaning the 
 fact that he cannot join their praises 
 because he does not know Latin, but 
 
 only profane songs in the vulgar tongue. 
 The monks joke with Jean because he 
 is taking on flesh, but he regrets that 
 he is only an ignorant monk who can 
 simply eat and drink and do nothing in 
 honour of the Virgin {Depiiis qu'en ce 
 convent prospere). He asks to be turned 
 out into the world again, but the 
 Sculptor advises him to study sculpture, 
 pointing with pride to his statue {Vois: 
 des flancs du marbre sc leve). The Poet 
 monk cries "Not so; give poetry the 
 place of honour {Non pas la place d' 
 honneur). The Musician upholds mu- 
 sic as the direct echo of the great mys- 
 tery {Pour moi, je me figure). The 
 Painter joins the quarrel until the Prior 
 silences them all and compels them to 
 be reconciled. They carry the statue 
 out into the Chapel, leaving Jean alone 
 with Boniface the cook. Boniface de- 
 clares that the art of the cook is the 
 true glory {S'il faiU s'enfler de gloire). 
 He tries to console Jean with the state- 
 ment that the Virgin understands 
 French as well as Latin, and tells the 
 legend of the rose and the sage-plant 
 {Marie avec l' Enfant Jesus). As for 
 himself, he serves the Virgin by looking 
 to his oven. Jean is uplifted with a 
 sudden ray of light {Quel trait de 
 soudaine lumierc), and hopes that 
 perhaps the Virgin will accept a Jug- 
 gler's offering. 
 
 Act III. — Scene. The chapel of the 
 Abbey. In the distance the monks are 
 singing the new hymn to the Virgin. 
 The painter is alone before the statue 
 he has coloured, taking a last look at it. 
 He sees Jean dressed as a monk, but 
 carrying his vielle and his kit. Jean 
 approaches and appeals to the IMothcr 
 of Jesus {Mere adorable de Jesus), to 
 accept his homage. Throwing off 
 his monk's robe, he appears in the 
 Juggler's costume, spreads his carpet 
 and begins to play on his vielle while 
 the Painter hurries out to warn the 
 Prior. Jean, declaring himself to be 
 the King of Jugglers from force of habit, 
 begins to pass his cup about a circle of 
 
840 
 
 THE MUSICAL GUIDE 
 
 imaginary bystanders, but stops in con- 
 fusion. He begins to sing a song of 
 war, but fears it wiU. frighten the 
 Virgin. He tries two other songs, but 
 his memorjr fails him, and sings the 
 eternal pastoral of Robin and Marion 
 (A rore'dujoli bocage). As he sings, the 
 Prior, the Painter and the cook appear. 
 The cook restrains the Prior from inter- 
 fering, and Jean, not knowing he is 
 obsers-ed, jovially offers to evoke fijing 
 devils for Her. He apologizes to the 
 statue and permits himself the honour 
 of dancing before her. The cook re- 
 minds the indignant Prior that David 
 danced before the Ark, and Jean dances 
 a bourree faster and faster until he falls 
 exhausted, kneeling in adoration. The 
 other monks have gathered and are 
 furious at the blasphemy. They are 
 about to attack Jean when the cook 
 orders them back, "The Virgin protects 
 him." A strange light begins to shine 
 on the statue, and on the mouth a smile 
 is about to awake. The voices of angels 
 are heard singing "Hosannah! Glorj' to 
 Jean." The Prior and the monks 
 approach the Juggler reverently. 
 Startled from his praj-er, Jean kneels 
 for forgiveness from the Prior. But the 
 Prior says that it is Jean who should 
 forgive them, for he is a great saint. 
 Thinking they are mocking him, he is 
 horrified, but they point to the intense 
 radiance now illuminating- the altar 
 and the aureole, which descending from 
 the hands of the Virgin, gleams on the 
 head of the Juggler. Jean swoons with 
 ecstasy. When the monks have chanted 
 the K>Tie Eleison, he says feebly, "At 
 last I understand Latin." He swoons 
 again while two unseen angels sing of 
 Heaven's Gate opening before him. 
 There is a snow of lilies and bluebells 
 about him and a cloud of incense. The 
 Virgin mounts to the skies and Jean 
 sees her surrounded by the angels in 
 Heaven. In his death ecstas}', he sees 
 Paradise welcoming him {Spectacle radi- 
 eux) and the Virgin beckoning him. 
 He dies in his rapture. 
 
 Ariane et Barbe-Bleue (ir-ySn' 
 
 a- bar-bu-ble'). Ariane and Blue 
 
 Beard. 
 
 A lyric story in three acts. Book by 
 Maurice Maeterlinck. 
 
 Produced, Opera Comique, Paris, 
 1907. 
 
 CHARACTERS 
 
 Ariane sopr. 
 
 The Nurse 
 Selysette (sa-le-zet) 
 Ygiane (e-zhan) 
 IVIelissaxde (ma-lis-sahd) 
 Bellangere (bel-lah-zhar) 
 Alladine (al-la-den) 
 Blue Beard 
 
 Act I. — Scene. A hall in Blue 
 Beard's castle, showing six doors with 
 silver locks. Outside the window the 
 angry peasants are threatening to kill 
 Blue Beard for bringing home another 
 wife. The windows close magically as 
 Ariane enters with the nurse. The 
 nurse js terrified because the peasants 
 insist that Blue Beard killed his first 
 five %%-ives. Ariane feels sure that they 
 are not dead, but aUve, and thinks 
 Blue Beard loves her so much that she 
 will gain his secret. She shows the kej'S 
 her husband has given her; six silver 
 keys, which she is permitted to use, and 
 one gold key, which is forbidden to her. 
 Woman-hke, she throws away the silver 
 keys and keeps the gold one. The 
 nurse, picking up the keys, opens the 
 doors in succession. Out of them 
 tumble great heaps of precious stones; 
 first, amethysts, second, sapphires 
 third, pearls, fourth, emeralds, fifth, 
 blood-red rubies, and sixth, a cataract 
 of diamonds. These last fascinate 
 Ariane and she bedecks herself with 
 them. (0 mes clairs diamants!) Inside 
 this cell she finds a door with a golden 
 lock and, in spite of the nurse's terror, 
 opens it. From the depths a smothered 
 chant arises from the five imprisoned 
 wives, the five daughters of Orlamonde 
 {Les cinq filles d'Orlanwtide). Blue 
 Beard enters in a rage. The imprisoned 
 
 i 
 
STORIES OF THE OPERAS 841 
 
 wives have all disobeyed him just as 
 Ariane has done: some of them after a 
 few days; the last of them after a year. 
 "It was the last one alone that de- 
 served to be punished," said Ariane. 
 Blue Beard seizes her, but she and the 
 nurse scream so loudly that the peas- 
 ants come to the rescue. Blue Beard 
 draws his sword, but Ariane gently 
 pushes the peasants back and says: 
 "What do you want? — He hasn't done 
 me any harm." 
 
 Act II. — Scene. The dungeon. 
 Ariane, with a lamp, and the nurse 
 move forward till they discover in a 
 huddle the five wives. Ariane rushes 
 to them with kisses and caresses, crying: 
 "Ah! I have found you" {Ak! Je voiis 
 ai trouvees). She is sure that they are 
 beautiful, but they are in rags and 
 unkempt and frightened. She asks 
 their names and comforts them. A 
 drop of water from the dank roof extin- 
 guishes the lamp, but the wife, Selysette 
 is used to the dark and leads the others 
 to a trap door. Ariane breaks it open, 
 and the music of wind and sea, mingled 
 with the song of birds and the sound of 
 shepherd bells invades the room. 
 S61ysette waves her long hair as a signal 
 flag to a distant peasant, and as the 
 clock strikes noon the women scramble 
 out joyously. 
 
 Act III. — Scene. The same hall as 
 in the first act. Open coffers are over- 
 flowing with gorgeous robes. The 
 wives before large mirrors are dressing 
 their hair and donning gleaming rai- 
 ment, while Ariane goes from one to the 
 other assisting them. They have been 
 unable to escape from the castle walls, 
 but Ariane hopes to make them so 
 beautiful that Blue Beard will fall in 
 love with them again. The nurse 
 appears with the terrifying news that 
 Blue Beard is returning. But the 
 peasants are armed and lying in wait 
 for him. From the window they see 
 Blue Beard arrive with warriors who 
 fight the peasants. At length the 
 peasants conquer, and tying the 
 wounded Blue Beard, they burst into 
 the hall with their prisoner. They 
 deliver him to the wives for pimish- 
 ment. When the peasants have gone, 
 Ariane and the wives, overcome with 
 pity, release Blue Beard and dress his 
 wounds, kissing him furtively. He 
 stares at his victims, but turns to 
 Ariane. She tells him farewell and asks 
 the other wives if they will go with her. 
 She points to the open door and the 
 moonlit sky (Vois, la parte est ouverte), 
 but they prefer to remain with Blue 
 Beard, and she leaves them, wishing 
 them happiness. 
 

•uppltmmtar^ Bictionar^ 
 of iWu0ician0 
 
Supplementary Bictionarp 
 ot i^usictan0 
 
 Abaco, correct dates Verona, July 
 12, 1675 — Munich, July 12, 1742. 
 
 Abbe (abba), Joseph Barnabe de 
 St. Sevin, Agen, France, June 11, 
 1727 — Charenton, 1787; violinist 
 and c; son of Philippe Abbe. 
 
 Abendroth (a'-bent-rot), Irene, b. 
 Leraberg, July 14, 1872; soprano 
 Royal Opera, Dresden, 1899-1908; 
 m. T. Thaller. 
 
 Abert (a'-bert), Hermann, b. Stutt- 
 gart, March 25, 1871; son of J. J. 
 H., historian. 
 
 A'bram, John, b. Margate, Aug. 7, 
 1840, English organist; c. oratorio 
 The Widoiv of Nain, cantata Jeru- 
 salem, etc. 
 
 Abranyi, (i) Kornel, d. Budapest, 
 Dec. 20, 1903. His son (2) Emil, b. 
 Budapest, 1880 (?); c. operas Monna 
 Vanna (Budapest, 1907), Faolo and 
 Francesca (do. 191 2), etc. 
 
 Achscharumov (ash-tsha'-roo-m6f), 
 Demetrius Vladimirovitsch, b. 
 Odessa, Sept. 20, 1864; violinist and 
 c; pupil of Auer. 
 
 Ackte (ak'-ta), Ai'no, b. Helsingfors, 
 Finland; soprano; sang at Paris 
 Opera, 1904-5, sang Met. Op., New 
 York. 
 
 Adalid y Qurrea ( a - dha'- ledh - e- 
 goo-ra'-a). Marcel del., Coruna, 
 Aug. 26, 1826 — Longara, Dec. 16, 
 1 881; pianist; pupil of Moscheles 
 and Chopin; c. opera, etc. 
 
 Adam, K. F., correct date of birth, 
 Constappel, Saxony, Dec. 22, 1806. 
 
 Afanassiev (a-fa-nas'-si-ev) , Nikolai 
 Jakovlevich, Tobolsk, 1821 — St. 
 Petersburg, June 3, 1898; violinist 
 and c. 
 
 Affer'ni, Ugo, b. Florence, Jan i, 
 1871; pianist and cond.; studied at 
 Frankfort and Leipzig; m. the vio- 
 
 linist Mary Brammer, 1872; c. an 
 opera, etc. 
 
 Agincourt (da-zh§,n'-koor), Fran- 
 cois d', Rouen, 1714 — Paris, June 
 18, 1758; court organist and c. 
 
 Agrenev (a-gra'-nev), Demetrius A, 
 1838 — Rustchuk, Bulgaria, July, 
 1908; organized a choir under the 
 name Slavjanski, with which he 
 toured Europe and America, pre- 
 senting folk-songs. 
 
 Aguilar (a'-ge-lar), Emanuel Abra= 
 ham, London, Aug. 23, _ 1824 — 
 London, Feb. 18, 1904; pianist of 
 Spanish origin; c. 2 operas, 3 symph. 
 
 AhIstrom,01of(not A. J. R.), correct 
 dates Aug. 14, 1756 — Aug. 11, 1835. 
 
 A Kem'pis, (i) Nicholas, organist 
 and c, at Brussels, ca. 1628. (2) 
 Jean Florent, org. at Brussels, 
 ca. 1657; c. requiem (pub. Antwerp, 
 1650) etc. 
 
 Alabiev, A. A., correct dates, Mos- 
 cow,, Aug. 16, 1787 — March 6, 1851. 
 
 Albanesi (iil-ba-na'-ze), Luigi, b. 
 Rome, March 3, 182 1 — Naples, Dec. 
 4, 1897; pianist and composer. 
 
 Albert, Eugen d', add that he c. 
 further operas Kain and Der Improvi- 
 sator (both Berlin, 1900), Tiejland 
 (Prague, 1903), Flauto solo (Prague, 
 igo5), Tragaldabas (Hamburg, 1907), 
 Die Verschenkte Fran or The Bar- 
 tered Wife ( 1 9 1 2 , Munich) . His opera 
 Tiefland (based on Guimera's play, 
 Marta of the Lowlands) has had 
 immense success; in BerHn alone 
 (prod. 1907) it reached its 400th per- 
 formance in Feb., 191 2; it was sung at 
 the Met. Op., N. Y., and throughout 
 Europe. He married Hermine Finch, 
 the singer, in 1895. His edition of 
 Bach's "Well Tempered Clavier" was 
 pub. 1907. 
 
 Alfven (alf'-vTn), Hugo, b. Stock- 
 holm, May I, 1872; violinist; studied 
 
 84s 
 
846 
 
 THE MUSICAL GUIDE 
 
 at the Cons, and with Cesar Thom- 
 son; 1900 received Jenny Lind scholar- 
 ship for 3 years foreign study; from 
 1904 prof, of comp. Stockholm Uni- 
 versity: from 1 910 mus. dir. Upsala 
 Univ. in 19 12 conducting a concert of 
 Upsala students in Berlin; c. 3 sym- 
 phonies; symph. poem "Aus den 
 Scharen"; cantata " The Bells," " The 
 Lord's Prayer," for chorus; scene 
 with orch., male choruses, etc. 
 
 Al'Ien, Hugh Percy, b. Reading, 
 Dec. 23, 1869; organifit at 11, 1887 — 
 1892 org. Chichester Cathedral; since 
 1901 at Oxford, where he was made 
 Mus. Doc. 1898, and University 
 Choregus since 1909; since 1908, mus. 
 dir. Reading University College. 
 
 Al'lison, Horton Claridge, b. Lon- 
 don, July 25, 1846; pianist; pupil 
 R. A. M. and Leipzig Cons.; Mus. 
 Doc. (Dubhn), c. piano and organ 
 music and songs. 
 
 Alois (a'-lo-es), Ladislaus, b. Prague, 
 r86o; 'cellist; pupil Paris Cons.; 
 soloist Royal orch., St. Petersburg; 
 c. concertos, etc. 
 
 Alpheraky (Sl-fa-ra'-ke), Ach. N., 
 b. Charkov, Russia, 1846; c. piano 
 pieces, including "Serenade levantine"; 
 and songs. 
 
 Alt'mann, Wilhelm, b. Adelnau, 
 April 4, 1862; editor and historian. 
 
 Alvarez (al-va'-r6th), (i) Fermin 
 Maria, b. Saragossa; d. Barcelona, 
 1898; c. popular songs, etc. (2) 
 (al-va-rez), stage name of Albert 
 Raymond Qourron ; b. Bordeaux; 
 tenor; pupil of A. de Martini; debut 
 at Ghent, later at Paris Opera as 
 leading tenor for many years; 1898, 
 Met. Op. House of New York. 
 
 Al'wood, Richard, flourished ca. 
 1550; English priest; c. mass and 
 organ pieces. 
 
 Amato (a-ma'-to), Pasquale, bar>'- 
 tone; debut Naples, 1900; sang at 
 Milan, then after a period of financial 
 distress sang at Trieste, etc., 1909, 
 Manhattan Opera; from 191 1 Met. Op. 
 
 Am'brosch, Joseph Karl, Kruman, 
 
 Bohemia, 1759 — Berlin, Sept. 8, 1822; 
 operatic tenor; c. songs. 
 
 Ames, Philip, 1837 — Duiham, Feb. 
 10, 1908; organist Durham Cathedral 
 1861-1906; prof, of music, Durham, 
 from 1897. 
 
 Amft, Qeorg., b. Oberhannsdorf, 
 Silesia, Jan. 25, 1873; music teacher; 
 pupil at Royal Inst, for church mus. 
 Berlin; teacher in Habelschuerdt; 
 editor and composer. 
 
 Amicis, De, vide De Amicis. 
 
 Amps, William, d. Cambridge, May 
 20, 1909; EngHsh organist and cond. 
 
 Andersen (i) Joachim, Copen- 
 hagen, April 29, 1847 — May 7, 1909. 
 Soloist at 13. Toured widely; court 
 musician, Copenhagen, Petersburg 
 and Berlin; for 8 years solo flutist and 
 assistant conductor of Berlin Phil. 
 Orch., of which he was one of the 
 founders; 1895-1909, the ruling musi- 
 cal force in Copenhagen, as conductor 
 of the Palace concerts, the TivoH 
 Orchestra, the Municipal Summer 
 concerts, his orchestral school, and 
 Inspector (with rank of Captain) of 
 all the mihtary music of Denmark. 
 Made Knight of Dannebrog Order 
 by King Charles IX; received the 
 "Palms" of the Acad, from the Pres. 
 of France, and was made "Prof." by 
 King Frederik of Denmark. (2) 
 Vigo, Copenhagen, April 21, 1852 — 
 Chicago, Jan. 29, 1895; solo flutist 
 with Thomas orch.; brother of (i) 
 
 Anderson, Thomas, Birmingham, 
 England, April 15, 1836 — Sept. 18, 
 1903; critic, organist and c. 
 
 Andrieu (dan-dri-u'), Jean Fr. d' 
 Paris, 1684 — Jan. 16, 1740; org. 
 and comp. ; 1 7 24 royal cond. at Paris. 
 
 Angeli (dan-ja'-le), Andrea d', b. 
 Padua, Nov. 9, 1868; historian; c. 
 opera " L'hmocente" (Bologna), etc. 
 
 An'gerer, Gottfried, Waldsee, Feb. 
 3, 1851 — Zurich, Aug. 19, 1909, c. 
 male choruses. 
 
 Androt (an-dro), Albert Auguste, 
 Paris, 1781 — Aug. 9, 1804; c. opera, 
 requiem, etc. 
 
 i 
 
DICTIONARY OF MUSICIANS 847 
 
 Angrisani (an-gre-sa'-ne), Carlo, b. 
 Reggio, ca. 1760; bass; sang in Italy 
 and Vienna; 1817 at London; c. songs. 
 
 Ansorge (an-s6r'-ge), (i) Max, b. 
 Striegau, Silesia, Oct. i, 1862; organ- 
 ist; son of a cantor; studied at Berlin; 
 c. songs, motets, etc. (2) Konrad 
 (Eduard Reinhold), b. Buchwald, 
 Silesia, Oct. 15, 1862; pianist; pupil 
 Leipzig Cons, and of Liszt; toured 
 America; c. for orchestra, and piano. 
 
 Antino'ri, Luigi,b. Bologna, ca. 1697; 
 tenor; sang in London, 17 25-1 7 26. 
 
 An'tipov, Constantin, b. Russia, 
 Jan. 18, 1859; c. symph. allegro for 
 orch., and piano pieces. 
 
 Antoniot'to, Giorgio, lived at Milan, 
 1740; theorist and c. of 'cello-sonatas. 
 
 Arbos (ar'-vos), E. Fernandez, 
 b. Madrid, Dec. 25, 1863; violinist; 
 his grandfather and father were band- 
 masters in the army; pupil Madrid 
 Cons. ; took prizes at 1 2 ; then studied 
 with Vieuxtemps, Gevaert and Joach- 
 im; cond. Berlin Phil. Society; taught 
 at Hamburg, Madrid, and Royal 
 College, London; c. comic opera. 
 El Cientro de la Tierra, Madrid, 1895; 
 also for violin and orch. 
 
 Archangel'ski, Alexander A., b. 
 Pensa, Russia, Oct. 23, 1846; organ- 
 ist and cond. since 16; c. 2 masses, 
 a requiem. 
 
 Arensky, A. S., b. July 31, 1861; d. 
 Tarioki, Finland, Feb. 25, 1906. 
 
 Ar'gent, W. I., d. May 18, 1908; 
 organist and cond.; c. masses, etc. 
 
 Ark, Karl Van, 1842 — St. Peters- 
 burg, 1902; pianist and teacher. 
 
 Arl'berg, Qeorg Ephraim, F., 
 Letsand, Sweden, 1830 — Christiania 
 Feb. 21, 1896; barytone. 
 
 Arms'heimer, Ivan Ivanovitch, 
 b. St. Petersburg, March 19, i860; 
 pupil at the cons.; c. i-act opera 
 Sous la feuillee (French text) ; 2-act 
 opera Der Oberhofer (German text); 
 3-act opera Jaegerliv (Danish text); 
 cantatas, songs, etc. 
 
 Arnaud (ar-no), Qermaine, b. Bor- 
 deaux, Dec. 20, 1891; pianist; pupil 
 
 of Paris Cons., winning second piano 
 prize, 1904; first prize, 1905; touredas 
 virtuoso, 1908, with Boston Symph. 
 
 Arres'ti, Giulio Cesare, ca. 1630 — 
 ca. 1695; organist and c. at Bologna. 
 
 Ars,(or Volkov), Nikolai, b. Moscow, 
 1857; composer; cond., studied at 
 Geneva and Milan Cons.; c. oper- 
 ettas, symph. poem, etc. 
 
 Ath'erton Percy Lee, b. Roxbury, 
 Mass., Sept. 25, 1871; composer; 
 graduated Harvard, 1893, studjang 
 music under Paine; studied two years 
 in Munich with Rheinberger and 
 Thuille, then a year in Berlin with 
 O. B. Boise; 1900 studied with 
 Sgambati and Widor; lives at Boston; 
 c. symph., tone poem for orch., Noon 
 in the Forest, opera-comique The 
 Maharaja, comic opera, and many 
 songs of great importance. 
 
 At'kins, Ivor Algernon, b. Cardiff, 
 Nov. 29, 1869; organist and cond.; 
 son and pupil of an organist; later 
 pupil and assistant of C. L. Williams; 
 since 1897, org. Worcester Cath. 
 
 Att'water, J. P., d. April 10, 1909, 
 age 46. org. and cond. in England. 
 
 Aubry (6-bre), Pierre, b. Paris, Feb. 
 14, 1874; historian of liturgical music. 
 
 Auguez (o-ga), Numa, Saleux (Som- 
 me), 1847 — Paris, Jan. 27, 1901; 
 prof, at the Cons.; barytone. 
 
 Aus'tin, (i) Frederic, b. London, 
 Mar. 30, 1872; barytone; organist at 
 Liverpool for some years; then teacher 
 at the College of Music, there till 
 1906; then studied voice with Lunn; 
 debut, 1902, favorite in oratorio and 
 in Wagner operas; c. overture 
 Richard II (Liverpool, 1900): rhap- 
 sody Spring (Queens Hall, 1907), 
 symph. poem Isabella, etc. His 
 brother (2) Ernest, b. London, 
 Dec. 31, 1874; on the Board of Trade 
 till 33 years old, then studied comp. 
 with J. Davenport; c. symph., idyll, 
 march; Love Songs from Don Quixote, 
 for voices and orch.; piano sonata, etc. 
 
 Auxcousteaux (do-koo-to), Arthur 
 d', b. Beauvais, France; d. 1656; 
 
848 
 
 THE MUSICAL GUIDE 
 
 cond. Ste. Chapelle, Paris; c. sacred 
 music. 
 
 Avena'rius, Thos., org. and c. at 
 Hildesheim, 1614-1640. 
 
 Ayres, Frederic, b. Binghamton, N. 
 Y., March 7, 1876; composer; spent 
 a year at Cornell U., 1892; music 
 pupil of E. S. Kelley and Arthur 
 Foote; 1901 went to New Mexico on 
 account of health, since 1902 at 
 Colorado Springs, Col., c. songs and 
 pf. pieces. 
 
 B 
 
 Bache, (batch) Constance; correct 
 dates, Edgbaston, March 11, 1846 — 
 Montreux, June 28, 1903. 
 
 Bac(k)haus (bak'-hows), Wilhelm, 
 b. Leipzig, March 26, 1884; pianist; 
 pupil of Reckendorf and at the Cons., 
 later of d 'Albert; from 1900 toured; 
 1905, piano teacher R. C. M., Man- 
 chester, but won the Rubinstein 
 prize and toured again; 191 1 the U. 
 S.; from 1907 has taught master- 
 courses at Sondershausen Cons. 
 
 Badiali (ba-di-a'-le), Cesare, Imola, 
 1810 — Nov. 17, 1865; basso; debut, 
 Trieste, 1827; sang throughout Italy; 
 1859 in London; said to have been 
 able to sing a scale while drinking 
 a glass of claret. 
 
 Baltzell, Willard J., b. Shiremans- 
 town, Penn., Dec. 18, 1864; gradu- 
 ated Lebanon Valley College; at 
 24 took up music, studied with 
 Emery and Thayer; later in London 
 with Bridge and Parker, later with 
 H. A. Clarke, Philadelphia, as edi- 
 tor; taught musical history and 
 theory at Ohio W'esleyan University 
 one year, then returned to Philadel- 
 phia. The previous statement of 
 his death is an exaggeration; he is an 
 editor in Boston and has edited a 
 "Dictionary of Musicians" (191 1). 
 
 Bantock, Granville, add that 1898 
 he founded the New Brighton Choral 
 Society; 1900 Principal Birmingham 
 and Midland Inst. School of Music 
 
 and cond. various societies; 1908 
 succeeded Elgar in Peyton Chair 
 of Music at Birmingham Univ.; 
 1898 he married Helena von Sch- 
 weitzer. He c. Omar Khayyam for 
 voices and orch. Part I (Birming- 
 ham Fest, 1906) Part II (Cardiff 
 Fest., 1907), Part III (Birmingham 
 Fest., 1909); 7 tone-poems for orch.; 
 2 symphonic overtures, comedy 
 overture, The Pierrot of the Minute, 
 1908; overture to Oedipos at Kolo- 
 nos (Worcester Fest. 191 1); mass for 
 male voices, 1903; chamber music etc. 
 
 Bar'bi, Alice, b. Bologna, ca i860; 
 mezzo-sopr.; pupil of Zamboni, Busi, 
 and Vannucceni; debut, Milan, 1882; 
 toured Europe in concert; also a 
 violinist and poet. 
 
 Barcewicz (bar'-tse-vits), Stanis- 
 laus, b. Warsaw, April 16, 1858; 
 violinist ; pupil of Moscow Cons. ; opera 
 cond. at Warsaw; since 1885 violin 
 prof, at the Cons.; c. violin pieces. 
 
 Bar'nekov, Christian, b. St. Sauveur, 
 France, July 28, 1837; organist; 
 of Danish parentage; pianist and 
 organist; pupil of Helfstedt, Copen- 
 hagen; c. women's choruses with 
 orch.; chamber music and songs. 
 
 Bart'muss, Richard, b. Bitterfeld, 
 Dec. 23, 1859; organist; pupil of 
 Grell, Haupt, Loschom; 1896 royal 
 music director; 1902, professor; c. 
 oratorio Der Tag des Pfingsten; 4 
 organ sonatas and much sacred music. 
 
 Bartz, Johannes, b. Stargard, Jan. 
 6, 1848; organist; pupil Leipzig Cons.; 
 since 1872 org. at Church of Sts. 
 Peter and Paul, Moscow; c. opera, 
 Evangelisches Requiem; oratorio, Der 
 Himmelsbote, etc. 
 
 Bary (ba'-re), Alfred F. von, b. 
 Malta, Jan. 8, 1873; tenor; studied 
 and practised medicine at first; 1902, 
 appeared Dresden Royal Opera; sang 
 Parsifal, Tristan, etc., at Bayreuth. 
 
 Bath, Hubert, b. Barnstaple, Eng- 
 land, Nov. 6, 1883; 1 90 1 pupil of 
 Beringer and Corder at R. A. M., 
 London; 1904, won Goring Thomas 
 
 I 
 
DICTIONARY OF MUSICIANS 849 
 
 scholarship; c. i-act opera, 'T/ie 
 Spanish Student"; symph. poems; 
 cantata The Wedding of Shon Mac- 
 lean; variations for orch. (1904), and 
 many songs. 
 
 Dat'ka, Richard, b. Prague, Dec. 14, 
 1868; critic, historian and librettist. 
 
 Bax, Arnold E. Trevor, b. London, 
 Nov. 8, 1883; pupil of Matthay and 
 Corder at the R. A. M.; c. a sym- 
 phony, symph. pictures, Eire; string 
 quintel, Celtic Song Cycle, etc. 
 
 Bayer (bi'-er), (i) Aloys, Sulz- 
 bach, July 3, 1802 — Grabenstadt, 
 July 7, 1863; tenor; (2) Josef, b. 
 Vienna, Mar. 6, 1852; composer of 
 ballets and operettas; studied at 
 Vienna Cons.; cond. at Court Opera. 
 
 Bay'ley, John Clowes, d. Oct. 
 10, 1909, age 75. English composer 
 of anthems and part songs. 
 
 Beach, John, b. Gloversville, N. 
 Y., Oct. II, 1877; composer; grad- 
 uated at New England Cons., 1898; 
 studied further with Clayton Johns, 
 and in Paris with Harold Bauer. 
 Taught piano and theory, Univ. of 
 Minnesota, two years; in New Orleans 
 three years; then in Boston. Since 
 1910 in Paris studying with Gedalge, 
 c. operettas, Gipsy Trail for bar. and 
 orch., songs, etc. 
 
 Beauvarlet = Charpentier (bo-var- 
 la-shar-pant-ya), (i) Jean Jacques, 
 Abbeyville, 1730 — Paris, 1794; or- 
 ganist and comp. (2) Jacques 
 Marie, Lyons, July 3, 1776 — Paris, 
 Nov. 1834; organist and comp., son 
 of (i). 
 
 Beck'er, Hugo, b. Strassburg, Feb. 
 13, 1864; 'cellist; son of Jean B.; 
 pupil of his father, Griitzmacher, 
 Piatti, etc.; 'celhst at the Opera 
 Frankfort, 1884-86 and 1890-1906; 
 1896, Royal Prof.; succeeded Piatti 
 as 'cellist at London Monday concerts. 
 
 Beck'mann, Wm. Qv., b. Bochum, 
 Jan. 16, 1865; pupil Royal Inst, for 
 church mus.; Berlin; organist, critic, 
 and teacher at Berlin. 
 
 Beck'with, John Charles, 1778 — 
 
 Oct. II, 1819; son and successor of 
 J. Christmas B. as organist, Nor- 
 wich Cathedral. 
 Beechgard should be Bechgaard, 
 
 on p. 409. 
 
 Beethoven, Ludwig van, add that 
 a symphony supposed to be a youth- 
 ful work of his was discovered 
 191 1 in the library of the Universi- 
 ty of Jena, by Prof. Fritz Stein, was 
 performed there Jan 17, 1910, and 
 published 1911; performed in Leip- 
 zig, Nov. 191 1, and by Boston Symph., 
 191 2. It is not generally accepted 
 as Beethoven's but is found weak and 
 uninteresting, of Haydnlike simplic- 
 ity, with echoes of Mozart. 
 
 Behaim (be-him'), Michel, Sulz- 
 bach, 1416 — murdered there, 1474; 
 soldier and minnesinger. 
 
 Belch'er, William Thomas, d. 
 Birmingham, May 6, 1905, age 78. 
 mus. d.; organist. 
 
 Bell, William Henry, b. St. Albans, 
 Aug. 20, 1873; pupil at the R. A. M.; 
 won Goss scholarship, 1889; since 
 1903, prof, of harmonj^, there c. 
 symphonies Walt Whitman (1900), 
 and The Open Road, 3 s>Tnph. poems 
 to the Canterbury Tales; symph. 
 poems, Love Among the Ruins (1908); 
 The Shepherd (1908), etc. 
 
 Bellaigue, (bel-leg),Camille,b.Paris, 
 May 24, 1858; critic and essayist; 
 pupil of Paladilhe and Marmontel. 
 
 Bellincioni, Gemma, add that she 
 was b. Como, Italy, Aug. 18, 1866; 
 widow of the tenor, Stagno. 
 
 Bendix (i) Otto, correct birth date, 
 July 26, 1845. (2) Victor, correct 
 birth date. May 17, 1851. (3) Fritz, 
 b. Copenhagen, Jan. 12, 1847; brother 
 of (i) and (2); 'cellist; pupil of 
 Griitzmacher; plays in Royal Orch. 
 at Copenhagen. 
 
 Benoit (bun-wa), Camille, pupil 
 of Cesar Franck; 1888-1895, assist- 
 ant conservator at the Louvre; since 
 1895 conservator; c. overture, 1880; 
 text and music of opera Cleopatre, etc. 
 author of Souvenirs, 1884, and 
 
850 
 
 THE MUSICAL GUIDE 
 
 Musiciens, poetes et philosophes, 1887; 
 also translator. 
 
 Ber'ber, Felix, b. Jena, March 11, 
 187 1 ; violinist; pupil of Dresden Cons, 
 and Leipzig Cons.; concertmaster in 
 various cities; IQ04-1907 prof. Royal 
 Acad., Munich; 1907 at Frankfort-on- 
 Main; since 1908 at Geneva Cons.; 
 toured widely; 1910, America. 
 
 Bern'eker, Constanz, Darkehmen, 
 E. Prussia, Oct. 31, 1841 — Konigs- 
 berg, June 6, 1906; conductor and 
 comp. 
 
 Bernhardt, August, b. St. Peters- 
 burg, Jan. 15, 1852; pupil at the 
 Cons, and since 1898, director. 
 
 Berteau, (Berteaud or Berthau), 
 (ber'-to), (i) Martin, Valenciennes, 
 (?) — Paris, 1756; the first important 
 'cellist; c. violin sonatas. (2) Qa= 
 briel, c. 'cello concerto about 1800. 
 
 Bestandig (be-sten'-dikh). Otto, b. 
 Striegau, Silesia, Feb. 21, 1835; 
 cond. and comp.; pupil of Mettner, 
 etc. in Breslau; founded a conserv'a- 
 tory in Breslau; c. oratorio Der 
 Tod Baldiirs and Victoria Crucis, etc. 
 
 Betts, Thomas Percival Mil= 
 bourne, d. Aug. 27, 1904, age 53. 
 English critic. 
 
 Beyschlag (bi'-shlakh), Adolf, b. 
 Frankfort-on-]SIain, March 22, 1845; 
 cond. pupil of V. Lachner; conductor 
 at Frankfort, later at Belfast, Man- 
 chester, Leeds; since 1902 at Berlin; 
 1907 made Roj-al Prof.; author and 
 comp. 
 
 Biaggi, correct birth date is 1819. 
 
 Bibl (beb-'l), (i) Andreas, Vienna, 
 1 79 7-1 8 78 organist and composer. 
 His son and pupil (2) Rudolf, 
 Vienna, Jan. 6, 1832 — Aug. 2, 1902; 
 pupil of Lechter; organist and com- 
 poser of organ sonata, etc. 
 
 Bidez (be-des), L. Aloys, b. Brussels, 
 Aug. 19, 1847; teacher and com- 
 poser of operetta The Stratagem; piano 
 concerto, etc.; lived in the U. S., 
 1876-1901; then returned to Brussels. 
 
 Bie (be), Oskar, b. Breslau, Feb. 9, 
 1864; critic; pupQ of Ph. Scharwenka; 
 
 1886, Dr. Phil.; 1890, Privat Docent 
 at Technical High School, Berlin; 
 author of books; also comp. 
 
 Biehr (ber), Oskar, b. Dresden, 1851; 
 vioUnist; pupil of David; for twenty- 
 five years member of Munich court 
 orchestra. 
 
 Biernacki (be-er-nat'-ske), Michael 
 Marian, b. LubUn, Sept. 9, 1855; 
 comp.; pupil of Warsaw Cons.; di- 
 rector there; comp. 2 masses. Prologue 
 for orch., etc. 
 
 Bin'der, Fritz, b. Baltimore, 1873; 
 pianist; at 7 toured Europe in con- 
 cert; studied with Leschetizky and 
 at Cologne Cons.; from 190 1, dir. of 
 the Danzig Singakademie. 
 
 Bird, Henry Richard, b. Nov. 14, 
 1842; organist; son of George B., 
 an organist; at 9, became org.; pupil 
 of Turle; since 1872 org. at St. Mary 
 Abbots, London; conducted concerts, 
 and won prominence as accompanist. 
 
 Bishop, Ann, or Anna, London, 
 1814 — New York, March 18, 1884; 
 soprano; daughter of Jules Riviere; 
 married Sir Henr>' Bishop, 1831, 
 deserted him for the harpist Bochsa, 
 with whom she toured the world in 
 concert; after his death, in 1856, she 
 married a Mr. SchuLz. 
 
 Bishop, John, 1665 — Winchester, 
 Dec. 19, 1737; organist and composer. 
 
 Bispham, David, correct birth date 
 is Philadelphia, Jan. 5, 1857. 
 
 Bitt'ner, Julius, composer of operas, 
 Die Rote Grat (Vienna, 1907), and Der 
 Miisikant (Dec. 2,1911, Leipzig Opera) 
 
 Black, Andrew, b. Glasgow, Jan. 
 15, 1859; bar>-tone; at first an organ- 
 ist; then pupil of Randegger and 
 Scafati; sang at the Cr>^stal Palace, 
 1887; toured America; famous as 
 "Elijah"; 1893, Prof, of singing 
 R. CM., Manchester. 
 
 Black'burn, Vernon, d. Padding- 
 ton, London, Feb. 14, 1907, age 40. 
 Prominent English critic; for many 
 years on the "Westminster Gazette," 
 London; author of "The Fringe of an 
 Art." 
 
 
 ElJitt. 
 
 
DICTIONARY OF MUSICIANS 851 
 
 Blanc (blan), Claudius (rightly 
 Claude), Lyons, March 20, 1854 — 
 June 13, 1900; pupil of Paris Cons., 
 winning first harmony prize, 1875, 
 2nd Prix de Rome, 1877; Dir. Mus. 
 
 • school Marseilles, 1887-9, then cho- 
 rus master, Paris Op.;c. "Ste. Gene- 
 vieve de Paris" for orch. and songs. 
 
 Blaser'na, Pietro, b. Fiumicello, 
 Feb. 29, 1836; teacher and theorist. 
 
 Blauvelt, Lillian Evans, correct 
 birth date is Brooklyn, N. Y., March 
 16, 1873; she made her debut in 
 opera in "Faust" at Covent Garden, 
 1903, with success. 
 
 Blavet, (bla-va), Michel, Besangon, 
 Mar. 13, 1700 — Paris, Dec. 28, 1768; 
 composer of comic operas, etc. 
 
 Bleech, (blakh) Leo, b. Aachen, April 
 22, 1 871; conductor; pupil of Berlin 
 Hochschule; 1893- 1896, cond. at 
 Municipal Theatre, Aachen, and pupil 
 of Humperdinck; 1899-1906, cond. 
 German Laudestheatre at Prague; 
 1906, Royal Opera, Berlin; 1908, 
 cond. first East-Prussian Festival at 
 Konigsberg; c. 3 symph. poems, 
 very successful i-act opera. Das 
 War Ich, (Dresden, 1902); 3-act 
 opera Aschenhrodel (Prague, 1905); 
 Versiegelt (Hamburg, 1908; New 
 York, 191 2), etc. 
 
 Bleichmann (blikh'-man), Julius 
 Ivanuvitch, b. St. Petersburg, Dec. 
 5, 1868; conductor; pupil at the 
 Cons., and of Reinecke and Jadas- 
 sohn; cond. various orchs. at St. 
 Petersburg; c. 2 operas, chamber 
 music, etc. 
 
 Bleyle (bll'-le), Karl, b. Feldkirch, 
 May 7, 1880; pupil of Wehrle and de 
 Lange; later at Stuttgart Cons, and of 
 Thuille; gave up violin on account of 
 nervous affliction of the arm; hves in 
 Munich; c. symph.. An den Mistral 
 (from Nietzsche), for mixed chorus 
 and orch., Lernl lachen (from Nietz- 
 sche's ' Zarathuslra"), do.; symph. 
 poem Flagellantenztig, Berhn; Mun- 
 ich, 1908; Berlin, 191 1, etc. 
 
 "Blind Tom," vide Wiggins, 
 
 Blon (blon), Franz Von, b. Berlin, 
 July 16, 1 861; cond.; pupil of Stem's 
 Cons.; 1898, c. operettas Sub rosa 
 (Liibeck, 1887); Die Amavone (Mag- 
 deberg, 1903), etc. 
 
 Blondeau (bl6n-do), Pierre Au= 
 guste Louis, Paris, Aug. 15, 1784- 
 1865; viola-player at the Opera; 
 pupil of the Cons., taking the Prix de 
 Rome, 1808; c. opera, ballet, etc. 
 
 Blu'menberg, Franz, b. Remagen, 
 Feb. 28, 1869; organist at Cologne; 
 c. songs, male choruses, etc. 
 
 Blumenfeld, (i), Felix M., correct 
 birth date to April 19; since 1898 
 cond. Imperial Opera, St. Petersberg. 
 His brothers are (2), Stanislaus, 
 Kiev, 1850-1897, pianist and teacher; 
 (3) Sigismund, b. Odessa, Dec. 
 27, 1852; song-composer, living in St. 
 Petersburg. 
 
 Blumenschein (bloo'- men -shin), 
 William Leonard, b. Brensbach, 
 Dec. 16, 1849; pupil of Leipzig 
 Cons.; since 1879 organist, teacher 
 and cond. at Dayton, Ohio; 1891-96, 
 chorus master at the Cincinnati May 
 Festivals; c. anthems, piano pieces, 
 etc. 
 
 Blumenthal, Jacques, correct birth 
 date is 1829, d. Chelsea, May 17, 1908. 
 
 Blumer, (bloo'-mer), Fritz, b. 
 Claris, Aug. 31, i860. Swiss pianist; 
 pupil of Geneva and Leipzig Cons, 
 and of Liszt; since 1886 teacher at, 
 Strassburg Cons. 
 
 Bodenstein (bo'-den-shtin), Her= 
 mann, Gandersheim, March 27, 1823 
 — Braunschweig, April 12, 1902; 
 organist. 
 
 Bodin, (bo-dan), Frangois Etienne, 
 Paris, March 16, 1793 — Aug. 13, 1862; 
 teacher of theory at Paris Cons.; 
 author of a treatise. 
 
 Bodi'nus, Sebastian, flourished 
 1 7 25-1 7 56; born in duchy of Alten- 
 burg; violinist and composer. 
 
 Boheim, (ba'-him), Joseph Mi= 
 chael, Prague, 1748 — Berlin, July 
 4, 1811; actor and singer. 
 
 Boismortier (bwa-m6rt-ya), Josef 
 
852 
 
 THE MUSICAL GUIDE 
 
 Bodin De, Perpignan, ca. 1691 — • 
 Paris, ca. 1765; c. ballet operas, 
 cantatas, etc. 
 Bolsche (bel'-she), Franz, b. Wegen- 
 stedt, near Magdeburg, Aug. 20, 
 1869; theorist; pupil Beriin Royal 
 Hochschule; 1896, teacher Cologne 
 Cons.; c. overture Judith, etc. 
 Bonci (bon'che), Alessandro, b. 
 Cesena, n. Bologna, 1870; famous 
 lyric tenor; at 7 sang in choir, 
 studied singing with Coen at Pesaro 
 Lyceum for 5 years; then member 
 of choir at Loreto; operatic debut in 
 "Falsh^ff"; sang with great success 
 at Covent Garden, 1900, and in 1908; 
 sang at Metropolitan Opera House; 
 toured U. S., I9ii-i9i2;sings in Italy. 
 Bo'niforti, [Carlo, Arona, Sept. 25, 
 1818 — Trezzo d'Adda, Dec. 10, 1879; 
 organist and comp. 
 Bonini (bo-ne'-ne), Severo, b. Flor- 
 ence, 17th centurjr; Benedictine 
 monk, one of the first writers in mono- 
 die style; c. madrigals, etc., 1607- 
 1613. 
 Booth, Robert, b. St. Andrews, 
 Dec. 29, 1862; English organist; c. for 
 orch.; church music, etc. 
 Bopp, Wilhelm, b. Mannheim, 
 Nov. 4, 1863; pupil of Leipzig Cons., 
 and of Emil Paur; 1884, dir. in Frei- 
 burg; 1886, assistant to Mottl at 
 Ba>Teuth; 1889, teacher at Mann- 
 heim Cons.; 1900, opened a High 
 School of Rlusic; 1907 dir. Royal 
 Cons., Vienna; cond. His wife, bom 
 Qlaser, is a court opera singer at 
 Stuttgart. 
 Borchers (b6r'-khgrs), (i) Bodo, 
 1835 — Leipzig, June 6, 1898; opera 
 singer and teacher in Leipzig. (2), 
 Qustav, b. Braunschweig, Aug. 18, 
 1865; pupil Leipzig Cons.; cantor and 
 teacher of song; since 1898, directed 
 a singing-school at Leipzig. 
 Bordes (bord), Charles, Vouvray- 
 sur-Loire, May 12, 1863; — Toulon, 
 Nov. 8, 1909; composer; important 
 figure in the revival of French church 
 music; pupil of Cesar Franck; 1887, 
 
 church - conductor at Nogent - sur - 
 Mame; 1889 commissioned by the 
 govt, to collect Basque folk music; 
 from 1890 chapel-master at St. Ger- 
 vais, Paris; founder of the "Associa- 
 tion of the Singers of St. Gervais" and 
 of the "Schola Cantoriim de St. G.," 
 1898 with d'Indy and Guilmant; 1905 
 retired to Montpellier and founded a 
 Schola there; 1909 went to Nice to 
 give a concert and died on his way 
 home. He resuscitated many for- 
 gotten master works, and wrote many 
 articles on them; c. Phantasie and 
 Rapsodie Basque for orch.; opera Les 
 trois V agues, religious music, choruses, 
 and songs and piano pieces. 
 
 Bo'rek, Christoph, d. 1557; Polish 
 composer and conductor. 
 
 Bo'ri (rightly Borgia), Lucrezia, 
 soprano; studied at Milan; 1911-12 
 at La Scala. In 1910 singing in Paris 
 with the Met. Op. Co. of N. Y. She 
 was engaged for New York 191 2-13. 
 
 Born'hardt, Johann, Braunschweig, 
 March 19, 1774 — April 19, 1840; c. 
 Singspielen, etc. 
 
 Borosini (bor-o-se-ne), (i), Fran= 
 cesco, b. Bologna, ca. 1695; oper- 
 atic tenor in 1723 at the Grand 
 Opera, Prague, and 1724-1725 in 
 London, with his wife (2), Leonora 
 d' Ambreville, a contralto of 
 French birth. 
 
 Bosch, Pieter Joseph, Hoboken, 
 Holland, 1736 — Antwerp, Feb. 19, 
 1803; organist at Antwerp Cathedral; 
 c. sonatas. 
 
 Boschetti (b6s-ket'-te), Viktor, b. 
 Frankfort-on-Main, Aug. 13, 1871; 
 pupil of Prague Cons.; from 1896, 
 organist at Vienna and Dir. Court 
 Opera, 1900-3; c. 5 operas, church 
 music, etc. 
 
 Botelho (bo-tel'-yo), Manuel Joa= 
 ^uim Pedro, Lisbon, 1795 — April 
 9, 1873; flutist and teacher of theorj'. 
 
 Bottini, (b6t-te'-ne), Marianna 
 Andreozzi, the Marchesa, Lucca, 
 Nov. 7, 1802 — Jan. 24, 1858; she 
 composed masses, overtures, etc. 
 
 II 
 
DICTIONARY OF MUSICIANS 853 
 
 Boucheron (boosh-r6n),Raimondo, 
 Turin, Mar. 15, 1800 — Milan, Feb. 
 28, 1876; cond.,theorist and composer. 
 
 Bouhy (boo'-e), Jacques, b. Pcpin- 
 ster, Belgium, 1848; barytone; pupil 
 at Liege Cons., then Paris Cons.; 
 1871, the Opera Paris; after 1872 at 
 Opera Comique, creating the Torea- 
 dor role in "Carmen," etc.; 1885-89, 
 director of New York Conservatory; 
 returned to Paris Opera; later a 
 famous teacher; c. songs. 
 
 Bouman (boo'-man), Martin T., 
 b. Herzogenbusch, Holland, Dec. 29, 
 1858; pupil of Bree and Holl; city 
 director at Gouda; c. operas, masses, 
 etc. 
 
 Bouval (boo-val), Jules Henri, 
 
 b. Toulouse, June 9, 1867; pupil of 
 Paris Cons., taking first harmony 
 prize 1889; org. St. Pierre de Chaillot; 
 
 c. i-act operas, ballets "Lo Chaine 
 d' Amour" for voice and orch., songs, 
 etc. 
 
 Bo'wen, York, b. London, Feb. 22, 
 1884; composer and pianist; 1898- 
 1905, pupil of the R. A. M.; c. 3 con- 
 certos; symph. fantasia for orch. 
 brought out by Richter; concerto 
 and sonata for the viola, etc. 
 
 Boyle, Geo. Frdk, b. Austraha; 
 teacher at Peabody Cons., Baltimore; 
 c. piano concerto, which he cond. with 
 success Feb. 191 2 at New York Phil. 
 
 Boyvin (bwa-van), Jacques, d. 
 Rouen, ca, 1706; organist there in 
 1674; c. organ music. 
 
 Brad 'ford, Jacob, b. London, June 
 3, 1842; organist; pupil of Goss and 
 Steggal; Mus. Doc. Oxford, 1878; 
 since 1892 organist at St. Mary's, 
 Newington; c. oratorio "Jtidith"; 
 Sinfonia Ecclesiasiica with double 
 chorus; overtures, etc. 
 
 Brady, Sir Francis, d. Co. Tyrone, 
 Ireland, 1909; well-known amateur 
 musician and one of the founders 
 of the Royal Irish Academy of Music; 
 c. several songs, etc. 
 
 Brandl, Johann, b. Kirchenbirk, 
 Bohemia, Aug. 30, 1835; c. operettas. 
 
 Brandram, Rosina (Mrs. But= 
 cher), d. Southend-on-Sea, Feb. 
 28, 1907, age 61. Noted contralto in 
 Gilbert and SuUivan operas. 
 
 Brandt, Herman, Hamburg, 1852 
 — New York, Dec. 27, 1910; pupil 
 Leipzig Cons.; settled in San Fran- 
 cisco; later cond. the Philh. orch. 
 there; then taught in N. Y.; at one 
 time was concertmaster Theodore 
 Thomas Orch. 
 
 Bran'dukov, Anatol Andreje= 
 vitch, b. Moscow, Jan. 6, 1859; 'cel- 
 list; pupil Moscow Cons.; spent many 
 years in Paris; founded a quartet 
 there with Marsick; 1890 returned 
 to Moscow; c. for 'cello and orch., etc. 
 
 Brassart, Johannes, priest, com- 
 poser and singer; in Papal Choir 
 in 143 1 ; probably same as Johannes 
 de Ludo; c. sacred music. 
 
 Braun, (i) Anton, Cassel, Feb. 6, 
 1 729-1 790; violinist and c; perhaps 
 the son of (2) Braun, whose flute 
 compositions were pub. in Paris 1729- 
 1740. His brother (3) Johann, 
 Cassel, 1753 — Berlin, 1795, vio- 
 linist and comp. (4) Johann Fr., 
 Cassel, 1759 — Ludwigslust, 1824; 
 oboist and comp.; father of (5) Karl 
 A. P., b. Ludwigslust, 1788; oboist; 
 and of (6) Wilhelm, b. Ludwigs- 
 lust, 1 791; oboist, whose wife was his 
 cousin (7) Kathinka B., a singer. 
 
 Bredal (bra'-dal), (i) Niels Krog, 
 Drontheim, 1733 — Copenhagen, 
 Jan. 26, 1778; theatre-director and 
 comp. of cantatas. (2) Ivar Fred= 
 erick, Copenhagen, June 17, 1800- 
 March 25, 1864; viola player; c. op- 
 erettas; cantata "Judas Iscariot, " etc. 
 
 Breithaupt, (brit-howpt) Rudolf, 
 Maria, b. Braunschweig, Aug. 11, 
 1873; critic and teacher; pupil Leipzig 
 Cons., 1897; c. songs. 
 
 Brend'ler, Erich, b. 1800 — Stock- 
 holm, 183 1 ; c. opera "Ryno" with 
 Prince Oskar of Sweden (prod. 
 Stockholm, 1834), etc. 
 
 Brescianello (bre'-sha-ngl'-lo), Giu= 
 seppe Antonio, Mus. Director at 
 
854 
 
 THE MUSICAL GUIDE 
 
 Stuttgart, 1 71 7-1 757; published vio- 
 lin concertos, etc. 
 Bress'Ier=Qianoli (ja-no'-le) Mme. 
 
 b. Geneva, i87o(?); d. there after 
 operation for appendicitis. May 12, 
 191 2. Operatic mezzo-sopr; studied 
 Paris Cons., debut Geneva, at 19; 
 1900, Paris Op. Com., 1903 with New 
 Orleans Op. Co., from 1907 sang with 
 success at Manhattan Opera, N. Y.; 
 1910 with Metropolitan Opera, N. Y.; 
 her "Carmen" was famous. 
 
 Breton y Hernandez (bra-t6n 
 e er-nan'-deth), Tomas, b. Salam- 
 anca, Dec. 23, 1850; leading Spanish 
 composer of zarzuelas, an oratorio 
 Apocalypsia (1882), for orch. "Att- 
 dalusian scenes"; funeral march for 
 Alfonso XII, etc. 
 
 Breval, Lucienne, Add that her cor- 
 rect name is Berthe A. L. Schill^ 
 ing,correct birth date, Berlin, Nov. 
 4, 1869; pupil of Warot at Paris Cons.; 
 debut. Opera, 1892; sang there till 
 1900, then at Op. Com.; 1902 re- 
 turned to the Opera. 
 
 Breville (bra-vel), Pierre Onfroy 
 de, b. Bar-le-Duc, France, Feb. 21, 
 1861; composer and critic, diplo- 
 matic career; then studied at Paris 
 Cons, and with Cesar Franck; 
 teacher at the Schola Cantorum; c. 
 masses, sacred chorus with orch., 
 Sainte Rose de Lima; symph. poem, 
 Nuit de decembre; overture, Prhiccsse 
 Maleine, music for Les sept Princesses, 
 and Sakiintala, etc., orch. fantasie 
 "Portraits des Musiciens"; songs, etc. 
 
 Bridge, (i) Sir John Frederick; 
 1902, made member of the Vic- 
 torian Order; 1903, King Edward 
 Prof, of Music, London University; 
 (2) Frank, b. Brighton, Feb. 26, 
 1879; viola player; pupil of R. A. M., 
 gaining a scholarship in composition; 
 
 c. prize quartet in E. Minor (Bologna 
 competition); string quartet "Three 
 Idylls"; rhapsody for orch. and sjTnp. 
 poem, "Isabella" (igoj). 
 
 Briesemeister, ( bre'- ze-mi-ster ), 
 Otto, Amswalde,May 18, 1866 — 
 
 I. 
 
 Berlin, June 17, 1910; tenor; at first a 
 doctor, then a pupil of Wiedemann; 
 debut, 1893, Detmold. 
 
 Bright, Dora Estella, b. Sheffield, 
 Aug. 16, 1863; pianist; pupil R. A. M., 
 London; 1892 married Capt. Knatch- 
 bull; c. 2 piano concertos ; variations 
 with orch., etc. 
 
 Bron'ner, Qeorg, Holstein, 1666 — 
 Hamburg. 1724; organist ; c. for the 
 Hamburg Opera "Echo and Nar- 
 cissus," "Venus," etc. 
 
 Brons, Simon, b. Rotterdam, April 
 19, 1838; composer; teacher and 
 ^vTiter; author of theoretical works; 
 Uves at The Hague. 
 
 Broschi, Carlo; real name of the 
 great male soprano "called Farinelli, 
 perhaps after his uncle who was a 
 composer. 
 
 Brounoff(broo'-n6f), Platen, b. Eli- 
 zabethgrad, Russia, 1869; composer; 
 pupil of Rubinstein and Rimsky- 
 Korsakov, St. Petersburg Cons.; 
 cantata "The Angel" prod, at court; 
 hves in New York as cond. of Russian 
 choral society, etc.; c. piano suites 
 and songs. 
 
 Bruch, Max. Add that he received 
 in 1908 the Prussian order for merit 
 in art and learning, and many 
 honors from England, France, etc. 
 His fiu-ther compositions include the 
 secular oratorio, Giisiav Adolf^ (1898), 
 Nal nnd Damajant (1903); Die Macht 
 des Gesanges, for barytone, mixed: 
 chor. and orch. (1912.) 
 
 Bru'dien, Juan, Spanish priest; 
 cond, at Cathedral of Urgel, 1585; 
 later at Barcelona; c. madrigals, etc. 
 
 Bruneau, Alfred. Note that Octave 
 Sere, in his Musiciens franqais d'au- 
 jourd'hui (Paris, 191 1), gives the 
 date of Bruneau's birth as IMarch ist. 
 not 3rd. Add to his compositions the 
 operas, all to Zola's texts: UOuragan, 
 (Op. Com. 1901); lyric comedy in 
 3 acts, L' Enfant Roi (Op. Com. 1905);!! 
 i-act lyric drama Lazare (1905); 
 incid. music to La Fante de I'Abl^ 
 Mouret (Odeon, 1907); lyric dranaj^trfr 
 
DICTIONARY OF MUSICIANS 855 
 
 work 
 
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 ipffit! 
 
 ;imsb 
 
 COE; 
 
 icomt 
 
 RlEH 
 
 ![ mem 
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 iidetli 
 
 ■,1898! 
 
 pne! 
 L ijii 
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 iOcta« 
 
 jrctii 
 tionsi 
 
 iVaw Micoulin (Monte Carlo, 1907); 
 Les Qiiatre Journees (accepted at 
 the Op. Com.); also songs, etc. 
 
 Bruns, (broons) (Molar) Paul, b. 
 Werden, June 13, 1867; tenor, bary- 
 tone, and teacher; studied in Leipzig 
 and Italy; gave historic song-recitals; 
 since 1902 teacher of singing in Berlin; 
 author of a vocal method, etc. 
 
 Buchmayer (bookh'-mi-gr), Rich= 
 ard, b. Zittau, April 19, i8s7;pupil 
 Dresden Cons.; later piano teacher 
 there; 1907 Royal Saxon Prof.; gave 
 many concerts of ancient clavier 
 music and then devoted himself to 
 musical history. 
 
 Buchner (bookh'-ner), (i) Hans, 
 Ravensburg, Dec. 26, 1483-1540; 
 organist and comp. (2) Philipp Fr., 
 Wertheim, 1614 — Wiirzburg, 1669; 
 cond. and comp. 
 
 Buchner (bukh'-ner), b. Pyrmont, 
 1825; flutist and composer; from 
 1856, soloist at St. Petersburg Royal 
 Opera, and Prof, at the Cons. 
 
 Buck, (i) Dudley; retired from 
 church work 1903; d. Brooklyn, N. Y. 
 Oct. 6, 1909. (2) Percy Carter, 
 b. West Ham., March 25, 1871; pupil 
 at R. A. M., London; won scholarship 
 1891-4, organist at Oxford; 1893, 
 Mus. Doc; 1896-9, organist Wells 
 Cathedral, 1899-1901, Bristol Cathe- 
 dral; 1910, prof, of music Dublin 
 University, vice-Pres.; c. overture 
 "Coeiir de Lion"; chamber music, etc. 
 
 Buhl (bill), Joseph David, b. Am- 
 boise, 1 781; famous trumpet-player 
 at Paris; author of trumpet-method. 
 
 Bullerian (bool-la'-ri-an), Rudolf, 
 b. Berlin, Jan. 13, 1858; director; 
 pupil Stem Cons.; played in orches- 
 tras from his i6th year; 1884, 
 municipal director at Gottingen; 1890 
 in Russia, settling at Moscow, con- 
 ducting in other cities; since 1902 in 
 America. 
 
 Biimler (bim'-ler), Qeorg Hein=- 
 rich, Berneck., Oct. 10, 1669 — 
 Ansbach, Aug. 26, 1745; cond. and 
 comp. of church music. 
 
 dri! 
 
 Buonamici, Carlo, b. Florence, 
 June 20, 1875; pianist; son and pupil 
 of Giuseppe (q. v.), later studied at 
 Wiirzburg Royal Musicsch., with 
 Van Zeyl, taking first prize; after 
 year in the army, settled in Boston, 
 1896, as teacher and pianist with 
 Boston Symph. Orch., etc.; 1908 
 toured Europe. 
 
 Buongiorno (boo-6n-j6r'-no), Cres= 
 cenzo, Bonito, 1864 — Dresden , 
 Nov. 7, 1903; c. operas. 
 
 Busoni, F., add that in 1907 he suc- 
 ceeded Sauer as teacher of the master 
 class at Vienna Cons.; 191 1 toured 
 America, c. symph. tone-poem 
 "Pojohla's Tochter," festival over- 
 ture, 1897; music to "Berceuse ele- 
 giaque," for orch.; Schiller's "Turan- 
 dot"; transcribed Bach's organ works 
 for piano; wrote " Entunirf einer neiien 
 Aesthetik der Tonkunst.'" His opera, 
 "Der Braidwahl," was prod. Ham- 
 burg, April 13, 1912, based on Hoff- 
 man's " Serapeons' Brilder." 
 
 Butler, Thomas Hamly, London, 
 1762 — Edinburgh, 1823; comp. 
 
 Cabezon (ka'-ba-th6n), (i) (Felix), 
 Antonio De, Santander, March 
 30,1510 — May 26, 1566; composer; 
 cembalist and organist to Philip II; 
 called "The Spanish Bach"; blind 
 from birth; c. harp and flute pieces, 
 published in 1578 by his son (2) 
 Hernando, who succeeded him. 
 
 Cad'man, Charles Wakefield, b. 
 Johnstown, Pa., 1881; at 13 began 
 piano studies, at 19 composed a 
 comic opera, prod, at Pittsburg, but 
 did not study composition till 20; 
 pupil of W. K. Steiner (organ), Luigi 
 von Kunits (orchestration), with 
 critical advice from Emil Paur; took 
 up Indian music, 1906 published 
 "Four Indian Songs"; 1909 spent 
 summer among the Omaha Indians, 
 taking phonograph records and 
 transcribing them; gives lecture- 
 
856 
 
 THE MUSICAL GUIDE 
 
 recitals on Indian music, c. Three 
 Moods for symph, orch.; chamber 
 music; cantata for male voices The 
 Vision of Sir Laimfal, Japanese 
 romance for two voices, Sayonara; 
 three Songs to Odysseus; Indian songs, 
 etc. 
 
 Cahier (ka-her'), Mme. Charles 
 (nee Walker, ), contralto; b. Ten- 
 nessee; sang in concert as Mrs. Mor- 
 ris Black, then studied with Jean de 
 Reszke; debut in opera as "Orfeo" 
 (Nice, 1904); sang in other cities and 
 from 1909 at Vienna Royal Opera. 
 191 2 at Met. Op., N. Y. 
 
 Caland (ka'-lant), Elizabeth, b. 
 Rotterdam, Jan. 30, 1862; teacher 
 and author of piano methods. 
 
 Camar'go, (i) Feli.x Antonio, b. 
 Guadalajara, i6th cent.; cathedral 
 cond. at Valladohd; c. remarkable 
 h>Tnn to St. lago, etc. (2) see Cupis 
 
 Camerloher (kam'-^r- lo-Sr), (i) 
 Placidus Von, Mumau, 1710 — 
 Freising, 1776; c. operas, etc.; his 
 brother (2) Anton, d. Munich, 
 1743; c. opera. 
 
 Calve, Emma, b. Decazeville,'France 
 — not at Madrid, 1863 (1866?); mar- 
 ried the tenor Mario Gaspary, 191 2. 
 
 Camet'ti, Alberto, b. Rome, May 
 S, 1871; organist; pupil at Acad- 
 emy of St. Cecilia; organist of the 
 French church of St. Louis at Rome; 
 historian of music and comp. 
 
 Campanini (kam-pa-ne'-ne), Cleo= 
 fonte, conductor; pupil Milan 
 Cons., later teacher there; cond. at 
 La Scala, Covent Garden, and 1906- 
 II at Manhattan Opera House, New 
 York, 191 2 at London; married Eva 
 Tetrazzini, operatic soprano (sister 
 and teacher of Luisa). 
 
 Campbell = Tipton, Louis, b. 
 Chicago, Nov. 21, 1877; studied in 
 Chicago, Boston and Leipzig; lives in 
 Paris ;his important compositions have 
 been much played abroad, notably his 
 ''Heroic" sonata for piano, piano 
 suites, ''The Four Seasons," "Suite 
 Pastorale, " for piano and violin. 
 
 Canal (ka'-nal), Abbate Pietro, 
 
 Crespano, April 13, 1807 — Dec. 15, 
 1883; historian and comp. 
 
 Canale (or Canali ) (ka-na'-le), 
 Floriano, organist at Brescia, 
 1585-1603; c. church music. 
 
 Canob'bio, Carlo, violinist at Im- 
 perial Theatre, St. Petersburg, 1779- 
 1800; c. 2 operas, ballets, etc. 
 
 Cantor, Otto, b. Creuznach, Rhen- 
 ish Prussia, 1857. 
 
 Capel'len, Qeorg, b. Salzuflen, 
 Lippe, April i, 1869; theorist and 
 comp.; took up music in 1901; author 
 of important works on modem har- 
 monic analysis. 
 
 Caplet, (kap-la), Andre, b. Havre, 
 1879; pupil of Wollett; violinist at 
 Havre Theatre, 1896; pupil of 
 Lerou.x at Paris Cons., winning first 
 harmony prize, 1898, and Prix de 
 Rome, 1901; lived in Rome, then in 
 Germany; acted as assistant to 
 Colonne, 1898; 1900, was the first 
 to cond. Debussy's Martyre de San 
 Sebastien; 1911-12 cond. at Boston 
 Op.; c. prize quintet for wind instrs., 
 etc. 
 
 Capri, (ka-pre) Julius, b. Marseilles, 
 1837; pianist and teacher in St. Pe- 
 tersburg after 1853; pupil Marseilles 
 Cons.; c. opera Leoriore, etc. 
 
 Capuzzi (ka-pood'-ze), Giuseppe 
 Antonio, Brescia, 1753-1818; c. 
 5 operas, etc. 
 
 Cara (ka'-ra), Marco, called Mar- 
 chetto, court composer at Mantua, 
 1495-1525. 
 
 Carlez (kar-l6s), Jules Alexis, b. 
 Caen, Feb. 10, 1836; organist, his- 
 torian and comp. 
 
 Car'nall, Arthur, Petersborough, 
 May 7, 1852 — Penge, June 30, 1904; 
 from 1873 organist at St. John's, 
 Penge; c. overture, 2 quintets, etc. 
 
 Caro (ka'ro), Paul, b. Breslau, Dec 
 25, 1859; pupil of SchaSer and. 
 Scholz, and Vienna Cons.; c. 2 operas, 
 4 symph., 30 string-quartets, etc. 
 
 Caron (ka-r6n), (i) Firmen, should 
 be Philippe; (2) Rose Lucile (n& 
 
 ai 
 
 li 
 
DICTIONARY OF MUSICIANS 857 
 
 
 Meuniez), b. Monerville, France, 
 Nov. 17, 1857; soprano; after her 
 marriage entered Paris Cons., 1880, 
 as pupil of Tharset, later of Marie 
 Sasse; debut Brussels, 1883; 1885-8, 
 Paris Opera; 1888-90, Brussels; from 
 1890, Opera Paris; also at the Op. 
 Com., from 1902 prof, at the Cons. 
 She created many of the chief rdles 
 in modern French Opera and in 
 French versions of Wagner. She 
 sang Salammbo at the Opera, 1908. 
 
 Car'penter, John A. b. Park Ridge, 
 111., 1876; pupil of his mother (a 
 pupil of Marchesi and Shakespeare), 
 Amy Fay, Seeboeck; then graduated 
 at Harvard, 1897, studying music 
 under Paine and taking highest 
 musical honours, submitting a piano 
 sonata; 1907; studied with Elgar in 
 Rome, and thereafter in Chicago with 
 Bemhard Ziehn; c. violin and piano 
 sonata (191 2) and many songs. 
 
 Carse, A. Von Ahn, b. Newcastle- 
 on-Tyne, May 19, 1878; pupil R. A. 
 M., with the Macfarren scholarship; 
 made an associate there in 1902; c. 
 symph. in C minor (prod. 1906); 
 symph. in G minor (1908), revised 
 and prod. 1909, symph. poem, "/w a 
 Balcony" (1905); concert overture 
 (1904), etc. 
 
 Carter, Thomas, Dublin, May, 
 1769 — Nov. 8, 1800; mus. director 
 at Calcutta; c. songs. 
 
 Caruso (ka -roo'-s6), Enrico, b. 
 Naples, Feb. 25, 1873; famous Italian 
 tenor; pupil of Vergine; debut, 1895, 
 winning gradual success in Italy 
 (Naples, 1898; 1899 La Scala), and 
 creating the tenor r6les in Giordano's 
 '^Fedora," Cilea's" Leconvreur," and 
 Franchetti's " Germanla" ; 1899-1903 
 sang in St. Petersburg, and Buenos 
 Ayres; 1902, appeared with Melba 
 at Monte Carlo, began his tre- 
 mendous vogue; 1902 at Covent 
 Garden; 1903, Met. Op. House, N. 
 
 . Y. Since then he has sung at 
 both operas almost every year with 
 luiri vailed favor; 1908, his voice was 
 
 threatened, but an operation restored ! 
 
 it. He created the tenor role in Puc- I 
 
 cini's" Girl of the Golden West," and 
 has sung throughout Europe always ! 
 
 with sensational effect and unequalled 1 
 
 prices. He is an ingenious caricatu- 1 
 
 rist, and has composed songs, one of j 
 
 them being sung in the farce " The 
 Million" (New York, i9i2),byachar- j 
 
 acter called "The Bowery Caruso. " 
 
 Casals', Pablo, b. Beudrell, Spain, ! 
 
 Dec. 30, 1876; 'ceUist; pupil of Jose ; 
 
 Garcia, Rosereda and Breton; since j 
 
 1897, prof, at Barcelona Cons. ; toured 
 widely ; c. La Vision de Fray Martin, ! 
 
 for chorus and orch. ; 'cello pieces, etc. I 
 
 Casati (ka-sa'-te), Qasparo, d. j 
 
 Novara, 1 643 ; cond. at Novara Cathe- j 
 
 dral; c. church music. i 
 
 Case, Qeorge Edward, d. Nov. j 
 
 29, 1909, age 54. Writer and prof, of ■ 
 
 trombone at R. C. M., London. I 
 
 Casimiro (ka-se-me'-ro), da Silva 
 Joaquim, Lisbon, May 30, 1808 — 
 Dec. 28, 1862; Portuguese comp. of ! 
 
 church music. ' 
 
 Castillon (kas-te-yoh), Alexis de, | 
 
 Vicomte de Saint Victor, Char- 1 
 
 tres, Dec. 13, 1838 — Paris, March 
 
 5, 1873; composer; pupil of Masse 
 and Cesar Franck; c. symphony; 
 overture, Torquato Tasso, Psalm 84 \ 
 with orch.; piano concerto and im- j 
 portant chamber music. 
 
 Cas'tro, Ricardo, Durango, 1866- \ 
 
 1908; dir. Nat. Cons, of Mexico. ■ 
 
 Catalan! [(kat-a-la'-ne), Alfredo, j 
 
 Lucca, June 19, 1854 — Milan, Aug. j 
 
 6, 1893; pupil of his father, an organ- 
 ist; at 14, c. a mass sung at the cathe- ' 
 dral; pupil of Magi, and of Paris Cons. 
 
 and M ilan Cons . ; c . operas "La Fake ' ' 
 (Milan, iSys); "Elda" (Turin, 1880; 
 revised as "Loreley," 1890); "La 
 Wally" (La Scala, 1892); c. symph. 
 poem "Era e Leandro," etc. 
 Catoir (kat-wSr), Qeorg L., b. 
 Moscow, April 27, 1861; pupil of 1 
 
 Klindworth, Willborg, and Liadov; 
 c. symphony; symph. poem. Mzyri; 
 cantata, Riissalka, etc. 
 
858 
 
 THE MUSICAL GUIDE 
 
 Caudel'la, ( i ) Franz, d. Jassy, 
 Roumania, 1868; 'cellist and dir. of 
 the Jassy Cons.; his son (2) Eduard, 
 b. Jassy, June 3, 1841; violinist; pupil 
 of his father, and of Alard, M assart, 
 and Vieuxtemps; 1894-1901, dir. of 
 education at Jassy; c. opera, etc. 
 
 Chabran (sha-bran), or Ciabrano 
 (cha-bra'-n5), Francesco, b. Pied- 
 mont, 1723; vioHnist and comp.; 
 1751, toured Europe with success. 
 
 Chabrier, A. E., add that after his 
 death in 1894 his unfinished opera 
 "Briseis," was given at the Op^ra 
 Paris, 1899; his opera "Gwendoline" 
 (text by Catulle Mendes), at the Op. 
 Com., 1911. 
 
 Chad'field, Edward, Derby, Aug. 
 I, 1827 — Hastings, March 31, 1908; 
 organist at Derby; pupil of Smart, 
 Rosellen and Korbach. 
 
 Chadwick, Q. W., add that the fol- 
 lowing compositions were played in 
 the Boston Symph. Orch., overtures 
 "Adonais," (1900); "Euterpe" 
 (1904); "Cleopatra" (1906); sym- 
 phonic sketches (1908); theme varia- 
 tions and fugue for organ and orch. 
 (1909); Sinjonietta (1910); Sitite 
 Symphoniqne for orch. winning $700 
 prize of Nat. Federation of Clubs 
 (1910); c. also "Noel" (1909); 
 "Lochinvar," ballad for barytone and 
 orch., 1909. "Jtidith" lyric drama, 
 Worcester Feast 1900 incid. music 
 to " Everywoman" (191 1); symph. 
 poem "Aphrodite" (Norfolk. 1912), 
 In 1905 a concert of his comps. was 
 was given by the Leipzig Concordia 
 Verein. 
 
 Chaine (shgn), Eugene, b. Charle- 
 ville, Dec. i, 18 19; pupil and after 
 1875 teacher at Paris Cons.; c. 2 
 symph., and important violin pieces. 
 
 Chaliapine (shal-ya'-pen), Fedor 
 Ivanovich, b. Kazan, Feb. 11, 
 1873. Russian bass; pupil of Oussa- 
 tov, in Tiflis; sang in various cities, 
 finally at Moscow, and with immense 
 success in European capitals; 1908, 
 New York. 
 
 Champs (du-shan), Ettore de, b. 
 
 Florence, Aug. 8, 1835 ; pianist and 
 c. of operas, masses, etc. 
 
 Chapi (y Lorente) (cha-pe'elo- 
 ren'-t6) Ruperto, Villena, March 
 27, 1851 — Madrid, March 25, 1909; 
 pupil Madrid Cons.; c. operas 
 and 78 zarzuelas; also a symph.; 
 oratorio, etc. 
 
 Charlier (sharl-ya), Theo., b. 
 Seraing, Belgium, July 17, 1868; 
 trumpet-virtuoso and teacher; c. 
 opera, ballets, etc. 
 
 Chausson (sh6s-s6h), Ernest, Paris, 
 June 21, 1855 — (killed in bicycle acci- 
 dent), Limay n. Nantes, June lor 
 1899; pupil of Massenet and Cesa, 
 Franck; c. symph.; symph. poems 
 Vivians and Les caprices de Marianne; 
 opera Helene, Le roi Arthus (Brussels, 
 1903; text by the composer); songs 
 and piano pieces. 
 
 Chemin - Petit ( shu-man-pG-te' ), 
 (i) Maurice, c. opera, "Alfred 
 /AeGrea/," (Halle, 1858). (2) Hans 
 c. operas, including " Der Liebe 
 Augustin" (Brandenburg, 1906). 
 
 Chesh'ire, John, d. New York, 
 Sept. 21, 1910, age 73. English 
 harpist; pupil and later teacher in 
 Royal Academy of Music; prolific 
 composer for harp. 
 
 Chessin ( ches'-sen ), Alexander 
 Borissovich, b. St. Petersburg Oct.) 
 19, 1869; conductor; pupil of the 
 Cons., and of Nikisch at Leipzig; sinceS 
 1901, cond. at St. Petersburg andt 
 since 1903 of Philharmonic concerts; 
 at Moscow; c. cantata, etc. 
 
 Chevillard, Camille, add that in 
 1898 he acted as substitute cond.; 
 for Lamoureux, called abroad; on thf 
 death of L. Dec. 21, 1899; he became 
 cond. of the Association des Concerts- 
 Lamottreux. Add to his comps. incid 
 mus. to La Roussalka (1903); allegrc, 
 for horn and piano, 1905; piano piece 
 and songs. | 
 
 Chop (kh6p). Max, b. Greuszen 
 Thuringia, May 17, 1862; Mus. writer 
 critic in Berlin, under the nami 
 
DICTIONARY OF MUSICIANS 859 
 
 "Monsieur Charles;" c. piano con- 
 certo, etc. 
 
 Chopi n , Fr. , The controversy as to the 
 date of his birth has been recently 
 ended by the dircovery of the certifi- 
 cate, establishing it as Feb. 22, 1810. 
 
 Chretien (krat-yah), Hedwige 
 Louise Marie, b. Compiegne, 
 July 5, 1859; pupil Paris Cons., taking 
 first harmony prize, 1881; first 
 counterpoint and fugue, 1887; teacher 
 there, 1890-2; c. orch. pieces, cho- 
 ruses, songs, etc. 
 
 Christ (krest), Wilhelm, Geisen- 
 heim, Aug. 2, 1831 — Munich, Feb. 
 8, 1906; historian and theorist. 
 
 Chueca(chwa'-ka), Federico, 1846 
 — Madrid, June 20, 1908; composer 
 of zarzuelas. 
 
 Chva'la (shva'-la), Emanuel, b. 
 Prague, Jan. i, 1851; pupil of Forster 
 and Fibich; historian and c. of cham- 
 ber music, etc. 
 
 Chybiriski (khe-ben'-ye-shki), Ad= 
 olf, b. Cracow, March 29, 1880; his- 
 torian of Polish music. 
 
 Ciconia (chi-kon'-ya), Johannes, 
 canon at Padua about 1400; theorist 
 and comp. 
 
 Cilea (che'-le-a), Francesco, b. 
 Palmi, July 29, 1866; leading Italian 
 opera comp.; at 9 had c. a notturno 
 and a mazurka; at 15 entered the 
 Naples Cons. ; while yet a student he ' 
 had success with a suite for orch., and 
 a 3-act opera Gina, (1889); 1896- 
 1904, professor at Royal Institute, 
 Florence; c. operas La Tilda, (1892); 
 V Arlesiana (Milan, 1896); Adrianna 
 Lecouvreur (Milan, 1902, Covent 
 Garden, 1904); Gloria, (La Scala, 
 Milan, 1907). 
 
 Cirri (cher'-re), (i) Ignazio, organ- 
 ist and comp.; his son (2) Giovanni 
 Baptista,b. ForH, ca. 1740; 'cellist; 
 spent many years in London, then 
 returned to Italy; c. important 
 'cello music. 
 
 Clauss'nitzer, Paul, b. Nieder- 
 schona, near Freiberg, Dec. 9, 1867; 
 teacher and comp. 
 
 Clave (kla-va'), Jose Anselmo, 
 
 Barcelona, April 21, 1824 — Feb., 
 1874; founder of male choral societies 
 in Spain; c. very popular songs and 
 choruses. 
 
 Clavijo Del Castillo (kla-ve'-ho 
 del kas-tel'-yo), Bernardo, d. Ma- 
 drid, Feb. 1626; Spanish organist 
 and comp. 
 
 Clay'ton, Thomas, ca. 1670 — ca. 
 1730. English manager and comp. 
 
 Clem'ens, Charles Edwin, b. 
 Plymouth, England, March 12, 1856; 
 organist; 1 889-1 895, organist at the 
 English church, and to Empress 
 Frederick in Berlin, and teacher at 
 Scharwenka Cons.; then moved to 
 Cleveland, Ohio; author of organ - 
 methods. 
 
 Clement (or Clemens or Clem= 
 enti), Johann Qeorg, b. Bres- 
 lau ca. 1710; cond. at Breslau, 1735, 
 till after 1785; c. masses etc.; left two 
 sons — one at Vienna, the other a 
 violinist and cond. at Carlsruhe, 1793, 
 taking the name Clementi. 
 
 Clemm, (i) John (Johann Gott- 
 lieb Klemm), Dresden, 1690 — 
 Bethlehem, Pa., 1762; organ builder, 
 came to America, 1736; built first or- 
 gan for Trinity Church, N. Y., 1741, 
 of which his son (2) John was the 
 first organist. 
 
 Clerambault (kla-ran-bo), Louis 
 Nicolas, Paris, 1749; organist and 
 comp. 
 
 Cleve (kl6v), (i) Johannes De, 
 Cleve (?) 1529 — Augsburg, 1582; 
 court tenor at Vienna and Prague; c. 
 church music;(2) Half dan, b.Kongs- 
 berg, Norway, Oct, 5, 1879; pianist; 
 pupil of his father and of Raif and 
 the two Scharwenkas at Berlin; c. 
 piano-concertos, etc. 
 
 Cliffe (klif), Frederick, b. Lowmoor, 
 May 2, 1857; organist; pupil of 
 SulHvan, Stainer, and at R. C. 
 M.; toured Europe with success; 
 c. 2 symph.; symph poem "Clouds 
 and Suiishine'\- alto solo with orch., 
 "The Triumph of Alcestis," etc. 
 
86o 
 
 THE MUSICAL GUIDE 
 
 Clough=Leiter (kluf-li'-ter) (i) 
 Henry,, b. Washington, D. C; 
 1874; composer and musical editor; 
 pupil of his mother, Edw. Kimball, 
 H. Xandet, and Dr. J. H. Anger; 
 org. at Washington and various 
 churches at Providence, R. I. c. 
 Lasca for tenor and orch.; 4 
 cantatas, A Day of Beauty, for 
 string quintet; 200 songs of unusual 
 color and sweep, etc. His wife, 
 (2) Grace Cotton Marshall, b. 
 Nineveh, Ind., Aug. 20, 1885; 
 pupil of her mother; 1902 — 5 com- 
 pleted seven-year course at Met. 
 School of Music, Indianapolis, grad- 
 uating with highest honors; studied 
 then in Boston with Carlo Buonamici 
 and H. C. L., whom she married. 
 She has published many piano pieces 
 and songs under the name Q. Mar= 
 schal=Loepke. 
 Coates, John, b. Girlington, June 
 29, 1865; tenor; sang in his father's 
 choir at 5; pupil of Burton and Bridge 
 later of Shakespeare; sang in light 
 opera, London and America, as 
 barytone, 1 893-1 899; decided he was 
 a tenor; studied and made debut, 
 1900, at Covent Garden; favourite 
 festival tenor; also in opera in Ger- 
 many and 1 910 chief tenor at Beech- 
 am's season. 
 Cob'bold, William, St. Andrew, 
 Norwich, Jan. 5, 1559-60 — Beccles, 
 Nov. 7, 1639; org. and comp. 
 Coccia (kot'-cha), Maria Rosa, 
 Rome, Jan. 4, 1759 — after _ 1783; 
 woman composer of great impor- 
 tance in her own day; c. Magnificat, 
 etc. 
 Coignet (kwan-ya), Horace, Lyons, 
 1736 — Paris, Aug. 29, 1821; comp. 
 Colborne, Langdon, London, Sept. 
 15, 1837 — Hereford, Sept. 16, 1899; 
 organist at Hereford Cathedral, 1877- 
 1899; c. oratorio ^'Samuel," etc. 
 Cole, (i) Belle, d. London, Jan. 6, 
 1905, age 60. American contralto. (2) 
 Rossetter, Q., b. near Clyde, 
 Mich. Feb. 5, 1866; composer; 1888, 
 
 graduated from Michigan Univ., 
 taking musical courses also; at his 
 graduation the Univ. Mus. Soc. 
 performed his cantata with orch. 
 "The Passing of Summer"; 1888 — 90, 
 he taught English and Latin in high 
 schools; 1890 — 92 in Berhn, winning 
 competitive scholarship at Royal 
 Master-school, and stud3dng with 
 Max Bruch; 1892 — 4, prof, of music 
 Ripon College; 1894 — 1901, Iowa 
 College; from 1902 in Chicago as 
 teacher, and from 1908 also in charge 
 of summer music classes of Columbia 
 Univ., N. Y. c. "King Robert of 
 Sicily," and "Hiawatha's Wooing," 
 as musical backgrounds for recita- 
 tion, ballade for 'cello and orch; 
 sonata for violin songs, etc. 
 
 Coleridge = Taylor, Samuel, add 
 that he was made cond. Handel 
 Society, 1904; his "Hiawatha" was 
 developed as a trilogy, "Hiawatha's 
 Wedding Feast," (R. CM., London, 
 1898), "The Death of Minnehaha" 
 (North Staffordshire Fest., 1899; 
 "Hiawatha's Departure" (London, 
 1900), the overture the same year; c. 
 also for voices and orch., " The Blind 
 Girl of Castel-Cuille, (Leeds Fest., 
 1 901), "Meg Blane," (Sheffield Fest., 
 1902), "The Atonement," (Hereford 
 Fest., 1903), "Kubla Khan," (Han- 
 del Society, 1906); incid. music to 
 Stephen Phillips's plays, "Herod," 
 "Ulysses," "Nero," and "Faust," 
 (1908); concert march, "Ethiopia 
 Saluting the Colors"; 5 ballads by 
 Longfellow, with orch., (Norwich 
 Fest., 1905); "A Tale of Old Japan," 
 voices and orch. (London, i9i2),etc. 
 He died Sept. i, 191 2, in London. 
 
 Colom'bi, Giuseppe, Modena, 1635- 
 1694; conductor and comp. 
 
 Colombini (k6-l6m-be'-ne), Ugo, 
 b. Milan, 1878; tenor; sang at Milan 
 Royal Theatre, Madrid, and Imp. 
 Operas in Russia; 1910-11, Montreal. 
 
 Colyns (ko-lans), Jean Baptiste, 
 Brussels, Nov. 25, 1834 — Oct. 31, 
 1902; violinist and comp. 
 
DICTIONARY OF MUSICIANS 86] 
 
 Com'fort, Ambrose H., d. April 
 26, 1905 at Cape Town, age 42. 
 Pianist and teacher. 
 
 Conried (kan'-red), Heinrich, Bie- 
 
 litz, Silesia, Sept. 13, 1855— Meran, 
 April 27, 1909; impresario; in 1873 
 an actor at the Vienna Burgtheater, 
 came to New York 1878; founded 
 German company from 1887 at Irv- 
 ing Place Theatre; 1901, succeeded 
 Grau as manager of the Metro- 
 politan Opera House, where in 
 1903 he made the first production 
 outside Ba>Teuth of "Farsifal"; 
 
 1905, Franz Leopold decorated him 
 and gave him the privilege of the 
 prefix "von"; ill health forced his 
 retirement in 1908. 
 
 Conseil (koh-sa), Jean De, d. 
 Paris, 1535; composer, and 1526 
 singer in Papal chapel. 
 
 Con'solo, Frederigo, Ancona, 1841 
 — Florence, Dec. 14, 1906 ; violinist 
 and comp. 
 
 Co'nus (or Conius or Konius), (i) 
 Qeorge Edwardovich, composer; 
 b. Moscow, Dec. i, 1862 ; theorist; 
 pupil of the Cons. ; 1891-9 teacher 
 of theory there; since 1902 prof, at 
 the Opera School; c. symph. poem 
 "From the Realm of Illusions," orch. 
 suite, "Child-Life," cantata, etc. 
 His brother, (2) Julius, b. Moscow, 
 1869; gold medallist at the Cons, and 
 later teacher of vioUn there; c. violin 
 concerto, etc. (3) Leo, pianist; 
 pupil at the Cons.; later founded a 
 school of his own. 
 
 Converse, Frederick Shepherd, 
 b. Newton, Mass., Jan. 5, 1871; 
 composer; graduated at Harvard Uni- 
 versity and studied music with 
 Bahrmann and G. W. Chadwick; 
 1896-8 with Rheinberger, then 
 taught theory and comp. at the New 
 England Cons.; c. operas "The Pipe 
 of Desire" (in concert form, Boston, 
 
 1906, as an opera. Met. Op., N. Y. 
 1910, Boston Op., 191 1); symph. 
 (1907); overtures, "Youth" and 
 " Euphrosyne" ; orch. romance, "The 
 
 Festival of Pan"; orch. fantasie, 
 "The Mystic Trumpeter"; symph. 
 poem "Ormazd," (Boston Symph. 
 Orch., 191 2); violin concerto and 
 sonata, etc. 
 
 Conver'si, Qirolamo, b. Correg- 
 gio, i6th cent.; c. madrigals, etc. 
 
 Coquard, Arthur, add that his 
 birth date is May 26th; c. operas 
 "Jahel" (Lyons, 1900), "La troupe 
 Jolicoeur" (1902), etc. 
 
 Cornette (kor-net), Victor, Amiens, 
 1795 — Paris after 1850; Mus. Di- 
 rector; pupil Paris Cons.; cond. and 
 comp. for wind instruments; author of 
 many methods. 
 
 Coronaro (i) Antonio, b.Vincenza, 
 i860; brother of Qaetano C, and 
 comp. of operas; his son was (2) 
 Arrigo, Vincenza, 1880 — October, 
 1906; c. opera Turiddu (Turin, 1905). 
 
 Corri=Paltoni, Frances, b. Edin- 
 burgh, 1801; mezzo-soprano; niece of 
 Domenico R. Corri; toured Europe 
 till after 1830. 
 
 Cortellini (kor-tel-le'-ne), Camillo, 
 called " II violino" from his skill; 
 at Bologna, 1583, as municipal musi- 
 cian and comp. 
 
 Cortesi (kor-ta'-ze), Francesco, 
 Florence, 1830 — Jan. 3, 1904; con- 
 ductor, composer of operas, and 
 teacher of voice; 
 
 Cossoul (kos'-sool), Quilherme An= 
 tonio, Lisbon, April 22, 1828 — 
 May 26, 1880; 'cellist and comp. 
 
 Cotes (ko'-tes), Ambrosio De, 
 d. Seville, Sept. 9, 1603; Spanish 
 composer and cond. 
 
 Cre'ser, William, b. York, Sept. 
 9, 1844; organist and composer; 
 pupil of Macfarren; 1880, Mus. Doc. 
 Oxford; 1881, org. at the Parish 
 church, Leeds; conducted perform- 
 ances of Bach; 1891-1902, org. Chapel 
 Royal; St. James, and comp. to 
 Chapel Royal : married Amelia Clarke 
 a prominent mezzo-soprano; c. orato- 
 rio, {"Micaiah"; cantatas " Eudora" 
 (Leeds, 1882) ; " The Sacrifice of Freia" 
 (Leeds, 1889), etc. 
 
862 
 
 THE MUSICAL GUIDE 
 
 Crevel'li, Domenico, Brescia, June 7, 
 1793 — London, Feb. 11, 1857; comp. 
 
 Cro'mer, (i) Jose Antonio,, Lis- 
 bon, March 11, 1826 — Sept. 28, 
 1888; flutist; his brother, (2) Raph= 
 ael Jose, Lisbon, March 26, 1828 — 
 Cascaes, Sept. 22, 1884; clarinettist 
 and oboist. 
 
 Cul'bertson, Sasha, b. 1893; vio- 
 linist ; pupil of Suchorukoff; at 9 
 entered Cons, at Rostoff; in 1905 
 pupil of Sevcik, Prague; debut, Vienna 
 1908; toured Europe and America. 
 
 Culp (koolp), Julia, b. Amsterdam; 
 mezzo-soprano; well kno\ATa Lieder- 
 singer; pupil of Amsterdam Cons, 
 and of Etelka Gerster; has toured 
 Europe with great success; engaged, 
 191 2, to tour America. 
 
 Culwick (kul'-lik), James, C, West 
 Bromwich, April 28, 1845 — Dublin, 
 Oct. s, 1907; organist, theorist and 
 comp. Prof. Alexandria College, Dub- 
 lin; cond. Dublin Philharmonic Soc, 
 etc. 1903, Mus. Doc. Univ. of 
 Dublin. 
 
 Cupis (kii-pe), (i) (Frangois de 
 Camargo), Brussels, 1719 — Paris, 
 1764; violinist and comp. His son, 
 (2) Jean Baptiste, Paris ca. 
 1 741 — ca. 1794; 'cellist and comp. 
 
 Cur'ry, Arthur Mansfield, b. 
 Chelsea, Mass., Jan. 27, 1866; violin 
 pupil of Franz Kneisel, and of Mac- 
 Donald in harmony; teacher and 
 cond. in Boston; c. overture " Blomi- 
 don" (Worcester, Mass., Fest. 
 1902); symph. poem 'Mia/a" (Boston 
 Symph., 1911); "The Winning of 
 Amarac"; Keltic legend for a reader, 
 chorus and orch. 
 
 Cursch = Buhren (koorsh-bii'-ren), 
 Franz Theodor, Troppau, Jan. 
 10, 1859 — Leipzig, March 11, 1908; 
 cond., editor and comp. of Sing- 
 spiele, including " E-ffiol-As," a satire 
 on R. Strauss's "Salome" 
 
 Cut'ter, Benjamin, Woburn, Mass., 
 Sept. 6, 1857 — Jamaica Plains, Mass., 
 May 10, 1910; composer; violin pupil 
 of Eichberg in Boston, 1877; 1881 of 
 
 Singer in Stuttgart, studied harmony 
 with Emery, Goetschius and Seifriz; 
 member of Boston Symph. Orch. many 
 years, c. important mass in D; trio 
 for piano, violin and 'cello, etc. 
 
 Czapek (cha'-pek), (i) Joseph, b. 
 Prague, March 9, 1825; organist and 
 director; pupil of the Cons.; c. sym- 
 phonies, masses, etc. (2) pen-name 
 under which J. L. Hatton c. many 
 songs. 
 
 Czernohorsky ( cher-n6-h6r'-shki ), 
 Bohuslav, Nimburg, Bohemia, 
 Feb. 26,1684 — Graz, July 2, 1740. 
 Franciscan monk, organist and comp. 
 
 Daff'ner, Hugo, b. Munich, May 
 2, 1882; author and comp.; pupil of 
 Thuille, Schmid-Lindner and Max 
 Reger; 1904, Ph.D.; c. symph., 
 sonatas, etc. 
 
 Dahl (dal), Balduin, b. Copen- 
 hagen, Dec. 6, 1834; dir. of TivoH 
 concerts at Copenhagen, and comp. of 
 dance-music. 
 
 Dalcroze (dal-kroz), EmileJaques, 
 b. Vienna, July 6, 1865, of Swiss 
 parentage; important Swiss com- 
 poser; pupil of Fuchs, Bruchner 
 and DeHbes; teacher, lecturer and 
 critic at Geneva Cons.; c. lyric come- 
 dies "Janie" (Geneva, 1,893), and 
 Sancho Panza (1897); Podnie Alpestre 
 for voices and orch. (1896, London, 
 1897); a violin concerto of great orig- 
 inality played by Marteau on his 
 tours, and Swiss songs of great popu- 
 larity and national feeling. 
 
 Dale, Benjamin James, b. Crouch 
 Hill, London, July 17, 1885; organ- 
 ist; pupil of R. A. M.; c. symph., 
 2 overtures, successful piano sonata 
 in D Minor, etc. 
 
 Dalmores, (dal-mo'-res), Charles, 
 b. Nancy, France, Jan. i, 1872; 
 tenor; pupil Paris and Lyons Cons.; 
 sang in France; 1896, at Manhattan 
 Opera, N. Y.; since then at Metro- 
 politan, N. Y. 
 
DICTIONARY OF MUSICIANS 863 
 
 Da'tnon (or Daman), William, 
 
 ca. 1540 — ca. 1592; musician to 
 Queen Elizabeth; c. psalm tunes, etc. 
 
 Da Mot'ta, Jose Vianna, b. Isle 
 St. Thomas, Africa, 1868; Portuguese 
 pianist; studied at Lisbon; debut there 
 1 88 1, then studied Scharwenka Cons., 
 with Liszt and Von Biilow; toured 
 widely; c. symph. "Ati das Vater- 
 land," 5 Portuguese rhapsodies on 
 native melodies, etc.; also critic and 
 author. 
 
 Damse (dam'-s6), Joseph, Soko- 
 lov, Galicia, Jan. 23, 1788 — Rudno, 
 near Warsaw, Dec. 15, 1852; clari- 
 nettist; c. operas, masses, and popu- 
 lar Polish songs and dances. 
 
 d'Andrieu or Dandrieu, vide An= 
 drieu. 
 
 Dannstrom (dan'-stram), Isidor, 
 Stockholm, Dec. 15, 1812 — Oct. 17, 
 1897; barytone in opera, teacher and 
 comp. 
 
 Davaux (da-vo), Jean Baptiste, 
 C6te-St-Andre, 1737 — Paris, Feb. 
 22, 1822; c. many symphonies, cham- 
 ber music, etc. 
 
 Da'vey, Henry, b. Brighton, Nov. 
 29, 1853; historian and writer on 
 musical topics. 
 
 Dautresme (do-trgm), Lucien, El- 
 beuf, Normandy, May 21, 1826 — 
 Paris, Feb., 1892; senator; c. 2 operas, 
 etc. 
 
 Da'vis, John David, b. Edgbaston, 
 Oct. 22, 1869; pupil Raff Cons., and 
 Brussels Cons.; since 1889, teacher at 
 Birmingham; c. opera " The Cossacks" 
 (Antwerp, 1903), also symph. varia- 
 tions, (London, 1905), symph. bal- 
 lade "The Cenci"; symph. poem 
 "The Maid of Astolat"; chamber 
 music; prize "Coronation March" 
 (1902), etc. 
 
 Daw'son, Frederick H., b. Leeds, 
 July 16, 1868; pianist, pupil of his 
 father, a pianist, and of Halle. 
 
 Day, (i) John,, March 7, 1830 — Pim- 
 lico, Nov. 4, 1905; organist and for 53 
 years violinist in Queen Victoria's 
 private band. (2) Charles Rus= 
 
 sell, Horstead, Norfolk, i860— 1 
 
 killed Feb. 1 8, ^900, in the battle of j 
 
 Paardeberg; major in British army 
 and writer of books on musical instru- 
 ments. 
 
 Dayas, W. H., correct birth date, 
 1863; d. Manchester, England, May j 
 
 3, 1903- j 
 
 De Amicis (da a-me'-ches), (i) Anna ] 
 
 Lucia, b. Naples, c. 1740 — d. j 
 
 after 1789; sang in London, 1763- I 
 
 1 771; in 1773 created the r61e of I 
 
 Giunia in Mozart's Lucia Silla; m. 
 Buonsollazzi, secretary of King of 
 Naples; (2) Domenico, brother or 
 husband of (i), sang with her in Lon- ^ 
 
 don in 1763. 
 
 Debefve (du-buv'), Jules, b. Liege ' 
 
 Jan. 16, 1863; pianist; pupil and later 
 teacher at the Cons.; c. opera, rhap- 
 sody for orch., etc. 
 
 DeBoeck (dg-book), Auguste, b. 
 Merckem, Belgium, May 9, 1865; 
 organist, son of an organist; pupil of 
 Brussels Cons., later a teacher there; 
 c. symph., Rhapsodie Dahomienne for 
 orch., organ music, etc. { 
 
 Debussy, A. C, add that the correct | 
 
 birth date is St. Germain, Paris, Aug. 1 
 
 22, 1862; he re-wrote his cantata 
 " L' Enfant Prodigue" for the Sheffield j 
 
 Fest., 1908; his opera "Felleas et , 
 
 Melisande" has been widely played, j 
 
 1907, Berlin, 1909, New York, etc.; c. j 
 
 also incid. mus. to "Dionysos" 
 (Orange, 1904); operas "Chiniine," 
 "Tristan and Isolde," "As Ymi Like ', 
 
 It," 3 nocturnes for women's voices ; 
 
 and orch., "Nuages, Fetes, Sirenes"; 
 a series of three "Images" for orch., 
 I, "Gigue triste" _(NS), II, "Ronde des 
 Printemps" (Paris, 1910, N. Y. Phil., 
 1910, Boston Symph., 1910), III, 
 "Iberia" (Paris Colonne orch., 1910, 
 N. Y., Phil., 1911, Boston Symph., 
 1911), etc. 
 
 Deck'er = Schenk, Johann, b. 
 Vienna, 1826; singer, guitar-virtuoso, 
 and director of operas in St. Peters- j 
 
 burg; c. for guitar, balalaika, etc. 
 
 Degner (dekh'-ner), Erich Wolf, 
 
864 
 
 THE MUSICAL GUIDE 
 
 near Chemnitz, April 8, 1858 — 
 Weimar, Nov. 18, 1908; organist, 
 theorist and teacher; c. symph., choral 
 work "Martha and the Mother"; 
 overture, etc. 
 
 Degtarev, (dekh'-ta-rgv), Stepoan 
 Ankiewitsch, 1766-1813; Rus- 
 sian director in St. Petersburg and 
 Italy; c. 60 concertos, and church 
 choral music. 
 
 Deichmann (dikh'-man), Carl, d. 
 July 5, 1908, age 81. For 60 years 
 well kno\\Ti violinist in England. 
 
 Del'ius, Frederick, b. Bradford, 
 England, 1863, of German parentage; 
 important composer, largely self- 
 taught; from 1883 on an orange 
 plantation in Florida; later studied 
 at Leipzig Cons, with Jadassohn and 
 Reinecke; from 1890 lives in France; 
 1897 his incid music to Norwegian 
 plan "Folkcraadet" with burlesque 
 of national anthem led a spectator to 
 fire several shots at the composer; c. 
 operas "Koanga," based on G. W. 
 Cables ''The Grandissimes" (Elber- 
 feld 1904); "Romeo iind Julia aiif 
 dem Dorfe" (Berhn 1907; London 
 Covent Garden 1910); i-act. "Margot 
 la Rouge"; 5 symph. poems "Life's 
 Dance" (1898), "Paris" (1899), "Ap- 
 palachia" (1903, London 1907), 
 "Brigg Fair" (London 1908) "In a 
 Summer Garden" (London 1908); for 
 soli, chor and orch. "A Mass of Life" 
 (London 1909), "Sea Drift" based on 
 Walt Whitman, for barj^tone, chor. 
 and orch. (1904), songs, etc. 
 
 Del'ler, Florian, Wurttemberg, ca. 
 1730 — Munich, 1774; court comp. 
 of ballets, etc. 
 
 Delmas (del-mas), Jean Fr., b. 
 Lyons, France, April 14, 1861; bass; 
 pupil Paris Cons.; 1886, joined the 
 Opera where he created many r61es 
 with great success. 
 
 Delune (du-liin), Louis, b. Char- 
 leroi, March 15, 1876; Belgian cond. 
 and pupil at Brussels Cons., winning 
 prize, 1900, and Prix de Rome, 1903; 
 c. sonatas and songs. 
 
 Demar (da'-miir), Josef Seb., 
 Gauafschach, Bavaria, June 29, 
 1763 — Orleans, 1832 ; org. and 
 comp. 
 
 Dercks, Emil, b. Donnerau, Silesia, 
 Oct. 17, 1849; organist and comp. 
 
 Dereyne, (de-ren'), Fely, b. Mar- 
 seilles, May 12, 1883; pupil of Blasini; 
 debut, Marseilles, 1903, sang then at 
 Nice, Vichy, etc.; 1907 sang at Bos- 
 ton Opera; 1908-9, Covent Garden, 
 also at Met. Op., N. Y., has sung at 
 Lisbon, Buenos Ayres, and 191 1 
 again in Boston. 
 
 Deruyts (de-roits'), Jean Jacques, 
 Liege, 1790 — April 11, 187 1 ; teacher 
 of Cesar Franck; c. church music. 
 
 Deslandres (de-lan'-dru), Adolphe 
 Eduard Marie,, b. Paris, Jan. 
 
 22, 1840 ; organist ; pupil Paris 
 Cons.; organist at St. Marie at Bat- 
 ignolles, where his father was direc- 
 tor; c. operettas and church music. 
 
 Dessoir (des-swar), Susanne (nee 
 Triepel), b. Griinberg, Silesia, July 
 
 23, 1869; pianist at first, then pupil of 
 Amalie Joachim; singer of Lieder; 
 married, 1899, Dr. Max Dessoir 
 (b. BerUn, Feb. 8, 1867), author of 
 works on musical aesthetics. 
 
 Destinn, Emmy, add that her real 
 name was Kittl — she chose "Des- 
 tinn" in honour of her teacher; she 
 sang at Bayreuth, 1891; from 1908 
 she has had great success at the Met. 
 Op., N. Y., also at Covent Garden 
 and Berhn Royal Op., she created the 
 role of "Minnie" in Puccini's "Fan- 
 ciidla del West. " 
 
 Dib'bern, Karl, b. Altona, June 17, 
 185s; conductor, later regisseur at 
 the Amsterdam Opera; c. librettos 
 and music of operas and operettas. 
 
 Dieckmann (dek'-man), Ernst, 
 
 b. Stade, July 17, 1861; organist; 
 pupil of Haupt and Loschom; since 
 1900 cathedral organist in Verden; 
 
 c. choral works and songs. 
 Diepenbrock, (de'-pgn-brok), A. 
 
 J. M., b. Amsterdam, Sept. 2,1862; 
 teacher and comp. of church music. 
 
DICTIONARY OF MUSICIANS 865 
 
 Dima (de'-ma), George, b. Cron- 
 stadt, Oct. 10, 1847; teacher and cond. 
 of Roumanian societies there; c. 
 songs, etc. 
 
 Dip'pel, Andreas, after many years 
 of success as tenor, became im- 
 presario; associated with Gatti- 
 Casazza in management of Metro- 
 politan Opera House, New York, 
 1908; since then directed opera sea- 
 sons in Chicago and Philadelphia. 
 
 Dixon, George, Norwich, June 
 5, 1820 — Finchley, June 8, 1887; 
 organist, c. of church music. 
 
 Dohrn (dorn), Georg, b. Bahren- 
 dorf, near Magdeburg, May 23, 1867; 
 cond.; at first lawyer, then pupil 
 Cologne Cons., since 1901 at Breslau 
 as cond. and director of the Sing- 
 akademie. 
 
 Domanievski (do-man-yef'-shki), 
 Boleslaus, b. Gronowek, Poland, 
 1859; famous Polish piano teacher; 
 pupil of Jos. Wieniawski and Rubin- 
 stein; 1 890-1 900, prof, at Cracow 
 Cons., since, director Warsaw Music 
 School; author of piano methods. 
 
 Domnich (dom'-nikh), (i) Hein=- 
 rich, Wiirzburg, May 13, 1767 — 
 Paris, June 19, 1844; horn virtuoso; 
 first teacher of the horn at Paris Cons. , 
 1795; author of methods. His brothers 
 also played the horn. (2) Jakob, b. 
 1758, went to America. (3) Arnold, 
 Wurzburg, 1771 — Neiningen, 1834. 
 
 Donaudy (do-na'-oo-de), Stefano, 
 b. Palermo, Feb. 21, 1879; c. operas 
 Folchetto (Palermo, 1892); Theodor 
 Korner (Hamburg, 1902), and Sper- 
 duti nel Biiio (Palermo, 1907). 
 
 Doret (do-ra), Gustave, b. Aigle. 
 France, 1866; studied violin with 
 Joachim and Marsick, and composi- 
 tion at Paris Cons.; lives at Paris as 
 cond.; c. operas Les Armailles (Op. 
 Com., 1906), and Le nain de Hassli, 
 (Geneva, 1908), oratorio, etc. 
 
 Drago'ni, Giovanni Andrea, Men- 
 dola, ca. 1540 — Rome, 1598; com- 
 poser; pupil of Palestrina; cond. at 
 the Lateran. 
 
 Drese, (dra'-ze), Adam, Thiiringen, 
 Dec. 1620 — Arnstadt, Feb. 15, 1701; 
 director and comp. 
 
 Dreyer (dri'-er), Alexis De, b. Rus- 
 sia, 1857; c. piano pieces. 
 
 Drozdovski (drosh-dof'-shki), Jan, 
 
 b. Cracow, Feb. 2, 1858; piano teacher, 
 pupil Vienna Cons.; since 1889, prof, 
 at Cracow Cons.; author of methods. 
 
 Druffel (droof'-fel), Peter, b. 
 Wiedenbriick, Oct. 8, 1848; composer 
 of old German Liederspiel "Der 
 Erloser," etc. 
 
 Drys'dale, F. Learmont, Edin- 
 burgh, 1866 — June 18,1909; pupil 
 of R. A. M., won Lucas prize, 
 1890; c. prize overture, "Tam 0' 
 Shanter"; ''The Plague," a mystic 
 play (1896, Edinburgh); ''The Red 
 Spider" (Dundee, 1898), and light 
 operas. 
 
 Ducasse (dii-kas), Roger, pupil 
 Paris Cons., with Gabriel Faure, 
 winning Prix de Rome, 1902; from 
 1909 inspector in elementarj^ schools; 
 
 c. suite jranqaise for orch. (Colonne 
 concerts, 1909, twice. Boston Symph., 
 1910); "Variations plaisantes sur un 
 theme grave" for harp and orch. (Col- 
 onne concerts, 1909), piano pieces, 
 etc. 
 
 Dukas (du-kas), Paul, b. Paris, Oct. 
 I, 1865; one of the most original of 
 French composers; pupil at the Cons, 
 of Dubois, Mathias and Guiraud; won 
 prize in counterpoint, 1888, second 
 Prix de Rome with cantata " Velleda"; 
 spent a year in Rome, then a year of 
 military service; his overture "Poly- 
 eiide" was played by Lamoureux in 
 1892; his symphony, 1896, and else- 
 where; 1897 "L'Apprenti Sorcier "; 
 1900, piano sonata; 1906, Villanelle 
 for horn and piano; 1907, his opera 
 " Ariane et Barbe Blene" made a great 
 stir and was played in Vienna, 1908, 
 Met. Op., N. Y., 191 2, etc. He is 
 prof, of instrumentation at the Cons, 
 and a critic; has edited texts of Ram- 
 eau, and c. for piano " Variations, 
 Interlude et Final," on a theme of 
 
866 
 
 THE MUSICAL GUIDE 
 
 Rameau's igo2; Prelude elegiaque on 
 the name of Haydn, 1909; also a 
 ballet La Peri dance-poem in one act 
 (Paris 1911). 
 
 Dulichius (do-likli'-i-oos) also 
 (Deulich or Deilich) Philip, 
 Chemnitz (christened Dec. 19), 1562 
 — March 25, 1631 ; teacher and comp. 
 
 Dumont (dii-mon), Henri, Villers, 
 near Liege, 1610 — Paris, May 8, 
 1684; organist and comp. 
 
 Dunc'an, William Edmond=- 
 stoune, b. Sale, Cheshire, 1866; 
 organist; at 16 an associate of the 
 Royal College of Organists; 1883, 
 obtained scholarship at R. C. M., 
 pupil of Parry, Stanford and Mac- 
 farren; critic for some years, then 
 prof, at Oldham College; c. successful 
 odes with orch., notably " Ye Mar- 
 iners of England" (1890), etc. 
 
 Dunham, Henry Morton, b. 
 Brockton, Mass., July 27, 1853; 
 graduated New England Cons., as 
 pupil of G. E. Whiting, (organ), J. 
 C. D. Parker (Piano), Emery and 
 Paine (theory); held various church 
 positions till 191 1, and gave organ 
 recitals on the Great Organ at 
 Boston, at St. Louis Exposition, etc.; 
 prof, of organ at N. E. Cons.; author 
 of an organ method; c. symph., poem 
 "Easter Morning," a book of organ 
 studies, Meditation for organ, harp 
 and violin; 3 organ sonatas, etc. 
 
 Dunkl (doonk'-'l), Joh. Nepomuk, 
 b. Budapest, 1832; pianist; pupil of 
 Liszt and Rubinstein. 
 
 Dunkler (doonk'-ler), Frangois, 
 Namur, 1816 — Hague, 1878; mili- 
 tary director. 
 
 Duparc (dii-par), (Fouques Du= 
 pare), Henri, b. Paris, Jan. 21, 
 1848; pupil of Cesar Franck; soldier 
 in war of 1870-71; ill health led to a 
 life of seclusion to C6sar Franck's 
 great regret; c. symph. poem Lenore, 
 an orch. suite rehearsed in 1873, but 
 found impossible; other pieces de- 
 stroyed and many songs of the high- 
 est importance. 
 
 Dupuis (dii-pwe), (i) Thomas 
 Sanders, London, Nov. 5, 1733 — 
 July 17, 1796; comp. and organist of 
 Chapel Royal London; of French 
 parentage, but lived in London, and is 
 buried in Westminster Abbey. (2) 
 Albert, b. Verviers, France, 1875; 
 prod, opera L'Idylle, (Verviers, 
 1896); Bilitis (Verviers, 1899); won 
 Prix de Rome at Brussels with opera 
 Hans Michel, igoy, c. cantata, etc. 
 
 Eaton, Louis H., b. Taunton, Mass. 
 May 9, 1861; organist; pupil of Guil- 
 mant; from 1901, org. at San Fran- 
 cisco. 
 
 Ebert (a'-bert), Ludwig, b. Kla- 
 drau, Bohemia, April 13, 1834; 'cel- 
 list; pupil Prague Cons.; 1854-74, 
 first 'ceUist at Oldenburg; 1875-88, 
 teacher at Cologne Cons.; 1889, 
 foimded Cons, at Koblenz; c. 'cello 
 pieces. 
 
 Ebner (ap'-ner), Wolfgang, Augs- 
 burg, ca. 1610 — Vienna, Feb., 1665; 
 organist and comp. 
 
 Eck'ardt Johann Gottfried, Augs- 
 burg, 1735 — Paris, Aug., 1809; comp. 
 
 Edelmann (a'-ddl-man) Joh. Fr., 
 Strassburg, May 6, 1 749 — Paris, 
 July 17, 1794; c. opera, ballets, etc. 
 
 Edwards, (i) Henry Sutherland, 
 b. London, Sept. 5, 1829; writer; 
 historian and critic for many years 
 of the St. James Gazette; (2) 
 Frederick George, London, Nov. 
 II, 1853 — Nov. 28, 1909; organist; 
 ed. "Musical Times." (3) Henry 
 John, b. Barnstaple, Feb. 24, 1854; 
 son and pupil of an organist, then 
 pupU of Bennett, Macfarren; 1885, 
 Mus. Doc. Oxford; c. oratorios, etc. 
 
 Egidi (a'-khe-de), Arthur, b. BerUn, 
 Aug. 9, 1859; organist; pupU of Kiel 
 and Taubert; teacher at the Hoch 
 Cons., Frankfort-on-Main; since 
 then org. at Apostel Paulus Church, 
 Berlin, and Royal Prof.; c. overture, 
 etc. 
 
DICTIONARY OF MUSICIANS 867 
 
 Eichner (ikh'-nSr), Ernest, Mann- 
 heim, 1740 — Potsdam, i777; c. 
 important symphonies, concertos, etc. 
 
 Eijken (i'-ken) (or Eyken), van ( i ) 
 Jan Albert, Amersfoort, Holland, 
 April 25, 1822 — Elberfeld, Sept. 24, 
 1 868 ; organist and comp. ; his broth- 
 er, (2) Gerhard Isaak, b. May 
 5, 1832; organist and teacher in 
 Utrecht; (3) Heinrich, Elberfeld, 
 July 19, 1 86 1 — Berlin, Aug._ 28, 
 1908; son of Jan.; pupil of Leipzig 
 Cons.; teacher of theory; c. songs 
 with orch. 
 
 Eijkens (i'-kens), Daniel Simon 
 Antwerp, Oct. 13, 1812 — Oct. 9, 
 1891; composer. 
 
 Eisler vide Eysler. 
 
 El'gar, Sir Edward, add that as 
 part of his early training he was 
 bandmaster 1879-1884 at the Coun- 
 ty Lunatic Asylum with attendants 
 as musicians; he retired to Malvern in 
 1 89 1 discouraged with his prospects 
 in London; hved as teacher and oc- 
 casionally cond. His "King OlaJ " 
 (1896) brought his first real success, 
 which his orch. variations, (1899), 
 increased and the "Dream of Geron- 
 tius," (1900) established; Cambridge 
 made him Mus. Doc. that year; 
 Strauss cond. "Gerontius" in Ger- 
 many, 1902; 1904 an Elgar Festival 
 was given for 3 days at Covent 
 Garden, and the same year he was 
 knighted. He c. Imperial March, 
 2 military marches, called "Pomp atid 
 Circumstance," "Sea Pictures," con- 
 tralto and orch.; Coronation Ode 
 (1902), "The Apostles" (Birming- 
 ham Fest., T903); Symphony No. 2 
 in E flat " To the Memory of Edward 
 VII," (London Mus. Fest., 191 1, 
 and the same year by Cincinnati 
 Symph., N. Y. Phil., Boston Symph., 
 etc.). 
 
 El'lenson, Hans, b. Stuttgart; tenor; 
 a chimney sweep in Stuttgart be- 
 friended by Karl Muck; pupil of 
 LiUi Lehmann, Vogel and Schwarz; 
 debut 1906 at Erfurt; engaged as 
 
 leading tenor at Vienna Royal Opera; 
 renewed for 1911-16. 
 El'licott, Rosalind Frances, b. 
 
 Cambridge, Nov. 14, 1857; daugh- 
 ter of the Bishop of Gloucester and 
 Bristol; studied at R. A. M., and with 
 T. Wingham; c. "Dramatic Overture," 
 (Gloucester Fest., 1886), concert 
 overture (London, 1886); cantata 
 "Elysium" (Gloucester Fest., 1889); 
 also chamber music and songs. 
 
 El 'man, Mischa, b. Stalnoje, Rus- 
 sia, Jan. 20, 1892 (some say Jan. 21, 
 1 891); violinist; played at 5 in public; 
 studied 16 months at Odessa with 
 Fidehnann, 1903 invited by Auer to 
 become his pupil; debut at St. Pe- 
 tersburg, 1904, and greeted as a 
 great artist though only 12; toured 
 widely; 1908, America; 1911-12 toured 
 America for third time, playing 12 
 times with Boston Symph. Orch.; c. 
 songs, etc, 
 
 El'wes, Qervase Cary, b. North- 
 ampton, Nov. 15, 1866; tenor; studied 
 Vienna, Paris, etc.; at first in diplo- 
 matic life; professional debut, 1903; 
 has sung in Europe and America; 
 excels in Brahms songs. 
 
 Endler (ent'-ler), Wm. Gottfried, 
 
 (also Endele (in) ), Bayreuth, May 21, 
 1 72 2-1 793; composer. 
 
 Enesco ( a-nes'-koo), Georges, 
 b. Cordaremi, Roumania, Aug. 7, 
 1 881; violinist; at 4 played and 
 composed, at 7 was admitted to 
 Vienna Cons., by Helhnesberger, in 
 whose family he lived; at 11, took 
 first prizes for violin and harmony; 
 1896, studied in Paris Cons, with 
 Marsick and Faure; in 1897, he took 
 second accessit for counterpoint and 
 fugue, and a concert of his works was 
 given in Paris, including a violin 
 sonata, a piano suite, quintet, 'cello 
 pieces and songs; 1898, Colonne prod, 
 his "Poeme Roumain" for orch.; 1899, 
 he took first viohn prize at the Cons.; 
 toured and became court vjolinist to 
 the Roumanian Queen; c. symph. 
 (Colonne orch., 1906; N. Y. Phil.,1911) 
 
868 
 
 THE MUSICAL GUIDE 
 
 2nd symph. in E flat, op. 13 (Berlin 
 19 1 2) Pastoral fantasie for orch. (Col- 
 onne orch., 1899); Dixtuor, or sym- 
 phony for wind instrs.,do. for 'cello 
 and orch. (Lamoureux orch., 1909); 
 for suite orch. (Boston Symph., 19.11); 
 3 Rhapsodies Roumaines, (191 1), etc. 
 
 Engelsberg, E. S., (pen-name of 
 Dr. Ed. Schon), Engelsberg, Silesia, 
 Jan. 23, 1825 — Mahren, May 27, 
 1879; councillor of the ministry, Dr. 
 Schon published many humorous 
 male quartets under the pen-name; 
 he was a pupil in theory of Storch; 
 he c. also orchestral works. 
 
 Erlebach (er'-le-bakh). Ph. H., 
 Essen, July 25, 1657 — Rudolstadt, 
 April 17, 1814; court-cond.; c. over- 
 tiu-es, etc. 
 
 Ernst, Henry Wilhelm, Briinn, 
 Moravia, May 6, 1814 — Nice, Oct. 
 8, 1867; violinist; pupil Vienna Cons, 
 and with Bohm and Mayseder; fol- 
 lowed Paganini about to learn his 
 methods; 1832-38 hved at Paris; 
 1838-44 toured Europe with greatest 
 success; c. violin-concerto, etc. 
 
 Er'tel, Jean Paul, b. Posen, Jan. 
 22, 1865; critic and composer; pupil 
 of Tauwitz, Brassin and Liszt; self- 
 taught in instrumentation; teacher 
 at Brandenburg Cons. ; 1897-1905, ed- 
 ited the " Deutsche Musike r Zeltimg "; 
 c. symphony "Harald "; symph. 
 poems "Maria Stuart," " Der 
 Meiisch," "Belsazar," "Hero und 
 Leander" (1909); a double fugue for 
 orchestra and organ, etc. 
 
 Espo'sito, Michele, b. Castellam- 
 mare, near Naples, Sept. 29, 1855; 
 pianist; pupil of Naples Cons., under 
 Cesi; 1878-82, at Paris; from 1882, 
 piano-prof.. Royal Irish Acad, of 
 Music, Dublin; 1899 organized and 
 cond. an orchestra in Dublin; c. can- 
 ta.ta. " Deirdre" winning Feis CeoU 
 prize (1897); operetta, "The Post- 
 bag," "Irish" symph. (Feis Ceoil 
 prize, 1902). etc. 
 
 Eulambio, (a-oo-lam'-bi-o) Michele 
 A. ; young Italian composer, pupil 
 
 Leipzig Cons, where he c. a piano 
 concerto; his 2-act opera Ninon von 
 Lenclos was prod, with success at 
 Leipzig City Opera, April 27, 1912. 
 
 Expert (ex-par), Henri, b. Bordeaux, 
 May 12, 1863; pupil of Cesar Franck 
 and Gigout; authority on 1 5-1 6th 
 century music and editor of many 
 important texts; from 1909 Ubrarian 
 Paris Cons., succeeding Weckerlin. 
 
 Eysler (Is'-ler), or Eisler, Edmund, 
 b. Vienna, Mar. 12, 1874; c. operettas 
 "The Feast of Lucullus" (Vienna 
 1 901), and "Brother Straubinger" 
 (1903), "Vera Violetta," 1907, etc. 
 
 Fahrmann (far'-m2,n) Ernst Hans, 
 b. Beicha, Dec. 17, i860; organist; 
 1892, teacher at Dresden Cons.; c. 
 organ sonatas, etc. 
 
 Falchi (fal'-ke), Stanislaus, b. 
 Terni, 1855; composer of operas; "II 
 trillo del diavolo" (Rome, 1899), etc. 
 
 Falkenberg (fal-kan-bar), Georges, 
 b. Paris, Sept. 20, 1854 ; composer; 
 teacher of piano. 
 
 Fall, Leo, composer of light operas; 
 "Irrlicht" (Mannheim, 1905), "Der 
 Rebell" (Vienna, 1905), "Der fidele 
 Bauer" (Mannheim, 1907), "Die 
 •Dollar Princessin," (Vienna, 1907, 
 London and America as " The Dollar 
 Princess"), etc. 
 
 Fal'ler, Nikola Von, b. Iwano- 
 wetz, Croatia, April 22, 1862; pupil 
 of Bruckner in Vienna, Massenet and 
 DeUbes in Paris; since 1887 at Agram 
 as teacher in the Cons.; opera direc- 
 tor and comp. 
 
 Fanel'li — b. 1861 ; studied Paris 
 Cons. ; viohnist ; played in cafes, 
 dance halls, acted as music cop3ast and 
 to obtain such work in 191 2 showed his 
 symphony "Tableaux Symphoniques, " 
 written in 1883; had its first prod. 
 March 16, 191 2, by the Colonne orch., 
 received with greatest approval. It 
 is based on Th. Gautier's "Romance 
 of a Mummy." 
 
DICTIONARY OF MUSICIANS 869 
 
 Farina (fa-re'-na), Carlo, b. Man- 
 tua; one of the earliest of violin 
 virtuosos; 1625 court chamber musi- 
 cian at Vienna; c. viohn pieces. 
 
 Far'jeon, Harry, b. Hohokus, N. J., 
 May 6, 1878; composer; of English 
 parentage, and taken to England in 
 infancy ; pupil of Landon Ronald, 
 Storer, and 1895-1901, R. A. M.; 
 prod, operetta " FlorcUa," 1899; from 
 1903, prof, of theory at the R. A. M.; 
 c. piano concerto, orch. suite "Hans 
 A>idersen"; symph. poems, "Mow- 
 gli," and "Summer Vision"; cham- 
 ber music, songs, etc. 
 
 Farmer, (i) John, important En- 
 ghsh composer of madrigals; author 
 of a treatise pub. 1591, and madrigals, 
 1599-1602. (2) Thomas, d. 1694 (?); 
 composer; graduated at Cambridge, 
 1684; published songs, stage music, 
 etc., i675-i695;Purcell wrote an elegy 
 to Nahum Tate's words, on his death. 
 
 Farrar', Qeraldine, b. Melrose, 
 Mass., Feb. 28, 1882; soprano; at 12, 
 pupil of J. H. Long, Boston; later of 
 Trabadello and LilU Lehmann; 1901, 
 debut Berhn Royal Opera; ^vith great 
 success has sung there since, and in 
 the chief European capitals; regularly 
 engaged also at the Op. Com., Paris, 
 and since 1906, at the Met. Op. 
 House in N. Y., creating the role 
 of the Goosegirl in Himiperdinck's 
 " Koiiigskiiider." 
 
 Far'well, Arthur, correct birth date 
 is St. Paul, Minn., April 23, 1872. He 
 conducted the important Wa-Wan 
 press publications till 1912, bringing 
 to light much otherwise hidden 
 American genius. He has done 
 valuable work in New York and 
 elsewhere in developing municipal 
 music, free concerts in parks, piers, 
 etc. His comps. include for orch. 
 "Dawn," "The Domain of Hurakan," 
 "Navajo War-Dance" (all in Indian 
 themes). "Cornell" overture, and 
 "Love Song"; for piano many pieces 
 of Indian theme and numerous fine 
 songs. 
 
 Faure, Gabriel U., add that 1905 
 he became Director of the Paris 
 Cons.; c. music to " Promethee" 
 (Beziers, 1900), "Julius Ccesar" 
 (igos), "Felleas et Melisaiide," i&g&; 
 arranged as an orch. suite, 1901; also 
 much chamber music, and religious 
 choruses, piano pieces and many 
 highly important songs. 
 
 Felix (fa-Ieks), Dr. Hugo, b. Vienna, 
 Nov. 19, 1866; c. operettas " ///f^arew- 
 blut," Vienna, 1894; "Rhodope," 
 Berlin, 1 900; "Mme. Sherry " (Berlin, 
 1902, since with great success in 
 America, 1910). 
 
 Fel'ton, Rev. Wm., Cambridge, 1713 
 — Dec. 6, 1769 ; vicar, harpsi- 
 chordist and comp. 
 
 Feneir (or Ffinell ), d. Dublin, 
 Sept. 20, 1709; Irish composer; organ- 
 ist at St. Patrick's Cathedral, 1689- 
 1694, and buried there. 
 
 Ferling (fer'-link), (i) Franz Wm. 
 Halberstadt, Sept. 20, 1796 — Braun- 
 chweig, Dec. 18, 1874; olDoist; his sons 
 (2) Qustav, b. Braunschweig, July 
 8, 1835; oboist at Stuttgart, and 
 teacher at the Cons. ; (3) Robert, 
 Braunschweig, July 4, 1843 — St. 
 Petersburg, Mar. 24, 1881 ; royal 
 chamber musician at St. Petersburg. 
 
 Ferra'ri, Qabrielle, b. Paris; pupil 
 of Ketten, Duprato, later of Gounod 
 and Leborne; at 12 debut as pian- 
 ist, Naples; c. opera " Lc Colzar" 
 given at Monte Carlo in one act, en- 
 larged to two (Paris Opera, 191 2); 
 also orch. suites and many popular 
 songs. 
 
 Fet'terode, L. Adrian van, b. 
 Amsterdam, July 25, 1858; pupil of 
 Coenen and Heinze; teacher at 
 Amsterdam; c. piano suite, fantasie 
 for 2 pianos, etc. 
 
 Fiebach (fe'-bakh). Otto b. Ohlau, 
 Silesia, Feb. 9, 1851; director of an 
 institution at Konigsberg; royal con- 
 ductor; c. operas, and an oratorio; 
 author of "Die Physiologie der 
 Tonkunsi" (1891). 
 
 Fiedler, Max; in 1903, became direc- 
 
870 
 
 THE MUSICAL GUIDE 
 
 tor of the Hamburg Cons.; 1904 cond. 
 the Philharmonic concerts; 1908-12, 
 cond. Boston Symphony Orchestra 
 with great success during the leave 
 of absence of Karl Muck (q. v.), c. 
 'cello sonata (Boston, 1909), cham- 
 ber music, etc. 
 
 Fil'by, Wm. Chas.,b. London, 1836; 
 organist; studied in Paris; since 1884 
 organist at St. Paul's; c. masses, etc. 
 
 Fil'ke, Max, b. Staubendorf-Leob- 
 schiitz, Silesia, Oct. 5, 1855; organist 
 and singing teacher; pupil of Brosig 
 and Leipzig Cons.; since 1891, cathe- 
 dral cond. at Breslau, teacher at the 
 Priest's Seminary, and since 1893 at 
 the Royal Inst, for Church music; 
 1899, Royal Music director; c. works 
 of great importance in modem Catho- 
 lic music, several masses with orch.; 
 Salve Rcgina, op. 102; choruses, etc. 
 
 Fil'lunger, Marie, b. Vienna, Jan. 
 27, 1850; soprano; pupil at Vienna 
 Cons, and of Marchesi, and after 
 1874 at the Berlin Hochschule ; 
 sang in oratorio and concert with 
 great success in Europe, and from 
 1889 in London, where she afterward 
 settled; toured Australia, 1891; South 
 Africa, 1895; from 1904 teacher at 
 R. C. M., Manchester. 
 
 Filtz (Fieltz, Fils, Filsl or Filz), 
 Anton, b. probably in Bohemia, 
 ca. 1725 ; d. 1760 at Mannheim, 
 where he was court 'cellist ; c. many 
 important symphonies, 2 masses, etc. 
 
 Finch, Edward, 1664 — Feb. 14, 1738; 
 composer of church music; son of Earl 
 of Nottingham, and prebendary of 
 York. 
 
 Fioc'co, (i) Domenico, early com- 
 poser of a mass ; dates unknown. (2) 
 Pietro, Antonio, d. Brussels, Nov. 
 3, 1704; composer of masses, etc., 
 came from Venice; court musician at 
 Brussels, 1696; from 1706 cond.; his 
 two sons (3) Jean Josef, succeeded 
 Pietro as cond., in 17 14, and was 
 succeeded by his brother Qioseffo 
 Hector, prominent as harpsichord- 
 ist and composer; died after 1737. 
 
 Fiore (fi-o'-re) Stefano Andrea, 
 
 Milan, 1675 — Turin, 1739; composer 
 of operas. 
 
 Fisch'er, Johann Kaspar Ferdi= 
 nand, ca. 1650 — ca. 1738; impor- 
 tant composer for organ and clavier; 
 cond. to Markgraf Ludwig in Bo- 
 hemia, 1688; his works were published 
 1695 — 1715; his "Ariadne Musica, 
 Neo-Organoediim per XX Fugas, etc.," 
 1702, includes preludes and fugues in 
 all modem keys except five, resem- 
 bling and preceding Bach's " Well- 
 tempered Clavichord," which was not 
 begun till after 1723, and not pub- 
 lished till 1810. 
 
 Fitelberg (fe'-tel-berkh), Qeorg, 
 b. Dunaburg, Oct. 18, 1879; impor- 
 tant Polish composer; pupil Warsaw 
 Cons., taking Paderewski prize with 
 a violin sonata, 1896, and 1901 the 
 Zamoyski prize with a piano trio; 
 concertmaster, and 1908 conductor 
 Warsaw Philharmonic; 191 2, engaged 
 for 6 years to cond. Vienna Royal 
 Opera; c. 2 symphonies, including E 
 Minor (1905); symph. poems "The 
 Song of Falken" (1906), and " Protes- 
 ilas and Leodatnia," etc. 
 
 Flecha (fle'-cha), Juan, music 
 teacher; Catalonia, 1483-1553; Car- 
 melite monk and teacher; his nephew 
 (2) Fray Matheo,, 1520 — Feb. 
 20, 1604, was an abbot and cond. 
 to Charles V at Prague; both were 
 composers. 
 
 Flesch, Karl, b. Moson, Hungary, 
 Oct. 9, 1873; violinist; pupil of Griino 
 at Vienna, and Marsick at Paris Cons.; 
 com. 1897-1902 prof, at Bucharest 
 Cons. ; and chamber musician to the 
 Roumanian Queen; 1903-8, teacher at 
 Amsterdam Cons.; since at Berlin. 
 
 Flin'tof, Rev. Luke, Worcester, 
 (?) — London, Nov. 3, 1727; 1715 
 Gentleman of the Chapel Royal; 
 buried in Westminster Abbey; said 
 to have invented the double chant of 
 which his is the first known example. 
 
 Flo'derer, Wilhelm, b. Briinn, May 
 10, 1843; composer of operas. 
 
DICTIONARY OF MUSICIANS 871 
 
 Flon'dor, Theodor Joh. Von., d. 
 
 Berlin, June 24, 1908; Roumanian 
 composer of operas. 
 Florence, Evangeline, b. Cam- 
 bridge, Mass., Dec. 12, 1873; stage 
 name of Miss Houghton, soprano of 
 remarkable compass, g-c ""; married 
 Alex. Crerar, 1894. 
 Floridia, Pietro, add that his real 
 name is Baron Napolino di San 
 Silesto. He came to America in 1904, 
 was for a year piano-prof, at Cin- 
 cinnati Cons., and was commissioned 
 to write the opera "Paoletta," for the 
 Exposition of 1910; the opera had 
 great success. His symphony, con- 
 sidered the representative symphony 
 of Italy, has been much played by 
 the Cincinnati Symph. Orch., 19 10, 
 etc.; c. also opera " The Scarlet Letter," 
 a splendid "Madrigal" for barytone 
 and orch., songs, etc.; lives in New 
 York; his opera "Maruzza" has had 
 2,000 performances in Italy. 
 Flow'er, Eliza, Harlow, Essex, April 
 19,1803 — Dec. 12, 1846; composer 
 of hymns. 
 Fogliani (or Fogliano or Folia= 
 nus), (2) Qiacomo, Modena, 
 1473 — April 4, 1548; brother of 
 Ludovici P., organist and comp. 
 Fohlstrom (fol'-stram). Alma, b. 
 Helsingfors, Jan. 2, 1861; concert 
 soprano, pupil of Mme. Nissen- 
 Saloman in St. Petersburg. 
 Foote, Arthur, add that he gave 
 up the organ of the First Unitarian 
 Church in 19 10 after 32 years; still 
 teaching piano in Boston; lectured 
 during summer of 191 1 at University 
 of California. Later comps. include 
 orch. suite in D minor (played in 
 Boston, London, N. Y., etc.) Suite 
 for strings (do.); 4 character pieces 
 for orch. (Thomas Orch., Boston 
 Symph, 191 2, etc.) " Bedouin Song, " 
 male chorus sung very widely; organ 
 suite in D (played by Guilmant on 
 American tour); two piano suites, 5 
 poems from Omar Khayydm for 
 piano, songs, etc. 
 
 Fornia, Rita (P. Newman), b. 
 
 San Francisco, July 17, 1879; soprano; 
 pupil of Jean de Reszke and Frau 
 Kempner; debut, 1901, Hamburg 
 Stadttheater; sings at Covent Gar- 
 den and Met. Op., N. Y. 
 Fos'ter, Muriel, b. Sunderland, Nov. 
 22, 1877; contralto of remarkable 
 range, g to b " flat; pupil of Anna Wil- 
 liams at the R. A. M., winning a 
 scholarship, 1897; debut 1896 in 
 oratorio; sang with her sister Hilda 
 in 1899; and at frequent festivals 
 since; has sung also in Germany, 
 Russia and America. 
 Fowles, Margaret F., Ryde, Isle 
 of Wight, 1846 — Detroit, Michigan, 
 August 6, 1907; pianist; organist; 
 cond. 
 Fragerolle (fra-zhg-rul), Georges 
 Auguste, b. Paris, March 11, 1855; 
 pupil of Guiraud; c. patriotic songs, 
 operettas, pantomimes, etc. 
 Franchetti, Alberto, his opera 
 "Germania" (prod. Milan, 1902), 
 has been performed widely at Covent 
 Garden 1907 and 191 1 at the Metro- 
 poHtan Opera House, N. Y. 
 Frank'o, (i) Sam, b. New Orleans, 
 Jan. 20, 1857; violinist, pianist, 
 and cond.; pupil of Wilhelmj, Joachim 
 and Vieuxtemps; toured with Patti; 
 cond. concerts of ancient music in 
 New York, 191 2, Berlin; his brother, 
 (2) Nahan, b. New Orleans, July 
 23, 1861; violinist and cond.; at 8, 
 toured the world with Patti; later 
 studied with Rappoldi, De Ahna, 
 Wilhelmj, and Joachim; member of 
 Met. Op. orchestra, N. Y.; from 1883 
 concertmaster; 1905-7 conductor; 
 since has cond. his own orchestra. 
 Fraschini (fras-ke'-ne), Gaetano, 
 Pavia, 1815 — Naples, May 24, 1887; 
 tenor in Italy and England. 
 Fremstad (frem'-shtat), Olive (An= 
 na Olivia), b. Stockholm; dra- 
 matic soprano ; at 9, a pianist; 
 brought to America by her parents, 
 at 12; 1890, soloist at St. Patrick's 
 Cathedral, N. Y.; 1893-94, pupil of 
 
872 
 
 THE MUSICAL GUIDE 
 
 Lilli Lehmann at Berlin; 1895, debut; 
 1896 sang at Bayreuth; 189 7-1 900 
 Vienna Royal Opera; later at IMunich, 
 Covent Garden and since 1903 at 
 Met. Op. House, N. Y.; officer of the 
 French Academy, and 1907 of Pubhc 
 Instruction. 
 Freudman,.Ignatz, vide friedman. 
 Friderici (or Friederich) Daniel, 
 Eisleben (?) before 1600 — after 1654; 
 cantor at Rostock ; c. madrigals, etc. 
 Fried (fret), Oskar, b. Berlin, Aug. 
 10, 187 1 ; pupil of Humperdinck; since 
 1904 director Stern Gesangverein and 
 the Gesellschaft der IMusikfreunde; 
 c. choral works ^\ath orch., double 
 fugue for strings; a work for 13 wind 
 instruments and 2 harps, etc. 
 Friedenthal (fre'-den-tal), Albert, 
 b. Bromberg, Sept. 25, 1862 ; pi- 
 anist; pupil of Fr. and W. Stein- 
 brunn, and of Kullak; has toured the 
 world. 
 Friedheim, Arthur, add that he 
 spent many years in America as 
 teacher and pianist; later prof, at 
 R. C. M., Manchester, England, till 
 1904; c. opera "Z)z'e Tdnzerin" 
 (Cologne, 1905); toured America, 
 1911-1912. 
 Friedman, (fret'-man), Ignaz, b. 
 Podgorze, near Cracow, Feb. 14, 1882, 
 pianist; pupil of his father and of 
 Leschetizki; toured Europe with suc- 
 cess; c. piano pieces and songs. 
 Friedlander (fret'-len-der), Thekia, 
 soprano; pupil of Hiller and 
 Schneider; debut, Leipzig, Dec. 11, 
 1873; popular in England, 1875-1886. 
 Frischen, (frish'-en), Josef, b. 
 Garzweiler, July 6, 1863; singing 
 teacher; pupil Cologne Cons.; 1888, 
 city musical director at Lucerne; 
 1892, dir. Musikakademie, Hanover; 
 teacher and Royal Director at 
 Braunschweig; c. choral works, etc. 
 Fris'kin, James, b. Glasgow, Mar. 
 3, 1886; pianist; pupil of London R. 
 C. M., winning scholarship in 1900 
 and composition scholarship 1905; c. 
 
 successful piano quintet in C minor 
 
 (1907), 'cello sonata, etc. 
 Fritz (or Friz), Qaspard, Geneva 
 
 1716-1782; violinist; c. 6 symphonies, 
 
 etc. 
 Fuenllana (fwen-li-an'-na), Mig=- 
 
 uel de, flourished 1554 in Spain; 
 
 lute-virtuoso and court composer; 
 
 blind from birth. 
 Fugere (fu-zhar), Lucien, b. Paris, 
 
 March 3, 1848; bar>i;one; pupil of 
 
 Raguenau; debut, 1870. 
 
 Gabriel (ga'-bri-el), Richard, b. 
 Zackenzin, Pomerania, Sept. 3, 1874; 
 organist; pupil Royal Inst, for church 
 music and Humperdinck's Master- 
 school; since 1902 org. at Sagan; c. 
 spring overture, choral work with 
 orch., "Nach WaUiall," etc. 
 
 Qabrilowitsch, Ossip, add that 
 in 191 2 he cond. the Konzertverein 
 orch., Munich. 
 
 Gailhard (gi'-yar), Pierre, b. Tou- 
 louse, Aug. I, 1848; bass; pupil 
 Paris Cons.; debut 1867, Op. Com., 
 Paris; later at the Opera, of which he 
 was director 1899-1007. 
 
 Gal'eotti, (i) Stefano (or Salva= 
 tore), c. 'cello sonatas pub. in Lon- 
 don, Paris and Amsterdam, 1750- 
 -60; (2) Cesare, b. Pietrasanta, 
 June 5, 1872; c. opera "Anton " 
 (La Scala, j\iilan, 1900). 
 
 Gal'kiri, Nikolai Vladimirovich, 
 St. Petersburg, Dec. 18, 1856 — 
 May 21, 1906; vioUnist and com- 
 poser for violin; pupil of Kamin- 
 sky, Auer, Joachim, Sauret and 
 Wieniawski; toured Europe and after 
 1877 was cond. in St. Petersburg and 
 from 1880 teacher at the Cons.; from 
 1892, prof. 
 
 Gall, Jan, b. Warsaw, Aug. 18, 1856; 
 pupil of Krenn and Rheinberger 
 1886, teacher of song at Cracow Cons, 
 then pupil of Mme. Lamperti, later 
 director of the Lemberg "Echo" 
 society; composer of some 400 vocal 
 numbers. ft 
 
 J^ 
 
DICTIONARY OF MUSICIANS 873 
 
 Gallet'ti = Qianoli ( ja-no'-le), Isa= 
 bella, Bologna, Nov. ii, 1835 — 
 Milan, Aug. 31, 1901; operatic so- 
 prano; later contralto. 
 
 Qansbacher (gens-bakh-er) , Josef, 
 1829 — Vienna, June 5, 191 1; famous 
 singing teacher; 
 
 Ganz (gants), Rudolph, b. Zurich, 
 1877; debut at 10 as 'cellist, at 
 12 as pianist; then pupil of his 
 uncle, Eschmann-Dumur, and later of 
 Busoni; debut as pianist and composer 
 Berlin, 1899; 1901-5 succeeded 
 Friedheim in Chicago; has toured 
 widely; c. "Lake" cycle of songs 
 (1906), etc. 
 
 Qar'diner, H. Balfour, b. Lon- 
 don, Nov. 7, 1877; pupil of Knorr at 
 Frankfort; c. symph. (Queens Hall 
 1904 and 1908); 'Fantasy " (1908); 
 overture, chamber music, etc. 
 
 Gates, Bernard, ca. 1685 — North 
 Acton, Nov. 15, 1773; English singer 
 and comp. 
 
 Gatti=Casazza (gat'-ti ka-sat'-sa), 
 Giulio, b. Ferrara, Feb. 5, 1869; at 
 first a naval engineer; 1894-8 dir. 
 Municipal Theatre at Ferrara; 1898- 
 1909, dir. La Scala, Milan, making it. 
 a home of modem opera; 1909 co- 
 director with A. Dippel of the Metro- 
 poUtan Opera House, N. Y.; since 
 1 910 in full charge; he has prod, three 
 native American operas, and given 
 the first prods, anywhere of Humper- 
 dinck's ''Konigskinder, " and Puccini's 
 "Girl of the Golden West." 
 
 Gat'ty, Nicholas Comyn, b. Brad- 
 field, Sept. 13, 1874; composer; critic, 
 organist and comp., pupil R. C. M., 
 where he produced orch.-variations 
 on "Old King Cole "; from 1907 
 critic on "Pall Mall Gazette"; assist- 
 ant at Covent Garden; c. i-act operas 
 "Greysteel" (Sheffield, 1906), and 
 "Dicke or Devil " (Manchester, 1909); 
 Milton's "Ode on Time," for chorus 
 w. orch., (SheSield Festival, 1905). 
 Qavron'ski, Woitech, b. Seimony 
 near Wilna, June 27, 1868; pupil War- 
 saw Mus. Inst.; toured Russia, taught 
 
 in Orel and Warsaw; c. sjrmph.; 2 
 operas and a string quartet, (Paderew- 
 ski prize, Leipzig, 1898). 
 
 Gayarre (ge-yar-ra'), Julian, Roncal 
 (?), Jan. 9, 1844 — Madrid, Jan. 2, 
 1890; operatic tenor, son of a black- 
 smith. 
 
 Gebhard (gep'-hart), Heinrich, 
 b. Sobernheim, near Bingen, July 25, 
 1878; pianist; taken to America at 
 10; pupil of Clayton Johns, debut, 
 1896, Boston; playing his violin and 
 piano sonata, then studied with 
 Leschetizky and Heuberger; 1899 
 reappeared Boston \vith symph. orch. 
 1900-4, pianist of Longy Club; c. 
 quartet, piano pieces, etc. 
 
 Gehrmann (gar'-man), Hermann, 
 
 b. Wemigerode, Dec. 22, 1861; his- 
 torian and theorist; pupil Stern Cons., 
 BerUn; 1908, Royal Prof.; c. string- 
 quartet and songs. 
 
 Gep'pert, Liberatus, b. Jauering 
 (Austrian Silesia) Feb. 15, 1815 — 
 Feb. 7, 1881; c. 40 masses, 10 re- 
 quiems, etc. 
 
 Ger'hardt, Paul, b. Leipzig, Nov. 
 10, 1867; organ- virtuoso; pupil at the 
 Cons.; since 1898 org. at Zwickau; 
 
 c. organ works, etc. 
 Gerhauser (ger'-hi-zer), tenor; de- 
 but Munich; sang there and at 
 Carlsruhe; 1902, Met. Op., N. Y.; 
 gave up singing, became stage-direc- 
 tor, Stuttgart Royal Op. 
 
 Giacobbi (jak-kob'-be), Girolamo, 
 Bologna, ca. 1575 — Nov. 30, 1630; 
 church cond. and one of the first com- 
 posers of opera; "Andromeda " (1610) 
 also church music. 
 
 Giarda (jar'-da), Luigi Stefano, 
 b. Cassolnovo, Pavia, March 19, 1868; 
 'cellist; pupil Milan Cons.; teacher at 
 Padua, 1893-7; after, at Royal Cons., 
 Naples; c. opera "Rejetto " (Naples, 
 1898), 'cello-music and method. 
 
 Gib'son, George Alfred, b. Not- 
 tingham, Oct. 27, 1849; violinist; 
 pupil of his father and of Henry 
 Farmer; soloist at 12; from 1871 at 
 Covent Garden; 1893, leader of the 
 
874 
 
 THE MUSICAL GUIDE 
 
 Queen's private band; prof, at R. A. 
 M., and Guildhall. 
 
 Qigault (zhe-go), Nicolas, b. Brie, 
 ra. 1645; organist at Paris and 
 composer. 
 
 Gilbert (i) Alfred, Salisburj-, Oct. 
 21, 1828 — London, Feb. 6, 1002; 
 organist and composer; his brother, 
 (2) Ernest Thos. Bennett, Salis- 
 bury, Oct. 22, 1833 — London, May 
 II, 1885; organist, teacher and com- 
 poser. (3) Walter Bond, b. Exe- 
 ter, April 21, 1829; organist; pupil 
 of Wesley and Bishop; 1886, Mus. 
 Doc. Oxford; 1889, came to New York; 
 c. oratorios, etc. (4) Henry Frank= 
 lin Belknap, b. Somerville, Mass., 
 Sept. 26, 1868; violin pupil of Mollen- 
 hauer; studied harmony with G. 
 H. Howard and for 3 years with Mac- 
 Dowell; 1892-1901 in business, then 
 took up con. position. His work is 
 full of originality, and character; c. 
 Comedy Overture on negro themes 
 (Boston Symph., 1911); American- 
 esque, Two Episodes, I, Legend; II, 
 Negro Episode, Boston (1896, and 
 often elsewhere); " Salammbo's Invo- 
 cation to Tanith" for soprano and 
 orch. (1906); "American Dances in 
 Rag-Time" for orch. ; fantastic symph. 
 poem, ''The Dance in Place Congo"; 
 for piano "Indian Scenes," "Negro 
 Episode", etc., many beautiful songs, 
 including the well-known "Pirate 
 Song." 
 
 Qille (gH'-le), Karl, b. Eldagsen, Han- 
 over, Sept. 30, 186 1 ; pupil of J. Fischer, 
 Bott and Metadorf; theatre-cond. in 
 various cities; 189 1-7 court cond., 
 Schwerin; 1S97 succeeded Mahler at 
 Hamburg Stadttheater; 1906, first 
 cond. Vienna Volksoper, and during 
 the summer of 1908-9, at the Gura- 
 Opera, Berlin. 
 
 Qil'man, Lawrence, b. Flushing, N. 
 Y. July 5, 1878; critic for "Harper's 
 Weekly"; biographer of MacDowell 
 (1905), author of numerous books 
 showing an enthusiasm for modernity 
 which appears also in his own compo- 
 
 sitions, such as the musical back- 
 ground to Yeats' poem " The Curlew. " 
 
 Qil'son, Paul, correct birth date 
 Brussels, June 15, 1865; since 1904 
 teacher of hannony Antwerp Cons., 
 and critic of the "Soir"; has become 
 one of the most important Belgian 
 composers, with his operas, "Gens 
 de mer," (based on Victor Hugo's 
 novel, Brussels, 1902; Antwerp, 1904) 
 and " Prinses Zonnenschijn," (An- 
 twerp, 1903); ballet, "La Captive," 
 Brussels, 1902; sjonph. "La Mer," 
 1892; orch. fantasy on Canadian folk- 
 songs, symph. poems, etc. 
 
 Qinera (he-na'-ra), Salvador, 
 Valencia, Jan. 17, 1832 — Nov. 3, 
 191 1 ; pupil of Gascons; dir. Valencia 
 Cons.; c. a symph. "The Four Sea- 
 sons," operas, etc. 
 
 Giordano, Umberto, prod, opera 
 "Fedora" (Milan, 1898), Siberia, 
 (do, 1903, Leipzig, 1907), and Mar- 
 cella, (Milan, 1907). 
 
 Giorgetti (j6r-jet-te), Ferdinando, 
 Florence, 1 796-1867; violinist, teacher 
 and comp. 
 
 Glaz(o)unow, Alex. Constanti= 
 novich, add that from 1899 he 
 was prof, of instrumentation, St. 
 Petersburg Cons.; from 1909-12 
 director, also dir. the Imperial Musi- 
 cal Society. He has c. 7 symphs. 
 4 overtures, a symph. poem, "Stenka 
 Rasin," a symphonic fantasy, 
 " Through Night to Light, " and a great 
 number of other orch. works, chamber 
 music in large cjuantity and high 
 quahty, cantatas, the "Memorial," 
 (Leeds, Fest., 1901), ballets, violin 
 concerto (1904), etc. 
 
 Glickh (glikh), Rudolf, b. Vienna, 
 Feb. 28, 1864; 'ceUist; c. operas, 
 etc. 
 
 Gliere (gle-ar), Reinhold Moritz= 
 ovich, composer; b. ELiev, Dec. 
 30, 1874 (O. S.), or Jan. 11, 1875, 
 (N. S.); pupil of Moscow Cons., win- 
 ning gold medal; c. 2 popular sym- 
 phonies, chamber music, etc. His 
 latest symphony "Ilia Mouromctz" 
 
DICTIONARY OF MUSICIANS 875 
 
 was prod, at Moscow, April 191 2, 
 with great success. 
 Glover, J. Wm., Dublinjune 19, 1815 
 — Jan. 15, 1900; violinist and choir- 
 master at the Cathedral from i860; 
 c. opera "The Deserted Village" 
 (London, 1880), etc. 
 Gluck (glook), Alma (nee Reba 
 Fierson), b. Bucharest, Rouma- 
 nia. May 11, 1866; taken to New 
 York at 6; pupil of Bouzzi-Peccia, 
 debut New Theatre, N. Y., 1909, the 
 same year at the Met. Op.; has sung 
 there since, and in concert. 
 Qluth (gloot), Victor, b. Pilsen, 
 May 6, 1852; pupil Royal Akademie 
 der Tonkunst, Munich; c. operas 
 " Zlatorog" and '' Horand mid Hilde." 
 Godowsky, Leopold, add that he 
 has achieved a place as one of the 
 world's most brilliant pianists and 
 teachers; succeeded Busoni in 1910, 
 as head of the INIaster-School of the 
 Vienna Imperial Academy; 1904, he 
 married Frieda Saxe; gives frequent 
 recitals in Europe; c. symphonic 
 Dance-pictures from Strauss " Fled- 
 ermaus"; sonata E minor, for piano; 
 left-hand transcriptions of Chopin 
 Etudes, 50 etudes on Chopin's Etudes, 
 and many briUiant piano works. 
 Gohler (ga'-ler), Karl Qeorg, b. 
 Zwickau, June 29, 1874; author and 
 comp.; pupil of Vollhardt and Leip- 
 zig Cons.; 1896, Ph.D.; from 1898 
 director of the Riedelverein, also from 
 1903 court cond. at Altenburg; 1907- 
 9 at Carlsruhe; c. 2 s>Tnphs.; orch. 
 suite "Indian Songs." 
 Qomiz (go-meth) Jose Melchior, 
 Valencia, Jan. 6, 1791 — Paris, July 
 26, 1836; military bandmaster and 
 singing teacher at Paris; c. operas and 
 patriotic songs. 
 Qomolka (go-mool'-ka), Nikolaus, 
 Cracow, (?) 1539 — Jazlowiec, March 
 5, 1609. Polish composer and court 
 musician; 
 Gom'pertz, Richard, b. Cologne, 
 April 27, 1859; violinist; pupil at the 
 <J- n>.. and of Joachim; toured, then 
 
 invited to teach at Cambridge Uni- 
 versity; from 1883, teacher at R. C. 
 M., 1895, prof.; from 1899 at Dres- 
 den; c. viohn sonatas, etc. 
 
 Qood'son, Katharine, b. Watford, 
 England, June 18, 1872; pianist; 
 at 12 pupil at the R. A. M., till 
 1892, then four years with Leschet- 
 izky — debut, 1896, London Pop. 
 Concerts; has toured widely; 1903, 
 married Arthur Hinton (q.v.). 
 
 Qoossens (gos'-sens), Eugene, Bel- 
 gium, i845(?) — > Liverpool, Dec. 31, 
 1906; choirmaster; cond.; studied at 
 Bruges; prize winner Brussels Cons.; 
 prof, music, Liverpool. 
 
 Qorczycki (g6r-chet'-ski), Qregor 
 Gabriel, before 1650 — Cracow, 1734; 
 mus. dir. at the Cathedral; c. church 
 music. 
 
 Qorner (ger'-ner), (i) Jno. Gott- 
 lieb, Penig, 1697 — Leipzig, 1778; 
 organist; his brother, (2) J. N. Val= 
 entin, b. Penig, 1702, cond. at 
 Hamburg Cathech-al; c. songs. 
 
 Gott'hard, (i) Jn. Peter, b. 
 Drahanovitz, Moravia, Jan. 19, 1839; 
 cond. at Vienna; c. operas; with his 
 brother (2) Franz Pazdirek, pub- 
 lished a musical hand book. 
 
 Qourron vide alvarez(2). 
 
 Qrabov'sky (or Qraboffsky), (i) 
 Countess Clementine, Posen, 
 1771 — Paris, 183 1 ; anist; pianist 
 and comp. (2) Stanislaus, d. 
 Vienna, 1852; piano-prof. and. c. 
 popular polonaises, etc. (3) Adolph, 
 b. Hamburg, Oct. 14, 1867, violinist 
 and teacher at Sondershausen Cons. 
 
 Graf (graf), (i) Fr. Hart man, 
 Rudolfstadt, 1727 —Augsburg, 1795; 
 flutist and comp. 
 Grahl (gral), Heinrich, b. Stralsund, 
 Nov. 30, i860; concert tenor in Ber- 
 Un; pupil of Frl. Schmidt. 
 Grainger (gran'-jer), Percy, b. 
 Brighton, AustraUa, July 8, 1882; 
 pianist; pupil of Louis Pabst; at 11 
 gave recitals and earned money for 
 European study with Kwast and 
 Busoni, settling in London, 1900, 
 
876 
 
 THE MUSICAL GUIDE 
 
 playing at important concerts; chosen 
 by Grieg to introduce his piano con- 
 certo; toured Australia and South 
 Africa; made piano arrangements of 
 folk-songs, etc. 
 
 Qranados y Campina (gra-na'- 
 dhos e kam-pe'-na), Enrique, b. 
 Lerida, July 27, 1867; pianist; c. 
 operas and songs. 
 
 Qrandjean (gran-zhan), Axel, b. 
 Copenhagen, March 9, 1847; pupil of 
 the Cons, there; 1869, debut in opera, 
 retired after one season; c. operas, etc. 
 
 Qrau(grow), M a u r i ce , Brunn, 
 Austria, 1848 — Paris, March 13, 1907; 
 impresario of Met. Op. House, N. Y. 
 
 Gray, Alan, b. York, Dec. 23, 1855; 
 organist; studied law, then music 
 under Dr. E. G. Monk; 1883-92, 
 musical dir. Wellington College; then 
 org. Trinity College, Cambridge, and 
 cond. of the University Musical 
 Society; c. cantatas "Arethiisa" 
 (Leeds Festival, 1892), and" A Song 
 oj Redemption" (do., 1898), etc. 
 
 Qreatheed, Rev. Samuel Ste= 
 phenson, b. Weston-super-Mare, 
 Feb. 22, 1813; pupil of W. C. Ball; 
 1838 ordained; then spent some 
 months studying music with Schwarz 
 at Berlin; 1844 took up counterpoint; 
 c. oratorio " Enoch's Prophecy,'" (1856) 
 organ fugue in the Dorianmode, etc. 
 
 Qrechaninoff (gra-cha'-ne-nof ), 
 Alex. Tikhonovich, b. Moscow, 
 Oct. 26, 1864; composer; pupil of 
 Safonoff at the Cons.; later at St. 
 Petersburg Cons., under Rachman- 
 inoff; c. prize string quartet (1894); 
 symph.; succ. opera "Dobringa Nik- 
 itich " (Moscow, 1903); incidental 
 music to Tolstoi's "Feodor," and 
 "Ivan," and to Ostroski's "Snow- 
 Maiden" songs, etc. 
 
 Greenwood, John, d. Preston, April 
 I, 1909; organist, pianist, composer, 
 member of the firm of John G. & Son, 
 Preston. 
 
 Greith (grit), Karl, Aarau, Feb. 21, 
 1828 — Munich, Nov. 17, 1887; org. 
 gan. and comp. of church music. 
 
 Gretschaninow, vide grechani- 
 
 NOFF. 
 
 Griesbacher (gres'-bakh-er), Peter, 
 b. Egglham, March 25, 1864; priest 
 and teacher at Regensburg; c. 40 
 masses, and other church music, 
 also cantatas, etc. 
 
 Griffith, Frederick, b. Swansea, 
 Nov. 12, 1867; at 14 won prize at a 
 Welsh national Eisteddfod; pupil at R. 
 A. M.; 1889-91 with Svendsen, later 
 with Jaffanel, Paris; toured widely; 
 flutist at Covent Garden, and prof. 
 at R. A. M. 
 
 Grigny (gren'-ye), Nicolas de, 
 Reims, 1671-1703; organist and 
 comp. 
 
 Grill'parzer, Fz., Vienna, Jan. 
 15, 1791 — Jan. 21, 1871; friend of 
 Beethoven and Schubert. Comp. 
 
 Grisart, J. B., b. 1848; d. Compiegne 
 France, Mar. 1904. 
 
 Gris'wold, Gertrude, d. London, 
 July 14, 191 2. American soprano, 
 pupil of Agramonte, N. Y., and of 
 Paris Cons., where she was the first 
 American to win the first grand 
 opera prize; debut as "Ophelia," 
 Paris Opera, sang there a year, later 
 in oratorio and concert, and with 
 Patti at the Met. Op. N. Y. c; songs. 
 
 Grodz'ki, Boleslas, b. St. Peters- 
 burg, Oct. 25, 1865; studied law at 
 first, then pupil of Sokolov; c. violin 
 and piano works and songs. 
 
 Gronland (griin'-land), Petersen. 
 Schleswig, 1760 — Altona, 1834; or- 
 ganist and comp. 
 
 Grunewald (groo'-ne-valt), (i) Gott= 
 fried, d. Dannstadt, ca. 1739; singer 
 and comp. (2) Gottfried, b. Quer- 
 stadt, near Eisleben, 1859; c. operas. 
 
 GrUters (gre'-ters), (i) August, 
 d. Urdingen, Dec. 7, 1841; Mus. Di- 
 rector; pupil of his father, of Cologne 
 Cons., and of Ambroise Thomas; 
 1878, Royal director at Frankfort- 
 on-Main; 1908, retired. His brother 
 (2) Hugo, b. Urdingen, Oct. 8, 185 1; 
 pupil Cologne Cons.; conductor in 
 various cities. 
 
DICTIONARY OF MUSICIANS 877 
 
 Guido d'Arezzo, bom near Paris 
 and later joining the monastery; later 
 investigations identify him with a 
 Benedictine monk in the Monastery 
 of St. Maur des Fosses; his probable 
 birth date would be ca. 990. He thus 
 becomes a Frenchman who went to 
 Italy, not an Italian. 
 
 Guillemain ( ge'-yu-man), Qab= 
 riel, Paris, Nov. 15, 1705 — (sui- 
 cide) Oct. I, 1770; c. violin pieces. 
 
 QuI'bins, Max, b. Kammetschen, 
 July 18, 1862; organist and comp. of 
 choral works. 
 
 Gulbranson, Ellen, correct birth 
 date, Stockholm, March 3, 1863. 
 
 Gulli (gool'-le), Luigi, b. SciUa, 
 June 17, 1859; pianist; pupil Royal 
 College of Music, Naples, under Cesi; 
 teacher at Rome, where he founded 
 the Gulli Quintet Society, which has 
 toured with much success. 
 
 Gunke (goonk'-e), Joseph, Joseph- 
 stadt, Bohemia, 1801^ St. Peters- 
 burg, Dec. 17, 1883; violinist, theorist 
 and organist; c. oratorio, mass, etc. 
 
 Gutheil=Schoder ( goot'- hil - sho'- 
 der), Marie, b. Weimar, Feb. 10, 
 1874; mezzo-soprano; pupil of Vir- 
 ginia Gungl, and Weimar Music 
 School; 1 891-1900 at Weimar court 
 opera; frequently at. Vienna court 
 opera; her husband Gustav Gutheil 
 is conductor at Vienna Volksoper. 
 
 Guzman, (gooth'-man), Juan Bau= 
 tista, b. Alday, Valencia, Jan. 19, 
 1846; pupil of Ubeda; organist; joined 
 the Benedictine order; c. songs, etc. 
 
 H 
 
 Haack (hak), Karl, Potsdam, Feb. 
 18, 1751 — Sept. 28, 1819; violinist 
 and teacher; court cond. to Fr. 
 Wilhehn II at Potsdam; c. -"/iolin 
 pieces. 
 
 Haas (has), Alma Hollander, 
 b. Ratibor, Silesia, Jan. 31, 1847; 
 pianist; pupil of Wandelt and Kul- 
 lak; 1872, m. Ernest Haas, prof, of 
 Sanskrit (d. 1882); from 1886 teacher 
 at King's College. 
 
 Hack'l, N. Lajos b. Siegraben, 
 June II, 1868; pupil of Kossler; teach- 
 er at Pest Cons.; c. songs, etc. 
 
 Had'dock, (i) Thomas, Leeds, 
 1812 — Liverpool, Sept. 22, 1893; 
 'celUst; his brother (2) George, 
 Killmgsbeck, near Leeds, July 24, 
 1824 — Leeds, Sept. 12, 1907; violinist, 
 author of method; founded Leeds 
 College of Music with his sons (3) 
 Edgar A., b. Leeds, Nov. 23, 1859; 
 violinist; (4) George Percy, b. 
 Leeds, Oct. 10, i860; pianist, organist, 
 'cellist and comp. 
 
 Hadley, Henry K., add that he spent 
 some years abroad, as cond. in 
 various cities, including the Mayence 
 Opera, where his opera "Safie" was 
 prod, in 1909. In that year he be- 
 came cond. of Seattle symph. orch.; 
 191 1, San Francisco orch.; add to his 
 comps. two symphs. His 2nd symph. 
 took two prizes simultaneously in 
 1 901, the Paderewski and the New 
 England Cons. His fourth symph. 
 "North, East, South and West" he 
 cond. himself with the London 
 Philh. Boston Symph., and other 
 orch.; c. overtures "Hector and Andro- 
 mache," (Boston, 1901); "InBoIwmia" 
 (1903), "Herod," symph. fantasie 
 "Salome" (Boston Symph., 1907, 
 Monte Carlo, 1907; Warsaw, 1908, 
 Cassel, 1908); lyric drama. "Merlin 
 and Vivien," piano quintet, (1907), 
 etc. poetic rhapsody, "The Culprit 
 Fay " (N. Y., 1912); a music drama, 
 
 " The Atonement of Pan," (San Fran- 
 cisco, 1912), etc. 
 
 Haesche, vide hasche. 
 
 Hagel (ha'- gel), Karl, b. Voigts- 
 tedt, Thuringia, Dec. 12, 1847; con- 
 ductor; 1874-77 military cond. at 
 Munich; 1878-1905, municipal cond. 
 and director of the Music School 
 at Bamberg, then pensioned; c. 4 
 symph., etc. His son and pupil 
 (2) Richard, b. Erfurt, July 7, 
 1872; cond. and teacher in various 
 cities; 1902 cond. at Leipzig Stadt- 
 theater. 
 
878 
 
 THE MUSICAL GUIDE 
 
 Hagg (hag), (i) Jacob Adolf, 
 
 b. Gotland, Sweden, 1850; Swedish 
 composer; pupil of Van Booms, Gade, 
 and Kiel; c. Norse s>Tnphony, and 
 "Norse Sivi^s Without Words " suites 
 in ancient style; sonatas, etc. (2) 
 Qustaf, b. 1868; studied abroad 
 with municipal stipend; later organ- 
 prof, at Stockholm Cons.; organist 
 and comp. of orch. and organ works. 
 
 Hahn, (i) Reynaldo, add that his 
 opera "La Cantielite" was prod, at 
 the Opera Comique, Paris, 1902; 
 incidental music to C. Mendes' 
 "Scarron," Racine's "Esther," and 
 V. Hugo's "Angela," (all in 1905); 
 2-act ballet "La fete chez Therese, 
 (Opera, 1910). (2) William, Ba- 
 varia 1837 — Philadelphia, 1903; 
 teacher. 
 
 Hahnel (ha'-nel), Amalie, Gross- 
 hubel, Bohemia, 1807 — May 2, 
 1849; favourite contralto at Berlin 
 Royal Opera. 
 
 Hall, Marie (Mary Paulina), b. 
 Newcastle-on-T>Tie, April 8, 1884; 
 viohnist; as a child played in Bristol 
 streets; pupil of her father and Hilde- 
 garde Werner; later of J. Kruse; at 
 15 won an exhibition at the R. A. M. ; 
 from 1 901, pupil of Seveik; toured 
 widely. 
 
 Hallwachs (hal'-vakhs), Karl, b. 
 Darmstadt, Sept. 15, 1870; Mus. Di- 
 rector; pupil at Royal IMusic-School; 
 Munich ; 1895 - 7 directed Acad- 
 emy Singing Society; 1899 -1900 
 cond. at Aachen Stadttheater; 1900- 
 02 at Saarbrtichen; after 1902 in 
 Kassel as director of Oratorio Society 
 and Liedertafel; c. opera" Nainaka," 
 songs, etc. 
 
 Halm, August, obscure composer 
 of important sjTnphony in D minor 
 for string orch.; performed Stutt- 
 gart, 1907; Boston S>Tnph., 1910; 
 studied theology at Tubingen, then 
 music; a teacher at Hanbinda, later 
 at Wickersdorf, Thuringia; c. comedy 
 overture; piano-concerto in style of 
 Bach, chamber music, etc. 
 
 Hambourg, Mark, correct birth 
 date is May 31, 1879. He has con- 
 tinued to toiu- and has maintained his 
 high position as a \-irtuoso. 
 
 Ham'ilton, Sir Edward Walter, 
 d. Brighton, Sept. 2, 1908 ; com- 
 poser ; Bachelor of Music, Ox- 
 ford, 1867. 
 
 Ham'merich, Mark, b. Copen- 
 hagen, Nov. 25, 1848; 'cellist; pupil of 
 Riidinger and Neruda; 1896 prof, of 
 musical science Copenhagen Uni- 
 versity; brother of Asger Hamerik 
 (q. v.). 
 
 Ham'merstein, Oscar, b. Berlin, 
 1847; composer and impresario; came 
 to America at 16; made a fortune by 
 the invention of a cigar-making 
 machine; \\Tote a comic opera in 24 
 hours on a wager, and produced it at 
 his own theatre; built five theatres in 
 N. Y. and the ]\Ianhattan Opera 
 House; where he gave opposition to 
 the Metropolitan, 1906-8; built also 
 an opera house in Philadelphia; sold 
 out his interests to the MetropoHtan 
 Co., and built opera house in London; 
 opened, 191 2. 
 
 Hanff, J. Nicolaus, Wechmar, 
 1 630 — Schleswig, 1 706 ; cathedral 
 organist at Schles\^-ig and important 
 predecessor of Bach in choral-writing. 
 
 Han'sel, Peter, Leipa, Nov. 29, 1770 
 — Vienna, Sept. 18, 1881; violinist 
 and comp. 
 
 Harcourt (dar-koor), Eugene d', 
 b. Paris, ca. 1855; composer; pupil 
 Paris Cons., and of Schulze and 
 Bargicl, in Berlin; 1890 gave con- 
 certs in his o-5\'n Salle Harcourt; 1900 
 gave oratorios at St. Eustache; c. 
 mass (Brussels, 1876); opera " Tasso" 
 (Alonte Carlo, 1903); 3 sj-mph., etc. 
 
 Hard'ing, Henry Alfred, b. Sahs- 
 bur>% Jidy 25, 1855 ; organist ; pupil 
 of Corfe; 1882 Mus. Doc, Ox- 
 ford; cond. and org. at Bedford; c. 
 church music. 
 
 Harris, Clement Hugh Gilbert, 
 Wimbledon, July 8, 1871 — in the 
 battle of Pentepigadia, Greece, April 
 
 f 
 
DICTIONARY OF MUSICIANS 879 
 
 23, 1897; pianist pupil Frankfort 
 Cons., and of Mme. Schumann; being 
 in Greece at the outbreak of the 
 Turkish war he joined the Greek 
 army, and was killed in battle; c. 
 brilliant symph. poem ''Paradise 
 Lost" (prod. Birmingham, 1905); 
 concert studies for piano; songs, etc. 
 
 Harrison, Samuel, Belper, Derby- 
 shire, Sept. 8, 1760 — London, June 
 25, 181 2; tenor. 
 
 Har'rold, Orville, tenor; discovered 
 singing in vaudeville, by Oscar Ham- 
 mers tein, N. Y., taught by Oscar 
 Saenger, 1909-10; debut Manhattan 
 Op., N. Y., 1910; sang with Mme. 
 Trentini in comic opera; 191 1 at 
 Hammerstein's London Opera. 
 
 Hart'inger, Martin, Ingolstadt, 
 Feb. 6, 1815 — Munich, Sept. 6, 1896; 
 tenor and teacher at Royal Music- 
 School, Munich. 
 
 Hartmann, Arthur, b. Mate 
 Szalka, Hungary, July 23, 1881; 
 taken to Philadelphia at the age of 
 two months; violinist; all his school- 
 ing in America; has toured Europe 
 and America with great success. 
 191 1, soloist with Colonne orch., 
 Paris; c. orch. works, violin pieces, etc. 
 
 Harty, Hamilton, b. Hillsborough, 
 Co. Down, Ireland, Dec. 4, 1879; 
 organist; pupil of his father; at 12, 
 organist, later in Belfast and DubHn ; 
 in London from 1900 as an accom- 
 panist; c. "Irish" symph., "Comedy 
 Overture," "Ode to a Nightingale" for 
 soprano and orch. (Cardiff Festival, 
 1907), his wife, Mme. Agnes Nicholls, 
 singing the solo; c. also important 
 violin concerto (1909), chamber music 
 and songs. 
 
 Har'wood, Basil, b. Woodhouse, 
 Gloucestershire, April 11, 1859; pian- 
 ist; pupil of Roeckel, Risley, Corfe, and 
 at Leipzig Cons.; 1880, Mus. Bac, 
 Oxford; 1896 Mus. Doc; organist 
 various churches; from 1892 at Christ 
 Church, Oxford; 1896-1900 cond. 
 Oxford Orch. Association; 1900 chora- 
 gus; c. psalm "Inclina, Domine," 
 
 voices and orch. (Gloucester Fest., 
 1898), church music, etc. 
 Hasche (hesh'-e), William Ed- 
 win, b. New Haven, April 11, 1867; 
 pupil of Listemann, Perabo, and 
 Parker; dir. New Haven Symph. 
 Orch.; since 1903 teacher of instru- 
 mentation at Yale cond. N. H. Choral 
 Union (250 voices) ;c. symph., symph. 
 poems, "Waldidylle," "Fridjof and 
 Ingehorg"; cantata "The Haunted 
 Oak" etc. 
 
 Hassler (hess'-lgr), (i) Jn. Wm., 
 Erfurt, March 29, 1747 — Moscow, 
 March 29, 188 2; organist and famous 
 teacher; toured widely; 1892-4 royal 
 cond. St. Petersburg; then teacher 
 at Moscow; c. important piano and 
 organ pieces; his wife, (2) Sophie, 
 was a singer who travelled with him. 
 
 Hath'erly, Stephen Qeorgeson, 
 b. Bristol, Feb. 14, 1827; Greek 
 priest; organist of various churches; 
 1857 at the Greek Church, Liverpool; 
 187 1 at Constantinople; author of 
 works on Byzantine music. 
 
 Hausegger (hows'-eg-ger), Sieg= 
 mund Von,, b. Graz, Aug. 16, 1872; 
 pupil of his father, of Degners and 
 Pohlig; 1896 cond. at Graz; 1899 of 
 the Kaim concerts at Munich; 1903-6 
 the Museum Concerts at Frankfort- 
 on-Main; c. mass, an opera "Hel- 
 frid" (Graz, 1893); "Zinnober" (Mun- 
 ich, iSg&); "Dionysia7i Fantasie" for 
 orch., (Munich, 1899); symph. poems, 
 " Barharossa," {igo2), "Wieland der 
 Schmicd," 1904. 
 
 Hauss'man, Valentin, organist and 
 composer at Gerbstadt, Saxony, 
 1588 to 1611. 
 
 Haw'don, Matthias; d. Newcastle 
 1787, where he had been organist 
 from 1776; composer. 
 
 Hay, Walter C, 1828 — Claremont 
 Bank, Oct. i, 1905; pupil R. A. 
 M.; bandmaster Twelfth Lancers; 
 many years Prof. Music Shrewsbury; 
 organist, 1861-1883. 
 
 Hay'ter, Arthur Upjohn, Brook- 
 lyn, 1833 — June 19, 1909; organist. 
 
88o 
 
 THE MUSICAL GUIDE 
 
 Hegyesi (heg'-ya-ze), Louis, Arpad, 
 Hungary, 1853 — Cologne, Feb. 1894; 
 'cellist. 
 
 Hein (hin), Karl, b. Rendsburg, 
 1864; 'cellist; pupil Hamburg Cons.; 
 1885-90 'cellist Hamburg Philhar- 
 monic Orch .; 1 890 teacher in New York 
 at German Cons.; 1903, joined with a 
 fellow-pupil from the Hamburg Cons., 
 August Francke, in its direction. 
 
 Hein'rich, Max, b. Chemnitz, Sax- 
 ony, June 14, 1853; barj^tone, pupil 
 of Klitzsch and at Dresden Cons.; 
 1873, moved to Philadelphia; 1876-82 
 to Marion, Ala. became very pop- 
 ular on concert tours ; 1888-93 prof- 
 at London R. A. M.; then Chicago, 
 where he gave a farewell recital, 
 1903; c. songs. 
 
 Hel'Iinck, Joannes Lupus (often 
 called Lupus or Lupi), d. 1541; 
 Flemish choir master at Cambrai, 
 and Bruges; c. many masses, influen- 
 cing Palestrina; important motets, 
 hymns and songs. 
 
 Hel'sted, (i) Eduard,, Copen- 
 hagen, Dec. 8, 1816-1903; violinist 
 at the Royal Chapel; from 1869, 
 teacher at the Cons.; c. ballets, etc.; 
 his brother (2) Karl Adolf, b. 
 Copenhagen, Jan. 4, 1818; flutist, 
 teacher at the Cons. ; c. 2 sjTnph., etc. ; 
 his son (3) Qustav, b. Copenhagen, 
 Jan. 30, 1857; pupil of Gade, etc.; c. 
 symph. orch. suite, etc. 
 
 Hem'peL Frieda, b. Leipzig, 1884 
 (daughter of a janitor); soprano; 
 studied the piano at Leipzig Cons., 
 1903-5; then voice with Frau Lemp- 
 ner; debut in Stettin; 1906, at Bay- 
 reuth; 1907 Covent Garden; has sung 
 in Paris Opera, Brussels, Vienna, etc.; 
 from 1908 Berlin Royal Opera; en- 
 gaged for Met. Op. N. Y. 191 2. 
 
 Hemp'son (or Hampson), Denis, 
 Craigmore, 1695 — Magilligan, 1807 
 (at the age of 112); one of the great- 
 est and latest of the Irish bards; a 
 harper, blind from his third year; wan- 
 dering afar; 1745 played for the Pre- 
 tender at Edinburgh. 
 
 Henrion (an-ri-6n), Paul, Paris, 
 July 29, 1819 — Oct. 26, 1901; c. 
 operettas and over a thousand popu- 
 lar songs. 
 
 Henriques (hen-re'-kes), Fini Bal= 
 demar, b. Copenhagen, Dec. 20, 
 1867 ; violinist ; pupil of Tofte, 
 Svendsen, and Joachim; member of 
 court orch. at Copenhagen; c. inci- 
 dental mus. to " Wieland der Schmied" 
 (1898), piano pieces, etc. 
 
 Hen'sel, Heinrich, b. Neustadt, 
 1880 (?); tenor; pupil of Walter, 
 in Vienna, and Emerich in Milan; 
 debut Freiburg, 1897, sang there for 
 three years; from 1900 at Frankfort- 
 on-Main; 1906, Royal Opera, Wies- 
 baden; sang "Parsifal," etc.,atBay- 
 reuth, 1910; 191 1 at Covent Garden. 
 
 Hep'worth, (i) George, b. Al- 
 mondbury, England, 1825; organist; 
 at 22 went to Germany; since 1864 
 cathedral organist and court-dir. at 
 Schwerin; c. organ music, etc.; his son 
 (2) William, b. Hamburg, 1846; 
 organist and writer at Chemnitz; 
 1908, church-dir.; c. string quartet, 
 etc. 
 
 Herbert, Victor. Add that he 
 conducted the Pittsburg orch. till 
 1904, then founded and cond. the 
 Victor Plerbert Orch., with which he 
 toured widely. Later comic operas 
 included the following great suc- 
 cesses: "Babes in Toyland," 1903, 
 "The Red Mill," 1905, "Naughty 
 Marietta," 1910, "The Enchantress," 
 191 1. He c. also the grand opera 
 "Natoma," libretto by Jos. D. Red- 
 ding, which was prod, by the Phila- 
 delphia Opera Co., 191 1 in Phila- 
 delphia and at the Met. Op., N. Y., 
 the same year. 
 
 Herbst, Andreas, Nuremberg, 1588 
 — Frankfort, 1666; theorist arid 
 comp. 
 
 Herites (he-re'-tgs), Marie, b. 
 Wodnian, South Bohemia, 1884 (?); 
 violinist; pupil of Sevcik at Prague 
 Cons.; toured Europe. 
 
 Herms, Adeline, b. Friesack, Oct. 
 
DICTIONARY OF MUSICIANS 88i 
 
 14, 1862 ; mezzo-soprano; pupil of Frau 
 Breidenhoff, and O. Eichberg; married 
 the cellist, Eugen Sandow, 1895. 
 
 Her'ner, Karl, Rendsburg, Jan. 23, 
 1836 — Hanover, July 16, 1906; 
 \aolinist and comp. 
 
 Herzfeld (herts'-felt), Victor von, 
 b. Pressburg, Oct. 8, 1856; violin- 
 ist; pupil Vienna Cons., taking prizes 
 for comp. and violin ; pupil later 
 of Grell, Berlin; 1886, prof, at Pest; c. 
 chamber music, etc. 
 
 Hess, (i) Willy, add that he was 
 made Royal Prof., 1900; 1903-4 he 
 was violin prof. R. A. M., London; 
 resigned and became concertmaster 
 Boston Symph. Orch., and leader of 
 the Quartet; 1908 co-founded the 
 Hess-Schroeder Quartet. (2) Lud= 
 wig, b. Marburg, March 23, 1877; 
 pupil Berlin Royal Hochsch. and 
 Vidal in Milan; toured as concert 
 singer; from 1907 succeeded Felix 
 Mottl as dir. Munich Konzertgesell- 
 schaft; c. symphony "Hans Mem- 
 ling," an epic "Ariadne," and other 
 works for voices and orch.; songs, etc.; 
 191 2 engaged to tour America. 
 
 Heuser (hoi'-zer), Ernst, b. Elber- 
 feld, April 9, 1863; pianist; teacher at 
 Cologne Cons.; c. opera, etc. 
 
 Heyse (hi'-ze), Karl, b. St. Peters- 
 burg, May 10, 1879; organist; pupil of 
 Homeyer and H. Seifert; 1907, org. 
 at Frankfort-on-Main, and teacher 
 at the Hoch Cons. 
 
 Hin'ton, Arthur, b. Beckenham, 
 Nov. 20, 1869; violinist; pupil R. A. 
 M., later with Rheinberger at Mu- 
 nich Cons., where his first symph. was 
 played; his second symph. was played 
 in London, 1903; c. also opera "Tam- 
 ara"; operettas for children, and piano 
 pieces played by his wife, Katherine 
 Goodson, whom he married in 190^. 
 
 Hill, (i) Henry, London, July 2, 1808 
 — June II, 1856; viola player of 
 great ability. (2) Edwin Burl= 
 ingame, b. Cambridge, Mass., Sept. 
 9, 1872; graduated at Harvard, 1894, 
 with highest honors in music, pupil 
 
 of B. J. Lang (piano), F. F. BuUard 
 (theory), Arthur Whiting (piano), 
 later with Widor (comp.) , in Paris, and 
 G. W. Chadwick (instrumentation); 
 1887-1902 taught piano and harmony 
 in Boston, then took up writing for 
 magazines; 1908-12, musical instruc- 
 tor at Harvard;c. fantastic pantomime 
 for orch. "Jack Frost in Midsummer" 
 (Chicago Orch. 1907, N. Y. Symph. 
 1908); women's chorus with orch. 
 "Nuns of the Perpetual Adoration" 
 (Musical Art Society, 1907, Birm- 
 ingham, England, Orch., etc.); dra- 
 matic lyric for tenor and orch., 3 
 piano sonatas, songs, etc. 
 
 Hilton, (i) John, d. before 1612; 
 organist at Cambridge, 1594; per- 
 haps the father of (2) John, 1599 — 
 1656-7; organist at Westminster; c. 
 anthems, madrigals, etc. 
 
 Hirsch'mann, Henri, b. St. Maude, 
 1872; composer, under pen-name of 
 V. H. Herblay, of operas, "U 
 Amour a la Bastille," (Paris, ^1897), 
 "Lovelace" (do., 1898), "Hernani" 
 (do., 1909); operettas "Das Schwal- 
 benrest" (Berlin, 1904, in Paris, 1907, 
 as Lcs hirondelles) ; "La petite Bo- 
 heme" (Paris, 1905; in Berlin 1905, 
 as "Musette"), etc. 
 
 Hit'zelberger, (i) Sabina, Rander- 
 sacker, Nov. 12, 1755 — after 1807; 
 soprano of 3-octaves range ; wife 
 of the 'cellist H., her maiden name 
 unknown. Her daughters (2) Ku^ 
 nigunde, soprano ; (3) Johanna, 
 alto ; wife of violinist Bamberger ; 
 (4) Regina, 1789 — Munich, May 
 10, 1827; married Lang, and bore a 
 daughter, Josephine Lang=Kost= 
 lin, who composed songs. 
 
 HIawatsch, (hla'-vach), Woizech 
 Ivanovitch, b. Leditsch, Bo- 
 hemia, 1849; organist; pupil Paris 
 Organists' School; cond. in various 
 Bohemian cities; from 1871 in St. 
 Petersbiu-g, as cond. of students or- 
 ganizations; 1900, organist of the 
 court orch.;c. comic opera "OWot'c," 
 Roumanian rhapsody for orch., etc. 
 
882 
 
 THE MUSICAL GUIDE 
 
 Hol'brooke, Josef (or Joseph), 
 
 b. Croyden, July 6, 1878; English 
 composer; pupil of the R. A. M., 
 tiU 1898; c. sjTTiph. poems 'TAe 
 Raven'" (Crj'stal Palace, 1900); "Ode 
 to Victory," " The Skeleton in Armor," 
 "Ulalutne" (London Symph., 1904), 
 "Queen Mab" (Leeds Fest., 1904), 
 " The Masque of the Red Death," over- 
 ture, "The New Renaissance," etc. 
 His opera "The Children of Don" 
 (libretto by Lord Howard de Walden), 
 was prod, at the London Op., June 
 15 191 2 with Nikisch conducting 
 without success. 
 
 Hollander (h6l'-len-der), Benno, 
 b. Amsterdam, June 8, 1853; \do- 
 linist; played as child, then studied 
 with ISIassart and Saint-Saens at 
 Paris Cons., v\-inning first \-iolin prize, 
 1873; after 1876 toured, then settled 
 in London as viola player; 1882, 
 cond. German Opera season; 1887 
 ^^olin prof, at the Guildhall; cond. 
 London S>Tnph. Concerts; 1903, or- 
 ganized the Benno H. Orchestral Soci- 
 ety; c. sj-mph. "Roland"; violin con- 
 certos, pastoral fantasia played by 
 Ysaye, 1900, etc. 
 
 Hol'lingshead, Frederick Edward, 
 d. Julv 5, 1907; organist at Bath; 
 Fellow'Roval College of Org. 
 
 Hol'lins, Alfred, b. HuU, Sept. 11, 
 1865; pianist, and org.; blind from 
 birth; pupil of HartN-igson; played 
 Beethoven concerto as a boy; at 16 
 played for the Queen; pupil of 
 Biilow, later at Raff Cons.; played 
 for crowned heads, and toured Amer- 
 ica; 1884, org. at Redhill; 1888 at 
 People's Palace; 1897 at Edinburgh, 
 Free St. George's Church; c. 2 
 overtures, organ music, etc. 
 
 Hoist, Qustav Von, b. Chelten- 
 ham, Sept. 21, 1874; dir. Morley Col- 
 lege; pupil R. C. M.; c. operas "Sita" 
 and " 5(J??7r/ "; scene w. orch. "The 
 Mystic Trumpeter," "Ave Maria" for 
 women's voices, etc. 
 
 Ho'mer, (i) Sidney, b. Boston, 
 Mass., Dec. 9, 1864; prominent 
 
 American song-composer; pupil of 
 G. W. Chadwck, then of Rhein- 
 berger, O. Hieter and Abel in Ger- 
 many; 1888-96 teacher of theory in 
 Boston; c. many important songs. 
 In 1895 he married (2) Louise 
 (Dilworth Beatty), b. Pitts- 
 burgh, Pa.; famous operatic contralto 
 pupil of Aliss Whinner}' and Miss 
 Goff, W. L. ^^'hitney, and of her hus- 
 band in theory; then studied in Paris 
 with Fidele Koenig; debut, 1898 at 
 Vichy; from 1899 at Covent Garden, 
 and regularly at the IMetropolitan 
 Opera House as leading contralto 
 with especial success in \A'agnerian 
 roles, also as "Orfeo," etc.; 1912 cre- 
 ated title-role in "Monu." 
 
 Hop'kinson, Francis, composer; 
 1 737-91; one of the earliest American 
 composers; inventor of the "Bellar- 
 monica." 
 
 Horvath (hor'-vat), Qeza, b. Kom- 
 d,ron, Hungar}-, May 27, 1868; pupil 
 of L. Schj'tte, etc.; teacher in Vienna; 
 c. popular piano-pieces. 
 
 Hosel (ha'-zel), Kurt, b. Dresden, 
 Jan. 20, 1862; ]\Ius. Director and 
 composer; pupil of the Cons.; cond. 
 Wagner Concerts there from 1895 and 
 founded the Philh. chorus; c. male 
 and mixed choruses, etc. 
 
 Hoy'a, Amadeo Von Der, b. New 
 York, March 13, 1S74; \iolinist; pupil 
 of Joachim, Halir, etc., in Berlin; con- 
 certmaster, N. Y. S\Tnph. Orch.; 
 1894-6 cond. court opera at Bay- 
 reuth; from 1901 concertmaster at 
 Linz; author of a method. 
 
 Hue, Georges Adolphe, add that 
 his opera "Le roide Paris" was prod. 
 1901, "Titania" 1903. 
 
 Huhn, Bruno (Siegfried), b. Lon- 
 don, 1 871; org. and pianist; pupil of 
 Sophie Taunton, later in New York 
 of S. B. Mills and L. Alberti; has 
 toured Europe as pianist; prominent 
 accompanist in New York; c. "Te 
 Deum" vdih orch., and many songs. 
 
 Hull, Alexander, b. Columbus, O. 
 Sept. 15, 1887; pupil of his mother. 
 
 i 
 
DICTIONARY OF MUSICIANS 883 
 
 and (by correspondence, later in 
 person) of Dr. Hugh A. Clarke; 
 studied 'cello with Michael Brandt, 
 Cincinnati, voice with H. A. Preston 
 and H. B. Turpin, Columbus; took 
 music bachelor degree Univ. of 
 Penna; teacher in Pacific College, 
 Oregon; c. orch. suites, 'cello pieces, 
 songs, etc. 
 
 Hulsteyn (hul'-shin), Joai'n C. 
 Van, b. Amsterdam, 1869; violinist 
 pupil at Liege Cons, of Cesar Thom- 
 son; won first prize; played in La- 
 moureux orch., Paris; prof, at Pea- 
 body Inst., Baltimore. 
 
 Humbert (ufi-bar), Georges, b. 
 St. Croix, Switzerland, Aug. 10, 1870; 
 organist; pupil Leipzig and Brussels 
 Cons., and of Bargiel; teacher of mus. 
 history at Geneva Cons, and org. at 
 Notre Dame; from 1893 at Lausanne. 
 
 Humperdinck, Engelbert, add 
 that in 1900 he became dir. of 
 Master-School of the Berlin Royal 
 Acad, of Arts. His " Konigskiiidcr" 
 (written in 1896 and played in 
 excerpt at concerts), was prod, at 
 Met. Op., N. Y., 1910 with greatest 
 success, later in Europe. " Dorn- 
 roschen" was prod. Frankfort-on- 
 Main (1902), com. op. "Die Hciral 
 wider Willen" (Berlin, 1905), incid. 
 music to Aristophanes' ' Lysistrata," 
 (do., 1908); Shakespeare's "Winter's 
 Tale," and "Tempest," (do. 1906). 
 
 Hur'ka, Friedrich Franz, Merk- 
 lin, Bohemia, Feb. 23, 1762 — Ber- 
 lin, Oct. 10, 1805; tenor and comp. 
 of songs. 
 
 Hur'lebusch, (i) Harris Lorenzo, 
 b. Hanover, July 8, 1666; organist; 
 his son (2) Konrad Fr., Braun- 
 schweig, 1696 — Amsterdam, Dec. 
 16, 1765; organist; and cond.; c. 
 72 odes, etc. 
 
 Hurl'stone, Wm. Yeates, Lon- 
 don, Jan. 7, 1876 — May 30, 1906; 
 composer; at 9 pub. 5 waltzes; at 
 18 held scholarship at R. A. M.; later 
 Prof, there of harmony and counter- 
 point; c. piano concerto, etc. 
 
 Huss, Henry Holden, add that he 
 and his wife, the soprano, Hilde= 
 gard Hoffman, have given joint 
 recitals throughout America, and 191,0 
 in London. His piano concerto in 
 B major has been played with the 
 composer as soloist by the N. Y. 
 Philh., Boston Symph., Pittsburgh 
 and Cincinnati Symph, orch's. and 
 by the Monte Carlo Symph., with 
 Pugno as soloist; his violin sonata 
 has been played by Kneisel, Spiering, 
 etc.; his " The Recess!0)ial" for mixed 
 chorus, organ, and orch. (Worcester, 
 Mass. Festival, 191 1); string quartet 
 in E minor (Kneisel Quartet); 'cello 
 sonata much played; songs, etc. 
 
 Huszia (hoosh'-la), Victor, St. 
 Petersburg, Oct. 16, 1857 — Lisbon, 
 Nov. 14, 1899; violinist; pupil of 
 Schradieck and Cesar Thomson; 
 1887 cond. Royal Academy of Music 
 Lovers, Lisbon; c. 3 Portuguese 
 rhapsodies, Portuguese suite, etc. 
 
 Hutch'eson, (i) Francis, b. Glas- 
 gow, 1720; physician and comp. of 
 glees, etc., under pen-name Francis 
 Ireland. (2) E r n e s t , b. Mel- 
 bourne, Australia, July 20, 1871; 
 pupil of Leipzig Cons., 1886-1892, 
 winning Mozart prize with a trio; 
 toured Australia; studied with Staven- 
 hagen; 1898 married Baroness von 
 Pilsach; from 1900 teacher Peabody 
 Cons., Baltimore; c. symph. poem 
 "Mfrlin and Vivien" (Berlin, 1899); 
 orch. suite (do.), piano concerto 
 
 (1899). 
 Huygens (hi'-gens), Constant! n, The 
 
 Hague, Sept. 4, 1596 — March 28, 
 1687; poet and military secretary to 
 WilHam 11 and William HI; also 
 skilful performer; c. over 700 airs for 
 lute, theorbo, etc.; his son (2) Chris= 
 tian, The Hague, April 14, 1629 — 
 June 8, 169s; mathematician and 
 musician. 
 Hy'att, Nathaniel Irving, b. Lan- 
 singburgh, N. Y., April 23, 1865; 
 pupil of White and Jefferey at Troy; 
 from 1887 at Leipzig Cons.; 1892 
 
884 
 
 THE MUSICAL GUIDE 
 
 settled in Troy as teacher; 1895-9 
 prof, of piano and theon', Syracuse 
 University; then head teacher at St. 
 Agnes School, Albany, N.Y.;c.s3Tnph. 
 overture "Enoch Arden," chamber 
 music, songs, etc. 
 
 If'fert, August, b. Braunschweig, 
 May 31, 1859; singer and teacher in 
 various cities; author of a vocal 
 method. 
 
 Igumnoff (e-goom'-no£f ), Kon= 
 stantin Nikolajavich, b. Leb- 
 edjana, Tambouv, May i, 1873; 
 Russian pianist; pupil of Svereff, 
 Siloti and Pabst; 1898, teacher in 
 Tiflis; 1900 Prof, at Moscow Cons. 
 
 Iljinski (el-yen'-shki), Alexander 
 Alexandrovich, b. Tsarkoe Selo, 
 Jan. 24, 1859; composer; pupil of 
 KuUak and Bargiel; 1885 Prof, 
 of theory at the Philharmonic 
 Music School in Moscow; c. opera 
 "The Fountain of Bastchi-Sarai"; 
 symph.; symphonic scherzo; inciden- 
 tal music to Sophokles' "Oedipos " and 
 "Fhiloktctes;" overture to Tolstoi's 
 "Czar Feed or," etc. 
 
 Imbart de la Tour (an-bar du la 
 toor), Georges, b. Paris, May 20, 
 1865; operatic tenor; pupil of the 
 Cons.; debut 1891, Geneva; sang at 
 the Opera Comique, Paris, and Th. 
 de la Monnaie, Brussels; 1901 sang 
 in the U. S. 
 
 India, Sigismondo d', flourished 
 1 608-1 621; born of a noble family in 
 Palermo; court mus. director in 
 various Italian cities; c. madrigals, 
 etc. 
 
 Indy, Vincent d', add that while 
 1 85 1 is the birth year in the Paris 
 Cons, records, the composer gave 
 Philip Hale the year 1S52 as correct; 
 1896 he became prof, of Composition 
 at Paris Cons.; 1896 with Bordes and 
 Guilmant founded the Schola Can- 
 tonitn, and became director; c. "Le 
 chant de la cloche," dramatic legend 
 
 in seven pictures, with his own text, 
 for soli, double chorus and orch. 
 Festival cantata "Pour I'inaugura- 
 tion d'une Statue" for bar>'tone, 
 chorus and OTch.,"Ode a Valence, " do. 
 symph. in B flat 1902; Jour d'ete a 
 la montagne, 1905; Souvenirs for orch. 
 1906; songs, piano pieces and 
 choruses, author of a Coiirs de Com- 
 position Musicale, 1902, and a life of 
 Cesar Franck, 1906. 
 
 Ippolitov=Ivanov(ep-p6'-le-t6f-e'-va- 
 nof), Mikhail Mikhailovitch, b. 
 Gatchina, Nov. 19, 1859; added his 
 mother's name to Ivanoff, to dis- 
 tinguish him from I\anoff (2); pupil 
 of Rimsky-Korsakov; at St. Peters- 
 burg Cons.; 1882 dir. of the Music 
 School and cond. in Tiflis; 1884 
 cond. at the Imperial Theatre; from 
 1893 prof, of theory at Moscow Cons, 
 from 1899 cond. the Private Opera; c. 
 opersis " Riith," (Tiflis, iS8j)," As ja," 
 (Moscow, 1900); and " Sabava 
 Putjatischna," (St. Petersburg, 1901); 
 overtures "Jar Chmcl," "Spring" 
 and "Medea"; orch. suite, "Caucasian 
 Sketches "; \-iolin-sonata (rearranged 
 as a Sinfonietta) ; character-pictures 
 for chorus and orch.; cantatas " Jn 
 Memory of Pushkin" of Gogol and 
 Shukovski, and "Legend of the White 
 Swan of Novgorod," etc.; author of 
 a book on Georgian folk-songs. 
 
 I'rons, H. S., Canterburj-, 1838 — 
 Nottingham, June 29, 1905. Organ- 
 ist and prolific comp. of church music. 
 
 I'vanov, (1) Nicholas Kusmich, 
 Poltava, Oct. 22, 1810^ Bologna, 
 July 7, 1880; tenor; popular in Lon- 
 don, 1834-37; accumulated a fortune 
 in Italy and Paris and retired in 1845; 
 (2) Michael Mikhailovich, b. 
 Moscow, Sept. 23, 1849; pupil of 
 Tchaikovsky and Dubuque at the 
 Cons.; critic and comp.; 1870-76 at 
 Rome; then critic for the Novoe 
 Vrcmya; c. sj-mph. ".4 Night in May"; 
 symph. prologue "Savonarola"; four 
 operas including "Potemkin's Feast" 
 (1888), and "Sabava Putjatischna" 
 
 \ 
 
DICTIONARY OF MUSICIANS 885 
 
 (Moscow, 1899); incidental music to 
 "Mcdca,'' etc. His opera "Treach- 
 ery" (Moscow. Feb. 191 1), made great 
 success. 
 
 J 
 
 Jachimecki" (yakh-i-met'-ski), Lad= 
 islav, b. Lemberg, Julj' 7, 1882; 
 pupil of Schonberg and Griidener; 
 author and composer in Cracow. 
 
 Jaco'bi, Qeorges, Berlin, Feb. 13, 
 1840 — London, Sept. 16, 1906; 
 violinist; pupil of De Beriot, Massart, 
 etc., at Paris Cons.; 1861, violinist 
 at the Opera when "Tannhauser" was 
 first performed; cond. light opera and 
 ballets, first in Paris, and for 26 years 
 ('72-'95) at the Alhambra, London; c. 
 operas and a hundred ballets and 
 divertissements, many of them per- 
 formed in America, Brussels, Berlin, 
 Munich, Rome, Paris. 
 
 Jacques (ja'-ciuez), Edgar F., Lon- 
 don, March 27, 1850 — Brighton, 
 Dec. 30, 1906; organist and critic. 
 
 Jaffe (yaf'-fa), Sophia,b. Odessa, Feb. 
 26, 1872; violinist; pupil of Auer; later 
 at Paris Cons, where she won first 
 prize; toured Germany with success 
 but inheriting a fortune, left the 
 concert stage. 
 
 Jager (ya'-ger), Fd., Hanan, Dec. 25, 
 1838 — Vienna, June 15, 1902; tenor 
 at Vienna and Bayreuth; notable as 
 Siegfried and Parsifal. 
 
 Jarnefelt (yam'-e-felt), Armas, b. 
 Wiborg, Finland, 1869; pupil of 
 Helsingfors Cons., later of Becker in 
 Berlin, and Massenet in Paris; cond. 
 of court opera in Stockholm; 1906 dir. 
 of Helsingfors Cons.; c. sjonph. poem 
 "Korsholm"; fantasie "Heimat 
 Klang" for orch.; important piano 
 pieces, etc. 
 
 Jarno (yar'-no), Qeorg, b. Pesth, 
 June 3, 1868; composer; cond. at Bres- 
 lau city theatre, c. operas "Die 
 Schwarze Kaschka" (Breslau, 1895), 
 "Der Richter von Zalamea," (do., 
 1899), "Dor Zerhrochene Krttg," 
 (Hamburg, 1900), "Der Goldfisch," 
 
 (Breslau, 1907), and "Die Forster- 
 Chriskl" (Vienna, 1907). 
 
 Jaspar (zhas-par), Maurice, b. 
 Liege, June 20, 1870; pianist; pupil 
 and later teacher at the Cons.; c. 
 piano pieces and songs. 
 
 Jenner (yen'-ner), Qustav, b. Keit- 
 um, Island of Sylt, Dec. 3, 1865; 
 pupil of Stange and Gange in Kiel, 
 of Brahms and Mandyczewski in 
 Vienna; from 1895 director in Mar- 
 burg; c. songs and quartets for 
 women's voices. 
 
 Jentsch (yentsh). Max, b. Ziesar, 
 Saxony, Aug. 5, 1855; pianist and 
 teacher; pupil of Stern Cons.; toured 
 the Orient; 1884-89 in Constanti- 
 nople; later in Berlin; from 1894 in 
 Vienna; c. s>Tnphony, "Elysium" for 
 chorus and orch., 2 operas, etc. 
 
 Jiranek (ye'-ra-nek), (i) Anton 
 ca. 1712 — Dresden, Jan. 16, 1761; 
 studied at Prague; later joined the 
 royal chapel at Warsaw. (2) Josef, 
 
 b. Ledec, Bohemia, March 24, 1855; 
 pianist; pupil of Smetana, and of the 
 organ school at Prague; studied the 
 harp with Stanek, the violin with 
 Hrimaly, and was a harpist at first; 
 1877-91 piano teacher at Charkov; 
 thereafter prof, at Prague Cons.; 
 
 c. "Ballade" and "Scherzo fantasti- 
 quc" for orch., piano pieces; author of 
 methods. His brother (3) Aloys, 
 b. Ledec, Sept. 3, 1858; pupil of 
 Prague Organ School, and in compo- 
 sition of Fibich; from 1881, piano 
 teacher at Charkov; c. opera "Dag- 
 mar," etc. 
 
 Johnson, (i) John,d. 1594-5; musi- 
 cian to Queen Elizabeth; c. lute- 
 music; (2) William Lyman, b. 
 Boston; studied there, graduated 
 from Harvard, 1897; c. Persian sere- 
 nade for tenor, chorus and orch.;_ 5 
 preludes for orch., etc. (3) Wil= 
 liam Spencer, b. Athol, Mass., 
 Dec. 7, 1883; pupil of Perabo, and 
 Goetschius, Boston; 1901-7 of Rein- 
 ecke and H. Riemann, Leipzig; from 
 1910, teacher at Quincy, 111.; c. songs. 
 
886 
 
 THE MUSICAL GUIDE 
 
 Jomelli (yo-mel'-le), Jeanne, b. Am- 
 sterdam, May i8, 1879; soprano; 
 pupil of Meschaert, Stockhausen 
 and Massenet; debut Amsterdam 
 Opera, 1897; toured in concert; 
 190S (?), Met. Op., N. Y.; 1907-8 
 Manhattan Op., N. Y. 
 
 Josephson(yo'-zef-z6n),Jacob Axel, 
 Stockholm, March 27, 1818 — Upsala, 
 March 29, 1880; Swedish cond. and 
 composer. 
 
 Juon (zhwon), Paul, b. Moscow, 
 March 8, 1872; violinist; pupil of 
 Hrimaly, Taneiev and Arensky, later 
 of Bargiel in Berlin, where he won 
 the Mendelssohn Scholarship; 1896 
 taught theory at Baku; 1897 settled 
 in Berlin; from 1906 teacher of compo- 
 sition at the Royal High School for 
 music; c. 2 symph., the second prod, 
 with much interest at Meiningen, 
 1903, and in London, 1904 and 1905; 
 fantasie ior orch.,"W achterweise," on 
 Danish folk-themes, orch. suite, 
 "Aus mcinem Tagcbiick"; chamber 
 music, "Satyrs and Nymphs," and 
 other piano pieces. 
 
 Juul (yool), Asger, b. Copenhagen, 
 May 9, 1874; pupil of Hansen, 
 Rosenhoff and Riemann in Leipzig; 
 from 1906 teacher and critic at Co- 
 penhagen; c. piano pieces and songs. 
 
 K 
 
 Kad'Ietz, Andreas, b. Dobrisch, 
 Bohemia, Feb. 18, 1859; violinist; 
 concertmaster at Imperial Russian 
 Opera, St. Petersburg, and teacher; 
 pupil Prague and St. Petersburg 
 Cons.; c. opera, ballets, and violin 
 pieces. 
 
 Kahl (kal), Oscar W., Thuringia, 
 1862 — Baltimore, Dec. 29, 1910; 
 teacher in Peabody Cons., Baltimore. 
 
 Kajanus (ka-ja'-noos), Robert, b. 
 Helsingfors, Dec. 2, 1856; Finnish 
 composer; pupil Leipzig Cons.; 
 returned to Helsingfors, founded 
 an orchestra school, and developed 
 the Phil, orch.; 1897 mus. director 
 
 of the University", c. 2 Finnish rhap- 
 sodies, symph. poems " Aino" and 
 "Kullervo"; orch. suite "Summer 
 Memories," cantata, etc. 
 
 Kalafati (ka-la'-fa-te), B., b. Eu- 
 patoria, Crimea, 1869; Russian com- 
 poser of songs and piano sonatas, etc. 
 
 Kam'mel, Anton, Hanna, Bohemia, 
 1740 — London, before 1788; violinist 
 and composer; pupil of Tartini; c. 
 masses, violin duets, etc. 
 
 Kaempfert (kemp'-fert). Max, b. 
 Berlin, Jan. 3, 1871; studied in 
 Paris and Munich; 1899 cond. at 
 Palm Garden, Frankfort-on-Main; c. 
 opera, 3 rhapsodies for orch., etc. 
 
 Kalin'nikov, Vassili Sergeievich, 
 Voina, Jan. 13, 1866 — Jalta, Crimea, 
 Jan. II, 1901; pupil of Iljinski and 
 Blaramberg at Moscow; 1893 as- 
 sistant cond. at the Italian Opera 
 there; compelled to retire from 
 pulmonary trouble and go south; c. 
 2 symph., the first in G. minor, much 
 played; 2 symph. poems, " The 
 Nymphs" and "Cedar and Palm"; 
 music to Tolstoi's "Czar Boris," 
 (Little Theatre, Moscow, 1899); 
 " Russalka," ballade with orch., can- 
 tata, "St. John of Damascus," etc. 
 
 Kap'pey, Jacob Adam, Bingen, 
 1826 — Chatham (?) Dec. 6, 1907; 
 went to England 1848; 1857 band- 
 master Royal Marines; c. opera and 
 cantata. Author of a history of 
 wind instrumental bands, (1894). 
 
 Karg=Elert (karkh-a'-lert), Sigfrid, 
 b. Oberndorf, Nov. 21, 1879; pupil 
 Leipzig Cons. ; teacher and composer, 
 especially for the harmonium. 
 
 Karlovicz (karl'-yo-vich), Mieczy= 
 slav, Wisznievo, Lithuania, Dec. 11, 
 1876 — (in an avalanche), Zakopane, 
 GaHcia, Feb. 10, 1909; composer; 
 studied in Warsaw and Berlin; c. 
 symph., symphonic-trilogy "Three 
 Ancient Songs" (1907), "Lithuanian 
 Rhapsody" (1908), also pubhshed 
 Chopin letters and documents (War- 
 saw and Paris, 1905). 
 
 Kasachen'ko, Nicolai Ivanovich, 
 
DICTIONARY OF MUSICIANS 887 
 
 b. Russia, May 3, 1858; cond.; pupil 
 St. Petersburg Cons.; 1883 chorus 
 master at the Imperial Opera; cond. 
 "Russian Concerts" in Paris, 1898, 
 
 c. sjonph., 2 oriental suites, 2 
 operas, "Prince Serebrianni" (St. 
 Petersburg, 1892), and " Pan Sotkin," 
 (do., 1902). 
 
 Kasan'li, Nicolai Ivanovich, b. 
 Tirasjx)!, Dec. 17, 1869; Russian 
 composer; pupil Odessa Music school 
 and St. Petersburg Cons.; has cond. 
 Russian sjTnph. concerts in Germany, 
 Bohemia, etc.; c. symph., sinfonietta, 
 cantata "Russalka" (Munich, 1897), 
 and " Leonore" (do.). 
 
 Kasch'in, Daniel Nikitich, Mos- 
 cow, 1 7 73-1 844; composer of Polish 
 folk, and patriotic songs; also three 
 operas. 
 
 Kaschinski (ka-shfa'-ski), Viktor, 
 Wilna, Dec. 30, 181 2-1870; pupil of 
 Eisner in Warsaw; cond. at St. 
 Petersburg; c. operas. 
 
 Kash'perov, Vladimir Nikitich, 
 Simbirsk, 1827 — Romanzevo, July 
 8, 1894; Russian composer; pupil 
 of Voigt and Henselt; and comp. 
 an opera in 1850, then went to BerUn 
 to study with Dehn; thence 'vi'ith 
 Glinka to Italy, where he produced 
 various operas. "Maria Tudor" 
 (Milan, 1859), "Rienzi" (Florence, 
 1863), "Consuelo," (Venice); 1866-72 
 he was singing teacher at Moscow 
 Cons., and organized public chorus- 
 classes; c. also operas "Tfie Weather" 
 (St. Petersburg, 1867), and "Taras 
 Bulba" (Moscow, 1893). 
 
 Kat'zer, Karl August, Berge, near 
 Bautzen, Dec. 3, 1822 — May 19, 
 composer; 1904; composer of Wendina 
 songs and dances. 
 
 Kaulich (kow'-likh), Josef, Floris- 
 dorf, near Vienna, Nov. 27, 1827- 
 1900; composer of 7 masses, also 
 military music. 
 
 Kaun (kown), Hugo, b. Berlin, 
 March 21, 1863; pupil at Royal High 
 school under Grabau and Fr. Schulz; 
 also with K. and O. Raif, and Fr. 
 
 Kiel; 1887 took up residence in Mil- 
 waukee, Wis., as teacher and cond.; 
 1900 returned to Berhn; 191 2, elected 
 to Berlin Royal Academy; c. symph. 
 "An Mein Vaterland" symph. prolog 
 "Marie Magdalene"; s>Tnph. poems; 
 festival march "The Star Spangled 
 £aw»cr, " chamber music wdth orch., 
 " Normannen Abschied"; i-act opera 
 "Der Pietist" or "Oliver Brown," and 
 important songs and piano pieces. 
 
 Kelly, Thomas Alex., Sixth Earl 
 of Erskine, Sept. i, 1732 — Brus- 
 sels, Oct. 9, 1781; pupil of Stamitz; 
 c. popular overtiure "The Maid of 
 the Mill," minuets, etc. 
 
 Keussler (kois'-ler), Gerhard von, 
 b. Schwanenburg, Livonia, July 6, 
 1874; pupil Leipzig Cons.; cond. 2 
 singing societies in Prague; c. symph. 
 poems, etc. 
 
 KialI'mark (i) George, Kings, 
 Lynn, Feb. 1781 — Islington, March 
 1835; vioHnist; and comp. His son 
 (2) George Frdk., IsUngton, 1804 
 — London, 1887, was a pianist. 
 
 Kiefer (ke'-fer), Heinrich, b. Nur- 
 emberg, Feb. 16, 1867; 'cellist; pupil 
 of Royal Cons., 1883 at Munich, 
 1884, Stuttgart, 1887-90, Frankfort- 
 on-Main with Cossmann; 1896; 
 soloist of Leipzig, Phil.; 1898 do. of 
 Berlin Phil.; 190P, teacher at Stern 
 Cons.; from 1902, co-founder of the 
 Munich string quartet; tours widely. 
 
 Kienzl, Wm., his opera, " Kuhrei- 
 gen" (Vienna Volksoper, Nov. 25, 
 191 1) has been a great sue. in Europe. 
 
 Kin'der, Ralph, b. Stalybridge, Lan- 
 cashire, Jan. 27, 1876; organist in 
 Bristol R. I.; 1888-1897 studied in 
 London with Dr. Pearce, Dr. Turpin, 
 and E. H. Lemare; from 1899 in Phil- 
 adelphia, Holy Trinity; toured U. S.; 
 c. church music, etc. 
 
 Kirbye (ker'-bi), George, d. Bury St. 
 Edmunds, Oct. 1634; popular English 
 composer of madrigals 1592-1634. 
 
 Kit'ziger, Frederick E., Saxony. 
 1850 — New Orleans, Feb. 3, 1903; 
 teacher. 
 
888 
 
 THE MUSICAL GUIDE 
 
 Kleefeld (kla-felt), Dr. Wilhelm, 
 
 b. Mayence, April 2, 1868; author and 
 comp.; pupil of Radecke, H artel and 
 Spitta; 1 89 1 cond. in Mayence, etc.; 
 1897 Ph. D., i898-'oi teacher at the 
 Klindworth-Scharwenka Cons.; c. 
 opera "Anarella" (Konigsberg, 1896) 
 string suite, etc. 
 Klenov'ski, Nicholas Semeno= 
 vich, b. Odessa, 1857; pupil Mos- 
 cow Cons.; leader of private concerts 
 there 1883-93; when he became cond. 
 at the Imperial Theatre, then a 
 teacher at Tiflis tiU 1902, then as- 
 sistant cond. of the Imperial Chapel 
 at St. Petersburg; c. ballets, "Has- 
 heesh" Moscow, 1885; "Salanga" 
 (St. Petersburg, 1900); orch. suite 
 "Fata Morgana," cantatas, etc. 
 Klicka (klitch'-ka), Josef, b. Klat- 
 tau, Bohemia, Dec.15, 1855; organist; 
 pupil Prague Cons, and later Prof, 
 there; c. an opera, organ music, etc. 
 Klose (klo'-ze), Friedrich, b. Karls- 
 ruhe, Nov. 29, 1862 ; composer ; 
 pupil of Lachner, Ruthardt and 
 Bruckner; 1907 teacher of comp. at 
 the Akademie der Tonkunst, Munich; 
 c. dramatic syrnph. "Ilsebill" or "The 
 Fisher and his Wife" (Karlsruhe, 
 1903); mass with orch.; symph. poem 
 in three parts "Das Leben ein Trauni" 
 with organ and women's chorus, 
 (Karlsruhe, 1899), etc. 
 Knap'ton, Philip, York, 1788-1833; 
 assistant cond. of York Festivals 
 and comp. 
 Knupfer (k'nip'-fer), Sebastian, 
 Asch, Saxony, 1633 t- Leipzig, 1676; 
 editor and comp. 
 Kochetov (ko'-che-tof), Nicholas 
 Razoumnikovich, b. Oranien- 
 baum, July 8, 1864; mainly self- 
 taught; critic and comp. of a symph. 
 (1895) an opera and piano pieces. 
 Kockert (kek'-ert), Adolph, b. 
 Magdeburg, Oct. 27, 1828; violinist; 
 pupil Prague Cons.; 185 7-1 881 in 
 business, then returned to composi- 
 tion; c. oratorios, etc. 
 Koenen, (koo'-nen), Tilly, b. Java, 
 
 of Dutch parents, her father a cavalry 
 general and Governor of the Province ; 
 pupil of the Amsterdam Cons, and 
 with Cornelie van Zanten; 1899, 
 sang in London, Berlin, etc.; 1909 in 
 the U. S. 
 
 KoessIer,(kes'-ler) Hans.b. Waldeck, 
 Jan. I, 1853; organist; pupil Munich 
 Cons. 1877 teacher at Dresden Cons., 
 and. cond. of the Liedertafcl; 1882 
 teacher at Budapest ;,c. Psalm for 16 
 voices, winning a prize at Vienna; a 
 symph., an opera "Der Mimzenfranz," 
 (Strasburg, 1902), etc. 
 
 Kolachev'ski, Michail Nicolaiev= 
 ich, b. Oct. 2, 1851 ; pupil Leip- 
 zig Cons. ; c. " Ukranian " symph. 
 and church music. 
 
 Kolakov'ski, Alexei Antonovich, 
 
 b. Podolia, 1856; violinist; pupil St. 
 Petersburg Cons., winning gold 
 medal ; and government funds for 
 foreign study ; teacher at Moscow 
 Cons., and solo violinist at the Im- 
 perial Theatre; 1897 teacher in Kiev. 
 
 Kolb (kolp) Karl man n, Kostlam, 
 Bavaria, 1703 —Munich, 1765; Bene- 
 dictine monk; organist at the Abbey 
 of Aschbach, later tutor in Munich; 
 
 c. church music. 
 
 Koler (ka'-ler), David, Zwickau, 
 Saxony (2) — July, 1565; composer; 
 1563 cond. at Gustrov in Mecklen- 
 burg; then cantor at Zwickau till his 
 early death; c. important work " Ten 
 Psalms" (Leipzig, 1554)- 
 
 Komorovski (kom-o-rof'-ski), Ignaz 
 Marzel, Warsaw, 1824 — Oct. 14, 
 1858; composer; Polish song composer. 
 
 Konigsperger (ka'-nikhs-pcrkh-6r), 
 Marianus, Roding, Bavaria, Dec. 4, 
 1708 — Ratisbon, Oct. 9, 1769. Bene- 
 dictine monk who devoted the proceeds 
 of his very successful works to the 
 Abbey; c. church music, also operas. 
 
 Konius, vide conus. 
 
 Konnemann (ken'-ne-man), Ar= 
 thur, b. Baden-Baden, March 12, 
 1851; composer; pupil of his father (a 
 cond. of the Kur-orchestra) , Kras- 
 selts and Deeckes; theatre-cond. in 
 
DICTIONARY OF MUSICIANS 889 
 
 various cities; from 1887 in Mahrisch- 
 Ostrau as director of a conservatory 
 and cond. c. the Luitpold-jjrize opera 
 "Z)er tolle Eberslein" (Munich, 1898); 
 syinph. suite "Indien" etc. 
 
 Koptjajev (k6pt'-ya-yef), Alexan= 
 der Petrovich,, b. St. Petersburg, 
 Oct. 12, 1868 ; author and com- 
 poser of "Oriental Dames" and 
 "Elegie," for orch., etc. 
 
 Korestchenko ( k6r-esht-chen'-ko), 
 Arseni Nicholaievich, b. Moscow, 
 Dec. 18, 1870; pupil of the Cons., 
 wirming a gold medal in 1891; later 
 teacher there and in the School of 
 the Synod ; c. i-act opera " Bel- 
 shazzar's Feast" (Moscow, i892),2-act 
 "The Angel of Death," "The Ice 
 Palace" (Moscow 1892); two"Sym- 
 phonic Pictures," "Symphonie Lyr- 
 ique" (op. 23), chamber music, etc. 
 
 Kor'ganov, Qennari Ossipovich, 
 Kwarelia, May 12, 1858 — Ros- 
 tov, April 12, 1890; pianist and 
 composer; pupil of Leipzig and St. 
 Petersburg Cons.; c. piano pieces, etc. 
 
 Korn'gold, Erich Wolfgang, b. 
 Vienna, May 29, 1897; remarkable 
 boy composer and pianist; at a con- 
 cert in Berlin, March 191 1, his trio in 
 D Major, op. I., composed at the age 
 of 13, was played; also portions of two 
 piano sonatas, and a series of " Fairy 
 Pictures "; he c. a ballet given at the 
 Royal Opera and elsewhere; trio 
 (Rose Quartet, Berlin); serenade and 
 pantomime, "The Snowman," (Lon- 
 don, 191 2). 
 
 Kotshetov, vide kochetov. 
 
 Kovarovic (ko-var'-zho-vits), Karl, 
 b. Prague, Dec. 9, 1862; pupil of the 
 Cons., and of Fibich; from 1899 
 cond. at the Bohemian Landestheater 
 in Prague; where many of his operas 
 have been given from 1884 to "Fra- 
 quita" (1902); c. ballet "Hasheesh," 
 piano concerto, etc. 
 Cozlovski (kos I'yof'-ski), Joseph 
 Antonovich, Warsaw, 1757 — St. 
 Petersburg, Feb. 11, 1831; teacher 
 in the household of Prince Oginski; 
 
 went to the Turkish war, attracting 
 the notice of Prince Potemkin, who 
 took him to St. Petersburg, where he 
 became director of the court balls, 
 and c. a war song which was for a 
 long time the Russian national 
 anthem; c. also requiem to the Polish 
 King Stanislas, and the Czar Alex- 
 ander I, etc. 
 
 Kramm, Qeorg, b. Kassel, Dec. 21, 
 1856; violinist of comrt orch. at Kas- 
 sel, from 1880 in Diisseldorf, where 
 his opera "Leonore" was prod. 1903. 
 
 Kraus (krows), (i) Joseph Martin, 
 Miltenberg, 1756 — Stockhobn, 1792; 
 pupil of Abt Vogler ; 1778 director 
 and cond. at Stockholm opera; 
 c. operas, symphs., etc. (2) Ernst, 
 
 b. Erlangen, Bavaria, June 8, 1863; 
 tenor; pupil of Galliera and Frau 
 Schimann-Regan; 1893 sang at 
 Mannheim; from i8p6, Berlin Royal 
 Opera; (3) Felix von, (not 
 Krauss as given), b. Vienna, Oct. 
 3, 1870; bass; pupil of Stockhausen 
 for two months, but largely self- 
 taught; sang Hagen and Gurnemanz 
 at Bayreuth; from 1908 teacher at 
 Royal Akad. der Tonkunst, Mimich. 
 His wife (4) Adrienne, (Os= 
 borne) b. Buffalo, N. Y. , 1837; 
 pupil of Marie Gotze. 
 
 Kreider (kri'-der), Noble Wick= 
 ham, b. Goshen, Ind.; composer; 
 pupil from 15th year of Clarence 
 Forsyth, Indianapolis;visitedEurope; 
 lives at Goshen; c. orch. works, and 
 important piano pieces, ballads, con- 
 sert studies, etc. 
 
 Krem'berg, Jakob, Warsaw, ca. 1650 
 — London (?) after 17 18; composer; 
 court poet and comp. at Halle, Stock- 
 holm, Hamburg, Warsaw and London; 
 
 c. songs of unusual melodiousness. 
 Kreuz (kroits), Emil, b. Elberfeld, 
 
 May 25, 1867; viola player; pupil of 
 Japha at Cologne; 1883, won an open 
 scholarship at the R. A. M., London; 
 studied there till 1888, when he made 
 debut as viola-soloist in Berlioz' 
 "Harold in Italy"; member of the 
 
890 
 
 THE MUSICAL GUIDE 
 
 Queen's Band 1900-3, then assistant 
 at Covent Garden; c. viola concerto, 
 prize quintet, etc. 
 
 Kroeger, E. R. add that his orch. 
 suite "Lalla Rookk" has been played 
 by the Thomas, Herbert, Damrosch 
 and other orch's. His comps., in- 
 clude a piano sonata op. 33, concert 
 studies for the piano, violin and 
 piano sonata; and many other piano 
 pieces, songs, etc. 
 
 Krogulski (kro-gool'-ski), Joseph, 
 Tamov, 1815 — Warsaw, Jan. 9, 
 1842; composer; pupil of Eisner; 
 c. 10 masses, an oratorio, etc. 
 
 Krohn (kron), Ilmari Henrik 
 Rheinhold, b. Helsingfors, Nov. 8, 
 1867; Finnish author and comp. of 
 sacred songs, piano sonatas, etc. 
 
 Kroy'er, Theodor, b. Mmiich, Sept. 
 9, 1873; author, critic and comp. 
 studied theologj^ then music at the 
 AkadamiederTonkunst; 1897, Ph. D. 
 Munich University; c. 2 symphonies 
 with chorus and soli, chamber music, 
 etc. 
 
 Kruse (kroo'-ze), Qeorg Richard, 
 b. Greiffenberg, Jan. 16, 1856; 
 studied in Leipzig; opera cond. in 
 Germany and America; 189 1-4 critic 
 of the Herold, Milwaukee; then 
 conducted tour of "Hansel und Gret- 
 el" till 1896, when he was cond. in 
 Switzerland; 1901 settled in Berlin as 
 biographer; c. incid. mus. to "As 
 You Like It" etc. (2) Johann 
 Secundus. add that from 1897 he 
 cond. Sunday and Monday concerts 
 in London. 
 
 Kunwald (koon'-valt), Ernst, b. 
 Vienna, April 14, 1868; studied law 
 there, then music at Leipzig Cons.; 
 became correpetitor at the city 
 theatre; 1895, cond. operetta at 
 Rostock, 1901-2 at Teatro Real, 
 Madrid, where he ga^'e Wagner's Ring 
 cycle complete and was decorated by 
 the Queen of Spain; 1902, cond. at 
 opera Frankfort. 1906 cond. at Nur- 
 emberg city theatre; conducting two 
 concerts of the New York Phil, aa 
 
 guest, Feb. 1906; 1907 director of the 
 Berhn Phil, orch.; 191 2 engaged to 
 conduct the Cincinnati Symph. Orch. 
 Kupsch (koopsh), Karl Gustav, 
 Berlin (?) — Naimiberg, July 30, 
 1846; cond. and teacher in Leipzig, 
 Dresden; 1838-45 Rotterdam, dir. 
 Singakademie; then director of theatre 
 in Naumberg. Robert Schumann 
 was his pupil in composition. 
 
 Labey (li-be'), Marcel, b. Dept. 
 Besinet, France, 1875; studied law in 
 Paris, then with d'Indy at the Schoh 
 Cantorum; c. symph. (1903), fantasie 
 for orch., sonatas, etc. 
 
 Laborde (la'-b6rd) (rightly Bediez), 
 Rosine, Paris, May 30, 1824 — 
 Chezy - sur - Mame, Sept. i, 1907; 
 soprano; sang as Rosalie Villaume 
 till 1843 when she married the teno» 
 Laborde (rightly Dur); pupil Paris 
 Cons.; debut Op. Com., 1840; 1848-9, 
 she and her husband sang in America; 
 1850-7, Paris Opera; from 1866 
 teacher. 
 
 Ladmirault, (lad-me-ro), Paul 
 Emile, b. Nantes, Dec. 8, 1877; 
 began to study at the Cons, piano, 
 violin, organ, and harmony at 7, and 
 to compose at 8; at 15 his 3-act opera 
 Gilles de Retz, was given at Nantes 
 (1893); the next year he refused to 
 allow its repetition; he took first 
 harmony prize at the Nantes Cons, 
 and 1895 entered Paris Cons, under 
 Taudou, winning first harmony prize 
 1899. After a year of military ser- 
 vice, he entered the classes of Faure 
 and Gedalge; failing three times to 
 win the Prix de Rome, he left the 
 Cons. His comps., include Le Choeiir 
 des dines de la Foret (1903), Suite 
 Bretonne for orch. (1904), a Tantum 
 Ergo (1907) crowned by the Societe 
 des Compositeurs de Musique; pre- 
 lude sjTnphonique, Broceliande an 
 Matin (1909); this is a portion of a 
 dramatic work Myrdhin not yet 
 
 
 
 i 
 
DICTIONARY OF MUSICIANS 891 
 
 produced; a symphony in c. major, 
 1910; songs, piano pieces, and pieces 
 for military band. 
 
 Laduchin (lad'-oo-chen), Nikolai 
 Mikailovich, b. St. Petersburg, 
 Oct. 3, i860; violinist and pianist; 
 pupil of Taneiev at Moscow Cons.; 
 c. symphonic variations; loo chil- 
 dren's songs, ^'Liturgy of Johann 
 Slatoust" for chorus, etc. 
 
 La Forge, Frank, b. Rockford, 111., 
 Oct. 22, 1877; pupil of his sister- 
 in-law, Mrs. Ruth La Forge, then of 
 Harrison M. Wild of Chicago, 1900 
 -04, Leschetizky, Vienna, and Josef 
 Labor (theory) ; since accompanist to 
 Gadski and Sembrich on their tours; 
 c. piano pieces and many successful 
 songs. 
 
 Lahele (or Heile) (du la el), George 
 de, Antwerp after 1550 — Madrid, 
 1589; chorister in Royal Chapel, 
 Madrid; 1576 won a silver lute 
 and a silver harp in a compe- 
 tition in Normandy in which in 1575 
 Orlando di Lasso had won a prize; 
 1578 cathedral choirmaster at Tournai ; 
 from 1580 dir. Royal Chapel, Ma- 
 drid; c. volume of 8 remarkable 
 masses (Odo Missae, Antwerp, 1578) 
 on themes by other composers. 
 
 Lalande (la-lahd), Desire, Paris, 
 1867 — London, Nov. 8, 1904; solo- 
 oboist of the Queen's Hall and 
 j other orchestras. 
 
 ! Lalevicz (la-la'-vich), Qeorg von, 
 b. St. Petersburg, Aug. 21, 1876; 
 piano teacher; pupil of the Cons.; 
 1900, won the Rubinstein competi- 
 tion in Vienna; 1902-5 prof, in 
 i Odessa Cons., after that at Cracow. 
 i Lambrino (lam-bre'-no), Telema- 
 que, b. Odessa, Oct. 27, 1878 
 (of Greek parents); pianist; studied 
 there at the Royal Akad. der Ton- 
 kunst, Munich, and with Teresa 
 Carreiio; from 1900 lived in Leipzig, 
 from 1908 teacher at the Cons. 
 
 Lamoureux, Chas., the correct date 
 of his death is Dec. 21, 1899. 
 
 Lamper'ti, Giovanni Battiste, 
 
 d. Berlin, March 18, 1910. Famous 
 singing master; lived in Dresden and 
 wrote "The Technic of Bel Canto," 
 1905. 
 
 Lamping (lam'-pink), W., b. Lingen, 
 Hanover, 1861; pupil of KuUak's 
 Academy; from 1886, director of the 
 " Arion" and org. at Beilefeld; edited 
 Bach works; 1907 Royal Prof. 
 
 Lancia (lan'-cha), Florence, (Lad=- 
 brake Clarke), 1840 — Tunbridge 
 Wells, May 24, 1905; operatic and 
 concert vocalist. 
 
 Lan'di, Camilla, b. Geneva 1866; 
 mezzo-soprano, daughter and pupil 
 of singers; debut 1884 Florence; 
 1886-92 in Paris, then in London 
 where her mother taught; toured 
 widely and returned to Geneva. 
 
 Landormy (Ian -dor -me), Paul 
 Charles Rene, b. Issy, near Paris, 
 Jan. 3, 1869; studied singing with 
 Sbrigha and Plan f on; published 
 philosophical works; 1902 took up 
 composition and musical biography. 
 
 Lange (lang'-e), (Langius,) (i) 
 Hieronymus Gregor, Havel- 
 berg, Brandenburg — Breslau, 1587; 
 in 1574 cantor at Frankfort-am- 
 Oder; paralysis sent him to the 
 Breslau Alms House, but did not 
 prevent his composition of Latin 
 motets and songs. (2) Hans, b. 
 Constantinople, Feb. 14, 1884; pupil 
 there of Brassin and Wondra; then of 
 Prague Cons.; debut Berlin, 1903. 
 
 Lange=MUller (lang'- e-mfl-lgr), 
 Peter Erasmus, b. Frederiksberg, 
 Dec. I, 1850; Danish composer; 
 pupil of Copenhagen Cons.; c. operas 
 " Tove" (to his own libretto 1878) ; 
 "The Spanish Students," (1883); 
 "Frau Jeanna" (1891) and " Vikinge- 
 blod'' (Copenhagen and Stockholm, 
 1900); symph. "Autumn"; incid. 
 music to "Fulvia" and "Es war ein- 
 mal"; orch. suite " Alhamhra" and 
 songs of decidedly national feeling. 
 
 Langey (lang'-l). Otto, b. Leich- 
 holz, Oct. 20, 1 851; 'cellist; pupil of 
 Specht, Cabisius, etc.; 1877 went to 
 
892 
 
 THE MUSICAL GUIDE 
 
 London, playing in the orchestras of 
 Halle and Richter; 1889, went to New 
 York; published many methods. 
 
 Lanzetti (lan-tset'-te), Salvatore, 
 Naples, ca. 1710 — Turin, ca. 1780; 
 one of the earliest 'cello virtuosi; 
 c. 'cello sonatas and a method. 
 
 Laroche (la-r6sh), Hermann, St. 
 Petersburg, May 25, 1845 — Oct. 18, 
 1904; critic and comp.; pupil of the 
 Cons, and of Tchaikovski, whose 
 friend and biographer he was; prof, 
 at Moscow, later at St. Petersburg 
 Cons.;c. overtiu-e, etc. 
 
 Lasso, Orlando di, Haberl's claim 
 that he was bom in 1532, seems 
 to be accepted as conclusive, in spite of 
 Vinchant's contemporary statement 
 that 1520 was the date, and Quichel- 
 berg's contemporary statement that 
 1530 was the date. His family seems 
 to have used the name Lassus for 
 some time before him; he signed his 
 own name variously. 
 
 Las'son, (i) Bredo, b. Feb. 24, 
 1838; Norwegian composer of piano 
 pieces, songs, etc. His brother (2) 
 Per, April 18, 1859 — June 6, 1883. 
 
 Lat'zelsberger, Josef, b. Allharts- 
 berg, Austria, Jan. 11, 1849; pupil 
 of Vienna Cons. ; choirmaster and 
 comp. of church music. 
 
 Lavignac (la-ven-yak) (Alex. Jean), 
 Albert, b. Paris, Jan. 21, 1846; 
 pupil of the Cons., and from 1882 
 prof, there ; author of many im- 
 portant works on Wagner, etc. 
 
 Lazzari (lad-za'-re), Silvio, Italian 
 composer of operas "La Lepreuse" 
 (Op. Com., Paris, 1912), "Moekfiis," 
 etc.; c. lyric drama "Armor" (prelude 
 at Lamoureux concerts, 1895 — prod, 
 at opera Lyons 1903, revived 191 2); 
 c. also symphonic pieces, trio, etc. 
 
 Lee, Cordelia, b. America of Nor- 
 wegian parents; pupil of Auer in St. 
 Petersburg; played in Germany 1910, 
 and with the Bliithner Orch., BerUn, 
 1912. 
 
 Lehar (le-har'), Franz, b. Komorn, 
 Hungary, April 30, 1870; composer of 
 
 the world sweeping operetta "Die 
 Lustige Witwe" (Vienna, 1905, in 
 New York and London as " The 
 Merry Widow"); lives in Vienna 
 as cond. of the Tonkiinstlers orch.; 
 
 c. also operas " Kukuska," Leipzig, 
 1896, revised as "Tatjana," Briinn, 
 1905; operettas "Wiener Frauen" 
 (Vienna, 1902; revised as "Der 
 Schiissel ziim Paradiese," Leipzig, 
 1906); "Mitislav" (Vienna, 1907); 
 "Edelweiss utid Rosenstock" (1907); 
 "Peter and Paul reisen ins Schlaf- 
 afenland" (Vienna, 1906); "Der 
 Mann mil den drei Frauen" (1908). 
 
 Lehmann=Osten, Oa'-man-6s-ten) 
 Paul, b. Dresden, April 16, 1865; 
 pupil of Spindler, Scholtz and Schulz- 
 Beuthen; from 1892 dir. Ehrlich 
 Cons, at Dresden; c. piano pieces, etc. 
 
 Leichner (likh'-ner), Ludwig, 1836 
 — Berlin, April 191 2 ; singer in 
 Wagnerian r61es at Stuttgart, etc.; 
 left the stage, became a manufac- 
 turer, and accimiidated a great 
 fortune. 
 
 Leichtentritt (likh'-ten-trit), Hugo, 
 b. Pfleschen, Posen, Jan. i, 1874; 
 at 15 taken to America, where he 
 studied with J. K. Paine, Boston, 
 then at the Royal Hochschule, Ber- 
 lin; 1901, Ph.D.; wrote theoretical and 
 historical works and c. chamber 
 music and songs. 
 
 Le Jeune (lu-zuhn), George F., , 
 
 d. New York, April 11, 1904, age 62. s 
 Organist and comp. of church music, j 
 
 Lekeu, Quillaume. The correct 
 date of his birth is Jan. 20, 1870, and 1 
 of his death Jan. 21,1 894. His death ! 
 at 24 left many unfinished works, but !i 
 enough were complete to assure his | 
 fame, among them 3 etudes sym- 1 
 phoniques (1889, 1890); adagio for |' 
 quatuor and orch. (1891), epithalame, ' 
 for string quintet, organ and 3 trom- k 
 bones; introduction and adagio for I 
 orch. with tuba solo; fantaisie sym- f 
 phoniqiie sur deux airs populaires \ 
 angevins, 1892; 2 lyric comedies, 
 Barberine Andromede (2nd Prix de 
 
 
DICTIONARY OF MUSICIANS 893 
 
 Rome at Brussels, 1891); chamber 
 music, including sonata for piano 
 and 'cello, finished by V. d'Indy, 1910, 
 and a quatuor finished by the same; 
 sonata for piano and violin (ded. to 
 and played by Ysaye) , etc. 
 
 Lemaire (lu-mar), Jean Eugene 
 Gaston, b. Chateau d'Amblainvil- 
 liers (Seine-et-Oise) Sept. 9, 1854; 
 pupil Niedermeyer School; critic; c. 
 symph. poem ' Jefick," orch. works, 
 ballets, songs, etc. 
 
 Lemare (le-mar'), Edwin Henry, 
 b. Ventnor, Isle of Wight, Sept. 9, 
 1865; organist; pupil R. A. M. Lon- 
 don, with Goss Scholarship, then 
 made an associate, later a fellow; 
 1884 fellow Royal College of Organ- 
 ists; occupied various church posi- 
 tions, and gave recitals; 1902-04, 
 organist at Carnegie Hall, Pittsburg, 
 Pa.; 1905, again in London; c. symph., 
 a pastorale and much organ music. 
 
 Lem'mens = Sher'rington, Helen, 
 Preston, Oct. 4, 1834 — Brussels, 
 May 9, 1906; operatic singer 1850- 
 1891; prof. Brussels Cons., later 
 R. A. M., London and R. C. M., 
 Manchester. 
 
 Leoncavallo, Ruggiero, add that 
 his opera ^' Zaza" was prod. Milan, 
 1900 with some success and was 
 played in various European capi- 
 tals ; the libretto of "Roland" was 
 by Leoncavallo, not by the Kaiser, 
 though he commissioned the work 
 ffhich was not a success when prod, 
 at the Royal Opera Berlin, 1904. 
 L. wrote the libretto for "Mario 
 Welter" by the Portuguese composer 
 Machado. His opera "Maja" (Ber- 
 lin Royal Op., 191 1) was a failure. 
 "Regnetta della Rosa" (Florence July 
 15,1912); "The Gypsies" (London, 
 Sept. 16, 191 2); "La Foresta Marmo- 
 ra" not prod. 
 
 Leoni'nus, Magister,, 12th Cen- 
 tury Mus. Director in Paris, at the 
 church of the B. M. Virginis; before 
 Notre Dame was built; one of the 
 earliest masters of the Paris school. 
 
 Leono'va, Daria Mikhailovna, in 
 
 the Russian Govt, of Twer, 1825 — 
 St. Petersburg, Feb. 9, 1896; alto; 
 debut at 18 in Glinka's "Life for the 
 Czar"; sang for many years at the 
 National Opera, and toured around 
 the world. 
 
 Leopoiita (or Lvovczyk) (I'vdf- 
 chek), Martin, Lemburg, 1540 — 
 Cracon, 1589; from 1560 Polish court 
 composer; c. masses, chorales, etc. 
 
 Ler'ner, Tina, b. Russia 1891 (?); 
 pianist; toured Europe; from 1908, 
 toured America; played with London 
 Phil. orch. three successive seasons; 
 191 1, with Moscow Phil. 
 
 Leva (de la'-va), Enrico de, b. 
 Naples, Jan. 18, 1867; singing teacher 
 pupil of Puzone and Ariengo; c. opera 
 "La Camargo," (Naples, 1898); sere- 
 nade "A Capomonte" and popular 
 Neapolitan canzonets. 
 
 Levade (lu-va-da'), Charles Qas= 
 ton, b. Paris, Jan. 3, 1869; pupil of 
 Massenet at the Cons.; c. opera 
 " Les Heretiqnes" (Beziers, 1905), 
 operetta " V Amour d'Heliodora " 
 (Paris, 1903), pantomime, suites, etc. 
 
 Lewalter (le-val'-ter), Johann, b. 
 Cassel, Jan. 24, 1862; pupil Leipzig, 
 Cons.; from 1886 music teacher and 
 essayist; c. fugues, songs, etc. 
 
 Lewinger (la'-ving-er). Max, Sulkov, 
 near Cracow, March 17, 1870 — Dres- 
 den, Aug. 31, 1908 ; violinist ; pupil 
 of Cracow and Lemberg Cons.; and 
 with Griins Scholarship, at the 
 Vienna Cons.; from 1892 toured; 
 teacher at Bucharest Cons.; thence 
 to Helsingfors as concertmaster; 
 1897, do. at the Gewandhaus Orch., 
 Leipzig; 1898 Royal Court concert 
 master in Dresden. 
 
 L'Heritier (la-rit-ya), (i) Jean, 
 flourished 1519-1588; French pupil 
 of Depres; c. masses and songs. (2) 
 Antoine, court musician to Charles 
 V. at Toledo, 1520-1531; (3) Isaac, 
 probably the same as Jean. 
 
 Lhevinne (la'-ven), Joseph, b. 
 Moscow, Dec. 3, 1874; pianist; pupil 
 
894 
 
 THE MUSICAL GUIDE 
 
 of his father (first cornet soloist in 
 Moscow Royal Orch.), and of Chry- 
 sander; debut at 8; pupil of Safonoff 
 at the Cons.; 1885, winning highest 
 honours; 1895 won Rubinstein prize; 
 1902-6 teacher at the Cons., and 
 toured Europe; 1905, the U.S.; again, 
 1912. 
 
 Liadoff (or Ljadow), add that cor- 
 rect pronunciation is "I'ya'-dof." 
 His birthdate is May 12th, new style, 
 as given old style; add that in 1908 he 
 resigned on account of the expulsion 
 of Rimsky-Korsakov (q.v.) and was 
 later reinstated in the Cons.; c. 
 scherzo for orch. " The Inn Mazurka" 
 scene for orch. polonaise in memory 
 of Pushkin; ''Baba-Yaga" tone- 
 picture (1905, Boston Symph., 1910), 
 8 folk-songs for orch.; suite "To 
 Maeterlinck" for orch., choruses with 
 orch.; "The Music Box," and other 
 piano pieces and songs. 
 
 Libon (le'-bon), Felipe, Cadiz, 
 Aug. 17, 1775 — Paris, Feb. 5, 1838; 
 violinist and comp. for violin. 
 
 Lichey (lekh'-i), Rheinhold, b. Neu- 
 mark, near Breslau, March 26, 1879; 
 organist; pupil of Baumert and 
 Rudnick, later at the Royal High 
 School in Berlin; from 1907 org. 
 Konigsberg; c. organ pieces, choruses, 
 etc. 
 
 Lick'l, (i) Johann Qeorg, Kom- 
 nenburg, April 11, 1769 — May 12, 
 1843; church dir.; c. Singspielen for 
 Schikaneder's theatre. His sons (2) 
 Karl Qeorg, b. Vienna, Oct. 28, 
 1801, performer on the Physhar- 
 monica and composer for it; (3) 
 Agidius Fd. K., b. Vienna, Sept. i, 
 1803; guitarrist; c. oratorio. 
 
 Lidon (le'-thon), Jose, Bejar, Salam- 
 anca, 1752 — Madrid, Feb. 11, 1827; 
 organist; 1808, royal chapel organist 
 and royal cond. at Madrid; c. operas, 
 church music, etc. 
 
 Lie (I'ya), Sigurd, May 23, i87i_ — 
 Sept. 30, 1904; important Norwegian 
 conductor and composer; pupil Leipzig 
 Cons.; 1894 cond. in Bergen, studied 
 
 again in Berlin; cond. of vocal society 
 in Christiania; c. symph., Marche 
 symphonique; orch. suite, "Oriental- 
 jijfe," cantatas, chorals and songs. 
 
 Liebling, Leonard, add that he 
 was b. Feb. 7, 1874. He writes "I 
 died in 1899; that is when I became a 
 critic." Since that time he has writ- 
 ten the column of the N . Y. Musical 
 Courier formerly written by James 
 Huneker; c. sonata, barcarolle, ro- 
 manza and valse petite for piano, 
 trio for piano, violin, 'cello, etc. 
 
 Lier (van ler), Jacques Van, b. The 
 Hague, April 24,1875; pupil of Hartog 
 Giese and Eberle; 1891 first 'ceUist 
 Amsterdam Palace Orch.; 1897 
 Berlin Phil. Orch.; teacher at Klind- 
 worth-Scharwenka Cons.; 'cellist of 
 the Dutch Trio and the Dutch String 
 Quartet; author of methods. 
 
 Liguori (le-goo-o'-re), Alfonso di, 
 1696 — 1787; Neapolitan comp. 
 
 Lim'bert, Frank L., b. New York, 
 Nov. 15, 1866; at 8 taken to Ger- 
 many; pupil of Hoch Cons, and of 
 Rheinberger; 1894 Ph.D. Berlin; 
 1901 cond. of the Diisseldorf Singing 
 Society, and teacher at the Cons. 
 1906, at Hanau; c. choral works with 
 orch., etc. 
 
 Lind'egren, Johan, Ullared, Sweden, 
 Jan. 7, 1842 — Stockholm, June 8, 
 1908; teacher of theory and contra- 
 puntist; from 1884 cantor at the 
 Stockholm Storkyrka; c. and edited 
 church music. 
 
 Lin'demann, (i) Ole Andreas, 
 Surandalen, Norway, 1769 — Dron- 
 theim, 1859; organist; teacher and 
 comp. His sons (2) Fr. Christian, 
 1804 — Drontheim 1867, organist, (3) 
 Jacob Andreas, 1806— Sognepraest 
 1846, organist at Christiania; (4) 
 Matthias, 1812 — Christiania, May 
 23, 1887; collector of Norwegian folk- 
 music; c. songs; (5) Just, b. 1822; 
 from i858cathedral org. atDrontheim. 
 
 Lissenko (or Lysenko), Nikolai 
 Vitalievich, b. Grinjki, March 22 
 1842; popular Little Russian comp. 
 
 Ljado* 
 Lo'def. 
 Thou 
 \0^ 
 oiE.j 
 A.M. 
 ^ 
 Piof.0 
 pal 
 ekri 
 HtJiy 
 ed;(. 
 
 SODIU 
 
 LoJe 
 
 boa] 
 Bosta 
 
 timei 
 iaiit25 
 orci 
 andn 
 k^^ 
 tipk 
 
 ¥f 
 
 Mi 
 
DICTIONARY OF MUSICIANS 895 
 
 pupil of Panochiny, Dimitriev and' 
 Vilczek; then of Leipzig Cons.; 1868, 
 teacher at Kiev; c. 6 operas; children's 
 opera, and popular songs. 
 
 Ljadovv, vide liadoff. 
 
 Lo'der, Kate Fanny (Lady 
 Thompson) Bath, Aug. 21, 1886— 
 London, Aug. 30, 1904; pianist, cousin 
 of E. J. Loder (q. v.); pupil of the R. 
 A. M., London, winning the King's 
 scholarship, 1839 and i84i;from 1844 
 Prof, of harmony there; played with 
 great success at Phil, concerts and 
 elsewhere; 1851 married the surgeon 
 Henry Thompson, afterward knight- 
 ed; c. an opera, overture, violin 
 sonata, etc. 
 
 Loeffler, C. Al. T., add that he was 
 bom Jan. 30, 1861; resigned from the 
 Boston Symph. Orch., 1903, to give his 
 time entirely to composition; c. also 
 fantastic concerto for 'cello and 
 orch. (1894); divertimento for violin 
 and orch. (1897); his symph. poem 
 for 2 viole d'amore La Mart des Tin- 
 tagilcs was prod, by the Boston 
 Symph. 1897; he revised it for one 
 viola d'amore and it was prod. 1901, 
 with the composer as the soloist; his 
 Divertissement Espagnol for saxo- 
 phone, and orch. was prod. 1901; his 2 
 symph. poems. "Aiant que tii lie Ven 
 ailles^' (after Verlaine's "La bonne 
 chanson,'') and " Villanelle du diable'^ 
 (after Rollinat) were prod. 1902; his 
 "Pagan Poem" for orch. piano, 3 
 trumpets and Engl, horn 1907; c. also 
 choral works and important songs. 
 
 Lobmann, (lap'-man), Hugo, b. 
 Schirgiswalde, Dec. 19, 1S64; Catho- 
 lic music teacher; organist at Trinity 
 Church, Leipzig; c. songs. 
 
 Lohlein (la'-lin), Qeorg Simon, 
 Neustadt, 1727 — Danzig, 1782. 
 piinist and teacher; 
 
 Lo'makin, Gabriel Joakimovich, 
 St. Petersburg .'\pril 6, 1812 — Gats- 
 china, May 21, 1885; teacher in 
 St. Petersburg; where he founded the 
 Free School of Music, with Balak- 
 irev; c. 10 " Cherubinische" songs, etc. 
 
 Longy (lon-zhe), Qustave Georges 
 Leopold, b. Abbeville, Aug. 29, 
 1868, pupil Paris Cons, taking second 
 oboe prize 1885, iirst prize 1886; 
 oboist with Lamoureux and at 
 Op. Com.; from 1898 first oboist 
 Boston Symph., founding 1900 the 
 Longy Ckm, (flute, oboe, clarinet, 
 horn, bassoon, piano), and giving im- 
 portant concerts. 
 
 Loquin (l6-kah), Anatole, b. Orleans, 
 Feb. 22, 1834; composer and theorist 
 at Bordeaux. 
 
 Loren'te, Andres, Anchuetos, April 
 15, 1624 — Alcala, Dec. 22, 1703; 
 Spanish organist and writer. 
 
 Lorraine, (lor-ren'), Alys, American 
 soprano, gave recital in London; 
 coached by Massenet; debut, The 
 Hague as "Marguerite," engaged for 
 Paris Opera; d^ut there 1912; has 
 sung also at Alonte Carlo and Marien- 
 bad, 1909. 
 
 Lossius, Lucas, Vacha, Hesse- 
 Cassel, Oct. 18, 1508; — Liinebeig 
 1582; rector, theorist and com- 
 piler. 
 
 Louis (loo'-e), Rudolf, b. Schwet- 
 zingen, Jan. 30, 1870; pupil at Geneva 
 and Vienna, where he was made 
 Ph.D., studied conducting with 
 Mottl; theatre-cond. at Landshut and 
 Lubeck; c. symph. fantasie "Proteus" 
 (Basel, 1903). 
 
 Loewengard (la'ven-gart). Max Ju- 
 lius, b. Frankfort-on-Main, Oct. 2, 
 i860; writer and composer; pupil of 
 Raff, then teacher at Wiesbaden 
 Cons.; 1904 critic in Hamburg and 
 1908 teacher at the Cons.; author of 
 text books in theory; c. comic opera 
 "Die 14 Nothelfcr." 
 
 Lowenstern (la'-ven-shtem) (or Leu=- 
 enstern or Leonastro), Mat= 
 thaeus Apelles von, Neustadt, 
 1594 — Bemstadt, 1648; poet and 
 composer; son of a saddler named 
 Lowe; became a privy councillor 
 and was ennobled by Ferdinand II, 
 taking the name of von Loewen- 
 stern; c. words and music of " Fruli- 
 
896 
 
 THE MUSICAL GUIDE 
 
 lings-Morgen" (30 sacred songs), 
 oratorio "Judith" (1646), etc. 
 
 Lowe (lo), Thomas, English, popu- 
 lar tenor; debut, 1740, at Drury 
 Lane; d. London, March i, 1783. 
 
 Lucchesi(look.-ka'-ze), Andrea, Mot- 
 ta. May 28, 1741 — Italy, ca. 1800; 
 organist and cond.; 1771 theatre dir. 
 of an Italian troupe in Bonn; 1774-94 
 royal cond. there; c. symphonies, 
 etc. 
 
 Lucia (de-loo-che'-a), Fernando de, 
 b. Naples, about i860; dramatic 
 tenor; said to have been a trombone- 
 player, largely self-taught; debut 
 Lisbon; 1887 London Opera at Drury 
 Lane, with little success, but on his 
 reappearance, 1893, at Covent Gar- 
 den, as the first to sing "/ Pagliacci" 
 in London, he made a sensation with 
 his fervor; later became a favourite at 
 the Met. Op., New York, rather as 
 an actor than a singer; 1905, in Lon- 
 don again. 
 
 Ludwig, (i) August, b. Waldheim, 
 Saxony, Jan 15, 1865; critic and comp. 
 pupil of Cologne and ^Munich Cons.; 
 attracted attention by risking the 
 completion of Schubert's Unfinished 
 symph., with a " Philosophic scherzo," 
 and a "March of Fate"; c. also an 
 overture" Ad Astra," etc. (2) Joseph 
 b. Bonn, April 6, 1844; violinist; 
 pupil Cologne Cons., and of Joachim; 
 from 1870 in London as teacher and 
 naturalized subject; plays in a quar- 
 tet; c. 2 sjTnph., etc., His son (3) 
 Paul, b. Bonn, Aug. 11, 1872; 'cel- 
 list; pupil of R. A. ISL, London and of 
 Piatti; soloist and quartet player; (4) 
 Frederich, b. Potsdam, May 8, 
 1872; historian of music; docent at 
 Strassburg Universty; (5) William 
 (rightly Wm. Ledwidge,), b. Dub- 
 lin, ca. 1850; Irish barj'tone; from 
 1877, with Carl Rosa Co., especially 
 successful in " Tlie Flying Dutchman" ; 
 1896 sang Hans Sachs; a fine Elijah. 
 
 Luft (looft), Heinrich, Magdeburg, 
 1813-1868; oboist and comp. 
 
 Lugert (loo'-gert), Josef, b. Frohnau, 
 
 Bohemia, Oct. 30, 1841; teacher; 
 pupil of Prague Organ School, and 
 \aolinist in German Landestheater 
 there; later piano teacher at Prague 
 Cons.; 1905 Royal INIusic Inspector; 
 organized orchestra schools, and won 
 fame as a teacher; c. symph., sere- 
 nades for orch., "7» Memoriam" ior 
 full orch. with English horn solo; 
 also wrote technical books. 
 
 Luigini (Iwe-zhe'-ne), Alexandre 
 (Clement L. Jos.) Lyons, March 
 9, 1830 — Paris, July 29, 1906; pupil 
 and prize-wnner at the Cons.; 1869 
 leader in Grand Theatre, Lyons, and 
 founder of the Cons, concerts and 
 Prof.; 1897 cond. at Op. Comique, 
 Paris; c. comic operas, Les caprices 
 de Margot (Lyons, 1877), Faublas 
 (1881), ballets, etc. 
 
 Lunn, (i) Henry Charles, Lon- 
 don, 1817 — Jan. 23, 1894; editor 
 and author; pupil Royal Musik 
 Akademie, later teacher; 1863-87, 
 edited The Musical Times, London. 
 (2) John Robert, Cleeve Prior, 
 1831 — Morton, Yorkshire, April, 
 1899; \'icar there from 1867; c. ora- 
 torio "St. Paulinius of York," etc. 
 His brother (3) Jan, Birmingham, 
 1838-1906; singer, teacher and author 
 of books on the voice. (4) (Louisa) 
 Kirkby,b. Manchester, Nov. 8, 1873; 
 mezzo-soprano; pupil of J. H. Green- 
 wood, then of Visetti, R. A. M., Lon- 
 don, gaining a scholarship in 1894. 
 Appeared in a student performance of 
 Schumann's Genoveva, 1893, '"'itb such 
 success that she was engaged by Sir 
 Augustus Harris; 1897-9 contralto 
 of Carl Rosa Company; then married 
 W. J. K. Pearsen; sang in concert; 
 1901 began an uninterrupted engage- 
 ment at Covent Garden; sang much 
 at festivals; 1902 at Met. Op. House, 
 New York and with Boston S\-mph. 
 and other orchs., 1907 created Kun- 
 dry in first English performance of 
 "Parsifal" by the Henry W. Savage 
 Company. 
 
 Lustig (loos'-tikh), Jacob Wm., 
 
 
DICTIONARY OF MUSICIANS 897 
 
 Hamburg, Sept. 21, 1 706-1 796; 
 organist and theorist. 
 
 Luython (or Luiton) (ll-t6n), Carl, 
 Antwerp (?) — Prague, 1620; im- 
 portant composer of madrigals, 
 masses, fugues, etc.; 1576 court or- 
 ganist to Maximilian II and to 
 Rudolf II. 
 
 Luzzaschi (lood-zas'-ke), Luzza= 
 SCO, d. Ferrara, 1607; court organ- 
 ist; pupil of Ciprian de Rore, and 
 teacher of Frescobaldi; c. Madrigals, 
 etc. 
 
 Lyne, Felice, b. Kansas City, Mo.; 
 1892 (?); soprano; 1906-11 pupil of 
 Marchesi, de Reszke and d'Aubigny, 
 Paris; 19 10 engaged by Hammers tein 
 to sing "Hans the Flute-Player"; 
 191 1 appeared at the London Opera 
 in Rigoletto and other operas. 
 
 Lyssenko, vide lissenko. 
 
 M 
 
 Maccar'thy, Maud, b. Clonmel, 
 Ire., July 4, 1884; viohnist; pupil of 
 Arbos, debut London, 1894; toured 
 America. 
 
 M'Cor'mack, John, b. Athlone, 
 1884; tenor; pupil of Sabatini, Milan; 
 debut Co vent Garden, 1907, with 
 great success; 19 10 sang with Phila- 
 delphia Opera Co.; 191 1 Chicago 
 Opera Co., and at Met. Op. N. Y.; 
 toured Australia, 1912, with the 
 Melba Opera Co. and sang in concert 
 with immense success. 
 
 Macdon'ald, (i) Peter, Sutherland, 
 Scotland, 1729 — Kilmore, 1824; 
 violinist and collector of Highland 
 melodies; minister. His brother (2) 
 Joseph, 1739 — India, 1762; was 
 also a musician. 
 
 MacDowell, E. A., add that in 
 Jan. 1904, he resigned his professor- 
 ship at Columbia University from 
 dissatisfaction with the faculty's 
 attitude toward music as a high art. 
 He was succeeded by Cornehus 
 Riibner (q. v.). He had cond. the 
 Mendelssohn Glee Club for two 
 
 years. In 1905 he fell a prey to cere- 
 bral trouble that ended his beautiful 
 career. Faithfully tended by his 
 wife, he lingered under increasing 
 clouds, till his death, Jan. 23, 1908, 
 at New York. So great was his hold 
 upon the American public that a 
 MacDowell Club with many branches 
 was formed to carry on his ideals of art 
 and to aid the struggling musician; 
 a choral branch under the leadership 
 of Kurt Schindler has attained a very 
 high standard; taking the title of 
 "Schola Cantorum" in 191 2; a biog- 
 raphy of MacDowell was written by 
 Lawrence Oilman, 1905. 
 Marschal=Loepke, vide clough- 
 
 LEITER (2). 
 
 M'Ew'en, John Blackwood, b. 
 
 Hawick, April 13, 1868; Scots com- 
 poser and pupil R. A. M., Glasgow, 
 later Prof, there; c. symph., 2 over- 
 tures, "Hellas" for women's voices ! 
 and orch. "The Last Chantey," 
 chorus and orch. Milton's "Nativ- 
 ity," do.; also Highland dances for \ 
 strings, violin, etc. 1 
 
 Macfar'lane, W. Chas., b. London, J 
 
 Oct. 2, 1870; organist; brought to j 
 
 New York at 4; pupil of his father t 
 
 and of S. P. Warren; c. anthems, etc. 
 
 M'Qib'bon, William, d. Edinburgh, 
 Oct. 3, 1756; studied violin under 
 Corbett, London; cond. "Gentlemeti's ': 
 
 Concerts" in Edinburgh; collected ' 
 
 Scots melodies and c. sonatas. ' 
 
 Mackay, Angus, drowned near 
 Dumfries, March 21, 1859; Highland i 
 
 Piper to Queen Victoria; collected 
 pipe tunes. 1 
 
 Mack'intosh, (i) John, I>ondon 
 1767 — March 23, 1844; bassoonist. 
 (2) Robert, d. London, 1807; ' 
 
 Scots violinist and teacher; composer 
 of strathspeys, and cond. at Edin- 
 burgh. His son (2) Abraham, Edin- 
 burgh, 1759 — Newcastle after 1807. J 
 
 M'Leod (mak-lowd'), Peter, West | 
 
 Calder, 1797 — Bonnington, 1859; i 
 
 Scots composer and violinist; col- \ 
 
 lected Scottish melodies. i 
 
898 
 
 THE MUSICAL GUIDE 
 
 Macmil'len, Francis, b. Mari- 
 etta, Ohio, Oct. 14, 1885; violinist; 
 pupil of Listemann, Chicago; at 10, 
 pupil of Markees, Berlin; at 15 of 
 Cesar Thomson at Brussels Cons.; 
 sharing first vioHn prize 1902 and 
 taking Van Hal prize; played in 
 Brussels, etc.; 1903 London; 1906 
 toured U. S. 
 
 Macpher'son, (i) Charles Stew= 
 art, composer; b. Liverpool, JNIarch 
 29, 1865; pupil of R. A. M., Lon- 
 don, with a scholarship; gained also 
 the Balfe scholarship and medals; 
 1887 prof, there; 1892 a fellow; 1903 
 prof. Royal Normal College for the 
 Blind; c. symph., 2 overtures, a fine 
 mass with orch. (1898); "Concerto 
 alia fantasia" for violin, etc.; wrote 
 theoretical text books, (2) Charles, 
 b. Edinburgh, May 10, 1870; 1890 
 pupil R. A. M., winning Lucas prize 
 1892; later teacher of counterpoint 
 there; 1895, sub-organist at St. 
 Paul's, London; c. overture "Cridhe 
 an Chaidhll" (London, 1895); orch. 
 suites, "Highland" and "Hallow- 
 e'en"; Psalm 187 for choir and orch., 
 etc. 
 
 McWhood, Leonard B., b. New 
 York, Dec. 5, 1870; graduated from 
 Columbia University 1893; after 
 various posts, 1904 prof, of music 
 there; conductor, lecturer; c. unpub- 
 lished works. 
 
 Macque (mak), Jean de, Flemish 
 choirmaster in Rome 1576-82; 1610 
 at Royal Chapel Naples; c. madrigals 
 and motets. 
 
 Madin (ma-dan) (rightly Madden), 
 Henri, Verdun, 1698 — Versailles, 
 1748; clergyman of Irish parentage; 
 cond. at the cathedral of Tours; from 
 1737 in the Chapel of the King; c. 
 motets. 
 
 Magnard (min-yar), Lucien D. 
 Q. A., b. Paris, June 9, 1865; com- 
 poser; pupil of the Cons, (winning 
 first haiTnony prize 1888), then of 
 d'lndy; c. 3 sjTuph., overture, suite in 
 ancient style; hymns to "J it slice" 
 
 and to "Venus," i-act opera "Yo- 
 lande" (Brussels, 1892); 3-act "Giter- 
 coeur "; important chamber music, 
 etc. 
 
 Mahler, Qustav, add that he was 
 dir. of the Court Opera Vienna till 
 1907, when he resigned; and cond. ^ 
 Met. Op., N. Y., for two seasons; 
 1909 was elected to cond. Philh. Orch., 
 N. Y., with the highest salary ever 
 paid a cond. ($30,000 a year); a 
 nervous breakdown in 191 1 ended his 
 work, and he sailed forEurope in April, 
 dying in Vienna May 18, 1911. His 
 comps. include 8 symph. , the last five 
 written, 1901, 1904, 1906, 1908, 1910. 
 His eighth was prod, in Munich, 191 1, 
 and Leipzig, 191 2, requiring a chorus 
 and orch. of i ,000 members. A ninth 
 symph. is said to have been finished. 
 His "Das Lied vender Erdc, "a symph. 
 in six parts, for tenor and alto and 
 orch. (text from Hans Bathge's 
 Chinese flute) was given at Mimich, 
 Nov. 20, 1911. 
 
 Maichelbeck, (mikh'-el-bek), Franz 
 Anton, Reichenau, 1802 — Freiburg, 
 1750; c. important sonatas, etc., for 
 clavier. 
 
 Maillard (mi-yar), Jean, i6th cen- 
 tury French composer; pupil of 
 Depres; c. important motets and 
 masses, from one of which Palestrina 
 took themes for a mass of his own. 
 
 Maikapar (ma'-ka-par), Samuel, 
 b. Chersson, Russia, Dec. 18, 1867; 
 pianist; pupil of the Cons., and of 
 Leschetizky; settled in Moscow; c. 
 piano pieces. 
 
 Mair, Franz, Weikersdorf Marshfeld, 
 
 182 1 — Vienna, 1893; composer and 
 founder of the Schubertbund. 
 
 Major (ma'-yor), Julius J., b. 
 Kaschau, Hungary, Dec. 13, 1859; 1 
 pupil of the Landes-Musik Akad. at i 
 Pest; founded a music school and j 
 singing societies there; c. a. symph., i 
 operas, " Lisheth" and "Erysika"'^ 
 (Pest, 1901), Szechi Maria (Klausen- 
 burg, 1906), etc. _ 
 
 Maksylevich (mRk-se'-Ie-vich), Vi= 
 
DICTIONARY OF MUSICIANS 899 
 
 cent, 1685 — Cracow, 1745; church 
 cond. at Cracow; c. church music. 
 Malash'kin, Leonid Dimitrie= 
 vitch, 1842 — Moscow, Feb. 11, 
 1902; Russian composer of an opera, 
 a symph., songs, etc. 
 Mal'ling, (i) Jorgen, Copenhagen, 
 1836 — July 14, 1907; important 
 Danish composer and teacher; from 
 1875 in Vienna. His brother (2) 
 Otto (Vlademar), b. Copenhagen, 
 June I, 1848; pupil of Gade and 
 Hartmann at the Cons., later teacher 
 there; organist and founder of concert 
 association; c. symph. ; violin fantasia 
 with orch., overture, chamber music, 
 and valuable organ pieces. 
 Malm'qvist (malm'-kwist), Julius, 
 b. Copenhagen, June 16, 1819 — 
 Hirscholm, Aug. 4, 1859; Danish 
 composer of male quartets, operettas, 
 etc. 
 Malvezzi (mal-ved'-ze), Christo= 
 fano, Lucca, 1547 — Florence, 1597; 
 canon in Florence; and chapel 
 master to the Grand Dukes of Tus- 
 cany; collected and composed dra- 
 matic intermezzi, 1591, etc. 
 Mancinelli, Luigi, add that his 
 cantata "Saint Agnes" was prod, at 
 Norwich Festival 1905; his opera 
 "Paolo e Fmncesca" (Bologna, 1907). 
 Manci'nus, Thomas, Schwerin, 
 1550 — Wolfenbiittel ca. 1620; Dutch 
 composer of Passions according to 
 St. Matthew and St. John; cond. to 
 Duke of Brunswick. 
 Mandl (mant'-'l), Richard, b. Ross- 
 itz, Moravia, 1862; pianist; pupil 
 Vienna Cons., later of Delibes, Paris, 
 where he settled 1886; c. i-act. opera 
 "Rencontre Imprevue" (Rouen, 1889); 
 Chanson Provenqal for voice and 
 orch., orch. scherzo (Lamoureux con- 
 certs, 1894); important symph. poem, 
 with organ, mezzo-sopr. and Jemale 
 chorus; "Griselidis" (Vienna, 1906?); 
 overture "To a Gascon Knight drama" 
 (Wiesbaden, 1910), piano pieces, etc. 
 Mandyczevski (man-de-chef'-ski), 
 Eusebius, b. Czemovitz, Aug. 18, 
 
 1857; pupil of Fuchs and Notte- 
 boiim; from 1897 teacher Vienna 
 Cons.; writer and editor of Schubert's 
 works, for which he was made Ph. D., 
 Leipzig. 
 
 Manen (mS-'-nan) Joan De, b. 
 Barcelona, March 14, 1883; Spanish 
 composer; travelled as prodigy pianist, 
 then took up violin; pupil of Alard; 
 c. operas" Giovanni di Napoli" (Bar- 
 celona, 1903), "Akte" (do.); " Der 
 Fackeltanz" (Frankfort - o n - M a i n 
 1909); symph. poem "Nuova Catalo- 
 nia," viohn concert, etc. 
 
 Manfredini (man-fre-de'ne), (i) 
 Francesco, b. Pistoja, 1688; violin- 
 ist; 1 71 1 cond. at Monaco; c. ora- 
 torios, concertos, etc. His son (2) 
 Vincenzo, Pistoja, 1737 — St. Pe- 
 tersburg, 1799, as court cond., c. 
 sonatas, etc. 
 
 Mangin (man-zhan), Edouard, Paris, 
 1837 — May 24, 1907; founded 
 Cons, at Lyons, 1870; also the 
 Popular Concerts; from 1893 cond. 
 the Opera, Paris. 
 
 Mann, Frederick A., Norwich, 
 March 23, 1844 — April 11, 1903; 
 violinist; cathedral organist and dir.; 
 brother of Arthur Henry M. (q. v.). 
 
 Man'ners, (i) Charles (rightly 
 Southcote Mansergh),b. London, 
 Dec. 27, 1857; bass; pupil Dublin 
 Academy and R. A. M., London, 
 and of Shakespeare; debut 1882; 
 1890 Covent Garden; 1893 toured 
 America; 1896 South Africa; 1897, 
 organized Moody-Manners Opera Co. 
 touring the provinces with three 
 companies, two seasons at Covent 
 Garden. In 1890 he married (2) 
 Fanny Moody, b. Redruth, Nov. 
 23, 1866; soprano; pupil of Mme. 
 Sainton Dolby; debut 1887 with Carl 
 Rosa Co., since 1890 has sung with 
 her husband. 
 
 Maquarre (ma-kar), Andre, b. 
 Molenbeck, St. Jean, Belgium, Jan. 
 13, 1875; pupil Paris Cons., took 
 first flute prize 1893; played in Co- 
 lonne and Lamoureux orchs.; from 
 
900 
 
 THE MUSICAL GUIDE 
 
 1898 first flute Boston Symph.; c. 
 opera ''Dolores," two comic operas, 
 ''Indian suite" for orch., overture 
 "On the Sea Clifs " (Boston Symph., 
 1909), etc. 
 
 Marchesi, Mathilde, add that 
 in 191 2, at the age of 90, she sold her 
 school and moved to London, to join 
 her daughter Blanche. 
 
 Marchisio (mar-ke'si-o), Barbara, 
 b. Turin, 1834 ; opera singer in 
 Paris and London; sang usually 
 with her sister. (2) Carlotta, 
 Turin, 1836 — Turin, 1872. 
 
 Marks, Dr. Jas. Chr., Armagh, 
 May 4, 1835 — Grand Spa, Clifton, 
 July 17, 1903; organist and conductor. 
 
 Mar'schalk, Max, b. Berlin, April 
 7, 1863; composer of 2-act opera 
 "InFlammen" (Gotha, 1896); musi- 
 cal piece "Aucassin und Nicolette" 
 (Stuttgart, 1907); incid. music to 
 "Und Pippa tanzt" (Berlin, 1906), 
 and to Maeterlinck's "Sister Bea- 
 trice" (Berlin, 1904). 
 
 Marsh, (i) Alphonso, West- 
 minster, 1627-1681; gentleman of 
 Chapel Royal and composer. His 
 son (2) Alphonso, d. Westminster, 
 1692; gentleman of the Chapel Royal 
 from 1676; c. songs. (3) William, 
 Fochabers, 1748 — Dandaleith, 1833; 
 Scots violinist; c. strathspeys, etc. 
 
 Marshall, John Patton, b. Rock- 
 fort, Mass., Jan. 9, 1877 ; pupU 
 of B. J. Lang, MacDowell, Chadwick, 
 and Norris; 1903 Prof, of Music, 
 Boston University, also org. at St. 
 John's; c. songs and piano pieces. 
 
 Marteau, Henri, add that he was 
 bom at Rheims, March 31, 1874; 
 from 1900 teacher at Geneva Cons.; 
 1908 successor to Joachim at the 
 Royal Hochschule fiir Musik, Berlin. 
 
 Martinel'li, Giovanni, tenor; at 
 first an instrumentalist in Milan; 
 debut 191 2, Covent Garden in "La 
 Tosca" with great success. 
 
 Mascagni, Pietro, add that he 
 was dir. of Pesaro Cons. 1895- 1903, 
 when he toured the U. S. with an 
 
 opera co., and was supplanted at 
 the Cons.; 1909, cond. at Teatro 
 Costanzi, Rome; c. also "Arnica" 
 (Monte Carlo, 1905, Cologne, 1907); 
 1910 he c. opera "Isabeau" for the 
 U. S. but not completing it on time 
 became involved in a lawsuit. The 
 opera was prod, at Venice and Milan 
 simultaneously, 191 2, with much suc- 
 cess and has been widely sung since. 
 His next work is announced as 
 "Parisina" with libretto by d'An- 
 nunzoo. 
 
 Mascheroni (mas-ke-ro'-ne), Edo= 
 ardo, b. Milan, Sept. 4, 1857 ; 
 cond. and composer; pupil of Bouch- 
 eron; 1883 theatre cond. at Leghorn, 
 later at Teatro Apollo, Rome; 1893 
 chosen to cond. Verdi's "Falslaf" at 
 La Scala; c. important Requiem for 
 King Victor Emanuel, also by Royal 
 command another Requiem for the 
 royal chapel; c. operas " Lorenza" 
 (Rome, 1 90 1 ) , very successful through- 
 out Europe and South America; "La 
 Perugina," etc. 
 
 Mason, Daniel Gregory, b. Brook- 
 line, Mass., Nov. 20, 1873; pupil 
 of Clayton Johns, E. Nevin, A. 
 Whitmg, J. K. Paine, G. W. Chad- 
 wick and Percy Goetschius; grad- 
 uated Harvard, 1895; author of 
 articles and books on musical topics; 
 c. violin and piano sonata (191 1), 
 piano variations on "Yankee 
 Doodle"; quartet in A major; pas- 
 torale for violin, clarinet and piano; 
 elegy for piano (played by Gabrilo- 
 witsch in Berlin, London and 
 America), songs, etc. 
 
 Massart, (mas-sar) Nestor, H. J. 
 tenor opera singer; Ciney, Belgium, 
 1849 — Ostende, 1899 ; operatic 
 favourite in Europe and America. 
 
 Massenet, add that his "Jongleur 
 de Notre Dame, " (Monte Carlo, 1902,) 
 has been sung widely; Covent Gar- 
 den, 1906, New York Manhattan 
 Opera, 1910; " Cherubin" (Op. Com. 
 Paris, 1905); "Ariane" (1906); 
 "Therese" (Monte Carlo, 1907); 
 
DICTIONARY OF MUSICIANS 90 
 
 "Don QuiihoUc" (Paris, 1911); "Ro- 
 ma" (Paris, Opera, 191 2); oratorios 
 "La Terrc Promise" (Paris, 1900); 
 piano concerto (1903); ballets, "La 
 cigale" (Paris, 1903), "Espada" 
 (Monte Carlo, 1908), etc., after suf- 
 fering for years from cancer, he died 
 suddenly at his home, Paris, Aug. 
 13, 1912. 
 Maszynski (ma-shin '-shki), Peter, 
 
 b. Warsaw, 1855; pianist and com- 
 poser; pupil of Mikhalovski, Roguski 
 and Noskovski; his "Chor zniviarzy" 
 won a prize at Cracow; teacher at the 
 Musical Institute; cond.; c. violin 
 sonata, incid. music, a cantata in 
 honor of the jubilee of Sienkiewicz, 
 etc. 
 
 Matthay', Tobias Augustus, b. 
 London, Feb. 19, 1858; pianist; 
 pupil R. A. M., teacher there; c. 
 "Hero and Learider," for chorus and 
 orch., etc. 
 
 Mauduit (mo-dwe), Jacques, Paris, 
 Sept. 16, 1557 — Aug. 21, 1627; 
 lute player and composer of chan- 
 sons and a requiem . for the poet 
 
 . Ronsard. 
 
 Mauke (mow'-ke), Wilhelm, b. 
 Hamburg, P'eb. 25, 1867; pupil of 
 Low and Huber; then at Munich 
 Akad. der Tonkunst, acted as critic; 
 
 c. symph. poem" Eiiisamkeit" (after 
 Stuck and Nietzsche), opera, etc. 
 
 Mauricio ( ma-oo-re'-si-6), Jose, 
 Coimbra, 1752 — Figueira, 1815; Por- 
 tuguese composer of church music. 
 
 Mazzolani (mad-zo-la'-ne), An= 
 tonio, Ruina, Ferrara, Dec. 26, 
 1819 — Ferrara, Jan. 25, 1900 ; 
 composer of successful operas and 
 choruses. 
 
 Meisel (mi'-sel), B Carl, Germany, 
 1829 — Boston, Dec. 27, 1908; came to 
 America in 1852; violinist in Boston 
 Symph. Orch. at its foundation. 
 
 Melar'tin, Erik, b. 1875 ; Finnish- 
 composer of excellent songs; pupil 
 of Wegelius. 
 
 Melchissedec (m6l-shis-sa-d6k), 
 Leon, b. May 7, 1843; barytone; 
 
 pupil Paris Cons, and from 1894 
 teacher there; 1 866-1 891 sang at 
 Op6ra Comique, Paris. 
 
 Mel'lon, Alfred, London, April 
 17, 1821 — March 27, 1867; cond. at 
 Covent Garden, and Liverpool Phil.; 
 c. operas. 
 
 Meltz'er, Charles Henry, b. 
 London, June 7, 1853 of Russian 
 parentage; critic; pupil of the Sor- 
 bonne, Paris, later journalist on 
 various New York papers; author and 
 translator of plays and librettos; press 
 representative Met. Op. House, 191 1, 
 critic New York American. 
 
 Menil (du-ma-nel), Felicien de, 
 
 b. BouIogne-sur-Mer, July 16, i860; 
 historian and comp.; after much 
 foreign travel, settled in Paris, 1899, 
 as teacher of musical history at the 
 Niedermeyer Church Music School; 
 
 c. opera "La Janeliere" (Op. Com., 
 Paris, 1 894); operetta "Gowci" (1901) 
 and ballets. 
 
 Mergner (mgrkh'-ngr), Adam Fr. 
 Chr., Regensburg, Oct. 19, 1818 
 — near Ansbach, Jan. 7, 1891; priest 
 and church composer. 
 
 Merikant'o, Oscar, b. Finland, 1868; 
 organist and composer of opera, etc. 
 
 Meschaert (ma'-shart), Johannes, 
 b. Hoom, Holland, Aug. 22, 1857; 
 barytone; pupil of Schneider, Stock- 
 hausen and Wiillner ; teacher and 
 cond. in Amsterdam; tours widely. 
 
 Messager, Andre, add that he re- 
 mained as cond. of the Op. Com. 
 till 1,903, and as director of Covent 
 Garden from 1901 to 1907, in which 
 year he became director of the Opera 
 at Paris, and from 1908 cond. of the 
 concerts of the Cons. Add to his 
 operettas; "Mirette" (Savoy, Lon- 
 don, 1894); Les P'lites Miclm (Paris, 
 1894) enormous success; Veronique 
 (1899); Fortunio (Op. Com. 1907); 
 also ballets and songs. 
 
 Mess'ner, Qeorg, b. Berlin, Sept. 
 22, 1871; pupil of H. van Eijken; 
 artillery officer at Breslau; c. songs 
 and male choruses. 
 
902 
 
 THE MUSICAL GUIDE 
 
 Mest'dagh (mest'-dakh), Karel, b. 
 Bruges, Oct. 22, 1850; pupil of 
 Waelput, Gheluwe and Gevaert; 
 c. overture ^' Les noces d'Atlila" 
 choruses with orch., etc. 
 
 Michael (me'-kha-el), (i) Simon, 
 musician to Emperor Ferdinand I. 
 His son (2) Rogier, d. Dresden, 
 ca. 1619; tenor and cond. to the 
 Elector; c. motets. His son (3) 
 Tobias, b. Dresden, 1592; church 
 cond. Leipzig; c. church music, etc. 
 
 Middelschulte ( mid'-del-shool-te ), 
 Wilhelm, b. Werwe, Westphalia, 
 April 3, 1863 ; organist ; pupil of 
 the Berlin Inst, for church music ; 
 from 1888 organist there; in 1891 
 settled in Chicago; from 1894 org. of 
 the Thomas orch. and of St. James; 
 c. canons and fugue on "Our Father 
 in Heaven"; organ concerts on a 
 theme of Bach's; canonic fantasie on 
 Bach, etc. 
 
 Mieick (melk), Ernst, Wiborg, 
 Oct. 24, 1877 — Locarno, Oct. 22, 
 1899; Finnish composer, who, in spite 
 of his pitifully brief life of 22 years, 
 gained a place of national importance; 
 pupil of Tietse, Radecke and Bruch; 
 c. Finnish symph.; overture "Mac- 
 beth "; Finnish fantasie forchoms and 
 orch.; Finnish orch. suite, etc. 
 
 Miersch (mersh), (i) Carl Alex. 
 Johannes, b. Dresden, 1865 ; 
 violinist; pupil of the Cons, and of 
 Massait; 1888-90 teacher in Aber- 
 deen, then for a year with the Boston 
 Symph. Orch.; 1894-8 artistic dir. of 
 the Athens Cons, and court violinist; 
 1902, returned to the U. S.; from 
 1910 at Cincinnati Coll. of Music. His 
 brother (2) Paul Fr., b. Dresden, 
 Jan. 18, 1868; 'cellist, pupil of Royal 
 Akad., Munich; from 1892 in New 
 York, for five years soloist N. Y. 
 Symph. Orch., 1898, soloist Met. 
 Opera; c. Indian rhapsody, for orch., 
 'cello and violin concertos, etc. 
 
 Mignard (men-yar), Alexander 
 Konstantinovich (rightly 
 Scheltobrjuchov), b. Warsaw 
 
 Aug. 13, 1852; pupil of the Cons, and 
 of Saint Saens at the Paris Cons. ; law- 
 yer and statesman at Warsaw; c. 
 operas, overtures, 2 symph., etc. 
 
 Mil'denberg, Albert, b. Brook- 
 lyn, Jan. 13, 1873; pupil of Joseffy, 
 Bruno Oskar Klein and C. C. Miiller; 
 c. orch. suites, etc. 
 
 Millet (mel'-yet), Luis, b. Barce- 
 lona, April 18, 1867; pupil of Vidiella 
 and Pedrell; founded and cond. the 
 Orfeo Catala society; c. choruses and 
 orch. fantasies on folk-themes. 
 
 Mil'ligen, Simon Van, b. Rotter- 
 dam, Dec. 14, 1849; organist; pupil of 
 Nicolai, Bargiel, etc.; for many years 
 municipal dir. of Gouda, later in 
 Amsterdam as critic and teacher; c. 
 operas "Brinio" and "Darihtda" 
 (The Hague, 1898), etc. 
 
 Minc'us, Ludwig, b. Vienna, 1827; 
 violinist and cond. in St. Petersburg; 
 1872, ballet composer at the Imperial 
 Opera; then retired to Vienna; c. 
 ballets, including "La Source" in 
 collaboration with Delibes. 
 
 Mirecki (me-rets'-ke), Franz, Cra- 
 cow, April I, 1791 — May 29, 
 1862; pupil of Hummel and Cheru- 
 bini; after 1838 director of school of 
 opera singing in Cracow; c. operas, 
 ballets, etc. 
 
 Mit'terer, Ignaz Martin, b. St. Jus- 
 tina, Tyrol, Feb. 2, 1850; composer 
 and director; pupil of his uncle 
 Anton M., (a choirmaster), and of 
 Father Huber; 1874 became a priest; 
 studied at Regensburg under Jakob, 
 Haberl and Haller; 1880 chaplain in 
 Rome; 1882-5, cathedral cond. at 
 Regensburg, later at Brixen as dir. in 
 the cathedral; his compositions show 
 the influence of Palestrina; c. masses 
 with orch., offertories and a great 
 amount of church music. 
 
 MIynarski (m'le-nar'-shki), Emil, 
 b. Kibarty, Suvalki, July 30, 1870; 
 pupil St. Petersburg Cons.; 1893 cond. 
 and teacher at Warsaw; 1894 at 
 Odessa; from 1899 cond. at Opera 
 House, Warsaw; also cond. Phil. 
 
 I Mor 
 
 I 
 
DICTIONARY OF MUSICIANS 903 
 
 orch.; 1904-7 director of the Cons.; 
 then in London; c. violin concerto 
 (Paderewski prize at Leipzig, 1898), 
 operas, etc. 
 Mocquereau (m6k-ro), Andre, 
 b. La Tessouale, France, June 6, 1849; 
 writer; 'cello pupil of Dancla; from 
 1875 Benedictine monk, teacher of 
 choral singing at the Abbey of Soles- 
 mes, later prior; founder and editor of 
 the "Paleographiemnskale "; in 1903 
 on the exile of the order, moved to the 
 Isle of Wight, continuing the publi- 
 cation of his great work; authority on 
 Gregorian chant, on which he wrote 
 "Rythmique Gregorienne" (vol. I, 
 1908), etc. 
 Mojsisovics (mo-se'-so-vich), Rod= 
 erich von, b. Graz, May 10, 1877; 
 pupil of Degner, and of the Cologne 
 Cons., and Munich Akad.; 1903 cond. 
 in various cities; c. sjTnph. "In the 
 Alps" symph. poem "^te/Za," "Chorus 
 Myslicus" from Faust for soli, double 
 chorus, organ and orch., etc. 
 Molck, Heinrich, Grosz-Himstedt, 
 1825 — Hanover, 1889; composer 
 and organist. 
 Mol'ter, Johann Melchior, mus. 
 director in Durlach, 1733; amazingly 
 prolific writer; c. 169 symph., 14 
 overtures, etc. 
 Mon'day, Joseph, 1851— January 
 19, 1909; English organist and con- 
 ductor. 
 Monhaupt (m6n'-howpt), Franz, b. 
 Jackelsthal, near Friedland, Aug. 
 25, 1854; director of the Prague 
 Almshouse for some years,then school 
 director in Bohemian Leipa; c. opera, 
 orch. suite, piano quintet, etc. 
 Monn, Qeorg Matthias, Lower 
 . Austria, 1717 — Vienna, Oct. 3, 1750; 
 organist and comp. of highly impor- 
 tant instrumental works, symphonies, 
 etc., marking a transition to the 
 modern style. 
 Monnet (mun-na), Jean, b. Con- 
 drieux, 1700 — Paris, 1785; 1743 and 
 1752-8 cond. Opera Comique, Paris. 
 Monod (mu-no), Edmond, b. 
 
 Lj^ons, Feb. 4, 1871; author and 
 teacher; pupil of Roth, Stepanov and 
 Lcschetizky; 1899-1906 teacher in 
 Berlin; 1907 Prof, at Geneva Cons.; 
 c. songs. 
 Montanari (mon-ta-na'-re), Fran= 
 cesco, Padua (?) — Rome, 1730; 
 vioHnist at St. Peter's, Rome; c. 12 
 violin sonatas. 
 Montefiore (mon-te-fi-o'-re), Tom= 
 maso Mose, composer; b. Livorno, 
 1855; pupil of Mabellini; critic under 
 the pen-name of "Fuck," editor; 
 c. operas "Un bacio a poriatore" 
 (Florence, 1884), and "Cecilia" 
 (Ravenna, 1905). 
 Moody, Fanny, vide manners 
 
 (2). 
 Moor (mor), (i) Karl, Bohemian 
 comp. of I -act opera " Vij" (Prague, 
 1903), and "Hjordis" (do., 1905). 
 (2) Emanuel, c. symph. concertos 
 and operas "Die Pompadour" (Co- 
 logne, 1902), and "Andreas Hofer" 
 (do. 1902); " Hochzeitsglocken" (Cas- 
 sel, 1908). 
 Moraes (mo-rans), Joao da Silva, 
 Lisbon, Dec. 27, 1689 — ca. 1747; 
 important Portuguese composer of 
 church music; cond. at the Cathedral. 
 Morena (mo-ra'-na), Berta,b. Wurz- 
 burg, Jan. 27, 1878; pupil of Frau 
 Rohr-Brajnin and Mme. de Sales; 
 debut at Munich Court Theatre; has 
 sung there since, and from 1908 with 
 Met. Op., N. Y.; also in concert with 
 Boston Symph., 1909, etc. 
 Moricke (ma'-rik-e), Oscar, b. Co- 
 burg, Aug. 10, 1839; bassoon player 
 there in the Opera orch., 1856-66; 
 1878-82 teacher in Munich, then in 
 Berlin; c. 2 symphs., etc. 
 Morigi (mo-re'-je), Angelo, Rimini, 
 1752 — Parma, 1788; violinist; pupil 
 of Tartini and Valotti; court cond.; 
 c. violin sonatas, etc. 
 Mor'nington, Earl of (Garrett C. 
 Wesley or Wellesley,) Dangan, 
 Ireland, July 19, 1735 — May 22, 
 1781; founded Academy of Music, 
 1757; 1764 Mus. Doc. (Dublin) and 
 
904 
 
 THE MUSICAL GUIDE 
 
 Prof.; 1760; created M. Viscount 
 Wellesley and Earl of M.; c. well- 
 known chant in E flat, and prize 
 glees and madrigals; one of his sons 
 was the Duke of Wellington. 
 
 Mor'telmans, Lodevijk,b. Antwerp, 
 1868; pupil of the Cons, and Brussels 
 Cons.; c.s>Tnph. "Germania, "s>Tiiph. 
 poem " Wilde Jagd, " etc. 
 
 Mo'sel Giovanni Felice, b. Florence, 
 1754; violinist; pupil of Nardini and 
 his successor as court cond., 1793; c. 
 viohn music, etc. 
 
 Mo'ser, Marie, 1848 — Vienna, May 
 17, 191 1 ; singer in Wagner roles; wife 
 of General von Steinitz. 
 
 Motta, Jose Da, vide Da Motta. 
 
 Mottl, Felix, add that he resigned 
 at Carlsruhe, 1903, and cond. in 
 New York at the Met. Op., direct- 
 ing the first performances of "Parsi- 
 fal" outside Bayreuth; 1904 he be- 
 came co-director of the Royal 
 Academy of Music, IVIunich; he was 
 cond. the United Royal Operas there, 
 when he fell ill of arteriosclerosis and 
 died in July, 191 1. Shortly before 
 hip death he was divorced from his 
 first ^ife and mamed Sdenka Fass- 
 bender, of the Munich Opera. 
 
 Muck, Karl, add that in 1899 he 
 cond. German Opera in London; 
 1903-5 alternated with Mottl as cond. 
 of the Vienna Phil.; 1906-8 on leave 
 of absence he cond. Boston SjTnph. 
 during the winters; appearing also at 
 Paris, Madrid, etc.; 1901, 2, 4, 6, and 
 8 cond. "Parsifal" at BajTCuth. By 
 arrangement with the Boston Sj-mph. 
 he continued his contract, sending 
 Max Fiedler to conduct in his place 
 1909-12; and returning 191 2. 
 
 Muffat, (i) Qeorg, Schlettstadt, 
 correct birthplace, ca. 1645; d. 
 Passau, Feb. 23, 1704. (2) Aug. 
 Gottlieb, Passau, April, 1690 — 
 Vienna, Dec. 10, 1770. 
 
 Mugellini (moo-gel-le'-ne), Bruno, 
 b. Potenza, Dec. 24, 1871; pianist; 
 pupil of Tofano, Busi and Martucci; 
 1898 teacher at the Bologna Lyceum; 
 
 c. prize symph. poem "Alle fonte del 
 
 Clitunifio"; 'cello sonata, etc.; edited 
 
 Bach, Czemy and Clementi. 
 Mulert (moo'-l6rt), Fr. von, b. 
 
 Mitau, 1859; 'cellist; pupil of St. 
 
 Petersburg Cons.; prof, at Kiev; c. 
 
 orch. suites, and piano pieces. 
 Mun'dy, (i) William, d. i59i(?); 
 
 gentleman of the Chapel Royal, 1563; 
 
 c. anthems, etc. His son (2) John, 
 
 d. Windsor, 1630; where he had been 
 organist from 1585; c. madrigals and 
 a fantasia describing the weather. 
 
 Munnich (min'-nlkh), (i) Rudolf, 
 b. Friedenau, BerUn, June 18, 1836; 
 song-composer. His son and pupil 
 (2) Richard, pianist; author and 
 singing teacher in BerUn. 
 
 Munzinger, (moon'-tsing-er) Karl, 
 Balsthal, Sept. 23, 1842 — Berne, 
 Switzerland, Aug .17, 191 1; pupil of 
 Leipzig cons.; dir. music school at 
 Berne till retirement in 1909; c. prize 
 cantata " Miirtenschlacht. " 
 
 Mustafa, (moos-ta'-fa), Domenica, 
 Montefalco (?) — 1912; singer at the 
 Vatican and composer of church 
 music; succeeded by Perosi, 1898. 
 
 MUthel (me'-tel), Johann Gott- 
 fried, Molln, 1720 — Riga, after 
 1790; organist; c. sonatas and songs. 
 
 Navratil (na-vra'-tel), Carl,b. Prague, 
 April 24, 1867; violinist; Bohemian 
 composer; pupil of Adler and Ond- 
 ricek; c. symph.; sjTnph. poems, 
 "Jan Hus," "Zalco," etc.; opera 
 " Salammbo," lyric drama, "Her- 
 mann"; violin concerto, etc.; wrote 
 biog. of Smetana. 
 
 Nay'lor, Edward Woodall, b. 
 Scarborough, Feb. 9, 1867; composer; 
 pupil of his father, Dr. John N. (q. 
 v.); and at the R. C. M., London; 
 organist at various churches; 1897 
 made Mus. Doc. by Cambridge Uni- 
 versity, where he had taken the 
 degrees of B. A., M. A., andMus. B.; 
 organist from 1897 at Cambridge 
 
 I 
 
DICTIONARY OF MUSICIANS 905 
 
 (Emanuel College); lecturer there 
 from 1902; c. Ricordi prize opera 
 "The Angelus" (Covent Garden, 
 1909); cantata "Arthur the King" 
 (Harrogate, 1902), church music, etc. 
 
 Nebelong (na'-be-16ng), Johan 
 Hendrik, b. Copenhagen, Nov. 9, 
 1847; pupil of Holm, Thielemann and 
 Barth; from 1881 organist at Copen- 
 hagen, founder of organist pension 
 fund; c. patriotic songs, etc. 
 
 Ned'bal, Oscar, add that he was 
 dir. Bohemian Phil., Prague 1896- 
 1906; thereafter cond. Vienna Volk- 
 soper, also the Tonkiinstler orch.; 
 c. ballet "Z?er {aide Hans" (Vienna, 
 1903), scherzo caprice for orch., 
 violin sonata, etc. 
 
 Nel'Ie, Wilhelm, b. Schwobber, near 
 Hameln, May 9, 1849; preacher, 
 organist and historian of church 
 music; pupil of Robert Franz. 
 
 Nel'son, Sydney, London, Jan. i, 
 1800 — April 7, 1862; publisher and 
 composer of ballads, etc. 
 
 Neru'da, Franz, b. Briinn, Dec. 3, 
 1843; 'cellist, son of Josef N., 
 and brother of Norman n N., (q. v.) 
 pupil of Royal Chapel at Copen- 
 hagen; from 1892 successor of Gade 
 as dir. of the Copenhagen Music 
 Society; also dir. of Stockholm 
 Music Society; 1894, Prof., c. "Slo- 
 vak" march, orch. suite "From the 
 Bohemian Forest," 'cello pieces, etc. 
 
 Nest'ler, August Julius, b. Grum- 
 bach, Dec. 3, 185 1; teacher, founder 
 of a musical institute in Leipzig, 
 1878 (assisted by his son Amadeus) ; 
 1880 teacher at the Royal Gymna- 
 sium; 1892 Royal Musical director; c. 
 hymn with orch., etc. 
 
 Neupert (noi'-pert), Edmund, Chris- 
 tiania, April i, 1842 — New York, 
 June 22, 1888; pianist; pupil of 
 Kullak's Academy and teacher at 
 Stern Cons.; 1861 at Copenhagen 
 cons.; 1888 at Moscow Cons.; from 
 1883 at New York; c. piano studies, 
 etc. 
 
 Neuville (nu-ve'-ye), Valentin, b. 
 
 Rexpoede, French Flanders, 1863; 
 organist; pupil of Brussels Cons.; 
 org. at Lyons; c. 2 s3Tnph., an ora- 
 torio "Notre Dame de Fourvieres," 
 6 operas, including "Les Avegules" 
 (1901), and "Les Willis" (1902). 
 
 Neve (de na'-ve), Paul de, b. 
 Steglitz, Berlin, Jan. 24, 1881; pupil 
 of Ph. Scharwenka, Berger and Gold- 
 schmidt; from 1893 cond. at Wies- 
 baden Court Theatre, then in Aschers- 
 leben; c. opera, chamber music, etc. 
 
 Nevin, Arthur. Add that his cor- 
 rect birthplace is Vine Acre, Edge- 
 worth, Pa., April 17, 187 1. Add 
 to the list of his teachers, Humper- 
 dinck in Berlin, and Goetschius, 
 Boston. He spent the summers of 
 1903 and 1904 among the Blackfeet 
 Indians in Montana, collecting ma- 
 terial for his Indian opera "Foia," 
 libretto by Randolph Hartley (prod, 
 in concert form by the Pittsburg 
 Orch. and as an opera at the Royal 
 Opera, Berlin); c. also i-act opera 
 "Twilight" (accepted by Met. Op. 
 N. Y. but not produced); orch, 
 suites "Lorna Doone" (prod, by 
 Karl Muck in Berhn), and "Love 
 Dreams" (Pittsburg Orch.); c. also 
 songs. 
 
 Nibelle (ne-bel), Adolphe Andre, 
 Gien, 1825 — Paris, 1895; pupil Paris 
 Cons.; lawyer and composer of 
 operettas, etc. 
 
 Nich'olls, Agnes, b. Cheltenham, 
 July 14, 1877; soprano; pupil of 
 Visetti at the R. C. M., London, with 
 a scholarship; debut 1895 in a revival 
 of Purcell's "Dido and Aeneas"; 
 studied also with John Acton; 1901, 
 and 1904-6 sang at Covent Garden; 
 has sung much in concert and ora- 
 torios, and at the Cincinnati Festival, 
 1904; in which year she married 
 Hamilton Harty (q. v.). 
 
 Nich'ols, Marie, b. Chicago, Oct. 16, 
 1879; violinist; pupil of E. Mollen- 
 hauer (Boston), HaUr and Debroux; 
 debut 1899; has toured Europe and 
 America. 
 
9o6 
 
 THE MUSICAL GUIDE 
 
 Nich'olson, Henry, 1825 — Leicester, 
 Sept. 14, 1907; age 82; celebrated 
 flutist; from 1877 with Birmingham 
 Festival Orch. 
 
 Nicolau (ne'-ko-la-oo), Antonio, b. 
 Barcelona, June 8, 1858; pupil of 
 Pujol and Balart; cond. of Cata- 
 lonian Concert Society in Paris, then 
 dir. municipal music school at Bar- 
 celona; c. opera, choral works, etc. 
 
 Nicolini (ne-ko-le'-ne), Nicolino 
 Qrimaldi detto, Naples, ca. 1673 
 — Venice, (?) after 1726; tenor, 
 whom Addison called "perhaps the 
 greatest performer in dramatic music 
 that ever appeared upon a stage"; 
 he was a contralto in Italy as early as 
 1694 and was decorated with the 
 Order of St. Mark; from 1708-1716 
 in England rousing a furore; created 
 "Rinaldo" in Handel's opera, 171 1; 
 returned to sing in Italy. 
 
 Nidecki (ne-det'-ski), Thomas, 
 Warsaw, 1800-1852; pupil of the 
 Cons., and on government funds at 
 Vienna; 1841 director Warsaw Opera; 
 c. 3 masses, burlesques, etc. 
 
 Nielsen (nel'-sen), (i) Carl, b. Norre- 
 Lyndelse, Fiinen Island, June 9, 
 1865; important Danish composer; 
 pupil of Gade, member of the Copen- 
 hagen court orch., and from 1904 
 assistant cond. succeeding Svendsen; 
 c. 2 symph., No. 2 ''The Four 
 Seasons," overture, "Helios," opera 
 "Saul and David" (Copenhagen, 
 1902); chorus vnih orch., "Hymnus 
 amoris"; chamber music, etc. (2) 
 Ludolf, b. Norre-Tolde, Zealand, 
 Jan. 29, 1876; pupil Copenhagen and 
 Leipzig Cons.; viola player in 
 Andersen's orch.; c. opera "Masca- 
 rade" (Copenhagen 1906). 
 
 Nieviadomski (n'yav-ya-dom'shki), 
 Stanislav, b. Soposzyn, Gahcia, 
 Nov. 4, 1859; pupil of MikuH, 
 Krenns, and Jadassohn; teacher at 
 Lemberg Cons.; critic; c. songs, etc. 
 
 Nikisch, Arthur, add that he was 
 dir. Leipzig Cons, till 1907; 1905-6 
 dir. the Stadttheater, has toured 
 
 widely with the Berlin Phil., and 
 acted as guest cond. in many capitals; 
 April, 191 2, he toured the U. S. as 
 cond. of the London Phil, with 
 immense success. He c. a symph., a 
 cantata "Chrislnacht," orch. fan- 
 tasia " Der Trompeter"; etc. His wife 
 Amelie (nee Heuser), b. in Brussels; 
 was a soubrette in Cassel and Leipzig 
 operas, and has composed music. 
 
 No'ack, Sylvain, b. Rotterdam, Aug. 
 21, 1881; at first a pianist, then violin 
 pupil of Andre Spoor, Amsterdam; 
 at 17 entered the Cons., as a pupil of 
 Elderling, winning first prize, 1903, 
 and becoming a teacher there; 1905 
 settled in Rotterdam, and toured 
 widely; 1906 concertm. at Aix-la- 
 Chapelle; from 1908 second concert- 
 master Boston Symph. 
 
 No'ble, Thomas Tertius, b. Bath, 
 May 5, 1867; composer; pupil of 
 the R. C. M., London, winning a 
 scholarship, and later teaching there; 
 org. at Cambridge, Ely Cathedral, and 
 from 1898 at York Minster, founding 
 the York Symphony Orch.; c. church 
 music with orch., cantata "Gloria 
 Domini," music to Aristophanes' 
 "Wasps," etc. 
 
 No'dermann, Freshen, b. Hjorring, 
 Denmark, Jan. 11, 1867; teacher; 
 studied at Helsingborg; organist and 
 1894 Ph.D., University of Lund. 
 Sweden, in which city he has been 
 since 1903, cathedral org.; c. opera 
 "Konig Magnus" (Hamburg, 1899); 
 operetta. "Prinz Inkognito" (Copen- 
 hagen, 1909), etc. 
 
 No'lopp, Werner, Stendal, June 5, 
 1835 — Magdeburg, Aug. 12, 1903; 
 teacher and composer of male chor- 
 uses. 
 
 Nolthenius (n61-ta'-ni-oos), Hugo, 
 b. Amsterdam, Dec. 20, 1848; pupil 
 of Viotta and Auerkamp; cond. musi- 
 cal societies; 1888-91 at Utrecht; 
 editor and author. 
 
 Nordqvist (n6rt'-kwist), Johan 
 Conrad, b. Venersborg, April 11, 
 1840; Swedish composer; pupil Stock- 
 
DICTIONARY OF MUSICIANS 907 
 
 holm Musikakademie; 1864 military 
 bandmaster, then with state funds 
 studied in Dresden and Paris; from 
 1875 organist and teacher at Stock- 
 holm; 1 88 1 teacher of harmony at the 
 Musikakad.; 1885 court cond.; c. 
 orch. works, etc. 
 Nordraak (n6r'-drak), Rikard, 
 Christiania, June 12, 1842 — Berlin, 
 March 20, 1876; composer whose early 
 death ended a promising career; pupil 
 of Kiel and KuUak; c. incid. music 
 to Bjornson's "Maria Stuart" and 
 ''Sigurd Slctnbe," piano pieces, etc. 
 No'ren, Heinrich Gottlieb, b. 
 Graz, Jan. 6, 1S61; violinist; pupil of 
 Massart; concertmaster in various 
 countries; from 1896-1902 in Crefeld, 
 where he founded a Cons. ; teacher at 
 Stern Cons., in Berlin; later in Dres- 
 den; c. orch variations " Kaleido- 
 skop" (Dresden, 1907), serenade for 
 orch., etc. 
 Noronha (no-ron'-ya), Francisco 
 De Sa, Vianna do Castello, Feb. 
 24, 1820 — Rio de Janeiro, Jan. 23, 
 1881; Portuguese violinist, and self- 
 taught composer of operettas and 
 violin pieces. 
 Notz, Franz, b. Cannstadt, 1867; 
 pupil of Stuttgart Cons.; from 1901 
 teacher in Insterberg; c. choral 
 " Liedlegoide," etc. 
 Nougues (noo-ges), Jean, b. 1874; 
 composer of operas " Yannha (Bar- 
 celona, 1897); "Thamyris" (Bor- 
 deaux, 1904); "Quo Vadis" (Paris 
 Gaite, 1910, Berlin Royal Op., 191 2); 
 "Chiquito," " L'Eclaircie," "La 
 Danseuse de Pompeii" (Rouen). 
 Novacek (no'-va-chgk), Ottokar, 
 Fehertemplom, Hungary, May 13, 
 1866 — New York, Feb. 3, 1900; 
 violinist; pupil of his father, of Dont, 
 and at Leipzig Cons., where he won 
 the Mendelssohn prize, 1889; 1891 
 member Boston Symph. Orch.; 1892 
 -3 Damrosch Orch., N. Y.; heart- 
 trouble forced his retirement; c. 
 chamber music, Bulgarian dances 
 and other violin pieces. 
 
 No'vak, Vitezslav, b. Kamenitz, 
 Bohemia, Dec. 5, 1870; important 
 Bohemian composer; pupil of Prague 
 Cons, under Dvorak, later teacher 
 at Prague; from 1909 teacher of 
 composition at the Cons.; c. overture 
 "Maryscha," symph. poems "On 
 the High Tatra" and "Eternal Long- 
 ing"; "Slovak" suite, four Moravian 
 ballads with orch., chamber music, 
 piano sonata "Eroica," etc. 
 
 Novot'ny,Wenzel, b. Pocaterl, Bohe- 
 mia, Sept. 17, 1849; music editor, 
 translator of Wagner; pupil Prague 
 Organ School; c. songs, violin pieces, 
 etc. 
 
 Nowowiejski, Felix, add that he 
 was b. Wartenburg, 1875; pupil of 
 Stern Cons., and Regensburg Church 
 Mus. Sch., etc.; c. 2 symph.; opera 
 "Quo Vadis" (1907); oratorio "Die 
 Auffindung des Kreuzes" (Lemberg, 
 1906). "Quo Vadis" was given as 
 an oratorio New York, 191 2. 
 
 Nunn, J. H., Bury St. Edmunds,Nov. 
 10, 1827 — Penzance, Oct. 17, 1905; 
 pupil R. A. M., London, later Fellow; 
 org. and cond. 
 
 Nu'no, Jaime, Spain (?) — Bayside, 
 L. I., July 19, 1908; composer of 
 Mexican National Anthem; educated 
 in Spain, went to Cuba as military 
 bandmaster, invited to Mexico, 1851, 
 by President Santa Anna; fled from 
 revolution and settled in Buffalo, 
 N. Y.,as teacher for 52 years; 1901 
 invited to Mexico and received with 
 great honours, gold crown, and a 
 purse; returned to Buffalo, where he 
 is buried. 
 
 Nunczy (noon'-che), Louis, d. Buda- 
 pest, April 18, 1910. Hungarian 
 violinist. 
 
 
 
 O'berhoffer, (i) Heinrich, Pfalzeln, 
 Dec. 9, 1824 — Luxembourg, May 
 30, 1885; organist at Luxembourg, 
 c. church music. (2) Emil, b. 
 Munich, Aug. 10, 1867; pupil of 
 Kistler, and I. Philipp; settled in 
 
9o8 
 
 THE MUSICAL GUIDE 
 
 Minneapolis, Minn.; cond. Phil. 
 Club, and from 1903 Minn. Symph. 
 Orch., with which he toured the U. 
 S., 1912; c. church music, songs, etc. 
 
 Obermeyer (o'-ber-ml-er), Joseph, 
 Nezabudicz, Bohemia, 1749 — Prague 
 after 1816; violinist to Count Wald- 
 stein; pupil of Kamel and Tartini. 
 
 Obrecht, vide Hobrecht. 
 
 O'brist, Aloys, b. San Remo, March 
 30, 1867; pupil of Miiller Hartung at 
 Weimar; cond. in various cities; from 
 1900 at Weimar; mus. director and 
 coll. of mus. instruments. 
 
 Oldberg, Arne. b. Youngstown, Ohio, 
 July 12, 1874; began piano studies 
 with his father at 5 ; at 6 was playing 
 Haydn symphonies in duet form; 
 pupil of Aug. Hyllested, Chicago; 
 1893-5 o^ Leschetizky, Vienna; from 
 1895 in Chicago with Middelschulte 
 (counterpoint); Ad. Koelling (in- 
 strumentation) and F. G. Gleason; 
 1898 with J. Rheinberger, Munich; 
 from 1899 teacher at Northwestern 
 Univ., 111.; c. 2 symphs. (F minor, 
 winning National Federation prize 
 191 1); overture " Paola and Fran- 
 cesca" (played 3 times by Thomas 
 Orch.); Festival Overture, 12 orch. 
 variations, horn concerto, chamber 
 music, piano sonata, etc. 
 
 Ollone (dol-liin), Max d', b. Bes- 
 angon, June 13, 1875; pupil Paris 
 Cons., taking the Prix de Rome, 
 1897; c. ca.nta.tsi "Fredegonde," lyric 
 scene" Jeanne d' Arc a Dotnremy, " etc. 
 
 Olschlegel (gl'-shla-gel ), Alfred, 
 b. Anscha, Bohemia, Feb. 25, 1847; 
 pupil Prague Organ School; cond. 
 various theatres, finally at Franzens- 
 bad; c. operettas, and opera "A'y- 
 nast" (Altenburg, 1898). 
 
 Olth'off, Statius, Osnabruch, 1555 
 — Rostock, 1629; composer; cantor 
 and con-rector; set Buchanan's Latin 
 version of the Psalms (1585). 
 
 O'Mara, Joseph, b. Limerick, July 
 16, 1866; tenor; pupil of Perini and 
 Moretti, and Holland; debut 1891 
 Royal English Opera House; 1894 at 
 
 Drury Lane and Covent Garden; 
 1896 created the role of "Mike 
 Murphy" in "Shamus O'Brien" in 
 England and America; toured with 
 Moody-Manners Co. 
 
 O'Neill, (i) Norman, b. Kensing- 
 ton, March 14, 1875; cond., pupil of 
 Somervell and Hoch Cons, at Frank- 
 fort; c. incid. music to "Hamlet" 
 (1904), "King Lear" (1908), "The 
 Blue Bird" (1909); overture "In 
 AjUumn," "In Springtime" ; fantasy 
 for voices and orch. "Woldemar"; 
 Scc^tch rhapsody; ballade with orch. 
 "La belle dame sans merci" (London, 
 1910), etc.; 1899, he married (2) 
 Adine Ruckert, pianist; pupil of 
 Clara Schumann and Mme. Clause- 
 Szavardy. 
 
 Opienski (dp-yen'-shki), Heinrich, 
 b. Cracow, June 13, 1870; pupil 
 of Zelenski there, of d'Indy and 
 Urban; critic in Warsaw, then pupil 
 of Riemann in history, and of Nik- 
 isch in conducting; from 1907 teacher 
 of history at the Warsaw Music 
 School, and from 1908 cond. of the 
 Opera; c. prize cantata in honour of 
 Mickiewicz; opera "Maria," symph. 
 poem " Lilla Weneda" (1908), etc. 
 
 Orlan'di, Fernando, Parma, 1777 
 — Jan. 5, 1848; 1809-28 singing 
 teacher at Milan Cons.; then at 
 Munich Music School; c. 26 operas. 
 
 Orlandini (6r-lan-de'-ne), Giuseppe 
 Maria, Bologna, 1685 — Florence, 
 ca. 1750; opera composer, c. 44 ope- 
 ras, 3 oratorios, etc. 
 
 Orologio (6r-6-lo'-ji-o), (i) and (2),| 
 Alessandro, two contemporary; 
 madrigal composers of the same name, 
 one of them in 1603 became vice- 
 chapelmaster to Emperor Rudolph 
 at Prague; the other vice-chapel- 
 master to the Electoral Court at 
 Dresden the same year. 
 
 Orth (6rt), (i) John, b. near Au- 
 weiler, Bavaria; teacher; brought to 
 America at the age of one; pupil of his 
 father; at 16 taught and earned funds 
 for study abroad; from 1875 teacher 
 
DICTIONARY OF MUSICIANS 909 
 
 in Boston; c. piano pieces, etc. In 
 1883 he married (2) Lizette E. 
 Blood, composer of children's op- 
 erettas, songs, etc., under name 
 "L. E. Orth." 
 
 Ortiz (6r-teth), Diego, b. Toledo, 
 ca. 1530; from 1558 chapelmaster to 
 Duke of Alva; c. important book of 
 sacred music (pub. Venice, 1565). 
 
 Osborn=Hannah, Jane, soprano, 
 after concert career, became pupil of 
 Rosa Sucher in 1903; 1904 engaged 
 for Leipzig Opera by Nikisch; sang 
 for 3 years there, appearing also as 
 soloist at the Gewandhaus concerts; 
 has sung in other German cities, at 
 Covent Garden, London; 1909, Met. 
 Op. N. Y.; from 19 10 with Chicago- 
 Philadelphia Opera Co. in Wag- 
 nerian roles. 
 
 O'Sul'livan, Denis, San Francisco, 
 April 25, 1868 — Columbus, Ohio, 
 Feb. I, 1908; barytone of Irish de- 
 scent; pupil of Talbo and Formes; 
 later of Vannucini, Santley and 
 Shakespeare; debut 1895 in concert; 
 also in opera with Carl Rosa Co. ; 1896 
 created the title r61e in Stanford's 
 "Shamus O'Brien" and sang it in 
 England and America; created other 
 roles in light and serious opera; in 
 1907 sang in America in "Peggy 
 Machree" of which his wife wrote the 
 libretto; suffering with appendicitis 
 he persisted in struggling through 
 performances and died on tour in a 
 hotel. 
 
 Os'wald, James, d. Knebworth 
 Jan. 1769; Scots composer of 
 popular tunes, to whom Kidson 
 credits the composition of "God 
 Save the King'''; dancing-master at 
 Dumferline, 1734; later in Edinburgh; 
 from 1 741 in London; c. songs. 
 
 Othegraven (o'-te-gra-ven), August 
 von, b. Cologne, June 2, 1864; music 
 professor; pupil of the Cons, and 
 from 1889 teacher there; c. fairy 
 play "The Sleeping Beauty" (Co- 
 logne, 1907), songs, etc. 
 
 Ot'ter, Franz Joseph, Nadlstadt, 
 
 Bavaria, 1760(1764?) — Vienna, Sept. 
 I, 1836; violinst; pupil of Nardini; 
 violinist with his brother Ludwig at 
 Salzburg Cathedral; 1803-7, then 
 pensioned; taught and conducted in 
 Vienna. 
 
 Otterstroem (ot'-t^r-strum), Thor= 
 vald, b. Copenhagen, July 17, 1868; 
 composer; piano pupil of Sophie 
 Menter, St. Petersburg; from 1892 in 
 Chicago; c. 24 preludes and fugues 
 for piano, chamber music, etc. 
 
 Ot'to, (0 Qeorg, b. Torgau, ca. 1544; 
 from 1588-1619 at Cassel as cond. 
 to the Landgrave; c. sacred music; 
 (2) Valentin, cantor at Leipzig, 
 1564-94. (3) Valerius, organist at 
 Prague, 1607; c. church music. (4) 
 Stephan, b. Freiburg, Saxony, ca. 
 1594; cantor there and at Schandau; 
 c. church music. 
 
 Pacchioni (pak-ki-6'-ne), Antonio 
 Maria, Modena, 1654-1738, priest, 
 court chaplain; c. oratorios, etc. 
 
 Pacelli (pa-chel'-le), Asprilio, Varci- 
 ano, ca. 1570 — Warsaw, May 3, 
 1623; Italian choirmaster; 1604. 
 called to Warsaw as chapelmaster to 
 the King; c. motets, etc. 
 
 Pache (pakh'-e), (i) Johannes, b. 
 Bischofswerda, Dec. 9, 1857 — Lim- 
 bach, Dec. i, 1897; organist and com- 
 poser of male choruses, etc. (2) 
 Joseph, b. Friedland, Silesia, June 
 I, 1861; pupil Royal Akad., Munich, 
 and of Scharwenka Cons., and Max 
 Bruch; settled in New York and 
 founded 1903 an oratorio society; 
 from 1904 dir. oratorio society in 
 Baltimore. 
 
 Pachler=Koschak (pakh'-ler-ko'- 
 shak), Marie Leopoldine, Graz, 
 Oct. 2, 1792 — April 10, 1855; pianist 
 and composer; friend of Beethoven, 
 
 Paderewski, 1. J., add that he 
 settled at Morges, Switzerland, con- 
 tinuing to tour the world; 191 2, in 
 South Africa; 1909 director Warsaw 
 
9IO 
 
 THE MUSICAL GUIDE 
 
 Cons.; c. opera "Sakuiitala" (text 
 by C. Mendes), a symphony in 
 memory of the revolution of 1864, 
 (1908; Boston Symph., 1909; Richter, 
 London, 1909); a second symph., an 
 hour and twenty minutes long 
 (191 2); piano sonata, variations, and 
 fugue for piano (1907), etc. 
 
 Pagin (pa-zhah), Andre Noel, Paris, 
 1721-1770; composer and violinist. 
 
 Palmer (pam'-er), Bessie (Eliz- 
 abeth Annie), b. London, Aug. 9, 
 1831; contralto; pupil R. A. M., and 
 of Garcia; debut, 1854; sang in ora- 
 torio and concert; from 1870 in opera; 
 from 1877-1886 teacher. 
 
 Panor'mo, (i) VincenzoTrusaino, 
 Monreale, 1734— London, 1813; vioHn 
 maker, as were his two sons, (2) 
 Joseph, London, 1773 — ca. 1825, 
 and (3) George Lewis, London, 
 1774 — ca. 1842. 
 
 Pancera (pan-cha'-ra), Ella, b. 
 Vienna, Aug. 15, 1875 (of Italian 
 parents); pianist; pupil of Epstein 
 and Vockner; debut at 13; toured 
 widely. 
 
 Panizza (pa-nid'-za), Ettore, b. 
 Buenos Ayres, Aug. 12, 1875; c. opera 
 "II fidanzeto del mare" (Buenos 
 Ayres, 1897); the trilogy " Medio evo 
 latino" (Geneva, 1900) "Aurora" 
 (Buenos Ayres, 1908). 
 
 Paolucci (pa-6-loo'-che), Giuseppe, 
 Siena, May 25, 1726 — Assisi, 
 April 26, 1776; Franciscan monk; c. 
 church music. 
 
 Paravicini (pa-ra-ve-che'-ne), Si_g= 
 nora, Turin, 1769 — after 1830; vio- 
 linist; pupil of Viotti; 1797, befriended 
 by Empress Josephine, and made 
 great success in Paris and other cities. 
 
 Pardew', John, 1855 — Plymouth, 
 April 13, 1910, organist, conductor 
 and teacher. 
 
 Par'ker, Horatio W., add that 
 in May, 1911, his opera "Mona," 
 libretto by Brian Hooker (b. N. Y. 
 Nov. 2, 1880, a graduate of Yale, 
 1902, and instructor there 1905-10), 
 won the $10,000 prize offered by the 
 
 Met. Op. Co. for the best grand opera 
 in English by an American. It was 
 prod, with success. 
 
 Par'low, Kathleen, b. Calgary, 
 Canada, 1890; violinist; taken to 
 California at 5, and studied there with 
 Conrad and Holmes; debut there at 
 6; at 15 gave a recital in London and 
 appeared with the London Symph. 
 Orch.; then studied with Auer; 1907 
 began to tour. 
 
 Parry, Sir C. Hubert H., add 
 that in 1908 his health forced his 
 resignation of the Oxford Professor- 
 ship; c. also Processional Music for 
 the coronation of Edward VII (1903) ; 
 a simfonia sacra for soli, chorus and 
 orch. (Gloucester Festival, 1904); 
 music to Aristophanes' "Clouds" 
 (Oxford, 1905); Browning's "Pied 
 Piper" with orch. (Norwich Fest, 
 1905); symph. poem "The Vision of 
 Life" (Cardiff Fest., 1907); cantata 
 (Worcester Fest., 1908); revision of 
 4th symph., (Philharmonic, 1910); 
 wrote important work on Bach; 
 "The Music of the 17th Century," 
 for the Oxford History of Music 
 (1902), etc. 
 
 Par'ry, Joseph Haydn, Pennsyl- 
 vania, 1864 — London, March 29, 
 1894; composer; son and pupil of Dr. 
 Jos. Parry; 1890 prof. Guildhall 
 School; c. operas, "Cigarette," 1892, 
 "Miami" (London, 1893), etc. 
 
 Pashalov (pa-sha'-l6f), Victor Nik= 
 androvich, Saratov, 1847 — Kasan, 
 1885; Russian; composer of songs. 
 
 Pashkevich (pash'-ka-vich), Vassili, 
 violinist; chamber musician; court 
 cond. to Catherine II; 1789, dir. court 
 balls; c. operas, etc., one of them 
 "Oleg" to Catherine H's text. 
 
 Pasterwitz (pas'-ter-vltz), Georg, 
 Passau, 1730 — Kremsmiinster, 1823; 
 priest, and cond.; c. fugues, etc. 
 
 Pa'tey, John George, Stonehouse, 
 Devonshire, 1835 — Falmouth, Dec. 
 4, 1901; bass at Covent Garden; hus- 
 band of Janet Monach P. (q. v.) 
 
 Pauer, Max, add that he became 
 
DICTIONARY OF MUSICIANS 911 
 
 dir. of Stuttgart Cons. 1908: gives 
 annual recitals in European capitals. 
 
 Paul, William, England, 1868 (?) — 
 St. Louis, Feb. 5, 1903, teacher. 
 
 Paulli (pow'-le), Simon Holger, 
 Copenhagen, Feb. 22, 1810 — Dec. 
 2T, 1 891; violinist and court cond.; 
 c. overture, operettas, etc. 
 
 Paur, Emil, add that he returned to 
 Europe, 1903; cond. concerts in 
 Madrid; 1904, returned to the U. S. 
 as cond. Pittsburgh Symph. Orch. 
 His symph. was published in 1909. 
 
 Pechatschek (pekh'-ii-chek), (i) 
 Francois, conductor in Vienna; c. 
 popular dance music, ballets and 
 operas. His son (2) Francois, 
 Vienna, July 4, 1793 — Carlsruhe, 
 Sept. 15, 1840; violin-virtuoso, court 
 dir. at Boden; c. violin concerto, etc. 
 
 Pedrell, Felipe, add that he was 
 born in Tortosa, Spain, Feb. 19, 1841, 
 and c. operas, including "Quasimodo" 
 (Barcelona, 1875), a trilogy "Los 
 Pinneos" (Barcelona, 1902), "La 
 Celestina" (1904), "La Matinada" 
 (1905), a Gloria mass with orch.; 
 also wrote and edited important 
 historical works. 
 
 Pefialosa (pen-ya-lo'-sa), Francisco, 
 Spanish composer, 1470-1535; cond. 
 to Ferdinand the Catholic, then singer 
 in Papal Chapel. 
 
 Penavaire (pa-na-var), Jean Qre=> 
 goire, Lesparre, Sept. 15, 1840 — 
 Paris, Sept. 1906; composer; theatre- 
 cond. at Nantes; covertures " Tasso," 
 "Cervantes"; sjTnph. poem with 
 chorus, "La vision des Croisees," 
 comic opera and ballets. 
 
 Perez (per'eth), Juan Qinez, Orihu- 
 ela, Murcia, Oct. 17, 1548 — Valencia 
 after 1601; royal chaplain and comp. 
 of church music. 
 
 Perosi, Don Lorenzo, add the 
 later compositions; oratorios "Leo 
 the Great" (1902), "// Giitdizio 
 Universale" (The Last Judgment), 
 Rome, 1904; and "In Patris Menio- 
 riam" (1910); orch. variations (1904), 
 cantatas " Anima" (1908), and "Dies 
 
 /j/e",- a series of 10 s>Tnphonies each 
 devoted to an Italian city; requiem 
 for Leo XHI (1909), etc. 
 
 Per'singer, Louis, b. Rochester, III., 
 1887; violinist; at 12 taken to Leipzig 
 and studied with Hans Becker; later 
 pupil of Ysaye, Thibaud and at Leip- 
 zig Cons.; concertm. BliithnerOrch., 
 Berlin; played in concerts abroad, 
 engaged for American tour, 1912. 
 
 Peterson=Berger (pa'-t6r-son-bgrkh- 
 er), Wilhelm, b. Ingermanland, 
 1867; composer; studied in Dres- 
 den and in Stockholm where he has 
 been since 189^ critic and regisseur at 
 the opera; c. dramatic works "Ran" 
 (Stockholm, 1903), etc. 
 
 Petrie, George, Dublin, 1789 — Jan. 
 17, 1866; collector of Irish airs. 
 
 Petrov (pa'-tr6f), Ossip Afanass- 
 jevich, b. Elisavetgrad, Nov. 15, 
 1807 — St. Petersburg, Mar. 14, 1878; 
 famous Russian barytone-bass, with 
 remarkable compass of nearly four 
 octaves (B-g"); discovered on the 
 stage of a country fair, by Lebedev; 
 created Sussanin in "Life for the 
 Czar"; Glinka wrote" Ruslan" for 
 him, and he created roles in many of 
 the chief Russian operas, singing up 
 to four days before his death in his 
 seventy-first year. 
 
 Petsch'nikov, Alexander, b. Teletz, 
 Feb. 8, 1873; violinist; pupil of 
 Moscow Cons.; lives in Berlin. 
 
 Petz'et, Walter, b. Breslau, Oct. 10, 
 1866; pupil of Kleffel, Rheinber- 
 ger and von Biilow; 1887-96 piano 
 teacher in America, then at Helsing- 
 fors Cons., and 1898 at Karlsruhe 
 Cons.; c. an opera, piano pieces, etc. 
 
 Peurl (.Bawerl, Baurl, or Beurlin), 
 Paul, organist at Steyer; important 
 composer of suites, etc., (1611-20). 
 
 Pfannstiehl (pfan'-shtel), Bern= 
 hard, b. Schmalkalden, Thuringia, 
 Dec. 18, 1861; blind organist; pupil 
 Leipzig Cons., winning the Men- 
 delssohn prize three times; from 1903 
 org. at Chemnitz. 
 
 Phip'son, Thomas Lamb, b. Bir- 
 
912 
 
 THE MUSICAL GUIDE 
 
 mingham, May 5, 1833; violinist and 
 author. 
 Pierne, Gabriel, add that from 1910 
 he cond. the Colonne concerts 
 Paris; he c. very successful choral 
 work, "Croisadedes Enfants" (1905), 
 "La coupe enchantee" (Paris, 1895; 
 Stuttgart, 1907); opera " La fille de 
 Tabarin" (Op. Com., 1901); oratorio 
 "Les enfants de Bethlehem" (1907); 
 "Les Fioretti de St. Francis d' Assise" 
 (Paris, 191 2), etc. 
 Pilati (pe-la'-te), Auguste (rightly 
 Pilate), Bouchain, Sept. 29, 1810 
 — Paris, Aug. I, f877; c. operettas 
 under name of A. P. Juliano. 
 Pinel'lo de Qherardi (ga-rar'-de), 
 Qiov. Bat., Genoa, ca. 1540 — 
 Prague, 1587; court cond. and com- 
 poser. 
 Pir'ro, Andre, b. St. Dizier, Feb. 12, 
 1859; organist and historian; from 
 1896, teacher at the Schola cantorum, 
 Paris. 
 Pique (pek), Louis Fransois, 
 Roret, 1758 — Charenton-St. Mau- 
 rice, 1822; violin maker at Paris. 
 Pisna (pish'-na), Johann, Bohemia, 
 June 15, 1826 — Prague, 1896; teach- 
 er at Moscow and Prague; c. piano 
 exercises. 
 Pitsch (pitsh), Karl Franz, b. 
 Senftenberg, Bohemia, 1789 — Prague, 
 1858; organist; c. organ pieces. 
 Pitt, Percy, b. London, Jan, 4, 1870; 
 organist and prominent English com- 
 poser; pupil of Reinecke, Jadassohn 
 and Rheinberger; 1896 organist 
 Queen's Hall; 1902 adviser and cond. 
 Covent Garden; c. sinfonietta, (Bir- 
 mingham Fest., 1906); symphonic 
 prelude "Le sang dcs crepuscules," 
 (1900); ballade for violin and orch.; 
 orch. suites, etc. 
 Plangon (plah-s6n), Pol Henri, b. 
 Fumay, Ardennes, June 12, 1854; 
 famous barj'tone; pupil of Duprez 
 and Sbriglia; debut, 1877, at Lyons; 
 1883-93, at the Paris Opera; 1891- 
 1904, Covent Garden annually, and 
 1893-1906, at Met. Op. House, N. Y. 
 
 Platz'becker, Heinrich August, 
 
 b. Merzenhausen, Sept. 13, i860; 
 editor at Dresden; c. operettas, etc! 
 Poch hammer (p6kh'-ham-m6r), 
 Theodor, b. Rheine, Nov. 16, 1846; 
 pupil of Hamburg Cons., teacher at 
 Wiesbaden Cons.; studied singing 
 from 1902; teacher in Aachen; c. songs. 
 Podbert'sky, Theodor, b. Mu- 
 nich, Nov. 16, 1846; cond. Munich 
 Mannergesangverein; from 1887, in 
 Fiirstenfeldbriick; c. opera "Der 
 Liedes Ende," and male choruses. 
 Poglietti (pol-ygt'-te), Alessandro, 
 from 166 1 court organist; murdered 
 by the Turks in the siege of Vienna, 
 1683; c. clavier pieces. 
 Pohlig (po'-likh), Karl, b. Teplitz, 
 Feb. 10, 1864; pupil of Liszt; cond. 
 Graz Hamburg, Covent Garden, etc.; 
 1 90 7 — 1 9 1 2 , Philadelphia Symph . 
 Orch; c. orch. pieces and songs. 
 Poiree (pwa-ra), Elie Emile Ga- 
 briel, b. Villeneuve, St. Georges, Oct. 
 9, 1850; librarian, author; c. string 
 quartet, etc. 
 Polac'co Giorgio, b. Venice, 1878; 
 pupil Milan Cons. ; cond. in London, 
 Italy, Spain, South America; 1907, 
 Royal Op., Weisbaden; 1908, Berlin 
 Royal Op.; 1911-12, cond. H. W. 
 Savage's prod, of "Girl of the Golden 
 West"; 191 2, engaged for Met. Op., 
 N. Y.; c. 2 operas, " Rahab" (Buda- 
 pest), and " Fortunattis." 
 Polaro'li (or Pollarolo, (1) Carlo 
 Francesco, Brescia, ca. 1653 — 
 Vienna, 1722; composer; organist and 
 assistant-cond. at St. Mark's; c. 3 
 oratorios, 68 operas, etc. His son and 
 pupil (2) Antonio, Venice, 1689 
 — Venice, 1746; 1723, cond. at St 
 Mark's; c. operas. 
 Poldini (p61-de'-ne), Eduard, b. Pest, 
 June 13, 1869; composer of opera 
 "Vagabond and Princess," (Pest, 
 1903), and children's operas. 
 Polleri (p61-la'-re), Giov. Bat., 
 b. Genoa, 1855; organist; from 1887 
 teacher in the U. S.; 1894, in Genoa: 
 
 il 
 
DICTIONARY OF MUSICIANS 913 
 
 from 1898 dir. of the Cons.; c. organ 
 pieces, etc. 
 
 Pomasan'ski, Ivan Alexandro= 
 vich, b. near Kiev, April ii, 1848; 
 harpist and composer; pupil St. 
 Petersburg Cons.; from 1868 harpist 
 and chorus — master at the Imperial 
 Opera; c. cantata "The Death of 
 Samson"; Russian overture and songs. 
 
 Poole, vide bacon. 
 
 Pop'ov, Ivan Qegorovich, b. Eka- 
 terinodar, 1859; pupil Moscow Phil. 
 School, from 1900, director of society 
 in Stavropol, Caucasus; c. symph., 
 Armenian rhapsody; symph. poem 
 "Freedom," overture, "Ivan the Ter- 
 rible," etc. 
 
 Por'ro, Pierre, Beziers, 1750 — 
 Montmorenc)', 1831; guitar-virtuoso 
 and teacher at Paris; c. pieces for the 
 instrument, etc. 
 
 Porsile (p6r-se'-le), Giuseppe, b. 
 Naples, 1672 — Vienna, 1750; court 
 cond.; c. 6 operas, etc. 
 
 Pottgiesser (p6t'-ges-ser), Karl, b. 
 Dortmund, Aug. 8, 1861; pupil of H 
 Riemann: c. opera " Heimkehr,' 
 (Cologne, 1903), a Festspiel, choruses 
 etc.; chapter i oi St. Paul's First Epis 
 tie, for voices, organ and orch.; orato 
 rio "Gott ist der Liebe"; choruses, etc 
 
 Poueigh, (poo- a) (Marie Octave 
 Geraud) Jean, b. Toulouse, Feb. 24, 
 1876; studied with the Jesuit fathers 
 at Toulouse; at 19 took up harmony 
 with Hugounenc of the Cons., which 
 he entered in 1897, receiving the 
 second harmony prize 1898; he then 
 studied in Paris with Caussade, 
 Lenepveu and Faure, receiving 
 criticisms from dTndy. His comps. 
 include sonata for piano and violin 
 (performed by Enesco and Aubert 
 1906); orch. suite Fiimi (1906 and 
 1908 at Lamoureux concerts), poem 
 with orch. "Sentelliere de Reve" 
 (1907); dramatic poem for solos, choir 
 and orch. Les Lointains (1903); 5- 
 act lyric drama, Le Meneur de Louves, 
 not prod. Le Soir rode (song with 
 orch. 1 9 10), etc. 
 
 Poznan'ski, Barrett Isaac, Charles- 
 ton, Va., Dec. 11, 1840 — London, 
 June 24, 1896; violinist and composer; 
 pupil of Vieuxtemps; c. viohn 
 pieces, etc. 
 
 Powell, Maud, add that her birth 
 place was Peru, 111.; played piano 
 and violin in public at 9; debut 
 Berlin Phil., 1885; the same year in 
 America with Theo. Thomas^ orch. 
 married H. Godfrey Turner. 
 
 Pren'dergast, A. H., Dalrymple, 
 June 28, 1833 — Kensington, July 13, 
 19 10; choral cond. and composer. 
 
 Pres'cott, Oliveria Luisa, b. Lon- 
 don, Sept. 3 , 1 842 ; pupil of Macf arren ; 
 singing teacher; c. string quartets, etc. 
 
 Pressen'da, Johannes Franciscus, 
 Laquio-Berria Jan. 6, 1777 — Turin, 
 Sept. II, 1854; violin maker, 
 
 Pribik (pre'-bik), Joseph, b. Bo- 
 hemia, 1853; pupil Prague Cons.; 
 director of opera in various cities; 
 from 1894 of Odessa Symph. Orch. 
 c. orch. suites, etc. 
 
 Primavera (pre'-ma-va'-ra), Gio= 
 vanni Leonardo, b. Barletta; 
 from 1573 concertmaster at Milan; c. 
 madrigals, etc. 
 
 Pri'oris, Johannes, organist at St. 
 Peter's, Rome, 1490; 1507, cond. to 
 Louis XII of France; c. motets, etc. 
 
 Prochazka (pro-khaz'-ka), (i) Lud=> 
 wig, correct birth date, Klattau, 
 Aug. 14, 1837; (2) Rudolf, Freiherr 
 von, Prague, Feb. 23, 1864; com- 
 poser; pupil of Fibich and Griinberger; 
 magistrate in Prague; author of biog- 
 raphies; c. dramatic tone story. 
 "DasGliick" (Vienna, 1898); sacred 
 melody "Christus," etc. 
 
 Pro'fe, (or Profius) Ambrosius, 
 Breslau, Feb. 12, 1859 — Breslau, 
 Dec. 27, 1661; organist; c. church 
 music. 
 
 Puccini, Giacomo, add that his 
 correct birth date is Lucca, June 22, 
 1858; " Afadame Butterfly," (LaScala, 
 Milan, 1904), was a dire failure and 
 withdrawn after one performance; 
 revised and brought out at Brescia 
 
914 
 
 THE MUSICAL GUIDE 
 
 the same year with a success that has 
 spread all over the world, being sung 
 throughout America in English by 
 the Henry W. Savage Company. It 
 was based on a play by John Luther 
 Long and David Belasco. His next 
 opera was also based on a play of 
 Belasco's, "The Girl of the Golden 
 West," {"La Fanciidla del West"), 
 and first prod. New York Met. 
 Op., 1910, with much success and 
 later in Italy, England, etc. He is 
 said to be working on an opera with 
 Franz Hals as hero, and an Anda- 
 lusian story by Quinteros, "Anima 
 Allegra." 
 
 Puchalski (poo-chal'-shki), Vladi= 
 mir v., b. Minsk, April 2, 1848; 
 pupil at St. Petersburg Cons.; pianist; 
 from 1876 director Imperial Music 
 School in Kiev; c. Little-Russian 
 fantasie for orch., an opera, etc., etc. 
 
 Puget (pu-zha), Loisa, b. Paris, ca. 
 1810; composer; pupil of A. Adam; 
 c. popular songs and operetta "Z,e 
 viauvais oeil" (Paris Op. Com., 1836), 
 and " LaVeilleuse" ; marned Lemoine. 
 
 Pujol (poo'-hol), Juan Bautista, 
 Barcelona, 1836 — Dec, 1898; pianist, 
 author of a method; c. piano pieces. 
 
 Pur'day, Charles Henry, Folk- 
 stone, Jan. II, 1799 — London, April 
 23, 1885; composer, lecturer and 
 writer; c." Lead, Kindly Light," etc. 
 
 Pychovski (pe-kh6v'-ski),Jan Nepo= 
 mucene, Grazen, Bohemia, April 
 8, 1818 — Hoboken, N. J., March 18, 
 1900; pianist and teacher; pupil 
 Prague Cons, and of Tomaschek; 
 1850 moved to New York; from 1855 
 in Hoboken; c. violin sonata, etc. 
 
 Quadflieg (kvat'-flekh), Gerhard 
 Jakob, b. Breberen, Aug. 27, 1854; 
 pupil Church Music School, Regens- 
 burg;from 1881, teacher; from 1898, 
 rector at Elberfeld; also cond. and 
 organist; c. 7 masses, many motets, 
 etc. 
 
 Quil'ter, Roger, b. Brighton, Nov. 
 
 I, 1877; composer; pupil of Knorr 
 Frankfort; c. serenade for orch. 
 (London, 1907), part songs, etc. 
 
 R 
 
 Raabe (ra'-b6), Peter, b. Frankfort- 
 am-Oder, Nov. 27, 1872; pupil of 
 Bargiel; cond. at various theatres; 
 1899 at the Opera, Amsterdam; 1903, 
 dir. Kaim orch., Munich; from 1907 
 court cond. Weimar; c. song and 
 piano pieces. 
 
 Rachmaninoff, S. V., add correct 
 birth date, April 2 (N. S.), 1873; 
 in 1899 appeared in London as 
 conductor and pianist; from 1903 
 piano prof. Maryinski Inst, for Girls, 
 Moscow; 191 2, appointed chief cond. 
 of the Opera St. Petersburg; c. symph. 
 (1895); cantata "Spring," fantasia 
 for orch., "The Rock," Gipsy ca- 
 priccio; 2 piano concertos; chamber 
 music, incl. Elegiac trio in memory of 
 Tchaikovsky; 'cello sonata, etc. 
 
 Radeglia (ra-dal'-ya), Vittorio, b. 
 Constantinople, 1863; composer; c. 
 operas "Colombo" (Milan, 1887), 
 "Amore occiilto" (Constantinople, 
 1904), etc. 
 
 Radicati (ra-di-ka'-te), Felice da 
 Maurizio di, Turin, 1778 — Vienna, 
 April 14, 1823; violinist, court com- 
 poser and 1815 cond. at Bologna; 
 c. operas and important chamber 
 music. 
 
 Raida (ri'-da), Karl Alex., b. Paris, 
 Oct. 4, 1852; pupil Stuttgart and 
 Dresden Cons.; theatre-cond. in vari- 
 ous cities; 1878-92, in Berlin; from 
 1895, Munich; c. operettas, ballets, 
 etc. 
 
 Rand'les, Elizabeth, Wrexham, Aug. 
 I, 1800 — Liverpool, 1829; pianist; 
 prodigy, playing in public before the 
 age of two; daughter of a blind harp- 
 ist; pupil of John Parry; later a 
 teacher in Liverpool. 
 
 Randolph, Harold, b. Richmond, 
 Va., Oct. 31, 1 861; pupil of Mrs. 
 Auerbach and Carl Faelten, at Pea- 
 body Cons., Baltimore; from 1898 its 
 
 
DICTIONARY OF MUSICIANS 915 
 
 director; pianist, has played with 
 Boston Syniph., etc. 
 Rap'pold, Marie (nee Winteroth), 
 
 b. Brooklyn, N. Y.; sang in London 
 at 10; m. Dr. Julius Rappold of Brook- 
 lyn; studied with Oscar Saenger and 
 sang in concert; from 1905 Met. Op. 
 
 Rase'lius, Andreas, Hahnbach, 
 upper Palatinadte, 1562-64 — Heidel- 
 berg, Jan. 6, 1602; court cond. and 
 comp. 
 
 Ravel', Maurice, b. Ciboure, March 
 7, 1875; pupil of Faure, Pessard and 
 De Beriot at Paris Cons.; important 
 French composer; he won the 2nd 
 Prix de Rome 1901 with cantata 
 "Myrr/za"; c. overture "Sbeherazade," 
 (1898), Spanish Rhapsodie for orch., 
 etc.; operetta "Uheure espagnole" 
 (Op. Com. 191 1); opera "La cloche 
 engloiUie " (after Hauptmann's 
 "Sunken Bell"), string quartet, 
 strikingly individual songs such as 
 "Histoires naturelles" (1906), and 
 piano pieces including the 5 pieces 
 caUed "Miroirs" (1905). 
 
 Raway (ra'-vl), Erasme, b. Liege, 
 June 2, 1850; priest, teacher and 
 cathedral cond. at Liege; c. church 
 works, Hindu scenes, a dramatic 
 dialog. " Freya," 1908, etc. 
 
 Rebikov (reb'-i'-kof), Vladimir 
 Ivanovich, b. Krasnojarsk, Siberia, 
 June I (N. S.), 1866; pupil Moscow 
 Cons., and in Berhn; 1897-1902 cond. 
 in Kishinev; later in Berhn and 
 Vienna; theorist and composer of 
 daring originality, as in his famous 
 piece "Satan's Diversions," his "Melo- 
 mimik," lyric scenes in pantomime, 
 i-act fairy opera, " Der Chrisibaum," 
 etc. 
 
 Reger, Max, add that he has come 
 to be recognized as one of the most 
 important of living composers, es- 
 pecially in chamber music and sacred 
 music; 1891-96 he was teacher at 
 Wiesbaden Cons., then took his year 
 of military service. After a severe 
 illness he settled in Munich, 1901, 
 and married there; 1905 he taught 
 
 counterpoint at the Royal Academy; 
 1907-8 taught composition at Munich 
 Cons., and was University music dir.; 
 1908 was named Royal Prof, and Dr. 
 Phil, by Jena; 1910 Mus. D. Berlin U. 
 in 191 1 , he became General Music Dir. 
 at Meiningen, cond. Meiningen orch., 
 continuing to teach one day a week at 
 Leipzig Cons. He toured with the 
 orch., 1912. His compositions are 
 exceedingly numerous, and include a 
 sinfonietta, op. 90, symph. prologue to 
 a tragedy, op. 108, "Lustpicl" over- 
 ture (19 11), violin concerto; a vast 
 amount of chamber music, sonatas for 
 piano, organ, violin, clarinet, 'cello, 
 variations, fugues, canons in all keys, 
 left hand studies, and transcriptions 
 for piano; much organ mueic; "Gesang 
 der Verklarten" for choir and orch., 
 "An die Hofming" for contralto and 
 orch. (1912); three orch. pieces "Noc- 
 turne," " Elfenspuk," and "Helios" 
 (191 2); organ fantasie and fugue, 
 B-A-C-H; violin suite op. 103, sonata 
 op. 42, for violin alone; tone-forms 
 for pianos, "Aus meineni Tagebuch"; 
 cantatas, male and mixed choruses, 
 and many beautiful sacred and 
 secular songs. 
 
 Reggio (red'-j6), Pietro, Genoa — 
 London, July 23, 1685; private luten- 
 ist to Christina of Sweden; from 
 1677 at Oxford; c. songs, etc. 
 
 Reichwein (rikh'-vin), Leopold, 
 director and composer; b. Breslau, 
 May 16, 1878; cond. 1909 of the 
 Court Opera at Carlsruhe; c. operas 
 " Vasantasena," (Breslau, 1903), 
 "Die Liebenden von Kattdahar" 
 (1907), and music for "Faust" 
 (Mannheim, 1909). 
 
 Rein'hardt, Heinrich, b. Pressburg, 
 April 13, 1865; c. operettas for Vienna 
 "Das silsse Model" (1901); "Ein 
 Madchen fiir Alles" (Munich, 1908), 
 
 Reiter (ri'-tgr), Josef, b. Braunau, 
 Jan. 19, 1862; composer; Viennese 
 composer of operas, including "Der 
 Totenlanz" (Dessau, 1908), symph., 
 cantatas, male choruses, etc. 
 
9i6 
 
 THE MUSICAL GUIDE 
 
 Rembt, (rempt), Johann Ernst, 
 
 Suhl, 1 749-1810; organist and com- 
 poser. 
 
 Rheineck (ri'-nek), Christoph. 
 Memmingen, Nov. i, 1748 — July 
 29, 1797; c. operas. 
 
 Rice, Elihu S., Genesee Co., N. 
 Y., 1827 — Logansport, Ind., May 
 191 2; merchant; lived Logansport 
 from 1838; c. pop. hymns, "Shall we 
 Meet Beyond the River," etc. 
 
 Richafort (resh-a-for), Jean, 
 important Flemish composer of 
 masses, motets and songs; pupil of 
 Depres: 1543, choirmaster in Bruges. 
 
 Rid'dell, (i) John, Ayr, 1718- 
 1795; blind Scots, composer of dance 
 music, (2) Robert, d. Friar's Carse, 
 1794; captain, friend of Bums; c. 
 dances and songs. 
 
 Rider=Kelsey, Corinne, b. Le Roy, 
 N. Y., Feb. 24, 1880; soprano; studied 
 with L. A. Torrens, Chicago, Mr. and 
 Mrs.Toedt, N. Y.; sang widely in con- 
 cert and oratorio; 1908, debut in 
 opera at Covent Garden; returned to 
 concert work. 
 
 Rietsch (retsh), Heinrich, b. Falk- 
 enau, Sept. 22, i860; professor and 
 composer; pupil of Krenn, Mandycze- 
 vski, and Fuchs; from 1892 teacher 
 in Vienna; from 1900 prof, at the 
 German Univ., Prague; author, and 
 historian; c. opera, chamber music, 
 etc. 
 
 Rimsky=Koraskov, N. A., add that 
 he died at St. Petersburg, June 21, 
 1908; in 1 90 1 he ceased to cond. 
 Russian symph.; 1905 he wrote a 
 letter protesting against the use of 
 armed force in the Cons, to repress 
 students' political expression, and he 
 was dismissed; Glazounoff, Liadov, 
 and others at once resigned, public 
 feehng was aroused, and his opera 
 "Kotschei" was prod, at the Theatre 
 du Passage, 1905, with great acclaim; 
 later he was reinstated and Glaz- 
 ounoff chosen director. His opera 
 "Kitesch" was prod, the same year, 
 and "Zolotoi Pietouchok " (igog); his 
 
 symphonic suite, "Scheherazade," 
 (Boston Symph., 1897), was used for 
 the Russian ballets in Paris, 191 1, 
 with immense success. 
 
 Rinal'do di Capua, ca. 1700 (?) — 
 Rome, after 1771; important Italian 
 composer of 30 or more light operas, 
 popular in Italy, France,and England. 
 
 Rip'fel, Karl, Mannheim, 1799 — 
 Frankfort-on-Main, March 8, 1876; 
 'cellist and composer. 
 
 Rip'pon, John, Tiverton, 1751 — 
 London, 1836; clergyman; c. oratorio 
 " The Crucifixion. " 
 
 Riseley (riz'-li), George, b. Bristol, 
 Aug. 28, 1845; organist; pupil of 
 Corfe, later his successor at the 
 Cathedral; cond. orch. societies; 
 pensioned, 1898, then cond. London; 
 c. Jubilee Ode, 1887, etc. 
 
 Rivarde (re-var'-dg), Serge Achille, 
 b. New York, Oct. 31, 1865 (of 
 Spanish father, American mother); 
 violinist; at 11 taken to Europe, 
 pupil of Dancla, Paris Cons.; dividing 
 first prize, 1879, with Ondricek; 1885- 
 90, solo violinist Lamoureu.x orch., 
 from 1899, prof. R. C. M., London. 
 
 Rob'erts, John, Wales, 1822 — 
 Aberdare, 1877; composer of church 
 music; founder of festivals. 
 
 Rockel, Jane Jackson, d. CHfton, 
 August 27, 1907, age 73; wife Jos. 
 Leopold R. (q. v.); pupil Pauer, 
 Halle, Mme. Schumann; pianist and 
 teacher; c. piano pieces with pen- 
 name "Jules de Sivrei." Inventor of 
 " Paniphonia," appliance for learning 
 staves and clefs. 
 
 Rodwell, George Herbert Bona= 
 parte, London, (?), 1800-1852; pupil 
 of Novello and Bishop; from 1828 
 prof, of harmony R. C. M.; c. 
 numerous operettas, farces, etc. 
 
 Roguski (ro-goo'-ski), Gustav, b. 
 Warsaw, 1839; pupil there and of 
 Marx, Kiel, and Berlioz; from 1865 
 prof, of composition at the Warsaw 
 Cons.; c. symph., 2 masses, chamber 
 music, etc. 
 
 Rohr, (rar), Hugo, b. Dresden, Feb. 
 
 
DICTIONARY OF MUSICIANS 917 
 
 13, 1866; pupil of the Cons.; cond. in 
 various cities; from 1896 royal court 
 cond. at Munich Court Opera; c. 
 oratorio "Ekkehard," opera "Valer 
 unser" (Munich, 1904), etc. 
 
 Rolland (rul-lan), Romain, b. 
 Clamecy, Jan. 29, 1868; teacher of 
 history at the Ecole normale super- 
 ieure, at Paris; 1900 organized an 
 international congress of music; his- 
 torian at Paris; author of many his- 
 torical and critical works, dramatic 
 poems, and the musical romance 
 "Jean Christophe" (1905- 1908). 
 
 Roman, Johann Helmich, Stock- 
 holm, 1694- — near Calmar, 1710, 
 called the father of Swedish music; 
 pupil of Handel in London with a 
 municipal stipend; 1727, court cond. 
 at Stockholm; c. funeral march for 
 King Fredrik (1751), coronation 
 march for King Adolph Fredrik; 
 2 symphonies, etc. 
 
 Roo'tham,(i) Daniel Wilberforce, 
 b. Cambridge, Aug. 15, 1837; pupil 
 of Walmesley and Schira; 1865- 
 77, cathedral org., Bristol; cond. 
 Bristol madrigal society. His son 
 (2) Cyril Bradley, b. Bristol, Oct. 
 5, 1875; Mus. B. at Cambridge, 
 1900; from 1901, organist there, St. 
 John's College; pupil also at R. C. M., 
 London; c. overture "The Spirit oj 
 Comedy," (1909), and vocal works 
 with ovch. " Albert Graeme's Song" 
 (1904); "Andromeda" (Bristol Festi- 
 val, 1908), "Coronach," etc. 
 
 Ropartz (ro-pirs), J. Guy, b. 
 Quingamp, France, June 15, 1864; 
 pupil of Dubois, Massenet, and Cesar 
 Franck; from 1894, dir. Nancy Cons., 
 and cond. symph. concerts; c. symph. 
 on a Breton chorale, 1895; incid. 
 music to Loti's "Pecheiir d'Islande" 
 (Paris, 1893); suite " Dimanche bre- 
 ton" (1898); Psalm 1^6 for organ 
 and orch. (Nancy, 1898), etc. 
 
 Rosch (resh), Friedrich, b. Mem- 
 mingen, Dec. 12, 1862; author and 
 conductor of male choruses, etc.; pu- 
 pil of Wohlmuth and Rheinberger; 
 
 lived in various cities; from 1898 in 
 Berlin. 
 
 Rose (ro-za), Marie, singer and 
 teacher in Paris; from 191 2 also in 
 London. Her son (2) Raymond, 
 191 1, cond. London Op. House; cond. 
 His Majesty's Theatre, and c. incid. 
 music for Beerbohm Tree's prods, of 
 Shakespeare "Macbeth," etc., c. text 
 and music of operas "Joan of Arc" 
 (in concert form Queen's Hall, 191 1); 
 "Antony and Cleopatra"; a symph. 
 poem on the same subject (Queen's 
 Hall, 191 1); songs, etc. 
 
 Ro'seingrave, (i) Daniel, d. Dublin, 
 1727; English composer of anthems; 
 pupil of Blow and Purcell; 1679-98 
 org. at various cathedrals; 1698 at 
 St. Patrick's, Dublin; father of (2) 
 Thomas (q. v.), and of (3) Ralph, 
 SaHsbury, ca. 1695 — Dublin, 1746; 
 pupil of his father and his successor 
 as organist at St. Patrick's, Dublin; 
 c. anthems. 
 
 Ro'senfeld, Leopold, Copenhagen, 
 July 21, 1850 — July 19, 1909; studied 
 in Germany; critic and teacher in 
 Copenhagen; c. vocal works with 
 orch., "Henrik og Else," " Liden Hel- 
 ga," "Naar Solen daler," songs, etc. 
 
 Ro'senhoff, Orla, b. Copenhagen, 
 Oct. 1, 1845; pupil of Lund and Gade; 
 from 1880 teacher of theory at the 
 Cons.; c. chamber music, etc. 
 
 Rosenzweig, (ro'-zents-vikh) Max, 
 b.,Roumania, 1900; violinist; brought 
 to America at 7; son of a barber; he 
 studied at the Music Settlement 
 under David Mannes, then with 
 Sinsheimer; debut at MacDowell 
 Club banquet March 10, 191 2, with 
 such success that subscription was 
 taken up to send him abroad to study. 
 
 Ro'ser, (von Reiter) Franz de 
 Paula, Naarn, 1779 — Pest, 1830; 
 cond. in theatres; c. 100 operettas, 
 ballets, etc 
 
 Ros'si (i) Carlo, b. Lemberg, April 4, 
 1839; pupil of Menzel; from 1851 in 
 Venice; c. symph., etc. (2) Cesare, b. 
 Mantua, 1864; c. operds" I fitgitivi" 
 
9i8 
 
 THE MUSICAL GUIDE 
 
 (Trient, 1896), and "Nadeya" 
 (Prague, 1903); (3) Arcangelo, 
 suicide, San Francisco 1905 (?); buffo 
 barytone; pupil Milan Cons.; sang 
 at Covent Garden and Met. Op. 
 House, N. Y.; toured with the latter 
 troupe and was injured at San Fran- 
 cisco in the earthquake; lost his voice 
 and his mind. 
 
 Rossi (rgs'-l), Damian von, b. Belts, 
 Russia, July 13, 1852; pianist; pupil of 
 Liszt; from 1882 teacher in Odessa. 
 
 Rothig (ra'-tikh), Bruno, b. Ebers- 
 bach, Oct. 7, 1859; pupil of Riedel 
 Papperitz and G. Weiss; 18S9, can- 
 tor in Leipzig; 1908 royal cond.; 
 founder and cond. "Solo Quartet 
 for Church Songs," with which he 
 has toured widely; c. songs. 
 
 Roth'well, Walter Henry, b. Lon- 
 don, Sept. 22, 1872; conducted the 
 first English performance of "Par- 
 sifal" in America; pupil Vienna Royal 
 Acad.; cond. in various cities, and 
 at Amsterdam Royal Opera; 1903, 
 America to conduct English pro- 
 ductions of "Parsifal, " and "Madame 
 Butterfly"; 1908 cond. Minneapolis 
 symph. orch. 
 
 Roussel, (roos'-sei) Albert, b. 
 Tourcoing, April 5, 1869; composer; 
 at first attracted to the navy and a 
 naval student, he made a voyage to 
 China as an ensign; but resigned in 
 1894 and took up music, studying 
 harmony with Gigout; 1898 erktered 
 the Schola Cantorum and studied 
 under d'Indy till 1907; since 1900 
 he has been prof, of counterpoint at 
 the Schola Cantorum. His comps. 
 include symph. prelude. Resurrection 
 (after Tolstoi's novel); symph, 
 sketch, Vendanges; symphony, Le 
 poeme de la Foret (1904-6); s>Tnph. 
 sketches Evocations (1910-11), poem 
 for orch. La Menace (1907), etc. 
 
 Rozycki (roo-zhet'-ski), (i) Jacet, 
 Polish court cond. and composer to 
 John Sobieski at Warsaw, 17th cen- 
 tury. (2) Ludomirvon, b. Warsaw, 
 1883; pupil of the Cons, and of 
 
 Humperdinck; from 1908 teacher at 
 the Cons, in Lemberg and cond. at 
 the Opera; c. opera "Boleslas der 
 Kiihne" (Lemberg, 1909); symph. 
 poem " Stanczyk ," etc. 
 
 Ru'bensohn, Albert, Stockholm, 
 Dec. 20, 1826-1901; violinist; pupil of 
 David; 1872 dir. of the Stockholm 
 Cons.; c. symph., incid. music to 
 Bjornson's "Halte Hulda," etc. 
 
 Rubert (roo'-bert), Johann Mar= 
 tin, Nuremberg, 1614 — Stralsund, 
 1680; organist and comp. 
 
 Rubinel'li, Giovanni Battista, 
 Brescia, ca. 1753-1829; Italian opera 
 singer; debut at 18, Stuttgart. 
 
 Rubinstein, Anton, the correct 
 birth date is Nov. (16) 28, 1829, 
 Rubinstein having been in error 
 himself until 1889. 
 
 Rubner, (i) Cornelius, add that 
 he succeeded MacDowell as prof, of 
 music Columbia University, N. Y., 
 1905; c. 3-act dance legend " Prinz 
 Ador" (Carlsriihe, 1903), etc.; has 
 given piano recitals, often with his 
 daughter (2) Dagmar, pianist, 
 debut Carlsruhe, playing the Schu- 
 mann concerto under Mottl; toured 
 the U. S.; c. songs. 
 
 Ruckauf (rik'-owf), Anton, Schloss 
 Alt-Erler, Prague, March 13, 1855 
 Sept. 19, 1903; composer of im- 
 portant songs; pupil of Proksch, 
 and teacher at his institute, then 
 pupil of Nottebohm and Navratil, 
 at Vienna; c. opera "Die Rosen- 
 thalerin" (Dresden, 1897), etc. 
 
 Rudnick (root^-nik), Wilhelm, b. 
 Dammerkow, Pomerania, Dec. 30, 
 1850; pupil of KuUak's acad., and of 
 Dienel; org. at Liegnitz; c. opera 
 "Otto der Schiitz" (1887); oratorio 
 "Judas Ischariot" "Der Verlorene I 
 Sohn," etc. 
 
 Ru'dolph, Fd., d. Wiesbaden, May 
 23, 191 1 ; barytone at the opera, 
 1872-1904; famous as " Beckmesser. " 
 
 Ruffo, (roof'-fo) Titta, b. Tuscany; 
 eminent barytone; pupil of St. Cecilia 
 Cons., Rome; after two years dis- 
 
DICTIONARY OF MUSICIANS 919 
 
 missed and advised to give up sing- 
 ing; then Cassini of Milan taught him 
 gratis; he won his first success at Rio 
 Janeiro and throughout South Amer- 
 ica, then triumphed in Italy, later in 
 Vienna; 191 2 a sensation in Paris and 
 engaged for Chi. -Phil. Opera Co., 
 appearing Philadelphia Nov. 4, 19 12. 
 
 Runge, (roong'-e) Paul b. Heinrichs- 
 feld, Posen, Jan. 2, 1848; pupil of 
 church music Institute, Berlin, and J. 
 Schneider; from 1873 ^t Colmar as 
 historian and comp. 
 
 Riinger, (rlng'-er), Julius, b. Holies, 
 Hungary, July 26, 1874; barytone; 
 first studied organ and conducting 
 at Prague, then voice with Giannini 
 and Vogl; sang in various cities; 
 touted the world; c. songs, etc. 
 
 Ruter (re'-ter), Hugo, b. Hamburg, 
 Sept. 7 , 1859; pupil of the Cons. ; from 
 1897 singing teacher and cond. at 
 Wandsbeck; c. symph.; 2 operas, etc. 
 
 Rutini (roo-te'-ne), Giovanni 
 Marco, Florence, ca. 1730 — ca. 
 1797; c. operas and clavier sonatas. 
 
 Rybakov (re'-bii-kof), Sergei Qav= 
 rilovich, b. 1867; pupil of St. 
 Petersburg Cons.; author; c. songs. 
 
 Ryder, Arthur H. b. Plymouth, 
 Mass., April 30, 1875; pupil of his 
 mother, F. H. Rowse, Loraine Hol- 
 lo way, and at Harvard, of J. K. 
 Paine and W. R. Spalding; from 
 1894, org. and dir. at various 
 churches in Boston and Providence, 
 R. I.; editorof musical texts; c. organ 
 and piano pieces, etc. 
 
 Ryelandt (re'-lant), Joseph, b. 
 Bruges, April 7, 1870; composer; pupil 
 of Tinel; c. choral works with orch., 
 "St. Cecile," and "Furgatoritim," 
 chamber music, etc. 
 
 Saar, Louis Victor, add that he 
 has been principal of the dept. of 
 theory at Cincinnati College of 
 Music from 1906; 1903 he won Kaiser 
 prize for composition, Baltimore; c. 
 
 piano quintet (Chicago 1912), "Hymn 
 to Venus" (Cincinnati 191 2), etc. 
 Sachsenhauser (zakh'-zen-how-zer), 
 Theodor,July 27, 1866 — Munich, 
 Feb. 25, 1904; comp. 
 Sack (zak), J. 'Ph., Harzerode, Anhalt, 
 1722 — Berlin, 1763; organist at Ber- 
 lin Cathedral; important composer of 
 songs and clavier pieces. 
 Sacks, (i) Woldemar, b. Riga, 1868; 
 teacher and critic in Leipzig; c. songs. 
 His wife and pupil (2) Elly Schel= 
 lenberg=S., b. Nannhof, near 
 Leipzig, 1879; concert soprano; pupil 
 Leipzig Cons. 
 Sacrati (sa-kra-te), Francesco, d. 
 Modena, May 20, 1650; court cond. 
 and important early composer of 
 opera. • 
 Safonoff, Wassily Ilich, add that 
 in 1906 he visited London and cond. 
 the Phil. orch. once; 1906-9 he 
 cond. the Philh. orch., New York 
 City, with great success, then re- 
 turned to Russia. He conducts 
 without a baton. 
 Sahlender (sal'-en-der), Emil, b. 
 Ibenhain, Thuringia, March 12, 1864; 
 cond. at Heidelberg; pupil Leipzig 
 Cons.; c. operas, choruses, etc. 
 Saint=Leon (sah-la-6n), Ch. V. A., 
 Paris, 1821-1870; ballet dancer and 
 violinist; c. concertos. 
 Salazar (sal-a-thar ), Don Juan 
 Garcia, d. 1710 at Zamora, where 
 he was cond. at the Cathedral; c. 
 motets. 
 Saint=Saens, Chas. Camille, add 
 that he c. operas "Lola," (1901), 
 "Les Barbares" (1901), "Andro- 
 maque" (1903), "Helene" (Monte 
 Carlo, 1904), "L'Anceire" (do., 1906), 
 " Dej a nir e " (igii); cantata "La feu 
 celeste" (1900); fantaisie for violin 
 and harp (1907); "La Muse et le 
 Poete" for violin and orch. 1909; 
 "Overture de Fete" op. 133, 1909; 
 songs, piano pieces, etc. 
 Salter, (i) Sumner, add that since 
 1905 he has been mus. dir. at 
 Williams College. (2) Mrs. Mary 
 
920 
 
 THE MUSICAL GUIDE 
 
 nee Turner, b. Peoria, 111., March 
 15, 1856; studied singing with Alfred 
 Arthur, Burlington, la., where she 
 sang in church; then pupil of Max 
 Schilling, John O'Neill, and Mme. 
 Rudersdorf, Boston; 1877 succeeded 
 Emma Thursby as soprano of Broad- 
 way Tabernacle, N. Y.; 1879, soprano 
 Trinity Church, New Haven, teach- 
 ing also at Wellesley College. 1881, 
 married Sumner Salter, who was her 
 teacher in composition; 1803 retired 
 from church and concert work, de- 
 voting her time to teaching and 
 composition of songs. 
 
 Samar'off (nee Hickenlooper), 
 Olga, b. San Antonio, Texas, Aug. 8, 
 1880 (of German-Russian parents); 
 pianist; at 9 pupil of Von Sternberg, 
 later of Marmontel, Widor, and the 
 Paris Cons.; studied again with 
 Ernest Hutcheson and with Jedlicka; 
 debut, N. Y., 1905; 1906, London; 
 has toured widely; 191 1 married 
 L. Stokovski. 
 
 Samazeuilh (sSm-a-zu'-e), Qustave, 
 b. Bordeaux, June 2, 1877; Paris- 
 ian critic and composer; pupil of 
 Chausson and dTndy; c. " Poeme" 
 for violin and orch., "La barque" for 
 voice and orch., songs, etc. 
 
 Sammar'co, Mario, b. Palermo, 
 1873; barytone; pupil of Cantelh; 
 debut Milan; from 1904 at Covent 
 Garden; from 1907 also at New 
 York Manhattan Opera House, and 
 later at Metropolitan; has sung also 
 in Russia, South America, etc. 
 
 Sances (san'-ches), Giovanni Felice, 
 Rome, 1600 — Vienna, Nov. 24, 1679; 
 tenor and court cond. at Vienna; one 
 of the first to write "cantatas"; c. 
 operas, oratorios, etc. 
 
 San'den, Aline, dramatic soprano, 
 member of the Leipzig Opera since 
 1909; has sung as guest at Berlin, 
 191 2, Dresden and Braunschweig 
 court operas with sensational success 
 as "Salome," "Elektra," under 
 Strauss' direction, "Carmen," etc. 
 
 San'ford, Samuel Simons, Bridge- 
 
 port, Conn., March 15, 1849 — New 
 Haven, Conn., Jan. 6, 1910. Professor 
 of applied music Yale University. 
 
 Sank'ey, Ira David, Edinburg, Pa., 
 1840 — Brooklyn, Aug. 14, 1909; 
 world-famous singer of gospel hjTnns 
 as the singing colleague of the late 
 D. L. Moody at their mission services, 
 ed. a coll. of mission hjonns "Sacred 
 Songs and Solos, " which had an en- 
 ormous circulation. 
 
 Sauer, Emil, add that he resigned 
 his professorship at the Master School 
 of Vienna Cons., 1907, and moved to 
 Dresden. 
 
 Savage, (i) William, 1720 — Lon- 
 don, 1789; singer in Chapel Royal; 
 c. church music. (2) Henry W., 
 b. Boston, Mass.; impresario; gradu- 
 ate of Harvard; as a builder and 
 real estate owner in 1895 took over 
 the Castle Square Theatre, Boston, 
 and organized a stock co. which gave 
 light and serious operas for many 
 years in Boston, New York, etc.; 
 produced many new American ope- 
 rettas as well as plays; made the 
 immensely successful productions of 
 "Parsifal" and "Madame Butterfly." 
 
 Savard (sa-var), M. A., b. Paris, 
 May 15, 1861; pupil of the Cons., 
 taking the Prix de Rome, 1886; from 
 1902 dir. Lyons Cons. 
 
 Saw'yer, F. H., Brighton, June 19, 
 1857 — April 29, 1908. Bachelor of 
 music, Oxford, 1877; Mus. Doc, 1884, 
 Pillow R. C. of organists; organist for 
 over 30 years; prof, of singing; c. ora- 
 torio, "Mary, the Virgin" (1884), 
 recast as "Star of the East" (1889); 
 cantatas, etc. 
 
 Sbriglia (sbrel'-ya), Giovanni, b. 
 Naples, 1840; tenor and famous 
 teacher; pupil of De Roxas; debut 
 Naples, 185 1 ; sang throughout Italy 
 and toured America with Patti and 
 others; became a ver>' successful 
 teacher in Paris, numbering the De 
 Reszkes, Plangon, Nordica, Sand- 
 erson, etc., among his pupils. 
 
 Schafer (sha'-fer), Alex. Nikolaje= 
 
 i 
 
DICTIONARY OF MUSICIANS 921 
 
 vich, b. St. Petersburg, Sept. ii, 
 1866; pupil of the Cons., teacher and 
 cond., c. operas, 2 symph., etc. 
 
 Schaffrath (shaf'-rat), Christoph., 
 Hohenstein, 1709 — Berlin, 1763; court 
 composer. 
 
 Schall (shal), Klaus, Copenhagen, 
 April 28, 1757 — Aug. 10, 1835; 
 vioHnist; c. 30 ballets, etc. 
 
 Schaub (showp), Hans F., b. Frank- 
 fort, Sept. 22, 1880; pupil of Knorr, 
 Humperdinck, and A. Mendelssohn; 
 teacher and editor; c. symph. pro- 
 logue "Mo7ina Vanna," etc. 
 
 Scheinpflug (shin'-pflookh), Paul, 
 
 b. Loschwitz, Dresden, Sept. 10, 1875; 
 pupil of the Cons.; from 1909 cond. 
 at Konigsberg; c. " FruhUngs symph. " 
 (1907), chamber music, etc.; overture 
 to a comedy of Shakespeare (based on 
 English melody of i6th century), 
 Boston Symph . Orch. , 1 909 ; tone-poem 
 for orch. (Bremen, 1908), songs, etc. 
 
 Schel'ling, Ernest (Henry), b. 
 Belvedere, N. J., July 26, 1876; 
 pianist; played in public before he 
 was five; pupil of Mathias, Mosz- 
 kowski, Leschetizky, and for four 
 years of Paderewski; toured widely; 
 
 c. symphonic legend, orch. suite, 
 violin sonata, etc. 
 
 Schenk (shenk), Peter Petrovich, 
 b. St Petersburg, Feb. 23, 1870; 
 pupil of the Cons., and of Saloviev; 
 librarian and critic; c. operas, 3 
 symph., etc. 
 
 Schering (Aa'-rinlc), Arnold, b. 
 Breslau, April 7, 1870; viohnist and 
 historian, pupil of Joachim and Succo. 
 
 Schiefferdecker ( shef'-fer-dek-6r ), 
 Jn. Chrn., d. Liibeck, 1732; organ- 
 ist; c. operas, etc. 
 
 Schiever (she'-ver), Ernst, b. Han- 
 over, March 23, 1844.; violinist; pupil 
 of Joachim, later member of his 
 I quartet; from, 1878 in Liverpool as 
 I cond. of the Richter orch. and the 
 Schiever quartet. 
 
 iSchjelderup (sh6lt'-er-oop), Qer= 
 
 ■ \ hard, b. Christiansand, Norw^ay, 
 
 Nov. 17, 1859; 'cellist; pupil of 
 
 Franchomme, Savard and Massenet; 
 c. operas "Norwegische Hochzeit" 
 (Prague, 1900), and "Friihlings 
 Nacltt, " a symph. and orch. works, 
 " Eine Sommernacht anf dem Fjord," 
 etc. 
 
 Schlemuller (shla'-mil-ler ), (i) 
 Qustav, Konigsberg, Nov. 7, 1841 
 — Leipzig, May 2 2, 1900; teacher and 
 critic. His son (2) Hugo, b. Konigs- 
 berg, Oct. 2, 1872; 'cellist and teacher 
 in Leipzig; pupil of Schroder, Klen- 
 gel and Becker;teacher;c. 'cello music. 
 
 Schlogel (shla'-ggl), Xavier, b. 
 Brillonville, Belgium, 1854 — Ciney, 
 1889; pupil Liege Cons.; c. mass with 
 orch., chamber music, etc. 
 
 Schmeidler (schmit'-ler), Karl, b. 
 Kattowitz, Silesia, Aug. 21, 1859; 
 teacher in Berhn; c. piano pieces, etc. 
 
 Schmitt, (shmet) Florent. b. Bla- 
 mont, France, Sept. 28, 1870; studied 
 at Nancy; 1889, entered Paris 
 Cons, winning second Prix de Rome 
 1897; first 1900, with cantata Semi- 
 ramis. He sent from Rome a sjonph. 
 poem Combat des Raksasas et Deliv- 
 rance de Sita, a symph. etude based 
 on Poe's "Le Palais haute" and the 
 46th Psalm, which was later played 
 with success, 1906, increasing to 
 furore (1910 and Colonne Concerts, 
 1912); his piano quintet (1909) has 
 won great fame; his Tragedie de 
 Salome was danced by Loie Fuller 
 1907; his symph. poem Selamlik 
 (1904), much chamber music, piano 
 pieces, and songs have given him a 
 high place in France. 
 
 Schmittbauer (schmit'-bow-gr), 
 Joseph Alois, Bamberg, 1718 
 — Carlsruhe, 1809; cond. and com- 
 poser. 
 
 Schneider, Edward Faber. b. Oma- 
 ha, Neb., Oct. 3, 1872; pupil of 
 X. Schanvenka in N. Y., and O. 
 B. Boise, Berlin; from 1900 in San 
 Francisco. Dean of mus. dept. of 
 Mills College; c. music-drama "Tri- 
 umph of Bohemia," text by George 
 Sterling, (Bohemian Club, 1907); 
 
922 
 
 THE MUSICAL GUIDE 
 
 symph. "The Autumn Time" (San 
 Francisco Orch. 191 2), songs, etc. 
 Schonberg (shan'-berkh), Arnold, 
 
 b. Vienna, Sept. 13, 1874; composer 
 of startling originality; pupil of 
 Zemlinsky; c. symph. poem "Pelleas 
 und MeHsaiuie," etc. His music is 
 written without bars and has aroused 
 great hostility and great enthusiasm. 
 His string quartet in D minor, op. 
 7, played in Berlin, 191 2, was actually 
 hissed as well as applauded; in Lon- 
 don, 191 2, 5 orch. pieces provoked a 
 storm; also wrote treatise on har- 
 mony. 
 
 Scholtz (sholts), (i) Adolf, 1823 
 — Breslau, 1834; trumpet virtuoso. 
 (2) Hermann, b. Breslau, June 9, 
 1845; pianist; pupil of Brosig, Liszt, 
 von Billow and Rheinberger; teacher 
 in Dresden, 1880 chamber virtuoso; 
 
 c. concerto; edited Chopin's text. 
 Schon, Ed., vide engelsberg. 
 Schop (shop), Johann, d. Hamburg, 
 
 ca. 1665; court violinist in Den- 
 mark, 1615-19; from 1621 cond. at 
 Hamburg; c. instrumental works. 
 
 Schopf (shepf), Franz, b. Girlau, 
 1836; organist at Bozen; c. an opera 
 and church music. 
 
 Schor (shor), David, b. Simferopol, 
 1867; pianist; pupil of Amenda and 
 Safonoff; at St. Petersburg; member 
 of the Moscow Trio at Moscow. 
 
 Schos'takovski, Peter Adamovich, 
 b. 1853; pianist; pupil St. Petersburg 
 Cons., and of Kullak and Liszt; prof, 
 at Moscow Cons.; 1894-98 dir. Italian 
 opera at Moscow. 
 
 Schroeder, Alwin, add that in 
 1903 he resigned from the Boston 
 Symph. Orch., and joined the Kneisel 
 Quartet; 1905-7, teacher at New 
 York Institute of Musical Art; 1907, 
 first 'cello teacher at Hoch Cons., 
 Frankfort-on-Main; 1908, returned 
 to Boston as co-founder of Hess- 
 Schroeder Quartet; 19 10, first 'cellist 
 of Boston Symph; resigned 191 2 for 
 concert tours. 
 
 Schultz=Adajevski ( shoolts - a - da - 
 
 yef'-ski), Ella von, b. St. Peters- 
 burg, Feb. 10, 1846; pupil of Henselt 
 and the St. Petersburg, Cons.; pianist; 
 toured and from 1882 lived at 
 Venice; c. opera. "Die Morgenrote der 
 Freiheit" (1881); "Sonate grecque" 
 for clarinet and piano, etc. 
 
 Schumann=Heink, Ernestine, 
 add that 1899- 1904 she sang at Ber- 
 lin Royal Opera as well as at Met. 
 Op., N. Y.; 1904 she starred in a comic 
 opera, "Love's Lottery^'; 1909 she 
 created " Clytemnestra" in Strauss's 
 "Elektra" at Dresden; Paul Schu- 
 mann, d. 1904; she m. William Rapp, 
 Jr., 1905; divorced him, 1912; she has 
 sung in concert with enormous suc- 
 cess in America and in opera abroad; 
 became naturalized American, 1908. 
 
 Schuppan (shoop'-pan), Adolf, b. 
 Berlin, June 5, 1863; pupil of B. 
 Hartel; c. chamber music. 
 
 Schwindel (shvint'-l), Fr., d. Carls- 
 ruhe, 1786; violinist; c. operettas, 
 symphonies, etc. 
 
 Scott, (i) Lady John Douglas 
 (nee Alicia Ann Spottiswoode) ; Spot- 
 tiswoode, 1810 — March 12, 1900; 
 composer of "Annie Laurie," and 
 other songs, (2) Cyril Meir, b. 
 Oxton, Sept. 27, 1879; pupil of Hoch 
 Cons.; c. a symph., 3 overtures, 
 vocal works with orch., songs, etc. 
 
 Scot'ti, Antonio, b. Naples, 1869; 
 barytone; debut Malta, 1889; satig in 
 various cities; from 1899 at Covent 
 Garden and Met. Op. House, N. Y., 
 regularly; famous as "Don Giovanni. " 
 
 Scriabine (or Skrjabin ), Alex., 
 add that according to Rosa New- 
 march he was born Jan. lO; not 6; 
 he was piano prof, at Moscow Cons. 
 1898-1903, then devoted himself to 
 composition; played in New York, 
 1906, his own concerto; 3 symph., the 
 first with choral finale " Reverie" smd 
 " Poeme de I'Extase" for orch., 3 piano 
 sonatas, etc. He gave recitals of his 
 own works, Berlin, 1911. His wife 
 Vera, is also a pianist. 
 
 Sebald (za'-balt), Alex.,b. Pest, April 
 
 pril I 
 
 I 
 
DICTIONARY OF MUSICIANS 923 
 
 29, 1869; violinist; pupil of Saphir and 
 C. Thomson; member of Gewand- 
 haus orch., Leipzig, and toured with 
 Gewandhaus Quartet; toured widely 
 from 1903; was concertm. Berlin Royal 
 Orch.; 1906 taught in Chicago; 1907 
 opened a school in Berhn; \vrote a 
 method and c. \'iohn pieces, etc. 
 
 Seck'endorff, Karl Siegmund, 
 Freiherr von, Erlangen, Nov. 26, 
 1744 — Ansbach, May 6, 1809; c. a 
 monodrama and songs to Goethe's 
 texts. 
 
 Seeg(e)r (sa'-g6r) (or Segert or 
 Zeckert), Joseph Norbert, 
 Rzepin, Bohemia, March 21, 1716 — 
 Prague, April 22, 1872; composer; 
 famous organist and teacher; c. tocca- 
 tas, masses, etc. 
 
 Segni (san'-ye), Qiulio, (caUed Giulio 
 da Modena), Modena, 1498 — Rome, 
 1561; organist. 
 
 Seiffert (zif'-fert). Max, b. Eeeskow, 
 Feb. 9, 1868; historian and com- 
 poser; pupil of Spitta; from 1891 at 
 Berlin as author and 1907 Royal 
 Prof. 
 
 Seixas (sa'-shSs), Jose Ant. Carlos 
 de, organist and composer; Coimbra, 
 June 11, 1704 — Aug. 25, 1742, 
 organist and church composer. 
 
 Sekles (zek'-lgs), Bernhard, b. 
 Frankfort-on-Main, June 20, 1872; 
 pupil of Hoch Cons., later theory 
 teacher there; c. symph. poem ''Die 
 Garten der Semiramis," songs, etc. 
 
 Sel(e)neccer (sa'-le-nek-ker), Niko= 
 laus, Hersbruch, n. Nuremberg, 
 1528 — after 1587; organist and com- 
 poser of hymns. 
 
 Sel'igmann, Julius, Hamburg, 1817 
 — Glasgow, May 4, 1903 ; teacher and 
 conductor; founder of Glasgow Soc. 
 of IMusicians, and for 14 years its 
 president. 
 
 Sel'mer, Johann, Christiania, Jan. 
 20, 1844 — Venice, July 21, 1910; 
 Norwegian composer; cond. and 
 author; pupil of A. Thomas, Paris, 
 Richter and Paul, Leipzig; 1883-6 
 cond. Phil, orch., Christiania; driven 
 
 south by pulmonary trouble; c. Nor- 
 wegian Festival March, " Scene fmie- 
 bre," Finnish Festival Bells, "In the 
 Mountains,^' "Carnival in Flanders," 
 etc., for orch., choral works with 
 orch., songs, etc. 
 
 Senaille (sun-i-ya), Jean Baptiste, 
 Paris, Nov. 23, 1687 — April 29, 
 1730; famous violinist; at court of 
 Louis XV; c. violin sonatas, etc. 
 
 Senger=Bettaque(zeng'-k6r-bet-tak- 
 ve), Katharina, b. Berlin, Aug. 2, 
 1862; soprano; a ballet dancer at 
 the Imperial Opera, Berlin, then 
 studied with Dorn, and 1879 ap- 
 peared on the same stage in soubrette 
 roles; sang in various cities, 1888 in 
 BajTeuth as "Eva"; 1895 married 
 the actor Alex. Senger. 
 
 Serato (sa-ra'-to), Amigo, b. Bo- 
 logna, Feb. 7, 1877; vioHnist, son and 
 pupil of a violinist and prof, at the 
 cons.; later pupil of Sarti; has played 
 with success in Germany and else- 
 where. 
 
 Serran'o (or Serrao), Emilio, b. 
 Vitoria, 1850; court pianist at Mad- 
 rid; prof, at the Cons., and dir. of 
 Royal Opera; c. operas. 
 
 Servais (serve), Franz or Frangois, 
 (Matthieu), 1844 — Asnieres, Jan. 
 14, 1901; cond. at Brussels; c. opera 
 "L'Appolonide" or "Jon" (Carlsruhe 
 
 ^ 1899). Son of Adrien Fr. (g. v.) 
 
 Sevcik (shef'-chik), Otokar, b. 
 Horazdowitz, Bohemia, March 22, 
 1852; famous violin teacher; pupil of 
 Prague Cons.; from 1870 concert- 
 master various cities; 1875 prof. at 
 Kiev; 1892 at Prague Cons.; teacher 
 of Kubelik, Kocian, etc.; author of 
 methods; c. Bohemian dances, varia- 
 tions, etc. 
 
 Severac (sa-va-rak), Deodat de, b. 
 Saint FeUx, July 20, 1874; writer 
 and composer; pupil Toulouse Cons., 
 and the Schola cantorum, Paris; a 
 concert oi his works was given in 
 1905 with success; c. 2-act lyric 
 drama "Le Coeur de Moulin" (Op. 
 Com. Paris, 1909); lyric tragedy 
 
924 
 
 THE MUSICAL GUIDE 
 
 "Heliogabale" (Arenes de Beziers, 
 iQio); "Muguetio" (191 1); "Helene 
 de Sparie" (Paris 1912); symph. 
 poems, "Nymphes an Crepuscule" and 
 ^'Dldon et Enee"; a piano sonata, etc. 
 
 Seydel, Irma. b. Boston (?) 1896 
 (?); violinist; pupil of her father, 
 Theodore S. (contrabass of Boston 
 Symph.) Strube, C. M. Loeffler, and 
 Maquarre; debut at Cologne 1910; 
 played with Boston Symph. 191 2. 
 
 Seyfert (zl'-fert), Johann, b. Prague, 
 1837; 'cellist; pupil Prague Cons.; 
 from 1859, teacher at St. Petersburg 
 Cons. 
 
 Shaliapin, vide chaliapine. 
 
 Sharpe, Ethel, b. Dublin, Nov. 28, 
 1872; pianist; pupil R. Irish Acad., 
 and of R. C. M., London; debut Lon- 
 don 1891; 1895 married Alfred Hob- 
 day, viola-virtuoso. 
 
 Shepherd, Arthur, b. Paris, Idaho, 
 Feb. 19, 1880; 11892, pupil at N. 
 E. Cons. Boston, of Dennee and 
 Faelten (piano), Benj. Cutter (har- 
 mony); Goetschius and Chadwick 
 (comp.); graduated 1897, and settled 
 in Salt Lake City as teacher; cond. 
 Salt Lake S>Tnph. Orch.; from 1909, 
 teacher of piano, harmony and cpt. 
 at N. E. Cons.; 1902, won Paderewski 
 prize with "Ouverture Joyeuse''; 
 1909 won two Nat. Fed. prizes with 
 piano sonata, and song, "The Lost 
 Child"; c. also barytone solo with 
 chor. and orch., songs and piano 
 pieces. 
 
 Shir'reff, Jane, 1811 — Kensington, 
 Dec. 23, 1883; singer at Covent 
 Garden; 1838 toured America. 
 
 Sibelius, Jean, add that he became 
 the principal of the Helsingfors Cons, 
 and has increased his fame as a com- 
 poser of remarkable national- 
 ism, though he denies that he uses 
 folk - music. Add to his composi- 
 tions 2 symphs., overture and suites, 
 "Karelia," tone-poems for orch. 
 "En Saga," and " Finlandia"; erch. 
 suite, "Pelleas and Melisande," 
 symphonic fantasias, "Pokgolas' 
 
 Daughter," " Belshazzar's Feast," 
 incid. music to " Kuolema," etc. 
 
 Sichra (sikh'-ra), Andreas Ossipo= 
 vich, Wilna, 1772— St. Petersburg, 
 1 861; guitarist and composer. 
 
 Sick (sik), Theodor Bernhard, b. 
 Copenhagen, Nov. 7, 1827; artillery 
 officer and composer of chamber 
 music. 
 
 Siefert (ze'-fert), Paul, Danzig, 
 1586-1666; organist and composer. 
 
 Simon (se-m6n), Anton Yulievich, 
 b. France, 1851; composer; pupil 
 of Paris Cons.; 187 1 theatre cond. in 
 Moscow; 1891 prof, at Phil. Society 
 School; c. 6 operas, sjonph. poems, etc. 
 
 Simonet'ti, Achille, b. Turin, June 
 12, 1859; vioHnist; pupil of Sivori, 
 Dancla, and Massenet; member of 
 the "London Trio"; c. violin sonatas, 
 etc. 
 
 Sinclair (sink'-ler), George Robert- 
 son, b. Croyden, Oct. 28, 1863; 
 organist; pupil Ouseley, Stewart, and 
 Lloyd; at 17 was organist of Truro 
 Cathedral; from 1889 at Hereford 
 Cath., cond. the H. Festivals, 1891- 
 1906; 1899 Mus. Doc. from Arch- 
 bishop of Canterbury; 1904 fellow 
 of R. Coll. of Organists. 
 
 Sinding, Christian, add that he c. 
 2 s^Tnph.; the first was played by 
 the Boston Sjrmph., 1899 and 1906, 
 "Episodes chevaleresques" for orch. 
 (based on a poem by Holgar Drach- 
 mann), "Rondo injinito" for orch. 
 (1898, Theo. Thomas, Chicago, 1900); 
 piano concerto, 2 violin concertos; 
 chamber music, piano pieces, a song- 
 cycle, "Heimjahrt," etc. 
 
 Sin'ico, (i) Francesco, Trieste, 
 1 810-1865; conductor and composer. 
 His son (2) Giuseppe, Trieste, Feb. 
 10, 1836 — Dec. 31, 1907, c. operas. 
 
 Sinigaglia (se-ni-gal'-ya), Leone, b. 
 Turin, Aug. 14, 1868; pupil of the 
 Cons, and of Mandyczewski; c. violin 
 concerto, rhapsody " Piemontese," 
 for violin and orch., string quartet, 
 concert etude for quartet, overture 
 "Le banijfe chiozzotte," etc. 
 
 
DICTIONARY OF MUSICIANS 925 
 
 Sladek (sla'-dek), Wendelin, d. 
 
 Prague, July i, 1901; contrabassist ; 
 composer and teacher at Prague Cons. 
 
 Smieton, (i) John More, Dun- 
 dee, 1857 — Broughty Ferry, July 
 13, 1904. Before the age of 10, c. 
 songs, piano pieces and produced 
 cantata "Peflce." Pupil of Sir Her- 
 bert Oakeley. In collaboration with 
 his brother, (2) James, prod, several 
 choral works. 
 
 Smith, David Stanley, b. Toledo, 
 Ohio, July 6, 1877; pupil of Hora- 
 tio W. Parker, at Yale, where he 
 graduated 1900 with a "Commence- 
 ment Ode" for barytone (Herbert 
 Witherspoon), chorus and orch.; 
 studied then with Thuille and Widor 
 abroad; 1903 Mus. Bac. Yale; from 
 1904 teacher, later asst. prof, at 
 Yale; c. symph., sjmiph. poem 
 "Darkness and Dawn," overture 
 "Joyeuse" (Boston Symph. Orch., 
 1904); 1909, won Paderewski Prize 
 with "The Fallen Star," for chorus 
 and orch. 
 
 Smolen'ski, Stephan V., Kasan, 
 1848 — St. Petersburg, Aug. 6, 1909; 
 prof, of history of Russian church 
 music at Moscow Cons.; 1901 cond. 
 court chapel at St. Petersburg; author 
 of important historical works. 
 
 Smul'ders, Karl Anton, b. Maest- 
 richt, May 8, 1863; pupil of Liege 
 Cons.; c. piano pieces, etc. 
 
 Smyth, Ethel Mary, add that she 
 was bom London, April 23, 1858; 
 daughter of Artillery general; pupil 
 of Leipzig Cons, and of Herzogenberg. 
 Her string quintet was played there 
 1884; her violin sonata 1887; c. orch. 
 serenade (London, 1890), overture 
 "Antony and Cleopatra" (do.); Mass 
 in D (London, 1893 under Barnby), 
 and operas, "Fantasia" (her own hb- 
 retto, Weimar 1898, Carlsruhe, 1901); 
 i-act "Dcr Wald" (her own German 
 libretto, Dresden, 1901, Covent Gar- 
 den, 1902 and 1903, Met. Op., N. Y., 
 1903); 3 -act "Les Naufrageurs" 
 (book by Leforestier), given at Leip- 
 
 zig, 1906, as " Strandrecht" (Prague, 
 do.) ; c. also songs with orch. 
 
 Snoer (snoor), Johannes, b. Amster- 
 dam, June 28, 1868; harpist at Leipzig 
 and Bayreuth; pupil of Schuecker; 
 c. harp pieces. 
 
 Sokal'ski, (i) Peter Petrovich, 
 Charkov, Sept. 26, 1832 — Odessa, 
 April II, 1887; author and composer 
 of operas and piano pieces. His 
 nephew and pupil (2) Vladimir 
 Ivanovich, b. Heidelberg, April 6, 
 1863; lawyer and composer of a 
 symph. (1894), a children's opera, 
 "The Turnip," a dramatic fantasie 
 for orch., etc. 
 
 Sokolov, Nikolai Alexandrovich, 
 add correct birth date, St. Petersburg, 
 March 26, 1858; from 1896 teacher at 
 the Cons.; c. incid. music to Shake- 
 speare's "Winter's Tale," ballet, 
 " The Wild Swans, " 3 string quartets, 
 songs, etc. 
 
 Sol'dene, Emily, Ishngton, 1844 — 
 London, April 8, 191 2; at first a 
 music hall singer; 1871 appeared in 
 "Geneiieve de Brabant," 1873 "La 
 Fille de Mme. Angot," touring Amer- 
 ica and Australia; she wrote a novel 
 and contributed to journals. 
 
 Sol'nitz, Anton Wilhelm, 1722 — 
 Amsterdam, 1758; c. symphonies, etc. 
 
 Soltys (sdl'-tes), Mieczyslaw, b. 
 Lemberg, Feb. 7, 1863; pupil of Krenn 
 and Gigout; director and teacher 
 Lemberg Cons.; c. operas, symph., 
 oratorio, etc. 
 
 Som'born, Theodor Karl, b. Bar- 
 men, Nov. 16, 1851; pupil of Rhein- 
 berger and Wiillner; from 1882 
 teacher, Strassburg Cons.; c. operas 
 "Philenor" (Strassburg, 1903), "Die 
 Flanime" (1908), etc. 
 
 Son'neck, Oskar Geo. Th., b. 
 Jersey City, N. J., Oct. 6, 1873; 
 author; at 20 studied at Heidelberg, 
 Munich and Italy; 1899 returned to 
 America as music librarian at the 
 Library of Congress. 
 
 Spagnoletti (span-yo-lgt'-te), Paolo 
 (rightly P. Diana), Cremona, 
 
926 
 
 THE MUSICAL GUIDE 
 
 176S — London, 1834; violinist and 
 cond.; pupil Naples Cons.; from 1802 
 in London in the King's theatre orch.; 
 i8i2cond. Italian Opera, 1817 cond. 
 King's theatre orch.; gained immense 
 popularity in London. 
 
 Spanuth (span'-oot), August, b. 
 Brinkum, Hanover, March 15, 1857; 
 pianist and critic; pupil of Hoch 
 Cons., Frankfort-on-ISIain; 1886-1893 
 Chicago as pianist and teacher; then 
 in New York as critic; 1906 returned 
 to Berlin as editor. 
 
 Speer, (i) Charlton T., b. Chelten- 
 ham, Nov. 21, 1859; pupil R. A. M. 
 London, winning a scholarship; from 
 1885 prof, of piano there, also organist 
 at various churches; c. 2 operas, 
 "The Battle of Lake Rcgillus," for 
 chorus and orch.; symph. poem, 
 "King Arthur," etc. His cousin 
 (2) William Henry, b. London, 
 1863; organist; pupil of Lloyd and 
 the R. C. M.; 1906 Mus. Doc. Cam- 
 bridge; c. s>Tnph., overture, orch., 
 rhapsody, ballad, "The Jackdaw of 
 Rheims," etc. 
 
 Spielter (shpel'-ter), Hermann, b. 
 Bremen, April 26, i860; pupil Leip- 
 zig Cons.; from 1894 in New York as 
 composer and teacher. 
 
 Sporck, Georges, b. Paris, April 
 9, 1870; pupil of the Cons, and of d' 
 Indy; c. symph. poems, symphonic 
 "Vivaraise," "Esquisses symphoni- 
 ques," etc. 
 
 Spring'er, Max, b. Schwendi, Dec. 
 19,^877; pupil of Schachleiter and 
 Klicka; joined the Benedictine abbey 
 of Saint Emaus at Prague; organist 
 and composer there. 
 
 Squarcialupi ( skwar-cha-loo'-pe ), 
 Antonio, famous 15th century 
 organist and composer of the 
 Florentine School. 
 
 Squire, William Barclay, b. 
 London, Oct. 16, 1855; historian and 
 author, educated at Cambridge, 1879, 
 B. A.; 1902, M. A.; critic, hbrettist 
 and antiquarian. 
 
 Stamm, (shtam), Thomas Oswald, 
 
 b. Uthleben, April 17, 186S; pupil of 
 Jadassohn and Radecke; teacher 
 and cond. at Weissenfels; c. sym- 
 phony, etc. 
 
 Stanford, Sir Chas. Villiers, add 
 that he was knighted, 1901, and 
 made cond. of the Leeds Festival, 
 resigning the Bach Chair, 1904; com- 
 posed motet with orch., "The Lord 
 of Might" (1903); s>'mphony No. 6, 
 "In Memoriam G. F. Watts," 7th 
 symphony (London Phil., Feb., 
 1912), "Stabat Mater," with orch. 
 (Leeds Fest., 1907); "Wellington," 
 for voices and orch., incid. mus. to 
 "Attila" (1907), overture "Ave 
 atqiie Vale" (Haydn Centenary, 
 1909), etc. 
 
 Stan 'i forth, T. W., Sheffield, June 
 7, 1845 — March 25, 1909; pianist, 
 organist and composer. 
 
 Starczewski (star-chef '-ski), Felix, 
 
 b. Warsaw, 1868; critic and author; 
 pupil of the Music Institute and of 
 Humperdinck, Fleischer, and d'Indy; 
 
 c. orchestral pieces, etc. 
 
 Starzer (shtar'-tser), Josef, Vien- 
 na, 1726 — April 22, 1787; from 1760 
 court conductor at St. Petersburg; c. 
 ballets, oratorio, etc. 
 
 Statkov'ski, Roman von, b. near 
 KaUsch, Dec. 24, 1859; pupil of Zelen- . 
 ski, and of St. Petersburg Cons.; 
 teacher of instrumentation and his- 
 tory at ^^'arsaw Cons. His opera 
 "Philacnis" took an international 
 prize in London and was prod., War- 
 saw, 1904; c. also opera "Maria 
 (Warsaw, 1906); fantasie and polon- 
 aise for orch., piano pieces, etc. 
 
 Stefani (sta'-fa-ne), (i) Jan. Prague, 
 1746^ — Warsaw, Feb. 24, 1829; 
 Mus. Director; director at War- 
 saw Cathedral; c. opera "Die Krako- 
 uiter tind die Bergiolker," 1794, and 
 others, also masses and polonaises. 
 His son (2) Josef, Warsaw, April 
 16, 1800 — (?); pupil of Eisner; c. 
 ballets, operettas, also 10 masses, etc. 
 
 Stef'fan, Joseph Anton, Copi- 
 dino, Bohemia, March 14, 1726 — 
 
 I 
 
DICTIONARY OF MUSICIANS 927 
 
 Vienna, 1800; court piano teacher at 
 Vienna, numbering among his pupils 
 Marie Antoinette and Queen Caroline 
 of Naples; c. piano pieces and songs. 
 
 Steigleder (stlkh-la-der), Johann 
 Ulrich, Lindau, 1580 — Stuttgart, 
 1635; from 1605 court organist and 
 composer at Stuttgart. 
 
 Stein (shtin), Fritz, b. Heidelberg, 
 Dec. 17, 1879; theologian at first, then 
 studied music; organist and cond. at 
 Heidelberg, 1906; musical dir. of Jena 
 University, cond. academic concerts. 
 
 Steinhauer ( shtln'-how-er ) Karl, 
 b. Diisseldorf, May 29, 1852; pupil of 
 Leipzig Cons.; singing teacher and 
 cond. at Diisseldorf; from 1901 at 
 Oberhauser; c. male choruses with 
 orch., etc. 
 
 Stendhal (stan-dSl), pen-name of 
 Marie Henri Beyle (bel), Grenoble, 
 Jan. 23, 1783 — Paris, March 23, 
 1842 ; French consul at Civitavecchia, 
 1831-42, and author of numerous 
 books in music. 
 
 Sten'hammar, (i)Fredrika, Wisby, 
 1836 — Stockholm, 1880; operatic so- 
 prano; bom Andree. (2) Ulrik, Stock- 
 holm, 1829-1875; composer of oratorio 
 "Said,"etc. His son (3) Wilhelm, 
 b. Stockholm, Feb. 7, 1871; pianist; 
 pupil of the Cons., and of H. Earth; 
 from 1898 cond. Phil. Society in 
 Stockholm; from 1900 assistant cond. 
 at the Royal Theatre; c. symph., 
 " Prifisessan och Svennen" for voices 
 and orch., music, dramas " Tlrfing" 
 (Stockholm, 1898), and "Das Fest auf 
 Solhaug" (Stuttgart, 1899), overture 
 "Excelsior," and many important 
 songs. 
 
 Stephani (sta'-fa-ne), Hermann, 
 b. Grimma, June 23, 1877; from 1906 
 director and organist at Eisleben; 
 pupil Leipzig Cons.; c. Fest. overture, 
 etc. 
 
 Stierlin (shter'-lln), Joh. Qottfr. 
 Adolf., b. Adenau, Oct. 14, 1859; 
 bass; pupil of F. Schmidt; 1897 
 founded a Cons, in Miinster; c. operas 
 ballets, etc. 
 
 Stock, Fr. Wm. Aug., b. Dulich, 
 
 Nov. II, 1 87 2; composer; son and pupil 
 of amilitary bandmaster; then studied 
 with Humperdinck, ZoUner, Jensen 
 and Wiillner, at the Cologne Cons.; 
 1891-5 violinist in the City Orch.; 
 then joined the Thomas Orch. in 
 Chicago; 1899 became assistant cond. 
 to Theodore Thomas, on whose death 
 in 1905 he was chosen as conductor; 
 c. symphonic poems, symph., varia- 
 tions, chamber music, songs, etc. 
 
 Stojowski, Sigismund, add that 
 he has Uved in New York since 1906 
 as piano prof. Musical Art Inst., 
 giving frequent recitals. Add to his 
 comps. s>Tnph. (Leipsiz, 1898); ro- 
 mance for violin and orch.; chor. 
 with orch. "Spring"; Polish Rhap- 
 sodie for piano and orch.; violin 
 concerto (1908); violin and piano 
 sonata op. 37 (New York, 1912). 
 
 Stokowski, (sto-kof'-ski) Leopold. 
 b. London, of Polish parentage; 
 graduated at Oxford; studied at 
 Paris Cons., acted as cond. there 
 1905-8 mus. dir. St. Bartholomew's, 
 N. Y.; 1908, cond. in London; 1909- 
 12, cond. Cincinnati Symph. Orch; 
 191 2, cond. Philadelphia Orch., vice 
 Carl Pohlig; 191 1, married the pianist 
 Olga Samaroff. 
 
 Stolze (shtol'-tse), (i) Q. Chr., 
 Erfurt, 1 762-1830; organist. His son 
 (2) H. Wm., Erfurt, 1801— Celle, 
 1868; organist; c. oratorio, canta- 
 tas, etc. 
 
 Stradal (stra'-dal), August, b. 
 Teplitz, i860; pupil of Door, Bruck- 
 ner, and Liszt; pianist and composer. 
 
 Stran'sky Josef, b. Bohemia, 1873, 
 of German parents; studied medicine 
 at first; and then music while at the 
 Universities of Vienna, Leipzig and 
 Prague; debut as cond. at Prague 
 Opera, succeeding Muck, later suc- 
 ceeded Mahler at Hamburg; cond. 
 Bliithner orch., Berlin; 1911, suc- 
 ceeded Mahler as cond. N. Y. Phil. 
 
 Straus (shtrows), Oskar, b. Vienna, 
 April 6, 1870; pupil of Gradener and 
 
928 
 
 THE MUSICAL GUIDE 
 
 Max Bruch; cond. theatres in various 
 cities; c. overture '■' Der Traum ein 
 Leben," chamber music and many 
 operas, some of them extremely suc- 
 cessful, especially "Ein Walzer- 
 trmtfn" (Vienna, 1906; London and 
 America as "The Waltz Dream"); 
 " Der tapfere Soldat" (Vienna, 1908), 
 "Little May" (Paris, 1909), etc. 
 
 Strauss, Richard, Add that a 
 Strauss Festival was given in London, 
 1903, vnih S. conducting the Amster- 
 dam Orch.; 1904 he was made general 
 musical director of the Berlin Royal 
 Opera; c. 2 s>'mphonies, F moll. op. 
 12 and Sinfonia Domestica (1904); 
 operas "Salome" (i act after Oscar 
 Wilde, Dresden, 1905, and through- 
 out Europe; prod, at Met. Op., X. Y.; 
 it was withdrawn by the subscribers' 
 request after one performance); 
 "Elektra" (Dresden, 1909, and in 
 many other capitals); "Der Rosen- 
 kavalier" (Dresden, June 26, 191 1, 
 and throughout Europe); "Circe," 
 "Ariadne aiif Naxos." (Stuttgart, 
 Oct. 25, 1912). 
 
 Strube, Qustave, add that the 
 Boston S}Tnph. Orch. of which he is 
 still a member, has plaj-ed composi- 
 tions of his as follows; sjTnphony m 
 C minor (1896), in B minor (1909 
 and 191 2); overtures "The Maid of 
 Orleans" {i8gs); "Fantastic" (1904); 
 "Puck" (1910); s>Tiiph. poems 
 "Longing" (1905 and 1908); "Fan- 
 tastic Dance" (1908); concertos, vio- 
 lin (1897, 1905, IQ06); 'cello (1909), 
 etc.; 1909 he became a cond. of the 
 Worcester Festivals. 
 
 Strungk, Delphin, 1611 — Bruns- 
 wick, 1694; organist and composer; 
 father of Nikolaus S. (q. v.). 
 
 St(s)cherbatschev ( sht - cher' - bat- 
 shef), (i) Nikolai Vladimirovich, 
 b. Aug. 24, 1853; Russian composer of 
 songs & piano pieces ; c. also Serenade- 
 op. 33 and 2 Idyllsjfor orch., (2) An- 
 drew, v., b. Pultava, Jan. 29, 1869; 
 ■ pupil St. Petersburg Cons.; c. orch. 
 march, piano sonata, songs, etc. 
 
 Such, Henry, b. London, March 31, 
 1872; violinist in public at eight; 
 pupil of the Hochschule, Berlin, 
 1885-92; then toured, studied further 
 with Wilhelmj; 1898 prof, at Guild- 
 hall School. 
 
 Suter (zoo'-ter), Hermann, b. 
 Kaiserstuhl, Switzerland, April 28, 
 1870; pupil of his father, an organist, 
 and of the Stuttgart and Leipzig 
 Cons.; from 1892, organist and cond. 
 in Zurich, from 1902 in Basel as cond. ; 
 c. quartets and choruses. 
 
 Sutor (zoo'-t6r), Wilhelm, Edel- 
 stetten, 1774 — Linden, Sept. 7, 1828; 
 court cond. at Hanover; c. operas, etc. 
 
 Swoboda (svo'-bo-da), (i) August, 
 Bohemia, 1787 — Prague, May 17, 
 1856; teacher of theory, at Vienna. 
 His son (2) Adalbert Viktor, 
 Prague, Jan. 26, 1828 — Munich, 
 ]May 19, 1902; historian and editor. 
 
 Szamotulski, vide wenzel. 
 
 Tanejew (or Taneiev), (i) Sergei 
 Ivanovich, add that he composed 
 a cantata "John of Damascus," 1884; 
 four s>-mphonies. No. i pub. 1902, 
 a Russian overture, seven string 
 quartets. His uncle (2) Alexander 
 Sergeivich,b. St. Petersburg, Jan. 5, 
 1850; statesman and high chancellor; 
 was a pupil of Reichcl and later of 
 Rimsky-Korsakov and Petrov; c. two 
 sjinphs.; symph. poem " Alecha Popo- 
 vich"; i-act opera, etc. 
 
 Taubmann ( to\\p'-man), Otto, 
 b. Hamburg, March 8, 1859; mus. 
 director; pupil Dresden Cons.; 1886-9 
 dir. Wiesbaden Cons. 1891 theatre 
 cond. in St. Petersburg; from 1895 in 
 Beriin as critic; c. mass with orch. 
 (1898), choral drama " Sdngeru'eihe" 
 (Elberfeld, 1904), "Psalm 13" with 
 orch., etc. 
 
 Taund (shel-to^\Tit), Eugen von 
 Schyll, b. Pressburg, July 17, 1856; 
 opera composer; c. operettas prod, 
 at Vienna. 
 
 Tchaikovsky, The correct birth 
 
 i 
 
DICTIONARY OF MUSICIANS 929 
 
 date is May 7 (new style), April 25 
 (old style), 1840. 
 
 Tebaldini (ta-bal-de'-ne), Giovanni, 
 b. Brescia, Sept. 1864; historian; 
 pupil Milan Cons., and in musical 
 history of Ameili, Haberl and Haller; 
 1889 cond. at St. Mark's, Venice; 1894 
 at San Antonio, Padua; from 1897, 
 dir. Parma Cons., wrote historical 
 works, and c. Arabian fantasia for 
 orch., also church music. 
 
 Teichmuller (tikh'-mil-ler), Robert, 
 b. Braunschweig, May 4, 1863; piano 
 teacher; pupil of his father and of 
 Leipzig Cons.; later teacher there; 
 1908 Royal Prof. 
 
 Tempia (tgm'-pe-a), Stefano, Rac- 
 conizi, Dec. 5, 1832 — Turin, Nov. 
 25, 1878; violin teacher at Turin 
 Cons, and composer of masses, etc. 
 
 Terrabugio (ter-ra-boo'-jo), Qiu= 
 seppe, b. Primiera, May 13, 1842; 
 writer; pupil of Rheinberger, etc.; from 
 1883 editor of "Musica Sacra" at 
 Milan, and active in the reform 
 of church music; author of organ 
 methods; c. overtures, 12 masses, and 
 much chureh music. 
 
 Ter'ry, Richard Runciman, b. 
 Ellington 1865; organist; 1890 — 2 at 
 Elston School, then in Antigua, 
 West Indies, at St. John's Cathedral; 
 1896-1901 Downside Abbey; from 
 1 90 1 at Westminster Cathedral; active 
 in reviving early EngUsh Catholic 
 music. 
 
 Tetrazzini (tgt-ra-tse'-ne), Luisa, 
 b. Florence; pupil of Ceccherini, and 
 her sister Eva, wife of Cleofonte 
 Campanini; debut 1895 as Inez 
 in "L'Africaine," Teatro Pagliano, 
 Florence; later at Rome and else- 
 where, touring widely in Rus?ia 
 and South America; a favourite in 
 San Francisco, her fame had not 
 reached eastward till after a season of 
 great success at Covent Garden. 1907, 
 she made a sensation at the Manhat- 
 tan Opera, N. Y. She has since held 
 a foremost position among the world's 
 sopranos in opera and concert. Her 
 
 voice is one of extraordinary grace 
 and flexibility in coloratura r61es. 
 
 Theindl (tint'-'l), J. N., d. Pest, 
 Dec. 30, 1902; pianist. 
 
 Thiard=Laforest ( te-ar-la-for-a), 
 Josef, Puspoki, March 16, 1841 — 
 Pressburg, March 2, 1897; from 1881 
 cond. at Pressburg Cathedral. 
 
 Thibaud (te-bo), Jacques, b. Bor- 
 deaux, Sept. 27, 1880; violinist; pupil 
 of Marsick at Paris Cons., winning 
 first prize at 16; played at the Cafe 
 Rouge and was engaged for Colonne's 
 orch., became soloist 1898; has toured 
 widely in Europe and America. 
 
 Thiebaut (t'ya'-bo), Henri, b. 
 Schaerbeck, near Brussels, Feb. 4, 
 1865; teacher and critic in Brussels; 
 founded, 1896, a music-school devel- 
 oped 1907 into the "Institut des 
 hautes etudes musicales et dramati- 
 ques"; c. orch. works, songs, etc. 
 
 Thiele, (i) K. L., should be Jo- 
 hann Fr. Ludwig. His son (2) 
 Eugen Felix Richard, Berlin, Oct. 
 29, 1847 — April 25, 1903; organist 
 at English church; composed panto- 
 mimes, etc. (3) Edvard, d. Dessau, 
 Jan. 10, 1895. 
 
 Thirion (te-ri-6n), Louis, b. Bac- 
 carat, 1879; piano teacher at Nancy 
 Cons. ; c. symph. ; played by Colonne's 
 orch. , under Pierne, 19 1 1 ,with success. 
 
 Thomelin (tum-lan), Jacques, 
 famous organist in Paris; ca. 1667 
 chapel organist to Louis XIV; c. 
 organ works, etc. 
 
 Thompson, Lady, vide loder. 
 
 Thoost (tost), Willem Frans, 
 Amsterdam, July 10, 1829 — Rotter- 
 dam, Aug. 27, 1900; pupil of Dupont, 
 Hauptmann and Richter; founded 
 the German opera at Rotterdam, 
 i860; c. choral prize symphony, 
 "Karl V" (1861); 3 other symphs., 
 an opera, etc. 
 
 Thor'ley Handel, d. Manchester, 
 Jan. 20, 1910, age 87; bass singer, 
 chorister; double bass in Halle orch. 
 over 40 years. 
 
 Thorne, John of York, d. York, 
 
930 
 
 THE MUSICAL GUIDE 
 
 Dec. 7, 1573; important English 
 musician; c. motet, etc. 
 
 Thouret (too-ra), Qeorg, b. Berlin, 
 Aug. 25, 1855; historian, especially 
 of German military music. 
 
 Thrane (tra-ne), Waldemar, Chris- 
 tiania, 1 790-1828; violinist; c. over- 
 tures, etc. 
 
 Tierie (te'-re), Anton H., b. 
 Wageningen, April 4, 1870; organist, 
 teacher in Amsterdam Cons.; cond. 
 oratorio society. 
 
 Till'metz, Rudolf, b. Munich, April 
 I, 1847; flutist; pupil of Bohm; 1864 
 soloist in court orch.; 1883 teacher 
 in Royal Musichsch., and cond. to 
 Prince Ludwig Fd.; c. flute works. 
 
 Tim'mermans, Armand, b. Ant- 
 werp, i860; pupil of the Cons., and 
 teacher in Antwerp; c. prize winning 
 choral works. 
 
 Tischer (tish'-gr), Johann Niko= 
 laus, 1731-66 organist at Schmal- 
 kalden; pupil of J. S. Bach; c. 
 clavier-pieces, orch. works, etc. (2) 
 Gerhard, b. Liibnitz, Nov. 10, 
 1877; historian, Ph.D., Berlin, 1903; 
 from 1904 teacher of musical history 
 in Cologne. 
 
 Titelouze (tet-looz), Jean, St. 
 Omer, 1563 — Rouen, Oct. 25, 1633; 
 organist; called the "founder of 
 French organ music"; 1585 org. at 
 St. Jean Rouen, from 1588 at the 
 cathedral there; c. mass, and organ 
 works. 
 
 Titov or Titoff (te'-t6f), (i) Vassili, 
 17th century church composer. (2) 
 Alexei Nikolaievich; 1769 — St. 
 Petersburg, Nov. 20, 1827; Russian 
 cavalry general; c. 13 operas. His 
 brother (3) Sergei N., b. 1770; c. 
 operas and ballets. (4) Nikolai 
 Alexeivich, St. Petersburg, May 
 10, 1800 — Dec. 22, 1875; son of (2) 
 called the "grandfather of Russian 
 song"; a heutenant-general, whose 
 songs were the first to obtain foreign 
 vogue; c. also popular dances and 
 marches. 
 
 Tiv'endell, Frederick, b. Eng- 
 
 land, 1825; organist at Liverpool; 
 1843 pupil of Spohr and Leipzig 
 Cons.; popular as accompanist to 
 Spohr, Jenny Lind, etc. 
 
 Tod (tot), Eduard Adolf, Neu- 
 hausen, 1839 — Stuttgart, 1872; or- 
 ganist and composer. 
 
 Todt (tot), Joh. Aug. Wilhelm, 
 b. Dusterort, July 29, 1833 — Stettin, 
 Oct. 26, 1900; organist, cantor and 
 composer. 
 
 Tofano (to -fa' -no), Gustavo, 
 Naples, Dec. 22, 1844 — June 30, 
 1899; pupil at the Bologna Cons, and 
 prof, there; pianist and composer. 
 
 Tofft, Alfred, b. Copenhagen, Jan. 
 2, 1865; pupil of Nebelong and Bohl- 
 mann; c. opera " Vifajtdaka" (Copen- 
 hagen, 1898), songs, etc. 
 
 Tofte (tof'-te), Lars Waldemar, 
 Copenhagen, Oct. 21, 1832 — June, 
 1907; court violinist and teacher at 
 the Cons. 
 
 Tol'lius, Jan. b. Amersfort, 1550 — 
 Copenhagen, 1603 (?); church-cond. 
 in Italian cities; 1601 court-cond. at 
 Copenhagen ; c. motets, madrigals, etc. 
 
 Tolstoi (tol-sto-e), Count Theo- 
 phil Matveievich, 1809 — St. Pe- 
 tersburg, March 4, 1881; critic under 
 pen-name "Rostislav" and composer; 
 studied singing with Rubini, comp. 
 with Fuchs, Miller, Raimondi and 
 Hebel; 1832 prod, opera "Birichmo 
 di Parigi," Naples; 1835 at St. 
 Petersburg, its failure led Nicholas 
 I to forbid the Italian singers to ap- 
 pear in Russian works. He c. also 
 songs. 
 
 Tolstoy (t6l'-st6f), Victor Paulo- 
 vich, b. St." Petersburg, Dec. 5, 1843; 
 pianist; pupil of Leschetizky; from 
 1878 teacher at St. Petersburg Cons.; 
 1889 prof, there. 
 
 Tonassi (to-nas'-se), Pietro, Venice, 
 Sept. 1801 — Nov. 4, 1877; composer 
 of church music, etc. 
 
 Tonel'li, Antonio, Carpi, Italy, 
 Aug. 19, 1686 — Dec. 25, 1765; 
 important early 'cellist; pupil of his 
 mother and of Pace; after a wander- 
 
DICTIONARY OF MUSICIANS 931 
 
 ing life including (perhaps) three 
 years in Denmark, he was made cond. 
 at the Cathedral in Carpi; c. opera 
 "Lucio Vera" (Alassio, 1740). After 
 some years the Wanderlust carried 
 him off to and from Carpi, where he 
 died; c. oratorio, cantatas, etc. 
 
 Topler (tep'-ler), Michael, Ul- 
 lersdorf, Jan. 15, 1804 — Briihl, Nov. 
 12, 1874; teacher and composer of 
 church music. 
 
 Torrance, Canon Geo. Wm., add 
 that he returned to Ireland, 1897, 
 and 1900 became canon at Kilkenny, 
 where he died Aug. 20, 1907. His 
 madrigal "Dry be that tear," won 
 Mol>Tieux prize and London Madri- 
 gal Society medal, 1903. 
 
 Toscanini (tos-ka-ne'-ne), Arturo, 
 b. Italy; pupil Milan Cons.; won 
 eminence as conductor at La Scala, 
 and since 1908 has cond. with greatest 
 success at the Met. Op. House, N. Y., 
 not only Italian operas, but Wag- 
 nerian and French. 
 
 Toschi (tesh'-e), Carlo Giuseppe, 
 Romagna, 1724 — Munich, April 12, 
 1788; court dir. and composer. His 
 son and successor (2) Johann Bap= 
 tist, Mannheim, ca. 1745 — Mun- 
 ich May I, 1800; c. 18 symphs., etc. 
 
 Tournemire (toom-mer), Charles 
 Arnould, b. Bordeaux, Jan. 22, 
 1870; organist and successor of Cesar 
 Franck at Ste. Clothilde; pupil of 
 the Paris Cons, (winning first organ 
 prize 1 89 1 ); then of d' Indy. The City of 
 Paris prize was awarded to his " Le 
 Sang de la Sirene," for voices and orch. 
 1904, and it has been given in various 
 cities; c. symph., lyric tragedy "Nit- 
 tetis," chamber music, etc. 
 
 To'vey, Donald Francis, b. Eton, 
 July 17, 1875; pianist; pupil of 
 Sophie Weisse (piano), Parratt, Higgs 
 and Parry (comp.); graduated at Ox- 
 ford, 1898; began to compose at 8; at 
 19 gave a concert at Windsor with 
 Joachim; from 1900 played in Lon- 
 ' don and on the continent; 1903 and 
 
 1906 performed his own piano con- 
 
 certo under Wood and Richter; c. 
 military band music, chamber music, 
 sonata for clarinet and piano, etc. 
 
 Trautner (trowt'-ner), Fr. Wm. 
 Lorenz, b. Buch-am-Forst, May 19, 
 1855; cantor and organist at Nordlin- 
 gen; c. Reformation cantata, "Mar- 
 tin Luther," "Sangers Gebet" for 
 voices and orch., etc. 
 
 Traver'sa, Qioachimo, prominent 
 1 8th century violinist to Prince Car- 
 ignan; pupil of Pugnani. 
 
 Trem'bath, Henry Qough, d. 
 Heme Bay, July 31 1908, age 65; 
 pupil R. A. M., organist and com- 
 poser. 
 
 Tricklir (trek-ler), Jean Balthasar, 
 Dijon, 1745 — Dresden, 1813; 'cellist; 
 from 1783 in Dresden court chapel; 
 c. 'cello works. 
 
 Trnecek (tu-ru-ne'-chek), Hans, 
 b. Prague, May 16, 1848; harpist; 
 pupil of the Cons.; from 1882-8 
 harpist at Schwerin Court Theatre, 
 then prof, of piano and harp at 
 Prague Cons.; virtuoso on the Jankd 
 Keyboard; c. piano and harp music 
 and operas "Der Geiger von Cremona" 
 (Schwerin, 1896), "Amaranth" 
 (Prague 1890), and "Andrea Crini" 
 (Prague, 1900). 
 
 Trunk, (troonk) Richard, b. Baden- 
 Baden, 1879; composer and con- 
 ductor; studied at the gymnasium 
 there; 1 896-1901, at Royal Music 
 x\cademy, Munich, under Jos. Rhein- 
 berger, winning gold medal; founded 
 the Gemischter Volkscor Union; dir. 
 also of the Munich Burgers Saenger- 
 Zunft; 191 2 elected director Arion 
 Singing Society of New York._ 
 Tscherepnin (cher-ep'-nen), Nikolai 
 Nikolaievich, b. 1873; composer; 
 studied law at first, then at St. 
 Petersburg Cons, under Rimsky- 
 Korsakov; c. valuable male and 
 mixed choruses, overture "La Prin- 
 ces se lointaine," "Sappho's Song" for 
 soprano and orch., Ijnnc poem for 
 violin and orch., choruses with orch., 
 
932 
 
 THE MUSICAL GUIDE 
 
 Tscheschichin (chgsh-e'-chen), 
 Vsevolod levgrafovich, b. Riga, 
 Feb. i8, 1865; critic and author at 
 Riga. 
 
 Tura (too'-ra), Qennaro de, tenor, 
 sang at Milan and in Europe; debut 
 May, 191 2, with great success at 
 Hammerstein's London Op. 
 
 Tur'ban, CharlesPaul, b.Strasburg, 
 Oct. 3, 1845 — Paris, May 11, 1905; 
 clarinet soloist at the Opera; pupil 
 and frequent prize winner at the 
 Cons.; from 1900 prof, there. 
 
 Tutkov'ski, Nikolai Apollono= 
 vich, b. Lipovetz, Feb. 17, 1857; 
 pianist; pupil of Puchalski; from 
 1881-90 teacher of history at St. 
 Petersburg Cons.; from 1893 dir. of 
 Cons, in Kiev; c. S3Tnph. ^'■Pensce 
 elegiaqiie" and "Bachanale bohetii- 
 iemie" for orch., etc. 
 
 U 
 
 Uberlee (u'-ber-la), Adelbert, Berlin, 
 
 June 27, 1837 — Charlottenberg, 
 March 15, 1897; organist and royal 
 director; c. opera, oratorio, etc. 
 
 Udbye (oot'-be), Martin Andreas, 
 b. Drontheim, 1820; pupil of Haupt- 
 mann and Becker; organist at Dron- 
 theim; c. operas, cantatas, songs, 
 etc. 
 
 Ujj (oo'-yi), Bela von, b. Vienna, 
 1875; Hungarian composer, blind 
 from his 7th year; c. opera "Der 
 Bauernfeind" (Baden, near Vienna, 
 1897); operettas "Der Hen Profes- 
 sor" (Vienna, 1903), " Kaisermano- 
 ver" (do.. 1907), and "Der MUller 
 und sein Kiiid" (Graz, 1907). 
 
 Urbach (oor'-bakh). Otto, b. 
 Eisenach, Feb. 6, 1871; composer; 
 pupil of Muller-Harting, Staven- 
 hagen, Scholz, Knorr and Humper- 
 dinck; won the Liszt stipend, 1890, 
 and the Mozart stipend 1896, and 
 studied with Draeseke and Klind- 
 worth; from 1898 piano teacher at the 
 Dresden Cons.; c. opera "Der Muller 
 von Sanssouci" (Frankfort, 1896); 
 
 overture "Bergfahrt," string quartet 
 "Haliba," etc. 
 
 Urbanek (oor'-ba'-nek), Jan, b. 
 Slanin, Bohemia, Jan. 31, 1809; vio- 
 Hnist; pupil Prague cons.; concert- 
 master in Berlin. 
 
 Urlus (oor'-loos), Jacques, tenor; 
 sang many years at Leipzig Stadt- 
 theater; 191 2 Boston Op.; engaged to 
 sing at Met. Op., 191 2-13. 
 
 Usiglio (oo-sel'-yo) , Emilio, Parma, 
 Jan. 8, 1841 — Milan, 1910; operatic 
 composer. 
 
 V 
 
 Note: For names not found under V, 
 consult W. 
 
 Vaccari (vak-ka'-re), Frangois, 
 Modena, 1775 — Portugal, after 1823; 
 violin-virtuoso of astonishing powers; 
 pupil of Nardini; toured Europe with 
 great success; acted as court musician 
 in Spain; c. medleys, etc. 
 
 Vacher (or Levacher) (lu-va-sha), 
 Pierre Jean, Paris, 1772-1819; 
 violinist at Paris Opera; c. trios, etc. 
 
 Vachon (va-shon), Pierre, Aries, 
 1731 — Berlin, 1802; violinist and 
 composer of sonatas, chamber music, 
 etc.; toured widely; 1784-98 court 
 cond. to the Emperor in Germany. 
 
 Vacqueras (va-ka'-rSs), Beltrame, 
 1481 singer at St. Peter's, Rome; 
 1483-7 papal chapel singer; c. motets, 
 etc. 
 
 Val or Duval (dii-val), Frangois 
 Du, d. Paris, 1738; violinist to Louis 
 XIV; the first Frenchman to write 
 violin sonatas in the Italian style, 
 with basso continno. 
 
 Valente (va-len'-tg), Antonio 
 il deed) , blind organist and composer 
 at Naples, 1580. (2) Vincenzo, b. 
 Corigliano, near Cosenza, 1855; c. 
 operas and songs. 
 
 Van Den Eeden (van den a'-den), 
 Jean Baptiste, b. Ghent, Dec. 
 26, 1842; pupil of the Cons., and 
 of Brussels Cons., where he won a 
 prize with a cantata, "Fausts laaste 
 Nacht"; from 1878 dir. music school 
 
DICTIONARY OF MUSICIANS 933 
 
 at Mons.; c. s>'mph. poem "Za liitte 
 ail XVI siecle" cantatas, a 3-part 
 work "Judith" or " Le siege de 
 Bethiilie," etc. 
 
 Van der Stucken, Frank, add 
 that he was dean of the Cincinnati 
 College of Music 1897-1901; cond. 
 Cincinnati Symph. 1895-1907, when 
 he returned to Germany, retaining 
 the conductorship of the Cincinnati 
 May Festivals. 
 
 Van'nius, vide wannenmacher. 
 
 '/ar'lamov (or Warlamoff), Alex= 
 ander Igorovich, Moscow, Nov. 
 15 (27), 1801 — St. Petersburg, Oct. 
 1848; singer in the court chapel as 
 youth, later director of it; then 
 teacher in Moscow; c. the famous 
 melody "The Red Sarafan," and 
 many other songs. 
 
 Vasquez y Gomez (vas'-keth e go'- 
 meth), Marino, Granada, Feb. 
 3, 1831 — Madrid, June 1894; con- 
 certmaster at Madrid Royal Theatre; 
 c. zarzuelas, etc. 
 
 Vassilen'ko, Sergei Nikiforovich, 
 b. Moscow, 1872; writer; pupil of the 
 Cons., winning gold medal, 1901; c. 
 cantata " The Legend of the Sunken 
 City of Kitesch" (given as an opera, 
 'I Moscow, 1903); "Epic Poem" for 
 
 orch., choral works "Nebuchadnezzar,'" 
 and "Daphnis," etc. 
 . Vatielli ( va-ti-el'-le), Francesco, 
 b. Pesaro, Jan. i, 1877; pupil of 
 Liceo Rossini; 1905 Hbrarian at 
 Bologna, teacher and writer on his- 
 tory; c. intermezzi, etc. 
 
 Vau'tor, Thomas, English song com- 
 poser of early 17th century; probably 
 a musician to Sir George Villiers; 
 1616 Mus. Bac. Oxford; published 
 songs in 1619. 
 
 Vecsey (vet'-che-e), Franz von, b. 
 Budapest, March 23, 1893; vioHnist; 
 at 8, pupil of Hubay; at 10 accepted 
 by Joachim as a great musician, and 
 toured Germany, England and Amer- 
 ica with immense success; toured 
 South America, 191 1; reappeared in 
 London, 191 2. 
 
 Venth (vent), Karl, b. Cologne, Feb. 
 10, i860; pupil of the Cons, and of 
 Wieniawski; from 1880 in New York 
 as concertniuster at Met. Op. House; 
 founded 1888 a cons, in Brooklyn; c. 
 Schiller's "Bells" for chorus and 
 orch., etc. 
 
 Venturini (ven-too-re'-ne), Fran= 
 cesco, d. Dresden (?) April 18, 
 1745; from 1698 in the Hanoverian 
 court chapel as cond.; c. concertos, 
 etc. 
 
 Venzl (fents'-'l), Josef, b. Munich, 
 March 26, 1842; pupil of the Royal 
 Music Sch.; c. violin pieces and 
 method. 
 
 Ver'rinder, C. Q., d. Ealing, June 
 27, 1904; organist; Bachelor of Music 
 Oxford; 1873 Doctor of Music by 
 Archbishop of Canterbury; c. cantata 
 "Israel," Hebrew services and 
 Psalter; Anglican church music, etc. 
 
 Verstovsky (or Werstowski), Ale= 
 xei Nikolaievich, Tambov, Feb. 
 18 (March i), 1799 — Moscow, Nov. 
 5 (17), 1862; composer; while 
 stud3ang civil engineering at the 
 Institute in St. Petersburg, he was 
 also a pupil of John Field and Stei- 
 belt (piano), Bohm (violin), Tar- 
 quini (voice), Brandt and Tseiner 
 (theory); c. a vaudeville at 19, and 
 soon acquired a vogue; at 25 was 
 inspector of the Imp. Opera, Moscow; 
 at 29, c. a succ. opera, "Pan Tvardov- 
 ski," followed by five others, includ- 
 ing "^^y^oWi Tomb" (1835), which 
 had enormous success and was revived 
 in 1897; was accepted as a beginning 
 of national opera and had undoubted 
 influence on its development. He c. 
 also cantatas and 29 popular songs. 
 
 Vetter (fet-tgr), (i) Nikolaus, Konig- 
 see, 1666 — Rudolfstadt, 1710; court 
 organist and important choral com- 
 poser; (2) Hermann b. Gross- 
 drebnitz. Saxony, July 9, 1859; pupil 
 Dresden Cons.; from 1883 teacher 
 there; 1907 Royal Prof.; c. technical 
 studies, etc. 
 
 Verhey (ver'-hi), F. H. H., b. 
 
934 
 
 THE MUSICAL GUIDE 
 
 Rotterdam, 1848; pupil of the 
 Royal Music Sch., at The Hague and 
 of Bargiel; teacher at Rotterdam; c. 
 operas, a mass, chamber music, etc. 
 
 Vieuxtemps, Jean Joseph Lu= 
 cien, Verviers, July 5, 1828 — Brus- 
 sels, Jan. iQoi; pianist and composer; 
 pianist, teacher, and c. of piano 
 pieces, brother of Henri and Jules 
 V. (q. v.). 
 
 Vigna (ven'-ya), Arturo cond. Met. 
 Op. House, N. Y., 1903-7; pupil 
 JNIilan Cons. 
 
 Vilain (ve-lah), Leandre, b. Tra- 
 zegnies, Belgium, 1866; pupil of 
 Lemmens, and von Mailly; from 1890 
 organist at Ostend; from 1902 
 teacher at the Ghent Cons. 
 
 Vilano'va, Ramon, Barcelona, Jan. 
 
 21, 1801 — Ma}', 1870; cathedral 
 cond.; c. church music. 
 
 Vilar (ve'-lar), Joseph Teodor, 
 Barcelona, Aug. 10, 1836 — Oct. 21, 
 1905; pupil of Vilanova and in Paris 
 of Herz, Bazin and Halevy; later 
 cond. at Teatro Principal; c. zarzue- 
 las, etc. 
 
 Vilda, vide wilt. 
 
 Villafiorita (vil-la-fe-o-re'-ta), Qiu= 
 seppe Burgio di, Palermo, March 
 
 22, 1845 — Milan, Nov. 1902; com- 
 poser of operas. 
 
 Vi'ner, William Letton(orLitton), 
 Bath, 1790 — Westfield, Mass., 1867; 
 organist; from 1859 in America; c. 
 popular h>Tnn tunes. 
 
 Vizentini (ve-zen-te'-ne), Louis Al= 
 bert, Paris, [Nov. 9, 1841— Oct. 
 1906; violinist; pupil of the Paris 
 and Brussels Cons.; critic on the 
 Figaro; cond. in theatres in various 
 cities; c. operettas, ballets, etc. 
 
 Vock'ner, Josef, Ebensee, March 
 18, 1842 — Vienna, Sept. 11, 1906; 
 organ teacher at the Cons.; c. ora- 
 torio, organ fugues, etc. 
 
 Volbach (fol'-bakh), Fritz, b. 
 Wipperfiirth, Dec. 17, 1861; organ- 
 virtuoso; pupil of Cologne Cons, for 
 a year; studied philosophy, then took 
 up music again at the Royal Inst, for 
 
 church mus., Berlin; from 1887 teach- 
 er there; 1892 cond. at Mainz; 1907 
 at Tubingen; has written biogs. and 
 edited musical texts; c. sjTnph., 
 symph. poems, "Osiern" (Easter), 
 for organ and orch. (Sheffield Fest., 
 1902) ; "Es waren zwei Kanigskinder, " 
 ^^ Ah Heidelberg, du Feine, " a series of 
 vocal works with orch. which he 
 cond. in London, 1904, etc. 
 
 Volkov, vide wolkow. 
 
 Vos (vas), (i) Eduard de, b. Ghent, 
 Jan. 19, 1833; director and teacher 
 at the Cons.; c. songs. (2) Isidore, 
 Ghent, 1851 — March 31, 1876; dying 
 just after he won the Prix de Rome 
 with his cantata " De Meermin"; c. 
 also piano pieces, etc. His brother 
 (3) Franz, is teacher at the Cons. 
 
 Vreuls (vruls), Victor, b. Verviers, 
 Feb. 4, 1876; pupil Liege Cons, 
 and of d'lndy, at whose Schola can- 
 torum he became teacher of harmony; 
 1903 won the Picard prize of the 
 Belgian Free Academy; c. s>Tnphonic 
 poems, "Triptyque" for voice and 
 orch., chamber music and songs. 
 
 W 
 
 Note: For names not found under W, 
 consult V. 
 
 Waack (vak), Karl, b. Lubeck, 
 March 6, 1861; pupil of Grand-ducal 
 School, Weimar,; cond. in Finland 
 and at Riga; 1890 studied with H. 
 Riemann, returned to Riga as editor, 
 cond. and author. 
 
 Wad'dington, Sidney Peine, b. 
 Lincoln, July 23, 1869; composer; 
 pupil R. C. M., London; later teacher 
 there and pianist to Covent Garden; 
 c. "John Gilpin" for chorus and 
 orch. (1894); "Ode to Music," do.; 
 violin and 'cello sonatas, etc. 
 
 Waefelghem, ( va' - f el - khem or 
 va-fel-gan), Louis Van, Bruges. 
 Jan. 13, 1840 — Paris, June i9,_ 1908; 
 violinist and virtuoso on the A-iole d' 
 amour; pupil Brussels Cons.; soloist 
 at Budapest Opera; 1888 violaist at 
 
DICTIONARY OF MUSICIANS 
 
 935 
 
 Paris Op6ra, and in Lamoureux's 
 orch.; after 1893 soloist on the viole 
 d'amour, for which he composes. 
 
 Wagenaer (vakh'-e-nar), Johann, 
 b. Utrecht, Nov. i, 1862; organist at 
 the Cathedral; c. "Fritjofs Meer- 
 fahrt" and "Saul and David" for 
 orch., overture "Cyrano de Bergerac," 
 etc. 
 
 Wagner, Siegfried, add that from 
 1898 he was teacher in Vienna; 1901 
 cond. Acad. Singing Society, and 
 Tonkiinstler Orch.; 191 2, cond. 
 special concert of the London Sym- 
 ph orch. c. 8 operas "Dcr Kobold" 
 (Hamburg, 1904), "Bntder Litstig" 
 (do., igo<i), " Das Stcrneugebot" (do., 
 1908), " Banadietrich" (Elberfeld, 
 1910) and "Schu'arzsclrd'anenreich" 
 (Black-swan Country), c. also male 
 and female choruses, etc. 
 
 Wakefield, Augusta Mary, b. 
 Sedgwick, Aug. 19, 1853; contralto; 
 pupil of Randegger, Alari and 
 Sgambati; 1885 organized the so- 
 called Wakefield Competition Festi- 
 vals, said to be "the most vital 
 movement in the musical hfe of 
 England to-day;" from 1890 she 
 lectured; c. songs, etc. 
 
 Waldauer (val'-dow-er), August, 
 1825 — St. Louis, Dec. 26, 1900; 
 founder and dir. Beethoven Cons. 
 
 Waldmann (valt'-man), Madame, 
 
 b. Vienna; contralto; made sensation 
 in London, 1875. 
 
 Waldteufel (viilt'-toi-fel), Emil, b. 
 Strasbui^, Dec. 9, 1837; pupil Paris 
 Cons.; pianist to Empress Eugenie; 
 
 c. immensely succ. waltzes. 
 Walk'er, Ernest, b. Bombay, July 15, 
 
 1870; composer; Mus. Bac. 0.x- 
 ford, 1893; Mus. Doc. 1898; from 
 1900, dir. at Balliol College; mainly 
 self-taught as composer of "Slabat 
 Mater," "Hymn to Dionysus," and 
 "Ode to Nightingale" for voices and 
 orch.; overture, chamber music, songs 
 etc. 
 Wall'ace, William, b. Greenock, July 
 3, i860; at first a surgeon; in 1889 
 
 took up music and studied at 
 the R. A. M., London, till 1890; 
 c. symph. "The Creation" (New 
 Brighton, 1892); choral s3Tnph. 
 "Koheleth"; 6 symph. poems, "The 
 Passing of Beatrice" (Crystal Palace, 
 1892), "Amboss oder Hammer" (do., 
 1896), "Sister Helen" (do. 1899), 
 "Greeting to the New Century" (Lon- 
 don Phil., 1891), "Sir William Wal- 
 lace" (Queen's Hall, 1905), " Franqois 
 Villon (New Symph., 1909; also by 
 New York Phil., 1910, 19x2), 
 overtures, suites, song cycles, i-act 
 lyric tragedy "Brassolis," etc. He 
 is author of poetry and a critical 
 work, "The Threshold of Music." 
 
 Wairworth,Thos. Adlington,i834 
 — Bri.xton, Jan. 7, 1904, age 70; 
 pupil, later singing prof. R. A. M., 
 London; pupil of Crevelli; sang with 
 Pyne & Harrison Opera Co. 
 
 Walpurgis (val-poor'-ges) , Antonia, 
 1724-1780; Saxon Crown Princess; 
 c. an overture "Talestria Regina dell' 
 Amazone," revived at a concert of 
 women's compositions by ths German 
 Lyceum Club, Berlin, 191 2, cond. by 
 Elizabeth Knyper. 
 
 Wal'thew, Richard H., b. London, 
 Nov. 4, 1872; pupil of the Guild- 
 hall and with scholarship at R. C. M. 
 under Parry; 1907 prof, at Queen's 
 College, and cond. opera class at the 
 Guildhall; 1909 cond. at Finsbury. 
 c. "Pied Piper" for chorus and orch; 
 (1893); piano concerto (1894), two 
 operettas, etc. 
 
 Wannenmacher (van'-nen-makh-gr) 
 (or Vannius), Johannes, d. Inter- 
 laken, ca. 1551; important Swiss 
 church composer; and canon, re- 
 nounced Catholicism, was tortured, 
 and banished. 
 
 Ware, Harriet, b. Waupun, Wis.; 
 graduated at Pillsbury Cons. Owa- 
 tonna, Minn., 1895; pupil of Wm. 
 Mason, N. Y. for 2 years, then of 
 Stojowski (piano and comp.) and 
 Juliana, Paris, later of Hugo Kaun, 
 Berlin; c. "The Fay Song," 1905; 
 
936 
 
 THE MUSICAL GUIDE 
 
 cantata "Sir 01 af" (New York 
 Symph. 1910), piano pieces and many 
 successful songs. 
 
 Warnke (varn'-ke), Heinrich, b. 
 Wesselburen, Aug. 30, 1871; 'cellist; 
 son and pupil of his father, a 
 violinist; later at Hamburg Cons.; 
 debut there, then studied withKlengel 
 at Leipzig; member of various orchs., 
 finally with the Kaimorch., Munich, 
 for 10 years; from 1905 with Boston 
 SjTnph. Orch. 
 
 Warot (va-ro), (i) Charles, Dunkirk, 
 Nov. 14, 1804 — Brussels, July 29, 
 1836; vioHnist and theatre-cond.; 
 pupil of Fridzeri; c. operas, 3 grand 
 masses, etc. His brother (2) Victor, 
 Ghent, 1808 — Bois Colombes, 1877; 
 cond. and teacher; c. operettas, a 
 mass, etc. (3) Constant Noel 
 Adolphe, Antwerp, 181 2 — Brussels, 
 1875; 'cello-teacher, Brussels Cons.; 
 
 c. 'cello-pieces, etc. (4) Victor Alex. 
 Jos., Verviers, 1834 — Paris, 1906; 
 son of Victor (2); opera tenor, later 
 teacher at Paris Cons. 
 
 War'rum Helen, b. Washington, 
 D. C. (?); soprano; pupil of Oscar 
 Saenger; engaged for Chicago Opera, 
 1912. 
 
 Warwick (war'-ik), (i) (orWarrock), 
 Thomas, organist Hereford Ca- 
 thedral, 1586-9; 1625 org. at Chapel 
 Royal; c. anthems, etc. (2) Giula, 
 
 d. June 13, 1904; pianist and opera 
 singer, then prof, of singing Guildhall 
 School of Music, later founded vocal 
 academy. 
 
 Web'ber, Amherst, b. Cannes, Oct. 
 25, 1867; studied music at Oxford, 
 then at Dresden with Nicod6 and 
 at Paris Cons.; pianist to Covent 
 Garden and Met. Op., N. Y.; c. 
 symph. (Warsaw Phil., 1904, Bos- 
 ton Symph., 1905); i-actopera"F/or- 
 ella" (London, 1905), songs, etc. 
 
 Web'er, Frederick, Wiirtemberg, 
 Nov. 5, 1819 — London, Feb. 16, 
 1909; organist and author of works on 
 the pianoforte. 
 
 Wecker (vek'-er), Georg Kaspar, 
 
 Nuremberg, 163 2-1 695; organist, 
 teacher and composer. 
 
 Weckmann (vek'-man), Matthias, 
 Oppershausen,i62i — Hamburg, 1674; 
 organ-virtuoso and comp. 
 
 Wedekind (va'-de-kint), Erika, b. 
 Hanover, Nov. 13, 1869; colora- 
 tura soprano; pupil of Orgeni at 
 Dresden Cons.; 1894- 1909 at court 
 opera Dresden, then at Berlin Comic 
 Opera. 
 
 Weeber (va'-ber), Johann Chr., 
 b. Warmbronn, 1808 — Niirtingen, 
 1877; court mus. director and com- 
 poser. 
 
 Weed, Marion, b. Rochester, N. 
 Y., soprano; 1903-4 Met. Op., N. Y. 
 
 Wehrle (var'-Ie), Hugo, b. Don- 
 aueschingen, July 19, 1847; violinist; 
 pupil of Leipzig Cons, and Paris Cons. ; 
 toured and plaj^ed in Singer's Quar- 
 tet till nervous trouble lamed his 
 hand; 1898 retired to Freiburg; c. 
 violin pieces. 
 
 Weidig (vi'-dikh), Adolf, b. Ham- 
 burg, Nov. 28,1867; pupil of the Cons, 
 and winning Mozart stipend, pupil of 
 Rheinberger; from 1892, teacher in 
 Chicago and co-director of the 
 American Cons.; c. orch. and cham- 
 ber music. 
 
 Weingartner, Felix, add that 1908 
 he succeeded Mahler as dir. Vienna 
 Royal Opera; Jan. 4, 191 1, he signed 
 contract for 3 years with Berlin Phil. 
 Orch., resigning directorship of Royal 
 Opera; he married Marie Juillerat; 
 in 1903 he married Baroness Feodora 
 von Dreifus; author of "tber das 
 Dirigicren (1895, 3rd edition 1905), 
 "Die Symphonie nach Beethoven" 
 (1897, also in English), a drama 
 "Golgotha" (1908), etc.; c. 3 symph., 
 "FrUhlingsmdrchenspiel" (Weimar, 
 1908), music to "Faust" (do., 1908); 
 his 3rd symph. was played by New 
 York Phil., Dec. 28, 1911. 
 
 Weismann (vis'-man), Julius, b. 
 Freiburg, Dec. 26, 1879; pupil of 
 Royal Musicschool, Munich, then 
 with Herzogenberg and Thuille; from 
 
DICTIONARY OF MUSICIANS 937 
 
 1905 in Freiburg as composer of 
 choral works, a symph., etc. 
 
 Weissheimer (vis'-hi-mer) , Wen- 
 delin, b. Osthofen, Feb. 26, 1838; 
 mus. director and composer; pupil 
 Leipzig Cons., teacher and theatre- 
 cond. in various cities; c. 2 operas, 
 "Theodor Korner" (Munich, 1872), 
 and "Meister Martin und seine 
 Gesellen" (Carlsruhe, 1897), bass 
 solo with orch., "Das Grab in 
 Busento," etc. 
 
 Well'ings, (Joseph) Milton, b. 
 Handsworth, n. Birmingham, Eng., 
 Dec. 4, 1850; c. popular songs and 
 "The Darning Master" (London, 
 1894). 
 
 Wendel (ven'-del), Ernst, b. Bres- 
 lau, 1876; violinist and director; 
 pupil of Wirth, Joachim, Lucco and 
 Bargiel; 1896 joined Thomas Orch., 
 Chicago; 1898 cond. Konigsberg 
 Musikverein; 1909 cond. Bremen 
 Phil.; c. choruses with orch., etc. 
 
 Wenzel von Qamter (or Szamo^ 
 tulski) (sha-mo-tool'-ski), Gamter, 
 1525 — Cracow, 1572; Polish com- 
 poser of church music, 
 
 Werschbilovich (versh-be'-lo-vich), 
 Alex. Valerianovich, b. Jan. 8, 
 1850; 'ceUist; pupil of Davidov and 
 his successor at the Italian Opera in 
 St. Petersburg; from 1885 prof, at the 
 Cons. 
 
 Wessely (ves'-se-le), Hans, b. Vienna, 
 Dec. 23, 1862; violinist; pupil of the 
 Cons.; toured with success; from 1889 
 prof. R. A. M., London, leader of 
 the W. Quartet. 
 
 Wetzel (vet'-tsel), Hermann, b. 
 Kyritz, Pomerania, March 11, 1879; 
 teacher at Riemann Cons. 1905-7; 
 then in Potsdam as teacher and a 
 author; c. songs, etc. 
 
 Weweler (va'-ve-16r), August, b. 
 Recke, Westphalia, Oct. 20, 1868; 
 composer; pupil Leipzig Cons. ; c. fairy 
 operas " Doriiroschen" (Kassel, 1903), 
 comic opera " Der grobe Marker" 
 (Detmold, 1908), etc. 
 Weymarn (vi'-marn,) Paul Pla= 
 
 tonovich, b. St. Petersburg, 1857; 
 son of a lieut. -general and himself an 
 officer; gave up the army for music; 
 writes biographies, criticisms, 'cello- 
 pieces, etc. 
 
 White, ( i) John, York, 1779 — 
 Leeds, 1831; organist and assist.- 
 cond. of Leeds Festivals. (2). Caro= 
 lina, b. Dorchester, Mass., Dec. 
 23, 1883; pupil of Weldon Hunt; 
 concert debut, 1905; 1907 studied 
 with Sebastian at Naples; debut 
 at San Carlo Theatre, 1908; sang 
 in Italy, and from 1910 with 
 Chicago Op. Co.; 191 1 with Boston 
 Op.; married, 1910, Paul Longone, 
 dir. San Carlo Theatre. 
 
 Whitehouse, William Edward, b. 
 London, May 20, 1859; 'cellist; pupil 
 of Pettit and R. A. M., winning prize, 
 1878; and from 1882 teacher there; 
 later prof., member of Ludwig Quartet 
 and London Trio. 
 
 Whitney, (i) Myron William, 
 Ashby, Mass., Sept. 5, 1835 ~ iQ^o; 
 bass; pupil of Frost, Randegger, and 
 Vannucini; debut Boston, 1858; sang 
 with greatest success in concert and 
 oratorio and for a time in opera ^vith 
 the Boston Ideals, and the American 
 Opera Co.; retired 1900; his son (2) 
 Myron, Jr., is a popular bass. 
 
 Wichern (vekh'-6rn), Karoline, 
 Horn, near Hamburg, Sept. 13, 1836 
 — March 19, 1906; soprano; led 
 choruses at the houses of correction 
 for 20 years, then for 15 years taught 
 in Manchester, returning 1896 to her 
 previous task; 1900 cond. at Ham- 
 burg a concert of her own orchestral 
 works; c. vocal works of many sorts, 
 etc. 
 
 Wickenhausser ( vik'-en-hows'-ser ), 
 Richard, b. Briinn, Feb. 7, 1867; 
 pupil of Leipzig Cons.; 1894 was 
 given a stipend on the advice of 
 Brahms and Hanslicj; 1895 leader of 
 a singing society in Briinn; 1902 in 
 Graz; 1907 dir. Vienna Singakademie, 
 c. choral works in great numbers, also 
 2 piano sonatas, a violin sonata, etc. 
 
938 
 
 THE MUSICAL GUIDE 
 
 Wiedermann (ve'-dgr-man), K. Fr., 
 b. Gorisseiffen, Dec. 25, 1856; organ- 
 ist and Royal Dir., in Berlin; c. over- 
 tvire, songs, etc. 
 
 Wiehmayer (ve'-mi-er), Theodor, 
 b. Marienfeld, Westphalia, Jan. 7, 
 1870; pianist; pupil Leipzig Cons, 
 and of Krause; debut Leipzig, 1890; 
 teacher there; 1902-6 at the Cons.; 
 from 1908 at Stuttgart Cons., 1909 
 prof.; c. piano pieces and songs. 
 
 Wiemann (ve'-man), Robert, b. 
 Frankenhausen, Nov. 4, 1870; pupil 
 Leipzig Cons.; cond. various theatre 
 orchs. and singing societies; from 
 1899 in Osnabriick; c. orch. works, 
 " Erden ivallen, " " Kassandra, " etc. ; 
 choral works with 01 ch., etc. 
 
 Wietrowetz ( ve' - tro - v6tz ) , Qa= 
 brielle, b. Laibach, Carmola, Jan. 
 13, 1866; violinist; pupil of Joachim, 
 winning Mendelssohn prize at Berlin 
 Hochsch.; debut 1885 at Munster; 
 toured and from 1904, teacher at the 
 Berlin Hochsch., the first woman 
 so employed. 
 
 Wig'gins, Thomas ("Blind Tom"), 
 Columbus, Ga., May 24, 1849 — 
 Hoboken, N. J., June 13, 1908; 
 phenomenal pianist; a negro slave 
 imbecile in all except music; son 
 of slaves and exploited by the for- 
 mer owners of his parents; played in 
 public for forty years, with enormous 
 financial success, and revealed extra- 
 ordinary gifts for musical mimicry 
 and repetition of pieces performed in 
 his hearing, though of course his 
 powers were greatly exaggerated. 
 
 Wilhelmj, Adolf (not Anton), cor- 
 rect birth date is March 31, 1872. 
 
 Williams, (i) Charles Lee, b. 
 Winchester, May i, 1853; organist; 
 pupil of Arnold; 1882-98 org. at 
 Gloucester Cathedral; cond. of five 
 festivals; c. cantatas, church music, 
 etc. (2) Charles Francis Abdy, 
 b. Dawlish, July 16, 1855; took music 
 degrees at both Cambridge and Ox- 
 ford; later pupil Leipzig Cons.; organ- 
 ist at various posts; authority on 
 
 Greek music and Plain song; c. church 
 music, choruses for "Alcestis" "Anti- 
 gone,' and ^'Agamemnon." (3) Ralph 
 Vaughan, b. Down Amprey, Oct. 12, 
 1872; studied music at Cambridge 
 and the R. C. M.; later at Berlin with 
 Max Bruch and with Ravel in Paris; 
 organist at South Lambeth, 1896-9; 
 c. "A Sea Symphony" (Walt Whit- 
 man) for voices and orch.; symphonic 
 impression "In the Fen Country" 
 (London, 1909), three Norfolk Rhap- 
 sodies (1906-7), cantata "Willow 
 Wood" (Liverpool, 1909), "Toward 
 the Unknown Region" (Walt Whit- 
 man), chorus and orch. (Leeds Fast., 
 1907), etc. 
 
 Wille (vU'-le), Qeorg, b. Greiz, 
 Sept. 20, 1869; 'cellist; from 1899 
 court-concertmaster at Royal Chapel 
 in Dresden and teacher in the Cons.; 
 pupil of Leipzig Cons. 
 
 Wil'son.QrenvilleDean, Plymouth, 
 Conn., Jan. 26, 1833 — Nyack, N. Y., 
 Sept. 20, 1897; teacher and song 
 composer. 
 
 Wilt (vilt), Marie (n6e Lieben= 
 thaler), Vienna, Jan. 30, 1883 — 
 (suicide) Sept. 24, 1891; famous 
 operatic soprano; debut 1865 at 
 Graz; sang throughout Europe, also 
 popular in concerts. In 1866-7 she 
 sang at Covent Garden under the 
 name"Vilda," again in 1874-75. 
 
 Wiltberger ( vilt'-berkh- er), (i) 
 Heinrich, b. Sobemheim, Aug. 17, 
 1841; son of an organist; 1872-1906 
 teacher in Alsace; co-founder of 
 the Cecilia society and composer of 
 church music, and favourite Alsatian 
 composer of male-choruses. His 
 brother (2) August, b. Sobemheim, 
 April 17, 1850; teacher in various 
 towns; 1884 at Briihl; author of an 
 organ method, a theory, and c. ora- 
 torios "Cecilia" and Bonif actus," 
 cantatas, etc. 
 
 Winkelmann (i) Hermann, tenor; 
 correct birth date is Braunschweig, 
 March 8, 1849; (2) Hermann d. 
 Frankfort - on - Main, March 11, 
 
DICTIONARY OF MUSICIANS 939 
 
 1899; organist and teacher at Raff 
 Cons. 
 Winkler (vink-lgr), (i) Theodor, d. 
 Weimar, Dec. 21, 1905; flutist at the 
 court chapel; c. concerto, etc. (2) 
 Alex. Adolfovich, b. Charkov, 
 March 3, 1865; pianist; studied at 
 Charkov and at Vienna under 
 Leschetizky and Navrdtil; teacher 
 at Charkov; from 1896 at St. 
 Petersburg Cons.; c. prize- winning 
 string quartet, op. 7, piano pieces, 
 etc. 
 Winneberger (vin'-ne-berkh- er ), 
 Paul, d. Hamburg, Feb. 8, 1821; 
 'cellist and composer. 
 Winter=Hjelm (vin'-ter-hyelm), 
 Otto, b. Christiania, Oct. 8, 1837; 
 organist at Christiania; pupil Leip- 
 zig Cons, and of Kullak and Wiierst; 
 dir. Phil, concerts; c. 2 symph., 50 
 Psalms, 45 Norwegian " Fjeld melo- 
 dier'" or mountain songs, etc. 
 Wirtz (verts), Charles Louis, b. 
 The Hague, Sept. i, 1841; pupil of 
 the Cons.; later piano teacher there;, 
 c. church music. 
 Wis'ke, Mortimer, b. Troy, N. Y., 
 Jan. 12, 1853; from 1872 organist and 
 dir. Brooklyn; c. church and organ 
 music. 
 Witek (ve'-tek), Anton, b. Saaz, 
 Bohemia, 1872; violinist; pupil of 
 Bennewitz; concertmaster of Berlin 
 Phil.; also toured; later became 
 concertm. Boston Symph.; married 
 (2) Witek, Vita (nee Qer= 
 hardt), b. Copenhagen; at first a 
 violinist; pupil of Gade and Joachim; 
 decided to be a pianist, studied with 
 Leschetizky and Carreno. 
 Witherspoon, Herbert, add that 
 his correct birthplace is Buffalo, 
 N. Y., July 21, 1873; in 1908 
 he coached with Lamperti in Berlin; 
 in 1908 he joined the Met. Op., 
 N. Y., and has sung there with in- 
 creasing success, making especially 
 deep impression in the roles of 
 Gurnemanz, King Mark, etc. Gave 
 recitals in London with great success. 
 
 19 10, and has continued his concert 
 and oratorio appearances. 
 Witkowsky (vit-kof'-ski), Q. M., 
 lieutenant in French Army; pupil of 
 d'lndy; c. symph., (Paris 1901) 
 quintet, etc. 
 Wittkowska (vlt-kof'-ska), Marta, 
 b. Poland; contralto; brought to 
 America as a child; studied at Syra- 
 cuse, N.Y., University with a scholar- 
 ship ; pupil of Emma Thursby, then of 
 Colonogi; debut at Perugia; sang 
 in various Italian cities, then at 
 Covent Garden; 191 1 Chicago Opera 
 Co. 
 Witting (vit'-tink), Karl, Julich, 
 Sept. 8, 1823 — Dresden, June 28, 
 1907; tenor singer; pupil of Reichel in 
 Paris; teacher in various cities; c. 
 'cello sonata, etc. 
 Woikowski=Biedau (voi-k6f'-ski-be'- 
 dow), Victor Von, b. Nieder-Ams- 
 dorf, Sept. 2, 1866; pupil of B. Wolff 
 and W. Berger; c. operas "Helga" 
 (Wiesbaden, 1904), and " Der lange 
 KerV (Berlin, 1905). 
 Wolf, Hugo, correct birthplace is 
 Windischgraz, Styria, March 13, 
 i86o;correctdeath date is Vienna, Feb. 
 22, 1903; add that he was e.xpeUed 
 from the Vienna Cons, as incorrigible, 
 and suffered constantly from poverty 
 and hunger, giving occasional piano 
 and vioHn lessons; 1886--90 he was 
 critic to the Salonblatl; 1888-89 he 
 c. 200 songs, then wrote no more for 
 3 years; his opera ''Der Corregidor" 
 though praised was never repeated; 
 he was at work on another "Manuel 
 Venegas" when his mind failed; after 
 some months in an asylum, he was 
 released only to be taken back as a 
 violent maniac in 1898; paralysis 
 followed, hut he lived for five years. 
 His songs continue to deepen their 
 impression and he seems to be safely 
 established among the greatest com- 
 posers of lyrics. 
 Wolf=Ferrari ( v61f'-fgr-ra'-re), Er- 
 manno, b. Venice, Jan. 12, 1876; 
 important and versatile composer; 
 
940 
 
 THE MUSICAL GUIDE 
 
 son of a painter; largely self-taught; 
 later pupil of Rheinberger, Munich; 
 1902 dir. Liceo Benedetta Mar- 
 cello, Venice; resigned 1909 and 
 settled in Germany; c operas "La 
 Sulamita" (Venice, 1889), "Ceneren- 
 tola" (Venice, 1900 as "Asckenbrodl," 
 Bremen, 1902), comic opera based 
 on Goldoni, " Le Donne Curiose" 
 given at Munich as "^ Die neitgierigcn 
 Frauen," Munich, 1903, also with 
 great success Chicago and Met. Op., 
 N. Y., 191 2 and throughout Europe; 
 "Die vier Grobiane" (Munich, 1906), 
 the very successful ' I Giojelli della 
 Madonna" or " Der Schmnck der 
 Madonna" (Berlin Royal Op., 191 1, 
 Chicago and Met. Op., N. Y., 1912), 
 "The Secret of Susanne" (do., 1912), 
 c. also the important oratorio "La 
 Vita Nuova" (text from Dante), 1903 
 a symphony da camera, viohn sonata, 
 piano quartet, etc. 
 
 Wolkenstein, (vol'-ken-shtln), Os= 
 wald von, Tyrol, ca. 1377 — Aug. 
 2, 1445; a knight, ambassador, and 
 wanderer, "the last of the Minne- 
 singer," c. poems and melodies. 
 
 Wolkow (v6l'-k6v), Feodor Qri- 
 gorievlch, Kostroma, 1729 — St. 
 Petersburg, 1763; "founder of the 
 Russian theatre, 1 756, and the first 
 Russian opera composer", according 
 to Riemann; he wrote the first 
 original Russian libretto " The Charit- 
 able Titus" for Araja, 1751; and c. 
 an opera "Tanjuscha" (St. Peters- 
 burg, Dec. 9, 1756). 
 
 Wolle (vol'- Ig) John Frederick, 
 b. Bethlehem, Pa., April 4, 1863; 
 founder of a choir of Moravians 
 among the Bethlehem steel-workers 
 with which from 1900 he gave re- 
 markable productions of the works of 
 Bach; in 1901 at a three-day festival 
 the Christmas oratorio, Passion Ac- 
 cording to St. Matthew, and Mass in 
 C. minor were given entire; 1904, a 
 nine-day festival of Bach's works was 
 given; from 1905 prof. University of 
 California and cond. symph. con- 
 
 certs at the Open Air Greek Theatre 
 at Berkeley, Cal. 
 
 Wol'stenholme, William, b. Black- 
 burn, Feb. 24, 1865; organist, blind 
 from birth; pupil of Dr. Done, 
 Mus. B. Oxford, 1887, from 1888 
 organist in London; toured the U. S. 
 1908; c. organ music of all kinds, 
 piano sonata, choral ballad, "Sir 
 Humphrey Gilbert," etc. 
 
 Wood, (i) Charles b. Armagh, June 
 15, 1866; pupil of T. O. Marks, and 
 at R. C. M., London, winning the 
 Morley scholarship, later teacher 
 there, and cond. Cambridge U. Musi- 
 cal Society; Mus. Doc. Cambridge, 
 1894; L L. D. Leeds, 1904; c. "Ode to 
 the West Wind," voices and orch., 
 (1890); incid. music to Greek plays; 
 "Dirge for Two Veterans" (Leeds 
 Fest., 1901), "Ballad of Dundee," 
 (do., 1904); symphonic variations on 
 "Patrick Sarsfield" (London, 1907), 
 songs, etc. (2) Henry J., correct 
 birth date is London, March 3, 1870; 
 he was appointed cond. of the Shef- 
 field Festivals in 1902 and of the 
 Nor\vich Festivals in 1908. 
 
 Woodward, Richard, Dublin, 1744 
 — Nov. 22, 1777; composer of church 
 music; org. at St. Patrick's Cath., 
 1765; vicar-choral from 1772. 
 
 Wool'ridge, H. Ellis, b. Winchester, 
 March 28, 1845; writer; historian; at 
 first a painter and 1895 Slade Prof, 
 of Fine Arts at Oxford; took up 
 musical history and has written ex- 
 tensively on mediaeval music. 
 
 Worobkiewicz ( v6r-6p-k'-ya'-vich), 
 Isidor, Czernowitz, 1836 — Sept. 
 18, 1903; priest in the Greek church, 
 and pupil on stipend at Vienna Cons.; 
 later teacher of church music at 
 Czernowitz and author; c. 8 Rou- 
 manian songs, etc. 
 
 Wot'quenne, Alfred, b. Lobbes, 
 Hennegau, Jan. 25, 1867; pupil 
 Brussels Cons.; from 1894 librarian. 
 
 Wright (rit), Thomas, Stockton- 
 on-Tees, 1 763-1 829; organist, com- 
 poser and inventor. 
 
DICTIONARY OF MUSICIANS 94 
 
 Wydow (or Wedow, Widow, Wy= 
 dewe) (wid'-o), Robert, called 
 " Grammaticus " ; Thaxted, Essex (?) 
 — Buckland Newton, Oct. 4, 1505; 
 music master to Edward IV of 
 England; first Mus. Bac. of Oxford; 
 rector and \'icar. 
 
 Wyssotzki (ves-sot'-ske), Michael 
 Th., 1790 — Moscow, Dec. 28, 1837; 
 guitar-virtuoso, teacher and com- 
 poser. 
 
 F 
 
 Yaw, Ellen Beach, b. Boston, Sept. 
 18, 1868, concert soprano of remark- 
 able range (to c""); has toured 
 Europe and America; pupil of delle 
 Sedie, Paris concert debut St Paul, 
 1894; operatic debut Rome 1897. 
 
 Zabel, (tsa'-bel) Albert, Berlin, 1835 
 — St. Petersburg, 1910; harpist; pupil 
 Berlin Royal Inst, for church mus.; 
 soloist Berlin Opera from 1851 at 
 Royal Ballet orch. St. Petersburg; 
 from 1862 prof, at the Cons.; c. harp 
 concertos, etc. 
 
 Zach (tsakh), Johann Czelakowicz, 
 1699 — Irrenhause, 1773; director at 
 Mayence and composer of church 
 music. 
 
 Zacherevich ( tsa-che-ra'-vich), 
 Michael, b. Ostroff, Russia, Aug. 26, 
 1879; violinist; debut Odessa at 15, 
 under auspices of Tchaikovski, who 
 secured funds for his study with 
 Sevcik at Prague, also with Ysaye; 
 has toured widely. 
 
 Zahn (tsan), Johannes, Espenbach, 
 Franconia, Aug. i, 181 7 — Neudet- 
 telsau, Feb. 17, 1895; historian of 
 church music, and compiler of hymn 
 books, etc. 
 
 Zajicek (za'-i-tsek), Julius, b. Vien- 
 na, Nov. 2, 1877; composer of opera 
 " Helmbrecht" (Graz, 1906). 
 
 Zamara (tsa-ma'-ra), (i) Antonio, 
 Milan, June 13, 1829 — Hietzing, 
 near Vienna, Nov. 11, 1901; harp- 
 
 virtuoso, pupil of Sechters; teacher at 
 Vienna Cons.; c. for harp, flute, etc. 
 (2) Alfred Maria, b. Vienna, April 
 28, 1863; c. operettas. 
 
 Zandonai (tsan-do-na'-e), Riccardo, 
 b. Sacco (Trentino) 1883; pupil of 
 Gianferrai at Trento; from 1899 at 
 Rossini Cons., Pesaro, in 1902 win- 
 ning comp. prize with s>Tnph. poem 
 for voices and orch.; c. also "Screnala 
 Media^ale" for cello, 2 harps, and 
 strings; "Ave Maria" for female 
 voices, harp, and strings; "0 Padre 
 Nostra " (from Dante's Purgatorio), 
 for chorus, orch., and organ; operas, 
 "Grillo del Focolarc" (Cricket on the 
 Hearth) (Turin, 1908), and with 
 great success elsewhere, and the 
 highly succ. "Conchita" (based on 
 Pierre Levy's " Femme d le Panlin " 
 (Milan, 1911, Covent Garden, 1912, 
 etc.); "Melcenis" (Milan, 1912). 
 
 Zanella (tsa-nel'-la), Amilcare, b. 
 Monticelli d'Ongina, Sept. 26, 1873; 
 pupil of Parma Cons, and from 
 1903 director, after years as operatic 
 cond. in South America, etc.; c. a 
 sjonph. fantasie and fugue for piano 
 and orch., 2 operas, etc. 
 
 Zan'ten, Cornelie Van, b. Dor- 
 drecht, Aug. 2, 185 5; operatic soprano, 
 pupil of Geul, Schneider, and Fr; 
 Lamperti; debut in Turin, sang 
 throughout Europe, and with the 
 "National Opera" in America; then 
 sang at Amsterdam and taught in 
 the Cons.; froniiQ03 teacher in Beriin. 
 
 Zel'ler (tsg'-ler). Dr. Karl, St. Peter- 
 in-der-Au, Lower Austria, July 19, 
 1842 — Baden, near Vienna, Aug. 17, 
 1898; c. operettas. 
 
 Zenatello (tsen-a-tel'-lo), Giovanni, 
 b. Verona; very popular operatic 
 tenor, appearing first at Covent Gar- 
 den 1905, and singing there aimually; 
 from 1907 in America each year, 1909 
 at Manhattan Op., N. Y. 
 
 Zepler (tsep'-ler), Bogumil, b. Bres- 
 lau, May 6, 1858; composer; a 
 physician at first then pupil of 
 Urban, in Beriin; c. parody o!\ 
 
942 
 
 THE MUSICAL GUIDE 
 
 "Cavalleria Ruslicana" as "Cav. 
 Beroliiia" i89i;c. various operettas 
 and ballets. 
 
 Ziehn, (tsen), Bernhard, Erfurt, 
 Jan. 20, 1845 — Chicago, Sept. 8, 
 1912; theorist; came to Chicago 1868; 
 teacher and organist; author of im- 
 portant works: " Harmonic iind Mod- 
 ulations Ichre" (Berlin, 1888), '"Five 
 and Six Part Harmonies" (Milwau- 
 kee, 191 1), etc. 
 
 Ziehrer (tse'-rer), Carl Michael, 
 b. Vienna, May 2, 1843; mihtary 
 bandmaster; toured; c. 600 dances 
 and an operetta " Ein tolles Model" 
 (Nuremberg, 1908). 
 
 Zilcher (tsiikh'-er), Hermann, b. 
 Frankfort-on-Main, Aug. 18, 1881; 
 pupil of the Hoch Cons.; lives in 
 Berlin; c. concerto for 2 violins with 
 orch., violin concerto, etc. 
 
 Zimbalist (tsim'-ba-llst ), Efrem, 
 b. Rostov, Russia, May 7, 1889; vio- 
 linist; pupil of his father, a conduc- 
 tor; 1901-7 at St. Petersburg Cons, 
 under Auer, winning gold medal and 
 scholarship; toured Europe and 191 1 
 America; c. 3 Slavish dances, "Old 
 Folks at Home," etc., for vnolin. 
 
 Zinck (tsink), Harnack Otto Kon- 
 rad, Husum, 1746 — Copenhagen, 
 1832; singer, teacher and composer. 
 
 Zingel (tsing'-el), Rudolf Ewald, 
 
 b. Liegnitz, Sept. 5, 1876; pupil 
 Berlin Royal Hochsch.; from 1899 
 dir. Singakad. at Frankfort-on-Oder; 
 from 1907 at Greifswald; c. operas 
 "Margo^ "(Frankfort-on-Main, 1902), 
 "Liebeszaither" (Stralsund, 1908), 
 "Persepolis" (Rostock, 1909). 
 
 Zoboli (tso-bo'-le), Giovanni, b. 
 Naples, July 22, 1821; pupil of the 
 Cons.; teacher; c. operas and church 
 music. 
 
 Zocca (ts6k'-ka), Qaetano, Fer- 
 rara, 1784 — Sept. 14, 1834; vioHnist 
 and cond. 
 
 Zois=Edelstein (tso'-es'-a'-del-shtin), 
 Hans Freiherr von, b. Graz, Nov. 
 14, 1861; c. popular songs and ope- 
 rettas. 
 
 Zuschneid (tsoo-shnit'), Karl, b. 
 Oberglogau, Silesia, May 29, 1856; 
 pupil Stuttgart Cons.; director of 
 societies in various towns; from 1907 
 dir. Mannheim Hochschule; c. male 
 choruses with orch., etc. 
 
 Zwyssig (tsves'-sikh), P. Alberich, 
 (rightly Joseph), b. Bauen, Nov. 17, 
 1808; Cistercian abbey Mehrerau; 
 entered the Cistercian order 1826; c. 
 the famous "Swiss Psalm" (1841), 
 etc. 
 
^ecrologp 
 
 (Note. This list contains the names 
 of those who are included in the Bi- 
 ographical Dictionary and have died 
 since the original publication.) 
 
 AUitsen, Frances, d. London, Oct. i, 
 
 1912. 
 Altes, E. E., d. St. Dye, July 8, 1899. 
 Anderton, Thomas, d. Edgbaston, Sept. 
 
 18, 1903. 
 
 Appel, K., d. Dessau, Dec. 9, 1895. 
 Arditi, Luigi, d. Brighton, Eng., May i, 
 
 1903. 
 Armingaud, J., d. Paris, Feb., 1900. 
 Artot, Desiree, d. Vienna, Apr. 3, 1907. 
 Attrup, Karl, d. Copenhagen, Aug. 5, 
 
 1892. 
 
 Bach, L. E., d. London, Feb. 15, 1902. 
 Bacon, Mrs. Elizabeth (nee Poole), d. 
 
 Jan. 15, 1906. 
 Balakirew, M. A., d. St. Petersburg, 
 
 May 30, 1910. (Born Dec. 21, 1836.) 
 Baptie, David, d. Mar. 26, 1906. 
 Bargheer, Adolf, d. Basel, Mar. 10, 1901. 
 Bargheer, K. Louis, d. Hamburg, May 
 
 19, 1902. 
 
 Bartay, Ede, d. Pest, Aug. 31, 1901. 
 Bassford, W. K., d. New York, Dec. 
 
 22, 1902. 
 Batta, d. Versailles, Oct. 8, 1902. 
 Bechstein, Fr. W. K., d. Berlin, Mar. 
 
 6, 1900. 
 Becker, Jeanne, d. Mannheim, Apr. 6, 
 
 1893. 
 Beer, Max J., d. Vienna, Nov. 25, 1908. 
 Behr, Franz, d. Dresden, Feb. 15, 1898. 
 Bellermann, J. G., d. Potsdam, Apr. 
 
 10, 1903. 
 Berger, Wilhelm, d. Meiningen, Jan. 
 
 16, 1911. 
 Bergson, M., d. London, Mar. 9, 1898. 
 Bernard, Emile, d. Paris, Sept. 11, 1902. 
 Bernsdorf, E., d. Leipzig, June 27, 1901. 
 Bemuth, J. von, d. Hamburg, Dec. 24, 
 
 1902. 
 
 Berwin, Adolf, d. Rome, Aug. 29, 1900. 
 Betz, Franz, d. Berlin, Aug. 11, 1900. 
 Bevignani, Enrico, d. Naples, Aug. 29, 
 
 1903. 
 Biese, W., d. Berlin, Nov. 14, 1902. 
 Bibl, Rudolf, d. Vienna, Aug 2, 1902. 
 Bilse, B., d. Berlin, July 13, 1902. 
 Blanc, Adolphe, d. Paris, May, 1885. 
 Blockx, Jan, d. Antwerp, May 22, 191 2. 
 Boott, Francis, d. Cambridge, Mass., 
 
 Mar., 1904. 
 Boulanger, H. A. A. E., d. Paris, Apr. 
 
 14, 1900. 
 Bourgault-Ducoudray, L. A., d. Ver- 
 
 nouillet (Seine-et-Oise), June 4, 1910. 
 Braga, Gaetano, d. Milan, Nov. 21, 
 
 1907. 
 Brambach, Joseph, d. Bonn, June 19, 
 
 1902. 
 Brinsmead, Edgar, d. Nov. 28, 1907. 
 Brooks, Walter M., d. Mar. 14, 1907. 
 Bruch, Max, d. Vienna, Sept. 17, 1907. 
 Brull, Ignaz, d. Vienna, Sept. 17, 1907. 
 Bruyck, Karl Debrois van, d. Waid- 
 
 hofen, Aug. i, 1902. 
 Biichner, Emil, d. Erfurt, June 9, 1908. 
 Buck, Dudley, d. Brooklyn, N. Y., Oct. 
 
 6, 1909. 
 Bullard, F. F., d. Boston, June 24, 1904. 
 Burgel, Konstantin, d. Breslau, July i, 
 
 1909. 
 Busoni, Anna Weiss, d. Trieste, Oct. 3, 
 
 1909. 
 
 Cahen, Albert, d. Cap d' Ail, Mar. 1903. 
 Callaerts, J., d. Antwerp, Mar. 3, 1901. 
 Calkin, J. B., d. London, May 15, 1905. 
 Chaumet, William, d. Gajac, Gironde, 
 
 Oct. 1903. 
 Choudens, A., d. Paris, 1902. 
 Chrysander, Fr., d. Bergedorf, Sept. 3, 
 
 1901. 
 Clauss-Szarvady, Wilhelmine, d. Paris, 
 
 Sept. 2, 1907. 
 Cobb, G. F., d. Cambridge, Mar. 31, 
 
 1904. 
 
 943 
 
•944 
 
 THE MUSICAL GUIDE 
 
 Coccon, Nicolo, d. Venice, Aug. 4, 1903. 
 Coenen, (i) J. M. d. Amsterdam, Jan. 9, 
 
 1899. (2) Franz, d. Leyden, Jan. 24, 
 
 1904. 
 Cohen, Jules, d. Paris, Jan. 14, 1901. 
 Coleridge-Taylor, S., d. London, Sept. 
 
 I, 1912. 
 Colonne, Ed., d. Paris, Mar. 28, 1910. 
 Coquard, Arthur, d. 1910. 
 Courvoisier, Carl, d. 1908. 
 Cossmann, B., d. Frankfurt, May 7, 
 
 1910. 
 Czartoryska, Marcelline, d. Cracow, 
 
 June 8, 1894. 
 
 Dancla, J. B. C, d. Tunis, Nov. 8, or 9, 
 
 1907. 
 Banks, H. P., d. Philadelphia, Nov. 20, 
 
 1903. 
 Dannreuther, Edward George, d. Pim- 
 
 lico, Feb. 12, 1905. 
 Defies, L. P., d. Toulouse, June 10, 
 
 1900. 
 Deiters, D. H., d. Coblenz, May 11, 
 
 1907. 
 Delle Sedie, Enrico, d. Paris, Nov. 28, 
 
 1907. 
 Dick, Charles G. C, d. 1895. 
 Dienel, Otto, d. Berlin, Mar. 10, 1905. 
 Dietrich, A. H., d. Berhn, Nov. 20, 1908 
 Doppler, Karl, d. Stuttgart, Mar. 10, 
 
 1900. 
 Dorffell, A., d. Leipzig, Jan. 22, 1905. 
 Dorn, Alexander, Julius Paul, d. Berhn, 
 
 Nov. 27, 1901. 
 Drobisch, M. W., d. Leipzig, Sept. 30, 
 
 1896. 
 Dupont, Joseph, d. Brussels, Dec. 31, 
 
 1899. 
 Durand, Auguste, d. Paris, May 31, 
 
 1909. , 
 Durand, Emile, d. Neuilly, May 6, 1903. 
 Duvemoy, V. A., d. Paris, March 7, 
 
 1907. 
 Dvorak, Antonin, d. Prague, May i, 
 
 1904. 
 
 Edwards, Julian, d. 1910. 
 Ehriich, A. H., d. Berlin, Dec. 30, 1899. 
 Eitner, Robert, d. Templin, Jan. 22, 
 190 ■;. 
 
 Erdmannsdorfer, Max von, d. Munich, 
 
 Feb. 14, 1905. 
 Erkel, Gyiila (or Julius), d. Pest, Mar. 
 
 22, 1909. 
 
 Fernandez, Caballero, Manuel (fgr- 
 nan-deth kav'-al-la'-ro), d. Madrid, 
 Feb. 20, 1906. See Caballero. 
 
 Fetis E., d. Brussels, Jan. 31, 1909. 
 
 Fleischer, Reinhold, d. Gorlitz, Feb. i, 
 1904. 
 
 Fornari, V., d. Naples, Aug. 1900. 
 
 Fritzsch, E. W., d. Leipzig, Aug. 14, 
 1902. 
 
 Fuchs, Albert, d. 1910. 
 
 Fumagalli, P., d. Milan, June 21, 1900. 
 
 Gadsby, Henry R., d. Putney, Nov. 11, 
 
 1907. 
 Garcia, Manuel, d. Cricklewood, Lon- 
 don, July I, 1906. 
 Geistinger, Marie, d. Rastenfeld, Sept. 
 
 29, 1903. 
 Gevaert, Fr. A., d. Brussels, Feb. 24, 
 
 1908. 
 Gleason, F. G., d. Chicago, Dec. 6, 1903. 
 Godfrey, Daniel, d. Beeston, June 30, 
 
 1903. 
 Goldschmidt, Otto, d. South Kensing- 
 ton. Feb. 24, 1907. 
 Goldschmidt, Adalbert von, d. Vienna. 
 
 Dec. 21, 1906. 
 Gotze, Emil, d. Charlottenburg, Sept. 
 
 28, 1901. 
 Grieg, Edvard, d. Bergen, Norway, 
 
 d. Sept. 4, 1907. 
 Grimm, J. O., d. Munster, Westphaha. 
 
 Dec. 7, 1903. 
 Grossi, Carlotta, d. May 28, 1900. 
 Griitzmacher, Fr., d. Dresden, Feb. 23, 
 
 1903. 
 Gudehus, H., d. Dresden, Oct. 9, 1909. 
 Guercia, Alfonso, d. 1890. 
 Gumprecht, Otto, d. Meran, Feb. 7, 
 
 1900. 
 Gura, Eugen, d. Aufkirchen, Bavaria, 
 
 Aug. 26, 1906. 
 Gurlitt, C, d. Altona, June 17, 1901. 
 
 Haberl, F. X., d. Regensburg, Sept. 7. 
 iqio. 
 
NECROLOGY 
 
 945 
 
 Halir, Karl, d. Berlin, Dec. 21, 1909. 
 Hanslick, Eduard, d. Baden near 
 
 Vienna, August 6, 1904. 
 Hartel, Benno, d. Berlin, Aug. 4, 1909. 
 Hartmann, Ludwig, d. 1910. 
 Haser, Charlotte H., d. Rome, May, 
 
 1871. 
 Hasse, Gustav, d. Berlin, Dec. 31, 1889. 
 Hatton, Jno. d. Leptrot, Sept. 20, 
 
 1886. 
 Hausegger, Fr. von., d. Graz, Feb. 23, 
 
 1899. 
 Hausmann, Robert, d. Vienna, Jan. 
 
 19, 1909. 
 Hegner, Otto, d. Hamburg, Feb. 27, 
 
 1907. 
 Heilf, Arno, d. Bad Elster, Aug. 2, 1909. 
 Heinze, G. Ad., d. Muiderberg, near 
 
 Amsterdam, Feb. 20, 1904. 
 Heinze, Sarah, d. Dresden, Oct. 7, 1901. 
 Held, Leo, d. Vienna, May 16, 1903. 
 Henkel, H., d. Frankfort-am-Main, 
 
 Apr. 10, 1899. 
 Hey, Julius, d. Munich, Apr. 23, 1909. 
 Hill, Wilhelm, d. Homburg, May 6, 
 
 1902. 
 Hillemacher, Lucien, d. Paris, June 2, 
 
 1909. 
 Hipkins, A. J., d. London, June 3, 1903. 
 Hoi, Richard, d. Utrecht, May 14, 1904. 
 Holmes, Augusta, d. Paris, Jan. 28, 
 
 ,1903. 
 Holmes, Henry, d. San Francisco, Dec. 
 
 9, 1905- 
 Homeyer, Paul, d. Leipzig, 1908. 
 Horwitz, Benno, d. Berlin, June 3, 1904. 
 
 Ivry, Marquis Richard, d', d. Hyeres, 
 Dec. 18, 1903. 
 
 Jackson, John P., d. Paris, Dec. i, 1897. 
 Jacobsohn, Simon E., d. Chicago, Oct. 
 
 3, 1902. 
 Jacques-Dalcroze, vide Dalcroze, 1865. 
 Jadassohn, Salomon, d. Leipzig, Feb. 
 
 I, 1902 (not 1901). 
 Jansen, Gustav F., d. Hanover, May 
 
 3, 1910- 
 Japha, Louise, d. Wiesbaden, Oct. 13, 
 
 1910. 
 Jedliczka, Dr. Ernst, d. Berlin, Aug. 
 
 i, 1904- 
 
 Joachim, Joseph, d. Berlin, Aug. 15, 
 
 1907. 
 Joncieres, Felix-Ludger, d. Paris, Oct. 
 
 25, 1903- 
 Jiirgensen, P., d. Moscow, Jan. 6, 1904. 
 
 Kauffmann, Emil, d. Lubingen, June 
 
 18, 1909. 
 Kirchner, Fritz, d. Potsdam, May 14, 
 
 1904. 
 Kirchner, The., d. Hamburg, Sept. 18, 
 
 1903. 
 Kistler.Cyrill, d. Kessingler, Jan. i, 1907 
 Klein, Bruno Oscar, d. New York, June 
 
 22, 1911. 
 Kleinmichel, Richard, d. Charlotten- 
 
 burg, Aug. 18, 1901. 
 Klingenberg, Fr. W., d. Sirlan, Silesia, 
 
 Apr. 2, 1888. 
 Klughardt, A. F. M., d. Dessau, Aug. 
 
 3, 1902. 
 Kontski, A, de., d. Ivanitshi, near Aku- 
 
 lovka, Dec. 2, 1899. 
 Kretschmer, Edmund, d. Dresden, Sept. 
 
 13, 1908. 
 Krauss, Gabrielle, d. Paris, Jan. 6, 1906. 
 Krug, Arnold, d. Hamburg, Aug. 4, 
 
 1904. 
 Kuczinski, Paul, d. Berlin, Oct. 21, 1897. 
 Kuhe, Wm., d. Kensington, Oct., 191 2. 
 
 Labitzky, August, d. Reichenhall, Aug. 
 
 29, 1903. 
 Lamoureux, Charies, d. Paris, Sept. 
 
 21, 1899. 
 Lang, B. J., d. Boston, Apr. 4, 1909. 
 Langer, Victor, d. Pest, Mar. 19, 1902. 
 Lassalle, Jean, d. Paris, Sept. 7, 1909. 
 Lassen, Eduard, d. Weimar, Jan. 15, 
 
 1904. 
 Lasserre, Jules, d. Tarbes, Feb. 19, 
 
 1906. 
 Lavigne, A. J., d. (in the almshouse), 
 
 Manchester, Eng., Aug. i, 1886. 
 Lenepven, Chas. Fd. d. 1910. 
 Levasseur, J. H., d. Paris, 1823. 
 Levi, Hermann, d. Munich, May 13, 
 
 1900. 
 Lie, Erica, d. Christiania, Oct, 27, 1903. 
 Longhurst, H., d. Harbledown, Canter- 
 bury, June 17, 1904. 
 
946 
 
 THE MUSICAL GUIDE 
 
 Loschhom, Albert, d. Berlin, June 4, 
 
 1905. 
 Liibeck Louis, d. Berlin, Mar. 8, 1904. 
 Lucas, Stanley, d. So. Hampstead, July 
 
 24, 1903, aged 69. 
 Lucca, Pauline, d. Vienna, Feb. 28, 
 
 1908. 
 Lussy, Mathias, d. 1910. 
 Lutz, W. M., d. W. Kensington, Jan. 
 
 31, 1903- 
 
 Macbeth, Allan, d. Glasgow, 1910. 
 MacDowell, Edward, d. New York, 
 
 Jan. 24, 1908. 
 Macfarren, Walter Cecil, d. London, 
 
 Sept. 2, 1905. 
 Mahler, Gustav, d. Vienna, May 18, 
 
 1911. 
 Mann, J. G. H., d. Amsterdam, Feb. 
 
 1904. 
 Manns, Sir August, d. Norwood, Mar. 
 
 I, 1907. 
 Martucci, G., d. Naples, June 3, 1909. 
 Marty, G. E., d. Paris, Nov. 11, 1908. 
 Mason, William, d. New York, July 
 Massenet, Jules, d. Paris, Aug. 13, 191 2. 
 
 14, 1908. 
 Maszkowsky, Raphael, d. Breslau, Mar. 
 
 14, 1901. 
 Mathias, Georges, d. Pontoise, 1910. 
 Mathews, W. S. B., d. Denver, Col., 
 
 Apr. 8, 1912. 
 Maylath,H.,d.NewYork,Dec. 31,1883. 
 Mehrkens, Fr. Ad., d. Hamburg, May 
 
 31, 1899. 
 Merklin, Jos., d. Nancy, July 10, 1905. 
 Meyer-Lutz, William, d. London, Jan. 
 
 31, 1903- 
 Milanollo,Teresa, d. Paris.Oct. 25,1904. 
 Milde, Hans F. von, d. Weimar, Dec. 
 
 10, 1899. 
 Millocker, Karl, d. Baden, Dec. 31, 
 
 1899. 
 Moir, Frank Lewis, d. Deal, England, 
 
 July 14, 1904. 
 Monasterio, Gesii,d. Santander, Sept.. 
 
 28, 1903. 
 Molloy, J. L., d. Wooleys, Bucks, Feb. 
 
 4, 1909. 
 Monk, E. G., d. Radley, England, Jan. 
 
 3, 1900. 
 
 Mottl, Felix, d. Munich, July (?) 191 1. 
 Mounsey, Ehzabeth, d. London, Oct. 
 
 3, 1905- 
 Miihlfeld, Richard, d. Meiningen, June 
 
 I, 1907. 
 Muller, Richard, d. Leipzig, Oct., 1904. 
 Musiol, R. P. J., d. Fraustadt, Posen, 
 
 Oct. 18, 1903. 
 
 Neumann, Angelo, d. Prague, Dec. 20, 
 
 1910. 
 Nixon, H. C, d. Bromley, Dec. 25, 
 
 1907. 
 Norman-Neruda, (Lady Hall6), d. 
 
 Berlin (?) Apr. 15, 1911. 
 Noszkowski, Sigismund, d. Warsaw, 
 
 July 24, 1909. 
 Novell©, Clara, d. Rome, Mar. 12, 
 
 1908. 
 Novello, Mary Sabilla, d. Genoa, Jan. 
 
 8, 1904. 
 
 Oakeley, Sir Herbert Stanley, d. East- 
 bourne, Oct. 26, 1903. 
 Odenwald, R. T., d. Hamburg, Apr. 
 
 22, 1899. 
 O'Leary, Mrs. Arthur, d. June 17, 1909. 
 
 Paine, J. K., Cambridge, Mass., Apr. 
 
 25, 1906. 
 Papperitz, Robert, d. Leipzig, Sept. 
 
 29, 1903. 
 Parratt, H. L., d. Huddersfield, Feb. iS, 
 
 1904. 
 Parry, Joseph, d. Penarth, Feb. 17, 
 
 1903. 
 Pauer, Ernst, d. Jugenheim, Darmstadt, 
 
 May 9, 1905. 
 Petersilea, Carlyle, d. Tropico, near Los 
 
 Angeles, Cal., June 11, 1903. 
 Pfeiffer, Jean Georges, d. Paris, Feb. 14, 
 
 1908. 
 Pfeil, Heinrich, d. Leipzig, Apr. 17, 
 
 1899. 
 Piccolomini, Maria, d. near Florence, 
 
 Dec. 1899. 
 Planquette, Robert Jean, d. Paris, Jan. 
 
 28, 1903. 
 Plante, Frangois, d. Prigueux, July, 
 
 1898. 
 Poisot, Charles (Emile), d. Dijon, Mar., 
 
 1904. 
 
 i 
 
NECROLOGY 
 
 947 
 
 Pole, William, d. London, Dec. 30, 1900. 
 Polidoro, Federigo, d. S. Giorgia a 
 
 Cremano, near Naples, Aug. 14, 1903. 
 Pollitzer, Adolf, d. London, Nov. 14, 
 
 1900. 
 Porges, H., d. Munich, Nov. 17, 1900. 
 Preyer, G. von, d. Vienna, May 9, 1901. 
 Prout, Ebenezer, d. Hackney, Dec. 5, 
 
 1909. 
 Pyne, Louisa F., d. London, Mar, 20, 
 
 1904. 
 
 Randegger, Alberto, d. London, Dec. 
 
 1911. 
 Rappoldi, Eduard, d. Dresden, May 
 
 16, 1903. 
 Rauscher, Max, d. Pfarring, Mar. 14, 
 
 1895. 
 Rea, William, d. Newcastle-on-Tyne, 
 
 Mar. 8, 1903. 
 Reay, Samuel, d. Newark-on-Trenk, 
 
 July 21, 1905. 
 Rebicek, Josef, d. Berlin, Mar. 24, 1904. 
 Rebling, Friedrich, d. Leipzig, Oct. 15, 
 
 1900. 
 Rebling, Gustav, d. Madgeburg, Jan. 
 
 9, 1902. 
 Reichel, A. H. J., d. Berne, Mar. 4, 
 
 1896. 
 Reichmann, Theodor, d. Marbach, 
 
 Switzerland, May 22, 1903. 
 Reinecke, Carl, d. Leipzig, Mar. 10, 
 
 1910. 
 Reisenauer, Alfred, d. Libau, Silesia, 
 
 Oct. 3, 1907. 
 Reissmann, August, d. Berlin, Dec. i, 
 
 1903. 
 Reuss, Edward, d. Dresden, 191 1. 
 Reyer, Ernst, d. Le Lavandon, near 
 
 Toulon, Jan. 15, 1909. 
 Rheinberger, Joseph, d. Munich, Nov. 
 
 25, 1901. 
 Ricordi, Giulio, T., d. Milan, June 6, 
 
 1912. 
 Rimsky-Korsakov, Nicholas Andneie- 
 
 vitch, d. St. Petersburg, June, 21, 
 
 1908. 
 Ritter, Josef, d. Salzburg, Austria, 
 
 June 21, 1911. 
 Rockel, Edw., d. Bath, Nov. 2, 1899. 
 Roger, Victor, d. Paris, Dec. 2, 1903. 
 
 RotoH, A., d. Boston, Nov. 26, 1904. 
 Rosseau, Samuel, d. Paris, Oct. r, 
 
 1904. 
 Ryan, Thomas, d. New Bedford, Mass., 
 
 Mar. 25, 1903. 
 
 Salaman, C. K., d. London, June 23, 
 
 1901. 
 Sanderson, Sibyl, d. Paris, May 16, 
 
 1903. 
 Sarasate, Pablo, d. Biarritz, Sept. 20, 
 
 1908. 
 Sauzay, Eugene, d. Paris, Jan. 27, 1901. 
 Schatler, Julius, d.Breslau.Feb. 10,1902. 
 Schitler, Madeline, d. New York, July 
 
 3. iQii- 
 Schimon-Regan, Anna, d. Munich, 
 
 Apr. 18, 1902. 
 Schnecker, P. A., d. New York, Oct. 
 
 3, 1903. 
 Schneider, Theodor, d. Zittau, June 15, 
 
 1909. 
 Schneider, Theodor, d. Zettan, June 15, 
 
 1909. 
 Schnorr von Karolsfeld, Malwina, d. 
 
 Karlsruhe, Feb. 8, 1904. (aged 72). 
 Schytte, Ludwig, d. Berlin, Nov. 10, 
 
 1909. 
 Seibert, Louis, d. Eisenberg, near Wetz- 
 
 lar, July 29, 1903. 
 Seiss, Isidor, d. Cologne, Sept. 25, 
 
 1905. 
 Serpette, Gaston, d. Paris, Nov. 3, 1904. 
 Sherwood, William H., d. Chicago, Jan. 
 
 7, 1911. 
 Silas, Eduard, d. West Kensmgton, 
 
 Feb. 8, 1909. 
 Singer, Edmund, d. Stuttgart, Jan. 23, 
 
 1912. 
 Sittard, Josef, d. Hamburg, Nov. 23, 
 
 1903. 
 Slaughter, W., d. London, Mar. 2, 1908. 
 Smith. Gerrit, d. Greenwich, Conn., 
 
 July 21, 191 2. 
 Smolian, Arthur, d. Leipzig, Nov. 5, 
 
 1911. 
 Sontheim, Heinrich, d. Stuttgart, Aug. 
 
 2; 1912, aged 92. 
 Spicker,M.,d. New York, Oct. 16, 1912. 
 Spindler, Fritz, d. Lossnitz, near Dres- 
 den, Dec. 26, 1905. 
 
948 
 
 THE MUSICAL GUIDE 
 
 Spinelli, Nicolo, d. Rome, 1909. 
 Stade, F. W., d. Altenburg, Mar. 25, 
 
 1902. 
 Stainer, Sir John, d. Verona, Mar. 31, 
 
 1901. 
 Steggall, Charles, d. London, June 7, 
 
 1905. 
 Steingraber, Theodor, d. Lepzig, Apr. 
 
 5, 1904- 
 Stehle, G. Ed., d. St. Gallen, Apr. 11, 
 
 1896. 
 Sterling, Antoinette, d. Hampstead, 
 
 Jan. 10, 1904. 
 Stem, Leo, d. London, Sept. 3, 1904. 
 Stem, Margarethe, d. Dresden, Oct. 4^, 
 
 1899. 
 Stiehle, L. M. A., d. Mulhaiisen, 
 
 Alsatia, July 6, 1896. 
 Stoltz, Rosine, d. Paris, July 31, 1903. 
 Stockhausen, Julius, d. Frankfort-on- 
 
 Main, Sept. 22, 1906. 
 Sucher, Josef, d. Berlin, Apr. 4, 1908. 
 Sunderland, Mrs. Susan Sykes, d. 
 
 Brighthouse, May 7, 1906. 
 Svendsen, J. S., d. Copenhagen, June 
 
 13, 1911. 
 Szekely, Imre, d. Pest, Apr., 1887. 
 
 Taffanel, Paul, d. Paris, Nov. 22, 1908. 
 Tamagno, Francesco, d. Varese, Aug. 
 
 31, 1905- 
 Tappert, Wilhelm, d. Berlin, Oct. 27, 
 
 1907. 
 Taubert, Otto, d. Torgau, Aug. i, 1903. 
 Thallon, Robert, d. 1910. 
 Thiele, Eduard, d. Dessau, Jan. 10, 
 
 1895. 
 Thomas, Theodore, d. Chicago, Jan. 4, 
 
 1905. 
 Thome, Franfois, d. Paris, Nov. 16, 
 
 1909. 
 
 Thuille, Ludwig, d. Munich, Feb. 5. 
 
 1907. 
 Trotere, Henry, d. London, April 10, 
 
 1912. 
 Tinel, Edgar, d. Brussels, Oct. 28, 
 
 1912. 
 Turpin, Dr. E. H., d. London, Oct, 25, 
 
 1907. 
 
 Ugalde, Mme. D., d. Paris, July 18, 
 1910. 
 
 Verdi, Giuseippina, d. Busetto, Nov. 
 
 14, 1897. 
 Vianesi, Auguste, d. New York, Nov. 
 
 II, 1908. 
 Viard-Louis, J. Jenny, d Auteuil, Paris, 
 
 Jan. 27, 1904. 
 Viardot-Garcia, Mme. Michelle, d. 
 
 Paris, May 18, 1910. 
 Vidal, L. A., d. Paris, Jan. 7, 1901. 
 Vincent, H. Jos. d. Vienna, May 20, 
 
 1901. 
 Walter, Gustav, d. Vienna, Feb., 1910. 
 Weber, Miroslaw, d. Munich, Jan. 2, 
 
 1906. 
 Weckerlin, J. B., d. Trottberg (Alsace), 
 
 May 20, 1910. 
 Willing, Chris. Edwin, d. St. Albans, 
 
 Dec. I, 1904. 
 Willis, Henry, d. London, Feb. 11, 1901. 
 Winkelmann, Hermann, d. Vienna, 
 
 Jan. 19, 191 2. 
 Wood, Mrs. Henry J. (nee Olga Narish- 
 
 kin), d. London, Dec. 20, 1909. 
 Wurm, Wilhelm, d. St. Petersburg, 
 
 June 20, 1904- 
 Zerrahn, Karl, d. Milton, Mass., Dec. 
 
 29, 1909. 
 Zumpe, Hermann, d. Munich, Sept. 4, 
 
 1903. 
 
t 
 
 o\A 
 
 i 
 
33- Soprano. 
 
 c"" to 5 
 32. Contralto 
 31. Tenor— ro 
 
 octave 1 
 30. Barytone, 
 29. Basso Pr 
 28. Piccolo 01 
 
 lower tl 
 27. Flute. G 
 26. Clarinet i 
 
 distinct 
 25. Clarinets 
 
 ^d (a mi 
 24. Alto-Clari 
 
 it soun 
 23. Bass Clar 
 22. Alto Saxo 
 
 ranging 
 
 sounds, 
 21. Oboe, ti 
 20. English i 
 
 5th higl 
 
 10. Bassoon. 
 18. Double B 
 
 higher 1 
 17. Double B 
 
 than it s 
 16. Cornet-a 
 
 higher t 
 15. Valve (or 
 
 4th lowi 
 14. Valve (or 
 
 feet sth 
 13. Alto Tron 
 12. Tenor Tn 
 
 11. Bass Tror 
 10. Tuba (Euj 
 
 g. Bass Tubi 
 8. Contrabas 
 7. Violin. G 
 6. Viola. C 
 5. VioloncelU 
 4. Double-ba 
 
 than it s 
 3. Harp. F 
 
 but diat 
 a. Piano. F 
 I. Large Pip 
 
 in paren 
 
 hroi 
 thu 
 
 — G- 
 F Clef, or Ba 
 
I 
 
 
Table of Pronunciations 
 
 Giving the Code of Symbols used in this 
 Book; and also a Guide to the Pronun- 
 ciations of sixteen Languages, arranged 
 in a novel Tabular Form by Letters 
 
s top row gives the phonetic 
 leaning of the letters and sym- 
 -.Is AS USED IN Tins 
 OOK. 
 
 ABIAN : very difficult even 
 
 or sojourners among the peo- 
 
 le. 
 
 HEMIAN : See Note 4. In 
 
 liphthongs the vowels are pro- 
 
 lounced separately, as in Ital- 
 
 an. 
 
 LNISH : doubled vowels are 
 
 iimply prolonged. 
 
 JTCH : ^^ in be and ge; /be- 
 fore k. t; and ris^ ; and ij in the 
 suffix lijk are silent. 
 
 LEIVUSH : dead as a literary 
 language, but of great historic 
 importance. 
 
 RENCH : a silent final conso- 
 nant is usually sounded with 
 the following word when that 
 begins with a vowel. This is 
 called liaison. French sylla- 
 bles have duration rather than 
 accent; the tendency is. to give 
 a slight stress to the final syl- 
 lable. In this book accent is 
 rarely marked. 
 
 rERMAN : long words usually 
 accent the first syllable most 
 strongly, and give a lesser ac- 
 cent to one or more of the 
 others. 
 
 lUNGARIAN : long and short 
 vowels are so rather in dura- 
 tion than in sound. There are 
 no silent letters and no accents. 
 [TALIAN : doubled consonants 
 are distinctly pronounced, as 
 fred-do. Doubled vowels are 
 also separately pronounced. 
 
 NORWEGIAN : 
 
 ; /, in, n, p, s^ iu, z. 
 PORTUGUESE : a very difficult 
 language ; placed usually just | 
 back of the teeth. The nasal 1 
 vowels are also unique. Note 5. 
 
 RUSSIAN : has 36 letters, in- 
 cluding 12 vowels. It is usu- | 
 ally written phonetically in | 
 German pronunciation as fol- 
 lows : 
 
 SPANISH : a language of ideal 
 regularity and precision ; all 
 vowels are separately pro- 
 nounced. 
 
 as used in this book : d as 
 in father; « as in fate; d 
 as in fat ; an and aii. see 
 
 Note I. 
 
 B 
 
 as in bob. 
 
 as in fat ; before r as in 1 as in bob. 
 far. 
 
 as u in fun ; d as in father, 
 as in father ; aa us a in fall. 
 
 when short as in half: also 
 before c/i ; when open as 
 in father : aa, nni (see ai), 
 prolonged as in father. 
 
 a or a, as in father or mica ; 
 aa or ae, the same pro- 
 longed. 
 
 as in fat ; 
 
 as in father ; «, see Note 2 ; 
 d is sometimes spelled ae ; 
 ai = i in bite ; for du and 
 aeu, see au. 
 
 as in what ; a. is prolonged, 
 as in father. 
 
 WELSH 
 
 tions 
 
 nounced ; the letter 
 
 in moon 
 
 all vowel combina- 
 separately pro- 
 
 a as in father ; aa 
 no ; au as o in no. 
 
 ; in father ; ^ as in ball. 
 
 as in father; when two as 
 occur in a word the first 
 is more like a in fat ; Ti, 
 see Note 5. 
 
 when accented, as in father; 
 unaccented, as in bat ; at 
 the beginning, as ya in 
 yacht; if unaccented, as 
 ui yank. ^ 
 
 as in father or in hat ; a as 
 in father. 
 
 as in father or in mica ; a as 
 o in go, when long ; when 
 short, as a in what ; a as 
 in hare. 
 
 as in fat ; <$ as in dare. 
 
 beginning a syllable, as in 
 bet; ending, as^ in trap. 
 
 seecA, at end of the alphabet. 
 
 as in English ; ch like Ger- 
 man ch, see Note 3. 
 
 c like is, or German s / 
 like cli in child. 
 
 only in foreign words; like 
 ^ before <', / and y ; like 
 k, otherwise. 
 
 like k ; ch like German ch. 
 
 as i- before r, / and y ; as k 
 otherwise, e.xcept that e is 
 always J. See ch. 
 
 beginning a syll.-^.ble, as in like fs in hats before 
 bet ; ending a syllable, as ' and d ; like k before a, 
 ;nd u; ch. See Note 3. 
 
 1 before e and i as ck \x 
 chime; cc before e and 
 = tch, as wretched ; ch 
 = k. 
 
 as in bob. only in foreign words ; as 
 
 before e. i and ' y ; as k 
 
 otherwise. 
 as in bob. c ~ ts, a.s in hats ; ch 
 
 German ch ; cz — c7i 
 
 church. 
 
 nearly as in bob ; but softer, like s before e, i and y ; like 
 I /.'Otherwise; f always like 
 ( .J ,■ in cc the first c is like /■, 
 the second is determined 
 by the following letter, 
 s in cent or zone ; - c// = 
 German ch at the end ; a 
 the beginning, as in chest. 
 
 our/" 
 as in 
 
 this letter resembling 
 is pronounced v, 
 vane, or /, as in foe ; the 
 equivalent of our b sounds 
 as * or/ in bet or trap*. 
 
 like V in very. 
 
 before e or /, as th in think ; 
 otherwise as k : ch as ir 
 churcli ; c/i as '^w in quart. 
 
 before e, / or j, as in ce 
 otherwise as in gash ; ch 
 ■ = X', e.xcept in fofeigr, 
 words. 
 
 always like .k-; ck = Ger- 
 ■ niari <r,4; See Note 3. 
 
as in deed : dh as th 
 these ; dj as in adjoin. 
 
 e as in bean ; ? as in pet — at 
 the end of words almost like 
 
 F 
 as in fife. 
 
 G 
 
 BiBU 
 
 soft like Italian d. 
 
 s in deed. For d\ de and 
 di, see Note 4. 
 
 beginning a syllable as in 
 date ; ending as ih in 
 bathe ; after /, n, and r, 
 silent : ds = ss in hiss. 
 
 at the beginning of syllables 
 as in date: at the end as 
 ( in hot. 
 
 like German d and dt 
 
 t the beginning or in the 
 middle as d in deadlock : 
 usually silent at the end 
 of the word; in liaison it 
 becomes /. 
 
 beginning a syllable as in 
 date ; ending a syllable as 
 t in hat ; di = tin hat. 
 
 as in deed ; d/ same as '£y , 
 djs = J in judge. 
 
 as in deed, but softer and 
 more palatal. 
 
 as in deed ; dz as in adze 
 dz as dg^e in judge. 
 
 much like i/i in those 
 (marked in this book by 
 (//:) ; when two lis occur in 
 a word, only the second 
 has this sound, the first as 
 in date. 
 
 as in deed, but silent in njn 
 and nds and before/ or t. 
 
 as in date ; dd as M in these. 
 
 as m prey ; ^ as in pet. 
 
 as in pet ; <f as in ere ; e = ya, . as in fife, 
 as in beatitude. See also 
 Note 4- 
 
 as in prey and there ; ej'like i 
 in bite. 
 
 when short as in met; when as in fife ; Jl as in flow ; yV 
 
 open as in prey ; re simply j as in fresh. 
 
 prolongs the sound; see 
 
 also fu. 
 ^ or (• as in pet ; eu like French 
 
 eu ; e after a vowel usually 
 
 simply prolongs it ; ee = a'\n 
 
 fate or as in seen ; see eu. 
 as f in father or u in cut ; as a 
 
 final syllable generally silent; 
 
 e as in prey when it has 
 
 stress, otherwise as in pet ; 
 
 i as ai in fair ; ^ as in pet ; 
 
 see ei, d, s, t, z, r. 
 
 ^hen long as in prey ; 
 short as in pet ; ei ■■ 
 right ; see eu. 
 
 before >« or a sharp consonant 
 as in fat ; otherwise as e in 
 ten ; ? as in prey. 
 
 as in prey when long ; when 
 short as in pet ; ^ as in pet. 
 
 as in prey ; but when final as as in fife. 
 e in father. i 
 
 e as in met ; g = French in, see 
 Note I ; ^ = a as in pate. 
 
 g and e usually as in prey ; 
 has a curious closed sound. 
 
 fife. 
 
 as in fife, not silent at the 
 ends of words, except in 
 clef; in liaison it becomes v. 
 
 at the beginning of words = yo 
 in yolk if accented ; if unac- 
 cented as ye in yesterday ; 
 otherwise as e in pet. 
 
 as in prey_ when long ; when 
 short as in pet ; 1^ as in prey 
 or pet. 
 
 s in film when long ; when 
 short as in pet ; ^r as ar in 
 bare. 
 
 usually represented by the 
 German v or w. 
 
 as in fit at the beginning of 
 syllables or after a short 
 vowel ; at end of syllable 
 like V in slave ; before v 
 silent. 
 
 like V in revive ; ^ like / in 
 oflf. 
 
 as in gig. 
 as in gig. 
 
 as in gig ; after ^ or iJ like yia 
 yoke ; between vowels often 
 mute. 
 
 like German £^ ; ng as in loot 
 
 as German g, very guttural. 
 
 lire 
 
 ;u 
 
 s in gate e.xcept before e, 
 and y, then as i- in pleasure 
 (marked here as zh) ; silent 
 when final, becoming /t in pK 
 liaison ; gn as ni in minion. 
 
 at the beginning of a syllable 
 asin gate, but softer; at the 
 end, see Note 3 ; ng when 
 final vanishes in a faint k 
 sound as sang = zangk. 
 
 as in gig ; gy =^ d m due (not 
 doo) ; ggy = gygy or d' d\ 
 
 before e and / as in gem', gg 
 as dj in adjoin ; gli = ly' 
 like // in million , gn = ny* 
 or ni in pinion : gu = gzv ; 
 gui — we. 
 
 as in gig, but before J and y 
 as y in yoke. 
 
 as in gig. 
 
 as in gate ; but before ^, : and 
 y as in gem. 
 
 at the beginning usually as in 
 go ; sometimes at the begin- 
 ning, always at the end as 
 German ck ; see Note 2. 
 
 as in gate ; but before e and i, 
 as a very harsh /; in hate; 
 gue = ga as in gate . gui = 
 ge as in gear : gfi as in ig- 
 nite ; gl as in glow. 
 
 as in gate ; before a, e, i, o, y 
 and after / and r, like y in 
 yoke ; silent before/ / gn = 
 ng in sing. 
 
 as in gate ; ng as in wrong. 
 
~-^ onetic meaning 
 . >f the letters 
 l* 'in d symbols 
 
 H 
 
 1 
 
 J 
 
 K 
 
 as in hate. 
 
 i as in fight ; i as in pin. 
 
 as in jug. 
 
 as in kick ; kh = German 
 
 w iS USED IN 
 THIS BOOK. 
 
 
 
 
 choT g ; see Note 3. 
 
 
 
 
 
 -^^ iABIAN : 
 
 strongly aspirated 
 at end or begin- 
 ning of a word. 
 
 as in pin ; r as in bird. 
 
 as in jug. 
 
 strongly guttural. 
 
 JHEMIAN: 
 
 as in hate. 
 
 as in pin ; / as in machine. 
 
 like y in yes ; after vowels 
 It prolongs their sounds 
 somewhat as y in day, 
 whey, etc. 
 
 as in kick. 
 
 'ih imSR : 
 
 as in hate but 
 
 as in machine ; after a, e, o, o. 
 
 even with vowels aj, ej\ 
 
 as in kick. 
 
 VO.(U 
 
 silent before J 
 and V. 
 
 and «likej'inyoke. 
 
 X\key in yoke. 
 
 
 UTCH: 
 
 as in hate. 
 
 when short as in pin ; when 
 open as e in rely ; te prolongs 
 the open sound only before 
 
 as y in yoke. 
 
 as in kick : ks — x in 
 fi.x : kiv = qu in quart. 
 
 uttinl 
 
 
 r, otherwise as c in rely ; ij 
 
 
 
 XEMISH : 
 
 as in hate. 
 
 z or z as in pin ; ii or it- the 
 
 as J/ in yoke. 
 
 as in kick : ks — x in fix. 
 
 *(i 
 
 
 same prolonged ; u-u sounds 
 
 
 
 pb 
 
 
 like e-ii. 
 
 
 
 
 
 
 
 
 ''.VRENCH : 
 
 always silent. 
 
 as in pin, see ei, oi ; t as / in 
 
 as J in measure (marked 
 
 as in kick. 
 
 1 
 
 
 machine, but see ai. 
 
 in this book as zh). 
 
 
 
 as in hate. 
 
 as in machine ; ie as in believe. 
 
 as>'inyoke. 
 
 as in kick. 
 
 BUWGARIAW: 
 
 as in hate. 
 
 as the quick e in rely ; i as in 
 
 as y in yoke; jj as y in 
 
 as in kick. 
 
 
 
 machine. 
 
 paying. 
 
 
 
 
 
 
 
 ITALIAN: 
 
 silent; after c or 
 ^ it has simply 
 a hardening ef- 
 
 as in machine, but when short 
 as in pin ; at the beginning 
 
 same as // at the begin- 
 ning of words like y in 
 
 
 
 
 
 of words like^ in yoke. 
 
 yoke ; as a vowel like 
 
 
 
 fect. 
 
 
 i in machine. 
 
 
 NORWEGIAN : 
 
 as in hate. 
 
 as in machine ; at the begin- 
 
 as in yoke. 
 
 as in kick ; before / and 
 
 
 
 ning as y in yoke. 
 
 
 J like h; kv = qu in 
 
 POLISH : 
 
 
 
 
 quarter. 
 
 as in hate ; see c. 
 
 i as in machine; after aeon- 
 
 as y in yoke. 
 
 as in kick. 
 
 
 I and n. 
 
 sonant it has the effect of 
 the iraaginarj' y in due (not 
 doo) ; iu= u in gun. 
 
 
 
 PORTUGUESE : 
 
 silent. 
 
 as in machine. 
 
 as in jug. 
 
 only in foreign words, as 
 
 
 
 
 
 in kick. 
 
 RUSSIAN : 
 
 used only in a few 
 
 as in machine, but well back 
 
 as^- in yet. 
 
 as in kick; before k, i 
 
 
 native words, 
 
 in the throat; after labials 
 
 
 and ck softly as in 
 
 
 and in foreign 
 
 {b, /, m, p and v) as / in 
 
 
 German ch. 
 
 
 derivations. 
 
 pin. 
 
 
 
 SPANISH : 
 
 usually silent or 
 very slight; see 
 
 as in machine when long; 
 when short as in pin ; i as in 
 
 as a very harsh h in hate ; 
 almost like German ;■/(. 
 
 
 
 
 c. 
 
 machine. 
 
 
 
 SWEDISH : 
 
 as in hate ; silent 
 beforeyor v. 
 
 as in machine. 
 
 as^inyoke. 
 
 as in kick but before a, e 
 i, d and y in the sam> 
 syllable like ch. 
 
 WELSH: 
 
 as in hate. 
 
 as in machine. 
 
 
 as in kick. 
 
 
 
 
 
 
L 
 
 as in lull. 
 
 as in nun ; «, see Note i 
 
 o as in note ; oi as in noise ; 
 00 as in moon or foot ; o as 
 in wrong ; ow as in cow ; dk, 
 
 see Note i. 
 
 P 
 In pop. 
 
 
 iBli 
 
 as in mum. 
 
 as in mum. 
 
 as in lull, but when fol- i 
 lowed by another con- j 
 sonant a short e is in- : 
 terpolated, as if elk ! 
 were spelt elek. I 
 
 as in lull. 
 
 as m mum. 
 
 as in lily, t sometimes / : at the beginning, as 
 (called " 1 mouille ") is ! in mate. See note 
 liquid, as y in yoke or i. 
 paying. j 
 
 as in mum. 
 
 ; in late ; 11 or ly — y \n ' as in mum. 
 paying. j 
 
 in lull ; see g. 
 
 as in lull ; i is sounded 
 by closing the teeth on 
 the tip of the tongue 
 as / is pronounced. 
 
 as in lull; Ui like /// in 
 million. 
 
 as in lull ; before a or ( 
 as // in collar. 
 
 5 in look : // like /// in 
 billiards. 
 
 1] IS in lull, but usually 
 M silent before/. 
 
 h IS in look; //hasacuri- 
 S'l ous mingling of «■// and/ 
 
 as in mum. 
 
 as in mum. 
 
 as Hi mum. 
 
 as in meet, but at 
 end of syllables 
 or after e, like 
 French nasal «. 
 See Note i. 
 
 as in mum. 
 
 as in mum. 
 
 as in nun. 
 
 as in nun ; w asm caiion. 
 
 as in nun. 
 
 as in nun. 
 
 at the beginning, as in 
 name. See Note i. 
 
 as m nun ; tty = n as m 
 new (not noo) ; tiny 
 = nyny, or «' «'. 
 
 as in nun ; see g. 
 
 jerman o, see 
 
 lEil 
 
 as in note ; 6 z&'m wrong. 
 
 when open as in bother ; when 
 dosed as in move ; <^ = 
 French eu closed as in peu ; 
 a = the same open as in 
 coeur ; see Note 2. 
 
 as in bother when short, when 
 long as in over ; 00 = o \n 
 over ; ooi = in over fol- 
 lowed by i in pin ; see oe. 
 
 as in note or not ; 00 or oe 
 usually the same prolonged, 
 sometimes like lua in was, 
 oei or oey as o-e. 
 
 as in not 
 
 often almost as J? 
 5 as in note ; see oi. 
 
 as in note; but at end 
 of syllables or after 
 e, hke French nasal 
 K, see Note i ; tth = 
 ni in minion. 
 
 as in nun. 
 
 as in nun ; n divides 
 into ny as «/ in min- 
 ion, thus caflon — 
 canyon. 
 
 nun; gn == ng 
 
 as in wrong ; o see Note 2 ; o 
 is sometimes spelled oe. 
 
 o as in note ; 6 is prolonged as 
 in slow ; '6 — French eu ; o 
 OT 'd-= German long o. 
 
 as in note ; ^ as in wrong. 
 
 as u in full, but often as o in 
 note or not ; oe = am sale ; 
 like French<r« long or short. 
 
 o as in note ; i is between note 
 and move. 
 
 as in note or in not ; o see Note 
 5- 
 
 vhen long as in note ; when 
 short o as in not ; o as in 
 
 5 in move or not, according 
 to complex rules; o = Ger- 
 man o. 
 
 as in pop; ph 
 
 at the beginninj 
 and middle, a 
 in paper; p u 
 = almost /7yc 
 ph=/; silen 
 when final, 
 
 as in pop. 
 as in pop. 
 
 as in pop ; ph 
 
 as in pop ; silent 
 before J, n and 
 t. 
 
 as m mum. 
 
 as in nun. 
 
 as in gone : ,3 as in bone : the as in pop ; ph 
 sound 00 is represented by iv. /. 
 
onetic meaning 
 f the letters 
 n d symbols 
 LS USED IN 
 
 rms BOOK. 
 
 qv = qu in quart. 
 qu as in quart. 
 
 qu as in quart. 
 
 qu always as k in 
 kick ; cq as k. 
 
 qu as kv ; thus 
 quart = k'vart. 
 
 qu as in quart. 
 qu as in quart. 
 
 qua as in quart ; 
 before e or i, qu 
 is like k. 
 
 qu as k in kick. 
 
 qv = k\n kin. 
 
 as in roar ; r = rzh 
 or ri/j as in " for 
 sure," thus Dvor- 
 ak is dvor-zhak. 
 
 as in roar. 
 
 hurry. 
 
 nly rolled on 
 the back of the 
 tongue ; in Paris 
 almost like vj in 
 bower ; as a final 
 letter it is sounded 
 e.\cept after e ; er 
 = rt in sale. 
 
 usually rolled and 
 always strongly 
 sounded. 
 
 always trilled. 
 
 usually trilled, 
 as in hurry. 
 
 French j or j in 
 measure. 
 
 with a burr as rr in 
 worry. 
 
 as in roar. 
 
 as ill hurry. 
 
 as in roar. 
 
 as in sense. 
 
 J as in sis ; j as sh in show. 
 
 as in sense ; ski or sky as in 
 skim. 
 
 as in suppose. 
 
 as in suppose ; when final it 
 is silent except in proper 
 names ; in liaison it becomes 
 
 beginning a syllable Defore a 
 vowel usually as s in zone ; 
 as the end of a syllable as in 
 this ; sp and st — slip and 
 sht ; sch =: sh. 
 
 as sh in show ; sz — sh. 
 
 as in suppose; see = sha , 
 = she ; seh = sk. 
 
 as in sis ; ski = sh in show, 
 as in sense ; sz = sh in show. 
 
 as in suppose ; having the z 
 sound between vowels. 
 
 as in sense ; sh as in show ; 
 ski = shk / sz = sh. 
 
 as in sense. 
 
 ie ; sk, sj, and s(; all 
 1 show. 
 
 as in sense. 
 
 T 
 
 as in tot ; //: a 
 
 strongly palatal 
 
 as in tot ; see also Note 4. 
 
 after a hard vowel it is soft aa 
 in note, otherwise as in hot. 
 
 in tot; o'/'as/in hat. 
 
 as / in tub; like s in such 
 fixes as -tion : almost always 
 silent when final ; ei = a 'm 
 
 as in tot ; M = / in hat. 
 
 as in tot ; iy strongly as / in 
 tube ; i/y = iy' ty' or /' f ; 
 
 is = ch. 
 
 as in tot ; ti usually = tsi. 
 
 as in tot ; is beginning or end> 
 ing as in hats ; tsch as thick 
 in waj///-<rAum. 
 
 as in tot ; ijr= ch in chtmb ; 
 but if followed by a or r = i 
 in hats; th = i\^ tot. 
 
S always with the sound of 
 you ; », see Note 2. 
 
 as in rule or full. 
 
 when short, as in cut ; when 
 long, as in rule ; uu as 00 
 
 like a short German k, see 
 Note 2 : uu or ue, the same 
 prolonged ; see ui. 
 
 s 00 in moon or foot ; ii 
 (sometimes spelled ue), see 
 Note 2. 
 
 K as in pull ; a as in rule : ii 
 = French u ; u or u the 
 same prolonged. 
 
 as in rule ; a as in full. 
 as in rule. 
 
 as in rule ; preceded by / it 
 is the French u. 
 
 as in rule; u, see Note 5. 
 
 as m due, or as 00 in moon ; 
 except in words of French 
 or German origin, then as 
 
 ' French u. 
 
 as in rule, when long ; when 
 short, as in full ; ti as in 
 , rule or full ; ue — lua in 
 wait. 
 
 as in nile ; or in full. 
 
 in revive. 
 
 at the beginning, as 
 in vote at the 
 end, asyin off. 
 
 like/ in fife. 
 
 as m revive. 
 
 as in revive. 
 
 as in revive ; kv ■■ 
 qu in quart. 
 
 as in revive. 
 
 asy" in far or ( 
 
 as in revive. 
 
 as in revive. 
 
 "■ a little broader than z in this ; sounded like 
 
 &■=■ ee'xa seen. moon. 
 
 w 
 
 as in will. 
 
 as in will ; iv v. 
 silent before i 
 and another con 
 sonant, as wzd. 
 
 only in 
 words. 
 
 foreign 
 
 1 foreign words 
 only, and sounded 
 like V in vote ; 
 •wh sounded as w 
 in was. 
 
 like V in revive, but 
 with a soft trace 
 also of the w in 
 was. 
 
 as V in revive. 
 
 asy in far or off. 
 
 ; V m revive. 
 
 as in fix or exile ; 
 silent when final ; 
 becoming 2 in lia- 
 ison. 
 
 as in fix, even at 
 
 the beginning of 
 a syllable. 
 
 as in fix. 
 as in fix. 
 
 after e, as in vex : 
 otherwise as sh in 
 show. 
 
 as in fix ; even at 
 the beginning; 
 in some proper 
 names as h in 
 hate. 
 
 Y 
 
 as in yoke. 
 
 in why. 
 
 as i m pin; / as i 
 chine. 
 
 liS 
 
 as in why. 
 
 like / in machine; son 
 times nasal like Fren 
 hi, see Note i ; see ai. 
 
 when alone or when a co 
 sonant precedes or follo^ 
 it, as e in bean. When 
 lies between two vowels 
 may be said to be dividi 
 into two sounds. Afters 
 a ox e it is sounded like 
 in pet followed by y i 
 yoke (thus rayon becom< 
 re-yon) ; with an 
 sounds like wd in was fo 
 lowed by y, as in yok 
 (thus joyeux become 
 zhwa-yu) ; with u it b( 
 comes e — y (thus appuy 
 ant becomes ap-pwe-yanj 
 
 as e in bean, sometimes hki 
 « / see Note 2. 
 
 ; g, I, n and /. 
 
 like French u. 
 yj — em bean. 
 
 as / in machine, 
 same as Russian /. 
 
 as / in machine. 
 
 like French » / see Note ; 
 
 as u in turn ; at the end of a 
 syllable as in pretty. 
 
 I 
 
honetic meaning 
 of the letters 
 and symbols 
 AS USED IN 
 TfflS BOOK. 
 
 £ABIAN : 
 
 as in zone and buzz. 
 
 only in foreign words, 
 then like s in sis. 
 
 as in zone ; often used 
 interchangeable with 
 
 like is in hats, even at 
 the beginning of a 
 
 syllable. 
 
 as in zone; zs, seed. 
 
 z as ts in hats ; zz as ds 
 in Windsor. 
 
 like is in hats. 
 
 as in zone ; z = s m 
 measure ; zg =^ g 
 preceded by a buzz. 
 
 as in zone ; but at the 
 end of syllables like 
 s in this. 
 
 as German z= ts ; or 
 as French z = ^ in 
 menagerie. 
 
 like a: both in sail 
 and in said. 
 
 ame as aa = a pro- 
 longed ; aei or aty 
 = a/ prolonged. 
 
 only another spelling 
 of a. See Note 2. 
 
 in vowel combinations 
 the vowels are al- 
 ways separately 
 pronounced in Ital- 
 
 Al 
 
 aai combines a in 
 father with a 
 quicks in meet, 
 almost like J in 
 why. 
 
 ai and ay as ai in 
 said ; aei or izt'_y 
 the same pro- 
 longed. 
 
 aU 
 
 EUA 
 
 as 01U m cow. 
 
 combines a in fat 
 with (30 in moon; 
 sharper than ozu 
 in cow. 
 
 as m zone. 
 
 bite (actually 
 ak—e). 
 
 like o in note. 
 
 as in zone. 
 
 diphthongs. 
 

 
 
 
 
 
 El 
 
 EU 
 
 IE 
 
 OE 
 
 01 
 
 as in noise. 
 
 ou : 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 same as German short d, 
 see Note 2 ; ecu = 
 a in fate, with a 
 whispered v after it. 
 
 same as French eu ; eeu 
 the same prolonged. 
 
 like e in father when 
 short ; when long, 
 the same sound pro- 
 longed ; it lies be- 
 tween e in pet and « 
 in cut, and resembles 
 German d. See Note 
 
 almost like / in bite 
 with a hint of oi in 
 noise. 
 
 see i; ieu = a in 
 fate, with a soft 
 w after it. 
 
 same as 00 in moon ; 
 oei = 00 followed 
 by a short t. 
 
 as 00 in moon; 
 sometimes a 
 simple prolonged 
 ; or like iva in 
 was ; oei or oey = 
 we. 
 
 oe = wa in was ; 
 oeu like eu. 
 
 only another spelling 
 of 0. See Note 2. 
 
 
 combines in i 
 with u in ru, 
 softer than, 1 
 often confus 
 with, au. 
 
 with / in pin ; in 
 the suffix heid 
 = a in fate. 
 
 
 as e in pet. 
 Bite fin bite. 
 
 
 oi or oy = iva in 
 was ; oin = w 
 followed by the 
 nasal in. See 
 Note I. 
 
 ou = 00 in bo( 
 ouin = oin ; < 
 oi and Note i 
 
 as in believe. 
 
 
 
 
 
 
 
 
 
 
 
 
 Uke a in sale. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 same 
 
 as 
 
 the 
 
 German 
 
 diph- 
 
 thongs. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
donetic meaning 
 of the letters 
 and symbols 
 AS USED IN 
 TfflS BOOK. 
 
 JIABIAN: 
 (OHEMIAN : 
 )AinSH: 
 
 FLEMISH 
 
 ' ' FRENCH : 
 
 HUNGARIAN : 
 
 NORWEGIAN : 
 
 PORTUGUESE ; 
 
 UE 
 
 Ul 
 
 same as a pro- 
 longed a. 
 
 only another spell- 
 ing of ii. See 
 Note 2. 
 
 almost y in why ; 
 but verging on 
 the French eu. 
 
 u! and uy like 
 German eu. 
 
 CH SCH 
 
 as in church ; German c/i 
 is represented by k/:, see 
 Note 3. 
 
 like German c/i. 
 
 s ^, except in foreign 
 words. 
 
 like German c/(, but 
 
 of foreign words ; as s/. 
 in show. 
 
 like German cA. .See Note 
 3- 
 
 as s/t before a vowel ; be- 
 fore a consonant as k. 
 
 see Note 3. 
 
 like German cA, see Note 3. 
 
 ike German c/i, see Note 
 
 beginning a syl- 
 lable, as sic/i ; 
 at the end, as 
 simple s in this. 
 
 like sh in show. 
 
 as sk in skip. 
 
 SP 
 
 like shp 
 pan. 
 
ST 
 
 as in stone. 
 
 like sht in 
 washtub. 
 
 as in stone. 
 
 TH 
 
 as in thing; the 
 th in those is 
 represented by 
 dh. 
 
 NOTES 
 
 No. I. — The French nasal sounds are easily obtained: 
 
 (i) Though spelled with an w or « (and indicated in this book by an it) they havi 
 really no « sound in them, much less the ng sound that some foreigners give them 
 Though variously spelled they are reducible to four vowel sounds pronounced as wi 
 say, " through the nose," though actually with closed nasal passages. If one wil 
 pronounce or rather snort the word "wrong" without producing the final g at all 
 one will have exactly the French on (i); the word " thank" similarly sounded with 
 opt the /i- will give the French in (2); the word "trunk'' without the /^ gives th< 
 French un (3); the word "donkey" (not pronounced like monkey) contains thf 
 French ^« (4). These four are indicated in this book by (i) bit; (2) aii ; (3) fiii , 
 (4) ««• 
 
 The French nasals may be grouped as follows : Those pronounced like (i) are 07n. 
 on, and eon after g ; like (2), ir;«, in, aim, ain, ein and also eji as an ending ; like (3) ^n 
 un and evn ; like (4) am, an, ean, aen, aon and en at the beginning of words. 
 
 These letters m and «, however, lose their nasal quality when doubled or wher 
 preceding a vowel ; onne is pronounced as one in done, otne or otnme as in come, 
 as in em m them, etc. 
 
 No. 2.— French u (which is the same as the German w when long) is easily pronounced 
 if one will pucker his lips to say 00, as in moon ; and keeping them strongly puckered, 
 say e as in bean. Those who have eaten green persimmons, or had their lips dis 
 tended with peach fuzz, have the correct position for this e sound. 'I'here is really nc 
 00 sound in the French u at all, and if one cannot say the u correctly he will come 
 much nearer the truth if he uses a plain English long e, as in bean, rather than the 
 sound of u, as the spelling might suggest. 
 
 The German « when short is formed by keeping the lips puckered and saying i as 
 in fit, instead of e in serene. 
 
 The other German modified (or umlauted) vowels are (2) d, pronounced, when long, 
 almost like a in sale, but verging on a in care (it is marked here simply as a) ; when 
 short much' like e in pet ; (3) o when long can be secured by puckering the lips for a 
 round, full o, as in note and then saying a as in sale (it is marked in this book simply 
 as a to avoid the danger of saying a plain o) ; when it is short the lips should be puck- 
 ered for the round o, and a short e as in pet then pronounced. The caution must be 
 emphasised that in the experiments the lips must be firmly kept in the first, or puck- 
 ered position, in spite of the temptation to alter it. 
 
 No. J. — German ch is not difficult, once caught. Our sound th as in think will be 
 found if prolonged to be produced by the simple device of holding the tip of the 
 tongue lightly between the teeth and then breathing. The German ch results from 
 pressing the two sides of the tongue firmly against the bicuspid teeth (the two upper 
 teeth on each side back of the canine or eye teeth) and leaving the tip of the tongue 
 free, then breathing the necessary vowel as in ach, ich, etc. German g is much the 
 same but even softer. Both are indicated in this book by kh. 
 
 No. 4. — Certain Bohemian letters and combinations insert the sound j closely allied 
 to a consonant, as in the French diable and tieti, or the English " How d'ye do ? " 01 
 " I've caugh/j^." Bohemian d, n and t are given this d''y and t' y sound when 
 followed by e or /or by an apostrophe as d' , n or /'. 
 
 Many Bohemian combinations of consonants seem unspeakable because they are 
 spelt with no vowels between. They are no harder to say, however, than such words 
 of ours as " twelfths." Among such consonant chains are dm, kb, kd, krl, prst, 
 skrz, sr, ivl and zr. They must be run together as smoothly as possible. 
 
 No. 5. — Portuguese diphthongs are of three sorts; the first two cannot be distin- 
 guished here, they are simply combinations of vowels (sometimes of three vowels or 
 triphthongs) in which each vowel is sounded independently ; in the first clasf 
 the first vowel takes the accent, in the second class_ the second vowel is accented. 
 The third class contains a nasal vowel marked a, o or u, and pronounced with a strong 
 nasal twang. 
 
 No. 6. — In vowel combinations other than those specially mentioned here, the 
 vowels are pronounced separately, each in its own way. 
 
 No. 7.— Combinations of consonants other than those mentioned here will be found 
 under their first letter. 
 
 No. 8. — As Greek and Latin pronunciations are matters of controversy and personal 
 taste, no system is attempted here. Chinese, Japanese, Hebrew, Hindu, and various 
 other languages are usually spelled phonetically, but on such different national or 
 personal standards that they can hardly be generalised. 
 
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